Hail, Caesar!

Welcome to PolarizedPod! We are taking a trip back in time to old Hollywood where the studio system reigns and communists are working hard behind the scenes to kidnap famous movie stars for ransom. As we experience a day in the life of Eddie Mannix, we question the loose narrative, recognize the star power of the cast, and try to place it in the pantheon of Coen brothers' movies.

Critics: 86% Audience: 44%

Episode Transcript

(00:00):
Hello and welcome to the Polarize podcast. I am your host James. Welcome back everybody

(00:25):
to another scintillating episode of your favorite podcast. And this is this is quite
the app we we were in Paul Thomas Anderson territory. Now we're in the Coen Brothers
territory with hail comma Caesar exclamation points. A when did this bad boy come out 2016

(00:46):
February 5th. It has a certified fresh 86% on rotten tomatoes. It has a negative of 50
making it a 44% on rotten tomatoes negative of 60 I guess. That's how I do math here on
the Ron Tomatoes math. You mad darts out there. 60 is the middle ground on round tomatoes

(01:09):
math that's the that's your boiling point. I don't know if they're Fahrenheit Celsius
and Ron Ron Tomatoes score. They're they're algorithm is something that that just befuddles
me to this day even doing all these episodes how it works. What it means how they come
up with those those Numbees. Who knows. We will never know that's going to be our saga

(01:34):
as a as a as a podcast is just writing writing that wave of Numbees. This is a podcast about
polarizing movies. If you were wondering movies that audiences and critics disagree on on
Ron Tomatoes and this one those critics just freaking love it. It's about Hollywood. It's

(01:55):
about movies by the Coen Brothers and they they had a great time and that audience did
not care for it so much. But I want to hear what we think here at the polarize kingdom
and it's not just me. I'm going to bring in my number one guy Mr. Mr. Fred. It's tables.

(02:20):
It's your number one guy. Hey, how's it going? James man. It's me. It's me the James man
and I'm back to we're back. We'll be out discussion of polarizing movies. Yeah. To
a peak behind the curtain. We've been away from the pod for a minute. It feels like right.

(02:41):
It feels like a good like a little breaky bit a little respite a little respite because
some life stuff happened at a B day and it's just been a couple of day mania over here
in June. And yeah, I mean, it's not fully over yet. But yeah, it feels like we've taken
quite the respite from this pod and I'm excited to get back to talking about movies because

(03:05):
it's not like we haven't had some time to watch movies and to think about and to talk
about movies. We've been together and talked about movies, you know, in this time off not
recording and but it feels going to be back. Yeah. Yeah. What's what what are some highlights
since we've since we've been away any highlights you've been watching? Yeah. Highlight was

(03:27):
your movie Wings. Highlight was showing people everybody wants some by Richard Linklater.
I had a really wonderful day of just having having beers hanging out and watching everybody
wants some and the people that everybody by me had seen it or had not seen it and to watch

(03:51):
it with other people. It was really wonderful because it is a very, very good movie. It's
a very, very good movie. Everybody should go watch it. But I mean, God, that's just
yeah, that's the highlight. But I could go on. There's been nothing but movies and TVs
lately. James, how about you? What's the what's what's a movie standout in the spirit of time
we've been away? I'll have to watch everybody wants some all the way through. I kind of

(04:15):
was walking in and out during our birthday festivities is when you had it on and it looked
fun and that Glenn Powell guys is a fun guy. And Richard Linklater has a new movie movie
with him too. I'd like to like to check out. Yeah, but that's cool to hear hear it from
you because I haven't really I feel like I haven't heard anybody from anyone who's seen

(04:37):
that movie. It makes sense that the people you saw with no one had seen it. I don't think
I've ever talked to you. I've seen it because I'd always perroute the browsing and chat
and be like, Oh, that seems fun. Yeah, it almost seems like. But then maybe and this
is probably just boiling it down to simplifying a little bit. And it's probably so much more
than just like the 80s days and confused is kind of how I always looked at it. But I'm

(05:01):
sure it's that and and more and much deeper than that. Yeah. Absolutely. It's it's very
slice of life and shows a lot of different sides of the culture at the time. And it doesn't
really well in a way that there's definitely some drama to it. But overall, it's such a
wonderful Saturday afternoon movie because it never really gets too crazy. And overall,

(05:24):
it's just a bunch of people like figure and shit out, which is just absolutely enjoyable.
Every yeah, I can highly recommend that movie enough. Well, yeah. I haven't seen the hitman
yet. And but I'm excited to do so. Yeah, same. Yeah, me too. For me, I finally, for whatever
reason, took long enough to finish like the very last couple episodes. But I finished

(05:47):
succession. I finished that. I done it. I done did it. It's over. Yeah. I'm no, I'm
late. I'm late to the party. No, let's talk about it. I mean, no spoiler.
No, no, it's been long enough. So what did you think of the ending? Well, I don't know.
It's like for me, for me, if I were to listen to a podcast and they started talking about

(06:09):
it, I would be kind of pissed because I just finished it. So I don't know if I should.
Okay. So then we do. Wait, okay. Then can we do the thing where we're spoiler? So we're
going to do. Can we just note it? So we're at spoiler alert. We're at 624. Whenever we're
done with it, we'll just mark that and then we'll just, is there any way of like editing

(06:29):
back in being like, if you don't want to hear the rest of the I could figure that out. All
right. I'll do a little succession segment of spoiler alert. My character, my favorite
character had always been Tom. So that for that to come through at the end was something
that was very interesting. Did you want that to happen? Ultimately, I was very satisfied

(06:51):
without hint ended. I wasn't sure what I wanted. I just wanted it to be satisfied. I just
wanted to wanted it to be like exciting and unpredictable in a way that wouldn't cheapen
or lessen the impact of the ending. Like not a similar show, but like a How I Met Your

(07:11):
Mother, it's like you could have just gone right down the middle and made it simple and
just how I met your mother, but they try to make it all like, well, but actually it's
this and that and this and making it just, I don't know.
The shoes have done that. Yeah. For sure. Yeah. And this had a little element of pulling
the rug out from under you a little bit and then having it settle in a way that I thought
it did all the characters justice, which yeah, which is what I wanted. So how surprised

(07:37):
were you that he didn't get Jeremy Strong's character? Yeah. I was open to that being
a possibility for sure. I was I wasn't sure what, you know, what way, shape or form it
would take if he didn't get it. The thing that made it extremely satisfying for me was

(07:59):
the call back to what happened in the first season and then him to tell them about it
and like the third, third. Yeah, that made it unforgivable, extremely satisfying because
that was holding to him constantly in the back of my mind of that moment. Yeah. And
for for them to bring it up at the very last moment and for it not to feel like a cheap

(08:21):
trick for them to just use that. But not cheap trick the band you're saying, right?
You know, if they showed up in the in the in the season finale of succession and just
started playing. Yeah. And then you're like, this makes sense. This makes sense. They're

(08:41):
you know, you know, what kind of like you don't want me. And you're like, oh, OK, that's
what Kendall would be saying. Yeah. Yeah. But yeah, it was it was a great ending. And
yeah, it was a good show. I don't know if I'm like as like, oh my God, Succession's like

(09:01):
the best show ever, but I'm definitely happy I watched it. And I'm like really happy with
how it didn't go on longer than it needed to because it definitely had the possibility
of doing that. And then even watching like a brief interview after they did a little
blurb after the guy, the creator was just talking about how, yeah, it was a good place

(09:22):
to end and the way the way it left it and everything. I don't know. It just it seemed
like it was ended at its peak, which is perfect for TV. Yeah, I agree. And for a movie, I'd
say, yeah, when we watched repo man together was a blast. Whoa, super cool. That was that
was something that I had never seen. And then I watched it on my own. I was like, next time
I'm like with people, namely you and Danny, I mean, I would try to make that a reality

(09:49):
and the fact that it did happen and we were we were in a good, good place, all of us together
to chill and and watch it and even have it be kind of background and kind of tune in
tune out was like the perfect thing for that movie. So to experience that in that way was
a lot of fun and it was so cool to unearth something that yeah, I just I didn't know
anything really or I thought maybe what I did think I knew about it just blew me away

(10:15):
how how weird and on its own sort of wavelength. It's it's it's such a such an interesting
movie. Now it's going to be in my my lexicon for movies that I recommend it at certain
times. Yeah. And rightfully so. Like it was so funny watching you with Danny where multiple
times start the viewing. Danny was like, is this my favorite movie ever? And just would

(10:39):
like look back at us and go like, so I love everything about what's happening in this
movie. We're like, yeah, Danny. Yeah, absolutely. Yeah. He's like, so yeah, everything about
this is great. It was fantastic. Yeah, we're all just, you know, that that's why you call
the ending of that one too. You're like, OK, get in the car and fly away into outer space.

(11:00):
So, Brad, you just nailed it. And then the movie does exactly what you wanted to do.
And you didn't even know you wanted until like five minutes before. And then you're
like, yeah, when it happens, it's perfect. It's perfect. Yeah. That was such a good movie.
And that's also to just yeah, I'm so glad we did that because that's why I wanted that
weekend was to do things like that is to, you know, have everybody around watching, you

(11:26):
know, watch your movies and talking about movies, you know. Yeah. Having that audience
reaction in something is so fun, especially when it's yeah, small crew of buddies. Obviously
the movie movie going experiences is so fun. But I don't take a cherish those moments for

(11:46):
sure myself as well. Yeah. Me too, man. Lots of fun. So speaking of cherishing movies,
the directors of this, the Coen brothers of the movie we're doing today, you'll see sir
are I cherish them as well. I cherish them as well. I you know, they're they're part
of our guys, you know, I've always I brought that up multiple times on this spot. We got

(12:08):
our guys, right? Seminole directors of our generation that have made so many good movies
that we were, you know, been a part of our lexicon. And the Coen brothers have made movies
that are that the movie that we're talking about today is not something anybody I know
really references. And so going into this, I knew about this for sure. But is your first

(12:33):
time? Yeah, it is kind of that everybody wants some situation. It is a little bit because
you're right. Like nothing's a line spot. I don't know. Oh, I was oh, I was going to
say like the conflict in this movie is so whatever like nothing ever seems in. I don't

(12:56):
know, even with the kidnapping, nothing ever. This movie doesn't have an air about it where
it's like, oh, something. There's a big problem that needs to get solved. This movie is pretty
just frozen. Yeah, it has that element of like Lebowski or and then a mix of Barton

(13:17):
Fink, I guess. But the but the Lebowski of it all is is kind of funny in that we just
talked about inherent vice. And there's this, you know, very much more cut and dry mist mystery.
And not even they tell you who's behind it right off the bat essentially, but the mystery
to Man X, Josh Barlow's character as to, you know, who kidnapped this movie star. But

(13:44):
the humor comes in the fact that the yeah, that George Clooney ends up being kind of
willing and also the people that are. And try that are there is like no muscle there.
They're all just like fucking wispy communists. Yeah. And or they're just like silly actors.

(14:05):
This movie is just filled with people with insecurities and are easily manipulated like
manipulated by the main character. And in comparison to.
To big Lebowski, like the dude represents a type of person that is really relatable because

(14:25):
it's like that.
It's like the generation that grew up during Vietnam and has so much commentary and how
he approaches things to that. And the fact that this movie is centered on a head of a
studio loses some of that edge to me that Cohen brothers have typically at where their

(14:48):
main characters are about like silly, not silly, but like very realistic. Every man's
like, yeah, it's gets really going in on the air. This era of Hollywood and the studio
system and having fun with the studio system at the time. And these, you know, what are

(15:10):
you? What is what is Josh Brolin's technique? Like, what is the job on the door?
It's something like this guy has some funny name or whatever. But he's a but he's kind
of like a fixer, you know, he's kind of like in entourage. He's kind of like Jeremy Pivens

(15:31):
character when he becomes like the head of a studio. But he's not. It's like the relationship
he has with.
Yeah, like that kind of thing. Like he is the manager almost. But there are much more
like powerful men that are funding and who are responsible for the ownership of the studio.

(15:55):
But like he's the manager of it. Like he's the the head honcho on the ground. He manages
the the talent in a way that is like is a bygone era because every actor has their own
separate manager and their own people in their own team. And at this time, they signed actors
on to these contracts that would make them exclusive to capital capital records, capital

(16:22):
pictures, whatever they called in this one. And I found that so interesting. So those
those people would just be, you know, essentially they're players. Yeah. And so like in the
whole journey of what's his face on so low cowboy. Yeah. All whatever his name is is

(16:43):
that is is all the humor lies within those circumstances in it and rising up. But there's
not a lot of like poppy humor, but it's and Rick. Yeah. And when he gets approached while
he's eating just the biggest thing. He was excited to do this is what I do. I go to

(17:04):
the thing. Big old like five scoops in a row. And they're like, we're completely changing
your image. You're not you're not a stunt cowboy horse rider. You're going to be in
this, you know, nice prestige picture by Lawrence Lorenz. It's like stuff like that. It's just

(17:25):
it's funny on paper and it's and it's like, yeah, this is I see why critics like this
because it is it is the kind of like Hollywood. Yeah. Which critics just are such suckers.
A lot of references to old stuff and like, you know, just not sorry, continue. No, but
it's it's it's that idea of like critics understand the history and how these deals are made. The

(17:51):
average person has no clue about the idea of an actor being in being an employee of
a studio. So that's why they're featured in like pictures or players and pictures that
the studio makes and also to how the studio is by and large responsible for the development

(18:11):
of their image as well. And there's this whole like the man, you know, like it's not an actor
coming in and necessarily being like, this is who my image is going to be. These are
the movies that I'm going to do. They're going to just be hired by a studio and then the
studio takes over as to how to grow their, you know, stardom and they're saying, can

(18:32):
you dance? You know, what do you tell? What's your talents? Yeah. And then placing them
in all of these wherever they're needed because they're just employees, which this movie also
in my mind kind of takes pains to make the joke of like, are you a principal actor or
are you an extra? Like it comes up like multiple times about this idea that like somebody who

(18:57):
drugged George Clooney's character, was he an, you know, was he an extra because extra
is just, you know, no one ever knows. You never know. You never know what they're up
to and then or the person who's on the cross towards the end, the guy's like, did you have

(19:17):
this lunch or this lunch? Because that's going to determine whether or not you're a, you
know, get paid a certain rate and all of this shit or you receive certain kind of like,
uh, yeah, yeah. And that's entities and stuff. And the movie loves all of that is so about
and interested in like also to a thing that I think in my mind was really representative

(19:41):
of that is behind, uh, Josh Brolin Eddie Manning's desk is the nap of the studio to show you
how many sound stages there are. And then they've also talked about like, we're shooting
on this and this soundstage and Kappa records has so many sound stages. So they're allowed

(20:02):
to make so many movies at a single time. And then you have to be making these kind of movies
every year because these are what sell and there's, there is a shitload of like inside
or Hollywood stuff in there that, yeah, of course, critics fucking love. You know,
yeah. And the, the placement and the roles that actors play within that studio system

(20:27):
is definitely something that is, is stressed in the movie. And then the whole crux of it
is where writers fit within that as well. And it's, I, that is really, it is pretty funny
that like, it is, there's so pissed off about not getting their dues, which there was just
a big writer strike and everything too. We're so pissed off and like, yeah. And it's in a

(20:49):
very kind of capitalistics and it's called capital pictures and they're fighting, you
know, it's, it's in Coen Blasio just like that. So good. But then, like not getting
their, their dues for, for writing the material and everything and getting mad at the whole
system and how they're explaining that to George Clooney is like, it's, the humor is,
is, is all, all there. It's on front street. Yes. It's really, it's really in your face.

(21:16):
And then within that they can do kind of like the vignettes of old Hollywood as well. And
essentially Coen brothers are able to make like three to five, whatever different old
time Hollywood movies while they're making this and they get to do it in kind of an old
fashioned way. They got Roger Deakins as their cinematographer, which is pretty, pretty amazing.

(21:36):
Epic.
It ends up being, and this is what I was kind of like coming down to in the middle of watching
it like near, near the middle of it. It was like, do I, is this couple of questions of
like, is this a better movie than Babylon or, or which one is, which one is more, which
one is more fun? And I'm like, yes, this one, Halcyzer might be a better movie. I don't

(22:02):
know, but Babylon seems to be more fun and interesting to watch.
Right. Yes.
And it's more exciting and it's, and it's doing a lot. I was trying to say a lot more,
but some of the notes that it was hitting were, were similar for sure.
Yeah. I mean, I'm so glad you're more cynical, I guess. And in health, in health, in health
users more cynical. I don't know.

(22:23):
I was also just thinking about it by large. Like I'm glad you brought this up about, you
know, Babylon, because I'll talk about that and we'll continue. But I just want to say,
like this also to me now is something legacy directors do is they go to this like old Hollywood
well and they're like almost like can't help themselves. Like I have to tell you, I got

(22:48):
to turn the camera back on me.
Well, my version of old Hollywood is, and there's every fucking major director does
this where they have to take a swing at what, how they feel old Hollywood is. And so in
relation to Babylon, like Babylon is more interesting for sure because it shows much
more humanity in the negative side than this. There's very little of the negative side in

(23:12):
this, which is what I would say is kind of frustrating by directors who have shown how
with Fargo, how much they're like, want to show the like real gritty humanity of stuff
and how that can be like funny too. Like how people are like naturally so self interested
and make stupid decisions and get themselves in over their head because they think they're

(23:38):
better than everybody. And there's so much that makes sense why that would also work
in this picture. But it ends up being so not focused on depth and more focused on like,
how do we just make what was like things back then and being really wrapped up in that.

(24:02):
And I find that fascinating because it's almost like.
Good movie be damned. I really just want to make a dance number. I want to talk about
like the system and all of that. And it's yeah, it ends up being kind of bizarre and
left me like really in a weird vibe because I was like.

(24:27):
It's so self indulgent to me this movie. And it just it's clear how self indulgent it is
that it doesn't care about maybe going deeper when it should. And that was it's frustrating
to me watching. Yeah, I the behind the scenes thing I saw was something like this was a

(24:47):
joke that Coen brothers had with like George Clooney or something of like of like this
movie that they were going to that they were going to make with him, you know, being kidnapped
as Justice Caesar would just like a very loose idea.
Yeah, funny. And the commune and by by communists and old time Hollywood and stuff. And how

(25:09):
was described in this behind the scenes thing, which was on the special features of the movie
was like George Clooney just eventually started saying that was his next movie. And then people
started asking the Coen brothers about it of like, oh, so you're doing this movie with
George Clooney and they hadn't even written a script yet. And so they're like George
Clooney was like, yeah, and they just eventually had to write that script because people were

(25:31):
just talking about it so much. So it does have that feeling like when you say self
indulge, it does have that feeling of like the loose bones structure is there and we
have ways to to how to make funny situations and jokes and show a slideshow into old time
Hollywood. But the stakes and what occurs from beginning to end doesn't really change

(25:54):
much and there there isn't really much of consequence that goes any sort of which way.
But that's like but that's like big Lebowski in certain ways too. So it's like there's
a way to tell that story that, you know, even something that is when something doesn't
happen or something that could be a point itself, whatever sort of nihilistic sort of

(26:15):
way you want to say like no country for old men or something that's a little different.
But there's ways to kind of get into the meaninglessness of things as well, which I think they're really
great at. But this one is really.
Yeah, this one's not doesn't isn't as effective. I think I think it has some funny things going

(26:36):
on and some fun ideas. But overall, I have seen this is my third time seeing I believe
I saw in theaters and one time at on a home video or whatever. But even those times it's
like yeah, I don't even as it was wrapping up this most recent time I was trying to remember
how exactly it ended. And that is kind of like a telling thing of like it doesn't have

(27:00):
a super strong ending. It just kind of like fades off fades away a little bit which Hollywood
is going to be Hollywood. Yeah. And Manics just like I'm not going to take that. What
is Lockheed fucking contract? I'm not going to do that. I'm just going to keep keep doing
this and that sort of thing where you can you can tell that's like where that character

(27:22):
as Manics wants things to go is where he can self automate in a way where he was talking
to his wife that one time that one night whatever when he got back.
Interface. Yeah. Oh yeah. And and she and it's just like such a healthy relationship
from a for him. What's the scoff program? Yeah. Yeah. Yeah. Sorry. Yeah. But I was

(27:45):
going to say I'm sorry. Just how easy of a conversation that was like the relationship
was really healthy and I forget what my bigger point was. But yeah. For a such a busy guy
and everything. Yeah. That. Oh yeah. Well then they she brings up the soccer game and

(28:14):
he kind of because like that was a conversation that they had earlier in the day when she
calls on the phone of like oh you're going to have to talk with the coach or whatever
he doesn't want to. There was some issue with it. And he was trying to figure any had an
idea of how to how to work how to fix it. And then he finds out later that it worked
itself out. Yep. And there's things that in his life that in that how it's kind of how

(28:38):
I look at his arc is learning to let go a little bit I guess. Yeah. But that's you know
it's such a it's such a funny thing because it's looking at this guy that's like so on
top of his game and for what this job is he's really fucking good at it. But that kind of
personality that that job requires is somebody that's also very hard on himself. So it starts

(29:00):
in the confessionally constantly goes back and even the father's like come on man like
you're not that it's OK. Have a fucking cigarette. Like I'll have one with you. And so cigarette.
Yeah. Yeah. So like to know that that's your main character that's where you're coming
from and the walls are closing in a certain way. But overall it's yeah it is feels hard

(29:20):
to care low stakes. And the thing that is the biggest deal is played for probably the
most laughs is Clooney being an absolute buffoon. Oh yeah. Buffoon. Buffoonie. George buffoonie.
George buffoonie. We got to get George in here. George would love that. He's a big

(29:43):
craster. He's such a good what do you think about that crew of of commies the actors playing
them. Oh so we got you got fucking Bernard. We got Bernard and he is having a rough time.
He's an angry. He's an angry commie. Who else do we got. We got what's his face taking
the pictures. Fisher Stevens. Fisher Stevens. I love Fisher Stevens so fucking much. And

(30:08):
as now watching this succession. Yeah. Fisher Stevens. Cool. Oh man. He's the best. And
then you got this the guy from Mahal and dry. He's he's in a lot of other stuff too. But
he's like he's kind of like has his big big eyes and kind of just they're all smoking.
Yeah. And then who's taking the pictures. I had a friend with the he's got that like

(30:31):
cleft lip. Yeah. Oh yeah. I know you're talking about. And then the guy narrating never actually
like says anything. He says like one line like on the boat at the end but he's like
the tall guy with the beard. Oh yeah. He's like the narrator for the whole movie but
then he's just also one of the commies. And then like at the end they drop the money. He's
just kind of like oh. Oh yeah. He has such a weird oh. Oh yeah. Oh God. He was in a movie

(30:59):
about voice acting. He's in a bunch of stuff too. Yeah. I just saw him in that show about
the Clippers called Clipped. Donald's the Donald Sterling. Terrible name. The Donald Sterling
like you know that. Do you know the on tondra about that. Why it's called. No but but well
because it's the Clippers. Right. Yeah. There's a double meaning. Oh. Okay. I just in my mind

(31:24):
I was like the Lager Scott winning time and then Clippers got a clip. It is pretty. No
I agree. It is pretty lame but there is like there is like a double meaning there like
because Donald Sterling like his audio is his voice gets clipped. And then all is all the
terrible awful things he says gets clipped and put out into the world and he loses the

(31:47):
team. It's actually it's not bad. Seeing a seeing Lawrence Fishwood play Doc Rivers is
quite is something that I'm getting kind of a kick out of that because he's trying to
do that. It's like this. Oh yeah. I'm Doc Rivers and I yell at the ref so much that

(32:07):
now my voice is inexistent. Oh geez. Okay. That's my doctor was sorry everybody. It
was good. Lawrence Fishwood does a better job. Clipped everybody. Yeah. And then winning
time went went to bye bye as well right when the end you know the Celtics when I think

(32:31):
at the end of the second season the fucking stinky Celtics when this year and god damn
it god damn it Brandon. All right. P. Jerry West. All right. P. Jerry West. Okay. So
we're all right. P. Jerry West. Let's take this moment to shift gears and I'm going
to take a P break and then let's get back into the movie. Okay. Be right back. All right.

(32:58):
We're back. Yeah. I'm trying to think. Yeah. Let's run the cast chronologically or yeah
let's talk cast. Let's talk the story of this I feel like is pretty lax today's school
week. So about the cast. Josh Brolin let's start off with him. Man what a delight. Right.

(33:18):
He's the best. I love him. And in everything. And I think this that's something that I'm
going to remember the most about this movie is his performance and Clooney has moments
but you know it's just kind of like little little things throughout. Brolin really like

(33:39):
carries the weight of the movie on his shoulders and in this one and I just it is a it's a
stature it's like a physical embodiment that he does that's so stiff and straight laced
when he wants to be but he also seems like in you know interviews and when he does talk
and in real person like the chillest dude in the world. So for him to like turn it on

(34:03):
and be this hard ass like an inherent vice and everything is really cool and I think
that this is a character that could be really like a lot more boring in someone else's
hands and with him like everything I described earlier about his arc I think a lot goes
with just subtle things that he does throughout that shows that sense of being conflicted

(34:31):
when there's a everything is kind of put on his table and he's having to interact with
a lot of kooky characters but you enjoyed him at least in this movie.
Yeah, I mean in my mind this shows you I mean for better or for worse nepotism right is like
Josh Brolin that comes from a very well acted very you know a prestigious family and he

(34:55):
knows how to bring it in all of his performances you know because there could have been a very
real situation where he just only acted in big parts and was kind of a hardthrob at a
time but I think he's had multiple phases of his career and that is a testament to him
being a working actor and just growing up in a family that I'm sure knows like it is

(35:18):
just yeah I don't know you just have a certain level of talent where an understanding of
the industry that you show up to projects and you bring it and it's yeah it's wonderful
to see him act I mean he you know what I would say is that he obviously isn't the problem

(35:39):
with this character it's the underwrittenness of this character because it ends up being
so shallow and so one note and yeah he's a lot he brings he brings another depth to
it to make it interesting but yeah I think this he's the vessel for the other kooky

(36:01):
characters to kind of kind of do their thing and this does kind of wreak a little bit of
the blank check after they have multiple phases of their career the Cohen's so you know you
could have a blank check going further further back but for this one I think this or maybe
not even blank check but just wanting to do something different than no country for old

(36:23):
men having the power and wherewithal to do whatever the hell they want and then getting
one getting rolling back which it seems like they just have the best time working together
the those guys yeah something in the interviews just like I they just wanted to torture me
again or something like that yeah it's just then I think I'm no country for old men that

(36:44):
he took his job so seriously that they would kind of fuck with him a little bit too and
in terms of just like how you know say I do this you there and I was like yeah whatever
you want me to sure you know and like they don't even catch it on camera or something
but they're like yeah I think that'd be better when I mean a fucking film it but what are
you know you just kind of like and and having Clooney there it's like it seems like they

(37:06):
wanted all their all their people back which they are prone to do as it is but it is yeah
it could I don't know I'm trying to think if they if this movie if there needs to be
a like a punch up in a simple certain other way like does it need more drama didn't doesn't
mean need certain things I think it dude let's do it yeah I think it's you know you kind of

(37:30):
already said I think it's just like in terms of like just being fleshed out and deepened
a little bit of what's going on and in overall much stronger finish I don't think this movie
finishes well I think the other memorable part is the submarine coming up and Channing Tatum
and then riding the boat I was like that's visually is so cool yeah and I think it's

(37:51):
the visual I end up leaning on that being my favorite part about this movie all in like
by and large is there's so many fun visual elements be it the performances of like what
is it stupid moon big dumb moon I'm gonna get you moving jumps in the wire but visually

(38:19):
then all of that is so great and you know when Channing Tatum is like leading them to
the row to the submarine and then he jumps off and the dog and all of that it's so visually
stunning but all of it is so hollow yeah in this seems like the exercise in them seen

(38:42):
if they can do it right not whether or not you should mm-hmm would that it's were so
simple what where did it was so simple yeah because there's it's it's so weird this movie
for me where I love all the performances I love a lot of the visuals but then I just
it feels so like lacking where I'm like okay speaking punch ups let me let me try this

(39:09):
let me try this out well why don't you speed dialed miss dr. Hollywood mr. Hollywood Hollywood
hey okay hold on yeah hey yeah yeah I'm gonna put you on speaker I'm gonna pitch you a
punch up of Hail Caesar you ready sounds good baby lay it on me so this movie starts off

(39:33):
like a new are right because that is an homage to old Hollywood where this is going to be
a kidnapping situation which is very similar to a new are picture you know somebody somebody
comes to tell him like hey so and so has been stolen and but this is like part of a bigger

(39:55):
thing and the bigger thing is communism in Hollywood and so those are the new are elements
at play and in the middle of it there are a bunch of players that are distracting from
the main character of Josh Brolin finding out who that is but it each one of those characters

(40:18):
represents a part of society at that time no one is ever really questioned through this
and this the the conceit or the mystery of it all is already told you up front and it
just takes so much air out of it it would be so much better if the George Clooney stuff

(40:45):
was had more seriousness to it I think it is it is funny I will give it that it is funny
you know like he kind of he could like leave whenever he wants but I'll have some more
cucumber sandwiches we'll come back to the study group we'll figure it out in a second
sandwiches at one point he's got two of them in his hand and he's like I just keep up picking

(41:08):
up cucumber sandwiches but I don't eat them it's funny there's a lot of funny stuff in
here but something that makes Fargo so good is that there is this real commentary on people
needing to survive and like capitalism almost playing a part of that of like for example

(41:32):
like Bill Lundegard does all of the things in Fargo because he's an idiot and needs money
so then he hires a hit man and then so on and so forth right or it's like in big Lebowski
sure he gets unwillingly brought into this bigger conspiracy going on but you get the

(41:58):
inner workings of how serious that conspiracy is like something's going on that that really
is true and dark and and is worth talking about none of that exists in this movie.
The thing that like what it's that is whatever.
Yeah I do I do agree the thing that's funny to me about it as well as like it doesn't

(42:24):
end up having the the fangs of like a of a of a of a tooth some sort of script or something
that actually is is you could really sink your teeth into but it has those things that
everybody was kind of had these conspiracy theories about of like hold Hollywood about
about about the red scare and everything and playing with that of saying like the craziest

(42:50):
things that you can imagine are true in terms of like a Russian submarine rolling up into
the bay and like essentially are like yeah like are are their Gene Kelly of the time
jumps into a fucking Russian submarine has been like double eight whatever double agent
the whole time so funny and perfect American.

(43:12):
Yeah I love that aspect.
I think he's like the perfect actor perfect American but he's actually secretly and he's
also an idiot as well.
And that's just about a bunch of like you lost that dog but what was I going to say the
one of the funniest parts for me was the main guy that's just like going on and on to Clooney
is like yeah and we've been writing these scripts to promote communism within you know

(43:37):
within Hollywood all the shit that the Red Scare is so afraid of is like oh they're writing
these scripts to promote communist ideals he's like yeah and did you see that Western
where the town's people like took over and brought the town back to them took it away
from the bad mayor or whatever and he's like yeah I guess.
It's funny.
With these they have like these in all of those that conspiracy is true and these communists

(44:01):
are doing those things but then it's so funny to think that they're like yeah and it's working
and it's like no one actually really like notices or cares or makes a big difference
or anything or you see like Trumbau in the back there and Brand Cranson just be like
yeah.
Yeah.
I'm Spartacus.
I'm Spartacus.
No I'm Fartacus.

(44:21):
I'm Fartacus.
That's what Trumbau said.
That's what Trump totally said.
He fucking dirtied.
Yeah no I mean and that's like by and large right I like this movie a lot though there's
like fun fucking shit in this.
The whole till the swim having two sisters thing I was like this is great.

(44:47):
I'm on board.
This is cool.
I love to.
They come in and she's she just comes in and she's like and my raiders are gonna get
my 10,000 readers or whatever.
It's awesome.
Yeah it was like in the No Dean song.
20 million.
So good.
And then she in that in that moment that I really enjoy they do it like so many times

(45:11):
that it's like are they really doing this and it's so funny that it happens as much
as it does is when she does it the first time is on wings as Eagles.
Yeah.
And then it happens every single time after and there's usually a big pause but on the
last one they just talk over the you can hear it calling it back but there's like talking

(45:35):
over it because they're like no you know what's gonna happen.
That's yeah I know it's funny this movie can be that that's yeah but so yeah what about
these little vignettes of the different different movies we got the Hail Caesar movie with that
one actor to it's a Clancy Brown I think his name is I love him he's like I forget whatever

(46:00):
Caesar's right hand viewed.
I mean some standards for me is that you can then scar down and her Highlander was directing
yeah that's right.
What was he directing he was directing the Western movie right.
I'm trying to remember because it was only for a brief moment it was when he was dropping
the money and then he like hangs out for a second and goes to talk to that guy.

(46:24):
Yeah the Highlander dude I forget his name.
That was the Channing Tatum scene I believe.
Yes he's doing the yeah which is hilarious so that's kind of like yeah no Dan like the
Jean Kelly thing and like amazing tap dancing scene and it actually goes into the whole
breakdown of a dance and then you know wire work with him jumping as well is so silly

(46:47):
and then just the homo eroticism is fucking hilarious of sailors and then just like a bunch
of more sailors coming it's like yeah I heard there's no games like yeah what are you guys
doing in here.
We're just hanging out.
Okay let's all hang out together.
You're just like yeah.
And the song starts like so sad and like forlorn and they're like man no dames and by the end

(47:10):
they're like hey no dames.
No dames.
I loved it.
I'm a big fan.
And the way that's good it's like starts kind of so by the end it's just yeah this dude's
taint is in his in his face by the end it's so good and then yeah the Scar Joe thing as
well was something that was a part of old time Hollywood that I wasn't familiar with

(47:30):
I'm trying to remember the name of the actress that it's really Esther Williams and all the
synchronized swimming and everything and how that how that's shot from above incredible
and that sequence is something that is as bad as a movie like this or like or in whatever

(47:51):
your opinion is like I you know that's not right that's whatever my opinion is how bad
is as you think it is audience side of things or whatever there are things in a in a Coen
Brothers movie as we were saying in the hair and vice as well for whoever hated in here
and vice and say how can you look at some of this stuff but not recognize how cool and
artistic it looks it would have to be pretty offensive otherwise for you to give it a bad

(48:15):
scorn for some people it is but there's there's scenes like this and little little breakdowns
throughout these vignettes of small snippets of the movies that are I think are really
great and that whole reverse scene if we're going dry as she goes up it's pretty great.
It's also great too that all of it is first presented as the starlet and then once you

(48:37):
hear her talk about her life it's very like proxy very New Yorkie she's very like you
know whatever that's why Don John next time is going to be really spoiler spoiler spoiler
okay I'm going to put it in the notes if you don't want to know our next movie then you

(48:58):
know skip ahead and the fuck is otherwise get ready for Don John next week.
Yeah, Scourge always back. Don John isn't it but that's an easy fun joke to make too
it's like oh yeah the the beautiful mermaid comes off and chain smoke cigarettes and and
has a has a deep raspy voice and you know is berating the crew and everything and then

(49:24):
her whole storyline is definitely a commentary on on stuff that was going on at that time
too. Absolutely yeah and that's the funny thing about it to me is like there's this whole
I always come back to how hypocritical it is for older generations to hold moral high
ground on younger generations because like every generation has its own faux pas and

(49:49):
like what this movie is representing and which is so true across the time period is people
were like fucking and hooking up and having kids and getting married multiple times in
the early 50s in the early 50s like it's just yeah like no wonder why the summer of love

(50:15):
existed because it's a bunch of incredibly repressed people trying to live like trying
to hold up this code that has been said and no one is reached and no one's doing it like
no one is subscribing to that people are just having sex and doing what they're always been
doing and and in Hollywood I mean at that time you are at the forefront of the monoculture

(50:40):
at that time of of deciding what who and what is is popular and and and going to be eventually
become pop pop culture which wasn't even was it even really a thing yet either pop music
was coming around yeah absolutely but nonetheless like being doing the charles and arts like

(51:02):
I mean if anything this movie makes it very clear that Hollywood is a bunch of creative
loons like I am it's almost like it says it in the movie multiple times the main character
of this movie his job is to keep everything under wraps like he all what all he's really

(51:22):
trying to do is just keep it out of the fucking the twins the Swinton twins the twins who
are idiots by and large is how they paint them you know yeah that I guess one is seems
to be trying to be more of a not as muckrake sort of publication or something and the other

(51:43):
one well okay so what is if there was a difference between the twins what would it be then because
if I feel like that would be the first one was like oh I don't I don't go that stoop
that low as my sister or whatever and then the other sister comes along and she ends
of having 20 million to her 19 so that was I just felt like that was like the person

(52:05):
that's a little bit more of the TMZ of the time is going to have that 20 million you
know viewer or readership or whatever listener show you're right.
Well yeah I know even something like that is like that's that's an element that's that's
there all all those things all those dirty sides of things are prevalent even at this
time and I like the idea that the main character is just trying to keep things under wraps and

(52:29):
just trying to like keep the status quo even so much so that he goes into that one house
that's she's getting like a photo shoot done and it's like out of her contract she's not
allowed to do it and he like fucking slaps her across the face multiple times and that
was just a clear sign of like what you know these times and also like we're I felt like

(52:50):
the cone brothers trying to really cater to how that would have been shot in that time
here in that movie because it was just such a quick like close up and he did the you know
just like the I don't know fucking classic way of shooting that's a slap and like an
old tiny sort of sort of slapsticky sort of way but all that all that to say these little

(53:17):
pieces that I'm kind of rambling on about that I really enjoy I'm not sure as you've
been kind of leaving on as well as like I'm not sure if it it makes you know if it makes
the whole thing a good you know just like all these pieces but yeah before I mean I
can look through any final notes I have as well you notice no I don't know do you notice

(53:43):
him of course I did that was fun right yeah right off the rib just oh there it is to John's
he was yeah he was the like John's right there some the money or whatever yeah and the constantly
looking at the watch you know I kind of liked that element of putting yourself in the perspective

(54:04):
of the main character look constantly looking at his as watch kind of made me feel like
that I gotta gotta get moving because it really takes place in a day it really takes place
in 24 hours yeah which is yeah interesting my favorite scene is the refine scene that's

(54:25):
my favorite scene yeah for sure yeah is that what do you think that's your favorite or
yeah yeah yeah yeah yeah it is yeah he gets his moment to shine and it's just just in
that scene like you could have a ray finds and you could have him just show up in one
scene because you're the cone brothers it's so simple and the back and forth and the chemistry

(54:50):
between them them too they just yeah I don't know is so good Lawrence Lorenz drippingly
rueful like all I'm all like good stuff he goes in he's complaining in the office as
well the other scene he's oh he's game and gamey I can't give do it justice to describe

(55:11):
me how do letters it oh Brandon Sables yeah he's game and gamey yeah that's what it was
so simple wasn't it was a simple it would be unethical to share in your own ransom like
Clooney's like well what if I go you know I share a little bit of the money that you
guys use like that would be unethical that's like that's like so funny Cohen brothers line

(55:36):
classic yeah funny this movie is funny all are in whatever his face is is it hard to dance
with all those bananas on your head to the tequitos he's so sweet oh my god love that
and then they have that whole bed where they're like trying like well I said I told I told

(55:57):
her that I was in a movie and then that'll take and then the next sister shows up and
then they're like so we're in a movie it's awesome and he lasses her her fingers with
his I order plain spaghetti no sauce just so I can do this trick to every girl I meet

(56:17):
so funny Francis Francis McDormand the whole editing scene and yeah I've seen a woman editor
is is very much Scorsese you know as a sexism of the other time everything there was that
was a profession that a lot of women really well was editor and I know that was that

(56:38):
good yeah dude thank you yes yeah hell yeah dude thank you for bringing that up fuck yeah
I thought that was a cool little little touch of yeah having a woman just that Patton Oswald
I think has a great bit about about all that but also the dangers of it that I'm like oh
my god she's smoking and next all that film my god and then this scarf was like Jesus

(57:04):
and then she just carries on yeah and then Jonah Hill is on the poster of this movie
and like top build and he's only in one scene with like five minutes three to five lines
and his whole deal and with a Scar Joe is pretty funny too I mean the and for him to

(57:25):
be a professional person is pretty great of like that's of that's something that he can
just fill in to be whatever is needed to be however all of the stuff between him and Scar
let your hands into happen off-screen you know I just a little something else could have
been fun but also I think it caters to that other point I guess of like it worked itself

(57:46):
out in a way that he never would have expected maybe and if he had been meddling too much
it might have not worked its way out you know in that way so I don't know what the message
is there but I think there's there's something a little bit of the chaos with Coen Brothers
movies of like sometimes things yeah go go the certain direction that human intervention

(58:10):
can create more more problems or there's just there's a certain weird twisted fate to their
to their to their movies as well yeah how is it that he gone straight at this point
I mean it's understandable him being on the poster but it but nonetheless it's still insane

(58:32):
how little he is in this movie to warn it like that's I think the thing to talk about
right is because like you know Jonah Hill leading up to this was in Wolf of Wall Street already
so I mean okay like yeah this was after Wall Street.
Yeah Wolf of Wall Street is 2013 so three years still this are you know what happened

(58:57):
before this 21 and 22 Jump Street that happens that makes a lot of sense yeah getting the
Channy Tatum and Jonah Hill right yeah however Channy Tatum was brought so much more to this
movie than Jonah Hill did for the yeah I mean whatever the script was I mean I guess Jonah

(59:19):
Hill I guess it was necessary but yeah for him to be so highly built it's so strange
for it would be so much better for him to not be listed at all and just be a oh it's
a fun cameo idea in its back like Francis McDormand isn't listed there at all and she
had right the same amount of time but yeah the last part of the Channy Tatum on the on
the submarine is is very good and then and is silly silly wig and yeah and yeah and one

(59:44):
of the interviews with Alrin Rivers faces was was talking about how Coen Brothers the
way they write they like write the dialect in their script in a way so all that southern
accent stuff it's like spelled out in a way for him to be able to read it in that way
which I thought was as cool as a from a writer perspective is them not just as directors but

(01:00:05):
also as fun writers must be fun to read a script of theirs.
I just experienced this yesterday and today I have that Libby app the free app for books
for your local library and right now I'm reading this book called James.

(01:00:25):
Ah the James the James and get this you want to mind blown it is from the perspective of
N word Jim from Huckleberry.
When was it written?
Not that long ago.
That sounds interesting.

(01:00:45):
It is.
It's very interesting.
It's incredibly interesting because the perspective of it is like there's a lot of like oh white
people are showing up.
Okay start talking differently.
Right.
This kid wants me to fucking.
This fucking piece of shit kid.
Okay.
Huck's coming.

(01:01:06):
You know and it's really really funny and really good.
Okay.
It's let me let me shout it out.
It's so good.
Good.
It's so funny because like at first it's like Huckleberry fan where and we're Jim's character.
You're like oh this is like who's this Tom Sawyer fuck like and also Huckleberry too.

(01:01:30):
Like it's you have to get into the dialect of right of it and this book is so good at
getting you into the dialect of it just like Huckleberry Finn.
I think yeah I think I have to say.
Okay James is the name of the book.

(01:01:50):
It's by Percival Everett.
Excellent.
Well yeah that's I always remembered yeah reading Huckleberry Finn and in school and
thinking that same thing with all the dialogue and me too.
Yeah it was a lot of fun for me because I'd yeah I'd always acted out in my head regardless
if they did that or not.
That's how I read books is just like I have the whole world in my head and I do dramatic
timing and everything of the lines.

(01:02:12):
Maybe it takes me a little bit longer to read but it makes a lot more fun.
I'm like it's so fun.
That's why yeah sometimes you check this out.
I should do audio books but I think sometimes with audiobooks I'm like I kind of like to
come up with my own way to read it in my head.
Cool.
Well yeah that's pretty much it I think yeah my last note was that some of those backdrops

(01:02:34):
for the Hail Caesar scenes were actually the ones used in Ben Hur.
Yeah okay.
Which is pretty cool when you actually like kind of focus on it and you're like oh wow
yeah I was like very intricate.
Ben Hur is a very cool movie.
That was the one that oh yeah well actually I was we watched Ten Commandments Every Easter
but Ben Hur was definitely another one that my family liked the Charlton Heston the Planet

(01:02:58):
of the Apes we were we liked him.
Ten Commandments I remember being enjoyable to you but been been a while.
Ben Hur a while.
Ben Hur a while.
Gotta be.
I am Farticus.
Yeah go for it.
I'm gonna start bringing up reviews go for it and I'll vamp a little bit here with your
folks I'm sure you won't you won't be too long.

(01:03:20):
Let's check out those numbers again.
It is a certified fresh 86% by the critics it is a poopy doopy snoopy 44% by the audience
on Round Tomatoes.
Let's check out some scores here from you know what I gotta wait for Brandon we'll be

(01:03:41):
right back I'm just gonna be right back I shouldn't I shouldn't do this without my guy.
Good momentarily we are back let's check out some critic reviews 86% by the critics let's
start with Richard Brody from the New Yorker scintillating a perorius substantial and play

(01:04:09):
fully personal Sarah Michelle Fedders movie freak calm in other words it's perfect and
like the best of the duo's achievements it's an ending I'm going to be pondering for quite
a long time to come.
I'm not sure about the end yeah the ending does not hit me in the same way as you know

(01:04:33):
I do like this movie as well Max Weiss Baltimore magazine the greatest thing about Hail Caesar
is that it's loose structure allows the Coens to just mess around with the things they like.
Okay that's true okay okay now we're tuned in from Jason Bailey flavor wire oh it is

(01:04:57):
all in all mid-level Coens but as so many others have noted mid-level Coens still tops
most other filmmakers at their peak oh that guy gets it oh fuck that's true that's the

(01:05:18):
opinion here.
Well let's do Peter Bradshaw at Guardian it's not encumbered with significance but richly
affectionate and very entertaining.
Hail Caesar is something to be greeted as a gorgeous exercise in style.

(01:05:39):
From Alison Wilmore last one here from BuzzFeed News the Coen Brothers new comedy isn't quite
an homage to 1950s Hollywood but it's not a spoof of it either.
It strikes that tone of crisp drooliness that's their specialty and that some people misread
as aloofness or contempt but it's not.

(01:06:06):
The audience said 44% yep that's what they did say they said no spank you to you Mr.
and Mr. Coen.
Chris Bowling gave it a one star here on Amazon titled it may have been a great idea lost in

(01:06:26):
time and never fully realized.
I am a big fan of the Coen Brothers this movie not so much it feels half baked for one none
of the characters are given any backstory just quickly introduced through a series of movie
shorts that seem to be underlying compared to the lavish spectacles they are made to
pay homage to.
The movie was the fact that this movie was not shot in 70mm or panavision or any of the

(01:06:52):
older formats that seem to pop on the big screen.
These by comparison seem flat the camera work uninspired.
The voice over languidly offers little to propel this plot thin story forward and lastly
the conclusions are hastily and dismissively tacked on.
It may have been a great idea lost in time and never fully realized and major disappointment

(01:07:16):
from the Coens they would have been put on ice quicker than Barton Fink from making this
stinker in classic Hollywood.
Oh my god.
Oh okay.
You need that Barton Fink reference.
Yeah I did.
We'll do Barry memory from Barry memory one star titled the real flop.

(01:07:36):
I do not understand why this movie was made it goes nowhere and has no real story I knew
that the critics didn't like it when I ordered it but I have seen several movies that the
critics hated that have turned out pretty good.
With all the stars involved I figured that it was worth the price.
Boy was I wrong on this one.
This could have been a pretty good movie.
The storyline could have been developed into something interesting in several different

(01:07:59):
ways.
However when reached a point where the story could have gone good it stopped.
Yeah I liked looking at Scarlett Johansson.
Oh god.
But it was the price of the movie.
All right.
All right guy.
All right.
Jesus Christ.
Well anyways.

(01:08:20):
From Greg Fitzgerald.
I am a lorry.
This is fucking guy.
This piece of shit.
Titled God awful.
A wasted cast.
One star.
It's rare when I have to click the off button on my remote third way through a six buck
rental but this is probably the worst movie I've seen in many years.
I was especially disappointed given the cast poorly written with unconnected scenes and

(01:08:43):
some bizarre tie into communism.
Scenes were incredibly long with ponderous dialogue.
No action and a real mediocre performance by Josh Brolin.
I love quirky movies but this was beyond quirky.
Oh stop.
What's worse is that we had friends over after dinner to watch it and had to apologize
for such a horrible flick.

(01:09:04):
One more thing.
Don't let the preview fool you.
The shots selected have nothing to do with the plot.
Oops.
Forgot there was an upload.
Oopsies.
From ARW one star titled waste of time.
There wasn't a single interesting thing that happened in this movie.
It wasn't funny and clever or the least been entertaining.

(01:09:27):
I watched intently soaking in the dialogue keeping track of the characters expecting
some huge payoff at the end and managed to fall asleep 10 minutes before it ended.
My wife warned me not to remind because nothing happened but I couldn't imagine this being
the case.
Not after all the effort I had put in.
Yes.
Oh my god.
Nothing happened.

(01:09:48):
As a parent kid free nights are rare and this is how we wasted ours.
I want my time back.
I feel for that person.
I feel for that person.
Speaking of Ray Fiennes I feel like they're going to pull Ray Fiennes and invite that person
to a nice private.
Yeah.
Menu.
I don't know.
The very exclusive menu.
Yeah.

(01:10:09):
I'll do one more for him.
I'll do a letter box here.
One for the final one.
It's one star from later.
Letter box.
They got it.
It's a little box.
Do that.
Yeah.
One star.
Craptastically underwhelming and idiotic menagerie of silver screen Aaron nitwits blended
with the kind empty humor that brands itself as quirky.

(01:10:30):
When it's just obnoxious the things I hate about this Coen Brothers movie are some of
the same reasons for why I hate most of Wes Anderson's filmography.
And this last one this last one from Garcy was one star.
The only good thing about this was that there was a female editor and even that they in
even that they ruined by trying to fucking murder her.

(01:10:54):
I mean she it was it was the scarf.
It was an incredible situation.
You don't wear a cape as a superhero.
That's that's that's a pass a well so yeah I mean as far as the polarization between
the two sides of things I think it's pretty clear we've been mentioning throughout that
this is a movie by people who have been in Hollywood quite a while and it's a their kind

(01:11:21):
of take on it in the old timey Hollywood side of things but I think it's also trying to
make little commentaries of things that have always been in Hollywood and that are still
in it now.
But through it all I think some of the yeah this the overall story beats and and where

(01:11:42):
it was leading to was not satisfying for the audience and I think just being steeped in
that world a lot of the critics were going to be a little bit more forgiving.
Didn't work for every movie about Hollywood but this one that it being a Coen Brothers
movie and they did get a lot of accuracy in terms of the presentation and I think Roger

(01:12:06):
Deakins yeah was a big big part of that as well.
And yeah that was something stuff that they recognized but as far as the story goes and
and piecing all those disparate kind of pieces together and all those factors that are really
cool on paper just didn't yeah it didn't work for audience members.

(01:12:26):
My interpretation should I continue with my review or is there anything else you wanted
to oh shit that's on yeah that's unlike your review but yeah yeah I was kind of getting
into it please and just doing the ring a yeah we were doing we're in Elden Ring DLC territory
so you gotta bring a nickel every now and then you gotta drop a ring of Michael at
Nicola you know mine is like a dragon fist one where you start banging his chest with

(01:12:51):
his fist that's my favorite one right now or also the one where you just go into the
fetal position when you can't beat a boss.
Yeah that's great.
Elden Ring.
Elden Ring.
Elden Ring.
Elden Ring.
Elden Ring.
Hale Caesar.
You know what's good?
Hale Caesar.
Elden Ring.
Elden Ring baby.
But how is Hale Caesar James?

(01:13:13):
Hale Caesar is a good movie I think this is a good movie.
It's not Coen Brothers Best movie and it's not perfect and it's not something that like
leaves its mark in a super deep way on me even something that is like Big Lebowski where
the meaninglessness of it all and the story that kind of goes nowhere hits in a way that's

(01:13:43):
fun and something I would watch over and over again.
This one doesn't quite get to that mark but I visually I think was really kind of soaking
in that a little bit really registering that it was a Roger Deakins movie this time I think

(01:14:03):
was the first time I was like oh I didn't realize that maybe the past couple times so
that was something that was made it go go down very smooth but I think I needed it to
have a stronger finish.
I don't know there's something that it kind of peters out for me a little bit at the end

(01:14:23):
beyond like the summer I think the submarine is pretty fun and Channing Tatum going out
there and everything but all those pieces I don't think are like the sum of its whole
a little bit I guess is what I'm trying to say I like them all separately but and when
they put them all together I don't think it makes like a perfect movie and one that is

(01:14:46):
on the top of the Coen Brothers list so yeah I'd say probably I'll do 77 I feel like like
70s 80s I know that's like maybe safe or whatever but I feel really good about like a yeah like

(01:15:08):
a three and a half out of five situation like three three and a half out of five and be probably
be my letterbox.
Yeah, if I had if I had to do that but I think it won't be the last time I watch it I could
see myself like you know further down the line a little bit.
Hell season even if I don't finish it whatever I just like those the snippets of all the

(01:15:30):
old time in Hollywood stuff was really fun this this time and the synchronized swimming
and the western stuff and the stuff that had like a practical effect to it was pretty cool
pretty cool.
Give it a 77.
No I just want to you brandy.

(01:15:53):
So I just posted my letterbox I might be doing this from here on out.
I'm gonna post my letterbox live letterbox review live letterbox review.
So I gave this so my letterbox review is this

(01:16:15):
it's a two and a half stars.
Okay.
It's two and a half stars.
And my review is there was some fun people had back then.
Say that one more time.
Or that it's worth so simple.

(01:16:42):
Exactly.
There was some fun people had back then.
Yeah.
Yeah.
Exactly.
And two and a half stars.
So how does that translate into to mate?
So you're going straight 50 then.

(01:17:04):
Is that how the star system translates to the popcorn system?
We talked at the very beginning of my intro how rotten tomatoes math is hard.
Yeah.
It's definitely not that review is its review.
This is this.
That's your letterbox percent.
Yeah.
Okay.
Exactly.

(01:17:24):
It's a different guy.
Gotcha.
Okay.
So I'm not beholden to that.
I just want to let you know that's what my letterbox was.
So for me for this movie is there's so there's a lot of fun that I had in this
movie, but it is because of the appreciation for old Hollywood, which is an interesting

(01:17:51):
thing for a director like them to do is to talk about their like a fatuation with making
movies for them being interested in making movies and what is what they're all about.
And there are interesting things that they are focusing on in this movie, but they have

(01:18:12):
spent zero time actually analyzing how they feel about this.
So this ends up just becoming a very like in self indulgent movie.
And in the grand scheme of things, what I love about the Coen Brothers is representative
in this movie for sure visually agreed.

(01:18:36):
But the like commentary, the like, you know, it's not there.
It's not there at all.
And so I just I kind of don't respect the movie a little bit that they did that where
their take on old Hollywood has so little teeth for directors that made Fargo like you

(01:19:02):
should have teeth into this big Lebowski teeth and a wine.
I mean, that's a little more claustrophobic.
Yeah.
And I think OK.
Not about the whole system as much.
But yeah.
So but yeah.

(01:19:26):
The perspective of this movie is not that interesting, but the visuals are really great.
And there are some really funny stuff in this that I yeah, I I L O L.
OK, so yeah, I'm fucking L O L.
You you ruffled.
So but nonetheless, I'm going to give this a 70 percent.

(01:19:52):
Nice.
Respect.
Yeah.
I think it's it's a solid it's a solid flick.
And it is something that I feel like Coen Brothers.
For them, that one guy or whatever you said is like it's not it's like mid level Coen
Brothers, maybe, but it's also it's Coen Brothers.
So yeah, that base level, it's still going to be pretty watchable.

(01:20:15):
And I found myself really kind of tuned in and some of our movies I'll take a break and
something and come back and or make it a two parter.
And this one, yeah, it was pretty, pretty simple to just kind of take take it on.
And I think it was like an hour 40 and it was.
Yeah, pretty fun.
And love it for it.
Yeah.
Yeah. And we that was our Coen Brothers app.

(01:20:38):
We did a Coen Brothers.
We did a PTA, I feel so esteemed and sophisticated.
And OK, so like a real film, bro.
So to the film, bro thing is between the two.
How do you feel about them?
You know, like what one did you like more?
Oh, and here and vice.
Absolutely. And why?

(01:20:59):
And why that one has grown?
I yeah, I think I've seen them both three times, maybe the first time in here.
And by Sunday, I didn't get all the way through.
But essentially three times in here and vice, like is just getting better and
better each time I watch it kind of.
Oh, and I don't see that.
He'll hail Caesar has that much depth for me to go back and be like, oh, I never

(01:21:20):
noticed this or, oh, you know, maybe there would be certain little things.
But, you know, just inherent vice is something that I'm sure you would say
that tenfold about the actual book inherent vice is that you can just keep
on digging into that and find new things.
And that is very dense.
And this is not so much.

(01:21:41):
It's it's pretty surface level.
Yeah, he'll see jazz like some fun some fun
comedy stuff, but all that is just like playing on the on some of the surface
level things that we already kind of know about Old Hollywood.
And if you want something with teeth, yeah, I guess that was the Babylon thing
of it all too. Yeah, totally.
Of having of showing Old Hollywood.
That was like totally really like showing you those ugly, ugly sides as well.

(01:22:05):
But then by the end, it's like, aren't movies the best thing ever?
You know, it's able to show kind of the worst love movies here.
And it's so sincere and how it does it.
And yeah, I guess he'll see Zerzea a little bit.
Yeah, they're kind of cynical kind of kind of guys.
But if you can see George Clooney acting like a fucking idiot, it's it's pretty fun too.

(01:22:30):
All right. Well, we've had a blaster as always.
We love movies. We love those movies.
Love those movies.
Speaking of which, we're going to talk about another one next time.
You already heard it earlier on or if you missed the spoiler alert,
we are doing Don John, baby.

(01:22:50):
A Joe Joe, go live.
Oh, dude.
Let's go. Joe, go live.
Scarred. Let's fucking scar Joe.
Let's fucking Julianne.
Oh, let's fucking toe toe dance.
Oh, yeah.

(01:23:11):
Wow, Brie Larson. Look at all these peeps.
This is a movie.
If you don't know what Don John is, yeah, it's Justin Gordon.
Love it. He wrote and direct directed it.
What is it? Say on the road?
And you're on your.
Premise here, it says New Jersey bartender John Martello knows what's important.

(01:23:31):
His friends, his family, his car, his church, his sexual conquests and porn.
In fact, John is a porn addict and has never had a genuine relationship with a woman.
However, when he meets Barbara, he has to change his operating methods
because Barbara won't be bedded easily.
For the first time in his life, John begins a real courtship,

(01:23:53):
but his obsession with erotica threatens to ruin everything.
Wow. Who wrote that?
I'm so glad I got to see you realize what this movie is about.
I remember when this came out.
Yeah, I just never had no idea that that's what it's going to be about.
Kind of. I remember seeing the trailer when it was coming out.

(01:24:14):
I knew it was kind of like had to do with the porn obsession.
Or yeah.
And then what Julian Morris is, mom.
OK, well, we'll find out.
Hell yeah. All right.
Don John, John Don.
Brandon, John.
That's what I'm going to call you next time.

(01:24:35):
Remind me of Brandon John.
It's been a true pleasure, as I like to say.
Yeah, it's oh, did I even give those scores?
Is 80 80 percent by the critics for this movie, Don John?
And if 58 percent by the audience.
We love you all.
If you'd like to watch us live, it's twitch.tv slash Polarize pod.
Do join us.

(01:24:56):
Send us a line at Polarize the pod at gmail.com.
Leave a rating on Apple podcasts with a little review.
And and as you get a little star system there to no tomatoes on
Apple podcast, but we would we would love to hear what you have to think.
And and we hope you've enjoyed yourself.

(01:25:16):
Brandon, to you. Good, sir.
Have a wonderful night and I will see you next time.
Oh.
Bye bye.
Bye bye.