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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. This is Rob Lamb.

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Speaker 2: My regular co host Joe McCormick is on holiday leave

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Speaker 2: this week, so for this episode, I'm joined once more

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Speaker 2: by my friend and fellow podcaster, David Streepy, the co

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Speaker 2: host of the podcast, talking tofu.

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Speaker 3: Hey, Hi, thanks Rob, Sorry I missed you again, Joe,

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Speaker 3: and hello again to the stuffies. It's good to see

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Speaker 3: you all, because I can't I can see you all.

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Speaker 2: So during October of last year, you came on the

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Speaker 2: show to discuss the nineteen eighty seven kid centric horror

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Speaker 2: film The Gate, and we were talking about, well, what

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Speaker 2: films shall we do this time? And of course, right

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Speaker 2: there staring back at us was the possibility of doing

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Speaker 2: the nineteen ninety sequel, The Gate to aka Gate to

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Speaker 2: the Trustpath also Gate two, Return of the Nightmare. I

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Speaker 2: don't know, neither of those titles really sounds authentic. They

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Speaker 2: both sound like they're they're they're potentially better suited for

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Speaker 2: another movie.

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Speaker 3: Yeah, I think, you know, classifying The Gate one as

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Speaker 3: kid centric is a really appropriate way to capture what

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Speaker 3: makes it kind of I mean, let's let's be honest,

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Speaker 3: it's it struggles as a movie, but it has some

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Speaker 3: charm in that charm is largely in the kidness of it.

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Speaker 3: I think Gate two does grow up a little bit

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Speaker 3: because it is more about teenage fantasies. But yeah, I

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Speaker 3: don't think I think Trespassers is maybe appropriate because I

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Speaker 3: think that is kind of what and I'm doing a

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Speaker 3: lot of the work here connecting these dots. I think

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Speaker 3: that's what kicks off a lot of the events in

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Speaker 3: the movie. But return to the Nightmare doesn't really match

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Speaker 3: to me because I don't know they they brought it

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Speaker 3: on themselves, you know. Yeah, so, which is a very

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Speaker 3: teenage thing to do.

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Speaker 2: Yeah, basically, we in this film, we're gonna follow Terry

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Speaker 2: from the first film, and due to some situations we'll

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Speaker 2: get into, he's decided, you know, I'm older, I'm wiser now,

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Speaker 2: I'm probably as wise as I'm going to get, like

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Speaker 2: peak wiseness. I think I can do this dark sorcery

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Speaker 2: thing again and do it right this time and greatly

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Speaker 2: benefit from the match.

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Speaker 3: Yeah, and it is a very teen hubris of I

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Speaker 3: can do this. I've got this figured out, and yeah,

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Speaker 3: we'll get into it, but the degree to which he

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Speaker 3: technically seems to have it figured out is one thing,

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Speaker 3: and the degree to which he knows what he's getting

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Speaker 3: into is kind of a different matter altogether. I do

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Speaker 3: want to say that Gate two, like just calling it

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Speaker 3: Gate to not the Gate too or anything like that,

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Speaker 3: really leans into the cultiness of it, which it kind

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Speaker 3: of self proclaims. Gate want the Gate as a cult success.

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Speaker 3: I have no idea whether it was or not at

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Speaker 3: the time, but this makes me feel like I'm the

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Speaker 3: one who's out of the loop here. Obviously Gate is

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Speaker 3: a thing, and now we're talking about Gate two.

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Speaker 2: Yeah, the kids just call it Gate. So to refresh,

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Speaker 2: Gate one again was largely, I would say, largely good

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Speaker 2: hearted supernatural tale with lots of monsters, lots of cool

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Speaker 2: special effects about suburban kids and they're brushed with demons

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Speaker 2: from beyond this magical gate that they open up through

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Speaker 2: dark magic. Yeah, and then this movie is more of

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Speaker 2: an awkward teen film that just centers around Terry this

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Speaker 2: time and engages some serious attempts to engage some serious

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Speaker 2: subject matter, touches on some themes of awkwardness and coming

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Speaker 2: of age, but also engages in some nineties NERD teen

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Speaker 2: power trip goodness that I thought was pretty amusing, and

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Speaker 2: at times I think maybe struggles to figure out what

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Speaker 2: its identity is.

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Speaker 3: Yeah, for sure, I think the movie knows what it likes,

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Speaker 3: it knows what it enjoyed from the first iteration of this,

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Speaker 3: and it's trying to extend those things. But there's not

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Speaker 3: really another story here. It's just more some stuff that

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Speaker 3: happens to some people, and there are some branches of

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Speaker 3: that make more sense than others, but really it is

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Speaker 3: just kind of what happened the next year, the next

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Speaker 3: two years whatever to Terry and how did he kind

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Speaker 3: of mine this darkness further?

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Speaker 2: You know.

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Speaker 3: So it's interesting if you're interested in that sort of thing.

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Speaker 3: But I don't know that it has the arc that

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Speaker 3: Gate One had.

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Speaker 2: Yeah, I had read. I don't know to what degree

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Speaker 2: this was true or not, but supposedly at one point

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Speaker 2: had a PG. Thirteen rating, and it was I think,

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Speaker 2: on the shelf for a year or two before it

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Speaker 2: finally came out in nineteen ninety. But I'm to understand

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Speaker 2: they added some stoner humor in there, some stoner elements

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Speaker 2: concerning some of the characters in order to make Get

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Speaker 2: appeal more to horror fans, and in doing so, bumped

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Speaker 2: it up to an R.

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Speaker 3: I wonder what part of the movie you're talking about, right,

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Speaker 3: I can't even get there.

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Speaker 2: But uh, I have to say, for an R rated

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Speaker 2: film from nineteen ninety, this is a I think that's

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Speaker 2: a pretty soft R. Yeah, for the most part, there's

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Speaker 2: As we were discussing off Mike, this film's a little grosser, yeah,

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Speaker 2: the first one, and maybe leans a little less on

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Speaker 2: the just you know, the special effects, but also has

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Speaker 2: some fun special effects in it.

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Speaker 3: Yeah. I think this, you know. It stuck out to

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Speaker 3: me that the special effects were more present throughout the

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Speaker 3: film than Gate One, but there are fewer of them,

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Speaker 3: I think, so it takes more smaller swings and nothing

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Speaker 3: really matches the power of that big moment in Gate One,

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Speaker 3: which is like legit impressive, I do want to say.

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Speaker 3: And speaking of talking off Mike, we discussed how I'm

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Speaker 3: in Orlando for the holidays, and I am. I grew

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Speaker 3: up in Orlando. I watched this movie last night in

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Speaker 3: my childhood bedroom, and I think I kind of my

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Speaker 3: brain was on two parallel paths. One, I'm a man

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Speaker 3: in my forties in my childhood bedroom, watching Gate and

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Speaker 3: two by myself over the holidays. But two, I'm watching

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Speaker 3: Gate two probably in the best environment that it could

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Speaker 3: have possibly been, in the exact same spot where I

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Speaker 3: would have done it in nineteen ninety had I had

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Speaker 3: access to it. My parents would never have let me

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Speaker 3: rent this movie. But if I had permission to, I

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Speaker 3: would have been like in the sweet spot of an

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Speaker 3: environment to watch that movie. So I was kind of

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Speaker 3: enjoying it on two different levels.

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Speaker 2: Though again, it's interesting this is the kind of film

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Speaker 2: that parents might not have left their kid rent. But

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Speaker 2: on the other hand, again pretty tame compared to many

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Speaker 2: of the other things on the shelf during this time period.

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Speaker 3: Yeah, I think it levels up the insensitive language unfortunately,

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Speaker 3: which Gate one was kind of problematic and did not

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Speaker 3: age well in that regard. But yeah, I think there's grossness,

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Speaker 3: but it's not even really gore grossness. It's just objective grossness.

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Speaker 2: So if I was to do an elevator picture this one,

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Speaker 2: I would say it's I was a teenage sorcery. That's

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Speaker 2: basically the idea. Terry from the first film is now

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Speaker 2: an awkward teenager and he's going to solve all his

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Speaker 2: problems with sorcery, and to a certain extent he does,

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Speaker 2: as we'll discuss.

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Speaker 3: Yeah, it's hard for me, there's one thing that Terry

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Speaker 3: wants to fix. But he does seem to be interested

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Speaker 3: in a larger idea of sorcery than the movie really

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Speaker 3: gives him credit for or bothers to explain, like there's

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Speaker 3: no what then to what he unleashes, you know.

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Speaker 2: Yeah, and in a sense, I guess it kind of

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Speaker 2: vibes with this idea of where he's supposed to be

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Speaker 2: in his life.

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Speaker 4: You know.

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Speaker 2: I think one of the things that works well in

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Speaker 2: the film is that they did seem to really care

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Speaker 2: about trying to capture Terry as a teenager and put

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Speaker 2: a lot of thought into like, you know, what is

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Speaker 2: supposed to be going on in his head and in

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Speaker 2: his worldview and and and I think there are aspects

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Speaker 2: of that that you know, you can connect with watching

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Speaker 2: the film.

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Speaker 3: Yeah, Terry definitely has a few different dimensions to him,

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Speaker 3: arguably the only character that you could say that about

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Speaker 3: in this movie. But they do try to do right

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Speaker 3: by Terry's teen angst for lack of a better word, all.

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Speaker 2: Right, Well, let's go ahead and listen to the trailer.

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Speaker 4: Addie the first time was just a warning. Gate two.

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Speaker 4: Problem with him that well, in the Gate problem was

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Speaker 4: that we didn't do it right humanology. You've all against

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Speaker 4: the interdimensional contact with beings. Just power can be used

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Speaker 4: for anything you want anything.

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Speaker 2: It's like the circle, it's mark.

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Speaker 4: This time it's not coming through your backyard.

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Speaker 2: Oh my god, this time it.

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Speaker 5: Comes through you. Jake two, it turned to the Nightmare.

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Speaker 2: All right, sounds pretty fun. Right, Well, if you want

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Speaker 2: to watch this film before proceeding with the rest of

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Speaker 2: the episode, well, it's widely available for digital purchase or rental.

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Speaker 2: Shout Factory put out a really nice blu ray of

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Speaker 2: the film in twenty eighteen, and that's also widely available

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Speaker 2: right now. I watched it on a TV in my

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Speaker 2: living room. And did you watch it in a basement

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Speaker 2: or just a childhood bedroom.

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Speaker 3: I was just in a childhood bedroom, and I was

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Speaker 3: on an iPad, which, to be fair, would not have

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Speaker 3: existed in nineteen ninety. But I got it through screen picks,

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Speaker 3: I believe is where I was able to find it.

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Speaker 2: I believe that's where I got it as well. Yeah,

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Speaker 2: all right, well, let's jump into just talk about some

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Speaker 2: of the people involved here. A number of these are

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Speaker 2: the very same individuals from the first film, which I

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Speaker 2: think is one of the reasons everything lines up so

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Speaker 2: well with the first film for the most part. And

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Speaker 2: it does feel more or less like a continuation of that,

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Speaker 2: as opposed to just someone else come in and doing

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Speaker 2: a Gate reboot, or doing some other adventure that marginally

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Speaker 2: includes the Gate, or, as is often the case in

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Speaker 2: horror films, you know, obviously some other property, some other

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Speaker 2: script that got switched around a little bit in order

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Speaker 2: to fit an existing franchise.

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Speaker 3: Yeah, it definitely feels like it's woven from the same

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Speaker 3: thread as the original, and it's not just look and feel.

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Speaker 3: It's the reverence for what's important in this movie world

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Speaker 3: that extends into this one.

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Speaker 2: Yeah. So the director once again is t Boar Tacas

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Speaker 2: born nineteen fifty four, Hungarian born director who kicked off

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Speaker 2: his career with the nineteen seventy eight Canadian dystopian rock

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Speaker 2: opera Meta Messiah. He followed that up with eighty seven's

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Speaker 2: The Gate, which of course we previously discussed, and after

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Speaker 2: this he did eighty nine's I Madman and The Gate two.

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Speaker 2: He directed four episodes of the nineteen nineties Outer Limits series.

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Speaker 2: I think, as we discussed last time, these are not

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Speaker 2: episodes that you and I have seen. I don't know.

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Speaker 3: Yeah, I don't think so.

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Speaker 2: And his subsequent credits include a mix of TV episodes,

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Speaker 2: eventually some Sci Fi original programming. He did two thousand

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Speaker 2: and five's Mensquito. He did some Christmas movies, and he's

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Speaker 2: still active making I think, you know, largely lower budget

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Speaker 2: actually action film, but action films that also have recognizable

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Speaker 2: names in them.

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Speaker 3: Yeah, I think mansqito, I'm mad man. These are great

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Speaker 3: things to title your projects.

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Speaker 2: It makes you want it was mansqito, like the working title,

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Speaker 2: and then they're like, no, it's too good. We got

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Speaker 2: to keep it. That's the heart and soul of this picture.

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Speaker 2: Or did Sci Fi come along and say, hmm, looks

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Speaker 2: like you got a Mansqito on it. That's how we're

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Speaker 2: pushing it out.

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Speaker 3: I like to think that the deadline for a better

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Speaker 3: title or the final title came and went, and at

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Speaker 3: some point he was just like, yeah, no, no, it's Mensqito.

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Speaker 2: All right. The writer, once again is Michael Mankin born

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Speaker 2: nineteen fifty five. Accomplished TV director, writer, and producer. He

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Speaker 2: also wrote nineteen eighty seven's Ruskies and episodes of such

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Speaker 2: TV shows as Life Goes On Chicago Hope in the

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Speaker 2: nineteen nineties Flipper series. As a director, he's done a

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Speaker 2: great deal of TV work Life goes On Battlestar Galactic

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Speaker 2: or reboot one episode of The Good Lord Bird. And

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Speaker 2: he's still very active today as a producer, a writer

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Speaker 2: and a director.

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Speaker 3: And he also wrote I'm Adman.

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Speaker 2: Oh that's right, yes, which I haven't seen, but I

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Speaker 2: guess now I have to keep going at some point

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Speaker 2: in order to get the full Teaboard Tacus filmography.

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Speaker 3: I just got that partnership. If it goes. If it's

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Speaker 3: a partnership of three titles, two of which we have seen.

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Speaker 3: We've got to see the third one. I'm not suggesting

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Speaker 3: an episode. I'm not pitching that we do I'm Adman. Next, though,

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Speaker 3: you are something of a completist this. We'll get into

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Speaker 3: these franchise right, like once you start a film franchise,

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Speaker 3: you cannot stop. Unfortunately that's true.

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Speaker 2: Yeah, all right, we'll come back to that in a second.

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Speaker 2: But getting to the cast here, of course, we have

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Speaker 2: Terry back again. The awkward nerdy kid from the first film.

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Speaker 2: This time he prefers to go by Terrence. But he's

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Speaker 2: still going to get called Terry a lot, and I'll

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Speaker 2: probably keep calling him Terry.

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Speaker 3: Yeah, he's Terry in my heart. The movie, I couldn't

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Speaker 3: tell who was trying so hard to push Terrence, whether

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Speaker 3: he was insisting on it with others, or whether it

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Speaker 3: was being used as a pejorative or what. But all

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Speaker 3: my notes say Terry. He's Terry to me. He'll always

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Speaker 3: be Terry to me. Sorry, Lewis, You're Terry.

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Speaker 2: Yeah, Lewis tripp Born's nineteen seventy three. I thought he

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Speaker 2: was pitched perfect in the first film as the awkward,

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Speaker 2: nerdy eighties kid best friend of Stephen Dwarf's character Glenn.

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Speaker 2: Now he is in the lead, and I think he

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Speaker 2: once again pulls out a very nice performance. I think

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Speaker 2: it's a great continuation of the character. You know, just

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Speaker 2: just totally selling this idea of this awkward dungeon master

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Speaker 2: who gets way too much on supervised time in his parents' basement.

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Speaker 3: Yeah. I think Terry in the first one is total

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Speaker 3: latchkey kid. Hard emphasis on the latch key part. He's

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Speaker 3: by himself most of the time, or that's the vibe

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Speaker 3: you get from seeing the state of his room, the

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Speaker 3: state of his house, and how much he's hanging out

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Speaker 3: with Glenn, and you see it he's kind of disheveled too.

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Speaker 3: He's like a metal head kid who doesn't really know

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Speaker 3: what that is and doesn't really know what a metal

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Speaker 3: head aesthetic is, which is a really cool and authentic

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Speaker 3: sloppiness to him. I think what you see in Gate

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Speaker 3: two is he has grown up. He's a teenager. He's

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Speaker 3: cleaned himself up a bit, but is I think still

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Speaker 3: supposed to present as disheveled. His room is pretty sloppy,

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Speaker 3: but he doesn't have that metal edge that he had

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Speaker 3: in the first one. He does seem to have gone

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Speaker 3: more computer geek, and I think that's is aesthetic. That's

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Speaker 3: how he approaches problems, as we see pretty early on

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Speaker 3: in the movie. So it feels like somebody who's had

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Speaker 3: a little bit of time to think about what he

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Speaker 3: encountered with Glenn in the first gate and maybe didn't

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Speaker 3: have any friends or anybody else to spend time with,

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Speaker 3: so was alone with his thoughts on that. And maybe

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Speaker 3: that's again me doing the work here. Maybe that's where

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Speaker 3: we meet him at the beginning of the movie.

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Speaker 2: Yeah. Yeah, he seems like a kid who does not

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Speaker 2: have a group, you know, not one of the bad

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Speaker 2: kids with the leather jackets who will play an important

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Speaker 2: part in the film. There are no jocks in this film.

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Speaker 2: It's just the bad kids are the only other faction

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Speaker 2: he'll encounter.

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Speaker 3: Yeah, I could believe that John will get to him,

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Speaker 3: but I could believe that John was a sports standout

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Speaker 3: star as well as the greaser, as well as the

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Speaker 3: bad kid, as well as the bad influence. Like I

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Speaker 3: can imagine a small enough town to wear He's everything.

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Speaker 3: But the film doesn't do any work on the jock angle.

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Speaker 2: Yeah. So, Lewis Tripp was a Canadian child actor who

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Speaker 2: wasn't in a whole lot else aside from the Gate

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Speaker 2: to Gate One, of course, some Canadian TV work. He

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Speaker 2: did apparently make a brief return to acting in twenty

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Speaker 2: twenty to play Terry one more time in a short

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Speaker 2: film called Sacrifice. So, you know, I don't know anything

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Speaker 2: about this production, but I'm guessing it was maybe sort

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Speaker 2: of a fan you know, filmmaker passion project, sort of

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Speaker 2: a thing.

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Speaker 3: In the Gate of Verse.

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Speaker 2: You think I think it is supposed to be the

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Speaker 2: gate of Verse, if you will, but I don't think

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Speaker 2: it's like official gatea Verse. It might be, you know,

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Speaker 2: kind of like when you see on IMDb that there

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Speaker 2: are various Star Wars movies that even have like second

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Speaker 2: or third tier Star Wars actors in them, but they're

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Speaker 2: clearly not official entries.

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Speaker 3: Right, But if you got Terry, that's that's like ninety

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Speaker 3: five percent of the way to Cannon at that point.

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Speaker 3: I think it'd be interesting to see what I'm sure

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Speaker 3: that t Woars weighed in on this, So after this,

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Speaker 3: I'm going to look up whether this is blessed by

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Speaker 3: t Boar or not.

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Speaker 2: You mentioned how disheveled Terry is in the film, and

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Speaker 2: I do think that his tennis shoes are key. He

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Speaker 2: has these like enormous white tennis like sneakers. I'm not

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Speaker 2: sure what brand they are, if they were, like if

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Speaker 2: there's the Nikes, I didn't really notice, but I feel

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Speaker 2: like I could smell them through the TV set, you know,

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Speaker 2: like there's something just authentically awkward teenage boy of the

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Speaker 2: nineties about those shoes.

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Speaker 3: Yeah, every just about everybody in this movie, I'll give

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Speaker 3: I'll give some people a pass, but everybody in this

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Speaker 3: movie looks like they smell.

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Speaker 2: Yeah, all right. The next actor of note here is

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Speaker 2: Pamela Adlin. Credited on this film is Pamela Siegel. She

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Speaker 2: plays Liz. Liz is the love interest. She's one of

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Speaker 2: the bad kids, as we'll discuss, but she might just

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Speaker 2: have a heart of gold. We're gonna find out. But

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Speaker 2: Pamela Adlin here born nineteen sixty six, known to many

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Speaker 2: of you American actress, writer, and director. Probably best known

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Speaker 2: to a lot of you as the voice of Bobby

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Speaker 2: on the long running animated series King.

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Speaker 4: Of the Hill.

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Speaker 3: That's right, and once you hear it, you can't unhear it.

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Speaker 2: Yeah. Now, she's also done a lot of acting out

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Speaker 2: She's not just a voice actor. I feel like most

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Speaker 2: of her filmography is voice at this point. But she

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Speaker 2: also had notable appearances on I think fourteen episodes of

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Speaker 2: Louis before heading up the series Better Things That that

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Speaker 2: was quite good and very well received. That ran for

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Speaker 2: what five seasons on FX. But her film credits go

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Speaker 2: all the way back to nineteen eighty two when she

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Speaker 2: appeared in Grease Too, followed by appearances on such TV

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Speaker 2: shows as the Facts of Life, Night Court, The Jeffersons,

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Speaker 2: and many more.

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Speaker 3: Yeah, I think you know, if you got King of

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Speaker 3: the Hill, which over two hundred and fifty episodes right there,

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Speaker 3: if you got fourteen episodes of Louis, you got five

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Speaker 3: seasons of Better Things, that's a lot of Fox, rob

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Speaker 3: that's a lot of Fox. Sign in your checks.

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Speaker 2: Yeah, she see the same year as this film, she

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Speaker 2: appeared on an episode of Star Trek The Next Generation.

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Speaker 2: Other live action roles include Life Goes On, Sergeant Bilco,

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Speaker 2: Lucky Louie, Californication series we already mentioned, of course, but

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Speaker 2: her voice acting credits are just all over the place.

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Speaker 2: I think her earliest voice acting credit is nineteen ninety

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Speaker 2: two's fern Gully The Last Rainforest. I think she's in

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Speaker 2: like an l for a fairy in that. But after that,

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Speaker 2: it's just all over the place. From Darkwing, Duck and

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Speaker 2: a nineteen ninety three Dare Cartoon to what episodes of

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Speaker 2: Rick and Morty, Big Mouth Adventure Time, the Disney dub

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Speaker 2: of Kiki's Delivery Service, just all sorts of stuff.

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Speaker 3: Now for the nineteen ninety three Day cartoon, are you

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Speaker 3: talking about cartoon All Stars to the Rescue where it's

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Speaker 3: the it's all of the characters from all of the

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Speaker 3: Saturday morning shows getting together to keep kids off of

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Speaker 3: drugs and like push joints away from kids' mouths and things.

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Speaker 2: I don't know, let's see, I mean that would I

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Speaker 2: think maybe not, because I don't know that she had

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Speaker 2: extensive cartoon credits at that point, gotcha, So it might

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Speaker 2: have been just her doing like the voice of a

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Speaker 2: kid who's saying no to drugs.

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Speaker 3: Well, next time I come back, if you will have

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Speaker 3: me back after even introducing this cartoon, that's the one

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Speaker 3: we're doing, is cartoon All Stars to the Rescue A right,

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Speaker 3: technically a movie, guys technically a movie.

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Speaker 2: So naturally for her, this was pretty early in her career.

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Speaker 2: I think she would have been something like in her

387
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Speaker 2: early twenties when they filmed this. It's a perfectly fine performance,

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Speaker 2: but like we've been saying, this is not a character

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Speaker 2: that's really fleshed out all that much, and it's just

390
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Speaker 2: really a hint at where she'd excel later in her career.

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Speaker 3: I think you both have an accurate read on the

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Speaker 3: fineness of her performance. But let's take the larger picture

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Speaker 3: into consideration here. I think we need to be clear

394
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Speaker 3: about who's doing the work in this movie. And she

395
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Speaker 3: is carrying every scene she's in, She's carrying on her back.

396
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Speaker 3: Terry occasionally gets out to help push. But you notice

397
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Speaker 3: every scene that either of them are not in, because

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Speaker 3: it's almost like you're watching a different movie or a

399
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Speaker 3: scene from a TV show adjacent to that movie.

400
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Speaker 2: Yeah, or scenes that were shot after the fact to

401
00:21:57,240 --> 00:21:59,679
Speaker 2: bump up that r rating with some of stone or humor.

402
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Speaker 2: Which brings us to the other members of the bad

403
00:22:02,520 --> 00:22:06,160
Speaker 2: Boy click. Really the prime members of this clique. We

404
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Speaker 2: have John. This is the lead bad Boy played by

405
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Speaker 2: James Vilmari born nineteen sixty six, another Canadian actor of

406
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Speaker 2: the day with some expected titles in his filmography. A

407
00:22:17,960 --> 00:22:19,960
Speaker 2: lot of times, you know, you look at actors who

408
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Speaker 2: were acting in the nineties and it's you know, some

409
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Speaker 2: of the same series that were that everybody was working on,

410
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Speaker 2: but just a couple of years earlier. He managed to

411
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Speaker 2: appear in the nineteen eighty eight or maybe this would

412
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Speaker 2: have been the same year or thereabouts when it was

413
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Speaker 2: a film. He was in a Joe Diamato horror film

414
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Speaker 2: titled Zombie five, killing Birds alongside Robert Vaughn. This was

415
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Speaker 2: an Italian production that was filmed in Louisiana.

416
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Speaker 3: It's about killer birds, right, it's not about killing birds,

417
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Speaker 3: like the act of killing a bird.

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Speaker 2: I assume not. I haven't seen this one about. I

419
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Speaker 2: assume it's a bird's knockoff, a kind of a pre

420
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Speaker 2: bird demic, if you will. And of course, a lot

421
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Speaker 2: of films were released as zombie movies Zombie one, Zombie two,

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Speaker 2: Zombie threes on before, et cetera. They have nothing to

423
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Speaker 2: do with each other, but they said they were released

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Speaker 2: in Italy.

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Speaker 3: Wild He's great, though, he's he's He is what he

426
00:23:14,480 --> 00:23:17,520
Speaker 3: needs to be, nothing more, nothing less. He sells what

427
00:23:17,640 --> 00:23:21,040
Speaker 3: he is supposed to be. If you want more from him,

428
00:23:21,400 --> 00:23:23,639
Speaker 3: you really want more from this movie. And that's not

429
00:23:23,680 --> 00:23:24,600
Speaker 3: really his fault.

430
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Speaker 2: Yeah, he's just a slimy, punchable bad boy. We're not

431
00:23:27,320 --> 00:23:30,280
Speaker 2: supposed to sympathize with him too much, but I mean

432
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Speaker 2: enough bad stuff happens to him that you can't help

433
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Speaker 2: but feel something for even this cardboard character.

434
00:23:35,600 --> 00:23:37,520
Speaker 3: At one point, yeah, there is a moment. We'll get

435
00:23:37,560 --> 00:23:40,360
Speaker 3: into it when we get through the plot, but there

436
00:23:40,400 --> 00:23:44,920
Speaker 3: is a moment where it took that to make me realize,

437
00:23:45,280 --> 00:23:49,720
Speaker 3: like he's not unsalvageably hateable, or don't you don't hate

438
00:23:49,840 --> 00:23:51,880
Speaker 3: him to the point that you don't sympathize with him,

439
00:23:51,920 --> 00:23:52,119
Speaker 3: you know?

440
00:23:52,600 --> 00:23:54,960
Speaker 2: Right now he has a sidekick, and this is Mo,

441
00:23:56,200 --> 00:24:00,080
Speaker 2: played by Simon Reynolds born nineteen sixty nine, Canadian actor

442
00:24:00,080 --> 00:24:03,520
Speaker 2: whose credits include episodes of Friday the Thirteenth series Forever

443
00:24:03,680 --> 00:24:07,000
Speaker 2: Night Again. A lot of these are the Canadian series

444
00:24:07,000 --> 00:24:08,760
Speaker 2: of the day that a lot of people were involved in,

445
00:24:09,160 --> 00:24:11,240
Speaker 2: but he also pops up in two thousand and seven

446
00:24:11,400 --> 00:24:15,359
Speaker 2: Saw four as a SWAT team member. Dave, you're the

447
00:24:15,400 --> 00:24:17,560
Speaker 2: Saw movie expert? Is this one of the good ones?

448
00:24:17,680 --> 00:24:20,840
Speaker 3: I just want to clarify that I'm the Saw movie

449
00:24:20,880 --> 00:24:25,000
Speaker 3: expert in the pool of two of us, so I am,

450
00:24:25,040 --> 00:24:28,160
Speaker 3: by no means a Saw Movie expert capital E. Saw

451
00:24:28,240 --> 00:24:32,240
Speaker 3: four is, interestingly enough, a pretty big page turn for

452
00:24:32,320 --> 00:24:36,879
Speaker 3: the series in terms of, like the scope widens a

453
00:24:36,880 --> 00:24:41,200
Speaker 3: little bit, and I love hate Saw. I love Saw

454
00:24:41,280 --> 00:24:45,000
Speaker 3: because I think people complain about Saw because it's it's

455
00:24:45,000 --> 00:24:46,960
Speaker 3: got a lot of soap opera elements to it that

456
00:24:48,000 --> 00:24:52,679
Speaker 3: keep them from getting to the gory torture traps. And

457
00:24:52,720 --> 00:24:54,720
Speaker 3: I'm kind of the inverse of that, like I'm here

458
00:24:54,720 --> 00:24:56,960
Speaker 3: for the soap opera part and I cover my eyes

459
00:24:57,000 --> 00:24:59,720
Speaker 3: for the gory traps. This is the part where the

460
00:24:59,800 --> 00:25:02,520
Speaker 3: so pauper really starts to ramp up and widen, and

461
00:25:02,560 --> 00:25:06,479
Speaker 3: more characters come in, the legacy grows past Jigsaw. So

462
00:25:06,640 --> 00:25:11,840
Speaker 3: it's a really big moment for the franchise. Unfortunately, I

463
00:25:11,880 --> 00:25:13,919
Speaker 3: don't think that Simon plays a big part in that.

464
00:25:14,040 --> 00:25:16,320
Speaker 3: I don't really remember. I remember the presence of the

465
00:25:16,320 --> 00:25:18,280
Speaker 3: Swat team, but I'd be lying if I said I

466
00:25:18,359 --> 00:25:20,600
Speaker 3: knew which member of that was Simon Reynolds.

467
00:25:20,880 --> 00:25:22,600
Speaker 2: So he doesn't come. He's not a character who comes

468
00:25:22,600 --> 00:25:24,760
Speaker 2: back and you're like, oh, he's Jigsaw's secret nephew.

469
00:25:25,000 --> 00:25:29,639
Speaker 3: No. Unfortunately, Now, okay, but you're very close. You're making fun,

470
00:25:29,680 --> 00:25:32,240
Speaker 3: but you're very close to what things that actually happen

471
00:25:32,320 --> 00:25:33,240
Speaker 3: in the sol franchise.

472
00:25:33,480 --> 00:25:36,600
Speaker 2: All right. We also have Terry's dad as a major

473
00:25:36,720 --> 00:25:42,560
Speaker 2: character in the film. Again not terribly developed either, but

474
00:25:42,600 --> 00:25:46,240
Speaker 2: a little more goes into the presentation of art Here

475
00:25:46,560 --> 00:25:49,200
Speaker 2: played by Neil Monroe, who lived nineteen forty seven through

476
00:25:49,240 --> 00:25:52,159
Speaker 2: two thousand and nine, another Canadian actor connected to a

477
00:25:52,200 --> 00:25:54,600
Speaker 2: lot of Canadian productions for screening TV of the day,

478
00:25:54,880 --> 00:25:58,520
Speaker 2: including RoboCop the series. But Dave, I have to highlight

479
00:25:58,600 --> 00:26:00,399
Speaker 2: that he has at least a small art in a

480
00:26:00,480 --> 00:26:05,040
Speaker 2: nineteen eighty two film titled Murder by Phone starring Richard

481
00:26:05,119 --> 00:26:08,320
Speaker 2: Chamberlain that has just an amazing bit of poster art. Yeah.

482
00:26:08,359 --> 00:26:10,159
Speaker 3: I haven't seen this, and I kind of want to.

483
00:26:10,200 --> 00:26:12,159
Speaker 3: It got me thinking about, like, is it Stephen king

484
00:26:12,320 --> 00:26:15,359
Speaker 3: Cell or something like that, but it seems a little

485
00:26:15,359 --> 00:26:17,800
Speaker 3: bit more analog than that for sure. And yeah, this

486
00:26:17,840 --> 00:26:19,720
Speaker 3: poster is incredible, incredible.

487
00:26:20,000 --> 00:26:22,119
Speaker 2: I guess it's maybe it's going for like the killer

488
00:26:22,280 --> 00:26:23,960
Speaker 2: is calling from inside the house sort of a.

489
00:26:24,000 --> 00:26:26,199
Speaker 3: Thing, right, Yeah, but then how can they murder you?

490
00:26:26,240 --> 00:26:28,520
Speaker 3: As the thing like the whole when a stranger calls

491
00:26:28,640 --> 00:26:31,360
Speaker 3: is like that's how you find out that the guy

492
00:26:31,440 --> 00:26:32,720
Speaker 3: behind you is about to kill you.

493
00:26:33,119 --> 00:26:35,520
Speaker 2: Yeah, I mean the poster says, a madman pushes a

494
00:26:35,520 --> 00:26:38,800
Speaker 2: button and kills by phone. So yeah, it's got to

495
00:26:38,840 --> 00:26:41,840
Speaker 2: be some sort of a crazy technological angle here.

496
00:26:41,720 --> 00:26:43,960
Speaker 3: In nineteen eighty two. It's got to be either joy

497
00:26:44,000 --> 00:26:47,920
Speaker 3: buzzer technology or a doctored phone that has something sharp

498
00:26:48,000 --> 00:26:50,480
Speaker 3: in it that gets you through the ear when you

499
00:26:50,520 --> 00:26:52,720
Speaker 3: pick it up. I can't imagine. I got to watch

500
00:26:52,760 --> 00:26:54,399
Speaker 3: this just to answer the question.

501
00:26:54,760 --> 00:26:58,399
Speaker 2: Maybe it's like an alternate reality where one of the

502
00:26:58,400 --> 00:27:02,080
Speaker 2: phone company actually put out like a kill button they

503
00:27:03,000 --> 00:27:04,879
Speaker 2: and they're like, oh goodness, this was a mistake.

504
00:27:05,080 --> 00:27:10,480
Speaker 3: The test market self defense for this one like random

505
00:27:10,760 --> 00:27:13,600
Speaker 3: chance that this specific thing might happen anyway.

506
00:27:13,600 --> 00:27:16,520
Speaker 2: In this film, Monroe gives I think a pretty pretty

507
00:27:16,560 --> 00:27:18,760
Speaker 2: solid performance given what he has to work with is

508
00:27:19,400 --> 00:27:23,720
Speaker 2: Terry's still grieving father who's struggling with depression, alcoholism, and unemployment.

509
00:27:24,440 --> 00:27:28,720
Speaker 2: Yet you feel for him. It's it's not a performance

510
00:27:28,760 --> 00:27:32,240
Speaker 2: that feels completely like bumbling. It's not going for comedy,

511
00:27:32,320 --> 00:27:36,359
Speaker 2: it's going more for melodrama, and he does a good

512
00:27:36,440 --> 00:27:38,520
Speaker 2: job with it. And then there's also a key dream

513
00:27:38,560 --> 00:27:42,080
Speaker 2: sequence that we'll discuss in which he really just goes

514
00:27:42,080 --> 00:27:45,880
Speaker 2: off the walls for and and really makes it terrifying.

515
00:27:46,400 --> 00:27:49,960
Speaker 3: You're really nice, Rob. I was gonna say that he

516
00:27:50,040 --> 00:27:55,240
Speaker 3: gives He does both I love alcohol and I regret

517
00:27:55,280 --> 00:27:59,640
Speaker 3: loving alcohol really well and doesn't really do anything else.

518
00:27:59,680 --> 00:28:03,639
Speaker 3: There's ambiguity to his part in the plot that I

519
00:28:03,640 --> 00:28:06,680
Speaker 3: think he's supposed to carry a little bit more of

520
00:28:07,080 --> 00:28:10,200
Speaker 3: the lift of making us understand it. I think he's

521
00:28:10,280 --> 00:28:13,240
Speaker 3: why it's so it was so darn ambiguous to me,

522
00:28:13,320 --> 00:28:15,680
Speaker 3: because if he's not doing those two things, he's just

523
00:28:15,880 --> 00:28:19,520
Speaker 3: saying lines and carrying the story to its next beat.

524
00:28:19,760 --> 00:28:21,800
Speaker 2: I guess one of the things too about his character,

525
00:28:22,200 --> 00:28:25,199
Speaker 2: like his character is basically that the reason Terry is

526
00:28:25,200 --> 00:28:26,800
Speaker 2: going to get back in the dark arts he wants

527
00:28:26,840 --> 00:28:29,760
Speaker 2: to help his father. But in doing that, it's like

528
00:28:29,800 --> 00:28:33,280
Speaker 2: the film is, on one hand, about how trying to

529
00:28:33,359 --> 00:28:37,440
Speaker 2: use artificial means to affect change in your life or

530
00:28:37,480 --> 00:28:41,280
Speaker 2: certainly someone else's life is not going to work. Like

531
00:28:41,320 --> 00:28:43,360
Speaker 2: that's kind of what the film's about. And so when

532
00:28:43,360 --> 00:28:45,719
Speaker 2: you have a character like this, like when the character

533
00:28:45,760 --> 00:28:48,440
Speaker 2: does change a little bit or at least for a

534
00:28:48,480 --> 00:28:50,520
Speaker 2: brief period of time, it's like is this him or

535
00:28:50,560 --> 00:28:52,640
Speaker 2: is this the magic? It takes a lot of the

536
00:28:52,640 --> 00:28:55,360
Speaker 2: agency out of the character, and therefore I think maybe

537
00:28:55,360 --> 00:28:58,840
Speaker 2: that's one of the reasons it can fall flat. Yeah, yeah,

538
00:28:59,040 --> 00:29:02,520
Speaker 2: all right, Just a couple of small roles worth mentioning.

539
00:29:03,120 --> 00:29:09,560
Speaker 2: Gary Mindencino plays the matre d in a memorable comedic

540
00:29:09,600 --> 00:29:13,920
Speaker 2: attempts scene. The Canadian actor born nineteen fifty he stands

541
00:29:13,920 --> 00:29:16,960
Speaker 2: out because he was Uncle Taki from the Big Fat

542
00:29:16,960 --> 00:29:19,800
Speaker 2: Greek wedding movies. I haven't seen those, but he also

543
00:29:19,840 --> 00:29:22,960
Speaker 2: played a janitor in two thousand and nine Saw six.

544
00:29:24,360 --> 00:29:25,560
Speaker 2: Is this one of the good ones?

545
00:29:26,160 --> 00:29:29,640
Speaker 3: Well, I'm glad you asked, because as the resident Saw expert,

546
00:29:29,680 --> 00:29:33,120
Speaker 3: I need to speak to this one, and specifically it

547
00:29:33,200 --> 00:29:36,440
Speaker 3: is one of the If there can be a better

548
00:29:36,480 --> 00:29:39,160
Speaker 3: Saw movie, this is one of the better ones. Plot wise,

549
00:29:39,200 --> 00:29:43,920
Speaker 3: I think it makes the most coherent sense as a

550
00:29:43,960 --> 00:29:47,920
Speaker 3: standalone thing. To me, it's a takedown of the health

551
00:29:47,960 --> 00:29:53,400
Speaker 3: insurance industry, and the Jigsaw's whole thing is about choosing

552
00:29:53,480 --> 00:29:57,680
Speaker 3: life and the choices that you make and appreciating life

553
00:29:57,720 --> 00:29:59,920
Speaker 3: because of the choices that you make. And this is

554
00:30:00,120 --> 00:30:05,400
Speaker 3: is the main victim of Saw six, is a health

555
00:30:05,400 --> 00:30:08,880
Speaker 3: insurance executive who has to go and make choices trap

556
00:30:08,920 --> 00:30:12,040
Speaker 3: by trap of who to say and who to let die,

557
00:30:12,440 --> 00:30:15,120
Speaker 3: much like the insurance companies have to do.

558
00:30:15,480 --> 00:30:15,560
Speaker 2: So.

559
00:30:15,720 --> 00:30:18,080
Speaker 3: Again, I'm not saying it's great, but this is one

560
00:30:18,120 --> 00:30:20,920
Speaker 3: of those plots that rattled around my head more than

561
00:30:20,920 --> 00:30:24,080
Speaker 3: the other confusing mess plots of the other Saw movies.

562
00:30:25,000 --> 00:30:28,680
Speaker 3: This guy actually had a death. He was in a trap,

563
00:30:29,120 --> 00:30:34,040
Speaker 3: and it is a pretty gruesome, memorable, tough trap to watch,

564
00:30:34,480 --> 00:30:38,000
Speaker 3: more conceptually gruesome than it is just flat out gross,

565
00:30:38,040 --> 00:30:41,040
Speaker 3: which I tend to lean in that direction more than

566
00:30:41,160 --> 00:30:44,400
Speaker 3: just seeing the squirting and the blood and the guts

567
00:30:44,400 --> 00:30:47,920
Speaker 3: and all that. So yeah, I would say, I would

568
00:30:48,000 --> 00:30:50,440
Speaker 3: say it's one of the good ones.

569
00:30:50,600 --> 00:30:53,120
Speaker 2: All right, And this guy had a pretty decent death

570
00:30:53,160 --> 00:30:53,360
Speaker 2: in it.

571
00:30:54,120 --> 00:30:57,880
Speaker 3: Yeah. He was a janitor for the health company, which

572
00:30:57,920 --> 00:31:00,200
Speaker 3: is or the health insurance company, which is why he

573
00:31:00,280 --> 00:31:02,360
Speaker 3: was plucked to be one of the people in these traps.

574
00:31:02,960 --> 00:31:06,520
Speaker 2: But he's not a bad guy. He's just somebody whose

575
00:31:06,640 --> 00:31:11,920
Speaker 2: life is used to try and teach the bad guy lesson.

576
00:31:11,840 --> 00:31:16,080
Speaker 3: Right he is without spoiling too much. He has difficulty

577
00:31:16,120 --> 00:31:19,400
Speaker 3: breathing because he's a lifelong smoker, and he's put into

578
00:31:19,440 --> 00:31:25,840
Speaker 3: a trap where if he breathes, he becomes constricted, and

579
00:31:26,120 --> 00:31:29,480
Speaker 3: if he breathes too much, he'll get crushed with another guy.

580
00:31:29,640 --> 00:31:31,120
Speaker 3: So it's kind of a race to see who can

581
00:31:31,120 --> 00:31:33,720
Speaker 3: hold their breath the longest. And he's obviously at a

582
00:31:33,720 --> 00:31:38,320
Speaker 3: disadvantage because he has reduced lung capacity, and there's some

583
00:31:38,600 --> 00:31:41,720
Speaker 3: layer of insurance to that, being like, you know this

584
00:31:41,760 --> 00:31:44,000
Speaker 3: guy and you would not want him to die but

585
00:31:44,200 --> 00:31:48,040
Speaker 3: on paper, he does seem like the more likely candidate

586
00:31:48,320 --> 00:31:51,560
Speaker 3: for letting him die if you had to choose between

587
00:31:51,600 --> 00:31:53,560
Speaker 3: the two. So the whole movie kind of puts the

588
00:31:54,320 --> 00:31:57,200
Speaker 3: main victim into choice after choice like that.

589
00:31:57,680 --> 00:32:01,160
Speaker 2: Interesting. I had no idea about this this jury in

590
00:32:01,200 --> 00:32:02,960
Speaker 2: the Saw franchise, so this was kind of like their

591
00:32:02,960 --> 00:32:03,800
Speaker 2: message movie.

592
00:32:03,880 --> 00:32:05,880
Speaker 3: Yeah. The only downside is you got to watch five

593
00:32:05,920 --> 00:32:08,600
Speaker 3: Sol movies to get there. Otherwise it makes zero sense.

594
00:32:09,640 --> 00:32:11,760
Speaker 3: So you got about ten hours of work ahead of

595
00:32:11,800 --> 00:32:14,200
Speaker 3: you if you want to understand this ninety minutes.

596
00:32:15,160 --> 00:32:18,960
Speaker 2: All right, One more actor of note here. It's Carl Cranes,

597
00:32:19,120 --> 00:32:22,800
Speaker 2: who was in the first Gate movie played the workman

598
00:32:23,440 --> 00:32:24,719
Speaker 2: oh bombie character.

599
00:32:24,880 --> 00:32:30,680
Speaker 3: Yeah, that's he's the guy. That's the guy, Like that's iconic.

600
00:32:31,360 --> 00:32:34,920
Speaker 2: Yeah. Yeah. In the Gate verse it is, Well, he's

601
00:32:34,920 --> 00:32:36,480
Speaker 2: back in this one and playing a character that I

602
00:32:36,520 --> 00:32:38,960
Speaker 2: don't want to reveal yet, but there's a certain monsterish

603
00:32:39,200 --> 00:32:42,760
Speaker 2: monster character that he also plays. Now, this guy wasn't

604
00:32:42,800 --> 00:32:47,360
Speaker 2: exclusively a monster suit actor, but in the Gate verse

605
00:32:47,680 --> 00:32:51,200
Speaker 2: he's a monster suit guy, and he weirdly pops up

606
00:32:51,240 --> 00:32:54,640
Speaker 2: in the nineteen eighty two horror drama The Slayer, which

607
00:32:54,680 --> 00:32:56,200
Speaker 2: I don't know if you've seen this one, Dave, But

608
00:32:56,520 --> 00:32:58,560
Speaker 2: this is the movie that was filmed on Tybee Island

609
00:32:58,560 --> 00:33:02,320
Speaker 2: here in Georgia. Oh, that is not a great movie.

610
00:33:02,600 --> 00:33:05,160
Speaker 2: It's a very serious movie. It would be more fun

611
00:33:05,200 --> 00:33:09,000
Speaker 2: if it were not as seriously minded as it is. Yeah,

612
00:33:09,280 --> 00:33:11,920
Speaker 2: but for anyone who's ever been to or is visiting

613
00:33:11,960 --> 00:33:14,640
Speaker 2: Tybee Island, it's worth watching because you've got all the

614
00:33:14,680 --> 00:33:17,520
Speaker 2: local scenery and there are a lot of scenes concerning

615
00:33:17,840 --> 00:33:21,160
Speaker 2: a ruined movie house that has now been fully restored.

616
00:33:21,600 --> 00:33:24,000
Speaker 2: And I think at least once a year will show

617
00:33:24,120 --> 00:33:26,800
Speaker 2: The Slayer for interested parties.

618
00:33:27,000 --> 00:33:29,120
Speaker 3: That's awesome. Yeah. I hadn't seen this movie, but I

619
00:33:29,160 --> 00:33:32,000
Speaker 3: do you know. I love Tybee Island and it is

620
00:33:32,040 --> 00:33:34,760
Speaker 3: a setting that I think would lend really well to

621
00:33:34,840 --> 00:33:39,160
Speaker 3: a unique beachish horror movie. I would definitely be interested

622
00:33:39,160 --> 00:33:40,680
Speaker 3: to see that just for the scenery alone.

623
00:33:41,080 --> 00:33:44,280
Speaker 2: Yeah, haunting beach that that people go on vacation too.

624
00:33:45,200 --> 00:33:47,680
Speaker 3: I do think like these two roles that you've highlighted

625
00:33:47,720 --> 00:33:52,160
Speaker 3: him in the Gata verse though he's the ringer's on

626
00:33:52,280 --> 00:33:54,400
Speaker 3: a phone call away if you need me to be

627
00:33:54,440 --> 00:33:58,280
Speaker 3: an effective actor at delivering a certain scene, and he

628
00:33:58,360 --> 00:34:00,280
Speaker 3: does it twice in a row Yeah.

629
00:34:00,160 --> 00:34:02,120
Speaker 2: Yeah, yeah, and then this layer They're like, oh, we

630
00:34:02,200 --> 00:34:04,080
Speaker 2: got five minutes left in the film and we haven't

631
00:34:04,120 --> 00:34:06,520
Speaker 2: showed the monster yet. Get him on the get him

632
00:34:06,560 --> 00:34:07,960
Speaker 2: on the horn. We're bringing him in.

633
00:34:08,280 --> 00:34:11,480
Speaker 3: Turn him into a workman who turns into several little minions.

634
00:34:11,800 --> 00:34:18,160
Speaker 2: Yeah, direct flight LA to Tybee Island. All right, Randall.

635
00:34:18,160 --> 00:34:21,320
Speaker 2: William Cook is back doing visual effects. Also second unit director.

636
00:34:21,760 --> 00:34:24,040
Speaker 2: I'm gonna largely skip over him. We talked about him

637
00:34:24,080 --> 00:34:26,920
Speaker 2: and at greater length in the first episode that we

638
00:34:26,960 --> 00:34:29,920
Speaker 2: did on the Gate. And then the score is by

639
00:34:29,920 --> 00:34:33,720
Speaker 2: a different gentleman. It's George Blondheim, who lived nineteen fifty

640
00:34:33,760 --> 00:34:38,080
Speaker 2: six through twenty twenty, Canadian jazz musician and composer. Though

641
00:34:38,120 --> 00:34:40,600
Speaker 2: this is not a jazzy score, I don't want to

642
00:34:41,040 --> 00:34:43,960
Speaker 2: suggest that it's more versed in what you'd imagine, like,

643
00:34:44,040 --> 00:34:49,440
Speaker 2: you know, electronic horror film vibes. But he was apparently

644
00:34:49,560 --> 00:34:53,680
Speaker 2: pretty well received in the at least within the Canadian

645
00:34:53,719 --> 00:34:57,040
Speaker 2: film industry. He had award winning scores for Angel Square

646
00:34:57,080 --> 00:34:59,960
Speaker 2: from nineteen ninety and Whale Music from nineteen ninet.

647
00:35:00,640 --> 00:35:03,880
Speaker 3: Okay, yeah, I got to be honest, I'm struggling to

648
00:35:03,920 --> 00:35:06,439
Speaker 3: remember parts of the score for this movie. I felt

649
00:35:06,520 --> 00:35:09,040
Speaker 3: like there was a lot of quiet going on. I

650
00:35:09,080 --> 00:35:13,359
Speaker 3: think that, and that's not necessarily to specifically dig on

651
00:35:13,400 --> 00:35:17,200
Speaker 3: this score being necessarily bad or anything, but I don't

652
00:35:17,200 --> 00:35:21,520
Speaker 3: think it was particularly memorable to me. I think that

653
00:35:22,200 --> 00:35:24,040
Speaker 3: there's a case to be made that it worked really

654
00:35:24,080 --> 00:35:27,680
Speaker 3: well with the scenes that it was emphasizing in that

655
00:35:27,800 --> 00:35:30,160
Speaker 3: I didn't pick apart the score to it. But again,

656
00:35:30,560 --> 00:35:31,840
Speaker 3: maybe I'm just being charitable.

657
00:35:32,480 --> 00:35:34,920
Speaker 2: I mean, sometimes an effective score is kind of invisible.

658
00:35:35,080 --> 00:35:38,200
Speaker 2: I think I mainly I was listening for it, and

659
00:35:38,239 --> 00:35:40,360
Speaker 2: I wanted to see, what, you know, to make some

660
00:35:40,520 --> 00:35:42,440
Speaker 2: note of it, and so a leary couple of times

661
00:35:42,480 --> 00:35:46,239
Speaker 2: where it's turned up a bit during car chases and whatnot,

662
00:35:46,480 --> 00:35:48,680
Speaker 2: and during those moments it was like, Okay, all right,

663
00:35:48,719 --> 00:35:51,319
Speaker 2: there's some nice electronic vibe here, but yeah, there's no

664
00:35:51,480 --> 00:35:54,279
Speaker 2: like theme from Gate To that everyone needs to go

665
00:35:54,320 --> 00:35:55,879
Speaker 2: out and find on Spotify right now.

666
00:35:55,960 --> 00:35:57,360
Speaker 3: Well, and that's what I was about to get to,

667
00:35:57,400 --> 00:35:59,880
Speaker 3: which I think like the Gate had, at least in

668
00:36:00,200 --> 00:36:04,080
Speaker 3: my personal memory, like a pretty memorable Gate One, had

669
00:36:04,120 --> 00:36:07,719
Speaker 3: a pretty memorable campaign behind it, and a pretty memorable

670
00:36:07,760 --> 00:36:11,120
Speaker 3: theatrical run in that I remember it at all Gate two,

671
00:36:11,160 --> 00:36:12,960
Speaker 3: I think open to I looked it up. It was

672
00:36:13,000 --> 00:36:15,759
Speaker 3: like three hundred and fifty theaters when it came out,

673
00:36:15,800 --> 00:36:21,560
Speaker 3: which pretty small opening. Maybe maybe the Gate a Verse

674
00:36:21,640 --> 00:36:25,160
Speaker 3: suffered from the lack of a gate theme on the

675
00:36:25,239 --> 00:36:31,160
Speaker 3: level of like you know, Exorcist or Poltergeist, you know,

676
00:36:31,360 --> 00:36:35,440
Speaker 3: something that has again not a full song to it,

677
00:36:35,480 --> 00:36:38,399
Speaker 3: but a tone that tells you this is that, you know.

678
00:36:39,080 --> 00:36:42,239
Speaker 2: So not knocking the music, but again it doesn't really

679
00:36:42,360 --> 00:36:45,880
Speaker 2: perhaps stand out all that much. Yeah, all right, well,

680
00:36:45,920 --> 00:36:49,240
Speaker 2: let's let's get into the plot a little bit. This film,

681
00:36:49,480 --> 00:36:53,280
Speaker 2: I think rather effectively starts out with the condemned ruins

682
00:36:53,320 --> 00:36:57,319
Speaker 2: of Glenn's old house, Glenn being the main character, the

683
00:36:57,320 --> 00:37:00,400
Speaker 2: little kid from the first film, and also like his

684
00:37:00,520 --> 00:37:03,520
Speaker 2: house was the focal point, that's where the gate was opened.

685
00:37:04,120 --> 00:37:07,120
Speaker 3: Yeah. I was excited and relieved to be like, all right,

686
00:37:07,160 --> 00:37:09,919
Speaker 3: here we go. We're right back where we left off.

687
00:37:09,960 --> 00:37:11,759
Speaker 3: A little bit of time has passed, and it'll be

688
00:37:11,800 --> 00:37:14,240
Speaker 3: fun to see the ways in which the time has passed.

689
00:37:14,480 --> 00:37:17,759
Speaker 3: The thing I gotta flag here is that the rest

690
00:37:17,800 --> 00:37:23,120
Speaker 3: of the neighborhood looks fantastic. It's a really nice neighborhood.

691
00:37:23,360 --> 00:37:26,480
Speaker 3: And then you get to the lines of the plot

692
00:37:26,560 --> 00:37:30,120
Speaker 3: of Glenn's house. Yeah, and it's all chain link fins,

693
00:37:30,200 --> 00:37:35,520
Speaker 3: all overgrown, tumbleweeds, all disheveled house. And this may be

694
00:37:35,600 --> 00:37:38,680
Speaker 3: my failing memory. I don't remember Glenn's house being in

695
00:37:38,719 --> 00:37:40,640
Speaker 3: such bad shape at the end of the last movie.

696
00:37:40,680 --> 00:37:44,640
Speaker 3: I remember the inside being ravaged, of course, but I

697
00:37:44,680 --> 00:37:48,279
Speaker 3: don't remember the house itself being so destroyed. I thought

698
00:37:48,280 --> 00:37:50,120
Speaker 3: that they would still be able to live in it.

699
00:37:50,440 --> 00:37:52,879
Speaker 2: Yeah, I mean, I guess maybe the idea And I'm

700
00:37:52,880 --> 00:37:55,319
Speaker 2: being generous here because they don't explain any of this

701
00:37:55,440 --> 00:37:59,480
Speaker 2: or even suggest it really, but maybe like the place

702
00:37:59,520 --> 00:38:02,080
Speaker 2: is considered haunted now. Yeah, it's just it's abandoned. It

703
00:38:02,800 --> 00:38:05,400
Speaker 2: reminds me a bit of how they end up treating

704
00:38:06,280 --> 00:38:09,320
Speaker 2: the Heisenberg House in Breaking Bad. In the later seasons

705
00:38:09,360 --> 00:38:11,719
Speaker 2: where you see these at a time, I think it's

706
00:38:11,760 --> 00:38:14,920
Speaker 2: they're foreshadowing it and the later seasons by showing this

707
00:38:15,000 --> 00:38:19,040
Speaker 2: house as boarded up and graffitied and abandoned and with

708
00:38:19,120 --> 00:38:22,400
Speaker 2: the idea like something terrible happened here and even though

709
00:38:22,440 --> 00:38:24,200
Speaker 2: the rest of the neighborhood still looks fine, like this

710
00:38:24,320 --> 00:38:25,640
Speaker 2: is a place to be shunned.

711
00:38:25,360 --> 00:38:28,480
Speaker 3: Now, or maybe there's a superstitious layer to it of

712
00:38:28,640 --> 00:38:30,680
Speaker 3: if you want things to stay as nice as they

713
00:38:30,719 --> 00:38:33,760
Speaker 3: are everywhere else, you will not touch the Demon House

714
00:38:34,120 --> 00:38:36,840
Speaker 3: or disrupt the Demon House at all, which Terry is

715
00:38:36,920 --> 00:38:38,000
Speaker 3: pretty eager to do.

716
00:38:38,560 --> 00:38:40,799
Speaker 2: Yeah, I mean, ownership of the house is probably all

717
00:38:40,840 --> 00:38:43,840
Speaker 2: tied up because once you open a gate to another dimension,

718
00:38:44,320 --> 00:38:47,319
Speaker 2: a whole new set of laws are involved, and like

719
00:38:47,360 --> 00:38:49,120
Speaker 2: the bank can't just sell it off at that point.

720
00:38:49,160 --> 00:38:51,640
Speaker 3: Well, arguably it's kind of a squatter's right thing because

721
00:38:51,680 --> 00:38:57,239
Speaker 3: the gate was there first. So the demons, the three

722
00:38:57,239 --> 00:39:01,000
Speaker 3: demons which we'll get to later, argue that plot.

723
00:39:02,760 --> 00:39:06,080
Speaker 2: Still. I have say great initial central set piece for

724
00:39:06,120 --> 00:39:09,000
Speaker 2: the film, like the literal ruins of a happier childhood,

725
00:39:09,239 --> 00:39:11,400
Speaker 2: a testament to this lost friend is no longer a

726
00:39:11,400 --> 00:39:13,960
Speaker 2: part of Terry's life. And of course this is where

727
00:39:13,960 --> 00:39:16,200
Speaker 2: the gate opened, this is where the gate can still

728
00:39:16,239 --> 00:39:19,080
Speaker 2: be opened, so we have the dark temptation of this

729
00:39:19,200 --> 00:39:19,960
Speaker 2: place as well.

730
00:39:20,280 --> 00:39:23,320
Speaker 3: And there is a monologue of Terry I think, talking

731
00:39:23,320 --> 00:39:25,600
Speaker 3: to his dad. It's revealed he's talking to his drunk,

732
00:39:25,680 --> 00:39:28,520
Speaker 3: past out dad, but it's him kind of summarizing where

733
00:39:28,560 --> 00:39:31,839
Speaker 3: we should be at this moment, and it stuck out

734
00:39:31,880 --> 00:39:34,759
Speaker 3: to me that Terry referred to the events of the

735
00:39:34,800 --> 00:39:37,719
Speaker 3: Gate one as quote, the most exciting thing that had

736
00:39:37,719 --> 00:39:38,520
Speaker 3: ever happened to me.

737
00:39:40,200 --> 00:39:42,640
Speaker 2: Oh yeah, like when the demon pretended to be your

738
00:39:42,680 --> 00:39:46,200
Speaker 2: dead mother and scared the crap out of you and

739
00:39:46,239 --> 00:39:47,960
Speaker 2: the little minions tried to murder you.

740
00:39:48,239 --> 00:39:50,200
Speaker 3: I woke up and I was dancing with a dead

741
00:39:50,280 --> 00:39:54,040
Speaker 3: dog I maybe had killed.

742
00:39:54,880 --> 00:39:56,000
Speaker 2: I forgot about that part.

743
00:39:56,360 --> 00:39:59,160
Speaker 3: Very exciting. Yeah, see why it's eager to get back

744
00:39:59,200 --> 00:40:01,680
Speaker 3: into it. But yeah, I think he says in that

745
00:40:01,719 --> 00:40:04,120
Speaker 3: monologue the problem wasn't that they had opened the gate,

746
00:40:04,239 --> 00:40:07,640
Speaker 3: it was that they hadn't done it correctly. And I

747
00:40:07,680 --> 00:40:09,560
Speaker 3: think that that's not to get too far ahead of

748
00:40:09,560 --> 00:40:12,840
Speaker 3: where you were headed, Rob, but that seems to be

749
00:40:12,960 --> 00:40:16,120
Speaker 3: what Terry has poured himself into, is how to do

750
00:40:16,200 --> 00:40:16,800
Speaker 3: it correctly.

751
00:40:17,400 --> 00:40:20,640
Speaker 2: Yeah, because yeah, if you if something wrecks your life

752
00:40:20,760 --> 00:40:23,520
Speaker 2: or the lives of your friends the first time around,

753
00:40:23,800 --> 00:40:25,879
Speaker 2: you just need to do it differently the second time.

754
00:40:25,920 --> 00:40:28,120
Speaker 2: That's that's the lesson of this film, or that's what's

755
00:40:28,200 --> 00:40:29,919
Speaker 2: that's Terry's approach anyway.

756
00:40:30,160 --> 00:40:32,960
Speaker 3: And his like, his approach is pretty involved this time

757
00:40:33,000 --> 00:40:36,600
Speaker 3: around too, like not just tech wise, but like you

758
00:40:36,880 --> 00:40:39,560
Speaker 3: you really think that he has spent every waking moment

759
00:40:39,640 --> 00:40:43,279
Speaker 3: thinking about how to do this differently since however long

760
00:40:43,320 --> 00:40:47,360
Speaker 3: ago Gate one was, which that's another ambiguity. Has it

761
00:40:47,440 --> 00:40:49,880
Speaker 3: been five years, has it been one year and he

762
00:40:50,080 --> 00:40:52,640
Speaker 3: just got much bigger? We just don't really know.

763
00:40:53,320 --> 00:40:56,000
Speaker 2: But clearly he's been doing nothing but reading Dungeons and

764
00:40:56,040 --> 00:40:59,320
Speaker 2: Dragons manuals and Michael Crichton novels, because that's his approach.

765
00:40:59,360 --> 00:41:03,040
Speaker 2: It's like the cong go approach to doing the magic circle.

766
00:41:03,080 --> 00:41:06,440
Speaker 2: As we'll get too, but before that, like, yeah, he's

767
00:41:06,440 --> 00:41:09,480
Speaker 2: talking to his dad, who you know, it was revealed,

768
00:41:09,480 --> 00:41:12,319
Speaker 2: has passed out drunk on the couch. It's revealed not

769
00:41:12,400 --> 00:41:15,560
Speaker 2: all as well in Terry's world. This was something I

770
00:41:15,640 --> 00:41:18,520
Speaker 2: wasn't entirely sure about, Like he's concerned about his father.

771
00:41:18,840 --> 00:41:21,560
Speaker 2: His father is upset because his mother has passed away.

772
00:41:22,040 --> 00:41:24,160
Speaker 2: But the way they presented in the film makes you

773
00:41:24,160 --> 00:41:26,279
Speaker 2: think it was supposed to happen between the movies. I

774
00:41:26,280 --> 00:41:28,520
Speaker 2: didn't realize until you pointed out in the notes though

775
00:41:28,640 --> 00:41:30,240
Speaker 2: she was already dead in the first film.

776
00:41:30,360 --> 00:41:33,560
Speaker 3: Sounds like a huge flop. Boy. Yeah, so that again

777
00:41:33,960 --> 00:41:36,680
Speaker 3: led me to believe, Okay, there that's still a fresh wound,

778
00:41:36,760 --> 00:41:39,440
Speaker 3: not like something like that ever stops being a freshmoan,

779
00:41:39,520 --> 00:41:43,239
Speaker 3: but it still is. Your head is still in the

780
00:41:44,200 --> 00:41:48,479
Speaker 3: can I fix that mood? You know, although again getting

781
00:41:48,480 --> 00:41:51,279
Speaker 3: ahead of ourselves, Terara never tries to do that. So

782
00:41:52,040 --> 00:41:54,600
Speaker 3: you got a hand it to Terry, who at least

783
00:41:54,680 --> 00:41:57,719
Speaker 3: is aware of some limits to what power he's tapping into.

784
00:41:57,920 --> 00:41:59,399
Speaker 2: Right, but still he's going to give it a try

785
00:41:59,520 --> 00:42:02,759
Speaker 2: if he does it right this time at a peak

786
00:42:02,800 --> 00:42:05,239
Speaker 2: of his powers, and maybe he can get his dad

787
00:42:05,280 --> 00:42:07,920
Speaker 2: back on the right track, because as as they continue

788
00:42:07,920 --> 00:42:10,759
Speaker 2: to lay out, his dad is unemployed, has has an

789
00:42:10,760 --> 00:42:14,600
Speaker 2: alcohol problem, and is still wrecked with grief. Yeah.

790
00:42:14,760 --> 00:42:19,200
Speaker 3: Yeah, he plays sleeping very well. That's great. He wakes

791
00:42:19,280 --> 00:42:21,120
Speaker 3: up a little bit. This is actually a pretty sweet moment.

792
00:42:21,160 --> 00:42:24,760
Speaker 3: He Terry kisses him on the forehead as he's leaving

793
00:42:24,800 --> 00:42:27,359
Speaker 3: to go do his dark ritual and he wakes up

794
00:42:27,360 --> 00:42:31,360
Speaker 3: and kind of does that like you know, you're waking

795
00:42:31,440 --> 00:42:33,480
Speaker 3: up and trying to click into the world around you.

796
00:42:34,040 --> 00:42:36,120
Speaker 3: He played that really well and it was very sweet.

797
00:42:36,640 --> 00:42:39,280
Speaker 3: You know. You hear this a lot about children of alcoholics,

798
00:42:39,480 --> 00:42:43,600
Speaker 3: that they are the parent to their parent, and you

799
00:42:43,719 --> 00:42:46,760
Speaker 3: get that that's almost wordlessly done. Here and it's really effective.

800
00:42:47,160 --> 00:42:49,760
Speaker 2: Yeah, yeah, it does work. Again, this is a film

801
00:42:49,760 --> 00:42:52,880
Speaker 2: that does try to get into some serious issues and

802
00:42:53,400 --> 00:42:56,200
Speaker 2: use them in the development of character and rolling out

803
00:42:56,239 --> 00:42:59,960
Speaker 2: the plot and all. But you know, generally horror movie

804
00:43:00,080 --> 00:43:04,160
Speaker 2: are not where you look to find thoughtful and sympathetic

805
00:43:04,200 --> 00:43:18,360
Speaker 2: treatments of things like alcoholism and other topics this will discuss. Yeah,

806
00:43:18,880 --> 00:43:20,520
Speaker 2: all right, but it's time for some black magic. Like

807
00:43:20,560 --> 00:43:23,040
Speaker 2: from here, he's like he's getting his gear together. He's

808
00:43:23,040 --> 00:43:27,319
Speaker 2: heading off to Glenn's old house into the ruins because

809
00:43:27,320 --> 00:43:30,200
Speaker 2: it's time to open that gate up again and set

810
00:43:30,239 --> 00:43:30,759
Speaker 2: things right.

811
00:43:31,040 --> 00:43:33,560
Speaker 3: He's got himself marked up with a bunch of symbols

812
00:43:33,600 --> 00:43:36,799
Speaker 3: all over his arms. In his hands, he's got this

813
00:43:36,960 --> 00:43:41,759
Speaker 3: huge book that he's referencing, which I like. Is that

814
00:43:42,160 --> 00:43:46,840
Speaker 3: so in Gate one he's listening to a metal album

815
00:43:47,160 --> 00:43:49,880
Speaker 3: and the lyrics of the metal album are the lyrics

816
00:43:49,920 --> 00:43:53,600
Speaker 3: of the Dark Book, and that's what they're using to

817
00:43:53,640 --> 00:43:55,200
Speaker 3: summ in or do whatever they need to do with

818
00:43:55,239 --> 00:43:57,759
Speaker 3: the Gate. I don't think that they ever had the

819
00:43:57,840 --> 00:44:00,160
Speaker 3: Dark Book in Gate one, did they?

820
00:44:00,840 --> 00:44:02,880
Speaker 2: I thought that the Gate Book was like it was

821
00:44:02,960 --> 00:44:04,880
Speaker 2: just referenced in the lyrics and maybe in the liner

822
00:44:04,960 --> 00:44:07,879
Speaker 2: notes of the album. Yeah, like the album was their

823
00:44:08,000 --> 00:44:10,880
Speaker 2: entry way into the darkness. You know, I had that

824
00:44:11,360 --> 00:44:14,400
Speaker 2: nice kind of like metal sploitation element to the whole picture,

825
00:44:14,520 --> 00:44:17,920
Speaker 2: and that's largely not here. I guess after the events

826
00:44:17,920 --> 00:44:19,200
Speaker 2: of the first film, he was able to get a

827
00:44:19,239 --> 00:44:19,640
Speaker 2: copy of.

828
00:44:19,640 --> 00:44:23,040
Speaker 3: The book, and it's like it's like three feet tall,

829
00:44:23,719 --> 00:44:26,520
Speaker 3: this book, and it seems like there is no binding

830
00:44:26,560 --> 00:44:29,600
Speaker 3: to it because he keeps flipping like full pages of

831
00:44:29,600 --> 00:44:32,560
Speaker 3: it from top to bottom. So he's got that, He's

832
00:44:32,600 --> 00:44:34,760
Speaker 3: got the symbols that he's written all over his hands

833
00:44:34,760 --> 00:44:38,920
Speaker 3: and arms. He's got a cape because he need a cape,

834
00:44:39,080 --> 00:44:41,680
Speaker 3: and he grabs a hamster too on his way out.

835
00:44:41,960 --> 00:44:45,400
Speaker 2: Yep, yep, grabs that hamster. Oh, he just sets up

836
00:44:45,440 --> 00:44:49,480
Speaker 2: this wonderful magic circle inside of Glenn's old house. You

837
00:44:49,600 --> 00:44:53,200
Speaker 2: got crimson candles, yeah, the unholy symbols. But then he's

838
00:44:53,200 --> 00:44:56,120
Speaker 2: also brought some computer equipment with him, sets up a

839
00:44:56,200 --> 00:45:00,960
Speaker 2: kind of like holographic Michael Crichton circle of protection and

840
00:45:01,360 --> 00:45:02,879
Speaker 2: you know gets so it's got like a high tech

841
00:45:02,880 --> 00:45:06,319
Speaker 2: approach to sorcery. Before he calls on the sentinels, he

842
00:45:06,360 --> 00:45:09,040
Speaker 2: calls on the minions from the first film to come forth.

843
00:45:09,280 --> 00:45:13,040
Speaker 3: Yeah, yeah, And he kept calling it a circle. It

844
00:45:13,120 --> 00:45:15,520
Speaker 3: was a pentagon. And I only remember that because I

845
00:45:15,560 --> 00:45:17,840
Speaker 3: was like, oh, this is so that it's technically easier

846
00:45:17,840 --> 00:45:21,000
Speaker 3: for them to make a laser pentagram and not have to,

847
00:45:21,760 --> 00:45:25,200
Speaker 3: you know, reconcile a circle with the points from a

848
00:45:25,239 --> 00:45:29,239
Speaker 3: set design perspective. It never happened. There was never a pentagram,

849
00:45:29,440 --> 00:45:32,400
Speaker 3: so that theory just went right out the window.

850
00:45:32,840 --> 00:45:35,719
Speaker 2: So he's not far into this, this whole ritual here

851
00:45:35,800 --> 00:45:39,200
Speaker 2: before the bad kids show up. It's John, it's his

852
00:45:39,239 --> 00:45:43,400
Speaker 2: girlfriend Liz, and it's the sidekick Mo, And you know,

853
00:45:43,480 --> 00:45:45,040
Speaker 2: at first, it seems like this is going to be

854
00:45:45,120 --> 00:45:47,279
Speaker 2: kind of like a jockson Nerd situation, right, They're just

855
00:45:47,280 --> 00:45:51,440
Speaker 2: gonna immediately make fun of this kid, wreck his equipment,

856
00:45:51,600 --> 00:45:54,160
Speaker 2: mess up whatever spell's about to be cast. But what

857
00:45:54,280 --> 00:45:57,000
Speaker 2: happens is kind of fun because Terry tells them that

858
00:45:57,080 --> 00:45:58,920
Speaker 2: they're like, what is this Satanism? And he's like, no,

859
00:45:58,960 --> 00:46:03,439
Speaker 2: it's not satanism, it's demonology. It's infinitely more badass. And

860
00:46:03,960 --> 00:46:07,120
Speaker 2: then Terry manages to roll in Natural twenty on his

861
00:46:07,160 --> 00:46:10,880
Speaker 2: persuasion check here, because immediately Liz and Mow are like, yeah,

862
00:46:11,160 --> 00:46:15,719
Speaker 2: this nerd is pretty cool. This demonology stuff is pretty righteous.

863
00:46:16,280 --> 00:46:18,359
Speaker 2: We want in on this, and John has no choice,

864
00:46:18,400 --> 00:46:19,960
Speaker 2: but you just go along with it. At this point,

865
00:46:20,160 --> 00:46:24,920
Speaker 2: he's still suspicious of Terry being anything approaching cool, but

866
00:46:26,280 --> 00:46:28,719
Speaker 2: the three of them are brought into the ceremony.

867
00:46:29,120 --> 00:46:33,359
Speaker 3: Yeah. His it's not Satanism, it's demonology, had big. It's

868
00:46:33,400 --> 00:46:35,759
Speaker 3: not a comic book. It's a graphic novel energy to me,

869
00:46:36,280 --> 00:46:39,120
Speaker 3: but delivered with the confidence that I wish I had

870
00:46:39,160 --> 00:46:41,799
Speaker 3: as a teenager of No, this is cool and I

871
00:46:41,840 --> 00:46:45,879
Speaker 3: love this and it's cool. Obviously Terry's more driven than

872
00:46:45,920 --> 00:46:49,319
Speaker 3: just I love this, but yeah, instantly, a D twenty

873
00:46:49,400 --> 00:46:51,799
Speaker 3: roll is a great way to put it. They two

874
00:46:51,920 --> 00:46:54,200
Speaker 3: out of the three of them flip and are into

875
00:46:54,280 --> 00:46:54,759
Speaker 3: it as well.

876
00:46:55,200 --> 00:46:57,120
Speaker 2: Yeah, and this is one of the moments of several

877
00:46:57,120 --> 00:47:00,400
Speaker 2: moments in the film that it does feel like Ninety's

878
00:47:00,760 --> 00:47:03,799
Speaker 2: Keen Nerd power Trip, where it's like the idea that

879
00:47:03,920 --> 00:47:07,680
Speaker 2: you would have this confidence and win people over because

880
00:47:08,000 --> 00:47:12,200
Speaker 2: you are essentially this capable sorcerer, right exactly. I was

881
00:47:12,239 --> 00:47:17,520
Speaker 2: not a capable sorcerer in my teens, but I understand

882
00:47:17,520 --> 00:47:18,719
Speaker 2: the desire to have been.

883
00:47:19,000 --> 00:47:21,839
Speaker 3: I do wanna And the movie doesn't do a great

884
00:47:21,920 --> 00:47:24,520
Speaker 3: job of this. But just a few seconds before this,

885
00:47:24,680 --> 00:47:26,880
Speaker 3: as he's setting up the altar, he takes an audio

886
00:47:26,920 --> 00:47:28,960
Speaker 3: cable and we know it's an audio cable because it's

887
00:47:29,040 --> 00:47:32,200
Speaker 3: giving audio pickup sounds whenever he moves it around and

888
00:47:32,320 --> 00:47:34,200
Speaker 3: plugs the cable into the hamster.

889
00:47:35,120 --> 00:47:36,479
Speaker 2: Oh yeah, what was going on there?

890
00:47:36,640 --> 00:47:42,239
Speaker 3: And then the speakers start to hum. So I don't

891
00:47:42,239 --> 00:47:45,239
Speaker 3: know where he plugged it in. I don't know how

892
00:47:45,280 --> 00:47:49,480
Speaker 3: the hamster just allowed that to happen. But it was

893
00:47:49,560 --> 00:47:54,000
Speaker 3: just one of several preparation quote unquote scenes that he

894
00:47:54,120 --> 00:47:56,239
Speaker 3: was doing, and that one just stuck out to me

895
00:47:56,280 --> 00:47:57,520
Speaker 3: as really really bizarre.

896
00:47:57,880 --> 00:48:00,000
Speaker 2: Yeah, I saw that now that you mentioned. I remember

897
00:48:00,120 --> 00:48:01,640
Speaker 2: the wire going up to the hamster, but it's just

898
00:48:01,719 --> 00:48:04,160
Speaker 2: kind of like just touches the hamster and we get

899
00:48:04,160 --> 00:48:06,040
Speaker 2: the sound effect and it's like, I guess it's working.

900
00:48:06,080 --> 00:48:09,080
Speaker 2: Whatever's happening. Yeah, all right, So anyway, now we have

901
00:48:09,160 --> 00:48:13,120
Speaker 2: four people present for the unholy ceremony. Uh yeah, they

902
00:48:13,120 --> 00:48:15,240
Speaker 2: go through the whole rigamarole. There's this bit where they're

903
00:48:15,280 --> 00:48:19,920
Speaker 2: they're making little sacrifices, burning sacrifices for the ritual, and

904
00:48:19,960 --> 00:48:21,799
Speaker 2: I'm having trouble remembering everything that went in. I know

905
00:48:21,880 --> 00:48:24,320
Speaker 2: Terry puts in a photo of his dad. John throws

906
00:48:24,360 --> 00:48:27,359
Speaker 2: in a playing card a king. I don't remember what

907
00:48:27,400 --> 00:48:28,239
Speaker 2: mowen Lives put in.

908
00:48:28,440 --> 00:48:33,799
Speaker 3: Yeah, I don't remember that either. And it the transition

909
00:48:34,040 --> 00:48:38,440
Speaker 3: from setting up your ritual to getting busted by these

910
00:48:38,520 --> 00:48:40,520
Speaker 3: kids to getting these kids on your side to them

911
00:48:40,560 --> 00:48:43,399
Speaker 3: actually performing the ritual. Like I want to say, they

912
00:48:43,440 --> 00:48:45,200
Speaker 3: just rushed through it. I don't think that we saw

913
00:48:45,280 --> 00:48:47,360
Speaker 3: what mowen List put in, but maybe there was a

914
00:48:47,440 --> 00:48:48,560
Speaker 3: quick shot that I missed.

915
00:48:48,840 --> 00:48:50,839
Speaker 2: Yeah, they should have emphasized it more since they are

916
00:48:50,880 --> 00:48:53,200
Speaker 2: going to refer back to it later. Yeah, I remember

917
00:48:53,200 --> 00:48:56,200
Speaker 2: what what happened. But we get to the point where, okay,

918
00:48:56,239 --> 00:48:59,080
Speaker 2: obviously somebody's got to cut the head off of that hamster.

919
00:48:59,680 --> 00:49:02,680
Speaker 2: Care gets that as cool dagger to do it. But

920
00:49:03,239 --> 00:49:05,560
Speaker 2: and this is, you know, perfectly believable in a nice

921
00:49:05,600 --> 00:49:08,160
Speaker 2: character moment, he can't quite do it because as much

922
00:49:08,200 --> 00:49:11,000
Speaker 2: as Terry wants to be this uh, this you know,

923
00:49:11,160 --> 00:49:16,560
Speaker 2: cold sorcerer, he can't bring himself to kill this pet rodent. John, however,

924
00:49:17,080 --> 00:49:19,480
Speaker 2: has had no qualms about this. He jumps right in

925
00:49:19,640 --> 00:49:24,839
Speaker 2: and off screen slays the hamster, spills its blood and

926
00:49:24,880 --> 00:49:26,160
Speaker 2: the summoning begins to work.

927
00:49:26,360 --> 00:49:29,279
Speaker 3: Yeah, and Moe again, Moe and John are kind of

928
00:49:29,320 --> 00:49:33,200
Speaker 3: like the good cop, bad cop of the bad Cops.

929
00:49:33,320 --> 00:49:37,279
Speaker 3: You know, Moe's the good bad cop. H He has

930
00:49:37,280 --> 00:49:40,440
Speaker 3: a line here that again went to bed thinking about

931
00:49:40,440 --> 00:49:44,640
Speaker 3: this line. As he kills the hamster, most says hamster

932
00:49:44,719 --> 00:49:49,520
Speaker 3: sushi anybody, which just because it's dead doesn't mean that

933
00:49:49,560 --> 00:49:55,640
Speaker 3: it's sushi. Like that's such a leap, and that's the

934
00:49:55,640 --> 00:49:58,680
Speaker 3: the language error. There was what I went to bed

935
00:49:58,719 --> 00:50:01,720
Speaker 3: thinking about, not the grotesqueness of hamster sushi or the

936
00:50:01,880 --> 00:50:04,879
Speaker 3: smugness a killing the hamster, but just like that joke

937
00:50:04,960 --> 00:50:05,560
Speaker 3: doesn't work.

938
00:50:06,080 --> 00:50:07,759
Speaker 2: Yeah, I mean it was a time period though when

939
00:50:07,760 --> 00:50:09,600
Speaker 2: there I feel like there were a lot of sushi jokes.

940
00:50:09,640 --> 00:50:13,400
Speaker 2: Like sushi was weirdly new enough of a concept that

941
00:50:13,480 --> 00:50:17,600
Speaker 2: it was like regular fodder for like late night you

942
00:50:17,640 --> 00:50:20,600
Speaker 2: know TV monologues where you make a joke about about

943
00:50:20,760 --> 00:50:21,440
Speaker 2: raw sushi.

944
00:50:21,760 --> 00:50:26,600
Speaker 3: Yeah, I think like it was a euphemism for chopping

945
00:50:26,840 --> 00:50:30,359
Speaker 3: for something that is chopped up was sushi. So maybe that, yeah,

946
00:50:30,360 --> 00:50:32,879
Speaker 3: maybe that was it. I can sleep well tonight, thank you, Rob.

947
00:50:34,239 --> 00:50:36,320
Speaker 2: So we get a scene where the yeah, the magic

948
00:50:36,360 --> 00:50:38,520
Speaker 2: begins to take hold, like the walls are bleeding. You

949
00:50:38,560 --> 00:50:41,160
Speaker 2: expect that some sort of like black blood of the

950
00:50:41,200 --> 00:50:43,960
Speaker 2: earth is flowing around on the on the floor but

951
00:50:44,120 --> 00:50:47,040
Speaker 2: can't pass through the magic circle or the magic laser

952
00:50:47,080 --> 00:50:53,320
Speaker 2: pentagram here. And then then everyone is like momentarily transported

953
00:50:53,960 --> 00:50:57,000
Speaker 2: sort of phantasm style to some sort of like green

954
00:50:57,080 --> 00:51:01,040
Speaker 2: otherworldly desert, and then they're back in this world and ope,

955
00:51:01,040 --> 00:51:03,719
Speaker 2: finally one of the minions from the first film shows up.

956
00:51:03,760 --> 00:51:06,000
Speaker 2: In the first film, we got tons of minions. I

957
00:51:06,000 --> 00:51:07,359
Speaker 2: don't think we're ever going to get more than one

958
00:51:07,400 --> 00:51:11,800
Speaker 2: at a time for this picture. But still the creature

959
00:51:11,800 --> 00:51:13,160
Speaker 2: looks as fabulous as before.

960
00:51:13,440 --> 00:51:15,920
Speaker 3: A couple of things like one the flashing to the

961
00:51:15,960 --> 00:51:18,600
Speaker 3: other world again. We're like ten minutes into this movie

962
00:51:18,719 --> 00:51:21,880
Speaker 3: and we're already seeing the other side. Like, I'm pretty

963
00:51:21,880 --> 00:51:24,279
Speaker 3: excited at this point. I'm like this, we're getting ready

964
00:51:24,280 --> 00:51:29,600
Speaker 3: to deliver. Then we see a minion again ten minutes in.

965
00:51:30,000 --> 00:51:32,880
Speaker 3: We had to wait so long to see the first minion.

966
00:51:32,960 --> 00:51:34,960
Speaker 3: Last time, I will take a movie that gives me

967
00:51:35,040 --> 00:51:37,799
Speaker 3: one minion for ninety percent of it, then one that

968
00:51:37,840 --> 00:51:40,400
Speaker 3: gives me one hundred minions in the last ten percent

969
00:51:40,400 --> 00:51:40,719
Speaker 3: of it.

970
00:51:40,760 --> 00:51:43,239
Speaker 2: Every time Yeah, and this minion is going to be

971
00:51:43,280 --> 00:51:44,640
Speaker 2: with us for a while. It gets up to some

972
00:51:44,680 --> 00:51:46,879
Speaker 2: cool antics. Yeah, it's pretty fun.

973
00:51:47,160 --> 00:51:52,239
Speaker 3: He rules, his animation is fantastic. Yeah, this is this

974
00:51:52,360 --> 00:51:55,440
Speaker 3: is the one hundred little small swings that I'm talking about.

975
00:51:55,480 --> 00:51:58,080
Speaker 3: You believe that that minion is there, and you believe

976
00:51:58,120 --> 00:52:01,320
Speaker 3: what's about to happen to that minion actually happen weapons, Yeah, because.

977
00:52:01,160 --> 00:52:03,759
Speaker 2: What happens is John gets freaked out, pulls out a

978
00:52:03,760 --> 00:52:07,120
Speaker 2: pistol against firing it, and kills the minion. Shoots the

979
00:52:07,160 --> 00:52:09,759
Speaker 2: minion through the heart. Minion's dead. He roughs up Terry

980
00:52:09,800 --> 00:52:12,960
Speaker 2: a little bit, pulls his crew out, despite the fact,

981
00:52:13,160 --> 00:52:16,520
Speaker 2: again the whole thing is, as we've established, the crew

982
00:52:16,560 --> 00:52:20,000
Speaker 2: here has teleported to another realm and come back and

983
00:52:20,520 --> 00:52:25,439
Speaker 2: then seen a magical creature. But they everyone proceeds as

984
00:52:25,480 --> 00:52:30,040
Speaker 2: if there wasn't such vital proof presented to them of

985
00:52:30,080 --> 00:52:31,360
Speaker 2: the supernatural reality.

986
00:52:31,840 --> 00:52:35,200
Speaker 3: Yeah. John treats it like you put us in danger

987
00:52:35,600 --> 00:52:42,640
Speaker 3: and I saved us. And that's not untrue, but it's

988
00:52:42,680 --> 00:52:46,480
Speaker 3: such like the I saved us part is so presumptuous

989
00:52:46,480 --> 00:52:48,799
Speaker 3: that you know the situation well enough to know that

990
00:52:48,880 --> 00:52:53,040
Speaker 3: you did that. I think legit Okay to be angry

991
00:52:53,120 --> 00:52:56,360
Speaker 3: at Terry for transporting you all to a demonic realm

992
00:52:57,080 --> 00:53:00,760
Speaker 3: and putting you in the same room as a dem minion.

993
00:53:01,120 --> 00:53:02,719
Speaker 3: But I think that's the point at which you need

994
00:53:02,760 --> 00:53:06,319
Speaker 3: to pump your brakes on what you know about the universe. Yeah,

995
00:53:06,400 --> 00:53:08,640
Speaker 3: and look to Terry to say, what was that? What

996
00:53:08,719 --> 00:53:09,520
Speaker 3: do we do next?

997
00:53:10,120 --> 00:53:12,080
Speaker 2: Yeah, he's had a peek at a at a wider

998
00:53:12,160 --> 00:53:16,520
Speaker 2: reality and just immediately turns his back up. Yeah, so

999
00:53:16,880 --> 00:53:19,279
Speaker 2: what's Terry left to do? He lovingly wraps the dead

1000
00:53:19,320 --> 00:53:22,560
Speaker 2: minion up in his cape and and like the next

1001
00:53:22,560 --> 00:53:24,279
Speaker 2: shot is like we see to just preserved in a

1002
00:53:24,360 --> 00:53:25,560
Speaker 2: jar of I don't know, vinegar.

1003
00:53:25,600 --> 00:53:28,960
Speaker 3: I guess I just assumed it was from aldehyde. Vinegar

1004
00:53:29,040 --> 00:53:32,920
Speaker 3: makes a lot more sense. It is opaque. So there's

1005
00:53:32,960 --> 00:53:37,400
Speaker 3: something again. Maybe he was ready for something like this

1006
00:53:37,520 --> 00:53:41,080
Speaker 3: to happen and had a tank of preservative at the ready.

1007
00:53:41,400 --> 00:53:43,120
Speaker 2: Well, you know, Stephen King in a book would have

1008
00:53:43,120 --> 00:53:44,880
Speaker 2: had a lot more. He would have just like, oh, well,

1009
00:53:44,960 --> 00:53:48,279
Speaker 2: Terry stole it from the chemistry lab at his high

1010
00:53:48,320 --> 00:53:50,960
Speaker 2: school and brought it back. We don't know, we don't

1011
00:53:51,000 --> 00:53:53,799
Speaker 2: have room for that kind of description here. So yeah,

1012
00:53:54,120 --> 00:53:56,520
Speaker 2: maybe he got some some from Autohyder. Maybe it is just.

1013
00:53:56,520 --> 00:53:58,920
Speaker 3: Vinegar Stephen King. It would have been two chapters and

1014
00:53:58,960 --> 00:53:59,640
Speaker 3: a flashback.

1015
00:53:59,800 --> 00:54:04,640
Speaker 2: Yeah. Now the next morning, it seems like Terry's dad

1016
00:54:04,719 --> 00:54:07,640
Speaker 2: is back on track, right or is he? He seems

1017
00:54:07,640 --> 00:54:10,640
Speaker 2: like he's off to get his airline job back, seems

1018
00:54:10,640 --> 00:54:13,720
Speaker 2: pretty confident about it. Terry seems a little bit worried,

1019
00:54:13,760 --> 00:54:17,239
Speaker 2: and I think we as viewers of the film are

1020
00:54:17,239 --> 00:54:20,399
Speaker 2: also supposed to be a little worried about Terry's dad. Here.

1021
00:54:20,880 --> 00:54:23,880
Speaker 3: Yeah, he's again. It's abrupt. There's not a lot of

1022
00:54:23,960 --> 00:54:27,760
Speaker 3: explanation there. I think it's supposed to be intentionally vague.

1023
00:54:28,640 --> 00:54:31,239
Speaker 3: But all he is saying is that he's got an

1024
00:54:31,239 --> 00:54:33,399
Speaker 3: interview at his old job. They want him back. And

1025
00:54:33,480 --> 00:54:36,240
Speaker 3: he looks at his pilot's outfit that he's not wearing,

1026
00:54:36,560 --> 00:54:39,920
Speaker 3: finishes up his suit, then gets in the car and

1027
00:54:39,960 --> 00:54:42,880
Speaker 3: then you get a scene where Terry's looking out the

1028
00:54:42,920 --> 00:54:45,400
Speaker 3: window or no, you get a scene of him in

1029
00:54:45,440 --> 00:54:48,080
Speaker 3: the driver's seat of the car. You see him taking

1030
00:54:48,120 --> 00:54:51,279
Speaker 3: a nip from a flask inside the car. Yeah, so

1031
00:54:51,520 --> 00:54:54,799
Speaker 3: you're seeing that it's not completely on board. And then

1032
00:54:55,160 --> 00:54:57,960
Speaker 3: even worse, you see Terry see that through the window

1033
00:54:58,640 --> 00:55:00,919
Speaker 3: so Terry knows what's going on as well. He knows

1034
00:55:00,960 --> 00:55:03,520
Speaker 3: that okay, it's old tricks. There might be a new

1035
00:55:03,560 --> 00:55:06,640
Speaker 3: thing going on, but it's not an entirely new situation.

1036
00:55:07,239 --> 00:55:10,440
Speaker 2: Yeah. So at school, Terry's distracted winds up in detention.

1037
00:55:10,640 --> 00:55:13,160
Speaker 2: But in detention he ends up bonding with Liz because

1038
00:55:13,200 --> 00:55:15,919
Speaker 2: Liz is there for some reason. She's up to no good.

1039
00:55:16,080 --> 00:55:18,120
Speaker 2: She's having trouble concentrated. I don't know. We don't know

1040
00:55:18,120 --> 00:55:21,120
Speaker 2: the full background. It's not revealed to us. But Liz

1041
00:55:21,560 --> 00:55:25,680
Speaker 2: does reveal what wish she made when they were putting

1042
00:55:25,680 --> 00:55:28,319
Speaker 2: together their ceremony, and it is to meet her true love.

1043
00:55:29,440 --> 00:55:33,560
Speaker 3: It's such a Disney wish. Yes, and maybe that's why

1044
00:55:33,560 --> 00:55:35,680
Speaker 3: there was nothing to put on the altar. Again. We'll

1045
00:55:35,719 --> 00:55:38,120
Speaker 3: get Moe's later too, and that's another one that is

1046
00:55:38,200 --> 00:55:40,840
Speaker 3: like what would manifest for you to put on an altar?

1047
00:55:40,960 --> 00:55:44,120
Speaker 2: Yeah. So meanwhile, John and Mo are not in school.

1048
00:55:44,239 --> 00:55:46,840
Speaker 2: Moe has apparently has a factory job at this big,

1049
00:55:47,080 --> 00:55:49,520
Speaker 2: scary factory. There will be a set piece later on

1050
00:55:49,600 --> 00:55:51,920
Speaker 2: in the film. Yeah, and John is apparently there just

1051
00:55:51,920 --> 00:55:54,399
Speaker 2: to hang out, to force him to smoke weed and

1052
00:55:54,440 --> 00:55:56,560
Speaker 2: to encourage him to quote be a man and quit

1053
00:55:56,560 --> 00:55:57,040
Speaker 2: his job.

1054
00:55:58,200 --> 00:56:02,840
Speaker 3: He also wants some most pills, and Mo makes a

1055
00:56:02,880 --> 00:56:05,200
Speaker 3: point to be like, these are heart pills. They don't

1056
00:56:05,239 --> 00:56:08,799
Speaker 3: do anything to us. John is essentially just like, shut

1057
00:56:08,880 --> 00:56:11,560
Speaker 3: up and give me one anyway. So John loves.

1058
00:56:11,640 --> 00:56:13,839
Speaker 2: For his heart yeah, kind of makes fun of him

1059
00:56:13,840 --> 00:56:14,919
Speaker 2: for his heart condition too.

1060
00:56:15,200 --> 00:56:19,440
Speaker 3: Yeah. And that's where Moe reveals that he wished for aliens.

1061
00:56:20,040 --> 00:56:22,880
Speaker 2: Yep, he wants to meet aliens. And then kind of

1062
00:56:22,920 --> 00:56:24,440
Speaker 2: like as an afterthought, is like, oh yeah, and then

1063
00:56:24,440 --> 00:56:25,840
Speaker 2: maybe they could fix my heart condition.

1064
00:56:26,160 --> 00:56:29,520
Speaker 3: Maybe don't wish to have your heart condition fixed, which

1065
00:56:29,560 --> 00:56:31,840
Speaker 3: is something you could put your pill on the ritual

1066
00:56:31,880 --> 00:56:35,840
Speaker 3: altar for, but wish for aliens. Oh yeah, and also

1067
00:56:35,920 --> 00:56:37,799
Speaker 3: maybe they could fix my heart Yeah.

1068
00:56:37,840 --> 00:56:39,880
Speaker 2: But it's kind of a pure wish, Like it shows

1069
00:56:39,920 --> 00:56:44,279
Speaker 2: like most most not really that bad a guy. He's

1070
00:56:44,320 --> 00:56:47,560
Speaker 2: just easily led. John, however, reveals his wishes. He wants

1071
00:56:47,560 --> 00:56:49,080
Speaker 2: to be king of the world. He just wants straight

1072
00:56:49,160 --> 00:56:52,680
Speaker 2: up power, with no details about how to get from

1073
00:56:52,680 --> 00:56:55,520
Speaker 2: point A to point B except through like supernatural wishes.

1074
00:56:55,719 --> 00:56:58,000
Speaker 3: Well, just the John and Liz really deserve each other

1075
00:56:58,040 --> 00:57:01,359
Speaker 3: when you boil down the broad strokes of their worldviews

1076
00:57:01,520 --> 00:57:03,200
Speaker 3: that these are the things they are wishing for.

1077
00:57:03,920 --> 00:57:09,440
Speaker 2: Yeah, it's not surprising they've wound up together. Now. Meanwhile,

1078
00:57:09,440 --> 00:57:11,680
Speaker 2: back in the basement, the minion in the jar is

1079
00:57:11,800 --> 00:57:15,040
Speaker 2: healing like the bullet has been like pooped out of

1080
00:57:15,040 --> 00:57:18,680
Speaker 2: the wound. The wound is closing up, and Terry's Terry

1081
00:57:18,680 --> 00:57:22,240
Speaker 2: notes this, it's exciting. And then meanwhile Terry's dad is

1082
00:57:22,280 --> 00:57:26,040
Speaker 2: celebrating because he's he's he's not a pilot again, but

1083
00:57:26,160 --> 00:57:30,320
Speaker 2: he is a baggage expediter. And when he reveals this

1084
00:57:30,360 --> 00:57:32,360
Speaker 2: to Terry, Terry seems a little bummed out about it,

1085
00:57:32,400 --> 00:57:35,640
Speaker 2: but also given that dad clearly hasn't beat his drinking problem,

1086
00:57:35,880 --> 00:57:37,360
Speaker 2: this also seems like a very good thing.

1087
00:57:37,600 --> 00:57:41,080
Speaker 3: Yeah, and the dad is wasted at this point. He's

1088
00:57:41,160 --> 00:57:46,400
Speaker 3: doing the comical slurring alcoholism is not funny, but the

1089
00:57:46,400 --> 00:57:50,320
Speaker 3: way that he is playing it is very vaudevillian. Yeah,

1090
00:57:50,440 --> 00:57:53,000
Speaker 3: the way that he's it's very exaggerated.

1091
00:57:53,520 --> 00:57:55,120
Speaker 2: Now, the next thing that happens, of course, is the

1092
00:57:55,120 --> 00:58:00,080
Speaker 2: minion comes to breaks out of his prison and we

1093
00:58:00,160 --> 00:58:02,560
Speaker 2: get more shots of the basement there. I know, as

1094
00:58:02,600 --> 00:58:04,640
Speaker 2: there's a like a Motley Crue banner.

1095
00:58:04,720 --> 00:58:07,800
Speaker 3: That he's a fully displayed huge banner.

1096
00:58:08,280 --> 00:58:10,600
Speaker 2: Yeah, I feel like some of the other posters rock

1097
00:58:10,600 --> 00:58:13,040
Speaker 2: posters has a kind of obscured now, but Motley Cruz

1098
00:58:13,040 --> 00:58:14,520
Speaker 2: front and center. I don't know what we're supposed to

1099
00:58:14,560 --> 00:58:17,640
Speaker 2: do with that in terms of figuring out Terry's care.

1100
00:58:18,120 --> 00:58:21,280
Speaker 3: Yeah, and it's good to take a pause and acknowledge

1101
00:58:21,280 --> 00:58:23,800
Speaker 3: that the walls are clean and readable. It's not posters

1102
00:58:23,840 --> 00:58:25,920
Speaker 3: on top of posters on top of posters like it

1103
00:58:26,000 --> 00:58:29,680
Speaker 3: was when he was a child. His decorating game has

1104
00:58:29,800 --> 00:58:32,480
Speaker 3: leveled up a little bit, but maybe not to a

1105
00:58:32,520 --> 00:58:36,320
Speaker 3: presentable level. There's also exposed scaffolding in his room for

1106
00:58:36,360 --> 00:58:39,479
Speaker 3: some reason, which was not there before. Again, this looks

1107
00:58:39,520 --> 00:58:42,920
Speaker 3: like a pretty finished house, so maybe he's moved into

1108
00:58:42,960 --> 00:58:45,600
Speaker 3: the basement and the basement was always unfinished or something

1109
00:58:45,680 --> 00:58:48,360
Speaker 3: like that. And this is not stuff that's important to

1110
00:58:48,440 --> 00:58:51,000
Speaker 3: the movie or the plot or anything like that, but

1111
00:58:51,040 --> 00:58:53,040
Speaker 3: it's the sort of thing that just like lodges in

1112
00:58:53,080 --> 00:58:56,680
Speaker 3: my brain and I can't really move on until I've

1113
00:58:56,720 --> 00:58:58,240
Speaker 3: really digested that sort of thing.

1114
00:58:58,480 --> 00:59:00,200
Speaker 2: Yeah, I mean, now that you mention it, it's a fairly

1115
00:59:00,280 --> 00:59:03,880
Speaker 2: sizable looking house. How can it possibly just have a

1116
00:59:03,920 --> 00:59:06,640
Speaker 2: master bedroom? Right? Like, there's got to be at least

1117
00:59:06,640 --> 00:59:08,919
Speaker 2: two bedrooms up there. Why isn't he in one of them?

1118
00:59:09,200 --> 00:59:10,520
Speaker 2: I guess maybe he just wanted to live in the

1119
00:59:10,520 --> 00:59:11,520
Speaker 2: basement because it's cool.

1120
00:59:11,640 --> 00:59:13,920
Speaker 3: And yeah, that's a very teen thing, you know.

1121
00:59:14,120 --> 00:59:16,840
Speaker 2: Yeah, all right, so the minions escaped and we do

1122
00:59:16,960 --> 00:59:19,560
Speaker 2: get some pretty fun minion antics at this point, the

1123
00:59:19,600 --> 00:59:22,960
Speaker 2: minion running around and Terry having to fight the minion

1124
00:59:23,080 --> 00:59:26,920
Speaker 2: dressing up in hockey gear. He gets very grimliny here

1125
00:59:26,960 --> 00:59:27,840
Speaker 2: for a minute. Yeah.

1126
00:59:27,880 --> 00:59:31,480
Speaker 3: The minion gets some scissors, like the legit scissors with

1127
00:59:31,520 --> 00:59:36,600
Speaker 3: the black handles the scissors, so he's got a weapon.

1128
00:59:36,640 --> 00:59:39,960
Speaker 3: He's coming at Terry. Terry's dressed in hockey pads. He

1129
00:59:40,000 --> 00:59:43,440
Speaker 3: eventually gets the wastebasket and puts the waste basket over

1130
00:59:43,680 --> 00:59:47,080
Speaker 3: the minion, trapping him, and then this seems unnecessary, starts

1131
00:59:47,120 --> 00:59:50,320
Speaker 3: hitting the side of the wastebasket to make the loud

1132
00:59:50,360 --> 00:59:53,840
Speaker 3: clanging noise, which disorients him. Then he pulls the waste

1133
00:59:53,840 --> 00:59:56,600
Speaker 3: basket off, which is like, why just put something underneath

1134
00:59:56,600 --> 00:59:59,840
Speaker 3: the waist basket? Classic bug mode, and then you've got him.

1135
01:00:00,160 --> 01:00:04,160
Speaker 3: You can move around, yeah exactly, but in doing so,

1136
01:00:04,280 --> 01:00:06,880
Speaker 3: in lifting the waste basket, you get the comical effect

1137
01:00:06,920 --> 01:00:11,000
Speaker 3: of the minion, kind of like staggering around dazed. If

1138
01:00:11,000 --> 01:00:13,240
Speaker 3: it were a cartoon, you'd see the birds over his head.

1139
01:00:14,240 --> 01:00:15,560
Speaker 2: And then it's into the hamster cage.

1140
01:00:15,880 --> 01:00:18,240
Speaker 3: Yeah is it? No, it's a bird cage.

1141
01:00:18,280 --> 01:00:21,200
Speaker 2: I think, oh, that's right, right, but what the hamster

1142
01:00:21,320 --> 01:00:24,400
Speaker 2: was in earlier, rightly, it is clearly a bird cage.

1143
01:00:24,520 --> 01:00:27,160
Speaker 3: Yeah. The reason I thought about the bird cage was

1144
01:00:27,600 --> 01:00:30,040
Speaker 3: because there is a very sweet scene later on of

1145
01:00:30,120 --> 01:00:32,720
Speaker 3: him swinging on the swing, yes, like a little boy.

1146
01:00:33,560 --> 01:00:37,320
Speaker 2: Yeah, with his legs crossed. That's that's great stuff again.

1147
01:00:37,400 --> 01:00:39,720
Speaker 2: All the stuff with the Minion is tremendous. Yeah. Now

1148
01:00:39,800 --> 01:00:43,160
Speaker 2: the next morning, Terry's dad is throwing out all his booze,

1149
01:00:43,200 --> 01:00:46,360
Speaker 2: filling up really to a comic degree. He's filling up

1150
01:00:46,360 --> 01:00:50,360
Speaker 2: an entire garbage can with liver bottles and reveals that

1151
01:00:50,640 --> 01:00:52,400
Speaker 2: not only does he have his job back, apparently he

1152
01:00:52,480 --> 01:00:55,320
Speaker 2: is flying again and he's going to do quote the

1153
01:00:55,360 --> 01:00:57,480
Speaker 2: London Run. Yeah.

1154
01:00:57,520 --> 01:01:01,200
Speaker 3: I couldn't tell if he was doing the I'm done

1155
01:01:01,280 --> 01:01:04,400
Speaker 3: with drinking throwing out of bottles, or if it was

1156
01:01:04,440 --> 01:01:06,400
Speaker 3: meant to be this is how much I drank last

1157
01:01:06,520 --> 01:01:09,680
Speaker 3: night throwing out of bottles, Because it really is just

1158
01:01:09,760 --> 01:01:13,520
Speaker 3: it never ends, like it goes on for forty seconds

1159
01:01:13,720 --> 01:01:17,000
Speaker 3: just about of clang, clank clank. The Manion hates it.

1160
01:01:17,200 --> 01:01:20,120
Speaker 3: This is when he's on the swing, he's swinging and

1161
01:01:20,200 --> 01:01:24,520
Speaker 3: like screaming at all the noise that's going on. And

1162
01:01:24,560 --> 01:01:28,080
Speaker 3: then yeah, the London route. That his first day back

1163
01:01:28,120 --> 01:01:30,040
Speaker 3: in the plane, he's doing the London route.

1164
01:01:30,440 --> 01:01:32,760
Speaker 2: Yeah, it seems like a bad idea. But also it's

1165
01:01:32,840 --> 01:01:37,000
Speaker 2: just very confusing because like what changed overnight that he's

1166
01:01:37,120 --> 01:01:40,640
Speaker 2: not in baggage, he's actually flying a plane and I

1167
01:01:40,640 --> 01:01:43,440
Speaker 2: don't know, And is this the dark magic? Again? We

1168
01:01:43,520 --> 01:01:47,800
Speaker 2: have this whole idea that magic keeps changing Terry's reality

1169
01:01:47,840 --> 01:01:50,360
Speaker 2: and therefore it does take some of the agency out

1170
01:01:50,400 --> 01:01:51,680
Speaker 2: of the surrounding characters.

1171
01:01:52,240 --> 01:01:55,880
Speaker 3: Yeah, I think that this has to be the magic

1172
01:01:56,000 --> 01:01:59,120
Speaker 3: at work. I don't think that him getting the call

1173
01:01:59,160 --> 01:02:01,520
Speaker 3: and getting the baggage expedite her job because that was

1174
01:02:01,600 --> 01:02:05,440
Speaker 3: just the night before. Yeah, so reality has changed overnight.

1175
01:02:05,880 --> 01:02:10,760
Speaker 2: Yeah, it would seem yeah, or something's missing, there's there's

1176
01:02:10,760 --> 01:02:15,080
Speaker 2: a scene missing here. That's always the conundrum. But anyway,

1177
01:02:15,160 --> 01:02:18,720
Speaker 2: the scene we cut to with the minions swinging on

1178
01:02:18,760 --> 01:02:22,240
Speaker 2: the bird swing is absolute gold. Terry takes photos of it.

1179
01:02:22,280 --> 01:02:25,920
Speaker 2: Liz just appears as she does because she later described

1180
01:02:25,960 --> 01:02:27,880
Speaker 2: she doesn't like to have to wait for someone to

1181
01:02:27,880 --> 01:02:30,560
Speaker 2: invite her in, like it's a power thing. It's like, no, no,

1182
01:02:30,600 --> 01:02:32,200
Speaker 2: I just walk into people's thousands.

1183
01:02:32,240 --> 01:02:37,600
Speaker 3: Okay, there's probably an articulate statement to be made about

1184
01:02:37,680 --> 01:02:40,760
Speaker 3: these teens hunger for power, and these teens the way

1185
01:02:40,800 --> 01:02:46,040
Speaker 3: that the little micro choices that they find to exercise

1186
01:02:46,120 --> 01:02:50,640
Speaker 3: that power, where you have some going to a cosmic

1187
01:02:50,720 --> 01:02:55,680
Speaker 3: level to tap into demonic entities to gain power, which

1188
01:02:55,680 --> 01:02:58,920
Speaker 3: again Terry speaks specifically to that that he wants that

1189
01:02:59,000 --> 01:03:02,680
Speaker 3: power to somebody just letting themselves into a door. Somebody

1190
01:03:02,800 --> 01:03:05,000
Speaker 3: smarter and more articulate than he could connect those dots

1191
01:03:05,040 --> 01:03:07,880
Speaker 3: and create a more rounded statement about teens and their

1192
01:03:07,920 --> 01:03:09,600
Speaker 3: hunger for power. But I think it's there.

1193
01:03:10,080 --> 01:03:13,760
Speaker 2: Yeah, So Terry explains the lo Is how all this works.

1194
01:03:13,760 --> 01:03:15,960
Speaker 2: He's like, Okay, don't this minion is cute, but don't

1195
01:03:15,960 --> 01:03:18,480
Speaker 2: be too impressed. He's just he's a mere roadie. The

1196
01:03:18,560 --> 01:03:23,640
Speaker 2: true rock stars here are the unholy Trinity of demon lords,

1197
01:03:24,280 --> 01:03:25,919
Speaker 2: the ones that are on the other side of the gate,

1198
01:03:25,960 --> 01:03:28,160
Speaker 2: and they're so angry at being locked out that they

1199
01:03:28,200 --> 01:03:32,320
Speaker 2: generate immense energy that can then be manipulated in the

1200
01:03:32,360 --> 01:03:37,160
Speaker 2: form of unholy rites and manifested as wishes nothing a

1201
01:03:37,240 --> 01:03:39,240
Speaker 2: capable teenage sorcerer can't handle.

1202
01:03:40,240 --> 01:03:45,040
Speaker 3: Yeah, and they're named the three demons Israel, Shagor, and Zyklon.

1203
01:03:45,640 --> 01:03:49,320
Speaker 3: Oh nice. So those are the three that apparently were

1204
01:03:49,440 --> 01:03:52,240
Speaker 3: like the John and Mo of the cosmos, where they

1205
01:03:52,240 --> 01:03:57,880
Speaker 3: were just going around messing stuff up, and finally somebody

1206
01:03:57,880 --> 01:04:02,920
Speaker 3: got it enough together to trap them away from everything

1207
01:04:02,960 --> 01:04:07,600
Speaker 3: else somehow, like all dimensions, and that is what the

1208
01:04:07,640 --> 01:04:10,360
Speaker 3: Gate is a portal too, all.

1209
01:04:10,320 --> 01:04:12,480
Speaker 2: Right, So yeah, we get we get some some explanation

1210
01:04:12,560 --> 01:04:16,040
Speaker 2: of how this demon worship works, and then it gets

1211
01:04:16,240 --> 01:04:20,360
Speaker 2: super heavy as we immediately translate into Terry discussing his

1212
01:04:20,440 --> 01:04:24,520
Speaker 2: dad's depression after his mom died, and he describes like

1213
01:04:24,720 --> 01:04:29,680
Speaker 2: catching him with a gun in his mouth. Yeah, so uh, real,

1214
01:04:29,800 --> 01:04:32,600
Speaker 2: real heavy, all out of all out of nowhere here again.

1215
01:04:32,640 --> 01:04:34,480
Speaker 2: Horror films are generally not a great place to look

1216
01:04:34,520 --> 01:04:39,480
Speaker 2: for compassionate treatments of things like alcoholism, mental health issues, suicide.

1217
01:04:40,640 --> 01:04:42,720
Speaker 2: I guess, if I'm being generous, the film at least

1218
01:04:42,800 --> 01:04:46,200
Speaker 2: takes this really seriously in the context of its storytelling,

1219
01:04:47,160 --> 01:04:49,280
Speaker 2: But I also feel like, especially looking back at this movie,

1220
01:04:49,280 --> 01:04:50,600
Speaker 2: they could have pulled back from that. They could have,

1221
01:04:50,840 --> 01:04:53,480
Speaker 2: like with the film, with this moment, have been less

1222
01:04:53,520 --> 01:04:57,240
Speaker 2: impactful or less efficient if Terry had just been like

1223
01:04:57,400 --> 01:04:58,640
Speaker 2: my dad was super depressed.

1224
01:04:59,120 --> 01:05:03,200
Speaker 3: Yeah, I think that it tries to get at something

1225
01:05:03,320 --> 01:05:07,760
Speaker 3: that if you're gonna do it, shoot it and make

1226
01:05:07,800 --> 01:05:12,280
Speaker 3: a scene with it, and find a way to have

1227
01:05:12,400 --> 01:05:17,480
Speaker 3: that work within the larger story that you're trying to tell.

1228
01:05:18,160 --> 01:05:21,200
Speaker 3: I think adding it as a one line description of

1229
01:05:21,240 --> 01:05:24,520
Speaker 3: what your dad was going through a while back doesn't

1230
01:05:24,520 --> 01:05:28,919
Speaker 3: give it any weight. It seems schlocky to add that in,

1231
01:05:29,320 --> 01:05:32,320
Speaker 3: And to your point, it's unnecessary at that point, and

1232
01:05:32,400 --> 01:05:34,520
Speaker 3: I don't think to be clear, I don't think that

1233
01:05:34,920 --> 01:05:38,040
Speaker 3: a scene or a flashback or anything like that is necessary.

1234
01:05:38,560 --> 01:05:42,800
Speaker 3: I think that it works more harmoniously with the vibe

1235
01:05:42,800 --> 01:05:44,960
Speaker 3: of the movie to just say he was in a

1236
01:05:45,040 --> 01:05:48,680
Speaker 3: very dark place, I was worried for his life, you know,

1237
01:05:48,760 --> 01:05:51,760
Speaker 3: things like that. But yeah, I think that it does

1238
01:05:51,840 --> 01:05:56,080
Speaker 3: serve the purpose of Terry is not interested just in

1239
01:05:56,120 --> 01:05:59,400
Speaker 3: his dad not being an alcoholic anymore. The alcoholism is

1240
01:05:59,440 --> 01:06:01,880
Speaker 3: not the problem, or is not the only problem that

1241
01:06:02,200 --> 01:06:05,120
Speaker 3: Terry's dat is facing. It's a larger problem that Terry

1242
01:06:05,160 --> 01:06:07,600
Speaker 3: is trying to fix, and so I think it does

1243
01:06:07,760 --> 01:06:11,280
Speaker 3: justice in widening the scope a little bit, but it

1244
01:06:11,320 --> 01:06:14,080
Speaker 3: tries to do it too quickly and too clunkily for

1245
01:06:14,160 --> 01:06:15,520
Speaker 3: it to have any real impact.

1246
01:06:16,040 --> 01:06:18,600
Speaker 2: Luckily, Liz has a solution. She's like, well, let's just

1247
01:06:18,760 --> 01:06:22,480
Speaker 2: use the dark magic to wish for more stuff. She says,

1248
01:06:22,480 --> 01:06:25,280
Speaker 2: we can just wish for a cherry red corvette, and

1249
01:06:25,400 --> 01:06:27,840
Speaker 2: Terry says, well, you can't do that, it's not that simple.

1250
01:06:28,240 --> 01:06:31,080
Speaker 2: And then she immediately like burns just a random like

1251
01:06:31,280 --> 01:06:34,720
Speaker 2: piece of a Chinese takeout box in front of the

1252
01:06:34,720 --> 01:06:37,760
Speaker 2: demon and wishes that the rain stop, and it does,

1253
01:06:38,320 --> 01:06:40,600
Speaker 2: and then Terry's like, okay, I guess it is that simple.

1254
01:06:40,920 --> 01:06:44,640
Speaker 2: And then and then the next thing we see is

1255
01:06:44,680 --> 01:06:46,880
Speaker 2: them tearing around town in an actual corvette.

1256
01:06:47,280 --> 01:06:51,160
Speaker 3: Could you imagine if because the thing that's always stuck

1257
01:06:51,400 --> 01:06:55,600
Speaker 3: with me about Gate one and Gate two, always over

1258
01:06:55,640 --> 01:06:58,880
Speaker 3: the past day, is that there is a wishfulfillment thing

1259
01:06:58,920 --> 01:07:02,040
Speaker 3: happening in Gate one, but it feels so unformed, and

1260
01:07:02,120 --> 01:07:05,600
Speaker 3: it feels like the wishes that the kids are having

1261
01:07:06,240 --> 01:07:09,760
Speaker 3: are so generalized and broad and that they could not

1262
01:07:09,920 --> 01:07:12,160
Speaker 3: put specific words to the things that they are wishing for.

1263
01:07:12,200 --> 01:07:14,200
Speaker 3: But that's where you get Terry in a dream with

1264
01:07:14,280 --> 01:07:17,920
Speaker 3: his mother where he ends up waking up and realizes

1265
01:07:17,960 --> 01:07:20,840
Speaker 3: that he's holding the dead dog. You know, it adds

1266
01:07:20,840 --> 01:07:24,919
Speaker 3: a weirdness to it that is heightened by the fact

1267
01:07:24,960 --> 01:07:27,640
Speaker 3: that these kids aren't able to articulate what their what

1268
01:07:27,680 --> 01:07:29,760
Speaker 3: their wish would be. They don't even know that they're

1269
01:07:29,760 --> 01:07:33,440
Speaker 3: in a wish fulfillment situation versus cut to Gate two.

1270
01:07:34,240 --> 01:07:36,960
Speaker 3: It's just teenagers rubbing a bottle and making wishes at

1271
01:07:36,960 --> 01:07:37,400
Speaker 3: this point.

1272
01:07:37,680 --> 01:07:41,160
Speaker 2: Yeah, yeah, it basically it just goes all wish master, honestly,

1273
01:07:41,240 --> 01:07:43,960
Speaker 2: and so, yeah, they get their corvette. They're going on

1274
01:07:44,000 --> 01:07:46,880
Speaker 2: an epic shopping trip, just filling this corvette up with stuff,

1275
01:07:47,360 --> 01:07:50,439
Speaker 2: tearing all over town. We get a scene where there's

1276
01:07:50,480 --> 01:07:54,440
Speaker 2: a there's like a brief discussion of sexuality in Terry's virginity,

1277
01:07:54,840 --> 01:07:57,280
Speaker 2: which I don't know, was kind of a nice moment.

1278
01:07:57,360 --> 01:08:00,760
Speaker 2: It's kind of it's kind of tastefully managed. It's not

1279
01:08:00,800 --> 01:08:01,720
Speaker 2: played for laughs.

1280
01:08:02,520 --> 01:08:07,000
Speaker 3: I think that what the film gets right about Liz

1281
01:08:07,040 --> 01:08:09,320
Speaker 3: and Terry, and I wish that they had kind of

1282
01:08:09,360 --> 01:08:13,760
Speaker 3: kept this intact throughout the movie was there's a sweetness there.

1283
01:08:13,840 --> 01:08:17,759
Speaker 3: There's a friendship there, and there's an attempt to understand

1284
01:08:17,800 --> 01:08:22,599
Speaker 3: each other happening, and it doesn't really seem romantically driven.

1285
01:08:22,680 --> 01:08:24,880
Speaker 3: It just seems like these are two people who are

1286
01:08:24,920 --> 01:08:28,920
Speaker 3: looking for company and who are looking for friendship, and

1287
01:08:28,960 --> 01:08:32,400
Speaker 3: who are looking for understanding and relatability, and they both

1288
01:08:32,720 --> 01:08:35,040
Speaker 3: seem to have what the other person is looking for.

1289
01:08:36,360 --> 01:08:40,680
Speaker 3: I again, nineteen ninety it has to be romantic. It

1290
01:08:40,720 --> 01:08:44,120
Speaker 3: can't exist unless it ends up being romantic. It was

1291
01:08:44,800 --> 01:08:47,920
Speaker 3: pointless to do. I think there are a few movies

1292
01:08:47,960 --> 01:08:52,080
Speaker 3: around that time that obviously don't work on that buck

1293
01:08:52,160 --> 01:08:55,840
Speaker 3: that trend. But I think here it is such a

1294
01:08:55,840 --> 01:08:57,960
Speaker 3: sweetness to it, and it seems like this that are

1295
01:08:58,040 --> 01:09:00,240
Speaker 3: necessary to kind of build that bomb between him.

1296
01:09:00,680 --> 01:09:04,320
Speaker 2: Yeah yeah, so yeah, yeah, I think that's a good point. Now,

1297
01:09:04,520 --> 01:09:06,320
Speaker 2: at this point in the picture, it seems like they're

1298
01:09:06,360 --> 01:09:09,080
Speaker 2: flying to France. We cut to them on this really

1299
01:09:09,760 --> 01:09:15,679
Speaker 2: colorful air aircraft here and colorful interiors.

1300
01:09:15,280 --> 01:09:17,519
Speaker 3: And a black leather jacket. I'm sorry to interrupt you,

1301
01:09:17,560 --> 01:09:19,800
Speaker 3: but I gotta point out this wardrobe choice here in

1302
01:09:19,840 --> 01:09:21,799
Speaker 3: a black leather jacket and white scarves.

1303
01:09:22,360 --> 01:09:24,639
Speaker 2: Yes, yeah, which should this should have been our first

1304
01:09:24,640 --> 01:09:27,320
Speaker 2: morning that this is, of course the dream sequence. It

1305
01:09:27,439 --> 01:09:31,320
Speaker 2: becomes all the more obvious as Terry walks up to

1306
01:09:31,360 --> 01:09:35,120
Speaker 2: the front of the aircraft, and despite the flight attendant

1307
01:09:35,160 --> 01:09:36,760
Speaker 2: telling me, you know, you can't go in there, he

1308
01:09:36,880 --> 01:09:39,400
Speaker 2: goes into the cockpit, and of course what does he find.

1309
01:09:39,880 --> 01:09:45,800
Speaker 2: Here's Terry's dad, just comically bobvillianly drunk and piloting the

1310
01:09:45,840 --> 01:09:51,360
Speaker 2: aircraft like basically Barney from The Simpsons. Yeah, but in

1311
01:09:51,400 --> 01:09:53,959
Speaker 2: a way that is I mean, it was highly disturbing.

1312
01:09:54,000 --> 01:09:57,080
Speaker 2: I almost watched this movie on an airplane. We're trying

1313
01:09:57,120 --> 01:09:58,760
Speaker 2: to decide what we were going to watch, and I'm

1314
01:09:58,800 --> 01:10:01,000
Speaker 2: not an easy flyer, so I'm glad I watched The

1315
01:10:01,040 --> 01:10:05,400
Speaker 2: Apple on the plane instead this because this scene was

1316
01:10:05,800 --> 01:10:07,640
Speaker 2: I mean, not you know, it's not gross, but I

1317
01:10:07,640 --> 01:10:10,639
Speaker 2: don't know, it's something about it. It was effective nightmare fuel.

1318
01:10:10,880 --> 01:10:13,280
Speaker 3: Yeah, it was. I mean, if he was playing it

1319
01:10:13,400 --> 01:10:16,760
Speaker 3: up before, if he was at a ten before, it's

1320
01:10:16,800 --> 01:10:19,880
Speaker 3: at a fifty now, if you expect ragtime music to

1321
01:10:19,920 --> 01:10:23,760
Speaker 3: be playing in the background the way that he's just

1322
01:10:23,760 --> 01:10:29,200
Speaker 3: just exaggeratedly drunk, and then he grabs the this is

1323
01:10:29,240 --> 01:10:33,920
Speaker 3: my ignorance of airplane equipment. He grabs the yoke in

1324
01:10:33,960 --> 01:10:35,960
Speaker 3: the middle and pushes it all the way up, which

1325
01:10:36,000 --> 01:10:39,120
Speaker 3: is I think crash mode. Yeah, I think he put

1326
01:10:39,320 --> 01:10:41,519
Speaker 3: I think that's down is what he does with the

1327
01:10:41,560 --> 01:10:44,880
Speaker 3: thing and says like it's time to go, let's go,

1328
01:10:45,000 --> 01:10:49,000
Speaker 3: you know, something to that effect, and yeah, pretty pretty,

1329
01:10:49,080 --> 01:10:49,799
Speaker 3: pretty awful.

1330
01:10:50,280 --> 01:10:55,479
Speaker 2: Yeah, so Terry wakes up, Liz calls, and you know,

1331
01:10:55,520 --> 01:10:57,519
Speaker 2: we get it was just a nightmare situation. But then

1332
01:10:57,520 --> 01:11:01,160
Speaker 2: we get one of the big reveals. The most memorable

1333
01:11:01,160 --> 01:11:03,479
Speaker 2: thing about this movie from when I watched it at

1334
01:11:03,560 --> 01:11:07,240
Speaker 2: least part of it back in maybe the late nineties,

1335
01:11:08,439 --> 01:11:12,120
Speaker 2: is that we realize that, okay, demon wishes that have

1336
01:11:12,200 --> 01:11:15,720
Speaker 2: been granted, they have a half life. They turn to

1337
01:11:15,960 --> 01:11:19,160
Speaker 2: little literal excrement. The next day, they turned to poop,

1338
01:11:19,600 --> 01:11:23,320
Speaker 2: that is that takes up the same space as whatever

1339
01:11:23,360 --> 01:11:26,400
Speaker 2: you wish for. So we see that in Terry's room

1340
01:11:26,840 --> 01:11:30,880
Speaker 2: there are all these like partially gift wrap piles of poop.

1341
01:11:31,240 --> 01:11:33,839
Speaker 3: Why are they wrapped? Why did they get gifts wrapped?

1342
01:11:34,640 --> 01:11:37,600
Speaker 2: I don't know, Like, yeah, you'd think they they're just

1343
01:11:37,640 --> 01:11:39,880
Speaker 2: spending like crazy. They're just like gift wrap at all.

1344
01:11:40,080 --> 01:11:42,840
Speaker 2: We want the added joy of unwrapping it later.

1345
01:11:43,120 --> 01:11:45,920
Speaker 3: But yeah, then it's all like half gift, red box,

1346
01:11:45,960 --> 01:11:47,000
Speaker 3: half pile of poop.

1347
01:11:47,320 --> 01:11:49,920
Speaker 2: Yeah, and then a look, Gansa is out the window,

1348
01:11:49,960 --> 01:11:51,920
Speaker 2: and this is the part I really love. There's a

1349
01:11:51,960 --> 01:11:55,439
Speaker 2: corvette sized pile of poop just parked in front of

1350
01:11:55,439 --> 01:11:58,160
Speaker 2: the house, which I thought was I think a highly

1351
01:11:58,200 --> 01:12:01,000
Speaker 2: memorable site. Gag. And the poop is just gross looking, and.

1352
01:12:01,080 --> 01:12:03,479
Speaker 3: Little parts of corvette sticking out of it too, like

1353
01:12:03,560 --> 01:12:06,080
Speaker 3: it hasn't fully turned into poop yet, like it's a

1354
01:12:06,120 --> 01:12:08,400
Speaker 3: gradual process and we will see you later on that

1355
01:12:08,439 --> 01:12:11,360
Speaker 3: it is a gradual process. But there's like the fender

1356
01:12:11,479 --> 01:12:13,559
Speaker 3: of the corvette is still sticking out of the pile

1357
01:12:13,560 --> 01:12:13,920
Speaker 3: of poop.

1358
01:12:14,040 --> 01:12:18,360
Speaker 2: Maybe those were add ons and therefore, like the rustproofing

1359
01:12:18,400 --> 01:12:22,000
Speaker 2: doesn't turn the poop all right. So we get to

1360
01:12:22,080 --> 01:12:24,120
Speaker 2: enjoy this comedic moment for a little bit. But then

1361
01:12:24,160 --> 01:12:27,840
Speaker 2: the doorbell rings and uh oh, it's people from the airline.

1362
01:12:28,040 --> 01:12:31,280
Speaker 2: Terry's dad is well, fortunately just in the hospital, but

1363
01:12:31,520 --> 01:12:33,559
Speaker 2: for a second theary it seems like he might have died. No,

1364
01:12:33,640 --> 01:12:37,200
Speaker 2: he's in the hospital, another example of the wish having

1365
01:12:37,240 --> 01:12:39,400
Speaker 2: a half life, because there was some sort of a

1366
01:12:39,439 --> 01:12:43,000
Speaker 2: cargo plane misapp Luckily he was not flying past human

1367
01:12:43,040 --> 01:12:45,759
Speaker 2: passengers around. He was flying a cargo plane, but something

1368
01:12:45,800 --> 01:12:46,639
Speaker 2: went terribly wrong.

1369
01:12:46,880 --> 01:12:50,000
Speaker 3: Well, and so I have two questions. One was it

1370
01:12:50,080 --> 01:12:54,160
Speaker 3: a cargo plane on the London route? And two, so

1371
01:12:54,400 --> 01:12:59,360
Speaker 3: Terry's visiting him, and as Terry's leaving, we see one

1372
01:12:59,360 --> 01:13:02,720
Speaker 3: of the repersentives from the airline on the phone with

1373
01:13:02,800 --> 01:13:06,479
Speaker 3: somebody talking about how the father should had no business

1374
01:13:06,520 --> 01:13:10,080
Speaker 3: being in that plane. And so again I'm trying to

1375
01:13:10,120 --> 01:13:12,760
Speaker 3: operationalize all of this in my head and figure out

1376
01:13:12,880 --> 01:13:16,200
Speaker 3: did the dad go rogue? Was the dad convinced by

1377
01:13:16,200 --> 01:13:18,519
Speaker 3: the dark powers that he had been given a job

1378
01:13:18,560 --> 01:13:23,040
Speaker 3: that he was not given? Was the representative from the

1379
01:13:23,080 --> 01:13:26,800
Speaker 3: airline where the airline also enchanted for a moment and

1380
01:13:26,840 --> 01:13:28,760
Speaker 3: then snapped out of it. And this guy's just trying

1381
01:13:28,760 --> 01:13:31,600
Speaker 3: to cover his But like, what happened to get the

1382
01:13:31,720 --> 01:13:36,639
Speaker 3: dad into this cockpit that presumably everybody is on board

1383
01:13:36,680 --> 01:13:38,800
Speaker 3: with the fact that he had no business being in it.

1384
01:13:39,479 --> 01:13:42,840
Speaker 2: I'm assuming the paperwork just turned to pooh, because we

1385
01:13:42,840 --> 01:13:44,599
Speaker 2: don't have anything else to go on. There's it would

1386
01:13:44,600 --> 01:13:46,639
Speaker 2: also I would have also gone for a scene where

1387
01:13:46,680 --> 01:13:51,719
Speaker 2: we see the minion at a desk like making phone calls,

1388
01:13:52,200 --> 01:13:55,479
Speaker 2: and you know, making connections to get this to happen.

1389
01:13:55,760 --> 01:13:58,280
Speaker 2: Just full Grimlins too at that point, yea, yeah, that

1390
01:13:58,320 --> 01:14:01,559
Speaker 2: would have been another interesting direction, and Forrigate to have

1391
01:14:01,600 --> 01:14:05,439
Speaker 2: gone full Grimlins too. It holds back.

1392
01:14:05,280 --> 01:14:09,639
Speaker 3: From that, and the representative also says on the phone call,

1393
01:14:09,760 --> 01:14:12,840
Speaker 3: he never got off the ground. Yeah, So where did

1394
01:14:12,840 --> 01:14:13,880
Speaker 3: the accident happen?

1395
01:14:14,800 --> 01:14:17,879
Speaker 2: Somewhere between here and London. Maybe it was London, Ontario.

1396
01:14:17,920 --> 01:14:18,720
Speaker 2: We didn't think about that.

1397
01:14:18,760 --> 01:14:20,680
Speaker 3: But if he was in the airport the whole time,

1398
01:14:20,720 --> 01:14:22,559
Speaker 3: did he just run into something at the airport?

1399
01:14:24,680 --> 01:14:26,280
Speaker 2: I don't know. They don't They just don't give us

1400
01:14:26,280 --> 01:14:27,120
Speaker 2: the details to go on.

1401
01:14:27,680 --> 01:14:28,080
Speaker 5: T boar.

1402
01:14:28,160 --> 01:14:29,680
Speaker 3: You got to get at us and let us know

1403
01:14:30,360 --> 01:14:33,000
Speaker 3: what specifically happened to the dad. We just know that

1404
01:14:33,040 --> 01:14:35,200
Speaker 3: he's out of commission, way out of commission.

1405
01:14:44,680 --> 01:14:48,320
Speaker 2: Meanwhile, John and Moe they'd seen they'd seen the corvette

1406
01:14:48,360 --> 01:14:52,160
Speaker 2: the night before, so they know something's up. So they

1407
01:14:52,240 --> 01:14:54,799
Speaker 2: confront Liz and she ins this note Terry's just a friend.

1408
01:14:55,040 --> 01:14:57,160
Speaker 2: But of course John is not going to be happy

1409
01:14:57,160 --> 01:14:59,280
Speaker 2: with that. He ends up going over to Terry's house,

1410
01:14:59,360 --> 01:15:02,080
Speaker 2: roughing him up in the face. Yeah, and they say, well,

1411
01:15:02,080 --> 01:15:03,840
Speaker 2: we're going to take the little dude for a ride,

1412
01:15:04,240 --> 01:15:07,000
Speaker 2: reveal that they have already broken into the house, trash

1413
01:15:07,080 --> 01:15:09,680
Speaker 2: the place, and they've stolen the Minion.

1414
01:15:09,880 --> 01:15:14,080
Speaker 3: And put him in a drawstring bag, which seems not enough.

1415
01:15:14,840 --> 01:15:17,080
Speaker 2: Yeah, yeah, because it's not a magic bag. It's just

1416
01:15:17,400 --> 01:15:20,120
Speaker 2: a sack. There is stuff ym in a sack. They're

1417
01:15:20,120 --> 01:15:22,920
Speaker 2: going there, tearing around town in their car. Now they

1418
01:15:22,920 --> 01:15:25,080
Speaker 2: have the Minion in the back seat. And then I

1419
01:15:25,120 --> 01:15:27,240
Speaker 2: guess this is one of our stoner moments that was

1420
01:15:27,280 --> 01:15:31,680
Speaker 2: perhaps added after the fact. They're shotgunning the Minion. So

1421
01:15:32,320 --> 01:15:35,160
Speaker 2: Moe's in the back seat smoking the reefer and then

1422
01:15:35,200 --> 01:15:38,200
Speaker 2: blowing the dope smoke into the bag, and I guess

1423
01:15:38,200 --> 01:15:40,720
Speaker 2: he's trying to get the Minion high. I don't think

1424
01:15:40,760 --> 01:15:42,519
Speaker 2: it really works on the Minion, or it doesn't work

1425
01:15:42,520 --> 01:15:43,720
Speaker 2: in the way that they are hoping for.

1426
01:15:44,080 --> 01:15:46,360
Speaker 3: Well, I think that what you're saying. And this is

1427
01:15:46,400 --> 01:15:49,040
Speaker 3: the scene I thought about earlier when you said that

1428
01:15:49,080 --> 01:15:51,640
Speaker 3: they added some more drug humor into this or some

1429
01:15:51,680 --> 01:15:54,559
Speaker 3: more drug elements into this. You never see the Minion

1430
01:15:54,600 --> 01:15:57,120
Speaker 3: in this scene. You see they blow it into the bag,

1431
01:15:57,400 --> 01:16:01,120
Speaker 3: the bag starts to shake and refer you hear the

1432
01:16:01,120 --> 01:16:04,880
Speaker 3: Minion's voice, but you don't see him, And you would

1433
01:16:04,880 --> 01:16:08,879
Speaker 3: think that a scene like this has the obvious visual

1434
01:16:08,920 --> 01:16:13,200
Speaker 3: payoff of the minion being high, that you would get

1435
01:16:13,280 --> 01:16:16,360
Speaker 3: that part of it. And the fact that you don't

1436
01:16:16,360 --> 01:16:19,400
Speaker 3: get that tells me that yes, this was an insert

1437
01:16:19,760 --> 01:16:22,240
Speaker 3: and no, they did not have a special effects budget

1438
01:16:22,280 --> 01:16:24,439
Speaker 3: for this, and like they had already spent that money

1439
01:16:25,000 --> 01:16:28,559
Speaker 3: well before this scene was even conceived, you know, So

1440
01:16:28,640 --> 01:16:30,000
Speaker 3: it did feel very.

1441
01:16:32,360 --> 01:16:32,800
Speaker 2: Tacked on.

1442
01:16:33,400 --> 01:16:36,479
Speaker 3: But what wasn't tacked on was the scene where the

1443
01:16:36,520 --> 01:16:38,559
Speaker 3: minion eventually does get out of the bag.

1444
01:16:38,800 --> 01:16:41,160
Speaker 2: Yeah, jumps out of the bag and just starts clawing

1445
01:16:41,200 --> 01:16:44,040
Speaker 2: them up, just clawn them in the face, biting their faces.

1446
01:16:44,360 --> 01:16:47,320
Speaker 2: They almost run head on into a tractor trailer rig

1447
01:16:47,360 --> 01:16:51,120
Speaker 2: they barely avoid death, and then John beats the minion down,

1448
01:16:51,320 --> 01:16:53,799
Speaker 2: Moe uses a fire extinguisher on it for some reason,

1449
01:16:54,240 --> 01:16:56,880
Speaker 2: they tie it up, and then now they've decided they're

1450
01:16:56,880 --> 01:16:58,880
Speaker 2: going to actually get something out of this, they start

1451
01:16:58,920 --> 01:17:02,519
Speaker 2: burning money and front all the minion and wish for

1452
01:17:02,680 --> 01:17:03,720
Speaker 2: more money.

1453
01:17:03,520 --> 01:17:05,439
Speaker 3: Which how did they know how to do that?

1454
01:17:06,880 --> 01:17:10,280
Speaker 2: Yeah, or wouldn't they remember some of this from the beginning,

1455
01:17:10,280 --> 01:17:13,920
Speaker 2: because again they had this huge peak into the unseen world,

1456
01:17:14,200 --> 01:17:16,280
Speaker 2: and then they just kind of forgot about it and

1457
01:17:16,439 --> 01:17:20,400
Speaker 2: until they roughed up Terry and took his minion, and

1458
01:17:20,400 --> 01:17:22,479
Speaker 2: then they're like, oh, yeah, we can do black magic now,

1459
01:17:22,640 --> 01:17:23,439
Speaker 2: so let's do it.

1460
01:17:23,800 --> 01:17:26,200
Speaker 3: I guess they didn't need to go around that corner

1461
01:17:26,240 --> 01:17:28,559
Speaker 3: that Liz and Terry went around to say, Well, if

1462
01:17:28,600 --> 01:17:31,280
Speaker 3: we just burn the thing something resembling what we want

1463
01:17:31,280 --> 01:17:34,599
Speaker 3: in front of him, it will give us that wish. Again,

1464
01:17:34,760 --> 01:17:38,599
Speaker 3: don't know how the piece of the Chinese food box

1465
01:17:39,240 --> 01:17:42,439
Speaker 3: makes the rain stop. Don't know if they explained to that,

1466
01:17:42,520 --> 01:17:44,519
Speaker 3: but everything else seems to be pretty one to one

1467
01:17:44,560 --> 01:17:48,840
Speaker 3: of what you're wishing for. So I don't know how

1468
01:17:49,560 --> 01:17:52,599
Speaker 3: they landed at that, but I'm willing to allow that

1469
01:17:52,640 --> 01:17:56,000
Speaker 3: their brains connected that initial ritual with hey, let's try

1470
01:17:56,040 --> 01:17:58,080
Speaker 3: and burn money in front of him to get rich.

1471
01:17:58,600 --> 01:18:00,360
Speaker 3: The other part of it, which we kind of blew past,

1472
01:18:00,600 --> 01:18:04,120
Speaker 3: was this scene where they're getting trashed by the minion

1473
01:18:04,160 --> 01:18:07,320
Speaker 3: in the car, which I loved. Had an element to

1474
01:18:07,360 --> 01:18:11,519
Speaker 3: it where John is driving the car. He's in the

1475
01:18:11,560 --> 01:18:14,439
Speaker 3: back seat basically like he's leaned into the back seat

1476
01:18:14,520 --> 01:18:17,519
Speaker 3: dealing with the minion. His leg is stuck in the

1477
01:18:17,560 --> 01:18:22,200
Speaker 3: steering wheel, which is controlling the car. So you get

1478
01:18:22,320 --> 01:18:24,439
Speaker 3: external shots of the car and it's zigging and zagging

1479
01:18:24,520 --> 01:18:27,280
Speaker 3: left and right. I really loved that as a horror

1480
01:18:27,360 --> 01:18:32,719
Speaker 3: element of I can feel the anxiety of being trapped

1481
01:18:32,720 --> 01:18:37,760
Speaker 3: in a situation that is making your condition worse, and

1482
01:18:38,200 --> 01:18:41,040
Speaker 3: it's only a matter of time before it really really

1483
01:18:41,040 --> 01:18:43,120
Speaker 3: messes you up, and there's nothing you can do about

1484
01:18:43,120 --> 01:18:45,600
Speaker 3: it because you're just far away enough to not be

1485
01:18:45,600 --> 01:18:47,640
Speaker 3: able to do anything about it. Moe jumps in and

1486
01:18:47,680 --> 01:18:49,479
Speaker 3: sees it happening and tries to grab the wheel and

1487
01:18:49,479 --> 01:18:51,760
Speaker 3: steer it himself a little bit, but.

1488
01:18:51,680 --> 01:18:54,200
Speaker 2: I use his hand on the brake. And also it's

1489
01:18:54,280 --> 01:18:56,080
Speaker 2: pretty pretty complex action scene.

1490
01:18:56,280 --> 01:19:00,120
Speaker 3: Yeah, I thought that was pretty effective horror. So I

1491
01:19:00,479 --> 01:19:01,799
Speaker 3: gotta get flowers where they're.

1492
01:19:01,600 --> 01:19:05,800
Speaker 2: Do So at this point, the plot is going to

1493
01:19:05,800 --> 01:19:08,759
Speaker 2: continue on two rails that will eventually come back together.

1494
01:19:09,560 --> 01:19:12,560
Speaker 2: On one hand, we've got Terry's dad in the hospital

1495
01:19:12,760 --> 01:19:15,840
Speaker 2: Terry visits, and we also have Liz to show up

1496
01:19:15,920 --> 01:19:18,720
Speaker 2: on and out behind him like a vampire. And then

1497
01:19:18,760 --> 01:19:23,000
Speaker 2: meanwhile John and Moe they might not have really known

1498
01:19:23,040 --> 01:19:25,479
Speaker 2: how black magic works, but the minion is like, I

1499
01:19:25,520 --> 01:19:27,600
Speaker 2: don't care. There are no real rules here. If you

1500
01:19:27,640 --> 01:19:29,479
Speaker 2: burn money in front of you, I will give you

1501
01:19:30,240 --> 01:19:35,880
Speaker 2: sorceress money, and so they're out for comic effect to

1502
01:19:35,960 --> 01:19:39,080
Speaker 2: do some fine dining. They go to the finest restaurant

1503
01:19:39,120 --> 01:19:42,280
Speaker 2: in town and are ordering just everything. They order a

1504
01:19:42,280 --> 01:19:45,040
Speaker 2: whole bunch of s car goats, as Mo calls them,

1505
01:19:45,040 --> 01:19:47,000
Speaker 2: off the menu, and just living it up.

1506
01:19:47,240 --> 01:19:49,559
Speaker 3: Yeah, yeah, this is the best the movie gets as

1507
01:19:49,640 --> 01:19:54,280
Speaker 3: far as I'm concerned. This basically everything from the Wishfulfillment

1508
01:19:54,479 --> 01:19:58,080
Speaker 3: on is as good as the movie gets because it's fun,

1509
01:19:58,400 --> 01:20:01,000
Speaker 3: the action is moving, and then here you get this.

1510
01:20:01,640 --> 01:20:04,280
Speaker 3: These guys could not be more fish out of water,

1511
01:20:04,600 --> 01:20:07,200
Speaker 3: but they have all the cards because they have the money,

1512
01:20:07,280 --> 01:20:11,000
Speaker 3: and this place has completely folded to them to give

1513
01:20:11,040 --> 01:20:13,720
Speaker 3: them whatever they want because they are just They're just

1514
01:20:13,960 --> 01:20:17,160
Speaker 3: throwing money in every direction. There are hoity toity rich

1515
01:20:17,240 --> 01:20:21,880
Speaker 3: people all around the restaurant that do not really seem

1516
01:20:22,040 --> 01:20:27,439
Speaker 3: bothered by these rubes at this point, just yucking it

1517
01:20:27,520 --> 01:20:29,960
Speaker 3: up in the middle of the restaurant, But that soon

1518
01:20:30,080 --> 01:20:30,839
Speaker 3: is going to change.

1519
01:20:31,120 --> 01:20:34,040
Speaker 2: That's right. The staff sees that Moe has just a

1520
01:20:34,080 --> 01:20:38,360
Speaker 2: fat roll of bills here, so they're not worried. John

1521
01:20:38,760 --> 01:20:42,400
Speaker 2: is beginning to experience body horror symptoms. However, it's a

1522
01:20:42,439 --> 01:20:46,280
Speaker 2: little vague about why these are, why of this is

1523
01:20:46,280 --> 01:20:48,759
Speaker 2: happening to him. I get it's like maybe they're scratches

1524
01:20:48,800 --> 01:20:52,120
Speaker 2: from the minion. That would seem the most logical connection

1525
01:20:52,200 --> 01:20:54,320
Speaker 2: to be made here. But he's having a hard time

1526
01:20:54,680 --> 01:20:56,800
Speaker 2: and eventually he's like, I've got to run off to

1527
01:20:56,840 --> 01:21:00,680
Speaker 2: the bathroom, and so he does, and mean while, uh

1528
01:21:01,080 --> 01:21:02,880
Speaker 2: Mo's gonna go ahead and settle up the check and

1529
01:21:02,920 --> 01:21:06,840
Speaker 2: we get this wonderful scene where the the server leaves

1530
01:21:06,880 --> 01:21:08,840
Speaker 2: the bill with him. He gets out that fat roll

1531
01:21:08,880 --> 01:21:11,240
Speaker 2: of bills. He gets a he counts out, you know,

1532
01:21:11,640 --> 01:21:13,880
Speaker 2: a nice amount there, So I assume there's a nice

1533
01:21:14,120 --> 01:21:15,760
Speaker 2: tip there. He seems like a tipper. He's going to

1534
01:21:15,760 --> 01:21:18,679
Speaker 2: give at least twenty percent. He goes to slap those

1535
01:21:18,680 --> 01:21:21,000
Speaker 2: bills down and they immediately turn to poop.

1536
01:21:21,920 --> 01:21:24,679
Speaker 3: Yeah, and you get this look on the server's face.

1537
01:21:25,000 --> 01:21:27,479
Speaker 3: So Moe takes the wad out from his pocket and

1538
01:21:27,560 --> 01:21:29,960
Speaker 3: he's feeling pretty smoke about it. We the viewer see

1539
01:21:30,320 --> 01:21:32,720
Speaker 3: that it's a wad of cash, but the server has

1540
01:21:32,760 --> 01:21:36,439
Speaker 3: a strange look on his face. Oh, and I think

1541
01:21:36,479 --> 01:21:39,559
Speaker 3: that he sees it already as poop. So oh, that's

1542
01:21:39,560 --> 01:21:42,639
Speaker 3: the server has seen Mo pull a handful of poop

1543
01:21:42,680 --> 01:21:47,599
Speaker 3: out of his pocket, thumb through and start to slap

1544
01:21:47,640 --> 01:21:50,040
Speaker 3: it down. Both roads converge at the point that he

1545
01:21:50,080 --> 01:21:52,400
Speaker 3: slapped it down on the on the table and sees

1546
01:21:52,439 --> 01:21:53,120
Speaker 3: that it's poop.

1547
01:21:53,600 --> 01:21:56,200
Speaker 2: Wait wait, wait, Does that mean that the previous night

1548
01:21:56,320 --> 01:21:59,320
Speaker 2: the corvette was already poop and they were there at

1549
01:21:59,360 --> 01:22:01,360
Speaker 2: least some period of time where the corvette was poop.

1550
01:22:01,560 --> 01:22:06,240
Speaker 3: I sure hope not, but it's entirely possible because the

1551
01:22:06,240 --> 01:22:08,960
Speaker 3: note that I had at this scene was, these other

1552
01:22:09,000 --> 01:22:11,519
Speaker 3: people in the restaurant don't smell that this guy has

1553
01:22:11,640 --> 01:22:16,519
Speaker 3: a pocket full of poop, Like it does not seem

1554
01:22:16,560 --> 01:22:18,400
Speaker 3: to have an odor to it, So it seems like

1555
01:22:18,439 --> 01:22:21,960
Speaker 3: it can exist and be unrecognizable until the moment you

1556
01:22:22,000 --> 01:22:24,040
Speaker 3: either touch it or put eyes on it. I think

1557
01:22:24,040 --> 01:22:27,080
Speaker 3: in Liz and Terry's case, they went to bed and

1558
01:22:27,120 --> 01:22:29,920
Speaker 3: they woke up and it was all poop. So maybe

1559
01:22:29,960 --> 01:22:33,200
Speaker 3: that the poopening happened like while they were asleep, But

1560
01:22:33,760 --> 01:22:37,000
Speaker 3: with John and Mo, it happened really quickly and in

1561
01:22:37,040 --> 01:22:37,679
Speaker 3: their presence.

1562
01:22:38,040 --> 01:22:41,880
Speaker 2: Yeah, and for maximum cinematic zeal too, I mean, just

1563
01:22:41,920 --> 01:22:43,519
Speaker 2: did a maximum cinematic effect here.

1564
01:22:44,880 --> 01:22:48,679
Speaker 3: Yeah, the level of freak outness that the rich people

1565
01:22:48,680 --> 01:22:50,680
Speaker 3: in this restaurant get from this point through the end

1566
01:22:50,680 --> 01:22:52,559
Speaker 3: of the scene is chef's kiss.

1567
01:22:52,800 --> 01:22:55,559
Speaker 2: Yeah, Because meanwhile John is having a terrible time in

1568
01:22:55,560 --> 01:22:59,280
Speaker 2: the bathroom, experiencing again all these body heart symptoms like

1569
01:22:59,360 --> 01:23:03,479
Speaker 2: crazy z it's popping. There's a gross, gross, like monster

1570
01:23:03,680 --> 01:23:06,160
Speaker 2: zip popping scene on the mirror. And then he goes

1571
01:23:06,439 --> 01:23:10,599
Speaker 2: into the stall and is screaming, and the server who

1572
01:23:10,600 --> 01:23:14,599
Speaker 2: comes in or one of the employees at the restaurant

1573
01:23:14,680 --> 01:23:17,679
Speaker 2: is like, Suria, okay, and he screams, and he's like, well,

1574
01:23:17,720 --> 01:23:20,720
Speaker 2: I better better pass this up to management. I'm not

1575
01:23:20,800 --> 01:23:23,559
Speaker 2: authorized to do anything about this. And so someone else

1576
01:23:23,600 --> 01:23:25,320
Speaker 2: comes in and they're like Sariah, okay. And then he

1577
01:23:25,439 --> 01:23:27,000
Speaker 2: like busts through the wall.

1578
01:23:27,240 --> 01:23:29,680
Speaker 3: Yeah yeah, bust out of the door, bust through the

1579
01:23:29,720 --> 01:23:34,479
Speaker 3: wall of the bathroom into the dining room, runs through it,

1580
01:23:34,600 --> 01:23:37,240
Speaker 3: knocking tables and stuff out of the way, jumps out

1581
01:23:37,280 --> 01:23:41,080
Speaker 3: the window seemingly, So you get this vibe that he's

1582
01:23:41,120 --> 01:23:46,000
Speaker 3: like Tasmanian devil level uncontrollable. Then the very next like

1583
01:23:46,240 --> 01:23:48,840
Speaker 3: seconds later, you see the car pull into the scene,

1584
01:23:48,880 --> 01:23:51,719
Speaker 3: so it's like, okay, So this guy then like reached

1585
01:23:51,760 --> 01:23:53,920
Speaker 3: in his pocket, got his keys, got in the driver's seat,

1586
01:23:53,960 --> 01:23:55,960
Speaker 3: started the car up, did a three point turn and

1587
01:23:56,000 --> 01:24:00,519
Speaker 3: got on the road. Whatever is driving and then crashes

1588
01:24:00,600 --> 01:24:02,479
Speaker 3: the car like within sight of the shot just a

1589
01:24:02,520 --> 01:24:07,960
Speaker 3: little bit further down the street, Bananas bananas, and the

1590
01:24:09,000 --> 01:24:15,080
Speaker 3: diners in the restaurant are pearl clutching, gasping, looking around

1591
01:24:15,120 --> 01:24:17,439
Speaker 3: in alarm like it's exactly what you want to see

1592
01:24:17,479 --> 01:24:19,360
Speaker 3: out of out of the rich people that are being

1593
01:24:19,400 --> 01:24:21,120
Speaker 3: disrupted in this scene.

1594
01:24:21,920 --> 01:24:23,960
Speaker 2: All right, So at this point things are going to

1595
01:24:24,040 --> 01:24:28,120
Speaker 2: begin to come back together. So we uh, you know,

1596
01:24:28,280 --> 01:24:30,920
Speaker 2: we hear more from Terry and Liz on their side

1597
01:24:30,960 --> 01:24:33,400
Speaker 2: of things, like Terry has decided we had to do

1598
01:24:33,439 --> 01:24:37,920
Speaker 2: something about these deams that that again he resummoned at

1599
01:24:37,920 --> 01:24:39,680
Speaker 2: the beginning of the picture, I've.

1600
01:24:39,400 --> 01:24:41,679
Speaker 3: Decided to do something about the demon.

1601
01:24:42,080 --> 01:24:45,360
Speaker 2: Yes, and so I guess there's some research. We didn't

1602
01:24:45,360 --> 01:24:47,120
Speaker 2: get to see the research happen, but he knows that

1603
01:24:47,160 --> 01:24:51,120
Speaker 2: there's basically the scheme that needs to be employed involving

1604
01:24:51,120 --> 01:24:53,439
Speaker 2: a vessel of the dead, where a certain box is

1605
01:24:53,479 --> 01:24:55,800
Speaker 2: going to be prepared and you're gonna, you know, there's

1606
01:24:55,800 --> 01:24:57,519
Speaker 2: gonna be a number of items you have to put

1607
01:24:57,560 --> 01:24:59,640
Speaker 2: in the box, and this is going to allow you

1608
01:24:59,680 --> 01:25:02,920
Speaker 2: to the demons. The box is going to be something

1609
01:25:02,960 --> 01:25:07,040
Speaker 2: that was presented earlier in the picture, this music box

1610
01:25:07,360 --> 01:25:09,679
Speaker 2: of his mother's, of his late mother's one where you

1611
01:25:09,720 --> 01:25:12,120
Speaker 2: open the lid, there's a little dancing girl that begins

1612
01:25:12,160 --> 01:25:13,360
Speaker 2: to turn in music place.

1613
01:25:13,800 --> 01:25:16,200
Speaker 3: Yep, that's right, that's right. It felt a little bit

1614
01:25:16,920 --> 01:25:20,360
Speaker 3: dis x machina at this point, but again, it's not

1615
01:25:20,400 --> 01:25:21,840
Speaker 3: a Hey, we don't know if it's going to work

1616
01:25:21,920 --> 01:25:24,920
Speaker 3: or not, but we know that it's it's it's a

1617
01:25:24,960 --> 01:25:29,960
Speaker 3: step towards a more formal resolution, which is in line

1618
01:25:30,000 --> 01:25:32,080
Speaker 3: with what Terry was trying to do in the first place.

1619
01:25:32,400 --> 01:25:35,960
Speaker 2: Yeah. Meanwhile, Mo shows back up. He's frantic. He's in

1620
01:25:36,000 --> 01:25:39,679
Speaker 2: a bad place. He's like, something's happened to John. Come

1621
01:25:39,720 --> 01:25:42,880
Speaker 2: with me. He's in the depth of the factory. So

1622
01:25:43,520 --> 01:25:45,160
Speaker 2: I guess that's where he took him. You know, it's

1623
01:25:45,160 --> 01:25:46,200
Speaker 2: like nobody's there at night.

1624
01:25:46,320 --> 01:25:49,240
Speaker 3: I don't have an steel doors steal doors of course,

1625
01:25:49,280 --> 01:25:53,720
Speaker 3: that's yeah, Moe says it. He's like, he, well, all right,

1626
01:25:53,800 --> 01:25:57,120
Speaker 3: let's be half charitable. Mo says steel doors several times.

1627
01:25:57,479 --> 01:25:59,960
Speaker 3: And it took me realizing, Oh so that John can't

1628
01:26:00,080 --> 01:26:00,880
Speaker 3: break out of them.

1629
01:26:01,640 --> 01:26:04,120
Speaker 2: But yeah, so that's where they're headed. They're like, Okay,

1630
01:26:04,120 --> 01:26:05,800
Speaker 2: we've got to go see what's up with John. He's

1631
01:26:05,840 --> 01:26:08,479
Speaker 2: a character we clearly care about. We don't want him

1632
01:26:08,479 --> 01:26:13,120
Speaker 2: to be a gross monster, and so yeah, they they

1633
01:26:13,120 --> 01:26:16,160
Speaker 2: spend an enormous amount of time wandering in this factory

1634
01:26:16,360 --> 01:26:19,040
Speaker 2: looking for John. It felt felt like to me they

1635
01:26:19,120 --> 01:26:20,280
Speaker 2: pad this out a little bit.

1636
01:26:21,600 --> 01:26:22,600
Speaker 3: It's a big factory.

1637
01:26:22,720 --> 01:26:25,280
Speaker 2: It is a big factory, and he's just in there somewhere,

1638
01:26:25,560 --> 01:26:28,120
Speaker 2: and we see that he has fully mutated into a

1639
01:26:28,200 --> 01:26:34,000
Speaker 2: hulking stop motion demon. Very ray Harry Howsen. Yeah, nice effect,

1640
01:26:34,400 --> 01:26:36,040
Speaker 2: very similar to what we saw in the first movie.

1641
01:26:36,120 --> 01:26:38,280
Speaker 3: There's a moment here where they are looking through this

1642
01:26:38,600 --> 01:26:42,320
Speaker 3: endless factory and Liz is about to climb a ladder

1643
01:26:42,640 --> 01:26:44,840
Speaker 3: and you see a demonic hand reach out from the

1644
01:26:44,920 --> 01:26:48,000
Speaker 3: darkness to the other side of that ladder, and that's

1645
01:26:48,040 --> 01:26:52,639
Speaker 3: where you hear John speaking to Liz and credit where

1646
01:26:52,640 --> 01:26:56,280
Speaker 3: credits too. He pulls off this kind of fearful I'm

1647
01:26:56,320 --> 01:26:59,120
Speaker 3: a teenager, but really I'm still a kid voice of

1648
01:26:59,520 --> 01:27:03,320
Speaker 3: somebody who scared about what's happening to him. That I

1649
01:27:03,479 --> 01:27:05,400
Speaker 3: really felt, and that was the point at which I

1650
01:27:05,439 --> 01:27:07,280
Speaker 3: was like, oh, okay, this guy's work up to this

1651
01:27:07,320 --> 01:27:12,200
Speaker 3: point has led me to the part where to embrace

1652
01:27:12,880 --> 01:27:16,320
Speaker 3: this kid's fear and sympathize for him in a way

1653
01:27:16,320 --> 01:27:17,760
Speaker 3: that I hadn't expected myself to.

1654
01:27:18,120 --> 01:27:20,320
Speaker 2: But then it seems like something's happening to Moe's body

1655
01:27:20,400 --> 01:27:24,040
Speaker 2: as well. He's experiencing symptoms, but as he's climbing the ladder,

1656
01:27:24,120 --> 01:27:26,160
Speaker 2: his heart gives out or seems to give out, and

1657
01:27:26,240 --> 01:27:29,120
Speaker 2: he seems to fall to his death. Then John, in

1658
01:27:29,200 --> 01:27:33,240
Speaker 2: full demon mode, leaps down and carries his body away.

1659
01:27:33,400 --> 01:27:35,519
Speaker 2: He seems like he can no longer speak, but his

1660
01:27:35,600 --> 01:27:37,120
Speaker 2: shrieks and howls like a monster.

1661
01:27:37,280 --> 01:27:41,440
Speaker 3: Now, yeah, he accelerated quickly with Mo. It is Chekhov's

1662
01:27:41,479 --> 01:27:45,599
Speaker 3: Heart where the heart finally gives at the worst possible moment.

1663
01:27:45,640 --> 01:27:49,280
Speaker 3: It feels like Moe is now firmly aligned with Liz

1664
01:27:49,680 --> 01:27:55,160
Speaker 3: and Terry because he has seen what happens if you're not. Yeah,

1665
01:27:55,200 --> 01:27:59,759
Speaker 3: he's solutions oriented at this point, but yeah, the heart gives.

1666
01:27:59,800 --> 01:28:04,120
Speaker 3: He dies and unfortunately gets swept up into whatever John's

1667
01:28:04,160 --> 01:28:04,680
Speaker 3: mixed up in.

1668
01:28:05,080 --> 01:28:07,559
Speaker 2: Now at this point, Terry realizes, uh, oh, the demon

1669
01:28:07,640 --> 01:28:11,360
Speaker 2: lords are not coming through a physical gait. They're coming

1670
01:28:11,360 --> 01:28:14,479
Speaker 2: through each of us, or at least through the three

1671
01:28:14,920 --> 01:28:18,439
Speaker 2: male characters here anyway, And so he's like, well, we gotta,

1672
01:28:18,439 --> 01:28:20,880
Speaker 2: we gotta again. I gotta stop this now. And at

1673
01:28:20,880 --> 01:28:22,400
Speaker 2: this point I did get a chuck out of the

1674
01:28:22,439 --> 01:28:25,040
Speaker 2: fact that he calls upon the noble gods of Light

1675
01:28:25,520 --> 01:28:29,160
Speaker 2: to empower the magic vessel to stop everything. Like suddenly,

1676
01:28:29,160 --> 01:28:33,120
Speaker 2: now he's like, oh, non demons out there in the

1677
01:28:33,160 --> 01:28:37,320
Speaker 2: supernatural realm, I need your help. I'm done trying to

1678
01:28:37,360 --> 01:28:42,160
Speaker 2: manipulate the evil forces out there. Now I'm calling them

1679
01:28:42,160 --> 01:28:42,839
Speaker 2: the good guys.

1680
01:28:43,960 --> 01:28:47,479
Speaker 3: Yeah, I got a real mom. Yeah I'm from this.

1681
01:28:47,880 --> 01:28:51,560
Speaker 2: Yeah, isn't it always the case? But the gods of

1682
01:28:51,640 --> 01:28:54,160
Speaker 2: noble gods of light, and they're like, okay, we'll empower

1683
01:28:54,200 --> 01:28:56,920
Speaker 2: your magic music box, and they do it. It glows,

1684
01:28:57,000 --> 01:29:00,720
Speaker 2: it smokes it, there's some some fun light effects, and

1685
01:29:00,760 --> 01:29:03,400
Speaker 2: they take this thing to Glenn's old house, the site

1686
01:29:03,439 --> 01:29:06,760
Speaker 2: of the original gate opening and the site of their

1687
01:29:06,800 --> 01:29:11,439
Speaker 2: previous summoning earlier in the picture. We get another minion attack,

1688
01:29:12,240 --> 01:29:14,200
Speaker 2: we get the scene where Moe is suddenly back and

1689
01:29:14,200 --> 01:29:17,519
Speaker 2: he's like, oh, hey, I'm fine, guys. But then oh,

1690
01:29:17,600 --> 01:29:21,839
Speaker 2: there's another big reveal he is now fully demon bodied himself.

1691
01:29:22,000 --> 01:29:25,360
Speaker 3: Yeah, yeah, he's pretty. He's pretty smug too, And I

1692
01:29:25,360 --> 01:29:27,439
Speaker 3: gotta say I got a real Buffy the Vampire Slayer

1693
01:29:27,760 --> 01:29:31,479
Speaker 3: Angel vibe from this scene where maybe it starts with

1694
01:29:31,520 --> 01:29:35,960
Speaker 3: the smugness, but the creature designed as well of the

1695
01:29:36,439 --> 01:29:40,639
Speaker 3: articulate demons, they're a different special effect than the stop

1696
01:29:40,680 --> 01:29:43,439
Speaker 3: motion demons. Like if they've got to speak and you've

1697
01:29:43,479 --> 01:29:46,759
Speaker 3: got to be convinced that they are saying actual words,

1698
01:29:47,120 --> 01:29:50,200
Speaker 3: that's where it becomes a costume. And that costume work

1699
01:29:50,280 --> 01:29:53,800
Speaker 3: was very buffy asque, very angel asque, but effective. I

1700
01:29:53,840 --> 01:29:55,840
Speaker 3: thought like I believed it.

1701
01:29:56,280 --> 01:30:00,840
Speaker 2: Yeah, And the actor playing Mo it seems like he

1702
01:30:00,880 --> 01:30:02,920
Speaker 2: gets to to do his own acting in the suit,

1703
01:30:03,000 --> 01:30:05,120
Speaker 2: so yeah, it seems like he has a lot of

1704
01:30:05,120 --> 01:30:08,960
Speaker 2: fun with it. So yeah, we get the demon body revealed.

1705
01:30:09,000 --> 01:30:13,479
Speaker 2: John grabs Liz Terry falls through a grave through the

1706
01:30:13,600 --> 01:30:17,400
Speaker 2: gate into like the green other world, the desert world

1707
01:30:17,560 --> 01:30:20,760
Speaker 2: that we've got a glimpse of earlier. And from here

1708
01:30:20,840 --> 01:30:24,360
Speaker 2: where the final step piece, this ruined temple that you know,

1709
01:30:24,360 --> 01:30:27,200
Speaker 2: there's like all this left is like stairs going up

1710
01:30:27,240 --> 01:30:29,560
Speaker 2: to an altar, and of course who is prepared on

1711
01:30:29,600 --> 01:30:32,800
Speaker 2: the altar for sacrifice. Well, it's Liz, of course, and

1712
01:30:33,120 --> 01:30:36,080
Speaker 2: the two demons are there, or at least at first,

1713
01:30:36,160 --> 01:30:39,519
Speaker 2: the mo demon is there, and it's revealed I'm not

1714
01:30:39,560 --> 01:30:42,000
Speaker 2: going to be the one to sacrifice her, Terry, You're

1715
01:30:42,080 --> 01:30:43,880
Speaker 2: going to be the one to track to sacrifice here,

1716
01:30:43,920 --> 01:30:47,519
Speaker 2: and Terry begins to transform into the third demon Lord.

1717
01:30:47,920 --> 01:30:50,920
Speaker 3: It does seem unnecessary that Terry has to be the

1718
01:30:50,920 --> 01:30:53,400
Speaker 3: one to sacrifice. It would be so much easier, and

1719
01:30:53,479 --> 01:30:55,800
Speaker 3: it seems like it's within the rules for any of

1720
01:30:55,840 --> 01:30:59,320
Speaker 3: the demons to sacrifice her. It seems more cruel to say, well,

1721
01:30:59,360 --> 01:31:01,080
Speaker 3: you're the one with the heart, we need you to

1722
01:31:01,120 --> 01:31:04,000
Speaker 3: do this to demonstrate that you're on our side, which

1723
01:31:04,040 --> 01:31:07,720
Speaker 3: is a very human layer to put onto this what

1724
01:31:07,840 --> 01:31:12,000
Speaker 3: I would presume to be an uncaring, unfeeling cosmic demon arrangement.

1725
01:31:12,120 --> 01:31:14,240
Speaker 2: You know, well, I think it's the screw tape principle,

1726
01:31:14,280 --> 01:31:16,960
Speaker 2: you know, like the demon has to ask themselves, Okay,

1727
01:31:17,360 --> 01:31:19,679
Speaker 2: I've only got to do this one thing to conquer

1728
01:31:19,760 --> 01:31:23,240
Speaker 2: the Earth realm. But have I tempted the protagonist enough?

1729
01:31:23,400 --> 01:31:23,559
Speaker 3: Right?

1730
01:31:23,680 --> 01:31:26,320
Speaker 2: And inevitably the answer is no, I have not got

1731
01:31:26,360 --> 01:31:28,000
Speaker 2: to do a little more of that before checking the

1732
01:31:28,040 --> 01:31:31,200
Speaker 2: box right now. During all this, we get this scene

1733
01:31:31,240 --> 01:31:35,960
Speaker 2: where Terry transforms and his monster suit is even more grotesque,

1734
01:31:36,000 --> 01:31:39,200
Speaker 2: to the point where it's a different actor in the costume.

1735
01:31:39,880 --> 01:31:42,880
Speaker 2: We alluded to this earlier talking about the monster suit actor.

1736
01:31:43,640 --> 01:31:47,040
Speaker 2: And he's ready to do it. He gets the knife.

1737
01:31:47,120 --> 01:31:51,839
Speaker 2: He's going to sacrifice Liz. But then the minion escapes

1738
01:31:51,960 --> 01:31:54,719
Speaker 2: from the box, and since the box is his mother's

1739
01:31:54,840 --> 01:31:58,160
Speaker 2: music box, when it opens, it begins to play the music,

1740
01:31:58,439 --> 01:32:02,720
Speaker 2: and this brings Terry out of this possessed state. It

1741
01:32:02,760 --> 01:32:05,720
Speaker 2: gives him this doubt and he hesitates with the knife. Yeah.

1742
01:32:05,760 --> 01:32:09,360
Speaker 3: I kind of like this in a Gallimsque sense, where

1743
01:32:10,080 --> 01:32:14,400
Speaker 3: all of the pieces that have been arranged are doing

1744
01:32:14,479 --> 01:32:16,920
Speaker 3: their I won't want to say predictable parts, but they're

1745
01:32:16,960 --> 01:32:19,599
Speaker 3: playing the one role that they're there to play. Yeah,

1746
01:32:19,640 --> 01:32:22,000
Speaker 3: and you see that this was the reason for the

1747
01:32:22,080 --> 01:32:27,800
Speaker 3: minion from a plot perspective, to be this thing that

1748
01:32:27,880 --> 01:32:30,800
Speaker 3: snaps Terry out of his trance. I do want to

1749
01:32:30,840 --> 01:32:34,200
Speaker 3: say that Terry's transformation is the most impressive of the

1750
01:32:34,240 --> 01:32:36,360
Speaker 3: three to me, because we it's the one that we

1751
01:32:36,400 --> 01:32:39,640
Speaker 3: see the most. We see Terry realize that one of

1752
01:32:39,640 --> 01:32:42,439
Speaker 3: his hands has changed seconds later we see that his

1753
01:32:42,520 --> 01:32:45,080
Speaker 3: other hand has changed seconds later, and this is all

1754
01:32:45,120 --> 01:32:48,320
Speaker 3: aided by cutaways that we don't have to actually look

1755
01:32:48,320 --> 01:32:50,719
Speaker 3: at a visual transformation, so a bit of a savings

1756
01:32:50,760 --> 01:32:53,400
Speaker 3: there on the budget. But then we cut back and

1757
01:32:53,439 --> 01:32:55,919
Speaker 3: we see that even more of him. He's completely transformed,

1758
01:32:55,960 --> 01:32:58,840
Speaker 3: but even then he's half Terry, half this beast. You know,

1759
01:32:59,360 --> 01:33:00,040
Speaker 3: it's really.

1760
01:33:00,080 --> 01:33:04,519
Speaker 2: It's like a buff Nonsfaratu, a really hulking Nosferatu character,

1761
01:33:04,640 --> 01:33:07,559
Speaker 2: also very buffy, very shades of the Master.

1762
01:33:07,680 --> 01:33:11,040
Speaker 3: I would say, yeah, yeah, and you know, a partial

1763
01:33:11,080 --> 01:33:14,479
Speaker 3: hair loss and a scraggliness of hair that is really

1764
01:33:14,920 --> 01:33:19,519
Speaker 3: visually kind of grotesque and unkempt, but also a spoiler

1765
01:33:19,520 --> 01:33:23,479
Speaker 3: alert when when he's not a demon anymore, all that

1766
01:33:23,560 --> 01:33:25,479
Speaker 3: hair coming back is kind of alarming as well.

1767
01:33:27,400 --> 01:33:32,040
Speaker 2: The Gods of Light they bring everything back, so we

1768
01:33:32,360 --> 01:33:34,680
Speaker 2: get the predictable thing at this point, you know, the

1769
01:33:35,320 --> 01:33:37,559
Speaker 2: empower the vessel again. They throw it into the pit

1770
01:33:37,720 --> 01:33:41,639
Speaker 2: slash gate. There's light screaming, and then the demon lords

1771
01:33:41,640 --> 01:33:44,280
Speaker 2: are defeated. Liz is back in the house, Glenn's old house,

1772
01:33:44,680 --> 01:33:48,240
Speaker 2: seemingly alone, but no, she finds Terry's body and he

1773
01:33:48,280 --> 01:33:49,960
Speaker 2: does not seem to have survived.

1774
01:33:50,080 --> 01:33:54,840
Speaker 3: That's right, that's right, all right, p Terry, It's not clear.

1775
01:33:55,800 --> 01:33:58,479
Speaker 3: It's I had to wait until the next scene until

1776
01:33:58,520 --> 01:34:02,240
Speaker 3: I was sure that he was actually dead and not

1777
01:34:02,360 --> 01:34:03,960
Speaker 3: just unconscious or passed.

1778
01:34:03,720 --> 01:34:07,080
Speaker 2: Out, because we cut to the cemetery. It's a funeral. Oh,

1779
01:34:07,120 --> 01:34:10,080
Speaker 2: and there we see there's Terry's dad, he's attending, and

1780
01:34:10,120 --> 01:34:12,320
Speaker 2: there's Liz. This is Terry's funeral.

1781
01:34:13,160 --> 01:34:17,720
Speaker 3: Yeah, Terry, Terry's dad and Liz, who do not know

1782
01:34:17,800 --> 01:34:20,680
Speaker 3: each other, I have never met each other. Liz has

1783
01:34:20,720 --> 01:34:23,320
Speaker 3: seen him, but he has not seen her, and her

1784
01:34:23,320 --> 01:34:25,800
Speaker 3: early vision of him, or view of him, has been

1785
01:34:25,880 --> 01:34:29,240
Speaker 3: in a hospital bed with an unintelligible face because it's

1786
01:34:29,240 --> 01:34:31,840
Speaker 3: all covered up in bandages. They're sitting next to each

1787
01:34:31,880 --> 01:34:35,880
Speaker 3: other at the funeral. Terry's dad has a crutch, so

1788
01:34:35,960 --> 01:34:40,360
Speaker 3: he's field almost completely, just one crutch.

1789
01:34:40,920 --> 01:34:42,759
Speaker 2: That's another gift from the gods of light, I guess.

1790
01:34:42,840 --> 01:34:46,200
Speaker 2: But I really thought, Oh, I guess this is our ending.

1791
01:34:46,280 --> 01:34:48,880
Speaker 2: They're going to give us a real downer and Terry's dead.

1792
01:34:49,600 --> 01:34:51,680
Speaker 2: I was just I was already writing it up in

1793
01:34:51,720 --> 01:34:53,920
Speaker 2: my head. I was like, all right, fun film but

1794
01:34:54,200 --> 01:34:58,880
Speaker 2: unnecessarily bleak ending. Yeah, But then what happens. Terry busts

1795
01:34:58,920 --> 01:35:02,160
Speaker 2: out of the casket. He scares everyone away. Everyone runs

1796
01:35:02,200 --> 01:35:06,800
Speaker 2: off comically into the woods. Everyone except Liz and Dad.

1797
01:35:07,200 --> 01:35:11,160
Speaker 3: And Terry comes out of the casket wearing the black

1798
01:35:11,240 --> 01:35:15,080
Speaker 3: leather jacket and the white scarf from the plane dream.

1799
01:35:15,439 --> 01:35:20,160
Speaker 3: Oh man hugs Liz, who is also wearing the black

1800
01:35:20,240 --> 01:35:25,000
Speaker 3: leather jacket from the plane dream. So it wasn't a dream.

1801
01:35:25,080 --> 01:35:27,880
Speaker 3: They got these clothes from where?

1802
01:35:28,360 --> 01:35:29,759
Speaker 2: Oh? Or we're still in a dream.

1803
01:35:30,040 --> 01:35:33,320
Speaker 3: That's what I thought it was, because, yeah, I thought

1804
01:35:33,320 --> 01:35:35,240
Speaker 3: that the movie was going to be that elegant.

1805
01:35:35,320 --> 01:35:37,200
Speaker 2: Oh yeah, they're gonna have like a Freddy Krueger moment.

1806
01:35:37,320 --> 01:35:38,640
Speaker 3: Yeah, but no.

1807
01:35:39,240 --> 01:35:42,960
Speaker 2: Instead, Yeah, Terry is like, this is awesome. This is

1808
01:35:42,960 --> 01:35:46,120
Speaker 2: exactly everything I want as a teenage warlock, is to

1809
01:35:46,600 --> 01:35:49,160
Speaker 2: emerge from my own funeral and scare the heck out

1810
01:35:49,160 --> 01:35:52,720
Speaker 2: of everybody. He and Liz kiss again. I you know,

1811
01:35:52,960 --> 01:35:55,920
Speaker 2: especially from a modern standpoint, I feel like it would

1812
01:35:55,920 --> 01:35:59,160
Speaker 2: have been cooler if if they'd just been bff's. But

1813
01:35:59,360 --> 01:36:02,400
Speaker 2: you know, what can you do? So they walk off,

1814
01:36:02,600 --> 01:36:06,559
Speaker 2: the three of them. Everything's everything's fixed, everything's thing's light

1815
01:36:06,600 --> 01:36:09,880
Speaker 2: and happy again. And as they're walking off, two more

1816
01:36:09,960 --> 01:36:13,519
Speaker 2: figures climb out of the casket clown car style clown casket.

1817
01:36:13,600 --> 01:36:14,479
Speaker 2: It's mowen John.

1818
01:36:16,000 --> 01:36:21,960
Speaker 3: Yeah, which I was legit delighted at this point, like

1819
01:36:22,600 --> 01:36:26,799
Speaker 3: this movie was so silly, and of course it needed

1820
01:36:26,840 --> 01:36:29,320
Speaker 3: to have a silly ending. It didn't need to take

1821
01:36:29,320 --> 01:36:32,800
Speaker 3: itself too seriously. Where this movie fails is when it

1822
01:36:32,840 --> 01:36:36,120
Speaker 3: takes itself too seriously, and I feel like it needs

1823
01:36:36,200 --> 01:36:39,880
Speaker 3: to do it to explain some of the more cosmic

1824
01:36:39,920 --> 01:36:43,000
Speaker 3: aspects of what's going on. It still doesn't explain them,

1825
01:36:43,160 --> 01:36:45,559
Speaker 3: but it needs to take itself seriously to kind of

1826
01:36:45,640 --> 01:36:50,040
Speaker 3: lay that groundwork. But it's it's clearly enjoying itself the

1827
01:36:50,040 --> 01:36:52,560
Speaker 3: most when it's just having fun, and this was a

1828
01:36:52,680 --> 01:36:53,840
Speaker 3: very fun way to end it.

1829
01:36:55,320 --> 01:36:58,120
Speaker 2: Yeah, John says demons. Man, who needs chicks when you've

1830
01:36:58,160 --> 01:37:00,400
Speaker 2: got demons? I'm not sure what that means.

1831
01:37:00,479 --> 01:37:05,479
Speaker 3: Well, calls back to an earlier line where when Liz

1832
01:37:05,560 --> 01:37:08,839
Speaker 3: tells John that Terry is just a friend, she leaves

1833
01:37:09,000 --> 01:37:11,439
Speaker 3: and John turns to Moe and says, who needs demons

1834
01:37:11,439 --> 01:37:12,320
Speaker 3: when you got chicks?

1835
01:37:12,720 --> 01:37:16,880
Speaker 2: Ah sop and verse of that. Yeah, it's the last

1836
01:37:16,920 --> 01:37:19,439
Speaker 2: line in the film. We rolled the credits, but then

1837
01:37:19,479 --> 01:37:23,879
Speaker 2: there is a stinger, and we see one more creature

1838
01:37:24,000 --> 01:37:26,960
Speaker 2: crawl out of the casket and it is the Hamster

1839
01:37:27,160 --> 01:37:30,000
Speaker 2: of the sacrifice earlier in the film. It crawls out

1840
01:37:30,040 --> 01:37:32,400
Speaker 2: of the casket as well. It is okay, it is

1841
01:37:32,479 --> 01:37:35,560
Speaker 2: no longer dead. This echoes I believe their treatment of

1842
01:37:35,600 --> 01:37:37,000
Speaker 2: the dog from the last film.

1843
01:37:37,160 --> 01:37:39,720
Speaker 3: Yeah, I gotta I gotta be honest. I texted you

1844
01:37:39,800 --> 01:37:43,599
Speaker 3: last night when I finished the movie with a woof,

1845
01:37:45,920 --> 01:37:48,120
Speaker 3: at which point you said, well, did you watch all

1846
01:37:48,120 --> 01:37:49,800
Speaker 3: the way through the credits And I said no, I

1847
01:37:49,800 --> 01:37:51,640
Speaker 3: did not, and you recommended that I do it. And

1848
01:37:51,680 --> 01:37:54,599
Speaker 3: I'm glad you did because that was that's what that's

1849
01:37:54,600 --> 01:37:55,840
Speaker 3: what stingers are for.

1850
01:37:56,280 --> 01:37:59,760
Speaker 2: Yeah, redeemed the whole picture. Yeah, and Bitigan also shows that, like,

1851
01:38:00,160 --> 01:38:02,719
Speaker 2: despite it playing, this is a film that, despite playing

1852
01:38:02,760 --> 01:38:06,240
Speaker 2: with some tougher subject matter and a few scenes and

1853
01:38:06,360 --> 01:38:09,960
Speaker 2: toying with life and death, ultimately this film has this

1854
01:38:10,080 --> 01:38:12,680
Speaker 2: heart of gold where it's like, no, we're having a

1855
01:38:12,800 --> 01:38:15,880
Speaker 2: zero body count, not not even the Hamster dies in

1856
01:38:15,920 --> 01:38:16,400
Speaker 2: this film.

1857
01:38:16,560 --> 01:38:17,000
Speaker 4: Yeah.

1858
01:38:17,160 --> 01:38:22,599
Speaker 3: Yeah, I think it's tough for me because just make

1859
01:38:22,640 --> 01:38:25,880
Speaker 3: a fun movie, just have fun, and then you had

1860
01:38:25,920 --> 01:38:27,560
Speaker 3: to make it an R rated movie, You had to

1861
01:38:27,600 --> 01:38:29,840
Speaker 3: add stuff into making an R rated movie. You're setting

1862
01:38:29,840 --> 01:38:32,360
Speaker 3: a bar that you don't need to clear, that doesn't

1863
01:38:32,400 --> 01:38:36,360
Speaker 3: need to exist. And the Gate suffered from this as well,

1864
01:38:36,360 --> 01:38:38,080
Speaker 3: Like it just wanted to be a fun movie, but

1865
01:38:38,160 --> 01:38:40,160
Speaker 3: felt like it needed to be something a little bit

1866
01:38:40,280 --> 01:38:42,599
Speaker 3: more than that, or something a little bit harder than that.

1867
01:38:43,040 --> 01:38:46,000
Speaker 3: I think that there's room for just a silly, fun

1868
01:38:46,080 --> 01:38:48,800
Speaker 3: movie that has a little bit of cosmic horror to it.

1869
01:38:49,320 --> 01:38:52,560
Speaker 3: But maybe that's just a testament to, you know, the

1870
01:38:53,000 --> 01:38:55,559
Speaker 3: era that it came out in, when maybe you couldn't

1871
01:38:55,600 --> 01:38:56,000
Speaker 3: have that.

1872
01:38:56,760 --> 01:38:59,080
Speaker 2: So are you saying maybe we need like a Gate

1873
01:38:59,160 --> 01:39:00,679
Speaker 2: three Minions at Manhattan.

1874
01:39:00,800 --> 01:39:04,799
Speaker 3: I think we need a full Gate remake. Just reboot

1875
01:39:04,840 --> 01:39:08,320
Speaker 3: the franchise from Gate one. Make it a kid's movie,

1876
01:39:09,040 --> 01:39:11,599
Speaker 3: Sell it as a kid's movie, do a trailer as

1877
01:39:11,640 --> 01:39:13,840
Speaker 3: a kid's movie, make it a little bit scary, go

1878
01:39:13,960 --> 01:39:18,040
Speaker 3: like Jack Black goosebumps, you know, and then you.

1879
01:39:17,960 --> 01:39:19,960
Speaker 2: Can you can call it Minions, right, because I mean

1880
01:39:20,000 --> 01:39:21,000
Speaker 2: they had them first.

1881
01:39:21,160 --> 01:39:24,200
Speaker 3: Yes, Capitol and Minions our minions or what was the

1882
01:39:24,400 --> 01:39:27,160
Speaker 3: would the Ghostbusters do the real Minions?

1883
01:39:27,320 --> 01:39:29,080
Speaker 2: Yes, these will be the real Minions.

1884
01:39:29,160 --> 01:39:31,719
Speaker 3: That's it. That's it. I think we got something.

1885
01:39:32,000 --> 01:39:34,280
Speaker 2: I think so let's let's let's get the director on

1886
01:39:34,320 --> 01:39:37,920
Speaker 2: the horn. All right, Dave, Well, thanks for coming back

1887
01:39:37,960 --> 01:39:41,840
Speaker 2: on the show to finish out the Gate franchise the

1888
01:39:41,880 --> 01:39:43,800
Speaker 2: Gate Verse with me here, Rob, It.

1889
01:39:43,800 --> 01:39:47,240
Speaker 3: Was my pleasure. We're gonna do Survivors at some point.

1890
01:39:47,800 --> 01:39:49,519
Speaker 3: We'll do a miniso. Maybe we'll do it on the

1891
01:39:49,520 --> 01:39:50,439
Speaker 3: Talking to Foo feed.

1892
01:39:50,920 --> 01:39:53,000
Speaker 2: Yeah, what's what's going on with Talking to Food right now?

1893
01:39:53,040 --> 01:39:55,200
Speaker 2: Anything you want to promote, anything you want to hype.

1894
01:39:55,360 --> 01:39:57,120
Speaker 3: Well, yeah, we're in a bit of a holiday break

1895
01:39:57,200 --> 01:40:00,840
Speaker 3: right now, which means we're doing minisodes. But but I

1896
01:40:00,840 --> 01:40:02,760
Speaker 3: mean that's just for a couple of weeks. We'll be

1897
01:40:02,800 --> 01:40:05,320
Speaker 3: back probably second week of January. I'm not sure when

1898
01:40:05,320 --> 01:40:08,200
Speaker 3: this is coming out. With our full episodes, what we

1899
01:40:08,280 --> 01:40:12,439
Speaker 3: typically do is we'll do some takeout from somewhere. We'll

1900
01:40:12,479 --> 01:40:18,400
Speaker 3: focus around a snack that is either intentionally or accidentally vegan,

1901
01:40:18,479 --> 01:40:23,160
Speaker 3: but something that's appropriately junky and accessible to mini folks.

1902
01:40:24,000 --> 01:40:28,120
Speaker 3: My wife and I are vegans. We really try to

1903
01:40:29,320 --> 01:40:32,000
Speaker 3: go through kind of the fun side of veganism. It's

1904
01:40:32,000 --> 01:40:35,000
Speaker 3: not a very heavy handed podcast. It's more just the

1905
01:40:35,000 --> 01:40:37,360
Speaker 3: two of us bs ing with each other and eventually

1906
01:40:37,400 --> 01:40:41,000
Speaker 3: getting around to the food right now, it's probably forty

1907
01:40:41,040 --> 01:40:44,599
Speaker 3: percent roller skating content, twenty percent Dungeons and Dragons balders

1908
01:40:44,640 --> 01:40:47,280
Speaker 3: Gate content, and then we finally get around to trying

1909
01:40:47,320 --> 01:40:51,800
Speaker 3: some candy or some food. Most recently, I think, well,

1910
01:40:51,840 --> 01:40:54,360
Speaker 3: what we've got up in the hopper. We found some

1911
01:40:54,880 --> 01:40:58,400
Speaker 3: cheese sticks, some mozzarella cheese sticks that are banging. We

1912
01:40:58,479 --> 01:41:01,639
Speaker 3: found recently some this is holidays right now. We found

1913
01:41:01,640 --> 01:41:04,679
Speaker 3: some oat milk truffles, some of those lender Lin balls

1914
01:41:04,880 --> 01:41:07,479
Speaker 3: that they made some plant based versions of those that

1915
01:41:07,520 --> 01:41:10,759
Speaker 3: we went out and tried those. Spoiler alert. They're amazing.

1916
01:41:10,760 --> 01:41:13,280
Speaker 3: You don't need to listen to that episode. But yeah,

1917
01:41:13,320 --> 01:41:17,880
Speaker 3: it's it's mostly just a lot of non sequiturs of

1918
01:41:17,960 --> 01:41:20,439
Speaker 3: us just enjoying each other's company. And we got to

1919
01:41:20,479 --> 01:41:21,559
Speaker 3: get you on there, Rob.

1920
01:41:21,760 --> 01:41:25,479
Speaker 2: Yeah, yeah, yeah, well let's line something up. Yeah, So

1921
01:41:25,600 --> 01:41:27,720
Speaker 2: check out Talking Tofu. You can get it where we

1922
01:41:27,760 --> 01:41:28,920
Speaker 2: get your podcasts.

1923
01:41:28,520 --> 01:41:31,600
Speaker 3: Right, yeah, yeah, anywhere, and you can reach out to

1924
01:41:31,680 --> 01:41:34,519
Speaker 3: us at TALKINTOFU pod at gmail dot com. That's talking

1925
01:41:34,600 --> 01:41:38,160
Speaker 3: without the G. Talking TOFU pod again without the G

1926
01:41:38,520 --> 01:41:41,599
Speaker 3: is our Instagram handle. So yeah, you can reach out

1927
01:41:41,600 --> 01:41:44,479
Speaker 3: with us there. We're pretty chatty awesome. Well as far

1928
01:41:44,600 --> 01:41:47,360
Speaker 3: as Weird House Cinema goes. So just remind everybody that

1929
01:41:47,800 --> 01:41:49,599
Speaker 3: here in the Stuff to Blow your Mind podcast feed.

1930
01:41:49,600 --> 01:41:52,280
Speaker 3: We're primarily a science podcast, but on Fridays we set

1931
01:41:52,320 --> 01:41:53,439
Speaker 3: aside most serious concerns.

1932
01:41:53,439 --> 01:41:55,040
Speaker 2: You just talk about a weird movie. You're on Weird

1933
01:41:55,040 --> 01:41:56,920
Speaker 2: House Cinema. If you want to see a list of

1934
01:41:56,960 --> 01:41:59,120
Speaker 2: all the movies we've covered on Weird House Cinema over

1935
01:41:59,120 --> 01:42:01,680
Speaker 2: the years, you can go to letterbox dot com. It's

1936
01:42:01,760 --> 01:42:03,439
Speaker 2: l E T T E R B O x D

1937
01:42:03,560 --> 01:42:07,720
Speaker 2: dot com. Very fun website for chronicling your own cinematic

1938
01:42:07,760 --> 01:42:11,680
Speaker 2: adventures and discoveries and explorations and your favorites. We have

1939
01:42:11,720 --> 01:42:14,320
Speaker 2: a profile there weird House look us up. We have

1940
01:42:14,360 --> 01:42:16,240
Speaker 2: a list of all the movies we've covered over the years,

1941
01:42:16,280 --> 01:42:18,959
Speaker 2: and you can you can pull them up and organize

1942
01:42:19,000 --> 01:42:22,400
Speaker 2: them by genre, decade, and so forth. It's a lot

1943
01:42:22,400 --> 01:42:22,719
Speaker 2: of fun.

1944
01:42:22,920 --> 01:42:26,000
Speaker 3: What do you think the gate to community on letterbox

1945
01:42:26,040 --> 01:42:26,439
Speaker 3: looks like?

1946
01:42:28,880 --> 01:42:31,360
Speaker 2: I mean, it's probably pretty sizable. You know this. These

1947
01:42:31,360 --> 01:42:33,439
Speaker 2: are films that I you know, I think they may

1948
01:42:33,479 --> 01:42:37,720
Speaker 2: not have had a huge impact on everyone's upbringing. You know,

1949
01:42:37,760 --> 01:42:41,840
Speaker 2: they're not like Central Pillars, but I think they're films

1950
01:42:41,840 --> 01:42:44,800
Speaker 2: that that people look back on fondly. You know, they're

1951
01:42:44,800 --> 01:42:48,040
Speaker 2: films that that that when they're when they're succeeding, when

1952
01:42:48,080 --> 01:42:51,160
Speaker 2: they're working, they are capturing this sense of like young

1953
01:42:51,240 --> 01:42:52,360
Speaker 2: supernatural adventure.

1954
01:42:52,640 --> 01:42:56,479
Speaker 3: Yeah, yeah, I think I was shocked that this had

1955
01:42:56,520 --> 01:42:58,760
Speaker 3: a theatrical release at all. I would have sworn that

1956
01:42:58,760 --> 01:43:01,160
Speaker 3: it would have been a straight to video. But I agree.

1957
01:43:01,200 --> 01:43:01,960
Speaker 3: It's a comfort watch.

1958
01:43:02,000 --> 01:43:02,559
Speaker 2: It's charming.

1959
01:43:02,840 --> 01:43:06,680
Speaker 3: It's uh as comforting as a movie where lots of

1960
01:43:06,720 --> 01:43:08,240
Speaker 3: stuff turns into poop can be.

1961
01:43:09,120 --> 01:43:09,240
Speaker 2: Uh.

1962
01:43:10,120 --> 01:43:11,599
Speaker 3: It's it's it's it's a fun time.

1963
01:43:12,400 --> 01:43:14,080
Speaker 2: It's a great olm. I'm surprised he didn't like re

1964
01:43:14,160 --> 01:43:16,680
Speaker 2: Explore the Sun. Beavis and buttheads and butthead get a

1965
01:43:16,760 --> 01:43:19,040
Speaker 2: minion and it turns all their wishes into poop. It's perfect.

1966
01:43:19,080 --> 01:43:20,800
Speaker 2: I can just see it unfolding right.

1967
01:43:20,760 --> 01:43:22,080
Speaker 3: Or from you got pictures for Days.

1968
01:43:22,120 --> 01:43:24,599
Speaker 2: I love it. Yeah, that's that's what we do, lots

1969
01:43:24,600 --> 01:43:26,439
Speaker 2: of free ideas. That's why that's why you listen to

1970
01:43:26,479 --> 01:43:29,960
Speaker 2: Weird House Cinema. All right, we'll go and close out here.

1971
01:43:30,040 --> 01:43:32,920
Speaker 2: Thanks as always to the excellent JJ Possway for producing

1972
01:43:33,000 --> 01:43:34,599
Speaker 2: the show. And if you want to get in touch,

1973
01:43:34,640 --> 01:43:37,960
Speaker 2: with me. You can email me at contact at stuff

1974
01:43:37,960 --> 01:43:39,320
Speaker 2: to Blow your Mind dot com.

1975
01:43:46,120 --> 01:43:49,000
Speaker 1: Stuff to Blow Your Mind is production of iHeartRadio. For

1976
01:43:49,120 --> 01:43:51,880
Speaker 1: more podcasts from my heart Radio, visit the iHeartRadio app,

1977
01:43:52,080 --> 01:43:54,799
Speaker 1: Apple Podcasts, or wherever you listen to your favorite shows.