Ep 38 - Payback - Swole Cinema

Episode Transcript
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Speaker 1 (00:05):
What's up? Out of money?

Speaker 2 (00:07):
It's swoll Cinema coming back in your ear holes. I'm
here with Mark, what's up?

Speaker 1 (00:13):
And I am Ryan. How is everybody doing?

Speaker 2 (00:15):
It's been two long, probably over two weeks that you
were just missing us out there, right. I know you do.

Speaker 1 (00:22):
I know because some people have messaged me. Hey, here
we go. Willie from the UK, what's up, dude? And
he enjoyed our last episode and said Tangling Cash would
be seriously fun for us to talk about. Yeah, I've
thought about it.

Speaker 2 (00:38):
I didn't before because it was we are getting to
that point where buying movie or running movies every week,
and I was like, hey, Tangling Cas should be great. Shit,
it's like five bucks whatever, which is silly to laugh
about five bucks every two weeks. But at the same time, Oh,
let's go to before let's get that to be sponsors. See.

Speaker 1 (00:56):
Eric Brandon also recommended that movie for us. So I
feel like it's going to come around soon.

Speaker 2 (01:03):
Oh yeah, cause it depends on Tube because we like
appreciate it. No, yeah, like, but so this week we
got the Mel Gibson new to the show. Mel Gibson
in Payback nineteen ninety nine. I believe it was right
supposed to be ninety eight got delayed to ninety nine.
Little known fact. Yeah, I'm just curious. So this was

(01:28):
on I watched it on Prime. I went on Amazon,
p it's everywhere for free. It's on Tuby, it's on Prime,
it's on Peacock.

Speaker 1 (01:34):
See, I'm curious what version you watched, because there's two
versions out there. I saw that.

Speaker 2 (01:39):
No, I got the theatrical one. I but I was intrigued,
like when I was trying to read up and read
a little bit about it, and I saw there's an
alternate ending, and I, oh shit, I watched the director's cut.
Oh so you did you watch it before or is
this your first time? Uh no, I saw this a
long time ago. Great, yeah, so I I couldn't remember
really any of the movie. Oh so I watched the

(02:02):
director's cut. Oh man, looked up. But I scrubbed back.
They had both versions on Prime, So I scrubbed back
through the other other version. Just see you the difference.
And I noticed a couple of things. It's like, apparently
the entire like third act is all very completely different
and reshot one.

Speaker 1 (02:19):
Uh no, right, the theatrical version had thirty reshot yeah.
I mean yeah, yeah. It also a shitty blue tint
to it. Hated it the director's cut had and I
was a little bit more vibrant. Oh I loved it.

Speaker 2 (02:32):
You like that. So one of the reasons, like, one
of the things I love about this movie is it's
it's a throwback to that, like almost like Dick Tracy
crime noir kind.

Speaker 1 (02:42):
Of yeahir, the kind of thing.

Speaker 2 (02:45):
And as I watched it, uh even before, but going
back and watching it again, I went it almost seems
like they they made they hit like the they bumped
up the gray tone to it a little bit or
something to kind of like and they did actually not
they didn't bump up the gray, but apparently they put
like a bleached filter, so it was washed out bleach bypass.
I guess it's called Yeah.

Speaker 1 (03:08):
Fight Club is famous for that look seven that same
director does that. Yeah.

Speaker 2 (03:13):
So but apparently the director that's listed in there that
they he shot, he the director's cut was his ending,
so that he got fired apparently right before it came out,
so he wanted to shoot it in black and white. Oh,
so they that was the cord. They were like, no,
we're not doing a black and white movie. Which even
though that would have been too much for me. I

(03:33):
think black and white.

Speaker 1 (03:35):
I get it because all the music was that very
you know, throwback music to like the style of films.

Speaker 2 (03:41):
Yeah, so he wanted to do black and white and
they're like, no, we're going to do that, and I
guess the compromise was kind of like, all right, we'll
bleach it out to make it look a little grittier,
grainier in that shot.

Speaker 1 (03:49):
It's funny when he did so. He he did the
director's cut the guy who was fired, right, and then
he he restored it and had it more vibrant and
uh colorful. Came out in two thousand and five, right,
and I read this cuts, So maybe he was like,
oh that bleach bypass trends over. Yeah.

Speaker 2 (04:07):
I don't know, yeah, because I read that too, and
I was like, someone, I didn't read that that, but
I saw someone said I like the director's cut more,
you know, it was more vibrant, colorful and everything else,
And I went, well, that's weird. If he wanted to
go black and white and then he made end up
making directors cut more colorful, like that is weird.

Speaker 1 (04:23):
Well, we already lost the battle one time.

Speaker 2 (04:25):
Maybe on the drug. Yeah, maybe he's just like I
don't feel like paying for the the extra edits and like, see,
like one of the biggest things, and I maybe we'll
figure it out as we discuss it.

Speaker 1 (04:37):
And I was looking at the action and everything, like, uh,
so they list Chris Chris Tofferson, and here is Bronson
in the director's cut the one I watched. He's not
even he's not in at all. And Bronson is not
in it, just a voice on the phone that and
I'm like, I thought that was kind of cool. But
I had to go and h look at the other

(04:58):
version quick just to see that they would cut the
Bronson Chris Christofferson on the talking on the phone and
then then had the voiceover. So I'm assuming you saw
that version.

Speaker 2 (05:08):
Yes, yeah, that was the Yeah. I never saw the
theatrical version, which I went this. I didn't even think
about it. Whenever I picked the movie, I was like, yeah,
this played right up Breston Peace, Chris Chostofferson, man like
he just passed away.

Speaker 1 (05:21):
Shout out to that guy. Man he was.

Speaker 2 (05:23):
He was in more things than I remember, like Blade
and Blade Blade. Yeah, he was you know, you always
just remember, you know, Country singer. He was a high
you know, one of the highwaymen and all that stuff.
But yeah, he was in some good films. Yeah, but yeah,
Like that's so I saw that he they fired the director,
They took it the ending in a different direction, and

(05:43):
then completely added the like Chris Choerstofson walks on like
a couple of weeks towards the end of the film,
and they shoot all these parts with him, just add
this extra character.

Speaker 1 (05:52):
So bizarre too, right, that's a big switch from the.

Speaker 2 (05:57):
Like I guess the.

Speaker 1 (05:58):
Writer, uh was at the studio, had some of the
scriptures hand mel Gibson asked him what it is, and
he let him read like a little bit and he
liked it, and then he said, yeah, if you finish it,
like maybe I'll be in it.

Speaker 2 (06:13):
So I'm like for him to really dig it. And
then the guy who wrote it and was directing it
got fired and m mel Gris Gibson reshot like thirty
percent of it. It's kind of like that what happened there, guys? Yeah,
And apparently they I don't know if you read or not.
They fired the director like two weeks before he won
the Emmy for l a Confidential well.

Speaker 1 (06:34):
They fired him two days after he won the Oscar.
Oh yeah, wore that yeah for screenplay. Yeah, so it's
like bad timing, guys, But you think that I was
reading a little thing a comedy it made that he thought,
you know, winning an Oscar, right, yeah, good Now they
still fired him.

Speaker 2 (06:53):
Yeah, because that was that was Mel Gibson's production team, right,
like the Icon or whatever it was that that company. Okay,
so I forget what I forget off the top of
my head which film they met on, like while they're shooting,
and he read descriptions like if you can finish it,
if you can start shooting in twelve weeks, I will
make My production company will pay for it, like we'll
produce this movie.

Speaker 1 (07:12):
And I was like, man, that is.

Speaker 2 (07:13):
A big power play, right, like to yeah, get this guy,
like bring him on quick. He makes all these things,
and then right before it ends, you're like, yeah, like
the way this is playing.

Speaker 1 (07:21):
Out, which is strange because you think they'd won on
the poster written and directed by Oscar Wad. Yeah, so
and so, but maybe it was kind of like like
no gifts, is I know it's gonna upstairs me? Yeah?
Well it was.

Speaker 2 (07:35):
It could have been, well, we can talk about the
ordinatings later, but ye.

Speaker 1 (07:41):
Could because I had a completely different movie than you did.
Apparently same movie. We watch two different versions, but I
tried to read like about what got cut what? And
I'm glad I only ever saw a Theatric version. I
think he made a big I movement on it. I
can't wait because I the director. This guy was also

(08:01):
U shorter. Yeah, oh yeah, that's when I was looking
like I'm gonna take the shorter one. Plus he said
director Scotts. I was like, of course you watched it. Yeah,
you want to see what the director's true vision was.

Speaker 2 (08:13):
He just cut out that fluff, right, yeah, sometimes you
don't need that fluff.

Speaker 1 (08:18):
Yeah.

Speaker 2 (08:18):
Then we've watched many multiple movies on this podcast or
we're like, it could have been about twenty minutes shorter.

Speaker 1 (08:24):
This Steven Sagall movie was actually should have been ten
minutes only should be it.

Speaker 2 (08:28):
Should have been as short because that's how the car shorter.
His breath is when he walks up and fight his stuff.

Speaker 1 (08:35):
Cardio.

Speaker 2 (08:35):
The Cardio of Stephen Sagall is about ten minutes, ten
minute movie.

Speaker 1 (08:38):
Dude, I just totally watched like like a VHS, like
imagine if he made like a workout video. How awesome
would be to watch it now if you could find
like a VHS copy of you know, sweating with the cigal.

Speaker 2 (08:53):
Only if it was just like the description Thom Sagera
gives in his stand up and sometimes yeah, you kick
him like this, sometimes their throats way down there.

Speaker 1 (09:06):
Yeah. So you start out this movie.

Speaker 2 (09:09):
Uh, and I like, they do a really good like
it's funny because of me, because they introduce you really quickly, like, hey,
this is the main character. You know you're going to
cheer for him at some point, but they do a
great job of setting him up as a dick.

Speaker 1 (09:22):
Yeah he is. He's a bad guy, Yeah he is.

Speaker 2 (09:24):
He's like, legit, one of the early anti hero guys
of this genre. Like that you realize, oh, I'm gonna
like this guy. But man, he like when you rewatch
those first like five ten minutes, he's a dick. He's
like he's an asshole, He's like he's a thief.

Speaker 1 (09:38):
Now, the first five ten minutes for you was different
than for me. I can I know this because I
looked at it briefly at the beginning. But the director's
cut starts with some like some music, and he's just
kind of walking across the bridge. We're near the subway.
Then he comes into town and then that's where he

(10:00):
starts to do things where he gets a suit, he
gets some money.

Speaker 2 (10:02):
Yeah.

Speaker 1 (10:05):
I think the version you watch starts with where he
gets shot, or at least he's getting fixed. He's getting
his host fixed. Yeah.

Speaker 2 (10:12):
The opening scene is the shady back alley doctor who's
drinking probably a triple shot of whiskey, all in like
two gulps.

Speaker 1 (10:20):
And I like starting with that that that new ar music,
don't know anything about him, and then through storytelling, eventually
we get to exactly what happened. So I thought that
was interesting to me anyway watching the director's cut, that
we're introduced to the character, but we don't know why exactly,

(10:42):
and he wants his money.

Speaker 2 (10:44):
And so I think a big different, big difference in
the in the movies from what I read, was that
your version didn't have the voiceovers. No voiceovers, Yeah, and
that's one of those things I loved about. It's like
that straight up into active Yeah, like war trademark. That's
one of the things. Yeah, really made it fit that

(11:05):
that genre where he it was a voiceover where you
know he's talking like I had to do this and yeah,
still all right, well that does sound kind of interesting, No,
I mean I, like I said, I watched this movie before,
like a long time ago, and I really enjoyed it,
and that's why that's why I picked it. But yeah,
like I might go watch the director's cut just to

(11:26):
see the difference. Now that's fresh in my money in
the shorter story of my life. But yeah, I guess so,
yeah they give That's why I heard they gave a
little bit more of a background at the beginning. Because honestly,
this movie, like even when I watched it before and
watching it again, I felt like it was the second
movie in a trilogy. Like they could easily have made

(11:48):
a movie setting up all this and.

Speaker 1 (11:51):
Then it gets gunned down at the end.

Speaker 2 (11:53):
Yeah, he gets gunned out the end. Then the second
one picks up. Oh, his best buddy turned on him
last second, White kill Bill, but one of two, Yeah,
like that would have been actually really fun and even
and even at the end, well, I know you're the
director's kind of slightly differently, but I can't wait to
find out.

Speaker 1 (12:11):
But like I feel like it could be.

Speaker 2 (12:13):
It could have been the setup for a third then
you know, like it really feels like it's the middle
of a trilogy to me, just the way it starts
ends everything.

Speaker 1 (12:21):
Let's get to what was the same? I think that
still like, in essence, the stories are the same. If
you watch you the one, you got the same story,
it's totally different. But so mel Gibson is a bad guy.
He's working with another guy who's a real dick. Oh yeah,
but a guy. He's talking about a heist. It's a

(12:43):
h and there's times that it's a heist movie too
at times. Everything I kind of liked a lot of
the vibe. But what he tells them, like they care
every time this week whatever they have like three hundred thousand.

Speaker 2 (12:57):
Dollars this Chinese company like what there's like a gambling
parlor or something. They they launder their money and it's
three hundred to half a million every every couple days
or whatever, and.

Speaker 1 (13:09):
So they're they're staking them a little bit. But mel
Gibson's like when they drive by, he's like, did you
notice something? They're not wearing seatbelts. And then the whole
gist of the heist is he's got a Camaro yeah,
strapped in he puts in a mouthpiece.

Speaker 2 (13:22):
I'm so sad to see that old muscle car whatever.
It's like ah man, like, I mean, I get it, but.

Speaker 1 (13:26):
It smashes into these guys and it takes their money.

Speaker 2 (13:31):
Right, and it's like and as much as in the
version I watched, they did this great job of showing you,
like him just being a petty dick and they're stealing,
doing all the stuff to dick shady to get money
and get us you know, get a get his feet
back under him. They do just an equal job of
showing you just how much of a douchebag that other
guy is.

Speaker 1 (13:49):
Oh, the other guy's like you, you don't root.

Speaker 2 (13:51):
For him a second in this movie, Like you immediately know,
like this guy's an asshole, Like.

Speaker 1 (13:55):
Yeah, And but they do pull the heist off, and
the asshole was his name. Vin val Vow. Immediately is
already set up a double cross with Parker's wife Parker
Porter Porter's wife, and I guess she's just mad because
a foul found a picture with him and another girl,
which completely out of context. I could see where she's like,

(14:17):
who the fuck is this? But it's out of context? Uh,
And you think most people would ask simple questions. No,
she size with that guy and she's right in the back.

Speaker 2 (14:25):
Yeah, doesn't doesn't confront him about it, just immediately deciding up,
I'm putting two in his back. You think she'd be like, hey,
who was this person texting you? And then he's explained.

Speaker 1 (14:34):
It as she was like, no, I'm just gonna shoot
him in the back. There's a photo with him and
another girl. He must be cheating on me, right extreme
they look they look way too happy to just be friends.
And I got I guess it was there some insinuate,
insinuation that Vow and her might have hooked up after that.

Speaker 2 (14:54):
Because she was just I guess, yeah, I don't know,
like I mean, you assume something the and.

Speaker 1 (15:00):
It's only one hundred and forty thousand dollars in the case,
and then that means uh, porters half of seventy. But
he gets shot in the back, double crossed, and val
makes the biggest mistake, an amateur, always amateur, fucking amateurs.
He didn't double tap.

Speaker 2 (15:18):
First, he monologues, yeah, and then he doesn't double tap,
leaves him left for dead. They famously left for dead.

Speaker 1 (15:25):
You know, learned anything from the movie Zambielan, he always
double tack. Make sure.

Speaker 2 (15:31):
Yeah you learned in zombie Land you learn you double
tap and the Incredibles you learned the never monologue if
you're the bad guy, and he was over the top
of times, but it kind of worked that val Oh yeah,
he's a great he's a real deck.

Speaker 1 (15:44):
Yeah.

Speaker 2 (15:45):
Yeah, so that all that was still the same, right,
But I think I think the introduction, right, there is
more details in the because you got the beginning where
he was getting the bullets removed, so he're like, well,
what the fuck happened this guy?

Speaker 1 (15:58):
Yeah, I just got to flash back when he met
up with his well I guess still his wife, not
his ex wife, right, yeah, and.

Speaker 2 (16:06):
Then when he because she was like a crackhead, yeah,
heroin addict paranatic either that or she turned into one
after she killed him. Yeah I thought she killed him.

Speaker 1 (16:15):
Yeah, because he finds her, gets in her house. But
I love when her dealer shows up. I mean after
they have a fight. I mean, oh, in my version,
he's throwing her around the kitchen.

Speaker 2 (16:26):
Oh no, yeah, that's that got cut. Like so in
the theatric release, he shows up to the apartment and
we follows her in. She he can tell like she's
just strung out, goes in the apartment.

Speaker 1 (16:38):
He follows her in.

Speaker 2 (16:41):
Like he kicks the door up and she gets hit
by the door and gets knocked against the wall, and
he's like looking around and see if there's another guy there.
There isn't, and he's like, basically it made the the
theatric made him very as much as it's like, hey,
he's the dick asshole, but then you're like, oh, he's
a petty thief, but at the same time still not
a completely terrible person. Like so they cut out, like

(17:01):
they didn't have a fight like that, he didn't beat
her around, so the door knocked her out. Now she
was like just laying on the floor. Then she's like
and then she realizes he's like, oh, what are you
going to do? Kill me?

Speaker 1 (17:10):
And he's like that still says that, but then there's
a kitchen scene where she's still like about you know,
your whore, tries to attack him and he throws her
around the kitchen and apparently the actress broke ribs. Oh god,
but she was I saw a quote she said she
was having like so much fun, you know, doing her stunts.
And it was awesome, but they just like, maybe one

(17:32):
take too many, right, So yeah, so that was completely
removed from the.

Speaker 2 (17:36):
Theatrical Okay, yeah, it's pretty intense. I don't know if
that's good or bad.

Speaker 1 (17:42):
Like it was still showing that he's still a bad guy, right,
but she's not that great, but he's he's still a
bad guy.

Speaker 2 (17:50):
He I wouldn't say, he'd I think taking that out like,
I don't. I kind of think the character should be
showing in a light where he's a bad guy. He's
got a hard he's a bad Oh. No, yeah, he's
definitely a bad guy. But I think it is that's.

Speaker 1 (18:05):
Why he had no problem his wife around the kitchen, right,
because he's a piece of shit, right, No, And I
think he's the lesser.

Speaker 2 (18:16):
And I think that well, we all know, like as
much as a good bad like a good, sometimes good
doesn't win. We all know how that makes a great
ending sometimes, but if you're trying to put it out
to make money, that's not the way to go.

Speaker 1 (18:28):
We all know that, Like, it could be the best
ending in.

Speaker 2 (18:30):
The world, but the audience will reject it because they
want good to triumph. And I think that's where this
kind of played into it as like he would have
been It would have been very unforgettable, even for people
that realize they're in a world of ship. If he
was beaten around a woman, no matter what the case.
You know.

Speaker 1 (18:45):
Now in the theatrical version, did the drug dealers show
up the skinny skinny kid? Yeah, you know, and then
mel Gibson proceeded to beat the ship out of him.

Speaker 2 (18:58):
Not too bad, ripped out his nose ring, he like
kind of shoved him up against the punched him.

Speaker 1 (19:03):
If you oh, no, he did he made in this
version he made him turn around. Yeah yeah, and he
was just almost like a palm palm. He'll strike to
his kidneys. Oh ship. A ton of times are like.

Speaker 2 (19:13):
Oh my god, yeah that he did do that forgot.
He definitely like gave him some solid kidney shots. And
I'm sitting there, I was like, I've taken a kidney shot.
They're not fun.

Speaker 1 (19:23):
Yeah it was, but I thought, like the scene itself
look brutal, like yeah, all right, because then they never
it's not anything it ever gets discussed. But in that moment,
because I think he's in his boxers or his shirts off, shirts,
shirts off, so you could see uh the marine us
MC K yeah on his arm us what is it?

Speaker 2 (19:46):
U s M C U s MC yeah. So you
know you kind of after the beating, he laid into
that guy so quickly, so viciously.

Speaker 1 (19:54):
I mean, so this guy has this guy has even
more of a backstory, like what did he do in
the Marines?

Speaker 2 (20:01):
What I did? You know? Find it interesting that they
they put that on his arm, but they never really
delved into it all. It was just like, hey, here's
a subtle hint that this guy isn't a pushover. You know,
he's a he's a tough guy. He's gonna up yeah.

Speaker 1 (20:14):
Oh yeah.

Speaker 2 (20:15):
The house I was watching and uh Rachel was sitting
on the couch next to me, and I was like,
holy ship, like those four like blows he just crushed into.

Speaker 1 (20:23):
Its fast and brutal and all to the Kidney's like damn.
And she pee blood just watching it. She said.

Speaker 2 (20:29):
She goes she works for, you know, a gastrneurologist, so
she's like in that world, she's like, oh yeah, he's
gone to pee blood for a long time.

Speaker 1 (20:40):
Yeah, everybody. They topped it off by pulling his nose
ring out. Yeah.

Speaker 2 (20:44):
I did love that about too, and it fit that
genre to where everybody acts like a tough guy, I'm
not gonna talk. I'm not gonna talk, and then just
gets you get to ship me out everything.

Speaker 1 (20:53):
Everybody talks, you know.

Speaker 2 (20:55):
Everybody this movie talked said, but everybody was I can't, man,
I can't tell you. They'll kill me.

Speaker 1 (21:02):
They actually told him.

Speaker 2 (21:03):
Yeah, that little uh like after he gets the drugs
and then that that next scene where he he's find
like the he the dirty cops are introduced. I guess
I'm saying, I'm talking it like if we watched the
same movie, But I want to say.

Speaker 1 (21:16):
Like, so he is still the same. I think, I think,
I think I think the first wait to find out
the ending of what you watched, right, so.

Speaker 2 (21:23):
I think the first, like you said, like thirty percent,
so the first like sixty some percent is probably pretty
much the same. So like after that he meets up
with those dirty cops. And I've seen him in a
lot of things that I'll never remember his name, but
the little I assumed Jewish.

Speaker 1 (21:37):
Guy, Yeah, I know he's talking about He's like.

Speaker 2 (21:40):
He was there and like that guy, he's like the.

Speaker 1 (21:43):
Next He's the next Lincoln. The chain, David Paymer p
A Y M E R. He was a Stegman. Yeah, Stegman.

Speaker 2 (21:49):
So he's always like he was just that next link
in the chain, and he's that guy when when he
walks into the room and he's like, I'm looking for Stegman,
you immediately know it's him, right because he's the least
intimidated guy. And then it was such like such a stereotype,
but it was so good, like that guy plays with
the roles that he does get very well.

Speaker 1 (22:08):
And uh when he does, because you know, the drudge
dealer comes over, uh to his wife's place, he beats
the ship of that guy, which leads him to Stegman,
which then introduces us to uh two crooked cops, one
being Bill Duke who was in a Predator. Oh yeah, yeah, yeah.

Speaker 2 (22:30):
He was the dude.

Speaker 1 (22:31):
Dry shaving in the jungle. I'm using my sweats lube.
That seem that people have memes and stuff about it,
Like I'm less concerned about the prayer than that, and
I am about the one guy dry shaving for fun,
because wasn't he doing that as a like when they

(22:52):
were mealing the ship, he break it almost like is
his way to relax. This calms me down. I hate stubble.
Were some predators and then there uh one of the
other gang. Uh the Asian gang. I recognized one. Uh
one of the guys was just probably a stunt guy.
But so he throw kicks from best of the best.

Speaker 2 (23:14):
Yeah, the nineties action films all time, all try together. Yeah,
I forgot like the Asian guys they ate like the
I don't know, I don't say I think they were Chinese.
I don't think it was Ikuza, but like I kind
of forgot about that because they they played two quick
pivotal parts.

Speaker 1 (23:31):
But yeah, like they were otherwise. So I'm pretty sure.
Like in the version I watched, Val didn't he just
called him Asian, didn't he? Yeah, they were. They were
almost nondescript. I think we need that, we need the
reason that for you to get the money. So we
hit this gang. Yeah yeah, but they weren't. Yeah, they
weren't Cuza. I don't know they were a Chinese MAFFI.

(23:53):
I think there was just a very nondescript another gang
in the city. Yeah, they were just the vehicle. Yeah,
we we just need to move the story forward.

Speaker 2 (24:05):
Oh yeah, so and but that leads us to that
other part too, where possibly possibly the first movie I've
seen Lucy Lewin like right, Lucy, I mean Lucy still
an attractive lady, but in that movie she was just
she was a nut, right, just just the person like well,

(24:27):
Val obviously the biggest piece of ship, and then you're
like then you're like, oh, man, like he's definitely piece
of shit because that's the hooker he wants because she
gets off on like physical violence against her and inflicting it,
and so does he. So hold those scenes were like
that scene where she's in the room with him a
couple of times and they're just like beating the ship
out of each other.

Speaker 1 (24:46):
It's just so crazy. Yeah, well, I like when Porter
comes in and she's getting excited.

Speaker 2 (24:54):
Oh yeah, because he's because he's putting a gun at
Val and she's he's g and then Porter lets her
go to work on him. Oh yeah, lets him kick
his ass a little bit. Yeah, nope, letter work. I
love that he's like hits, he cracks her back, and
he's like let her work.

Speaker 1 (25:10):
And then she's so excited. He's like when when Vow's down, yeah,
and he's about to leave, Like what a corny ass?
Line he's in the version I saw when she looked
at him like all seductive, Blake like, I got a
couple of minutes. Yeah, good, then go boil an egg.

Speaker 2 (25:26):
I'm like, oh, it's it's corny. But I remember that
line to this day. That was that was one of
my favorite lines of the movie. So stupid, but I
loved it. Really got a couple of minutes. Man, I
just felt like I felt like instantly like oh woman
in Paris for oh no, yeah, it's not great, Like.

Speaker 1 (25:41):
It was like if it had been Arnold and he
would have been like you then go builing egg. Yeah,
you do it better? No, no, you do it redeem
my terrible. I don't know if I can on Yeah,
I can't do it on the spot.

Speaker 2 (25:56):
I don't know how Arnold would say, go boiling egg
out you.

Speaker 1 (25:58):
I don't know, right, like that's something Arnold would say.
So when Mel said it, I'm like.

Speaker 2 (26:03):
Oh, yeah, what's like a it's a very eighties or
eighties nineties action movie bad liner.

Speaker 1 (26:09):
You know anybody. He didn't deliver, like very nonchalant. I
don't give a fuck. Yeah, yeah, I got shit to do.
This was only one stop on my journey right for
seventy grand I'm gonna see him the.

Speaker 2 (26:21):
Noon whatever he's supposed to bring this money, which leads
to the first point where you go like, man, this
porter dude is like he's calculated, he's smart, he's badass,
you know, he's tough everything. But then the next scene
you're like, or at least like one of the following scenes,
you're like, Okay, he's not that smart because he tells about, okay,
to you have till tomorrow at noon, meet me at

(26:42):
this phone booth. I like not remembering, but in my
head I'd go like, Okay, I'm going to tell you
to meet me at this phone booth, and then I'm
gonna call you from somewhere and that phone right and
tell you to meet me somewhere else, like in two minutes,
like freaking speed. Yeah.

Speaker 1 (26:54):
Yeah, but no, he just tells him.

Speaker 2 (26:57):
He tells a guy that's part of the criminal Well
they kept calling it what he kept calling it the syndicate,
and there like kept saying, no, it's the outfit. Outfit.

Speaker 1 (27:04):
Yeah, I look, it was so.

Speaker 2 (27:05):
Dumb, but I was like, I don't even why it's
a joke in this movie, but whatever, uh, but yeah,
he tells them meet him somewhere the next day at noon.
Of course he's gonna make plans, like and he just
strolls up with no backup, and here comes he like
the and Val calls the Chinese mob that they ripped
off years, you know, six months earlier, and here they
come flying around the car and ready to kill him.
Like yeah, it's just like, come on, man, you're you've

(27:28):
been so smart up until this point.

Speaker 1 (27:30):
And uh, yeah, they grabbed him, threw him on the car,
spread his legs, and they assuming the one guy with
the butterfly knife. I was gonna cut his nuts off
unless something. I think. We never got there because the
crooked cop showed up.

Speaker 2 (27:43):
Yeah, and then like for me, like they were completely unnecessary.
That was their biggest Their biggest point was the same
from that that Chinese mob. That was pretty much the
only thing they did. Yeah. And because he he did
kill Val right and uh and that cop hell, I
guess he held his gun when he went up, but

(28:05):
he got he managed to get the one dirty cop
to put his fingerprints on the gun.

Speaker 1 (28:09):
Yeah.

Speaker 2 (28:10):
Yeah, like I said, so they served a purpose, but
not Yeah, they didn't add too much to this whole story.
But yeah, they were like that, and that's that again
is the case where he was able to steal.

Speaker 1 (28:21):
The one caribello.

Speaker 2 (28:23):
Rosie they were they they were kind of roughing him
up and he was able to steal the one CoP's
badge and they did, and then he tricks the other
guy into holding his gun and getting his prints on it.

Speaker 1 (28:33):
I'm like, you're so calculated.

Speaker 2 (28:35):
Except for like two or three key moments where I'm like,
you just walk up with the most naive right mindset,
you know, like this.

Speaker 1 (28:43):
Is all gonna work. That's you saw.

Speaker 2 (28:47):
I don't know, and I don't think there's a subway.
Yeah we saw.

Speaker 1 (28:52):
We saw two different movies. Oh my gosh. Yeah.

Speaker 2 (28:57):
Yeah. So he gets he meets him up, they Chinese
moffy happens, cop happens, and then Foul follows him and
finds out, Oh he's he's, you know, uh, shacking up
with this with Rosie. This you know, this the hooker
that works for the for the outfit and you know
what that that scene was.

Speaker 1 (29:19):
It was weird.

Speaker 2 (29:19):
I would rather him just said like he like Porters
there and they start making out like they're going to
fuck again, and Porter's like driver pulls himself off for
I just don't know the reason why he pulled himself off,
Like why he's like, no, I can't do it, Like, dude,
your your wife just odd in the first act, like
you haven't, Like there's no, there's no reason not to
you did you already did it once?

Speaker 1 (29:41):
Why are you worried about doing it again? Your wife
shot you in the back. I think it's okay if
if you have sex with.

Speaker 2 (29:48):
Her, right, But I guess again that was just one
of those stupid things that they needed a reason to
get a way to get Vale into the room without him,
And then he starts roughing up Rosie and and I.

Speaker 1 (30:00):
Don't again in my version in the director's cut, because
Rosie had a dog she named Porter. It was like
a big pitfull maybe yeah, and uh she tells him
like he's like, where's Val. It's like get here, but
you see someone on the cover. But then the dog
comes out, it gets found, and then the motherfucker shoots him.

Speaker 2 (30:21):
Ye shoots The dog lives. At least in my version
of dog lives, they didn't die in yours. I never
saw the dog again.

Speaker 1 (30:32):
What the dog lives?

Speaker 2 (30:32):
Wait?

Speaker 1 (30:33):
Maybe it did? Oh shit, No, I.

Speaker 2 (30:35):
Mean the dog was like like it looked like he
shut well they did get it.

Speaker 1 (30:38):
Look it looked like it shot. He shot the dog
in the head.

Speaker 2 (30:41):
It did whenever, Like it was kind of like you
didn't really get a clean view of it, Like it
just showed him like bringing the gun around and pulling
the trigger. But no in the in the director's cut again,
because you know white, you know, violence against women and
violence against dogs, like no bigger sins, right, and so
the dog lives, but it's wrapped up like around its
mid section.

Speaker 1 (31:01):
Oh no, no, no, no, dog, dog didn't live. In
the director's cut. I was like so happy when Porter
killed Val, Like fuck that guy. Oh yeah, for so
many reasons.

Speaker 2 (31:13):
So he killed the dog.

Speaker 1 (31:14):
Yeah he just shot a dog.

Speaker 2 (31:15):
Yeah yeah, uh yeah, So damn I watched the wrong
fucking version again. What they this is, this is kind
of proven the point, right, like people don't want to
see the dog die, Like I mean, well, it's consequential
when you take it as you take it.

Speaker 1 (31:29):
When when Porter does get him, you're like, yeah, fucker right,
that's what happens. But there's still like a little bit
of like satisfaction. The guy who the piece of shade
got is is his come up? And yeah, oh yeah, yeah,
it's yeah.

Speaker 2 (31:43):
And and that's the funny part because they didn't reshoot
any of that scene, like to make like, oh, we
got to get Porter to the vet because you know,
they don't like doctor places. You know, they're like, wire's
a dog shot, Like they don't know, like did they
take him to the back alley doctor again, who was
done dropping whiskey on the dog to clean the wounds
and everything else.

Speaker 1 (32:02):
That's how you become joker, get the wrong back alley doctor.

Speaker 2 (32:06):
Yes, so they at one point then later like they
they show h m. Macarey and Porter of the big
bull mastiff Rottwiler or whatever that dog is in a
but yeah he's wrapped around like his mid section.

Speaker 1 (32:17):
Oh yeah, they just moved on. Yep.

Speaker 2 (32:19):
Oh yeah, I just moved on, which that's what I thought.
And I was like, oh crap, No, there's the dog.
That's weird because I was saying the same thing. I
was like, I don't think he was shot in the
mid section. I'm pretty sure he was shot in the head.
Oh yeah, he definitely made whenever he bru is bringing
his arm around. They didn't show it, but he's bringing
his arm around like, no, he was killing that dog. Yeah,

(32:39):
that's funny, that's an interesting difference. Yeah, yes, yeah, then
he what he gets info out of Vale and just
puts one in his head. Yes, great, it was, it was,
It was. It was great because Fowl is like, it
was hilarious. He's like, you know what, you're here, he
already he shot him twice and he's like, Jesus Christ,
you're you're going to take on the out You're fucking crazy,

(33:00):
but you know what, I want to fucking And it
was funny because in his mind he's he's turning and
he's gonna be fine because he's gonna help Porter, and
Porter is not gonna kill him. Now he's like every
ounce of information I can out of you, and then
I'm gonna kill you because you already tried to kill
me once and that was now you now you slapped
around my girl yep, and and in your version shot
the dog and killed.

Speaker 1 (33:21):
It, right, And you know what happens when you do that.
If you're in John Wicks world, you're fucked. Well, that's
and that's funny. I'm curious to see, like what all
was cut out? Because I heard a lot of the
fun action scenes were cut out of the third part
that made it more kind of John Wickie where he
just went fucking epe on people, like, you know, Porter,

(33:42):
really fucking clean house. Uh So so after that then
he gets who was Carter.

Speaker 2 (33:48):
Carter was next on the list. Then I think, after
foul was Carter. So you tell me what do you
know of Carter? Oh?

Speaker 1 (33:58):
Okay, yeah, William Devey.

Speaker 2 (34:00):
Uh.

Speaker 1 (34:01):
He goes to uh he gets in to get a
meeting with Carter, and then Carter.

Speaker 2 (34:08):
Uh.

Speaker 1 (34:08):
Carter gets Bronson on the phone and they're basic acting
like they're pretty nochals.

Speaker 2 (34:15):
I think, what are you gonna know? Yeah, what are
you gonna do? I do like that?

Speaker 1 (34:19):
Man? He tells Bronson like, man, I just want uh
my seventy gram blah blah blah. Gave a hundred and
thirty and he still gets pissed like it's not one
hundred and thirty, just seventy.

Speaker 2 (34:30):
No, it's not one hundred and forty. He's one seventy.

Speaker 1 (34:31):
Yeah. He's like, look here's how it's gonna go. This
is what I want her. I'm gonna put I'm gonna
put one in.

Speaker 2 (34:39):
Uh. And Carter's in Carter right now, to kill Carter.

Speaker 1 (34:42):
She's like, no, you won't because you have no idea
who you're messing with, something like that, right, and then
he shoots and she's like because in this one, it
wasn't Chris Christopherson. It was a female only on the
phone call Bronson. So we're only here and we never
saw that Parson. I ever saw that person. Okay, so
you know, he he shoots Carter, and I'm pretty sure

(35:06):
when Carter kind of dies, there's like foam coming up
out of his mind. Yeah, but I thought he said
something to Fect like.

Speaker 2 (35:11):
It's like you fucked up? Are you? Yeah?

Speaker 1 (35:13):
You just fucked up or something.

Speaker 2 (35:15):
So that is the first very very important piece of
the third act that's missing in that scene is well one.
I love that scene because he leaves his gun out
with the cops to get the prints, right, to get
the prints, because he's like, they're going to frisk me
because the cops are just I don't know what these
cops do. I don't think they really put in a
full forty every week because they're just following him constantly.

Speaker 1 (35:38):
And so he sees him there.

Speaker 2 (35:39):
And he's like, hey, he gives him his gun to
like because you know, I'm going to get their prints
on it.

Speaker 1 (35:43):
He's like, oh, they're going to frisk me.

Speaker 2 (35:44):
You mind holding onto this because he was going to
just stick it in the newspaper rack under a bunch
of newspapers and he's like, oh, he sees them, so
he gets him to hold onto it and he walks in.
The guy frisks him and he gets into the office
with Carter, and there was the doorman let him in,
and then there was.

Speaker 1 (35:59):
This big but oh guy like he could have taken
one of those guys.

Speaker 2 (36:02):
Are like, yeah, he can take that guy and just
comes in boom, right hands the big goon knocks him
out and then turns around and knocks the doorman out too,
And it was great because they he punched him really
hard because they were out for like five to ten minutes.
And then he picks up that when you're the one
big Goon's gun and has it there that he shoots
Carter with eventually. But so whenever they call Bronson, uh,

(36:27):
it's interrupted by this. I mean, you know it's foreshadowing,
so you know it's gone up coming to and play.
But so Carter calls Bronson. Bronson's on the other end
of the phone. He goes, hold on a second, Hey, Johnny,
come here son. Happy birthday, buddy, and he hands him
his thing and he opens it up and it's the
keys to a brand new Ferrari with an inscription on

(36:47):
the keychain, like, oh my god, Dad, is this the
is this the convertible?

Speaker 1 (36:51):
Yeah? Happy birthday son, Oh my god.

Speaker 2 (36:53):
He's like, and I got your front row tickets to
this boxing match in town at the Civic Arena or whatever.

Speaker 1 (36:57):
And he's like he's like, oh man, that's so odd.
So I love you, dad, blah blah blah blah.

Speaker 2 (37:01):
And he's like, all right, sorry about that, Carter. So
it's like a hilarious way to get this information that
we're gonna need into the storyline. And so he's like, oh,
sorry about that, Carter. All right, Bat and Nathan goeshay
and he shoots Carter. So now you know that Bronson
also has a son, nam Johnny, who's his twenty one birthday,
and now we know where he's gonna be. Which seems

(37:23):
like you don't think about it too hard the first
time you watched the movie, but then when you're watching
it again, you're like, yeah, that was a fun, weird,
just throwaway setup that you don't think about until it
becomes revelant relevant, reverent.

Speaker 1 (37:36):
I can't wait to find out how it comes relevant.

Speaker 2 (37:38):
Yeah, So there was no Johnny so did uh so
after Carter?

Speaker 1 (37:43):
Who was the other guy Kendrick or something? Yeah, the
guy in the white suit, Kendrick with the two guys
that had like briefcases. Yeah, got okay where he made
them hold up Okay, if they they drop it, I'm
shooting him or he shot the bo they were struggling
to hold it up. Yeah, and he the one guy
just a briefcase and the guy I think.

Speaker 2 (38:02):
The guy's like, what the fuck are shooting briefcases over
seventy thousand dollars or something? Are my suit costs more
than seventy thousand dollars?

Speaker 1 (38:09):
I love that part where there's two scenes and again
the whole time. I think that's when Bronson like gave
in on the Fil'm like, fine, oh my gosh, yeah,
we'll give you the damn money. We'll give you one
hundred and thirty or one undred and forty thousand. Ever,
he was like goddamn seventy And that's when he just
goes to the subway.

Speaker 2 (38:25):
Oh yeah, there's there's way more, like not way more,
but there's in between.

Speaker 1 (38:30):
But yeah, I love that.

Speaker 2 (38:31):
There's two parts of the uh there's two parts of
that scene or in the movie that that that scenes
one of them where he shoots the shoots the briefcase
and the guy looks at hims like, you, shit, you're
ruining my ex whatever thousand dollars looks and my every
thousand suits inside of me, Like that's just mean, Porter,
that's just mean. And there's two times in the movie

(38:53):
they say that, like that's just mean, Like, yeah, I
love that.

Speaker 1 (38:57):
You're like, yeah, this guy isn't a good guy.

Speaker 2 (38:59):
Looking here, and I am, yeah, like you have a
whole nother no wonder it was like eleven minutes longer.
There's a whole other more ship going down.

Speaker 1 (39:09):
It's and it's just.

Speaker 2 (39:11):
That the scene that you're missing, man, it's well that's hey. Uh,
the boss was a bigger character and providing a bigger climax.

Speaker 1 (39:23):
And the boss's son there's a boss's son torture scenes. Yeah,
they're not in the director's cut.

Speaker 2 (39:28):
Yeah, so after that, uh, well after that, yeah, he
it's funny because Stegman he he walks out of that
building and he gets he hails a cab and it's
Stegman and the uh Stegman's like front desk guy. Remember
the big black guy that was there and he beat
you know, Bloody's up.

Speaker 1 (39:46):
People liked him up.

Speaker 2 (39:47):
So it's that guy's driving a cab and Stegman's in
the back and he hails the cab. Stegman's sitting there
with the gun. I'm just running his mouth and you
just see it a mile away. But they, you know,
we get to that part. So the Chinese com they
shoot up you know that kills that, eliminates Stegman, eliminates
the black guy. Then you know, he shoots the Chinese up.

(40:08):
They take him and then so I don't know how
he got the subway. So after that, then they they
grab two guys come up behind porter hit him with
the billy club or whatever, and then they drag him.
Is that where they get to.

Speaker 1 (40:20):
The subway then, man, I'm not remembering that.

Speaker 2 (40:23):
Yeah. So after he he gets out of the taxi
as they shoot up Stegman and the black guy, and
he comes behind those guys and just starts unloading on
them and kills all them. And he's getting ready to
like Lucy Lou pops her head. She's the only Chinese person,
and they both pull the trigger and it's blank. You know,
it's out of AMMO. So he goes to walk away,

(40:45):
and just as he does, some dude comes up behind
with the black you know, with the blackjack or whatever
they call it, and just cracks him on top of
the head.

Speaker 1 (40:50):
Boom.

Speaker 2 (40:51):
He's out, and they drag him into a car and
he goes off. So what happened after he shot? Like
that scene a toy for you.

Speaker 1 (40:56):
I feel like the deal was made with Bronson. So
he's going to the subway for the pickup.

Speaker 2 (41:02):
What yeah, so the deal with so the deal like,
all right, well you talk me through the subway because
I don't have a subway, am I.

Speaker 1 (41:10):
So they were making a drop. A guy comes over.
Now he's he's in there and he's starting to pick out,
like all right, I'm seeing some things. The guy comes
over and he's like, all right, it's all in the
briefcase A hundred there's a hundred and thirty thousand dollars.
Like he's like, you stump bastards. I said seventy. I
think the town is open up. Uh. But as he
bends down to open because again I assumed he's like

(41:34):
take out you know this amount I said seventy. When
he bends down, there's another hitman behind him that shoots
Smell Gibson right in the chest. And the other guy
posps back up who he told the bend down, who's
also a bad guy. But between the two, between the
lady hitman and mel Grinson, they shoot the shit out
this other bad guy, he falls down, he ends up

(41:55):
killing her. But now he's all fucked up, right, And
I think then Maria Bell comes in, they get the
briefcase and they go away.

Speaker 2 (42:03):
All right, okay, Uh so we take a break and
I'll tell you minding. Yeah, I forgot. We haven't taken
a break because we were well just I'll.

Speaker 1 (42:10):
Just put a commercial on where I feel like, yeah,
we need a fresh beer too. We'll be right back
right and we're back and with that beer, we are back.

Speaker 2 (42:24):
Uh.

Speaker 1 (42:24):
So I forgot.

Speaker 2 (42:26):
And in the meantime, uh, he had so john my microphone.
So Johnny comes into play because they said they're on
the phone.

Speaker 1 (42:38):
And while he's talking to.

Speaker 2 (42:41):
Those guys, and he sets up this thing where he
knows that Johnny's at that night before he goes talk
to Kendrick actually and he says he he's said, he
well he has a very hot chick, Rosie Maria Bello
and Bella bellow whatever and she but anyway, but she's
a hooker, so she knews how to clean up.

Speaker 1 (42:59):
And be hot.

Speaker 2 (43:02):
So they getting this, so they getting a limo or
a car that's a small limo and they no so
they know where Johnny's gonna be, but they don't know
what he looks like because they only heard it on
the phone and so they but I don't know how
he gets into this arena, this sold out boxing event,
who I assume was is a hot ticket because he
got Johnny got front row tickets from Daddy. Then anyway,

(43:24):
it shows him like in one of like the the
tunnels that open up to the you know, the main arena,
and I don't know, they didn't really explain it, and
maybe it was just by chance, who knows. But all
of a sudden, like one of the video screens like
happy twenty first birthday, Johnny and Mel Gibson sitting there
with binoculars like looking around the ring, and all of
a sudden, naturally, Johnny stands up, like his buddy's like,

(43:47):
oh dude, and he stands up, he's like dodge me.

Speaker 1 (43:51):
Yeah, like high five and his bros.

Speaker 2 (43:53):
And so now like mel Gibson has a face to
put with Johnny. So he goes outside and he's he's
there with uh with Rosie. And when Johnny and his
buddies come out, I don't know how he signaled to
her whatever body. So she's there's like, hey, Johnny, I'm
your birthday present, and so.

Speaker 1 (44:16):
You know, and his buddy's like, holy shit, you know, because.

Speaker 2 (44:18):
Maria Bella is hot as fuck. So they're like holy shit.
And she's like come on, come on, big boy, like
it's I'm.

Speaker 1 (44:25):
Yours for the night. And they're like holy shit.

Speaker 2 (44:27):
No. So he you know, goes over, gets in the
car and she's like, you know, don't wait up. I
promise he won't be home before midnight. And so she's
making out with him the car and she like, after
like a couple of minutes, so she like slips a
handcuff on one hand and he'sa liked what She's like,
trust me, you know, I'm gonna be honest. The hot
chick does to me I'm probably not thinking twice about

(44:47):
it on my twenty first birthday when my dad it's
not out of the realm with questioning that my dad
would buy me a gorgeous hooker for my birthday. And
but she ends up you know it gets to one
on and then ties them to like the uh like
the grab handle, and then cuffs him to the grab
handle and just like SLINKs back over her side the
scene and he's like hello, She's like sh it was

(45:07):
just funny. And then the screen you know, the divider
comes down and Mel Gibson where he's like, just be cool, kid,
no one's going to get hurt.

Speaker 1 (45:14):
And they so they have leverage.

Speaker 2 (45:16):
They have Johnny Bronson's son for the meet up and
so so then flashback to her. He meets with Kendrick
all that stuff and gets knocked out. Next scene is
there in like an old bus station depot, it's not used,
it's that kind of area or like something, and he's
in a chair, handcuffed to a chair getting the fuck
beat out of him, you know, black and blue, bloodied

(45:38):
up all the stuff, and then Bronson arrives with his
goon and.

Speaker 1 (45:45):
It's one of the most like they Luckily.

Speaker 2 (45:47):
I'm so glad they don't show up, because it's it
would just be gruesome.

Speaker 1 (45:52):
Uh they show.

Speaker 2 (45:53):
Bronson comes up and says, I'm gonna give you one chance,
you know, or and if you tell me, I'll end it.

Speaker 1 (45:57):
And where's Johnny?

Speaker 2 (45:58):
And or I end it quickly, you know that whole
rigam roll. He said, Else, I'll spread it out over
three weeks. I'll give you a blood transfusion to keep
you alive, to keep torturing you. And he uh, he
ends up. You know, he won't talk. And the guy
punches him again, and he's like backs him off, and
he's like, nope, don't punch him again.

Speaker 1 (46:17):
He's like, I got this.

Speaker 2 (46:18):
And the guy just has this massive ball peen hammer
and it shows a picture of him sitting in his chair.
He's on the cement floor and he has no no
shoes on, and the guy it's like and he's like,
and you know what's happening then? And once he shows
the feet and this guy's a giant hammer. You know
what's happening. And he's like, so, what's it gonna be?
Porter and he goes, this is the line. This little

(46:41):
piggy went to market and he and the guy's like
and you and he's the guy does a great job
of being like a just a psychopath, the goon of
like he's enjoying the job, you know, and he just
rears up and you know, you just hear that. They
show the hammer coming down. They don't show his feet,
thank god, because I wouldn't even want to see the
makeup of that horrifying, right, but like it's just so gross,

(47:03):
like it's you can imagine how it just gross would be.

Speaker 1 (47:06):
And he just boom hits it, you know, yep.

Speaker 2 (47:09):
Whatever, and uh he's like, he's like, well, and he's
like he doesn't say anything, boom hits it again. He's like, well,
it's starting to look like gross beef. He's like, there's
eight left. What is gonna what's it gonna be? And

(47:30):
uh he goes all right, all right, all right, all right.

Speaker 1 (47:33):
It's like i'll tell you it's this apartment.

Speaker 2 (47:36):
So he's like, sorry if I don't trust you, but
you know, we're taking you along. And so they throw
him in the trunk of this car and they go
to this address, he says, where they're holding Johnny, And
oh man, you're like, this is the other point that
didn't think about that wasn't important actually until this part. Uh.
So he had rented a sleazy hotel room whenever he
first came back into town, but he ended up not

(47:57):
staying in it because Rosie was there. And uh once
he pulled Rosie out, they went to this room and
all of a sudden, the phone started ring and he's like,
no one knows I'm here, No one has this number.
And he realized like, oh, there's a bomb in this room,
like triggered to the phone. So he tells them that
address to go, like, hey, that's where I'm holding Johnny

(48:19):
because he wasn't staying there, because you know why I
would you stay there when someone knows you're there.

Speaker 1 (48:23):
So he said, that's why I'm holding Johnny.

Speaker 2 (48:25):
And so they do this great cut scene of showing
Rosie with Johnny in a hotel room, you know, and
he you don't know where he's you don't know the
address place. So they're just driving to this place, cut
back and forth between Rosie going come on, porter, come on, porter,
and he's you know, they're getting there, they're getting there.

Speaker 1 (48:41):
He's in the Meanwhile, he's in.

Speaker 2 (48:42):
The trunk like trying to get out of the ropes
and untied and everything, and they stop and they they
get to the address and he gets himself free as
there and it's this intense scene of you know, he's like,
you see, he's trying to get out to warn Rosie
that they're on their way. She's got to get out,
and he's sticks the tire arm through the back seat

(49:03):
the leather and he's like ripping his way through, ripping
his way through, and kind of one of the most unbelievable,
but like, I love it, love the movies, so I
just I just pretend in my head it works.

Speaker 1 (49:14):
Is the will the whole movie? Like they said it.

Speaker 2 (49:16):
All the phones are rotary in the in the movie,
which was just like, but there are cell phones, you know,
like the cars had cell phones. So he's ripping his
way through and he finds the self like the rotary
phone in the car and he boom boom boom dialing
it as they bust into the room, and he realized like, oh,
it's not where Rosie's at with Johnny. It's this hotel room.

(49:37):
This is this shitty hotel room that no one was in,
and they go, what the fuck, And all of a
sudden the phone starts ringing because he's in the car
that he broke through and got to the phone.

Speaker 1 (49:46):
Bronson picks up the phone.

Speaker 2 (49:48):
Boom, all the bad guys are dead, but he's you know.
So he gets in the car, then drives. Rosie picks
her up, and he's beat the fuck up.

Speaker 1 (49:58):
But he's She's like, okay, yep, I'm.

Speaker 2 (50:01):
Fine, this dry baby, and they drive away with their
one hundred and forty grand Huh wow, that's so much different. Yeah, yeah,
and I and the the theatric cut is eleven minutes longer.
I felt like it took you eleven minutes to give
me the explanation of the ending, right, because that's a

(50:23):
lot of shit they packed in. It's to the different version,
and it was it was film well. It was like
they did the suspense well, like everything was done very
well for that extra eleven minutes. And so I said,
I think the ending that they that little extra they
packed in it was very awesome. And that's that scene
where they're hammering his toes is just so.

Speaker 1 (50:41):
I feel like the director's cut was like I enjoyed
watching it. I thought mel Gibson was good, but it
it just he just worked his way up the chain
to he got what he wanted, right even though they
tried to doublecross him, then he still won with that.
That's like a whole extra level of the bag. I mean, like,

(51:02):
fuck you right, we're definitely not losing today. Yeah.

Speaker 2 (51:08):
Interesting, wow, Yeah, it's like yeah, like I said, it was,
I I want to watch the director's cut, but at
the same time, and like, I feel like the theatric
cut was the move. Like firing that guy and changing
that ending and adding those other extra elements was probably
the move, you know, like that was.

Speaker 1 (51:24):
It was very entertaining and it sounds a little bit
more vicious but exciting.

Speaker 2 (51:29):
Yeah.

Speaker 1 (51:29):
Well, I just the sadway, which is a good shootout
and you'll get again, like their whole tagline and the
posters like get ready to cheer for the bad guy. Yeah,
so you know you kind of wanted him to get
even though the movie could have been over quick because
the audience could be like, yeah, fuck that guy, but
I'm not cheering for him to get anything.

Speaker 2 (51:49):
He's piece of shit, right, And that's why I think
they cut out the beating of his wife and shooting
the dog, because I mean that part had to do
a vow, but like the being a wife, like, you're
getting more on your side if he realized, like, no,
he didn't beat shut out his way.

Speaker 1 (52:03):
He's a a criminal with a heart of gold. But
when you see the other version, you're like, oh, no,
he's a bad guy. Yeah, well he's just not as
bad as the rest of him, or in my version
he did depends like he's just as bad. Yeah, they
just had him to double cross him, and he wants

(52:25):
his fucking money, and when he gets his money, he'll
go back to being just to just garbage.

Speaker 2 (52:31):
Again. What got me was the uh was when I
what I read about that ending was it was pretty
much a situation of you didn't know if he was
going to live or die at the end of it,
like he was like I read like, oh he started
dying and Rosie comes and slaps hbody like gets a
back conscious a gain or something. So it was kind
of like more doubt of whether he was going to
survive his injuries or not, whereas this one is he

(52:53):
was beat the ship and had two fucking roast beef toes.

Speaker 1 (52:56):
But he was gonna make it.

Speaker 2 (52:57):
You know, He's kind of never gonna run a mile.
The same way a four minute miles out of the question.

Speaker 1 (53:06):
It sounds like, I mean, I did think the director's
cut was good because I didn't know all the changes. Yeah,
and I thought it was fine. I thought that at
least the version I watched it moved along really well,
and mel Gibson was pretty badass in it.

Speaker 2 (53:21):
Yeah, I mean, because I was thinking about he may
kind of be looking a joke about, like, man, if
all the action stars we could have in action movies
we get to pick, you picked like a Mel Gibson.
And then I realized, like, you motherfucker was he was
an action star, all the leath of weapons, Like, yeah,

(53:42):
he guess he really is.

Speaker 1 (53:43):
I just forgot about him. Yeah, you start when you
start thinking about eighties and nineties. I go to a
lot of schwartzennegram st alone, and I forgot about all
the lethal weapons. Uh, the one where he was William Wallace, Braveheart,
Brave Heart.

Speaker 2 (53:59):
He was in so many he was, he was. He
was one of the best box office drawers till he
went off the rails there, you know, like till everyone
went like, oh man, you're kind.

Speaker 1 (54:10):
Of a piece of shit. Damn that sucks. But yeah,
he was hitting in the eighties and the nineties.

Speaker 2 (54:14):
Yeah, I know because I thought about I thought about
The Leath of Weapons. That was one of those ones
where I was like, do we do like a couple
try to find Like, well, there's obviously one movie that's
will be debated for the end of the time, whether
it's a Christmas action movie or not. But I was like,
does one like the one Leathed Weapon that takes place?
Was it one that takes place around Christmas? Like could
we I can guarantee you if I look up right now,

(54:34):
Shane Black wrote it, Oh, yeah, I know, because everything's
set around Christmas, right as. I'm pretty sure actually that's
one hundred percent true.

Speaker 1 (54:42):
I think that's true.

Speaker 2 (54:43):
Yeah, so yeah, that could be a Christmas this is
this is not a Christmas movie.

Speaker 1 (54:47):
No, for sure, don't let your kids watch it. I
love how we were talking about different cuts in India.
It looks like they got.

Speaker 2 (54:59):
Even a movie. It was even fifteen minutes even shorter
Jesus else that they cut out.

Speaker 1 (55:05):
Hold on, no, no, there's was seven minutes they chopped out.
They really tried to trim out the violence, reduction of
man being beaten up after a car collision.

Speaker 2 (55:19):
Oh, that was one of those scenes where I was
watching it and I was like, that's where they really
solidified how right away how much about Dick val was
he just kept beating that guy on the ash well,
like just an interminably long amount of time. He just
kept beating this Asian's face off the dashboard.

Speaker 1 (55:34):
Yeah, the the crazy maneuver they did. They worked, they
got the money, and they just wanted to let alone,
like right, I would never like that's when mel Gibson
should have been like not working with this guy ever again.
But and that's how it worked out for him anyway,
It definitely didn't work with him again. They deleted the
visuals of a of the boy's hand inside the woman's
skirt in the car.

Speaker 2 (55:55):
I don't remember that.

Speaker 1 (55:56):
Oh that was that?

Speaker 2 (55:57):
See that wasn't then years. That was with Johnny whenever
they were in the car.

Speaker 1 (56:01):
Oh okay, okay, they deleted in India everybody, they deleted
the word you know, I just wanted to reinforce like, uh,
what what version we're talking about. They deleted the word cocksucker.

Speaker 2 (56:17):
I don't even remember where that that's I mean, that's
just a random thrown in insult somewhere and yeah, I
don't remember.

Speaker 1 (56:22):
Maybe maybe it was in the version I watched.

Speaker 2 (56:25):
Uh.

Speaker 1 (56:25):
In the India cut also deleted the visuals a man
gestured and holding his crotch file by the words fuck you.
Oh that was vow in a restaurant. Oh god, that restaurant.
That's when, like, you know what, everybody in the restaurant
is saying, I'm just beat his ass right now. Oh yeah,
he's going full Karen in that restaurant. Oh yeah, just douchebaggery. Yeah,
we look at it. We look at it.

Speaker 2 (56:47):
Yeah, I'm looking at you making a scene, asshole. He
won't shut the fuck up.

Speaker 1 (56:50):
It's like, was that like like if you were a
restaurant a guy was doing that, did that look like
a guy? You would be like, oh shit, he's connected,
might might have a gun.

Speaker 2 (57:00):
Are like, man, this douchebag You know he's not yet
he wasn't. I love the There was this there's the
scene where like Porter breaks into the hotel of the
outfit and is there in Vow's room, like he beat
up a couple. They didn't showup, but he apparently like
took out a couple of guards to get into Vowels room.

Speaker 1 (57:18):
Yeah, and so they're like, oh, this guy's a problem.

Speaker 2 (57:20):
But I love that scene where the next day Carter
meets with Vow and is like, what do we do
with you?

Speaker 1 (57:26):
Like, do we keep you? Do we help you? Do
we do this or that?

Speaker 2 (57:29):
And you can just tell like he is the literally
like he's the lowest of the low in the outfit.

Speaker 1 (57:34):
All the other guys do not. This is probably the
same in the version I saw, but Carter was like,
you know, back in the day, you know what, a
main man just took care of this stuff himself. That's
how we Yeah, that's how we knew that he was
the man.

Speaker 2 (57:50):
Uh.

Speaker 1 (57:51):
He's like, oh no, sure, I got totally take care
of this problem.

Speaker 2 (57:53):
So cool.

Speaker 1 (57:54):
Cool, I'm gonna need you to move out. Yeah, Like
they excommunicated Vow right out of the group until this
problem was solved. Right. Oh yeah, He's like, I have
nowhere to go, and I just I love the Sure,
don't you have no money, get an apartment, get the
problem solved, and you move back in.

Speaker 2 (58:10):
Yeah that part we get to a hotel. Those other
guys like just like you could see they're smirking. Yeah,
you kind of like snicker or whatever. He's like dressing
them down a little bit, like it's great.

Speaker 1 (58:20):
When yeah, when Val came down after being told that, yeah,
you got to solve yourself, but you need to move
out of your apartment because basically like you don't want
anything to do with you until this problem's gone. Right,
even his his bodyguards and show first whoever they were
supposed to be, Uh, we're like, yeah, sorry, we got
real sign we're a peace out And Val was just

(58:42):
left alone on the street with nowhere to go, which
is good because I hate Val. What else did India
take out here? They took out the visuals of Pearl
punching and kicking Val. That's probably some of the best visuals, right,
the hottest girl kicking the ship out of that guy.

(59:06):
Yeah oh yeah, the lead of the visual porter smiling
in the dialogue You got a light just before he
kills Val.

Speaker 2 (59:13):
But that seems inconsequential, right, Yeah, I don't know. The
ratings board in India must be even worse than the
ratings board in America, right.

Speaker 1 (59:24):
Because I know Kevin Smith his new movie, the four
thirty movie, the rains board made it a rated arm.

Speaker 2 (59:32):
But there's no nudity.

Speaker 1 (59:35):
Yeah, swearing for Kevin Smith is like barely in there,
but there's sexual indie windows. He what in the Kevin
Smith movie, but he couldn't he lost the argument. He
couldn't get it to a PG thirteen. So the movie
is a rated arm and I can't I'm gonna say
it because like I'm Kevin Smith fan, but probably one
of those movies like this is totally a pede like

(59:57):
this is the teamest. Yeah, so yeah, rating boards in
any every country, you're always always messing with the art man.

Speaker 2 (01:00:06):
Well, the part that always made me laugh with like
ratings board and stuff is I watched. I don't know
if it was Dennis Leary, I think, But at the
same time, I take stuff Dennis Leary says with a
with a grain of salt. He doesn't have the best
reputation in Hollywood, but I remember him saying about something
how they were Dennis Leary doesn't na not in my
book anyway. I think he's kind of a little bit

(01:00:27):
of douchebaggery, stealing jokes kind of guy. Nice.

Speaker 1 (01:00:30):
He was in a demolition man.

Speaker 2 (01:00:32):
Oh yeah, I'm not saying I don't enjoy some of
the stuff he does. But he was talking about like
some show or some movie or something, and maybe who knows,
maybe it wasn't even him. It's been so long since
I've seen this, but it was some guys saying like, Okay,
they're trying to get it down to, you know, from
an R to A or an NC seventeen to an
R something like that, and they're like, okay, well, if
we take out five fucks, will we get like two

(01:00:54):
motherfuckers or something? You know, just the stupidity of how
they bargain in the criteria for getting a rating, you know,
like literally they're like talking about, Okay, we'll turn two
fucks into a shit you know, like how could like
what do we need to do? How many f words
or whatever do we need to calm down to get
the R rating instead of the NC seventeen Because NC

(01:01:16):
seventeens is a killer. You know, you can still take
if you're wanted to. I think, what is it if
you can still take your kid to the R rating
if you're a parent or something.

Speaker 1 (01:01:23):
I forget. Yeah, no one under seventeen a minute without prontal.

Speaker 2 (01:01:26):
Yeah, so yeah, it's a whole whole thing.

Speaker 1 (01:01:29):
But yeah, I don't know, I don't know. I mean
even like the PG PG uh from when I was
a kid. Oh, it is radically different. In the PG thirteen.
I was going to see PG movies and they were swearing.
There was titties. Yeah. Oh yeah, it was way different.

Speaker 2 (01:01:48):
Like it's funny how people, I'm sorry there was breasts detays. Uh.
Like I saw an airplane and my grandma, you see airplane
and there's a whole estate like the booms when the
plane is turbulence and I'm like, I don't know, like young, yeah,
and I'm like, this is the best movie ever. So yeah,

(01:02:12):
Like over the years, they really just changed what they considered.
But why. But what cracks me up about the eighties
is is I remember as a kid like that in
growing up, the eighties were like held up as like
the family friendly era. I'm like, no, like it was
you could get away with so much like married with children,
all that stuff was super popular in the eighties. Like
we were just repressed bunch of motherfuckers back in the day. Well,

(01:02:35):
I remember showing my son a Clash of the Titans.
It's like, man, I love this movie when I was
a kid, rand and it was still PG Randall's favorite.
It's PG. Alex was definitely like I had maybe twelve, Yeah,
maybe thirteen. I don't uh, And I was like, whoa,

(01:02:55):
there's a lot of newty going on this movie. Yeah,
I'm pretty sure I saw that theater and there's just
really nothing. You know, as a kid, you're like he
but now PG. Thirteen, like there's a joke. I can't
you could say one f word, Like, man, this is
not the movies I grew up on.

Speaker 1 (01:03:16):
No, oh, for sure, they definitely got weight. Sure Jaws
was like PG. I'd like, maybe I can say I'm
probably not probably wrong on that. I'm just saying nothing
necessarily matters. I mean, I get the concept of a
rainy's board to give a parent's an idea, right, but
sometimes the movie title and the trailer will literally give

(01:03:38):
you the idea if you go. If you see a
trailer and it's called Terrifire and it's a clown ripping
all people apart, it doesn't matter what the rating is. Right,
as a PARENTY be like, yeah, no, I'm not taking
you to see this one. Let's do the Disney one
with the with the deer.

Speaker 2 (01:03:57):
Let's go see the Disney movie where the parent dies
in the opening scene.

Speaker 1 (01:04:00):
Every damn time. But this this movie was definitely rated R.

Speaker 2 (01:04:06):
Yeah, and it earned every ounce of R.

Speaker 1 (01:04:11):
In my opinion, it was it was pretty violent and
the movie, the version you watch sounds even more violent.
Oh I said that.

Speaker 2 (01:04:19):
Come to think that there was really no nudity, right, no,
no no boobs, no nudy.

Speaker 1 (01:04:22):
But there was a lot of swear and a lot
of the violence was at a at a max.

Speaker 2 (01:04:28):
Apparently they cut out one scene where Porter apparently ripped
a dude's eye out, whoa like went on full of
cigall on someone. But yeah, like I didn't, I didn't read,
like where what? But I know a couple of scenes
got caught. Just some of the violence was even worse.
They're like, well it's.

Speaker 1 (01:04:44):
Again nineteen ninety nine.

Speaker 2 (01:04:45):
They're like, radedar no boobs, Yeah, violent, we don't care
about all.

Speaker 1 (01:04:50):
That unce right, How funny is that? Really?

Speaker 2 (01:04:52):
That was kind of the difference was in the eighties
boobs were like the biggest Oh that was the biggest shock,
where like you could kill, swear, do whatever. Now it's
the opposite where you maybe can get a little boob
but don't kill anybody.

Speaker 1 (01:05:04):
Well, you know a lot of movies also change like
the blood. They a lot of movies and action movies
have dialed down the blood, which I've seen a lot
of fans complaining, like, man, they're like cutting away from this,
like it's not the action movies of my days, it's
not the horror movie of my days. Uh, And I

(01:05:26):
can only assume it's ratings or like that's why if
you would make it, that's why I was like mentioned terrifier,
not saying I'm a fan of.

Speaker 2 (01:05:34):
It's it's gore to be gore.

Speaker 1 (01:05:35):
It's too much, but independent doesn't go, dude, go through
the ring boards, right, It's the gore is pretty pretty hefty,
even the point of like, you know, see my wife
turn away and be like, what the fuck. I'm like, yeah,
that's cool.

Speaker 2 (01:05:51):
I don't like it either, Yeah, oh yeah. Maybe it
was one of the gut one of the ones you're
talking about in your other podcast, like the indie guys
that was saying, no that this one, like you were
talking about about the previous ones, they're like, oh, but no,
this one. We went even farther, and I can feel
I could even feel like I don't know if that
was really needed.

Speaker 1 (01:06:09):
You know, it was making fun of a movie called
Volumes of Blood, Like, yeah, there you get the volumes,
Like this time, there's there's so much blood. There's so much,
probably the most blood you've ever seen. But yeah, payback. Sorry,
we're going on a tangent about ratings.

Speaker 2 (01:06:27):
Uh.

Speaker 1 (01:06:28):
Two people that don't work in the industry barking about
the ratings. I grew up in that industry. I didn't
even do that. I grew up watching that shit. Yeah,
I did like it. It's strange. I don't know if
I had liked the version you watched better. I feel
like I might be jaded by watching this version. But man,
your sounds like more high octane, Yeah, a little more intense.

(01:06:50):
I did. Hopefully the music was the same. There was
a lot of the music was straight out of like,
you know, a fifties or sixties detective.

Speaker 2 (01:06:58):
Very much fit the genre for sure.

Speaker 1 (01:07:00):
And it was funny because like, I'm not familiar with
that genre deeply, I'm familiar with like the music and
the concept. I was like, this is there's no detective here.
It's just it just they just kind of gave it
that theme. It was because it had a heist element too, right.

Speaker 2 (01:07:18):
It kind of gave me the vibes of like that
that Dick Tracy vibe and just from the bad guy
you know, ah yeah, gotcha, Okay, Okay, that's this kind
of where I just felt like it put its flag,
you know.

Speaker 1 (01:07:30):
Yeah. But but it was fun, and I thought because
my version I watched was shorter, as I say, I
thought it moved along pretty good. Actually, but even even.

Speaker 2 (01:07:40):
Mine, I thought that was like the one like that
version of the theatric version I thought moved well. You know,
there was no real downtime. It was always like, Okay,
we're onto this part of the plot. Okay, we're putting
this together. It was it was very moved, very well.

Speaker 1 (01:07:51):
And you know, mel Gibson's acting was like I would say,
one note, but his character had a tone. He kept
it there. It was very what do you that, very
uh maybe calculated conservative, like he was keeping all his
ship together until he had to fuck something up. Yeah.

Speaker 2 (01:08:11):
So he wasn't coming in hot. He was always coming.

Speaker 1 (01:08:13):
In very right, yeah, even calculated.

Speaker 2 (01:08:16):
Yeah, everything, he had a purpose to everything, and he
so his acting was very monotone almost Yeah.

Speaker 1 (01:08:23):
Yeah, that's probably the best word.

Speaker 2 (01:08:24):
Yeah, yeah, yeah, yeah, it was.

Speaker 1 (01:08:27):
I that's it. I remember loving it.

Speaker 2 (01:08:29):
I loved it of rewatching it, it was and again
that I'm not into that genre a lot, but I remember, well,
just another movie that came out probably a couple of
years after that that I really liked.

Speaker 1 (01:08:42):
Not conservative, reserved, right, different, two different things are going on.

Speaker 2 (01:08:47):
Uh. It was sin City in that in that nartin
you know, noir genre of black and white. Yeah, and
I really like that one, so I kind of I
guess maybe I like it more than I realized. But
I like that kind of style that cop, you know,
old school cop, you know, type of type miss thing
they bring to this bring the screen.

Speaker 1 (01:09:06):
Yeah, I enjoyed it. I haven't seen it since probably
when it came out on it from rental.

Speaker 2 (01:09:12):
Yeah, oh yeah, back in the day. But it was
fun and I sometimes forgot like you know that's right,
Mel Gibson used to be a badass. Yeah, well your
career falls off and you're when you get weird. Man,
I can't say some things I shouldn't think, you shouldn't
think them yet alone say them out loud, you know.

(01:09:34):
And now you know said you got a shot for shot? Yeah,
shot of beer. That's a great question. Do I have
a shot for something to go first. Yeah, you go first,
because we saw two different right. Yeah, So I will
say I think it was I don't know if it's

(01:09:55):
my favorite, but it whenever, it was the first one
to pop my head to something I thought was just
really fun. It's not the best scene, but it was
just a fun. Stupid scene was the the cab shot
with Stegman in the back. Like I said, you saw
it coming a mile away. But you got this diminutive
little like wanna be bad guy who's holding a gun
on this just this this the main figure of the

(01:10:18):
movie who's you can tell he gets in the car.
He's a hardened criminal, not not afraid of him at all.
You know, put your gun on the floor, do this
or that. And then he just starts monologuing, I'm gonna
turn you into the outfit i'm gonna become and maybe
they'll like me. I'm gonna be one of them and
blah blah blah, and you see it coming and just
they timed it very well or you almost get lost
in his monologue about what he's gonna do, and just

(01:10:39):
boom mel gips and Boom grabs snaps the gun out
of his hand and just points it back out and
he's like and that the moment, the moment that made
the scene was him immedia is switching next Stegman switching
from I'm gonna turn you in, ha ha, I'm gonna
do all this by blah blah and to he switches
that gun.

Speaker 1 (01:10:55):
You're not gonna kill me, are you?

Speaker 2 (01:10:57):
Next words his mouth You're not gonna kill me? Are you?

Speaker 1 (01:11:00):
It's so good. I fucking loved it. Yeah, I guess
say like and I think it was in both movies.
I kind of like just seeing that before all the
ship went bad. The heist, Yeah, I'm almost sucker for
a heist movie, but their their method of heist reminded
me so much of Death Proof Tarantino movie. Guy he

(01:11:24):
used a car, but he had all raked up, so
his seat good. It was good, he had seatbelts. But
the heist where he drove that Camaro into the other car,
I was like, that's a badass see and that's a
whole If it didn't end that way, it could have
been a whole different heist movie where these guys were
that was a ramoo right, But even that, if it
ended there, that's also a short movie. I enjoyed.

Speaker 2 (01:11:46):
I enjoyed that scene, especially because obviously we knew, like
as soon as he said, you see that they weren't
wearing seat belts, you know what's coming. You know what
he's like, I have this like we saw that very
very plain detail. We know what's coming. He's gonna fucking
into him. He's gonna go oh last action he wrote him.
But I love the fact that he put the mouthpiece
in right like he tell val Yeah, and Valz was

(01:12:08):
sitting there looking like, oh shit, he's really going to
do this. It was almost like he just realized what
was gonna happen, and the.

Speaker 1 (01:12:13):
Vout like just kind of covered his mouth. I know
he's gonna chill. And he had a glove and I
always gonna like bike down on a bit of his
glove his finger. Yeah, we just didn't know, right, Yeah, No,
highly entertaining. I'd probably for all the confusing with the
different cuts, i'd probably go like seven out of ten. Yeah,

(01:12:34):
I probably think there was one definitive.

Speaker 2 (01:12:35):
Cut, right, Yeah, but it was it was really fun
and you're right, it doesn't.

Speaker 1 (01:12:42):
It moves so fast. Yeah, Like you're not there's no boring,
You're you're not bored.

Speaker 2 (01:12:46):
Yeah, I mean, I like, you know me, I'm a
sucker for like that nineties accent. So I'm like eight
and a half nine. I loved this movie. I didn't
realize how much I'd love rewatching it. It was right
up my aliance and I said, I have that. Apparently
from what I realized was I really have that sauce
spot for that noir gangster, you know, detective. You know
film that they ever comes out once in every great while,

(01:13:08):
and I think this film did it really well, you know.

Speaker 1 (01:13:10):
So yeah, I loved it. There you go, payback? What's
up next? Then? Ah, well, I'm gonna take your idea,
is there? Let me look at the calendar here, because
the next episode.

Speaker 2 (01:13:27):
Oh shit, I didn't realize we were in the October. Yeah, no,
we're totally in the October. Totally.

Speaker 1 (01:13:34):
This is a spooky movie season. We got two more left,
all right, do we?

Speaker 2 (01:13:39):
No? I guess there's only one more. Damn Well, right
now I know what's coming then, Okay, because I almost
picked it last year, you did, that's why.

Speaker 1 (01:13:48):
And I recently just received it in the mail from
the Amazon's.

Speaker 2 (01:13:54):
Blu Ray.

Speaker 1 (01:13:58):
The Crow. Yeah that's great because it is like it's
an action movie, but it fits in the horror genre
and it definitely feels like something cookie. You'd watch it Halloween.
I think that it's Brandon freaking Lee.

Speaker 2 (01:14:14):
We should do I mean, we don't have to do anything, uh,
but do you want to? I think we don't have
Like we could just put out a bonus episode and
just warn the people, like, hey, don't listen to this
if you really like the regular episodes. I think we
should almost do a watch along and do uh do
the new Croaks. I think it's starting to streak. Oh

(01:14:34):
my god, No, maybe just do a cup like, hey,
grab we should do the the.

Speaker 1 (01:14:41):
Good Oh yeah, the good first and then like the
next one, do a watch alone. Oh do it almost
right after do it? Yeah, like the way the following
episode is a comparison.

Speaker 2 (01:14:48):
Then the Saturday, we'll watch the like, have a couple
of beers and do a watch for the new one,
because I it's that it's that more curiosity at this point, right,
Like I want to see just how bad it is.

Speaker 1 (01:14:58):
It could be the following Saturday, because that's the party, Right,
We're gonna make you watch another bad movie. But it
could be another one, So we could drop the following
swole cinema. You can do back to back episodes. I'm
I'm okay with that, as long as the prices dropped
a five ninety nine. If it's still it's still a

(01:15:20):
twenty dollars, I don't know if I want to.

Speaker 2 (01:15:22):
What if I buy it for you, I'll buy it
and we can watch it somewhere.

Speaker 1 (01:15:25):
Okay? Is that the plan?

Speaker 2 (01:15:27):
Are we gonna do.

Speaker 1 (01:15:29):
Well? Crawl back to back and because we're gonna praise
one and shit on the other.

Speaker 2 (01:15:33):
I don't know if you realize this, if you're listening,
I'm not that much that smart, that much smart exactly.
But I completely forgot that my movie pick was going
to end up in October, or I would have picked
a like A Oh no.

Speaker 1 (01:15:45):
I was telling my wife the other night we're out
for a beer. I'm like, what the fuck was he thinking?
Why did you tell me that in the episode? Because
you picked the episode in September and I didn't realize.
I didn't. Now I have the calendar.

Speaker 2 (01:15:57):
So you're also not that much smart. No, I'm not
smart at all. There you go, Okay, let's just do
it all right? The crow you know and you love
and then we'll do the crow that everybody says is garbage. Yep,
but we're gonna do. People will bring in a few
other people to shit on it with us. That might

(01:16:21):
get ugly, all right. Well, until next time, everybody, keep
lifting that weight, bitches,

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Ep 38 - Payback

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.css-14f5ked{margin:0;word-break:break-word;display:-webkit-box;-webkit-box-orient:vertical;box-orient:vertical;-webkit-line-clamp:2;overflow:hidden;}Ep 38 - Payback