40 Acres (REVIEW): Lack of Character Depth | Ep290

This week on Black on Black Cinema, the crew returns to discuss the 2024 film, 40 Acres. The film follows a Black and First Nation family in a post-apocalyptic world ravaged by famine. Their routine has kept the fed and safe for many years. The household is headed by Hailey (Danielle Deadwyler) who's connection to her family is put in peril when their farm is attacked by cannibals.

Episode Transcript

Speaker 1 (00:00):
I have no idea a lesson about the village right now,
gon find the last down before me change.

Speaker 2 (00:17):
Let's reputas on it, you know. Hello, Welcome to a
brand new episode of Black and Black Cinema. I'm your host, Jay,
I'm here with my co host and micaeh.

Speaker 3 (00:26):
Hey.

Speaker 2 (00:27):
All right, guys, it's just the two of us this week.
This is episode two forty acres. This is the twenty
twenty four action drama thriller according to IMDb sci Fi,
that's not true. The log line here is. In a
post apocalyptic world with food scarcity, a black family of

(00:47):
Canadian farmers descended from American Civil War migrants defend their
homestead against cannibals trying to seize their resources. This is
directed and co written by Our Thorn, starring Danielle Deadweiler,
Katim O'Connor, mil Kanya Diez Rojas and I'll just leave

(01:14):
it there. There's enough people in this movie. Spoiler alert.
I don't care for this movie at all, and I
don't think my co host this week did either. Yeah,
this movie is what could only be described as what
it's like walking through quicksand like, this is a fucking

(01:36):
slog a movie about a bunch of like black survivalists
and some Native American survivalists. That is not lost on me.
Trying to survive this sort of like you know, post
apocalyptic world and there's like all white cannibals and all
sort of bad white people trying to come and get them.
I get I get it it. You know, it's a

(01:57):
bit haand fitsted, but I understand it. And it got
guns and knives and shit and like people get killed.
I'm like, all right, I'm all in this. This this
is right down my alley. No, no, it isn't. This
is just boring in a lot of places. And that's
the worst part of it. The acting and the you know,
the writing is fine. The characters do a thing that

(02:19):
I don't care for in action movies or in almost
any movies, which is they don't grow. And you know,
I know post apocalyptic movies you kind of have to
have a person make a dumb mistake in order for
things to kind of get moving. That's generally how it goes.
But I hate it all all the same in all
of these Like it's just it's an annoyance to me.

Speaker 3 (02:43):
But yeah, I.

Speaker 2 (02:45):
Know this is and it was like it felt like
a Netflix movie to me, which is not a compliment
by any means. Michael, what did you think.

Speaker 3 (02:54):
I had? Yeah? I had reservations about this movie from
the get go, right because, like, I'm generally not into
I'm generally not into like, you know, post apocalypt this
type of post apocalyptic movie, right, Like if it's going
to be a post apocalypse, I wanted to be like
science fiction, right, but I'm generally not into this type

(03:17):
of stuff. I'm certainly not into like the Hills Have
Eyes twenty eight days Later, stuff like that. It just
it just doesn't interest me. It's just not my bag.
So I was I was kind of predisposed to just
not really enjoy this, but you know, I was like,
all right, I'll give it a shot. And yeah, I
can't recommend this movie. It's it's you said the writing

(03:42):
and acting is fine. I disagree. I think the writing
is pretty awful. I think the only one that's I
think the only one that's like really trying to like
give this ball is Daniel Deadwiler.

Speaker 2 (03:58):
She's putting, She's putting at work.

Speaker 3 (04:00):
She definitely, she really is. She's the only character that
I could relate to and or empathize with the step dad.
I can't remember his character's name. You know he was
okay too. This movie's got a bunch of dumb kids

(04:21):
in it, man, and I don't. I don't mind kids
being in movies. I really do mind when they're kind
of dumb and not like dumb in like a kid
kind of way, but like dumb in a character kind
of way, and like the sun. You know it's and

(04:41):
I know, I get it, you need that because like
that's how young people act, right. They don't have like forethought,
they act on impulse. I get it, I understand it.
I just don't like it. Yeah, this you don't really
I don't really empathize any of the characters. Like one
character in the movie gets shot and I'm just like,

(05:05):
I felt nothing.

Speaker 2 (05:08):
It's a kid.

Speaker 3 (05:10):
No, it's a kid. And I like kids, man, I
really do. I like kids, man, But like I just whatever.

Speaker 4 (05:21):
Yeah, the first I was like all right, Like and
they do that to try and bring up like it's
it's it's one of the cheapest.

Speaker 3 (05:32):
Tricks to bring up like some sort of like tension
and try to to get you to feel things. And
I don't. This movie doesn't make me feel things, and
I think that's the product of bad art, and.

Speaker 2 (05:45):
I think that is probably its biggest flaw. Actually, Like,
you're right, I didn't. I didn't care for any of
the character. It's like or I didn't care about what
happens to them. I didn't care about the characters. I
didn't care about the situations they were in. I didn't
care about the animals. I didn't care about like like.

Speaker 3 (06:01):
People die and people die in gruesome ways. But I
just I didn't feel anything. And I hate saying that. Like,
I won't say it's bad art. It's there's no such
thing as bad art, in my opinion, but there's art
that just doesn't work for people. And unfortunately this did
not work for me. I appreciate to try. I appreciate

(06:21):
you know, a black director, black writer, black lead being
put in films that aren't that usually don't see us
that we don't see us in right or.

Speaker 5 (06:33):
We're such we're thod characters right right, and and and
and even you know the Native American people, like you
don't see them in anything.

Speaker 3 (06:44):
I don't see them in anything unless it's a Native
American specific story. And even then, it's not like people
are line enough to make those movies, right, So I
get it. I appreciate this movie, but I I it's
not for me. And look, man, this is not like
the first Canadian production that we've done. I don't know

(07:05):
what they're doing up in Canada, man, Like like the Canadians,
I I don't know if they I don't think they
do drama well, like they do comedy well, right, but
like this, but there's always something about Canadian dramas that
we do that what was like, what was the one

(07:29):
with There was one with with the guy who's playing
Green Lantern Oh rebel Ridge, Oh no oh.

Speaker 2 (07:40):
Oh, like where he's the brother that he died.

Speaker 3 (07:42):
Yeah. I think it's called the Brother or something like.

Speaker 2 (07:45):
Yeah brother Yeah.

Speaker 3 (07:47):
And it's always like I get what that movie's trying
to do, but it's something about the execution. There's something
about that. There's something about these Canadian productions that just
aren't translated. And maybe it's look, maybe it's my stupid
American brain. Maybe maybe or like maybe people in Canada
don't like that's they're too nice so they don't know

(08:09):
what drama is, but they but they're like really good
at like comedies and ship.

Speaker 2 (08:13):
You know what I there's there's a lack of like
emotional punch to the to the work, you know what
I mean?

Speaker 3 (08:21):
Like yeah, like and and and even with this movie, right, like,
like people die in this movie, Like the main character's
best friend is is gets really split and they show
it and it's brutal, and I felt nothing. A child
gets shot in the gut and I felt nothing. The

(08:44):
dad gets fucking gets stigmatic in his fucking hands. I
felt nothing.

Speaker 2 (08:50):
Bro Like, I don't know what that is. I don't
know what that is. Like, you spend plenty of time
with the characters, right, so let's start there too much time?
Maybe they're boring us to death. Now, Like you spend
enough time with the characters to get to know them,
right because like a lot of times, what happens in

(09:11):
movies where you don't feel like an emotional connection to
the characters is because you haven't spent enough time with them, right,
Like the movie just starts and you're just like fucking going,
You're like, I guess I'm supposed to care about this person.
There are very few movies that that are able to
do that and like elicit some sort of like you know,
connection to the characters, right but this one. You spend

(09:32):
plenty of time with them, and you see their routines
and everything, but there is no there is no emotional
hook into those characters, right like, And I you know
what as I think as I say this, I think
I know part of what it is. They don't give
you their deep seated connections like between the characters until
down the line, right Like, you don't see the like

(09:55):
the sort of weirdness of why Danielle Deadweiler is and
her son have like kind of a like a weird
fractured relationship, right like why she's so hard lined? Right Like,
you just assume it's because of the times, but that's
not really what it is, right Like, you don't see
you don't find out about the Indian dude and dead

(10:19):
Weiler's connection until a little bit later, right like today
don't upfront all of this stuff where like you got
to give us some of it. You can tell more
of the story throughout, but you got to give us
something to know why these people matter. And I feel
like that's probably the reason why you don't have that connection.
And I certainly didn't.

Speaker 3 (10:40):
Either or just make it. I don't know, it just
wasn't interesting to me, Like you said, you can you
can tell those you can drop those little like flashbacks
in the story, right, But it was so rote and
it was so like I immediately knew she was former military
just by the way she acts, right, Right, that's why

(11:00):
she's a hard ass, right, And it just doesn't I
don't know, man, I don't know.

Speaker 2 (11:09):
There's no commonality between the characters, right, Like, Okay, so
if you've got this hard ass military person, right who's
like the mom, right, she's the badass military person, you
got to have some level of a connection to her
son or to some other character that shows a level

(11:30):
of softness of her humanity. They don't have any of
that with her, right, Like quite literally, it's not until
the very end of the movie where she like has
a slight smile where you're like, oh, there she is
as a human being. There's nothing else. She's just a
terminator throughout the rest of the movie. And so like,
you have no inroads to connect to her, right, Like

(11:51):
you have somewhat of an inroad to connect to the
Indian dude Galen, because he's like, oh he's his father.
He's like he's like he takes pride in like cookinge
and stuff like that. Like, so he has these human things,
isn't just like a.

Speaker 3 (12:03):
Dude with that, like the barbecue sauce thing, right Like
oh okay, yeah, like I get it right, Like I
can relate to that, right like no, we we we
We're not putting this fucking McDonald's barbecue sauce on this
fucking food because that's not like like I get it
right as a human moment. Yeah, in yeah, there are
no from her and and uh, you know the kids

(12:28):
have human moments, right, like as much as the sun
got on my nerves, Like I get it, Like I
get it, young man. But at the same time, you know,
Northent of that actor. I maybe it's the material, but
he you know, it's I think it's delivered poorly. I
think it's uh, I think it's bad, and I think

(12:49):
it's delivered poorly. And then you see the and then
you know, the the existential threat of you know, the
cannibals the white people, right like because like that's that's
where the racial component plays into it, right Like here
are these you know, here are these you know, a
First Nations representative and and a and a and a

(13:11):
black person and you know, black representatives being chased out
of their homeland by you know, white people. Like I
get it right, Like I get it right right on
the head, I get it. But these I mean they
could have been zombies, like because the Cannibals, the Cannibals

(13:36):
were not they they weren't characters, right, And one of
the things, if you're not gonna do zombies, right, if
you're gonna have these people just be cannibals like and
be people with speaking lines like let's let's get we
didn't really get to them until like the second half

(13:56):
of the second act, right, and they didn't really seem
like much of a of a threat.

Speaker 2 (14:03):
No, they were just.

Speaker 3 (14:04):
Like a like a really be reckoned with well.

Speaker 2 (14:08):
Not only that, but they just they didn't have much.
They weren't much of a threat. They didn't have there
was nothing about them like there's okay, there's two ways
to do sort of an invading horde in these kind
of post apocalyptic things, which is one they are mindless, right,
like it's a zombie type of brains or whatever. Right,

(14:31):
they're just mindless. So you you just think of them
at like they just you know, they just represent an
essential threat, right, threat, but like the albatross of survival, right,
Like that's just that's just what they are. Or you
do the like they're human beings and they're just violent
because they want your resources or what have you. And

(14:54):
maybe they're smart and they're crafty, but they're just trying
to get your resources, right, also an existential threat, but
they have a level of humanity to them, and you
try your best to make the audience weirdly just even
if it's just slightly understand them right where you go,

(15:15):
all right, these guys are real pieces of shit, but
like they're starving, so you kind of go, oh, they're starving.
That's fucked up because of the situation. But and maybe
you'll give them a slightly charismatic leader, Like this is
a classic way you handle this. You give them a
slightly charismatic leader where you're like, I don't like these
cannibal guys, but like that guy's kind of cool, he's

(15:35):
kind of funny, or he's kind of interesting.

Speaker 3 (15:37):
Or something like that, this charism or something. But they
don't and they waste that opportunity with having cannibals as
people who are like like they're human beings. They have
the potential to be characters. Right, they don't. But that's
what makes that's what made that mad Man Max movie.

(16:02):
Uh interesting, right, yeah, that's for me, Frey Road interesting.
And Morton Joe right like, yeah, he's got a waste
waves of like mindlessly, I'm gonna kill you whatever, Right,
it's a lovely day or whatever. But they're anchored by
that one character, I Morton Joe, who is a piece

(16:23):
of ship, but he's very charismatic, like and you know,
I mean there's a charismatic guy right now who has
hordes and pieces of ship pillaging America.

Speaker 2 (16:38):
Like I just it's right there, guys, it's it's right there, right,
So I yeah, they wasted, they wasted, they wasted this opportunity.

Speaker 3 (16:47):
Man. I I can't say that I'm disappointed because I
didn't really have high hopes for this. But fair enough.
But yeah, no, no it isn't. This is not for me.

Speaker 2 (17:00):
No, I agree, all right, So let's let's let's go
through this. Uh this this modern masterpiece. So we we
see the family, uh like they're they're on their farm
and there's just a bunch of you know, random people

(17:20):
come up and get through their defenses and they make
their way onto their corn into their cornfield, and eventually
like up to the house, they're like, hey, uh, you know, greetings,
you know, we're we're here, and you know, you got
such a nice farm land and you know, we'd love
to get some of these crops or whatever. And they all,

(17:42):
you know, they're all carrying weapons or whatever, and the
the Freeman family was like, nah, bet and then they
just start shooting and murdering, which is fair enough, no notes,
And I get it.

Speaker 3 (17:56):
You're showing, you're showing how brutal this world is is.
And like the movie starts off with a bang, right,
like you show how brutal this world is, you show
how like And that's one of the that's one of
the things that this I get that Danielle Dedwiler's characters,
I guess her speed bump of an arc, right, is

(18:18):
that like, in order to survive in this world, you
can't trust anybody. And then she ends up I guess,
trusting the girl at the end, but like by necessity, right,
reluctantly and by necessity. So you know, the movie, the
movie really kind of starts out showing you what kind

(18:39):
of world this is and how ruthless, how ruthless, the
matriarch can be. They kind of try to accentuate that
by you know, after they kill everybody, the sun stabs
one last person that was trying to run away, but
she's still alive, and he sees it and like, oh

(19:01):
she's a girl and she's still alive, and Mom is
just like nah, fuck that bam, right, like take her out, right,
Like can't trust nobody, right, Like, I get it. We're
establishing that this world is very violent, very cutthroat, you know,
shades of the Last of Us or whatever. Right, I

(19:22):
get it, and I think it does a pretty decent
job of setting this stuff up.

Speaker 2 (19:29):
Right at this point, I'm not mad at the movie, right, Like,
I'm like, Okay, you know, it's got a level of brutality.
Like they had a kid shoot an adult in the head,
and it was like, okay, that kid's very young, and
so like, yeah, there's a level of brutality. And at
this point, we're what fifteen minutes into the movie, So
I'm like, or.

Speaker 3 (19:48):
I'm not even we are eight minutes into the movie. Bro.

Speaker 2 (19:53):
Yeah, Look when I saw that the son had the
kill longer haircut, I was like I already knew I
already knew, so he killed. He kills this woman. Then
we see the family all gathering around to have dinner.
And again it should not be lost in anybody. You've

(20:14):
got the the you know, the Native American or you
know First Nation, Uh Dad, you got the you got
the black mom. They got they got a couple of kids,
you know, clearly some from this current situation, others coming
in from past situations. Right, everybody brown, right, so cool,

(20:38):
we got it. Black people got brought to the country.
They want to be here. They you know First Nation folks,
they were already there. They got true to like ship.
They all working together. Message got it, perfect perfectly fine
with it handphis of this fucking as we said, but
it's perfectly fine, not mad at all. They even speak
a native language, like they jump back and forth between them,

(21:04):
So I imagine one just because he's native, but so that
they can talk in a language that other people wouldn't understand,
right because it wouldn't be common, which is a dope idea.
By the way, it's pretty cool.

Speaker 3 (21:18):
Yeah, they make it a point. He makes it a
point to explain later on why he does that. Basically, because,
like I speak the language of my people because I
don't want you know, I don't want the language to
die with me, you know what I mean, Like like
I get it, right, Like I get it, and I'm
not mad at it. You know, it's it's very Yeah,

(21:39):
more people should do it, and you know the rest
of us could just either learn it or like embrace
the fact that, like there are other cultures.

Speaker 2 (21:50):
Weird. The movie they they did a movie, Nicolas cag
did a movie about this right when Talkers wasn't it
it's about them?

Speaker 3 (22:02):
You know. At this point, this is where the movie
really slows down for me for like an hour, like
an hour, bro, like the family is we see them
tilling the soil and you know, like this is some
like Zack Snyder ass like padding. Bro, Well, it's not

(22:25):
in slow motion, in fairness to that, yeah, it's not
a slow motion right. If it was a slow motion
then then it would be it. But like we get
like a lot of and I get I get it,
I get it. We got to established like the world
that we're living in, right, Like, but I think there's
a little too much of it. At one point, we

(22:46):
see the sun h you know, who is I don't
know how old he's supposed to be, but he's kind
of like in this rebellious state where you know everyone
where he he wants to kind of a branch out
and he so he has this like little secret path

(23:06):
that that he can disable the the alarm on one
of the fences so he can kind of sneak out.
And more on that later, but we see them like growing,
like growing stuff, and like it's a lot, you know,
it's a lot.

Speaker 2 (23:22):
Like oh, we got and Reagan and we got mushrooms.
It's like, just get to the story for the right.

Speaker 3 (23:32):
At one point, we see what is her character's name, Haley.
At one point we see Haley in her like underground
bunker where she's got more monitors than a goddamn Target
Lost prevention room, just like watching like her surroundings and

(23:53):
you know, everybody communicates on like on like radio, and
it just that way. We get introduced to one character
whose name is Augusta. Augusta and.

Speaker 5 (24:13):
I get it it but it is.

Speaker 3 (24:16):
Dragon, man, it really is.

Speaker 2 (24:19):
It drags ass for a good thirty minutes to an hour.
One could like, honestly, you could make the ar it's
an hour.

Speaker 3 (24:27):
Yeah, man, I.

Speaker 2 (24:28):
Do think it's funny. Like in this room where she's
got all the like like ham radio equipment so she
can she can contact the other farms and talk to
them and everything else they've got, like an I guess
this was just to make it look a little bit
more futuristic or what have you. They have like old
apple speakers, like the clear dome speakers. Like it's like

(24:50):
so fucking old. That's probably like twenty five years old.
I don't even know wherehouse they found that shit, but
that just.

Speaker 3 (24:56):
Stood out to me.

Speaker 2 (24:56):
That's just hilarious. So yeah, you get, you get this
whole thing. Augusta is a is a woman who works
or lives on a farm not too far from them,
or you know, maybe a couple of miles away. And
I guess they trade moonshine to the Freeman family for weed.

(25:17):
And you see where the when the Freeman's are growing stuff,
they're growing weed also, so like that's the thing that
they trade. They barter.

Speaker 3 (25:26):
For some stuff.

Speaker 2 (25:28):
I mean it feels a bit stereotypical, but okay, it's
like couldn't they have the moonshine? So yeah, we see,
we see the sun. What's his name, Eric Emmanuel? Is
it a manual? Sure?

Speaker 3 (25:48):
Yeah, Manual Emmanuel Emmanuel Freeman. At one point, he he
goes swimming in a creek or whatever, and and he
gets out, he draws off and he sees a girl,
and you know, he's his, his, his, his, like, oh
a girl, WHOA what's this feeling I have?

Speaker 2 (26:09):
Yeah? His? Oh my god, is that a bone?

Speaker 3 (26:13):
Uh?

Speaker 2 (26:16):
Yeah? He he sees a girl come out of this
the same lake, and from this moment on, his entire
world is upside down.

Speaker 3 (26:28):
His world is flipped upside down, and he is just
like then we cut to a scene. Then we cut
to a quick scene of him exploring, uh some more,
and he sees another farm and we see his face
and you know, he's he's kind of disgusted because he

(26:50):
wants community, right, He wants to he wants to venture out,
he wants to talk to other people. He doesn't want
to just be on his farm or whatever, right, which,
and I get it, right, I get it. But that
night they come back, the youngest daughter, Dannis, is having

(27:13):
some sort of you know, ceremony where she's like, I
am a soldier. I do not fear men, I only
fear God. I am a killing machine. I am twelve
or whatever.

Speaker 2 (27:27):
Yeah, this is like, I don't know what's going on here.

Speaker 3 (27:31):
I don't know what's I don't know what's going on.
I don't want to laugh too hard. I guess maybe
it's some sort of like you know, light of passions
that people go through.

Speaker 2 (27:40):
I don't know.

Speaker 3 (27:40):
It just seems kind of silly to me.

Speaker 2 (27:44):
Yeah, it might be some sort of it might be
sort of a like a native a Native American thing.
I don't know. They all seem to be doing like
modern dances, so I'm gonna I think it's okay to
laugh a little bit.

Speaker 3 (27:58):
Yeah, Like they're you know, they're doing a douggie and ship.

Speaker 2 (28:02):
This is a very serious thing. I don't know. I
don't think they find it to be that serious. They
shoot the dice is sure. They like having this on
mute is great because like they're having a fucking they're
having a time over there, and like they're innocent kids

(28:23):
and all. So it's it's it's kind of cute and
it's fine. What's what's also hilarious in this scene is
they build a giant bonfire, like you know, they they
have you know, a blaze, like think of it as
the same size as the bonfire from fucking candy Man.
They like the giant bonfire going and like loud music,

(28:43):
and they're just like they're dancing, they're having a good time.
I'm like, are you supposed to be like quiet at
the full like there's no one around, Like that sound
is going to carry there's like raiders and cannibals and
rustlers or whatever the fuck happens out there. I shouldn't
you all be trying to like keep it low right now?

(29:04):
This is a is a is a block? Is a
block party or a fucking dance party?

Speaker 3 (29:08):
All right?

Speaker 2 (29:09):
Cool? Then you see the mom and the dad. They're
smoking weed because you know, you gotta get how on
your own supply. That's what the song says, right, and
then the sun comes home and they're like the dance like,
where have you been? He goes, yeah, I was just
doing my runs. He goes, I didn't tell you where,

(29:32):
like where we sent you. I asked where you've been.
By the way, I'm putting that in my fucking back
pocket to later, my kid, Holy should that's a great line,
Like I didn't ask you that. And so they're like
they got mad at him because he was late to
the fucking dance party, right because it's his you know,
it's his sister's like Kensignori, I don't know, I don't

(29:56):
know what it is. And so he's like, yeah, well,
well you know, I got I got distracted, and they're like,
all right, cool, take your ass the bit like the
mom is like, the mom's an asshole, and she's not
a likable character at all. Like she really isn't like
I understand you know yo, hard times require a hard

(30:18):
man or whatever that dumb shit is they say on
Alpha Male podcast, but like she has no redeeming qualities
as like a human being. It's just like trying to
have it's like having the T one thousand as your mom.
Like it's very it's just very strange. So it hurts

(30:39):
the film in a lot of ways. You don't connect
with her at all.

Speaker 3 (30:42):
You know, it would be one thing if like that
was kind of it's kind of the point, right, but
there is no like real big of emotional payoff num
towards the end, which which kind of sucks. The sun
comes back, he's like, hey, you know, why are you
burning all that stuff? I don't feel bad about doing it,

(31:04):
And Dad is like my stepdad is like I'm burning
a rot like it's rotten food, it's rotten it's or
rotten harvest, so you know we're gonna burn it. And
son is like, well, if we had help, we talked
to other farmers, maybe get some help, we wouldn't have
to worry about it. And then Mom is just like, nigga,
shut up, like you got a roof over your head

(31:24):
and and you got food in your gut, stop complaining,
and and like you don't know nothing about nothing, right,
And look, you know as a parent, I, as a parent,
I one hundred percent understand it, but you know, like
you can't. You're You're right, they don't know anything about anything,

(31:46):
So explain it to them, you.

Speaker 2 (31:47):
Know what I mean?

Speaker 3 (31:48):
Like like, as a parent, look, I get it. I
get frustrated too, man sometimes like yo, just because I
said so, right, because I said so, But I try
not to be try not to be Yeah, I try
not to be the because I said so person right.
I try to explain why things are the way they
are because one kids don't know. And if you just

(32:12):
communicate that, you know, maybe maybe maybe this movie will
be over and we would all go on with our lives.

Speaker 2 (32:22):
I really wish you would have explained more a lot.
It's could have been It's could have been a YouTube
short if I'm being honest.

Speaker 3 (32:30):
We get we get a quick flashback. I just want
to I just want to touch on this flashback of
you know, the the I guess the origins of why
they're of why the mother and the son are kind
of have a weird familiar relationship. We get a flashback
of Emmanuel as a as a is that his name,

(32:53):
Emmanuel as a child, and his mom just comes back
from wherever the hell she was deployed, and you know,
grandpa whatever, it was like, you may not remember this boy,
but that's your mama. Uh And I only bring this
up because whoever is at Central casting as a fucking racist,

(33:14):
Because there's no way that little boy in this flashback
grows up to be the young man that is playing
her son. It just is not happening. Bro.

Speaker 2 (33:28):
You don't you don't think so.

Speaker 3 (33:30):
I don't think that kid looks like anything like the
actor playing the son.

Speaker 2 (33:36):
Uh No, no, absolutely not. And I thought her dad
was like an Indian, like a darky in Indian man,
to be honest, At first look, I was like, that dude,
actually black, black, people put it like he at first,
he really doesn't look like it's like, okay, it's cool.

(33:59):
Uh maybe he's like black and Native American, you know know.
So at a certain point we get so it's like,
all right, this is their backstory. She hasn't been there.
They reconnect. It's like, I don't know, man, it's been
twenty years. You kind of just like work it out,
Like what the fuck is taking so long? Why your
nig is still so awkward? Uh So then we see Emmanuel.

(34:21):
He escapes out of his little that little gate set
up that he has, goes back into the lake. Look,
this dude is strong. He is strong. His nigga is
of a booty. He don't know what to do life.

Speaker 3 (34:38):
Look at thirty three twenty five when he's drawing that picture,
he looked. I mean you could tell that pot that
that sketch pad is being held up with no hands, bro,
like the way he's just like and look whoever drew that,
Like whoever drew it, like they knew they knew what

(34:59):
they knew. The assignment right, the butt is as detailed
as it possibly can be. And oh yeah, by the way,
I'm uh oh yeah, let me get her arms and
all two legs whatever, whatever. The most detailed image in
that sketch is that woman's ass and that is one

(35:20):
hundred percent. And look even like look look at the
picture at thirty three twenty eight. Even the ripples going
up the back are being pushed by her ass, Like
like that is attention to detail only an art that

(35:40):
only an artist is able to fucking pick up, Yo, Like.

Speaker 2 (35:43):
I appreciate that's like, yeah, her ass is literally dragging
through the water. That's that is absolutely hilarious. Yeah, Like
that dude saw one woman. He lost his mind. Like
he was just like he hasn't draw one picture. He
has multiple pictures from different angles. Like he's like and
this yeah, dand and looking back at it like like

(36:05):
she just got done with a squad session or something.
I was like, allright, bet, like look I hear you, dok.
Is this cool? Don't worry about it, Yeah, and.

Speaker 3 (36:12):
Then proceeds to jack off to his own fucking images.

Speaker 2 (36:17):
Of of of.

Speaker 3 (36:18):
The girl that he drew from his spank bank. I mean,
like Jesus Christ, bro, I get it. I get it.
Young man.

Speaker 2 (36:28):
Down dude, just like he was like he's looking at
the picture, He's like I'm a hell of an artist.
That's a wild dude. That is that's that is a
wild thing. Like it's wondering if you had a picture
or even just using your imagination.

Speaker 6 (36:45):
Your imagination you made it was like, you know what,
I nailed this ship and you know what kind of didn't.

Speaker 3 (36:55):
It's pretty accurate. I get it.

Speaker 2 (36:58):
I understand.

Speaker 3 (36:59):
I understand.

Speaker 2 (37:00):
Uh. And then like he gets in, like his mom
just comes in. He's like, oh shit, uh, raw, what
are you doing in here? And she was like, boy,
save that talk for your sisters, like don't tell me
to knock. And she's like, listen, I need you to
like go in this like this run. And he's like, oh,

(37:22):
isn't that normally for mothers and daughters. And basically he's
like his mom is like, do what I fucking tell
you to do. Shut the fuck up. Basically it's all
right right, I ask you no questions, like I don't
want to leave you here on the farm because you're
gonna fuck it up. It's like a lot of confidence.

(37:44):
So we see we see Emmanuel and Galen, the dad
and the little sister. Uh, they go out on this
trip all together. This is you know, I think this
is the little sister's kind of first time out of
the out of the farm, right, so it's like kind
of a right of passage.

Speaker 3 (38:02):
Yeah, she's a warrior. Now it's heard, you know, candid
ceremony or whatever.

Speaker 2 (38:08):
Right, And so they get they they get into this
one place, like a warehouse type of place, and they
see like bodies hanging upside down that are dead. And
these soldiers come out and they're like, hey, we're from
the you know, we're from the army. We're here to
help or what have you. And everybody's got their guns
trained on everybody else and Galen's like, hey, did you

(38:30):
You guys must be from the Flemings farm then, and
they were like yeah, we're yeah, we're there to help
them out too. And they just got radioed that the
Flemings had died, had been killed a couple of weeks
earlier by these cannibals. So the second they said that,
immediately they all opened fire and killed these people. So
after those people are killed, the little girls like walking

(38:52):
around this kind of warehouse type place, and as she's
doing it, this one woman was laying down and she's like, ah, surprised,
I'm old. She looked dead because you know, she was
as old as you know, the current president. And she
pulls out a gun and she's like, you know, and
the little girl like feels kind of like as stunned

(39:14):
or whatever. And then the little girls like, nah, fuck this,
and they have like a quick draw type match and
the little girl loses, gets shot in the guts. And
to that I felt nothing, as yeah, I don't, I don't. Anyway,
it's one of the cheapest.

Speaker 3 (39:34):
Things you can do in a in a movie. It
was shocking, right, but like shocking to the point in
the sense that like, yo, you you just shot a
main character at the end of the first act body

(39:58):
Count movie, and this is I'm sorry, I'm sorry saying
again you fitted out at it. It's you don't really
see that unless it's like one, unless it's like a
BodyCount movie. And that's not what this is, right, So,
you know, and I didn't feel anything. It was it
was cheap, right and very but I don't. I don't know, man.

(40:21):
Maybe it's because we didn't spend enough time with this kid.
I don't.

Speaker 2 (40:27):
I don't know. I you know. The funny thing is
I don't necessarily feel like I don't. I don't know that.
This is a like we need to spend more time
with the kid. I I really don't like that when
they shoot her, it immediately like smash cut to them

(40:48):
trying to like save her life or whatever. You know,
it's like you don't ever get any time to stick around.
I mean, like seeing the kids suffering or whatever, like
that's how you really build that kind attention or I
don't know, like give the kids some vulte me. I
don't know something about them. I don't know anything about
this kid besides the like the ceremony thing, I don't

(41:10):
I don't know anything about her at all. Nothing.

Speaker 3 (41:12):
That's what And that's what I'm saying about spending more
time with the kid, because I don't need to see somebody.
I don't need to see a black woman suffer from
a gunshot wound, right, I don't need to see that shit, right,
I get it, right, right, I get it. But if
you spend a little more time with this kid, then
maybe maybe it would impact you a little more, like,
oh damn, she was kind of cool, man. I hope

(41:33):
she shouldn't die. Like I didn't care if this kid
died like this was I mean, like you know, they
almost friged this kid if they could have friged her,
and I wouldn't have I wouldn't have cared, Like that's
the problem.

Speaker 2 (41:49):
Okay, let me let me ask you a question. Is
the lack of caring about these these kids or or
any of these characters, but the kids very specifically. Do
you think it has to do with the fact that
you see them being so brutal right off the top
of the movie, right, like you see her lay on
the ground and shoot a guy in the head in
the first like two minutes.

Speaker 3 (42:09):
Of the movie.

Speaker 2 (42:10):
Like you know, like I'm wondering if the trope works
better for like viewing audiences that a kid like that
is relatively innocent and then something happens to them and
then it feels like kind of shocking, right.

Speaker 3 (42:25):
Yeah, because I see what you're saying, because this kid
is you know, they are effectively being groomed to be soldiers,
to be child soldiers, right, And if you think that
a child is capable, you know that why That's why people,

(42:45):
that's why people, that's why children get charged as adults,
because if you feel like that child is capable of
committing that, like there was nothing in it she didn't
seem like a hapless victim, like or like a helpless victim.

Speaker 2 (43:01):
Exactly right, Like she's walking around with like an ar
fifteen two seconds before she gets shot, right like right,
Like I.

Speaker 3 (43:07):
Wonder if that that you fumble lady, you fumble kid
like you know right.

Speaker 2 (43:13):
Like you're good right right, like this is a skills
issue for you, right, Like Yeah, I'm wondering if taking
away their sort of innocence was Like I understand, I
understand it in the context of the movie. Is to
why you you'd want to, you know, have them as
sort of more like battle ready or whatever. But I'm

(43:35):
wondering from a movie perspective, does it take away a
level of innocence where you're just like, oh, it's the
little girl, like she was so fucking like she was
just doing a dance the other day, but like she's
also shooting people. You don't it's like it's.

Speaker 3 (43:50):
But you know, you don't see her, like you don't
see her, Like it'd be one thing if like you
saw her train and train and train and all of
a sudden.

Speaker 2 (43:58):
And get you get better.

Speaker 3 (43:59):
Oh shit, right, but like oh like like like the
like the woman from Task right where you know, she
was she was she was trying right, but all of
a sudden, it's when push came to show. It was like,
oh shit, what do I do?

Speaker 2 (44:17):
Right?

Speaker 3 (44:17):
And that would make sense because she's a child, right, Yeah,
but yeah, I don't. I don't. I don't know, man.

Speaker 2 (44:25):
Yeah, I'm wondering if you is it? Is it because
she's seen as a capable sort of combatant in this
does it take It just takes away that level of
like concern as a kid, Like you know what I mean,
like if the kids were relatively innocent or they had
been training this whole time and like that, that's how

(44:46):
we get to know them, is that they're training, but
they're still kids and they're scared, Like she's scared at all.
Like they shed just gunned a person down by the way,
like two seconds before she got shot, Like when they
had their drums gun their gun. He has drawn all
those guys who are like, oh, they're soldiers, and they
turned out they weren't really soldiers. She killed one of them.

(45:06):
She was or at least got into the gunfight with
those people. So it's like, how like where is her
innocence as a child? And I'm not saying it has
to exist. But I'm just wondering if that is the
reason that we're sort of feeling like, all right, well,
she just got shot. Because I don't think if the
brother had gotten shy and we've seen him kill people,
I don't think I would feel I don't think I

(45:26):
would feel much of a difference.

Speaker 3 (45:29):
I think I I think I might purely because we've
spent a little more time with him. We've seen how
he interacts with his mother. We've seen that he has
like he can feel things in his pants apparently, like
but we're strong, but we've but we've you know, we've

(45:56):
And I think that's just because we've spent more time
with him. I would I would feel a little something right,
but you know, at the same time, like, you know,
suck it up, nigga, you're a man.

Speaker 2 (46:06):
T take the.

Speaker 3 (46:09):
Butt ut ship back at him, like, get out of here, bro,
try harder.

Speaker 2 (46:14):
I don't think I would, like there isn't there is
a real lack of connection to the characters in this
Like that really.

Speaker 3 (46:21):
I don't even know the other daughter's name, bro, I
don't even know the other daughter's name.

Speaker 2 (46:25):
Look, I'll do you one better. I don't even care.
I don't care a ship about any of them. I
don't care.

Speaker 3 (46:35):
Yeah, this is there's someone, there's some of the stellar writing.
The sun is is Uh is remorseful because he's like,
it was my it was my idea to check the bodies.
That's why she was dead. And and I'm like, and
she and the other sister comes the older sister comes in,
and she's like, she's alive. That's because of you, not

(46:57):
the other way around. What I don't. I don't so
the other way around, she's alive because of you. The
other way around would be you're alive because of her,
or she's dead because of you, or she's dead because
of you. Like, I get it, she's dead because it's

(47:18):
supposed to be she's dead because of you. But I
don't know, man, it just doesn't. Yeah, I get that line.
The line is just I don't know. The line is
just weird, man, line is just weird. I don't know. Yeah,
that's maybe it's.

Speaker 2 (47:35):
No, it's not. It's a weird line. So then kill
Monger goes into by the Way, uh Lake Lake Swim
and Booty Girl. She shows up right, she's she's not
doing well, and he like he saves her right because
she's like all fucked up and she's that the fence

(47:57):
like help me please, and look he's like, look, I've
jerked it to many drawings of you come on in.
And so he hides. He hides his I R L
Spank bank in sort of another part of the farm,
and he's like tending to wound. She's got like a

(48:18):
a laceration on her arm, and he's such a dork,
dork ass loser. He's like, all right, let me let me,
you know, let me help you or whatever. She's like,
do you even know what you're doing. He's like, yeah,
I've given myself stitches. And she's like, man, just get
out of here, like just hold the gun on me,
like I'll do it. Type of ship like she's she's

(48:39):
kind of as much of a hard ass as his
mom is.

Speaker 3 (48:43):
You know, I guess to which is probably why he's
attracted to her. Let's be honest and swimming. We all
saw it. I mean, you know, she looks like a
she looks like a baby Journey Smoller, I get it, bro,
I get it. Yeah, I can see it.

Speaker 2 (49:01):
I can see it. This guy looks like he's made
out of ai like in some of these scenes, like
it's this weird. He's like overly clean for a post
apocalyptic situation. So he gets he gets called by his mom.
They don't none of them know that this this young

(49:22):
girl is. He's being hidden out there, and he gets
called to dinner and the mom is talking to everybody.
And the mom is like, hey, talking to the oldest daughter. Hey,
did you write your book report on the the proletariat?
Like playbook or whatever the book was is she's asi
read And the young girl's like, oh no, I read

(49:43):
a different book. And the mom is like, but I
told you to read this other book, not this new book.
She's like no, but the new book has got all
this other interestingtuffing about the proletariat and blah blah blah
blah blah standing up for her rights. She's like, no,
that's cool, cool, cool, cool, cool cool, So you gonna
write a book report on that and the other one
I told you right now. I was like, wow, this

(50:04):
mom is not a fun time, Like, yeah, you got
book reports in the middle of the apocalypse.

Speaker 3 (50:12):
Man, I mean, I get it. You know you wanna
you gotta you're homeschooling, I guess, But you know, dad,
the son made a joke, uh and innocent, you know
joke and the mom is just like, what do you
think this is funny?

Speaker 2 (50:34):
Yeah, and like your sister's up there dying upstairs. Like
they like, you're right, I'm gonna go in the barn
for no reason. I gotta get that. So yeah, the
mom goes and visits the daughter who got shot. She's like, oh,

(50:54):
you gotta you gotta stop all that bullshit. You gotta heal.
It's like, why are you being hard on? I'm in
a coma, right, Like, just again, this is a moment
where they could have given her a level of humanity,
but they don't. Right, Like, there's nobody there, Like her
daughter is unconscious, have her cry, have her breakdown a

(51:15):
little bit like.

Speaker 3 (51:15):
Something man, And look, I get I get like, I
get like not wanting to show weakness. I've only seen
my father cry twice, and the first of the second
time was an accident, right because like he it was
when I seen cry when his son died. I seen
cry when his brother died. And when his brother died,

(51:37):
he went into his bedroom to do it because he
ain't want nobody to see it, but he did it.
Because he's a human being as as as you know,
as much of a stick up his ass as he
could have when he was a little younger. Like like this, mom,
he he was a human being. He still possessed feelings, right,

(52:02):
and you know, yeah, to your point, like she's right there,
she's alone with a kid, right, Like you can let
the audience see this character be a little more human
and by the way, would help her character in the
long run.

Speaker 2 (52:21):
Yeah, like her being like this hard as hard as
hard ass going into this room with the real possibility
of her daughter dying. Right, I feel like you should
have made it a little bit more dire than they did.
They were just like, ah, she seems fine after like
two minutes, but a real prospect of her daughter dying,
her breaking down, Like the stress of like carrying so much,

(52:44):
you know, being a mom, it being the this pandemic,
this you know, post apocalyptic situation, you know, not knowing
what's happening with your friends and not knowing what's going
to potentially happen to your family. That's a lot of
wait for somebody to carry anybody, whether you military, hard
ass or not. That would be a perfect time to

(53:05):
get that ugly cry out, and then people could go, oh, yeah,
there she has as a human being. I don't get
any of that, which is very weird to me. It's
it's it's certainly a choice. So then we see Emanuel,
you know, he has his headphones there from I don't know,

(53:27):
nineteen ninety three, and the girl like takes them and
so she starts like listening to the music and she
starts dancing, and it's all a very surreal thing, like
she looks super cute and like the sun is on
her and it's like, oh, how adorable she is and
allsot of stuff. She's kind of gyrating, and then this
guy's like, I'm gonna drawing his shit out of you tonight,

(53:49):
and he is excited about it. All they could think
of is these vector drawings are gonna be a dope up,
and so you know, he's you know, she's like having
a good time. And then you know, and it's in
slow motion and you see behind her Daniel Daniel Deadweiler

(54:12):
and uh or Or Hayley and Galen. They walk in
and Daniel Deadweiler's like, what the fuck like and she
just walks up to this girl and just as the
girl like turns around. She just grabs her and and
basically was like you motherfucker, like grabs her and throws

(54:35):
like kind of like throws the walking or the the
sony walk into the ground and grabs her out and
then like walks her outside and walks Emmanuel in the
in the barn, and they persist to be like, Yo,
we got questions. If you don't answer him, I'm gonna
fucking shoot you in the head. This was a This

(54:55):
was a fun shot. I really, I really enjoyed this
shot of the juxtaposition of hey, this you know.

Speaker 3 (55:03):
This guy's crush is uh is there? The beams of
light are hitting her right, she's she's singing and doing
his gyrating and like yeah, like you said, like you know,
he's about the fucking shoot, arcing loads of fucking jizz
to the to the drawings that he's about to draw, right,
and then it's all, yeah, those those were your exact words,

(55:28):
arcing loads of jizz.

Speaker 2 (55:31):
I'll put that in. I'll put that on the thumbnail.

Speaker 3 (55:36):
In an arc.

Speaker 2 (55:37):
Yes, okay.

Speaker 3 (55:38):
And and and to to you know, everything is in
slow motion and you know, a lesser film with like
immediately like cut right, but no, they keep the song going,
they keep the slow motion going, but look on his
face from like, yeah, like it was it was great.

(56:05):
I really I really enjoyed it.

Speaker 2 (56:07):
Yeah, now this is this is a good scene. And
so they take her outside and they're like, what the
fuck's your story? Tell us everything. We're gonna shoot you.
And so she's like, well, uh, you know, there's like
twelve of us and you know, they they you know,
we're just trying to like make a make away. And
they told me to come see the Freeman's and you know,
get some help and everything else. And she's like, hm hmm,

(56:30):
she almost shot her. She doesn't. Then we get a
we get a flashback to meeting Augusta Taylor, who is
the the white woman that's been talking to Haley on
you know, like on CB radio type of thing, and

(56:51):
they meet because she's got and this is a flashback. Uh,
Haley's car breaks down and Augusta comes and helps her,
and she's like like form a marine or some shit
like that, and they kind of struck up a friendship
and they go back to they go back to when

(57:11):
she goes to drop Haley back at her farm. She
comes in with her and they find Haley's family is
all pretty much slaughtered except for Emmanuel, and so they
build a they build a bond together and that's how she,
you know, comes of course full time take care of Emmanuel,

(57:32):
and Augusta ends up being her her close friend as well.
As things are kind of popping off, I don't care
about any of this. Eventually, Emmanuel grabs the girl. They
hop on a quad bike and they leave the farm
and there, you.

Speaker 3 (57:52):
Know, he gotta he said, he got a radio, he
got a message on the CB from Augusta, right, and
Hayley is like, no, you ain't going nowhere like this,
you know, yeah, Augusta wouldn't wouldn't have said that. That's
that's bullshit, right, And and he's like, you know what, I'm

(58:17):
gonna do it anyway. They have they have an argument, right,
like they have the argument that people have when like
it's time to move out, you know what I mean?
Right like like and it's it's it's they're like, all right, whatever,
nigga like but and he screams at her, and she
she hems him up, like you know who I am,

(58:41):
Like you ain't too old for me to whoop your ass?
Right some ship like that right, and and uh so
he rolls out right, he's like, fuck this, I'm I'm out,
but I love her mom and then he just fucking
rolls out stupid.

Speaker 2 (59:02):
So yeah, eventually they, you know, they're like all right.
Haley's like all right, I'm gonna go try to find them, right,
try to figure out where they are, and you know,
Galen sees the de fence doesn't have its electricity anymore
because of the thing that h Emmanuel did so that
he could sneak out. Haley eventually gets to the I

(59:26):
guess Augusta's Augusta's farm or excuse me, the Flemings farm,
and she finds that they have drums of human body
parts is a thing there, and that's gross. And so
then we realize that the girl has has taken Emmanuel

(59:49):
to this like rendezvous point on this bus and there's
these other people there and they're like, look, you know,
She's like, I had to lead you here otherwise they
were going to like kill my people. It's like, so,
you know, it is what it is.

Speaker 3 (01:00:02):
I'm sorry I lie to you.

Speaker 2 (01:00:06):
Back at the Flemings farm, you know, Haley's walking around
and some guy comes up and fucking grabs her and
chokes her out, and she she gets gets knocked out.
Galen's back at the farm. Somebody comes up behind him
with a baseball bat as he as he sees like
a what he thinks is a deer in the in

(01:00:28):
the distance, but it wasn't as one of the cannibals
wearing like a deer hat type of ship, and a
guy comes.

Speaker 3 (01:00:34):
Yeah, the fucking the Maga sham guy.

Speaker 2 (01:00:38):
Right, yeah, now that's him. This is this is their
January sixth. That guy it's gonna run for Congress, I believe, alright,
that guy called the president. That guy called the president.
When you're right, you're right, but also you bad messenger.

Speaker 3 (01:01:02):
Something about broken clocks or something like that. I don't
know that.

Speaker 2 (01:01:08):
So the cannibals eventually get Galen. They try to crucify
him on the ground.

Speaker 3 (01:01:16):
Yeah, they so they don't want him to move, so
they give him stigmadel wounds. They tie his feet together
and fucking nail his hands to the to the ground.
They didn't do a good enough job because like he
just lifts the ship out of his hand out the
ground and starts stabbing him. But not after somebody took

(01:01:37):
a bite out of his bicep. You know they took
a bite out of the dude's bicep. But uh no,
not not bicep hungry. I'd be pretty hungry, but not
bicep hungry. Also like I'm gonna eat like you know,
the tricept meat seems like it's Yeah, the the better.

Speaker 2 (01:02:00):
That's it. That's the human. That's a human. Try tip right,
That's why they have a similar name. Everyone knows this. Yeah,
most people don't work out enough. There ain't enough meeting
there and bicep get out of here. So uh, Haley

(01:02:21):
wakes up and she's down in like a dungeon, all
tied up, and sit next to her is her old
friend Augusta, who is missing a leg from the knee down.
They cut it off and they ate it discuss. Then
we see I didn't even clean it.

Speaker 3 (01:02:42):
Probably not it's the leg. They don't wash their legs.

Speaker 2 (01:02:48):
They just let the soap run down their box.

Speaker 3 (01:02:51):
It's not Why would why would you publicly say that?
Ship One? Why would you not wash the legs? And two?
Why would you it? Yeah, there are parts of my
body that never touched water and never touch soap like what.

Speaker 2 (01:03:08):
You seem way too okay with that white people, Okay, okay,
nasty looks up for you, nasty ass. Yeah.

Speaker 3 (01:03:20):
So Augusta and Haley, you know, they they start talking.
You know, you could tell that they're good friends or whatever.

Speaker 2 (01:03:26):
They're like. Still they're joking in the midst of their
like pending doom.

Speaker 3 (01:03:32):
Yeah, I wonder why I she didn't scream at this
white woman like that though, screamed at her son from
making a from making an off colored joke. But we
we get to a scene where the two women are there.
I guess this is Is this the leader of the cannibals?
I don't know, we have no hierarchy of of of

(01:03:53):
cannibal leadership.

Speaker 2 (01:03:54):
Yeah, I think I think he's the guy. He's got glasses.

Speaker 3 (01:03:58):
Yeah, he's got glasses. How does he get those prescriptions
filled in this uh, in this post apocalyptic world, I'll
have no idea.

Speaker 2 (01:04:06):
There's still there's still a functioning lens craft Like what like,
like what a weird.

Speaker 3 (01:04:13):
Design choice in this post apocalyptic universe to have to
have this dude who's the leader of the people who
eat other people have corrective lenses.

Speaker 2 (01:04:24):
He's like I have, He's like, I'm sorry, I would
kill you, but I having a stigma.

Speaker 3 (01:04:32):
It's just kind of weird.

Speaker 2 (01:04:33):
Man, it's just weird. I'll kill you if I wasn't
so fucking near sighted. Okay, I mean, yeah, you would
in a world of using guns to kill other human beings,
you'd want to have better eyes.

Speaker 3 (01:04:53):
He uh, Haley spits on him, and then he grabs
the spit and puts it in his mouth and he's like, oh,
it is sweeter, the juice is sweeter.

Speaker 2 (01:05:03):
Oh yeah, Like all right, all right, all right, I
don't like.

Speaker 3 (01:05:08):
I don't care for that.

Speaker 2 (01:05:10):
I don't care. I don't eating other people spit not
cool with it, that whole like spit in my mouth,
saying fuck off, that's disgusting. Uh. Two, she's a stranger,
so uh no. Three, I don't like we're in a

(01:05:33):
post apocalyptic situation. I don't think we need to We
don't need to do racist you know, we.

Speaker 3 (01:05:38):
Don't need to do black out of Berry Sweet the
juice references. We really don't not Now.

Speaker 2 (01:05:43):
It was like I heard that Tupac song, Like he
didn't come up with that, saying like then we see,
we see, we see them just straight up cut Augusta's throat,
like They didn't even be like, hey, we might do this.

Speaker 3 (01:06:01):
They were just like, yeah, they showed it, man, like wow,
and was punched her. Yeah.

Speaker 2 (01:06:10):
Then they punched Haley directly in the face after that. Yeah,
I wasn't. I wasn't. I don't like seeing people get
their throats cut like that.

Speaker 1 (01:06:22):
That.

Speaker 2 (01:06:24):
It's a lot, like it's a lot in the movie,
Like I get it, and there's a certain thing.

Speaker 3 (01:06:30):
I didn't mind it, but I'm shocked they actually showed it.
Like I'm shocked they actually showed the actual slit most
most most people would not And that's the thing about
this movie, Like this movie doesn't feel like it's brutal
or visceral enough to have that that shot in it, right,

(01:06:51):
Like this isn't bone Tomahawk, you know what I mean,
Like this isn't like you know, this is this is
the Netflix verse of this, of this type of movie.
So it was just kind of odd to have that
incredibly brutal like throat slitting scene shown in it. I
don't mind it, but yeah, you know it just quite frankly,

(01:07:16):
it woke me up.

Speaker 2 (01:07:18):
Fair enough. It's followed by a kid eating food like
really close to the screen, which like these guys are
cannibal so that really kind of like leans into the
like disgust, like you know portion. And they're eating too.
They're eating in a way that like makes you feel
like they're going to throw up from eating too much,
which again I don't care for.

Speaker 3 (01:07:41):
Yeah, they're eating. They're eating in a way that like
they think they're a giant black dude dancing for food,
you know what I mean, just like mouth in the camera,
you know what I mean, unhinging your jaw like an animal.

Speaker 2 (01:07:58):
I don't care for that guy.

Speaker 3 (01:07:59):
It really.

Speaker 2 (01:08:02):
Uh. The guy who slit Augusta's throat comes down to
try to tie off Hayley's legs so that they could
cut it off later and eat it. It's kind of
fucked up. She she uh. She pulls a camaura, I
believe is what that's called in MMA terms, and she
uses it to knock him unconscious, which is like you

(01:08:24):
wrap your your your legs around a person's head and
cross your feet around the back of their neck while
pulling their arm forward, thus choking them out.

Speaker 3 (01:08:36):
I think keep mission.

Speaker 2 (01:08:40):
Yeah, it's a dope. Under Does the Undertaker do MMA moves? Uh?

Speaker 3 (01:08:47):
Yeah? The Undertaker got into uh he's a combat sports
guy and he uh, he got he got bit by
the combat sports bug and he's like, man, I want
to try that, so he started incorporating a similar looking
move in his moves.

Speaker 2 (01:09:02):
Oh, I'm sorry, that is not a kamora. I am
very wrong about that. I don't know what it's called,
because I'm sure there's somebody like, fucking no, it isn't.
I used to fight him and babe, shut up, shut up,
shut up. It's fine.

Speaker 3 (01:09:17):
This movie side. She killed a guy. She killed a
guy with her legs.

Speaker 2 (01:09:20):
Yeah, as you do.

Speaker 3 (01:09:23):
Look, this is one of the few scenes where this
is one of the reasons why I like Haley's character,
because Haley's character doesn't know that she's in a movie.
And what I mean by that is the bespectacled cannibal

(01:09:44):
comes in and notices, oh shit, my boy is dead
and this black Shir's got a gun. So he's like, wait, wait, wait,
there are more of us that you could possibly imagine,
and only, and only I'm the one that can b
Haley kills him without all that monologue bullshit, right like

(01:10:05):
it's it because that's what an actual person would do.
And I'm not trying to hear your I'm not trying
to hate you. Bullshit, I'm not trying to hear you.
You know it might get out of here with that
dumb ship right, like like no wasted effort, like just bow,
I don't want to hear it, right, And that's smart

(01:10:26):
and I like when characters do smart things in movies. Yep.

Speaker 2 (01:10:31):
Well, and she's because he's saying, you know, I can
I can save your family, and after she shoots him,
she says, no, only I can do that. I was like,
it's a pretty good line, Like it's a pretty good
line delivered.

Speaker 3 (01:10:42):
Well, it's a pretty good line, but like he's dead,
like it's a it's like he can't hear it.

Speaker 2 (01:10:49):
Like it's an action it's a classic like nineties action
Dick's like move like surfs up after you like smash
the person in the face with a surfboard.

Speaker 3 (01:10:58):
That guy cone a fray Like if you if you
get where that movie is from, you and I we're cool,
we're friends. No you're not.

Speaker 2 (01:11:11):
You're not cool. I guarantee you you're not cool. So
Haley gets surprised if somebody comes to the door, Oh shit,
it's or something, and she's like yeah, I'm happy to
see you, like, but I'm too tough right Like, Like
she's like, she's.

Speaker 3 (01:11:29):
Like, I know you're mad at me or whatever, but listen,
and he's like, I could never be mad at you, ma,
And uh, oh you just helped us five, right, because
like and and I hope you don't find out that
that girl I've been chasing, uh kind of half tricked
me into helping her because I was thinking, well but
diking out of my head. Yeah, don't be mad at me.

Speaker 2 (01:11:54):
I the thing that you said was going to happen.

Speaker 3 (01:11:57):
That happened exactly one happens.

Speaker 2 (01:12:01):
That girl gonta play you. He's like, that's not true.
You need trust people's like and smash cut the scene
and okay, So then we get a scene of like
Galen killing a bunch of dudes in the house.

Speaker 3 (01:12:15):
Okay, now what do you think about this scene? Because
I what do you think about this scene?

Speaker 2 (01:12:21):
I don't care for it.

Speaker 3 (01:12:24):
Thank you, yo, because I didn't know if it was
me just being super hard on this movie. But so
the scene is happening. Scene is in order to in
order to get the people who have invaded this house.
Galen walks up the stairs and tells his one of

(01:12:45):
his daughters to kill the power so that it's dark,
so that the cannibals don't know where you know, they're
they're they're they're in the dark. And Galen, because it's
his house, he should be able to know where everything is,
you know, he should be able to know seeing in
the dark. The problem is that this is a scene
that is shot for someone that doesn't know how to

(01:13:07):
shoot action scenes because you cannot. It's again, it's a
cheap way to do an action scene.

Speaker 2 (01:13:15):
You can't.

Speaker 3 (01:13:17):
You can't. It's like it's like the old Texas switch.
You know what the Texas switch is when someone when
a stuntman falls down and then bounces or rolls off
camera and then the actor comes back up in frame. Right,
That's kind of what this is. Right. The gun, the
muzzle flash is illuminating bits and pieces and then it's

(01:13:39):
dark and everyone has to stage where they are. It's
something that you would do in a stage play, and
that would be fine for a stage play, but this
is not a stage play. This is a film.

Speaker 2 (01:13:51):
Yeah, okay, all of that being said, and I agree
with you one hundred percent. The Batman did this better. Right,
scene where he's like walking through and they've got the
like the machine guns or whatever, and it lights up
and you see him fighting for a second and then
you know and then the light drops out. It works
better there, not just because it's that's a better movie,

(01:14:13):
but it works better there because the muzzle flash is longer.
It's so hard to see what's happening because it's like
po pop and that's it. You're like, what the fuck,
I couldn't see anything, Like you just see this and
then like it just moves to the next scene. There's
there's not enough time. Like, it doesn't mean they were
using three seconds. It's like half a second, you see.

Speaker 3 (01:14:37):
It's it's not they were using automa and look, to
be fair to this movie, I didn't care for it
in The Batman either, but I didn't care for it
for a different reason. I thought it was done well
in The Batman, but I didn't like it in The
Batman because they essentially made bat and bulletproof. Yeah, machine

(01:14:57):
gun like the shooting machine guns at bat Man. That's
why the muscle flashes belong. And they were they were
using automatic rifles, right, yeah, but you see bullets bouncing
off of them, and I don't like bulletproof Batman. I
don't think Batman should be bulletproof. Yeah, but but yeah,
it just this, this didn't This didn't work for.

Speaker 2 (01:15:17):
Me man, And yeah, I did not care for that
scene at all.

Speaker 3 (01:15:21):
It didn't work for me. It didn't work for me.

Speaker 2 (01:15:24):
Yeah. So okay, So so from there, oh god, it's
moving on. So yes, so well we're gonna get there.
Oh we're at one fifteen on the episode.

Speaker 3 (01:15:40):
Right, I'm gonna time, gonna kick it in the fifth gear.
Let's get the fuck out of here. So yeah, you
see other people getting shot, YadA, YadA, YadA. You see too,
like a number of members of the.

Speaker 2 (01:15:54):
Family, Galen and his daughter are are and actually Galen
and the daughters, all of them are locked down in
the basement hiding. Two of the cannibals are trying to
light the house on fire. They're they're like dumping gasoline
all in the house, and so Galen is like, just

(01:16:14):
let him in, Like Galen's been Galen's been shot. But
he's like, just let him in, uh, into the back room.
So they do, you know, they stop trying to light
the house and fire. They come in and the girl
is like, I'm trying to save my sister's life. You know,
she got shot trying to help her. And you know,
these dumb these dumb idiots are like, you know, Methanie

(01:16:36):
and her boyfriend are They're all looking around and he's
got like a machete on the daughter who is supposedly
hurt that they're operating on. He's got it right on
her neck. And the Methanie his girlfriend. She looks in
their armory and she's.

Speaker 3 (01:16:55):
Like, oh shit, look at all this stuff, Like this
is dope.

Speaker 2 (01:16:58):
And she then she sees the seasonings. Right, she is
a white woman who understands flavors, and she's like, I
gotta get these flavors. And I'm like, all right, I
got it. Like, you know, food is very important. Everything
else in this situation is trying to is more worried

(01:17:19):
about a regano and saffron, and she is like, the
MP four that's sitting on the wall, get the fuck
out here. So she just very silly, needless to say,
Galen stands up when she's not paying attention and he

(01:17:41):
fucking hits her with a shotgun blast directly to the chest.
The one guy he tries to like grab the little
girl and tries to like, you know, hold her tight
or whatever, and her sister who was on the on
the table like she was she was dying. She she
wakes up and stabs it dude in the back. By

(01:18:02):
the way, you gotta like a couple of times, not
just once, like maybe in the neck if you get
a punch knife. I hear that's very effective in the
side of someone's neck. And a bad situation. I did
not see that scene coming. Jesus Christ. It's a good show.
So so they kill those people. Galen gets saved and

(01:18:28):
he's okay, he's got like major gunshot wound or what
have you. Haley ends up fighting like four dudes in
a barn. She murders like three of them with a
with a knife, which was pretty dope. But then she
gets she gets pretty well injured. She gets stabbed by

(01:18:49):
a guy who I just assume is the Frankenstein of
of this yere town, and just as he's about to
kill her, he gets shot by of course, her son,
saving Haley's life for the moment. But then she's she's
not doing well and she passes out and you're like,
oh my god, Haley died. And then Haley didn't die,

(01:19:15):
and the family it was okay everyone much like a
fast and of furious ending, all the enemies become friends
and everyone survives fine, and then they drink coronas.

Speaker 3 (01:19:29):
I mean, you know, at one point during the fight,
the eldest daughter has a desert eagle and is like,
eat this motherfucker. And then it doesn't work because they
set that up earlier, and and it just it's it's
just a bad line to Liverpoolly, Like this is not

(01:19:53):
the movie for those cheesyass lines.

Speaker 2 (01:19:56):
Yeah that that line did not work for me.

Speaker 3 (01:19:58):
It just yeah, this is not the movie for that.
You know. The the the the girl is trying to
save the dad and you know, she's like, well tell him,
you know that I need him to stay awake, and
then they then she says it you could speak English, Yes,

(01:20:21):
I could speak English, and I speak English. Well, like
what the fuck are we doing?

Speaker 2 (01:20:26):
Yo?

Speaker 3 (01:20:26):
Like just just just like past, you're dying, bro, like
pastor this dude up, Like I don't. I mean, then,
like you said, they we get we get the fight
scene at at the end, which is a little anticlimactic
because like there's no important Joe there to like like

(01:20:49):
be the the big bad, you.

Speaker 2 (01:20:53):
Know what I mean, Like, I mean, there is a
big bad. He's just a big guy.

Speaker 3 (01:20:57):
Right, he's just right right right like they I guess
they did like a James Bond thing where the villain
dies early and then the henchmen comes out, but like
we don't know these people, like they're just there's no
tension in that fight. For me, there's no steaks.

Speaker 2 (01:21:14):
I mean, I would argue that's that's pretty much the
whole movie. Yeah, it's entire movies like that.

Speaker 3 (01:21:21):
And then yeah, like you said, they have you know,
they they they all are a family and they all
you know, eat corn or whatever. That's a lot of corn.
You know, that's a lot of corn. There's a lot
of corn on that on that plate, on that table.

Speaker 2 (01:21:41):
I mean, I mean, what else are they gonna do?
They got they got nothing else going on. They just
gotta eat corn.

Speaker 3 (01:21:49):
See yeah, just have just have a bunch of just
just corn all over the place.

Speaker 2 (01:21:57):
Think about it and look and look like.

Speaker 3 (01:22:02):
One two, like three of those people at that table
don't even have names. Bro, Three of those people at
that table don't even have names. They were the they
were the people that that she tricked Homeboy into saving
right the following the lead them there so they could
save them. They don't even get names, man.

Speaker 2 (01:22:21):
I mean, in fairness, I don't care about any of
the other characters who haven't, Like I don't give a
shit about them.

Speaker 3 (01:22:29):
It just seems like a waste. It just seems like
it just seems like like a lot of this movie.
This movie, guy has a lot of fat on it.
You're right, this movie could have been a YouTube like
this feels like it could have been a short film.
This movie feels like it could have been like forty
five minutes.

Speaker 2 (01:22:45):
No, no, I didn't say a short film. I said
a YouTube short. There's it just it has concepts. It
has concepts, a plan, I think is the best way
I could say that. Like there there is something there

(01:23:06):
that is interesting, yeah, but I don't know, like it's
just not put together.

Speaker 3 (01:23:11):
Well, just like all these Canadian movies that we that
we review, like there's always something there, right, Like it's
it's it's lesser than the sum of.

Speaker 7 (01:23:26):
Its parts, right, Like like there's a lot of little
stuff that like I think could congeal into something.

Speaker 3 (01:23:36):
Right, but like I don't, I don't know, man, it
did it didn't. This is like reverse poutine, right, Like
like poutine just kind of just kind of like greate
me and French fries and cheese.

Speaker 2 (01:23:52):
What the fuck?

Speaker 3 (01:23:53):
But like the ship works, it does work, and it works,
and this is like you know, they've they've found a
way to not make it work and in this in this.

Speaker 2 (01:24:05):
Movie, Yeah, it's like they took all the things and
they turned they turned the cup also like dumped everything
on top of it, and they were like it didn't
come together. It's like, yeah, you missed a fundamental part
of it. Yeah, yeah, I don't know right where you
go forty eight?

Speaker 3 (01:24:26):
Does does the mom like learn? Does the mom learn
to trust people? Now? I guess well.

Speaker 2 (01:24:31):
She smirked, so that's probably true.

Speaker 3 (01:24:36):
Yeah.

Speaker 2 (01:24:38):
Like to me, the ending of the mom coming down
the stairs of like I'm still alive, y'all, I was like,
all right, well, one of course you are, because like
nobody really died in this None of the main principal
characters died, which is a kind of a testament to
kind of a weak movie in my opinion. But it
would have actually been more interesting if like the son

(01:25:00):
got hurt and he was kind of out of it
for a while and when he woke up, you had
this big family with these new people in it, and
the mom is like a little bit not one hundred
percent changed, but a lot easier going and stuff like that.
And he comes up and he's like, oh, like you know,

(01:25:21):
and she says that, you know what, like you were right,
I need I do need to start trusting people, like
give her some humanity. I suck it out to the
end of like she barely cracks a smile because she's
so hard ass.

Speaker 3 (01:25:33):
No, I think I's to kind of I'm gonna take
your idea and I'm going to improve it, because that's
what I do with your ideas. What I would do
is I would have the mother incapacitated, so that the
mother is forced to depend on other people. She is
forced to be to trust this this girl and her family.

(01:25:56):
I would have I would have had the adults incapacitated
and have these children who have you supposedly have trained
them to be these warriors, to learn how to defend
themselves and to defend the homestead, right, because like that's
the whole point of the elder generation teaching a younger
generation to get them to you know what, Like you

(01:26:20):
won't be okay. That's why all these old politicians. Well
one of the reasons all these old politicians are hanging
on is because they don't feel like the young people
can guide the country. Well, guess what, that's your fault,
Like you you are not you are not being that.
That's the job of elders is to teach young people.

(01:26:41):
And that would tie in with her, That would tie
in with her whole like not trusting people. Now, you
have to trust them because your life depends on it,
because your families, you know, you have to trust these
young people. You have to trust that your son can
make the right decision. You have to trust that this
stranger does have your best interest at heart. Like it's

(01:27:03):
like that I think would have been that I think
would have been with a better direction for this movie.
And you can even have the two parents, you know,
stay alive if you want to write, like, they don't
have to necessarily die. I would have killed the dad, right,
I would have killed the dad necessarily.

Speaker 2 (01:27:22):
I would have killed him.

Speaker 3 (01:27:23):
I mean, look, I would have killed the dad, right.
So that so that the so that the children, like
the specifically the daughters, because they spend a lot of
time with the dad have like motivation right to we've
got to see it through, right, and I would have
had the mother incapacitated and then she has to rely

(01:27:46):
on her son and the ideas of like you have
to trust me. Like that's that's where I think this
movie really could have been something special. Instead, you know,
we get something pretty generic. And look, I can't make
a movie right before any one, won't you do better?

(01:28:07):
I can't. That's why I don't because I know I can't.

Speaker 2 (01:28:11):
Yeah, but those who can't, those who can't teach, right.

Speaker 3 (01:28:17):
Those who can do those who can't teach. I'm schooling
you motherfuckers how to make this movie better. But look, man,
this knows. Like I said, I I appreciate the swing. Yeah,
it just an effort. It was man, It just it
just wasn't for me. But if you get enjoyment out
of it, like, I'm very happy for you.

Speaker 2 (01:28:38):
Yep. All right, that is it for us. We will
see you guys, all right, hour twenty eight minutes perfect professionals.
All right, We will see you guys next week for
PREVIEU episode for episode two ninety one.

Speaker 3 (01:28:54):
Let it guess see.

Speaker 2 (01:28:55):
You yeah, yeah, yeah. Sokora travel Sokora this travel Sukara
t