May 7, 2024 • 44 mins
Explore the unseen battlefields of the heart through the lens of "Civil War," a film that pulls back the curtain on the human cost of conflict, devoid of the usual heroics. Joined by the incisive Adi Aisha, we dissect this raw and unflinching narrative that refuses to choose sides, forcing you, our listeners, to confront the uncomfortable reality of war's true victims. Our spirited discussion scrutinizes the filmmakers' decision to leave the war's origins obscured, raising questions about the impact such omissions have on our understanding of the story and how it reflects the complexities of real-world warfare.
Witness the transformation of war journalists from idealistic truth-seekers to desensitized observers in a world that feeds on the chaos of conflict. Adi Aisha and I delve into the role of media in war, using Kaylee Spaney's character as a vessel to explore the ethical dilemmas faced by those who report from the frontlines. The film's controversial ending serves as a crux for our debate, as we navigate the moral quandaries and the consequences of actions taken in the pursuit of the perfect story. We reflect on how the film's portrayal of these character arcs mirrors a broader societal desensitization, especially in the age of social media.
Concluding with a critique that balances appreciation of the film's artistic merits against the frustrations of missed narrative potential, our dialogue is an invite to listeners to consider their own stance. The episode is not just a review; it's a contemplation of what "Civil War" achieves in its depiction of the human condition amidst the backdrop of an unending civil strife. We share our varied takeaways, rate the film, and extend the conversation to you, urging you to join in and share how the movie resonates with your perceptions of war, journalism, and the blurred lines between art and reality.
Witness the transformation of war journalists from idealistic truth-seekers to desensitized observers in a world that feeds on the chaos of conflict. Adi Aisha and I delve into the role of media in war, using Kaylee Spaney's character as a vessel to explore the ethical dilemmas faced by those who report from the frontlines. The film's controversial ending serves as a crux for our debate, as we navigate the moral quandaries and the consequences of actions taken in the pursuit of the perfect story. We reflect on how the film's portrayal of these character arcs mirrors a broader societal desensitization, especially in the age of social media.
Concluding with a critique that balances appreciation of the film's artistic merits against the frustrations of missed narrative potential, our dialogue is an invite to listeners to consider their own stance. The episode is not just a review; it's a contemplation of what "Civil War" achieves in its depiction of the human condition amidst the backdrop of an unending civil strife. We share our varied takeaways, rate the film, and extend the conversation to you, urging you to join in and share how the movie resonates with your perceptions of war, journalism, and the blurred lines between art and reality.
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Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:00):
Hey everyone and welcome to another episode of
Movies Worth Seeing Today'sepisode, I'm again joined by
regular mainstay.
Well, I tried to get rid of him, but he keeps coming back, like
that dog that just keeps comingback.
Speaker 2 (00:19):
Stop throwing the stick.
Speaker 1 (00:22):
I keep throwing the stick and he brings it back.
Throwing the stick, I keepthrowing the stick and he brings
it back.
Now I'm joined by Adi Aisha foranother review today, today's
episode.
Look, we're going to dospoilers because it's difficult.
I feel like this movie issomething that we could do a
review in five minutes if wedon't talk about spoilers.
(00:43):
Civil War Adi made the point totell me nothing about this,
said watch this with nothing,don't look up trailers, nothing.
And are you happy?
You did that?
You know what?
Yeah, because there was a lotof mystery going into this, had
no idea what to expect, or Iexpected a war film.
(01:04):
This kind of is a war film, butit's also.
The soldiers are not the maincharacters and I fucking love
that.
Speaker 2 (01:12):
You know what I was actually thinking.
We always see a movie where wefollow the protagonist and
they're the hero.
Let's all the marvel movies.
Every other movie it's oh,you're the protagonist.
The whole story goes about isrevolving around you.
Right, you're superman, but howabout?
And then the whole story goesabout is revolving around you.
Right, you're superman, but howabout?
And then the whole story isabout superman, right, but how
about?
We're doing about theaccountant has to deal with all
(01:33):
the fucking shit that supermanleaves behind, because
everything is broken and theaccountant or the insurer has to
deal with all that stuff.
But now we're watching like awar movie, where it's not about
the soldiers, it's not about thepresident, it's not about
anybody of significance, it'sabout the common man, like the
average person, almost like acivilian exactly.
(01:56):
But then the war journalistsright, and I think that's
beautiful because you get theinformation that they are given
real time.
And that's the girls.
What's her name again?
Kirsten Dunst.
No, the young girl Forgot.
You get the young girl'sperspective of the whole war.
Speaker 1 (02:15):
Like she has no information.
Speaker 2 (02:16):
Yeah, she has no information.
She doesn't know any of thebackground of things oh,
probably a little bit more thanwe do, but she doesn't know as
much of the background as theother characters do, and she
only learns what the othercharacters tell her, and so do
we yeah, but if you're living inthis political climate where
there's this civil war going on,wouldn't you have some kind of
(02:40):
ideas, opinions that you wouldexpress to the other journalists
?
I'd say the movie is not aboutthat.
The movie is about the chaos,See.
Speaker 1 (02:47):
but that's the thing that pisses me off about this.
So watching Civil War, we tookmy mum to watch it.
Speaker 2 (02:55):
Great choice.
Speaker 1 (02:57):
Yeah, I told him not to I hadn't taken my mum to the
movies in a long time and I waslike, oh, let's go to the movies
.
Ooh, big mistake.
My mum is like a verytraditional movie watcher.
She likes a point like a threeact structure and she loves
movies with strong hero, strongvillain and lots of context.
(03:17):
She wants to know everythinggoing on.
This movie establishes thatthere's a civil war, and that's
it.
The president is locked up inthe White House trying to
protect himself.
These journalists are trying toget an interview with him.
That's it.
We don't know what started thecivil war.
We don't know what policies orwhy America or why Texas of
(03:42):
places is teaming up withCalifornia.
No one says anything.
That's leaning on left or rightpolitically, which I in a sense
is a smart idea because itdoesn't alienate the audience
and cause a divide.
But at the same time it almostbecomes the movie becomes like
an empty vessel where you'relike what's the point of this?
Speaker 2 (04:05):
And I know what you're what is the point of war?
All war is pointless.
That's what I love about themovie it gives you that same
experience.
It leaves you with images youdidn't expect to see on a big
screen like that.
It's scarring, that kind offootage that you're shown and
(04:26):
there's so much going on thatyou just get lost.
You don't know who's on whatteam and when you're trying to
survive, it just doesn't matteranymore.
And that's the experience youhave in war, right, not that I
would know, but Back in NAMM.
Speaker 1 (04:39):
When I was in.
Speaker 2 (04:40):
NAMM yeah, no, back in NAMM.
You don't know what the fuck isgoing on.
And that's the beautiful thing,that's the experience this
movie is giving you and that'swhat I loved about it.
I get that.
It's just, and I understand.
It pisses you off as well atthe same time.
Speaker 1 (04:56):
I understand why it's doing that.
Like I said, clever thing to dobecause you're not going to
have whinging from either side,all right.
Also really good in that itcreates this mystery the whole
time.
Where you're, you're wonderingwho's right, who's wrong.
There is no right, no wrong.
(05:18):
And there is a scene thatclearly, even practically just
batters you over the head andsays, clearly, even practically
just batters you over the headand says it doesn't really
matter.
This is the story.
People are killing other people, these people are trying to
shoot us, we're trying to shootthem.
That's all it comes down to.
But as a movie watcher, I dofeel empty afterwards, and just
(05:40):
you saying the movie's point isto make you feel that way
doesn't make me feel any better.
It just keeps me feeling thatsame way.
I wish there was just like thisone conversation or one kind of
thing that stood out Like.
There's one scene in particular, getting into spoilers, where
Jesse Plymouth who is onlyPlymouth, and this Plymouth,
(06:03):
plymouth, yeah.
It's funny that you'recorrecting me on English.
How often does that happen?
Speaker 2 (06:10):
All the fucking time, guys.
All the fucking time Bullshit.
Speaker 1 (06:12):
Yeah, that dude's great at playing a dick like a
real fucking sadistic guy.
He's great at that.
His scene stands out becauseit's the only time where you see
one character have a verydistinct kind of viewpoint.
Speaker 2 (06:27):
It's a horrible viewpoint.
It's the only time in a moviewhere it's clear who is right
from wrong.
Speaker 1 (06:33):
Yeah, because this character is this over-the-top
kind of extreme racist who'sjust deciding to kill people.
Speaker 2 (06:42):
But who is he with?
Is he with the western forcesor is he with the president?
Yeah, we don't get exactly.
That's what I'm talking about.
You know who's right from wrong, but you don't know which side
is right and which side is wrong.
Okay, so there is.
It is given that the presidentis wrong and the western forces
are right, but everything thathappens in between you don't.
Speaker 1 (07:04):
You can't separate it yeah, but I just I think that
if there was a civil war goingon, you're on this road trip
with these journalists.
They're trying to get aninterview with the president,
like when they talk about whatthey're going to ask him, and
they have a scene where they'relike thinking about what they're
going to ask him, but then itjust becomes meaningless.
They have that scene in the car, yeah, when they're like
thinking about what they'regoing to ask him, but then it
(07:25):
just becomes meaningless.
Speaker 2 (07:26):
They have that scene in the car, yeah, where they're
talking about exactly whatthey're going to ask him, but
you never get a what they're.
Speaker 1 (07:34):
It just feels weird if we made a movie where there's
like in fallout, let's say, twocharacters are set in the
Fallout universe.
It's fucking amazing.
I love the show.
Imagine if you never found outany answers about why the world
has become like that.
You take out that whole storyof the show.
(07:54):
Wouldn't you feel like-.
Speaker 2 (07:56):
It's a different structure, it's a different
story.
It's With Fallout, for example,it's important for the main
character to learn, for Lucyright McLean to learn what
happened, because that causesthe divide between her and
(08:18):
without spoiling it.
The other characters justsaying yeah, it creates a divide
between her and the othercharacters.
That makes it vital, which isgoing to be crucial for the
second season.
Right, that is the story.
She needs to know why In CivilWar, you don't need to know why,
you just need to know it'sfucked up.
That's it.
Speaker 1 (08:36):
There was plenty of fucked up scenes in this, for
sure.
Disturbing scenes, lots ofscenes.
There's reasons why I wouldn'twant to watch this again and I'm
surprised you wanted to watchit a second time.
Speaker 2 (08:49):
I loved it a second time, even more than the first.
There's so many little thingsthat I missed and I watched
reviews and I watched summariesand recaps about it and I went
to watch it again.
I was like, oh my God, I don'tknow how I missed all these
little bits.
It's actually reallyinteresting, just little lines.
For example, kirsten dunst'slee says something along the
(09:10):
lines of I went to the intifadaand went to all these wars.
I survived all of that to tellhome, to bring it home, to tell
them not to repeat this at homeas a warning, and it happens at
home.
And then there's another line,that which is like the dark
irony of it, right.
(09:30):
And then there's another linesaying, once the president, once
washington is down, they'regonna turn on each other.
Washington is down.
At the end dc, I should say,not to say washington dc.
The president is down the whitehouse is down.
That's the end.
Dc, I should say, not the stateWashington DC.
The president is down, theWhite House is down.
That's the end of the movie.
It's not the end of the war.
(09:50):
That's the beautiful thing.
It's not about the war.
It's not about the politicalaspect of the war, it's about
how the other monsters it'sdisguised as being about war to
hook people in.
Speaker 1 (10:04):
There's going to be like action and like explosions
and this shit.
Oh, there are, there is, buteverything's got this realistic
grit to it.
It's pretty much what you wouldexpect an A24 produced movie to
be.
Like a big budget A24 movie,they're covering an epic kind of
(10:29):
setting or premise, like acivil war in america.
They still manage to keepthings grounded and those small
pockets, those stops along theway on the road trip, are more
important than the big budgetexplosion fest.
At the end this film still hasthat artsy vibe to it while also
having the mainstream appeal.
But the interesting thing is,like when you watch it and the
(10:52):
fact that it doesn't pick a sideand that it's just that like
the stuff you were talking about, like having that empty feeling
and stuff like that, that'ssuch an arthouse thing to do.
Like that's not the point.
The point is the completeopposite.
You just didn't get it, man.
Speaker 2 (11:11):
It's very arthouse style shit.
Okay, I get that, I wouldn't.
Yeah, look, it's not a typicalHollywood structure movie.
It's not.
This one is Anyway.
No, it's not a typicalHollywood structure movie.
What you expect with any otherbig budget movie?
Absolutely not.
And I understand you think it'sart housey and artsy kind of
(11:32):
stuff, giving that emotionalexperience.
Because, yeah, it is aboutcreating an emotional experience
and not just beginning, middleclimax and hero wins.
It's.
It's more about the messagethan the explosions and the
visual storytelling.
It's more about the message ofthe whole movie.
A24 uses this movie as a message, as the messenger of a message,
(11:55):
to tell the audience, to give awarning or to educate the
audience.
And, yeah, you can call itartsy or arthouse.
It's just different from anyother movie where it's just for
entertainment.
This is not just forentertainment.
This is like a bit of a wake-upcall.
It's get your head out of yourfucking ass.
This is reality.
(12:16):
It sure is set in the nearfuture and it seems so far away,
but this is reality.
They're saying like cool, thecivil war.
But hey, lee, you have been tointifada and you that great
picture from the intifada.
And she's like, yeah, and she'sup until the very end of this
movie, she's more, uh,traumatized by the intifada than
(12:37):
she is by this civil war.
Yeah, the civil war is horrible, but it's implied that the
intifada was way worse.
Until the end, until she losessomeone close to her, but that's
when it becomes personal forher.
A24 is delivering a messagewith this movie and not just
entertainment, and I love that.
I love it because it was alsovery it's also very entertaining
(12:59):
.
You're hooked in from the veryfirst moment.
It's just not a very positiveentertainment, but it is hooking
.
Speaker 1 (13:04):
It's tough to watch, at times shocking, disturbing.
There's imagery in this that isdisturbing and sometimes the
most disturbing part of it ishow the characters are not
disturbed by the imagery, thefact that these people, these
journalists, are desensitized tothe violence and the horror of
(13:27):
war because they're just theseobjective people that are just
meant to be there and take thephotos and not ask questions,
not fight or get involved.
There was a part in this whereI was like, oh, that's some
interesting irony where theystop at this town, that's normal
, like everyone's just actinglike nothing's happening, and
(13:48):
they go into a store and they'relike, hey, you guys know that
there's a civil war going on.
And the shopkeepers, yeah, wewatch it on the news, but we
don't want to get involved.
And the journalist is lookingat her perplexed, like you don't
want to get involved.
The journalist is looking ather perplexed, like you don't
want to get involved.
(14:09):
In my mind, I was like you don'twant to get involved, eva, to a
degree You're not a soldier,yes, you're a journalist, but
are you really contributing?
You've almost lost yourhumanity to a degree by just
being this objective observer.
Sometimes someone's on theverge of dying, being tortured
In front of you instead of youlike being like I'm going to
save that person, you think toyourself I'm going to take a
(14:32):
photo because the photo is goingto be worth more.
Or your friend dies and youtake a photo of them Because
you're like that's going to bevaluable.
Speaker 2 (14:41):
Because it's a casualty of war.
They're not doing it for themoney, they're doing it for the
message, but I don't get thatfrom it.
Speaker 1 (14:49):
I don't learn enough about these characters to know
that we don't learn enough aboutwhat's driving them to the
point where I said to you like,why the why is it so important
to get this interview with thepresident?
Like they know that somejournalist is going to get that
interview, they're all racingagainst time to get this
interview.
Is it because they know thatthe soldiers are going to crash
(15:12):
the white house and kill himwithout thinking about asking
him any questions?
Or is it because they want tobe the first ones to get this
interview to be remembered inhistory as the journalist that
got the interview?
You never get a sense of oh, Idid, I took this photo from this
(15:32):
war and it managed to causethis positive effect.
So that's what I'm all about.
I'm not about the money oranything like that.
Like we don't get to see any ofthat stuff so that we can
better understand thesecharacters.
Speaker 2 (15:46):
That's a good question.
That is indeed something Ididn't figure out.
But a second time watching iteither, it's like why do they
specifically want to speak tothe president?
It's yeah, it's like you'reasking an actor why do you want
to get to Hollywood?
Speaker 1 (16:01):
You want to get big.
Speaker 2 (16:02):
You want to make it Like Lee has that and Defy the
Famous Picture made her big.
Speaker 1 (16:08):
Yeah, and that's a good point bringing up, like
when you ask fittingly someonelike why?
When you ask fittingly someonelike why do you want to be an
actor, and they're like I justlove being a storyteller man,
and there's people that say thatand you're like that's a crock
of shit.
Speaker 2 (16:24):
You just want to get famous.
You want money and make usfamous.
Yeah.
Speaker 1 (16:29):
And that's what I felt.
When these guys say certainthings about what it means to be
a journalist and the sacrificesand that Like why it just
didn't sit right.
There's this ambiguity whereyou're not 100% sure, and maybe
(16:49):
that's the point, to have thatambiguity of not 100 hundred
percent knowing why they reallywant to do this.
But the young girl played byKaylee Spaney, which she does an
amazing job of coming across asthis preppy, enthusiastic,
(17:09):
wide-eyed girl that's justentered this world and
everything looks so colourfuland bright to me because I
haven't gotten into the trenchesyet and watching her whole
world come crashing down andthis reality hit her.
That was interesting to watchand seeing her character change
by the end of it.
(17:30):
But she said she wants to belike kirsten dunst's character.
Why?
Speaker 2 (17:36):
because she's the great lee is kirsten dunst's.
Lee is famous.
She's a great journalist.
She's well known for her, allher quote-unquote adventures,
like all the wars, the survivalsshe's gone through.
Yeah, she's an idol.
(17:56):
She's someone that achieved somuch in that field, so she
aspires to be like me and makethat difference as well.
I would say I think like itdoes bring up.
Speaker 1 (18:12):
One thing that I did really enjoy was Kirsten Dunst
does a great job of gettingacross someone who's seen some
shit, been through some stuff,and just from looking at her
you're like yeah, she's beenthrough some shit.
Definitely this is a journalistwho's been to multiple wars.
All these controversial momentsthere's no happiness or joy in
(18:36):
that.
She's disconnected and there'smoments, really disturbing
moments, that happen in thiswhere you're like, oh my god,
that's how she's gonna react tosomething like that, that's how
she's gonna react to peopledying around her.
And there were moments where itwas hard to like her, but by
the end, she does somethingwhere I don't know.
(18:59):
I think people are reallydivided on the way it comes to
an end.
What do you mean?
Well, there's moments in thiswhere a journalist knows they're
in a really dangerous spot, butit becomes oh, I have to get
the best shot.
Though why do you have to getthe best shot?
That's not about telling thetruth, getting the truth out
there.
Why is it that important?
(19:22):
And then, in my mind, I'm likeit has to be like money or ego
or something like that.
It can't be this noble truth ofgetting the message out there.
It can't be this noble truth ofgetting the message out there.
So then, when you see thisyoung girl, jessie, when you see
Jessie put herself in such anobvious line of fire.
Speaker 2 (19:43):
She's trying to mimic Lee and fails Because Lee did
it.
And then, like a minute later,she's going to copy exactly what
he does and she does it, andthen she just doesn't do it.
Speaker 1 (19:53):
Well, yeah, and Lee decides she's going to save her.
And as she's saving her, she'sgetting bullets pumped into her
and Jesse decides to take photosof her while she's falling.
Speaker 2 (20:09):
That was set up from the very beginning.
Speaker 1 (20:12):
Yeah, but that's fucked up it is fucked up.
Someone's dying in front of youand you're going to take photos
.
What are you going to do aboutit?
Speaker 2 (20:19):
There's nothing you can do about it.
The only thing she can do ismake a photo.
And she swore from thebeginning I'm never going to
freeze up again.
After she froze up, not takingphotos of those two guys hanging
, she's like I'm never gonnafreeze up again.
And then she had a conversationwith lee if I die, will you
make photos of me?
And lee says what do you thinkmeaning?
Yes, and then at the end leedies and she's like okay, I'm,
(20:41):
the only thing I can do is makephotos.
That's what I'm here for.
I'm gonna do what I said I wasgoing to do yeah, but how about
try and save her?
how can you save her?
Speaker 1 (20:49):
get her out of the line of fire, get the like.
The way it's done and presentedmakes it seem like there's so
obviously an opportunity to getout of the line of fire, but
it's no.
I'm just gonna take a photoinstead.
It feels like the equivalent tosomeone, some social media
influencer, seeing someone dyingin front of them and being like
(21:10):
I'm going to live streaminstead of that's reality, isn't
it?
Yeah, and maybe that is thepoint, because that was what I
kept thinking the film wasalluding to is the
desensitization of people withsocial media, in that when
horrible events happen, like acivil war and stuff like that,
(21:34):
there's going to be more peoplethinking about oh, how do I get
the most likes and social mediaengagement, rather than being
like, how do I defend my home?
Or like, how do I save thepeople I love?
How do I defend my team, helpmy team to victory, that kind of
thing, how do I play my part inthe war?
(21:55):
There's going to be more ofpeople just being like oh,
there's a dead body.
I'm gonna take a photo of thatwell, let's see how many likes I
get for this decapitated personon.
Speaker 2 (22:05):
That said, I would say last thing, before we should
finalize it and go into ratings.
What I would say is that foreverybody, it's very clear what
their role is in this war.
Right, everybody has a veryclear role.
Everybody assumes their ownrole of what they're going to do
(22:27):
in this war.
You've got the soldiers they'reshooting.
They're not going to doanything else but fighting for
their country, fighting fortheir part right, whichever part
they're shooting.
They're not going to doanything else but fighting for
their country, fighting fortheir part, right, whichever
part they're on.
Um, you have the people who aresurviving and protecting their
own town.
You have the other guys who areprotecting their own goods
right, and they will fightagainst their old friends from
(22:48):
school if it means I'm going toprotect my own goods, no matter
what.
And then you have thejournalists who are going to
report, no matter what, andeverybody's like in their own
affection, in their own littlelane of this is my purpose, this
is what I'm going to do, andit's very strict because when
you step out of it, you'reguaranteed to die.
That that explains exactly whythey would make photos of people
(23:09):
dying and not helping.
Yeah, yeah, there's a set roleExactly, and everybody assumes
their own role.
It's not like in Divergent,where you get it assigned.
It's like they assume their ownrole and it's the moment when
Sammy dies Spoiler.
It's the moment when Sammy diesand Lee makes a photo of it and
(23:34):
deletes it afterwards is themoment she decides I'm going to
step out of my lane great moment, by the way.
Speaker 1 (23:39):
Great love that moment.
Speaker 2 (23:41):
But that moment is then the pivotal moment for lee
to decide inside I'm going tostep out of my lane, and she
does.
From that moment on, shestopped taking photos.
Up until the very end, untilthey're in the presidential
house, she stopped making photos.
Anxiety started kicking in.
She did something that shehasn't done in years, which is
(24:03):
to step out of a lane and dosomething humane, something
that'd be like okay, it makescommon sense, rather than to
just like a tiktok or be likefilming yourself, filming
yourself while someone is dying,or photographing someone that's
dying.
Then right, yeah, and shethrows herself in the line of
fire to protect jesse, andthat's instantly.
Speaker 1 (24:27):
It's rewarded by death, by lead in the back or by
her having an honorable deathwhere she can say my death meant
more than my life in a way,yeah.
Speaker 2 (24:37):
And then what is the immediate result of that?
She's dying.
Jesse, in her lane, reports.
She makes photos.
Nobody is is is crying over adeath.
In that moment, everybody's inbattle mode.
We're in our lane, we've got togo.
We've got to go, we've got togo.
Joel grabs her by the shoulderand tells her to get up.
(25:00):
We're going.
The president's right there.
We either can mourn over Leeright now or we can go and do
what we traveled for, which istalk to the president, and then
they go to see the president.
Speaker 1 (25:18):
And then the best part is, after all this build-up
, they finally get to see thepresident, and it's like we just
need one quote.
Speaker 2 (25:21):
And what does the president say please don't kill
me, don't let them kill me,don't let them kill me.
He says don't let them kill me.
Speaker 1 (25:27):
All right, boys, you can shoot him now it's such a
simpsons episode like it just II found it really funny, like in
a dark way, that like all thisbuild up and then it's just like
that all right, just kill him.
Yeah, all right, we're done.
Speaker 2 (25:44):
We're done, wrap it up everyone, let's go home.
I still want to give one moreode to jesse plements.
Just amazing dude, everyone'sgiving him.
Yeah, but he was just a massivestandout what are you gonna do
about it?
Speaker 1 (25:59):
because in that small amount of time, we clearly knew
his character.
We knew more about hischaracter than we did about all
these other journalists that wefollowed.
For, like, when we meet thatolder guy, that older journalist
, he's just typical like DennyGlover from Lethal Weapon man
I'm getting too old for thisshit.
(26:20):
Talking about Sammy, yeah,sammy.
He's just like I'm getting tooold for this shit.
I shouldn't be doing this.
Man, ah man, I'm going tofucking die.
And we all know he's going todie.
We just don't know when exactly.
But it's abundantly clear thatthis dude is just there to be
killed off.
So when his death comes, weweren't really shocked by it at
(26:40):
all.
It was more like what's donewith his death after?
Yeah, he was great.
The guy is like a natural atplaying a piece of shit Like
Breaking Bad, oh he.
Of shit Like Breaking Bad, ohhe was so good in Breaking Bad
yeah.
He's always this character thathe just manages to get this rage
(27:03):
out of you.
Testament to him that he's ableto do that, because I think
nowadays it's really hard foractors to play these like vile,
horrible characters and make itbelievable without it becoming
this over-the-top marvel stylecaricature where it's a generic
(27:26):
villain with a generic plot.
He does it just with purestillness.
Yeah, his stillness is whatmakes it more shocking, yeah,
and how he can just so quicklyjust shoot people without any
remorse or hesitation andeveryone else is reacting to it
like is that really what justhappened?
I remember one of the timeswhen he shot someone I was like
(27:51):
did he really just shoot someone?
Did he shoot that guy Like?
I had to take a moment and belike holy shit, that guy's dead,
fuck.
Speaker 2 (28:00):
Any one specific moment that you're like, wow,
this was amazing or wow, this ishorrible.
Speaker 1 (28:06):
I think my favourite part of the movie was Jesse
Plemons' scene because it wasclear good versus evil In a very
short period of time.
There was no muck about it.
It led to a lot of action andthere was just a lot of
(28:27):
horrifying implications withoutanything being said.
We see this pit with all thesedead bodies and your first
thought is did they kill allthese people?
And the mystery around it notbeing solved of like, why were
they killing people?
What did their views have to dowith any of this?
(28:48):
Why did this have to happen?
You don't know.
Also, seeing the characterSammy like step in and save them
, was that was like the firstmoment where I'm like, oh,
they're not completely likelacking humanity.
There's still some life left inthem.
Because you've got this old guywho's I know this is gonna get
me killed, but shit, I'm gonnado anyway.
(29:09):
So he goes in and saves them.
But you've also got the otherjournalists.
They could have just left her.
They could have.
They could have easily left herdriven off and been like we're
not dealing with this.
Shit, she's an idiot for goingin the other car.
That scene, actually that sceneI fucking hate that scene.
(29:29):
I hate that scene Of crossingcars.
I hate the scene where thejournalists swap cars while
driving because it feltpointless to me.
I guess you could argue that itgets across the thrill-seeking
nature behind the journalists,which would play into another
harsh reality.
A harsh truth is that thejournalists just love the
(29:52):
adrenaline of being in thesesituations.
It's not really about andthat's what you got from these
two journalists that weredriving in a separate car but
the justification for why theyswap cars just didn't make sense
to me.
Why they decided to do it whiledriving.
It just felt really dumb andout of place.
Speaker 2 (30:17):
It just made me think these characters are stupid.
Yeah, it's not like you'resaying.
I think it's indeed about themtrying to seek the thrill of the
situation of the moment.
Don't worry about Jessie.
Jessie's copying everything shesees.
She's a newborn, she's a baby.
She learns by copying, byimitating others.
It's the other journalist, theChinese journalist, that crosses
(30:41):
the car and he's just like anadrenaline junkie, so I'm not
surprised he would do it, andthat justifies for Jesse to do
it.
Speaker 1 (30:48):
Yeah, I get him doing it.
Just based on the small amountof time we spend with him, we
learn about him.
Yeah, he's a typical kind ofthrill seeker.
You don't really get the sensethat there's much more to the
guy with journalism other thanthe thrill of yeah, yeah, so you
(31:08):
don't really admire him oranything like that.
Speaker 2 (31:11):
Yeah, and Jessie's just imitating.
She's like I want some of thatthrill, something that's
dangerous not too dangerous.
Where I'm in a line of fire.
Speaker 1 (31:18):
I guess it does make sense, but it just felt like a
cheap way to get Jessie inanother car away from the main
character so that they wouldthen have to save her.
That's what it felt like to me.
It took me out of it where I go.
They just need to get Jessie ina situation where she's going
(31:41):
to be shot or killed so thatthey have to step in and save
her.
It felt more like I understandwhy they're doing this from a
storytelling point of viewrather than, oh, like that
totally makes sense and my braincan just let that go.
It just was always at the backof my mind of like why did that
(32:01):
have to happen that way?
I that just seemed dumb andyeah, even as you were talking
about and you're like, whatscene annoyed you or pissed you
off, I'm like, yeah, love whatit got to, but how we got there
did not like Zero to five stars.
Speaker 2 (32:18):
What would you give it?
I'd give it.
Speaker 1 (32:24):
It's so well made and it looks so great and the sound
design is amazing and there aresome great moments with these
actors.
But I don't know.
We were listening to one moviereviewer say there's almost like
this hollow vehicle, and sinceI heard that I can't let it go,
I'm like, yeah, it does feelthat way.
You don't get a satisfyingfeeling by the end of this, so
(32:47):
it's hard for me to give it ahigh rating.
I'd say three and a half.
The performances are great,like all the ingredients are
there for a great movie.
But, man, this could have beensomething so much more.
It could have had something somuch more memorable.
Oh, yeah, there's this one goodscene, but yeah, the rest of
(33:15):
it's great looking movie, greatcinematography.
I love the way it portrays warin a realistic, gritty way and
gets across the intensity ofreaching a point where you
actually want to leave the scene.
You're I'm done with this thing.
Can we please get out of here?
Almost like you're feeling thatdiscomfort that the journalists
(33:37):
would feel from being in thissituation.
So that's great, but just as astory, there's nothing for me to
latch on to.
There's no characters I can,even as we talk about them, I'm
like can barely rememberanything about these characters.
This feels like a movie that'stoo scared to go the full mile.
Yeah, you almost sense.
(33:59):
Oh, they could have went wayfurther with that.
Speaker 2 (34:02):
They went pretty far, but you feel they can go
further than that.
If you've taken that step.
Take the step.
Speaker 1 (34:08):
If you're going to go with this premise, if you're
going to do this, fucking go allout.
And I just, ah, it's so weird,it's so hard to describe it's.
It has this controversialpremise, but it just doesn't do
anything really that memorablewith it, other than like the one
scene that everyone talks aboutwith jesse plummins, which is
(34:32):
all most reviewers talk about isthat scene.
But you don't get that withanyone else.
Speaker 2 (34:38):
I think the reason why his scenes start so much is
because you're so confused withwho is on the right side and
who's on the wrong side, becausethat's how we want to label
everybody, and we finally get toone point where we just know
and we just really want him todie.
Yeah, he's the first scenewhere we actually know who's
right and who's wrong.
I think that's the satisfyingfeeling when you watch this
(34:59):
scene.
It's because it's the one scenethat stands out on morality.
I'm going to give it a four anda half stars.
You don't seem surprised.
You've seen the movie twice.
Yeah, and I would watch it athird time.
Speaker 1 (35:17):
Because I loved it and the way you've talked about
it.
Yeah, I can see why you give itfour and a half.
Okay, what's the good?
Speaker 2 (35:26):
The good is, this movie is not afraid to set the
message as the most importantand prominent attribute of the
movie.
Not the story, but the message.
It's like an exposition of acivil war, of how it would work
(35:48):
out in today's era.
It's not about the life storyof this, it's not a story about
the characters.
It's a story about thesituation.
A story about the situation,the circumstance that they find
themselves in, and it's notabout the past or the future.
It's about what's happeningright now, the chaos you're
finding yourself in and the wayyou're trying to work yourself
(36:10):
out of it.
That's what this movie is about, and I think it did an
excellent job in leaving theaudience confused, unsatisfied,
with a good running start and anabrupt finish, very abrupt.
I don't like the finish as much.
Okay, so the three moments Iwould say that take the fifth
(36:33):
star off from my rating.
Why it's not a classic thethree moments?
I would say that take the fifthstar off from my rating.
Why it's not a classic thethree moments?
I would say that.
Take the fifth star off is thedeath of Lee.
It's because she pushes Jesseto the ground and then in a line
of fire and then remainsstanding to catch all the
bullets.
No, you do a freaking jump,grab him and just drop together
(36:54):
to the ground.
That's what anybody would do,so that's dumb the more I think
about it, though.
Speaker 1 (37:00):
What if lee just had given up and reached the point
where she just wants to diebecause she's?
Speaker 2 (37:07):
I don't want to keep doing this anymore that's the
only justification I could seefor it, but I I don't like it
because it doesn't make senseyeah, like I didn't like it more
so because of the way jessereacts.
Speaker 1 (37:17):
That's funny that you don't like it because it
doesn't make sense.
Yeah, I didn't like it more sobecause of the way Jesse reacts.
That's funny that you don'tlike it because of the way Lee
reacts to her own death.
Speaker 2 (37:22):
I love the way Jesse reacts.
I love the way Jesse reactsbecause that's exactly.
But that reaction has been setup from the beginning.
It has to set up with the fuelstation.
I'm never going to freeze upagain.
It has a second set up at the,at the helicopter, where you
make a photo of me when I dieand Lee says what do you think?
(37:43):
Of course I fucking would.
And then this is then thepayoff Jesse makes a photo of
Lee dying.
That's perfectly set up andpaid off.
I understand you don't like itbecause it doesn't make sense,
because he would try to helpsomeone.
That's the most rational thing,he off.
I understand you don't like itbecause it doesn't make sense,
because you would try to helpsomeone.
Speaker 1 (38:00):
That's the most rational thing you would do, but
these people live for thethrill.
That's a different mentality.
Yeah, and maybe that is thepoint is that I can't understand
their circumstances, becauseI've never been in those
circumstances where I'm totallydesensitized to being in a war
and just taking photos of it.
Speaker 2 (38:15):
Yeah, the second in a war and just taking photos of
it.
Yeah, the second bit I didn't,I wasn't a big fan of it is the
death of sammy.
Where did the bullet come from?
How did he get shot?
Like the shot is behindaluminium.
There's no, there's no way forthe car to the bullet to go in.
The bullet came from behind buthe got shot from the front.
(38:36):
And if he got shot from thefront and if he got shot from
the front, it would have gonethrough the window.
But the gun was lower than thewindow and the window was intact
and it would not have gonethrough the hood or the
dashboard or otherwise.
It would have gone through thewheel or through the engine.
So that could have worked.
It's like where did the bulletcome from?
That was very weird.
He should have been shot in theshoulder, with a broken through
the side window maybe, but hehad to die because he's an old
(38:59):
guy who's passed his prime.
No, he had to die because thatwas part of Jessie's arc.
She needed her friend to diefor her to have the lesson that
she needs to get out of her lane.
You mean Lee, sorry, lee.
Speaker 1 (39:12):
He needed to die.
That brings up a good pointright, we knew his death was
coming from a mile away.
Yeah, as soon as we know thathe's gone with them, we're like
he's definitely the one dying.
Speaker 2 (39:25):
Okay, yeah, but then when.
Speaker 1 (39:27):
and then this story point comes up where we're like,
oh that's weird that theyswapped cars.
But it has to get to that pointwhere then Jesse's in danger,
so that Sammy can save them andget shot, saving them, because
he's, ironically, the one whostill has his humanity left yeah
, even though he's been in thejournalism world the longest and
(39:50):
probably seen the worst of theworst.
All great stuff, but you don'tlike the way it was presented
because it doesn't make sense Idon't mind him dying like.
Speaker 2 (40:01):
His death makes perfect sense.
He needed to die for the otherstory to work, because him dying
sets up again for lee saidright.
His dad sets up the death oflee later on because she decides
to become be more like sammyand put herself in the death of
Lee later on, because shedecides to be more like Sammy
and put herself in the line offire for the safety of others,
not just to report, but just howhe died.
(40:25):
Like he could have been shot ina different place with a broken
window.
That would have made sense.
It's just that the bulletappeared out of nowhere, from an
angle.
There was no gun coming from.
Maybe he should have just donelike a slow-mo and the third bit
(40:48):
that I was really weird, whichwas a very artsy moment, is
right after that they weredriving through like a forest
fire and you had that themsitting in a car at night and
all the little flames coming bythe car and it's just like do
you remember the scene?
Speaker 1 (41:04):
it's yeah, I actually liked that no, it looks
beautiful, but it's.
Speaker 2 (41:08):
The rhythm of it is so different.
It felt out of place.
It felt completely out of place.
Speaker 1 (41:16):
It felt completely out of place.
I like what it represented 100%.
Even in this chaos, there'ssome kind of weird beauty.
Speaker 2 (41:23):
Well, yeah, 100%, I get it.
Like I get why that cutscenewas there, but just the rhythm
of it, the color of it, it cameout of nowhere and it just felt
out of place to me.
Oh, it was.
It just felt out of place to meokay, it just felt out of place
.
Just seeing it now again in thetrailer that we just watched,
(41:44):
just I see it again it's like,oh yeah, I remember that it just
it's weird.
Yeah, there's beauty andthey're all suffering in the car
because the guy in the back isdying and sammy is dying with a
bullet wound or he's alreadydead, and they're driving there
and they're all crying andthey're all screaming and
there's so much beauty outside.
It's a beautiful message.
Just the slow motion of it, itwas just very odd.
Speaker 1 (42:08):
So it was more the editing.
Is that where you're getting?
Speaker 2 (42:13):
I don't know, I suppose.
So We've seen it twice.
Yeah, yeah, I don't know if youwould blame the editing team
for it, but it just felt likethat's that cut scene.
As beautiful as beautiful as itis and the message is clear as
it is it just felt out of place.
It should have been slightlydifferent.
Like it just cut to that sceneand cut out of it real quick.
(42:35):
It was just a bit odd.
Yeah, you know what?
Speaker 1 (42:39):
I was disappointed by after they shoot the president.
It would have been great ifthey, like all, stood on the
president's dead body and took aphoto like all smiling, like we
did it.
I would have loved that.
I would have pissed myselflaughing.
If, after all that, they justgo full parody, oh God, just to
(43:00):
give some levity to the audienceas we leave the theater.
So we don't feel like oh my God, I just want to fucking.
Speaker 2 (43:08):
I just hate my life after watching that movie.
Speaker 1 (43:11):
That was depressing as fuck.
Speaker 2 (43:13):
That's our review.
Very depressing.
Speaker 1 (43:15):
Yeah, the funny thing about this is the context in
which we watched.
It was like oh, it's mybirthday, let's go out and watch
a feel-good romp.
And Addy's like yeah, let'swatch.
Speaker 2 (43:27):
Civil War.
I'm like, look, there wasnothing else available that day
and he really wanted to go tothe cinema and his mom wanted to
see it too.
So I was like, okay.
Speaker 1 (43:34):
Yeah, it was either Kung Fu Panda 4 or Civil Wars.
Yeah, you made the right choice.
Anyway, you can make the rightchoice by sharing and
subscribing to this video andcomment below did you like Civil
War or you didn't like CivilWar?
What were some of your thoughts?
Speaker 2 (43:54):
One to five stars.
One to five stars.
Comment below what you wouldgive it.
Speaker 1 (43:58):
Yeah.
Speaker 2 (43:58):
Right.
Hey everyone and welcome to another episode of
Movies Worth Seeing Today'sepisode, I'm again joined by
regular mainstay.
Well, I tried to get rid of him, but he keeps coming back, like
that dog that just keeps comingback.
Speaker 2 (00:19):
Stop throwing the stick.
Speaker 1 (00:22):
I keep throwing the stick and he brings it back.
Throwing the stick, I keepthrowing the stick and he brings
it back.
Now I'm joined by Adi Aisha foranother review today, today's
episode.
Look, we're going to dospoilers because it's difficult.
I feel like this movie issomething that we could do a
review in five minutes if wedon't talk about spoilers.
(00:43):
Civil War Adi made the point totell me nothing about this,
said watch this with nothing,don't look up trailers, nothing.
And are you happy?
You did that?
You know what?
Yeah, because there was a lotof mystery going into this, had
no idea what to expect, or Iexpected a war film.
(01:04):
This kind of is a war film, butit's also.
The soldiers are not the maincharacters and I fucking love
that.
Speaker 2 (01:12):
You know what I was actually thinking.
We always see a movie where wefollow the protagonist and
they're the hero.
Let's all the marvel movies.
Every other movie it's oh,you're the protagonist.
The whole story goes about isrevolving around you.
Right, you're superman, but howabout?
And then the whole story goesabout is revolving around you.
Right, you're superman, but howabout?
And then the whole story isabout superman, right, but how
about?
We're doing about theaccountant has to deal with all
(01:33):
the fucking shit that supermanleaves behind, because
everything is broken and theaccountant or the insurer has to
deal with all that stuff.
But now we're watching like awar movie, where it's not about
the soldiers, it's not about thepresident, it's not about
anybody of significance, it'sabout the common man, like the
average person, almost like acivilian exactly.
(01:56):
But then the war journalistsright, and I think that's
beautiful because you get theinformation that they are given
real time.
And that's the girls.
What's her name again?
Kirsten Dunst.
No, the young girl Forgot.
You get the young girl'sperspective of the whole war.
Speaker 1 (02:15):
Like she has no information.
Speaker 2 (02:16):
Yeah, she has no information.
She doesn't know any of thebackground of things oh,
probably a little bit more thanwe do, but she doesn't know as
much of the background as theother characters do, and she
only learns what the othercharacters tell her, and so do
we yeah, but if you're living inthis political climate where
there's this civil war going on,wouldn't you have some kind of
(02:40):
ideas, opinions that you wouldexpress to the other journalists
?
I'd say the movie is not aboutthat.
The movie is about the chaos,See.
Speaker 1 (02:47):
but that's the thing that pisses me off about this.
So watching Civil War, we tookmy mum to watch it.
Speaker 2 (02:55):
Great choice.
Speaker 1 (02:57):
Yeah, I told him not to I hadn't taken my mum to the
movies in a long time and I waslike, oh, let's go to the movies
.
Ooh, big mistake.
My mum is like a verytraditional movie watcher.
She likes a point like a threeact structure and she loves
movies with strong hero, strongvillain and lots of context.
(03:17):
She wants to know everythinggoing on.
This movie establishes thatthere's a civil war, and that's
it.
The president is locked up inthe White House trying to
protect himself.
These journalists are trying toget an interview with him.
That's it.
We don't know what started thecivil war.
We don't know what policies orwhy America or why Texas of
(03:42):
places is teaming up withCalifornia.
No one says anything.
That's leaning on left or rightpolitically, which I in a sense
is a smart idea because itdoesn't alienate the audience
and cause a divide.
But at the same time it almostbecomes the movie becomes like
an empty vessel where you'relike what's the point of this?
Speaker 2 (04:05):
And I know what you're what is the point of war?
All war is pointless.
That's what I love about themovie it gives you that same
experience.
It leaves you with images youdidn't expect to see on a big
screen like that.
It's scarring, that kind offootage that you're shown and
(04:26):
there's so much going on thatyou just get lost.
You don't know who's on whatteam and when you're trying to
survive, it just doesn't matteranymore.
And that's the experience youhave in war, right, not that I
would know, but Back in NAMM.
Speaker 1 (04:39):
When I was in.
Speaker 2 (04:40):
NAMM yeah, no, back in NAMM.
You don't know what the fuck isgoing on.
And that's the beautiful thing,that's the experience this
movie is giving you and that'swhat I loved about it.
I get that.
It's just, and I understand.
It pisses you off as well atthe same time.
Speaker 1 (04:56):
I understand why it's doing that.
Like I said, clever thing to dobecause you're not going to
have whinging from either side,all right.
Also really good in that itcreates this mystery the whole
time.
Where you're, you're wonderingwho's right, who's wrong.
There is no right, no wrong.
(05:18):
And there is a scene thatclearly, even practically just
batters you over the head andsays, clearly, even practically
just batters you over the headand says it doesn't really
matter.
This is the story.
People are killing other people, these people are trying to
shoot us, we're trying to shootthem.
That's all it comes down to.
But as a movie watcher, I dofeel empty afterwards, and just
(05:40):
you saying the movie's point isto make you feel that way
doesn't make me feel any better.
It just keeps me feeling thatsame way.
I wish there was just like thisone conversation or one kind of
thing that stood out Like.
There's one scene in particular, getting into spoilers, where
Jesse Plymouth who is onlyPlymouth, and this Plymouth,
(06:03):
plymouth, yeah.
It's funny that you'recorrecting me on English.
How often does that happen?
Speaker 2 (06:10):
All the fucking time, guys.
All the fucking time Bullshit.
Speaker 1 (06:12):
Yeah, that dude's great at playing a dick like a
real fucking sadistic guy.
He's great at that.
His scene stands out becauseit's the only time where you see
one character have a verydistinct kind of viewpoint.
Speaker 2 (06:27):
It's a horrible viewpoint.
It's the only time in a moviewhere it's clear who is right
from wrong.
Speaker 1 (06:33):
Yeah, because this character is this over-the-top
kind of extreme racist who'sjust deciding to kill people.
Speaker 2 (06:42):
But who is he with?
Is he with the western forcesor is he with the president?
Yeah, we don't get exactly.
That's what I'm talking about.
You know who's right from wrong, but you don't know which side
is right and which side is wrong.
Okay, so there is.
It is given that the presidentis wrong and the western forces
are right, but everything thathappens in between you don't.
Speaker 1 (07:04):
You can't separate it yeah, but I just I think that
if there was a civil war goingon, you're on this road trip
with these journalists.
They're trying to get aninterview with the president,
like when they talk about whatthey're going to ask him, and
they have a scene where they'relike thinking about what they're
going to ask him, but then itjust becomes meaningless.
They have that scene in the car, yeah, when they're like
thinking about what they'regoing to ask him, but then it
(07:25):
just becomes meaningless.
Speaker 2 (07:26):
They have that scene in the car, yeah, where they're
talking about exactly whatthey're going to ask him, but
you never get a what they're.
Speaker 1 (07:34):
It just feels weird if we made a movie where there's
like in fallout, let's say, twocharacters are set in the
Fallout universe.
It's fucking amazing.
I love the show.
Imagine if you never found outany answers about why the world
has become like that.
You take out that whole storyof the show.
(07:54):
Wouldn't you feel like-.
Speaker 2 (07:56):
It's a different structure, it's a different
story.
It's With Fallout, for example,it's important for the main
character to learn, for Lucyright McLean to learn what
happened, because that causesthe divide between her and
(08:18):
without spoiling it.
The other characters justsaying yeah, it creates a divide
between her and the othercharacters.
That makes it vital, which isgoing to be crucial for the
second season.
Right, that is the story.
She needs to know why In CivilWar, you don't need to know why,
you just need to know it'sfucked up.
That's it.
Speaker 1 (08:36):
There was plenty of fucked up scenes in this, for
sure.
Disturbing scenes, lots ofscenes.
There's reasons why I wouldn'twant to watch this again and I'm
surprised you wanted to watchit a second time.
Speaker 2 (08:49):
I loved it a second time, even more than the first.
There's so many little thingsthat I missed and I watched
reviews and I watched summariesand recaps about it and I went
to watch it again.
I was like, oh my God, I don'tknow how I missed all these
little bits.
It's actually reallyinteresting, just little lines.
For example, kirsten dunst'slee says something along the
(09:10):
lines of I went to the intifadaand went to all these wars.
I survived all of that to tellhome, to bring it home, to tell
them not to repeat this at homeas a warning, and it happens at
home.
And then there's another line,that which is like the dark
irony of it, right.
(09:30):
And then there's another linesaying, once the president, once
washington is down, they'regonna turn on each other.
Washington is down.
At the end dc, I should say,not to say washington dc.
The president is down the whitehouse is down.
That's the end.
Dc, I should say, not the stateWashington DC.
The president is down, theWhite House is down.
That's the end of the movie.
It's not the end of the war.
(09:50):
That's the beautiful thing.
It's not about the war.
It's not about the politicalaspect of the war, it's about
how the other monsters it'sdisguised as being about war to
hook people in.
Speaker 1 (10:04):
There's going to be like action and like explosions
and this shit.
Oh, there are, there is, buteverything's got this realistic
grit to it.
It's pretty much what you wouldexpect an A24 produced movie to
be.
Like a big budget A24 movie,they're covering an epic kind of
(10:29):
setting or premise, like acivil war in america.
They still manage to keepthings grounded and those small
pockets, those stops along theway on the road trip, are more
important than the big budgetexplosion fest.
At the end this film still hasthat artsy vibe to it while also
having the mainstream appeal.
But the interesting thing is,like when you watch it and the
(10:52):
fact that it doesn't pick a sideand that it's just that like
the stuff you were talking about, like having that empty feeling
and stuff like that, that'ssuch an arthouse thing to do.
Like that's not the point.
The point is the completeopposite.
You just didn't get it, man.
Speaker 2 (11:11):
It's very arthouse style shit.
Okay, I get that, I wouldn't.
Yeah, look, it's not a typicalHollywood structure movie.
It's not.
This one is Anyway.
No, it's not a typicalHollywood structure movie.
What you expect with any otherbig budget movie?
Absolutely not.
And I understand you think it'sart housey and artsy kind of
(11:32):
stuff, giving that emotionalexperience.
Because, yeah, it is aboutcreating an emotional experience
and not just beginning, middleclimax and hero wins.
It's.
It's more about the messagethan the explosions and the
visual storytelling.
It's more about the message ofthe whole movie.
A24 uses this movie as a message, as the messenger of a message,
(11:55):
to tell the audience, to give awarning or to educate the
audience.
And, yeah, you can call itartsy or arthouse.
It's just different from anyother movie where it's just for
entertainment.
This is not just forentertainment.
This is like a bit of a wake-upcall.
It's get your head out of yourfucking ass.
This is reality.
(12:16):
It sure is set in the nearfuture and it seems so far away,
but this is reality.
They're saying like cool, thecivil war.
But hey, lee, you have been tointifada and you that great
picture from the intifada.
And she's like, yeah, and she'sup until the very end of this
movie, she's more, uh,traumatized by the intifada than
(12:37):
she is by this civil war.
Yeah, the civil war is horrible, but it's implied that the
intifada was way worse.
Until the end, until she losessomeone close to her, but that's
when it becomes personal forher.
A24 is delivering a messagewith this movie and not just
entertainment, and I love that.
I love it because it was alsovery it's also very entertaining
(12:59):
.
You're hooked in from the veryfirst moment.
It's just not a very positiveentertainment, but it is hooking
.
Speaker 1 (13:04):
It's tough to watch, at times shocking, disturbing.
There's imagery in this that isdisturbing and sometimes the
most disturbing part of it ishow the characters are not
disturbed by the imagery, thefact that these people, these
journalists, are desensitized tothe violence and the horror of
(13:27):
war because they're just theseobjective people that are just
meant to be there and take thephotos and not ask questions,
not fight or get involved.
There was a part in this whereI was like, oh, that's some
interesting irony where theystop at this town, that's normal
, like everyone's just actinglike nothing's happening, and
(13:48):
they go into a store and they'relike, hey, you guys know that
there's a civil war going on.
And the shopkeepers, yeah, wewatch it on the news, but we
don't want to get involved.
And the journalist is lookingat her perplexed, like you don't
want to get involved.
The journalist is looking ather perplexed, like you don't
want to get involved.
(14:09):
In my mind, I was like you don'twant to get involved, eva, to a
degree You're not a soldier,yes, you're a journalist, but
are you really contributing?
You've almost lost yourhumanity to a degree by just
being this objective observer.
Sometimes someone's on theverge of dying, being tortured
In front of you instead of youlike being like I'm going to
save that person, you think toyourself I'm going to take a
(14:32):
photo because the photo is goingto be worth more.
Or your friend dies and youtake a photo of them Because
you're like that's going to bevaluable.
Speaker 2 (14:41):
Because it's a casualty of war.
They're not doing it for themoney, they're doing it for the
message, but I don't get thatfrom it.
Speaker 1 (14:49):
I don't learn enough about these characters to know
that we don't learn enough aboutwhat's driving them to the
point where I said to you like,why the why is it so important
to get this interview with thepresident?
Like they know that somejournalist is going to get that
interview, they're all racingagainst time to get this
interview.
Is it because they know thatthe soldiers are going to crash
(15:12):
the white house and kill himwithout thinking about asking
him any questions?
Or is it because they want tobe the first ones to get this
interview to be remembered inhistory as the journalist that
got the interview?
You never get a sense of oh, Idid, I took this photo from this
(15:32):
war and it managed to causethis positive effect.
So that's what I'm all about.
I'm not about the money oranything like that.
Like we don't get to see any ofthat stuff so that we can
better understand thesecharacters.
Speaker 2 (15:46):
That's a good question.
That is indeed something Ididn't figure out.
But a second time watching iteither, it's like why do they
specifically want to speak tothe president?
It's yeah, it's like you'reasking an actor why do you want
to get to Hollywood?
Speaker 1 (16:01):
You want to get big.
Speaker 2 (16:02):
You want to make it Like Lee has that and Defy the
Famous Picture made her big.
Speaker 1 (16:08):
Yeah, and that's a good point bringing up, like
when you ask fittingly someonelike why?
When you ask fittingly someonelike why do you want to be an
actor, and they're like I justlove being a storyteller man,
and there's people that say thatand you're like that's a crock
of shit.
Speaker 2 (16:24):
You just want to get famous.
You want money and make usfamous.
Yeah.
Speaker 1 (16:29):
And that's what I felt.
When these guys say certainthings about what it means to be
a journalist and the sacrificesand that Like why it just
didn't sit right.
There's this ambiguity whereyou're not 100% sure, and maybe
(16:49):
that's the point, to have thatambiguity of not 100 hundred
percent knowing why they reallywant to do this.
But the young girl played byKaylee Spaney, which she does an
amazing job of coming across asthis preppy, enthusiastic,
(17:09):
wide-eyed girl that's justentered this world and
everything looks so colourfuland bright to me because I
haven't gotten into the trenchesyet and watching her whole
world come crashing down andthis reality hit her.
That was interesting to watchand seeing her character change
by the end of it.
(17:30):
But she said she wants to belike kirsten dunst's character.
Why?
Speaker 2 (17:36):
because she's the great lee is kirsten dunst's.
Lee is famous.
She's a great journalist.
She's well known for her, allher quote-unquote adventures,
like all the wars, the survivalsshe's gone through.
Yeah, she's an idol.
(17:56):
She's someone that achieved somuch in that field, so she
aspires to be like me and makethat difference as well.
I would say I think like itdoes bring up.
Speaker 1 (18:12):
One thing that I did really enjoy was Kirsten Dunst
does a great job of gettingacross someone who's seen some
shit, been through some stuff,and just from looking at her
you're like yeah, she's beenthrough some shit.
Definitely this is a journalistwho's been to multiple wars.
All these controversial momentsthere's no happiness or joy in
(18:36):
that.
She's disconnected and there'smoments, really disturbing
moments, that happen in thiswhere you're like, oh my god,
that's how she's gonna react tosomething like that, that's how
she's gonna react to peopledying around her.
And there were moments where itwas hard to like her, but by
the end, she does somethingwhere I don't know.
(18:59):
I think people are reallydivided on the way it comes to
an end.
What do you mean?
Well, there's moments in thiswhere a journalist knows they're
in a really dangerous spot, butit becomes oh, I have to get
the best shot.
Though why do you have to getthe best shot?
That's not about telling thetruth, getting the truth out
there.
Why is it that important?
(19:22):
And then, in my mind, I'm likeit has to be like money or ego
or something like that.
It can't be this noble truth ofgetting the message out there.
It can't be this noble truth ofgetting the message out there.
So then, when you see thisyoung girl, jessie, when you see
Jessie put herself in such anobvious line of fire.
Speaker 2 (19:43):
She's trying to mimic Lee and fails Because Lee did
it.
And then, like a minute later,she's going to copy exactly what
he does and she does it, andthen she just doesn't do it.
Speaker 1 (19:53):
Well, yeah, and Lee decides she's going to save her.
And as she's saving her, she'sgetting bullets pumped into her
and Jesse decides to take photosof her while she's falling.
Speaker 2 (20:09):
That was set up from the very beginning.
Speaker 1 (20:12):
Yeah, but that's fucked up it is fucked up.
Someone's dying in front of youand you're going to take photos
.
What are you going to do aboutit?
Speaker 2 (20:19):
There's nothing you can do about it.
The only thing she can do ismake a photo.
And she swore from thebeginning I'm never going to
freeze up again.
After she froze up, not takingphotos of those two guys hanging
, she's like I'm never gonnafreeze up again.
And then she had a conversationwith lee if I die, will you
make photos of me?
And lee says what do you thinkmeaning?
Yes, and then at the end leedies and she's like okay, I'm,
(20:41):
the only thing I can do is makephotos.
That's what I'm here for.
I'm gonna do what I said I wasgoing to do yeah, but how about
try and save her?
how can you save her?
Speaker 1 (20:49):
get her out of the line of fire, get the like.
The way it's done and presentedmakes it seem like there's so
obviously an opportunity to getout of the line of fire, but
it's no.
I'm just gonna take a photoinstead.
It feels like the equivalent tosomeone, some social media
influencer, seeing someone dyingin front of them and being like
(21:10):
I'm going to live streaminstead of that's reality, isn't
it?
Yeah, and maybe that is thepoint, because that was what I
kept thinking the film wasalluding to is the
desensitization of people withsocial media, in that when
horrible events happen, like acivil war and stuff like that,
(21:34):
there's going to be more peoplethinking about oh, how do I get
the most likes and social mediaengagement, rather than being
like, how do I defend my home?
Or like, how do I save thepeople I love?
How do I defend my team, helpmy team to victory, that kind of
thing, how do I play my part inthe war?
(21:55):
There's going to be more ofpeople just being like oh,
there's a dead body.
I'm gonna take a photo of thatwell, let's see how many likes I
get for this decapitated personon.
Speaker 2 (22:05):
That said, I would say last thing, before we should
finalize it and go into ratings.
What I would say is that foreverybody, it's very clear what
their role is in this war.
Right, everybody has a veryclear role.
Everybody assumes their ownrole of what they're going to do
(22:27):
in this war.
You've got the soldiers they'reshooting.
They're not going to doanything else but fighting for
their country, fighting fortheir part right, whichever part
they're shooting.
They're not going to doanything else but fighting for
their country, fighting fortheir part, right, whichever
part they're on.
Um, you have the people who aresurviving and protecting their
own town.
You have the other guys who areprotecting their own goods
right, and they will fightagainst their old friends from
(22:48):
school if it means I'm going toprotect my own goods, no matter
what.
And then you have thejournalists who are going to
report, no matter what, andeverybody's like in their own
affection, in their own littlelane of this is my purpose, this
is what I'm going to do, andit's very strict because when
you step out of it, you'reguaranteed to die.
That that explains exactly whythey would make photos of people
(23:09):
dying and not helping.
Yeah, yeah, there's a set roleExactly, and everybody assumes
their own role.
It's not like in Divergent,where you get it assigned.
It's like they assume their ownrole and it's the moment when
Sammy dies Spoiler.
It's the moment when Sammy diesand Lee makes a photo of it and
(23:34):
deletes it afterwards is themoment she decides I'm going to
step out of my lane great moment, by the way.
Speaker 1 (23:39):
Great love that moment.
Speaker 2 (23:41):
But that moment is then the pivotal moment for lee
to decide inside I'm going tostep out of my lane, and she
does.
From that moment on, shestopped taking photos.
Up until the very end, untilthey're in the presidential
house, she stopped making photos.
Anxiety started kicking in.
She did something that shehasn't done in years, which is
(24:03):
to step out of a lane and dosomething humane, something
that'd be like okay, it makescommon sense, rather than to
just like a tiktok or be likefilming yourself, filming
yourself while someone is dying,or photographing someone that's
dying.
Then right, yeah, and shethrows herself in the line of
fire to protect jesse, andthat's instantly.
Speaker 1 (24:27):
It's rewarded by death, by lead in the back or by
her having an honorable deathwhere she can say my death meant
more than my life in a way,yeah.
Speaker 2 (24:37):
And then what is the immediate result of that?
She's dying.
Jesse, in her lane, reports.
She makes photos.
Nobody is is is crying over adeath.
In that moment, everybody's inbattle mode.
We're in our lane, we've got togo.
We've got to go, we've got togo.
Joel grabs her by the shoulderand tells her to get up.
(25:00):
We're going.
The president's right there.
We either can mourn over Leeright now or we can go and do
what we traveled for, which istalk to the president, and then
they go to see the president.
Speaker 1 (25:18):
And then the best part is, after all this build-up
, they finally get to see thepresident, and it's like we just
need one quote.
Speaker 2 (25:21):
And what does the president say please don't kill
me, don't let them kill me,don't let them kill me.
He says don't let them kill me.
Speaker 1 (25:27):
All right, boys, you can shoot him now it's such a
simpsons episode like it just II found it really funny, like in
a dark way, that like all thisbuild up and then it's just like
that all right, just kill him.
Yeah, all right, we're done.
Speaker 2 (25:44):
We're done, wrap it up everyone, let's go home.
I still want to give one moreode to jesse plements.
Just amazing dude, everyone'sgiving him.
Yeah, but he was just a massivestandout what are you gonna do
about it?
Speaker 1 (25:59):
because in that small amount of time, we clearly knew
his character.
We knew more about hischaracter than we did about all
these other journalists that wefollowed.
For, like, when we meet thatolder guy, that older journalist
, he's just typical like DennyGlover from Lethal Weapon man
I'm getting too old for thisshit.
(26:20):
Talking about Sammy, yeah,sammy.
He's just like I'm getting tooold for this shit.
I shouldn't be doing this.
Man, ah man, I'm going tofucking die.
And we all know he's going todie.
We just don't know when exactly.
But it's abundantly clear thatthis dude is just there to be
killed off.
So when his death comes, weweren't really shocked by it at
(26:40):
all.
It was more like what's donewith his death after?
Yeah, he was great.
The guy is like a natural atplaying a piece of shit Like
Breaking Bad, oh he.
Of shit Like Breaking Bad, ohhe was so good in Breaking Bad
yeah.
He's always this character thathe just manages to get this rage
(27:03):
out of you.
Testament to him that he's ableto do that, because I think
nowadays it's really hard foractors to play these like vile,
horrible characters and make itbelievable without it becoming
this over-the-top marvel stylecaricature where it's a generic
(27:26):
villain with a generic plot.
He does it just with purestillness.
Yeah, his stillness is whatmakes it more shocking, yeah,
and how he can just so quicklyjust shoot people without any
remorse or hesitation andeveryone else is reacting to it
like is that really what justhappened?
I remember one of the timeswhen he shot someone I was like
(27:51):
did he really just shoot someone?
Did he shoot that guy Like?
I had to take a moment and belike holy shit, that guy's dead,
fuck.
Speaker 2 (28:00):
Any one specific moment that you're like, wow,
this was amazing or wow, this ishorrible.
Speaker 1 (28:06):
I think my favourite part of the movie was Jesse
Plemons' scene because it wasclear good versus evil In a very
short period of time.
There was no muck about it.
It led to a lot of action andthere was just a lot of
(28:27):
horrifying implications withoutanything being said.
We see this pit with all thesedead bodies and your first
thought is did they kill allthese people?
And the mystery around it notbeing solved of like, why were
they killing people?
What did their views have to dowith any of this?
(28:48):
Why did this have to happen?
You don't know.
Also, seeing the characterSammy like step in and save them
, was that was like the firstmoment where I'm like, oh,
they're not completely likelacking humanity.
There's still some life left inthem.
Because you've got this old guywho's I know this is gonna get
me killed, but shit, I'm gonnado anyway.
(29:09):
So he goes in and saves them.
But you've also got the otherjournalists.
They could have just left her.
They could have.
They could have easily left herdriven off and been like we're
not dealing with this.
Shit, she's an idiot for goingin the other car.
That scene, actually that sceneI fucking hate that scene.
(29:29):
I hate that scene Of crossingcars.
I hate the scene where thejournalists swap cars while
driving because it feltpointless to me.
I guess you could argue that itgets across the thrill-seeking
nature behind the journalists,which would play into another
harsh reality.
A harsh truth is that thejournalists just love the
(29:52):
adrenaline of being in thesesituations.
It's not really about andthat's what you got from these
two journalists that weredriving in a separate car but
the justification for why theyswap cars just didn't make sense
to me.
Why they decided to do it whiledriving.
It just felt really dumb andout of place.
Speaker 2 (30:17):
It just made me think these characters are stupid.
Yeah, it's not like you'resaying.
I think it's indeed about themtrying to seek the thrill of the
situation of the moment.
Don't worry about Jessie.
Jessie's copying everything shesees.
She's a newborn, she's a baby.
She learns by copying, byimitating others.
It's the other journalist, theChinese journalist, that crosses
(30:41):
the car and he's just like anadrenaline junkie, so I'm not
surprised he would do it, andthat justifies for Jesse to do
it.
Speaker 1 (30:48):
Yeah, I get him doing it.
Just based on the small amountof time we spend with him, we
learn about him.
Yeah, he's a typical kind ofthrill seeker.
You don't really get the sensethat there's much more to the
guy with journalism other thanthe thrill of yeah, yeah, so you
(31:08):
don't really admire him oranything like that.
Speaker 2 (31:11):
Yeah, and Jessie's just imitating.
She's like I want some of thatthrill, something that's
dangerous not too dangerous.
Where I'm in a line of fire.
Speaker 1 (31:18):
I guess it does make sense, but it just felt like a
cheap way to get Jessie inanother car away from the main
character so that they wouldthen have to save her.
That's what it felt like to me.
It took me out of it where I go.
They just need to get Jessie ina situation where she's going
(31:41):
to be shot or killed so thatthey have to step in and save
her.
It felt more like I understandwhy they're doing this from a
storytelling point of viewrather than, oh, like that
totally makes sense and my braincan just let that go.
It just was always at the backof my mind of like why did that
(32:01):
have to happen that way?
I that just seemed dumb andyeah, even as you were talking
about and you're like, whatscene annoyed you or pissed you
off, I'm like, yeah, love whatit got to, but how we got there
did not like Zero to five stars.
Speaker 2 (32:18):
What would you give it?
I'd give it.
Speaker 1 (32:24):
It's so well made and it looks so great and the sound
design is amazing and there aresome great moments with these
actors.
But I don't know.
We were listening to one moviereviewer say there's almost like
this hollow vehicle, and sinceI heard that I can't let it go,
I'm like, yeah, it does feelthat way.
You don't get a satisfyingfeeling by the end of this, so
(32:47):
it's hard for me to give it ahigh rating.
I'd say three and a half.
The performances are great,like all the ingredients are
there for a great movie.
But, man, this could have beensomething so much more.
It could have had something somuch more memorable.
Oh, yeah, there's this one goodscene, but yeah, the rest of
(33:15):
it's great looking movie, greatcinematography.
I love the way it portrays warin a realistic, gritty way and
gets across the intensity ofreaching a point where you
actually want to leave the scene.
You're I'm done with this thing.
Can we please get out of here?
Almost like you're feeling thatdiscomfort that the journalists
(33:37):
would feel from being in thissituation.
So that's great, but just as astory, there's nothing for me to
latch on to.
There's no characters I can,even as we talk about them, I'm
like can barely rememberanything about these characters.
This feels like a movie that'stoo scared to go the full mile.
Yeah, you almost sense.
(33:59):
Oh, they could have went wayfurther with that.
Speaker 2 (34:02):
They went pretty far, but you feel they can go
further than that.
If you've taken that step.
Take the step.
Speaker 1 (34:08):
If you're going to go with this premise, if you're
going to do this, fucking go allout.
And I just, ah, it's so weird,it's so hard to describe it's.
It has this controversialpremise, but it just doesn't do
anything really that memorablewith it, other than like the one
scene that everyone talks aboutwith jesse plummins, which is
(34:32):
all most reviewers talk about isthat scene.
But you don't get that withanyone else.
Speaker 2 (34:38):
I think the reason why his scenes start so much is
because you're so confused withwho is on the right side and
who's on the wrong side, becausethat's how we want to label
everybody, and we finally get toone point where we just know
and we just really want him todie.
Yeah, he's the first scenewhere we actually know who's
right and who's wrong.
I think that's the satisfyingfeeling when you watch this
(34:59):
scene.
It's because it's the one scenethat stands out on morality.
I'm going to give it a four anda half stars.
You don't seem surprised.
You've seen the movie twice.
Yeah, and I would watch it athird time.
Speaker 1 (35:17):
Because I loved it and the way you've talked about
it.
Yeah, I can see why you give itfour and a half.
Okay, what's the good?
Speaker 2 (35:26):
The good is, this movie is not afraid to set the
message as the most importantand prominent attribute of the
movie.
Not the story, but the message.
It's like an exposition of acivil war, of how it would work
(35:48):
out in today's era.
It's not about the life storyof this, it's not a story about
the characters.
It's a story about thesituation.
A story about the situation,the circumstance that they find
themselves in, and it's notabout the past or the future.
It's about what's happeningright now, the chaos you're
finding yourself in and the wayyou're trying to work yourself
(36:10):
out of it.
That's what this movie is about, and I think it did an
excellent job in leaving theaudience confused, unsatisfied,
with a good running start and anabrupt finish, very abrupt.
I don't like the finish as much.
Okay, so the three moments Iwould say that take the fifth
(36:33):
star off from my rating.
Why it's not a classic thethree moments?
I would say that take the fifthstar off from my rating.
Why it's not a classic thethree moments?
I would say that.
Take the fifth star off is thedeath of Lee.
It's because she pushes Jesseto the ground and then in a line
of fire and then remainsstanding to catch all the
bullets.
No, you do a freaking jump,grab him and just drop together
(36:54):
to the ground.
That's what anybody would do,so that's dumb the more I think
about it, though.
Speaker 1 (37:00):
What if lee just had given up and reached the point
where she just wants to diebecause she's?
Speaker 2 (37:07):
I don't want to keep doing this anymore that's the
only justification I could seefor it, but I I don't like it
because it doesn't make senseyeah, like I didn't like it more
so because of the way jessereacts.
Speaker 1 (37:17):
That's funny that you don't like it because it
doesn't make sense.
Yeah, I didn't like it more sobecause of the way Jesse reacts.
That's funny that you don'tlike it because of the way Lee
reacts to her own death.
Speaker 2 (37:22):
I love the way Jesse reacts.
I love the way Jesse reactsbecause that's exactly.
But that reaction has been setup from the beginning.
It has to set up with the fuelstation.
I'm never going to freeze upagain.
It has a second set up at the,at the helicopter, where you
make a photo of me when I dieand Lee says what do you think?
(37:43):
Of course I fucking would.
And then this is then thepayoff Jesse makes a photo of
Lee dying.
That's perfectly set up andpaid off.
I understand you don't like itbecause it doesn't make sense,
because he would try to helpsomeone.
That's the most rational thing,he off.
I understand you don't like itbecause it doesn't make sense,
because you would try to helpsomeone.
Speaker 1 (38:00):
That's the most rational thing you would do, but
these people live for thethrill.
That's a different mentality.
Yeah, and maybe that is thepoint is that I can't understand
their circumstances, becauseI've never been in those
circumstances where I'm totallydesensitized to being in a war
and just taking photos of it.
Speaker 2 (38:15):
Yeah, the second in a war and just taking photos of
it.
Yeah, the second bit I didn't,I wasn't a big fan of it is the
death of sammy.
Where did the bullet come from?
How did he get shot?
Like the shot is behindaluminium.
There's no, there's no way forthe car to the bullet to go in.
The bullet came from behind buthe got shot from the front.
(38:36):
And if he got shot from thefront and if he got shot from
the front, it would have gonethrough the window.
But the gun was lower than thewindow and the window was intact
and it would not have gonethrough the hood or the
dashboard or otherwise.
It would have gone through thewheel or through the engine.
So that could have worked.
It's like where did the bulletcome from?
That was very weird.
He should have been shot in theshoulder, with a broken through
the side window maybe, but hehad to die because he's an old
(38:59):
guy who's passed his prime.
No, he had to die because thatwas part of Jessie's arc.
She needed her friend to diefor her to have the lesson that
she needs to get out of her lane.
You mean Lee, sorry, lee.
Speaker 1 (39:12):
He needed to die.
That brings up a good pointright, we knew his death was
coming from a mile away.
Yeah, as soon as we know thathe's gone with them, we're like
he's definitely the one dying.
Speaker 2 (39:25):
Okay, yeah, but then when.
Speaker 1 (39:27):
and then this story point comes up where we're like,
oh that's weird that theyswapped cars.
But it has to get to that pointwhere then Jesse's in danger,
so that Sammy can save them andget shot, saving them, because
he's, ironically, the one whostill has his humanity left yeah
, even though he's been in thejournalism world the longest and
(39:50):
probably seen the worst of theworst.
All great stuff, but you don'tlike the way it was presented
because it doesn't make sense Idon't mind him dying like.
Speaker 2 (40:01):
His death makes perfect sense.
He needed to die for the otherstory to work, because him dying
sets up again for lee saidright.
His dad sets up the death oflee later on because she decides
to become be more like sammyand put herself in the death of
Lee later on, because shedecides to be more like Sammy
and put herself in the line offire for the safety of others,
not just to report, but just howhe died.
(40:25):
Like he could have been shot ina different place with a broken
window.
That would have made sense.
It's just that the bulletappeared out of nowhere, from an
angle.
There was no gun coming from.
Maybe he should have just donelike a slow-mo and the third bit
(40:48):
that I was really weird, whichwas a very artsy moment, is
right after that they weredriving through like a forest
fire and you had that themsitting in a car at night and
all the little flames coming bythe car and it's just like do
you remember the scene?
Speaker 1 (41:04):
it's yeah, I actually liked that no, it looks
beautiful, but it's.
Speaker 2 (41:08):
The rhythm of it is so different.
It felt out of place.
It felt completely out of place.
Speaker 1 (41:16):
It felt completely out of place.
I like what it represented 100%.
Even in this chaos, there'ssome kind of weird beauty.
Speaker 2 (41:23):
Well, yeah, 100%, I get it.
Like I get why that cutscenewas there, but just the rhythm
of it, the color of it, it cameout of nowhere and it just felt
out of place to me.
Oh, it was.
It just felt out of place to meokay, it just felt out of place
.
Just seeing it now again in thetrailer that we just watched,
(41:44):
just I see it again it's like,oh yeah, I remember that it just
it's weird.
Yeah, there's beauty andthey're all suffering in the car
because the guy in the back isdying and sammy is dying with a
bullet wound or he's alreadydead, and they're driving there
and they're all crying andthey're all screaming and
there's so much beauty outside.
It's a beautiful message.
Just the slow motion of it, itwas just very odd.
Speaker 1 (42:08):
So it was more the editing.
Is that where you're getting?
Speaker 2 (42:13):
I don't know, I suppose.
So We've seen it twice.
Yeah, yeah, I don't know if youwould blame the editing team
for it, but it just felt likethat's that cut scene.
As beautiful as beautiful as itis and the message is clear as
it is it just felt out of place.
It should have been slightlydifferent.
Like it just cut to that sceneand cut out of it real quick.
(42:35):
It was just a bit odd.
Yeah, you know what?
Speaker 1 (42:39):
I was disappointed by after they shoot the president.
It would have been great ifthey, like all, stood on the
president's dead body and took aphoto like all smiling, like we
did it.
I would have loved that.
I would have pissed myselflaughing.
If, after all that, they justgo full parody, oh God, just to
(43:00):
give some levity to the audienceas we leave the theater.
So we don't feel like oh my God, I just want to fucking.
Speaker 2 (43:08):
I just hate my life after watching that movie.
Speaker 1 (43:11):
That was depressing as fuck.
Speaker 2 (43:13):
That's our review.
Very depressing.
Speaker 1 (43:15):
Yeah, the funny thing about this is the context in
which we watched.
It was like oh, it's mybirthday, let's go out and watch
a feel-good romp.
And Addy's like yeah, let'swatch.
Speaker 2 (43:27):
Civil War.
I'm like, look, there wasnothing else available that day
and he really wanted to go tothe cinema and his mom wanted to
see it too.
So I was like, okay.
Speaker 1 (43:34):
Yeah, it was either Kung Fu Panda 4 or Civil Wars.
Yeah, you made the right choice.
Anyway, you can make the rightchoice by sharing and
subscribing to this video andcomment below did you like Civil
War or you didn't like CivilWar?
What were some of your thoughts?
Speaker 2 (43:54):
One to five stars.
One to five stars.
Comment below what you wouldgive it.
Speaker 1 (43:58):
Yeah.
Speaker 2 (43:58):
Right.
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