Malibu High (1979) – Sleaze, Exploitation, and One Wild Summer Movie - Do You Even Movie? Exploring Obscure Gems and Cult Classics

Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:00):
I'm gonna get the highest grades, and studying isn't gonna
have anything to do with it. Kim wants to graduate
from Malibu Hi with honors. Most kids do it by
making grades. Kim does it by making appointments.

Speaker 2 (00:13):
What are you doing after school? You're interested, I'll be
at high Point. I'm not interested high Point. I'll be there.

Speaker 1 (00:23):
She's studying with the best instructors at Malibu High. And
if she can't learn enough from nine to three, you
game for them.

Speaker 3 (00:30):
Game.

Speaker 1 (00:31):
She takes her teachers on a field trip.

Speaker 2 (00:34):
Well, that's in aller hard to resist, and.

Speaker 4 (00:37):
Don't Malibu Hi Malivu High, where the most important subject

(01:13):
is physical education. I am miss Betle the best, sir.

Speaker 2 (01:19):
I need extra help, mister Mooney, I mean personal help.

Speaker 5 (01:24):
Couldn't we get together after school?

Speaker 1 (01:26):
From History to physics.

Speaker 5 (01:27):
And ext report cards are about to come out.

Speaker 4 (01:29):
I want you to know what grade I.

Speaker 1 (01:31):
Expect about your grades?

Speaker 3 (01:33):
Miss Special truly remarkable, from.

Speaker 1 (01:35):
Botany to driver's ad What grade do you expect?

Speaker 2 (01:40):
Hey, all a's and all of your classes except Miss
Damon's English class.

Speaker 1 (01:45):
This's the story of a schoolgirl named Kim.

Speaker 5 (01:49):
I don't understand you never see the study anymore Relax
from Strolmhurst enjoyed.

Speaker 1 (01:55):
The view who was the best in her class? Malibu by.

Speaker 2 (02:07):
In a world where podcasts reigned Supreme.

Speaker 3 (02:12):
Two Friends Dare to Ask?

Speaker 2 (02:16):
Do You Even?

Speaker 3 (02:17):
Movie, hosted by filmmaker Enrique Kuto and movie aficionado David
de Noyer.

Speaker 2 (02:36):
Spoiler alert, So, Dave, so hen, I feel like it's
important you kind of addressed the elephant in the room.
Why did you hate twenty eight years later so much?

Speaker 5 (02:56):
I didn't hate it.

Speaker 2 (02:56):
I didn't.

Speaker 5 (02:57):
You're so mad. No, I wasn't startling. I was mad.
It was more so it had a lot of great
things going and I and you know, given that we
are getting two more movies, it's basically gonna be a
trilogy movie for Or Part three is going to be
a trilogy.

Speaker 2 (03:11):
Based on.

Speaker 5 (03:13):
It was. It wasn't bad. It was just they do
something at the ending that really threw a curveball for me,
that kind of took me down a little bit.

Speaker 2 (03:22):
You know what it was at the end.

Speaker 5 (03:23):
It was at the end. Yeah, but it was just
like it was so it was so fucking wack of
do that it just it they just kind of like
what they had set up and what we had just
witnessed for the closing of the film. Yeah, it was.
It was just a little off balance. So that's basically
what it was.

Speaker 2 (03:38):
I mean, I I think that that was entirely the point.

Speaker 5 (03:41):
Well, I'm not saying it wasn't. I'm more so just
saying that. That's why I was. That's why I was kind
of on the fence about it, because I was just like, Eh.

Speaker 2 (03:49):
I mean, you're not curious, what what that's all about?

Speaker 5 (03:51):
No, I'm not saying I'm not curious. It was just
that was just the initial that was just the initial
watch what what what are you asking? You're you're asking
me asking?

Speaker 3 (04:00):
How?

Speaker 2 (04:00):
Like why that that seemed to kind of sour you
to the whole film.

Speaker 5 (04:04):
It didn't sure me the whole film, the film itself.
I didn't love the movie. I thought it was fine,
But I mean I've not been the biggest fan of
twenty eight the twenty eight Days except for like the
first one, Like I liked the second one when we
want revisions, yeah, eight days, but no, when we when
we revisited them before we went to see it this
past Saturday or Sunday, the first one I still love

(04:24):
as much as I did when I first saw it.
I'm not even sure I saw the second one. We
were watching it this first time, so I think because
I didn't remember much of it. So I just so far.
I really liked the first one, and I like what
they're doing with the story. But overall, just it I
don't know what I was expecting, but it just did
just didn't hit it for me. It was still a
good movie, and I think, honestly, on another watch, I

(04:46):
might like it a little bit more. But yeah, just
I don't know, it just it just didn't hit for
me super well with that ending. I like the world
building that they have going on.

Speaker 2 (04:55):
It's just the fact that it wasn't really the ending
as much because it was the book end of that movie. Yeah,
Because I mean, because the plot of the first film
was already done. Yeah, and then we were just kind
of following the main character a little bit more. Yeah,
and then we had that kind of whiplash moment to

(05:18):
set up the next thing.

Speaker 5 (05:19):
And I think that's why, I mean, and that's the
thing is, like, you know, you and I talked about
this at length when we got out of the movie.
I think I was just so much into the closing
that I thought we were getting for that movie and
then that happened.

Speaker 2 (05:32):
But I mean, you did get the closing you were
expecting for it.

Speaker 5 (05:35):
You just yeah, But it's kind of it's the same
thing with you and I've had this conversation before with
The Witch. If it would have ended with Philip going
you know, what do you desire and credits, I think
it would have been a really cool ending, given I
also like the ending spoilers where the women are floating
and whatnot around the fire, like the classical witch look
and whatnot. I get that, but I mean that was
that was basically it was. It was just like I

(05:57):
wish it would have ended where that initial like ending was.

Speaker 2 (06:02):
I understand what you're saying. Yeah, but the fact that
they're setting up a whole other movie is kind of
why it why it doesn't bother me tonally, because the
whole concept is we just finished a story.

Speaker 5 (06:15):
Yeah.

Speaker 2 (06:16):
Now, if that had been the ending of that story, yeah,
I would have been pretty annoyed because it came out
of nowhere. That's kind of the point, though, is.

Speaker 5 (06:25):
My point is I don't really want two more movies.
I'll be honest. I think that's kind of what it is.
It's just like I'm I'm kind of tired that it
feels like we have to stretch things into three parts
now or two to three parts.

Speaker 2 (06:36):
I don't think it's fun.

Speaker 5 (06:37):
I'm not saying it's not fun. It's more so just
I don't know, Like I mean, you know, it was,
it was fine, it was it was fine as it was,
and I'm very and I'm definitely curious to see where
they're going. But it's just like it gets a bit exhaustive.
That's what I'm kind of getting at for me. So
you were exhausted, exhausted by the idea that we have
two more to go. It's kind of like the same
thing with the Strangers. Like I've liked the Stranger movies

(06:58):
so far that we've gotten, but it's just like it
seems like.

Speaker 2 (07:00):
A lot of I thought you were amped about the
idea of Rennie Harlan doing three straight.

Speaker 5 (07:04):
I was, that's that's that's an exception to this. More so,
what I'm saying is it seems like a lot of
things are doing that whole like two to three more
movies out of out of initially what we thought was
just getting gonna get the launch.

Speaker 2 (07:14):
Sure, but but I guess my my point is the
movie did have an ending to the story we were watching. Yeah,
I mean, obviously I can't say exactly what because.

Speaker 5 (07:25):
I don't want to spoil it.

Speaker 2 (07:26):
I an end.

Speaker 5 (07:27):
I wouldn't call it an ending, though, because they still
left a bunch of stuff open.

Speaker 2 (07:31):
I mean perhaps, but I'm talking about the plot line
of that initial story of that of the film. No, no, no,
I guess it's still pretty focused.

Speaker 5 (07:39):
I get that.

Speaker 2 (07:40):
Yeah, so that's that's kind of what I mean. Is
like to me, there's a difference between a to be
continued and a we didn't wrap anything up.

Speaker 5 (07:49):
What I've been like, because I've been thinking about this
too since since we've watched it, simply watched all three
of them. I really like the raw, visceral feeling of
that first movie, given you know, the DV obviously helps
with that.

Speaker 2 (08:00):
Yeah, shooting on camera, cam quarter video, but it.

Speaker 5 (08:04):
Just feels like there was a lot. It feels like
there was for the twenty eight weeks later and twenty
eight years later, it feels like there hasn't been a
lot of how do I put this, Like, the way
that I was thinking about it was it just felt
like to me, like there hadn't been a lot of
really good emotionally driven I don't want to put this
because it's like both both movies absolutely do have emotion,

(08:26):
but it's just like there's a different feel to twenty
eight Days Later than there is to the rest of
them so far.

Speaker 2 (08:31):
Well, I mean, I would, I would say that's an
arguable I mean, that's very much the case. But I
mean twenty eight Days Later is not only, you know,
a pretty damn good movie, but it's also a product
of its time, very very much.

Speaker 5 (08:48):
The last the last two haven't had a haven't had
like a really strong beacon of hope at the end
of them, because you have the second one twenty eight
weeks later spoilers with the shot of them running towards
the Eiffel Tower. Oh sure, and then leads into the
third one, which I'm not going to say the ending
of this one obviously, but it's just like, I don't know,
like it it's a bit nihilistic, if that's if that's
what I want to say.

Speaker 2 (09:10):
I I don't know about that.

Speaker 5 (09:12):
That first ending, that first ending is so strong, yeah, yeah,
So I mean that's I think, and that could be
where I'm basing it off of. Is it just neither
of them gave me that ending again? But I can't
get that same ending again.

Speaker 2 (09:21):
Oh you mean the ending of the first film. I
thought you met the first ending of twenty eight Years.

Speaker 5 (09:25):
Oh no, no, no, the ending of the first film.

Speaker 2 (09:28):
Yeah, it's a pretty good ending. Yeah, but I mean,
in many ways, the ending of twenty eight Years is
somewhat uplifting.

Speaker 5 (09:37):
Is it.

Speaker 2 (09:38):
Well, it's meant to be, I know, but I mean
it's about moving on and growing older and understanding your
parents as adult as people, as other people, and not
just as as your parents.

Speaker 5 (09:50):
Yeah. So, but I mean it's a pretty devastating ending
in hindsight if you think about what happens and everything.

Speaker 2 (09:56):
Yes, I mean, I well, don't get me wrong. The
movie is strange, yeah, and that's on purpose. I mean,
it's it's strange, and it's got a very bent kind
of not morality, but it's got kind of a bent
mindset and that. But that's kind of just what you're
getting because you got to remember, they're living in this

(10:17):
post apocalyptic world that's only on their island.

Speaker 5 (10:20):
That's been broken off since two thousand and two.

Speaker 2 (10:22):
As far as we can tell everywhere else is somewhat normal.

Speaker 5 (10:26):
Yeah, well, I mean, and we get a taste of
that with the with the Soldier cameo.

Speaker 2 (10:31):
Yeah, with the NATO soldier has an iPhone. Yeah, and
no I and that's I agree. But like the ending
being that the main character has gone through a journey,
a very important journey, apparently learned a lot, and at
the end he leaves because I'm trying to be vague
because I don't want to give way too much, but
he's trying to but he leaves like it open that,

(10:52):
like he hasn't completely turned his back on anything or anyone.
So I think that's an uplifting element.

Speaker 5 (10:59):
I'll give you that.

Speaker 2 (11:00):
So to me, that's where the story of twenty eight
years Later that we were watching it was. It ended
at that moment where we kind of got the rundown
of what's going on.

Speaker 5 (11:09):
So I'll be I'll be perfectly honest when when I
say this that the initial feeling I got at the
end of the credits of twenty eight Years Later was
I was like, shit, is this going to be a
kick ass two situation where where the first movie is
you know, building up, you know, the hero and the
characters and everything, and the second movie is nothing but
consequences of the actions of the first movie.

Speaker 2 (11:28):
I mean, I love kick Ass. I do too.

Speaker 5 (11:29):
No, I do too, That's what I'm saying. It's just like,
am I going to go through that same thing again
with what happens at the end the very end of
this movie. I don't know.

Speaker 2 (11:36):
I don't know if it'll be consequences because most of
it has already been wrought.

Speaker 5 (11:42):
It has. It's just it's just the the characters that
we meet at the very end of this movie, just
I wasn't I wasn't ready for them, and that could
be and that could be why.

Speaker 2 (11:53):
But I mean, that's why I like it though, as
it's so clearly a sudden tonal shift. But like, if
you put a sudden tonal shift like that before this
movie that we just watched had can come to its
conclusion as far as story, then I would be very
annoyed because I'd be like, you spent all this time
setting up all this stuff and then you just ran

(12:15):
the other way. But they didn't do that. That's why
I can I Well, the other part is too that
it ends with a massive cliffhanger, but we know there's
going to be another one, because otherwise I'd be very
annoyed by that too. I'd be like, what what it
gave me?

Speaker 5 (12:28):
Dead snow two vibes? Like that that that ending, it
gave me dead snow two vibes and like feast two
three vibes. And that's why I'm just a little nervous.
That's why that that's why it was kind of a
man like that's me.

Speaker 2 (12:41):
I get what you're saying, but but to me it
was while jarring the ending, it was very Danny Boyle.
Oh and that helped too, because not only does he
do that kind of this doesn't spoil anything it went.
They did a sudden tonal shift from very trudging and
seer and a little spiritual to a kind of hyper

(13:06):
realistic modern but not really modern so much as like
kind of old school.

Speaker 5 (13:11):
I would say, Kingsman is a good way to put it.

Speaker 2 (13:14):
Yeah, yeah, to pick another brit that isn't Danny Boyle. Yeah,
but that's kind of my My point is that the
tonal shift was to grab your attention, and I felt
like it was also to kind of make it very clear,
like okay, that parts over, like this initial hero's journey
is over and now we've got this totally different one.

Speaker 5 (13:37):
And that's like I see, Like, this is the problem
is I keep thinking of other movies that have had
that kind of feel to it, and another one is
Trained to Busan. Peninsula really really did not like that movie,
Like it was it was fine, but like it's nothing
like the first one.

Speaker 2 (13:51):
Did they leave Trained to Busan open to a sequel?
Like really clearly at the end?

Speaker 5 (13:54):
Uh not? I mean the tunnel sequence is all you
is all you've got right right right, that's it. I
haven't seen Peninsula. You're not miss much, That's what I've heard.
But I love Trained to Bissan so much yet.

Speaker 2 (14:04):
Yeah, but that's kind of my point is we have
this next movie coming and it's coming very soon. Yeah,
it's coming in January. Yeah, and obviously we're now prepared
that it's going to be a tonal shift, which I
like because you know, if you're just to me, I
would be much more annoyed and I would be more fatigued,
like you're describing if it was that the end of

(14:27):
the movie was realizing we weren't at the end.

Speaker 5 (14:30):
I get that that. No, I'm sick of that I
would get that. No, I think my biggest thing that
I'm pulling from all of this that I the more
I think about it, is I'm just worried that we're
gonna get to action tripe of a zombie thing, like
we've seen all the Walking Dead spin offs and that stuff.

Speaker 2 (14:48):
Yeah, but given the nature of all of the twenty
eight movies, even because I twenty eight weeks later is
not bad, but it's also a very much a product
of its time. It feels very much like the movie
it came out in that time. Yeah, I wouldn't go.

Speaker 5 (15:01):
That far like it's it. No, I would call it
like almost like it Like I don't want to call
it generic.

Speaker 2 (15:08):
It's not, because I mean, I think that's too harsh,
but it's it's it's very much like the type of
movie that was being made that at that time. But
they did some interesting stuff. They they managed, they leaned
into the family dynamics, they leaned into the world building
a bit. Now they really leaned into the world building
in twenty eight years, which was really that and you're
gonna get an immense amount more of that. That's clearly

(15:30):
where we're headed is to now. The story is going
to move along to another space. So I get your
your admitt.

Speaker 5 (15:39):
That feel of the movies that have retained so far
with them being survival journeys and not straight up action movies,
because like even with twenty eight Days, you really don't
get like a full on action movie at any point.
You get the final climactic like in the Castle and everything, obviously,
but that's not even I wouldn't call that an action sequence.

Speaker 2 (15:57):
No, no, But but here would be my question, and yeah,
do you actually think that the next film could even
possibly be consistently the way that last scene was.

Speaker 5 (16:09):
Yes, I don't see how it couldn't see. No, I
mean Boil's other works like that. He's done some stuff
like that that I can think of.

Speaker 2 (16:17):
Well, it doesn't matter. He's in directing the next one. Yeah,
that's the Naya is it nea coasta or Nia da
costata coasta? She's directing it, And I mean based on
her Candy Man movie, which you know, whether you loved
it or didn't love it, I thought it was a
pretty solid film. I don't see it being like a

(16:37):
like a music video goofball Fest. Yeah, I think that
part of it is. I really do think that the
whiplash was helpful to kind of make you move forward
from the story we just finished. That's kind of the
vibe I got was like, okay, because that this is
You've heard me talk about this a lot. How Like,
it's not that I get frustrated when like a TV

(16:59):
show and they leave they have a cliffhanger. What I
get mad about is when I feel like when I like,
when I watch a whole season, it didn't accomplish anything
for me, when they're like, okay, and then the year
will keep going.

Speaker 5 (17:14):
Boys The Boys last season, Yeah, yeah, I didn't want
to say that, but at the same time, like, that's
the biggest one that I can think sure, because I
remember just the end of the final last season of
The Boys. I was just like, cool, you just did
nothing but buffer for the next season, because like I could,
I could have predicted all that.

Speaker 2 (17:28):
Was gonna happen very much. And that's kind of my
thought is since they gave us everything we needed, yeah,
for the first for that film for twenty eight years.
They later, they gave us everything we needed to appreciate
that story, and then they were like, and the next
thing that's coming is a bit out there. Yeah, I

(17:48):
also think some of that could have had to do
with the fact that it's through the eyes of a child.

Speaker 5 (17:53):
Oh, that could be it too.

Speaker 2 (17:54):
Yeah. So I just took it as them wanting you
to know, like, hey, that part it's over. This is
the next part, because they don't want I have a
feeling that Boyle wouldn't want you to think that he
just copped you out, because I respect him as a
as a filmmaker very much as a storyteller, and I
just don't you know, it's kind of like, you know,

(18:15):
when Back to the Future was ballsy enough to say
like to be continued at the end of their movie,
it wasn't so frustrating because you had finished an entire storyline.

Speaker 5 (18:26):
Well, and I mean again that that one was coming
quick too.

Speaker 2 (18:29):
Yeah. Yeah. Well, And that's the other thing is like,
if if that ending had happened and twenty eight years
later the bone Garden, right, yeah, or garden I think, so, yeah,
and that had not Bone I think it's Bone Garden.
But yeah, but if that weren't already in the can
and ready to come out, I would have been annoyed, yeah,
because I would have been like, Okay, so you left

(18:50):
me with a bunch of questions after we just finished
a really good story, but leaving me with questions and
also being like, don't worry in you know, six months
or whatever, you're going to get to go to the
theater and watch it too.

Speaker 5 (19:01):
And I can't be upset with that because I mean
ty West did that with ex Pearl and Maxine, and
I mean, and all those were decent.

Speaker 2 (19:10):
I mean, I think X is pretty good.

Speaker 5 (19:12):
No, I love X. I love Pearl.

Speaker 2 (19:13):
I think Pearl's phenomenal. And I thought Maxine was fun.
It's fine. Maxine was them just having fun, yeah, and
not you know, for no care about you know, the
audience or the story. Yeah, it just was a kind
of a wrap up, and it did feel like they
had to come up with that later, yeah, which they did.

Speaker 5 (19:29):
Then they did. Yeah, but no, I mean I enjoyed
that trilogy. So I mean, like it's not that I'm
necessarily burned out on trilogies. It's more so it's just
like the anxiousness and the waiting and just being like, eh,
is is this gonna be worth it?

Speaker 2 (19:42):
Well, well, you're gonna have that. I mean, we had
that going into twenty eight years later, Like is this
gonna be worth the immense weight from twenty eight weeks later. Yeah,
So I mean to me, it's like I get, I
do understand where you're coming from. I just don't see
it on this very much because they're just gonna give
us more interesting stuff. Because that's like the hardest part

(20:03):
about sequel making really is like how much of the
same do you give and how much do you change?
Because if you just give like more of the same movie,
you run the risk of being like, oh see, I
can't think of the example off the top of my
head up right the second. But like, there are some
films where I don't really remember which sequel I'm thinking of.

(20:26):
I get that. And then there are films like even
I mean, like the big the big franchises that we
grew up with. I can tell you which movie Freddy
Krueger I'm remembering. Yeah, you know, I know that one, two, three, four, five,
and six they're all different, and seven they're all different. Yeah,
even the other continuations.

Speaker 5 (20:46):
Yeah, I mean I can pick apart Freddy, I can
pick a part leather Face. I can pick apart Michael
and pick apart Chucky. Like those movies I have central remembering.

Speaker 2 (20:53):
For four and five, which do feel very similar. Yeah,
you can still remember which ones which? Oh yeah, And
that's kind of my point is like I like that
I'm going to remember which twenty eight years later movie.
I know that for a fact. Yeah, because well and
not just because I because of the whiplash, but they
kind of give you that whiplash, but then remember this too.

(21:14):
He like ends it like that and then hands the
keys to another director and goes have fun. Yeah, like
go make.

Speaker 5 (21:19):
It happen that with Hatch at three.

Speaker 2 (21:21):
Yeah, so so that's kind of That's a good example
Hatchet one and two. I have a trouble remembering the difference.
Oh seriously, a little bit. I'm not saying like I
would think two three, Maybe it's more two and three,
more two and three, But that's not even a dig
It's just when they feel like one congruous thing, you
run a it's a risk. It's a it's taking a
risk as a storyteller. And that doesn't mean that it'll
always turn out poorly or that it won't be good.

(21:43):
But I've definitely as I've gotten older, I've started to
appreciate things that I used to scoff at as a
movie fan, like, for instance, Jason looking different in every movie,
having a different mask, or when once he got the
mask and stuff, and now I look back and I'm like,
now that that's actually kind of nice because it helps
me kind of like.

Speaker 5 (21:58):
My Biggest can still Part nine where he is reborn
and then pops out exactly the exact sames we saw
him being in the movie, like all molded out and.

Speaker 2 (22:07):
What he should have been a little boy like at
the end of the eight.

Speaker 5 (22:08):
I mean that would have been fine. I mean he's
also reborn with a machete somehow.

Speaker 2 (22:12):
Well, and and but you know what, Jason goes to
Hell's a good a good point to bring up. Yeah,
because Jason goes to Hell. Many fans were unhappy with it.
Many fans were disappointed with it. Yeah, but then where'd
my ashtray go? Oh no, did I forget it? There's
no way I forgot it. I I don't understand. I

(22:33):
was about to ash And then I was like, oh, oh,
typical day among the goodness. This is a first kids.
We have, like we have like a methodology when we
do the show where Dave fills my water bottle while
I'm setting up the cameras, and lights and stuff, and
he empties my cigar ashtray. That is bizarre. I wonder

(22:54):
what happened. I hope he didn't drop my ashtray just
into the trash. Oh Dave, Well he escaped me picking
at his grumpiness. I suppose what happened was it in
the trash? Can I oh? A story as old as
time itself? But no so. But Jason Goes to Hell

(23:18):
is a good example of kind of what we're talking about.
It disappointed a lot of fans. It made a lot
of people feel a lot of different ways. But it's
very memorable, absolutely because of the weird and interesting choices
it made. Yeah. So, but I mean I would agree
if if if twenty eight weeks later Bonegarden is or
twenty eight years later, if it's exactly like that two

(23:40):
minute sequence, Yeah, the whole time, it'll just give you
a headache. But I think any filmmaker it would would
look at that and go, well, this is not this
is just to establish like, huh, what is going on here?

Speaker 5 (23:52):
Just too nervous. That's I mean, that's basically what it is.

Speaker 1 (23:54):
Like.

Speaker 5 (23:54):
Like I said, I didn't hate the movie by any stretch.
It was more so just like I remember leaning over
to you and like, this is fucking stupid.

Speaker 2 (24:03):
Yeah, but but do you remember my response was like, oh, yeah,
but they are making another one. I heard that because
I looked it up afterward. I was like, I'd heard
that they already announced a release date for a sequel.
So then I was like, Oh, well, whatever they do,
they're just gonna pay it off. Now. Imagine though, in
your in your mind's eye, imagine if there wasn't a
sequel yet and then it didn't get made, that would

(24:27):
really be a fucking skin mark on that movie. Yeah, right,
it would. It would be. So that's that's kind of
my mindset, is like I'm so glad that they're setting
something up, and that just kind of makes you go, oh, okay,
what's next me?

Speaker 5 (24:40):
And I can't act like I'm somebody that's just like, oh,
I don't want my movies to be the same. I mean,
I fucking love the David Gordon Green trilogy for Halloween,
and there's not a lot of people that do.

Speaker 2 (24:50):
Yeah, and they all have pretty different tones, which I
thought was really smart. Yeah, because yeah, because for the
most part, for the most part, I can remember Halloween
twenty eighteen Halloween Kills Separate. Yeah, there are a few
little moments where I'll be like, oh wait that was
in Kills or oh wait that was but you know,
they are a trilogy. Yeah, but I definitely don't forget
Halloween Ends versus the others.

Speaker 5 (25:10):
I think the easiest, like the easiest thing that I
can I can say to wrap this up is for
and for us a pivot to the other movie would
be that they've done something that has still stuck to
their formula so far and overall was really like enjoyable journey.
Like I said, it wasn't. It wasn't without you know,
without trying that They they really tried to bring forth

(25:31):
a new story into this whole saga, but also keep
in mind of what we loved about the originals. So
I can't fault that because there was a lot of
stuff in this one that really did hone in on
that feeling of the first In the second one for
that matter.

Speaker 2 (25:46):
Yeah, no, I would agree, And the world building was
just top knock. It was, like I I hope if
they if they do end up with a trilogy, which
it looks like they will, Yeah, I hope that the
third one they just they just say scrit and go
back in time. And because I'd love to learn more
about this island community, I would.

Speaker 5 (26:02):
Taken an entire fucking movie on Ralph Fine's character.

Speaker 2 (26:06):
Yeah, I would.

Speaker 5 (26:07):
I would. I would gobble that shit up. Give me,
give me like a freaking Peacocks six episode mini series,
and I would gobble that shit up.

Speaker 2 (26:14):
You see what Dave does, He's like, I'm just tired
of me. Oh, there's gonna be more. But then he's like,
give me a six a spinoff.

Speaker 5 (26:20):
Even though I'm terrible with TV shows, still have not
finished mcgoover.

Speaker 2 (26:24):
Well wow, that's not even long, is it. It's not Sky.

Speaker 5 (26:27):
No, you're so bad with TV show it's too bit.

Speaker 2 (26:29):
Busy watching Under Deck or whatever the hell it is.

Speaker 5 (26:31):
No, Below Deck's done. Like I mean, I've I fucking
ate that shit up real quick. Like I basically most
of my twenty twenty two was watching that entire series
and all the spinoffs, and then as new seasons than
new episodes have come out, I've watched those as well,
but I'm all caught up on every single thing of
the series, not like After Deck or Below Deck, After

(26:51):
Parties or anything like that. I've only watched the main series.

Speaker 2 (26:55):
How many episodes does that?

Speaker 5 (26:56):
Uh so there's ten, ten or eleven seasons of the
first series. You've got five seasons of Blow Deck Mediterranean,
You've got three seasons a Below Deck down Under, and
you've got one season of Below Deck. I think adventures.

Speaker 2 (27:09):
We're talking more than a hundred Oh no.

Speaker 5 (27:11):
Like a lot.

Speaker 2 (27:13):
I'm bad at TV shows, But I just watched that one.

Speaker 5 (27:15):
Like I was binging that one, like when my ex
was together, Like I was even chewing through that to
the point where she was like, can we not watch
Below Deck? And I was like, yeah, that's that's fine.

Speaker 2 (27:25):
I guess when your X was together before she got
torn apart by Rabbid weasels, my ex and I worked
and I just thought it was funny. It was funny, Okay, good,
but yeah, No.

Speaker 5 (27:33):
On the other side of that, you have a franchise,
like or not franchise. You have a movie like Megan
that took a big swing with Megan two point zero
and took away the horror element and made it into
a sci fi action movie.

Speaker 2 (27:44):
Yeah, which was a really interesting choice. But also, like
you know, the options were to either do another horror
movie with Megan and I feel like they did do
most of what they could do with Megan, and the
the option was let's lean into the sign fiction element
and let's make it an action packs fun.

Speaker 5 (28:02):
Megan T two.

Speaker 2 (28:03):
Yeah, Yeah, they basically, I mean, because Terminator was damn
near a sci fi horror movie. Yeah, and the Terminator
two comes out and it's sci fi action. It's basically
the prototypical action.

Speaker 5 (28:12):
The same thing with Alien, because Alien the first aliens
more of a suspense horror film and then goes into
straight up action for Aliens.

Speaker 2 (28:17):
Yeah. Absolutely, although I feel like they kept the horror
element a little bit, a little bit more Alien Aliens.
But yeah, yeah, but no, I would agree. That's kind
of my point is like, when you have a movie
that worked, and I thought Megan worked really well, It's
like I feel like if they had decided to try
to keep the same tone, they would just be making
child's play. Yeah, you know, they'd be like, Okay, so

(28:38):
the doll comes back again, tries to kill whatever, and
then or chooses another kid to chase after, Like, it
would just be it'd be child's play.

Speaker 5 (28:46):
I thought there was a lot of creativity with Megan
two point zero in the development of what Megan has
been doing in spare time of what we thought and
when she was disconnected.

Speaker 2 (28:54):
Basically, yeah, well there's a lot of stuff about AI.
There's a lot of stuff which also makes sense because
like when Megan came out, that was right before AI,
like large language models and stuff became totally mainstream to
the point where people are using them every day. So
that also added a really interesting element to have, like
this be about technology and the advancement of such, and

(29:16):
you know the idea of like where does technology fit
in our world and things like that. So basically the
long and short, although it ended up being way more
interesting than they were presenting it was, there's a new
killer robot and now they have to bring Megan back
to fight the killer robot.

Speaker 5 (29:31):
Because it's Megan's build essentially that was stolen and made
this new robot.

Speaker 2 (29:35):
Basically, yeah, yeah, and there's the plot is much more
interesting than that though, really is. It has a lot
more to it and also one of the best things
I could say about Megan two point zero it didn't
cop out why she was able to not be just
a psycho. They actually had a few different scenes where
Megan really gets a chance to basically be like, this

(29:59):
is why I'm you know why I'm different? Yeah, and
like I'm I learned well.

Speaker 5 (30:04):
And I love the fact that they also had to
have the quandary in there of basically, what is going
to be a moral action and what is it a
moral action? Like then can I kill or can I harm?
Like you know what was that? And they started playing
with that element too, And I love that.

Speaker 2 (30:17):
No, I really enjoyed it. I from what I've heard,
it's not doing super well. It's a box office fortunately,
which bites bite. I thought Megan two point zero was
really fun. Yeah, the characters were super likable and well
fleshed out. Megan becomes extremely likable, yes, which I liked
quite a bit. And I do. I just really love
that they genre jumped and didn't just that they looked

(30:40):
at this one and we're like, this ain't conjuring. You know,
this ain't insidious. We gotta do something different.

Speaker 5 (30:47):
They made her like because I mean you can say
that when I say they made her a character in
this one. She absolutely was a character in the last
movie too, but more so, what I mean is she
was way more involved with with everybody in this one,
where you actually got to be like, oh, like there's
a lot of different sides to her. Yeah, And I
mean that was I really enjoyed that.

Speaker 2 (31:04):
I would agree, So that's that's my thought. Yeah, you know,
we saw two movies and after we watched twenty eight
Days and twenty eight weeks yep, and then what was
that movie called Less after Dark? Horrible title for that movie,
but we watched that as all right. It was pretty fun.
It had some problems, but it had some they were

(31:25):
kind of like mild problems, but they were like why
are these problems here? Like the movie felt very padded
out and it didn't need to be.

Speaker 5 (31:33):
No, it's a short movie as it is.

Speaker 2 (31:34):
Well, my point is it wasn't that short though. It
was like you could have cut seven minutes out or
six minutes out and it's still be eighty minutes. Yeah,
So the padding kind of felt like what's the point,
Like it'll be over seventy five minutes, it'll be I
you know, like it'll be fine. Corman got away with
seventy eight minute movies all day long. But it was fun.
It was an interesting concept.

Speaker 5 (31:54):
Yeah, absolutely was so.

Speaker 2 (31:56):
But speaking of interesting concepts, oh boy, Yeah, tonight's movie. Yes,
is something else. It is, indeed, And while you're describing it,
I'm going to go over and turn on the air
purifier which got killed during the power outage. I have

(32:16):
just I was like, boy, the room's getting smoky. So
you tell them all about the film.

Speaker 5 (32:20):
We are talking tonight about a film discovery of Enrique
and Iz from about a year and a half ago,
from nineteen seventy nine. This is Malibu High one hour
and thirty minutes. Rated R for strong sexual content, nudity, violence,
disturbing images, language, and drug use.

Speaker 2 (32:36):
I don't remember any of that in the film. I
feel like the rating should say, like, this is all
that the movie is. That's that's my rating. Oh that's
your that's my rating. Oh you made that up made Oh.

Speaker 5 (32:49):
Strong sexual content yes, really yeah, nudity yes, violence, yes,
disturbing images one or two h language yes, and druggage.

Speaker 2 (33:00):
Yeah. That's all in there. And then some all the
things that make a trip to the beach great.

Speaker 5 (33:06):
IMDb synopsis says, after being dumped by her boyfriend and
about to flunk high school, Kim decides on major changes
by using her body.

Speaker 2 (33:17):
Well it's not wrong. Well no, it is very wrong,
but that is the movie. That is the film.

Speaker 5 (33:23):
That is the film. My synopsis says, when high school
student Kim is having a tough time at school, she
decides to work for a local pimp, leading to prostitution
and eventually assassinations.

Speaker 2 (33:32):
I mean, that's that's innaccurate, but giving away how weird
it gets with the assassination pretty nuts. Yeah. I don't
know if anybody would even watch it. I mean, aside
from like I mean, not in the era that came out.
Now people would be like what, yeah, I mean, that's
literally why we're talking about it tonight.

Speaker 5 (33:48):
So only one tagline this week what every teacher in
school wanted to flunk her, but nobody dared.

Speaker 2 (33:57):
That's a pretty good tagline. Bad Yeah.

Speaker 5 (33:59):
Yeah. Malibou High currently available stream on fossome Plex TV,
and you can also find a blu ray from Benniger Syndrome,
although I do believe it is either going out of
print or already out of print at this point, so
it might be a little pricey. But they did do
two releases of it, a standard in a limited slipcover edition.

Speaker 2 (34:16):
Oh lo.

Speaker 5 (34:17):
Yeah. Director on the film is Irvin Berwick. He gets
his start in nineteen fifty nine with the Monsters of
Piers Bianca's goes on to do The Seventh Commandment in
nineteen sixty one, which he is a writer and producer,
on Strained Compulsion in sixty four, which he's a producer,
on the Street is My Beat in nineteen sixty six,
which he's a writer and producer on Ready for Anything
in sixty eight, Hitchhike to Hell in seventy seven, which

(34:38):
he produces, Suddenly the Light in seventy eight, and then
Malibu High in seventy nine. We unfortunately lost him back
in nineteen ninety seven June twenty ninth, at age eighty
two due to heart failure.

Speaker 2 (34:49):
Wow.

Speaker 5 (34:49):
Yeah, I have not seen any of the other movies unfortunately,
so I cannot comment.

Speaker 2 (34:54):
What was your research? Sign, jeez.

Speaker 5 (34:57):
One of the writers on the film is John Buckley.
He gets to start right Hitchhike to Hell in nineteen
seventy seven, He gets the screenplay credit on Suddenly the
Light in seventy eight, Malibu High in seventy nine he
gets screenplay four and White Ghost in eighty eight White Ghost,
White Ghost. Other writer on it is Thomas Singer, who
in nineteen seventy nine does the screenplay for Malibu High
as well, and then in nineteen seventy nine he also

(35:19):
gets screenplay for Microwave Massacre.

Speaker 2 (35:22):
Ah, yes, that makes sense, sick.

Speaker 5 (35:24):
Yeah, No, I mean in hindsight, Yeah yeah.

Speaker 2 (35:27):
Not a not a Thanksgiving movie, David.

Speaker 5 (35:30):
I mean there's food, there's a feast. It's not a
thanks Giving movie. But I still snuck it in there.

Speaker 2 (35:37):
At least there were cannibals.

Speaker 5 (35:38):
There were cannibals in that one. Yes, fuck you. Cinematographer
on the film is William D. William de Diga Diego.
He gets to start as DP in nineteen sixty two
on the Hour of Saint Francis, goes on to shoot
Las Vegas Hillbillies in nineteen sixty six, Diary of Stewardess
in seventy three, Angelica the Young Vixen in seventy four,
The Amorous Adventures of Don Hioti, Don Quixote, and Sancho

(36:00):
Panza in nineteen seventy six.

Speaker 2 (36:02):
He did alright with those Nyses.

Speaker 5 (36:03):
Good job, buddy, Hitchhike to Hell in seventy seven, Get
It On in seventy seven, Don't Go Near the Park
in seventy nine and Malibu High in seventy nine. He
also directs in seventy two, Dead End Dolls, Sexcapade in
Mexico in seventy three, and Diary Eba Stewardess in seventy
three as well.

Speaker 2 (36:19):
All Right, so I mean that's like straight up just
he was in the knee deep in the exploitation business.

Speaker 5 (36:24):
Yes, he was. Cast of the film includes Jill Lansing,
who plays Kim Bentley. Malibu High is the only credit
that she has. She was a one and done.

Speaker 2 (36:32):
Basically, I had a feeling. But you know, I gotta
say she was game. Yeah, because she seemed to just
fearlessly do all of the weird shit in Malibu High.

Speaker 5 (36:43):
I will talk about it in the notes obviously at
the end. But not the easiest person to work with.

Speaker 2 (36:48):
Yeah, I'm excited to learn more.

Speaker 5 (36:51):
Tammy Taylor, who plays a net in the film. She
gets her start in seventy nine We Don't Go Near
the Park, goes on to be in Malibu High the
same year, California Fever, episodes of Chips, Happy Days, ABC
after school specials in nineteen eighty stone eight is Enough,
The Young and the Restless days of our lives second thoughts,
give Me a Break, Whiz Kids in eighty four, Meet
Balls Part Two in eighty four, Loveliness in eighty four,

(37:13):
Rituals in eighty four, New Love American Style in eighty six,
Mister Belvedere in eighty nine, Little Bride Laie in twenty twelve,
Penny Arcade in twenty thirteen, The Wedding Dress in twenty fourteen,
Just Us Guys in twenty fifteen, and most recently in
twenty sixteen, was Daughters.

Speaker 2 (37:28):
Really.

Speaker 5 (37:29):
Yeah, she was doing some indie stuff there for a
little bit. She's actually on a decent amount of the
bonus content.

Speaker 2 (37:34):
Awesome. Yeah, that's great.

Speaker 5 (37:36):
Other actor who plays Lance in the film is Garth Pillsbury.
He gets to start in nineteen sixty four on twelve
o'clock High, goes on to do I Spy in sixty six,
The Invaders in sixty seven, The Felony Squad in sixty seven,
Vixen in sixty six, Missy's Met in sixty eight, Episodes
of Star Trek in sixty nine, Nice Medical Center in
sixty nine, Beyond the Valley of the Dolls in nineteen seventy,
Miss Melody Jones in seventy three, the FBI in seventy four.

(37:59):
If you don't it, You'll go blind in seventy five,
Super Vixen's and seventy five, rus Moers. Yeah, Goodbye, Norma
Jean in seventy six, Hughes and Harlowe, Angels and Hell
seventy seven. I Can I do it till I need
glasses in seventy seven. Then does Malibu Hi in seventy nine,
Mistresses of the Apes in seventy nine.

Speaker 2 (38:14):
Oh well, now we're talking about cinema.

Speaker 5 (38:16):
Getting over in eighty one, Lockness Horror in eighty two
state wide.

Speaker 2 (38:20):
Yes, well, man, that is that. That is a film,
a feature, that is a future length movie. That's a
weird one. I saw the trailer for that on a
monster compilation from Good Times. Yeah, and I for years
I was like, I'm gonna hunt that down one of
these days, and then I did, and I was like, wow, I.

Speaker 5 (38:39):
Think I had it on like one of like the
really like fifty film packs or something like that could be. Yeah,
I want to say, you.

Speaker 2 (38:47):
Don't want to get it confused. Lockness Terror, that's a
different movie.

Speaker 5 (38:50):
Maybe that's something.

Speaker 2 (38:50):
And Lockness Terror, I feel like, was on some multippacks
that was a more somewhat more modern film, Gotcha, the
Lockness Horror Wolf. That was a gosh, what was that
director's name? And I have a book about him called
it Came from Hunger. I believe that's about him, and
uh yeah, Larry Buchanan. He was an interesting guy. He

(39:12):
just kind of like willed forward a ton of weird
B movies, just fearlessly did some TV movies, did a
lot of stuff. I'm trying to find something that you
might recognize, Like he did Mars Needs Women. That was
his first film, or one of his first films, Curse

(39:33):
of the Swamp Creature, Zontar, the thing from Venus, Attack
of the Eye Creatures. So he had like a very
strong career in the sixties and then in the seventies
he did like Goodbye Norma Jean, He did Mistress of
the Apes, which I think that was the one you
were just talking about.

Speaker 5 (39:51):
Both of those are on here.

Speaker 2 (39:52):
Yep. He did a few, did hell Raiders and stuff
like that. But then after Lockness Horror, he did Down
on Us and they did Night Sweet Maryland, and then
he kind of co directed one more movie and then
that was it. Like, yeah, that was toward the end
of his career, when like people were starting to go, like,
you know, it's not as charming when you pull it
all together with chewing gum and toothpicks like he used to.

Speaker 5 (40:15):
So he does Lognose Horror in eighty two, Stacy's Knights
in eighty three, My Man Adam in eighty five, Phoenix
Forgotten in twenty seventeen, and most recently Sked Do Ruins
in twenty.

Speaker 2 (40:25):
Twenty, which, by the way, was my nickname in high school.

Speaker 5 (40:27):
Was this Ruin?

Speaker 2 (40:28):
Know it buddy?

Speaker 1 (40:29):
So?

Speaker 5 (40:29):
What was your first time watching Nolau?

Speaker 2 (40:32):
Oh, it feels like it was just a year and
a half ago. Now about a year and a half ago.
Who was it that was at Wasteland?

Speaker 5 (40:40):
I thought it was the director of Satan's Will Helper,
but he has nothing to do with No, it.

Speaker 2 (40:46):
Wasn't so yeah, No, it was a guy. He was
nearby him. He had to. I think he was an
actor or producer, And I feel bad I should just
looked at the copy it could have seen like who
signed it? But I ended up striking up a conversation
with this guy and he was like old time Hollywood
kind of guy. And we'd had we had such a
good conversation. I just want to buy something off his table.

(41:07):
So I bought Malibu High and had him sign it.
Hell yeah, So I brought it home and I think
you were the one that was like, let's watch it. Yes,
so we put it on. It looks like it's going
to be a TNA comedy, but it's also when you
look at the date on it, it's just before those
were really hitting a lot. It's definitely right in the

(41:30):
midst of the exploitation genre. Hence all the stuff that
these guys were working on beforehand and stuff like that.
So it's one of those things where it's like I
was surprised, but then not that surprised that it turns
out to be a really dark, confusingly fucked up movie.
I was very very surprised.

Speaker 5 (41:51):
I just so I had seen I'd seen back in
the day when Vincent had announced it, because I think,
if you can correct me on this, but like Jack
was like one of their big, like big first releases
as far as like, oh look at Vincent, they're actually
kind of doing stuff.

Speaker 2 (42:06):
That was one of them. Yeah.

Speaker 5 (42:07):
Yeah, So before that you would have the stuff like
The House and Horror Highway and they'd done Christmas Evil,
they'd done Snapshot, They'd done a lot of releases of
movies that were the exploitation, like low brow stuff.

Speaker 2 (42:18):
Yeah, they had done quite a bit. And and of course,
I mean the company was originally built on pretty much
just smut smutt. Yeah.

Speaker 5 (42:24):
So Malibu High was one of those titles that I'd
always been curious about and then had I can't remember
who it was, but I had listened to or somebody
talk about it on a podcast and couldn't believe what
I was hearing. I was just like, this is that
movie because like, again, you look at that cover, you
look at the poster, You're just like, this does not
look like anything except for t and a comedy.

Speaker 2 (42:41):
Yeah, so that amount of murder. Yeah.

Speaker 5 (42:44):
When somebody compared it like or gave it like Neo
Nouar vibes and all this stuff, I was just like, what.

Speaker 2 (42:50):
Like, yeah, it feels like a movie written by a
space alien.

Speaker 5 (42:55):
John Landis has a quote that Lawrence Lawrence full the producer,
that that I'll tell about the end as well. He
has a quote from Landis that basically said it was
Neon or Neo noir. Shot in daylight.

Speaker 2 (43:06):
That's funny because that's accurate. That's what John Lazy. I
don't think is there there might be like two night
time scenes.

Speaker 5 (43:11):
There two night scenes. There's the club scene and I
think like one of the one of the waiting in
the car sequences.

Speaker 2 (43:16):
Yeah, yeah, which is smart, I mean cheaper to shoot
in the daytime.

Speaker 5 (43:19):
But yeah. So that was basically like I had been
looking at it. I've been looking to pick it up,
and then you got it and I was like, shit,
I want to see this because I also noticed that
it was on the going out of print soon list
on Vincent and I've gotten to a point where I
don't want to blind by unless I can flip it
really easily, and those days have kind of gone with
flipping very easily.

Speaker 2 (43:36):
Yeah, now you got to like list them and stuff.
You got a list, You can't just post them in
the group, Yeah, go to.

Speaker 5 (43:40):
Shops or anything like that. So yeah, I waited to
pick it up. We watched your copy and immediately I
was just like, I want to own this movie.

Speaker 2 (43:46):
Well, it has that cozy exploitation vibe, which is extra
weird considering some of these exploitation movies are literally full
of nothing, but like heinous dialogue, violence towards women, violence
towards everybody, sex, rape, it's really and yet somehow you're like, ah, yeah,
it's like a warm nineteen seventies, blank cozy.

Speaker 4 (44:08):
Well.

Speaker 5 (44:08):
I mean, I think it's kind of because we're broken.
It's well, it's that same thing that Jericho said when
Joe Bob hosted Bloodsucking Freaks while Jericho picked Bloodsucking Freaks.
The movie itself is a heinous movie absolutely for what
happens in it, But the acting is so not great
and the women, like, you know, they're not like they're
getting their hands cut off and all this stuff, and
just like oh ah, so it's just kind of like
that same feeling of like the acting when it's a

(44:29):
really bad like plot and story, it's still kind of
adds that fun element.

Speaker 2 (44:33):
That's kind of what I was saying about. Like the
screenplay feels like it was written by a space alien. Yeah,
you know, it's kind of like I love how people
described the room as like as if an alien had
watched like one hundred movies and then wrote its own movie. Yeah,
without any actual like understanding. That's the way it is
kind of when you watch this because like the logic
makes no sense. Nope, it's just one thing to the

(44:55):
next thing to the next thing. There's kind of no plot, No,
not really. I mean there's a point of sorts.

Speaker 5 (45:01):
Yeah.

Speaker 2 (45:02):
But like, so this falls back to me picking on
you about twenty eight years later. Yeah, what is something
that I have said to you from the first time
we became friends when we're when I'm pontificating about making movies.
What's one of the most important things about.

Speaker 5 (45:16):
A movie that it has to have an audience?

Speaker 2 (45:18):
Oh well, no, I'm talking I'm talking about story wise, Yeah,
how it ends is everything? Yeah? Everything, Because where you
decide to have the credit start going up tells you
a lot about what you just watch. Yeah. So, for instance,
if you're watching a movie and it's about, like I'm
just making stuff up, like a guy who needs to
kill a woman, yeah or something, but then the movie ends,

(45:41):
you know, after he I don't know, crashes his car
or gets arrested or whatever, then you realize that that's
not what the movie was about. The movie was about
him failing to or him coming to justice or I
mean that's just I'm making one up. I'm not even
talking about an actual movie. But that tells you a lot,
because sometimes you'll watch a movie and there'll be so
many reds, and then when it ends, you're like, oh,

(46:04):
it was actually about X, Y and Z, Like there
have been, like especially some of our favorite like Christmas
holiday movies, and some there'll be some major problem, but
it'll end when everybody decides that they're happy to be together. Yeah,
and that's when you realize, oh, the movie was actually
about family.

Speaker 5 (46:20):
I'm sorry to interrupt you real quick, but I'm thinking
of a movie and it's been driving crazy. If I
can't think about it, I'm hoping you've seen it, because
I think we may have watched it together. But there
was a movie I cannot remember like anything about the plot,
but I remember the final scene, so spoilers. It's a
man and a woman walking. Never mind, you haven't seen it, No,
I just I just figured out what it was.

Speaker 2 (46:38):
Ah, what a team? Yeah, No, it's a the.

Speaker 5 (46:41):
Movie I was thinking it was called Naked Face with
Roger Moore. Oh it's a canon film. Oh it's insane.

Speaker 2 (46:47):
But so my point is that like the way a
movie ends and the moment it ends on can tell you,
like what you were supposed to be paying attention to Yeah,
because the movie tells you based on what just happened
is the thing that mattered to end the movie unless
you a movie like this where basically had a non ending.
It just kind of happens.

Speaker 5 (47:03):
It happens, and they can't all be blindside Oh my god.

Speaker 2 (47:07):
Right, flind oh Man. But no. So that's kind of
my point is like this movie's ending tells you very
little except that it was quite a ride and that
they really didn't have much of a concept. I mean
it the come up ince and such that we'll be
talking about here very soon because the movie is actually

(47:28):
really brief. But like the come up in does make
sense and it's established and stuff like that, but it
doesn't really play into any of the themes. It doesn't
really play because the themes aren't really.

Speaker 5 (47:39):
I mean, we basically get the plot of the movie
in the first five ten minutes, I would say, and
then it doesn't change.

Speaker 2 (47:45):
Well, I would say, it's not even a plot. I
would say, it's just the stories the story to be
like jobob about like you let the plot get in
the way of the story because there aren't really beats.
It's this this girl is mad about her life, and
she decides she's going to change it up, and then
then she becomes one thing, then she changes to becoming
another thing, and then she kind of becomes another thing

(48:06):
a little bit, and then the end Like so it's
not but like there's no plot escalation. No, it's really
just like a slice of life exploitation movie. And in
a way that kind of makes it brilliant though, because
you're not really sitting there. You're literally just watching wondering
what is she going to do next? And that is
hard to do unless you're probably writing this in one weekend,

(48:29):
maybe on cocaine.

Speaker 5 (48:30):
Well, and I would say too that I think if
I'm remembering correctly, like the actual like insanity probably doesn't
start until like forty five fifty minutes in.

Speaker 2 (48:40):
But that's my point too. It's a slice of life.
At first, it's just her getting up at eating breakfast,
going to school and arguing. But then eventually the rails
fall off and you're like, what is even what is
even happening?

Speaker 5 (48:53):
All right, let's get into it.

Speaker 2 (48:55):
Yeah yeah, yeah, well no that's for a second, I
was like, I almost just told you the whole I
could just tell you the whole movie, like that. So no,
but it's it's a strange ride. Yeah, it is not
a great film, No it's not. It is a it
is a delightful piece of sleez sleeze cinema from the
nineteen seventies.

Speaker 5 (49:11):
This is the epitome of your your quote of it's
the kind of thing you like, if you like that
kind of thing.

Speaker 2 (49:16):
Well, I stole that from Abraham Lincoln.

Speaker 5 (49:18):
Oh did you maybe? I mean he didn't, he didn't
indmit the Internet.

Speaker 2 (49:22):
It's true, you know, and uh and uh, I don't
know if he was really into theater, because I know
it blew his mind behind. So hey too soon.

Speaker 5 (49:30):
So we open meeting Kim Bentley, who is having a
tough time at home. She wakes up and is already
getting nagged at by her mom. She goes out. She's
having a cigarette with her coffee.

Speaker 2 (49:40):
Her mom, who, by the way, looks like wish dot
com Mary Steam Virgin.

Speaker 5 (49:44):
Now yeah, I would say that's actually because, you.

Speaker 2 (49:46):
Know, because she's much a much older lady. Yeah, so
she looks like Mary Steam Virgin now yeah, but then
Mary Steam Virgin would have been like twenty yeah, maybe
even younger. No, no, no, about twenty probably probably because
like six seven years later she was going to be
doing Dead of Day. Yeah, ah, what a.

Speaker 5 (50:01):
Great fast episode if you haven't heard.

Speaker 2 (50:04):
Amazing movie. So I was actually thinking about that. Was
one of the things that makes me happy about the
show so much is that we talked about a movie
like that of Winter.

Speaker 5 (50:11):
Yeah, because I now we're talking about a movie like
Malibu High.

Speaker 2 (50:15):
Like Malibu High. But I just want to mention she
does she kind of looks like Mary Steamburgin. But you
bought it, bought her on Wish.

Speaker 5 (50:20):
Yeah, no, that's accurate. So, yeah, she's Kim's having a
tough time with her mom. Her mom doesn't believe that
she's doing well in school because she hasn't seen her
like studying, and that she's worried that like it's basically
going to come into a deadbeat situation. Well, but also
graduation's approaching.

Speaker 2 (50:33):
But also her daughter was going to eat breakfast while
smoking a cigarette. There is that. Yes, I love that.
That is the problem. She's like, you don't eat while
you're smoking, which honestly kind of sounds like something my
mother would have said, like not now, but would have
said like in the nineties.

Speaker 5 (50:48):
Well, then don't forget that. She literally gets mad because
her friend pulls up Hanks once and Shenks twice twice.

Speaker 2 (50:54):
Okay, yeah, Hanks twice, So she'd like go out there.
The neighbors are going to complain. Yeah, but her daughter
everything sets her dargs. She's like, well, why do you
give a ship? What they think?

Speaker 3 (51:02):
Mom?

Speaker 2 (51:04):
And and and how means she gets with her mom
is a fascinating at something. Yeah, So there are beats
of brilliance because like when we establish her family life
a little bit more here in just a minute. That's
my point though, it's like you realize that, like she
has a really dark backstory, She has a lot of trauma,
and that makes monsters.

Speaker 5 (51:24):
And they even hint in this scene that like, you know,
I don't want you to end up like your father.
And she's and she gives her ship because she's just like, well,
you know, you drove daddy to do it. And that's
all we get basically, yeah.

Speaker 2 (51:33):
For now, for now, yes, eventually Kim right, it's Kim.
Kim is not the kind of character to leave much unset.

Speaker 5 (51:42):
Neither is a balliblahyasm movie. Just it's gonna pretty much
lay everything out there.

Speaker 2 (51:47):
For the most yet. But one thing if you would
take anything from this film, it would be you don't
smoke while.

Speaker 5 (51:53):
You're eating, unless it's cigarette and coffee, Like that's that's.

Speaker 2 (51:57):
That's not eating. I mean, do you eat your coffee?

Speaker 5 (51:58):
I mean, I can I believe you. So she gets
picked up by her friend Lucy, and we immediately also
find out that Kim and her boyfriend Kevin have broken
up recently because Kevin has now set his sights on
Lucy or on Kim's arch enemy, a net.

Speaker 2 (52:16):
Oh, a Nete, who is like the tiniest, like most
girl next door looking woman. Yeah, and then like the
second she sees Kim, she's just like what a piece
of shit? Like it's so it's so great, it's so great.

Speaker 5 (52:34):
So they get to school and she Kim meets up
with Kevin and they're talking about this this dance that's
coming up, and she's like, am I going to see
you there tonight? And he's like, well, I don't know
what you're thinking, but yeah, I'll be there with the
net But like I'm like.

Speaker 2 (52:45):
Well he literally it's like they're having it's like they're
having two different conversations because he's like, we're through and
then she's like, okay, so are we going to the dance.
It's like, lady, what are what are you doing?

Speaker 5 (53:00):
So that we cut over to mister Donaldson's class, which
is one of the teachers that Kim is not doing
well basically in all of her classes.

Speaker 2 (53:06):
I was gonna say, you have to narrow it down
more than one of one of the teachers she's not
doing well with.

Speaker 5 (53:12):
So she she is this where she asked him like
if she can do anything, and he's just like, you know,
you have to basically apply yourself, Like that's that's all
we get.

Speaker 2 (53:20):
Well, he yeah, because she's like, I want to do
better yet, so basically she starts saying like meet me somewhere.

Speaker 5 (53:26):
Yeah, well we haven't gotten there.

Speaker 2 (53:28):
Oh oh yeah, sorry sorry, So we cut to the dance together.
We cut to the dance at the Clear Mexican Clearly
a Mexican restaurant turned into a nightclub.

Speaker 5 (53:37):
So Kim and Lucy are sitting at the table, Kim smoking.
She sees after a while that Annette and Kevin roll in.

Speaker 2 (53:44):
Oh but was she eating while she was?

Speaker 5 (53:46):
She was not?

Speaker 2 (53:47):
Thank god, she learned.

Speaker 5 (53:48):
Would you like to point out though, what you noticed
in this scene in particular with some of the lighting.

Speaker 2 (53:51):
Oh, I mean in that I noticed the lighting. There
are multiple times where you can just see film lights
with the gels on pointed everybody. And I really do
think that the argument they made was, well they put
lighting up in nightclubs. This is yeah, not like that, No,
because because a movie light, you got the barn doors
on the front, and then usually you would close pin

(54:12):
a gel to the front, a colored piece of plastic
basically that doesn't melt or is hard to melt, you
would pin it on to make it change colors. And
when you go to like a nightclub or any place
before LEDs and stuff, when you wanted to color a light,
you would put a gel on it, but you wouldn't
affix it to the front like that. You would you
would put the gel it look nicer. So these just

(54:35):
there's just clearly the movie lights just right in the
shots shining yellow red, and I think it was blue light.

Speaker 5 (54:44):
And this is in between shots of the dance floor.
We see that one of the patrons is fucking barefoot.

Speaker 2 (54:49):
Well they're wearing like one of those like toe socks
or something. They're wearing like socks were only your heel
and your toes stick out like feet, like almost like footwarmers.
Oh no, that the dance scene. The best part of
the dance scene is that it goes for an entire song.
It does, so it's about There are a few scenes,
not many, maybe three that are like really long for
no reason. This is one of them.

Speaker 5 (55:08):
This is one of them. I think the other two
would be love making.

Speaker 2 (55:10):
Yeah, where you're just kind of because the dancing, Like
after about a minute and a half of it, you're like,
what am I supposed to be getting from this now?

Speaker 5 (55:17):
Well, because we're cutting, you know, we're cutting the patrons
and whatnot.

Speaker 2 (55:19):
But the patrons are cutting a rug because the dance
moves are fascinating. There are a couple of there are
a couple of people in that dancing that are just
going there. It's including a very effeminate guy who is
just like going for it, I mean just really going
for it.

Speaker 5 (55:40):
So yeah, Kim and Lucy are sitting to the table.
They see Anette and Kevin walk in, and shortly after
that they leave the club. They go out front and
Kim's like, you know, I want to go home, like
you know, I want to drink, like Lucy's not having it.
She's like, you know, I don't want to do that,
and she's like, well that's all we've got.

Speaker 4 (55:54):
Oh.

Speaker 5 (55:54):
Wait, then they see their friend Tony, and I use
the word friend lightly across the parking lot. Tony's in
a van and he is apparently the neighborhood drug dealer.

Speaker 2 (56:04):
Oh yes, among really, he's the neighborhood criminal criminal. Like
if you think about how like how benign the neighborhoods
and everything are, but then there's just the one roving
criminal who's just like, hey, what do you need? You
need some some weed or some prostitutes, or some human
trafficking or some tax fraud, Like he just does all
of it.

Speaker 5 (56:24):
This guy, Tony is played by Alex Mann, who was
not only in I Drink Your Blood, but he also
did the voice of Jimmy the Grape in the video
game The Darkness, which was the game that came out
I want to say, like two thousand and seven in
Isch huh, But I mean he was all over the
interviews as well, like he was actually at the New
Beverly like screening they had. That's awesome, super cool guy.

(56:45):
We unfortunately did lose him back in twenty ten at
age sixty eight, but he was there one year before
he passed because it was or no, actually it was
a couple of years because two thousand and six is
when they have the screening at New BEV. Gotcha, Yeah,
but no. Alex Man is fantastic in this movie. He's hilarious.

Speaker 2 (57:01):
And the moments where you get people that are very
clearly actors like actors, they stick out like sore thumb
on a cold day. Yeah, I mean you really, you really.

Speaker 5 (57:11):
Notice, and he is one of them, because yeah, immediately
he's like, you know, she asked him if they can
they can buy something and he's like, yeah, come over here,
and she's like, no, let's do the deal right here.
Because what we find out is Tony is also the
local pimp.

Speaker 2 (57:23):
Yeah, and he wants any chance to get the girls
in his shag carpeted dagon a wagon. Yes, so shagging
multiple ways. So he tells her to come over and
she's like, no, we'll do the deal here. He's like, well,
you gotta you know, I'm not gonna do the product
out here. So eventually gets her in the van, she
buys the weed and leaves. He tries to make a
move on her. It doesn't happen, she leaves.

Speaker 5 (57:42):
They go back to the apartment and they're smoking, and
that's when we get the flashback that Kim comes home
one day, is calling to her father, opens the door
and sees him hanging in the bedroom.

Speaker 2 (57:52):
Well, and you know, you gotta paint a picture, David,
because cinema is a visual medium.

Speaker 5 (57:56):
Uh huh.

Speaker 2 (57:57):
The way they did it was they just had her
wear pigtails. Yeah, but it's the actress again, dressed in
like a little girl's outfit, opening the door and finding
her father.

Speaker 5 (58:04):
Hanging hanging by like the children's door, and the feet
are just hanging there. And then they pull back out
and we.

Speaker 2 (58:09):
See the body. Yeah, yeah, no, it's it's jarring. It's
very charm. But the thing that makes this movie so
bizarre is that you'll have something really heavy happen.

Speaker 5 (58:21):
Yeah.

Speaker 2 (58:21):
And again it's like an alien wrote it, because like
there's no because it'll be something really heavy you'll happen,
and then they'll cut back to like the music cue
will be happy or what like. It's very very disjointed.

Speaker 5 (58:32):
Yeah, and this hole has led up to the fact
that Kim has basically told Lucy that she's not happy
with the life that she has, you know, that's why
they went home to get wasted so that she can
forget about it. She has this dream vision about remembering
with her father and then comes out of it and
it's just like, I know what I'm gonna do. I'm
never gonna basically suffer again, like I've got all this
figured out now.

Speaker 2 (58:51):
Yeah. But also she's bizarrely obsessed with graduating.

Speaker 5 (58:55):
Yes, very very obsessed.

Speaker 2 (58:56):
With like no matter what she says she's gonna do,
she's also gonna graduate, I guess because her mom says
she can't. Yes. And also her X said like you know, yeah, right,
like you're gonna graduate you're failing every class. Yeah.

Speaker 5 (59:05):
So the next day she goes to class. She goes
to uh, what's his name, mister Donaldson's class, and class
lets out. She goes up to his desk at the
end and she's like, you know, hey, I know I'm failing,
Like is there anything that I can do? And he's like,
you know, well, yeah, you gotta apply yourself. And she's like, okay,
well do you have any plans this evening? And he's like, oh, well,
that's no concern of yours, and she's like, well, I'll
be at high Point, you know, after you get to work,

(59:27):
and that's where i'll be if you want to come
see me. And he's like, well I won't, and she's like, well,
high points where I'll be. Yeah, smash cut to high
Point of course. Oh wait, no, actually back up a second.

Speaker 2 (59:37):
No, then she goes and talks to the pimp.

Speaker 5 (59:39):
Yes, So she goes to talk to Tony and he's
like yeah, and she's like, you know, I need to
talk to you. He's like, well, why are you waiting.
Let's let's just hop in here now we'll talk. And
she's like, no, I don't have time, but I do
want to talk to you. And he's like all right,
well we'll talk tonight. So then we cut to high
Point and mister Donaldson shows up and then they get
down to the dirty yeah.

Speaker 2 (59:58):
Yeah, And it's very weird because like it's done with
like beautiful music and they're right next to the ocean
music in this it's like they took a library of
tracks and just but all right, that one and that one,
and that one and that one and then this one
five times.

Speaker 5 (01:00:13):
That is exactly what they did.

Speaker 2 (01:00:14):
Oh yeah, yes, I'll tell you. I mean, I've edited
a few things in my life. I've been there.

Speaker 5 (01:00:22):
We'll spoil it now. Even the People's Court theme shows
up at one point before it was a show.

Speaker 2 (01:00:27):
By the way, course that People's Court wasn't until like
the eighties, nineties, eighty one. Yeah. Yeah, the doo dude
is the chase scene. We'll get there first watch. We
lost it because because what happens is we're like, it
kind of sounds like the people Court People's Court theme,
and then the main riffkicks in, were.

Speaker 5 (01:00:47):
Like, that is the People's Court theme. Okay, so yeah,
she ends up having sex with Donaldson, and we noticed.
One thing that I do want to point out is
that Donaldson has a very weird birthmark on his leg
that they focus on at one point, or bruise.

Speaker 2 (01:01:00):
Or something like that. Yeah, well that was upper thigh.

Speaker 5 (01:01:03):
Yeah, because I think she says, though it's butt or
like I can't remember, it's near there. Yeah. So yeah,
by this point now she goes talk to Tony and
basically tells Tony that she wants to work because Tony
had been trying to get her to work before.

Speaker 2 (01:01:16):
Well, I love that she told Tony to meet her
up that way at like nine o'clock.

Speaker 3 (01:01:19):
Ye.

Speaker 2 (01:01:20):
Like, so she scheduled like I'm gonna bang my teacher yep,
and then I'll meet with the pimp at nine while
I'm already over there anyway, So she's clearly got project
manager skills.

Speaker 5 (01:01:30):
She does. If only she could apply that to school,
if or anything. So she's now at sex Matter Donaldson.
She's now working for Tony as well. They're doing a
forty sixty split.

Speaker 2 (01:01:41):
Is that correct?

Speaker 5 (01:01:42):
Yeah, sixty in his favorite, sixty in his favorite. Yes,
So she's getting forty percent, he's getting sixty. And that
leads us to a montage. Well, actually, move back up,
Tony says, obviously he has to try the merchandise first
before he knows what he's selling.

Speaker 1 (01:01:54):
Yeah.

Speaker 2 (01:01:54):
Yeah, he's very adam, and he's like, I can't sell
you know, dope, if I haven't tried it, I can't, Like,
I have to know if you're good. She's like, my
stuff is good. He's like yeah, but bah bah.

Speaker 5 (01:02:02):
Just like so they end up shit shagging in the wagon.

Speaker 2 (01:02:04):
Yeah. All we see is they get they both go
back into that gross wagon and then it's just kind
of what.

Speaker 5 (01:02:08):
About as the fuzzy fuzzy car.

Speaker 2 (01:02:11):
It's shag it's shagged for the shag yep. So then
this leads to.

Speaker 5 (01:02:15):
A montage of her working for Tony, and this is
shots of like four men standing outside the van while
the van's rocks.

Speaker 2 (01:02:21):
Band and a foreman because they were all construction workers. Well,
at first, it's just like one guy, one guy, and
they use the van, which, by the way, yeah, for
the record, from a business standpoint, no no, no, hear
me out. When you first hear him say sixty forty,
I get sixty, you get forty, You're like, that's not
a very good deal. They're using his van. They're using
his van, So ten percent is really just because he's

(01:02:42):
providing the van.

Speaker 5 (01:02:43):
His van is also moving though from spot to like
they're not having one central location.

Speaker 2 (01:02:46):
They know. It was like all the benefits of a
food truck.

Speaker 5 (01:02:49):
Yeah, well that's the best part is he gets paid
by that first guy and he's like, I'm gonna get
a hot dog.

Speaker 2 (01:02:53):
Just like, yeah, I'm gonna get a hot dog. You
guys have fun. So but yeah, so at first it's
like one guy and then one guy, but then it
becomes just a line of construction workers waiting for their turn.

Speaker 4 (01:03:04):
Ye.

Speaker 5 (01:03:04):
So this also leads to Kim now getting some extra money. Obviously,
she gets a new car and she starts getting into
it once again with a net. And one scene in particular,
she meets a net at school or well runs into
it at school, and then she ends up punching her Yeah,
just like a throw, just.

Speaker 2 (01:03:23):
A little boop.

Speaker 5 (01:03:24):
So there's tensions throughout a net and herd throughout this movie.
Like I said, this movie is a bit of a mess.

Speaker 2 (01:03:29):
But well, and when her mother is like, where are
you getting the money or what are you doing for work,
she says, I do relief work.

Speaker 5 (01:03:34):
Relief work, solid joke, tony homework. Oh I had field
work today.

Speaker 2 (01:03:38):
Yeah, solid solid.

Speaker 5 (01:03:42):
So the rest of the rest of this time with Tony,
she's she's banging it out basically, and you're getting her money.
And then she gets to a point where she realizes
that she wants more, so she goes to ask Tony
if she can have.

Speaker 2 (01:03:53):
She wants us a higher cut, and he gets angry.

Speaker 5 (01:03:56):
He gets angry. Indeed, now let me back up a
second two because by this point she's also tried to
persuade two other teachers and has persuaded one of them,
and the other one that is I think it's Mooney
is the second one that she sleeps with. I think so,
same thing at high point, So the teacher meets her
out there. So she slipped two teachers now and all
she's trying to do is get straight a's. She wants to.

Speaker 2 (01:04:16):
Graduate, wants She even says to Tony at one point
like I can't. I can't do this while I'm in school,
and he's like, school, why are you going to school anyway?
And then right before she tells Tony she wants a
better cut, she's she encounters a man on the beach.
She's sitting reading a book on the beach and this
gentleman in a suit comes up and says he's a

(01:04:37):
friend of Tony's lance lance and.

Speaker 5 (01:04:40):
He knows everything about her, and he knows that she's
not getting a good cut of business right now, and
he could do much better for.

Speaker 2 (01:04:46):
Her, and he has higher, higher scale clientele, better money,
better cut. And she's like, oh, I'm happy where I am.
I'm good. He's like, well, you know, think about it.
So then she goes to Tony asks for more money,
and he damn near wax he does hit her in
the facebook, not during this scene, but early she asks
a question, yeah, and he just like swats her in
the head and he's just like.

Speaker 5 (01:05:03):
Because of the most part, I mean, he's a pimp,
but for the most part he's pretty cool with her.
But yeah, this scene when he goes to ask for
money is when.

Speaker 2 (01:05:09):
Oh, he's like, you should be lucky. You're lucky you
get anything.

Speaker 5 (01:05:12):
And yeah, you ask me one more time, you're gonna nothing.

Speaker 3 (01:05:14):
Yeah.

Speaker 5 (01:05:14):
So then she leaves with her stack of money and
the next scene she is in Lance's arms.

Speaker 2 (01:05:18):
Yep, and she sure hates Tony.

Speaker 5 (01:05:21):
She sure hates Tony indeed. So Lance promises her basically
the world that they can have the sixty forty split
and also that she's gonna have better clients, and this
leads her to run into her first client. She sleeps
with Lance, well, sleeps with Lance. Yes, excuse me, Yeah.

Speaker 2 (01:05:34):
I mean you're gonna have I mean, I know it's
easy to forget all the times that she beds. Whoever,
because this film is way out, it's way far out.

Speaker 5 (01:05:41):
Yeah. So this leads to Lance setting her up with
like one client that she goes to meet him at
his hotel room, and I can't remember what his name was,
but anyway, he's a rough guy because he's immediately like, oh,
you know, you haven't worked for the agency before. I
like you, we're gonna have some fun, starts taking out
fucking manacles.

Speaker 2 (01:05:58):
Yeah, chains, and like I mean, like, this stuff looks
like it came off of Pirates of the Caribbee.

Speaker 5 (01:06:04):
Yeah, it's not like your general S and M gear.
This is like heavy duty.

Speaker 2 (01:06:07):
Like also, I think it's against the law to do
S and M on a waterbed, because he throws her
down on the water bed and I was just thinking, like,
I don't I don't think that that works. I don't
think you're allowed to do that.

Speaker 5 (01:06:20):
Oh we should also mention too that Lance introduces her
to cocaine, because that was one of the perks of
the job.

Speaker 2 (01:06:25):
Yeah, just a little little Bolivian marching powder to let
you get you going.

Speaker 5 (01:06:28):
So anyway, this guy starts attacking her in the hotel room,
and one thing leads to another. She grabs a corkscrew
off the off the nightstand, ice pick, ice pick shooting, yes,
ice pick, and stabs him in the back, killing.

Speaker 2 (01:06:41):
Yeah. She stabs him in a really odd spot that
doesn't seem fatal, not.

Speaker 5 (01:06:44):
In the heart, not near like anything. But he just
like falls down dead. Yes, and that's that has a
trend in this movie.

Speaker 2 (01:06:52):
Yeah, well, I mean it's it's a movie death or
a TV death, you know from the old days, where
it's like you'd get shot one place and you just
fall over and your eyes are wide open. So done.

Speaker 5 (01:07:01):
Naturally, she's she's upset and goes to Lance to help
out with the problem, and he's just like, you know,
it's nothing to worry about. We'll pin it on some patsy,
like you know, you'll.

Speaker 2 (01:07:08):
Think there's always some think that that the people are
tired of working with which which also suggests that he
has like really deep mob tized.

Speaker 5 (01:07:15):
Yes, and we do get that hint because he does
mention Chicago.

Speaker 2 (01:07:18):
At one point. Yeah. Yeah, yeah, because we are in
Malou High.

Speaker 5 (01:07:21):
That's that's the town were in.

Speaker 2 (01:07:23):
The town is called Malibu High. That's what it's Malibu
hih High High High. Nice. I like it.

Speaker 1 (01:07:28):
Uh.

Speaker 5 (01:07:28):
While this is also going on, we get a introduction
into a Net's father, who is mister Everett Ingersol, and
he is somebody that has been doing dealings with Lance's connections,
it seems like, because the way we introduce we we
get introduced to him is he's at his office and
he's just like, I'm not going to pay you the money,
like you know you can, blah blah blah blah. His
daughter comes in wanting to buy ear rings. One hundred

(01:07:48):
and fifty dollars is what she asks, and he gives
her two hundred dollars to keep the change yep, and
always think of him when when she wears the ear rings.

Speaker 2 (01:07:56):
Ah.

Speaker 5 (01:07:57):
But that's the introduction to his character. So we find
out that, uh, basically, once once Kim has killed this person,
Lance apparently sees something in her because now Kim is
kind of skipping classes all together, still trying to keep
the grades and everything. But she's been staying at Lance's
house and one day Lance comes home and he's like,
I've got a gift for you and gives her a

(01:08:20):
silenced pistol.

Speaker 2 (01:08:21):
Yeah, a pistol with a silencer on the front of it.
She's very startled at first, yes, and he basically explains like,
you're you're built for this. Yeah, you can make a
lot more money shooting people dead. And he also makes
it clear that like through whatever connections he has, because
he always keeps it bag that anyone that she kills,

(01:08:42):
there's already been a plan made for who will take
the fall for the murder, so all she has to
do is just do it and leave.

Speaker 5 (01:08:49):
Yeah, so her first assignment is killing Tony.

Speaker 2 (01:08:54):
Because she has to cut all of her old ties, she.

Speaker 5 (01:08:56):
Has to cut all her connections off, wants to kill,
and wants to kill Tony. So yeah, she's nervous at first.
Then she gets taken out to shoot the gun and
gives a really good shot apparently, even though the one
shot is somebody moving aboard and bouncing a can off
of it.

Speaker 2 (01:09:09):
Well, yeah, no, it's very it's very clever.

Speaker 5 (01:09:13):
So I do want to back up though, because when
she broke it off with Tony, all she did was
call him and it's just like, hey, Tony, this is Kim.

Speaker 2 (01:09:20):
You can go fuck yourself. Click, and then she goes
into Lance's arms and just yep, it's a beautiful moment.

Speaker 5 (01:09:27):
So yeah, she's broken off with Tony by this point,
and she decides to meet Tony in a parking garage.
He shows up and he's just like, you know, what
do you want to talk about? And she's like this
and pulls out a gun, gives him one shot in
the chest, and he just falls completely on this car
and dies.

Speaker 2 (01:09:41):
Yeah, he turns around and falls like arms wide open
and slides down the car. I also want to mention
one of my favorite moments is when Lance is telling
her like, this is what your your job is now,
and he's like, no more sleeping with dirty old men
except for me.

Speaker 5 (01:09:55):
For me, Oh, can I move in?

Speaker 2 (01:09:56):
Yeah?

Speaker 1 (01:09:57):
Yeah?

Speaker 2 (01:09:57):
Yeah, that's the follow up is like he's like, well,
you're all right here all the time anyway, so why not. Yeah.

Speaker 5 (01:10:02):
So by this point, her mom has grown suspicious and
she's like, you know, how'd you get the money? Like
where's this car coming from? Like you know how she
had this homework? So she's starting to get a little suspicious,
but she's still wearing like Kim still wearing her down.
On this point, Kim goes back to school, talks to
is it Mooney Donaldson Donaldson and is just like, hey,
report cards are coming out. I hope you know what
great I expect. And he's like, well, what great is that?

(01:10:23):
And she's like in a and he's like, well no,
because I told you straight up, like when we did
that thing like that, it was just between us, and
it was.

Speaker 2 (01:10:31):
Even says something really messed up, which is he says like, well,
you haven't had any time for me in the last
eight weeks. Yeah, in the last six weeks. And I
wondered if he meant the class or for mo Rendezvous.

Speaker 5 (01:10:41):
I think Morondezvous could be, Yeah, could be. So he
bluffs her and he's like, you know, well, yeah, you
can go tell the school like they're not gonna believe you.
Nobody saw me going that way. And she's like, well,
I've got one thing I know about the birthmark on
your ass, and I can tell your wife. How do
you think she'd feel if I knew about that? So
then this leads to her getting found out by the school,
essentially because the principal excuse be able to get his name,

(01:11:02):
which is mister Elmhurst.

Speaker 2 (01:11:04):
Ah, mister Elmhurst, that deaf old bastard.

Speaker 5 (01:11:06):
Yes, he is looking over her records. He sees that
she has straight a's and everybody's classes except for her
one English class, which is taught by a woman.

Speaker 2 (01:11:13):
Yes. Yeah, so that's suspicious.

Speaker 5 (01:11:16):
Suspicious indeed. So immediately she gets called to his office
and she confronts him and he's like, you know, well,
can you explain this? And she's like, well, yeah, I'm
you know, I'm doing good. He's like, no, I think
there's more going on here. I'm gonna have to talk
to your mother about this and gets a little upset
honestly because they go back and forth, and she notices
that he's got a bad heart.

Speaker 2 (01:11:34):
Well because he struggles and has to take what I
assume is a nitroglycerin pill. Yeah, because his heart is
like going crazy. So she tells him come on over tonight.
Then Smash cuts to her at her mom's house and
her mom is all dressed up because this is the
one night a month or week or whatever that she
goes out. Yes, and she encourages her mom to definitely
go out, don't stay home, go out so that she

(01:11:57):
can wait in her bathrobe for mister Elmhurst to show up. Yep.
And it doesn't take a rocket scientist to figure out
number one that this dude is dead as hell, oh yeah,
and number two that she's probably going to exacerbate his
heart problems with feminine wiles.

Speaker 5 (01:12:13):
So what she ends up doing is she's in her
bathrobe and she comes in, She takes his coat, takes
the pills, and she's like, I'll be right back, goes
to the bathroom when we hear a toilet flush, meaning
she flushed his pills down the drain. Yes, So she
returns to the living room, takes off the robe, takes
off her top and is like straddling him, and he's
just like, I can't believe you're doing this.

Speaker 2 (01:12:34):
So I'm gonna talk.

Speaker 5 (01:12:35):
To you aboutther bills. Yes, and starts having a heart attack,
tries to get to his coat, gets to his coat,
can't find his pills, dies on the spot, yep, And
she's just sitting there kind of like smirking at it.
And then she runs to the phone, has a frantic
nine to one one call, and then the next day
everything's fine.

Speaker 2 (01:12:50):
Yeah, yeah, I mean people think it's weird, like why
was he there, and she's like, he wanted to talk
to me about my grades or whatever.

Speaker 5 (01:12:55):
So while this is all going on, too, she's also
killed another person for Lance. One guy that she rendezvous
at high point ends up killing him, and this has
now moved through up the chain. She's respected. She's doing
a little too not too much though.

Speaker 2 (01:13:08):
Yeah, just a little little little powdered, a little you know,
a little David, a little sugar in your step, Yes,
makes you walk sweet all day.

Speaker 5 (01:13:16):
And Lance gets her new car.

Speaker 2 (01:13:18):
Yes, and it's like a BMW or real nice.

Speaker 5 (01:13:20):
Yeah. So this all, uh dude, there's so much going on.
So she has the new car. You know, Lucy is
kind of catching on that something is going on. She's
just like, you can't have all these things just by
doing what you're doing, Like what else is going on?
And she refuses to tell her obviously. This all then
leads to Lance telling her that he has one very

(01:13:41):
big job for her.

Speaker 2 (01:13:43):
Yeah, not quite the one big job we do and
then we all retire, but it's did a big job
for her. And this is about the only time that
we really get a real like manipulating sense from Lance,
which they never really expand on. We never see him
like go full mean or go full controlling necessarily, but

(01:14:03):
it's worth mentioning. I mean, if if you ever read
like Iceberg slim or anything like that, like the real
deal pimps, they don't just like slap women around, they
they make them love them. Yeah, So in that way,
Lance has done a really good job of making her
love him.

Speaker 5 (01:14:20):
He's wind and dyed her. He's you know, he has
basically invited her to live with him, to the point
that they are most likely going to get married, is
what she's thinking.

Speaker 2 (01:14:28):
Well, and they're planning a trip. They're planning a trip
to Tahiti. Yep.

Speaker 5 (01:14:32):
So this is all to the point. Now Lance comes
forth and says, I want you to kill mister ingersoll
oh a Net's father.

Speaker 2 (01:14:39):
And she's really against it. Well, at first she's she's
fine with it, yeah, but the next morning she's really
against it, which I honestly wasn't didn't really understand why.

Speaker 5 (01:14:47):
I didn't either. I think it maybe because it's too
close to home, because that's a that's a connection that
she has because of the I mean literally we did.

Speaker 2 (01:14:53):
We did.

Speaker 5 (01:14:54):
Forget to mention, there's one scene where where Lucy and
Kim are in are in her new car and they
go to the school and a Nette and Kevin are
walking and she just flips them off and she hits
so mad.

Speaker 2 (01:15:06):
That's where she's just like that piece of shit. Yeah,
she's such a piece of shit.

Speaker 5 (01:15:09):
Proven she's a piece of shit.

Speaker 2 (01:15:10):
Why were you with such a piece of shit? Oh?
My God, one of the best scenes the whole film.

Speaker 5 (01:15:15):
Yeah, so there's there's already that tip going on. But yeah,
so she basically says like she doesn't know if she's
gonna do it, and that's in Lance's like, well, hey,
the guys in Chicago have been going to bat for you.
You do this, they're not gonna be very kind about it.
And then this is where that kind of thing can
happen to you that we talked about about a fink
getting pinned, like this is this is the fuck up
you could do.

Speaker 2 (01:15:32):
Yeah, but he also tries to sell it mostly positive
with like, but this will be really good for us. Yeah,
this is a great score. It's really good. After this,
you graduate high school, because that's her thing is because
even he's like high school. Yeah, she's like, then when
I graduate high school, will go to Tahiti. And he's like,
I don't see why not. Yeah, you know, by the way,
the thing like every time she asked for anything, he
basically says, I don't see why not. Yeah.

Speaker 5 (01:15:53):
So Ingersol also has apparently fucked over some men and
that's why Chicago wants him dead. So they put the
hit on all and got.

Speaker 2 (01:15:59):
Too big his head got too big, too big.

Speaker 5 (01:16:01):
Yeah, So he decides that, She decides that she's gonna
call him, sets up an appointment for him at.

Speaker 2 (01:16:06):
His beach house on a cliff, which is where he
meets his girls.

Speaker 5 (01:16:10):
Yes, so she shows up there and he's just like,
you know, oh, it's nice to meet you. Kim like,
would you like a drink? I'm gonna get myself one,
and she pulls the gun out as he turns around,
shoots him in the chest, probably the bloodiest death of
the entire movie.

Speaker 1 (01:16:24):
Yeah.

Speaker 2 (01:16:24):
He grabs out of the refrigerator in his hand, bloody hands,
slides down.

Speaker 5 (01:16:28):
One shot in the chest. Done.

Speaker 2 (01:16:29):
Oh yeah, yeah, yeah done. She's that damn good David.

Speaker 5 (01:16:31):
But what we don't realize, and what she doesn't realize,
is outside of the house right now, a Net and
all of her friends are rolling up in the car,
including her ex boyfriend, including her ex boyfriend to hang
out for the beach.

Speaker 2 (01:16:41):
Yeah. They're like, I'm just gonna say hi to my
dad and let them know we're here and then we
can go down to the beach.

Speaker 5 (01:16:44):
So a Nett's walking up to the house right as
Kim is leaving, and she's still got the gun. In
her hand. By the way, of course, takes the suppressor
off and puts the gun back in her purse, and
then Kim catches eyes with a net and that's like
the hell. Then Kim just shoots her. Yeah, nothing is said.

Speaker 2 (01:17:01):
Just bang, just shoots her and runs.

Speaker 5 (01:17:03):
Shoots her and runs.

Speaker 2 (01:17:04):
And then it's time for People's Court.

Speaker 5 (01:17:05):
Yes, because not only is Annette dead, but all her
friends heard the shot. Obviously they rush over to her.
So then Kevin and another guy running the house they
see mister Ingersol is also dead, and he's like, oh
my god, that crazy bitch.

Speaker 2 (01:17:16):
I'm going after her, which was a little confusing because
I didn't remember them seeing her shoot her. I don't
think they did. But he knew, you know, it's just
one of those like intimate connections. He just knew. He
loved it.

Speaker 5 (01:17:27):
As we get to the to the to the finale,
they are running down these huge steps to this cliff
to the beach as the People's Court team is playing.

Speaker 2 (01:17:35):
The Dirt Dirt, Dirt Dirt.

Speaker 5 (01:17:36):
So they're running across the beach and finally she gets
behind a rock. She pulls a gun on him and
he's like, you know, you just turn yourself in like,
you don't have to do this, and she's like, that's
easy for you to say, you know you you know,
never loved me, and then ends up just shooting him
because he's just like, well, if you're just gonna do
just shoot me, then you've done.

Speaker 2 (01:17:51):
He says, you bitch, you dumb broad. H I love
that he says, bitch, And then like rears back to Broad.

Speaker 5 (01:17:59):
And so she shoots Kevin, and Kevin is dead except no,
because she shoots and then we see that the cops
above her on a cliff have shot her dead.

Speaker 2 (01:18:09):
Who we didn't know. We didn't there in any way,
we'd never seen them before. If this is the first
time law enforcements really ever round at all.

Speaker 5 (01:18:16):
Yeah, So Kim is then shot dead on the beach
as the waves start hitting her body, and that is
nineteen seventy nine's Malibu High.

Speaker 2 (01:18:24):
I see what I said about where it ends tells
you actually kind of nothing except that it's just about her,
because once she's dead, there's no more story. Yeah. Yeah,
it's it's as jarring as it sounds. Now.

Speaker 5 (01:18:34):
We skipped over a lot of love scenes. We skipped
over some very funny dialogue bits, but overall that's the movie.

Speaker 2 (01:18:41):
Yeah, that is the only part that I want to
bring up is that she tells her mother that maybe
the reason dad killed himself was because he couldn't get
it up for you.

Speaker 5 (01:18:50):
Yes, there is that solid. There's a lot of meanness
with her mom in this movie. No, So, would you
like to guess what the budget was? There's no box office,
but you just can you can you guess the budget?
Fifty six thousand dollars.

Speaker 2 (01:19:04):
It was that low.

Speaker 5 (01:19:05):
It was that low.

Speaker 2 (01:19:05):
It looks surprisingly good, Yeah for being that cheap. Like
it looks as good as like like Friday of the thirteenth. Yeah,
I mean their first one. Like it looks as good
as like a one hundred thousand dollars movie.

Speaker 5 (01:19:18):
The original release of it was a double double feature
from Code Red.

Speaker 2 (01:19:22):
I'm sorry, We're you gonna sneeze or I don't know
what that.

Speaker 5 (01:19:25):
Was a double feature from Code Red that was This
and Trip with the Teacher.

Speaker 2 (01:19:29):
Oh god, Yeah, okay.

Speaker 5 (01:19:32):
So this was shot at RF Studios in California, Santa Barbara,
Redondo Beach, Palos Verdes, Zuma Beach, and it was shot
in five weeks.

Speaker 2 (01:19:41):
That's a lot of time for that movie that cheap.

Speaker 5 (01:19:44):
Original title was high School hit Girl.

Speaker 2 (01:19:46):
That's a better title, but it's less bizarre and confusing.

Speaker 5 (01:19:50):
Second title deadly and denim.

Speaker 2 (01:19:53):
I like that title a lot. Actually, did that ever
get used beyond that? Because that's that's a great title.
Third title teen terror. That's accurate. Yeah.

Speaker 5 (01:20:01):
Fourth title and what it was shot under, lovely but deadly.

Speaker 2 (01:20:05):
That's a all right title.

Speaker 5 (01:20:06):
Mark Tenzer was the one at Crown International Pictures who
decided to name the film Malibu High Malibu High because
Malibu Malibu Beach was a hit through them.

Speaker 2 (01:20:16):
I want to say that sounds right.

Speaker 5 (01:20:17):
Yeah. Producer Lawrence David Folds became Hollywood's youngest producer, having
made the film at age eighteen. According to The Hollywood
Reporter Jesus, casting was done out of Ervin Berwick's office
alongside Lawrence. They had put out casting calls through friends
and acquaintances, including Russ Myers.

Speaker 2 (01:20:33):
Oh okay.

Speaker 5 (01:20:34):
Producer Lawrence Folds said the first time actress Jill Lansing
was pleasant during auditions and did whatever she was asked,
including taking off her clothes, but once she was cast,
she became very demanding and difficult to work with. This
ended up being her only role. Tammy Taylor was found
via acting classes at UC Santa Barbara. She was eighteen.
That's a net when a cast in Malibu High. She

(01:20:56):
attended school at UCSC and shot the film at the
same time. Okay, she was going to classes and she
was in the film at the same time. Everyone supplied
their own wardrobe.

Speaker 2 (01:21:04):
I believe that one hundred percent.

Speaker 5 (01:21:06):
Tammy Taylor recalls it was gorilla filmmaking, as they used
three different schools to act as Malibu High. There's also
a Mexican restaurant that doubled as a club. No permits
at all were pulled for this film. The house interior
for Kim's House was built on a set at the
Brooks Institute for the Santa Barbara Institute. However, production had
to leave when rumor had spread that a porno was
being shot at the institute.

Speaker 2 (01:21:25):
And I mean, calling this a porno is pretty extreme.
It's definitely a raunch movie. It's probably a TNA movie.
But yeah.

Speaker 5 (01:21:32):
Taylor recalled that while she got along great with her
Castewart Taylor, who played Kevin, as he was a very
funny guy, down to earth, she felt that Jill was
a bit intense and made her intimidated that she was
nude a lot on the set. Taylor's heart sank when
she received a call from her sister in law from Portland, Oregon,
who had seen the movie with her brother and their
church friends, commenting, it wasn't the movie they expected.

Speaker 2 (01:21:54):
They expected it to just be sex, no murder. They
went to see Malibu Hi.

Speaker 5 (01:21:58):
As her mother and father also comment, you were very
good in it.

Speaker 2 (01:22:01):
Aw, that's parents for you. That's parents for you.

Speaker 5 (01:22:05):
Taylor's death scene ended up ruining her favorite sweatshirt when
the fake blood stained it so bad that they could
not get it too clean.

Speaker 2 (01:22:11):
It got it. You gotta mix ivory dish soap into
the blood ahead of time.

Speaker 5 (01:22:15):
That makes sense.

Speaker 2 (01:22:16):
It comes out a lot easier.

Speaker 5 (01:22:17):
Yeah. Jill Lancey had never acted before. Her audition caused
a fight between Lawrence and Irvin as he wanted to
cast a typical blonde sun bunny, but Lawrence fought for Jill.
While not fitting the look that they had in mind,
she had impressed him with the acting. All right, original
she was.

Speaker 2 (01:22:32):
She was like, she's not bad by any sweat stretch,
but she does feel like an odd choice. She does.

Speaker 5 (01:22:36):
Yeah, originally budgeted out for a canned music library, even
though Lawrence had tried to convince IRV that they needed
a stronger soundtrack. Lawrence reached out to musician Steve Mylin,
who was also an investor on the project, to write
a song for the movie, which became the title track,
Lovely but Deadly.

Speaker 2 (01:22:51):
U Oh yeah, yeah.

Speaker 5 (01:22:52):
The song plays in the beginning, and there's also an
instrumental at the end.

Speaker 2 (01:22:55):
I mean, that's a class act right there.

Speaker 5 (01:22:57):
A big screening was held for the cast and crew
at the complete the film in Westwood, inviting distributors, unaware
that most didn't attend the same events, which became clear
when some even requested a print of the film to
watch on their own. However, the next day, Mark Tenser,
the president of Crown International, called Lawrence, telling him he
loved the movie and invited him to his office. Lawrence
recalled that Tenser slid him a contract with a twenty

(01:23:18):
five thousand dollars check paper clip to it. When Lawrence
tried to flip through the contract, Tenser stopped him, telling him, Oh,
there's no need to read it. It's all boilerplate stuff.

Speaker 2 (01:23:28):
I mean, let me tell you something about contracts, you know,
Like I mean, I've I've negotiated my more than my
share of contracts in my life. And first of all,
boilerplate never something you want to hear. Yeah, I can
see that generally when somebody says the contract is boilerplate,
that means it's standard. And that may sound great, but
you see, usually a boilerplate contract has the most favorable

(01:23:49):
elements to the person issuing the contract. Yeah, because that
should always your first offer should always be what benefits
you the absolute most, so that you can counter. One
of the first times that I kind of like startled
a distributor when I was working on it getting a
distribution for a movie, was when they sent me a
contract and I said I would I said, thank you,

(01:24:12):
I'm going to look it over. I'll see if I
need to redline it, and I'll get back to you.
And they were shocked that I even knew about redlining,
which is just where you cross things out that you're
not willing to be okay with. And then they look
at it and then they may go, Okay, we'll get
rid of that, and we'll get rid of that, but like,
we're not going to get rid of that, are you?
Okay with that, that's the negotiation. Yeah, and redlining a
contract so important, but don't do it just to do it. Yeah,

(01:24:34):
you know you don't want to do it because some
people do that. They'll redline everything just to show, just
to show that they have balls or whatever. You don't
want to do that. But like, I, what was it?
A A friend of mine was dealing with a distributor
and he was worried because one of the deliverables that
he was required to give. He was like, I don't
know how I can get that and I don't even
know why they would need it. And I was like, well,

(01:24:55):
why didn't you redline it? Why didn't you just cross
it out and say, like, I'll do everything in here,
but but you know the two things red lined, and
he was like, uh, I didn't know. It's like, you
should call him right now and see if you can
just not turn that in yeah, and it'll be okay. Anyway.
Another tip, if you change anything after a contract assigned
or right before it's signed, do it via email because

(01:25:15):
they can hold up in court. Don't do it over
the phone unless you're recording the call, but do it
in an email because that is his I mean, if
you're not in a realm where you can have a
lawyer every step of the way, that's good. You want
everything in writing because then you if you had to
go to court, you could show the judge or the
mediator or whatever, like right here in black and white.

(01:25:35):
He said that this element no longer mattered, or that
he would give this amount in this date really important. Also,
don't say anything fucking stupid in writing.

Speaker 5 (01:25:43):
Yeah, that's fair too.

Speaker 2 (01:25:45):
I had a buddy, I can't say who, but had
all of their emails subpoena during a lawsuit. And remember
he called me and was like, hey, his friend, and
he just want to talk some shit. He was like, hey,
I just want to talk some shit about people. But
I don't put anything in writing anymore. After I had
a lawyer, have to be legally given my password to
by email address. So I'm just gonna call you on

(01:26:06):
the phone if i have anything stupid or funny to say.
I was like, fair enough.

Speaker 5 (01:26:11):
So Lawrence Naively signed the contract. While he states Crown
made ten million dollars on the film, they still send
him checks to this day. While small amount, he still
is content that they never missed a check one hundred
and twenty prints of the film were struck, and it
had three theatrical re releases.

Speaker 2 (01:26:26):
Wow. Yeah, I'm impressed that they paid him, especially if
he said, don't read the contract. Yeah, which is you know,
I feel like I don't need to say that's a
red flag, but that's a red flag by the way.

Speaker 5 (01:26:35):
Mark Tenser and Lawrence Folds approached Jill Lansing to be
the woman on the poster for the film. Upon hearing this,
Lancing requested a large amount of money to be the
poster model. This led to Tenser going around Lancing and
hiring playboy Bunny and actress Mary Margaret Humes, who was
also in History of the World Part one The Mill
Brooks to be the featured model on the poster. Newsprints
wouldn't carry the poster until a bikini strap was drawn

(01:26:57):
onto the model's back.

Speaker 2 (01:26:58):
I gotta tell you this is another thing about making posters.

Speaker 5 (01:27:01):
Yeah.

Speaker 2 (01:27:02):
Nothing amazes me more than when people are like, is
that girl on the in the movie And I'm like,
not exactly. I mean like, usually usually you don't want
to show the face of somebody not in your movie. Yeah,
But then I always point out, like Slumber Party massacre.
Two of those girls were in the movie. Yeah, and
they're not really recognizable because it was way after and
their hair was different. Stuff. The most common thing in

(01:27:23):
the world is just using a model for a poster.
God in the nineties, every trauma of VHS and then
DVD for a long time had de Wi Rashwan whether
she was in the movie or not, and had Tiffany
Shepis whether she was in the movie or not, and
a couple other people.

Speaker 5 (01:27:36):
Yeah, like, it's just it.

Speaker 2 (01:27:38):
Well, but it's you buy the picture, to quote a
good buddy of mine. You buy the picture, so make
it a good picture. Damn it.

Speaker 5 (01:27:46):
Movie poster artwork by Mort Druckner of Mad Magazine. So
if you look closely, you can see Alfred E. Newman
peering from the back row as one of the gawkers.
You totally can I check my blue ray?

Speaker 2 (01:27:55):
Oh yeah, I'm just looking that up while you're talking
about I believe you, but I have to see it.

Speaker 5 (01:28:00):
He is in the back. You're gonna look at it.

Speaker 2 (01:28:02):
We'll find him.

Speaker 5 (01:28:03):
Yeah, back laft, I want to say. During the chase scene,
a familiar tune of that era was played called the
Big One, which was also used as the theme song
for the daily syndicated TV show The People's Courts.

Speaker 2 (01:28:12):
Dirt, Dirt, Holy shit, there he is. Yeah, that is hilarious.

Speaker 5 (01:28:17):
Folds showed the film to his buddy John Landis in
the early two thousands. Landis replied by telling Folds, this
is a film noir shot in daylight. And at the
New Beverly screening in two thousand and six, Folds told
the crowd that he and Landis were working on a
remake screenplay, but nothing has materialized in nearly twenty years.

Speaker 2 (01:28:31):
Now.

Speaker 5 (01:28:31):
That's a hard I mean, like, how are you gonna
do this?

Speaker 2 (01:28:34):
How are you gonna do it again?

Speaker 4 (01:28:35):
Yeah?

Speaker 2 (01:28:35):
Yeah.

Speaker 5 (01:28:36):
A terrible VHS release was put out of the movie
that was from a TV cut. However, due to the
missing footage taking a large portion of the film away,
California stock footage of beaches, animals, landmarks was put in
place amongst the missing shots.

Speaker 2 (01:28:48):
That's hilarious. Yeah, that's really really funny.

Speaker 5 (01:28:51):
Irvin Berwick as the sleazy old man who's seen in
the restaurant with Kim So he is the one that
is at the table with her in that scene.

Speaker 2 (01:28:56):
Also kind of just for a moment, mention that think
about that though, Like okay, so a movie like Malibu Hi,
which is equal parts murder and sex and delinquency, they
were like, we need a TV edit because we're going
to sell this to some TV. The world was so different.
There was such a hunger. A really great read on

(01:29:18):
the al Adamson box at from Severn. They talk about
because they have all the TV versions of certain things,
because they would like almost make an entirely new movie
just for TV because they had to remove so much
so much. So it's really like there was that was
an era where like you could sell almost anything to television.
It makes me think about USA up all night would
literally show sex comedies. Yeah, and they like they would

(01:29:41):
try to creatively edit, but eventually they were like just blur,
just blur, which is not usually a popular practice with movies.
It's more of like with reality based things like cops
or something. But yeah, just blur. And I remember when
when they were putting money into movies, us money into those,
they would be like, you have to shoot thing else,
like I think Nightmare Sisters when it showed on there,

(01:30:03):
they like the bathtub scene that's like obscenely long. Oh yeah,
it gave them a little bit extra money to go
and shoot something else, just to replace that scene. Because
the running time has to be long enough for the
two hour I mean because the two hour slot. Of
course there's commercials in the host segments, but it can't
be sixty minutes, you know. So.

Speaker 5 (01:30:20):
Lastly, the first time Quentin Tarantino met Lawrence, he exploded
with enthusiasm, stating how Malibu High was one of his
favorite movies. Said that, I'm sorry Quentin Tarantino.

Speaker 2 (01:30:29):
I believe Tarantino would love that though, Yeah, because Tarantino
loves a good character study. It's just he also loves
a plot.

Speaker 5 (01:30:36):
Yeah, personally and exploitation in general.

Speaker 2 (01:30:38):
Oh god, yeah, yeah.

Speaker 5 (01:30:39):
So what are your final thoughts on Malibu High?

Speaker 2 (01:30:43):
I mean, it's a stream it. You don't need to
own this now. I mean I honestly, if I hadn't
bought it, I wouldn't buy it. Yeah, But now that
I have it and I have assigned copy, it's just
gonna stay in my collection because it is an oddity
that I really enjoy. Yeah, but it is, and that's
what it is, is an oddity worth in jing. If
nineteen seventies exploitation is your jam late seventies two. Well, yeah,

(01:31:05):
that's what I mean is this was like at the
tail end of that. It's kind of like how interesting
the late eighties slasher movies can be. Yeah, it's at
the tail end of that era. This movie was made
with zero preconceptions. Yeah, it was made with zero It
was made with zero thought beyond we're making this kind
of movie today. Now, now, now go do it.

Speaker 5 (01:31:25):
That sounds about right. Yeah, It's definitely a streament for
me as well. This, as I said at the beginning
of the show, it's the kind of thing you like.
If you like that kind of thing. This is of
the epitome of an exploitation film. If you're not into that,
you're probably not gonna like this.

Speaker 2 (01:31:36):
No, But if no, you will not at all.

Speaker 5 (01:31:38):
If you are wanting to watch one and get some
friends together, maybe get a pizza, maybe you have some beers,
this is the perfect movie for that.

Speaker 2 (01:31:44):
Oh yeah, a beer and pizza movie. One thousand percent.

Speaker 5 (01:31:46):
Yeah, So yeah, it is a streament for both of us.
We always like to end the show with a couple
of recommendations. I have two this week, starting with two
thousand and threes thirteen, currently rentable on Prime and Fandango,
A thirteen year old girls relationship with her mother is
put to the test as drugs, sex, and petty crime
in the company ever Cool but Troubled best Friends.

Speaker 2 (01:32:04):
That film was everywhere when I was thirteen, fourteen years old.
It was all over Showtime, Oh yeah, and HBO and Cinemax,
and it caused a lot of uproar because yeah, it was.
I think it's actually a very good film. It is,
but it is very exploitive of legitimately young girls. Yes,
it's very telling of that era when girls were kind

(01:32:26):
of growing up and they were getting navel rings and
they were wearing thongs when they were like twelve, and
it's in their bedroom. Well, I mean, so it's it's
pretty crazy and I highly recommend if you like the
movie thirteen. There are some great YouTube documentaries about how
like they blew some elements of it way out of proportion,
like the not the lead in it, but the other
actress in it who co wrote it, Nikki Read I

(01:32:48):
think that's her name, Yeah, but she co wrote it,
but like it got blown way out of proportion, like
she said it was like based on her life. But
she was like, well no, like we embellished it. I
just saw a lot of things and then we made
them way worse. Like she was like, I wasn't like
literally running around every night doing drugs and sleeping with boys.
I just saw people being really reckless.

Speaker 5 (01:33:09):
People thought it was a life story thing with her.

Speaker 2 (01:33:11):
Yeah, and that kind of hurt her career for a
long time.

Speaker 5 (01:33:14):
Yeah. The other recommendation I'm gonna go with is nineteen
eighty Foxes. A group of four teenage girls come of
age and in the asphalt desert of Los Angeles, San
Fernando Valley, arranged with blazing soundtrack and endless drinking, drugs
and sex.

Speaker 2 (01:33:27):
That's a fucking film.

Speaker 5 (01:33:28):
Foxes is. I wish it was more readily ill. That's
the only bummer is. You're gonna have to You're gonna
have to search that one out. There was a Blu Ray.
I don't know if it's still a round or not.
I don't even know if I still have my Blue Ray. Actually, oh,
I need to check that out. But yeah, Foxes is
one I cannot recommend enough. Shri Curry from The Runaways
is in it. It's a really really good flick. Yeah, Yeah,
what's your recommendation?

Speaker 2 (01:33:46):
So I was thinking, I was racking my brain what
do I want to do? And I decided instead of
going with like like literal themes, I would go with
a film that makes me feel the way this film
makes me feel. And one of my favorite films as
far as exploitation trash is nineteen seventy three's The Candy

(01:34:07):
Snatchers Nice, which I'm shocked you didn't mention. Honestly, it was.

Speaker 5 (01:34:10):
It was, It was there, but it was just like
I didn't want to go.

Speaker 2 (01:34:13):
Do you love that movie as much as I do?
I feel like you do.

Speaker 5 (01:34:16):
Yes, I do, absolutely, because I saw it because of Andy.

Speaker 2 (01:34:18):
Yeah it was a horrorrama.

Speaker 5 (01:34:19):
Yeah, I didn't see it. I won I saw it.
I saw it because I heard about it at horror.

Speaker 2 (01:34:23):
Oh you didn't see it at horrama? I did? It
was it was a house of the trailer and an
interesting choice because it's really not much of a horror movie.
But uh from oh Yeah, from nineteen seventy three, a
non verbal autistic boy stumbles upon a teenage heiress who
has been kidnapped by a trio of young psychopaths who
are intent on extorting diamonds from her stepfather God that's

(01:34:44):
a twist. It's a wild movie, but it has it
has all those exploitation elements, including like the music that
doesn't quite make sense to what's going on. It's got
a really it's mean spirited, but for some reason, and
I couldn't. I wish I could tell you. I find
it oddly cozy. Yeah, so the candy statchers from nineteen

(01:35:04):
seventy three and it is streaming on Plex and that
might be it.

Speaker 5 (01:35:07):
Yeah, and there is a Blu ray that came out
from Vincent. I believe it is still available to so
if you are a media person, yes, did.

Speaker 2 (01:35:13):
Yeah, no, I ever since I saw it in the
theater and maybe that helped a lot too. I saw
it on like an old thirty five millimeter print and
I had to have it. You know. It's just for
some reason, it just really clicks.

Speaker 5 (01:35:24):
It's a wild movie. So do we have an email?

Speaker 2 (01:35:26):
Still? By the way, still in print on on Blu ray.
You can get a copy dial Bolique even has a
copy for cheap right now. They're not paying me to
say that, but I figured I would. As far as
emails go, yes we do. Oh, we have two emails
because that always happens when I say no one loves
us when we have no emails. This first one, and

(01:35:46):
this is an interesting one. I skimmed it a tiny
bit because it was a little long. But this one's
from our buddy Phil and the head or the subject
is Surviving the Game. Oh yeah, hey guys. John C
McGinley is a genius. He's always a genius, such a
great actor. If you liked his performance in Surviving the
Game Intensity nineteen ninety seven is a good follow up.

Speaker 5 (01:36:08):
Somebody commented that I think it might have been him.

Speaker 2 (01:36:10):
You should hunt that down.

Speaker 5 (01:36:11):
I've never seen it.

Speaker 2 (01:36:12):
Yeah, hunt that down? My god? Is he great in
that movie? Decent horror with no gore, but makes up
for it in John c McGinley going unhinged for three hours.
I want I want that movie, Dave find that. Only problem, Oh,
only problem is it's very hard to find. A lot
of Fox TV horror movies from the nineties have disappeared

(01:36:33):
into the ether. Don't know why they hold onto things
like their Stephen King movies they made back then.

Speaker 5 (01:36:38):
It's based on it, I was wondering. It's based on
the Dean KONE's novel, the one that got sued because
of high tension. Oh yeah. Yeah.

Speaker 2 (01:36:46):
Also, I also snuck the VHS of Surviving the Game
out of the video store because they wouldn't let me
rent it. I wanted to watch it and found a
way worth it. Unfortunately, someone got a Jurassic Park when
renting Surviving the game. Next line, I was a weird kid.
Hey man, you're in the right place.

Speaker 5 (01:37:02):
Then, apparently referenced in Cabin by the Lake, so says IMDb, Hmm, you.

Speaker 2 (01:37:08):
See a lot of things. Thanks for your podcast, Andrew Movies.
I found a podcast where the hosts actually watch and
care about the same films I do. Oh and this
is interesting. So this is what I'm excited to talk
about because he asked this question at a perfect time. Yeah,
I have a question. What's it like working with Mark Polonia?

Speaker 5 (01:37:27):
Oh? There you go.

Speaker 2 (01:37:28):
I was surprised when I saw Enrique Kuto in the
opening credits in Real Monsters and heard your voice. You
know what's funny is I had to rack my brain
because I couldn't remember where I put my voice the
opening scene, And so I worked on a I produced
on a kid's movie called Real Monsters. Yeah, and without
going into a ton of detail because it's not really
my details to give the opening sequence, there's a mother

(01:37:51):
and a father are arguing and you hear the sound
as the kids running away from home upset. It's very
like classic kind of kid going to camp and get
away from his household. That this is a trivia for
people who may, for whatever reason be fans of Real Monsters,
which I thought actually turned out really well. The mother
and father screaming at each other in the opening of
Real Monsters, which I think is on two B and
Stuff Now, was myself and my monthly spooky co host

(01:38:14):
Michelle Antisocial doing the voices. So that's a little trivia
for you, because I don't think either of us are credited.
I honestly love their movies India's Hell and they make
fun zaniness and run with cheap budgets as much as
they can. They are some of my go to movies
when I'm down. So before I finish the email, I'll
tell you right now on Real Monsters, I was not

(01:38:36):
only a producer. I was the director of photography, so
I worked next to Mark every day of production. Mark
is the nicest, most funny guy. He's a humongous movie nerd.
His knowledge of making movies in the late through the
whole nineties and the early two thousands fascinated me forever

(01:38:57):
because he had done business with companies like Dead Alive
Films and stuff that I had only ever heard of them.
They were out of business before I even picked up
a camquarder, but they were known in that era for
like distributing tons and tons of stuff. He told me
all about, like when they sold feeders to Blockbuster directly.
It was one of the craziest things ever. Mark is

(01:39:18):
the coolest dude. He's super nice. I did an event
at the Mahoning Drive and at VHS Fest and I
was sat next to him at a table and we
just hung out, had a blast. I love Mark, and
I'll give you some some straight talk that nobody. Nobody
knows about this. I mean you do, but you're like
around all the time.

Speaker 4 (01:39:37):
Yeah.

Speaker 2 (01:39:38):
I am in the middle of producing two more films
with Mark because after working with Mark a few years later,
I produced a film with him directing called Snowbabes, which
is right now available on two be fowsome anywhere you
watch movies for free on avad and it's it's on
my YouTube channel and watch it there. Too, but it's
available wherever you watch movies. It was mark first non

(01:40:01):
horror movie. It's a it's a comedy, a lighthearted, kind
of raunchy comedy. It was honestly one of my favorite
films he's done in forever because Mark is very funny
and I don't feel like he gets to show that
off enough. Yea, there's a part in the movie where
Mark plays a character and he's like a total sleeze bag.

(01:40:23):
He shows up toward the end, he's a total sleeze bag,
but he sits down with one of the girls as
a bunch of stuff is happening. He just sits down
with the girls and says, I just want you to
know you're a really wonderful girl. And the girl literally
goes shut up and just slaps him in the face.
And then he doesn't like because it came out of
it was extra funny because it came out of nowhere.
Why was he saying that anyway? Yeah, but like she
just goes shut up and just whacks him in the face.
I think Snowbabes is really one of Mark's finest, funniest films.

(01:40:47):
But Mark is currently making two films that I'm producing
like they're they're literally shooting right now. I have not
mentioned it publicly anywhere. I'm literally working on the posters
right now.

Speaker 5 (01:41:00):
Yeah.

Speaker 2 (01:41:00):
So two more films from Mark Polonia, produced by yours truly,
are going to be available very very soon. And just
a quick plug my Patreon patrons. Anybody who pays more
than ten dollars a month on Patreon will get to
see the films the moment they're locked, because I always
release the films as long as I'm allowed to. Yeah,
right there first. So if you're curious and you finally

(01:41:23):
want an excuse to sign up for the Patreon when
those films are done, which will honestly probably be a
month or two, they'll be up there before they go
to tub, before they go to Amazon Prime or anywhere else.

Speaker 5 (01:41:32):
So I do have an update. There is a burn
on demand of Dean Kunz's Intensity on Amazon for seventeen
eighty six.

Speaker 2 (01:41:39):
Well, I look forward to watching it with you.

Speaker 5 (01:41:41):
And also I did find it on Daily Motion in
nineteen parts.

Speaker 2 (01:41:46):
I say, just buy the the on demand, we'll see
I mean, I'm just saying that sounds awesome. But anyway,
so that's your Mark Polonia info. I was thrilled to
get to talk about Mark a little bit. He's a
great dude and truly one of the most prolific guys.
Working with him was fun. Although chaotic, Mark is go go, go, Go, go,
go go. He's always ready to shoot more, He's always

(01:42:08):
ready to move on. He edits insanely fast too. Mark
is Mark, and as long as you don't try to
stop Mark from being Mark, you'll have a great time
working with him. Anyways, Thank god, Thanks again, guys. Keep
making fun movies. Phil So, Hey Phil, well, now you
know there's two more coming. I would tell you the titles,
but I really got to keep that a secret until
they're ready for release. But they're fun. They're comedies with

(01:42:32):
quasi horror elements. Oh yeah, and are finally email. Oh yes,
this is from our good buddy Maurice. Okay, great episode
on Surviving the Game. It made me want to go
back and watch it again. It still sucks and needs
to be for It still sucks and needs to be
that it. Oh oh no, no, he okay, it still
sucks and needs to be forgotten about. Just kidding. I

(01:42:53):
consider that movie to be one of the top ten
action movies of all time.

Speaker 5 (01:42:56):
It's a good one.

Speaker 2 (01:42:57):
Looking forward to seeing you guys in July. Oh yeah,
he's coming up time on Land of July. I don't
know if I told you. Yeah, well, Enrique and Rachel
at least, because you know Dave will be too busy,
you know, tubing. You never know with Dave.

Speaker 5 (01:43:09):
Oh yeah, for me, that's fair.

Speaker 2 (01:43:11):
My girl is looking forward to meeting everyone as well,
and she's never had Indian food, so that'll be fun.
But since this is a movie podcast, I'm still waiting
on that Gladiator episode and not the Russell Crow one.
I know it's only been a couple of weeks, but
I'm impatient and pulling the friend card on this one.
And don't do it or don't do it. That's cool too,
won't stop me from looking at you guys as brothers aw.

(01:43:33):
Thank you, Marie, thank you, and I forgot to mention
the beginning. If you want to send us an email,
boy Kay, our email addresses do you even movie pod
at gmail dot com, that's do you Even Movie p
O d Pod at gmail dot com. Or you can
go to douevenmovie dot com and send us an email
through there. All of our information is on doevenmovie dot Com.
It is. We also, you know, welcome you to leave

(01:43:55):
comments via Spotify or on YouTube if you're watching the
video version of the pod cast. We always are happy
to hear from you.

Speaker 5 (01:44:02):
We are.

Speaker 2 (01:44:02):
And I want to also mention that the shorts from
the Jaws of the Revenge episode got a little bit
of anger. I saw that, and I'm happy about.

Speaker 5 (01:44:10):
Me too, honestly, cope and see the losers.

Speaker 2 (01:44:14):
Cope and see what are you gonna do? Curse me
with voodoo? So a shark comes after me? Come on?

Speaker 5 (01:44:20):
I noticed on YouTube we were getting a little plays.

Speaker 2 (01:44:22):
Oh I love it. I love it. Come come at me,
Come at me, bro I will say, though, one gentleman
commented that with Penitentiary two or three existing, yeah, you
can't call it the wildest sequel. I agree and disagree
though that's fair. But I'll tell you why I disagree.
Was Penitentiary one like an amazingly good movie. That's that's
the only reason is that it may be as wack

(01:44:44):
could do as possible. Yeah, But it's the fact that
Jaws the Revenge is a sequel to Jaws that makes
it kind of extra. It's the comparison I guess to
me anyway.

Speaker 5 (01:44:53):
So, speaking of sequels, would you like to know what
we are talking about next week on the show as
Life's of Beach Month continues.

Speaker 2 (01:44:59):
I suppose I do.

Speaker 5 (01:45:01):
So we are going to take a trip back to Southport,
but not really though, because we are going into I
Still Know what you did last summer from nineteen ninety.

Speaker 2 (01:45:09):
Eight, Hush Hush.

Speaker 5 (01:45:11):
David currently rentable on Prime and fan Diego, not stream anywhere,
which I was kind of surprised with because we're gonna
be doing this the week that the new one's coming out.

Speaker 2 (01:45:19):
Yeah, that is strange.

Speaker 5 (01:45:20):
Yeah, but yeah, that is what we are going to
be talking about.

Speaker 2 (01:45:23):
Yeah, I'm looking forward to that one. I really have
a soft spot for that sees.

Speaker 5 (01:45:27):
Actually, let me check out it this streaming because I
just realized it is the first of July as we
were recording us for Firth.

Speaker 2 (01:45:34):
So, but thank you guys again for joining us on
Do You Even Movie. We really do appreciate it. If
you're listening to us on your podcasting app, make sure
you're subscribed. Consider leaving us a five star rating. It
really makes a difference on Apple Podcasts and Spotify. We
really do appreciate it. And if you're watching us on YouTube,
make sure you click subscribe yes, and you'll see a
new video from us every single week.

Speaker 5 (01:45:56):
You will. And I still know is not string anymore.

Speaker 2 (01:45:59):
That's a bummer.

Speaker 5 (01:46:00):
That's odd.

Speaker 2 (01:46:00):
Yeah, that is odd.

Speaker 5 (01:46:02):
But you know we'll talk all about it next week
on the Shodow.

Speaker 2 (01:46:05):
Oh we will. So, I guess all that's left to
say is I have no joke. What are you say
with Malibu High?

Speaker 5 (01:46:13):
I mean, you've proven to be a real piece of
sh It's the only line that can see you next
real piece of sh You can you can screw the school,
or you can screw the teachers, but you can't screw
the school.

Speaker 2 (01:46:24):
And she says, maybe watch me. We'll see you next Tuesday. Guys, boy, howdy,
I need a shower after that movie.

All Episodes

Malibu High (1979) – Sleaze, Exploitation, and One Wild Summer Movie

Episode Transcript

Popular Podcasts

NFL Daily with Gregg Rosenthal

On Purpose with Jay Shetty

Dateline NBC

.css-15opob5{left:0;position:absolute;top:0.8rem;} All Episodes

.css-14f5ked{margin:0;word-break:break-word;display:-webkit-box;-webkit-box-orient:vertical;box-orient:vertical;-webkit-line-clamp:2;overflow:hidden;}Malibu High (1979) – Sleaze, Exploitation, and One Wild Summer Movie