Rob Zombie's Halloween II - Commentary Track - That Bad Media

Episode Transcript
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Speaker 1 (00:00):
All right, everybody, you're probably you're probably wondering, what's this
I see on my screen? Where's the latest episode of
Not That Bad? Or it is That Bad? Well, we
are going to talk about a movie that we've never
talked about, and it was time to finally address this.

(00:24):
Me and and Connor have have been closeted fans of
Rob Namies Halloween two, and we've hyped this movie up
to the extent that this was literally the first collaboration
that Connor and I ever did. We talked about the
Rob Zombie halloweens. There's the white Horse text, the first
red flag for so many people, and it's a fifteenth anniversary.

(00:50):
We kept talking about doing this movie justice, you know,
trying to celebrate it in a way that's like really
special to how much we love this movie and how
much we have to say about this movie, and in
one regular episode just when wouldn't do that. So so
I begged Connor to do a commentary track so that

(01:12):
we could watch this uh unsung masterpiece together and walk
you guys through it, both both our fellow Halloween two
lovers and the haters. Maybe watching it with us, you'll
you'll see it through our eyes that well, you'll definitely
see that that kid actor who is not the original

(01:33):
kid actor from from Rob's First Time.

Speaker 2 (01:35):
That's that is a new actor, Chase.

Speaker 1 (01:39):
I think his name is Chase h. Yeah. Reportedly he
was a Dagg was recast because he had hit a
growth spurt, had gotten too tall. I really don't think
it's very consequential either way, because this kid is really
used as more of a I mean, I would have
liked the continuity because every everybody else came back, but

(02:00):
you know this, this kid is really just used as
as a visual motif. I think this is his only
real scene with with Sherry Moon, Zombie and the White Horse.

Speaker 2 (02:10):
Now we get our callback to the first film, of course,
as we open up and I've I've actually been to
this exact location that they are filming right now. This
was in this part I believe was Madison. They also
filmed a lot in Covington. I can't I can't distinguish
between the two. It's been a number of years since
I've been there, but I've been. I've walked these streets,

(02:31):
have been in these exact places, and it really is
a beautiful place, kind of nondescript it's kind of perfect
for a new setting, and we kind of have to
talk about that. We're kind of seeing a little bit
of this new setting. Instead of filming it once again
in California like they did the first remakes, they put
this in.

Speaker 1 (02:50):
Georgia, and the first Halloween John Carpes Halloween same place
and filmed in Pasadena. Now does this place photograph for
Illinois for the Midwest? I doubt it. I mean you
can answer that with more authority, but yeah, I think
this is such a perfect setting just for the mood
of this film, for the for the environment, the kind

(03:13):
of environment that Rob wants to put his characters in.
It's obviously more rural, it's kind of more backwards, but
it just has all this this character we're going to
get to, like the epic Halloween party later, that's one
of my just favorite, like of all those scenes in
this franchise that you should put on for a Halloween party.

(03:33):
Put that scene on and just put it on loop.
It will create the perfect mood. And here we have Scout,
Taylor Compton and Brad Doriff, and I just love the
immediate continuity from that first movie. I mean that I
feel the way that people of the you know, fans
of the original Halloween two feel like creating that perfect,

(03:55):
that perfect aftermath. But I mean this is just in
a different league. I mean, look at how she's being
wheeled through that hospital like so visceral, Like you can
really tell just how traumatic of an ordeal Scout went through.
And people, of course are going to complain that that,
you know, like these surgery like the insert shots of
her surgery. You know that's just Rob, you know, being

(04:18):
a gore hound. I mean it does, it does scratch
that itch, but it's done with a real purpose, a
purpose it is.

Speaker 2 (04:26):
I mean, it helps justify what we see later. And
I think all of this does we see this aftermath
which I feel, like so many horror sequels, they don't
ignore it, but they are afraid to show it in
this graphic detail, and they're afraid to explore some of
the things that this movie will explore later.

Speaker 1 (04:44):
Because it takes the fun out, which you know was
the excrese people totally took the fun out. Yeah, we
have Richard Brakes first, A Parents and a Rob Zombie film.
This is back when to me he was just obviously
the guy who killed Batman's.

Speaker 2 (04:58):
Parents, he was the guy from Doom for me. I
had seen Doom at the time, and that's what I
recognized him as he was just as pervy in that
movie as he turns out to be in this one.

Speaker 1 (05:09):
Yeah, he has a type. I'm sure he's a he's
a lovely man. I'm sure he seems like a man.
But everything screen, you know, casting directors have decided that
he has a type.

Speaker 2 (05:21):
Yeah, yeah, I mean he's he's a creepy looking dude.
No offense to him, but he's I don't think he
is normally, but he knows how to invoke that. I mean,
thirty one is another Rob zombie collaboration that I think
he just worked perfectly in and.

Speaker 1 (05:36):
Shows we all really started to pay attention to him.
Like that's when I started hearing the name Richard Brake
and not just the guy who killed Batman's parents. And
we also have like a you know, a cameo storm
in the first twenty minutes of this. I mean, we
have stretch Caroline Williams from the Texas Change I'm Asker two,

(05:57):
which of course is you know, such a huge influence
on on Rob's work in general. So that's that's cool
to see her there when I saw Halloween two in
la at the Aero Theater. She was, she was there
in attendance and she did a Q and A afterwards,
which was really cool.

Speaker 2 (06:15):
And we just got a quick flash there as they
were loading him up into the corners van of a
guy who will see later on. Uh the actor who
plays Patrick Starr in SpongeBob. He is the that the
other corner. Is that the other No, No, that's uh
so later later on we'll see him again. I'll let
you know once we once we see him again. But
now I never noticed him in this intro here, seeing

(06:37):
this movie many times, I never noticed that we see
him a little earlier. Now that's a great line.

Speaker 1 (06:49):
Yeah, we have to address the question how did Michael
survive getting shot in the head? Well, he was. He
was brought back in a Satanic ritual conducted by the
Weinstein brothers after the first movie made a lot more
money than they were expecting. So he was brought back

(07:10):
in a Satanic ritual by Hollywood's most notorious Satanists, the
Weinstein Brothers.

Speaker 2 (07:19):
And this shot right here, I think is really interesting
because they're choosing to highlight, like the evil of this
character that we're not gonna see for very long. This
is where I can sort of get the complaint. It's
not a complaint for me, but like, this is a
disgusting shot, but it's.

Speaker 1 (07:39):
So intentional that I mean, I see why it aroused
people the wrong way, but it's such a clear choice
for sure. And I like to think that it's almost
like this, like this man's evil, this man's vileness kind
of brought Michael back. It's maybe not directly, but it
just creates this atmosphere of like, you know, evil like permeates,

(08:02):
you know, like this, yes, permeates.

Speaker 2 (08:05):
Yeah. And I think what I like about Rob's movies
too is that he shows an imperfect world and all
of them. You know, no character is a saint, no
character is absolutely perfect. There. It's like real life kind
of you know, people are profane, say terrible things.

Speaker 1 (08:20):
Just we're about to run into a cow, Dude.

Speaker 2 (08:22):
I was on this road and I thought I would
run into a cow. It's it is as desolate as
it looks over there.

Speaker 1 (08:32):
Nobody complains when they run into the cow and the
Texas chains unmask or the beginning the you know, the
first of the of the cow vehicular Manslider duology that
that forms.

Speaker 2 (08:44):
With well, we're we're about to get We're about to
get into a part right here where a lot of
people complain. I like to call this Richard breaks Fuckfest.
But we'll get into that and then immediately forwards we'll
see where we go from here. But this is where
people's complaints really started this movie.

Speaker 1 (09:05):
In this scene, I mean, but it's par for the course. Now.
I think anybody who saw the first movie, it's not
like they're they're like, where did this come from? Like
swearing in this movie? My I guess my answer to
the complaint there is like, I just want to know,
do people realize that this is supposed to be funny.
I don't think people realize that this so much of

(09:26):
what they think is like Rob trying to be edgy,
it's dark comedy. It's like very obvious to me that
it's it's dark comedy. So I don't I don't read this.
I don't read most of his movies as as edge Lord.
I mean, there's there's definitely moments. You know, there's a
pretty notorious one in the First Halloween that I don't

(09:49):
even want to bring up.

Speaker 2 (09:52):
People know we're not we're not watching that movie right now.

Speaker 1 (09:55):
Either way, we should clarify that we're watching the director's cut.
And I want to clarify that, becau because if you
go to any streaming platform, you'll get the theatrical cut,
which is very, very shocking to me. I thought that
was virtually unavailable, at least in US markets, but it
was on every platform, and that's just not the that's
that's not the version that me or O'Connor prefer.

Speaker 2 (10:18):
Yeah, and you know, I had to get the theatrical
version from a French Blu ray copy that was on
Amazon for a while, and I was really shocked to
see that that's the version that's available. Maybe maybe it
has to do with the you know, intricacies of putting
an unrated movie on your streaming services. I don't know
if there's any red tape that comes along with that,

(10:39):
but I do know that it's definitely more palatable for
Halloween fans. It seems to be the one that's preferred,
if anything, and.

Speaker 1 (10:47):
Halloween fans prefer the theatrical Rob Zombie fans prefer the
director's cut. Now, I love this is one of my
favorite pieces of Gore in the movie. I just there's
something so so mean spirited about it. I love it.
But what I also love is the fact that Richard
Bray clearly thought this man and a Michael Myers mask
was was going to help him. Like you, you could

(11:09):
see the hope in his eyes, and then he realized,
oh no, you're the Michael Myers. You're the guy we put.
Oh my god, take a shot every time we see
the white Horse. I'm not drinking anything alcoholic because that
would be fatal, but we have our first shot right
there too. So if you take out the white Horse stuff,
I mean, this goes down as I think one of

(11:30):
the most brilliantly photographed sections of anything in the Halloween franchise.
Leave it in, it's still like it's a powerful image.
I'm saying. Other people wouldn't complain about it. You celebrate it.
It is so atmospheric.

Speaker 2 (11:43):
Oh my god.

Speaker 1 (11:44):
Really hate how people frame these movies as as you know,
the you know, John Carpenter's film was atmosphere. This is
just violence and and and you know, obviously there's a
very different balance of atmosphere to violence going on. But man,
I mean, we have the moody blues that is that
is like literally telling you that this is going to

(12:07):
be a you know, uh, this is going to be
a vibe movie. This is not going to yeah just
just violence. This is this is a vibe.

Speaker 2 (12:15):
And you know what I love about this music choice
is that, you know, Rob, Rob has said in interviews
and I believe in the commentary that the lightning strike
is meant to signify the beginning of this dream sequence here.
And what I love about it is that the song,
the lyrics never reaching the end, that the song repeats
throughout the entirety of the dream sequence. Anytime a TV

(12:36):
is in earshot, it's just this song repeating and this
never ending nightmare for Lori.

Speaker 1 (12:41):
We have Academy Award winner Spencer. I'm sorry, Octavia Spencer.
You know, must have been so early in her career.
I mean, she's she's just a day player in this
Halloween sequel, and I think the Help was only a
few years after and I know, I know she was,
you know, uh an a lister after that, so, you know,

(13:05):
just a snapshot in her career. And then you have
Daniel Harris, the great Daniel Harris.

Speaker 2 (13:11):
My heart, my heart beats for Daniel Harris. Yeah, this
is a This is really cool, I think because even
though it's a dream sequence like this is Laurie kind
of replaying the image of Annie in her head, something
she blames herself for. Uh we see that later in
the movie. Or you know, even though their relationship gets tumultuous,

(13:31):
she just blames herself for what happened to Annie.

Speaker 1 (13:35):
And which is realistic, ohurist and for sure, and more
specifically than PTSD, I think this is really about survivor's guilt.

Speaker 2 (13:45):
Yeah. I mean even even in an extent, like you know,
the fact that she was sort of Michael's target throughout
that night and Annie got hurt. I mean, even that
is enough to, uh, to throw you off. And and
by the way, Octavius so amazing actress. Like so many
actresses in horror films, early in their career or early

(14:05):
in their filmography, or even before they get their big break,
all they need is that one chance usually and they
knock it out of the park when they get it,
and then they're big stars. She's not an exception to that.
I think she it's well deserved for her.

Speaker 1 (14:18):
I hope she looks back at this fondly. I mean, meta,
there are a number of a listeners who don't like
to reminisce about their days doing horror.

Speaker 2 (14:26):
Although she didn't interview, Yeah, she did an interview on
It was either like Fallon or one of those late
night hosts might have been Kimmel where they showed a
clip of her getting killed by Michael Myers and she
laughed about it. So it seems like she's a little
more accepting of it. She seems like, I don't know
how she feels about the mood.

Speaker 1 (14:43):
Yeah, she seems like a good sport all around. But
what I'm thinking of now is that I'm finally hearing
Matthew McConaughey talk about GCM next Generation. I'm hearing Jennifer
Andison talk more openly about Leprechaun. And I think that
as horror continues to dominate and it becomes clearly the
thing that's keeping this industry going, like the thing that

(15:06):
has the least overhead, the thing that has the biggest
profit margins, uh you know, most reliably, I think actors
are strength to embrace their their their history with the genre.
And there he is, he's about come on, yeah we have.

Speaker 2 (15:26):
That shot stepping out is so good that the pan
up to see that. I mean that look to me,
this stream sequence look is I mean, it's top tier.
It's this is what this is. If it's not going
to look like the mask from the first movie, this
stream sequence is exactly what I would I would want.

Speaker 1 (15:46):
What I love is that we have a w W
E player playing Michael Myers. And that was such an
entrance shot that, you know, and in this corner he's
seven feet tall for some reason, and it's Michael Myers.

Speaker 2 (16:02):
You know what though, like if they're going to go
with this route where it's like you're debating whether or
not it's sort of nature and nurture, and there's kind
of like back and forth and both of them kind
of fighting each other whether it was nature and nurture.
With Michael Myers, I do like that he is generally
like a freak of nature. When he's a kid, he's
you know, odd looking. When he's an adult, he's this
hulking beast of a human. You know, it makes you uh.

(16:24):
I think it was a really deliberate choice. I think
it was a great choice. And man, this right here
another amazing choice just making the hospital into a house
of horrors.

Speaker 1 (16:35):
There's so much wicked imagery in this movie in general,
but especially in this hospital sequence. I mean, I don't
feel the need to defend this sequence so much because
absolutely not to acknowledge that it's great. But then people
are like, oh, the best part of the movie isn't
even real. I mean in her mind, it's real, and
you know what we see in this sequence, it's what
Laurie relives every night, every time she goes to bed,

(16:58):
which is a really powerful way to actually start off
her journey. It's it's actually a perfect example of show
Don't Tell. Yeah, I mean had a lot of really
great you know scene Margo Kidder.

Speaker 2 (17:10):
Later on, Yeah, completely agree as somebody who's who's in
this who's gone through something in which they have repeated
nightmares on it. To me, this this is like, this
is perfect to have something where it's like she doesn't
usually remember the details when she wakes up, but she
just remembers the feeling she had. She remembers some things
here and there. It's like she's actively blocking it out

(17:32):
as it's happening.

Speaker 1 (17:32):
Again, it's shot like a nightmare. Like even in the
theattics cut, which takes out some of the more you know,
some of the more I guess surreal imagery. I mean
just the framing choices, the shot composition, that that shot
of Michael stepping out from down the stairs and he's
just this one giant silhouette. Now, of course it was

(17:53):
we get. We gotta comment on the production as it
goes along, because you know, if you listen to Rob's
commentary on this movie, it's one long venting session about
how how much of you know a nightmare it was
for him to film this. I wonder if he has
reoccurring nightmares about going to set and you're running into
the Weinstein's and yeah, I would hold that you have

(18:14):
to cut these pages or whatever.

Speaker 2 (18:15):
I would have nightmares about Harvey Weinstein.

Speaker 1 (18:18):
Oh, I'm sure many many people do.

Speaker 2 (18:20):
Many people do this image right here that we're coming
up on.

Speaker 1 (18:24):
Oh my god, how can you take that out?

Speaker 2 (18:28):
No? And it so illustrates that it's a dream sequence,
Like if you don't get it here, why would a
hospital have a pit of bodies? This is is it's
perfect to be like, Okay, yeah, this what's happening is
not happening.

Speaker 1 (18:43):
No, but it was really raining that night, apparently in Georgia,
So you can imagine especially poor scout running around and
just that, like those scrubs running in the rain, in
the freezing cold rain of I think, you know, wintertime Georgia.

Speaker 3 (19:00):
Yeah.

Speaker 2 (19:00):
I believe they filmed it in January and February of
two thousand and nine, so that would have been, Yeah,
that would have been. I mean, it does get cold
down here. It doesn't stay cold for very long, but
it does get cold down here in those months.

Speaker 1 (19:14):
So yeah, I mean you see her breath like, yeah, real,
that's on effect, Like it was so cold that she
could see her own breath.

Speaker 2 (19:22):
Yeah. And the exterior of this hospital here is a
school in real life. I wasn't able to visit it.
I could, it was it was a little out of
the way from the rest of the filming locations. They
didn't have the time to get to it. But it
is this, this whole this whole shack here, this sort
of entry point that she's about to go to, was
completely built for this movie and destroyed for this movie

(19:43):
as well.

Speaker 1 (19:44):
But they accidentally, Tyler Mayne told me, and a chat
I had with them for for this this thing I
wrote for Dred Central about age two, they accidentally had
him tearing down a real guard shack. At first, they
mistaken had him trying to tear down a real one,
and apparently, you know, Rob was like, what's taking so long?

(20:07):
You know, because he was just supposed to really tear
through it. And yep, they actually I think forgot they
might have forgot tim to build the fake one. There
was some you know, this production was so hurried, it
was so hectic, it was so troubled.

Speaker 2 (20:20):
Yeah, I had heard that they did build one, but
that they didn't kind of get the memo that it
needed to be destroyed, so that it was like it
was basically like built the code.

Speaker 1 (20:29):
Yeah, that's what I heard.

Speaker 2 (20:30):
I don't know if that's true either way. I've heard
the same thing that he had quite a tough time
getting through this thing, which you can see, I mean,
he's he's hitting it.

Speaker 1 (20:41):
Yeah, and then every time he busts down a door,
you know, I think it might have been like there's
definitely comes a couple of times he had to bust
down real doors. Yeah, in that kind of kool aid
man way that he does. He's the only Michael Myers
to to do something like that.

Speaker 2 (20:58):
I think donuts are getting all wet.

Speaker 1 (21:04):
This guy's my favorite character. I love I love this guy.

Speaker 2 (21:07):
This actor is great in everything. I I am a
big Office Space fan. He is very, very good in
that movie.

Speaker 1 (21:16):
Who does he play in Office Space?

Speaker 2 (21:18):
He's the jump to conclusions Matt.

Speaker 1 (21:20):
Guy or really, yeah, that's cool. I also remember him
from Hatchet. He's the guy who gets his is yeah,
ripped apart in one of the most famous kills from
that movie. Uh is that him? More? That might be
his character's wife, but he's definitely one of the first.

Speaker 2 (21:37):
Kills he's He's definitely in there. And uh, he's He's
just one of those you know, character actors that shows
up every once in a while. But he's so reassuring
in this and what I love And this isn't spelled out,
so I'm not spoiling anything, but his name is Buddy,
and so is her bear, her her stuff bear that
keeps her comfort.

Speaker 1 (21:56):
With Yeah, a little details like that really showed just
how how fought out these movies are. Like it's not
just style over substance, Like there's real there's a real
attention to detail that I've always admired about about Rob's films.
I Mean, you can always see it in the production design,
the cinematography, you know the look of the movie, but

(22:19):
I think it's always there with the characters too. I mean,
he really cares about yeah, about his characters.

Speaker 2 (22:24):
And the thought that goes into a lot of this movie.
I mean, we'll be getting kind of into our own
feelings about things that happen. But you know, right here,
especially the fact that you know, it does have the
name of this bear and it's supposed to be her
protector in this stream, right, but sort of a moment
where and there's nice and white satin again, but it's

(22:46):
almost like her she feels safe with this bear with buddy, right,
and and it's like her memories are attacking her safety,
you know what I mean. And that's even worse.

Speaker 1 (23:01):
I do kind of wonder what the movie would have
been like if this hadn't been a dream. But if
you know, if this really was, you know, the beginning
of the film and it started off a different timeline,
I feel like the movie could have turned out very differently.
But I think it was a very conscious It could
have been a more traditional sequel, like I think it

(23:22):
could have been something that definitely delivered, at least for
fans of the of Rob's first movie in a big way.
But you know, I think that's that's him telling you, like,
do not expect even something that would be a logical
continuation of my you know take on the Halloween movies,
like I'm I'm really doing something different, so get ready

(23:44):
for that. And you know, I mean it took people
maybe fifteen years, but I think people are coming around.
I'm always trying to take the temperature of how people
feel about Halloween two, and it's very tribal, it's very divisive,
which I think will will certainly be the case for
a long time. But it's not hard. It's not hard

(24:06):
to find people, like really credible people on the horse
Bace who genuinely adore Halloween two.

Speaker 2 (24:13):
Yeah, it's still still two point three on letterbox as
of the time of this recording, which is it's it's
you know, it's sad. But for me, I don't even
really see it as disappointment because you know, I don't
I don't. I don't bank my enjoyment of this movie
on on how other people feel about it. I think
I actually sort of take a sense of pride in
the fact that I see things in this movie that

(24:34):
other people don't, and I think it's oh man.

Speaker 1 (24:39):
He's really going to town on that on that guard check.
I think it must it must be fake. I mean
I think him coming through the walls, I think he
can start to tell that's fake. But he's also really
he's having to tear down the whole thing by himself.

Speaker 2 (24:53):
Tyler, Yeah, yeah, yeah.

Speaker 1 (24:55):
It wasn't like a stunt team or anything. That's him
going to town on it with.

Speaker 2 (24:59):
An And as Gabe said earlier, like this man is
a former pro wrestler. This isn't movie tricks that are
making this guy look so huge. He's a big deal.

Speaker 1 (25:08):
I mean he's also Sabertooth from the X Men movies.

Speaker 2 (25:10):
Yeah, and you can you can kind of see there
they were running out of uh they were they were
getting close to daylight, they were running out of nighttime
at the end of that sequence there, which Rob has
said was it was very difficult to get done before
the sun started coming out.

Speaker 1 (25:28):
Here, we have, you know, new Laurie. I think about
when that Taylor Swift song Look What You Made Me
Do dropped and she said old Taylor can come to
the phone right now because she's dead. That's you know,
we have new Laurie. Because old Laurie can't come to
the phone right now. Yeah, And she has like a

(25:48):
rat tail, she has a tramp stamp. She has Charles
Manson on her bedroom, which, according to Daniel Harris, was
just something that Rob kind of came in and and
tagged himself health when when they were getting ready to shoot,
because he was always just adding things of his own there.

(26:08):
I don't know, I really buy that surviving what she
survived can do this to a person.

Speaker 2 (26:15):
It changes you, Yeah, I mean it does. You know,
there are some people who go on with their life
like nothing happened, or you know, who heal. Everybody kind
of heals in their own way, and I think this
movie is kind of perfect for that because with Annie,
she sort of becomes she sort of becomes maternal, but
she's kind of upset about it. Whereas Lori and and
even Loomis, you know, basically take aspects of their character

(26:37):
and turn them up to one hundred while you know,
completely going against what they were in the previous film.

Speaker 1 (26:43):
And then you have Braddorf being a complete angel, a
total saint in the whole thing. This one kind of
ray of light that's kind of like shining through a
key hole. But it's there, like there is like warmth
to this movie. And something that I tried to make
the case for is that this this is also a

(27:06):
hangout movie, which is a weird thing to say about
something a film that's like so like it's so it's
like exhausting. Yeah, yeah, it's it's violent, it's mean. But
I guess it's like between the abmsphere, you know, the
production design, these these characters in the moments when they

(27:27):
when they do have downtime or when they when they
you know, can kind of kind of relax and let
their guard down.

Speaker 2 (27:36):
Yeah, and we're about to get right here, you know,
as as we get a glimpse into what their relationship
looks like, we're about to get apart right here. That
was cut out of the theatrical version.

Speaker 1 (27:49):
It's a very controversial at least.

Speaker 2 (27:51):
Shows their relationship.

Speaker 1 (27:52):
Yeah, but it's it's the it's the thing that makes
this interpretation of Lori so rough around the edges for
a lot of fans, which makes sense. I mean, she's
clearly a damaged person, and you know, Rob's going to
communicate that in his own kind of in his own way,

(28:14):
with a lot of volume let's say. Yeah, I think
to me taking these scenes out of context, you know,
and putting them in a review and saying, we'll see,
look at how annoying she is. Yeah, I acknowledge how
aggravating it is out of context. But in context, like
coming out of that dream sequence and just having a

(28:36):
reminder of like what she is going through internally, you know,
that works. And that's that's storytelling in a more sophisticated
way than I think what a lot of people would
have the instinct to go for. I mean, you've see
in so many of these like slasher movies that kind

(28:56):
of want to pay lip service to things like PTSD,
and it's always kind of like spoon fed and I
think of like Halloween H two O, like you know,
she sees Michael appearing in the shop window, or she
she sees Michael, you know, walking down the hall, and
that's fine for you know, the the summer movie that

(29:17):
H two O wanted to be the crowd pleaser, wanted
to be. Yeah, absolutely, this is this is raw, this
is this is very TCM seventy four.

Speaker 2 (29:28):
Yeah, And speaking of Margot Kidder, who was in another
big movie in nineteen seventy four, by Christmas, a movie
I hold very near and dear to my heart.

Speaker 1 (29:39):
The progenitor to all of this, the progenitor to Halloween
in so many ways.

Speaker 2 (29:44):
And what I like about this is that you can
see that you know, And this is something that I've
learned in therapy, is like, sometimes you are you have
to have your own issues explained to you because you
are in you can be in denial of And that's
what she just was there. You know, I know Michael
Myers is dead. Well they never found his body, so

(30:04):
that's just that's a you know, a hard time for
you to It makes it difficult for you to rectify it.

Speaker 1 (30:08):
And I like to really sure, Yeah, I'm really starting
to appreciate the work they did on her, on her scars,
on on those parailic fantastic. Yeah. For some reason, this
is the first time I'm really saying that huge gash
she has on her forehead, her little Harry Potter, you know,
the boy who lived a kind of scar there. But yeah,

(30:31):
I mean it's it is not flashy, it's it's not
it's not like a Tom Savini thing where you can
admire it. It's just a it's just there. It's there.
You know, for for Scout, and it's there for for
the audience, you know who's paying attention, Like wow, like
like really left a mark on that character. And here's

(30:55):
a here's a controversial little beats. I see a lot
of people clown.

Speaker 2 (31:00):
We'll be saying that a lot throughout this movie. Here's
another controversial moment.

Speaker 1 (31:06):
Look, obviously you don't have to be Michael Meyer's sister
to see two white horses in that warshack. Oh yeah,
But I also don't know how you can take the
instruction of Yeah, it's kinda kind of look like a
white horse in a warshack painting.

Speaker 2 (31:22):
Oh boy.

Speaker 1 (31:23):
Yeah.

Speaker 2 (31:24):
And here's another controversial momive.

Speaker 1 (31:27):
I always waive on how much I want to defend this.

Speaker 2 (31:31):
Part of I'll defend it to the death.

Speaker 1 (31:33):
You'll defend it to the death. That's great. Yeah, I
definitely I would rather defend it to the death than
completely disavow it. And I think a lot of that
just comes down to how much I love Mike Malcolm
McDowell as an actor and how much I do think
he pulls this off. And it's you know, I mean,
it was his choice to at least do something radically

(31:55):
different than the first movie. He said he did not
want to repeat the performance that he had from the
first movie, and and Rob took Loomis and kind of
made him very like doctor Phil or very like this
product of a post twenty four news cycle, you know,

(32:17):
culture vulture environment, which obviously is probably the most offensive
thing he could have done to that character. Everybody fucking
loves that character. And I you know, if they made
Donald Pleasants do this, that would that would be really odious.

Speaker 2 (32:32):
Yeah, oh yeah, for sure. I mean, look, Donald Pleasance,
he he got his moment for Loomis to change and evolve.
What I like about this change is that this right
here is where I will defend it to the death,
because he is spelling out to you that he does

(32:52):
not want to be the Loomis that feels somewhat responsible
for Michael Myers feel like he didn't do enough, feels
like he failed, feels like he did so many things
wrong in the situation, and so and by the way,
let's be clear with this too. There are short moments
of his personality in the first one in Rob's first

(33:14):
Halloween remake that show that kind of personality. And by
the way, this here is in Madison, Georgia. This building,
it's actually at this time it's like an antique mam,
so you can go in and buy antiques at on
at what is his uncle meets.

Speaker 1 (33:30):
Yea of all fake coffee shops. I think I want
to go to this one the most, like this is
my central Perk's.

Speaker 2 (33:40):
It's a little hippie for me, I think, But I
can understand it. It actually looks completely different on the inside.
They made it up to look completely different. That staircase
is right next to like an opening in the opening.
They filled it here with a with a shelf. It
looks completely different in there. It's a pretty big building too,

(34:03):
but really cool play. I went inside and looked around
and I'm like, wow, I can't even recognize it. It's unrecognizable.
So they did a good job at dressing it up
and making it look like a real place that you
can go visit.

Speaker 1 (34:16):
And we get Laurie's new friends out with the old
in with the new. I really like Maya, the cashier girl.
I think I do too. Think she's one of the
more genuinely likable characters in this movie. Her other friend Harley,
she's a little much, she's a little much. Yeah, but

(34:39):
I mean, don't tell me that if you went to
high school, you didn't know a girl who acted like that.
So it's just I mean, she she has very minimal
screen time. I think she's really just there to kind
of like balance out this this scroup dynamic.

Speaker 2 (34:56):
I also think she's there to show. I think they're
there to to show sort of like Laurie's evolution because
the blonde she is, she's got a good character. She's
nicer than Harley is, but she is still kind of
this new wild girl that Laurie is portraying herself to be,
and Harley is the extreme version of that. She's loud,

(35:17):
she's delinquent, she's she's got, she's got her issues, and
so I think they are sort of like both sides
of of what Laurie kind of is fighting, sort of
fighting to pretend she is. And I kind of like
that we have one that's kind of more you know,
measured well.

Speaker 1 (35:35):
Going back to scumbag loomis imagine using the imagine using
like an interview with your you know, serial killer patients
as like the hype footage for your book tour. So yeah,
I mean this is I think I used doctor Phil.

(35:55):
I mean there were there were a lot of characters
like this, you know, I think Rob mentioned the author
of that famous Manson Family true crime book. But by
two thousand and nine, these kind of characters, these kind
of grifters, were all over the medium, and I mean,
we're still suck with that. So I think this is

(36:17):
actually aged a little better because I can really it's worse.
It's much worse now. I mean, you know, you can
imagine this version of Sam Lutmas, you know, being a
speaker at a certain presidential candidate's rally. You know, it's
it has aged better in that respect. I can really
see what's being satirized. I don't even think people interpret

(36:41):
it as satire on anything. I think they just saw
it as an affront and a troll on you know,
their beloved character. But you see, this is also like,
you know, an important thing that was cut from the
theatrical version is like, you know, this pretentious little like
well what he quotes some fancy big wig. Yeah, and

(37:06):
you know, has has this kind of moment where people
challenged him and he kind of he dials he dials
down the persona a little bit. You see, maybe more
of the genuine side of Loomis, but they cut all
that out for theatrical, so he really had no dimension
in the theatrical.

Speaker 2 (37:22):
You get a little bit of it here. And what
I like about this is like he's taken off guard
and he has to he has to dial it down
a little bit. He's he's dialed up his arrogance so
that he pushes himself away. But you can kind of
see like he he doesn't believe what he's saying right here.
He speaks differently.

Speaker 1 (37:44):
I'm not a psychic Sherlock Holmes playing Superman, which is uh,
it could have been improvised. So there's actually a lot
more improv that goes into Robs films than then then
I think people realize. But I can also see that
as a rob Yeah again saying we're not doing that character.

(38:06):
I know, the character that you guys want, We're not
doing it. And there he is again. Michael has the
best introductions in this movie.

Speaker 2 (38:18):
Well, this is this is the first time correct me
if I'm wrong, but that's the first time we're really
seeing like full Hobo Myers.

Speaker 1 (38:24):
That is the intro of Hobo Myers, which you can
see the moment the exact still when people turn on
this movie for good, when he turns just slightly from
the camera and people can see the shadow of his beard, well.

Speaker 2 (38:36):
They see that he's not wearing the mask. I mean
just the fact, like the fact that you can see
because in the beginning you can see that he's got
that long beard poking under his mask. Still, but when
you get close enough to see that there's no mask on.

Speaker 1 (38:48):
I don't think it's that he's not wearing a mask
that people found so unforgivable. It's that he I mean,
you see his face in this beautiful fucking shot. Amazing, Yeah,
you see, you see just how rob zombiefied he is.
Because you know, Michael didn't always wear masks in the

(39:08):
previous movies. But if you didn't, yes, why either didn't
see his face or we you know, saw it to
a very limited extent. Although it's really funny to me
just how clear of a shot we get of his
face in the very first movie. But for some reason
it's still this hard rule that we can't see his
face and any of the others we saw it, I mean,

(39:30):
in a perfectly clear shot in the very first movie.

Speaker 2 (39:36):
Here's Mark Boone Junior, the greats. Yeah, he's been in
so many things, and and he's he's one of many
I think in this movie that you can just spot
throughout of just people who pop up now and again
in movies that you're just they always make some sort
of an impression, whether you like it or not. And
by the way, we go from one beautiful shot of

(39:58):
Michael of the the hallucination or the imagination of Michael's
mother too right here, which is like I believe the
score here is sort of alludes to UFOs of this
truck sort of looking otherworldly behind Michael.

Speaker 1 (40:14):
That's you, deful That's what Rob said in his commentaries.
He wanted this almost UFO, this almost alien lighting scheme.
And yeah, I've been blowing this movie. I'm going to
continue to blow the movie. But I really can't overstate
just how iconic to me this is, Like, yeah, in

(40:37):
my head canon, this is one of the most celebrated
frames of a slasher movies, like this silhouetted shot with
the three of them ends.

Speaker 2 (40:51):
And I'll say this you said earlier about about depictions
of Illinois. Most of what you saw so far southern
Illinois could certainly pass for it, but accents aren't quite
this strongly southern and southernland. There's still a little flat,
you know, there's still a little They're not quite Uh.

Speaker 1 (41:08):
Do we know for a fact that do we know
for a fact that this hadd and Field is in Illinois?
Is that actually ever stated?

Speaker 2 (41:17):
Yes it is. They have Illinois license plates and flags
and all that stuff. So but I will say, like
southern Illinois. You know, a lot of people when they
think of Illinois, they think of Chicago, which is basically
where most of the population is. But southern Illinois is
much more close to I mean, it's it's close to
states like Kentucky and Missouri and Tennessee.

Speaker 1 (41:37):
No, to be fair, Michael might not be in Illinois
right now. I mean he might because he has to.
He's been wandering the earth this whole time, So he
actually might not be in Illinois.

Speaker 2 (41:47):
We don't know where Haddonfield is on the Illinois map. Yeah,
you know, it could be a border town by Missouri
or you know, something similar. So, oh see, I never
liked that kill this.

Speaker 1 (41:59):
You can't see it very well. Yeah, when he slashes
the eyes, the.

Speaker 2 (42:02):
Effects not great either. It's the one time in this
movie that I am I can see enough of an
effect to know I don't like it.

Speaker 1 (42:08):
Yeah, but this.

Speaker 2 (42:10):
Right here, oof, you see that aggression. You can hear
him grunting with every stab.

Speaker 1 (42:19):
Look at the grunts, the grunts. It's amazing how such
a basically subtle choice can can redefine a character. I mean,
that really puts Michael Myers in a completely different contexts
just mere fact that he grunts when he kills people.

Speaker 2 (42:38):
And what's really cool about this one particular, is that
he put his mask on to kill these people. And
it's what I really want people to think about when
they watch this movie, is that, you know Rob's version
very clearly spelled out in the first movie, he puts
his mask on when he's about to do something that
he doesn't think his mother would approve of, and mainly

(42:58):
killing people, because that's what he does when he kills
the lady in the in the in the cafeteria, and
it's what he does later on in the movie. He
always puts the mask on, So I like.

Speaker 1 (43:10):
That he's not Starvin like Marvin.

Speaker 2 (43:13):
He's always talking to his mother with the mask off.

Speaker 1 (43:15):
But yeah, this is what I mean when I say
this is a hangout movie or it's a hang up
movie when it wants to be. You know, I like this.
This reminds me of like, you know, a classic Tarantino
exchange or something of that kind of school of of
creating characters, coloring characters with you know, kind of silly

(43:37):
but also very relatable conversations like that. And again, I
don't know if this was scripted or improvised. I could
believe either, or I could definitely imagine Rob saying like,
I definitely want you to bring up Lee Marvin. I
just work Lee Marvin in there somehow. You know. Lee

(43:57):
Marvin was one of the inspirations for uh William Forth
William Forthsyth's performance in The Devil's Rejects.

Speaker 2 (44:07):
Yeah, and and I want to say to really bold
choice to take an actor like this right and make
him not only in the first movie he's Sheriff Brackett, right,
but in this one he's he's more so like the
dad than he is the sheriff. And it's really cool
how we get to see that aspect of him. And

(44:29):
I like that this scene isn't just meant to be like, oh,
here's some throwaway dialogue to get to know our characters.
It's that, but it also serves a purpose right here
of this connection that is growing between Lourie and Michael.

Speaker 1 (44:42):
Why do people get so mad that Michael it's a
dog in this movie. I mean I thought that was
canon from the very beginning.

Speaker 2 (44:49):
It's sthetographic nature of it. Yeah, I think that's that.

Speaker 1 (44:52):
Well, I mean, you know, it was intentionally obscure.

Speaker 2 (44:55):
I think I think when for Maybe I'm wrong about this,
but I feel like people are constantly looking for reasons
to cheer for the killer, you know, like they don't
like when they make the killer this sort of like monster.
I mean, they like when they're a monster, but not

(45:16):
when they can't there a.

Speaker 1 (45:19):
Monster that only kills annoying people of not just people.

Speaker 2 (45:24):
Yes, yeah, and they don't like when they take them
to the point where they're irredeemable, like a you know,
Nightmare on Elm Street remake.

Speaker 1 (45:33):
You know, well, well, I mean child murdering we can forgive.

Speaker 2 (45:37):
But child molesting, no, sir.

Speaker 1 (45:40):
Now, I understand. It's the visceral quality of seeing it
on screen. I mean you are spelling it out in
directly screen. Yeah. In the original film, Oh, we're about
to get this is where I would say this movie
gets Lynchian. People don't like that comparison because that's me
comparing supposedly a very smart filmmaker with a very dumb filmmaker.

(46:04):
I get a lot of raised eyebrows when I say that,
But I mean, how can you argue with you? You
couldn't put this in Twin Peaks. You couldn't put this
in Mulholland Drive. Yes you could.

Speaker 2 (46:15):
And I'll get this out of the way now. You know,
if you're not ready to hear us glazing up Rob
Zombie throughout this, you're you're in the wrong spot. Rob
is the top ten director for me. His movies are
definitely for me. So there will be plenty of Rob
Zombie glazing. I will say, though I do like Sherry,
I don't like her performance as ghost Mom.

Speaker 1 (46:38):
I think she's supposed to give. I just I almost
wish she didn't have lines, and that's not a shot
at her. I just think she's more effective as as
a visual I.

Speaker 2 (46:49):
Almost wish that Michael talked.

Speaker 1 (46:51):
To her so cool. People complain about this. Absolute virgins
complain about this. They don't want to see. They don't
want to see creative ship. You know, that's something that
I have a bone to pick with so much of
the hatred I see at this movie, like people complaining
about just kind of like embellishing, you know, a creative instinct,

(47:14):
you know. I mean, I'm not saying that any of
the stuff that came before isn't creative. I mean there's
a lot of creativity in the original. I mean, it's
it's a fucking franchise, in the whole franchise. But something
about like the decision too to almost prioritize that over
you know, the functionality of being a slasher movie. Prioritizing

(47:35):
that above the formula because you know that doesn't accomplish
anything for the formulaic you know what we want of slashers,
which is a very specific and narrow thing. So you know,
it's you've got you've got to be in a different
kind of mood. Oh what a what a cool shot.

(47:56):
I also think there's a real zen quality for all
these nature shots with Michael, Like, yeah, to see him
going from like brutally butchering people to kind of communing
with nature, it's like zen and the art. Yeah, of
Michael Myers sabbing Mark Boone Junior with with a pair
of deer antlers.

Speaker 3 (48:17):
Yeah.

Speaker 2 (48:17):
And by the way, not that it shocks anybody, but
not only is this house look look completely different at
least as of a few years ago when I went
to see it. You can tell by the layout what
it is. But it's obviously, you know, repainted and people
live there. But it's also this house is right down
the road from where they shoot a lot of the
rest of this movie. And I mean, like you could

(48:39):
walk there. From the opening shot of Lorie walking down
the street to this house is two or three minutes,
which is really cool. It's kind of cool that they
literally just shot this throughout this these two smaller towns.
There's a couple differences the hotels and Buckhead And you know,
actually the shot we saw now tering Haddenfield Rob said

(49:01):
he shot that at his house in Connecticut. It was
the loan shot that was not shot on location.

Speaker 1 (49:11):
Selling the sizzle, not selling the steak.

Speaker 2 (49:14):
Well, if I want your opinion, now beat it out
of you, good lord.

Speaker 1 (49:19):
I will defend this to the death. He has some
of some of Malcolm McDowell's best moments are in that
one scene. Yes happened. I really like the shamelessness of
it for sure. Now does that make his turn back
to the good side less believable. I don't know. I
don't really I don't.

Speaker 2 (49:39):
I don't think it does. I think it's a he has,
that's his come to like he can he can justify
it right now because there is no threat of Michael
Myers doing anything else. The threat to him is gone,
so now he can work on distancing himself from it.
But when he sees that it's it's not gone. And
not only do I still feel like I'm at fault,
but now I feel like I have to fix this.

(49:59):
I I really think that, you know, it's like a
come to Jesus moment, and this stream sequence I love
really cool call.

Speaker 1 (50:07):
First movie yes to Rob's first movie obviously.

Speaker 2 (50:11):
Well yes, the way that they get it almost perfect.

Speaker 1 (50:23):
And I think people misinterpret the scene a little bit.
They think that that Laurie is such a bitch, that
she's fantasizing, gleefully fantasizing by murdering her best friend, when no,
this is a this is an episode. This is an attack,
which you can see from her reaction. I can't remember

(50:43):
how they execute this in the theatrical.

Speaker 2 (50:45):
Cut, but her reaction it's pretty similar.

Speaker 1 (50:48):
Yeah, I mean, what I like is that not only
is Michael literally physically getting closer to her, you know,
making his way back to Haddenfield, but like, you know,
what he represents mentally to her, you know, is oh
you can see the flashes from the screen on on
my wall. Yeah, don't watch this if you have you know,

(51:10):
if you're prone to seizures.

Speaker 2 (51:12):
Yeah, that part, this part right here with the you know,
with her sort of bleeding blood, with the upside down
cross on her head, that's the one part that I'm like,
that's a little too rob for me. It doesn't fit
as well as everything else.

Speaker 1 (51:24):
A little too music video.

Speaker 2 (51:26):
Yeah, but I do think that one thing that's also
cool about it is that the scene in the original
Halloween is Michael basically taking out the constant reminder that
his life is terrible, the constant source of issues in
his life, and that dream sequence that she's sort of
forced into there her constant reminder of everything that happened

(51:47):
to her. She is doing the same thing too, and
so it's it's even a little deeper, like my it's
almost like her brain is using it against her, and
it's it's really.

Speaker 1 (52:00):
I love the briefest of cameos in the first movie
because I think yes of his footage got cut out.
But you know, Rob loves, you know, working with his
friend so much that he said, come on back for
the sequel and I'll give you a whole damn scene.
I'll give you a whole scene where you know, stripper
does a little lap dance for you. You get to
tell off Jeff Daniel Phillips, which I'm really excited to

(52:22):
get to his part again.

Speaker 2 (52:24):
And this scene is really important too, because it shows
how Laurie really has issues figuring out her emotions, because
she's trying to suppress that.

Speaker 1 (52:34):
And this is what I'm king about. This is what
I'm talking about. Though people complain about this. People are like,
what's going on with the editing in the scene. Doesn't
Rob Zombie know how to edit movies? Yeah, he's trying
to catch her mental state with the you know, is
he trying to capture her mental state or something? She
should just tell us that she's feeling bad, you know,

(52:55):
she should just kind of act like it. Rob should
not be trying to do something fancy with his camera
worker with his editing to convey that to us.

Speaker 2 (53:07):
And here's what's really important too, is like Laurie is
describing a good day, but it throws her into not
only a panic, but also like a manic state. And
that's something that I have direct knowledge of. This has
happened to me. This has directly happened to me before.
It's very realistic. It almost disturbingly so.

Speaker 1 (53:31):
Oh yeah. I mean the tragedy of it is that
she doesn't she doesn't have a hero's journey. She doesn't
overcome this. I mean, she succumbs to this. This state
just deepens and worsens. Which I think if if I
don't know, if she had her you know, hero's moment

(53:51):
at the end where she did overcome it, it would
have made for a much more rewarding experience, would have
made it much more you know, Halloween twenty eighteen. But
I think that could have betrayed. I think the you know,
the Greek tragedy that that's being played here.

Speaker 2 (54:07):
I think That's what I like about it is so
many halloweens have.

Speaker 1 (54:11):
Oh here comes like my favorite shot. When I showed
this movie to my wife, when I, like forcibly showed
this movie to her, that was one thing that she
did that she did give this movie is how how
damn good of a shot this was? That? That drone
of kind of footage.

Speaker 2 (54:30):
If probably had to get that with a helicopter back then,
you think, yeah, we're was drone footage industry standard back
in two thousand and nine.

Speaker 1 (54:41):
That's a good question.

Speaker 2 (54:41):
Yeah, I don't know this right here, And.

Speaker 1 (54:47):
Of course we have I think to me, the line
of the movie freaks always find their way home. I mean,
if if every movie has has that line, that really
kind of sums it up that that's definitely the the
line to remember from here. And it's obviously setting up that

(55:13):
he is going to break the promise he made in
the first movie that he is going to dish all
the secrets in his in his little tell all book.

Speaker 2 (55:24):
Here's an interesting tidbit. That band Is was fake. It
was made for this movie, and they did a whole album.
There's a whole album from Captain Clegg and the Night
Creatures that here only exists in this world.

Speaker 1 (55:37):
You hear some of their songs in the soundtrack and
the official soundtrack, which I have on a vinyl. Ah.

Speaker 2 (55:45):
Yeah, and this scene again really important because their relationship
is so volatile and this is any kind of reminding
Laurie she's not the only one.

Speaker 1 (56:02):
It's also funny to think that there is a I
think a pretty big age gap between Daniel and Scout.
I mean, there definitely is. I think Daniel's probably at
least she's probably five or six years older because Scout
was the only a's I mean Scouts.

Speaker 2 (56:21):
I mean, there's a pretty big generational divide between them
from what I from what I understand, I'll verify that.

Speaker 1 (56:28):
But although Danielle really passes for for a high schooler
in uh in first movie, which is pretty fun.

Speaker 2 (56:35):
That's because she's amazing. So Danielle was born in seventy
seven and Scout was born in.

Speaker 1 (56:44):
Let's See All Hail Jeff Daniel Phillips, Like yes, with
one nameless character he seals the show, I mean, I mean.

Speaker 2 (56:56):
No one. So they're they're twelve years apart.

Speaker 1 (56:59):
Are you saying Scout was born the year that Halloween
five came out? Yep, that is hilarious. Okay, but uh.

Speaker 2 (57:10):
Yeah, so this is uh, this is to my knowledge,
the first time that Jeff Daniel Phillips also appeared in
a Rob's zombie picture. He's been in several since then.
He is one of my favorite parts of Rob's most
one of Rob's most recent efforts three from hell Uh
and He's he's a He was Herman Monster in Rob's Munster's.

Speaker 1 (57:30):
Movie, and I guess I'm the minority. I think he
was a lovely Herman Munster. I just I love the
hell out of Jeff Daniel Phillips. I'm really excited to
see how much he continues to rise. He made his
directorial debut recently.

Speaker 2 (57:44):
He's also back as the Guico cave Man. He is
still doing commercials as the Guico cave Man.

Speaker 1 (57:50):
He he let's get fat Stacks.

Speaker 2 (57:51):
From Oh my God. Yeah. So he's a really nice
guy too, He's I've had I've had some interactions with
him online, very brief. I don't know him any means,
but very nice guy. Daniel Roebuck as well from everybody
who's ever met him has great things to say about him.
Oh yeah, And that's That's a trend with a lot
of these actors that appear in Rob Zombie pictures, is

(58:12):
you know they not only are they sort of a
family on the set, but they seem to be very
well liked at conventions and such. That unch right there
always gets me his line coming up here too, hit
the bricks, Dorothy. It gets me too.

Speaker 1 (58:32):
I mean that's when you know that an actor has
in factor when they can create such a memorable moment
without any line of dialogue.

Speaker 2 (58:42):
Yeah.

Speaker 1 (58:42):
Oh, who knows if that was something that Rob told
him to do or if that was yeah, I know,
an instinct, but yeah, I mean literally, off the strength
of this performance, Rob wanted to cast him as Herman Munster,
even though Jeff Daniel Phillips was just the guy Coo
caveman at this point.

Speaker 2 (58:58):
He was that was That was pretty much all he was.
He was known for, and he would go on to be.
I mean, he's been in I'm trying to think here.
I think he's been in every Rob Zombie picture since this.
He was in Lords of Salem, which came next. He
was in thirty one three from Hell and the Monsters. Yeah,
so he's been in every Rob Zombie movie since Halloween two.

(59:19):
And he seems to love working with him and he's great.

Speaker 1 (59:24):
So how do we feel about Michael not wearing his
mask as he kills Jeff Daniels This?

Speaker 2 (59:31):
Honestly, this one kind of bothers me a little, and
it doesn't bother me a whole lot, because he's sort
of justified. He is attacked first, That's how I like
to look at it. But he did put his mask
on before killing people earlier. When he was attacked first.

Speaker 1 (59:46):
Obviously he's going to kill Jeff Daniel Phillips. There's not
Oh yeah, yeah, you know that that intention is is there.

Speaker 2 (59:53):
I just sort of wish that when Jeff hits him
and he you know, he throws Jeff to the ground,
I wish he would have put the mask on before
he he before Jeff meets his end, which we'll see
in a moment here, which, by the way, stolen in
Halloween twenty eighteen. I'm not gonna say stolen.

Speaker 1 (01:00:09):
I mean, this movie didn't invent the concept, no no
curb stomping.

Speaker 2 (01:00:13):
But they did it first.

Speaker 1 (01:00:15):
They did it first, and they did it best.

Speaker 2 (01:00:17):
I will I will agree. I think they did it better.
I do think they did it better in this. I
think they did it well in eighteen.

Speaker 1 (01:00:22):
Yeah, I mean the other the twenty eighteen one is like, yeah,
this one makes me cringe.

Speaker 2 (01:00:26):
That pops like a chill, the hand twitch into oh goodness.

Speaker 1 (01:00:32):
And just imagine a seven foot man stomping on your face.

Speaker 2 (01:00:37):
No, it makes me.

Speaker 1 (01:00:38):
It makes me like lick my teeth to make sure
they're all still there.

Speaker 2 (01:00:41):
Yeah, I know it makes it makes my face hurt,
like I can feel it.

Speaker 1 (01:00:46):
Yeah. See, I don't mind, like, you know, just a
s thing, like the camera panning over to Sherry and
Little Michael. They're all there like they don't have to
say anything.

Speaker 2 (01:00:56):
So I think Little Michael should be talking. I feel
like she should just be looking and like Michael should
be talking almost to himself at her, because she really
wasn't gonna lose lose here, Like how do you maintain
the warmth that Michael feels about his mother while being
a spooky ghost, you know, like you just can't do it.

Speaker 1 (01:01:16):
I think she should show up briefly. Yeah, I think.
I think things just get really complicated when you introduced
the idea of her talking of low Michael talking back
to her. That's when it starts getting a little unwieldy.
But I think it's worth it for the visual. I
don't hate it or anything.

Speaker 2 (01:01:35):
I know.

Speaker 1 (01:01:37):
That's that's one of the things that people hate the
most about the about this movie, and it definitely doesn't
get that kind of primal reaction from me. It might
it might not be a choice that worked out.

Speaker 2 (01:01:48):
In every ins That shot is so good.

Speaker 1 (01:01:56):
Oh man, I think he had to duck through that
doorframe he did little bit? Yeah, yeah, No, Like whenever
I think of Michael Myers, always think of like some
shot from from this movie or maybe maybe the maybe
Rob's first movie. But no, he's never been lit better.

Speaker 2 (01:02:18):
I so the first. And weirdly enough, the first thing
that comes into my head when I think of Michael
Myers is the shot in the original Halloween Too where
where he kind of appears very slowly behind the nurse
and and injects some area.

Speaker 1 (01:02:34):
That's a complete ripoff from the shot in the first movie.

Speaker 2 (01:02:38):
Yeah, it's I think it's done better, honestly, But that's
what comes up first. But then, but then this movie
comes up, and we're about to get to another very
controversial part of this movie, as as Carnage takes over
the rabbit in Red.

Speaker 1 (01:02:58):
Yeah, you can beat a woman to a pulp in
a horror movie, but she can't be naked. I guess,
I mean, I understand. I mean, obviously it's just about
whether or not you trust the director. I mean, if
this woman was comfortable being naked as you know, I
assume she was that brutal by the way, that's the
role that that she signed up for.

Speaker 2 (01:03:18):
There it is half of the mask has just been
torn from Michael's face.

Speaker 1 (01:03:23):
Awesome, that's great and that, you know, that really captures
the duality of this version of the character. And what
I kind of like is that Laurie and Michael are
on a convergent path, Like she's getting more like Michael,
and Michael is you know.

Speaker 2 (01:03:36):
He's getting more, He's returning to what he was before
that night on Halloween?

Speaker 1 (01:03:41):
Is he getting more human than human?

Speaker 2 (01:03:43):
Though more human than human? It's possible, But I like
it too because, like so, the reason that I can
justify the non mask when when Jeff Daniel Phillips is
killed is because you can actually see it happening, like
he's getting more and more He's regressing, yeah to himself.

Speaker 1 (01:04:00):
Is this the first and maybe only? I guess it's
not the only now because I think ends this too,
But was it the first to not take place solely
on Halloween and the night before? Like we've actually spanned
a couple of days now, which is definitely rare for one.

Speaker 2 (01:04:17):
Yeah, I think we see more time in this than
we did in the other movies. I feel like they
we either picked up on or the day before.

Speaker 1 (01:04:27):
Obviously in Rob's first movie, you know, it spanned like
seventeen years, you know, if you know, when you take
into account the adult section.

Speaker 2 (01:04:37):
Yeah, I mean the beginning of this movie is on Christmas.

Speaker 1 (01:04:40):
So like.

Speaker 2 (01:04:46):
This, by the way, looks a lot similar that street
there that like real Louisiana place. I mean, it looks
exactly at least when I went, it looks exactly like that.
And from what Rob said, the bookstore that they built
was actually in what used to be a bookstore, and
everybody in the town was trying to go there because
they thought the bookstore was back, and they were really

(01:05:07):
excited about it, and it was just here for this God.
The decorations, though, I think, are perfect. Some people have
an issue telling when this is. I think it's pretty
clear that it's it's late nineties early two thousands. Does
that come across to you as easy as it does
for some?

Speaker 1 (01:05:26):
I don't put it in a strict timeline. I think
I think it's intentionally left ambiguous. I could imagine that
the first one is late seventies, and this would be
that would make this early nineties. I think there is
a flat screen TV towards the end. Yeah, I just don't. Again,

(01:05:47):
this is pretty timeless. It's a vibe, is what it is.

Speaker 2 (01:05:50):
Yeah. By the way, yeah, we haven't mentioned this yet.
I just want to throw this in there. This part
of the score right here, it's called I'm Age Myers,
I believe is this track's name. We talked about some
of the music in this, but I don't think we've
talked about just how great it is, especially when you
listen to it isolated. You maybe can't tell throughout the movie,

(01:06:11):
but it is a great score, one of the best
in my mind.

Speaker 1 (01:06:16):
No, Tyler Bates killed it with. I mean, he's a
great composer in general, and I really love his work
on both Halloween movies. I really love his version of
the Halloween theme, which of course is famously we're infamously
absent basically in all of the director's cut except for
except for the credits, and I support that decision.

Speaker 2 (01:06:35):
I also support that decision.

Speaker 1 (01:06:37):
It might have set mister Carpenter who felt the need
to shit on Rob Zombies just like.

Speaker 2 (01:06:43):
That bitter old man like plays video games and Go Away. Yeah.
I love John Carpenter. He's he's one of my ten
favorite directors of all time, along with Rob but he
just he just he's just a little too bitter man.

Speaker 1 (01:06:57):
He just yeah. What I think is so ironic is that,
you know, John Carpenter, John Carpenter remade The Thing, right,
and the director of the original thing, Howard Howard or
maybe Howard Hawk's just produced the Thing, but the director
of that movie, yeah, yeah, you know, which is such
a big movie for John Carpenter. He hated John Carpenter's

(01:07:19):
the Thing. He said terrible things about it. And I
just think it's interesting that this cycle, I guess, of
like directors shitting on each other's remakes. And I know,
obviously I'm comparing something that's considered the best remake to
what I guess a lot of people think is one
of the worst. But just when you look at that
that chain of like these directors, the shitting on on

(01:07:39):
on these you know, up and coming filmmakers, uh, you know,
reimagining their works. I just think it's funny and I'm
sure it comes with the territory.

Speaker 2 (01:07:50):
And here's a really important scene in my mind showing
it's confronting him with his responsibility in this as well,
or at least at least his sense of responsibility.

Speaker 1 (01:08:01):
Yeah, the performances are there. I think it's I think
it's pretty realistic. I mean, oh, this upset. I think
he would go to very extreme lengths to confront the
man who exploited his daughters.

Speaker 2 (01:08:17):
And I love the note that the gun wasn't loaded
because it almost makes it seem like he was I don't.
It almost makes it seem like he was going there
with the intention of scaring Loomis and maybe not making
it out. I mean, if you take out a gun
in public, you kind of know that can go bad

(01:08:38):
for you when it's not loaded. So I think that
was really it.

Speaker 1 (01:08:41):
Was definitely active desperation. Yeah, you know, I mean, you know,
I think Americans like to express themselves with guns. I
think that's a well documented fact.

Speaker 2 (01:08:53):
And I like this here because he sort of he's
he's he's As Michael is getting closer to what he
used to be, Loomis is having to confront his feelings
about it, and it's sort of you see it wearing
on him that he's pretending to be this person. As
the movie goes on, another great scene.

Speaker 1 (01:09:10):
Who can tell me with the straight face that, at
the very least this movie doesn't handle the reveal of,
you know, Laurie's relationship to Michael better than the original
Halloween too. I mean, who could tell me the straight face?
I mean, I don't think anybody would actually try to
do that.

Speaker 2 (01:09:27):
But well, I mean, Laurie doesn't even find out in
Halloween two.

Speaker 1 (01:09:30):
And aren't people bothered by that? I mean, is there
nothing else that screams I was drunk when I wrote
this more than that decision.

Speaker 2 (01:09:39):
Hey, you're talking to the wrong guy about that. But
I do think that it's.

Speaker 1 (01:09:44):
A documented fact. It's a self confessed fact that he
was drunk off of Miller Lite or something when he
wrote that script.

Speaker 2 (01:09:52):
By the way, people are also very much living in
this home. When I went, it appeared that they were
running a business out of there. And you can't get
very close. There's a gate.

Speaker 1 (01:10:00):
Oh, she's taking Buddy at the road.

Speaker 2 (01:10:02):
She is taking Buddy.

Speaker 1 (01:10:03):
Yeah, never noticed that. That must be a really important stuff.

Speaker 2 (01:10:07):
Animal And I love that line. Please tell me you
didn't know.

Speaker 1 (01:10:23):
The angel says fuck you? And is that is that
something that Robin came up with her real her biological name,
biological name, her born name is Angel.

Speaker 2 (01:10:35):
Rob came up with that, and from my understanding, it
was to juxtapose, yes, with Michael being the devil being
hailed the devil. She's the angel.

Speaker 1 (01:10:44):
But it's also totally something that a stripper would name
her baby daughter.

Speaker 2 (01:10:51):
Yeah it is. I love this guy. Oh man, last
time she kicked me in the nuts?

Speaker 1 (01:10:58):
Which is that guy looks so much like Tim Walls?
That is so funny? Is that Tim Walls stealth campaigning
in Georgia. Oh, by the way, this is filmed in Georgia,
so we need to start predicting who's a Trump voter
and who's a Harris voter.

Speaker 2 (01:11:13):
Filmed in Georgia.

Speaker 1 (01:11:17):
Now, I wonder was this film in Georgia because of
the tax incentives, because I thought I started hearing about
them later, like around twenty fifteen.

Speaker 2 (01:11:25):
I think this was sort of the beginning of it. Like,
so Georgia at the time. I didn't live in Georgia
when this was filmed. It was a couple of years later,
but I think Georgia was like really trying to because
they had a lot of locations that just seemed kind
of prime. But it didn't start picking up until a
little later. Man television was getting big around this time.

(01:11:46):
There though, I.

Speaker 1 (01:11:47):
Get so envious of like the apartments in horror movies,
just like I know these people, I guess just all
constantly live in a horror movie. That is so cool.
The lighting, the decoration is god. The actress playing Harley
reminds me so much of another actress I don't know who.
I mean, maybe maybe she reminds me of a young

(01:12:08):
Addy Plaza.

Speaker 2 (01:12:09):
I'm not sure it could be. And I love that
her having to confront like she's already pretending to be
somebody else, but she's not even who she was before that.

Speaker 1 (01:12:23):
It's wow. Yeah, if somebody told me that they were
the relative of a missing serial killer, I'm not sure
if I would go to a Halloween party with them.
Probably wouldn't. In all honesty, I would be like, we
can hang out at a very well lit area that

(01:12:46):
has a ton of security.

Speaker 2 (01:12:49):
Well, I do like that this Miya or Maya Maya.
I do like that she takes this more seriously than
Harley does. Harley's like, let's do it, let's party.

Speaker 1 (01:12:59):
That's a good friend.

Speaker 2 (01:13:00):
And I was like, I don't think this is. I
always sense that Maya knew that this really isn't who
Laurie is.

Speaker 1 (01:13:08):
But there's Chris Hardwick from Weird you know, returning from
a House of a Thousand corpses obviously and weird Al.
I wonder, I wonder what that conversation went, like.

Speaker 2 (01:13:19):
I know, I wonder how he feels about this movie
because he's, uh, you don't really hear a lot about
weird Al's opinions. I love mister weir there too, mister weird.

Speaker 1 (01:13:27):
I don't think he has a strong opinion on zombies's
interpretation of the Halloween mythology.

Speaker 2 (01:13:34):
Who knows. Maybe he's a big horror hound.

Speaker 1 (01:13:39):
Wow, I guess. I guess it really bothers people, the
humor in this scene. But you get weird Al. I mean,
he's like, this is going to be a missed opportunity
if he if he doesn't, you know, play around like this.
And I like the fact that we have such a
wholesome character like weird aland movie this uh you know this,

(01:14:02):
this this skeezy.

Speaker 2 (01:14:10):
And I love I think this is perfect because he
was on national television and his facade is waning.

Speaker 1 (01:14:17):
Oh yeah, the whole thing is it's down. It's actually
very It parallels really well with Lori, because you know,
her mental state is deteriorating, and I feel like this
whole persona that Loomis has built for himself to cope
with with what happened, that's crumbling, that's breaking down, you know,
with everything Now.

Speaker 2 (01:14:36):
A lot of times in movies they'll just film all
over the place. That street that he was on is
literally the street that's right next to this fence that
they're shooting in front of now. So it's it's why
I feel like the continuity of the area works so well.
When I'm walking around, I'm like, really, they're all this
close to each other? Can we be friends?

Speaker 1 (01:14:54):
You keep talking, I'll be right back. Yep.

Speaker 2 (01:15:05):
Man. Now, this scene, you know, I always look at
this one as sort of interesting, and this is sort
of what I alluded to earlier here where you have
one you sort of had the Angel and the Devil
on her shoulder here, kind of telling her maybe this

(01:15:26):
isn't good for you to go out and get drunken
party after a bombshell like that. But Harley, being the
bad influence, still wants to go out and party down

(01:15:52):
for the party. I think it helps Laurie already being drunk,
she's already drinking away or problems, already different than what
she used to be. And here we enter the coolest
Halloween party of all time. And this was shot in

(01:16:19):
a pretty inaccessible location at the time that I visited
these filming locations. As we see Jeff Daniel Phillips in
another role in this movie kind of hidden. I mean,
if you know Jeff enough, you'll be able to see it.

(01:16:40):
But man, is that not just one of the coolest
Halloween parties ever? Got strippers in the live band, the
coolest decorations you've ever seen. This has got to be
the coolest Halloween party ever.

Speaker 1 (01:16:58):
Yeah, I've never been to a Halloween party as is
happening as this one. At this party, realize that that's
definitely not been to a party that went that hard.

Speaker 2 (01:17:15):
Your terrible.

Speaker 1 (01:17:20):
Oh that was a cool edit with the yeah delighting
to the police siren.

Speaker 2 (01:17:26):
Yeah, And you know, I like, I just I can't
say enough good things about Danielle, and I know that
I'm biased. You know. Danielle was, of course in Halloween
four and five, which are the movies that truly truly
changed my life. In the trajectory of my life moving forward.
But uh, she's just so good in everything. I can't

(01:17:48):
fathom why her career has been so limited as far
as the things that she's been into a single genre.
I feel like, I mean, she was in other things,
you know, debating Robert Lee, and there are other movies
that she's been in, but you know, after Once.

Speaker 1 (01:18:02):
She Babysitters Dead, I think that.

Speaker 2 (01:18:05):
Yeah, she was in a Disney original with with Catherine
Heigel called Wish upon a Star. She she has a
pretty robust filmography, but much of it ended in her adulthood,
and I don't know if that was by choice. Maybe
she you know, prefers the horror world. But I always
found it sort of said that she you know, even
in Quentin Tarantino always wanted to use her in a movie,

(01:18:25):
and the best that we were able to see in
his filmography was a a cameo a very pregnant Daniel
Harris in in Once upon a Time in Hollywood. Oh really, Yes,
she's a part of the cult, which is is really interesting.
But I like this werewolf guy a lot. I like

(01:18:46):
him a lot.

Speaker 1 (01:18:47):
Actually, he actually comes across as like not a terrible dude.
Like I'm always expecting the dudes at the parties in
horror movies to you know, be date rapists or oh
yeah or the like. But he even says they're ruby free.
I swear. Yeah, yeah, that's I think. My favorite thing

(01:19:11):
about that party was the statue with that pumpkinheads.

Speaker 2 (01:19:17):
Oh my god, and I was I was saying, too, well,
you took a well, you took a step away for
a moment there. We uh. I went to that location
and they were doing construction on the road around there,
so I wasn't able to see all of it. But
even with that, like you can't understand the full scope
of this part, like how they made this, Like you
can't see it when you're there. It's just not there.

Speaker 1 (01:19:40):
What I love is that this terrible awful routine from
Uncle Colls is basically on par with every comedian with
the podcast.

Speaker 2 (01:19:53):
Yeah yeah, yeah.

Speaker 1 (01:19:56):
Like I could really see, like, Okay, Andrew Schulz could
say that, Tony Hinchcliff could say that. Anybody who goes
on kill Tony could say that.

Speaker 2 (01:20:08):
But they don't have say in that too.

Speaker 1 (01:20:10):
They don't have a Jeff Daniel Phillips swag, so it
just wouldn't even well, I like.

Speaker 2 (01:20:16):
It too, because it's clear that they're trying to show that,
like here's this host and he has gotten absolutely shit
faced and now he's just ruining the party, like you
have a live band. I love the awkwardness of this scene. Yeah,
that's that's it. Very believ very believable, very believable. If

(01:20:36):
you're an awkward dude, you you have been or you
know somebody who has been in this exact situation.

Speaker 1 (01:20:45):
Now I haven't been in this exact situation wearing such
a cool werewolf.

Speaker 2 (01:20:49):
No no, no, no, I mean that.

Speaker 1 (01:20:51):
So he's actually one upped me.

Speaker 2 (01:20:52):
And yeah, he's got one up on me. I was
about to say, in the back of a shag carpeted
van with the coolest Halloween mask ever, And it seems
like a good point for me to take a B
break B R B brother.

Speaker 1 (01:21:08):
What I think is funny about this is that it
gets close to it basically is a nod to like, oh,
if if I were making a traditional slasher movie, it
would be a lot like this, Like, you know, you
have the sex await, one of them has to has
to go away and do something or other and then boom,

(01:21:31):
you know, Michael. Michael attacks and that that is a
beat that could come out of you know, any other
type of slasher movie, and we get a little bit
of that here, and it could be Rob throwing a
bone to folks. You know, we need to start getting
that that body count up. But I also think that
he is trying to isolate Laurie from from her friends,

(01:21:54):
from anything that could be that could take her away
from him, because all he's trying to do is reunite
with her. And that's basically what he was trying to
do in Rob's first movie. You know, he tried he
killed Linda, you know, kind of used and his bait. Yeah,
it's also just not a lot of people like kool

(01:22:17):
aid man Michael, I do. I I love every time
he pops out of somewhere, bust through somewhere. Somehow Tyler Mayne,
the man mountain that he is, can fit through that
that tiny window. And yeah, a remarkably un gory death

(01:22:38):
for for this. You know, he usually likes to escalate
things pretty sharply through his films, but just just a strangulation. Uh.
And she was fully clothed this time, so she got
off better than than Linda did. In the first movie.

Speaker 2 (01:22:54):
It's still lots of terror in it too, though it's
not like it's not short of scare. Fact.

Speaker 1 (01:23:00):
You know, you got snapped on by weird al.

Speaker 2 (01:23:04):
I'd love to get snapped on by weirdol.

Speaker 1 (01:23:08):
Come on our podcast.

Speaker 2 (01:23:10):
Michael Myers being compared to a shark again.

Speaker 1 (01:23:16):
With his baggy overalls, Michael, Mikes isn't a sound bite?
Why did it take like seven eight nine movies before
somebody finally did the obvious and make a Mike Myers joke?
Why did it take so long? They don't know.

Speaker 2 (01:23:38):
I don't know. There wasn't a whole lot of efforts
during like Michael, during Mike Myers's peak, you know, like
Resurrection and at twenty word. But you say Halloween six
would have been but they weren't self aware enough at
that point in time.

Speaker 1 (01:23:58):
Don't you think h two O the Scream clone that
it was.

Speaker 2 (01:24:03):
That one surprising? Yeah, they didn't get a little meta
with it right at this time? Scene right here, this
this shot is so cool with her she's still with that.
Oh man, how do you even think of a shot
like that?

Speaker 1 (01:24:18):
Call me shallow? I think how cool it looks? Always
Trump's how stupid. It might be. I mean it's it's
not logical, it's not it's not playing. But but it's
also clearly not meant to be, you know.

Speaker 2 (01:24:33):
But it serves the story of it, right, Yeah, Like
it shows their connection getting closer. That's the whole point
of this is that it's happening when she's more and
more awake and aware and it's about to come to
a head. It's about to you know, meet its climax.
And I like that a lot.

Speaker 1 (01:24:50):
And I get that the first movie presented itself as
really grounded, like Rob's first movie. Yeah, and this is
going for almost it's almost a ghost story. It practically is.

Speaker 2 (01:24:59):
Yeah, I mean very much.

Speaker 1 (01:25:02):
What I what I would say to that is if
you're going to bring back Michael Myers from the dead,
you know, because I mean that's what he would be,
if he got shon the head, he would he would
be dead. Let's actually embrace I think, the surrealism that
comes from that, and let's not keep pretending that, you know,
we're dealing with the perfectly normal, you know, grounded, you

(01:25:24):
know world here. So that's the way I justify it,
and it is a justification that I have to make
to enjoy it. Other people don't don't want to. Don't
you know that they're not They're not with the movie
enough to do that. So I get that, you know,
And most of most of my justifications for this movie
are always going to come down to some kind of

(01:25:46):
uh a personal uh, just an affection I have and
my willingness to go along with it. I love this.
We're about to get one of my favorite scares. Like
Rob is so good at these uh at these scales.

Speaker 2 (01:26:00):
It's so well done.

Speaker 1 (01:26:01):
I was about to call it a jump scare, but
it's not really because it's all in camera.

Speaker 2 (01:26:06):
It kind of serves as one, but it's not like
your traditional sort of jump scare, and it's done very,
very expertly.

Speaker 1 (01:26:15):
How amazing is it that they got Tyler god to
to blend in behind that behind that tree, Like how
huge was that tree?

Speaker 2 (01:26:26):
And you know you can, like if you look at it,
you can see part of his outline. But like it
again it like you said, it blends. It's believable that
that's just part of the tree trunk.

Speaker 1 (01:26:35):
I was looking at it this time and I didn't
even see him. This is I mean, it's it's dark
and I mean, the lighting was was very well done. See,
I just need to see them like that was that
was such a good little scare.

Speaker 2 (01:26:49):
I'd like it as it. I like it as a
marker for the fact that he's there and what's about
to happen. And I'll be honest, this might be a part.
You may see me in tears for the first time
this this scene scene's coming up usually get me. I'm
gonna try my hardest not to not to get there.
But now you know, I've I've always sort of seen
this as like the goodbye to Jamie Lloyd as well,

(01:27:11):
not just the character of Annie in this, but also like, no,
he never got a proper goodbye for daniel Harrison Halloween franchise.

Speaker 1 (01:27:20):
Danielle and I did talk about that, and I I
I basically asked her, like, did you see this as
as not just a you know, sending off an exit
for Annie the character, but for your you know, time
of this franchise, because you know, fans did not get
to say goodbye to you in Halloween six because of
the recasting. It was so unceremonious. And it's also interesting

(01:27:43):
because that scene or this scene coming up was going
to be done very differently. It was done very differently
in the script. Annie's death scene. It was much less ceremonious.
It was you know, the way it sounds, it would
not have I've had the punch it does now because
basically they would have. They would have walked in and

(01:28:05):
found her like kind of bleeding out in a bathtub,
and we wouldn't have seen any of the struggle between
Annie and Michael. It was basically an off screen kill,
which is shocking because, uh, it's like that suspense, like
cutting back to these brief flashes of like whatever is

(01:28:26):
happening in there, but we know it must have been awful,
and it's it's I think, a real good example of
like Rob showing restraint. You know, that's that's a criticism
he's always gotten. I'm not going to call this a
very restrained movie. But but when he does show restraint,
it's to like really uh you know, a really precise effect. Yeah.

Speaker 2 (01:28:47):
And and something we're about to see here is is
Lorie kind of sober up or Angel kind of sober
up very quickly. And if if you don't very believable,
then you've never been then you've never been drunken. Very
suddenly in a situation where things are dire, because if
you have been, you would know that sometimes when stuff
like that happens, you start thinking clearly a lot quicker

(01:29:10):
than you think you would. They there are moments that
can really sober you up real fast, at least momentarily
while the adrenaline is still there.

Speaker 1 (01:29:21):
About yeah there, he is just another And I want
to dispel this notion that that the stalking Michael, you know,
is absent from these movies. I really like the way
he creeps around and hulks around and yeah, you know
he It's funny because you know, now we've cast such

(01:29:44):
a huge guy. It's like it's kind of hard for
him to blend in the way Nick Castle did. But again,
it's about the it's about the photography, it's about the
way they frame him, it's about the way they play
with you know, shock composition. And I always thought that
was done to really good effect in That's something I
really like about the first movie. Rob's first movie too.

(01:30:05):
Oh and see how effective is that to just kind
of cut back to these briefs so it flashes and
it does, I mean, it does everything it needs to
to prepare you for what's about to happen? Like, imagine
if they just walked in and just found her dead, Like,
how especially after she survived the first movie, how anticlimactic

(01:30:28):
would that be?

Speaker 3 (01:30:28):
Yeah?

Speaker 1 (01:30:30):
Okay, Now some people think that that line from Sherry
means that Michael ranked her. Yeah, is that your interpretation?

Speaker 2 (01:30:38):
No, not at all.

Speaker 1 (01:30:39):
No, this is not Halloween six. This is not No,
it's the producer's cut of Halloween six. And how terrible
would it be for, like, for both of the characters
that Daniel Harris has played in this franchise to be
raped by Michael Myers. What the fuck I mean it is?
You know, it's in character for Michael to leave her
naked to you know, completely, Like I always think of

(01:31:03):
that as Michael's slut shaming these girls, which I think
is kind of a core component to him as a character.
I mean, because what's he doing. He's going around killing
you know, girls while they're sleeping around or getting ready
to sleep around. You got to remember, Laurie was not
his target in the first movie. His target really was Annie.

(01:31:24):
And you know he kills Judith Myers after she sleeps
with her boyfriend. So to me, Michael Myers has always
been about slut shaming, and that is especially present in
this version. I'm surprised that's something I don't see come
up often. Even in the post Me Too era, people
are not calling out Michael Myers for his toxic behavior,

(01:31:46):
although I do remember people accusing him of being homophobic
for killing that gay couple and Halloween kills. Do you
remember that that was a moment.

Speaker 2 (01:31:55):
Yeah.

Speaker 1 (01:31:57):
So something else about Rob and I think this is
where I like to compare him to He's the sam
Peckinpaw to John Carpenter's Howard Hawks, because Howard Hawks dealt
with violence in a similar way to John uh, you know,
he it was brief, it was flash, It was not
something to linger on that would be in poor taste,

(01:32:19):
that would seemingly distract from the real drama going on.
But Rob like, he takes that and he makes like
a whole micro drama happens in the in the moment,
from the beginning of a kill to the end of
a kill, you know. And I think that's what Sam
Peckinpaw kind of kind of popularized with the Wild Bunch.
That's why people, you know, take so many shots and

(01:32:42):
why it takes so long for them to die.

Speaker 2 (01:32:44):
There is missus Tyler Mayne.

Speaker 1 (01:32:47):
Oh real?

Speaker 2 (01:32:48):
Yeah?

Speaker 1 (01:32:50):
Is she Canadian? Too?

Speaker 2 (01:32:51):
Oh? I'm not sure.

Speaker 1 (01:32:54):
I love that we have a Canadian Michael Myers by
the way.

Speaker 3 (01:32:58):
Yeah, and uh, this this costume really works here, the
Lori's costume.

Speaker 2 (01:33:09):
Yeah, it's just the way that the blood mixes in
with it, and the pale face and all that. It's
just it's perfectly it perfectly fits with the environment. And
this is where I stop having fun. Normally i'd be
in tears by now. So I'm doing good. It's tough.

Speaker 1 (01:33:28):
It's a hard scene to watch, man.

Speaker 2 (01:33:31):
It's it's also hard because if you've ever if you've
ever lost somebody to terrible circumstances before, you know, you
always wish that you could have gotten a moment to
say bye to them. But you always think too, like
what would that.

Speaker 1 (01:33:40):
Have been like?

Speaker 2 (01:33:41):
You know? And this, this one's tough for me. I
see a lot in this one, and it's really well.
And the music choice here being the exact song that
was played when Deborah Meyer or when when Mother Myers
shot herself in the first film is It's just a

(01:34:01):
perfect choice.

Speaker 1 (01:34:02):
No, this functions really well as a sequel, like when
you think of like what a sequel has to do,
has to call back to the original, it is build
on that. It has to a near.

Speaker 2 (01:34:10):
Perfect sequel to the first film.

Speaker 1 (01:34:13):
And I will never talk about it in those terms
because they don't like that first film, but it really
functions perfectly as a sequel.

Speaker 2 (01:34:20):
This door also was not a prop door. He had
to break through a real door, and they he was
supposed to break through it in like one or two hits,
but it took many more and he was like really
pissed off, he said after that too, well.

Speaker 1 (01:34:33):
Because parentlely, Rob was like, what's taking so long?

Speaker 2 (01:34:36):
Yeah, it was, yeah, And he came through the door
and like where he like shoves it out of the
way there. That was him just really being like pissed
off about it. And we're about to get another part
that I usually am. I'm I was in, I'm in
full tiers and then I start to break out of
it here and I'm like, okay, I'm good, and then
oh what a shot right here too, And then we're

(01:34:58):
about to see right now.

Speaker 1 (01:35:01):
Or this is back up again.

Speaker 2 (01:35:03):
This is the scene right this honestly might this might
I'm really hoping that I can hold it together here,
this is a this is tough.

Speaker 1 (01:35:15):
And brad d or such.

Speaker 2 (01:35:17):
He doesn't get a chance to show this side of him.

Speaker 1 (01:35:20):
Well, he has just in smaller movies throughout his career,
you know. I mean the first movie he got noticed
for was One Flew Over the Cuckoo's Nest. But you
know most of us think of him as Chucky or
you know, being in that world. No, man, he's a
powerhouse of an actor. Then they're gonna cut to real

(01:35:43):
footage of Daniel Harris.

Speaker 2 (01:35:44):
That's the part that usually gets me. Man, it's so
expertly used. It's such a good idea, and it juxtaposes
this awful, naked, you know, just destroyed woman that's on
the floor to this and child. It's like, oh god,
that's well.

Speaker 1 (01:36:02):
And of course it reinforces the fact that this is
a goodbye to not just Daniel Harris the actor playing Annie,
but Daniel Harris, you know Jamie Lloyd, you know who's
been in this franchise since she was a child.

Speaker 2 (01:36:16):
Yeah, I mean you know is she uh, she's she
is to me. And by the way, that actor right there,
that's Patrick Starr next day Oh okay, yeah, and so yeah,
Patrick Starr. Yeah, you'll when he talks in a minute,
when he's like they found him in a shack, you
can kind of hear the progression to that voice. But yeah,

(01:36:41):
it's it's uh, that's always been a really tough scene
and I don't think the theatrical version does it as well.
I think I could see how people could see it
as comedic where he's like, oh, but like what how
would you react? You know? And there's that scene in
Harry Potter that I think of and I'm not a
big Harry Potter fan, but when he's like my boy,
you know, it's like what else would you do?

Speaker 1 (01:37:02):
You know? Like, you know, there's so much German expressionism
to the to the style here, like this is a
true like this is a movie of truly eclectic influences
and there's gonna.

Speaker 2 (01:37:15):
Be a realist imagery too, and it can it can
work in grounded movies like this, and it does well
in this one.

Speaker 1 (01:37:21):
I think, Well, I think it's so And this is
where I go back to Lynch. You know, Lynch really
like most people feel the need to juxtapose, you know,
the real with the surreal, but with Lynch, it blends
together and he doesn't like his movies are not about
providing guardrails for you to understand what Reelan was exactly. Yes, yeah,

(01:37:43):
I mean here it's it's not as loose as that,
because obviously we're playing with with the psychology of characters.
But it's still is about like about that other worldliness
kind of creeping in, seeping in, invading, you know, a
safe space.

Speaker 2 (01:37:59):
Here we get another horror cameo coming up here.

Speaker 1 (01:38:03):
What the guy driving?

Speaker 2 (01:38:05):
Yeah, this is uh, this is going to be if
I'm if I'm not incorrect about his name, I do
get it mixed up frequently, but this is Sean Whalen.
I believe he is from People Under the Stairs. Uh, yeah,
he is a He is well beloved in the horror community.

Speaker 1 (01:38:23):
I definitely recognize that name. I actually might have seen
him at a at a convention or something.

Speaker 2 (01:38:29):
He's He's had a lot of them, and another guy
that people just see as a nice guy. This shot
coming up here in a moment is a is probably
my favorite of the film.

Speaker 1 (01:38:43):
Oh where he lifts the car.

Speaker 2 (01:38:44):
Yeah, I don't know how I feel about the scene.
I think it is pretty cool. But this shot coming
up right yeah there, Oh, my god, are you kidding me?

Speaker 1 (01:38:56):
That's crazy?

Speaker 2 (01:38:57):
Man.

Speaker 1 (01:38:58):
How cool it looks totally trumps how stupid it is.

Speaker 2 (01:39:02):
I don't know what like, it's not all that dumb.
It's it's a little dumb, but it's not all that dumb.

Speaker 1 (01:39:09):
But he's a huge guy. I don't I don't know.

Speaker 2 (01:39:11):
If he's that shot of the hair hanging down to the.

Speaker 1 (01:39:14):
Mask, he might be capable of doing that. I'd be curious.
I mean, because some people are strong enough to lift
a car, right, maybe not flip it over, but it
was on a hill. I don't know.

Speaker 2 (01:39:25):
Again, I mean, it's a small car first of all.
And you know there are stories of like, you know,
mothers lifting cars off their children and things like that,
so you know, it's not totally out of the question.

Speaker 1 (01:39:35):
He really cares. Why why it.

Speaker 2 (01:39:37):
Was also a slasher, a horror movie killer. You know
that's a really cool shot too.

Speaker 1 (01:39:44):
Yeah. I don't like this. I don't know something about
the fade effect. I get why they did it, but
just this is one time where the visual dynamic of Sherry,
Michael and Little Michael doesn't really gel. I mean, it's
a brief shop, but that's just one moment where like, yeah,
when you see them just kind of out in the
open in this even the field, yeah, okay, but here

(01:40:09):
when we get into the shack, this is like we
we can talk about what goes on in this shack
and the merits of it and so on. But and
again visually, like give Rob a sandbox to play in,
and that's that's what the production design team and the
cinematographer did. Basically, it's like one fun house after another,

(01:40:33):
like the strip club, the shack, yeah, even even that
bathroom that's all decked out with the Manson ship.

Speaker 2 (01:40:43):
By the way, the song that plays in this during
the scene is titled Love Shack. That's I don't know
if it's if it's played in this version, though it
might be theatrical only. It's a good track though. I
like that she can see her now.

Speaker 1 (01:41:07):
See I don't I don't mind that Sherry's talking now.
And I'm not gonna rag on her performance. It's a
pretty hard performance. And I would like to to know,
like how did Rob direct her? Like how like what
was that conversation? Like I feel like you probably just
told her a lot of like Okay, now you're gonna

(01:41:27):
look down, then you're gonna save the line and then
you're gonna look back up to Tyler. Like I doubt
there was a lot of like meticulous like remember you
were a ghost or you're a figment of her imagination.

Speaker 2 (01:41:37):
Act I'm sure a lot of it was up to her,
and she's got good, pretty good instincts. I think. I
don't think people give her enough credit, but I do
think I do think her weakest moments as an actress
are all in.

Speaker 1 (01:41:51):
Mmm.

Speaker 2 (01:41:52):
I think most of her very one, very big one
is in this movie, but everything else is okay. It
doesn't detract from my enjoyment. That's a great shot too.

Speaker 1 (01:42:10):
And again it's funny we don't have the third act chase,
like we don't have that. No, in the first one,
we had a great one. That's that's one of the
highlights of the film is the chase from with Michael
and Laurie, and we don't have that here. And even
I'm conflicted about that because I think that would have
I don't know that would have kind of even doubt

(01:42:30):
the pacing a little bit more because this movie is
kind of the pacing is very different for a slasher movie, right,
But I don't know at this point. It's so cerebral,
for lack of a better word, I mean, it's really
about the the It's a family drama. By now.

Speaker 2 (01:42:52):
I like that right there, it's all crumbled down and
now he has to face it, and it's.

Speaker 1 (01:42:58):
Very very though he's so much to blame.

Speaker 2 (01:43:03):
Well, I think that's why he realizes he has to
face it now, is that, like, at the very least
he is to blame for a lot of the events
that happened in this movie. I've never been one to
blame Loomis for Michael escaping and for killing people. He's
told everybody how dangerous Michael was, but I mean capitalizing
on it and reopening wounds he is. This is absolutely justified.

Speaker 1 (01:43:26):
This punch to the face, I mean, he's honestly, I'm
surprised that's that's the worst he gets.

Speaker 2 (01:43:31):
Well, he does well, he does get a.

Speaker 1 (01:43:32):
Gun to his head.

Speaker 2 (01:43:33):
Yeah.

Speaker 1 (01:43:34):
Oh, and then he gets you know, you know, we'll
get what gets that.

Speaker 2 (01:43:44):
It's another great acting moment from Brad Doriff. I know
so many people just associate him with Chucky, but he's
so much more than that as an actor. This is
the movie I think of when I think of Braddorff
to me. I know it's not for other people, but
this is him for me.

Speaker 1 (01:44:01):
I just realize it's interesting, Like Loomis and Laurie had
no relationship that like after the first movie, seems like
they never talked again or something, which is a similar
path though very similar. I mean, they're brought together again.

Speaker 2 (01:44:17):
That's what I like.

Speaker 1 (01:44:18):
I would have liked them to have had some kind
of relationship at the same time, the with the you know,
with the paths that they've chosen, you know, I mean
they want I mean, they wouldn't want to be around
each other. They wouldn't they reminders to each other.

Speaker 2 (01:44:35):
They both they both don't. They both want to distance
themselves from the people they were when that happened. And uh,
it's kind of cool to see it, Like you almost
see it at the beginning of the movie where they're
both injured and they're both hurt, and then the whole
movie start they start taking a path away from each other.
I love this come back.

Speaker 1 (01:44:51):
Yeah. I love the soundscape of this whole sequence. Me too,
the sound design. That's something I really liked about the
first Halloween two Rob. I mean, he's a musician, so
you would hope he would be good at this, but
he Oh my god, it plays with them.

Speaker 2 (01:45:06):
So I'm honestly surprised on how good he is on visuals,
like his visual I know, obviously you know there's a
cinematographer and stuff, but like, to have that eye as
a director is really impressive when you come from the
world like music.

Speaker 1 (01:45:20):
He's a stylistic guy, Like when you see his artwork,
the art work he does for you know, his you know,
his album covers. He directs his music videos.

Speaker 2 (01:45:29):
Yeah, and it's not really fair for me to say
that he came from music solely. I mean he was
He's always loved films. He was a he was a
PA on Peewee's Playhouse.

Speaker 1 (01:45:40):
Well he went to the priv Institute for Graphic Design,
I believe. So he went to school for graphic design.

Speaker 2 (01:45:46):
Now we're coming up on a bruti controversial part of
the movie once again, the last i'd say, na I
wouldn't say the last.

Speaker 1 (01:45:52):
I don't know if ever ends with this movie.

Speaker 2 (01:45:56):
Here is where it peaks in my mind.

Speaker 1 (01:45:58):
Yeah, I know people who love this movie, who hate this.

Speaker 2 (01:46:03):
Yes, Michael removes his mask and says die.

Speaker 1 (01:46:07):
It says this is Tyler Mayne's idea. Did you know that?

Speaker 2 (01:46:11):
I didn't, but I'm about to defend it in a second.
I like that he did that.

Speaker 1 (01:46:16):
Oh what is it?

Speaker 2 (01:46:17):
Don't love this? This part is the only part of
this movie that I definitively don't like. And it's why
for a while I hesitated in giving this movie as
high a rating as I did, because this is comical.

Speaker 1 (01:46:29):
It's comical. I don't understand why there are no blood squibs,
like do. I guess there's a lot, there.

Speaker 2 (01:46:35):
Are some blood squibs, but it's just it's.

Speaker 1 (01:46:38):
Because there's all doesn't breefe flying around. It just doesn't
register like I wanted a Bonnie and Clyde or worse
type of shootout.

Speaker 2 (01:46:49):
I mean, just have him, have him get dropped after
a couple have it be like kind of slow, have
him he doesn't have to shake. I don't understand why
that's a thing in movies where people just like move
back and forth a penguin.

Speaker 1 (01:47:00):
Well, I get that, he's you know, he's this big,
unstoppable slasher. He's just got to stand there and he's
just gonna take it until he gets one slug too many.

Speaker 2 (01:47:16):
Now, this is this whole sequence here is is completely different.
In the theatrical version, Glory comes out of the shed
wearing Michael's mask. After the after uh Loomis screams inside
the shack, and that's the ending of the movie. We
get can with you you like to do?

Speaker 1 (01:47:33):
I do prefer the theatrical ending.

Speaker 2 (01:47:35):
You do prefer the theatrical ending.

Speaker 1 (01:47:36):
Okay, for the theatrical ending.

Speaker 2 (01:47:37):
So I guess for a few reasons, defend this one.

Speaker 1 (01:47:40):
I would love to hear your defense, because I've yet
to actually hear somebody really even try to defend it,
so so please.

Speaker 2 (01:47:47):
So here's what I love. First of all, the die
thing I think works perfectly. You have an adult with
the mind of a child finally coming back to basically
being himself. This is all coming to a head, right,
the story that we've discussed throughout the movie. But what
I love about this more is that not only did
it affect Michael coming back and everything mending together, it

(01:48:08):
affects Laurie. And now Laurie is stuck sort of forever
in this sort of prison of of it's almost like
a purgatory, but it's like hell kind of. She's stuck
in the mind of Michael Myers basically happening in.

Speaker 1 (01:48:26):
Her mind, and in the theatrical cut, this is the
first time the Halloween theme kicks in, right, Yes, it
is something like that. No, I I hear what you're saying.
I actually think the the theatrical cut kind of handles
all of those ideas better because she doesn't she come

(01:48:46):
out of the shack already wearing the Michael Myers mask.

Speaker 2 (01:48:48):
She already comes out where she wears she's wearing the mask,
and then she takes it out, and then she's in
the ending of the theatrical cut is to sort of
let you know that this sequence that we're seeing now
with this hallway is Laurie now in an asylum like
Michael was, as opposed to being trapped in the asylum
of her mind for seemingly eternity, which is why I
like it more with By the way, Love Hurts, absolutely

(01:49:10):
a perfect rendition and a perfect use of the song here.

Speaker 1 (01:49:13):
I'm so tired of people complaining about that needle drop
like it's such a it's it's such an appropriate needle drop,
like I.

Speaker 2 (01:49:23):
Feel like it is.

Speaker 1 (01:49:23):
That's the theme of both these movies. Love hurts, especially
when you know you come from a dysfunctional family.

Speaker 2 (01:49:30):
And that's such an important thing about these movies, is
it's all about the comfort Michael takes from his family.
And his family is his mother and is Angel or Laurie,
and now they're together forever and she but but for
her obviously now she has sort of taken some of
these characteristics from Michael, some sort of the nature side

(01:49:51):
of that argument, as she is trapped in this, in
this place forever. She's not in an asylum like Michael
was in real life. She's this is where her mind
is trapped. In This shot here is so perfect. It's
just like the shot we got earlier of little Michael
in the asylum behind Loomis. That's a great psycho, great

(01:50:14):
ode to psycho, great o to the movie itself, very
self referential. But now things yep. And I love the
White Horse. I don't care what anybody says. I think
it's a great it's great visual key unicorns, and it's
a great symbol of this purity that Michael sees his
mother as and that eventually Laurie is sort of sucked

(01:50:37):
into it. Really, this movie is very poetic. This both
of these movies are very poetic and story heavy if
you really focus on them as we get to the end.

Speaker 1 (01:50:48):
Credits, that's it. That's that's the end of you know,
the Rob Zombie duology. You know, that's that's the final
frame on the on the Rob Zombie. Uh take on
the Halloween mythos the last time the audiences would see
Michael Myers for a while almost ten years. Yeah, there

(01:51:08):
are those two nasty nasty men, the wind.

Speaker 2 (01:51:11):
Steines, Harvey Weinstein yep, and Bob.

Speaker 1 (01:51:14):
Weinstein, who's no angel.

Speaker 2 (01:51:15):
And we get shots from these movies of the victims
of Michael really just Michael's victims. I just have to
Brandon trost Kill is incredible in this movie as creating
some of the most iconic shots for me in the
entire franchise. I love that Love Hurts is what's playing

(01:51:40):
right now. It just and by the way, great job
by Nan Vernon. She's the vocalist who is doing this rendition.
She also did one of Mister Sandman for the first movie.
Both incredibly well done.

Speaker 1 (01:51:52):
They include the Halloween theme credit for John Carpenter, even
though they never play it in this.

Speaker 2 (01:51:56):
I know, by the way, Brandon Trust has done a
lot of work since then. He is a. He's very
much a working cinematographer. He does have a pretty bad
cinematographer movie in his in his filmography, but everything else
is what is pretty good looking movies. Ghost writer spirit avengines.

Speaker 1 (01:52:16):
I'm not gonna blame that on him.

Speaker 2 (01:52:19):
But he also did like Lords of Salem, he did
the Sonic movies, he did the Disaster Artist. Seems like
he's done a lot of comedies, but he's.

Speaker 1 (01:52:27):
Well, he's also done some pretty big movies, the Sonic movies.

Speaker 2 (01:52:31):
Oh yeah, I mean he's he's he's working. And he
did Lords of Salem as well with Rob.

Speaker 1 (01:52:37):
Another one of the best looking movies.

Speaker 2 (01:52:39):
Exactly. I think his two best looking movies are both
are both this guy, so they work well together. And
you know, as we go through these credits here, I
guess we can sort of kind of give our final little,
you know, things we want to say about this movie. Yeah,
is there anything that you've left unsaid so far that
you'd like to get out as we get close to wrapping.

Speaker 1 (01:52:59):
This anything that I have left on said I I
believe I will have commented on on the dread Central
on the article or dread Central looking forward to that
coming out, But I think I I think I. You know,
it's hard to capture why you love the movie, especially
when it's so contested as this movie, because you're trying

(01:53:21):
to defend it and summarize your own you know, why
you love it at the same time, and with the
movie that is, you know that that you know does
everything wrong on paper. You know, it seems to completely
misunderstand why people love the Halloween movies or or doesn't
give a fuck why people love them. It has you know,

(01:53:45):
one of the most divisive filmmakers really doubling down on
most of the things that makes them divisive. So yeah,
it's like, how do you turn around and and then
say with confidence that it is your favorite movie of
this franchise and one of your favorite horror movies ever.
I'm just gonna go back to all of these central
things that this is the most emotionally affecting, This is

(01:54:07):
the most thematically rich and and one of the most stylistic,
atmospheric and expertly executed slasher movies that I've ever seen,
And I think it transcends that genre. I mean it
maybe to its detriment, because it could have, you know,

(01:54:28):
it could have been more of a slash movie for
general audiences. But but again, it's made up of all
these eclectic influences that come together to tell a really
heartbreaking story, but a really resonant story about you know,
about dysfunctional families, about survivor's guilt, about you know, being
being changed by by trauma.

Speaker 2 (01:54:50):
Yeah.

Speaker 1 (01:54:52):
Uh, and it does all that, you know while paying
homage to you know, you know types of cinema that
that I know, Iodore that I love, you know, exploitation cinema,
German expressionism. You know, it's it's I feel like I
might have been bred in a laboratory appreciate this movie

(01:55:14):
in a pretty unique way because I really love everything
that this movie was going for, and I acknowledged, you know,
why people don't like it. I get why people don't
like it, but I just you, you've got to respect
I think, uh, the audacity of this film because it
wasn't done to troll people. It was done because I

(01:55:37):
think Rob had genuine, like a genuine heart for these
characters and for this for this saga.

Speaker 2 (01:55:45):
Yeah, and he does a really good job of of
wrapping his own story. I mean, it's it's left off
at a note where you could do something with a sequel.
You know, if you if Michael survived this, you know
his rampage of how furious he'd be that he finally
got his family back together. And now he doesn't see
those visions, and he doesn't hear the voices, and he

(01:56:06):
doesn't you know, none of it's there. There's really a
pathway if they wanted to do something. But what I
love about it is it perfectly wraps up the story
that one started. Family is the most important thing to
this character, and we start the movie with them all
together in the first one, and we end the movie
in this one with them all back together to the

(01:56:26):
detriment of this innocent girl who's done nothing wrong. Like
you said, incredibly like heartbreaking. If you follow this story,
you know I can understand if this isn't what people
want to see from Halloween. I do get a little
mythed when people when say that Halloween six is one

(01:56:47):
of their favorites and that this is one of their
least favorites. I don't get that. But what I do
understand is is seeing this movie as too far of
a departure for what you're used to For me, though
you know, I think it's important to have departures. I
think if every movie was the same in this Halloween franchise,
it would get really tiring. It's why a lot of
the different takes on it that feel different than the

(01:57:09):
first two movies are some of my favorites, and expanding
on the lore is something that I love. It's why
the first movie is not at the top of my list.
So yeah, this is easily my favorite horror movie. If
the emotion the way it makes the first film better. Truthfully,

(01:57:29):
the first film would be pretty low on my Halloween ranking.
It would be significantly lower than it is if this
movie wasn't around to make me appreciate it more. Because
I do think this movie makes the first one better.

Speaker 1 (01:57:44):
It does elevate the first one. It turns the first
one into not just you know, a standalone but now
you know it's part of again, a saga, an epic tragedy.
You know, I love the first one despite its flaws,
and it is flawed, of course, yeah, absolutely, and that
just things I won't defend unlike this movie.

Speaker 2 (01:58:04):
But there's nothing I won't defend in this I want
that to be clear. Even I don't love I will
defend everything in this. I think it was in the
pursuit of perfection, and I think they got I think
they got pretty dame close to that.

Speaker 1 (01:58:16):
Yeah, and this was, uh, this was a really reaffirming
experience watching this again with you know, a critical eye,
working through all the things of work and don't work
about it, and coming out the end still saying like, damn,
what a fine movie that is, Like, I'm so happy
that this exists, uh, when it doesn't have any right to.
But this is like a freak accident of a movie

(01:58:38):
in a lot of ways, an unrepeatable thing, and I'm
just fucking so grateful that we have it. So Yeah,
that's that's me and Connor, you know, giving a two
hour blowjob to Rob Zombie. Yeah, in the form of
our Halloween two commentary. I know I had a blast.

Speaker 2 (01:58:59):
Oh yeah.

Speaker 1 (01:59:00):
I would love for people to know if they would
like to see more commentaries from us, you know, because
there's so many movies that me and Connor I have
really bonded over throughout the years, and I know, I
think we would both love the experience of just watching
a movie with y'all, sharing our thoughts about it, reminiscing
and there's so many things that we didn't even get
to like production details choices that we loved.

Speaker 2 (01:59:23):
You know, I have a feeling this won't be the
last time that the people are hearing us discuss Halloween too.

Speaker 1 (01:59:29):
No, we'll never get it out of our system, which
is as annoying as it is to me as it
probably is to you guys. But we have literally run
out of credits. Yea, So the movie, that's the movie,
that's Halloween too, that's Rob Zombies Halloween too. Maybe we'll,
you know, do commentaries for more movies in this franchise.
Maybe we'll do more for Rob Zombie. I mean, I

(01:59:51):
think we've overlooked, you know, Halloween O seven. I think
I think we need to dedicate Sime to that because
I I think I tell myself that it's it's you know,
I kind of tell myself that it's it's really not
as good as I remember it after hearing so many
people bash it, and then I rewatch, I'm like, oh fuck,

(02:00:12):
I I fucked with this so hard.

Speaker 2 (02:00:15):
I really like it. Yeah, I really do like it.
Even though it's it's it's lower than what I would
what it would sound like. It is on my on
my ranking. I still think the movie is way better
than anybody says that it is.

Speaker 1 (02:00:29):
Honestly, it's my my second favorite in the franchise. It
isn't really Okay, yeah it is. It's not better than
John Carpenter's Halloween. I'm not saying that it is my
second favorite though. This is my first easily and by
by quite a bit. It's really not a contest with
any other film on this list.

Speaker 2 (02:00:47):
I mean, I love this franchise. It's it's my second
favorite film franchise, I know on our show before and uh,
this is still my number one. And so you know,
hopefully if if somebody did listen through this and they
weren't a fan, they'll give the Hopefully this watch helped
your enjoyment. I hope so, I hope it did. If
it didn't, though, I would like to hear from both

(02:01:07):
critics and lovers of this movie in the comments. If
you if you've made it this far, if you you
know I have sat through this, let us know your
thoughts down below in the comments on it. That would
be really cool. And like Gabe said, let us know
if you want to see anything in the future, but
you already know where to go. If you want to
support us and help us out. All the links are
on our website that badmedia dot com. You can find
our Patreon, you can find our socials, you can find

(02:01:29):
our videos library. Everything is there, so go check that out.
And of course liking, commenting, subscribing, all those things help
us out.

Speaker 1 (02:01:37):
Yeah, and we'll be back to regular, regularly scheduled programming
as we continue to you know, do the podcast and
also experiment with different formats. Again, this was the first
time for us and we really enjoyed it, and we're
always looking for ways to expand and you know, continue
getting our our thoughts out there as long as you

(02:01:59):
guys are are interested in listening. So yeah, happy Halloween, everybody.
Everybody's entitled to one good scare, and I'm sure seeing
rob Zombie Halloween two praise was a pretty big scare
for some of you. So go out, enjoy, enjoy all
hollows Eve, and we'll see you next time.

Speaker 2 (02:02:20):
Yes, have a safe night, everybody,

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Rob Zombie's Halloween II - Commentary Track

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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;}Rob Zombie's Halloween II - Commentary Track