Episode 16: Caddyshack II (1988)

We finally brave the cinematic sand trap that is Caddyshack II (1988), a baffling sequel that ditches the scrappy charm of the original for a mess of slapstick, snooty social satire, and one-liners that land with all the grace of a thrown brick. Mark, Mike, and Chris dig into what went wrong—from Rodney Dangerfield bailing and Jackie Mason stepping in, to Chevy Chase coasting through with a smirk and a nine iron. Why does this sequel feel like a corporate golf outing where everyone's just waiting for lunch? We break down the chaotic production, Harold Ramis’s reluctant involvement, and the comedy vacuum at its core. It’s less a follow-up than a farce—but is there anything worth salvaging from the rough?

Episode Transcript

Speaker 1 (00:04):
Weird.

Speaker 2 (00:43):
Hello everyone, and welcome to the Chasing Chevy Chase Podcast.
I would say yet another Chevy Chase podcast, but I
think that this is the only one. I am one
of your hosts, Christashu from the Culture Cast, and I
am joined by my two good friends all the way
from Cambridge and with Shawn. He's here. He's our friend, Mark.

Speaker 3 (01:00):
Do you have a twin sister? Groan grown?

Speaker 2 (01:03):
All the groaners in the world's groans in there? Throw
some groans on them, boys and your.

Speaker 3 (01:09):
Friend and I go ahead that soundboard. You need a
sound board, I wish, I think for the remainder of
this podcast.

Speaker 2 (01:17):
And he puts the going gopher. The host of the
projection booth, Mike White.

Speaker 1 (01:22):
Yeah, thks, Chris, it's really good to be here. I
think I'm gonna talk like this or the rest of
the show.

Speaker 3 (01:27):
Oh that was gonna be my joke.

Speaker 1 (01:31):
Well, you can't take my joke away from me, Mark,
no matter how much you try. Yeah.

Speaker 3 (01:35):
That's pretty damn good.

Speaker 2 (01:37):
Too, very very very good.

Speaker 3 (01:40):
And good luck doing that for Oh wow, I will
you believe me?

Speaker 1 (01:45):
I will I can do it?

Speaker 2 (01:49):
Dan Dan Dan Arcoyd. Really he likes to commit to
the act.

Speaker 1 (01:54):
I really go for the bit, and I don't let
it go.

Speaker 2 (01:57):
No, I mean, have you seen dragnet. That's the entire
Peters Dragnet is him committing to the bit. Holy cow, guys,
Well this one I cannot take credit for. We are
talking about nineteen eighty eight sequel to Caddy Shack, aptly
titled creatively titled Caddy Shack Too. So the film is Jack.

Speaker 1 (02:16):
Is back, Baby.

Speaker 2 (02:18):
Caddy Shack, Baby Caddy Shack. I got me a caddy
and it's a big as a shack. I don't know,
B fifty twos. We're freely phone in this one in
I'm about to.

Speaker 4 (02:31):
Head back to the shock Shack, the caddy Shock.

Speaker 2 (02:36):
No no, no, no, no, no, no no no. They
would do a little Chevy chase and be dancing in
the background. Good God. So this movie's directed by Alan Arkish,
written by Harold Ramis and PJ. Torkvie, based on the
characters by Brian Doyle, Murray, Harold Remis and Doug Kenny,
and it stars Jackie Mason, Robert Stack, Dian Cannon, Dina Merrill,
Jonathan Silverman, Randy Quaid's in here for a minute, Paul

(02:59):
bar Tell and Hey chevy Chase shows up. Supposedly, I
think so. I've been told. Uh, this is essentially a
retread of the first film, but with a female character
that we follow. So we essentially follow the female character
from the first movie. That's Ted Knight's like niece, but

(03:20):
instead of her being his niece, she's his daughter. And
instead of him being an asshole, he's Rodney Danger. And
that's the movie. It's literally the same movie, down down,
down to the competition at the end of the film. Hey,
we're gonna play doubles golf, all right, chevy Chase, I'm
out of here, tedvy Chase, Jemy. You can see his
car waiting for him off fucking screen. He wanted to

(03:42):
be out of there so quickly. Yeah, this is this
movie's reputation precedes it. I'm gonna kick it to Mike first.
Then you mark thoughts on the film. Was this the
first time you saw it? If it was, wasn't, when
did you and if it was, what did you think
then and now? And if it was the first time,
god held well.

Speaker 4 (04:00):
It was my first time seeing it. Yeah, and this
has a reputation for being one of the worst sequels ever.
It wasn't as bad as it could have been in
my opinion. Yeah, it's a bad movie. It's a very
bad movie. But reading the script was very interesting, and
I have to say that had they actually stuck with

(04:22):
their original plan and been able to talk Rodney Dangerfield
into being in this, it probably would have been way
better had this been the Rodney Dangerfield versus Ted Knight film,
and sadly Ted Knight had passed already by this point,
but had that happened, I think it actually would have
been somewhat decent. I read the second draft of the script,

(04:45):
which actually is credited as Rodney Dangerfield being one of
the writers. You can hear the Rodney throughout the entire script.
You can hear the Sam Cannison when it comes to
the lawyer character. His Al's lawyer. I mean, when I
was reading the script, it still is Al is a

(05:05):
chair back. I think it is from the first film. Okay,
it's him, Cervix, it's him through the entire thing, and
it makes a lot of sense. It's kind of kind
of a mash up between his character from Back to School,
who's not selling clothes for Fatten big people? Is it
fat and tall? I think he calls it or something

(05:26):
like that, But anyway, it's not for It's not that
it's him being a real estate developer, building developer, very
much like the Jackie Mason character here, and really Jackie
Mason is basically just reading lines from Rodnick Dangerfield, so
it makes it very odd. And yeah, the Caddies have
nothing to do with this movie whatsoever. I keep forgetting

(05:49):
the Jonathan Silverman's even in this movie because it is
really just a Jackie Mason vehicle, Jackie Mason versus Robert Stack.
So yeah, I didn't find it as awful as I
thought it was going to be, but it's still pretty awful,
how about you, Mark.

Speaker 3 (06:04):
Yeah, first time for me as well. I had no
interest in seeing this when it came out, and I
think the negative, negative, critical and financial stuff snowballed pretty
quickly thereafter, so I never rented it when it came
out on a video or anything like that. I'm the biggest
Jackie Mason fan, so that wasn't a pole and even

(06:25):
the rest of the cast just they're not draws for me,
so I had no intention of ever seeing it. And
like you though, Mike, I wasn't as bad as I
figured it would be. I did take this movie in chunks.
I took a page from I can't remember which one
of you did that for the last film, but I thought,
you know what, I'm not going to sit and watch

(06:47):
an hour and forty minute movie in one fell swoop
the day before we record, so I got free day pal.
I sat and watched Patch Adams in one sitting. You know,
it ain't me watching movies. The last TV movie I
think it's no.

Speaker 2 (07:01):
I know, but I don't watch movies and chunks is
my point, even if they are in a front to
but good graces, like this fucking movie.

Speaker 3 (07:08):
Some of these I'm gonna have to because I can't.
I really it starts to get to the point where
I'm angry and sort of tune out. So I was
taking this in thirty minute Chunks was a lot easier
on my brain.

Speaker 4 (07:21):
And the first you wouldn't let me when I'm angry
the first third.

Speaker 3 (07:28):
I was still on board when I finished the first third,
and then after that I was like nah. And like
you said, Chris, it's just hitting the same beats. You've
got the party at the club, you've got the slobs
versus the snobs. You've got the encounter on the golf
course early on, when Jackie Mason first shows up and
he's got all the gadgets. You know, it's the same,

(07:48):
which makes sense if it's still the Rodney Dangerfield character.
But now that it's a I mean, neither of the
characters are the same. You know, and the kids, the
teenage in this.

Speaker 4 (08:00):
Movie, no teenagers. They're all like twenty five thirty years old.
Jennet the Ziller looks like, you're just like, dude, you're
still a caddie and you're thirty something years old. But
his little line about like what was it like I'm
going to go to bus boys school or something, which
I think is actually funnier than the actual line that
he does use. But yeah, he is so old in

(08:23):
this movie. You expect that he's, you know, the really
way out of his element here. And yeah, the daughter
of Jackie Mason, I'm just like, how old are you?

Speaker 1 (08:33):
Miss?

Speaker 4 (08:34):
Like it doesn't look like you're about to go to college?

Speaker 3 (08:36):
Right? Well, yeah, I mean that's the kids of the
grown ups in this are just like voids, you know,
tern of Phillips. I don't know it was, and the
look of it was, you know, we talked, I think
pre recording here about Alan Arkish's career and how he

(08:57):
quickly after this ended up in TV has stuck there,
and the look of this made me think of a
TV movie. The sets were small and really horribly decorated.
I mean, for a fancy club, I get it. In
the first movie, I mean, I know, and I know
that they shot at a real country club for most

(09:18):
of that at least. I don't know about the ballroom scene,
but you know that was spacious and big and lots
of people in there. And this was just up, here's
here's a room in a hotel that we rented for
the night, and let's get twenty people in here. And
it just felt cheap and looked cheap. And Randy Quaid
is awful in this.

Speaker 2 (09:38):
Oh well, come on, he's good in awful's good as wild.
He's good in one scene and then he's overused the recipe.
If it had been that one scene, you'd be like,
that was fun, But it's it's it's so protracted and
it's so like just drug out because that one scene
is really funny, but it's completely just like which scene,

(10:01):
the one where I'm worrying myself The one where he's
talking about the one where it's just him with the
other two lawyers in the room and he's like screaming
at them. Okay, that's like if we're talking about like
the whole movie, Like that's the one scene where then
like Jackie Basic comes, He's like, have they met with
my lawyer? Yet he's like, oh okay, Like okay, it's
better than him in Hockey Year blocking a fucking golf ball.

(10:23):
That's more I'm getting at. Like that's two minutes, guys,
more like the rest of the Randy Quaid So it's
like another ten minutes of the movie. That's more what
I'm getting at. Like that singular scene is fine, but
Randy Quaid is overused. And then Chevy Chase's is in
this movie. I promise he's in this movie.

Speaker 4 (10:40):
So apparently Jonathan Silverman was twenty two, but he does
not look twenty two to me. This is one year
after Brighton Beach and two years before or at least
a one year before Weekend at Bernie's. So he is
right on the cusp of his stardom with this, and
I want to say so I I apologize when to

(11:01):
just use the character's name sorry, I won't Royette Tyler,
the Marshall Warfield character. I think she's combined with the
lawyer character with and I'm not gonna call him cousin
Eddie with Why am I blanking? Yeah, with Peter or Blunt?
I guess the Blunt is supposed to be funny with

(11:22):
his character. I think it's like those two characters I
want to say in the script are basically one and
it's pretty much the Burt Young character from Back to School.
It's like he is there with him at all times,
you know, doing whatever the Rodney character needs of him.
But in this one, yeah, there are two characters, and
neither one are very effectively used. Like I like I

(11:45):
just call a Rose from Night Court. I like her
a lot, and I like her presence on screen. But
there's a real divide between what's going on at the
construction site and what's going on with the whole loft stuff,
and really that's supposed to be Like so much of
the movie is Jackie Mason's character wanting to build low
cost housing for people, and there's a whole subplot that's

(12:08):
missing where he goes in front of the city council
and that becomes a big fiasco because he starts calling
out people for just their complete hypocrisy. And I guess
there's the main guy on the city council is homosexual,
so there's this whole thing about jokes with that too.
Thank god they didn't go there because it's already offensive

(12:29):
enough as it is. And yeah, Jackie Mason.

Speaker 2 (12:33):
Just this movie hates Armenian.

Speaker 4 (12:36):
I'm not a big fan of Jackie Mason either. And
I thought the one thing that he was doing that
I liked was when he was doing the voice of
the anteater from the anti or the art work I
should say, which the nickname says that it's an artwork,
only to find out that that was John Biner doing
a Jackie Mason impersonation when he was doing that voice.
So I've for years I thought that was Jackie Mason

(12:56):
doing that. But yeah, that's off sting John Biner.

Speaker 3 (12:59):
Yeah, yeah, yeah. I'm curious as to why he has
the same last name as his character, Jackie Mason, that is,
as his character in the Church. Yeah, and so I'm like,
is he part Army? I you know, he he mentions
his heritage in the film, the character's heritage, and he's
like half Armenian and then a third and a third

(13:20):
and a third this on his mom's side, and I.

Speaker 4 (13:22):
Thought, oh, that shit, it's a very big woman.

Speaker 3 (13:24):
We have a very big Armenian population in Fresno, so
I'm always kind of curious about that. And a lot
of times you can draw connection. You know, a lot
of our big exports of Armenian descent, Williams, Ryan Cher,
sid Haig Ross Bagdasarian are all local, local folks. And no,
he's just he's Jewish.

Speaker 4 (13:46):
Oh he is like the most Jewish person I've ever
encountered in my entire life.

Speaker 2 (13:51):
I mean, is it did the movie be like they
couldn't make a Jewish joke?

Speaker 4 (13:54):
Yeah, there's a thing too where it's like, lose the
accent that Ty Webb tells him what accent?

Speaker 2 (14:00):
And I'm like, the one that where you sound like
Crusty's dad.

Speaker 4 (14:04):
That's right exactly, that's because that's it, that my other
my other famous role.

Speaker 2 (14:09):
Yeah, that's literally when I do the voice, it's the
voice that oh yes, that's Jackie Mason. I don't know
who else's voice. It is like that is like the
most stereotypical Jewish character, and it is Jackie Mason, like
you want some luck because like that's that is, like, yeah,
it's fucking and I don't understand why they don't just
lean into it in the movie. Like I don't get

(14:29):
not that I think it would fix anything.

Speaker 4 (14:32):
No, I mean the idea of keeping Jewish people out
of country clubs. Yeah, pretty long standing. Yeah, let's talk
about gentlemen's agreement here.

Speaker 3 (14:40):
That might have been too uh, although they do have
a slave auction at the country club. So so I
had seen this movie.

Speaker 2 (14:51):
Unfortunately I didn't remember much of it. I remember that
Randy Quaid was in it. But this I think y'all
might not be as disappointed by this movie as I am.
But I think for me, the thing that I keep
coming back to is two things. The disparity between the
original film and this film, which I think is like
a chasm, and then again the point of the assignment

(15:16):
as it were, which is, you know, the Chasing Chevy
Chase podcast of it all, which is why I keep
coming back to. Chevy Chase is in this movie. I
promise I detest his role in this movie because it
is the most obvious of like obvious cash grabs, dude,
what like he was doing the legacy sequel thing before
Bill Murray and Dan Ackroyd and Harold Ramis's ghost and

(15:40):
oh god, Ernie Hudson. But he deserves the money. We're
showing up at the end of Ghostbusters, like he's doing
the exact same thing, like the lowest effort, like cameo possible.
And look like, if I'm Chevy Chase, I'm showing up.
I'm sure he's not complaining that. It's like, you know,
a role that he has to do very little for
and he's literally just doing the Chevy Chase fucking calf
the time. At one point he's playing pool and dropping

(16:03):
the pool Q. It's like, fuck, fuck off, dude, Like
I don't know, Like we're we're getting to the point
with Chevy Chase and what we're expecting from him, which
is that the we're gonna start souring on him at
some point soon, if we haven't already, and this, in
my mind is indicative of that, because he seems like
such a shithead in this role in a way that

(16:25):
like Ty Webb was a shithead in the original, but
he was an endearing shithead in this movie. He's just
comes off as like such a prick, like such a prick,
and there are no And again, I think we talked
about this recently with other things. It's okay if there's
no likable characters in your movie, Like, that's perfectly fine.
Shitty characters doing shitty things to one another is perfectly fine. However,

(16:45):
there's no comedy in any of this. I mean barely
any comedy. There's maybe one or two laughs throughout the
entire film. It is a I think, thoroughly unfunny film
that waste the talents of people that are funny in
pretty much everything else I've seen them, and Jackie Mason
is probably one of the few people I haven't seen
them in anything else but Randy Quaid, Paul Bartel, Robert Stack,

(17:08):
I mean Jesus Dan ackerd and Chevy Chase for that matter.
Like again, I have no problem with Chevy Chase. I
just really detest the way that they had him show
up in this movie because they make Ty Webb, one
of the more likable characters from the first film, a
real asshole, and you really hoping and glad when he
like exits stage left of his own volition every time,

(17:29):
because he I mean again, like he's the one kind
of hang you know, hang your hanger on from the
last movie, and he doesn't need to be here. And
if he wasn't here, I'm not saying that this would
feel any less like a Caddyshack sequel, but at least
it would have even less credibility than it has by
having Chevy Chase be here. I mean, they share names
with the first movie, like Bushwood and stuff like that,
but I think the Chevy Chase of it all also

(17:50):
gives this movie a more direct through line to the
original one, which is a bad thing overall for this
quote franchise unquote, even though there are only two movies.

Speaker 4 (18:00):
I thought that he was kind of a jerk in
the first movie as well.

Speaker 2 (18:03):
It's just this whole thing able jerk.

Speaker 4 (18:05):
Though he was a likable jerk, but I mean the
way that you know, I mean, our main character was
kind of that Caddy. I remember how we were talking about, like,
who is the main character of this movie, and it's
like supposed to be I It's supposed to be this Caddy,
but maybe it's somebody else.

Speaker 2 (18:20):
Chevydy.

Speaker 3 (18:22):
Shit, that's what That's what surprises me about I guess
it doesn't surprise me, but it's funny. That it morphed
into that in the first film. Oh well, let's just
let these other characters Riff Chevy, Chase, Bill, Murray, Ted
Knight and Rodney Dangerfield and you know poor I forget
the actor's.

Speaker 4 (18:41):
Name, right, that's how memorable he is.

Speaker 3 (18:43):
I mean that guy he shows up and all kinds
of stuff that we watch. But anyway, where you know,
he was the focus of the original script and that.

Speaker 5 (18:52):
Michael Michael o'neffe, Michael O'Keeffe, okay, And I was like,
so the sequel, the sequel sticks though, with those characters
that kind of intruded themselves into the first film, and
that seems weird to me.

Speaker 3 (19:07):
Go back to the caddies, go back to Jonathan's ad
more than One Caddy.

Speaker 4 (19:12):
Oh yeah, there's supposed to be a whole subplot in
this movie about the caddies being replaced by those golf carts. Instead,
there's one line, one line, one line, And there was
supposed to be a whole thing where like all of
the caddies, and we see too, the black guy who
I kept looking up like who are these actors? Because
I feel say bad saying the black guy, but I'm like,

(19:35):
what is his name, And I looked all through the
credits and I'm clicking on each name and I'm just like,
because I want to know his name, and I want
to know the name of the guy that Jackie Mason
first encounters when he walks into the club, because I
was like, he's a very familiar face to me. And
there's a few familiar faces in here. There's the one
guy with the mustache and I'm like, oh, yeah, he's

(19:56):
the judge from the Untouchables. But I couldn't figure o
who else I knew with some of these names. But yeah,
there's supposed to be a whole thing of like all
the caddies getting on golf carts and like threatening the
the snobs that run this whole place, but instead that's
all gone. And yeah, Jonathan Silverman is barely a blip

(20:18):
in this movie. We get just a few little things,
and that he ends up being the golf partner at
the end. I'm like, really, like, that doesn't make me.
He s just to me whatsoever. He's not a presence
in this movie. And instead it's all about that young
lawyer character guy who I'm just like this, he looks
like James le Grow but he's not James LeGrow, and yeah,

(20:39):
he's just a real piece of shit asshole, And like
Robert stat does a pretty good job channeling Ted Night,
but Jenckie Mason just can't hold a candle to Rodney unfortunately.

Speaker 2 (20:51):
Now, the worst thing that this movie can do is
make you think of the first movie, which is why,
like any moment Chevy chases on screen, it's like, guys,
don't make me think of that better movie, because all
I'm going to do is is again, like this is
an hour and a half. This movie's ninety eight minutes.
It feels like it's three hours long. There are stretches,
the stretches of this movie that are thoroughly unfunny in

(21:12):
a way that the first movie, like is rarely unfunny.
If it's unfunny at all. The first movie is a
perfect comedy in a lot of ways, Like it has
its kind of problematic moments in terms of the story structure,
and like we guys both already alluded to with the
inability for the movie to pick who the main character
is and who the focus of the film is. But
I mean, I would rather have that than whatever this

(21:35):
is attempting to be, which is again. You know, this
is what sequels to comedy films felt like in the
in the seventies and eighties, Like let's just redo what
worked the first time, like like literally, not figuratively, not metaphorically,
like let's just retread the first movies story exactly. And yeah,

(21:56):
the movie had some pretty I would say this movie
had a pretty trouble production. I think, you know, with
the Rodney Dangerfield of it all and the Jackie Mason
of it all, and then the fact that John Peters,
you know, a notorious giant spider loving John Peters. For
whatever reason, he is the one who ends up being
kind of it would seem, at least to me in

(22:17):
the research that I was doing, he seems to be
the one pushing Jackie Mason as like the replacement and
or alternative and or the one to take over should
Rodney Dangerfield not want to do the role. And it's
just I don't know. Rodney Dingerfield. For me, as a
fan of comedy, he speaks to the eighties for me
in a lot of ways, like his comedy is very

(22:39):
like set to the eighties. Jackie Mason, this dude doesn't
feel like he's part of this movie. No, he feels
like he's forced into this movie as again like a
kind of weird, anachronistic stereotype of a time long past.
And I know and I know that this is like
his attempt to be relevant again, but like the word

(23:01):
is attempt, and the term is he died in twenty
twenty one. He's ninety three years old. This came out
eighty eight, Like he's still kicking for like another forty
years almost, And like the most relevant thing he does
in those forty years is the Simpsons, like really, like
genuinely it's the Simpsons. Because nothing, nothing including this ever

(23:22):
gets him relevancy or credibility the way his comedy act
did before. If anything, it hurt, it hurt his career
or hurt the things that he was involved with because
they are stifled by having to deal with his antiquated
comedic stylings which don't work. They just don't work in
this movie at all.

Speaker 4 (23:41):
Are you familiar with Jackie Mason's.

Speaker 2 (23:43):
Career A little? I mean I mean a little bit, Yeah,
just through having to do research for this episode.

Speaker 3 (23:50):
Didn't he have one? Didn't he have a one act
play that did pretty well?

Speaker 4 (23:54):
Oh?

Speaker 1 (23:55):
Yeah?

Speaker 3 (23:55):
And that would like post this, I think, No, it
is right.

Speaker 4 (23:58):
Before whore This. Yeah, started in eighty six with Yeah
one Man. It was a two year run of the
World according to me, and Yeah he had also The
thing I remember the most about Jackie Mason is all
the controversy because he allegedly gave Ed Sullivan the finger

(24:18):
back in nineteen sixty four, and Ed Sullivan kicked him
off the show and said he could never come back,
and eventually they proved that he didn't give him the finger,
and that was the real like misconstruing what was going on,
because I guess he was getting like the one one
minute mark, like come off, and then met Jackie Mason,
you know, did the one minute back to him, but

(24:40):
with the wrong finger. But yeah, it feels almost like
after that he was really branded as like an unstable
and you don't know what this guy's going to do.
And for me, it almost feels like he was in
a time capsule from nineteen sixty four and just showed
up in nineteen eighty six. It was just like, of
course he did things in between. He was in History
of the World Part one, it was in the Jerk,

(25:02):
he was in other things, But it was like he was.

Speaker 2 (25:05):
In History of the World Part one, the way Chevy
Chase was in this movie.

Speaker 4 (25:09):
And it feels like he is such a throwback. It
feels like he like is unfrozen wre spelt comic who
shows up in this movie, and like his styling is
so different than Rodney Dangerfield and his character is so
different because Rodney the way he comes in he's just
like a bull in a china shop, and the way
he makes fun of everybody. And meanwhile, Jackie Mason in

(25:31):
this movie feels like, Hey, I'm a really nice guy
and people are just misconstruing this. Why doesn't Why don't
more people like me? And he and Rodney is just
proud to be an asshole. And that's what I really
like about him. I mean, just the way that he
is so out there, like, oh, hey, somebody step on
a duck, you know, like, oh you get a bowl
of soup when you order a hat like that, like

(25:51):
those kind of things where he's just like boom boom,
boom boom, and Jackie is just like grind to do
that kind of stuff, and it just does not it
feels weird foreign coming out of his mouth. And I'm
not saying that as like some sort of xenophobic thing.
It just does not feel like I mean literally, he
is saying lines that were written for another character.

Speaker 2 (26:09):
I So I think for me, Rodney Dangerfield's character, I'm
not even in my mind he's not an asshole. He's
just like, I don't know, like he he is pointing
out the hypocrisy of tho of this, like these these
assholes right, like I don't know, like he's he's very
much like just playing himself dropped into this world with
Jackie Mason. His character is thoroughly unlikable no matter what

(26:31):
he says otherwise, like like me, like me, And it's like,
why would we You're so unlikable. Everything you say when
you open your mouth, like oh like me, please, Like,
but why would we?

Speaker 3 (26:41):
Like?

Speaker 2 (26:42):
Nothing about you is likable. The way your character is
painted is unlikable. The way your character acts and dresses
and just is characterized in this movie is thoroughly unlikable.
In a way. If if Rodney Dangerfield is able to
take again a kind of crass character and make him likable,
Jackie Mason is unable to take a character who is

(27:03):
already likable in the face of it and squanders it immediately.
I mean they try to introduce him by having him,
you know, he's a man of the people playing poker
with the guys on the work site, and it's like
that scene doesn't land, and then nothing from then on land,
and it's like, I don't know, is he supposed to
be like a counterfactual to the things that were going
on in the eighties and other places like New York

(27:24):
City with people. Yeah, I'm assuming right, Like that's you know,
like part of the kind of gag or the joke.
But I'm sorry, Like it's just to both of your points.
It's this is like Encino Man, Like they're unfreezing Brendan
Fraser as a cave man and they're like he doesn't
understand normal human being things of the eighties, Like why

(27:45):
would he? He's from another time? Like yeah, every time
they have Jackie Mason interacting with people, I think in
this movie the movie suffers. And I'm not saying the
rest of the movie around it's particularly great. I think
the rest of the movie around it is maybe a
middle to lesser eighties comedy, Like imagine this movie take

(28:05):
Chevy Chase and Jackie Mason out of it. This is
just like a shitty eighties comedy and it's not even
that body, it's not even that tawdry. Gee, yeah, it's
not fucking pretty abysmal in terms of being an eighties comedy,
and especially in comparison to a film that was quite raunchy,
that had a lot of nudity, that was pushing the

(28:27):
envelope in terms of the comedy at the time. Like
this movie is also, on top of everything else, very
fucking safe.

Speaker 4 (28:32):
Well, and you've got although those good side characters in
Patty Shack, like the the ten Knight's drunk nephew and
the boy that he threw up in the car, And yeah,
it's like the equivalent for Carl the groundskeeper is obviously
the dan Ackroy character. That weird, weird choice of him

(28:55):
being this contract killer, black ops type of guy and
facing his role on Oliver North and things. But like
he doesn't even show up until the end of the film.
Like again going back to the script, and I'm sorry
to do that to just keep harping on this. The
gopher doesn't show up until towards the end of this
movie in the script, and instead they have to open

(29:16):
the movie with the Jaws theme and him going through
the fields, and so I'm like, oh, my.

Speaker 2 (29:21):
God, like airplane motherfucking too.

Speaker 4 (29:25):
Exactly exactly, but my god, for I love Frank Welker.
I think he's fantastic, think he's very talented. But to
bring him in and have him do I think both
gopher noises and the horse noises and the gopher noises
where now he can speak English and Italian. By the way,

(29:46):
what the fuck is going on with this? And just
to make I mean it is such desperation of we
did this in the original, we have to do it again,
even to the point of there being an explosion at
the end of this movie. Shit, And I going back
to stay with the script, I should say. The first
time we see Al being introduced into the script, as

(30:08):
soon as he opened his mouth on the page, I
was like, oh yeah, like because I forgot what Rodney's
character's name is, but he's named the same. But the
very first time you see him, it's a close up
of him going what are we waiting for? Let's get high,
and then you see that he's on a crane and
being raised up to the top of this building. I
was like, okay, boy, that is really like pushing that

(30:31):
line because of the whole let's get laid thing at
the end of the previous film. But then it's like, okay, yeah,
he's very in charge of everything. They described him as
lusty and exuberant, self made millionaire real estate developer, and
he knows everybody that's on his crew. He has a
great relationship. He like calls out to this guy like, hey,

(30:52):
CARMI thank your mother for the school. Julie's great, great,
you know. I'm like, okay, yeah, this is a really
good character. And again, like look at Jackie Mason, the
way he's dressed with that like purple suit, and then
you look at Rodney Dangerfield and the way he's dressed
with that multi colored jacket. I mean, the purple suit
actually looks kind of decent, whereas Rodney and no matter

(31:13):
what universe you're in, that is a loud jacket and
he is a loud person.

Speaker 2 (31:18):
And I ask a question, please, is what universe is
this taking place in where they don't mention Rodney Dangerfield's
character at any point, or Ted Knight. Why didn't they
have like a picture of them on a wall somewhere
or some It's yeah, what's weird is what's weird is
this is a sequel to Caddy Shack that doesn't acknowledge
the original Caddy Shack other than the scenes that directly

(31:41):
acknowledges the original Caddy Shack by having Chevy Chase in it.
But outside of that and the fact that it's set
at Bushwood, it never acknowledges the fact of the original
Caddy Shack. And I guess the gopher, but the gopher
looks different and the gopher can talk at this one, so.

Speaker 3 (31:55):
I'm not an old gopher.

Speaker 2 (31:57):
Yeah, and I don't I don't understand what I mean again,
like not that I need to MC you and explain
it all to me, but if if you're gonna call
this Catyscheck two and you're gonna have Chevy Chase in it,
And the movie was originally written for Rodney Dangerfield, who's
now not in it, but the character in the movie
is still essentially Rodney Dangerfield and everything but name Yeah,

(32:19):
what is what is this fucking movie? Is my point?
Like what is this movie trying to achieve? And why
does this movie even exist? If Rodney Dingerfield wasn't gonna
be involved in this movie, they should have just not
made it, like, honest to God, might this remind no,
this reminds me of license to It? It reminds me
of license to Wed in a lot of ways. Like
if one person is going to dictate the tone of
this movie so intensely, either in that movie's case because

(32:42):
the person had strong feelings towards Christianity, and in this
film's case, because you have a antiquated comedian coming in
to try and hold the jockstrap of someone who he
couldn't even attempt to hold it. It makes it almost
just like you're in this film's case, you're hurting the original,
and in Licensed to Wedd's case, you're hurting Robin Williams's

(33:04):
kind of career as a whole. But in this movie,
I just like, I just I'm having a hard time
understanding what was the point of this movie If we're
not going to acknowledge any of the original movies successes, failures,
or anything for that matter, to begin with it all,
Like why didn't somebody points just look around, be like
this is eerily similar like what happened a couple of
years ago with Rodney Dangerfield and Ted Light. Nobody even

(33:25):
says that it's like what is going on.

Speaker 3 (33:27):
Well, I that made me think of something that was
brought up earlier. Why have Chivy in it, or you know,
why have any of the original characters in it? And
my thought would be, We'll just have Chevy's son be
the web in this one. And if we're not gonna
connect anybody else to anybody, if we're not gonna have

(33:48):
Jackie Mason be Rodney Dangerfield's brother, which would make sense
since they have the same job and they're doing the
same type of thing, then just have it be legacy
characters for a legacy sequel. It's so far removed eight
years from the original right, and it's a lot of
time seven whichever was it eighty or eighty one. Eighty

(34:08):
came out. But my I was confused by the They
kept saying that he's building low income housing, and to me,
that has a negative connotation. And so I know, he's
supposed to be the hero and he's supposed to be
creating living space for people who can't afford you know,

(34:30):
larger homes or but every time they say low income housing,
it plays as a negative to me. It makes it
it makes him not seem like the hero. It makes
him seem like he's tearing down all this protected stuff,
like the little shack that they show that the that
Robert Kulp's wife is trying to protect, Like they're tearing
down historic things to put up slums. That's how I

(34:53):
kept seeing it. And I'm like, wait a minute, no, no, no, no,
he's supposed to be the hero in this.

Speaker 2 (34:58):
It's because Jackson Mason's fucking unlike. That's my point, Like that, well,
there's they could have had it.

Speaker 3 (35:02):
Don't say low income housing.

Speaker 2 (35:04):
They could have had it, and he wouldn't have been
a likable though I kind of the.

Speaker 3 (35:09):
Issue, but don't don't call it loco. I agree low
income housing.

Speaker 4 (35:13):
I mean, I want to know, slum lord. What's the
matter with that?

Speaker 3 (35:17):
Yeah, there's no positive there's no positive connotation to that
phrasing at all. I mean, if you grew up in
the seventies and eighties and you hear had you heard
in the news or elsewhere low income housing, it was
a negative thing. That's where crime happens, that's where drugs
go on, that's where prostitutes do their stuff. That you
know all that. I'm like, so it kept throwing me

(35:38):
off as I'm watching the movie. I'm like, wait a minute, no,
he's not. He's not trying to make himself a slum lord.
He's trying he's offering affordable housing the people. So he's
the hero. I kept having to remind myself of that
because it didn't make any sense the way it was written,
which also goes back to how much of this is
Raynesses and his partner's script at all, because because they

(36:00):
wanted their names pulled off of this and they weren't
allowed to. So yeah, that.

Speaker 4 (36:06):
This movie, I mean, movies have been made for dumber excuses,
but that this was made because John Peters goes, we
own this property, we can say the shack is back.

Speaker 2 (36:17):
I love it.

Speaker 4 (36:17):
It's basically like the old days where you could make
a poster and get a movie sold based off of
the poster, and here you go. Instead of a poster,
it's a tagline. We have a tag library. Now let's
build everything around this tagline.

Speaker 2 (36:32):
Alien three.

Speaker 4 (36:32):
Literally, Now it's in the scariest place of all.

Speaker 2 (36:35):
Uh huh, yeah, well Earth, remember Earth? Then it doesn't.
It was supposed to be Earth. They literally were like
weird and then they didn't go there.

Speaker 4 (36:42):
Yeah mm hmm.

Speaker 2 (36:43):
Gom Peters can you can you imagine be like, we
we own the property. Cool.

Speaker 4 (36:47):
Oh they do that all the time.

Speaker 2 (36:49):
I know. I just love that, just like we own
it and the shack is back.

Speaker 3 (36:53):
Yeah, we own it and we're running out of time
to do something with it because oh yea, at some
point we're not going to own it.

Speaker 4 (36:59):
So that's how those shitty Spider Man movies got made.

Speaker 3 (37:02):
And hell Raiser movies and dozens of dozens of other
horror movies. F Diehard movies. Here, let's grab that script.
I mean, at least they didn't do that Cloverfield grabbing
a script and reh something else.

Speaker 4 (37:19):
I think they did that for at least four. Actually
I think three was originally based on different scripts, Like
let's just call this Diehard movie.

Speaker 3 (37:29):
Oh yeah, yeah, yeah, no, that was But I'm saying
the Caddy Shack too, at least was pulled from like, oh,
this is too similar to the other golf movie that
oh yeah did so we got to turn it into
Caddy Shack too.

Speaker 4 (37:40):
Yeah. Had they done that, it might have actually been better.
Yeah golf movie.

Speaker 3 (37:47):
Yeah, but they would have changed it so much that
it probably would ended up almost the same. I like
how the Amusement park because it's just basically a commercial
for Warner Brothers.

Speaker 4 (37:57):
Yeah, god, yeah, the whole loony Tunes hole that they have.
I mean, they could have played all that stuff up.
It could have been actually funny, and especially because they're
using early visual effects with that ball making into like
a boomerang or something. But like, yeah, show something about

(38:18):
how difficult, like make a rude Goldberg type hole where
you have to go through all this stuff and that
becomes the difficulty for like a Robert Stack to be
able to navigate that and he has no idea how
miniature golf is played. That would have been a little funny,
but instead it just feels so random with like, oh,
you got to make that past the drawbridge and living

(38:43):
working human beings dressed up like Dutch girls and you're
shooting golf balls at them to try to hit the
door in the big windmill. I'm like, that's one of
the most dangerous and plus do you not know how
miniature golf works. You don't use a wood for miniature golf.
You're just strictly up part. It is not a real
golf game.

Speaker 3 (39:03):
Yeah, no, none of it, None of it makes any sense.

Speaker 4 (39:08):
Makes as much as a gopher breaking in and drinking
people's drinks.

Speaker 3 (39:12):
It makes as much sense as Chevy standing directly in
front of Jackie Mason when he wants them to hit
a drive. I'm like, you wouldn't stand anywhere near that.
It would be to the side or behind, preferably both.
You don't ever stand in front of someone swinging a
golf club like chevy Chase.

Speaker 4 (39:30):
And Slumberman running across all those golfers. I'm like, what
the fuck are you doing? Right go behind them?

Speaker 2 (39:37):
Yes, that was making me crazy, But chevy Chase is
able to play golf so well that now all he
does is play golf inside of his house.

Speaker 3 (39:43):
Yeah, and you mentioned those effects, and they're the golf
ball becomes like this big, that's the ball softball. Yeah.
I shouldn't say I shouldn't use hand gestures on a podcast,
but yeah, oh you covered it for me.

Speaker 2 (39:56):
No, come on, you should. I mean the only hand
gesters that you should using the cuts I can get
us in trouble. Yeah, it's just.

Speaker 4 (40:03):
That one, that one, and this one and this other
thing here.

Speaker 3 (40:07):
Yeah, you ever played trap the clam?

Speaker 4 (40:11):
What the fuck was that thing?

Speaker 1 (40:12):
Too?

Speaker 4 (40:13):
Like that, he goes over to four or five pretty
attractive eighties women in it, just like, is so inappropriate
about BOMs? Is your game really that bad?

Speaker 1 (40:23):
Like?

Speaker 4 (40:23):
Who? What kind of person is Ty Webb? Like I
kept wondering about that because I'm like, is he supposed
to be smooth as silk? Or is he smooth as
as duck shit?

Speaker 2 (40:33):
You know? Like what, He's not a real person, That's
my point. Like in the first movie, he's a real person.
In this movie, he's just a gag like he is.
It's like, it's like he and and that's you know,
to come back to the Chevy chase of it all,
because that is the name of the podcast this is
I mean, I I mean, look, yes he was barely
in Dirty Work, and yes he was barely in uh.

Speaker 4 (40:55):
What Orange County?

Speaker 2 (40:56):
Orange County. He's barely in this movie.

Speaker 3 (40:59):
But he Christy came back a fourth time. To be
honest with you, I thought it was gonna be three
and out.

Speaker 4 (41:05):
I'm surprised it was more than one. I thought it
was just gonna be the first thing where he goes, oh,
you want to buy the club? Do I own that? Okay,
here you go? And when he comes back, I'm surprised.

Speaker 2 (41:13):
Yeah, Yeah, but I kind of wish he hadn't come
back for any of them. Yeah, because every time he
comes back, it's just again, like you're re reminding me
of something else called Caddy Shack, a movie who I
feel like I reference it like once a week, Like
a quote comes to comes to my mind from that
film once a week and again, Like maybe it's me

(41:34):
enjoying the original movie a little bit more than y'all.
Maybe it's a movie that resonated with me a little strong.
I mean, yeah, that's the thing. Like I don't I'm
I'm kind of surprised you didn't dislike it more Mark,
because like I remember when I watched this movie the
first time, I disliked it, and that was long before
I became I mean, I've always watched film critically, but
it's different now, Like this is a thoroughly unfunny movie,

(41:55):
and unfunny comedies are are like though are are not
like the worst, they are the worst unfunny.

Speaker 1 (42:04):
Yeah.

Speaker 3 (42:04):
I like it progressively less as it went on. Yeah,
but it wasn't as bad as I thought. It wasn't.
What's the worst one we've watched so far?

Speaker 4 (42:12):
For this funny money.

Speaker 2 (42:14):
Funny money. Oh yeah, but that's like yeah, class of
its own.

Speaker 3 (42:17):
I don't know, this is the worst movie.

Speaker 2 (42:20):
This is the worst movie from this time and era
that we've watched. Yeah, yeah, this is the worst eighties
Chevy Chase movie we've watched, I think period.

Speaker 4 (42:29):
Which really surprised me. Funny Money was the one that
we just did last.

Speaker 2 (42:33):
Tarmanda Santi Oh my god.

Speaker 3 (42:36):
Yeah.

Speaker 4 (42:37):
It was not about counterfeiting, despite what you would think,
unless you consider the counterfeit bananas, no, right, wax fruit yes, yeah,
and it's yeah, it's not good. It's not as bad
as some of the movies that I have seen. It's
not as bad as like your I don't know, I know,
like some of the Police Academy movies get really bad

(42:59):
as well. Yeah, I mean it's.

Speaker 2 (43:01):
Just it's just like that, right, Like this is like that. Yeah.

Speaker 4 (43:04):
It's almost fascinating though, to see just how bad it gets.
I mean, just like the Randy Quaig character has no
like there's nothing for him to do, Like is he
just angry all the time. The he does this whole
thing about like golf isn't really a sport.

Speaker 2 (43:22):
Is what he says. Yeah, exactly. I love his I
love his costume though, his like his outfit in the
movie when they go to the Jackie Mason like theme
park and he's wearing that hat and those shorts in
that green polo, he looks like such a fucking asshole.

Speaker 4 (43:39):
Oh yeah, And again like I wanted him to be, like, Okay,
let's make a new sport. Let's let's create something new
rather than this golf game. So like, let's play this
where you have to defend the whole kind of thing.
But it doesn't make any sense whatsoever, even some of
the real obvious jokes, like when they turn off the

(44:00):
water on the water slide and the James L. Grow
not James L Grow character is coming down and he's like,
oh my ass, my ass. I'm like, dude, you have
to then stand up when you're in the water or
out of the pool and show us that you have
literally burned through the shorts and show me your red

(44:21):
ass cheeks, Like do something, do something right with this.

Speaker 3 (44:28):
Clause?

Speaker 2 (44:28):
I need that is a soundboard, Mike, show me your
red asses.

Speaker 4 (44:33):
Come on, do it.

Speaker 3 (44:35):
He had no nudity clause in his contract.

Speaker 4 (44:37):
So yeah, the whole movie's got a no nudity I
feel so bad for Diane Cannon in this movie. I'm
just like, what are you doing here? And why would
you find Jackie Mason attractive if she was saying like
I hate these stuck up assholes as well, right, welcome

(44:59):
to the show, Diane Cannon. But instead she's just like,
uh huh, yeah, I'm here, and I'm like, what the fuck? Man?

Speaker 3 (45:07):
Well, that's the other thing. Most of his criticisms are
like asides. You were talking about how running Danderfield was
so up front with it, and he's kind of like
mumbling and just saying things off to the side and
not really confronting people with with that.

Speaker 4 (45:21):
Yeah, he doesn't want to show them their hypocrisy because
because we start off the movie with the the Buffy
Saint Marie or whatever her name is just being completely
a jerk to him, the China Phillips character where she's like, oh,
go get me a root beer and Jonathan Silverman has
to run all over the place. He comes back, she
takes one step of it and then drops the can

(45:42):
and I'm like, okay, yeah, that sets the tone as
to how awful these rich people are. But then that's it.
We don't get that level of abuse going forward after that,
and I don't understand that, like, and it sounds like
their problem is solved when they go, oh, yeah, we're
getting all these new golf carts and you guys are
going to be replaced, so fuck you. But then that

(46:04):
never comes to either because we're still using caddies at
the end game. So it's just, oh, the logic gaps,
you know, just really make me angry.

Speaker 2 (46:15):
Randy Quaid is meant to be funny because Randy Quaid
is in a hockey outfit. He's in pads and skates,
hitting the ball away as Robert Stack is attempting to
hit into the hole. That's funny. That's comedy, sure, comedy
capital c Yeah. Is Randy Quaid sitting there the whole

(46:36):
time waiting for people to come by? Does he do
that for everybody or just Robert Stack? This is the
real question, okay, right right, yeah.

Speaker 3 (46:43):
I do have a cinema sin though, and oh boy, well,
and you know, Akroyd's whole purpose there is to take
out Jackie Mason, and he's got these fancy exploding golf
balls which he demonstrates, which he demonstrates for Robert Stack's
character Chandler, which is a total riff.

Speaker 4 (47:00):
On day day of the Jackal, I noticed with the
way that he's gotta be the watermelon hanging there.

Speaker 1 (47:08):
Oh, keep your eyes on the watermelon.

Speaker 3 (47:10):
Now he hits the ball and it explodes the watermelon
when it hits the watermelon, which you know doesn't make
any sense. So later on, when Robert Stack is putting
the ball that the gover has changed to one of
the exploding ones, his slight little tap makes the golf

(47:30):
ball explode. So which is it? Does it explode on
impact or does it explode the second time it hits something.

Speaker 4 (47:36):
Yeah, don't demonstrate something for us just to counteract that
later on in.

Speaker 3 (47:41):
The movie that really bothered me.

Speaker 4 (47:43):
Yes, it bothered me as well. I was like, oh,
as soon as he hits it, it's going to explode.

Speaker 3 (47:49):
Of course, of course, and it does, and you know,
and they are the explosion is very Loony Tunes esque.
Their appearance afterwards, all their hair is up, the golf
club is been just like crazily and yeah Morner brothers right.

Speaker 2 (48:06):
I wasn't waiting for it. We didn't get it, but
I was waiting for it.

Speaker 4 (48:10):
Well, they had enough other sound effects in there. I mean,
there are so many goofy little sound effects that they
pull throughout the entire movie, not not just talking about
the horse farting.

Speaker 2 (48:19):
By the way, you were talking about every time dan
Akrod opens his fucking mouth.

Speaker 4 (48:23):
Oh yeah, there's like little little things that just happened
throughout this whole thing. And I'm like, all right, that
that worked well in Rock and roll High school, it
does not work well for this. And yeah, Dan fucking
Ackroyd showing up fifty nine minutes in.

Speaker 2 (48:36):
Which is I don like dan Akward in the movie,
though only because like he always commits to the stupid bit.

Speaker 4 (48:42):
He does commit to me.

Speaker 2 (48:44):
He commits to the fucking bit like I I and
you know, like to echo the uh the spirit of
Father Malone, who I know dan Akroyd is, like, you know,
a personal favorite of his. Like dan Akward always commits.
I will give him credit where credit is due, that
stupid fucking act. And he never breaks he does it,
He never even he never even cracks while doing it.

(49:06):
That is a commitment to the bit all the way.

Speaker 4 (49:08):
And look that's also where one of those sound effects
comes in. Is when he's talking about getting electrodes to
the balls. You hear low.

Speaker 3 (49:15):
Yes, yeah, and his eyes roll right. Yeah, I'm not
I'm not real keen on cartoon sound effects being used
in movie. Even it's a I know it's a comedy,
but you know when you hear the boying or the
bonk sound effect, I just like, I.

Speaker 2 (49:33):
Don't know, you're taking me out of this a little bit.
You can do it well in something to mention Freaks
and something like Freaks where they have that yeah where
but there's that scene where like the car is driving
and you hear just like all of a sudden, like
a a of sound effects. But yeah, in this movie,
it's it's unearned. I mean again, most of this movie's

(49:53):
attempts at things genuinely comedic are completely unearned. I mean
there's a there's a fair amount of like physical comedy
with Jackie Mason. He's like, oh, I'm locked in my bathroom.
I'm gonna have to climb outside like that dude, like
you just like it's a first story fucking house, dude,
like your fucking bozo, like to go out the window,

(50:14):
come out the front door, like I don't. Hey, it's
a it's a misconception.

Speaker 3 (50:18):
Her to just to ask her to help you from
the other side of the.

Speaker 2 (50:24):
Practice. This is comedy. This is practical comedy. Remember John
Belushi an animal house. It's like that.

Speaker 3 (50:29):
Why would you be embarrassed by that? Oh, the door
handle fell off. I have no idea what happened? Can
you help me open the other side.

Speaker 2 (50:36):
She's a beautiful woman, Mark, She's a beautiful woman, and
he is so he he would have a harder time
explaining to her why the fuck he's at his own
front door. Then why he would be like, hey, my
door knobed all off, right.

Speaker 3 (50:48):
That's what I'm saying. Yeah, the punchline makes no sense.

Speaker 4 (50:53):
And then he holds up and he holds up a
trellis with roses like he's giving her flowers.

Speaker 3 (50:59):
Because he broken on the way down. Oh yeah, you
know you've mentioned back to School a number of times, Mike,
And I'm just like, I wish I wish I had
watched that instead.

Speaker 4 (51:10):
Oh, I know, it's such a better movie, so much better.
So and that's.

Speaker 3 (51:15):
Only for the Kurt Vonnegut jokes.

Speaker 2 (51:17):
Oh god, yes, oh fuck me, fuck you.

Speaker 4 (51:21):
Yeah, that was so good. I'm stopping the check Vonnegut.
Yeah so good.

Speaker 3 (51:26):
I love that he did that. I love that he
did that that Vonnagut did.

Speaker 4 (51:30):
That, and then Sam Kennison just showing up as the
professor in that one scene, and he's so good in
that role, oh man, which would have been great. I
think that would have been really nice to have those
two together and have that lawyer character, like the anger thing,
because Sam Kennison, if you do the anger thing, like,

(51:51):
nobody's that off. Yes, exactly.

Speaker 2 (51:54):
He's one of the few comedians that he's he isn't
like a very protected class of comedians. That is, like,
his anger never seems like a put on. It is believable.

Speaker 4 (52:07):
Yeah, it's like the difference between Bill Hicks and Dennis
Leary where you're just like, yeah, Dennis, you're just reaching
for it, where Bill Hicks was actually angry about everything.

Speaker 2 (52:17):
To quote Dewey Cox, the wrong kid, fucking crop.

Speaker 3 (52:23):
I always think of who's the other guy, Lewis Black.
His anger always seems kind of like the fuck I
like it real to me. He seems legit to me too.
It is, Yeah, just like there's a real grievance. There's
a real grievance there.

Speaker 4 (52:36):
He's going to have a condition fit one of these days.

Speaker 2 (52:39):
Yes, if you hire Lewis Black. You are getting Lewis Black.
You are getting nothing else, but you are getting Lewis Black. One.
I yah. Well, And that's the problem with Jackie Mason,
isn't it Like he is unfortunately himself to the one
hundred percent, like he's himself, but the lines coming out
of his mouth are not. There's someone else's lines. And
that's the problem. It's like the things don't match. They

(53:01):
don't match. And then you said it in the late eighties,
on top of everything else where people are wearing like
big shouldered suits and or like jackets on T shirts
in Chevy Chase's case. Uh, and yeah, it's just none
of it works together as a cohesive comedy, let alone
a sequel to a movie that again like rarely falters

(53:23):
if it falters at all, And that's a movie that
has Bill Murray as a character that they don't give
a lot of screen time to, and then they ended
up having like more than almost like a quarter of
the movie devoted to his character because of how good
he was in just the scenes with other people. And
in this movie, it's like they can't catch a fucking break.
Nobody is good together at all, Like they wish they
could get any amount of like the chemistry between Chevy

(53:45):
Chase and Bill Murray that they had in the one
scene that they had together. And they have how many
scenes between Jackie Mason and Chevy Chase. Almost all the
scenes that chevy Chase is in is opposite Jackie Mason. Yea,
is it opposite? Yeah, chevy Chase is barely opposite anybody else.

Speaker 3 (53:59):
Never reminded me of it. A couple of weird sound
effects that the whole thing with him pulling down the
fake microphone and doing the kind of the WWE entrance
for the start of the tournament at the end. Oh,
yet it's actually sounds like he's speaking into a microphone.
That bothered me for some reason. But early on, I

(54:19):
think it's his first scene when they're in the locker room.
Is that his first scene. Maybe that's a second scene
when they're in the locker room and.

Speaker 4 (54:26):
The second scene. The first scene is at his mansion
with that bizarre painting of his mom, dad, and him
as babies and you all look like him, Okay.

Speaker 3 (54:35):
In the locker room. I think it's after he says
the line about Jackie Mason's mom being a whole lot
of woman or whatever, and then there's a dubbed in laughter.
Chevy's laugh is dubbed in really like an extended laugh,
because he starts talking and the laugh is still going. Oh,

(54:55):
I'm like, what was that about?

Speaker 4 (54:57):
Was that what he meant when he said to Alan Arkish,
let me know after you dubbed the laugh track in.

Speaker 3 (55:03):
I don't know. I saw that in the trivia too,
but it was so bizarre to me. I'm like, he's
the laughter is still happening, but he is already saying
his next lines speaking.

Speaker 2 (55:14):
Speaking of China Phillips.

Speaker 3 (55:16):
It was just weird. I don't even know what. I
don't know. I don't know why it stuck out to
me so much, but I had to rewind it to
see if, like it was what I imagined happened, and
it did.

Speaker 2 (55:27):
It stuck out because Chevy Chase is in four scenes
in this movie.

Speaker 4 (55:30):
I'm surprised he actually is in so many scenes to
those four scenes. The hats off to Arcish for this.
Those four scenes actually make it feel like he's in
this movie more than he is, because they are the
critical scenes. But yeah, I was just shocked. I was
really shocked when he showed up at the end to
interact with Dan Aykroyd. Scene goes absolutely nowhere, and one

(55:55):
of many scenes where it's Ty Webb asking about money
because he wants some money to suck. That point isn't
out of dan ackwards ass. But yeah, wow, those two together,
I was like, Okay, well, this could be funny. We've
seen spies like us. We've seen, you know, other movies
where Chevy's with other people.

Speaker 2 (56:13):
This could be funny. We've seen spies like us. What
fucking statement did you just make money?

Speaker 6 (56:19):
I know, I know, spies like us feels like our
comedy by tracks. It feels like a comedy classic compared
to this film, because I mean, I'll be honest, I
didn't find Gettyshick that funny. There are funny parts to it,
like all of the Rodney and ten Knight stuff, but
that whole thing with what would you say, the kid's
name is Michael O'Keefe, Michael.

Speaker 1 (56:40):
That goes.

Speaker 4 (56:42):
The whole thing with thank you No, the whole thing
with the girl being pregnant and all that stuff. The
Spanish yes, because because it all.

Speaker 3 (56:52):
Got excised, you know, I mean, that story was probably
much bigger part of the original script and all his
family life too, just disappears after the first scene. You see.

Speaker 2 (57:03):
This works in spite of itself. It fucking does because
you have Rodney Dangerfield, Chevy, Chase Urry, and Ted Knight
in your movie, and you gave them.

Speaker 4 (57:15):
Stuff.

Speaker 3 (57:18):
He said, fuck you, Michael o'keith, you're stupid. Let's we're
gonna we've got these guys now, so we're gonna write
more scenes for them. We're gonna have Chevy and Bill interact.
You know, they don't like each other famously, and you know,
so on and so on. So yeah, I find it
funny too. I think I'm in between probably you guys

(57:39):
with the original, not as maybe not as much as
Chris anymore. I think I liked it a lot more
when I was younger, but anymore, it just seems like
a little bit of a mess. And there is a
lot of funny stuff you mentioned, you know, all the
side characters that are funny. That that nephew and the
other caddies that are always getting into it. His Danny's
mimesis in the film, and the pool scenes are funny.

Speaker 7 (58:03):
You know, He's okay, it's just a gainy burn, which
is a funny accident for him to do that horrible
thing that he does.

Speaker 1 (58:14):
The post of the thing that Grits doing.

Speaker 2 (58:18):
Dan Akrod is doing funny even if it is obnoxious.

Speaker 3 (58:21):
It's just it's just so high pitched.

Speaker 4 (58:24):
Though.

Speaker 3 (58:24):
I mean, I get the A North thing, but he's
not Ali North. Isn't that high pitched?

Speaker 2 (58:29):
No, No, just Acord's pitching it up. You know, he's
taking He's going for it as they would.

Speaker 3 (58:35):
I don't think you'd make that connection though, if you
don't read that in the trivia, like I wouldn't have
gotten that, even back in eighty eight. I wouldn't have
gotten that.

Speaker 4 (58:42):
It just that the whole thing where he then suddenly
goes to war against the gopher, and it's just like,
come on, dude, it's it's like that. Yeah, the whole
gopher thing just did not have to be there, and
then the whole plane where he goes, Oh, I shouldn't
have put poison on that arrow, and I'm like, okay,
well does that mean you're gonna die now? But instead

(59:03):
he's perfectly gon happens.

Speaker 3 (59:05):
Yes, another joke that goes nowhere. He should have he
should have been loopy the rest of the time.

Speaker 2 (59:12):
Remember, no, no, no, no, no, from the first movie. Remember that?
Remember that?

Speaker 4 (59:15):
Sure do?

Speaker 3 (59:16):
Yeah, that Jackie Mason ruined.

Speaker 4 (59:18):
I remember this, I remember this from this movie doing
the hula stuff.

Speaker 2 (59:24):
I want Caddy Shack three? Can we get Caddy Shack
three right now? In like twenty twenty six? Directed by
Oh the guy who did Vacation John? Is that John
Francis Daily? I think, did the new Vacation give us
Caddy Shack three?

Speaker 3 (59:37):
Are you not? That would be that would have good
potential if those guys that's what I mean, That's what
I mean, Like Vacation Game Night Dungeons and dragon Dudes
are behind it. I would actually show up for that one,
because Yeah, I find I find their stuff hysterical.

Speaker 2 (59:52):
And that's the thing. Like this had the potential to
be a and the the expectation is a good ensemble comic,
and the original Caddy Shack. I think it's not as
successful as an ensemble comedy because they're never really an
ensemble together. One of my favorite ensemble comedies of like
again for a time and a place for growing up
for me was Dodgeball and like but if you think

(01:00:15):
about it, like every character in Dodgeball gets a moment.
Every character in Dodgeball has like a plot line and
a storyline that gets tied up by the end of
the movie. That's an hour and a half movie. And
that's including like some of the villains in the film too.
Everybody gets like a storyline. Everybody feels like they have
a moment and that and and like and and that's
when those kinds of comedies are working at their best.

(01:00:35):
This movie, and in the original Caddyshack for that matter,
like there's no balance whatsoever, like at all. And I
think that again, the original one works in spite of it,
and this movie does not. I think that this is
we have found some of the most unfunny films I've
ever seen doing this podcast, because this, this, this, this
is up there for me with funny money and man

(01:00:56):
spies like us is pretty bad.

Speaker 4 (01:00:58):
It is, you know, I've been lee being modern problems
out of this.

Speaker 2 (01:01:01):
Oh Dear Jesus, I forgot.

Speaker 3 (01:01:05):
It's trauma that has its moments for me, But I
think it does nostalgia same here.

Speaker 4 (01:01:13):
Yeah. No, So many of these movies that we've talked
about on this show have just not been good. I mean,
you know, I think about some of the better parts
of like three Amigos. But then you get some of
the dumb parts where you're just like, what the fuck
are you guys doing here? Why are ye?

Speaker 2 (01:01:26):
The burning bush? Yeah?

Speaker 4 (01:01:28):
Or the invisible Swordsman kind of stuff.

Speaker 3 (01:01:30):
I'm like, well, it's when they fiddle around with stuff.
It seems to constantly go back to that, like that
played out, some of that stuff played out in the
original script, and then they just dropped it and things
don't make any sense now and you've lost your connective tissue.
And I remember, particularly for that film, being confused by

(01:01:50):
things and then you kind of clarified it by having
read the script, and it's like, who would get that?

Speaker 4 (01:01:56):
Right?

Speaker 3 (01:01:56):
I mean you can't, you can't. You can't make a movie.
I mean I don't get it. I get it sometimes
like we like this part, but we got to take
this out and it's like, well, no one's going to
understand what they're talking about. Well that's okay, who cares,
you know, I'm not going to get the audience city credit,
or I'm looking back over I'm looking back over our
list of what we've already done.

Speaker 4 (01:02:15):
And tel the Century under the Ring God, yeah, yeah,
I mean the Century is another one where it was like,
You've got a lot more of what the hell that
Gregory Hine's character was supposed to be doing and it
did not show up on screen.

Speaker 3 (01:02:33):
Yeah, it's it's it's sad when they do stuff like
that that really affects the not only the quality, but
the understanding of the film, which I guess go hands
and goes hand in hand, like if I don't understand
what you're talking about, the quality of my enjoyment is
going to go down. And they just keep doing that,
and they keep changing things, and Caddyshack is kind of

(01:02:54):
the lone example where it it kind of works where
we're going to change this so drastically, but it's because
we've got all this other funny stuff in there. I'm
looking at what's coming up and at least at least
one of these movies is good. Thanks World, But I

(01:03:15):
think everything will be interesting. Fletch Lives I've never seen.
I'm I am a fan of vacation.

Speaker 2 (01:03:20):
Fletch Lives make the Fletch Letters looks like fucking Citizen
Cages good compared to this movie.

Speaker 3 (01:03:26):
Good good, And I am a fan of cratification and
nothing but trouble. I am curious about. I don't think
I'm gonna enjoy it very much, but I am curious.

Speaker 2 (01:03:37):
The better it's better than this movie because it is
a fucking bizarre failure. Yeah, this is just this is
just Blazailier though.

Speaker 3 (01:03:46):
Is a failure or is it just Danik Royd let loose? Finally,
Like people keep fucking with my scripts and cutting them
down because nothing makes any sense.

Speaker 2 (01:03:54):
And they got like three hundred page Ghostbuster script to
something more manageable and.

Speaker 3 (01:03:59):
Well, or my three hundred page Blues Brothers script that
also becomes much more manageable and cohesive and coherent, and
you know, by you know, maybe not everybody's favorite person,
that John Lannis knew what he was doing when he
cut that thing.

Speaker 4 (01:04:14):
Down, so damn straight, yeah, you know.

Speaker 3 (01:04:16):
And then we've got the vacation you mentioned vacation, the
the I guess reboot. Well, I guess that's kind of
a sequel.

Speaker 4 (01:04:23):
That's sort of It's like it's the whole thing because
they keep saying is it a sequel or is it
a reboot, which is actually a very funny conversation that
they have in there.

Speaker 3 (01:04:32):
And you know, I recall liking Memoirs of an Invisible
Man when I saw it in the theater, but we'll see, haven't.
I don't think i've seen it since then, so maybe
that says something.

Speaker 4 (01:04:42):
But I've never seen it. I'm excited to see that.
I'm trepidacious about nothing but trouble. And then I think
that's oh no. Then we go into like Cops and
Roberts since, which I've also not seen Man of the House,
Vegas Vacation.

Speaker 2 (01:04:57):
Vegas Vacation again makes the vag desation looks like a
fucking I don't know, a Peter Bugdanovitch film compared to this,
anything like a competently made film by a competent director,
compared to this, like Alan Arkish's fault. This is not,
but this movie is. I think this is the worst thing.
I think when we are done, this will be the
worst thing, which I still I genuinely think.

Speaker 4 (01:05:19):
Hmm, well, I hope.

Speaker 2 (01:05:20):
So that's pretty low barred across, yeahsolutely. But I guess
the problem is, like, this isn't the I think this
is the worst Chevy Chase cameo thing we've watched. I
think in terms of the worst Chevy Chase thing that
we've watched, in terms of it being his thing. I
think it's probably for me Deal of a Century because
that movie I couldn't even tell you a fun like

(01:05:42):
I remember scenes from Spies like us. I couldn't even
tell you a funny scene from Deal of the Century,
Like I couldn't tell you one funny scene at all,
Like I mean, I can tell you a scene from
that movie, let alone a funny one.

Speaker 3 (01:05:52):
I don't even remember the last one we talked about,
which was funny money.

Speaker 2 (01:05:55):
So it's yeah, it wasn't a class of it. So
like that's almost in a class of its own. What
was up? You don't You don't remember Robert Loja's boner? Yeah?

Speaker 4 (01:06:08):
Yeah, I look at this a boner I got here?
Oh wait, no, that's John Boyd or Penelope N. Miller
being drunk, remember for.

Speaker 3 (01:06:19):
The whole movie, knowing all the alcohol names, even though
she never dreams exactly.

Speaker 4 (01:06:23):
Oh dram booie. Okay, yeah, yeah.

Speaker 3 (01:06:26):
That's stuck in my craw. I'm still thinking about that.
I do remember.

Speaker 2 (01:06:30):
Is there anything else we want to talk about with
Caddy Shack too?

Speaker 3 (01:06:32):
God?

Speaker 4 (01:06:33):
No, no, no, I just regret that. For Paul Bartelli's this,
Oh yes, I like Paul Bartel's so much and he's
perfect when it comes to playing these characters that are
so super snooty. He does so well, gets nothing to do,
gets nothing to do, and there's no like also with

(01:06:56):
Paul Bartell, he almost always comes around by the end
of the movie. Like think about his character in Rock
and Roll High School where he's this kind of out
of touch science professor, but then by the end he's
at the Ramone show and he's really digging the Ramones
and dancing with that giant mouse and everything, and then
this he just kind of drops out of this movie
towards the end, and nobody, nobody learns a lesson at

(01:07:19):
the end of this, Like what does Jackie Mason gain
by winning the game? Does he just suddenly be able
to become that slumlord he's always dream of being, or what.

Speaker 3 (01:07:29):
He gets to join the country club because he owns it.

Speaker 4 (01:07:32):
But he owns yeah, he owns it, and he's going
to keep the exhibits and everything. And I guess, I
guess the person who has the most gain in this
is the gopher who's going to fuck a poodle.

Speaker 3 (01:07:43):
Yeah, and maybe his daughter because she's all right under
the realization that he's okay, and she's okay being his daughter.

Speaker 4 (01:07:52):
Yeah yeah, sure, Which he really didn't get the whole
thing of her being embarrassed by him, like there needed
to be way more of that stuff.

Speaker 3 (01:08:00):
Well, it's just that he's I mean, the only thing
embarrassing about him is that he's not like the country
club people.

Speaker 2 (01:08:07):
But the only thing embarrassing about him is that he's Armenian. Yeah,
I mean they they what's your last name again? Like, yeah,
chill out.

Speaker 4 (01:08:15):
Truth that Armenian accent.

Speaker 3 (01:08:17):
Yeah, trust me, there were plenty of Armenians and country clubs. Well,
at a certain point, they kind of, you know, once
they started making their millions in agriculture. I think a
lot of the the negative ideas about them were gone.

Speaker 2 (01:08:35):
I just don't under I don't understand any of this
movie's weird racism, but whatever I understood the first movie.
If anything, if anything, you want you want my thoughts
on how to fix this movie should have cast a
black actor as the lead, and then you would have
just had like a perfect like snobs versus Slobs replacement.
You would have just had like again, it would have
made sense. You wouldn't have the uphill battle of trying

(01:08:56):
to convince me that he's not a slub lord, you
know what I mean, Like.

Speaker 3 (01:09:00):
You could have the slave he couldn't have the slave
auction at the country club then, though, I don't think.

Speaker 2 (01:09:04):
Yeah, you could be even it would be even funny.

Speaker 4 (01:09:07):
It would be because it'd be so embarrassing or potentially
embarrassing to the white people.

Speaker 2 (01:09:13):
But the black guy bought all of them exactly. It
made like rights itself. This movie is so fucking lazy.
It misses how easy it could have had it if
it had just caught cast. Like I don't know Eddie
Murphy or I don't know who's doing comedy in the
late eighties, in terms of Africa, it was still still around.

Speaker 4 (01:09:31):
I mean, basically this could have been La Duet, you know,
like the whole thing of I mean, that's what it
reminded me of, was the toy when we go to
ty webs house and he's got all that crazy shit
in his house. So I was like, okay, like is
this again like the idle rich just have a bunch
of boys hanging around.

Speaker 3 (01:09:47):
That was another thing I didn't like. I like, he
should have still been in his cool pad with the
swimming pool, really, I don't why is seeing this big
old mansion he didn't care about money?

Speaker 4 (01:09:57):
No, he didn't.

Speaker 3 (01:09:58):
He so didn't care so much didn't care about money
in the first film that he didn't even know all
the stuff he owned.

Speaker 2 (01:10:03):
He had checks lying around in his house in the
first movie, right.

Speaker 3 (01:10:06):
Right, And and they make the point of, oh do
I own Bushwood? And it's so, why isn't he still
in his you know, modest but nice place like he
is in the first film. He wouldn't buy a mansion
like that if he supposedly doesn't care about money. So
have it be his kid, like I mentioned, And maybe
his kid does like money and it is super happy

(01:10:28):
that his dad is really wealthy. And uh, maybe he's
not one of the slobs. Maybe his son is a snob.
And yes, there you go the Jackie Mason, brother of
Buddy Bayfield or whatever or Jonathan Silverman has to go
up against you.

Speaker 4 (01:10:43):
Know, yeah Jonathan, I don't know. He just has nothing
to do.

Speaker 2 (01:10:47):
Putting in all the effort that the movie is unwilling
to do. The three of us fuck us.

Speaker 4 (01:10:52):
Yeah, I mean, I totally agree with you, Chris that
having a black actor in that role would have made
a huge difference. But yeah, fortunately there were just no
black comedians in the nineteen eighties.

Speaker 2 (01:11:03):
I mean I got an idea of see Thomas Howell.

Speaker 4 (01:11:05):
Oh they go put him in blackface. Yeah, little soul
man action.

Speaker 2 (01:11:10):
Yeah. Yeah, he's the soul man don.

Speaker 4 (01:11:15):
And he's got a secret that no one at Bushwood
can find out.

Speaker 2 (01:11:20):
No, no, yeah, this summer, see Thomas Howells taking back
the shack down it. No, no, no, no, shack Man
not the movie you would think, good Lord, starting with
shack is back, everyone else back.

Speaker 1 (01:11:35):
Yeah.

Speaker 2 (01:11:35):
Yeah. I was like, isn't that going to be the
tagline for Steel when James Gunn brings it back into
the DC, the shack is back steal too.

Speaker 4 (01:11:46):
It just becomes like this amazing dramatic role for Squille
O'Neill that no one expected.

Speaker 2 (01:11:53):
Oh of a lifetime exactly.

Speaker 4 (01:11:55):
It's like the Whale, Yeah, the whale, but with shacking it.

Speaker 2 (01:11:58):
Yeah, it's so serious.

Speaker 4 (01:12:01):
This is called shack Diesel.

Speaker 2 (01:12:05):
I got Ruler fat off my ch you can say,
which is so starting with you Begley and then and
then you Mike. Final thoughts on it caddyshack too.

Speaker 4 (01:12:15):
Now if you're gonna call him beg Do you call
me White?

Speaker 2 (01:12:17):
Okay, Begley and White.

Speaker 4 (01:12:19):
All right, there we go.

Speaker 3 (01:12:20):
Yeah, one of the worst things we've watched so far.
Won't be watching it again, but like, you should check
it out if you like Chivvy Chase.

Speaker 2 (01:12:27):
I don't know what a qualifier that was at the
eleventh hour.

Speaker 3 (01:12:31):
Holy shit, if you're a completist and Mike, yes, white.

Speaker 4 (01:12:36):
And of the same thing. Yeah, this was nearly not
as bad as I thought it was going to be.
But it's still really bad. So there are worse comedies,
probably worse comedies even from nineteen eighty eight, that.

Speaker 1 (01:12:48):
Are out there.

Speaker 4 (01:12:49):
Look it up. But yeah, I would say that it's uh,
it's pretty bad. It's definitely pretty bad.

Speaker 3 (01:12:56):
Yeah, I don't think it nineteen eighty eight. I don't
recall it as being a good year for movies. Eighty
seven was a good year, but eighty eight I don't know.

Speaker 4 (01:13:02):
And I still say that nineteen eighty six was probably
the best movie year of the eighties.

Speaker 3 (01:13:09):
I would have to I would have to go with
eighty two. But yeah, we could argue that.

Speaker 2 (01:13:13):
Spends on your definition of good. There was a pretty
big movie that came out in nineteen eighty eight. That's
a comedy that the three of us not only like,
but we've also covered the Navid Good from the files
of the police squad.

Speaker 4 (01:13:26):
Yeah, I guess. Oh. This was also the year of
the Great Outdoors Twins, a fish called Wanda Mac and Meie.

Speaker 2 (01:13:34):
Mcket's funny Firm.

Speaker 4 (01:13:36):
Ooh, here you go, I Spirits, the one with Gutenberg
and Darryl Hannah and Peter O'Toole where they extended cameo
from Donald Trump. I believe Uf Dwarf's golf Bible. Oh yeah, Oh,
here's a wonderful comedy from that year, Midnight Run, Absolute Killer.
Colin's the winner.

Speaker 3 (01:13:57):
Of that year.

Speaker 2 (01:13:58):
Well, and don't forget another movie that we've covered, a
nineteen eighty eight comedy, classic funny Farm.

Speaker 4 (01:14:02):
Yeah, oh yeah, much better than this one. We didn't
like this one. Much better, better, much better. True. Yeah, yeah,
it was pretty all over the place, because I'm seeing
like Richard Pryor and moving than coming to America eighteen again.

Speaker 3 (01:14:20):
Better than yeah, is it? Yes?

Speaker 4 (01:14:23):
Yes, Young Einstein married to the mob, working girls, Big Business,
the one with Yeah, the one with Lily Tomlin and
what's her name, Bette Midler Hot to Trot, the movie
with bobcat gold Plate.

Speaker 2 (01:14:39):
So yeah, I love that movie. Dadney Coleman was a
big fake teeth. John Kennedy is a talking horse.

Speaker 4 (01:14:45):
John Ktty's a talking right.

Speaker 2 (01:14:47):
Wow.

Speaker 4 (01:14:47):
He was in the Great Outdoors That same year he
had two big films. I guess, huh.

Speaker 2 (01:14:51):
Bobcat Goldwait's lead performance, his lead role in the comedy
vehicle Hot to Trot that went nowhere.

Speaker 1 (01:14:58):
And also Dan that was in The Great Outdoors too.

Speaker 2 (01:15:01):
Oh dear Jesus, Well, I would say for me, Caddyshack two,
like Robert Stack's ken gole hat at the end of
the film, was an ill advised choice. And I yeah,
I'm the as the only one out of the three
of us who had seen this film before. I am
so utterly disappointed at myself for having to watch this

(01:15:22):
film again because and not only watching it again, but
watching it like two times back to back. Uh, because
I really fucking hate myself. Uh yeah, this is it's again.
Unfunny comedies are in a class of their own, and
then unfunny legacy sequels really are in a rarefied air

(01:15:43):
of negativity. And this is one of those movies. And
man who the Like I said at the beginning, the
chasm of quality is vast. So yeah, uh so, like
we've already alluded to. On the next episode, speaking of sequels,
we'll be talking about Fletch Live, a film that will
not be as bad as this one. I can guarantee
you that. Until then, Where can people find you and

(01:16:06):
the things that you work on?

Speaker 3 (01:16:08):
Mark Begley, you can find my two shows Wake Up
Heavy and Cambridge and Mashawan over at weirdinwaynmedia dot com.
How about you, Mike White Well, for.

Speaker 7 (01:16:19):
Me, I'm all for at Weirdingwaymedia dot com as well.

Speaker 1 (01:16:23):
And uh yeah, that's where you can find all my stuff.
How about you? Chris?

Speaker 2 (01:16:28):
Never gonna get tired of you doing that voice. I
think it's fucking hilarious. I think it's you. You're doing
it pondectly. Yeah, it is good.

Speaker 1 (01:16:36):
It really is.

Speaker 3 (01:16:37):
People, if you watch the movie, you will hear.

Speaker 2 (01:16:40):
Or don't just listen to doing the voice.

Speaker 1 (01:16:43):
I could just do this all day.

Speaker 4 (01:16:44):
Yeah you doing?

Speaker 2 (01:16:46):
Are you doing now? Dan Ackroyd as Captain America?

Speaker 1 (01:16:50):
Yeah, I could do this all day. America's I asked.

Speaker 2 (01:16:56):
Man Chris Evans, it's really a choice. Where'd you get
that accent from Oh Dan Akro in Caddyshack Too, was
the inspiration for my Captain America performance.

Speaker 1 (01:17:06):
Good Lord.

Speaker 2 (01:17:07):
You can find everything I do Weirdingwaymedia dot com, just
like these two nice fellas. That's where all the stuff
that I work on can be found. Yeah, other than Patreon,
where the ranking on Bond can be found, which if
you're into James Bond, check out that show on my
Patreon or Mike's Patreon. And if you're not, just like
rate and review this show and all the other shows,

(01:17:29):
regardless of whether or not it's a Weird and Way
Media show or someone else's like rate and review it
however and wherever you get it, because content creators, well,
if we're doing this for free, at least interact with
our content. And yeah, come back next month we talk
about Fletch Lives