November 11, 2024 • 43 mins
We celebrate the month of November by serving up some delicious box-office bombs.
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#Movies #Marketing #Podcast #Turkeys #BoxOfficeBombs #BoxOffice #Retrospect #Cinema #Theaters #SpeakingHuman #Opinions #Reviews #MOMA #SpeakingHuman
Become a supporter of this podcast: https://www.spreaker.com/podcast/moma-movies-marketing--3296937/support.
SHOW NOTES
Get visuals, links and show notes from this episode at speakinghuman.com or at MOMApodcast.com.
#Movies #Marketing #Podcast #Turkeys #BoxOfficeBombs #BoxOffice #Retrospect #Cinema #Theaters #SpeakingHuman #Opinions #Reviews #MOMA #SpeakingHuman
Become a supporter of this podcast: https://www.spreaker.com/podcast/moma-movies-marketing--3296937/support.
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Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:02):
In a world where movies rely on marketing more than
ever to connect with audiences, one podcast aims to make
sense of it all. This is movies and marketing.
Speaker 2 (00:16):
Next Saturday Nights, where's sending you back to the future?
Speaker 3 (00:21):
Go ahead, make my day?
Speaker 2 (00:23):
How about now you're crazy Dutch past.
Speaker 3 (00:26):
What we've got here is failure, you mill gate take
the ground where a freshole of how for we might
as well? Good time.
Speaker 1 (00:37):
I am an f B I agent, so shad I
love it when we celebrate the month of November, don't you?
Speaker 3 (00:47):
Of course I do. Some people just like to celebrate Thanksgiving.
Speaker 1 (00:52):
Not me.
Speaker 3 (00:53):
The whole month of November I think needs to get
more credit than it gets. It's not just a wasteland.
It's more than Thanksgiving.
Speaker 1 (01:00):
It is, and it's a time to feel good, isn't it.
There's so much hope and love in the air and
like goodwill towards men. I feel like November is that
month more so than December even.
Speaker 3 (01:13):
I don't know why you think that, but sure it's
peak fall, it's got that going for it.
Speaker 1 (01:19):
Yeah, you're heading into the holidays, so right now, it's
like it's the trailers at the beginning of a movie. Right,
it's all of the anticipation and hope that's sort of
wrapped up before you actually start to watch the movie,
and then you know, sometimes it's a letdown and other
times it's really great before the movie starts. Right even
(01:40):
when the credits are rolling, you're like, I'm really excited
about this, even though it could be a dud. Right,
So that's what I think the month of November is
leading up to Thanksgiving.
Speaker 3 (01:52):
Yeah, I think the month of November is like a
decent guy who you're like, Eh, he's all right, don't
mind them so much. You know, it gets you from
October to December. Okay, so everybody's like passable. Yeah, not
the worst, but uh, nothing special.
Speaker 1 (02:11):
I'm not convinced that you like the month of November
from what you just said.
Speaker 3 (02:15):
Well, I think it needs a little something more, and
I think we're gonna we're gonna give it a little something.
I think we're gonna inject some life into it by
bringing a little more, a little more turkey into it.
We got the turkey of Thanksgiving, but don't you think
it just needs more turkey.
Speaker 1 (02:31):
I don't think there's anything wrong with more turkey, unless
you're talking about a week after Thanksgiving. Then more turkey
is not what I want to hear.
Speaker 3 (02:40):
Ah. No, that's when you're like, I'm done with turkey,
all forms.
Speaker 1 (02:44):
Of turkey, turkey sandwiches, turkey paninis, turkey soup, turkey gumbo,
turkey pot pie, I mean, you name it. But this
is before all of that.
Speaker 3 (02:55):
Yeah, this is this is when we love turkey's. This
is when turkeys we want more of them. We're still
into them.
Speaker 1 (03:01):
And you could be listening to this during that time
frame after Thanksgiving, but you know what, you'll still feel
good because this is where you don't actually have to
eat a turkey. You're just gonna taste a movie version
of a turkey. Yeah.
Speaker 3 (03:14):
Last time we talked about turkeys on this show was
way back in the Year of Our Lord twenty twenty.
We had an episode called Toughest Turkeys. Those turkeys weren't
so good. Yeah, they were hard turkeys to get down.
We're talking about some turkeys like Battlefield Earth, some turkeys
that you didn't necessarily want to ingest. This time, we're
(03:39):
flipping the script a little bit. This time, we're going
to talk about some turkeys you want to consume that
you're gonna enjoy eating or watching.
Speaker 1 (03:47):
Yeah, and what we like to call tasty turkeys.
Speaker 3 (03:50):
Oh, tasty turkeys.
Speaker 1 (03:53):
Yeah.
Speaker 3 (03:53):
Box office bombs we love and you will too.
Speaker 1 (03:56):
Yeah, So why don't we use the term turkey Chad
to refer to a box office bomb?
Speaker 3 (04:01):
Well, I'm glad you asked that, Patrick. The term turkey
to describe a box office failure or dramatic flop originated
in nineteen twenty seven, almost one hundred years ago, when
gossip colonist Walter Winchell, who I think was a buddy
of yours, used it in Vanity Fair to describe a
third rate production. Now, as we noted in our previous
(04:24):
Turkey episode, a turkey isn't just a movie that performs,
you know, a little poorly at the box office. There
are a ton of those, you know, movies that just
lose a couple million dollars something like that. Turkey is
a movie that loses a lot of money because one
it's usually got a really big budget, and two it's
usually got a really bad box office performance, So that
(04:46):
kind of creates the perfect storm for our turkeys. It's
also typically a movie that becomes kind of notorious as
a failure. People are like, oh, that was a flop,
that was a bomb, that was a turkey.
Speaker 1 (04:59):
Yeah, so you know, we're putting a little bit of
a good spin on this whole turkey, even though it's
meant to be notoriously bad. We thought it would be
fun to talk about some box office bombs that we liked,
and so therefore they become tasty turkeys, something more enjoyable
for the holiday season.
Speaker 3 (05:18):
Yeah, we're taking back turkeys.
Speaker 1 (05:20):
Mm.
Speaker 3 (05:21):
Well before we do that, though, before we get into
the tasty turkeys, we have a fresh turkey. It's just
come out of the oven. So we can't resist the
opportunity to just talk about it for a minute. This
one's still a simmering at the box office, you know,
still steaming. I guess you would say. I'm talking, of
course about Joker palle ad.
Speaker 1 (05:45):
Our ones. In my life, I have someone who needs me.
Speaker 2 (05:54):
How about you? Are they? Do you still think you're
a star?
Speaker 1 (06:01):
Shelter?
Speaker 3 (06:07):
I want to tell us a little bit about the
performance of this movie.
Speaker 1 (06:10):
Patrick, Yeah, this one. As listeners, you know, I know
a lot of you out there follow the movie world,
especially if you're listening to this podcast, so you know
a lot of this stuff probably already. But Joker Fally
A Do, which is the follow up to Joker with
Joaquin Phoenix, supposedly costs about two hundred million dollars to make,
(06:31):
and at this point it's only made about fifty six
million at the US box office and one hundred and
thirty five million worldwide. As you know, that's a dud,
right because it clearly didn't make anywhere near its budget.
It made thirty seven point six million domestically in its
opening weekend after its initial box office forecast called for
(06:55):
close to seventy million, didn't do as well as expected.
Then it went on to eighty one percent in its
second weekend, which.
Speaker 3 (07:05):
That's a huge strip huge in the.
Speaker 1 (07:08):
World of like blockbuster movies, that is not what you
want to see. Clearly. In comparison, the original Joker made
three hundred and thirty five domestic and seven hundred and
forty three worldwide on a fifty five million dollar budget,
so the budget was much less and it did you know,
it is way more successful in the box office.
Speaker 3 (07:28):
We were talking a little bit before the show. The
kind of rule of thumb that I've seen on movies
is you have to make two and a half to
three times your budget to be to even be profitable,
So fully ado two hundred million dollars, you're talking about
five hundred to six hundred million just to break even.
(07:50):
This movie doesn't look like it's going to come close
to that.
Speaker 1 (07:52):
We always talk about, and you'll hear us on this
podcast talk about US domestic because that's how we run
numbers for like the Summer movie Draft and stuff like that.
This is taking in worldwide. You know, you'd have to
make that. It's you know, it's not confined to US.
Case in point. You know, the first one did really
really well because it clearly did great US, but worldwide
(08:18):
it made well over that two and a half times, right,
So it was just glowing. Those C suite execs were like,
we got to make another one. We don't know how
you do it, just make another one. So what do
you think went wrong? Knowing what you know and what
I know and what all the listeners know, what do
you think went wrong with CHET?
Speaker 3 (08:38):
Well, I'll give you a few things. One of them
the first one probably the obvious. They probably overspent on
this movie.
Speaker 1 (08:44):
Hmmmmmmmm hmm.
Speaker 3 (08:46):
You know, two hundred million pretty high for the type
of movie. Granted, the first one made a lot of money,
but that's still a big jump. Number two, Did we
need an actual sequel this? The first movie was kind
of a unicorn. Yeah, you know, I could see why
they went back to the well, I guess that's pretty typical,
but that movie was a surprise in how good it did.
(09:08):
Trying to recreate that magic. It is a little iffy.
Speaker 1 (09:12):
Yeah.
Speaker 3 (09:12):
And then the third thing, and I think it's the
biggest thing. They just made a movie that it seems
like everyone hated. Yeah, I mean, it's actually kind of crazy.
How hated this movie is. Critics don't like it. It's
got thirty two percent on Rotten Tomatoes from both critics
and audiences. Fans don't like it. It's got a D
cinema score. The first movie had a B plus. D's
(09:35):
super low for cinema score. I mean, I haven't heard
from anybody who actually likes this movie, which is weird.
Usually there's at least like some defenders of movies, you know,
even ones that are polarizing. It's like half the people
hated half the people don'tate it. This movie. It seems
like nobody likes it.
Speaker 1 (09:53):
You know. The thing is is Like, when you have
a movie that is universally disliked, something tells me that
there was no direction, right, There's no like clear story
that resonated with anyone, right, Like if you have a
split audience, or if you have just even some people
who are defending it, then you have a movie that
(10:14):
at least has a story and somebody appreciates what that
story is telling. But when everybody hates it, that tells
me that there's something seriously wrong with the story, maybe
the motives behind it, you know what I mean, Because
it just doesn't make any sense. Why does no one
like this movie? Right? Even the people who love musicals,
(10:35):
for example, seem to not like this movie. That's insane
to me. You know, you got Lady Gaga in this movie,
and you don't have Lady Gaga fans out there who
love this movie, you know what I mean. Like it
seems bizarre and maybe that's some of the marketing, but
I don't think so. I mean, they marketed this movie,
but it just like you said in a previous episode,
(10:57):
I think that there were people who confuse it. They
didn't understand that this was a different movie. There were
some people who thought isn't that the same movie that
they just released, because it seemed very much the same
in some of the trailers and stuff like that. They
didn't differentiate it enough. So maybe that was a problem
in the marketing itself. But it sounds like the movie
(11:17):
in and of itself is bad, so it doesn't really
matter because you're not even getting word of mouth.
Speaker 3 (11:22):
Yeah, I think that's probably the biggest problem there was.
I think there was some marketing issues. They probably could
have done better, but I'm not sure they had a
lot to work with. I do think a different title
would have probably helped at least a little bit. I
think folly Ado was probably a turnoff at least to
some people or confusing. Nobody really knows what that means.
Speaker 1 (11:46):
This is my just off. The coff I think would
have done better. Okay, joker colon the musical, at least
you're acknowledging what it is because people are taught. You know,
people are like, is that a musical? Like they don't understand,
they think it's weird. But if you come out and
say it, just justify it in the title, and I
(12:08):
think that would also it's like self aware right at
that point, so you're like Okay, let me give this
a shot. That doesn't really help scripting and plot and
all that stuff, but at least you get people to understand, yeah,
this is, you know, Joker the musical. I get it.
Speaker 3 (12:27):
There has been like movement lately with movies like Wonka
and The Mean Girls where they talked about to where
you have movies that are mostly musicals and to try
to market them as not being musicals because people don't
want to see musicals or don't think they want to
see musicals, but will accept them if they don't think
(12:48):
they're going to see a musical, which is a weird thing, right.
Speaker 1 (12:51):
That is, that's super weird. But this is where I think,
you know, this audience, it would play the opposite, right.
It's like I would never imagine Joker as a musical,
So that flips it a little bit, you know, gives
you a little bit of a twist, whereas like Wonka,
you kind of know that's a musical, you know, so
(13:12):
you just you call it Wonka instead of Wonka the musical,
You know what I mean. We can make an argument
for whatever all day long. The reality is the movie
is a major turkey, major major turkey.
Speaker 3 (13:26):
Yeah, this is kind of what happens in culture now
where people are like, it's so awful, it's so awful.
I have a feeling in a few years, people are
gonna be like, it's actually genius. People just didn't understand it. Ah,
that's gonna be like how we're talking about it in
two years, not us, but other people. You know, they're
gonna be like they just didn't get it in the moment. Yeah,
(13:46):
it's a lost masterpiece. I feel like that conversation is coming,
That wave of conversation is going to come in the future.
Speaker 1 (13:54):
It might it might be so deep and so thought
provoking that people just weren't ready for. And somewhere down
the line, people are gonna be like wow, and there's
gonna be a movement. There's gonna be a cult following.
There's going to be a religion built around this movie.
Speaker 3 (14:10):
Who knows? Could it be a future tasty turkey?
Speaker 1 (14:14):
Yeah, So that leads us to our tasty turkeys.
Speaker 3 (14:17):
The real meat of the episode, if you will.
Speaker 1 (14:20):
The real bird meat of the episode. Shad and I
are going to each share two turkeys that we think
you're gonna either like love or maybe hate us for recommending.
We don't know, you know, because these are ones that
we're recommending subjective. It's relative to us, our feelings, our emotions,
so just don't pick on us, okay, because we're sensitive.
(14:42):
So we're going to tell a little bit about the movie,
maybe why it bombed. We'll talk a little bit about that,
how much moot money they made, all that kind of stuff,
and then discuss, as we often do.
Speaker 3 (14:53):
Little note on these. So last time we talked about
four of the toughest turkeys of all time, and on
that episode we also shared two turkeys we like, so
similar to what we're doing today. All those movies ineligible
for this episode, we're not going to talk about them again.
Those movies are Battlefield Earth, The Adventures of Pluto, Nash,
(15:14):
Gods of Egypt, Cats, The Postman, and John Carter. So
you're not gonna hear those movies. Discuss.
Speaker 1 (15:22):
Good good selection, Yeah, good selection, and go back and
listen to that episode if you're interested or if you
haven't listened to it. A lot of fun, Yeah, it's fun,
as we often do on this podcast. This is all
just fun. It's just fun. Yeah, fun and games just
for kicks. It's for kicks, So hit me Shad with
your first turkey. I mean, don't like physically hit me,
(15:45):
because one time I saw a frozen turkey hit someone
and it looked like it hurt, and I don't Yeah, yeah.
Speaker 3 (15:53):
I wouldn't even want to be hit with a you know,
a thowd Yeah turkey. That seems uncomfortable.
Speaker 1 (16:01):
It seems like it would be painful to some degree. Yeah.
Speaker 3 (16:08):
Well, my first pick is not painful to me. My
first pick is the twenty twenty two movie Babylon.
Speaker 2 (16:23):
You know, when I first moved outleg you know what
signs on all the doors read no actors or dogs allowed.
Speaker 1 (16:32):
I changed that.
Speaker 3 (16:33):
The budget on this movie was eighty million. The US
gross was fifteen million, worldwide gross sixty three million, for
an estimated loss of eighty seven million dollars. WHOA, you know,
nice chunk of change. Let me give you the IMDb
synopsis of this movie. A tale of outsized ambition and
(16:57):
outrageous excess. It traces the right and fall of multiple
characters during an era of unbridled decadence and depravity in
early Hollywood. The cast included Brad Pitt, Margot Robbie Diegokalva,
and Toby McGuire so opening weekend. This movie debuts at
the US box office with three and a half million dollars,
(17:20):
overshadowed by Avatar, The Way of Water and Puss in Boots,
The last Wish eighty million dollar movie. Why did it, Bob, Well,
it's a three hour plus movie about old time Hollywood. Yeah,
it was released in December as an Oscar movie, but
it ended up getting mixed reviews. You know, it has
(17:41):
a fifty seven percent on Rotten Tomatoes. Not very good
when you're pushing to be like one of those high caliber,
prestige movies. I think they were also at a loss
on how to market this movie, so they just went with, Hey,
we've got stars. And I think this kind of came
at the point where the idea of selling a movie
on star alone just kind of stop working. It doesn't
(18:02):
really work anymore. The Margot Robbie poster tells you nothing
about the movie. It's, you know, nice poster with Margot
Robbie in the center, but it was also pre Barbie,
so yeah, Margot Robbie kind of had skyrocketed to the
point she's at now.
Speaker 1 (18:17):
I have not seen this movie. I feel like it's
one of those movies you have to be in the
mood to watch it.
Speaker 3 (18:23):
Yeah, and you gotta have a chunk of time.
Speaker 1 (18:26):
Yeah, I think you.
Speaker 3 (18:26):
Also, I don't know, at least I did. Before I
watch it, had like kind of a perception of it
where I'm like, what is this movie? Is this gonna
kind of bore me? But it's not like what you
think it is at all. Really, let me tell you why.
It's why I think it's tasty. Okay, this movie is
kind of insane. Despite being three hours long, it actually
whips you around like a roller coaster. I mean, particularly
(18:49):
the first hour, this movie feels like it was edited
by cocaine.
Speaker 1 (18:55):
Which might have been.
Speaker 3 (18:57):
I mean it it might have been. It is just
like rat tat tet. We're like bouncing here. The camera's
flying around. You know, you're just getting You're going from
character to character. It's like hyper editing. And despite the
fact that it's a super long movie, you're just it
keeps this like rapid fire pace for a lot of it.
Margot Robbie's great knit, Brad Pitt's pretty good, but it's
(19:17):
always just kind of going for it, which can be ingratiating.
After a while, you know, you're kind of like it
can be a little annoying, it can be a little
too much, but it's also amazing that it keeps that
energy level and it just keeps going and doing that
thing throughout the whole you know, very long run time.
So this is one of those rare cases where I'm
actually recommending a three hour movie and I would rewatch it.
Speaker 1 (19:41):
I'm a little concerned that you're recommending a three hour
movie because.
Speaker 3 (19:46):
It doesn't happen a lot. It's like The Godfather and Babylon.
Speaker 1 (19:50):
That Okay, those are wow, the extremes that you just
want to right now as are as listeners know, right like,
you are wholeheartedly again that's long movie, like an hour
and a half. Yeah, and that means something even probably
more profound because you are recommending it. So I'm gonna
now I have to watch this movie, you know. I
(20:12):
put it in that sort of classification as like The
Great Gatsby, you know, with Leonardo DiCaprio and Toby Maguire,
or like Once upon a Time in Hollywood. There's that
like sort of time frame that there's these movies that
they're encapsulating like that old time Hollywood.
Speaker 3 (20:29):
Yeah, those are probably good comparisons, though this one's like
operating in a different way, but those are probably good,
you know, correlations or things to bucket it with.
Speaker 1 (20:38):
Also like as a classification of the way in which
the movie performs too, like Once upon a Time in
Hollywood I think did pretty well and like the critical
acclaim of that was pretty good, or like.
Speaker 3 (20:49):
Yeah, I don't know why this one didn't do that
kind of business or didn't catch on in that sort
of way, but there was something about it that people
either didn't understand or found much less appealing because didn't
come close to that kind of money. But I think
it had a different people had a different perception about it.
Both those movies also had DiCaprio, who I think is
(21:10):
one of the rare people who can still kind of
open a movie.
Speaker 1 (21:12):
Yeah, I hope it's a tasty turkey, because if not,
I want to come back. I'm gonna be like, Chad.
Speaker 3 (21:18):
This was a tough turkey. You lied to me.
Speaker 1 (21:20):
This is one of the toughest turkeys, all right. So
my first I had kind of a hard time because
there were a few that I wanted to recommend. I'm
going to recommend this one, which I haven't seen admittedly
in a very long time. So before everyone fires off
hate mail to me, listen Hudson Hawk from nineteen ninety one.
Speaker 3 (21:42):
Hmmm, okay, notorious.
Speaker 1 (21:45):
I just got out of jail yesterday. I didn't want
to steal anything. I didn't want to go to Europe.
Oh one was a cappuccino.
Speaker 2 (21:55):
You're still think of the greatest cut burgers ever lived.
Speaker 1 (21:58):
You are one hell of a thing. Hut some palk
is that? Even then?
Speaker 2 (22:04):
Maybe I'm just.
Speaker 3 (22:05):
Some guy that's going to swipe and stuff.
Speaker 1 (22:07):
I mean, it's a Bruce Willis movie, nineteen ninety one.
You got a few years on Diehard, you know, eighty eight.
Bruce Willis was the man at the time. So this
movie's budget was sixty five million. It did seventeen million.
Seventeen I am stating that correctly.
Speaker 3 (22:27):
Are you missing a digits a decimal something off there?
Speaker 1 (22:31):
You would think I was, you know, sixty five million
dollar budget, seventeen million dollars world wide gross worldwide not
US estimated loss is about forty seven million. If we're
adjusting for gross, it's like one hundred and seven million.
Here's the thing. Okay, let me just read you the summary. Okay,
(22:53):
this is what I do. Sometimes a cab burglar is
forced to steal Da Vinci works of art for a
world domination plot. That's a summary. It's one sentence.
Speaker 3 (23:04):
A lot going on in that little sentence.
Speaker 1 (23:06):
The film has a rating of thirty one percent based
on forty five reviews. On Rotten Tomatoes, it's got an
average rating of four point six out of ten. Variety
when it came out called the film a relentlessly annoying
clay duck that crash lands in a sea of wretched
excess and silliness. Those willing to check their brains at
(23:29):
the door may find sparse amusement. So people didn't really
like this movie. The critics don't really like it. Even
on Rotten Tomatoes years later, it's still got a pretty
low score. Bruce Willis, Danny Ilo Andy McDowell were in
this movie, so they had stars, right, It had star power.
It even was nominated for Worst Picture at the nineteen
(23:52):
ninety one Stinkers Bad Movie Awards, which is saying something.
This movie, I think then was marketed to be, you know,
sort of a blockbuster of the time period, but nothing
like what we see today when you watch it. This
is sort of what to me. Now, this doesn't compare
to No Babylon, but this is what November is. Right,
(24:13):
you're sitting down, you're with the family, you want to
watch something silly and goofy and fun, and Hudson Hawks
sort of fits the bill, like it's not meant to
be super deep. It's like naked gun comedy. Right, you
do check your brain at the door. You could pick
super deep movies any other time. This is the Tasty
(24:35):
Turkey list. So for me, this fit the bill.
Speaker 3 (24:39):
I have never seen all of this movie. I've seen
pieces of it, and I remember, I like clearly remember
the trailers and stuff when I was a kid when
it came out. But as I recall, I don't know
if this is true. I think the story is this
is kind of like Bruce Willis's Like Baby kind of
came up with this idea. It was involved in it
(24:59):
to some extent. I was trying to look up some
of the information. It looks like him and a friend
came up with the idea before he was famous.
Speaker 1 (25:07):
Well, I know that the director and the co screenwriter
were both responsible for the movie Heathers, and that movie,
you know, did really well critically. People love that movie.
You know, that was sort of where they wanted cinema
to go, and this was sort of like a slap
in the face of what they did there. And I
(25:29):
think those who are very critical of this movie fail
to see the beauty and its humor.
Speaker 3 (25:35):
Yeah, no, it's a good one. I love movies like
this when it's like, in particular stars making something that's
weird and just didn't work or go over at all
with people at the time. Bruce Willis actually is a
number of these. Stallone has a number of these movies
that just kind of fell flat where you watch them
now and you're like, this kind of fun we don't
(25:56):
get we don't actually get A lot of these now,
even they're duds, are kind of just like these fast,
enjoyable movies that you can just kind of catch on
cable and get caught up in and even like laugh
at some of the stupidity of it.
Speaker 1 (26:08):
Yeah, that's the kind of movie that I think sometimes
it doesn't get enough cred And honestly, like going back
to something like this in ninety one is a nice
escape from the reality of movies and cinema today, because
I think movies are just not made this way anymore.
Like you spoke about Babylon, right, if you watch those
two movies back to back, totally different feel, obviously for
(26:30):
very good reason, but just the filmmaking style, even it's
not quite as high paced on cocaine, even though it's
a pretty high paced silly movie.
Speaker 3 (26:43):
Yeah, and that's one of the you know, one of
the reasons you get a lot of turkeys or big bombs.
One of them's obviously like special effects or things like that,
but the other one is like, we just have an
actor and we're gonna do whatever they want. We're gonna
spend a bought ton of money to get them and
just go with what they want, whatever like passion project
or whatever they're interested in. We just want this person
(27:05):
and they'll they'll give us a hit, and sometimes it
just does not work out at all.
Speaker 1 (27:10):
Yeah, we all know. A ton of money is a
lot of money.
Speaker 3 (27:14):
In a number that's like two hundred dollars or.
Speaker 1 (27:16):
More two hundred or more dollars or more.
Speaker 3 (27:20):
Yeah. Oh, that's a good one. It's a good one,
Hudson Hawk. So I'm gonna for my next pick, I'm
gonna take us back up to the two thousands and
I'm gonna, you know, bridge the gap a little bit.
We're into November, but maybe you still have, you know,
a little bit of October vibes to you. Maybe you're
still feeling a little halloween ish. I want to say,
(27:40):
not necessarily it has to be horror, but you're just
still in kind of that. I want something that's gonna
like scare me or take me to the age, thrill
me a little bit. So I'm going to offer you
the two thousand and seven movie Grindhouse.
Speaker 2 (27:54):
Okay, it was called the Grindhouse theaters that play back
to movies featuring uncensored sexuality and hardcore throughs now. Tarantino
and Rodriguez are bringing the Grindhouse back with two explosive
feature films.
Speaker 3 (28:17):
This one, Yeah, this one had a budget, a reported
budget between fifty three to sixty seven million. That's combined.
We actually Grindhouses two movies in one. As I mentioned before,
you know your budget, you got to make two point
five to three times that back just to be profitable.
So you're looking at they needed to make like one
hundred and fifty million or something like that. What didn't
(28:38):
happen us? Gross on this was twenty five million dollars.
Now here's where things get a little complicated because it
bombed in the US. They decided to take this, which
was two movies in one, and split it up when
they released it into the rest of the world. So
then death Proof ended up earning thirty million, Planet Terror
(28:58):
ended up eleven million, So you got forty four plus
twenty five estimated loss. You know, in comparison what they
need to be probably around eighty million dollars something like that.
Didn't do too well, and it's kind of like Tarantino's flop.
Give you the IMDb synopsis for anyone who hasn't seen this,
which is probably a lot of people. Quentin Tarantino in
(29:21):
Robert Rodriguez's Homage to Exploitation double features in the sixties
and seventies with two back to back cult films that
include previews of coming attractions between them. Cast includes Rose McGowan,
Kurt Russell, Rosario Dawson, Danny Trejo, and Michael Bean. This
movie opened Easter Weekend in two thousand and seven at
(29:45):
number four, made eleven point six million. Was behind Blades
of Glory, Meet the Robinsons, and the Ice Cube Kid
movie sequel. Are We done yet crazy time. Box office
was much different back then, where you're like a bomb
at number four, still making eleven million, but in its
second weekend it just kind of crashed and burned, dropping
(30:07):
sixty two percent, though not as bad as a fally
you do. Why did this movie bomb? The big reason,
I think was the unconventional format. This was a double feature.
It was two movies and one with fake trailers in
the middle. People had no real context for what this.
I think it confused a lot of people. Here's what
Tarantino himself said. I think me and Robert just felt
(30:29):
that people had a little more of a concept of
the history of double features and exploitation movies. No, they
didn't at all. They had no idea what the they
were watching. It meant nothing to them, all right, what
we were doing. So that was a case of being
a little too cool for school. So this is another
three hour movie with kind of a cryptic title. Probably
(30:53):
turned people off that they didn't quite understand what it was.
So this was something that was just kind of like,
here it is, here's this double feature movie, and people
were like what mm hmmm, because we hadn't had those
in like thirty years. You know that used to be
a thing they did all the time. But I think
we've gotten much better at marketing movies as like experiences now. Yeah,
(31:14):
but in two thousand and seven, I don't think they
knew how to do that. Last thing I'll say is
they released this movie in April. Yeah, on Easter weekend. Yeah,
that seems odd ball to me. One of the movies
is a horror movie. The other one's kind of like
an action car thriller. That fits to me easily in
that October season. So Grindhouse Patrick, did you see it?
(31:37):
Have you seen it?
Speaker 1 (31:38):
Yeah? I saw this movie actually in the theater, as
did I. I will say it was a late showing,
saw it with a buddy, and I will say fall asleep.
I fell asleep. I actually fell asleep through part of
death Proof. There's a really long as anyone knows Quentin Tarantino,
there's a very long dialogue sequence that happens in hit
(32:00):
most of his movies, every movie he makes. And so
I think death Proof was first when I saw it?
Speaker 3 (32:08):
Was second?
Speaker 1 (32:09):
Was it second?
Speaker 3 (32:09):
Death Proof was the second movie? Yeah?
Speaker 1 (32:11):
Okay, so yeah, I was probably wiped by that point.
In my defense, I also had literally I had, you know,
a baby, so I was sleep deprived. Fair, that's fair
seeing a late movie, I mean a late two movies,
a late two movies. I had everything going against me
at that point. At the time, I was like, man,
(32:33):
I don't know, I didn't even realize it. Fell asleep.
I woke up and the second half of that movie
is fantastic, But I fell asleep through some of that
dialogue and I was trying to catch up. But looking back,
because I've watched those movies since and I like them,
they should have done better. But you're right, it's timing
when they released them. When they're back to back like that,
that's a lot. It's a lot to watch. Sometimes, you know,
(32:56):
those dialogue sequences drag out a little bit, it could
be a lot. Your dialogue battery could get low. It's
the build up though, Yeah, it is the build up, sure,
But if you're watching two separate movies, there's not a
lot of connection between them. But again, that's in the theater,
I think, you know what I mean, that's the issue
there because they're so disconnected thematically, even though they do
(33:17):
try to tie them together. But yeah, that's a great pick.
I feel like you're a little bit cheating because you
pick something that's a double feature.
Speaker 3 (33:24):
My personal opinion is they exist as one thing. Okay,
what I didn't like was how they actually separated them.
They released them on Blu Ray together, and then they
released them on DVD separately, and then even on streaming,
it's been like they were separate. Just only recently have
they come out. I think it's only on Voodoo or
(33:44):
fin Dango at Home, whatever it's called. Now, can you
finally get it as the whole package?
Speaker 1 (33:49):
Really?
Speaker 3 (33:50):
I think I like the whole package. I think it belongs.
You know, one movie, the fake trailers in between, and
then the second movie, the whole experience. I never lived
through the double feature period at the movie theaters, but
I thought that was like pretty cool. It was long
and it's a lot, but I feel like you go
through something, you get one whole movie, then you get
this in between period, and then you get another whole movie.
(34:13):
If you had like a group of people and you
all kind of watch this together and watch both these
movies back to back, I think that's like kind of
just part of the fun. Even if this experiment did
not work, you know, from a box office perspective, and
the best part to me might actually be the fake
trailers in between.
Speaker 1 (34:32):
Oh yeah, which you can't really find when you watch
them singularly.
Speaker 3 (34:36):
Yeah, so that's like a missing thing. But that was
like a really fun part. They're from name directors, I mean,
Nick Cage shows up in one of them. They ended
up making three out of five of those trailers into
full length movies.
Speaker 1 (34:49):
You know what's really interesting is I tried to find
This was a couple of years ago. I tried to
find any semblance of Planet Terror, and I couldn't find
it because I wanted to rewatch that movie.
Speaker 3 (35:00):
What's out there?
Speaker 1 (35:00):
It should be out there streaming. I could not find it.
Death Proof could find it. I couldn't find that. Now
I think you can get it, maybe because they're releasing
it like combined to. But I wanted to watch it
because I was like, oh man, I hadn't seen that one.
But I saw Death Proof a couple times, and I
do agree with you, you know, like the experience is
(35:21):
sort of what drives that without them together, they can
live on their own, but they can't thrive on their own.
Speaker 3 (35:28):
Yeah, the togetherness is what makes them special, you know.
It's like us, Yeah, exactly exactly.
Speaker 1 (35:36):
So my next choice. This was tough for me, but
I kept coming back to this movie because it was
again one of those where it felt like a November
movie for the simple fact that it was a fun adventure.
And that was Sahara from two thousand and five.
Speaker 2 (35:53):
This spring the Americans I was telling you about, they
would soon.
Speaker 1 (35:57):
Find out what we were doing. And now the problem
is my.
Speaker 3 (36:01):
I'm sorry, I don't speak anglis. No, that's some bad news.
Speaker 2 (36:08):
By your boat.
Speaker 1 (36:10):
Matthew McConaughey, Penelope Cruise, Steve Zon, this movie as a dud.
As a turkey. It had a production budget of at
about one hundred and sixty million dollars worldwide, it grossed
about one hundred and nineteen so you could see the
estimated loss upwards of eighty million dollars inflation. All that
(36:32):
adjusted is about one hundred and twenty two million. But
let me just say, okay, this movie, if we're just
looking at the summary, Okay, we'll start with the summary,
because I think that tells you a lot about a movie.
Master Explorer Dirk Pit you heard me right, Dirk Pit,
great name, goes on the adventure of a lifetime seeking
(36:55):
out a lost civil war battleship known as the Ship
of Death in the deserts of West Africa while helping
a WHO doctor that's a WHO doctor, World Health Organization,
not Doctor Who being hounded by a ruthless dictator. That's it,
and really good, really good summary that encapsulates what the
(37:17):
movie is about. Here is where we, you know, have
something that obviously it did poorly in the box office
Ron Tomatoes thirty eight percent. Eh, you know, not so great.
The average is about five point two out of a
ten rating, which is about half. This is where, you know,
I think things get a little bit better for it,
(37:39):
because even though it was a dud a turkey in
the box office, it's still you know, there's like half
of the people who still like it, right, doesn't that
account for something? The marketing for this movie is kind
of an interesting tale, or at least a little bit
of a factoid about this is that Matthew McConaughey, as
(38:00):
part of the marketing for this film, drove his own
airstream trailer painted with a large Sahara movie post on
each side across America, stopping at military bases and events
like the Daytona five hundred premiering the movie two fans,
signing autographs and doing interviews every time he stopped and
(38:24):
the trips. Highlights of him going across America were shown
on you know, the E entertainment channel to coincide with
the film's release, and then he also kept a running
blog of his trip on MTV's entertainment website, which, you know,
again a sign of the times two thousand and five.
Probably we're probably at the tail end of all those
(38:45):
things anyway. But this movie was intended to be the
first in a franchise based on these Dirk pit novels,
similar to like James Bond, right, I.
Speaker 3 (38:57):
Was thinking Indiana Joe Is that.
Speaker 1 (39:01):
They sort of compared it to the James Bond novels.
But you know Indiana Jones. I mean, well, those weren't
really novels, but that was sort of a franchise similar
or like National Treasure. But you know, obviously the poor
box office results hit them. They never did anything else
with it, So what it got wrong? Let me just
(39:21):
tell you this is a fun adventure, you know, and
I'll admit wasn't necessarily unique at the time. Like I mentioned,
National Treasure came out a year prior to this, that
potentially hurt this movie. I would think, you know, because
maybe it was just done.
Speaker 3 (39:37):
People were pretty into National Treasure too. Yeah, that's pretty
beloved movie.
Speaker 1 (39:41):
In my opinion, though, I think this is more fun
I do. I'm going to sco out and say that,
and before all of our listeners who are National Treasure
fans get mad at me, let me explain. This movie
may not have had our darling, Nick Cage, but it
did have the next best thing. Steve's on. You thought
I was gonna say, Matthew McConaughey, didn't you.
Speaker 3 (40:00):
And either one's a treasure.
Speaker 1 (40:01):
Yeah. So this movie I think is one tasty turkey
and it's it's ripe for this timeframe right November. You know,
you feel good you're on this adventure. You got Matthew
McConaughey with a full head of hair. I was sort
of comparing him in Nick Cage because Nick Cage struggles
with that part.
Speaker 3 (40:18):
But they have you know, similar like I'm slightly balding,
but I have long hair kind.
Speaker 1 (40:25):
Of and they both have that like sort of charisma
on screen, you know, like it's fun to watch this
and it's fun to watch this trio of people, like
in National Treasure, they had something similar, although I would
argue that the trio in Sahara is a little bit better.
I like the chemistry between them a little bit more.
(40:48):
So if you like National Treasure, you might love Sahara
if you go back and watch it.
Speaker 3 (40:52):
This is one of those movies I've I don't know
if I've ever seen start to finish. I've seen Piecemeal
on cable, yeah, but I don't know if I ever
like saw the entire runtime.
Speaker 1 (41:05):
Yeah, it's like, what do they call that, like a
sinful pleasure, guilty pleasure? Guilty pleasure, sinful guilty. I like
sinful pleasure better. It sounds much more illicit. Yeah it is.
It's it's one of those guilty pleasures. I think. You know,
it's like a lot like Hudson Hawk. It's you go
into it. It's not supposed to be super deep, but
(41:26):
this one's pretty creative in the way that in which
they do it. There's a million movies out there like this,
not with as high caliber actors. I think these were
all high caliber actors in it. So take a chance.
Speaker 3 (41:40):
It's got a pretty bad poster. The way everybody's like
standing posed in it wearing cargo pants. But you know,
the color scheme definitely fits the November season fall leaves
with a nice orange, crisp color.
Speaker 1 (41:56):
It's pretty good.
Speaker 3 (41:57):
What do you think of the tagline, Venture has a
New Destination.
Speaker 1 (42:02):
I love that. I think that's the best. That's the
best tag line it's ever been written for any movie.
It's the goat all right. Well, that's a hell of
a quadruple feature we gave everyone.
Speaker 3 (42:14):
I mean, that's a full Schmorgas board for tasty turkeys
laid out in front of you.
Speaker 1 (42:21):
Tasty all the way to the bone.
Speaker 3 (42:23):
I think you should watch all these movies consecutively, spend Thanksgiving.
Just watch them all from like, wake up at midnight
on Thanksgiving.
Speaker 1 (42:31):
And if you need a little gravy to help it
go down, you've got. I mean, well, at least you've
got your double feature cheater bringing two movies.
Speaker 3 (42:40):
I've had two three hour recommendations.
Speaker 1 (42:43):
That is true.
Speaker 3 (42:44):
That's never gonna happen again.
Speaker 1 (42:45):
What is happening? I feel like the Sahara sky is falling.
Speaker 3 (42:49):
It's the only three hour movies I've ever seen.
Speaker 1 (42:52):
We're literally going to walk outside and be in Planet
Terror it's like the end of the world. You know, everybody's.
Speaker 3 (42:58):
Cats and dogs living together.
Speaker 1 (43:00):
All right. Well, we hope you enjoyed this episode of
Movies and Marketing. So until next time, let's fade to black.
I'll be back.
Speaker 2 (43:13):
He's not coming back.
In a world where movies rely on marketing more than
ever to connect with audiences, one podcast aims to make
sense of it all. This is movies and marketing.
Speaker 2 (00:16):
Next Saturday Nights, where's sending you back to the future?
Speaker 3 (00:21):
Go ahead, make my day?
Speaker 2 (00:23):
How about now you're crazy Dutch past.
Speaker 3 (00:26):
What we've got here is failure, you mill gate take
the ground where a freshole of how for we might
as well? Good time.
Speaker 1 (00:37):
I am an f B I agent, so shad I
love it when we celebrate the month of November, don't you?
Speaker 3 (00:47):
Of course I do. Some people just like to celebrate Thanksgiving.
Speaker 1 (00:52):
Not me.
Speaker 3 (00:53):
The whole month of November I think needs to get
more credit than it gets. It's not just a wasteland.
It's more than Thanksgiving.
Speaker 1 (01:00):
It is, and it's a time to feel good, isn't it.
There's so much hope and love in the air and
like goodwill towards men. I feel like November is that
month more so than December even.
Speaker 3 (01:13):
I don't know why you think that, but sure it's
peak fall, it's got that going for it.
Speaker 1 (01:19):
Yeah, you're heading into the holidays, so right now, it's
like it's the trailers at the beginning of a movie. Right,
it's all of the anticipation and hope that's sort of
wrapped up before you actually start to watch the movie,
and then you know, sometimes it's a letdown and other
times it's really great before the movie starts. Right even
(01:40):
when the credits are rolling, you're like, I'm really excited
about this, even though it could be a dud. Right,
So that's what I think the month of November is
leading up to Thanksgiving.
Speaker 3 (01:52):
Yeah, I think the month of November is like a
decent guy who you're like, Eh, he's all right, don't
mind them so much. You know, it gets you from
October to December. Okay, so everybody's like passable. Yeah, not
the worst, but uh, nothing special.
Speaker 1 (02:11):
I'm not convinced that you like the month of November
from what you just said.
Speaker 3 (02:15):
Well, I think it needs a little something more, and
I think we're gonna we're gonna give it a little something.
I think we're gonna inject some life into it by
bringing a little more, a little more turkey into it.
We got the turkey of Thanksgiving, but don't you think
it just needs more turkey.
Speaker 1 (02:31):
I don't think there's anything wrong with more turkey, unless
you're talking about a week after Thanksgiving. Then more turkey
is not what I want to hear.
Speaker 3 (02:40):
Ah. No, that's when you're like, I'm done with turkey,
all forms.
Speaker 1 (02:44):
Of turkey, turkey sandwiches, turkey paninis, turkey soup, turkey gumbo,
turkey pot pie, I mean, you name it. But this
is before all of that.
Speaker 3 (02:55):
Yeah, this is this is when we love turkey's. This
is when turkeys we want more of them. We're still
into them.
Speaker 1 (03:01):
And you could be listening to this during that time
frame after Thanksgiving, but you know what, you'll still feel
good because this is where you don't actually have to
eat a turkey. You're just gonna taste a movie version
of a turkey. Yeah.
Speaker 3 (03:14):
Last time we talked about turkeys on this show was
way back in the Year of Our Lord twenty twenty.
We had an episode called Toughest Turkeys. Those turkeys weren't
so good. Yeah, they were hard turkeys to get down.
We're talking about some turkeys like Battlefield Earth, some turkeys
that you didn't necessarily want to ingest. This time, we're
(03:39):
flipping the script a little bit. This time, we're going
to talk about some turkeys you want to consume that
you're gonna enjoy eating or watching.
Speaker 1 (03:47):
Yeah, and what we like to call tasty turkeys.
Speaker 3 (03:50):
Oh, tasty turkeys.
Speaker 1 (03:53):
Yeah.
Speaker 3 (03:53):
Box office bombs we love and you will too.
Speaker 1 (03:56):
Yeah, So why don't we use the term turkey Chad
to refer to a box office bomb?
Speaker 3 (04:01):
Well, I'm glad you asked that, Patrick. The term turkey
to describe a box office failure or dramatic flop originated
in nineteen twenty seven, almost one hundred years ago, when
gossip colonist Walter Winchell, who I think was a buddy
of yours, used it in Vanity Fair to describe a
third rate production. Now, as we noted in our previous
(04:24):
Turkey episode, a turkey isn't just a movie that performs,
you know, a little poorly at the box office. There
are a ton of those, you know, movies that just
lose a couple million dollars something like that. Turkey is
a movie that loses a lot of money because one
it's usually got a really big budget, and two it's
usually got a really bad box office performance, So that
(04:46):
kind of creates the perfect storm for our turkeys. It's
also typically a movie that becomes kind of notorious as
a failure. People are like, oh, that was a flop,
that was a bomb, that was a turkey.
Speaker 1 (04:59):
Yeah, so you know, we're putting a little bit of
a good spin on this whole turkey, even though it's
meant to be notoriously bad. We thought it would be
fun to talk about some box office bombs that we liked,
and so therefore they become tasty turkeys, something more enjoyable
for the holiday season.
Speaker 3 (05:18):
Yeah, we're taking back turkeys.
Speaker 1 (05:20):
Mm.
Speaker 3 (05:21):
Well before we do that, though, before we get into
the tasty turkeys, we have a fresh turkey. It's just
come out of the oven. So we can't resist the
opportunity to just talk about it for a minute. This
one's still a simmering at the box office, you know,
still steaming. I guess you would say. I'm talking, of
course about Joker palle ad.
Speaker 1 (05:45):
Our ones. In my life, I have someone who needs me.
Speaker 2 (05:54):
How about you? Are they? Do you still think you're
a star?
Speaker 1 (06:01):
Shelter?
Speaker 3 (06:07):
I want to tell us a little bit about the
performance of this movie.
Speaker 1 (06:10):
Patrick, Yeah, this one. As listeners, you know, I know
a lot of you out there follow the movie world,
especially if you're listening to this podcast, so you know
a lot of this stuff probably already. But Joker Fally
A Do, which is the follow up to Joker with
Joaquin Phoenix, supposedly costs about two hundred million dollars to make,
(06:31):
and at this point it's only made about fifty six
million at the US box office and one hundred and
thirty five million worldwide. As you know, that's a dud,
right because it clearly didn't make anywhere near its budget.
It made thirty seven point six million domestically in its
opening weekend after its initial box office forecast called for
(06:55):
close to seventy million, didn't do as well as expected.
Then it went on to eighty one percent in its
second weekend, which.
Speaker 3 (07:05):
That's a huge strip huge in the.
Speaker 1 (07:08):
World of like blockbuster movies, that is not what you
want to see. Clearly. In comparison, the original Joker made
three hundred and thirty five domestic and seven hundred and
forty three worldwide on a fifty five million dollar budget,
so the budget was much less and it did you know,
it is way more successful in the box office.
Speaker 3 (07:28):
We were talking a little bit before the show. The
kind of rule of thumb that I've seen on movies
is you have to make two and a half to
three times your budget to be to even be profitable,
So fully ado two hundred million dollars, you're talking about
five hundred to six hundred million just to break even.
(07:50):
This movie doesn't look like it's going to come close
to that.
Speaker 1 (07:52):
We always talk about, and you'll hear us on this
podcast talk about US domestic because that's how we run
numbers for like the Summer movie Draft and stuff like that.
This is taking in worldwide. You know, you'd have to
make that. It's you know, it's not confined to US.
Case in point. You know, the first one did really
really well because it clearly did great US, but worldwide
(08:18):
it made well over that two and a half times, right,
So it was just glowing. Those C suite execs were like,
we got to make another one. We don't know how
you do it, just make another one. So what do
you think went wrong? Knowing what you know and what
I know and what all the listeners know, what do
you think went wrong with CHET?
Speaker 3 (08:38):
Well, I'll give you a few things. One of them
the first one probably the obvious. They probably overspent on
this movie.
Speaker 1 (08:44):
Hmmmmmmmm hmm.
Speaker 3 (08:46):
You know, two hundred million pretty high for the type
of movie. Granted, the first one made a lot of money,
but that's still a big jump. Number two, Did we
need an actual sequel this? The first movie was kind
of a unicorn. Yeah, you know, I could see why
they went back to the well, I guess that's pretty typical,
but that movie was a surprise in how good it did.
(09:08):
Trying to recreate that magic. It is a little iffy.
Speaker 1 (09:12):
Yeah.
Speaker 3 (09:12):
And then the third thing, and I think it's the
biggest thing. They just made a movie that it seems
like everyone hated. Yeah, I mean, it's actually kind of crazy.
How hated this movie is. Critics don't like it. It's
got thirty two percent on Rotten Tomatoes from both critics
and audiences. Fans don't like it. It's got a D
cinema score. The first movie had a B plus. D's
(09:35):
super low for cinema score. I mean, I haven't heard
from anybody who actually likes this movie, which is weird.
Usually there's at least like some defenders of movies, you know,
even ones that are polarizing. It's like half the people
hated half the people don'tate it. This movie. It seems
like nobody likes it.
Speaker 1 (09:53):
You know. The thing is is Like, when you have
a movie that is universally disliked, something tells me that
there was no direction, right, There's no like clear story
that resonated with anyone, right, Like if you have a
split audience, or if you have just even some people
who are defending it, then you have a movie that
(10:14):
at least has a story and somebody appreciates what that
story is telling. But when everybody hates it, that tells
me that there's something seriously wrong with the story, maybe
the motives behind it, you know what I mean, Because
it just doesn't make any sense. Why does no one
like this movie? Right? Even the people who love musicals,
(10:35):
for example, seem to not like this movie. That's insane
to me. You know, you got Lady Gaga in this movie,
and you don't have Lady Gaga fans out there who
love this movie, you know what I mean. Like it
seems bizarre and maybe that's some of the marketing, but
I don't think so. I mean, they marketed this movie,
but it just like you said in a previous episode,
(10:57):
I think that there were people who confuse it. They
didn't understand that this was a different movie. There were
some people who thought isn't that the same movie that
they just released, because it seemed very much the same
in some of the trailers and stuff like that. They
didn't differentiate it enough. So maybe that was a problem
in the marketing itself. But it sounds like the movie
(11:17):
in and of itself is bad, so it doesn't really
matter because you're not even getting word of mouth.
Speaker 3 (11:22):
Yeah, I think that's probably the biggest problem there was.
I think there was some marketing issues. They probably could
have done better, but I'm not sure they had a
lot to work with. I do think a different title
would have probably helped at least a little bit. I
think folly Ado was probably a turnoff at least to
some people or confusing. Nobody really knows what that means.
Speaker 1 (11:46):
This is my just off. The coff I think would
have done better. Okay, joker colon the musical, at least
you're acknowledging what it is because people are taught. You know,
people are like, is that a musical? Like they don't understand,
they think it's weird. But if you come out and
say it, just justify it in the title, and I
(12:08):
think that would also it's like self aware right at
that point, so you're like Okay, let me give this
a shot. That doesn't really help scripting and plot and
all that stuff, but at least you get people to understand, yeah,
this is, you know, Joker the musical. I get it.
Speaker 3 (12:27):
There has been like movement lately with movies like Wonka
and The Mean Girls where they talked about to where
you have movies that are mostly musicals and to try
to market them as not being musicals because people don't
want to see musicals or don't think they want to
see musicals, but will accept them if they don't think
(12:48):
they're going to see a musical, which is a weird thing, right.
Speaker 1 (12:51):
That is, that's super weird. But this is where I think,
you know, this audience, it would play the opposite, right.
It's like I would never imagine Joker as a musical,
So that flips it a little bit, you know, gives
you a little bit of a twist, whereas like Wonka,
you kind of know that's a musical, you know, so
(13:12):
you just you call it Wonka instead of Wonka the musical,
You know what I mean. We can make an argument
for whatever all day long. The reality is the movie
is a major turkey, major major turkey.
Speaker 3 (13:26):
Yeah, this is kind of what happens in culture now
where people are like, it's so awful, it's so awful.
I have a feeling in a few years, people are
gonna be like, it's actually genius. People just didn't understand it. Ah,
that's gonna be like how we're talking about it in
two years, not us, but other people. You know, they're
gonna be like they just didn't get it in the moment. Yeah,
(13:46):
it's a lost masterpiece. I feel like that conversation is coming,
That wave of conversation is going to come in the future.
Speaker 1 (13:54):
It might it might be so deep and so thought
provoking that people just weren't ready for. And somewhere down
the line, people are gonna be like wow, and there's
gonna be a movement. There's gonna be a cult following.
There's going to be a religion built around this movie.
Speaker 3 (14:10):
Who knows? Could it be a future tasty turkey?
Speaker 1 (14:14):
Yeah, So that leads us to our tasty turkeys.
Speaker 3 (14:17):
The real meat of the episode, if you will.
Speaker 1 (14:20):
The real bird meat of the episode. Shad and I
are going to each share two turkeys that we think
you're gonna either like love or maybe hate us for recommending.
We don't know, you know, because these are ones that
we're recommending subjective. It's relative to us, our feelings, our emotions,
so just don't pick on us, okay, because we're sensitive.
(14:42):
So we're going to tell a little bit about the movie,
maybe why it bombed. We'll talk a little bit about that,
how much moot money they made, all that kind of stuff,
and then discuss, as we often do.
Speaker 3 (14:53):
Little note on these. So last time we talked about
four of the toughest turkeys of all time, and on
that episode we also shared two turkeys we like, so
similar to what we're doing today. All those movies ineligible
for this episode, we're not going to talk about them again.
Those movies are Battlefield Earth, The Adventures of Pluto, Nash,
(15:14):
Gods of Egypt, Cats, The Postman, and John Carter. So
you're not gonna hear those movies. Discuss.
Speaker 1 (15:22):
Good good selection, Yeah, good selection, and go back and
listen to that episode if you're interested or if you
haven't listened to it. A lot of fun, Yeah, it's fun,
as we often do on this podcast. This is all
just fun. It's just fun. Yeah, fun and games just
for kicks. It's for kicks, So hit me Shad with
your first turkey. I mean, don't like physically hit me,
(15:45):
because one time I saw a frozen turkey hit someone
and it looked like it hurt, and I don't Yeah, yeah.
Speaker 3 (15:53):
I wouldn't even want to be hit with a you know,
a thowd Yeah turkey. That seems uncomfortable.
Speaker 1 (16:01):
It seems like it would be painful to some degree. Yeah.
Speaker 3 (16:08):
Well, my first pick is not painful to me. My
first pick is the twenty twenty two movie Babylon.
Speaker 2 (16:23):
You know, when I first moved outleg you know what
signs on all the doors read no actors or dogs allowed.
Speaker 1 (16:32):
I changed that.
Speaker 3 (16:33):
The budget on this movie was eighty million. The US
gross was fifteen million, worldwide gross sixty three million, for
an estimated loss of eighty seven million dollars. WHOA, you know,
nice chunk of change. Let me give you the IMDb
synopsis of this movie. A tale of outsized ambition and
(16:57):
outrageous excess. It traces the right and fall of multiple
characters during an era of unbridled decadence and depravity in
early Hollywood. The cast included Brad Pitt, Margot Robbie Diegokalva,
and Toby McGuire so opening weekend. This movie debuts at
the US box office with three and a half million dollars,
(17:20):
overshadowed by Avatar, The Way of Water and Puss in Boots,
The last Wish eighty million dollar movie. Why did it, Bob, Well,
it's a three hour plus movie about old time Hollywood. Yeah,
it was released in December as an Oscar movie, but
it ended up getting mixed reviews. You know, it has
(17:41):
a fifty seven percent on Rotten Tomatoes. Not very good
when you're pushing to be like one of those high caliber,
prestige movies. I think they were also at a loss
on how to market this movie, so they just went with, Hey,
we've got stars. And I think this kind of came
at the point where the idea of selling a movie
on star alone just kind of stop working. It doesn't
(18:02):
really work anymore. The Margot Robbie poster tells you nothing
about the movie. It's, you know, nice poster with Margot
Robbie in the center, but it was also pre Barbie,
so yeah, Margot Robbie kind of had skyrocketed to the
point she's at now.
Speaker 1 (18:17):
I have not seen this movie. I feel like it's
one of those movies you have to be in the
mood to watch it.
Speaker 3 (18:23):
Yeah, and you gotta have a chunk of time.
Speaker 1 (18:26):
Yeah, I think you.
Speaker 3 (18:26):
Also, I don't know, at least I did. Before I
watch it, had like kind of a perception of it
where I'm like, what is this movie? Is this gonna
kind of bore me? But it's not like what you
think it is at all. Really, let me tell you why.
It's why I think it's tasty. Okay, this movie is
kind of insane. Despite being three hours long, it actually
whips you around like a roller coaster. I mean, particularly
(18:49):
the first hour, this movie feels like it was edited
by cocaine.
Speaker 1 (18:55):
Which might have been.
Speaker 3 (18:57):
I mean it it might have been. It is just
like rat tat tet. We're like bouncing here. The camera's
flying around. You know, you're just getting You're going from
character to character. It's like hyper editing. And despite the
fact that it's a super long movie, you're just it
keeps this like rapid fire pace for a lot of it.
Margot Robbie's great knit, Brad Pitt's pretty good, but it's
(19:17):
always just kind of going for it, which can be ingratiating.
After a while, you know, you're kind of like it
can be a little annoying, it can be a little
too much, but it's also amazing that it keeps that
energy level and it just keeps going and doing that
thing throughout the whole you know, very long run time.
So this is one of those rare cases where I'm
actually recommending a three hour movie and I would rewatch it.
Speaker 1 (19:41):
I'm a little concerned that you're recommending a three hour
movie because.
Speaker 3 (19:46):
It doesn't happen a lot. It's like The Godfather and Babylon.
Speaker 1 (19:50):
That Okay, those are wow, the extremes that you just
want to right now as are as listeners know, right like,
you are wholeheartedly again that's long movie, like an hour
and a half. Yeah, and that means something even probably
more profound because you are recommending it. So I'm gonna
now I have to watch this movie, you know. I
(20:12):
put it in that sort of classification as like The
Great Gatsby, you know, with Leonardo DiCaprio and Toby Maguire,
or like Once upon a Time in Hollywood. There's that
like sort of time frame that there's these movies that
they're encapsulating like that old time Hollywood.
Speaker 3 (20:29):
Yeah, those are probably good comparisons, though this one's like
operating in a different way, but those are probably good,
you know, correlations or things to bucket it with.
Speaker 1 (20:38):
Also like as a classification of the way in which
the movie performs too, like Once upon a Time in
Hollywood I think did pretty well and like the critical
acclaim of that was pretty good, or like.
Speaker 3 (20:49):
Yeah, I don't know why this one didn't do that
kind of business or didn't catch on in that sort
of way, but there was something about it that people
either didn't understand or found much less appealing because didn't
come close to that kind of money. But I think
it had a different people had a different perception about it.
Both those movies also had DiCaprio, who I think is
(21:10):
one of the rare people who can still kind of
open a movie.
Speaker 1 (21:12):
Yeah, I hope it's a tasty turkey, because if not,
I want to come back. I'm gonna be like, Chad.
Speaker 3 (21:18):
This was a tough turkey. You lied to me.
Speaker 1 (21:20):
This is one of the toughest turkeys, all right. So
my first I had kind of a hard time because
there were a few that I wanted to recommend. I'm
going to recommend this one, which I haven't seen admittedly
in a very long time. So before everyone fires off
hate mail to me, listen Hudson Hawk from nineteen ninety one.
Speaker 3 (21:42):
Hmmm, okay, notorious.
Speaker 1 (21:45):
I just got out of jail yesterday. I didn't want
to steal anything. I didn't want to go to Europe.
Oh one was a cappuccino.
Speaker 2 (21:55):
You're still think of the greatest cut burgers ever lived.
Speaker 1 (21:58):
You are one hell of a thing. Hut some palk
is that? Even then?
Speaker 2 (22:04):
Maybe I'm just.
Speaker 3 (22:05):
Some guy that's going to swipe and stuff.
Speaker 1 (22:07):
I mean, it's a Bruce Willis movie, nineteen ninety one.
You got a few years on Diehard, you know, eighty eight.
Bruce Willis was the man at the time. So this
movie's budget was sixty five million. It did seventeen million.
Seventeen I am stating that correctly.
Speaker 3 (22:27):
Are you missing a digits a decimal something off there?
Speaker 1 (22:31):
You would think I was, you know, sixty five million
dollar budget, seventeen million dollars world wide gross worldwide not
US estimated loss is about forty seven million. If we're
adjusting for gross, it's like one hundred and seven million.
Here's the thing. Okay, let me just read you the summary. Okay,
(22:53):
this is what I do. Sometimes a cab burglar is
forced to steal Da Vinci works of art for a
world domination plot. That's a summary. It's one sentence.
Speaker 3 (23:04):
A lot going on in that little sentence.
Speaker 1 (23:06):
The film has a rating of thirty one percent based
on forty five reviews. On Rotten Tomatoes, it's got an
average rating of four point six out of ten. Variety
when it came out called the film a relentlessly annoying
clay duck that crash lands in a sea of wretched
excess and silliness. Those willing to check their brains at
(23:29):
the door may find sparse amusement. So people didn't really
like this movie. The critics don't really like it. Even
on Rotten Tomatoes years later, it's still got a pretty
low score. Bruce Willis, Danny Ilo Andy McDowell were in
this movie, so they had stars, right, It had star power.
It even was nominated for Worst Picture at the nineteen
(23:52):
ninety one Stinkers Bad Movie Awards, which is saying something.
This movie, I think then was marketed to be, you know,
sort of a blockbuster of the time period, but nothing
like what we see today when you watch it. This
is sort of what to me. Now, this doesn't compare
to No Babylon, but this is what November is. Right,
(24:13):
you're sitting down, you're with the family, you want to
watch something silly and goofy and fun, and Hudson Hawks
sort of fits the bill, like it's not meant to
be super deep. It's like naked gun comedy. Right, you
do check your brain at the door. You could pick
super deep movies any other time. This is the Tasty
(24:35):
Turkey list. So for me, this fit the bill.
Speaker 3 (24:39):
I have never seen all of this movie. I've seen
pieces of it, and I remember, I like clearly remember
the trailers and stuff when I was a kid when
it came out. But as I recall, I don't know
if this is true. I think the story is this
is kind of like Bruce Willis's Like Baby kind of
came up with this idea. It was involved in it
(24:59):
to some extent. I was trying to look up some
of the information. It looks like him and a friend
came up with the idea before he was famous.
Speaker 1 (25:07):
Well, I know that the director and the co screenwriter
were both responsible for the movie Heathers, and that movie,
you know, did really well critically. People love that movie.
You know, that was sort of where they wanted cinema
to go, and this was sort of like a slap
in the face of what they did there. And I
(25:29):
think those who are very critical of this movie fail
to see the beauty and its humor.
Speaker 3 (25:35):
Yeah, no, it's a good one. I love movies like
this when it's like, in particular stars making something that's
weird and just didn't work or go over at all
with people at the time. Bruce Willis actually is a
number of these. Stallone has a number of these movies
that just kind of fell flat where you watch them
now and you're like, this kind of fun we don't
(25:56):
get we don't actually get A lot of these now,
even they're duds, are kind of just like these fast,
enjoyable movies that you can just kind of catch on
cable and get caught up in and even like laugh
at some of the stupidity of it.
Speaker 1 (26:08):
Yeah, that's the kind of movie that I think sometimes
it doesn't get enough cred And honestly, like going back
to something like this in ninety one is a nice
escape from the reality of movies and cinema today, because
I think movies are just not made this way anymore.
Like you spoke about Babylon, right, if you watch those
two movies back to back, totally different feel, obviously for
(26:30):
very good reason, but just the filmmaking style, even it's
not quite as high paced on cocaine, even though it's
a pretty high paced silly movie.
Speaker 3 (26:43):
Yeah, and that's one of the you know, one of
the reasons you get a lot of turkeys or big bombs.
One of them's obviously like special effects or things like that,
but the other one is like, we just have an
actor and we're gonna do whatever they want. We're gonna
spend a bought ton of money to get them and
just go with what they want, whatever like passion project
or whatever they're interested in. We just want this person
(27:05):
and they'll they'll give us a hit, and sometimes it
just does not work out at all.
Speaker 1 (27:10):
Yeah, we all know. A ton of money is a
lot of money.
Speaker 3 (27:14):
In a number that's like two hundred dollars or.
Speaker 1 (27:16):
More two hundred or more dollars or more.
Speaker 3 (27:20):
Yeah. Oh, that's a good one. It's a good one,
Hudson Hawk. So I'm gonna for my next pick, I'm
gonna take us back up to the two thousands and
I'm gonna, you know, bridge the gap a little bit.
We're into November, but maybe you still have, you know,
a little bit of October vibes to you. Maybe you're
still feeling a little halloween ish. I want to say,
(27:40):
not necessarily it has to be horror, but you're just
still in kind of that. I want something that's gonna
like scare me or take me to the age, thrill
me a little bit. So I'm going to offer you
the two thousand and seven movie Grindhouse.
Speaker 2 (27:54):
Okay, it was called the Grindhouse theaters that play back
to movies featuring uncensored sexuality and hardcore throughs now. Tarantino
and Rodriguez are bringing the Grindhouse back with two explosive
feature films.
Speaker 3 (28:17):
This one, Yeah, this one had a budget, a reported
budget between fifty three to sixty seven million. That's combined.
We actually Grindhouses two movies in one. As I mentioned before,
you know your budget, you got to make two point
five to three times that back just to be profitable.
So you're looking at they needed to make like one
hundred and fifty million or something like that. What didn't
(28:38):
happen us? Gross on this was twenty five million dollars.
Now here's where things get a little complicated because it
bombed in the US. They decided to take this, which
was two movies in one, and split it up when
they released it into the rest of the world. So
then death Proof ended up earning thirty million, Planet Terror
(28:58):
ended up eleven million, So you got forty four plus
twenty five estimated loss. You know, in comparison what they
need to be probably around eighty million dollars something like that.
Didn't do too well, and it's kind of like Tarantino's flop.
Give you the IMDb synopsis for anyone who hasn't seen this,
which is probably a lot of people. Quentin Tarantino in
(29:21):
Robert Rodriguez's Homage to Exploitation double features in the sixties
and seventies with two back to back cult films that
include previews of coming attractions between them. Cast includes Rose McGowan,
Kurt Russell, Rosario Dawson, Danny Trejo, and Michael Bean. This
movie opened Easter Weekend in two thousand and seven at
(29:45):
number four, made eleven point six million. Was behind Blades
of Glory, Meet the Robinsons, and the Ice Cube Kid
movie sequel. Are We done yet crazy time. Box office
was much different back then, where you're like a bomb
at number four, still making eleven million, but in its
second weekend it just kind of crashed and burned, dropping
(30:07):
sixty two percent, though not as bad as a fally
you do. Why did this movie bomb? The big reason,
I think was the unconventional format. This was a double feature.
It was two movies and one with fake trailers in
the middle. People had no real context for what this.
I think it confused a lot of people. Here's what
Tarantino himself said. I think me and Robert just felt
(30:29):
that people had a little more of a concept of
the history of double features and exploitation movies. No, they
didn't at all. They had no idea what the they
were watching. It meant nothing to them, all right, what
we were doing. So that was a case of being
a little too cool for school. So this is another
three hour movie with kind of a cryptic title. Probably
(30:53):
turned people off that they didn't quite understand what it was.
So this was something that was just kind of like,
here it is, here's this double feature movie, and people
were like what mm hmmm, because we hadn't had those
in like thirty years. You know that used to be
a thing they did all the time. But I think
we've gotten much better at marketing movies as like experiences now. Yeah,
(31:14):
but in two thousand and seven, I don't think they
knew how to do that. Last thing I'll say is
they released this movie in April. Yeah, on Easter weekend. Yeah,
that seems odd ball to me. One of the movies
is a horror movie. The other one's kind of like
an action car thriller. That fits to me easily in
that October season. So Grindhouse Patrick, did you see it?
(31:37):
Have you seen it?
Speaker 1 (31:38):
Yeah? I saw this movie actually in the theater, as
did I. I will say it was a late showing,
saw it with a buddy, and I will say fall asleep.
I fell asleep. I actually fell asleep through part of
death Proof. There's a really long as anyone knows Quentin Tarantino,
there's a very long dialogue sequence that happens in hit
(32:00):
most of his movies, every movie he makes. And so
I think death Proof was first when I saw it?
Speaker 3 (32:08):
Was second?
Speaker 1 (32:09):
Was it second?
Speaker 3 (32:09):
Death Proof was the second movie? Yeah?
Speaker 1 (32:11):
Okay, so yeah, I was probably wiped by that point.
In my defense, I also had literally I had, you know,
a baby, so I was sleep deprived. Fair, that's fair
seeing a late movie, I mean a late two movies,
a late two movies. I had everything going against me
at that point. At the time, I was like, man,
(32:33):
I don't know, I didn't even realize it. Fell asleep.
I woke up and the second half of that movie
is fantastic, But I fell asleep through some of that
dialogue and I was trying to catch up. But looking back,
because I've watched those movies since and I like them,
they should have done better. But you're right, it's timing
when they released them. When they're back to back like that,
that's a lot. It's a lot to watch. Sometimes, you know,
(32:56):
those dialogue sequences drag out a little bit, it could
be a lot. Your dialogue battery could get low. It's
the build up though, Yeah, it is the build up, sure,
But if you're watching two separate movies, there's not a
lot of connection between them. But again, that's in the theater,
I think, you know what I mean, that's the issue
there because they're so disconnected thematically, even though they do
(33:17):
try to tie them together. But yeah, that's a great pick.
I feel like you're a little bit cheating because you
pick something that's a double feature.
Speaker 3 (33:24):
My personal opinion is they exist as one thing. Okay,
what I didn't like was how they actually separated them.
They released them on Blu Ray together, and then they
released them on DVD separately, and then even on streaming,
it's been like they were separate. Just only recently have
they come out. I think it's only on Voodoo or
(33:44):
fin Dango at Home, whatever it's called. Now, can you
finally get it as the whole package?
Speaker 1 (33:49):
Really?
Speaker 3 (33:50):
I think I like the whole package. I think it belongs.
You know, one movie, the fake trailers in between, and
then the second movie, the whole experience. I never lived
through the double feature period at the movie theaters, but
I thought that was like pretty cool. It was long
and it's a lot, but I feel like you go
through something, you get one whole movie, then you get
this in between period, and then you get another whole movie.
(34:13):
If you had like a group of people and you
all kind of watch this together and watch both these
movies back to back, I think that's like kind of
just part of the fun. Even if this experiment did
not work, you know, from a box office perspective, and
the best part to me might actually be the fake
trailers in between.
Speaker 1 (34:32):
Oh yeah, which you can't really find when you watch
them singularly.
Speaker 3 (34:36):
Yeah, so that's like a missing thing. But that was
like a really fun part. They're from name directors, I mean,
Nick Cage shows up in one of them. They ended
up making three out of five of those trailers into
full length movies.
Speaker 1 (34:49):
You know what's really interesting is I tried to find
This was a couple of years ago. I tried to
find any semblance of Planet Terror, and I couldn't find
it because I wanted to rewatch that movie.
Speaker 3 (35:00):
What's out there?
Speaker 1 (35:00):
It should be out there streaming. I could not find it.
Death Proof could find it. I couldn't find that. Now
I think you can get it, maybe because they're releasing
it like combined to. But I wanted to watch it
because I was like, oh man, I hadn't seen that one.
But I saw Death Proof a couple times, and I
do agree with you, you know, like the experience is
(35:21):
sort of what drives that without them together, they can
live on their own, but they can't thrive on their own.
Speaker 3 (35:28):
Yeah, the togetherness is what makes them special, you know.
It's like us, Yeah, exactly exactly.
Speaker 1 (35:36):
So my next choice. This was tough for me, but
I kept coming back to this movie because it was
again one of those where it felt like a November
movie for the simple fact that it was a fun adventure.
And that was Sahara from two thousand and five.
Speaker 2 (35:53):
This spring the Americans I was telling you about, they
would soon.
Speaker 1 (35:57):
Find out what we were doing. And now the problem
is my.
Speaker 3 (36:01):
I'm sorry, I don't speak anglis. No, that's some bad news.
Speaker 2 (36:08):
By your boat.
Speaker 1 (36:10):
Matthew McConaughey, Penelope Cruise, Steve Zon, this movie as a dud.
As a turkey. It had a production budget of at
about one hundred and sixty million dollars worldwide, it grossed
about one hundred and nineteen so you could see the
estimated loss upwards of eighty million dollars inflation. All that
(36:32):
adjusted is about one hundred and twenty two million. But
let me just say, okay, this movie, if we're just
looking at the summary, Okay, we'll start with the summary,
because I think that tells you a lot about a movie.
Master Explorer Dirk Pit you heard me right, Dirk Pit,
great name, goes on the adventure of a lifetime seeking
(36:55):
out a lost civil war battleship known as the Ship
of Death in the deserts of West Africa while helping
a WHO doctor that's a WHO doctor, World Health Organization,
not Doctor Who being hounded by a ruthless dictator. That's it,
and really good, really good summary that encapsulates what the
(37:17):
movie is about. Here is where we, you know, have
something that obviously it did poorly in the box office
Ron Tomatoes thirty eight percent. Eh, you know, not so great.
The average is about five point two out of a
ten rating, which is about half. This is where, you know,
I think things get a little bit better for it,
(37:39):
because even though it was a dud a turkey in
the box office, it's still you know, there's like half
of the people who still like it, right, doesn't that
account for something? The marketing for this movie is kind
of an interesting tale, or at least a little bit
of a factoid about this is that Matthew McConaughey, as
(38:00):
part of the marketing for this film, drove his own
airstream trailer painted with a large Sahara movie post on
each side across America, stopping at military bases and events
like the Daytona five hundred premiering the movie two fans,
signing autographs and doing interviews every time he stopped and
(38:24):
the trips. Highlights of him going across America were shown
on you know, the E entertainment channel to coincide with
the film's release, and then he also kept a running
blog of his trip on MTV's entertainment website, which, you know,
again a sign of the times two thousand and five.
Probably we're probably at the tail end of all those
(38:45):
things anyway. But this movie was intended to be the
first in a franchise based on these Dirk pit novels,
similar to like James Bond, right, I.
Speaker 3 (38:57):
Was thinking Indiana Joe Is that.
Speaker 1 (39:01):
They sort of compared it to the James Bond novels.
But you know Indiana Jones. I mean, well, those weren't
really novels, but that was sort of a franchise similar
or like National Treasure. But you know, obviously the poor
box office results hit them. They never did anything else
with it, So what it got wrong? Let me just
(39:21):
tell you this is a fun adventure, you know, and
I'll admit wasn't necessarily unique at the time. Like I mentioned,
National Treasure came out a year prior to this, that
potentially hurt this movie. I would think, you know, because
maybe it was just done.
Speaker 3 (39:37):
People were pretty into National Treasure too. Yeah, that's pretty
beloved movie.
Speaker 1 (39:41):
In my opinion, though, I think this is more fun
I do. I'm going to sco out and say that,
and before all of our listeners who are National Treasure
fans get mad at me, let me explain. This movie
may not have had our darling, Nick Cage, but it
did have the next best thing. Steve's on. You thought
I was gonna say, Matthew McConaughey, didn't you.
Speaker 3 (40:00):
And either one's a treasure.
Speaker 1 (40:01):
Yeah. So this movie I think is one tasty turkey
and it's it's ripe for this timeframe right November. You know,
you feel good you're on this adventure. You got Matthew
McConaughey with a full head of hair. I was sort
of comparing him in Nick Cage because Nick Cage struggles
with that part.
Speaker 3 (40:18):
But they have you know, similar like I'm slightly balding,
but I have long hair kind.
Speaker 1 (40:25):
Of and they both have that like sort of charisma
on screen, you know, like it's fun to watch this
and it's fun to watch this trio of people, like
in National Treasure, they had something similar, although I would
argue that the trio in Sahara is a little bit better.
I like the chemistry between them a little bit more.
(40:48):
So if you like National Treasure, you might love Sahara
if you go back and watch it.
Speaker 3 (40:52):
This is one of those movies I've I don't know
if I've ever seen start to finish. I've seen Piecemeal
on cable, yeah, but I don't know if I ever
like saw the entire runtime.
Speaker 1 (41:05):
Yeah, it's like, what do they call that, like a
sinful pleasure, guilty pleasure? Guilty pleasure, sinful guilty. I like
sinful pleasure better. It sounds much more illicit. Yeah it is.
It's it's one of those guilty pleasures. I think. You know,
it's like a lot like Hudson Hawk. It's you go
into it. It's not supposed to be super deep, but
(41:26):
this one's pretty creative in the way that in which
they do it. There's a million movies out there like this,
not with as high caliber actors. I think these were
all high caliber actors in it. So take a chance.
Speaker 3 (41:40):
It's got a pretty bad poster. The way everybody's like
standing posed in it wearing cargo pants. But you know,
the color scheme definitely fits the November season fall leaves
with a nice orange, crisp color.
Speaker 1 (41:56):
It's pretty good.
Speaker 3 (41:57):
What do you think of the tagline, Venture has a
New Destination.
Speaker 1 (42:02):
I love that. I think that's the best. That's the
best tag line it's ever been written for any movie.
It's the goat all right. Well, that's a hell of
a quadruple feature we gave everyone.
Speaker 3 (42:14):
I mean, that's a full Schmorgas board for tasty turkeys
laid out in front of you.
Speaker 1 (42:21):
Tasty all the way to the bone.
Speaker 3 (42:23):
I think you should watch all these movies consecutively, spend Thanksgiving.
Just watch them all from like, wake up at midnight
on Thanksgiving.
Speaker 1 (42:31):
And if you need a little gravy to help it
go down, you've got. I mean, well, at least you've
got your double feature cheater bringing two movies.
Speaker 3 (42:40):
I've had two three hour recommendations.
Speaker 1 (42:43):
That is true.
Speaker 3 (42:44):
That's never gonna happen again.
Speaker 1 (42:45):
What is happening? I feel like the Sahara sky is falling.
Speaker 3 (42:49):
It's the only three hour movies I've ever seen.
Speaker 1 (42:52):
We're literally going to walk outside and be in Planet
Terror it's like the end of the world. You know, everybody's.
Speaker 3 (42:58):
Cats and dogs living together.
Speaker 1 (43:00):
All right. Well, we hope you enjoyed this episode of
Movies and Marketing. So until next time, let's fade to black.
I'll be back.
Speaker 2 (43:13):
He's not coming back.
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