Eastside Theatre Guild - Freejack

 Join us as we embark on a wild ride through the cult classic "Freejack," featuring dual rockstars Mick Jagger and David Johansen. We unravel the film's weak plot of time travel and body snatching, buoyed only slightly by Jagger's acting choices. 

Episode Transcript

Speaker 1 (00:06):
Alex Furlong is about to die and enter the year 2009.
Where immortality is only aheartbeat away.

Speaker 2 (00:22):
Where money can buy anything.
Shouldn't you consider analternative, buddy Sorry to
deceive you Including lifeitself?
Why me?
Why don't they just grabsomebody who's alive now?

Speaker 1 (00:39):
Take a look at these people, Alex.
They've lived half their liveswith no ozone layer.

Speaker 2 (00:46):
Tell me who's behind all this.
I'm sorry I can't tell you that.

Speaker 1 (00:56):
You were with Alex, don't you remember me?

Speaker 2 (00:58):
He died, Jewel.
Someone paid to bring him back.
I watched you die.

Speaker 1 (01:11):
Welcome to my mind.
Don't resist, lose your mindand you can live forever.
Freejack, you can live forever,oh boy oh boy indeed.

(02:04):
Another one in our series.
This is interesting.

Speaker 2 (02:08):
That's right.
This is another in the seriesof the podcast Dispatch Ages
which you're listening to rightnow, which it has hosted by
myself, jake, and my better thanever co-host, skip.

Speaker 1 (02:21):
If this is better than ever, I don't want to go on
anymore.
There's really no hope for thefuture.
Yes, am skip.

Speaker 2 (02:28):
Jake is my lower half yeah, yeah, I'm the dingley
bits as they would.

Speaker 1 (02:34):
Might be giants would say I'm the ghibli nethers.

Speaker 2 (02:37):
As they, as they are.
You're definitely the brains ofthis one so this is the latest
in our series of Rackstars inMovies.

Speaker 1 (02:46):
From Eastside Theater Guild, specifically our sub
show.
Well, we actually have several.
We've got Retro Rewind, we'vegot this, it's true.
I mean we've got some out there, yeah.

Speaker 2 (02:57):
Although the main episodes, the Dom episodes as
they were, the tops.

Speaker 1 (03:03):
Well, it's not necessarily top, and bottom.
You're saying there's somebodyin the middle, there's no
judgment there, you know thesandwich episodes.
Where it's.
Isai Morales is in the middle.

Speaker 2 (03:15):
Speaking of which, yeah, okay, all right, clear
your minds.
Imagine this A young man diesin a fire crash, but he did not
die.
No, he was body snatched into afuture much different from his
own, a future where time, spaceand death have been conquered
and commoditized.

Speaker 1 (03:36):
Where life is cheap.
What Commodified right?
Maybe commoditized, I don'tcare, keep going Did.

Speaker 2 (03:45):
I make no commoditize , I don't care, keep going.

Speaker 1 (03:48):
Did I make?
No, commoditize, yeah, sureyeah, go for it.

Speaker 2 (03:51):
Should I start that up again?

Speaker 1 (03:53):
No, this is all in baby, here we go.
Okay, yeah, great, here we go.

Speaker 2 (03:56):
Commoditize when life is cheap and unending if you
can afford it.
He's adrift and on the run fromthose who have jacked him from
the past to be used as fodder tolive on.
He must find his way in a newsociety, ideally aided by
friends who just turn theirbacks on him, clamoring for the
price on his head, trying torecapture the assistance and

(04:22):
admiration, the woman he lovedonly yesterday, but for her it
was yesteryear.
He struggles but finds himselfat the climax, on top of the
world, against its richest man,in a race against time and a
test of wills for his very soul.
This, my friends, is theskeleton of Free Jack.

Speaker 1 (04:38):
Hanging in my closet currently.

Speaker 2 (04:41):
This also points to the fact that decent bones do a
good body not make, are you?

Speaker 1 (04:45):
sure we're not talking about the movie Tomorrow
War.
Is that not the one we weresupposed to watch?

Speaker 2 (04:50):
Uh, ooh, ooh, no, no, In fact.
Which would you say is betterTomorrow, War or Free Jack?

Speaker 1 (04:57):
Oh, free Jack, I think I'd say Free Jack, I'd say
Free Jack.
Yeah, at least it's got somecool performances and stuff in
it.
Tomorrow War is kind of anothing movie.

Speaker 2 (05:04):
It's truly you guys jumping into a CGI void to fight
CGI monsters in a CGI future.

Speaker 1 (05:15):
This one's actually got some interesting stunts and
car chases and sets.
None of it makes any sense, butI mean like they've got some
stuff going on.
They have some stuff.
Indeed.
Tomorrow Wars is a drag anddrop in front of a green screen
concept movie and it's like well, ok.

Speaker 2 (05:27):
Yeah, and I think we're talking about this film
mainly for two reasons Not thatit stars one of the poor Chris's
, but that it does star a rockstar of the highest order, the
lead singer of the RollingStones, mick.

Speaker 1 (05:40):
Jagger that's right as the villain, just as in
Runaway, which starred, ofcourse, gene Simmons from Kiss,
gene Tongue and Simmons, tongueand Simmons.
Now I would like to point outand I know we haven't gotten too
far into it, but I would liketo point out, we're underselling
it a little bit, because thereare two rock stars in this movie

(06:01):
.
Oh, that's right, mick Jaggerand Davidid johansson true, true
dexter poindexter from the newyork dolls and of scrooged fame.
My favorite christmas movie ofall time waterfalls frankie
angel when he saw his mother.
One of the greatestperformances in any especially

(06:26):
Christmas movie, 100%.

Speaker 2 (06:28):
That's what I thought of him was growing up as a kid,
and then it was like, oh, hesings too.
That's weird.

Speaker 1 (06:34):
I remember him from it's Getting Hot, Hot, Hot.

Speaker 2 (06:38):
No.

Speaker 1 (06:40):
It was one of the biggest hits in the world.

Speaker 2 (06:42):
From 1982.
The song was used as thewalk-on music for Rob Cross when
he won the 2018 PDC World DartsChampionship.

Speaker 1 (06:50):
Oh man, that's how you know.
You've made it, Mama, Papa,guess what it?

Speaker 2 (06:56):
was the 1986 FIFA World Cup.
It was the theme song for then,but it was done by
Montserratian.

Speaker 1 (07:03):
Oh, so they covered it.
Yeah, it's a cover.
Oh, so they covered it?

Speaker 2 (07:05):
Yeah, it's a cover.
Oh, that's really sad, no no,buster Poindexter covered Hot,
hot, hot by.

Speaker 1 (07:12):
Montserratian musician All right Arrow All
right Wait, Montserratianmusician.

Speaker 2 (07:17):
Where are they from if you're Montserratian?

Speaker 1 (07:19):
That's a good question.

Speaker 2 (07:21):
The British Montserrat, the British Overseas
Territ?
Question uh, the britishmontserrat, the british overseas
territory, what does that?

Speaker 1 (07:28):
mean british overseas territories, that's in the
caribbean, yeah, like like inamerica.
That would be like saint croixor those protectorates that we
have that aren't officiallystates montserrat is a
mountainous caribbean islandpart of the lesser antilles
chain.
Interesting okay part of thelesser antilles chain letter,
that which do not respond to thehouse.

Speaker 2 (07:45):
Am I gonna get that hundred dollars?

Speaker 1 (07:47):
or not die well, it's one or the other right, we
would get to jayva johansson I'mjust saying this one is unique
because it has two rock stars init, actual rock stars but I
would say that mick jagger's thelead horse in this particular
race here 100 yeah we did pick asci-fi movie again, again with
rock stars in the foci.

Speaker 2 (08:07):
I'd also say another thing about this film is what I
would call concepts of ideas.
What could have been reallycool if it was not derailed,
deleted or defeated.

Speaker 1 (08:20):
Okay, okay, oh so you gave some quantifiers Okay,
qualifiers Okay, okay, oh.
So you gave some quantifiersOkay, qualifiers yeah.

Speaker 2 (08:25):
This could have been a film that made one think,
flowing from a novel about asociety that had conquered death
but cheapened life in theprocess, bringing intellectual
query and spiritual undertakingto task, instead of insert chase
scene and gunfire here.
Now.
This was a feature born fromRon Shusett and Dan O'Bannon,
who were working on we CanRemember it For you Wholesale

(08:47):
Total Recall.
At the time, this was the 1970s, but they didn't really see it
as a viable option then, soinstead they wrote this little
film Not sure if you've heard ofit, it's called Alien, it's
okay.
In the 80s, though, theyreturned and made Total Recall
together, but in the interveningyears, shusett had acquired the
rights to Immortality Inc.

(09:09):
Now, immortality Inc was a novel.
It's about Thomas Blaine, whodies in 1958 and wakes up in
2110.
As a publicity stunt for acompany, his consciousness had
been taken from the time of hisdeath then and transported into
the future, into a new body.
Now, at this time, death hasbecome a commodity, science has

(09:29):
figured out time travel and thatthe afterlife is real.
There's ghostly phenomenon allaround, and bodies have just
become fodder for the wealthy.
They live in guarded high risesand hunt the poor for sport.
High rises and hunt the poorfor sport.
Life is so crushingly awfulthat things like suicide booths
are commonplace in the street.

(09:50):
In fact, in the novel the maincharacter, he, gets into a line
and it isn't until he gets up tothe booth and he realizes
people are just getting in todie that he realizes what it is
and it gets out.
This was something that's beenparodied a few times, most
notably in Futurama Futurama.
Now, while working on TotalRecall, shusett was developing
the script, he decided to takeout Thomas Blaine and put in a

(10:13):
new short protagonist, that ofAlex Furlong, a race car driver,
made it a shorter time shift ofonly 18 years and took out all
that whole afterlife sciencestuff and put in more action.
This was sold to Morgan CreekProduction Company who at the
time were working on theirbiggest feature to date, robin

(10:33):
Hood, prince of Thieves.
Oh boy, and Morgan Creek likedthis and they wanted Bruce
Willis to be the star, but hewas too busy and passed.
The film was searching for botha star and a director.
Here.
The New Zealand director JeffMurphy at the time was making
Young Guns 2 for Morgan Creek.

Speaker 1 (10:52):
Ah, the second best of those movies.

Speaker 2 (10:55):
I don't know.
I'd say it's more fun than thefirst, but I have a soft spot
for both Young Guns.

Speaker 1 (11:00):
It's also not as good as the first one.

Speaker 2 (11:02):
No, probably not, but it's not bad.

Speaker 1 (11:07):
Well, they're both kind of bad.

Speaker 2 (11:11):
Yeah, yeah.
At the time he was the biggestfilmmaking export to Hollywood.
As he was searching for biggeravenues to tell his stories.
Supposedly he almost was pickedto direct Predator around this
time Now, while the executiveswere focused entirely on Robin
Hood, murphy was given freereign on Young Guns 2, made a
plunge of script rewrites and hemade it a success.

(11:32):
It made more money than I think, the first one.
From the success of that he wasoffered Immortality Inc.
He read the script but saw someproblems.
He said none of thethought-provoking material from
the book was in the script.
Now he didn't want to make astraight sci-fi action film,
while the studio wantedsomething a little more
Schwarzenegger-y type actionvehicle that they could really

(11:54):
bank on.

Speaker 1 (11:55):
Which they wouldn't have gone for if it were for
Predator being successful.

Speaker 2 (11:59):
Yeah or Total Recall.

Speaker 1 (12:01):
Right.

Speaker 2 (12:01):
You know, or all of these other things.
That's right, conan, whatnot?

Speaker 1 (12:04):
That was a weird period in time in which at least
the genre of movies that wouldhave normally been overlooked
for these action stars becauseof the success of things like
Predator Now those are the go-togenres for these action stars,
which is bizarre.
But hey, we got some good stuffout of it, yeah it was a product

(12:26):
at the time and you get somegems from that kind of thing to
the extent where the success ofpredator killed other movies
that were going to happen aroundthe same time, which eventually
led to sort of like a dominoeffect of getting to I come in
peace, because there was anotherI'm hunting an alien cop buddy

(12:48):
type movie.
Predator came out.
They thought it was too closeand so they different studios
sort of adapted the premise ofusing an alien in these days to
compete with predator, killingoff some of those ones that were
at least parallel thought orcompetitors with predator.
Yeah, fan the flames for some,but extinguish the the fires 100
and unfortunately that's whyone of the reasons that dolph

(13:10):
hunger never quite got his bigmovie because there were movies
that he was attached to thatactually were just too close to
predator.
That got canceled and he nevergot his big break well, I think.

Speaker 2 (13:22):
Also part of that, I think, is that he was that next
generation of action superstaras the studios were winding down
from the free reign they had inthe early to mid 80s.
By that point you have stufflike canon starting to go under.
These big budgets are gettingshifted to other things and
they're giving less money, lesseffort, less directorial

(13:45):
oversight.
I think Jean-Claude Van Damme,steven Seagal, to an extent some
of the Chuck Norris stuff,dolph Lundgren, brandon Lee they
got what could have been givenmoney and time, but the studio
system had kind of contracted toa point where a lot of those
are less time and effort.
Money is given to some of thoseand they're going like straight

(14:06):
to video or they just don't getthe hype.
They never got the presence ofa stallone or a schwarzenegger.

Speaker 1 (14:14):
It was a different landscape for the action stars
at that point right because,like in between predator in this
you get robocop which totallyworks on its own thing but also
is a complete outlier to allthat kind of stuff and
successful.
But then also, if you can justdo that with Commando, you don't
have to do the sci-fi stuff andall the big budget stuff.
You can just make movies likeMixing in Action and Commando or

(14:37):
Die Hard sequels, instead ofdoing the fun stuff that they
did with Action Stars in thisvery brief period of time where
they were all sci-fi and fantasy.

Speaker 2 (14:46):
Yeah, they wanted a Schwarzenegger type film.
Murphy, the director, worriedthat it would be too dumbed down
, kind of like how we WillRemember, for Wholesale was
slimmed down into Total Recall.
He told the studio he didn'twant an Arnie-esque adventure
and wanted more of an everymanthat the audience could identify
with, which the studioresponded positively with,

(15:08):
because they had already giventhe offer for the role to Emilio
Estevez.
Now Murphy had already workedwith them they had a good
relationship on Young Guns 2, sohe was cool with that.
Murphy asked to rewrite thescript along with Steven
Pressfield, who was anuncredited Total Recall writer,
and the studio agreed to thoserewrites.
Now Murphy wanted to bring someof the more thoughtful elements

(15:30):
from the book back into thisscreenplay, along with some
social satire, but the execshated it, despite having already
agreed to let Murphy changethings.
Jim Robinson, who at this timewas the chairman and CEO of
Morgan Creek, then got involvedhere Now.
Apparently part of the time wasthe chairman and CEO of Morgan
Creek then got involved here Now.
Apparently, part of theagreement between the studio and
the director was that there areelements in the script that
could not be changed, eventhough allowing for changes and

(15:54):
rewrites was part of the dealwith the director Murphy to come
on in the first place.
So he rewrote stuff, gave it tothem.
They're just like no, we can'tchange that and we're not going
to change that.
And he's like, no, we can'tchange that and we're not going
to change that and he's like heythis is part of the deal to
bring me on.
They're like so we don't care,film what you had Interesting.
Now Murphy considered legalaction to get out of the
contract at this point.
But his lawyer to like even ifhe won, he probably would have

(16:17):
an injunction placed on him bythe studio which would keep him
out of work for like probablyover a year and he probably
would have a bad reputation notbeing easy to work with.
That's if he won the case.
If he had lost the case, he'dstill have those things and he'd
owe a ton of money to thestudio.
So he's like I guess I'll justgo ahead and make the movie.
What could go wrong?

(16:37):
Now Stuart Oaken was brought inas line producer and Joe Alves
as set designer and Murphybutted heads with both.
Unfortunately for Murphy, thestudio sided with those two over
Murphy on almost every decisionFor the film.
There's a lot of car designsand Murphy wanted more of a
Blade Runner or Mad Max-y lookto them.

(16:59):
But Alves ixnayed that and cameup with his own designs that
cost, like, I guess, half amillion to make, and Murphy
described them as laughable.
But that's what we see in thefilm.

Speaker 1 (17:10):
They are laughable.
I'm literally watching it rightnow the first car chasing where
he steals the champagne truck.
I see where they think they'regoing, but without the rest of
this world looking like this, itmakes no sense whatsoever.

Speaker 2 (17:25):
It totally doesn't fit within the rest of the rest
of this world.
Looking like this it makes nosense whatsoever, it totally
doesn't fit within the rest ofthe scope of the film.

Speaker 1 (17:27):
No, they're obviously just a bunch of fiberglass
bodies put on top of go-karts.
Yeah, and they look like weirdteardrop, pseudo-train things A
lot of them are supposed to looklike 30s and 40s era cars,
which is fine, especially sincethe PT Cruiser isn't too far off
, but at the same time theydon't seem to fit here this

(17:48):
setting at all.
At least with RoboCopeverything just kind of looked
like a 1997 Ford Taurus and youbought it.
You know, like you bought thatthey belonged in that world.
Or even with Tim Burton inBatman 89, all those cars at
least existed in that world, andso you don't bat an eye when
they have vintage cars.
But this.
They're cars that are made tolook futuristic by looking

(18:11):
vintage but then also arecontemporary, and it really
throws everything off prettybadly.
It sticks out like a sore thumb.

Speaker 2 (18:19):
Yeah, yeah, and they're cars we'll talk about a
little more later.
So, along with some of theproducing people he was working
with and the set designer andsome of the special effects
people, he also didn't jive withthe cinematographer and the
casting director.
Oh good, that was great, butthat's what he had to work with,
so he pushed on.
They started casting.
Linda Fiorentino was originallyhired mostly because she was

(18:43):
able to pull off both beingyounger and older with the right
clothing and makeup designwhich was essential for the
script.
Yeah, and she had good chemistrywith Amelia Westepas.
The studio wanted AnthonyHopkins, so he signed on.

Speaker 1 (19:01):
That's all you need to know about that, because he
will sign on to anything as longas the paycheck is right.

Speaker 2 (19:06):
So the reason he did it was that the filming would
give him something to do whilehe was in the United States for
the Oscars, because the Signs ofthe Lambs is about to come out
and they were banking on thatbeing big and him being there
for the awards.

Speaker 1 (19:20):
And they were right.

Speaker 2 (19:21):
So he's like I'll sign up because he only had to
do two weeks of shooting oh,when they were right.
So he's like I'll sign upbecause he only had to do two
weeks of shooting.
Oh, he didn't really care.
Oh no, he said that ininterviews and whatnot.

Speaker 1 (19:28):
He still does roles like that.

Speaker 2 (19:30):
I think this is more kind of like ah yeah, no, I
haven't really done sci-fi, I'lldo that whatever.

Speaker 1 (19:34):
Yeah, it's true.

Speaker 2 (19:38):
He wasn't a big star back then.

Speaker 1 (19:39):
Yet, yeah, insurance salesman and david roche ned
ryerson needle nose ned ned thehead no, that's not vincent
chabelli no, no, no, I know, Iknow, it's just the thing made
you think of that character oh,the insurance salesman.

Speaker 2 (19:52):
But okay, sorry, I was thinking like, oh, that's a
different, no, no no bald-headedguy but it is, yes, you're
right talking about typecasting,jesus christ yeah, david roche
was also brought on, apparentlySledgehammer, which was a
complete failure in America.

Speaker 1 (20:08):
Oh, you're talking about the television show
Sledgehammer.

Speaker 2 (20:10):
The television show Sledgehammer.

Speaker 1 (20:11):
Love that show.

Speaker 2 (20:12):
Of course I want us to do a retroactive rewind about
that show.
It was a failure in the US butit was a huge hit in New Zealand
and Murphy was a big fan of hisAll right For the antagonist
chaser role.
They wanted someone like youknow who could be menacing but
kind of verbose, and it was kindof sexy and cool but a little

(20:33):
off-putting.
Willem Dafoe was originallyconsidered.
Oh hell, yes, he was brought into talk to the studio execs but
he was passed over when MickJagger became available.

Speaker 1 (20:44):
Jesus Christ.

Speaker 2 (20:45):
Jagger then was sent to meet Murphy and he said he'd
always wanted to be in a sciencefiction film.
So he signed on and theyrewrote the character a bit,
because originally the characterwas much more dour and
straight-faced.
They wanted to be a little morelikable antagonist, someone who
could play off of MilaRestovets in the film.

Speaker 1 (21:06):
And I have to say, having watched it a couple of
times recently now, so manyother characters in this are so
dour and play it straight sohard that this movie would
probably be a really bottombarrel sci-fi schlog if it
weren't for the even tiniestthings that we get from Mick
Jagger.
Yeah.

Speaker 2 (21:24):
And we'll get into a little bit of how the tone's all
over the place, yeah, and a lotof it doesn't really fit
together.
We'll get to that.
Yeah, that'll come up.
So two weeks into filming, thedirector had been sending us a
few dailies and they saw themand hated them.

Speaker 1 (21:39):
Yeah.

Speaker 2 (21:40):
They blamed all of the issues on Linda Fiorentino
and wanted her axed.
Now it's not great to replace amain character.
It's both really expensive anda pain Back to the future.
So the studio flew in ReneRusso, the former model.
But Murphy met with her anddidn't really find her right for
the role.
But Morgan Creek had alreadymade it up in their mind and it

(22:02):
wasn't really for him to decide.
They were just saying, hey, wehave to show these people before
they're in the film as part ofthe agreement.
But they're already signed up,so she's going to be the role.

Speaker 1 (22:12):
It's going to happen, yeah.

Speaker 2 (22:13):
Apparently, when asked about the change, the CEO
Robinson claimed that LindaFiorentino quote didn't give him
a hard-on.

Speaker 1 (22:20):
Wow.

Speaker 2 (22:26):
They also— but Rene Rosso did Okay.
I guess Sometime around thistime they also fired David Roche
for unknown reasons.

Speaker 1 (22:30):
Well, you know.

Speaker 2 (22:31):
They then had to reshoot a bunch of scenes after
production had wrapped up.
The producers didn't want anyof the in-camera effects that
Murphy had come up with fordoing some of the sci-fi stuff.
Instead, they wanted thecutting edge computer CGI
garbage that they didn't quiteunderstand or have the ability
to use at this point in timeBecause, again, this is 1991

(22:54):
they're making this.

Speaker 1 (22:55):
The more things change, the more they stay the
same right.

Speaker 2 (22:57):
Yeah, this filming had taken 11 weeks and the
budget had ballooned to $36million, up another like four or
five from what had originallybeen put at.
After filming wrapped up,murphy took a few weeks off and
then he came back with theeditor to put together a cut of
the film.
They watched it and it wasawful.
Oh no shit, everything was offand all over the place.

(23:17):
So they recut and rejiggeredagain and again After 10 weeks.
Per Directors Guild of Americarules, they had to show the film
, no matter the state, to thestudio.
The studio took the film,didn't even look at it, sent it
straight to a screening audience, which ended up being a total

(23:37):
flop.
Three weeks worth of reshootswere called for, but when the
director asked which scenes orfor how long, or how do you know
it's going to cost this amountof money, the studio couldn't
say they're just going to do itanyway.
So the studio brought Shusettback and had 15 rewritten or
retooled scenes to shoot.
Almost every one of thosescenes was an action piece.

(23:59):
And when the director saw thishe's like no, I can't do this,
I'm standing my ground, theseare unfilmable.
He took these problems to oneof the producers and the
producer surprisingly agreedwith them.
But then the CEO, robinson,stepped in.
Now, at the time he thought themusic was the issue.
Mark Isham was doing the musicand Robinson called him up and

(24:24):
said we need 20 minutes ofadditional rock music in here.
It's going to be hip and cooland it's what's really going to
make the film work.
Isham then asked the directorhey, what's this about?
The director knew nothing aboutit and he also didn't think it
would fit, but they had to goalong with it anyway.
So Isham put together the scorethe way Robinson wanted and

(24:45):
added the 20 minutes of music.

Speaker 1 (24:49):
But when?

Speaker 2 (24:49):
Robinson heard it, he hated it and he canned him, oh
good.
Brought in some other people todo the music and bought some
music from the Scorpions andsome other bands Definitely what
the film needed.

Speaker 1 (24:59):
It's just Scorpions, by the way.

Speaker 2 (25:02):
Now, at this point, Murphy, the director, again
asked to be fired.

Speaker 1 (25:06):
Yeah, well.

Speaker 2 (25:08):
He was like just fire me.

Speaker 1 (25:09):
Alan Smithy can do the rest of it.

Speaker 2 (25:11):
So that he could not be sued for breach of contract.
They would not do that.
Murphy returned to shoot newscenes that were written by
another new writer, dan Gilroy.
Now Gilroy added more humor tothe scenes.
They took those scenes and madea new cut that ran 95 minutes
long.
Robinson again the CEO, hatedit.
He decided hell with this, I'lldo it myself.

Speaker 1 (25:33):
Oh God.

Speaker 2 (25:34):
Even though the film was scheduled to be sent off to
the negative cutters in just afew days and Robinson wasn't an
editor.

Speaker 1 (25:40):
Oh, my God.

Speaker 2 (25:41):
That didn't matter.
So he then brought in threedifferent sets of editors,
different teams, set them all upin different studios and would
have them work on differentparts of the film and he would
travel from suite to suite andgive his say.
This beefed the runtime up nowto 110 minutes.
Admittedly he had watched thefinal edit after he had worked
these things and just sent itoff to the negative cutters to

(26:03):
then be put together and sent tothe theaters.
Now, at this point Murphy hadasked for possessory credit.
This is kind of like wheneveryou see, like a Spike Lee joint
or this is a Richard Linklaterfilm, that's a special credit
that they have to negotiate intheir contracts and go through
like a lot of legal wrangling toget that put in.

(26:23):
Sure, murphy asked to have thatremoved.
He also thought of completelydivorcing himself from the film
and going the Alan Smithy route.

Speaker 1 (26:31):
There you go.
For those of you who don't know, alan Smithy, it's the alias
that, because I don't thinkwe've ever actually addressed
what that is, I think we havebut go ahead.

Speaker 2 (26:41):
Did we actually talk?

Speaker 1 (26:42):
about that.
It's the alias that directorsuse when they don't want their
names actually put on the film.

Speaker 2 (26:46):
Yeah, when they're completely divorced from the
film they don't want to be knownfor it at all.
It then is now directed by AlanSmithy or there are other
pseudonyms, so they aren't apart of the film.
But to do that it is a legalhassle and he thought it wasn't
worth going through those hoops.
But the cinematographer who hehad had problems working with in
the first place, amir Mokri,did go that route and he is an

(27:10):
uncredited part of theproduction.
So it was really supposed tocome out in the fall but was
delayed until January 17th 1992.
It premiered number four in thebox office and had a
precipitous drop ever after that.
It was a complete flop.
No doubt had a precipitous dropever after that.
It was a complete flop.
No doubt the director was thenslighted by both the cast and

(27:31):
the crew, even though it'sdebatable how much they knew
about the inner workings ofproduction and how much he had
to deal with.
He was given smaller gigs afterthat but never really given
another chance in Hollywood.
He later returned to NewZealand to do some small things,
but when a big production cameover, some people saw the value
in his work.
That's why Peter Jackson hiredhim, the second unit director

(27:54):
for all of the Lord of the Ringstrilogy which he did work on.

Speaker 1 (27:56):
Oh, nice Good for him .

Speaker 2 (27:58):
Yeah, it was good.
Unfortunately, again, he neverreally had his say.
To really do much after that,and he did pass away in 2018.
To really do much after that,and he did pass away in 2018.
But that's some of the you know.
A lot of people just blame himfor the issues, for it kind of
being a bit of a mess.
So a lot of people don't see alot of the issues that he tried
to make a different film, butthis is what he got shoved into.

(28:21):
This is how it came out.
As you can see, that's not thebest way to make a film, but
maybe we should cover a bit ofthe film.
Yeah, so you kind of see whatthese issues are.
Mm-hmm.
So we start with smokysaxophone credits and computer
beep-boop-boop-bop-noisedcredits pop up.

Speaker 1 (28:40):
All of those saxophone things will come back
later too, by the way.

Speaker 2 (28:44):
Oh, the saxophone is not going away.

Speaker 1 (28:46):
Oh no, it comes back.
Both diegetic and non-diegetic,it's in there.

Speaker 2 (28:51):
Yeah, so there's a crosscut of the Jack crew
mobilizing to the spot andpresent day, emilio Estevez, or
Alex, as he will be referred tonow, alex Furlong.

Speaker 1 (29:03):
Not Eddie Furlong, but Alex Furlong.

Speaker 2 (29:04):
Not Eddie Furlong.
Also, we've talked about FreeJack.
Yeah was like what does freejack mean?
I always thought, okay, sothey're jacking him from the
past to put him into a new bodyand then he escapes.

Speaker 1 (29:17):
So he's a free jack you're thinking of the cyberpunk
, johnny newman jacking into the?
What have yous?

Speaker 2 (29:23):
I mean I guess that's kind of where they were taking
it from right, just even thegeneral impression.

Speaker 1 (29:28):
Yeah, you and I both.
When they opened this up youhaven't, especially if you
haven't seen it.
It's kind of the vibe you get.

Speaker 2 (29:33):
Yeah, but when I was looking it up, free Jack also
comes from the revolutionary wartimes.
A free Jack to the freedom, onefrom the union Jack during the
American.
It can also refer to adissident and every person who
works for the common good or isa symbol of revolution, defiance
and liberty.

Speaker 1 (29:49):
Well, that actually makes way more sense now that
you think about it.

Speaker 2 (29:52):
In some parts of the South and Caribbean freejack was
a term for an ex-slave or aperson of mixed race heritage.
So if you combine all three ofthose it kind of makes a bit
more sense.

Speaker 1 (30:02):
It does actually make some semblance of sense Without
that context you're like what?
Especially when they starttalking about bonejackers and
things like that.
Yes, yeah.

Speaker 2 (30:11):
What so?
We meet Alex here.
He seems kind of like a big kid, and he and his girlfriend,
renee Russo.

Speaker 1 (30:19):
He isn't nervous about the race at all, he's an
F1 driver, it's a weird way toput that he wasn't nervous about
the race at all.
Also, he's an F1 driver.
Okay, yeah, so let's start out.
He was an F1 driver.
He is a race car driver, firstand foremost.
It's true.

Speaker 2 (30:33):
It's true, and he has an upcoming race and he's not
nervous at all, even though hisgirlfriend is.
He does this funny joke which Ithought was really a part of
the time really sets it in aplace and he talks about oh,
what's your big electronictypewriter thing?
Because he doesn't really knowwhat a computer is.

Speaker 1 (30:51):
Right.

Speaker 2 (30:51):
Because this is 1991 and it's newfangled.
What he also asks for Renee,which I should give the
character's name of JulieRedland, to quote nibble his ear
for luck.

Speaker 1 (31:05):
Kind of creepy, but every couple has their thing.
In the first half of this, thismovie, she's essentially
playing the same character sheplays in major league.
Well, I mean like they'retogether.
But you know she's sort of thenovice intellectual who doesn't
really get the race car drivingthing and everything, but she
supports her at this point,husband, well, just boyfriend,
or girlfriend?
They weren't married that'sright, their boyfriend.

Speaker 2 (31:24):
Yeah, he's a good partner.
Yeah, seemingly smarter andbetter educated and maybe has a
real job.

Speaker 1 (31:30):
Exactly yeah.

Speaker 2 (31:31):
Driving isn't a quote , real job.
But let's be honest.

Speaker 1 (31:34):
Compared to what she ends up doing.

Speaker 2 (31:36):
We're also introduced to David Johansson as Brad his
agent, essentially trying tohelp him score some deals with
investors and advertisers.
We're cross-cutting again withthe time space jacking crew
headed up I mean, it's notheaded up by Mick Jagger, victor
of Ascendac.

Speaker 1 (31:57):
The Sendac.

Speaker 2 (31:58):
Yeah, which you're just going to get the Sendac a
lot in this film.

Speaker 1 (32:01):
You do, and I always feel like, if you rearrange
those letters, maybe that meanssomething.
It just feels like there's moreto that, because where do you
come up with that?
Out of whole cloth.

Speaker 2 (32:09):
Yeah, it also doesn't come off the tongue very well,
no, and you hear a lot of peoplenot necessarily struggling with
it, but it just doesn't fit.

Speaker 1 (32:16):
No, and they never use his first name.

Speaker 2 (32:19):
No, no, it's just a Sendak after that.
Yeah.

Speaker 1 (32:22):
It is an awkward name , yeah.

Speaker 2 (32:23):
But you get some shots of the gear they're using.
Looks kind of interesting, butalso ridiculously dated.

Speaker 1 (32:29):
Yeah.

Speaker 2 (32:29):
Because it's early 90s.

Speaker 1 (32:31):
I'm sorry, but a Mylar surgical outfit would be
the most.
Can you imagine trying to workin a Mylar suit?
There's a reason that they usethose for emergency blankets for
people who are freezing.
You'd be a baked potato, I mean.
You're just like boiling fromthe inside the entire time,
especially since they use lasersand Bone jacking's so cold, you

(32:54):
know.
Oh, it's cold as ice, my friend.

Speaker 2 (32:56):
It's Ryan Bosworth over here.
It sure is.
Now they're Jacker-techy.
You look like you're supposedto be like Solid Snake.
Am I talking about?

Speaker 1 (33:02):
Isai Morales yes.
Isai Morales, yes.

Speaker 2 (33:04):
Isai Morales' character who is named Ripper
Awesome.
I was like oh man, this guy,this guy's cool.
There are a few characterssprinkled throughout this film
where it's like oh man, can thisguy have a backstory movie,
right, because I feel likethere's something going on.
Yeah, he's got glasses, butpart of it's blacked out.

Speaker 1 (33:23):
But also when he doesn't wear the glasses,
doesn't wear an eye patch.

Speaker 2 (33:27):
Yeah, I don't.

Speaker 1 (33:27):
I don't know, I don't get it.

Speaker 2 (33:28):
He's got scars and he's got this weird bad cop,
good cop, buddy thing with theSendak and he's the tech guy.

Speaker 1 (33:37):
But yeah, maybe he has something else going on,
kind of yeah, yes, 100%.
And watching it again, I'drather he just be the villain
and cut out vasendak.
Well, he's got more to himcutting out other things,
beefing them both up okay, Imean sure you can do that too,
but I'm just saying like, thisis what you have.
Vasendak is a nothing characterwith no backstory and nothing
you care about.

Speaker 2 (33:57):
This guy at least seems interesting and he's got
the eye patch now in the, in thenovel, apparently there is a
definite undercurrent of therich versus the poor right
social unrest.
You know I mean the rich versusthe poor Right Social unrest,
you know I mean they literallyhunt the poor people for sport.

Speaker 1 (34:11):
Yeah, which they would never dare to do this in
this super pro-capitalist, no,no.

Speaker 2 (34:17):
Plus, I mean that's like 1958 to 2110 versus 1990 to
2009.
There isn't that big of a gap.

Speaker 1 (34:28):
Yeah, that's true, which is a problem really for a
lot of things in this film.

Speaker 2 (34:30):
yeah, it should have a buck rogers flash, gordon vibe
but it doesn't yeah, the reasonthey do this is because they
want him to still interact withpeople that he knew from before.
Yeah, yeah and you can't set ittoo far in the future to keep
that alive.
I think that's a dumb conceitand you don't need that yeah
there's plenty of things thatare similar, where you could
have.
Oh, my great grandmother talkedof you.

(34:52):
Now he's falling for the greatgranddaughter of Rene Russo,
which is weird.

Speaker 1 (34:57):
But yeah, you could make that work.
But I mean, even Alien does abetter job of that in its
franchise, where they're like,oh yeah, we know you had a
daughter, but she's 60 now.
At least they kind of deal withthat in a way that's like, oh
okay, yeah, they remember eachother, they remember how things
were before this upheaval insociety or whatever which we
will get to.
I'm sure the bum at one pointmakes a reference to the 10-year

(35:19):
depression, the one that'sBurrell from the Wire.

Speaker 2 (35:23):
Yeah, known as Eagle man here, which we'll get to
Eagle man.

Speaker 1 (35:26):
Eat river rats riverette.

Speaker 2 (35:30):
They're trying to lock on to the point of death of
alex, kind of this countdown,stay on, target locking system,
which I think is kind of coolconceptually.
So in the past there's thisweird tire collision where he
hits the back tire of anothercar.
He hits this and for somereason it then catapults him up
into the side of a bridge.

Speaker 1 (35:52):
Oh yeah, blows up, runs straight into a bridge,
pulls up Jane Mansfield inmidair to a bridge?

Speaker 2 (35:59):
Yeah, I don't know how that would work.

Speaker 1 (36:01):
Watching this movie.
There are several Starsky andHutch car ramp accidents that
happen, that being one of themand the main one.
Really, I don't reallyunderstand how it worked that
way or how, without interference, that would have possibly
happened.

Speaker 2 (36:16):
But no, the physics on that seemed quite wonky.

Speaker 1 (36:19):
At best.

Speaker 2 (36:19):
Otherwise, I feel like that is happening all the
time.
Oh, for the rest of the movie,that's just standard, but I mean
like in real life, if you canjust hit somebody's tires like
that and you're going to goflying up in the sky in an F1
car.

Speaker 1 (36:32):
Can you imagine how crazy that would be if the
physics like really panned outand you just like stepped on the
back of somebody's shoe, smashinto a building and die?
Wow, okay, yeah, that's yeah.

Speaker 2 (36:44):
So at the moment of impact he is jacked from the
past into the future.
He's lying on this table insidethis mobile science station.
They revive him and thenthey're going to use a 40
megawatt.
What do you even call this Anelectrical ray gun?
It's like a satellite dish on amechanical arm.

Speaker 1 (37:07):
Yeah, what it looks like is when you're at the
dentist, they bring down thoselights and those arms and
reflectors and stuff on them.
That's what it looks like, butthis one has got a laser emitter
on it.

Speaker 2 (37:17):
It shoots electricity out so that it can fry your
prefrontal lobe.

Speaker 1 (37:22):
It doesn't seem all that exact a science that
they're doing here.

Speaker 2 (37:25):
No, it's just a random electrical bolt.
So Alex wakes up, turns it onthe docks.
They get fried.

Speaker 1 (37:32):
Because they're wearing Mylar, of course they
get fucking fried.
You could have turned the heatup to 60 and they would have all
boiled to death.

Speaker 2 (37:39):
What they should have done.
They should have had him in abig microwave oven, yes, and
just even turning the dial.

Speaker 1 (37:52):
Yes, that should should have.
That's exactly what should havehappened.
After two and a half minutes,you have to poke some holes in
the alex vent uh, the problem isyou didn't wrap him in a paper
towel, was the real issue.
Never put him in tin foil, yougotta flip him over halfway
through.
There is actually a greatbatman arc where he does this,
where he gets put in arkham andthen he escapes by having, like,
he peels his cape apart and onthe underside is a mylar lining
that he then wraps himself in toget through the like the laser

(38:13):
grid or whatever, out of the airduct or whatever, but at the
same time it nearly kills himbecause it cooks him like a
potato double baked you knowwhat, if you double up like that
, you're going to increase yourchances of getting pregnant,
though it's fine by me baby.
Never double bag it.

Speaker 2 (38:29):
So Alex escapes both the science crew and Vesendek
who's trying to catch him,because Vesendek's hired to get
him from point A to point B forthe client.

Speaker 1 (38:41):
Oh, by the way, all these science guys look like AIM
in Marvel yeah.

Speaker 2 (38:44):
So Alex escapes into this dystopian cliche, which is
just crashed cars and burningtrash cans everywhere you know.
As people are want to live inthe year of 2009 do, do, do, do,
take it back.

Speaker 1 (38:56):
Frank stallone is doing acapella over one of the
burning barrels as we speak killhim.

Speaker 2 (39:02):
alex gets to do a kind of an escape from New York
taxi and he's able to pay forhis bride with an antique watch
from 15 years ago.

Speaker 1 (39:11):
What Whoa?
That's how you know we're inthe future.

Speaker 2 (39:13):
But then they find out that he's a freejack.
He gets away from all the otherbonejackers, as they're called,
and he goes to his old house.
Now he doesn't care that atthis point, since he was in an
accident, I've woken up that nowit's all caged off and he goes
up.
There's a guy with a gun thatseems to know him guarding it,
but doesn't ask any questions.
Let me just get back to myplace.

(39:35):
So he goes into his house,knocks on the door and a nice
black family is living there.
And this is where we learnedhe's a freejack.
We still don't know what thatis yet, but he's been labeled
that and told to go away and werealize something bad is going
on.

Speaker 1 (39:51):
It's almost like Flight of the Navigator when he
tries to go back to his oldhouse.

Speaker 2 (39:54):
Sure, I don't remember that much about Flight
of the Navigator, to be honest.

Speaker 1 (39:58):
I haven't seen it in 20 years plus, but yeah, it's
another trope.
I used to live here and we livehere now.

Speaker 2 (40:04):
Get off our property, yeah next we see the we get to
this building and we see thequote spiritual switchboard,
which is in the facade of achapel and there's a hooded
figure, kind of a ghost ofchristmas future oh, like from
scrooge, from scrooge, yeah yeah, and he's you know.
Uh, given sif-esque demands of,like you know, find him, bring

(40:28):
him to me.
Time is running short.
Blah, blah, blah.
Now we find out this is theMaxcorp who own the spiritual
switchboard building which,because it's jacking, they
decided a jack like kids willplay with is how they will
design everything.
A giant jack is on top of thisbuilding, which was envisioned
to be twice as tall as theEmpire State Building, having

(40:50):
180 floors.

Speaker 1 (40:52):
Jesus Christ.

Speaker 2 (40:53):
And then, inside this giant jack, there's a smaller
jack that we will meet later inthe film.
That is how you interact withthe spiritual switchboard.
Again, this spiritualswitchboard is an idea.

Speaker 1 (41:06):
Sure, that doesn't belong in this movie at all.

Speaker 2 (41:09):
No, not at all.
There's an idea of spirituality.

Speaker 1 (41:13):
But not really.

Speaker 2 (41:14):
No, again the concept of an idea, but I feel like
someone wrote a script that hadall that in.

Speaker 1 (41:19):
Sure.

Speaker 2 (41:19):
And then they cut all of that out.
Right, but there's still thingsthat linger, like the name
spiritual switchboard or likethe nun that alex will encounter
very soon, that feel like theywere meant to say something
about.
What does it mean to be human?
What is a soul, if you'retaking a soul from one body to
other?
Right things like that.

Speaker 1 (41:40):
But all of that's done away with yeah, weirdly
enough, those elements still area huge part of the narrative
and yet don't mean anything inthe narrative, with the suicide
booth thing that is shown likein the background on buildings,
like being projected on a bigLED screens.
Ok, so that's like a leftoverfrom the original narrative.
Ok, sure, not addressed, butstill there.

Speaker 2 (42:04):
But this stuff is addressed and confronted and
means nothing yeah, it's lipservice paid, but given no bite,
there's nothing there isn'teven any connective tissue to a
part of the actual narrative.

Speaker 1 (42:17):
That makes it make sense that it's even in there.
Yeah, yeah, the spiritualswitchboard thing.
Then the nun, an actor who hasbeen in tons of stuff.
She was the oracle inbattlestar galactica, by the way
, she was also in Star TrekPicard as well.
I don't want to spoil too much,but a villain.

Speaker 2 (42:33):
This is Amanda Plummer.

Speaker 1 (42:34):
Yeah, well-renowned actor yeah.

Speaker 2 (42:37):
You might know her from Pulp Fiction, where she's
Honey Bunny oh of course she'sHoney, Fuck yes of course.

Speaker 1 (42:43):
Yes, that's so stupid .
I went to the other ones first.

Speaker 2 (42:47):
Yes, she's honey bunny.
That's how your brain works.

Speaker 1 (42:49):
You every last motherfucking one of you.
Yes.

Speaker 2 (42:52):
Yeah, yeah, she's a very loud actress when she wants
to be.

Speaker 1 (42:57):
And symbolizing a character that should mean
something in this story butdoesn't.

Speaker 2 (43:08):
Yeah, we meet her because Alex breaks into a
church to sleep and he finds themean, nun again played by
amanda plumber, with a shotgun.
Now again, I think in theprevious idea of the script this
would have meant something theywould have had more to talk
about, but she has our info dumpso it sets us up in the film.
Obviously you're referencingsome concepts from the book and
the script, but never really sawcelluloid.

Speaker 1 (43:24):
We find out about mind transplants even if you
don't want to make the entireplot around this spiritual idea,
you could have that character,at least be like some sort of
vestigial belief from beforeabout spirituality or a comment
about the common man and howthey view this whole bone
jacking thing.

Speaker 2 (43:43):
But they don't even do that no, there are other
people there, you see, in thechurch, that have guns and it
seems to be like some sort ofresistance right of some
spiritual significance, but noneof it's delved into no, none of
it, which makes me wonder whythe fuck is it still in the
movie?
Well, because I think you hadso many people writing and
rewriting things and editing somany different ways and you have

(44:05):
multiple people cutting thefilm together.

Speaker 1 (44:07):
You get stuff like this it's like David Ayer's
Suicide Squad Too many cooks andthe meat was rotten to the good
with so I don't know yeah.

Speaker 2 (44:15):
So we find out from her that Judy his girlfriend or
Julie his girlfriend.

Speaker 1 (44:20):
Julie, yeah.

Speaker 2 (44:21):
Is unlisted.
But Brad, his agent, is inSector 7, park Slope, and she
gives him a glock.
You know, as any stranger youfind on the street, uh, who's
been bone jacked?
Any nun you find none, nonewill give you a gun mother,
superior jumped the gun, as thebeatles would say we also find
that the sendak at this time hasbeen brought to heel by

(44:42):
jonathan banks um breaking bad.
You might know from BreakingBad as Mike.

Speaker 1 (44:47):
Who did just absurd this level sci-fi, b-movie shit,
essentially until Breaking Badand then became kind of an
awesome household name.

Speaker 2 (44:57):
Now he seems to be the one in charge at MaxCorp
currently and is angry that theZendik has lost Alex.

Speaker 1 (45:04):
Because they're worth money.

Speaker 2 (45:05):
Yes, he's been paid a bunch of money.
This is a very expensive thing.
Only the super wealthy can jackpeople from the past and then
put themselves in.
We don't know who that is atthis point, but somebody
involved with MaxCorp is tryingto get Alex's body.
Had hired the Sendak to get itfrom the point, because you have
to go where he died to jack himfrom that exact spatial element

(45:29):
yeah, so the body's still alive, but yeah, you can't just flick
your fingers and pick itanywhere.

Speaker 1 (45:33):
You have to go where the point, the exact spatial
point where the body is takenfrom the past which they have
done in other things which I'msure we will talk about later
but also, at the same time,makes it super awkward when
you're I don't know, like.
Let's say, there's a f1 raceand a driver dies and then you
open up the car and there's nobody in there.

(45:53):
That's a little weird right?

Speaker 2 (45:57):
uh, we'll get to that in just a second okay yeah,
jonathan banks yes, yeah,jonathan banks essentially fires
vas but Vesendek kind of like.
Hmm, I'm still going to go onmy own and I'm going to find
Alex and get my job back.
I guess is kind of the vibe.
I guess Kind of like I have ajob to do, I'm going to do my

(46:18):
job till it's done.

Speaker 1 (46:21):
I don't even get that kind of commitment from it.
It seems more like, well, I wasowed purse and not.
You've personally wronged me,so I'm gonna go do just as much
work to do enough work to get myjob back and prove that I'm
good at this.
Though I guarantee you, ifthere were no money or anything
involved, he would just walkaway and never talk about it
ever again yeah, probably again,we don't really get a sense of

(46:43):
what's driving a lot ofcharacters.

Speaker 2 (46:45):
Motivation, yeah, secondary we lost that on the
country floor?
Sure did so.
Alex is then walking down thestreet in dystopia ville.
We get disheveled mixed matchclothes future cars, which are
awful yeah, and it's spent waytoo much money on right next to
horse-drawn cart carriages,which is very, very odd.
Yeah, he walks by a 3D nudemovies place, but there seems to

(47:10):
be prostitutes out front.
Why Should you do one or theother?

Speaker 1 (47:16):
I think it's kind of one of those one-stop shops you
know.

Speaker 2 (47:21):
Oh okay, but if you can look at porn or you can buy
a prostitute, why would you?
Levels of income see, okay,okay, uh.

Speaker 1 (47:30):
This is also where we get some random tit shot here
we'll also get another randomtit shot in the club later yeah,
I wish paul verhoeven haddirected this to be perfect yeah
it'd be a way way moreinteresting movie a hundred
percent.

Speaker 2 (47:45):
Then he he randomly gets uh taken up and uses a
human shield during a gang warthat comes to nothing.
Then he finds the address hewas looking for.

Speaker 1 (47:55):
Rene Russo's address correct.

Speaker 2 (47:58):
No, no, this is where he finds his old manager.

Speaker 1 (48:02):
Brad.
Oh yeah, dexter Poindexter erastuff.
Yes, yeah, he meets him Brad'slike.
Oh hey, wow it.

Speaker 2 (48:06):
Yeah, dexter, poindexter, era stuff, yes, yeah
, he meets him.
Brad's like oh hey, wow, it'sexciting.
Then he starts talking aboutwow, you must be a freejack, and
this is so wild.
And he talks about how he had abig problem with insurance back
in the 90s because theywouldn't pay, because they
couldn't find the body.

Speaker 1 (48:23):
There you go.

Speaker 2 (48:24):
So they couldn't prove that he was dead and find
the body.
There you go, so they couldn'tprove that he was dead and so
the insurance wouldn't pay.
And he said he's heard of freejacks but never seen one in the
flesh.
And then he tests that he ishim because he's like, points
out an ashtray and it's an oldPorsche hubcap that Alex just
knows because he's a car guy andhe's like oh yeah, it's

(48:45):
definitely you, alex.
Then Alex asks some likerelevant and interesting
questions why not grab someonefrom then?
Why not just pick somebody upoff the street?
Right, it'd be a lot cheaperand easier.
And then his buddy says thathalf their lives they've lived
with no ozone, carbon monoxide,sulfur dioxide, benzene, et
cetera drugs that weren't aroundin the 20th century, like that

(49:09):
was all that long ago, right.
But essentially saying, like,all the people here are kind of
poisoned and who wants to getone of these bodies?
Because it's not going to lastvery long?

Speaker 1 (49:17):
you know microplastics and whatnot yeah,
if you did this right would bean interesting plot point,
because it's not that muchdifferent, it's not that long
ago.
Uh, we still have the sameproblems, and so you could make
that like a thing about how,like, oh well, that's just,
they're rich and they're snottyin their particular view.

Speaker 2 (49:34):
Yeah, but they don't.
If you set it hundreds of yearsin the future, this makes more
sense.

Speaker 1 (49:38):
Oh, you mean, isn't that Terminal Velocity?
Isn't that the name of thatmovie?
Where they that plane.
All those people were supposedto die in a plane crash.
Then they take them into thefuture to fight a, to repopulate
the earth.

Speaker 2 (49:51):
What is that?

Speaker 1 (49:53):
I think that's the name of it, because it has
nothing to do with the name ofit, has nothing to do with the
plot.

Speaker 2 (49:58):
No Term of Velocity.
Is that Charlie Sheen movieMillennium.

Speaker 1 (50:02):
Millennium.
Yes, that's the one, it's thesame premise, except they, yeah,
they take people who, like, diein plane crashes, where they
would never find the bodiesanyway, and they take them into
the future to repopulate theEarth in a dystopian future.

Speaker 2 (50:16):
Yes.

Speaker 1 (50:18):
Yeah, this is that, but sans any real commentary.

Speaker 2 (50:22):
Yeah, it's almost like they took that one little
concept and made a whole movieoff of it.
Well, this is just a throwawayline that doesn't make much
sense.

Speaker 1 (50:30):
Yeah, just like with Future War, except at least
Future War had a goal, a premiseof what to do with these people
.

Speaker 2 (50:36):
Yeah, future War.
They were going there becausethey were already scheduled to
die, right.
So if they messed up the future, then it wouldn't matter,
because they weren't there.

Speaker 1 (50:46):
Same thing with Millennium.
They, if they messed up thefuture, then it wouldn't matter,
because they weren't there.
Same thing with Millennium.
They brought those people intothe future because they already
were dead to history.
Yeah, yeah, this one.
They're just taking them outindividually, which is not as
compelling or interesting.
And then also, if you're goingto do that, then make a
commentary about the capitalistnature of the exploitative,
horrible things that they'redoing.
That lead you to that, but theydon't really.

Speaker 2 (51:09):
They just kind of yeah no, or it's like like hey,
they only freejack people forspecific reasons.

Speaker 1 (51:15):
There must be something special about your
body, which there is, yeah, thatwe find out in the plot later,
but they don't talk about any ofthat I feel like this movie
honestly feels like it's one ofthose walking dead side stories
of the movie millennium oh also,these rich people can do this
too.
Millennium is the main plot,the main world we live in, and

(51:38):
this is one of those side questswhere we talk about the last
vestiges of the wealthydesperately trying to cling on
to life or whatever.

Speaker 2 (51:47):
Yeah, it's like in Johnny Mnemonic, where you have
part of the society who's tryingto fix this techno virus.
Why the rich?

Speaker 1 (51:57):
people, they don't care and they're just living for
their own pleasure, right,which is why I think this is a
weirdly cyberpunk movie thatfights being cyberpunk to its
own detriment, because, likewhat you were saying with the
Jack thing's like, well, thatjust screams to me jacking into
the johnny mnemonic style,jacking into the yeah, into
cyberspace or whatever.

Speaker 2 (52:14):
You're jacking into a new body right to upload your
consciousness.

Speaker 1 (52:17):
But that's not quite what they're doing either not at
all they took some of theterminology that they definitely
didn't understand and then seeif they had brought him in the
future.

Speaker 2 (52:27):
And the first thing you see is that when he gets
brought in the future, they putlike a Matrix-style plug in the
back of his skull, sure, andthey got to get him to the jack
port to like put in the otherguy's consciousness.
Yeah, that makes more sense.

Speaker 1 (52:42):
A free jack.
It's derivative and contrived,but you know what it.
It's derivative and contrived,but you know what it's a thing.

Speaker 2 (52:47):
But it wouldn't be at this point.
This is pre-Johnny Monarch,this is pre-Matrix.

Speaker 1 (52:50):
That is true.
It is right before cyberpunkbecame a real thing in the
mainstream media.
I mean, it's obviouslypost-Blade Runner, but it's.
Yeah, it would have filled thatspace, but unfortunately, just
like with Runaway, it just fillsa space, just not, you know, it
doesn't fill the space that itshould.

Speaker 2 (53:10):
It just fills a space , which is why, like like
walking acid spitting spiders ah, it's just a thing, who cares?

Speaker 1 (53:15):
or that stereo system you fucked.
It fills a space.
I don't know if it fills thespace do you want hot dog water?
Would you like pasta out of acoffee pot?
Your kid sucks.

Speaker 2 (53:29):
We jump to Julie, who works for the McCandless
Corporation, MaxCorp, which isthe biggest corporation on Earth
, I guess, which explains whythey have the biggest tower in
the city world.

Speaker 1 (53:41):
whatever, I think it's funny that the most work
they seem to really do becausethey do try to do some cityscape
shots, some skyline shots, butthen the one that the only one
that really stuck out to me waswhen, when they're about to go
in the car chase and they comeout and the awning for the
company, it says mccandless inbarely legible letters, but then
has a jack from the game jacks,which is what the point we were

(54:04):
just making.
It was like will be differentif it was a fucking jack, an
audio jack or a data jack.
No, it's jacks, it's just thegame jacks who whose idea was
that.

Speaker 2 (54:14):
That's so not even it's not even the mortal kombat
character really.

Speaker 1 (54:18):
You know what it is.
It's very much abram star trek,where he's just like my ex-wife
took everything but my bones.
That's why I'm called bones, isit?
Or is it like every otherdoctor ever in history?
We think you call you becauseyou're a sawbones.
Do you not get the what you'reeven referencing like?
Do you not get your entirepremise?

Speaker 2 (54:35):
it's one of those things where, like I don't know
if they do and they have to tryto find some convoluted way to
like write these things in yeah,they have to write around
studio notes and poorlyconceived ideas here.
I'm sorry we have a poorlyeducated group that we're trying
to make a movie for.
They don't really understandthe cyberpunk.
I mean we don't even get floppydisks, let alone jacking.

Speaker 1 (54:58):
What is internet?

Speaker 2 (55:00):
What we do know is jacks, where you throw the ball
up and try to pick up shinylittle pointy pieces of metal
off the ground before the ballfalls again.

Speaker 1 (55:07):
I guarantee the worst part is, as dumb as that sounds
, I guarantee you that's howsome of those fucking pitch
meetings went, where they werelike well, he jacks into this
and they're like what does thatmean?
And then somebody had to belike, oh, you know that game
your grandson plays or youplayed back.
You played it back 1908, whenyou that sled Rosebud.
You remember that game youplayed.
Guarantee you, that's how someof these went, because they

(55:32):
don't seem to know thedifference.
Yeah, Completely missing vitalelements which might make this
film make more sense, andthey're semantic, which would
have been so easy to justexplain them, but nobody did,
apparently.

Speaker 2 (55:44):
Nope, julie is in this board meeting.
Apparently she has risen up tobe high ranking in this company.
We find out that they'rehaggling over mineral rights for
some territory with theJapanese and that they had lost
the trade war.
Whatever that is.

Speaker 1 (55:59):
Also extremely dated yeah.
Everybody was terrified aboutthe Japanese, because we did
such a good job ofneoliberalizing them after World
War II that they started takingover everything we did.

Speaker 2 (56:09):
Maybe they're trying to set up times for the giant
robots and the robot jocks tofight over these people's
mineral rights?

Speaker 1 (56:15):
Well, at least that was the USSR, this is the
Japanese.
I mean we're talking about thesame era when Back to the Future
was like oh, the Japanese makeall the best stuff, or Nakatomi
Tower or Weyland-Nutani orTyrell sort of like, implied to
being taken over by the Japanese.

Speaker 2 (56:31):
Or the Sushi Bot stand.

Speaker 1 (56:34):
Or the yellow Sushi Bot man in Runaway.
Oh God, Thanks for that.

Speaker 2 (56:40):
Thanks, runaway.
We also meet McCandless, whoplayed by Anthony Hopkins.
This is Julie's boss, who seemsto be quite fond of her, and he
seems to be fully alive.
No problems, he's doing great,he's in wherever he's far away.
He can't be there right now.

Speaker 1 (56:54):
No, he's in virtual reality land.

Speaker 2 (56:55):
Yeah, but we don't know where he's at Pizza land
he's just oh, pizza land.
You were done with this redbook when you got it.
Huh.

Speaker 1 (57:06):
I know.
Well, thinking about it incontext, I'm like, wow, they got
Anthony Hopkins for this.
But nowadays I'd be like, yeah,they got Anthony Hopkins for
this.

Speaker 2 (57:13):
Yeah, at the time it was something, and at the time
it was also weird, because theyjust told him hey, just stand
and act in front of this greenscreen.
Right, we're going to put stuffbehind you which, in 1991, was
not something they did.

Speaker 1 (57:27):
Oh no, not at all, In fact, that's extremely rare.

Speaker 2 (57:29):
Essentially, that's all he does.
So, yeah, and he's definitelyalive, super alive.
No need to worry about that.
No, so Alex and his buddy go tothis diner where he's given
this hat Now.
Originally it was supposed tobe the actual like Billy the Kid
hat from Young Guns.

Speaker 1 (57:45):
Oh, my God.

Speaker 2 (57:46):
But apparently that wasn't available anymore because
when Lou Diamond Phillips leftafter that, he took the hat.

Speaker 1 (57:52):
Good for him.

Speaker 2 (57:53):
So they give him a similar hat.

Speaker 1 (57:54):
No, no, no, no.
What they do is they gave him aregular fedora that he turns
around backwards.

Speaker 2 (58:01):
Well, to make it look like that.
But they also give him a gunand he does the smirk and he's
twirling it around the same wayhe did in Young and Stubing,
like he's twirling it around thesame way he did in Young Nights
2, being like, hey, hey, youremember that movie?
Wow, that was popular right.

Speaker 1 (58:12):
He might as well just turn to the camera and wink.
At this point he almost does.
He kind of almost does in acouple of places.
Yeah, yeah.

Speaker 2 (58:18):
We soon realize that his former friend has ratted on
him because the peace officerscome.
Dexter, point Dexter we'rereferring to David Johans to yes
, yes, Dexter is ratted on himbecause the Preject has quite
the reward.
So he's trying to get out ofthe slums he's living in, live
like the fat cat.
He is quickly gunned down.
No money for him.
He does not pass go, he doesnot collect $200.

(58:39):
As the peace cops are shootingelectro shotguns some of them
are shooting future guns withthe future design.
Some of them are just shootingliteral shotguns that just shoot
electric bolts out of them.

Speaker 1 (58:52):
Yeah, it makes a lot of sense.

Speaker 2 (58:53):
Yeah, really good Top notch there.
So they do more running.
He steals a bike and he bikesit all the way to Julie's
apartment where he gets a voiceauthorized in which is weird and
she doesn't believe him.
There's no way he can be Alex.
Alex is long dead, Don't knowwho you are.
She sets off an alarm so heruns away.
Vesendik shows up and she findsout that is Alex and that

(59:18):
Vesendik knew that he was goingto come there and pre-programmed
the computer to let him in.
But there's also thepossibility that maybe somebody
else who wants his body and hascontrol of her apartment maybe
plugged that in.

Speaker 1 (59:28):
Yeah, let's not give that away too early, because
just on the surface, it voiceID'd him and let him in.
Well, his voice is still thesame.
In fact, it's identical to thelast time he was in there, and
so when Vincente does all that,it just seems unnecessary,
because she asks him when sheconfronts him in the apartment.
How did you get voice ID'd?
Well, because he's still thesame guy with the same voice, so

(59:53):
you would think he could justhave gotten in anyway.
Well, he would have been longdead I know, but if the idea is
that the computer recognizesyour voice, then you're
presuming that they know whathis voice sounds like that's
true yeah, it doesn't make anysense they would have had to
find.

Speaker 2 (01:00:07):
I don't film footage of him and like utilize, I don't
know how that works.

Speaker 1 (01:00:11):
Yeah, but it's like one of the most important,
pivotal plot points when itcomes to this arc.
She doesn't believe him.
He runs off, gets chased, goesinto the slums.

Speaker 2 (01:00:20):
Yeah, so Vicenda comes upon him for long runs.

Speaker 1 (01:00:23):
He steals a champagne truck to run against these
weird Mad Max death race copvehicles, very Death Race, but
they're all 100% single-persongo-karts, yeah, with fiberglass
bodies over them.

Speaker 2 (01:00:35):
Except for the big military truck thing they have.
Oh yeah, which?

Speaker 1 (01:00:39):
I'm pretty sure is a real vehicle it is.

Speaker 2 (01:00:42):
It is a real vehicle.
I don't know what they'recalled, but they're like big
tank things.
Yeah, they're kind of tanksyeah, but this one's painted
pink, which is a choice.

Speaker 1 (01:00:49):
Yeah, like the top half, I think, is supposed to be
red, it's a very light shade ofred.
Oh yeah.
Well, I mean lighting and allthat kind of shit is a problem
in this movie as well.
The whole thing, yeah.

Speaker 2 (01:01:04):
This is also one of the parts where we get some of
the fun being played, because,as for long as driving away, the
Senate gets on the video phone,which is just like a laptop
inside the truck.

Speaker 1 (01:01:11):
It's straight up a laptop and it's funny because
it's the exact same kind oflaptop that cops use.
Yeah, it's weird because itdoesn't seem out of place but
it's supposed to Well it doesn'tseem out of place like now, as
an audience watching it, you'relike, oh okay, yeah, the guy was
making deliveries, he's got alaptop.

Speaker 2 (01:01:30):
He's a champagne delivery guy.
Of course he needs his laptop,you know.
Tell him where to go.

Speaker 1 (01:01:33):
Of course he has a netbook, of course.

Speaker 2 (01:01:35):
But instead of you know, he's like on there, he's
like, hey, where you going, andFrohan closes it but then he
pops back up.
No, no, I don't understand howthat works.
Just because you have access tohis video phone doesn't mean
you can do that.
But pop that up, it's whateverthey need it so that they can

(01:01:56):
have this witty repertoire backand forth.

Speaker 1 (01:01:59):
Yeah, it's fine.
It's the only time he injectsany life into this movie.

Speaker 2 (01:02:03):
Yes, really, Only one of the syndic is talking
especially to Alex.
It's is talking especially toalex.
It's the only time you kind ofget this could be fun almost
like a not quite buddy cop, butthat kind of vibe it's a cat and
mouse, vibe.

Speaker 1 (01:02:17):
Yeah, we're getting here, yeah but this is where it
was like is he australian?
Because it sounds really.
It sounds odd for a I don'tknow.
He just sounds.
I I feel like he's putting onsome sort of affectation, and
maybe I'm wrong and he justsounds like that.
I don't know, but it justdoesn't sound quite like what
you would think Mick Jaggerwould sound like speaking.

Speaker 2 (01:02:36):
Yeah, I don't know.
I thought he sounded prettyMick-y, but you know.

Speaker 1 (01:02:39):
Yeah, that part obviously doesn't matter, but
this is where you get the onlysort of witty repartee in the
entire movie.

Speaker 2 (01:02:46):
Yeah, now Furlong keeps taking his soldiers out
and he's kind of like, oh goodjob, you know you're doing all
right for yourself.

Speaker 1 (01:02:52):
Well, I've still got you.

Speaker 2 (01:02:54):
Yeah, he's approaching the end of a bridge
and you know he's like, hey,don't do it.

Speaker 1 (01:02:59):
You've got to stop.
It's a jackknifed semi-truckthat has got wedged under a
bridge.
So what happens is there's asemi-truck that jackknives which
is why I mentioned theMansfield bar thing earlier on
with the bridge because it's thesame thing where the champagne
truck now has to go under thesemi truck, which is, for those
of you who don't know, that'show the model actress Jane
Mansfield died.
She was in a convertible andsped and then went under the

(01:03:22):
semi truck and decapitated her.
Now they have safeguards forthat in real life now.
But that's what happenedhappened.
He's got the champagne truck,which it's like decorated to be
a vendor, so it's got like thiswooden thing on the back that's
supposed to look vintage orwhatever, and it keeps getting
shaved off as he's.
This is where they try andshowcase him as a race car
driver, I think, because theydon't do a very good job of it,

(01:03:44):
but that's what they're kind oftrying to do.
And then he keeps getting runinto the sides of the tunnel
they go through or whatever, andparts of it get shaved off and
by the end you just have a truck, but it's still got the main
top on the back.
The sides are just gone.
He's about to go under thesemi-truck, shaves the top of
the semi-truck off, but he'sabout to run into the roadblock.
And that's when Vicente is likedon't do it, don't do it, I'll

(01:04:08):
be out of $7 million or whateverthe fuck it is.
No, he goes, I'll be out of ajob.

Speaker 2 (01:04:13):
Which he already is.

Speaker 1 (01:04:14):
Which he already obviously is.
Yes.
And then that's when EmilioEstevez bails and jumps straight
off, not just out of the truck,he's driving across the truck,
across two lanes of traffic andthen off of the Brooklyn Bridge.

Speaker 2 (01:04:30):
He pulls a Vin Diesel diesel.
You can do that.
He was a little too fast.
Look too furious he's dead.

Speaker 1 (01:04:34):
There's no logical world in which he lives through
any of this no, he's got that,bin in him he definitely doesn't
omelia vestibus does it's got alot of concentrated in a small
package then no, he took somehuman gnaws, it's fine no, it's
not still alive.

Speaker 2 (01:04:51):
I don't know they'll be alive yeah, if a syndic's
like oh, I hope he doesn't drinkany of that, otherwise I'm out
I'm out of money.
But when he says drink any ofthat, he means drown I thought
he meant if he actually ingestany of it, because it's so
polluted that it's gonna likepoison his body to the point
where it's like, oh, he's justlike everybody else around here.
Oh yeah, A ruined body, youknow.

Speaker 1 (01:05:11):
You're probably right .
Also, you can't jump off.
You can't just jump off theBrooklyn Bridge and live.
That's not how things work.
That's how suicides happen.
That's why they don't do that.

Speaker 2 (01:05:20):
I've seen it, it just happened.
It doesn't.
Don't tell me it didn't happen.

Speaker 1 (01:05:27):
There's no way that he did what he did and lived.

Speaker 2 (01:05:30):
Well, a lot of this is impossible.
He's been dead before, so so hewashes up and he meets a
homeless, frankie Faison, asEagle man, who's eating a
riverette asking if he wantssome.
Frankie goes on this weirddiatribe about eagles and
self-respect.

Speaker 1 (01:05:45):
Well, first of all, frankie say relax, no, what he
does is he washes up on by shorewe mean a concrete barricade
under a bridge and he's likewhat are you eating?
And he just looks at him andgoes river rat Want some?
And he hands it to him and he'slike no, no, god, no.
And then he kind of like stopsand he thinks about it for a
second.
He's like how do you even eatriver rat?

(01:06:06):
And he just like, to his credit, he kind of like stops eating
and he looks at him and he goeswell, first you take the head
and the tail off and then heexplains how he's an idiot for
not knowing how poor people haveto survive, which I think is a
poignant moment in the movie.

Speaker 2 (01:06:20):
If you were going to make commentary of some sort,
yeah, and this analogy aboutEagle and trying to find its
home, and you know how it'sself-suspect and whatnot.
You know it could be sayingsomething, but it's contextually
for the film.

Speaker 1 (01:06:35):
It doesn't make any goddamn sense no, what he says
in the movie.
Yeah, I know it makes no sensewhatsoever, but I I get what
they're trying to go for there.
He says you ever heard thatstory about that eagle?
You know, worked all his life,had the, you know it's got the
nest.
And he climbs all the way up tothe top and he sees his eagle
chicks and is like, oh man, Ifinally got it, I've got it
great.
And then two X's come over hiseyes like a cartoon and he falls

(01:06:58):
down where it dies and EmilioEstevez is like what?
And then he goes no, that neverhappens, that's not what the
eagle does, Because then hestarts going into this is what
america used to be at leastbefore the 10-year depression.

Speaker 2 (01:07:14):
Yeah, all of the sudden america completely
collapsed into authoritariancorporate oligarchism, which
actually, sadly, is the mostrealistic part of this movie one
might question whether it wasalex furlong dying that sparked,
you know, like franz ferdinand,oh, interesting collapse of
society, because essentiallyit's only been 15 years, yeah,

(01:07:35):
and everything has completelycollapsed since he left, so,
like he died, it all went toshit yeah, that would be
interesting if, like taking him,this guy who doesn't mean
anything, who's just a dumbassrace car driver, was like the
lynchpin to all of world societycollapsing into
authoritarianism and corporateoligarchy.

Speaker 1 (01:07:54):
That's a movie.
That's not the movie we have nobut it's a movie it could be a
movie the part that reallybothers me about this scene, and
not just the fact that they'rejust kind of wasting all these
things that could makeinteresting movies, but also,
well, I haven't seen a bottle ofwine since the 10-year
depression and I'm like he justjumped out of a champagne truck.
Yeah, like, right above therethey had champagne.

(01:08:18):
There is wine available.
It's all over the street I thinkthe worse society gets, the
more alcohol is going to becomeprevalent well, I, I mean, I
think they're trying to implythat only the rich could get it,
but I, it still doesn't makeany sense.

Speaker 2 (01:08:31):
Yeah.

Speaker 1 (01:08:31):
You've seen wine.
You can get wine, I guaranteeyou.

Speaker 2 (01:08:35):
Another element Eagle man brings up is after Alex
runs away.
He's like yeah, you do it.
You know my mom is watching you, you know cheering for you.
So he has become this symbolthat people are paying attention
to, following his journey,almost Running Man-esque.

Speaker 1 (01:08:52):
But he hasn't had time to do that.

Speaker 2 (01:08:54):
No, there is no time for that.

Speaker 1 (01:08:56):
Nobody even knows he's there.
No, it's been like five hours.

Speaker 2 (01:09:00):
Yeah, I mean, people may see his face but they don't
know anything about his journeyrunning from the wealthy trying
to kidnap him.

Speaker 1 (01:09:08):
Well, and he does go on TV and kind of talks about it
while he's tripping balls.
But that's later.

Speaker 2 (01:09:13):
Yeah, that's after this.
I guess I see what they mightbe trying to do with this, but
they haven't laid any of thatout, so it doesn't fit, it
doesn't make sense it's threedifferent movies.

Speaker 1 (01:09:22):
fighting with itself about what it's trying to say,
but not hard, casuallypresenting these things, but not
in a way that advances anarrative.

Speaker 2 (01:09:31):
Yeah, again, maybe there's a narrative or some
connected material or some ideas, but those are on the cutting
room floor or deleted from thescript 100%.
Now we're introduced to a newcharacter, julie's bodyguard
Boone, played by Grand L Bush.

Speaker 1 (01:09:46):
Who's been in a ton of stuff, by the way, yeah.

Speaker 2 (01:09:48):
The first thing that pops in my head is-.

Speaker 1 (01:09:50):
Die.

Speaker 2 (01:09:50):
Hard, die Hard, where he's the FBI agent.

Speaker 1 (01:09:54):
Robert Dobby's partner, or whatever, yeah.

Speaker 2 (01:09:55):
Robert Dobby's partner and Dobby's talking
about killing gooks in Saigon.
He's like you know I was ingrade school.
Dickhead that's what I alwayspicture, but like our techie
dude this dude might be cool.

Speaker 1 (01:10:13):
I want more of this, yeah, but we don't get much.
We'll get a little bit here ina bit, but he reminds me of the
character in total.
Recall, the one that hooksschwarzenegger up with melina,
the.
The one's got like the, he'sgot like a scar or whatever, but
he's the one that leads him tothe yeah, the strip club or
whatever.
Yeah, he's the go-between.
He feels like that character tome because he's that go-between
between Rene Rousseau and thisunderground or whatever.
He's that archetype of I'm theright-hand man, of the right

(01:10:37):
resistance person and I'm goingto tie you two together, or
whatever.
You know what I mean.

Speaker 2 (01:10:42):
Yeah, I could see that, but he's with her furlongs
back in another slum andthere's a guy playing sax.

Speaker 1 (01:10:48):
There you go.
Very reminiscent ofthunderdome-esque sax playing.

Speaker 2 (01:10:53):
Oh boy, and julie just happens to find him, but
they're just driving through theslum.
She convinces him that sheisn't after their bounty.
She then takes him to a clubbecause she knows a guy who
might be able to like get himout and get him off the street
and find some safe place forthem.
It's always the club now thiswas supposed to be much bigger
in the script and, like some ofthe stuff they filmed, this is
going to be this club that wason the edge of society where

(01:11:16):
it's kind of really showing thehaves and have nots and there's
going to be stuff like publicsex and bets and future S&M.
There can be public beheadings.
They even brought the guysbehind Bassett Case 3 to the
special effects for these publicbeheading scenes because you
can't get jacked in the futureif you are without your head.

(01:11:37):
So as a show of resistance theywould go to these places and
auction themselves off to bebeheaded so they couldn't be
jacked in the future.
I mean like a FU to the upperelites who might want them.

Speaker 1 (01:11:49):
There's chicks with three tits.

Speaker 2 (01:11:51):
If only.

Speaker 1 (01:11:53):
In both Star Trek 5 and Total Recall.
But if you were doing thiscorrectly, this is where you
lean into the cyberpunk thing,where you have, like
transhumanists doing cyber mods,do a transmit thing, you know,
or even an altered carbon typestuff, but they're not doing
that at all.

Speaker 2 (01:12:09):
It's not nearly sci-tech enough for any of that,
not at all.
Hey, here's some people whodon't fit the norms of late 80s,
early 90s, you know.

Speaker 1 (01:12:18):
Right.

Speaker 2 (01:12:19):
Might wear some S&M gear, maybe have a shaved head
for a woman stuff like that.
Oh God, you know their tops offwhat.

Speaker 1 (01:12:26):
That's crazy talk.
And she has two breasts.

Speaker 2 (01:12:30):
I don't even mess with that.
Now Furlong has a drink here atthe bar that knocks him on his
ass.
Apparently it's Future Hall orsomething, Apparently.
Then a random reporter findshim and interviews him.
Now, the reporter was MickJagger's real-life partner at
the time.

Speaker 1 (01:12:43):
By the way, looks 15 years older in this than she
does in Batman 89.
She looks terrible in thisCompared to how she looks in
that.
This can't be that much laterthan 89.
And it's like what?
Is it 90?
, 91?
Yeah, Did she actually jump offthat building?
What happened to her?

Speaker 2 (01:13:03):
Maybe just living that rock star life with.

Speaker 1 (01:13:05):
Mitt, keith Richards, hanging around you, just age by
default.

Speaker 2 (01:13:09):
Well, apparently she didn't age her too much, because
she could still marry RupertMurdoch in 2016.

Speaker 1 (01:13:14):
Oh, my God.

Speaker 2 (01:13:15):
Yeah, that's great, that's gross.
She's interviewing him andEmilio, he does an Arnold accent
here as a specific reference towho they originally wanted to
pitch this role for and thiswhole idea of the Arnienie
action film, which is why he didthis like arnold schwarzenegger
accent kind of like again butat the same time, more

(01:13:36):
commentary you could be makingthat you aren't, yep 100.
so julia then reaches out tomccandless, her boss, played by
anthony hopkins, for advice.
He agrees to try and like lookinto who the client is, says you
know, stay safe, you know,we'll get back to you in time.
Then Alex and Julie they have alove scene, while Emilio is
shirtless.
Now he is still attracted toher and hits on her, which she

(01:13:59):
rebuffs at first.
This would have made more sensein the original script idea and
casting with Linda ParentinoOne, because she watched him die
and she can't get over that.
There's also supposed to belike such a huge age gap, but
since it's just, it's just like10, 15 years, she looks just the
same.

Speaker 1 (01:14:16):
Yeah.

Speaker 2 (01:14:16):
It's not like.
It doesn't make much sense thatit's not working.

Speaker 1 (01:14:19):
It feels more like when Murphy goes back into his
old house and has the flashbacksof his wife.

Speaker 2 (01:14:25):
Yeah.

Speaker 1 (01:14:25):
It feels more like that than it does.
Lovers spanned out through timeor whatever.

Speaker 2 (01:14:31):
Yeah, they have a scene and then she's going to
like help him get away.
We get a quick scene withMichelet, which is Jonathan
Banks' character, interrogatesthe nun that had found Alex.
Doesn't really come to much ofanything.

Speaker 1 (01:14:46):
Such a waste.

Speaker 2 (01:14:46):
Such a waste.
Then Julie is taking Alex backinto the slum area and is going
to let him go and she says thatshe has a life that she can't
just walk away from.
Us was 18 years ago, but twodays for you.
Now she lays a scenario outabout coming to him before the
big race and asked him to dropeverything.
Would he do it?

(01:15:07):
He says no, that he wouldn't doit.
And so he realizes, oh, I can'tjust ask her to drop everything
, would he do it?
He says no, that he wouldn't doit, and so he realizes, oh, I
can't just ask her to dropeverything in her life and run
away with me.
I kind of really like thisaspect where she's the older one
, she has career, she's like ourtime came and passed.
You go, do your own thing.
Now I have my own life to live.
Sure, that's really kind of amature way of looking at this.

(01:15:28):
This isn't just he comes to thefuture and wins her back and
they run.
You know, happily ever after.
Right, I did love you.
That's no longer me, I have myown thing going on.

Speaker 1 (01:15:38):
Which is really interesting too, because if you
had done it in any sort ofcompetent way, commentary is
that if everything's gone toshit because he left, this
attraction, this draw back toher, is invariably going to fail
, and the fact that he left inthe first place is why they
can't be together.
I mean, yeah, that's way moreinteresting, but then none of
that matters either.

Speaker 2 (01:15:58):
It doesn't end up mattering because it's thrown
away real quick after this For areason which we'll get to, but
at least the idea I like.
I'm not the damsel that youwanted.
We're different people.
I know it doesn't mean anythingto you, but as adults we can
recognize that this isn't ourtime anymore.
Okay, that's something.
So boone goes with him to drophim off to the resistance.

(01:16:20):
There's again another biggunfight.
This is where we get booneawesomeness.
He automatically pulls out likea katana and starts cutting
people's.
Oh yeah, cut people up.
I want to know more about this.
Yeah, he helps him run awaylike, gets grenades blows up and
whatnot.
Now Furlong is running away,but then Vesendik is there and
he's going to run but decidesnot to, and he needs to figure

(01:16:41):
out who's behind this.
Apparently, people arefollowing him again like the
running man.
Furlong is caught by Vesendikin a smoky factory and Pasendek
reveals it's McCann who isbehind it all and because
apparently he had saved his life, he's going to give him a
five-minute head start to runaway again.

Speaker 1 (01:17:08):
Apparently I read this that Jagger wanted to make
this kind of fun.

Speaker 2 (01:17:09):
and he was going to count with my eyes closed one
higgledy-piggledy, twohiggledy-piggledy, but they
changed it to one.
Mississippi, two Mississippi,to be more Americanized.

Speaker 1 (01:17:14):
Americanized?
Yeah, and the people would getit.
Am I wrong in thinking this isthe identical set from RoboCop
Total Recall Cyborg.

Speaker 2 (01:17:24):
You know, an unused smoky factory somewhere?
I mean, this one would be.

Speaker 1 (01:17:28):
Atlanta, probably specifically in Dallas.
It was shot in Atlanta, so it'dbe somewhere there so it's not
the same one, but it looksexactly the same as those ones
from all of those movies yeah,yeah better movies doing very
similar premises actually yeah,there's definitely some venn
diagram crossover there robocopand total recall very much have
a crossover with this movie mindswapping and whatnot.

Speaker 2 (01:17:50):
There's lots going on there oh, big time yeah alex
runs away and he finds thatjulie has stolen the tank truck
thing and picks alex up.
Now they call michelette again,the guy who's in charge of the
max corp or whatever.
They're going to meet in hisoffice.
Wait for mccandless.
So they go to this huge bladerunner s corporate hotel bank
looking place and cop security.

(01:18:11):
Let them up.
Then they show this footage ofhis crash again and again, I
guess to squeeze every dime outof this f1 car explosion they
had.
Michelette reveals that canlisha ha is dead and that it's
michelette's plan to just letthe time work out, because he
only has so much time after hisdead body His conscience was

(01:18:31):
uploaded into the spiritualswitchboard to take over a new
body and he just lets it run out.
Well then Michelet gets thecompany.
Mccandless is gone, no harm, nofoul.
So he doesn't give a shit aboutfurlong.
He goes to let them go.

Speaker 1 (01:18:44):
It's way too late in the movie to do this.

Speaker 2 (01:18:46):
Yes, in the movie to do this.
Yes, we also find that he'sbeen the one organizing this
resistance.
I guess Funding them to keepthings from working out smoothly
.
But he does fire Julie and helets him go.
She does get off maybe one ofthe top cinematic slaps onto his
face before she leaves Great,great, physical slap.

Speaker 1 (01:19:07):
It is a good slap yeah.

Speaker 2 (01:19:09):
Good slap and so they go to leave, but Mishler orders
their deaths when they aresupposed to get off the end
elevator, but Vesendek shows upand goes to kill all those cops
instead.
Now they decide to go upinstead of down after that and
they plan to go to the 100thfloor for the fire escape.
But the elevator stops and itgoes up and up like to 200

(01:19:29):
penthouse suite, which is thespiritual switchboard, aka the
big jack on top of the buildingoh boy so they get up there
tubes everywhere that look justlike the tubes at the end fight
battle on cloud city and empirestrikes back you're not wrong
the lights flashing on thismetal sphincter doors and
everything.
And then we get a little VR funas McCandless explains his plan

(01:19:51):
while leading Furlong and Julieto stall for time until
Vesendik can get up there, andthen they can do the switcheroo
so that McCandless, aka AnthonyHopkins, can take over his body.
We find out that he wants to dothis for a couple reasons.
One, because he's young,healthy, whatever, but mainly
because he wants Julie.
And if he takes the old lover'sbody, then he's young, healthy,
whatever, but mainly because hewants Julie.
And if he takes the old lover'sbody, then she's just going to

(01:20:14):
fall in love with him and he canrule out the rest of his days
with her at his side by manimallust.
Oh manimals.

Speaker 1 (01:20:25):
Yep.

Speaker 2 (01:20:26):
So they put Furlong's hands on a smaller jack,
because you can't have enoughjack symbolism here and they're
going to have this mind off.

Speaker 1 (01:20:33):
Highlander 2, the quickening.

Speaker 2 (01:20:35):
Yeah, they got to quicken real quick with this big
crystal in the center, becauseyou need crystals.

Speaker 1 (01:20:42):
A dark crystal for sure.
Dark crystal, dilithium,whatever it is.

Speaker 2 (01:20:46):
There's just Skeksis underneath pulling the strings
here, and then furlong says youdon't need a new body, you need
a new soul.
But whatever we get this sillycgi mind transfer war.

Speaker 1 (01:21:00):
Replay of the whole movie but just the movie, not
his like just the movie, not inlike flash gordon, where they go
, you know, into zarkov's butwhen he's a kid.
And then World War II, and thenall that stuff.
No, just the movie.

Speaker 2 (01:21:13):
Just the movie?
Yeah, Just the past day and ahalf apparently.

Speaker 1 (01:21:16):
Just the past day and a half or so that we've seen.

Speaker 2 (01:21:18):
Yes, they're having, like this battle of wills, you
know, and Alex looks like he'slosing and he starts screaming
and Hopkins is straight faced, Iguess acting intensely, if you
want to call it that.

Speaker 1 (01:21:28):
Is Anthony Hopkins doing the least work humanly
possible?

Speaker 2 (01:21:31):
Yeah, just stand there and stare at him.
Can do, that's what he does.
But Julie is able to steal agun and blow up the crystal
right when Michelet shows up.
So Michelet is like oh great,the crystal transfer's done,
didn't happen.
I have the company, butFurlong's like no, I'm
McCandless.
The company but Furlong's likeno, I'm McCandless.
And we're like, oh shit, therewasn't enough time.

(01:21:51):
And it's like, yeah, we've hadtransfers take shorter, we've
had transfers take longer.
Who knows, I don't know.

Speaker 1 (01:21:55):
They have a wormy science guy that runs over and
says, well, it's totallypossible, it's happened before.

Speaker 2 (01:22:00):
Now, why don't you have a Cyberalysis character?
Be the techie here.
At least bring him back.
I don't know, maybe yeah wheredid he go, yeah?
Just out of the film for noreason.
So they're like okay, he's gota personal ID number, check it.
And so he thinks about it realhard.
Vesendik, you know, has thecode in his hand and it's really
dramatic and he goes six.

Speaker 1 (01:22:23):
Yeah, yes, this part was awkward.

Speaker 2 (01:22:26):
Oh, very much so, because you think one, think one
.
Ha, it's funny that thispersonal code would just be one
number six, because vicentex islike correct.

Speaker 1 (01:22:35):
Yeah, okay, that's great, but then they start doing
more numbers and it continuesyeah, but in a weird way too,
it's already awkward that theymake it seem like oh, that's it
six, yep, you're right.
And then there's this weirdawkward silence.
And then amelia west was likeeight uh, yeah, uh, yep, that
too.
Yep, it's almost like they didreshoots, yeah.
And then there's this weirdawkward silence, and then Emilio
Estevez is like eight yeah,yeah, yep, that too.

Speaker 2 (01:22:53):
Yep, it's almost like they did reshoots.
Yeah, the reshoots were writtenat six and it's like oh yeah,
no, that's kind of funny.

Speaker 1 (01:22:59):
But that's not enough numbers.

Speaker 2 (01:23:00):
So it's quirky.
Oh yeah, your payoff is thisalmost lighthearted thing thing,
but it just doesn't really workwhen they keep doing more
numbers.

Speaker 1 (01:23:08):
Because they keep doing more numbers.
And then it gets even moreawkward because he seems like he
believes them, and thensometimes it seems like he
doesn't believe him and then hejust walks away.
And then Estevez startsscreaming out more numbers.

Speaker 2 (01:23:21):
Yeah, and he's kind of screaming at Michelet and
Michelet's going like crazy.
He's like no, no, this can't behappening.
It was supposed to be mycompany and he pulls out his gun
, but he's right about thenumbers.

Speaker 1 (01:23:30):
So it's like why does he keep walking away like he's
wrong?
Because we're still in thenumber proving phase, we haven't
even got to the like oh, Idon't care about the numbers.
He gets four numbers in andthen walks off.
And then Emilio Estevez is likeand 875357.
Also that.

Speaker 2 (01:23:46):
You mean Vesendik walks off?
Yeah, vesendik walks off.

Speaker 1 (01:23:48):
Yeah, Vesendik walks off.

Speaker 2 (01:23:49):
Yeah, well, I think he's just walking around because
I guess he was tired ofstanding there.

Speaker 1 (01:23:53):
Yes.

Speaker 2 (01:23:54):
It'd been all of 10 seconds so.

Speaker 1 (01:23:56):
Yeah right, it just feels like he gives up on the
scene and they're still shootingand they're like, well, you
gotta follow him.

Speaker 2 (01:24:02):
Maybe he's like, ah, this scene doesn't really make
much sense or work, so I'm donewith it.
I'm going to improvise, justwalk around.

Speaker 1 (01:24:08):
Yeah, and then they keep going with the numbers,
which you would feel like in thescene because he's already
walked off, that they're notimportant.
But then they are and thenaren't automatically after.

Speaker 2 (01:24:17):
Right, yeah.
So Michelet is going crazybecause he's like there's no way
McCandless has taken over.
I want the company.
So he pulls out his gun to tryto shoot McCandless, who he
believes in Furlong's body, andthen the Sendix people light him
up.
The Sendix is like, hey,welcome back to us, mr
McCandless.
Yeah, Thank you, you did a goodjob.

Speaker 1 (01:24:36):
Bring my car around.

Speaker 2 (01:24:43):
Yeah, bring the car around, so they get dressed up
in different fineries and hetakes Julie and they go to drive
away.
But then the Sendix shows upand blocks them, gets out and he
walks to the and he's likeJulie, you're going to have to
teach him much better.
And he's like well, what do youmean?
He's like, well, mccandlesscan't drive, he could never
drive.
I knew it was you this wholetime.
That's when the whole audienceis like, oh what, julie as well,
it's like it's furlongs.
I was funning this.

Speaker 1 (01:25:10):
I'm still old Alex, but I'm gonna take his money and
pretend to be McCandless.
Well, nobody bought it that.
He was actually McCandless.
He was obviously a bluff.
Oh yeah, he totally transferredinto my brain and obviously,
okay.
Here's the dumb part about that.
He obviously did get some ofthe brain juice from Anthony
Hopkins because he was able topull those numbers out and they
were correct, right?
No, the numbers aren't correct.
Oh, I thought they were.

Speaker 2 (01:25:31):
He asked him about the numbers and he's like, no,
you didn't get any of them,right.

Speaker 1 (01:25:34):
Well then, why did everyone say they were right?

Speaker 2 (01:25:36):
Only Vesendik knew the numbers, and Vesendik, I
guess, wanted.
That's why he walked away.
I think he wanted hiscommission Right, of course,
because if he delivered the bodyand got the mine transferred,
then he gets paid right to.
He was like oh, I'm a funnyrapscallion.
I like to see things go awryfor my own amusement.
So I want this free jack weirdoto have all the money in the

(01:25:58):
world and win, because I'vegrown to respect him not really,
though because, I mean, itexplains why he walked away in
the middle of that conversationthen.

Speaker 1 (01:26:07):
But michelette is the one that believes that he does
have the numbers and that's whyhe's like, fuck you, I deserve
this company and that's why theyshoot him.
But after that, what does hegive a shit?
Wouldn't he benefit more frombeing in on the idea that
McAnlis is now actually EmilioEstevez and then could still
possibly get paid Once theyleave?

(01:26:27):
What is his motivation, basedon anything we've been given so
far in this movie?

Speaker 2 (01:26:32):
He lets them be him, because we assume he gets paid.

Speaker 1 (01:26:34):
He doesn't seem to.
That's why he seems to go afterthem, because now he knows he's
not going to.

Speaker 2 (01:26:38):
Oh, I think he just wants to rub it in and be the
fun foil at the very last breathof the film.

Speaker 1 (01:26:45):
I guess.
But this is also us projectinga lot onto this character that
doesn't have that much.
I don't think what you'resaying is there.
I think it's a better way forus to rationalize how this
character works.
I don't think that's in there,based on everything he's done
thus far in this movie.

Speaker 2 (01:26:58):
I'm having to read stuff in, so you're kind of like
have to assume.

Speaker 1 (01:27:02):
I think you and I are both giving them too much
credit.
I don't think there's that muchthere.

Speaker 2 (01:27:11):
There isn't much, but it is kind of like the fun
pseudo twist ending.
I guess it's supposed to be atwist.
I guess because we were led tobelieve something for three
minutes before that.
But he does get away and beforehe leaves, to prove that he's
him.
He's like a nibble my ear forluck, just like he did last time
he was driving a car back in1990s and that worked out so
well for everyone and then theydrive away into the sunset to
let the poor still be poor anduse all their money for the

(01:27:33):
grand old adventures of runningthe biggest company in the world
.

Speaker 1 (01:27:36):
But then it's got a weird voiceover.
He talks about hearingeverybody in the world because
he's got the prize.

Speaker 2 (01:27:42):
That's the ending they're doing there, oh then
he's the one who builds the dometo keep the ozone out.

Speaker 1 (01:27:47):
Already more interesting.

Speaker 2 (01:27:52):
Yeah, he's the one that misguidedly makes that dome
that ends up being Neskis'corporate hellhole.
Let's be honest Highlander 2 ismore interesting than this.

Speaker 1 (01:27:57):
Wow, okay, it is definitely more interesting.
Is it better?
Ooh, I don't know.

Speaker 2 (01:28:05):
I mean, it has swords .

Speaker 1 (01:28:06):
They both have swords , though.

Speaker 2 (01:28:08):
And Michael Ironside.

Speaker 1 (01:28:10):
Okay, I'll give you the Michael Ironside factor, but
this one does have JonathanBanks and Mick Jagger, one of
the only rock stars from thatera not to be in Highlander the
series.

Speaker 2 (01:28:19):
God, oh man.
Think of Anthony Hopkins.
Almost like a retiredHighlander.
He'd be a watcher Out of thegame, but still has all the
skills.

Speaker 1 (01:28:26):
I mean it would be interesting.
Yeah, it's either that or he'sa watcher.

Speaker 2 (01:28:30):
Oh, Mick Jagger's a Highlander.
I want to see that.

Speaker 1 (01:28:33):
That's what I'm saying.
I mean, that's their entirewheelhouse is guys like Mick
Jagger.
The range, the scope is Bullfrom Nightcourt to the lead
singer of well, the who, butthen also Fine Young Cannibals.

Speaker 2 (01:28:45):
Hijack, Ooh hijack.

Speaker 1 (01:28:47):
Hijack.
Oh no, Now we're reopening thiscase.

Speaker 2 (01:28:51):
Oh no.

Speaker 1 (01:28:52):
That's dangerous ground.
We're on deadly ground now.

Speaker 2 (01:28:55):
Speaking of which, after Prejack Jeff Murphy
couldn't really get a whole lotof work he did do Under Siege 2,
dark Territory.

Speaker 1 (01:29:04):
Oh no.

Speaker 2 (01:29:05):
That was his next big feature and the one that made
the most money.
After that he was the secondunit director on Dante's Peak.

Speaker 1 (01:29:12):
Oh.

Speaker 2 (01:29:13):
I mean coming back to Highlander Fortress 2, re-entry
.

Speaker 1 (01:29:16):
Oh, Fortress 2.

Speaker 2 (01:29:17):
Yeah Two.
The second best, one of theFortress movies.
The second best ChristopherLambert.

Speaker 1 (01:29:22):
Fortress movie.

Speaker 2 (01:29:24):
Ooh, beth Toussaint, I forgot about you.
Ishara Yar, yes, please.

Speaker 1 (01:29:29):
Oh Isharayar.
Oh okay, that's fine, I get it.

Speaker 2 (01:29:32):
Yeah, Okay.
In the grand scheme of our rockstars in science fiction
vehicles in the 80s 90s, I thinkthis one and Mick Jagger's
performance is better than ourprevious entry.

Speaker 1 (01:29:48):
Runaway.

Speaker 2 (01:29:49):
Of Runaway.
This is better.
Yes, I've run away this isbetter.

Speaker 1 (01:29:51):
Yes, I think mick jagger is better.

Speaker 2 (01:29:54):
I don't think either of those two have anything to
work with no, but at least Ifeel like what mick jagger's
bringing to this is what hewanted to yeah and at least has
some charisma, that's showing up.
Oh yeah, I mean, gene simmonsis a fucking board with a nail
in it I mean he has a presence,but I don't know if it's an
enjoyable screen presence.

Speaker 1 (01:30:12):
Yeah, but I mean, he's doing the same thing that
Jonathan Banks does in BreakingBad, but Jonathan Banks is an
expert at it.
Yeah, deadpan Walter, what areyou talking about?
He manages to make that lookgood.
Gene Simmons is just awful, andI think Mick Jagger is awful in

(01:30:32):
this, but at least he yeah,you're right, I think he's at
least doing something.

Speaker 2 (01:30:34):
Yeah, I also think again.
This is a film that had theconcept of ideas for a cool,
interesting science fiction film, to say something, but it
eschewed all of those.

Speaker 1 (01:30:44):
It's got like 15 different ideas of cool science
fiction films, saying somethingand doesn't do any of them.
No it doesn't go down onespecific path, definitely
doesn't create any sort ofcohesive narrative or,
especially, commentary.
I mean, there's really nothinggoing on here.
It really just feels like apastiche of it just feels like
if movies from this era werelike building blocks, like

(01:31:08):
Duplos they're just robbing fromother ones and stacking them on
top of each other with no plan.
There's no structure you'rebuilding.
You're just building somethingto build it.
And it doesn't mean anythingthat's like the tenet of science
fiction and fantasy.
Right Is to make a commentary,isn't that the whole point?
Yeah, this doesn't do that.

Speaker 2 (01:31:27):
Which the source material has in spades and I
think the director wanted to do,but from the production
problems, all the writers,editors, reshoots, casting
things all over the place.
He just wasn't able to put thaton screen.

Speaker 1 (01:31:45):
Couldn't land it yeah .

Speaker 2 (01:31:46):
And it's too bad, but it makes for a unique feature.
Kind of lost the time time Idon't think many people are
talking about free jack thesedays not enough, and I would say
overall.
You know, I hadn't watched itin decades and I watched it
again I was like oh, that wasfine, I didn't hate it yeah,
it's more confident than youwould think yeah, I think I

(01:32:07):
re-watched it again before thisto kind of take some notes and
stuff, and it was much worse thesecond time oh well when you're
examining things, I'm like no,this just does not work right on
any level really outside ofgeneral vibes.

Speaker 1 (01:32:20):
It doesn't work at all.

Speaker 2 (01:32:21):
Very much no for just a passing oddity in the sci-fi
landscape, especially with arock star.
I mean, mick jagger isn't intoo many movies.

Speaker 1 (01:32:29):
No, not very many.

Speaker 2 (01:32:30):
There is that.

Speaker 1 (01:32:31):
Which is why we wanted to do this little mini,
because you could say that aboutalmost all of the people that
do these.
Some of them did a bunch ofmovies, but most of them, I feel
like they were competing witheach other to do this and never
before or again tried.
It was just like a veryspecific era where rock stars

(01:32:52):
tried to do a very specificthing, kind of competing with
each other and or at leastinspired by each other.
Because, like, if David Bowieisn't in all the movies he was
in back then, I don't thinkanybody does any of these movies
.
I mean, mick Jagger might haveshown up in a movie, but I don't
think it was going to be asci-fi, trope film.
All of the ones we're tacklingin this series.
You know what I mean yeah, yeah, that's quite possible.

Speaker 2 (01:33:11):
Maybe when we get to the end of this whole series,
whenever that does come toconclusion, you know a little
retrospective on the role ofrock stars in these sci-fi
vehicles throughout the 70s, 80s, 90s it'll be interesting to
see.
Maybe bowie was the door opener, but I, I don't know, I'd have
to.
We'll have to see how thatplays out.

Speaker 1 (01:33:31):
I'm sure he wasn't the first, but I think he was
the main.
He was the guy known for it.

Speaker 2 (01:33:37):
And we'll have to see where that journey takes us.
But you, gentle listener,you'll have to wait and see how
far down the rabbit hole we go.
Oh it goes, it goes pretty deepit goes, baby, but we thank you
for taking this journey with us, jacking in and jacking off
freely.

Speaker 1 (01:33:53):
That's right.

Speaker 2 (01:33:53):
Untethered.

Speaker 1 (01:33:54):
No notes.
No notes on that commentary.

Speaker 2 (01:33:56):
Thank you for listening.
We hope you've enjoyed.
If you wouldn't mind, likesharing, subscribing, we'd super
appreciate it.
Please pass around those whoneed to get jacked in themselves
.
Can't let them be too free.

Speaker 1 (01:34:08):
React in themselves.
Can't let them be too free Tothe web or otherwise.

Speaker 2 (01:34:10):
If you wouldn't mind giving us five AscendX on the
podcast app of your choice.

Speaker 1 (01:34:15):
Don't get enough of those.

Speaker 2 (01:34:16):
Ideally Apple Podcasts or wherever you get
your favorite podcasts.
And again, thank you.
Thank you for just stopping byhanging out with us checking out
an old movie and it's almostgetting close to 35 years old,
almost.

Speaker 1 (01:34:32):
Less than half of Mick Jagger's career.

Speaker 2 (01:34:35):
Which will never end.

Speaker 1 (01:34:37):
No, it'll never end.

Speaker 2 (01:34:38):
You know this weird sci-fi rock star oddity and we
hope you come back for the nextone, whenever that might be.
But until that time, skip.
Before they get jacked into thefuture, what should they do
while they're still with theliving?

Speaker 1 (01:34:52):
While you guys still have your bones and have yet to
be jacked of said bones, pleasemake sure that you have pager
tabs.
Make sure you've cleaned upafter yourselves to some sort of
reasonable degree.
Make sure you're safe, whetherit's been really bad.
Make sure that you support yourlocal comic shops and retailers
and from Dispatch Ajax from ourtemporary studios.

Speaker 2 (01:35:12):
We would like to say Godspeed, fair Wizards, One
higgledy-piggity, twohiggledy-piggity.

Speaker 1 (01:35:16):
One Mississippi.

Speaker 2 (01:35:18):
But you're kind of doing a little Barry, there.

Speaker 1 (01:35:20):
I don't know what Jagger's doing in this movie.
I don't get it.

Speaker 2 (01:35:23):
Yeah, and you can't see, like doing the big duck
lips, that doesn't work baby,I'm doing the chicken dance, but
it's really hard to see.
It is hard to see.
I don't like it when I'm seeingit right now.

Speaker 1 (01:35:33):
In an audio format especially Well.
He's got that blackout on oneof his glass lenses, though he
doesn't need it.

Speaker 2 (01:35:38):
Yeah, I'm close to vent horizon myself as we speak.
Yeah.

Speaker 1 (01:35:43):
Then go back to Eastside.

Speaker 2 (01:35:45):
If he could pair up with Boone, have them do a
little buddy cop movie.

Speaker 1 (01:35:49):
A Rosencrantz and Guildenstern type adventure Like
I'm down.

Speaker 2 (01:35:52):
They just walk through the Freeshack movie.

Speaker 1 (01:35:54):
At least there's something.

Speaker 2 (01:35:55):
That would be something.

Speaker 1 (01:35:57):
Please go away.