September 27, 2025 • 29 mins
ICYMI: Hour Two of ‘Later, with Mo’Kelly’ Presents: A conversation with Actress Chase Infiniti, who joins the program to preview one of the year’s most anticipated films, ‘One Battle After Another’ which "tells the story of ‘Bob,’ a former revolutionary (played by Leonardo DiCaprio) whose spirited daughter Willa (played by Chase) goes missing after his former nemesis reappears"… PLUS – Thoughts on Sinclair Broadcast Group & Nexstar Media Group, Inc. resuming broadcasts of ‘Jimmy Kimmel Live!’ AND Mark Rahner has a review of the new Warner Bros. Pictures action/thriller “One Battle After Another” in ‘The Rahner Report’ - on KFI AM 640…Live everywhere on the iHeartRadio app & YouTube @MrMoKelly
Mark as Played
Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:00):
Whoa Wimbo Kelly five.
Speaker 2 (00:07):
Six One Battle after Another, starring Leonardo DiCaprio, Sean Penn,
Benicio del Toro, Regina Hall, Teona Taylor, and Chason Finnedy
Now in theaters, it tells the story of a former
revolutionary Bob played by DiCaprio, who exists in a state
of stone paranoia, surviving off grid with the spirit Itself
(00:28):
reliant sometimes combat of daughter Willa. But eventually Bob's pass
catches up with him in the form of Sean Penn
and all hell breaks loose from there.
Speaker 3 (00:41):
For bringing justice to the vigilante group known as the
French seventy five. We are here to award Stephen long
John with the Medal of Honor.
Speaker 4 (00:54):
You under Sham and Willow.
Speaker 5 (00:57):
And Mom used to run around add some real batches
they got heard for.
Speaker 4 (01:04):
Now they're coming after us.
Speaker 5 (01:05):
I'm sorry.
Speaker 6 (01:06):
I didn't ask for this.
Speaker 4 (01:07):
That's just how the cards.
Speaker 1 (01:08):
Were rolled out for me.
Speaker 4 (01:09):
It's not cards. You don't roll cards. It's dice, tach,
what is wrong with you? You're right, let's go.
Speaker 2 (01:15):
Joining me on the show is Chase Infinity, who plays
the aforementioned Willa.
Speaker 4 (01:19):
Chase is great to talk to, you. How are you?
Speaker 7 (01:21):
Oh my gosh, I'm amazing. Thank you so much for
having me.
Speaker 2 (01:25):
Before we get into one battle after another, Chase, who
is the nerd and Batman fan in your family? Is
it your mom? Is it your dad? Tell us the
story behind your name?
Speaker 7 (01:36):
Do you know what's crazy is that I feel like
neither one of my parents are like, they're not Batman nerds,
but I distinctly remember them saying that they really loved
that movie when it came out. But that is where
Chase came from. I was named after Nicole Kidman and
Batman Forever, and then Infinity comes from toy story when
buzz Ledger says, to infinity and.
Speaker 2 (01:54):
Beyond beyond, just the very special nature of your name up.
Did you embrace it? Did you acknowledge it? How did
you feel about it?
Speaker 7 (02:04):
I loved my name. I've actually been using Chase Infinity
since I've been performing since I was ten. I grew
up doing theater and I pretty much use that name
anytime I would perform.
Speaker 4 (02:16):
Love it.
Speaker 2 (02:17):
Let's get into it. You are relatively early in your
acting career. One Battle after Another is your debut film performance.
Were you aware while auditioning the exact nature of the
movie and who was attached.
Speaker 7 (02:30):
I knew after I had sent in my initial self
tape when I was called in to meet Paul Thomas
Anderson for the first time for a callback the casting director,
Cassandra Kulacunda. She let me know that Leonardo DiCaprio and
Regina Hall were also going to be there before she
hung up the phone, and I was like, Oh, my gosh,
that is insane.
Speaker 4 (02:52):
But then you start meeting cast members, what is that like?
Speaker 7 (02:56):
If anything, it was really exciting because I had worked
on the scenes beforehand, and especially coming into that callback,
I wanted to make sure that I was as prepared
as I could be ready for anything that Paul could
throw at me or act accordingly off of Regina and Leo.
But I think that like that getting to meet them
in person was incredible because I was like, Oh, I
(03:17):
can actually start to see the physicality of these characters
that I've been reading on my sides on the page
up until this point.
Speaker 2 (03:25):
Take me into one battle after another. It's an action movie,
it's a comedy, it's a drama. It's all wrapped into one.
Who is Willa and what is her relationship like with
her father when we meet her.
Speaker 7 (03:36):
Yeah, I mean, again, as you said, this movie, it
has a bunch of different elements about it, but I
hope a lot of people like but will is this
spirited sixteen year old girl who's trying to find her
way in the world outside of what her paranoid father
has been teaching her. And she's confident and independent and
self reliant in so many ways. And yeah, I think
(04:00):
that she's an incredible character, and watching her dynamic with
Bob is actually one of my favorite things to see
in the film.
Speaker 2 (04:07):
I noticed that in the film, at least at the beginning,
you're calling him Bob. You don't have that maybe father
daughter traditional relationship. Talk to me more about the complexity
of their relationship.
Speaker 7 (04:20):
Yeah, Bob and Willa, they're very They're very complex, and
it is something that you notice immediately that she calls
him Bob more than she calls him dad. But Willa,
in this sense with her father, has really grown up
parenting her parent. And I think the first time that
you meet these two characters, especially like from what's been
released now, you can kind of get that indication that
(04:41):
their family dynamic is switched.
Speaker 2 (04:43):
You talked about this a little bit in your audition process.
But the cast is full of heavy hitters. I need
not tell you. We've talked about that. But how is
Paul Thomas Anderson as a director in his management of
scenes and all this talent? What is this directorial style?
Speaker 4 (05:00):
Oh my gosh.
Speaker 7 (05:00):
Working with Paul Thomas Anderson has been the greatest gift
that I ever could have received, because he is so
immensely talented. More than anything, and there's a reason that
he's so many people's favorite director, but he creates such
a safe and supportive environment for us actors. And getting
to feel that security to really just be an actor
(05:23):
and do the job in that moment without any outside
noise or outside potential challenges coming to affect your performance
was such a blessing. And he was incredibly trusting and
also beautifully malleable to new ideas, And I think that
getting to see the story progress with ideas that came
(05:44):
from Leo, or ideas that came from Benicio, or even
plot points that came from any of the other cast
members was such a beautiful thing to watch from him,
And just getting to observe him in generalists was amazing.
Speaker 2 (05:56):
Look, I'm not an actor, but it's weird just hearing
when you say, yeah, Leo and Benicio and Tiana and Regina,
is like to have that type of experience so early,
relatively early in your career. So I guess you answered
the question, But were you ever nervous around these individuals,
Not that you're not accomplishing your own right, but being
(06:17):
this your film debut, was there ever a moment where
you said, like, whooh, I don't know if I could
do this.
Speaker 8 (06:24):
I think that.
Speaker 7 (06:24):
I mean, in general, everybody has self doubt, but I
really tried to push that aside and not get in
my own way very early on, especially like as soon
as my first Chemistry read, I really wanted to make
sure that more than anything. I know that again heavy
hitters in this film and working with Paul insane, but I,
more than anything really wanted to show up on the
(06:45):
day as a great scene partner and a great collaborator
for everybody. And I really did not want my nerves
or self doubt to get in the way of anything,
and I'm proud because it didn't, So I'm very happy
about that.
Speaker 2 (06:57):
Did you have any type of special preparation for any
of the scenes as far as the physicality or a
stunt or something which probably asked more of you than
just knowing your lines or reading your sides.
Speaker 7 (07:10):
Yeah, I did all of my stunts in the film,
and I got to dive into a world that I've
never been a part of. I dance very frequently, and
I had had some previous experience with a kickboxing fitness
working at a gym, but through this movie, I got
to learn karate and mixed martial arts for about four months,
which was incredibly crucial to Willi's character. But it also
(07:33):
pushed me in ways that I'd never been pushed before.
And it was so much fun getting to do those
actions on the day and then move in a way
that I'd never moved before, and also be in an
action film because I've grown up watching them, so I
was very excited for that.
Speaker 2 (07:48):
Now that the movie is in theaters, do you crowdsource reviews?
Do you listen to your friends? Where do you look
for feedback about how the movie is being received?
Speaker 7 (08:00):
I feel like the people I hear the most feedback
from are my parents. My parents love to be like, Okay,
this is the newest article that's out, this is what
everyone is saying, and I try to kind of to
take it in very slowly because I don't want to
get overwhelmed by everything. But my parents inform me of
most everything that's out there.
Speaker 2 (08:19):
She is Chased Infinity. You will see more for in
the future, I'm sure, but right now she's co starring
in one battle after another now in theaters, Chase, you
are welcome on this show anytime. Thank you for coming
on in much success to you.
Speaker 9 (08:33):
Thank you so much.
Speaker 7 (08:34):
It was such a pleasure being here.
Speaker 1 (08:35):
I appreciate it.
Speaker 2 (08:37):
It's Later with Moe Kelly KFI AM six forty. We're
live on YouTube and the iHeartRadio app.
Speaker 5 (08:42):
You're listening to Later with Moe Kelly on demand from
KFI AM six forty.
Speaker 2 (08:55):
KFI Later with Mo Kelly live on YouTube in the
eye Heart Radio app. And you've probably heard Mark Runner
during the break or maybe some other news report that
Jimmy Kimmel is back with respect to Sinclair owned stations
and Next Star stations, and it's been characterized as a
(09:16):
collaborative effort between Jimmy Kimmel's production company ABC Network and
also Sinclair and Nextstar. A lot can be gleaned, but
a lot of it also has to be sort of
just guessed. We don't know what's in the contracts. We
don't know what's in the contracts regarding to what Sinclair
(09:40):
promised to do. In other words, are they promising it
to carry it for three years and they can only
have maybe, I don't know, six preemptions. I'm just saying
this is some of the language and some of the
negotiation which is done prior to moments like these. We
don't know what was in the contract and then what
was renegotiated in lieu of this as far as content,
(10:02):
what have you. But we do know this, and Twala
and I were just talking about this outside the studio
during the break.
Speaker 4 (10:11):
This is another example.
Speaker 2 (10:12):
I'm not going to take this away from you, twelve,
because this was your point that cancel culture does not exist.
Speaker 4 (10:19):
This is all about capitalism.
Speaker 2 (10:20):
This is about a money decision for Sinclair for Next
Star in money in the sense if you don't want
to get sued because I think there's a contract violation
here if they do not err it after a certain
amount of time, and also ABC saying, like you know,
this is still a money maker for us. For as
much as been criticized about the late night format, Stephen
(10:43):
Colbert supposedly not making money or Jimmy Kimmel supposedly supposedly
we don't know, not making money. No, there's still revenue
to be generated by these shows. And so Jimmy Kimmel
was off of what maybe four days or something like that.
Speaker 1 (10:57):
Yeah, and he's back now. My question is, and this
is something we were talking about in the hallway, is
for all of the talk about Sinclair Next Star and
they're impeding on free speech by canceling Jimmy Kimmel and
taking the show off their And in part of the
(11:19):
statement that was released, I believe this was by Sinclair
Media saying, we find it unfair that we're being criticized
or called out for impeding on Jimmy Kimmel's free speech.
Yet no one seems to feel that there should be
some right by the company to decide what it is
that we want to broadcast on our networks.
Speaker 4 (11:40):
Okay, let's make it smaller. Let's talk about me.
Speaker 2 (11:44):
Let's say I'm the Jimmy Kimmel and then iHeart is
Next Star Okay, and.
Speaker 4 (11:50):
I can say, like, look, I'm just doing my show.
Speaker 2 (11:52):
I have this agreement with KFI, who is like ABC
and KFI allows me to do X, Y and Z.
I cuss every now and then I say ass and damn,
I'm being very serious yes, And then I heart could
come in and say wait a minute, wait a minute,
we're not comfortable with that stuff that Mo Kelly is
talking about. Then you have this higher level of negotiation
(12:15):
where they look at my contract and say, well, this
in the contract he's allowed to do this, he's not
allowed to do that. There's discretion here and discretion there,
and then they can come to some sort of agreement,
but it's still the free speech issue has to do
with the federal government. And the feeling was the federal
government used their weight and influence to pressure ABC, be it,
(12:40):
Nextstar of Sinclair to make a decision.
Speaker 4 (12:43):
If this were truly just.
Speaker 2 (12:45):
An employment, internal employment decision, me personally, I wouldn't have
had anything to say.
Speaker 4 (12:50):
You know, if Next Star and Sinclair said hey, we
don't want that on our airways.
Speaker 2 (12:54):
And ABC said hey, Jimmy Kimble, you went too far,
I don't have a mumbling word to say, and I
would have said, not a free speech issue, because it's
just an internal employment matter. But when you involve the FCC,
and then Sinclair and Nextstar seemingly respond yes, because of that,
(13:15):
it's something altogether different, and I think that's what they
were speaking out against and saying that.
Speaker 1 (13:21):
While it may seem like we were cowering, caving, or
taking a knee to the pressure of the FCC, why
couldn't it just be that we as a company because
of our values and what we stand for, and that
could be them saying, hey, we are all in with
Trump and everything, and we don't agree with anyone i e.
The owner of La Times taking shots at the president.
(13:43):
And so we felt the need that in this moment
by trying to in their estimation at the time, connect
what he was saying as something bad about someone who
is a friend of Trump, and in the moment saying,
you know what, we don't want that on the air,
and we're not going to air this show.
Speaker 4 (13:59):
If it's a great point, but the chronology matters. Gotcha?
Speaker 2 (14:02):
Gotcha in the sense then that we can't disavow I can't.
We can't disregard what the SCC said and when they
said it when everything happened. Jessica Levinson had a great
response to this when she was doing an interview on
CBS Morning.
Speaker 4 (14:19):
Let me see if I can find it real quick,
and she explains all this.
Speaker 8 (14:22):
Look, there's no First Amendment right for Jimmy Kimmel to
talk and make millions of dollars on late night television.
And then other people are saying, but look, the FCC
can't threaten free expression by revoking a license or can they?
What's the law actually say on all this?
Speaker 6 (14:36):
Or maybe both people are right. So when we think
about the First Amendment, who does it protect us against?
It protects us against the government.
Speaker 4 (14:44):
So can a.
Speaker 6 (14:45):
Private employer like ABC decide to take action against Jimmy
Kimmel because they don't like the content of what he said?
They can? That's not a First Amendment question. That's more
of an employment contracts based question. But then you introduce
the FC and there's kind of two questions as far
as I see it with respect to the FCC. The
(15:05):
first question is whether or not their actions gave rise
to legal coercion when they said to ABC, I'm paraphrasing here, basically,
we can do this the hard way or the easy way.
Does that then basically introduce the government into ABC's decisions,
so that ABC is not acting voluntarily and instead it
is the government pushing and saying you need to oust
(15:28):
Jimmy Kimmel. And then the separate issue for the FCC
really is the licensing issue and how and whether they
could revoke a license. I'll just say revoking a license
is a nuclear option, and you cannot do it based
on I don't like what you said.
Speaker 8 (15:46):
So Jessica, let's talk about recourse. Because back in the
early seventies, in the Nixon era Watergate, the White House
threatened to pull licenses from Washington Post owned the TV
stations in Florida. Those stations prevailed. So if a battle here,
what recourse does the stations have to fight and win?
Speaker 6 (16:03):
This is your point, So they absolutely do have recourse.
You just said, you know, they fought and they won.
So what would happen? First? First, there would be a
fairly lengthy process within the FCC. I just want people
to know. It's not like somebody says, you know what,
I think their license should be pulled and the next
day that's what's happened. There's first a complaint that's filed,
(16:23):
then there's an investigation, then there's a hearing before an
administrative law judge. You can you're entitled to due process.
ABC is entitled to notice and an opportunity to be
heard and to challenge what's being alleged before that administrative
low judge. Then you have the FCC voting. Then if
the FCC does vote to say, okay, now we are
(16:44):
taking this big step, we're revoking your license, you can
then challenge it in court. It would go to the
DC Circuit.
Speaker 4 (16:51):
Okay, So that gives a broader view.
Speaker 2 (16:54):
Yeah, but it also says there are limited options for
Next Star and Sinclair. Yeah, either they're to follow the
contract or they're gonna pull out the contract and then
get sued, and then it goes from there.
Speaker 4 (17:06):
It becomes a legal issue.
Speaker 2 (17:08):
And obviously that means Sinclair and Next Star lose money
because they're not they're not generating their ad revenue that
they would generate from Jimmy Kimmel because they got a
fill with something.
Speaker 4 (17:20):
I don't know, even if it's an infomercial. Yeah yeah, yeah,
and they can only run these reruns for so long.
Speaker 2 (17:25):
Right yeah, right, So I mean, yes, it is relevant
to say, yes, it is an employment issue.
Speaker 4 (17:32):
Next Star saying hey, we didn't sign up for this.
Speaker 2 (17:35):
He we think he's outside the boundaries of the contract,
you know, like, hey, iHeart, you need to get your
your your employee under control KFI because we didn't sign
on for this. But at the same time, there's still
a contract in place, and either you're gonna honor the
contract or you're going to take him the court and
see if you can avoid the contract. Next Star to
(17:55):
bring it home, Next Star and Sinclair. I've made the decision.
It's better to go forward than to go against.
Speaker 4 (18:04):
Okay, it's Later with mo Kelly.
Speaker 2 (18:07):
When we come back, we have the Runner Report with
Mark Ronner, who's going to be reviewing what Mark one
battle after another, all nearly three hours of it.
Speaker 4 (18:17):
It's that long. It's long. Okay, we'll get into that next.
Speaker 2 (18:20):
KFI AM six forty live everywhere on YouTube of the
iHeartRadio app.
Speaker 5 (18:24):
You're listening to Later with mo Kelly on demand from
KFI A M six.
Speaker 10 (18:28):
Forty talks about pontificates about pop culture, ron and Report
with Mark Ronner.
Speaker 4 (18:52):
KFI Later with Mo Kelly. It's now time for the
Runner Report with Mark Ronner.
Speaker 9 (18:57):
Tonight we're going to talk about One Battle after Another
from director and writer Paul Thomas Anderson. Here's some trailer
and it's similar to the one Mo played, but I
had to find one without any dirty, filthy job ending
words in it.
Speaker 1 (19:10):
Oh what I'm doing here, I'm creating a closed circuit.
Speaker 9 (19:17):
Very important to keep your cap shunted like this so
you don't accidentally detonate your charge.
Speaker 4 (19:25):
LSTA, I want you to create a show.
Speaker 2 (19:29):
This is now.
Speaker 3 (19:29):
It's not a revolution.
Speaker 4 (19:32):
The message is clear.
Speaker 3 (19:34):
I'll be seeing you very soon.
Speaker 4 (19:36):
Lot of I see you first.
Speaker 3 (19:42):
Every justice to the vigilante group known as the French
seventy five. We are here to award Steven long John
with the Medal of Honor.
Speaker 4 (19:54):
You have to understand and willow.
Speaker 3 (19:58):
He mom.
Speaker 4 (19:59):
We used to run around and his it's a real
bad they got hurt. Now they're coming after us.
Speaker 10 (20:06):
I'm sorry.
Speaker 6 (20:07):
I didn't ask for this.
Speaker 4 (20:08):
That's just how the cards were rolled out for me.
It's not cards. You don't roll cards. It's dice tech.
What is wrong with you? You're right, let's go. Okay,
that's plenty of that.
Speaker 9 (20:17):
When Paul Thomas Anderson's There Will be Blood came out
back in two thousand and seven, I was still kind
of processing what i'd seen, but it was deadline time,
and I had to file my review, and I said
it was some sort of instant American classic, and I
think it did turn out to be one. Also, I
walked around telling people I'd drink their milkshake for quite
some time after that. We're just gonna go with PTA
from here forward, and figure that you won't take it
(20:39):
for the Parent Teacher Association in this context, or that
kind of spongebath you take when you can't have a
real shower. You're not gonna go with PTA or one
second here technical there we go. I'm not quite ready
to say that PTA is the modern Stanley Kubrick, but
I think he and Christopher Nolan are the closest we've got,
and anything they do is worth seeing, even if you
(21:00):
don't immediately love it. I respected, but didn't love Inherent
Vice or Punch Drunk Love or Phantom Thread. But I
do love Boogie Knights and Licorice Pizza, and I think
one Battle after another falls pretty squarely on that side
of the ledger. If I have to tell you what
it's about, and I really think it's best for you
just to strap in for the ride and see where
it takes you. Here's what I'll say. It's about a
(21:21):
revolutionary played by Leonardo DiCaprio who belongs to a group
that rescues immigrants from detention centers, among other things. His
partner girlfriend, Old Lady Perfidia Beverly Hills, is played by
Tiona Taylor, and she's a fairly theatrical badass who's pregnant
and also attracts a military whack job played by an
absolutely jacked Sean Penn with the spectacular name of Colonel
(21:44):
Stephen J. Lockjaw. That's our starting point. The story spans
years into where the kid's now a teenager being menaced
by Colonel Lockjaw after the revolutionary group is more or
less scattered to the winds, and Leo's character with the
polar opposite dull name of Bob Ferguson is a hapless,
drunken stoner with a man bun and a bathrobe, and
(22:06):
he needs to save his daughter. I can barely even
tell you what kind of movie won Battle after Another
is drama, satire, comedy, some action and violences to all those,
and it's kind of nuts. I'm not the world's hugest
Leo fan, but I really admire his lack of vanity
in becoming this Putts, who's sort of like a cross
between his Rick Dalton character from Once Upon a Time
(22:26):
in Hollywood and the dude from The Big Lebowski. You
probably wouldn't like this guy if you met him. He's mediocre,
he's irritating, but he loves his daughter. And we got
to talk about Sean Penn as Colonel Lockdraw. Whatever you
might think of Sean Penn in the real world, well
I don't care. He's a fantastic heal in this movie.
And it's as much his movie as Leo's. PTA's channeled
(22:46):
his frightening intensity. It really is frightening into something I
think is sure to get an Oscar nomination, and not
a perfunctory one. Nothing about this movie is perfunctory. And
for a movie whose characters have such comic book names
like Perfidy of Beverly Hills and Colonel Lockshaw, it's an
actress whose actual name is Chase Infinity who stands out
is Leo's feisty daughter. So what if her name sounds
(23:09):
like a mid priced sedan. If you missed Moe's interview
with her, you can hear it on the later podcast.
I see that one Battle after Another's got something like
ninety eight percent on Rotten Tomatoes now, and you'd usually
take that with a huge grain of salt, especially after
last year's best of lists the Oscars and Anora and
Amelia Perez. But this ninety eight percent isn't the result
(23:29):
of a bunch of pretentious, out of touch hacks. One
Battle after Another is a quirky, idiosyncratic movie that is
the work of a distinctive filmmaker and an Ai could
never crank out something like it, and might be the
kind of movie critics think they should like, but it's
also legit good. It's also nearly three hours long, but
I will watch it again. When I compare Pta to Kubrick,
(23:50):
one part of that is that movies by both of
them are worth revisiting as time passes when you're at
different ages yourself. This one obviously reflects comments on stuff
going on now with the iced attention Gulag as well
as a preposterous secret white supremacist group, but there's lots
more going on than just riffing on current events. In fact,
there's enough going on for different people to find different
(24:12):
things in the movie. But one facet that appealed to
me was if you have to do something about things
you find unjust and intolerable, there's always a cost. There's
this scene with Leo getting loaded in his bathrobe watching
the nineteen sixty six classic The Battle of Algiers. It's
about Algerians fighting for independence from France, and he realized
instantly he's not that serious of a person. He wouldn't
(24:34):
fit in in that movie. Maybe he doesn't fit in
in this one. But this is where he is and
where his daughter is, and we all have to live
and act where we find ourselves. Character is revealed in
how we respond to terrible things, or don't respond, or
cheer the terrible things on and get off on him.
Am I being too opaque here? There's some Doctor Strangelove
level humor in this movie speaking of Kubrick, not just
(24:56):
from the loons and the racist you'd expect, but also
the revolutionaries and insistence on proper procedure, which Leo's stoner
character has serious problems with. It's a little more dry
than shouting. There's no fighting in the war room, but
it's still pretty funny. It's got a huge cast. Benicio
del Toro plays a beer Guzlin karate instructor Kevin Tig
(25:17):
from the old Emergency TV show pops up in a
small role. The movie's based on a Thomas Pinchon novel
which I haven't read, called Vineland and Inherent Weis was
also from Pinchon as well another one I didn't read.
I don't think one battle after another is your typical
movie crowd pleaser. But I also don't see how anyone
who loves movies could miss it. I'm still processing it,
(25:38):
but I think we might have another classic on our hands.
This one's going on my best of list, along with
Sinners and some others. There's yourn a report, Moe, are
you gonna go see this? I'm going to see it
this weekend without a doubt at a boy probably Sunday. Yeah,
be prepared as long as it is. It did not
drag at all for me. I mean the movie that
we talked about last week him. I was looking at
(26:00):
my phone clock about every two or three minutes. I
just wanted the hell out of there. I was not
doing this in this. It's just really a masterful piece
of filmmaking with a bunch of stuff going on. The sound.
The music by Johnny Greenwood is overpowering and really adds
to the thing.
Speaker 4 (26:17):
It's quite an experience. Now, do we have a couple
of minutes left over? No, you got time? Go ahead?
Speaker 9 (26:21):
Do you in our remaining time? I think we got
to talk about Alien Earth, which wrapped up this week.
Oh God, which it's eighth and I fear not final episode.
I have rarely seen a show that started off so strong,
as such a worthy addition to the Alien movies, only
to end up making me feel like I needed a
well a pta bath and yelling at the screen after
(26:42):
seven episodes of build up and letting the Zeno Morph's
loofs on the Earth. As the title promises, what we
get is a shift in focus to the handful of
young android hybrid people who may never know if they're
real or just copies of the kids whose consciousnesses were
put in the artificial enhanced bodies. They decided they're going
to run the show now, and it just stops there.
(27:05):
To quote John McEnroe.
Speaker 3 (27:07):
You can't be serious, man, you cannot be serious.
Speaker 4 (27:11):
That's exactly how I felt. You saw this, didn't you know?
I saw it?
Speaker 2 (27:15):
And I feel similarly, if only because and this is
partly my fault. I went into this thinking that it
was going to be like a limited series, one season
beginning middle and tell a very specific story which is
two years before the Nostromo and Alien the original movie. Instead,
we got the beginning of a story that they're going
(27:37):
to drag out, probably two or three seasons if they
have their way to tell, a story which is not
going to have anything to do with the first Alien movie.
And it seems like a cash grap It started off wonderfully, beautifully, accurately,
and then it did. It descended into something that was
meandering with no real direction and definitely no conclusion.
Speaker 9 (28:00):
It's dull when we agree, But you're exactly right about that.
And I think it almost would have been better if
the show sucked from the start, because it started off
so promising that the letdown was much much stronger.
Speaker 2 (28:10):
How can they not see that that ending was going
to be trashed and panned. I mean, how could someone
look at those seven episodes and then say, okay, we
got a code brown for episode eight here, we need
to do something, we need to reshoot something, we need
to rewrite something.
Speaker 9 (28:28):
Oh, it is a galactic code Brown, And I just
I want to know what happened behind the scenes, because
I've rarely been as infuriated without a show ended, except
for maybe the Lost finale.
Speaker 2 (28:40):
It was similar in that regard because it left you think,
like what it's over, and the way they set it up.
It was setting itself up for this big moment and clash,
and I don't want to give it away. If you
haven't seen it and you don't get it, you don't
get to see it. And it's almost like they want
to make it like it's some cliffhanger for next season
that we don't know that we're going to get and
(29:01):
we may not even care if we do get it.
Speaker 9 (29:03):
I'm okay if the show is euthanized. I don't need
another season. They have lost all my goodwill and now
I've vented. I'm not going to spoil anything else.
Speaker 4 (29:11):
We agree. Damn it, Damn it to hell.
Speaker 2 (29:14):
Kf later with Mokelly Live Everywhere on the iHeartRadio app
Speaker 5 (29:18):
As II and kost HD two Los Angeles, Orange County
more stimulating talk
Whoa Wimbo Kelly five.
Speaker 2 (00:07):
Six One Battle after Another, starring Leonardo DiCaprio, Sean Penn,
Benicio del Toro, Regina Hall, Teona Taylor, and Chason Finnedy
Now in theaters, it tells the story of a former
revolutionary Bob played by DiCaprio, who exists in a state
of stone paranoia, surviving off grid with the spirit Itself
(00:28):
reliant sometimes combat of daughter Willa. But eventually Bob's pass
catches up with him in the form of Sean Penn
and all hell breaks loose from there.
Speaker 3 (00:41):
For bringing justice to the vigilante group known as the
French seventy five. We are here to award Stephen long
John with the Medal of Honor.
Speaker 4 (00:54):
You under Sham and Willow.
Speaker 5 (00:57):
And Mom used to run around add some real batches
they got heard for.
Speaker 4 (01:04):
Now they're coming after us.
Speaker 5 (01:05):
I'm sorry.
Speaker 6 (01:06):
I didn't ask for this.
Speaker 4 (01:07):
That's just how the cards.
Speaker 1 (01:08):
Were rolled out for me.
Speaker 4 (01:09):
It's not cards. You don't roll cards. It's dice, tach,
what is wrong with you? You're right, let's go.
Speaker 2 (01:15):
Joining me on the show is Chase Infinity, who plays
the aforementioned Willa.
Speaker 4 (01:19):
Chase is great to talk to, you. How are you?
Speaker 7 (01:21):
Oh my gosh, I'm amazing. Thank you so much for
having me.
Speaker 2 (01:25):
Before we get into one battle after another, Chase, who
is the nerd and Batman fan in your family? Is
it your mom? Is it your dad? Tell us the
story behind your name?
Speaker 7 (01:36):
Do you know what's crazy is that I feel like
neither one of my parents are like, they're not Batman nerds,
but I distinctly remember them saying that they really loved
that movie when it came out. But that is where
Chase came from. I was named after Nicole Kidman and
Batman Forever, and then Infinity comes from toy story when
buzz Ledger says, to infinity and.
Speaker 2 (01:54):
Beyond beyond, just the very special nature of your name up.
Did you embrace it? Did you acknowledge it? How did
you feel about it?
Speaker 7 (02:04):
I loved my name. I've actually been using Chase Infinity
since I've been performing since I was ten. I grew
up doing theater and I pretty much use that name
anytime I would perform.
Speaker 4 (02:16):
Love it.
Speaker 2 (02:17):
Let's get into it. You are relatively early in your
acting career. One Battle after Another is your debut film performance.
Were you aware while auditioning the exact nature of the
movie and who was attached.
Speaker 7 (02:30):
I knew after I had sent in my initial self
tape when I was called in to meet Paul Thomas
Anderson for the first time for a callback the casting director,
Cassandra Kulacunda. She let me know that Leonardo DiCaprio and
Regina Hall were also going to be there before she
hung up the phone, and I was like, Oh, my gosh,
that is insane.
Speaker 4 (02:52):
But then you start meeting cast members, what is that like?
Speaker 7 (02:56):
If anything, it was really exciting because I had worked
on the scenes beforehand, and especially coming into that callback,
I wanted to make sure that I was as prepared
as I could be ready for anything that Paul could
throw at me or act accordingly off of Regina and Leo.
But I think that like that getting to meet them
in person was incredible because I was like, Oh, I
(03:17):
can actually start to see the physicality of these characters
that I've been reading on my sides on the page
up until this point.
Speaker 2 (03:25):
Take me into one battle after another. It's an action movie,
it's a comedy, it's a drama. It's all wrapped into one.
Who is Willa and what is her relationship like with
her father when we meet her.
Speaker 7 (03:36):
Yeah, I mean, again, as you said, this movie, it
has a bunch of different elements about it, but I
hope a lot of people like but will is this
spirited sixteen year old girl who's trying to find her
way in the world outside of what her paranoid father
has been teaching her. And she's confident and independent and
self reliant in so many ways. And yeah, I think
(04:00):
that she's an incredible character, and watching her dynamic with
Bob is actually one of my favorite things to see
in the film.
Speaker 2 (04:07):
I noticed that in the film, at least at the beginning,
you're calling him Bob. You don't have that maybe father
daughter traditional relationship. Talk to me more about the complexity
of their relationship.
Speaker 7 (04:20):
Yeah, Bob and Willa, they're very They're very complex, and
it is something that you notice immediately that she calls
him Bob more than she calls him dad. But Willa,
in this sense with her father, has really grown up
parenting her parent. And I think the first time that
you meet these two characters, especially like from what's been
released now, you can kind of get that indication that
(04:41):
their family dynamic is switched.
Speaker 2 (04:43):
You talked about this a little bit in your audition process.
But the cast is full of heavy hitters. I need
not tell you. We've talked about that. But how is
Paul Thomas Anderson as a director in his management of
scenes and all this talent? What is this directorial style?
Speaker 4 (05:00):
Oh my gosh.
Speaker 7 (05:00):
Working with Paul Thomas Anderson has been the greatest gift
that I ever could have received, because he is so
immensely talented. More than anything, and there's a reason that
he's so many people's favorite director, but he creates such
a safe and supportive environment for us actors. And getting
to feel that security to really just be an actor
(05:23):
and do the job in that moment without any outside
noise or outside potential challenges coming to affect your performance
was such a blessing. And he was incredibly trusting and
also beautifully malleable to new ideas, And I think that
getting to see the story progress with ideas that came
(05:44):
from Leo, or ideas that came from Benicio, or even
plot points that came from any of the other cast
members was such a beautiful thing to watch from him,
And just getting to observe him in generalists was amazing.
Speaker 2 (05:56):
Look, I'm not an actor, but it's weird just hearing
when you say, yeah, Leo and Benicio and Tiana and Regina,
is like to have that type of experience so early,
relatively early in your career. So I guess you answered
the question, But were you ever nervous around these individuals,
Not that you're not accomplishing your own right, but being
(06:17):
this your film debut, was there ever a moment where
you said, like, whooh, I don't know if I could
do this.
Speaker 8 (06:24):
I think that.
Speaker 7 (06:24):
I mean, in general, everybody has self doubt, but I
really tried to push that aside and not get in
my own way very early on, especially like as soon
as my first Chemistry read, I really wanted to make
sure that more than anything. I know that again heavy
hitters in this film and working with Paul insane, but I,
more than anything really wanted to show up on the
(06:45):
day as a great scene partner and a great collaborator
for everybody. And I really did not want my nerves
or self doubt to get in the way of anything,
and I'm proud because it didn't, So I'm very happy
about that.
Speaker 2 (06:57):
Did you have any type of special preparation for any
of the scenes as far as the physicality or a
stunt or something which probably asked more of you than
just knowing your lines or reading your sides.
Speaker 7 (07:10):
Yeah, I did all of my stunts in the film,
and I got to dive into a world that I've
never been a part of. I dance very frequently, and
I had had some previous experience with a kickboxing fitness
working at a gym, but through this movie, I got
to learn karate and mixed martial arts for about four months,
which was incredibly crucial to Willi's character. But it also
(07:33):
pushed me in ways that I'd never been pushed before.
And it was so much fun getting to do those
actions on the day and then move in a way
that I'd never moved before, and also be in an
action film because I've grown up watching them, so I
was very excited for that.
Speaker 2 (07:48):
Now that the movie is in theaters, do you crowdsource reviews?
Do you listen to your friends? Where do you look
for feedback about how the movie is being received?
Speaker 7 (08:00):
I feel like the people I hear the most feedback
from are my parents. My parents love to be like, Okay,
this is the newest article that's out, this is what
everyone is saying, and I try to kind of to
take it in very slowly because I don't want to
get overwhelmed by everything. But my parents inform me of
most everything that's out there.
Speaker 2 (08:19):
She is Chased Infinity. You will see more for in
the future, I'm sure, but right now she's co starring
in one battle after another now in theaters, Chase, you
are welcome on this show anytime. Thank you for coming
on in much success to you.
Speaker 9 (08:33):
Thank you so much.
Speaker 7 (08:34):
It was such a pleasure being here.
Speaker 1 (08:35):
I appreciate it.
Speaker 2 (08:37):
It's Later with Moe Kelly KFI AM six forty. We're
live on YouTube and the iHeartRadio app.
Speaker 5 (08:42):
You're listening to Later with Moe Kelly on demand from
KFI AM six forty.
Speaker 2 (08:55):
KFI Later with Mo Kelly live on YouTube in the
eye Heart Radio app. And you've probably heard Mark Runner
during the break or maybe some other news report that
Jimmy Kimmel is back with respect to Sinclair owned stations
and Next Star stations, and it's been characterized as a
(09:16):
collaborative effort between Jimmy Kimmel's production company ABC Network and
also Sinclair and Nextstar. A lot can be gleaned, but
a lot of it also has to be sort of
just guessed. We don't know what's in the contracts. We
don't know what's in the contracts regarding to what Sinclair
(09:40):
promised to do. In other words, are they promising it
to carry it for three years and they can only
have maybe, I don't know, six preemptions. I'm just saying
this is some of the language and some of the
negotiation which is done prior to moments like these. We
don't know what was in the contract and then what
was renegotiated in lieu of this as far as content,
(10:02):
what have you. But we do know this, and Twala
and I were just talking about this outside the studio
during the break.
Speaker 4 (10:11):
This is another example.
Speaker 2 (10:12):
I'm not going to take this away from you, twelve,
because this was your point that cancel culture does not exist.
Speaker 4 (10:19):
This is all about capitalism.
Speaker 2 (10:20):
This is about a money decision for Sinclair for Next
Star in money in the sense if you don't want
to get sued because I think there's a contract violation
here if they do not err it after a certain
amount of time, and also ABC saying, like you know,
this is still a money maker for us. For as
much as been criticized about the late night format, Stephen
(10:43):
Colbert supposedly not making money or Jimmy Kimmel supposedly supposedly
we don't know, not making money. No, there's still revenue
to be generated by these shows. And so Jimmy Kimmel
was off of what maybe four days or something like that.
Speaker 1 (10:57):
Yeah, and he's back now. My question is, and this
is something we were talking about in the hallway, is
for all of the talk about Sinclair Next Star and
they're impeding on free speech by canceling Jimmy Kimmel and
taking the show off their And in part of the
(11:19):
statement that was released, I believe this was by Sinclair
Media saying, we find it unfair that we're being criticized
or called out for impeding on Jimmy Kimmel's free speech.
Yet no one seems to feel that there should be
some right by the company to decide what it is
that we want to broadcast on our networks.
Speaker 4 (11:40):
Okay, let's make it smaller. Let's talk about me.
Speaker 2 (11:44):
Let's say I'm the Jimmy Kimmel and then iHeart is
Next Star Okay, and.
Speaker 4 (11:50):
I can say, like, look, I'm just doing my show.
Speaker 2 (11:52):
I have this agreement with KFI, who is like ABC
and KFI allows me to do X, Y and Z.
I cuss every now and then I say ass and damn,
I'm being very serious yes, And then I heart could
come in and say wait a minute, wait a minute,
we're not comfortable with that stuff that Mo Kelly is
talking about. Then you have this higher level of negotiation
(12:15):
where they look at my contract and say, well, this
in the contract he's allowed to do this, he's not
allowed to do that. There's discretion here and discretion there,
and then they can come to some sort of agreement,
but it's still the free speech issue has to do
with the federal government. And the feeling was the federal
government used their weight and influence to pressure ABC, be it,
(12:40):
Nextstar of Sinclair to make a decision.
Speaker 4 (12:43):
If this were truly just.
Speaker 2 (12:45):
An employment, internal employment decision, me personally, I wouldn't have
had anything to say.
Speaker 4 (12:50):
You know, if Next Star and Sinclair said hey, we
don't want that on our airways.
Speaker 2 (12:54):
And ABC said hey, Jimmy Kimble, you went too far,
I don't have a mumbling word to say, and I
would have said, not a free speech issue, because it's
just an internal employment matter. But when you involve the FCC,
and then Sinclair and Nextstar seemingly respond yes, because of that,
(13:15):
it's something altogether different, and I think that's what they
were speaking out against and saying that.
Speaker 1 (13:21):
While it may seem like we were cowering, caving, or
taking a knee to the pressure of the FCC, why
couldn't it just be that we as a company because
of our values and what we stand for, and that
could be them saying, hey, we are all in with
Trump and everything, and we don't agree with anyone i e.
The owner of La Times taking shots at the president.
(13:43):
And so we felt the need that in this moment
by trying to in their estimation at the time, connect
what he was saying as something bad about someone who
is a friend of Trump, and in the moment saying,
you know what, we don't want that on the air,
and we're not going to air this show.
Speaker 4 (13:59):
If it's a great point, but the chronology matters. Gotcha?
Speaker 2 (14:02):
Gotcha in the sense then that we can't disavow I can't.
We can't disregard what the SCC said and when they
said it when everything happened. Jessica Levinson had a great
response to this when she was doing an interview on
CBS Morning.
Speaker 4 (14:19):
Let me see if I can find it real quick,
and she explains all this.
Speaker 8 (14:22):
Look, there's no First Amendment right for Jimmy Kimmel to
talk and make millions of dollars on late night television.
And then other people are saying, but look, the FCC
can't threaten free expression by revoking a license or can they?
What's the law actually say on all this?
Speaker 6 (14:36):
Or maybe both people are right. So when we think
about the First Amendment, who does it protect us against?
It protects us against the government.
Speaker 4 (14:44):
So can a.
Speaker 6 (14:45):
Private employer like ABC decide to take action against Jimmy
Kimmel because they don't like the content of what he said?
They can? That's not a First Amendment question. That's more
of an employment contracts based question. But then you introduce
the FC and there's kind of two questions as far
as I see it with respect to the FCC. The
(15:05):
first question is whether or not their actions gave rise
to legal coercion when they said to ABC, I'm paraphrasing here, basically,
we can do this the hard way or the easy way.
Does that then basically introduce the government into ABC's decisions,
so that ABC is not acting voluntarily and instead it
is the government pushing and saying you need to oust
(15:28):
Jimmy Kimmel. And then the separate issue for the FCC
really is the licensing issue and how and whether they
could revoke a license. I'll just say revoking a license
is a nuclear option, and you cannot do it based
on I don't like what you said.
Speaker 8 (15:46):
So Jessica, let's talk about recourse. Because back in the
early seventies, in the Nixon era Watergate, the White House
threatened to pull licenses from Washington Post owned the TV
stations in Florida. Those stations prevailed. So if a battle here,
what recourse does the stations have to fight and win?
Speaker 6 (16:03):
This is your point, So they absolutely do have recourse.
You just said, you know, they fought and they won.
So what would happen? First? First, there would be a
fairly lengthy process within the FCC. I just want people
to know. It's not like somebody says, you know what,
I think their license should be pulled and the next
day that's what's happened. There's first a complaint that's filed,
(16:23):
then there's an investigation, then there's a hearing before an
administrative law judge. You can you're entitled to due process.
ABC is entitled to notice and an opportunity to be
heard and to challenge what's being alleged before that administrative
low judge. Then you have the FCC voting. Then if
the FCC does vote to say, okay, now we are
(16:44):
taking this big step, we're revoking your license, you can
then challenge it in court. It would go to the
DC Circuit.
Speaker 4 (16:51):
Okay, So that gives a broader view.
Speaker 2 (16:54):
Yeah, but it also says there are limited options for
Next Star and Sinclair. Yeah, either they're to follow the
contract or they're gonna pull out the contract and then
get sued, and then it goes from there.
Speaker 4 (17:06):
It becomes a legal issue.
Speaker 2 (17:08):
And obviously that means Sinclair and Next Star lose money
because they're not they're not generating their ad revenue that
they would generate from Jimmy Kimmel because they got a
fill with something.
Speaker 4 (17:20):
I don't know, even if it's an infomercial. Yeah yeah, yeah,
and they can only run these reruns for so long.
Speaker 2 (17:25):
Right yeah, right, So I mean, yes, it is relevant
to say, yes, it is an employment issue.
Speaker 4 (17:32):
Next Star saying hey, we didn't sign up for this.
Speaker 2 (17:35):
He we think he's outside the boundaries of the contract,
you know, like, hey, iHeart, you need to get your
your your employee under control KFI because we didn't sign
on for this. But at the same time, there's still
a contract in place, and either you're gonna honor the
contract or you're going to take him the court and
see if you can avoid the contract. Next Star to
(17:55):
bring it home, Next Star and Sinclair. I've made the decision.
It's better to go forward than to go against.
Speaker 4 (18:04):
Okay, it's Later with mo Kelly.
Speaker 2 (18:07):
When we come back, we have the Runner Report with
Mark Ronner, who's going to be reviewing what Mark one
battle after another, all nearly three hours of it.
Speaker 4 (18:17):
It's that long. It's long. Okay, we'll get into that next.
Speaker 2 (18:20):
KFI AM six forty live everywhere on YouTube of the
iHeartRadio app.
Speaker 5 (18:24):
You're listening to Later with mo Kelly on demand from
KFI A M six.
Speaker 10 (18:28):
Forty talks about pontificates about pop culture, ron and Report
with Mark Ronner.
Speaker 4 (18:52):
KFI Later with Mo Kelly. It's now time for the
Runner Report with Mark Ronner.
Speaker 9 (18:57):
Tonight we're going to talk about One Battle after Another
from director and writer Paul Thomas Anderson. Here's some trailer
and it's similar to the one Mo played, but I
had to find one without any dirty, filthy job ending
words in it.
Speaker 1 (19:10):
Oh what I'm doing here, I'm creating a closed circuit.
Speaker 9 (19:17):
Very important to keep your cap shunted like this so
you don't accidentally detonate your charge.
Speaker 4 (19:25):
LSTA, I want you to create a show.
Speaker 2 (19:29):
This is now.
Speaker 3 (19:29):
It's not a revolution.
Speaker 4 (19:32):
The message is clear.
Speaker 3 (19:34):
I'll be seeing you very soon.
Speaker 4 (19:36):
Lot of I see you first.
Speaker 3 (19:42):
Every justice to the vigilante group known as the French
seventy five. We are here to award Steven long John
with the Medal of Honor.
Speaker 4 (19:54):
You have to understand and willow.
Speaker 3 (19:58):
He mom.
Speaker 4 (19:59):
We used to run around and his it's a real
bad they got hurt. Now they're coming after us.
Speaker 10 (20:06):
I'm sorry.
Speaker 6 (20:07):
I didn't ask for this.
Speaker 4 (20:08):
That's just how the cards were rolled out for me.
It's not cards. You don't roll cards. It's dice tech.
What is wrong with you? You're right, let's go. Okay,
that's plenty of that.
Speaker 9 (20:17):
When Paul Thomas Anderson's There Will be Blood came out
back in two thousand and seven, I was still kind
of processing what i'd seen, but it was deadline time,
and I had to file my review, and I said
it was some sort of instant American classic, and I
think it did turn out to be one. Also, I
walked around telling people I'd drink their milkshake for quite
some time after that. We're just gonna go with PTA
from here forward, and figure that you won't take it
(20:39):
for the Parent Teacher Association in this context, or that
kind of spongebath you take when you can't have a
real shower. You're not gonna go with PTA or one
second here technical there we go. I'm not quite ready
to say that PTA is the modern Stanley Kubrick, but
I think he and Christopher Nolan are the closest we've got,
and anything they do is worth seeing, even if you
(21:00):
don't immediately love it. I respected, but didn't love Inherent
Vice or Punch Drunk Love or Phantom Thread. But I
do love Boogie Knights and Licorice Pizza, and I think
one Battle after another falls pretty squarely on that side
of the ledger. If I have to tell you what
it's about, and I really think it's best for you
just to strap in for the ride and see where
it takes you. Here's what I'll say. It's about a
(21:21):
revolutionary played by Leonardo DiCaprio who belongs to a group
that rescues immigrants from detention centers, among other things. His
partner girlfriend, Old Lady Perfidia Beverly Hills, is played by
Tiona Taylor, and she's a fairly theatrical badass who's pregnant
and also attracts a military whack job played by an
absolutely jacked Sean Penn with the spectacular name of Colonel
(21:44):
Stephen J. Lockjaw. That's our starting point. The story spans
years into where the kid's now a teenager being menaced
by Colonel Lockjaw after the revolutionary group is more or
less scattered to the winds, and Leo's character with the
polar opposite dull name of Bob Ferguson is a hapless,
drunken stoner with a man bun and a bathrobe, and
(22:06):
he needs to save his daughter. I can barely even
tell you what kind of movie won Battle after Another
is drama, satire, comedy, some action and violences to all those,
and it's kind of nuts. I'm not the world's hugest
Leo fan, but I really admire his lack of vanity
in becoming this Putts, who's sort of like a cross
between his Rick Dalton character from Once Upon a Time
(22:26):
in Hollywood and the dude from The Big Lebowski. You
probably wouldn't like this guy if you met him. He's mediocre,
he's irritating, but he loves his daughter. And we got
to talk about Sean Penn as Colonel Lockdraw. Whatever you
might think of Sean Penn in the real world, well
I don't care. He's a fantastic heal in this movie.
And it's as much his movie as Leo's. PTA's channeled
(22:46):
his frightening intensity. It really is frightening into something I
think is sure to get an Oscar nomination, and not
a perfunctory one. Nothing about this movie is perfunctory. And
for a movie whose characters have such comic book names
like Perfidy of Beverly Hills and Colonel Lockshaw, it's an
actress whose actual name is Chase Infinity who stands out
is Leo's feisty daughter. So what if her name sounds
(23:09):
like a mid priced sedan. If you missed Moe's interview
with her, you can hear it on the later podcast.
I see that one Battle after Another's got something like
ninety eight percent on Rotten Tomatoes now, and you'd usually
take that with a huge grain of salt, especially after
last year's best of lists the Oscars and Anora and
Amelia Perez. But this ninety eight percent isn't the result
(23:29):
of a bunch of pretentious, out of touch hacks. One
Battle after Another is a quirky, idiosyncratic movie that is
the work of a distinctive filmmaker and an Ai could
never crank out something like it, and might be the
kind of movie critics think they should like, but it's
also legit good. It's also nearly three hours long, but
I will watch it again. When I compare Pta to Kubrick,
(23:50):
one part of that is that movies by both of
them are worth revisiting as time passes when you're at
different ages yourself. This one obviously reflects comments on stuff
going on now with the iced attention Gulag as well
as a preposterous secret white supremacist group, but there's lots
more going on than just riffing on current events. In fact,
there's enough going on for different people to find different
(24:12):
things in the movie. But one facet that appealed to
me was if you have to do something about things
you find unjust and intolerable, there's always a cost. There's
this scene with Leo getting loaded in his bathrobe watching
the nineteen sixty six classic The Battle of Algiers. It's
about Algerians fighting for independence from France, and he realized
instantly he's not that serious of a person. He wouldn't
(24:34):
fit in in that movie. Maybe he doesn't fit in
in this one. But this is where he is and
where his daughter is, and we all have to live
and act where we find ourselves. Character is revealed in
how we respond to terrible things, or don't respond, or
cheer the terrible things on and get off on him.
Am I being too opaque here? There's some Doctor Strangelove
level humor in this movie speaking of Kubrick, not just
(24:56):
from the loons and the racist you'd expect, but also
the revolutionaries and insistence on proper procedure, which Leo's stoner
character has serious problems with. It's a little more dry
than shouting. There's no fighting in the war room, but
it's still pretty funny. It's got a huge cast. Benicio
del Toro plays a beer Guzlin karate instructor Kevin Tig
(25:17):
from the old Emergency TV show pops up in a
small role. The movie's based on a Thomas Pinchon novel
which I haven't read, called Vineland and Inherent Weis was
also from Pinchon as well another one I didn't read.
I don't think one battle after another is your typical
movie crowd pleaser. But I also don't see how anyone
who loves movies could miss it. I'm still processing it,
(25:38):
but I think we might have another classic on our hands.
This one's going on my best of list, along with
Sinners and some others. There's yourn a report, Moe, are
you gonna go see this? I'm going to see it
this weekend without a doubt at a boy probably Sunday. Yeah,
be prepared as long as it is. It did not
drag at all for me. I mean the movie that
we talked about last week him. I was looking at
(26:00):
my phone clock about every two or three minutes. I
just wanted the hell out of there. I was not
doing this in this. It's just really a masterful piece
of filmmaking with a bunch of stuff going on. The sound.
The music by Johnny Greenwood is overpowering and really adds
to the thing.
Speaker 4 (26:17):
It's quite an experience. Now, do we have a couple
of minutes left over? No, you got time? Go ahead?
Speaker 9 (26:21):
Do you in our remaining time? I think we got
to talk about Alien Earth, which wrapped up this week.
Oh God, which it's eighth and I fear not final episode.
I have rarely seen a show that started off so strong,
as such a worthy addition to the Alien movies, only
to end up making me feel like I needed a
well a pta bath and yelling at the screen after
(26:42):
seven episodes of build up and letting the Zeno Morph's
loofs on the Earth. As the title promises, what we
get is a shift in focus to the handful of
young android hybrid people who may never know if they're
real or just copies of the kids whose consciousnesses were
put in the artificial enhanced bodies. They decided they're going
to run the show now, and it just stops there.
(27:05):
To quote John McEnroe.
Speaker 3 (27:07):
You can't be serious, man, you cannot be serious.
Speaker 4 (27:11):
That's exactly how I felt. You saw this, didn't you know?
I saw it?
Speaker 2 (27:15):
And I feel similarly, if only because and this is
partly my fault. I went into this thinking that it
was going to be like a limited series, one season
beginning middle and tell a very specific story which is
two years before the Nostromo and Alien the original movie. Instead,
we got the beginning of a story that they're going
(27:37):
to drag out, probably two or three seasons if they
have their way to tell, a story which is not
going to have anything to do with the first Alien movie.
And it seems like a cash grap It started off wonderfully, beautifully, accurately,
and then it did. It descended into something that was
meandering with no real direction and definitely no conclusion.
Speaker 9 (28:00):
It's dull when we agree, But you're exactly right about that.
And I think it almost would have been better if
the show sucked from the start, because it started off
so promising that the letdown was much much stronger.
Speaker 2 (28:10):
How can they not see that that ending was going
to be trashed and panned. I mean, how could someone
look at those seven episodes and then say, okay, we
got a code brown for episode eight here, we need
to do something, we need to reshoot something, we need
to rewrite something.
Speaker 9 (28:28):
Oh, it is a galactic code Brown, And I just
I want to know what happened behind the scenes, because
I've rarely been as infuriated without a show ended, except
for maybe the Lost finale.
Speaker 2 (28:40):
It was similar in that regard because it left you think,
like what it's over, and the way they set it up.
It was setting itself up for this big moment and clash,
and I don't want to give it away. If you
haven't seen it and you don't get it, you don't
get to see it. And it's almost like they want
to make it like it's some cliffhanger for next season
that we don't know that we're going to get and
(29:01):
we may not even care if we do get it.
Speaker 9 (29:03):
I'm okay if the show is euthanized. I don't need
another season. They have lost all my goodwill and now
I've vented. I'm not going to spoil anything else.
Speaker 4 (29:11):
We agree. Damn it, Damn it to hell.
Speaker 2 (29:14):
Kf later with Mokelly Live Everywhere on the iHeartRadio app
Speaker 5 (29:18):
As II and kost HD two Los Angeles, Orange County
more stimulating talk
Later, with Mo'Kelly News
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