Wolf Man

Episode Transcript
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Speaker 1 (00:09):
It's time to turn out the lights, grab some popcorn,
and watch some horror movies. This is the Terrible Terror Podcast.
Each episode I delve into the world of horror movies.
Why do I do it? Well, I can't really explain it,
but I'd love these horrifying flicks. So if you made
your own movie on your phone or made your own
special effects mc ivor's style, please send him my way. Now,

(00:30):
what do you get me? Take a classic universal monster,
throw in some family trauma, and then just kind of
make it boring. Why you get wolf Man? Why? Hello everyone,

(01:20):
and welcome to the Terrible Terror Podcast. And I didn't
realize that dropped off so much at the end of
that little music thing. I thought it went a little
more melodic than it did. But Hi, and welcome to
a brand new episode. Uh yeah, we're here, and uh
we're doing Wolfman and Wolfman. Oh man, Where do I

(01:42):
begin with this movie? Yeah? So this was something that
was supposed to be a big part of the whole
Dark Universe stuff. I know, we've talked about it before
and we've gone through it. We went and we talked
about the Mummy, and we also talked about, uh, you know,
a Dracula Untold, which a lot of people saw as

(02:03):
like the beginning of the whole thing, but turned out
that it really kind of wasn't and one of those
was better than the other. And now we're at Wolfman,
which this is I could see where it might fit
within the world, but it was supposed to be I believe,
something completely different, and then was just kind of handed

(02:25):
off because this isn't a Universal film. Well it is
in the Universal thing because it's an ip from Universal,
but really it's a Bloomhouse like produced thing, and this
was maybe Bloomhouse's way of getting their feet kind of
wet into the whole world of Universal monsters right where
they did the Invisible Man, and that wasn't necessarily like

(02:50):
that kind of flipped the script on it, and while
it wasn't my favorite, it definitely was an interesting interpretation
of it, right, And that's also kind of where I
kind of lie with Wolfman as well. I know, I
keep want to say the wolf Man, but it's not
the wolf Man. It's just wolf Man, even though it's

(03:12):
kind of taking that ip and it's kind of moving
it forward in a different direction than maybe what you
thought it was going to be. But at the same time,
it's just kind of like, what were you thinking when
you did these things? I know a lot of us
thinking I actually saw some behind the scenes stuff just
when I was trying to like see if what I

(03:33):
thought they were trying to push forward with. And so
I went and looked at a bunch of different interpretations
and all of them had the very same type of thing,
because like literally while I was sitting this morning, while
I was grabbing all the audio, I was just trying
to like like think, in my mind, am I right
in thinking that this is what they were trying to

(03:53):
do with this movie? Like these were the things they
were trying to go and where they were trying to
go with the film, And does it really work in
that regard?

Speaker 2 (04:02):
You know?

Speaker 1 (04:02):
Is it something that maybe just maybe it wasn't there?
And that's like, you know, I really wanted to be like,
is that what we're you know, trying to push forward
in this? I guess that's in the back of my
mind like what I was really trying to go through.
And turns out that yes, there are a couple of

(04:25):
other things that are involved in this with the idea
that they're changing, like we're not necessarily changing. I know
there's a lot of people out there that said this
shouldn't have been called the wolf manage or wolf Manage
should have been called virus Man with the way that
they changed and how they kind of brought forth with
Wolf the whole where wolf thing not being necessarily like

(04:51):
a curse or like, you know, I don't want to
say condition, but I guess curse is kind of like
the best way with it, you know, with the whole
thing and Wolf, like were wolf is in general. And
I know this is like another werewolf movie that we've done,
so close to another werewolf movie, and I don't know
if I've ever done something like that before, but like

(05:11):
the fact that we're we're the whole thing with werewolves,
and I know that my mind is kind of like
thinking and I'm kind of going off the cuff here
with whatever I plan for the intro and the whole thing,
Like there isn't a definitive answer on like there there
is a definitive answer on like you know, the wolf

(05:32):
Man and what the wolf man thing is and Laura
for everything that goes on with Universal right from the
very first movie to whatever they've done. But the idea
of were wolves in general are kind of an amalgamation
of different like philosophies and stories and fables and fairy
tales that have all made this from Greek mythology to

(05:56):
like you know, the grim fairy tales, which there isn't
actually a great fairy tale about the wolfman or were
wolves in general, but it all kind of like exists
based upon different interpretations of werewolves in what they are
and not necessarily having a name in those stories like
old Greek mythology. I can't remember the story exactly, but

(06:19):
where like a father and son turned into wolves in
the story itself, and I'm sure that somebody out there
probably knows exactly what I'm talking about, but that we
have all these different stories and that kind of has
all created what are current like thoughts and interpretations of
what the werewolf actually is, and Laura has sprung from that, right,

(06:44):
So the story was created from bringing all these different
sources together to create the original stories that a lot
of us know nowadays, and so all of us what
we have in our mind of what a werewolf is
is all based around that.

Speaker 3 (06:59):
Now.

Speaker 1 (06:59):
I will give the director and writer credit on this
movie for that, in that they really tried to take
like different bits and pieces of that to create this
version of the werewolf or wolf man in this movie.
It's hard to say that it's a definite like werewolf,
right because it kind of is, you know, if you

(07:21):
were taken at its base like level of it, it's
a werewolf, that's exactly what we're dealing with in this movie.
But it's more than that, and it's really like the
representations of what it puts forward in this movie, which
we'll talk about as we go into the movie, like
they make sense, but at times it's like I just

(07:43):
can't grasp exactly how they want to do because he
also wants like a lot of the writing of this
movie was done during COVID, and so that's why that's
reflected as it being kind of like virus and how
the audience can connect to it because it's not something
that only a select few were gonna get. Anybody could
get this, and there was a lot of things like

(08:05):
that that were kind of going on, and I'm like, Okay,
I get it, and I know that there are gonna
be a lot of things that are going to be produced,
movie story songs, whatever it's going to be about. That
time period or have a reflection in that time period,
which which is five years ago now. It's which are
funny enough because it's this month that it was five

(08:27):
years ago that everything got shut down in the whole thing,
and everybody you know doesn't really like to talk about
those times and really get into it, which I'm not
really going to either, but it's it's something that is
definitely reflected upon, like with this movie. So it's like
a lot of thinking back to that bringing that in

(08:47):
here and bringing into this world. And I have major
issues with this movie, right. I think that there are
some really great things that happen in this movie that Leywanell.
He's a good director, He's not like a great director.
There are still some things I think that he's a
better director than he is a writer in my opinion, right,

(09:09):
I think that there he definitely knows what to do
in terms of the world of horror, in how to
set up those things. But there's some things in the
writing that I'm just like, And I know that there's
two writers in this movie, him and Corbett Tuck that
did the writing for this movie. And I think that
a lot of it comes from, you know, touch ups.

(09:30):
I think that maybe Corbett did, because I think that,
you know, Legh Wnell is really kind of credited as
the main writer of this movie for the most part,
and I think that they collaborated together. And this is
just me thinking, not necessarily reading from anything right now,
but I feel that like to bring in certain ideas

(09:51):
or maybe things that he know which weight needed to
go or flesh it out a little more, because at
least in all the media and everything that I've seen
that you know, Wnell is really like credited as the
writer of this movie, even though there are two credited writers,
and we don't we don't really hear from the second

(10:12):
writer of this movie, right looking at all the stuff
out there, whenever you see anything, it's always Wanell is
the person that we hear from when it comes.

Speaker 3 (10:21):
To this movie.

Speaker 1 (10:22):
And so it's like I said, I think there's I
really think that he has ideas and the ideas they
work and they're interesting, but to what extent do they
work as somebody that's writing a movie. And again, I
have to say this with a covey is that I've

(10:43):
never written a movie before. You know, I know writers
and writers that write really good stuff, and you know,
how hard it is to get your ideas onto paper
and to sit there and having written stuff in the past,
either writing like old scripts for this podcast or writing
you know, just in my freelance time doing I used

(11:05):
to do a lot of poetry back in the day,
you know, either writing song lyrics and doing those types
of things. I know that that process is not easy
at all, and sometimes you just don't you know, you
may think it's something that's really good and you think
it really flows, and somebody else reads it and it's like,
what the hell is this shit? Right, or there's somebody
that just doesn't like what you do. You know, it's

(11:27):
even recording this podcast, right, There are people I've seen
negative reviews. I know they're out there what people think
of the things that I do. And then I get
a lot of people that love the stuff that I do,
so like, I get it. You're not the one sitting
behind the mic, you're not the one sitting behind the
computer desk. You don't have the pad of paper, you know,
that's that's doing that stuff, And that's fine. Not everybody's

(11:49):
gonna like everything that you do, right, and it's not
always going to be like such a negative reception because
there's movies that I've really loved that people really hate,
and I I love it for the reasons that people don't,
i mean, even look at. And this is a silly
comparison pop Eye the Slayer Man where I'm probably not
necessarily the high like arc of people that like, you think, oh,

(12:13):
why did he love this movie so much? You know,
And there's a lot of people that absolutely dislike that movie.
And I really like that movie. I think it's a
really great movie for what it is. And there's definitely,
like you know, for everything that's out there, there's situations
and times that kind of get you into those things.
And I went into this movie definitely with a try

(12:34):
not to do it, like a stinkin thinkin type of thing,
like I'm gonna go into this, I'm expecting this to,
you know, based upon the reaction of the audience, the
reaction of the critics, and seeing that stuff out there,
and I really didn't, you know, I try when it's
a movie that I haven't seen, try not to watch
anything about anything, you know, try not to read reviews.

(12:54):
And I didn't really read many reviews when this was
released either. I really just wanted to go to the
theater and possibly see it. But I was like, ugh,
I just don't know. I just from the trailers that
were there, I nothing just really grabbed me to be like, ah,
do I really want to see it? And one of
the biggest flaws I had for this movie personally, And

(13:15):
I don't know how you guys feel, and this is
exactly how I feel when I figure these things out.
And it's not for every movie that's there, right, And
I will say right off the bat, it's always more
about the journey and how you get from point A
to point B, right from the beginning to the end.
How do you finish everything up? Even if I figure

(13:36):
something out, like how do I get there? If once
I figured something out, I want to see what the
journey is going to be. And maybe that's where when
I figured out kind of one of the twists quote
unquote twists in this movie that's there that I was like, Okay,
I bet you it's going to be this, and I

(13:57):
bet you it's going to be this. These are the
two things that are gonna happened. Because I know something
is gonna happen based upon the trailer of this movie,
and this is one of those things where I do
believe that the trailer hurts the film in general because
we know that he's going to be transforming into the
wolf man, right, and so they're following that type of
like lore in this movie where you know, he gets

(14:20):
attacked by a were wolf and he slowly turns into
the werewolf. And I think the biggest flaw in this
movie is the speed at which that happens and then
the ultimate end of this movie, and by me knowing
who the the you know who who it happens to.

(14:41):
Like ugh, I feel like it just needs to go
into it before I like start like going through him
and explaining my whole trump thought. But like it's it's
just like who the original Werewolf is and then you
know what happens at the end the movie. Those are
kind of like, I guess, the more like who the
Original Werewolf is. There's a twist that's supposed to be there,

(15:04):
and it's supposed to be shocking, and it's not shocking
at all. And I think it just really comes down to,
like like I said, comes down to the story and
how that portion plays out to get you to that point,
and the fact that everything in this movie happens in
one night, and I think that ultimately hurts the movie
as well. I wish that when they were trying to

(15:25):
like they're setting things up and it's an hour and
forty two minutes long the whole movie in general, and
it doesn't really feel like it runs that long, right.
I think that it's a really good set and it's
not really an hour and forty two minutes. It's more
like an hour and maybe twenty six minutes that the
whole thing actually is, because it feels like, you know,

(15:48):
we jump in pretty quick, but I feel like the last,
you know, fifteen minutes of it are like credits. That's
the way that I really feel that you get for
the rest of the movie. So I don't know, maybe
I'm like wrong with this, but I at the same
time like that's me and that's my experience kind of

(16:10):
going into it. So I think that there's if there's
anything else that I say right here, I'm going to
like kind of ruin the stuff. But we'll see. There
are a couple of things that I found interesting though,
that supposedly Christopher Abbott watch hours of animal videos on
YouTube to grasp the wolf's body language. He said there's
different levels of the process is happening. There's maybe eight

(16:32):
percent human, twenty percent animal, and then that shifts. So
to track how a human would react to something as
opposed to an animal. A human reacts one way if
it feels ill or if it's scared, as opposed to
how the animal act how if it feels ill, all
its little levels, he explained, So it's kind of cool.
There are really cool things like that. Like I said,
there's stuff that I really like that they did in

(16:54):
this movie. For example, the whole thing with this being
based upon a virus. The director Wnell explained that he
was inspired by the growtesque transformations of films like The
Thing and The Fly, while makeup designer Aaron I can't
get Arjin too A ten, I'm terrible with names and
everybody else, but he notes that this appearance of characters

(17:15):
transforming between two anatomies trying to mix and that don't
quite go together, and it's a painful one at that
Whenelle explained that the touch point for him and two
Aitin was Heath Ledger's iconic version of the Joker from
the Dark Knight that's an iconic character. Christopher Nolan's coming
into this movie, There's so many different ways you can
go with the joker right as we've seen. I feel
that he made a conscious decision to give the people

(17:37):
a joker that they had not seen before and it worked.
And so that was my thinking going to this What
do I do? And I felt like, you can't compete
with Rick Baker in what he did with the American
Warwolf in London, So what if I did more of
a disease approach and approach it more like something like
the Fly. He also said that his friend and his
wife had a close friend in Los Angeles suffering from ALS,

(17:58):
also known as a motor neuron disease or MND. It
takes over your body, and explain that it's heartbreaking when
your body turns against you and begins shutting down. It's
a real life horror movie for both the person suffering
and the people left behind. Following his friend's death, Manelle
channeled his grief into this film as a way of
processing what had happened. It was important to us to

(18:18):
reflect on some idea of this waking nightmare and trying
to capture the fear Blake experiences as he feels himself
slipping away the scariest part. People that have these type
of diseases fight to try and maintain some semblance of themselves,
and that is something that really does show in this
movie as well. And like I said, I like some

(18:39):
of the angles that they went with, and it's hard
to for somebody that maybe is a straight up werewolf fan,
I think that you're gonna come at this film very
negatively when they try to make little changes like that,
well in this case, like big changes like that, and
I know you're not trying to do a straight one

(19:00):
for one remake. You know, you're not trying to do
what they did with Benucilo del Toro in his version
of the film that was there. And I think that
there are some very like again, I think there's some
really interesting things that happen in this movie and some
interesting takes. And right away, there's something that's like relatively

(19:21):
disturbing that happens in the beginning of the movie, and
it's kind of the most disturbing thing for me if
throughout the whole movie that goes on in this and
then you go into the film itself. Now, I think
I had to relook at a couple of different things
when in terms of the rating, and well, I'll decide
those more towards the end of the film itself, in

(19:44):
terms of the ratings for this movie, but we should
just we should start diving into this before I start
ranting some more and I start telling you the entire
movie without telling you the entire movie, because I just
can't stop myself from like fucking talking here for a second.
So one thing I will tell you, this is probably
the least amount of clips that I've taken for a movie.

(20:05):
I've said that before, but I really think that this
might actually be the least amount. And they're not necessarily
super long in nature. I tried not to make them.
But this movie is not very dialogue heavy, and when
it does have dialogue sometimes it's very sparse because it's
dealing with the situation that they're in, and so like
a lot of it is very like front movie heavy,

(20:28):
and then it just kind of goes into it and
it's more or less to give you an idea of
what's happening within the characters, especially as Blake is transforming
into a wolf, a wolf man if you should say
not a wolf cop, but a wolf man is for

(20:48):
that man. If you had transformed to wolf cop. I
might have given this movie an extra bumping points, but no, no, nonetheless,
so let's go ahead and jump in to Wolfman. So
the movie begins, like I said, with probably for me,
the most disturbing scene, which is a wasp that is
being eaten by a bunch of ants. Like it's a

(21:10):
wasp that's struggling there on a piece of wood and
he's being surrounded by a bunch of ants. I don't
know where they got this footage from, and it has
to be some stock footage from like a nature film
or something like that. But to me, it's like really
disturbing one because it's a wasp too, because I want
to see that wasp asshole get his asshole eaten out

(21:30):
by all those fucking ants. Yeah, you take that wasp. Yeah,
terrorize me for fucking years. Finally get your come up
it fucking beat that love motherfucker. In fact, just tie
him down. Somebody, go get a fucking baseball bat and
then fucking do a whole reservoir dogs to his ass. Yeah,
cut off his fucking ear and fucking dance around where's stuck.

Speaker 4 (21:49):
In the middle with you. I'm gonna take your wasp.
Best to school. I'm gonna beat you right down. Lack
of fool ah, stuck in the middle. Oh god, he's
loves Oh everybody run. You gotta get the fuck out
of everybone talking shit about this wasp. He's gonna come
after me. No, no, gonna get it out. No, don't

(22:11):
goddamn it. Fucking ants and it should have done. Ants
to do my goddamn job anyway, Um a fucking idiot anyway.
So yeah, it's a weird little scene. And I don't
understand why it's at the beginning. I literally thought it
was like a production company, but it's literally the very
start of the movie. And then it fades over to

(22:33):
this wide shot of Oregon and where we get some
text on the screen where it says in early nineteen
ninety five, a hiker went missing the remote mountains of
central Oregon. After several sightings, some members of the isolated
local community began speculating that the missing man had contracted
an animal born virus they called Hill's fever. Indigenous people
who came before it called it something else. Uh maya

(22:57):
gone on, deng Yuan, or of the wolf. I can
say face to the wolf. I can't say my egen,
my gun odin guan probably butchering this shit.

Speaker 1 (23:10):
Out of that. It's like listening to my cousin, who
is full blooded Mexican Puerto Rican, try to say something
in Spanish and not being able to roll her rs.
That's the way that this sounds. Poor caet los finet

(23:32):
Are you trying to say pork? Is that what you're
trying to say? I can't really speak Spanish either, so
you know that's the type of thing. But I'm a
happy so you know I shouldn't be able to you know,
I should be saying things like taco. You know, we're
gonna get assense to tago or carnatas. That's what we're
gonna get for everything. And that's literally sometimes what she

(23:54):
sounds like. Yes, I'm talking shit about my cousin right
here at the beginning of the podcast. That's because I
I can't fucking say what this is, so I'm just
trying to relate, that's all. I'm trying to just be
like my cousin for a little bit and say something tacos.
We're gonna take some tacos home tonight. I'm gonna get
some guacamole. That's the way we're gonna do everything. But no,
she doesn't really have like the valley girl type of

(24:16):
thing going on. But yeah, whitest Mexican, I know. Anyway,
take that what you will. I'm pretty sure her husband
will agree with me, since both of us having to
be both mixed, both half white, half Mexican, right, and
we can pronounce things in Spanish way better than she can.

(24:38):
But he's got the advantage on me because his father's
the one that's Mexican, where my mom's the one's in
Mexican on this side. And there's a lot of things
that you could say, you know, because there's a lot
of things within my like my grandfather, when my grandfather
did things the way he grew up, coming from Puerto
Rico and having to come into the society. And I've
talked about it before and basically being like, look, you

(24:59):
guys better not speak Spanish because you're not going to
get anywhere in this world. So but nonetheless, this is
the way the movie starts. So it's a little, you know,
house in the middle of nowhere, a little farm in
a desolated part of Oregon where people just don't speak
Spanish very well. Nor do they understand in how to
speak the indigenous language very well. Wait, that's just here, though,

(25:20):
I wish I had like a place like this out there,
Like how cool would this be to have this like
isolated cabin that's just kind of off the grid that's
surrounded by all these goddamn trees, even though it's kind
of like a foreboding valley that's there. And and the
way that everything looks, and you know, I love the

(25:40):
way that this movie shot, Like at least the scenic
things that are out there, they're absolutely beautiful and kind
of setting the tone for the way the movie is
going to be because we get to meet Blake as
a young kid. And one of the things that we
do see, you know, we can kind of see, for
the landscape that's there, is there a sign on the

(26:00):
fences that they're this says, you know, trans trespassors will
be shot. There's nothing worth dying here for, you know,
so you're like, huh. And then there's security cameras that
are all around the house as well that they you know,
focus in on, and we see Blake wake up to
his father and he jumps out of bed really really fast,
and then he has to make his bed perfectly like

(26:22):
you can probably bounce a couple quarters off of that,
or maybe a nice pair of jugs. I don't really know,
but this kid's a little too young to be thinking
about jugs. And you know it's not the jugs that
you're thinking about, Okay, I'm talking about jugs and milk, right,
so that way they don't spill everywhere and get the
milk all over the place. You know, they're perfectly fine.
You just put them on top. What were you thinking

(26:42):
about when I said jugs? Were you thinking about boobs?
Because if you're thinking about boobs, there's something wrong with you. Nonetheless,
he's having breakfast downstairs that he's got his dog there,
and his dad and him are gonna go out for
the first time of the day and they're gonna go
out and do a little hunting because they really do
live way off the grid and they try to sustain themselves,
as we see with like the greenhouse that they have

(27:04):
in the farm that seems like where they get all
their like vegetables and stuff, and there's a serene landscape
where father and son stand out there and his dad
talks about how beautiful this area is, and it's something
that when you look at it just makes you forget
about everything and that everything is going to be okay.
And so we're enjoying this wonderful landscape and this I

(27:26):
guess heartfelt moment between father and son. Though based upon
what we've seen so far, we probably go and assume
that Dad is a hard ass on his son, right
with the way that he treats him and the way
that he kind of reacts there in the beginning. We
then see father and son walking through the forest where Blake,

(27:46):
our main character for later on the movie, comes across
a set of mushrooms that's there to where his father
scolds him for it.

Speaker 5 (27:54):
Don't go anywhere near those your death cap mushrooms, an Amin, kidd,
You'll be wearing a toe tag real quick, unless someone's
got a brand new liver line around for you. Right, Blake,

(28:14):
did you hear what I just said?

Speaker 3 (28:16):
Yes, sir, What did I say?

Speaker 6 (28:19):
Donate the mushrooms?

Speaker 3 (28:20):
What are they called?

Speaker 7 (28:25):
See?

Speaker 3 (28:25):
That's what I'm talking about.

Speaker 8 (28:26):
You're not hearing me. You're off in your own goddamn
world somewhere. This place is beautiful, it's also dangerous. You
can survive if you know exactly what to do. Yes, sir,
people get taken from you like that. It's not hard
to die. It's the easiest thing in the world.

Speaker 3 (28:49):
You're all.

Speaker 5 (28:52):
Inches away from it. I'm not always gonna be around
to watch over you, but I'm gonna make damn sure
then you know how to survive.

Speaker 9 (29:01):
Is No.

Speaker 1 (29:02):
I did not weirdly cut that off. It's what happens
in the film. Okay, it's one of those weird things.
I felt it sounded weird as well. But what they
see in the distance because his mind again one starts
to wander Blake's little mind, but he looks over and
he sees a deer in the distance, which is what
they're hunting. So they get set up to go after
said deer. Right, Well, Blake kind of runs off, but

(29:25):
you can see that Blake is kind of wondrous. He's,
you know, still trying to He's a very young kid.
He looks like maybe he's like ten in this he
could be a little younger as being portrayed here. And
while he's out there enjoying the world and just being
like enamored by the nature that's around him, and it's
absolutely fucking gorgeous. It's one thing about Washington and Oregon

(29:49):
that are just there are fucking sights to see, like Colorado,
not like Arizona. Like I know people are from Arizona,
and Arizona's probably a very nice place, and I've been
there a times, and just like Kansas, it's absolutely well,
it's not flat, but there's big portions of it that
are very flat and rocky, whereas with Kansas, it's very

(30:10):
flat and flat and flat and flat and grassy and
flat and grassy and flat and flat and flat, at
least while I was driving through it in the places
that are driving to through it, while I was going
to Wichita, and I got very bored while I was
driving through Kansas. So maybe I should have compared it
to Kansas, and not necessarily Arizona. But Arizona is very

(30:31):
monotone in nature and does have some, like towards the
top of the state, some beautiful areas that are there.
But when you're driving like down to Phoenix, for example,
it's very cactusy. You get to see a bunch of cacti,
and yeah, there is you know, the Grand Canyon, everything
that's going on over there, and there's some very beautiful spots.
It's not the type of beauty that I really enjoy.

(30:53):
I really love trees, like say what you want, being
from California and me being a tree hugger or whatever
it is, but going into a forest to me is
a lot more like appetizing than seeing a bunch of rocks.
I don't know what it is. You guys could love
you where you're from, but I just I love like
views like this, like seeing this wonderful landscape of nothing

(31:16):
but like giant pine trees or redwoods and stuff like that,
like around here, going over to Mirre Woods, it's one
of like the places that I haven't visited in a
really long time, and I need to go back there.
And I love walking through it because you're just surrounded
by a bunch of giant fucking redwood trees and it's
just absolutely beautiful when you're there, right, you just kind

(31:38):
of are in awe when you see that, like those
massive fucking trunks and just how tall they tower, and
you just can't believe that you're walking amongst it. And
then you know there's like little rivers and everything that
have been like crafted just by water flowing through the area.
I just I find it beautiful. And it's just maybe
it's the green that really gets me when you see

(32:00):
those like types of areas and just how lush it feels,
whereas something like and I'm not saying that you can't
be in awe of these giant rocky formations and these
mountains and these you know, little hills and all that
stuff that have also been created, but it just feels like, ah, Honestly,
in the back of my mind, it feels like death
is what it feels like. Like everything's just kind of dead, like, oh, hey,

(32:24):
look heat. My my fragile, little California body says, no,
you cannot stand the heat. And you don't understand why
people can live in that heat, but they do and
they probably really love it at the same time as well,
and that's just where they've always grown up and hey,
you do you I do me boo. Right. So anyway,

(32:47):
so he's just kind of wandering and seeing there and
then he goes to reach for the mushrooms and that's
where his father warns him that, you know, you don't
want to touch those because those are death caps and
death caps are gonna fucking kill you. That's why we
have the They're not called fluffy caps or nice caps
or hey, how about you have an extra life and
grow really big caps. No, those are called death gaps.

(33:09):
That means you touch them, you eat them, you do whatever,
you're just gonna fucking die. And so we know there's
some type of like traumatic past that the father has,
and it's safe to assume, since we don't see a
mom anywhere, that the mother has died and that's really
affected the father and the way that he's raising his son. Right,
And this is a hint wink wink, nod nod to

(33:30):
what we're going to expect with this movie and what
we're going to expect out of the Blake character when
we meet him when he's all grown up. Sometime later
on in the film, So Blake, he decides to rush
off without his father and try to get around the
deer and maybe flank the deer. And so while he's
looking out there, you know, he finds a nice little

(33:51):
spot where he kind of lays down and he's looking
through his scope and then he sees eight basically a
wolfman out in the different distance we sees a man.
He's like, what the hell is that? Then all of
a sudden, his father comes over and scolds him, tells
him not to run off on his own because he
sees it just for a moment within his sights, and
then it disappears and we get to look around, and

(34:13):
it's just a really quick, like you know, shot, So
you don't really get a good idea of what this
wolf person looks like. It looks more like a man,
but a very hairy man. I mean, he could have
thought that he just saw Sasquatch out there, but it
wasn't the real Saxquatch. It was sax Squatch. That's right.
He was out there with his saxophone.

Speaker 3 (34:33):
And burning burner.

Speaker 8 (34:35):
Men.

Speaker 1 (34:44):
Oh shit, somebody finally found me. I need to go
to my concert soon. Yeah, if you've ever seen actually
sax Squatch, he's a real performer that's around here. It's
a dude with a saxophone that performs in a sasquatch suit,
and he's come through. I've actually thought about going to
see it just to see how ridiculous this show is.

(35:05):
But a lot of people seem to really enjoy it.
But yeah, he's only found in the wilds of Oregon
when he's on his own time and practicing his moves
for the next show that he's going to be at.
So he thinks, you know, his father comes over there
and like grabs him and then you know, scares a
living shit out of his son, which is you know,
something he's imprinting on the sun once again, and you know,

(35:27):
they you know, he explains to his father that he
just was trying to run out and find the deer
into where they start hearing a bunch of growling and
weird noises that happen out in the distance. We as
the audience, start to hear the weird like growling noises
that are happening about there, and they decide that they
need to run, and they need to run to one
of those like little purchase, like hunting purchase that are

(35:49):
there in the forest. As every like, it starts to
rain in the area. While this is not Washington, I
could still imagine that it still gets rather wet up
there in Oregon as well. So they high themselves inside
the little you know, hunting perch, locked the little door
while whatever is out there starts attacking and clawing at
the door. As Blake he hides down in the corner

(36:10):
and his father sits there with his gun ready to
shoot whatever's coming through. Eventually, you know, the thing stops
attacking that's out there, and which provides them all with
a little sigh of relief, and Blake wonders what could
possibly be out there in the distance.

Speaker 10 (36:33):
There all over this side of the valley.

Speaker 8 (36:39):
Pick yourself up and let's go while there's still some
lay left.

Speaker 11 (36:50):
He seven one four.

Speaker 2 (36:51):
This is level eight one nine.

Speaker 3 (36:55):
Fuel seven one four. This is level A one nine.

Speaker 2 (37:00):
Keetle seventy one four.

Speaker 11 (37:02):
This is level eighty one nine.

Speaker 3 (37:04):
Do you read.

Speaker 12 (37:08):
Now?

Speaker 3 (37:08):
Are you damn.

Speaker 13 (37:10):
What you like?

Speaker 14 (37:11):
Grady?

Speaker 8 (37:13):
Dan?

Speaker 3 (37:15):
I saw it, saw it. You know what I'm talking about?

Speaker 1 (37:23):
That hiker.

Speaker 5 (37:25):
The face of the rule, Dan, It's real.

Speaker 15 (37:32):
I had it in my scope.

Speaker 3 (37:35):
I almost shot it, Grady.

Speaker 9 (37:39):
That was the point and going up that mountain after
dark looking for something that doesn't wanna be found.

Speaker 6 (37:46):
I wasn't looking for it.

Speaker 7 (37:47):
I was hung deer down by the river and it
came after my boy.

Speaker 8 (37:53):
I'm gonna get it, Dan, and you gotta come with me.

Speaker 15 (37:59):
Don't you wanna keep you voice safe?

Speaker 1 (38:01):
Now? I really love the way the scene that happens
in the little like Hunter's nook that's up there, because
like they get in there and they hide and we
just hear some like small little noises that kind of
go around that are there, and we see like it
try to like push against the gate. But what I

(38:21):
love is that we don't. We don't get to see it,
and there's a lot of tension that's built, and like
I said, I think as a director, he really knows
how to create these tense little scenes. And this is
perfect because there is no like great amount of noise
and it's relatively quiet, and we do get to hear
the little bit of noises that come directly from the wolf,

(38:42):
but it's just like little nuances that are there, and
that the wolf man is up there against the shed
or not I want to say shed, but against the
like walls of the little nook that are there, and
we just see the breath of it coming off the top.
It's just small little toughs and it's very like it's

(39:02):
slightly noticeable, and you really got to focus in on
it to notice that's what we're doing, because we see
it at the front of it, where the little gate
is and where they're locked down, where they think the
only way they can get in there is and it
just kind of like puffing up, puffing up ever so slightly,
and it's slowly building that tension, and then we flip
around and we get the reaction shot with the dad

(39:23):
who's holding the rifle and pointing it directly at the doors.
That's like the only way that it's going to get in,
and then behind him we also see those little tufts
like pop up. And I really thought that it was
going to be a situation where some of the you know,
the way I thought the movie was going to go
at this point that why are we showing this? And

(39:43):
there's a big reason of why we're showing this off
later in the movie, and I've kind of already hinted
at it to give you guys an idea of what
it could possibly be. And it I thought that the
dad was going to die, like he was going to
experience this up here in this wilderness, and that you know,
the trauma that was going to be like brought from

(40:04):
this is the fact that the wolf went and killed
his dad, and maybe there was going to be some
type of like revenge story or something that was going
to go on in this movie. But that's not necessarily
what we get. As you can hear within the clip, right,
because it pops up behind and I thought maybe the
wolf was going to come and attack the dad from
behind out there with the way that the tension the

(40:25):
scene was building. But that doesn't happen. It just kind
of all quiets down, right, and then we have you know,
the dad go out there and look and he looks
along the landscape inside the scope. And I love the
use of the scope because your vision is very tunneled, right.
They make sure that we have we see just the
scope image and we can kind of get like on

(40:47):
the sides of the screen. It's more like reflections of
the different landscape. So it looks like we're seeing out
into the rest of the forest, but it's really just
reflections from the scope itself. And he's focused in and
we see the deer in the in the distance, and
the deer has been disemboweled right back there, and so
and then he moves the you know, we move the

(41:07):
camera some more, and then we get another small glimpse
of this wolfman that's out there, and he takes his
shot and he misses his shot, you know, he almost
gets it, and that's where we go back into the
house that evening and he's on his CBE radio calling
out for anybody that's out there that's willing to listen
to him, and he's trying to tell them that, hey,

(41:28):
you know, there's something out there and I gotta protect
my son. Don't you want to protect your son? So
as much of you know, an asshole that the father
seems to be in the way that he's treating his son,
and it really goes into that conversation that he has
with Blake where he tells him that you know, life
is you know, basically the summation of it, life is short,

(41:50):
and anything can happen is about what you do here
and how to protect yourself and make sure that you
live that short life because it is going to be
taken from you at any moment. And I really thought
that speech that he had with his son right before
it got trailed off when they saw the deer and
they were going after the deer. I really thought that
it was, you know, basically to in a way he's

(42:13):
trying to like prepare him, but he's kind of preparing
him in the wrong way. And that's why I say
that we're like, you know, the past trauma that he's
had with losing his wife, which is what I'm assuming
losing Blake's mom right in that it's really affected him
and he's trying to like drill that into his son's head,
right that no matter what happens, it can be taken

(42:35):
from you within an instant. And he's being overly protective
of his son in this situation, right because he goes
out there, and that's why he's yelling at his son,
because he doesn't want to lose his son as well,
like the way that he lost his wife. However he
lost his wife, we don't really know exactly the way
it is, and you know, we learn again a little

(42:57):
bit later on in pieces bits and pieces of dialogue.
I don't know if it's like it was lost during childbirth,
or she randomly fell off a hill, or you know,
she got attacked by that damn wasp in the beginning,
and he raised an army of ants to go after
the wasp. I really don't know exactly why, right it
maybe hints and things here, or maybe my memory just

(43:19):
fucking sucks and we're gonna listen to it. I even
recorded it in one of the lines of dialogue that
we have in this movie, and I'll remember it when
it hits and I'll forget it right away when we
go through it, because this movie seems to have that
effect on me in the way that everything is. This
little intro to also kind of gives us a feeling

(43:40):
of what the pacing might be in this movie, which
is like methodical and slow but intense at the same time. Right,
That's kind of what I thought I was gonna have
myself set up for. And I'm partially right in the
way that everything moves, but it does like while the
movie moves, like, I don't feel the time in this

(44:03):
movie as the movie moves. I would definitely say that
there is a case of it moving quickly but feeling
that it moves slow. If you kind of understand where
I'm coming from with this, right, A lot of this
movie just feels like it moves like a little too
slow for what it is. And it's hilarious here because

(44:25):
I'm having deja vu again. I think I've had deja
vu to deja vu with this movie because I've seen
this shot before where like they're focusing in on the
house from the outside and the woods around it, and
I've said exactly this same fucking thing before. I swear
to God, there's a movie recently. If anybody can remind me,

(44:47):
I'd really appreciate it, because I know I've said this
in a previous podcast, because you know, as I explained before,
sometimes I'll let the movie kind of play just to
you know, like make me remember if I forget something,
so I don't forget something that might I feel might
be important that's going on there. And I free framed
it on one like specific shot and I know I've

(45:09):
seen the shot and other movies, uh and talking about
something similar here, but anyway, so you know, we then
from here we cut into current day right where everything
in the rest of the movie is going to take place.
After he's saying that he has to go out there
and get it because he has to protect his son,

(45:29):
and don't you want to protect his son or not
his son, but your son's as well. And we also
see like a piece of paper where he's written down
a bunch of notes, and one of them on there
that's underline has a question mark that we focus in
on because it's very tilt shifted in the way that
it is presented to the audience that you you know,
to so that you focus on specific things as they're

(45:51):
going down the list, like that it walks on to
the stood up on two legs, that it's able to climb,
the deer blind, that's what it is. That's what I've
thinking about, and that it possibly is a disease that's
underlined with a question mark. And you know, there's a
couple of other notes that you can't quite make right away,
and it says form of something and that's blurnt out

(46:12):
you can read form of. But then maybe it's like
human or man or something like that that's down there
as he's reading off of that. But we go into
current day and we see Blake is all grown up
here because he interrupts his dad at the end of
it and he doesn't realize that Blake is listening in
on the situation. And we also get to focus in
on a couple of things of the dad that we

(46:33):
hadn't seen before because he's wearing a lot of clothes,
and they do close up up his arm on a
specific like you know, tattoo that he has there that
you know is gonna have meeting later. But honestly, for
me personally, I missed out on it completely and is
part of one of the reveals that happens later on
in the movie. So in present day, we're supposedly in

(46:54):
San Francisco, though I can't really tell where this is
if they shot it in San Francisco at all. But
I really went through some of the stuff, you know,
out there, was reading up on a couple of things afterwards,
like I said, trying to understand if I understand what
they were trying to do with the movie in general,
and they said, oh, now he lives in San Francisco.

(47:14):
It is like he lives in San Francisco, because yeah,
while yes, there's a bunch of homeless are there on
the street, that doesn't necessarily mean that it's goddamn San Francisco,
because that happens everywhere, right, especially nowadays with everything that's
going on. But his god, his daughter there, they've spent
a day on a trip at the museum, and of
course his daughter wants something special, and we see that

(47:36):
he's even though he's treating his daughter different, he's still
treating his daughter like his dad treated him when she
runs away for him for a moment, though he tries
to correct himself and not necessarily be exactly the same
way as his father treated him before, he doesn't really
want to treat his daughter in that way. That's it's

(48:00):
hard for me to talk about this because it's a
main theme in this movie and it's really going to
like ruin the twist right away, and I kind of
want to like save that for later and really talk
about it, but it's also hard at the same time
to not talk about some of these things. So I
think I've just got to mention this right here, and

(48:22):
you're just gonna have to take for what it is.
And it's for some people and for probably most of
the audience that's gonna listen to this movie, I'm sure
your guys are gonna kind of get it right away
for what it is, and there's no way for me
to get around it. But a lot of what this
film deals with, and it's not necessarily like the disease
is part of it, and part of it is going
through you know, like we talked about before, him like

(48:45):
making something that is reflective of watching his friend slowly
fade away as als was taking him over, and that's
you know, blake himself slowly losing himself to becoming a wolf,
like a wolf man that's out there, but a lot
of it is about family trauma and what family trauma
does to the next generation and how that family trauma

(49:08):
is passed down from generation to generation generation. And so
this is one of those things that kind of sets
that up, right because she runs away from him and
starts climbing on some barricades that are out there, and
he keeps telling her, you know, get down, get down,
get down to where then he gets the stern voice
that's there and basically say like, no, get the fuck down,

(49:28):
like not necessarily like that, but just like what his
father did to him in the forest when he ran away.
He's like, why the hell are you doing that? Why
are you running away? Like he does that, but then
he changes his tone and he tries to approach his
daughter and be like, that's not me, as you're gonna
hear in the clip that I'm gonna play in a second,
and him trying to like rectify that and not do
the things that his dad did to him to his daughter.

(49:52):
That's here, right, and that's really becomes a giant theme
in the movie, is that passing up family trauma. And
you can see it here. Even though his daughter's kind
of being a little manipulative bitch and trying to get
her ice cream from her dad and be like, oh, daddy,
you know you're the best daddy ever when he tells

(50:13):
her no, because he just got her something he considers
to be dessert.

Speaker 11 (50:17):
Can we get some ice cream?

Speaker 6 (50:19):
Please?

Speaker 2 (50:20):
Please?

Speaker 11 (50:20):
Please?

Speaker 1 (50:21):
Please?

Speaker 11 (50:21):
Please please?

Speaker 10 (50:22):
I got your hot chocolate at the museum.

Speaker 16 (50:24):
That's not a dessert.

Speaker 11 (50:25):
That's a dreary.

Speaker 3 (50:27):
Oh I think it's dessert. I see.

Speaker 1 (50:31):
Well, did you know you're the best dad in the
whole world?

Speaker 3 (50:36):
Yeah, I'm sure the timing of that has nothing to
do with the ice cream.

Speaker 6 (50:39):
It doesn't.

Speaker 11 (50:39):
I just wanted to tell you I'm serious.

Speaker 3 (50:43):
This feels very transactional.

Speaker 11 (50:45):
I don't know what that means.

Speaker 3 (50:50):
Hey, get down, Ginger, get down right now. Okay, that's it.

Speaker 7 (50:56):
No ice cream in three two one.

Speaker 3 (51:00):
The doc.

Speaker 1 (51:00):
Don't jump off the motherfucking lease.

Speaker 3 (51:08):
I told you to get down.

Speaker 1 (51:09):
Why didn't you listen to me? Damn it, why didn't
you listen to me?

Speaker 7 (51:22):
I'm sorry, I'm sorry.

Speaker 3 (51:25):
I lost my temper.

Speaker 15 (51:26):
That's not me.

Speaker 3 (51:27):
I don't want to be like that. Just need you
to listen when I tell you something, because what's.

Speaker 17 (51:34):
My job to keep your daughter safe?

Speaker 12 (51:37):
Yeah?

Speaker 1 (51:38):
That's right, And what's your job?

Speaker 6 (51:41):
Should read minds?

Speaker 3 (51:45):
Can you guess what I'm thinking right now?

Speaker 17 (51:52):
I love my little girl.

Speaker 3 (51:55):
That's amazing.

Speaker 1 (51:56):
That's exactly what I was thinking.

Speaker 3 (51:57):
How do you do that every time? You're so good
at your job? Yes, I'm sorry, you scared me.

Speaker 6 (52:04):
Okay, you owe your daughter?

Speaker 3 (52:06):
Why does No? I didn't you're hearing things.

Speaker 6 (52:09):
I'm not swear.

Speaker 1 (52:11):
No, you don't owe her anything. You didn't swear. Damn
it is not a swear. You didn't say, get your
little fucking ass down your piece of shit like, you
didn't say anything like that. You basically just said, you know, hey,
don't walk over there. Damn it, listen to me. Why
didn't you listen to me. I'm your dad. You're supposed
to listen to me. Your little shit. Oh wait, god

(52:32):
damn it. I guess I hear a fucking dollar and
I were another fucking dollar. God damn it. If I
owed it, you know, people money for every time I
sworn this goddamn podcast, people be fucking rich, and I'd
be a poor motherfucker living on the street. Uh, it
would have been like last year all over again. But nonetheless, Yeah,
so there's a lot of comparison and why we get

(52:53):
these two scenes very close to each other. Right, we
go to present day, we find out that he's got
a kid, you know, just like his dad at a kid,
because that was his dad and he was a kid
back then. But they're two very different kids, and it's,
you know, this showcase how he's raised her differently than
his dad did. She's very free spirited. She's got a weird,

(53:13):
wacky outfit on it doesn't really match. She's got some
weird hoodie in some well not hoodie, like one of
those like beanie cap type things, but it's all knitted
with like little ropy pigtails on it, and she's got
like angel wings or butterfly wings or where the fuck
wings that she's got it when she's very loving, free spirited. Yeah,
where he was very controlled and he's very tight nipped,

(53:35):
and you know, his bed was made perfectly and his
outfit was perfectly pressed and very straight and stern. And
he doesn't want to raise his daughter like that because
that's the way he was raised and he didn't have
a very good life being raised like that, and he's
trying to make sure that his daughter doesn't have that.
But he's still acting like his dad, right, even when
he turns around and he gets mad at her because

(53:58):
he's raising her in this free spece way. And I'm
not saying that's not the right way. I'm not telling
anybody how to raise their kids. Okay, you don't come
to the guy with no kids on how to raise
fucking kids. But you know, you see it here and
it makes sense maybe a little bit why maybe she's
a little bit rebellious because you're not being as strict
on her, maybe that you should be in certain situations

(54:20):
so you can still have like free form, do whatever
you want. And yes, you don't have to yell at everybody.
You don't have to yell at your kids. You don't
have to yell at you know, to make them do
what you want them to do right and to make
sure that they are good natured people and they're respectful
and all that type of stuff. You don't have to
go I'm not saying go out there, get a fucking

(54:41):
switch every time they don't do with something right and
beat the everloving shit out of them. But have you
tried hitting your kids, you know, just sitting them down
for a little bit, telling them no, and then smacking
them across the face. Have you tried that before? Sometimes
it might work. I don't necessarily advocate it. And I
know this is just a joke, Okay, so don't take

(55:02):
me serious on this thing. But in general, like you
don't have to be you know, like mean spirited with it.
You need to be mean right in my mind, if
I had kids, there's times where you have to be
meet you just have to. They're not gonna like what
you do. And most of the time, you know, especially

(55:22):
if you're raising good kids, they're not going to necessarily,
you know, take that from you. And again, it's the
way that your parents raised you. And eventually you're gonna
get to the point where you're raising your kids similarly,
even though you think you're raising them different. It's just
gonna be the tone that you set, right. And so

(55:43):
when he does that and he realizes that he's being
like his dad, he suddenly goes to her. He's like, look,
that's not the way that I am. I'm not I
didn't want to get angry. I don't want to do
these things with you. I'm just trying to protect you,
which is what his dad was doing. His dad just
the way in his mind, he feels just didn't go
about it the right way. And it's again something that

(56:06):
is a theme in this His dad was overly protected
of him. He's overly protective of his daughter as well, right,
especially when you know, I think that he was getting
more mad at the situation that here comes this crazy
man off the street that starts yelling at his daughter
because his daughter accidentally bumped into him, and he's just

(56:26):
a crazy homeless man. That's there. The dow don't get
off leash, which I don't know if I've ever heard
that phrase when talking to a kid. That's just kind
of like running around out there. I'm pretty sure there
are a lot of phrases like that that are you know,
you could think of that I can't think of to
make jokes about at the moment, But yeah, I'm pretty

(56:47):
sure that there's something out there that is probably worse.
That's it, you know, apple, don't fall from the tree. No,
that's not that's not a very good one that's out there. Uh,
you know you don't piss into the wind. No, no, no,
that's not about necessarily kids that are out there. What
what could be another good one? Don't let your kids

(57:09):
do drugs. Now, that's just good, good life advice right there.
You know, they can do drugs later when they go
to college, but not necessarily right there. I don't know,
what do you expect this crazy man to be sitting
out there? Don't uh, don't gargle the balls. No, no, no,
that's good advice. It's for later on life. You should

(57:29):
always gargle the balls. You know, you get a little
bit of the sauce every now and then. Let's see
make sure that she gets hers before you get yours. Now, see,
you're you're you may be crazy. You're making sense, but
that really doesn't go to kids. Oh you know, I
think it goes to kids. Kids should learn these things
right away. Why am I talking to you? I don't know.

(57:52):
You're just your own figment of your imagination. That's right here.
Trying to come up with a phrase that would sound
really good. That's there. I'm not really real. Why don't
you just continue to record your podcast. Maybe I'll show
up later and give you a good phrase that'll come
through that are really shine in your moment of need?

(58:13):
I highly doubt that, but see you later. Voices in
my head, all right, I'll see you later in your dreams.
Don't let that dog off the leash. Okay, I won't
let the dog off the what? What the fuck am
I am? I still going on and this shit? But nonetheless, so, yeah,
it's there's gonna be a lot of this going on

(58:33):
in the choices that he makes and what situations that
he ends up putting his daughter through. Right, that's something
to think about as the movie moves along, And you
know that this is kind of where I started getting
into things and kind of thinking of what's gonna happen
with this movie and where things are gonna go and
figuring out things moving along. So maybe I'm just giving

(58:54):
everybody else that hasn't seen this movie yet ideas of
what's gonna happen on later on movie. So we go
back to his like modest condo in San Francisco that
probably cost him one point nine billion dollars to buy,
and maybe they're just renting it for one point seven
million a month, because that's the prices of nice places
in San Francisco at least nowadays. At least you know

(59:17):
that I wish, you know, I don't necessarily want to
live in San Francisco, not for the reasons that people
probably think that it is. I just I'm not a
big fan of like huge cities like that. Like even
if it was a really nice city, I wouldn't live
Like if I lived in New York, like New York proper,
I think I would drive myself fucking crazy with the

(59:38):
way that it is and how huge that place is,
at least that it seems right, all the millions of
fucking people, and how it's just all so enclosed here.
Like I like living where I'm at. I don't mind
living in the Bait Area, you know. I know it's
fucking expensive out here is shit, but like the layout
suits me. It's still feels small, even though slowly but surely.

(01:00:00):
The only buildings that are being built out here for
housing are these tall fucking apartment buildings that nobody's gonna
be able to afford at some point. But hey, that's
what progress looks like, right, everybody that's fucking progress rather
than just trying to Like, like, Santa Cruz is very nice.
If you've ever been to Santa Cruz, California, it's like
it's like Berkeley Light, to be honest with you, For

(01:00:21):
the most part, though, it's a little less Berkeley light
than it used to be. But like the building codes
they basically were saying is that they can't build above
a certain height and that's how it stays. So you
just kind of build out right. I haven't been there
in years, and maybe they got rid of that code
because they need to make more space for more people.
But we'll see what it is. And that's the type
of landscape that like, I like, I don't mind city life.

(01:00:43):
I just feel that it doesn't need to be high
rises fucking everywhere in giant fucking buildings that everybody lives in.
That's all I'm trying to say here. But nonetheless, so
they're living in their expensive ass apartment, as I was
trying to say, and we see, you know, dad and daughter,
they're hanging out together and she's putting on lip and
she looks lily a little bit too young to be
playing with mom's lipstick. But then of course Dad's got

(01:01:05):
to go over there and say, you know, well she
wants to put it on him, to which he's like, okay,
go ahead, may put it upon me. And then he
does like a little twirl and twist, and you know
the thing is is that you know, I do. I
do like parts of the story and the biggest issue,

(01:01:26):
and I keep like sighing with it because it ultimately
wants me to be talking about other parts of the
movie and getting towards like the ending of the movie
already for everything that we're talking about. But the thing
is is that I want you to think about my
mind frame when it comes to this, because this is
like one of those little scenes that's like it's cute
and it gets you more in touch with the characters

(01:01:47):
and trying to get you more in touch with Blake.
But there's nothing else like it in the rest of
the movie. And I think that Blake, the character and
the way the actor plays him is boring as fuck.
I just don't give a shit about him at all
for this entire movie. I don't. He plays them almost

(01:02:07):
like a serious version of Monk. Is the way that
I feel like I look at him and I think
of Monk the entire time, Like I think that he's
a germophobe. I think that he's like he's being like
really overprotective about his daughter. He's very monotone in the
way that he does everything, Like he just doesn't seem
like he's fun and how his daughter is so into him.

(01:02:29):
This is like the only scene that you get that in.
But even when everything is going crazy, he's not like changed.
It's not exciting, There is no And I think that
goes for every character in this movie. Like the only
one that seems to show a lick of emotion at
times is really the daughter, Like even the wife that

(01:02:51):
you know, Charlotte when she comes in. Like everybody's very
monotone in this movie. And I think that really what
irks me, and it really was starting to irk me
right here in the beginning, and the stuff that they're
going to go through and to not have that like
weight and to be able maybe to connect to Blake
as a character. Maybe that's just me. And when we're

(01:03:12):
doing these types of like films and I want to
connect to somebody. I want to have feelings for these characters,
and it's really hard when you don't feel anything at
all and they're trying to do this big, grandiose meaning
to the whole thing. And in these feelings that you
get and while they're they're admirable and it makes sense

(01:03:33):
for what they're trying to do when there isn't those
connections to those characters. It just makes it rough and
this scene, I should be feeling something more than what
I feel. And while it's silly, you know, and it's
funny with him doing the little loop around do the
poudy face like the show off Rock Runway type thing,
and really showing that there is a bond between him

(01:03:55):
and his daughter, and I really should have feelings for it.
I have absolutely nothing, and I could get a shit
and it sucks because this is very early on in
the film, and I know it's been like forty minutes
and I'm still like fifteen minutes in the goddamn movie,
because hey, this is the Terrible Tire podcast and this
is how I talk on films. But nonetheless, I just

(01:04:15):
the movie also, to me, is very front heavy with
like developing and then when the shit starts hitting the fan,
it just moves along for what it is, so and
it's not very front heavy to get to that point.
But this is when a lot of the magic happens,
as they say in the film. So Mom comes home
and she's busy on the phone talking to whoever she's

(01:04:38):
talking to with her job and trying to get there,
and he's trying to like get her off the phone
so she can get into family time and not do
whatever she's talking about in this situation that's there as
she hands him some type of like letter that has
come from I guess the mail room downstairs, and when
he opens it up, it's a you know, a basically
a legal document from the court up there in Oregon

(01:05:02):
that's saying that his dad has died, right and this
certifies that, you know, this is the will that he
has and now his dad's property is now his. And
it includes a pair of keys along with the will
that's there. And it's weird to me that somebody would
just mail a set of keys to a property to somebody,
like normally doesn't that, Like you get a letter like that,

(01:05:24):
and it's like, okay, you got to come to these
offices during this time this day, and you've got to
be here and make sure that you're there, and then
they hand you the shit. Then they hand you the keys,
and they hand you the stacks of money that you're
expecting because oh my god, your dad was worth so
much and you're gonna get so much money out of
this whole situation. But no, that doesn't necessarily happen. Whenever
you go into these things, but like you do have

(01:05:46):
to go through at least not litigation necessarily. It's the
only word I can think about in my mind. But
you have to go through some type of lawyer proceedings
that are there where they explain what's happening. But I
guess if you're the only son and you've got no
other family that are out there, then maybe they can
just mail your keys. Like I don't know, it just
seems really weird to but anyway, so he's trying to deal,

(01:06:09):
you know, boringly in the background with the death of
his father. He's just like, guess my dad's did I
guess that's that's what we're gonna do. Like he kind
of like you know, is still like he sees it
and he has a reaction, but he doesn't have a
full reaction. He just kind of just continues what he's doing.
Is they begin to have dinner, and his wife kind

(01:06:32):
of scolds him with the reaction that he has.

Speaker 6 (01:06:35):
Can you can you not do that?

Speaker 9 (01:06:38):
Please?

Speaker 3 (01:06:40):
What did I do?

Speaker 17 (01:06:41):
I was having an important conversation with my editor.

Speaker 10 (01:06:43):
Yeah, you're the only one that has important stuff going on,
right I'm not busy at all.

Speaker 17 (01:06:48):
I have to have kids, I'm never gonna find.

Speaker 6 (01:06:50):
In front at them.

Speaker 10 (01:06:51):
We're not fighting, honey, We're having a spirited exchange.

Speaker 12 (01:06:59):
Okay, So.

Speaker 10 (01:07:04):
I just found out my dad has been finally declared
deceased officially by the State of Oregon.

Speaker 6 (01:07:15):
I'm sorry. How do you feel?

Speaker 10 (01:07:25):
I mean, we knew this letter was coming one day,
but the finality of it, yeah, I don't know, it's
still shocking.

Speaker 16 (01:07:33):
Yeah, are you sad, Daddy?

Speaker 3 (01:07:42):
I am. Yeah, I'm sad about a lot of things.

Speaker 10 (01:07:45):
I wish i'd known him better, but he always made
me afraid of him. So as soon as I was
old enough, I left. We hadn't spoken in a long
time because I chose not to, and now that I
can't speak to him, I suddenly want to.

Speaker 1 (01:08:07):
So yeah, there's some of the trauma like seeping in
right away that we learned, Like, you know, he made
him so afraid of him that he just wanted to
get the fuck out of there.

Speaker 2 (01:08:16):
Now.

Speaker 1 (01:08:16):
The weird thing that you see in this scene, and
it's it's weird. If you've seen this movie, you know
the ending of the film, and you can kind of
guess what the ending of the film is going to be.
But the fact that you know, the wife has a
bottle of wine next to her. It's called kill your Darling.
It's one of those foreshadowing things that I it's if

(01:08:38):
you don't notice it right away, you don't notice it
right It's one of those weird things that it just
was out of the corner of my arm, Like, what
the hell is the name of that bottle of wine
that's over there, Like I thought it's a kill your
Daddy at first, and actually had to rewind it and
like see what it was. I'm like, oh, kill your darling.
That's still a weird name for a wine that you've
got out there, and so like and there is is

(01:09:00):
you know that line that the daughter says there too.
You know, if I have kids, I'm never gonna argue
in front of them, which you know that's a fucking lie.
Everybody fucking says that I'm never gonna argue with my
partner when I get older and I get married, or
I have a girlfriend or a boyfriend or whatever the
fuck it is. You know, a frog, a dog, a log,
whatever you decide, you're you know, live in mate is

(01:09:21):
going to be I'm never gonna argue. Have you ever
tried to argue with the dog before it's it's not
very good. I mean, they just kind of like sit
there and stare at you and then continue to do
the same shit over and over again. But they don't
talk back to you. But you still have that argument
directly in front. You can't argue with a cat because
you know the cat's just gonna fucking walk away, and
then you're gonna just be left dissatisfied because you never

(01:09:43):
had that argument. But you know, you say you're never
gonna do these things as a kid, and then when
you grow up you end up doing the same fucking things.
But the thing is here, You know that she's already
learning from her parents about what she doesn't want to do,
just like he was learning from his father what he
doesn't want to do to his kid when he gets Oh,

(01:10:04):
he doesn't want his kid to be afraid of them,
but he still wants to protect them like his father
did to him.

Speaker 3 (01:10:10):
Right.

Speaker 1 (01:10:10):
He doesn't say that outright, but it's the way that
he has the relationship with his daughter, right, And why
his daughter is acting the way that she does. You know,
it's not it's a loving relationship. It doesn't feel like
a loving relationship between the father and you know, son,
but between father and daughter it definitely feels more like

(01:10:31):
a loving relationship that's there, and we get that when
we fade over to the next day, because there is
something different that happens when you know, he meets his
wife on the steps of her job the next day
to bring her lunch and to have a conversation with her,
and what she says at the end of the conversation

(01:10:52):
is is foretelling as well, but not just that. It's
also something that that you see see that maybe is
like it feels like it should be a rift between them,
and it feels like perspectives should shift, but they don't
because most of this perspective in this movie comes directly

(01:11:13):
from Blake, right, And I really thought that, you know,
and it really is a story about Blake and you know,
what he's dealing with as he transforms into the wolf Man.
She's not necessarily main character, but it's something again that's
foreshadowing what's gonna happen on later in the movie and
what she's gonna kind of be forced to have to do.

Speaker 3 (01:11:33):
Are you happy, Charlotte?

Speaker 6 (01:11:37):
Yeah?

Speaker 17 (01:11:40):
Yeah, are you Why are you asking me that?

Speaker 10 (01:11:49):
Because I don't think we're doing well right now. I
came here because when I got that letter, it dawned
on me that you and Ginger are the only family

(01:12:10):
that I have left. We have such a short amount
of time with people. I just want us to enjoy
each other and try to be happy as a family while.

Speaker 6 (01:12:27):
We are here. I wanna be happy too.

Speaker 10 (01:12:31):
But I was thinking you should come up to Oregon
with me. I have to go up there and pack
up all my dad's stuff.

Speaker 3 (01:12:48):
In a truck.

Speaker 10 (01:12:51):
Why don't we all go together, you spend the whole
summer up there. I think it'll be good for us.
It really is stunning. There's this valley not far from
the farm. It's between these mountains, and no matter how

(01:13:15):
many times you see it, the view makes you feel
like everything's gonna be okay. I want you and Ginger
to see it.

Speaker 6 (01:13:25):
It sounds nice. But I can't just leave work.

Speaker 10 (01:13:29):
Oh yeah, but you can work remotely, just take some
time off. Ginger would love that you spend some time
with her.

Speaker 13 (01:13:35):
You can work on your book.

Speaker 6 (01:13:38):
Yeah, I don't. I don't even know if I'm good
at that anymore. You were a great writer.

Speaker 13 (01:13:44):
Come on, I.

Speaker 6 (01:13:47):
Meant at spending time with my daughter.

Speaker 17 (01:13:56):
But she she leads to you so much more than me.

Speaker 10 (01:14:08):
You are an incredible mother.

Speaker 3 (01:14:12):
You are.

Speaker 1 (01:14:13):
So it's an interesting conversation that they have there, right,
because he approaches the whole situation with you know, if
she's not happy and they're having issues with their you know, relationship,
because they had an argument the night before, and it
really comes down to, you know, his dad died and
he realizes things could you know, not go the way

(01:14:34):
that they want. And like he said before that he
wanted to speak to his father now that he hadn't
spoke to his father for many years, and then all
of a sudden he's here and he's realizing just kind
of like his dad used to tell him that, hey,
things could change in an instant, and then all of
a sudden, there's absolutely nothing there for you, right, And
it's really reflect upon the trauma that his dad had

(01:14:57):
with losing his wife. And then you know, I'm not
gonna say being stuck with his son, but being stuck
with his son, so I guess I am saying it.
And so he's taking that same thing and reflecting it
back to that that Oh my god, you know, I
let all this time pass with my dad never speaking
to him because he made me afraid of him, and
I just ran away from the whole situation. And now

(01:15:18):
that he's gone, even though I didn't want to talk
to him anymore, all of a sudden I do. And
it made me realize that, hey, is everything going okay
with us? Do we need to do something more? And
I have to go up there and do this. So
let's take the whole family on a road trip for
the next thirty days in the summer, and let's go
and be a family and get reacquainted. And maybe this

(01:15:40):
is going to be the best way for us to
do this. Clean up this stuff, bond together, do all
that fun stuff. But again, the way that he's approaching
it is that such like a depressing, sad sap and
the whole situation, like you know, I get it, there's
it's it's so hard. It's really so hard with the

(01:16:01):
character that I just again, I don't really like him
that much, and I don't like the way the character
is being portrayed in these scenes and how everything is
going with it with him just being there and even
him coming up here and just looking like he's constantly
like is he struggling with himself from within with the
whole situation. Is he always just like that. I mean,

(01:16:24):
we're gonna learn in just a second that he you know,
he's a writer and he really has had a whole
lot of work, but he's been a father at the
same time, and you know, that's where his real job is.
And that's why, probably why he's connected so much to
his daughter, because he's around her all the time, unlike
the mom, which is constantly working and is the one
that's like, you know, that dichotomy that you would have,

(01:16:46):
you know, in old type of relationships where the dad's
the one that's rarely there and the mom's the one
that bonds with all of the kids and becomes the
kid's favorite because she's you know, not gonna say forest,
I was about to use that word, but he's the
one that's constantly around them all the time, right where
this time it's the flip side of that. Mom's the
one that's always working. And even she says to him,

(01:17:08):
she doesn't know how to connect with her daughter and
how to just spend time with her daughter anymore, right
because the daughter is so connected directly to the father
that she doesn't feel like she can fit that role,
and he feels like this is the way it should be.
And even the way that she like approaches the whole situation.
You know, she's surprised that he's here and that, you know,

(01:17:29):
is she hiding something that's like the first thing that
you kind of like get from the interaction, like, oh
my god, you're here. This is a surprise. I mean,
she's not necessarily like that, but it's the way that
I took it in this situation, like, oh, I's gonna
go have lunch with my side dude, but you're here. Yay,

(01:17:51):
we get to have lunch with each other. This is
going to be fun. It's gonna be fantastic. I mean,
you know, it's gonna give my inside scrambled out by
my love her boy over there, but instead of in
a hand lunch here on the step for you. It's
gonna be great. Why are you talking like that?

Speaker 2 (01:18:10):
I mean, I'm not a boy to be around, am
I You know my dad died.

Speaker 1 (01:18:18):
Yeah, I know, And you're handling it so well, honey.
I mean we're still heavy together.

Speaker 2 (01:18:26):
Are you really happy? I mean, my dangers died and
I really could do some health. We could do some stuff.

Speaker 1 (01:18:40):
We could go to little nowhere and work.

Speaker 2 (01:18:43):
Again and be together for a little while. That'll be fun, wounded.

Speaker 1 (01:18:49):
Yeah, it's it's gonna bena be grand and.

Speaker 2 (01:18:53):
You can hang out with your daughter and me. We
could be Remember at one time where I made you
feel depressed, wasn't.

Speaker 1 (01:19:05):
I have fun time?

Speaker 2 (01:19:07):
You took me out. You took pity on me and
got you out on that date and thanks for noticing me.
We had a great time.

Speaker 1 (01:19:17):
Yeah, everything was great and fine. You didn't just knock
me up that one time because the pity lane. I
stayed with you and I had a kid and I
didn't really want to be with you, but now I
was stuck because you know, you have kids.

Speaker 2 (01:19:32):
Now.

Speaker 1 (01:19:34):
I mean it's not necessarily like that, but I would
have liked to have something more than what we're getting here,
because yeah, the relationship doesn't seem to like really great
at all, Like just from what we're getting here, there's
like animosity between them because she's working stuff and like
even before when like she's like, I really wish you
wouldn't do that. When I'm on the phone and like

(01:19:56):
trying to do something for work, He's like, well, you know,
I'm I'm sorry.

Speaker 2 (01:20:00):
Well, you know, everybody have from board and things right now.
I mean, I'm cooking dinner and I have him GENI
all day and my dad.

Speaker 1 (01:20:15):
Like that's the way I view him, Like he's like
a form of that one character Rachel Dratch played on
Fucking SNL that was Debbie Downer all the time. Like
he comes in and he's just like a Downer of
the guy. And I get it. I get it. You
do something for work and then you let go of
work in your home all the time, and you know,
in this case, there's no kids to take care of

(01:20:36):
all day. You don't see somebody all day and you
just are there. And I get it, and it sucks,
and that can really strain a relationship when you're in
a situation like that. I totally understand that. But again,
what is there to like about this guy? What is
there what is there to make you feel for this

(01:20:56):
guy with the tragedy that's gonna bestow upon him and
he gets infected with whatever this werewolf virus that happens, Like,
what makes you connect to him directly other than hey,
everything has been shit. His dad treated him bad. His
dad was a little bit too mean to him back
in the day and made him scared of him. You know,

(01:21:18):
I get that to some extent, But is that gonna
connect you to the character. Like he's got like a
daughter that doesn't really listen to him, but she's a
free spirit and she seems to really love him. Does
that connect you to the character. Oh, maybe his wife
is not happy in the relationship that they're in. Does
that connect you to the character. I don't know what

(01:21:39):
really does. There isn't anything here other than like I
know that the director said at one point too, that
there are like they're both gonna go through the seven
stages of grief right as we go through this movie.
He's going through the seven stages that like he is
dealing with in becoming the werewolf and having this disease,

(01:22:00):
and she's gonna go through the seven stages of accepting
what's going on with him at the same time. I
know that that's like that goes on in this movie.
But there's nothing to say that this is a loving family,
right that he's doing what he thinks is best because
he doesn't want to lose the family and that's why

(01:22:21):
he's taking him out to this situation. But ultimately what's
gonna happen with everything as the movie moves along. So
like having scenes like this, it's foreshadowing things that are
having later on in the plot, right, and they're important
to the way the movie's going. But if you're trying
to establish a repertoire between the audience in your characters,

(01:22:44):
I just feel like you're not doing it right. I
just feel like you're not creating a deep enough connection
to blake into to seeing the tragedy. Because every tragic tale,
and if you're really building up a tragedy, I feel
it becomes super effective when you are really connected to

(01:23:05):
those characters in a deep emotional way that when the
tragedy happens and you have to go through it with them,
you get those same feelings and you really worry about
the character and you don't want whatever tragic tale is
going to happen to unfold. Right Like, and if we're
gonna go back a long ways away for this, you

(01:23:27):
look at like Romeo and Juliet, right, such a tragic tale,
you know, done by good old Billy Shakespeare. Billy Shakes,
I called him back in the day, all right, So
go to old Billy over here. Does this story where
you have this blossoming love story that grows and you
connect directly to them because it's a forbidden love and
how much they do love each other, and you get
that grand connection that you're doing. And I know this

(01:23:49):
is a super old fucking thing to connect this too,
but please, I am going somewhere with this. So when
you have this final thing where you know, he kills
himself because she he thinks that she has died, and
then she takes a poison too, I don't know, I'm
spoiling Billy Shakes one of his most famous plays ever. Okay,

(01:24:10):
you have this deep rooted connection because of everything that
they've gone through. Right to even look at something that's
maybe a more modern version of that or a different
medium that's there. And this is gonna be an odd
one for some too, maybe that you haven't played in
spoiler alrics for the way that it is. You look
at Telltale's The Walking Dead, the first season of the

(01:24:31):
video game that was there, right, It's such a tragic
tale with the way the story plays out, and because
you're playing the game so much and because you're connecting
to those characters so much over the course of five
different episodes that you've got there. The story that you
have between Lee and Clementine is such a tragic tale,

(01:24:51):
and it's so hard when you finally get to the
end of that series and you see how it unfolds
that you've connected to those characters so much that you
can't help but shed a tear. And that's not something
that happens for me here in this movie. This movie
is meant to be a tragic tale. But if I

(01:25:12):
can't connect to anybody and I feel like I'm being
bored out of my fucking mind by your main character,
I just feel that it's not tragic enough. And it's
not to say that the tale is tragic, because if
they're both going through these stages of grief, wouldn't be
better to have a good relationship between these two, for

(01:25:32):
it to be like a loving relationship, And yeah, there's
like the argument and this scene to be this uplifting
scene and for her to be like, why are you
being such an idiot? You know that I love you.
We had a small little argument even something like that,
to show that there actually is something between them, and
there is something that happens later on in the movie

(01:25:53):
between the two of them that expresses that and would
be more impactful if there was a representation of that
loving relationship, but instead it's just all so god damn
negative like everything about him. It literally is a or
on the fucking screen for me. And this is one

(01:26:15):
of the big failures that I have with this movie
in that I don't mind some of the other stuff
that people are really upset about when I read comments,
and I feel like I should never read comments about movies. Ever,
when it comes to like doing before a podcast in
people talking about, oh, this shouldn't be you know, the

(01:26:36):
wolf Man, it should be virus Man and b blah
blah blah blah, because they've totally ruined the wolf the
were wolf mythology and all this stuff. And I really
don't feel like that's the case. If it wasn't like
connected directly to wolf the Wolfman himself, the universal version
of the wolf Man, people wouldn't think of anything different.

(01:26:57):
If you called it something else and it was about
were wolves in this situation, people wouldn't bat a fucking eye.
It's when you connect to their nostalgia and what they
see what you're going to do, that they start having
that negative opinion on it in the way that it is.
And there's been other movies that I've talked about that
you've been surprised, Oh, this is what this is? This

(01:27:17):
is that movie, you know, like The Shape of Water
being about the creature from the Black Lagoon without being
about the creature from the Black Lagoon, right that he's
connected to it in very light ways, but because it's
the Shape of Water and there's an amphibian person that's
in it, you can make those connections yourself. But it
ends up being a beautiful story and you'll take it

(01:27:39):
outside of that. And it's not to say that the
story here is terrible. The overarching story in the movie
is terrible. I just feel that in the writing of it,
the execution of that, there are a couple things that
personally I would have made different to give you that
umph that it needs to be a truly tragic tale,

(01:28:03):
because it is a tragic tale, and it does suck
when you get towards the end of the movie, which
you know, I feel like I'm spoiling enough as it
is right now, but when you finally get to those points,
the impact just isn't there. And will definitely, you know,
address that more as we get there. But I have
to like let this out right now in this because

(01:28:25):
this scene, to me, while it's important, I feel personally
that it's a failure. I don't think that it gets
across what maybe they want to get across, and there
is an important there is part of it that does
need to get across, but I need that relationship between
Charlotte and Blake to be solid personally. This is all

(01:28:48):
personal right when you're listening to me and you hear
me these things, and maybe you don't think this way,
but this is my mind frame when I get into this,
especially at the end of it. And this was really
what I was struggling with at the end of the
movie on whether or not I liked it, and I
think it accomplished what it needed to accomplish, and to
some extent I say yes, and to some extent I

(01:29:10):
definitely say no in the way that it goes. So
from from this scene that we have here, we then
see them driving along to Oregon where you know, the
daughter is a fucking cheater. Okay, I'm just gonna say
this out right, because they're playing a car game in
the car where it's like guess who I am? Type
of game, right, you know, you know those type of
things like you see something I spy with my little eye,

(01:29:32):
something that's green. Is it a tree, No, it's not
a tree. Does it hang on a tree? No, no,
it hangs on the ground. I mean it's sometimes it's
just on the ground.

Speaker 3 (01:29:46):
Uh.

Speaker 1 (01:29:46):
Is it grass? No, it's not grass.

Speaker 3 (01:29:49):
Okay.

Speaker 1 (01:29:50):
Does it crawl? Is it a bug? No? No it doesn't.

Speaker 9 (01:29:53):
No.

Speaker 1 (01:29:53):
Insects can mimic it, yeah they can. Okay. Nothing to
do with trees. Nothing to do with being on a tree.
It's not a bug. But it's on the ground and
it's not grass. Is it a bush? Ummm No, it's
not a bush.

Speaker 3 (01:30:11):
No.

Speaker 1 (01:30:11):
No, uh, it's it's sometimes on the ground and sometimes
in the sky. Yeah, that's that's the ticket. Oh, I
have no play. It's a leaf. But you've cheating, little bitch.
Up you'll me a dollar. God damn it. I don't
give a fuck if IOI dollar, there's another fucking dollar
that you get. You know, those are on trees. It's
all over everywhere, and the sometimes it's on the ground
and they're in the sky because they're attached to a

(01:30:32):
fucking tree. Okay, stop playing this bullshit.

Speaker 3 (01:30:35):
Yeah.

Speaker 1 (01:30:35):
She basically is like, it's talking about a fawn, and
she's like, a fawn's not a deer. When her mom
guesses a deer, she's like, yes, it is. It's a
baby deer, but it's a fucking deer, you little shit,
like it's just and then they start like tickling her
in the back seat and the this is like kind
of cool. This is like one of those things where
I want to see to like connect to the family, right,

(01:30:58):
But why do I go from like, shit, he make
me feel bad scene to this scene where they're playing
around with the daughter and being a happy family, and
that really doesn't make any sense to me whatsoever. I
just don't get why we have that kind of melancholy,
gloomy type scene. And then here's the fun, happy family
scene where we're gonna make a little joke because sending
me a little liveliness and we're really trying to connect

(01:31:19):
to you look like this family like this family, and
I don't really like anybody because of everything that you've
done before this. I get it that he is affected
by what his dad did to him. And yes, I'm
doing the clapping thing while I'm talking, and then I
get that and we're trying to reflect that, and we're

(01:31:40):
trying to reflect that, you know, the way that he
separated himself from his dad and he thought he could
escape it, he's still like portraying it out there. He
thinks that he's doing it different, but he's still projecting
all that stuff directly onto everybody still right in the
insecurities that he had with his father, and the insecurities

(01:32:00):
that his father had after he lost his you know,
his wife and you know she died whatever it was,
and or she left him for Big Joe Brown. I
don't know what the fuck she did. And so like
you know, you're you have these insecurities. They are there,
and that's why he's so protective over him, but he
doesn't know how to show it. And then it's the
same insecurities as got over here that he lost his

(01:32:22):
dad and never realized that, hey, I was gonna lose
him and that I would feel this way when I
lost him. And I don't want to lose you guys,
And I'm afraid of losing you guys and putting you
in a harm's way. And that's the way that I am. Like,
I get there's those things there, but it it doesn't
make you connect to it. It can because people can

(01:32:44):
connect to the trauma that's there and they could have
had that trauma in their lives. And everybody connects to
trauma in different types of trauma or what their parents
instilled upon them as either values or fears or whatever
it is. I totally get that, but I need something

(01:33:05):
that connects me that's positive to these characters as well.
You can still portray that stuff and you can still
go with it, in my opinion, but you need something
if you want this to be a tragic tale. I
need something that makes me care deeply for these characters,

(01:33:26):
not a little one off scene, not two little off
scenes where he's getting the lipstick from the daughter. And
I know there's significance to that as well in terms
of passing things on, and there's and then this little
scene in the car, but I need something in between.
Or I need the relationship between Charlotte and Blake to

(01:33:46):
be better. I don't need it to be him worrying
now that she's not happy in their relationship and maybe
it's going to shit. I don't need that to make
a connection directly to anybody. So well, it's it's hard
it's so hard when we move on to like the big,
big parts of the movie. So they end up at

(01:34:08):
a divide in the road out there, and there's a
gated like entrance, and he's not sure whether or not
this is the way that he needs to go or
exactly where the father's farm is. He recognizes the area,
but he hasn't been there for so long that he's
just not sure. I mean, I'm assuming that he's in
his like thirties or forties now in this movie, you know,

(01:34:30):
and he left when he was eighteen, so it's been
quite some time since he's been back in the area.
And while they're trying to check their you know, their maps,
and he looks at his phone realizes that he has
no connection out there, which of course that happens in
a lot of these types of movies nowadays. But if
you're expecting that your wife is going to work on
stuff out there and be able to work remotely work

(01:34:52):
on the book, totally understand. You got yourself, you know,
a laptop, and he probably has like a generator or
something out there that you'll be able to power things.
But how do you send everything like around to other people? Right,
Like you're not gonna be able to connect. What are
you gonna do? Take the car out and go and
drive to the nearest Starbucks that happens to be, you know,
three hours away, so that way that you can connect

(01:35:15):
to their WiFi for a little bit, send your manuscript out,
maybe get back your edics, and then drive the three
hours back to the farm in the middle of nowhere
where there are no lights on the road and it's
gonna be extremely dark and you might run into a deer.
I mean, that doesn't seem plausible, you know, just taking
the time off and being for yourself, then that's I
think the way that you just need to work with it.
So they come up to the gate and he starts

(01:35:37):
to look at his maps, and yes, he actually has
a paper map that's there. And while he's looking there,
that's when the daughter notices that there's somebody hanging out
in one of the deer blinds that's out there in
the forest. And that happens to be a dude named
Derek who lives in the area and knew his father
and Blake when he was a young kid.

Speaker 13 (01:35:57):
Let's go Blake, No, that's okay, he has a gun, right,
everyone around here?

Speaker 3 (01:36:04):
Has a gun?

Speaker 6 (01:36:04):
Can you please try?

Speaker 2 (01:36:09):
Isn't it?

Speaker 3 (01:36:10):
Hey?

Speaker 13 (01:36:12):
Where are you guys?

Speaker 3 (01:36:13):
Headed?

Speaker 7 (01:36:14):
I'm looking for my dad's farm. I just I haven't
been up here in a while.

Speaker 3 (01:36:19):
I forgot. Who's your dad? Uh, Grady.

Speaker 13 (01:36:24):
Level, he's been gone a long time, Blake.

Speaker 3 (01:36:32):
Wait do I know you? I'm Derek.

Speaker 13 (01:36:35):
I'm Dan Kiel's son.

Speaker 7 (01:36:38):
Right, Oh Derek, shit, Wow, I'm I'm sorry. Yeah, no,
I remember you.

Speaker 3 (01:36:45):
How are you? It's good to see you.

Speaker 10 (01:36:49):
Not many of us left living up here anymore, not
really a part.

Speaker 3 (01:36:53):
Of the world. Yeah, all right, I agree with that.

Speaker 12 (01:36:57):
You might not remember this, but uh, for the most part,
we don't like to be out after dark on the mountain.

Speaker 13 (01:37:03):
There's no power grid.

Speaker 3 (01:37:04):
No lights. Ah. I thought that was just my dad. Uh.
You know, I'm actually a little lost.

Speaker 9 (01:37:10):
You know.

Speaker 3 (01:37:10):
I was sure that this was his driveway. It's not.

Speaker 13 (01:37:17):
Really, it's mine. Oh yeah, okay, Oh sorry, the.

Speaker 1 (01:37:27):
Usual road to grades is cut off.

Speaker 6 (01:37:30):
I'll take you there, get your settled thing, quicker?

Speaker 3 (01:37:33):
Okay? What?

Speaker 6 (01:37:38):
No? No, absolutely not, it's fine.

Speaker 13 (01:37:40):
Now why can't he just tell us where it is?

Speaker 17 (01:37:44):
Open the door, showy, No, no, no, it's okay.

Speaker 6 (01:37:53):
I'll just go back thank you man.

Speaker 3 (01:38:01):
Watch your feet.

Speaker 6 (01:38:07):
Just go straight on aways are they're cutie Derek.

Speaker 3 (01:38:13):
It's Ginger and my wife Charlotte.

Speaker 1 (01:38:16):
So we get to meet Derek for a moment, and
Derek is one of the ones that you see in
the trailer for just a moment, because like the way
that the trailer, it's one of the bigger set pieces
that's in the movie that you see there that's going
to be happening relatively soon. So they drive off and
you know, it's starting to get dark and late. It
is getting hard to see out there as they drive
along the road, and you know, I understand that the

(01:38:39):
situation might be a little bit scary, but you know,
Blake's from the area, and Charlotte kind of has to
have a little bit of extra trust directly in Blake
to understand what's going on here. And Blake is just
kind of like.

Speaker 2 (01:38:51):
Well, you know, everybody else going around here, so don't
worry about it. He's just a hunt and people hunt things.
But he'll be able to tell us where to go.
She just go with the floor. Gope, he's getting in
the car. You better go in the back seat while

(01:39:11):
get in the car home And if you hear noises
up here. It's just my way of paying him back.
You know what they say in this area, it's gash,
grass or ash, and I've got to give him a
handy to make sure they tell us where we're going.
So well, we'll be moving wrong. We can't really give

(01:39:32):
him grass or gash. And I think I got that
saying wrong. But thanks for getting into the back.

Speaker 1 (01:39:42):
Sheeat and so like I said, they keep traveling along
into the middle of the nights. They talk some more,
and of course while they're doing that, they run into
something strange in the middle of the road.

Speaker 12 (01:39:53):
It's definitely an required taste the things you have to
come to terms up here. The animals, diseases.

Speaker 6 (01:40:09):
Well, we're we're pretty tough, people.

Speaker 1 (01:40:14):
Said so.

Speaker 15 (01:40:18):
Well to me, you don't seem so tough.

Speaker 6 (01:40:24):
It's a good thing.

Speaker 1 (01:40:25):
Means you've got a good life.

Speaker 6 (01:40:27):
You're healthy.

Speaker 2 (01:40:29):
Sick, that's a vice.

Speaker 6 (01:40:36):
It's just up a hat it.

Speaker 10 (01:40:40):
What do you do for a living, Blake, I'm a writer.
I'm between jobs right now though, so I'm a dad
to that monster in the back.

Speaker 6 (01:41:00):
Count your house. I bet you look at.

Speaker 12 (01:41:18):
Them every day and wonder how you got so lucky
to have such a smart and beautiful family.

Speaker 2 (01:41:26):
I do.

Speaker 1 (01:41:32):
I like Derek way more than I like Blake. Like
just in this little conversation that's there, you can see
how he looks upon him, like the two different lives
that they led, like it feels like Derek's kind of
stuck in this situation and he didn't get what he
wanted to do. And you start talking also about you know,

(01:41:52):
the strange animals that are out there and the diseases
that are running hint hint, wink wink, with everything that's
going on out there, and he's like that you're here,
and you know, he looks back at his family. He's like,
I bet you think you know every day that you
have them, such a smart and beautiful family, and he does,
and he's, you know, really happy about it. And again

(01:42:14):
it's another thing I think, to try to set up
the tragedy and try to make you happy with everything.
But I don't want to go back through that rant
once again and start like smacking my hands together and
doing the Italian thing, even though I'm not Italian, because
for some reason, even while I'm on the podcast, I
talk with my goddamn hands and so like, if you
ever watched me do this, you'd be so fucking surprised

(01:42:36):
at how much I do stuff with my hands. And
but nonetheless, so you know when they finally finished that,
and it's the first time I actually kind of commend
Blake here in terms of this movie and the character
in general. It's the first time that he ever takes
his eyes off the road because he looks back and
he smiles at his families. Yeah, I'm really lucky, and

(01:42:56):
then he looks forward, and that's where the Wolfman is
out there in the middle of the road, and we
only get again a quick glimpse at him. That's there.
He's big and bulky and hairy, and he's standing right there,
and so he has to swerve and dodge, and he
swerves right off the road and he ends up crashing
into a log that just happens to be laying down

(01:43:16):
there in the forest, flipping the car, and that's where
everybody comes to as the lights in the cabin slowly
light up. And I love the rotation of the camera
to show there on the side, because we follow the
car directly as it like crashes, but we never see
the car tilt over. And then as we get into
the picture frame of Blake from the front windshield. The

(01:43:40):
camera starts to turn so that the camera is upright.
But the car you notice is, you know, now sideways
locked and crashed to some trees high up above the ground,
and we see Derek all of a sudden, he like
kind of rolls over and he didn't put his seatbelt on,
so he falls directly out of the car into the
And it's funny because in the trailer that you see,

(01:44:02):
it kind of looks like he just falls into nothingness,
like they're on the side of a cliff, but really
they're just kind of up in a tree at an angle.
Like if they were to jump down, yeah, they probably
would get hurt, but they wouldn't be like terribly hurt.
In my opinion, it's like maybe jumping off the second
floor of a house down to the ground. Like some

(01:44:23):
people are gonna not be okay, maybe those like me
with weak legs because I'm so goddamn old. Now you know,
you're not gonna be okay and falling down there. But
you know, a younger person probably be okay with that
type of a fall. Maybe you're gonna fall on something
and it's gonna hurt you. Really bad. But if you're
just falling onto the foliage that's down there, of foliage,

(01:44:43):
I'm sorry. Lisa Simpson taught me the right way to
say that. It's not foliage. It's foliage. And so maybe
if you fall down there into the crap on the ground,
you might be okay. It's a little cushion for your
pushing as you're going down there. But it doesn't seem
as bad as it would be. But they're stuck up
in a tree, and so you know, he unbuckles his

(01:45:06):
seat belt and then goes over to the car door
or the truck door and closes it down, and we
see that Derek is slowly moving down there, and he's
like he kind of talks to the two in the back.
He's like, look, you guys gonna have to exit the car.
And you know, just perfectly, for some weird reason, the
one window that they can crawl out is the only
window that broke in the entire car. So you know,

(01:45:30):
they crawl out and get onto the roof of the car,
and he still looks over at Derek, but he starts
hearing some noise and that's when really quickly, the wolf's
hand busts through the window and slashes at him right
and I didn't think it was that before. I actually
thought that it was Derek on the ground seeing something

(01:45:50):
and he fires a shot from his rifle, and then
I realized, no, that's not what happened, because it does
happen relatively fast, and so the glass breaks, he gets
out of car, climbs on the roof, jumps to where
it's safe for them to land, and then helps them
all jump off. I wish there was a little more
tension in this scene in terms of the car, like

(01:46:11):
maybe the car start moving and it was gonna like
fall off, and then when they finally all jump off,
the car falls. But maybe that's a little two action
movie centered, and here it's a little more I don't know,
maybe realistic. Maybe the car is not gonna fall right
away in the way it is and it just kind
of stays there for the rest of the movie. And
that's where they start running off because they start hearing

(01:46:32):
more noises out there in the wild, because we also
saw Derek get dragged away randomly into the woods. So
you know, as they're running away, the daughter she starts
feeling tired, so he picks her up and he starts
to recognize the area that they're in of the forest
and realizes the way that they need to go, which
I think it's good to be, like, you know, instead

(01:46:54):
of them just randomly walking around in the dark and
avoiding the Wolfman, which I also liked to like there
to be a little more interaction with what's going on
that it's kind of cool that he's like remembering where
he's at so he knows exactly where to go, right
versus that they just happen upon the farmstead without having

(01:47:15):
a map or a compass or anything to lead them
in the way they are. I think it would have
been interesting though, to maybe have them spend like one
day out in the woods, like have it transition over
to morning and then them being stocked by the wolf
Man would have been kind of cool to see. But
at the same time, it's not bad. Like I said,

(01:47:37):
this movie, this is where I figured out, this takes
place over one evening, and I really wish that it
had taken place over like the thirty days, or at
least a couple of days, that as we see him transform,
because he's gonna start transforming very soon, that we would
see him slowly take the change and instead of it

(01:47:59):
happening as fast as it does in this movie. So
they managed to get to the farm. They run inside
and they you know, slam the door shut and whatever
is chasing him out there, which happens to be you know,
the wolf dude, he's you know. He starts pounding on
the door, to which Blake holds it to make sure
nothing gets in. Then he runs around the house and
checks all the different areas to make sure there's no

(01:48:20):
easy way to get inside the house. So he does
go to the back door to check and make sure
that everything's okay, but he opens it up and there
is a steel like screen door that's there, and he
doesn't open that, but he just makes sure that it's locked.
It still seems weird or like like the tension building
with them running away and everything like approaching the house

(01:48:42):
is like, it's good. I think that it works well.
I think that you get a sense of fear, you
get a sense of dread for everything that's there. And
I really wish that something had hit the back door,
even if it was like you know, something that like
a stupid thing like a bird or bat or something
that wasn't the wolfman that's chasing him at this moment,

(01:49:04):
I think it would have been somewhat interesting, at least
a good scare for what it is, or at least
cause him to panic just a little bit, you know,
But overall, I think it's relatively good. And so, you know,
his wife and his daughter, they go into the living room,
and then he runs around the house and he finds
out where the generator is and he manages to power

(01:49:26):
the generator on to provide electricity and light directly to
the house and the rest of the farm so they
can see what's going on out there. He then goes
over to his daughter, you know, tells her that everything's
gonna be okay, and lays her down to sleep. I
do like too that when he does go downstairs into
the basement that you know, we hear the sounds of
the wolfman from the outside, and he's kind of like

(01:49:48):
looking out around the basement that's there and maybe there's
a way in, and he's slowly moving around, but we
realize that he's actually safe and at least for the
time being, everybody is safe there or you know, in
the house. And he does tell his daughter when he
sits her down, he's like, you know, what's my job.
You know, my job is to protect you. What's your job?

(01:50:09):
And you know, to do the whole like reading minds,
I'm gonna make sure that nothing is going to happen
to you. So he lays her down, tells her to
basically sleep for a little bit and don't worry. We're
gonna get out of here because she wants to go home.
And he's like, we're gonna have to wait until the morning,
and that's when we're gonna get out of here. So
we then cut over, you know, after he's looking outside
and he's looking for something, some signs of something, and

(01:50:31):
we cut to him then sitting on the couch with
his daughter and he's trying to get up to go
check out the rest of the area and maybe talk
to his wife for a little bit. But of course
he wakes her up, and she doesn't really want him
to leave her side because he's her safety blanket, right
and it's meant to be her protector.

Speaker 11 (01:50:50):
Help.

Speaker 12 (01:50:54):
I'm not going anywhere. Uncove you right here, right here's
that man.

Speaker 17 (01:51:02):
Dad many came out of the treehouse.

Speaker 10 (01:51:09):
I don't know, most likely he did die. I'm so
sorry that this happened to you. It's my job to
protect you, and I didn't. I put you through something

(01:51:37):
very scary, and I'd never be able to forgive myself
if this stayed.

Speaker 12 (01:51:46):
With you, you know, if it scarred you. And sometimes
when you're a daddy, you're so scared of your kid's
getting scarce, and you become the I think that's cars.

Speaker 2 (01:52:17):
Hey, what am I.

Speaker 6 (01:52:18):
Thinking right now? I love my little crow.

Speaker 12 (01:52:31):
That's incredible.

Speaker 10 (01:52:34):
You must be able to read minds, because that's exactly
what I was thinking, word for word.

Speaker 1 (01:52:44):
So this could be an argument in terms of me
with the relationship between Charlotte and Blake, where maybe it's
not really about them, right, but I feel like it's
meant to be about the entire family. I don't think
it's necessarily becaus especially with hearing that you know, she
goes through the stages as he goes through the stages,

(01:53:06):
that maybe the director wanted an emphasis directly on you know,
husband and wife. But really you could make the argument
that the true connection that maybe you're supposed to make
is between father and daughter and the issues that he's
doing to her in this situation, right because he has

(01:53:26):
that line here in this little bit of dialogue that
he's supposed to be the protector of his child. He's
not supposed to put them in danger and not supposed
to imprint anything upon them, right, And that's a reflection
of his father. He's not supposed to cause them danger.
He's supposed to protect them from danger. And he failed,

(01:53:46):
and he put her into danger, right, and he did
this to her, which he should never do, right. And
so and you know, if you want to use the
word in fact, you want to put you know, the trauma,
put them through this type of trauma, anything like that,
which is like the big like red flag for this
movie of what things are gonna happen and what's up

(01:54:10):
with the wolfman that's outside. If you haven't figured it out,
then you'll figure it out, you know, hopefully at this
point you would kind of think about that. And I'd
already thought about it a while ago with everything that's
going on, and you know, if not, then you're gonna
get it later on in the movie for everything that's
going on. And so, you know, it's hard to not

(01:54:33):
make the argument though that it's more about trying to
create the connection in that father daughter or you know,
father child relationship that's there, and that the tragedy is
really supposed to center around maybe Ginger and her dad,
not necessarily the family as a whole. But I still
feel like because of scenes that happen later on the

(01:54:55):
movie that they try to do that where everything here
in the beginning is because he's so connected to her,
and even with Charlotte saying she's so much more connected
to you than she is to me, right, that that's
where the tragedy is supposed to lie in this movie.
And I can agree with that to an extent, But

(01:55:17):
then you don't need to have some of the other
scenes that you have with Charlotte, or you don't need
to like you didn't need to do that one scene
in the beginning. Maybe that was the whole point of
the scene on the steps that you had there, was
that to show that there is a despondency between them,
and that she's maybe not happy because she's more jealous
of the relationship that the two of them share and

(01:55:38):
she doesn't know how to deal with that, and that's
the reason why she's not happy. It's not because of him,
like she's still in love with him and everything's cool
and kosher, but it's really because she is envious of
that relationship and doesn't know if she can have that
relationship anymore with her daughter because they built such a
strong bond to each other and she can never have

(01:56:00):
that right And so again kind of going back to that,
the tragedy lies there in the fact that, hey, you know,
dad and daughter are really going to like lose each
other as the movie progresses, as he then you know,
becomes infected by whatever the werewolf stuff is and slowly

(01:56:24):
loses his humanity as the movie moves along. Right, So,
from here he goes and checks, you know it, begins
to check the rest of the house, and he and
Charlotte discuss possibly what was out there.

Speaker 3 (01:56:37):
I think we should have.

Speaker 10 (01:56:39):
I think we should cover the front doors if that thing,
if he keeps trying to get in, the whole door
can come off the hinges.

Speaker 6 (01:56:46):
What was it?

Speaker 10 (01:56:48):
What?

Speaker 6 (01:56:49):
What the fuck was that thing?

Speaker 10 (01:56:51):
Like?

Speaker 14 (01:56:53):
I don't know, I know it sounded like an animal,
but I looked right at it when we almost hid it,
and I swear to god, it was standing up on
two feet like a person.

Speaker 17 (01:57:29):
Wait, m h, it's I can hold.

Speaker 6 (01:57:45):
Maybe I think we should try to call somebody for help.

Speaker 1 (01:57:58):
How so now that they're hold up inside of the house,
and they figured that it's an animal, but it's not
quite an animal, because you know, Blake did see it
stand on its own hind legs hint to the beginning
the notepad that we saw at the beginning of the
movie that he saw before, and he's just not able
to put like two and two together just yet, And
they figure that there's got to be a way.

Speaker 2 (01:58:19):
One.

Speaker 1 (01:58:19):
He takes a giant bookcase, takes a bunch of stuff
off of it, and barricades the front door. But they
have to be able to call for help, right And
so while she's wondering how the hell they're gonna do that,
he remembers that his father has all of his old
CB equipment downstairs and begins to hook it up and
begins to call out for somebody somewhere to possibly help them,

(01:58:41):
but he's not able to really find anybody on the
CB as Charlotte begins looking through all the different boxes
that are downstairs and finds a bunch of random keys
that happen to be in one of the boxes and
just sets them off the side, possibly to use for later,
And then she starts looking through a bunch of old
notebooks and a bunch of old other stuff that's down there.
But all of a sudden, Blake starts smelling something really weird. Right,

(01:59:05):
And one of the questions which I didn't find an
answer for, and I really wish that I had an
answer for this and why they chose to do this
this way, is the speed in which Blake changes in
this movie, right, And like this is the start of
his transformation, even if he doesn't really start realizing that

(01:59:27):
he's changing, and it really doesn't happen for quite a
little bit in the movie, right, there are still things here,
are there? There is going to be seen after this,
And then when he really starts to realize it is
a scene that happens kind of after that, like he
smells something and then he opens up like a room
that's downstairs and it happens to be like a i'll

(01:59:51):
call it, like a jerky room that you have back there,
And that's what he's smelling, is he's smelling the jerky
that his father makes, to which you know, he he
realizes at least they have some food that they can
work with for the time being, because his father's jerky
is there, and it's still be pretty good once you've
jerked that meat, and not in that way you sick fucks.

(02:00:12):
And one of the things, like I said that it's
fine having this here right in that he's realizing his
transformation and it's slowly happening, and I wish that that,
honestly was slower in this movie. And because this movie
happens over just a single night and he's eventually going

(02:00:32):
to become a wolfman by the end of this movie,
I wondered why they chose, like why Wennell decided that, hey,
it has to happen overnight, like it's this quick in
this movie, And because there's no like full moons, they
don't use that type of lore or anything like that.

(02:00:53):
It's basically like the disease gets a hold of you
and you just got it and that's it. You're fucked right,
So in a way, I guess it's similar to something
like he's talking about als, you know, than his friend
going through that whole thing that once you find out
that you've got ALS, you've got it and there's nothing
that you can do. But I wish, like als, there

(02:01:14):
is a degrading factor right when you first have it,
you don't just have it and then you just you know,
that's it. By the end of the day, you're basically dead.
You slowly degrade over time. So I wish even if
it wasn't over thirty days, say in this thing, and
they did a long setup of them, like cleaning the

(02:01:34):
house and figuring things out, and then the wolf attacks,
and there's a reason by the wolf attacks, and we'll
talk about that more when the twist happens in the movie,
but there still should be I feel like even over
the course of a couple of days, like they get
to the house, the wolf attacks, and then turns to
the next day as they're still trying to figure out things,

(02:01:54):
and then things slowly happen to him as he slowly
begins to degrade and change and realize that he's changing
during that period of time, I just feel like it's
way too quick and without really any explanation or anything
that like, and you don't always need it, but I

(02:02:17):
feel that like I just want to know why the
choice was made, because for some audiences, I feel like
that's really going to hurt the movie in general, and
it definitely did kind of hurt it for me, where
I was just like, well, I just accepted it and
ended up going with the flow. I just want to know, why,
why do you choose these things? Why did you decide

(02:02:38):
to make it that big of an impact where you know,
maybe you just wanted the movie to flow quickly at
this point and you just wanted to be like panic
tense mode for the rest of the movie. Because honestly,
there's a lot of really great like horror aspects that
come out of this in it being so quickly, right,
and even in that we only have a couple of

(02:03:00):
scenes here where he's slowly doing the transforming over so
like here when he gets to the jerky and he
bites in the jerky and then he's like, oh, I
must have hit my jaw on the steering wheel in
the car or in the truck, and then you know,
all of a sudden, he spits out a tooth and
he's like, well, that seems like awfully quick that that's happening,
And the fact that he can already smell it when

(02:03:21):
she can't smell it at all, right, So I like
like the little subtle hints to the fact that he's changing,
and I do wish that would happen over a little
bit longer a period of time in the movie, because
even when it comes to movie time, you're not gonna
be watching this for you know, it's not a four
hour fucking movie or a week long movie that you've got.

(02:03:41):
Time is gonna move quickly in the movie, and to
have like little scenes, even the scenes that they do
in the film, like they could be stretched out over
multiple days. But maybe the danger doesn't feel as real
to you know, Charlotte and Ginger if he's not changing rapidly.
Like I said, I don't really know the choice choices
and I'm just doing a conjecture here of what could

(02:04:02):
be going on. And so, you know, after the fact
that you know, he spit his tooth out, she gives
him a gauze for his mouth and he puts it
in there. Then she notices that he's bleeding from his arm,
and she rolls up his sleeve and there's the slash
from the were wolf outside, right, So he see that
he's been damaged. He thinks that's just the glass, maybe

(02:04:23):
it cut him on the arm when it was broken
inside of the truck, but we know it's from the
wolf that hit him. So she, you know, puts some
antiseptic on his wound and then bandages the wound. He
decides that he's gonna go upstairs check on making sure
that that shelf stays in place and if she wouldn't
mind keeping a check and keep trying the Cbee radio
downstairs of what's going on. And while he's doing that,

(02:04:46):
he accidentally wakes up Ginger and that leads to kind
of an interesting scene.

Speaker 10 (02:04:52):
Jesus, Ginger, I'm sorry, I WOKEI honey, just go back
to bed.

Speaker 3 (02:04:56):
Okay, do you get your rest?

Speaker 6 (02:05:00):
Ginger?

Speaker 3 (02:05:02):
Will you listen to me? Please go back to bed.
It's almost midnight.

Speaker 7 (02:05:10):
Hey, did you reach anyone on the CV?

Speaker 3 (02:05:24):
I don't.

Speaker 10 (02:05:27):
I'll be done in a minute.

Speaker 1 (02:05:36):
So this scene doesn't make you much sense right when
you watch it for the very first time. I really
like this in the way that it's done after you know,
the different tricks that the director uses that Wallen uses
in this movie to like show the different point of
views from both you know, Blake and Charlotte and Ginger

(02:05:59):
right as Black is slowly but surely becoming more of
a wolf and well a wolf man, and you know
they're still staying the same. And this is one that
really kind of emphasizes that, and it's the fact that
they don't respond to him, right, And so it's it's
him as we know based upon the trailer. So I'm

(02:06:19):
not ruining anything here, but I'm spoiling everything in this
goddamn podcast as it is, so you should expect it.
We know that he's going to lose his functionality to speak,
and he's to become more animal than he is going
to become man, right, And so what this scene is
portraying here, and the fact that they're not answering back
to him, is that it is that he is not

(02:06:42):
able to speak anymore. And he doesn't realize it because
to him, he's speaking and he's talking to him directly, right,
But instead to them, he's growling. And you get a
little bit at the end of that with the little
growl that he lets out at the end of the scene.
So you as an audience member, you're at this point

(02:07:03):
you're kind of curious as to why, but you can
be like, oh, okay, they're just kind of like looking
at him and they're thinking that he's acting weird, and yeah,
she couldn't get anything, and you're kind of in Blake's
shoes but if you were to look back on it
when you finally start experiencing the things that he's experiencing,
then it's actually kind of cool, right, And I really

(02:07:23):
do like the way that they portray these things as
well as every time when we're in Blake's point of view. So,
you know, they go ahead and lay down on the couch,
both Charlotte and Ginger, and she grasps her like really
really tight on the couch while he's still trying to
like nail an extra board into place so that the
wolf outside, the wolf man outside can't knock down the shelf.

(02:07:46):
And he you know, bangs the hammer down, but he
notices he can't hold the hammer very well, and he
ends up bashing his hand with the hammer, and he
just kind of looks down there and while it hurts,
it doesn't hurt him that much. And so he goes
over to the sink and he gets some water from
the sink, and then when he's there, he starts hearing
this like thumping sound this like I know there's a

(02:08:15):
little bit of feedback from the mic, but that's as
close as I'm going to be able to get doing
some folding on this podcast. And so he goes and
he looks around because he thinks that there's like it's
the way it sounds, it's like something's walking on the roof, right,
that something's walking around, something's stalking them from outside and
maybe trying to find another way in. And everything is

(02:08:36):
it's very dark, but there's this subtle tone of blue,
and I'll talk about that later, but I didn't realize
it until we got a really interesting scene later in
the movie and I'm like, Okay, that's cool too, in
the way that they do it. So he's walking around
upstairs and he doesn't find anything, and he can't see
anything out of the windows, and he can't see anything

(02:08:59):
in any place, gets the room where the sound's gotten louder,
and then he goes over to the closet, thinking he's
gonna find in the closet, and he does find something
in the closet. And for those that are rachnophobic, you
probably won't like this scene that's there. But there's a
spider which happens to be a real spider that they
got for the film to use for the film, and
the spider is what's making the noise, and it's just

(02:09:21):
walking up the wall. So his hearing sense is and
it's a big fucking spider, by the way, and they
say that that he said that that was an actual,
real spider, and that's a spider that they find naturally
down there in Australia, where I think the film was
actually filmed, right, And so he looks at the spider
in the closet and that's where he starts like kind

(02:09:43):
of fading, and there's kind of like a cool camera
shot where he like leans over real fast and the
camera almost falls with him because he's having problems like
holding onto his breath and like not being dizzy. In
the camera is giving you his perspective at the time,
and you're moving like he is in the way that
the disease is kind of taking over him in his

(02:10:05):
mind and in his body in the way that he's
feeling everything, and then he's able to gain control of
himself and that's when the camera gains control as well. Again,
it's very effective, and I love the way that he
chooses to do these scenes and the way that he
chooses to give you the perspective from Blake and really
feel like you are actually him at this moment. So

(02:10:27):
he goes downstairs to go check on Charlotte and Ginger,
who's still sleeping there on the couch, and when he
walks over them, Charlotte kind of wakes up and looks
at him. But then he hears something from outside and
tells her sh with his hands, and he starts roaming
around the kitchen, and you see something walk by the window.
You see little shadows and stuff. And then he goes
to the back door where the screen door was, and

(02:10:50):
when he looks out there, you know, well, he's not
really looking outside because he's boarded up the window and
he's listening against the window, and he hears something that's there,
and then he gets that there's a doggy door that
happens to be on the back door as well, because
when he was a kid he had a dog. That
was the way the dog came in and out of
the house. And so the wolfman then reaches inside and

(02:11:14):
grabs him by the leg and begins trying to pull
him through the doggy door and just pulling the shit
out of his leg. Charlotte runs around and he has
a hammer in his hands, to which he drops the hammer,
and she goes and grabs the hammer and beats the
crap out of the Wolfman's hand until he lets the
leg of Blake go, and so Blake, now in extreme

(02:11:34):
pain for what happened to his leg, starts like kind
of howling and slamming his foot on this ground until
he like knocks out, and the screen slowly fades to black,
until you only have like a blue light that's right
there on top of him. And again I kind of
like the effect in the way that it goes, and
the screen ultimately fades to black as he knocks out.

(02:11:57):
He then wakes up and the room again and it's
still very blue, and he's looking around trying to see
where his wife and daughter are, but they're nowhere to
be found. So he starts wandering around the house and
he starts to hear something coming from downstairs, and we
start to hear it too, and as he walks down
into the basement, everything is kind of garbled in the
way that it is, and we see that Charlotte is

(02:12:19):
there and she's on the CB, but we can't understand
her until the perspective flips and then when we're able
to understand her. Also, the color shifts in the movie
as well, and this is differentiate the perspectives between Blake
and that of Charlotte and Ginger at the same time.
So whenever we're in his view and we're being focused

(02:12:41):
directly through him and how he sees the environment. As
he's begun changing and he's becoming more animal like, he
gets the blue hue. Right, that's how we can see everything.
Everything's a lot lighter, everything's crisper for him to see
and everything as especially as he goes more further and
further down this like rabbit hole of becoming a wolf man.

(02:13:02):
Even the people will change in the way that they look.
But this is how it all starts. And it's very
subtle because again it's like everything is dark, right, and
when you're usually looking around, you know, some houses and
if there's a lot of light coming from the outside,
you might get kind of a blue tint on the inside,
and everything seems like it would be normal. But when

(02:13:23):
you go down to the basement where there's a lack
of light from the inside and it's still also kind
of blue, your mind kind of thinks, huh, I wonder
why it's like that. And then as the camera does
the pan and the shift, it's so cool to see
the perspectives change, and I really like that he put
this emphasis directly on that there are these now two

(02:13:44):
different worlds that you're experienced, and that it's really starting
to take over Blake. And as we now found out
from that previous scene, right and with this scene kind
of explaining it, that he is becoming more animal like
and so he can't understand anything that's going on. And
the reason why that they didn't respond to him directly

(02:14:05):
was because he wasn't speaking clearly in English anymore and
they weren't able to understand him and it was kind
of freaking them out. So even in this scene here,
as she gets up off the CB, she even sends
to him, you can't understand us anymore.

Speaker 9 (02:14:20):
Can you hear me?

Speaker 11 (02:14:56):
If someone can hear me, please respond? My husband is
uh sick.

Speaker 17 (02:15:03):
If anyone can and can hear me, uh, please please
call someone to help.

Speaker 11 (02:15:10):
We were attacked by some kind of animal and I
I think my husband was infected by it.

Speaker 6 (02:15:21):
He's a.

Speaker 11 (02:15:23):
He's not himself and you can't you can't talk, Yeah,
he doesn't. He doesn't seem to know he's sick. But
if someone can hear.

Speaker 16 (02:15:35):
What I'm saying, please help. Hello hello, m.

Speaker 9 (02:16:25):
Not for me.

Speaker 2 (02:16:26):
Not.

Speaker 11 (02:16:36):
I'm so worried about you. I don't know what to do.

Speaker 6 (02:16:57):
Oh my boy, let's get you upstairs.

Speaker 16 (02:17:02):
Come.

Speaker 9 (02:17:03):
So.

Speaker 1 (02:17:04):
I really do like the perspective, though I don't like
the fact that he peas on himself, like he can't
control himself anymore. He's becoming so animalistic that he just
decides that he's just gonna randomly piss all over the
goddamn place. Get your ass outside into the back of
the yard. If you're gonna do that like a fucking animal.
You can't peen here, you know, or go over your
fucking body pad that you have there. We set that

(02:17:24):
up just for you, blake. Okay, even when you fucking
talk as a fucking monster, you're fucking boring as shit.
Get the hell out of here. Like I know it's
meant for him. He's starting to kind of like freak
out and not understand what's going on. And maybe even
that's a reaction because he's getting scared of what's happening

(02:17:46):
to him right because he just can't understand it. And
even when you see him upstairs, right when it's like
his perspective, he still kind of looks normal. And then
when you go downstairs and she's trying to reach out
and she's crying, and like, yes, this is very heartfelt,
and yes there is a little bit of that connection there.
It's still to me, it's not as strong as it

(02:18:07):
could be. But I already kind of went through that,
so I won't rehash that once again, even though I
know that the dead Santa on the dead horse that's
basically in the ground in the corner over there could
be beaten a couple times, you know, for this movie,
but I'll try to refrain from doing that. So it's
but it's still like I like that when he finally
steps into the light and we see him as Charlotte

(02:18:30):
sees him, like he's truly changing, right. And what I
like about this film too, is that all the costuming
is all prosthetics in this movie, which is great. It's
all practical effects. It looks pretty good. It looks a
little funky during a couple of the scenes, especially when
he's got like the wolf teeth, and you can honestly

(02:18:51):
tell that there's something there because the way that they're moving,
in the way that he's kind of moving his mouth.
But I like the fact that he's slowly changing, and
they're not actually using any CGI to represent it, and
even when they're moving, because they move like animals and
it's obviously, you know, like a stunt actor that's doing it,
but at least they're not using any type of like
CGI to do those scenes. Not saying that they're using

(02:19:14):
like it's not all CGI, But I like that the
costuming and that a lot of like the movement and
stuff in this movie is all practical, and I really
commend them for doing that. I'll commend any movie nowadays
that does these things in practical effects versus primarily using
CGI to do that stuff. So she takes him upstairs
and she lays him down on the couch after they

(02:19:36):
have this conversation, and you know, she also lays you know,
good Ginger on the couch as well, across from him.
As he's lying there and he's looking at her, and
then he grabs out his hair and he notices that
some of his hair is missing, and you can get again,
there's the tragedy I think that you're really supposed to
tie into. Is focusing in on Ginger and she's looking

(02:19:58):
over Dad and she's really worried a him, and as
he's grabbing for himself, and he's like, you know, he's
not able to use his hands in the way he's
using it a more like a claw like fashion. And
this is really reminiscent of somebody saying that's like going
through chemo for something and they're weak and they're not
able to like actually withstand the stuff that's going on,

(02:20:20):
and they're trying to, like, you know, he grabs at
himself and he's not able to like completely has all
his motor functionality because it's slowly taken over him and
everything like that, and like those things are are well done.
So you know, out comes Charlotte and she's like, well,
he can't speak to me. She brings him a notepad

(02:20:40):
and hopefully there's something there that he can write down.
And while he's not able to grab the pen very well,
he's still able to write. And as she looks at
him and as he writes on the paper, he says
that he's dying, to which she doesn't believe that that's
the case.

Speaker 6 (02:20:56):
Now, that's all, but we're gonna fix you. Mm hm
h mh. Blake, You're gonna get better because Ginger needs you.

(02:21:18):
I need you. I can't do this without you.

Speaker 18 (02:21:24):
What I I really want to say is is.

Speaker 6 (02:21:28):
That is that I love you, Blake. I don't want
to do anything in my life without you. You're my
best friend. I love you so much.

Speaker 15 (02:21:53):
Oh m hmm, shot him, what is happening? I can't

(02:22:19):
understand you.

Speaker 1 (02:22:34):
So it is a very sad scene that we've got
going on there because he's just laying there. He thinks
that he's dying. He can barely move, he doesn't have
his motor functionality that he wants to have. He barely
can grab onto the pen, and he's just kind of
lying there, you know, like he is slowly dying from
a disease right that something is killing him from the inside,

(02:22:54):
and he doesn't know how to handle it, and he's
kind of freaking out, but he also can't understand what's
going on. And her sitting there and saying that, you know,
she loves him, she like always loves she can't do
this without him, can't be in this world without him,
because she loves him so much. But you know, you
could say that it's because this tragedy is happening in

(02:23:15):
that you know, she's realizing that she you know, she
can't be without him, and a lot of it comes
down to, like because she doesn't know how to deal
with Ginger or that she can't raise Ginger on her own,
you know, because of that disconnect that she feels that
she has with her daughter, and that's one of the
reasons why she needs him around, that Ginger needs him,

(02:23:37):
and that she can't stand to have Ginger without her father.
Like that type of thing is going on here too
in a way of things. But like I think it's impactful,
I'm not saying it's not impactful. And this is a
scene that I was talking about earlier, when I was
talking about that earlier scene where they were on the
steps that were there, Like, while it's impactful, I don't

(02:23:59):
feel it's as impactful as it would be if there
was a better loving relationship or it was shown better
than what we have here. It's more like the tragedy
of what's going on, the trauma that's being pushed upon
her right now, is really weighing in on her heavy right,

(02:24:21):
and she's being more reflective than she is, like somebody
that truly expressed like that loving relationship that they had
there that even though that maybe you know, she didn't
agree with sometimes the way that he raised Charlotte, but
she realizes that he's a good father and he's a
good man, and that's what she loves about him. I

(02:24:42):
know this shit is all cheesy. He probably do a
lot of people, but I really feel that having something
maybe not as simple as that, you know, or as
direct as that, but having some type of feeling of
that between these two characters where instead it feels like

(02:25:02):
maybe it's more of like a he feels sorry for
himself or he doesn't have enough confidence in himself, and
even though everything's okay and it's not about him, it's
about the relationship between you know that she doesn't have
that relationship with his daughter or their daughter that he does,
and that's, like I said earlier, what makes her ultimately
unhappy in the relationship for everything that's going on. Maybe

(02:25:25):
it's something like that that is really the case with this,
but it takes a lot of reflection and a lot
of rewatching to I feel, to like kind of come
to that conclusion. If that's the case. It's not as straightforward,
and it's so hard because I don't want everything to

(02:25:46):
be one hundred percent straightforward, right, I just don't want
that out of my movies, I think some of the
best ones don't give you that. And I know I've
talked like this before, but don't give you that directly.
They you know, I have to go back to that
Futuram episode the Devil's hands are idle play things where like,
you know, you shouldn't say what your you know, characters

(02:26:08):
are feeling. That makes me angry. You know, that type
of thing you don't necessarily want that. You don't want
them to outright say that because then it feels like
it's way too simple. Right, You want subtlety when you
have these things, but you want those nuggets that are there.
And I've always talked about nuggets, right, and something that

(02:26:29):
I got from Alex from Beyond the Void Horror podcast,
And you want those nuggets that are present here in
these films, and it's it doesn't matter what film it is,
and especially in a tragic tale, I kind of want
that nugget that shows me that they're a good couple
and they're good together, right, I get the nuggets between

(02:26:50):
him and the daughter in this movie, and it's a
little more outright and straightforward, and I think that's okay
because it's hard to like to show that directly to
the audience without having that put and kind of paraded
in front of you, right that here they are being
good daughter and you know father, and here they are again,

(02:27:12):
and then they're playing with each other and he's being
silly and he's tickling her as they're going along the
road and still keeping his eye on the road because
he wants to make sure that he's super protective in
the moment that he's not protective. Then they get in
this situation, right, And it's just that I don't get
that for Charlotte and Blake, and so I don't even

(02:27:35):
though again like it makes me feel emotional, it might
even bring a tear to my eye. It doesn't really
bring a tear to my eye when when I'm watching this,
But if I had those nuggets that were set in
front of me, it most definitely would. It wouldn't make
me want to cry in this situation. I have no
problem with crying and emotional scenes and the fact that

(02:27:56):
it's like you're losing a loved one, right It's like
that they are dying, that he is on the hospital
bed right now, and she's right next to him, and
she just wants to cry her eyes out because she
doesn't know what she's gonna do when he's dead. Right,
that's the sense of this scene that I've got here,
and it's portrayed and it's done exceptionally well, but I

(02:28:18):
just don't get the feeling from it. I don't get
the connection personally. Other people might and they might be like, well,
you're totally wrong, and that's fine because that's your opinion.
This is my opinion, but I just don't have that.
And when ultimately, when we're getting to the resolution of
this tragedy and what needs to happen at the end

(02:28:40):
of the film, right, I just don't feel it's a
big enough payoff and I don't feel that it's a
good enough conclusion to the way that the relationship has
been in this movie. So it ultimately is a good scene,
but it ultimately, I said, I think it just kind
of fails because of what's being set before it, and

(02:29:03):
ultimately that becomes an issue as the movie nears its conclusion.
The final shot in this movie is fucking great. I
will give it that. I really love it, and it
really is like a full circle type of final shot
in this movie, but ultimately it's it's just hard. It's
it can be, I don't know, necessarily hard to get
through because there's a lot of stuff that's still going

(02:29:25):
to go on. But you know, it's not as impactful
as maybe it was written to be. And maybe this
is a little more on the direction versus the writing,
but I think it lays a little more into the
writing the necessarily the direction. It could be that there
was a bunch of stuff that they had to cut
out that was more about the two of them, and

(02:29:45):
they just edited out for time to make everything flow
a lot better, and they felt that it flowed better
that way, which is perfectly fine, but I still think
it ultimately for me, hurts the film as an audience
member kind of watching it out there being forward with
everything that's there. So after we have this heartfelt moment
between you know, Charlotte and Blake. That's when Ginger steps

(02:30:07):
into the room and she tries to connect with her
dad as well, and he tries to talk to her,
but she can't really understand him, and she's hoping that
Daddy is going to be okay, to which she basically,
you know, Charlotte says to Ginger, don't worry daddy's sick.
But as soon as it's morning, we're gonna take him
to a doctor and he's gonna feel oh so much better,

(02:30:28):
and we're gonna make sure that he's okay in the morning.
And like, that's that's a lot harder to take, right
as a way that the scene goes, because that relationship
you do have a little more of a bond with,
So it's heartbreaking to see that in that conversation and
again going back to the whole, like, you know, he's

(02:30:49):
dying and that's what she's worried about too, and being
a young kid and seeing your parent have to suffer
through this at such a young age and realizing that
you're gonna have this loss, it makes it. It puts
a lot more trauma onto her, and you know, it's
things that he never wanted to do to his daughter.
And that's when it fades down to his hand, or

(02:31:10):
pans down to his hand where he had the cut
from before, and they realize that it's bleeding even more right,
and so Charlotte looks down and tells Ginger to get
the hell out of the room, and she looks at
his arm. She unwraps the bandage which is just covered
in blood now, and she when she unwraps it, we
see that like his arm, it's completely like torn up,

(02:31:35):
Like his arms are like extending and growing more like
his bones, and like that's part of like this transformation,
like the insides of him are growing differently where he's
becoming more animalistic. And he looks down at the wound
and then he runs into the corner and then he
brings it up to his face and he starts gnawing

(02:31:56):
at his arm like he's a wild animal, like he's
trying to do. First, he tries to scratch it, like
really hard and he can't do anything about it, like
he's trying to alleviate the pain. And then he's chewing
on it. And you know, it's funny because he did
mention the actor that plays him that he said it
wasn't very hard to actually chaw chew on his arm

(02:32:17):
that was there, and like he wasn't all bad for
the scenes where his character has to take a bot
out of his bloody arm, you know, and there's another
scene where he does as well. There's a lot of
sugar in the blood stuff, and there's one scene where
he's gnawing at you know another part, and it was gross,
but it was also kind of delicious, like the blood
is sugar and I think, I swear to God, I
think the bone part was like white chocolate or something

(02:32:39):
like that, something with white chocolate on it. I mean,
it's not like I want it, but it wasn't horrible,
so it's kind of funny. But he does like stop
chewing on his arm, and then he goes, you know
off and walks off onto the dish distance as Charlotte
stares at him in horror. He then goes over the
front door, and he's just kind of staring at the

(02:33:00):
door because he's still trying to be like protective because
he hears some things that are possibly coming outside. She
realizes that they need to get out of here now.
They need to figure out some way to get out
of here, because he's only going to be worse. And
he's still looking around and he still looks like he's
kind of lost in the whole situation of what's going on,

(02:33:22):
and he looks a little more like himself, but he
has like, you know, blood Oliver's face for where he
chewed on his arm. So she goes back into the
kitchen like she turns away from him as he's staring
at her, and she goes in the kitchen to reflect,
and then she remembers that, hey, there are all those
keys that are downstairs in the basement and they probably
go to the truck that's outside. So she goes grabs

(02:33:45):
the keys and grabs a kitchen knife and then grabs ginger,
and of course also has you know, her husband Blake
with her. As they look around trying to evade the
monster that's outside, he grabs a can of gas to
make sure that they use on the truck so the
truck has some way to get out of there. Well, no,
he doesn't grab a can of gas. He actually grabs
a battery from inside a car battery so that they

(02:34:07):
can jump the car that's out there. She puts him
in the back seat. And there's funny because in the
sequence that happens here, there's actually a gaff that happens
where one of the stage hands is seen in the
reflection of one of the windows that are out there
at the barn. And originally they thought that that was

(02:34:28):
something like they're like, oh, it's not gonna work. And
as they watched it and with the tension that's built
in this scene. They realize that's gonna probably freak out
some audience members, and maybe it's a good idea if
we just keep it in. So it's a mistake that
was there, but it's a mistake that turned out to
be something that they felt that actually worked in the movie,
so they left it in. I think that's kind of cool.

(02:34:50):
And yeah, it's kind of creepy because you just see
the reflection and you think it's the reflection of the Wolfman,
but it happens just to be one of the stage
hands on set just getting caught in the shot and
actually being seen through the window. So she does put
Ginger in the front seat as well. And this is
kind of a weird scene too in the way that
it works because the car is definitely like run down.

(02:35:10):
It's got a bunch of like dirt and shit on
the outside of all the windows and you can't see
everything really well. And it works for the inside of
the car, but for the back seat for a thing
that they do, it's doesn't totally work for me, but
she does. Like what's funny is is that you know,
she goes out there, she pops up in the hood

(02:35:31):
and you see this in the trailer as well, and
it kind of sucks that they put this scene in
the trailer because it's not super impactful for the way
that it is. But I think it's still a well
shot scene and it definitely has a lot of tension
in it. But it's hard when you have it in
a trailer for a movie and you see it that
it loses just a bit of that that's there. So
she hooks the car battery up to the car and

(02:35:53):
then goes back inside the car and begins to start it,
kind of panicking, kind of praying that it's gonna start up,
and eventually it does start up. And when there's a
back shot of look, well it's a reaction shot of
Blake in the back of the truck that's there. You
see something really quick move in the back, and that
happens to be, of course, the wolfman telling you that, hey,

(02:36:14):
somebody is near. So she runs outside, she unhooks the
car battery, she slams down the you know, the the
hood of the truck, and then she goes back inside
and when she uses the windshield wipers to wipe away
a lot of the dirt that's there in the front
that's when we see the wolfman outside and they all
have to run away from the car, and a little

(02:36:35):
bit of a chase sequence that we've got here, and
you get a good shot of our wolfie that's on
the outside. He punches through the window as well, and
I'd love that he rips out the you know, the
the shifter. It's an old school type of truck, right.
This is like the old four that my grandfather used
to have when growing up, where you would shift gears

(02:36:58):
by using a basically like a bar on the side.
It didn't have a standard shifter. That was where everything
was just like almost like where your windshel wipers, you
little lever that you have for that, but instead you
would shift it up and down, you'd hit the clutch
and then that would be able to move it and
put it into the gears that you had that were
visually on the dashboard that you had there. So you know,

(02:37:19):
he just grabs it, rips it out, and they all escape,
and the wolfman can't get his hand out of the windshield.
He's just back there. Oh my god, I want to
eat them so much. I want to beat them up,
but I can't get my hand out of her. God
damn it, why did't to decide to fucking punch it
into this thing? I can't believe this is going on.
What's out? And then finally he breaks free and he
starts running after them on all fours, and they managed

(02:37:41):
to climb out on top of the greenhouse that's there
and remove the ladder, so the Wolfman can't get up
on top. But I kind of think that maybe you'd
have enough strength to jump up there. But if he's
more like an animal, it's not completely supernatural. He wouldn't
be able to get up there right away, but he
might try to climb on the sides. But because he also,
you know, might know this area that maybe he decides

(02:38:04):
that that's not the way to go, so he goes inside.
You don't really get to see him that much, but
he's kind of like jumping up at them as the
roof is slowly starting to come apart at the scenes,
like literally because they're a little bit too heavy for
everything that's up there. And as the Wolfman is jumping,
he's slashing at the top of it and he's opening
holes in it, and they're getting bigger and bigger, and eventually,

(02:38:27):
you know, we have a shot of Blake looking down
at the wolfman that's down there, and Blake becoming more
and more wolf like like when he opens his mouth,
you can see that his teeth have almost fully changed.
And they try to get Ginger to like crawl over
to Charlotte, but she accidentally almost falls through and they're
able to pull her up and hold her out then,

(02:38:49):
so he tells them when he's like looking at them,
Blake and he's pointing at them, he tells them to
run back at the house and he'll deal with the
guy down there. So he runs, jumps off and distracts
the wolf man enough so that the wolfman chases after
him while they run back to the house and barricade
themselves in there. When they run inside, that's when Ginger

(02:39:12):
yells at her mom that you just let him out there,
You just left him, you ran away. You shouldn't have
done that, to which she looks back at her and
she's like, listen here, you little shit. No, she doesn't
really go that way, but she basically tells her that, hey,
you know, he was trying to protect you. And it's
weird because they go to the back door where the
you know, the screen door is, and where the doggy

(02:39:34):
door is. I guess they must have closed it. That's
the only way I can think about. Where it was
opened before and he was able to reach his hand
in there. But this time they go and they close it,
and you know, she basically calms down Ginger and then
out comes Blake from out of the forest and walks
up to them slowly in the house and they let
him back in. He slowly walks over into the living

(02:39:55):
room and he collapses near one of the chairs, and
that's when Ginger walks over to him, and we find
out the Ginger when she puts her hand up to
his head, that's the only way that she's actually able
to get through to him, and he can actually hear
her and kind of understand her. And again I know

(02:40:16):
this is again this is beating dead Sanna in the corner.
That it's like it makes it more impactful because we
have all the stuff with the daughter in this little
scene as it's almost like her goodbye scene to her
dad before he completes his final transformation turning full into
a wolfman.

Speaker 17 (02:40:43):
Right now, I'm thinking.

Speaker 11 (02:41:09):
Got a rokey.

Speaker 1 (02:41:13):
Army so much and I like the way that this
scene works out too. This is I feel a lot
more impactful than between Charlotte and Blake, and I like
that it switches to his perspective and he can actually
still hear her and he has a little more humanity
kind of left in him. Yet the world that's looking
around him has gotten a lot more blue, and now

(02:41:34):
you can see like the veins in like Ginger over here,
you can see all along her face and on the side,
and her eyes are now glowing blue and you can
see them on her cheeks are a lot more rosy,
where all of like the blood is rushing to her
head in this instance, after them running around like her like,
you know, calming down, and I just I like the

(02:41:55):
way that it's set up, and like I said, it
is a lot more impactful in the way that the
scene works, because I feel like you do have that
connection directly between her and Blake, and it's a lot
more of a loving connection, and it feels a lot
more tragic in this even though I don't really like
the characters that much, and for this like I like Ginger,

(02:42:17):
don't get me wrong, and it makes me feel for
her in this instance, but it still is not as
impactful to me personally as it could have been with
the whole situation. So he ends up lying down there.
Then he well, he ends up getting up and he
gets on all fours and he begins to vomit, so
again not for Metaphods, and he vomits a ton of

(02:42:38):
blood onto the ground and it ends up choking up
a finger which he bit off, you know, the wolfman outside,
because they must have gotten to some type of struggle
for him to be so beat up and for him
to be so tired and lost most of his hair.
That's there. Also, when he puts his hands onto the ground,
his nails fall off of his fingers and he starts
to arch his fingers more like he's more of an

(02:43:01):
animal than he is actually a human being. He also
freaks out two when he sees the finger, and he
starts kind of like shaking, and he starts like looking
at them, and he ends up rushing over to Charlotte,
not quite like an animal, but almost like in the
way that they even put it in some of the notes.

(02:43:22):
They put it as like an abusive husband, like he's
mad at Charlotte and he doesn't quite recognize her. But
then he just stops right in front of her and
his face, and he gets that whole thing as she
stares at him with loving eyes and realizing that he's
not quite himself and not being afraid, and he also
like settles down at the same time, realizing who she

(02:43:44):
is and what he's doing. And again, the makeup is
pretty good. As we're going through here, you can really
see a lot of the changes that he's got. His
face is becoming bigger, he like I said, he's losing
a lot more of his hair, but he's getting hair
in other places, like he's going through a second huberty
that he's got there. So he's hearing some other noises
coming from outside, and he's standing there at the door

(02:44:07):
and he's just kind of watching at the door, not
sure whether or not he should leave or he should
stay at all. And when he opens the door to leave,
that's when the other wolf jumps inside and starts attacking
and beating the ever loving crap out of Blake, throwing
him around, slapping him in the face. And that's the
first thing he does too, is he just throws in

(02:44:28):
the ground and he just gives him a fucking bitch
slap across the face. Then he jumps up on the
table and gives him a nice like hammer punch down
onto the ground, and we see that Charlotte runs over
and as he's like shoving his face into the ground,
she comes up with a knife and like she's in Fresno, California,
just shanks him right in the goddamn back. Runs into
the back hallway and puts Ginger into one of the rooms,

(02:44:50):
and we get a close up after he's removed the
knife from his back that he's missing a bunch of
fingers from his hand, and as he begins to run
at Charlotte, that's when Blake pops out of the hallway,
and Blake stops him from attacking, so they get into
another scuffle where he tries to choke out the other wolfman,
but he's not able to do it, and ultimately, after

(02:45:12):
you know, the wolfman throws him around a couple of times,
he knocks him out and then he begins to drag
him out of the house, to which he walks further
down the hallway, stares at Charlotte, looks at the room
where Ginger is, and Charlotte smacks him in the back
with a fire poker, and then she winds up smacks
him again, and when she tries to do it for

(02:45:33):
a third time, that's when he learns, oh, I can
just duck, and so then he ducks, and when he
goes to attack Charlotte again, that's when Blake comes out
of the middle of nowhere and he bites him on
the neck and ultimately kills him by draining him, you know,
with the bite on the neck. And this is one
of the things I thought was really cool in terms

(02:45:54):
of how they decided to do this scene in general,
because it's ultimately a relatively well done fight, and they
say that the most pivotal kill wasn't actually set in
stone until the day before it was filmed. Multiple versions
were being considered until the last moment, according to Ben Pendergrast,
and Pendergrass had indeed had access to the full script

(02:46:15):
and access to the director in order to paint the
picture of his character. However, for where this person ended up,
we're not sure of that until the day before we
shot it. Given that this character's integral role to the
entire plot, his death had to be worthy and had
to do something with Blake and Charlotte's character could earn
the idea of a fight sequence was clear from the
very beginning, Pendergast said, but there was a lot about

(02:46:37):
it that wasn't set in stone. There was going to
be a clash, and it was going to be going
to end in a certain way, but it was never
certain specifically how we had this fight scene. They'd be
filming it, but even the director was scratching his chin,
like I'll continue, or I'll come back to you and
we'll work it out. One original plan was recording epic
fight sequence in one continuous shot. We had Coreyofgraf the

(02:47:00):
scene to five minutes and it was wild, the actor said,
with a laugh. We were exhausted rehearsing it. One key
problem arose this concept was ever committed to film. However,
in a death scene, how do you not move when
you're just being so physical after five straight minutes of
intense action, It would have proven immensely difficult for Pendograss
to suddenly stop gasting for air. Ultimately, the idea was scrapped.

(02:47:23):
Once the scene pivot away from the lengthy one shot.
It was then a matter of just how the Wolfman
should meet his end. Of course, the crew had many
different ideas for how to dispatch the wolf's the film's
big bad wolf of sorts. We did so many takes,
Pendergrass said. In one instance, Blake literally UFC choked him out,
crushing his neck. In another, Charlotte came to the rescue,

(02:47:43):
stabbing with a hot fire poker into the wolfman's chest.
We also had a version where Charlotte smashing a bottle
over his head. There was a whole bunch of things
that they were trying to introduce into that fight scene,
and they were just limited in the ways that they
could do it. And as they can only scratch and bite,
Blake doesn't have his much use of his hands, choking
out wouldn't work because it wasn't quite violent enough. Plus

(02:48:06):
we had to take the wolf down a peg or
two during the fight. Unquestionably, the most savage idea that
discussed was a tag team execution, as Pentagraphs revealed. Another
one was stabbing the hot poker through the wolfman's neck.
Blake then grabbed onto one side and Charlotte grabbed onto
the other. Then they ripped his head off. Ultimately, they

(02:48:27):
went with getting his neck ripped open, which is what
you see in the film, and it's still really impactful,
and the fight sequence itself is really well done. It
doesn't last the whole five minutes. I kind of would
have liked to really seen a five minute fight scene.
I think it would have been really fun to see
them throw each other around and have that continuous shot.
But yeah, it can be very hard on the actors,

(02:48:48):
and especially since he has to lay as still as
he can at the end, I think that it doesn't
need to be as violent as them like pulling the
head off, And because I think that there again going
back to like the connection between Charlotte and Blake is
not as hard as it is, I think having them
do the scene ripping off the head that type of

(02:49:10):
thing maybe wouldn't have been as effective. Yeah, it would
have been cool, of course, it would have been fucking
cool to see the wolf get his head ripped off.
But I don't think that it would have been as
effective as this because it still portrays Blake as the
protector that even though he's in this animalistic form, that
he is protecting his family, and he's still protecting Charlotte,

(02:49:33):
and he's still protecting his daughter Ben. He comes in
at the last minute and he's the one that gets
the final kill and ripping out his neck. Now comes
the big reveal in this movie of who the Wolfman
actually is. And one of the questions that you may have,
as like part of the audience that's out there, is
why does this wolfman keep attacking this house? Right? Why

(02:49:57):
wouldn't you just leave him alone? Because we saw the
wolf in the beginning of the film. He got shot
at me and he just fucking ran off. And so
what we get is the reveal here in the scene
as Blake is lifting off of his body, we see that,
you know, the Wolfman has you know, choking out from
the blood that's gathering in his neck, and he's slowly dying.

(02:50:18):
And you know, Blake is looking around his body and
he looks down to his arm, and what we see
on his arm is the same tattoo that his father
had with the last name tattooed on him of Lovell right,
And so the Wolfman happens to be his father, which
is the same thing as in the twenty ten version

(02:50:41):
of The Wolfman, where it was the father that turned
the son into the wolf Man. It's the same thing here,
and this is going back to the family trauma of that,
you know, the father passing down his trauma to his son,
who then passes it down onto his family. So that's
the giant reveal that we have here in this film,

(02:51:03):
and that's how that stuff really connects back to everything
that I was talking about in terms of family trauma
and how you know, being protective and how he was
afraid of him, and the reason why the moment that
he comes inside the house and tackles him, he just
bitch slaps the crap out of him right there, and
then that's the very first thing. He doesn't try to
like throw him around or stab him. He's like getting

(02:51:26):
revenge on his son. And it's the other reason why
he's probably constantly attacking the house is because that's his territory,
that's his place. There are people that aren't infected with
the disease, right, that aren't wolf people or aren't you know,
like the same person they're they're not related, even though
one of them happens to be. But he can't tell

(02:51:48):
that difference between his son and you know and you know,
not his son, because he's a fucking wolfman that's out
there and he's attacking it because they're in his house, right,
So so that does leave credence for why this happens
over one night and why he's constantly stalking them and everything.
But it's still like, I don't know, like this is

(02:52:11):
something that, like I said, I guessed in the very
beginning of the movie. It was something that I just
kind of like, I bet you they're going to do
something like that. It's his father in the way that
they talk about everything and how they're talking about trauma
and how everything is you know, passed down, and that
he doesn't want to be like his dad, and ultimately
he hands up just like his dad, right, he becomes

(02:52:32):
a wolfman. His dad's a wolfman from a long generation
of wolfmen that are out there. And we know that
his dad was trying to protect his son by actually
going out there and hunting the wolf man down and
killing him. And it's possible that, you know, after his
son left, he felt like he didn't have to protect
him like that anymore. And the reason that he was
scaring him because he didn't want to go out there

(02:52:52):
and didn't want him to become one of those people.
He didn't want to put him in danger. But in
doing that, he pushed his son away really really fucking hard. Right,
it wasn't just about like before it was the loss
of the mother, and here it's the loss of his family.
And then he ultimately still lost his family, but he just,
I guess, kind of lived with it. I wish there

(02:53:14):
was a little bit more maybe if we did learn
something about him, like constantly still going out there, like
you know, the reason his son left is because he's
worried about the stuff that's out there in the forest
and I've got to end this, or he became obsessive
with it, and that's what ultimately scared him, right, And
Blake had to know something about that, because one of
the complaints would be about the character is why would

(02:53:38):
he if he wants to protect his daughter so much,
why would he take him to a place or take
her to a place that is so dangerous in general? Right?
Why would he go out there into the middle of
nowhere where he knows that his daughter or his daughter
his father was obsessed with this wolf thing that was
out there or the protection that was there, other than

(02:54:00):
this is something they had to do that there's no
electricity in that, there are no lights that are out there,
and it can be harmful. But the place was so
beautiful that he wants her to experience what he experienced
as a child as well. So there's like, I want
to show you what my life was like, and I
want you to have that experience with his daughter, But
at the same time it's an extremely dangerous place. He

(02:54:23):
doesn't want to put her in danger. But what's the
first thing he does is puts her in danger. And
now he can't be the protector anymore because he's basically
becoming the full version of the wolfman that his father was.
And there's a lot of you know, similarities to him
passing on diseases and that could be also you're talking about,
you know, family histories of things like heart attacks or

(02:54:46):
diabetes or anything like that and passing it on to
your kids unknowingly, and that's really what the father did
as well. Right, he's slashed at the son, not knowing
it was the son there in the truck, and he
gave him the same disease that he has, and ultimately
he's gonna give him a similar ending as well. So

(02:55:07):
we have Blake freaking the fuck out that that's his father,
him realizing that that's his dad, and he realizing what
he did and how animalstic he's become and what he's becoming,
and that he has become just like his dad. Right now,
his daughter is going to be afraid of him. His
family's going to be afraid of him, and they're just
gonna want to run away from him. So he looks

(02:55:29):
over at his wife, he looks to where his daughter is.
He looks, he hangs his head in shame, and he
runs out of the door and runs into the woods.
And so Charlotte is just left there to like with
the dead body, just sitting there in the room kind
of wondering what's gonna go on and what's gonna happen.
And then we follow Blake outside where we get the

(02:55:52):
last bits of his transformation into the actual wolfman at
you know, for the rest of this movie. He runs
out into the grass just kind of lays down and
begins to like shake and roll over, and then like
he he arches his body some and his jaw just
like he starts yelling out and he's like kind of

(02:56:15):
almost like doing like the whole cocon or the bodybuilder
stretch like erflexing those muscles that are out there, making
sure that he looks really swollen for the camera. Then
we see that his teeth have grown and the fangs
are actually growing inside of his mouth. And it's a
relatively i'd say effective like change because we see like

(02:56:36):
the moving of the knuckles, and his hands moved longer,
and we see his cheeks like bend out, and his
fingers the nails are being replaced now with the long
nails of the wolf. And then he reaches for his
jaw and he pulls down his jaw like longer and
locks it into place, and now he's fully like the
wolf man. It's funny because he's wearing a jacket and

(02:56:58):
then when he stands up, he's not wearing it anymore.
I don't know where it went. It didn't rip off
of him, he didn't take it off. He's just now
the wolfman. And he looks up into the forest and
he sees the forest. And as we see that, we
see the colors shift once again, and we see lights
out in the distance, almost like it's supposed to be

(02:57:20):
the moon. But everything goes into more of like a
fish eyed lens, which gives you more of like an
animal vision what a wolf or possibly a dog is
supposed to see that's out there. We cut back over
to Charlotte as she's looking over her. You know, I
guess her father in law is now dead. Wolfman body
that's over there. And Ginger comes in asking on what's

(02:57:42):
going to happen to Daddy, And this is where we
kind of come full circle in terms of passing down
family trauma as she explains how you know, he passed
it on to Blake and now ultimately Blake is passing it.

Speaker 2 (02:57:56):
On to them.

Speaker 6 (02:57:57):
Ar Me, why did Daddy have to get sick? Daddy's
father a while ago, he went out into the forest
and never came back.

Speaker 18 (02:58:20):
Everybody thought he was dead, but I think he just
got sick.

Speaker 10 (02:58:28):
Sick like Daddy.

Speaker 18 (02:58:31):
Yeah, I think he may have given his sickness to Daddy.

Speaker 11 (02:58:38):
I want him back the way he was.

Speaker 18 (02:58:44):
I don't need too, honey, I want him back to
I'm always going to be here for you.

Speaker 1 (02:58:56):
And so now it's all come full circle at this
point because they both want him back to the way
that he used to be. But there's no way that
that's going to happen at all, because, as we know
as an audience member, he is now fully transformed into
the new Wolfman. As they're sitting there, or we hugging
each other, and she's explaining to her daughter that she's
always going to be there for her because now she

(02:59:17):
has to be right, so she has to change the
ways that she was and she has to be the
person that is going to be there for her for
the rest of time. And so she looks outside and
she sees that he's standing out there now completely turned
into the Wolfman, and he wants now to go after
them because now they're in his territory now because he

(02:59:39):
won this territory right in square and he's looking at
ways to go after them, and so he runs around
the house and this is where he kind of the
jankiness with the joh on the bottom, where it's moving
kind of weirdly. And now he's running around the house
and we get a lot of tension as Blake is
trying to go after both Charlotte and Ginger. We hear

(02:59:59):
the swe keep the creeps in the beep says. She
begins to walk around the house, realizing that he's somewhere,
but is he inside, And as she's looking around, suddenly
she sees him hiding out in the corner and he's
staring at Ginger. So she grabs a knife off the floor,
and she rushes to protect Ginger as Blake is slowly
reaching out her hand or his hands over to his daughter,

(03:00:20):
about to pass on one again because if he scratches
her in this universe, then he's going to turn her
into a wolf person as well and pass on both,
you know, the family trauma and the family disease over
to the next of kin. So she backs you know,
up her against up against a wall, grabs a knife
and slashes at his hand as he tries to reach out.

(03:00:41):
And so he reaches and grabs the knife by his
hand and slices his hand open and reels back as
he's now in pain. And so they us this opportunity
to run outside and run towards the barn as well
as he gives chase to them. Directly to the barn,
she barricades the door and looks around for some somehow
maybe to protect themselves, and finds a bear trap that

(03:01:04):
she lays in front of them as she hides in
a corner. We have good old Blake. He runs over
to the barn. He manages to crawl in underneath. He
actually digs underneath the door because he can't break down
the door, and he slowly walks in as we change
to like his perspective. It's funny because we go for
this really dark room and we finally get from her

(03:01:27):
perspective for a second. We see a lot of the
blue light as he is slowly walking in there. It's
still really dark, but it's most of the windows that
have the light. And as we're supposed to be looking
upon him, and as we go to his perspective, he
lightens up with that blue light vision and he's able
to see them just fine, and he's almost right in

(03:01:48):
front of them. She's got a flashlight, she doesn't have
it on, so he can't tell where they are. But
she doesn't realize that he can see in low light
because he managed to pick up that perk when he
turned into a wolfman. And so he steps trying to
go after them, and he steps on the trap instead.
They turn on the light at that moment for the
jump scare with him there, and they run past him

(03:02:09):
and run out of the barn, and he tries to
run after them, but he can't because he's stuck in
a bear trap. Remember, kids, if you want to trap
your father who is turned into a wolf man, who's
trying to kill him. Stick his ass in a bear trap.
That's the way that you're gonna be able to get
rid of him. So he does what only an animal
will do. And this is the other limb that he
chews off in this movie. And this is a nod

(03:02:30):
back to Saw, at least what they said in some
of the trivia. And so he goes down there and
he completely removes his foot and this is another bloody
sweet mess that he loves so much the guests that
tastes like white chocolate. And so he chews off his
own foot and then chases after both of the girls
who have run into the forest, and he's on all

(03:02:51):
fours running after them. As Charlotte and Ginger run up
to the van or the truck that they brought there first.
They managed to make it out to where they first started,
and that one's a little bit okay. They managed to
run in the right direction, fine, whatever. They managed to
get there, and what they see on the ground is

(03:03:12):
remnants of good old Derek. They see pieces of him everywhere,
because you know, the dad destroyed him and I guess
ate him because that's the way he did it. But
they also managed to find Derek's rifle, and then when
they look over to the cargo truck that's there, who's
on top of it but good old Blake, who jumps
down and starts chasing after them. And so they run

(03:03:34):
through the forest until they run into the deer blind
that we saw at the beginning of the movie. So
Charlotte and Ginger go up into the deer blind and
they lock the door, and we basically get a scene
basically taken from the beginning of the movie, but this
time Blake climbs all the way up and raises himself
and lets himself be seen and known to them and

(03:03:57):
is just kind of staring at them, but not a
tacking right away. He's just looking kind of sad.

Speaker 3 (03:04:04):
Oh, kolmba, we drew it.

Speaker 1 (03:04:17):
I don't want to real man anymore. I can't believe
we did.

Speaker 2 (03:04:24):
But if you don't more kibol, she'd better kimban now.

Speaker 1 (03:04:31):
But yeah, no, he doesn't really go anything like that,
but he just kind of like stands there looks at them.
Then Ginger goes up to her mom and says like
he doesn't want to do this anymore. He wants to die,
and so he makes one last leap at them, and
when he makes that leap, she takes the gun, pulls
the trigger, and blows a hole right into his chest.

(03:04:51):
They go down into the bottom of the forest to
the foliage that's down there, and they share one last
goodbye with him as they cry over the corpse of
their dear father. And after they cry over the corpse
of their dear father, they walk out into the open
and the final shot of the movie, Like I said,
it's a really pretty shot, and it's the same shot

(03:05:11):
as father and son at the beginning of the movie.
And now we've got daughter and mother who now have
shared trauma that hopefully they won't pass down to their generations.
And the trauma that has plagued Blake has now ended
and is not going to be passed on to future
generations because brand new trauma has been created. So as

(03:05:32):
they watch over the final like you know, sunset that's
happening out there, they realize that everything is going to
be okay and they're going to be able to survive
because it has all been finished. And there the movie ends.

(03:06:56):
And so that was Wolfman, And well, I really do
like the ending, and I know that here is the
tragedy is that ultimately he dies, right, He goes through
everything and he dies kind of protecting his family. But
it's not until he makes the final transformation that he
ultimately dies. And that's the tragedy and part of the

(03:07:18):
tragic tale that we're supposed to have, right, is that
he goes there and he wants to get He doesn't
want to put upon the family trauma and everything onto them.
He wants instead to have them, you know, be protected,
but to not scare them. And ultimately he fails at
that because he does scare them, because he becomes the

(03:07:39):
monster that his father was when he was a kid,
not necessarily the wolfman, but the scary father that scared
him to leave and to never speak to his father again.
So that cycle is continuing here. He did continue the
cycle of the whole thing. It just took a disease,
a virus of sorts to change him and make him

(03:08:02):
become just like his father. And there's a lot to
say with that, and like I said, it is a
tragic tale, and ultimately it's one of the things that
I saw is that they wanted to also frame this
a lot of it like a fairy tale, and that
were like a fable, a tragic fable, and they did
a good job in doing a lot of that, because
there is a lot of the fantastical. I really do

(03:08:24):
love the perspective changes. I think that those are brilliant.
I think they work really, really well, and it gives
it an extra mark in my book, and it makes
it a little more fun. But it's just hurt. I
think that the tale, like I'm fine with the whole
thing of passing on family trauma and dealing with family

(03:08:44):
trauma and trying to figure out how to cope with
it and coping with it in the wrong way. Ultimately
still doing the same things to your family. Even though
she's a free spirit, Ginger is still you know, children
are still molded by what came before them, and they
what you've done to them. And he still has those

(03:09:05):
flashes of anger in the beginning of the movies, like
I don't want to be like my father, Like, that's
not me. I'm not the angry person, you know, I'm
not the angry person, and like keeps himself in check.
But ultimately he is the angry person when he needs
to protect his family right, and then he is the
angry person when he goes after them, and he is

(03:09:26):
the scared. It's mostly so that he doesn't scare his
daughter and he doesn't impact that same family trauma, which
like I've said, he ultimately does, but it's because he's
a wolf dude, right, So I think that as a
tragic tale, it works one hundred percent. It does work overall,

(03:09:46):
It's just not one hundred percent impactful to me. And
that's ultimately where I feel this film fails at because
I really don't care what happens. I kind of care
what happens to Ginger, but I don't really care what
happens to Charlotte. And I don't think that she has
enough character growth to be like at the end where

(03:10:06):
she's you know, strong woman, and now she's the one
that's got to take care of the daughter. It seems
like she's forced into that situation that she doesn't know
if she's ready for, and ultimately, because she's the one
that pulls the trigger, she has to do it and
she has to be strong enough for the both of them.
But Ginger is more strong than you know Charlotte is

(03:10:28):
because she's the one that tells him, well, tells Charlotte
that she needs to pull the trigger and fucking gill
her dad. Right, So if you do it all just
from the perspective of the tragic tale being between Blake
and Ginger, it does work better, and ultimately you could
feel better. But I feel that having those scenes in
there where you focus in on the relationship between Charlotte

(03:10:51):
and Blake and then you even have the probably what
is meant to be the most emotional scene at least
the way that it's played out between Charlotte and Blake,
and even saying that Charlotte and Blake have to earn
that kill together, that they do it together, and that
brings them together closer when they kill Grady his dad.

(03:11:11):
I don't think that it does. I don't think that
they earn it. The only person I think that earns
that kill kind of is Blake, because he like kind
of kills his past off. But by killing off his past,
he becomes his past and he becomes the present version
of his father at that point, because that's when he
finally turns and he finally you know, stalks his family

(03:11:32):
and scares the living shit out of him. So I
don't know, I really don't know what is the better
tragic line I think I still have to go with
Ginger and Blake, and even then it just doesn't work,
And a lot of it doesn't work because Blake's just
not an interesting enough character for me. I just wish
there was more, and I wish that it had happened

(03:11:53):
over time, so maybe you could grow that stuff between
Charlotte and Blake. You could grow that further between Blake
and Ginger, if that's where the focus was meant to
be in the ultimate part of the story. And that's
where I say it doesn't work as much for me.
It is a tragic tale. This is a tragedy about trauma.

(03:12:14):
It does do a really great job in connecting it
into seeing somebody that has a disease and they're slowly
deteriorating and they're slowly dying from it. All that works,
but ultimately I just don't feel that it's fulfilling enough
to make it like a good movie. It's an okay movie.

(03:12:35):
It's I think there's going to be an audience for it,
but I think that the audience that's not gonna like
it is expecting the Wolfman, you know, like an actual
tale of the Wolfman and just a retelling and maybe
retooling in some things instead of a movie about somebody
dealing with trauma. I think it worked a little bit
in The Invisible Man, but ultimately it didn't really work

(03:12:57):
for me as well in that movie. But I saw,
just like with this movie. It's funny. For both of
these movies, I see what they're going for, and for
me personally, it just doesn't really work. I don't think
that it's as bad as some people say it is.
I will say it's definitely better, even though my rating
is not really gonna put it in that. I can
tell that already other people saying it. But the rating

(03:13:18):
is personally just for me, and I think there are
people that are giving it a rough shake, that are
doing it for the wrong reasons, and I think when
it comes to this movie, there are right reasons to
do it. And I think in terms of direction, it's
really well shot. Ideas are really really great. I think
the editing is fine. I think the acting is okay.

(03:13:38):
I think Charlotte needs to have a better storyline in
this movie. And it makes sense why Grady keeps attacking him, because,
like I said a little while earlier, that it's his
territory and they're in his territory, and if they had
just not gone to the house for protection that he
probably would have just left them alone. But then you'd
have degrading Blake, and Blake would ultimately probably kill his fans.

(03:14:00):
So hey, you know there's a bonus there for the
wolf man constantly attacking them. So Gore, I'd say it's
like it's I put it at a three out of five.
It might be more like a two. But the gnawing
of the leg is a little gnarly. It's not like
super gory, but like seeing it is a little gnarly.
Him with his arm is really gnarly. There's the finger

(03:14:21):
coming out of the mouth. Some of the transformation scenes
can be a little bit, especially the nails coming out
of the fingers. So I'd give it like a three.
It wouldn't necessarily show like somebody that's below fifteen, some
parts of this movie if they can handle, if you've
seen some other things, maybe even like fourteen and up.
Anything younger might give some nightmares to it, so it

(03:14:42):
would still be in that three range. Crap factor, I
give it a three as well. Like direction is great.
I love some of the scenes are really brilliant and
really well done and fit the story really well. I
just think this story's hurt uninteresting characters, and even though
it's a tragedy, it doesn't feel ultimately really tragic with

(03:15:04):
everything that's going and fun. It's a two out of five.
It's it feels slow, even though it doesn't move slow.
I just feel like everything just kind of slogs along,
and I think that in some cases the lack of
dialogue where it's appropriate for this movie, I feel like
it needed some more in key spots, or I needed
that it happened not over one night, that it happened

(03:15:27):
over a couple of days, even with were wolf guy
attacking during the day trying to get in there and
get away, or you know, they turn into just straight
wolfmen and are never human in the movie ever. Again,
that's what it feels like. You never have a transformation
between night and day. He's just a wolf dude, and

(03:15:47):
that's it. So if you're in it for the lore
and trying to go back to the lore of the
actual wolfman, yeah, I think it's wrong calling this wolfman
and being based in that universe. I think that if
it was, maybe that's why it's separated as wolf space
Man and not wolf Man as one. And because even
though it's like a retelling or it's a reimagining of

(03:16:08):
the whole thing, I just feel that if you named
it something else, that people would have a better reception
to it. I still probably would have the same reception
to it, but I feel that some people that say
would rate it like a one overall, they might do
as a two or three. And people are going into
it expecting a Wolfman story, universal monster wolf Man story,

(03:16:30):
and that's not what you get for this movie. So
ultimately I'm giving it two out of five stumps. Right,
you got Stumpy running out there in the forest, and
I think that ultimately, for me, that's where it lies.
I just I wish if the trauma was better and
I had a better feeling at the end. And I
know you say better feeling, it's pretty sad at the

(03:16:50):
end there. I know I want to be sadder. I
want to be way sadder than it actually is. And
if it was a lot more had them more emotional
impact on me, the tragedy, the tragic tale that goes
on here would be a lot more effective and pactive,
And that's why it's a two out of five. For me.
So that's it for this episode of the podcast, and
we're gonna be doing another one soon and you guys,

(03:17:11):
I should look forward to it because we are going
into for the month of May, it is Charles Band Month.
We're gonna do two Charles Band films. I'm gonna have
to figure out what they are. And if you listen
to the I think the mini episode I mentioned it,
but you can. I can mention it here. If there's
a Charles Band movie that you'd like me to do,
please let me know. I've gotten one suggestion. I have

(03:17:32):
to look at the trailer I wrote it down. I'm
gonna decide whether or not want to do that for something.
So we're gonna have to determine that. Maybe that's gonna
be the movie the first movie that we do. Uh,
And we'll find out on the mini episode that's coming up.
But there's a ton of Charles Band movies, pun a
Full Moon Pictures movies that are available on tub. So

(03:17:53):
if you look at tub you find a movie that
you think that might be fun and I haven't done
it before, you know. I again, I've never done any
of the puppet Master movies, so maybe it'd be fun
to do a puppet Master movie or something like that,
but I'd like to maybe try to keep it like
the eighties. We'll do like eighties Charles Ben movies. Keep
it there and see what goes on, or even nineties.
Some of the nineties stuff that they did was really

(03:18:13):
fucking ridiculous too. Who knows, maybe we'll get a Gary
Busey siding or something like that. So with all that
being said, I appreciate you guys for checking out this episode.
Even though there was less clips, this still managed to
be three hours long. Fuck me am I right? But yeah,
so thank you all, and make sure if you want

(03:18:34):
to get in touch with me. The best way right
now is Instagram, Instagram, dot com, slash Terrible Terror Podcast.
I answer all my dms that are sent over to
me over there, even if it takes me a couple
of days to get it. Or if you really want
to hit me up on Twitter, you can if you're
still using it that is tea Underscore t Underscore podcast,
or use a Bluescry Terrible tearor is out there on
Blue Sky so you can find me out there, give

(03:18:56):
me a fall, shoot me a DM, all that fun stuff.
YouTube Tear Terror Podcast, where there should be a review
of for Centners sometime after this podcast, and as always,
Twitch dot tv Slash Terrible Terrors available Sundays, Mondays, and Tuesdays.
Thank you guys for listening. Make sure that you don't
tune into a Wolfman over the weekend, and take care

(03:19:16):
of yourselves and each other. Who did I make you
back for the end of the episode. I finally came
out over one day.

Speaker 3 (03:19:32):
I think this is gonna work.

Speaker 2 (03:19:33):
This is gonna work.

Speaker 1 (03:19:34):
Okay, here we are all right? Whose walls of coconut
trust his aners. Wait, that won't work for a

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