Poltergeist (1982) / Geistin' Makes Me Feel Good (Guest: Kimbo)

Send us a text

It's The Review Review RAPID FIRE for Spooky Season! Our returning guest, Kimbo, joins Paul for a short stay in the studio for "Poltergeist," (d. Hooper ((?))  1982). In our most questionably rated adventure since "Earth Girls Are Easy," we attempt to invoke the spirits of the MPAA to explain their logic in the PGness of this film. Can armchair Quarterback parents be more effective than ACTUAL parents? And of course, that f*****g clown. Go into the light 10/6!

More Kimbo: 

Season 3 - "When Harry Met Sally"

More Rom Comedy:

Season 1 - "Earth Girls Are Easy"

**All episodes contain explicit language**
Artwork - Ben McFadden
Review Review Intro/Outro Theme - Jamie Henwood
"What Are We Watching" & "Whatcha been up to?" Themes - Matthew Fosket
"Fun Facts" Theme - Chris Olds/Paul Root
Lead-Ins Edited/Conceptualized by - Ben McFadden
Produced by - Ben McFadden & Paul Root
Concept - Paul Root

Episode Transcript

SPEAKER_04 (00:00):
I know.

SPEAKER_01 (00:01):
So it makes perfect sense.

SPEAKER_04 (00:02):
I know.

SPEAKER_01 (00:03):
Okay.
Hi everyone.
It's me, Paul.
Welcome to a special edition ofthe Review Review.
What is the Review Review?
The Review Review is a podcastwhere we take a movie that's
seven years old or older, twohours and twenty two minutes or
less.
Normally not part of any majorfranchise, but it is spooky
season.
So we do break those rules.

(00:24):
And this movie was on my breakerlist.
And maybe you heard that laughbefore if I didn't cut it out.
We'll see.
Kimbley! Kimbo?
Is it Kimbo or Kimbley?

SPEAKER_04 (00:34):
Kimbo.

SPEAKER_01 (00:34):
Kimbo.
Okay.
Madame Duane.
Madame Kimbo.
Kimbley brought us kind ofpoltergeist.
And I know again what you'rethinking, that is a major
franchise with mini movies, butit was on my breaker list.

SPEAKER_04 (00:52):
But I feel like you guys allow franchises so long as
the first one.
You just don't allow number 57of a series.

SPEAKER_01 (01:00):
When are we gonna get to do Fast and the Furious,
by the way?

SPEAKER_04 (01:03):
I don't know.
Give the people what they want.

SPEAKER_01 (01:06):
Yeah.
How lucky for everybody that wedid this movie, poltergeist
Kimbly.
Do you want to tell the peoplewhat you've been doing?

SPEAKER_04 (01:35):
I've been watching a lot of shit.
That's what I've been doing.

SPEAKER_01 (01:39):
Oh, you don't want to talk about what you've been
doing.
You want to talk about whatyou've been watching.

SPEAKER_04 (01:41):
I've been watching a lot of shit.

SPEAKER_01 (01:43):
Jesus Christ.
Okay, yeah.
All right.

SPEAKER_02 (03:00):
If you don't play with us, we will kill you.

SPEAKER_01 (03:08):
What have you been watching?

SPEAKER_04 (03:10):
Well, first of all, I've been watching a lovely show
called The Twisted Tales ofAmanda Knox.
I quite enjoy that.

SPEAKER_01 (03:17):
Sounds scary.

SPEAKER_04 (03:19):
It sounds spooky.
After watching this, that'snothing.
Then I've watched The Summer ITurn Pretty, also spooky,
because I don't know what thisgirl's thinking.

SPEAKER_01 (03:28):
Spookier than this?
Mm-hmm.
Whoa.

SPEAKER_04 (03:31):
Then I'm interested.
Then I watched a cinematicmasterpiece called Practical
Magic.

SPEAKER_02 (03:39):
If you want me to take it up in a box and mark it
guaranteed, I will.
Like that's fair time.

SPEAKER_04 (03:43):
Well, dear listeners, let me tell you, I
originally wanted to bring abeloved film to the pod.
To be fair, a film.

SPEAKER_01 (03:51):
But you did that.
Are we not doing that?

SPEAKER_04 (03:55):
Let the lady speak.
So, beloved listener, I tried tobring you a good because my
quest is always to bring a moviefor all people.

SPEAKER_01 (04:05):
Mm-hmm.
So I This is a PG-rated moviethough.

SPEAKER_04 (04:08):
There's a lot to unpack here.

SPEAKER_01 (04:10):
Oh, okay.

SPEAKER_04 (04:11):
Anyways, I tried to bring you practical magic, as
you may or may not remember,listener.
I unfortunately have a problemof falling asleep in movies.
And we turned on practical magicand I took a nap.
And my plans to bring practicalmagic to the pod were derailed

(04:32):
sadly.

SPEAKER_01 (04:32):
So this is where we ended up.

SPEAKER_02 (04:33):
Hell yeah.

SPEAKER_04 (04:34):
So through a series of unfortunate events, we have
ended up with this horriblefilm.

SPEAKER_01 (04:42):
But it's spoilers, and not even no Lemony Snicket
here in terms of the unfortunateevents.
These just happened.
There's no responsible party.
Lemony Snicket make you fallasleep?

SPEAKER_04 (04:54):
No.
Mid afternoon and a full bellyafter lunch made me fall asleep.

SPEAKER_01 (04:58):
Okay.
That'll do it to you.

SPEAKER_04 (05:00):
I mean.

SPEAKER_01 (05:01):
So you watched Practical Magic.
We were gonna do that moviehere.

SPEAKER_04 (05:04):
Yes, on the pod.
The whole thing was like, oh,it's spooky season, you can come
back, but you have to bring aspooky movie, and I'm a spirit
cat, so I thought, oh, practicalmagic, everybody loves it.
They're making, they'recurrently making another one
because it's so beloved.
I sat down to watch practicalmagic to bring it to the pod.
My first time watching it, and Ifell asleep.

SPEAKER_02 (05:27):
Be careful though.

SPEAKER_04 (05:28):
And then I got up and I said, Well, I'm gonna have
to watch it again if I'm gonnabring it to the pod.
And that was the toad.

SPEAKER_01 (05:38):
So I I should mention, Benjamin's not with us
today.

SPEAKER_04 (05:43):
Benjamin is also a big fan of practical practical
and doing other things.
Oh, okay.

SPEAKER_01 (05:49):
Maybe in a magical way.
I don't know how he stirs hiscoffee, if that's a hands-free
kind of thing or what.

SPEAKER_02 (05:54):
Dick!

SPEAKER_01 (05:54):
Unfortunately, Ben couldn't be with us.
We're not gonna tell you whathe's doing, and we're not
entirely sure what he's beenwatching.
Although I think I sawThunderbolts somewhere on
Probably the Summer I TurnPretty.
That would make a lot of sense.

SPEAKER_04 (06:07):
I mean, we did tell the people, or you told the
people recently, to watch theHunting Wives, so I did.

SPEAKER_01 (06:14):
I did indeed.
And according to one EricDriscoll, that shit rips.

SPEAKER_02 (06:19):
You're at the eight ball.

SPEAKER_04 (06:20):
There you go.

SPEAKER_01 (06:21):
Just in case anyone was curious, what have I been
watching?

SPEAKER_04 (06:24):
Yes.
What have you been watching?

SPEAKER_01 (06:25):
Kimbo.

SPEAKER_04 (06:27):
Oh boy.

SPEAKER_01 (06:28):
I watched a movie on YouTube for free.
And it's full feature length.
I think it's 78 minutes atleast.

SPEAKER_04 (06:35):
Are you a hundred years old?
Who watches a whole movie onYouTube?

SPEAKER_01 (06:39):
It's free.
Oh, I'm sorry.
Did you want me to pay to watchthe perfect weapon starring Jeff
Speakman?

SPEAKER_04 (06:45):
Oh boy.

SPEAKER_01 (06:46):
I could have.
By the time I got to the end, tobe honest, I would have.
I would have paid for it.

SPEAKER_04 (06:51):
Oh boy.

SPEAKER_01 (06:52):
What is the perfect weapon, you ask?
Who is Jeff Speakman?
What is this?
This is a gentleman who got amovie contract with Paramount.
He did one movie, they did themdirty, and he is quite a martial
artist, and that's for certain.
And we'll he's a very goodkarate man.
And there are all sorts of greatactors propping this movie up.

(07:15):
Dante Bosco.
I I was getting good with myjacks, by the way, before I'm in
jacks.
And I hurt my hand.

SPEAKER_04 (07:21):
Yeah, your injury.

SPEAKER_01 (07:22):
And uh Professor Toru Tanaka.

SPEAKER_04 (07:25):
Your season ending in just a game song.

SPEAKER_01 (07:27):
I'm on the IR now.
It's not my put me on the pup.
But it had a bunch of goodsupporting stuff and great
karate and shit like that.
And it has I got the power.
You remember that?
That song is the shit.
And that's in the movie.
So if you're in the mood forjust like a rock em sock em
robot type.

SPEAKER_04 (07:46):
Am I am I dating you if I say that the time that I
remember remember the song I gotthe power in a movie is from
Bruce Almeyer?

SPEAKER_01 (07:56):
No.
Not at all, because it is inthat movie as well.
I know, but he has the power ofGod or Jeff Jeff Speakman,
depending on who you ask.

SPEAKER_04 (08:04):
Okay.
Well, I just didn't want to makeyou feel old because my
reference is much more currentthan yours.

SPEAKER_01 (08:11):
But that would make you feel seem old and or me or
who because mine is younger,like me.

SPEAKER_04 (08:17):
I'm young.

SPEAKER_01 (08:19):
You are so young and so energetic.

SPEAKER_03 (08:23):
Yeah.

SPEAKER_01 (08:24):
You're very spicy.
That is interesting.
Well, we've talked about what wehave been doing, kind of, why
Ben's not here, kind of, andwhat we've been watching, kind
of.
Let's just get to this fuckingmovie.
What do you say?
Let's let's talk about somefacts.
It's not yet.
You're you are excited.

SPEAKER_02 (08:44):
Archaeology is the search for facts.

SPEAKER_04 (08:50):
Poltergeist, SLM Production Group, MGM, PG.
We're gonna unpack 1982, onehour and 54 minutes.
Budget, 10.7 million, 35.8million adjusted.
Opening weekend was June 6,1982.
Made 6.9 million in the US.

(09:11):
That's 23.1 million adjusted.
Final gross in North America was77.2 million.
That's 258.
Oh, 43 million adjusted.
There was no internationalrelease, so that's it.

SPEAKER_01 (09:26):
That's a lot of fucking money though.
Spielberg, the magic touch, I'mtelling you.

SPEAKER_04 (09:31):
Okay, Midas.
Other other releases thisweekend, Star Trek 2, The Wrath
of Khan, Hinky Pinky.

SPEAKER_01 (09:38):
Ooh.
I've never heard of that, by theway.

SPEAKER_04 (09:41):
I mean weekend top five, Star Trek Two, Rocky III,
this movie, Hanky Pinky,Visiting Hours.
Other films from 1982, like ofcourse, this is the list you
chose to highlight.

SPEAKER_01 (09:53):
I do.
Ben does these.
He sent me this.

SPEAKER_04 (09:56):
Ben sent you this.

SPEAKER_01 (09:58):
For a minute.
Yeah.
They're almost useful.
Of course.
He does them all.
And he he curates this.
He works very hard.

SPEAKER_04 (10:04):
Well, you're both out to get me.
Other films from 1982.
Friday the 13th, part three.
There are multiple parts ofFriday the 13th.
It's one day.
How many parts do you need?

SPEAKER_01 (10:17):
It sometimes can happen multiple times a year.
And there has to be at least Imean, there's like 12 of those.
13.

SPEAKER_04 (10:24):
How dumb are these people they keep getting into
this much trouble that there's500 parts?

SPEAKER_02 (10:29):
So forget about it, code.

SPEAKER_04 (10:30):
Anyways, Halloween 3, season of The Witch, The
Thing, Slumber Party Massacre,The Amateville Possession, Q the
Winged Serpent.
What the fuck is this?

SPEAKER_01 (10:42):
Horror movies are nuts.

SPEAKER_04 (10:44):
Ben.
The Leonard Box average is 3.5.
Follow these loons.
At Run BMC and at Paul AxeBadly.
And me, Kimba.

SPEAKER_01 (10:55):
No problem.
You'll find it.
Obviously.

SPEAKER_04 (10:58):
Uh Sisko and Eber were split.
Roger is up.

SPEAKER_01 (11:02):
Roger's always the cool one.

SPEAKER_04 (11:04):
Rotten Tomatoes is 88%, 79% popcorn.
Meta is 79, 7.6 user.
Major Award wins a nomination,six Saturn Awards winning Best
Horror Film and SupportingActress for Zelda Rubinstein.
I mean, can a movie really comeon the review review without any
Saturn Awards?
I think when Harry Metsali isthe only exception here.

SPEAKER_01 (11:25):
I think you're right.

SPEAKER_04 (11:26):
Three Oscar nominations, including Best
Score for Jerry Goldsmith.

SPEAKER_01 (11:30):
Will you agree, potentially, that the music in
this movie is fucking fantastic?

SPEAKER_04 (11:38):
To be fair, you are quite the movie music guy.

SPEAKER_03 (11:43):
Oh.

SPEAKER_04 (11:44):
Yeah, relish that compliment.
Yeah, I am.
It's probably the last oneyou're gonna get for this
episode.
Um I will say, unfortunately, Iwas a bit distracted by what was
actually happening in the filmto truly appreciate Mr.
Goldsmith's work.

SPEAKER_01 (12:02):
Do you think you were so immersed in the film,
partly because of that fantasticscore?
It was almost like the scorewasn't happening.
It was like part of your life.
Did you feel like you were inthe house?
Were you being geisted?

SPEAKER_04 (12:15):
Sure.

SPEAKER_01 (12:16):
Misgeisted.

SPEAKER_04 (12:17):
Yeah.

SPEAKER_01 (12:18):
Don't act clueless about clueless about this.
Director of this film is TobyHooper, R.I.P., The Texas
Chainsaw Massacre from 1974,Life Force, and The Mangler.
Writers, Steven Spielberg, TheFablemans, Michael Grace, Cool
World.
We've talked about Cool World onthis podcast.
It's a horny fucking cartoon,that is.

(12:40):
Mark Victor, Marked for Death,starring someone you said, if I
were to work in the industry andI could work with anyone, it'd
be Steven Segal, which I'vealways found so strange.
But yeah, Marked for Death.
Director of Photography, MatthewF.
Leonetti.
Strange Days, the butterflyeffect.
And another, maybe this is foryou.

(13:01):
Hard to kill.
Another Steven Segal movie.
Ben really sets you up.

SPEAKER_04 (13:05):
Did you just call me a cockroach?
Hard to kill?
Oh my god.

SPEAKER_01 (13:14):
That sounds like something Steven Segal would say
that.
Tell me if you like this.
Someone says, like, and you cantake that to the bank, and then
the other guy goes, I'm gonnatake you to the bank.
The blood bank.
Oh, that's a no.
That's a no.
It's from Hard to Kill.
I thought, sorry, I thought youwere like an expert on this.

SPEAKER_02 (13:35):
No.

SPEAKER_01 (13:36):
Ben.
Music was Jerry Goldsmith,R.I.P.
Hollow Man, the Mummy.
Listen to our mummy episode.
Dennis the Menace.
We did that for Mother's Day.

SPEAKER_04 (13:46):
The Mummy?

SPEAKER_01 (13:47):
The Mummy for the Mummies.
Brennan Fraser.
I guess The Mummies left BrennanFraser.
Producers, Steven Spielberg,Gremlins, Kathleen Kennedy,
Congo, Frank Marshall, Congo.
Joe Beth Williams.

SPEAKER_04 (14:01):
Sorry, hold on.
You put Frank Marshall in here,and the credit Ben lists for him
as Congo, not like Jurassic orlike any of the other things, or
like Kathleen Kennedy, who runslike Lucas films these days.
These are the credits BenjaminPicard.

SPEAKER_01 (14:19):
These are titans of the industry, but Ben loves the
movie Congo.
He's obsessed with bad gorillas.

SPEAKER_04 (14:23):
Stop eating my sesame cake.

SPEAKER_01 (14:25):
Bad gorillas.

SPEAKER_04 (14:26):
I'm concerned for Ben.

SPEAKER_01 (14:27):
Me too.
Me too.
Joe Beth Williams was Diane, TheBig Chill, Kramer vs.
Kramer, and the Kevin Costnerdirected Wyatt Earp.
Craig T.
Nelson was Steve, The Devil'sAdvocate, Action Jackson, and
The Incredibles?
Yeah, The Incredibles, yeah.

SPEAKER_04 (14:45):
And you're forgetting a very important role
of Craig T.
Nelson's On Parenthood.

SPEAKER_01 (14:53):
The movie with the Ron Howard movie with Steve
Martin and Keanu and stuff.

SPEAKER_04 (14:57):
Don't be an asshole.
What?
Never went to Robert.
We're referring to thetelevision gem.

SPEAKER_01 (15:03):
The NBC melodrama, the hour long.

SPEAKER_04 (15:06):
You know what?
Just because you have poor tastein television, that's it.

SPEAKER_01 (15:10):
I like that show.

SPEAKER_04 (15:11):
No.
No.
What?
You don't like it.

SPEAKER_01 (15:15):
I have to be in the mood.
Beatrice Strait, R.I.P.
was Dr.
Lesh.
Network Deceived Power.
Dominique Dunn, R.I.P.
Dana was primarily TV credits.
Want to mention also this was aperson who was like really
horribly, unfortunately,nightmarishly cut down very

(15:37):
early in life by a horriblehuman being and really
unfortunate circumstances.
Researching this movie and thisfranchise in general was a
journey for Ben.

SPEAKER_04 (15:50):
For Ben.

SPEAKER_01 (15:51):
Oliver Robbins played Robbie.
Airplane 2, the sequel,Poltergeist 2, the other side.
Heather Orke, R.I.P.
Carol Ann was primarily creditedin TV.
Michael McManus played Ben, theneighbor with the remote.
Yeah.
Primarily TV.
Virginia Kaiser played MissTuthell.

(16:12):
Ben's wife.
Whatever.
Space Raiders.
Dreamscape Volunteers.
Richard Lawson played RyanStreets of Fire, Stick, How
Stella Got Her Groove Back.
Martin Casella played Marty.
Six Weeks, Heart Like a Wheel,Robocop 2.
And Zelda Rubenstein, Steen.
R.A.P.
played Tangina, Southland Tales,Lovers Not, Teen Witch, a movie

(16:35):
about witches.
It's much better than practicalmagic.
Give it a try.

SPEAKER_04 (16:42):
It's fun fact time.

SPEAKER_02 (16:44):
Fun facts, fun facts, everybody.

SPEAKER_01 (16:46):
It's fun fact time.

SPEAKER_04 (16:49):
Okay, here listeners.
This will shock you just like itshocked me.
But real human skeletons wereused in the swimming pool scenes
since the crew decided it wouldbe too complicated and expensive
to get fake ones.
That's a place not to stay.
Get the fake ones.

SPEAKER_01 (17:03):
That is really a thing though.
Like so many movie productionsuse actual sanitized human
skeletons.
A lot of them do.
Really?
It's cheaper to rent or leasethem.
It is.

SPEAKER_04 (17:13):
To rent to rent those.
To rent, lease, or buy those.

SPEAKER_01 (17:17):
It's cheaper.
And the the this next piece ofthis is the crazy part to me.

SPEAKER_04 (17:21):
Joe Beth Williams was not made aware of this until
after the scene was finished.
You gotta warn this woman.
You think she called her agent?

SPEAKER_02 (17:30):
I want a fucking stunt bump.

SPEAKER_04 (17:32):
Yeah.
The film was originally given anR.
This is actually the most insanefun fact.
The film was originally given anR-rated from the MPAA film
ratings body due to scenes ofchild peril despite middle hore
in the film.
Yeah, the in the bathroom he'slike the disgusting.

(17:54):
The r the rating was lower to PGon a Spielberg appeal.
The film predates the PG 13rating by two years.
That is insane.
The fact that this movie is onlya PG is out of control.

SPEAKER_01 (18:09):
I agree with you wholeheartedly.

SPEAKER_04 (18:12):
Through on-screen the on-screen credit goes to
Toby Hooper, evidence suggeststhat much of the directorial
decisions were made by StevenSpielberg.
In fact, Spielberg had wanted todirect the film himself, but a
clause in his contract statedthat while still working on
E.T., Spielberg could not directanother film.
Members of the cast and crew,including executive producer
Frank Marshall and actress ZeldaRubenstein, had stated that

(18:35):
Spielberg cast the film,directed the actors, though this
has been often contested byseveral other performers,
designed every single storyboardfor the movie himself.
Hooper maintained he did half ofthe storyboard.
Based on the evidence, the DJAopened a probe into the matter
but found no reason thatco-director credit should go to
Spielberg.
Spielberg has also said it'sToby's movie.

(18:57):
The line, they're here, was no.
The line, they're here, was whyare you laughing?

SPEAKER_01 (19:05):
I don't know if the retake was different at all.

SPEAKER_04 (19:09):
How am I supposed to say it?

SPEAKER_01 (19:10):
Any way you like.

SPEAKER_04 (19:12):
Okay.

SPEAKER_01 (19:13):
The delivery of that by that little girl is so
fucking perfect.

SPEAKER_04 (19:16):
There he is.

SPEAKER_01 (19:18):
It's creepy, but it's like okay.

SPEAKER_04 (19:20):
The line there here was voted as the number 69 movie
quote of all time by theAmerican Film Institute.

SPEAKER_01 (19:30):
And I don't know what year that was from, but at
some point it ranked thathighly.

SPEAKER_04 (19:37):
I mean.

SPEAKER_01 (19:38):
Pretty good.
Pretty impressive.

SPEAKER_04 (19:39):
Pretty good.

SPEAKER_01 (19:40):
I'm gonna tell you the log line.

SPEAKER_04 (19:42):
Please do.

SPEAKER_01 (19:43):
I know I should try to spook you out.
I should try to make thisscarier.

SPEAKER_04 (19:46):
I'm still overcoming overcoming the trauma of the
spooky.
So thank you for taking pity.

SPEAKER_01 (19:52):
Of course.
That's what I do.
I take pity all the time.
A family's home becomes thecenter of paranormal activity.
Come on.
That opens a doorway to theother side.
With help, they must cross overto get their dime back.
That's a pretty good log line.
This episode was brought to youby the MPAA.

SPEAKER_04 (20:12):
Oh.

SPEAKER_01 (20:13):
So careful.

SPEAKER_04 (20:15):
Oh.

SPEAKER_01 (20:15):
Be careful with how you do this.
Okay.
Okay.
We'll be back.
I've great news from the MPAA.

unknown (20:30):
Yeah.

SPEAKER_01 (20:31):
We are rated R.
Really, really have to listen toit.

SPEAKER_02 (20:35):
You know what you do?
You buy yourself a tool to somefive.
This predates PG.

SPEAKER_01 (20:41):
Pretty good.
You should listen to it.
We're R.

unknown (20:45):
Well.

SPEAKER_01 (20:45):
Just so you know.
Normally, by the way, we wouldplay Cinephile, but Ben's not
with us.
He got us the fact sheet, but hestill has the cards.
Remember, Ben's power comes fromthe cards.
The only way to slay him is toget the Cinephile cards.

SPEAKER_04 (21:01):
Wolfman's cards.
Kimberly cards! Yes, Paul.

SPEAKER_01 (21:04):
Kimbly.

SPEAKER_04 (21:05):
Yes, Paul.

SPEAKER_01 (21:06):
I always I never know.
Kimbo.
I watched this movie.
Poltrygeist.
Poltegeist?
Poltergeist.
Long time ago.
Definitely wasn't 13.
Definitely had a parent that waslike, I watched this with my mom

(21:28):
when she lived in a trailer inLong Beach.
I was very young.
She was like, let's watchPoltergeist.
And I was like, let's neversleep again.
I was terrified by this movie.
I didn't watch it for severalyears, especially with the steak
and the chicken and the face andthe Martin Casella's whole deal.
I watched this movie yearslater.

(21:49):
I had a blast with it.
I now own it.

SPEAKER_04 (21:51):
You do own it.
Watched it concerned.

SPEAKER_01 (21:54):
4K?
That's the thing, is like Iguess I would have given it one
or two stars when I was young,like one.
One Zelda.
Having just watched this and nowbeing at a four Zeldas in
between mini watches.
I just watched it today.

SPEAKER_04 (22:14):
Okay.

SPEAKER_01 (22:14):
And I'm close to four and a half Zeldas.

SPEAKER_04 (22:18):
Wow.

SPEAKER_01 (22:19):
But I'm gonna stick to four.
There's a couple things thatkeep it from bumping up.
Yeah, that point five.
But I think this is like anessential horror movie, not
maybe as approachable asGremlin's, another movie that I
really love.
That it's like, this is PG?
What the fuck is happening inthis world?

(22:41):
What is society?
I I think it's just reallyspecial and important.
And the cool thing about thismovie is compared to so many
horror movies, especially onesthat have supernatural or
fantastical elements, so much ofthis feels so tangible or real
or lifelike or true to life.

(23:02):
Joe Beth Williams is great,Craig D.
Nelson's great, the kids aregreat, the production design is
great.
It's a really good-looking moviethat feels lived in.
That these people have livedthis life, this idyllic life,
until we get to this horriblepoint in their story.
But I'm still walking away withfour Zeldas.

SPEAKER_04 (23:23):
Okay.
Interesting.

SPEAKER_01 (23:31):
Cinema began quite recently.
For the pod.

SPEAKER_04 (23:37):
Yes.

SPEAKER_01 (23:38):
Practically now.

SPEAKER_04 (23:40):
Practically now, because as previously mentioned,
I had different intentions, dearlistener.

SPEAKER_01 (23:47):
And you decided to give a gift to the people.

SPEAKER_04 (23:49):
What?
No, it was told poltergeist.
I was told after I accidentallynapped through about 70% of
practical magic.
I was told that I could notwatch it again so I could bring
it to the pod, and that watchingit again would be a crime.

(24:12):
And so to poltergeist, we welanded.
And I agree with a lot of whatyou've said about like the
family feeling very lived in.

SPEAKER_01 (24:22):
That's encouraging.

SPEAKER_04 (24:24):
But they feel very lived in until they don't.

SPEAKER_01 (24:27):
Okay.

SPEAKER_04 (24:28):
And as someone who does not have children of my
own, I apologize in advance forjudging these parents, but what
the fuck were they giving?
I will give it to scary clowns.

SPEAKER_01 (24:43):
That clown is scary as fuck.

SPEAKER_04 (24:44):
That clown is so much.

SPEAKER_01 (24:46):
Was that somebody's like, was that like their
great-grandfathers and no onehad the heart to just like throw
it in the fire where it belongs?

SPEAKER_04 (24:53):
I there's there's so many parts of this movie where I
just like don't.
You got me until you don't.
But we shall unpack.

SPEAKER_01 (25:02):
Alright.
Well, the MPAA thanks you forstaying tuned to this episode as
it is a public serviceannouncement.
We're kind of split almost rightdown the middle.
We're at four Zeldas and twoscary clown dolls.
Let's talk about poultry.

SPEAKER_02 (25:25):
And now, our feature presentation.

SPEAKER_01 (25:29):
I like that the movie starts with like that
black screen, nothing in termsof audio or anything, and it
takes it kind of gives me theimpression that the movie's
like, we're gonna let all thisstuff take a while.

SPEAKER_04 (25:41):
Yeah, I think that's fair.
I think when it first started, Iwas like, what's happening?
Why is it taking so long?
And then it eventually got amove on.
It does kind of put you in themood.

SPEAKER_01 (25:55):
I like that.
Okay.
I ca I definitely feel that withthe TV sign-off and the dog
romance.
I like how the filmmaker is likegiving us a lay of the land and
who's in the family.
It's like, okay, there's a mom,there's a dad, there's three
kids, there's this dog, and likethe dog is so fucking cute.
Eating the chips and blah, blah,blah.
And everything feels reallyidyllic aside of this like

(26:18):
little girl like talking to theTV.
And in the first time she'stalking to the TV, I think I
kind of feel like Craig T.
Nelson, like, eh, kids gonnakick kids are dumb.
Like, what do I what do I do?
Kids talking to the fucking TV.
What do you want?
So it makes sense to me.
Everything, even in the verybeginning, because I think
that's the maybe the heart ofour This House has many hearts.

(26:40):
That's the heart of our argumenthere is that I think the movie
is so massively successful inits mission to scare you.

SPEAKER_03 (26:48):
Yeah.

SPEAKER_01 (26:48):
Where it's like that the clown is scary.
The music, even the mood at thebeginning where you're seeing
this idyllic neighborhood andthis weirdo holding a case of
beer, riding a kid's bike orwhatever.
But every like something justfeels off.
Even where everything's verytame in the large first portion

(27:08):
of the movie.

SPEAKER_04 (27:09):
Yeah, or even the battle at the remotes between
the football and Mr.
Rogers, like it's all like alittle kooky in very like normal
circumstances.

SPEAKER_01 (27:21):
What do you pick between Mr.
Rogers and football?
Let's say it's a footballprogram that you have rooting
interest in.

SPEAKER_04 (27:30):
I mean, I like the snacks that come with yeah.
I don't know that Mr.
Rogers comes with snacks.

SPEAKER_01 (27:38):
And if you're with a let's say you're in Craig D.
Nelson situation, you're with agroup of pals, pounding
brewski's.

SPEAKER_04 (27:44):
Yeah.

SPEAKER_01 (27:44):
Yeah, put on that fucking cardigan dog.
Like, I don't know.
Maybe that doesn't work.
The Tweety Bird burial thing,too, I find very sweet.

SPEAKER_04 (27:53):
Well, it's sweet until later.

SPEAKER_01 (27:57):
It's I I just find it there's something that you're
saying that rings true with mewhere Joe Beth Williams said
after the little girl goesthrough this whole thing, the
bird dies, she catches the momabout to flush it down the
toilet.

SPEAKER_04 (28:10):
But also, whose first reaction is the bird dies
down the toilet?

SPEAKER_01 (28:15):
And flush it first.

SPEAKER_04 (28:16):
Why would you put it in the toilet?
I don't know, but also it's abird.
Like it's a sizable bird.

SPEAKER_01 (28:21):
That's gonna cause you plumbing.

SPEAKER_04 (28:23):
Yes.

SPEAKER_01 (28:24):
You're gonna call a plumber and you're gonna have a
dead bird in there, and thenyou're gonna have to explain it
to your kid when the plumber'sthere.

SPEAKER_04 (28:29):
Yeah, and it's gonna be so much worse.
My concern is that this didn'thappen on a school day.

SPEAKER_01 (28:33):
On the daughter catching her, too, though.

SPEAKER_04 (28:35):
But that's also yeah.

SPEAKER_01 (28:37):
The dog going to dig it up immediately.
Mean funny.
Like the movie's hitting allthese great little humor points
that I think I sometimes forgetabout with this movie.
Is lulling me.
It lulls me.

SPEAKER_04 (28:50):
They're luring you in.
I love it.
So they can get you leaner.

SPEAKER_01 (28:54):
But that's what it's trying to do.

SPEAKER_04 (28:56):
I hate it.

SPEAKER_01 (28:58):
So they get goldfish for Carol Ann.
Because losing the bird, she'slike, Can I have a goldfish now?
And then the mom doubles backwhere she's like, uh, they turn
into sharks.
It's like you just helped herdeal with death.

SPEAKER_04 (29:10):
And now you're like, Yeah, it's but also like the
answer of like, don't overfeedyour goldfish.
Also, she gets two goldfish inexchange for one dead bird.
What's happening here?

SPEAKER_01 (29:21):
Maybe she'll get three cats and then maybe and
just two bats and five bears andjust keep growing and growing
here.
Six spiders.

SPEAKER_04 (29:29):
But it's like instead of being like, oh, don't
overfeed your animal, it's gonnaturn into like how does it go
from overeating to becoming ashark?
I don't understand.

SPEAKER_01 (29:38):
Well, I don't think the five-year-old understands
either.
I think she's I mean, kids aredumb.

SPEAKER_04 (29:42):
Did you just call me a five year old?

SPEAKER_01 (29:44):
I'm just saying they can empathize, I think.

SPEAKER_04 (29:46):
Oh, okay.

SPEAKER_01 (29:47):
You're not dumb.

SPEAKER_04 (29:48):
Me and the children.

SPEAKER_01 (29:49):
Kids are dumb.

SPEAKER_04 (29:49):
We're like this.

SPEAKER_01 (29:50):
Oh, you're friendly.

SPEAKER_04 (29:52):
That would be over goldfish sharks.
You can't see a dear listener.
That would be like the two handemojis, like together.
Hand in hand.

SPEAKER_01 (30:00):
And the five-year-old walking hand in
hand with your opinions andthoughts.
I mean standing on similarsoapboxes.
So it's bedtime for everybodynow.
We've gone through the first daywith this family and seeing that
they're having a pool built.
Can we have a pool dad?
Can we have a pool dad?
Can we have a pool dad?

(30:20):
And he eventually, you know,breaks down. 'Tis a fine bond,
but that whole thing.

SPEAKER_03 (30:25):
Okay.

SPEAKER_01 (30:25):
It's bedtime for everybody.
And this is another part that Ilike again, where like I really
like this group of people wherethe wife and the husband are
like rolling joints together andbeing funny and like
occasionally reading and jumpingon the bed and making jokes.
And it all it feels like afamily.
It just feels like human beings.

SPEAKER_04 (30:44):
I feel like the dad checking on the kids, the older
daughter's on the phone, hebusts her, he's like, Nope, time
for bed.
Yeah, it's all very normal.

SPEAKER_01 (30:55):
The clown is not normal.
The the tree, like the Craig T.
Nelson thing where he's tellingthe kid about the tree, I think
is nice.
Where he's like, This tree'sold, it protects us.
And there's almost like a level,I feel like, of truth there at
first, almost, and like the treeis almost possessed, and it gets
pulled out.

SPEAKER_04 (31:14):
The lies we tell ourselves.

SPEAKER_01 (31:16):
I guess, or our children in this case.
This is when the movie, though,decides to get scary, because
you're like, the tree's gonna dosomething, or the this is gonna
do something, or the clown, orthis, or that, or whatever.
And it's the TV touch, likewhere the TV reaches out, yeah.
Or whatever.
And it's like, that's a jump.

SPEAKER_04 (31:34):
That is a jump.

SPEAKER_01 (31:36):
I think it's a legitimate jump.
That's like an R-rated jump.

SPEAKER_04 (31:39):
Well, I mean, you I brought this up previously, that
very early on they said the wordshit.

SPEAKER_01 (31:47):
They do.
I think you're allowed a fewshits in a PG.

SPEAKER_04 (31:49):
That's what you said.
I said language.
Like, it's just fascinating tome that the MPAA says in the PG
some of this might be not besuitable for children.
There's not totally referenceddrug use.
There's cursing, and now there'sspooky scaries.

(32:10):
How who allowed this?

SPEAKER_01 (32:12):
Like very visceral spooky scries, like goo and
viscera and blood and you knowwho allowed this?
Fucking Steven Spielberg walkedinto the MPAA, dropped meat, and
they were like, whatever youwant.
Sorry, sorry, Steve.
What do you do?
I can't can't fight City Hall.

(32:33):
I don't know what to tell you.
But after the TV touch and thisearthquake that they're
investigating, where it's like,how does no one else in this
neighborhood feel a 6.5earthquake?
Why is it only us?
And that is the very beginningof the come up part, I think,
for Craig T.
Nelson.
Is like right there.

SPEAKER_04 (32:50):
Yeah, I think that's fair.
Because until then, he was justlike a normal dad.
Also, the storm, the sun, he waslike, listen, like when you see
the first flash of lightning,you count until you hear the
thing, the thunder, and thenthat's how you can determine if
it's getting closer or further,like very normal stuff.
But the earthquake is whatthat's him off.

SPEAKER_01 (33:13):
Well, and like that glass breaking in the kid's hand
the next morning by well, alsowhen she's like, Uh you spaz or
it's like a fuckingseven-year-old can't squeeze a
glass hard enough to pop thebottom off.
Like, what is that?
Kids are dumb and weak.
Well, I could beat up a ton ofkids easily.

SPEAKER_04 (33:30):
Oh.

SPEAKER_01 (33:30):
I don't know.

SPEAKER_04 (33:32):
No.

SPEAKER_01 (33:33):
Uh Carol Ann gives the they're here, and at
breakfast, mom asks, who's here?
And we get the actual look atthe whole pool construction
thing and everything, and thedog barking at that spot in the
bedroom and wanting to playfetch with it.
And the chairs stacking them.
So by the way, did the chairstacking thing was that cool to

(33:56):
you?
Or did anything about thespookiness of this movie you
were like, that's kind of cool,that's kind of fun, any of it?

SPEAKER_04 (34:02):
I don't know that in the thesaurus of my life that
spooky and fun are intertwined.

SPEAKER_02 (34:09):
Uh-huh.

SPEAKER_04 (34:10):
But I will give credit where credit is due and
say that that is impressive howthey pulled that off.
Because I don't think I noticeda cut.
So to make that happen, I willgive props.

SPEAKER_01 (34:25):
Okay.

SPEAKER_04 (34:26):
But I I don't know respectfully that fun and spooky
belong in the same sentence inmy vocabulary.

SPEAKER_01 (34:33):
I gotta say, I really appreciate how much
you're personalizing all ofthis.
I think that's very importantfor myself and for the listener.
It's like you have two verydifferent opinions here: one
person who likes a scary, andanother person who isn't as much
a fan of a scary.
And maybe, you know, I might beable to pull some of you
non-scary peoples my way.

(34:53):
That's I mean, that's what I'mtrying to do.

SPEAKER_04 (34:55):
I really tried to make practical magic happen, you
guys.
I'm so sorry.

SPEAKER_01 (34:59):
Then you got a gift.
Why are you apologizing?

SPEAKER_04 (35:01):
Good for you, Jack.

SPEAKER_01 (35:03):
I actually I also am pretty impressed like with the
chair stuff, and a lot that'sthe thing we talk about on this
podcast a lot, is that there arethere need to be more models,
more practical effects, stakesthat clearly are pushing
something up from under thecounter, but I don't give a
shit.
Just stop throwing big matte CGbuckets of garbage on a screen

(35:25):
because it's cheaper or it'seasier or whatever the
motivation is.
I'm just eh.
The movie keeps trying to befunny, and some of it floats for
me, and some of it doesn't.
Like the mosquito thing and theneighbor that's working for me
for at points, and at pointslike them coming apart and as

(35:46):
quickly and as intensely as theycome apart makes total sense to
me because what they're dealingwith is unreal, unprecedented,
paranormal, the whole thing.
But the fact that so many otherpeople are like and I yeah,
people are weird, people arestrange when you're a stranger.

SPEAKER_03 (36:02):
Right.

SPEAKER_01 (36:03):
But it almost leans into that too much, I guess.
There's something about therelationship with the neighbor
at this moment, though I'venever been bitten by a mosquito.
It's like I mm okay.

SPEAKER_04 (36:15):
I think it would have benefited by being a little
tighter, perhaps.

SPEAKER_01 (36:19):
I agree.
I think that's where we'regonna, as we keep talking about
this, where we're gonna end uplike you and I will be the hands
together emoji.

SPEAKER_03 (36:26):
Oh, that's fun.

SPEAKER_01 (36:29):
I also think the effect now where the move this
is, I think, where the moviekind of hits full bore, where we
like really move into this thesecond act really gets moving.
Yeah, I agree.
And the tree smashes and grabsRobbie, and mom and dad are just
panicked and fucking bolt out,and that's when the spirit, the
geist, yeah, the geister, isthere and goes MPAA full R

(36:54):
rating child peril.
Yeah.

SPEAKER_04 (36:56):
This is where they lose me.
Okay.
Parents.
It's like I understand thatRobbie has been kidnapped by the
haunted tree.
Right.
Right?

SPEAKER_01 (37:06):
And the tree's exiting.

SPEAKER_04 (37:07):
And the tree, right, and with Robbie.
Yeah, with child.
But then the parents, all theirattention stays on Robbie and
oh, Robbie, Robbie, Robbie.
But no one thinks Carol Ann isalso in this room.
Someone should protect CarolAnn.

(37:28):
And it's because these bozosforget one of their children
that they end up losing theirchild.

SPEAKER_01 (37:38):
Which is horrible, obviously, for anybody.
And I think that's the thingthat I struggle with a little
too, I guess, where it's like,okay, in this insane fucking
situation, what would I do?
Like, I don't know.
Like, would I would my braindefault to like, oh, the big one
will watch the little one?
Like, at it because the oldersister is still in the house.

SPEAKER_04 (37:57):
But nothing.

SPEAKER_01 (37:58):
But then she's yeah, and then the older sister comes
out and she's like, kid's gone.

SPEAKER_04 (38:01):
Yeah.

SPEAKER_01 (38:02):
Yeah.
You're the big one.
You're supposed to be watchingthe little one.

SPEAKER_04 (38:05):
What's happening?
I mean, truly insane.
So that's I think where asparents they lose me.

SPEAKER_03 (38:12):
Okay.

SPEAKER_04 (38:12):
Because in my mind, this is all preventable.
Not the Robbie part, but theCaroline part.
And the Caroline part I think isa bigger problem than the Robbie
problem.

SPEAKER_01 (38:22):
So if Robbie gets eaten by the tree, that's not as
big a problem.
Does he go to the same placethat Carol Ann did?

SPEAKER_04 (38:29):
I think so, because it comes back with goo on him.

SPEAKER_01 (38:33):
Right.

SPEAKER_04 (38:33):
Okay.

SPEAKER_01 (38:34):
But the uh lights and everything start appearing
in the TV and there'scommunication happening in the
TV.
Everything is kind of throughit's like white noise electronic
stuff.
And they hire the Team WhoGhostbusters?
Always.
Or Craigslist Ghostbusters.

SPEAKER_03 (38:50):
Basically.

SPEAKER_01 (38:50):
Craigslist.
Uh Ghostbusters in my town.
Okay.

SPEAKER_04 (38:55):
Craig T.
Nelson goes on Craigslist andfinds knockoff Ghostbusters.

SPEAKER_01 (39:01):
Uh, what are the coaches' picks for this?
Oh, nice.
Okay.
Okay.
I'm going with that.
But the Team Who Ghostbustersshow up, and I again directorial
stuff, detail shit.
That Craig T.
Nelson, it's like middle of theday or early in the day, and
he's got a Budweiser cracked.
Where he's just like, fuck it,man.
Like, fuck it.

SPEAKER_04 (39:19):
Again, your child is missing and you're having a
brewski.
What is happening here?

SPEAKER_01 (39:25):
I think there's probably like a level of stress.
He can't cope.

SPEAKER_04 (39:28):
I'm sorry.
I've been watching a lot onAmanda Knox and the way that
people the way that peoplepresent themselves in in um
times of crisis, I think is veryfascinating.

SPEAKER_01 (39:41):
Tells you who they are.

SPEAKER_04 (39:42):
Yeah.
Or the perception of the things.
Like I just think in AmandaKnox's case, like the way she
was behaving wasn't how peopleexpected a non-guilty party to
behave.

SPEAKER_03 (39:54):
Okay.

SPEAKER_04 (39:55):
And so I think it's interesting to me that Craig T.
Nelson is dealing with thistraumatic event to his family
and sitting here having a beerin the middle of the day.

SPEAKER_01 (40:07):
This is the thing it makes me think about is that
people have kids.

SPEAKER_04 (40:12):
Yeah.
Which neither of us do.

SPEAKER_01 (40:15):
Right.
In this situation.

SPEAKER_04 (40:17):
We're armchair quarterbackers.

SPEAKER_01 (40:19):
Absolutely my favorite thing.
But the kid These two peopledecided to have kids, and the
kid could be this is a horriblething to say, but like kidnapped
or something horrible couldhappen at any point.
Which it's and if this if he hadno coping skills for this, like,
huh.
Like, that's the thing, is likethere's no way to know, and it's
discouraging to see.

(40:40):
Yeah.
But it makes sense to me thatsome people are just like, I
can't, I don't know what to do.
I don't know, I have to numbthis.
And I'm like, I'm not saying youshould be that person.
Anything like that, but peopledo that.
So it just felt authentic.

SPEAKER_04 (40:55):
Well, I'm judging you, Cry T Nelson.

SPEAKER_01 (40:57):
Oh no.
The room that Carol Ann and Boy.
Boy?
Is this name boy?
Robbie.
Their old room.

SPEAKER_04 (41:09):
What are you talking about, boy?

SPEAKER_01 (41:11):
No boy, G-rated.
Their room is now fullypossessed.
It can play fucking records withneedles and ride hoax on tigers
and throw Star Wars shiteverywhere.
It hasn't aged super well inbecause it's all stop motion or
some such and it doesn't lookgreat.
What it's trying to convey stillworks somewhat, but the way that

(41:34):
it looks is just not amazing.

SPEAKER_04 (41:36):
A smidge dated, but that's just a smidge.

SPEAKER_01 (41:39):
And the movies from 82.
For 82.

SPEAKER_04 (41:43):
Yeah.

SPEAKER_01 (41:43):
Not bad.

SPEAKER_04 (41:44):
Not bad.

SPEAKER_01 (41:44):
I think the effects mostly hold up.
Some of them not as much, butsome definitely.
Well, I'm only but eight yearsold.
I'm a dumb kid.
What do you I am a fuckingidiot.
I am a child.

SPEAKER_04 (41:57):
Okay.

SPEAKER_01 (41:58):
We get the explanation of a geist versus a
ghost.
That the geist, the noisy Germanversion of a ghost, uh is a mad
spirit that can be called uponfor whatever reason and goes
away as soon as it gets what itwants.
Yeah.
Or achieves its goal goal.
And ghosts are haunting.
It's like a permanent thing.

SPEAKER_04 (42:18):
Yeah, they're there for the long haul.

SPEAKER_01 (42:19):
Yeah.
I'm glad I got that.
So they're calling for CarolAnn, and that's the big thing
that's happening now, because wedon't really go into where Carol
Ann is.

SPEAKER_04 (42:28):
No.

SPEAKER_01 (42:29):
We're all we're experiencing all of this through
Through the lens of the peopleleft behind.
Mm-hmm.
And kind of the kind of theparanormal researcher people
too.
Yeah, yeah.
Well, people left behind.
As you just said.
Okay.

SPEAKER_04 (42:43):
So brilliantly.

SPEAKER_01 (42:44):
Uh-huh.
Very brilliantly.
I do like this thing where thejewelry and stuff falls into the
house and Carol Ann movesthrough Joe Beth Williams.
I did her performance is sogood.

SPEAKER_04 (42:59):
I did really like that moment because I it did
bring me back to bel like notbelieving that's not the right
word, but kind of um feelingthat maternal instinct that went
out the fucking window when shelike left Caroline.
It made me like that moment Ithought was very nice.

SPEAKER_01 (43:22):
Yeah.
When she walks up to the doctorand and holds up the scarf to
her to smell it, and like thedoctor can smell it.

SPEAKER_04 (43:29):
There's something very nice about that whole
thing.

SPEAKER_01 (43:33):
It's practic it's so practical that there is no
special effect other than thisactor doing great work in this
moment.
It's practical magic.
And that's what you want.
But the Ghostbusters decide tohave a little conference before
bedtime, mostly with Joe BethWilliams and Craig T.
Nelson kind of listening in theshadows.

SPEAKER_02 (43:55):
Yeah.

SPEAKER_01 (43:55):
And the sun participates somewhat, and the
older daughter's been sent off.

SPEAKER_04 (43:59):
Yeah, the older daughter's like, you guys are
fucking.

SPEAKER_01 (44:01):
I'm out of here.

SPEAKER_04 (44:02):
I'm out of go.

SPEAKER_01 (44:03):
She's like, I love my sister and all, but like, uh,
this is a I am the smartest ofall of you.

SPEAKER_04 (44:09):
And I am getting the fuck out of here.

SPEAKER_01 (44:12):
This also, if you can.
I don't love the all thewhispering.

SPEAKER_04 (44:16):
There's so much whispering.

SPEAKER_01 (44:19):
Like people speaking in a volume that's a little
easier to hear.
Robbie is the one that comes upwith the plan uh in that moment.
As we kind of get the idea thatgives us hope that Caroline can
come back, is like when thejewelry and stuff is coming
through, it's like, oh, stuffcan come in, stuff can come out.

SPEAKER_03 (44:38):
Yeah.

SPEAKER_01 (44:39):
There's a way.
And Robbie talks about the ropeand everything.
And this is the also the nightwhere after the conference,
Marty is like, Well, I gotta eatthese people out of house and
home.
Not what you thought.
Eat these people out of houseand home.
I'm going to, he's eating chipsor something, and then he goes
into the frid, he gets chicken,he grabs a steak, he's like

(45:02):
drinking things and whatever,and then the steak starts
crawling across the kitchen.
This is the same kitchen wherethe chairs have moved and all
this.
So the kitchen is a prettydifficult spot too, and the
maggots on the chicken wing.

SPEAKER_03 (45:15):
Horrible.

SPEAKER_01 (45:16):
Like because the thing, the ghost, the spirit,
the geist.
Zick geist knows what he's hefears or what you fear in this
moment or whatever.
And this is actually the guythat I am expecting from pretty
much the moment I see him.
I'm like, oh, this guy's gonnabe antagonist.
Like, this guy's gonna be avictim.
If it was this was a movie thatkilled a lot of people, I would
assume this guy's gonna be.

unknown (45:38):
Yeah.

SPEAKER_04 (45:38):
Yeah, I had to look away.
That was a bit gross.

SPEAKER_01 (45:42):
The face rip hasn't aged perfectly well.
It's it hasn't aged.

SPEAKER_04 (45:46):
So I couldn't watch it.

SPEAKER_01 (45:47):
Yeah, luckily it looks kind of hokey at moments,
but there are moments where itlooks extremely fucking graphic,
and you're gonna want to maybeturn away, depending.
I turned away a little.
You turned away.

SPEAKER_04 (46:01):
I definitely turned away.

SPEAKER_01 (46:02):
I turned away a little.
I won't lie.
That felt like that almost feltlike NC17.
Well, I is that an X-ratedmoment.

SPEAKER_04 (46:11):
I don't know.
That was not appropriate forchildren.
That's all I know.

SPEAKER_01 (46:14):
It's fine, kids are dumb.
So Robbie gets in a cab byhimself with the family dog.

SPEAKER_04 (46:22):
Yeah, the dog is smart enough to know I do not
have a I've had enough time toleave.

SPEAKER_01 (46:30):
And the parents from 30 feet away are just waving
their son goodbye as theirdaughter is missing and
whatever.
And the mom says, call me, likethey she just got dropped off
from a date?

SPEAKER_04 (46:41):
I just I don't it was wild.

SPEAKER_01 (46:44):
Yeah.

SPEAKER_04 (46:45):
Highly questionable parenting.

SPEAKER_01 (46:47):
And also, they're sending him to his grandma's.
Is the idea that this fuckingseven or eight-year-old kid
won't tell his grandmaeverything that's been
happening?

SPEAKER_04 (46:55):
Why couldn't grandma come pick him up?
Like I just have to do that.
Why couldn't one of them takehim?
I well, you know, I mean, I justagain not a parent, but I feel
that if something had happenedto one of my children, that I
would be clinging to the others.

SPEAKER_01 (47:12):
Oh yeah.

SPEAKER_04 (47:13):
And like letting them out of my sight or like
making sure there is a safetransfer of child to able-body
adult, not a random cab driverin suburbia.

SPEAKER_01 (47:26):
It's so that's very weird to me.
There's a level of me also beinglike, I don't know if I'd be
comfortable even if it'ssomewhere else in the
neighborhood.

SPEAKER_04 (47:34):
Why am I not getting in the cab too?

SPEAKER_01 (47:36):
I that I don't get why they aren't just all sorry
for the parents have to be thereto help the Ghostbusters.
They have to be.
So the parents have to be there.
But all the kids should be, likethe other two kids should be
with grandma.
The the uh like you shouldn'thave your kids in two different
places.
Is that I I don't know.

SPEAKER_04 (47:54):
It's all astonishing.
Yeah.

SPEAKER_01 (47:56):
But the Ghostbusters lose Marty because for some
reason, after feeling like heripped his fucking face off, he
was like, I think I've hadenough.
Why?
Why not more?
What's wrong?

SPEAKER_04 (48:07):
You know what?
What's your problem?
Marty wise.

SPEAKER_01 (48:09):
What?
No.
I don't know.
Seemed like a good time to me.
But they're calling inreinforcements.
They are calling in the armymonster squad style.
Everybody's gonna show up andhelp.
When Joe Beth Williams also hasthis moment, I do you agree that
she just has so many greatmoments?

SPEAKER_04 (48:27):
Yeah.

SPEAKER_01 (48:28):
And is just like a lot of performances do a lot of
lifting in this movie, but shelike most of it is on her.

SPEAKER_04 (48:34):
I agree.

SPEAKER_01 (48:34):
Like the mother-daughter relationship
thing, and I feel I gotta bebetter like you.
I feel, me and my experience,that she is there is seems like
there's a feeling of like havinga legitimately tough time that
like this person has probablydone a lot of backstory or
whatever, blah blah blah, andhad a real kind of relationship

(48:55):
or attachment with this withHeather O'Rourke or whatever,
because it's just it feels themother-daughter thing there
feels very real at times.

SPEAKER_04 (49:01):
Totally.
And I think when we f when Ifirst started watching the movie
and the credits came up and itlisted this woman first and then
Craig T.
Nelson, I thought, oh, that'svery interesting for a movie
made in the early 80s that awoman would get for spilling
here.
But obviously, I think afterwatching the movie, it makes

(49:22):
sense for so many reasons.
But yeah, I think herperformance is really important
for basing this move this insanemovie in reality.

SPEAKER_01 (49:34):
It is an insane movie.
It it is a fantasy movie, it's afantasy horror movie.

SPEAKER_04 (49:39):
Ugh.

SPEAKER_01 (49:39):
When Joe Beth Williams opens the door and then
like it screams at her and sheslams it and she's like, and
like is all mad.
I'm like, yeah, what did youthink?
Like if this was gonna be themoment that they were like,
mission accomplished, we're outof here.
Like, no.
The room screams at her, andCraig T.
Nelson gets pulled away by hisboss because he is the guy that

(50:02):
is working for the developerthat's been making all these
neighborhoods in this area, hisbeing the first house that was
occupied, and we find out thathis daughter was born in that
house.
Carol Ann was specifically bornin that house, uh, which is very
important that we find outessentially later that why
everything is happening at thishouse and not throughout the

(50:22):
whole neighborhood, and whythey're tormenting this family.
But as Craig T.
Nelson is on the walk with hisboss, and his boss's like, You
look like fucking shit.
He just like lays into him, andit's like he lie, the Craig T.
Nelson lies about everythingthat's happening, says he has
the flu and all this stuff, anddoesn't want his boss to know
that he's going through thisinsane experience or even one

(50:45):
shred of the truth, like, yeah,my daughter's missing.
You you can't involve theauthorities here at this point
because it's a little too nuts.
But he's offered partnership atthis real estate group and a new
house, overlooking the wholedevelopment, and the boss guys
like standing with Craig T.
Nelson at a sizable cemetery.

SPEAKER_03 (51:06):
Yeah.

SPEAKER_01 (51:07):
And the boss is like, yeah, we're gonna move the
bodies and the headstones, andit's all gonna be relocated, and
it's gonna be fine.
And that is kind of the cheesethat we find out here that the
problem is that there areunhappy spirits that have that
were at rest that are no longerat rest.

SPEAKER_04 (51:26):
Correct.

SPEAKER_01 (51:27):
Or it's implied, maybe I guess at this moment.

SPEAKER_04 (51:30):
But I think it's the cheese that we need at this
moment.

SPEAKER_01 (51:32):
I agree.
It's good at applying cheese atthe correct times.
And I'm not saying necessarilyof the jokes all the time, but
the right amount of toppings.
Yeah.
We've talked about nachosrecently on this program:
olives, cotti hot cheese, hotsauce, chives.
It's important.
Almost exactly at the halfwaypoint of the movie.

(51:53):
The movie has really good actbreaks in in terms of the way
the movie breaks down.
The way the second act and thirdact get moving and stuff work
really well, but like it doessuch a great job at the almost
the exact halfway point of themovie of being like, okay,
here's the backup.
Here's Zelda Rubinstein.
This house has many hearts.

(52:15):
On the winter mind.
It's the heart of the house.
This house has many hearts.
I like when Craig T.
Nelson is also like, I wastrying to tell her with my mind.
And I didn't.
And then she was like, I heardyou, I just don't play that
shit, or whatever she says.
I like it.
I like I like the relationshipthat Zelda kind of seems to have

(52:37):
with almost everybody.
Like that it's a little push andpull with Craig T.
Nelson, like a little more pushthan pull, whichever the
negative is.
And she the mom has this kind ofinnate, maybe could have been
misplaced, but wasn't, I think.
Trust in this woman, Zelda, thethe whatever I forget the
character's name, shows up andis doing all this work or

(52:59):
whatever, and the mom isimmediately like, cool, on
board.
Do you think also it's all likeI will try anything?

SPEAKER_04 (53:05):
Yeah.
I think there is a little bit ofreality in that, in that she is
desperate to get her trial back.
So yeah, desperate times callfor insanely desperate measures.

SPEAKER_01 (53:20):
Up to and including bringing Zelda Rubenstein in
your house to read your mind andthrow balls at stuff.

SPEAKER_03 (53:26):
Yeah.

SPEAKER_01 (53:27):
Whatever.
Face it.
And say cool shit like, there isno death, it is only a
transition.
This house has many hearts andit is clean.
Horrible creatures from otherdimensions are popping in and
faces are popping out of thingsand all this other shit.

(53:47):
The movies just starts going,it's going crazy, essentially by
the end of the second act.
It's just throwing a lot of shitat you, which I've enjoyed.
A lot of ham, a lot of cheese, alot of toppings.
But they're still like trying toreach Carol Ann is the main
thing.
If we can communicate with her,we can save her.

SPEAKER_04 (54:05):
Correct.

SPEAKER_01 (54:06):
So something else that I liked that felt very like
detail-oriented in the wholedeal was Zelda Rubinstein asking
questions like, who is she moreafraid of?
Who is she more likely to listento if you are stern with her to
do what we want her to do?

SPEAKER_03 (54:23):
Yeah.

SPEAKER_01 (54:23):
I thought that that was like kind of brilliant.
And I like that the parentsresist it because he's like, I
don't spank my kids.
Like, that's not me.
That's not my shit.
And she's like, Well, this islike un like desperate times,
desperate measures.
Did that hit at all?
Did you like or not like that?
I did.

SPEAKER_04 (54:38):
I mean, I thought like that was not what I would
expect in that moment.
Because I feel like as a child,if I was Carolyn, I would
probably just want a hug.

SPEAKER_02 (54:50):
Like all your final kids.
Sure.

SPEAKER_04 (54:52):
But I do, I do appreciate um, because also I
think that like so much of thestory is centered around the mom
and the mom's experience.
And so I also appreciated thatthey had to go that route to
give Craig T.
Nelson a reason to be there too.

SPEAKER_01 (55:11):
Yeah.
Zelda has this idea that they'regoing to I think it's Zelda's
idea.
They're gonna write numbers andsymbols all over these different
objects and balls and shit, andthrow them into the gate that's
in the parents parents, thekids' room.
Parent smart, kids dumb, parentsmart.

(55:31):
Okay.
In the kids' room throws thestuff into the gate and it
starts transitioning intoanother area of the house where
Ryan, one of the otherGhostbusters, is catching and
verifying that, yeah, these arewhat we're throwing in here.
This is what's happening.
We there's a way into thisdimension, and there's clearly a
way out.
And they are now gonna doRobbie's whole rope thing.

(55:53):
They're gonna tie a rope aroundsomebody, and somebody is gonna
go and get her.
And I love it, almost reminds meof Indiana Jones, when Craig T.
Nelson flicks the rope backtoward the camera and into the
gate.
Like I almost, I'm almost likeready to be tied to the end of
the rope that's being throwninto the gate.
Like the way the the cameraangle is, I just really love it.

(56:17):
Coach is gonna wait, no, coach.
Craig T.
Nelson's gonna go in.
Coach calls an audible, mom'sgoing in to go get Carol Ann.

SPEAKER_04 (56:26):
Says enough this shit.
Off I go.

SPEAKER_01 (56:29):
Well, she says something like, We don't know if
I'll be strong enough to pullyou out, but you should be
trying to that is they're tryingto apply some levels of logic or
whatever.

SPEAKER_04 (56:37):
Some level of logic of like Craig T.
Nelson is a grown man andpulling him out is different
than pulling a woman and smallchild out.

SPEAKER_01 (56:47):
Well, he's a big dude.
He's like well over, I thinkhe's like 6'3 or 6'4.
He's a good sized guy.

SPEAKER_04 (56:52):
I believe you're correct.

SPEAKER_01 (56:54):
He's a diver, he's a coach, he's a lawyer, he's a
good-sized guy.
So the skull face now, this isone of the first kind of I don't
want to call him monsters.
I guess it's like a spiritualmonster.
It's a monster.
A monster.
Like this huge skull face popsout from the door portal in the
closet.

(57:14):
Which is I thought was prettycool.
I fuck with it.
I fuck with it.

SPEAKER_03 (57:16):
Of course you do.

SPEAKER_01 (57:17):
It's good.
It that special effect has agedsurprisingly well.

SPEAKER_04 (57:22):
I feel like they're we're getting to a part where
there are quite a few of thosejumpy moments that pop up.
I will say that I think they areexecuted well.
But I also think that there's alevel a small level of
predictability to all of them.

SPEAKER_01 (57:41):
I don't disagree with that.
I am but I'm also just satisfiedby the execution, so I don't
necessarily mind.
Like, I know Caroline's gonnalive through the whole movie.
Caroline's definitely gonnalive.
They're not gonna kill a childlike in a PG movie.
Like, I feel pretty.

SPEAKER_04 (57:57):
I would hope, but look at all the other things.

SPEAKER_01 (57:58):
I had an R in the beginning.

SPEAKER_04 (58:00):
Look at all the other things that happen.

SPEAKER_01 (58:03):
Thank you, MPAA, for bringing us this episode.
Please watch all the MPAAPG-rated movies from the 80s.
You'll really enjoy them.
Your kids will love them too.
So I love you, Dad.
Carolyn lives, her and Joe BethWilliams come through the portal
because she got her just coveredin like essentially Ghostbusters
pink ectoplasm or whatever.

(58:23):
It looks pretty gross.
It holds up well.

SPEAKER_04 (58:26):
Nasty.

SPEAKER_01 (58:27):
And it is adorable when Carolyn wakes up and goes,
Hi daddy.
I love that.

SPEAKER_04 (58:33):
Of course you do.

SPEAKER_01 (58:35):
I loved that.
What's wrong?
I mean, that's the cheese, andit's just cheese this time.
It's cheese, okay?
I'll admit it.
But I do like it.
There's some level of kind oflike, I'm okay, everything's
okay.
I assume that if you're theparents in that situation, that
you're like, oh my god, do weneed to go?
Also, shouldn't the next scenehave been at the hospital?

SPEAKER_04 (58:57):
One would think.
But again, these parents are notfunctioning at full mass.

SPEAKER_01 (59:04):
Some four foot-four lady that they've never met
comes in, throws a ball atsomething, gets their kid back,
and says, This house is clean.
And they're like, Oh, okay,let's go to bed.

SPEAKER_02 (59:14):
Yeah.

SPEAKER_01 (59:14):
Sounds good.
Phony duck tea.
So the next day they've gotten amoving truck.
Finally, finally.
And Joe Best.

SPEAKER_04 (59:21):
The turnaround is so fast.

SPEAKER_01 (59:23):
Yeah, he they got that moving truck the next day.
Something like that.
And Joe Best's hair has thatstreak of gray, like they kind
of repeat in Nightmare on ElmStreet with Heather Langenkamp.
And her daughter's like, no, notgood.
Diet.
And everyone's like a little toocozy, and the movie feels a
little too cozy, a little toofast.
And that's part of what you'retalking about.

(59:44):
Like the predictability.
Yeah.
It's like, wait, we're stillgoing?

SPEAKER_04 (59:47):
Right.
Because, dear listener, I feellike if they had just ended
there, then the movie would havebeen a crazy adventure, but the
end satisfaction.
They just get in the truck, it'sover.
Yeah, we're like, we're out.
But no, nothing can be thateasy.

SPEAKER_01 (01:00:05):
Because even the dog is like, are you sure?
Like they do a close-up of thedog's face as people are about
to be attacked, and the dog'slike, I don't know.
It's like looking side to sideand shit.
And it's like, even the dog,come on, guys.

SPEAKER_04 (01:00:19):
Even the dog.

SPEAKER_01 (01:00:20):
I just feel like they really just wanted to be
like, uh, hit hit the audiencewith the like, you you thought
we weren't gonna use the clown,huh?
We're gonna get you with thatclown.
And they do another thing fromNightmare on Elm Street, a
spinning room where Joe BethWilliams ends up on the ceiling,
and that's a pretty good effect,I think.
The spinning room effect alwaysworks.
I think.

SPEAKER_04 (01:00:39):
Yeah, I agree.

SPEAKER_01 (01:00:41):
So you do feel like the effects mostly hold up well.

SPEAKER_04 (01:00:44):
I mean, sure.

SPEAKER_01 (01:00:46):
I think I've been making some headway here.
So it's gonna be exciting tofind out.

SPEAKER_04 (01:00:51):
Don't count your chickens before they hatch.

SPEAKER_01 (01:00:54):
Well, I try not to, but I have an OCD thing about
counting.

SPEAKER_04 (01:00:57):
Okay.

SPEAKER_01 (01:00:58):
Okay.
So now full on the beast ishere.
The weird thing with like almostlike a beak face and whatever
that's in the doorway.

SPEAKER_04 (01:01:07):
Well, can we go back a beak?
Please.
Because Craig T.
Nelson, for God knows whatreason.
Bad ghost, that you go pass.
Nope, gotta go quit my job aloneor whatever.
Go to work.
So he leaves his family.
If my spouse was to leave mealone with my children and to
pack up my house after that, andto pack up my whole house in one

(01:01:29):
day, there would be divorcepapers.

SPEAKER_01 (01:01:32):
That's the thing I think that doesn't make sense
about this is that there's asecond movie where they're still
together.
I just don't see how thathappens.
That makes no sense to me.
Too many bad choices were madeby too many people.
But it is a horror movie, that'swhat happens.

SPEAKER_04 (01:01:48):
So he leaves them, and so just retracing our steps
here, like then all this craziershit happens while he's at work,
quote unquote.

SPEAKER_01 (01:02:00):
Quitting his job or yeah, picking up stuff from the
house.

SPEAKER_04 (01:02:02):
Why is he still at the office at in the middle of
the night?

SPEAKER_01 (01:02:06):
He's yeah, he's there until like pretty late, it
seems.

SPEAKER_04 (01:02:09):
Is he stupping?
Is he saying bye to hissecretary?
Yeah, yeah.

SPEAKER_01 (01:02:14):
Fucking rated triple X.
You son of a bitch.
Oh, I'm so mad.
So the extending hallway, likelens pull when Joe Beth Williams
is trying to get to the glowingdoor.
Very disorienting, very cool.
And coach finally comes back,he's in the game, ready to get

(01:02:35):
everybody out of there.
Like, don't go into the light,Carol Ann, we're moving away
from the light, we're gettingout of here.
And everybody is piling into thecar and everything's going
crazy, and nobody can work thekeys, and nobody can do and
everybody's just so panicked,and it's almost like a little
too panicked.

SPEAKER_04 (01:02:54):
Well, you just completely skipped all of the
skeletons popping up out ofnowhere and the tombstones
popping out of Noah.

SPEAKER_01 (01:03:02):
Coffins.

SPEAKER_04 (01:03:03):
Yeah, and all this scary shit.
So I too would be panicked.

SPEAKER_01 (01:03:08):
The level of panic is just almost absurd with some
stuff, though.
You're you're say okay, I'msaying this level of panic where
he can't find a key, like, islike a little too much, but
there are movies that you feellike I don't wish to bring on a
crisis to your life.
Right.

SPEAKER_04 (01:03:26):
But I don't know that would you be such a steady
Eddie in that moment?

SPEAKER_01 (01:03:34):
That's the thing that I'm trying to say about
when Robbie gets pulled into thetree.
I'm not thinking, I'm justrunning out to because the
threat has moved out of theroom.
So it would have been ideal ifsomebody stayed.
It would have been great ifsomebody communicated to
somebody, stay here withCarolyn.
But in that moment, I thinkyou're just running as a parent,
you're running toward the dangerto save your kid.
But I don't know, armchairquarter bapping.

(01:03:57):
Right.
Armchair quarterbapping thebadge bat.
Adults are stupid.
All this crazy shit happens.
Joe Beth Williams in theswimming pool, and the neighbors
save her, like they end upuseful in the end, which is nice
to a degree, yeah, helpfulsomewhat.
But when they're finally aboutto go, Craig T.
Nelson's boss is like, No, stickaround.

(01:04:19):
We love you, we need you.
And the house is going crazy,and he grabs the boss and he's
like, You never move the bodies,you son of a bitch.
You only move the headstones.
Love it.
Love it.
Where it's just like the core,the these corporate scumbags or
these developers are gonna dowhatever the fuck they need to
do to make a dollar.

(01:04:39):
Yeah, makes no difference tothem.
And it's just very interestingthat this tribal burial ground,
apparently coupled with thebirth of their child in the
home, being the first home inthe whole development, and some
sort of like her aura orsomething is meant where she's
like, she's just this incrediblelife force, and it's just all

(01:05:00):
this, all these crazy tumblersin a lock lining up, apparently.
So, okay, but cars and you know,hydrants and everything popping
up and all this other shit, dogsand cats living together, mass
hysteria.

SPEAKER_04 (01:05:16):
The other child comes home in the middle of all
this, they're loading up thecar, and then there's hysteria
whether the other daughter canget in the car.

SPEAKER_02 (01:05:26):
The boy just says, Drive, drive away, dad! The
older sister's like trying toget into the car.
I mean, it's ridiculous.

SPEAKER_01 (01:05:34):
It's so funny to me.
They leave, they go to theHoliday Inn as was promised
earlier in the film.
And I do like the final jokewhere they're like, let's just
get a little dab of a little dabof sour cream or some other kind
of cheese on there, where hepushes the TV out of the hotel
room.

SPEAKER_04 (01:05:53):
I did appreciate that.

SPEAKER_01 (01:05:55):
Why didn't you do that in your own house?

SPEAKER_04 (01:05:58):
Hindsight's 2020.

SPEAKER_01 (01:06:00):
I guess.
I guess.
Kimbo.

SPEAKER_04 (01:06:04):
Yes, Paul.

SPEAKER_01 (01:06:05):
Is there anything in terms of poltergeist that we
didn't cover?
Is there anything I couldpotentially say or do to bring
your score up before we wrapthis?

SPEAKER_04 (01:06:18):
I don't think there's anything you can say or
do in this moment.
I think that you've had somecompelling arguments along the
way.
Are you clutching your pearls oryour heart?

SPEAKER_01 (01:06:32):
I'm just very happy to hear it.

SPEAKER_04 (01:06:33):
Oh.
Yeah, I think that there aresome qualities of this film that
could perhaps raise my scoreever so slightly.
I don't know that this is amovie that I am looking to
revisit.

SPEAKER_01 (01:06:54):
Okay.
Oh, sorry, go ahead.

SPEAKER_04 (01:06:56):
But now I can say that I've seen it.

SPEAKER_01 (01:06:58):
Got that notcha on your belt.

SPEAKER_04 (01:07:00):
Yeah.

SPEAKER_01 (01:07:01):
Hey, I'm gonna say this one thing.

SPEAKER_04 (01:07:03):
Oh.

SPEAKER_01 (01:07:04):
If Craig T.
Nelson doesn't do this, I don'tknow if he's in parenthood.

SPEAKER_04 (01:07:10):
Really?

SPEAKER_01 (01:07:11):
Star maker.
You think Poltergeist?

SPEAKER_04 (01:07:13):
Really?
You think that poltergeist is astar maker for him?

SPEAKER_01 (01:07:16):
I think it was the thing that really springboarded
him.

SPEAKER_04 (01:07:19):
Interesting.

SPEAKER_01 (01:07:20):
I think so.

SPEAKER_04 (01:07:21):
Okay.

SPEAKER_01 (01:07:21):
I could be wrong.
Listener, let us know what wasthe springboard for the coach.
Hit us up.
Let us know.
We've gone over poltergeist inpretty good detail, I'd say.

SPEAKER_04 (01:07:31):
Yeah.

SPEAKER_01 (01:07:32):
Pretty good detail.
I'm gonna give my score first ifthat's okay with you.
Because I think we're we're moreexcited.
I'm very excited to hear whereyou end up.
Is that okay?

SPEAKER_04 (01:07:40):
I was gonna say so much for ladies first.

SPEAKER_01 (01:07:44):
I I was so close to giving this a 4.5, and I think
I've gotta admit, just havingwatched it, it a lot of that 0.5
I wanted to give it really isnostalgia pole.
It's it's it's kind of more of aheart.
It's a no, it's still a greatmovie.
It's well written, it's welledited, it's beautifully scored,
it's well So you don't thinkit's a four with a heart?

(01:08:05):
It's not a four with a heart,but it is a four.

SPEAKER_04 (01:08:07):
Okay.

SPEAKER_01 (01:08:08):
I it's just on the cusp of the four.
The movie's way too good tothrow a heart on it.
But there are some things likeyou were saying, it could be a
little tighter, could have endedsooner, and we could there could
have been a this or a that, andI don't want to armchair
quarterback, this movie made bytwo incredible filmmakers and a
group of incredible people.
But four is a score that isbasically saying I would

(01:08:34):
recommend this to just aboutanybody, and leaving the heart
off is saying, and it's not justa thing for weirdos like me.
I think a lot of people wouldmaybe like this, but I also get
I would be careful about who Irecommend it to in the end, just
because it's like it's got somegore, it's got some if you're
not into that, eh?
So there's a conversation, but afour.

SPEAKER_04 (01:08:54):
But yeah, he recommended it to me.

SPEAKER_01 (01:08:58):
Well, Kimbo, I watched Practical Magic.
And here we are recording anepisode for Poltergeist.

SPEAKER_04 (01:09:06):
And here we are.

SPEAKER_01 (01:09:07):
So what do you want?
I couldn't watch it twice.

SPEAKER_04 (01:09:12):
We wouldn't be recording this because I would
be um I think that you broughtsome very good points about Joe
Beth Williams' performance.
And I think that reallyhumanized a very silly set of

(01:09:33):
circumstances in a lot of ways,it's a good way to put that.
Even though some of her choiceswere still questionable as a
parent.

SPEAKER_01 (01:09:42):
Not as an actor, but as a parent.
Okay.

SPEAKER_04 (01:09:44):
Yeah.
Well, I think her choices, Imean, her choices as an actor
reflected the material she wasgiven to work with, right?
Like if someone had written acharacter that cared about her
children more.

SPEAKER_01 (01:09:59):
I just want to be very clear that as an actor did
everything she was supposed todo.
Yeah.
The character as a parent,terrible job.

SPEAKER_04 (01:10:09):
Yeah, but that's not her fault.
She didn't write the character.

SPEAKER_01 (01:10:12):
Not at all.
She did her job personally.

SPEAKER_04 (01:10:14):
She did her job well.
Yes.
Um, and I think there are justsome other things, like I think
Zelda Rubin's team was reallygreat.
So I Saturn Award winner.
Hey, Saturn Award is kind of abig deal.
I mean, you're a sci-fi horror,but Saturn Award is kind of a
big deal.

SPEAKER_01 (01:10:30):
I mean I had to do the Ben thing because Ben's not
here.

SPEAKER_04 (01:10:33):
We miss him.

SPEAKER_01 (01:10:34):
We do.

SPEAKER_04 (01:10:35):
So I will say that I because of your intelligent POV
and some further reflection, Iwill say that this gets two and
a half scary clown dolls.

SPEAKER_01 (01:10:54):
Yes! Yes! Yeah, you're on you're on the scary
clown doll, like Robbie rippingit up, yelling, I hate you, I
hate you! It has no more power.

SPEAKER_02 (01:11:06):
Yellow Adrian! We did it!

SPEAKER_04 (01:11:09):
The joy that is coming out of your bees.

SPEAKER_01 (01:11:12):
Another MPM.
I'm so glad that to me, a twoand a half is one of those
things where it was like,despite anything or whatever
else, it was worth watching.

SPEAKER_04 (01:11:24):
I mean, sure.
I don't know that I'll be awareof it.
I wouldn't want to watch itagain.
Yeah, I don't need to watch it.
But I'm glad I watched it again.
Kind of.
I'm not looking to own it onDVD.
Like some oh sorry, 4K,steelbook, whatever.
Forgive me.

SPEAKER_02 (01:11:37):
So go back to the club.

SPEAKER_04 (01:11:39):
But you know, I've seen it.
I can now participate inconversations in the world about
it if someone was to bring uppoltergeists.

SPEAKER_01 (01:11:50):
Happens more often than you might think.

SPEAKER_04 (01:11:51):
Well, I wait for that moment.
So, dear listener, it's a-Depends where you are.
If you see me in the wild, feelfree to bring it up.

SPEAKER_01 (01:11:59):
If you're anywhere near Cincinnati, Ohio, it's all
anybody talks about.

SPEAKER_04 (01:12:03):
Oh, okay.

SPEAKER_01 (01:12:04):
It's bizarre.

SPEAKER_04 (01:12:05):
Okay.

SPEAKER_01 (01:12:06):
We're gonna walk away at a four and a two and a
half.

SPEAKER_04 (01:12:10):
Yeah, so you didn't change?

SPEAKER_01 (01:12:12):
I didn't change.

SPEAKER_04 (01:12:13):
Okay.

SPEAKER_01 (01:12:14):
I stand strong with this movie as one of the pillars
of like suspense horror.

SPEAKER_04 (01:12:20):
Oh my.

SPEAKER_01 (01:12:21):
I really do.

SPEAKER_04 (01:12:22):
Okay.

SPEAKER_01 (01:12:23):
I love so many of the Nightmare on Elm Street
movies, but in almost any case,that's not a movie that I'm
gonna like put in somebody'shands that's not like a serious
horror fan.

SPEAKER_03 (01:12:35):
Okay.

SPEAKER_01 (01:12:35):
Something like this, I feel, is just a lot more
approachable, especially in thatthe movie does sometimes seem to
go like, isn't all this shitcrazy?
Like there is a level of thatthat I really appreciate that
not a lot of horror movies do.
So four and two and a halfinstead of a two for
poltergeist.

(01:12:55):
Thank you everyone for joiningus.
Ben, thank you so much for thefact sheet.
You did a great job.
Anybody who is near Ben, getthose Cinephile cards, let me
know.
I will be there in a flash totake care of business.
Uh, we want to thank JamieHenwood for our bookend themes.
We want to thank Matthew Foskettfor what you've been doing, why
are you excited, what you'vebeen watching.

(01:13:16):
We want to thank Chris Olds forour fun facts theme.
Don't forget to check us out onReview X2 Podcast on Blue Sky
and Instagram.
Ben is at Run BMC on Letterboxd.
I am at Paul ActsBadly.
Like, review, subscribe, rate,share, all the things of the
show.
We're so glad that you tuned infor our second episode of Spooky

(01:13:40):
Season.
Uh say scared, but not at likean R-rated.
Keep it keep it PG.

SPEAKER_00 (01:13:47):
Okay, vroom vroom.
Hi everyone, this is JJ, theco-founder of Good Pods.
If you haven't heard of it yet,Good Pods is like Goodreads or
Instagram, but for podcasts.
It's new, it's social, it'sdifferent, and it's growing
really fast.
There are more than two millionpodcasts, and we know that it is
impossible to figure out what tolisten to.

(01:14:08):
On Good Pods, you follow yourfriends and podcasters to see
what they like.
That is the number one way todiscover new shows and episodes.
You can find Good Pods on theweb or download the app.
Happy listening.
Hi everyone, this is JJ.