Gremlins (1984)

Episode Transcript
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(00:00):
Hello and welcome to Camp Taikyuu Monster Movie Podcast.

(00:19):
We are your hosts, Vincent Hannum and Matt Levine, and we're talking about all of our
favorite monster movies, The Good, The Bad, and The Downright Campy, and asking if they
stand the test of time.
Traditional kaiju, creature features, space invaders, the supernatural, and everything
in between.
All strange beasts are welcome here.

(00:41):
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(01:02):
Links in the show notes.
Steven Spielberg presents Gremlins.
Billy Pelser has a nice home.
Billy, is that you?
Yeah, Mom, it's me.

(01:23):
A nice job.
A nice girl.
If you're not doing anything this Thursday night, maybe you'd like to go out on a date
with me?
I'd love to.
And loving parents who are about to give him.
You're gonna like this.
No, no, no, don't shake it.
We're gonna have to open it now.
It won't wait till Christmas.
The most unusual gift he ever got.

(01:46):
What is it?
It's your new pet.
Come on, Bonnie, be a good dog.
My dad gave it to me.
But there are a few things to keep in mind.
If you expose it to the light, you may hurt it.
If you get it wet, it will multiply.
All that from water?
They got wet?
Yeah, plain water.
And most important, no matter how much they beg, never, never let them eat after midnight.

(02:13):
Because when they do, they change.
They become clever, mischievous.
What's going on here?
And dangerous.
Prevalent, eh?

(02:34):
Little monsters.
Right.
Hundreds of them.
Well, I don't know, maybe thousands.
They've been here too.
Billy, what are these things?
Where do they come from?
Look, I know what they're doing.
They're going to kill us.
What are these things coming from?
Look, I know it sounds crazy, I know.
But in a few hours you're going to have a major disaster on your hands.

(02:58):
Grandmama's.
Directed by Joe Dante.
They'll be expecting you.
Matt.
How you doing?
I'm doing pretty well.
How are you, Vincent?
I'm good.
We are halfway through December now.
It is full-blown holiday season.

(03:20):
And we got a Christmas movie lined up for you all tonight.
Gremlins from 1984.
We do indeed. This is such a fun movie.
And you know, kind of like Die Hard is like a Christmas movie,
but it's also a great Christmas movie.
Sort of like A Nightmare Before Christmas is both a great Halloween and a good Christmas movie.

(03:41):
I feel the same way about Gremlins.
It's a good horror movie and a good holiday movie.
Totally. Very unique.
There's so much to this movie, y'all.
And listeners, I just got to prep you here for this episode.
There's so much to this movie, Gremlins,
that Matt and I could spend four hours talking about all the ins and outs of the production history,

(04:05):
the talent behind the camera, in front of the camera.
This movie is more than just like a classic.
It's... everything is available to do research on this movie.
Books, websites, if you have the DVD, I'm sure the bonus commentary tracks are just dying, overflowing with information.

(04:27):
So with that said, Matt and I will not attempt to go into all the nitty gritty.
We'll give you the production rundown.
We're going to talk about cast and crew.
But largely, we're going to talk about our takes on this film,
that talent involved with the production.
And just kind of take it easier tonight, talking about a great classic horror film.

(04:55):
Yeah, especially like I think almost everybody has seen Gremlins probably more than once.
Like it's such a well-known popular movie.
Like, you know, I'm sure everybody out there just wants us to like dive into the fun conversation.
Because like, you know, everybody knows about this movie, which is not a bad thing.
But we don't need to dwell on that stuff too much.
Totally.
But before we get into any of that, we got to thank you all for listening.

(05:19):
And we'll thank you even more if you please rate and review this podcast.
You can send us listener comments too at CampKaiju at gmail.com, our Facebook page, Instagram at Camp underscore Kaiju, our YouTube channel.
Or if you'd like to be a featured voice on the show, you can leave a voicemail at 612-470-2612.

(05:43):
And tell us about your favorite monster movies and memories.
You can check out our website, CampKaijuPodcast.com, for more reviews and special content.
Folks, we have a threadless store and all that can be found on our Patreon page,
patreon.com slash CampKaiju, where you can enjoy discounts on that merchandise.

(06:06):
You can get priority comments.
And if and when we do have live events again, you're going to be a VIP.
So why not check out the Patreon and join the ranks of Jason, Chris, Sean, Peggy, and our anonymous patron,
who really do a lot of good work for us in just supporting our love of monster movies.

(06:29):
OK, thank you patrons.
What's happened last time since last previously on Camp Kaiju?
Well, let's see. In our last episode, we talked about the movie we just talked about.
What did we just talk about?
Attack the Block. Yeah, that actually is the movie that was in my head.

(06:52):
And I was like, what did we just talk about?
Attack the Block is what we just talked about in our last episode, literally like half an hour ago for me and Vincent.
Can't believe I forgot that. So yeah, that was the last episode.
Coming out soon, we have our season five announcement episode, which is going to be a lot of fun.
Yeah, and joining us on that episode, y'all, our previous guest hosts from season four confirmed.

(07:17):
We have Frank Olson, Naomi Osborne, Patrick Kozaki, and Mike Swan.
Awesome. Yeah. And Peter Laurie also.
Well, hopefully. Fingers crossed. OK.
We don't know if he's still screaming or cackling downstairs.
I hope to see him there as unhinged as he might be.

(07:43):
OK. This is also December.
And this month in Monster Movie history, there are I went with a different angle to this.
There are some Christmas holiday themed movies that were released in December.
Krampus, Jack Frost, the family friendly one.
But there's a whole bunch that weren't released in December, and I thought we got to let's just like pick a pick some some movies to talk about that are Christmas themed or holiday themed.

(08:15):
For example, Santa Jaws from 2018.
Who's seen that movie? Please let us know if it's worth it.
Not me. I love that title, though. I assume you have not seen it either.
No, I haven't. Not yet. I'm fascinated. I love that title.

(08:36):
Yeah, that's that's probably the best title on this list.
You know, it's a good subgenre like Christmas themed monster movies, but I honestly can't think of too many.
Like we do have our list here. Krampus from 2015 is one of them, which is such a solid concept, but not a very good movie in my opinion.
You know, I mentioned it before, but I'll just shout out the Nightmare Before Christmas again, which I really love.

(09:01):
It looks great. I love the animation in that movie.
It's kind of a funny story because like my mom volunteers for a movie theater in West Bend, Wisconsin, and she just saw the Nightmare Before Christmas for the first time.
And she was like, I hated it. It's so gross.
They're like maggots and like, you don't know if it's a horror movie or a Christmas movie.
I was like, Mom, that's the best thing about it. Like, that's why it's so great.

(09:22):
So, you know, Deb Levine is in the minority, but that is an awesome movie.
I love a Nightmare Before Christmas.
Wow. That's yeah. I mean, I get it.
When I was a kid, it wasn't my favorite aesthetically because it's it's kind of weird and gross animation.
I appreciate it now more as an adult.

(09:43):
But but you know, yeah, it is a beloved classic.
And is it a Christmas movie or is it a Halloween movie?
That debate will wage on for the rest of eternity.
Like, I don't think we'll ever be able to decide, which is why I love it so much.
Yeah. All right. Well, in that vein, we have a new Christmas classic coming out on December 25th.

(10:13):
Robert Eggers knows for a two. Yeah, I'm excited.
I haven't loved all of his movies, but he's a great visual stylist.
And I think that'll be, you know, just like visually beautiful, if nothing else.
Agreed. Yeah, I feel like there's. Right.
Love him or hate him. I feel like he represents the type of auteur director that is or maybe never was that common.

(10:40):
But especially today in like this kind of mass produced Hollywood landscape,
he makes popular movies that are clearly his own style.
Yeah, totally. I mean, I really like The Witch a lot.
The Lighthouse is like so amazing looking, even if there's not a lot of substance beneath it, in my opinion.

(11:03):
But but yeah, I mean, like to your point, his you know, the Northman maybe is kind of like a derivative action epic.
But other than that, I think he makes like very unique, again, very innovative, stylish movies.
Yeah. And then another auteur, Guillermo del Toro, his Frankenstein adaptation is being released next year.

(11:27):
And there were some images just released, I think, through Variety.
But it's just starting the start in the hype train a little a little there for this new Frankenstein.
And, you know, del Toro, he's not he's going to stick closer.
He's more of a traditionalist than just trying to do something gimmicky with Frankenstein, which everyone has done.

(11:53):
Right. Frankenstein meets the space monster, whatever.
But he's going to stick to a more traditional telling, I feel like a Victorian setting.
So I cannot wait. Yeah, me too.
That's like the movie he was born to make.
Basically, I think the James Well Frankenstein, I think, is his favorite movie or like up there in his list of favorite movies.

(12:14):
So that should be a lot of fun.
It's a good reminder that I still haven't seen his version of Pinocchio that came out a couple of years ago either.
Oh, it's so good. I've heard good things.
I feel like there was Netflix backlash for me a little bit, and that's why I didn't see it.
But I definitely need to watch that at some point.
Mm hmm. Like that not only is it really rich story or retelling of the Pinocchio story,

(12:40):
but the animation in that is beautiful.
And I am not always a fan of like animated movies.
But but that movie made me appreciate the art of animation and what it can be.
So would recommend. Nice. Yeah, it's a good reminder.
I'll definitely see that soon.
One thing I wanted to mention before we get back to Gremlins, there are some holiday themed horror movies that I really do like,

(13:03):
like Silent Night, Deadly Night and Black Christmas, for example.
I really love both those movies, but they're kind of more slasher movies.
They're not really monster movies.
So I just wanted to throw that in there because there are some great Christmas horror movies aside from the ones that we already mentioned.
It's the most wonderful time of the year with the kids jingle bells.

(13:32):
Merry Christmas. Looks like Martha Stewart threw up in here.
This is delicious, honey. A little dry.
Well, mine's delicious. Mine's dry.
You want to trade?
It's Christmas. It's Christmas. It's Christmas.

(13:59):
How are we going to survive Christmas with 12 people stuck in a house with no heat and no electricity?
Or food.
There's plenty of leftovers, Howard.
Beer it is.
That's the weirdest thing. There's no cars, no people.
How long can this keep up?

(14:22):
We heard something on the roof.
What the hell is this?
St. Nicholas is not coming this year. Instead, a much darker ancient spirit.
Those are hooves. Elk or goat?
The kind of goat walks on its hind legs.

(14:45):
His name is Crampus. He and his helpers did not come to give, but to take.
I'm starting!
He is the shadow of St. Nicholas.

(15:15):
Welcome to an extraordinary world filled with magic and wonder.
Open your mind and let yourself go to a place where every day is Halloween and every night, Jack Skellington...
I am the pumpkin king!
...dreams of something different.

(15:37):
What is this? It's someplace new.
Jack, look out!
What's this? What's this? There's color everywhere. What's this?
There's white things in the air. What's this? I can't believe my eyes. I must be dreaming. Wake up, Jack!
What is this?

(15:59):
Haven't you heard of Peace on Earth and Goodwill, Bored Men?
Touchstone Pictures presents the enchanting story of two very special dreamers and the holiday spirit that brought them together.
From the imagination of Tim Burton comes the nightmare before Christmas.

(16:22):
And what did Santa bring you, honey?
I can't believe you would do this on Christmas Eve.
You're grounded.
What? Tomorrow is the Christmas Eve comic book party.
Well, you should have thought of that before.
I'd better off without it. Isn't that right, Santa Jaws?

(16:51):
Go, Jack!
That is not a shark! That is Santa Jaws!
I know her! I made her! That is her!

(17:24):
How, how, how, you son of a fish?
So, speaking of gremlins, the select crew on this film is led by director Joe Dante.
I think you and I are just the leaders of the Joe Dante fan club here.

(17:46):
Oh, yeah.
This man is directed... Let's just name as many as we can right now.
We'll go alternating order. I'll start.
Piranha, 1978.
The Howling, 1981.
Okay. I may not get all the years right.
Yeah, me either.
I did that to differentiate from other piranhas.
I gotcha, yeah.

(18:10):
Gremlins.
Gremlins 2, The New Batch.
The Twilight Zone.
Small Soldiers.
Oh, no.
He directed some other films in the late 80s that I haven't seen.

(18:32):
The only other one that I can think of is Matinee, which I think is from the early 90s.
That's a really good movie.
Yeah, I know he's done others, but now I can't think of them.
Well, I think we named the big ones.
Yeah, for sure.
The Howling is my favorite, and Gremlins is the movie he made right after The Howling.
He was really broke at the time.

(18:53):
I guess the production company that funded The Howling went out of business and didn't pay him.
He was really broke and thought that he was out of work as a director.
Then Steven Spielberg sent him the script for Gremlins and the rest is history.
Yeah, and he and Spielberg...
Well, okay, yeah, so Spielberg executive produced this film with Frank Marshall and Kathleen Kennedy.

(19:16):
Shout out Arachnophobia.
But Steven Spielberg had worked with Joe Dante on Twilight Zone, the movie,
because they were both directors in that anthology film.
And that was right after The Howling.
Or not right after, but that was right before Gremlins at any rate.
Yeah, Dante, last thing I'll say is he comes from the Roger Corman School of Filmmaking.

(19:39):
He's a monster kid.
You know a Joe Dante movie is going to have Dick Miller in the cast, just like Roger Corman.
And you know a Dante film is going to have so many callbacks and allusions to 50s monster science fiction films and other classic films.

(20:01):
And you see that in Gremlins.
Totally, yeah.
And I think there's usually an element of like a subversive theme or two,
like a little bit of like subtle political commentary in there with Joe Dante's movies.
I think definitely with Small Soldiers, Matt and A, The Howling a little bit you get that too.
Maybe not Piranha so much, but there's a little bit in there possibly.

(20:23):
So he's great. One of my favorite monster movie directors for sure.
Yeah, and you know if we're talking about directors with a clear visual style, Joe Dante makes the films that he envisions.
Like you can just tell this was what was in his brain and he made it a reality.
Yeah, totally.

(20:44):
Maybe this is getting a little too ahead of ourselves, but like Gremlins is so carefully made.
Like it was just like tracking shots that like last kind of a long time and like really show you the space that the film is set in.
Or you know like just kind of unusual camera angles,
like a huge close up of like that orange juice maker at the beginning of the movie where you're like,

(21:05):
why are we just looking at this orange juice maker right now?
It's just a pleasure to see a movie that is so thoughtfully made in comparison to some other movies where it's like,
just point the camera at the actors, you know?
Exactly, right, right.
Helping Joe Dante is that script written by Chris Columbus.
I forgot he wrote this movie and we didn't talk about our personal histories with the film.

(21:29):
You have a much more extensive history.
I had probably seen bits and pieces of this when I was a kid,
but I honestly hadn't seen it for the first time since you and I watched it together a couple of years ago.
So this movie is still relatively fresh to me.
So when I see Chris Columbus pop up, I'm like, oh, the guy who wrote or directed Home Alone.

(21:51):
Yep.
Yeah, that's awesome. Chris Columbus is good.
He's a very prolific screenwriter.
He is. Yeah. The Home Alone movies, like you said, I think Bicentennial Man, I think he directed that.
The first two Harry Potter movies, he directed those, which are all kind of like light family friendly movies.
And Gremlins is in some ways, but it's also like really scary and dark.

(22:15):
And I read that his original draft of the screenplay was way more violent.
Like the Gremlins killed the dog in his original draft of the screenplay.
And there's a scene where they like throw Billy's mom's severed head down the staircase.
It's like, Chris Columbus, how did you write this screenplay?
You would go on to make this like family friendly fluff, you know, like it's just kind of shocking to me.

(22:38):
And like, amazingly, that darkness was toned down for the final version, which is pretty incredible.
Yeah. Well, I read that he didn't even Columbus had never even.
He did not intend this film to be made.
He wrote the script as an exercise, but then Spielberg got his hands on it and said it was the most original thing he'd ever read.
He's not wrong there. And and and bought the rights to the script and put it into production.

(23:05):
I didn't know that it was just a writing exercise for Columbus. That's cool. Yeah. Wow.
Fascinating. I guess that makes sense that he would throw in some like weird, very dark off the wall stuff then.
Yeah. Some of which remains. But you're right.
It was a lot of it was removed from the final cut there, maybe for the better.

(23:29):
I think so. Like, I know one change was making Gizmo a good character throughout the entire movie,
whereas like in the original draft, he also was turned into like one of the horrible Gremlins.
And I think that was a good change. We need like a cute little fluffy, you know, protagonist to root for the whole time.
Exactly. Yeah. So a team effort on this film and it shines through.

(23:50):
The producer was Michael Fresnel. He worked with Dante on previous films.
They were close collaborators and music by Jerry Goldsmith, legendary film composer there.
Let's talk about the cast.
Real sorry. Real quick before we go on to that, can I just mention John Hora, who did the cinematography because it's beautiful in this movie.

(24:11):
Yeah. Gorgeous movie like the lighting, the sets.
It really it feels like a winter wonderland, but sort of like a nightmarish version of that.
And I know the cinematographer, John Hora, he he shot a bunch of other.
Well, he worked with Joe Dante a lot. Honey, I Shrunk the Kids. He shot that movie as well.
I won't go into his full filmography, but his his work on this movie is fantastic.

(24:34):
It looks great. Agreed. No, the film, the cinematography definitely elicits a feeling of nostalgia.
It's like actually it reminds me of a Christmas story, which is also from the early 80s.
It has that there's like a little glow to it. And yeah. And the snow and the lights at night.
It's almost like it's a wonderful life. For the 1980s.

(24:59):
Yeah, it's it's it's very intentional. Yeah, like shot in the studio back lot so they could like control everything very carefully.
It's just a great, great look in this movie. Totally. Yep.
Oh, my gosh. And I was thinking about the set of this film because I think it was shot on the on the back lot. Yeah.
And the snow, I was just thinking like, wow, if you're you're the producer, you're like Steven Spielberg, you're reading the script and you're like, OK.

(25:27):
This is there's snow. We have to truck in all this artificial snow and like the the set design and the production of that is.
That's awesome. That's like that's what we love about movies, right?
Like that's that's so much craft and literal craftsmen coming on and building this world.

(25:49):
It's awesome. Yeah. Yeah. It's movie magic. More like just vivid than real life can ever be.
Mm hmm. All right. Let's talk about the cast, because there are so many names, so many at the time famous names and then names who became famous after this movie.
Yes, we have Zach Galligan, relatively early role for him. He plays Billy Phoebe Cates, his kind of love interest, who was in Fast Times at Ridgemont High a couple of years earlier.

(26:20):
Love Phoebe Cates, you know, very, very beautiful, but also a great actress, of course, and just kind of radiant in this movie.
A man dwelling a little too much on Phoebe Cates. We all love Phoebe Cates and Ridgemont High. Yeah, indeed.
She's great here as well. And also in Gremlins to the new batch. Yeah. Big, big fan of hers. Who else was in Fast Times at Ridgemont High and Gremlins?

(26:50):
You know, I haven't seen Fast Times in a while. Are you referring to Judge Reinhold? I am. Mr. 1980s himself. I love Judge Reinhold because he's just he's so associated with me with the 80s like that.
He was in almost every blockbuster. It seemed like. Right. It did seem like it. Yeah. And he's perfect for the role that he plays in Gremlins because he's kind of this like yuppie who's only worried about making money basically.

(27:14):
Yeah. And that just fits his persona so well, you know. Mm hmm. Mm hmm. He's great. Yeah.
Hoyt Axton plays the father. I'm not too familiar with him, but he's got a great presence. He's got a great voice.
He's also the narrator in the beginning and the end of this film. Yeah. Great, lovable character actor there.

(27:37):
He was a songwriter, I think, as well. I read. Right. Yeah. Like a country western singer songwriter. I could see that. I can hear that.
Totally. You get that vibe from him in the movie for sure. The movie also has Dick Miller, who, like Vincent said, is in I think every single Joe Dante movie and is just like, you know, a beloved presence for fans of horror movies and sci-fi movies.

(28:02):
I think he was also in Mars Attacks and some other, you know, very well known sci-fi movies in the last 30 years. Yeah. He's one of those actors that you might know the name.
You might know his face even if you don't know his name because he's an incredibly prolific character actor, especially in sci-fi and horror films from the 50s.
I mean, he probably started earlier than the 50s, but definitely from the 50s through the rest of the 20th century. Yeah, he's great.

(28:31):
Totally. The moment where he and his wife are run over by a bulldozer or like a farm machine farm vehicle in this movie is great.
It's like iconic when the camera just like barrels at him, you know. Yep. Corey Feldman, another 80s icon who was supposed to be an ET, the extraterrestrial.
And then he was cut out of that. So Spielberg was like, all right, we'll put him in this movie instead.

(28:55):
He's a small role, but he's pretty fun. Yeah. And then you have a bunch of cameos by well known people as well like Spielberg, Jerry Goldsmith, even Chuck Jones, the legendary animator, has brief cameo.
Last but not least, Howie Mandel of what's that game show with the briefcases? Deal or No Deal? Yeah. Howie Mandel of Deal or No Deal fame voices Gizmo in Gremlins.

(29:23):
I had no idea that blew my mind. I think I did read that the last time I watched this movie, but I was surprised all over again to find that out after this rewatch.
By the way, I think this was like maybe the 12th time that I've seen this movie. Like, I don't know why I've seen it so much.
I know it's kind of like a classic around this time of year, but it's starting to get a little bit too much. I think maybe I'll take a break from Gremlins for a while after this.

(29:45):
Oh, that's fair. But it's so easy to watch. It moves at such an easy pace. He gets sucked into the characters and the dialogue and Gizmo is so cute.
And you're just waiting for it all to go down. And then it does. And it's a roller coaster. It's fun. Yeah.

(30:06):
But it's like but that's the that's the Spielberg touch. That's the Marshall Kennedy touch. Yeah, like they just knew the formula for creating.
These movies that have become.
Part of our childhoods, part of the culture, like even if you've never seen Gremlins, if you are shown a picture of Gizmo, you just know what that is.

(30:33):
Yeah. Yeah, absolutely. Like even some things like Phoebe Cates sort of disturbing speech about what happened to her dad on Christmas.
Maybe we'll talk more about that. But like so many people know about that scene that haven't even seen this movie.
You know, it's pretty impressive. Yeah. Well, speaking of that infamous speech, Phoebe Cates gives about her father getting into the production a little bit.

(30:59):
That was a an element of darkness that Joe Dante fought to keep in the script.
Even Spielberg wanted to cut that moment out.
And I got to be honest, it does seem to come out of nowhere. And it is kind of like a tonal 180.

(31:20):
I mean, like. I'm glad it's in there, I guess, but I understand the reason for removing it, because just like structurally.
Why are we going into this dark place right now? Yeah, it like it simultaneously seems like it comes out of nowhere, and it also like perfectly sums up the movie, you know, which is like seems like this bright, happy holiday movie on the surface.

(31:46):
But so much is about like sadness and violence at this time of year, like even before that speech, Phoebe Cates.
I wish I remembered her character's name. I'll just call her Phoebe Cates. That's all right.
She she and Billy are walking down the sidewalk and she's like, oh, everybody or so many people are sad around this time of year.
Like suicide rates always climb around Christmas.

(32:08):
Like it just as many people open their wrists as open their presence is like another line of dialogue in this movie.
Like, yeah, like definitely the speech about her father dressed as Santa Claus, breaking his neck while trying to go down the chimney is like the most shocking example of that.
But I do think the whole movie in general is trying to be like, you know, Christmas might seem like this fun, happy thing on the surface, but it's a bleak time for so many people, you know.

(32:33):
You know, that's so real. You mentioned that.
I'm going to say it's a mention. It's a wonderful life again, because what do you know, Joe Dante features that movie within Gremlins.
But that is also a bleak movie where the main character attempts to kill himself at the holiday time.
So in that, I guess, when thinking about it that way, Chris Columbus, his script is right in line with that whole thing.

(33:01):
Yeah, totally. And I, you know, I think it's a wonderful life.
You know, of course we have this ending where like Jimmy Stewart realizes the value of life and like how much things would change if he weren't if he weren't around anymore.
So like you do have that kind of uplifting ending about like the value of family and like togetherness and joy around the holidays.
I don't know if Gremlins even has that, though, you know, like there's there's kind of a happy ending, but it's like there's not any real message about like the value of Christmas or anything like that, you know.

(33:32):
Yep. Yep. It's so God, this movie's so weird and unique.
And that's what makes it so effective and why we love it so much, because it's just like, what was that 90 minutes of of mayhem with lovable characters?
And then, yeah, at the end, you're you're what are you left with? I have no answer.

(33:57):
Yeah, yeah, it's it's tough. I mean, again, we'll talk more about that.
But I don't know, thematically, this movie is a little bit muddled, but it's really fascinating at the same time, I think.
Maybe it's like a Looney Tunes. Yeah. Yeah, I think it is.
But I do think there are some ideas on its mind, too. You know, I totally. Yeah, but you're right.

(34:18):
I mean, it's that Looney Tunes, anarchy mayhem vibe for sure. Yeah, which I love. Yes.
This movie 1984 was a big year.
Matt, you were born that year. Yeah, I need.
But other movies released Ghostbusters was released the same weekend as Gremlins.

(34:44):
Beverly Hills Cop, I think, came out that summer.
Indiana Jones, Temple of Doom, maybe Temple of Doom. Yep. Yep. Yep.
On that subject, I hope I'm not getting too far ahead of ourselves.
But Gremlins and Temple of Doom were basically the two movies that brought about the PG-13 rating because parents were so upset that both movies were so violent, even though they're kind of marketed as kids movies.

(35:08):
So, you know, like the industry was like, all right, like we need something between a PG and an R for like a movie as violent and weird as Gremlins, but like not deserving of an R rating, you know, and Temple of Doom as well.
Totally. I want to show Gremlins to my kid as soon as possible, but I have to be aware, conscious of the of the violence that's in this movie.

(35:32):
Yeah. And there are some frightening images, too. Yeah, for sure.
I mean, the whole like kitchen scene where Billy's mom defeats several Gremlins in like very gruesome ways is very it's gory.
It's yeah, there's blood and guts all over the place. Like it's yeah. But, you know, as a kid, you love movies like that where you're like, I can't believe I'm getting away with watching this, you know.

(35:55):
So I think that's another reason we love this movie so much.
Even when Gizmo first gets wet and Gizmo's back is bubbling up before the other Gremlins pop out.
Like that's weird and disturbing. Like this poor little creature who you love is is is mutating. Yeah, like a really painful way.

(36:18):
Yeah, Gizmo is streaking in pain and you have no idea what's going on. And then like that's relatively tame compared to what comes afterwards.
That's kind of like, you know, one of the first moments where you're like, oh, what are what are we in for? What's going to happen here?
No. Oh, man. So upon release, the film met mixed reviews.
Common critiques were for the violence like we talked about in an ostensible children's film.

(36:45):
However, there were plenty of critics who who praised the imagination of the film and the anarchy.
And financially, this was one of Brother's most successful film until 1989's Batman. So it was a huge deal.
There's, you know, like every other movie in the 80s, there was a toy line.

(37:07):
There was there was merchandising out the butt and it all just created this this massive success of a film.
Yeah. And there were a bunch of imitations throughout the 80s like ghoulies, troll and hobgoblins.
And then, of course, in 1990, you have the sequel, Gremlins 2, The New Batch.
And Warner Brothers, I think, had been trying to get Joe Dante to do a sequel for years and he kept on refusing.

(37:31):
And finally, when they gave him like full creative control, he came back for the sequel, which I hope we talk about at some point on the podcast, because that movie is nuts. I love it.
I'd love to, because I honestly haven't seen it.
I think I like it a little more than the first one. They're very different movies.
So, you know, maybe in our next season, stay tuned to find out.

(37:54):
All right. I love it.
And folks, just as a reminder, when Matt and I reveal our picks for season five, we have not discussed these with each other off camera.
So they will be as much a surprise for us as for you. Can't wait.
Indeed.
Camp Kaiju is that's a great segue. Camp Kaiju is sponsored by Zach Linder and the Zach Pack, powered by Coldwell Bank for Realty, your source for real estate, home rehab, fixing and flipping for investor clients and residential buyers.

(38:25):
Reach out to the Zach Pack today for real estate services.
Follow the Zach Pack on social media and contact the Zach Pack for investment opportunities.
We do have a comment I want to read for Menia's mailbox, which is brought to you by Patreon.com slash Camp Kaiju, where for as little as five dollars a month, you, oh you, can have your comments read first.

(38:53):
So why not make yourself feel important and support the show and tell us what you think about it.
We have a comment from Verissa Millitude Films on our YouTube and Verissa Millitude Films says about Godzilla minus one.
He clarified he had to ask, you know, how is it Oscar bait if it already won an Oscar?

(39:19):
I think there was just some clarifying clarifying that we had to do and I was like, hey, no problem.
Thanks for bringing that to our attention.
If anything, it was it was the movie was made before the awards ceremony with maybe the intention of winning that Oscar.
Then he says, gotcha.
And this is where we kind of came together.

(39:40):
He said it should have been nominated for more, but they missed the deadline for the Oscars.
The filmmakers didn't even consider to submit it to the Academy, to which I said, yeah, they probably weren't making this for the Oscars.
Yeah, true. Yeah, I think in that episode, I was more talking about how it feels like kind of a prestige movie that is like meant to garner Oscars.

(40:04):
Like even if that wasn't the specific intention with Godzilla minus one of like has the kind of like prestigious and maybe sometimes sentimental air of a movie like that is the point that I was trying to make.
But yeah, I don't think that winning Oscars was like the main priority of the filmmakers.
No, but well deserved, nonetheless, if you're into that type of thing.

(40:30):
Yeah, I I used to be obsessed with the Oscars.
And then I stopped being obsessed with it when I realized how political it is, like, as in.
You know, who do you know and the best movies don't always win and it's you know, it can.
I was disillusioned. Yeah, I think like a lot of movie fans, I love to hate the Oscars.

(40:56):
You know what I mean? Like they the nominations often annoy me and like the movies that I want to win very rarely do.
And yet I usually watch them and I have like the actors and like the crew people that I'm rooting for.
So, you know, I mean, like, yeah, I love to hate the Oscars.
Yeah. But thank you, our listeners on YouTube for some Millitude films.

(41:18):
We appreciate you write in some more and we'll we'll get you on the show.
All right. This is our last segment for Silent But Deadly with Peter Laurie.
He's going to talk about the 1925 dinosaur movie The Lost World. Classic.
Yeah. Early Willis O'Brien really cutting his teeth there in prep for King Kong six years later.

(41:47):
Yeah. What what did Peter think about The Lost World?
I guess we'll have to listen and find out. Yeah, I have actually never spoken to Peter Laurie.
It's Pierre the rat who sends us messages. I haven't seen that little guy in a while.
Still don't know what's happening down there.
Hopefully everything's OK. Let's just not go down there and assume that everything is fine.

(42:11):
But maybe we'll see Mr. Laurie at the holiday party and we hope to have you all tune into that as well.
It's going to be a good time.
Before Karloff and Lugosi stalked the screens, the movies were no less monstrous.
These frightful figures lurked in the expressionistic shadows and and dance in the macabre moonlight.

(42:39):
They laughed and cried. They fooled the sensibilities of honest, decent folk.
In the age of silent pictures, these gruesome ghouls nonetheless cried out for the savage humanity
that took the breath from all who witnessed their devilish delights.
But in the silence, no one can hear you scream.

(43:05):
And no one can hear my pleas for help.
Matthew and Vincent will be hosting the happy hour next week, but without my Pierre to ferry messages back and forth,
I am afraid I will be left out of the festivities. Ah rats, in more ways than one.
Well, I take comfort knowing that this is my last segment of Silent But Deadly.

(43:28):
I am sorry, long time impassioned listeners.
At times it has been a pleasure to bring you silent monster movies, but if we're being honest,
I could use the kind of sleep that one may only find in Terminal Dreamland.
Therefore, without further ado, I bring you this week's picture, The Lost World, from 1925 and produced by First National Pictures.

(43:56):
It is based on the novel by Sir Arthur Conan Doyle and is noted for being the first feature film
in which Willis O'Brien usualised his groundbreaking stop motion animation.
And while crude by King Kong standards, the effects are nonetheless captivating
in bringing the dinosaurs to life. Those dinosaurs are discovered within a jungle high in Peru.

(44:22):
An expedition is set out to discover the truth behind rumours of prehistoric animals living in a land that time has forgotten.
Tyrannodons, Allosaurus, Triceratops, Brontosaurus, and even an ape man missing Link
are all featured in O'Brien's world of adventure and terror.
The most memorable feature of the movie is the climax where a Brontosaurus has been brought back to New York City and breaks its cage.

(44:51):
The dinosaur rampage of Doricity will soon become a hallmark of giant monster movies and Kaiju.
The Lost World received critical acclaim upon its release.
It was screened for Sir Conan Doyle and on that note, I conclude Silent But Deadly.

(45:14):
Now take me, gods of the underworld, take me now, please, God.
Hmm, allow me to consult my contract.
Section two in the writer on page A, section seven B.

(45:37):
Oh, what is this? What is this paper that has fallen from the contract?
It bears the seal of Camp Kaiju. It is a personal note from Matthew and Vincent, dated October 2024.
My goodness, it reads, Dear Mr. Lorry, after considering how rude we were to subject you,

(46:00):
the legend of the cinema, to indentured servitude with nothing to eat but a bucket of fish heads,
we would like to say you are free to return to the afterlife whenever you are ready.
We hope you forgive us. We are not worthy of your talents.
Stay campy, Matthew Kolevine and Vincent Hannum.

(46:21):
Oh, my goodness gracious, what? Ladies and gentlemen, this is both very exciting and extremely upsetting.
For I am both released of this torment and simultaneously filled with appreciation for podcasting.
Yes, I am ready now for my journey to the grave. Oh, what a wonderful new skill set I have gained.

(46:47):
Perhaps after my rest I may return yet again. You hear me, movie fans, I may return yet again.
One cold night, science and evil collide.
Oh, yeah. Now a serial killer is on the loose.

(47:23):
We hadn't even tested the acid on an amoeba, let alone a human cell. This is a disaster.
Look, I just saw something that doesn't belong in this world and it's out there killing my friends.
Now tell me what it is. Jack Frost.
I think Jack's about to make an entrance.

(47:46):
And he's giving cold-blooded a whole new meaning.
Hey, Jack, what? You left the 710 split.
Hell has just frozen over.

(48:16):
Blow me.
Jack Frost.
Look, Ma, I'm a Picasso.
Remember the last time we told you not to feed them after midnight?

(48:43):
We told you to keep them away from the light.
And the most important warning of all, we told you to never, ever get them wet.
You didn't listen.

(49:05):
They're mutating.
Sir, is the building on fire?
No, no, that's a false alarm.
Are you trying to panic New York City?
Absolutely not.
So the monsters are real?
I didn't say that.

(49:29):
Dremelands 2.
The new batch.
Now was that civilized?
No, clearly not.
Fun, but in no sense, civilized.
Yeah, I think there's lots of this movie, actually.

(49:50):
I guess to expound a little bit on the sadness around the holidays thing, I think that comes through in some subtle ways.
The Dick Miller character, it's briefly mentioned that he hasn't been the same since he lost his job.
And then we see him and his wife in their house.
He's wearing sweatpants and seems a little bit depressed.
I feel like there's a little bit of just about economic disparity, which in the early 80s would have been a huge theme in the United States.

(50:17):
The Regineers and the middle class was shrinking and the upper class and lower class were getting further and further apart.
I think even in the small town of Kingston Falls, we see that a little bit between Mrs. Deagle or Miss Deagle or whatever,
the villain of the movie who's this kind of Ebenezer Scrooge-like character.
I think it's humorous and it's kind of whimsical, but also the movie speaks to that a little bit.

(50:43):
I think like economic anxiety and precariousness.
So I think that's definitely in Gremlins a little bit.
Yeah, no, I don't think the Dick Miller character represents the film as a whole.
But his character, again, I think he's a World War II vet.

(51:04):
He's the one who's talking about Gremlins and the machines, which brief history lesson.
Gremlins as just like a term for technology on the Fritz.
So like during World War II, if your engine stalled in a plane or something, Gremlins became shorthand for just like technical failure.

(51:27):
There must be Gremlins in the machine.
Speaking of animation, there's a Bugs Bunny, Chuck Jones, Looney Tune,
where Bugs Bunny is in a battle of wits with a little green Gremlin during the war.
So there have been Gremlins.
But Joe Dante said actually he's on record saying that like during the making of this film, he's like,

(51:51):
my Gremlins are not the Gremlins you're used to.
That is true. That is definitely true.
I mean, we talked about God told me to episode the The Twilight Zone episode of Nightmare at 20,000 feet or Terror at 20,000 feet.
That features a Gremlin. Looks very different from Dante's.

(52:13):
Yeah, they're, you know, their own creatures in this movie for sure.
And I, you know, Chris Wallace is a puppet design, mostly puppets.
I think there was, you know, some other stuff in there, too, but, you know, deserves a lot of credit.
It's a unique design for the Gremlins in this movie.
Totally got a lot of positives to say there.
But what I want to say about the Dick Miller character, he's talking about Gremlins and machines.

(52:36):
He's talking about these foreign machines, because like his tractor, he's proud it's Kentucky made, it's made in the USA.
So I feel like there's just there is a thread of not anti-foreigner,
but just like a sense of things are better when they're made in the United States.
We live in a new world where we're getting products and influences from overseas that are a detriment to homegrown technology and culture.

(53:07):
We see this also in the the Gremlins themselves personify this as as creatures of destruction that come from a Chinese store.
I don't think that's Dante's intent on saying that, but I think you can still pick up on it.
Yeah, that's why I feel like the themes in this movie are muddled, but really interesting.

(53:30):
You know, we still kind of have that slightly xenophobic rhetoric to this day.
Like we see that with like I won't I won't get too political, but like, you know, tariffs with Canada and Mexico and like the kind of anxiety around what's locally made or what's exported from other countries.
Like that's that still happens to this day. So it's like definitely still a relevant theme.

(53:51):
And you know, in Gremlins, it's I've seen this movie so many times and I still am not totally sure if it's like a criticism of that kind of like small town community, you know, close mindedness or if it's like an example of it, you know what I mean?
Because like at the end of the movie, you know, the Chinese shopkeeper comes and gets Gizmo back and sort of says to Billy's family, like you're not ready for this.

(54:18):
You don't know what to do with this. And I think there's like an element of like you stupid Americans like you like, you know, you look at everything that happened when I give you like one mogwai and like everything goes to hell, you know.
So so I guess in a nutshell, I'm just trying to say like I felt like Gremlins is both like a satire of like xenophobia and like small town ignorance. It's both an example and a criticism of that, you know.

(54:42):
100% is it is muddled, it is complicated, and ultimately, I think satire is the word. Yeah, it's not it's not Godzilla minus one here. If it is muddled, it can be it can be forgiven a little bit because the comedy and the satire just overrides everything else.

(55:06):
Absolutely. Yeah, yeah, I don't I don't think it's necessarily a bad thing in this movie. It gives you something to think about, you know. Yeah, yeah, I read I read I read commentary about the anti sorry the yeah the anti technology of the film, which is is keeping in line with some of what we're talking about, like these cheap foreign products flooding our markets, but also like Billy's dad is an inventor of really terrible inventions.

(55:35):
And just like the type of mass consumerist products that people buy as stocking stuffers, I don't know. I just think about like all the junk I've accumulated over the years that were Christmas presents.
It's like, cool, I got this this little pocket watch that's also a knife that's also a toothbrush that's also it's like, why do I need this? Yeah, I know what you mean. Like, and then you know this other gift that's like, like I think it's like a

(55:58):
living being like goes awry as terribly as possible. So like, you know, I guess I don't really know what the if there's a theme or if there's a point to that, but it's like, you know, the technological products are like disposable. But then like this alternative probably isn't all that great either. So yeah, you know, maybe it's kind of like an anti gift theme in general, but I don't know if that's true.
I'm just for with a different kind of movie. I feel like the theme would be like the true meaning of Christmas is like spending time with family and like, you know, joy and all that stuff. But that's not the theme of this movie. It's too sort of like mischievous for that, you know? Yeah, if anything, I think it's like, I think it's like a theme of Christmas.

(56:29):
I'm just for with a different kind of movie. I feel like the theme would be like the true meaning of Christmas is like spending time with family and like, you know, joy and all that stuff. But that's not the theme of this movie. It's too sort of like mischievous for that, you know? Yeah, if anything, this movie is just, again, abiding satire of consumerism. I think that's there. Yeah, as personified by the mayhem of these Remlins.

(56:57):
The mogwai. And it's just.
It's it's cynical. It's dark. It's satirical.
It's just, yeah, a takedown of, like you said, the American capitalist, consumerist, disposable, ultimately mindset.

(57:19):
Yeah, which is why an experience like a movie, I feel like it's the best Christmas present, you know, like, you know, like I've seen Gremlin so many times and it's just like, it's always so entertaining and like beautiful and amusing and funny and scary. And like, that's that's the kind of gifts I want. You know what I mean?
I agree.
There was one other thing that I wanted to bring up. This is actually a long speech in the movie Dear White People by Justin Simeon, where the argument is basically made that the Gremlins in this movie are meant to represent African Americans.

(57:51):
Like in this in a stereotypical sense, like, you know, they the destruction they cause, the kind of some of the stereotypes that we've seen throughout American media for many, many years, they're kind of recycled and like the Gremlins in this movie.
I don't know how seriously Dear White People the movie means that argument. I don't know if it actually is saying it seriously about Gremlins, but it is kind of sort of like, you know, the Dick Miller character is like this xenophobic guy who's distrustful of foreigners.

(58:22):
I think there's also this kind of like, you know, sneaky subtext in the movie that like maybe the mostly white residents of the small town are also uneasy about all these like trouble making literally dark creatures that like come out after night and like cause crime, cause mayhem, cause, you know, like, I think like it's bad as satirical from Dante's part, I think, where it's like anxiety among small town people of this like bad element coming in, you know?

(58:51):
Yeah. Element coming from New York City, the big bad city. Yeah, exactly. And it's Chinese. Right. Uh oh. Yeah, there's, I mean, a lot, a lot going on here, you know, but it's kind of like disguised by like humor and like fantasy and all that, obviously.

(59:12):
So totally, which again, I think is the overriding sentiment of the film. Yeah. Yeah. It's it's almost interesting to pull apart like these very serious themes in this movie. They are there. I'm not discrediting, discrediting our conversation at all. But to a certain extent, I'm like, it's just it's Gremlins. It's what it is.

(59:36):
Yeah. And that's why I love Dante. It's like he has ideas, but mostly he wants to entertain and he's like, he loves monster movies. He's like part of that legacy for sure. Absolutely. Yeah.
There's so much that's good about it. I mean, no surprise there from our conversation. I just think like it has like really sly, interesting themes, even if they're a little bit muddled sometimes. It looks fantastic. The lighting in this movie is gorgeous. It's funny. It's scary. I yeah, I mean, there's there's a lot that I love about it. It's it's all the things I love about Joe Dante, basically, in a nutshell. Is this Dante's crown jewel?

(01:00:15):
The Howling is my favorite Joe Dante movie, but this might be in a well, I also like Gremlins 2 a little bit better than this one, but it's in my top five. For such a good director, I feel like that's pretty good compliment, you know? Yeah. With more than five notable credits, I would say. Right. Yeah.
I love how wonderfully over the top this movie is, especially in the beginning, like with the Mrs. Dekel character. She is she is Scrooge. She is the wicked witch of the West. She is so evil. She talks about killing the dog.

(01:00:51):
Yeah, I'm like, who are you? What? You're terrible. But like that sets the tone immediately. Like this movie is going to be over the top. I love in movies that feature inventors and their inventions, like Honey, I Shrunk the Kids or something. I love the idea that somebody like a prop designer invented fake inventions. Yeah.

(01:01:18):
There's just something like something meta about that.
Designing them intentionally to be like non-functioning and pretty cheap, you know? Exactly. Yeah.
What a fun job. Oh, and I think the animatronics are incredible. I think the way the the Mugwai, especially Gizmo just come to life.

(01:01:41):
It's it's really believable, believable for me. The puppetry, the animatronics and so detailed, too, because this creature is so small.
But the lips move in addition to everything else. And you're like, wow, this this fake thing has an incredible amount of personality given to it by the by the design.

(01:02:03):
Absolutely. I read that like every puppet costs, I think, upwards of twenty thousand dollars because they were so complex and they had like some animatronics for some of them.
And like there are so many gremlins in this movie.
Like the security was really tight to make sure nobody went home with any of the gremlin puppets, which is understandable.
But you're totally right. It's extremely impressive.
And I think the scene where the gremlins are in the bar that Phoebe Cates works at and like all kinds of mayhem is going on, like there's one gremlin like drinking beer right out of the tap.

(01:02:34):
There's another one wearing like aerobics workout gear for some reason.
That scene is nuts. And like just the amount of imagination and humor and like really good puppetry that goes into it may be the best scene in the movie.
But it's hard to choose just one. Yeah.
A, this well, I'll save that for my my final assessment. What does not work for you in this movie?

(01:02:56):
Well, I guess kind of echoing some of the things I already said, like it is kind of hard to know.
Like, you know, I do think it's satire like Joe Dante, you know, has made so many so many satirical movies that do have elements of social and political commentary.
I could have used like a little bit more in gremlins just to make it clear what the theme is, because like, you know, like I said before, it's a little bit muddled and we don't I don't totally know how to feel about the Dick Miller character who like doesn't seem to be a great guy in some ways, but like still has a lot of sympathy.

(01:03:28):
And it's like some of those themes are a little bit muddled. That might be it for the bad category for me.
Like, I really like this movie a lot and I feel like, you know, the tone is all over the place, but I feel like on a scene by scene basis, those tones are handled really well, you know.
Agreed. Yeah, certainly not enough for me to for it to detract from my pleasure watching this movie.

(01:03:50):
Maybe it seems obvious. I'm just going to bring up like the whole mystical Chinese. Yeah.
Aspect. It's it's extremely it's such a trope that we see in a lot of movies, especially in the 80s.
That even if it's like.
Fairly harmless in this film.

(01:04:13):
It's still like, I don't know.
Chinese people are never depicted as just people. They're always depicted as mystics with Chinese dragons and and and glass eyes.
And what what what would have been over the top is if this was in an opium den.
Thankfully, that did not happen. That would be racist. Yeah, that would be bad.

(01:04:41):
Yeah, it's like the big trouble in Little China syndrome or whatever, you know, like there are a lot of examples from the 80s, like you said, where it's like, you know, John Carpenter in that case and Joe Dante and this one.
Like, I think they just thought it was like fun Saturday matinee type of representation.
I get that. Like you said, that's not to excuse it. It's definitely it does not age very well at all.

(01:05:02):
But like, I feel like maybe they just like didn't really think about the context of that kind of representation, you know.
No, and they didn't at the time in our very white centric media landscape, which only now we're diversifying our stories that we're telling and the and the actors used in to play these parts.
So, yeah, right. In a twenty twenty four lens, it does not look great. Be that as it may.

(01:05:29):
I also don't read a lot of criticisms for that. That's just like what I picked up on.
No, it's it's totally valid. Absolutely. Yeah.
You know, I do want to mention that last scene one more time, though, because like, you know, the the Chinese shopkeeper comes to the Peltzer's house.
I think that's their last name. And he basically says like, you weren't ready for this.

(01:05:50):
You did not know how to handle this thing, you know, and like, I feel like there is an element of like, you know, you just thought this was a fun toy.
You thought it was a product. And look at what happened.
Like, I feel like maybe there is a dash of satire of like, you know, again, these dumb Americans who kind of just want to get a Christmas gift don't understand like the power and the responsibility of that.

(01:06:11):
You know, that does not absolve the representation of the Chinese characters in this movie.
And it actually kind of I think proves my point a little bit that I just wish those themes were a little bit clearer because I don't always know what to think about them in this movie.
Right. Yeah, yeah, yeah. Yeah.
That's all I have. Lots of campy moments. The whole movie is over the top and ridiculous.

(01:06:34):
The Missus Deagle character, there is a moment at the bank. It's still early. You're still getting to know the characters.
And Billy's at the bank. It's the first time we meet Mrs. Deagle.
And she talks about really, really wickedly like putting the dog in the spin dryer.
And that'll do it. And there's this old man standing next to her at the bank counter.

(01:07:00):
And he just looks at her and goes, yeah, that'll do it.
He just concurs with her. I'm like, yeah, it's a bizarre moment.
Have you thought about this, sir? Right.
Yeah, I don't know what to think about that response. So bizarre.

(01:07:24):
Like there's like right before that, there's a moment where Miss Deagle is walking down the sidewalk.
And there's an old man who's like, oh, it's a beautiful morning, isn't it, Miss Deagle?
And she's like, what's beautiful about it? And the guy's response is also really campy where he like covers his mouth and sort of like backs up in horror.
You know, there's a lot of that kind of thing, especially at the beginning of this movie where I think you said this before.

(01:07:45):
But like it's preparing us for how over the top it's going to be. You know? Yeah.
I'm sure. Yeah. I mean, like the whole thing is campy.
I really love the part where like like any time the mogwai's get covered in water, like in the swimming pool or in the fountain at the end or like with like Justin Billy's bedroom towards the beginning.
It's a great kind of campy horror movie moment that almost might have been in like a 1930s monster movie where like, you know, there's a close up of like this thing writhing in pain.

(01:08:14):
It's just like the lighting is like really extreme and kind of like bizarre.
It's it's like a good horror camp where it's like, you know, again, very over the top.
It's probably my favorite example of that in the movie. It's just a great monster movie. Yeah. Yeah.
And I think your Looney Tunes comparison is totally apt.
Like all of it is at that level of just like, you know, all out mayhem. It's so entertaining. It's a ride. Yeah.

(01:08:42):
Well, let's rate this movie. Let's do it.
Should I go through our ratings? Please do. All right.
So our top rating, as always on Camp Kaiju is it's a timeless classic. It definitely stands the test of time.
Our next rating, there may be some antiquated moments, but overall, it's great. It stands the test of time.
Number three, it may be historically significant or just fun, but it does not stand the test of time.

(01:09:06):
And our lowest rating, it is not worth revisiting and definitely does not stand the test of time.
You can go. OK, whatever you prefer.
I do love this movie, but I think I have to go with there may be some antiquated moments, but overall, it's great and stand the test of time.

(01:09:28):
I this is kind of like the definition of that rating because there are a lot of antiquated moments, particularly in the representation of the Chinese shopkeeper.
And some of these themes where it's like, what are you trying to get at?
Joe Dante and Chris Columbus and like everybody involved like, you know, I do love this movie, but I can't love it unreservedly.

(01:09:50):
So I'll have to give it our second rating. OK. All right. Wow.
I'm going to one up you and I'm going to say it is a timeless classic and it stands the test of time, I think.
Maybe it's because I've only seen it only a couple of times, but I'm still really taken in by the sheer audacity of this movie.

(01:10:12):
You there's really nothing else like it and you think there would be, but there's not.
And again, the level of special effects in this movie are unparalleled.
If it was done today, here go knocking CGI again.
But like it would be a CGI mess. Yeah.
And it just wouldn't have the same cute factor either.

(01:10:35):
So this movie just works on so many levels for me.
And it is good. It is.
I honestly I'd probably give it like three and a half if I could instead of three. You know, like I really do love this movie.
I think part of it is that I have seen it a lot, like more than a dozen times now, probably.
And I also think the sequel is a little bit weirder, has more pointed commentary.

(01:11:03):
So, yeah, maybe unfairly. I just love the second one more.
So maybe I'm like downplaying my love for this one. I do love it, though. I do love Grandlands.
Hey, I'm not I'm not saying you don't.
I'm you know, I got to stick up for a little bit because by my reservations, this is just an awesome, awesome movie.
Yeah. Yeah, it really is. Maybe the best Christmas monster movie out there.

(01:11:29):
That I haven't seen Santa Jaws yet. Good point. Yeah.
We'll have to revisit that that, you know, that claim down the road.
Yeah. Well, everybody, if you enjoyed Gremlins as much as I do, please let us know.
Rate and review Camp Kaiju wherever you listen to your podcasts.
You can also share this podcast with a friend. Send us listener comments at CampKaiju at gmail.com, our Facebook page, YouTube or Instagram.

(01:11:57):
All those links are in the show notes.
If you'd like to be a featured voice on the show, leave a voicemail 612-470-2612.
Tell us about your thoughts on Gremlins. Tell us about other monster movies you love, things you'd like to hear us talk about on the show.
You can check out our website, CampKaijuPodcast.com for more information.
Camp Kaiju is recorded in Minneapolis, St. Paul with the mailbox music by Ben Cook-Felts.

(01:12:22):
Thank you, friends. And until next time, stay campy.
Camp Kaiju is sponsored by Zach Linder and the Zach Pack, powered by Coldwell Banker Realty, your source for real estate, home rehab, fixing and flipping for investor clients and residential buyers.
Reach out to Zach Pack today for real estate services.
Follow the Zach Pack on social media and contact the Zach Pack for investment opportunities.

(01:12:45):
This is what's left of my imported barbarian snowman. Your dog broke it this morning.
Oh, I'm terribly sorry. Just tell me how much I owe you. I'll be more than happy to...
I don't want money.

(01:13:08):
I want your dog.
Barney?
Give him to me. I'll take him to the kennel. They'll put him to sleep. It'll be quick and painless compared to what I could do to him.
What could you do?

(01:13:29):
I'll catch the beast myself.
Then you'll get what he deserves. A slow, painful death.
Maybe I'll put him in my spin dryer on high heat.
That'll do it all right.
It's the most wonderful time of the year.

(01:13:55):
Yeah, it's ironic you say like doing something fresh when it's taking place, you know, 70, 80 years ago at this point.
And I bet my dad would like this movie. He's not a sci-fi nerd like me, but he does like a good World War II drama.

(01:14:19):
And this is a great World War II drama.
100%. I so agree. It's such a good World War II drama.
There's love, there's family, there's just so much into it.
And you could be appreciated and accessed on so many levels.
I think that's really cool and just very surprised. Not surprising, but I really appreciate that about it. It's just so cool. It has a lot of heart.

(01:14:48):
What else do you guys want to know about the man or the panel or what we talked about?
Did he talk at all about the next Godzilla movie that he's working on?
Not really. I could tell he was being a little cagey about it.
But yeah, people definitely wanted to know, but he was sort of just not really getting into that that much.

(01:15:12):
That makes sense. Yeah.
Yeah, yeah, we're hoping. We're hoping.
Oh, he talked a lot about how he never really expected to win an Academy Award for it.
I mean, he was kind of optimistic, but didn't want to jinx it.
And he had sort of scribbled the outline of an acceptance speech, but didn't put too much into it.

(01:15:33):
And when he got called up there, he felt a little bit unprepared, but he had a good sense of humor about it, which I thought was nice.
He just was extremely humble and really, really cool.
I remember when those guys accepted the Oscar at the ceremony, some of them were holding Godzilla action figures up there on the stage even.

(01:15:54):
Yeah. They all. And did you see the Godzilla shoes that they had on?
Yes. Yeah, they're so epic.
Yeah, he said that he feels that most of the photos from that night are of the shoes and not really the people that worked on the film.
He was happy about it. He thought it was great and funny.
Yeah, he's like those kind of made a lot of the selection for what photos they would show in the press and so forth as those shoes, which I thought was funny.

(01:16:24):
Nerds.
Yes, I'm nerds.

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