MOTN Reviews: Halloween Double Feature - The Babadook (2014) & The Lighthouse

Wash and Mike G descend into madness with this psychological horror double feature! Which horror classic did we love more? Watch and find out! #MOTNReviews #HalloweenDoubleFeature #TheBabadook #TheLighthouse #PsychologicalHorror #A24 #HorrorMovie

Episode Transcript

Speaker 1 (00:04):
Welcome to the Nerdiverse. Go ahead, sit and listen to
the masters the old heads talk about which I love
the most video games, comments, movies, saying everything you need
to maintain. We got the nicetats straight out of the Etha.
Gonna need a drinking have to take a seat to
ex bang in mind and listen to the speaker. Mike
and the squad is gonna give you what you need
and please send in the question. Come and get some

(00:25):
answers to learn a couple of gusts from the matters.
With the special guests, we got the greenlanders glowing on
a chest. Yes, please sit back to relax because we
goodly hit you with them stole code facts and allow
me to beat the very first. But welcome to the
Masters of the Nerdiverse. Welcome back Nerdiverse for another start

(00:52):
studying inclusion of Masters of the Nerdiverse reviews where we
take a look at films, comic books, anything we wonder
if you we just do it from all spans with
the nerd of verse. I'm of course your hosts Mike
g Master of the nerdi Verse. With me, it's always
is the man we simply call wash. How you living
over there? Good sir, what a school.

Speaker 2 (01:14):
I'm doing well? Man. We are in the final runs
of the Halloween Spirit here. We got about three four
days left. So it's good to be here talking another
double feature Halloween feature during these times because next month,
I don't know what we talk about during Thanksgiving besides

(01:36):
Charlie Brown.

Speaker 1 (01:38):
It's all about Charlie Brown. And like cultural appropriation, I
don't make the rules. Shut up, and there's two things
to talk about. What you're eating and yeah, yeah, yeah,

(02:01):
well watch is absolutely correct. This is the second half
of our Halloween special here on matters the nerdiverse. I mean,
we are celebrating very specific movies that we've never done before.
Go back and watch our Romero DAWNA The Dead Day
of the Dead double feature. That was a great episode.
And here we're bringing it all home with two films

(02:23):
that you didn't think would go together, but very much dead.
It's a these two films is very like Spinach and
Art of Choke Dip, you know what I mean? Who
thinks of this stuff? Right? Who puts these two films together?
It's mad and Kannity.

Speaker 2 (02:38):
I have an answer to that question, mister g So
how did we get here? This Halloween double feature. We
had the spectacular Romero double feature, which I have to
tell you, I think I've heard like at least ten
Dawn of the Dead references since we watched that movie,
so you know, it's everywhere. I was just blown in it.

(03:00):
But how do we get here? Is exactly this? And
I would like to start the cast, not to take
it away from Mike G. But I will ask a question,
but after I provide the intro. So in full disclosure,
Mike G picked the Romero doubleheader, loved it, and for me,
with decisions that don't necessarily revolve around, you know, life

(03:23):
and death, I like to do things randomly, right, So
I this is not one, this is not two, this
is not three, This is many, many queries over the
course of two or three days asking GPT to find

(03:44):
some horror movies that would leave us feeling unsettled in
the coming days afterwards. So there was a range of movies.

Speaker 1 (03:59):
There was just weapon Channel you actively weaponized, and what's
the interview to silently attack us? I got it, got.

Speaker 2 (04:10):
You beautiful, the range of movies. But the Baba Duke
and the Lighthouse literally kept coming up, query after query,
time after time. So I said, you know what, let's
do it. Let's watch the Babba Duke in the Lighthouse.
I had heard of the Baba Duke, had no idea
what the Lighthouse was. But Mike, my very first question

(04:31):
for you for this double feature is were you unsettled
in the following days?

Speaker 1 (04:38):
Yes, but not the way the movie wants me to be?
How about that? I was unsettled, but not in age.
It's spooky. I can't be in my room. I was
unsettled as in, you know what I mean. I was
unsettled as in who thinks of this stuff?

Speaker 2 (04:56):
Man?

Speaker 1 (04:57):
Like? Like what corner of the psychosis? Do you come
up with? Either of these fos? I don't know. I
have so many thoughts and questions on both films and
how they fit together. I am at a loss for these,
for these movies, man. So yeah, I was very unsettled.
I'm good.

Speaker 2 (05:17):
I'm gonna consider that check GPT job done. You know
what I mean. I didn't necessarily give it any other
big preference than unsettled. So good to hear. I'm glad
to hear it.

Speaker 1 (05:30):
Absolutely So, we're looking at the Bobba Duke and the Lighthouse. Uh,
two movies like I said, come together in strange ways,
Spinach are to choke. Before we get started into our review,
as always, I would like to ask everyone to like
our content, subscribe to our channel, and to comment let

(05:52):
us know which one you like more. The Bobba Duke
are the Lighthouse. So before we get into the slides,
watch if you have any know you want to say
about the the impetus of this of this idea, Like
you said UHT GPT, take the will and it gaves
you the most horrid mix of all time. He gave

(06:13):
us this Halloween Spooks.

Speaker 2 (06:14):
It has been a few weeks since I have watched
both movies, and I have to be honest with you,
I am left with a feeling of what the hell
did I just watch? On literally about both accounts, So
I can't yell at check GPT, but I guess I
could have been a tad more specific in what I

(06:36):
was asking for. That said your intro of two films
that you wouldn't think go together. I mean, if you're
gonna have a double feature like this, this is one way.

Speaker 1 (06:51):
And so do it. You just want to feel freaked
out by the end of the night and just questioning
all things and looking at birds different and stuff man,
and yeah this. Both of these films are very unsettling
in very very very different ways, but also have reoccurring
themes that tie together that we're going to go into

(07:14):
at just as we digest these films. So getting into
it the first thing I like to do. As I
like to do, it's like to start at the beginning,
the very beginning. And I call this a call to
the classics because both of these movies have very I
would say, we're going to go into it. On another side,
both of these movies have very I would say old

(07:37):
universal vibes to them, you know what I mean, like
the classic The Mummy, you know, Dracula nineteen thirty one, Frankenstein,
and I can see the Bobba Duke been right there
with like the you know doctor Kali Kligari, you know
what I mean, and these classic horror icons and that

(07:59):
can even be said by the Lighthouse. There's some imagery
in that that is very classic movies. Do you feel
the same way when watching either of these films?

Speaker 2 (08:08):
I had not considered it at all, and I have
not seen the Slide Deck, folks, so I don't really
know what's coming this to me is a good poll
because now that you mention it, some of the imagery
in both these films harken back to that old school
not only not only not only like feel, but look

(08:32):
like like with the the actual look and shot. And
this is the first thing I was gonna say. I
probably is gonna probably save it for the end. But
you know what, these are two great films if you're
a film student of any type and you're like, yo, bro,
I want to do some like horror Halloween stuff as
a film thing, these are two like good films to

(08:53):
put together because their look is so unique, and they're
both beautifully isolated isolating movie so they're shot in very
small spaces. We don't really leave the spaces that often,
and thus giving a very claustrophobic feel. So much like

(09:16):
you know the old old Bramstroker Dracula over there, bella
bella bello. Like you think about the classic shot of
him walking in from the dining room. That's like, ah,
I mean that's a small stage that they're doing all
that work on to make that classic film.

Speaker 1 (09:34):
So yeah, very good call out in regards to the
claustrophobia that both of these films films bring to the
table in their own way, and in thinking about it,
both of these films almost feel like stage plays, you
know what I mean, Like you can very much have
this in theater. The Lighthouse is a single location film,

(09:56):
so that could easily be a stage play, like I'm
in Summer Night's Dream are even the Babaduk is very
claustrophobic toy. There's only like three sets. It's the school,
it's the house, and it's their sisters, and that's pretty
much it, and that can be dressed up. You know.

Speaker 2 (10:12):
We don't spend a ton of time at the other
locations outside of the house. Most of the time is
spent at the house. So I'll also go back to
the classics, because after walking away from the films, it
took me like two days to figure out what type
of films I was watching, and so like I had

(10:33):
to harken back to the classic Madness films cause it's
like what type of When I have to get on
this podcast and talk to the Nerdi verse, what can
I tell them? Like what type of Halloween movie is this?
And these are the cents into madness in not the

(10:54):
prettiest way. Imagine rumbles, So yeah. It harkens back to
things like The Shining with Jack Nicholson just going stir
crazy and by the end you're like, ah, yeah, yeah.

Speaker 1 (11:11):
Both of these. And and I was even up until
this recording session, I was like, are these horror movies?
Are these horror movies? And you don't get films like
this this often, Like you mentioned great call out in
regards to The Shining, Right, is that a horror movie? Not?

Speaker 2 (11:31):
Yes?

Speaker 1 (11:32):
No, is It makes me think of Jacob's Ladder where
it's just centered into madness and it's like this existential
dread that just keeps the movie weighed down and the
pressure on even when there's nothing happening. And we'll go
into the deeper themes of each film, but one unifying

(11:53):
things that they have is that this is almost it's
almost Lovecraftian in its cosmic horror, like dealing with uh,
with forces that are beyond the scope of our heroes,
of our heroes and the people we have to sympathize with.
They're facing things that they can never defeat, you.

Speaker 2 (12:12):
Know what I mean. I am very excited for this
conversation because we haven't touched these we haven't spoken about
these movies and when you mentioned like love crafty and
it's like I have a feeling that we're both gonna
have feelings not about the same movies though, you know
what I mean, And they're gonna kind of coalesce, but

(12:33):
we'll see what happens. I'm very excited though. I think.
I think that this is a sneaky good double feature
after I had to walk away from it for a
minute because right after watching like back to back, I
want to say, within like twenty four hours of each other,
I was I was. I was frigid. I was like,

(12:55):
oh man, I.

Speaker 1 (12:56):
Don't yeah like I was. I was like, I'm happy
that we pushed off this recording because right after it
would have been a completely different vibe. I would have.
I would I was pissed off watching these movies, like
what did I just watch? You know it? I needed

(13:17):
a week of like, you know, decompression to let myself
be like, all right, I get it, you know what
I mean. But these movies aren't comfortable, but they are good,
so you got to It forces you to eat yours,
your Brussels sprouts because they cooked them just right, you
know what I mean. Even though it's like el Brussels sprouts,
you know what I'm saying. I want to talk about

(13:41):
a kind of a modern phenomena which I like to
call the A twenty four effect, and it's pretty much
ever since the twenty tens, A twenty four, the makers
of Lighthouse, Midsummar and one of my favorite cars of
the last ten years, Hereditary, I've kind of had this
chocold on horror, hearkening back to a more simpler approach

(14:05):
of terror and not necessarily gore. You know what I mean.
Horror has kind of pulled away from the ski masks
in William Shatner masks and claw hands. So what is
your thoughts, wash On? Do you feel the A twenty
four effect has been a benefit to horror or do
you wish for the days of sloppy slashers and monsters

(14:28):
under the bed.

Speaker 2 (14:29):
I'm not quite sure which movie we have coming up first,
so I don't want to kill it like like the lead.
But as we're going into the Lighthouse that opening shot,
I was questioning my decisions. I was questioning chet GP's decisions.
I was questioning the next two hours of my life
and took A twenty four popped up on the screen,

(14:52):
and then I went, you know what, at least you
know it's good. I'm at least in okay hands, you
know what I mean, I'm least in okay hands. I
know that there's gonna be love and some attention put
behind this. So uh yeah, credit to A twenty four.
I have not seen their list of film like they's
just blown up from the first you know, twenty ten,

(15:15):
twenty twelve, Midsummer and that type of thing. They have,
you know, a roster of fifty sixty freaking movies, some franchises.

Speaker 1 (15:23):
So yeah, they remind me of like the explosion that
Blumhouse had, you know, the whole James wand you know,
like conjuring push that we had like in the two thousands.
This was like twenty ten's was all A twenty four.
It's like, okay, now we're the big dogs giving you
the witch, you know what I'm saying, which is an

(15:44):
excellently shot same director Robert Eggers, who also he's the
guy who also did in asparrat To, so so it
kind of starting to kind of see the way he
likes to operate, you know what I mean. And A
twenty four to us to draw these type of directors
who do have a bit of a different kind of

(16:04):
cinematic eye and aren't really putting up the big Bucks
where there's a meme every fifteen seconds and we got
to feed the algorithm machines. These these seem like works
of care, like you said, works of consciousness.

Speaker 2 (16:18):
Well, you know, and not as the horror guy, you
know what I mean. I haven't even seen Midsommer. I
just know about it, right, And I saw Hereditary like
at a friend's house while we're drinking and stuff is
going on in the background, that type of thing. But
I can say for this film with Lighthouse, I mean
someone's done their homework, like someone has watched Hitchcock, you

(16:42):
know what I mean, someone has analyzed Hitchcock and went, yeah,
I kind of want to do this kind of thing
and put it out there. Because this is a twenty
nineteen film for the Lighthouse, this is relatively new. Looks
like it could have been shot in nineteen sixty.

Speaker 1 (17:00):
Three, nineteen thirteen, and nineteen thirty five, you know what
I mean. Absolutely, So I think you nailed it. Wash.
We're going right into the Lighthouse a call to see
and you know, we get that opening shot of them
just being you know, kind of marooned on this island

(17:22):
now that I think about it, this island of self
where we have our young main character of Robert Pattinson
and it's surly disgusting, you know, you know, superior in
William Dafoe. And this movie just oos this atmosphere. It's
like this movie like just pulls you in immediately and

(17:45):
doesn't let you go into the absolute end of it.
I wanted to get your thoughts just and this is
our time to talk about in general, the plot, characters,
you know, themes. So give me let me know what
you think about the Lighthouse into itself.

Speaker 2 (18:00):
Well, I'll tell you what. And this is a fun
little fact that you didn't know. But you know, I
used to want to work in a lighthouse. I kind
of thought that that would be a killer job. Problem
is is I don't swim. Next problem is is I've
now watched this movie and I want to work. Yeah,

(18:20):
we're kind of done with that whole dream like Skyrim
had brewined, you know, Skyrim like made it great and
now it's like, uh so, at any rate, when we
talk about this film from open the close is a
master class and acting master class in acting man like

(18:41):
I these were some long days on set, like putting
out the emotion that these guys had to put out
to get some of these shots correct and right. So
the first thing I want to do is shout out
like both Patterson and the Foe they freaking nailed it.
For whatever, For whatever this is, they nailed it. The

(19:02):
next thing I want to say is very unique concept.

Speaker 1 (19:05):
Man Like, I never thought about it, Like you tell me,
you know, the madness.

Speaker 2 (19:15):
With the fog horn going off every three minutes. I'm
extremely sensitive to sound and noise and things of that nature.
So that fog horn was with me the entire film.
Every time it went off, I was like, oh God.
And it's like, can you imagine with the waves crashing,
the fog horn going off, Patterson going through that work

(19:37):
daily and it's like, yeah, I don't feel well today.
It's like you're getting out of bed. No, I don't
think so, I don't know I'm gonna do this today.
And Defoe did not. And that's that's what's awesome about
the film is you get that feeling from Patterson, and

(19:58):
that's what we would all say. But they did not
allow the Foes character to allow that to allow any
type of that because the faux was team no Chill Bro. Yes,
team no chill.

Speaker 1 (20:11):
Dude, no chill. I'm gonna get out there, Team no
damn chill bro. This was one of those films where
I this is around when this came out. This was
around the time that we heard that Patterson was going
to play Batman, and everybody was like, Oh no, it's
gonna be a shimmerye Batman. It's gonna be glittery Batman.
I saw this film was like, no, he got it, Nah,

(20:32):
he has it. It's fine, It'll be fine. This kid
is out of control. This young actor has paid his
dues and quietly became a ridiculous like toward a force,
you know what I mean. And like you said, William,
the Foe's character was so relentless it did give him
opportunity to relax. Like every waking moment, the Foe was

(20:55):
on his neck, you know, ordering him around like some
ragged ceased sea dog, you know. And the Foe was
just such I mean, Patterson was such a champ about
this film because you could see him being pushed to
his limits acting wise, you know what I mean. You
could feel him being pushed to his limit, and that's

(21:16):
rare to see on screen. You know what I'm seeing
someone like there's the scene where they're drinking and he
has to force himself to dance, and that is so uncomfortable.
You know what I'm saying. It is like you can
see him like powering through it and get you gotta
respect that, you know what I mean. It's such a
like ballsy approach.

Speaker 2 (21:35):
You know, I'm glad that you mentioned that because I
you know, I wish I took better notes while I
was watching the film, but then it would take me
out of the film. But one of my notes was, guys,
I'm not a big Robert Patterson batman fan. I said
it here right fair enough. I was like, holy crap,
he would have made a fantastic joker. This dude can

(21:57):
play back crazy insane in any day of a week
he wants to. So I'm glad that you brought that up.
But to see now now when you mentioned that, it's like, oh,
I get what you what you mean because I hadn't
seen this Patterson. Yeah, this Patterson something else. When you
can sit in the room with you and the foe

(22:17):
and that's it and hold your own, I guess against
a crazy Dafoe when Dafoe is doing the foe, when
the foe gets to do like what the yes, mo
man like you?

Speaker 1 (22:35):
Yeah?

Speaker 2 (22:36):
What makes something I'd like to go to is the plot.

Speaker 1 (22:44):
Of the meaning? What is the plot? I mean, I'm
gonna I.

Speaker 2 (22:53):
Have that question. I have questions. Maybe you know, maybe
you don't.

Speaker 1 (22:56):
Let's figure it out together.

Speaker 2 (22:58):
Let's figure it out first. First question, was any of
this real?

Speaker 1 (23:03):
That is the point of the lighthouse. I think the
point of the lighthouse is that you don't know if
it was real or not. You don't know. It's very
Jacob's ladder. Where are these the last moments of a
dying man in the forest, the forests of Canada, wherever
he was, where he had that incident where his where

(23:25):
the guy just fell into the fell into the lumberd
disappeared and that was that, you know? Or was he
actually being or was he cursed by the sea, by
Besidon himself and by William the foe. So there's moments
where we go from the natural to the supernatural varies
and it kind of calls these moments like, Okay, what's

(23:47):
the moment from the natural to supernatural? Is when he
killed the goal. It's bad luck to kill a seabird.
He turbo killed a seabird. It's at the moment of
supernatural William the Foe was so upset that he didn't
like his food. He literally did the most epic curse
of all time, calling upon King Poseidon himself to strike

(24:07):
him down. And he was not joking.

Speaker 2 (24:09):
Bro.

Speaker 1 (24:10):
You can see it in the Foe's eyes that he
meant every single word. And it's like, was that the epetus?
Was that the moment of a supernatural We don't know?
Or was all of it a figment of this young
man's imagination. I guess at the end of the day,
it doesn't matter, because it was a way for Patison's
character to confront his guilt and to confront his his

(24:35):
lifestyle and to confront what he's doing with himself. It
really was just a deep dive into his own psyche.
Using the reality or fiction at that point, it didn't
really matter.

Speaker 2 (24:48):
You see, The last shot bothers me because if we
look at and I won't give it completely away, but
Defoe's gone, the lighthouse is gone. As we creep up
to the ending bells of the movie, that the time
jump really messed me up. When they're waiting for two

(25:10):
weeks and then the foe is like, it's been more
than two weeks. It's been like six months you've been here.
And then I was like, what is happening right now?
Like I felt a little out of swords with what
I was watching, and if it was really not something

(25:31):
I'd like to bring up because you've eaten my food,
thefoe losing his crap like that, Mike, Mike, G. You've
had my food. Man, you've had my food more than once.
If next time you're eating my food and you're like, yeah,
your food actually is pretty bad, you know what, I
may curse you. Like Besides, I was like this is

(25:55):
great and that was a fantastic curse. And then Patterson's
like all right, I.

Speaker 3 (25:59):
Like, damn, man, fine, the food's all right. God damn,
he's looking He's looking at the whole time, Robertson just
looking up at him like, bro, are we still going
all right?

Speaker 2 (26:14):
Man?

Speaker 1 (26:15):
God? Damn damn man. Yeah, food's good.

Speaker 2 (26:17):
All right. When you think about they had to shoot
that scene like eighteen times, and you know, there's a
lot of one shots in here. There's not a whole
lot of editing necessarily going on in this film. Man.
That's what leads you to to just long days man,
Like you know you do that as the foe fourteen times.
It's like, I'm done shot.

Speaker 1 (26:38):
It's the shot. It's it's the uh the Stanley Kubrick
school of directing where I'm gonna beat you into submission
until I get the shot I want. Then these shots
have to be absolutely perfect. The lighting has to be perfect.
This film was This movie was filmed by natural light only.
There was no set.

Speaker 2 (26:56):
I didn't know that.

Speaker 1 (26:57):
Yeah, it was only lit by candle. It was only
lit by actual day glow. It was only lit by
the lighthouse itself. So they had to get these shots
turbo right. And if you mess up a scene, that's
messing up everything.

Speaker 2 (27:11):
Some of the lighthouse scenes become epically beautiful in that
type of context of like how did you pull that off?
And can we talk about the Mermaid?

Speaker 1 (27:23):
Uh? Yes, actually yes, we can go into that in
this light heel here where I'm going to talk about
the isolation versus guilt and what is it really that
Mermaid was kind of a byproduct of the isolation, you
know what I mean? Like what's the Mermaid this? You

(27:44):
tell me? Like, what are your thoughts of the Mermaid
in regards to this film?

Speaker 2 (27:50):
I don't know. I get that, I get the fact
that the Mermaid represents something. I'm just not sure what.
And the reason I say that is because when we
look at the film and the Halloween horror part of
the film, like this is a low key monster film.
What's that monster? The the the one with the arms

(28:13):
that starts with a C? Dang, it can't remember?

Speaker 1 (28:19):
Is it a sea monster? No?

Speaker 2 (28:23):
Like, like it's not the chuck of bus, but it's
it's like du like the monster start. The only real
shot we get of it when it's just going across
it kind of looks cadulhu ish in its representation. So
I wasn't sure if the Mermaid is the representation of

(28:45):
the monster. If the monster was, I mean something fried
that dude? We didn't like the What fried that dude?
I don't even knowledge.

Speaker 1 (28:55):
It was truth? The light of the lighthouse was truth.
He wasn't ready to admit the truth, which is why
won the folk guarded it so heavily. This is my truth.
Get you're not ready for the truth in the in
the Mermaid was a just was his only respite from
his own madness, because the only time you ever reporlled

(29:17):
that mermaid, I was about to when he was about
to go hard in the paint bro when he was
about to chuck his luck, you know what I'm saying,
you know, and those weird scenes where he had he
found the idol of the mermaid and it made it
really had had.

Speaker 2 (29:30):
The mermaid out on the sea, didn't that mermaid actually
like save his life when he found that mermaid in
the sea. He was about to like die and he
like stumbled around some rocks, sees the mermaid and then
he like climbs up and you know, he's out of trouble.
He's not gonna die again. So I again the Mermaid
kind of threw me off and confused me a bit.

(29:52):
We didn't get a lot of shots of monsters. This
movie is more madness than monster. But there is monster there.

Speaker 1 (30:00):
Chris monster. There no worries and even when he's looking,
he's trying to peek and see inside the lighthouse. You
see tentacles. You see like like you said, Cuthulu, like
you know, squid like tentacles where William the Foe is
why why is William fall up there? But you know,
booty butt naked, I don't know. It's part of the truth.
And you know what I mean that that that's that

(30:22):
that ripping off of everything to reveal the truth. That's
that's what I saw is the metaphor when he finally
got the truth, he died because the truth is you're dying. Bro,
we took.

Speaker 2 (30:33):
I didn't get any of that. But when you say
it like that, it actually makes more sense that so
is the is the foe just the figment of his imagination?

Speaker 1 (30:45):
It's two different Okay, do you want to believe it's
real or do you want to believe it's a figment
of the imagination, because they both have different points to make,
you know what I mean.

Speaker 2 (30:55):
I was taking the lighthouse as like looking at it
through the lid of real, even with real monster part
until that very last shot, because with the lighthouse actually
being gone and him just being laid out and that
happening for me, I was kind of like, did he

(31:18):
just like wash up on the beach somewhere, you know
what I mean? He can very could well be in Canada.
I hadn't considered that, but that is more kind of
where I was left with it, going, huh, I'm.

Speaker 1 (31:29):
Not sure, because towards the end, where William to Foe
is barking like a dog and you start seeing the
Patterson character character gain more control of that situation, William
to fold just very slyly says, what if I'm just
a figment of your imagination as you're wandering aimlessly in

(31:50):
the forest after you've done that horrible thing that you
won't talk about. What if I'm just that you know,
there's already there's already a distortion of time, already a
distortion of responsibility. He's not even getting paid for doing this. Well,
the folk cut his cut his wages man because he
because he kept messing up and slipping up. According to

(32:10):
William Lafoe, who was this disgusting version of himself, you
know what I mean. So it's really I see this,
and it wasn't until the end of the film where
I realized what's actually happening. We're inside of a madman's
mind palace, and this was the destruction of his mind palace.
At the end of the movie. It shripped everything away
and he's just dead, folks.

Speaker 2 (32:32):
Very good conversation. I'm interested in what you have to say,
put in the comments, what is this real? Not real?
I'm very interested because I didn't I hadn't considered anything
Mike is said. And now I have to think about
this movie again for another freaking three days, which you know, honestly,
I'm not cheer. I want to live with the lighthouse
another three days. I was looking forward to letting all

(32:56):
of this go.

Speaker 1 (32:58):
Happy Halloween. You allowed the robots to choose this, Yeah,
I did. I did.

Speaker 2 (33:07):
They didn't do a bad job. This is a great
This is a great, maddening film. If you are looking
to feel like I guess, unsettled man hopeless.

Speaker 1 (33:23):
There's a hopelessness to this film where it's like Robert
Pattins's character never really had a chance to escape the
situation because he was the situation. That's why I like
to think of it like isolation. It's just real. It's
just someone losing their mind just due to the isolation
of the situation. Time is running into itself because you're
doing the same thing every single day. Are just a

(33:46):
madman's imagination running wild due to the guilt of killing
his friend when he was working as a lumberjack in
the wilds or forever. So it's like, if it's real,
it's because he was, you know, he got cabin fever
and killed his superior and died to the curse of

(34:06):
the sea. If it's fake, it's all in his head
and none of this has ever happened, and it's just
him dealing with the guilt and grief almost of that
event and taking that man's name because he even said, yeah,
I didn't have nothing going. That guy had stuff going.
I'm taking his name now I got stuff going. No
one's ever gonna hurts him. It's nineteen thirteen. There's no investigation.

(34:28):
Bro bro gone, it's me.

Speaker 2 (34:30):
I'm we're logging nineteen thirteen. Like, nah ah, he's sawn now.

Speaker 1 (34:37):
He fell, he fell into the infimate. You go get him.
I'm not gonna go get him or no one saw it. Yeah,
I'm Douglas now. Yeah, but to the other guy, all right,
and then he walked into the woods never came back.
I'm Douglas now, and I have everything that comes with
Douglas's name. Isn't that cool? I could do anything now,
And that guilt of taking a man's identity tea in

(35:01):
living with that. Maybe he never got over it.

Speaker 2 (35:04):
Stayed with him and carry it with him. Well, either way,
I gotta tell you the Foe and Patterson, if they
got together again in a movie, that's something i'd want
to see. I'd prefer to see something not quite as
enclosed and drunken. Note because.

Speaker 1 (35:23):
Just put thee put the phone in Batman, dude, just
put the Foe in Batman, Batman two, Batman. Put him
in Batman two. He can even be the Joker. The
Foe would be an exit. He's always been my fan
cast of the Joker. Put him as the Joke. I
don't care how old he is. He'll figure it out.

Speaker 2 (35:44):
Yeah, they ain't gonna have a problem with the.

Speaker 1 (35:48):
So we're gonna switch gears to another movie that honestly,
I can't tell you if it's real or not.

Speaker 2 (35:56):
Which which film did you watch first?

Speaker 1 (36:00):
I watched The Lighthouse first.

Speaker 2 (36:02):
Ah, I went to Baba Duke first, then Lighthouse. H Yeah, okay, okay.

Speaker 1 (36:08):
And I want to tell you just right off the
bat we had this conversation on MLTN episode four hundred,
I believe, and I said there was a movie where
I was just so irritated with it that I just
turned it off and had to abort The Baba Duck.
Is that movie? The Babba Duck was so grading on
me that I just stopped and said, I could be

(36:31):
doing other things with my time. You know, I could
be reading a book, I could be writing a love letter.
I could be rearranging my sock drawer. Why why am
I putting myself into this pain spiral? That is this movie?
And I had to sit with it, and I literally
watched the very very end of it right before we

(36:51):
were going to review with the day before. So this
was that film where I literally just checked out.

Speaker 2 (37:00):
I thought it would have been the other one. I'm
kind of surprised.

Speaker 1 (37:06):
Don't let him in, don't let him in, don't let
him in. Uh, what is this movie about?

Speaker 2 (37:11):
Wash trauma? Mad trauma leading to madness, justifiable trauma? This
is not that podcast, folks, So don't yell at me, right.
I don't know if it's justifiable trauma. I do know
it is trauma. I do know it did go to madness.

(37:31):
And as far as what this movie is about, this
is a weird, freaking movie. I remember when it came
out in twenty fourteen, everyone was raving about this movie.
After experiencing this movie. I'm not sure why people were
because they were raving about it. This movie is everywhere

(37:53):
twice bread.

Speaker 1 (37:54):
Yeah, I don't know.

Speaker 2 (37:56):
I don't remember what was going on in twenty fourteen.
I don't find it as that right. I find that
it is what it is, but I don't find it
is that. The first thing I'm gonna say, I like
your word grading. Both these movies great the nerves. And
so when I think chet GPT took unsettling for grading,

(38:20):
you know what I mean, because this movie did great
on me and hold on because I wanted to grab
this kid's name. God, I hope it's here. Uh uh
Noah Weisman, Dude, you you need a golden globe or something. Man,

(38:42):
get this kid some award, because if there is not
a more annoying, freaking kid screaming every thirty seconds, man.

Speaker 1 (38:56):
Here's it. Hurt hurt used the reason I mentally checked out.
I had enough. I don't got kids, bro, I don't
have to deal with that at a daily patent. I
don't have to live in that world. I could just
turn it off with a light switch. There's somebody your
real life dealing with that right now in real life.
And I pray for them. I pray for their peace,
I pray for their sanity. So why by subjecting myself

(39:19):
to that real life horror of having a child that
is unfortunately, you know, unruly and not necessarily unruly, but
just so intricate, so eclectic. So what's the word I'm
looking for? So eccentric that it takes patience to model

(39:39):
that child who's probably going to grow up to be
a damn genius. So you mentioned Grading Bro, and both
of these movies do a very good job at attacking
you sonically. These do not let up sonically, it.

Speaker 2 (39:56):
Stops.

Speaker 1 (39:59):
So on top of these scary imagery and the things
in the dark, there's constant sounds that are going on
that trigger you into uncomfortability. You mentioned it with the
foghorn in the Lighthouse, constantly going off, constantly going off.
In this film, there's always this child just screaming at

(40:20):
the top of his lungs, mommy, mommy, mommy, pulling on
her shirt every ten seconds about something, and you feel
her disassociation scenes. There are scenes in this movie that
are so real that I don't like them, right, I
don't like I didn't have fun watching this movie, Like

(40:41):
her laying down to go to sleep. In the second
she hits the pillow, the sun comes up and she
just raises back up and the kid is there standing
on her face like a damn golden retriever. I'm like,
that is so real. You don't feel like you're rested, right,
you can't. There's no there's no universe where you get
to rest, bro. And those scenes are more scary than
the creature on this thing, because that's real, that's real life.

Speaker 2 (41:04):
Yeah, yeah, yeah, I'm not disagreeing. I'm not I'm not disagreeing, man,
I'm not at all. I felt that the second.

Speaker 1 (41:13):
Problem that is an olde adult problem that.

Speaker 2 (41:17):
I don't like a game in the filmmaking scheme of things.
This is one of the great reasons to watch this
if you are like a film nerd type of thing,
because it does such a good job of being such
a simple film with such a simple premise, with a
fairly simple script of mommy, mommy, mommy, Yes, yes. But

(41:41):
after thirty I want to say, it was twenty minutes
and I thought the movie had been on like forty
to fifty minutes, and like I paused it and I
was like, it's been like twenty three minutes.

Speaker 1 (41:52):
It felt like pelw torture watching this movie because I
just feel for this woman who just didn't even the
moments that the quiet moments where she is like trying
to self pleasure and she can't even have that. The
kid is just on on it all the time, all
the time, and it's like this woman can't have a minute,
she can't have a literal minute. And it was so

(42:14):
grating that I was like, yeah, just go crazy, you're good. Yeah,
I would go crazy too, I understand. Yeah, Yes, that's
why he's such so excellent in this movie. And that's
why I need it the week to chill, because immediately
off it, I was gonna tear this movie up. This
is a waste of time. It's annoying. I can't handle it.

(42:36):
But that kid, I don't know what he's done since
this film. I don't know if he's he's probably six
foot seven, and you know what I'm saying, you know,
probably working on Fast and Furious. You know how these
things go. But and it's a great actor, but that
kid stole the movie because you hate him. It makes
you hate him and then you turn around and you
root for him when things flip. You know what I mean,

(42:58):
You're rooted, and you're it almost is un It is
unfair how it tricks you to feel that way. It
tricks you to root for him when he has a
little pop rocks and he's being annoying and he has
he's hyper fixated, life is not what it seems and
all that crazy stuff. And then when the ish hits

(43:18):
the fan, those little tricks and little goofy things and
heterosyncrasies save his life, save his life, and save his
mother's life. So it's like you want to hate the kid,
but it's so manipulating this movie. It's a manipulation of
the audience. And I don't know how to feel about that.

Speaker 2 (43:40):
What is the babbit Duke?

Speaker 1 (43:42):
The babbit Duke is an This is another reason I
don't like this movie, because this movie is about grief.
It's just about grief. It's about a woman's grief that
she was never able to have time to process because
the grief came with a gift, and most time grief
comes with a gift, the gift of her baby, and

(44:06):
she resented that child because she wanted her husband and
not the baby. The love of her life was killed
in an accident. Right, So the Babaduk is a metaphor
for her growing grief and churning grief that was never
dealt with until it literally manifested into a dark spirit,
not just on herself but on her entire house. And

(44:29):
that dark spirit of grief will never leave you. You have
to deal with it, you have to confront it. And
the more you push away, the more you don't let
it in, the more it gets in. And this movie
was too real for me personally about people who can't
process grief and turn into monsters. And that's exactly what

(44:51):
she did. She did not process her grief and she
let it start to soak in that madness, and that's
when she became the Babadok.

Speaker 2 (45:01):
That is beautifully said as far as the overtone of
what this movie is about, and it really does will
help make sense for people who get to the end
of it if you get there, because if you turn
it off thirty minutes in because the kids like wearing
you out, I'm not gonna get mad at you for it.
I get it right. There is a completion to the movie,

(45:23):
and I do think it pays off. But when we're
talking about the horror film aspect of it, the repopulation
of this character, the relentlessness of this character once it
gets into her. I like how you said that she
manifested it because it explains the ending a lot better

(45:46):
when yeah, we'll talk about that another time, you know
what I mean, Because in the context, I'm like, what, like,
huh huh.

Speaker 1 (45:55):
But when you say get it, if you don't get it,
you won't get the ending. I didn't get the ending
until my life event, and now I get the ending, right.
That messed me up. That really messed me up, because
it's like I didn't get the ending with the whole
bowl and it's still there and whatever, and now as
living life, I'm just like, oh, yeah, this is grief.

(46:17):
This is just a mother's grief and how you deal
with it, how you not deal with it. And let's
just say this is a monster. Let's just forget the
whole metaphor the Bobba Duke. Someone dropped this on their.

Speaker 2 (46:29):
Porch because there's a book, you know what I mean.
They're reading the book Bobba Duke. Bobba Duke.

Speaker 1 (46:38):
Duk Duk, Yeah, Duck, duck.

Speaker 2 (46:40):
Duck, and it's like, so, you know how that book
gets there. How they choose to address that, I don't
necessarily know, but I prefer to go with your manifestation
of this entity into the household. And the kid caught
win first the long freaking time ago, and was like, yeah,

(47:02):
this isn't gonna be good one day.

Speaker 1 (47:06):
Mom, you need to Mom. Yeah, the kid was.

Speaker 2 (47:10):
Downstairs like living with his father too though, you know
what I mean. So the kid's working through his whole
issues because she's working through her whole issues. And you know,
from the get go it's it's a family that needed
help from day one that obviously just didn't get it.
But yeah, it's the Babba Duke itself. I've found to

(47:34):
be a relentless, dark presence that even when the movie completed,
somehow was still there.

Speaker 1 (47:42):
And I was, yeah, you have to deal with it,
you have to confront it. In the son sensed that
in his mother very before she did. Right, the Babba
Duke was there before the book got there. Let's say,
let's put it like that manifesting in festering and growing.
And the problem is is that they were so isolated.

(48:03):
Once back to isolation because the child was so unruly.
Nobody wants to deal with their situation. I'm another major
character in this film. It's her sister, which really just
over it, you know what I mean. She's just over
that entire vibe and the son can't you can't take
the kid nowhere because the kid is all over the place,
you know, hurting other children and being disruptive, you know

(48:24):
what I mean. So it's further isolating her from having
a normal life because the seed of her guilt is
growing as much as her guilt is. You're right, the
child is a constant manifestation of her guilt that she
of her grief. Rather Yeah, the child is a manifestation
of her grief. And every time she looks at that boy,

(48:46):
she sees her father, and it just builds the grief
fevered war. So it's a horrible cycle.

Speaker 2 (48:52):
I tell you. One of the questions I've asked myself
over the last two three weeks is I there could
be a Baba Duke too, because I'm not sure this
family's okay, you know what I mean. Like it when
it flipped and it went bad, you know, it was
actually it was actually entertaining a tad bit scary tense,

(49:15):
like you know, I thought that they did a good
job with it. But when it ends the way it does,
and when you sit back and you digest what you've
watched and you take that minute to get away from
the kid and like that constant yelling, and you're going,
how is this family doing, Like if we look back
in on them in like fifteen years, how they do it?

(49:37):
And it's like, oh, right.

Speaker 1 (49:39):
Yeah, no.

Speaker 2 (49:42):
No.

Speaker 1 (49:42):
One of my favorite lines of the movie is that
the boy goes this is at the end of the
film where they're digging up earthworms, right, and the boy
is like, is he gonna be here?

Speaker 2 (49:52):
Mommy?

Speaker 1 (49:52):
And she said, and shed you understand when you're older,
don't worry about it. Now, I'll take care of it.
Can I feed him yet? Mom? No, you can feed
him later. And there's your babaduk too. Because grief is weird.
This kid hasn't begun to fill the grief of the
loss of a father he never knew, so bad mother
to kill him multiple times with a butcher knife. She

(50:15):
levitated above his bed.

Speaker 2 (50:16):
Bro after he told her, Yo.

Speaker 1 (50:20):
Chill out, my mother, your mother. You know what I'm saying.
It it's just it's just assault, sonic assault that these
films break you down. And they beat you up. That
scene where she's in the car and the kid is

(50:41):
literally screaming at the top of his lungs. She has
a psychotic episode and sees the Baba Duck because he
starts having a seizure because he's going so hard, and
she literally crashes her car into another car and just
just just checks out. She literally blacks out because she
sees the Baba Duck. Of course, the iconic scene where
she's in the bed bah bah du du duh and

(51:06):
you see him in the corner skittering almost like a cockroach,
unkillable cockroach. Right, he can't be destroyed both movies.

Speaker 2 (51:14):
That is one scene that is actually staying with me
as a horror scene. I have had some nightmares in
the last three weeks. These are the only two horror
movies I've seen, so I'm assuming they had something to
do with it recently. So yeah, that that I haven't
quite got over. That scene of the shadow just coming out,

(51:34):
because it's like, damn, bro, Like, if you're having a
bad night, you can imagine anything in the corner, you
know what I mean? Hey, once the mon starts going.

Speaker 1 (51:45):
Bro, i' I have you know, not to you know,
don't let it in. But I get sleep paralysis. Oh
you ever get sleep paralysis? You can't move, but you're
conscious of what's going on, and sometimes a friend is there.
This I'm not bullshit. I'm telling you hand of God,
that you have steep paralysis, you will be there. You

(52:07):
can't breathe, you're just kind of locked in your own body,
and you have to force yourself out of sleep, joke yourself.
And sometimes maybe one out of one hundred times there's
a friend in the corner that's like, what's up? And
it's maybe a demon, maybe something in your brain, maybe
some kind of dark extential force, and you have to
kick it away. That's the Baba duck, Bro, that's the terror.

(52:29):
And I'm telling you these are dreams. I don't know
if a step paratessis is actual dream. I don't know
if it's I don't know if it's like a breathing
issue I have where you know, Steve apneal, whatever. But
this is something that's been going on for ages. Bro.
There's a famous painting of the demon sitting on that
woman's chest with a horse in the corner. That was
painting like in seventeen and like fifteen fifty six or

(52:51):
something crazy called the Nightmare about sleep paralysis.

Speaker 2 (52:55):
And then I check that out. I don't think I've
seen that, but Astat gpt on that one.

Speaker 1 (53:00):
Yes. But to tie this back to the Bobba Duck,
I felt that that moment was a sleep paralysis moment
where she was she couldn't move, she was frozen in
her bed, and she let it in. It forced itself
in because she hit that wall of grief, that wall
of depression, that wall of the association, and she started

(53:21):
and she mentally checked out. Go watch your go watch
your shows. The scene where she took the dog and
there's no there's no music, right, it's the creepiest scene
and there's no music. She's sitting on the bed and
she hears the dog kind of like hey, I'm a dog,
and she just books it toward the dog. All you
hear is the pitter pattern of her feet on the

(53:41):
on the on the hardwood. It's the scariest thing in
the world. When they rip all the sound out, you
hear someone running, like imagine you're in your house, you
just hear someone running across your heart before at full speed.
I don't want that, no, I don't like that that scene.

(54:04):
And then she takes the dog and pretty much does
him like a chicken and brings his neck, and you
have animal cruelty kills the dog like that, brings his
little neck. Poor little guy didn't do nothing but be
a beautiful dog. And then she ran upstairs. No sound,
very hereditary. I'm coming. She's hanging from the door like
damn nightcrawler, kicking through the door. As the kid sets up,

(54:27):
he gadgets in his attack techniques and he actually gets
some good licks in on her. He ties her down
to exercise the demon bro, to exercise her grief. Mom,
you gotta let it out, you let it in, you gotta.

Speaker 2 (54:40):
Let it out.

Speaker 1 (54:40):
And she's screaming and Jurassic Park noises are happening. Bro.
She has to confront her grief with her source of grief,
which is her son. This movie's beautiful in a weird
dark way if.

Speaker 2 (54:52):
It wasn't a weird dark way. But it is annoying.
It is annoying, but it is a good film. I
can't take that away from it in any way, shape
or for.

Speaker 1 (55:05):
I did want to hearken one last thing about the Babaduck,
which I love it's the callback to silent cinema. I'm
a big lover of silent cinema. May it be not
the original Nosforato. I mentioned the the you know, the
Cabinet of Doctor Kaligari, even the original very first film

(55:25):
of all time, which is the train coming out the screen.
I like the design of the Baba Duck and how
he is like a silent film villain, you know what
I mean, like a vaudevillian almost, And grief is quiet.
Grief doesn't yell at you. Grief doesn't scream at you.
It's just there. It's this way he's at you. Hey,

(55:46):
I'm here. And I like that was the metaphor they
chose to create this boogeyman. This, like you said, this
was a cultural phenomenon when this came out, and everybody
was in love with the Babaduke because it speaks to
that part of your soul, which is like, once I
got it, I can't get rid of it. What are
your thoughts just on silent cinema itself and how this

(56:08):
movie kind of and even like the Lighthouse in a
way kind of speaks to silence that black and white
you know era.

Speaker 2 (56:15):
They both did their homework when it comes to I know,
I keep using the word unsettling, but when it comes
to off offshot, not normally seen like visual sounds like
these are not necessarily things we're gonna get when you

(56:37):
turn on the television or go down to the theater this week.
You're not necessarily going to get this type of vibe
that you got in either one of these movies. They're
both very old school in the hand that made them.
And The Bobba Duke is an Australian film. I had
to go and look to see if, like Australia had
a Bobba Duke and it's folklore, they do not. This

(57:01):
was made up out of someone's freaking imagination. And it's like,
you know what, man, good job. I don't know what's wrong,
but good job. You want he need to talk to somebody,
let's talk. But good job.

Speaker 1 (57:17):
We are here, Doug, we are your sponsor. Bro. You
don't get creativity. We can talk it out. I know
you got to issue. Let's just hug it out. You know,
brother's brother's hug. It's fine, I'm here, you're scene. I understand. Uh.
You don't get creativity like this often, right, This reminds

(57:38):
me of like when Clive Barker came up with Hell Raiser.
You know what I mean. It's like the creativity on
deck happens like once a generation ghost face with screen,
you know what I mean. Like villains that are characters
mind you, that are just undeniable, Freddy Krueger, you know

(57:59):
what I mean. Like that's the cool thing about horr
At least one generation you'll get a horror villain that
is just undeniable. I think the Babba Duke was that.

Speaker 2 (58:07):
When do we talk about the Bobba Duke too? Like
they could you using the Babba Duke for how just
brilliantly you've explained this horror film to the masses so
that they understand using it in that context. Man, the
Babba Duke can be anywhere, everywhere, all the time at once.

Speaker 1 (58:29):
All in words, right, that Brooking land on anybody's door
steps going through something.

Speaker 2 (58:35):
So I would like to see a Babba Duke too.
Not necessarily, I'm curious what happens to this family, because
again I don't think they're okay. I do think that
there's some hand holding going on and they need to
be talking to people for a while. But I would
like to see the Babba Duke in a different scenario.

Speaker 1 (58:56):
Yeah, I would be happy either way. Like if you
fast forward it twenty years in the future, the mother's
in an insane asylum or and she's just mentally checked
out from the whole ordeal, even though she seems fine
because he's dealing with she's finally dealing with her grief.
But I would love to see it fall on someone
else's door, another family that's going through something. And now
you've let your grief manifest to the point where the

(59:17):
Baba Duck comes to visit.

Speaker 2 (59:19):
Yeah. Man, you know, I try and keep it as
light as I can here, but if you want it
to do like you know, some type of navy seal
type thing, my brother in arms and like you watch
dude die and then all of a sudden you wake up,
get home and the white fans, ah, here's a book
and it's the Bobba Duke, right, And that's the key

(59:41):
to the entire audience of what we're in for in
this state of mind, This dude, is it not?

Speaker 1 (59:47):
The Babba Duck doesn't necessarily have to be triggered by grief.
He could be triggered by stress. He could be triggered
by any kind of mental psychosist like you said military.
Let's say Iraqi Vet who has PTSD. He's just ready
to He's just he's fighting for he's fighting to find
that stability. And the Bobba Dooks stare the help. The

(01:00:09):
Babaduck helped that family think of it that way.

Speaker 2 (01:00:15):
It thought it did and it didn't go away. It
is in the base.

Speaker 1 (01:00:19):
Because you can't. Because you can't go away. That's the
that's the fun fight about grief, ladies and gentlemen. It
never goes. It's there with you. You learn to live
with it. And I think that's a beautiful metaphor for
this spooky, hard movie with a goof in a and
a black and a black top had you know what
I mean, in a in a Penguin top hat. At

(01:00:41):
the end of the day, this isn't a versus. I
would like to say that with these double features. But
if you had to pick a film that you enjoyed
more between The Bobbadock and The Lighthouse Wash, what film
would that be?

Speaker 2 (01:00:55):
And why this is a hard choice, man, because I
don't think I enjoyed either movie. I didn't enjoy that
is correct, either movie, But they're both good in their
own right, maybe enjoy the word bro. I will say

(01:01:17):
that I would probably Okay, we're gonna pick one. I'm
gonna go with the Lighthouse.

Speaker 1 (01:01:37):
Alright, alright, alright, why expoundund I'm gonna go with the
Lighthouse because.

Speaker 2 (01:01:46):
It is also an uncomfortable film. It is also a
relentless film, but the irritation factor does not reach that
child in the first forty to an hour of The
Babba Duke, which is just rough to get through. If
you're a parent, you can probably sit through that and

(01:02:07):
you're like, oh, yeah, I completely get it. If you're
a single guy like me and Mike, it's.

Speaker 4 (01:02:11):
Like, oh yeah, man, I need to be alone now
for long, you know, as.

Speaker 2 (01:02:27):
Horror films, as a double feature goes. You know what
I wanted to yell at chat GPT directly after I
was done with my watch. But after walking away from
these movies, I will say GPT did its job and
it gave me something that is that we're both unnerving.
They both have stuck with me. As much as I

(01:02:50):
don't want them to be with me, they're both still
with me. And yeah, I think that if you are
someone who is really in the film and you're looking
for like a Halloween like movie. Yeah, these these are
two good movies.

Speaker 1 (01:03:05):
You can watch very well said, watch very well said,
And I can only piggyback off of your sentiment that
these are two excellent films, excellently shot, excellent in concept,
and excellent in execution. Shout outs Brett Hart. I want
to say that initially my decision was the Lighthouse because

(01:03:31):
I was so annoyed with the Bobaduck. It was so grating,
it was so unnerving, and as I said in the
beginning of the episode, I questioned if these films were
even horror right because they're so outside of our typical
tropes and norms of a modern horror film. Both these
movies are made in the twenties twenty tens. I want

(01:03:51):
to say, you know, these aren't films. Yes, these aren't
old films. These are films made with a modern eye.
And it made me these films questioned my own thought
of what is horror right. And I believe that horror
is the confrontation of the unnatural. And you know what
I mean, It's the confrontation of something that is outside

(01:04:13):
of your norm and that could be emotional emotional abnormal
and abnormality are visual physical abnormality, and both of these
films challenge you to see things from points of view
that are hard to confront. And Michael, maybe a year ago,

(01:04:35):
would have went with The Lighthouse and hated the Baba Duke.
But Michael, now, having experienced what I've experienced with grief
and defighting, that I have to go with the Baba
Duck as the film I enjoyed more. Even though this
is the film I abandoned. My spirit couldn't handle it.
My spirit in my where I was as a person,

(01:04:55):
could handle it. And this movie became cathartic for me
in a weird way. Handle your grief, man, otherwise it'll
turn you into a monster. Handle your grief and if
you don't handle it, don't handle you, and it'll change you.
And that spoke to me more than any horror film
that I've seen in the last ten years. So Baba

(01:05:16):
Duck is a life affirming film for me. Like I said,
the Bobba Duck helped them at the end of the
day and make them confront their demons. So as The
Lighthouse is an excellently shot film, very well controlled, very
well both actors ensemble cast toward the force. They're the
acting duo of these two films. But if you ask

(01:05:38):
me at the end of the day, which film I
took to more and enjoyed more, it's The Bobba Duck.
It's gotta be.

Speaker 2 (01:05:45):
I think that that is very well put, and I
can say that I don't think they aren't date movies,
you know what I mean. But in the terms that
they're not date movies, no, but in the terms of
Halloween outside of your normal horror that you find if
you're looking to feel something that you weren't expecting to feel.

(01:06:10):
I think both these movies will pull it that because
for me, I had no reason to and Mike's You're right.
They force you into these points of views, and they
do it by keeping you isolated and keeping everything fairly tight.
It's just me and you, man, it's just me and you.
That's it to screaming, it gonna stop, and I'm not

(01:06:32):
gonna stop drinking. Let's roll. So you know, in that aspect,
they it forced me to be there when normally, had
this been a random, select type of episode, I might
have shut. I would have watched The Baba Duke. But
mentally I might have shut down. But looking for that

(01:06:55):
outside Halloween? Where is the horror Halloween in the Yeah,
I think it becomes yeah, this is a horror movie.
Man again, not a party movie.

Speaker 1 (01:07:07):
But yeah, I'll set for Halloween. Right. This is very
different than the Romero. Do you know Tower Power, which
is the Halloween party films. You put those on the background,
everybody's having a good time. If you want to dive
a bit into yourself, if you want to watch films

(01:07:27):
with some substance but also tickle that part of your
brain that needs that atmospheric horror, cosmic carror, psychological horror,
then these two films will scratch that part of your
brain and scratch different parts of your brain that'll have
you thinking about them days weeks. Like Wash said, he's
been thinking about these movies since he had to watch them,

(01:07:47):
and we'll probably think about them more after we record
this episode. So this is a very unlikely great pairing
of fish and wine. It's like, you know, a fish
and white wine, you know what I mean? Like, who
would have thunk it? Right? But this is a double
feature that I recommend to everyone who loves horror and
loves psychological horror.

Speaker 2 (01:08:09):
I don't recommend it to everyone, but I do recommend it.

Speaker 1 (01:08:12):
Hey, this is one of those where it's like, I
don't it's not I have an evening for y'all watch
Passion of the Christ.

Speaker 2 (01:08:16):
It's not one of those, right, No, no, no, they're
absolutely not, absolutely not. Uh well, I just I just
if you've never seen these movies, then you probably want
to check them out. Yeah, for sure, if you've never
seen them, for sure, But if you are definitely that
that art film student, that actor, that actress, that cinematographer.

(01:08:39):
Both these films are just great learning films, I think,
for to their shot with the modern eye, like you said,
with modern takes in mind, and yet they did something
different and went against the grain compared to you know,
whatever horror movies coming out this week at.

Speaker 1 (01:08:59):
X that I couldn't set it better myself. These are
modern classics, modern horror classics, and just modern classics in general,
both highly rated films, and Watch said it perfectly, no notes,
no notes, And with that brings us to the end
of our Halloween double features special Watch. Do you regret

(01:09:20):
watching either of these duos of films? Do you find
yourself watching these double features in the future, without the
obligation of content, without the obligation of the Nerdi verse.

Speaker 2 (01:09:31):
I will never probably watch The Babba Duke again. The
Baba Duke two. Yes, I would probably sit through The
Lighthouse if you know, I had a friend who was
like interested in like weird kind of you know, black
and white films, like just different type of movies. This
is one that you can put on and be completely like,

(01:09:54):
you know, enjoy a second time. The Baba Duke. That
kid deserves an oscar job.

Speaker 1 (01:10:01):
That can't work my damn nerves. Bro, Yeah, I don't.
I'm not gonna watch the Bob I took anytime soon again.
It's the movie I needed, right, It's the medicine. So
I took my medicine and I feel better, you know.
But The Lighthouse is definitely one of those movies I
may just watch again. I feel like watching some black
and white movies. I'm eating dinner, you know what I mean.
It's one of those Romeos are gonna be in the

(01:10:23):
Romero films are going to be in rotation forever. Now.
Those are just two damn epic you know what I mean.
Those are the I'm throwing a party. Let me just
put the Dead Trilogy on and just have it on TV,
have it on the background. These films are the fine wines.
This is taking your you know, treat it like dinner.
These movies. You don't go out really fancy every night,

(01:10:45):
but when you do, you dress up. You know what
I mean, You know what to expect. So absolutely any
final thoughts before we close this bad boy out man nah?

Speaker 2 (01:10:56):
Good? Good double feature?

Speaker 1 (01:10:58):
Good double feature double feature. If you like our content,
you want more from Masters to the Nerdiverse, Please remember
to do three things that we will only ever ask
you to do. Like our content, helps grow the channel,
spread the word. Hey, Auntie, minds of the Nerdiverse? Rules?
What's that? Show them the channel? Second thing, Subscribe to

(01:11:18):
the channel so that you're made aware when new content
comes up. And comment? Do both of these movies suck?
Do both of these movies? Rule? Is the Baba Dook
just a monster in the book? Am I completely wrong?
I want to hear it, you know, and I will
fight you to the death on my thoughts and concerns,
but I want to hear it. So please comment. Let
us know what you think. We have been Masters of

(01:11:39):
the Nerdiverse. Please check us out on Halloween Night, Friday
the thirty first, for our episode four oh one Halloween Spectacular.
Whether they'll be surprises, maybe, we don't know what the
doc it's going to be that night, but be there
live six o'clock Pacific Standard. We're gonna be hanging out.

(01:12:01):
I've of course been your host, Mike g He's been washed.
We've been the masters of the universe. But did I
say m O T n oh? Be safe out there,
ladies and gentlemen.

Speaker 2 (01:12:11):
The Nei