The Final Destination (2009) | Episode #158 - Abyss Gazing: A Horror Podcast

Episode Transcript
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Speaker 1 (00:24):
Hey, you're listening to Abiscasing, a horror podcast where we
celebrate all things spooky and mental health.

Speaker 2 (00:30):
I'm your host of Brandon, I'm Billy, and I'm your
other co host, Josh. And on this episode, we are
jumping into what will probably be our most divisive chapter
in Final Destination series that we've done so far.

Speaker 3 (00:44):
But before we get.

Speaker 1 (00:46):
There, we are joined by a friend of the show,
friend of victims and villains, and all around one of
the best human beings that I know. He is the writer,
co writer and co director behind the film Canceled Plans,
which will be making its world premiere this year at

(01:07):
Horrific Hope, part of our psychological Torture block, also playing
with Still and Drive, which are both making.

Speaker 3 (01:14):
Their Virginia premieres. Please let me welcoming Leo X.

Speaker 4 (01:18):
Robertson, Hello, Jens. I'm so pleased to be here.

Speaker 1 (01:24):
I am grateful that you are up so late the
middle of the morning for this podcast.

Speaker 4 (01:33):
Exactly it's two am, but we're all internationally vibing. I'm
here for it.

Speaker 1 (01:38):
A I gotta say, I really love this movie. This
might be my favorite film that you guys have done.
I think every film we've programmed of yours, whether it's
been a Horrific Hope or it's been through another event
that we've done with victims, has consistently just kind of
seen this like evolution of growth. It's where I can

(02:02):
see where you guys are challenging yourselves. I can see
where you guys are growing in your ability in terms
of direction, lighting, acting, themes, stuff like that, and.

Speaker 3 (02:13):
Cancel plans is really probably what I will.

Speaker 1 (02:16):
Say is probably the most ambitious project that you guys
have ever done to date. And it basically it is
kind of acts like this like extended cut of another
Horrific Hope selection that we showed last year called What's
Bad Luck to a Club Like Ours? It is a
twenty minute short film we showed last year, And can

(02:40):
you talk about the the What was it about that
story in particular that made you guys want to expand
it into a feature?

Speaker 4 (02:51):
Good question? It was I think it was. I had
said that without spoilering it. There's one there's one character
that becomes a particular focus after that short film that
we wanted to know what happened next, and Tom and
I had our theories because Tom plays that character and

(03:11):
I said, you know, after this short film, he probably
just leaves the room and goes to work. But I
couldn't think of anything else that happened after that. But
then Tom gave me some ideas and gave me the
basic structure of what came afterwards. And I wanted to
capitalize on his passion for the short film and give him.

(03:32):
If I gave him the co director co writer role,
then I knew that we could. It would split the
work for me and it would be an easy project
to carry on with. There's something about me that just
needs a longer form in order to finish saying what
I was saying as well, Yeah, I think so.

Speaker 5 (03:55):
I mean, I'm with Josh.

Speaker 6 (03:56):
I got to see, as you know, a lot of
your films that you've done, and I got to see
the short of this one, and I kind of knew
that this was coming, and the fact that you expanded
on what you had and gave us this was great
because it did have at the end of the short
where I was like, you, what happens when this character
moves on to the next, you know, to the next

(04:17):
thing of what they're gonna do? So uh, And I
know Tom had a lot to do with it. So again,
I just can't say anything, but I just love this film.

Speaker 4 (04:31):
I'm so glad. I'm so glad because you know, it's
it's a risky and experimental thing. So to get praise
an excitement from you means it really obviously, it really resonates. Yeah,
that's nice.

Speaker 7 (04:44):
Yeah, that was my introduction to your work. And when
a movie makes me have to like go back and
Dane and watch again, that's something.

Speaker 8 (04:53):
That's a good track.

Speaker 7 (04:54):
And that's that's that's that's something because it made me
really think and I had to like go back and
watch watch to watch it again, and that's always a
good thing. So man, like my first time being introduced
to your Workman, it was awesome.

Speaker 4 (05:07):
I'm sorlad. I'm so glad to hear that.

Speaker 1 (05:10):
So I am kind of curious. So for those that missed,
What's Bad Luck to a club like ours? Essentially it
tells the story of this guy that organizes a essentially
a group of people he meets online that will in
turn kind of meet together and kind of Jim Jones

(05:33):
have the Jim Jones experience, and it's kind of revealed
at the end of that which not really a spoiler,
I don't think, but it's kind of revealed at the
end that he essentially faked it, and that's kind of
what this film explores. It's kind of kind of comes
to grips with it and rewatching this movie, I think

(05:58):
for billion and I who have actually had a chance
to like hang out with you guys, go get dinner
with you guys, and like really get to know you,
get you and Thomas.

Speaker 3 (06:08):
People, this is one of the.

Speaker 1 (06:12):
This is what I think probably the best performance I've
ever seen from Tom because it's so cold and it's so.

Speaker 3 (06:20):
Like distanced and calculated.

Speaker 1 (06:24):
And but it's like it's also like this really thought
out really well as a director and as a as
a collaborator when creating this character. How did you guys
kind of come up with the ideas of what were
some of the challenges to kind of get into that
headspace for you guys to have such a thrilling performance.

Speaker 4 (06:49):
Oh wow, I'm sure Tom will be very pleased to
hear that, and it was a real challenge for him,
but it's something I knew he could do, which is
a have you seen in this other films? He goes
very big, and he goes very comical and he likes
to get really mad, and he gets really mad very well.
But like you say, this is a subtle performance where

(07:09):
it many seems he has to not call attention to himself.
So that was a challenge. And I think because a
lot of what's going on in this character's head is
so violent and disturbing, almost constantly, it was.

Speaker 1 (07:28):
Tough.

Speaker 4 (07:29):
Well, the balance was that I like to keep a
lot of that off camera, but like you say, we're
trying to challenge ourselves, and if it all stays off
camera does get a bit boring. So I think the
challenge was what goes on camera and what doesn't, and
how do you let this character show rage and extremity

(07:50):
without dipping into a caricature. And I think that some
of that that most of that was the writing, then
a little bit of that as an edit, And yeah,
I think that's what I would say. I'm not yet so.

Speaker 6 (08:07):
Yeah, I mean it's hard for me to talk about
it without spoiling any in this movie. Well, one of
the big things, like the headlines now is about Ozzie
and Sharon and everything, and watching this movie kind of
made me think about, you know, what they're talking about now?
And just the fact that they've come out and I

(08:29):
know it's legal in Sweden. I believe it is for
them to do a pack and do stuff like they
did in the first short did any of it. Did
you know that going into this that there were things
like that that were legal in Sweden too?

Speaker 5 (08:44):
Or was that just coincidence?

Speaker 4 (08:48):
So we can totally spoiler the first short film, then
why not because it's tough to talk about otherwise. Basically,
the yeah, the short film is about Tom's character leads
a death suicide pact essentially between a bunch of people
with different backgrounds, and Robot was really interesting making that

(09:08):
short film is one of the characters, Well, somebody was
reading Barrett's limes. Barrett is an elderly woman who plays
this beautiful part in the beginning, and she wants to
die because she's just reached old age. And one of
the other actors said, oh, well, I do agree with
that in that case, but it was so clear in

(09:29):
her head which death she agreed with in which one
she didn't. And it's kind of the ethical dilemma whether
or not it is legal or not. I haven't actually
been following that because I think it was just about
the making an audience member question their own ethics, because
these are all people who want to die for different

(09:51):
reasons and which ones are valid or not. It is
something I wanted the audience to ask themselves, and for
you guys who all deal with mental health beautifully. I
want people to see the types of reasons that people
would want to end their own lives, and blending those
together was deliberate because I do agree in Barrett's case,

(10:15):
I don't agree in I don't think any other case.
But I wanted people to see that these people saw
all the reasons as like equivalent, you know, that they
were They were in a room of like minded people,
and I wanted people to understand that this is what
goes on, perhaps in the headspace of of mentally old people,
and that they see these reasons as valid. So I

(10:38):
wanted to get the audience to question their own ethics
about it. Yeah, but I didn't know about this audio
Enshire and think I'll look it up now.

Speaker 3 (10:44):
Yeah, I didn't know about that either.

Speaker 1 (10:48):
The only thing I know about is, uh, well, them
kicking Motley Crew off the final show of Sports.

Speaker 6 (10:55):
He did the show and everything because he's sick and
he Uh, Sharon's parents or father, somebody was really sick,
and she said she never wanted to suffer like that.
And Ozzie she doesn't want him suffering either. He agreed
to that. So they they said, at a certain point
when they think that they're going to suffer, that's it.

Speaker 1 (11:16):
Interesting. One of the things that I think is uh
is really interesting that you guys. You know, we joked
around at one point, Billy and I when we were
programming this year about doing a double feature in putting
this in our screening of American Psycho back to back,
because there are so many different themes that align between

(11:40):
both movies, you know, the ethics of what really is
good and what really is bad and what is right,
what is wrong, and so much of the script I
think you guys kind of battle throughout the course of that.
There are some just splendid and outstanding monologues in this
and conversation pieces that really do speak this. This is

(12:03):
a really artsy film. So I just want to put
that out there to anyone listening. I think this is
going to be a really divisive film this year at
Horrific Hope. I think if you're if you like cinema,
if you like more like the A twenty four and
like really kind of thought provoking stuff. Like you said,
like it's has that art house feel to it, you

(12:26):
know when you guys were kind of creating these like
really interesting arguments because there are our portions in this that,
you know, we do have this like the toxicity of
social media. You know, the bad habits of like one
person might not necessarily mean to be the bad habits

(12:48):
of the other. Can you talk about kind of walking
the line and kind of creating these really captivating dialogue moments?
Those have always been one of the things that I
love about your films, are the dialogues that kind of
come with them. Can you talk about kind of creating

(13:09):
those different vantage points for these characters to really kind
of create a captivating script.

Speaker 4 (13:17):
Yeah. Absolutely. I think that the first well, the dream
sequences there, for example, if we can call them those
are we're just purely intusive. I think I wrote them
just completely trusting whatever the hell I wanted to write.

(13:37):
Based on some notes that Tom has, he said he
wanted to be ambiguous what home life this character has
going on, So it gave me various ideas of what
this character could could come home too, and then what
would happen there? And then I watched I watched and
rewatched Inland Empire a lot, which I absolutely love and

(13:57):
I'm still only coming to understand. But then, so that
was a big inspiration there, and just to purely intuitively
write down what I thought was going on. And then
I found little thematic connections between the scenes which were nice,
which I don't fully understand either. I have to give
massive credit to my friends Alex and Greta, and they're

(14:18):
the ginger guy and the blonde, curly haired woman are
sitting and chatting about life in the office, and I
think I just pave them an improvised prompt which was
just like talk about why you live and what was
it worth to you or something like that, and then
they had this amazing I just ran the camera for

(14:38):
like ten minutes and Tom and I behind the camera
going wow, oh my god, that's amazing. And they were
very nervous to do a good job for us, and
they didn't know if what they were saying was valuable
or not. But then I just cut and I said, Okay,
that was better than anything I wrote, and that's way
more than I needed. So now I need to think
of a use for that. And when it came to editing,

(15:00):
I took that dialogue and then I put the phone
call filter over it, and then I used I made
it sound as if they were having phone calls together
while we had footage of Tom. And so this film,
like you say about us kind of being a bit
more experience as filmmakers. We took kind of risks to

(15:20):
allow the actors to contribute in different ways and for
me to trust that in the edit I would find
a way to use it. And so a lot of
the footage that you see in the film is me
just filming Tom walking around and filming the streets and
thinking maybe I'll use this or not. And so that
was nice and free form and I think adds to

(15:42):
the feel of it. And I have to say that
I think the many favorite things I've filmed, but I
absolutely loved that chim school shooter monologue because the delivery
was so important and it makes absolutely no sense and
it makes me laugh so much.

Speaker 1 (16:00):
Well, one of the things that I am kind of
curious about is there is a part probably the films
like transition between the second and the third act where
you have these very meta moments, and those meta moments
also continue. So if you guys are listening to this,
please know that this is the first film that we've
ever programmed second film, I'm sorry, second film we program

(16:22):
that has a post credit scene. So there is a
post credit scene in this one.

Speaker 3 (16:27):
Can you talk about where.

Speaker 1 (16:28):
The I'm kind of curious where the meta elements of
this movie kind of came from because it happened really
kind of late in the movie, but also they kind
of kind of hit that refresh button and you're kind
of like asking yourself, all right, how much of this
movie have I seen is in this light as opposed
to what I thought was in this light?

Speaker 4 (16:51):
Yes, Okay, I know exactly what you're talking about. I
know again, I think I was thinking in part of
I was heavily inspired by Inland Depart the most, and
there's some Mytha moments in that as well, and I
love especially the mood and the layers of storytelling that
that film achieves. It's such a low budget. Is just

(17:11):
amazing because it's like Lynch is just giving you permission
to go, like, whatever you've got, you can make something
so transcendent. And so that was the bar was set
there I think. But for me, there's some moments that
I don't discussing briefly my own interpretation as long as
it's known that it's only mine, and if an audience

(17:33):
thinks something else, that that's incredibly validant and what the
point is. But for me, some moments are about how
much of yourself you put into the film, and that's
what some of the meta moments were about. And that's
as much as I really understand it, I actually don't
understand a lot of the parts that are going on.

(17:54):
I didn't want to and I wanted to throw them
out there because the film is about not understanding things.
It's about the character don't understand characteres like this. We
don't understand why we live, we don't understand each other.
I'm there's a lot of misunderstanding that The Eye risked
putting into the film as well.

Speaker 1 (18:14):
I would say, first off, I love that this this
is some of those elements are inspired by the late
Great Lynch Inland Empire. If you haven't seen it is
like a rip and a half. It's so wild and
so crazy. I just rewatched a couple of weeks ago
and like still like it's just like like mind boggling.

(18:41):
But I think it's one of those things that I think,
you know, when we talk about ambition, this is probably
one of the most ambitious films I think we've ever done.
I don't know how Billy sees. I would probably say
this is probably, if not or one of the most
ambiguous films we've programmed this year.

Speaker 6 (19:02):
Yes, this is one of the films that made me
really think and then at the same time, even though
some of the films you know can make you uncomfortable,
this is the one that mentally messed with me and
made me uncomfortable in a good way. It is one

(19:24):
of them that makes you think and then even when
you're thinking, you're still, wow, how can my head space
go there?

Speaker 4 (19:31):
So I'm really glad, if I if I can say,
I'm really pleased that there's a space for films like
this in your festival, because I know there's so much
like cool, horrific slasher stuff going on there, and I'm
really glad that you find space in your festival for
this kind of work. And I'm really glad it messed

(19:52):
with you. And when we screened it, we screened it
for like friends and family and so on. And people
came along and were like, oh, you know, my friends
and U a cool film, I'll come along and see it.
And I thought, oh, please, don't. You're going to hate
it if you don't know what it is. But I
was surprised that lots of them said this was really cool.
It made me think harder than other things I've seen,

(20:14):
And the film is trying to be about I mean,
everything we do is like a testament to local creativity,
local power, like the power of interesting people. And I
think the film is about how much is going on
inside the heads of just ordinary people as well, So
that's very cool. I tried to make it accessible, and

(20:37):
we were pleased to see that so many people liked
it beyond what we had expected. Like somebody random could
come and watch the film and actually enjoy it was
really cool to me. So so I hope that people
continued to be surprised by their enjoyment of this film.

(20:58):
Once again, you guys.

Speaker 3 (21:01):
Once again, you guys.

Speaker 1 (21:02):
Can check out the world premiere of Canceled Plans. The
movie is going to be playing at this year's Horrific
Hope Film Festival. Tickets are now on sale. Will provide
it a link for you guys in the show notes below.
Wherever you guys are currently listening to this podcast, Cancel
Plans is going to be headlining our Psychological Torture block
along with the Virginia premiers of Still and Drive Again.

(21:27):
The short films in this block are also great. I
think every film we've program this year is fantastic and
kind of all kind of meshed together in this really
beautiful way, and I am very excited. But on the
other side of the commercial break, we are going to
be talking about Final Destination for aka the Final Destination

(21:52):
and the return of David E. Ellis from Final Destination two.

Speaker 3 (21:59):
We'll be at that.

Speaker 9 (22:01):
If you were someone you know is listening to this
podcast right now and you're struggling with suicide, addiction, self harm,
or depression, we encourage you guys to please reach out.

Speaker 3 (22:12):
This is the heartbeat or why we do what we do.

Speaker 9 (22:15):
Suicide is currently the tenth leading cause of death in
the United States, and as of this recording, there are
one hundred and thirty two suicides that take place each
and every day on American soil, and when you scale
back internationally, there are eight hundred thousand successful suicides. That
is one death roughly every forty seconds, So if you

(22:36):
were someone you know is struggling, you guys can go
to Victims and Filains dot net Ford slash hope that
resource is going to be right in the description wherever
you guys are currently listening or streaming this, There you'll
find resources that include the National Suicide Lifeline, which is
one eight hundred two seven three eighty two fifty five.

Speaker 3 (22:56):
You can also text help to seven four seven four one.

Speaker 9 (23:00):
Us have a plethora of other resources, including churches, getting
connected with counselors, LGBT resources like the Trevor Project, and
also a veteran the hotline as well. Please if you
hear nothing else in the show, understand that you yes,
you listen.

Speaker 1 (23:20):
To this right now.

Speaker 9 (23:21):
Of value and worth, We get it. Suicide, depression, mental health.
These are hard topics and this stigma around them doesn't
make it any easier. But please consider the resources right
in the descriptions below wherever you guys are listening, because
once again, you have value and you have worth, So

(23:42):
please stay with us.

Speaker 1 (23:45):
Ye hall, I don't know why, it just it felt
so right to pair with this movie.

Speaker 3 (23:50):
Welcome back to Abyscayzing, where we are talking about.

Speaker 1 (23:53):
The movie The Final Destination aka Final Destination for aka
the return of David Ellis from Final Destination two.

Speaker 3 (24:04):
I have made it owed to a lot of people.

Speaker 1 (24:07):
If you were listening to us last week with uh
Open ninety nine Productions and the radio director of our
other Perfect Hope.

Speaker 3 (24:16):
Of Selection.

Speaker 1 (24:21):
Hell Squad two, you guys know that announced the last week.
I'm not a fan of this movie. This, this, this
rewatch really hurts. So I'm kind of curious where you
guys all ended up with this movie.

Speaker 8 (24:32):
Well, you butchered the e Halladley.

Speaker 7 (24:37):
I can't do one better because I want to put
a full disclosure. I should have said this earlier, but uh,
if it's not obvious, I've been having a rough week.
My voice is shot. I've been the long story short,
had a ut, I passed a kidney stone, I've been
down up a lots. My voice is shot. But I

(24:59):
wasn't gonna miss dude an episode. But over that. So
that's my final destination out there.

Speaker 4 (25:07):
I'm sorry to hear that I wanted to fill Alabama,
So I'll give me one next time.

Speaker 8 (25:12):
I'll do next week.

Speaker 7 (25:15):
I'll ask Josh your info and I'll just drop you
out of random voice in the middle.

Speaker 8 (25:20):
Of the night.

Speaker 4 (25:22):
You get a good one great, great just for me.

Speaker 8 (25:26):
But I love this movie.

Speaker 7 (25:29):
It's because I'm not gonna argue that this movie is
like great, like it's it's like a like an incredible movie.
It's just it's stupid and fun and I had a
good time, and that's all you can ask for. I
saw this in theaters with a girl at the time
a long time ago. That's girl, and I had fun
and I still have fun. And my wife loves it

(25:51):
because it's just stupid, and that's what you can ask for.

Speaker 5 (25:55):
I mean, they only got to make a couple of
left turns, so.

Speaker 6 (25:58):
Yeah, and this was the first one that actually released
in three D.

Speaker 1 (26:04):
Yeah, back when the weird craze of the fee the
three D, like right around the two thousand and nine
twenty ten error, every major studio is like, we gotta
do three D experience, and.

Speaker 5 (26:22):
You could feel it in this film.

Speaker 6 (26:24):
I mean, I love the introduction of like X craze
showing the kills from the other movies and the way
it did it even without the three D.

Speaker 5 (26:33):
I kind of liked that kind of stuff.

Speaker 6 (26:34):
But you can feel that they were trying to really
push the three for this one, which I think kind
of hurt it.

Speaker 1 (26:42):
It's not as bad as A Nightmare or Friday the Thirteenth,
Part three that was released in like the renaissance three
D of the eighties, and it is pain if you
haven't watched it recently, it's like painful to like go
back and like they purposely did shots that would like,
you know, pop off. So that's kind of like the

(27:03):
gold standard, would it.

Speaker 3 (27:04):
It's like too much three D, Like I didn't feel
that way when I watched this one. So yeah, Lea,
I'm kind of curious to hear what your your thoughts
on this movie are.

Speaker 4 (27:15):
So I wrote that this is like a lifetime movie
but with violence. I just you're absolutely right, Like there's
just nothing, there's nothing to It's a precipitous drop from
Final Destination too, which in my opinion has the most
interesting philosophical death stuff. It gives you something new. It's

(27:38):
just it's just great. Gave us the log death, which
is just the most iconic piece of anxiety that has
ever entered the zeit geist from a film. At one
point that the Ginger Lady was like, oh, you know,
we're not going to split up, and I was like, oh,
is that his girlfriend? I had absolutely no idea who
anyone was. There was so like, there's all little characterization,

(28:00):
and it was you know how. Of course Casey says
that these superhero films are like roller coaster rights. This
is the ultimate roller coaster rights of the film, which
is why Brondan, you're saying it's a great time. It
absolutely is, but it's it's like a roller coaster. You're
on at you're swelled, your off it, you think you
don't think about it again. Yeah, that's my overall impression.

Speaker 1 (28:21):
I'm really glad you brought up Lifetime because I was
gonna say the c W because two out of four
of our main cast actually had stints on on c W,
so Lori's actress, Chantelle van van SAand ten Wow, that's

(28:41):
a wild name to say, Uh played Patty on The Flash.

Speaker 7 (28:46):
And then Nick also, what, nope, are you gonna don't
forget One Tree Hill?

Speaker 3 (28:53):
Okay, well you're a One Tree Hill fan.

Speaker 7 (28:55):
I was not before you even got into I had
to make sure that was mentioned.

Speaker 1 (29:02):
But Nick Xano, if you grew up in the era
of Amanda Bynes, like got his start on what I
Like about You, and he's done like a bunch of
other things.

Speaker 3 (29:13):
He also did Legends of Tomorrow, which was on CW.

Speaker 1 (29:17):
So like this, this just feels like it was a
made for TV movie with these concepts and that it
was like, you know what, We're gonna add some three
D effects to it.

Speaker 3 (29:28):
Released this sucker in theaters.

Speaker 6 (29:32):
Yeah, I mean, and it felt like they tried to
do two major plots in it versus one, like everywhere
else instead of just having the race car scene, it turned.

Speaker 5 (29:42):
Around and had a mall with the theater and everything.

Speaker 6 (29:46):
So it almost felt like they could have been separate
movies if they really wanted to, like do the money grab.
But at the same time, it's I don't even think
standing alone would it made it better to me. It's
not like my top one.

Speaker 1 (29:59):
I I'll say, for as much as I hate this movie,
I love the opening.

Speaker 3 (30:04):
I will say that's like the best thing about it.

Speaker 1 (30:06):
It kind of almost operates like ghost Ship, where it
has this like really stunning, amazing opening and the rest
of the movie is just really boring.

Speaker 6 (30:18):
I want to point out whatever town city or whatever
this is, I just want to avoid it because nobody's
doing inspections in that city on any of the building up.

Speaker 7 (30:27):
Or like it started that with shone down and NASCAR,
Like what more do you need, dude?

Speaker 5 (30:34):
I need them to go do inspections.

Speaker 6 (30:35):
Nobody should have been at the racetrack if the concrete's
break from me and everything, and then and then go ahead.

Speaker 3 (30:43):
Don't forget about them all.

Speaker 7 (30:45):
There's a raggedy racetrack five minutes from my house, saying,
I don't remember the last time they check stuff there.
Let me tell you if I die there, I'm donhappy
two dollars, Like you're going.

Speaker 5 (31:00):
For the crashes.

Speaker 4 (31:01):
So in the mall they have barrels of a liquid
that says spontaneously combustible on it, Yeah, spontaneously, then take
then get that out of the mall. What is that
doing there?

Speaker 3 (31:14):
But there for life insurance reasons?

Speaker 4 (31:17):
Yeah? Like you say, like what town is this happening in?
I don't know if we knew what state we were in,
but I was really interested that. Like in the opening,
they go to what interests me that I'd like to
hear from you all about it? They go to this
NASCAR race, can't say his Nascar? OK? Fine, Then they
get out and some of them are like, oh yeah,
I can't believe the way that stupid redneck behaved. And
I'm like, you're all at NASCAR, like you're aren't you.

Speaker 1 (31:42):
I mean.

Speaker 6 (31:45):
It's like friends playing because the Nascar, I mean, the
redneck guy is going after the security guard and it's
like just crazy that even Death is saying, dude, why
can't you two just get along?

Speaker 1 (31:59):
Well, I think it's what I think is funny is
particularly about the point you bring up, Leo, is South
Park is forever ruined Nascar For me, if you have
never seen the Poor and Stupid episode, it is hilarious.
But like, I don't know, I feel like Nascar and like,

(32:21):
if I had to guess, I would say state wise,
this probably took place in Tennessee where you have a
mixture of both country folks as well as kind of
you know, people that are like the Nick Xano character
that is coming to see crashes and then you've got girlfriends,
Like it does have this collection of people from all

(32:44):
different walks of life. Like guess, most stereotypically, I would say,
like NASCAR does kind of get referenced in with more
redneck type or country folk, but are the people that
I know that enjoyed NASCAR are very far from that culture,
and so I feel like this does a really good

(33:05):
job at kind of showcasing the diversity and the complexity
of NASCAR culture.

Speaker 3 (33:12):
I can't believe I'm complimentsing this movie. It's killing me.

Speaker 8 (33:15):
Oh dude.

Speaker 7 (33:16):
I mean Nascar like I can kind of because where
I live, we have Talladega, like thirty minutes from us.
That's a big racetrack, Knights, and the culture of NASCAR
vandom has changed so much because there's a race car
drivering Bubba Wallace who has been at the forefront of
like of diversity and change in I can say, like
NASCAR used to be kind of a one race type place,

(33:39):
and it's not that way anymore. Yeah, everybody's welcomed no
matter who you are, what you what you look like.
We believe in and it's it's really cool to see
that because NASCAR used to be painted as the you know,
the the white collar, the white man's sport, and it's
not like that anymore.

Speaker 8 (33:54):
And I love that.

Speaker 1 (33:56):
I remember the controversy too when it Jeff Gordon was
my favorite truck drivers growing up. Here's a goat, He's
an absolute goat and like I don't watch it anymore,
but like I remember, I think it was like I
was either in high school or like had just graduated
from high school, but I remember the story about like
him coming out and it was like this, like it

(34:20):
was something that like really significantly like shook kind of
the what could possibly be? And I, uh, you expected
of Nascar? And is this a rumor that I'm mixing?

Speaker 3 (34:40):
Alright?

Speaker 7 (34:45):
The only reason why people claimed that was because he
had the rainbow car that did you find car?

Speaker 8 (34:52):
People? And because he came in and whooped.

Speaker 7 (34:54):
Earn Harts asked, sorry, rest in peace, but you know
you gotta move over for the new blood.

Speaker 8 (35:01):
Sorry.

Speaker 1 (35:01):
Sorry, Sorry to any folks listening that are fans of NASCAR. Sorry,
I'm sorry to bring it back to this film, because
that was really interesting.

Speaker 4 (35:11):
It was more going on in that conversation than the film.
But it does because then there is like a racist
character at the NASCAR event, and there is from what
you're saying, it almost had some social commentary in it.
So I appreciate the attempt kind.

Speaker 3 (35:26):
Of because I think.

Speaker 1 (35:29):
I feel like when I was growing up, NASCAR was
very like Brandon said, it was very like one track.

Speaker 3 (35:34):
It was very much like it was. It was a
male dominated sport.

Speaker 1 (35:40):
I mean even yeah, you had drivers like Danny Kapatrick,
but you know, they kind of never really she never
really rose to the status of you know, Jeff Gordon, Dale,
Earn Hart, you know a lot of the other ones,
even Tony.

Speaker 3 (35:54):
Stewart from that era.

Speaker 1 (35:57):
But I think it was probably right around the release
of this movie, ironically enough that you feel like you
kind of started to see that change was possible and
that you know, you could get in people from different
like walks of life that you know, weren't just necessarily
straight white guys.

Speaker 4 (36:16):
I'm well, I will say on that point that the
the security guard character was the most interesting guy for me.
And then I looked him up and he's been like
in big theatrical productions and things like that, and I
wonder whether or not he insisted that his character actually
do something and be something, because the rest of them,

(36:37):
I don't even know what the goals were. I didn't
know why they what were they trying to live for,
Like what one guy was trying to live for? P
Wards I forgot from the lights of work here. But
that was like the only voltsvas you are, okay, Ah.

Speaker 3 (36:55):
I all right, forty, either of you respond to this.

Speaker 1 (36:58):
I just want to look at Let this be known
that these are legitimate character titles listed on IMDb, that
there is a character named Milf mechanic, racist, Mechanic's girlfriend,
racist wife, and MILF's husband, Like.

Speaker 4 (37:20):
Mom, I'm in Hollywood's Oh really, what's your carticle number two? Okay,
all that Hamlet paid doll you know, got your car?

Speaker 7 (37:31):
Jesus, dude, I laughed when I was watching the credits.
Did I never noticed that? And I saw a racist eracist?
I was like, oh my god, they can't give him
a name racist?

Speaker 4 (37:44):
Oh dear.

Speaker 6 (37:45):
Yeah.

Speaker 1 (37:46):
So the guy that you're talking about is uh Mike
Leddy Williamson. I don't know if I'm saying that that
name right, but I mean he's he's got you know,
he's was Bubba Blue in Forrest Gump. You know, he's
done the Perge three. I mean, he was in Heat.

(38:08):
He's Infensis. I mean, he's done his his time. You know,
he's gone on to do other roles and so like,
he's probably the strongest performance here of of any of
these these guys. Like the emotions that like when you
hear him kind of talk about like his wife, like
I really feel like you. I felt that, Like that

(38:29):
was the only time of this movie that I was like,
did a character just move me?

Speaker 3 (38:34):
Like you know, he's got definitely has like the strongest performance.

Speaker 1 (38:39):
But you look at his filmography and you're like, oh,
this explains why, like the other performances like aren't necessarily fad,
They're just not captivating in the same way like for.

Speaker 8 (38:49):
Example, like.

Speaker 1 (38:52):
I was gonna say, like, for example, like you know,
we've brought the arrow the Flash earlier, like Grant Gussin,
I think is a is a fantastic actor for Flash.
Now if he was given a like the right script,
I would love to see him in a big screen adaptation.
I think he would crush it if he was given
the right director and the right script.

Speaker 3 (39:15):
But again, I mean TV.

Speaker 1 (39:17):
Movies, it's just kind of okay. But when you have
a pedigree like Williamson, I feel like he's easily the
standout here.

Speaker 4 (39:27):
To be fair to the rest of them, their characters
were still underwritten. There was really nothing to nothing.

Speaker 8 (39:33):
To buy up.

Speaker 3 (39:34):
Wait, yeah, that's also fair.

Speaker 1 (39:37):
The I think one of one of the one of
the examples that I hate it, and uh, this has
been kind of like an ongoing trend with us since
we came back in April, is to if there's any
any mention of sex or a sex.

Speaker 3 (39:50):
Scene in the movie, we always break it up.

Speaker 1 (39:54):
And the fact that they're in the villa, Xander's in
the villa and the girls ride get Blood Top and
he's like, oh yeah, I finished like four minutes ago.

Speaker 3 (40:02):
I just you know, kind of done.

Speaker 1 (40:05):
Like I was like, of all the guys that you know,
if all the ways you could portray this guy as
an asshole, that's the perfect one.

Speaker 3 (40:13):
You always let your partner finish no matter what.

Speaker 8 (40:17):
That guy definitely deserves what he got.

Speaker 5 (40:19):
I mean he was ashole.

Speaker 8 (40:28):
That's brutal, dude. Ye Like.

Speaker 4 (40:32):
But the Lucky Coin like didn't play into any of
it that much, and they were like, pretend the Lucky coin,
I'll go the Lucky coin if here comes to the
heads on the Lucky Coin. I was like, that's going
to come back later, And it didn't really so much.
There was more for that coin than any of the characters.

Speaker 8 (40:49):
Yeah, it really was the back bloodlines.

Speaker 1 (40:54):
I I have a feeling that like whoever, like it did,
like wrote this movie. I will you know what, I
will give them credits as I have IMDb pulled up here.
So the writer of this movie, Eric Bress and Jeffrey Reddick, I'll.

Speaker 3 (41:13):
Give him, you know, full full credit, full credit. Sorry.

Speaker 1 (41:16):
Eric Brest wrote this the script, but I have a
feeling that he was a fan of Batman forever and
like saw the way that Tony Lee Jones died in
that movie, and he's like, that would be a perfect
death finally in my movie, because they die a similar vein.

Speaker 4 (41:34):
Well, I have a theory that he was he was
in hospital trying to pass a kidney stone when he
was writing this, and he was high on drugs. So Brandon,
maybe next you you can become a holy millionaire if
you just write whatever fever dream you're having.

Speaker 8 (41:48):
In my favorite dreams. Oh man, that'd be something.

Speaker 5 (41:56):
Yeah. I mean, and you're talking about fever dreams.

Speaker 6 (41:59):
Just the way that did the premonitions on this one
was just crazy compared to what they did in the past.
It's like they throw five things at you. You're like,
all right, which one's gonna happen? And just at one
point I'm like, all right, for the mom I'm like,
all right, just get it over with. I did the chair,
the fan she was mil Yeah, I get it, But still,

(42:24):
how many things are they gonna do? I mean they're
sitting there doing their toes. The chair is gonna fall
with the scissors, the fan's gonna fall. No, No, it's
her boys. She kept she kept her eye on them though.

Speaker 3 (42:40):
Yeah, that was a good gag.

Speaker 1 (42:41):
Though, I'll say that that was probably a really really
solid moment.

Speaker 3 (42:45):
So, like, one of the things.

Speaker 1 (42:46):
That like really bothers me about this movie we talked
about it last week, is that there is like shifting
rules with every sequel except for the first one and
the third one, Like those just kind of seemed to
exist in their own kind of category. Like, yeah, they
get nods to like other movies in other movies, but

(43:07):
this one, how does it end up in the end
that Laurie also has this premonition like the movie scene
where like she knew that she was gonna die, Like
totally really weird because it's like throughout the course of
this uh, it's Nick that keeps having these premonitions.

Speaker 3 (43:26):
Like he's the one that saw everything at NASCAR.

Speaker 1 (43:28):
He was the one that like figured out who was
gonna die next, how they were gonna die and then
like they're like, you know what would be cool is
if we give them a second person who can see it.

Speaker 3 (43:40):
It's like why, like who, who's really asking for this?

Speaker 8 (43:44):
Like like what?

Speaker 3 (43:46):
Why is? Why does the rules of the Final Destination
movies keep changing?

Speaker 9 (43:52):
How would you guys like to help us get mental
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Speaker 3 (44:17):
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Speaker 10 (44:23):
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Speaker 7 (44:55):
Yeah, I mean, I don't know if this is made
more sense, but like if they're gonna like give her
the ability to do the same thing, maybe he should
have died. Nick should have his characters had died. Maybe
she like in the second another movie and the next
movie was like her going through it, And I don't know,

(45:16):
like it it's weird.

Speaker 3 (45:18):
It would have made more sense to like they try
to do like so like death.

Speaker 1 (45:23):
Is in both of the long movies one in three,
death kind of has like some semblance of personification.

Speaker 3 (45:31):
We've talked about where it was.

Speaker 1 (45:33):
Kind of the goo and the or the water slash
goo in the first one, and then last week it
was kind of like the.

Speaker 3 (45:40):
It was the wind.

Speaker 1 (45:41):
But there's a line in here where uh, Nick says,
I felt something touched me. It was strange, and you
kind of it kind of feels like it's a callback
to that that same thing, but it's like never brought
up again. And so like I just don't understand and
the rules of which this movie is a biting vibe

(46:03):
because it just kind of seems to operate on its
own logic and not franchise logic.

Speaker 6 (46:10):
Yeah, and I mean this time, the wind wasn't even subtle.
They took the wind and righted the oil off and
you could see everything.

Speaker 5 (46:18):
Around it just blowing. I'm like, that's not even subtle.
That's like it got knocked over all, right.

Speaker 6 (46:25):
I mean, at least in the other movies it was
subtle to where it's not obviously everybody what's going on.
They're not looking for it or anything like that. And
then they called out the screwdriver before it happened. So yeah,
I don't like the callback that they kind of did
at the end. Even though I would never go into

(46:47):
a shop after dealing with this called death by Coffee?
Why would I go into a that's a death by coffee?
But I took that if not necessarily the name of it,
but just the fact that three of them are little
coffee shop kind of reminiscing. I hate to say, but hey,
we survived this whatever and then boom they die.

Speaker 4 (47:10):
Yeah, there there was a little bit of writing flair
in the titles. I noticed the racist guy worked for
Destiny Toying. Yeah, it's just like and then they go
to see a film called Lovely Is Dying at the end,
it's like, Okay, you're you're you're almost you're almost right in.

Speaker 7 (47:28):
There at the race that had a shirt that say
lost at Bitch DA Yeah.

Speaker 4 (47:34):
Oh yeah, that's true.

Speaker 3 (47:36):
Questions.

Speaker 4 (47:37):
Yeah, I I would love to know from all of you,
because like the mental health aspect of these films, because
what they're doing, I mean, what they're dealing with is
like insane anxiety, right, Like what if these five levels
of things go wrong? And this is the way sometimes

(47:57):
people's brains work in It's like, well, and you're only
saw us as well, those five things are probably not
going to go wrong, and that's not good enough for
some people's brains. So to these films, is there something
like catharctic or therapeutic in watching these things go wrong
and feeling kind of volities is an anxious person? It

(48:18):
seems to serve that kind of purpose this series.

Speaker 3 (48:20):
I kind of talked about it last week when we
did the roller coasters. I have a huge fear of
roller coasters.

Speaker 1 (48:27):
I loathe roller coasters, and it's because of Final Destination three.
But you know, I'm able to kind of go along
with it and do it because you know, I love
I've brought it up I think several times this year.
But Wes Craven had a quote where a talks he
actually compares horror to almost a controlled experiment. It allows

(48:50):
you to live in the moment with that fear and
just steadily essentially kind of grow out of it. And
so I do think that this allows it to kind
of come in. But it's also one of those things
that I don't think. I think for a lot of us,
we don't ever consider death until it actually comes in

(49:14):
our backyard, right, Like we watched these movies and we're like, oh,
this is just entertainment, like but like for something like
to go back to, you know, last week with the
roller coaster, like getting stuck, Like those things happen literally
all the time. There are dozens of news stories that
shit just kind of goes wrong and people not necessarily die,

(49:38):
but you know they get stuck in the positions, you know,
at awkward angles. And you know, I don't necessarily watch
NASCAR enough to know the crazy death rates whether or
not there are any that like we kind of see
here in this one. But you know, I think a
lot of these things, like you get Greek accents that

(50:00):
would happen like this like pretty regularly, you know. But
I think to borrow from another film that just recently
came out that is not warp is there's a great
speech at a great monologue from Superman at the end

(50:22):
of the new movie where he talks about not necessarily
knowing what to do, you know, experiencing fear, experiencing uncertainty,
but still placing one foot in front of the other,
and that's what makes us human.

Speaker 3 (50:35):
You know.

Speaker 1 (50:36):
I can't speak to the people that are gorophobic, that
suffer from a crippling anxiety to leave their home. We've
certainly talked about it in the past of the episodes,
We've had guests on the past that have you know,
talked about it. We've programmed films in the past that
I've dealt with it. That's not something that I ever

(50:58):
relate to. So I can't speak any anything to that,
but you know, there are.

Speaker 3 (51:05):
I would definitely say that.

Speaker 1 (51:06):
A lot of the things that like I've experienced personally
this year, with a lot of things that Erica went through,
Like there's a lot of fear and a lot of
like divorce that I had to ultimately kind of separate
myself from the genre because it was too real. But
I think I think this movie just kind of hits

(51:26):
people in different ways. I mean, we joke about her
about it all the time, but the log truck in
the second film completely absolutely traumatize the entire generation. So
like I think, I think this move I think these
types of movies are going to hit people on a
different way. But I also think that we don't think
about death regularly enough, or it's not involved in the conversation.

(51:51):
I mean, you even talk about the way that look
at the way that we talk about suicide as a
actual death statistic. Not a lot of people know that
there are over forty nine thousand people that chose to
die by suicide in twenty twenty three, or that there

(52:12):
are an additional one point three that made a plan
for suicide. Like these are things that we don't normally
kind of talk about in regular culture. And so I
think a part of it is that there's this double
edged sword with death and the mental health that comes
with that is I think, to a degree, Brandon Billy

(52:33):
kind of stopping if I'm wrong. I think that death
is a more common fear than people realize, But I
think that we don't talk about it nearly enough, because
there's a level of us that, you know, think, because
we are young, that there's this also this invincibility to us,
you know, and that I think is why we come

(52:56):
to these movies and we look at them just as that.
But once you kind of have a brush with death,
then these movies hit a little bit differently.

Speaker 6 (53:06):
Yeah, I mean not just invincibility. Some of it in
your train of thought is that's not gonna be anytime soon.
That's so far away from what's gonna happen.

Speaker 1 (53:17):
Uh.

Speaker 6 (53:17):
And the way I relate to these movies, like I
said last week, is I overanalyze everything. I am the
type that looks at it and looks at five different,
ten different, twenty different scenarios that can be happening for
anything in life, And just to see that portrayed on
screen just gave me kind of validation of I'm not crazy.

(53:39):
Other people do this, they wrote movies about it because
you never know, and you like, for me, I judge
myself on that because I'm thinking, am I crazy?

Speaker 5 (53:50):
Do people do this or is it just me?

Speaker 6 (53:53):
It's I can take a scenario and think of four
bad things and one good thing and try to sway
it to the good thing. But you can can't always
control everything that's gonna happen in every scenario.

Speaker 4 (54:07):
I mean, what I find really funny is I had
a I used to be really afraid of death when
I was like twenty five around that time, and stop
thinking about it and everything, and now I don't care
about I'm older, some closer to death, I don't care.
So that could approve that, that could approve it was irrational.

Speaker 7 (54:23):
Right is always, whenever I'm doing anything there's remotely dangerous,
I always say, if ada ada, oh.

Speaker 4 (54:34):
Will well, I mean, he said, you're gonna be there
with the hot dogs at the NASCAR having a great time.

Speaker 8 (54:41):
Sorry, dude, If I could tell Odega, I wouldn't complain.

Speaker 4 (54:47):
I mean exactly, that's amazing.

Speaker 6 (54:50):
But see for me, my thoughts and everything change when
I watched my wife pass away. So I went from oh,
I could be scared of it too. You never know
when it's going to happen. Yeah've got to just enjoy
what you have and do.

Speaker 5 (55:05):
What you can.

Speaker 6 (55:06):
Yeah, I mean, limit factors that are going to cause
it sooner than later for health and things like that,
but definitely live your life at that.

Speaker 1 (55:17):
Point, and that kind of brings me up to another
mental health point I wanted to bring up in this
movie is there's a scene where George, Lori and Nick
All kind of I think that they've outrun the design
of death. And there's this like really quiet moment where
the three of them are having champagne and they're essentially

(55:40):
talking about like celebrating life.

Speaker 3 (55:42):
And that's something that I think we kind of go
through life and we just kind of go.

Speaker 1 (55:48):
Through the motions, like we just kind of ride, and
we don't celebrate those little moments or you know, look
at them as victories, whether it's you know, waking up,
you know, having being able to breathe, or being able
to walk or you know, all these things that I
think we kind of take for granted, and even when

(56:10):
you have those really shitty days, I mean as part
of life, like you take the good with the bad,
and even if it is you know, finding a way
to either flip your perspective, treat yourself to something, you know,
whether that's a dessert, a film, you know, bigger band

(56:31):
T shirts, you know, buying a Blu ray, you know,
finding something that is going to bring you some joy
on those like less than desirable days. I think it's
also worth noting like life is worth living for. It's
shitty as fuck sometimes, but it's worth living for. There's
always a reason to stay until tomorrow. I understand some

(56:54):
circumstances are are different and there are great resources out
there like that.

Speaker 3 (56:59):
It's all so how you approach it, the mindset that
you have as well.

Speaker 5 (57:04):
Yeah, I mean the scene before that.

Speaker 6 (57:06):
I think it was the scene before that where he
literally lists everything he tried to do to end his life.
And I mean it kind of brushed really quick and
even though I mean he listed everything, but it wasn't
one of those scenes that they dragged out. It was
one that they brushed over it that he took pills,
he tried to use an exhaust from a car, he

(57:28):
tried to hang himself.

Speaker 5 (57:30):
I mean, if you've reached that point, you it's time
to talk. You need to talk to somebody. I know
it's hard, but you definitely need to reach out to somebody.

Speaker 4 (57:40):
Yeah. Absolutely, it's brilliant that you can bring up that note.
I think with this for me, like I said, you
used to have a very strong fear of death, and
well I love that this film has done. Or what
when I look at the marketing campaign they're doing where
they're doing like Dinners, you can have really high up
for the final destination, blood plans for the hanging, and
then they they've got the log truck with the advert

(58:02):
on it as well. It's like turning fear of death
into common beame and reminding you that you're not alone
in the fact that you're going to die, or that
you might be afraid of it, and that we can
have fun with it. And that's what I love these
films for. Yeah, like The Seventh Seal for Bros.

Speaker 5 (58:23):
But but with the log truck, it's just causing traffic jims.
Everybody in the left lane, we're not right behind.

Speaker 8 (58:30):
That log pane.

Speaker 5 (58:31):
They are all want to get you can you can
h you can ask Josh.

Speaker 6 (58:37):
I mean I think even when we traveled to what
Durham or one time, Yeah, there was a log truck
in the right lane and nobody would get hide it.
They were what one hundred feet behind it, and everybody
kept getting over the other lane because nobody wanted to
be behind this thing. And it looked like and it
reminded us of a log the log truck from the movie.

(58:57):
I mean, that's the type of truck, exactly how it
was strapped up and everything. So it was just it
was funny. But at the same time, it's one of
those things that make you think because it is so
ingrained in your head.

Speaker 1 (59:11):
I want to bring up a really ridiculous points. And
I think I bringing this up solely because I just
don't feel like the writers in touch with his audience.
So all of us have are either in a relationship
or have been in relationships in the past.

Speaker 3 (59:31):
My question for you guys is, at one point in.

Speaker 1 (59:37):
Pursuing either your current partner or having a type for
a previous partner, have you ever looked at feet and say,
I need my woman in sneaks something about sneakers that
just is a real turn on, Like that was kind
of like one of the oddest moments in the movie.

Speaker 8 (59:56):
Yeah, I.

Speaker 5 (59:59):
Think I'm like that one. I really don't remember that
because I like that, but I don't like that one out.

Speaker 4 (01:00:08):
I will say this, I scroll on Instagram for a
long time and if you do that long enough, some
weird stuff turns up there. So somebody is really into
somebody is really into everything, right, And yeah, women and
sneakers are his thing. I don't want to kink shame, man,
get those sneaks on.

Speaker 8 (01:00:27):
I like them.

Speaker 7 (01:00:31):
I had a buddy in high school. He had a
thing for seeing women's arm pits.

Speaker 4 (01:00:38):
Okay, yeah, well those cafeteria chats or are you a
luber and athman. I'm all about the pits, guys, the
arms down, cover your pits. Here he comes.

Speaker 1 (01:01:00):
So the scene I'm talking about is the scene where
Janet and Laurie go shopping before the movie and uh,
She's like, oh, nice new sneakers and she's like kind
of like make Janet kind of makes of her, and
Laurie goes, oh, no, Nick likes me and sneaks, and
it's like, okay, like I'm not trying to like king shame.

(01:01:21):
It's just I've never heard of that being a thing,
like I foot fetishes or are fairly common, but like
sneaker fetishes.

Speaker 4 (01:01:30):
But that was some of the weakest writing whistles. I mean,
this is where it passes the Bechtel test, right, because
two women are talking to each other about something other
than a man. That's the test.

Speaker 3 (01:01:40):
No, Nick, Nick gets brought up because Nick is the
reason she buys this. The sneakers, I think I.

Speaker 4 (01:01:46):
Think arguably the sunglasses. I mean, the Bechdel test is
a little bar right, but arguably the sung glasses chat passes.
But it's some of the weakest dialogue. I'm like, all right,
this director's never met women and or at least like
think symptom of some alien species that talk like something
else other than like just a regular person.

Speaker 7 (01:02:07):
That's go ahead, Brandon, go I'm just really upset that
Nick and Laurie didn't live long enough to see that
new movie Sneaks.

Speaker 8 (01:02:18):
I'll never see that, but I hate that he didn't
get too.

Speaker 4 (01:02:21):
The only thing I know about their relationship is that
he likes her and.

Speaker 3 (01:02:25):
Speaks yeah about it. Yeah, I don't know.

Speaker 4 (01:02:29):
I didn't even notice they were together until halfway through
the film.

Speaker 1 (01:02:32):
Well they don't like also like don't show like any
like PDF. Like there's like one like throwaway line where
Janet and Hunt you could tell they were like previously together,
but now they're just kind of like mutual friends because
like she's like, I don't know what I ever saw
in you, Like it's like a throwaway line after everything
happens in the very beginning.

Speaker 3 (01:02:54):
But I want to also just say that I'm pretty
forgiving of like out of shitty dialogue if it's done
in a fun, kind of campy way.

Speaker 1 (01:03:06):
Again, Showgirls is one of my favorite films of all time,
and that film did not know how to write women
where they talked about potato chips and dog food.

Speaker 4 (01:03:17):
So like that film doesn't know how to write Planet Earth.
Like there's nobody on the film.

Speaker 3 (01:03:23):
That is that is absolutely fair, but it's fun. This
film was not.

Speaker 7 (01:03:32):
I mean, I guess I'm I guess my thoughts are
invalid because I'm a guy who gave the nineteen ninety
four Mario movie.

Speaker 8 (01:03:40):
If I've out a five on letter box, what the wana?

Speaker 1 (01:03:43):
There's plenty of people if that love that, there's plenty
of people that will agree with you. I find it
very I'm kind of curious. Now I'm gonna hop on
letterbox real quick. You guys keep talking, and I'm just
kind of curious if there's anyone that's like rated this movie.

Speaker 6 (01:04:00):
Talk about the PDA and all for them knowing if
they were together and into premonition. At the very beginning,
they do make out and she's like, you two need
to just get a room. That was before it switched
to live where he was actually trying to save them,
saying depress was gonna happen.

Speaker 5 (01:04:17):
But that was about it. There wasn't much to it
after that.

Speaker 7 (01:04:21):
And like this is at one point where like they're
in their apartment and Lloie walks in looking find as
crap in her underwear, and he just is worried about
other things, like come.

Speaker 8 (01:04:32):
On, what's your problem?

Speaker 3 (01:04:35):
So I just want to throw this out there. So
I'm on the letterbox right now.

Speaker 1 (01:04:39):
And these are two of the best reviews that three
of the best reviews that I've got.

Speaker 3 (01:04:48):
So first off, this one comes from Jay. This is
the most popular.

Speaker 1 (01:04:52):
Review says literally quote literally got characters credited as racist
and racist wife one point five. There's another one from
a user named Lee Ray quote pros the racist dies first,
cons everything else and the literal new seven irrational fears

(01:05:16):
I've just developed.

Speaker 8 (01:05:18):
Nice.

Speaker 3 (01:05:19):
But I do have a friend on here that uh
that rated this movie a five out of five.

Speaker 4 (01:05:29):
I mean, it makes the most money of any of
them at the time, I know, sist.

Speaker 1 (01:05:35):
But keeping it keeping that also in mind that this
was a three D release and three D is always
going to cost more. I don't know how it is
where you guys, but in the States. Any they're like,
you have your regular price ticket, you have your three D,
and then you have your IMAX in the four D,
so you have these like premium and three D would

(01:05:57):
be considered one of the premium ones.

Speaker 3 (01:06:00):
I think it's it's like four or five dollars more expensive.

Speaker 4 (01:06:05):
Okay, so not as many ticket sales, but perhaps probably Yeah.

Speaker 8 (01:06:13):
Yeah, just looking through.

Speaker 4 (01:06:15):
My notes to see what also said about it.

Speaker 3 (01:06:19):
Yeah, I also just want to read.

Speaker 4 (01:06:22):
I wrote only only the blonde douche guy had a
distinct personality and it sucks. That was one of my notes.

Speaker 7 (01:06:30):
Y'all ever get lost in letterbox reviews of movies, because
I'll be absolutely some incredible dans can happen in that.

Speaker 1 (01:06:39):
I love this one that says also rated at one
point five. It's a it's a from user mini Universe quote.
If my sun roof is malfunctioning, my last thought would
be to go to a car.

Speaker 3 (01:06:52):
Wash, no matter how my car was.

Speaker 8 (01:06:58):
Incredible.

Speaker 1 (01:06:59):
It is there anything else that is worth bringing up
and talking about the final destination?

Speaker 5 (01:07:07):
You can avoid this one if you want, yep.

Speaker 7 (01:07:10):
But if you want just a fun movie to watch with,
like with a girlfriend or your wife, because my let
me just Josh can voucher just.

Speaker 3 (01:07:19):
My wife loves terrible movies.

Speaker 7 (01:07:21):
She is a fiend for bad horror movies like animal
like sir sharp movies, anything like this, like a what's
the movie Escape Room? That movie loves that kind of shit.
So if you want to just have a good popcorn
flick with with your woman, this is good.

Speaker 5 (01:07:43):
Yeah.

Speaker 1 (01:07:44):
This movie has a couple of cool like gags, but
they're like displaced between like lifetime acting, and it makes
me sad. So once again, the movie is called Canceled
Plans and opens up. Make He gets a world premiere
at Horrific Hope Saturday, August sixteenth as a part of

(01:08:06):
our Selections this year. It's gonna be accompanied by the
Virginia premieres of Still as well as Drive.

Speaker 3 (01:08:13):
Leo, thank you so much for hanging out with us
and talking about some terrible horror movies. Where can people
find you online?

Speaker 4 (01:08:21):
Though it's always a pleasure to be here. You can
find me on Instagram at Leo x Robertson. I'm starting
my blog again Leo x Robertson dot WordPress, dot com.
If there is a social media site, I have begrudgingly
signed up for it to make sure the publishers don't
think I'm not doing my part to try and get

(01:08:41):
people to look at my books. So you like TikTok To,
you like Blue Sky, whatever it is, you can find
me on there and say him.

Speaker 1 (01:08:50):
Also, I think some of your previous films are now
streaming in the States.

Speaker 3 (01:08:55):
Correct.

Speaker 4 (01:08:56):
Oh yeah, okay, so let's think mister Sleepy should be on.

Speaker 1 (01:08:59):
Cuby now, okay, so mister Sleepy. It's one that we
did last year with the filmmaker Focus event.

Speaker 4 (01:09:07):
Yes, and Burn Portraits is just on YouTube, yep, So
you can look that one up.

Speaker 1 (01:09:11):
Please see.

Speaker 3 (01:09:12):
So you guys go check that out. The branded work
people find.

Speaker 7 (01:09:16):
You online Letterbox Brenden W. Miller Instagram at Brenden W.
Miller Underscore two Off.

Speaker 5 (01:09:25):
And Billy keep on with the Letterbox.

Speaker 1 (01:09:30):
I love how this is like like all of our
things have just become a letterbox at this point in
social media because it's the best social media platform. I'm
also on Letterbox. It's Captain Nostalgia. You already know, uh,
but you guys can follow us a New episodes come
out every Wednesday at six pm Eastern Standard time. Once again,
you guys, can check out our para company Victims and Villains.

(01:09:52):
We are on Facebook, Instagram, YouTube, wherever you guys get
your podcasts from, and also once again, Horrific Hope tickets
are now on sale links in the show notes below,
along with all of Leo's stuff as well, So totally
next time, remember the longer the Abyss gazes back into you,

(01:10:13):
the longer than you caze it to the abyss, more
of the Abyss gazes back into you,

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The Final Destination (2009) | Episode #158

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.css-14f5ked{margin:0;word-break:break-word;display:-webkit-box;-webkit-box-orient:vertical;box-orient:vertical;-webkit-line-clamp:2;overflow:hidden;}The Final Destination (2009) | Episode #158