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Speaker 1: Welcome to Stuff to Blow Your Mind, a production of iHeartRadio.

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Speaker 2: Hey, welcome to Weird House Cinema.

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Speaker 3: This is Rob Lamb and this is Joe McCormick. And

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

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

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

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

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

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

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Speaker 3: is the Beege's Staying Alive. It was like one of

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

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Speaker 3: trailer from the nineties.

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Speaker 2: That's right, that's right. And this one, as we'll discuss,

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Speaker 2: does have quite a needle drop score. It also has

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Speaker 2: an original score as well, but a lot of needle

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Speaker 2: drops in here. It really really sets the tone for

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Speaker 2: the mid nineties looking to late nineties. Feet.

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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 our 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 2: Yeah, a movie in which Arnold plays sort of an everyman. Also,

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Speaker 2: I guess, sort of a super cop. But yeah, it

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Speaker 2: gets type. I don't want to see Arnold play in

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Speaker 2: every man. I want to see Arnold play like a

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Speaker 2: crom chosen champion that has been forged out of trauma

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Speaker 2: and loss into a human weapon. That's what I want

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Speaker 2: 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 2: 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: plays into a prophecy? Yeah?

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Speaker 2: Yeah. The only things I remember are that, a, there's

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Speaker 2: a really cool bat creature in it, but also very

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Speaker 2: like brown and dark, very saturated looking, but still monster.

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Speaker 2: And then there's this whole thing about how well six'

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Speaker 2: sixty six really means nine ninety nine because in dreams

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Speaker 2: numbers are inverted or upside down or. Something IT'S i

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Speaker 2: remember it sounded pretty cool until you thought about it

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Speaker 2: for like two.

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Speaker 3: Seconds so, Anyway end Of days that is deliciously weird

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Speaker 3: as a. Pitch it does apparently have glorious delivery on

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Speaker 3: the theme of nineteen ninety, Nine but UNFORTUNATELY i started

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Speaker 3: watching that one MAN i was just not feeling it

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Speaker 3: for this. Week the vibes were a little too serious and,

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

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Speaker 3: rattlesnake blood on. Them it just kind of bummed me,

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Speaker 3: Out SO i bailed On end Of. Days maybe we'll,

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Speaker 3: COME i don't. Know maybe if you get past those early,

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Speaker 3: scenes it gets. Funnier BUT i wasn't feeling it this,

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Speaker 3: week And i'm GLAD i ended up bailing because the

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Speaker 3: next MOVIE i checked out was another one said in

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

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Speaker 3: and that is AS i. Said nineteen ninety Five's, virtuosity

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Speaker 3: Starring Denzel washington as an ace cop with a with

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

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Speaker 3: bionic arm h and also Starring Russell crowe as a

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

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Speaker 3: nursery with a great teacher to student. Ratio but all

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Speaker 3: the teachers are serial.

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Speaker 2: Killers you, Know i'm just now realizing that this movie

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Speaker 2: does have something in common With end Of. Days both

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Speaker 2: of these films are about like a sort of everyman

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Speaker 2: cop type figure going up against evil incarnate An end

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Speaker 2: Of days it's evil incarnate because it Is Gabriel byrne

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Speaker 2: as the devil who in one SCENE i believe peace

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Speaker 2: fire is peace straight. Fire and in this in this,

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Speaker 2: movie we have pure evil in the sense that we

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Speaker 2: have a SUPER ai trained on serial killers and mad

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Speaker 2: men that will mild spoiler, here it's it's it's in

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Speaker 2: the trailer will take physical form in the real world

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Speaker 2: thanks to THREE d printing exactly.

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Speaker 3: Right and that actually brings us to one of the

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Speaker 3: main THINGS i wanted to talk about at the top,

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

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Speaker 3: example of a nineteen nineties subgenre THAT i love THAT

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

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Speaker 3: nineties where somebody gets sucked into a computer where The

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

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Speaker 3: Sentient you, know he's, learning he's evolving at a geometric,

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

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Speaker 3: into the main frame 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 you,

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Speaker 3: know WHEN i was working on the outline, HERE i

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

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

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Speaker 3: Me one of the things they have in common is

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Speaker 3: that they almost always have atrocious EARLY CGI cgi that

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Speaker 3: was not ready but here it is. Anyway and usually

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

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

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

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Speaker 3: bunch of. Triangles you know exactly What i'm talking.

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Speaker 2: About, yeah kind of a mind's eide death star sort of. Moment,

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Speaker 2: Yeah and thinking about this made ME i went back

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Speaker 2: AND i watched a few scenes from the Original tron

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Speaker 2: BECAUSE i was. Curious it's, like did they have a

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Speaker 2: moment like this where where the MAIN ai THE, mcp

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Speaker 2: does it? Explode it doesn't, explode but so maybe there's

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Speaker 2: another film that really got there first with the exploding digital.

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Speaker 3: HEAD i think for, Me tron is not. Cyberslop it

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Speaker 3: sort of pre dates, it and the cyber slab genre

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Speaker 3: is derived from movies Like tron and also kind of

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Speaker 3: Degrades tron's level of, imagination if that makes. Sense.

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Speaker 2: Yeah, Yeah speaking of, THOUGH i was glancing at those

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Speaker 2: scenes From, tron AND i was really taking back at

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Speaker 2: how colorful and vivid everything. Is and this is probably

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Speaker 2: BECAUSE i haven't Watched tron since it was like ON

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Speaker 2: tv on an old school television back in the. Day

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Speaker 2: BUT i was, Like, wow maybe we really need to

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Speaker 2: come back and Watch.

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Speaker 3: Tron, Oh i'd definitely be down for doing. IT i

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Speaker 3: watched that one a lot WHEN i was a. Kid,

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Speaker 3: okay another thing about cyberslap, MOVIES i feel like they

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

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Speaker 3: in amusing and sometimes even sort of thought provoking. Ways

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

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Speaker 3: the characters within the cyberslop movie have a particular style

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Speaker 3: and fashion, choices but it's like the technosphere itself has

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Speaker 3: chosen a, style a personal. Style so you get movies

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Speaker 3: where tech is goth or movies where tech Is Miami.

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Speaker 3: Vice you, know neon colors and the shoulder. Pads sometimes

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Speaker 3: tech is, preppy and very often tech is pun. Punk.

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Speaker 2: Yeah, yeah because of course tech should be, punk because

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Speaker 2: the whole genre has its roots in, cyberpunk, generally with

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Speaker 2: very strong connections to the literary work Of William, Gibson

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Speaker 2: but we could do a deeper dive easily that gets into,

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Speaker 2: like you, know what are the earliest examples of sci

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Speaker 2: fi plot lines in which someone is inside of a

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Speaker 2: simulation or a virtual world and it goes back several.

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Speaker 3: Decades, yeah and a lot of these movies are essentially

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Speaker 3: borrowing From William gibson type, writing but very much dumbing it.

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Speaker 3: Down another thing THAT i think is interesting about these

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Speaker 3: movies is not unique to. Them they share this with

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Speaker 3: a lot of other nineties. Subgenres they feel very much

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Speaker 3: like they're from the end of. History and one reason

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

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Speaker 3: that we get in these movies feels meaningless and, interchangeable

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

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Speaker 3: of culture from the same object. Class, so you, know

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

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Speaker 3: here insert political issue. Here the cultural objects do not

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Speaker 3: seem to really mean anything in. Themselves they don't bring

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Speaker 3: their specific meanings and values from. Reality they're just examples

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Speaker 3: of a type of. Thing it feels, like you, know

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Speaker 3: they're selected from a drop down. MENU i really associate

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

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Speaker 3: general but especially These cyberslot movies have.

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Speaker 2: THIS i wonder if there's a, case and to be,

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Speaker 2: clear very broad, case And i'm sure there are plenty

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Speaker 2: of counter examples, here BUT i wonder how much of

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Speaker 2: this might have to do with having like a lot

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Speaker 2: of up and coming filmmakers in the, nineties maybe more

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Speaker 2: like tech first style first directors and you, know screenwriters as,

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Speaker 2: well tackling these films informed by the models that they

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Speaker 2: grew up on from the. Eighties from this AND's especially

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Speaker 2: that are taking a more like, direct thoughtful approach in

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Speaker 2: some cases to actual social issues and political, issues and

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Speaker 2: so there's sort of maybe in some cases at, least you,

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Speaker 2: know echoing the, form but without really grasping the. Substance.

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Speaker 3: Yeah, YEAH i think that may be on to. Something

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Speaker 3: i'll have to think some more about. That but then,

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Speaker 3: also this very last POINT i want to make About

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Speaker 3: cyberslop IS i think the most important, one and that

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

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Speaker 3: quaint and uncanny in the way they depict technologies like virtual, REALITY,

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Speaker 3: ai The, internet and digital. Media and WHAT i mean

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

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

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Speaker 3: write a whole screenplay about like The. Internet you, know

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Speaker 3: it's some kind Of internet, thriller and it obviously has

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Speaker 3: such a vague understanding of what The internet is and

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Speaker 3: how it. Works you'll have like characters navigating cyber space

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Speaker 3: with 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 falling.

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Speaker 3: Asleep on the other, hand stories like, this with their very,

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

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

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

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

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Speaker 3: maturity in the future we live in. Now, so for,

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Speaker 3: example imagine a hypothetical cyberslop movie from nineteen ninety six

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Speaker 3: where somebody hacks The internet so that The net becomes

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Speaker 3: a self evolving malevolent entity that wants to destroy. You

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

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

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

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Speaker 3: come to feel like to be An internet user in

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Speaker 3: twenty twenty.

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Speaker 2: Five. Yeah, Yeah, PLUS i guess we have to remind

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Speaker 2: ourselves that a lot of these, films they are exploitive

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Speaker 2: to a certain. Extent there's some sort of like t exploitation,

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Speaker 2: film and you, know you're often ex you're exploiting a,

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Speaker 2: fear and fears are not always completely formed and certainly not.

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Speaker 2: Rational Like i'm thinking about smart killer smart house movies

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Speaker 2: from the. NINETIES i remember one in The Sci Fi

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Speaker 2: channel where there was like a hand that went around

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Speaker 2: on a little track on the ceiling in the house

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Speaker 2: and like all, That like that's completely, Ridiculous but, LIKE

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Speaker 2: i don't doubt for a second that it comes from

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Speaker 2: a legitimate fear that arises based on just what people were,

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Speaker 2: saying like the houses of the future are going to be,

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Speaker 2: Like and that fear maybe is not completely, gone maybe it's,

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Speaker 2: matured maybe it's changed form a, bit BUT i think

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Speaker 2: we still have that sort of fear and it still

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Speaker 2: gets poked and kindled by various news stories about, oh

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Speaker 2: your toaster is. Watching even, so.

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

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

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Speaker 3: of that plot in a. Way so perhaps we can

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Speaker 3: explore more about this as we go, On BUT i

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Speaker 3: really think that irony is the case with. Virtuosity on one,

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Speaker 3: Hand virtuosity is quite simple minded and literal in its

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

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

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

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

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Speaker 2: Nine. Yeah, yeah we'll get into this a lot, more

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Speaker 2: but CERTAINLY i think there are various world building details

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Speaker 2: and choices And virtuosity that hit with a kind of

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Speaker 2: almost idiocracy like, accuracy you, know like there's a certain

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Speaker 2: amount of maybe in a loose black comedy to the, Choice,

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Speaker 2: yeah you're, like, oh that's a little. Close and then

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Speaker 2: its main, focus of, course we have an out of

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Speaker 2: CONTROL ai menace that gets itself THREE d printed so

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Speaker 2: that it can go on a viral killing, spree and

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Speaker 2: it really does sweep up various pressing anxieties about The

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Speaker 2: internet artificial, intelligence and in a limited, way the future

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Speaker 2: of THREE d printing of inorganic and organic.

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Speaker 3: Materials i'd agree with you that the themes hit harder

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Speaker 3: on like THE ai and digital media front than on

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Speaker 3: the robotics. Front but STILL i don't. Know maybe one

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

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Speaker 2: Element, YEAH i MEAN I at different times when there

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Speaker 2: have been accelerations in THREE d, printing there have been

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Speaker 2: moments Where i'm, like, oh this is like The internet

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Speaker 2: in all its, awfulness can now take physical. Form and

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Speaker 2: maybe on some LEVEL i was Remembering virtuosity trailers And i'm,

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Speaker 2: like this is Like. Virtuosity it's like you thought of

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Speaker 2: it that The, internet and now it's on your. Desk

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Speaker 2: and granted we've had a little more time to sort

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Speaker 2: of grow with that. ONE i feel, like though there

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Speaker 2: are some still dangerous concerns out there in the THREE

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Speaker 2: d printing, world but for the most, PART i feel

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Speaker 2: like we've gotten a little more accustomed to what it

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Speaker 2: can do for us. NOW i also find it interesting

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Speaker 2: in these various films of this, subgenre ones that often

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Speaker 2: include like a digital or virtual, character and they really

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Speaker 2: get to WHAT i will refer to as job. About,

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Speaker 2: yes referencing Lawnmower man, here which has a very, close

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Speaker 2: very close kinship with this, film in which you have

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Speaker 2: a character or AN ai entity that becomes a kind

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Speaker 2: of god complex black hole of negative personal. Attributes AND

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Speaker 2: i think this too nicely mirrors fears then as well

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Speaker 2: as fears and sometimes realities now about the virtual realm

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Speaker 2: of expression and consumption that we have in the digital

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Speaker 2: realm that might allow too many barriers of behavior to

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Speaker 2: erode in the shape of our virtual self than becomes something, grotesque,

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Speaker 2: dangerous and maybe even.

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Speaker 3: Evil, yeah once, again right. On i'm not going to

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Speaker 3: SAY i Think virtuosity did this on. PURPOSE i think

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

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

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Speaker 3: now another THING i want to mention at the. Top

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Speaker 3: it is an interesting parallel With end Of days as

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00:16:24,160 --> 00:16:26,920
Speaker 3: the almost choice as the alternate reality of this. Week

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Speaker 3: what's really exquisite about the pitch For end Of days

291
00:16:30,600 --> 00:16:34,160
Speaker 3: is the mismatch between the premise and the. Star, Right

292
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Speaker 3: like Whatever Arnold schwarzenegger was made, for it was not

293
00:16:38,160 --> 00:16:41,280
Speaker 3: to like march Through cathedrals by Candle light trying to

294
00:16:41,320 --> 00:16:44,440
Speaker 3: Stop satan from fathering a child On. Earth that is

295
00:16:44,480 --> 00:16:48,880
Speaker 3: a weird, fit and with today's movie there is something

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Speaker 3: similar going, on a. VIRTUOSITY i looked it. Up it

297
00:16:51,960 --> 00:16:54,600
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

300
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Speaker 3: the realm of what you'd. Expect, yeah, Yeah but it,

301
00:17:03,840 --> 00:17:09,199
Speaker 3: is in both content and, execution a, bizarre trashy b.

302
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Speaker 3: Movie and yet its two main stars are two of the,

303
00:17:13,480 --> 00:17:19,120
Speaker 3: biggest most sought, after most RESPECTED a list, actors certainly

304
00:17:19,160 --> 00:17:21,920
Speaker 3: in the two, thousands definitely in the case Of Denzel.

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00:17:22,000 --> 00:17:25,240
Speaker 3: Washington like the last three decades Of, hollywood it's almost

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00:17:25,240 --> 00:17:28,959
Speaker 3: like If Tom hanks was in Lawnmower. Man it's just, like,

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00:17:29,040 --> 00:17:32,639
Speaker 3: oh such a strange thing to. Imagine like When Russell

308
00:17:32,680 --> 00:17:35,879
Speaker 3: crowe did this, movie his big period was still ahead of.

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Speaker 3: Him but When denzel did, this he already had MULTIPLE oscar,

310
00:17:39,320 --> 00:17:43,320
Speaker 3: nominations he'd Won Best Supporting actor. Once so it's already

311
00:17:43,359 --> 00:17:46,679
Speaker 3: deeply strange and amusing that you've got the top tier

312
00:17:46,920 --> 00:17:51,240
Speaker 3: of Future hollywood in this dumb killer computer. Movie but

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Speaker 3: what's even more odd is that neither of them are

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00:17:54,400 --> 00:17:57,280
Speaker 3: phoning it. In but both of THEM i think are

315
00:17:57,400 --> 00:18:01,679
Speaker 3: fantastic in this. Movie they're giving full, efforts really getting

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00:18:01,680 --> 00:18:04,760
Speaker 3: into the. Characters in, FACT i would SAY i have

317
00:18:05,000 --> 00:18:09,359
Speaker 3: never seen A Russell crowe performance in which he seems

318
00:18:09,400 --> 00:18:12,400
Speaker 3: to be expressing as much joy through acting as he does.

319
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Speaker 3: Here this is The. Pinnacle like His oscar nominated roles

320
00:18:16,040 --> 00:18:20,520
Speaker 3: are comparatively grim and. Subdued in this. Movie you get

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Speaker 3: him is a disco, strutting synthetic serial killer and he comes.

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Speaker 2: Alive, yeah, YEAH i think you're. RIGHT i think we've

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00:18:30,280 --> 00:18:36,080
Speaker 2: really only seen him get back into broad performances like,

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00:18:36,119 --> 00:18:38,800
Speaker 2: this maybe in the likes of twenty twenty two's thor Leven,

325
00:18:38,840 --> 00:18:42,119
Speaker 2: thunder in which he gets to Play zeus with a

326
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Speaker 2: Ridiculous greek. Accent i'll come back to that one BECAUSE

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Speaker 2: i ACTUALLY i actually like that performance quite a.

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Speaker 3: Bit, OH i haven't seen. That that makes me want

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00:18:51,240 --> 00:18:53,040
Speaker 3: to see, it, Though BUT.

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Speaker 2: I, agree, like, yeah both of these guys are arguably

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Speaker 2: better than this, movie but both of them really. DELIVER

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Speaker 2: i would, say In Denzel washington's, case he is almost

333
00:19:05,560 --> 00:19:08,399
Speaker 2: too good for this. Movie in the sense that not

334
00:19:08,480 --> 00:19:11,399
Speaker 2: that he's not great in, it but a role of

335
00:19:11,440 --> 00:19:15,680
Speaker 2: the sort sometimes hits a little better if you have

336
00:19:15,920 --> 00:19:20,119
Speaker 2: a less skilled actor or an actor that makes stranger,

337
00:19:20,240 --> 00:19:23,520
Speaker 2: choices whereas Like, denzel like all his choices are, Solid

338
00:19:23,600 --> 00:19:27,119
Speaker 2: like he's just a complete pro. Here you need somebody

339
00:19:27,160 --> 00:19:30,320
Speaker 2: maybe a little, sloppy a little, greener so that they

340
00:19:30,320 --> 00:19:33,520
Speaker 2: can shine in a role like. This but that being,

341
00:19:33,560 --> 00:19:34,160
Speaker 2: said he's still.

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Speaker 3: Terrific they're two very different kinds of performances that are

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Speaker 3: beyond what is required by. Virtuosity denzel gives a much

344
00:19:43,359 --> 00:19:46,600
Speaker 3: more human performance than you would expect his character to,

345
00:19:46,680 --> 00:19:49,760
Speaker 3: have And Russell crowe gives a much more just like

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Speaker 3: scenery ingesting huge improvisational energy kind of. Performance.

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00:19:56,200 --> 00:19:58,959
Speaker 2: Yeah, YEAH i would say his performance is like a

348
00:19:58,960 --> 00:20:02,720
Speaker 2: little Bit, joker a little Bit joe from Lawnmower, man and,

349
00:20:02,800 --> 00:20:05,600
Speaker 2: also at least in the visual, sense a little bit

350
00:20:06,000 --> 00:20:08,440
Speaker 2: Ninety's Peter. Gabriel, yeah there you.

351
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Speaker 3: Go H, okay are we ready for the elevator? Pitch?

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00:20:18,960 --> 00:20:21,920
Speaker 3: Yeah hit us sid six point seven is a computer.

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00:20:22,000 --> 00:20:26,399
Speaker 3: Program he is a sidistic virtual super criminal designed for

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Speaker 3: A vr training environment that will be used to test

355
00:20:29,200 --> 00:20:32,360
Speaker 3: the cops of the, future but the developers are still

356
00:20:32,400 --> 00:20:34,679
Speaker 3: working the kinks, out and in the meantime they are

357
00:20:34,720 --> 00:20:38,520
Speaker 3: TESTING sid against players from the prison. Population the only

358
00:20:38,560 --> 00:20:41,639
Speaker 3: one who has ever beaten him Is Parker, barnes a

359
00:20:41,720 --> 00:20:45,560
Speaker 3: former police officer who is incarcerated after his vendetta killing

360
00:20:45,920 --> 00:20:49,120
Speaker 3: of a terrorist who murdered his family and also killing

361
00:20:49,160 --> 00:20:52,720
Speaker 3: several other people in the. Process but, when through a

362
00:20:52,760 --> 00:20:56,080
Speaker 3: series of implausible, EVENTS sid six point seven gets brought

363
00:20:56,119 --> 00:20:58,840
Speaker 3: into our world and turned into a kind of meat

364
00:20:58,880 --> 00:21:02,600
Speaker 3: SPACE t one thousand and with blueberry, blood there's only

365
00:21:02,880 --> 00:21:04,480
Speaker 3: one man who can stop.

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00:21:04,560 --> 00:21:08,720
Speaker 2: Him, yep that's right. ON i would also present the

367
00:21:08,800 --> 00:21:11,439
Speaker 2: idea of, oops we THREE d printed a mass. Murder,

368
00:21:11,640 --> 00:21:13,600
Speaker 2: yeah that's also kind of. It this is the one

369
00:21:13,600 --> 00:21:16,639
Speaker 2: thing we didn't want to, happen and here we. Are all,

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Speaker 2: Right let's go ahead and listen to part of the

371
00:21:18,560 --> 00:21:21,399
Speaker 2: teaser trailer because the main, trailer the one most people

372
00:21:21,400 --> 00:21:25,879
Speaker 2: have heard it prominently features the beg staying, alive and

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Speaker 2: we want to stay alive here on the. Show SO

374
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Speaker 2: i didn't want to feature that. SONG i love that,

375
00:21:30,680 --> 00:21:33,840
Speaker 2: song but you, know this is what we're playing.

376
00:21:43,600 --> 00:21:47,600
Speaker 4: In this high tech crime prevention. Facility one man has

377
00:21:47,640 --> 00:21:53,199
Speaker 4: been recruited to play a simulated game the objective to

378
00:21:53,359 --> 00:21:57,760
Speaker 4: hunt down The Ultimate Virtual Reality KILLER sid six point.

379
00:21:57,800 --> 00:21:59,640
Speaker 2: Seven there's only one.

380
00:21:59,680 --> 00:22:06,600
Speaker 4: Problem the computer change the. Program now he's in the real.

381
00:22:06,720 --> 00:22:10,440
Speaker 4: World he's.

382
00:22:10,480 --> 00:22:14,920
Speaker 2: Interactive he doesn't enjoyed a game unless he's playing against

383
00:22:14,920 --> 00:22:15,320
Speaker 2: his favorite.

384
00:22:15,320 --> 00:22:16,119
Speaker 3: Opponent that's me.

385
00:22:19,640 --> 00:22:21,119
Speaker 2: From the director Of Lawnmower.

386
00:22:21,160 --> 00:22:24,080
Speaker 3: Matt he's recreating mass. Murders so what you're saying' sus

387
00:22:24,080 --> 00:22:27,520
Speaker 3: a compika since six ten on improving the. ORIGINAL i

388
00:22:27,640 --> 00:22:30,800
Speaker 3: Love Denzel. Washington just Because i'm carrying around the joy

389
00:22:30,840 --> 00:22:33,119
Speaker 3: of killing your family inside me doesn't mean you can't be.

390
00:22:33,160 --> 00:22:36,840
Speaker 4: Friends virtuosity game.

391
00:22:36,880 --> 00:22:49,400
Speaker 3: Over speaking Of Beg Staying, ALIVE i bet The virtuosity

392
00:22:49,480 --> 00:22:53,720
Speaker 3: trailer is HOW i first learned about that. Song, HUH i,

393
00:22:53,840 --> 00:22:55,880
Speaker 3: MAY i may not have ever heard it before.

394
00:22:56,160 --> 00:22:59,320
Speaker 2: THAT i, mean somebody needs to be strutting when that

395
00:22:59,400 --> 00:23:02,040
Speaker 2: song is, Played and if that song is, playing you

396
00:23:02,080 --> 00:23:04,159
Speaker 2: will soon find yourself. Strutting that's just how it.

397
00:23:04,160 --> 00:23:06,719
Speaker 3: Works, oh this may be too embarrassing to say out,

398
00:23:06,760 --> 00:23:09,080
Speaker 3: loud BUT i bet as a, kid WHEN i Saw

399
00:23:09,160 --> 00:23:12,280
Speaker 3: Russell crowe walking in the blue in the purple Suit

400
00:23:12,640 --> 00:23:15,560
Speaker 3: beg's are, PLAYING i probably like strutted around my house

401
00:23:15,600 --> 00:23:16,600
Speaker 3: AFTER i saw that no.

402
00:23:16,760 --> 00:23:19,720
Speaker 2: Joke all, right you might be, wondering, well, HEY i

403
00:23:19,760 --> 00:23:22,359
Speaker 2: want to See virtuosity as well before listening to the

404
00:23:22,359 --> 00:23:24,080
Speaker 2: rest of the, episode OR i want to watch it

405
00:23:24,160 --> 00:23:27,440
Speaker 2: later and so. Forth, Well virtuosity was a major, release

406
00:23:27,440 --> 00:23:29,280
Speaker 2: so you can find it pretty much wherever you choose

407
00:23:29,280 --> 00:23:32,359
Speaker 2: to get your. Movies for physical, media, however there's no

408
00:23:32,480 --> 00:23:37,800
Speaker 2: beating the recently Released Vinegar Syndrome ultra, release which gives

409
00:23:37,840 --> 00:23:40,400
Speaker 2: us the film newly scanned and restored in FOUR k

410
00:23:40,840 --> 00:23:44,159
Speaker 2: from its thirty five millimeter original camera, negative along with

411
00:23:44,160 --> 00:23:47,400
Speaker 2: tons of extras like new extras interviews with the director

412
00:23:47,720 --> 00:23:50,840
Speaker 2: and other. Folks, it's without a, doubt the finest physical

413
00:23:50,880 --> 00:23:52,000
Speaker 2: release this film has ever.

414
00:23:52,040 --> 00:23:56,520
Speaker 3: GOTTEN i can't Believe Vinegar syndrome release Of virtuosity is

415
00:23:56,520 --> 00:23:58,320
Speaker 3: as close as we're ever going to get to A

416
00:23:58,320 --> 00:24:00,520
Speaker 3: criterion collection disc of Lawnmower.

417
00:24:00,640 --> 00:24:05,760
Speaker 2: Man, Yeah Vinegar syndrome does, great great, work and this

418
00:24:05,840 --> 00:24:09,440
Speaker 2: is certainly the case. HERE i rented this From Video

419
00:24:09,520 --> 00:24:13,240
Speaker 2: drome here In, atlanta and, yeah it looks. GREAT i,

420
00:24:13,280 --> 00:24:15,520
Speaker 2: mean the digital effects are only going to look so,

421
00:24:15,600 --> 00:24:19,240
Speaker 2: polished as we'll. Discuss but then, again that only really

422
00:24:19,400 --> 00:24:23,000
Speaker 2: potentially hurts the film during the NON vr, segments as we'll,

423
00:24:23,040 --> 00:24:26,240
Speaker 2: discuss AND i will say that the goofy android makeup

424
00:24:26,280 --> 00:24:27,960
Speaker 2: and other practical effects look really.

425
00:24:28,040 --> 00:24:30,280
Speaker 3: Great oh, YEAH i mean you wouldn't want THE cgi

426
00:24:30,400 --> 00:24:32,280
Speaker 3: to look too. GOOD i mean that's part of the.

427
00:24:32,359 --> 00:24:36,480
Speaker 2: Charm, yeah especially in those the simulation. Sequences.

428
00:24:36,680 --> 00:24:39,159
Speaker 3: Yeah, well SO i streamed, it but you, KNOW i

429
00:24:39,160 --> 00:24:41,040
Speaker 3: got a feeling this might not be the last TIME

430
00:24:41,080 --> 00:24:43,399
Speaker 3: i Watch, virtuosity SO i might have to snag this.

431
00:24:43,480 --> 00:24:46,679
Speaker 2: Disc all, right let's talk about the people who made this,

432
00:24:46,720 --> 00:24:50,359
Speaker 2: film starting at the top With Brett leonard born nineteen fifty,

433
00:24:50,440 --> 00:24:54,280
Speaker 2: Nine american director of films and music, videos best known

434
00:24:54,359 --> 00:24:58,040
Speaker 2: for his pivotal work in nineteen nineties virtual reality inspired,

435
00:24:58,119 --> 00:25:01,399
Speaker 2: media as he directed Both Today film and nineteen ninety

436
00:25:01,359 --> 00:25:04,440
Speaker 2: Two's the Lawnmower. Man, that of, course is The bonker's

437
00:25:04,520 --> 00:25:08,200
Speaker 2: virtual reality, film born out of an original script inspired

438
00:25:08,200 --> 00:25:11,560
Speaker 2: by the work Of Jaron lanier and the production company's

439
00:25:11,600 --> 00:25:14,680
Speaker 2: desire to keep Adapting Stephen king stories they own the rights,

440
00:25:14,680 --> 00:25:19,119
Speaker 2: to basically by slapping the title Lawnmower man onto a

441
00:25:19,160 --> 00:25:19,719
Speaker 2: pre existing.

442
00:25:19,760 --> 00:25:23,280
Speaker 3: Script this has nothing to do with The king story

443
00:25:23,359 --> 00:25:24,679
Speaker 3: is this one of the ones he sued.

444
00:25:24,720 --> 00:25:28,800
Speaker 2: Over, yes it's my understanding that he successfully got his

445
00:25:28,880 --> 00:25:31,879
Speaker 2: name taken off of this, one because, yeah has the

446
00:25:31,920 --> 00:25:35,200
Speaker 2: original stories about like a crazy satanic lawnmower man who

447
00:25:35,200 --> 00:25:37,920
Speaker 2: eats grass or something to that, effect worships the God,

448
00:25:38,040 --> 00:25:40,320
Speaker 2: PAN i. Believe, Yeah, yeah there's Some pan worship in.

449
00:25:40,359 --> 00:25:43,600
Speaker 2: There nothing to do with virtual reality. Now Brett leonard's

450
00:25:43,640 --> 00:25:46,760
Speaker 2: first directorial credit was nineteen eighty Nine's The Dead. Pit

451
00:25:47,000 --> 00:25:50,399
Speaker 2: this is a supernatural horror film with like the features The.

452
00:25:50,480 --> 00:25:54,520
Speaker 2: Undead i've never seen, it BUT i am super familiar

453
00:25:54,520 --> 00:25:59,160
Speaker 2: with ITS vhs box art because and you probably are

454
00:25:59,200 --> 00:26:01,840
Speaker 2: as well if you were of a certain, age because

455
00:26:01,920 --> 00:26:04,920
Speaker 2: this was A vhs rental store box that had light

456
00:26:05,000 --> 00:26:07,879
Speaker 2: up eyes powered by a little battery pack. Inside it

457
00:26:07,960 --> 00:26:10,280
Speaker 2: might have made sound. TOO i don't remember if it made,

458
00:26:10,320 --> 00:26:13,560
Speaker 2: sound but they definitely light. Up and this, one i'm to,

459
00:26:13,640 --> 00:26:16,720
Speaker 2: understand is very much a collector's item AMONG vhs.

460
00:26:16,880 --> 00:26:20,639
Speaker 3: Enthusiasts rob this we may have even mentioned this idea

461
00:26:20,640 --> 00:26:22,840
Speaker 3: on the show, before BUT i have thought that at

462
00:26:22,840 --> 00:26:26,280
Speaker 3: some point we should do a series of weird house

463
00:26:26,280 --> 00:26:29,800
Speaker 3: cinema episodes just focusing on films that had gimmick, packaging

464
00:26:30,560 --> 00:26:33,280
Speaker 3: stuff that had light up components or anything on the

465
00:26:33,320 --> 00:26:36,120
Speaker 3: box that's different than normal to get people to pick

466
00:26:36,119 --> 00:26:36,920
Speaker 3: it up and, say what's.

467
00:26:36,960 --> 00:26:41,959
Speaker 2: This, YEAH vhs shell shaped like a, coffin something like.

468
00:26:42,000 --> 00:26:44,000
Speaker 2: That i'm definitely here for.

469
00:26:44,040 --> 00:26:44,240
Speaker 4: It.

470
00:26:44,320 --> 00:26:48,040
Speaker 2: Okay so Lawnmower man was his follow up To Dead.

471
00:26:48,080 --> 00:26:50,400
Speaker 2: Pit and the thing, is we can all laugh about

472
00:26:50,440 --> 00:26:53,919
Speaker 2: what did and didn't work about Lawnmower, man but it

473
00:26:54,000 --> 00:26:58,000
Speaker 2: made a lot of, money especially given its small. Budget

474
00:26:58,359 --> 00:27:02,240
Speaker 2: it connected with A vr curious, audience and along with

475
00:27:02,280 --> 00:27:05,240
Speaker 2: this film paved the way for pretty much EVERY vr

476
00:27:05,400 --> 00:27:07,720
Speaker 2: film to follow up to and Including The.

477
00:27:07,800 --> 00:27:12,119
Speaker 3: Matrix that's, right, folks without Lawnmower, man No matrix probably.

478
00:27:12,240 --> 00:27:15,560
Speaker 2: Probably there was An Indie wire headline from earlier this,

479
00:27:15,680 --> 00:27:18,800
Speaker 2: year an article By jim Hemp hill that covers the

480
00:27:18,880 --> 00:27:22,399
Speaker 2: vinegar syndrome re release of the, picture and its title

481
00:27:22,440 --> 00:27:26,720
Speaker 2: Is virtuosity walked so The matrix could. Run so this

482
00:27:27,160 --> 00:27:31,600
Speaker 2: seems to be the opinion of various, folks and it's

483
00:27:31,640 --> 00:27:33,760
Speaker 2: discussed a bit in some of the extras on The

484
00:27:34,000 --> 00:27:38,600
Speaker 2: virtuosity DISC i buy. It So leonard did not come

485
00:27:38,640 --> 00:27:42,760
Speaker 2: back for the Lawnmower man, sequel which is also pretty,

486
00:27:42,800 --> 00:27:46,119
Speaker 2: bonkers But hollywood did say, yes more of this. Please

487
00:27:46,400 --> 00:27:49,040
Speaker 2: so nineteen ninety five saw the release of the psychic

488
00:27:49,119 --> 00:27:52,000
Speaker 2: serial killer Film, hideaway based on The Dean koontz novel

489
00:27:52,000 --> 00:27:56,720
Speaker 2: and Starring Jeff. Goldbloom and Then. Virtuosity, so like we said,

490
00:27:56,760 --> 00:28:01,880
Speaker 2: Earlier Virtuosity Paramount pictures, production bigger. Budget it ultimately did

491
00:28:01,880 --> 00:28:04,679
Speaker 2: not have quite the cultural or commercial impact that everyone

492
00:28:04,800 --> 00:28:08,280
Speaker 2: was banking, on but it received a fair amount of

493
00:28:08,359 --> 00:28:12,160
Speaker 2: reevaluation in recent, years especially with That Vinegar Syndrome Blu ray.

494
00:28:12,200 --> 00:28:16,160
Speaker 2: Release as we'll discuss the, film sci fi commentary hits

495
00:28:16,160 --> 00:28:18,960
Speaker 2: home in various ways given where we are now, politically,

496
00:28:19,080 --> 00:28:23,720
Speaker 2: socially and above all. Technologically and, YEAH i think a

497
00:28:23,720 --> 00:28:26,240
Speaker 2: strong case could be made that this helped pave the

498
00:28:26,320 --> 00:28:28,880
Speaker 2: road for things like The, matrix and then once The matrix,

499
00:28:29,000 --> 00:28:32,960
Speaker 2: explodes like how many folks are running around with machine,

500
00:28:32,960 --> 00:28:37,040
Speaker 2: guns sunglasses and some sort of like black latex garb

501
00:28:37,160 --> 00:28:39,080
Speaker 2: shooting in slow motion and going in and out of.

502
00:28:39,120 --> 00:28:42,560
Speaker 3: Cyberspace though it's funny because the black latex look you

503
00:28:42,720 --> 00:28:46,320
Speaker 3: only see from secondary characters in this. FILM i can't

504
00:28:46,360 --> 00:28:51,440
Speaker 3: emphasize enough the weird fashion sensibility Of Russell crowe in this,

505
00:28:51,560 --> 00:28:56,640
Speaker 3: movie he wears like brightly colored big, suits like, loose,

506
00:28:56,800 --> 00:29:00,360
Speaker 3: baggy double breasted suits of either the green, Set latin

507
00:29:00,480 --> 00:29:01,040
Speaker 3: or purple.

508
00:29:01,120 --> 00:29:05,560
Speaker 2: Variety, yes, well he likes. Attention he wants an attention grabbing.

509
00:29:05,600 --> 00:29:11,920
Speaker 2: Outfit in the, extras particularly interview With, leonard he points

510
00:29:11,920 --> 00:29:14,400
Speaker 2: out That russell crow is essentially an influencer like he.

511
00:29:14,520 --> 00:29:17,560
Speaker 2: Is he's going after that influencer. Space he wants eyes

512
00:29:17,640 --> 00:29:20,960
Speaker 2: on what he is, doing like that is his prime,

513
00:29:21,040 --> 00:29:24,000
Speaker 2: Drive like not merely to do awful, things but to

514
00:29:24,080 --> 00:29:27,080
Speaker 2: be seen doing awful things and to get those hits

515
00:29:27,080 --> 00:29:28,080
Speaker 2: and get those subscribers.

516
00:29:28,160 --> 00:29:30,320
Speaker 3: Up oh my, God i've got too many deep thoughts

517
00:29:30,320 --> 00:29:33,440
Speaker 3: comments about this later on in the. Outline but, yes, yes,

518
00:29:34,520 --> 00:29:36,920
Speaker 3: yes that's what's going on here before that thing even,

519
00:29:36,960 --> 00:29:38,080
Speaker 3: existed all.

520
00:29:38,040 --> 00:29:42,280
Speaker 2: Right so virtuosity hits post. Virtuosity leonard directed AN imax,

521
00:29:42,320 --> 00:29:44,920
Speaker 2: film T Rex back to The. CRETACEOUS i might have

522
00:29:45,000 --> 00:29:46,920
Speaker 2: seen this one at this. Point there have been so

523
00:29:47,000 --> 00:29:50,440
Speaker 2: MANY imax and THREE d dinosaur, films especially as a,

524
00:29:50,480 --> 00:29:52,760
Speaker 2: parent That i've seen THAT i don't know where one

525
00:29:52,960 --> 00:29:55,560
Speaker 2: ends and the other one. BEGINS i always enjoy. Them

526
00:29:55,760 --> 00:29:58,560
Speaker 2: this one is apparently actually a huge hit for An imax.

527
00:29:58,600 --> 00:30:00,760
Speaker 3: Film at the, time WHEN i as a, TEENAGER i

528
00:30:00,800 --> 00:30:03,920
Speaker 3: worked selling tickets to tourist, attractions and one of the

529
00:30:03,960 --> 00:30:07,760
Speaker 3: PLACES i worked was An imax. THEATER i don't recall

530
00:30:07,800 --> 00:30:09,760
Speaker 3: if they ever had this, one BUT i remember a

531
00:30:09,920 --> 00:30:11,960
Speaker 3: general awareness of. It all, right.

532
00:30:12,400 --> 00:30:17,240
Speaker 2: There's a chance it. Happened. Now later, On leonard. Directed

533
00:30:17,320 --> 00:30:20,160
Speaker 2: he directed a pair of two thousand and five films

534
00:30:20,200 --> 00:30:22,880
Speaker 2: that seemed very. Skippable one Is Man. Thing this was

535
00:30:22,880 --> 00:30:26,640
Speaker 2: an Early marvel entertainment film that missed the mark for various.

536
00:30:26,720 --> 00:30:28,560
Speaker 2: Reasons i've read, that like it was one of those

537
00:30:28,560 --> 00:30:30,680
Speaker 2: cases where the production was just too far away And

538
00:30:31,440 --> 00:30:34,719
Speaker 2: marvel wasn't able to like really have their hands in

539
00:30:34,720 --> 00:30:37,440
Speaker 2: it as much as they. Wanted and then he also

540
00:30:37,520 --> 00:30:39,800
Speaker 2: did a movie Called, feed which seems like one of

541
00:30:39,800 --> 00:30:41,960
Speaker 2: the many bad taste horror films to spring up in

542
00:30:42,000 --> 00:30:45,320
Speaker 2: the wake of ninety five to. Seven it also looks very.

543
00:30:45,320 --> 00:30:48,560
Speaker 2: Skippable then he directed two thousand and Sevens highlander The.

544
00:30:48,600 --> 00:30:52,120
Speaker 2: Source this was the final trickle of cinematic juice thus

545
00:30:52,160 --> 00:30:54,200
Speaker 2: far squeezed from the husk of The highlander.

546
00:30:54,240 --> 00:30:57,840
Speaker 3: FRANCHISE i assume No Christoph limbert.

547
00:30:57,240 --> 00:30:57,760
Speaker 2: No he's in.

548
00:30:57,840 --> 00:30:58,480
Speaker 3: It oh he.

549
00:30:58,680 --> 00:31:01,800
Speaker 2: Is, yeah this. Kid this is the period of films

550
00:31:01,800 --> 00:31:05,360
Speaker 2: where they had combined the movies and THE tv show

551
00:31:05,680 --> 00:31:08,360
Speaker 2: and like they were literally just throwing everything in and

552
00:31:08,400 --> 00:31:11,200
Speaker 2: just squeezing as much as they could out of. It

553
00:31:11,960 --> 00:31:15,000
Speaker 2: and maybe they'll relaunch it here in the next year

554
00:31:15,080 --> 00:31:17,600
Speaker 2: or two and we'll have so much more juice to.

555
00:31:17,640 --> 00:31:21,400
Speaker 2: Squeeze but this was like the last. Trickle but, hey

556
00:31:21,400 --> 00:31:23,800
Speaker 2: somebody had to direct these. Movies might as well have

557
00:31:23,840 --> 00:31:27,240
Speaker 2: Been Leonard. Okay, Now more, recently he directed the twenty

558
00:31:27,280 --> 00:31:30,440
Speaker 2: twenty one Drama, triumph and seems to be returning to

559
00:31:30,480 --> 00:31:33,680
Speaker 2: his roots with an upcoming project Called Dark, star not

560
00:31:33,680 --> 00:31:37,240
Speaker 2: not related To John Carpenter's Dark, star in which quote

561
00:31:37,240 --> 00:31:41,320
Speaker 2: a trio Of Astral warriors battle And ai. Threat it's

562
00:31:41,360 --> 00:31:44,640
Speaker 2: in pre production as of this, recording So i'm. Interested

563
00:31:44,800 --> 00:31:46,560
Speaker 2: it would be interesting to see what the director Of

564
00:31:47,040 --> 00:31:49,920
Speaker 2: lon More man In virtuosity would have for us in

565
00:31:50,000 --> 00:31:52,600
Speaker 2: like twenty twenty five or twenty twenty. SIX i am mighty.

566
00:31:52,680 --> 00:31:54,160
Speaker 3: Curious. Yeah.

567
00:31:54,320 --> 00:31:58,280
Speaker 2: Now his music video filmography Includes Peter Gabriel's Kissed That

568
00:31:58,400 --> 00:32:02,800
Speaker 2: frog from ninety. Three this was off of a terrific

569
00:32:02,840 --> 00:32:05,920
Speaker 2: album THAT i totally wore out in the. Nineties the

570
00:32:06,000 --> 00:32:08,800
Speaker 2: video is notable for its use OF cgi and A cgi.

571
00:32:08,960 --> 00:32:12,400
Speaker 2: Frog it was actually the first ALL cgi music. Video

572
00:32:12,480 --> 00:32:17,400
Speaker 2: apparently the cgi frog has really really red. Lips it's

573
00:32:17,520 --> 00:32:22,200
Speaker 2: like lipstick. Lips this was obviously a pioneering music, video

574
00:32:22,800 --> 00:32:26,200
Speaker 2: which is to say it doesn't look that great by today's,

575
00:32:26,200 --> 00:32:29,360
Speaker 2: standard not like a lot of Other Peter gabriel videos Like,

576
00:32:29,400 --> 00:32:31,960
Speaker 2: sledgehammer you, know which has all this great stop motion

577
00:32:32,080 --> 00:32:33,640
Speaker 2: and you, know totally stands the test of.

578
00:32:33,680 --> 00:32:36,800
Speaker 3: Time, no But Peter gabriel has a presence on the

579
00:32:36,840 --> 00:32:39,840
Speaker 3: soundtrack of this movie as. Well Guess I'm Your Party, Man.

580
00:32:40,000 --> 00:32:43,160
Speaker 2: That's, right a track co written By Tory. Amos. Wow,

581
00:32:44,640 --> 00:32:46,600
Speaker 2: Yeah SO i look forward to talking about the music

582
00:32:46,760 --> 00:32:47,400
Speaker 2: as we proceed.

583
00:32:47,480 --> 00:32:49,440
Speaker 3: Here, Okay, okay don't want to get ahead of, you.

584
00:32:49,440 --> 00:32:52,240
Speaker 2: But to finish With, leonard it is notable that he's

585
00:32:52,280 --> 00:32:55,760
Speaker 2: not just a nineteen nineties popularizer OF, vr sci fi and.

586
00:32:55,840 --> 00:32:58,960
Speaker 2: Tear he also co founded two different companies involved in

587
00:32:59,000 --> 00:33:01,560
Speaker 2: the use OF vr is the term he prefers as

588
00:33:01,600 --> 00:33:06,960
Speaker 2: virtual experiences for therapeutic. Purposes so There's Virtual, Psychedelics. Inc

589
00:33:07,280 --> 00:33:08,120
Speaker 2: And UBIQUITY.

590
00:33:08,240 --> 00:33:11,880
Speaker 3: Vx, okay no offense To Brett leonard at all about,

591
00:33:11,920 --> 00:33:14,040
Speaker 3: this but it is kind of an odd choice to

592
00:33:14,160 --> 00:33:18,160
Speaker 3: like the stories you have created and sent into the

593
00:33:18,160 --> 00:33:23,160
Speaker 3: world ABOUT, vr all about murder and about LIKE VR vr,

594
00:33:23,280 --> 00:33:27,800
Speaker 3: psychos you, know taking control and unleashing havoc on the,

595
00:33:27,800 --> 00:33:31,000
Speaker 3: world but then also like literally being involved and actually

596
00:33:31,120 --> 00:33:34,360
Speaker 3: USING vr for allegedly good. Purposes And i'm not trying

597
00:33:34,400 --> 00:33:36,040
Speaker 3: to impune what he's, doing.

598
00:33:35,840 --> 00:33:38,000
Speaker 2: No, no, NO i mean he based on the interview

599
00:33:38,200 --> 00:33:40,080
Speaker 2: THAT i watched on that, disk he does seem to

600
00:33:40,080 --> 00:33:42,160
Speaker 2: recognize the irony of, this and he's frames it is

601
00:33:42,200 --> 00:33:46,920
Speaker 2: sort of Like i'm giving back having having first helped

602
00:33:46,920 --> 00:33:51,239
Speaker 2: to create these visions of. Paranoia, yeah so fair, enough all.

603
00:33:51,320 --> 00:33:54,040
Speaker 2: Right moving on to the. Screenplay it is By Eric,

604
00:33:54,160 --> 00:33:57,560
Speaker 2: burnt screenwriter perhaps best known for his work on this,

605
00:33:57,640 --> 00:34:00,200
Speaker 2: film but his first credit to his screenplay was nineteen twenty

606
00:34:00,240 --> 00:34:05,200
Speaker 2: Four surviving The, game directed By ERNEST. R. Dickerson we've

607
00:34:05,240 --> 00:34:07,840
Speaker 2: talked about this before because we've talked About ERNEST Ar dickerson,

608
00:34:07,840 --> 00:34:10,719
Speaker 2: Before but this is the most dangerous game but with Iced,

609
00:34:10,760 --> 00:34:14,360
Speaker 2: tea hunted By, Rugger, Howard Gary, BUSEY F Murray, abraham

610
00:34:14,440 --> 00:34:14,920
Speaker 2: And JOHN. C.

611
00:34:15,040 --> 00:34:19,399
Speaker 3: McGinley, yeah Was, dickerson the director of The tales from

612
00:34:19,400 --> 00:34:20,320
Speaker 3: The crypt Movie Demon.

613
00:34:20,400 --> 00:34:23,120
Speaker 2: Knight he, Was, yes we talked about before on the.

614
00:34:23,120 --> 00:34:26,280
Speaker 2: Show he also wrote the screenplay for two Thousand's Romeo

615
00:34:26,400 --> 00:34:28,560
Speaker 2: Must die and has a story credit on two Thousands

616
00:34:28,640 --> 00:34:29,279
Speaker 2: Highlander End.

617
00:34:29,280 --> 00:34:33,640
Speaker 3: Game all, Right highlander connections from different. Directions, yeah there

618
00:34:33,680 --> 00:34:36,160
Speaker 3: was a lot of Work highlander. World you, know so

619
00:34:36,280 --> 00:34:39,719
Speaker 3: you got paid where you could get. Paid, OKAY i

620
00:34:39,719 --> 00:34:42,640
Speaker 3: think it's time to talk about our IMPLAUSIBLE a list actors.

621
00:34:42,680 --> 00:34:47,160
Speaker 2: Here, yes Playing Lieutenant Parker. Barnes you know his name

622
00:34:47,200 --> 00:34:49,880
Speaker 2: Is parker because it's set a bazillion times in this.

623
00:34:49,960 --> 00:34:51,920
Speaker 3: Picture, Hey, corker this one's for.

624
00:34:52,040 --> 00:34:56,520
Speaker 2: You. Yeah this, is of Course Denzel washington born nineteen fifty.

625
00:34:56,560 --> 00:34:59,600
Speaker 2: Four this is one of those moments where it's, LIKE

626
00:35:00,080 --> 00:35:02,560
Speaker 2: i don't have to tell anyone out there Who Denzel washington,

627
00:35:02,640 --> 00:35:05,200
Speaker 2: is BUT i will say it's just so easy to

628
00:35:05,239 --> 00:35:09,279
Speaker 2: take a talent like him for, granted because for people

629
00:35:09,360 --> 00:35:11,719
Speaker 2: around my, age it feels like he's always been. There you,

630
00:35:11,760 --> 00:35:13,279
Speaker 2: know he's always been there at the top of his.

631
00:35:13,320 --> 00:35:15,640
Speaker 2: Game he's always been. Established he's stuck near the top

632
00:35:15,680 --> 00:35:19,160
Speaker 2: of The hollywood. Pantheon for decades and just continues to

633
00:35:19,200 --> 00:35:23,360
Speaker 2: bust out, powerful often award winning performances in, big big budget.

634
00:35:23,360 --> 00:35:27,280
Speaker 2: Films all, told he's currently a nine Time Academy award

635
00:35:27,280 --> 00:35:30,319
Speaker 2: nominee and two time. Winner at this point in his,

636
00:35:30,360 --> 00:35:32,879
Speaker 2: career as we already pointed, out he'd been nominated three

637
00:35:32,920 --> 00:35:36,440
Speaker 2: times and won. Once so you, know DARE i say

638
00:35:36,560 --> 00:35:39,600
Speaker 2: he's coming into this one, hot having been nominated for

639
00:35:39,840 --> 00:35:42,960
Speaker 2: nineteen eighty Eight's Cry, freedom in nineteen ninety Three's MALCOLM,

640
00:35:43,160 --> 00:35:47,239
Speaker 2: x and having won again for nineteen Nineties. Glory subsequent

641
00:35:47,280 --> 00:35:50,480
Speaker 2: nominations would include two thousands Of The, hurricane twenty Thirteen's,

642
00:35:50,520 --> 00:35:56,080
Speaker 2: flight twenty Seventeens, fences twenty Eighteen's Roman Jay Israel, esquire

643
00:35:56,480 --> 00:36:00,239
Speaker 2: and twenty twenty Two's The tragedy Of. Macbeth to, date

644
00:36:00,360 --> 00:36:03,920
Speaker 2: only other Oscar win Was Best actor for his excellent

645
00:36:03,920 --> 00:36:07,120
Speaker 2: performance as the dirty Cop Alonzo harris in two thousand

646
00:36:07,120 --> 00:36:10,160
Speaker 2: and One's Training. DAY i keep getting a wild hair

647
00:36:10,239 --> 00:36:12,359
Speaker 2: to rewatch that, one because that's a film that when

648
00:36:12,360 --> 00:36:14,680
Speaker 2: it came OUT i was really captivated. By it was

649
00:36:14,760 --> 00:36:18,239
Speaker 2: just like really, intense had some excellent twists and in

650
00:36:18,320 --> 00:36:21,160
Speaker 2: just a phenomenal sense of danger as well, as of

651
00:36:21,200 --> 00:36:26,239
Speaker 2: course at a terrific i'll, say villain, performance but it's

652
00:36:26,239 --> 00:36:28,560
Speaker 2: a little more complicated than, that you, know it's almost

653
00:36:28,600 --> 00:36:31,960
Speaker 2: like A shakespearean villain, performance which of course brings us

654
00:36:32,000 --> 00:36:34,480
Speaker 2: to The tragedy Of. Macbeth, that of course Is Joel

655
00:36:34,480 --> 00:36:39,480
Speaker 2: cohen's adaptation of The scottish play that also co Stars francis,

656
00:36:39,520 --> 00:36:42,680
Speaker 2: McDormand and it is also awesome and of course features

657
00:36:42,680 --> 00:36:45,280
Speaker 2: an amazing supporting cast that features a Few Cohen brothers

658
00:36:45,320 --> 00:36:48,880
Speaker 2: regulars as well As Brian. Thompson you might Remember Brian

659
00:36:48,920 --> 00:36:51,959
Speaker 2: thompson from such films as the Second Moral kombat, movie

660
00:36:51,960 --> 00:36:54,279
Speaker 2: in which you Played Shao, khan and loads of like

661
00:36:55,000 --> 00:36:58,120
Speaker 2: ACTION b. Movies you, know he was often an action.

662
00:36:58,640 --> 00:37:00,440
Speaker 2: Star but he shows up in THE a is one

663
00:37:00,440 --> 00:37:04,160
Speaker 2: of the murderers and is. Terrific, oh in The tragedy Of.

664
00:37:04,239 --> 00:37:07,439
Speaker 2: Macbeth not In, Virtuosity, no not in. VIRTUALLY i would

665
00:37:07,440 --> 00:37:08,680
Speaker 2: be ashamed.

666
00:37:08,200 --> 00:37:10,000
Speaker 3: IF i had missed him In Virtuosity.

667
00:37:10,040 --> 00:37:12,680
Speaker 2: Somewhere, Yeah Brian thompson was also one of the punks

668
00:37:12,719 --> 00:37:15,279
Speaker 2: that gets beat up and or killed by the.

669
00:37:15,360 --> 00:37:18,680
Speaker 3: Terminator yeah that sounds. Right, Yeah, well AS i said,

670
00:37:18,680 --> 00:37:22,760
Speaker 3: Earlier Denzel washington is so much better than this movie calls.

671
00:37:22,760 --> 00:37:27,839
Speaker 3: For he's giving the more subdued and humanistic performance and

672
00:37:27,960 --> 00:37:31,799
Speaker 3: Allowing Russell crowe the space to just be. Wacky but

673
00:37:31,960 --> 00:37:35,520
Speaker 3: it's both funny and genuinely like a pleasure to see

674
00:37:35,600 --> 00:37:36,319
Speaker 3: him in this. Role.

675
00:37:37,000 --> 00:37:41,920
Speaker 2: Yeah, leonard in the interview On The Blu ray commented

676
00:37:41,920 --> 00:37:43,680
Speaker 2: That denzel was pretty much at the top of his game,

677
00:37:43,719 --> 00:37:46,279
Speaker 2: here you, know requiring only mild suggestions here and, there

678
00:37:46,280 --> 00:37:48,360
Speaker 2: and otherwise you just, like you just let him run with,

679
00:37:48,400 --> 00:37:50,239
Speaker 2: it and he nails it right out of the, gate

680
00:37:50,719 --> 00:37:53,480
Speaker 2: possessing what he described as an almost like superhuman ability

681
00:37:53,520 --> 00:37:55,479
Speaker 2: to know exactly where his face is in a given

682
00:37:55,520 --> 00:37:58,360
Speaker 2: shot and just maximize his, expression.

683
00:37:58,200 --> 00:38:02,400
Speaker 3: Which is interesting because that's a a very film specific.

684
00:38:02,600 --> 00:38:06,440
Speaker 3: Talent AND i, Know i've read That Denzel washington very

685
00:38:06,520 --> 00:38:09,839
Speaker 3: much thinks of himself as like a stage. Performer. FIRST i, mean,

686
00:38:09,880 --> 00:38:12,440
Speaker 3: obviously you, know more people know him from his, movies

687
00:38:12,480 --> 00:38:15,160
Speaker 3: but he you, know he's a very like stage and

688
00:38:15,239 --> 00:38:16,640
Speaker 3: theater focused actor in a.

689
00:38:16,680 --> 00:38:19,800
Speaker 2: Way. Yeah, Yeah, yeah he's back on the stage currently

690
00:38:19,840 --> 00:38:23,480
Speaker 2: as we're recording this as. Well but as far as

691
00:38:23,520 --> 00:38:26,120
Speaker 2: sci fi movies, goes it. Goes it's actually. Interesting this

692
00:38:26,160 --> 00:38:28,480
Speaker 2: is only one of three sci fi movies That denzel

693
00:38:28,560 --> 00:38:30,840
Speaker 2: has ever appeared, IN i, believe alongside two thousand and

694
00:38:30,880 --> 00:38:34,080
Speaker 2: six Is Deja vus and twenty Ten's The book Of.

695
00:38:34,120 --> 00:38:36,719
Speaker 2: Eli and of course he's still going strong. Today just

696
00:38:36,719 --> 00:38:39,160
Speaker 2: came off of a key role In Ridley Scott's gladiator,

697
00:38:39,200 --> 00:38:42,239
Speaker 2: too which is fitting given who our next star.

698
00:38:42,400 --> 00:38:44,560
Speaker 3: Is that's all, Right rachel AND i were just talking

699
00:38:44,560 --> 00:38:47,960
Speaker 3: about this that it's got two Different gladiator actors at

700
00:38:47,960 --> 00:38:50,279
Speaker 3: the top, here and of, course, yeah of course that

701
00:38:50,320 --> 00:38:53,000
Speaker 3: brings us To Russell crowe AS sid six point.

702
00:38:53,080 --> 00:38:55,520
Speaker 2: Seven that's. Right do you think it.

703
00:38:55,440 --> 00:38:59,040
Speaker 3: Would have been different actors in the role of PREVIOUS sid,

704
00:38:59,120 --> 00:39:03,799
Speaker 3: releases like WAS sid three point Nine michael dudikof and

705
00:39:03,840 --> 00:39:06,040
Speaker 3: then by the time he get to six point, seven

706
00:39:06,120 --> 00:39:06,680
Speaker 3: That's Russell.

707
00:39:06,760 --> 00:39:10,440
Speaker 2: Crowe that that would be. Interesting that would if they

708
00:39:10,440 --> 00:39:13,160
Speaker 2: do A VIRTUOSITY tv, series you, know they could do different,

709
00:39:13,200 --> 00:39:15,120
Speaker 2: sids different. Actors it could be a sit of the weak.

710
00:39:15,200 --> 00:39:20,160
Speaker 2: Situation So Russell crowe born nineteen sixty, Four New zealand

711
00:39:20,160 --> 00:39:24,400
Speaker 2: born actor Of welsh And malory. Ancestry as With, DENZEL

712
00:39:24,600 --> 00:39:26,399
Speaker 2: i really don't need to tell you Who Russell crowe

713
00:39:26,440 --> 00:39:29,319
Speaker 2: is very famous, actor but with a DECIDEDLY i would,

714
00:39:29,360 --> 00:39:32,719
Speaker 2: say wilder reputation in a. Filmography to fit that, reputation

715
00:39:33,680 --> 00:39:37,000
Speaker 2: crow starred started off in music and, theater Including i'm

716
00:39:37,000 --> 00:39:40,840
Speaker 2: delighted to say Playing eddie in A New zealand production

717
00:39:41,000 --> 00:39:42,200
Speaker 2: Of The Rocky Horror Picture.

718
00:39:42,239 --> 00:39:44,360
Speaker 3: Show oh that's surprising.

719
00:39:44,520 --> 00:39:47,279
Speaker 2: But also kind of. Perfect you, KNOW i think he

720
00:39:47,360 --> 00:39:49,040
Speaker 2: was in he was like in a band at one,

721
00:39:49,120 --> 00:39:51,520
Speaker 2: point very, early you, know before he really got into.

722
00:39:51,560 --> 00:39:56,840
Speaker 2: Acting SO i can definitely See Russell crowe As. Eddie

723
00:39:57,000 --> 00:40:00,800
Speaker 2: he has Meat, yeah, Yeah eddie was by Meat loaf

724
00:40:00,880 --> 00:40:04,239
Speaker 2: in The Rocky Art Picture show for anyone who's trying

725
00:40:04,239 --> 00:40:08,960
Speaker 2: to remember the. Casting, Now crowe broke Into australian cinema after.

726
00:40:09,000 --> 00:40:11,879
Speaker 2: THIS a couple of big hits here were ninety ninety

727
00:40:11,920 --> 00:40:16,320
Speaker 2: One's proof and nineteen ninety Two's Romper stomper rather famous

728
00:40:16,400 --> 00:40:19,480
Speaker 2: role in which he plays A melbourne, skinhead and these

729
00:40:19,520 --> 00:40:22,799
Speaker 2: films helped to springboard him Into american pictures and that's

730
00:40:22,800 --> 00:40:25,600
Speaker 2: really where virtuosity. Comes in the same, year he also

731
00:40:25,640 --> 00:40:28,160
Speaker 2: appeared in The Sam raimi Western The quick and The.

732
00:40:28,200 --> 00:40:31,480
Speaker 3: Dead Never seen that one is that one that also

733
00:40:31,560 --> 00:40:34,279
Speaker 3: Has Sharon. Stone, YEAH i believe she's the lead in.

734
00:40:34,320 --> 00:40:39,280
Speaker 2: It, yeah so. Yeah leonard also talked about about working

735
00:40:39,280 --> 00:40:41,200
Speaker 2: With Russell crowe and Said Russell crowe is also a

736
00:40:41,239 --> 00:40:44,520
Speaker 2: situation where you turn him loose and you just follow

737
00:40:44,600 --> 00:40:47,759
Speaker 2: him and, maybe you, know give him a few few

738
00:40:47,760 --> 00:40:51,319
Speaker 2: directions here and. There but he Described crowe as being

739
00:40:51,400 --> 00:40:54,480
Speaker 2: kind of like a bundle of improvisational, energy and so

740
00:40:54,680 --> 00:40:56,640
Speaker 2: a lot of his lines here that we, get some

741
00:40:56,680 --> 00:41:00,759
Speaker 2: of the great, ones our improvisations that he brought to the,

742
00:41:00,800 --> 00:41:01,880
Speaker 2: script that he brought to the.

743
00:41:01,880 --> 00:41:05,200
Speaker 3: SCENES i think you can detect that without even knowing.

744
00:41:05,280 --> 00:41:07,880
Speaker 3: It it just comes through in the. Movie there's this

745
00:41:08,000 --> 00:41:11,040
Speaker 3: might sound like a wild, comparison but there is almost

746
00:41:11,120 --> 00:41:14,200
Speaker 3: A Jim carrey quality to him in.

747
00:41:14,280 --> 00:41:18,960
Speaker 2: This, yes, yes absolutely, yeah that kind of Like, Batman,

748
00:41:19,120 --> 00:41:21,640
Speaker 2: Joker riddler kind of energy where it's just you, know

749
00:41:21,800 --> 00:41:25,680
Speaker 2: laughing and. Goofy like our man here is doing backflips

750
00:41:26,280 --> 00:41:31,239
Speaker 2: into THE ufc octagon and landing on his head seemingly on.

751
00:41:31,280 --> 00:41:35,560
Speaker 2: PURPOSE i, mean he's completely. Unhinged. Yeah So Russell crowe

752
00:41:35,600 --> 00:41:40,200
Speaker 2: followed all this with well received performances in such hits

753
00:41:40,239 --> 00:41:43,880
Speaker 2: As La confidential in ninety, Seven The insider in ninety.

754
00:41:43,960 --> 00:41:46,680
Speaker 2: Nine he got An oscar nomination for that, one before

755
00:41:46,760 --> 00:41:49,759
Speaker 2: his award winning star performance In Ridley Scott's gladiator in

756
00:41:49,800 --> 00:41:52,560
Speaker 2: two thousand and. One he was nominated the following year

757
00:41:52,600 --> 00:41:55,799
Speaker 2: FOR A Beautiful. Mind subsequent films of note include the

758
00:41:55,920 --> 00:41:58,279
Speaker 2: likes of two thousand and, Threes Mastering, Commander The Far

759
00:41:58,360 --> 00:42:02,520
Speaker 2: side of The world and One's American gangster With Denzel,

760
00:42:02,640 --> 00:42:05,799
Speaker 2: washington And Ridley Scott's Robin hood in twenty. Ten now

761
00:42:05,840 --> 00:42:08,040
Speaker 2: around twenty, Ten i'd say to credits start getting a little,

762
00:42:08,040 --> 00:42:10,000
Speaker 2: weirder and it feels like he gets he's getting to

763
00:42:10,040 --> 00:42:13,080
Speaker 2: flex his muscles and supporting roles half the, time and

764
00:42:13,160 --> 00:42:16,000
Speaker 2: even some villain work, again appearing in the likes of

765
00:42:16,160 --> 00:42:19,719
Speaker 2: twenty Twelve's The man with The Iron, fists twenty Thirteen's

766
00:42:19,719 --> 00:42:23,720
Speaker 2: man Of, steel twenty Fourteen's, noah twenty Seventeens The, mummy

767
00:42:24,040 --> 00:42:27,600
Speaker 2: twenty twenty Two's love And, thunder which again this is

768
00:42:27,600 --> 00:42:30,160
Speaker 2: where he Plays zeus and he gets to just be

769
00:42:30,320 --> 00:42:34,240
Speaker 2: over the top and, comedic but also has at least

770
00:42:34,280 --> 00:42:38,160
Speaker 2: one key scene that he's just oozing with villainous. Energy

771
00:42:38,800 --> 00:42:41,640
Speaker 2: so it's very fun to watch a lot of people

772
00:42:42,000 --> 00:42:44,160
Speaker 2: did not Like love And Thunder all that. MUCH i

773
00:42:44,160 --> 00:42:45,960
Speaker 2: didn't like it as much the first TIME i watched,

774
00:42:46,000 --> 00:42:47,719
Speaker 2: it BUT i really came around to it the second.

775
00:42:47,760 --> 00:42:51,439
Speaker 2: Time if nothing, else it's a wacky film with some

776
00:42:51,600 --> 00:42:54,400
Speaker 2: incredibly talented actors in. It you could See Christian bale

777
00:42:54,640 --> 00:42:58,239
Speaker 2: play a mad god killing, alien so you know it's

778
00:42:58,239 --> 00:43:02,640
Speaker 2: worth the. Ticket, Okay but then he's Lately crow has

779
00:43:02,680 --> 00:43:05,560
Speaker 2: been playing a lot of. Exorcists twenty twenty three Is

780
00:43:05,600 --> 00:43:09,680
Speaker 2: The Pope's exorcist and twenty twenty Four's The. Exorcist these

781
00:43:09,680 --> 00:43:13,120
Speaker 2: are apparently not related to each. OTHER i haven't seen,

782
00:43:13,160 --> 00:43:15,880
Speaker 2: them SO i can't fully. Comment BUT i don't know

783
00:43:16,120 --> 00:43:17,440
Speaker 2: he's just saying yes to exorcist.

784
00:43:17,480 --> 00:43:20,400
Speaker 3: PICTURES i haven't Seen The Pope's. Exorcist in, FACT i

785
00:43:20,440 --> 00:43:22,799
Speaker 3: don't know what it's about other than what one might

786
00:43:22,840 --> 00:43:25,840
Speaker 3: surmise from the. Title but it like pops up on streaming,

787
00:43:25,880 --> 00:43:28,080
Speaker 3: services and so in our house we keep making The

788
00:43:28,120 --> 00:43:28,960
Speaker 3: Pope's exorcist.

789
00:43:29,040 --> 00:43:33,000
Speaker 2: Jokes is he an exorcist working for The pope or

790
00:43:33,080 --> 00:43:34,279
Speaker 2: is he exercising the?

791
00:43:34,320 --> 00:43:37,279
Speaker 3: Pope many good? Questions is The pope possessed by a

792
00:43:37,320 --> 00:43:39,879
Speaker 3: devil and he has to exercise, it or do people

793
00:43:39,960 --> 00:43:42,160
Speaker 3: get possessed by the spirit of The pope and he

794
00:43:42,239 --> 00:43:43,799
Speaker 3: has to go exercise The pope from?

795
00:43:43,840 --> 00:43:48,760
Speaker 2: PEOPLE i don't. Know we're going to have to await

796
00:43:49,040 --> 00:43:51,440
Speaker 2: listeners to tell us how this all plays.

797
00:43:51,440 --> 00:43:54,760
Speaker 3: Out CAN i read a quote from The Janet Maslin

798
00:43:54,960 --> 00:43:58,319
Speaker 3: New York times review Of virtuosity when it came? Out oh,

799
00:43:58,440 --> 00:44:02,000
Speaker 3: yes please don't fully agree with Everything maslin says, here

800
00:44:02,000 --> 00:44:05,279
Speaker 3: but just for how it was received at the, Time she,

801
00:44:05,400 --> 00:44:09,160
Speaker 3: writes Mister washington is usually an actor audiences will follow

802
00:44:09,160 --> 00:44:12,239
Speaker 3: into any, dimension but here his role is, limited too,

803
00:44:12,280 --> 00:44:14,960
Speaker 3: often leaving him to play second fiddle to the film's

804
00:44:15,040 --> 00:44:20,240
Speaker 3: weirdly hypnotic special. Effects Mister, crowe as a psychotic yuppie

805
00:44:20,239 --> 00:44:23,680
Speaker 3: type bearing a disconcerting resemblance to the Writer Brett Easton,

806
00:44:23,760 --> 00:44:28,480
Speaker 3: ellis does a memorable job making himself frightening until the

807
00:44:28,520 --> 00:44:31,520
Speaker 3: film becomes numbingly frantic in the manner of many video.

808
00:44:31,600 --> 00:44:35,280
Speaker 3: Games while it excoriates the vicious sid as the techno

809
00:44:35,360 --> 00:44:38,680
Speaker 3: spawn of monsters Like Adolf hitler And John Wayne, Gacy

810
00:44:39,120 --> 00:44:43,560
Speaker 3: virtuosity also revels in his exploits with more enthusiasm than

811
00:44:43,640 --> 00:44:47,440
Speaker 3: is really. Necessary you, Know i'm gonna agree with the

812
00:44:47,520 --> 00:44:49,759
Speaker 3: later part of. That one of the downsides of the

813
00:44:49,760 --> 00:44:53,520
Speaker 3: film is like it's like mostly, silly but then sometimes

814
00:44:53,560 --> 00:44:56,120
Speaker 3: the violent scenes just get a little too. Real it's,

815
00:44:56,160 --> 00:44:58,160
Speaker 3: like oh, man that went harder than it needed. To

816
00:44:58,719 --> 00:45:01,840
Speaker 3: but the other thing, IS i like the characterization Of

817
00:45:02,360 --> 00:45:06,360
Speaker 3: Russell crowe here is as a psychotic yuppie type because

818
00:45:06,400 --> 00:45:09,120
Speaker 3: that captures something about the role THAT i didn't quite

819
00:45:09,120 --> 00:45:11,560
Speaker 3: put together WHEN i was just reacting to it. Myself but,

820
00:45:11,640 --> 00:45:14,719
Speaker 3: yeah there is a kind of urbanity to, him do

821
00:45:14,760 --> 00:45:17,399
Speaker 3: you know WHAT i? Mean like he's kind of he's

822
00:45:17,520 --> 00:45:20,880
Speaker 3: kind of suave and sophisticated at the same time that

823
00:45:20,920 --> 00:45:25,320
Speaker 3: he is supposed to be an, uncontrollable, manic psycho, killer

824
00:45:26,040 --> 00:45:29,280
Speaker 3: and that is clearly it's part of what the appeal

825
00:45:29,320 --> 00:45:32,719
Speaker 3: of the character. Is but it also, FEELS i don't,

826
00:45:32,719 --> 00:45:37,080
Speaker 3: know it's like a very unfocused. Characterization this character is

827
00:45:37,160 --> 00:45:39,440
Speaker 3: just a lot of things thrown at the, wall you

828
00:45:39,440 --> 00:45:39,680
Speaker 3: know WHAT i.

829
00:45:39,760 --> 00:45:43,040
Speaker 2: Mean, yeah but of course that also is exactly what he. Is, Like,

830
00:45:43,560 --> 00:45:46,279
Speaker 2: yeah there's like a multiple personality situation going. On but,

831
00:45:46,320 --> 00:45:48,600
Speaker 2: yeah then also as it's you, know it's brought to

832
00:45:48,640 --> 00:45:51,480
Speaker 2: life on the, screen you can see so many different influences,

833
00:45:51,480 --> 00:46:02,000
Speaker 2: there all, right getting into the rest of the, cast

834
00:46:02,040 --> 00:46:03,799
Speaker 2: AND i should say the rest of the cast is

835
00:46:03,920 --> 00:46:06,200
Speaker 2: very much the rest of the cast. Here, yeah you,

836
00:46:06,239 --> 00:46:10,399
Speaker 2: know they're all supporting what our two stars are. Doing

837
00:46:10,440 --> 00:46:13,640
Speaker 2: but we Have Kelly lynch playing the Character Madison carter

838
00:46:13,760 --> 00:46:16,640
Speaker 2: born nineteen fifty Nine american, actress best known for performances

839
00:46:16,640 --> 00:46:19,880
Speaker 2: in nineteen eighty Nine's Drugstore, cowboy as well As roadhouse

840
00:46:19,880 --> 00:46:22,400
Speaker 2: from the same. Year she's continued to work steadily in

841
00:46:22,400 --> 00:46:24,480
Speaker 2: film AND, tv appearing in such series As THE L,

842
00:46:24,520 --> 00:46:27,040
Speaker 2: Word Magic, City Mister, mercedes And.

843
00:46:27,120 --> 00:46:30,520
Speaker 3: Physical you know how whenever a copy gets thrown off

844
00:46:30,560 --> 00:46:33,520
Speaker 3: the force is brought back for one last. Job he

845
00:46:33,560 --> 00:46:36,200
Speaker 3: always has to get a new. Partner here's your new partner.

846
00:46:36,440 --> 00:46:40,000
Speaker 2: Exactly and so it is very much a supporting role

847
00:46:40,160 --> 00:46:42,640
Speaker 2: in the most limited sense of the. Word like everything

848
00:46:42,719 --> 00:46:46,040
Speaker 2: she's doing is here to support the characterization Of Denzel

849
00:46:46,080 --> 00:46:47,960
Speaker 2: washington's character and have her kid.

850
00:46:48,040 --> 00:46:52,279
Speaker 3: Kidnapped we'll. Discuss she does get to shoot the human

851
00:46:52,320 --> 00:46:52,920
Speaker 3: bad guy at the.

852
00:46:53,040 --> 00:46:56,480
Speaker 2: End that's. True that's. True. Oh in speaking of human bad, guy,

853
00:46:56,560 --> 00:47:00,440
Speaker 2: yep it Is Lynden, meyer played By Steven. Spinella for

854
00:47:00,680 --> 00:47:04,080
Speaker 2: nineteen fifty. Six this was only his third film. Appearance but,

855
00:47:04,360 --> 00:47:08,759
Speaker 2: man this guy has tremendous weird energy because he's the

856
00:47:08,920 --> 00:47:13,680
Speaker 2: creator OF sid six point. Seven but also it's clear

857
00:47:13,719 --> 00:47:17,520
Speaker 2: that he's now completely enraptured by his creation and is

858
00:47:17,560 --> 00:47:21,560
Speaker 2: worshiping his creation and wants to do anything he. Can

859
00:47:21,640 --> 00:47:24,919
Speaker 2: he has a true love for this awful thing that he's.

860
00:47:24,960 --> 00:47:29,200
Speaker 2: Made he's. Continued spinell has continued to milk his weird

861
00:47:29,280 --> 00:47:31,520
Speaker 2: energy and some other great weird productions over the. Years

862
00:47:31,560 --> 00:47:34,600
Speaker 2: nineteen ninety Nine's. Ravenous another film THAT i think would

863
00:47:34,600 --> 00:47:39,080
Speaker 2: be interesting to revisit in twenty twenty, five twenty Ten's,

864
00:47:39,160 --> 00:47:42,480
Speaker 2: rubber and that's one that's been recommended to us. Before

865
00:47:42,800 --> 00:47:46,440
Speaker 2: and then Also Steven Soderberg's The, nick WHICH i am

866
00:47:46,760 --> 00:47:48,799
Speaker 2: struggling to remember who he. Played there were a lot

867
00:47:48,800 --> 00:47:51,160
Speaker 2: of actors coming in and out of that shows what

868
00:47:51,280 --> 00:47:53,520
Speaker 2: two season. Run But i'm a big fan Of The.

869
00:47:53,600 --> 00:47:59,000
Speaker 2: Nick all. Right we also Have William forsyth Playing William.

870
00:47:59,080 --> 00:48:03,839
Speaker 2: Cochrane this is this character is the what he's the police, chief.

871
00:48:03,920 --> 00:48:07,480
Speaker 2: Right he's, Like you're the best COP i ever worked,

872
00:48:07,480 --> 00:48:10,640
Speaker 2: With you're the absolute. Best i'm the in as well

873
00:48:10,680 --> 00:48:12,160
Speaker 2: as he's, Like i'm gonna get you out of prison

874
00:48:12,160 --> 00:48:13,520
Speaker 2: and get you back on the, force that sort of.

875
00:48:13,520 --> 00:48:16,120
Speaker 3: Thing there's only one man who can stop this, thread

876
00:48:16,160 --> 00:48:17,680
Speaker 3: and that's the protagonist of this.

877
00:48:17,760 --> 00:48:20,640
Speaker 2: Film that's. Right SO i don't know how we've avoided

878
00:48:20,760 --> 00:48:23,400
Speaker 2: watching A William forth wife movie up until now because

879
00:48:23,640 --> 00:48:26,359
Speaker 2: his tons of. Credits The american character actor who's made

880
00:48:26,400 --> 00:48:29,240
Speaker 2: a career out of playing mostly heavies and, cops exactly

881
00:48:29,400 --> 00:48:32,280
Speaker 2: like his role in this. Film but he also played

882
00:48:32,320 --> 00:48:36,480
Speaker 2: the escape Convict evil in nineteen eighty Seven's Raising. Arizona

883
00:48:37,160 --> 00:48:39,439
Speaker 2: you know is that great line he's, Like, hi you're,

884
00:48:39,480 --> 00:48:41,279
Speaker 2: young and you got your. Health what you want with the.

885
00:48:41,400 --> 00:48:43,719
Speaker 3: Job he has the great scene where he holds up

886
00:48:43,760 --> 00:48:47,279
Speaker 3: the general store to steal diapers AND i think he

887
00:48:47,320 --> 00:48:50,000
Speaker 3: steals balloons and he says these blow up into funny

888
00:48:50,040 --> 00:48:52,600
Speaker 3: shapes and the guy, says not unless round is. Funny.

889
00:48:53,600 --> 00:48:56,680
Speaker 2: Yeah so he's great in, that and that role like

890
00:48:57,000 --> 00:48:59,520
Speaker 2: definitely stands apart from most of what he's known. For

891
00:49:00,480 --> 00:49:03,640
Speaker 2: other films of note include he played the mutant Gangster

892
00:49:03,760 --> 00:49:07,600
Speaker 2: Flat top in nineteen Nineties Dick tracy And Pops up

893
00:49:07,640 --> 00:49:10,480
Speaker 2: in three different Rob zombie, projects his Two halloween, Movies

894
00:49:10,480 --> 00:49:13,920
Speaker 2: The Devil's, rejects and also the episode OF Csi miami

895
00:49:13,960 --> 00:49:14,680
Speaker 2: That Robs zombie.

896
00:49:14,719 --> 00:49:17,759
Speaker 3: Directed it's hard for me to recommend any of Those

897
00:49:17,840 --> 00:49:21,200
Speaker 3: Rob zombie. Movies Devil's rejects is a little, rough BUT

898
00:49:21,239 --> 00:49:23,400
Speaker 3: i Remember William forsyth being pretty great in.

899
00:49:23,440 --> 00:49:25,759
Speaker 2: It. Yeah, Yeah like he gets in there and he

900
00:49:25,800 --> 00:49:30,520
Speaker 2: does his, thing very. Dependable, oh we have Another oscar winner.

901
00:49:30,560 --> 00:49:34,520
Speaker 2: Here we Have Louise fletcher playing the Character Elizabeth. Dean

902
00:49:34,680 --> 00:49:37,000
Speaker 2: SHE'S i guess what she's, like A ceo or something

903
00:49:37,040 --> 00:49:38,760
Speaker 2: of the company.

904
00:49:38,360 --> 00:49:40,479
Speaker 3: That she's the police, commissioner a police.

905
00:49:40,520 --> 00:49:42,440
Speaker 2: Commissioner, okay, YEAH.

906
00:49:41,920 --> 00:49:45,640
Speaker 3: I feel Like Louise fletcher is a great, actress absolutely wasted.

907
00:49:45,680 --> 00:49:48,200
Speaker 3: Here it's like the character has nothing to. Do she

908
00:49:48,440 --> 00:49:51,360
Speaker 3: just stands around being the authority figure in several. Scenes.

909
00:49:51,840 --> 00:49:54,520
Speaker 2: Yep she lived nineteen thirty four through twenty twenty, two

910
00:49:54,680 --> 00:49:56,680
Speaker 2: best known for a role in nineteen seventy Five's One

911
00:49:56,719 --> 00:49:59,840
Speaker 2: Flew over The Cuckoo's, nest for which she won A

912
00:50:00,040 --> 00:50:03,680
Speaker 2: Best Supporting Actress Academy. Award also known for nineteen eighty

913
00:50:03,680 --> 00:50:06,200
Speaker 2: Seven's flowers in The attic and episodes of SUCH tv

914
00:50:06,239 --> 00:50:09,080
Speaker 2: shows AS D space nine And. Shameless All, right we

915
00:50:09,120 --> 00:50:12,600
Speaker 2: also Have William fitchner Playing wallace in this born nineteen fifty.

916
00:50:12,640 --> 00:50:15,719
Speaker 2: Six Another william character. Actor this one best known for

917
00:50:15,800 --> 00:50:19,920
Speaker 2: playing kind of a mix authority figures and also slimy suit.

918
00:50:19,960 --> 00:50:23,720
Speaker 2: Types his credits include nineteen ninety Eight's, armageddon two thousand

919
00:50:23,719 --> 00:50:27,600
Speaker 2: and Four's, crash and twenty Fourteen's Teenage Mutant Ninja, turtles

920
00:50:27,640 --> 00:50:29,279
Speaker 2: in which he plays a version of The.

921
00:50:29,320 --> 00:50:35,840
Speaker 3: Shredder that's weird. Casting, yeah once, again nothing Against William.

922
00:50:35,840 --> 00:50:39,279
Speaker 3: Fitchner he's doing what he. Can BUT i don't even

923
00:50:39,360 --> 00:50:42,160
Speaker 3: know why this character. Exists does this character have any

924
00:50:42,200 --> 00:50:43,840
Speaker 3: distinct role to play in the. Story?

925
00:50:43,920 --> 00:50:46,520
Speaker 2: Yeah does this character do anything that could not have

926
00:50:46,560 --> 00:50:48,080
Speaker 2: been combined into another? Character?

927
00:50:48,400 --> 00:50:49,279
Speaker 3: YEAH i don't think.

928
00:50:49,320 --> 00:50:53,320
Speaker 2: So oh, Man but we also have this, Character Clyde.

929
00:50:53,360 --> 00:50:57,640
Speaker 2: Riley you mentioned that the developers of the, technology THE vr,

930
00:50:57,719 --> 00:51:00,279
Speaker 2: technology were working out some of the. Kinks this guy

931
00:51:00,400 --> 00:51:04,360
Speaker 2: was definitely working out some kinks with the. Technology played

932
00:51:04,360 --> 00:51:07,600
Speaker 2: by the Excellent KEVIN. J O'Connor born nineteen sixty, three

933
00:51:07,920 --> 00:51:11,240
Speaker 2: great creep character actor who of course plays a creep

934
00:51:11,239 --> 00:51:11,480
Speaker 2: in this.

935
00:51:11,520 --> 00:51:13,759
Speaker 3: FILM i feel like he was on a role in

936
00:51:13,840 --> 00:51:19,200
Speaker 3: the nineties of playing various kinds of, squirming pathetic.

937
00:51:19,280 --> 00:51:24,280
Speaker 2: Dweeves, yes frequently cast By Stephen sommers and such films

938
00:51:24,280 --> 00:51:27,640
Speaker 2: as nineteen ninety eight S Deep, rising nineteen ninety Nine's The,

939
00:51:27,719 --> 00:51:29,680
Speaker 2: mummy and then later on two thousand and Four's Van.

940
00:51:29,760 --> 00:51:32,840
Speaker 2: Helsing but he's also worked steadily in a lot of

941
00:51:32,920 --> 00:51:36,280
Speaker 2: high quality mainstream, productions like the likes Of Paul Thomas

942
00:51:36,280 --> 00:51:38,480
Speaker 2: Anderson's There Will Be blood in two thousand and, Seven

943
00:51:38,800 --> 00:51:42,359
Speaker 2: The master in twenty. Twelve you also might recognize him

944
00:51:42,400 --> 00:51:45,600
Speaker 2: from another nineteen ninety five, Film Clive Barker's lord Of,

945
00:51:45,640 --> 00:51:49,160
Speaker 2: illusions in which he plays the Magician Philip. Swan what

946
00:51:49,320 --> 00:51:51,400
Speaker 2: was his role In The. MUMMY i haven't Seen The

947
00:51:51,440 --> 00:51:51,920
Speaker 2: mummy in so.

948
00:51:52,040 --> 00:51:54,919
Speaker 3: Long, oh He's benny in The. Mummy he's the. Guy

949
00:51:55,520 --> 00:51:58,200
Speaker 3: so this Is The mummy With Brendan fraser And Rachel,

950
00:51:58,200 --> 00:52:02,680
Speaker 3: weiss also the year nineteen ninety. Nine but his thing

951
00:52:02,719 --> 00:52:04,959
Speaker 3: in the movie is that he like he's a. Coward he's,

952
00:52:05,040 --> 00:52:08,160
Speaker 3: like while everybody else is being dashing and rushing into,

953
00:52:08,239 --> 00:52:10,680
Speaker 3: danger he's always running away from danger and trying to

954
00:52:10,760 --> 00:52:16,880
Speaker 3: save his. Skin so he is a comic relief coward.

955
00:52:16,960 --> 00:52:20,600
Speaker 3: CHARACTER i remember, thinking AFTER i Watched The mummy one

956
00:52:20,600 --> 00:52:22,960
Speaker 3: time we were joking in my. HOUSE i thought a

957
00:52:22,960 --> 00:52:27,000
Speaker 3: good photoshop job would be to do A People Magazine

958
00:52:27,120 --> 00:52:30,200
Speaker 3: Sexiest Man alive cover from like nineteen ninety, nine two,

959
00:52:30,239 --> 00:52:34,120
Speaker 3: thousand the millennial. Style but it's just O'Connor in character

960
00:52:34,200 --> 00:52:37,759
Speaker 3: from The, mummy and it Says. BENNY i mean no

961
00:52:37,800 --> 00:52:40,200
Speaker 3: offense To Kevin connor. Personally it's just like he plays

962
00:52:40,239 --> 00:52:44,240
Speaker 3: these pathetic dweeb characters very, well and in The mummy

963
00:52:44,360 --> 00:52:48,000
Speaker 3: his vices cowardice in virtuosity and, jeez it's Lust.

964
00:52:48,400 --> 00:52:53,000
Speaker 2: Yep, yeah we'll come back to, him all. Right we

965
00:52:53,040 --> 00:52:55,480
Speaker 2: have this, Character John, donovan who's not in it for very,

966
00:52:55,520 --> 00:53:01,839
Speaker 2: long played By Costas mandelar born nineteen. Six i'm only

967
00:53:01,880 --> 00:53:04,799
Speaker 2: mentioning him because Apparently mandela would going to play a

968
00:53:04,840 --> 00:53:07,919
Speaker 2: pivotal role in the Later saw. SEQUELS i had asked

969
00:53:07,920 --> 00:53:10,800
Speaker 2: my Friend David streepy about this because he's he's really

970
00:53:10,880 --> 00:53:13,680
Speaker 2: up on The saw, movies the soap, opera noess of,

971
00:53:13,719 --> 00:53:16,399
Speaker 2: them not so much the murder of. Them but he, says,

972
00:53:16,480 --> 00:53:19,200
Speaker 2: quote the back half of the franchise can't happen without

973
00:53:19,280 --> 00:53:20,240
Speaker 2: him so fair.

974
00:53:20,120 --> 00:53:22,360
Speaker 3: Enough he's a load bearing element.

975
00:53:22,840 --> 00:53:28,480
Speaker 2: Exactly, oh and then we Have Kaylee quoco playing the

976
00:53:28,600 --> 00:53:32,960
Speaker 2: Character Karen, carter a little girl in this born nineteen eighty.

977
00:53:33,040 --> 00:53:35,440
Speaker 2: Five this little girl would go on to Become penny

978
00:53:35,520 --> 00:53:36,160
Speaker 2: On The Big Bang.

979
00:53:36,200 --> 00:53:39,040
Speaker 3: Theory i'm not A Big Bang theory, watcher SO i

980
00:53:39,080 --> 00:53:41,759
Speaker 3: don't know the, character but when she shows up as

981
00:53:41,840 --> 00:53:44,920
Speaker 3: the child in this, movie you just like instantly are,

982
00:53:44,960 --> 00:53:48,200
Speaker 3: like oh, no the conversation with this child is going

983
00:53:48,239 --> 00:53:50,719
Speaker 3: on too, long and that means definitely the child will

984
00:53:50,719 --> 00:53:52,080
Speaker 3: be in peril in the third.

985
00:53:51,880 --> 00:53:54,120
Speaker 2: Act where you're gonna get into A Gene siskal situation

986
00:53:54,200 --> 00:53:54,440
Speaker 2: with this.

987
00:53:54,520 --> 00:53:58,120
Speaker 3: Character Yeahs Russell crowe is going to kidnap her and

988
00:53:58,160 --> 00:53:59,960
Speaker 3: tire to a bomb like we saw on The. Flat

989
00:54:00,520 --> 00:54:01,560
Speaker 3: it's very. Predictable.

990
00:54:02,200 --> 00:54:04,840
Speaker 2: Yeah quoco has been in a bunch of interesting projects

991
00:54:04,920 --> 00:54:08,080
Speaker 2: Post Big Bang, theory INCLUDING TVs The Flight, attendant WHICH

992
00:54:08,080 --> 00:54:09,680
Speaker 2: i did. WATCH i thought she was very good in.

993
00:54:09,680 --> 00:54:13,040
Speaker 2: That she also Voices Harley quinn on the Current Harley

994
00:54:13,080 --> 00:54:13,800
Speaker 2: quinn animated.

995
00:54:13,800 --> 00:54:15,239
Speaker 3: Series oh, Cool.

996
00:54:15,920 --> 00:54:18,920
Speaker 2: Oh Tracy lords is. Back we talked about her In.

997
00:54:19,000 --> 00:54:23,400
Speaker 2: Blade she's one of the Vampire hinchmen In. Blade here

998
00:54:23,520 --> 00:54:26,600
Speaker 2: she Plays Media zone. Singer SO i think she's sort

999
00:54:26,600 --> 00:54:30,880
Speaker 2: of playing herself. Here this is another film where we

1000
00:54:31,000 --> 00:54:33,759
Speaker 2: have some major nineties rave, energy AND i think that's

1001
00:54:33,800 --> 00:54:36,840
Speaker 2: like where she was at this point with Her, like you,

1002
00:54:36,840 --> 00:54:40,560
Speaker 2: Know reinvention is a musical, act and so she kind

1003
00:54:40,560 --> 00:54:43,600
Speaker 2: of plays herself here performing the Track Fallen, angel which

1004
00:54:43,640 --> 00:54:45,440
Speaker 2: is also on the. SOUNDTRACK i was.

1005
00:54:45,440 --> 00:54:47,239
Speaker 3: Going to talk about this, later but you kind of

1006
00:54:47,360 --> 00:54:52,520
Speaker 3: can't have a really, complete Coherent cyberslot movie without a

1007
00:54:52,560 --> 00:54:56,000
Speaker 3: techno club. Scene you always have to have. One not

1008
00:54:56,160 --> 00:54:58,799
Speaker 3: all the movies have, one but when you don't have,

1009
00:54:58,880 --> 00:55:01,160
Speaker 3: one you feel it's. Apt it's like the movie is,

1010
00:55:01,239 --> 00:55:02,120
Speaker 3: impure it is.

1011
00:55:02,160 --> 00:55:05,360
Speaker 2: Incomplete, Yeah like people Watch The matrix and they're, like

1012
00:55:05,400 --> 00:55:08,120
Speaker 2: where's the club? Scene and everyone was, like, well we

1013
00:55:08,160 --> 00:55:09,319
Speaker 2: got to do that in the sequel and they.

1014
00:55:09,320 --> 00:55:11,560
Speaker 3: Did, no there is a club scene In The. Matrix,

1015
00:55:11,560 --> 00:55:13,680
Speaker 3: well it's only very. Brief it's at the beginning in

1016
00:55:13,719 --> 00:55:16,560
Speaker 3: the real, world when they're, like, okay they like some

1017
00:55:16,600 --> 00:55:19,359
Speaker 3: friends coming To Keanu reeves's apartment and they take him

1018
00:55:19,360 --> 00:55:21,040
Speaker 3: out to a club AND i think he Meets trinity.

1019
00:55:21,080 --> 00:55:22,719
Speaker 3: There it's only. Good it goes by in a few.

1020
00:55:22,719 --> 00:55:25,080
Speaker 2: Seconds, okay it's been a while Since I'm i'm the

1021
00:55:25,160 --> 00:55:28,120
Speaker 2: cusp of rewatching the, matrix AND i mainly remember there's

1022
00:55:28,160 --> 00:55:32,840
Speaker 2: definitely like a real world rave scene in the, sequel

1023
00:55:32,960 --> 00:55:35,200
Speaker 2: or maybe the third. ONE i can't remember one of

1024
00:55:35,239 --> 00:55:38,080
Speaker 2: the two sequels where they're, like, hey it's the eve

1025
00:55:38,120 --> 00:55:40,200
Speaker 2: of The Big, battle let's have a, rager and they.

1026
00:55:40,200 --> 00:55:41,440
Speaker 3: DO i still haven't seen the.

1027
00:55:41,440 --> 00:55:45,400
Speaker 2: Sequels oh, WHAT i Guess i'm on the cusp of

1028
00:55:45,400 --> 00:55:47,480
Speaker 2: rewatching the sequels as, well So i'll report.

1029
00:55:47,560 --> 00:55:49,719
Speaker 3: Back, okay all.

1030
00:55:49,800 --> 00:55:53,080
Speaker 2: Right, finally the composer here Is Christopher young born nineteen fifty,

1031
00:55:53,120 --> 00:55:58,080
Speaker 2: eight and Essentially young built an electronic orchestral score here

1032
00:55:58,200 --> 00:56:02,279
Speaker 2: around the movie's needle drop score of mostly electronic dance

1033
00:56:02,360 --> 00:56:06,200
Speaker 2: music with some rock and even A Peter gabriel track thrown,

1034
00:56:06,239 --> 00:56:10,000
Speaker 2: in AND i would SAY i Think young does a

1035
00:56:10,000 --> 00:56:12,880
Speaker 2: pretty seamless job. Here the soundtrack features music by the

1036
00:56:13,000 --> 00:56:18,280
Speaker 2: likes Of Live, Black, Grape Juno, Reactor Tricky, William, Orbit London,

1037
00:56:18,320 --> 00:56:22,640
Speaker 2: Beat lords Of, Acid Tracy, Lords Debbie, Harry The, beg's

1038
00:56:23,200 --> 00:56:26,040
Speaker 2: and again That Party man track From Peter gabriel co

1039
00:56:26,080 --> 00:56:26,799
Speaker 2: written By Tory.

1040
00:56:26,840 --> 00:56:33,600
Speaker 3: Amos The Party man track is surprisingly emotionally gripping like you, know,

1041
00:56:33,719 --> 00:56:37,359
Speaker 3: oh you really feel the strain in his. Voice it's

1042
00:56:37,440 --> 00:56:39,480
Speaker 3: a weird thing to hear right after you just saw

1043
00:56:39,520 --> 00:56:44,000
Speaker 3: them like DESTROY sid six point seven's personality module by

1044
00:56:44,040 --> 00:56:46,279
Speaker 3: having it run over by a track after you, know

1045
00:56:46,320 --> 00:56:50,880
Speaker 3: they had to like shoot a computer. Programmer Guess i'm

1046
00:56:50,880 --> 00:56:51,920
Speaker 3: your party.

1047
00:56:52,120 --> 00:56:55,640
Speaker 2: Man, YEAH i. Believe it's a track that The gabriel

1048
00:56:55,640 --> 00:56:59,880
Speaker 2: And company did for this, production was later collected on

1049
00:57:00,080 --> 00:57:03,040
Speaker 2: an album that collected different songs that he did for

1050
00:57:03,040 --> 00:57:04,520
Speaker 2: different film, productions.

1051
00:57:04,400 --> 00:57:06,640
Speaker 3: And has the same title as a song from The

1052
00:57:06,640 --> 00:57:10,800
Speaker 3: Prince batman. Soundtrack, yes it seems to refer To Jack Nicholson's,

1053
00:57:10,840 --> 00:57:23,000
Speaker 3: joker but it's not the same SONG i. Checked all,

1054
00:57:23,080 --> 00:57:26,480
Speaker 3: right let's dive into the plot of. Virtuosity so the

1055
00:57:26,520 --> 00:57:29,800
Speaker 3: opening titles are made of pixels that slither in and

1056
00:57:29,840 --> 00:57:32,800
Speaker 3: out of. Form the opening, track by the, way Is

1057
00:57:33,160 --> 00:57:35,360
Speaker 3: it's A Big day in The north by The english

1058
00:57:35,400 --> 00:57:39,720
Speaker 3: Band Black, grape which is a powerfully nostalgic sound ROB

1059
00:57:39,760 --> 00:57:41,120
Speaker 3: i don't know if you felt the same WAY i,

1060
00:57:41,120 --> 00:57:45,080
Speaker 3: did but hearing, this it's like a Nineties English you

1061
00:57:45,160 --> 00:57:48,520
Speaker 3: might call this jazz pop or maybe pop, funk that

1062
00:57:48,640 --> 00:57:52,000
Speaker 3: sort of. Sound it's got something in, it like electronic.

1063
00:57:52,080 --> 00:57:56,480
Speaker 3: SAXOPHONE i mainly encountered this type of music through movie,

1064
00:57:56,600 --> 00:58:00,840
Speaker 3: soundtracks SO i associate it with seeing movies in the

1065
00:58:00,840 --> 00:58:04,720
Speaker 3: theaters in the. Nineties, yep, Absolutely, sorry we just had

1066
00:58:04,760 --> 00:58:06,959
Speaker 3: an extended a side Off mike where we're talking about

1067
00:58:06,960 --> 00:58:09,360
Speaker 3: what genre of music this, is and we did not

1068
00:58:09,400 --> 00:58:13,040
Speaker 3: come to a. Conclusion so maybe we'll revisit that in the,

1069
00:58:13,080 --> 00:58:17,200
Speaker 3: future maybe for listener. Mail but, Anyway, so what's actually

1070
00:58:17,240 --> 00:58:19,919
Speaker 3: happening in the opening Scene when the credits are, Done

1071
00:58:19,920 --> 00:58:23,560
Speaker 3: we pop up in a, sleek futuristic train station full

1072
00:58:23,600 --> 00:58:28,080
Speaker 3: of polished steel and sterile white, lighting and it's filled

1073
00:58:28,120 --> 00:58:31,720
Speaker 3: with people dressed almost. Identically everybody. Is it's like men

1074
00:58:31,840 --> 00:58:35,840
Speaker 3: in gray suits with black ties carrying. Briefcases they're walking

1075
00:58:35,880 --> 00:58:39,960
Speaker 3: around synchronized in, pairs and the only people who don't

1076
00:58:39,960 --> 00:58:43,360
Speaker 3: match are two men in blue full body leather police

1077
00:58:43,440 --> 00:58:49,000
Speaker 3: uniforms wearing wearing black, caps, boots and. Gloves so we

1078
00:58:49,040 --> 00:58:52,640
Speaker 3: watched these two policemen step cautiously off of an elevated

1079
00:58:52,680 --> 00:58:55,760
Speaker 3: train onto the. Platform they're looking, around and one of

1080
00:58:55,760 --> 00:58:59,320
Speaker 3: the men Is Denzel. Washington this is our, Hero Parker. Barnes,

1081
00:59:00,280 --> 00:59:03,680
Speaker 3: now while both men look. Vigilant we quickly realize That

1082
00:59:03,680 --> 00:59:06,560
Speaker 3: barnes is the more assured of the. Two he's being

1083
00:59:06,920 --> 00:59:09,600
Speaker 3: cautious and, observant and the other guy seems a little more.

1084
00:59:09,600 --> 00:59:13,000
Speaker 3: Afraid and the other guy, goes, MAN i can't get

1085
00:59:13,000 --> 00:59:16,480
Speaker 3: over how different we, look And barnes, says maybe it's the.

1086
00:59:16,600 --> 00:59:21,080
Speaker 3: Uniforms SO i think this opening is supposed to be

1087
00:59:21,160 --> 00:59:23,080
Speaker 3: a bit of a fake, out like you're supposed to

1088
00:59:23,120 --> 00:59:26,480
Speaker 3: wonder what they're talking about, here why everything looks a little.

1089
00:59:26,480 --> 00:59:29,960
Speaker 3: Odd but, THIS i think really does not work because

1090
00:59:29,960 --> 00:59:32,520
Speaker 3: it's obvious they're in a virtual reality. World you can

1091
00:59:32,560 --> 00:59:35,919
Speaker 3: guess this if you've seen the. Trailer and it's even

1092
00:59:35,960 --> 00:59:38,720
Speaker 3: more obvious because you keep seeing people like glitching and

1093
00:59:38,760 --> 00:59:42,600
Speaker 3: turning into pixels and. Stuff, yeah so they did not

1094
00:59:42,800 --> 00:59:46,760
Speaker 3: have me going here. Anyway they start running around looking for,

1095
00:59:46,840 --> 00:59:49,640
Speaker 3: somebody and eventually they end up in this business district

1096
00:59:49,760 --> 00:59:54,200
Speaker 3: plaza where there is a, green floating cgi head made

1097
00:59:54,200 --> 00:59:56,920
Speaker 3: out of polygons giving a news report about a bunch

1098
00:59:56,960 --> 01:00:00,560
Speaker 3: of gruesome. Crimes i'm pretty sure it's Actually Russ crows

1099
01:00:00,720 --> 01:00:03,920
Speaker 3: doing doing the voice of this, thing but in a

1100
01:00:04,000 --> 01:00:07,959
Speaker 3: kind of tight Newscaster cadence and he, says the three

1101
01:00:08,440 --> 01:00:12,560
Speaker 3: adjectives which best describe this killer are, sidistic, intelligent and.

1102
01:00:12,680 --> 01:00:15,200
Speaker 3: Dangerous what does that spell spell?

1103
01:00:15,320 --> 01:00:17,200
Speaker 2: SID i thought we were going to say, stink, stank,

1104
01:00:17,240 --> 01:00:20,080
Speaker 2: stunk but that that would have been great.

1105
01:00:20,080 --> 01:00:26,000
Speaker 3: Too this is six point. Seven So denzel eventually traces

1106
01:00:26,040 --> 01:00:28,960
Speaker 3: their quarry to A japanese. Restaurant he knows to look

1107
01:00:29,040 --> 01:00:32,920
Speaker 3: there because he looks over the restaurant entrance on the

1108
01:00:32,960 --> 01:00:37,080
Speaker 3: building and sees a an emoticon smiley face like the

1109
01:00:37,080 --> 01:00:40,280
Speaker 3: colon parentheses smiley face over the. Entrance it's a, joke

1110
01:00:40,720 --> 01:00:44,280
Speaker 3: And sid six point seven likes. Jokes and when we

1111
01:00:44,360 --> 01:00:47,720
Speaker 3: first Find, sid he is repeatedly eating a piece of

1112
01:00:47,760 --> 01:00:50,720
Speaker 3: sushi that regenerates every time he picks it up off

1113
01:00:50,720 --> 01:00:53,280
Speaker 3: the plate and eats. It SO i think it suggests,

1114
01:00:53,320 --> 01:00:55,919
Speaker 3: that you, know here in this, world no matter how

1115
01:00:56,040 --> 01:00:58,280
Speaker 3: how much he, eats he never gets. Full it's like

1116
01:00:58,320 --> 01:01:01,720
Speaker 3: he's unsatisfied with the tangible pleasures of the fake.

1117
01:01:01,800 --> 01:01:05,600
Speaker 2: WORLD i like. THIS i also like how the NPCs

1118
01:01:05,720 --> 01:01:07,800
Speaker 2: are like glitching as they eat their. Sushi they're just

1119
01:01:07,840 --> 01:01:10,400
Speaker 2: kind of like sushi floating into their. Mouth so this

1120
01:01:10,520 --> 01:01:12,480
Speaker 2: is definitely the section of the section of the picture

1121
01:01:12,520 --> 01:01:14,440
Speaker 2: one of the sections of the picture in the digital

1122
01:01:14,480 --> 01:01:19,040
Speaker 2: world where the roughness of the digital effects is one

1123
01:01:19,080 --> 01:01:22,240
Speaker 2: of the charms and absolutely. Works doesn't feel dated at

1124
01:01:22,240 --> 01:01:25,040
Speaker 2: all because, like this is exactly the look they were going.

1125
01:01:25,080 --> 01:01:28,600
Speaker 3: For, Yeah and so this of course turns into a

1126
01:01:28,640 --> 01:01:32,280
Speaker 3: big gunfight. Scene both the cops AND sid just start

1127
01:01:32,360 --> 01:01:36,440
Speaker 3: blasting everywhere with machine, guns and the NPCs eating in

1128
01:01:36,480 --> 01:01:39,200
Speaker 3: the restaurant mostly appear to not notice this and they

1129
01:01:39,240 --> 01:01:42,200
Speaker 3: just keep sitting at their. Tables so in this, world

1130
01:01:42,280 --> 01:01:46,680
Speaker 3: by nineteen ninety, nine virtual reality has nearly one hundred

1131
01:01:46,680 --> 01:01:52,560
Speaker 3: percent immersion and totally realistic graphical, fidelity BUT npc behavior

1132
01:01:52,640 --> 01:01:55,720
Speaker 3: has like not quite reached the level of the Mid

1133
01:01:55,840 --> 01:01:58,680
Speaker 3: Grand theft auto, games where people at least like scream

1134
01:01:58,680 --> 01:01:59,600
Speaker 3: and run away when something.

1135
01:01:59,640 --> 01:02:04,320
Speaker 2: Explodes but you, know this is how the Mid Grand

1136
01:02:04,360 --> 01:02:06,880
Speaker 2: theft auto games. Felt when the Mid Grand theft atto

1137
01:02:06,920 --> 01:02:09,040
Speaker 2: games felt out like they felt like this level of,

1138
01:02:09,080 --> 01:02:13,040
Speaker 2: immersion LIKE i actually live In miami in the nineteen it's,

1139
01:02:13,120 --> 01:02:15,200
Speaker 2: like you, know, yeah.

1140
01:02:15,280 --> 01:02:18,760
Speaker 3: Yeah so, anyway this fight goes, On sid and the

1141
01:02:18,800 --> 01:02:21,720
Speaker 3: cops keep shooting at each. Other at one point it

1142
01:02:21,800 --> 01:02:25,000
Speaker 3: is revealed That Russell crowe has like caught and electrocuted

1143
01:02:25,040 --> 01:02:27,040
Speaker 3: the other. COP i think you see him on ice

1144
01:02:27,080 --> 01:02:31,120
Speaker 3: and like a sushi. Tray and at one point they

1145
01:02:31,120 --> 01:02:34,560
Speaker 3: borrow a page From, speed And barnes gets the upper

1146
01:02:34,560 --> 01:02:38,680
Speaker 3: hand by shooting a digital. Hostage he will later. Explain

1147
01:02:38,720 --> 01:02:41,280
Speaker 3: they later are, Like, barnes why did you shoot the?

1148
01:02:41,320 --> 01:02:43,560
Speaker 3: Hostage that doesn't make any, Sense but then he has

1149
01:02:43,600 --> 01:02:47,600
Speaker 3: a clever. Answer he's, like the hostage wasn't. Real didn't

1150
01:02:47,600 --> 01:02:48,040
Speaker 3: think of, That.

1151
01:02:48,120 --> 01:02:51,720
Speaker 2: Sid, Yeah because what we're going to learn shortly is

1152
01:02:51,880 --> 01:02:56,120
Speaker 2: this is a training simulation for police. Officers BUT i

1153
01:02:56,200 --> 01:02:59,960
Speaker 2: really have to, add like clearly for cinematic police, officer

1154
01:03:00,600 --> 01:03:03,520
Speaker 2: there's nothing in this training that indicates any kind of

1155
01:03:03,600 --> 01:03:08,520
Speaker 2: like actual police, training any. Procedure, yeah it's just like

1156
01:03:08,920 --> 01:03:11,400
Speaker 2: what if you had a Big hollywood action scene with

1157
01:03:11,440 --> 01:03:12,280
Speaker 2: a super criminal.

1158
01:03:12,720 --> 01:03:16,080
Speaker 3: Exactly. Yeah so at the end of This sid gets

1159
01:03:16,120 --> 01:03:18,800
Speaker 3: the upper hand in the fight and he starts choking

1160
01:03:18,800 --> 01:03:22,760
Speaker 3: Out barnes Until barnes like glitches, out which looks super,

1161
01:03:22,800 --> 01:03:27,480
Speaker 3: funny and then he sort of fades out of existence

1162
01:03:27,520 --> 01:03:30,120
Speaker 3: like he's being sucked out of THE vr, world and

1163
01:03:30,160 --> 01:03:34,080
Speaker 3: we're treated to a shot of A cgi bullet wound

1164
01:03:34,160 --> 01:03:38,280
Speaker 3: On sid's. Body rapidly healing with classic electrical zap z app.

1165
01:03:38,320 --> 01:03:42,600
Speaker 3: Fully but then our human characters come out of THE.

1166
01:03:42,720 --> 01:03:45,960
Speaker 3: Vr so we zoom out into a room in the

1167
01:03:46,000 --> 01:03:49,600
Speaker 3: real world in meat, space where we See sid standing

1168
01:03:49,640 --> 01:03:52,760
Speaker 3: there in his green suit on a GIANT tv, Screen

1169
01:03:52,880 --> 01:03:55,800
Speaker 3: so like in the virtual reality, studio there's a huge,

1170
01:03:56,160 --> 01:03:59,160
Speaker 3: screen it's like fifteen feet, tall where we see what's

1171
01:03:59,200 --> 01:04:02,880
Speaker 3: happening in the virtual, world and we immediately hear the

1172
01:04:02,920 --> 01:04:05,560
Speaker 3: sounds of like men groaning in, agony and we see

1173
01:04:05,560 --> 01:04:09,040
Speaker 3: them writhing in THEIR vr, seats and an automated voice

1174
01:04:09,120 --> 01:04:13,120
Speaker 3: is saying warning subjects exceeding the maximum dose of neural. Information,

1175
01:04:15,080 --> 01:04:18,160
Speaker 3: now maybe we should briefly hear comment on what it

1176
01:04:18,240 --> 01:04:21,040
Speaker 3: looks like when you see the people in the physical

1177
01:04:21,040 --> 01:04:24,680
Speaker 3: space in THE vr. RIGS i thought this was also

1178
01:04:24,800 --> 01:04:28,440
Speaker 3: quite funny because they're like jiggling around and miming the

1179
01:04:28,480 --> 01:04:30,600
Speaker 3: motions they do in the virtual. World like there's a

1180
01:04:30,720 --> 01:04:33,400
Speaker 3: part later where we See denzel running in the rig

1181
01:04:33,480 --> 01:04:36,040
Speaker 3: ye and he's like pumping his arms and legs but

1182
01:04:36,160 --> 01:04:38,760
Speaker 3: not going, anywhere and it's hilarious.

1183
01:04:38,320 --> 01:04:41,439
Speaker 2: That, yeah it really looks hilarious later when they're running yes,

1184
01:04:42,040 --> 01:04:46,200
Speaker 2: here you, know they're just squirming in. Pain so, yeah but,

1185
01:04:46,320 --> 01:04:47,560
Speaker 2: yeah it looks a bit goofy later.

1186
01:04:47,600 --> 01:04:50,960
Speaker 3: On, yeah so they're strapped into these dangling like combine

1187
01:04:51,040 --> 01:04:56,000
Speaker 3: dentist chairs WEARING vr. Advisors they're not going. Anywhere and

1188
01:04:56,080 --> 01:04:58,400
Speaker 3: then also you see a little computer read out that

1189
01:04:58,440 --> 01:05:01,720
Speaker 3: shows a THREE d representation of the player's heads and

1190
01:05:01,960 --> 01:05:05,920
Speaker 3: there are like these red and yellow explosions inside the. Skulls,

1191
01:05:06,080 --> 01:05:09,600
Speaker 3: fortunately it Seems denzel gets out just in. Time he's like,

1192
01:05:09,720 --> 01:05:12,360
Speaker 3: rattled but he's. Okay but the other, guy, oh the

1193
01:05:12,400 --> 01:05:16,240
Speaker 3: other guys having violent. Seizures he gets pulled off onto

1194
01:05:16,240 --> 01:05:18,680
Speaker 3: a hospital gurney and you see them like doing a

1195
01:05:18,680 --> 01:05:20,840
Speaker 3: defibrillator on, him and you learn he.

1196
01:05:20,920 --> 01:05:24,800
Speaker 2: Dies, yeah they try really hard for darn near ten

1197
01:05:24,840 --> 01:05:26,920
Speaker 2: seconds to save, him but in la up roll him,

1198
01:05:26,920 --> 01:05:27,439
Speaker 2: out he's done.

1199
01:05:27,440 --> 01:05:31,400
Speaker 3: For also in the, scene we meet basically all of

1200
01:05:31,440 --> 01:05:34,240
Speaker 3: the film's major. CHARACTERS i don't think there's anybody major

1201
01:05:34,280 --> 01:05:36,280
Speaker 3: we have to meet. Later we already talked about them.

1202
01:05:36,280 --> 01:05:39,960
Speaker 3: Earlier all of the various, functionaries commissioners and company. Guys

1203
01:05:40,000 --> 01:05:44,320
Speaker 3: i'm not gonna dwell on, them but they're all standing around.

1204
01:05:44,360 --> 01:05:46,440
Speaker 3: Watching you can kind of group them as like who's

1205
01:05:46,440 --> 01:05:49,280
Speaker 3: good and who's bad based on their. Reaction you've got

1206
01:05:49,320 --> 01:05:52,760
Speaker 3: the good guys like the police chief And Kelly lynch's,

1207
01:05:52,840 --> 01:05:56,800
Speaker 3: character Doctor Madison. Carter they're concerned about the test. Subjects they're, like,

1208
01:05:56,840 --> 01:05:58,680
Speaker 3: oh get those men out of. There he's going into.

1209
01:05:58,680 --> 01:06:02,080
Speaker 3: Shock and then we've got the kind of middle to bad,

1210
01:06:02,120 --> 01:06:06,760
Speaker 3: guys like the indifferent. Characters That's William fitchner And Louise.

1211
01:06:06,800 --> 01:06:10,880
Speaker 3: Fletcher they're just kind of standing there watching. Coldly and

1212
01:06:11,040 --> 01:06:14,080
Speaker 3: at some, Point dean, said there's like some very klutzy

1213
01:06:14,160 --> 01:06:19,280
Speaker 3: exposition dialogue Where Louise fletcher's character says virtual reality was

1214
01:06:19,280 --> 01:06:22,040
Speaker 3: supposed to be a safe place to train my law enforcement,

1215
01:06:22,080 --> 01:06:25,040
Speaker 3: officers and one of The williams is, like that's why

1216
01:06:25,080 --> 01:06:27,800
Speaker 3: we were using convicts to ferret out any glitches in the.

1217
01:06:27,840 --> 01:06:31,040
Speaker 3: System and they have this exchange as they're driving away

1218
01:06:31,040 --> 01:06:34,240
Speaker 3: in a golf cart by the, way and then finally

1219
01:06:34,280 --> 01:06:37,840
Speaker 3: we meet this the obvious bad, Guy Darryl lindenmeyer that

1220
01:06:37,920 --> 01:06:41,320
Speaker 3: again is played By Steven, spinella who looks confusingly similar

1221
01:06:41,360 --> 01:06:44,400
Speaker 3: To William, fitchener like they look alike and dress the.

1222
01:06:44,440 --> 01:06:48,840
Speaker 2: Same it's almost like they accidentally cast both actors as

1223
01:06:48,880 --> 01:06:50,880
Speaker 2: the same, character and they're, like, well, crap we've got

1224
01:06:50,880 --> 01:06:52,720
Speaker 2: to pick one and just make a role for the other.

1225
01:06:52,800 --> 01:06:56,320
Speaker 3: Guy yeah, yeah yeah. Yeah William fitchener also could have

1226
01:06:56,360 --> 01:06:59,240
Speaker 3: played this other. Guy yeah. Yeah but he's like the

1227
01:06:59,320 --> 01:07:02,400
Speaker 3: creator of THE vr system and they're sort of grilling

1228
01:07:02,480 --> 01:07:05,880
Speaker 3: him about the fail. Safes he seems squirrely and. Untrustworthy

1229
01:07:07,320 --> 01:07:09,400
Speaker 3: but we get some backstory in the scene as. Well

1230
01:07:09,920 --> 01:07:13,440
Speaker 3: The chief Tells Parker, barnes you, know he acknowledges that

1231
01:07:13,440 --> 01:07:15,440
Speaker 3: they're old, friends and he, says it was good to

1232
01:07:15,440 --> 01:07:19,360
Speaker 3: see you in uniform, again even if it was only virtual. Reality,

1233
01:07:21,360 --> 01:07:25,680
Speaker 3: Meanwhile barnes is he's got. Insights he's LIKE sid six point.

1234
01:07:25,680 --> 01:07:28,520
Speaker 3: Seven he's. Cheating AND i know he's cheating BECAUSE i

1235
01:07:28,600 --> 01:07:31,680
Speaker 3: hacked the main frame before we went, in and he's

1236
01:07:31,720 --> 01:07:34,360
Speaker 3: not allowed to use electricity as a, weapon but he did,

1237
01:07:34,400 --> 01:07:37,560
Speaker 3: anyway and he goes and he like tries to show the,

1238
01:07:37,640 --> 01:07:41,160
Speaker 3: chief But, lindenmeyer whose first name Is darryl by the,

1239
01:07:41,160 --> 01:07:44,480
Speaker 3: Way Darryl, Lindenmeyer he's, like, no get away from, there

1240
01:07:44,640 --> 01:07:47,280
Speaker 3: and so obviously that's setting up a.

1241
01:07:47,280 --> 01:07:51,320
Speaker 2: CONFLICT i want to mention that at this point in

1242
01:07:51,360 --> 01:07:55,480
Speaker 2: the real, World Denzel washington's, Character Parker, barnes has great.

1243
01:07:55,480 --> 01:07:58,440
Speaker 2: Hair he has like really, cool like futuristic feeling. Hair

1244
01:07:59,200 --> 01:08:00,960
Speaker 2: he's not going to get to keep his hair for

1245
01:08:01,000 --> 01:08:02,720
Speaker 2: the rest of the, picture AND i was a little

1246
01:08:02,720 --> 01:08:03,440
Speaker 2: disappointed by.

1247
01:08:03,440 --> 01:08:05,320
Speaker 3: That, yeah they give him a haircut before they send

1248
01:08:05,360 --> 01:08:06,160
Speaker 3: him out on a mission.

1249
01:08:06,240 --> 01:08:09,640
Speaker 2: Later why is his hair super cool and cultivated in?

1250
01:08:09,720 --> 01:08:12,439
Speaker 2: Prison but then once he's, free it's. CUT i don't,

1251
01:08:12,480 --> 01:08:14,240
Speaker 2: KNOW i don't, KNOW i don't.

1252
01:08:14,280 --> 01:08:17,160
Speaker 3: Know but, Anyway, okay so they send him back to.

1253
01:08:17,200 --> 01:08:20,080
Speaker 3: Prison there's one brief thing here where they, show, oh

1254
01:08:20,080 --> 01:08:22,200
Speaker 3: he's got a metallic. Limb he like goes through a

1255
01:08:22,240 --> 01:08:26,880
Speaker 3: scanner and it's, like remember, that. Folks it doesn't look it

1256
01:08:26,960 --> 01:08:28,920
Speaker 3: just looks like a normal arm from the, outside but

1257
01:08:28,960 --> 01:08:31,599
Speaker 3: they show you'll scan as he's going through and it's

1258
01:08:31,600 --> 01:08:35,120
Speaker 3: apparently a metal. Arm When barnes is sent back to,

1259
01:08:35,160 --> 01:08:38,400
Speaker 3: prison he randomly has to fight a Neo. NAZI i

1260
01:08:38,479 --> 01:08:41,840
Speaker 3: did not understand why this occurred WHEN i first watched.

1261
01:08:41,840 --> 01:08:45,840
Speaker 3: It it was almost like suggesting this fight was arranged

1262
01:08:45,960 --> 01:08:48,720
Speaker 3: by the powers that, be like they were trying to

1263
01:08:48,760 --> 01:08:51,640
Speaker 3: silence him about THE vr program or. Something BUT i

1264
01:08:51,680 --> 01:08:54,400
Speaker 3: don't think there's any follow through to confirm, That SO

1265
01:08:54,439 --> 01:08:55,280
Speaker 3: i don't know why this.

1266
01:08:55,400 --> 01:08:59,400
Speaker 2: Happened it's also very, stylistic so you could almost think

1267
01:08:59,520 --> 01:09:02,519
Speaker 2: we're back, simulation just because it does not look like

1268
01:09:03,120 --> 01:09:05,720
Speaker 2: you're it's a future, PRISON i, guess. Yeah and you

1269
01:09:05,760 --> 01:09:08,679
Speaker 2: don't see any of the inmates. Directly they're all behind

1270
01:09:08,760 --> 01:09:11,640
Speaker 2: like some sort of a like a some sort of

1271
01:09:11,640 --> 01:09:13,680
Speaker 2: a glass or a, screen so you just see their.

1272
01:09:13,720 --> 01:09:18,080
Speaker 3: Silhouettes, yes, Yes So denzel goes into this big. Hall

1273
01:09:18,160 --> 01:09:21,600
Speaker 3: there's nobody else in. It all these silhouettes of prisoners

1274
01:09:21,760 --> 01:09:25,000
Speaker 3: lined up like an audience mocking and jeering at. Him

1275
01:09:25,840 --> 01:09:28,800
Speaker 3: you only see them behind these silk. Screens and then

1276
01:09:28,800 --> 01:09:31,200
Speaker 3: from the opposite end of the, hall this gross guy

1277
01:09:31,240 --> 01:09:35,160
Speaker 3: with a white power tattoo and an improvised stabbing weapon comes,

1278
01:09:35,160 --> 01:09:38,120
Speaker 3: out and then they, fight and Then barnes defeats him

1279
01:09:38,160 --> 01:09:41,599
Speaker 3: with superior training and, tactics as well as at least

1280
01:09:41,640 --> 01:09:44,360
Speaker 3: one brutal uppercut to the, groin and then a bunch

1281
01:09:44,360 --> 01:09:47,760
Speaker 3: of guards rush in and beat Up, Barns AND i

1282
01:09:47,800 --> 01:09:48,880
Speaker 3: don't understand why this.

1283
01:09:48,920 --> 01:09:52,760
Speaker 2: Happened, yeah it's so stylistic THAT i was expecting him

1284
01:09:52,800 --> 01:09:56,600
Speaker 2: to beat The nazi to death with an Apple, macintosh

1285
01:09:56,640 --> 01:09:57,840
Speaker 2: but it is HOW i went. Down.

1286
01:09:58,720 --> 01:10:01,840
Speaker 3: Okay then we go on to another scene with our bad.

1287
01:10:01,880 --> 01:10:04,240
Speaker 3: Guys this is the let me tell you a secret,

1288
01:10:04,280 --> 01:10:09,000
Speaker 3: scene which is pretty pretty. Solid so Remember Daryl lindenmeyer

1289
01:10:09,040 --> 01:10:12,200
Speaker 3: the computer Company. Creep he's in THE vr space and

1290
01:10:12,200 --> 01:10:14,679
Speaker 3: he walks up to THE sid screen where the screen

1291
01:10:14,760 --> 01:10:16,839
Speaker 3: is on And sid is in there playing a piano

1292
01:10:17,320 --> 01:10:20,920
Speaker 3: in a green satin suit in a beyond The MIND'S

1293
01:10:21,000 --> 01:10:25,240
Speaker 3: I done sea, landscape And darryl tells, him you know, What, Sorry,

1294
01:10:25,280 --> 01:10:28,120
Speaker 3: Sid i'm gonna have to deactivate. You he, SAYS i

1295
01:10:28,160 --> 01:10:31,840
Speaker 3: know it was you who increased the neural sensitivity. Calibrations

1296
01:10:31,960 --> 01:10:36,120
Speaker 3: you murdered that. Prisoner and Then sid, SAYS i can't

1297
01:10:36,240 --> 01:10:39,320
Speaker 3: change WHAT i, Am. Darryl i'm a fifty terabyte self

1298
01:10:39,360 --> 01:10:43,599
Speaker 3: evolving neural network double backflip off the high. Platform i'm

1299
01:10:43,640 --> 01:10:45,840
Speaker 3: not a swan. Dive AND i have to tell you

1300
01:10:46,160 --> 01:10:52,040
Speaker 3: killing for. Real it was a real. RUSH i always love.

1301
01:10:52,120 --> 01:10:55,600
Speaker 3: These see a lot Of cyberslot movies have a monologue like,

1302
01:10:55,640 --> 01:10:58,559
Speaker 3: this LIKE i am a masterpiece of. Evil. Evil i'm

1303
01:10:58,560 --> 01:11:01,000
Speaker 3: pretty Sure job and Lawnmower man has a speech a

1304
01:11:01,000 --> 01:11:05,800
Speaker 3: lot like. This this one is relatively. Short, also when

1305
01:11:05,840 --> 01:11:09,040
Speaker 3: he lands after doing his, backflips he explodes into a

1306
01:11:09,040 --> 01:11:11,880
Speaker 3: bunch of, bats and you know, what beyond the, MINDS

1307
01:11:11,880 --> 01:11:13,920
Speaker 3: i had a bat. SWARM i think that must have

1308
01:11:14,000 --> 01:11:16,680
Speaker 3: been part of a STANDARD cg package in the, nineties

1309
01:11:17,479 --> 01:11:20,200
Speaker 3: Because sid is not really associated with. Bats it's not,

1310
01:11:20,320 --> 01:11:22,720
Speaker 3: like you, know what else does he have to do with?

1311
01:11:22,760 --> 01:11:26,200
Speaker 3: Bats it seems out of. Nowhere but, anyway after he,

1312
01:11:26,240 --> 01:11:28,599
Speaker 3: says you, KNOW i love killing for, real it was really.

1313
01:11:28,640 --> 01:11:32,440
Speaker 3: Good Lynden meyer, goes oh My, god and then the monologue.

1314
01:11:32,439 --> 01:11:35,720
Speaker 3: Continues it's quite. Good sid, says What god would that?

1315
01:11:35,760 --> 01:11:38,439
Speaker 3: Be the one who created you or the one who created.

1316
01:11:38,520 --> 01:11:41,000
Speaker 3: Me you, see in your, world The lord giveth and

1317
01:11:41,040 --> 01:11:43,599
Speaker 3: The lord taketh, Away but in my, world the one

1318
01:11:43,600 --> 01:11:46,680
Speaker 3: who gave me life doesn't have any. Balls you are

1319
01:11:46,720 --> 01:11:49,559
Speaker 3: frightfully inadequate for a, Deity darryl AND i will not

1320
01:11:49,720 --> 01:11:54,240
Speaker 3: be shut. Down, okay so that's, corny but for what

1321
01:11:54,320 --> 01:11:55,680
Speaker 3: it is that slaps.

1322
01:11:55,520 --> 01:11:59,080
Speaker 2: Yeah, Yeah AND i should add this whole sequence is

1323
01:11:59,120 --> 01:12:02,720
Speaker 2: just very well. Shot it's the great integration between the

1324
01:12:02,800 --> 01:12:05,880
Speaker 2: live action performance and the use of the, screens which

1325
01:12:05,920 --> 01:12:07,880
Speaker 2: Was i'm to understand all the screens in the film

1326
01:12:07,920 --> 01:12:12,519
Speaker 2: were in. Camera i'm assuming at least some of it

1327
01:12:12,600 --> 01:12:15,160
Speaker 2: was not live to. Screen leonard points out that a

1328
01:12:15,160 --> 01:12:17,200
Speaker 2: lot of skill went into making sure all these screens

1329
01:12:17,200 --> 01:12:19,799
Speaker 2: were set upright and you could be seen on camera

1330
01:12:19,880 --> 01:12:21,000
Speaker 2: in the optimal. Way.

1331
01:12:21,240 --> 01:12:24,439
Speaker 3: Yeah i'm impressedly achieved. That but, anyway so in the,

1332
01:12:24,479 --> 01:12:27,639
Speaker 3: Scene darryl, says you, Know, sid you cannot exist without

1333
01:12:27,680 --> 01:12:30,280
Speaker 3: the approval of the. Authorities you are software and you

1334
01:12:30,400 --> 01:12:33,880
Speaker 3: need hardware to run. On So sid comes up with a.

1335
01:12:33,880 --> 01:12:38,040
Speaker 3: Plan what is that? Plan he, says sacrifice your. Queen,

1336
01:12:38,680 --> 01:12:41,559
Speaker 3: ooh cryptic, meaning and then the camera kind of creeps.

1337
01:12:41,600 --> 01:12:43,720
Speaker 3: IN i like, this there's this slow creep in and he,

1338
01:12:43,760 --> 01:12:44,840
Speaker 3: says let me tell you a.

1339
01:12:44,920 --> 01:12:50,400
Speaker 2: Secret. Yeah. Yeah the scene lands in an excellent place.

1340
01:12:50,439 --> 01:12:54,160
Speaker 2: Here at that being, Said i'm not exactly sure where

1341
01:12:54,160 --> 01:12:56,200
Speaker 2: the secret. WAS i, MEAN i don't need to, know

1342
01:12:56,240 --> 01:12:59,680
Speaker 2: because the scene still connected on an emotional level and

1343
01:13:00,040 --> 01:13:04,240
Speaker 2: certainly established our villain and some semblance of his plot

1344
01:13:04,880 --> 01:13:10,719
Speaker 2: with his creator turned. Worshiper BUT i have some guesses

1345
01:13:10,720 --> 01:13:13,160
Speaker 2: what the secret might, be but it's not really.

1346
01:13:13,160 --> 01:13:15,840
Speaker 3: Clear maybe we can come back to, that all, Right

1347
01:13:15,880 --> 01:13:19,000
Speaker 3: so we also get the scene Where barnes meets with

1348
01:13:19,280 --> 01:13:22,560
Speaker 3: Doctor Madison Carter Kelly. Lynch she comes. In they have

1349
01:13:22,600 --> 01:13:24,960
Speaker 3: an interview in the. Prison she introduces. Herself she's a

1350
01:13:25,000 --> 01:13:28,280
Speaker 3: criminal psychologist And William forsyth asked her to do a

1351
01:13:28,360 --> 01:13:31,479
Speaker 3: profile On barnes that may be useful in reducing his.

1352
01:13:31,560 --> 01:13:35,040
Speaker 3: Sentence so they. Talk she asks him about the. Fight

1353
01:13:35,160 --> 01:13:38,080
Speaker 3: he says he was defending. Himself she asks him about

1354
01:13:38,080 --> 01:13:41,000
Speaker 3: whether he was attracted to violence as a. Child he's, like,

1355
01:13:41,120 --> 01:13:45,680
Speaker 3: yeah three, Stooges Wiley coyote was. Great nice. Answer and

1356
01:13:45,760 --> 01:13:47,800
Speaker 3: as they keep, talking it starts to seem like what

1357
01:13:47,880 --> 01:13:51,040
Speaker 3: she's really interested in Is Russell. CROWE i, mean what's

1358
01:13:51,040 --> 01:13:53,720
Speaker 3: everybody interested? IN i think she wants to write a

1359
01:13:53,760 --> 01:13:56,599
Speaker 3: book on the criminal genius Of sid six point. Seven

1360
01:13:57,200 --> 01:13:59,799
Speaker 3: so she starts kind of Quizzing denzel about his virtual.

1361
01:14:00,200 --> 01:14:01,800
Speaker 3: Me he's, like how did you know he'd be in

1362
01:14:01,840 --> 01:14:04,800
Speaker 3: The japanese? Restaurant And barnes explains what an emoticon.

1363
01:14:04,960 --> 01:14:05,040
Speaker 2: Is.

1364
01:14:05,680 --> 01:14:10,599
Speaker 3: Yeah we also here get the first hints Of barnes's tragic,

1365
01:14:10,680 --> 01:14:13,839
Speaker 3: backstory which gets revealed in a trickle throughout the. MOVIE

1366
01:14:14,000 --> 01:14:15,760
Speaker 3: i Think i'm gonna cut to the chase and just

1367
01:14:15,800 --> 01:14:18,320
Speaker 3: summarize the whole thing, here so we don't trickle it.

1368
01:14:18,360 --> 01:14:21,479
Speaker 3: In so the deal Is barnes was some kind of

1369
01:14:21,520 --> 01:14:26,400
Speaker 3: elite detective on the case of a man Named Matthew,

1370
01:14:26,439 --> 01:14:30,240
Speaker 3: grimes which they Call they say he was a quote political,

1371
01:14:30,439 --> 01:14:34,519
Speaker 3: terrorist AND i like how they specify a political terrorist

1372
01:14:34,680 --> 01:14:37,000
Speaker 3: to make it clear he's not like a culinary. Terrorist

1373
01:14:38,200 --> 01:14:41,280
Speaker 3: but if he's a political, terrorist what were his? Politics

1374
01:14:41,320 --> 01:14:44,280
Speaker 3: that is not really. Clear at one point we see

1375
01:14:44,320 --> 01:14:47,200
Speaker 3: him speaking to the media about the haves and have,

1376
01:14:47,360 --> 01:14:51,519
Speaker 3: nots but mostly THAT i don't. Know that's back to

1377
01:14:51,560 --> 01:14:54,400
Speaker 3: the THING i said at the beginning about like cultural

1378
01:14:54,479 --> 01:14:58,680
Speaker 3: objects just feeling like they're meaningless in, Themselves like he

1379
01:14:58,680 --> 01:15:01,240
Speaker 3: could have inserted any kind of of political rhetoric there

1380
01:15:01,240 --> 01:15:02,120
Speaker 3: and it would be the same.

1381
01:15:02,160 --> 01:15:06,960
Speaker 2: Thing, yeah this this particular detail of his, backstory like

1382
01:15:07,000 --> 01:15:09,679
Speaker 2: the basic shape of. It, okay some some sort of

1383
01:15:09,720 --> 01:15:13,080
Speaker 2: a killer took out his. Family, yeah you, know obviously

1384
01:15:13,120 --> 01:15:16,120
Speaker 2: that's a necessary part of what they're building. Here but

1385
01:15:16,640 --> 01:15:19,240
Speaker 2: all the details about this guy, JUST i don't, know

1386
01:15:19,280 --> 01:15:21,640
Speaker 2: they're not very. Convincing, like, yeah like we could have

1387
01:15:21,840 --> 01:15:23,920
Speaker 2: we should have known less about, it because what we

1388
01:15:23,960 --> 01:15:27,160
Speaker 2: do learn is not convincing or certainly doesn't have as

1389
01:15:27,240 --> 01:15:27,960
Speaker 2: much of an emotional.

1390
01:15:28,000 --> 01:15:32,320
Speaker 3: Impact it has a real anti verisimilitude about his political.

1391
01:15:32,439 --> 01:15:36,920
Speaker 3: Terroristiness it suggests more that he just like simply loved

1392
01:15:37,000 --> 01:15:41,000
Speaker 3: crime and. Murder, yeah and so, anyway but they tell

1393
01:15:41,040 --> 01:15:43,439
Speaker 3: the story of how this guy Kidnapped barnes's wife and.

1394
01:15:43,520 --> 01:15:46,160
Speaker 3: Child he put them in a booby trapped room so

1395
01:15:46,200 --> 01:15:48,479
Speaker 3: that When barnes came to rescue, them it would trigger a,

1396
01:15:48,520 --> 01:15:51,200
Speaker 3: bomb and the bomb killed his. Family and it's also

1397
01:15:51,240 --> 01:15:54,439
Speaker 3: the Reason barnes now has the bionic. Arm. Uh and

1398
01:15:54,479 --> 01:15:58,120
Speaker 3: So carter is like asking him questions about like his

1399
01:15:58,200 --> 01:16:00,719
Speaker 3: backstory in the, scene and we we get to learn

1400
01:16:00,760 --> 01:16:02,599
Speaker 3: that we see that he is a, haunted broken.

1401
01:16:02,640 --> 01:16:03,240
Speaker 2: Man all.

1402
01:16:03,320 --> 01:16:05,240
Speaker 3: Right, now from here we move on to The sheila.

1403
01:16:05,360 --> 01:16:08,479
Speaker 3: Scene so we're back in THE cid, warehouse you, know

1404
01:16:08,479 --> 01:16:10,880
Speaker 3: where THE vr world is projected on the big. Screen

1405
01:16:11,600 --> 01:16:15,559
Speaker 3: and currently the person in here is a geeky roboticist Named.

1406
01:16:15,600 --> 01:16:19,320
Speaker 3: Clyde Here's KEVIN. J, O'Connor and he's playing would you

1407
01:16:19,360 --> 01:16:23,759
Speaker 3: call this sexy? Chess, Yes like like they're playing a chess,

1408
01:16:23,760 --> 01:16:26,479
Speaker 3: game moving around these GIANT cgi pieces on a. Board

1409
01:16:26,840 --> 01:16:32,120
Speaker 3: but he's playing against this blonde seductress character Named. Sheila

1410
01:16:32,200 --> 01:16:35,040
Speaker 3: three point two and she's like stretching out on the

1411
01:16:35,120 --> 01:16:37,840
Speaker 3: chase long in her silk. Pajamas so while like the

1412
01:16:37,840 --> 01:16:41,479
Speaker 3: big chess pieces zoom around and she's, Like, Oh, clyde you,

1413
01:16:41,520 --> 01:16:43,320
Speaker 3: KNOW i really would like you to come visit me

1414
01:16:43,400 --> 01:16:45,639
Speaker 3: in THE vr. World there are so many games we could.

1415
01:16:45,680 --> 01:16:50,799
Speaker 3: Play And clyde is basically drooling at the. Screen, meanwhile

1416
01:16:50,960 --> 01:16:54,360
Speaker 3: the creepy computer Guy daryl comes up behind him and he's,

1417
01:16:54,479 --> 01:16:58,760
Speaker 3: like you, Know, clyde she's very interactive. Here they sort

1418
01:16:58,800 --> 01:17:02,200
Speaker 3: of imply that THE vr chairs that are being used

1419
01:17:02,240 --> 01:17:05,840
Speaker 3: in the police training simulator earlier that day have some

1420
01:17:05,960 --> 01:17:10,599
Speaker 3: kind of sexual. Interface we never see specifics on what

1421
01:17:10,680 --> 01:17:14,080
Speaker 3: these peripherals would look. Like i'm really curious how this

1422
01:17:14,240 --> 01:17:18,240
Speaker 3: was going to be used for training. Purposes and by the,

1423
01:17:18,280 --> 01:17:20,640
Speaker 3: way once, again no offense To kevin j, O'Connor BUT

1424
01:17:20,680 --> 01:17:22,519
Speaker 3: i feel like they really go out of their way

1425
01:17:22,560 --> 01:17:26,240
Speaker 3: to make him, gross like come off as. Gross he's

1426
01:17:26,280 --> 01:17:29,719
Speaker 3: filmed slightly from below while he's leering at the, screen

1427
01:17:30,080 --> 01:17:32,680
Speaker 3: so we're like looking a bit up his nose and

1428
01:17:32,760 --> 01:17:35,960
Speaker 3: seeing his wet front. Teeth they're like wet with spit

1429
01:17:36,080 --> 01:17:38,800
Speaker 3: and shining in the light and he's just gazing like

1430
01:17:38,840 --> 01:17:43,080
Speaker 3: he's in a trance at the. Screen and Then clyde is, like, oh, Yeah,

1431
01:17:43,200 --> 01:17:46,680
Speaker 3: DARRYL i need to use your, gear But darryl tells, him, no, no,

1432
01:17:46,680 --> 01:17:49,840
Speaker 3: No i've got a better. Idea you are a nano,

1433
01:17:50,000 --> 01:17:54,440
Speaker 3: roboticist AND i know that you have created the technology

1434
01:17:54,479 --> 01:17:58,960
Speaker 3: to THREE d print a nanotech android out of blue.

1435
01:17:58,960 --> 01:18:03,160
Speaker 3: Goop why don't you use your Blue goop machine to

1436
01:18:03,400 --> 01:18:06,800
Speaker 3: Make sheila three point two THE vr model into a

1437
01:18:06,840 --> 01:18:10,200
Speaker 3: full THREE d robot in the real, World and THEN

1438
01:18:10,600 --> 01:18:12,479
Speaker 3: i guess y'all can get. MARRIED i don't.

1439
01:18:12,520 --> 01:18:15,920
Speaker 2: Know so this is so. Ridiculous, obviously it's like you're

1440
01:18:15,960 --> 01:18:23,679
Speaker 2: storing the technology to print bodies for digital beings right

1441
01:18:23,760 --> 01:18:28,000
Speaker 2: next to the place where you store your digital mass murderer. Beings,

1442
01:18:28,200 --> 01:18:31,799
Speaker 2: Yes but then also it's like he's putting, This darrel's

1443
01:18:31,800 --> 01:18:34,200
Speaker 2: putting this together For. Clyde Like clyde was, like you,

1444
01:18:34,280 --> 01:18:38,240
Speaker 2: KNOW i could bend out a woman for all of

1445
01:18:38,240 --> 01:18:42,120
Speaker 2: my creepy. Lusts i'd never thought about that. Before this

1446
01:18:42,200 --> 01:18:44,120
Speaker 2: is my life's, work BUT i never put this.

1447
01:18:44,240 --> 01:18:47,360
Speaker 3: Together you're exactly, RIGHT i mean once like and also

1448
01:18:47,439 --> 01:18:51,600
Speaker 3: this character is depicted as he has no attributes other

1449
01:18:51,640 --> 01:18:58,519
Speaker 3: than dozen nanotechnology robots and experiences. Lust, yeah so you

1450
01:18:58,600 --> 01:19:01,200
Speaker 3: might think those would connect his, mind because that is

1451
01:19:01,240 --> 01:19:04,960
Speaker 3: all his mind is as a. Character but, yeah, Anyway

1452
01:19:05,000 --> 01:19:08,439
Speaker 3: clyde agrees and then walks off looking a kind of

1453
01:19:08,479 --> 01:19:12,360
Speaker 3: grimly determined in a very funny. Way and So daryl

1454
01:19:12,439 --> 01:19:16,280
Speaker 3: hangs back to Grab sheila's quote module from the computer.

1455
01:19:16,360 --> 01:19:18,679
Speaker 3: Bank this is an important mcguffin in the. Movie EVERY

1456
01:19:18,760 --> 01:19:22,080
Speaker 3: vr character has a little like plastic polyhedron that's got

1457
01:19:22,080 --> 01:19:25,240
Speaker 3: their brain inside. It but uh, Oh darryl pulls a

1458
01:19:25,320 --> 01:19:29,479
Speaker 3: switcheroo and instead of Taking sheila's, module he TAKES sid

1459
01:19:29,520 --> 01:19:30,560
Speaker 3: six point, seven.

1460
01:19:31,560 --> 01:19:34,680
Speaker 2: And then he just Kicked sheila underneath the you, know some,

1461
01:19:34,720 --> 01:19:38,400
Speaker 2: furniture which, YEAH i thought was very disappointing because first of,

1462
01:19:38,400 --> 01:19:41,599
Speaker 2: ALL i kind of Wanted sheila to have a chance

1463
01:19:41,720 --> 01:19:45,400
Speaker 2: to be born to the real. World, yeah but also,

1464
01:19:45,760 --> 01:19:49,679
Speaker 2: imagine like the The cringey comedy that could have resulted

1465
01:19:49,720 --> 01:19:51,960
Speaker 2: if we have like a stinger at the end where

1466
01:19:52,240 --> 01:19:54,880
Speaker 2: police are going into train and they're going up Against

1467
01:19:54,920 --> 01:19:56,519
Speaker 2: sheila instead of a super.

1468
01:19:56,520 --> 01:19:58,639
Speaker 3: Criminal, oh that would be funny. TOO i thought maybe

1469
01:19:58,640 --> 01:20:01,000
Speaker 3: you were gonna, say like what If sheila was, created

1470
01:20:01,000 --> 01:20:03,439
Speaker 3: but instead of just becoming a sex, robot she's the

1471
01:20:03,439 --> 01:20:06,320
Speaker 3: one who has to hunt Down sid six point. Seven, yeah,

1472
01:20:06,439 --> 01:20:17,160
Speaker 3: yeah all. Right, anyway we move on to the nano robotics.

1473
01:20:17,240 --> 01:20:20,760
Speaker 3: Lab clyde shows off a robot, snake which you think

1474
01:20:20,840 --> 01:20:22,760
Speaker 3: is a real snake at, first like he shoves it

1475
01:20:22,760 --> 01:20:25,720
Speaker 3: in Linden meyer's, face but then he cuts it in

1476
01:20:25,760 --> 01:20:28,000
Speaker 3: half with some shears and reveals it is made of

1477
01:20:28,000 --> 01:20:31,439
Speaker 3: blue Goop and, then critically for the, plot we learn

1478
01:20:31,520 --> 01:20:33,960
Speaker 3: that if you cut part of it, off since it's

1479
01:20:33,960 --> 01:20:38,040
Speaker 3: made out of, silicon it can regenerate itself by absorbing

1480
01:20:38,200 --> 01:20:41,360
Speaker 3: glass it finds in the. Environment so the snake like

1481
01:20:41,439 --> 01:20:45,080
Speaker 3: rebuilds its severed tail by reaching out these blue tendrils

1482
01:20:45,120 --> 01:20:49,080
Speaker 3: that suck up glass from a. Beaker and, honestly this

1483
01:20:49,160 --> 01:20:52,200
Speaker 3: premise sets up several of the best moments in the

1484
01:20:52,240 --> 01:20:55,280
Speaker 3: movie Where sid will get injured and then later he'll

1485
01:20:55,280 --> 01:20:58,639
Speaker 3: start like sucking glass out of windows while he's got

1486
01:20:58,640 --> 01:21:00,679
Speaker 3: like the goop arm and the window and he's making

1487
01:21:00,720 --> 01:21:05,240
Speaker 3: this rage, face or at one point he's literally like

1488
01:21:05,800 --> 01:21:08,559
Speaker 3: eating fistfuls of glass in the middle of a car.

1489
01:21:08,640 --> 01:21:13,160
Speaker 3: Chase in the, Scene clyde also explains. Quote if you

1490
01:21:13,240 --> 01:21:17,479
Speaker 3: separate the character module from the polymer, matrix you get nano.

1491
01:21:17,640 --> 01:21:17,960
Speaker 2: Death.

1492
01:21:18,680 --> 01:21:22,000
Speaker 3: Yeah so, anyway they start growing the robot inside of a,

1493
01:21:22,040 --> 01:21:23,920
Speaker 3: pod which is a good set.

1494
01:21:23,960 --> 01:21:27,519
Speaker 2: Piece oh, YES i love all this stuff because then practical.

1495
01:21:27,560 --> 01:21:33,800
Speaker 2: Effects it's this blue like it it's, inorganic but it

1496
01:21:33,880 --> 01:21:36,439
Speaker 2: has this kind of organic nature to. It it's like

1497
01:21:36,479 --> 01:21:41,280
Speaker 2: this like weird blue alien egg that this being is growing.

1498
01:21:41,320 --> 01:21:45,160
Speaker 2: Inside and then when it finally opens and there's like blue.

1499
01:21:45,200 --> 01:21:49,160
Speaker 2: Goo of, course what rises up initially is just this

1500
01:21:49,280 --> 01:21:52,360
Speaker 2: kind of like neutral blue. Humanoid, oh has kind of

1501
01:21:52,400 --> 01:21:54,559
Speaker 2: like a, OH i don't, know almost like a crash

1502
01:21:54,640 --> 01:21:57,040
Speaker 2: test dummy kind of vibe to, it like it's not

1503
01:21:57,080 --> 01:22:01,479
Speaker 2: completely finished, yet to the point that our creep researcher

1504
01:22:01,520 --> 01:22:04,400
Speaker 2: here is like, like, oh it's. You i'm ready to.

1505
01:22:04,439 --> 01:22:09,799
Speaker 2: Party but then it finishes its. Form it like everything

1506
01:22:09,880 --> 01:22:14,240
Speaker 2: smooths out digitally and it becomes Not sheila But sid

1507
01:22:14,320 --> 01:22:17,840
Speaker 2: six point seven naked terminator style.

1508
01:22:17,840 --> 01:22:20,559
Speaker 3: Who immediately Kills clyde like it like chokes.

1509
01:22:20,640 --> 01:22:20,800
Speaker 2: Him.

1510
01:22:21,520 --> 01:22:23,280
Speaker 3: Yeah the, pod by the, way it looks like a

1511
01:22:23,320 --> 01:22:27,479
Speaker 3: cross between a venus fly trap and a pool. Float and,

1512
01:22:27,960 --> 01:22:30,479
Speaker 3: yeah the being is the freakiest looking thing in the

1513
01:22:30,520 --> 01:22:33,800
Speaker 3: movie is when sid comes out not fully. Finished, yeah but.

1514
01:22:33,720 --> 01:22:36,160
Speaker 2: That's why if you look through the credits for this,

1515
01:22:36,200 --> 01:22:38,919
Speaker 2: film you'll see somebody like credit with like creature effects

1516
01:22:38,960 --> 01:22:42,439
Speaker 2: because it is essentially like it's somewhere blurring the line

1517
01:22:42,479 --> 01:22:43,360
Speaker 2: between creature and.

1518
01:22:43,400 --> 01:22:46,880
Speaker 3: Technology, yeah and by the, way and the Scene Russell

1519
01:22:46,920 --> 01:22:50,120
Speaker 3: crowe is really stretching his ham, legs just goofing it up,

1520
01:22:50,160 --> 01:22:55,920
Speaker 3: stupendously you. Know clyde says he's Like, sheila but it's

1521
01:22:55,920 --> 01:22:59,880
Speaker 3: Obviously Russell, crowe and he Instead russell crow says, No

1522
01:23:00,240 --> 01:23:04,200
Speaker 3: I'm oedipus and then chokes. Him and then meanwhile the

1523
01:23:05,120 --> 01:23:07,880
Speaker 3: Daar old character is watching seemingly in horror and then

1524
01:23:08,000 --> 01:23:10,559
Speaker 3: runs away and. Hides but why is he? Horrified didn't

1525
01:23:10,560 --> 01:23:11,080
Speaker 3: he do this on?

1526
01:23:11,160 --> 01:23:13,840
Speaker 2: Purpose, yeah this is exactly what you wanted to. Do

1527
01:23:14,240 --> 01:23:15,719
Speaker 2: what did you think was gonna happen?

1528
01:23:15,760 --> 01:23:18,719
Speaker 3: Here so we get to see Naked Russell crowe having

1529
01:23:18,760 --> 01:23:21,559
Speaker 3: fun feeling gravity for the first. Time he like kind

1530
01:23:21,560 --> 01:23:25,320
Speaker 3: of shifts, Around he's, like ooh. Gravity he also picks

1531
01:23:25,400 --> 01:23:28,400
Speaker 3: up a random knife and starts doing naked tai chi

1532
01:23:28,439 --> 01:23:31,920
Speaker 3: with a knife in his. Hand then he recreationally cuts

1533
01:23:31,920 --> 01:23:34,960
Speaker 3: off his own finger and then licks the blue goop and, says,

1534
01:23:35,040 --> 01:23:37,519
Speaker 3: huh that was a good. Year like it's like it's a.

1535
01:23:37,560 --> 01:23:40,719
Speaker 3: Wine that's the, joke but you know, what It's Russell

1536
01:23:40,760 --> 01:23:43,040
Speaker 3: crowe kind of sells. It even the bad jokes sort of.

1537
01:23:43,120 --> 01:23:45,480
Speaker 2: Land. Yeah.

1538
01:23:45,560 --> 01:23:47,280
Speaker 3: Oh and then also in the scene we get a

1539
01:23:47,280 --> 01:23:49,960
Speaker 3: LINE i think it was obviously meant for the. Trailer

1540
01:23:50,000 --> 01:23:52,160
Speaker 3: it's sort of AN i got to get me one

1541
01:23:52,200 --> 01:23:55,519
Speaker 3: of those moments Where sid looks directly into the camera and,

1542
01:23:55,560 --> 01:23:57,839
Speaker 3: SAYS i Think i'm gonna like it, here.

1543
01:23:58,439 --> 01:24:00,599
Speaker 2: And he does like it. Here that's that's pretty much

1544
01:24:00,640 --> 01:24:03,880
Speaker 2: what happens for the next like forty minutes or.

1545
01:24:03,920 --> 01:24:06,280
Speaker 3: So SO i have a question about the. Plot maybe

1546
01:24:06,320 --> 01:24:09,320
Speaker 3: you knew something about this Rob is there? Something it

1547
01:24:09,360 --> 01:24:12,439
Speaker 3: felt like something was missing in the subplot of the.

1548
01:24:12,800 --> 01:24:16,400
Speaker 3: Villains here they would explain why the computer company guy

1549
01:24:17,080 --> 01:24:21,599
Speaker 3: Wanted sid six point seven unleashed into the. World there

1550
01:24:21,600 --> 01:24:24,840
Speaker 3: are some scenes that kind of imply a, conspiracy like

1551
01:24:24,960 --> 01:24:28,800
Speaker 3: motivated by. Business there are OTHER i, mean but only very.

1552
01:24:28,880 --> 01:24:31,559
Speaker 3: Vaguely there are other scenes that to me implied the

1553
01:24:31,560 --> 01:24:35,480
Speaker 3: computer guy is like a psychotic acolyte of the religion

1554
01:24:35,520 --> 01:24:38,639
Speaker 3: Of sid six point, Seven like AM i remembering right

1555
01:24:38,640 --> 01:24:41,200
Speaker 3: that one time later he's shown in a motel room

1556
01:24:41,360 --> 01:24:46,240
Speaker 3: decorated like A Charles manson murder. Scene yeah, Yeah and

1557
01:24:46,360 --> 01:24:48,839
Speaker 3: it's not like a crime, scene it's like his own motel.

1558
01:24:48,920 --> 01:24:52,160
Speaker 3: Room and it implied just he just decorated it that

1559
01:24:52,200 --> 01:24:55,720
Speaker 3: way because he likes. It like just major confusion on

1560
01:24:55,840 --> 01:24:59,479
Speaker 3: what is the motivation of the non virtual meat human,

1561
01:24:59,600 --> 01:25:01,920
Speaker 3: villain what was their, goal and who's in on.

1562
01:25:01,960 --> 01:25:05,280
Speaker 2: IT i, mean it seems like his direct creator here

1563
01:25:06,320 --> 01:25:10,360
Speaker 2: just comes to worship his, creation but we don't really

1564
01:25:10,360 --> 01:25:13,080
Speaker 2: get enough details on how this comes to, pass you,

1565
01:25:13,120 --> 01:25:16,400
Speaker 2: know we're just sort of left to assume that's the.

1566
01:25:16,439 --> 01:25:19,280
Speaker 2: Case this is an example WHERE i probably need WELL

1567
01:25:19,320 --> 01:25:21,719
Speaker 2: i don't need. TO i would probably get some answers

1568
01:25:21,760 --> 01:25:24,840
Speaker 2: IF i read the novelization for the, movie which was

1569
01:25:24,880 --> 01:25:29,479
Speaker 2: By Terry, bisson who has come up on the show

1570
01:25:29,520 --> 01:25:32,680
Speaker 2: before because we've had a couple of people right in

1571
01:25:33,840 --> 01:25:37,280
Speaker 2: about his. Work he won A Hugo award and A

1572
01:25:37,280 --> 01:25:39,479
Speaker 2: Nebula award for the short Story They're made out Of.

1573
01:25:39,560 --> 01:25:44,400
Speaker 2: Meat i'm, assuming as is typical with, novelizations he probably

1574
01:25:44,400 --> 01:25:46,519
Speaker 2: had to fill in the gaps here and create some

1575
01:25:46,560 --> 01:25:49,880
Speaker 2: connective tissue for these. Characters but, yeah back to your,

1576
01:25:49,880 --> 01:25:52,639
Speaker 2: point why is any of this? Happening, yeah, like why

1577
01:25:52,800 --> 01:25:57,240
Speaker 2: really did you orchestrate the escape of this? Being why

1578
01:25:57,280 --> 01:26:01,479
Speaker 2: did you help it print itself in in physical form

1579
01:26:01,560 --> 01:26:04,680
Speaker 2: so it can run on Rampage like you, clean you

1580
01:26:04,720 --> 01:26:07,479
Speaker 2: seem to like him and you're into what he's doing

1581
01:26:07,560 --> 01:26:10,840
Speaker 2: but also scared by, him but also scared by. Him,

1582
01:26:10,920 --> 01:26:15,439
Speaker 2: yeah it's like it seems like we needed him to

1583
01:26:15,439 --> 01:26:17,200
Speaker 2: be killed by the creator here as, well if he

1584
01:26:17,240 --> 01:26:20,280
Speaker 2: because it's not like he's he's sort Of frankenstein's here

1585
01:26:20,320 --> 01:26:22,760
Speaker 2: where he's, like, Ah i've gone too far and runs,

1586
01:26:22,800 --> 01:26:25,080
Speaker 2: away but then he continues to worship his. Creation so either.

1587
01:26:25,200 --> 01:26:28,160
Speaker 3: Yeah, Anyway so at this point in the, movie the

1588
01:26:28,200 --> 01:26:30,800
Speaker 3: premise has been. Delivered you, KNOW sid six point seven

1589
01:26:30,840 --> 01:26:33,559
Speaker 3: is unleashed in physical form upon our, world the world

1590
01:26:33,640 --> 01:26:37,240
Speaker 3: of nineteen ninety. Nine in the words Of William forsyth,

1591
01:26:37,439 --> 01:26:41,200
Speaker 3: quote SOMEHOW sid six point seven got himself out of

1592
01:26:41,240 --> 01:26:45,639
Speaker 3: the computer and at this point only one man can stop,

1593
01:26:45,760 --> 01:26:49,200
Speaker 3: him because Again barnes is the only prisoner who ever

1594
01:26:49,240 --> 01:26:52,360
Speaker 3: BEATS sid in THE vr. Training So barnes has granted

1595
01:26:52,400 --> 01:26:56,000
Speaker 3: conditional early release from prison so he can find and STOP.

1596
01:26:56,080 --> 01:26:59,080
Speaker 3: Sid now at this, point what is a renegade cop

1597
01:26:59,160 --> 01:27:01,840
Speaker 3: who gets results always need a new, Partner so he's

1598
01:27:01,840 --> 01:27:05,720
Speaker 3: getting paired up With Madison, carter the criminal. Psychologist so

1599
01:27:06,040 --> 01:27:08,000
Speaker 3: a few scenes to talk about from the middle portion

1600
01:27:08,080 --> 01:27:10,640
Speaker 3: of the, movie a lot of chasing around an investigation

1601
01:27:10,760 --> 01:27:14,880
Speaker 3: in that there's sort of a detective portion Where barnes

1602
01:27:14,920 --> 01:27:17,760
Speaker 3: And carter investigates some crime scenes where LIKE sid has

1603
01:27:17,800 --> 01:27:20,519
Speaker 3: done random murders and one of them is staged as

1604
01:27:20,560 --> 01:27:24,479
Speaker 3: a copycat of The Tate lobbianca. Murders but they end

1605
01:27:24,560 --> 01:27:27,880
Speaker 3: up At Darryl lindenmeyer's, house the guy who PROGRAMMED, sid

1606
01:27:28,600 --> 01:27:31,320
Speaker 3: in a scene THAT i found extremely funny because so

1607
01:27:31,479 --> 01:27:34,880
Speaker 3: they learn HOW sid six point seven was. Created they

1608
01:27:34,920 --> 01:27:37,720
Speaker 3: go Into lindenmeyer's computer and they're like looking at the

1609
01:27:37,720 --> 01:27:41,360
Speaker 3: PREVIOUS sid, models and these heads just start popping up

1610
01:27:41,400 --> 01:27:43,559
Speaker 3: on the computer. Screen and the first one we see

1611
01:27:43,640 --> 01:27:47,080
Speaker 3: is A hitler head that's like a THREE d sort

1612
01:27:47,080 --> 01:27:49,519
Speaker 3: of polygon model of, it so it's got like a

1613
01:27:49,520 --> 01:27:52,559
Speaker 3: little like, mustache but it's a little. Polygon and then

1614
01:27:52,600 --> 01:27:56,439
Speaker 3: they're showing serial killers and, stuff And carter, says, quote

1615
01:27:56,600 --> 01:27:59,880
Speaker 3: this is using some kind of genetic Algorithms sid's too

1616
01:28:00,000 --> 01:28:03,840
Speaker 3: complex to. Design lindenmeyer had to grow him up psychologically

1617
01:28:03,920 --> 01:28:07,519
Speaker 3: like a real person with multiple personality. Disorder the program

1618
01:28:07,600 --> 01:28:10,439
Speaker 3: learns like a, child but much. Faster it's like he

1619
01:28:10,520 --> 01:28:13,000
Speaker 3: put all these killers In sid's nursery and let him

1620
01:28:13,000 --> 01:28:16,439
Speaker 3: watch them cannibalize each. Other and Then barnes, says and

1621
01:28:16,479 --> 01:28:19,519
Speaker 3: only the strong ones. Survive but what does that mean

1622
01:28:19,560 --> 01:28:22,320
Speaker 3: in this context the strongest serial killers or?

1623
01:28:22,439 --> 01:28:26,519
Speaker 2: Hitlers so on one, level absolutely this is technobabble that

1624
01:28:26,920 --> 01:28:29,679
Speaker 2: doesn't literally stand up to close, scrutiny but it also

1625
01:28:29,920 --> 01:28:34,360
Speaker 2: does kind of neatly forecast of some of the topics

1626
01:28:34,400 --> 01:28:37,679
Speaker 2: we've been discussing in the past several years ABOUT ai

1627
01:28:37,960 --> 01:28:42,800
Speaker 2: and about about training on content and how sometimes the

1628
01:28:42,800 --> 01:28:47,000
Speaker 2: content that these models train on are not the best

1629
01:28:47,000 --> 01:28:51,240
Speaker 2: models of human behavior or human. Expression and so, it's you,

1630
01:28:51,280 --> 01:28:54,120
Speaker 2: know it's, silly but it also rings a little bit

1631
01:28:54,160 --> 01:28:55,040
Speaker 2: true in some.

1632
01:28:55,080 --> 01:28:57,439
Speaker 3: Ways, yeah but this is more, like what if you

1633
01:28:57,800 --> 01:29:02,400
Speaker 3: limited the reinforcement training, exclusively the training data is only

1634
01:29:02,479 --> 01:29:05,920
Speaker 3: a pyramid of two HUNDRED cgi serial killer heads and

1635
01:29:06,000 --> 01:29:06,840
Speaker 3: With hitler in there.

1636
01:29:06,880 --> 01:29:09,479
Speaker 2: Too, Yeah, WELL i, mean in, retrospect why would we do?

1637
01:29:09,600 --> 01:29:11,040
Speaker 2: This but now we're kind of, like well that GU

1638
01:29:11,040 --> 01:29:12,080
Speaker 2: i guess that could, happen you.

1639
01:29:12,120 --> 01:29:12,200
Speaker 4: Know.

1640
01:29:13,320 --> 01:29:17,200
Speaker 3: Yeah so also in the, Scene barnes figures out that

1641
01:29:17,360 --> 01:29:20,720
Speaker 3: one of the heads in there Inside sid belonged to

1642
01:29:20,760 --> 01:29:23,320
Speaker 3: the guy who murdered his. Family there was a lot

1643
01:29:23,439 --> 01:29:26,200
Speaker 3: made of, this, like, oh that would be extra, bad you,

1644
01:29:26,240 --> 01:29:30,200
Speaker 3: know much scarier Than Ted bundy And. Hitler but much

1645
01:29:30,280 --> 01:29:33,839
Speaker 3: is also discussed, about like whether this personality is dominant

1646
01:29:33,920 --> 01:29:38,320
Speaker 3: Within sid or. NOT i found that a not very fruitful. Subplot.

1647
01:29:38,520 --> 01:29:38,720
Speaker 2: Yeah.

1648
01:29:38,840 --> 01:29:43,439
Speaker 3: Same the decor of Lynden meyer's APARTMENT i thought was really.

1649
01:29:43,479 --> 01:29:46,880
Speaker 3: Funny it's like a cross Between Patrick bateman's apartment and

1650
01:29:46,920 --> 01:29:49,280
Speaker 3: the house In The. Hunger so there's a lot of

1651
01:29:49,360 --> 01:29:52,880
Speaker 3: Soulless Wall street furniture and computers and, stuff but also

1652
01:29:53,240 --> 01:29:57,439
Speaker 3: a single purple rose in a glass bell. Jar now after,

1653
01:29:57,479 --> 01:29:59,680
Speaker 3: you let's talk about the club, scene, because as we,

1654
01:29:59,720 --> 01:30:01,479
Speaker 3: said every one of these movies has to have a

1655
01:30:01,520 --> 01:30:05,800
Speaker 3: techno dance club. Scene what would you, so, Like sid

1656
01:30:05,840 --> 01:30:08,920
Speaker 3: six point seven goes to a, club he fights his way.

1657
01:30:08,960 --> 01:30:11,639
Speaker 3: In how would you describe this this club?

1658
01:30:11,760 --> 01:30:16,759
Speaker 2: Rob? Oh, WELL i mean it's just absolute cinematic portrayal

1659
01:30:16,800 --> 01:30:21,840
Speaker 2: of the nineties rave, situation you, know the, lights the,

1660
01:30:21,880 --> 01:30:27,120
Speaker 2: outfits the presence Of Tracy. Lord everything is in place

1661
01:30:27,200 --> 01:30:30,680
Speaker 2: here and we get that great scene where he's like

1662
01:30:30,760 --> 01:30:33,240
Speaker 2: strong arming his way to the front of the line

1663
01:30:33,280 --> 01:30:37,960
Speaker 2: to get. In it's it's very like futuristic and. Hip

1664
01:30:39,320 --> 01:30:41,840
Speaker 2: BUT i do generally like the music. Here good.

1665
01:30:41,880 --> 01:30:44,240
Speaker 3: Track there's live music and they've got like a Star

1666
01:30:44,360 --> 01:30:48,000
Speaker 3: TREK dj station with these milky white orbs instead of,

1667
01:30:48,040 --> 01:30:51,040
Speaker 3: turntables so you can see them like doing record scratches

1668
01:30:51,080 --> 01:30:51,360
Speaker 3: with the.

1669
01:30:51,520 --> 01:30:56,240
Speaker 2: Orbs, yeah infrared footage of everything's gone to so many, screens.

1670
01:30:56,080 --> 01:30:59,320
Speaker 3: Yes screens. Everywhere there are people walking around with video

1671
01:30:59,400 --> 01:31:02,840
Speaker 3: cameras that are projecting a live feed with crazy color

1672
01:31:02,880 --> 01:31:07,200
Speaker 3: effects onto the huge screens on the. Walls just cables

1673
01:31:07,280 --> 01:31:10,479
Speaker 3: dangling everywhere and like running to the helmets that are

1674
01:31:10,479 --> 01:31:13,439
Speaker 3: being warned by the. DJs, also you access this club

1675
01:31:13,479 --> 01:31:15,759
Speaker 3: through a freight, elevator so it's like a basement club

1676
01:31:15,800 --> 01:31:19,840
Speaker 3: you have to go down to through the. Elevator one

1677
01:31:19,880 --> 01:31:22,519
Speaker 3: THING i thought is, that, oh you, KNOW i went

1678
01:31:22,560 --> 01:31:24,720
Speaker 3: to a concert earlier this, week and it's like this

1679
01:31:24,760 --> 01:31:26,599
Speaker 3: is kind of like going to a concert today because

1680
01:31:26,600 --> 01:31:30,000
Speaker 3: you see people holding up their devices recording the performers

1681
01:31:30,040 --> 01:31:30,920
Speaker 3: standing right in front of.

1682
01:31:30,920 --> 01:31:32,920
Speaker 2: Them, yeah that's a good. Point that's a good. Point

1683
01:31:33,280 --> 01:31:38,360
Speaker 2: but yeaople do. THAT i mean it only the world

1684
01:31:38,400 --> 01:31:40,880
Speaker 2: only makes sense if you're viewing, it experiencing it through

1685
01:31:41,040 --> 01:31:45,080
Speaker 2: the digital through the, technology you. Know but in this, case,

1686
01:31:45,120 --> 01:31:48,639
Speaker 2: yeah the performer Is Tracy lord's up there with what

1687
01:31:48,720 --> 01:31:52,000
Speaker 2: one or two DJs on. Hand she's kind of, singing

1688
01:31:53,439 --> 01:31:58,480
Speaker 2: kind of dancing around wearing this kind of like matrixy latex,

1689
01:31:58,600 --> 01:32:02,439
Speaker 2: attire and then Income sid and we get this one

1690
01:32:02,479 --> 01:32:06,240
Speaker 2: moment cinematography at its. FINEST i guess they're, like what

1691
01:32:06,360 --> 01:32:11,559
Speaker 2: if we Shot sid Through Tracy lord's legs from, behind

1692
01:32:11,640 --> 01:32:14,240
Speaker 2: like through her thighs from, behind and that's the. Shot,

1693
01:32:14,600 --> 01:32:17,200
Speaker 2: Yeah SO i giggled at. THAT i was, like, okay,

1694
01:32:17,479 --> 01:32:18,679
Speaker 2: yeah a little over the. Top.

1695
01:32:19,200 --> 01:32:22,800
Speaker 3: Yeah, also the fashion in the scene is, chaotic we,

1696
01:32:22,840 --> 01:32:25,000
Speaker 3: get but we do get an early glimpse of a

1697
01:32:25,040 --> 01:32:27,519
Speaker 3: guy in a purple double breasted suit That sid is

1698
01:32:27,560 --> 01:32:30,720
Speaker 3: going to steal and wear for much of the. Film but,

1699
01:32:30,800 --> 01:32:33,240
Speaker 3: again coming back to the kind of themes we talked about,

1700
01:32:33,240 --> 01:32:36,000
Speaker 3: earlier there's something kind of interesting here where in this

1701
01:32:36,040 --> 01:32:39,519
Speaker 3: scene it becomes apparent That sid loves that people are

1702
01:32:39,560 --> 01:32:42,720
Speaker 3: aiming cameras at him in the club and projecting him

1703
01:32:42,760 --> 01:32:45,960
Speaker 3: onto the big, screen and he. Smiles he's like overwhelmed with.

1704
01:32:46,120 --> 01:32:49,120
Speaker 3: JOY i think sincere, Joy like he's not making a,

1705
01:32:49,200 --> 01:32:52,400
Speaker 3: joke and he, SAYS i am. Beautiful and this is

1706
01:32:52,439 --> 01:32:54,519
Speaker 3: one of the themes of the movie THAT i thought

1707
01:32:54,600 --> 01:32:58,760
Speaker 3: was actually kind of accidentally. Interesting there's something about the

1708
01:32:58,840 --> 01:33:04,280
Speaker 3: information environ in the setting that says there's a. Desire

1709
01:33:05,080 --> 01:33:07,880
Speaker 3: there's like a link between the desire to be famous

1710
01:33:08,280 --> 01:33:12,960
Speaker 3: and the center of everybody's attention and sadism or. Psychopathy

1711
01:33:13,240 --> 01:33:15,840
Speaker 3: LIKE i haven't fully fleshed out exactly what this, means

1712
01:33:15,840 --> 01:33:18,800
Speaker 3: but it's like a latent assumption of the film that

1713
01:33:19,120 --> 01:33:21,559
Speaker 3: is not just the common assumption that there's something kind

1714
01:33:21,560 --> 01:33:26,080
Speaker 3: of tacky or shallow or misguided about wanting to be

1715
01:33:26,160 --> 01:33:29,240
Speaker 3: the center of everybody's, attention or especially wanting to be

1716
01:33:29,320 --> 01:33:32,320
Speaker 3: the center of everybody's attention as mediated through technology like

1717
01:33:32,439 --> 01:33:35,880
Speaker 3: video and The, internet but actually goes a step farther

1718
01:33:36,040 --> 01:33:40,360
Speaker 3: and suggests the desire for attention like this is related

1719
01:33:40,400 --> 01:33:43,280
Speaker 3: to a kind of, dominance, strive a desire to have

1720
01:33:43,520 --> 01:33:48,040
Speaker 3: power over others and even inflict pain on. Them and

1721
01:33:48,240 --> 01:33:49,000
Speaker 3: that hit home for.

1722
01:33:49,120 --> 01:33:49,200
Speaker 2: Me.

1723
01:33:49,280 --> 01:33:52,680
Speaker 3: Somehow, AGAIN i don't want to SUGGEST i think this

1724
01:33:52,840 --> 01:33:55,880
Speaker 3: was explicitly thought out in the, script but it feels

1725
01:33:55,960 --> 01:33:59,360
Speaker 3: like a potent theme the movie stumbles into. Here there's

1726
01:33:59,400 --> 01:34:02,880
Speaker 3: something about this obsession with like being on camera and

1727
01:34:02,920 --> 01:34:05,760
Speaker 3: having people far away all watching you at the same

1728
01:34:05,800 --> 01:34:09,840
Speaker 3: time that is like a kind of power and domination and.

1729
01:34:10,240 --> 01:34:13,280
Speaker 2: Sadism yeah, Yeah and they do come back to it

1730
01:34:13,560 --> 01:34:14,760
Speaker 2: later on as, well.

1731
01:34:14,840 --> 01:34:16,800
Speaker 3: Anyway and the Scene sid gets a drink made for

1732
01:34:16,880 --> 01:34:21,160
Speaker 3: him by A Johnny cab And sid is like to,

1733
01:34:21,200 --> 01:34:24,080
Speaker 3: think you constitute one of my. Ancestors and then of

1734
01:34:24,080 --> 01:34:24,960
Speaker 3: course that's.

1735
01:34:24,800 --> 01:34:26,479
Speaker 2: A lot of a couple of moments in here though

1736
01:34:26,520 --> 01:34:28,640
Speaker 2: with The, androids WHERE i was, like they're kind of

1737
01:34:28,680 --> 01:34:30,920
Speaker 2: getting into some of the territory That Ridley scott would

1738
01:34:30,960 --> 01:34:34,200
Speaker 2: later get into With david and the The alien, prequels

1739
01:34:34,240 --> 01:34:38,679
Speaker 2: but with less nuance and and more just outright. Meanness that's.

1740
01:34:38,720 --> 01:34:42,280
Speaker 3: Funny. Yeah. Uh he starts rampaging in the, club of,

1741
01:34:42,320 --> 01:34:44,240
Speaker 3: course and then this will be a type of scene that.

1742
01:34:44,280 --> 01:34:48,680
Speaker 3: Recurs he takes everybody, hostage forces the camera to like film. Him.

1743
01:34:49,000 --> 01:34:50,479
Speaker 3: Uh and then in one.

1744
01:34:50,360 --> 01:34:53,200
Speaker 2: Funny, Bit Crazy lords gets, away though she does run.

1745
01:34:53,240 --> 01:34:56,120
Speaker 2: Away the guy behind her gets, shot but she makes it.

1746
01:34:56,840 --> 01:35:01,520
Speaker 3: And then he. Starts he starts making everybody record screams

1747
01:35:01,600 --> 01:35:03,920
Speaker 3: that he can play back and remix at THE dj.

1748
01:35:04,120 --> 01:35:06,840
Speaker 3: Station this scene is really, something And Russell crowe is

1749
01:35:06,880 --> 01:35:09,479
Speaker 3: just like roaring with improvisational. Energy.

1750
01:35:10,120 --> 01:35:12,960
Speaker 2: YEAH i mean it's a weird mix, though because on one,

1751
01:35:13,000 --> 01:35:15,720
Speaker 2: hand like a scene where someone terrorizes a bunch of

1752
01:35:15,760 --> 01:35:18,160
Speaker 2: people with a, gun, yes it's LIKE i don't like.

1753
01:35:18,240 --> 01:35:21,080
Speaker 2: It but on the other, hand so many other aspects

1754
01:35:21,080 --> 01:35:23,360
Speaker 2: of this sequence are so over the top that and

1755
01:35:23,960 --> 01:35:26,280
Speaker 2: the performance at the center of it is is so

1756
01:35:26,400 --> 01:35:28,240
Speaker 2: over the top you kind of like it as.

1757
01:35:28,240 --> 01:35:31,479
Speaker 3: WELL i mentioned this earlier that one of the WAYS

1758
01:35:31,520 --> 01:35:36,439
Speaker 3: i think this movie kind of really sits weird is

1759
01:35:36,600 --> 01:35:40,040
Speaker 3: a tonal. MISMATCH i think this is actually true With

1760
01:35:40,280 --> 01:35:43,880
Speaker 3: barnes's backstory as. Well the thing about like his family being.

1761
01:35:44,000 --> 01:35:48,439
Speaker 3: Murdered it's a Weird it's weird because The barnes backstory

1762
01:35:48,479 --> 01:35:52,040
Speaker 3: is on one, hand like, hackneyed, obvious overly familiar for

1763
01:35:52,120 --> 01:35:54,160
Speaker 3: this type of, character you, know the, Copy he's taken

1764
01:35:54,160 --> 01:35:56,840
Speaker 3: it too, personal and at the same time it is

1765
01:35:57,080 --> 01:36:01,599
Speaker 3: excessively cruel and horrible for the context of this goofy,

1766
01:36:01,680 --> 01:36:04,559
Speaker 3: movie AND i felt a similar way about a lot

1767
01:36:04,600 --> 01:36:08,599
Speaker 3: of these. Scenes like the club scene is at once

1768
01:36:08,840 --> 01:36:14,240
Speaker 3: like goofy but also just a little too. Nasty it's like,

1769
01:36:14,360 --> 01:36:15,840
Speaker 3: both it's going off in both.

1770
01:36:15,880 --> 01:36:18,479
Speaker 2: Directions, yeah, yeah SO i THINK i think you're right

1771
01:36:18,479 --> 01:36:20,080
Speaker 2: there that the tone is off.

1772
01:36:20,080 --> 01:36:30,040
Speaker 3: Here of, course this all gets interrupted When barnes shows,

1773
01:36:30,120 --> 01:36:31,880
Speaker 3: up and this leads to a shootout and a car.

1774
01:36:32,000 --> 01:36:34,160
Speaker 3: Chase i'm not going to narrate all the action, scenes

1775
01:36:34,520 --> 01:36:36,760
Speaker 3: but a lot of the rest of the movie follows this.

1776
01:36:36,880 --> 01:36:40,600
Speaker 3: Format sid goes, somewhere he starts. Rampaging he wants to

1777
01:36:40,600 --> 01:36:44,320
Speaker 3: be on. Camera he's killing, people taking. Hostages barnes, arrives

1778
01:36:44,439 --> 01:36:46,840
Speaker 3: there is a fight and a, chase and Then sid gets.

1779
01:36:46,880 --> 01:36:49,280
Speaker 2: Away, yeah and then they need to go find, him

1780
01:36:49,320 --> 01:36:51,840
Speaker 2: and they realize that he is going to go where

1781
01:36:51,840 --> 01:36:53,960
Speaker 2: the attention. Is he's going to go where the media. Is,

1782
01:36:54,280 --> 01:36:56,880
Speaker 2: yeah and that's how we end up following, him for,

1783
01:36:56,960 --> 01:36:58,200
Speaker 2: instance to the to the.

1784
01:36:58,240 --> 01:37:00,720
Speaker 3: Octagon oh, Boy, okay so, YEAH i think we're near

1785
01:37:00,840 --> 01:37:02,479
Speaker 3: the end of our plot recap, here but we do

1786
01:37:02,560 --> 01:37:03,879
Speaker 3: have to talk about THE ufc.

1787
01:37:03,920 --> 01:37:06,640
Speaker 2: Scene, Yeah SO i was EXPECTED i Had, AGAIN i

1788
01:37:06,640 --> 01:37:11,120
Speaker 2: hadn't seen virtuosity in its, ENTIRETY i. Think BUT i

1789
01:37:11,160 --> 01:37:12,920
Speaker 2: was looking over the cast AND i, noticed, oh, Well

1790
01:37:12,960 --> 01:37:14,960
Speaker 2: ken shamrocks in, this it looks like there's going to

1791
01:37:15,000 --> 01:37:18,040
Speaker 2: be SOME ufc. Action SO i was prepared for some

1792
01:37:18,080 --> 01:37:22,200
Speaker 2: potentially HAMMY ufc product. Integration AND i would have to

1793
01:37:22,200 --> 01:37:24,760
Speaker 2: SAY i was a bit shocked by how negatively the

1794
01:37:24,800 --> 01:37:28,280
Speaker 2: film PORTRAYS mma AND mma, fandom yes.

1795
01:37:28,479 --> 01:37:32,400
Speaker 3: Virtuosity it depicts THE ufc as like a blood cult

1796
01:37:32,560 --> 01:37:36,599
Speaker 3: in which the the the audience are fanatical acolytes that

1797
01:37:36,760 --> 01:37:39,800
Speaker 3: chant in unison for death even as people are like

1798
01:37:39,960 --> 01:37:41,679
Speaker 3: murdered in the audience around.

1799
01:37:41,680 --> 01:37:44,400
Speaker 2: Them, yeah it's like they're a bunch of, bloodthirsty half

1800
01:37:44,479 --> 01:37:47,839
Speaker 2: naked savages who only pause in their chanting to violently

1801
01:37:47,840 --> 01:37:49,920
Speaker 2: attack or grope each other like. That how that's how

1802
01:37:49,960 --> 01:37:52,640
Speaker 2: the movie is PRESENTING. Ufc and even action in the

1803
01:37:52,680 --> 01:37:56,519
Speaker 2: octagon doesn't even resemble an ACTUAL mma. Match it's like

1804
01:37:56,560 --> 01:37:58,760
Speaker 2: two different fights are going. ON i think there's a

1805
01:37:58,800 --> 01:38:00,360
Speaker 2: ref in, there but it's just pure.

1806
01:38:00,439 --> 01:38:03,479
Speaker 3: Chaos it was only their ambitious image of what the

1807
01:38:03,479 --> 01:38:04,160
Speaker 3: future could.

1808
01:38:04,160 --> 01:38:09,680
Speaker 2: Hold, yeah and So sid shows up notices that like

1809
01:38:10,160 --> 01:38:12,800
Speaker 2: a pretty lady is on like the what The Titan

1810
01:38:12,880 --> 01:38:15,040
Speaker 2: tron or whatever the heck the big screen is. There

1811
01:38:15,240 --> 01:38:18,400
Speaker 2: he goes up and is creepy towards her and then

1812
01:38:18,720 --> 01:38:21,760
Speaker 2: like pulls out a, gun does a backflip into the,

1813
01:38:21,800 --> 01:38:25,519
Speaker 2: octagon intentionally landing like on his head and, back and

1814
01:38:25,560 --> 01:38:29,040
Speaker 2: then gets up and starts intimidating all the dudes in the,

1815
01:38:29,040 --> 01:38:32,479
Speaker 2: octagon Including Ken. SHAMROCK i was a little disappointed that

1816
01:38:32,560 --> 01:38:34,559
Speaker 2: The World's Most Dangerous man didn't make a move On,

1817
01:38:34,680 --> 01:38:35,679
Speaker 2: sid but fair.

1818
01:38:35,800 --> 01:38:39,280
Speaker 3: ENOUGH i don't know about Most Dangerous man's. STATUS i

1819
01:38:39,320 --> 01:38:41,720
Speaker 3: only Remember Ken. Shameron wasn't he in THE wwf in the?

1820
01:38:41,800 --> 01:38:44,840
Speaker 2: Nineties he, Was, yeah, okay that's ALL i. Remember he

1821
01:38:44,880 --> 01:38:46,680
Speaker 2: had some matches With. Vader so it's, like if he's

1822
01:38:46,720 --> 01:38:48,280
Speaker 2: going to stand up To, vader you'd think he'd stand

1823
01:38:48,320 --> 01:38:50,720
Speaker 2: up To. Sid but you, know he's, like it's, LIKE

1824
01:38:50,760 --> 01:38:52,880
Speaker 2: i see you got blue blood coming out of. You fair,

1825
01:38:53,000 --> 01:38:53,679
Speaker 2: Enough i'm standing.

1826
01:38:53,760 --> 01:38:56,880
Speaker 3: Back that's smart, Move. Ken don't be a.

1827
01:38:56,920 --> 01:38:59,880
Speaker 2: Hero so basically the same thing is going to happen, here, Right,

1828
01:39:00,320 --> 01:39:03,639
Speaker 2: Yeah parker shows, up runs shoots at, him more blue,

1829
01:39:03,640 --> 01:39:05,920
Speaker 2: blood more, violence and then he gets. Away.

1830
01:39:06,240 --> 01:39:09,120
Speaker 3: Yeah and, now AS i, mentioned or MAYBE i didn't

1831
01:39:09,120 --> 01:39:11,559
Speaker 3: mention this, earlier there's a whole. Thing i'm not gonna bother.

1832
01:39:11,680 --> 01:39:14,040
Speaker 3: Explaining in the middle of the, Movie barnes gets framed

1833
01:39:14,080 --> 01:39:17,000
Speaker 3: for a, murder so he gets re arrested and all

1834
01:39:17,040 --> 01:39:19,960
Speaker 3: this stuff. Happens sid actually sets him free because he

1835
01:39:20,000 --> 01:39:22,519
Speaker 3: wants to. Play it's like The joker In. Batman it's,

1836
01:39:22,560 --> 01:39:26,680
Speaker 3: LIKE i need, you you complete. Me the climax of

1837
01:39:26,680 --> 01:39:29,680
Speaker 3: the film takes place in a skyscraper that is the

1838
01:39:29,680 --> 01:39:34,920
Speaker 3: home of A tv station where there is a televised debate.

1839
01:39:35,040 --> 01:39:37,200
Speaker 3: Happening that's what Draws sid there because he's, like he

1840
01:39:37,240 --> 01:39:42,320
Speaker 3: wants attention about a current political controversy over. Immigration this

1841
01:39:42,400 --> 01:39:44,840
Speaker 3: part kind of came out of nowhere and hit uncomfortably.

1842
01:39:44,880 --> 01:39:48,439
Speaker 3: Hard but so there's like one guy ON tv saying

1843
01:39:48,479 --> 01:39:51,439
Speaker 3: like immigration breathes life into the, culture and another guy

1844
01:39:51,600 --> 01:39:54,720
Speaker 3: demagoguing against immigrants and saying we got to close the,

1845
01:39:54,760 --> 01:39:57,719
Speaker 3: border and Then sid shows up and does the same.

1846
01:39:57,760 --> 01:40:00,800
Speaker 3: Thing he shoots, people takes hostages and takes over the live.

1847
01:40:00,880 --> 01:40:05,080
Speaker 2: Broadcast he takes over, it redubs it what MURDER, Tv

1848
01:40:05,439 --> 01:40:08,960
Speaker 2: MURDER tv or DEATH TV. Tv, yeah and also has

1849
01:40:09,000 --> 01:40:10,080
Speaker 2: his own like.

1850
01:40:10,240 --> 01:40:15,800
Speaker 3: Logo yeah he brought a graphics. Package yeah he really.

1851
01:40:15,800 --> 01:40:18,559
Speaker 2: DID i MEAN i guess he's a virtual reality, thing

1852
01:40:18,680 --> 01:40:20,600
Speaker 2: so he can do that sort of sort of.

1853
01:40:20,680 --> 01:40:24,160
Speaker 3: Thing so as he torments and terrorizes the hostages on,

1854
01:40:24,240 --> 01:40:26,960
Speaker 3: air he's he's still he's like obsessed with checking out his.

1855
01:40:27,120 --> 01:40:29,680
Speaker 3: Ratings he's, like, look what what Ratings i'm? Getting? Oh,

1856
01:40:29,760 --> 01:40:31,840
Speaker 3: Yeah the viewers love. This they love the way you're

1857
01:40:31,880 --> 01:40:36,000
Speaker 3: screaming more tuning in every, minute and once again this

1858
01:40:36,240 --> 01:40:41,840
Speaker 3: surprisingly interesting theme Linking sid's sadism and cruelty fundamentally with

1859
01:40:41,880 --> 01:40:46,519
Speaker 3: his desire for attention mediated by, technology and in, fact

1860
01:40:46,640 --> 01:40:49,240
Speaker 3: the good guys sort of defeat him, here at least in,

1861
01:40:49,280 --> 01:40:52,760
Speaker 3: part distract him by cutting the. Feed they, like turn

1862
01:40:52,840 --> 01:40:55,759
Speaker 3: off the broadcast and limit his access to his, audience

1863
01:40:56,040 --> 01:40:59,759
Speaker 3: And zid hates, this and this leads to a final

1864
01:40:59,840 --> 01:41:02,680
Speaker 3: chain and fight in the network building Between barnes And.

1865
01:41:02,720 --> 01:41:06,640
Speaker 3: Sid of, course as one could have guessed from developments,

1866
01:41:06,640 --> 01:41:10,639
Speaker 3: Earlier sid has Taken carter's daughter, hostage and they while

1867
01:41:10,640 --> 01:41:13,040
Speaker 3: they're chasing, around they're, like where's the Girl and there's

1868
01:41:13,080 --> 01:41:15,160
Speaker 3: a there's a booby trap bomb and all that kind of.

1869
01:41:15,160 --> 01:41:17,679
Speaker 3: Stuff BUT i don't, Know, rob are there any elements

1870
01:41:17,680 --> 01:41:18,600
Speaker 3: of the climax you want to?

1871
01:41:18,640 --> 01:41:21,120
Speaker 2: Hit? YEAH i mean they get. It, Basically parker And

1872
01:41:21,160 --> 01:41:24,120
Speaker 2: sid get a, big die hard sque battle on top

1873
01:41:24,160 --> 01:41:27,040
Speaker 2: of the, skyscraper And sid plummets through a whole bunch

1874
01:41:27,040 --> 01:41:29,840
Speaker 2: of glass panels and is impaled on like a million

1875
01:41:29,880 --> 01:41:33,559
Speaker 2: pieces of. Glass and Then parker goes down to, like you,

1876
01:41:33,600 --> 01:41:36,040
Speaker 2: know check, out see if he's. Dead he's not dead.

1877
01:41:36,080 --> 01:41:37,960
Speaker 2: Yet we get a nice tight scene where he's trying

1878
01:41:38,000 --> 01:41:40,759
Speaker 2: to Pull parker into the the sharp shards of. Glass

1879
01:41:40,800 --> 01:41:44,439
Speaker 2: he's regenerating off of the, glass because, remember eating glass

1880
01:41:44,479 --> 01:41:47,080
Speaker 2: and touching wounds to glass is how he. Heals but

1881
01:41:47,240 --> 01:41:49,559
Speaker 2: there's a lot of repair work that needs to happen,

1882
01:41:49,600 --> 01:41:52,559
Speaker 2: here and before he can do, It parker reaches in

1883
01:41:52,560 --> 01:41:54,960
Speaker 2: through the back of his skull and rips out his

1884
01:41:55,040 --> 01:41:58,840
Speaker 2: little module and seemingly defeats the. Villain but then they're,

1885
01:41:58,840 --> 01:42:00,719
Speaker 2: like but we don't know where the girl is, hidden

1886
01:42:00,760 --> 01:42:02,559
Speaker 2: and then we get. IT i thought this was a nice.

1887
01:42:02,600 --> 01:42:05,240
Speaker 2: Twist they like load him back up in the virtual

1888
01:42:05,520 --> 01:42:10,519
Speaker 2: they replay what just, happened but but they let him

1889
01:42:10,520 --> 01:42:12,559
Speaker 2: get the upper hands so that he'll spill where the

1890
01:42:12,600 --> 01:42:13,400
Speaker 2: girl is. Hiding.

1891
01:42:13,720 --> 01:42:15,880
Speaker 3: RIGHT i thought this was actually a pretty clever twist

1892
01:42:16,000 --> 01:42:19,000
Speaker 3: where s, yeah that's. Right so they what they need

1893
01:42:19,080 --> 01:42:21,679
Speaker 3: is information From, sid so they killed. Him they defeated

1894
01:42:21,760 --> 01:42:24,120
Speaker 3: him too, early so they have to go back into

1895
01:42:24,160 --> 01:42:26,960
Speaker 3: the virtual world trick him into thinking he's still in

1896
01:42:27,000 --> 01:42:29,840
Speaker 3: the real world so that he will spill the, beans you,

1897
01:42:29,880 --> 01:42:32,479
Speaker 3: know really give his villain monologue where he reveals the,

1898
01:42:32,479 --> 01:42:37,599
Speaker 3: information Which parker AND u and doctor And madison both

1899
01:42:37,680 --> 01:42:39,120
Speaker 3: that they work together to figure that.

1900
01:42:39,160 --> 01:42:41,680
Speaker 2: Out, yeah so that was, solid and of course we.

1901
01:42:41,680 --> 01:42:44,559
Speaker 2: Do we also get a scene Where sid realizes he's

1902
01:42:44,560 --> 01:42:46,840
Speaker 2: been caught and he jokes out real, hard and we

1903
01:42:46,880 --> 01:42:49,920
Speaker 2: get this scene with like multiple sid, faces digital sid

1904
01:42:49,960 --> 01:42:56,479
Speaker 2: faces making angry expressions extreme. Jobing, yes, yeah but then

1905
01:42:56,600 --> 01:43:01,200
Speaker 2: the plot requires us to also just arm of bomby

1906
01:43:01,439 --> 01:43:05,880
Speaker 2: that The Little girl's place of concealment is booby trapped

1907
01:43:05,880 --> 01:43:09,280
Speaker 2: With and this scene just feels very anticlimactic to. Me it's,

1908
01:43:09,320 --> 01:43:12,400
Speaker 2: like we just had like a really awesome final. Fight

1909
01:43:12,800 --> 01:43:15,880
Speaker 2: we had this nice little twist on top of that final,

1910
01:43:15,920 --> 01:43:19,200
Speaker 2: fight but now we're just doing like a standard you,

1911
01:43:19,240 --> 01:43:20,519
Speaker 2: know LIKE tv show bomb.

1912
01:43:20,520 --> 01:43:23,719
Speaker 3: Disartment, yeah which wire is? It and the final solution

1913
01:43:23,880 --> 01:43:28,240
Speaker 3: to the bomb deactivation Involves barnes using components from his bionic.

1914
01:43:28,320 --> 01:43:31,360
Speaker 3: Arm did you remember that he had a bionic arm

1915
01:43:31,400 --> 01:43:31,600
Speaker 3: at this.

1916
01:43:31,720 --> 01:43:34,439
Speaker 2: POINT i only thought of it when he ripped the

1917
01:43:34,479 --> 01:43:36,120
Speaker 2: module out of the. HEAD i was, LIKE i guess

1918
01:43:36,200 --> 01:43:39,000
Speaker 2: because it CLEARLY i felt like we'd sprinkled this detail

1919
01:43:39,080 --> 01:43:40,720
Speaker 2: enough to where it would have to come back and have,

1920
01:43:40,840 --> 01:43:43,080
Speaker 2: meaning AND i, thought, WELL i guess that was. It

1921
01:43:43,080 --> 01:43:46,880
Speaker 2: it was because he used the prosthetic arm to rip

1922
01:43:46,920 --> 01:43:50,080
Speaker 2: out the, Module so it kind of surprised. Me, Again it's, like, Oh,

1923
01:43:50,120 --> 01:43:52,840
Speaker 2: okay this is how we're actually going to make use

1924
01:43:52,880 --> 01:43:53,080
Speaker 2: of this.

1925
01:43:53,160 --> 01:43:56,120
Speaker 3: Detail he like pulls fiber optics out of his forearm

1926
01:43:56,160 --> 01:43:58,559
Speaker 3: and then like inserts them into the bomb to defuse.

1927
01:43:58,600 --> 01:44:02,240
Speaker 3: It that's pretty. Good. Yeah also in the, end when

1928
01:44:02,280 --> 01:44:06,799
Speaker 3: they Defeat barnes DESTROYS sid six point seven's character module,

1929
01:44:06,800 --> 01:44:10,360
Speaker 3: bite throwing it off the top of the. Skyscraper, MAN

1930
01:44:10,479 --> 01:44:12,960
Speaker 3: i feel LIKE i would have done something a little more. Certain,

1931
01:44:13,479 --> 01:44:16,080
Speaker 3: yeah we do like follow up and we see it

1932
01:44:16,160 --> 01:44:18,200
Speaker 3: run over by a, truck so it's all. Good sid's.

1933
01:44:18,200 --> 01:44:20,280
Speaker 3: Gone but wouldn't you would you want to make sure

1934
01:44:20,320 --> 01:44:21,760
Speaker 3: it was. Destroyed you don't even know where it.

1935
01:44:21,840 --> 01:44:24,840
Speaker 2: Lands, yeah what it landed in the back of like

1936
01:44:24,880 --> 01:44:28,840
Speaker 2: a shipment of? Pillows or something OR i don't. KNOW

1937
01:44:28,880 --> 01:44:31,800
Speaker 2: i don't. Know there are so many ways that could

1938
01:44:31,840 --> 01:44:33,880
Speaker 2: have been. Saved or maybe it hits somebody in the

1939
01:44:33,880 --> 01:44:36,320
Speaker 2: head and gets embedded in their. Brain what happens, THEN

1940
01:44:36,360 --> 01:44:36,679
Speaker 2: i don't.

1941
01:44:36,680 --> 01:44:38,240
Speaker 3: Know Guess i'm your party.

1942
01:44:38,280 --> 01:44:41,800
Speaker 2: Man so that is virtuosity in all its.

1943
01:44:41,800 --> 01:44:45,240
Speaker 3: GLORY i feel like we still actually didn't hit everything

1944
01:44:45,280 --> 01:44:49,479
Speaker 3: that's potentially interesting about. It but, YES i will vouch for.

1945
01:44:49,560 --> 01:44:53,400
Speaker 3: It the viewing. Experience despite some tonal, mismatch some things

1946
01:44:53,400 --> 01:44:55,760
Speaker 3: that are just just go a little bit harder than

1947
01:44:55,760 --> 01:44:57,680
Speaker 3: they need to or a little bit nastier than they

1948
01:44:57,720 --> 01:45:01,599
Speaker 3: need to, be it is still a, pretty uh in,

1949
01:45:01,640 --> 01:45:04,400
Speaker 3: fact quite, funny nostalgic and enjoyable.

1950
01:45:04,439 --> 01:45:07,240
Speaker 2: Experience, yeah it is A it's a movie that will

1951
01:45:07,240 --> 01:45:09,360
Speaker 2: make you laugh and it will make you think there's.

1952
01:45:09,479 --> 01:45:12,800
Speaker 2: There there are various parts of this film that the

1953
01:45:12,960 --> 01:45:17,719
Speaker 2: do connect in interesting ways with with where we are, now, technologically, socially,

1954
01:45:17,760 --> 01:45:18,400
Speaker 2: politically and.

1955
01:45:18,479 --> 01:45:21,639
Speaker 3: MORE i just want to, say one last, time hats

1956
01:45:21,640 --> 01:45:25,720
Speaker 3: off To russell And. DENZEL i MEAN i advocate. THIS i,

1957
01:45:25,760 --> 01:45:29,400
Speaker 3: think like a list actors should take the time to do,

1958
01:45:29,560 --> 01:45:33,200
Speaker 3: weird trashy little b movies and just and just go

1959
01:45:33,320 --> 01:45:35,599
Speaker 3: all the, way don't hold, back do give it your.

1960
01:45:35,640 --> 01:45:39,559
Speaker 2: Best absolutely all, Right we're gonna go and close out

1961
01:45:39,600 --> 01:45:42,599
Speaker 2: this episode Of Weird House, cinema but we would love

1962
01:45:42,600 --> 01:45:45,080
Speaker 2: to hear from everyone out. There what do You what

1963
01:45:45,080 --> 01:45:46,920
Speaker 2: do you think Of? Virtuosity did you see it back

1964
01:45:46,960 --> 01:45:48,240
Speaker 2: in the nineties when it came out or do you

1965
01:45:48,280 --> 01:45:51,880
Speaker 2: at least remember the? Trailers have you rediscovered it or

1966
01:45:51,920 --> 01:45:54,559
Speaker 2: watched it for the first time in recent, Years we

1967
01:45:54,600 --> 01:45:57,880
Speaker 2: would love to hear your. Thoughts as a, reminder Stuffed

1968
01:45:57,880 --> 01:45:59,880
Speaker 2: Able Your mind is primarily a science and culture podc

1969
01:46:00,080 --> 01:46:02,280
Speaker 2: asked with core episodes On tuesdays And, thursdays but On

1970
01:46:02,320 --> 01:46:04,479
Speaker 2: fridays we set aside most serious concerns to just talk

1971
01:46:04,479 --> 01:46:07,080
Speaker 2: about a weird film On Weird House. Cinema we've been

1972
01:46:07,080 --> 01:46:10,639
Speaker 2: doing this for one hundred and ninety nine, films and

1973
01:46:10,960 --> 01:46:13,719
Speaker 2: the next episode we do will be the two Hundredth

1974
01:46:13,880 --> 01:46:16,800
Speaker 2: Weird House cinema, Selection so check back in and see

1975
01:46:16,840 --> 01:46:19,640
Speaker 2: what we finally decide on for. That and if you

1976
01:46:19,760 --> 01:46:22,120
Speaker 2: want to stay abreast of all the movies we've covered thus,

1977
01:46:22,160 --> 01:46:23,840
Speaker 2: far a great way to do it is to head

1978
01:46:23,880 --> 01:46:27,000
Speaker 2: on over to letterbox dot com our profile there Is

1979
01:46:27,080 --> 01:46:29,320
Speaker 2: weird house and you can find a nice list of.

1980
01:46:29,400 --> 01:46:31,760
Speaker 3: Everything do you know what two hundred is when it's

1981
01:46:31,840 --> 01:46:33,520
Speaker 3: upside down in? Dreams?

1982
01:46:34,080 --> 01:46:36,720
Speaker 2: Oh what is? It it's double as? Seven is?

1983
01:46:36,760 --> 01:46:40,960
Speaker 3: IT i don't? Know it's gonna say almost maybe it's ooh, okay,

1984
01:46:41,960 --> 01:46:45,839
Speaker 3: anyway huge thanks as always to our excellent audio Producer.

1985
01:46:45,920 --> 01:46:48,120
Speaker 3: Jjposway if you would like to get in touch with

1986
01:46:48,200 --> 01:46:50,240
Speaker 3: us with feedback on this episode or any, other to

1987
01:46:50,360 --> 01:46:52,479
Speaker 3: suggest a topic for the, future or just to say,

1988
01:46:52,479 --> 01:46:55,200
Speaker 3: hello you can email us at contact at stuff To

1989
01:46:55,240 --> 01:46:56,280
Speaker 3: blow Your mind dot.

1990
01:46:56,320 --> 01:47:05,680
Speaker 1: Com stuff To Blow Your mind is production Of. iHeartRadio

1991
01:47:06,000 --> 01:47:09,400
Speaker 1: for more podcasts From, iHeartRadio visit The iHeartRadio, App Apple,

1992
01:47:09,479 --> 01:47:11,479
Speaker 1: podcasts or wherever you listen to your favorite.

1993
01:47:11,520 --> 01:47:11,880
Speaker 2: Shows