Commentary Track: The Legend of Zorro

Episode Transcript
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Speaker 1 (00:00):
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the show. Welcome Friends Podcasts podcast show Jacky by Head.
They're talking about grub back. I guess.

Speaker 2 (01:10):
Do you know how lucky you are that your enemies.

Speaker 1 (01:12):
Have not discovered who we are? So you think he's
You have no idea I.

Speaker 2 (01:28):
Think he is.

Speaker 1 (01:28):
I think I know who you think he is. No, no, no,
because you do not think really.

Speaker 2 (01:32):
Antonio Benders. Catherine Sida Jones, a legend of Zorro. Welcome
to a movie film commentary track. My name is Zakie
is Son. I'm here with Brian Hall.

Speaker 1 (01:43):
Hey. How's it going, Zachie.

Speaker 2 (01:45):
You know, as people are listening to this, it is
my birthday. But oh, that's right, but that important? Well,
thank you.

Speaker 1 (01:54):
I appreciate that.

Speaker 2 (01:55):
H The truth is my birthday pales in comparison with
the birthday of one Catherine Zeta Jones.

Speaker 1 (02:03):
Right on your You guys share the same birtha.

Speaker 2 (02:07):
That's right. Wow, and so naturally as we have done
in years past to mark inadvertently accidentally marking the birthday
of Catherine Zida Jones by watching a Zorro movie.

Speaker 1 (02:21):
That is hilarious. I actually, as I was watching this
last night, and this is not it has nothing to
do with what I think about the movie, but I
was thinking, wait, why did we pick this one this week?
Like was there an anniversary or was there whatever? Happy Birthday,
Catherine Zada Jones and happy birthday zakiyas Son.

Speaker 2 (02:38):
This year is the twentieth anniversary of the Legend of Zoro.

Speaker 1 (02:43):
Oh, it is an anniversary, all right, all right, kind.

Speaker 2 (02:46):
Of works out. So this is kind of the fun thing.

Speaker 1 (02:50):
I mean, you and.

Speaker 2 (02:50):
I we've we've definitely ramped up our commentaries in years
of late m HM, and so that gives us the
opportunity to be like, how about.

Speaker 1 (03:00):
How about this? Right? Right? Yes, well, and this is
this is a real comfort food movie for you. Right well.

Speaker 2 (03:07):
Certainly the first one is oh, okay, oh, I thought
this one was too I enjoy this, okay, but this
is definitely a hey, how about this? Yeah, the Legend
of Zorro from from two thousand and five, the belated
sequel to nineteen ninety eight's The Mask of Zoro. Right,

(03:29):
and we'll talk about it more as we watched the movie.
But the one thought I had rewatching this last night,
I was like, this is like the this is like
the much later reunion movie to the trilogy we never got. Yes, absolutely,
but you know what, sometimes you're just in the mood
for some old timey swashbuckling. That's right, you want to

(03:53):
see them buckles get swashed. Then I have we got
a movie for you, that's right, plenty of that, and
that would be The Mask of Zoro.

Speaker 1 (04:04):
I just kidding, I'm just kidding.

Speaker 2 (04:07):
Yeah, well, we have lots to say about this, but honestly,
I'm like, let's just start the movie and then we
can have our conversation.

Speaker 1 (04:12):
Well, yes, yes, yes, this is quite long.

Speaker 2 (04:15):
So with that in mind, again, this is the Legend
of Zorro from two thousand and five. There is only
the one cut, so if you want to watch along
with us, feel free to join. If not, you know,
we'll try to keep the conversation swashbuckling along. So we'll
do the usual thing. We'll hit play on three. Soone
to three play ready, Brian, huh, here we go, one

(04:37):
two three play.

Speaker 1 (04:40):
All right. So, yeah, I didn't. I had seen The
Mask of Zoro when it came out in theaters and
maybe a handful of times since you know, rented it
back in the day, revisited it a couple of years ago.
Legend of Zoro I saw for the first time, maybe
two years ago, because I had revisited Mask of Zorro.

(05:04):
So I missed this from a commentary track. No, no, no, no, oh,
oh you know what, maybe yes, I'm sorry, Yes, maybe
I I had watched Mask of Zorro and I was like, oh,
there's one I haven't seen, so I watched it for
the first time, and then last night was the second
time I've seen this, So I'm not very familiar with this,
and I was also kind of surprised to see that
it came so many years after the first one, which

(05:24):
was like a hit.

Speaker 2 (05:26):
Mm hmm, yeah, yeah, that's you know. I will say,
I mean, I have a soft spot for this movie,
and I've always but I've always looked at it kind
of like, well, it wasn't as good as the first one.

Speaker 1 (05:41):
You know, I was gonna argue this movie has many
soft spots. I just I swear I'm not going to
be that hard on this.

Speaker 2 (05:49):
I'm just sort of joking, I'll be honest. I went
into my rewatch kind of like, yeah, well this is
the one. It's not as good as first one. But
I will say, I don't know, maybe I was just
in a mood. I was like, you know, I'm just
kind of in the mood for this. The stuff it
does well, it does well enough that at least for me,
I'm able to sort of squint past the stuff that

(06:10):
doesn't work well.

Speaker 1 (06:12):
Yes, no, I mean this the first one is, you know,
leaps ahead of this one. Yeah, like just all around.
I mean, I mean the action, actually, I would say
is very good in this movie. I agree with that
it lives up to what we saw in the first film.
I think the story is a little soft and kind
of I did find there's some choices that I call choices.

(06:34):
Certainly I found perplexing.

Speaker 2 (06:36):
Yeah, but I.

Speaker 1 (06:37):
Found myself checking my phone, which I hardly ever do
when I watched things. But on the other hand, I
did think if I I did watch this a little
out of duty right for this, And I think if
I had chosen this, you know, like, oh, I don't
remember this one as well, let's put on zero tonight.
It totally scratches an itch. I will give it that.

(06:59):
Did you see this in theaters when it first came out?

Speaker 2 (07:01):
Oh yeah, yeah. I By the by the time this
came out, I had been married for a couple of years,
and the first one, even though you know, I hadn't
met my wife at the time the first one came out,
she had real affinity for it too. So this was
one of those things where she and I were both
looking for to it. You know, I remember that very distinctly.
It's interesting because two thousand and five, like when you

(07:22):
situate this in in superhero cinema history, you're like, this
is it came a little too late to capitalize on
the warm glow people had from the first one. Yeah,
and like the zeitgeist was already kind of shifting to

(07:44):
the extent that, you know, the first one came out before.

Speaker 1 (07:48):
Marvel movies became a thing.

Speaker 2 (07:49):
And I don't mean the MCU, I mean like X
Men and Spider Man, like those all started after the
Mask of Zorro. Yeah, and the MCU was just a
few years out. So it's weird watching this now as
kind of this little this it's like this little orphan child,
you know.

Speaker 1 (08:06):
Yeah, it's kind of like Sorcerer to a New Hope.

Speaker 2 (08:09):
You know.

Speaker 1 (08:10):
It's like kind of right, like it feels like a
little bit of a remnant that got got away a
couple of years, as one type of filmmaking was sort
of slowing down and another one was ramping up. Yeah,
And actually I kind of mean that as a compliment
to this, because this movie does feel a little bit

(08:32):
more old school and by the way I was thinking
this last night, I thought of the word old school,
and then I also thought, well, what is old is?
It's a wonderful life old school? Like how many old
schools can we have? We need like different like tears
of how old the old school is. But anyway, but
this does feel I'm certain there are a lot of
visual effects in this movie that we are invisible, yes,

(08:52):
but this does feel so esthetically different than the movies
we're getting now. I mean, just looking at this this
voting scene, where there's hundreds of extras all in these
amazing costumes, it just feels so alive and visceral and
tangible in an old school way that movies don't tend

(09:13):
to feel anymore because there's a lot more cheats happening,
you know, where they don't really have as many extras
and they aren't actually on that location, you know what
I mean. And that's something that was really delightful experiencing
as I was watching this last night.

Speaker 2 (09:30):
Yeah, I think it feels like a throwback in so
many ways. And it's PG. Whereas the first one, who's PG. Thirteen,
and I think that sort of typifies that it's aimed
at more of a family audience, which.

Speaker 1 (09:45):
Sort of makes sense because this is a it's about
a family, this story, Lisorro. Yeah. Yeah, although there are
a lot of exploding people in this movie quite a bit,
ye suppress. It's some creative people explosions, you know, yes, yeah, yeah.
I mean when I queed it up, I saw it
was PG, and I thought, oh, that's interesting. What does

(10:06):
a PG movie look like outside that right there?

Speaker 2 (10:10):
I gotta say, it's like my dad always said to me,
when you meet a white supremacist, hit him with your hat,
hit him with your hat. And that hat is that's
like Captain America Shield in this movie.

Speaker 1 (10:22):
I know, I know, but I typically I didn't really
distinguish this as being less not so much I violent
than that.

Speaker 2 (10:34):
I think, you know, the most, the most PG thing
to me. That struck me. And you know, I have
no idea if this is actually what went into it.
But you know there's a scene where where the priest
you think he's dead, yes, and it turns out he's alive.
That felt like a that felt like a PG choice.

Speaker 1 (10:53):
You know, Oh that's funny. Well, I only bring it like,
bring it up so much here at the beginning because
I was reading that Martin Campbell, the director, Yeah, like
changed things to ensure a PG rating, And so in
my mind I was like, oh, why was that so
important to them? When I actually kind of can't tell
the difference as I'm watching it.

Speaker 2 (11:15):
I'm you know, maybe my perspective would have been different
twenty years ago, but definitely now as a parent of
many children, I'm like, you know, we need movies like.

Speaker 1 (11:25):
This, Oh for sure. I'm just saying I can't distinguish
the difference.

Speaker 2 (11:28):
I think the difference is one way. The explosion of
somebody's head is implied. Sure we the PG is just
we hear their horrifying death rattle as they know they're
about to die.

Speaker 1 (11:44):
PG. Thirteen. These days, yeah, you see some chunks.

Speaker 2 (11:49):
Maybe maybe maybe you might this whole opening action siccause
I think it's fantastic.

Speaker 1 (11:54):
Oh, I mean it just looks so hard. He has
horses and carts and people. Isn't incredible stunt the guy
dropping down in front of that cart. I mean, I'm
sure it's a visual trick, but like it looks amazing,
like an old school Western where you're like, I bet
that stunt person died, you know what I mean? Like
That's what I'm saying. Like this, the action in this

(12:15):
a plus, A plus, just like the first film. By
the way, I mean, I can't imagine people listening to
this or who have watched this haven't seen the first one,
but the first one is like two thumbs up, fantastic movie.

Speaker 2 (12:25):
Yeah, And I think that the distinction is that in
the first film, you have a character through line humbly
separate from the zorro of it all that is itself
very engaging totally, whether it's it's Alejandro's quest for revenge,
he is romanced with Elena, the whole thing with Anthony Hopkins,
And I feel like with this one, I I this

(12:50):
is my guess. Between movie one and movie two, Catherine
Zada Jones became an All Cats movie star, Yes, and
I had she won in Oscar at this point, I think,
sorry of traffic.

Speaker 1 (13:03):
Is that what did she keep? I'm not sure?

Speaker 2 (13:07):
Oh, Chicago maybe, I think Chicago.

Speaker 1 (13:09):
Okay, that was before this. I think.

Speaker 2 (13:13):
Anyway, they had to figure out something for her to
do mm hmm. And I'm not sure what they figured
out for her was the best.

Speaker 1 (13:22):
I feel like they were on the right track, yeah,
because they do find ways for all three members of
the family to become important. By the way, I just
want to call it this Martin campbellman, I know we
we is a real loss that we did not get
more action films from him, like the.

Speaker 2 (13:38):
Fact that sorry, just to interup, this is this is
five and then in six we have Casino Royale.

Speaker 1 (13:45):
I was gonna say, this reminds me of that Parkour opening,
yes all, but really high up off the ground from Casino.

Speaker 2 (13:51):
Different yet similar.

Speaker 1 (13:52):
Different, but no in the best way.

Speaker 2 (13:54):
I mean.

Speaker 1 (13:54):
I mean that is a huge compliment because I remember
when I revisited Casino Royale for doing a commentary for
the show, and I hadn't seen it in a while.
I was like, holy cow, this might be one of
the best action movies of the twenty first century.

Speaker 2 (14:05):
Yep.

Speaker 1 (14:06):
And it's because it's so kinetically filmed, but so like
Spielberg in its geography, in its perfect execution of letting
us understand what's happening without while still being kinetic and
visceral and fast, you know what I mean. And I
feel like Campbell really nails that too in Casina Royal,

(14:27):
in that opening and in this one. I think the
reason I think of it specifically is because it's high
off the ground and there's just so many amazing sweeping
shots overhead so you can see like, no, they're up
really high and this looks really dangerous. It's just so
well done these guys.

Speaker 2 (14:47):
Ben linis hello Zorro.

Speaker 1 (14:54):
I'm just so used to conditioned from him from you know,
lost that I thought anytime someone asked him a question
he would like deflect it, you know, and just be
like a good question for another time.

Speaker 2 (15:05):
That was like good imitation.

Speaker 1 (15:07):
It's like everything is character. Benjaminline is dead and lost.

Speaker 2 (15:10):
Oh lord. So so Nick Chinlund here, who plays mcgivers.
He is in Lethal Weapon three as the villain who
is the he's the henchman to the villain played by
Stuart Wilson, who's the villain in the previous Aora movie.
How funny, so random, and of course it has to

(15:33):
be the one that I can never have stick in
my mind in three.

Speaker 1 (15:36):
Because I can't picture it. But I don't know why
that one just won't stick in my brain.

Speaker 2 (15:43):
So so this actor here, Pedro Armandarz Junior.

Speaker 1 (15:46):
He also appears.

Speaker 2 (15:47):
There's two actors in this who are in the previous
Aorro but they played different characters. What. Yeah, So the
guy who plays the governor, he's in the previous movie
as a different he's like one of the dons. Okay,
who who's you know when when Don Raphael he has
that uh you know where he's like, here's my evil

(16:08):
plan thing, you know, and he's the guy who's like, well,
I don't know about that or whatever he says. M
So he plays him. And then and then the kid,
the guy who's the school teacher, he's also one of
the dons in the previous one.

Speaker 1 (16:22):
Interesting weird, right, Like it's been seven years, nobody remembers that.
How Campbell's like, I want my buddies on set. Look
at all those people, man, that looks So that's that's
just what I miss. I bring this up a lot
when we watch older movies, But I just miss frames
full of stuff. Yeah you know that you can tell

(16:43):
is there just the three dimensionality of it all and
just all the hats flying, just so much stuff. I
just feel like that's a thing we don't get as
much these days.

Speaker 2 (16:53):
Well, what's also kind of nuts is that this movie
actually was less had a lower budget than the first one. Yeah,
that's interesting about twenty million dollars less. Wow. Yeah, so
you'd think, like, like, I don't know how it's performed
in the twenty years since, but I would have to
imagine that to whatever extent this was perceived as a disappointment,

(17:15):
that's largely been made up, you know, like that whatever
money they feel they didn't make. I mean, you know,
it's it's part of that TUPAC you know, so generally
you're gonna sure watch both, you know what I mean?

Speaker 1 (17:30):
Well, you know, I mean the first one, I looked
it up. The budget was somewhere reported between sixty five
million and ninety five million, and it made worldwide two
hundred and fifty million.

Speaker 2 (17:40):
So part of substantial hit.

Speaker 1 (17:42):
Yeah. And then this one had a budget of seventy
five million is estimated, and worldwide gross one hundred and
forty two million. Yeah, which is not great, but it's
not the worst thing in the world. And yeah, and
like you said, it's it's had a long life, I'm sure,
you know. And I watched it on Netflix last night,
so it's getting stream places.

Speaker 2 (18:02):
See. I would imagine that in order because because there
was a desire to do another one, I know, banderis
wanted to do one, but you know, he was very
adamant that if he was going to do it, Martin
Campbell had to do it too, and and then you
gotta have Catherine Zada Jones and everything. And so I
think just looking at that budget, I'm guessing that a
lot of the actors took a salary cut in favor

(18:24):
of gross points. Sure so, which might explain why we
never got a third one, because once you factor out
the points, it wasn't deemed profitable enough.

Speaker 1 (18:35):
You know, did you read, by the way, that Quentin
Tarantino wanted to do as Zoro sequel.

Speaker 2 (18:46):
Yeah, yeah, Zoro and Django? Yeah yeah, yeah, And they
didn't do a comic of that, which he co wrote.

Speaker 1 (18:51):
That's amazing, and with Antonio Banderis, and they didn't.

Speaker 2 (18:57):
I think what it came down to, is is it
Tarantino is famously flighty.

Speaker 1 (19:02):
Yeah. Well, yeah, because he was talking about Jimmie Fox.
My brain I had a brain fart. But yeah, he
was talking about doing a Star Trek movie at some point.
I think he's got a lot of ideas, but he's
just so precious about his.

Speaker 2 (19:12):
Yeah, you know, him and his friggin bullshit about I'm
doing ten and I'm over it. Man.

Speaker 1 (19:18):
Oh I yeah, no, I agree. I agree.

Speaker 2 (19:22):
So this so a couple of things. The chemistry that
they had in the first film Antonio Vanders and Captrom
Zada Jones, that chemistry is still in full effect in
this film. I agree. They they are great together. But again,
and maybe it's just me, Brian, you kept telling me
your thoughts. I'm like, Okay, it's seven years later. The

(19:43):
first movie ends with them passionately kissing, they have a
child and everything, and then this one starts with basically
she's just the nagging wife.

Speaker 1 (19:52):
Well, actually I wrote this down. I was like, this
should have been the text at the beginning of this movie.
Join us as Zoro is divorce papers and scolded for
not spending enough time with his son. Yeah, that's not
how I want to start Zoro two.

Speaker 2 (20:09):
It's it's odd because, like I I think the stuff,
the the the internal stuff that Alejandro experiences in this movie,
the stuff about not being there for his son and everything.
I think I think he could go through all that
because I think that's meaningful and it works. I think

(20:29):
he could go through all of that without Elena being
the nag.

Speaker 1 (20:35):
I completely agree. It's funny you say that too, because
did you see Roger Ebert's review?

Speaker 2 (20:39):
No, I didn't. I remember vaguely what he said.

Speaker 1 (20:41):
I didn't. I didn't look it up again, though, well
I tried. I couldn't find video, so I had to
read his written review, and he just said, the legend
of Zoro commits a lot of movie sins, but one
is mortal. It turns the magnificent Elena into a nag. Wow. Really?

Speaker 2 (20:55):
See yeah, I mean he's right, but.

Speaker 1 (20:57):
Yeah, yeah, and see, but you know it's interesting to
whole like choosing family over duty thing. Yeah again, I'm
with you, Like there's a version of this that could work,
but it's a tricky idea because like in this scene,
Elena is saying, I think you need Zoro more than
the people do. But that's clearly not true, you know
what I mean. Like, we just saw him save an

(21:18):
election in possibly California, you know what I mean? Like, yeah,
and so when in Spider Man movies, when this conceit happens,
his loved ones don't know why the hero is failing
to show up for them. You know, only that he's
choosing something over them.

Speaker 2 (21:35):
That's right, So.

Speaker 1 (21:36):
They don't understand and our hero has to figure this out,
you know what I mean. And in this one, she
kind of does understand the stakes, but doesn't seem to care,
and so then it turns her into yeah, like you said,
this accidental nagging character.

Speaker 2 (21:50):
Yeah. And I think the dilemma is that you know,
on some level, you know, well, the movie is not
gonna end with them no longer a couple, right, So
this whole, this whole setup, like basically, we've this this
scene right here where we've got Elena saying, hey, Alejandro,

(22:14):
you know, spend time with their son whatever, Like we
need this in order for in order for the the
fake out of her filing divorce papers for that to work. Sure,
but I just I think fundamentally you're asking the audience
to believe something that it just feels like too long,

(22:38):
too far a walk from where the last movie.

Speaker 1 (22:39):
Left us, Yeah, and not where I want to walk. Yeah, frankly,
at least this early into the second film, you know. Yeah.

Speaker 2 (22:47):
So but see that all being said, I don't think,
especially from the first half, I don't think Catherine Zata
Jones is well served by the first half of the movie.

Speaker 1 (23:00):
Agree.

Speaker 2 (23:00):
I do think the back cap she gets some fun
stuff to do. I think Antonio Benderas makes a meal
a lot of everything he gets to do in this movie.

Speaker 1 (23:09):
Oh yeah, yeah, I mean they both do. She gets
some of that silliness later about like look at it,
it's a pipe. I've been looking at for a pipe,
you know, like she gets they all get to do
comedy or the back action.

Speaker 2 (23:21):
Yeah yeah, but like Bandera's playing drunk and all that stuff.
That all that all works, right. I think he's very
funny and a lot of this.

Speaker 1 (23:28):
Yeah. Now, I was thinking a way you could remedy it. Maybe,
I mean you'd have to do a few things, But
maybe if the opening had been Zoro doing like a
random good deed versus something that was really really important
to the nation, you know what I mean. So if
it was just like, well how many you know, yes,

(23:50):
that's good, you did like a good deed, but how
many will ever be enough? You know? That's that's conceivably
something that you could pose to someone you cared about,
like will it ever be enough for you? Will ever? Like,
you know, will you ever be able to choose us?

Speaker 2 (24:02):
Yeah?

Speaker 1 (24:03):
You know, But but it was so consequential what he
did in the opening scene that it's hard to be
on her side.

Speaker 2 (24:09):
That's right, you know, yeah, she is beautiful.

Speaker 1 (24:15):
Oh yeah, yeah, yeah, that was like a real you know,
I mean she had been in like high fidelity and things,
but then she like burst out of the gate with
well no, not out of the gate. She'd been out
of the gate, but first into everyone's imaginations with the
first Zoro and then there was traffic and then Chicago,

(24:37):
and then there was.

Speaker 2 (24:39):
Entrapment and Trapment. Yeah, well I have said I I
think I said this in our last commentary. If ever
a career was launched on a trailer, it's Captain Zada
Jones and the mask of Zorro trailer.

Speaker 1 (24:51):
Oh totally yeah. Yeah, well there's that scene, yeah, the
sword fight with the dress.

Speaker 2 (24:54):
Sword fight, and then again in ninety nine you have
her ass in the air with the the.

Speaker 1 (25:01):
The entrapment thing. Isn't that funny because that's something where
I don't even know that everyone's seen that movie, but
it's one of those it came from an era where
everyone knew all the trailers. Yeah, and so you knew
the moment you're like, oh, I remember that from Entrapment,
but you never saw it. You just remember the trailer
because we all saw it.

Speaker 2 (25:17):
Yeah, we should. We should do a commentary for that
one of these days.

Speaker 1 (25:21):
I've never seen it.

Speaker 2 (25:23):
I mean I saw it one time in ninety nine.
I feel like we might have a fun, fun conversation.

Speaker 1 (25:27):
Yeah, for sure, see this right here.

Speaker 2 (25:30):
You know, I like that they show Elena as like
a woman of action. But I think the running see
I I think I think holding out this idea that
she is that she is divorcing Alejandro, I think that's

(25:50):
a mistake. I think I think what you do is
you you let us in the audience know that she's
being blackmailed into doing this, but we don't know why.

Speaker 1 (26:00):
Mm hmm.

Speaker 2 (26:01):
So this you say, you're this is you're gonna do
this because we're telling you to. And then we find
out later that they're Pinkerton's but we don't know. So
in other words, we as the audience are like, oh, Okay,
she obviously doesn't really want to be divorcing Alejandro, ship
being forced to, right right.

Speaker 1 (26:14):
I feel maybe because i'd seen it before, I did
get that out of this, like she has been put
in a position where she has to.

Speaker 2 (26:22):
Yeah, well you know that from second viewing. But the
first time, it's kind of like, you know, clear, it's
it should it should have been one hundred percent clear,
like what what she's doing and why.

Speaker 1 (26:34):
Or even get a moment of her like no, you know,
like resisting it because she doesn't want to put him
through that, but she has no choice. Yeah, yeah, help,
I think we should go to a bathhouse, Saki. I,
I you know, this.

Speaker 2 (26:53):
Is a weird, like just they were just sitting around
naked and playing poker.

Speaker 1 (26:59):
You know. I think it doesn't help that it's so
hot where I am right now that I'm just uncomfortable
in my own place. So like seeing all these like
guys just sitting around looking sweaty, like playing poker in
like a bathtub, I'm like, that just doesn't feel comfortable
at all. Like I'd rather get into like a nice
cold pool, and yeah, I don't know, just I don't

(27:19):
know why I would ever want to be there. I'd
pick a saloon.

Speaker 2 (27:24):
I think over this, although you know, you look at
Banderis's physique and it's like remember when when a hero
could just have like a be normal fit.

Speaker 1 (27:33):
I feel like we've talked about this with Harrison Ford.
Yeah you know what I mean, Like much was made
when he did Temple of Doom. Like in the pre
you know, pre production, they were like, oh, he's got
this I don't remember who it was, but this famous
trainer and he's going to be super fit for this movie.
And they made a big deal about it in the press.
And then you watch Temple of Doom and you're like, yeah,
he looks pretty fit, you know what I mean. Whereas

(27:55):
now you're like, oh, I don't think Channing Tatum has
touched a car, you know, five years, and he's eating
nothing but chicken every fifteen minutes, and you know it's
you know, you hear these actors say it's not sustainable.
You can't actually live that way to keep that physique.
It's just something they do for the movies. But yeah,
it's the superheroes now they look just almost unattainable. Yeah,

(28:20):
whereas here he just looks like fit.

Speaker 2 (28:22):
He's just like like a human being fit, not not
comic book hero fit.

Speaker 1 (28:26):
Right right. I love Antonio benderris.

Speaker 2 (28:31):
He really is just kind of effortlessly charming, right he is.

Speaker 1 (28:36):
It made me disappointed thinking again about Dial of Destiny,
how underused he was.

Speaker 2 (28:42):
That was.

Speaker 1 (28:43):
That's deeply disappointing. Yeah, it feels like they got him
for that small role only because it was like, hey,
you want to be an indie five.

Speaker 2 (28:52):
Like yeah, absolutely, but it.

Speaker 1 (28:55):
Just turned out to be kind of a nothing role.

Speaker 2 (28:58):
Yeah. So this actor, Julio Oscar Machoso, he's one of
the he remember he's in He's in Bad Boys.

Speaker 1 (29:06):
Remind me he's well.

Speaker 2 (29:08):
I think we commented on how it's like in Bad
Boys the part of the partners are separated by ethnicity.

Speaker 1 (29:14):
It feels like, oh the rivals. Yeah, yeah, ah, I
don't I love him in this He's a really great
like he's so he's he's such a great like Alfred
type character. M hmm, yeah right, but yeah, it.

Speaker 2 (29:27):
Was sad to see that this actor passed away a
couple of years ago, oh, twenty seventeen. Yeah, because very distinctive,
like his his voice is very is very memorable to me.

Speaker 1 (29:39):
Yeah, and he he's very subtle, yeah, in what he's doing,
but it's so charming and you completely you always see
what he is doing, like when he gives his small
little nods and winks and things. Yeah, he's not going big,
but it just feels that much more intimate and like
I want a friend like that.

Speaker 2 (29:59):
Yeah, exactly, by the way that.

Speaker 1 (30:05):
I just felt bad for that poor boy that's got
a p at the front of the anyway I would
want to be in this class.

Speaker 2 (30:12):
Yeah, but no, the actor who plays the priests. There,
this actor right here, Tony Amandola, he's he's Don Luis
in Mask of Zoro. That's so funny and and it's
a it's a it's a prominent enough role that it's
distracting that he's in this as a completely different guy.

Speaker 1 (30:30):
That's really funny, you know.

Speaker 2 (30:33):
Uh that being said that, the kid who plays Joaquin,
I think is terrific.

Speaker 1 (30:37):
He's like a little phenom. Yeah, he's just one of
those kids like oh he you know, it's it's difficult
with child actors, right, you just kind of don't know
what you're gonna get. But this kid is just effortless.
He's and everything he's asked to ask to do right,
like to be funny, to be brave and then also

(30:59):
later to be sad. And he cried like he nails
all of it, you know, times ten.

Speaker 2 (31:06):
Yeah, It's it's tricky. I mean I remember, you know
when I first heard oh yeah, Zora was gonna have
like a ten year old son in this it was
a little bit of like, oh God, is this going
to be another dumb kid? And this one manages to
avoid dumb kid syndrome. Yeah, apparently he learned English phonetically

(31:26):
wow to speak his lines, which is bananas.

Speaker 1 (31:29):
I would have never known that.

Speaker 2 (31:30):
Yeah, crazy.

Speaker 1 (31:31):
I mean, look at him, he's a little ham He's
so good. I gotta be honest, I don't know that
I would have chosen to make Car zero two about
a mom and dad the son, you know, kind of yeah,
well I save that for three, or like you were
saying at the beginning, save that for the the sequel
that comes a few years after the trilogy or something, right.

Speaker 2 (31:51):
See, I think so where the first movie ends, he
has a little he has an infant child, right, and
so I think it's like, okay, well we're seven years later,
so obviously we have to take knowledge that he has
a son.

Speaker 1 (32:05):
M h.

Speaker 2 (32:06):
I think, my I like all this stuff. I think
I think the father son moment. To me, it all plays.
I really I enjoy watching. Honestly, both of these actors
play off each other. You know, benderis is just he's
he's fun to watch. I was sinking because because between
the time he takes the last time we see him

(32:26):
at Zoro in the beginning to the next time, it's
like a good and half hour.

Speaker 1 (32:31):
Yeah, I clocked that last night. I actually clicked on
the thing once the action kicked in again, and it
was like forty seven minutes into them.

Speaker 2 (32:39):
Yeah, it's a it's a it's a solid half hour
and and that sucks. But I think that mostly lines
up with the earlier film too, where there isn't a
ton of Zoro stuff, right, there's basically like three Zorro
sequences right right, and there's strong yeah, I think in
this film too, right.

Speaker 3 (33:00):
Yeah, But but here's my dilemma going saying earlier, I
think it's irresponsible for the father of a ten year
old son to be Zoro because you don't have superpowers.

Speaker 2 (33:18):
You could die, and you know what I mean, Like,
that's that's where my brain goes.

Speaker 1 (33:23):
Well, I was somewhere around halfway through and for the
rest of the movie, I was thinking someone should call
social services on this family, right, because this kid is
neglected by both parents for the majority of this movie.
I mean truly neglected, as if they forgot they had
a son, So I agree with you.

Speaker 2 (33:45):
So that's right here. I think I think Alejandro could
kick this guy's ass and still preserve the moral high ground.
Like you know, he's trying to tell his kid like
don't don't fight or whatever. I'm like, but sometimes you
just got to kick some white guy's ass.

Speaker 1 (34:02):
Yeah, you know what's funny. I was internalizing this scene
a little bit too, and thinking, like I admire it
on paper, certainly. I mean, he's doing like the right
thing on paper, turning the other peak or whatever. But
like even if he just like lifted a hand really quickly,
like lightning fast to stop one of the slaps, like right,

(34:22):
I could have you if I want, and then you know,
dropping the hand or something, I agree. Yeah, yeah, but yeah,
I was thinking also like I mean, of course Zorro, Zorro,
But in my mind I was sort of thinking like, wow,
this guy doesn't realize he's slapping Batman, you know, and

(34:45):
that's that's what it takes sometimes, like to preserve your
I don't know, your cover.

Speaker 2 (34:52):
Yeah, you see, like all this stuff, the banter between
Padre Felipe and I, and I love all of it
throughout the movie. Yeah, rufous sewell Man. You know I
I am I am a rufus sewell Stand Like, yeah, sure,
I love this guy. And it pisses me off that

(35:14):
he's not in more stuff because he's he's a great
villain in this first of all, but he's also just
a great actor.

Speaker 1 (35:21):
Man.

Speaker 2 (35:21):
He's he's awesome in Dark City.

Speaker 1 (35:24):
Yeah, Night's Tale, he's also a Knight's Tale. Yeah.

Speaker 2 (35:27):
He had a show The Illusions. Is he in the Illusionist?

Speaker 1 (35:31):
Yeah, I haven't seen Theist.

Speaker 2 (35:35):
He had He had a show on CBS like maybe
right around when this movie came out, and that I
think about it called the Eleventh Hour m M.

Speaker 1 (35:44):
And it's one of the.

Speaker 2 (35:45):
The the great lineage of of CBS procedurals where you
have a quirky genius and the the cop that kind
of helps out, you know.

Speaker 1 (35:57):
Yeah, yeah, that's funny, you know, it's.

Speaker 2 (35:59):
It's a very sturdy genre. Yeah, and so they they
had rufus Sewell playing that role quirky genius.

Speaker 1 (36:06):
Oh he's the damn good huh. I see, I'm looking
up more stuff. He was in Abraham Lincoln Vampire Hunter, Yeah, which,
if you're in the right mood, that's a really fun movie.
I'm telling you, man, I agree. Yeah, there's one other one.

Speaker 2 (36:20):
I was just talking at that movie with my brother
the other day.

Speaker 1 (36:22):
Actually, yeah, it's Oh he's an old the Shamalan.

Speaker 2 (36:27):
Yeah that's right, which I have not seen, but he's
in it.

Speaker 1 (36:30):
Yeah. Um but yeah, this I mean again, I'm just
sort of like drinking this up. All this set design,
like these big frames just filled with amazing costumes and
people and stuff and props and lights, and it just
feels so like, Man, that must have taken a long
time to put that together, and I love It's sumptuous

(36:53):
seeing it all on screen. I kind of missed that, right.

Speaker 2 (37:02):
I remember in the early goings they were saying this
was going to be called Zoro Unmasked.

Speaker 1 (37:07):
Oh I wanted to talk about this, yes, which, by
the way, better title.

Speaker 2 (37:12):
I was about to say anything. I was like, I
kind of wish they called it that.

Speaker 1 (37:15):
Because then you would remember which one is which.

Speaker 2 (37:17):
That's what always happens, right.

Speaker 1 (37:20):
It's sort of like the Fast movies, right where you're like,
when I'm playing Cinematrix and I need to know specifically
which Fast movie I'm using as an answer, I'm like,
which one was this person in but they weren't in
that one. It's like Fast five, Fast seven, Fate of
the Fury that, like you just I don't remember which
one's which. They're just words, right, and this one the

(37:40):
Mask of Zoro, the Legend of Zoro, like they don't
feel like they are distinguished by their stories or something, right,
and so yeah, Zoro Unmasked is perfect.

Speaker 2 (37:52):
Yeah, I mean it happens in the movie. Yeah, and
it's a kind of remember it, you know. Yeah, yeah,
I guess a different draft That bit right there cracks
me up, right there, which sorry, where the guy is
approaching them to shake their hand and then Alejandra just
just slides in and pushes the guy out of frame.

Speaker 1 (38:11):
Oh yeah, oh that's right.

Speaker 2 (38:12):
Yeah. Yeah, it's a very funny, comedic beat.

Speaker 1 (38:15):
I mean, this whole rest of this scene feels almost
sort of like Screwball nineteen forties sort of, you know,
concepts and acting and jokes, and it's fun watching them
ham it up because they're doing it really well. But yeah, no,

(38:37):
I yeah, I guess there. There was a little bit
of a few drafts that went around, a bunch of
title changes. I think at one point it was even
called Zoro two. And then the return of Zoro. And
then finally they were like it's almost like they gave up,
and we're like the Legend of Zorro, just go.

Speaker 2 (38:54):
Return of Zoro. That would have been fine too, to be.

Speaker 1 (38:56):
Honest, sure, sure, I mean Batman returns, yeah, exactly. Two's yeah.

Speaker 2 (39:03):
You know, there was a long development process, which I
get it because because there there was good feelings surrounding
the first film and everybody wanted to come back and
just you know, you want to you want to make sure.

Speaker 1 (39:18):
You hit it right.

Speaker 2 (39:20):
So it is weird, like you sort of think like, well,
what was it about this that got everyone on board
this script? I mean, I don't know, or was it
a situation where everybody kind of signed on? Was it
like a lethal weapon for situation where everyone signed on?
And then they're sort of making tweaks to the script

(39:40):
as they're going.

Speaker 1 (39:42):
And they are locked in to having to have, you know,
a kid right around a certain age, and so that
kid needs, like there's just a lot of things that
need to be fulfilled. Well, the kid needs to be
a part of it, and he needs to have some
sort of function and Catherine Zada Jones, you know, it's
a bigger star, and she wants more to do, and
you know, so there's like a lot of things that

(40:03):
you're like, okay, well then we have to Yeah. I
wonder if they sort of figured out like a general
outline of how to keep everyone all the balls in
the air right, And then all you do is you
just start tweaking to try and make it better and
better and better. And I don't know, I don't even
think this is a bad movie, that's the thing. It's
just it just feels lesser than than the first one.

(40:24):
And the first one is very very good.

Speaker 2 (40:27):
That's that's been my perspective all along. And I think
I've said as much where it's like, well, if you
want to see more of Antonio Bandera, says Zoro, here's
here's another one.

Speaker 1 (40:37):
And you know it ain't bad. Yeah, it's missing the
sizzle of the first one for sure. Yeah, like you said,
I mean, it gets into a lot of this like
domestic drama slash comedy question mark, you know, for quite
a while. I mean I I even as I was
taking notes again, I was like that a third of

(40:59):
this movie is action and two thirds is so so drama.
You know, Like, yeah, I don't know how many times
I would want to repeat watching this like domestic squabble.

Speaker 2 (41:11):
Well, I you know, I think I think the whole
like the whole rationale behind this. This pseudo love triangle
doesn't work because you know, there isn't any real chemistry
between Elena and armand so we don't really believe that

(41:35):
she would she would leave Alejandro for him, right, but
the movie kind of wants us to think that, you
know what I mean?

Speaker 1 (41:44):
Yeah, yeah, And and.

Speaker 2 (41:46):
That's what's odd to me is is I feel like
there was a way to make if not Alejandro, you know,
a participant in the in the deception, make the audience
a participant in the deception, so that we know, Okay,
she's she's playing a game, she's playing a you know,

(42:07):
an espionage thing here, and she doesn't want to have
to do this, but she's you know, she can't tell Alejandro.

Speaker 1 (42:17):
Yeah. Yeah, that's always so excruciating to watch, but it's compelling. Yeah,
you know, when we see a character want to say
something so badly but they can't, and so you know,
it gets us on their side and we're just waiting
for the moment when they can.

Speaker 2 (42:32):
Right, yeah, because because you know, we get the moment
to you know, in the the third act where you
know they kind of they make up, you know, and
it's it's all passionate whatever. And I'm like, it's like, well,
we were this is where we were headed anyway, because
again it's like, there's no way the movie ends with
them not being married. At least that was my thought, right,

(42:56):
And so it's like the I think there was a
way to have basically the same story but not not
string the audience along, you know.

Speaker 1 (43:09):
Yeah, and it's kind of crazy. I mean looking at
the reviews. The first one was looking at Rotten Tomatoes,
eighty four percent critics, seventy three percent audience, which I
really yeah, kind of low. I think it's better than
that even the critics. And part two is twenty seven
percent critics.

Speaker 2 (43:28):
Which is excessive in my opinion. It's excessively low in
my opinion.

Speaker 1 (43:32):
Yeah, I would put this like, actually I would put
the first one in the nineties for me personally, and
then maybe this one like low eighty.

Speaker 2 (43:41):
Yeah, I would agree with that, you know, yeah, yeah,
I mean there, I don't remember what the critical response
was generally, but you know, there is sort of a
blood in the water effect that tends.

Speaker 1 (43:57):
To happen, that can happen.

Speaker 2 (43:58):
Yeah, and that's a shame. I mean I remember watching
this opening weekend with my wife and we both enjoyed
it as just, you know, another visit with this character,
you know, like this whole Now we're now introduced to
the central storyline here. I think it's a really interesting storyline.
I agree, you know what the villain's plot is and everything,

(44:21):
and I feel like they should have brought that in earlier.

Speaker 1 (44:25):
I was just going to say, it's it's we're forty
minutes in.

Speaker 2 (44:28):
Yeah, you know.

Speaker 1 (44:29):
This is we should have I think I think a
scalpel could be taken to this movie one hundred percent.

Speaker 2 (44:35):
I actually like I would have made that him discovering
this explosion kind of deal. I would have tied that
in directly with the action sequence at the very beginning.

Speaker 1 (44:48):
Yes, yes, and that's why he feels compelled, like, well,
I can't give up being Zoro exactly. There's a possible
conspiracy afoot and this could it could be tied to
the election and the people need you. Oh that's it,
that's it. Yep. Totally agree.

Speaker 2 (45:05):
Yeah, So that's kind of odd, right, And I think
a lot of this. It's funny because as I was
watching yesterday, I was like, I was like trying to
remember the timeline. I was like, were they trying to,
you know, get into production before a strike. No, I
don't think that's the case. You know, like, what are
the reasons not to take a you know, just to
to tighten some of this stuff up, you know?

Speaker 1 (45:27):
You know it's funny though. I wanted to talk about
the writers and who I think are great by the way,
but Ted Elliott and Terry Rossio who started I believe
they started this.

Speaker 2 (45:36):
But yeah, and then it was Orsi and Kurtzman right
who Yes.

Speaker 1 (45:40):
But I was gonna say it is funny because it
does remind me of the Pirates films a little bit,
where they're like great ideas but like a little shaggy
and you could be like, I bet you could get
fifteen minutes out of there, you know what I mean.
It reminded me of that. So when I saw their names,
I was like, oh, that's funny.

Speaker 2 (45:57):
Well so they wrote the first one, yes, and and
which is great that that one sings? You know? Uh?
With this, I think the fact that you have two
teams of credited writers, I I feel like whatever issues
we're having is just the stitches at the seams.

Speaker 1 (46:15):
M I agree.

Speaker 2 (46:17):
You know ROBERTA. Orsi, by the way, he just died
earlier this year.

Speaker 1 (46:22):
Yeah, oh was that this year? I remembers February.

Speaker 2 (46:24):
I had no idea.

Speaker 1 (46:26):
Yeah. Well and just for context too, for you know,
going back, Elliott and Rossio they did like Aladdin and
the Pirates films and Shrek Shrek as and then Kurtzman
and Orsey they did the Transformers films, Mission Impossible, three
Star Trek, the j J Abrams one, they produced Now
You See Me. So I met them and knew them
for a little bit. Wow, no kidding. And while they

(46:47):
were there in the offices of Now You See Me,
they were writing the amazing, amazing, amazing Spider Man two. Yeah.

Speaker 2 (46:54):
Yeah, And Alex Kurtzman is currently like the hancho of
TV Star Trek. Oh interesting, okay, yeah, so kind of
a big wheel at Paramount.

Speaker 1 (47:03):
Yeah, but it doesn't it almost feel like those those
pair of riders almost feel kind of cut from the
same cloth and almost like a handoff of moments. Doesn't
feel that way so early two thousands to like the

(47:24):
tens to the whatever.

Speaker 2 (47:28):
No, I think I think that's very apt.

Speaker 1 (47:38):
You think you'd be able to play polo if someone
puts you up on a.

Speaker 2 (47:41):
Horse without a doubt. I would not, And and for
a variety of reasons, I am perhaps the most unfit
person who has ever lived the idea of being on
a horse. That's where I step back and say.

Speaker 1 (47:57):
No, have you ever been on a horse? I have
never been on a horse. Oh you know that you
can go horseback riding up at Griffith Park, okay by me?
And it's really chill and it's a cool experience to
just sit on a horse, go for a nice little ride.
You look up and you see the Hollywood sign in
the hills to your left. You look to the right,

(48:18):
you see you know, the city from above. It's we
should do it. Okay, Hey, you've convinced me. Yeah, it's
very very relaxed and chill and nice.

Speaker 2 (48:28):
I feel like you're setting me up to come at
me with a sharpened polo stick.

Speaker 1 (48:33):
Yes, I've arranged it with the person's like, all right,
everybody now move aside. I feel like I'm walking into
something here is they're slipping a twenty that I had
handed them into their pocket, Like this guy wants to
do something real quick with his friend. I'm like sharpening
my stick.

Speaker 2 (48:49):
I love, like, if you had any doubts about armand
before that, once you see the polostic, you're like, oh,
he's a dick, got it right.

Speaker 1 (48:57):
He's gonna kill this guy.

Speaker 2 (48:58):
See now this can be because he comes at him
with this, the pointed part out and then we don't
really see what happened there.

Speaker 1 (49:05):
Yeah. Yeah, it's a little unclear, right, Like I don't
know if it's due to like a stunt, like it's
too hard to do, or well, it looks like we
should have maybe even got like an insert of maybe
Zoro likes deflex it, but in deflecting it at the
last second, it throws him off and he falls off
his horse or something.

Speaker 2 (49:25):
See that's my question, Yeah, because because if the goal
is to just knock him off the horse, he could
have done that with the other side. I mean, if
he's got a sharpened like that, he's he's out for blood.

Speaker 1 (49:35):
Yeah, and then what would Elena do if he saw him.

Speaker 2 (49:38):
Write this guy? It was very strange. I was thinking
about that. I was like, well, that's weird, because yeah,
I don't think she'd be thrilled about that.

Speaker 1 (49:43):
Yeah, I was reading somewhere that Benderis did most of
his own stunts. I don't know if that's true.

Speaker 2 (49:52):
Yeah, yeah, I read that too.

Speaker 1 (49:53):
Yeah, yeah, I mean I do feel like you do
get some shots where you see his face, him leaping
around and it's cool. Yeah.

Speaker 2 (50:03):
Well, no, you wonder a little bit because, yeah, you know,
there's plenty of stunt actors who aren't thrilled with how
Tom Cruise tends to take all the bows for Mission Impossible.

Speaker 1 (50:13):
You know, that is kind of fascinating, isn't it. I
really do wonder where like the truth lies in that,
you know, because obviously he's doing a lot of stuff,
and a lot of harrowing stuff, I mean out question
and dangling from airplanes and stuff, but certain things where yeah,
like you said, he is happy to take all the credit.
But there are some people that are his stunt doubles

(50:33):
that are probably like, yeah, cracking ribs, you know, for
him to be able to do that.

Speaker 2 (50:42):
Like, that's that's the thing, right is, Like does it
does it mean any less? If it's not the guy
doing it, It's still a human being doing it, and
that is itself impressive.

Speaker 1 (50:55):
Yeah, yeah, you know, but that's certainly become in this
part of his career. Yeah, what he's known for, like,
you know, just just.

Speaker 2 (51:03):
Dangy from Yeah, just uh, hanging from things in the sky.

Speaker 1 (51:09):
Yeah, yeah, you know, I was, I know, that's gonna
call it real quick as Zora was suiting up and
he was like racing out of the stable on his horse.
I mean, it's just just such a chill shot. It's
just kind of low angle from a distance and you
see him racing through the stable. But it was lit

(51:29):
so beautifully and there's all this smoke and haze and whatever.
And I mean it's it's almost easy. It's it's you
could easily take it for granted. But this is a
really sumptuously filmed movie. Yeah, there's so much style. It's
just it it appears so effortless. Yeah, and and uh,
I don't know, I just again, it feels like a
bygone sort of thing.

Speaker 2 (51:52):
And it shouldn't be, because I think there's still value
in movies like this, you know.

Speaker 1 (51:57):
H I agree, But I mean, I just I think
even just in the way the things that are filmed.
I mean, I'm sure this was probably shot on film,
and the way things that are even colored. These days
are a little different and you just inevitably movies are
going to look a little different. But it's definitely this
is this is sort of the era that I connect
with the most, and I yeah, it.

Speaker 2 (52:18):
Stirs me very much like I said, throwback, you know, Yeah,
this this whole sequence is actually pretty great. Yeah, not
only in terms of how it's staged, which is very effectively,
but also the emotional stakes that that are ultimately at play.

Speaker 1 (52:36):
Yeah, definitely.

Speaker 2 (52:38):
You know, they've they've done a good job of establishing
I mean not just the villains, but the family here
and these guys that are we know that they have
a connection to Alejandro and so they're not a mere
abstraction and it gives Antonio bendera some good beads to play.

Speaker 1 (52:57):
Yep, agreed.

Speaker 2 (53:04):
M it's just so beautiful, you know, Martin Campbell. I
mean we and you and I have talked about this
before through you know, we've talked through too Martin Campbell movies.
But really the guy just does not get enough credit.
And I wonder if part of the reason is because
he he doesn't really have a signature style. He just

(53:25):
adapts to whatever the movie is he's making.

Speaker 1 (53:29):
Yeah, for sure a cut above Journeyman.

Speaker 2 (53:36):
Yeah, I suppose you can say.

Speaker 1 (53:41):
Yeah, and not all his movies have hit No, I'm
just looking now, even like Vertical Vertical Limit.

Speaker 2 (53:47):
I was not a fan.

Speaker 1 (53:48):
Yeah, Green Lantern, famously Green Lantern. Yeah, but when he
does it, man, he hits hard. Yep. What was that?

Speaker 2 (53:56):
What was that? Was it called The Foreigner with Jackie
Chan And yes, that was like okay, it wasn't the worst,
but it could have been better.

Speaker 1 (54:05):
And he did one the clean I guess it's called
Cleaner with Daisy Ridley.

Speaker 2 (54:11):
Yes, that's right.

Speaker 1 (54:12):
I was kind of curious about that. That was recent,
and I know it's on HBO.

Speaker 2 (54:15):
I think what was it, Edge of Edge of Darkness? Yes,
no Gibson, Yeah, that was good.

Speaker 1 (54:22):
Oh, I see I remember the title. I don't remember
that movie was good, by the way, I just wanted
to call out putting the wife down in that little
you know whatever through the floor. I was like, wow,
this is just like something is tingling in the back
of my brain.

Speaker 2 (54:35):
What is it?

Speaker 1 (54:36):
And then I realized I'm like, oh, this is reminded
me of Horizons. Horizon yep, Horizon. Yeah, And I was like, wow,
that feels like a fever dream. At this point, there's
a scene similar to that in Kevin Costner's Horizon Part one,
an American saga.

Speaker 2 (54:52):
People listening are like, I recognize the words, but that
title makes no sense.

Speaker 1 (54:57):
I know, I know, and to exist, I've I've heard
people talking about it.

Speaker 2 (55:02):
Have they talked about it?

Speaker 1 (55:04):
They've seen it the screen?

Speaker 2 (55:06):
But have they have they set it up? I've seen it?
Or oh man, I've seen it.

Speaker 1 (55:10):
They liked it. Okay, yeah, they were on board with
the first one too, so I mean, okay, this by
the way, again, I was for some reason, I don't
know why, I kept thinking about the PG occasionally. And
when the guy his butt's on fire and then he
falls into that pile of wood, I was like, oh wow,
is he going to be like like burned alive? Like
but that feels like a really horrifying thing you'd seen

(55:32):
like a Tarantino movie.

Speaker 2 (55:34):
But he's not.

Speaker 1 (55:35):
Later, he like he dumps his butt into like a
bucket of water.

Speaker 2 (55:38):
And that's how you get your PG. Yeah.

Speaker 1 (55:41):
Yeah, it was smoke coming up from his butt.

Speaker 2 (55:45):
It turns it into a home alone movie.

Speaker 1 (55:48):
Yeah, yeah, like Yosemite, Sam in h Roger Rabbit exactly.
Ye know, I got a call it too. I mean,
this is cool. This is all the action, man, all
the choreography, all the ways that yep, all the ways
that everything is captured and shot and edited. I am
just so here for it.

Speaker 2 (56:07):
Yeah. Yeah, I think that the the central the plot
line about you know, this guy trying to trying to
get the land so you can get there the railroad,
and like all of that works for me, and I
just I just feel like you needed to tie that
integrater degree in a way that highlights like the idea

(56:30):
that California would not be part of the Union if
not for Zoro, you know, stopping this plot, you.

Speaker 1 (56:37):
Know, yeah, totally. You mean, like hit that harder. Yeah, yeah, you.

Speaker 2 (56:44):
Know, I like that tie it in more directly from
the start of the movie. And then you said, this
is like the through line of what he's because once
we get into it, you know, and you have you know,
Alejandro and and Father Felipe are like going through and
do it. It's very batman and out, you know, and
I love all that.

Speaker 1 (57:02):
Yeah, you know what, I want to give credit to
all these flames. I'm certain a lot of is practical,
but some of it occasionally you can tell is probably
some sort of effect, but like a pretty good one.
I agree, you know, I feel like like that that
looks like an effect in the background, But but.

Speaker 2 (57:24):
I want to actually real I want to give credit
to this actressy. Look at how she plays her. It's heartbreaking,
real drama is sad, right yeah, And then I love
right after this look at you man, she's really she's
bringing it. Yeah. But when Alejandra goes into the church
and he's he's sort of raging against God, it's great, man.

(57:47):
You know, yeah, I love it.

Speaker 1 (57:50):
Sorry you were saying, no, no, no, I just I've
I admire this. It's sort of like an in between
her era of like digital effects, and there's something about
it that I really like. I don't know, but yes, no,
I love this too. I thought I thought of the
scene last night too, where he's sort of like in
the church angry, what do you want from me?

Speaker 2 (58:10):
See? I think that, you know what I was saying earlier, right, like,
instead of having his wife be like you're never around
for your son and whatever, like, I don't think we
need that. I think we can we can get that
same message if it's Alejandro's internal angst mm hmmmmm. Pressure

(58:36):
he's putting on himself, yeah, you know, like because there
are enough of those moments, you know, And and his
wife being like like I understand, like like Alejandro, he's
got these responsibilities, and his wife being having been a
partner from the very beginning, being like, yes, I understand
that you have these responsibilities, but he's feeling something he

(58:58):
can't even adequately convey to her. I love that, right, yeah,
good note, And I love it, by the way, Carry
you pigeons and in fact, yes, sorry, okay, so carrier
pigeons after this movie, I'm like, how do they taste?

Speaker 1 (59:21):
That's yes? Yes?

Speaker 2 (59:25):
Are they gamey?

Speaker 1 (59:26):
How do they?

Speaker 2 (59:28):
How do they?

Speaker 1 (59:29):
How do homing pigeons? No? Okay, I didn't want to.
I don't want you to forget what you're gonna say,
but that's what I was going to say.

Speaker 2 (59:34):
I how do you.

Speaker 1 (59:35):
Even begin to train? That's fascinating carrier pigeon? Like that,
it's incredible And did it really work as well as
it does in modern movies? Maybe it was something like that's.

Speaker 2 (59:46):
Kind of is it? Is it like a quicksand thing
where movies have lied to me? Right?

Speaker 1 (59:51):
Like maybe it worked a couple of times, but not enough.
And that's why they don't do it anymore.

Speaker 2 (59:56):
You know, I don't know, right because because I'm thinking, Okay,
if you've trained them to home in on one location,
maybe that kind of makes sense, I guess. But these
dudes are like moving around the pinions, all right, it's
very confusing.

Speaker 1 (01:00:13):
No, I'm sorry, what were you going to say before
the pigeons? No, I'm just trying.

Speaker 2 (01:00:17):
I'm just trying to like game out how to preserve
the framework of the story while while not indulging in this. Oh,
but now she wants a divorce and whatever. I'm like,
you know, maybe maybe give her more agency from the beginning,
like she she isn't just a housewife or whatever. She's

(01:00:41):
she's doing some kind of like she's doing some kind
of government work or something. And so she gets pulled
into this investigation of armand and maybe she, like Alejandro is,
is feeling jealous. But we the audience, no, oh no,
well this is part of her thing, and like.

Speaker 1 (01:01:04):
You know what I mean, Like, I'm yeah, no, no, no,
I can see these tweaks. Yeah for sure, for sure,
and you still get generally the movie that we have here.
We feel a little bit better.

Speaker 2 (01:01:16):
About it, right, That's exactly it.

Speaker 1 (01:01:19):
Yeah, although, to be fair, I was surprised that the
audience score on Rotten Tomatoes was so low, somewhere in
the forties. But oh, that's interesting. Yeah, but I saw
that the cinema score was in it. It was like
an A or so I.

Speaker 2 (01:01:34):
Was like, that sounds right. I think that at the
time this came out, this was a perfect family movie.
Mm hm. And you know it's it's you know what
we were saying before, kind of like it's it's this
orphan superhero thing because it's like a few months after

(01:01:56):
Batman Begins, which really, like, when you look at how
how impactful that movie was, I don't think people even
realized at the time how impactful that would end up being. Right, right,
because Batman Begins did not merely inspire the tone of
the MCU, it also inspired the tone of Martin Campbell's
the movie he went into right after this. Yeah, yep,

(01:02:17):
you know Cassino Royale.

Speaker 1 (01:02:19):
Yep. Well, and I was reading this is from some
trivia I saw that they were they dropped the idea
of a second sequel because this one didn't perform like
they had hoped. But I guess Robert Rodriguez approached Sony
with an idea of like rebooting Zero and having it
in a post apocalyptic future, which is kind of That

(01:02:40):
was such a genuine immediate reaction.

Speaker 2 (01:02:42):
I love it, Thanks, I hate it.

Speaker 1 (01:02:45):
Yeah, yeah, but I guess Sony wanted to do a
gritty rue boot rue boot. They wanted to get a
rowboat and reboot this boot, So a reboot gritty i'llah
the Dark Knight, Okay, you know Zoro. I think it
was gonna be called Zoro Reborn, but it just shows.

(01:03:05):
I mean, yeah, those Batman movies were so influential on
so many things, for better or worse.

Speaker 2 (01:03:10):
Right, See, you know what I miss? I miss the
days of Okay, this one didn't hit the way we
would have hoped. Let's come back in another couple of
years and make a few tweaks, I know, I know,
and just apply what we learned and not dump the
whole thing overboard and start over, right, you know what

(01:03:33):
I mean? Like, yeah, that was just how it used
to be.

Speaker 1 (01:03:36):
You know what it reminds me. This morning, I was
reading the movie Weapons, which was like a real surprise
hit this year. There's a character in there who's an
important character but not you know, one of many important characters,
and they're thinking about making a prequel focusing on that character.
I heard that and I was like, no, no, no, no,

(01:03:57):
like just be happy you we had this awesome, one
of a kind thing that's really special and everybody loves
like right, But it's like, it's just that's the thinking now.
So the thinking in two thousand, the earliest two thousands
twenty tens, was well, let's look at Batman and everything's
got to be superheroes whatever. Marvel didn't quite do this,
but it's got to be such and such begins, Dracula begins,

(01:04:22):
Zoro begins, and it's got to be gritty and realistic,
and you know, take all the fantastical fun out of
it because Batman is taking it so serious, right, right,
And then every moment has their thing, the thing that
all the executives think they need to do, And in
this one, it's like, how can we take exploit how

(01:04:42):
can we exploit an ip? Well, if weapons work, then
we got to take this one character and then have
a whole movie about that person. And there are also
TVs the world of weapons exactly. We'll have a series
about the school and all the kids, and you know
it's right, It's just funny the different eras have these
different sorts of notions about what they need to do.

Speaker 2 (01:05:04):
Yeah, and and like, on the on the one hand,
you get it because it's an industry.

Speaker 1 (01:05:08):
It's a business, of course, of course.

Speaker 2 (01:05:10):
But yeah, you know all the all the talk like, oh,
is there going to be a sequel to Sinners, it's like, no,
for the love of God, no leave it alone.

Speaker 1 (01:05:18):
No, please just let him make another cool, original, interesting movie.

Speaker 2 (01:05:23):
Okay, I love this beat right here where where mcgivers
he just gets a little lippy yeah, and he's like,
I'm about to cut your tongue off, you little bitch.

Speaker 1 (01:05:36):
That's what.

Speaker 2 (01:05:39):
I do.

Speaker 1 (01:05:39):
Like.

Speaker 2 (01:05:40):
I like those moments where because because Rufus Suwele is
kind of playing this like he's he's he does the
good villain thing where he doesn't raise his voice. He's
just so much more sinister because he's because he's very calm.
But it's like, you gotta give him that one moment
like that where you see what's in him.

Speaker 1 (01:05:59):
Yeah. Yeah, do you ever get the story about the
like cross scar on the guy's face.

Speaker 2 (01:06:07):
I just get the sense that he's like a religious fundamentalist, so.

Speaker 1 (01:06:11):
He probably did that to himself, to himself.

Speaker 2 (01:06:13):
Yeah, yeah, I thought this was kind of cool, like
using the technology of the time. Yeah, she does like
a mcgiver thing, right, yeah, exactly, like you know, now
you would use your phone to photograph the evidence. See,
Like like this scene right here tells me that she's

(01:06:34):
very accomplished in her own way, right, and so I'm
kind of like, well, the fact that she got roped
in by the Pinkertons, it doesn't feel like it's her
first rodeo.

Speaker 1 (01:06:45):
Sure, so.

Speaker 2 (01:06:48):
You know, maybe like like, if you're trying to give
Catherine z to Jones something media to play, why not
make incorporate that in the in the years since, you know,
Alejandro is doing his Zoro thing and and Elena is
doing this other thing, and she's fighting for justice in
her own way, you know.

Speaker 1 (01:07:06):
Sure, sure, it's almost like true lies. And then they
discover each other like, oh we both feel this sense
of duty. Yeah, maybe we can combine our forces and
work together and yeah yeah, and then she makes him
do like a strip tease, you know, but he doesn't
realize it's her, Like is he being exploited unclear.

Speaker 2 (01:07:37):
Now I think, yeah, this this the you know they
meet in the middle, and even the way that it's filmed,
it's so perfect. Yeah, anyway, sorry, I can say, for
God's sake.

Speaker 1 (01:07:48):
Why can't you leave me alone?

Speaker 2 (01:07:49):
It's very funny, it's I think the problem is that
these are two characters who are meant to be together.
They're great together, and the movie keeps trying to make
us think that they hate each other, you know, and
that's weird, you know, right, or they're pissed at each

(01:08:10):
other whatever.

Speaker 1 (01:08:12):
Yeah, it doesn't again going back to feel like that
sort of forties. We know they love each other, but
they're gonna bicker for most of the movie and you're
gonna love it. And it's like, I feel, you know what,
it's not great feeling it right?

Speaker 2 (01:08:25):
You know what it reminds me of. It's like remember
in Bad Boys, the first one, and this is I'm
pretty sure we talked about this.

Speaker 1 (01:08:33):
The thing with the pipe, by the way, is very funny,
very funny, and her turning around to camera with it.

Speaker 2 (01:08:38):
Remembering Bad Boys. There's the whole runner where Talione like
they're trying to convince her that he's Marcus and he's
Mike and they just swap and I think we were like,
god damn, just like this is like a ten minute thing,
you've turned it into a forty minute thing. You know, Yes, yes,
I feel like that with this, they're like quote unquote breakup.

Speaker 1 (01:08:59):
Agreed, comparison to although this is fun him being up there, YEA,
getting to observe this conversation.

Speaker 2 (01:09:09):
Like like I think that you could have had you
could have read in Alejandro earlier as far as what's
going on, like what Elena is tied up, and so
you still have this and he's still up there, and
he's like like now it's like he knows what she's
doing and he's got to put up with watching this
guy because his wife.

Speaker 1 (01:09:28):
Exactly right, Yep, agreed, I totally You're so right. They
stretch it out too too far. You know. By the way,
just going back when they had their little squabble on
the balcony, I'm just gonna put a personal thing out there.
If we could retire the whole I know that you
know what I know, But if you know the news,

(01:09:49):
what do you know? You know? Like, I'm so sick
of that joke. How do I know you know, I
know what you know the I don't know.

Speaker 2 (01:10:00):
I know it's like a it's like a Three's Company episode. Yeah,
maybe that's you know, you know, the one with the
one with the misunderstanding. I don't know if I've seen
that one actually, the one where mister Furley goes.

Speaker 1 (01:10:24):
Pearls isn't. Yeah, Tornadoes like smoking the pipe.

Speaker 2 (01:10:30):
I was like, what, I love that they full on
turn Tornado into a cartoon character in this movie.

Speaker 1 (01:10:35):
He like smokes and drinks and like does what he wants, and.

Speaker 2 (01:10:38):
He has like the bug eyes in one scene.

Speaker 1 (01:10:41):
I don't even remember that.

Speaker 2 (01:10:42):
Yeah, yeah, that's near the end when they're on the train.

Speaker 1 (01:10:46):
It's funny.

Speaker 2 (01:10:47):
I'll point it out. Let me get there.

Speaker 1 (01:10:53):
I was starting. I mean, this teacher I rapped the bat.
I didn't like him because that poor kid had to
pee and he was making it like not only not
letting him go to the bathroom, but he was punishing him.
But then you know this moment where the boy sneaks
away and everything, and I was just like, oh, this poor,
long suffering teacher like to deal with these kids.

Speaker 2 (01:11:15):
Even back then, teachers weren't paid enough.

Speaker 1 (01:11:18):
I know, I thought it would have been kind of funny
if you wouldn't probably do this, have him notice he's missing,
but if he was, like why did it suddenly get
so quiet? And why am I so in command of
this classroom all of a sudden? Oh?

Speaker 2 (01:11:32):
No, well, keen you know, so this this movie. Did
you watch it in the theater?

Speaker 1 (01:11:46):
I did not. Okay, No. I saw for the first
time about two years ago.

Speaker 2 (01:11:50):
Okay, okay, Yeah, so that would have been right around
because I remember when we did our commentary, you had
not seen it.

Speaker 1 (01:11:56):
Yeah, yeah, yeah, it was probably like a double feature,
the first one for research for our commentary and then
like hey, let's let's go right and keep going on. Yeah.

Speaker 2 (01:12:11):
Yeah, I've said before, I just I have I just
generally have a soft spot for these old timey hero movies.
And I think we've talked about this before. You know,
for me, like Zoro and Lone Ranger and Tarzan. You know,
I grew up watching the cartoon shows and the television
shows and stuff. So I have this vestigial affinity and
you know that's not really reflective of most people our

(01:12:33):
age necessarily.

Speaker 1 (01:12:35):
Yeah, because yeah, I didn't. I'm I don't think I've
ever seen a Tarzan anything. If I'm being honest, I
think I've said before.

Speaker 2 (01:12:45):
You know, we're watching the Legend of Zora right now.
There is the Legend of Tarzan from whatever it was
like ten years ago, yep. And it's like a decent
It's like kind of like this, to be honest, you know,
it's like it's just like an old timey hero movie.

Speaker 1 (01:13:02):
Yeah, it feels like something I would enjoy. I have
it written down. I have a really really long list
of recommendations people have made and from you. I have
it written down on there. I saw it the other night.

Speaker 2 (01:13:12):
Yeah, that's another one i'd actually I wouldn't mind doing
a commentary trick for one of these days.

Speaker 1 (01:13:16):
Yeah.

Speaker 2 (01:13:17):
We've gone through all of the retro nineties heroes movies.

Speaker 1 (01:13:22):
Yeah, I was thinking about that, the.

Speaker 2 (01:13:24):
Phantom, Yeah, Masters, what else was it? Oh, Dick Tracy, Tracy,
I love Dick Tracy and Rocketeer.

Speaker 1 (01:13:37):
Rocketeer. Yeah, that was like when I saw the I
Know What You Did Last Summer. I don't even know
if it's a reboot, sequel, prequel, whatever it was that
came out in twenty twenty five. I Know What you
Did last summer twenty twenty five. Billy Campbell's in it.

Speaker 2 (01:13:50):
That's right, you said, Billy Campbell.

Speaker 1 (01:13:51):
Yeah, And I was like, hey, Billy Campbell, And I
was probably one of the few people in the audience
was like, why don't they show that girl's dad more often?

Speaker 2 (01:13:57):
I really like him. It's the rockets here, the rocket who.

Speaker 1 (01:14:06):
Look at this kid? How is he not in so
many more things? He is such a great little actor.

Speaker 2 (01:14:12):
Yeah, I'm kind of wondering, like, did he did he
continue acting? He a little bit.

Speaker 1 (01:14:17):
I looked him up, but not as much as you
would think. No, But he's just so he does everything
he does, the stunts and the grit he's doing here,
and the comedy and the the sadness.

Speaker 2 (01:14:29):
Later it's so yeah, yeah, I mean the coming up
after this, you know that when when when Zoro comes
and he is the where where he's talking to Zorro. Yes,
that that scene is terrific man.

Speaker 1 (01:14:41):
Yep, agreed, kind of heartbreaking. Yeah, yeah, exactly, hear that.

Speaker 2 (01:14:50):
See the whole plot involving the soap and stuff. I
kind of I just dig that because it it's it's
kind of you track with it, you know.

Speaker 1 (01:14:57):
Oh, totally. I I love it. Yeah, it's it's good
sort of, there's like intrigue, like why in the boxes
of soap yep, you know, so you're you're you're leaning forward.
You don't understand all the plan just yet. I wondered
if they were even subconsciously influenced by Fight Club, which
had come out just a couple of years before this

(01:15:18):
on the soap and the talk of nitroglycerin. Maybe yeah, that.

Speaker 2 (01:15:23):
Was that was that six years before this? Fight Club
was just one year after the Mask of Zorro.

Speaker 1 (01:15:29):
Oh wow, yeah, orbis probably means nothing, let's go.

Speaker 2 (01:15:40):
Probably nothing, but yeah, this is this is uh.

Speaker 1 (01:15:45):
I feel like I read the it might have been
the Ebert review where he was just like, picture your
dad and like, you know, the way that he raises
his voice, the way he gets up from a table. Now,
just put a mask over his face. Do you think
you wouldn't recognize your dad?

Speaker 2 (01:16:02):
Did Ebert say that he was just.

Speaker 1 (01:16:04):
In a mood? You could tell reading the review? Because
I'm willing to go with even the Clark Kent classes.
I don't care because that's what I want. I want
to believe, you know what I mean? But it was
just funny. He got stuck on that in.

Speaker 2 (01:16:15):
This see I think that I I, of course, I
totally I get what he's saying, but I just feel
like a little boy. This little boy, Zoro is his
hero totally, and so he he's not even gonna think
of his dad. He's gonna think of his hero, right,
and he knows his dad is that pansy asque guy

(01:16:36):
who got pimp slapped in front of him, right right,
and he didn't do shit.

Speaker 1 (01:16:43):
That's funny. Well, speaking of shit, I'm gonna this is
the last time I'm gonna quote Ebert's review. But I
wrote this down because it was so funny. That was cute.

Speaker 2 (01:16:54):
He's just so cute.

Speaker 1 (01:16:55):
All his little yeah choices are very naturalistic. Okay, anyway,
so Ebert said this, I'm quoting Ebert. Now I'm searching
for the correct word to describe the scene where Zoro
is served with divorce papers. Ah, I found it, seam.
I can't use it for letters. This is a family newspaper.
Starts with s all right, Roger, come on, man, he's

(01:17:18):
feeling pretty catty that day. I know, geez, hilarious.

Speaker 2 (01:17:23):
See that's really interesting because because you know, I feel
like Ebert's philosophy as a critic is something that and
it's certainly something I've I've tried very hard to internalize
as you meet the movie where it is he well, yes,
he did that more often than Cisco ever did.

Speaker 1 (01:17:42):
Oh for sure. Yeah, so I agree. He just seemed
like he watched this movie on the wrong day. But
this is I'm sorry we're talking over such a sweet scene.

Speaker 2 (01:17:52):
It really I really like this is what I was
saying at the start. I'm like, I'll take some of
the stuff that doesn't work for the stuff that does.
Like that that it's a beautiful scene with Zorro and Joaquin.

Speaker 1 (01:18:03):
Yes, yes, you know.

Speaker 2 (01:18:05):
And and this gets to what I'm saying, like, we
don't we don't need Elena being like and your son
doesn't know.

Speaker 1 (01:18:11):
It's like, bro, he already knows. Yeah, he feels bad enough,
and hearing his son say it, yeah exactly, you know,
and then him as Zoro being like, I promise you
your dad will show.

Speaker 2 (01:18:22):
Up for you. Yeah, it's great. Yeah, you know, it's nice.
See this scene here. I really I really like just
the Again, this is Bruce Wayne and Alfred you know.

Speaker 1 (01:18:32):
Yeah, is he from other stories? This character so sort
of an Alfred figure.

Speaker 2 (01:18:40):
Philippe is a character from different Zorro stories. But bear
in mind, I mean Alejandro is kind of Alejandro is
new for the movies, right, m oh right, of course,
So there was a Filipe who helped the don diego Zoro.
I don't believe this is meant to be the same guy.

Speaker 1 (01:19:00):
Okay, okay, I forgot about that.

Speaker 2 (01:19:04):
That's kind of like because Zorro is like public domain,
but Alejandro Morietta is is he owned by Sony?

Speaker 1 (01:19:13):
Like?

Speaker 2 (01:19:13):
How does that work?

Speaker 1 (01:19:15):
Huh? I don't know.

Speaker 2 (01:19:17):
You know, is Zoro public? I think Zora's public domain?

Speaker 1 (01:19:21):
Right when you said that, it made me think of
Robert Rodriguez's post apocalyptic idea. And I'm kind of like
I've said this before with Batman, once he enters public domain,
go for it.

Speaker 2 (01:19:34):
Yeah, well it's coming.

Speaker 1 (01:19:35):
Make the make the post apocalyptic Batman, make this Batman.
I'm fine with that. I would love to see people
not have to be beholden to a studio or rights
holders or something and do their take with us understanding
this isn't necessarily, you know, Warner Brothers a big Batman offering,

(01:19:56):
But someone's got an interesting idea, maybe not quite the budget,
but they want to try something Batman. I'd kind of
like to see that stuff.

Speaker 2 (01:20:03):
Well, it's all right around the corner.

Speaker 1 (01:20:07):
Yeah, and I might be, you know, eating my words
soon because people clearly, when Winnie the Pooh entered the
public domain, people were like, let's make him a serial killer.

Speaker 2 (01:20:15):
Let's have him murdering people.

Speaker 1 (01:20:17):
Yeah, yeah, and they couldn't even do that. Well, because
I've heard it's terrible.

Speaker 2 (01:20:23):
I believe that.

Speaker 1 (01:20:25):
I mean, I believe it too, But it's like, we
had an opportunity to make something, maybe even campy, that
people might like, but you couldn't even do.

Speaker 2 (01:20:31):
That, right, So I'm just looking at the the rights issues.
My god, it's a it's a it's a big Gordian knot.
Oh really yeah, Okay, well my sense is this this
is from Wikipedia, so consider the source. But the court

(01:20:54):
ruled that since the copyrights in the Curse of Capistrano
and the Marco Zoro lapsed in nineteen ninety five or before,
the character Zoro has been in the public domain. However,
there's like the there's the majority of rights are held
by Zoro Productions. Okay, so I think my sense it's

(01:21:14):
kind of like a Batman situation where aspects of those
early stories are in public domain. But I think if
you were to just dress up a dude just like
Antonio Benderris in this movie, you'd probably get sued.

Speaker 1 (01:21:24):
Right, zorro z A R O.

Speaker 2 (01:21:30):
No. I mean you could call him Zoro, but he
can't look like him.

Speaker 1 (01:21:33):
Yeah yeah, yeah, yeah, yeah, Like maybe the cape came
in years after the idea of just a character named Zoro,
and so then you can't have the cape and you yeah.

Speaker 2 (01:21:43):
Yeah, you know, like it's kind of like with Superman, right, like,
you know, you when the when the copyright lapses, you
can probably have him look exactly like in Action Comics
number one, but you can't use the symbol. And I
think that's the reason, by the way, that that DC
has so many active trademarks on different versions of the

(01:22:04):
Superman symbol. Hmmm, right, Like so they I'm pretty sure
that they have a they've kept a version of the
Superman symbol exactly as it appeared in his first appearance,
and they've kept that trademark active by putting it in
various things. Oh smart, right, these Pinkertons.

Speaker 1 (01:22:26):
I was just gonna say, the Pinkerton's I looked them
up afterwards because I wasn't super familiar.

Speaker 2 (01:22:31):
With them, like a.

Speaker 1 (01:22:36):
I don't know, like a like a private detectives. Yeah, right,
and yeah they were like pioneers right for there, the
way that they investigated that's my sense.

Speaker 2 (01:22:45):
Yeah, kind of a pretty big deal historically.

Speaker 1 (01:22:48):
Yeah, I'm sort of I'm googling now. Yeah, they're not.

Speaker 2 (01:22:52):
Generally the baddies.

Speaker 1 (01:22:54):
Yeah, they They've developed several innovations that helped shape modern police,
including a rogues gallery of criminals, the use of surveillance
and forensic techniques, and the systematic recording of criminal information. Wow.
Term private eye is thought to have been coined by
mystery writer Raymond Chandler, possibly inspired by the Pinkerton logo

(01:23:15):
of a large unblinking eye. They thwarted an assassination attempt
against President elect Abraham Lincoln. Wow, that's pretty crazy. I'd
love to read a book about them. That's a movie
right there, Yeah, it is, or a series like a right.

Speaker 2 (01:23:35):
The assassination chempt was by vampires presumably, yeah, right, led
by rufus Sewell, so it all.

Speaker 1 (01:23:43):
Yes cool, which, by the way, I didn't even realize
till the end of this movie. I was like, wait,
is that guy Lincoln it is, right, Yeah, yeah, yeah.

Speaker 2 (01:23:58):
You know Michael Emerson who plays Ben Linus and he's
the pinkerton on the right. He was also on that
show Person of Interest, which is a freaking great show.

Speaker 1 (01:24:11):
Yeah, I know. You always tell me that I some day.

Speaker 2 (01:24:15):
Yeah, I mean, notwithstanding the fact that Jim caviezel is
is extra crispy cuckoo bananas, extra crispy, not.

Speaker 1 (01:24:27):
He's on the show. Yeah, yeah, no, I remember that.
That's that's good.

Speaker 2 (01:24:37):
I like that.

Speaker 1 (01:24:44):
I can watch this kid all day, that little look
over his shoulder like is my is my mom gone?
But yeah, dude, you know, if pigeons could fly really
really far, I would say we should try it. You
and I would send each other messages. Can you imagine

(01:25:06):
if we lived across town and it was just like,
oh I can't come out tonight, like oh well here,
and then I like send you messages all night. Try
to make it in lieu.

Speaker 2 (01:25:13):
Of texting instantaneously.

Speaker 1 (01:25:16):
I mean it's just so easy. Yeah, Like I would
draw memes and roll it up and put it I
don't know, the little container around their foot.

Speaker 2 (01:25:31):
Yeah. See, all of this, this sort of palace intrigue
with Elina's character. It it really does strike me like
they were trying to figure out what to give Catherine
Zada Jones to do.

Speaker 1 (01:25:45):
That would entice her to come to do the movie.

Speaker 2 (01:25:48):
Yes, agree, that's that's my guess.

Speaker 1 (01:25:52):
Yeah, and I yeah, I think if you get this
movie down to like one fifty or something, I think
I think the whole thing plays stronger. I agree with that. Yeah. Yeah,
and not you know, not even just the you don't
even have to do the changes we were suggesting, like
just what you have here, I think it would just
play a little stronger, Yeah, more urgent. Yeah, his parents

(01:26:22):
have no idea that he's so like he's a great
little superhero himself.

Speaker 2 (01:26:27):
He's a little little Zorro of his own. Yeah, a
little Rory Calhoun, every one of them.

Speaker 1 (01:26:38):
Look at you standing on two feet like Rory Calhoun.

Speaker 2 (01:26:44):
Now the only the first time you heard of Rory
Calhoun was on The Simpsons, right, Yes, without question? Like
I wonder you know what was going through the writer's
heads that that was the name they landed on. You know, Yeah,
I don't even know, because you know, you've been in

(01:27:06):
that situation where you probably just you have some random
reference oh yeah, yeah, you just throw it in for
your own amusement. Yeah.

Speaker 1 (01:27:17):
I guess for us it'd be something like Boso the
Clown maybe right right, or something that, like your kids,
why would they have any idea who Boso the Clown is?
That's funny. Yeah, this is the last thing I'll say
about The Simpsons because this is a big tangent. But
recently they've been showing classic movies at the theater by
my house, and my friend and I saw a clockwork Orange,

(01:27:39):
which I'd only seen it once before. I don't know
it very well, and I had forgotten how many things
from it are in The Simpsons. A lot of mister Burns. Yeah,
just like funny little things like that that moment where
he's eating and I think Smithers is just spoon feeding
him and he's like like opening his mouth like because
he wants another bite. And I was like, oh my gosh,
that's from this Like it's just it never ends, things

(01:28:00):
that I discovered, the random things that some writer had
in their head from movies that I learned through another source. Anyway,
I love that he's got his slingshot. So if there
was the action figure, yeah, you know, he would have
like a little sling shot in an apple core. I

(01:28:21):
love that. Did you ever have one of those?

Speaker 2 (01:28:26):
By the way, did I have a slingshot?

Speaker 1 (01:28:28):
Yeah?

Speaker 2 (01:28:29):
No, because I didn't grow up in the nineteen fifties.

Speaker 1 (01:28:32):
Okay, fair enough, fair enough. I remember being with my
visiting my grandpa once and he had like a or slingshot.
You know, wait, what's the thing with the you hold
it with one hand and you pull back the rubber
thing and that slingshot? Slingshot? What's the thing David and
Goliath like the leather? That's just a sling a sling. Okay,
So my grandpa had a sling and we went out

(01:28:52):
into a field and I got to try one of those,
and I remember being it was very cool, but I
was so afraid that I was going to hit myself
in the head like one of the ewoks, Like I remember,
I had that in my head that was wasn't it wicket? Yeah?
I think it was wicked m Yeah. Anyway, Father and Southern.

Speaker 2 (01:29:09):
I love that Prison changes a man's son.

Speaker 1 (01:29:12):
Yeah, it's cute. The script is very witty.

Speaker 2 (01:29:15):
Yeah.

Speaker 1 (01:29:16):
Yeah, well I like that.

Speaker 2 (01:29:19):
You know, we were talking earlier about how you know
Grim Grim and gritty and realistic, and it's like, no, no,
can we just do something.

Speaker 1 (01:29:25):
Larky and lark it a little panache? Yeah, you know,
you know, a little heightened reality. Yeah, I agree, A caper, Yeah,
I I I just off the top of my head.
I mean, like Ocean's Eleven comes to mind, which was
a modern movie when it came out, and uh, but
they speak in this sort of stylistic pitter patter, sort

(01:29:49):
of volley. Yeah, you know, that's it's really fun and
delightful to listen to. And I feel like this movie
dabbles in that a little bit. I agree, Yeah, lines
little rip oarte, it's fun. See.

Speaker 2 (01:30:06):
I think Alejandro's angst about trying to be a good
role model for his son, trying to be there for
his son, and his responsibilities as Zora. I mean, all
of that stuff plays. I think it plays really well.
You know, you feel it like, uh, you know, if
he if he if he just told his son I'm Zoro,

(01:30:27):
that would sort of solve some problems, but he realized
it'll create different problems. Right right, I'm gonna be totally
honest with you, just in complete transparency. Occasionally I'm tapping
my iPad to see where we're at time wise, And
I kid you not, I've done it three times and

(01:30:49):
they were the same three times I checked last night.

Speaker 1 (01:30:52):
Weird. That's something where it's like if I was at
a test screening or if you know, a friends and
family screening would be worth noting. Why am I feeling
that in these moments? Huh?

Speaker 2 (01:31:00):
That's interesting?

Speaker 1 (01:31:01):
Yeah, maybe we could speed things up a little bit.
Everyone gets a fight scene in this movie, don't they.

Speaker 2 (01:31:13):
Yeah, you know that that was probably part of the contract, you.

Speaker 1 (01:31:17):
Know, Yeah, you know I enjoy it, don't get me wrong,
But yeah, maybe I'm like ready for things to move
a little bit more here, Like I'm ready for this
to charge into the you know, I think that's what
it was last night. I even remember thinking, like I'm
ready for this to be the third act.

Speaker 2 (01:31:33):
Well, here's the thing from from here on. It's cooking
pretty well from here to the end. Yeah, so we
just needed to get there sooner.

Speaker 1 (01:31:41):
Yeah, but we don't have like twenty five minutes left.
We have forty.

Speaker 2 (01:31:46):
Oh geez, yeah, okay, you know what I mean. Well,
to be fair, ten of those minutes are credits.

Speaker 1 (01:31:54):
Sure, No, you're right, You're right. You're yeah, okay, mister Campbell.
I remember one time I was working on a movie
and he was in the offices, like across the hall,
working on something out there. Yeah, he was directing a
pilot for a TV show that I don't recall, but

(01:32:15):
I was like, whoa Martin Campbell.

Speaker 2 (01:32:18):
See, yeah, I know, I just I feel like he
needs to be you know, with the new Double oh
seven that's coming up. This moment, by the way, is
that's a good you know, it feels like an earned moment.

Speaker 1 (01:32:30):
It's great, and they have real heat for sure.

Speaker 2 (01:32:32):
Yeah.

Speaker 1 (01:32:32):
Absolutely. Yeah.

Speaker 2 (01:32:33):
See that's the point I'm making, like, why are you
Why are you disarming one of one of the most
valuable things that you have in your toolkit, right, which
is the natural chemistry.

Speaker 1 (01:32:47):
Between the leads. Totally.

Speaker 2 (01:32:49):
You can have them physically separated, but you don't need
to create emotional distance between them.

Speaker 1 (01:32:56):
You know. So think about it.

Speaker 2 (01:32:56):
If they've spent the entire movie forced to be a
part because of whatever, and then that moment when they
reunite and they kiss, it still works.

Speaker 1 (01:33:04):
Yeah, right, totally.

Speaker 2 (01:33:08):
What was I say?

Speaker 1 (01:33:08):
Oh?

Speaker 2 (01:33:08):
Yeah, so you know the new Double O seven that's
coming out, We got Denny Villeneuve doing it, and obviously
he's a great choice, no doubt. However, there's definitely a
little part of me I was like, oh, I kind
of wish like third time this is charm with Martin Campbell,
you know.

Speaker 1 (01:33:26):
Because yeah, what you're alluding to is he has rebooted
the Bond franchise twice so far at this point, and
pretty great success. So yeah, no, I agree. I'm very
curious about that. I I gotta I was excited about
it at first, but the more I thought about it,
I was hoping for a little more humor, yeah, in
the upcoming Bond movies. And he's not exactly known for

(01:33:48):
his humor that that is true, So that makes me
a little I'm sure the style will be great, in
the atmosphere will be interesting, but I'm hoping, I don't know,
maybe there's like a little part of him that he
hasn't he's worked with so far, hasn't allowed him to
show his humorous side.

Speaker 2 (01:34:03):
So hopefully, Yeah, I you know, I think he's coming
at it as a fan. Someone presumes he'll he'll he'll
want to lean into the iconography and.

Speaker 1 (01:34:13):
The the style, you know.

Speaker 2 (01:34:15):
Yeah, I guess we'll see we'll see how well these
comments age.

Speaker 1 (01:34:19):
Yeah, there's always something kind of fun about a scene
where the villain that we know is like leading a
meeting with like a roundtable of other villains.

Speaker 2 (01:34:28):
Well, and not just that, this scene contains one of
my favorite tropes from the villain conclave scene, which is
a guy who doesn't know well enough to shut the
hell up and just leave quietly. This guy.

Speaker 1 (01:34:41):
Yes, yes, yeah, there's always that guy who is that's
the cinematographer. Really, that's wild. He has a real part. Yeah,
that's fascinating. Yeah he does good Lord Dillingham.

Speaker 2 (01:34:55):
See there's always that guy. He's like, I think what
you're doing is wrong. I will be leave now, thank
you very much, Good day, sir. Shut up. You just
say hey, armand where's the toilet? I g yes, and
then you take off like a bad out of hell
exactly because they have that similar conclave scene in the

(01:35:24):
in the previous film, and you've got you know, the
Don Montero is like, hey, here's my plan and something
something Santana's golden whatever, and you have the one guy
who stands up. He's like, well, Don Montero, what about
And I'm like, oh, here it comes, but it actually
ends differently. He's like, oh, okay, you make sense, and
then he says back down.

Speaker 1 (01:35:44):
Pattern interruption that reminds me of a batman returns also
where a penguin's giving that big speech and he's like,
we're gonna kidnap all the first porn and that one
sounds like uh hey, uh, I don't know you'll about that. Yeah.
Ander's like, oh sure, sure, and then he murders him.

Speaker 2 (01:36:00):
Yeah, I want you just shut up and just just
leave quietly.

Speaker 1 (01:36:03):
This is our PSA. Guys, if you're ever in a
conclave of villains, Yeah, and you don't agree with what
the leader is saying, keep it to yourself, excuse yourself
to go to the bathroom.

Speaker 2 (01:36:14):
Asks where the toilet is, and take off.

Speaker 1 (01:36:16):
Yes, yeah, I was. I didn't remember that Philippe survived,
and I was pretty sad here.

Speaker 2 (01:36:27):
I mean, it plays well.

Speaker 1 (01:36:29):
It works because you love him so much. I actually
thought like, oh, that is a you know, sometimes things
are so telegraphed where it's like, you know, the the
friend of the hero whose wife just had a baby
and just paid off his.

Speaker 2 (01:36:42):
House, likable doomed partner exactly like.

Speaker 1 (01:36:45):
That kind of thing, and you're like, oh, okay, that guy,
will you know fate? He has to?

Speaker 2 (01:36:49):
Yeah, you know, it's just the way it works. Yeah,
but this you don't like, had he died still worked?

Speaker 1 (01:36:54):
I I agree. I'm I am happy because I like
him so much that he's back, and if there were
to be a sequel, I would want him to be
in it. But this death, I was like, oh I
did not see that coming. I love this guy. Good move,
good move. It's making me think everything's dire here and
everything's everyone's at stake.

Speaker 2 (01:37:11):
Yeah, it's I think it works both ways. I think
it works as a death, but it doesn't feel like
a cheat when you find out he's still alive. Same, right,
So it's not like Alessandro Navola and Jurassic Park three
or something where you're like, okay, come on, come on.

Speaker 1 (01:37:26):
Now, yeah, right, right right when he turns up alive
at the end, I forgot about it, or like we're
the World's when Tom Cruise's son. Yeah. Yeah, it's actually
a better example. I've just been chilling this house the
whole time. Where you've been?

Speaker 2 (01:37:37):
Where have you been?

Speaker 1 (01:37:42):
This feels very like Spielbergie this hat thing.

Speaker 2 (01:37:46):
Do you remember?

Speaker 1 (01:37:47):
Oh? Yeah, like Indiana Jones, right, where the guy Paru
hit in the nuts and the like went in doubt. Right,
doesn't that feel so old school? I mean, I'm saying Spielberg,
but I'm sure that's very Spielberg being influenced by the
movies of his youth.

Speaker 2 (01:38:05):
Well, I mean, and this is an ambulance production, so
one presumes, Holy Coli, you're right right, I wouldn't be
surprised we forget that's true, huh. I mean both of
these movies are so reflective of Spielbergian sensibilities.

Speaker 1 (01:38:22):
They really are. Yeah. By the way, I see all
that like light flicker in the background, sort of the
like electricity looking stuff being like that reminds me of
Ridley Scott. I always, I mean, lots of people do
stuff like that. But and even here the fire just
flickering in the background. I really love when people think
to make their backgrounds active. Yeah, and especially it always

(01:38:46):
makes me think. The prime example for me is Ridley Scott.
There's always just some sort of light flicker or water
reflection or something that's happening in the background that just
makes the whole atmosphere, the whole viom feel alive.

Speaker 2 (01:38:58):
I love that it's interesting. Just just the other day,
I was watching a clip from The Flash and it's
it's the scene where it's like Ben Affleck's last scene
as Bruce Wayne where he and he's just talking to
Barry Allen. I don't know if you remember this. Barry
Allen's like, you know, like whatever he's telling Bruce, like,

(01:39:20):
oh I discovered time travel whatever, and Bruce is like, look, man,
you know, don't live in the past. Just you don't
be defined by your tragedy. It's actually a beautiful scene.
It's very well well acted, well everything, and it's just
shot on a street and there's like a neon sign
that's kind of flickering behind and it just adds texture.
And I remember seeing a comment from somebody being like
it worked great if it wasn't for that neon sign

(01:39:41):
in the back.

Speaker 1 (01:39:43):
How funny?

Speaker 2 (01:39:44):
And I was like, I don't know, I think it
makes it feel real. You know, you're like, shut up, Todd.
It's always Todd.

Speaker 1 (01:39:53):
Except you Todd listening right now. You're cool, you know.
I remember calling this out. I think now I got
Spielberg on the brain. But the way that they started
this exterior stuff was this impressive shot of this train

(01:40:18):
and then craning up and seeing our characters coming toward it, right,
And that's just this visual shorthand it gives you this
sense like, Ooh, that train is important, and now what
happens moving forward is going to involve that train. And
I remember Spielberg doing that, Well, he does that a
lot of stuff, but I remember specifically on the commentary
we did for The Lost World, he does that with

(01:40:39):
that vehicle, that big long vehicle, and he starts on
the vehicle and then cranes up and we see our
characters coming toward us. You're like, oh, that vehicle is important.
I just love the directors that think of that stuff,
that are telling us things through the camera. Feels it
feels old school.

Speaker 2 (01:40:57):
Right, It feels kind of like a bygone approach to
some of this stuff. Yeah, because unfortunately, so much of uh,
so much of action cinema these days is just built
around the pre viz and so there's less of the
craft that goes into just there's less immediacy of being

(01:41:20):
finding finding those moments on set, you know. Yeah, yeah,
see this is where my mind goes. I'm like, what
is a what does a carrier pigeon taste like.

Speaker 1 (01:41:31):
It is funny because you know there's something wrong with
the food. But you're like, what is it?

Speaker 2 (01:41:34):
What is it? Yeah?

Speaker 1 (01:41:35):
I guess it poison. That seems too simple. That's pretty great, though, pigeon.

Speaker 2 (01:41:43):
See the way she's like, I'm like like, what, like,
is it that.

Speaker 1 (01:41:48):
Much different than peasant? I don't know, that's my question, Like,
is it is it?

Speaker 2 (01:41:51):
Like because I've been found out and I feel sick?

Speaker 1 (01:41:54):
Yeah, I mean if it was like a relative of hers,
then I would understand, right, you know.

Speaker 2 (01:42:02):
Yeah, I guess those the Pinkerton Fellows they were supposed
to be on meat hooks original.

Speaker 1 (01:42:06):
Yes, that was a reshoot for the PG rating. Yeah,
release the meat hook cock. I I think.

Speaker 2 (01:42:17):
I think that either way, you're gonna inflict some kind
of trauma on the kiddies.

Speaker 1 (01:42:22):
And I'm all about that. Yeah, yeah, it's good. It's
good for them. Actually I was again, I had the
PG thing on the brain as I was watching this,
and I thought of the Goonies and I remember that
scene where chunks in the freezer with the corpse that
has a clear bullet hole in its forehead yep, and
then it falls on him and he's he's getting you know,
pushed to the ground by this corpse on top of him.

(01:42:43):
I mean, that's horrifying, but also, you know, it's fun
in a weird sick way.

Speaker 2 (01:42:48):
It's it's life, Brian. We all have to life. We're
gonna we're all gonna experience that at some point.

Speaker 1 (01:42:53):
So exactly get the kids ready for that moment.

Speaker 2 (01:43:01):
See this whole thing where she's like, whenever you were
near me, I was picturing Alejandro so that I didn't
barf in my mouth. You know, he brigand or whatever
she says. I'm like, you know, that's all. That's great,
that's fine, But the movie shouldn't have made us think
that there was anything going on between them.

Speaker 1 (01:43:20):
Sure, sure, yeah, all the times I suggested we make love.

Speaker 2 (01:43:29):
I faked every orgasm. What Armand says, probably just to
get back.

Speaker 1 (01:43:36):
Yes, yes, yes, And for the record, that's what he
should have said there, Yes, yeah, nikked gunn for people who.

Speaker 2 (01:43:43):
Will I know, now this guy right there, he's like
Colonel Beauregard something or other. Yes, And what's hilarious to
me is like, if I were to just look at
that guy and just make up a name to make
fun of him and be like, look at that Colonel
Beauregard looking. Yeah, man, he's got resting Beauregard face.

Speaker 1 (01:44:05):
Yes, this is fun, This is fun. I like this
the wick yep yep. By the way, Beauregard, he's real, right.
I was reading somewhere about history about I was curious
about how much they got right about the history.

Speaker 2 (01:44:23):
Well, apparently it's the same name as a real person,
but it's not meant to be that person. I think
that's right. Oh, how convenient something like that. So the
Beauregard family doesn't sue.

Speaker 1 (01:44:34):
I get right, because because he gets blown up right, Yes,
and apparently historically he would have been a child at
this point in so well there we go. Then, I guess, yeah,
try suing that, because let's.

Speaker 2 (01:44:53):
See, I'm curious myself. Actually see here.

Speaker 1 (01:45:03):
I'm looking now, I'm looking at like historical stuff.

Speaker 2 (01:45:05):
Yeah, it says this is a Wikipedia uh Leo Burmaster
as Colonel RS. Beauregard, not to be confused with the
real life Confederate General P. G. T.

Speaker 1 (01:45:14):
Beauregard. Okay, so not this Confederate General Beauregard, but another
Confederate General Beauregard.

Speaker 2 (01:45:20):
Well, at this point there wasn't there there was When
was the When was there confederacies? Yeah?

Speaker 1 (01:45:28):
I think it was like ten years from now.

Speaker 2 (01:45:30):
Okay, that makes sense. Yeah, because because Lincoln is not
president president, he didn't have his his his beard and whatnot.

Speaker 1 (01:45:38):
That's sweet. I love this, By the way, I don't
want to miss this moment where the mask is taken off,
reveals who Zoro is and the boy who's looked up
to Zorro and at this point I think loves his
dad again.

Speaker 2 (01:45:50):
Yeah, well no, And I love how how Benderas plays
that moment like kinda like he's forcing a smile, yes,
but like the sadness. I mean there there's you know,
he's so good playing this character.

Speaker 1 (01:46:03):
Man. Yes. And if you're gonna have the family in here,
because I mean we were complaining in Superman Returns, it's like,
ohh I do you have to have that kid in there?
It just really kind of brings this movie down, And
it's going to bring any sequel you attempt down. Yep.

Speaker 2 (01:46:17):
That's right.

Speaker 1 (01:46:18):
And if you're going to have the family in this
that you this is what you get. You get a
moment like this, which is really strong. That's or the
potential of that that's the greatest potential of that, the
whole family and big enough.

Speaker 2 (01:46:31):
This stand up no matter how far you go.

Speaker 1 (01:46:35):
The world isn't big enough.

Speaker 2 (01:46:36):
I remember I said that to you that time you
pissed me off. The world isn't big enough to hide
from me. It's like and my my rapier in your direction.

Speaker 1 (01:46:47):
I was like, I swear I didn't know the sandwich
was yours.

Speaker 2 (01:46:52):
The world isn't big enough. That was my tune of sandwich. Uh.
Look at his face, man, I know it's getting Oscar,
He's he's good. You know, that's you know, this past year,

(01:47:14):
we've been watching a lot of kids, kids in movies,
and we've been like pleasantly surprised at their performances.

Speaker 1 (01:47:20):
Yeah, who else sixth Sense?

Speaker 2 (01:47:23):
Uh what's his name? In the Jurassic World.

Speaker 1 (01:47:27):
Oh, that kid is so good. And he's an Iron
Man three also, that's right, yeah.

Speaker 2 (01:47:32):
And he and even the Little Boy and Superman returns.
I don't think we had any issues with him.

Speaker 1 (01:47:36):
No, no, not with the performer. No.

Speaker 2 (01:47:38):
Yeah, that's cute.

Speaker 1 (01:47:43):
That's such like a cool the way he winked and like, okay, yeah,
like if I tried, it looks like such a dork,
but banderas man vanderis he's able to do it.

Speaker 2 (01:47:55):
You know. One thing I realized watching this yesterday is
I just like action sequences on trains.

Speaker 1 (01:48:02):
Oh man. Yeah, like obviously you got.

Speaker 2 (01:48:05):
Some Back to Future three energy, right huh. But I'm
I'm realizing heyl Lone Ranger. Best part of that movie
involves train.

Speaker 1 (01:48:16):
Yes, yes, the climax yeah.

Speaker 2 (01:48:19):
Yeah, you know. And then I mentioned Legend of Tarzan.
There's a whole train sequence on there. It's pretty freaking great.

Speaker 1 (01:48:25):
Mm hmmm. It's just something yeah, something about them. They're exciting. Now.

Speaker 2 (01:48:31):
I gotta say, remember the days, Brian when a when
a zealous white supremacist was unequivocally a bad guy. Yes,
I miss those days.

Speaker 1 (01:48:43):
I know, right, it's good. You know, it's good good
fight choreography in this see I think it's easy to Yeah. Good.

Speaker 2 (01:48:57):
It's choreography plus camera work.

Speaker 1 (01:48:59):
No oh yeah, I was gonna say camera work and
editing all of it. And I think it goes down
to what you're talking about, the sort of previs era
that we're living in, or like you know with Marvel,
where they have the same team coming up with the
action for all of the films, and then they're yeah,
and then every character has kind of a similar fighting

(01:49:21):
style and it's captured in a similar way, even though
the movies might have different tones. But in this you know,
I just like the way that they use their environments.
It feels correct to the this movie. You know, swords
and using what's around you, and they don't have some
sort of like you know, martial arts style, and and

(01:49:45):
it's it's, oh, this is great.

Speaker 2 (01:49:49):
It's scream is freaking horrifying. I know, that's a that's
a Daniel Stern Tarantula on faith scream.

Speaker 1 (01:49:59):
Yes, yeah, yes, well that's good.

Speaker 2 (01:50:04):
That's good.

Speaker 1 (01:50:04):
I mean, you're using everything we've introduced. You got this
guy and then he gets tangled up in the environment,
and then you got the nicer old glycerin factory and
then the little drop falls on his head. But it's
strangely satisfying.

Speaker 2 (01:50:17):
Oh yeah, you know, he says, thank god, your life
is I already did.

Speaker 1 (01:50:21):
It's great. I love it because his crucifix blocked the bullet.
That's what I'm talking about. That's sort of the wit
in this dialogue, Like the fun dialogue. It's it's I
like that stylized a little bit witty.

Speaker 2 (01:50:34):
See I'm kind of curious what movies did this open against? Yeah,
like what what was the competition?

Speaker 1 (01:50:45):
While you're doing that, another thinking of trains, uh Dead
Reckoning part one? That was cool.

Speaker 2 (01:50:51):
Hey, hey, yeah, you're right. See I'm just looking at
Stephen Hunter at the Washington Post calling legend of a
waste of talent, time and money and stupid and boring.
All right, dude, everybody having a bad day. There are

(01:51:16):
there are precious few. This is this is Mark Savlove
of the Austin Chronicle. There are freshest, precious few things
for a Zorro fan, or a film fan for that matter,
not to loathe.

Speaker 1 (01:51:24):
About the Legend of Zorrow. Wow, now that's too. I disagree.
That is that is very excessive. I have my critiques,
and I feel like I've said them, but like, yeah,
this thing is not It's got its flaws, but it's
not a stinker.

Speaker 2 (01:51:41):
Right. Oh.

Speaker 1 (01:51:47):
Back to the Future three too, that's I was rewatching
that because you and I I sent you that link.
Someone scanned these thirty five millimeter open matt versions of
Back to the Future and put them on the internet
so you can watch it and see the full frame
you know, poor the top and bottom that you weren't
meant to see that would be prop for one eight five.
And so I was rewatching moments, just kind of fascinated

(01:52:09):
seeing more of the image. And I rewatched the train
sequence from the third act of Back to the Future three,
and it's so freaking good.

Speaker 2 (01:52:15):
Yeah it it. I mean that that plays like Gangbusters
no matter how many times I watch it.

Speaker 1 (01:52:20):
Mm hmm.

Speaker 2 (01:52:21):
And and yeah, so to me that that is sort
of like the gold standard of train set action sequences.
And and I think this all this, I mean, considering
this is I mean, most of this they used a miniature. Yeah,
I read that amazing.

Speaker 1 (01:52:37):
There's only one shot where I thought about it. Yeah,
but I think this is great. And to think that
this is a movie with a smaller budget, I'm not
feeling it here where it count, you know.

Speaker 2 (01:52:51):
Yeah, that's that's what I mean. This whole this whole
sequence here when when he jumps Tornado onto the train,
it all works, this whole sequence from here to the end.
I mean we're basically in the last ten minutes or so,
I think I think it all plays.

Speaker 1 (01:53:08):
Yeah, you know, you know, it's funny. I wrote a
young Jedi Adventures episode where the kids are on these
like space horses and they jump onto a moving train
and they're running along the top of the train. And
I did it before I saw this. Really, I was
kind of proud of that. That was one of my
favorite moments working for Star Wars, where it was like

(01:53:28):
these Jedis on horses on top of this like space
horses on a space train with their lightsabers drawn, chasing
bad guys. And I remember, like at my laptop, thinking
does it get any better than this?

Speaker 2 (01:53:44):
So this movie opened against Saw Too two.

Speaker 1 (01:53:50):
Wow? Yeah, so Saw to where we at now? Past ten?

Speaker 2 (01:53:54):
Right?

Speaker 1 (01:53:56):
Yeah?

Speaker 2 (01:53:57):
Right? I think so it wasn't the last one ten
or maybe that's it?

Speaker 1 (01:53:59):
Yeah?

Speaker 2 (01:54:02):
Yeah, what a what a weird weekend? Like nothing was
really out Like look at this we got. We got
Saw to the legend of Zoro Dreamer, which is like
about a horse.

Speaker 1 (01:54:10):
I think, right, it rings a bell now not just
say it?

Speaker 2 (01:54:15):
Prime, which I've never even heard of.

Speaker 1 (01:54:18):
Is that an Uma Thurman movie? I think it is
sin a matrix that.

Speaker 2 (01:54:27):
Yeah, Uma Thurman, good job, look at you? What else
do you got?

Speaker 1 (01:54:32):
So The weather Man, Nicholas Cage Doom, North Country, Johnson
that is.

Speaker 2 (01:54:42):
Yeah, well, he's like it's like an extended cameo for him, right,
it's more like Parl Urban.

Speaker 1 (01:54:46):
Oh I never saw it. What else we got?

Speaker 2 (01:54:49):
Willson grammet Curs of the war Rabbit, The Fog that
was that with Tom Welling, the remake interesting, and then
flight Plan that's the Jodie Foster movie. Right.

Speaker 1 (01:54:58):
Oh, there was that whole genre in that the aughts
where it's like some woman someone she knew, disappeared and
everyone else was like, we don't remember that person, You're crazy.
Julian Moore had one Jodie Foster. Okay, maybe there's two,
but that's a lot of close to one another. Maybe

(01:55:18):
it's more than one. Yeah, it's like a deep impact
armor Gatton situation. I do remember flight Plan, though I
didn't see the other one. The forgot it was that
David Fincher. No, it wasn't. I don't think.

Speaker 2 (01:55:33):
So what am I thinking? No, I'm thinking of Panic Room.

Speaker 1 (01:55:35):
Panic Room, which is ex that's that's Jodie Foster. Yeah,
I rewatched that recently and it completely holds up.

Speaker 2 (01:55:41):
Really.

Speaker 1 (01:55:42):
Oh yeah, so good.

Speaker 2 (01:55:45):
Yeah, I must I must have what I know. I
saw Panic Room, But I'm trying to remember if I
saw a flight plan. Yeah, I do remember that flight
plan is not David Fincher. It's Robert schrin Key. Okay,
who did.

Speaker 1 (01:56:00):
Does that name sound familiar? You know? I like this scene.
I wish they had played a little bit more with
the inherent danger of having the listener the yeah, like
like a bomb essentially that you don't want to do, right,
I mean they do, but I almost well maybe I'm wrong,

(01:56:20):
but I something like where almost she like almost falls
into it but holds onto something, and you know, like,
let's let's play.

Speaker 2 (01:56:26):
Let's yeah, let's go.

Speaker 1 (01:56:27):
Even further with this because that's so there's it's so ripe. Yeah,
you're you're having this crazy fight scene around something so volatile.

Speaker 2 (01:56:39):
I I do well this this fight scene with with
rufus sewell, I love and I love when he he
Darth Maul's his thing and gets yes the dual sword,
you know, and even so I was like, well cool, yeah, right, see,
I'm just like, man, give me well choreographed sword fights, dude, totally.

Speaker 1 (01:56:56):
I am all about that.

Speaker 2 (01:56:58):
Yeah, Like you get why Spielberg was you know, this
all started because Spielberg was on hook board, you know,
or miserable watching, you know, watching a sword fight, and
he's like, hey, let's let's who has the Zorro rights?

Speaker 1 (01:57:16):
Interesting? And that is like the best line in the movie.
He puts the z carves it into the bad guy's
clothes and he's like, so the devil will know who
sent you.

Speaker 2 (01:57:26):
Remember I said that to you after I found out
you took my sandwich.

Speaker 1 (01:57:31):
That was after I took your piece of cake. Tuna.
You said, tuna sanchi. You said you'd search the world
wasn't big enough.

Speaker 2 (01:57:37):
That's true, you taking my food the same letter. It works.
I carved a z into your Yes, that's right, your
pantaloons or whatever, my pantaloons. I remember.

Speaker 1 (01:57:55):
You used to have like a Zoro pin, like a
z I did. Yeah, for the longest time.

Speaker 2 (01:57:59):
I I I had gotten it as a I pre
ordered the mask of Zoro from Suncoast, so I had
it on my jacket for the longest time. And then
you know, there's this lady I worked with and she
brought her son to work and he's just like a
big Zoro fan randomly, and I.

Speaker 1 (01:58:18):
Gave him my pin.

Speaker 2 (01:58:19):
Ah. I know that was nice, and that's why I
am a great person. That one time I gave that
kid a free thing.

Speaker 1 (01:58:28):
I got that I was tired of.

Speaker 2 (01:58:31):
Yes, it was.

Speaker 1 (01:58:33):
That's what makes me a great person. Now, that's right here.
When she puts the nitro glycerin in his pants, kicks
him out, the.

Speaker 2 (01:58:39):
Thing, dude explodes, takes a whole battalion with him. Come on, oh,
it's great cinema, my friend, Martin Scorsese saying, absolute cinema meme.
Come on this to Elena murdering people left and right.

Speaker 1 (01:58:56):
So many people blowing up in this movie.

Speaker 2 (01:58:58):
I know how. That's what constitutes a PG. You see
the explosion, you just can't see the meat chunks them
bea chunks.

Speaker 1 (01:59:06):
Yeah, yeah, yeah, yeah, I do love too. I mean
it's almost you could almost kind of laugh at the
idea where it's just like, well, here we are California
to a state, and let's do it on the train tracks,
and the like do you hear something, You'll look, I

(01:59:27):
hear something and then they look and see his train
barreling toward them, just head to be on the train tracks.

Speaker 2 (01:59:36):
I mean, it wasn't that a thing? Didn't They used
to do that a lot? Like Yeah, I feel like
you see a lot like the picture, like whistle stop
tours and stuff.

Speaker 1 (01:59:44):
But that's it, right, I mean they were kind of
going through town and then stop.

Speaker 2 (01:59:47):
That's true.

Speaker 1 (01:59:48):
It wasn't like a party. Yeah, let's let's sign this
document on the train tracks.

Speaker 2 (01:59:53):
And then have some cucumber sandwiches and whatnot. I don't know.

Speaker 1 (01:59:58):
I assuming they have those, which that sounds delicious. Do
you have any of those in the fridge? I'm afraid
to tell you, But I do love this. I mean
it's stupid that they did this, but I do love
the whole idea. Then I was thinking last night screenwriting, well,
you give the boy something to do. He's got to

(02:00:18):
get the switch track. But here's my thought.

Speaker 2 (02:00:21):
Now you see them all panicking and oh my god,
what are we doing? I don't know, just go to
the right or the left.

Speaker 1 (02:00:27):
Look, I still say pretty much no notes for Campbell
with this movie. But in the editing or the staging
or something, yes, it is occurring to me that these
people have plenty of time, right.

Speaker 2 (02:00:41):
You go either this way or that way, you'll be fine.

Speaker 1 (02:00:44):
Yes, yes, But they're just sort of like yeah, they're
like they're like, well, if we're gonna keep going back
to the Simpsons. It's like when they pull the fire
drill mister Burns to see what his employees will do,
and they basically just panic and lock each other in rooms.
It's like fire, you know. But yeah, I like this,

(02:01:07):
this is good. Get switched.

Speaker 2 (02:01:09):
We totally talk. We're like way past it now. But
like there's that moment where Zoro lands on the roof
of the train with Tornado, and then as the train
is going, we see that the tunnel is coming, yes,
and we see Tornado's eyes.

Speaker 1 (02:01:22):
Go, oh, I missed it again.

Speaker 2 (02:01:25):
Yeah, I would have pointed out, but we were talking
about my sandwich or some other things.

Speaker 1 (02:01:31):
You know what I would have done if this was
like a comedy, you have all the people go ah
with the train tracks, so they move to the other one,
and then the boy like moves the thing, and so
the switch track moves in the train and they're like
and so they have to go back to the other
portion of trap.

Speaker 2 (02:01:46):
I mean it is a little loustin powers with the
steamroller thing.

Speaker 1 (02:01:49):
Right, like, yes, see exactly, yeah, there we go, there
we go. That's how you do it. See that's not exactly.
I'm not going to kill you, but I don't have
to save you. That's like you're not going anywhere, and yeah,
a crash into that thing.

Speaker 2 (02:02:08):
Yeah, it's more I'm going to kill you and here's
how I see you. Yeah, which I respect it.

Speaker 1 (02:02:17):
No, it's fine. I mean he's tried to kill him
multiple times.

Speaker 2 (02:02:21):
Yeah, and snog his wife.

Speaker 1 (02:02:23):
He exactly. That won't stand. That's cool that. You know.
There's some really great swinging in this movie.

Speaker 2 (02:02:30):
Yeah, yeah, that's good.

Speaker 1 (02:02:36):
That's a good villain death there.

Speaker 2 (02:02:39):
Yeah, not gonna own him his orbis anymore. Tell you that.

Speaker 1 (02:02:49):
So that's a model. It looks good, I mean looks yeah.

Speaker 2 (02:02:51):
Practice. You know, there's something about a practical train an explosion. Yeah,
it's it's a although that does a well, I guess
that works, right, I mean, for like, I I remember
the end of Masca Zoro where the explosion is so
ridiculously over the top that I'm like, well, everybody should

(02:03:12):
be dead.

Speaker 1 (02:03:12):
Oh I kind of remember that.

Speaker 2 (02:03:14):
Yeah.

Speaker 1 (02:03:15):
Yeah, but that's another sort of elaborate lots of moving pieces,
well choreographed action sequence. Man, Oh so good, marn Campbell man, Man,
I'm gonna watch Cleaner. Maybe maybe maybe I'll be making
a mistake. I'll let I'll let everybody know. But I
just I benefit of the doubt, and I'm very curious.

Speaker 2 (02:03:35):
I can't remember. Did you did you watch No Escape.

Speaker 1 (02:03:39):
No from the nineties?

Speaker 2 (02:03:41):
Yep, you gotta be good Martin Campbell Raleiota one. Yeah, yeah, yeah, okay,
you're looking for Martin Campbell watch that one? Yeah.

Speaker 1 (02:03:49):
Oh there's Lincoln. That's a good Lincoln, that actor.

Speaker 2 (02:03:54):
I I it's enough.

Speaker 1 (02:03:56):
Yeah, it serves his purpose. Have learn their lesson. They're
still in the train tracks.

Speaker 2 (02:04:03):
It comes another one. It's the train from the Lone
Rangers coming from the opposite direction, right right, see, I
think it'll be funny because apparently this this that hat
is a weapon. He throws at his son and just
knocks him out.

Speaker 1 (02:04:24):
Dude, we're picturing the like, yeah, the Nikkei gun version
of this.

Speaker 2 (02:04:27):
The Zoro the gay Blade version.

Speaker 1 (02:04:29):
Yeah? Oh was that? Is that like a parody?

Speaker 2 (02:04:31):
That is a parody? Yeah, okay, it's he has like
a twin brother named Bunny Wigglesworth or something like that.

Speaker 1 (02:04:41):
Interesting, but yeah, then it would have been them signing
the thing in a train coming from the other direction.
Everyone like, and then yeah, prosphade to this moment. That's
like the niked Gun version.

Speaker 2 (02:04:55):
That's right, By the way, I totally forgot to mention
how how banderis permed his hair in this. It's like
it's like noticeably straight.

Speaker 1 (02:05:05):
Oh, I didn't even think about it. I see it
now that you say it.

Speaker 2 (02:05:09):
Yeah, because because he's at like very strikingly curly hair
in the first one.

Speaker 1 (02:05:15):
I wonder why you would change that.

Speaker 2 (02:05:18):
Yeah, I mean, I mean, I'm not saying it's bad.
He's still a handsome man. Yeah, but I'm just I'm
just captivated by his hair.

Speaker 1 (02:05:26):
What can I say. I'm gonna be honest. I'm like, oh,
I just watched this last night and I couldn't remember
what comes next. So they get remarried.

Speaker 2 (02:05:38):
They get remarried, and it's like the end of Fantastic
four Rise of the Silver Surfer. Oh yeah, remember we're
reading Sue. They get married and then oh, we gotta.

Speaker 1 (02:05:48):
Go yes, yeah, that's right because he keeps checking his
phone at the beginning of the movie. That's right, and
she's annoyed by it.

Speaker 2 (02:05:55):
But at the end, yeah, So it turns out Fantastic
four Rise of the Silver Surfer ripped off the legend.

Speaker 1 (02:06:03):
Of Zora is that around this time? And five?

Speaker 2 (02:06:07):
That one was two thousand and seven, so that tracks
the first one was two thousand and five. Remember we
just did the commentary track for twenty years.

Speaker 1 (02:06:15):
Oh I couldn't remember. Yeah, yeah, yeah, I associate Fantastic
four with five, but I couldn't remember which one. Yeah,
the sequel was seven.

Speaker 2 (02:06:27):
Yeah. I still think we missed out. Man, we missed
out on another Zora movie.

Speaker 3 (02:06:33):
I know.

Speaker 1 (02:06:34):
And he's a bit older now so it wouldn't be
as easy, but I would well, obviously we're in the bag.
I would show him for it.

Speaker 2 (02:06:41):
I mean, now you would need to do the handing
it off to the.

Speaker 1 (02:06:44):
Next guy movie.

Speaker 2 (02:06:46):
Yeah, yeah, right, which I think he said he's on
board for so you.

Speaker 1 (02:06:51):
Know, sure him and Django, although.

Speaker 2 (02:06:54):
He's like, somebody asked him, who would you want to
play Zoro? And he's like Tom Hollins. I think maybe
he's been hitting the saucele hard do.

Speaker 1 (02:07:01):
Okay, So when I was doing my research last night,
I saw that I just saw Tom Holland a couple times,
and for some reason, I never clicked on any of
those articles because I didn't get it. So what he
Antonio banderis wants Tom Holland to play the next Zoro.

Speaker 2 (02:07:17):
Well, I have to imagine. I Initially I was like, oh,
maybe he was asked this in context of Uncharted because
they were in that movie together.

Speaker 1 (02:07:28):
Ah, that makes a lot of sense.

Speaker 2 (02:07:30):
Right, But I don't think it was even that. I
think it was unconnected to that. And it's just like, hey,
who would you you know, who do you think to me?
And he's like, I don't know, maybe Tom Holland, you know,
right right right, that's the last the name that pops
to mind. So I don't know. My contention is use
probably either bored or drunk, or possibly both, and that's what.

Speaker 1 (02:07:55):
He went with.

Speaker 2 (02:07:56):
Right now, now that'll be said. I think, you know,
as a as a sort of wrap up of this
version of Zoro, not a bad final glimpse of the character. No,
it's nice, you know, like that's that's kind of you
know we've talked about before, how like you know, they

(02:08:17):
didn't do a sequel to Dick Tracy, And to that,
I say, you know what, I have watched it shirt,
but does it need a sequel?

Speaker 1 (02:08:24):
Not really? Right?

Speaker 2 (02:08:26):
You kind of did it. You did the thing, you know,
the rocketeer didn't get a sequel, doesn't need a sequel,
not really, you know what I mean, Like all these
movies are like that. And I feel like with the
Mask of Zora, we got a great movie and we
got a decent follow up, and you know that's fine. Yeah,
that's good enough for me.

Speaker 1 (02:08:43):
You know, Yes, I agree. I don't think they like
tanked the entire enterprise with this one. Like some people
would complain about the Matrix sequels. It's like you've tainted
the first one because the sequels weren't as good or right.
But yeah, so at the very least, well, I guess
we're going against what the critics said. Yeah, clearly, I don't.

(02:09:07):
I don't think it's as strong, But I don't think
they've ruined any legacy for the Benderis Zorro.

Speaker 2 (02:09:13):
That's that's what it comes down to for me. Is
is they're both very watchable and and you know this one,
having gone through it twice now in the last twenty
four hours, I'm like, look, there there is a lot
of visual allure. There's stuff to keep you engaged. I
certainly think Antonio banderis Is is a magnetic performer. I

(02:09:34):
think he's he's fun to watch, no matter what he's doing,
he's fun to watch as Zoro and Alejandro, and I
think that's doing that does a lot, you.

Speaker 1 (02:09:42):
Know, mm hmm. Agreed.

Speaker 2 (02:09:44):
The other thing is like, really, it's remarkable how this movie,
I mean they really were able to get the whole
band back together.

Speaker 1 (02:09:52):
Yeah.

Speaker 2 (02:09:53):
Yeah, you know, both in front of and behind the camera, right,
because you've got Martin Campbell in addition, you got you know,
all the various producers and stuff. But James Horner came
back to do the music, and you know it matches
up with that first one very well.

Speaker 1 (02:10:07):
Yeah, that's a great point. That's a great point.

Speaker 2 (02:10:10):
Yeah.

Speaker 1 (02:10:11):
I wanted to bring up James Horner. I realized we
hadn't mentioned him, but he does. His music is so
in service of this particular movie. Yeah, that there was
I think forty five minutes in. I think it's during
the polo match. He does like a little horn flourish
like no no, which is like one of his things,

(02:10:33):
that's right, And I was like, wait, wait, whoa whoa
is this James Horner? And so I looked it up
and I didn't even realize and I mean, it's an
incredible score. And my point being He's an incredible composer,
of course, but I love that he did something that
felt like he wasn't just doing his moves in this movie.
He did a movie score that felt completely Zoro esque

(02:10:55):
that I almost didn't even recognize him because it was
so perfect for this film. And it's amazing.

Speaker 2 (02:11:01):
Yeah. He you know, every time I hear one of
his scores, I miss him, you know.

Speaker 1 (02:11:06):
Oh man, Yeah he was.

Speaker 2 (02:11:08):
He was one of the greats, you know, irreplaceable, you know.
And his music for both Zoro movies is terrific. I
listened to both a lot, you know, and you know,
I'll say again, this is the type of movie I
wish we had more of these, just kind of throwback

(02:11:29):
adventure hero movies where the stakes are not are not
Blue Skybeam adjacent. Yeah, but it's just you know, something
that that's and evokes a simpler time.

Speaker 1 (02:11:45):
I agree. I mean, people having fights on top of
trains and you know, like you said, like nothing extra fantastical,
just awesome stunt work and cool, grounded in reality, but
incredible to watch action. Yeah.

Speaker 2 (02:12:01):
Yeah, what a concept. Yeah, you know that all being said,
I suspect we're going to remain in the Martin Campbell
business a little longer this year because this year is
also the thirtieth anniversary of GoldenEye. Oh and so I
have a feeling that you and I will be embarking

(02:12:21):
on another Martin Campbell journey before too long.

Speaker 1 (02:12:24):
That I look forward to it.

Speaker 2 (02:12:26):
Yeah, but hey, lets let us know your thoughts on
the legend of Zoro. Let us know your thoughts on
our thoughts. You can email us at moviefilmpodcast at gmail
dot com. You can also hit like on our Facebook
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listening to this on YouTube, please hit subscribe and hit like,
and of course feel free to leave comments there. We

(02:12:49):
also have a Patreon page Brian Yes.

Speaker 1 (02:12:51):
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(02:13:12):
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Speaker 2 (02:13:21):
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Speaker 1 (02:13:23):
Plus, your subscription goes a long way and helping to
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Speaker 2 (02:13:37):
There we go, and hey, if you're looking for me online,
you can find me on social media at Zaki's Corner.
That's Zakis Corner. You can also find my reviews at
the San Francisco Chronicle and Allside Ign and The Rap
and Brian What About You.

Speaker 1 (02:13:49):
You can find episodes I've written of Puppy Dog Pals
and Young Jedi Adventures streaming on Disney Plus.

Speaker 2 (02:13:55):
There we go, and with that on behalf of my
partner Brian Hall.

Speaker 1 (02:13:59):
My name is Zachi Hasan.

Speaker 2 (02:14:00):
This has been our movie Film commentary track four.

Speaker 1 (02:14:04):
The Legend of Zoro.

Speaker 2 (02:14:05):
We'll be back soon with our next commentary and of
course our next regular show. Thank you everybody for listening
and we will catch you next time.

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