November 2, 2025 • 57 mins
Robin welcomes back returning guest Iris for a deep dive into the twisted mind of filmmaker Zach Cregger. Fresh off a belated Halloween celebration, we discuss two very different entries in Cregger's filmography: the surprise horror hit Barbarian (2022) and his latest offering Weapons (2025). From underground lairs to interconnected narratives, Robin and Iris explore what makes Cregger's approach to horror so uniquely unsettling and effective.
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Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
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 unearth 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):
Hello, every one you are listening to We Saw the Devil.
This is Robin and yeah, this episode is two days
too late. It has been a crazy, hectic week, plus
it was Halloween and I'm sorry, guys, I know that
you were just dying to hear the follow up episode
between myself and Iris, where we discuss two zat Craiger
Films this time barbarian and weapons. Did we like them?
(01:24):
I guess you'll find out. But better late than never, right.
I had hoped to get this episode out before Halloween,
but alas I did not. So beyond that, guys, we're
back to true crime all the time. I did lie though.
There will be one more episode of Red White and
Brused published to that we saw the double feed. If
you are interested in my political commentary, because again, guys,
(01:46):
my degree is in political science' that's my honestly main interest.
I'm obsessed with the news. I'm a news junkie, a
politics junkie. I've worked in a governor's office, and with
everything going on in the world, I just wanted to
talk about it. I know that my political leanings may
differ from a lot of people who listen to this podcast,
and that is why I decided to start a new
feed for a new show. I put out a couple
(02:08):
episodes to see how they were received and decided to
go ahead with it. So that being said, we saw
the devil As going back to being exclusively true crime
and weird, and then now there is a new feed
for Red White and Bruce for the political side, and
the episode lener notes of this show. You can find
the feed for Red White and Bruise. If you're interested,
(02:29):
feel free to listen and subscribe there. But after this
week's episode we saw The Devil will be strictly a
space for true crime. Beyond that, I hope you guys
had a wonderful Halloween. No horrifying fines in the candy
anything like that, no neighborhood mischief. I did absolutely nothing
and it was glorious. I honestly cannot remember the last
(02:52):
time on Halloween where I did absolutely nothing but have
good snacks, good food, and watch movies. And I was
able to accomplish that. But I'm not going to take
up much more of your time, you guys. We have
an episode to air, so housekeeping really quickly. You are
listening to We Saw the Devil. I'm your host, Robin.
If you want to follow this show or Red White
(03:12):
and Bruised, you can do so at We Saw the
Devil podcast on Instagram, and then we Saw the Devil
on Twitter and Facebook as well as website. If you
have any questions, concerns, commentary, whatever, you can email at
info at Wesawthedevil dot com and I will do my
best to get back to you. So I'm going to
go ahead now and air at the episode. Iris, welcome back.
Speaker 4 (03:36):
Thank you for having me back.
Speaker 3 (03:39):
Yeah, it's our month, girl, it is it is, and
I wish that we could be meeting under better circumstances
than this evening's reviews.
Speaker 4 (03:49):
Well, I mean, you know, we already knew that it
was going to be a little iffy, but like I said,
everything deserves to be watched.
Speaker 3 (03:58):
Are you doing anything special, Iris to get ready for Halloween?
Or are you watching separate things?
Speaker 4 (04:04):
Actually no, but what I am doing is I am
kind of stoked because I believe this is the year
that I get to take the girls out. So that's
gonna be fun.
Speaker 3 (04:17):
The first trick or treating for Nana.
Speaker 4 (04:20):
Oh yeah, yeah, very first one is gonna be like
cool because one of them is a she says, princess
skeleton and the other one is a princess Witch.
Speaker 3 (04:30):
Interesting, that'll be cool to see how that turns out.
Speaker 4 (04:34):
Yeah, I'll have to send you pictures because I'm really excited.
Speaker 3 (04:38):
I love when little kids get all creative and come
up with the most weird off the wall ideas and
they can just unequivocally be themselves.
Speaker 4 (04:47):
Exactly, and it's like, well, what do you mean I
can't why? It's like, no, dude, you do you do you?
Speaker 3 (04:53):
Why can't I be a princess witch?
Speaker 4 (04:56):
Exactly right? I mean, isn't that what's her face? Glinda?
She's a princess witch, isn't she? Is she? I mean
she's a good witch and she looks like a princess
So she's a princess witch.
Speaker 3 (05:08):
Yeah, she does look like a princess witch.
Speaker 4 (05:10):
It there you go. But yeah, that's about it. What
about you?
Speaker 3 (05:16):
Absolutely nothing. I'm not doing anything. I mean, I'm a
shutout on Halloween. I love being at home that spooky season,
you know, quote unquote, and nothing's out that I want
to watch. Yeah, so I don't know. I feel like
it's just going to be a regular a regular night
for me.
Speaker 4 (05:32):
Oh that makes me so sad.
Speaker 3 (05:35):
That is all good?
Speaker 4 (05:37):
Okay, Well, watch some of the classics.
Speaker 3 (05:40):
I think I will. It's actually been quite a long
time since I've watched some of them, so probably good.
But for those of you just not tuning in or
listened to the last episode, Iris and I reviewed two
films last last week, The Dark and the Wicked, and
then I'm going through perimenopause. That is my excuse for
brain fall. Immaculate, immaculate, thank you. So in the last episode,
(06:05):
Iris and I were talking about Weapons, a new movie
that I'm sure all of you have heard of. It
just came out, I believe on VOD video and demand
and you can stream it. And she hadn't seen it yet.
So I was like, Okay, how about we do Zach
Kreger collection because he also did Barbarian a couple of
years ago. So we did a double feature for this episode.
Speaker 4 (06:23):
Yeah, we got a little thing we do.
Speaker 3 (06:26):
We can start with Barbarian before we do that, though, Iris,
do you have any just if you had to, okay,
if you had to describe your listen, your if you
had to describe your viewing experience with these films in
one sentence or one way, how would you describe it?
Speaker 4 (06:41):
Yan?
Speaker 3 (06:42):
Yeah, yeah, yeah.
Speaker 4 (06:48):
I mean that's the best way of describing it, just Yon.
Speaker 3 (06:51):
I honestly, I feel the same way. I think that
I've seen enough Zach Kraiger at this point to realize
I'm not a fan. I'm so sorry, but like I
I you know, unfortunately, that's where I lie. Same with Osgood.
Speaker 4 (07:03):
Perkins Osgood Perkins.
Speaker 3 (07:06):
So he did Long Legs.
Speaker 4 (07:08):
You know, I was going to watch that, but then
I ended up watching something else. Is that any good?
Speaker 3 (07:16):
I couldn't stand it. It was the big movie with
Nicholas Cage playing the serial killer, so Osgood Perkins. His
dad was Anthony Perkins of Alfred Hitchcock fame, you know, Psycho.
Speaker 4 (07:31):
Yeah, yeah, interesting.
Speaker 3 (07:32):
Yeah, I'm not a fan of him either, and I
feel like I've seen enough of Zach Craiger at this
point to feel the same.
Speaker 4 (07:39):
Okay, all right, I remember I was gonna be watching
I think I was thinking of watching Long Legs, but
then I ended up watching Horror in the High Desert.
And maybe I would have had a better time with
Long Legs. I don't know, but maybe.
Speaker 3 (07:55):
I mean it's it's a vibe. I'll give it that.
It has a really interest saying aesthetic. It's kind of
unsettling Nicholas Cage is I do typically like him anyway,
So I mean he was good, but I'm so tired
of possession or evil demonic movies just being a complete
and utter letdown.
Speaker 4 (08:16):
Even the latest Exorcist with the two girls that was.
Speaker 3 (08:20):
I still haven't seen that bummer it.
Speaker 4 (08:24):
I don't know why they call it the Exorcist because
it has nothing to do with that. At the end,
Reagan's mom, I think that's that's about the tie in.
Reagan's mom comes back and is trying to help the
parents of these two girls, and it becomes as convoluted
everybody hold hands, kumbai a bullshit, And then I was.
Speaker 3 (08:44):
Like, Okay, whatever typical happy American ending or no.
Speaker 4 (08:49):
Because it has a little twist at the end, it
kind of saves it. But everything at the beginning, I'm
like why, And I think they shoehorned Reagan's I'm in
there so they could tie it to the Exorcist. Oh
but besides that, I'm.
Speaker 3 (09:06):
Like, my, did you see the show on Fox The Exorcist?
Speaker 4 (09:10):
I did, and I really enjoyed it, and I'm pissed
off that they didn't finish it.
Speaker 3 (09:15):
So pissed. That show is incredible. Probably in terms of
horror television, that was at the top for me. That
was so good.
Speaker 4 (09:24):
It gave American a horror story a run for its money.
Speaker 3 (09:28):
It really absolutely like, in my opinion, beat it in
every regard because it actually had storyline acting. You know,
it was creepy in some parts. We all know, I
don't like the weird eyes, but like that was so
good and it felt like The Exorcist, and they incorporated
the original characters and the lineage and all of that,
you know, the story, and I wish you would come
(09:50):
back because we don't really even have the glamour of
American horror stories completely died for.
Speaker 4 (09:54):
Me, Oh yeah, because it's become very formulaic now.
Speaker 3 (09:59):
I don't think I've actually enjoyed it since Asylum, all.
Speaker 4 (10:02):
Right, So I enjoyed Asylum and the Coven one the Witches,
oh Covin enjoyed.
Speaker 3 (10:09):
That Coven was season four or season three, I.
Speaker 4 (10:12):
Think it was either three or four. When they went
into the bunker, that was like eh. And even though
they tried to bring the witches back and make it interesting,
it was still May and then all the other stuff.
It's like it's lost its edge and it became very
I don't know, I guess form a Lake and Run
(10:32):
of the Mill TV, right, it.
Speaker 3 (10:35):
Just it just the Summer Camp one nineteen seventy nine,
I think it was or that nineteen seventy something I'm
glad to see, especially now lately with the ed Geen,
the monster Edgeen story that people are pushing back and
just kind of done with Ryan Murphy.
Speaker 4 (10:51):
Yeah, no, I don't know. It's like he's basically I
don't know, it's towing the line now instead of being
edgy of being a fit, Yeah, yeah, exploited of exactly.
And I think, you know, for a horror movie to
be a horror movie, I mean, if we go back
to its roots, it's extremely exploitive. It's it's exploitation period,
(11:15):
whether you're whether it's the characters, the story. You know,
there's some sort of exploitation somewhere. I mean, even down
to Frankenstein, right, But nowadays it has none of that.
It has none of that hard edge. It tries to
gross you out. That's about it.
Speaker 3 (11:32):
That's pretty much it. It tries to up the gore
factor a lot of the time, and not even in
an interesting way like the Splatter, the films in particular,
like Adam Chapman, Necrostorm Film Production, you know, Company, Tater City,
all of those. It's not even cool or extreme gore.
It's just the same stuff over and over. The acting.
I don't know. I just I'm so disillusioned and numb
(11:54):
to horror that I don't even really watch anything anymore.
Take Her Back is the most recent film that everyone's
screaming about and talking about how crazy it is. And
the Twist missed that and the other and I watched
it last weekend and I've never been more disappointed.
Speaker 4 (12:10):
Yeah, I think, well, you know, we're made of a
different mold for horror movies, and we grew up with
you know, when horror movies were R rated movies, not
PG thirteen. So I think we missed that, that nastiness
and not you know, like nastinesses bodies of naked bodies
of shit. But no, and it wasn't CGI. It was
(12:32):
practical effects. And I think maybe that's another thing that
I missed. Practical effects.
Speaker 3 (12:37):
I do too. The CGI is ridiculous at this point,
and nothing kills a film for me, like when we
get to really bad CGI.
Speaker 4 (12:46):
Especially a CGI.
Speaker 3 (12:47):
Blood why right, I mean, if the Evil Dead can
make it rain and hold againess Book of World Records
for the most amount of blood on set in the scene,
I think that every person can come up with a
little synthetic blood, right, I Mean, it's not.
Speaker 4 (13:02):
That hard little corn syrup water and red nye.
Speaker 3 (13:06):
Yeah, exactly. Out of everything that we don't have to
choose from, we decided to pick two Zach Kraiger films.
So let's start with Barbarian because it came out first.
It came out in twenty twenty two, so it's three
years old now again directed by Zach Kraiger, It's one
hundred and two minutes long, and the setting of this
(13:28):
film is a decaying neighborhood in Detroit. TLDR is that
this film has three distinct acts. It starts with a
girl named Tess arriving at an Airbnb because she has
an appointment. She wants to work for a documentary filmmaker
and so she has kind of an interview and so
she arrives in the middle of a rainstorm at night
(13:48):
to her airbnb and finds that it has been double booked,
double booked with a Scars guard of all people, Of
all people, we have Pennywise hiding out in the damn house.
So yeah, long story short. She ends up discovering like
a hidden basement and passageway understairs. People die, and yeah,
(14:10):
we'll get into it the recap of act one, right,
So what did you think? I'll just turn it over
to you iris give me your okay?
Speaker 4 (14:19):
So Act one was kind of interesting, a lot of
red herrings, but they were you know, they were waving
the fucking fish in your face, right. It was very
obvious that what they were trying to make you think
and basically spoon feeding you think this think this was
really it was not effective. I think what they were
wanting to do with this first part is make a
(14:41):
Scars guard, you know, like, oh, he's creepy and is
he really does he really have.
Speaker 3 (14:47):
This or not?
Speaker 4 (14:48):
And blah blah blah, and you kind of start getting
this field. But then I don't know, it just really
didn't capture me to say, oh, you should you know
this guy's be this guy. You can't trust this guy.
She tried really hard, you know, to have you feel
those feelings, but I just wasn't emotionally invested in either
(15:09):
one of these characters. So therefore, I it just didn't
come across for me. I don't know about you, but
but it just didn't dope for me.
Speaker 3 (15:16):
I completely agree with you, Tess is not the most
likable person, and I just found it just hit every
single trope right raining outside she goes to the airbnb,
it starts off, you have an open door. She's asleep,
you know. She runs into Kevin scars Guard and he's like,
oh no, we double booked, and they have dinner and
she's crushing on him. I don't know why. He's a
(15:36):
scars gar brother. Like Okay. She goes to bed, you know,
wakes up in the middle of the night and the
door is open and it had been locked and just
like all of the tropes, you know.
Speaker 1 (15:43):
What I mean.
Speaker 3 (15:45):
And then they find the hidden basement. Although I did
laugh when she goes down to the basement and she
opens the door and she's like, nope, right right, like
out loud, finally someone with some sense, But she fucking
did it anyway, So she goes and discovers a cell. Now, listeners,
if you were staying at AIRBNBA, you went down into
(16:07):
the creepy death basement and you found a room down
there with a dirty ass mattress and a cam quarder
like that is some a serbian film shit right there?
Would have left?
Speaker 4 (16:18):
Yes, it's Pkitsbi tapes right.
Speaker 3 (16:22):
Yeah, that was a good movie, by the way.
Speaker 4 (16:24):
I know, I love that one, but yeah, why would
you stay?
Speaker 3 (16:28):
Why would you stay? Stay? It makes absolutely no sense whatsoever.
But yeah, I mean that's that's literally it Forracked one.
So Keith, the scar'sgar brother, ends up going down, you know,
she tells him about everything. He goes down to take
a look for himself and whatnot. They end up finding
a longer tunnel. I mean, guys, this is like the
Paris Catacombs under this random little tiny house in Detroit.
(16:51):
And so they find a long tunnel and lo and
behold there is a very hills have eyes type of woman.
She's massive, six foot six feet tall, naked as the
day is long, titty's flopping everywhere, and she ends up
killing Keith. Yeah, and so our friend, our girl ends
(17:12):
up trying to run away, gets caught and thrown in
a pit in the basement. End of act one, and
then act two begins, because remember this is a very
distinct three act film. So Act two begins and it
switches to AJ, a Hollywood actor facing sexual assault allegations
who was played by Justin Long.
Speaker 4 (17:33):
I'm tired of Justin Long.
Speaker 3 (17:35):
I would like to also state for the record, and
I will say this with my whole chest, I've never
liked Justin Long. I don't like justin long. There's something
about him that is so creepy and I can't stand it.
I like the original Jeepers Creepers except for him. I mean,
he was basically Jeepers Creepers, you know the movie yep,
the first one. I felt so vindicated when it came
out that he's a sex pest, like harassing women, right, Like,
(17:59):
I so vindicated because there's something heinously fucking wrong with him. Okay,
I digress. But acto begins with him in his car
and he is a big director. He was signing on
or sorry, he's a big actor. He's signed on to
a project Bam. Sexual assault allegations. Well, he is the
one who owns the rental property, and so he decides
(18:20):
to go back to the rental property see if he
can see what he can do to scrounge up some money,
and so on and so forth. He's going through this
personal crisis and then he discovers the underground tunnels. Iris
walk us through.
Speaker 4 (18:30):
Okay again again, So he walks in. Tessa's stuff is
still there, Keith's stuff is still there. He calls the
person that the management company for his property and they're like, yeah,
well you know just whatever, bye, click, and I'm like, okay,
Yet he stays again, what the hell? Logic right, illogical.
(18:57):
He finds the basement, he finds the other door, He
goes in, goes in deeper than the other check and
then and behold, he gets trapped. Also in the pit.
I swear that this made me laugh because Tess is
in this pit and she's trying like, no, no, no, no,
(19:18):
get upset. Don't get upset. She's gonna get upset and
it'll be bad. Then all of a sudden, this bottle,
this nasty bottle with hair on the nipple. It's just
and she puts it there and tests just kind of
suckles on it. She tells the dude, dude, you gotta
do it, you gotta do it, and he's like no, no, no, no, no no.
(19:41):
So he starts fussing and fussing, and she's like, she's like, okay, dude,
you're on your own. Well, because the baby wouldn't take
the bottle. What's a mother to do? What's a mother
to do?
Speaker 1 (19:52):
Well?
Speaker 4 (19:53):
You put your kid on the boob, on the boobe.
Speaker 3 (19:58):
You latch your baby.
Speaker 4 (20:02):
Oh my god, which I thought was just fucking amazing.
Speaker 3 (20:08):
See I just it made me mad. Like at that point,
I realized what kind of movie this is. As soon
as we saw Mother, right, the Big Woman, I was done.
I was checked out. I was done, but I stayed
with it when it got to that and the suckling scene.
You saw Tusk, right, Yes, I hated Tusk and it
(20:30):
just immediately put me in the Tusk vibe, you know
what I mean?
Speaker 4 (20:35):
Uh huh uh No, I get it, I get it. Yeah,
it's but yeah, so that happens and he's well, we
discovered that he's a he's a prick. He is a huge,
huge prick because he is very he thinks for himself,
in himself. But yeah, so I think then that's when
(20:59):
we discovered the third part, right.
Speaker 3 (21:02):
Yes, then it goes to act three. Well, while he
is being breastfed, Tess ends up leaving and she gets
caught and whatnot. But she does end up like escaping,
Yeah she does. She gets outside the house, she has
no cell phone, no anything, and she meets this homeless
guy like he was he was like, she was like,
oh my god, there's a woman and da da and
(21:23):
he's like, yeah, I know, she's been here forever. And
she comes out at night, by the way, so you
should probably get far away from here. Well they come out, Yeah,
does test do this? No she doesn't. She gets in
her car and waits outside the front of the fucking
house waiting for mother to come outside.
Speaker 4 (21:39):
Well, yeah, so what she does though, if you remember,
she gets out, she goes to the is. She she
walks away and gets to a gas station and then
calls the cops, and the cops are like, yeah, you're
cracked out, lady. Bye.
Speaker 3 (21:55):
Oh yeah. They even come to the house and refuse
to go inside, and yeah, threaten her that she broke
the window.
Speaker 4 (22:01):
What I would have done, I would have got belligerent
with those cops, kicked them, pushed him whatever, and they
would have arrested me and taken me away. Oh the
sweet thing to do. Hello, But no, she did not
do that. But you know when when the old man goes, well, yeah,
she comes out at night. The first thing I was
thinking of was a newte and in aliens, you know,
(22:23):
they come out at night. Mostly I was like, come on, yeah,
come on. But yeah, and then we get introduced to
mother's daddy.
Speaker 3 (22:35):
Mother's daddy, So there is this begins Act three and
Act three we get introduced as Irisa to mother's daddy.
Now mother's daddy was the original homeowner from the eighties.
He was this just like older bumpkin white guy and
he lived by himself. Definitely a creep. And in the
(22:56):
eighties it shows him going to like stores, maternity stores,
box stores and getting lots and lots and lots of
baby supplies, including a video like how to nurse video
and bottle feed video and so more or less. Act
three divulges that this original homeowner from the eighties decided
(23:16):
to start kidnapping women and he created all the tunnels
underneath his home. Decided to start kidnapping women, enslaving them
and turning them into like a breeding factory yep. And
then all of the kids started having kids with each
others and it was basically just a clusterfuck. So that's
the explanation, guys for why there's this weird fucking woman
(23:39):
in the tunnels. In Act three, aj justin long kind
of like ends up running away and he gets to
the end of a hallway and mother turns back and
lets him continue, and he comes into and now modern
day Frank the original homeowner, and he's dying on his deathbed. Yep,
(24:00):
down there in the tunnel with pissed jars and poop
jars and it looks like it's straight off of the
Saw set with how like dingy and gross and dirty
everything is. And yeah, yeah it was kind of sad.
It was kind of sad, but also he was a
rapist and murderer and everything else.
Speaker 4 (24:20):
So oh no, I meant sad as I like, so
you're copying this too.
Speaker 3 (24:25):
Oh, yes, that was sad. I mourned for myself. But
he ends up leaving, he ends up escaping.
Speaker 4 (24:35):
Aj, yes he does well. First of all, this this
girl tests i'm sorry, self preservation versus going and rescuing
a prick. I don't know, because you can literally see
throughout this next part where they both escape. They think
they killed mother, but you know, everybody knows that you're
(24:59):
not gonn to kill the monster the first time.
Speaker 3 (25:01):
Right, yop.
Speaker 4 (25:03):
So when he comes and she gets him, the homeless
guy had told her, you know, go to the water tower.
She never goes there, so they both go to the
water tower. He helps them get in, but what happens.
Mom shows up and she breaks through the thing, tears
the homeless guy's arm up and beats him with it.
(25:27):
I was like, okay, that's cool.
Speaker 3 (25:29):
Yeah, They're all just like huddled around this like little
area with the homeless guy talking to him, Tests and Ajar,
and then all of a sudden, Mother comes out of nowhere,
ribs his arms off and beats him to death. Poor guy,
when no, he was just trying to help him homeless
in Detroit and then gets beaten to death with his
own arm by a giant.
Speaker 4 (25:50):
Oh, I know, it's kind of sad. Let's see that's sad.
So then I guess they they're at a water tower.
They go all the way up the water tower. She's
chasing them, and the asshole tosses Tests over the side
because he has figured out that she sees them too
as there as her babies, and of course she's going
(26:11):
to rescue her baby. So then she jumps over the
side and he looks down and it looks like Tests
landed on top of on top of Mother.
Speaker 3 (26:23):
Which okay, let's talk about how that was even fucking possible.
Speaker 4 (26:27):
No, it just doesn't happen. You're not in a vacuum,
so it's not gonna happen.
Speaker 3 (26:33):
And also, there was like a second and half two
second delay between Mother jumping off to save her and you.
Speaker 4 (26:38):
Know exactly, you know, but it looks like she does
the the parachuter.
Speaker 1 (26:46):
Move.
Speaker 4 (26:46):
You know, I'm gonna go down really fast. But still,
I mean, how would you know that? It just doesn't
make sense. Okay, it doesn't make sense physics.
Speaker 3 (26:53):
No, no, And it also doesn't make sense how Tests
was still alive laying there like Mother was all. She
landed right on top of Mother, right on concrete, mind you,
from a fall from towards the top of a tower,
water tower type of thing. I don't know. That made
absolutely no sense. And so Tess is laying there dying,
and then AJ Justin Long's character comes over and it's like,
oh my god, I'm sorry, I you know, blah blah
(27:14):
blah blah blah. And what happens after that?
Speaker 4 (27:18):
Yeah, well, first of all, so I had you, but
you slipped off the side. Really really, I don't think so.
But yeah, again, we know Mother isn't going to die
by falling.
Speaker 1 (27:31):
Yep.
Speaker 4 (27:32):
She gets up and well, let's just say AJ gets
his due justice, and Tess ends up slashing her throat
Mother's throat. That's how it ends. She walks away and
I'm like, okay, so did the writer get bored again?
What the hell?
Speaker 3 (27:52):
Oh when it shows her like taking the gun and
then right, yes.
Speaker 4 (27:58):
It's the gun. She takes the gun and shoots mother
in the head and that's the end of that.
Speaker 3 (28:04):
No, we don't even see it, so like, is mother dead?
I don't care, honestly, no.
Speaker 4 (28:11):
But perhaps he's you know, the writer's thinking, hey, I
can get you know, maybe I can milk this until
it's dry.
Speaker 3 (28:17):
I don't know, but yeah, Supposedly there were rumblings of
Barbarian two coming out, although the director hasn't said that
he's going to, and I hope not, because this was
an absolute travesty.
Speaker 4 (28:31):
It is, I mean, just the way it ended and
the way it ends, I mean it's very last Girl, right, yes,
I mean it doesn't need to be perpetuated. It really
really doesn't. I mean, Mom's dead. Girl gets to go away.
Let's just leave it at that. Test lives. She obviously's
going to have to go see a therapist for all
the drama. But yeah, there you go the.
Speaker 3 (28:54):
End, and she ends up working with a documentary filmmaker
and apparently living like happily ever after.
Speaker 4 (29:00):
Exactly.
Speaker 3 (29:01):
I hated this movie. It fell it too as much
as people thought, oh my god, a brush of you
know brush, a breath of fresh air, It's all wonderful
and good and new, and no, it followed every single
tired fucking trope I've ever seen. It was just a
mix of what the hills have eyes mm hmm. The
descents maybe in terms of like tight enclosed spaces.
Speaker 4 (29:24):
Right, tight enclosed faces, every home, every kidnapping horror trope
by a mutant movie m a little bit of the
Poughkeepsie tapes. Yeah, it just it had everything in there.
And again, you know, the the last girl thing too.
(29:45):
It would have been more interesting if if she would
have picked up tests and taken her back into the layer.
I would have been happy with that ending. I would
have been okay with that. But yeah, I, like you said,
everything needs to be tied up with a nice little
bow and present it to you and go here you go,
happy ending. Yay, Sorry for the.
Speaker 3 (30:07):
Trauma, it's true. So what would you give this movie
out of five stars?
Speaker 4 (30:13):
Oh my god, I'm gonna give it a two because
I enjoyed some of the that. I enjoyed the two
death scenes, So I'll give it a point for each
one of those. But that's about it, not a recommendation.
Speaker 3 (30:27):
I gotta go lower. I have to go one point five.
Like this movie actively affected my mental health and made
me sad, sad that I wasted my fucking time. So
I'm going to give it a one point five because
someone did apparently supposedly put an effort to make this
So that is that? Is it a one point five
and a two? So I guess our average score here
(30:49):
is a one point seven five.
Speaker 4 (30:51):
Yeah, one point seven five, and skip it, skip it, right.
We did the hard job. We did the hard thing
for you. Right, we did the hard job for you.
You don't have to watch it, be blessed.
Speaker 3 (31:02):
And I've seen it now twice, so guys, not only
going to watch it one time and hated it. I
watched it a second time just to make sure and
the hope confirmed, verified, verified? Yes, all right. So now
let's move on to our second disappointment of the evening,
(31:23):
and that would be the movie Weapons, which which came
out this year. It's the hot thing right now again,
Zach Kraiger, I'm begging you to stop making movies or
making or make at least a better movie. This one
comes in at two hours and eight minutes, and this
one takes place in Maybrook, Pennsylvania and just your everyday
American town now. Yes, plot premise on this one is
(31:45):
really simple. Seventeen children from the same third grade classroom
mysteriously vanish on the same night at exactly two seventeen am.
All of the children, you know, because this is modern day,
we all have security cameras now, they all left their
homes running with their arms extended out wide and just
a really weird, kind of unsettling way. Except one student
(32:08):
named Alex doesn't disappear, and so weapons is kind of
a multi perspective narrative, I guess, and it follows more
or less just a couple different members of the community
trying to investigate the disappearance of the kids. So, in
terms of characters, we have Justine who's played by Julia Garner.
She's the elementary school teacher whose entire class vanish like
(32:29):
it was her class that vanished, so naturally all eyes
are on her. And then one of the fathers is
his name is Archer, played by Josh Brolin, and he's
kind of a rough and tumble, roughneck construction worker who
is the father of a missing child. And I'm only
mentioning her because people are so obsessed. And that's Gladdice.
(32:52):
Gladdice is the aunt of Alex, the one surviving school child,
or the one who remained at least, and she is
his aunt, very eclectic, eccentric aunt. Yes, so Iris hit
me with weapons. Okay, so weapons.
Speaker 1 (33:08):
I you know what.
Speaker 4 (33:09):
I enjoyed the premise. Okay, the premise was really good. Right,
So it starts out really interesting. You know, these kids
are running away sonic style, you know, with his little
range behind them, you know, kind of like a little
jet plane, which, when I saw the way the kids
were running, cracked me the fuck up because my grandson,
when he was an idy bit, used to run this way,
(33:31):
because that's how all the anime characters.
Speaker 3 (33:34):
Run, right yop, like Naruto, right, I think, yeah, Narudo
exactly exactly.
Speaker 4 (33:41):
So they're doing the ne Rudo run. But anyway, so
interesting permis everybody's gone except for this one child. Then
you have the teacher. Of course, everybody blames her. I mean,
you know what was going on in this class, you know,
la la la la. Then you get to see a
little bit of Gladys and the Witchcraft, and was like, okay, okay,
(34:05):
let's keep going. This is cool, this is cool. But
then it takes a horrific left turn. They're tay to
to emotionally involve yourself with these characters, right, they want
you to feel bad for this teacher. But the teacher,
I mean, I don't know it. To me, she seems
like one of those do good or busybodies. They think
(34:27):
they're doing good, but all they're doing is really just
being nosy.
Speaker 3 (34:31):
Yeah.
Speaker 4 (34:32):
Then of course you have Paul, which is the cop
who beats up a kid and realizes, oh shit, the
dash cam caught this, so he lets him go again,
very tropish of yeah, it's a cop, it's a small
town in Pennsylvania. He's an asshole, okay, whatever. Then we
get a little bit more of of Josh's Brolin's character,
(34:55):
which is Archer. Like you said he was, you know,
one of those he's a construction worker. Okay, that should
tell you everything, especially in Pennsylvania, right, that tells you
exactly what kind of a guy. But he's smart though,
and he starts kind of figuring out where these children
could have gone because the cops aren't doing anything. The FBI,
it seems like weh, so whatever. A little bit more
(35:18):
of the witchcraft is explained, and I kind of liked it,
you know, the the rose stam and all that, but
then I don't know why. I mean, you get the
idea that she's really sick and she uses the kids's
life essence or whatever to keep herself.
Speaker 3 (35:35):
Yeah, basically, she's a witch and she's dying, and in
order to stay alive, she has to feed off of
the life essence of children.
Speaker 4 (35:45):
Right, so it's kind of like a like a twisted
Hansole and Gretel, Yes, right, and okay, but then the
rescue happens, and I guess the reason why it's called weapons,
which really really bugs me, is that she can weaponize
whoever she is casting a spell on and they just
(36:10):
you know, they're just one track mine and they go
after whoever it is that she.
Speaker 3 (36:14):
Has to get a snippet of their hair and then
a twig. Yeah, and then she snaps the twig and
then it turns them literally into her like personal assassin.
Speaker 4 (36:25):
Yeah, which was like, okay, I just.
Speaker 3 (36:31):
Oh, go ahead.
Speaker 4 (36:34):
Then of course, now I did enjoy what the children
did to her at the end, because you know, Alex
was a very smart little boy. He saw how it
was done, and then he did that to the kids.
So the kids went after Gladys and that was a
big comedic that she's running through houses and the kids
are running like through glass and everything. I thought that
(36:58):
was pretty awesome. And then they basically literally tear her apart.
Speaker 3 (37:04):
And are they eating her too?
Speaker 4 (37:06):
I don't think they eat her. They just really just
tear her apart. And then then once she's dead, then
the kids are just standing there and they're pretty much
like zombies.
Speaker 1 (37:17):
M hm.
Speaker 4 (37:18):
Here is where I would have liked the happy ending
where the kids, you know, they're the spell is broken, yay,
and kids go back to normal. But no, they didn't.
The parents. Alex's parents, who all were also under a spell,
didn't go back to normal.
Speaker 3 (37:33):
They were institutionalized.
Speaker 4 (37:34):
Yeah, they were institutionalized, and he went to go live
with his other aunt and nuncle.
Speaker 3 (37:40):
Poor kid. Let's hope they're they're.
Speaker 4 (37:44):
Not like Gladys. Oh, I think the kid said the
good aunt and uncle. So yeah, I don't know. Man,
it's places where it could have taken advantage of the
whole witchcraft and stuff like that, or even some of
the gore. It just didn't really do it for me.
I mean, the way the principal kills his boyfriend and
(38:07):
then the way he gets killed. That was interesting, but again,
you know, good kills. Yeah, sure, but I want story.
Speaker 3 (38:19):
I hated this movie. I feel like I waited two
and a half hours for something to happen and it
never did. There were some cool moments, like, sure, there
were a couple of cool moments, but nothing that I
haven't seen before, you know. And fun fact about the
ending of the movie. So you know at the end, right,
how Matthew what's his face? Josh Brolin's character Archer, and
(38:42):
this Archer and thank you, Archer is carrying Matthew, you know,
through the streets away from all the carnage. Originally, the
first edition, first shot of this film for testing audiences
was just a silent shot on Matthew's face as they're
walking away. There was no voiceover in the first cut.
Oh and people were so mad. They were screaming with
(39:03):
the fucking theaters, like we need some sort of conclusion,
you know here, something to reconcile all of this. And
so that's why he added in the voiceover, I think
that's so cheap, and I think that is poor filmmaking,
poor directing, poor writing to have this be the end
of the movie and then you just watch people walk
away as He's like, by the way, the adults failed here.
(39:26):
You know, Alex went to go live with a different aunt.
His parents are institutionalized. The children are reunited with their families,
but most of them are catatonic and never speak again.
The you know two or three who do speak take
about a year to talk. And that's it.
Speaker 4 (39:41):
Like cheap, Yeah, because you could have shown that as
a montage.
Speaker 3 (39:48):
Yes, something, do something, mm hmm.
Speaker 1 (39:54):
But yeah, no.
Speaker 4 (39:55):
I again, they could have gone someone really really interesting
with this, especially with the witchcraft and the kids down
in the basement, But it seems like horror is not
something that's done very much here in the United States.
Speaker 3 (40:11):
So honestly, I'm thankful for that because I do not
I'm horrible, and I know people are going to judge me,
but I'm not a kid person, y'all. I don't like kids.
I don't like being around them. They annoy me. I
don't have time for it. And the last thing that
I want to see is more Steven Spielberg type movies
where it's like a whole ass cast of children, and
this movie is not that. Like, the kids are very
much the secondary, you know, to all of this. Furthermore,
(40:35):
since I'm throwing hands at everyone tonight, I don't really
care for Julia Garner's actress.
Speaker 4 (40:39):
I don't either, and she seems to be popping up
a lot in harmonies like the Wolfman thing, which is
such a I don't It looks like a complete and
total disappointment that I don't even want to look at it.
I don't even want to watch it.
Speaker 3 (40:53):
You couldn't pay me money to watch it. I hear
that she was incredible on Ozark, the show. I've never
seen Ozark, but I hear she is incredible and fits
cast perfectly. I do remember her from the Americans, but
she has a very striking look in my opinion, Like,
she has a very striking look, and I think she's gorgeous.
Speaker 4 (41:12):
But yeah, she does have a striking look. It's not
like the typical Hollywood look. Yes, so yeah, but I
don't know. I really haven't seen her much in anything,
so I'm gonna have to watch other stuff. I guess
Ozark is not my kind of genre of stuff that
I like to watch. So that's why I you know,
(41:34):
I haven't looked at that. And then I've been wanting
to watch Inventing Anna, so maybe I should just watch that.
Speaker 3 (41:40):
I'm mad. I feel like every couple of years, I
just get so over horror and just nothing. I haven't
seen anything good that's come out. And then remember how
we all used to bond over French horror back in
the day. That totally died out. Unless I'm missing something, no, I.
Speaker 4 (41:57):
Have not seen anything any French horror coming out that
is something that you know, you're like, oh shit, I
gotta watch that. Even the Italian side.
Speaker 3 (42:06):
Oh yeah, because you you love Italian? Are you a
Giallo fan?
Speaker 4 (42:11):
I am a Yellow fan. But it's because it's so
you know, it's such an exploitation type of flick that
you know, that's my thing.
Speaker 3 (42:18):
So exploitation. Yeah, I just miss good storylines, you know
what I mean, like Martyrs. I mean something as simple
as Inside, right, home invasion, that's it. That's all Inside
was was just a generic home invasion film. It didn't
really do anything new whatsoever, but yet it was so
over the top and terrifying, you know, right, But I.
Speaker 4 (42:38):
Think it's just the very specific way that it was filmed,
because again, that could have also been.
Speaker 3 (42:44):
A play that is very true, right, And I.
Speaker 4 (42:47):
Think it's because it sucks you and you become part
of You are not the audience, You become part of
the what you're watching, right, You're you're almost like a character,
an NPC. You are an NPC in those movies, and
that's non player character for you folks that don't play games.
(43:07):
And I think that's where the attraction to a lot
of the movies that we really hold dear is because
we become an NPC in that movie. You're not part
of the audience. You are standing there with the rest
of the group because you get so I don't want
to say emotionally tied to the characters, but you're, well,
(43:27):
maybe it is. Maybe it is that you are emotionally
invested in the characters, whether it's the good guys or
the bad guys. And most of the time we are
invested in the bad guy, the killer, the you know,
that's the person you get invested with because you're like, shit,
what are they gonna do next? Not the people that
they're already traumatized and victimized. I don't know about you.
(43:49):
But when I'm watching movies like this, I don't root
for the victims because they have literally put themselves in
that position because logically, like tests, logically tests should have
left the night that it was, well, you know, I
booked it, you booked it. I would have said, well, okay,
fuck it, I'm gonna go sleep in my car.
Speaker 3 (44:11):
I will drive to the Yeah, I just it makes
no sense. Even I would have stayed in my car
in the parking lot of a hotel of a high
exactly something. You know what I mean, exactly right.
Speaker 4 (44:21):
That's why most of the time I don't get emotionally
involved or invested with the victims because well, you know,
you put yourself there. Logically, it just doesn't make sense
why you were the victim. That's why I think I
get more invested in the serial killer or you know,
the AKA bad guy, because you're always thinking, oh, wow,
(44:44):
well that was pretty deprived, but what are you going
to do next? You know, I don't know.
Speaker 3 (44:48):
Maybe it's because you know.
Speaker 4 (44:50):
We ourselves are antisocial. I don't know, but and these
movies just didn't deliver.
Speaker 3 (44:55):
No same completely agree, But I also find that that's
very unique to American films. You know, with French films,
I root for them. You know, Martyrs, I obviously was
rooting for on and Lucy inside, I was obviously rooting
for her. You have Climax, which no one in Climax
is really likable, Livid Calvert raw to Taine, which is
an insane.
Speaker 4 (45:15):
Film, yeah, or irreversible even.
Speaker 3 (45:19):
You the film making itself is so good, and I
don't know, like the writing of some of the plot
from French films are pretty generic sounding, but the way
they execute it just goes so far above and beyond
anything that is coming out of America. And I don't
understand that.
Speaker 4 (45:37):
Here in the United States it's about putting butts in
seats at the theater. This movie had a budget of
thirty eight million, and it made two hundred and sixty
seven million dollars.
Speaker 3 (45:49):
Why I don't understand. I do not understand. Like I
just watched Take Her Back, and that's the you know,
another big one right now everyone's talking about and getting
so many accolades. I hated it, and I just I
guess I just don't understand. I really appreciated A twenty four,
you know, for coming out with like Midsomar, Hereditary I
love Hereditary. Hereditary is still probably my favorite modern quote
(46:11):
unquote film. But yeah, I just I don't get it.
It's disappointing and it's sad, and unfortunately, in terms of weapons,
we are going to get another movie in this universe. Yeah, okay,
by the way, yeah, fucking aunt Gladys. People love the
way she looked or you know, character design or whatever,
and they wanted a kind of spin off with her,
(46:33):
so we're getting that. But also, did you notice that
Barbarian and Weapons are actually in the same universe?
Speaker 4 (46:39):
Oh?
Speaker 3 (46:41):
Nin Weapons. On one of the news sites, there is
an ad about a missing woman at an airbnb.
Speaker 4 (46:48):
Oh dude, no way, I didn't. I really missed that
Easter egg.
Speaker 3 (46:53):
It says underground prison discovered in rental home. And it's
on like a you know, a news site and whatnot
in the same universe.
Speaker 1 (47:03):
So so help me.
Speaker 2 (47:04):
God.
Speaker 3 (47:04):
If Zach Krieger starts to build this big cinematic universe
and comes and starts making billions off of the franchises, Hey,
it worked for King, So he's just a tad bit
more talented, just a little though.
Speaker 4 (47:19):
Oh oh that's right. Talent. Talent, talent, that's what you need.
Speaker 3 (47:24):
Yeah, I mean, David Gordon Green tried with the Halloween franchise.
Speaker 4 (47:34):
I know, but still, I know it's kind of interesting.
It's interesting that, well, you know what we were talking about,
how the difference between American cinema and let's just call
it foreign cinema. I think it's the just also, the
audience is very different, right the audience here? What what's
(47:54):
a happy ending? Because that's that's what we grew up on.
We grew up on the fairy tales and all of
you know, everything's tied up nicely in a bow. We
don't have to think about it because I don't know
if you've noticed lately on YouTube there are so many
videos explaining a movie, and I'm like, why do you
(48:15):
need to explain it? What is there to explain?
Speaker 3 (48:18):
I know people, I know people personally who won't go
see a movie, but they watch those videos, the explainer
videos of people describing what happened and reviewing that.
Speaker 4 (48:31):
And I don't get it. I don't get it either.
I mean something like what we're doing. We're telling you
about the movie, yes, but we're not sitting here explaining
to you why this was like that and this was
like that and you know, well, if you didn't get
the meaning of the ending, that's not what we do
because we expect our audience to people who are listening
(48:55):
to have enough of critical thinking and common sense to
understand what a lot of the nuance of this movie is. YO.
But you know, it seems that studios want to handfeed
you everything, and I think that's extremely insulting to the
audience because we're smarter than that.
Speaker 1 (49:16):
M M.
Speaker 4 (49:17):
But I don't know that. That's one of my pet peeves.
Speaker 3 (49:20):
It is absolutely my biggest pet peeve. And I just
feel I'm not better than anyone else, you know, I
don't feel like I'm more intellectual than other people. Like
I'm not an elitist in that sense, but I just
I'm not entertained unless it's a movie like I mentioned earlier, Necrostorm,
or a production company that turns out gore videos, right
(49:41):
like Tater City is one of my favorite movies of
all time. Right, And I don't know if you've seen it,
but it's illugious. It's you'll have you would love this iris.
I'm gonna send you a link after this. It's an
Italian film company, it's all. It's in Italian. They're Italian movies.
But Tater City is basically about the future of the world,
you know, and it's very low budget, one practical effects,
(50:05):
and I'm talking about like blood, geisers, noise, So the Hamburgers,
the fast food is called tater City. We're in the future,
dystopian hellscape. And of course it's people, right, yeah, okay,
it's you have your hero fighting the cops. And I mean,
it's just like unless it's something like that where I'm
good with tropes and extreme ridiculous funny gore, Like, I
(50:27):
want a story. I want good writing. I want something new,
you know what I mean. I want good acting, like
I Apparently that is too much to ask.
Speaker 4 (50:34):
For, apparently, because you know, we can't get that.
Speaker 3 (50:38):
It's becoming pretty damn difficult, it appears. So, yeah, what
would you give it.
Speaker 4 (50:48):
I'm gonna give it a two point five because it
was actually going somewhere that I was wishing that it
would go. But then, like I said, it took a
left turn somewhere and it ended up in Albuquerque instead
of Kukama or something. I don't know, I don't Yeah.
Speaker 3 (51:04):
That's not fair. I'll give it the same. I will
also give it a two point five because it could
have been better.
Speaker 4 (51:14):
It could have been better. And again, you know, for
the audience, if you guys are interested in watching something
just weird, I mean, please go ahead watch, but don't
expect to watch them.
Speaker 3 (51:30):
Okay, if you iris could recommend to the audience one
must watch movie, the most ridiculous movie, that horror movie
you've seen I'm suppled.
Speaker 4 (51:41):
To be ridiculous. One oa The Italian City of the Dead.
Speaker 3 (51:48):
I don't even think I've heard of that, honestly, Well
it is.
Speaker 4 (51:53):
It's called a lot of things, being that it's a
Italian movie, it's the nineteen sixties. It's basically that, you know, hell,
it's a zombie movie, but it's an Italian zombie movie.
And these move, these zombies they teleport.
Speaker 3 (52:14):
Interesting, Yes, it's teleporting zombies are awesome.
Speaker 4 (52:18):
And then there's also let Sleeping Dogs Lie. That's not
their zombie movie. Me being that I'm so tired of zombies.
Two of my favorite movies or zombie movies, which is
letting or let Sleeping Corpses lie. And it's also called
Murderers at the Manchester Morgue. And it's thing where there
(52:42):
is a kind of like this machine that's supposed to
be helping plants, but what it's doing really is it's
throwing some stuff into the air that is making dead
people come alive. So yes, The Living Dead at Manchester
Mark it was also called in the United it was
called Don't Open the Window. I watched this movie when
(53:03):
I was I think maybe six, Yeah, because my parents
didn't know what this movie was about, so we all
went to the movie theater and it was this movie paired.
Speaker 3 (53:16):
Up with the OMEN, the Original the Original OMEN.
Speaker 4 (53:20):
Yeah, so uh yeah, I watched that, as you know,
at a very young age. And what was so screwed
up is that at the time, we lived across the
street from one of the biggest cemeteries in Los Angeles
at the time in East LA straight across the street,
and my windows faced the graveyard the cemetery, and I
(53:43):
was scared shitless and it was in the summer, and
believe me, I did not open my window because that's
what the movie said not to do. Oh that's cute,
but yeah, those would be two of the movies, The
Living Dead at Manchester Moor and City of the Dead.
Speaker 3 (54:01):
Interesting mine, I truly believe, And this is very mystery
science theater ish but House from nineteen seventy seven the Japan. Yes, yes,
you have to watch it. It is not scary. It
is literally about a group of school girls who go
out to visit one girls on in the countryside. That's
all it's about. And it is hilarious. It is definitely
(54:23):
a comedy under the guise of a horror movie. But
it is a full blown slapstick comedy and it is hilarious.
And it is from nineteen seventy seven. You have to
watch it in a group because you will want to laugh.
You'll laugh until you pee. I mean, it's just ridiculous.
Speaker 4 (54:38):
Yeah, it's one of those movies you put in the
background at a party.
Speaker 3 (54:42):
Yes, it is definitely not cinema that you need to
sit down and study. It is just hilariously bad, like
especially the voiceovers. You know, it's Japanese nineteen seventy seven,
and it's almost like by today's standards, you would almost
consider it racist. Yes, the voice it's but it's such
a good, funny little movie. And then I would say
my second one is for people who are wanting to
(55:04):
see a horror movie but more middle of the road.
That's a step above. I'm sorry, Barbarian and weapons were
dog shit. If you want to see something a step above,
I would suggest and something more common, I guess for
the average easier for the average viewer. I really really
really love Suspiria Remake. Ooh okay, it is one of
my top five horror films. And I know that our
(55:26):
dear friend Jeff an X is going to shoot me
for this. Mentally, I don't like the original color palettes. Man,
It's all about the color palettes. Okay. That is that
the most beautiful film ever made? Possibly?
Speaker 4 (55:40):
Yeah? It is. It is really well made and funny,
and I love the ending it. Yeah, I really liked it.
Speaker 3 (55:50):
I am definitely, and I love older films, so I'm not,
you know, one of those people I can't watch anything
made before two thousand people. But I just the original
Suspiria didn't catch me. But God remake with uh was it?
Dakota Fanning?
Speaker 4 (56:02):
Yeah, Dakota Fanning.
Speaker 3 (56:04):
Dakota Fanning and oh my god, what's her face? Dakota Fanning?
We had oh what's her name?
Speaker 4 (56:11):
From? Pearl?
Speaker 3 (56:12):
Mia Goth is in it. We have It's so many
like big people hold on Mia Goth Dakota Johnson, Chloe
Grace Moretz and then the love of my life, Tilda Swinton.
Speaker 4 (56:24):
Yes, twill this. Swinton was great in this It's incredible.
Speaker 3 (56:28):
So those would be my two picks. House from nineteen
seventy seven, a Japanese film, and then a Suspiria from
twenty eighteen.
Speaker 4 (56:34):
I think, all right, there you have it, folks, But.
Speaker 3 (56:37):
I hope all of you have a wonderful Halloween, and
thank you for listening to Iris and myself discuss horror,
because horror is the love of my life.
Speaker 4 (56:47):
Likewise, and it's fun and it's it's good to scare
yourself a little.
Speaker 3 (56:52):
What's not I y'all?
Speaker 2 (56:55):
That was it?
Speaker 3 (56:56):
Two more disappointments to add to the list. I guess again,
thank you for listening. You've been listening to We Saw
the Devil, Yes, true crime podcasts, but every October I
get to take a little liberty and discuss horror movies,
which I love. Again on the feed, there'll be one
more episode for Red, White and Bruise, the new political
commentary show that I have, and then next week We
(57:16):
Saw the Devil is back to true crime. Also currently
in the final stages of reworking the patreon as well,
because I would like to do a lot of special
stuff for the patreon. So if you're interested there, check
the show out on Patreon and yeah, guys, until next
Crime
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 unearth 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):
Hello, every one you are listening to We Saw the Devil.
This is Robin and yeah, this episode is two days
too late. It has been a crazy, hectic week, plus
it was Halloween and I'm sorry, guys, I know that
you were just dying to hear the follow up episode
between myself and Iris, where we discuss two zat Craiger
Films this time barbarian and weapons. Did we like them?
(01:24):
I guess you'll find out. But better late than never, right.
I had hoped to get this episode out before Halloween,
but alas I did not. So beyond that, guys, we're
back to true crime all the time. I did lie though.
There will be one more episode of Red White and
Brused published to that we saw the double feed. If
you are interested in my political commentary, because again, guys,
(01:46):
my degree is in political science' that's my honestly main interest.
I'm obsessed with the news. I'm a news junkie, a
politics junkie. I've worked in a governor's office, and with
everything going on in the world, I just wanted to
talk about it. I know that my political leanings may
differ from a lot of people who listen to this podcast,
and that is why I decided to start a new
feed for a new show. I put out a couple
(02:08):
episodes to see how they were received and decided to
go ahead with it. So that being said, we saw
the devil As going back to being exclusively true crime
and weird, and then now there is a new feed
for Red White and Bruce for the political side, and
the episode lener notes of this show. You can find
the feed for Red White and Bruise. If you're interested,
(02:29):
feel free to listen and subscribe there. But after this
week's episode we saw The Devil will be strictly a
space for true crime. Beyond that, I hope you guys
had a wonderful Halloween. No horrifying fines in the candy
anything like that, no neighborhood mischief. I did absolutely nothing
and it was glorious. I honestly cannot remember the last
(02:52):
time on Halloween where I did absolutely nothing but have
good snacks, good food, and watch movies. And I was
able to accomplish that. But I'm not going to take
up much more of your time, you guys. We have
an episode to air, so housekeeping really quickly. You are
listening to We Saw the Devil. I'm your host, Robin.
If you want to follow this show or Red White
(03:12):
and Bruised, you can do so at We Saw the
Devil podcast on Instagram, and then we Saw the Devil
on Twitter and Facebook as well as website. If you
have any questions, concerns, commentary, whatever, you can email at
info at Wesawthedevil dot com and I will do my
best to get back to you. So I'm going to
go ahead now and air at the episode. Iris, welcome back.
Speaker 4 (03:36):
Thank you for having me back.
Speaker 3 (03:39):
Yeah, it's our month, girl, it is it is, and
I wish that we could be meeting under better circumstances
than this evening's reviews.
Speaker 4 (03:49):
Well, I mean, you know, we already knew that it
was going to be a little iffy, but like I said,
everything deserves to be watched.
Speaker 3 (03:58):
Are you doing anything special, Iris to get ready for Halloween?
Or are you watching separate things?
Speaker 4 (04:04):
Actually no, but what I am doing is I am
kind of stoked because I believe this is the year
that I get to take the girls out. So that's
gonna be fun.
Speaker 3 (04:17):
The first trick or treating for Nana.
Speaker 4 (04:20):
Oh yeah, yeah, very first one is gonna be like
cool because one of them is a she says, princess
skeleton and the other one is a princess Witch.
Speaker 3 (04:30):
Interesting, that'll be cool to see how that turns out.
Speaker 4 (04:34):
Yeah, I'll have to send you pictures because I'm really excited.
Speaker 3 (04:38):
I love when little kids get all creative and come
up with the most weird off the wall ideas and
they can just unequivocally be themselves.
Speaker 4 (04:47):
Exactly, and it's like, well, what do you mean I
can't why? It's like, no, dude, you do you do you?
Speaker 3 (04:53):
Why can't I be a princess witch?
Speaker 4 (04:56):
Exactly right? I mean, isn't that what's her face? Glinda?
She's a princess witch, isn't she? Is she? I mean
she's a good witch and she looks like a princess
So she's a princess witch.
Speaker 3 (05:08):
Yeah, she does look like a princess witch.
Speaker 4 (05:10):
It there you go. But yeah, that's about it. What
about you?
Speaker 3 (05:16):
Absolutely nothing. I'm not doing anything. I mean, I'm a
shutout on Halloween. I love being at home that spooky season,
you know, quote unquote, and nothing's out that I want
to watch. Yeah, so I don't know. I feel like
it's just going to be a regular a regular night
for me.
Speaker 4 (05:32):
Oh that makes me so sad.
Speaker 3 (05:35):
That is all good?
Speaker 4 (05:37):
Okay, Well, watch some of the classics.
Speaker 3 (05:40):
I think I will. It's actually been quite a long
time since I've watched some of them, so probably good.
But for those of you just not tuning in or
listened to the last episode, Iris and I reviewed two
films last last week, The Dark and the Wicked, and
then I'm going through perimenopause. That is my excuse for
brain fall. Immaculate, immaculate, thank you. So in the last episode,
(06:05):
Iris and I were talking about Weapons, a new movie
that I'm sure all of you have heard of. It
just came out, I believe on VOD video and demand
and you can stream it. And she hadn't seen it yet.
So I was like, Okay, how about we do Zach
Kreger collection because he also did Barbarian a couple of
years ago. So we did a double feature for this episode.
Speaker 4 (06:23):
Yeah, we got a little thing we do.
Speaker 3 (06:26):
We can start with Barbarian before we do that, though, Iris,
do you have any just if you had to, okay,
if you had to describe your listen, your if you
had to describe your viewing experience with these films in
one sentence or one way, how would you describe it?
Speaker 4 (06:41):
Yan?
Speaker 3 (06:42):
Yeah, yeah, yeah.
Speaker 4 (06:48):
I mean that's the best way of describing it, just Yon.
Speaker 3 (06:51):
I honestly, I feel the same way. I think that
I've seen enough Zach Kraiger at this point to realize
I'm not a fan. I'm so sorry, but like I
I you know, unfortunately, that's where I lie. Same with Osgood.
Speaker 4 (07:03):
Perkins Osgood Perkins.
Speaker 3 (07:06):
So he did Long Legs.
Speaker 4 (07:08):
You know, I was going to watch that, but then
I ended up watching something else. Is that any good?
Speaker 3 (07:16):
I couldn't stand it. It was the big movie with
Nicholas Cage playing the serial killer, so Osgood Perkins. His
dad was Anthony Perkins of Alfred Hitchcock fame, you know, Psycho.
Speaker 4 (07:31):
Yeah, yeah, interesting.
Speaker 3 (07:32):
Yeah, I'm not a fan of him either, and I
feel like I've seen enough of Zach Craiger at this
point to feel the same.
Speaker 4 (07:39):
Okay, all right, I remember I was gonna be watching
I think I was thinking of watching Long Legs, but
then I ended up watching Horror in the High Desert.
And maybe I would have had a better time with
Long Legs. I don't know, but maybe.
Speaker 3 (07:55):
I mean it's it's a vibe. I'll give it that.
It has a really interest saying aesthetic. It's kind of
unsettling Nicholas Cage is I do typically like him anyway,
So I mean he was good, but I'm so tired
of possession or evil demonic movies just being a complete
and utter letdown.
Speaker 4 (08:16):
Even the latest Exorcist with the two girls that was.
Speaker 3 (08:20):
I still haven't seen that bummer it.
Speaker 4 (08:24):
I don't know why they call it the Exorcist because
it has nothing to do with that. At the end,
Reagan's mom, I think that's that's about the tie in.
Reagan's mom comes back and is trying to help the
parents of these two girls, and it becomes as convoluted
everybody hold hands, kumbai a bullshit, And then I was.
Speaker 3 (08:44):
Like, Okay, whatever typical happy American ending or no.
Speaker 4 (08:49):
Because it has a little twist at the end, it
kind of saves it. But everything at the beginning, I'm
like why, And I think they shoehorned Reagan's I'm in
there so they could tie it to the Exorcist. Oh
but besides that, I'm.
Speaker 3 (09:06):
Like, my, did you see the show on Fox The Exorcist?
Speaker 4 (09:10):
I did, and I really enjoyed it, and I'm pissed
off that they didn't finish it.
Speaker 3 (09:15):
So pissed. That show is incredible. Probably in terms of
horror television, that was at the top for me. That
was so good.
Speaker 4 (09:24):
It gave American a horror story a run for its money.
Speaker 3 (09:28):
It really absolutely like, in my opinion, beat it in
every regard because it actually had storyline acting. You know,
it was creepy in some parts. We all know, I
don't like the weird eyes, but like that was so
good and it felt like The Exorcist, and they incorporated
the original characters and the lineage and all of that,
you know, the story, and I wish you would come
(09:50):
back because we don't really even have the glamour of
American horror stories completely died for.
Speaker 4 (09:54):
Me, Oh yeah, because it's become very formulaic now.
Speaker 3 (09:59):
I don't think I've actually enjoyed it since Asylum, all.
Speaker 4 (10:02):
Right, So I enjoyed Asylum and the Coven one the Witches,
oh Covin enjoyed.
Speaker 3 (10:09):
That Coven was season four or season three, I.
Speaker 4 (10:12):
Think it was either three or four. When they went
into the bunker, that was like eh. And even though
they tried to bring the witches back and make it interesting,
it was still May and then all the other stuff.
It's like it's lost its edge and it became very
I don't know, I guess form a Lake and Run
(10:32):
of the Mill TV, right, it.
Speaker 3 (10:35):
Just it just the Summer Camp one nineteen seventy nine,
I think it was or that nineteen seventy something I'm
glad to see, especially now lately with the ed Geen,
the monster Edgeen story that people are pushing back and
just kind of done with Ryan Murphy.
Speaker 4 (10:51):
Yeah, no, I don't know. It's like he's basically I
don't know, it's towing the line now instead of being
edgy of being a fit, Yeah, yeah, exploited of exactly.
And I think, you know, for a horror movie to
be a horror movie, I mean, if we go back
to its roots, it's extremely exploitive. It's it's exploitation period,
(11:15):
whether you're whether it's the characters, the story. You know,
there's some sort of exploitation somewhere. I mean, even down
to Frankenstein, right, But nowadays it has none of that.
It has none of that hard edge. It tries to
gross you out. That's about it.
Speaker 3 (11:32):
That's pretty much it. It tries to up the gore
factor a lot of the time, and not even in
an interesting way like the Splatter, the films in particular,
like Adam Chapman, Necrostorm Film Production, you know, Company, Tater City,
all of those. It's not even cool or extreme gore.
It's just the same stuff over and over. The acting.
I don't know. I just I'm so disillusioned and numb
(11:54):
to horror that I don't even really watch anything anymore.
Take Her Back is the most recent film that everyone's
screaming about and talking about how crazy it is. And
the Twist missed that and the other and I watched
it last weekend and I've never been more disappointed.
Speaker 4 (12:10):
Yeah, I think, well, you know, we're made of a
different mold for horror movies, and we grew up with
you know, when horror movies were R rated movies, not
PG thirteen. So I think we missed that, that nastiness
and not you know, like nastinesses bodies of naked bodies
of shit. But no, and it wasn't CGI. It was
(12:32):
practical effects. And I think maybe that's another thing that
I missed. Practical effects.
Speaker 3 (12:37):
I do too. The CGI is ridiculous at this point,
and nothing kills a film for me, like when we
get to really bad CGI.
Speaker 4 (12:46):
Especially a CGI.
Speaker 3 (12:47):
Blood why right, I mean, if the Evil Dead can
make it rain and hold againess Book of World Records
for the most amount of blood on set in the scene,
I think that every person can come up with a
little synthetic blood, right, I Mean, it's not.
Speaker 4 (13:02):
That hard little corn syrup water and red nye.
Speaker 3 (13:06):
Yeah, exactly. Out of everything that we don't have to
choose from, we decided to pick two Zach Kraiger films.
So let's start with Barbarian because it came out first.
It came out in twenty twenty two, so it's three
years old now again directed by Zach Kraiger, It's one
hundred and two minutes long, and the setting of this
(13:28):
film is a decaying neighborhood in Detroit. TLDR is that
this film has three distinct acts. It starts with a
girl named Tess arriving at an Airbnb because she has
an appointment. She wants to work for a documentary filmmaker
and so she has kind of an interview and so
she arrives in the middle of a rainstorm at night
(13:48):
to her airbnb and finds that it has been double booked,
double booked with a Scars guard of all people, Of
all people, we have Pennywise hiding out in the damn house.
So yeah, long story short. She ends up discovering like
a hidden basement and passageway understairs. People die, and yeah,
(14:10):
we'll get into it the recap of act one, right,
So what did you think? I'll just turn it over
to you iris give me your okay?
Speaker 4 (14:19):
So Act one was kind of interesting, a lot of
red herrings, but they were you know, they were waving
the fucking fish in your face, right. It was very
obvious that what they were trying to make you think
and basically spoon feeding you think this think this was
really it was not effective. I think what they were
wanting to do with this first part is make a
(14:41):
Scars guard, you know, like, oh, he's creepy and is
he really does he really have.
Speaker 3 (14:47):
This or not?
Speaker 4 (14:48):
And blah blah blah, and you kind of start getting
this field. But then I don't know, it just really
didn't capture me to say, oh, you should you know
this guy's be this guy. You can't trust this guy.
She tried really hard, you know, to have you feel
those feelings, but I just wasn't emotionally invested in either
(15:09):
one of these characters. So therefore, I it just didn't
come across for me. I don't know about you, but
but it just didn't dope for me.
Speaker 3 (15:16):
I completely agree with you, Tess is not the most
likable person, and I just found it just hit every
single trope right raining outside she goes to the airbnb,
it starts off, you have an open door. She's asleep,
you know. She runs into Kevin scars Guard and he's like,
oh no, we double booked, and they have dinner and
she's crushing on him. I don't know why. He's a
(15:36):
scars gar brother. Like Okay. She goes to bed, you know,
wakes up in the middle of the night and the
door is open and it had been locked and just
like all of the tropes, you know.
Speaker 1 (15:43):
What I mean.
Speaker 3 (15:45):
And then they find the hidden basement. Although I did
laugh when she goes down to the basement and she
opens the door and she's like, nope, right right, like
out loud, finally someone with some sense, But she fucking
did it anyway, So she goes and discovers a cell. Now, listeners,
if you were staying at AIRBNBA, you went down into
(16:07):
the creepy death basement and you found a room down
there with a dirty ass mattress and a cam quarder
like that is some a serbian film shit right there?
Would have left?
Speaker 4 (16:18):
Yes, it's Pkitsbi tapes right.
Speaker 3 (16:22):
Yeah, that was a good movie, by the way.
Speaker 4 (16:24):
I know, I love that one, but yeah, why would
you stay?
Speaker 3 (16:28):
Why would you stay? Stay? It makes absolutely no sense whatsoever.
But yeah, I mean that's that's literally it Forracked one.
So Keith, the scar'sgar brother, ends up going down, you know,
she tells him about everything. He goes down to take
a look for himself and whatnot. They end up finding
a longer tunnel. I mean, guys, this is like the
Paris Catacombs under this random little tiny house in Detroit.
(16:51):
And so they find a long tunnel and lo and
behold there is a very hills have eyes type of woman.
She's massive, six foot six feet tall, naked as the
day is long, titty's flopping everywhere, and she ends up
killing Keith. Yeah, and so our friend, our girl ends
(17:12):
up trying to run away, gets caught and thrown in
a pit in the basement. End of act one, and
then act two begins, because remember this is a very
distinct three act film. So Act two begins and it
switches to AJ, a Hollywood actor facing sexual assault allegations
who was played by Justin Long.
Speaker 4 (17:33):
I'm tired of Justin Long.
Speaker 3 (17:35):
I would like to also state for the record, and
I will say this with my whole chest, I've never
liked Justin Long. I don't like justin long. There's something
about him that is so creepy and I can't stand it.
I like the original Jeepers Creepers except for him. I mean,
he was basically Jeepers Creepers, you know the movie yep,
the first one. I felt so vindicated when it came
out that he's a sex pest, like harassing women, right, Like,
(17:59):
I so vindicated because there's something heinously fucking wrong with him. Okay,
I digress. But acto begins with him in his car
and he is a big director. He was signing on
or sorry, he's a big actor. He's signed on to
a project Bam. Sexual assault allegations. Well, he is the
one who owns the rental property, and so he decides
(18:20):
to go back to the rental property see if he
can see what he can do to scrounge up some money,
and so on and so forth. He's going through this
personal crisis and then he discovers the underground tunnels. Iris
walk us through.
Speaker 4 (18:30):
Okay again again, So he walks in. Tessa's stuff is
still there, Keith's stuff is still there. He calls the
person that the management company for his property and they're like, yeah,
well you know just whatever, bye, click, and I'm like, okay,
Yet he stays again, what the hell? Logic right, illogical.
(18:57):
He finds the basement, he finds the other door, He
goes in, goes in deeper than the other check and
then and behold, he gets trapped. Also in the pit.
I swear that this made me laugh because Tess is
in this pit and she's trying like, no, no, no, no,
(19:18):
get upset. Don't get upset. She's gonna get upset and
it'll be bad. Then all of a sudden, this bottle,
this nasty bottle with hair on the nipple. It's just
and she puts it there and tests just kind of
suckles on it. She tells the dude, dude, you gotta
do it, you gotta do it, and he's like no, no, no, no, no no.
(19:41):
So he starts fussing and fussing, and she's like, she's like, okay, dude,
you're on your own. Well, because the baby wouldn't take
the bottle. What's a mother to do? What's a mother
to do?
Speaker 1 (19:52):
Well?
Speaker 4 (19:53):
You put your kid on the boob, on the boobe.
Speaker 3 (19:58):
You latch your baby.
Speaker 4 (20:02):
Oh my god, which I thought was just fucking amazing.
Speaker 3 (20:08):
See I just it made me mad. Like at that point,
I realized what kind of movie this is. As soon
as we saw Mother, right, the Big Woman, I was done.
I was checked out. I was done, but I stayed
with it when it got to that and the suckling scene.
You saw Tusk, right, Yes, I hated Tusk and it
(20:30):
just immediately put me in the Tusk vibe, you know
what I mean?
Speaker 4 (20:35):
Uh huh uh No, I get it, I get it. Yeah,
it's but yeah, so that happens and he's well, we
discovered that he's a he's a prick. He is a huge,
huge prick because he is very he thinks for himself,
in himself. But yeah, so I think then that's when
(20:59):
we discovered the third part, right.
Speaker 3 (21:02):
Yes, then it goes to act three. Well, while he
is being breastfed, Tess ends up leaving and she gets
caught and whatnot. But she does end up like escaping,
Yeah she does. She gets outside the house, she has
no cell phone, no anything, and she meets this homeless
guy like he was he was like, she was like,
oh my god, there's a woman and da da and
(21:23):
he's like, yeah, I know, she's been here forever. And
she comes out at night, by the way, so you
should probably get far away from here. Well they come out, Yeah,
does test do this? No she doesn't. She gets in
her car and waits outside the front of the fucking
house waiting for mother to come outside.
Speaker 4 (21:39):
Well, yeah, so what she does though, if you remember,
she gets out, she goes to the is. She she
walks away and gets to a gas station and then
calls the cops, and the cops are like, yeah, you're
cracked out, lady. Bye.
Speaker 3 (21:55):
Oh yeah. They even come to the house and refuse
to go inside, and yeah, threaten her that she broke
the window.
Speaker 4 (22:01):
What I would have done, I would have got belligerent
with those cops, kicked them, pushed him whatever, and they
would have arrested me and taken me away. Oh the
sweet thing to do. Hello, But no, she did not
do that. But you know when when the old man goes, well, yeah,
she comes out at night. The first thing I was
thinking of was a newte and in aliens, you know,
(22:23):
they come out at night. Mostly I was like, come on, yeah,
come on. But yeah, and then we get introduced to
mother's daddy.
Speaker 3 (22:35):
Mother's daddy, So there is this begins Act three and
Act three we get introduced as Irisa to mother's daddy.
Now mother's daddy was the original homeowner from the eighties.
He was this just like older bumpkin white guy and
he lived by himself. Definitely a creep. And in the
(22:56):
eighties it shows him going to like stores, maternity stores,
box stores and getting lots and lots and lots of
baby supplies, including a video like how to nurse video
and bottle feed video and so more or less. Act
three divulges that this original homeowner from the eighties decided
(23:16):
to start kidnapping women and he created all the tunnels
underneath his home. Decided to start kidnapping women, enslaving them
and turning them into like a breeding factory yep. And
then all of the kids started having kids with each
others and it was basically just a clusterfuck. So that's
the explanation, guys for why there's this weird fucking woman
(23:39):
in the tunnels. In Act three, aj justin long kind
of like ends up running away and he gets to
the end of a hallway and mother turns back and
lets him continue, and he comes into and now modern
day Frank the original homeowner, and he's dying on his deathbed. Yep,
(24:00):
down there in the tunnel with pissed jars and poop
jars and it looks like it's straight off of the
Saw set with how like dingy and gross and dirty
everything is. And yeah, yeah it was kind of sad.
It was kind of sad, but also he was a
rapist and murderer and everything else.
Speaker 4 (24:20):
So oh no, I meant sad as I like, so
you're copying this too.
Speaker 3 (24:25):
Oh, yes, that was sad. I mourned for myself. But
he ends up leaving, he ends up escaping.
Speaker 4 (24:35):
Aj, yes he does well. First of all, this this
girl tests i'm sorry, self preservation versus going and rescuing
a prick. I don't know, because you can literally see
throughout this next part where they both escape. They think
they killed mother, but you know, everybody knows that you're
(24:59):
not gonn to kill the monster the first time.
Speaker 3 (25:01):
Right, yop.
Speaker 4 (25:03):
So when he comes and she gets him, the homeless
guy had told her, you know, go to the water tower.
She never goes there, so they both go to the
water tower. He helps them get in, but what happens.
Mom shows up and she breaks through the thing, tears
the homeless guy's arm up and beats him with it.
(25:27):
I was like, okay, that's cool.
Speaker 3 (25:29):
Yeah, They're all just like huddled around this like little
area with the homeless guy talking to him, Tests and Ajar,
and then all of a sudden, Mother comes out of nowhere,
ribs his arms off and beats him to death. Poor guy,
when no, he was just trying to help him homeless
in Detroit and then gets beaten to death with his
own arm by a giant.
Speaker 4 (25:50):
Oh, I know, it's kind of sad. Let's see that's sad.
So then I guess they they're at a water tower.
They go all the way up the water tower. She's
chasing them, and the asshole tosses Tests over the side
because he has figured out that she sees them too
as there as her babies, and of course she's going
(26:11):
to rescue her baby. So then she jumps over the
side and he looks down and it looks like Tests
landed on top of on top of Mother.
Speaker 3 (26:23):
Which okay, let's talk about how that was even fucking possible.
Speaker 4 (26:27):
No, it just doesn't happen. You're not in a vacuum,
so it's not gonna happen.
Speaker 3 (26:33):
And also, there was like a second and half two
second delay between Mother jumping off to save her and you.
Speaker 4 (26:38):
Know exactly, you know, but it looks like she does
the the parachuter.
Speaker 1 (26:46):
Move.
Speaker 4 (26:46):
You know, I'm gonna go down really fast. But still,
I mean, how would you know that? It just doesn't
make sense. Okay, it doesn't make sense physics.
Speaker 3 (26:53):
No, no, And it also doesn't make sense how Tests
was still alive laying there like Mother was all. She
landed right on top of Mother, right on concrete, mind you,
from a fall from towards the top of a tower,
water tower type of thing. I don't know. That made
absolutely no sense. And so Tess is laying there dying,
and then AJ Justin Long's character comes over and it's like,
oh my god, I'm sorry, I you know, blah blah
(27:14):
blah blah blah. And what happens after that?
Speaker 4 (27:18):
Yeah, well, first of all, so I had you, but
you slipped off the side. Really really, I don't think so.
But yeah, again, we know Mother isn't going to die
by falling.
Speaker 1 (27:31):
Yep.
Speaker 4 (27:32):
She gets up and well, let's just say AJ gets
his due justice, and Tess ends up slashing her throat
Mother's throat. That's how it ends. She walks away and
I'm like, okay, so did the writer get bored again?
What the hell?
Speaker 3 (27:52):
Oh when it shows her like taking the gun and
then right, yes.
Speaker 4 (27:58):
It's the gun. She takes the gun and shoots mother
in the head and that's the end of that.
Speaker 3 (28:04):
No, we don't even see it, so like, is mother dead?
I don't care, honestly, no.
Speaker 4 (28:11):
But perhaps he's you know, the writer's thinking, hey, I
can get you know, maybe I can milk this until
it's dry.
Speaker 3 (28:17):
I don't know, but yeah, Supposedly there were rumblings of
Barbarian two coming out, although the director hasn't said that
he's going to, and I hope not, because this was
an absolute travesty.
Speaker 4 (28:31):
It is, I mean, just the way it ended and
the way it ends, I mean it's very last Girl, right, yes,
I mean it doesn't need to be perpetuated. It really
really doesn't. I mean, Mom's dead. Girl gets to go away.
Let's just leave it at that. Test lives. She obviously's
going to have to go see a therapist for all
the drama. But yeah, there you go the.
Speaker 3 (28:54):
End, and she ends up working with a documentary filmmaker
and apparently living like happily ever after.
Speaker 4 (29:00):
Exactly.
Speaker 3 (29:01):
I hated this movie. It fell it too as much
as people thought, oh my god, a brush of you
know brush, a breath of fresh air, It's all wonderful
and good and new, and no, it followed every single
tired fucking trope I've ever seen. It was just a
mix of what the hills have eyes mm hmm. The
descents maybe in terms of like tight enclosed spaces.
Speaker 4 (29:24):
Right, tight enclosed faces, every home, every kidnapping horror trope
by a mutant movie m a little bit of the
Poughkeepsie tapes. Yeah, it just it had everything in there.
And again, you know, the the last girl thing too.
(29:45):
It would have been more interesting if if she would
have picked up tests and taken her back into the layer.
I would have been happy with that ending. I would
have been okay with that. But yeah, I, like you said,
everything needs to be tied up with a nice little
bow and present it to you and go here you go,
happy ending. Yay, Sorry for the.
Speaker 3 (30:07):
Trauma, it's true. So what would you give this movie
out of five stars?
Speaker 4 (30:13):
Oh my god, I'm gonna give it a two because
I enjoyed some of the that. I enjoyed the two
death scenes, So I'll give it a point for each
one of those. But that's about it, not a recommendation.
Speaker 3 (30:27):
I gotta go lower. I have to go one point five.
Like this movie actively affected my mental health and made
me sad, sad that I wasted my fucking time. So
I'm going to give it a one point five because
someone did apparently supposedly put an effort to make this
So that is that? Is it a one point five
and a two? So I guess our average score here
(30:49):
is a one point seven five.
Speaker 4 (30:51):
Yeah, one point seven five, and skip it, skip it, right.
We did the hard job. We did the hard thing
for you. Right, we did the hard job for you.
You don't have to watch it, be blessed.
Speaker 3 (31:02):
And I've seen it now twice, so guys, not only
going to watch it one time and hated it. I
watched it a second time just to make sure and
the hope confirmed, verified, verified? Yes, all right. So now
let's move on to our second disappointment of the evening,
(31:23):
and that would be the movie Weapons, which which came
out this year. It's the hot thing right now again,
Zach Kraiger, I'm begging you to stop making movies or
making or make at least a better movie. This one
comes in at two hours and eight minutes, and this
one takes place in Maybrook, Pennsylvania and just your everyday
American town now. Yes, plot premise on this one is
(31:45):
really simple. Seventeen children from the same third grade classroom
mysteriously vanish on the same night at exactly two seventeen am.
All of the children, you know, because this is modern day,
we all have security cameras now, they all left their
homes running with their arms extended out wide and just
a really weird, kind of unsettling way. Except one student
(32:08):
named Alex doesn't disappear, and so weapons is kind of
a multi perspective narrative, I guess, and it follows more
or less just a couple different members of the community
trying to investigate the disappearance of the kids. So, in
terms of characters, we have Justine who's played by Julia Garner.
She's the elementary school teacher whose entire class vanish like
(32:29):
it was her class that vanished, so naturally all eyes
are on her. And then one of the fathers is
his name is Archer, played by Josh Brolin, and he's
kind of a rough and tumble, roughneck construction worker who
is the father of a missing child. And I'm only
mentioning her because people are so obsessed. And that's Gladdice.
(32:52):
Gladdice is the aunt of Alex, the one surviving school child,
or the one who remained at least, and she is
his aunt, very eclectic, eccentric aunt. Yes, so Iris hit
me with weapons. Okay, so weapons.
Speaker 1 (33:08):
I you know what.
Speaker 4 (33:09):
I enjoyed the premise. Okay, the premise was really good. Right,
So it starts out really interesting. You know, these kids
are running away sonic style, you know, with his little
range behind them, you know, kind of like a little
jet plane, which, when I saw the way the kids
were running, cracked me the fuck up because my grandson,
when he was an idy bit, used to run this way,
(33:31):
because that's how all the anime characters.
Speaker 3 (33:34):
Run, right yop, like Naruto, right, I think, yeah, Narudo
exactly exactly.
Speaker 4 (33:41):
So they're doing the ne Rudo run. But anyway, so
interesting permis everybody's gone except for this one child. Then
you have the teacher. Of course, everybody blames her. I mean,
you know what was going on in this class, you know,
la la la la. Then you get to see a
little bit of Gladys and the Witchcraft, and was like, okay, okay,
(34:05):
let's keep going. This is cool, this is cool. But
then it takes a horrific left turn. They're tay to
to emotionally involve yourself with these characters, right, they want
you to feel bad for this teacher. But the teacher,
I mean, I don't know it. To me, she seems
like one of those do good or busybodies. They think
(34:27):
they're doing good, but all they're doing is really just
being nosy.
Speaker 3 (34:31):
Yeah.
Speaker 4 (34:32):
Then of course you have Paul, which is the cop
who beats up a kid and realizes, oh shit, the
dash cam caught this, so he lets him go again,
very tropish of yeah, it's a cop, it's a small
town in Pennsylvania. He's an asshole, okay, whatever. Then we
get a little bit more of of Josh's Brolin's character,
(34:55):
which is Archer. Like you said he was, you know,
one of those he's a construction worker. Okay, that should
tell you everything, especially in Pennsylvania, right, that tells you
exactly what kind of a guy. But he's smart though,
and he starts kind of figuring out where these children
could have gone because the cops aren't doing anything. The FBI,
it seems like weh, so whatever. A little bit more
(35:18):
of the witchcraft is explained, and I kind of liked it,
you know, the the rose stam and all that, but
then I don't know why. I mean, you get the
idea that she's really sick and she uses the kids's
life essence or whatever to keep herself.
Speaker 3 (35:35):
Yeah, basically, she's a witch and she's dying, and in
order to stay alive, she has to feed off of
the life essence of children.
Speaker 4 (35:45):
Right, so it's kind of like a like a twisted
Hansole and Gretel, Yes, right, and okay, but then the
rescue happens, and I guess the reason why it's called weapons,
which really really bugs me, is that she can weaponize
whoever she is casting a spell on and they just
(36:10):
you know, they're just one track mine and they go
after whoever it is that she.
Speaker 3 (36:14):
Has to get a snippet of their hair and then
a twig. Yeah, and then she snaps the twig and
then it turns them literally into her like personal assassin.
Speaker 4 (36:25):
Yeah, which was like, okay, I just.
Speaker 3 (36:31):
Oh, go ahead.
Speaker 4 (36:34):
Then of course, now I did enjoy what the children
did to her at the end, because you know, Alex
was a very smart little boy. He saw how it
was done, and then he did that to the kids.
So the kids went after Gladys and that was a
big comedic that she's running through houses and the kids
are running like through glass and everything. I thought that
(36:58):
was pretty awesome. And then they basically literally tear her apart.
Speaker 3 (37:04):
And are they eating her too?
Speaker 4 (37:06):
I don't think they eat her. They just really just
tear her apart. And then then once she's dead, then
the kids are just standing there and they're pretty much
like zombies.
Speaker 1 (37:17):
M hm.
Speaker 4 (37:18):
Here is where I would have liked the happy ending
where the kids, you know, they're the spell is broken, yay,
and kids go back to normal. But no, they didn't.
The parents. Alex's parents, who all were also under a spell,
didn't go back to normal.
Speaker 3 (37:33):
They were institutionalized.
Speaker 4 (37:34):
Yeah, they were institutionalized, and he went to go live
with his other aunt and nuncle.
Speaker 3 (37:40):
Poor kid. Let's hope they're they're.
Speaker 4 (37:44):
Not like Gladys. Oh, I think the kid said the
good aunt and uncle. So yeah, I don't know. Man,
it's places where it could have taken advantage of the
whole witchcraft and stuff like that, or even some of
the gore. It just didn't really do it for me.
I mean, the way the principal kills his boyfriend and
(38:07):
then the way he gets killed. That was interesting, but again,
you know, good kills. Yeah, sure, but I want story.
Speaker 3 (38:19):
I hated this movie. I feel like I waited two
and a half hours for something to happen and it
never did. There were some cool moments, like, sure, there
were a couple of cool moments, but nothing that I
haven't seen before, you know. And fun fact about the
ending of the movie. So you know at the end, right,
how Matthew what's his face? Josh Brolin's character Archer, and
(38:42):
this Archer and thank you, Archer is carrying Matthew, you know,
through the streets away from all the carnage. Originally, the
first edition, first shot of this film for testing audiences
was just a silent shot on Matthew's face as they're
walking away. There was no voiceover in the first cut.
Oh and people were so mad. They were screaming with
(39:03):
the fucking theaters, like we need some sort of conclusion,
you know here, something to reconcile all of this. And
so that's why he added in the voiceover, I think
that's so cheap, and I think that is poor filmmaking,
poor directing, poor writing to have this be the end
of the movie and then you just watch people walk
away as He's like, by the way, the adults failed here.
(39:26):
You know, Alex went to go live with a different aunt.
His parents are institutionalized. The children are reunited with their families,
but most of them are catatonic and never speak again.
The you know two or three who do speak take
about a year to talk. And that's it.
Speaker 4 (39:41):
Like cheap, Yeah, because you could have shown that as
a montage.
Speaker 3 (39:48):
Yes, something, do something, mm hmm.
Speaker 1 (39:54):
But yeah, no.
Speaker 4 (39:55):
I again, they could have gone someone really really interesting
with this, especially with the witchcraft and the kids down
in the basement, But it seems like horror is not
something that's done very much here in the United States.
Speaker 3 (40:11):
So honestly, I'm thankful for that because I do not
I'm horrible, and I know people are going to judge me,
but I'm not a kid person, y'all. I don't like kids.
I don't like being around them. They annoy me. I
don't have time for it. And the last thing that
I want to see is more Steven Spielberg type movies
where it's like a whole ass cast of children, and
this movie is not that. Like, the kids are very
much the secondary, you know, to all of this. Furthermore,
(40:35):
since I'm throwing hands at everyone tonight, I don't really
care for Julia Garner's actress.
Speaker 4 (40:39):
I don't either, and she seems to be popping up
a lot in harmonies like the Wolfman thing, which is
such a I don't It looks like a complete and
total disappointment that I don't even want to look at it.
I don't even want to watch it.
Speaker 3 (40:53):
You couldn't pay me money to watch it. I hear
that she was incredible on Ozark, the show. I've never
seen Ozark, but I hear she is incredible and fits
cast perfectly. I do remember her from the Americans, but
she has a very striking look in my opinion, Like,
she has a very striking look, and I think she's gorgeous.
Speaker 4 (41:12):
But yeah, she does have a striking look. It's not
like the typical Hollywood look. Yes, so yeah, but I
don't know. I really haven't seen her much in anything,
so I'm gonna have to watch other stuff. I guess
Ozark is not my kind of genre of stuff that
I like to watch. So that's why I you know,
(41:34):
I haven't looked at that. And then I've been wanting
to watch Inventing Anna, so maybe I should just watch that.
Speaker 3 (41:40):
I'm mad. I feel like every couple of years, I
just get so over horror and just nothing. I haven't
seen anything good that's come out. And then remember how
we all used to bond over French horror back in
the day. That totally died out. Unless I'm missing something, no, I.
Speaker 4 (41:57):
Have not seen anything any French horror coming out that
is something that you know, you're like, oh shit, I
gotta watch that. Even the Italian side.
Speaker 3 (42:06):
Oh yeah, because you you love Italian? Are you a
Giallo fan?
Speaker 4 (42:11):
I am a Yellow fan. But it's because it's so
you know, it's such an exploitation type of flick that
you know, that's my thing.
Speaker 3 (42:18):
So exploitation. Yeah, I just miss good storylines, you know
what I mean, like Martyrs. I mean something as simple
as Inside, right, home invasion, that's it. That's all Inside
was was just a generic home invasion film. It didn't
really do anything new whatsoever, but yet it was so
over the top and terrifying, you know, right, But I.
Speaker 4 (42:38):
Think it's just the very specific way that it was filmed,
because again, that could have also been.
Speaker 3 (42:44):
A play that is very true, right, And I.
Speaker 4 (42:47):
Think it's because it sucks you and you become part
of You are not the audience, You become part of
the what you're watching, right, You're you're almost like a character,
an NPC. You are an NPC in those movies, and
that's non player character for you folks that don't play games.
(43:07):
And I think that's where the attraction to a lot
of the movies that we really hold dear is because
we become an NPC in that movie. You're not part
of the audience. You are standing there with the rest
of the group because you get so I don't want
to say emotionally tied to the characters, but you're, well,
(43:27):
maybe it is. Maybe it is that you are emotionally
invested in the characters, whether it's the good guys or
the bad guys. And most of the time we are
invested in the bad guy, the killer, the you know,
that's the person you get invested with because you're like, shit,
what are they gonna do next? Not the people that
they're already traumatized and victimized. I don't know about you.
(43:49):
But when I'm watching movies like this, I don't root
for the victims because they have literally put themselves in
that position because logically, like tests, logically tests should have
left the night that it was, well, you know, I
booked it, you booked it. I would have said, well, okay,
fuck it, I'm gonna go sleep in my car.
Speaker 3 (44:11):
I will drive to the Yeah, I just it makes
no sense. Even I would have stayed in my car
in the parking lot of a hotel of a high
exactly something. You know what I mean, exactly right.
Speaker 4 (44:21):
That's why most of the time I don't get emotionally
involved or invested with the victims because well, you know,
you put yourself there. Logically, it just doesn't make sense
why you were the victim. That's why I think I
get more invested in the serial killer or you know,
the AKA bad guy, because you're always thinking, oh, wow,
(44:44):
well that was pretty deprived, but what are you going
to do next? You know, I don't know.
Speaker 3 (44:48):
Maybe it's because you know.
Speaker 4 (44:50):
We ourselves are antisocial. I don't know, but and these
movies just didn't deliver.
Speaker 3 (44:55):
No same completely agree, But I also find that that's
very unique to American films. You know, with French films,
I root for them. You know, Martyrs, I obviously was
rooting for on and Lucy inside, I was obviously rooting
for her. You have Climax, which no one in Climax
is really likable, Livid Calvert raw to Taine, which is
an insane.
Speaker 4 (45:15):
Film, yeah, or irreversible even.
Speaker 3 (45:19):
You the film making itself is so good, and I
don't know, like the writing of some of the plot
from French films are pretty generic sounding, but the way
they execute it just goes so far above and beyond
anything that is coming out of America. And I don't
understand that.
Speaker 4 (45:37):
Here in the United States it's about putting butts in
seats at the theater. This movie had a budget of
thirty eight million, and it made two hundred and sixty
seven million dollars.
Speaker 3 (45:49):
Why I don't understand. I do not understand. Like I
just watched Take Her Back, and that's the you know,
another big one right now everyone's talking about and getting
so many accolades. I hated it, and I just I
guess I just don't understand. I really appreciated A twenty four,
you know, for coming out with like Midsomar, Hereditary I
love Hereditary. Hereditary is still probably my favorite modern quote
(46:11):
unquote film. But yeah, I just I don't get it.
It's disappointing and it's sad, and unfortunately, in terms of weapons,
we are going to get another movie in this universe. Yeah, okay,
by the way, yeah, fucking aunt Gladys. People love the
way she looked or you know, character design or whatever,
and they wanted a kind of spin off with her,
(46:33):
so we're getting that. But also, did you notice that
Barbarian and Weapons are actually in the same universe?
Speaker 4 (46:39):
Oh?
Speaker 3 (46:41):
Nin Weapons. On one of the news sites, there is
an ad about a missing woman at an airbnb.
Speaker 4 (46:48):
Oh dude, no way, I didn't. I really missed that
Easter egg.
Speaker 3 (46:53):
It says underground prison discovered in rental home. And it's
on like a you know, a news site and whatnot
in the same universe.
Speaker 1 (47:03):
So so help me.
Speaker 2 (47:04):
God.
Speaker 3 (47:04):
If Zach Krieger starts to build this big cinematic universe
and comes and starts making billions off of the franchises, Hey,
it worked for King, So he's just a tad bit
more talented, just a little though.
Speaker 4 (47:19):
Oh oh that's right. Talent. Talent, talent, that's what you need.
Speaker 3 (47:24):
Yeah, I mean, David Gordon Green tried with the Halloween franchise.
Speaker 4 (47:34):
I know, but still, I know it's kind of interesting.
It's interesting that, well, you know what we were talking about,
how the difference between American cinema and let's just call
it foreign cinema. I think it's the just also, the
audience is very different, right the audience here? What what's
(47:54):
a happy ending? Because that's that's what we grew up on.
We grew up on the fairy tales and all of
you know, everything's tied up nicely in a bow. We
don't have to think about it because I don't know
if you've noticed lately on YouTube there are so many
videos explaining a movie, and I'm like, why do you
(48:15):
need to explain it? What is there to explain?
Speaker 3 (48:18):
I know people, I know people personally who won't go
see a movie, but they watch those videos, the explainer
videos of people describing what happened and reviewing that.
Speaker 4 (48:31):
And I don't get it. I don't get it either.
I mean something like what we're doing. We're telling you
about the movie, yes, but we're not sitting here explaining
to you why this was like that and this was
like that and you know, well, if you didn't get
the meaning of the ending, that's not what we do
because we expect our audience to people who are listening
(48:55):
to have enough of critical thinking and common sense to
understand what a lot of the nuance of this movie is. YO.
But you know, it seems that studios want to handfeed
you everything, and I think that's extremely insulting to the
audience because we're smarter than that.
Speaker 1 (49:16):
M M.
Speaker 4 (49:17):
But I don't know that. That's one of my pet peeves.
Speaker 3 (49:20):
It is absolutely my biggest pet peeve. And I just
feel I'm not better than anyone else, you know, I
don't feel like I'm more intellectual than other people. Like
I'm not an elitist in that sense, but I just
I'm not entertained unless it's a movie like I mentioned earlier, Necrostorm,
or a production company that turns out gore videos, right
(49:41):
like Tater City is one of my favorite movies of
all time. Right, And I don't know if you've seen it,
but it's illugious. It's you'll have you would love this iris.
I'm gonna send you a link after this. It's an
Italian film company, it's all. It's in Italian. They're Italian movies.
But Tater City is basically about the future of the world,
you know, and it's very low budget, one practical effects,
(50:05):
and I'm talking about like blood, geisers, noise, So the Hamburgers,
the fast food is called tater City. We're in the future,
dystopian hellscape. And of course it's people, right, yeah, okay,
it's you have your hero fighting the cops. And I mean,
it's just like unless it's something like that where I'm
good with tropes and extreme ridiculous funny gore, Like, I
(50:27):
want a story. I want good writing. I want something new,
you know what I mean. I want good acting, like
I Apparently that is too much to ask.
Speaker 4 (50:34):
For, apparently, because you know, we can't get that.
Speaker 3 (50:38):
It's becoming pretty damn difficult, it appears. So, yeah, what
would you give it.
Speaker 4 (50:48):
I'm gonna give it a two point five because it
was actually going somewhere that I was wishing that it
would go. But then, like I said, it took a
left turn somewhere and it ended up in Albuquerque instead
of Kukama or something. I don't know, I don't Yeah.
Speaker 3 (51:04):
That's not fair. I'll give it the same. I will
also give it a two point five because it could
have been better.
Speaker 4 (51:14):
It could have been better. And again, you know, for
the audience, if you guys are interested in watching something
just weird, I mean, please go ahead watch, but don't
expect to watch them.
Speaker 3 (51:30):
Okay, if you iris could recommend to the audience one
must watch movie, the most ridiculous movie, that horror movie
you've seen I'm suppled.
Speaker 4 (51:41):
To be ridiculous. One oa The Italian City of the Dead.
Speaker 3 (51:48):
I don't even think I've heard of that, honestly, Well
it is.
Speaker 4 (51:53):
It's called a lot of things, being that it's a
Italian movie, it's the nineteen sixties. It's basically that, you know, hell,
it's a zombie movie, but it's an Italian zombie movie.
And these move, these zombies they teleport.
Speaker 3 (52:14):
Interesting, Yes, it's teleporting zombies are awesome.
Speaker 4 (52:18):
And then there's also let Sleeping Dogs Lie. That's not
their zombie movie. Me being that I'm so tired of zombies.
Two of my favorite movies or zombie movies, which is
letting or let Sleeping Corpses lie. And it's also called
Murderers at the Manchester Morgue. And it's thing where there
(52:42):
is a kind of like this machine that's supposed to
be helping plants, but what it's doing really is it's
throwing some stuff into the air that is making dead
people come alive. So yes, The Living Dead at Manchester
Mark it was also called in the United it was
called Don't Open the Window. I watched this movie when
(53:03):
I was I think maybe six, Yeah, because my parents
didn't know what this movie was about, so we all
went to the movie theater and it was this movie paired.
Speaker 3 (53:16):
Up with the OMEN, the Original the Original OMEN.
Speaker 4 (53:20):
Yeah, so uh yeah, I watched that, as you know,
at a very young age. And what was so screwed
up is that at the time, we lived across the
street from one of the biggest cemeteries in Los Angeles
at the time in East LA straight across the street,
and my windows faced the graveyard the cemetery, and I
(53:43):
was scared shitless and it was in the summer, and
believe me, I did not open my window because that's
what the movie said not to do. Oh that's cute,
but yeah, those would be two of the movies, The
Living Dead at Manchester Moor and City of the Dead.
Speaker 3 (54:01):
Interesting mine, I truly believe, And this is very mystery
science theater ish but House from nineteen seventy seven the Japan. Yes, yes,
you have to watch it. It is not scary. It
is literally about a group of school girls who go
out to visit one girls on in the countryside. That's
all it's about. And it is hilarious. It is definitely
(54:23):
a comedy under the guise of a horror movie. But
it is a full blown slapstick comedy and it is hilarious.
And it is from nineteen seventy seven. You have to
watch it in a group because you will want to laugh.
You'll laugh until you pee. I mean, it's just ridiculous.
Speaker 4 (54:38):
Yeah, it's one of those movies you put in the
background at a party.
Speaker 3 (54:42):
Yes, it is definitely not cinema that you need to
sit down and study. It is just hilariously bad, like
especially the voiceovers. You know, it's Japanese nineteen seventy seven,
and it's almost like by today's standards, you would almost
consider it racist. Yes, the voice it's but it's such
a good, funny little movie. And then I would say
my second one is for people who are wanting to
(55:04):
see a horror movie but more middle of the road.
That's a step above. I'm sorry, Barbarian and weapons were
dog shit. If you want to see something a step above,
I would suggest and something more common, I guess for
the average easier for the average viewer. I really really
really love Suspiria Remake. Ooh okay, it is one of
my top five horror films. And I know that our
(55:26):
dear friend Jeff an X is going to shoot me
for this. Mentally, I don't like the original color palettes. Man,
It's all about the color palettes. Okay. That is that
the most beautiful film ever made? Possibly?
Speaker 4 (55:40):
Yeah? It is. It is really well made and funny,
and I love the ending it. Yeah, I really liked it.
Speaker 3 (55:50):
I am definitely, and I love older films, so I'm not,
you know, one of those people I can't watch anything
made before two thousand people. But I just the original
Suspiria didn't catch me. But God remake with uh was it?
Dakota Fanning?
Speaker 4 (56:02):
Yeah, Dakota Fanning.
Speaker 3 (56:04):
Dakota Fanning and oh my god, what's her face? Dakota Fanning?
We had oh what's her name?
Speaker 4 (56:11):
From? Pearl?
Speaker 3 (56:12):
Mia Goth is in it. We have It's so many
like big people hold on Mia Goth Dakota Johnson, Chloe
Grace Moretz and then the love of my life, Tilda Swinton.
Speaker 4 (56:24):
Yes, twill this. Swinton was great in this It's incredible.
Speaker 3 (56:28):
So those would be my two picks. House from nineteen
seventy seven, a Japanese film, and then a Suspiria from
twenty eighteen.
Speaker 4 (56:34):
I think, all right, there you have it, folks, But.
Speaker 3 (56:37):
I hope all of you have a wonderful Halloween, and
thank you for listening to Iris and myself discuss horror,
because horror is the love of my life.
Speaker 4 (56:47):
Likewise, and it's fun and it's it's good to scare
yourself a little.
Speaker 3 (56:52):
What's not I y'all?
Speaker 2 (56:55):
That was it?
Speaker 3 (56:56):
Two more disappointments to add to the list. I guess again,
thank you for listening. You've been listening to We Saw
the Devil, Yes, true crime podcasts, but every October I
get to take a little liberty and discuss horror movies,
which I love. Again on the feed, there'll be one
more episode for Red, White and Bruise, the new political
commentary show that I have, and then next week We
(57:16):
Saw the Devil is back to true crime. Also currently
in the final stages of reworking the patreon as well,
because I would like to do a lot of special
stuff for the patreon. So if you're interested there, check
the show out on Patreon and yeah, guys, until next
Crime
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