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Speaker 1: Hey, welcome to Weird House Cinema. Rewind, this is Rob

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Speaker 1: Lamb and ooh, today's episode is one that originally aired

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Speaker 1: four eleven, twenty twenty five. Yeah, we're talking about Virtuosity,

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Speaker 1: starring Academy Award winning actors Denzel Washington and Russell Crowe.

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Speaker 1: It is a great example of ninety cyberslop. But man,

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Speaker 1: these guys are a lot of fun in it, and

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Speaker 1: it's it's a pretty wild film. So without further ado,

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Speaker 1: let's jump right in.

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Speaker 2: Welcome to Stuff to Blow your Mind, a production of iHeartRadio.

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Speaker 1: Hey, welcome to Weird House Cinema. This is Rob Lamb

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Speaker 1: and this is Joe McCormick.

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Speaker 3: And today we are going to be covering the nineteen

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Speaker 3: ninety five action sci fi thriller Virtuosity, a movie that

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Speaker 3: you will probably remember even if you haven't seen it,

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Speaker 3: because in nineteen ninety five you could not help but

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Speaker 3: be exposed to the trailer where Russell Crowe struts through

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Speaker 3: a future mall in a baggy purple suit and the

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Speaker 3: tune is the Beeg's Staying Alive. It was like one

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Speaker 3: of the most iconic uses of a needle drop in

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Speaker 3: a trailer from the nineties.

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Speaker 1: That's right, that's right, And this one, as we'll discuss,

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Speaker 1: does have quite a needle drop score. It also has

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Speaker 1: an original score as well, but a lot of needle

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Speaker 1: drops in here. It really really sets the tone for

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Speaker 1: the mid nineties looking to late nineties feel.

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Speaker 3: Yeah, so I want to briefly tell a story of

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Speaker 3: the roundabout way we came to feature this movie today.

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Speaker 3: So next week is going to be our two hundredth

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Speaker 3: episode of Weird House Cinema. I think we still haven't

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Speaker 3: picked the movie for next week, but that makes today

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Speaker 3: the one hundred and ninety ninth episode. And Rob, when

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Speaker 3: you and I were batting ideas around, you mentioned the

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Speaker 3: possibility of doing a movie set in the year nineteen

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Speaker 3: ninety nine for the one ninety ninth episode. I think

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Speaker 3: that was a stroke of genius. And folks, there are

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Speaker 3: a lot of dope movies set in ninety nine, usually

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Speaker 3: made in the eighties or nineties, imagining nineteen ninety nine

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Speaker 3: as a terrible dystopian turning point. So I was looking

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Speaker 3: at her options and for a while I thought that

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Speaker 3: we were going to be talking about End of Days

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Speaker 3: starring Arnold Schwarzenegger. For those of you who mainly remember

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Speaker 3: Arnold's roles as a terminator or an elite commando of

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Speaker 3: some kind. This is a bit outside his normal range.

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Speaker 3: It is a Y two k Anti Christ movie in

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Speaker 3: which Arnold has to shoot the devil with a machine

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Speaker 3: gun to prevent the titular End of Days.

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Speaker 1: Yeah, a movie in which Arnold plays sort of an everyman.

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Speaker 1: Also I guess sort of a super cop. But yeah,

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Speaker 1: it gets type. I don't want to see Arnold play

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Speaker 1: in every Man. I want to see Arnold play like

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Speaker 1: a chrom show in Champion that has been forged out

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Speaker 1: of trauma and loss into a human weapon. That's what

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Speaker 1: I want out of my Arnold roles.

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Speaker 3: Well, I think the even weirder thing is the context

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Speaker 3: that it's like a religious supernatural thriller. It's like The Omen,

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Speaker 3: but with Arnold in it.

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Speaker 1: Yeah.

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Speaker 3: I haven't seen End of Days in a long time.

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Speaker 3: I barely remember it. But Rob, didn't you say there's

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Speaker 3: something about the year nineteen ninety nine in it that

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Speaker 3: like plays into a prophecy?

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Speaker 1: Yeah? Yeah. The only things I remember are that, a,

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Speaker 1: there's a really cool bat creature in it, but also

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Speaker 1: very like brown and dark, very saturated looking, but still

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Speaker 1: cool bat Monster, And then there's this whole thing about

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Speaker 1: how well six' six' six really means nine ninety nine

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Speaker 1: because in dreams numbers are inverted or upside down. Or

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Speaker 1: something IT'S it's i remember its sounding pretty cool until

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Speaker 1: you thought about it for like.

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Speaker 3: Two seconds, So anyway End of days that is deliciously

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Speaker 3: weird as. A pitch it does apparently have glorious delivery

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Speaker 3: on the theme of nineteen, ninety nine BUT unfortunately i

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Speaker 3: started watching that, ONE man i was just not feeling

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Speaker 3: it for. This week the vibes were a little too serious,

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Speaker 3: and grim a little too much kidnapping of babies and

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Speaker 3: pouring rattlesnake blood. On them it just kind of bummed,

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Speaker 3: Me OUT so i Bailed on End. Of days maybe,

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Speaker 3: WE'LL come i. Don't know maybe if you get past those,

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Speaker 3: early scenes it. Gets FUNNIER but i wasn't feeling it,

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Speaker 3: this Week and I'M glad i ended up bailing because

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Speaker 3: the NEXT movie i checked out was another one said

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Speaker 3: in nineteen, ninety nine but in in a very, different

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Speaker 3: direction and that IS as, i said nineteen Ninety, five's

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Speaker 3: Virtuosity Starring denzel washington as an ace cop with a

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Speaker 3: with a, tragic backstory a, redemption arc and a rarely mentioned,

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Speaker 3: bionic arm and Also Starring russell crowe as a synthetic

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Speaker 3: computer game villain raised in a sort of digital nursery

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Speaker 3: with a great teacher to, student ratio but all the

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Speaker 3: teachers are.

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Speaker 1: Serial killers, You know i'm just now realizing that this

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Speaker 1: movie does have something in Common with End. Of days

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Speaker 1: both of these films are about like a sort of

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Speaker 1: everyman cop type figure going Up Against. Evil Incarnate an End,

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Speaker 1: of Days It's evil incarnate because It Is gabriel byrne

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Speaker 1: as the devil who in ONE scene i Believe peace

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Speaker 1: fire is pea. Straight fire and in this movie we

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Speaker 1: have pure evil in the sense that we have A

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Speaker 1: super ai trained on serial killers and mad men that

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Speaker 1: will mild spoiler here it's in, the trailer will take

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Speaker 1: physical form in the real world thanks TO three d printing.

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Speaker 3: Exactly right and that actually brings us to one of

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Speaker 3: the MAIN things i wanted to talk about at the,

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Speaker 3: top here and that is that virtuosity is like a

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Speaker 3: core example of a nineteen nineties SUBGENRE that i LOVE

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Speaker 3: that i would here like to dub cyberslop movies from,

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Speaker 3: the nineties where somebody gets sucked into, a computer Where

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Speaker 3: the internet tries to, kill you where a virtual reality game.

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Speaker 3: Becomes sentient, you know, he's learning he's evolving at a,

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Speaker 3: geometric rate and then at the end you've got a

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Speaker 3: hack into the mainframe to kill. The, monster now it

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Speaker 3: might take more than one episode for us to like

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Speaker 3: fully refine our definition. Of CYBERSLOP but i was just,

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Speaker 3: you KNOW when i was working on the, OUTLINE here

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Speaker 3: i was trying to think of a few things these

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Speaker 3: movies seem to have in common that make them interesting.

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Speaker 3: To me one of the things they have in common

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Speaker 3: is that they almost always have ATROCIOUS EARLY cgi cgi

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Speaker 3: that was not ready but here it. Is anyway and

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Speaker 3: usually like at, some point either the villainous entity or

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Speaker 3: the MacGuffin of the movie will be represented as, a floating,

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Speaker 3: spinning icosahedron and then when, it's destroyed it shatters into

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Speaker 3: a bunch. Of triangles you know Exactly what i'm, Talking, about.

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Speaker 1: Yeah kind of a mind's eide death star sort. Of,

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Speaker 1: Moment yeah and thinking about this MADE me i went

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Speaker 1: BACK and i watched a few scenes from The original

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Speaker 1: TRON because i was curious, it's like did they have

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Speaker 1: a moment like this where where the main AI, the

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Speaker 1: mcp does? It explode it, Doesn't explode but so maybe

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Speaker 1: there's another film that really got there first with the exploding.

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Speaker 1: DIGITAL head i.

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Speaker 3: Think, For me tron is. Not cyberslop it sort of,

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Speaker 3: predates it and the cyberslab genre is derived from Movies

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Speaker 3: like tron and also kind Of degrades tron's level. Of

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Speaker 3: imagination if that.

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Speaker 1: Makes. Sense, yeah yeah speaking, OF though i was glancing

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Speaker 1: at those Scenes from TRON and i was really taken

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Speaker 1: aback at how colorful and vivid. Everything is and this

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Speaker 1: is PROBABLY because i Haven't watched tron since it was

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Speaker 1: LIKE on tv on an old school television back in.

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Speaker 1: The DAY but i, was, like wow maybe we really

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Speaker 1: need to come back And. Watch, Tron oh i'd definitely

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Speaker 1: be down for.

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Speaker 3: DOING it i watched that one a LOT when i was. A,

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Speaker 3: kid okay another thing about, CYBERSLAP movies i feel like

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Speaker 3: they tend to, stylize technology like the technology of the

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Speaker 3: setting in amusing and sometimes even sort of thought. Provoking

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Speaker 3: ways so if this, makes sense it is not just

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Speaker 3: that the characters within the cyberslot movie have a particular

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Speaker 3: style and. Fashion choices but it's like the technosphere itself

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Speaker 3: has chosen, a style a. Personal style so you get

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Speaker 3: movies where tech is goth or movies where Tech Is,

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Speaker 3: miami vice, you know neon colors and the. Shoulder pads

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Speaker 3: sometimes tech, is preppy and very often tech.

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Speaker 1: Is. Punk, yeah yeah because of course tech should, be

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Speaker 1: punk because the whole genre has its roots, in cyberpunk

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Speaker 1: generally with very strong connections to the literary Work Of.

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Speaker 1: William gibson but we could do a deeper dive easily

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Speaker 1: that gets, into like, you know what are the earliest

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Speaker 1: examples of sci fi plot lines in which someone is

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Speaker 1: inside of a simulation or a virtual world and it

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Speaker 1: goes back.

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Speaker 3: Several, decades yeah and a lot of these movies are

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Speaker 3: essentially Borrowing From william gibson, type writing but very much dumbing.

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Speaker 3: It down another THING that i think is interesting about,

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Speaker 3: these movies it's not unique. To them they share this

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Speaker 3: with a lot of other. Nineties subgenres they feel very

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Speaker 3: much like they're from the end. Of history and one

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Speaker 3: reason for that is that every piece of actual specific

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Speaker 3: culture that we get in these movies feels meaningless. And

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Speaker 3: interchangeable like it could be swapped out with any other

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Speaker 3: piece of culture from the same. Object class so, you

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Speaker 3: know it's just a world where it's like insert work of,

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Speaker 3: art here insert political. Issue here the cultural objects do

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Speaker 3: not seem to really mean anything. In themselves they don't

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Speaker 3: bring their specific meanings and values. From reality they're just

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Speaker 3: examples of a type. Of thing it, feels like, you

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Speaker 3: know they're selected from a drop. DOWN menu i really

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Speaker 3: associate this kind of storytelling with movies from the nineties,

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Speaker 3: in general but Especially these cyberslot movies.

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Speaker 1: HAVE this i wonder if there's, a case and to,

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Speaker 1: be clear very, broad Case and i'm sure there are

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Speaker 1: plenty of counter, examples HERE but i wonder how much

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Speaker 1: of this might have to do with having like a

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Speaker 1: lot of up and coming filmmakers in, the nineties maybe

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Speaker 1: more like tech first style first directors and, you know screenwriters,

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Speaker 1: as well tackling these films informed by the models that

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Speaker 1: they grew up on from, the eighties from the, seventies

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Speaker 1: especially that are taking a more, like direct thoughtful approach

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Speaker 1: in some cases to actual social issues and, political issues

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Speaker 1: and so there's sort of maybe in some cases, at least,

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Speaker 1: you know echoing, the form but without really grasping.

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Speaker 3: The, substance, YEAH yeah i think that may be on.

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Speaker 3: To something i'll have to think some more. About that, but,

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Speaker 3: then also this very LAST point i want to Make

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Speaker 3: about CYBERSLOP is i think the most, important one and

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Speaker 3: that is that these movies are at the same time

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Speaker 3: both quaint and uncanny in the way they depict technologies like, VIRTUAL,

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Speaker 3: reality Ai, the internet and. Digital media AND what i

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Speaker 3: mean by, that is on, one hand it's genuinely so

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Speaker 3: cute that somebody in the year nineteen ninety three decided

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Speaker 3: to write a whole screenplay about Like. The internet, you

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Speaker 3: know it's some Kind of, internet thriller and it obviously

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Speaker 3: has such a vague understanding of What the internet is

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Speaker 3: and how. It works you'll have like characters navigating cyberspace with,

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Speaker 3: a joystick, you know that's how you get Through, The

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Speaker 3: internet and so it's. Just adorable thinking about that kind

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Speaker 3: of relationship to technology is like looking at a puppy.

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Speaker 3: Falling asleep on the, other hand stories, like this with their,

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Speaker 3: very loose, technically inaccurate, overly concrete, overly personalized almost symbolic

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Speaker 3: depictions of, these technologies can feel weirdly prescient on the,

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Speaker 3: metaphorical level usually in their ability to imagine what it

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Speaker 3: feels like to be acted upon by, these technologies in

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Speaker 3: their maturity in the future we live. In, now so,

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Speaker 3: for example imagine A hypothetical cyberslot movie from nineteen ninety

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Speaker 3: six where somebody Hacks the internet so That the net

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Speaker 3: becomes a self evolving malevolent entity that wants to. Destroy

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Speaker 3: you it's both like dumb in nineteen ninety six and

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Speaker 3: it takes a kind of technological ignorance to, write it

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Speaker 3: but it also captures something very real about what it

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Speaker 3: would come to feel like to Be an internet user

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Speaker 3: in twenty.

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Speaker 1: Twenty. Five, Yeah, YEAH plus i guess we have to

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Speaker 1: remind ourselves that a lot of, these films they are

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Speaker 1: exploitive to a. Certain extent there's some sort of like t,

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Speaker 1: exploitation film and, you know you're often exp you're exploiting,

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Speaker 1: a fear and fears are not always completely formed and certainly.

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Speaker 1: Not Rational like i'm thinking about smart killer smart house

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Speaker 1: movies from. THE nineties i remember one In The Sci

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Speaker 1: fi channel where there was like a hand that went

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Speaker 1: around on a little track on the ceiling and the

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Speaker 1: house and like all that like that's, completely ridiculous, BUT

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Speaker 1: like i don't doubt for a second that it comes

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Speaker 1: from a legitimate fear that arises based on just what people,

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Speaker 1: were saying like the houses of the future were going to,

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Speaker 1: Be like and that fear maybe is not, completely gone maybe,

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Speaker 1: it's matured maybe it's changed form, a BIT but i

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Speaker 1: think we still have that sort of fear and it

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Speaker 1: still gets poked and kindled by various news stories, about

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Speaker 1: oh your toaster is watching you and.

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Speaker 3: So, forth, yeah exactly like that vision was overly simplified and,

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Speaker 3: overly concrete but actually reality did catch up to the

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Speaker 3: feeling of that plot in. A way so perhaps we

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Speaker 3: can explore more about this as we, Go ON but

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Speaker 3: i really think that irony is the Case. With virtuosity on,

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Speaker 3: One hand virtuosity is quite simple minded and literal in

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Speaker 3: its engagement with the, technology themes but there are some

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Speaker 3: things in it that feel unsettlingly resonant in twenty, twenty

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Speaker 3: five especially in the context of a movie that is

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Speaker 3: in most ways extremely nineteen ninety five's version of nineteen.

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Speaker 1: Ninety. Nine, yeah yeah we'll get into this a, lot

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Speaker 1: more BUT certainly i think there are various world building

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Speaker 1: details and choices and virtuosity that hit with a kind

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Speaker 1: of almost idiocricy, like accuracy, you know like there's a

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Speaker 1: certain amount of maybe in a loose black comedy to.

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Speaker 3: The, choice yeah, you're, like oh that's a.

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Speaker 1: Little close and then in its, main focus, of course

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Speaker 1: we have an out OF control ai menace that gets

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Speaker 1: ITSELF three d printed so that it can go on

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Speaker 1: a viral, killing spree and it really does sweep up

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Speaker 1: various pressing anxieties About, the internet, artificial intelligence and in a,

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Speaker 1: limited way the future OF three d printing of inorganic and.

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Speaker 3: Organic materials i'd agree with you that the themes hit

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Speaker 3: harder on LIKE the ai and digital media front than

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Speaker 3: on the. Robotics front, BUT still i. Don't know maybe

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Speaker 3: one day we'll catch up to the. Robotics.

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Speaker 1: ELEMENT yeah i mean at different times when there have

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Speaker 1: been accelerations IN three, d printing there have been Moments where, i'm,

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Speaker 1: like oh this is Like the internet in all its

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Speaker 1: awfulness can now take. Physical form and maybe on SOME

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Speaker 1: level i was remembering virtuosity Trailers and, i'm like this is.

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Speaker 1: Like virtuosity it's like you thought, of It the internet,

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Speaker 1: made it and now it's on, your desk and granted

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Speaker 1: we've had a little more time to sort of grow with.

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Speaker 1: THAT one i, feel like though there are some still

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Speaker 1: dangerous concerns out there in THE three d, printing world

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Speaker 1: but for the, MOST part i feel like we've gotten

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Speaker 1: a little more accustomed to what it can do for.

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Speaker 1: US now i also find it interesting in these various

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Speaker 1: films of this subgenre once that often include like a

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Speaker 1: digital or, virtual character and they really get TO what

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Speaker 1: i will refer to as job, about yes Referencing lawnmower,

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Speaker 1: man here which has a, very close very close kinship with,

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Speaker 1: this film in which you have a character OR an

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Speaker 1: ai entity that becomes a kind of god complex black

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Speaker 1: hole of negative. Personal ATTRIBUTES and i think this too

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Speaker 1: nicely mirrors fears then as well as fears and sometimes

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Speaker 1: realities now about the virtual realm of expression and consumption

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Speaker 1: that we have in the digital realm that might allow

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Speaker 1: too many barriers of behavior to erode in the shape

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Speaker 1: of our virtual self then becomes, something, grotesque dangerous and maybe.

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Speaker 3: Even, evil yeah, once again, Right on i'm not going

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Speaker 3: TO say I think virtuosity did this. ON purpose i

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Speaker 3: think it may be a kind of accidental stumbling into.

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Speaker 3: This theme but you're, exactly right it's there and it hits. Hard,

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Speaker 3: now now ANOTHER thing i want to mention at, the

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Speaker 3: topic just an interesting Parallel with End of days is

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Speaker 3: as the almost choice as the alternate reality of. This

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Speaker 3: week what's really exquisite about the Pitch for End of

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Speaker 3: days is the mismatch between the premise and. The, Star

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Speaker 3: right Like Whatever arnold schwarzenegger was, made for it was

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Speaker 3: not to like march through cathedrals by candle light trying

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Speaker 3: To stop satan from fathering a child. On earth that

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Speaker 3: is a, weird fit and with today's movie there is

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Speaker 3: something similar going. ON virtuosity i looked. It up it

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Speaker 3: did have a mid. Sized budget it wasn't, huge budget

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Speaker 3: but it wasn't small. Budget either it was, you know

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Speaker 3: mid sized action sci fi kind of, you know in

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Speaker 3: the realm of what.

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Speaker 1: You'd.

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Speaker 3: Expect, Yeah yeah but, it is in both content and execution,

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Speaker 3: a bizarre trashy, b movie and yet its two main

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Speaker 3: stars are two of, the biggest most, sought after MOST

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Speaker 3: respected a, list actors certainly in the, two thousands definitely

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Speaker 3: in the Case Of, Denzel washington like the last three Decades.

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Speaker 3: Of hollywood it's almost Like If tom hanks was In.

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Speaker 3: Lawnmower man it's, just, like oh such a strange thing.

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Speaker 3: To imagine Like When russell crowe did, this movie his

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00:18:10,520 --> 00:18:13,000
Speaker 3: big period was still ahead. Of him But when denzel,

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Speaker 3: did this he already Had multiple, oscar nominations He'd Won

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Speaker 3: Best supporting. Actor once so it's already deeply strange and

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Speaker 3: amusing that you've got the top tier Of future hollywood

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Speaker 3: in this dumb killer. Computer movie but what's even more

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Speaker 3: odd is that neither of them are phoning. It in

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Speaker 3: but both OF them i think are fantastic in. This

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Speaker 3: movie they're giving, full efforts really getting into. The characters,

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Speaker 3: IN fact i WOULD say i have never Seen A

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Speaker 3: russell crowe performance in which he seems to be expressing

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Speaker 3: as much joy through acting as he.

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Speaker 1: Does here this Is.

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Speaker 3: The pinnacle LIKE his oscar nominated roles are comparatively grim.

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Speaker 3: And subdued in, this movie you get him is a

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Speaker 3: disco strutting synthetic serial killer and he.

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Speaker 1: Comes, alive, YEAH yeah i think. YOU'RE right i think

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00:19:06,200 --> 00:19:12,040
Speaker 1: we've really only seen him get back into broad performances,

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Speaker 1: like this maybe in the likes of twenty twenty Two's

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00:19:14,400 --> 00:19:16,520
Speaker 1: thor Love, and thunder in which he gets To play

337
00:19:17,560 --> 00:19:21,919
Speaker 1: zeus with A ridiculous. Greek accent i'll come back to

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Speaker 1: that ONE because I actually i actually like that performance quite. A,

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00:19:24,600 --> 00:19:25,480
Speaker 1: BIT oh i haven't.

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00:19:25,520 --> 00:19:28,240
Speaker 3: Seen that that makes me want to see, it THOUGH.

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Speaker 1: But, i, agree, like yeah both of these guys are

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00:19:33,119 --> 00:19:36,919
Speaker 1: arguably better than, this movie but both of them. REALLY

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Speaker 1: deliver i, would Say In denzel, washington's case he is

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00:19:41,240 --> 00:19:43,600
Speaker 1: almost too good for this movie in the sense that

345
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Speaker 1: not that he's not great, in it but a role

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Speaker 1: of the sort sometimes hits a little better if you

347
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Speaker 1: have a less skilled actor or an actor that makes,

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00:19:55,680 --> 00:19:59,320
Speaker 1: stranger choices Whereas, like denzel like all his choices, are

349
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Speaker 1: solid just a complete. Pro here you need somebody maybe a,

350
00:20:03,640 --> 00:20:07,160
Speaker 1: little sloppy a, little greener so that they can shine

351
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Speaker 1: in a role. Like this but that, being said he's.

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Speaker 3: Still terrific they're two very different kinds of performances that

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Speaker 3: are beyond what is required. By virtuosity denzel gives a

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Speaker 3: much more human performance than you would expect his character,

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Speaker 3: to Have And russell crowe gives a much more just

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Speaker 3: like scenery ingesting huge improvisational energy kind.

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Speaker 2: Of.

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Speaker 1: Performance, YEAH yeah i would say his performance is like

359
00:20:35,000 --> 00:20:37,520
Speaker 1: a little, bit joker a little bit job the firm

360
00:20:37,560 --> 00:20:40,840
Speaker 1: lawnmower many, and also at least in the, visual sense

361
00:20:41,200 --> 00:20:44,960
Speaker 1: a little Bit Nineties. Peter, gabriel yeah there. You, go.

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Speaker 3: Okay we ready for the. Elevator pitch yeah. HIT us

363
00:20:56,040 --> 00:20:59,040
Speaker 3: sid six point seven is a. Computer program he is

364
00:20:59,080 --> 00:21:03,639
Speaker 3: a sadistic virtual super criminal designed FOR a vr training

365
00:21:03,720 --> 00:21:06,000
Speaker 3: environment that will be used to test the cops of.

366
00:21:06,040 --> 00:21:09,240
Speaker 3: The future but the developers are still working the, kinks

367
00:21:09,280 --> 00:21:11,879
Speaker 3: out and in, the meantime they ARE testing sid against

368
00:21:11,960 --> 00:21:15,280
Speaker 3: players from the. Prison population the only one who has

369
00:21:15,320 --> 00:21:19,040
Speaker 3: ever beaten Him Is, parker barnes a former police officer

370
00:21:19,080 --> 00:21:22,920
Speaker 3: who is incarcerated after his vendetta killing of a terrorist

371
00:21:22,920 --> 00:21:26,159
Speaker 3: who murdered his family and also killing several other people in.

372
00:21:26,200 --> 00:21:30,480
Speaker 3: The process but when through a series of, IMPLAUSIBLE events

373
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Speaker 3: sid six point seven gets brought into our world and

374
00:21:33,440 --> 00:21:36,520
Speaker 3: turned into a kind Of MEAT space t one thousand with,

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00:21:36,600 --> 00:21:40,320
Speaker 3: blueberry blood there's only one man who can.

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Speaker 1: Stop, him yep that's. RIGHT on i would also present

377
00:21:44,680 --> 00:21:47,200
Speaker 1: the Idea Of oops SWEET three d printed a. Mass,

378
00:21:47,280 --> 00:21:49,439
Speaker 1: murder yeah that's it's also kind. Of it this is

379
00:21:49,440 --> 00:21:51,840
Speaker 1: the one thing we didn't want, to happen and here.

380
00:21:51,880 --> 00:21:54,080
Speaker 1: We are, All right let's go ahead and listen to

381
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Speaker 1: part Of the keyser trailer because the, main trailer the

382
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Speaker 1: one most, people heard it prominently features the bes, staying

383
00:22:00,640 --> 00:22:03,960
Speaker 1: alive and we want to stay alive here on. The

384
00:22:04,000 --> 00:22:06,640
Speaker 1: SHOW so i didn't want to feature. THAT song i love,

385
00:22:06,680 --> 00:22:10,000
Speaker 1: that song but, you know this is what we're playing.

386
00:22:19,760 --> 00:22:23,760
Speaker 4: In this high tech crime. Prevention facility one man has

387
00:22:23,800 --> 00:22:29,359
Speaker 4: been recruited to play a, simulated game the objective to

388
00:22:29,520 --> 00:22:33,879
Speaker 4: hunt Down The Ultimate Virtual REALITY killer sid six. Point

389
00:22:33,960 --> 00:22:41,080
Speaker 4: seven there's only. One problem the computer change. The program

390
00:22:41,119 --> 00:22:45,120
Speaker 4: now he's in the. Real world.

391
00:22:46,400 --> 00:22:50,800
Speaker 1: He's interactive he doesn't enjoyed a game unless he's playing

392
00:22:50,800 --> 00:22:56,639
Speaker 1: against his. Favorite opponent that's me from the director Of.

393
00:22:56,760 --> 00:22:58,480
Speaker 4: Lawnmower man he's recreating.

394
00:22:58,560 --> 00:23:00,760
Speaker 3: Mass murders so what, you're saying it's who's a complicated

395
00:23:00,880 --> 00:23:03,240
Speaker 3: since six ten on improving? The Original.

396
00:23:04,200 --> 00:23:07,040
Speaker 4: Denzel washington Just because i'm carrying around the joy of

397
00:23:07,119 --> 00:23:09,200
Speaker 4: killing your family inside me doesn't mean you can't.

398
00:23:09,240 --> 00:23:10,080
Speaker 1: Be friends.

399
00:23:11,560 --> 00:23:12,399
Speaker 4: Virtuosity.

400
00:23:12,760 --> 00:23:13,440
Speaker 1: Game over.

401
00:23:21,240 --> 00:23:26,040
Speaker 3: Speaking of beg, STAYING alive i Bet the virtuosity trailer

402
00:23:26,240 --> 00:23:29,879
Speaker 3: IS how i first learned about. That, SONG huh, I

403
00:23:30,000 --> 00:23:31,600
Speaker 3: may i may not have ever heard it.

404
00:23:31,680 --> 00:23:35,400
Speaker 1: BEFORE that, i mean somebody needs to be struttin when

405
00:23:35,400 --> 00:23:37,800
Speaker 1: that song. Is playing and if that song, is playing

406
00:23:38,119 --> 00:23:40,199
Speaker 1: you will soon find. Yourself strutting that's just how.

407
00:23:40,200 --> 00:23:42,719
Speaker 3: It, works oh this may be too embarrassing to say,

408
00:23:42,760 --> 00:23:44,959
Speaker 3: out LOUD but i bet as a KID when I

409
00:23:45,000 --> 00:23:48,119
Speaker 3: Saw russell crowe walking in the blue in the Purple

410
00:23:48,160 --> 00:23:51,399
Speaker 3: suit beg's, ARE playing i probably like strutted around my

411
00:23:51,480 --> 00:23:52,159
Speaker 3: HOUSE after i.

412
00:23:52,200 --> 00:23:55,440
Speaker 1: Saw that. No joke, all right you might, be, wondering,

413
00:23:55,440 --> 00:23:57,800
Speaker 1: WELL hey i want To see virtuosity as well before

414
00:23:58,000 --> 00:23:59,760
Speaker 1: listening to the rest of, the EPISODE or i want

415
00:23:59,760 --> 00:24:03,320
Speaker 1: to later and. So, Forth well virtuosity was a, major

416
00:24:03,320 --> 00:24:05,119
Speaker 1: release so you can find it pretty much wherever you

417
00:24:05,200 --> 00:24:08,400
Speaker 1: choose to get. Your movies for, physical, media however there's

418
00:24:08,440 --> 00:24:13,680
Speaker 1: no beating the Recently Released Vinegar syndrome, ultra release which

419
00:24:13,720 --> 00:24:16,320
Speaker 1: gives us the film newly scanned and restored IN four

420
00:24:16,400 --> 00:24:20,200
Speaker 1: k from its thirty five millimeters original, camera negative along

421
00:24:20,200 --> 00:24:23,080
Speaker 1: with tons of extras like, new extras interviews with the

422
00:24:23,080 --> 00:24:26,600
Speaker 1: director and. Other, folks it's without a doubt the finest

423
00:24:26,600 --> 00:24:27,920
Speaker 1: physical release this film has.

424
00:24:27,960 --> 00:24:32,520
Speaker 3: EVER gotten i Can't Believe vinegar syndrome Release of virtuosity

425
00:24:32,600 --> 00:24:34,320
Speaker 3: is as close as we're ever going to get To

426
00:24:34,359 --> 00:24:36,119
Speaker 3: a criterion collection disc Of.

427
00:24:36,200 --> 00:24:41,320
Speaker 1: Lawnmower, Man Yeah vinegar syndrome, does great, great work and

428
00:24:41,760 --> 00:24:45,280
Speaker 1: this is certainly the. CASE here i rented this from

429
00:24:45,359 --> 00:24:49,399
Speaker 1: videodrome Here, in atlanta, and yeah it. LOOKS great, i

430
00:24:49,440 --> 00:24:51,679
Speaker 1: mean the digital effects are only going to look, so

431
00:24:51,800 --> 00:24:55,040
Speaker 1: polished as, we'll discuss which but, then again that only

432
00:24:55,080 --> 00:24:58,959
Speaker 1: really potentially hurts the film during THE non, vr segments as,

433
00:24:59,000 --> 00:25:02,040
Speaker 1: we'll DISCUSS and i will say that the goofy android

434
00:25:02,040 --> 00:25:04,919
Speaker 1: makeup and other practical effects look. Really great, OH.

435
00:25:04,840 --> 00:25:06,840
Speaker 3: Yeah i mean you wouldn't WANT the cgi to look.

436
00:25:06,880 --> 00:25:08,359
Speaker 3: TOO good i mean that's part of.

437
00:25:08,400 --> 00:25:11,919
Speaker 1: The, charm yeah especially in those the. Simulation.

438
00:25:12,040 --> 00:25:15,080
Speaker 3: Sequences, yeah WELL so i, streamed it but, YOU know

439
00:25:15,240 --> 00:25:17,000
Speaker 3: i got a feeling this might not be the LAST

440
00:25:17,000 --> 00:25:19,000
Speaker 3: time I, watch VIRTUOSITY.

441
00:25:18,400 --> 00:25:21,359
Speaker 1: So i might have to snag. This disc, all right

442
00:25:21,480 --> 00:25:23,480
Speaker 1: let's talk about the people who made, this film starting

443
00:25:23,520 --> 00:25:26,840
Speaker 1: at the Top With brett leonard born nineteen, Fifty nine

444
00:25:26,920 --> 00:25:30,720
Speaker 1: american director of films and, music videos best known for his.

445
00:25:30,800 --> 00:25:35,080
Speaker 1: Pivotal work in nineteen nineties virtual reality, inspired media as

446
00:25:35,080 --> 00:25:38,520
Speaker 1: he Directed both today's film and nineteen Ninety two's The. Lawnmower,

447
00:25:38,560 --> 00:25:42,000
Speaker 1: man that, of course Is the bonker's virtual, reality film

448
00:25:42,040 --> 00:25:44,840
Speaker 1: born out of an original script inspired by the Work

449
00:25:44,880 --> 00:25:48,600
Speaker 1: Of jaron lanier and the production company's desire to Keep

450
00:25:48,640 --> 00:25:52,000
Speaker 1: Adapting stephen king stories they owned the, rights to basically

451
00:25:52,040 --> 00:25:55,439
Speaker 1: by slapping the Title lawnmower man onto a pre.

452
00:25:55,520 --> 00:25:59,080
Speaker 3: Existing script this has nothing to do With the. King

453
00:25:59,160 --> 00:26:00,439
Speaker 3: story is this one of the ones he?

454
00:26:00,520 --> 00:26:04,880
Speaker 1: Sued, over yes it's my understanding that he successfully got

455
00:26:04,880 --> 00:26:07,679
Speaker 1: his name taken off of, this, one, because yeah has

456
00:26:07,920 --> 00:26:11,159
Speaker 1: the original stories about like a crazy satanic lawnmower man

457
00:26:11,160 --> 00:26:12,960
Speaker 1: who eats grass or something to. That effect it.

458
00:26:13,200 --> 00:26:15,760
Speaker 3: Worships The, GOD pan. I, Believe, yeah yeah There's some

459
00:26:15,760 --> 00:26:16,399
Speaker 3: pan worship.

460
00:26:16,400 --> 00:26:19,320
Speaker 1: In there nothing to do with virtual. Reality Now brett

461
00:26:19,400 --> 00:26:22,760
Speaker 1: leonard's first directorial credit was nineteen Eighty Nine's The. Dead

462
00:26:22,760 --> 00:26:26,479
Speaker 1: pit this is a supernatural horror film with like the Features.

463
00:26:26,520 --> 00:26:30,200
Speaker 1: The undead i've never, seen IT but i am super

464
00:26:30,200 --> 00:26:35,080
Speaker 1: familiar WITH its vhs box arc because and you probably

465
00:26:35,160 --> 00:26:37,119
Speaker 1: are as well if you were of a, certain age

466
00:26:37,560 --> 00:26:40,760
Speaker 1: because this WAS a vhs rental store box that had

467
00:26:40,880 --> 00:26:43,840
Speaker 1: light up eyes powered by a little battery. Pack inside

468
00:26:43,960 --> 00:26:46,199
Speaker 1: it might have made. SOUND too i don't remember if it,

469
00:26:46,240 --> 00:26:49,640
Speaker 1: made sound but they definitely. Light up and, This one i'm,

470
00:26:49,680 --> 00:26:52,200
Speaker 1: to understand is very much a collector's ITEM among.

471
00:26:52,320 --> 00:26:56,399
Speaker 3: Vhs enthusiasts rob this we may have even mentioned this

472
00:26:56,480 --> 00:26:58,760
Speaker 3: idea on the, show BEFORE but i have thought that

473
00:26:58,840 --> 00:27:02,200
Speaker 3: at some point we should do a series of weird

474
00:27:02,240 --> 00:27:05,359
Speaker 3: house cinema episodes just focusing on films that had, gimmick

475
00:27:05,440 --> 00:27:09,280
Speaker 3: packaging stuff that had light up components or anything on

476
00:27:09,320 --> 00:27:12,080
Speaker 3: the box that's different than normal to get people to

477
00:27:12,119 --> 00:27:12,840
Speaker 3: pick it up, and say?

478
00:27:12,840 --> 00:27:18,119
Speaker 1: What's, THIS yeah vhs shell shaped like a coffin something. Like,

479
00:27:18,160 --> 00:27:22,680
Speaker 1: That yeah i'm definitely here. For. It okay So lawnmower

480
00:27:22,720 --> 00:27:25,199
Speaker 1: man was his follow Up To. Dead pit and the,

481
00:27:25,240 --> 00:27:27,159
Speaker 1: thing is we can all laugh about what did and

482
00:27:27,240 --> 00:27:30,800
Speaker 1: didn't work About, lawnmower man but it made a lot,

483
00:27:30,840 --> 00:27:35,439
Speaker 1: of money especially given its. Small budget it connected WITH

484
00:27:35,520 --> 00:27:39,520
Speaker 1: a vr, curious audience and along with this film paved

485
00:27:39,520 --> 00:27:42,760
Speaker 1: the way for pretty MUCH every vr film to follow

486
00:27:42,880 --> 00:27:43,800
Speaker 1: up to And Including.

487
00:27:43,800 --> 00:27:47,680
Speaker 3: The matrix, that's, Right folks Without, lawnmower Man. No matrix

488
00:27:47,760 --> 00:27:49,360
Speaker 3: probably probably.

489
00:27:49,240 --> 00:27:52,080
Speaker 1: There Was An indie wire headline from earlier this year

490
00:27:52,240 --> 00:27:55,960
Speaker 1: an Article By jim hemphill that Covers The vinegar syndrome

491
00:27:56,000 --> 00:27:59,440
Speaker 1: re release of, the picture and its Title is virtuosity

492
00:27:59,480 --> 00:28:03,840
Speaker 1: walks the matrix. Could run so this seems to be

493
00:28:05,160 --> 00:28:08,320
Speaker 1: the opinion of, various folks and it's discussed a bit

494
00:28:08,359 --> 00:28:11,679
Speaker 1: in some of the extras On the VIRTUOSITY disc i.

495
00:28:11,760 --> 00:28:16,040
Speaker 1: Buy It so leonard did not come back for The lawnmower,

496
00:28:16,080 --> 00:28:20,720
Speaker 1: man sequel which is also, pretty Bonkers but hollywood did,

497
00:28:20,720 --> 00:28:23,640
Speaker 1: say yes more of. This please so nineteen ninety five

498
00:28:23,640 --> 00:28:26,680
Speaker 1: saw the release of the psychic serial Killer, film hideaway

499
00:28:26,720 --> 00:28:30,440
Speaker 1: based On The dean kotz novel And Starring, jeff goldbloom And. Then,

500
00:28:30,880 --> 00:28:35,199
Speaker 1: virtuosity so like we, Said earlier Virtuosity paramount, pictures production,

501
00:28:35,480 --> 00:28:39,400
Speaker 1: bigger budget ultimately did not have quite the cultural or

502
00:28:39,400 --> 00:28:43,400
Speaker 1: commercial impact that everyone was, banking on but it received

503
00:28:43,560 --> 00:28:46,920
Speaker 1: a fair amount of reevaluation in, recent years especially With

504
00:28:46,960 --> 00:28:50,240
Speaker 1: That vinegar syndrome blu. Ray release as we'll discuss, the

505
00:28:50,240 --> 00:28:53,720
Speaker 1: film sci fi commentary hits home in various ways given

506
00:28:53,800 --> 00:28:57,200
Speaker 1: where we, are, now, politically socially and above, all technologically,

507
00:28:58,640 --> 00:29:02,280
Speaker 1: and yeah case could be made that this helped pave

508
00:29:02,320 --> 00:29:04,520
Speaker 1: the road for things Like, the matrix and then once the,

509
00:29:04,560 --> 00:29:08,720
Speaker 1: matrix explodes like how many folks are running around with,

510
00:29:08,800 --> 00:29:12,880
Speaker 1: machine guns sunglasses and some sort of like black latex

511
00:29:12,920 --> 00:29:15,160
Speaker 1: garb shooting in slow motion and going in and out.

512
00:29:15,200 --> 00:29:18,560
Speaker 3: Of cyberspace though it's funny because the black latex look

513
00:29:18,640 --> 00:29:21,720
Speaker 3: you only see from secondary characters in. THIS film i

514
00:29:22,200 --> 00:29:27,479
Speaker 3: can't emphasize enough the weird fashion Sensibility Of russell crowe in.

515
00:29:27,480 --> 00:29:32,280
Speaker 3: This movie he wears like brightly colored, big suits, like,

516
00:29:32,480 --> 00:29:36,720
Speaker 3: loose baggy double breasted suits of either, the green satin or.

517
00:29:36,800 --> 00:29:41,240
Speaker 1: Purple, variety, yes well he. Likes attention he wants an attention.

518
00:29:41,360 --> 00:29:48,240
Speaker 1: Grabbing outfit in, the extras particularly Interview, with leonard he points, out,

519
00:29:48,240 --> 00:29:50,560
Speaker 1: That Ye russell crowe is essentially, an influencer like, He

520
00:29:50,640 --> 00:29:53,720
Speaker 1: is he's going after that. Influencer space he wants eyes

521
00:29:53,800 --> 00:29:57,120
Speaker 1: on what he, is doing like that is his, Prime

522
00:29:57,200 --> 00:30:00,200
Speaker 1: drive like not merely to do, awful things but to

523
00:30:00,240 --> 00:30:03,320
Speaker 1: be seen doing awful things and get those hits and

524
00:30:03,320 --> 00:30:03,600
Speaker 1: get those.

525
00:30:03,600 --> 00:30:06,080
Speaker 3: Subscribers up oh, My god i've got too many deep

526
00:30:06,120 --> 00:30:09,040
Speaker 3: thoughts comments about this later on in, The outline, but, yes,

527
00:30:09,280 --> 00:30:12,840
Speaker 3: yes yes that's what's going on here before that thing,

528
00:30:12,880 --> 00:30:14,240
Speaker 3: even existed, All.

529
00:30:14,200 --> 00:30:18,440
Speaker 1: Right so virtuosity hits. Post virtuosity leonard Directed an, imax

530
00:30:18,480 --> 00:30:21,080
Speaker 1: Film T rex back To. THE cretaceous i might have

531
00:30:21,160 --> 00:30:23,080
Speaker 1: seen this one at. This point there have been So

532
00:30:23,160 --> 00:30:26,600
Speaker 1: many imax AND three d, dinosaur films especially as, a

533
00:30:26,640 --> 00:30:28,920
Speaker 1: Parent that i've SEEN that i don't know where one

534
00:30:29,120 --> 00:30:31,720
Speaker 1: ends and the other. ONE begins i always. Enjoy them

535
00:30:31,920 --> 00:30:34,280
Speaker 1: this one is apparently actually a huge hit For an.

536
00:30:34,320 --> 00:30:35,080
Speaker 1: Imax film at.

537
00:30:35,120 --> 00:30:37,520
Speaker 3: The TIME when i was, A teenager i worked selling

538
00:30:37,520 --> 00:30:40,680
Speaker 3: tickets to, tourist attractions and one of THE places i

539
00:30:40,680 --> 00:30:44,239
Speaker 3: worked Was an. IMAX theater i don't recall if they

540
00:30:44,280 --> 00:30:47,080
Speaker 3: ever had, this ONE but i remember a general awareness.

541
00:30:47,120 --> 00:30:49,120
Speaker 1: Of it, all right there's a chance.

542
00:30:49,160 --> 00:30:49,200
Speaker 3: It.

543
00:30:49,280 --> 00:30:54,280
Speaker 1: Happened now, Later on Leonard directed he directed a pair

544
00:30:54,320 --> 00:30:57,760
Speaker 1: of two thousand and five films that seemed. Very skippable

545
00:30:57,800 --> 00:31:00,560
Speaker 1: One Is. Man thing this was An early marvel entertainment

546
00:31:00,600 --> 00:31:03,920
Speaker 1: film that missed the mark for. Various reasons i've, read

547
00:31:03,960 --> 00:31:05,240
Speaker 1: that like it was one of those cases where the

548
00:31:05,240 --> 00:31:08,520
Speaker 1: production was just too far Away and marvel wasn't able

549
00:31:08,560 --> 00:31:11,440
Speaker 1: to like really have their hands in it as much as.

550
00:31:11,440 --> 00:31:14,360
Speaker 1: They wanted and then he also did a Movie, called

551
00:31:14,400 --> 00:31:16,880
Speaker 1: feed which seems like one of the many bad taste

552
00:31:16,880 --> 00:31:19,120
Speaker 1: horror films to spring up in the wake of ninety five.

553
00:31:19,120 --> 00:31:23,160
Speaker 1: To seven it also looks. Very skippable then he directed

554
00:31:23,160 --> 00:31:25,760
Speaker 1: two thousand And Seven's Highlander. The source this was the

555
00:31:25,800 --> 00:31:29,360
Speaker 1: final trickle of cinematic juice thus far squeezed from the

556
00:31:29,440 --> 00:31:29,840
Speaker 1: husk Of the.

557
00:31:29,920 --> 00:31:33,800
Speaker 3: HIGHLANDER franchise i, Assume No, Christoph, limbert no he's.

558
00:31:33,840 --> 00:31:36,360
Speaker 1: In it oh. He, is yeah this is. You kidding

559
00:31:36,560 --> 00:31:38,680
Speaker 1: this is the period of films where they had they

560
00:31:38,760 --> 00:31:42,120
Speaker 1: had combined the movies AND the tv show and like

561
00:31:42,200 --> 00:31:45,280
Speaker 1: they were literally just throwing everything in and just squeezing

562
00:31:45,320 --> 00:31:48,720
Speaker 1: as much as they could out. Of it and maybe

563
00:31:48,760 --> 00:31:51,480
Speaker 1: they'll relaunch it here in the next year, or two

564
00:31:51,480 --> 00:31:54,320
Speaker 1: and we'll have so much more juice. To squeeze but

565
00:31:54,680 --> 00:31:58,040
Speaker 1: this was like the. Last trickle, but hey somebody had

566
00:31:58,040 --> 00:32:01,680
Speaker 1: to direct, these movies might as Well Than. Leonard, okay now,

567
00:32:01,720 --> 00:32:05,320
Speaker 1: more recently he directed the twenty twenty One drama triumph

568
00:32:05,360 --> 00:32:07,320
Speaker 1: and seems to be returning to his roots with an

569
00:32:07,360 --> 00:32:11,760
Speaker 1: upcoming Project Called, dark star not not Related To John Carpenter's,

570
00:32:11,840 --> 00:32:15,200
Speaker 1: dark star in which quote a Trio Of Astral warriors

571
00:32:15,240 --> 00:32:18,440
Speaker 1: Battle And. Ai threat it's in pre production as of,

572
00:32:18,480 --> 00:32:21,680
Speaker 1: this Recording so. I'm interested it would be interesting to

573
00:32:21,720 --> 00:32:25,000
Speaker 1: see what the Director Of lon Moriman in virtuosity would

574
00:32:25,040 --> 00:32:27,400
Speaker 1: have for us in like twenty twenty five of twenty.

575
00:32:27,440 --> 00:32:31,360
Speaker 1: TWENTY six i am. Mighty. Curious, yeah now his music

576
00:32:31,440 --> 00:32:35,680
Speaker 1: video Filmography Includes Peter Gabriel's Kissed that frog from. Ninety

577
00:32:35,720 --> 00:32:39,640
Speaker 1: three this was off of a terrific ALBUM that i

578
00:32:39,840 --> 00:32:43,040
Speaker 1: totally wore out in. The nineties the video is notable

579
00:32:43,040 --> 00:32:45,600
Speaker 1: for its USE of cgi IN a. Cgi frog it

580
00:32:45,640 --> 00:32:49,600
Speaker 1: was actually the FIRST all cgi. Music video apparently.

581
00:32:49,480 --> 00:32:53,760
Speaker 3: The cgi frog has really really. Red lips it's like.

582
00:32:53,880 --> 00:32:55,480
Speaker 3: Lipstick lips this.

583
00:32:56,120 --> 00:32:59,720
Speaker 1: Was obviously a pioneering, music video which is to say

584
00:32:59,800 --> 00:33:03,120
Speaker 1: it it doesn't look that great by, today's standard not

585
00:33:03,160 --> 00:33:06,160
Speaker 1: like a lot Of Other peter gabriel Videos, like sledgehammer,

586
00:33:06,240 --> 00:33:08,320
Speaker 1: you know which has all this great stop motion and

587
00:33:08,480 --> 00:33:09,800
Speaker 1: you know totally stands the test of.

588
00:33:09,840 --> 00:33:12,960
Speaker 3: Time Now But peter gabriel has a presence on the

589
00:33:13,000 --> 00:33:16,000
Speaker 3: soundtrack of this movie. As Well Guess i'm your, Party man.

590
00:33:16,160 --> 00:33:19,320
Speaker 1: That's right a track co Written By. Tory. Amos, wow

591
00:33:20,800 --> 00:33:22,760
Speaker 1: YEAH so i look forward to talking about the music

592
00:33:22,920 --> 00:33:25,360
Speaker 1: as we. Proceed, here, okay okay don't want to get ahead.

593
00:33:25,360 --> 00:33:27,600
Speaker 1: Of you but to Finish, with leonard it is notable

594
00:33:27,680 --> 00:33:31,240
Speaker 1: that he's not just a nineteen nineties POPULARIZER of vr

595
00:33:31,360 --> 00:33:34,160
Speaker 1: sci fi. And tear he also co founded two different

596
00:33:34,160 --> 00:33:36,840
Speaker 1: companies involved in the USE, of vr or is the

597
00:33:36,920 --> 00:33:42,160
Speaker 1: term he prefers as virtual experiences for. Therapeutic purposes So There's, Virtual.

598
00:33:42,160 --> 00:33:43,560
Speaker 1: Psychedelics Inc AND.

599
00:33:43,760 --> 00:33:47,720
Speaker 3: Ubiquity, vx okay no Offense To brett leonard at all,

600
00:33:47,800 --> 00:33:50,080
Speaker 3: about this but it is kind of an odd choice

601
00:33:50,120 --> 00:33:54,240
Speaker 3: to like the stories you have created and sent into

602
00:33:54,280 --> 00:33:58,120
Speaker 3: the WORLD, about vr all about murder and ABOUT LIKE vr,

603
00:33:59,000 --> 00:34:03,840
Speaker 3: vr psycho, you know taking control and unleashing havoc on,

604
00:34:03,880 --> 00:34:06,760
Speaker 3: the world but then also like literally being involved in

605
00:34:06,800 --> 00:34:10,520
Speaker 3: ACTUALLY using vr for allegedly. Good purposes i'm not trying

606
00:34:10,520 --> 00:34:11,560
Speaker 3: to impune what.

607
00:34:11,600 --> 00:34:13,600
Speaker 1: He's, doing, no, NO no i mean he based on

608
00:34:13,640 --> 00:34:15,880
Speaker 1: the INTERVIEW that i watched on, that disk he does

609
00:34:15,920 --> 00:34:17,879
Speaker 1: seem to recognize the irony, of this and, he's okay

610
00:34:17,880 --> 00:34:21,080
Speaker 1: frames it is sort Of like i'm giving back having

611
00:34:21,400 --> 00:34:25,880
Speaker 1: having first helped to create these visions. Of, paranoia yeah so,

612
00:34:26,320 --> 00:34:29,480
Speaker 1: fair enough, all right moving on to, the screenplay it

613
00:34:29,560 --> 00:34:33,160
Speaker 1: Is By, eric, burnt screenwriter perhaps best known for his

614
00:34:33,239 --> 00:34:35,160
Speaker 1: work on, this film but his first credit to his

615
00:34:35,200 --> 00:34:38,919
Speaker 1: screamplay was nineteen Ninety four Surviving, the game Directed BY. Ernest.

616
00:34:39,040 --> 00:34:42,560
Speaker 1: R dickerson this we've talked about this before because we've

617
00:34:42,600 --> 00:34:45,160
Speaker 1: Talked ABOUT Ernest ar. Dickerson before but this is The

618
00:34:45,200 --> 00:34:48,439
Speaker 1: most dangerous game but with, iced tea Hunted By, Rugger Howard,

619
00:34:48,520 --> 00:34:51,080
Speaker 1: gary Busey F marie Abraham AND. John. C.

620
00:34:51,200 --> 00:34:55,560
Speaker 3: McGinley Yeah was dickerson the director Of the tales From

621
00:34:55,560 --> 00:34:56,160
Speaker 3: the Crypt Movie.

622
00:34:56,200 --> 00:34:59,160
Speaker 1: Demon knight, He, was yes we talked about before on.

623
00:34:59,200 --> 00:35:02,040
Speaker 1: The show he also wrote the screenplay for Two Thousands

624
00:35:02,120 --> 00:35:04,720
Speaker 1: Romeo must die and has a story credit on Two thousands.

625
00:35:04,800 --> 00:35:09,640
Speaker 3: Highlander endgame, All right highlander connections from. Different, directions yeah

626
00:35:09,680 --> 00:35:12,160
Speaker 3: there was a lot Of work, highlander world, you know

627
00:35:12,239 --> 00:35:14,480
Speaker 3: so you got paid where you could.

628
00:35:14,480 --> 00:35:15,880
Speaker 1: Get, PAID okay i.

629
00:35:15,880 --> 00:35:19,240
Speaker 3: Think it's time to talk about our implausible a list, Actors.

630
00:35:18,840 --> 00:35:23,319
Speaker 1: Here Yes Playing Lieutenant. Parker barnes you know his Name

631
00:35:23,360 --> 00:35:26,480
Speaker 1: is parker because it's set a bazillion times in. This, Picture,

632
00:35:26,760 --> 00:35:30,560
Speaker 1: hey porker this one's. For, you yeah this is Of

633
00:35:30,600 --> 00:35:34,719
Speaker 1: Course denzel washington born nineteen. Fifty four this is one

634
00:35:34,760 --> 00:35:36,759
Speaker 1: of those moments where, IT'S like i don't have to

635
00:35:36,760 --> 00:35:39,440
Speaker 1: tell anyone out There Who denzel, washington IS but i,

636
00:35:39,480 --> 00:35:43,080
Speaker 1: will say it's so easy to take a talent like him,

637
00:35:43,120 --> 00:35:46,600
Speaker 1: for granted because for people around, my age it feels

638
00:35:46,640 --> 00:35:48,560
Speaker 1: like he's always. Been there, you know he's always been

639
00:35:48,560 --> 00:35:50,359
Speaker 1: there at the top of. His game he's always. Been

640
00:35:50,440 --> 00:35:53,000
Speaker 1: established he's stuck near the top Of the hollywood pantheon

641
00:35:53,440 --> 00:35:56,680
Speaker 1: for decades and just continues to bust, out powerful often

642
00:35:56,719 --> 00:36:00,960
Speaker 1: award winning performances, in big big. Budget films, all told

643
00:36:01,120 --> 00:36:04,319
Speaker 1: he's currently a Nine Time academy award nominee and two.

644
00:36:04,320 --> 00:36:07,360
Speaker 1: Time winner at this point in, his career as we already,

645
00:36:07,360 --> 00:36:11,239
Speaker 1: pointed out he'd been nominated three times and. Won once so,

646
00:36:11,719 --> 00:36:13,879
Speaker 1: you KNOW dare I say he's coming into this, one

647
00:36:13,920 --> 00:36:17,720
Speaker 1: hot having been nominated for nineteen Eighty Eight's, cry freedom

648
00:36:17,760 --> 00:36:21,120
Speaker 1: in nineteen Ninety THREE'S, malcolm x and having won again

649
00:36:21,200 --> 00:36:25,239
Speaker 1: for Nineteen. Nineties glory subsequent nominations would include two Thousands Of,

650
00:36:25,239 --> 00:36:30,239
Speaker 1: the hurricane Twenty thirteen's flight, Twenty seventeens fences Twenty Eighteen's,

651
00:36:30,400 --> 00:36:34,760
Speaker 1: Roman Jay israel esquire and twenty Twenty Two's the Tragedy.

652
00:36:34,840 --> 00:36:38,040
Speaker 1: Of macbeth his to date only Other oscar Win Was

653
00:36:38,280 --> 00:36:41,480
Speaker 1: best actor for his excellent performance as the Dirty Cap

654
00:36:41,480 --> 00:36:45,239
Speaker 1: alonzo harris in two thousand And One's. TRAINING day i

655
00:36:45,360 --> 00:36:47,520
Speaker 1: keep getting a wild hair to rewatch, that one because

656
00:36:47,520 --> 00:36:49,239
Speaker 1: that's that's a film that when it CAME out i

657
00:36:49,320 --> 00:36:52,200
Speaker 1: was really. Captivated by it was just like, really intense

658
00:36:52,680 --> 00:36:55,759
Speaker 1: had some excellent twists and in just a phenomenal sense

659
00:36:55,800 --> 00:36:59,120
Speaker 1: of danger as well as of course at a terrific of,

660
00:37:00,600 --> 00:37:03,440
Speaker 1: i'll say, villain performance but it's a little more complicated,

661
00:37:03,480 --> 00:37:05,880
Speaker 1: than that, you know it's almost Like a shakespearean, villain

662
00:37:05,920 --> 00:37:08,800
Speaker 1: performance which of course brings us To the Tragedy. Of,

663
00:37:08,880 --> 00:37:13,239
Speaker 1: macbeth that of Course Is joel cohen's adaptation Of the

664
00:37:13,239 --> 00:37:16,960
Speaker 1: scottish play that also Co stars, francis McDormand and it

665
00:37:17,080 --> 00:37:19,760
Speaker 1: is also awesome and of course features an amazing supporting

666
00:37:19,760 --> 00:37:23,000
Speaker 1: cast that features A Few cohen brothers regulars as Well As.

667
00:37:23,040 --> 00:37:26,320
Speaker 1: Brian thompson you Might Remember brian thompson from such films

668
00:37:26,320 --> 00:37:28,760
Speaker 1: as The Second Moral, kombat movie in which You Played

669
00:37:28,760 --> 00:37:33,239
Speaker 1: shao khan and loads of like action. B movies, you

670
00:37:33,239 --> 00:37:35,680
Speaker 1: know he was often an, action star but he shows

671
00:37:35,719 --> 00:37:37,719
Speaker 1: up in this as one of the murderers and.

672
00:37:37,920 --> 00:37:41,560
Speaker 3: Is, terrific oh in the Tragedy. Of macbeth Not, In,

673
00:37:41,640 --> 00:37:44,520
Speaker 3: virtuosity no not. IN virtually i would be ASHAMED if

674
00:37:44,520 --> 00:37:45,360
Speaker 3: i had missed Him in.

675
00:37:45,440 --> 00:37:48,200
Speaker 1: Virtuosity, Somewhere Yeah brian thompson was also one of the

676
00:37:48,480 --> 00:37:51,440
Speaker 1: punks that gets beat up and or killed by. The

677
00:37:51,520 --> 00:37:52,680
Speaker 1: terminator yeah that.

678
00:37:52,719 --> 00:37:56,200
Speaker 3: Sounds, Right, yeah WELL as i, Said Earlier denzel washington

679
00:37:56,360 --> 00:38:00,120
Speaker 3: is so much better than this movie. Calls For he

680
00:38:00,120 --> 00:38:04,600
Speaker 3: he's giving the more subdued and humanistic performance And Allowing

681
00:38:04,680 --> 00:38:08,319
Speaker 3: russell crowe the space to just. Be wacky but it's

682
00:38:08,360 --> 00:38:12,080
Speaker 3: both funny and genuinely like a pleasure to see him in. This.

683
00:38:12,239 --> 00:38:17,160
Speaker 1: Role, yeah leonard in the Interview On The blu ray

684
00:38:17,640 --> 00:38:19,640
Speaker 1: Commented that denzel was pretty much at the top of his,

685
00:38:19,680 --> 00:38:22,200
Speaker 1: game here, you know requiring only mild suggestions here, and

686
00:38:22,239 --> 00:38:24,399
Speaker 1: there and otherwise you just like you just let him run,

687
00:38:24,400 --> 00:38:26,120
Speaker 1: with it and he nails it right out of, the

688
00:38:26,160 --> 00:38:29,200
Speaker 1: gate possessing what he described as an almost like superhuman

689
00:38:29,239 --> 00:38:31,360
Speaker 1: ability to know exactly where his face is in a

690
00:38:31,400 --> 00:38:34,520
Speaker 1: given shot and just maximize, his expression.

691
00:38:34,360 --> 00:38:39,080
Speaker 3: Which is interesting because that's a very film. Specific TALENT

692
00:38:39,640 --> 00:38:42,879
Speaker 3: and I know i've Read That denzel washington very much

693
00:38:42,960 --> 00:38:45,880
Speaker 3: thinks of himself as like a stage. PERFORMER first, i,

694
00:38:45,880 --> 00:38:48,120
Speaker 3: mean obviously, you know more people know him from, his

695
00:38:48,239 --> 00:38:51,240
Speaker 3: movies but he, you know he's a very like stage

696
00:38:51,239 --> 00:38:52,879
Speaker 3: and theater focused actor in. A.

697
00:38:52,840 --> 00:38:55,960
Speaker 1: Way, yeah, yeah yeah he's back on the stage currently

698
00:38:56,000 --> 00:38:59,600
Speaker 1: as we're recording this. As well but as far as

699
00:38:59,680 --> 00:39:02,400
Speaker 1: sci fi movies. It goes it's. Actually interesting this is

700
00:39:02,400 --> 00:39:05,040
Speaker 1: only one of three sci fi Movies that denzel has ever,

701
00:39:05,080 --> 00:39:07,520
Speaker 1: APPEARED in, i believe alongside two thousand and Six Is

702
00:39:07,680 --> 00:39:11,279
Speaker 1: deja vus and Twenty Ten's the Book. Of eli and

703
00:39:11,320 --> 00:39:13,239
Speaker 1: of course he's still going. Strong today just came off

704
00:39:13,280 --> 00:39:16,279
Speaker 1: of a key Role In Ridley scott's, gladiator two which

705
00:39:16,320 --> 00:39:19,120
Speaker 1: is fitting given who our next. Star is that's.

706
00:39:19,120 --> 00:39:21,080
Speaker 3: All right RACHEL and i were just talking about this

707
00:39:21,200 --> 00:39:24,479
Speaker 3: that it's got Two different gladiator actors at the, top

708
00:39:24,520 --> 00:39:26,880
Speaker 3: here and, of, course yeah of course that brings Us

709
00:39:26,880 --> 00:39:28,919
Speaker 3: To russell CROWE as sid six.

710
00:39:28,960 --> 00:39:31,680
Speaker 1: Point seven. That's right do you think.

711
00:39:31,520 --> 00:39:34,800
Speaker 3: It would have been different actors in the role OF previous,

712
00:39:34,920 --> 00:39:39,560
Speaker 3: sid releases LIKE was sid three Point Nine michael dudikov

713
00:39:39,840 --> 00:39:41,839
Speaker 3: and then by the time you get to six point

714
00:39:41,880 --> 00:39:42,480
Speaker 3: Seven That's.

715
00:39:42,560 --> 00:39:46,600
Speaker 1: Russell crowe that that would be interesting that if they

716
00:39:46,600 --> 00:39:49,000
Speaker 1: Do A virtuosity, tv series, you know they could do,

717
00:39:49,080 --> 00:39:51,080
Speaker 1: different sids. Different actors it could BE a sid of the.

718
00:39:51,080 --> 00:39:55,880
Speaker 1: Weak Situation So russell crowe born nineteen, Sixty Four new

719
00:39:55,960 --> 00:39:59,920
Speaker 1: zealand born Actor of Welsh and maouri Ancestry As. WE

720
00:40:00,080 --> 00:40:02,280
Speaker 1: denzel i really don't need to tell. You Who russell.

721
00:40:02,320 --> 00:40:05,279
Speaker 1: Crowe is very, famous actor but with A decidedly i

722
00:40:05,280 --> 00:40:08,239
Speaker 1: would say wilder reputation in. A filmography to fit, That

723
00:40:08,320 --> 00:40:12,920
Speaker 1: reputation crow starred started off in music, and Theater including

724
00:40:12,960 --> 00:40:16,680
Speaker 1: i'm delighted to Say playing eddie In A new zealand

725
00:40:16,680 --> 00:40:18,000
Speaker 1: Production Of The Rocky Horror.

726
00:40:18,040 --> 00:40:20,520
Speaker 3: Picture show oh that's surprising.

727
00:40:20,680 --> 00:40:23,440
Speaker 1: But also kind. Of perfect, YOU know i think he

728
00:40:23,520 --> 00:40:25,640
Speaker 1: was in he was like in a band at, one point,

729
00:40:25,760 --> 00:40:28,080
Speaker 1: very early, you know before he really got. Into ACTING

730
00:40:28,239 --> 00:40:33,759
Speaker 1: so i can Definitely See russell Crowe. As eddie he Has, meat,

731
00:40:34,680 --> 00:40:37,200
Speaker 1: Yeah yeah eddie was played By meat loaf in the

732
00:40:37,840 --> 00:40:40,399
Speaker 1: In The Rocky Art. Picture show for anyone who's trying

733
00:40:40,400 --> 00:40:44,800
Speaker 1: to remember. The, Casting now crow Broke into australian cinema.

734
00:40:44,840 --> 00:40:47,759
Speaker 1: AFTER this a couple of big hits here were ninety

735
00:40:47,840 --> 00:40:52,080
Speaker 1: Ninety one's proof and nineteen Ninety Two's romper stomper rather

736
00:40:52,120 --> 00:40:55,200
Speaker 1: famous role in which he Plays a, melbourne skinhead and

737
00:40:55,320 --> 00:40:58,719
Speaker 1: these films helped to springboard Him into american pictures and

738
00:40:58,760 --> 00:41:01,520
Speaker 1: that's really where. Virtuosity comes in the, same year he

739
00:41:01,520 --> 00:41:04,160
Speaker 1: also appeared In The sam Raimy Western the quick And.

740
00:41:04,239 --> 00:41:07,360
Speaker 3: The dead never seen? That one is that one that

741
00:41:07,440 --> 00:41:10,319
Speaker 3: Also Has? Sharon, STONE yeah i believe she's the lead.

742
00:41:10,360 --> 00:41:15,000
Speaker 1: In, it yeah. So yeah leonard also talked about about

743
00:41:15,120 --> 00:41:17,239
Speaker 1: Working With russell crowe And Said russell crowe is also

744
00:41:17,280 --> 00:41:20,080
Speaker 1: a situation of where you turn him loose and you

745
00:41:20,200 --> 00:41:22,319
Speaker 1: just follow him, and maybe, you know give him a

746
00:41:22,320 --> 00:41:27,040
Speaker 1: few few directions here. And there but He described crowe

747
00:41:27,040 --> 00:41:30,000
Speaker 1: as being kind of like a bundle of improvisational energy

748
00:41:30,360 --> 00:41:32,480
Speaker 1: and so a lot of his lines here that we

749
00:41:32,520 --> 00:41:35,719
Speaker 1: get some of the, great ones our improvisations that he

750
00:41:35,840 --> 00:41:37,920
Speaker 1: brought to, the script that he brought to.

751
00:41:37,960 --> 00:41:41,040
Speaker 3: THE scenes i think you can detect that without even.

752
00:41:41,160 --> 00:41:43,399
Speaker 3: Knowing it it just comes through in. The movie there's

753
00:41:43,920 --> 00:41:46,640
Speaker 3: this might sound like a wild comparison but there is

754
00:41:46,760 --> 00:41:50,720
Speaker 3: Almost A jim carrey quality to him In, this.

755
00:41:51,280 --> 00:41:55,640
Speaker 1: Yes, yes, absolutely yeah that kind Of, Like, Batman joker

756
00:41:55,719 --> 00:41:58,360
Speaker 1: riddler kind of energy where it's just, you know laughing.

757
00:41:58,400 --> 00:42:02,920
Speaker 1: And goofy our man here is doing backflips INTO the

758
00:42:03,040 --> 00:42:07,880
Speaker 1: ufc octagon and landing on his head seemingly. ON purpose,

759
00:42:07,960 --> 00:42:12,240
Speaker 1: i mean he's. Completely. Unhinged Yeah So russell crowe followed

760
00:42:12,600 --> 00:42:16,480
Speaker 1: all this with well received performances in such Hits As

761
00:42:16,600 --> 00:42:20,279
Speaker 1: la confidential in, Ninety Seven the insider in. Ninety nine

762
00:42:20,320 --> 00:42:23,080
Speaker 1: he Got an oscar nomination for, that one before his

763
00:42:23,200 --> 00:42:26,480
Speaker 1: award winning star Performance In Ridley scott's gladiator in two thousand.

764
00:42:26,520 --> 00:42:28,920
Speaker 1: And one he was nominated the following YEAR For A.

765
00:42:28,920 --> 00:42:32,319
Speaker 1: Beautiful mind subsequent films of note include the likes of

766
00:42:32,360 --> 00:42:34,800
Speaker 1: two thousand, And Threes, Mastering Commander The far side Of,

767
00:42:34,840 --> 00:42:38,680
Speaker 1: the world two thousand And One's american Gangster With, denzel

768
00:42:38,800 --> 00:42:42,360
Speaker 1: Washington And Ridley Scott's robin hood in. Twenty, ten now around,

769
00:42:42,360 --> 00:42:44,200
Speaker 1: Twenty ten i'd say the credits start getting a, little

770
00:42:44,200 --> 00:42:46,160
Speaker 1: weirder and it feels like he gets he's getting to

771
00:42:46,200 --> 00:42:49,239
Speaker 1: flex his muscles and supporting roles half, the time and

772
00:42:49,320 --> 00:42:52,160
Speaker 1: even some villain, work again appearing in the likes of

773
00:42:52,320 --> 00:42:56,040
Speaker 1: Twenty Twelve's the man With The, iron fists Twenty thirteen's Man,

774
00:42:56,040 --> 00:43:00,719
Speaker 1: of steel Twenty, fourteen's noah Twenty Seventeen's, the mummy twenty

775
00:43:00,800 --> 00:43:03,960
Speaker 1: Twenty two's Love, and thunder, which again this is where

776
00:43:03,960 --> 00:43:06,719
Speaker 1: He plays zeus and he gets to just be over

777
00:43:06,760 --> 00:43:10,640
Speaker 1: the top, and comedic but also has at least one

778
00:43:10,760 --> 00:43:15,160
Speaker 1: key scene that he's just oozing with. Villainous energy so

779
00:43:15,200 --> 00:43:18,359
Speaker 1: it's very fun. To watch a lot of people did

780
00:43:18,360 --> 00:43:20,640
Speaker 1: Not like Love and thunder all. THAT much i didn't

781
00:43:20,680 --> 00:43:22,239
Speaker 1: like it as much the FIRST time i, watched IT

782
00:43:22,280 --> 00:43:24,680
Speaker 1: but i really came around to it the. Second time if,

783
00:43:24,719 --> 00:43:29,120
Speaker 1: nothing else it's a wacky film with some incredibly talented actors.

784
00:43:29,120 --> 00:43:31,759
Speaker 1: In it you Could See christian bale play a mad god,

785
00:43:31,840 --> 00:43:35,800
Speaker 1: killing alien so you know it's worth. The, Ticket okay

786
00:43:36,640 --> 00:43:39,359
Speaker 1: but then He's lately crow has been playing a lot.

787
00:43:39,400 --> 00:43:43,480
Speaker 1: Of exorcists twenty twenty Three Is The pope's exorcist and

788
00:43:43,520 --> 00:43:47,200
Speaker 1: twenty Twenty Fours. The exorcist these are apparently not related to.

789
00:43:47,239 --> 00:43:50,240
Speaker 1: EACH other i haven't, seen THEM so i can't, fully

790
00:43:50,239 --> 00:43:53,080
Speaker 1: COMMENT but i. Don't know he's just saying yes to.

791
00:43:53,120 --> 00:43:56,399
Speaker 3: EXORCIST pictures i Haven't Seen The. Pope's exorcist, IN fact

792
00:43:56,480 --> 00:43:58,719
Speaker 3: i don't know what it's about other than what one

793
00:43:58,800 --> 00:44:01,480
Speaker 3: might surmise from. The title but it pops up on,

794
00:44:01,560 --> 00:44:04,160
Speaker 3: streaming services and so in our house we keep Making

795
00:44:04,160 --> 00:44:04,640
Speaker 3: The pope's.

796
00:44:04,640 --> 00:44:08,920
Speaker 1: Exorcist jokes is he an exorcist working For? The pope

797
00:44:09,040 --> 00:44:11,399
Speaker 1: or is he Exercising? The pope many.

798
00:44:11,440 --> 00:44:14,000
Speaker 3: Good questions Is the pope possessed by a devil and

799
00:44:14,160 --> 00:44:16,840
Speaker 3: he has to? Exercise it or do people get possessed

800
00:44:16,920 --> 00:44:18,680
Speaker 3: by the spirit Of the pope and he has to

801
00:44:18,719 --> 00:44:19,800
Speaker 3: go Exercise the pope?

802
00:44:19,800 --> 00:44:20,640
Speaker 1: FROM people.

803
00:44:22,160 --> 00:44:22,239
Speaker 3: I.

804
00:44:22,239 --> 00:44:25,880
Speaker 1: Don't know we're going to have to await listeners to

805
00:44:26,440 --> 00:44:27,279
Speaker 1: tell us how this all.

806
00:44:27,280 --> 00:44:30,440
Speaker 3: Plays OUT can i read a quote From The Janet

807
00:44:30,480 --> 00:44:33,919
Speaker 3: Maslin New york times Review of virtuosity when it. Came

808
00:44:33,960 --> 00:44:38,160
Speaker 3: out oh don't fully agree With everything maslin, says here

809
00:44:38,160 --> 00:44:40,480
Speaker 3: but just for how it was received at, The time,

810
00:44:41,360 --> 00:44:45,000
Speaker 3: She Writes mister washington is usually an actor audiences will

811
00:44:45,000 --> 00:44:48,120
Speaker 3: follow into, any dimension but here his role, is, limited,

812
00:44:48,120 --> 00:44:50,719
Speaker 3: too often leaving him to play second fiddle to the

813
00:44:50,719 --> 00:44:55,839
Speaker 3: film's weirdly hypnotic. Special Effects mister crowe as a psychotic,

814
00:44:55,960 --> 00:44:59,440
Speaker 3: yuppie type bearing a disconcerting resemblance to The Writer. Brett

815
00:44:59,440 --> 00:45:04,520
Speaker 3: easton l does a memorable job making himself frightening until

816
00:45:04,560 --> 00:45:07,279
Speaker 3: the film becomes numbingly frantic in the manner of many.

817
00:45:07,360 --> 00:45:11,040
Speaker 3: Video games while it excoriates the vicious sid as the

818
00:45:11,080 --> 00:45:14,440
Speaker 3: techno spawn of Monsters Like adolf Hitler And John, Wayne

819
00:45:14,440 --> 00:45:19,239
Speaker 3: gacy virtuosity also revels in his exploits with more enthusiasm

820
00:45:19,560 --> 00:45:23,400
Speaker 3: than is. Really necessary, You know i'm gonna agree with

821
00:45:23,520 --> 00:45:25,800
Speaker 3: the later part. Of that one of the downsides of

822
00:45:25,840 --> 00:45:29,040
Speaker 3: the film, is like it's like, mostly silly but then

823
00:45:29,120 --> 00:45:31,960
Speaker 3: sometimes the violent scenes just get a little. Too real,

824
00:45:32,080 --> 00:45:34,240
Speaker 3: it's like, oh man that went harder than it. Needed

825
00:45:34,239 --> 00:45:37,680
Speaker 3: to but the other, THING is i like the Characterization

826
00:45:37,960 --> 00:45:41,760
Speaker 3: Of russell crow here is as a psychotic yuppie type

827
00:45:42,200 --> 00:45:45,000
Speaker 3: because that captures something about the ROLE that i didn't

828
00:45:45,040 --> 00:45:47,640
Speaker 3: quite put TOGETHER when i was just reacting to. It myself,

829
00:45:47,640 --> 00:45:50,399
Speaker 3: but yeah there is a kind of urbanity, to him

830
00:45:50,840 --> 00:45:52,560
Speaker 3: do you KNOW what? I mean like he's kind of

831
00:45:53,360 --> 00:45:56,800
Speaker 3: he's kind of suave and sophisticated at the same time

832
00:45:56,920 --> 00:46:01,080
Speaker 3: that he is supposed to be, an uncontrolled manic, psycho

833
00:46:01,200 --> 00:46:04,960
Speaker 3: killer and that is clearly it's part of what the

834
00:46:05,000 --> 00:46:08,600
Speaker 3: appeal of the. Character is but it, ALSO feels i,

835
00:46:08,640 --> 00:46:12,960
Speaker 3: don't know it's like a very. Unfocused characterization this character

836
00:46:13,120 --> 00:46:15,280
Speaker 3: is just a lot of things thrown at, the wall

837
00:46:15,520 --> 00:46:16,320
Speaker 3: you KNOW what. I, mean.

838
00:46:16,360 --> 00:46:18,600
Speaker 1: Yeah but of course that also is exactly what.

839
00:46:18,640 --> 00:46:18,719
Speaker 3: He.

840
00:46:18,880 --> 00:46:22,319
Speaker 1: Is, like yeah there's like a multiple personality situation. Going on,

841
00:46:22,360 --> 00:46:24,640
Speaker 1: but yeah then also as it's, you know it's brought

842
00:46:24,680 --> 00:46:27,000
Speaker 1: to life on, the screen you can see so many different,

843
00:46:27,040 --> 00:46:37,840
Speaker 1: influences there, all right getting into the rest of, the

844
00:46:37,880 --> 00:46:39,799
Speaker 1: CAST and i should say the rest of the cast

845
00:46:39,880 --> 00:46:42,120
Speaker 1: is very much the rest of the. Cast, here yeah,

846
00:46:42,280 --> 00:46:46,120
Speaker 1: you know they're all supporting what are our two stars.

847
00:46:46,120 --> 00:46:49,040
Speaker 1: Are doing but We Have kelly lynch playing. The Character

848
00:46:49,080 --> 00:46:52,080
Speaker 1: madison carter born nineteen Fifty nine, american actress best known

849
00:46:52,080 --> 00:46:55,279
Speaker 1: for performances in nineteen Eighty Nine's, drugstore cowboy as Well

850
00:46:55,320 --> 00:46:58,080
Speaker 1: as roadhouse from the. Same year she's continued to work

851
00:46:58,080 --> 00:47:00,440
Speaker 1: steadily in FILM, and tv Appearing In Such is The,

852
00:47:00,560 --> 00:47:04,640
Speaker 1: L Word, Magic City, mister Mercedes And physical you.

853
00:47:04,600 --> 00:47:07,160
Speaker 3: Know how whenever a copy gets thrown off the force

854
00:47:07,320 --> 00:47:10,200
Speaker 3: is brought back for one. Last job he always has

855
00:47:10,239 --> 00:47:11,960
Speaker 3: to get a. New partner here's your new.

856
00:47:12,000 --> 00:47:15,800
Speaker 1: Partner exactly and so it is very much a supporting

857
00:47:15,920 --> 00:47:18,200
Speaker 1: role in the most limited sense of. The word like

858
00:47:18,440 --> 00:47:21,799
Speaker 1: everything she's doing is here to support the Characterization Of

859
00:47:21,840 --> 00:47:23,920
Speaker 1: denzel washington's character and have her.

860
00:47:24,000 --> 00:47:27,759
Speaker 3: Kid kidnapped this we'll. Discuss it she does get to

861
00:47:27,760 --> 00:47:29,040
Speaker 3: shoot the human bad guy at.

862
00:47:29,040 --> 00:47:32,439
Speaker 1: The end. That's true. That's. True oh in speaking of human, bad,

863
00:47:32,480 --> 00:47:36,160
Speaker 1: guy yep It Is lynden meyer Played By steven spinella

864
00:47:36,560 --> 00:47:40,120
Speaker 1: for nineteen. Fifty six this was only his third. Film appearance,

865
00:47:40,160 --> 00:47:44,680
Speaker 1: but man this guy has tremendous weird energy because he's

866
00:47:44,800 --> 00:47:49,160
Speaker 1: the Creator of sid six. Point seven but also it's

867
00:47:49,560 --> 00:47:53,480
Speaker 1: clear that he's now completely enraptured by his creation and

868
00:47:53,600 --> 00:47:57,480
Speaker 1: is worshiping his creation and wants to do anything. He

869
00:47:57,520 --> 00:48:00,839
Speaker 1: can he has a true love for this awful thing that.

870
00:48:00,880 --> 00:48:05,040
Speaker 1: He's made. He's continued spinell has continued to milk his

871
00:48:05,120 --> 00:48:07,400
Speaker 1: weird energy and some other great weird productions over. The

872
00:48:07,480 --> 00:48:10,480
Speaker 1: years nineteen Ninety, nine's ravenous another FILM that i think

873
00:48:10,520 --> 00:48:14,920
Speaker 1: would be interesting to revisit in twenty, twenty five Twenty

874
00:48:14,960 --> 00:48:18,000
Speaker 1: ten's rubber and that's that's one that's been recommended to,

875
00:48:18,080 --> 00:48:21,640
Speaker 1: us before and Then Also Steven Soderberg's, the NICK which

876
00:48:22,239 --> 00:48:24,759
Speaker 1: i am struggling to remember who. He played there were

877
00:48:24,760 --> 00:48:26,160
Speaker 1: a lot of actors coming in and out of that

878
00:48:26,800 --> 00:48:29,600
Speaker 1: shows what two. Season Run but i'm a big Fan Of,

879
00:48:29,600 --> 00:48:34,280
Speaker 1: the nick. All right we Also have william Forsythe playing

880
00:48:34,680 --> 00:48:39,680
Speaker 1: william cochrane is this character is the what he's the, police,

881
00:48:39,760 --> 00:48:43,200
Speaker 1: Chief right, he's like you're the BEST cop i ever.

882
00:48:43,320 --> 00:48:46,960
Speaker 1: Worked with you're the. Absolute best i'm the as well as,

883
00:48:47,160 --> 00:48:48,360
Speaker 1: He's like i'm gonna get you out of prison and

884
00:48:48,400 --> 00:48:49,560
Speaker 1: get you back on, the force that sort.

885
00:48:49,560 --> 00:48:51,960
Speaker 3: Of thing there's only one man who can stop, this

886
00:48:52,000 --> 00:48:53,719
Speaker 3: thread and that's the protagonist of.

887
00:48:53,760 --> 00:48:56,240
Speaker 1: This film. That's RIGHT so i don't know how we've

888
00:48:56,280 --> 00:48:59,560
Speaker 1: avoided Watching A william forthlyfe movie up until now because

889
00:48:59,760 --> 00:49:02,520
Speaker 1: his tons. Of Credits the american character actor who's made

890
00:49:02,560 --> 00:49:05,400
Speaker 1: a career out of playing mostly heavies, and cops exactly

891
00:49:05,560 --> 00:49:08,440
Speaker 1: like his role in. This film but he also played

892
00:49:08,480 --> 00:49:12,640
Speaker 1: the Escape convict evil in nineteen Eighty Seven's. Raising arizona

893
00:49:14,080 --> 00:49:16,319
Speaker 1: that great line, He's, like hi you're young and you got.

894
00:49:16,360 --> 00:49:17,319
Speaker 1: Your health what you want with.

895
00:49:17,400 --> 00:49:19,720
Speaker 3: The job he has the great scene where he holds

896
00:49:19,800 --> 00:49:23,359
Speaker 3: up the general store to steal DIAPERS and i think

897
00:49:23,400 --> 00:49:25,839
Speaker 3: he steals balloons and he says these blow up into,

898
00:49:25,840 --> 00:49:28,200
Speaker 3: funny shapes and the, guy says not unless round.

899
00:49:28,320 --> 00:49:28,400
Speaker 2: Is.

900
00:49:28,440 --> 00:49:32,640
Speaker 1: Funny yeah so he's great, in that and that role

901
00:49:32,719 --> 00:49:35,479
Speaker 1: like definitely stands apart from most of what he's, known

902
00:49:35,520 --> 00:49:39,040
Speaker 1: for because other films of note include he played the

903
00:49:39,120 --> 00:49:42,920
Speaker 1: Mutant Gangster flat top in Nineteen Nineties dick tracy and

904
00:49:43,320 --> 00:49:45,799
Speaker 1: pops up in Three Different rob, zombie projects His two,

905
00:49:45,840 --> 00:49:49,080
Speaker 1: Halloween Movies The, devil's rejects and also the EPISODE Of

906
00:49:49,120 --> 00:49:50,439
Speaker 1: csi Miami That rob.

907
00:49:50,520 --> 00:49:53,759
Speaker 3: Zombie directed it's hard for me to recommend any Of

908
00:49:53,760 --> 00:49:57,239
Speaker 3: Those rob. Zombie Movies devil's rejects is a, little ROUGH

909
00:49:57,280 --> 00:49:59,560
Speaker 3: but I Remember william forsyth being pretty great. In.

910
00:49:59,600 --> 00:50:02,120
Speaker 1: It, Yeah yeah like he gets in there and he does.

911
00:50:02,160 --> 00:50:06,320
Speaker 1: His thing it. Very, dependable oh we Have another oscar.

912
00:50:06,360 --> 00:50:10,320
Speaker 1: Winner here We Have louise fletcher playing The Character. Elizabeth

913
00:50:10,440 --> 00:50:12,799
Speaker 1: DEAN she's i guess what, she's LIKE a ceo or

914
00:50:12,800 --> 00:50:14,920
Speaker 1: something of the company.

915
00:50:14,520 --> 00:50:17,640
Speaker 3: That she's the, police commissioner a. Police, Commissioner, OKAY yeah

916
00:50:18,080 --> 00:50:21,360
Speaker 3: i Feel Like louise fletcher is a. Great actress absolutely

917
00:50:21,400 --> 00:50:24,120
Speaker 3: wasted here is like the character has nothing. To do

918
00:50:24,280 --> 00:50:26,719
Speaker 3: she just stands around being the authority figure in.

919
00:50:26,800 --> 00:50:30,080
Speaker 1: Several. Scenes yep she lived nineteen thirty four through twenty,

920
00:50:30,120 --> 00:50:32,400
Speaker 1: twenty two best known for a role in nineteen Seventy

921
00:50:32,400 --> 00:50:35,319
Speaker 1: Five's One flu Over The, cuckoo's nest for which she

922
00:50:35,760 --> 00:50:39,160
Speaker 1: Won A Best Supporting Actress. Academy award also known for

923
00:50:39,280 --> 00:50:41,920
Speaker 1: nineteen Eighty sevens flowers In the attic and episodes OF

924
00:50:41,920 --> 00:50:44,960
Speaker 1: such tv SHOWS As d space Nine. And Shameless, all

925
00:50:45,040 --> 00:50:47,719
Speaker 1: right we Also Have william Fitchner playing wallace In this

926
00:50:47,800 --> 00:50:51,319
Speaker 1: born nineteen. Fifty Six another william, character actor this one

927
00:50:51,360 --> 00:50:54,880
Speaker 1: best known for playing kind of a mix authority figures

928
00:50:54,920 --> 00:50:58,520
Speaker 1: and also slimy. Suit types his credits include nineteen Ninety,

929
00:50:58,520 --> 00:51:02,320
Speaker 1: eight's armageddon two Thousand Four, words crash and Twenty Fourteen's

930
00:51:02,360 --> 00:51:05,239
Speaker 1: Teenage Mutant, ninja turtles in which he plays a version Of.

931
00:51:05,360 --> 00:51:06,520
Speaker 1: The shredder that's.

932
00:51:06,640 --> 00:51:13,759
Speaker 3: Weird, casting yeah, once again Nothing Against. William fitchner he's

933
00:51:14,040 --> 00:51:15,920
Speaker 3: doing what. He CAN but i don't even know why this.

934
00:51:16,040 --> 00:51:19,200
Speaker 3: Character exists does this character have any distinct role to

935
00:51:19,239 --> 00:51:19,560
Speaker 3: play in?

936
00:51:19,600 --> 00:51:22,440
Speaker 1: The? Story yeah does this character do anything that could

937
00:51:22,440 --> 00:51:25,279
Speaker 1: not have been combined into. Another, CHARACTER yeah i don't,

938
00:51:25,280 --> 00:51:29,040
Speaker 1: think so, oh man but we also have, This Character.

939
00:51:29,080 --> 00:51:33,560
Speaker 1: Clyde riley you mentioned that the developers of, the TECHNOLOGY the,

940
00:51:33,600 --> 00:51:36,160
Speaker 1: vr technology were working out some of. The kinks this

941
00:51:36,200 --> 00:51:39,640
Speaker 1: guy was definitely working out some kinks with. The technology

942
00:51:40,160 --> 00:51:43,520
Speaker 1: played by The EXCELLENT. Kevin j O'Connor born nineteen, sixty

943
00:51:43,520 --> 00:51:47,080
Speaker 1: three great creep, character actor who of course plays a

944
00:51:47,120 --> 00:51:48,560
Speaker 1: creep in. THIS film i.

945
00:51:48,480 --> 00:51:50,640
Speaker 3: Feel like he was on a role in the nineties

946
00:51:50,640 --> 00:51:54,759
Speaker 3: of playing various kinds, of squirming.

947
00:51:54,840 --> 00:51:59,959
Speaker 1: Pathetic, dweeves yes frequently Cast By stephen sommers and Such

948
00:52:00,120 --> 00:52:03,719
Speaker 1: films is nineteen, Ninety Eight, deep rising nineteen ninety Nine Is,

949
00:52:03,760 --> 00:52:05,600
Speaker 1: the mummy and then later on two thousand And Fours.

950
00:52:05,680 --> 00:52:08,880
Speaker 1: Van helsing but he's also worked steadily in a lot

951
00:52:08,960 --> 00:52:12,040
Speaker 1: of high quality, mainstream productions like the Likes Of Paul

952
00:52:12,080 --> 00:52:14,279
Speaker 1: Thomas Anderson's There Will be blood in two thousand, And

953
00:52:14,320 --> 00:52:18,360
Speaker 1: Seven the master in. Twenty twelve you also might recognize

954
00:52:18,400 --> 00:52:21,680
Speaker 1: him from another nineteen ninety, Five Film Clive barker's Lord,

955
00:52:21,680 --> 00:52:24,360
Speaker 1: of illusions in which he plays The Magician. Philip swan

956
00:52:25,200 --> 00:52:27,479
Speaker 1: what was his role In, THE mummy i Haven't Seen

957
00:52:27,520 --> 00:52:29,960
Speaker 1: the mummy in. So, long Oh he's benny In.

958
00:52:30,040 --> 00:52:32,520
Speaker 3: The mummy he's. The guy so This Is the Mummy

959
00:52:32,520 --> 00:52:37,160
Speaker 3: With brendan Fraser And, rachel weiss also from the year nineteen.

960
00:52:37,239 --> 00:52:38,359
Speaker 1: Ninety nine but.

961
00:52:38,440 --> 00:52:40,160
Speaker 3: His thing in the movie is that he like he's.

962
00:52:40,200 --> 00:52:43,400
Speaker 3: A coward, he's like while everybody else is being dashing

963
00:52:43,480 --> 00:52:46,400
Speaker 3: and rushing, into danger he's always running away from danger

964
00:52:46,440 --> 00:52:50,759
Speaker 3: and trying to save. His skin as so he is

965
00:52:51,520 --> 00:52:55,680
Speaker 3: a comic relief. COWARD character i remember THINKING after I

966
00:52:55,760 --> 00:52:58,239
Speaker 3: Watched the mummy one time we were joking in. MY

967
00:52:58,280 --> 00:53:00,799
Speaker 3: house i thought a good photoshop job would be to

968
00:53:00,840 --> 00:53:05,680
Speaker 3: Do A People Magazine Sexiest man alive cover from like nineteen,

969
00:53:05,719 --> 00:53:08,880
Speaker 3: ninety nine, two thousand the. Millennial style but it's just

970
00:53:09,000 --> 00:53:12,080
Speaker 3: O'Connor in character From, the mummy and It. SAYS benny

971
00:53:13,560 --> 00:53:15,759
Speaker 3: i mean no Offense to kevin. Connor personally it's just

972
00:53:15,760 --> 00:53:19,719
Speaker 3: like he plays these pathetic dweeb characters, very well and

973
00:53:19,760 --> 00:53:23,719
Speaker 3: In the mummy his vices cowardice in virtuosity, and jeez It's.

974
00:53:23,840 --> 00:53:28,479
Speaker 1: Lust, yep yeah we'll come back, to him. All right

975
00:53:29,040 --> 00:53:31,200
Speaker 1: we have This Character, john donovan who's not in it

976
00:53:31,239 --> 00:53:36,320
Speaker 1: for very long Played By kostas mandolar born nineteen. Sixty

977
00:53:36,360 --> 00:53:40,560
Speaker 1: five i'm only mentioning him, Because, apparently mandolar we're going

978
00:53:40,560 --> 00:53:43,240
Speaker 1: to play a pivotal role in The later. SAW sequels

979
00:53:43,600 --> 00:53:45,719
Speaker 1: i had asked My Friend david streepy about this because

980
00:53:45,760 --> 00:53:48,959
Speaker 1: he's he's really up On the, saw movies the, soap

981
00:53:49,000 --> 00:53:51,319
Speaker 1: opera noess, of them not so much the murder. Of

982
00:53:51,360 --> 00:53:53,640
Speaker 1: them but, he, says quote the back half of the

983
00:53:53,680 --> 00:53:55,759
Speaker 1: franchise can't happen, without him so.

984
00:53:56,000 --> 00:53:58,120
Speaker 3: Fair enough he's a load bearing.

985
00:53:58,120 --> 00:54:04,360
Speaker 1: Element, exactly oh and then We Have kaylee quoko playing

986
00:54:04,560 --> 00:54:08,880
Speaker 1: The Character, karen carter a little girl in this born nineteen.

987
00:54:08,920 --> 00:54:11,200
Speaker 1: Eighty five this little girl would go on To become

988
00:54:11,280 --> 00:54:13,520
Speaker 1: penny On The Big. Bang theory i'm.

989
00:54:13,320 --> 00:54:15,600
Speaker 3: Not A Big bang, theory WATCHER so i don't know,

990
00:54:15,680 --> 00:54:18,640
Speaker 3: the character but when she shows up as the child in,

991
00:54:18,680 --> 00:54:21,520
Speaker 3: this movie you just like instantly, are like, oh no

992
00:54:22,239 --> 00:54:25,080
Speaker 3: the conversation with this child is going on, too long

993
00:54:25,160 --> 00:54:27,520
Speaker 3: and that means definitely the child will be in peril

994
00:54:27,560 --> 00:54:28,240
Speaker 3: in the, third.

995
00:54:28,040 --> 00:54:29,760
Speaker 1: Act where you're going to get Into A gene siskal

996
00:54:29,840 --> 00:54:30,440
Speaker 1: situation with.

997
00:54:30,520 --> 00:54:34,160
Speaker 3: This Character Yeahs russell crowe is going to kidnap her

998
00:54:34,200 --> 00:54:35,799
Speaker 3: and tire her to a bomb like we saw on.

999
00:54:35,840 --> 00:54:36,839
Speaker 3: The flashback it's.

1000
00:54:36,960 --> 00:54:40,040
Speaker 1: Very. Predictable yeah quoco has been in a bunch of

1001
00:54:40,040 --> 00:54:43,600
Speaker 1: interesting Projects Post Big, bang THEORY Including TVs The, flight

1002
00:54:43,600 --> 00:54:45,719
Speaker 1: ATTENDANT which i. DID watch i thought she was very good.

1003
00:54:45,719 --> 00:54:48,880
Speaker 1: In that she Also Voices harley quinn on The Current

1004
00:54:48,920 --> 00:54:53,319
Speaker 1: harley quinn. Animated series, Oh, Cool Oh tracy lord's. Is

1005
00:54:53,360 --> 00:54:56,400
Speaker 1: back we talked about Her. In blade she's one of

1006
00:54:56,400 --> 00:55:00,680
Speaker 1: the vampire Henchmen. In blade here she Played A media,

1007
00:55:00,800 --> 00:55:03,600
Speaker 1: Zone SINGER so i think she's sort of playing. Herself

1008
00:55:03,640 --> 00:55:08,320
Speaker 1: here this is another film where we have some major nineties,

1009
00:55:08,440 --> 00:55:10,840
Speaker 1: rave ENERGY and i think that's like where she was

1010
00:55:10,920 --> 00:55:14,279
Speaker 1: at this point, With her like, You know reinventions is a,

1011
00:55:14,360 --> 00:55:17,560
Speaker 1: musical act and so she kind of plays herself here

1012
00:55:17,680 --> 00:55:20,279
Speaker 1: performing The Track, fallen angel which is also on.

1013
00:55:20,320 --> 00:55:22,680
Speaker 3: THE soundtrack i was going to talk about, this later

1014
00:55:22,719 --> 00:55:27,160
Speaker 3: but you kind of can't have a, really Complete coherent

1015
00:55:27,239 --> 00:55:30,920
Speaker 3: cyberslot movie without a techno. Club scene you always have to.

1016
00:55:30,960 --> 00:55:33,680
Speaker 3: Have one not all the movies, have one but when

1017
00:55:33,960 --> 00:55:36,759
Speaker 3: you don't, have one you feel. Its absence it's like

1018
00:55:36,800 --> 00:55:38,120
Speaker 3: the movie, is impure it.

1019
00:55:38,200 --> 00:55:41,399
Speaker 1: Is, Incomplete yeah like people Watch the matrix and, they're

1020
00:55:41,440 --> 00:55:43,880
Speaker 1: like where's the club scene, and there and everyone, was,

1021
00:55:43,920 --> 00:55:45,279
Speaker 1: like well we got to do that in the sequel and.

1022
00:55:45,320 --> 00:55:47,400
Speaker 3: They, did no there is a club scene In. The,

1023
00:55:47,400 --> 00:55:49,720
Speaker 3: matrix well it's only. Very brief it's at the beginning

1024
00:55:49,760 --> 00:55:52,160
Speaker 3: in the, real world when, they're, like okay they like

1025
00:55:52,560 --> 00:55:55,480
Speaker 3: some friends Coming To keanu. Reeves's apartment they take him

1026
00:55:55,520 --> 00:55:57,200
Speaker 3: out to a CLUB and i think He meets. Trinity

1027
00:55:57,239 --> 00:55:58,719
Speaker 3: there it's only it goes by in a.

1028
00:55:58,719 --> 00:56:01,279
Speaker 1: Few, seconds okay it's been a While since i'm the

1029
00:56:01,280 --> 00:56:04,279
Speaker 1: cusp of Rewatching, the MATRIX and i mainly remember there's

1030
00:56:04,280 --> 00:56:09,000
Speaker 1: definitely like a real world rave scene in, the sequel

1031
00:56:09,120 --> 00:56:11,360
Speaker 1: or maybe the. THIRD one i. Can't remember one of

1032
00:56:11,400 --> 00:56:14,239
Speaker 1: the two sequels where, they're, like hey it's the eve

1033
00:56:14,280 --> 00:56:16,160
Speaker 1: Of The, big battle let's have a rager and.

1034
00:56:16,200 --> 00:56:18,839
Speaker 3: THEY do i still haven't seen. The sequels, OH.

1035
00:56:18,600 --> 00:56:22,480
Speaker 1: What I guess i'm on the cusp of rewatching the sequels,

1036
00:56:22,480 --> 00:56:26,600
Speaker 1: as Well so i'll. Report, back okay. All, right finally

1037
00:56:26,640 --> 00:56:29,440
Speaker 1: the composer Here Is christopher young born nineteen, fifty eight

1038
00:56:30,120 --> 00:56:34,840
Speaker 1: And essentially young built an electronic orchestral score here around

1039
00:56:34,920 --> 00:56:38,840
Speaker 1: the movie's needle drop score of mostly electronic dance music

1040
00:56:39,560 --> 00:56:42,360
Speaker 1: with some rock and Even A peter gabriel track, thrown

1041
00:56:42,400 --> 00:56:46,160
Speaker 1: IN and i WOULD say I think young does a

1042
00:56:46,160 --> 00:56:49,040
Speaker 1: pretty seamless. Job here the soundtrack features music by the

1043
00:56:49,160 --> 00:56:53,920
Speaker 1: Likes Of Live, Black Grape, Juno Reactor Tricky, William Orbit,

1044
00:56:54,080 --> 00:56:58,239
Speaker 1: London beat Lords, Of Acid, Tracy Lords, Debbie Harry, the

1045
00:56:58,239 --> 00:57:02,040
Speaker 1: beg's and Again That party man Track From. Peter gabriel

1046
00:57:02,120 --> 00:57:02,680
Speaker 1: co Written By.

1047
00:57:02,719 --> 00:57:09,640
Speaker 3: Tory Amos The party man track is surprisingly, emotionally gripping like, you,

1048
00:57:09,680 --> 00:57:13,080
Speaker 3: know oh you really feel the strain in. His voice

1049
00:57:13,360 --> 00:57:15,440
Speaker 3: it's a weird thing to hear right after you just

1050
00:57:15,440 --> 00:57:19,840
Speaker 3: saw them Like destroy sid six point seven's personality module

1051
00:57:19,960 --> 00:57:22,320
Speaker 3: by having it run over by a track after, you

1052
00:57:22,360 --> 00:57:25,040
Speaker 3: know they had to like shoot a. COMPUTER programmer.

1053
00:57:26,120 --> 00:57:29,920
Speaker 1: I guess i'm Your. Party, MAN yeah. I believe it's

1054
00:57:29,920 --> 00:57:33,120
Speaker 1: a track That the gabriel and company did for, this

1055
00:57:33,320 --> 00:57:38,320
Speaker 1: production was later collected on an album that collected different

1056
00:57:38,360 --> 00:57:40,680
Speaker 1: songs that he did for different, film productions.

1057
00:57:40,520 --> 00:57:43,560
Speaker 3: And has the same title as a song From The prince. Batman,

1058
00:57:43,680 --> 00:57:47,360
Speaker 3: soundtrack yes it seems to Refer To Jack, nicholson's joker

1059
00:57:48,880 --> 00:57:59,360
Speaker 3: but it's not the. SAME song i checked, all right

1060
00:57:59,400 --> 00:58:03,040
Speaker 3: let's dive in the plot. Of virtuosity so the opening

1061
00:58:03,080 --> 00:58:06,200
Speaker 3: titles are made of pixels that slither in and out.

1062
00:58:06,200 --> 00:58:09,480
Speaker 3: Of form the, opening track by, the Way is It's

1063
00:58:09,520 --> 00:58:11,800
Speaker 3: A big day In the north By the English Band,

1064
00:58:11,880 --> 00:58:15,960
Speaker 3: black grape which is a powerfully nostalgic. SOUND rob i

1065
00:58:16,000 --> 00:58:17,600
Speaker 3: don't know if you felt the SAME way, i did but,

1066
00:58:17,920 --> 00:58:21,600
Speaker 3: hearing this it's like A Nineties english you might call

1067
00:58:21,640 --> 00:58:25,120
Speaker 3: this jazz pop or maybe, pop funk that sort. Of

1068
00:58:25,160 --> 00:58:29,520
Speaker 3: sound it's got something in it like. ELECTRONIC saxophone i

1069
00:58:29,720 --> 00:58:33,800
Speaker 3: mainly encountered this type of music through, movie SOUNDTRACKS so

1070
00:58:33,880 --> 00:58:37,640
Speaker 3: i associate it with seeing movies in the theaters in.

1071
00:58:37,680 --> 00:58:40,120
Speaker 1: The, nineties Yep, absolutely.

1072
00:58:40,200 --> 00:58:42,320
Speaker 3: Sorry we just had an extended a Side off mike

1073
00:58:42,360 --> 00:58:44,600
Speaker 3: where we're talking about what genre of music, this is

1074
00:58:44,680 --> 00:58:48,120
Speaker 3: and we did not come to. A conclusion so maybe

1075
00:58:48,120 --> 00:58:51,600
Speaker 3: we'll revisit that in, the future maybe for. Listener mail,

1076
00:58:52,080 --> 00:58:54,880
Speaker 3: But anyway so what's actually happening in the Opening scene

1077
00:58:55,040 --> 00:58:57,320
Speaker 3: when the credits, are done we pop up in, a

1078
00:58:57,360 --> 00:59:02,280
Speaker 3: sleek futuristic train station full of steel and sterile, white

1079
00:59:02,320 --> 00:59:06,840
Speaker 3: lighting and it's filled with people dressed. Almost identically everybody

1080
00:59:06,920 --> 00:59:09,800
Speaker 3: is it's like men in gray suits with, black ties.

1081
00:59:09,880 --> 00:59:15,080
Speaker 3: Carrying briefcases they're walking around synchronized, in pairs and the

1082
00:59:15,120 --> 00:59:17,960
Speaker 3: only people who don't match are two men in blue

1083
00:59:18,080 --> 00:59:23,240
Speaker 3: full body leather police uniforms wearing wearing, black, caps boots.

1084
00:59:23,280 --> 00:59:27,760
Speaker 3: And gloves so we watched these two policemen step cautiously

1085
00:59:27,880 --> 00:59:30,680
Speaker 3: off of an elevated train onto. The platform they're, looking

1086
00:59:30,720 --> 00:59:33,840
Speaker 3: around and one of the Men Is. Denzel washington this is,

1087
00:59:33,880 --> 00:59:38,160
Speaker 3: Our Hero. Parker, barnes now while both men, look vigilant

1088
00:59:38,680 --> 00:59:41,760
Speaker 3: we quickly Realize that barnes is the more assured of.

1089
00:59:41,800 --> 00:59:44,800
Speaker 3: The two he's being cautious, and observant and the other

1090
00:59:44,800 --> 00:59:47,800
Speaker 3: guy seems a little. More afraid and the other, guy,

1091
00:59:47,840 --> 00:59:51,080
Speaker 3: GOES man i can't get over how different, we Look and,

1092
00:59:51,160 --> 00:59:55,560
Speaker 3: barnes says maybe it's. The UNIFORMS so i think this

1093
00:59:55,800 --> 00:59:58,040
Speaker 3: opening is supposed to be a bit of a, fake

1094
00:59:58,120 --> 01:00:00,479
Speaker 3: out like you're supposed to wonder what the are talking,

1095
01:00:00,560 --> 01:00:03,840
Speaker 3: about here why everything looks a. Little odd, BUT this

1096
01:00:04,280 --> 01:00:07,040
Speaker 3: i think really does not work because it's obvious they're

1097
01:00:07,040 --> 01:00:09,840
Speaker 3: in a virtual. Reality world you can guess this if

1098
01:00:09,880 --> 01:00:13,120
Speaker 3: you've seen. The trailer and it's even more obvious because

1099
01:00:13,120 --> 01:00:16,440
Speaker 3: you keep seeing people like glitching and turning into pixels. And. Stuff,

1100
01:00:16,520 --> 01:00:19,840
Speaker 3: yeah yeah so they did not have me going. Here

1101
01:00:20,920 --> 01:00:23,920
Speaker 3: anyway they start running around looking, for somebody and eventually

1102
01:00:23,960 --> 01:00:27,120
Speaker 3: they end up in this business district plaza where there

1103
01:00:27,200 --> 01:00:31,400
Speaker 3: is a green floating cgi head made out of polygons

1104
01:00:31,440 --> 01:00:34,240
Speaker 3: giving a news report about a bunch of. Gruesome crimes

1105
01:00:34,760 --> 01:00:38,480
Speaker 3: i'm pretty sure It's Actually russell crow's doing the voice of,

1106
01:00:38,520 --> 01:00:42,320
Speaker 3: this thing but in a kind of tight, newscaster cadence

1107
01:00:42,840 --> 01:00:46,800
Speaker 3: and he says the three adjectives which best describe this killer, are,

1108
01:00:46,920 --> 01:00:49,920
Speaker 3: sadistic intelligent. And dangerous what is?

1109
01:00:50,000 --> 01:00:52,440
Speaker 1: That spell? SPELL said i thought we were going to

1110
01:00:52,520 --> 01:00:56,200
Speaker 1: say stink, stank stunk but that would have been. Great

1111
01:00:56,240 --> 01:00:58,840
Speaker 1: too this is six.

1112
01:00:58,880 --> 01:01:03,200
Speaker 3: Point Seven so denzel eventually traces their quarry To a.

1113
01:01:03,280 --> 01:01:06,960
Speaker 3: Japanese restaurant he knows to look there because he looks

1114
01:01:07,120 --> 01:01:11,240
Speaker 3: over the restaurant entrance on the building and sees an

1115
01:01:11,280 --> 01:01:15,280
Speaker 3: emoticon smiley face like the colon parentheses smiley face over.

1116
01:01:15,320 --> 01:01:18,440
Speaker 3: The entrance it's, a Joke and sid six point seven.

1117
01:01:18,600 --> 01:01:22,040
Speaker 3: Likes chokes and when we First, find sid he is

1118
01:01:22,120 --> 01:01:26,080
Speaker 3: repeatedly eating a piece of sushi that regenerates every time

1119
01:01:26,120 --> 01:01:27,760
Speaker 3: he picks it up off the plate and. Eats IT

1120
01:01:27,840 --> 01:01:30,280
Speaker 3: so i think it, suggests that, you know here in,

1121
01:01:30,360 --> 01:01:33,440
Speaker 3: this world no matter how how much, he eats he never.

1122
01:01:33,480 --> 01:01:37,360
Speaker 3: Gets full it's like he's unsatisfied with the intangible pleasures

1123
01:01:37,360 --> 01:01:37,600
Speaker 3: of the.

1124
01:01:37,600 --> 01:01:40,720
Speaker 1: FAKE world i. LIKE this i also like how the

1125
01:01:41,160 --> 01:01:43,880
Speaker 1: NPCs are like glitching as they eat. Their sushi they're

1126
01:01:43,880 --> 01:01:46,240
Speaker 1: just kind of like sushi floating into. Their mouth so

1127
01:01:46,480 --> 01:01:48,320
Speaker 1: this is definitely the section of the section of, the

1128
01:01:48,360 --> 01:01:50,200
Speaker 1: picture one of the sections of the picture in the

1129
01:01:50,200 --> 01:01:55,000
Speaker 1: digital world where the roughness of the digital effects is

1130
01:01:55,040 --> 01:01:58,280
Speaker 1: one of the charms and. Absolutely works doesn't feel dated

1131
01:01:58,280 --> 01:02:00,680
Speaker 1: at all, because like this is exact exactly the look

1132
01:02:00,720 --> 01:02:00,960
Speaker 1: they were.

1133
01:02:01,000 --> 01:02:04,600
Speaker 3: Going, for yeah and so this of course turns into

1134
01:02:04,680 --> 01:02:08,160
Speaker 3: a big. Gunfight scene both the COPS and sid just

1135
01:02:08,160 --> 01:02:12,240
Speaker 3: start blasting everywhere with, machine guns AND the npc is

1136
01:02:12,280 --> 01:02:14,960
Speaker 3: eating in the restaurant mostly appear to not notice this

1137
01:02:15,040 --> 01:02:17,720
Speaker 3: and they just keep sitting at. Their tables so in,

1138
01:02:17,760 --> 01:02:22,040
Speaker 3: this world by nineteen, ninety nine virtual reality has nearly

1139
01:02:22,200 --> 01:02:27,240
Speaker 3: one hundred percent immersion and totally realistic, graphical FIDELITY but

1140
01:02:27,680 --> 01:02:31,320
Speaker 3: npc behavior has like not quite reached the level of

1141
01:02:31,360 --> 01:02:34,360
Speaker 3: The mid grand theft auto games where people at least

1142
01:02:34,400 --> 01:02:35,600
Speaker 3: like scream and run away when.

1143
01:02:35,600 --> 01:02:39,560
Speaker 1: Something explodes but, you know this is how the mid

1144
01:02:40,240 --> 01:02:42,800
Speaker 1: grand theft auto, games felt when the mid grand theft

1145
01:02:42,840 --> 01:02:45,120
Speaker 1: atto games felt out like they felt like this level,

1146
01:02:45,160 --> 01:02:48,400
Speaker 1: of IMMERSION like i actually Live in miami in the

1147
01:02:48,480 --> 01:02:50,080
Speaker 1: nineteen like, you, know.

1148
01:02:51,120 --> 01:02:54,840
Speaker 3: Yeah yeah, so anyway this fight GOES on sid and

1149
01:02:54,840 --> 01:02:57,760
Speaker 3: the cops keep shooting at. Each other at one point

1150
01:02:57,800 --> 01:03:00,160
Speaker 3: it is Revealed That russell crowe has like caught and

1151
01:03:00,320 --> 01:03:02,720
Speaker 3: electrocuted the. OTHER cop i think you see him on

1152
01:03:02,880 --> 01:03:07,120
Speaker 3: ice and like a. Sushi tray and at one point

1153
01:03:07,120 --> 01:03:10,400
Speaker 3: they borrow a Page from Speed and barnes gets the

1154
01:03:10,440 --> 01:03:14,439
Speaker 3: upper hand by shooting a. Digital hostage he will. Later

1155
01:03:14,480 --> 01:03:17,360
Speaker 3: explain they later Are, like barnes why did you shoot?

1156
01:03:17,360 --> 01:03:19,560
Speaker 3: The hostage that doesn't make. Any sense but then he

1157
01:03:19,600 --> 01:03:22,640
Speaker 3: has a. Clever answer, he's like the hostage. Wasn't real

1158
01:03:23,480 --> 01:03:24,040
Speaker 3: didn't think, Of.

1159
01:03:24,080 --> 01:03:27,680
Speaker 1: That, Sid yeah because what we're going to learn shortly

1160
01:03:27,800 --> 01:03:31,880
Speaker 1: is this is a training simulation for. Police OFFICERS but

1161
01:03:32,200 --> 01:03:35,840
Speaker 1: i really have, to add, like clearly for cinematic, police

1162
01:03:35,840 --> 01:03:39,439
Speaker 1: officers there's nothing in this training that indicates any kind

1163
01:03:39,480 --> 01:03:43,400
Speaker 1: of like actual, police training any kind of procedure. Or,

1164
01:03:43,400 --> 01:03:45,880
Speaker 1: anything yeah it's just like what if you had A

1165
01:03:45,880 --> 01:03:48,440
Speaker 1: big hollywood action scene with a super. Criminal.

1166
01:03:48,880 --> 01:03:52,240
Speaker 3: Exactly yeah so at the end, Of this sid gets

1167
01:03:52,280 --> 01:03:54,960
Speaker 3: the upper hand in the fight and he starts Choking

1168
01:03:54,960 --> 01:03:58,920
Speaker 3: out Barnes until barnes like, glitches out which looks, super

1169
01:03:58,960 --> 01:04:03,640
Speaker 3: funny and then he sort of fades out, of existence

1170
01:04:03,680 --> 01:04:06,280
Speaker 3: like he's being sucked out OF the, vr world and

1171
01:04:06,320 --> 01:04:10,280
Speaker 3: we're treated to a shot OF a cgi bullet Wound

1172
01:04:10,320 --> 01:04:14,240
Speaker 3: on sid's body rapidly healing with classic electrical zap z.

1173
01:04:14,240 --> 01:04:18,520
Speaker 3: App fully but then our human characters come out OF.

1174
01:04:18,680 --> 01:04:21,520
Speaker 3: The vr so we zoom out into a room in

1175
01:04:22,080 --> 01:04:25,040
Speaker 3: the real world in, meat space where We see sid

1176
01:04:25,240 --> 01:04:28,320
Speaker 3: standing there in his green suit on A giant, Tv

1177
01:04:28,520 --> 01:04:31,480
Speaker 3: screen so like in the virtual, reality studio there's a,

1178
01:04:31,560 --> 01:04:35,040
Speaker 3: huge screen it's like fifteen, feet tall where we see

1179
01:04:35,120 --> 01:04:38,920
Speaker 3: what's happening in the, virtual world and we immediately hear

1180
01:04:38,960 --> 01:04:41,480
Speaker 3: the sounds of like men groaning, in agony and we

1181
01:04:41,520 --> 01:04:44,720
Speaker 3: see them writhing IN their, vr seats and an automated

1182
01:04:44,800 --> 01:04:48,720
Speaker 3: voice is, saying warning subjects exceeding the maximum dose of. Neural,

1183
01:04:48,760 --> 01:04:54,120
Speaker 3: information now maybe we should briefly hear comment on what

1184
01:04:54,200 --> 01:04:56,720
Speaker 3: it looks like when you see the people in the

1185
01:04:56,720 --> 01:04:59,960
Speaker 3: physical space IN the. VR rigs i thought This was

1186
01:05:00,000 --> 01:05:04,040
Speaker 3: it's also quite funny because they're like jiggling around and

1187
01:05:04,080 --> 01:05:06,400
Speaker 3: miming the motions they do in the. Virtual world like

1188
01:05:06,440 --> 01:05:09,240
Speaker 3: there's a part later where We see denzel running in the,

1189
01:05:09,360 --> 01:05:12,080
Speaker 3: rig yep and he's like pumping his arms and legs

1190
01:05:12,120 --> 01:05:13,640
Speaker 3: but not, going anywhere and it's.

1191
01:05:13,720 --> 01:05:16,760
Speaker 1: Hilarious, that yeah it really. Looks hilarious later when, they're,

1192
01:05:16,800 --> 01:05:20,840
Speaker 1: running yes here, you know they're just squirming. In pain, so,

1193
01:05:21,040 --> 01:05:23,440
Speaker 1: yeah yeah it looks a bit goofy.

1194
01:05:23,520 --> 01:05:26,400
Speaker 3: Later, on yeah so they're strapped into these dangling like

1195
01:05:26,520 --> 01:05:28,440
Speaker 3: combine dentist CHAIRS wearing.

1196
01:05:28,520 --> 01:05:30,120
Speaker 1: Vr devisors they're not.

1197
01:05:30,160 --> 01:05:33,960
Speaker 3: Going anywhere and then also you see a little computer

1198
01:05:34,040 --> 01:05:36,440
Speaker 3: read out that shows A three d representation of the

1199
01:05:36,440 --> 01:05:40,080
Speaker 3: player's heads and there are like these red and yellow

1200
01:05:40,120 --> 01:05:44,960
Speaker 3: explosions inside. The, skulls fortunately It seems denzel gets out just.

1201
01:05:45,040 --> 01:05:47,320
Speaker 3: In time he's, like rattled but. He's okay but the,

1202
01:05:47,400 --> 01:05:49,680
Speaker 3: other guy, uh oh the other guy is having. Violent

1203
01:05:49,720 --> 01:05:53,560
Speaker 3: seizures he gets pulled off onto a hospital gurney and

1204
01:05:53,600 --> 01:05:56,320
Speaker 3: you see them like doing a defibrillater on him and

1205
01:05:56,480 --> 01:05:56,880
Speaker 3: you learn.

1206
01:05:56,920 --> 01:06:00,600
Speaker 1: He, dies yeah they try really hard for darn near

1207
01:06:00,760 --> 01:06:03,080
Speaker 1: ten seconds to, save him but then laup roll. Him

1208
01:06:03,080 --> 01:06:03,400
Speaker 1: out he's.

1209
01:06:03,400 --> 01:06:07,400
Speaker 3: Done for also in, the scene we meet basically all

1210
01:06:07,440 --> 01:06:10,000
Speaker 3: of the film's. MAJOR characters i don't think there's anybody

1211
01:06:10,120 --> 01:06:12,280
Speaker 3: major we have to. Meet later we already talked about.

1212
01:06:12,320 --> 01:06:15,840
Speaker 3: Them earlier all of the, various functionaries commissioners and. Company

1213
01:06:15,840 --> 01:06:20,200
Speaker 3: guys i'm not gonna dwell, on them but they're all standing.

1214
01:06:20,240 --> 01:06:22,240
Speaker 3: Around watching you can kind of group them as like

1215
01:06:22,280 --> 01:06:25,280
Speaker 3: who's good and who's bad based on. Their reaction you've

1216
01:06:25,320 --> 01:06:28,480
Speaker 3: got the good guys like the police Chief And kelly,

1217
01:06:28,560 --> 01:06:32,880
Speaker 3: lynch's Character Doctor. Madison carter they're concerned about the. Test subjects, they're,

1218
01:06:32,920 --> 01:06:34,600
Speaker 3: like oh get those men out. Of there he's going.

1219
01:06:34,640 --> 01:06:37,800
Speaker 3: Into shock and then you've got the kind of middle to,

1220
01:06:37,960 --> 01:06:42,480
Speaker 3: bad guys like the. Indifferent Characters That's william Fitchner And.

1221
01:06:42,600 --> 01:06:45,680
Speaker 3: Louise fletcher they're just kind of standing there. Watching coldly

1222
01:06:46,880 --> 01:06:49,680
Speaker 3: and at Some point, dean said there's like some very

1223
01:06:49,800 --> 01:06:55,320
Speaker 3: klutzy exposition Dialogue Where louis fletcher's character says virtual reality

1224
01:06:55,360 --> 01:06:57,600
Speaker 3: was supposed to be a safe place to train my law.

1225
01:06:57,680 --> 01:07:00,960
Speaker 3: Enforcement officers and one Of the williams, is like that's

1226
01:07:01,000 --> 01:07:03,840
Speaker 3: why we were using convicts to ferret out any glitches in.

1227
01:07:03,880 --> 01:07:06,960
Speaker 3: The system and they have this exchange is they're driving

1228
01:07:06,960 --> 01:07:09,960
Speaker 3: away in a golf cart by, the way and then

1229
01:07:10,000 --> 01:07:13,640
Speaker 3: finally we meet this the obvious, Bad Guy darryl lindenmeyer

1230
01:07:13,880 --> 01:07:16,880
Speaker 3: that again is Played By, steven spinella who looks confusingly

1231
01:07:17,000 --> 01:07:20,360
Speaker 3: Similar To, William fitchener like they look alike and dress.

1232
01:07:20,480 --> 01:07:24,840
Speaker 1: The same it's almost like they accidentally cast both actors

1233
01:07:24,880 --> 01:07:26,840
Speaker 1: as the same character and, they're, like, well crap we've

1234
01:07:26,840 --> 01:07:30,280
Speaker 1: got to pick one and just make a role for the. Other, guy, yeah, yeah.

1235
01:07:30,360 --> 01:07:32,920
Speaker 3: Yeah Yeah william fitchener also could have played this.

1236
01:07:33,000 --> 01:07:33,400
Speaker 1: Other guy.

1237
01:07:33,480 --> 01:07:36,840
Speaker 3: Yeah yeah but he's like the creator OF the vr

1238
01:07:36,960 --> 01:07:39,120
Speaker 3: system and they're they're sort of grilling him about the.

1239
01:07:39,120 --> 01:07:43,880
Speaker 3: Fail safes he seems squirrely. And untrustworthy but we get

1240
01:07:43,920 --> 01:07:47,000
Speaker 3: some backstory in the scene. As well the Chief Tells,

1241
01:07:47,080 --> 01:07:50,760
Speaker 3: parker barnes, you know he acknowledges that they're, old friends and,

1242
01:07:50,760 --> 01:07:52,560
Speaker 3: he says it was good to see you in, uniform

1243
01:07:52,600 --> 01:07:58,640
Speaker 3: again even if it was only. Virtual, Reality meanwhile barnes

1244
01:07:58,880 --> 01:08:02,120
Speaker 3: is he's. Got insights he's like sid six. Point seven.

1245
01:08:02,160 --> 01:08:05,080
Speaker 3: He's CHEATING and i know he's CHEATING because i hacked

1246
01:08:05,080 --> 01:08:07,960
Speaker 3: the main frame before we, went in and he's not

1247
01:08:08,040 --> 01:08:10,480
Speaker 3: allowed to use electricity as, a weapon but he, did

1248
01:08:10,560 --> 01:08:13,640
Speaker 3: anyway and he goes and he like tries to show,

1249
01:08:13,640 --> 01:08:17,240
Speaker 3: the Chief, but lindenmeyer whose first Name is daryl by,

1250
01:08:17,240 --> 01:08:20,400
Speaker 3: The Way, Daryl lindenmeyer, he's, like no get away, from

1251
01:08:20,439 --> 01:08:23,360
Speaker 3: there and so obviously that's setting up.

1252
01:08:23,360 --> 01:08:27,000
Speaker 1: A conflict i want to mention that at this point

1253
01:08:27,360 --> 01:08:31,320
Speaker 1: in the, Real World denzel Washington's Character parker barnes has.

1254
01:08:31,360 --> 01:08:34,280
Speaker 1: Great hair he has like, really cool like futuristic. Feeling

1255
01:08:34,320 --> 01:08:36,720
Speaker 1: hair he's not going to get to keep this hair

1256
01:08:37,000 --> 01:08:38,640
Speaker 1: for the rest of, the PICTURE and i was a

1257
01:08:38,640 --> 01:08:39,440
Speaker 1: little disappointed.

1258
01:08:39,439 --> 01:08:41,280
Speaker 3: By, that yeah they give him a haircut before they

1259
01:08:41,320 --> 01:08:42,000
Speaker 3: send him out on a.

1260
01:08:42,000 --> 01:08:45,600
Speaker 1: Mission later why is his hair super cool and cultivated?

1261
01:08:45,680 --> 01:08:48,400
Speaker 1: In prison but then once, he's free. IT'S cut i,

1262
01:08:48,400 --> 01:08:50,200
Speaker 1: DON'T know i, DON'T know i.

1263
01:08:50,200 --> 01:08:53,200
Speaker 3: Don't know, But, anyway okay so they send him back.

1264
01:08:53,240 --> 01:08:56,080
Speaker 3: To prison there's one brief thing here where, they, show

1265
01:08:56,080 --> 01:08:58,280
Speaker 3: oh he's got a. Metallic limb he like goes through

1266
01:08:58,280 --> 01:09:02,639
Speaker 3: a scanner and, it's like, remember, that folks it doesn't

1267
01:09:02,640 --> 01:09:04,519
Speaker 3: look it just looks like a normal arm from, the

1268
01:09:04,560 --> 01:09:07,439
Speaker 3: outside but they show you'll scan as he's going through

1269
01:09:07,479 --> 01:09:11,160
Speaker 3: and it's apparently a. Metal Arm when barnes is sent back,

1270
01:09:11,160 --> 01:09:14,320
Speaker 3: to prison he randomly has to fight A. NEO nazi

1271
01:09:14,479 --> 01:09:17,639
Speaker 3: i did not understand why this OCCURRED when i first.

1272
01:09:17,680 --> 01:09:21,000
Speaker 3: Watched it it was almost like suggesting this fight was

1273
01:09:21,280 --> 01:09:24,760
Speaker 3: arranged by the powers, that be like they were trying

1274
01:09:24,800 --> 01:09:27,640
Speaker 3: to silence him ABOUT the vr program. Or SOMETHING but

1275
01:09:27,720 --> 01:09:30,360
Speaker 3: i don't think there's any follow through to, confirm THAT

1276
01:09:30,479 --> 01:09:31,240
Speaker 3: so i don't know why.

1277
01:09:31,320 --> 01:09:35,360
Speaker 1: This happened it's also, very stylistic so you could almost

1278
01:09:35,360 --> 01:09:37,960
Speaker 1: think we're back in, a simulation just because it does

1279
01:09:38,000 --> 01:09:41,040
Speaker 1: not look like you're it's a, FUTURE prison, i. Guess

1280
01:09:41,240 --> 01:09:44,000
Speaker 1: yeah and you don't see any of the. Inmates directly

1281
01:09:44,000 --> 01:09:47,320
Speaker 1: they're all behind like some sort of a like a

1282
01:09:47,360 --> 01:09:49,400
Speaker 1: some sort of a glass or, a screen so you

1283
01:09:49,439 --> 01:09:49,680
Speaker 1: just see.

1284
01:09:49,680 --> 01:09:54,040
Speaker 3: Their, silhouettes, Yes Yes so denzel goes into this. Big

1285
01:09:54,080 --> 01:09:57,120
Speaker 3: hall there's nobody else, in it all these silhouettes of

1286
01:09:57,160 --> 01:10:00,880
Speaker 3: prisoners lined up like an audience mocking and jeering. At

1287
01:10:00,960 --> 01:10:04,760
Speaker 3: him you only see them behind these. Silk screens and

1288
01:10:04,800 --> 01:10:07,120
Speaker 3: then from the opposite end of. The hall this gross

1289
01:10:07,120 --> 01:10:10,599
Speaker 3: guy with a white power tattoo and an improvised stabbing

1290
01:10:10,640 --> 01:10:13,639
Speaker 3: weapon comes out and then, they fight And then barnes

1291
01:10:13,680 --> 01:10:17,400
Speaker 3: defeats him with superior training and tactics as well as

1292
01:10:17,400 --> 01:10:20,160
Speaker 3: at least one brutal uppercut to, the groin and then

1293
01:10:20,200 --> 01:10:22,559
Speaker 3: a bunch of guards rush in and Beat up BARNS

1294
01:10:23,040 --> 01:10:24,920
Speaker 3: and i don't understand why.

1295
01:10:24,920 --> 01:10:28,679
Speaker 1: This, happened yeah it's so STYLISTIC that i was expecting

1296
01:10:28,760 --> 01:10:32,120
Speaker 1: him to Beat the nazi to death With An, apple

1297
01:10:32,200 --> 01:10:33,760
Speaker 1: macintosh but it IS how i. Went.

1298
01:10:33,800 --> 01:10:37,720
Speaker 3: Down okay then we go on to another scene with our.

1299
01:10:37,760 --> 01:10:40,400
Speaker 3: Bad guys this is let me tell you a, secret

1300
01:10:40,439 --> 01:10:45,160
Speaker 3: scene which is pretty. Pretty solid So Remember darryl lindenmeyer

1301
01:10:45,200 --> 01:10:48,360
Speaker 3: the Computer. Company creep he's IN the vr space and

1302
01:10:48,360 --> 01:10:50,840
Speaker 3: he walks up TO the cid screen where the screen

1303
01:10:50,920 --> 01:10:53,000
Speaker 3: is On and sid is in there playing a piano

1304
01:10:53,479 --> 01:10:57,080
Speaker 3: in a green satin suit in a Beyond the mind's

1305
01:10:57,160 --> 01:11:00,960
Speaker 3: eye dune sea landscape and tells him you, Know, What,

1306
01:11:01,120 --> 01:11:04,160
Speaker 3: Sorry sid i'm gonna have to. Deactivate you, HE says

1307
01:11:04,200 --> 01:11:07,160
Speaker 3: i know it was you who increased the neural. Sensitivity

1308
01:11:07,200 --> 01:11:12,000
Speaker 3: calibrations you murdered, that prisoner And then, SID says i

1309
01:11:12,040 --> 01:11:15,200
Speaker 3: can't CHANGE what, I. Am darryl i'm a fifty terabyte

1310
01:11:15,240 --> 01:11:19,040
Speaker 3: self evolving neural network double backflip off the. High platform

1311
01:11:19,479 --> 01:11:21,800
Speaker 3: i'm not a. Swan DIVE and i have to, tell

1312
01:11:21,840 --> 01:11:22,880
Speaker 3: you killing for.

1313
01:11:22,920 --> 01:11:24,120
Speaker 1: Real it was a.

1314
01:11:24,200 --> 01:11:30,240
Speaker 3: REAL rush i always. LOVE these a Lot of cyberslot

1315
01:11:30,280 --> 01:11:32,640
Speaker 3: movies have a monologue, like THIS like i am a

1316
01:11:32,680 --> 01:11:36,160
Speaker 3: masterpiece of. Evil evil i'm pretty sure job In lawnmower

1317
01:11:36,200 --> 01:11:40,200
Speaker 3: man has a speech a lot. Like this this one is. Relatively,

1318
01:11:40,200 --> 01:11:44,120
Speaker 3: short also when he lands after doing, his backflips he

1319
01:11:44,240 --> 01:11:47,599
Speaker 3: explodes into a bunch. Of bats and you, know what beyond,

1320
01:11:47,640 --> 01:11:49,760
Speaker 3: THE minds i had a. BAT swarm i think that

1321
01:11:49,840 --> 01:11:52,120
Speaker 3: must have been part of A standard cg package in.

1322
01:11:52,160 --> 01:11:56,200
Speaker 3: The Nineties because sid is not really associated. With bats it's,

1323
01:11:56,240 --> 01:11:58,680
Speaker 3: not like, you know what else does he have to do.

1324
01:11:58,760 --> 01:12:02,200
Speaker 3: With bats IT seems i don't. Know where, but anyway after,

1325
01:12:02,280 --> 01:12:04,479
Speaker 3: he says, YOU know i love killing. For real it was,

1326
01:12:04,520 --> 01:12:08,040
Speaker 3: really Good lynden, meyer goes Oh, my god and then the.

1327
01:12:08,080 --> 01:12:11,719
Speaker 3: Monologue continues it's. Quite good, sid Says what god would?

1328
01:12:11,760 --> 01:12:14,160
Speaker 3: That be the one who created you or the one who?

1329
01:12:14,160 --> 01:12:17,080
Speaker 3: Created me you see in, your World the lord giveth

1330
01:12:17,120 --> 01:12:19,559
Speaker 3: And the lord. Taketh away but in, my world the

1331
01:12:19,560 --> 01:12:22,639
Speaker 3: one who gave me life doesn't have. Any balls you

1332
01:12:22,680 --> 01:12:25,639
Speaker 3: are frightfully inadequate for, A deity DARRYL and i will

1333
01:12:25,640 --> 01:12:25,960
Speaker 3: not be.

1334
01:12:26,120 --> 01:12:27,480
Speaker 1: Shut, down.

1335
01:12:28,560 --> 01:12:31,400
Speaker 3: Okay so, that's corny but for what it is That, slaps,

1336
01:12:31,640 --> 01:12:35,240
Speaker 3: Yeah YEAH and i should add this whole sequence is

1337
01:12:35,280 --> 01:12:35,639
Speaker 3: just very.

1338
01:12:35,680 --> 01:12:39,439
Speaker 1: Well shot it's a great integration between the live action

1339
01:12:39,520 --> 01:12:42,439
Speaker 1: performance and the use of, the screens Which was i'm

1340
01:12:42,439 --> 01:12:44,320
Speaker 1: to understand all the screens in the film were. In

1341
01:12:44,400 --> 01:12:48,680
Speaker 1: camera I'm not i'm assuming at least some of it

1342
01:12:48,760 --> 01:12:51,320
Speaker 1: was not live. To screen leonard points out that a

1343
01:12:51,320 --> 01:12:53,360
Speaker 1: lot of skill went into making sure all these screens

1344
01:12:53,360 --> 01:12:55,559
Speaker 1: were set upright and, you know could be seen on

1345
01:12:55,640 --> 01:12:56,240
Speaker 1: camera in the.

1346
01:12:56,479 --> 01:13:00,519
Speaker 3: Optimal, Way yeah i'm impressed they achieved. That anyway so in,

1347
01:13:00,560 --> 01:13:03,360
Speaker 3: The scene, darryl says, You, know sid you cannot exist

1348
01:13:03,439 --> 01:13:06,320
Speaker 3: without the approval of. The authorities you are software and

1349
01:13:06,360 --> 01:13:09,920
Speaker 3: you need hardware to. Run On so sid comes up with.

1350
01:13:09,960 --> 01:13:13,800
Speaker 3: A plan what is? That plan, he says sacrifice? Your,

1351
01:13:13,880 --> 01:13:17,320
Speaker 3: queen ooh, cryptic meaning and then the camera kind of.

1352
01:13:17,320 --> 01:13:19,760
Speaker 3: CREEPS in i, like this there's this slow, creep in and,

1353
01:13:19,800 --> 01:13:21,000
Speaker 3: he says let me tell you. A.

1354
01:13:21,080 --> 01:13:26,559
Speaker 1: Secret. Yeah yeah the scene lands in an excellent Place

1355
01:13:26,600 --> 01:13:30,360
Speaker 1: here at that, Being said i'm not exactly sure what the.

1356
01:13:30,400 --> 01:13:32,759
Speaker 1: SECRET was, I mean i don't need, to know because

1357
01:13:33,000 --> 01:13:36,519
Speaker 1: the scene still connected on an emotional level and certainly

1358
01:13:36,600 --> 01:13:41,120
Speaker 1: established our villain and some semblance of his plot with

1359
01:13:41,240 --> 01:13:46,960
Speaker 1: his creator. Turned WORSHIPER but i have some guesses what

1360
01:13:47,000 --> 01:13:50,160
Speaker 1: the secret, might be but it's not. Really clear maybe

1361
01:13:50,200 --> 01:13:50,960
Speaker 1: we can come back, to that.

1362
01:13:51,640 --> 01:13:54,440
Speaker 3: All right so we also get the Scene where barnes

1363
01:13:54,560 --> 01:13:58,439
Speaker 3: meets With Doctor Madison Carter. Kelly lynch, she like. Comes

1364
01:13:58,439 --> 01:14:00,880
Speaker 3: in they have an interview in, the prison. Introduces herself

1365
01:14:00,920 --> 01:14:04,160
Speaker 3: she's a criminal Psychologist And william forsyth asked her to

1366
01:14:04,200 --> 01:14:07,519
Speaker 3: do a Profile on barnes that may be useful in reducing.

1367
01:14:07,560 --> 01:14:10,920
Speaker 3: His sentence so. They talk she asks him about. The

1368
01:14:10,920 --> 01:14:14,000
Speaker 3: fight he says he was. Defending himself she asks him

1369
01:14:14,000 --> 01:14:17,000
Speaker 3: about whether he was attracted to violence as. A child, he's,

1370
01:14:17,080 --> 01:14:21,160
Speaker 3: like yeah, Three stooges wiley coyote. Was great, Nice answer

1371
01:14:21,680 --> 01:14:23,840
Speaker 3: and as they, keep talking it starts to seem like

1372
01:14:23,880 --> 01:14:27,000
Speaker 3: what she's really interested In Is. RUSSELL crowe, i mean

1373
01:14:27,000 --> 01:14:29,760
Speaker 3: what's everybody INTERESTED in i think she wants to write

1374
01:14:29,760 --> 01:14:32,439
Speaker 3: a book on the criminal Genius of sid six. Point

1375
01:14:32,479 --> 01:14:35,559
Speaker 3: seven so she starts kind Of quizzing denzel about his.

1376
01:14:35,680 --> 01:14:37,880
Speaker 3: Virtual enemy, she's like how did you know he'd be

1377
01:14:37,880 --> 01:14:40,400
Speaker 3: In the? Japanese Restaurant and barnes explains what an.

1378
01:14:40,400 --> 01:14:40,960
Speaker 1: Emoticon.

1379
01:14:41,120 --> 01:14:46,280
Speaker 3: Is yeah we also hear get the first Hints of barnes's,

1380
01:14:46,360 --> 01:14:49,600
Speaker 3: tragic backstory which gets revealed in a trickle throughout. THE

1381
01:14:49,600 --> 01:14:51,679
Speaker 3: movie I think i'm going to cut to the chase

1382
01:14:51,720 --> 01:14:54,400
Speaker 3: and just summarize the whole thing here so we don't trickle.

1383
01:14:54,400 --> 01:14:57,519
Speaker 3: It in so the Deal is barnes was some kind

1384
01:14:57,520 --> 01:15:02,040
Speaker 3: of elite detective on the case of a Man Named,

1385
01:15:02,120 --> 01:15:05,719
Speaker 3: matthew grimes which They call they say he was a quote,

1386
01:15:05,760 --> 01:15:10,120
Speaker 3: political TERRORIST and i like how they specify a political

1387
01:15:10,240 --> 01:15:12,640
Speaker 3: terrorist to make it clear he's not like a. Culinary

1388
01:15:12,720 --> 01:15:16,760
Speaker 3: terrorist but if he's a, political terrorist what were? His

1389
01:15:16,840 --> 01:15:20,200
Speaker 3: politics that is not. Really clear at one point we

1390
01:15:20,240 --> 01:15:23,040
Speaker 3: see him speaking to the media about the haves and,

1391
01:15:23,160 --> 01:15:27,559
Speaker 3: have nots but MOSTLY that i. Don't know that's back

1392
01:15:27,600 --> 01:15:29,280
Speaker 3: to THE thing i said at the beginning about like

1393
01:15:29,960 --> 01:15:34,240
Speaker 3: cultural objects just feeling like they're meaningless, In themselves like

1394
01:15:34,760 --> 01:15:37,400
Speaker 3: he could have inserted any kind of political rhetoric there

1395
01:15:37,400 --> 01:15:38,000
Speaker 3: and it would be the.

1396
01:15:38,040 --> 01:15:42,960
Speaker 1: Same, thing yeah this this particular detail of, his backstory

1397
01:15:43,040 --> 01:15:45,479
Speaker 1: like the basic shape. Of, it okay some some sort

1398
01:15:45,520 --> 01:15:48,720
Speaker 1: of a killer took out. His, family yeah, you know

1399
01:15:48,760 --> 01:15:51,880
Speaker 1: obviously that's a necessary part of what they're. Building here

1400
01:15:52,200 --> 01:15:55,280
Speaker 1: but all the details about this, GUY just i, don't

1401
01:15:55,280 --> 01:15:57,719
Speaker 1: know they're not. Very, convincing, like yeah like we could

1402
01:15:57,720 --> 01:15:59,840
Speaker 1: have we should have known less, about it because what

1403
01:15:59,840 --> 01:16:03,200
Speaker 1: we do learn is not convincing or certainly doesn't have

1404
01:16:03,200 --> 01:16:03,720
Speaker 1: as much of an.

1405
01:16:03,720 --> 01:16:07,720
Speaker 3: Emotional impact it has a real anti verisimilitude about his.

1406
01:16:07,880 --> 01:16:12,639
Speaker 3: Political terroristiness it suggests more that he just like simply

1407
01:16:12,720 --> 01:16:17,000
Speaker 3: loved crime. And, murder yeah and, so anyway but they

1408
01:16:17,000 --> 01:16:19,519
Speaker 3: tell the story of how this Guy kidnapped barnes's wife.

1409
01:16:19,520 --> 01:16:21,719
Speaker 3: And child he put them in a booby trapped room

1410
01:16:22,160 --> 01:16:24,519
Speaker 3: so That when barnes came to, rescue them it would trigger,

1411
01:16:24,560 --> 01:16:27,040
Speaker 3: a bomb and the bomb killed. His family and it's

1412
01:16:27,080 --> 01:16:30,599
Speaker 3: also The reason barnes now has the. Bionic arm And

1413
01:16:30,640 --> 01:16:34,280
Speaker 3: so carter is like asking him questions about like his

1414
01:16:34,360 --> 01:16:37,000
Speaker 3: backstory in, the scene and we get to learn that

1415
01:16:37,040 --> 01:16:38,320
Speaker 3: we see that he is a haunted.

1416
01:16:38,360 --> 01:16:39,040
Speaker 1: Broken man.

1417
01:16:39,320 --> 01:16:40,960
Speaker 3: All, right now from here we move on To the.

1418
01:16:41,000 --> 01:16:44,559
Speaker 3: Sheila scene so we're back IN the, cid warehouse, you

1419
01:16:44,560 --> 01:16:46,639
Speaker 3: know WHERE the vr world is projected on the, big

1420
01:16:46,680 --> 01:16:51,360
Speaker 3: screen and currently the person in here is a geeky Roboticist.

1421
01:16:51,439 --> 01:16:55,400
Speaker 3: Named Clyde HERE'S. Kevin, j O'Connor and he's playing would

1422
01:16:55,400 --> 01:16:59,519
Speaker 3: you call this? Sexy, Chess yes like like they're playing a,

1423
01:16:59,640 --> 01:17:02,280
Speaker 3: chess game moving around THESE giant cgi pieces on. A

1424
01:17:02,320 --> 01:17:07,840
Speaker 3: board but he's playing against this blonde seductress Character named

1425
01:17:07,880 --> 01:17:11,080
Speaker 3: sheila three, point two and she's like stretching out on

1426
01:17:11,120 --> 01:17:13,840
Speaker 3: the chase long and her. Silk pajamas so while like

1427
01:17:13,920 --> 01:17:17,519
Speaker 3: the big chest pieces zoom around and, she's, Like, oh clyde,

1428
01:17:17,560 --> 01:17:19,320
Speaker 3: YOU know i really would like you to come visit

1429
01:17:19,400 --> 01:17:21,600
Speaker 3: me IN the. Vr world there are so many games we.

1430
01:17:21,600 --> 01:17:25,360
Speaker 3: Could Play and clyde is basically drooling at. The, screen

1431
01:17:26,479 --> 01:17:30,240
Speaker 3: meanwhile the creepy Computer guy daryl comes up behind him and,

1432
01:17:30,280 --> 01:17:34,599
Speaker 3: he's like, You, know clyde she's. Very interactive here they

1433
01:17:34,720 --> 01:17:38,000
Speaker 3: sort of imply THAT the vr chairs that are being

1434
01:17:38,120 --> 01:17:41,640
Speaker 3: used in the police training simulator earlier that day have

1435
01:17:41,800 --> 01:17:46,559
Speaker 3: some kind of. Sexual interface we never see specifics on

1436
01:17:46,600 --> 01:17:50,120
Speaker 3: what these peripherals would. Look like i'm really curious how

1437
01:17:50,160 --> 01:17:54,360
Speaker 3: this was going to be used for. Training purposes and by,

1438
01:17:54,360 --> 01:17:56,719
Speaker 3: the way, once again no Offense to kevin, j O'Connor

1439
01:17:56,720 --> 01:17:58,479
Speaker 3: but i feel like they really go out of their

1440
01:17:58,479 --> 01:18:01,599
Speaker 3: way to make, him grow like come off. As gross

1441
01:18:02,200 --> 01:18:05,479
Speaker 3: he's filmed slightly from below while he's leering at, the

1442
01:18:05,479 --> 01:18:08,519
Speaker 3: screen so we're like looking a bit up his nose

1443
01:18:08,720 --> 01:18:11,600
Speaker 3: and seeing his wet. Front teeth they're like wet with

1444
01:18:11,800 --> 01:18:14,799
Speaker 3: spit and shining in, the light and he's just gazing

1445
01:18:14,880 --> 01:18:18,960
Speaker 3: like he's in a trance at. The screen And then clyde, is, like, Oh,

1446
01:18:19,040 --> 01:18:22,680
Speaker 3: YEAH darryl i need to use, your Gear but darryl, tells, him, no,

1447
01:18:22,680 --> 01:18:25,599
Speaker 3: No no i've got a. Better idea you are a,

1448
01:18:25,680 --> 01:18:29,920
Speaker 3: nano ROBOTICIST and i know that you have created the

1449
01:18:29,960 --> 01:18:34,800
Speaker 3: technology TO three d print a nanotech android out of,

1450
01:18:34,840 --> 01:18:38,360
Speaker 3: Blue goop so why don't you use your blue goop

1451
01:18:38,479 --> 01:18:42,360
Speaker 3: machine To make sheila three point TWO the vr model

1452
01:18:42,520 --> 01:18:45,120
Speaker 3: into a FULL three d robot in the. Real world

1453
01:18:45,680 --> 01:18:48,839
Speaker 3: AND then i guess y'all can. GET married i, Don't.

1454
01:18:48,640 --> 01:18:52,080
Speaker 1: Know so this is. So, Ridiculous obviously it's like you're

1455
01:18:52,120 --> 01:18:59,800
Speaker 1: storing the technology to print bodies for digital beings right

1456
01:18:59,800 --> 01:19:03,760
Speaker 1: now to the place where you store your digital mass murder. Of.

1457
01:19:03,760 --> 01:19:07,519
Speaker 1: Beings yes but then also it's like he's, Putting this

1458
01:19:07,640 --> 01:19:10,200
Speaker 1: darrel's putting this Together. For Clyde like clyde, was like,

1459
01:19:10,280 --> 01:19:14,200
Speaker 1: YOU know i could turn out a woman for all

1460
01:19:14,240 --> 01:19:18,160
Speaker 1: of my. Creepy lust i'd never thought about. That before

1461
01:19:18,200 --> 01:19:20,200
Speaker 1: this is my, life's WORK but i never put.

1462
01:19:20,200 --> 01:19:23,120
Speaker 3: This together you're, EXACTLY right i mean once like, and

1463
01:19:23,240 --> 01:19:27,040
Speaker 3: also this character is depicted as he has no attributes

1464
01:19:27,160 --> 01:19:33,639
Speaker 3: other than dozen nanotechnology robots and. Experiences, lust yeah so

1465
01:19:34,600 --> 01:19:36,960
Speaker 3: you might think those would connect in, his mind because

1466
01:19:37,000 --> 01:19:39,160
Speaker 3: that is all his mind is as. A character, but,

1467
01:19:39,720 --> 01:19:44,439
Speaker 3: Yeah anyway clyde agrees and then walks off looking kind

1468
01:19:44,479 --> 01:19:48,080
Speaker 3: of grimly determined in a very. Funny way And so

1469
01:19:48,200 --> 01:19:52,040
Speaker 3: darryl hangs back To grab sheila's quote module from the.

1470
01:19:52,040 --> 01:19:54,639
Speaker 3: Computer bank this is an important mcguffin in. The MOVIE

1471
01:19:54,640 --> 01:19:58,080
Speaker 3: every vr character has a little like plastic polyhedron that's

1472
01:19:58,080 --> 01:20:02,000
Speaker 3: got their brain. Inside, It oh darryl pulls the switcheroo

1473
01:20:02,439 --> 01:20:05,880
Speaker 3: and instead Of taking, sheila's module HE takes sid six.

1474
01:20:05,880 --> 01:20:09,559
Speaker 1: Point seven and then he Just kicked sheila underneath the,

1475
01:20:10,280 --> 01:20:12,639
Speaker 1: you know, some, furniture, WHICH yeah i thought was very,

1476
01:20:12,640 --> 01:20:17,000
Speaker 1: disappointing because first, OF all i kind Of wanted sheila

1477
01:20:17,040 --> 01:20:19,519
Speaker 1: to have a chance to be born to the. Real,

1478
01:20:19,560 --> 01:20:25,080
Speaker 1: world yeah but also imagine Like the cringey comedy that

1479
01:20:25,080 --> 01:20:27,040
Speaker 1: could have resulted if we have like a stinger at

1480
01:20:27,040 --> 01:20:30,439
Speaker 1: the end where police are going into train and they're

1481
01:20:30,479 --> 01:20:33,280
Speaker 1: going Up against shila instead of a. Super, criminal oh

1482
01:20:33,320 --> 01:20:33,760
Speaker 1: that would be.

1483
01:20:33,760 --> 01:20:35,640
Speaker 3: FUNNY too i thought maybe you were, gonna, say like

1484
01:20:35,720 --> 01:20:38,400
Speaker 3: What if sheila, was created but instead of just becoming a,

1485
01:20:38,439 --> 01:20:40,680
Speaker 3: sex robot she's the one who has to hunt down

1486
01:20:40,720 --> 01:20:51,880
Speaker 3: sid six. Point, seven, yeah yeah. All, right anyway we

1487
01:20:51,920 --> 01:20:55,160
Speaker 3: move on to the nano. Robotics lab clyde shows off a,

1488
01:20:55,240 --> 01:20:57,920
Speaker 3: robot snake which you think is a real snake, at

1489
01:20:57,920 --> 01:21:01,080
Speaker 3: first like he shoves it In lynden, meyer's face but

1490
01:21:01,120 --> 01:21:03,160
Speaker 3: then he cuts it in half with some shears and

1491
01:21:03,240 --> 01:21:06,160
Speaker 3: reveals it is made of Blue goop, and then critically for,

1492
01:21:06,240 --> 01:21:09,120
Speaker 3: the plot we learn that if you cut part of,

1493
01:21:09,160 --> 01:21:12,080
Speaker 3: it off since it's made out, of silicon it can

1494
01:21:12,160 --> 01:21:16,360
Speaker 3: regenerate itself by absorbing glass it finds in. The environment

1495
01:21:16,720 --> 01:21:19,719
Speaker 3: so the snake like rebuilds its severed tail by reaching

1496
01:21:19,760 --> 01:21:23,240
Speaker 3: out these blue tendrils that suck up glass from. A beaker,

1497
01:21:24,439 --> 01:21:27,719
Speaker 3: and honestly this premise sets up several of the best

1498
01:21:27,800 --> 01:21:30,720
Speaker 3: moments in the Movie where sid will get injured and

1499
01:21:30,760 --> 01:21:33,560
Speaker 3: then later he'll start like sucking glass out of windows

1500
01:21:33,600 --> 01:21:36,200
Speaker 3: while he's got like the goop arm in the window

1501
01:21:36,280 --> 01:21:40,200
Speaker 3: and he's making this. Rage face or at one point

1502
01:21:40,280 --> 01:21:44,280
Speaker 3: he's literally like eating fistfuls of glass in the middle

1503
01:21:44,280 --> 01:21:48,160
Speaker 3: of a car chase in. The scene clyde, also, explains

1504
01:21:48,600 --> 01:21:51,719
Speaker 3: quote if you separate the character module from the, polymer

1505
01:21:51,800 --> 01:21:52,760
Speaker 3: matrix you get.

1506
01:21:53,320 --> 01:21:53,639
Speaker 1: Nano.

1507
01:21:53,800 --> 01:21:58,000
Speaker 3: Death yeah, so anyway they start growing the robot inside of,

1508
01:21:58,040 --> 01:21:59,720
Speaker 3: a pod which is a good.

1509
01:21:59,760 --> 01:22:03,160
Speaker 1: Set piece, OH yes i love all this stuff because then,

1510
01:22:03,280 --> 01:22:09,400
Speaker 1: practical effects it's this blue like it's it's, it's inorganic

1511
01:22:09,640 --> 01:22:12,240
Speaker 1: but it has this kind of organic nature. To it

1512
01:22:12,240 --> 01:22:16,360
Speaker 1: it's like this like weird blue alien egg that this

1513
01:22:16,479 --> 01:22:20,160
Speaker 1: being is. Growing inside and then when it finally opens

1514
01:22:20,400 --> 01:22:23,920
Speaker 1: and there's like. Blue goo, of course what rises up

1515
01:22:23,960 --> 01:22:27,560
Speaker 1: initially is just this kind of like neutral. Blue, humanoid

1516
01:22:27,640 --> 01:22:29,880
Speaker 1: oh has kind of like, A oh i, don't know

1517
01:22:29,880 --> 01:22:32,479
Speaker 1: almost like a crash test dummy kind of vibe, to

1518
01:22:32,520 --> 01:22:35,439
Speaker 1: it like it's not completely, finished yet to the point

1519
01:22:35,479 --> 01:22:39,160
Speaker 1: that our creep researcher here is, like, like oh it's.

1520
01:22:39,200 --> 01:22:43,160
Speaker 1: It's you i'm ready. To party but then it finishes.

1521
01:22:43,800 --> 01:22:47,800
Speaker 1: Its form it like everything smooths out digitally and it

1522
01:22:47,840 --> 01:22:54,000
Speaker 1: Becomes not Sheila but sid six, point seven naked, terminator style.

1523
01:22:54,000 --> 01:22:56,320
Speaker 3: Who Immediately kills clyde like it like.

1524
01:22:56,400 --> 01:22:56,719
Speaker 1: Chokes.

1525
01:22:56,800 --> 01:22:59,320
Speaker 3: Him yeah, the pod by, the way it looks like

1526
01:22:59,320 --> 01:23:01,800
Speaker 3: a cross between Between a venus fly trap and a.

1527
01:23:01,840 --> 01:23:06,280
Speaker 3: Pool float, and yeah the being is the freakiest looking

1528
01:23:06,320 --> 01:23:08,160
Speaker 3: thing in the movie Is when sid comes out not.

1529
01:23:08,240 --> 01:23:11,120
Speaker 1: Fully, finished yeah but that's why if you look through

1530
01:23:11,120 --> 01:23:13,880
Speaker 1: the credits for, this film you'll see somebody like credit

1531
01:23:14,000 --> 01:23:17,400
Speaker 1: with like, creature effects because it is essentially like it's

1532
01:23:17,400 --> 01:23:19,439
Speaker 1: somewhere blurring the line between creature.

1533
01:23:19,439 --> 01:23:22,639
Speaker 3: And, technology yeah and by, the way and, The Scene

1534
01:23:22,720 --> 01:23:26,120
Speaker 3: russell crowe is really stretching his, ham legs just goofing it.

1535
01:23:26,160 --> 01:23:31,840
Speaker 3: Up stupendously, You know clyde says He's, like sheila but

1536
01:23:31,880 --> 01:23:35,920
Speaker 3: It's Obviously russell crowe and He Instead russell crow, Says

1537
01:23:36,000 --> 01:23:40,280
Speaker 3: No i'm oedipus and then. Chokes him and then meanwhile

1538
01:23:40,320 --> 01:23:43,880
Speaker 3: The darre old character is watching seemingly in horror and

1539
01:23:43,920 --> 01:23:46,400
Speaker 3: then runs away. And hides but why is? He horrified

1540
01:23:46,439 --> 01:23:47,080
Speaker 3: didn't he do this?

1541
01:23:47,160 --> 01:23:49,720
Speaker 1: On, purpose yeah this is exactly what you wanted. To

1542
01:23:49,800 --> 01:23:51,519
Speaker 1: do what did you think was going to?

1543
01:23:51,600 --> 01:23:54,599
Speaker 3: Happen here so we get to See Naked russell crowe

1544
01:23:54,640 --> 01:23:57,479
Speaker 3: having fun feeling gravity for the. First time he like

1545
01:23:57,560 --> 01:24:01,080
Speaker 3: kind of, Shifts around, he's like. Ooh gravity he also

1546
01:24:01,200 --> 01:24:04,080
Speaker 3: picks up a random knife and starts doing naked tai

1547
01:24:04,200 --> 01:24:07,720
Speaker 3: chi with a knife in. His hand then he recreationally

1548
01:24:07,760 --> 01:24:10,840
Speaker 3: cuts off his own finger and then licks the blue goop, and,

1549
01:24:10,880 --> 01:24:13,599
Speaker 3: says huh that was a. Good year like it's like it's.

1550
01:24:13,600 --> 01:24:16,439
Speaker 3: A wine that's, the joke but you, know What It's

1551
01:24:16,560 --> 01:24:19,200
Speaker 3: russell krow kind of. Sells it even the bad jokes sort. Of.

1552
01:24:19,280 --> 01:24:19,559
Speaker 1: Land.

1553
01:24:19,880 --> 01:24:23,320
Speaker 3: Yeah oh and then also in, the scene we get

1554
01:24:23,320 --> 01:24:25,680
Speaker 3: A line i think it was obviously meant for. The

1555
01:24:25,720 --> 01:24:28,080
Speaker 3: trailer it's sort OF an i got to get me

1556
01:24:28,160 --> 01:24:31,400
Speaker 3: one of those Moments where sid looks directly into the camera,

1557
01:24:31,560 --> 01:24:32,960
Speaker 3: AND says I think i'm.

1558
01:24:32,800 --> 01:24:35,679
Speaker 1: Gonna like, it here and he does like. It here

1559
01:24:35,760 --> 01:24:39,120
Speaker 1: that's that's pretty much what happens for the next like

1560
01:24:39,200 --> 01:24:39,880
Speaker 1: forty minutes.

1561
01:24:40,000 --> 01:24:42,120
Speaker 3: Or SO so i have a question about. The plot

1562
01:24:42,200 --> 01:24:45,160
Speaker 3: maybe you knew something about This rob is there something

1563
01:24:45,360 --> 01:24:48,479
Speaker 3: it felt like something was missing in the subplot of

1564
01:24:48,520 --> 01:24:52,240
Speaker 3: the villains here they would explain why the computer company

1565
01:24:52,320 --> 01:24:57,000
Speaker 3: GUY wanted sid six point seven unleashed into. The world

1566
01:24:57,560 --> 01:25:01,640
Speaker 3: there are some scenes that kind of, imply conspiracy like motivated.

1567
01:25:01,680 --> 01:25:04,960
Speaker 3: By business there ARE other, i mean but only. Very

1568
01:25:05,000 --> 01:25:07,720
Speaker 3: vaguely there are other scenes that to me implied the

1569
01:25:07,720 --> 01:25:11,640
Speaker 3: computer guy is like a psychotic acolyte of the RELIGION

1570
01:25:11,680 --> 01:25:14,800
Speaker 3: of sid six. Point, seven LIKE am i remembering? Right

1571
01:25:14,800 --> 01:25:17,479
Speaker 3: that one time later he's shown in a motel room

1572
01:25:17,520 --> 01:25:19,200
Speaker 3: decorated Like A charles manson.

1573
01:25:19,280 --> 01:25:19,559
Speaker 1: Murder.

1574
01:25:19,640 --> 01:25:23,719
Speaker 3: Scene, Yeah yeah and it's not like a, crime scene

1575
01:25:23,720 --> 01:25:27,200
Speaker 3: it's like his own. Motel room and it implied just

1576
01:25:27,280 --> 01:25:29,360
Speaker 3: he just decorated it that way because he. Likes it

1577
01:25:30,080 --> 01:25:33,680
Speaker 3: like just major confusion on what is the motivation of

1578
01:25:33,720 --> 01:25:37,240
Speaker 3: the non virtual meet, human villains what was their goal

1579
01:25:37,320 --> 01:25:37,880
Speaker 3: and who's in?

1580
01:25:37,960 --> 01:25:41,080
Speaker 1: ON it, i mean it seems like his direct creator

1581
01:25:41,120 --> 01:25:45,840
Speaker 1: here just comes to worship. His creation but we don't

1582
01:25:46,200 --> 01:25:48,920
Speaker 1: really get enough details on how this comes, to pass,

1583
01:25:49,120 --> 01:25:52,439
Speaker 1: you know we're just sort of left to assume that's.

1584
01:25:52,439 --> 01:25:55,200
Speaker 1: The case this is an EXAMPLE where i probably NEED

1585
01:25:55,320 --> 01:25:57,439
Speaker 1: well i don't. NEED to i would probably get some

1586
01:25:57,479 --> 01:26:00,679
Speaker 1: ANSWERS if i read, the novelization oh for, the movie

1587
01:26:00,680 --> 01:26:05,240
Speaker 1: which Was By, terry bisson who has come up on

1588
01:26:05,280 --> 01:26:07,839
Speaker 1: the show before because we've had a couple of people

1589
01:26:08,439 --> 01:26:13,200
Speaker 1: right in about. His work he Won A hugo award

1590
01:26:13,240 --> 01:26:15,519
Speaker 1: And A nebula award for the Short story they're made out.

1591
01:26:15,560 --> 01:26:20,120
Speaker 1: Of meat, i'm assuming as is typical, with novelizations he

1592
01:26:20,200 --> 01:26:22,559
Speaker 1: probably had to fill in the gaps here and create

1593
01:26:22,600 --> 01:26:25,880
Speaker 1: some connective tissue for. These characters, but yeah back to,

1594
01:26:25,920 --> 01:26:28,799
Speaker 1: your point why is any of? This, happening like why

1595
01:26:28,960 --> 01:26:33,400
Speaker 1: really did you orchestrate the escape of? This being why

1596
01:26:33,439 --> 01:26:37,800
Speaker 1: did you help it print itself in physical forms so

1597
01:26:37,840 --> 01:26:40,840
Speaker 1: it can run on a rampage like. You clean you

1598
01:26:40,880 --> 01:26:43,639
Speaker 1: seem to like him and you're into what he's doing

1599
01:26:43,720 --> 01:26:47,000
Speaker 1: but also scared, by him but also scared. By, him

1600
01:26:47,080 --> 01:26:51,600
Speaker 1: yeah it's like it seems like we needed him to

1601
01:26:51,600 --> 01:26:53,360
Speaker 1: be killed by the creator here as well if he

1602
01:26:53,400 --> 01:26:56,880
Speaker 1: because it's not like he's he's Sort of frankenstein's here where, he's,

1603
01:26:56,920 --> 01:26:59,240
Speaker 1: Like ah i've gone too far and, runs away but

1604
01:26:59,280 --> 01:27:00,360
Speaker 1: then he continues to worship.

1605
01:27:00,360 --> 01:27:03,439
Speaker 3: HIS creations, i, Yeah anyway so at this point in,

1606
01:27:03,479 --> 01:27:06,160
Speaker 3: the movie the premise has. Been delivered, YOU know sid

1607
01:27:06,240 --> 01:27:09,040
Speaker 3: six point seven is unleashed in physical form upon, our

1608
01:27:09,080 --> 01:27:12,320
Speaker 3: world the world of nineteen. Ninety nine in the Words

1609
01:27:12,320 --> 01:27:16,479
Speaker 3: Of william, forsyth Quote somehow sid six point seven got

1610
01:27:16,560 --> 01:27:20,479
Speaker 3: himself out of the computer and at this point only

1611
01:27:20,560 --> 01:27:23,640
Speaker 3: one man can, stop him Because again barnes is the

1612
01:27:23,640 --> 01:27:26,799
Speaker 3: only prisoner who Ever beats sid IN the. Vr Training

1613
01:27:26,920 --> 01:27:31,040
Speaker 3: so barnes has granted conditional early release from prison so

1614
01:27:31,080 --> 01:27:34,120
Speaker 3: he can find And. Stop sid now at, this point

1615
01:27:34,120 --> 01:27:36,920
Speaker 3: what is a renegade cop who gets results always need a,

1616
01:27:36,960 --> 01:27:39,920
Speaker 3: New partner so he's getting paired Up With, madison carter the.

1617
01:27:39,960 --> 01:27:43,560
Speaker 3: Criminal psychologist so few scenes to. Talk about from the

1618
01:27:43,600 --> 01:27:45,839
Speaker 3: middle portion of, the movie a lot of chasing around

1619
01:27:45,880 --> 01:27:49,000
Speaker 3: an investigation in that there's sort of a detective Portion

1620
01:27:49,640 --> 01:27:53,479
Speaker 3: where Barnes and carter investigates some crime scenes WHERE like

1621
01:27:53,520 --> 01:27:56,040
Speaker 3: sid has done random murders and one of them is

1622
01:27:56,080 --> 01:28:00,120
Speaker 3: staged as a copycat Of The tate. Lobbianca murders but

1623
01:28:00,240 --> 01:28:02,960
Speaker 3: they end Up At darryl, lindenmeyer's house the guy Who

1624
01:28:03,040 --> 01:28:06,839
Speaker 3: programmed sid in a SCENE that i found, extremely funny

1625
01:28:06,880 --> 01:28:09,559
Speaker 3: because so they LEARN how sid six point seven. Was

1626
01:28:09,560 --> 01:28:13,639
Speaker 3: created they Go into lindenmeyer's computer and they're like looking

1627
01:28:13,680 --> 01:28:16,920
Speaker 3: at THE previous, sid models and these heads just start

1628
01:28:16,960 --> 01:28:19,320
Speaker 3: popping up on the. Computer screen and the first one

1629
01:28:19,360 --> 01:28:22,280
Speaker 3: we see Is a hitler head that's like A three

1630
01:28:22,360 --> 01:28:25,439
Speaker 3: d sort of polygon model, of it so it's got

1631
01:28:25,479 --> 01:28:27,920
Speaker 3: like a little, like mustache but it's a. Little polygon

1632
01:28:28,479 --> 01:28:31,719
Speaker 3: and then they're showing serial killers, and Stuff and, carter,

1633
01:28:31,880 --> 01:28:33,160
Speaker 3: says quote this is.

1634
01:28:33,160 --> 01:28:34,000
Speaker 1: Using some kind of.

1635
01:28:34,040 --> 01:28:38,160
Speaker 3: Genetic algorithms sid's too complex. To design lindenmeyer had to

1636
01:28:38,200 --> 01:28:41,639
Speaker 3: grow him up psychologically like a real person with multiple.

1637
01:28:41,680 --> 01:28:45,400
Speaker 3: Personality disorder the program learns like, a child but. Much

1638
01:28:45,439 --> 01:28:48,200
Speaker 3: faster it's like he put all these killers in sid's

1639
01:28:48,240 --> 01:28:51,640
Speaker 3: nursery and let him watch them cannibalize. Each other And then,

1640
01:28:51,720 --> 01:28:55,080
Speaker 3: barnes says and only the strong. Ones survive but what

1641
01:28:55,120 --> 01:28:58,400
Speaker 3: does that mean in this context the strongest serial Killers

1642
01:28:58,439 --> 01:29:00,320
Speaker 3: Or hitler's so.

1643
01:29:00,320 --> 01:29:03,719
Speaker 1: On, one level absolutely this is technobabble that doesn't really

1644
01:29:03,760 --> 01:29:06,880
Speaker 1: stand up to, close scrutiny but it also does kind

1645
01:29:06,880 --> 01:29:11,400
Speaker 1: of neatly forecast some of The topics we've been discussing

1646
01:29:12,000 --> 01:29:15,679
Speaker 1: in the past several YEARS about ai and about about

1647
01:29:15,720 --> 01:29:20,400
Speaker 1: training on content and how sometimes the content that these

1648
01:29:20,400 --> 01:29:23,880
Speaker 1: models train on are not the best models of human

1649
01:29:23,920 --> 01:29:27,800
Speaker 1: behavior or, human expression and so it's, you know, it's

1650
01:29:28,160 --> 01:29:30,720
Speaker 1: silly but it also rings a little bit true in.

1651
01:29:31,040 --> 01:29:33,479
Speaker 3: Some, ways yeah but this is, more like what if

1652
01:29:33,520 --> 01:29:38,200
Speaker 3: you limited the reinforcement, training exclusively the training data is

1653
01:29:38,240 --> 01:29:42,040
Speaker 3: only a pyramid of TWO hundred cgi serial killer Heads

1654
01:29:42,160 --> 01:29:42,800
Speaker 3: with hitler in.

1655
01:29:42,840 --> 01:29:45,600
Speaker 1: There, TOO well, i mean, in retrospect why would we?

1656
01:29:45,600 --> 01:29:47,080
Speaker 1: Do this but now we're kind, of like WELL that

1657
01:29:47,160 --> 01:29:48,080
Speaker 1: I guess i, could happen.

1658
01:29:48,160 --> 01:29:48,240
Speaker 4: You.

1659
01:29:48,280 --> 01:29:53,240
Speaker 3: Know yeah so also in, The scene barnes figures out

1660
01:29:53,240 --> 01:29:56,799
Speaker 3: that one of the heads in THERE inside sid belonged

1661
01:29:56,800 --> 01:29:59,240
Speaker 3: to the guy who murdered. His family there is a

1662
01:29:59,280 --> 01:30:02,240
Speaker 3: lot made, of, like oh that would be, extra bad,

1663
01:30:02,280 --> 01:30:05,640
Speaker 3: you know much Scarier Than ted Bundy. And hitler but

1664
01:30:06,160 --> 01:30:09,400
Speaker 3: much is also, discussed about like whether this personality is

1665
01:30:09,520 --> 01:30:13,960
Speaker 3: DOMINANT within sid. OR not i found that a not very. Fruitful.

1666
01:30:14,000 --> 01:30:15,560
Speaker 1: Subplot. Yeah same.

1667
01:30:16,840 --> 01:30:19,559
Speaker 3: The decor Of lynden MEYER'S apartment i thought was. Really

1668
01:30:19,640 --> 01:30:23,040
Speaker 3: funny it's like a Cross Between patrick bateman's apartment and

1669
01:30:23,080 --> 01:30:25,439
Speaker 3: the house In. The hunger so there's a lot Of

1670
01:30:25,520 --> 01:30:29,040
Speaker 3: Soulless wall street furniture and computers, and stuff but also

1671
01:30:29,400 --> 01:30:33,360
Speaker 3: a single purple rose in a glass. Bell jar now,

1672
01:30:33,400 --> 01:30:35,800
Speaker 3: after you let's talk about the, club, scene because as,

1673
01:30:35,800 --> 01:30:37,519
Speaker 3: we said every one of these movies has to have

1674
01:30:37,560 --> 01:30:41,600
Speaker 3: a techno dance. Club scene what would you So like

1675
01:30:41,720 --> 01:30:44,800
Speaker 3: sid six point seven goes to, a club he fights his.

1676
01:30:44,880 --> 01:30:47,320
Speaker 3: Way in how would you describe this?

1677
01:30:47,479 --> 01:30:52,480
Speaker 1: Club? Rob, OH well i mean it's just absolute cinematic

1678
01:30:52,520 --> 01:30:56,400
Speaker 1: portrayal of the nineties. Rave situation, you know, the lights,

1679
01:30:57,840 --> 01:31:02,920
Speaker 1: the outfits the Presence Of. Tracy lord everything is in,

1680
01:31:02,960 --> 01:31:06,400
Speaker 1: place here and we get that great scene where he's

1681
01:31:06,720 --> 01:31:09,080
Speaker 1: like strong arming his way to the front of the

1682
01:31:09,120 --> 01:31:13,760
Speaker 1: line to. Get in it's it's very like futuristic. And

1683
01:31:13,880 --> 01:31:17,400
Speaker 1: HIP but i do generally like the, music here.

1684
01:31:17,800 --> 01:31:20,120
Speaker 3: Good track there's, live music and they've got like A

1685
01:31:20,160 --> 01:31:24,040
Speaker 3: STAR trek dj station with these milky white orbs instead,

1686
01:31:24,080 --> 01:31:26,599
Speaker 3: of turntables so you can see them like doing record

1687
01:31:26,640 --> 01:31:27,320
Speaker 3: scratches with.

1688
01:31:27,400 --> 01:31:31,400
Speaker 1: The, orbs yeah infrared footage of everything's gone to so, many,

1689
01:31:31,439 --> 01:31:32,439
Speaker 1: screens yes.

1690
01:31:32,640 --> 01:31:36,040
Speaker 3: Screens everywhere there are people walking around with video cameras

1691
01:31:36,080 --> 01:31:39,560
Speaker 3: that are projecting a live feed with crazy color effects

1692
01:31:39,640 --> 01:31:44,000
Speaker 3: onto the huge screens on, the walls just cables dangling

1693
01:31:44,080 --> 01:31:46,760
Speaker 3: everywhere and like running to the helmets that are being

1694
01:31:46,840 --> 01:31:49,880
Speaker 3: warned by. The, DJs also you access this club through a,

1695
01:31:49,880 --> 01:31:52,120
Speaker 3: freight elevator so it's like a basement club you have

1696
01:31:52,200 --> 01:31:56,680
Speaker 3: to go down to through. The elevator ONE thing i thought, is,

1697
01:31:56,680 --> 01:31:59,639
Speaker 3: that oh, YOU know i went to a concert earlier,

1698
01:31:59,680 --> 01:32:01,360
Speaker 3: this week and, it's like this is kind of like

1699
01:32:01,400 --> 01:32:03,639
Speaker 3: going to a concert today because you see people holding

1700
01:32:03,720 --> 01:32:07,000
Speaker 3: up their devices recording the performers standing right in front.

1701
01:32:07,000 --> 01:32:09,080
Speaker 1: Of, them yeah that's a. Good point that's a. Good point,

1702
01:32:09,439 --> 01:32:14,200
Speaker 1: but yeah we'll. DO that i mean it only the

1703
01:32:14,240 --> 01:32:17,040
Speaker 1: world only makes sense if you're, viewing it experiencing it through,

1704
01:32:17,200 --> 01:32:20,960
Speaker 1: the digital through, the technology. You know but in, this,

1705
01:32:21,000 --> 01:32:24,280
Speaker 1: case yeah the Performer Is tracy lord's up there with

1706
01:32:24,640 --> 01:32:27,720
Speaker 1: what one or two DJs. On hand she's kind, of

1707
01:32:27,760 --> 01:32:33,880
Speaker 1: singing kind of, dancing around wearing this kind of like matrixy.

1708
01:32:34,080 --> 01:32:38,400
Speaker 1: Latex attire and then, income said and we get this

1709
01:32:38,439 --> 01:32:42,160
Speaker 1: one moment cinematography at. ITS finest i guess where, they're

1710
01:32:42,160 --> 01:32:47,040
Speaker 1: like what if we shot Sid Through tracy lord's legs,

1711
01:32:47,080 --> 01:32:50,000
Speaker 1: from behind like through her thighs from behind and that's. The,

1712
01:32:50,080 --> 01:32:53,000
Speaker 1: shot YEAH so i giggled. AT that i, was, like,

1713
01:32:53,040 --> 01:32:54,599
Speaker 1: okay yeah a little over. The.

1714
01:32:54,600 --> 01:32:58,440
Speaker 3: Top, yeah also the fashion in the scene, is chaotic,

1715
01:32:58,880 --> 01:33:01,000
Speaker 3: we get but we do get an early glimpse of

1716
01:33:01,080 --> 01:33:03,559
Speaker 3: a guy in a purple double breasted Suit that sid

1717
01:33:03,600 --> 01:33:04,960
Speaker 3: is going to steal and wear.

1718
01:33:04,800 --> 01:33:05,200
Speaker 1: For much of.

1719
01:33:05,240 --> 01:33:08,240
Speaker 3: The film, but again coming back to the kind of

1720
01:33:08,280 --> 01:33:11,240
Speaker 3: themes we talked, about earlier there's something kind of interesting

1721
01:33:11,280 --> 01:33:14,360
Speaker 3: here where in, this scene it becomes Apparent that sid

1722
01:33:14,439 --> 01:33:17,200
Speaker 3: loves that people are aiming cameras at him in the

1723
01:33:17,240 --> 01:33:20,040
Speaker 3: club and projecting him onto the, big screen and. He

1724
01:33:20,200 --> 01:33:24,280
Speaker 3: smiles he's like overwhelmed. WITH joy i think, Sincere joy

1725
01:33:24,400 --> 01:33:26,840
Speaker 3: like he's not making, a joke and, HE says i.

1726
01:33:26,920 --> 01:33:29,400
Speaker 3: Am beautiful and this is one of the themes of

1727
01:33:29,400 --> 01:33:32,640
Speaker 3: the MOVIE that i thought was actually kind of. Accidentally

1728
01:33:32,680 --> 01:33:37,799
Speaker 3: interesting there's something about the information environment in the setting

1729
01:33:38,600 --> 01:33:42,519
Speaker 3: that says there's. A desire there's like a link between

1730
01:33:42,560 --> 01:33:45,600
Speaker 3: the desire to be famous and the center of everybody's

1731
01:33:45,600 --> 01:33:50,799
Speaker 3: attention and sadism. Or PSYCHOPATHY like i haven't fully fleshed

1732
01:33:50,800 --> 01:33:52,960
Speaker 3: out exactly what, this means but it's like a latent

1733
01:33:53,040 --> 01:33:56,360
Speaker 3: assumption of the film that is not just the common

1734
01:33:56,400 --> 01:33:59,800
Speaker 3: assumption that there's something kind of tacky or shallow or

1735
01:34:00,200 --> 01:34:03,759
Speaker 3: guided about wanting to be the center of, everybody's attention

1736
01:34:04,000 --> 01:34:06,639
Speaker 3: or especially wanting to be the center of everybody's attention

1737
01:34:06,760 --> 01:34:10,680
Speaker 3: as mediated through technology like video And, the internet but

1738
01:34:10,800 --> 01:34:14,240
Speaker 3: actually goes a step farther and suggests the desire for

1739
01:34:14,320 --> 01:34:17,760
Speaker 3: attention like this is related to a kind, of, dominance

1740
01:34:17,800 --> 01:34:21,759
Speaker 3: strive a desire to have power over others and even

1741
01:34:21,800 --> 01:34:25,360
Speaker 3: inflict pain, On them and that hit home for. Me,

1742
01:34:25,439 --> 01:34:28,840
Speaker 3: SOMEHOW again i don't want TO suggest i think this

1743
01:34:29,000 --> 01:34:32,040
Speaker 3: was explicitly thought out in, the script but it feels

1744
01:34:32,120 --> 01:34:35,519
Speaker 3: like a potent theme the movie. Stumbles. Into here there's

1745
01:34:35,560 --> 01:34:39,040
Speaker 3: something about this obsession with like being on camera and

1746
01:34:39,080 --> 01:34:41,920
Speaker 3: having people far away all watching you at the same

1747
01:34:41,960 --> 01:34:45,720
Speaker 3: time that is like a kind of power and domination.

1748
01:34:46,000 --> 01:34:49,240
Speaker 1: And sadism, Yeah yeah and they do come back to

1749
01:34:49,280 --> 01:34:50,080
Speaker 1: it later on.

1750
01:34:50,200 --> 01:34:52,639
Speaker 3: As, well anyway in The scene sid gets a drink

1751
01:34:52,680 --> 01:34:56,880
Speaker 3: made for him By A johnny Cab and sid is like,

1752
01:34:57,240 --> 01:35:00,160
Speaker 3: to think you constitute one of. My ancestors and then

1753
01:35:00,200 --> 01:35:00,920
Speaker 3: in personally.

1754
01:35:00,800 --> 01:35:02,760
Speaker 1: That's one of a couple of moments in here though With,

1755
01:35:02,880 --> 01:35:05,080
Speaker 1: the ANDROIDS where i, was like they're kind of getting

1756
01:35:05,120 --> 01:35:07,320
Speaker 1: into some of the Territory That ridley scott would later

1757
01:35:07,320 --> 01:35:11,000
Speaker 1: get Into with david And The, alien prequels but with

1758
01:35:11,200 --> 01:35:14,800
Speaker 1: less nuance and and more just. Outright meanness. That's.

1759
01:35:14,880 --> 01:35:18,439
Speaker 3: Funny. Yeah uh he starts rampaging in, the club, of

1760
01:35:18,479 --> 01:35:20,320
Speaker 3: course and then this will be a type of scene.

1761
01:35:20,320 --> 01:35:23,840
Speaker 3: That recurs he takes, everybody hostage forces the camera to like.

1762
01:35:23,920 --> 01:35:24,240
Speaker 1: Film.

1763
01:35:24,320 --> 01:35:26,639
Speaker 3: Him uh and then in one.

1764
01:35:26,520 --> 01:35:29,360
Speaker 1: Funny Bit cracy lords, gets away though she does, run

1765
01:35:29,400 --> 01:35:31,640
Speaker 1: away the guy behind her, gets shot but she.

1766
01:35:31,720 --> 01:35:36,040
Speaker 3: Makes it and then he starts he starts making everybody

1767
01:35:36,200 --> 01:35:39,760
Speaker 3: record screams that he can play back and remix AT the.

1768
01:35:39,840 --> 01:35:42,880
Speaker 3: Dj station this scene is, really Something And russell crowe

1769
01:35:42,920 --> 01:35:45,200
Speaker 3: is just like roaring with. Improvisational.

1770
01:35:45,320 --> 01:35:48,920
Speaker 1: ENERGY yeah i mean it's a weird, mix though because on,

1771
01:35:48,920 --> 01:35:51,800
Speaker 1: one hand like a scene where someone terrorizes a bunch

1772
01:35:51,840 --> 01:35:54,120
Speaker 1: of people with, a, gun yes IT'S like i don't.

1773
01:35:54,240 --> 01:35:56,720
Speaker 1: Like it but on the, other hand so many other

1774
01:35:56,760 --> 01:35:59,120
Speaker 1: aspects of this sequence are so over. The top that

1775
01:35:59,479 --> 01:36:02,240
Speaker 1: and and the performance that the center of it is

1776
01:36:02,240 --> 01:36:04,200
Speaker 1: is so over the top you kind of like it.

1777
01:36:04,240 --> 01:36:07,240
Speaker 3: AS well i mentioned this earlier that one of THE

1778
01:36:07,280 --> 01:36:11,759
Speaker 3: ways i think this movie kind of really sits weird

1779
01:36:12,479 --> 01:36:15,719
Speaker 3: is a. TONAL mismatch i think this is actually True

1780
01:36:16,080 --> 01:36:19,799
Speaker 3: with barnes's backstory, as well the thing about like his family.

1781
01:36:19,840 --> 01:36:24,080
Speaker 3: Being murdered it's. A weird it's weird Because the barnes

1782
01:36:24,120 --> 01:36:28,080
Speaker 3: backstory is on one hand, like, hackneyed obvious overly familiar

1783
01:36:28,120 --> 01:36:30,040
Speaker 3: for this type, of character, you know. The copy he's

1784
01:36:30,080 --> 01:36:32,760
Speaker 3: taken it, too personal and at the same time it

1785
01:36:32,840 --> 01:36:37,240
Speaker 3: is excessively cruel and horrible for the context of this.

1786
01:36:37,360 --> 01:36:39,280
Speaker 1: Goofy MOVIE and i.

1787
01:36:39,200 --> 01:36:42,240
Speaker 3: Felt a similar way about a lot of, These scenes

1788
01:36:42,280 --> 01:36:46,120
Speaker 3: like the club scene is at once like goofy but

1789
01:36:46,320 --> 01:36:51,080
Speaker 3: also just a little. Too nasty it's, like both it's

1790
01:36:51,120 --> 01:36:51,680
Speaker 3: going off in.

1791
01:36:51,760 --> 01:36:54,400
Speaker 1: Both, directions, yeah YEAH so I think i think you're

1792
01:36:54,479 --> 01:36:56,000
Speaker 1: right there that the tone is.

1793
01:36:56,040 --> 01:37:05,880
Speaker 3: Off here, of course this all gets Interrupted when barnes,

1794
01:37:05,920 --> 01:37:07,840
Speaker 3: shows up and this leads to a shootout and a.

1795
01:37:07,880 --> 01:37:09,800
Speaker 3: Car chase i'm not going to narrate all the, action

1796
01:37:09,920 --> 01:37:12,799
Speaker 3: scenes but a lot of the rest of the movie follows.

1797
01:37:12,840 --> 01:37:16,639
Speaker 3: This format sid, goes somewhere he. Starts rampaging he wants

1798
01:37:16,680 --> 01:37:19,960
Speaker 3: to be. On camera he's, killing people, Taking hostages, barnes

1799
01:37:20,040 --> 01:37:22,759
Speaker 3: arrives there is a fight and, a chase and then sid,

1800
01:37:22,760 --> 01:37:24,080
Speaker 3: gets away and.

1801
01:37:23,960 --> 01:37:26,839
Speaker 1: Then they need to go, find him and they realize

1802
01:37:26,840 --> 01:37:28,680
Speaker 1: that he is going to go where the. Attention is

1803
01:37:28,720 --> 01:37:31,519
Speaker 1: he's going to go where the, media is and that's

1804
01:37:31,680 --> 01:37:34,240
Speaker 1: how we end up, following him, for instance to the to.

1805
01:37:34,280 --> 01:37:36,720
Speaker 3: The octagon, Oh, Boy okay, SO yeah i think we're

1806
01:37:36,760 --> 01:37:38,400
Speaker 3: near the end of our plot, recap here but we

1807
01:37:38,479 --> 01:37:39,479
Speaker 3: do have to talk ABOUT the.

1808
01:37:39,560 --> 01:37:42,679
Speaker 1: Ufc, scene YEAH so i. WAS expected. I, HAD again

1809
01:37:42,720 --> 01:37:46,720
Speaker 1: i hadn't seen virtuosity in, ITS entirety, I THINK but

1810
01:37:46,920 --> 01:37:48,880
Speaker 1: i was looking over the CAST and, i, noticed, Oh

1811
01:37:48,960 --> 01:37:51,040
Speaker 1: Well ken shamrocks, in this it looks like there's going

1812
01:37:51,080 --> 01:37:54,000
Speaker 1: to BE some. Ufc ACTION so i was prepared for

1813
01:37:54,080 --> 01:37:58,240
Speaker 1: some POTENTIALLY hammy ufc. Product INTEGRATION and i would have

1814
01:37:58,280 --> 01:38:00,760
Speaker 1: TO say i was a bit shocked by how negatively

1815
01:38:00,840 --> 01:38:03,559
Speaker 1: the FILM portrays MMA and. Mma, fandom.

1816
01:38:04,160 --> 01:38:08,120
Speaker 3: Yes virtuosity it DEPICTS the ufc as like a blood

1817
01:38:08,200 --> 01:38:13,240
Speaker 3: cult in which the audience are fanatical acolytes that chant

1818
01:38:13,240 --> 01:38:16,559
Speaker 3: in unison for death even as people are like murdered

1819
01:38:16,640 --> 01:38:17,439
Speaker 3: in the audience.

1820
01:38:17,479 --> 01:38:20,320
Speaker 1: Around, them yeah it's like they're a bunch, of bloodthirsty

1821
01:38:20,360 --> 01:38:23,360
Speaker 1: half naked savages who only pause in their chanting to

1822
01:38:23,520 --> 01:38:26,080
Speaker 1: violently attack or grope each other. Like that that's how

1823
01:38:26,120 --> 01:38:28,800
Speaker 1: the movie IS, presenting ufcee and even action in the

1824
01:38:28,840 --> 01:38:32,680
Speaker 1: octagon doesn't even resemble AN actual. Mma match it's like

1825
01:38:32,720 --> 01:38:35,240
Speaker 1: two different fights are. GOING on i think there's a ref,

1826
01:38:35,240 --> 01:38:36,280
Speaker 1: in there but it's just it's.

1827
01:38:36,280 --> 01:38:39,479
Speaker 3: Pure chaos it was only their ambitious image of what

1828
01:38:39,520 --> 01:38:40,040
Speaker 3: the future.

1829
01:38:40,080 --> 01:38:45,559
Speaker 1: Could, hold yeah And so sid shows up notices that

1830
01:38:45,720 --> 01:38:48,680
Speaker 1: like a pretty lady is on like the What the

1831
01:38:48,720 --> 01:38:50,880
Speaker 1: titan tron or whatever the heck the big screen. Is

1832
01:38:50,920 --> 01:38:54,320
Speaker 1: there he goes up and is creepy, towards her and

1833
01:38:54,360 --> 01:38:57,800
Speaker 1: then like pulls out, a gun does a backflip into,

1834
01:38:57,840 --> 01:39:01,680
Speaker 1: the octagon intentionally landing on his head, and back and

1835
01:39:01,720 --> 01:39:05,040
Speaker 1: then gets up and starts intimidating all the dudes in,

1836
01:39:05,080 --> 01:39:08,520
Speaker 1: the Octagon Including. KEN shamrock i was a little disappointed

1837
01:39:08,560 --> 01:39:10,599
Speaker 1: That The World's Most dangerous man didn't make a Move,

1838
01:39:10,640 --> 01:39:11,280
Speaker 1: on sid but.

1839
01:39:11,640 --> 01:39:14,839
Speaker 3: FAIR enough i don't know About Most dangerous. MAN'S status

1840
01:39:15,360 --> 01:39:17,760
Speaker 3: i Only Remember. Ken shameron wasn't he IN the wwf in?

1841
01:39:17,840 --> 01:39:20,200
Speaker 3: The nineties He, was, yeah okay THAT'S all.

1842
01:39:20,240 --> 01:39:22,519
Speaker 1: I remember he had some Matches, With vader so, it's

1843
01:39:22,520 --> 01:39:24,040
Speaker 1: like if he's gonna stand Up, to vader you think

1844
01:39:24,080 --> 01:39:26,800
Speaker 1: he'd stand Up. To sid but, you know, he's like,

1845
01:39:26,600 --> 01:39:28,400
Speaker 1: IT'S like i see you got blue blood coming out.

1846
01:39:28,439 --> 01:39:30,160
Speaker 1: Of you, Fair enough i'm, standing.

1847
01:39:29,920 --> 01:39:32,920
Speaker 3: Back smart, move ken don't be.

1848
01:39:32,960 --> 01:39:35,760
Speaker 1: A hero so basically the same thing is going to, happen, Here,

1849
01:39:35,880 --> 01:39:39,519
Speaker 1: Right yeah parker, shows up runs shoots, at him more,

1850
01:39:39,520 --> 01:39:41,800
Speaker 1: blue blood, more violence and then he. Gets.

1851
01:39:41,840 --> 01:39:45,000
Speaker 3: Away yeah, and NOW as, i mentioned OR maybe i

1852
01:39:45,040 --> 01:39:47,160
Speaker 3: didn't mention, this earlier there's a Whole thing i'm not gonna.

1853
01:39:47,479 --> 01:39:49,760
Speaker 3: Bother explaining in the middle of, The movie barnes gets

1854
01:39:49,800 --> 01:39:52,880
Speaker 3: framed for, a murder so he gets re arrested and

1855
01:39:53,000 --> 01:39:56,040
Speaker 3: all this. Stuff happens sid actually sets him free because

1856
01:39:56,040 --> 01:39:58,400
Speaker 3: he wants. To play it's Like the Joker. In batman,

1857
01:39:58,520 --> 01:40:01,800
Speaker 3: IT'S like i, need you you can. Delete. Me uh

1858
01:40:02,040 --> 01:40:05,240
Speaker 3: the climax of the film takes place in a skyscraper

1859
01:40:05,360 --> 01:40:08,639
Speaker 3: that is the home OF a tv station where there

1860
01:40:08,840 --> 01:40:13,000
Speaker 3: is a televised. Debate happening that's What draws sid there because,

1861
01:40:13,000 --> 01:40:17,240
Speaker 3: he's like he wants attention about a current political controversy.

1862
01:40:17,280 --> 01:40:19,840
Speaker 3: Over immigration this part kind of came out of nowhere

1863
01:40:19,840 --> 01:40:23,360
Speaker 3: and hit. Uncomfortably hard but so there's like a one

1864
01:40:23,400 --> 01:40:26,479
Speaker 3: GUY on tv saying like immigration breathes life into, the

1865
01:40:26,520 --> 01:40:30,120
Speaker 3: culture and another guy demagoguing against immigrants, and saying we

1866
01:40:30,200 --> 01:40:33,000
Speaker 3: got to close. The border And then sid shows up

1867
01:40:33,040 --> 01:40:35,840
Speaker 3: and does the. Same thing he, shoots people, takes hostages

1868
01:40:35,920 --> 01:40:36,720
Speaker 3: and takes over the.

1869
01:40:36,760 --> 01:40:40,880
Speaker 1: Live broadcast he takes, over it redubs it WHAT, Murder

1870
01:40:40,960 --> 01:40:42,719
Speaker 1: TV murder tv or DEATH.

1871
01:40:42,760 --> 01:40:45,599
Speaker 3: Tv, tv yeah and also has his own.

1872
01:40:46,120 --> 01:40:49,960
Speaker 1: Like logo yeah he brought a.

1873
01:40:49,960 --> 01:40:51,559
Speaker 3: Graphics package yeah he.

1874
01:40:51,680 --> 01:40:54,360
Speaker 1: REALLY did, I mean i guess he's a virtual reality

1875
01:40:54,479 --> 01:40:56,720
Speaker 1: thing so he can do that sort of sort.

1876
01:40:56,720 --> 01:40:59,959
Speaker 3: Of thing so as he torments and terrorizes the hostage,

1877
01:41:00,240 --> 01:41:03,000
Speaker 3: on air he's he's still he's like obsessed with checking out.

1878
01:41:03,040 --> 01:41:05,719
Speaker 3: His ratings, he's like look what What ratings? I'm getting,

1879
01:41:05,720 --> 01:41:07,840
Speaker 3: oh yeah the viewers. Love this they love the way

1880
01:41:07,840 --> 01:41:11,800
Speaker 3: you're screaming more tuning in. Every minute and once again

1881
01:41:11,960 --> 01:41:17,880
Speaker 3: this surprisingly interesting Theme linking sid's sadism and cruelty fundamentally

1882
01:41:17,920 --> 01:41:22,400
Speaker 3: with his desire for attention mediated, by technology and, in

1883
01:41:22,400 --> 01:41:24,960
Speaker 3: fact the good guys sort of defeat, him here at

1884
01:41:25,040 --> 01:41:28,160
Speaker 3: least in part distract him by cutting. The feed they

1885
01:41:28,240 --> 01:41:31,200
Speaker 3: like turn off the broadcast and limit his access to,

1886
01:41:31,240 --> 01:41:35,439
Speaker 3: his Audience and zid, hate this and this leads to

1887
01:41:35,479 --> 01:41:38,719
Speaker 3: a final chase and fight in the network Building between Barnes.

1888
01:41:38,760 --> 01:41:41,800
Speaker 3: And sid, of course as one could have guessed from,

1889
01:41:42,240 --> 01:41:46,559
Speaker 3: Developments earlier sid Has taken carter's, daughter hostage and they

1890
01:41:46,600 --> 01:41:48,960
Speaker 3: while they're, chasing around, they're like where's The girl and

1891
01:41:49,000 --> 01:41:51,240
Speaker 3: there's a there's a booby trap bomb and all that kind.

1892
01:41:51,280 --> 01:41:53,479
Speaker 3: Of STUFF but i, Don't, know rob are there any

1893
01:41:53,479 --> 01:41:54,760
Speaker 3: elements of the climax you want? To?

1894
01:41:54,800 --> 01:41:57,280
Speaker 1: HIT yeah i mean they get. It basically Parker and

1895
01:41:57,320 --> 01:42:00,080
Speaker 1: sid get, a big die hard sq battle on on

1896
01:42:00,120 --> 01:42:02,960
Speaker 1: top of, the Skyscraper and sid plummets through a whole

1897
01:42:02,960 --> 01:42:05,640
Speaker 1: bunch of glass panels and is impaled on like a

1898
01:42:05,680 --> 01:42:09,559
Speaker 1: million pieces, of glass And then parker goes down, to like,

1899
01:42:09,640 --> 01:42:11,880
Speaker 1: you know, check out see if. He's dead he's not.

1900
01:42:12,000 --> 01:42:13,920
Speaker 1: Dead yet we get a nice tight scene where he's

1901
01:42:13,920 --> 01:42:16,479
Speaker 1: trying To pull parker into the the sharp shards. Of

1902
01:42:16,520 --> 01:42:20,200
Speaker 1: glass he's regenerating off of, the glass, because remember eating

1903
01:42:20,240 --> 01:42:22,799
Speaker 1: glass and touching wounds to glass is how. He heals

1904
01:42:23,160 --> 01:42:25,400
Speaker 1: but there's a lot of repair work that needs to.

1905
01:42:25,439 --> 01:42:28,599
Speaker 1: Happen here and before he can, Do it parker reaches

1906
01:42:28,640 --> 01:42:31,040
Speaker 1: in through the back of his skull and rips out

1907
01:42:31,040 --> 01:42:34,760
Speaker 1: his little module and seemingly defeats. The villain but then,

1908
01:42:34,800 --> 01:42:36,479
Speaker 1: they're like but we don't know where the girl, is

1909
01:42:36,520 --> 01:42:38,439
Speaker 1: hidden and then we. GET it i thought this was a.

1910
01:42:38,520 --> 01:42:40,880
Speaker 1: Nice twist they like load him back up in the

1911
01:42:40,960 --> 01:42:46,680
Speaker 1: virtual they replay what, just happened but they let him

1912
01:42:46,680 --> 01:42:49,040
Speaker 1: get the upper hand so that he'll spill where the girl.

1913
01:42:49,080 --> 01:42:51,479
Speaker 3: Is, HIDING right i thought this was actually a pretty.

1914
01:42:51,479 --> 01:42:53,559
Speaker 3: Clever twist or where you See his, I'm, sorry yeah.

1915
01:42:53,560 --> 01:42:56,559
Speaker 3: That's right so what they need is Information. From sid

1916
01:42:56,600 --> 01:42:59,120
Speaker 3: so they. Killed him they defeated him, too early so

1917
01:42:59,160 --> 01:43:01,479
Speaker 3: they have to go back into the, virtual world trick

1918
01:43:01,560 --> 01:43:04,360
Speaker 3: him into thinking he's still in the real world so

1919
01:43:04,400 --> 01:43:06,800
Speaker 3: that he will spill, the beans, you know really give

1920
01:43:06,840 --> 01:43:10,960
Speaker 3: his villain monologue where he reveals, the Information which parker

1921
01:43:11,080 --> 01:43:15,160
Speaker 3: and Doctor and madison both that they work together to figure.

1922
01:43:15,200 --> 01:43:17,720
Speaker 1: That, out yeah so that. Was solid and of course

1923
01:43:17,760 --> 01:43:20,880
Speaker 1: we also get a Scene where sid realizes he's been

1924
01:43:20,920 --> 01:43:23,240
Speaker 1: caught and he jokes out, real hard and we get

1925
01:43:23,240 --> 01:43:26,479
Speaker 1: this scene with like multiple sid faces digital sid faces

1926
01:43:26,560 --> 01:43:32,880
Speaker 1: making angry expressions, Extreme, jobing, yes yeah but then the

1927
01:43:32,880 --> 01:43:38,320
Speaker 1: plot requires us to also disarm a bomb That The

1928
01:43:38,360 --> 01:43:42,680
Speaker 1: little girl's place of concealment is booby, Trapped with and

1929
01:43:42,920 --> 01:43:45,559
Speaker 1: this scene just feels very anticlimactic. To me, it's like

1930
01:43:45,560 --> 01:43:49,040
Speaker 1: we just had like a really awesome. Final fight we

1931
01:43:49,160 --> 01:43:52,040
Speaker 1: had this nice little twist on top of that, final

1932
01:43:52,080 --> 01:43:55,360
Speaker 1: fight but now we're just doing like a standard, you

1933
01:43:55,400 --> 01:43:56,320
Speaker 1: KNOW like tv show.

1934
01:43:56,400 --> 01:43:59,439
Speaker 3: Bomb, disartment yeah which wire? Is it and the final

1935
01:43:59,479 --> 01:44:03,880
Speaker 3: solution to the bomb Deactivation involves barnes using components from his.

1936
01:44:03,920 --> 01:44:07,200
Speaker 3: Bionic arm did you remember that he had a bionic

1937
01:44:07,320 --> 01:44:07,680
Speaker 3: arm at?

1938
01:44:07,720 --> 01:44:10,519
Speaker 1: THIS point i only thought of it when he ripped

1939
01:44:10,520 --> 01:44:12,040
Speaker 1: the module out of. THE head i, WAS like i

1940
01:44:12,080 --> 01:44:14,720
Speaker 1: guess because IT clearly i felt like we'd sprinkled this

1941
01:44:14,800 --> 01:44:16,760
Speaker 1: detail enough to where it would have to come back and,

1942
01:44:16,760 --> 01:44:18,880
Speaker 1: have MEANING and, i, THOUGHT well i guess that. Was

1943
01:44:18,920 --> 01:44:22,800
Speaker 1: it it was because he used the prosthetic arm to

1944
01:44:22,840 --> 01:44:26,040
Speaker 1: rip out, the module so it kind of surprised Me again, it's, like,

1945
01:44:26,120 --> 01:44:28,519
Speaker 1: oh okay this is this is how we're actually going

1946
01:44:28,560 --> 01:44:29,080
Speaker 1: to make use of.

1947
01:44:29,120 --> 01:44:31,680
Speaker 3: This detail he like pulls fiber optics out of his

1948
01:44:31,760 --> 01:44:34,200
Speaker 3: forearm and then like inserts them into the bomb to.

1949
01:44:34,240 --> 01:44:35,519
Speaker 3: Defuse it that's.

1950
01:44:35,520 --> 01:44:35,800
Speaker 1: Pretty.

1951
01:44:35,840 --> 01:44:39,200
Speaker 3: Good yeah also in the end when they, Defeat him

1952
01:44:39,240 --> 01:44:43,719
Speaker 3: BARNES destroys sid six point seven's Character, module bye throwing

1953
01:44:43,760 --> 01:44:47,000
Speaker 3: it off the top of. The, SKYSCRAPER man i FEEL

1954
01:44:47,040 --> 01:44:49,960
Speaker 3: like i would have done something a little. More, certain yeah,

1955
01:44:50,280 --> 01:44:52,479
Speaker 3: we do like follow up and we see it run

1956
01:44:52,520 --> 01:44:53,519
Speaker 3: over by, A truck so it's.

1957
01:44:53,560 --> 01:44:53,920
Speaker 1: All good.

1958
01:44:54,000 --> 01:44:56,200
Speaker 3: Sid's gone but wouldn't you would you want to make

1959
01:44:56,240 --> 01:44:57,840
Speaker 3: sure it. Was destroyed you don't even know where.

1960
01:44:57,840 --> 01:45:00,840
Speaker 1: It, lands yeah what it landed in the back of

1961
01:45:00,920 --> 01:45:04,920
Speaker 1: like a shipment of pillows, or SOMETHING or i. DON'T

1962
01:45:04,920 --> 01:45:07,680
Speaker 1: know i. Don't know there are so many ways that

1963
01:45:07,760 --> 01:45:09,960
Speaker 1: could have. Been saved or maybe it hits somebody in

1964
01:45:09,960 --> 01:45:12,280
Speaker 1: the head and gets embedded in. Their brain what, HAPPENS

1965
01:45:12,320 --> 01:45:15,559
Speaker 1: then i. Don't Know guess i'm your. Party man so

1966
01:45:15,680 --> 01:45:17,679
Speaker 1: that is virtuosity in all.

1967
01:45:17,760 --> 01:45:20,840
Speaker 3: ITS glory i feel like we still actually didn't hit

1968
01:45:20,920 --> 01:45:25,519
Speaker 3: everything that's potentially interesting. About it, BUT yes i will vouch.

1969
01:45:25,560 --> 01:45:26,000
Speaker 1: For it the.

1970
01:45:26,520 --> 01:45:29,880
Speaker 3: Viewing experience despite some, tonal mismatch some things that are

1971
01:45:29,920 --> 01:45:32,280
Speaker 3: just just go a little bit harder than they need

1972
01:45:32,320 --> 01:45:34,120
Speaker 3: to or a little bit nastier than they need, to

1973
01:45:34,160 --> 01:45:39,040
Speaker 3: be it is still a pretty, in fact, quite, funny

1974
01:45:39,200 --> 01:45:39,960
Speaker 3: nostalgic and.

1975
01:45:40,080 --> 01:45:43,200
Speaker 1: Enjoyable, experience yeah it Is a it's a movie that

1976
01:45:43,240 --> 01:45:45,240
Speaker 1: will make you laugh and it will make. You think

1977
01:45:45,320 --> 01:45:49,200
Speaker 1: there are various parts of this film that the do

1978
01:45:49,520 --> 01:45:53,480
Speaker 1: connect in interesting ways with where we are, now, technologically,

1979
01:45:53,520 --> 01:45:54,440
Speaker 1: socially politically.

1980
01:45:54,479 --> 01:45:57,240
Speaker 3: AND more i just want, to say one, last time

1981
01:45:57,439 --> 01:46:01,280
Speaker 3: hats Off to Russell. AND denzel I mean i. ADVOCATE

1982
01:46:01,400 --> 01:46:04,600
Speaker 3: this i think like a list actors should take the

1983
01:46:04,640 --> 01:46:08,920
Speaker 3: time to, do weird trashy little b movies and just

1984
01:46:09,280 --> 01:46:11,559
Speaker 3: go all, the way don't, hold back do give it.

1985
01:46:11,640 --> 01:46:15,599
Speaker 1: Your best absolutely, All right we're gonna go and close

1986
01:46:15,600 --> 01:46:18,519
Speaker 1: out this Episode Of Weird, house cinema but we would

1987
01:46:18,560 --> 01:46:21,599
Speaker 1: love to hear from everyone. Out there what do you Think?

1988
01:46:21,600 --> 01:46:23,599
Speaker 1: Of virtuosity did you see it back in the nineties

1989
01:46:23,600 --> 01:46:25,080
Speaker 1: when it, came out or do you at least remember.

1990
01:46:25,080 --> 01:46:28,479
Speaker 1: The trailers have you rediscovered it or watched it for

1991
01:46:28,520 --> 01:46:31,920
Speaker 1: the first time in. Recent years we would love to hear.

1992
01:46:31,960 --> 01:46:34,519
Speaker 1: Your thoughts as. A reminder Stuffed To Blow your mind

1993
01:46:34,600 --> 01:46:37,120
Speaker 1: is primarily a science and culture podcast with core Episodes

1994
01:46:37,160 --> 01:46:39,439
Speaker 1: on Tuesdays, and thursdays But on fridays we set aside

1995
01:46:39,439 --> 01:46:41,519
Speaker 1: most serious concerns to just talk about a weird Film

1996
01:46:41,560 --> 01:46:44,559
Speaker 1: On Weird. House cinema we've been doing this for one

1997
01:46:44,640 --> 01:46:48,479
Speaker 1: hundred and ninety, nine films and the next episode we

1998
01:46:48,520 --> 01:46:51,400
Speaker 1: do will be the Two Hundredth Weird house, Cinema selection

1999
01:46:51,640 --> 01:46:54,160
Speaker 1: so check back in and see what we finally decide on.

2000
01:46:54,400 --> 01:46:57,080
Speaker 1: For that and if you want to stay abreast of

2001
01:46:57,160 --> 01:46:59,200
Speaker 1: all the movies we've covered, thus far a great way

2002
01:46:59,240 --> 01:47:01,080
Speaker 1: to do it is to head on over to letterbox

2003
01:47:01,160 --> 01:47:04,200
Speaker 1: dot com our profile there Is weird house and you

2004
01:47:04,240 --> 01:47:06,479
Speaker 1: can find a nice list. Of everything do.

2005
01:47:06,439 --> 01:47:08,800
Speaker 3: You know what two? Hundred is when it's upside down?

2006
01:47:08,880 --> 01:47:08,960
Speaker 1: In?

2007
01:47:09,080 --> 01:47:10,680
Speaker 3: Dreams oh what?

2008
01:47:10,840 --> 01:47:13,080
Speaker 1: Is it IT'S double? O seven? IS it i?

2009
01:47:13,120 --> 01:47:17,080
Speaker 3: Don't know it's gonna say almost maybe it's, oohs, okay,

2010
01:47:18,120 --> 01:47:22,000
Speaker 3: Anyway huge thanks as always to our excellent Audio. Producer

2011
01:47:22,080 --> 01:47:24,280
Speaker 3: jjposway if you would like to get in touch with

2012
01:47:24,360 --> 01:47:26,400
Speaker 3: us with feedback on this episode or, any other to

2013
01:47:26,520 --> 01:47:28,639
Speaker 3: suggest a topic for, the future or just to, say

2014
01:47:28,640 --> 01:47:31,360
Speaker 3: hello you can email us at contact at Stuff to

2015
01:47:31,400 --> 01:47:32,080
Speaker 3: Blow your mind.

2016
01:47:32,200 --> 01:47:41,080
Speaker 2: Dot com Stuff To Blow your mind is Production. Of

2017
01:47:41,120 --> 01:47:44,240
Speaker 2: iHeartRadio for more podcasts From My, heart radio Visit the

2018
01:47:44,240 --> 01:47:47,320
Speaker 2: iHeartRadio App apple podcasts or wherever you listen to your.

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