Sudden Death & Command Performance

Episode Transcript
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Speaker 1 (00:51):
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Speaker 3 (00:55):
Sitting here singing nobout myself do.

Speaker 4 (01:00):
I luckily did not put my headphones on. Jilly stop singing.
I don't know, I mean, thank goodness, but.

Speaker 3 (01:08):
Lucky bastard.

Speaker 5 (01:10):
Noah has a wonderful singing voice. You missed it, Doug.
Let's let's I don't know if that's actually true or not.

Speaker 4 (01:17):
Let's chalk it up to it. It's gone now and
I'll never have another opportunity.

Speaker 3 (01:20):
I will say this, I have a very specific singing voice.
They can do very specific things.

Speaker 5 (01:29):
That's one way to describe it. I guess.

Speaker 3 (01:34):
I bed like. I never had any complaints that the
band's shows or anything like that. But again, doing specific things,
like we were trying to do something that actually required
singing talent, like Queen or something I would have sounded
like a dog.

Speaker 5 (01:50):
Shit anybody, but Freddie Mercury sounds like dog shit when
you're singing Queen. Let's be real, all right, that was
our musical talk. Apparently, let's let's move on. Uh, speaking
of singing, you should have been in a band in Russia.

Speaker 3 (02:13):
Now, maybe I'm not sure if I could handle the
terrorists as well.

Speaker 5 (02:25):
So we watched two terrorist movies that both take place
in an arena of some sort. Since you were deciding
about singing, do you want to tell us about command performance? Uh?

Speaker 3 (02:38):
Yeah, So dulf Lungren is a drummer.

Speaker 5 (02:44):
In a Dolphin hundred is.

Speaker 3 (02:46):
In a in a butt rock band performing at a
charity concert in Russia when the arena is taken over
by terrorrist ostensibly for money, but it turns out to
actually be for vengeance. What Luckily, Dolph Langren was formerly

(03:13):
in a gang and a biker gang, which gives him
fighting skill.

Speaker 4 (03:21):
Okay, so so you guys are telling me I didn't
miss something.

Speaker 5 (03:24):
No, no, no, he literally he literally tells them I
was in a biker gang. That's why. I know. That's it.

Speaker 4 (03:32):
But I assumed. I assumed that later in the movie
when I got bored and stopped paying attention, that he
was actually.

Speaker 3 (03:39):
Like a secret agent or something like that.

Speaker 4 (03:42):
He had some military background at least.

Speaker 3 (03:45):
Nope, that's no, that's that's that's that is the thing.
He was in a gang, and therefore he knows how
to fight there uh, and he teams up a buddy
cop style with a Russian Secret Service agent who's it's

(04:05):
his first day on the job. So so somehow the
secret service trained guy is the bumbling sidekick in a
lot of weird ways.

Speaker 4 (04:15):
Well, I mean, when the other guy is the writer director,
I think that explains why. It's just I don't think
there's any other reason for.

Speaker 3 (04:24):
So here's the here's the thing. The plot of this
movie is dog shit, right, It's just it's just a
dog shit plot of a movie. And I think it
very literally is a remake of Sudden Death, which is
in turn a ripoff of diearch. But parts of this
movie were so close to Sudden Death that I was

(04:45):
like Jesus Christ, like Dolph Lunder watched that movie and
really liked it. It was like, man, they should have
asked me to be in this instead of the bustles
from Brussels.

Speaker 4 (04:57):
Well, let's be honest, doll Under, really smart guy in
certain areas, not really known as a writer. And sure
it's really clear that this movie is just trope after
trope after trope, right down to the fact that, like
whenever they ask him his name, he just keeps saying Joe, Joe,
call me Joe. And it's like, first of all, like

(05:18):
it's a real trope to have him refuse to give
his full name, and then second of all, Joe that's
what you go with, Like that's where a professional writer
knows how to come up with a name that's gonna
sound cooler if you're going to keep doing that line
over and over again. That's why you have people whose
job it is to write movies, and you don't get
the actor to write the movie.

Speaker 5 (05:38):
But I want to say, his last name was actually
kind of cool. But now I don't remember what it was.

Speaker 4 (05:42):
I don't. I mean this, this movie committed the ultimate
sin of getting boring around the middle, and it's like,
all right, you know, if you're expect me to learn
his last name, and second towards the end of the movie,
it's like, no.

Speaker 5 (05:55):
No, I think they said it right up front, and
then he just referred to himself as Joe for the
rest of the movie.

Speaker 4 (06:00):
Oh Jesus, that's evenorse Joe. Okay, so what's the what's
the worst decision having him just go by Joe in
the whole movie or having the guy who famously sounds
Russian play the only American in the movie. Why would
Dolph London be American? There's no reason for him to

(06:20):
be American. It turns out to not be plot relevant.

Speaker 3 (06:23):
Listen, So he was flexing his acting skills.

Speaker 4 (06:28):
Is that what that was?

Speaker 3 (06:30):
Which is a bad idea as well, because so Dolph
is awesome. The trick to having Dolph in a movie
is to have him say as few words as possible
and to have him deliver them stoically, like that is
peak Dolph. Yeah, well that is like physicality and his
facial expressions, all that kind of stuff is good. He

(06:52):
just kind of sucks at delivering dialogue well.

Speaker 4 (06:54):
And part of that is because he's got that thick
accent that he has never been able to overcome. But again,
if you made him Russian, then that wouldn't be a problem.
And since the movie's set in Russia and like ninety
percent of the characters are Russian, just let him be Russian.

Speaker 3 (07:09):
What's I was really glad when this movie did the
language transition thing because I was like, God, damn, it
is this whole movie going to be in subtitles? Am
I watching a subtitle the doulfh Loankward Movie? Because this
is not going.

Speaker 4 (07:24):
To be That's not acceptable.

Speaker 3 (07:26):
Luckily, this is going to make my life difficult. This
is not good. Yeah. I had a similar thought, but
then it was it turned out to be not so
it was okay.

Speaker 4 (07:38):
So instead of a general level of complaining about this movie,
I think we should get really nitpicky about it. And
I want to talk about why was it like a
heavy metal band opening up for a pop star?

Speaker 5 (07:49):
Is that how Russia works? Well?

Speaker 3 (07:51):
I get well, no, we're supposed to be kind of
like a farm made concert kind of thing, which that
that is how those ERTs are where you have like
fucking run DMC and Metallica playing the same show. You know,
that kind of like weird shit.

Speaker 4 (08:07):
But yeah, but no, but like, isn't Dolph Lundron's band
like up and coming and I thought opening for her
was like a huge opportunity for them.

Speaker 3 (08:15):
Sure, but but again it's in a fucking uh in
a charity show. So yeah it was.

Speaker 4 (08:23):
I don't.

Speaker 3 (08:23):
I'll forgive it. I'll forgive it because that's like I said,
that's the way those charity shows are so fucking it's.

Speaker 5 (08:27):
The charity show.

Speaker 4 (08:28):
Yeah, I don't know anything about this charity show that
you're talking about. I saw. I thought it was just
a pop concert and they were the opening act.

Speaker 3 (08:35):
No, it's no, it's a charity thing. That's why I
like the President's there and all that kind of stuff.

Speaker 4 (08:40):
No, the president's there because his daughters are big fans.
It's a pop star.

Speaker 5 (08:44):
Yeah that I don't.

Speaker 4 (08:46):
I don't think this is a charity show. I think
I think to justify.

Speaker 3 (08:52):
They call it, like uh if fucking what was it?
It's got a name. It was like poor Aid or
something stupid, like it was really bad.

Speaker 4 (09:00):
That's just the Russian name for an arena, no idea.

Speaker 5 (09:05):
All right, we obviously don't know the reason.

Speaker 4 (09:10):
And do we understand why the rest of the band
looks like a normal heavy metal band and then the
drummer is like a fifty five year old American? Did
anybody understand that? Was there a reason given for that?
I was.

Speaker 3 (09:20):
I was half expecting, and I didn't look this up afterwards,
but I was half expecting to look it up. And
it turned out to be that Dolfhlinger has a band,
and that is the band he worked into the movie,
and that that that he wrote that god awful song
that they play fifteen times throughout the movie.

Speaker 4 (09:37):
Yeah, I don't know. They only learned one song that band, so.

Speaker 3 (09:41):
And then they got and in the whole time they're
hanging out with a Russian. Britney spears like.

Speaker 4 (09:49):
Is she supposed to be Russian?

Speaker 5 (09:50):
Or she's I don't think she's supposed to be Russian.
I think she's just supposed to be.

Speaker 4 (09:54):
I mean, I don't think it really matters, like the
whole point, like those types.

Speaker 5 (09:57):
Of yes, it's fine.

Speaker 3 (10:00):
I didn't I literally just finished watching it.

Speaker 4 (10:05):
So maybe maybe you can explain. Was there a line
of dialogue explaining the daddy issues that causes her to
be all over dull the whole time. She's she is
like a twenty three year old like world pop star,
and then she just sees this like sweaty old man
who drums in a metal band, and she's like, I

(10:25):
cannot stop thinking about that guy. And she is just
climbing on him the whole time, and because it's theflonder
and she literally has to climb up him, so nobody.

Speaker 5 (10:34):
Keeps He keeps sort of like rejecting her, which I
was like, oh, thank god, I don't want this to
be a thing. But then the very last shot they
get in the car together and I'm like, no.

Speaker 4 (10:44):
Well, I don't want it to be a thing, But
I mean, how do I suspend my disbelief enough to
know that a guy that looks like that is going
to turn down a girl that looks like that? Happens?

Speaker 3 (10:54):
It happens more than once in the movie, because the
reporter check also like that ing him and has no
interest in anything she has to say. Still is like,
you're super cute, you know what I mean, which means
again it's Stolf writing himself as the hero in a movie.
And so he just wrote that every woman wants his dick.

(11:14):
He also saw Dracula two thousands, like I want the superpower,
but yeah Dracula, of every woman needing Dracula's weird Dracula tick.

Speaker 4 (11:26):
I mean fair enough, but I mean and again, maybe
this is where if you had a professional writer working
with him, the professional writer would have written in some
line of dialogues, but the daddy issues and why she's
in just like weird old men instead of normal attractive people.

Speaker 3 (11:43):
But here's so again the plot is dog shit. However,
this movie is really enjoyable because the action's all pretty
good and most of it is just actionly stuff. They're
just stabbing people and running around and being okay.

Speaker 4 (11:57):
So the running around I can accept, Like, yeah, I
can take all that, But after every death scene adding
in thirty seconds of slow motion, like we're all supposed
to stop and care about these people we have never met,
dying no unacceptable, Just just a deal breaker. So even
if I had liked the rest of the movie, that
would be a deal breaker. And then the other thing

(12:19):
is like the cgi blood. It's like, this is all
this movie has going forward is action. So when you
start doing like the CGI stabs and stuff. You're like, oh, unacceptable,
because because all this movie is is action, so the
action has to be good and it's.

Speaker 3 (12:34):
Uh the CG So CGI blood spray is one of
those things that it has been a thing in movies
for fucking decades now, and I still don't I don't
understand it. There is no way that that effect is
cheaper than a squip. There's no way. I don't know.

Speaker 4 (12:57):
I don't understand it. I don't know why they do it.
I don't know. I don't know how they like edit
a movie and have that and don't just go like,
let's just not have the blood spray.

Speaker 5 (13:08):
Rather than that, I think in the grand scheme of shooting,
it allows them to shoot faster. Yeah, because the squib
goes off, blood sprays, cut everybody. You gotta clean all
that blood off, you gotta redress the actor if you're
going to shoot it again, and you know that takes time,

(13:29):
whereas with the digital stuff. And I'm not saying that
this is like a defense. I'm just saying from like
a financial mindset, I could see that you could yell cut,
he could stand up, and you literally go all right,
action and you just start shooting again, which would be
quicker and easier and be less you know, less time

(13:51):
spent on set, And you're like, oh, we could just
do that on the computer later.

Speaker 4 (13:55):
So but like I don't know, See, like I can
live with the digital blood splatter in certain horror movies
where I'm like, yeah, okay, but I'm enjoying the horror
elements of it, and then you get this splatter which
is annoying, but I can live with it. In this
type of movie, it's like that's all you have is action.
You have to make those scenes look good, like no
one's in it for the drama.

Speaker 3 (14:20):
Take that drama to your mama, as they say.

Speaker 4 (14:24):
Yeah, Like, I don't know, because like the movie, like
the drama elements of the movie got boring. None of
the humor worked, and the action was not. Like there
was not a single scene that was good. There were
a couple that were bad because mostly because of like
every time they used a knife, there was this terrible
blood spread.

Speaker 5 (14:43):
H do you know who is supposed to play the villain,
like the guy who's getting revenge? That would have made
this movie better.

Speaker 4 (14:48):
Jason Statham?

Speaker 6 (14:50):
Uh?

Speaker 4 (14:51):
Eric Roberts, Oh really? Okay? So they were gonna get
Dolph Lundron to play the American and Eric Roberts to
play the Russian.

Speaker 5 (14:58):
Apparently, Hi, he had to drop out for whatever reason.

Speaker 3 (15:04):
But I was getting ready to say that. I don't
know if that improves this movie or not, just because
of that situation.

Speaker 1 (15:13):
Uh.

Speaker 5 (15:13):
To me, it does, because Eric Roberts would chew that
scenery up like crazy and I would love every second
of it.

Speaker 3 (15:20):
Yeah.

Speaker 4 (15:21):
Probably, Yeah. I mean having a villain that was like
over the top would probably have worked better than this
like stoic guy that we got in this movie. And
he's got the Jason Statham like I just I just
have a beard trimmer. I don't even own razors. I
just trimmed my whole head and beard all the same.
That's why I said, Jason Statham and look I have.

Speaker 3 (15:41):
You know, I'm a badass because it's all the same links.

Speaker 4 (15:45):
But it's it's the the whole thing is like he,
like I said, he's he's a boring villain, which is
fine if he was scary and intimidating. Maybe he is
if you showed this movie to a four year old,
I don't know, But like he's uninteresting, which is a problem.
Because then they try to do this big plot twist
at the end where they're like, it was never about money,

(16:05):
and that we get his whole backstory, which is told
to us because you know how great filmmakers love to tell,
not show. So they tell us his whole backstory that
dates all the way back to nineteen ninety one, and
we have to hear about the geopolitics of like Russian coups.
And it's like, okay, but I don't care about that character,
so why would I care about this backstory?

Speaker 6 (16:24):
Like this goes back to garbage off.

Speaker 5 (16:30):
Yeah, I saw that. I'm like, is this gonna be
a period piece? Because I think that actually probably would
have worked better for this movie if it was like
set back in the nineties or whatever.

Speaker 4 (16:38):
He played a grunge band instead of a metal band.
Is that what you're suggesting, Or he'd still do the
metal band, but he'd be opening for a grunge band,
which I mean.

Speaker 5 (16:46):
There's that, but then you eliminate shit like cell phones
and all that other stuff. Yeah, make it a better Plus,
you could get the guy that played Gorbacheff in like
the Naked Gun movies, so random.

Speaker 4 (17:05):
Yeah, I don't I don't have any comment on whether
they should have got the who should have played Gorbige
hop in some weird alternate universe version of this.

Speaker 6 (17:12):
Movie, Jason states.

Speaker 4 (17:19):
Can we can we discuss why they felt the need
to overly sexualize the young daughters of the president, because
that's like, that's the whole thing is he's there at
the concert with his daughters because they're big fans of
this pop star who has heavy metal bands open for her.
And then it starts as like a joke where they're like,
the girls are up in the booth and they start

(17:39):
trying to do the same dance moves as the pop
star and it's like they're cutting back and forth and
it's it's supposed to be funny originally, but then it
goes way too far. And then later I'm pretty sure
the one guy tries to rape that child, but I
wasn't one hundred percent sure because the film's not that
well made, and I'm like, I don't think we should
be look, I don't know like she I don't know
how old thirteen, Like, I don't think we should be

(18:02):
sexualizing her in this way. It's like, make them little
girls who are kidnapped. That's gonna give you a more
sympathetic thing because no one likes teenage girls, and it's
gonna like void all of that topic.

Speaker 5 (18:15):
Say, nobody likes teenage girl.

Speaker 4 (18:18):
Nobody likes teenage girls. Have you ever met the parents
of a teenage girl?

Speaker 5 (18:21):
I'm dating the parent of a teenage girl.

Speaker 3 (18:24):
I mean that that that horrible scene that you were
just referring to, it does justify the moment of him
stabbing the guy in the head with the knife, which
is pretty right.

Speaker 4 (18:35):
But I'll try the best kill of the movie.

Speaker 3 (18:38):
Yeah, it's real good. Whenever he stabs right at the
top of the head, it's real good.

Speaker 4 (18:41):
Yeah it's not real good, it's better than the other
stuff in this movie.

Speaker 3 (18:47):
Right Ill. Like I again, I'm fine with the action,
but I like trashy action movies, so it's fine.

Speaker 4 (18:54):
The problem I have with this movie, I think THO
was like, they're going for like an eighties action movie
tone that, but they're trying to make it in two
thousand and nine, which is not Those are different eras
of filmmaking, and you can't.

Speaker 3 (19:07):
You can't.

Speaker 4 (19:07):
It was modern filmmaking techniques to make a movie that
I was going to have this sentimentality of an eighties film.

Speaker 3 (19:13):
And what makes you say that? Is it such lines
as Dan's easy rock and roll, It's hard.

Speaker 4 (19:21):
The line Do you know how hard I work off
that line of dialogue?

Speaker 1 (19:24):
A line?

Speaker 3 (19:25):
Yeah, that is a line delivered with sincerity in this movie.

Speaker 4 (19:30):
Yeah, But that's the thing, is like, and we'll talk
about it in the other movie. Like sometimes it can
be real fun to watch people do ridiculous things in
a sincere way, but not in a low budget two
thousand and nine movie. And you have to know the
era you're working in. I mean this is lots of
actors can't move into new eras, right, Like golf Lounderon

(19:51):
was famous in the eighties and the nineties, it's not
shocking that he's having trouble doing movies in two thousand
and nine because everything changes, The world changes and everything, right,
So you can go, I don't know how to say.
You can't always just try to do the same thing
you used to do. You have to update yourself to
the modern film. And he hasn't done that, And like

(20:15):
it's one hundred percent on him. He's like writer, director
and fucking star so and romantic leading man to every
woman in the movies, so like he it's on him
and he's just he's still that guy from the eighties
and he's not doing it and tongue in cheek at all.
Like you look at something like The Expendables, where's even
Stallone realized I gotta be funny if I'm like you

(20:38):
know what I mean, Like, if I'm gonna do these
films now, I have to know that the audience is
having fun with the fact that I was famous thirty
years ago, as opposed to this, which is more it's
too sincere. It makes you think that they don't know
it's funny that what they're doing.

Speaker 3 (20:53):
Well, hey, to get his strong suit is not talking. Yeah,
but he wrote the movie, so he gave it himself
all these talky bits. My argument isn't that he didn't
update himself. It's that he was trying to do more
than he should.

Speaker 4 (21:09):
Yeah, I don't know.

Speaker 3 (21:10):
If this movie was just him running around stabbing people
and grunting, I'd be like, yeah, it.

Speaker 5 (21:18):
Is how you talked that he doesn't he didn't know
when to like redo his persona or whatever. Considering that
Jason Statham is literally just doing the Dolph London persona,
in all of his movies. Like it seems like Dolph
Lundon could have been like, oh, I'll just do that.

(21:39):
I'll just be the quiet, stoic guy who beats the
ship at people.

Speaker 3 (21:43):
But Jason, I should say, but Jason Stathan learned the
lesson of I probably shouldn't deliver monologues.

Speaker 5 (21:51):
No, no, totally, That's what I'm saying. He should have
looked at Jason Statham and been like, that is what
I should be doing, and then recalibrated all of his
roles for that.

Speaker 4 (22:01):
Yeah, like yeah, or learn how to be funny or
do something different. I don't know, but.

Speaker 5 (22:08):
His only lines should be when he grabs the guy
by the front of the shirt and then says something
terrifying into his face before he kills him. Yeah, that
should be his only dialogue in the entire moment. What movie,
whatever movie he's in.

Speaker 4 (22:24):
Yeah, It's just it's it's like he thinks he's an
act actor, but he's actually an action star. Does that
make sense? Like you know, like like there's a difference
between star and an actor, right, and he doesn't seem
to know. And like we've seen all of these like
old action stars and the eighties have all tried to
move into acting, right, like Schwarzinger's done it, and stall
Loan's done it, and Sigal probably did it in some

(22:47):
weird Russian movie that we haven't seen. But it's like
we know that they all try, and when they do
it in a different kind of movie, you can kind
of respect it because you're like, Okay, you're trying something different.
Are they use as good as like a good dramatic actor. No,
but at least you can see what they're trying to
do and you can respect that they're trying to make

(23:07):
a different kind of movie by acknowledging their age and stuff.
In this case, it's like you're I don't know, it's
like you're trying to insert that acting into a dumb
action movie. And it's like, no, if you can't do that, I.

Speaker 3 (23:21):
Mean that or we're all idiots. And Dolph, well, Dolph
Lunger Like is legitimately a genius, sure.

Speaker 4 (23:28):
Yeah, just not in the way of filmmaking.

Speaker 3 (23:30):
Yeah, And I think, well, I think maybe he was
just able to do the math and he probably made
a shit ton of money on this and got to
vacation and got to hang out with hot actresses. While
doing basically nothing. So I think maybe we're wrong, and
he is correct. He did the right thing, and we're

(23:53):
bitching about it.

Speaker 4 (23:54):
Yeah, okay, we are reviewing this as like a piece
of art or a film, whereas if you're saying it
wasn't a good money maker, I don't know. I didn't
look into the finances of this, but you're right.

Speaker 3 (24:05):
This is one of those movies that it made no
money in America. It did like brought Slova. It was
the number one movie for one hundred thousand weeks.

Speaker 4 (24:19):
I mean, you're probably not wrong because but it's just
I don't know. And the slow motion, man, I appreciate that.

Speaker 5 (24:29):
The funny thing was when I was watching it and
I'm just like, Doug's gonna hate that.

Speaker 3 (24:33):
Slows you know how I feel going He is so
angry right now.

Speaker 4 (24:43):
There must be four to five minutes of slow motion
in this movie too, and it's like ninety minutes long.
So it feels like they just were adding slow motion
in random increments just to get the movie to full length.
And I'm like, oh my god, that's not how you
do it. Put more ants numbers or again. A flashback
scene where we understand the daddy issues that causes that

(25:04):
twenty three ye old pop star to hit on old
man drummers.

Speaker 3 (25:08):
So that this is another thing, that terrible uh pop
song that they also played one hundred thousand times.

Speaker 4 (25:15):
Yeah, they keep playing the same two songs over and
over again.

Speaker 3 (25:18):
Yeah, exactly. I looked directly at shar and I said,
this is why I don't like pop music, because in
my brain, that is just as good as anything that
is on the fucking radio right now.

Speaker 4 (25:30):
Oh.

Speaker 3 (25:31):
Like I was listening to it, and I was like,
they just took an ai and typed did pop song
and kicked that shit out like that's.

Speaker 4 (25:39):
Two thousand and nine.

Speaker 3 (25:40):
They didn't, But well, no, no, I'm just saying, like,
that's what my brain says now about was pop music?

Speaker 5 (25:46):
Yeah no, I.

Speaker 4 (25:49):
My personal problem with pop music stems heavily from the
fact that, hey, it all sounds the same to me,
and then be it gets stuck in your head and
it's in there when you don't want it there. Good
music is in your head when you want it to
be in your head. That's my personal opinion, but.

Speaker 3 (26:06):
Partially true.

Speaker 4 (26:08):
Anyways, that's we're not here to bitch with the music.
We're here to bitch with the movie, although I will
point out that I couldn't find my TV remote, so
I sat through the credits where they play those two
both those songs in full, and.

Speaker 3 (26:24):
It kept switching back and forth like they did a mashup.
But they didn't do a mash up.

Speaker 4 (26:30):
No, it's just switching between the two songs, just a
little bit of the song, a little bit of that song,
a little bit of the song, a little bit of
that song. It's like, that's not what you're supposed to
do at all.

Speaker 3 (26:40):
Again, I think that that band was Dolflanker's band, will
ever confend me otherwise? And I think that that woman
he was fucking her and that is legitimately a song
she had on the radio in Russia.

Speaker 4 (26:53):
Okay, So I will say you might be right without
doing any research. I would also say it's entirely possible
he just wanted to fuck her and then he's like,
I'll put put her in this movie. Maybe that helps
my chances. Or I also think with the band that
that could just be a band, like they're all his
buddies or whatever, and so they put him in as
the drummer because he can be in the background and

(27:15):
like it's not as noticeable if you're like, you can't
have him be the singer and then dub in his voice,
but you can have him be the drummer and he's
just back there doing nonsense. But when they play the
actual song, they have the real drummer doing it.

Speaker 5 (27:29):
Well, according to the trivia, he is an actual drummer,
is he.

Speaker 4 (27:34):
Well? I mean sure, and at played drums in a
movie I saw once, so I don't respect, of course
kidding but.

Speaker 5 (27:49):
No, I saw him. I saw him too, an ant man.

Speaker 4 (27:52):
No, No, I mean I I do have a lot
of respect for drummers, for good drummers. I think they're
very important that I'm genuinely fascinated by what they do.

Speaker 3 (28:02):
Just I was gonna say, listen, for all we know,
Dolph Lunger is an amazing grummer, in which probably if
if someone told me that that was the case and
that it was true, I would just be fucking irritated
and just accept that fact because I'd be like that cocksucker.
I mean, he got to be he got to be
a movie star and have multiple PhDs and fucking he

(28:27):
just he's got an amazing fucking life where he just
did all this ship and then he gets it, and
then he got paid to be in ship like this.
Done can do this ship. Done could have been the
fucking star.

Speaker 5 (28:37):
Of this movie.

Speaker 3 (28:40):
Maybe not, I was getting ready to say not shirtless
playing those drums.

Speaker 4 (28:45):
Probably not.

Speaker 3 (28:46):
But the rest of it. You can swing. You could
swing a fake knife. Well cgi blood sprays into the air.

Speaker 5 (28:54):
I was getting paid, but he was getting paid. I'd
be like, that's right, ladies, soak it all in, that's right,
put my weird best thought my warriors vest on, and
then beat up some terrorists afterwards.

Speaker 4 (29:08):
Yeah, we'd have to we'd have to be at the
negotiating table and figure out where the number comes that
I'm willing to do a whole movie topless. I'm sure
there's a number. I just don't know. I don't think
it's ever gonna come up, so I've never really put
much thought into what it would be.

Speaker 3 (29:22):
This is a random true story, and we'll talk about
it at the end of the show. But I went
over to the Hollywood Palms to see a movie and
they're one of those movie theaters that have had tons
of famous people there, so they have all the sign
shit on the walls, and I walked by and one
of them was, oh, God, damn it one of the
guys from the Warriors in the full Warrior stuff, and
it was signed, and I looked reculate my friend, and

(29:43):
I was like, I have the urge to rip that
off the wall and just run out of this building
and be like, this is mine now, Jesus, you can't
stop me. I love The Warriors could have came to.

Speaker 5 (29:56):
A flashback two years ago they had a full Warriors region.
Nice there.

Speaker 4 (30:02):
We don't need to go off on a Warrior's tangent
right now, you two.

Speaker 5 (30:05):
I mean, we could this movie. There's not much else
to talk about in this movie.

Speaker 4 (30:09):
No, did we want to talk about how as recently
as two thousand and nine, you could just yell, those
guys are the communists and these guys are the capitalists,
and everybody knew who the good guys were guys were,
and things have gone to such shit since two thousand
and nine. Then it's like, why would the capitalist be
the good guys?

Speaker 5 (30:26):
Well, nowadays it would just be like, these guys are
Russians and this guy's an American, and we'd be like, yeah,
but who's the good guys?

Speaker 4 (30:34):
I know, it's really funny.

Speaker 3 (30:39):
They're all they're all villains.

Speaker 4 (30:41):
They are all villains in that way.

Speaker 5 (30:43):
It's weird. We don't know who to root for or against.

Speaker 4 (30:49):
It's like one of them is trying to save little girls,
but one of them is trying to kill an American guys,
so both up for something good here. It's it was
really funny to me when they kept like because they
kept emphasizing like the capitalism as well, like like how
Russia's it's good for Russia to be capitalism. I'm like,

(31:09):
it's because you guys are in the early stages of
capitalism when it's still fun. Wait till you get to
our stage.

Speaker 5 (31:14):
Basically, yeah, switch it back over to dictatorship, which.

Speaker 3 (31:19):
I was getting ready to say that literally lasted through
like Gorbatrov. Yeah, and that was not a very long
period of time before they immediately went into an olagarical dystopia.

Speaker 4 (31:33):
Sure. Yeah, but we're in the fun part of capitalism
where everything sucks. You can't even Google stuff anymore because
they've ruined Google because the top forty nine answers are
just people who paid to be there that have nothing
to do with what you're searching for. And you have
products you want that you can't buy because they found
out that they make slightly more profit by buying the

(31:54):
company that does the reselling of those products and then
limiting the amount of products so that the value for
resells will go up. It's like Jesus Christ.

Speaker 5 (32:03):
Anyways, the Mary, the.

Speaker 4 (32:09):
Only thing free anymore is our podcast. That's the only
thing that's worth worth the money you pay for it.

Speaker 5 (32:15):
So now I was told by maybe another podcast to
review this movie. There's a scene where Dolph London took
a drumstick and through it and piled some dude in
the eye. That didn't happen in this movie that I stabbed. Yeah,
that did not happen.

Speaker 4 (32:33):
He stabbed a guy with the broken guitar.

Speaker 5 (32:38):
I don't remember which podcast it was.

Speaker 3 (32:40):
That definitely, definitely my favorite part of this movie because
I looked at her and I went, he just killed
those terrorists with the power of rock and roll.

Speaker 5 (32:50):
She got up and she's like, oh, I let you
touch me, and then she leaves the room.

Speaker 3 (32:54):
Looked at me like I hate you.

Speaker 4 (32:56):
She just gets up, she's leaving the room. It looks back.
He's just so we're clear, I'm not leaving because of
the movie.

Speaker 3 (33:06):
It was.

Speaker 4 (33:06):
That was probably the highlight of the movie. Was that
see where he breaks He's like, stomps the guitar and
takes the recall that the neck of the guitar and
stabs the dude with it. It was more cgi blood,
which I didn't appreciate, but at least it was a
clever kill and it was like it tied. It was
the only real kill. I think that tied into the
theme of the movie, which is that he's a drummer.
I think that's the theme of the movie.

Speaker 5 (33:29):
It's all thunders in a movie called fat slags.

Speaker 3 (33:33):
All right, that sounds uh problematic?

Speaker 4 (33:42):
Yeah, no, I wonder if there's like a deleted scene
where they he throws drumstick in it cgies its way
into an eyebill.

Speaker 5 (33:50):
That would have been great.

Speaker 4 (33:51):
I mean, that would have been the best scene of
the movie.

Speaker 5 (33:55):
Was the very first scene that he gets into a
fight and then he as the dude was it in
the neck or whatever and says I watched the hair, dude.

Speaker 3 (34:05):
And I was like, oh, I did, like, I did.
Like the the moment toward the end of the movie
where the President's laying there and he's like, are you okay, dude,
I mean, sir. I was like, I was like, that's
so great. It's just delivered by Dolf Lunder, But you're
gonna say which ruins it?

Speaker 4 (34:27):
Like if it had been delivered in the movie as
well as you just delivered it, I probably would have
enjoyed it. But it was It was literally one of
those moments where I went, oh, he shouldn't be doing humor.
I see. It was like my analytical brain went, he
just told a joke. And I acknowledged that he told
a joke. However, it was so far from being funny
that I'm not even remotely tempted to laugh.

Speaker 3 (34:48):
Yeah you go, oh, Dolf, no talkie, no talking.

Speaker 5 (34:53):
Yeah, don't do the Schwartznegger one liners. It doesn't work
for you.

Speaker 4 (34:58):
Did you guys appreciate it? At the end to the movie,
when they were doing like the the Metal Ceremony or
whatever for like Hero of Russia or something, some stupid
name that clearly doesn't really exist, and Doll finally puts
a shirt on. That's what I liked about that scene.
I think in the back he's got his arm in
a sling and some cuts on his.

Speaker 3 (35:17):
Head collar and everything were they That's.

Speaker 4 (35:21):
What I was going to ask you guys about. That's
the when they were filming that scene and they're doing that,
they're talking about like, oh, we don't give out this
award very often, but this one time we're going to
give it out. And all that were they doing like
a mislead where you thought they were going to give
it to Dolph and then they give it to the
other guy. Was that supposed to be funny? I was
gonna ask you guys, is that supposed to be funny?

(35:42):
Like that's my that's my question for you guys.

Speaker 3 (35:44):
Without that scene, maybe.

Speaker 4 (35:48):
Yeah, I think that was I think that was supposed
to be a joke, but I wasn't quite sure, so
I wanted to double check with you guys, but it
was like, you know, either, no, I'll check with everybody
else I know that's seen this movie, but I don't
know that I'm going to be able to track anyone
else down. If we have any listeners left that actually

(36:12):
watch the movies along with us, and they want to
let me know whether they thought of that, that'd be ideal.

Speaker 3 (36:20):
Chime in, let us know what you thought about his
delivery of words.

Speaker 4 (36:25):
No, no, just just was that supposed to be a
joker or not? Make the question very clear because we
don't want to end up in a long follow up
discussion about this movie. What a waste of time putting
on the list, Brian.

Speaker 5 (36:44):
I was told there was a drumstick that impaled somebody
in the eye. So whoever said that? I was a
big paler?

Speaker 3 (36:50):
Yeah, sounds and bitches. Do you remember what podcasting was?
This seems like the type of thing that they would watch.

Speaker 5 (36:57):
On a cult of muscle maybe, but I have never
with some of them, So all right, do we have
anything else?

Speaker 3 (37:06):
No?

Speaker 5 (37:07):
Uh, thug. Since this movie has hockey in it seems
like worse. You should be the one to tell us
about sun Death.

Speaker 4 (37:15):
It's another movie where John Claude van Dam's accent is
justified by claiming East Canadian this diehard, Except they merged
the original Bell Johnson story with the Bruce Willis story.
So firefighter who is no longer wants to be a
firefighter because of a bad incident that happened, is trying

(37:37):
to get to go see his kids. He wants to
take them to Game seven of the Stanley Cup Finals
from nineteen ninety two. Even though the movie is set
in nineteen ninety five. Not to nitpick, but the vice
president is going to be there for reasons.

Speaker 6 (37:54):
I don't know why this to a nice president.

Speaker 4 (37:59):
So he so he's there. He's basically he's the the
fire immercial for the arena, and somehow that gets him
free tickets, which no, it wouldn't not to Game seven
of US, okay, in this for the context of the movie,
it does, so he go, he shows up.

Speaker 5 (38:15):
I would like to point out that they do like
a wide shot of the arena when the game is starting,
and there's very obvious, like empty seats scattered throughout, just
like a seat here, seat there. And then the announcers
are like, you couldn't get a ticket to this place,
even if you know you brought the heat or whatever,
joking about guns. And then of course come in and

(38:38):
I'm just like, that's bullshit, because there's empty seats all
throughout the arena, you fucking liars.

Speaker 4 (38:43):
Yeah, continue, which just means they filmed that a not
the not the playoffs, but anyway.

Speaker 5 (38:49):
So well, they also filled the seats with paper cutouts
for some of the people.

Speaker 4 (38:54):
It was.

Speaker 3 (38:55):
It was fun when the movie started and I had
forgotten I was like, oh, it's a Blackhots game.

Speaker 4 (39:01):
Yeah, I told you just the repeated the ninety two finals,
because that's.

Speaker 3 (39:04):
Probably who the fuck plate in ninety two.

Speaker 4 (39:07):
I'm just assuming that's when the movie was being written.
They're like, what was the last Stanley Cup final? And
then it just takes a while to get these things
through production. But anyways, Yeah, terrorists come in. They take
the vice president hostage. Through a funny turn of events,
the daughter of John Claude ban Dam is also one
of the hostages, and he's got to take them out.

(39:31):
He's got to use his fireman's skills that somehow magically
give him karate. The karate goes unexplained. I don't know
how they draw that connection, but.

Speaker 3 (39:40):
You know, the way to put out a fire is
to hurricane kickings at least, I.

Speaker 5 (39:46):
Mean, I don't feel like now I will preface this,
I did text you guys that I did fall asleep
in the middle of this movie because it's two fucking hours.
But I don't remember the stuff I saw of him doing.
Does he do the splits at any point? Was he
at least smart enough to be like we we should
probably cut that fireman?

Speaker 3 (40:07):
I mean, the first the first I was gonna say
the first fight in the kitchen against the woman in
the mascot.

Speaker 4 (40:15):
By far the best part of this movie is he
just fights a giant penguin and they play it deadpan
series nobody acknowledges that he's fighting a giant penguin. At
one point he tries to cut her head and he
just takes off part of the mask and he just
moves on with the fight like, oh, I guess I
didn't quite get her well.

Speaker 3 (40:32):
And he throws I don't know, a hundred spin kicks
in the first ten seconds of the fight somehow, like
every kick is a spin kicks.

Speaker 4 (40:40):
Right, That's what you would do when you're in a
small space like a kitchen, you take advantage of the
room to spin kick.

Speaker 3 (40:49):
Lord, I do I do feel like that film. That
fight scene was also like they did one of those
things where they went, uh, you know what we should do.
We should have that intense moment where his face is
near a thing, so uh, okay, hold him near the grill,
and they're like, okay, well let's get a few more
of these. Okay, now hold him near the deep fryer. Okay,

(41:12):
now now holds him near the meat slicer. Okay, okay,
And they did that like twelve times, and then they
were in the editing room and they were like.

Speaker 4 (41:20):
These are all so good.

Speaker 3 (41:22):
Yeah, let's put them all in the movie. In sequence,
it is.

Speaker 4 (41:28):
Such a long fight. As a reminder, it's a woman
in a mascot suit. John Claude van dam is like,
he's a pretty big guy, and he seems to know
a lot about kicking, Like, you shouldn't be that hard
to beat up a woman in a mascot suit.

Speaker 5 (41:40):
To be fair, she is bigger than him.

Speaker 3 (41:42):
And she is a lady terrorist.

Speaker 4 (41:44):
Is she bigger than him or is.

Speaker 5 (41:48):
She is actually taller than he is? She sticks the
head off.

Speaker 4 (41:52):
Okay, I wasn't sure I could. I didn't get the
you know, the eye lines are sometimes off. It's it's
like when they're trying to decide whether a puck.

Speaker 3 (42:00):
You remember in the fight scene, whenever he realizes that
her eyes are inside the mouth of the mascot. So
he takes red pepper flakes and dump the thing of
red pepper flakes in to the mouth of the mask.

Speaker 4 (42:17):
It's so smart. It's the smartest thing he does in
the entire fight.

Speaker 5 (42:22):
Gonna I'm gonna tell you a piece of trivia that's
gonna make a lot of this stuff make a lot
more sense.

Speaker 3 (42:28):
Is it that they were only interested in this fight
scene and everything else they had to mouth and add
to it to justify filming this fight scene.

Speaker 5 (42:37):
The original script was written as a parody of like
these die hard type movies, really, and then Jean Claude
read it and was like, no, if we do this
as like a serious movie, this will probably be pretty good.
And so then they swapped it. And my guess is
some of that shit still ended up in the movie, Like, oh,

(42:58):
there's her eyes Pepper.

Speaker 4 (43:01):
That makes sense because also the scene where he tries
to put her through the meat slice her and it
just takes off part of the costume but doesn't actually
hurt her, that's definitely got to be from that. Oh
that's interesting, And maybe the partoner what what was bringing
up about, Like it was twelve different things that you
hold their face next to that all sounds like you
could be from parody film if anyone had smiled from

(43:21):
this movie.

Speaker 3 (43:23):
Oh my god, And the fact that he kills her
by throwing her into that fucking automatic dish machine that
strangles her to death as it pulls her through the dishwasher,
and I don't did you guys ever wash dishes? Yeah,
in like a commercial place like that. Okay, so you
guys know how hot the inside of that fucking machine is.

(43:47):
I was actually, like, you know, most people would think
that's funny, and I'm sitting here going geez, no, that
one hurts so bad.

Speaker 4 (43:53):
It would be yeah, like that heat might kill you
everything else.

Speaker 5 (43:58):
All right. So yeah, the original writer Randy Feldman, so
he wrote the first rafter of the screenplay for the
movie as a comedies last action movie parody. The only
scene that remained in the finished film was the scene
where Van Dam fights the penguin mascot. Yeah, yep. The
original vision for this movie would become the basis for

(44:18):
the remake Welcome to Sudden Death from twenty twenty.

Speaker 3 (44:23):
What well, all right, okay, I didn't know that was
a thing, So all right, I.

Speaker 4 (44:29):
Don't know about that. We'll see.

Speaker 5 (44:32):
Oh my god, this should have been on the list.

Speaker 4 (44:34):
Does it say how they decided to put it in Pittsburgh,
Because that's that's a real curiosity I have about, Like
I think it was. I think this was like a
selling feature for the new Arena, because that arena was
a big deal in the nineties, and I think that
they decided to set a John Claude Van Damen movie
in a way to make the arena look cool, which
I think is awesome, But I don't know that factually.

(44:56):
It's just a thought I have.

Speaker 5 (44:58):
So twenty twenty iscome to Sudden Death. The security guard
for these ex Special Forces brings his two kids to
work at a basketball arena on the day the governor, mayor,
thousands of other spectators, and eight terrorists are there starring
this movie starring Michael J. White, Black Dynamite himself.

Speaker 3 (45:21):
I just why switch it to basketball? It is the
question that's a weird that's a weird change for some
reason in my head.

Speaker 4 (45:31):
I mean, if you're trying to make it different, you
would do it to basketball because the arena is the same, right.

Speaker 5 (45:36):
So, yeah, is a remake of Sudden Death that is
more true to the original action comedy tone intended for
that movie before it was rewritten as a much more
serious action thriller.

Speaker 4 (45:48):
So what's really interesting about you saying that this was
written as a parody. It's like one of my comments
was going to be just how much this mimics Diehard.
Like I said, it joins the two story of the
two main characters from die Hard into one character. But
it has like like the opening like montages look like
they were filmed by the same people that filmed the

(46:09):
opening montages of die Hard, with like the terrorists arriving
at the arena at the same time as we're getting
to know John Claude van Dam's character, and he's you know,
he's doing his thing where he picks up the kids
and brings him to the arena, and you get the
drama on his life where he's like he shows up
and to pick up the kids and the ex wife's like,
you're not supposed to be here, and he's like, oh,
come on, I got free tickets to the game, and

(46:30):
they're going on and on about it, and you're like, okay,
Like all that is like very It's not not just like, oh,
they stole this idea from Diehard. It's like they were
watching die Hard and editing the scenes to look like
they met together. Of the you know, John Clean showing
up at the building and at the same time as
the terrorists are showing up and all that stuff. So

(46:52):
it's like it does seem to mirror it closer than
most ripoffs do, And I wonder if that's bleeding through
from the fact that they were parodying it and they
were supposed to be doing something sillier during all that.

Speaker 3 (47:02):
Entries My god, I just watched the trailer for Welcomness
and Death on mute and I'm not exactly sure if
I'm going to make it to work tomorrow because until
three o'clock in the fucking morning watching this movie.

Speaker 5 (47:20):
So apparently this film was shot during the NHL lockout
during the ninety four ninety five hockey season.

Speaker 4 (47:26):
Okay, that would explain having trouble filling the seats. Yep,
you guys all, you guys all mad about having no hockey?
Do you guys want to come watch fake hockey?

Speaker 5 (47:39):
They offered it to Schwarzenegger, Stallone and Bruce Willis.

Speaker 4 (47:44):
Did you imagine if Bruce Willis was in this?

Speaker 5 (47:47):
So Schwarzenegger turned it down because he had already filmed
True Lies and Junior in the same year, so he
wanted a little bit of a break. Stallone turned it
down because he said the script wasn't very good, and
Willis turned it down because he was already making die
Hard with the Vengeance all.

Speaker 3 (48:04):
Right, which is also a parody of die Hard.

Speaker 5 (48:09):
And then a sequel to the movie was written and
was planned out for the fall of ninety seven, but
when the movie didn't do very well, they.

Speaker 4 (48:16):
Just I just assumed there was no NHL lockout so
they couldn't film the sequels. They got a deal, finally
agreed on who gets the money for the hockey cards,
and know they did. We want to talk about the

(48:36):
him getting on the ice. We can all remember that
from our previous watches last week.

Speaker 5 (48:42):
Oh, James Woods was supposed to play the bad guy,
but he couldn't do it.

Speaker 3 (48:47):
The fuck you, Jimmy Woods.

Speaker 5 (48:50):
Power's Booth took over.

Speaker 4 (48:52):
I think I think I kind of prefer Powers Booth
in the role. I agree because I think James Wood
would have been bigger, but that wouldn't have suited this
movie as well.

Speaker 3 (49:00):
Well. It's arguably, like I get that it's it does
have like a tone to it, but it fucking Powers
Booth puts in a fucking performance in this movie. He's
a great fucking villain for this movie.

Speaker 4 (49:15):
The movie is very serious despite its ridiculousness. Despite the
concept is a fireman running around an arena fighting people
to win back his children's respect.

Speaker 5 (49:26):
Light bulbs on the way.

Speaker 4 (49:28):
Yeah, but it's like the whole the whole thing is
very very serious and powers Booth's performance is legitimately intimidating,
Like I think you're worried about him the whole time, right,
and he like they have him just executing people on screen.
And I think if if it was a James Woods
or something, who would have been like just bigger and like, ah,

(49:48):
I wouldn't you give you now haha, and like not
as much. You wouldn't have been as intimidated. You would
have thought it was more fun, which is not what
they were going for.

Speaker 5 (49:56):
You just would have played the same character from like
Vampires where he's like got some wood there, Padre.

Speaker 4 (50:03):
Oh my god, I don't think James Woods does subtle So.

Speaker 5 (50:08):
So tell us about Van Dam dressing up as a
goalie and performing one of the greatest catches off maybe
uh Stanley Cup history.

Speaker 4 (50:15):
Well it's not, but it's a pretty good say that
none of us could do. But it is just you know,
it's the kind of say that does just sort of
happen from time to time he just double stacks the
pads and makes a glove safe. It's fine, but yeah,
the whole thing of him, like.

Speaker 3 (50:36):
So many words that.

Speaker 4 (50:42):
The whole thing, the whole plot line of Like they
start like with the goalie being too sick to play
and he has to pull himself out of the game,
and then they're like, he pulls himself out of the game.
Ww the hell does John clod Mandam end up in
the equipment again. He's running away from somebody and he
hides in the equipment and ends up on the ice.
And then he does like the signal to his like

(51:06):
his kid, which I think is a mistake because I
think it was the daughter and him. They were doing
the hand signals earlier.

Speaker 5 (51:12):
Yeah, they were doing it in front of him, so
he at least at least understood.

Speaker 4 (51:18):
But plot line wise, if you're writing a movie, you
want him to make those hand signals to the kid
that he was doing it with earlier in the movie,
not like somebody else who happened to see them doing it.

Speaker 5 (51:28):
Now, I will this is good. This is this is
gonna sound weird, but I'm gonna give the movie a
little bit of credit for a minuscule amount of restraint
because they do that hand signal bullshit, And then they
cut to the kid and his mouth's open, like and
out loud. I was just like dad, and they actually

(51:52):
didn't have the kid just full out say it, which
I was like, wow, okay, all right.

Speaker 4 (51:57):
And then he just leaves the ice again.

Speaker 5 (51:59):
Yeah, well, he has to get out of there because
the the goons are coming, and he's like, I know
the best way to get out of here, walks up
to an opposing player, just hauls off and punches him
right in the face.

Speaker 4 (52:10):
You probably don't get kicked out for that, not in the.

Speaker 5 (52:12):
Now, but now while I was sleeping, did the ice
skates come into play at all? Because they show them
at the beginning when they're touring the locker room, but
they're like sharpening the skates, and I'm just like, oh,
someone's getting one of those van damn fucking roundhouse kick
to the throat wearing one of those skates.

Speaker 4 (52:34):
He kicks a guy and while he's wearing the hockey equipment,
so I assume he had skates on.

Speaker 5 (52:38):
I figure that would have been a big deal.

Speaker 6 (52:40):
Then that's that's then check off skates.

Speaker 5 (52:43):
Yeah, I figured we would have seen a nice throat slash,
some blood coming out.

Speaker 4 (52:47):
No, it's not a big it's not a gory film though, right,
so I think he does like it's implied. It's more
of an implied throat slash maybe so, but you just
see him do like the full like it's like a
high kick with the Goldie gear on.

Speaker 5 (53:04):
Of course it is.

Speaker 4 (53:06):
It's but it's really funny to me, the whole plot
line because they they have like he he goes into
the arena, into the dressing room with the kids, and
the kid like does the thing where it's like, hey, dad,
how come you said that guy couldn't shouldn't be allowed
on the ice, But he's still getting dressed or whatever,
and the goalie gets all mad at him. And then
that's the goldie that he should be later.

Speaker 3 (53:28):
That he should be in a rocking chair.

Speaker 1 (53:30):
They should be.

Speaker 4 (53:31):
Yeah, that's right.

Speaker 5 (53:34):
Uh so you want to know how shitty it would
be working on a Jehan Claude van Dam movie set. Okay,
so apparently van Dam is a devout vegan all right,
and he refuses to work with any animal products on set.
Cannot be around it.

Speaker 4 (53:52):
Goldie pads have leather straps.

Speaker 5 (53:54):
Well, maybe he makes an exception for clothing, but uh
so the beginning where they order all the shrimp and
they have to cart it up, it couldn't use real shrimp.
Vandamn put the kaibosh on that so special effects that
it spend ninety hours carving and painting each shrimp from

(54:16):
ballistic jel.

Speaker 3 (54:18):
That is the fucking craziest thing I've ever heard it,
and I've heard some very crazy things that actors have demanded.

Speaker 5 (54:27):
Could you imagine being on set and you're like, I
just want a burger when lunch is called and you're like, Nope,
you're on a VANDAMN set, No burgers.

Speaker 3 (54:36):
I just I would be like, go fuck yourself.

Speaker 4 (54:41):
Yeah, that I'd be a limit. That'd be a deal
breaker for me. I will not force you to eat
meat as long as you shut up and leave me
alone while I eat mine.

Speaker 5 (54:49):
Right, good lord. I just read that and was like,
that is pure insanity. I would like to see him
trying to enforce that kind of ship now when he's
not as big as a star as he used to be.

Speaker 4 (55:06):
Well, that's because he's got to learn to write and
direct his own movies so that he didn't be in charge.

Speaker 5 (55:16):
We feel about a fucking helicopter falling through.

Speaker 3 (55:20):
The I just the math of when the helicopter tilts
up and drops smoothly straight down. Yeah, is that right?

Speaker 4 (55:34):
Yeah, that's no questions to be asked.

Speaker 3 (55:39):
I was gonna say, But smoothly, smoothly, straight down.

Speaker 4 (55:42):
Straight down, smooth like that, that's how it would work.
They balance it out like that to make sure that
the when they hit the ground, it leaves as smaller
crater as possible. Actually so, because if it wasn't smoothly
straight up it had been John clad Bandon wouldn't be
able to lock eyes with the guy as he passes by.

Speaker 3 (55:59):
Yeah. Just did have those good crumple explosion zunds like
all helicopters do.

Speaker 4 (56:05):
Yeah, those are the They have like things built in
so that as it crumples, it like sets them off
like a little mini explosives. That's how helicopters look when
they collapse. Just trust me, it's fine when they fall
through the roof of a hockey arena and crash on
the ice.

Speaker 3 (56:21):
This does. This does answer a lot of questions because
at some point in this conversation we might have went
is this a comedy?

Speaker 4 (56:33):
And the answer is kind of like you could have
you could have played this stuff for comedy if you
chose to, and I don't. They chose not to, and
I think I I think most of it works as
not comedy, but you could go yeah and like, no,
you can easily re edit that into a comedy.

Speaker 3 (56:50):
Well, they very they very much fucked up with this
movie in the fact that I think that that fight
scene that matched the actual tone that the writer was
going for. I think if you had made that movie,
this would have been a giant fucking success. Well, I

(57:12):
don't know what you don't think, So you don't think
that that type of fucking schlock in your face, ridiculous
shit wouldn't have just fucking went over because I feel
again that scene of this movie is fucking amazing. The
rest of this movie is like, Okay, yeah, it's a
it's whatever, it's a Jean Claude action movie. But that

(57:33):
scens so fucking good.

Speaker 5 (57:37):
How far how far I mean should this have gone
like loaded weapon won the Route or maybe quine as far?

Speaker 4 (57:47):
Yeah, I don't know.

Speaker 3 (57:49):
See I'm saying, just keep it, just keep it exactly
at the level of that fight scene, he.

Speaker 4 (57:54):
Would have been a bit ahead of its time if
it had done that though this was only ninety five, right, Yeah,
this movie came out post scream. I might agree with you.
Maybe I don't know if the world was ready for
it yet.

Speaker 6 (58:10):
Perhaps not, But.

Speaker 4 (58:13):
But yeah, no more more director. I heard references with
an ending with the big explosion, with the guy up
on the roof. We have him, we have him using
the radios to get in touch with the cops on
the outside. Just just somebody literally had the script to
Diehard down there and they were just going through and
being like, what would happen? What's the equivalent in an arena?

Speaker 1 (58:34):
Oh?

Speaker 3 (58:34):
Yeah, we did forget to mention that the secret service
guy who breaks in that you think is going to
help him turns out to be evil.

Speaker 4 (58:40):
Of course, yeah, he's the Yeah, because you don't you
remember that parton Diehard where he met the guy and
the guy was pretending to be someone else and then.

Speaker 5 (58:48):
He you guys, is disappointed that I was that the
movie literally had one of those endings where Jean Claude
van Dams on the gurney being loaded into the ambulance
and then credits roll because I wanted to see the
shit fit his ex wife was gonna throw. She's like,

(59:11):
we were supposed to go to a family dinner for
our son's birthday and you show up unexpected, yilt me
into letting you take him to this arena, this hockey
game that gets taken over by fucking terrorists, where our
daughter is taken hostage. Listen, you are never seeing children again.

Speaker 4 (59:35):
You wanted that where she's just like yelling at him
as he's in the gurney, like being led to the
ambulance and she's just still yelling at the ambulance as
it drives off.

Speaker 5 (59:43):
You piece of shit.

Speaker 4 (59:47):
That opening scene was hilarious to me because it's like, look.

Speaker 5 (59:50):
The one where the girl dies, Huh, you're heartless.

Speaker 4 (59:53):
Though, No, the one where he goes to pick up
the kids. Sorry what I was referring to by you know,
you know I like it when girls die too, though
that's not an issue.

Speaker 5 (01:00:00):
Children, dog children.

Speaker 4 (01:00:02):
The scene where he goes to uh, where he goes
to pick up the kids and they're like, she's like,
she's doing the whole like it's like the typical ex
wife ex husband thing like the It reminded me very
much of that movie The Fan that we talked about
a while back. Where he like shows up and like
this stepdad is like yeah, right, like I'm being polite here,
but I don't really want you here kind of thing.
And they're they're trying to be nice and the kids

(01:00:25):
are excited to see him, and the wife is like no,
you're not supposed to be here and stuff. But then
he's then she's like like we have dinner plans and
he's like I have. I managed to get two tickets
to Game seven of the Stanley Cup Final and my
kids are hockey fans. Like there's not a discussion to
be had at that moment, like you know what I mean,
like you can go to dinner tomorrow, Like it's you know,

(01:00:47):
it's not it's it's so funny to me that they
make that out like it's a dramatic scene like maybe
she's gonna say no, Like nobody hates their kids enough
to say no in that circumstance. It's just absurd.

Speaker 5 (01:00:58):
I actually like that. The stepdad was actually pretty like
cool CDE.

Speaker 4 (01:01:03):
It was like, look, man, it's weird when you go
to see your kids and somebody else is trying to
be their dad as well, and there's that awkward like
I'm not mad at you, Like you're just doing your
thing and I'm doing my thing. But it's awkward between us,
and it's never going to not be all right, like
it's and I think they did a good job of
playing it up and making them both seem reasonable.

Speaker 5 (01:01:24):
Yeah, And I feel like it was a good scene
where he actually like he comments that he's like, you know,
working the show or whatever. Yeah, is the fire marshal.
And he points out like, oh yeah, that's that's like
really important work. Like he says that to the kids to.

Speaker 4 (01:01:39):
Like, yeah, it's actually like a nice thing to do
to help give the kids that because there's the weird
subplot of the movie where the kids don't really respect
their dad because instead of being a traditional firefighter, he's
a fire marshal.

Speaker 3 (01:01:52):
Like it is it is very interesting that the sun
keeps doing that shit, right, and it's like, so he's
got a better job that pays more. Yeah, and you're
shitting god, it's like a weird.

Speaker 5 (01:02:07):
I say, in my understanding of being a fire marshal
is like a big deal.

Speaker 4 (01:02:13):
Well, and like especially like putting aside like whether it's
an actual good job in the real world or not,
like you're supposed to be. Looking at this from the
perspective of like an eight year old kid, it's like,
what does your dad do for a living? He makes
sure everyone at the Pittsburgh Penguins Arena is safe during
the games. That'd be fucking awesome, Like your kid, your
kid would be bragging about that at school. And then

(01:02:33):
because he like changed, like one of the light bulb
the safety light bulbs is out, so he changes it.
The kids like, oh, that's all he does is change
light bulbs, and he's on his case about it the
rest of the movie.

Speaker 3 (01:02:42):
And I'm like, listen, they are kids, and kids are horrible,
horrible garbage monsters. I mean, there's no there's no arguing,
that's just acting.

Speaker 5 (01:02:56):
That's that's just your point. There's there's no follow up. Yeah,
garbage monsters and.

Speaker 3 (01:03:03):
The horrible little garbage monsters. Listen, they are they are cute,
adorable babies, and then they turn into horrible little monsters
and then you get about ten years before they become people.

Speaker 4 (01:03:14):
Again, I don't know that that's entirely accurate. That's not
in the official position of the podcast. That's Noah speaking
on his own behalf.

Speaker 5 (01:03:25):
So that's why you do what I did. You just
date somebody who has like a like a sixteen year.

Speaker 3 (01:03:29):
Old, Well, they've reached people's status again.

Speaker 4 (01:03:34):
I have a nine year old and he's fucking awesome,
and he does not like go around being disappointed in
me if he sees me changing a light bulb, Like he.

Speaker 5 (01:03:42):
Probably goes to school friends.

Speaker 3 (01:03:44):
Night's pretty close to people's status.

Speaker 4 (01:03:46):
He doesn't like he doesn't go to school and talk
about my job at all. It's I'm confident of it.
It goes to school and talks to them about football.
It's just care right, But like, that's that's my point
is like the idea that this kid is like if
he cares it all about his dad's job, he would
not be like, oh, I can't believe my dad changed
the label and be like, my dad made everyone safe.

(01:04:07):
That's what my dad's supposed to be doing. It makes
no sense and it's really funny. And then it's like
it's it's hilarious because it does that eighties movie logic
of it's like, well, he may just be a farm marshal,
but at least he killed a bunch of people.

Speaker 5 (01:04:20):
So I love him again. Well, there's also the point
that you know, Van Dam tells him like, hey, don't
don't leave from these seats, even if the place is
falling down, and.

Speaker 4 (01:04:36):
Then the course is falling down.

Speaker 5 (01:04:38):
Of course, the Sun just stays at his seat, and
at the end he's like, leave it all. It's just
like Jesus Christ's really.

Speaker 3 (01:04:46):
I mean, it's also it's also the Sun's fault for
being a piece of shit that the daughter gets all.

Speaker 4 (01:04:52):
So yeah, I did. I did respect the kid for
sneaking a water gun into that game, because it'd be
super fun to spray people who didn't know you had
a water gun. Be hilarious. I might try that.

Speaker 5 (01:05:07):
This movie's teaching Doug Dequent tactics.

Speaker 4 (01:05:11):
I've never been to a game in Pittsburgh before. I
could stink a gun in there. It's no problem.

Speaker 3 (01:05:16):
They would never know.

Speaker 4 (01:05:18):
I'm sure they have metal detectors.

Speaker 3 (01:05:20):
Now, that's not that's not the arena where they throw batteries, right,
you know what, you don't want to do it at
the battery throwing arena.

Speaker 4 (01:05:29):
That's probably Philadelphia.

Speaker 3 (01:05:31):
I'm just assuming that sounds right.

Speaker 4 (01:05:33):
A bunch of fucking savages in Philadelphia, I'll say that now.
Fucking monsters.

Speaker 3 (01:05:39):
Man, I just I mean, it's a tradition to whip
batteries onto the ice at the players. What a fucking, crazy,
fucking thing to do.

Speaker 4 (01:05:54):
I don't know. I don't condone throwing batteries of players.
I also do kind of miss the good old days
when the refs screwed up you were allowed to throw
garbage at them. Though.

Speaker 5 (01:06:09):
Anyways, do we have anything else to say about Sudden?

Speaker 4 (01:06:13):
I will call out the movie for being mildly disrespectful
for the sport of hockey, considering it had real NHL
players in it, and like, like big name players in it,
and then they do that thing where they act like
hockey players are all big dumb morons and they're like,
you don't get to do that, Like they have the
announcers to be like, you don't need to think when
you play hockey, and I'm like, yes, you do, fucking idiot.
It's ten guys with large sticks and fucking blades on

(01:06:36):
their feet, skating around trying to put a little puck
in a net. You don't think that they're thinking about
every little thing they do. Pissed me off a little bit, well.

Speaker 5 (01:06:43):
Lot over hockey.

Speaker 4 (01:06:47):
It was. It was disrespectful. I didn't like. And there's
a couple other moments like that too, including the fact
that John Claude Van Damn like hops on the ice
and just can somehow stop NHL players. I guess technically.

Speaker 3 (01:07:00):
He played two seasons of amateur hockey in Canada.

Speaker 4 (01:07:07):
It did remind me of the time that the Caroline
Hurricanes had to put a zamboni driver in net and
they still beat the Toronto may beliefs, which I like
to bring up as often as possible. It's an actual
thing that happened.

Speaker 5 (01:07:22):
I do like that he tried to send in like
some undercover people to figure out what's going on with
the vice president m hm, and then uh, they're like, oh,
you've got to come see this. And then the fucking
zamboni drives out with all the people like packed into
it just dumps him on the street, just like what

(01:07:43):
is happening?

Speaker 4 (01:07:45):
You just they just they just needed a zamboni gag
in their hockey movie. That's all. You're not gonna go
like everyone knows that if you're making a hockey movie,
you gotta have a zamboni gag. It's just a given.

Speaker 5 (01:07:55):
Accurate all right. Anything else, No, I.

Speaker 4 (01:08:01):
Would say, like This is one of the good Diehard ripuffs.
And if you're a fan of Diehard ripuffs, like don't
pretend it's something else, but it's I would check it out.

Speaker 5 (01:08:12):
It is interesting. I haven't seen this since I saw
it in theaters when it first came out. Oh really, yeah,
so it's interesting you're watching it. I completely forgot that
Powers Booth was the villain, and I was kind of
excited when he showed up.

Speaker 4 (01:08:25):
Yeah, and he's good, right, Like everything everything you get
excited about in this movie pays off. Like you see
him putting on that goaliequipment, You're like, holy shit, he's
gonna end up on the ice. Of course he does.
You see him, Like you see that terrorist in a
penguin costume, You're like, they're gonna have to fight penguin terror.
You get ten minutes of it, you know what I mean.
Like everything that you think you're gonna want to see,

(01:08:47):
you're gonna get.

Speaker 3 (01:08:48):
To see ten ten minutes of peak filmmaking, like that.

Speaker 4 (01:08:53):
That fucking roof opening up in a fucking helicopter falling
through it. Of course, right as soon as you see
the helicopter there, you kind of know it's going to
land on the ice. Then you want to see it
like it's that's why you watch this kind of movie.

Speaker 3 (01:09:08):
I told you no helicopters near the building.

Speaker 5 (01:09:12):
I didn't like the vandam used as firefighter smarts to
build that bomb, throw on top of the VIP room
and cave the ceiling in.

Speaker 4 (01:09:23):
Yeah see see.

Speaker 5 (01:09:26):
That's what science is important.

Speaker 4 (01:09:28):
So that was the core message of this film. I
think they're trying to get kids to stay in school.

Speaker 3 (01:09:32):
Yeah, stem education and hurricane kicks the only two things
you need to defeat terrorism.

Speaker 7 (01:09:43):
Nice for calling the Midnight Driving No one is here
to take your call. For more info, check out the
Midnight drive In on Twitter at emn drive in pod
or find us on Facebook. If you want to email us,
send it to the Midnight Drive In at gmail dot com.
Remember no outside food and drink. Anyone can't performing sexual

(01:10:04):
acts at the drive and will immediately be taken to
the office. Unspeakable things will be done to you. Thanks
for calling.

Speaker 5 (01:10:15):
All right, what has everybody seen some last episode?

Speaker 3 (01:10:18):
So me and some friends had a little fun thing.
We did a walk don't run sale marathon which we
watched the long walk and then went and saw the
running hand and theater.

Speaker 5 (01:10:31):
Little shit, that's pretty amazing.

Speaker 3 (01:10:35):
It was. It was really delightful and good movies to
offset each other because the long Bottles such a fucking downer.

Speaker 5 (01:10:45):
Oh yeah, you could say that, yeah, and then uh yeah,
and then it a kind of running.

Speaker 4 (01:10:53):
Man.

Speaker 3 (01:10:55):
I'm not one sure if it's great or not. So
it's it's fun enough to be what it is. I
don't I feel like some of the performances are like
way fucking big, for the fact that they were going
for something closer to the novella instead of the eighties movie.

Speaker 4 (01:11:18):
For the fact that they were advertising that they were
going for something closer to the novella. So I don't
do we want to like, we all all three of
us saw it, right, Are we going to go full spoiler?
We're all gonna go full spoiler in our discussion. We
want to hang on to it till the end so
that people who haven't seen it yet can wait.

Speaker 3 (01:11:36):
Or' that's probably a good idea.

Speaker 4 (01:11:41):
For anyone who's not going to listen to the full thing.
Do we all recommend it?

Speaker 5 (01:11:45):
I think it's I think I like.

Speaker 2 (01:11:49):
It was.

Speaker 3 (01:11:50):
It was, it was plenty fun. I just think it
could have been better. I think I'm kind of which
you could say just about anything so a lot, don't.

Speaker 4 (01:12:00):
I think I'm kind of in the same place as you.
And I would add to that that what I wanted
from the movie is not what they gave us. I
wanted something darker. I wanted something very close to the
source material. I'm hoping that the next time they remake
the movie they'll be even closer to the source material.
But I also when they announced Edgar Wright was making it,

(01:12:22):
I didn't expect to get the source material. So what
we get what in my synopsis of my review would
be what we get is something that's a combination of
the source material and the eighty seven film.

Speaker 3 (01:12:42):
Yeah, and then as far as the Long Walk, like
I said, it is a downer, but I feel good though, well,
it is really good. I find the funny thing that
everyone's opinion of it was supposedly, you know, it's going
to be this unfilmable monster, but it's like it's I
think it for some of the movie is just people talking.

(01:13:03):
I mean that's it's just people talking and then people
falling down and getting shot. Like the idea that that
movie can't be made and be made interestings insane.

Speaker 4 (01:13:13):
The problem is like that when that movie was first
being discussed is being made, it was like the eighties.
And in the eighties, how would you have expected audiences
to watch people walk for two hours and then at
the top of that, we also want to watch children
get shot? Like I just well, I.

Speaker 3 (01:13:32):
Mean like, but at the same time, movies like A
fucking Dinner with Andre had come out. People watched a
fucking movie that feels like it's nine and a half
fucking hours long. That is just people talking like that existed.

Speaker 5 (01:13:47):
But this is from a horror schlock rider that everybody
wrote off eighties.

Speaker 4 (01:13:52):
Yeah, I see again.

Speaker 3 (01:13:54):
Yeah see when we say that, but they had done
stand by Me and Shushank Redemption like, which are arguably
Stephen King's best Like film adaptation stuff isn't necessarily his horror.
It's been the other stuff. I agree.

Speaker 5 (01:14:14):
Look, you're preaching on the choir.

Speaker 4 (01:14:15):
I'm just out of the out of Yeah, Like, I
just I think when people were talking about this being unmakeable,
I think, you know, and stand by Me, none of
the kids got shot on screen. I think that's a
big difference, especially for back then, you know what I mean.

Speaker 3 (01:14:31):
Like now, yeah, I mean maybe that was the hang
up that everybody was like, listen, you can't have uh,
what are essentially, you know, children being shot over and
over again on screen? And yeah, maybe, but at the
same time, I can't. It's been so long since I
read the fucking story. They're all over eighteen. Right. It's
because it's supposed to be the equivalent of the draft, right,

(01:14:54):
isn't that the whole idea?

Speaker 5 (01:14:56):
From what I remember in the book, I think the
age was maybe like fifteen and then over.

Speaker 4 (01:15:01):
Yeah, I took it. I took it as they were
a little younger than eighteen in the book to.

Speaker 5 (01:15:05):
The movie they d stood up to eighteen.

Speaker 3 (01:15:08):
Okay, yeah, I mean if they were like with one exception,
of course, Yeah, that's what I'm saying. If they were
like fifteen or whatever, then I could see how it
would be much more difficult to make work. But I
don't know.

Speaker 4 (01:15:21):
Yeah, but yeah, I think just too like that, like
stand by Me being the exception, The idea of this
movie about these people just walking back then I think
was really far fetched. Now it's a little different.

Speaker 5 (01:15:37):
So yeah, okay, I don't know.

Speaker 3 (01:15:41):
I was just like, I.

Speaker 5 (01:15:43):
Just like the you labeled it a Walk Don't Run. Yes,
it's very funny. It's so good to watch anything else.

Speaker 3 (01:15:55):
Uh No, I think that's it other other than continuing
my uh my slog through the eight hundred thousand episodes
of Supernatural. Yeah, I just got to where Anna Shank's
Uriel in the neck?

Speaker 5 (01:16:14):
All right, those names mean nothing to me.

Speaker 3 (01:16:16):
Black Angel gets shanked by Lady Angel.

Speaker 5 (01:16:21):
Oh, I think we might be on the same episode. Okay,
I didn't. I didn't watch some episodes for a couple
of days, so falling a little behind.

Speaker 3 (01:16:33):
But yeah, I mean again, it's it's fucking delightful. I
have no complaints. I know it's gonna get weirder soon,
but that's fine.

Speaker 5 (01:16:43):
Would you watch, Doug.

Speaker 4 (01:16:46):
Well, I only had time to go to the theaters
once this week to see Running Men, But luckily I'm
crazy enough to go to see multiple movies in one
trip to the theaters, so I also went and saw Keeper,
which is knew Osgod Perkins film.

Speaker 5 (01:17:03):
Yeah, I wanted to try to go so we can
talk about it on the show.

Speaker 4 (01:17:06):
And yeah, well I'll tell you that, like it's called
Keeper and it's the new Osgod Perkins film. Is kind
of the plot description it's kind of my review. It's
it's it is, so it's what's her name? Ghosts from

(01:17:27):
Ginger steps to.

Speaker 5 (01:17:30):
Sure, I'm so happy he's putting her in movies.

Speaker 4 (01:17:33):
Yeah, so she it's her and her boyfriend go to
this cottage and then at one point she's left there
alone because he goes to town, and that's kind of
the plot of the movie. But it's like, I don't know,
because it's Oz Good Perkins. It's not bad. It's like
like there's a cake left for them when they get there,

(01:17:54):
but there's something really sinister about that cake, like really sinister.
And I don't know how to tell you this cake
is sinister, but I know that Oz Good Perkins knows
how to make a cake sinister. And there's just a
lot of stuff like that. There's a cousin of the
guy shows up at the door and you're like, well,
something's weird about that guy. Well, what's weird about him?
I don't know. He's in and as Good Perkins movie.

(01:18:17):
And so then I'll keep it spoiler free. But like
it gets towards the end and shit gets absolutely insane.
We do get an explanation for what's going on, but
in typical Osgod Perkins fashion. It's not a full explanation,

(01:18:38):
if that makes sense. It's like, here's what's going on.
It's enough that Okay, now there's a story that makes sense,
but it's not detailed. Really comparable too, I would say,
like long legs in that way, you're like, you're like, okay,
you're you're telling me what happened, and you're like, but
there's a lot more to this, but you're not gonna

(01:18:58):
tell me the rest. But but it's not a bad things.
It's I've said this before, like you can tell that
they know what's going on. They're just not telling the
audience everything because we don't need all those details to
appreciate the film. But it's like it's intense, it's creepy.

(01:19:18):
Everything is very very sinister. She finds a thing in
a river, and I'm like, there's something sinister about the things.
She's just like a necklace, like there's something sinister about it,
and then she's wearing it. I'm like, why would you
wear the sinister necklace? In my own head? Why do
I think it's sinister? I can't, it's just.

Speaker 3 (01:19:34):
An you know what's funny. Looking at his filmography, I
have not seen a single one of his movies.

Speaker 5 (01:19:40):
Really I should.

Speaker 3 (01:19:41):
I still have not seen The Monkey. I never saw
Long Legs. I've never seen I'm the pretty thing that
lives in the House. I've never seen the Black Coats Daughter. Yeah,
I never seen any black Coat's Daughter is great.

Speaker 4 (01:19:52):
Yeah, but for Noah, I don't know that i'd recommend
Black Coats.

Speaker 5 (01:19:57):
I'd start with The Monkey.

Speaker 4 (01:19:58):
Probably the Monkey or Long Legs, depending on what mood
you're in, the Monkey being a much funnier film, long
Legs being Nick Cage.

Speaker 5 (01:20:09):
Which Long Legs is one of my favorite screenings that
I've gone to just by myself to watch. Yeah, because like,
I had seen Black Coat's Daughter and I was like, oh,
I like I was good Perkins. I like his weird
style and all this stuff. So I knew what to
expect and I went in and I'm just like, oh, man,

(01:20:32):
they've been promoting this movie like it's a new Silence
of the Lambs and it is not.

Speaker 3 (01:20:37):
It is not. I was gonna say, I should definitely
see it because a person I know bitched about it
and hated it. Yeah, and you generally they're wrong about movies.
So I was like, Ah, so it's good.

Speaker 5 (01:20:52):
The marketing was straight up like, oh, they remade Silence
of the Lambs, like that's what it seemed like they
were doing, and I knew. I'm just like, no, this
is not going to go well. And I got to
the theater and I watched it and I had a
great time with it because Nicholas Cage is in a
completely different movie than everybody else, which is the point.

(01:21:14):
And as soon as I got up, people in the
theater were mad.

Speaker 3 (01:21:19):
I know, I know absolutely nothing about it, but I'm
assuming it's got to do with the devil.

Speaker 4 (01:21:27):
It's maybe, yeah, watch it well, I.

Speaker 3 (01:21:30):
Mean old long Legs is the name.

Speaker 4 (01:21:33):
Of the devil. Yeah, but you can't. Nothing's that direct
in the movie. But yeah, it's funny. I remember watching
it because it is like, oh, young female FBI agent
tracking what could be a serial killer. And you're like,
that's not enough to call this Silence of the Lamps
remake like that, like that's enough for like me to
get mainstream audiences in the door. And if you tell

(01:21:53):
that you show that movie to mainstream audiences, bad. Yeah,
But like I'm just I'm in love with those good
Perkins right now, like his I mean The Monkey. I
still giggle about The Monkey and I haven't even rewatched it.
I just think it's the joy I got watching that movie.
I remember like being in that theater, like trying to
be quiet, because I think that's the respectful thing to

(01:22:15):
do when you're in a movie theater. But I couldn't
because I was so happy about the movie.

Speaker 5 (01:22:24):
It's uh, I need to rewind. I haven't watched The
Monkey since the.

Speaker 4 (01:22:29):
Yeah, I will say, coming out of this out of Keeper,
it was like because it was like Thursday at seven,
it was like the first screening in my town of
the movie, and it was coming out of it. It
was like only horror fans in there, and everybody seemed
very satisfied. I heard. I heard one guy like turned
to his buddies. It was like a group of three

(01:22:49):
guys and he just he's like, well, he's three for three.
So I think we just see everything. I was good,
Perkins does right, and I was like, that's correct, sir. Yes,
if I were a social person, come be friends with
you guys.

Speaker 5 (01:23:03):
See. Whereas when I went and saw Long Legs and
it was over, I saw a dude talking to a
couple other people and he was like, I would rather
go home and watch Barney on a loop rather than
watch that bullshit again.

Speaker 4 (01:23:17):
It's so funny that something like Long Legs started to
appeal to mainstream audiences because I don't know why nor
would enjoy that film. I know why I enjoyed the film.
I don't know why normies would.

Speaker 3 (01:23:29):
I mean I would, I would say the same. The
same person who hated Long Legs absolutely fucking hated weapons
and like not not didn't enjoy Weapons, like fucking hates weapons.
Weapons is the worst movie ever made, which I'm like,
that is extreme your opinion of that.

Speaker 4 (01:23:51):
That's the thing. That's the thing about this, though, is
these people who think their horror movie fans and they
go see these types of movies, and it's like, just
wait for the next scream. It'll be fine, Like you
can wait a little while. Like if you're not into it,
you're not into it, but don't go to it and
make yourself angry, Like why are you going to these movies?
I don't understand it. Like I don't go see movies

(01:24:14):
that I know I'm not gonna like and then come
here and bitch about them. I just don't go. That's
why I didn't see Predator yet, you know what I mean.
I didn't try to listen to other podcasts reviewing Predator Badlands,
but every time I was listening to it, they'd give
a plot description and I'd rage quit the podcast. I
just can't even I can't even get through it. So

(01:24:36):
but see, I'm not going to see the movie. That's
my solution. But yeah, no, I watched. I watched a
ship ton of Buffy. But you guys don't need to
hear about that. I'm almost done, so you guys will
stop hearing about it soon. I'm like halfway through seven now.

Speaker 5 (01:24:56):
So so yeah, half season.

Speaker 4 (01:24:58):
Season and uh yeah, I'll be I'll be done that
in no time and then I'll at you move on
to something new.

Speaker 5 (01:25:06):
Now, have you been watching Angel as well?

Speaker 4 (01:25:08):
Or just straight up no, just Buffy. This rewatch has
taken me too long. I can't I can't commit to
five five more seasons and if I start, you know,
I can't stop.

Speaker 3 (01:25:18):
So yeah, but like, like, you're not gonna fucking finish
it and watch the the Simon Peg TV show again?
Oh I might. I can't even remember what it's called,
the one that you guys love, so fucking much.

Speaker 5 (01:25:33):
Luckily, that one's like six hours and you're done.

Speaker 3 (01:25:36):
Yeah.

Speaker 4 (01:25:36):
Yeah, so that's one sick day from work and I
can watch that whole series. And I may have just
talked myself into something there, but yeah, yeah, you know
what I did do, Brian, I took your advice on
a podcast listening and I started listening to that CDC
podcast you recommended with the Satanic Panic. So I'm like

(01:26:00):
three into that and it's really good.

Speaker 5 (01:26:03):
So there's a couple of bonus episodes. I tried listening
to one of them and I'm like this, this feels
like it has absolutely nothing to do with the podcast.

Speaker 4 (01:26:10):
I don't know why really, Okay, Yeah, like I said,
I haven't finished it yet, but it's like I listened
to the one where they interviewed the guy that did
the documentary that I talked about when it was in theaters.

Speaker 5 (01:26:20):
Oh okay, that was one of the bonus episodes.

Speaker 4 (01:26:22):
Oh was it? Okay, So I guess it's not really yet.
It's not really the story, it's the but I listened
to it before I listened to anything else.

Speaker 5 (01:26:30):
So yeah, it's like an eight part series. Part five
just came out. Yeah, this week's or last night.

Speaker 4 (01:26:38):
So I have to say, like, you spoiled it for
me a little bit, but I did. I did not
anticipate Patrick Swayzey's involvement in this at all.

Speaker 5 (01:26:47):
But it's such a crazy story that you have to.
It's because some people pinpointed that, like, in this region,
the Patrick Swayzey movie Next to Ken may have started
a satanic panic.

Speaker 4 (01:26:59):
It's not. It's so for if anyone's cure. What's the
podcast called, Brian, I Don't Know Things the Devil?

Speaker 3 (01:27:07):
You know?

Speaker 4 (01:27:07):
So it's a podcast series about the Satanic panic. And
one of the episodes is about some poor lady who
was like a photography teacher and she traveled to like
a small town to teach photography to children, and she
literally got chased out of there by law enforcement because
they were filming Next of Kin nearby. They were killing
the fucking Liam Neeson movie Next of Kin nearby, So

(01:27:29):
they chased a photographer out of town who was not
related to the film in any way. And it's like,
what the fuck.

Speaker 5 (01:27:36):
How does that make sense? You should listen to the podcast?

Speaker 4 (01:27:39):
Yeah, yeah, and you're just like and then and so
they end up they were interviewing And what I really
like about the way the podcast is done is they're
interviewing actual people and that's sort of the message of
the podcast is like like, yeah, all these stories are
funny until you realize that they're affecting real human beings
and so the like they interviewed her like theographer lady

(01:28:00):
who got chased out of town and she had no
idea that there was connection to Patrick Swayzee in the story.
Then they interviewed like this little kid who was like
an extra in the movie, and they're like, like, it's
really funny because like you can hear the host trying
to keep a straight face where she's asking him if
there was like Satanism on set and he's like no,
Like come on, Patrick swayzey taught me how to shoot
a bow and arrow, Like that's what happened on set.

Speaker 5 (01:28:25):
His name was also Patrick, Yeah, I used to call him.
He used to call Swayze like Big Patrick and then
the little Patrick.

Speaker 4 (01:28:31):
But like the interview with him, it's only a few
minutes long, but it's real fun to listen to because
he's like just this guy who like when he was
a little kid, got to be in a movie and
he's like, I just got to hang out with Hollywood
stars for like two weeks when I was like nine
years old. It was the best. I had no idea
that was connected to the satanic panic in some way.

Speaker 3 (01:28:47):
He's just he's a guy.

Speaker 4 (01:28:49):
Yeah, Like it's really funny. He's a little guy, but
he like he also he's got like this thick Kentucky accent.
So when he's telling his stories, the way he chooses
to express himself is quite entertaining. And when they ask, like,
do you understand that your town, like like gossip could
spread quickly, and he gives a quick description of his
town and it's real fun to listen to. At what

(01:29:14):
point he says, uh, he says, yeah, you take a ship.
By the time you come out of the bathroom, half
the town knows what color. It is.

Speaker 3 (01:29:23):
Accurate.

Speaker 4 (01:29:25):
It's really funny. But yeah, And then the third episode
I listened to they interview Larry Pastor's ex wife and
the impact that all that had on her and stuff.

Speaker 5 (01:29:41):
Did the repressed memory stuff. Yeah, one specific girl, what
was her name, like Melissa or Michelle or something. Shop. Yeah,
they kind of started the whole.

Speaker 4 (01:29:53):
Thing, kicked off the whole like repressive memory thing, which
to a bunch of people thinking that there was just
this underground Sitanic thing that was taking over the country.

Speaker 3 (01:30:02):
And it's also created a bunch of bullshit where people
think that there's past lives and stuff, and the real
thing is it turns out it's really easy to implant
false memories into people's heads.

Speaker 4 (01:30:13):
Yep, yep, that's true. And it's also all based on
this guy coming home and his wife was watching like
a made for TV movie and he's like.

Speaker 5 (01:30:23):
The Sybil movie specifically. Yeah.

Speaker 4 (01:30:25):
Yeah, So he like comes home and like he's like, well,
if it's in a Sally Field movie, it must be true.
And he goes back to his office and proceeds to
start implementing it in his psychiatric care of this woman,
and it is. The whole story is very fucked. I
recommend the documentary. I recommend the podcast series. Both like
they're different, so you can you can watch both or

(01:30:48):
watch one and listen to the other. I'll continue listening
to this, you know, whenever I am at work kind
of thing, because that's what I have free time. But yeah,
it's it's really good, and I thank you for recommending it.

Speaker 5 (01:31:04):
Yeah, I just I find the subject of satanic panic
so fascinating and some of the some of the different
crime podcasts. I listened to our CBC ones, and you know,
when they have a new show coming out sometimes like oh,
here's the first episode of this, go check it out.
So it popped up on my feed and I'm like, oh,

(01:31:25):
this sounds amazing. So I just went downloaded everything, not
knowing Patrick Swayze was going to play a big part
in the first episode.

Speaker 4 (01:31:32):
It's so funny, but I don't like the Satanic panic
itself is like I don't know, It's something I take
personally because I look at it and I go, yeah,
like other than the fact that I was a little
too young, like I could have got caught up in that.
Like like I remember talking when when the documentaries about
the West Memphis three were making like the Big Rounds,

(01:31:53):
and I remember like telling people like like, yeah, like
I know a lot of us watch weird movies and stuff.
Some of you people are passing, and I don't think
you understand what it's like to walk down the street
and have people look at you and just know you're
something else. And you know what I mean, You're not
doing it on purpose. It's just who you are as
a person draws that level of attention, and to have

(01:32:16):
it turn around and like be used against you in
the way that it was during this era is just
so gross.

Speaker 5 (01:32:21):
Yeah, I just find it interesting that, like my family
was on my dad's said, most of them are pretty
religious and not like super overbearing, but you know, we
all went to church on Sundays and stuff like that.
They all were kind of like, oh, don't ever touch
a Wiji board, don't ever do this, don't ever do that.

(01:32:42):
But then like at eleven years old, I'm fucking reading
Stephen King books and they're like, oh, but you know whatever, Yeah,
I don't, I'm an adult. It's weird.

Speaker 3 (01:32:51):
But the effect it had on things like dungeons and dragons,
it was really upsetting too, So that that hobby legitate
lee probably saved my life a few times. Like there
were points where I was depressed and having a very
hard time adjusting, and it gave me like a social
outlet to go out and meet new friends and readjust

(01:33:15):
and the fact that that was being demonized is so fucked.

Speaker 4 (01:33:20):
Yeah. No, and yeah, like I don't know, it's the
idea that you know, young people who are looking for
a way to fit in with a group of friends
through common music, through games, through movies, through whatever, and
we're telling them that somehow, because they dress a little different,

(01:33:41):
that they're somehow fucking evil and it's just like, ah,
so gross. Yeah, And the fact that we live in
a society where you can make shit like this up
and then just spread it and it just somehow magically
spreads and becomes like it's not just the Satanic panic.
It's the one that we talk about as horror, but
there's lots of other examples of just people make shit up,

(01:34:03):
put it out there, and the next thing you know,
it's fucking.

Speaker 5 (01:34:11):
I agree.

Speaker 4 (01:34:11):
Anyways, are we almost done? I got to go shoot
on pizza Parlor.

Speaker 5 (01:34:18):
The only other movie other than The Running Man I
watched is I watched Black Eye, which is a Brian
blind by that I bought a couple of weeks ago
when Doug was running late for the show, and it
stars Fred Williamson as a private detective private eye who
is hired to go look for a girl who has

(01:34:40):
gone missing. I think she may have run off with
a bunch of hippies and so it's him investigating a
bunch of shit, and he ends up going to like
a porno set and there's drugs involved, and eventually it's
like a religious cult that he ends up with trying

(01:35:01):
to figure out where this girl went in a bunch
of crazy shit that happened. And yeah, it's made in
nineteen seventy three.

Speaker 3 (01:35:10):
That audience also known as fuck Yeah.

Speaker 5 (01:35:13):
The movie that being said, not as much action as
I was hoping. The last twenty minutes or so are
pretty good, lots of him punching people and people shooting
at each other and him running the other. The other
two thirds is him doing a lot of investigating, which

(01:35:36):
is just him going to talk to people, which sometimes
gets a little boring. But his character's pretty good Shepstone
because with a name like that, you have to be
a private detective solid and he's a former cop who
felt the rules were too restrictive. Can't just beat people
up to beat people up with your cop?

Speaker 3 (01:35:59):
No notes so far.

Speaker 5 (01:36:00):
Yeah, And there's this cane from like this famous silent
actor who just recently died that has stolen and has
gone missing, and that kind of helps move the plot
along as well, and of course he runs into it
and it turns out, a bunch of people are looking
for it because there's something hidden inside of it that

(01:36:22):
you know, there's very valuable. And he gets beat up
a couple times over it. Fight scenes aren't very long.
There's a lot of like, oh, two punches, and like
the action scenes over and I'm like, that's dumb. And
then the rest of it kind of plays like a
seventies detective show, Like I expected him to wear like

(01:36:43):
the beige trench coat like Colombo and just be like, oh,
one more thing and just you know, do that kind
of stuff because it's just a lot of it. It's
just talking. And then the biggest disappointment, there's not one
goddamn titty in this entire movie. Be in a seventies
blaxploitation movie where he goes to a porno set one

(01:37:04):
naked person the entire movie. When he does go, there's
two naked people on set, but they totally do that
awestoin powers thing where the camera moves and there's stuff
in the way so you can't can't see anything, and
I'm just like, what the fuck is this bullshit?

Speaker 3 (01:37:20):
This is the wrong genre. You guys don't know what
you're doing.

Speaker 5 (01:37:26):
But yeah, Fred Williams. It's pretty good, but could use
some more actions somewhere near to the but overall sort
of the private detective parts of it are okay, but
it could be better.

Speaker 1 (01:37:38):
Here's a brief glimpse of some of the truly fine
pictures we've scheduled in the near future.

Speaker 5 (01:37:44):
I know we let you pick movies for next week.
What are we watching?

Speaker 3 (01:37:47):
Well, somebody added The Crow in Dark City to the list,
so we're watching The Crow in Dark City. Like I
didn't even think of I like opened it up and
saw that, and I was like, yep.

Speaker 4 (01:38:00):
I think we added those on air during a previous podcast.

Speaker 3 (01:38:05):
I was like, I don't even need to like, this
isn't even a decision. That just you made it for me.

Speaker 5 (01:38:10):
To Alex proyas movies, which I am very excited to
revisit both of them. I've been wanting to rewatch The
Crow to see if it's.

Speaker 3 (01:38:19):
That sweet, sweet early nineties goth aesthetic so good.

Speaker 4 (01:38:25):
We can talk about The Crow right now if you
want to have seen it so many times, but I'm
happy to rewatch it for next week as well. I
don't think I'll have any criticisms of that movie.

Speaker 3 (01:38:34):
Yeah, we can have another sad sad discussion about Brandon Lease.

Speaker 4 (01:38:40):
I haven't seen Dark City in a long time, so
I'm excited to rewatch that one.

Speaker 5 (01:38:44):
Do we want to make a decision are we watching
the theatrical cut or the director's cut?

Speaker 4 (01:38:52):
Are how different are they?

Speaker 3 (01:38:53):
Like?

Speaker 4 (01:38:53):
Should we just watch whatever and then possibly discuss the
differences next week?

Speaker 5 (01:38:57):
And it seems like there's a lot of there's a
lot of I want to say, like esthetic choices, but
like the theatrical version of Dark City opens with like
a narration voiceover and like a bunch of other stuff,
and the director's cut is like, yeah, we're taking all

(01:39:19):
that bullshit out. So it seems like there's less handholding
in the director's cut some different scenes. I don't know
the exact difference.

Speaker 4 (01:39:28):
But Okay, can you watch both and then I'll just
watch one.

Speaker 3 (01:39:31):
Sure I was gonna say I might watch both. I
love that fucking movie too.

Speaker 5 (01:39:37):
It's been a while since I've seen it. Yeah, but yeah,
it's good. Good movie got overshadowed by the matrix.

Speaker 4 (01:39:43):
Sure that happens to good movies once in a while.

Speaker 5 (01:39:46):
Yeah, So, yeah, to Alex Proye's movies, I'm excited.

Speaker 4 (01:39:50):
Yeah, go ahead.

Speaker 5 (01:39:54):
I was gonna say. I was watching like Supernatural like
me and no, I've been saying. And Michael Massey, the
the guy who played fun Boy in the Crowd shows
up in it man like half a season. I was like, Hey,
it's fun Boy, and then I felt sad because he's
the one that pulled the trigger on the gun that
killed him apparently had a lot of guilt over it,

(01:40:14):
even though he didn't do anything wrong. But yeah, that sucks.
All right, Running Man, yep, run in, run In. So
we're gonna be doing a spoiler review of The Running Man.
I think all three of us have said, yeah, definitely
go check it out. Interesting in seeing it. It's worth
your time, all right, who wants to start? Who wants

(01:40:37):
to start us off?

Speaker 1 (01:40:39):
Uh?

Speaker 3 (01:40:39):
Did they? Did? They really need to go so angry
boy with him?

Speaker 4 (01:40:44):
It was a little over the top. I it's not.
I don't mind the performance, but it is a little
bit the way it's done. It is kind of like
cartoonish how he switches from like it's almost like when
somebody calls Marty McFly chicken. Yes, yeah, it's.

Speaker 1 (01:40:59):
Just not bad.

Speaker 3 (01:41:00):
That is actually the exact correct.

Speaker 4 (01:41:03):
It's not it's not poorly done. It's a choice they made,
and it's I don't know that I agree with that choice.

Speaker 5 (01:41:10):
See I took it differently. I feel like, uh, I mean,
he does have a temper, but I feel like by
about halfway through the movie, when it seems like Killy
in and all of them are really pushing him to like,
uh ramp it up or whatever, that he's like, Oh,
you want you want me to be this motherfucker, I'll
be this motherfucker and just starts like leaning more into Yeah,

(01:41:33):
I agree with that for the tapes and stuff.

Speaker 4 (01:41:36):
My like, my, my biggest moment where it's a problem
is when he at the beginning of the movie when
he signs on to be in The Running Man, where
he like goes into that room, I'm not doing the
Running Man and they pretty much do the bar and
he's like, I'm not doing the Running Man, like and
he literally signs that.

Speaker 3 (01:41:56):
Yeah, yeah, you're not gonna do the Running Maggie, little bitch.

Speaker 4 (01:41:59):
It's like it's literally like they're teasing him into doing it,
and he's like, well, and I will do it and
then I'll win. But he knows he's gonna die if
he does it. It's like, if you know you're gonna die,
I don't think somebody calling you a chicken. It's not like,
you know, oh you won't, you know, drive this car
fast and you'll probably be fine. It's oh, he.

Speaker 5 (01:42:18):
Wasn't going to die from running on that wheel for.

Speaker 4 (01:42:23):
You know, I have to be fat to run on
the wheel.

Speaker 3 (01:42:24):
It's in eligible for Did you guys feel like so,
obviously this movie's got a political messaging in it. Nobody
would fucking ever argue with that. But did you guys
think that it was fucking cowardly as ship the way
they rode, Because there's clearly two through lines, and one

(01:42:46):
is capitalism bad right, But then the other one is
you can't trust the media, you know, Like so they're
trying to like play both sides of modern society rage bait.

Speaker 5 (01:43:02):
I didn't take that from it. I think I took
more more of like a corporate because the network pretty
much runs everything.

Speaker 3 (01:43:15):
Well, yeah, I.

Speaker 5 (01:43:16):
Took it more of like the media.

Speaker 3 (01:43:19):
Now it's the media. The media is controlling everything instead
of the corporations.

Speaker 4 (01:43:24):
They're controlling everything, right, But I mean, this film is
coming out in a year where like forty of the
presidential cabinet is media members, like it's in you know
what I mean, people.

Speaker 5 (01:43:39):
Like a billionaire bought Paramount so they could bend CBS
more to what Trump wants.

Speaker 4 (01:43:46):
Yeah, Like like the message of don't trust the media,
the media can't be trait is not inaccurate.

Speaker 3 (01:43:52):
Oh sure, sure, sure, I'm not listening. I'm not saying
that like the media is great. I'm just saying I
feel like some of this movie is uh punching in
the direction that I find distasteful.

Speaker 4 (01:44:08):
I see. I took it as the media and capitalism
working together are the problem, and I think that that's
the message. Like all of it is like yeah, like
the media is just doing whatever to make more money
for itself and pushing down the people as well. The
media represents the entire upper class in this case, rather

(01:44:29):
than having a bunch of different corporations. We've done everything
under one right, because it's also like, you know, he
gets he gets kicked out of his job, which is
run by the same media company, for trying to start
a union, right, he gets he gets blacklisted for trying
to help his coworkers get treatment for the sicknesses they

(01:44:51):
have as a result of their jobs. Like he's constantly
being he's constantly being fired for taking I'm just gonna
to stop being around the but he's doing lefty stuff
and he's getting fired and impressed for it because the
big rich people want to hold him down because he's
a poor person and he's not allowed to try to
make his station in life better. He's not allowed to

(01:45:12):
start unions, he's not allowed to get better healthcare, he's
not allowed to do any of that stuff. Right, Okay, So,
but the same big evil media corporation is very much
portrayed what you're saying about. How like, oh, the media
is a fault for everything, and the government blames the
media rather than taking responsibility for actually fixing things. That's

(01:45:33):
in there as well. I think it is, but I
think it is just pointing out all these different things
that are wrong in our society, which are all true,
which are in this movie. They have one big organization
running everything, but the individual issues aren't really pushing one
way or the other. If that makes sense. Sure.

Speaker 5 (01:45:53):
Also, like Americanos seems like the worst Davie Showman, it's
the Kardashians, which, as I said, the worst TV show.

Speaker 4 (01:46:02):
I will I will again. I've never seen an episode.
Why would I watch that? So it's fine, you know,
maybe maybe it's great. I don't know, but I'm probably
not funny.

Speaker 3 (01:46:14):
Funny hey, spoiler alert, it's not funny.

Speaker 5 (01:46:17):
Thing is Edgar Wright said. They brought you know, all
those it's like Debbie May's ire and a couple other
people or whatever. They brought them into film all that stuff,
and they kind of read over the script and they
were like, okay, got it, tore the script up, got
the basic point, and then just improvised all the Americana scenes.

Speaker 4 (01:46:37):
I mean, like, again, a society where the middle class
is so utterly distracted by stupid reality TV shows that
they don't care about the problems of the people that
are living next door to them. Again, another social commentary
that they've put in, which is completely accurate, you know,
complete to the point where they're just watching this, like

(01:46:58):
while they're driving, they're just watching the show because they
can't be bothered to pay attention to what's going on
around them. And this girl doesn't know she's on the
Running Man at one point for a little while, she
just knows she's on the Running Man because she's busy
watching her TV while she drives and it's like, yeah,
I mean that's all there.

Speaker 3 (01:47:15):
I do like the horrible thing of where she sticks
around and he's like, well why she goes Well, because
now you've actually pointed out that I'm a piece of shit.
So now I feel like I have to prove that
I'm not a piece of shit.

Speaker 5 (01:47:30):
Well, well you've proved it to me, and she's like,
I don't, it's not you. I need to prove it too.

Speaker 4 (01:47:34):
Here and here's like shit, I was trying not to
make this a political conversation. I was trying to make
about the movie. But like that used to be how
things worked. It used to be that if you pointed
out that somebody was doing something terrible, they would go,
oh shit, you're right, and they would feel bad. And
at the time this book came out, like making somebody
feel bad would cause them to change their behavior. Now

(01:47:57):
it's like that doesn't work anymore. So the movie kind
of like felt a little outdated because.

Speaker 3 (01:48:02):
Of that accurate.

Speaker 5 (01:48:07):
Yeah, it's interesting because I mean that character is shown.
It's almost like a commentary on stuff like Fox News
and stuff, which we sort of touched on just media
in general, but this one where he pops into her
car and she's like freaking out and she's like, well,
obviously you're a murderer and you're a horrible person, and

(01:48:30):
your wife's terrible and you abandon your kid. And he's like,
what are you talking about? None of that stuff is true.

Speaker 3 (01:48:36):
Yeah, here's a picture of my wife who I live.

Speaker 5 (01:48:39):
Yeah.

Speaker 3 (01:48:40):
It's like then of course immediately the news buries her, yes.

Speaker 4 (01:48:44):
Yeah, and it's yeah, it's all for the part of
the media element of it that I really liked was
the fucking the host who is like, we can get
into whether you like his performance and stuff, but there's
the moment where he's like talking to the guy and
then he turns to the camera and tells just horrible
lies about him and then turns back to him, like

(01:49:05):
and he guys, like, what the fuck is the Guy's
just show business. It's like, you're going to get this
guy killed, but you just don't care, and that that aloofness,
that fucking disconnect between it's you're going out and doing
these horrible, horrible things and the person that's going to
be affected by it is right there and you just
don't care, and you don't understand why he's mad at you.

Speaker 5 (01:49:26):
For doing it, and that's my job, man, that's what
I'm supposed to do.

Speaker 3 (01:49:30):
Well, there's even kind of the rough ending at the end,
or that television host who's been nothing but basically a
weaponized personality through the entire movie. He gets to walk
away at the end.

Speaker 4 (01:49:42):
He's fine because that's again, like the commentary they're trying
to insert is about all of these different podcast hosts
and political commentators and all these other people who are
doing this shit, who are making blade lies, and you know,
like the cartoon example would be someone like Tucker Carlson.

(01:50:03):
The emails came out in the lawsuit. We all know
he's playing a character on TV and that he's not
actually doesn't actually believe the things he's saying. He goes
back to saying them, and people go back to believing him,
and then he just gets to go home. And that
one time that somebody stopped him in a store and
called him a piece of shit, he was completely caught
off guard and didn't understand why nobody would like him.
You know what it's like, And that's you know, I'm

(01:50:26):
not saying this character represents Tucker Carlson specifically. I'm just
saying it's that idea that these people who are making
a bunch of money by getting everybody angry all the
time and by turning people against each other and real
people there's lives are being affected and they just don't care.
I'm just hearing I'm doing my thing, I'm making my tiktoks,

(01:50:47):
I'm recording my podcast, I'm doing whatever it is that
that person does.

Speaker 5 (01:50:50):
You know, sometimes it's doing your makeup in the car
while you're watching the Americanos.

Speaker 3 (01:50:55):
And make him making my tikie tuckies.

Speaker 5 (01:50:57):
But then but that girl's like the same.

Speaker 4 (01:51:01):
The prime example of like what happens in the real world,
which is you're not paying attention, you don't really care,
but you're picking up all the shit because it's in
the zeitgeist. You're distracted by the reality TV and then
you just believe it all until well, now this guy's
in my car and it's like, what do you mean
I abandoned my kid, Like I'm doing this specifically because
my kid got sick and I'm trying to figure out

(01:51:21):
how to get her like medicine. And it's like, oh, well,
I guess I guess that does make a little more
sense if you actually stop and think. But you know,
I was busy watching Americanos. I didn't stop and think
fucking Americanos.

Speaker 5 (01:51:35):
How do we feel about Michael Sarah in this movie?

Speaker 3 (01:51:39):
I mean, I feel like it's one of his best roles.

Speaker 4 (01:51:43):
I don't know.

Speaker 3 (01:51:43):
Ye I did the joke, the joke about don't ask
him about hot dogs, and you think it's going to
be some kind of like where he flips out or something,
and instead it was don't ask him about hot dogs
because he's going to tell you this long ass story
about it.

Speaker 5 (01:52:01):
It is very funny. Yeah, yeah, I thought he was great.

Speaker 4 (01:52:07):
He's fantastic at what he does playing that conspiracy guy
and who's just fucking nuts enough that he doesn't like,
he doesn't care if he dies or whatever he's got.
He's acting like he wants to change the world, but
when the opportunity comes, he's just like, he's give.

Speaker 3 (01:52:25):
Me a few minutes to kill a bunch of these guys.

Speaker 4 (01:52:28):
Yeah, and it's like, so you could screw up your
whole plan this way, and it's like, yeah, you know
that matters, but that But then we have that wonderful
moment where he like electrifies the floor like from the
thing from another world, and then just to set it off,
he sprays everybody with a super soaker and you're like,
I just watched Michael Sarah killed twelve guys with a

(01:52:50):
super soaker. I'm not going to not be happy. Like,
it's so fun, it's so funny.

Speaker 3 (01:53:00):
I do love. I do love some of the moments
of just the pettiness that they throw into it, where
like whatever, he's on the plane talking to the Jesh
Browling character, who's just a fucking garbage person, and he goes,
you can just fake all of it. You don't even

(01:53:21):
have to, like actually make a TV show, and he's like, yeah,
but it just turns out better if we use real people,
you know. I mean that's pretty much the whole thing.
He's like, Yeah, it's worth killing people because it makes
ratings slightly better.

Speaker 4 (01:53:36):
Yeah.

Speaker 5 (01:53:38):
Do we feel like this movie had a happy ending?
Question mark?

Speaker 4 (01:53:43):
So yes, it does.

Speaker 1 (01:53:44):
Well.

Speaker 3 (01:53:44):
I mean the happy ending is a revolution and killing everyone.

Speaker 4 (01:53:48):
So yeah, Okay, so this movie changes the ending from
the book quite a bit, and that's the part I
didn't really like.

Speaker 5 (01:53:58):
Yeah, I think you're right talk to that they were
wondering if they should do something different and he's like yeah.
Pretty early on we're like, yeah, we should probably not
have him fly a plane into the building.

Speaker 4 (01:54:10):
I think the hero shouldn't fly a plane into a building. Yeah,
But my concern is less the specific plot point as
it is the tonal change in it, like the Book
ends with Richards is dying, his wife and kids are dead,
like everything he's been fighting for has been a waste.

(01:54:31):
He's literally just like, if I'm going down, I'm taking
these motherfuckers with me. And you're kind of left with
the impression maybe that could kick off a revolution if
he's if he crashes his plane into this building and
is able to kill Killian and you know, kind of
chop the head off the snake and whatever else, but
you don't know. And it's so it's a real dark,
kind of sad ending and this idea that in the

(01:54:52):
movie they were like, Okay, first of all, it's it's
not him flying the plane into the building. It's them
controlling the plane to make it look like it's gonna
fly into the building, right, And you're like, okay, well,
all right, I can see what you're doing there where
you're trying to not make the hero fly the plane
into the building. It maybe hasn't been quite long enough, right,
but then to have the so then he survives the

(01:55:13):
plane crash. His wife and kids are fine. They're living
under an assumed name somewhere and they get they even
get the joy of finding out that he's still alive
and that even though he can't be with them, he's
now off doing something important.

Speaker 2 (01:55:26):
Yeah.

Speaker 4 (01:55:26):
I thought, actually.

Speaker 3 (01:55:29):
Like leaving the family dead, I feel like is better.

Speaker 4 (01:55:33):
Like I I think he should have died too. And
if you and then what you have is the people
who were because there's the whole thing of like the
society was joining his side throughout through the game, right,
and you started to see the Richard's lives painted on everything,
and so the idea that like he still has his death,

(01:55:54):
but if you want to have take that extra moment
and go, yeah, but his death started the revolution. To me,
that's a good enough ending. This felt very kind of Hollywood.
Everybody lives like every all the bad guys are dead,
all the good guys are alive. You know, we're we've

(01:56:14):
turned the corner and we're heading on a pass towards
a much better society. And you can all be relieved
and walk up to the theater, and I'm like, but
that's the book was about convincing you to start the revolution,
and the movie is kind of saying, don't worry about it,
everything's fine, you know, And I have I have an
issue with that because you're changing the you're changing the
core messaging, and it's I don't know. I get why

(01:56:40):
a Hollywood movie wants to do the happy ending, but
I don't want the happy ending. And that's a real
problem for me.

Speaker 5 (01:56:48):
So do we take his countdown at the end to
just be some funny thing to say before he shoots
killing you in the head, yes, or was he actually
like because that's what I couldn't decide. If he not
that he took up the network offer to do his
own show, but if he was doing some weird like

(01:57:11):
underground like that one dude filmed his own YouTube videos
or whatever. If he was doing some sort of like
thing like that, maybe insinuating that he was becoming almost
as bad as they were. Like I don't know if
that's an answer, Like, I don't know if that's even
anything they were going for. It's just something I was
thinking about.

Speaker 4 (01:57:31):
I guess I didn't think about it. I just took
it as a fun and I took it as like,
let's have some fun killing the headbed guy kind of thing. Yeah,
which as possible, we do well.

Speaker 3 (01:57:43):
I think I took it as the idea that the
answer isn't necessarily getting rid of the show, it's dragging
them into it, if that makes sense, because they I
don't know, there's there always been has been an argument
of the real way for protest to work is you

(01:58:04):
have to do the thing that they're doing until they
get so uncomfortable that they change the rules, which is
kind of what happened with gun rights, right the Assault
Weapon Band happened because the Black Panthers started carrying machine guns.
Like that's what you do. You do the ship that
they are doing until they stop, you know. Like, and

(01:58:30):
I feel like, right now, maybe there is a problem
society where we're trying to take the high road and
there there just is no high road.

Speaker 5 (01:58:38):
They cannot for a while.

Speaker 4 (01:58:40):
Yeah, no, I you might be right, like I say,
like when I like, I didn't think of it as
a symbolic moment when when I watched it, I thought
it was just a fun moment.

Speaker 5 (01:58:49):
So, yeah, which is possible, And they just kind of
I didn't see any cameras or anything, but just interesting
him just doing the countdown and.

Speaker 4 (01:58:58):
Then yeah, well we do know that, like he got
the revolutionary material to the guy that does that show,
and that that guy that was I forget his name,
but he was he was helping him by producing the show,
and he was helping get him what he needed to
make that show better to try to get the message

(01:59:18):
out right, which is yeah, so we know he did
take an active role in sort of air quotes media
towards the end.

Speaker 3 (01:59:27):
Yeah, I was really so. I thought the ending would
have been better if it turned out not to be
Richard's in the mask, and that that was the whole
thing that they had done what the network was doing,
and weaponized it against them, that they were creating their
own fake show and now manipulating the narrative, you know

(01:59:48):
what I mean, and being like, yeah, he's still alive
even though he isn't.

Speaker 4 (01:59:51):
Yeah, I like the idea that they're they're pretending Richards
is alive and using him symbolically as to start the revolution.
I like that a lot more than the idea of
him actually living.

Speaker 5 (02:00:04):
See that that's one of the reasons why. And you know,
the ending is the ending, and it's just something that
you know, you just kind of sit and think about, like, well,
what about this? What you know, what if this? What
if that? And I thought about it because he's like
now running around in like the mask and the beret

(02:00:24):
and all that stuff, which is what Lee Pace's character
was doing, and he was like the head Hunter whatever stuff.
But when they talk on the plane, he points out like, yeah,
do you think they you know, essentially points out that
he took their offer, the same one they made Ben

(02:00:45):
Richards about essentially having his own show. Yeah, and so
he was hurt and whatever else in the first season,
but then took over the role and became like this
big paganda piece for the running Man because he was like,
you know, the big bad guy they sent after everybody.

(02:01:06):
So then with Richards adopting the mask in the beret
and all that stuff, it's like, does he then sort
of become the weaponization of that of Ben Richards for
maybe like the opposition.

Speaker 4 (02:01:21):
They's the other guys and stuff.

Speaker 5 (02:01:24):
So then I'm I was wondering, like, well, is the
point that maybe now he's I mean, they're doing like
Noah pointed out, they're doing the same thing the running
Man is doing it, but they're doing it for this
propaganda channel rather than for the network corporation or whatever
it is. The assumption then that, you know, it all
always starts out with the revolution, but maybe it always

(02:01:47):
ends up the same way.

Speaker 4 (02:01:49):
Your your theory is that eventually Richards becomes the head
of that media.

Speaker 5 (02:01:56):
Maybe but maybe not even Like I don't know if
he's just as bad. No, I don't. I mean, ultimately
I don't think it is either. But it's just like
trying to think through the symbolism of him adopting the
mask in the bereat, just like what leap Pace were.

Speaker 4 (02:02:14):
Well, I think the idea that he's now like where
the leap Pace character became the the Headhunter and he
was sort of the symbol of the the network, right
he was that he was the main face of that network,
And I think the idea that Richard's is doing something
similar to become the face of the revolution, I think

(02:02:34):
is kind of where it ends like the idea that yeah,
he's gonna he's going to create this persona that he
can go out and commit these terrorist attacks against the
network and eventually take the network down. But people will
know him based on his look like that. Okay, that's
how I took it anyway.

Speaker 5 (02:02:50):
Yeah no, no, no, yeah no, I totally see it.
I just didn't know if there was maybe like this
negative like almost like a loop situation where everything sort
of keeps repeating itself. You know, someone starts out wanting
to be a revolutionary like Leepace or whatever on the
first seat of the Running Man, and then you end
up becoming, you know, the the big propaganda piece that

(02:03:15):
you know, whichever entity is sort of using to get
their message across.

Speaker 4 (02:03:20):
No, but because I think I think where that falls
apart is the idea that so the Headhunter guy, he
switched sides, he was against the network, then he joins
the network, whereas Richards said, fuck that, I'm not doing that.
I'm not I'm not going to continue that cycle. I
am going to become this other thing, right, so.

Speaker 5 (02:03:41):
Which I agree with. I mean, you know, all of
this is just for conversation, but yeah, yeah, so it's
just interesting. I just find it interesting how they sort
of this they mirror each other and sort of like, oh, okay,
well what does that sort of mean in a society
like this?

Speaker 3 (02:03:58):
And well there are also there also is the definite
thing of the Richard's character is not like I think
at the beginning of the movie, they try to tell
you that he's heroic, but he is not an inherently
heroic character. He is a desperate character, which is a

(02:04:19):
very different thing.

Speaker 4 (02:04:21):
He is desperate, but they do make it very well
known that a lot of the trouble he's gotten into
has been him helping other people.

Speaker 3 (02:04:28):
Right right right in, which at the beginning of the movie,
that's what I'm saying, they do establish that.

Speaker 4 (02:04:34):
But he's he's heroic, they just haven't pushed him to
that extreme yet. But we know he's violent, we know
that he likes to help others, you know all that,
and we know he's willing to do anything for his family,
and so they just keep pushing him, pushing him, and
he becomes more heroic.

Speaker 5 (02:04:51):
I guess.

Speaker 3 (02:04:52):
Well, see, I would almost argue that he isn't heroic,
that he's kind of like he's just an angry, desperate person.
He's reacting angrily and desperately, and it just happens to
that his anger and desperation aligns against these assholes.

Speaker 4 (02:05:10):
No, but I mean like he because he's like when
there's somebody like the reason he lost the job is
because someone else got sick, and he was helping that
other person deal with a union rep to try to
get them healthcare. He wasn't doing anything for himself, Like
that's inherently heroic to well your benefit. You're risking your

(02:05:31):
own like safety, your own like employment for the sake
of helping someone else because they're sick.

Speaker 3 (02:05:38):
And sure, although arguably the things he was doing is
like basic reactive decency, and just he just happens to
be in a society where basic decency is not well.

Speaker 4 (02:05:50):
See, this is where I would say the concept of
basic decency has been a lie our whole lives. We've
all been taught that there's this concept of basic decency,
but in actuality it doesn't exist that the like, you know,
it is heroic to just gives a hungry person some
food because ninety nine out of a hundred people that

(02:06:12):
walk by that hungry person don't so, and our society
will punish the person who does so. That is just
how it works.

Speaker 5 (02:06:26):
Do you have a favorite action scene? I will say
that my girlfriend was really excited for the one where
he's out on the balcony or out on the ledge naked.

Speaker 3 (02:06:35):
See I was actually gonna say the whole running around
the building naked scenes is really that was pretty fun.

Speaker 1 (02:06:40):
I like that.

Speaker 4 (02:06:43):
At the Yeah, that whole that whole sequence is really
fun because he goes like out the window and down
a floor and back of and all that. That's that's enjoyable. Yeah,
what favorite action moment, Like, there's the car there's a
couple of car chase things with like for their and
chased by helicopters. They're both good. I don't know if
they're great. Probably the stuff with Michael Sarah is my

(02:07:06):
favorites is the most fun. I consider that an action
sequence when he killed twelve guys with the super soaker.

Speaker 3 (02:07:14):
Just the him turning and looking at him and pumping
the super soaker is a pretty great moment.

Speaker 4 (02:07:19):
Yeah. Again, it's not tonally what I wanted for the movie,
but it's done so well and it's you know, it's
really fun.

Speaker 5 (02:07:28):
It's uh, it is just funny that like Michael Sarah's
character had this whole thing planned out where he's like,
you'll be able to hide out in here for like
the next like you know, month or whatever next. However
many weeks and then Michael Sarah Fox all that, yep,

(02:07:49):
and it's a god damn it. I had it easy.
I pre recorded all my shit.

Speaker 4 (02:07:53):
And then like, because the plan is really good, Like
if the whole idea of The Running Man is you
have to survive thirty days out and public, but every
day you have to mail in one of these tapes.
Well if you just prerecord your tapes and have somebody
else mail them and you just go in a bunker
somewhere and hide, I don't know what. How is that
a bad plan?

Speaker 3 (02:08:13):
Do you guys? Feel like? So there was a wasted
thing and maybe I'm assuming it's a deleted scene somewhere where.
At the very beginning, William H. Macy's character says about
the TVs and he goes, yeah, I saw a ton
of these people love them because it's you know, it
doesn't have cameras in it to watch you. Yeah, And

(02:08:34):
that never comes back because I kept being like, you
know that's gonna happen because at some point he's going
to be like, how the fuck do they keep tracking me?
And it's going to be that people just have cameras
all over their houses.

Speaker 5 (02:08:46):
Yeah, Because he like watches TV. The whole time. Right,
there's multiple points where he's sitting in a hotel room
just watching TV.

Speaker 4 (02:08:53):
Yeah, but even beyond that, like he's in public a lot,
and you'd think that, you know, like you could. I
don't know how you write it. I'm not a professional writer.
I'm not Dolphondren, but you know, you you just fucking
there's something to comment on. How everybody has fucking cameras
on their doorbells and everything now, right, Like.

Speaker 3 (02:09:12):
Yeah, yeah, doesn't it feel like that was set up
at the beginning of the movie, and then it does?

Speaker 4 (02:09:16):
It does feel like, yeah, they set it up. The
idea that William makes me that people, which I think
is even real in today's society, because this movie is
set in twenty twenty five, or at least it.

Speaker 5 (02:09:28):
Was the original book was, and Edgar Wright was very
excited that they, Yeah, we're able to get the movie out.

Speaker 4 (02:09:35):
But that idea that that people are reverting to, you know,
old technology because they're sick of the stuff that monitors
everything you do and bombarde you with ads and all that,
you know what I mean, Like all that shit, like
that's all that's all built into this story, and they
don't You're right, it doesn't play back later on because
even like the like the tapes he uses are like

(02:09:57):
old school cassette tapes that he has to make because
if he uploaded them online then they would be able
to track those.

Speaker 3 (02:10:04):
Right.

Speaker 5 (02:10:05):
Yeah.

Speaker 3 (02:10:06):
I also do have to say they they spent money
to have William H. Macy in this movie for like
ten fucking seconds.

Speaker 4 (02:10:13):
Totally fucking worth it, totally fucking worth it.

Speaker 3 (02:10:18):
It's just so it was so weird. I was like,
you guys said William H. Macy in this movie, and
you did not use him, Like what do you do?

Speaker 4 (02:10:27):
He's so good in the movie though, just that big,
like over the top performance that he does. It's great.
I love it and maybe if if he had a
bigger part, he would be required to tone it down.

Speaker 3 (02:10:39):
So movie, that's why I did. I did really love
the very small moment where he goes to him and
he's like I had to and he goes, no, he didn't.
I was going to give you a job.

Speaker 5 (02:10:54):
So he son of a bitch, you could have told
me yesterday, Egar. Since Ega Wright's been doing the rounds,
he's hit like a bunch of podcasts and stuff that
I listened to, so for like the technology and stuff.
He said what they did was because the book came
out in like eighty two, and like we mentioned, it

(02:11:16):
was set in twenty twenty five. He's like, so from
their vantage point, they took the idea of let's try
to imagine what twenty twenty five would look like from
like nineteen eighty two, and try to use that idea
for the movie as well, which is why they still
use tapes and like all this other kind of stuff.
And I think it was a kind of a fun

(02:11:39):
choice of you know, we're in nineteen eighty two, let's
imagine what a dystopian society is like in twenty twenty five.

Speaker 3 (02:11:49):
So I went to see it with a fairly large
group of people and to almost everybody had the same reaction.
They're like, you know what they missed out on is
that the hunter at the inch to take it off
the mask and it beat Schwartz Na, yeah, he's too old,
but yeah.

Speaker 5 (02:12:05):
He's one hundred dollars bill though, Yeah, which apparently they
gave him like a because he saw the movie and
they were there when he saw it, and they talked
to him afterwards, and they give him they gave him
like a like one of those giant publishers clearinghouse checks
of the hundred dollars bill with his face on it.

(02:12:25):
That's awesome, Yeah.

Speaker 4 (02:12:28):
I think, Yeah, I think having a short singer on
the hundred dollars bill is a good idiot if your problems.
If you put him in the under the mask, it
turns it into is this a sequel? And I don't
want it to be.

Speaker 5 (02:12:40):
So yeah, it was, it was, It was interesting, It was.

Speaker 4 (02:12:45):
Yeah.

Speaker 3 (02:12:46):
I was also kind of hoping they would go for
a slightly meaner ending of so in the eighties version,
you remember, he like throws the host into the the
two bluncher thing and sends him off it boringly, just
smashing him into that giant billboard that explodes. And by boringly,
I mean it's delightful, spectacularly. Yeah. Yeah. But what I

(02:13:11):
kind of was wanting them to go for is a
like now you run, you know what I mean, taking
Josh Brolin, putting him in and be like we are
going to hunt you run.

Speaker 4 (02:13:22):
Yeah, yeah, yeah, I mean that'd interesting.

Speaker 3 (02:13:27):
Yeah, well, because that's kind of the speech he gave, right,
it's the whole you know, find out who's doing it
and fucking kill them, you know.

Speaker 4 (02:13:35):
Yeah, but yeah, but I think, yeah, again, it.

Speaker 3 (02:13:39):
Doesn't pay off, which is I wish they were paid off.

Speaker 5 (02:13:42):
But yeah, anything else.

Speaker 4 (02:13:48):
No, I think I think it was. It was good,
it was fun. It wasn't as bleak as I want
it to be. But I guess they made it for
mainstream audiences, not for me. So it's why I saw
this and Keeper on the same night. Balance things out.
And yeah, it's way more faithful to the book than

(02:14:09):
the original movie is. But if people are hoping for
a faithful adaptation of the book, it's not that either.
It's kind of it kind of walks the line where
it's like, there's definitely influenced from the book, just in
the way the game is set up and stuff, but
they still do the like he's out in public, not
he's in a confined space, and the hunters aren't you know,

(02:14:29):
I don't know, a hockey themed hunter, although that might
have been fun.

Speaker 3 (02:14:33):
I was just going to say that the ending is
a very trying to end it like the book is
nearly impossible now, and I because the problem is there
is so there is a true statement at the end
that would come out of that that you cannot make
and that is there is a reason why terrorists exist.

(02:14:54):
Like they exist for a reason, and they're doing the
things they do for a reason. And while you may
not agree with them ideologically, that's what terrorism is. And
when you see it as revolution, you feel like it's justified.

Speaker 4 (02:15:11):
Yeah. No. And the thing is, I think that one
of the big problems we have in our society is
that nobody wants to say that, you know what I mean.
It's it's so like strange to me that people people
can't comprehend that, like every terrorist attack is a result
of something, not saying they're all right, not saying that

(02:15:32):
they're ever right, just saying that they're not random. And
by definition, terrorism can't be random. So why aren't we
at least looking at why it happened?

Speaker 3 (02:15:44):
Yeah, yeah, I mean I couldn't say that any better.
That is exactly correct, Brian.

Speaker 4 (02:15:53):
Your thoughts on why terrorism is a good thing?

Speaker 3 (02:15:56):
Hey now, hey, now that didn't say that, say it's
a good thing.

Speaker 5 (02:16:01):
There's reasons Edgar Wright doing the rounds. He actually has
been pointing out that this movie maybe has more of
an influence of the eighties Total Recall than it does
the eighties Running Man m No, not feeling it.

Speaker 4 (02:16:23):
No, I don't agree with that.

Speaker 5 (02:16:25):
Fuck you Edgar, right.

Speaker 4 (02:16:27):
I think that I think that there has been an
instruction set out to tell everyone to pretend that this
is based on the book and not on the movie,
and they've all fallen in line as good marketing people do,
and they've been saying that. And I think when the
discussion comes out, like in a few years, when it
settles down and these guys are in an interview and

(02:16:48):
somebody asked me like, yeah, of course the eighty seven
movie influenced this, how could it not, and they'll be
a more open about it.

Speaker 5 (02:16:55):
I don't know if it's that much of them an issue.

Speaker 4 (02:16:58):
But sure, I think so. I think it reminds me
of when I always look back to the first example
I ever noticed of this was just Kevin Smith was
promoting Jay and Silent Bob Strike Back, and he went
on all the talk shows and talked about how you
don't need to have seen his other movies to enjoy
this one, and then did the same round of talk
shows a year later and apologized for lying about it.

(02:17:21):
Of course, it was a giant, twenty million dollar inside joke.
You of course you have to have seen all my
movies multiple times to enjoy this one. But we needed
to make twenty million dollars back, so I had to
come out and say those things. And I feel like
that's what's going to happen here.

Speaker 3 (02:17:40):
Now it got quiet.

Speaker 4 (02:17:43):
Whose job was it to talk next?

Speaker 5 (02:17:46):
Nobody? I think we're done.

Speaker 1 (02:17:48):
Please remember to replace the speaker on the post when
you leave the theater.

Speaker 5 (02:17:54):
And our folks, it's time to say good night.

Speaker 1 (02:18:04):
We sincerely appreciate your patronage and hope we've succeeded in
bringing you an enjoyable evening of entertainment.

Speaker 5 (02:18:10):
Please drive home carefully and come back again.

Speaker 3 (02:18:12):
Sue, good night

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