The Viewing Room Ep 27 - Flight Risk - Review and Analysis - The Viewing Room

Episode Transcript
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Speaker 1 (00:00):
Okay, but when's the last time he did a nosedive
on a commercial plane with passengers.

Speaker 2 (00:08):
Well, that's different, but it's the find of flying on
a small plane. You can do that.

Speaker 3 (00:13):
You're in my little terrorist I did.

Speaker 2 (00:17):
I did Steve Turns with my Mother.

Speaker 3 (00:21):
Sounds like an indie band.

Speaker 2 (00:24):
Steve Turns with my.

Speaker 3 (00:25):
Mother starring my father.

Speaker 2 (00:33):
Just real punk rock band. Get on, We'll get on
as podcast.

Speaker 3 (00:38):
And okay, and.

Speaker 2 (00:47):
Now time for the viewing room with Adam and Eton.

Speaker 3 (01:03):
Welcome to the viewing room.

Speaker 1 (01:04):
We took up with films doing old, local and global.
Today we're gonna be talking about Flight Risk.

Speaker 2 (01:11):
It's a little off, but.

Speaker 1 (01:21):
Anyways, that was my air guitar. Yeah, flight Risk, K.
This might not be a long episode.

Speaker 2 (01:28):
That was Definitely that music tops Flight Risk.

Speaker 3 (01:32):
Yeah, that's a thousand times over.

Speaker 2 (01:35):
I would rather watch this movie this or listen to
this theme song on repeat for seventy two hours straight. Well,
locked it out that white room with padded walls. O,
then to watch Flight Risk again.

Speaker 1 (01:48):
No, I don't think flair Ris was that bad, but
I think it was close to being that bad. This
will be the lowest Moon rating I have ever given,
and probably me too, but I'm pretty generous. So we're
talking about flight Risk came out like last week January
twenty fourth, twenty twenty five, with a budget of twenty

(02:08):
five I guess two weeks ago from then when I
said it came out with a budget of twenty five
million USD.

Speaker 2 (02:14):
You know, we saw a trailer for this when we
were going to some other movie. I don't know if
I was going.

Speaker 1 (02:18):
With you or something that I sat for a different
I mean they're playing trailers for this sense Dead Pull
and Wolverine pretty much.

Speaker 2 (02:23):
Right, Yeah, anyway, I saw a trailer for it. I'm like, Fuck,
that looks like a terrible movie. I don't want to
go see it. And then like last night or two
nights ago or whatever, you text me. You're like, hey,
you want to go see Fight Risk at seven twenty
or something. I'm like, so, I really don't.

Speaker 3 (02:37):
I knew it was going to be bad. You knew
it was going to be bad, but.

Speaker 2 (02:39):
I felt like, you know, we can't have a movie
review podcast and only talk about movies. Be like, you know,
that doesn't seem fair. So I'm like, you know what,
I'll go endure the torture so that you guys don't
have to.

Speaker 3 (02:50):
Uh huh, yeah, this is I.

Speaker 1 (02:53):
I had my ticket paid for by me, and I
still have a NY transferred to Adam because I figured
I just kept the next one because I couldn't.

Speaker 3 (03:02):
I couldn't pay.

Speaker 2 (03:04):
It was. It was both the worst thirty dollars I've
spent in my entire life. Yeah, it was.

Speaker 3 (03:08):
It was pretty brutal. This one's a wait for Netflix
for sure in my opinion.

Speaker 1 (03:12):
Nope, yeah, maybe maybe don't, just don't, there's no need.
Maybe watched Airplane that's a better movie.

Speaker 3 (03:20):
Okay, Well it has Girls.

Speaker 1 (03:22):
Sixty million dollars thus far, I believe, so a bit
of a sluggish box office run. But the movie every
movie right now isn't doing very good. You know, even
Moufasa is kind of like, well that's a shame movie too,
so you know, everything but that's a big Disney movie,
right it's everything is everything is slow. So this is
actually number one at the box office right now, I
believe it or not. And and yeah it's Girls sixty million.

(03:45):
It's gonna it's gonna break even for sure, but.

Speaker 2 (03:47):
Uh, it is made on I will give him that.
They did a lot on a little budget.

Speaker 3 (03:52):
Or a budget. Yeah, I think that's I think that's great.

Speaker 1 (03:54):
If it was like seventy million dollars, dude, I would
have flipped my lid.

Speaker 3 (03:59):
I'm very happy be that like a.

Speaker 1 (04:00):
Most Mark Welborg took home five million, a humble five million,
but like, come on, at least that's what happened.

Speaker 2 (04:06):
Like but I mean you can see why. I mean, right, well,
it takes place on basically three sets. You have, you know,
the motel, You've got the plane, and you got the runway.
Those are the three sets, and ninety eight percent of
it is on the plane.

Speaker 3 (04:22):
Yeah, you can do that. You can do the two
locations in the day of shooting, yeah, right, yeah, and.

Speaker 2 (04:26):
Then the the plane itself. And you probably did the
motel on us on the same stage they did the uh,
the plane too, right because they yeah, And then of
course they have to get all the exterior shots of
the plane and stuff. And but also a small cast,
very small cast, and the smallest cast they say, and

(04:50):
and and a lot of I think a lot of
of computer generated effects, a lot of a lot of
CGI and stuff in this.

Speaker 1 (04:58):
Of course, there's well on one of the control panels
on the plane when I think it might have been
the radar. The text looks like it looked like it
was floating on one of the shots, and I was like,
hold on a second, that's kind of strang radar. When
she's looking at the control panel of the plane, some
of the text sounded it looks like it's like photoshopped in.

Speaker 2 (05:17):
Probably is, but oh well, the control plane with this,
like I can stand up. I think we also have
to kind of give the caveat that I'm a pilot,
so I noticed a lot of things that.

Speaker 3 (05:27):
Were that was more entertaining than this.

Speaker 2 (05:36):
It was it was very distressing for me, certain things
that might have that might have not been noticed by
other people. And there was a lot of things that
even a non pilot noticed, Like there was things you
were asking me about after, but there was a lot
of details that I noticed that I know other people didn't.

Speaker 1 (05:50):
Let's do I'm thinking, how should we organize this, Let's
do the synopsis and stuff, and then we'll we'll talk
about all.

Speaker 3 (05:57):
The things as we go along. I think sure, But yeah,
I think.

Speaker 2 (06:04):
Yeah, And this is also this is going to lead
into a better discussion about about like technical accuracy within movies,
whether it's a medical drama or a pilot or technology
or something, because that's one of the big things that that.
I mean, in any movie that that is about some
specific field, there's going to be accuracies, They're going to

(06:24):
be in accuracies, and I think we can we can
have a really good discussion about about that in movies
in general. Let's get the synopsis.

Speaker 1 (06:32):
Yeah, well, I will say this film was directed by
Mel Gibson. Which was the biggest plot twist of this
movie was when the credits rolled and it's Mel Gibson.

Speaker 2 (06:41):
I was like, I didn't Mel Gibson. After Yeah, I
didn't think that somebody like that could stoop this low.

Speaker 1 (06:46):
So well, maybe it's a discussion about where movies are
going these days.

Speaker 2 (06:52):
That is a much larger discussions.

Speaker 1 (06:54):
That's an episode on its own. Okay, well we'll talking cast.
We have Mark Wahlberg who plays the Pie as he's
labeled in the credits. We have Michelle uh what's that
name Dockery Shell Dockery is Madeline. I don't know her, sorry,
And to for Grace who plays Winston. Yes, yeah, I

(07:17):
don't know if I've ever seen any of Mi Shelle Dockfrey.

Speaker 2 (07:19):
I thought she did a break good jobs.

Speaker 3 (07:21):
Yeah, I thought she was probably.

Speaker 1 (07:22):
The best actress in this whole movie.

Speaker 2 (07:25):
Mark Wahlberg was kind of funny, but a little bit
over the top. This is my Mark Wahlberger, this is
my Mark Webber. I'm gonna rape you. That was the
thing was really really like it was. It was. It
was over the top to the point that it wasn't
funny at all.

Speaker 1 (07:41):
So fun fact, Mark Wahlberg ad libbed most of his lines,
and according to mel Gibson, some of them were so
dark that they just couldn't make it into the film.

Speaker 3 (07:51):
So hmm, should they have made it into the film?
Maybe maybe it would have made it more interesting.

Speaker 1 (07:56):
But also, I just his whole character is just like, yeah, yeah,
I'm angry and I don't care if we die, and like, also,
guess what, I'm gonna rape you? Yeah, And everyone's like, no,
mister ball guy, let's not do that.

Speaker 3 (08:10):
We don't want that. And he's like, well, I'm bald
and I'm Mark.

Speaker 2 (08:15):
Literally I don't know. And it's not even a reflection
on Mark Wahlberg. Cole. I forgot his name for Yeah,
Mark Wahlberg, because I think he's still a good actor,
but this is not his finest work.

Speaker 1 (08:30):
This is like when Kevin Hart agreed to do Borderlins
or any Kevin Hart movie.

Speaker 3 (08:33):
Actually, yeah, any Kevin Hart pretty good? Did I? I
like Kevin Hart as an actor, But you can't you
can't deny.

Speaker 1 (08:40):
That, you know, he doesn't pass up on any movie,
you know anything like that?

Speaker 3 (08:45):
Right, It's like Jack blacked him in the Minecraft.

Speaker 2 (08:47):
Movie, Like, holy, don't even get me started on.

Speaker 1 (08:49):
That, man oh man. Okay, well, yeah, let's let's do
a synopsis. Light Risk film synopsis a US Marshall or
it's a small plane to transfer government witness to New York.
As they cross the Alaskan wilderness, tensions starts to rise.
Is not everyone in the flight is who they appear
to be. So we kind of start off in a

(09:11):
hotel room.

Speaker 3 (09:12):
There's Winston, he's there.

Speaker 1 (09:14):
He kind of seems like a shady crypto dude or
something we don't really know, maybe just kind of like
in Celly no way, and we find out he's like
double crossed, like a financial guy who has the guy
for a mob boss. Yeah, who has ties to the
FBI and other things like that, which we'll get to.
How I think that's unnecessary in this film. And yeah,

(09:38):
so he gets arrested, he gets taken as a witness
to testify against this one dude.

Speaker 3 (09:43):
So he's going to be flown from.

Speaker 1 (09:44):
Alaska where he's hiding to wherever. Where did they say?

Speaker 2 (09:49):
And Seattle?

Speaker 3 (09:50):
Seattle?

Speaker 2 (09:51):
Is that Seattle?

Speaker 3 (09:52):
Okay, they're gonna go there.

Speaker 2 (09:53):
Because they're just flying straight down the coast, right because
Alaska is up here, they're flying straight down to Seattle.

Speaker 3 (10:01):
Yeah, yeah, okay, cool, I can't wait. We should go.

Speaker 1 (10:08):
We should have done this in a plane. Oh, this
would have been so good to do in a plane.

Speaker 2 (10:12):
I know, because I'd get too angry in the plane
would crash because he watched, like I demonstrate how the
mixture works. When we get to that point, I have
I demonstrate how the mixture works.

Speaker 3 (10:23):
Our air speed would tank and we'd do a nose
dive and you.

Speaker 2 (10:26):
Could stall the plane. I could show you what a
stall looks like. Sometimes.

Speaker 3 (10:29):
Yeah, I really don't really want to do a SnO.

Speaker 2 (10:32):
We could do spiral divees. We could do spins. We
could just spin.

Speaker 3 (10:36):
Let's not do this, please, I want to go home.

Speaker 2 (10:41):
And I practiced them all the time.

Speaker 3 (10:45):
Yeah, do that on your own time. Not whitting. You
have people in the plane. That's like, that's like ground
zero type ship.

Speaker 2 (10:52):
No, you have to be able to do it for
your for your license.

Speaker 1 (10:57):
Okay, but when's the last time he did a nosedive
on a commercial plane with passengers?

Speaker 2 (11:05):
Well, that's different, but it's find a fly on a
small plane.

Speaker 3 (11:09):
You can do that. You're in My Little Terrorist.

Speaker 2 (11:14):
I did Steve Turns with My Mother.

Speaker 3 (11:18):
Sounds like an indie band.

Speaker 4 (11:21):
Steve Turns with My Mother starring my father, just a
punk rock band.

Speaker 2 (11:33):
Get on, We'll get on the allt Anks podcast.

Speaker 3 (11:35):
And okay, so we're talking about flight risk.

Speaker 1 (11:42):
Madeline, she gets on this plane. Pilot comes by, kind
of a weird looking guy. He's weird, sounds like Larry
the Cable guy for some reason. He's got a little
bit of blood on his neck for some reason. We're
not really too sure about that. And Winston, our boy
is kind of chained up in the back seat and
he's kind.

Speaker 3 (11:59):
Of just like weird.

Speaker 1 (12:00):
This is this his character Drake and awkward and says
there's sexual tension between him and Madeline, which, okay.

Speaker 2 (12:12):
All right, a lot of this movie is really just
bad sex jokes and yeah, and like, yeah, dude, dude,
Mel Gibson wrote this ship with his dick in his hand.
Literally was like he was like, yeah, that's good.

Speaker 3 (12:26):
Literally no, yeah, it's just uh okay. Whatever.

Speaker 1 (12:33):
So we find out Mark Wahlberg's doing this thing. You
learned some good exposition. They take off, and as are
taking off, I noticed something and I talked to Adam
about this after the film.

Speaker 3 (12:43):
So they have this nice big runway.

Speaker 1 (12:45):
There's no planes in Alaska, but this nice big runway,
well maintained for an Alaskan.

Speaker 2 (12:50):
Yeah.

Speaker 3 (12:51):
Yeah, Anyways, he does, he does the takeoff.

Speaker 1 (12:54):
Everything's looking good, but instead of going to the under
the runway as he's taking off, he starts to bank
to the left and just go away. So there's still
like one hundred feet or more of runway left.

Speaker 2 (13:07):
A lot more than hundred feet there, about a hundred
feet off.

Speaker 1 (13:09):
The deck, and I'm like, I'm seeing him turn and
then I'm notice he's going like would be going over
more like ATC or whatever whatever they would have there,
or maintenance buildings whatever hangars. I'm like, okay, but to
me as someone who isn't a pilot, and I wanted
to have Adam talk about this to me who wasn't
a pilot.

Speaker 3 (13:27):
I was like, that's dumb.

Speaker 1 (13:28):
You have all this open air space and mountains. You
need to get high up into the air, not turn
and bank over buildings like that. It's dangerous because you're
flying over buildings.

Speaker 3 (13:39):
But also you need to get up.

Speaker 1 (13:41):
Your goal isn't to turn around while you're like three
hundred feet off the ground. You need to be up
and do that right out of the way from their planes.
Out of the way for like things like that. Right
when you take off at Vancouver, Ye and you take
off the runway and you're over the ocean, you go
and you go up, You climb for a bit and
then you turn. It's not like you're turning up. You're
you're turning as well. So I wanted you to.

Speaker 2 (14:03):
There's a there's a couple of good things to point
out here, and I'm gonna like precede all this with
with with the caveat that I'm a prairie pilot. I'm
not a mountain pilot. So most of my experience comes
from flying in a province where the variation and elevation
is a few hundred feet at most, right, but one

(14:24):
like the general rule that I follow flying via far
visual flight rules, which means you're not following specified pathways
in the air and under control the whole time. And
everything is when I when I'm taking off, I wait
till I'm at least five hundred feet and past the

(14:44):
end of the runway. So if I'm at seven hundred
feet when I passed the end of the runway, then
I'll start turning. If I'm at three hundred, I'll wait
till them at five hundred feet before a start turning. That's
my general rule. There are times where we turn earlier. Again,
under under flight rolls, we will sometimes the tower instruct
us to you know, they'll say, you know, make the

(15:05):
right or left turn as soon as safely able. And
so what that means is basically, as soon as you're
not gonna hit anything when you start turning, you can
do you can do that. So that happens. That that
that in itself happens. But the problem that I have
is that on a flight like theirs, I'm about ninety
eight percent sure that they would be on an IFR

(15:26):
flight plan instrument flight plane, which means they're they're most
likely under control the entire way, maybe not in Alaska,
but they are following specified pathways in the air, and
there I know a very few places in the world.
Alaska might be one of them where you're going to

(15:46):
be turning like that early. Most of them are going
to be a lot high on that. I mean, hey,
we're one hundred or two hundred feet off the deck
when they started turning, which is just not gonna happen.

Speaker 1 (15:55):
They couldn't find the plane for a while. Load So
does that mean like they're up in the air? So
does that mean like that's.

Speaker 2 (16:01):
So that is control if there's no radar, which happens
in northern Northern Canada a lot or Alaska. But the
way it works is not that they can just do
whatever they want. You're still on that instrument flight plan,
which means you're following those procedures, those pathways. There's just
nobody there that's making sure you're not going to crash
into another airplane. They are making sure, but in a

(16:25):
different way. Like so like if I'm taking off out
of Vancouver, right, there's somebody watching me the entire way.
But if I'm taking off out of Churchill, Manitoba, They're
not going to get radar coverage until I'm like four
or five thousand feet right, So they're not going to
clear anybody else to take off out of that airport
until they've got me on radar, so they know exactly
where I am. And they're also not going to clear

(16:45):
anybody else to go into that airport until I am
all until I am out. It's called the one in,
one out rule.

Speaker 1 (16:52):
It's like when someone goes down the water slide, right,
if it goes down the waterslide, you wait to see
them come out of the other end or until the
green light comes exactly and then you go down exact spy.

Speaker 2 (17:01):
One and one out and and and so it's hard
to know whether they were on a visual flight plan
or an instrument flight plan because he calls up Alaska
Center and he doesn't get an instrument clearance. But I
find it hard to believe that they wouldn't be in
that situation. That being said, one of the other little

(17:24):
things I noticed was Center cleared them for takeoff. It's
an uncontrolled airport, which means Center is not clearing you
for takeoff. Center would have given them an IFR clearance.
If they were via FR, they wouldn't have needed to
talk to center at all. So that's part of the
reason I think they were on an IFAR clearance.

Speaker 3 (17:41):
I get it now.

Speaker 1 (17:42):
So the whole reason he's a bad guy is because
he didn't fall a follow ATC protocol.

Speaker 3 (17:48):
And so now it's going to.

Speaker 1 (17:49):
Play at the start of every pilot's class as a
reminder of why you need to fall a protocol.

Speaker 2 (17:54):
Yeah. I mean, it's just that their radio work on
the the through the entire thing was completely an accurate.
I don't think there was ever a point where I'm like, yeah,
that was accurate. But yeah, I mean, like, and honestly,
this is this is a good way to lead into
making things like accurate, like technically. So for example, like
let's say we're watching The Good Doctor or Gray's Anatomy

(18:17):
or something like that, right, and they spin off a
whole mouthful of medical jargon. Right. I am not a
medical person, but I know from watching YouTube that they're
not very accurate with what they're saying a lot of
the time. Sure, I know.

Speaker 3 (18:29):
Someone else tell you that it wasn't accurate, like I
did that the movie.

Speaker 2 (18:33):
I also know from you know, helping my girlfriend study
for nursing that when they actually talk properly about medical things.
It sounds just as confusing to your average non medical person, right.
And it's the same thing with the ATC radio. Right.
If I was going to give them an uncontrolled IFR

(18:53):
clearance like it would sound just as confusing or just
as realistic to your non you know, in your non
pilot or non controller viewer. And and so to me,
I don't understand why these these these movies when they
focus so heavily on one particular thing, like you know, flying,

(19:16):
All they have to do is hire one pilot who
you could do so easily when you have a budget
of twenty million dollars. I guarantee you go to any
pilot you know with any experience and say, hey, where
can make in a movie? Would you be able to
advise us on how accurate this is. There's very few
people in any profession I believe that would turn down
the opportunity to see it, to see their thing represented accurately.

(19:41):
You wouldn't have to pay them much of anything. They
would just love that opportunity. I mean, at least I would,
and I think a lot of other people that I
know would, And and I just feel like it will
be such a good use of money to make it accurate,
even if your your average viewer doesn't get anything out
of it. I think it's it's just it's more of
a care and attention to detail thing, right, Like why

(20:03):
not when you've got them money? Why not?

Speaker 1 (20:06):
Well, I wouldn't be surprised if there were pilot advisors
on on set or they were doing things when they
were building the set, and they did have experts and researchers,
But I do think it comes down to budget and
details that I think. I think something we have to
realize too is people like you who are actually pilots
are going to be hyper focused on some of those

(20:27):
elements that want to be as realistic as possible. And
I think, you know, if you're doing a thing focused
around that thing, maybe it.

Speaker 3 (20:33):
Should be as realistic as possible.

Speaker 1 (20:35):
You know, this movie doesn't take itself extremely seriously sometimes
in my opinion that I think, like it maybe didn't
need to be super serious, but like for me, I
didn't think much of it was unrealistic. I thought the
turning at the runways looked weird, So that's why I
asked you. But if you were like if you said, oh, no,
Ethan that's like what you do. I wouldn't know any
different because I'm not a pilot. But I think when
you see like the buttons on the radar are actually backwards,

(20:57):
or you see something like with a throttle, that's not correct, right,
I think you For me, when I see someone fell
on the control stick and the planes taking a nose dive,
I'm like, oh, okay, it happened. And that's even after
being in like the front seat of the plane with
you and having you explain the shit out of things
that went one ear in.

Speaker 3 (21:14):
One on you're out the other.

Speaker 1 (21:15):
But you know what I mean. So I think for
people like you who are pilots and who are trying
to be critical.

Speaker 3 (21:20):
And look, it's it's super easy.

Speaker 1 (21:23):
To be like, that's not accurate, that's not accurate. But
I do think there probably was help hired on set
to make the important things accurate, like what it actually
looks like and how to build that.

Speaker 2 (21:34):
But but the thing is that was that wasn't even
accurate either. Yeah, yeah, with the fuel tank, the fuel tank,
and and and even like when they when they're reading
out their altitude and they clearly show the altimeter it
says seventy five hundred feet and they say, O, we're
three thousand feet. Okay, you might be three thousand feet
above ground, but that's not the altitudes that are communicated
with ATC.

Speaker 3 (21:54):
That But to be fair, like it is being flown
by a woman.

Speaker 2 (22:02):
You're going down to dangerous there.

Speaker 1 (22:04):
But yeah it was a woman pilot. No, no, it
was being flown by a woman.

Speaker 5 (22:16):
Spinning out less No, okay, no, finish the sent.

Speaker 1 (22:29):
Madeline, the pilot, I'll use your name, had never had
never flown, right.

Speaker 3 (22:34):
She is with whatever whoever, whatever group she's with.

Speaker 2 (22:38):
Oh she's a Marshall.

Speaker 3 (22:40):
Marshall. Yeah.

Speaker 1 (22:41):
And so instead of when she contacts air Traffic Control
to be like, oh my god, may day we're going down,
she's like, yeah, may day, Uh my pilot's down.

Speaker 3 (22:50):
How do I fly? Instead of like, this is us Marshall,
Madeline Davies here and and I have just had to
shoot and kill my pilot. How do I get down?
I need car contag now back up help And it's
in said She's like, yeah, may day, we're going down.
Bravo six ' nine Roger Dodger. I don't know the
call sign anymore because this movie was two days ago.

Speaker 2 (23:11):
But November two zero eight uniform uniform or something like that.

Speaker 3 (23:14):
Yeah, uniform uniform.

Speaker 1 (23:15):
Yeah, yeah, yeah, Roger Tangle, Bravo Alpha.

Speaker 3 (23:19):
You know what I mean.

Speaker 1 (23:20):
It's just like she was just like had no conviction
and then like she like she had a satellite phone
in her pocket.

Speaker 2 (23:26):
Brother, but also also like, I mean that that's you
know what, fair enough, But like the.

Speaker 3 (23:35):
For me, it's not even that that's unrealistic. I'm just like,
come on.

Speaker 2 (23:41):
I mean, going to Alaska, why wouldn't you have a
satellite phone? That seems that seems reasonable.

Speaker 1 (23:45):
It's looking at Winston being like I have a satellite phone,
which means I don't have to connect to any cell
phone towers in the area.

Speaker 3 (23:53):
No shit phone. Yeah.

Speaker 1 (23:56):
It was just it was just explaining it to the
audience so obviously. And I think that's a lot of
the problems I have of This's a movie that, like,
I think a lot of things that bug you. And
maybe I speaking a term, but you can correct me
if I'm wrong. Is a lot of his accuracy in
a way as a pilot, right, And I understand how
that would bug you.

Speaker 2 (24:13):
Right.

Speaker 1 (24:14):
It's the same thing if someone made a documentary of
like your life essentially, you'd want those details to not
maybe be dramatized a bit for a movie, but like
relatively accurate. For me, a lot of it is like
there's no plot twists that like you don't see coming
a mile away, when they don't kill Mark Wahlberg for
the third time, when he comes up and attacks them
once again. You know, there's an our twenty minutes left

(24:35):
in the movie, right, you know, you know all these
things are happening. And so for me, it's like it's
spoon fed. It's spoon fed to you. There's no surprises,
and and it's like, I don't know. It just made
me feel like I was an.

Speaker 3 (24:48):
Idiot while I was watching it.

Speaker 1 (24:50):
I was like I was like, okay, like and okay, again,
maybe doesn't take itself too seriously, but like I don't
find it enjoyable enough to be entertained by not being
taken seriously, you know what I mean. I don't think
Mark Wahlberg is an interesting enough character or funny enough
all he was. And it's not like it's not scary
enough to be creepy. It's just oh, it's just the

(25:12):
way it's just and it's like.

Speaker 3 (25:14):
Not like, oh, weird quirky A twenty four. It's it's
like it's like that was weird.

Speaker 1 (25:22):
It just like I know I got you because because
he just looks in the camera, licks his teeth a
few times and he's like, yeah, I'm gonna rape you Winston,
and then I'm gonna rape you Madeline, and part of
my langue maybe we shouldn't be using that word, but
it's like he says that, and it's like, are you
kidding me?

Speaker 2 (25:39):
Like like and then it's justos all the whole rest
of the time, and yeah, I don't I don't know,
and also like to me, it's it's it's like it's
almost like a bad look even just his character when
they first get in and how nonchalant and like there
there's a certain set of standards that pilots follow that

(26:00):
that I don't mean, I get that's his character. He's
not a commercial pilot. I guess maybe he is. I mean,
he knows how to fly, so obviously he is a pilot,
but there's just a certain set of standards that that
is followed, and I feel it was it was disingenuous
to that industry to paint that kind of picture, but

(26:21):
I don't know.

Speaker 1 (26:24):
Like I said, it's not a documentary about aviation and
how to fly again.

Speaker 2 (26:29):
It comes back to me, is the Karen attention to detail.
Like to me, like I said, when you have a
twenty million dollar budget, you don't it would not be
a budgetary constraint in my opinion, to get somebody to
look over your script and change a few things, like
I feel.

Speaker 1 (26:47):
Like they may have had that though, And the thing
is they might have just had to. I'm playing Devil's advocate,
but I'm assuming that they had that because they had
to real and then some things don't make it in
because of constraints or things that they don't need because
the average person isn't gonna know right, I'm not going
to know certain things aren't accurate there right when? But

(27:08):
that's when she looked at the ultimate and said three
thousand I was like, okay, three thousand feet.

Speaker 2 (27:11):
Right, But you're saying that that they hired that, but
then they ignored it because it doesn't matter. But my
point is they.

Speaker 3 (27:17):
Didn't get one hundred percent of the details all the time.

Speaker 2 (27:19):
But to me, they call on it like there was
so many details that were just wrong that it was
like there was any like literally, it's like, instead of
using the red lever, use the black lever. Little little
tiny things.

Speaker 3 (27:35):
Yeah, and well I mean that hey, they might have
told Mark Wahlberg or.

Speaker 1 (27:37):
Whoever to use that, or no they didn't, or Madeline
and and and then all of a sudden, all of
a sudden, on accident, they they did the other.

Speaker 2 (27:46):
Because they were talking. They were talking, so well, I'll
explain this one because this is another interesting thing. So
this is where they'll pull the red lever. The dude
they're talking about when when she's like, when you do
a faster and he's like, okay, well if you do that,
you're going to use more fuel, which is accurate, and
she's like it's fine, we'll do it anyway. I don't
know why you're arguing with a pilot that's trying to
save you, but that part aside. He's like, okay, yeah, yeah,

(28:09):
you're right.

Speaker 3 (28:09):
He's like, he's like, well, you're you're in charge of
these vessels, so I guess you're gonna have to.

Speaker 2 (28:21):
Yeah. Anyway, so he's like, push the red lever all
the way forward. That's your mixture control. So the thing
is the mixture control in a carbureted engine like this,
it controls the mixture of fuel to air that's entering
the cylinder to be like to create the or the

(28:44):
you know, the mini explosion of what we want to
call it in the in the in the piston too.
You know. So when you get up to cruise, you
do what it's called leaning the mixture, and so you
you when your mixture is rich, that means there's lots
of fuel in that mixture. It's a high fuel to
air mixture, right. Sure, when you lean out your mixture,
you lean it out to the basically the peak performance points,

(29:12):
so where the mixture of fuel to air is. It's
less fuel, but it's just the right amount to get
you the optimal amount of power. So they've done that,
they've leaned it out. So his idea of getting more
power is pushing the mixture full rich. So he's correct
that that's going to use more fuel, but that's actually
going to give them a very slight performance drop because

(29:34):
you've leaned it out to get better performance. So by
pushing it back in full rich, you've now slightly decreased
your performance. If they wanted to get better speed, it
would use more fuel, but they push the throttle in
that gives you more power. It's your throttle that controls
your power, right, So you push your power up a

(29:54):
little bit, lean your throatle a little bit more and
there you go, or lean your mixture a little bit more. Sorry,
So something as simple as that, like, it's just it's
just wrong and there's no reason for it to be wrong.
It would be just as interesting if it was accurate.

(30:15):
Why not, you know, because I mean there's a good
percentage of the world that's pilots that's gonna watch this
and go that's fucking stupid.

Speaker 3 (30:21):
So it's also a very large percentage who aren't.

Speaker 2 (30:24):
Though, right. But it's just again, it comes down to
karen attention. Anytime I watch a movie, even if it's
a medical thing, I might not be able to point
out all the things that are wrong, but I know
there is, and I want to see it represented accurately.

Speaker 1 (30:37):
Yeah, And I think that's something we talked about before.
Is in my heart, I absolutely believe it should be
represented properly and there should be there should be Karen
attention and detail. Because you notice that I didn't notice
that the fuel mixture thing whatever was wrong until you
pointed out or sorry no, I looked over in the

(30:57):
theater and you.

Speaker 3 (30:57):
Were going.

Speaker 2 (30:59):
That was to be through the whole movie, though, and
every two seconds I was like, but for me, it was.

Speaker 1 (31:07):
Like I didn't I didn't notice that stuff, right. But again,
there is certain aspects like that, Karen attention go a
long way for because you feel like you're actually gaining
knowledge when you're when you're watching it, You're not seeing
a surface level amount of of like whatever. I feel
like what I saw was a very surface level whatever

(31:28):
skin the.

Speaker 3 (31:29):
Top of what an a pilot might do.

Speaker 1 (31:31):
Yeah, compared to well, I've sat in the cockpit and
with the plane with you while you did all your things,
and it just just that none of it made any
sense to me.

Speaker 3 (31:40):
Right, like, because it's all it's.

Speaker 1 (31:42):
Also complicated and cool and and awesome, and that's a
more sophisticated real thing, right. I feel like for this
it was more of like, Okay, what's the bare minimum
we can get away with to make.

Speaker 2 (31:55):
People believe it is a good point in that and
I'm I mean, now that I know what I know,
I'm that part of it is lost on me. So
maybe maybe any any if you had gone more realistic
it would be just that much more confusing. I I
you know, and that that is a fair point that
maybe realistic would have been too too much, But.

Speaker 1 (32:18):
Well, no, I think as a whole, movies deserve to
be realistic. You know, We've talked maybe like certain comedy
movies don't need to be as realistic because there's a
suspension of disbelief element, right, And I think that's part
of going to the movies sometimes, as you do have
to suspend disbelief that you're watching this happen, right, And
that's way harder to do when you know everything, when

(32:39):
that belief is so ingrained in yourself, it's hard to
suspend it, right because you're not suspending belief, you're suspending fact.
In a way, that's how I look at it, right,
And so I'm suspending belief. You will have to look
at this screen and argue, no, that's not how it's
done right. And so it's like I wouldn't know anything better. Again,
I knew better in the theater because I look over

(33:00):
and you were like, ah, just just dying.

Speaker 2 (33:05):
And like and like even just like little things again again,
it's all the little things, like you know, the when
they when they're making turns. He would have her flip
the autopilot off, turn the plane, and then turn the
autopilot back on, so.

Speaker 3 (33:20):
She couldn't turn. But you can turn with the autopilot on.

Speaker 2 (33:23):
Can't you that? Yeah, But that's not how the autopilot works.
The autopilot is set. In this case, there's a few
different modes. So there's nav mode, which means it's following
the pre programmed GPS route or or whatever, or via
VR routes it's programmed it's following a pre programmed route.
Or there's heading mode. Those are the two main modes.

(33:43):
Heading mode you dial in a specific compass heading you
want it to follow.

Speaker 3 (33:47):
It.

Speaker 2 (33:47):
Oh's that heading, it flies that heading. So if I
turned the autopilot off, I turned to you know, turn
left forty five degrees, and then I flipped autopilot back on,
assuming I had it in heading mode, it's just gonna
turn back because it's set to that heading.

Speaker 1 (34:01):
So so once you turn, like say you're set to
go north, but then all of a sudden, if you
turn northeast and you're starting to head east, now their
plane's gonna want to correct and go back north instead
of east because you're supposed to be going north exactly.

Speaker 2 (34:15):
Yeah, right, And I don't know of an autopilot system
on any modern aircraft where it's just gonna hold whatever
heading you have it set on or whatever. It's just
gonna hold whatever heading you you turn it on at.
And even at that to me, like you leave the
autopilot on and instead of having her turn the airplane,

(34:37):
you have for just turn a heading gauge. That's all
you have to do is turn a heading. Nope, to
turn the airplane, then it's gonna turn to that heading
like something like that.

Speaker 3 (34:44):
You know, I don't know, well, I think if you're
trying to explain it to the point of someone who's
just flying an aircraft for the first time and they're
panicked and this is what they have to do, and
from an audience perspective of like, oh my gosh, how
is she gonna land this plane, it's kind of like maybe.

Speaker 1 (35:03):
A bit better that she turned it. But it makes sense. Again,
that's like another detail that I wouldn't have known. But
but yeah, like it's something it's something simple like that, right,
for like, did it make more sense in the story
to have her turn herself? Like well, it gave her
something more to do with her hands. It gave like
more directions for the thing, would it be? I bet

(35:26):
it would have been harder to explain. I guess the
concept of a steering wheel is so ingrained in us that.

Speaker 3 (35:34):
We understand that.

Speaker 1 (35:37):
I think it's harder to explain, like say, like imagine
you had to dial in with an alan key your
cruise control.

Speaker 3 (35:43):
You know, you know, you know what I mean. Well,
it's a.

Speaker 1 (35:45):
Lot easier to explain that, Oh, you were using your
hands to you know what I mean. It's something more tangible.

Speaker 2 (35:52):
That actually brings up another good point because this is
something that I would have liked to have seen them
do that that would have, in my opinion, further the
story that she's never plown an airplane before. So when
we went up and I let you fly, Yes, what
is the one of the first things that I had
to explain to you. And this is the same thing

(36:13):
anybody I take up who's never fun before. You're used
to driving a vehicle, right, So when you're making a
turn in your vehicle, you turn the steering wheel, you
hold the steering wheel in that and then you turn
out right. But in a plane, the way the ailerons work,
which is what controls your Your your role is you
you they they're deflecting the wind. So when I'm turning

(36:37):
to I'm banking to the right. My right aileron is
deflecting the wind upward, which forces the wing down, and
the left wing is directing the wind down, which forces
the wing up right. That's what creates that bank. And
so if I just hold the they turn right. And

(36:57):
if I just hold it right there, I'm just going
to keep rolling because they're not in a neutral position
with the airflow, so they're gonna keep that bank going right.
So when I when I'm you know, it took you
up and I'm like, okay, we're going I think I
explained that first. And then you know when you turn,
so what is it? You set the bank angle and
then you neutralize your controls. That's like the biggest difference.
And they didn't do that. She just holds it and

(37:19):
they keep turning. But they're turning at a constant rate,
which means her control should have been neutral and that
could have been a good opportunity.

Speaker 3 (37:25):
Where she starts turn barrels right right, You're.

Speaker 2 (37:28):
Just gonna keep rolling, and that could have been an
opportunity where she holds it like a steering wheel. A listen,
they keep turning. She's like, oh shit, and then she overcorrects,
like you know, that's that's a perfect opportunity where making
it more realistic would improve the the viewing experience for
somebody who's who's not a pilot, right, showing little details
like that, and instead.

Speaker 3 (37:45):
It's cooler to watch them fly through a mountain covered
in snow and crashed thro the other side.

Speaker 2 (37:49):
I was hoping you wouldn't mention that. Like anybody who's
ever been around an aircraft, especially an aircraft of that size,
knows like if I pushed too hard on the plane's skin,
I can dent it. Yeah, and instead you flew through
an ice.

Speaker 1 (38:06):
Cap and another Morton's kind yeah right, dude, Like it's
it's okay, suspension of disbelief. I thought it was a
really cool shot, but like when you look at it,
it's like, also, yeah, I didn't have it, you know
what I mean.

Speaker 3 (38:22):
And it's like a grandpa's fishing story.

Speaker 2 (38:25):
It's like right before that, when they're going straight towards
the ground and then they pull up, the plane would
have broken apart, so there's this thing called VA which
is your your maneuvering speed, and basically every aircraft has one.
And what it is is it's the the maximum speed
at which you can make full control and full deflection
of the controls. If I'm over that speed and I
make a full control inpit, I'm going to overstress the aircraft,

(38:47):
like too many g's right, and it could break apart.

Speaker 3 (38:51):
Well, it's like when you're inertia, right, like but on
the outside of the plane.

Speaker 2 (38:55):
Does that make sense? Is that is that right? It's
centrifugal force whatever.

Speaker 3 (39:01):
But you know when you stopped too hard and like
your ribs can go through your lungs or whatever, your
lungs can go.

Speaker 2 (39:06):
Through your ribs.

Speaker 3 (39:07):
I have not heard of that, but I saw an
SGI video that really.

Speaker 1 (39:10):
Scared me and drivers that where like someone stopped too
hard and all of a sudden they started suffocating from
the inside because.

Speaker 3 (39:15):
They like a rib went through one of their lungs.
But I was like, okay, I was like, is that
kind of like the same thing, but like to the plane. Well,
so you know.

Speaker 2 (39:25):
How g's are forces of gravity, right, So I thought
I thought G was like Snoop Dogg Snoop Dogg anyway,
but like when you when you when you know they're
going towards the ground and like, oh my god, we're
getting faster and faster and faster. They're definitely over VA

(39:48):
for that, I don't know exactly what that was. Is
probably a caravan or a Kodiak or something. I'm not
exactly sure. I tried to find out.

Speaker 1 (39:53):
Well, your engines are pushing you down, so you're going
faster down, but you also have the force of gravity
and then you meet tell me you have one.

Speaker 3 (40:01):
Hundred feet to somehow.

Speaker 2 (40:04):
And when they pull power up and when they do that.
For number one, like like what the aircraft would have
broken apart? I'm sorry, there's there's no way that it
wouldn't maybe not broken apart, but you would have had
structural or structural issues with the plane after that. That
would have then when you crashed through a mountain, definitely
would have broken apart.

Speaker 3 (40:25):
It's just.

Speaker 2 (40:26):
And I get it, it's dramatic whatever, but like.

Speaker 1 (40:32):
Not only that, as the plane is going fully down,
there's this really weird shot where she looks over at Winston.
Winston's panicking like falling around, and she's like just standing
up and the plane is going like this.

Speaker 2 (40:44):
And because she's not in her seatbelt, she's not wearing
a seatbelts either.

Speaker 1 (40:49):
She's standing up, she would be she would be flying
falling with the plane. You've ever stood on like the roof.

Speaker 3 (40:59):
Of a moving vehicle and jumped?

Speaker 1 (41:01):
I have ye, Like like, man, whatever, it's whatever, But like, yeah,
I don't know again, suspension of disbelief whatever?

Speaker 3 (41:13):
Cool shot?

Speaker 1 (41:13):
Maybe is it something that I think the Millennium Falcon
could do? Yeah, sure, like when I believe the William
Falcon has enough g's in it to like hyperspace jump whatever.

Speaker 3 (41:23):
Cool, Like I believe it. Suspension disbelief. Does this little
Cessna or whatever it is, I have the capabilities? No?
Probably not.

Speaker 2 (41:30):
I read one article that said it was it was
a small Cessna, which I maybe that's why I'm saying
it's either a.

Speaker 3 (41:39):
Small Sessna that's the biggest Sessa I've ever seen.

Speaker 2 (41:42):
Well, it's either a caravan, a Sessna caravan, or I'm
I was wondering if it was maybe a Kodiak because
a Kodiak would be more likely found in Alaska. But yeah, no,
like that that well Cessna makes like their citations and
some of their other business jet ones which are bigger.
But yeah, as far as like prop cessenas go, besides

(42:03):
your multi engine lineup, that's one of your bigger ones.

Speaker 3 (42:05):
It was a pretty fair it was a fairly big plane.

Speaker 2 (42:07):
That's what makes me.

Speaker 3 (42:08):
For a prison transfer.

Speaker 2 (42:10):
Well, like it's it's it's it's not even that it's
a prison, it's it's a it's a charter right, so
whatever the charter plane has. That's why I wondered maybe
it was a Kodiak.

Speaker 1 (42:20):
But but it's again, it seems to me it seemed
too big almost for someone going to Alaska, like flying
a plane in Alaska, because I feel like it's like
bring bare minimum right everything, you know.

Speaker 2 (42:33):
Like I said, if it was a charter company, that
would be realistic.

Speaker 3 (42:35):
So yeah, again I would say, I don't nothing. I'm
just me. I was like, it looked big.

Speaker 2 (42:39):
Yeah, I mean like, yeah, it seems realistic to me,
that part of it. But I wish they would have
given us a little more information on what it was.
But yeah, whatever, you know, I don't know even you know,
little things again like a fuel tank when there's when
she's shooting out. This is another problem, like even the
plane stuff aside the story part, which is like I'm

(43:00):
not gonna shoot him, you know, or if you shoot me,
you know, you'll hit the fuel tanks, which is wrong.
If fuel thinks are in the wings putting it, there's
no fuel lines where it's like Swendy, you guys, the
engine is at the front of this plane. Fuel tanks
are in the wings. He where he's sitting is behind
the wings. It's like, if you shoot me, it's gonna
go into the fuel tank or into a fuel line,
the fuel line.

Speaker 3 (43:18):
First of all, the field us marshal is gonna go
through your head and out the wing. Right.

Speaker 2 (43:21):
First of all, fuel tanks are in the wings, so
she's not gonna hit fuel tanks. Two, she's not gonna
hit a fuel line because the fuel lines are running
from the wings forward to the engine and you're sitting
behind the wings. There's no fuel lines where you are.

Speaker 1 (43:34):
That's assuming her pistol was high enough caliber to go
through his body and pierce the side of the plane. Yeah,
it's like he's like assuming there's gonna be a clean
shot right through, Like okay, buddy.

Speaker 2 (43:46):
Yeah, it's probably like a nine miller of forty five,
like there's no way.

Speaker 3 (43:49):
It's Yeah, I don't know. It wasn't just shitting.

Speaker 2 (43:53):
Like bird shot for Yeah, it wasn't like a fifty
cal Desert eagle or something.

Speaker 3 (43:58):
Yeah. Yeah, she just pulled out like the biggest.

Speaker 2 (44:01):
Fifty gold plated desert eagles.

Speaker 3 (44:04):
Yeah, dude, she just pulls out a fifty caliber sniper
rifle and starts setting it up on the back of
the scene just like actually just like blasting a hole
through his stomach.

Speaker 2 (44:15):
Man.

Speaker 1 (44:15):
Oh whatever, Okay, but I guess we'll keep going with
the plot and that we've gotten some of our aggrievances.
By the way, we find out that Mark Wahlberg's character,
the pilot, has kidnapped and killed another pilot who was
supposed to be the one flying him, and now he's
working with the bad guys to take them down and
very scary. So now there's an evil guy flying the plane.

Speaker 2 (44:37):
I will say that her like when you know, when
they show like the wound on his neck and like
he's really suspiced or she's really suspicious and everything that
seems really weak to me. It's a minor wound people
get like injuries, and like, to me, that's not something
to be suspicious of and when she and asking, oh,
what happened to your neck there? Right, like that's reasonable,

(45:00):
And when he's like occupational hazard, I'm like, okay, maybe
like when you're when you're in those kind of operations,
you know you're not It's not like an airline where
you walk in and the plane is ready to go
and you're just quiet, right, like you know, when you're
up north, do you do a little more of the
work yourself. But still, like that one that seemed a
little weak to me, like just like make make something

(45:25):
like the blood the blood stain was good, but like
the wound on the neck.

Speaker 1 (45:30):
I think I think she's hyper analyzing in a way
and being overreactive in my opinion, because she failed her
first stop and now this is her next up, coming
back from the desk, so I think she's probably like anxious.
But yeah, I mean like, yeah, you get it. Yeah,
So some of it's like eh, Anyways, Mark Wahlberg attacks

(45:50):
them because they're kind of starting to realize that he's
not a good guy. So they tie Mike tie Mark
Wahlberg down after defeating him for the first time, instead
of like killing him, like seriously incapacitating him put zip
ties around his arms.

Speaker 3 (46:05):
She zip ties her as well.

Speaker 2 (46:07):
Do we have zipize around the studio? Do we?

Speaker 1 (46:09):
I would love to show you how easy it is
to break out of a zip tie. Yeah, so Mark
Wahlberg is tied up a zip ties and stuff, which
are pretty easy in my opinion to break through, as
I kind of I've demonstrated.

Speaker 3 (46:26):
So yeah, whatever, it's whatever. I mean, it's not like
make or break whatever.

Speaker 1 (46:33):
It's just it's just like, even me as a viewer,
it's like, I'm just trying to think what happens next.

Speaker 2 (46:38):
Honestly, I'm like, then they get Hassan on the radio.

Speaker 1 (46:43):
Well, yeah, so she has to contact like air control
figure out that hey, she's on a pilot, she's gonna
go down. She gets on the plane with some guy
who thinks it's a prank.

Speaker 2 (46:53):
Call, not gonna happen.

Speaker 1 (46:57):
Like again, if I was find a plane and I
heard someone calling for help, immediately I would be like
how could I help you and not be apprehensive, And
I feel like I don't need to ask you if
that's true or not, because that's just like a basic
human thing. It's like if you dial nine one one
in order of pizza. Anyone knows, you know, you're not
brain dead, right like like, oh, yeah, the pizza's five

(47:19):
two and has a gun, you know what I mean? Right, Like,
it doesn't take a lot to kind of understand. But
she's like, oh, it's a prank call, and then immediately
is like, wait, it's not a prank. It was so
unnecessary that he didn't he didn't think it was like whatever.

Speaker 2 (47:36):
And I mean I guess I guess like they think,
like because on those on those frequencies it's it's called
like an on route or something like that, where there's
no air traffic control. If you're just in class golf
uncontrolled airspace, you're just flying along, making position reports to
that other and you're figuring out between yourselves as pilots,
and and there's not that kind of joking generally. I mean,

(47:58):
you might, you know, you might have a little, you know,
a little short, very very brief conversation here there, but
in the interest of safety, you're leaving that frequency open
as much as possible, right yeah, Like that just wouldn't happen,
and in my experience anyway.

Speaker 3 (48:14):
Yeah no, and it's just whatever.

Speaker 1 (48:16):
So this guy's like, hey, can't really help you, and
and I'll tell someone and then like gets out of
signal range, right. But then eventually she realizes Madeline, that
she has a phone, a satellite phone, which she explains
can use non cell phone towers and satellites instead, And
so all of a sudden boom, we have a song

(48:38):
on the line and he is gonna help us save
the day. We also realize there's probably a mole in
the FBI somewhere.

Speaker 2 (48:45):
That's a whole subplot that was completely unnecessary.

Speaker 1 (48:47):
It was kind of ridiculous they this movie would have
been so good if they just focus on the fact
that there's a murder on the plane with us and
and this shit's gonna go down, and not like there
might actually also be a mole in the FBI that
I have to figure out while I'm on this plane
and trying not to crash. So now we're gonna give
you two half baked plots of a lady who's either

(49:10):
going to crash a plane or figure out who the
mole is, or both, or you know whatever. And so
now we have two sublnes that we don't care about
because I'm not all that interest in figuring out who
the mole is because I've only heard this lady's voice
on the phone once. And also, guess what the murder

(49:30):
on the plane now.

Speaker 3 (49:31):
Is is just asleep?

Speaker 2 (49:34):
Yeah, so it's like, you.

Speaker 3 (49:36):
Know, I just I don't inherently care that much, and
she's I guess she's too, she's too focused on figuring
out who the mole is and just talking to this
guy who she's having like relations with on the phone.

Speaker 2 (49:50):
That was also completely unncessary. I thought it was funny.
I thought he was It was funny. It was certainly funny,
and he was clever, and I laughed the most when
he was talking. However, again, not gonna happen when you're
when you're trying to help a non pilot land a plane.
Not that I've done it, but I've listened to a
lot of tapes of it happening.

Speaker 3 (50:07):
See, I've seen a bunch of Instagram.

Speaker 2 (50:08):
Man, they try and make people feel comfortable with a
little bit of that superfluous talk and like and yeah, you're.

Speaker 3 (50:13):
Doing great, sweetie, keep going and yeah, don't.

Speaker 2 (50:16):
Like, you know, give them your name, and you know,
just little little things like there's one, like a really
good one where like this girl she's like a student pilot.
She loses her nose gear and the guy's like, you know,
what's your name? You know, I'm so and so And
he's like, my my daughter's name is also whatever, and
I taught her how to fly. You're gonna be great.
You know, we're gonna be just fine. Right, So you

(50:36):
want to have some of that natural, comforting kind of
easy communication in there too, but not to the level
that he is doing it.

Speaker 1 (50:45):
Like, it's just it's not it's not comfortable. It's like, yeah,
we're gonna go on a date and you're gonna love
me and we're gonna make love.

Speaker 3 (50:54):
When when we're done and this.

Speaker 2 (50:55):
Is over, yeah, watch, he's gonna be like.

Speaker 1 (50:57):
Because I'm a hot Indian guy and you sound great
woman on the phone.

Speaker 2 (51:02):
Right when you're gonna you're gonna meet there and he's
gonna be like a fucking slob and it's.

Speaker 3 (51:07):
Like, okay, listen, you practically can't fish your girlfriend, so
we're not gonna talk him. No, it's just like it's just.

Speaker 1 (51:19):
It's just like dude, like instead of like saving this
poor woman, he's like, yeah, your voice it sounds so sexy.
I'm gonna call I'm gonna call you back in ten
minutes when it's time to land, Like.

Speaker 2 (51:32):
What's my problem? Try and conserve your sat phone battery.

Speaker 3 (51:37):
She isn't.

Speaker 2 (51:37):
She never said her her satphone battery was a problem.
Those kinds of devices are designed to have really long
battery lives.

Speaker 1 (51:46):
So when you whenever you had taken a phone call,
let's it's an let's say it's an hour, an an
hour phone call. If you're if your batteries on fifty percent,
by the time the phone call's done, your battery is
still at thirty percent.

Speaker 2 (51:57):
You know what I mean?

Speaker 3 (51:58):
Right, Like, it's like you that's.

Speaker 2 (52:00):
That's on an iPhone. For us, it would go from
fifty to forty eight percent.

Speaker 1 (52:05):
No this, I bet that their satellite phone is better
than the iPhone phone because it's not designed to kill.

Speaker 2 (52:10):
I'm saying your iPhone is terrible compared to mine. You're saying, oh,
an hour long call would release by twenty percent. I'm
saying mine to'd be two percent.

Speaker 1 (52:17):
Because I'm on the end, I'm trying to say that
the satellite phone is probably better than an iPhone in general.
It would be probably not designed to murder itself the
second it gets in exactly any element.

Speaker 2 (52:26):
Like I mean you look at any of those kinds
of equipment.

Speaker 1 (52:28):
Because you don't have an iPhone. Yeah, oh that's why. Okay, yeah,
but yeah anyways, but.

Speaker 2 (52:33):
Especially those like salite and off grade communication devices, they're
designed for to be a long time on battery. So
and why would also like him calling her back or
her calling him back either one what if all of
a sudden she has a problem, her engine quits, she
needs to be able to talk to him right away,

(52:54):
not get the phone islet right.

Speaker 1 (52:56):
And if you're trying to keep someone calm and in
control of the situation, being like okay, I'll call you back.

Speaker 3 (53:03):
Like it just doesn't make sense. You would never do that.
The only time.

Speaker 1 (53:07):
You'd lose contact is if you were transferring someone to
another pilot, or someone who's gonna give you other advice,
or someone in ATC who is going to take control
of a.

Speaker 3 (53:16):
Situation, or a hostage negotiator.

Speaker 2 (53:18):
If she said someone or if she said, my sat
phone is at five percent right, then that makes sense.
But and also you didn't give her any good instructions
on how to land it. That was the other thing
is I'm watching her come into land.

Speaker 3 (53:31):
Like go slow, and stay calm.

Speaker 2 (53:34):
Well, I just also like when she puts all the
flaps on it once.

Speaker 3 (53:40):
Like what the fuck? Like, it's just it's just it
wasn't a smooth landing either, So no, it wasn't. It
wasn't a textbook landing, but even just the.

Speaker 2 (53:48):
Approach and knowing when to flare and everything.

Speaker 1 (53:51):
Like just he also shot a flare in the plane,
which is pretty crazy.

Speaker 2 (53:56):
Yeah, that was way more in danger of ignite something.

Speaker 3 (54:01):
Shot allowed to smoke in airplanes, but she launched a fulair.

Speaker 2 (54:06):
Instead of just shooting him with a bullet, she shot
him with a flare.

Speaker 3 (54:10):
A fire device.

Speaker 1 (54:16):
Oh my god, I'm not gonna shoot this armed bad
guy who came was trying to kill me multiple times.

Speaker 2 (54:21):
I'm gonna throw a firework in his face.

Speaker 3 (54:23):
Yeah, while we're in a flying bomb going mock four.

Speaker 2 (54:27):
Look, that's not how mocks work.

Speaker 1 (54:29):
Whatever, mock whatever, I'm mocking this movie.

Speaker 2 (54:35):
No for reference, like your your seven three, seven thirty seven's,
and your your commercial airliners, they're going to around mock
point eight or under generally.

Speaker 1 (54:45):
Yeah, when when when uh, Tom Cruise went mocked ten
the new Fast and Furious.

Speaker 3 (54:50):
Not the new the new So he did go to
space in the That was cool? I get it, Like
mock whatever did you say that was cool?

Speaker 2 (54:59):
It was like which going to space in the news?

Speaker 1 (55:04):
No toss gun when like mock ten or eleven or
whatever he went and Tom cruise, Yeah, it was awesome.

Speaker 3 (55:13):
I don't know, man, like whatever, I get it.

Speaker 1 (55:16):
They're not going super fast whatever, but you get my point.

Speaker 3 (55:21):
That's flammable.

Speaker 2 (55:22):
They uh, they slid for way too long on that runway.
They're kind of crashing down.

Speaker 3 (55:30):
Bounce, yeah, bouncing, bouncing, and then.

Speaker 2 (55:32):
Yeah, that's called porpoising, which is it happens, right, It's
not good, but it happens. But like then when they
like the gear bakes and they're just sliding on the runway.
It was way too long. Wait wait wait wait, way
too long.

Speaker 1 (55:46):
But it gave us enough time to have a shot
of Mark Wahlberg getting run over by a truck.

Speaker 2 (55:50):
Now I get on.

Speaker 1 (55:54):
I'm probably wrong, but the first responders, yeah, they're on
the scene for the runway.

Speaker 3 (56:00):
Sure they're ready. They're not.

Speaker 1 (56:02):
They're not tailgating the plane as it crashed, are they actually?

Speaker 2 (56:05):
Oh no, that's completely accurate. They're waiting right at the
end from me and as soon as it comes on,
they're like right there, they're following as closely as possible.

Speaker 1 (56:12):
But at the distance they're following, they're having metal fly
through the windshields and shit of the ambulances.

Speaker 3 (56:17):
I'm gonna should they actually follow that close?

Speaker 2 (56:20):
That's insane of our rescue, that's what they're.

Speaker 1 (56:23):
Called arth no I I listen, I get wanting to
be there as close as possible.

Speaker 3 (56:27):
Now, the fire trucks should go first.

Speaker 2 (56:29):
Well, that's the thing is your ambulances aren't doing that
and should be if anyone don't know why there's playing
fire truck.

Speaker 1 (56:35):
Should go first, put out the fire, and everyone else
should be at a safe distance to where there's not
pieces of metal flying into the ambulances and like causing
them to crash.

Speaker 2 (56:44):
That.

Speaker 1 (56:44):
I get it, it's an action sequence. But but why
why would you be doing that?

Speaker 3 (56:49):
You know what I mean?

Speaker 2 (56:50):
I know what you mean.

Speaker 1 (56:51):
Here they're like tailgating it and to the point where
like the amounts of money and they're putting more people
in danger by mean that, you know what I mean.

Speaker 3 (57:01):
It's like and again they run Mark Mark Wahlberg over.

Speaker 2 (57:06):
Yeah, they were.

Speaker 1 (57:10):
They were going close enough and fast enough that they
took Mark Wahlberg. Here's the thing. Okay, here's the thing.
This is Can I say why I said this? Sure,
I had a bigger point because.

Speaker 3 (57:21):
I don't know how close the actually follow.

Speaker 2 (57:22):
And this is just cool. I want to try and
find it.

Speaker 1 (57:25):
I don't know how closely actually followed. But this is
this is what my actual point was about this whole thing.
The fire truck is going fast enough, but not fast enough.
At the same time, it's not fast enough that Mark
Wahlberg gets a chance to stand up and look into
the headlights. But so it's not going fast enough to
instantly take him out, but it's going fast enough that

(57:48):
it goes right through him, absolutely decimates him, but still
is able to slow down in time for the plane.

Speaker 3 (57:56):
You know what I mean. Yeah, It's just it's completely
the speed of it.

Speaker 1 (57:59):
This is completely an accurate because if the fire truck
was going that fast, there's no way the plane was.

Speaker 3 (58:04):
The plane must have been going as fast or faster.

Speaker 1 (58:07):
But we know it wasn't because it eventually came to
a stop right like just just north of there, right,
So it's like nope, it's like, yeah, I don't know.

Speaker 2 (58:17):
Man, trying to find a good video of it. But yeah,
they they do like quite literally tailgate them down the runway.

Speaker 3 (58:28):
Mm hmm. Again, doesn't seem smart to to to you. Sorry,
it makes.

Speaker 1 (58:37):
Sense to have fire trucks there and stuff like that
to make sure everything's fine at the start, to make
sure like as soon as it's going down, it's going down.
Right now, we already established that there's no fuel in
the engines, so there's like the chance the fires are lower.
But like, yeah, the fact that there's like pieces of
debris flying through the windshields of ambulances and stuff like
that and they're not doing that, it's like, it's like, well, okay,

(58:58):
then why are we going that clar If it's that
much of.

Speaker 2 (59:00):
A perambulances are not right there, that's the thing. It's
only your your fire truck, right and that's that's all
it should be. That's all it should be.

Speaker 3 (59:07):
So I was like, and the police cars, I don't know, I.

Speaker 2 (59:09):
Don't know, I don't know fucking clue why the police
cars were there. What the fuck are the police going
to do?

Speaker 3 (59:12):
It's it's probably just because they have a fugitive in
the plane.

Speaker 2 (59:15):
I suppose me too.

Speaker 3 (59:16):
Fugitives technically, but yeah.

Speaker 2 (59:19):
But even still it's not a I don't know.

Speaker 1 (59:22):
Yeah, okay, they want a cool action sequence, but it's like, really, guys,
we're gonna be showing like ambulances crashing and stuff because
there's pieces of debris.

Speaker 3 (59:30):
Flying, like why are you going that close?

Speaker 1 (59:32):
Like we didn't wasn't and the ambulent The fire trucks
are going fast enough that it kills Mark Wahlberg, but
they're not going fast enough to stop, like they're not
going too fast, you know.

Speaker 2 (59:41):
What I mean. The plane would be slowly coming to stuff.
It's like it's a brick wall and done.

Speaker 1 (59:45):
No, but but again the fire truck too would also
have to break and do whatever.

Speaker 2 (59:49):
Right, but I'm the fire truck.

Speaker 1 (59:50):
But like, the fire truck hits Mark Wahlberg at a
speed that I would estimate it's about ninety kilometers an hour.
If the plane is going ninety or more, it also
needs to stop. It is, but for reference, like but
you know what I mean, it stops. It stops way
before what ninety would be right if in terms of speed,
like it stops pretty quickly after that, and Mark Wahlberg

(01:00:12):
gets killed.

Speaker 2 (01:00:13):
Yeah, I don't know, I mean it could be just
the editing. But like for reference a plane, like like
an approach speed for a plane that size is probably
going to be around ninety to one hundred knots, which
is effectively like one hundred miles an hour. So that's
you're looking at like one hundred and fifty hundred and
sixty kilometers an hour. So that's pretty fast. You know.

Speaker 1 (01:00:39):
Yeah, I'm saying the plane is going fast and it
eventually stops, but you know, it wasn't going one hundred
and sixty kilometers fast when it stopped all of a
sudden right and but the the our truck was and
it's clean cut right through and viscerated him. But like,
I don't know anything about flying, but whatever that happens,

(01:01:01):
I guess she lands the plane. She meets Sissan or whoever,
but they don't like actually get a chance.

Speaker 2 (01:01:08):
I wanted to cut. I wanted an end credit scene
of them on a date. It would have been perfect
end credit scene. And then and then.

Speaker 1 (01:01:16):
An assassin tries to murder Winston, like a bad guy
from the FBI or someone, and and that doesn't happen
because Madeline decides to open fire in an ambulance and
put a bullet to this guy's head, and see, why
couldn't you just done that?

Speaker 2 (01:01:32):
On Mark Wahlberg wecased her immaculate aim after eight years
of office work.

Speaker 3 (01:01:37):
And I'm pretty sure here's the thing.

Speaker 1 (01:01:39):
I'm pretty confident she lost her gun at some point
during that rite or ran up, like I feel like like.

Speaker 3 (01:01:44):
It slipped or fell or something.

Speaker 1 (01:01:46):
So we're led to believe that she also got it
back and had it in her pocket and that was
the first thing she grabbed after the crash. Was Oh hey, Also,
Winston gets stabbed and.

Speaker 2 (01:01:57):
He's bleeding exists.

Speaker 1 (01:02:00):
She gives him a shot of morphine or maybe it
was like a predose whatever. She gives him morphine and
so he just doesn't bleed out anymore.

Speaker 5 (01:02:08):
I don't know, well, like and like she's like, keep
pressure on it, okay, yeah, some morphine and sits there.

Speaker 3 (01:02:14):
She's like, keep.

Speaker 1 (01:02:14):
Pressure okay, Okay, I'm gonna keep pressure on it. Okay,
give us him a bunch of morphine and then just
no one puts pressure on it anyway.

Speaker 2 (01:02:20):
He doesn't put pressure on And like she's not even
find the plane. She's just sitting there contemplating life.

Speaker 3 (01:02:23):
Even worse, wouldn't that thin your blood technically, I think
to a point where you'd be bleeding more.

Speaker 2 (01:02:28):
Yeah, Like morphine is is a pain killer, making making
making Yeah, making like pain is the least of your
problems right now, right like yeah. Also, even if you
don't keep pressure on it, like you know, use something
around to tie it, to keep pressure on it.

Speaker 3 (01:02:44):
He doesn't tell the first responders that she gave him morphine.

Speaker 2 (01:02:46):
Oh that that was me too. I'm like, are you
gonna tell.

Speaker 3 (01:02:49):
That that might be maybe helpful information, right, you know
what I mean? Oh, I gave him three times the
league limit of morphine and he's on cloud nine.

Speaker 1 (01:02:58):
By the way, he's not just he didn't just have
a good crash landing, just so you know.

Speaker 3 (01:03:03):
Yeah, oh fuck, Like, oh.

Speaker 1 (01:03:05):
Man, whatever whatever suspension disbelief she told him when the
camera cut away to a different person, But.

Speaker 3 (01:03:10):
Like, oh yeah, that.

Speaker 2 (01:03:14):
Describes his whole movie.

Speaker 1 (01:03:15):
Yeah, just like I can't do when we find out
Mel Gibson directed it and we're like, wow, yeah, he
said that was.

Speaker 2 (01:03:21):
The biggest plot twisted the whole movie.

Speaker 3 (01:03:23):
Let me throw in some facts and then I think
we can get out of here pretty quick.

Speaker 2 (01:03:26):
Fact one, it was shit. Fact two, it was dog shit.
Fact three, it was horseshit. In fact four it was bullshit. Wow.

Speaker 1 (01:03:35):
Uh okay, Well, Mark Wahlberg actually shaved his head.

Speaker 2 (01:03:39):
I actually thought there was a skull cap. I thought
I could see a line for it.

Speaker 3 (01:03:43):
I was looking, but I didn't see it. He actually
did shave his head apparently. Uh.

Speaker 1 (01:03:47):
There was twenty two days of production, which makes sense,
not a not a very long time, seems right for
the budget, right, Like, like I said, you could do
the hotel stuff in one day, or the motel whatever.
You can do, Uh, all the runaway stuff in a day,
maybe two days if you want to get all the
lighting really crazy. You know, all the adr stuff, it's

(01:04:07):
all over the phone right and all the plane stuff
right inside probably green screen plane that has movements and
stuff like that. So all the actors are in a
green screen but in a plane, like in a plane
that's in the green screen room, that's on hydraulics, that's
moving and doing.

Speaker 2 (01:04:24):
I doubt they were using a real plane.

Speaker 1 (01:04:26):
Well like we're sorry, prop plane whatever, but it's like
on a hydraulic system, so it's like moving and stuff
like that.

Speaker 3 (01:04:32):
That's why I assume they were doing it.

Speaker 2 (01:04:34):
But they would have had to have removed the walls
for some of those shots. A lot of the shots actually.

Speaker 1 (01:04:39):
So yeah, and so the plane crashes, we do all
that stuff.

Speaker 3 (01:04:45):
Is Mel Gibson's shortest film.

Speaker 2 (01:04:47):
Yeah, I was. I was glad it was as short
as it was. I was about this close is close
to walking into the theater. It's too expensive, to be honest.
All that was. That was the only reason I stayed
is because I spent thirty bucks on this. Goddamn I'm
gonna get my thirty bucks worth, even if it's a.

Speaker 1 (01:05:03):
I watched someone walk up the temperature, so you know,
I watched someone walk out of the theater like, and
I was like, oh, maybe they're just going to the bathroom. No,
they had their bag in their hand. They left for sure.
They left because they didn't come back either.

Speaker 2 (01:05:15):
I fucking yeah.

Speaker 1 (01:05:17):
Uh it's two hours and one minute is as long
as a film that's Ransom ninety six.

Speaker 3 (01:05:23):
This one was an hour and thirty one minutes. Yeah, so,
you know, half an hour shorter. Whatever. I'm a there's
not a ton of information.

Speaker 1 (01:05:30):
In this film or trivia whatever, so I figured I
just throw in some interesting facts kill him. Why not
just kill him.

Speaker 3 (01:05:38):
I wrote that there. Just just kill him. Why not?

Speaker 1 (01:05:41):
Just you've already stabbed he's a danger to you and
the safety of a government witness. Just oh, I'm not
I'm not like him, so I'm not gonna kill him.
Even my brother and Chris. He stabbed you, he stabbed him.
He said he was gonna he molest you. Like, just
just kill him, just kill him, Just do it. He's
established that he is a big risk that.

Speaker 2 (01:06:03):
Needs to I don't know. The door just popped open
and he wasn't secure, and it's just I don't know
what happened, Like I I'm not a pilot. I'm sorry,
I don't know what happened.

Speaker 3 (01:06:13):
I don't know. Yeahs terrible. The tongue Mark Wahlberg's tongue,
Why which one?

Speaker 2 (01:06:21):
He just keeps going, oh yeah, yeah, licking his teeth
and lit because he's trying to play like this, like
like hic Backcountry Pilot. I know.

Speaker 1 (01:06:31):
Yeah, it's not terrible, but not good. It's not bad
enough to be good, but it's not good enough.

Speaker 2 (01:06:37):
To not be bad. Yeah, yeah, oh no, it's just bad. Yeah,
it's just awful. It is completely awful.

Speaker 3 (01:06:43):
The maiden FBI plot I'm gonna be honest.

Speaker 1 (01:06:46):
It's just like I said, it doesn't work for me, Like,
it's just I would rather have focused on a more
horror element of like, oh my god, I don't know
how to fly a plane.

Speaker 3 (01:06:55):
I'm freaking out.

Speaker 1 (01:06:56):
I just had to kill a dude or whatever, and
my passengers bleeding out, and now I have to figure
out how to stitch his wounds or something and land
this plane. Crazy drama. This is gonna be insane. But no,
it's like, now we're gonna be like he said, she
said on the phone, and now we're gonna completely forget
about flying this plane, and we're gonna leave the guy,
the murderer who's alive back there so we know that

(01:07:17):
we can do a cut in shot after end of
every scene to see how close he's getting too escaping
for the third time. And it's like, I just I
just don't care about any of it.

Speaker 2 (01:07:24):
Best shot in the whole movie the thumb. The thumb,
Oh yeah too, you know, but when he breaks his
thumb and he's pulling it out that and like the
skin is like moving down.

Speaker 3 (01:07:35):
There is some nice shots like it doesn't look bad.

Speaker 2 (01:07:38):
Well, like I said to you, guys, it is hard
to make a movie that looks bad, like like the
the actual look of the movie, the visuals, the stuff,
and that in this day and age, it is with
any budget of any amount, it is hard to make
a movie that looks bad.

Speaker 3 (01:07:54):
He just sure, you know, I don't know. It was
pretty cookie cutter, right.

Speaker 1 (01:07:58):
I don't think there was any like crazy shots and
cinematography that was like, oh my god, it deserves an Oscar.

Speaker 3 (01:08:04):
It's just it was just it's January.

Speaker 1 (01:08:07):
Is dump month for reason. Can I say it's the
worst movie I've watched in the last year, Yeah, yeah,
for sure. And I just it wasn't that entertaining, man,
And I get it. It doesn't want to take itself
too seriously sometimes, but.

Speaker 2 (01:08:19):
I thought they took themselves too seriously for how bad
it was.

Speaker 1 (01:08:22):
Yeah, it's and it's not funny enough if it's not
like there is some funny moments, but like a lot
of the humor is kind of just like oh really,
like you were thinking that's funny, Like a lot of
it was just Yeah, I don't know, man, I.

Speaker 2 (01:08:34):
Just okay, let's rate it. I'm done. I can't talk
about it anymore.

Speaker 1 (01:08:38):
What do you rate it two two out of ten. Yeah, okay,
well i'll be a little more generous'm probably it's goot
five out of ten for me. Yeah, I would say
maybe four and a half. No, I'd say it's a five.
It's it's not boring, it's just it's just bad.

Speaker 2 (01:08:57):
Mystery Man was only point five better than this, four
point five, four point five. Giving this five.

Speaker 3 (01:09:06):
What i'd like a Mystery Man like a six whatever
it was, it was like four point I'll give this
a four point five.

Speaker 1 (01:09:14):
Okay, Yeah, it's just not that great and it's just yeah,
don't just don't pay to go to see this, especially
don't don't pay.

Speaker 3 (01:09:24):
See it at home if you want to have an okay, nights,
I guess like if.

Speaker 2 (01:09:32):
You want to scream at your TV. Sorry, if you're
if you're a non pilot, yeah you'll have Again, it's
not if you're a pilot, not like just I'm gonna
save you. I'm gonna save you the trouble. There's no,
it's not.

Speaker 3 (01:09:44):
The worst movie ever.

Speaker 1 (01:09:44):
It's just so it's just so interestingly bad. Like it's
like even the parts I'm giving a benefit of doubt
because like, again I'm not as interested in the whole
technical pilot elements, because I feel like that's really close
to home for you, but it's like for me, it's like, God,
I just it's so predictable, and I think, whatever, we're

(01:10:05):
out of time to talk about this, but I think
that's something we should talk about in the future, is
how predictable it feels like movies are nowadays.

Speaker 3 (01:10:12):
Because this is just so.

Speaker 2 (01:10:13):
Pretty sick that we're talking about the other day, just
briefly about how there's only seven basic movie plots and
every single movie follows one of those seven or a
combination of those seven plots, and it's just different window dressing.
And I thought, I don't know, it was.

Speaker 3 (01:10:27):
Just cookie cutter, like Hollywood whatever. I don't know.

Speaker 1 (01:10:30):
It feels like I'd seen this movie one hundred times
in a hundred different ways, and then it was just
less funny. But it's like it goes what I said
last week's episode or two weeks episodes ago, when I
said Misery, like, you know, when the bad guy's down,
maybe give them a quick make sure they're really down,
you know what I mean, And they could have just whatever.
Maybe it would be a shorter movie if they didn't
do that, but it's just like there was just a
lot to it. But again you miss out if they

(01:10:53):
would have just popped and killed Mark Wahlberg and then
have the actual problem of running out of fuel.

Speaker 3 (01:10:58):
This plane's gonna crash.

Speaker 1 (01:10:59):
We don't know where we are, I don't know how
to have and now my passengers bleeding out. Cool, that's
still dramatic, that's still awesome, And now we don't have.

Speaker 2 (01:11:07):
To worry about a bunch of maybe like a subplot
of like, you know, how he sabotaged the GPS and stuff.
Maybe that's you know, maybe that's your subplot, Like you know,
maybe he took out the SD card or something, you know,
the data card for it. Maybe you have to try
and find it, find the data card or something like that,
Like you know, that's your that's your subplot. I don't know.
There's just so many different directions they could have would.

Speaker 3 (01:11:27):
Have trying to phone in a mole in the FBI
or wherever.

Speaker 2 (01:11:31):
And there's a reason she was on desk duty and she.

Speaker 1 (01:11:34):
Just knows who the mole is in two seconds. Yeah,
all right, Well that was the viewing room. Flight risk
came out two weeks ago. Listen, know what you thought
about it in the seeing the theaters. Please, I love
seeing movies in the theaters. This was not worth it.

Speaker 3 (01:11:54):
It's not horrible, but it's just not it's just not
that great. It's it's pretty bad.

Speaker 2 (01:12:01):
Yeah.

Speaker 1 (01:12:02):
Just there's gonna be some good laughs if you're going
and you're just trying to have a little bit of giggles,
you know what I mean. There's gonna be some stuff that.

Speaker 3 (01:12:10):
Makes you laugh.

Speaker 1 (01:12:11):
But overall, it's just it's pretty it's pretty weak. If
you're easily entertained though, and and you don't really care
about any of that stuff, then you might have a
fantastic time, but it's just not there for us.

Speaker 3 (01:12:25):
M Yeah. Wow, Okay, Well, thank you for watching. The
viewing room.

Speaker 1 (01:12:32):
We have an Instagram at the Viewing Underscore and a
Patreon at different ad Media.

Speaker 3 (01:12:36):
Thank you guys for watching. Have a great day.

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The Viewing Room Ep 27 - Flight Risk - Review and Analysis

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.css-14f5ked{margin:0;word-break:break-word;display:-webkit-box;-webkit-box-orient:vertical;box-orient:vertical;-webkit-line-clamp:2;overflow:hidden;}The Viewing Room Ep 27 - Flight Risk - Review and Analysis