Damn You Hollywood: Night Always Comes (2025)

Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:05):
The following may contain offensive language, adult humor, and or
content that some viewers may find offensive. The views and
opinions expressed by anyone speaker does not explicitly or necessarily
reflect or represent those of Mark Ratlage or W two
M Network. Please listen with caution or don't listen at all.

Speaker 2 (00:29):
Porad for Hollywood, where stars are living large ken mansions
with their servants and their credit cards in charge with fame.
That's fleeting, but the egos never change.

Speaker 3 (00:44):
Where everyone's a genius except the ones who really arrange.
Hooray for Hollywood, where the scandals always sell, where every
whispered secret is a new tabloids Tell oh, how we
adore the endless red copay for Hollywood, Well, less is

(01:07):
always more.

Speaker 1 (01:09):
Ladies and gentlemen, boys and girls, children of all ages,
all of them are listening to what will be the
least watch show we do this year.

Speaker 4 (01:18):
Also, that's a spicy meat the ball.

Speaker 1 (01:25):
Ladies and gentlemen, boys and girls. You are listening to
a radly broadcasting premiere podcast. Damn you, Hollywood, And here's
your host, Freckles McGee. They call him around the way,
but you can call him Robert Winfrey, Yay.

Speaker 4 (01:39):
Of all the negative nicknames I've ever accrued over the
course of my life, never has that or anything closely
approximating it been thrown at my at me, So I
don't wonder where.

Speaker 1 (01:49):
I don't even know where it came from. I just
just like I gotta call himself freckles.

Speaker 4 (01:54):
You're just you're just flailing around through the the morass
of your vocabulary.

Speaker 1 (02:00):
The the star spaceship chipmunk that lives in my brain
and I'm just grab something.

Speaker 4 (02:09):
The angry monkey typing away at a keyboard up there
with interdimensional Wi Fi.

Speaker 1 (02:14):
I was somewhere this past week and I was thinking
about Fishbones. Give a monkey a brain and he'll swear
he's the center of the universe, mostly because I like
the album cover. You know, it's like a monkey the center.
It's you know, big one of those like beige maps
of the universe, and there's planets and it's everything's in
a circle, and at the center of it, where it's

(02:34):
supposed to be the sun, it's a monkey. Because you know,
if you give a monkey a brain, he'll swear he's
the center of the universe. And for some odd reason,
I could not get that out of my head. So
how I got from that to freckles is really the
great mystery.

Speaker 4 (02:49):
Of our age, well, certainly of the next ninety minutes. Indeed,
Hello everyone, this is damn you Hollywood. We're talking about
a movie tonight that no one saw. You know what,
I probably shouldn't say that. This was one of those
things like it trended briefly on Netflix, like yeah, the
number two most watched movie in the United States.

Speaker 1 (03:11):
I believe that it is an argument in favor of
people will watch anything if it's free.

Speaker 4 (03:17):
You know, that's not as true as it used to
be once everything. Look, man, I feel like the modern
entertainment attention ecosystem can be summed up in a Simpsons scene,
a scene where Krusty, the clown fired from his job,
is standing on the side of the road with a

(03:39):
sign that says, we'll drop pants for.

Speaker 1 (03:41):
Money, We'll drop pants for food, for.

Speaker 4 (03:45):
Food, and bart and Lisa come up and go, you
haven't any luck Krusty, and he goes, it's hard when
that guy's giving it away for free, and used to
be Hey.

Speaker 1 (03:54):
What it used to be? Ey, what it used to be? Oh, look,
it's the crazy old man dances well.

Speaker 4 (04:00):
Used to be well, the old gray may ain't so much.
He used to be with with his pants around his ankles.
And that's just somehow that seemed perfectly encapsulated with the
entertainment attention ecosystem in twenty twenty five to me, So the.

Speaker 1 (04:15):
Boomers are gonna dieing soon, hopefully, and then we're and
then I'm next. I'm next the Generation xers, which, depending
on who you ask when Generation X started, I'm either
I'm either a boomer or I'm a Gen X. I'm
not really sure which seventy and I saw somebody said, like, God,

(04:40):
I think Gen X starts with like eighty or.

Speaker 4 (04:41):
Something like that.

Speaker 1 (04:41):
I can't remember.

Speaker 4 (04:42):
No, No, you're a Gen X.

Speaker 1 (04:44):
Yeah, And I might have that backwards. In any case,
I remember, like, depending on the year, I'm either a
Boomer or I'm Gen X, not the other way or
not not millennial. But my point being that, uh so
the Boomers will be gone soon, and then Gen X
will be next, and then after that, I would say
the elder millennials are probably the last people that watch

(05:06):
traditional television. And I don't mean like real traditional television,
I mean modern traditional television. Netflix Hulu, Amazon, Movies, TV,
not YouTube and TikTok because I would imagine the younger
millennials and then behind them gen Z and then these
gen Alfie.

Speaker 4 (05:22):
It's more zoomers and Alpha that are trending away from
anything scripted.

Speaker 1 (05:27):
Right, That's my point, Like we are living in the
last vestiges, the last days of what used to be
traditional entertainment, because, like I said, you know, if you're
you called them zoomers, zoomers, gen Z, gen Alfa, those
people they're not gonna watch the movies and TV anymore.

Speaker 4 (05:45):
Now they've had their they've had their attention spans and
dopamine receptors shortserted by being stuck in front of quick
scrolling screens from the time there were three that doesn't horrifying.

Speaker 1 (05:55):
Well, let me I'll say one nice thing and that
we should probably start the podcast. The kidder was telling
me about earlier. He was telling me about the videos
that he watches on YouTube, and he reminded me of
Jonas actually, because he was like, Oh, I watched this
YouTube video on the history of the separation of Church
and State, and my son, who's like I was watching

(06:16):
the video on Dyson spheres fucking nerds watch Power Rangers.
But you know, I it's hard for me to completely
kick those generate you know, those kids, because it's not
like they're watching you know, all bubblegum bullshit, like they're
they're watching documentaries.

Speaker 4 (06:36):
Here's the thing, there's going to be a we think
the divide now is bad, the divide is going to
get worse between the people who self select into I
can learn anything from human history.

Speaker 1 (06:47):
Right, everything, Everything becomes a college class. I can audit
and I'm seven or cats. Yeah, well that's all it's
gonna be.

Speaker 4 (06:58):
And again the long ramifications of that.

Speaker 1 (07:02):
Well, that's gonna be how we select who gets to
be soiling green and who doesn't.

Speaker 4 (07:09):
Yeah, that's that's about the you know the other problem
with soil and green though.

Speaker 1 (07:15):
Other than the fact that it's made of people. What
Robert what?

Speaker 4 (07:19):
There was a giant and this this has only become
very very obvious the last like three years to five
years there because you and I are old enough to
remember this. When one of the great myths of the
Dystopian future was overpopulation.

Speaker 1 (07:35):
Well technically that is the case currently, but not in
the way that everyone thought.

Speaker 4 (07:40):
Overpopulation. Again, not act turns out not really that big
of a problem.

Speaker 1 (07:46):
Yeah, that's always been tied to the That's why the
Avengers stuff resonated the way that it did, because it's
always been tied to resources or lack thereof. That's not
that I don't want to get into it because it'll
dovetail into an entirely different conversation, which I've talked about
repeatedly on my TikTok, but I don't want to do
it here. But where we are there is an overpopulation,
but not because of a lack of resources. We actually
have plenty. We technically we could feed and clothe and

(08:09):
house every person on this planet, but we don't. It's
an overpopulation in terms of usefuless and non mutated. And
that's about the nicest, most clinical way I could put that.

Speaker 4 (08:21):
But let's well, the other problem is in this again
is a because everyone was traumatized by sort of anti natalist,
anti humanist propaganda about overpopulation. Now you're seeing a bunch
of places that are like, boy, we're in trouble in
like ten years.

Speaker 1 (08:40):
I said that to somebody recently, because a lot of
a lot of what's happening on TikTok now is people
talking about the government wanted to give women five thousand
bucks if they have babies, and the women that are like, no,
thank you. How many IUDs can I put up there?
That's how that's how little they want to have a baby.

Speaker 4 (08:55):
You have to understand the following, like the number of
places trying to like jumpstart fertility because they're not at
replacement levels of humans. Turkey's trying, at South Korea's trying,
at Japan's trying, is a bunch of places. The data
does not show that financial incentives work. They don't. Yeah,
you can't buy your way out of the narcissistic egotism

(09:19):
that goes into well.

Speaker 1 (09:20):
That and people feeling like the world has become unpredictable
and too unpredictable and too unreliable to bring children into
and so they're choosing not to. Hey, can we talk
about the movie now?

Speaker 4 (09:29):
I mean we could, but.

Speaker 1 (09:33):
You'd rather do this instead for an hour?

Speaker 4 (09:35):
All right, So tonight to get back on track. We've
done our ten minutes here. Uh Mark looked at this
month on the schedule and found nothing on the release schedule,
on the actual theatrical releases. Nothing, So he then looked
at streaming our Lord and save you're in the wasteland

(09:56):
of entertainment, and said, let's find stuff from here. And
I know in the past Mark has deliberately found the
worst crap he could.

Speaker 1 (10:05):
I miss Blonde so bad.

Speaker 4 (10:08):
That is not what he was doing this month. He
just stumbled into it.

Speaker 1 (10:15):
So, yeah, we're talking. The Night Always Comes, which is
a twenty twenty five American crime thriller drama film.

Speaker 4 (10:20):
All of those need heavy air quotes around them when describing.

Speaker 1 (10:23):
This, directed by Benjamin Karen from a script by Sarah Conrad,
adapting the twenty twenty one novel The Night Always Comes
by Willie Lawton, which is.

Speaker 4 (10:31):
A navel gazing piece of crap, but you'll get to it.

Speaker 1 (10:35):
It stars Robert Winfrey's new Margot Robbie Vanessa Kirby.

Speaker 4 (10:38):
Okay, we'll address that later.

Speaker 1 (10:42):
Who was also a producer on the film, because who
is the producer of their own film? Jennifer, Jason Lee,
Zach Got Sagan Stephen, James Randall Park who was in
Everything Now, Julia Fox, Michael Kelly, and Eli Roth. And
it came out on Netflix August fifteenth. Yeah, I honestly,
I just at the schedule and I was like, you
know this, August and September are kind of when we

(11:05):
play catch up. We watch streaming movies because between between
July and October, not a lot out in the theaters
that tends to be attractive to me to discuss or
worth going to see in the theater. Sometimes you get
a jewel in the now, but then we catch up
with it on streaming later. So I saw this and

(11:25):
I was like, eh, I'll take a flyer on a
Vanessa Kirby movie, you know, crime drama. See how it goes.
Sometimes it goes well, sometimes it goes the way this
one did. But because it is a novel, I want
to talk about the fact that when Netflix released Night
Always Comes, starring the set of Vanessa Kirby, it arrived
with the pedigree of a novel that had already turned

(11:47):
heads in the literary world. William Lawton's twenty twenty one
book wasn't a Runway bestseller, but it was a critical success,
praised by The New York Times former newspaper, named by
one of The Washington Post's top twenty five books of
the Year in the Year of Our Lord twenty twenty one,
and given starred reviews by publishers Weekly and Cirkus. Laughton

(12:10):
had built his reputation chronicling working class lives with empathy
and grit. Oh good, this is the new rivethead and
the Night always comes fit that mold perfectly. A desperate
two day sprint through Portland, perfect for sprinting, by the way,
with a woman trying to claw her way out of

(12:32):
poverty and secure a home of her own. The story
was tailor made for film and theory. On the page,
Lawton gave readers a tense, propulsive arc that played out
almost in real time, drenched in the anxieties of gentrification,
economic precarity, and family obligation. Those same qualities made it
irresistible the Hollywood Believe it or not a narrative, this

(12:54):
urgent doesn't just read well, it plays well on screen.
In theory. The film adaptation, directed again by Benjamin Corona
of The Crown and and or a Few Nerds Out There,
stays true to the heart of the book. Kirby's Lynette
is still the same woman fighting against impossible odds, and
the themes of desperation and inequality remain front and center.

(13:15):
Portland itself, both novel and film, suggest is a character
in its own right, it's shifting neighborhoods, crack streets, and
neon shadows, reflecting the collapse of a dream. But the
movie trims and titans where Vlaughton's novel stretches over two
days and gives more space to Lynette's interior life. The
film compresses events into a single long night, sharpening the

(13:38):
sense of noir momentum. Characters who play larger roles in
the book are streamlined here in service of pacing and
emotional clarity. The adaptation leans heavily into cinematic immediacy, chases, confrontations,
and atmosphere where the novel lingers on the slow suffocation
of poverty. So why in God's Green Earth did this
then get optioned? Well, not because it was a mass

(14:01):
market hit by God, but because it was the right
kind of book, acclaim, topical, and built around a story
that screamed for a visual medium in theory. In a
time when housing, insecurity and the fragility of the working
class are front page realities, Laughton's novel offered a mirror
a filmmaker, and filmmakers like Kirby and cart Corone saw
it in the bones of a searing thriller. The result

(14:24):
is a faithful but heightened adaptation. The book gives you
the quiet dread of watching a woman's life unravel. The
film gives you that dread compression too, a single night
ratcheted up until it feels like the city itself might
swallow her whole. And speaking of swallowing Vanessa Kirby whole,
here is Robert with a Winfrey with a brief plot synopsis,

(14:45):
hit it, Johnny.

Speaker 4 (14:47):
Your ai was like influenced heavily by the like Netflix Studios,
with that whispering in the ear, good grief.

Speaker 1 (15:00):
Thank you for saving that commentary to the end.

Speaker 4 (15:04):
It was close. That was a close one, all right.
So the plot goes a little something like this. We
meet Vanessa Kirby, who lives in Portland, which is always
a mistake. I lived near Portland in the nineties. It
was a mistake. Then it's not gotten better anyone asking

(15:25):
where in particular, that would be Gresham if you want
my Pacific Northwest credentials, because nobody else is gonna look
that up. So she lives in a rundown house with
her mom, her personality disordered mother played by Jennifer Jason
Lee who that is the only character type she plays
these days. And there in her down syndrome brother, Yeah,

(15:51):
some kind of mental handicap. I assumed downs, but yeah,
I don't think it's ever confirmed. And like many poor
people into lap places, there just barely getting by. So
she wakes her mother up from the couch and goes,
we're closing on the house today. Bring the money be
at the lawyer's office, and don't screw this up. And

(16:14):
then she goes to work. She takes her brother to
wherever she takes him. She goes to work at a bakery,
and she has another job at a bar, and she
goes through the drudgeries of life. Then she goes with
her brother to the lawyer's office to the landlord, and

(16:34):
her mom's not there. She calls mom, where are you?
She goes, I can't talk to you right now because
I'm drunk. She's not drunk, but that's sort of implied.
And ultimately, poor Vanessa Kirby has to just go I
got nothing. Can you give us one more day? In
this poor real estate agent? Like I'm just trying to

(16:54):
I've given you like four extensions, but sure, tomorrow morning,
nine o'clock. If you need another deadline. So she goes
home with her brother and her mom drives up in
a brand new maus. So like, I took the twenty
five thousand dollars that we were gonna use for the
down payment on the house, and I bought a car.

Speaker 1 (17:13):
We ain't got the money for the mortgat.

Speaker 4 (17:15):
On the phone, I got these magic beans.

Speaker 1 (17:20):
You understand that I turned to a massea.

Speaker 4 (17:25):
And there's a fight because Vanessa Kirby is like, they're
going to evict us, and the mom's like, I can't
talk to you. When you get like this, I imagine you
had flashbacks.

Speaker 1 (17:37):
Oh my god. Like this movie is ridiculous and too
real all at the same time.

Speaker 4 (17:44):
It is a weird combination. So Vanessa Kirby decides, all right,
I have twelve hours to get twenty five grand. What
can I possibly do? So she goes to her friend
who's a whore and not even joking.

Speaker 1 (18:03):
No, no, she goes on a date with Randall Parkers.

Speaker 4 (18:05):
All right, right, right, So this married man she's sleeping
with because she's not exactly a person of high moral fiber.

Speaker 1 (18:11):
He is an escort and he is her John.

Speaker 4 (18:16):
She's a whore.

Speaker 1 (18:18):
Real work Robert Winfrey, everyone says, so I'm just tweaking.

Speaker 4 (18:23):
Everyone can say the sky's purple too. It ain't gonna
change it anyway. She goes on a date and says,
you know, we've been seeing each other for a while
and you still haven't introduced me to ant man. Sorry,
bad joke, and uh, you know you're rich. Can you
help me out a little bit? And he goes no.

Speaker 1 (18:45):
And like boss, she has to hassle him for money.

Speaker 4 (18:48):
Yeah, and he goes no, I'm married.

Speaker 1 (18:51):
You're a whore.

Speaker 4 (18:52):
Why would I give you? Why would I do this?
So she goes to her other friends. So she steals
his car like you do, and goes to see her
friend who's also a whore.

Speaker 1 (19:06):
Hooker. All right, prostitute, escort, damn it.

Speaker 4 (19:10):
You are running out of euphemisms.

Speaker 1 (19:13):
I have progressive tourettes.

Speaker 4 (19:18):
You s spouting random letters and eventually they come out
in the right order because your face rolled the keyboard.

Speaker 1 (19:23):
The appropriate term is escort. So that we don't aggravate people.

Speaker 4 (19:26):
Please, I don't care. Okay, this is not the hill
you guys want to die on. Okay, just trust me
on this.

Speaker 1 (19:34):
So so easy to just say escort Robert is it.

Speaker 4 (19:40):
So she goes to her friend and goes, look, I
gave you that three grand to bail you out of
jail that one time. I kind of need you to
pay me back. And her friend goes, no, do you
understand I was in jail. You were the only number
I had. Sorry, your life sucks, and this is how
we're going. So they have a little bit of a fight,

(20:00):
and then Vanessa Kirby finds the safe in this apartment
and she tries to open it, but she's not very
bright and doesn't have the skill set to open a safe.
So she drives around and finds a guy who used
to do who got out of prison, who works at
the bar that she works at, or was around there,
and it's like, hey, you're a person of color who

(20:22):
went to jail. Can you open a safe?

Speaker 1 (20:25):
You save just like the type to do breaking and
entering and safe cracking.

Speaker 4 (20:31):
And he goes, it wasn't like that. I was set up,
you see. He goes, well, can you at least look
at this. It's my safe and I need the money
that's in it, and he goes, everything about this seems sketchy,
But you're an allegedly pretty white woman. So sure, So
he goes with her to the hotel to this apartment
and he looked at the safe and goes, you told

(20:53):
me this was like a home depot safe which you
can open by dropping on its corner, which is true
of a lot of those really crappy safes. By the way,
this takes skill and finesse, and I can't do this,
and you clearly don't live here, so this is getting
more and more illegal by the second. And she goes, yeah,
but I can pay you some of what's in that

(21:13):
you can have some of what's in the safe, and
he goes, fine, I am tempted by your sob story
and money. So they take the safe and they go
to the bad part of Portland, which is all of Portland,
and because he knows the guy who kind of knows
how to open saves, so they go to this very
sketchy dude who's probably on meth and is covered in tattoos,

(21:34):
who gets his inbred cousin to show up and watch
the door because we need one of those. And he
looks at this and he says, wow, that's a safe,
and he tries to go with the hinges with a
grinder which is no, and then he says, no, no,
we gotta go old school. So he picks up a
sledgehammer and hits the door a few times. Ladies and gentlemen,

(21:58):
if you're safe can be opened by hitting it with
a sledgeham by a tweaker hitting it with a sledgehammer,
you wildly overpaid for your safe. But it works because
the plot says it has to. So they open it
up and inside the safe they find cash, half a
kilo of cocaine, and several expensive watches, among other various paraphernalia,

(22:19):
and the tweaker grabs Vanessa Curby by the throat because
there's a bunch of cocaine in the safe, holds a
box cutter to her face and goes, whose is this
and what did you get me into? Which, well, violent
is not actually an appropriate response to opening a safe
and finding a bunch of drugs.

Speaker 1 (22:37):
That is very Hey, who who did you just rip off?

Speaker 4 (22:41):
Who's yeah? What we have? And what are we doing here?
And she goes and she goes through her letany of lies,
and then there's a fight that breaks out, and this
ninety pound one hundred and twenty pound woman at the
most picks up a heavy piece of machinery and throws
it at the inbred guy and hits him in the
head miraculously and like causes him to seize up, like

(23:04):
her throat is pathetic. And anyway, she grabs the money,
she grabs the drugs. She escapes. The guy Cody that
she met, joins in with her and like, okay, so
go somewhere and they get a little drunk and she
vomits and then they count the Cash's like, I got
nineteen grand. It's a pretty good haul. Oh no, alas,
I am five grand short. Give her take and he

(23:28):
goes She goes, well, I got this car that I stole.
And you're like, well, I might be able to get
you some cash for that, and she goes, well, I
need to see the money first. So he gets her
some of the money and they go to the car.
They pick up her brother along the way because he's
been at daycare for way too long, and they drive

(23:49):
where she parked the car, only to find that she
parked it in a bad part of town. Again, that's
almost all of Portland and it's been broken into. So
she and Cody five and she takes the money and
she drives off, and she's still short because she didn't
get all of it. So she takes the cocaine to
a scumbag pawn shop owner who used to pimp her

(24:10):
out when she ran away from home at the age
of sixteen. Don't worry about the backstory. This is just
so the author, director and actress can opine about young
people being manipulated by evil old white men on the
streets of Portland. And he says, Wow, that's half a
kilo of cocaine. You know, I don't have six grand

(24:31):
laying around here, and she's like, but I need it,
I don't have it, like oh, and she tries to
emotionally blackmail him with this terrible, terrible past, like that
would work on someone who's damaged enough to do those
terrible terrible things. But hey, emotional logic, right.

Speaker 1 (24:49):
Anyway, when the last Rambo movie that dealt with sex
trafficking is the most realistic betrayal of sex trafficking and
this seems like wish fulfillment and fantasy, boy, are we
struggling in film with these particular issues.

Speaker 4 (25:04):
That is absolutely the truth. So anyway, he makes a
few calls and he says, okay, So Eli Roth he
lives in one of those houses, you know, the places
I pimped you out too because trauma. He'll give you
three grand for it, and she goes, but I need more,
and he goes, look if you can find somebody else
to take this off your hands for more money. God bless,
but you came here and this is all I got.

(25:26):
Now here's the number, here's how you get in, And
don't you ever come back here because you're nothing but
bad luck. I got a girlfriend, I got a kid.
I'm trying to move on with my life. So she leaves.
She drives up to this place and finds eli Roth,
and bad things happen because eli Roth's character is a scumbag.
He throws her through a glass table, but she gets

(25:48):
her money and she drives back home and her mother
pulls glass out of her back as she as Vanessa
Kirby realizes, Oh, you're not You're like messed up. But
you didn't blow the closing on the house because you
forgot about it. You want me to leave, You don't

(26:09):
want me around. You think i'm bad luck, and she goes, yeah,
you're a terrible kid, and I'm not exactly a great mom,
but yeah, I've made arrangements where your brother and I
are going to go after this place gets repossessed.

Speaker 1 (26:21):
And like that's also like the big reveal here is
that this is is that the down syndroom kid is
actually Vanessa Kirby's son that the mom raised.

Speaker 4 (26:34):
Yeah, yeah, because random, well.

Speaker 1 (26:41):
What the driving factory in a lot of this was.
Vanessa Kirby is trying to make right, make right what
was once wrong. You know, she she believes and I
would say this is one of the few things in
the movie is halfway well. Is she has this really
strong relationship with this person that she has, you know,
agreed treat as a brother when it's actually her son.

(27:02):
And if they and she wants to save the house
so that they can stay together because she wants to
stay with her son. Yeah, and uh, the mom what's the.

Speaker 4 (27:14):
Actor's real name again, that's Jennifer Jason Lee.

Speaker 1 (27:18):
Jennifer Jason Lee is like, let's talk about a couple
of things which you may not understand. One, he's afraid
of you. Two, I raised him as my son. He
only knows you as his sister. He'll live if you're
not around. And three, you are a terrible human being.
You've been a terrible human being, and we'll do and
we'll be better off without you. There's a reason why

(27:38):
I didn't go through with this. It's because we're trying
to get away from you, you psycho andes and like,
the whole point of the movie is we're at the
end of the movie now, and that's kind of how
the movie ends it. Vanessa Kirby is basically going, oh well,
despite running away from a home which probably an abusive situation,
you know, and malignant neglect and running into the street

(28:00):
eats and being sex trafficked and you know, having all
kinds of trauma, as it turns out, I'm also a
terrible human being and my own mother doesn't love me. Finn.

Speaker 4 (28:11):
She says goodbye to Kenny. She leaves a note so
we can get a voiceover because pretension, and she drives
off to start, in her own words, fighting for herself,
and I puke the end.

Speaker 1 (28:29):
Yeah, this is first of all, there are a lot
of movies where the city is in a isn't of
itself a character. This is not one of them. I
don't care what the AI says.

Speaker 4 (28:40):
Yeah, your AI was lying through its teeth there. This
could have been said anywhere.

Speaker 1 (28:44):
I read it as is because I wanted to do
because there's a difference between the kind of like news
desky introduction and what we're doing now. So like that
is the presentation, this is the this is the review,
this is the opinion. And I am of the opinion
that I didn't get a set that could have been

(29:05):
any city. Oh yeah, I did not get a sense
of that was Portland there. When you shoot a city
as character in your movie, you have to show places
around the city that are unmistakably that city. If you're
going to show Toronto, you have to show things that
are only exclusive to Toronto. When we show every movie
ever that has ever shown New York City, what do

(29:27):
you see the Empire State Building when they were up,
the Twin Towers, the Brooklyn Bridge, you know, the Hudson Bay,
et cetera, et cetera. When you show Los Angeles, you
show the Capitol Building, you know, you show the Hollywood Sign,
you show the neon lights of Sunset Boulevard. This is
what you do anyway you show in Chicago, you show
the trains, you show, et cetera, et cetera. So my

(29:49):
point is they don't do any of those things for Portland,
which meant this could have been any grimy city anywhere.
And if and if the author that's why I wanted
to talk about the book. If the author was like,
Portland is this living, breathing thing, and it's this sort
of microcosm of a bigger issue I want to talk
about because I want to talk about gentrification. I want
to talk about the you know, the death of the

(30:09):
middle class. This you know, I want to talk about
economic struggle. One watch the last Candy Man movie that
came out. Because of all the bad things that the
that the director did in that one, at least need
a class that got that part of it right there,
You got there, you.

Speaker 4 (30:24):
Have more or less, more or less, thank you.

Speaker 1 (30:26):
You absolutely got a sense of what gentrification does to
areas that have middle to lower middle class or you know,
lower class economic people. This doesn't do that. Like I
got the fact they were kind of living in a
shanty house. But okay, that that could have been That could.

Speaker 4 (30:45):
Have been Long Island for all I knew, could literally
could have been anywhere.

Speaker 1 (30:49):
Right. So, also, if you're talking about gentrification, you have
to be very specific about that, because you have very
nice downtown areas next to slum all over this country.
That's not an that's not necessarily. It can be, but
that's not necessarily a example of gentrification. Gentrification is you

(31:11):
took the docks in Brooklyn that have been abandoned and
turned them into high priced condos. You took the ports
in Baltimore and turned them into you know, high priced
real estate. That's gentrification. You know. You take areas of
you know, like Brownsville for example, This actually happened that
were the pores of the poor in a high crime area,

(31:33):
dumped tons of money into it, and white people moved
in and black people had to move out because they
were priced out of fucking Brownsville, which is this close
to mad Max territory that's.

Speaker 4 (31:45):
Moved to Detroit and it became more of mad Max.

Speaker 1 (31:48):
Yes, my point is like, if this movie wants to
talk about that, it didn't do a good enough job
of getting you.

Speaker 4 (31:54):
There, like now, because the only look, no one who
whinds about gentrification these days is smart enough to actually
have the conversation around gentrification. So all they do is
do these like sob story emotional, emotionally manipulative, naval daisy
think pieces on human interest crap. They because gentrification is
a real believe it or not, contrary to everyone just

(32:17):
who likes to throw their hands up in there and
scream about it is a complicated issue.

Speaker 1 (32:22):
Yeah. So the other thing that they don't beef up
well enough in order to execute what they tried to
execute is the story between the mom and the daughter.
The mom's reaction to Vanessa Kirby at the end Jennifer
Jason Lee's reaction of Vanessakrby at the end of the
movie is from out a fucking left field. They're so
in a hurry in this movie to get her into

(32:44):
the mean streets of Portland. There's not enough time spent
on the relationship between the mom and the daughter to
where at the end when the mom because that's supposed
to be an emotionally gut wrenching scene. Yeah, when the
mom rejects Vanessa Kirby after everything she's done, you as
the audience member, is supposed to go, oh no, Vanessa,
you know, like, what a terrible thing this woman did,
what an evil bit she is, And they're like, but

(33:05):
that the movie doesn't do enough to get you there,
So you're just kind of like instead of you're just
sort of left with what was the point of any
of this. It kind of does a decent job of
building the relationship between the brother son and Vanessa Kirby,
but again, you don't get a you don't The heart

(33:26):
of this movie should have been hit the brother actually
telling her I don't want to go with Hearing it
from the mom is from a poison Well, hearing it
from the brother, you know, but like, but I love you, You're
not afraid of me, and he was like, yes I am.
I've spent the entire night being afraid of you, and
you psychopath, like you put me in danger repeatedly, Yes

(33:48):
I want to go with where I want to go
with mom, or I want Grandma whatever the fuck we're
gonna call her, Like that would have been an emotionally
wrenching thing, Like Vanessa Kurby did all of these things
to be with her son brother and then he rejects her.
That's stronger than the mom doing it, which comes out
of nowhere. So this movie, the movie just wants to

(34:09):
tell you, you know, wants to do what is it twenty
eight hours or whatever the fuck the movie is with
Ed Norton where it's like The Last Night Before twenty
fifth Hour. Yeah, it so badly wants to be twenty
fifth Hour, but with a chick that it goes out
of its way to get you there as fast as
possible and then that's all the movie is. But like

(34:30):
Ed Norton, despite the fact that his character is going
to prison and he's around a lot of unlikable people,
Ed Norton in and of himself in that movie is
a decent character who you're kind of rooting for. And
when he's talking about, hey, kick my teeth in I
don't want to have to blow guys in prison, you're like, oh,
poor Ed Norton, I don't. I don't get that sense
of sympathy from Vanessa Hervey.

Speaker 4 (34:51):
Well, there's a couple of things that also go to
work in as far as helping twenty fifth Hour. One,
it's well written. Two, it's set in New York and
the city there actually is an important part of the story. Yeah,
there's a whole there's whole scenes that are just like
these people dealing with like post nine to eleven stuff. Yeah,
I mean, Barry Pepper has a big monologue because he

(35:13):
lives right next to where the twin towers.

Speaker 1 (35:15):
There's no discussion about what's going on in Portland. Yeah,
you know that there there had to be in a conversation. No,
Portland used to be this wonderful town where were we
built ships and buildings and we had culture, by God,
and now that apple has come in and I don't know, like,
whatever the fuck the problem with Portland is.

Speaker 4 (35:34):
It needed.

Speaker 1 (35:35):
I hate to do this because I'm gonna get fucking
yelled up by everybody, but there needed to be that
scene where just I'll be vague about it, where someone
just yells, we used to make shit in this country.
Now we just stick our hands and everyone else's fucking like.
That needs to happen in order for you to understand
why this movie is being told in this place, and

(35:55):
that never happens. So instead it just looks like the
movie is about this woman trying to not get evicted
from her house, which don't get me wrong, I don't
want to be evicted from my house either. And if
I was told you have twenty four hours to come
up with the money for the mortgage on the farm,
yeah there would be a sense of urgency about it,
and that could be compelling, but it wasn't enough to

(36:15):
drive this stupid movie.

Speaker 4 (36:17):
No, so, uh you referenced the twenty fifth hour. I
got like halfway through this and I sent you the
message that this is just the gen Z take on
Falling Down, but a lot worse. Yeah, Like falling Down
was well acted, well written, had something to say and

(36:40):
actually logically built and escalated, and this is just not it.

Speaker 1 (36:44):
Yeah, so I know Rob's not a huge anas scurvy.
I happen to think she's a good actress.

Speaker 4 (36:49):
I don't think she Oh you did it, you stepped
all over my thing.

Speaker 1 (36:53):
Oh sorry, Well, I just wanted to say this before
I turned it over to you. I have more to say,
but I want to get you in here. I don't
think the script served Vanessa Kirby well, and I actually
think her as a producer on this might have worked
against her because I don't think anyone was telling her no,
and I think they were just kind of depending on
her natural acting ability and this needed more from her. This,
this almost needed to be melodrama, and instead they went

(37:16):
for fucking John Wick. And it's like that, it's not
either of those things. Stop it.

Speaker 4 (37:21):
So, guys, for those of you who've been around for
a while, Mark has this thing wherein he will decide
that I'm wrong about something, okay, And it doesn't happen
all that often, but occasionally Mark decides this is the
thing he wants to do. And a few years ago

(37:44):
we reviewed a movie I forget which one, but Vanessa
Kirby was involved, and when we reviewed it, I said, Man,
Vanessa Kirby's not a good actor. Now, in fairness, I'm
saying something that I don't have necessarily all the uh
information to make a claim. I should have just said
she's not very good in this, because Mark agreed with that.

(38:06):
But Mark said, no, no, oh, she's very good. She's
very good in the Crown and.

Speaker 1 (38:13):
I went Mission Impossible fallout.

Speaker 4 (38:17):
Okay, oh you know what it was.

Speaker 1 (38:18):
It was Hobbs and Shaw.

Speaker 4 (38:21):
Yeah, that was the first time. That was it.

Speaker 1 (38:24):
It was, I mean, she was it. I don't think
we cared about her in the Mission Impossible fall up.
That would have been the first, but I think the
one where we were just like, she sucks as an actress.

Speaker 4 (38:32):
Was okay, No, you first brought it up in Mission Impossible,
but I didn't make a deal out of it because
she's not a very important character. Yeah, so I said,
and then there's her, and you went, oh, that's Vanessa Kirby.
She's good in the Crown, and we and I kind
of went, she's not good here, and we just moved on.
And then we get to Hobbs and Shaw where she
plays the sister of Jason Statham. Yeah, she's not good

(38:55):
in that movie. And I said, boy, she's not very good,
and Mark went, yeah, but she's good in the Crown.
And now somewhere in Mark's mind is boy, Robert's kind
of sticking on this. And then we get to the
next Mission Impossible movie where she features again. And now,
because I'm me, I have to make a dig, like
and there's Vanessa Kirby. I here, she's great in the Crown.

(39:17):
And Mark at that point decides, Okay, I'm gonna so
help me come hell or high water. I will prove
to Robert Winfrey that Vanessa Kirby is a capable and
talented actress. So Mark will, I won't say, go completely
out of his way to make sure we review Vanessa
Kirby projects, but it is a mark in their favor
when he makes the schedule and like side show Bob

(39:42):
stepping on Rakes, Mark is just desperately trying to get
me to wash something that will disprove my current operating
assumption that Vanessa Kirby is just not very good. And
every time he just steps on a rake and fuck,
and I well, I'll find another one and he wanders

(40:04):
the other direction and fantastic four.

Speaker 1 (40:07):
She was in Napoleon and Napoleon fuck.

Speaker 4 (40:13):
And now not always comes fuck. This is almost like
a Looney Tune sketch at this point. I'm not even
try I am not I'm not actually trying to bugs
Bunny with this. I'm just going about my day. And
then Mark's like Vanessa Kirby in this thing, like okay,

(40:33):
we'll review it, and it's not good, and I could
just see the light dye in his eyes every time
it's oh, she's just oh golly.

Speaker 1 (40:47):
With Vanessa Kirby. She does not have the range she's
being afforded.

Speaker 4 (40:52):
Yeah, that's true.

Speaker 1 (40:54):
She kind of needs to say in the downtown Abbey
Crown area, don't do anything that is in a period
peace and mostly keep it British. And anytime she tries
to step out of that, like Hobbs and Shaw, our
mission impossible. She she's not believable. And here it's not
that she's a bad actressho gives a bad performance. I

(41:16):
don't think this is good material for her.

Speaker 4 (41:19):
You need. There's a few things going wrong here with
her in this role. One, and there's no getting around
this one is the age. She does not look old
enough to have that old of a kid, and she

(41:42):
doesn't look like she's seen enough life to go to
get through the story that we're trying to. Like the
character we're being told about.

Speaker 1 (41:49):
It does not look grizzled.

Speaker 4 (41:51):
No, not at all like you need to. There's a
look that people have who have seen life. Yeah, and
she doesn't have it. And normally that's me. But when
your character is like I experienced all this trauma, I
ran away from home, I'm a loose cannon, I was
sex trafficked. I YadA YadA, YadA, like Mark you and

(42:13):
I know what, you know what those people look like.
They don't look like that, and they don't just mean
like conventionally attractive like.

Speaker 1 (42:21):
They're also not this capable and she's not capable. But
in order for her to do what she does, they
have to make her quasi capable. Yeah, generly speaking, the
kind of life that she's describing, she had told not
beat this capable, she would not have made it through
this night.

Speaker 4 (42:37):
Oh yeah, almost certainly not. So there's a lot that's
going sideways there. They try to introduce the ticking clock.
This guy's kind of literally because they flashed the time
on the screen every now and then, but it doesn't
ever lead to anything.

Speaker 1 (42:53):
So no, what a better version of this is. But
it's so stylized it's almost incomparable. But if you want
an actress who I think could have pulled this off,
because she's kind of already done something like this, Karen
Gillian Gunpowder milkshake.

Speaker 4 (43:09):
Can I see where you're going? I also think Karen
Gillian's not afraid to like do the makeup necessary to
make her look whethered she.

Speaker 1 (43:19):
Was fucking what the hell's are named the blue Chick
from the Avengers.

Speaker 4 (43:24):
Yeah, like she'd be she would throw herself into this
kind of thing.

Speaker 1 (43:27):
Right, But that's that's my point. Like I could see her, yeah,
formally be formally being a hooker, you know, and like
begging her John for money, like don't we have a thing?
Like Krriy and Gillian I think would have given you
the breathy performance. This kind of thing demands that Vanessa
Kirby struggles with.

Speaker 4 (43:47):
Yeah, I could completely get with that. Again, the bad
social commentary is just that, like our opening, whole sequence
is filled with overfloating narration about and opining about the
state of real estate, the state of the economy, the
state of the working people, while still then going to
beg for money every fifteen minutes because they're NPR. You

(44:12):
can just cut my cynicism with a knife, can't you.
You can see what I can look. I've never read
the book, nor will I because nothing about that sounds interesting.
But looking at this I can see where the book
would have gone. I can see again also from your
description of it, like what was changed? Why was it changed?

(44:35):
I'm not even saying I wouldn't have made some of
the same changes that they made an adaptation because Naval
Gayzy Pros doesn't lend itself well to long stretches of film.
That's a That's one of those things in adaptation you
have to understand how to alter from medium to medium.

(44:56):
So I'm not going to kill them for that, But
trying to introduce this as a thriller, no, as a
crime thriller like in the sense that there are crimes
being committed, but this isn't a crime movie, like that's
a specific subgenre that's not at play here. So this

(45:22):
kind of just misses on every level.

Speaker 1 (45:25):
You know what, I'm getting tired of the video game
as plot structure, where you just subsequently do challenges and
fetch quests and you take on increasingly difficult bosses until
you get to the final boss, who at no point
was in any other part of the video game. He
just shows up at the end as a thing for

(45:45):
you to defeat. So most of the third act is
Vanessa Kirby and I think it's Eli Roth, and Eli
Roth is playing a sexually scumbag type guy and he's
trying to drug and sexually assault Vanessa Kirby. And Vanessa
Kirby is, you know, is our self saved, self saving princess.

(46:08):
So she's going to fight She's going to fight him off.
And because he's doing dacardly things, you as the audience
member or cheering from Vanessa Kirby to defeat this awful
white man. Okay, sure, here's the problem. You have to
buy into what's happening as it's being presented when you

(46:29):
and I'll give you an example of how things should
have gone, when Luke gets to the Death Star and
finally freaks the fuck out because the Emperor is threatening
Princess Leah and he's like, that's my sister, no thank you,
and goes nuts on Darth Vader. You've had a story
to follow of Luke and and Darth Vader being intrinsically

(46:50):
tied to each other, So when they explode and have
this fight, you are you are enraptured by what's happening
in that scene. There's also subtext is Luke going to
go all the way to the dark side and become
the thing he is trying to defeat in defeating this
giant enemy. Darth Vader isn't a final boss. They are
characters in a dramatic scene that happens to feature a

(47:13):
sword fight. If you do not lace in your villain
throughout the movie as something that is impeding your hero's
journey and just introduced him at the ass end of
your story as the final boss, there's no dramatic tension
in anything that you're seeing beyond the base presentation. He's

(47:35):
bad because he's a rapist. Well, rapists are bad. I
get you, but that's not enough here, and I just
wanted to at that point, I just wanted it to
be over, like all right already. Also, I have to
now once again believe that this ninety pounds woman can
you know, get well drugged, can take out, you know,
the big take out the man who has all the
power in that scene, all the resources and is three

(47:57):
times is bigger than her. And it's like, all right,
enough with this already. I don't mind seeing women kick
ass and do cool stuff. I said so when Pallerina.
It was one of the few things about the movie
I did like, but come on, man.

Speaker 4 (48:11):
Especially when what you're trying to do is present a
movie in a story that's allegedly more realistic.

Speaker 1 (48:16):
Here's the thing. It's like, if you if you want
to do that, that she has to defeat him with subterfuge.
She's a trick him, you know. She has to be
like okay, you know, and then oh, here we are,
and then you know, like pokemon the eye or something like,
they got into a fistfight that she wins. Like the
fuck on, man.

Speaker 4 (48:34):
Yeah, it's there's pretty much nothing to say about it.

Speaker 1 (48:40):
Just bad. The real villain of this movie was the mom,
and we didn't good enough of time with her either. Yeah,
if you watch twenty fifth Hour, they lay all the
issues that edwarin Norton is dealing with in that movie
are laced in throughout the movie and it explodes at
the end. Yeah, that's the difference between the Night Night

(49:02):
Always Comes in twenty fifth Hour, which are very similar
in presentation, but one is done narratively correctly, dramatically correctly,
and one seems to have missed that day of film
school points anything else?

Speaker 4 (49:16):
Thank you? Uh No, this movie sucks. It's not good.
There's not all that many good elements.

Speaker 1 (49:25):
I can I miss when we when we watch a
movie that's so bad that we have a it's a
joy to review. Like I wasn't kidding when I said
I miss Blonde Blonde, which is a wacky movie and
we had such a great discussion. It's still one of
my favorite podcasts we've ever done. I'll probably make a
song out of it.

Speaker 4 (49:42):
Yeah, you and me going man adda to armis is
not good.

Speaker 1 (49:48):
Yeah, but even like deep Water, which is I'm naming
all of these because they're all streaming movies. Like we've
done a fair amount of streaming movies, and most of
them have been fair fair to midland to terrible. But
we've had really good convers stations. We like. Our conversation
about deep Water was quite good. Our conversation about Blonde
was quite good, even though both movies were not great.

(50:09):
This is more like the other movie that was paired
with deep Water, which I now don't remember, the Jason
Siegal movie, where we were like, what the fuck is this?

Speaker 4 (50:17):
Oh? Yeah, that one, hang on, I will.

Speaker 1 (50:24):
So I just wanna say this. I'm glad that we
have a secondary distribution model for people to get their
their projects out there. Obviously, this movie probably would have
never been made if there wasn't a Netflix. You'd have
a hard you'd have a hard time getting you know,
even if you even if you this is a self

(50:45):
funded indie movie and you sell it at a festival,
you know, it gets one screen at a movie theater
a few times a day and nobody knows that it's
there because they're all watching Superman. Are fantastic For at
least on Netflix, there's a there's a Snowballs dance. People
will actually watch this. But even then, like it it
had to compete with like Happy Gilmore two.

Speaker 4 (51:07):
Yeah, which people seem to more or less be enjoying.

Speaker 1 (51:10):
Yes, it's going quite well, you know, or The Old
Guard too, which I've watched most of today.

Speaker 4 (51:16):
I feel bad for you.

Speaker 1 (51:17):
I feel bad for me, dude.

Speaker 4 (51:19):
The first one wasn't good.

Speaker 1 (51:21):
No it was not, and I said so at the time.
This is even worse.

Speaker 4 (51:25):
Man. I even watched that just because, like I was
back up for the review, so.

Speaker 1 (51:31):
I would say this and then we'll move on to
the next thing. I was talking to Jonas about this.
I had such a switch in the way I'm doing
things just in the last six months to where like
I went into this year going I want to watch
all the movies so that when we get to the
end of the year, I have a comprehensive view of
what's been made and what's good and what's bad, and
I can speak intelligently about it. So I have all

(51:54):
the time in the world to do all the podcasting
in the world. I'm gonna watch these movies and we're
in August. I'm exhausted. These movies have sucked. I don't
want to do it anymore. And next year I'm not
gonna I don't care anymore. If I if we get
to the end of the year and I haven't seen
every movie, oh well, go listen to the movies that
don't sucking. Some that do, guys, because they can pick
up the slack again.

Speaker 4 (52:16):
We'll figure out something more manageable for next year.

Speaker 1 (52:18):
But yeah, I can't do all these triple features anymore. Man,
I can't. It's it's exhausting.

Speaker 4 (52:24):
Look again, we just need to find the right balance
where we pepper in a few more that are like
the Oscar Baby kind of movies.

Speaker 1 (52:32):
Well that's fine, Like I don't mind doing like that stuff.
But like you know, I started this year doing a
Reese Witherspoon fucking Will Ferrell comedy.

Speaker 4 (52:41):
That was a mistake.

Speaker 1 (52:42):
There was there's me watching Amy Schuming movies with my
leg industry going, hey, sailor, that's what I was doing.
And since then dragon por mick with me. All right,
you ready to move on?

Speaker 4 (52:56):
Yeah again, this movie sucks, don't watch it.

Speaker 1 (53:00):
Welcome to damn you, Hollywood. All right, here here comes money.
So what's funny here is I was distracted and didn't
prepare any of the websites.

Speaker 4 (53:20):
Ah, that is funny.

Speaker 1 (53:22):
So there is no budget for this, and there is money,
but we can also clearly, but we can talk about
what's going on in the movies. Yeah, how did Weapons
do last week? Do you remember?

Speaker 4 (53:35):
Won the weekend? Forty something million?

Speaker 1 (53:39):
Alright, well, folks, good the fact.

Speaker 4 (53:42):
That it look the fact that Weapons beat out Freaky
or Friday just made my day last weekend.

Speaker 1 (53:47):
I'm sure, hey a less.

Speaker 4 (53:50):
It also opened in like eight hundred less theaters than
Freakier Friday. And now, hey, it only dropped forty eight
the weeks.

Speaker 1 (54:00):
It is becoming like a huge hit for Warner Brothers.

Speaker 4 (54:02):
Good for them. It's a good movie. You should watch it,
you'd enjoy it.

Speaker 1 (54:05):
Who can't get any good press these days? Yeah, Freaky
or Friday? We maintained it about a number two Nobody too,
which my dad saw. He made a point of telling
me about this, so Nobody to debut at number three.
And let me talk a little bit about Nobody for
just a second.

Speaker 4 (54:19):
Okay.

Speaker 1 (54:20):
So, back in the year of Our Lord twenty twenty one,
there were not many movies in the theaters, and many
of the movies in the theaters were also going to
be on Disney Plus. So I went to the theater
in the month of May, the very very very month, yes,
the very merry month of May. And I was looking
for a exclusive theatrical exhibition that I could spend my

(54:41):
movie pass on. So I took Flying yep, but I
had onions on my belt because that was a style
at the time.

Speaker 4 (54:49):
They board it off the rona, you.

Speaker 1 (54:50):
See, and I saw I took a flyer on nobody
because I was like, well, that I have the movie pass,
I might as well see whatever it's in the theater.
And and watching Bob Odin Kirk do with John Wick
was fun once fucking once and Christopher Lloyd like blowing
things up, you know, you know, being doing his character

(55:11):
from Taxi only with what you know, you know, only
with Bazukahs. It was a lot of fun.

Speaker 4 (55:16):
I've never seen nobody that did a better job selling
me on it than anything.

Speaker 1 (55:21):
Yeah, John what he called, Christopher Lloyd's a lot of
fun in that movie. So it was worth going to see.
It was a fun thing to see at the time,
and you know, great it did not need a sequel,
but because it's got one, it did well in theaters
at the time with the zero competition it had that
the trained Monkeys at Universal decided this thing needs a

(55:43):
fucking sequel. It doesn't it. It just didn't need a sequel,
and yet we got one. And I suppose we could
have done that instead of this. But I don't want to.
I don't want a lot of Robert wit for you.
I just don't want to. I don't want to see like,
I don't see the point in forcing myself to go

(56:05):
see an unnecessary sequel that's gonna have zero impact on
the culture. It's gonna be forgotten as soon as people,
you know, within a week of it being out. But
my father, and this is the whole reason why I
brought this up. My father. I call him my father
because he is you know. He said, Son, I've gone
to see Nobody too, and I think you should go
see Nobody too, because you you watch films, you do,

(56:27):
you talk about it incessantly. It's the only thing you'll
talk about with your mother and I because you refuse
to talk about anything else. You've bad Son, you that
last part, I m I might have just I might
have just added that last part.

Speaker 4 (56:38):
Well, only because you got sick of his politics, among
other things.

Speaker 1 (56:42):
He said, But you should go see the Nobody too,
because it was a fun movie had by fun people,
and I was like, father, I called him father Father. No, no,
I will not see the nobody too. I have no
interest in watching Bob Odenkirk a second time punch his
way through a video game's worth of goons. And you know,
and he just he didn't understand me, Robert. He didn't

(57:03):
understand why I was resisting this. I'm like, I, uh,
dixhausting is what it is. But also and I feel vindicated.
But this whole point of this rant is that it
came in number three for the weekend. I got beat
by both Weapons and Freakyer Friddie, who have both been
out for two weeks. How about that?

Speaker 4 (57:19):
True?

Speaker 1 (57:20):
How about that? How about it?

Speaker 4 (57:23):
You're able to You're claiming vicarious victory over your father
philosophically when he's not even going to ever listen to
This is just the state of things.

Speaker 1 (57:33):
Yes, sir, Moving on Fantastic four. Uh yeah, bad Guys two,
four to five, Superman? When is that going to streaming?

Speaker 4 (57:44):
Uh? End of the month, start of the next one
of the I think it's the end of this month.

Speaker 1 (57:49):
But even the I watched the many lines of James
Gunn video you sent me. I watched it at dinner
today and yeah, even those guys are just fucking over
Superman and James Gunn like it flop, get over it.

Speaker 4 (57:59):
Well, I sent you that because you and I have
talked about this, because we understand the math on this right,
and we just got swarmed because people are stupid, and
you've been dealing with a lot of pushback, so I
figured you could use the boost of like, hey, here's
some people who agree with us.

Speaker 1 (58:19):
Yeah, who I'm typically not in agreement with.

Speaker 4 (58:22):
On a lot of things, true, but I mean, like
on this point, like yeah again, so you don't have
to listen to someone else come out and talk about
how Superman is the best thing ever in a smash hit.
And James Gunn is already saying, you know, we're we've
shot We're like, we've shot her, are mostly shooting Supergirl
on a budget that's bigger than Superman's. That's sure gonna

(58:42):
go over well. And I'm already rushing Superman two into
pre production because I'm totally not getting fired.

Speaker 1 (58:51):
Naked Gun in three weeks fell from five to seven,
Jurassic World seven to eight, F one eight to nine.
Coolly debut to ten, War two eleven, a re release
of shin Godzilla debuted twelve.

Speaker 4 (59:03):
That's a good movie.

Speaker 1 (59:04):
East of Wall debut sixteen, Witchboard nineteen went up the
hill at twenty eight, The Last Worker thirty one suspended
time thirty.

Speaker 4 (59:12):
The Glass Worker joining our blue collar Avengers coming.

Speaker 1 (59:15):
Soon de sended to thirty eight. And that was the
weekend that was worldwide. Nizja still at two, Leelu and
Stitch still sorry that number one with almost two billion,
leelew and Stitch at just over a billion, and everything's
pretty much about where we left it last week.

Speaker 4 (59:37):
Okay, so let's do a couple of things here. Yeah,
so one, Superman not gonna hit six fifty yep, which
it prob was probably about the number it needed all
things considered.

Speaker 1 (59:54):
Still hasn't cracked six hundred six hundred million yet.

Speaker 4 (59:57):
No, it's close enough that it'll probably crawl over for
that line next week, but maybe not good. The number
of people who were crowing about its success for two
weeks who have now pivoted to who cares about the money?
It was great because it's not gonna make more than
Man of Steel, not not not even adjusting for inflation.

(01:00:19):
A Man of Steel made like seven and change and
this is not going to hit that. And now all
the gun calcists are like, who cares about the money?
Shut up? It was a great movie and it's reinvigorated DC.
Don't you understand And we all just think you flaming.

Speaker 1 (01:00:36):
Hypocrites I propaganda Israel.

Speaker 4 (01:00:39):
It really is.

Speaker 1 (01:00:42):
Routing out our top ten or the Fantastic four at
four sixty nine.

Speaker 4 (01:00:45):
Which managed to crawl past Captain America Brave New World.

Speaker 1 (01:00:50):
I hate to tell people that's a fucking bomb, and
I don't want to keep having the same conversation every week,
but I'm gonna beat that drum because I'm annoyed with people.
So yeah, Fantastic for in Superman, both Bond, lots of
luck people.

Speaker 4 (01:01:02):
Fantastic four is barely gonna make five hundred million when
it's all said and done, and that's not enough. Now, look,
I'm not here saying I'm not gonna pretend that there's
not a little bit of Shodenfreud in me on this.
I'm honest enough to be to admit it. But I'm
not here like gleefully celebrating the death of you know,

(01:01:24):
some of these movies because I'm not. But we have
to be honest about this. Like the market cap on
superhero movies these days is six hundred million if you're lucky.

Speaker 1 (01:01:40):
That's actually come up. I'm gonna stop sharing. That's actually
come up in a couple of different places where And
we've talked about this before, but I think I think
some reframing is in order, so I'm willing to talk there.

Speaker 4 (01:01:52):
Well, there's more information and more data now, So yeah.

Speaker 1 (01:01:54):
Well, okay, at twenty nineteen, the height of the market
getting to a billion dollars and that being the norm,
so that you would so the normal budget for a
movie that to potentially make a billion dollars was about
two hundred to two hundred and fifty million. Sometimes it
would get up to three hundred million, but those were
very special cases, like you know, Avengers. But yeah, but

(01:02:19):
for the most part, reasonable people you know who could
do math Green Litten movies on a two hundred, two
hundred and fifty million dollar budget. And because we were
riding high at the time, you can almost look at
it as like the the big movie bubble ye most
of them, Like if you go back to twenty nineteen,

(01:02:40):
almost every movie in the top ten made a billion
dollars that year.

Speaker 4 (01:02:44):
Never take right, so one last hurrah. Yeah we didn't
know it.

Speaker 1 (01:02:50):
So now, over the course of the last five years,
there's been a there's been a worldwide event or two
that has impacted the market. But I think it's important
to point out that the real problem here, the honest
to god real problem, is that the company's green lighting movies.
Either green lit these things prior to twenty twenty, but

(01:03:15):
they didn't go into production until after for a variety
of reasons. So they kept they kept budgets in the
BC era while making movies in the AD era that
couldn't support them. And for a couple of years you
could just blame COVID in the lockdowns. You're like, oh, well,
you know, what are we supposed to do, not make
two hundred million dollar movies? Come on now twenty nineteen,

(01:03:38):
you know, like, it's fine, COVID wrecked the industry, but
we're building back up. After twenty twenty two, you couldn't
make that argument anymore if you were far enough away.
There were enough movies open for long enough and the
world had more or less returned to normal by that
point that you really couldn't make that argument anymore certainly
by twenty twenty three. Well, if you were still making
that argument, you were doing propaganda.

Speaker 4 (01:04:00):
Here's what Here's why things didn't course correct. Here's the
other reasons that things didn't course correct as quickly as
they should have. One stubbornness in the c suite, because
there's always stubbornness there. Two, and we just have to
be honest about this. The strikes, the delays that productions

(01:04:21):
faced because of those back to back strikes, firsut, the
writers and the actors affected this, and all of this
being exacerbated by the creative morass that is coming out
of some of these things. We're now at a point
where your comic book movie is going to make if

(01:04:45):
you're lucky six fifty to seven or less.

Speaker 1 (01:04:50):
The average is going to be about let us say
the average is five hundred million, in which case you
now have to do math and say the two hundred
to two hundred and fifty million dollar is dead d
D dead. You now have to go back to the
sober pre twenty ten blockbuster budget of about one hundred
million dollars the high end other than Avatar, which is

(01:05:13):
its own special country other than Avatar, Avengers move and
at this point what's what's done with Avengers is done
and maybe Spider Man. But outside of the two Avengers
movies and Spider Man, everything else that's coming out of
that's coming out of Star Wars, Marvel, DC, et cetera,
et cetera. Anything greenlit today in the Year of Our
Lord twenty twenty five isn't going to be greenlit for

(01:05:34):
more than one hundred million dollars because the high end
now is half of what it used to be.

Speaker 4 (01:05:40):
You could get to one fifty, I think reliably.

Speaker 1 (01:05:43):
But depending on the project maybe.

Speaker 4 (01:05:45):
But again this is this is just math, guys. When
you spend two hundred and fifty million dollars on a
movie on production, you're gonna spend one hundred and fifty
minimum in marketing.

Speaker 1 (01:05:58):
There's aim the Despite all of this, there's a part
of me that still wants to live in the universe
where they green lit for two hundred and fifty million
dollars Black for Punzel, I want to live in that
world just for I don't want to live there, I
want to I want to take a time portal over
to that world you want, Yeah, I just would have
poked my head in.

Speaker 4 (01:06:20):
Uh yeah, because they.

Speaker 1 (01:06:25):
Now I want to see if a Punzel staring ice Cube.

Speaker 4 (01:06:28):
You know, ice Cube could have been and Night Always Comes?
He might have made more sense in here.

Speaker 1 (01:06:32):
It would have been a much better movie.

Speaker 4 (01:06:34):
No, he's not that good an actor.

Speaker 1 (01:06:36):
Y'all trying to sex traffic me, motherfuckerat you.

Speaker 4 (01:06:40):
He would have been he would have been the person
sex trafficking her. Is how that would have gone?

Speaker 1 (01:06:46):
What if he was Jason? What if he was uh,
Jennifer Lee's character?

Speaker 4 (01:06:50):
No, he would have been either the pawn shop owner
or Eli Roth? What of those two?

Speaker 1 (01:06:55):
Fair? All right, let's wrap this up. In any case,
the point that the only point that I'm trying to
drive home is that I am pronouncing now the death
of the two hundred and fifty million dollar budget. We're
never we're outside of a few stragglers and a very
special project.

Speaker 4 (01:07:09):
That do you know the speculated budget for Doomsday.

Speaker 1 (01:07:14):
Three hundred million? Yeah? Well, I said stragglers, and we'll
have this conversation again.

Speaker 4 (01:07:22):
They guaranteed each actor in that like it was at
least like five million, five to ten. I free what
it was.

Speaker 1 (01:07:28):
I So I think they've said like the the cast
budget alone, yeah, is you know, it's like this the
GDP of fucking Sri Lanka.

Speaker 4 (01:07:39):
Yeah, the cast budget alone on that is north of
one hundred and fifty million, fucking christ.

Speaker 1 (01:07:47):
Ally. Yeah, all right, let's move on to our final segment. Yeah,
this is the critical review.

Speaker 4 (01:08:03):
Are you ready?

Speaker 1 (01:08:07):
No? I said.

Speaker 4 (01:08:15):
No, God, no God please, no, no.

Speaker 1 (01:08:21):
No no, I wasn't ready. I'm so fia the first.

Speaker 4 (01:08:30):
You've disappointed Triple H mark, How dare you?

Speaker 1 (01:08:33):
I'm not ready? Suck it? All right? Oh? Good gracious?
So for everyone who's just like you, guys are so
fucking hard on movies. Don't you like anything? What's wrong
with you? Uh? Here, dick, here we go, go fuck yourselves.

(01:08:57):
That's generous, really, fifty five on the tomato meter, forty
six percent on the van again generous, So that fifty
five all credits. We go to top credits, it drops
five percent. It's not too bad.

Speaker 4 (01:09:12):
Only ten people bothered to review this on the top end.

Speaker 1 (01:09:14):
Oh yeay. And then there's no there's no verified audience
for this. It's just forty six across.

Speaker 4 (01:09:21):
There's no audience.

Speaker 1 (01:09:24):
Obviously there was. All right, So let's see here, Diego
battle of Ostreses dot com. There is a Spanish, there
is a bit of modern scorseses after hours, a good
till of people bro this narrative universe. But Night always comes,

(01:09:47):
never reaches those heights.

Speaker 4 (01:09:49):
No, there's not keep Squise's name away from this piece
of crap.

Speaker 1 (01:09:55):
John Serber of Decider Night always comes as taut, suspenseful, effective,
and not easily forgotten.

Speaker 4 (01:10:01):
I will be very easily forgotten.

Speaker 1 (01:10:04):
Say, I don't know what you're talking about.

Speaker 4 (01:10:06):
Unless this is your first exposure to like bad movies,
in which case, yeah, that'll stick with you.

Speaker 1 (01:10:13):
Let's see.

Speaker 4 (01:10:14):
Oh that's well. No, No, that idiot writing for the San
Francisco Chronicle, I I gotta yell at.

Speaker 1 (01:10:19):
This guy, Mike Lesalov said San Francisco Chronicle top critic.
The movie devises lots of fraught, intense moments. But what's
even more impressive about the screenplay the way it seems
to understand the psychology the people we Nette must deal
with once she descends into the lower depths. I hate
to tell you, but, like the noir crime movie is
not new, it's not.

Speaker 4 (01:10:38):
New, and this is not one of them.

Speaker 1 (01:10:44):
Let's see.

Speaker 4 (01:10:48):
But of course, the guy writing from San Francisco would
be complimentary.

Speaker 1 (01:10:52):
This Brian Orndorff of Loray dot Com. Now it comes
as almost two movies in a way, opening as a
study of desperation before turning into a crime picture, and
the mix of moods doesn't always work.

Speaker 4 (01:11:08):
Doesn't never never works, My.

Speaker 1 (01:11:12):
Man never all right msa chick of Next Best Picture.
It's another standout performance from Kirby, who juggles so many
different facets of Lynette's life. No, she doesn't get a
stark reminder of a reality that millions of Americans are
facing today. Okay, if you really want to say that
that we needed more of her as a like you
know she's a hooker because of the conversation she's having

(01:11:34):
with Randall Park, But you never got to actually see
her as a hooker. So that's a part of her
life you don't get to see, and it's only talked
about so that she can have a John that she
can try to fucking sob story money out of. Like,
if you're gonna do that, then you have to actually
So this movie is almost two hours, and it kind
of needs another fifteen to twenty minutes of like the

(01:11:54):
hard life this woman has actually had, Yeah, because I
work two jobs. Yes, it's difficult. Facts can confirm, but
not the kind of hard life you're talking about in
this movie.

Speaker 4 (01:12:06):
Like no, you know, yeah, this is no. There's so
much wrong. The number of people giving this a positive
review because they like the general messaging is shocking.

Speaker 1 (01:12:18):
Yeah, that's generally will give something a favorable for you
based on messaging, but the message has to be you know, coherent.

Speaker 4 (01:12:25):
Just saying like it's this is why people don't take
critics seriously anymore. This is a lost art form and
that's why we do this segment, all right.

Speaker 1 (01:12:33):
Yeah, yesterday was the Metal Hammer of Doom Jukebox review
Baby Metal Metal fourth. I don't know what you do
a racism again, Yes, many times, but I don't know
what's going on with stream Yard. But apparently, like when
we're doing the recording instead of the live, there's a
clicking that's going on and I don't know what's happening here.
I got I gotta look into it. But there's a
weird clicking on that show. Tomorrow, there's nothing Wednesday is

(01:12:59):
me and Alexis for viewing the last season thank God
of Alien season.

Speaker 4 (01:13:03):
Or it's a good show.

Speaker 1 (01:13:05):
It went a season or too too long. This Thursday,
myself and Mick are going to review Fear Street, prom
Queen the Old Guard too, and Fountain of Youth next week.

Speaker 4 (01:13:16):
You're all good.

Speaker 1 (01:13:18):
Next week. So I did not plan to do a
podcast on Sunday like I would normally do with Jesse,
because I wanted to watch Forbidden Door. Then found out
for Bidden Door was in fucking London, and then there
won't be a pay per view at night. So hey, hey,
ladies that are interested in this information, I'm free Sunday night.
I just want you to know that, and yeah, to

(01:13:39):
give my kids lasagna. I have a free night. Believe
it or not.

Speaker 4 (01:13:43):
Forbidden Door is Sunday at one pm Eastern. That is
correct because I'm covering it.

Speaker 1 (01:13:50):
So next week is gonna be a little something different,
another triple feature, but this time I'm gonna be myself
and Robert and we're finally doing one of the many
that we decided we were going to do this year
and I never did. This is one of our director
focuses that he and I wanted to do together. This
is Joe Schulmacher. We're gonna be looking at the Lost
Boys falling down as mentioned before, an eight millimeter. What

(01:14:11):
a combination of movies.

Speaker 4 (01:14:12):
Okay, hang on the fact that two of those kind
of gets shoehorned into this movie. Between the social commentary
and the sex trafficking. Yeah, oh, that'll be fun.

Speaker 1 (01:14:28):
Oh yeah. A week from Wednesday is the Indie Siders.
We're gonna be looking at Game Changer Wrestling versus Juggeralo
Championship Wrestling, the two War because Harry fucking can't make
me just one indie show, I have to watch two
now he really does. This is abusive, It absolutely is.
I am in an abusive relationship with Harry Broadhurst. Speaking

(01:14:50):
of abusive relationships, We're gonna be doing a Long Road
to Ruin in August twenty eighth, the Toxic Avenger movies.
There are four of them, so that'll be fun. And that,
as the they say, is that Robert Winfrey, what's going
on in your world?

Speaker 4 (01:15:04):
So I cover mixed martial arts and professional wrestling over
at four when Onemania dot com, ww SmackDown on Fridays,
UFC events on Saturdays, and so this will so this
will be again smacked on on Friday. We are one
week away from Clash in Paris. Last week was kind
of just a bunch of tread and water, so that

(01:15:26):
was fun. Uh. Last Saturday a couple of days ago
was UFC three nineteen from Chicago. Uh. My full report
for that is in the MMA Zone to four one
Onemania dot com. This Saturday at one in the morning
my time, I'll be covering the UFC from Shanghai because

(01:15:50):
I don't know, I've lost control of my life. And
then Sunday already mentioned, but yeah, aw's forbid, I will
be covering, so go ahead and tune in for that.
I'll have to catch up on what's been going on
and ay w My generalized stance on for wrestling these

(01:16:13):
days is if I'm not getting paid, I'm not watching it.

Speaker 1 (01:16:16):
Just ask Carrie. He knows everything I could. But you'd
have to talk to Harry.

Speaker 4 (01:16:23):
I'm not opposed to talking to him, Okay, I would, look,
I'm just I'm not. I'm not sure i'd do an
indie wrestling podcast with him, but some of that's because
I'm me. So. I also host the four one one
Pound MMA podcast, where I talk to wide wacky, wonderful
world of mixed martial arts and other combat related sports.

(01:16:46):
This week, I recorded from two thirty to four thirty
in the morning, my time, because I suck, no other reason,
just just I suck. Uh. There's a review of UFC
three nineteen. There's a preview of the Shang Hi Card,
and there's talk about because I finally get to talk
about the UFC announcing their new broadcast deal for twenty

(01:17:08):
twenty six. They're getting one point one billion dollars a
year for seven years from paramount. There will be no
more pay per view if you listen to the people
actually at TKO with not Dana White going no, no,
we can totally still do one off pay per views.
All fighters with pay per viewpoints in your contract, please

(01:17:28):
don't come and try to renegotiate your terms. Business subtexts.
Dana White is not good at it. So I talk
about that. So listen to that podcast if you're so inclined.
And yeah, next week what we got was next week

(01:17:49):
the triple.

Speaker 1 (01:17:49):
Feature or that's it Joe Schumacher.

Speaker 4 (01:17:52):
So next week we talk Joel Schumacher, who alternates between
being one of cinema's greatest monsters one of cinema's least
competent borderline AI ratnor tron style stage managers and the
right guy for bizarrely prescient, moving, almost in some cases films.

(01:18:17):
That dude is all over the place.

Speaker 1 (01:18:19):
Joel Schumacher, one of Hollywood's great treasures. All right, folks,
thank you for joining us here on Damn you, Hollywood.
He's Robert. I have stuff to do. You well, if
you save and behave

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Damn You Hollywood: Night Always Comes (2025)

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