Horrorpalooza with Iris: Catholic Guilt Meets Rural Hell (Immaculate vs The Dark & the Wicked)

IRIS IS BACK, BABY!

October means horror movies (it's the only time of year I can get away with it) and questionable life choices, so naturally she picked Immaculate, starring Sydney Sweeney, a convent, and vibes that are NOT Christ-like. Robin countered with The Dark and the Wicked, a film so psychologically deranged it makes Hereditary look like a Hallmark movie.

Saturday: Robin's back to doing true crime, and this one's WILD. Investigators tried 418 times...yes, FOUR HUNDRED AND EIGHTEEN TIMES...to recreate how this victim died. They failed every single time. It's still unsolved. 

 Sunday: Red, White & Bruised gets its own damn podcast feed because apparently talking about the dumpster fire of modern politics once a week as a series is still making people angry. If you love screaming into the void about how we got here, join us there too.

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Episode Transcript

Speaker 1 (00:01):
Sunny spaces, smiling faces, happy places. But every sunny space
holds a shadow Behind every smile, our sharp teeth, and
every happy place has something sinister lurking just below the surface.

Speaker 2 (00:19):
Welcome to We Saw the Devil, the podcast diving deep
into the chilling realms of true crime. Join your host
Robin as she unravels mysteries that have left investigators baffled
and armchair sleuth's obsessed. Be forewarned, Dear listener, We Saw
the Devil is not for the faint of heart. Our
unflinching exploration will take you to the darkest corners of

(00:41):
the psyche, and through the unimaginable depths of human darkness,
to unearthed stark secrets, to the harsh light of day.
Nothing will be left untouched.

Speaker 3 (00:51):
Are you ready? Are you sure?

Speaker 2 (00:54):
We Saw the Devil?

Speaker 3 (00:59):
Hellover one you are listening to We Saw the Douvile.
This is Robyn and as promised, I have brought back
a fan favorite Iris.

Speaker 4 (01:08):
Hello, Hi, Hello podcasters, listeners. Hey, how's it going? Everyone?

Speaker 3 (01:17):
It has Everyone loves you like People at random will
be like, when's Iris coming back? Okay?

Speaker 4 (01:24):
Sweet? I love it in. Life has just gotten so
in the way lately.

Speaker 3 (01:29):
You know, I completely understand every year. For those of
you who don't know, or if this is your first
time listening, Iris and I go way, way, way, way
back back to the days of horror podcasting, and we
share a mutual love there, Yes.

Speaker 4 (01:43):
We do, and it's nice to be able to talk
about the movies that you know, both of us share
that spectrum of hardcore horror.

Speaker 3 (01:52):
Which I love, and I love that this episode that
we're doing is the antithesis of what you and I
are actually generally in too.

Speaker 4 (02:01):
I know, I know, and it'll be interesting to discuss
of where's the beer drinkers are or the milk drinkers
even because yeah, yeah, one of these movies was completely
milk drinker but whatever.

Speaker 3 (02:14):
Yes, but I'm excited to talk about it. It has
been too long, and you're coming back again, I believe
before the end of the month.

Speaker 4 (02:21):
Yeah, yeah, you know, I would love to, and you
know I'm here for you. Throw something on the table
and I'll go, Okay, let's do it.

Speaker 3 (02:29):
Yeah, we have to find something redeeming after this last
after these choices.

Speaker 4 (02:34):
Please.

Speaker 3 (02:37):
So I've known Iris for a long time and Iris
has actually been on multiple true crime episodes as well,
because Iris, what is your background?

Speaker 4 (02:44):
Well, my background was I was a autopsy technician for
a medical examiner's office. I do have that background. And
I'm just a lonerd and all that. So it's fun
to talk crime.

Speaker 3 (02:58):
And you have a military background and a nerdy coder background.

Speaker 4 (03:04):
Yeah, I'm a little bit of everything, I guess. And
I'm also an urban farmer. I mean all kinds of things.
It's fun.

Speaker 3 (03:14):
I'm so jealous. I really wish I could just be
an urban farmer with a little you know, farm, but
live a my dream girl, live in my dream. But
because it is October, I invited Iris to come back
so we could talk movies again shoot the shit and so,
as per the format, we each pick a movie and

(03:34):
we watch it and review. For this episode, I picked
the one movie that has actually scared me. I don't
know why. If you know me, you know that I
have nothing really actually scares me whatsoever, except for demonic
possession things like that. I'm a non believer, but yet
it still terrifies me. Make it make sense? So my choice, yes,

(04:00):
I think it's because.

Speaker 4 (04:02):
Okay, so let's take the analogy of a little kid, right,
A little kid knows that when it sees a human face,
two eyes, knows mouth and the positions that are supposed
to be in. But if you skew that just a little,
the kid will be terrified. And I think it's the
same thing, right, because that demon possession thinks skews humans
just enough to make them terrifying.

Speaker 3 (04:23):
It does. I don't like it. I feel like a
little kid on stuff like that, because it's like, I'm
a non believer, No horror scares me, but you throw
a demonic possession of film it that I turn into
a little pansy and I don't like it. This movie
that I picked, The Dark and the Wicked, follows along
those lines, and I consider it probably the scariest movie

(04:44):
I've ever seen. We'll get into that later. And then
iris you picked something as well? What did you pick?

Speaker 4 (04:50):
I picked Rosemary's Baby in a Convent by the name
of Immaculate, with a little just a dash of the
first Omen movie thrown in.

Speaker 3 (05:01):
That is the most accurate description I could have hoped for,
because that's basically.

Speaker 4 (05:07):
What it was. I was looking for an Italian movie
and this came up as immaculate. And the only reason
I think that Google thought it was Italian is because
it has Italian actors in it, and I'd have to
say about one third of the script is Italian. It's
in Italian, and I have to say some of the

(05:29):
translation was kind of like a little off, but whatever.
So I was like, yeah, this looks good. And then
I have heard other people say Sydney Sweeney, is you
know the next scream queen? Why people say that to you?

Speaker 3 (05:40):
No, I don't know what ouch?

Speaker 4 (05:44):
So yeah, I mean, is she cute? I guess the
next girl the Girl next door type of way, and
not the movie. But we'll see. We should go to
the classics. I thought it was going to be interesting.
I mean, it could have gone somewhere really really cool.

Speaker 3 (06:01):
Yes, American Horror Story Asylum. Yes, you know, like that
grittiness and all that weirdness. I don't know why. But
had they just kind of gone into a darker vein,
I think it would have been an improvement.

Speaker 4 (06:13):
But they kind of then went for Ma Laic and
I was like, whoa fuck?

Speaker 3 (06:20):
You could see everything that was happening. It was broadcast
well before it was.

Speaker 4 (06:26):
It was really there wasn't any even any jump scares.
They tried to do body horror, but it was so
so I don't know. If you guys have heard Robin
and I talk about, you know, horror movies, you will
get the reference. But this is what we call milk
drinker horror. It's it's just it shouldn't. It's a thriller.

(06:47):
I mean this was a thriller.

Speaker 3 (06:49):
Yeah, it wasn't.

Speaker 4 (06:50):
It really wasn't horror. They were trying to do like
body horror and all that, but it was just so weak.
You know, they think it's still some nuns in a
dark asylum and it's gonna be spooky, Okay, don't it. Okay,
the nun, the nut.

Speaker 3 (07:10):
Yes. But I think, like going back to your point
on the terms that we use, so Iris and I
kind of operate. If you've seen Martyr's French transgressive horror,
that's kind of more my vein, right, gory, hardcore, push limits,
you know, things like that, right, So we have different
levels of horror. So when we think of just your
basic teenager sixteen years old going to the cinema on

(07:34):
a Friday night, to me, that's more of like milk
drinker horror, Like you get a quick little thrill. It's
not terribly scary. There's not really a lot of plot,
you know, like, how would you describe it?

Speaker 4 (07:45):
Iris, I agree completely, it's gonna be It's gonna be
something like Amityville Horror. That's milk drinker for me, the original,
not the.

Speaker 3 (07:56):
Ryan Reynolds, the other guy Reynolds, right, Ryan.

Speaker 4 (07:58):
Reynolds, Yep, Ryan Reynolds, you know, not that one, but
the original or a step up to that would make
me me. Okay. So a lot of people are not
gonna agree with me, but I think The Exorcist is
also introductory.

Speaker 3 (08:14):
Agreed, Jaws, the Exorcist, Rosemaries Baby, but then even yeah, totally,
and then even newer ones too, like if we want
like a more scream scream, yes, I cannot stand scream
all of the I saw you did last summer, like
all of those.

Speaker 4 (08:32):
Yeah, that's all now anything. PG. Thirteen is no drinker
to me?

Speaker 3 (08:36):
Yes, yes, yes, same. I need a little bit more.

Speaker 4 (08:40):
The next step up would be like beer drinker Texas,
chainsaw mascer, you know, stuff more on that genre, right.
I consider prom Night the original with Jamie Lee Curtis
as a beer drinker interesting. That was one of the
first real stalker movies. That I saw in the theater

(09:04):
because Halloween I watched on this thing called on TV,
which used to be the very very first basic cable
TV that we had ever in the United States. But yeah,
that was the very first one that and I fell
in love with the genre of stalker movies.

Speaker 3 (09:20):
Stocker movies are good. I have a thing for home
invasion movies too. You can have both beer drinking and
milk drinking movies, even within the same franchise. Yes, so Halloween, right,
I'm gonna say it. I love the rob Zombie Halloweens.
I love them. I love them. I would consider those
to be more beer drinker as opposed to the official franchise.

(09:42):
Also the new ones that came out by David Gordon
Green or whatever it's tonight, Jesus evil, nice tonight. That's
never been so angry in my life. Yes, that's more
like a pacifier or milk of magnesia. I don't know. Oh,
but we have levels. Yes, Yes, suffice it to say,

(10:07):
Iris and I are a different breeds than most people.

Speaker 4 (10:11):
Irreversible or irreversible in the original.

Speaker 3 (10:15):
That is absent. If you want to go up, then
we can do a Serbian film would be.

Speaker 4 (10:22):
What Oh that is a tub gin that's going to
make you blind because it.

Speaker 3 (10:31):
Has so much alcohol. That would make sense, that would
make sense. But yeah, suffice it to say, guys, Iris
and I are a different breed and I love having
her come on to talk about movies. And it is
Halloween and I feel like I can get away with it,
and plus everyone loves you. So that's what we're doing.
And today we have Immaculate with Sidney Sweety, which came

(10:54):
up this year. Yeah, last year. It was yeah, last
year film, and then Dark Wicked my pick. So Iris,
I'm gonna turn Immaculate. We're gonna cover Immaculate first, and
I will turn it over to you.

Speaker 4 (11:08):
Okay, all right, so let's go into the data of this,
because you know we're both so data driven. Okay. So
it was directed by Michael Omohan and he was nominated
for Daytime Emmy Awards for a Children Singing a series
of Ghostwriter. My kids used to watch Ghostwriter all so

(11:31):
that makes sense now. Yeah, So, like Robin said, Sidney Sweeney,
we have Alberamte Romano Giorgio, so you can see why
I thought, oh, this is going to be a great
Italian film. This is gonna be good.

Speaker 3 (11:51):
No, it wasn't.

Speaker 4 (11:53):
And here's what it gets to me. And Robin and
I were discussing this a little bit before the film,
and we're going to discuss this in this discussion too.
The budget was nine million for this, but worldwide, yeah,
it made thirty five million dollars compared to the next movie,
which I think is superior than this, and we'll talk
about that. It just blows my mind. And I'm wondering

(12:14):
if it was mostly because of Sydney's Sweeny that everybody.

Speaker 3 (12:18):
Flocked to this, I would say that's probably accurate. To
be honest, I don't know.

Speaker 4 (12:23):
There was just a lot of elements in this movie
that I don't know. We're doing spoilers, so.

Speaker 3 (12:28):
Let me preface this episode by saying that we are
going to give all the spoilers for both of these films.
So if you haven't seen Immaculate or The Dark and
the Wicked and you plan to and don't want spoilers,
stop now and circle back after. Otherwise, if you're probably
never going to watch these and just enjoy hearing us talk,
then please continuee see.

Speaker 4 (12:45):
We do the hard stuff for you so you don't
have to.

Speaker 3 (12:48):
Exactly sifting through the dung heap one movie at a time.

Speaker 4 (12:53):
Yeah, okay, so yeah, let's get into it, shall we.

Speaker 3 (12:58):
Yeah.

Speaker 4 (12:59):
So, basically Sister Mary, which is isn't that cute Sister Mary?
That should give you a clue. There's a young lady
and she has the beginning of the movies. It looks good, right,
The beginning of the movie is great because I'm like, oh, fuck, yeah,
it's gonna be one of those movies. The beginning of
the movie. It starts off with this young nun. She

(13:21):
gets up, sneaks into the room of obviously the keeper
of the keys or the gate for the convent, grabs
the keys, is able to get to the gate. She
opens the big old first the doors to the convent,
and she manages to run to the gate. And as
soon as she gets to the gate, you know, the
music starts and you're like, oh fuck, there's something behind her.

(13:43):
Because this is what the movie does. The movie. The
music in the movie gives the jump scares away and
I fucking hate that. I'm sorry, but I just hate it.
Gil turns around and there's guess what nuns and nuns
in like a red cloak. But in the little habit
penguin habit thing right. And don't get me wrong, I
respect nuts, I work with nuts, I respect them dearly.

(14:06):
But there's such a trope. Sometimes they're such a trope.
And so this poor girl's trying to she finally unlocks
the gate, but then the gate has a chain on them,
which I was thinking, dude, under the chain first, the fuck.
She can't get the chain done, but she's trying to
sneak past, and the music's building, the music building, and

(14:28):
they grab her leg and then you hear a snap
because she was trying to get past them and her
leg was in one of the rungs of the gate
and they just snap.

Speaker 3 (14:39):
Was like, yes, okay, good movie, good movie. That that
one made me once. I do not like broken bones.

Speaker 4 (14:50):
Just go down the room.

Speaker 1 (14:51):
There.

Speaker 4 (14:52):
So income sisters celiab and she survived a drowning and
a frozen leg or something is dead for sixty seven minutes,
and she is convinced that God saved her life for
a purpose. So she becomes a novice, and then she
receives this invitation from about father sal Tdeski and basically

(15:14):
to join a convent in Italy. They tend to dying nuns.

Speaker 3 (15:19):
So it's like hospice care for nothing.

Speaker 4 (15:21):
Yeah, it's hospice care for nuns exactly, And so she goes.
She's like, yeah, I will go. So she gets here.
This kid is obviously American. She doesn't know Italian very well,
but you know, she's trying to get and she finally
gets to the place, and then there is this other
nun that's supposed to be taking her around Sister Isabella

(15:43):
and seems that she's kind of jealous. Basically, the movie
takes off from there, and I'm pretty sure you guys
can figure out where it's going. There is this one
really cool aspect and this is where I thought the
movie is going to take off somewhere else, but then
it kind of like drove back into the back into
the regular horror lanes, and I was kind of bummed.
There is a relic at this convent and it is

(16:07):
the nail that was used to crucify Christ and so
she was asked to hold this nail by the mother's
superior and when she does, she passes out. Next thing
we know, poor sister Cecilia has been blessed with a child,
yet her hymen is untouched and then I think you

(16:28):
can kind of guess where the movie's gonna go from there.

Speaker 3 (16:32):
Yeah, it was not a shock.

Speaker 4 (16:34):
No, I mean it was interesting how the concept of
they took the DNA off of the of the nail
and father Tedesky, he was a geneticist that felt that
the laws that the world has put in place because
of things like this or too inhibiting, so he decided
to become a priest where nobody was going to basically

(16:56):
be monitoring his experiments. And what they've tried to do
is basically Jurassic Park, but with Jesus' DNA.

Speaker 3 (17:05):
I love the Jurassic Park addition to this because that
is true.

Speaker 4 (17:09):
And we go from there basically the sisters. So Celia
finding out, she tries to oh, this park was good though,
when she tries to fake the miscarriage by killing, by
bleeding and fucking chicken all over herself. Yes, she tries
to run away from them and they grab her and
they put her back. They burned a crucifix into her

(17:33):
both of her feet, exactly the same crucifix as she
saw another nun that was old and dying had on
her feet. So it kind of gives you an idea
of how long this has been going on, which is
a huge plot hole because that sister is no way,
no how could have been impregnated because her system wouldn't
do it. And if she did try to run when

(17:54):
she was young, it doesn't make sense. But whatever, but
that's basic. Eventually she does give birth, she destroys the.

Speaker 3 (18:03):
Lab and at least the kill scenes were very uh,
I can't English today.

Speaker 4 (18:09):
You can't English, that's all right, I can't fnglish.

Speaker 3 (18:13):
So the way that she kills them, so she ends
up using the nail to stab Tedusky in the throat. Yes,
she satisfied to the laboratory as her water breaks. And
then I love it that she killed Okay, so she
killed mother a superior with the metal crucifix. Yes, and
then she strangled the cardinal with her rosary beads. The

(18:35):
sacrilegiousness of it, I really appreciate it, and that that
was much appreciated.

Speaker 4 (18:40):
And then the ending was good, but very telegraphed. I
guess because you knew that's what she was going to
do to the baby.

Speaker 3 (18:48):
You knew exactly what she was going to do with
the baby. Of course, the baby that she had was
some sort of weird monster.

Speaker 4 (18:54):
And they didn't show it though, And I wish they
would have had shown the baby.

Speaker 3 (18:57):
Do you think that would have been disappointing or no?

Speaker 4 (19:00):
Oh, I think it would have been more horrific if
it would have been you know, kind of like not
a real baby. What am I trying to say, a
natural you know, like the perfect baby? Has she had that?
Because oh and then of course that touch of her
biting the Yeah, I was like, okay, well we knew
that was gonna happen had it been the perfect baby,

(19:21):
and she would have christied it with the rock anyway,
that would have been horrific.

Speaker 3 (19:25):
That would have been very midsomar.

Speaker 4 (19:26):
Or even better, used the fucking nail.

Speaker 3 (19:30):
Oh Jesus, yeah, that uts. Yes, I mean I realized
that this Okay, this film was a piss poor attempt. Basically,
it's like a critique of the patriarchy and religion was
kind of you know how it was framed as. But
I didn't like this at all, Like I did not

(19:51):
really care for this movie at all. It just it
did not do it for me. You could see every
twist a mile away the acting. I to your point,
I've heard the same thing that Sidney Sweeney is supposedly
the up and coming new scream queen and whatnot. No,
I don't say it, absolutely not. That spot is solely
reserved for Samorrow Weaving.

Speaker 4 (20:11):
Thank you. Yeah. Well, it's kind of like I said
at the beginning, you know it was it was it's
Rosemary's baby in a convent, because it's basically what it is.
This chick has been impregnated with the DNA of Christ,
I guess if you want to call it, and they
think that she's a great thing. Oh and then here's
something I went and I I googled Saint Cecilia because

(20:34):
at one point the nuns are saying, you know, Beneditta,
Santa Cecilia, you know, stuff like that, and I was like, whoa,
who is the Saint Cecilia. So basically she was a
martyr back in I think during the time of Nero.
I think they stabbed her in the in the neck

(20:56):
three times with a sword. Okay, so here's the threes.
She lived for three days and then asked the pope
of the time, which was in two hundred and thirty
five AD, to make her house a church. So I
was like, okay, so there's No, there's no tie for
her in this one. Interesting, yeah, because I was hoping

(21:18):
that there would be or that there was a reason
why she was called Cecilia. But I mean, she was
never married. The saint was, so I'm not sure. And
I was like, well, maybe she was drowned. No, she
was not drowned. That would have been interesting because you know,
she almost died by drowning and she's the patron of musicians.

Speaker 3 (21:37):
Oh interesting, So why pick Cecilia?

Speaker 4 (21:41):
But whatever. But anyway, either.

Speaker 3 (21:43):
Were missing something or they just did not put in
the work.

Speaker 4 (21:46):
I am kind of thinking that they just didn't put
in the work. Oh and she was a virgin martyr.
Maybe that's the only thing that ties these two together.
And that's it.

Speaker 3 (21:55):
Well, I guess there we have it. They picked the
first virgin saint that they came across.

Speaker 4 (22:01):
I guess. I don't know. I guess the sprinkles of
the Omen, of course, is the I don't want to
call it switching to the babies, but you know the
child coming in the Omen and the very first Omen,
the one with Greg Repack, the baby that was given
to them, which was you know, the little Andie Grist
came from it. Was born from a jackal. This one
wasn't even born from anything they were. It was taken

(22:23):
from DNA from the nail. And then, of course it
would have been a better touch to have sister Isabella
hang herself instead of jumping, you know.

Speaker 3 (22:33):
I mean that's a throwback to the Omen.

Speaker 4 (22:36):
Yeah, because it would have been a better throwback to the Omen.
But that that whole thing there and her saying it
should have been me, that's what starts to say, going
what the fuck she mean by should have been me?

Speaker 3 (22:47):
She was jealous?

Speaker 4 (22:49):
M yep, and now you can tell why she was
the animosity between those two. I mean, the movie does
have a way of tying up its loose ends, but
it's very sloppy, not you know, I'm trying to learn
how to tie my shoes way.

Speaker 3 (23:04):
I completely agree with you. That's a good way to
articulate that. Are we ready to rate it?

Speaker 4 (23:09):
I think so, because there's really not much to talk
about this movie.

Speaker 3 (23:14):
I'll go first, since it was your pick, I'll go first,
and you can do you can tie it up. I
give it out of five? Are we doing out of five?

Speaker 4 (23:20):
Yeah, let's do that.

Speaker 3 (23:21):
I give it a two. You're gracious I give it
a two.

Speaker 4 (23:28):
Okay, any reasons why?

Speaker 3 (23:31):
I just feel like it was so predictable Sidney Sweeney.
I think that the only reason that she's getting so
much love is she has big eyes, and she can
cry really well. Like she's a very successful and good
crier and emotor. I think she can emote really well
with her eyes and a decent crier. She's not a
Clardane's ugly crier. But her acting is not that great.

Speaker 4 (23:50):
To be fair, there was not a lot of acting
to be done in this movie.

Speaker 3 (23:54):
Though this is true. That is also true, and I
have not seen her in Euphoria. I still have Seeneuphoria,
so I can't judge her as an actress overall. If
this had been my very I mean, I guess this
kind of was my first exposure to her. Was not
impressed initially, Like you, I thought, Okay, well, this is
off to a good start. The atmosphere is, you know,
kind of cool, but I still prefer if we're gonna

(24:16):
do a none thing, the nun One, to me, is
the most superior in terms of vibe on beyond setting.
Oh you know, the feeling. I mean, it literally feels
like you're on a set of a classic castle from
you know, of Dracula, like an og horror film. But
this one just fell flat for me on all sides.

Speaker 4 (24:34):
Yeah, even the atmosphere in this was not was not
gonna do. So the music in the movie, first of all,
gave away the plot. It gave away what was coming next.
So any of the jump scares that they were trying
to do very fell flat because one you almost something's coming,
and then it was also extremely predictable, like when the

(24:57):
priest catches up to her, when the nun is standing
behind her, it was extremely predictable. You know, I'll be
gracious too, I'm gonna give this a two because you know,
every movie deserves to be seen because somebody put time
and effort into it. Right Luckily Robin and I have
seen it for you, so you know.

Speaker 3 (25:22):
That was a movie.

Speaker 4 (25:24):
Yeah, that was a movie as in terms for atmosphere
and all that. Like I was saying, it just didn't
give it to you. I think what they were leaning
on was this is a convent, this is nuns. Nuns
are spooky. People think nuns are spooky, and maybe because
I don't think nuns are spooky either, and maybe that's

(25:45):
why it just didn't hit the way it would hit
somebody else.

Speaker 3 (25:50):
I think that they were trying to play on so
many horror tropes and yes, but people are scared of
They try to kind of work on the goodwill of
the audience a bit too much, and I think for
a lot of people, it's just gonna fall flat. Like,
unless you have an aversion to nuns, this is not scary.

Speaker 4 (26:07):
Yeah, it's just not. It's more of a thriller. Robin said,
if I had to compare this to the Nun, the
Nun would be a six. Okay, oh my god.

Speaker 3 (26:15):
The Nun for me would be Yeah, the Nun for
me would be a seven out of five in comparison
to this. It's just so it's a no. So safe
to say we can agree that this is a skip,
but yeah, this is a skip. Moving on then to
the other choice, which is my choice, The Dark and
the Wicked. I guess I'll get into the specs of
it really quick. So The Dark of the Wicked is

(26:37):
directed by Brian Bertino, who also is responsible for the
entirety of The Stranger's franchise, all the movies, the original
movie that was his brainchild, all of the additional movies
that came out and then also had a hand in
the TV show as well, like the little mini series
that came out. So this is his home Invasion is
kind of his bread and butter cinematography, which I think

(26:59):
is super import because this, to me, is an absolute
master fucking class in cinematography. Cinematographer is Toby Oliver. The
setting here, so this setting is a remote Texas farmhouse
miles from the nearest neighbor, surrounded just by fields and goats.
The setup here is two siblings, Louise and Michael, returned

(27:19):
to the remote Texas family farm because their father is dying.
We don't know why he's dying. We don't know what's
wrong with him. But dad's dying and they have to
come home. Their mother's alive and she's like, you should leave,
you shouldn't have come, you shouldn't have come. And their
mom was super cold, hostile and just isn't very communica
kidive like things are off right. She's acting radically, but

(27:40):
we don't know what's going on. Long story short, and
then we can delve into it. Mom ends up committing
suicide and there is something evil, like an ancient malevolent
evil something that's in the house. We don't know who
it's attached to, if it's the dad, but basically all
hell breaks loose in this house quite literally and more
or less, this movie is ninety five minutes of watching

(28:02):
two people realize that they are completely doomed. To me,
it's terrifying. It is absolutely terrifying. So I guess, I guess.
Like first first impression, the first.

Speaker 4 (28:13):
Impression of this movie was great. I like to watch
trailers because I like to see is it going to
give the way the whole movie or not. The trailer
for this was superb. I have to say. When the
mom is chopping the veggies and you hear the scraping
of the chair, she turns around and the chair has
been turned around like hooded House.

Speaker 3 (28:35):
I love it because is that when you messaged me
I love a good haunted House.

Speaker 4 (28:39):
Yes, yes, I love a good haunted house movie because
it's so much fun, you know, because it's such a
mind fuck. And I think that's what I love about
these movies. That's why I think You Reversible is one
of my favorites, because it's a complete mind fuck. Yes,
I was, Oh, I'm all in, So I started watching
the movie, and it is so the atmosphere, like how

(29:02):
you said, it is extremely oppressive to me.

Speaker 3 (29:04):
This movie is should literally be on masterclass for horror
because you had the setting, which was a farmhouse in
the middle of an open prairie field. When you hear
the wind wide shots for the most part right just
scaling seeing just kind of emphasizing that just isolation right
where they are, and the landscape itself is pretty much

(29:25):
dead like you're in Texas, so almost everything around them
is dead minus some grass and so forth. And the
color palette is super desaturated the film itself everything looks
washed out, the characters, everything.

Speaker 4 (29:39):
Yes, and about the only beautiful thing that you get
to see is one of the sunsets mm hmm that
had just these beautiful colors. And when they have to
burn the goats, yep, that is the most striking palette.
Oh and then the bright red on the little girl
that comes to say Charlie is dead.

Speaker 3 (30:00):
Yes, creepy, but the way the technical aspect of this
film is just brilliant. And the thing that drew me
in in the first ten minutes was when Michael and
Louise end up coming home. Iris and I were talking
about this earlier, and we mentioned that she mentioned that
it could be it could have been a play because
the setting is seriously just a farmhouse. The entire setting

(30:21):
is this house and the way that it's set up.
Within ten minutes, people are sitting around a kitchen table
or talking in the kitchen, and the camera kind of
sits in one place and it's super observational, so it's
just watching like slow zooms or at parks and watches, right,
it's not quick cuts, it's just observational. And the way
that they have it, everything is really dark, and so

(30:42):
you'll have say, a kitchen table sitting in the middle
of the kitchen, and then the camera will be behind
the characters observing past them into areas of the house
that they can't see. Yeah, so you'll see two dark doors,
right like you'll see two pitch black door frames. The
characters are sitting at a table talking and not paying attention,
talking to each other, and then the camera the way

(31:04):
that it's set up, your mind is constantly trying to
fill in blanks of what's coming exactly.

Speaker 4 (31:09):
And I think that's why one of the aspects that
I really really like got this movie. And also it
really captures that prairie homesteader type of feel Also of
the characters. You quickly get emotionally invested in those characters,
you know, the mom, like you said, saying well, you
shouldn't have come here. So the two kids they walk
out because obviously this is this is their norm. They

(31:31):
don't talk about things, yeah, because you know, they're that
old fashioned, you know, you stuff your feelings because there's
a lot of work to be done when we don't
have time for that. Yep. Louise and Michael go and
sit out in them and on the porch, and the
conversation that they have there while they're sitting on the
porch is like, you know, he goes, well, that went well.

(31:52):
Louise says, well, maybe it should have gave her a hug.
I don't know, and he goes, yeah, because that would
have done, because that would have worked. Yeah. It's obviously
that this family does not express their emotions, that they're
not emotional with each other at all at all, and
it comes across and it doesn't come across like overplayed
or fake, because you could see it. You could see

(32:16):
that obviously the wife really loves the husband, you know,
mom and dad and she's trying to do everything that
she can for him, but that is how she expresses
how much she loves him, right, So there's not that
overtly I love you, which I thought was looking amazing
at the very end when Louise tells her dad, I

(32:37):
love you. Because I'm pretty sure that that's that wasn't
there their vernacular, right, It just wasn't. That's another aspect
I really really loved about it. And like you said,
you know, it could have been a play, because you
really you feel like you're sitting watching what's going on.
You're not part of the plot, you're not part of
the cinematography, you are not part of anything in this

(32:59):
movie except for being an observer. And yeah, I love
movies like.

Speaker 3 (33:03):
This the same one of my favorite shots actually of this,
I guess, you know, to kind of drive home the
point of just how the cinematography is is that it's
so simple and it doesn't rely on cheap cgi or
jump scares or anything like that. In fact, there's only
i mean like one or two in the entire movie.
It's simply that you're observing. And one of my favorite
shots is again it's back in the kitchen and Louise. Now,

(33:26):
mind you, when we say kids, the kids are like
in their thirties, they're not actual kids. The children are
in their thirties. So Louise is in the kitchen doing dishes,
and she is on the far far, far, far far
right edge of the screen. Literally, you see her on
the far far right edge of the screen. The remaining
ninety five percent of the screen is the kitchen, the

(33:46):
two black doorways, and so forth. The sound design, especially
in horror, is so fucking important, and this one there
are a lot of long stretches that are completely silent,
just ambient noise. You know, with the kitchen scene, you
hear Louise running the water and it's lightly scrubbing the dishes.
But your mind, as you're watching this as an observer,

(34:08):
just goes and starts examining every other piece of the screen,
and then it utilizes the winds and to your point
iris about it feeling like a you know, farm, homestead
type of thing, like lots of wood creaking in the house, footsteps,
distant animal noises, so that you know that you're kind
of on a farm. I don't know, it's just the
sound design of this movie is incredible. It really was.

Speaker 4 (34:30):
And what I appreciate the cinematography and the direction obviously,
is that they let you observe because they know that
you are the observer, so they give you that time.
Some people might see it as like, well, nothing's happening,
Oh my god, there is so much happening, right, And
I guess maybe it's how you come to a movie. Obviously,

(34:50):
I enjoy plays a lot. I really really dig plays
because I like being that silent observer. And I do
it in real life too. You know, I walk into
a situation, to a room or to a group of people.
In my sociology background, I like to kind of stand
back and observe. I like to observe the group dynamics,
that the dynamics in the room, the dynamics between people.

(35:11):
So when I get a chance to do this with
the film, I'm in heaven. And I really really liked
that they gave us the opportunity to be able to
do that, because also, what that does, knowing that what
kind of movie this is, It lets your imagination fill
in the holes. Unlike other movies that fucking spoon feed
you everything, this one actually let you fill in the holes.

Speaker 3 (35:34):
And I, yes, same, I really loved it. And I
guess more of a synopsis is Louise and Michael arrive home,
they talk to their mom, and she ends up. I
believe it was the next day, chopping her fingers off,
chopping a finger off. She was a chopping carrots and
then chopped her finger off, and then the next day
I believe she and she hung herself.

Speaker 4 (35:55):
Yeah, they've they've found her the next day because I
think both of them went to bed and she was
still chopping fucking carriage.

Speaker 3 (36:02):
It was her finger, yep, and then her finger and
then they saw that, and then they went outside they
couldn't find her, and then she was dead, hanging in
the barn. So Mom is out of the picture now,
So now it's Michael and Louise, and then typical haunted
house stuff starts happening and they start getting phone calls
from their mother. The creepy part to me is Michael
a lot of the home said outdoor. Rural houses have nice,

(36:23):
big porches that people can sit out on, which I
would kill for one, And Michael's sitting outside, but also
looking out the window, He's starting to see his mother,
his dead mother, standing in the field in a white
dress and then eventually naked.

Speaker 4 (36:36):
Yeah. And see, here's one of the jump scares that
I didn't mind was the light keeps getting turned on
in the room he's sleeping, and he's like, what the fuck.
So he goes and turns off the light, closes his door,
and there's you know, one of those weird little locks.
It's like just a little piece of wood that so
it's either vertical or horizontal, and of course if it's horizontal,

(36:58):
you're kind of locking the door, right, you're barring the door.
He goes back to bed, the light turns on, the
door's open, and he's like, what the fuck? Because weird things.
He's been feeling this weirdness because they found the mom's
diet journal. Yeah, the journal, and they were reading through it,

(37:18):
and you know, some of the stuff that they were
reading was kind of like a little fucked.

Speaker 3 (37:21):
Up, a little religious psychosis. And then at the very
last century she says, he's coming.

Speaker 4 (37:26):
He's coming, right. I don't know why he went to
I think he was hearing of wolves and noises out there,
and he parts the curtain in the room and his
mom is floating out.

Speaker 3 (37:39):
There, levitating.

Speaker 4 (37:42):
The GE's just levitating there right, and then the camera,
you know, the cameras pointed out the window, and then
you get a side view, a profile view of Michael
and it then kind of like pulls out and the
mom is standing behind you.

Speaker 3 (37:59):
Yeah, he's not a fan.

Speaker 4 (38:04):
That was so good. No, I don't know if you
could call it a jump scare really, but it was
very well done because it was done quietly. It wasn't
done with a lot of music, it wasn't done with theatrix,
and it gets to you really really gets to you.
And also the when this one was very very I

(38:24):
don't know. I guess if you watch a lot of
horror films, you might have known it was coming. The bath.
The shower scene.

Speaker 3 (38:30):
With Michael, no, no, no, with Louise.

Speaker 4 (38:32):
Louise is taking a shower. Uh, it's after mom has
done her thing and she has her eyes closed and
I'm like, oh, fuck, she's gonna see something. And she
turns her face and it's her dad standing there. So
she starts yelling for Michael, and Michael comes in and
he's like, oh, whoare and she's saying it was dad,

(38:53):
it was dad, and he's like, you're crazy.

Speaker 3 (38:56):
Just and he looks possessed like he has white, silvery eyes.
He looks possessed like that. Everybody does, yeah very quickly.
That was a good one.

Speaker 4 (39:08):
Yeah, those were the two that I very much enjoyed.
But but this movie is a complete mind fuck the
whole way through.

Speaker 3 (39:15):
I mean, they're getting phone calls, weird things happen, and
again the sound design comes out on top here because
when they're outside, it's silent, right, They don't none of
these people talk. There's not a lot of dialogue. You
hear breathing, creaking wood floorboards, the silence of outside, and
you're constantly just super cognizant and almost waiting for a

(39:37):
jump scare, you know, like you're you have anxiety a lot.

Speaker 4 (39:42):
It right, and it doesn't come. So there's the build up,
and when it finally does come, it's it's subtle.

Speaker 3 (39:49):
It's so subtle. And then the soundtrack to this is
almost entirely strings and droning sounds.

Speaker 1 (39:57):
Right.

Speaker 3 (39:58):
Other films, sometimes when some having a panic attack or
getting angry, you'll hear that kind of vibrational sound that
gets louder and louder or stops. This movie has a
lot of that as well, kind of like constant droning
with some accents with strings, and I think it's super
powerful the way they did that.

Speaker 4 (40:17):
Yeah, and it was done in a way where they
weren't giving away.

Speaker 3 (40:20):
But now let's talk about the priest, because this is
what fucked me right up. So mom dies, Dad's dying,
and there is a nurse that comes to help take
care of Dad, and she's really sweet, but she's she's
very religious, very spiritual. In the middle of all of this,

(40:41):
in the middle of the night, a priest shows up
at their door.

Speaker 4 (40:45):
Well, first of all, the priest introduced me, oh data
as Michael was coming in, and he was at the
here's the interesting thing. He was standing outside of the
gates to the property. M hm, and Michael shows up.
You know, Michael's truck is driving in. He's like, can
I help you? And he says, I would like to

(41:07):
talk to you and your sister Louise. I have things
to tell you now, Robin, why was he waiting outside
of the gate that we're an invitation?

Speaker 3 (41:19):
Yes, he was. He actually asked for an invitation. He said,
I need you to ask me to come in. And
I was like, okay, we're switching to vampires here. Butorious
vat that, Yeah, like notoriously. Vampires need invitations And I
was about to be really mad, like please don't know, no,
because I'm not a vampire person, y'all. But yeah, he

(41:40):
needed an invitation.

Speaker 4 (41:42):
Right and well, and it's kind of like evil again
that that metaphor evil needs an invitation to come in, right,
whether it's a vampire or whatever, you need to invite
evil into your life, which is basic.

Speaker 3 (41:53):
It's true. And he's you know, Louise and Michael, their
parents weren't religious and didn't believe even any of it. Right,
So Louise and Michael when they found the mom's diary,
they're not thinking that Satan's coming or the Devil's coming
or a demon's coming, not at all. And the priest
when he shows up, he said, he says, quote, do

(42:14):
you think the wolf cares if you believe he's a wolf?
Not if he finds you alone in the woods. Remember
when he gave her the phone number?

Speaker 4 (42:22):
He does give her, He gives he hands her card
and says, well, you know, this is what I talked
to your mother, and then hands hit them a crucifix,
which is the same that the mom had in her pockets,
so it was obvious that he had been talking to her.
So it wasn't, you know, all made up, so you
kind of tie that together as in oh okay.

Speaker 3 (42:45):
And then Lisa took that phone number that he gave
her and called it. And it was a poor priest.
It was a priest, but he'd never been in the
state of Texas. He had no idea who Louisa her mother.
He had no idea who it was. And he had
a daughter named Louise that killed herself. The priest that
came to the farmhouse, right, the priest that came to

(43:07):
the farmhouse obviously is evil. My vote is demonic, satan, whatever.
And then he gave her the phone number of this
poor guy who lost a daughter named Louisa, or named Louise.
And when so when Louise calls this priest, this person
he or sorry, this person he guess he wasn't a priest,
but he was like, I've never been to Texas, and
you sound just like my dead daughter.

Speaker 4 (43:28):
Yeah, And he was a priest, but I think he
was a shamed priest because he ended up having a
daughter while he was a priest.

Speaker 3 (43:35):
Oh that's right, that's right. So it's literally this demonic
entity fucking with everyone that he possibly can. It's crazy.
And then he and then he does the thing that
sends me every time iris is his voice changes. I
can't do the voice changes. Cannot do it.

Speaker 4 (43:54):
I mean this guy, I'm not gonna say he's as
good as as Henry Kane of you know poultry guys too.

Speaker 3 (44:05):
Yeah, because that's legendary.

Speaker 4 (44:07):
That that still gives me the creeps. It gave me
creeps when it was a little girl. That gives me
creeps now just saying his name. But he was creepy.
And then of course he comes back at night, is
telling them come out higher, come out out, come outside,
come outside, and Louise is like, no, don't.

Speaker 3 (44:26):
Go out there, Michael, like in the middle of the night,
and it's just so creepy, you guys, Like, right, guys,
it's creepy. It's creepy, middle of the night, pitch black
like it again, hammers down the prairie like texta rural
Texas setting, so you hear the wind whipping and stuff,
but it's just the priest standing outside asking them to

(44:47):
come out, and you know he's evil. But to me,
the interesting part of this film is that traditional horror
structure is like they start out normal life, they establish
the characters and who they are in the world, and
then they have a supernatural intrusion like something goes bad wrong.
Then escalation you have you know, it's getting worse, getting worse,

(45:08):
getting worse, and then you have the climax, which is
where your heroes face against you know, face off against evil,
and then resolution which typically someone important dies, someone important lives,
happy ending. Right, that's kind of traditional American horror movie culture.
What The Darken the Wicked does. On the other hand,
it takes away steps four and five, So the climax

(45:30):
and the resolution. There's no confrontation, there's no resolution and
no closure at all in this movie. There's no power
of love moment. No we're gonna figure you know, Michael
and Louise figuring out how they're going to beat the entity.
None of that happens here.

Speaker 4 (45:49):
No, Michael bails on her and he's like fuck this.

Speaker 3 (45:51):
I'm going He's like, nope, fuck this. I have a
wife and kid kids, and you know they're not worth it.
So Michael ends up leaving and going home and he
walks into his house and what happens iris.

Speaker 4 (46:05):
Oh my god. So he walks into his house. He's
looking for his kids and wife and you're like, oh fuck,
and he can't find him. So he calls the wife's phone,
and he keeps walking towards it, walks into the dining
room or the kitchen where there's a little table. The
two girls obviously their their throat's been slashed. And then

(46:28):
when he comes around the corner, his wife has also
slashed her throat, and I'm like, fuck, well this is harsh,
right and then so of course the reason why he
left was because of them, right, and well, he ends
up taking his life too, and then.

Speaker 3 (46:45):
He ends up sitting on the floor. Oh god, He
ends up sitting in the floor slitting his own throat.
And as he's dying, his wife, his wife and children
that he thought he had seen dead disappear, and his
wife and children come home.

Speaker 4 (46:59):
So they basically walk in to see mom and dad.
Her dad basically has slit his throat.

Speaker 3 (47:05):
Yep. It was a very almost the missed moment of
he's coming home. You think there's gonna be something. Nope,
the demon thing is fucking with him, and he sees
his wife and children dead. But they aren't dead spoiler alert,
he kills himself and then they can come in on
him as he's taking his final breaths. It's pretty because
super fucking bleak. So, how so what is what is

(47:27):
our friend Louise doing while all of this is happening?

Speaker 4 (47:31):
She is freaking out and that nice little nurse who
turned on a Virgin Mary candle and put it next
to dad, and she's listening to the conversation between Louise
and Michael, because Michael's like, fuck, no, I'm gone, man,
I've been driving all night. I'm not doing this, and
Louise is like, but what about me. I'm the I'm
the last one. I'm the only you know, I'm the

(47:53):
only one left. And he's like, yeah, good luck with that.
So she's freaking out and well that's all happening thet
she's been knitting, and well she gets taken over and
ends up stabbing herself and with the needles and attacks

(48:17):
Louise and basically bashes her head in to the point
where she knocks her out and then proceeds to take
out her eyes with the needles. Yes, predicted that was predictive.

Speaker 3 (48:32):
Anytime I see a knitting needle. I'm like, that's totally
going for an eye.

Speaker 4 (48:35):
Yeah, either an eye or inside the ear, one of
the two.

Speaker 3 (48:38):
Yes, yes, yes, also inside the ear. Yes, you're correct.

Speaker 4 (48:42):
I never saw her stabbing herself gutting herself with it,
which was an interesting turn with it. But yeah, so
then you know she dies, she's trying to walk out
the dark.

Speaker 3 (48:52):
So then it's just Louise and her dad.

Speaker 4 (48:55):
Yeah, and of course all kinds of funky things have happened.
I mean, Charlie's killed himself because he sees Louise come
in all naked with stabs all over her, trying to
cut herself. They've lost the goats because something scared the
goats and killed it.

Speaker 1 (49:10):
Oh.

Speaker 4 (49:10):
I felt so bad about that little goat who came back.

Speaker 3 (49:13):
Oh my god, that was so sad. So they have
a goat farm, right, and they have a couple hundred goats,
and then something scared all of the goats out and
then all of a sudden, I mean it's actually a
really cool shot, but the camera is up in the air,
you know, panning down, and it's just hundreds of dead
goats on the ground.

Speaker 4 (49:28):
Yeah, and the one that came back was.

Speaker 3 (49:30):
Missing it, La, I know, so sad. So the grand
finale of this film is literally Louisa's dad dying. He's dying,
and there is a moment where she says I love
you as he's dying. And it didn't feel cheesy to me,
like it didn't know it could have, but it didn't.

Speaker 4 (49:51):
And then.

Speaker 3 (49:53):
And then the thing that made me so mad. Imagine,
imagine you're sitting down at a Michelin rush and you
were having the best meal of your life and you're
just so excited. They bring you the dessert. You get
down to the last bite and there's a turn in it.

Speaker 4 (50:12):
Oh wow, that's awesome. That's awesome, very well excited.

Speaker 3 (50:15):
That is that not what that was?

Speaker 1 (50:18):
Like?

Speaker 3 (50:18):
I'm talking about the last final sixty seconds of this movie. Yes,
involved her dad dies and it's all over, and I'm like, Okay,
where's it gonna happen? The it's a jump scare of
possessed dad grabbing her, grabbing Louise and biting her in
the neck and biting her in the neck in the
screen in screen. I've never I yelled, I yelled out loud,

(50:41):
I yelled at my TV. I cursed my ancestors, like,
I don't know what else I can do, but that
was a masterclass film.

Speaker 1 (50:50):
To me.

Speaker 3 (50:51):
It ruined, ruined by the last thirty seconds.

Speaker 4 (50:57):
Yeah, So Robin and I were talking about this prior
to recording, and we're like, fuck that, right, And but
then when we started talking about maybe this, you know,
this could have been play or something. And then I thought, well,
wait a minute, what if the writer, which is the director,

(51:19):
who's doing such a good job directing this movie, what
if that was not the ending? But the studio said, yeah,
you know what, we're gonna go with the typical Dad's
gonna wake up and invite her because what you wrote
maybe was not what you know, mainstream America likes to

(51:39):
watch the end of these movies.

Speaker 3 (51:41):
I mean, it's true. I really don't know, but it
made me so freaking mad. And then I didn't realize, Okay,
well I think your mind went vampire immediately right when
the priest was asking to come o. Yes, okay, mine too.
And then also I didn't realize until I looked on
this later a couple of years ago after I saw it.
They're actually like when they go out to the barn,

(52:02):
when mom hangs herself, there's Actually, okay, do you remember
in Midsomar how when she starts heading there it's the
camera pans in the trees and there's like a silhouette
of her dead sister in the trees. Yes, okay. Dark
in the Wicked had the same moment in the barn
it like four minutes in or so you see the

(52:25):
demon amongst the goats?

Speaker 4 (52:28):
You do? You do? Because there's it pans So it's
in the front. You're seeing the two kids, you know,
the grown ups, and behind them all the goats, and
then there's the shadow of this thing behind them and I'm.

Speaker 3 (52:46):
Like, oh, yeah, there's a shadow creature person whatever it
is a couple times in the movie and it's terrifying.
But it looks like the new Nosferatu.

Speaker 4 (52:58):
Yeah it does.

Speaker 3 (52:59):
So do you think this was demonic or do you
think it was a vampire?

Speaker 4 (53:04):
I think it's demonic, to tell you the truth. Just
the way the charts were moving, it had a lot
of those elements. It had it been a vampire, the
lit candle for the Virgin Mary wouldn't have been a
big deal.

Speaker 3 (53:19):
That's true. Relying on other horror tropes to kind of
give us the answer there, I don't know, guys, this movie,
this movie to me was like a four point nine
out of five until the end.

Speaker 4 (53:32):
Exactly exactly I was. This movie was like, Wow, this
is great. I haven't seen, you know, good horror movie
like this in a long while. And then it's like
the writer got bored and it's.

Speaker 3 (53:49):
Like the writer in the last Yeah, It's like in
the last seven to ten minutes, the writer just said
I didn't get paid enough to finish this and walked away.

Speaker 4 (53:57):
Yeah. So I'm like, okay, so you have the guide dicee.

Speaker 3 (54:02):
I'm like, I thought it was really good though, guys,
like it is absolutely in my opinion, even minus the ending,
it is worth a watch. I mean the atmospheric dread,
the existential dread, the psychological dread. There are a handful
of jump scares in it, but I think it's just
it's just so well made that I am someone I

(54:22):
love French horror because I don't really want a Catharsis.
Like the Catharsist for me is watching Hein as horrible
shit happen with no closure. I love that, you know,
I don't want the happy ending tied up with the
bow Like I'm completely fine with.

Speaker 4 (54:37):
That because life's not like that.

Speaker 3 (54:40):
No, it's not. You know, it's kind of an examination
of grief, right, like grief and depression and stuff like that.
I love that. I live for it. And if I
give you any note about this movie, watch it. It's
well watched. It's well worth it. It's basically an Oscar
film up until the last minute and a half.

Speaker 4 (55:00):
It is it is and you know, the acting in
this is it's minimalistic, but it packs a punch.

Speaker 3 (55:07):
It does it does. Everything about it, whether it's the setting,
the sound design, the writing, the acting is superb.

Speaker 4 (55:15):
Everything in this movie is a character. Everything, the goats,
the the you know, the sight itself, the farmhouse, everything,
the homestead. Everything is a character in this movie. And
that's why I was. I was. You know. My opinion
is this would have been an awesome play if if

(55:35):
it hasn't been already you know.

Speaker 3 (55:38):
Yeah, it completely concur I think that they should try
to make a stage version of this because it's it
isn't tense. It is relentlessly bleak like it is bleak bleak,
you know, the script, the tone, the color palette, the setting.
It is bleak and sad.

Speaker 4 (55:55):
So I guess I'll go for my reading.

Speaker 3 (55:57):
Yeah, go for your rating.

Speaker 4 (55:59):
Okay. For all that, I would give it a four
point nine, but with that ending that was so disappointing,
I'm gonna bring I'm gonna roll it back to it
like a three eight, almost a four, because it was
extremely enjoyable. I mean I got invested into the characters
so quickly.

Speaker 3 (56:18):
With no backstory. Neither of the characters had full character
arcs or backstory. We knew nothing. And that's what's so
interesting is you know nothing about anyone in.

Speaker 4 (56:28):
This movie, but the setting itself tells you everything about them.
Though that they're at their homesteaders, they don't they don't
talk about their feelings. They are the typical American Generation
X family.

Speaker 3 (56:41):
Yeah, I think three point eight is fair. I mean,
I'm the same way this movie. Possibly it had the
ending stuck, it would have been a five for me. Honestly,
this would be my favorite film. This would have topped
Martyrs for me had they stuck the end.

Speaker 4 (56:55):
D WHOA, that's something to say.

Speaker 3 (56:57):
I know I'm saying that you heard it here first,
but because of the ending, I have to agree. I
think it's gonna go down to like a three point.

Speaker 4 (57:05):
Seven five, Okay, Coco cool.

Speaker 3 (57:07):
Unfortunate it is.

Speaker 4 (57:09):
It really is unfortunate.

Speaker 3 (57:11):
Watch it, guys. It is worth a watch. Just go
into it knowing that you're gonna be angry at what
could have been.

Speaker 4 (57:18):
Yeah. I have one of those phone breaks so you
can throw it at the TV and then there you.

Speaker 3 (57:21):
Go exactly, Oh, I need to invest in some of those.
Have you watched anything else recently, iris outside of horror?

Speaker 4 (57:31):
Outside of horror? I was interested in the Tron movie,
but I hear shit reviews. What have I watched? My god,
I've been watching Foundation and that's been pretty interesting.

Speaker 3 (57:46):
Does that have Jason Momoa and I or.

Speaker 4 (57:48):
No, no that you're thinking of or Chi?

Speaker 3 (57:54):
Yes? So the Foundation is about what on another planet?

Speaker 2 (57:57):
Yeah?

Speaker 4 (57:58):
So it's basically the Isaac Asimov books Foundation one, two,
and three, but I think it starts more on book two,
where the robots have been killed because they wanted to
take over. And then there are these DNA rulers, the emperors,
and one is called Don Day and Dusk, and Don

(58:22):
of course is a young one Day is the mature,
and Dusk is the guy coming out and when you know,
they move chairs, Dusk becomes his brother Darkness, which gets incinerated,
and then the New don you know, it's just this

(58:42):
progressive thing, and it's really cool because it's kind of
like kind of like a snapshot of society of how
it works, where the privilege get to do whatever the
fuck they want, and then there are the people that don't,
and it's interesting. It's kind of like a little revolution

(59:02):
everything in there. But unless you're totally into Isaac Asimov
and how he writes, it's not going to be very interesting.

Speaker 3 (59:09):
Yeah, that makes sense.

Speaker 4 (59:11):
And then there's Invasion, which is kind of cool, but
it's I only like it because of the character the
actors in it, But I mean, that's that. And besides,
Love is Blind, which I've been binging because it's got
three different kinds on Netflix right now because I like

(59:31):
to watch other people's drawn and then they can look
at my wife and go, I'm so glad right now
like that.

Speaker 3 (59:37):
Oh my god. It makes you thankful, doesn't it. I
never really got into Love Is Blind. I've watched most
of them, but I kind of got over it. But
I'm still in the ninety day train, definitely on the
ninety day Hunt for Love.

Speaker 4 (59:49):
All its love was a joke. That one dude that
was like, no, but I love you, but then, oh
you're rejecting me. I love you. You know what? It
reminder you ever watched the movie Caveman with Ringo Star
and Barbara Back?

Speaker 3 (01:00:05):
I have not, you need to.

Speaker 4 (01:00:07):
So Barbara Bach is the female that all the cavemans
want to get with, right and Ringo Starr is not
the caveman that all the women want to get with.
So there's this other guy named Attuc who is the big,

(01:00:28):
big Burley caveman. He's an Italian actor and there's no
English talking in this movie at all. So she of
course wants to be with it and tells a tuke
take a hike. They kick him out of the cave,
so he comes back with his little band of Mary
caveman and eventually the Attuc gets knocked down and I

(01:00:52):
think he gets eaten or something. I can't remember. Interesting
Barbara back all of a sudden because you know or
is that too? Oh no, I'm sorry, I took his
his wrinkle start. Tunda is the big, the big guy.
So Tunda gets eaten and then all of a sudden,

(01:01:12):
all of the caveman like a tuke and then she
comes over and says, oh a duke, you know, trying
totally to get with him. And that's what this guy
reminded me of because first he was with Tiffany and
was saying all these things, and then as soon as
Tiffany said, hey, I got kids, he was like.

Speaker 3 (01:01:28):
Whoa yeah, and then he still used her and like
led her on, talking shit about her to what's her face?
What was her? Elise? Alise?

Speaker 4 (01:01:38):
Right? But then there's a Lease who was ready to
show rob her ass for a kiss on the within
like an hour, within the first hour.

Speaker 3 (01:01:52):
That sis needs some self respect and some self esteem.

Speaker 4 (01:01:55):
Like she seems like she needs something.

Speaker 3 (01:01:57):
I feel bad for her. But did you see part
of what I love about ninety day is that the Internet.
I don't have time or energy for it, but other
people do, so they will find out everything they can
about all of these people. And so it's constant drama
streams coming. But I think the saddest one is, you
know Carlos from Hunt for Love, So his sister came
out he molested her, He and their father molested her

(01:02:21):
as a child, and she tried to file charges against
him and whatnot, but statute and it was years ago
and so on and so forth. Are you really that's yep? Allegedly.
I mean that's what she came. She's come out and
been very loud about it about like what happened. But
then Cole too, you know Cole the Pilot, who is whatever.

(01:02:41):
One of my least favorite characters in the entire world
is what's her face? Jennifer Jennifer God, oh, fateful, horrible.
But Cole actually has stalking charges against him from two
ex girlfriends. Oh wow, yep, dame, Like I know. I
was like, there's something wrong with them, there's something so

(01:03:02):
fatally wrong with them. And then after the show started
airing that came out.

Speaker 4 (01:03:06):
Wow. Yeah. See that's what's interesting about that, right, because
I don't even have to watch the show to know
what's going on, because like its exactly landy little synopsis
things going Oh okay.

Speaker 3 (01:03:18):
Yeah, the reddit, the subreddit, I I yeah, it is,
it is primo.

Speaker 4 (01:03:24):
Yeah, it's kind of like my guilty pressure and the
Sister Wives.

Speaker 3 (01:03:27):
Oh god, I haven't said. I watched the first couple
of seasons of Sister Wives and then I got just really,
Cody makes me want to bash my head into a door.

Speaker 4 (01:03:33):
Oh dude, did you know that he's on Special Forces
and he only made it to four episodes.

Speaker 3 (01:03:39):
Really, m M, I'm not surprising.

Speaker 4 (01:03:43):
No, because he is such a he is the worst
narcissistic big.

Speaker 3 (01:03:49):
I guess on my side. The only two suggestions that
I have for people to watch as I started watching
Billionaire Bunker on Netflix. It's an it's a Spanish show,
and it's almost like their answer to Fallout in a way.
It's not gonna ruin the twist. It's a little cheesy
at times. This is a little over the top, but
Billionaires Billionaire's Bunker Guys on Netflix. Check it out.

Speaker 4 (01:04:13):
Okay.

Speaker 3 (01:04:14):
And then the only other movie I've watched so far,
I've not been able to do my thirty days to
Horror marathon, but I did finally manage to watch Dangerous Animals.

Speaker 4 (01:04:24):
Oh, oh nice? What about What is the other one? Weapons?
Been kind of interested in that one?

Speaker 3 (01:04:31):
Which one is?

Speaker 4 (01:04:32):
We is?

Speaker 3 (01:04:33):
I just recently it's the one with the kids and
oh yeah, okay, I love those I hated weapons. Oh
I did, Yes, I hated weapons. Watch it. We can
talk on it in the next episode if you want.
If you want to.

Speaker 4 (01:04:52):
Watch, yeah, let's do that.

Speaker 3 (01:04:54):
I'm happy to talk about it. Maybe you can convince
me otherwise. Okay, because girl, well, why is it every
time a horror movie comes out and it's so highly
rated as the best of the year. I fucking hate it.

Speaker 4 (01:05:06):
Because we have a different way of judging those movies.

Speaker 3 (01:05:11):
Just I mean, I'll give it, you know, a little credit.
It's a little bit better than normal. And I love
Julia Gardner, but no, I hated Weapons. Okay, okay, yeah,
and Barbarian too, in which one Barbarian?

Speaker 4 (01:05:25):
Okay, you want to do those? Two next or two movies?

Speaker 3 (01:05:28):
Haven't even hates. Let's do those did you see did
you see Barbarian?

Speaker 4 (01:05:33):
No? See, that's the whole thing. I have kind of
like you. I have not had time to really watch
movies besides one. I sit out in the living room
with you know, Lynn, and we watched stuff and she's
got to.

Speaker 3 (01:05:46):
Do her so okay, so next episode, let's do Zach
Gregor the director. He did both Barbarian and Weapons.

Speaker 4 (01:05:53):
Okay, Barbarian and Weapons. Okay, cool, cool, done and done.

Speaker 3 (01:05:56):
Keep it easy on one director.

Speaker 4 (01:05:59):
Okay.

Speaker 3 (01:05:59):
Well, Iris, thank you so much for coming on. It's
been a blast. I miss you.

Speaker 4 (01:06:03):
I have missed being able to talk movies like this
because yeah, it's so much fun, and it's good to
know that, you know, somebody else is as deprived as
I am.

Speaker 3 (01:06:14):
Oh, deprived or deprived?

Speaker 4 (01:06:16):
Deprived deprived, not deprived.

Speaker 3 (01:06:20):
I was like both I actually are true, but probably
we're not really watching anything good. There's been a drought,
and you know.

Speaker 4 (01:06:30):
This is what happens to your brain when you don't
keep watching horror movies.

Speaker 3 (01:06:34):
It's true. I mean, you guys heard me. I can't
even English right now, so.

Speaker 4 (01:06:38):
Well obviously I can't either.

Speaker 3 (01:06:42):
But that's it for today. Guys, you heard the plan.
Talk to you later, Joe,