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Speaker 1: Welcome to Stuff to Blow your Mind, a production of

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Speaker 1: My Heart Radio. Hey, welcome to Weird House Cinema. This

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Speaker 1: is Rob Lamb and this is Joe McCormick. And this

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Speaker 1: is Weird House Cinema's second holiday season. But this is

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Speaker 1: gonna be the first time we're actually going to be

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Speaker 1: talking about a holiday film. I don't Robot Jocks is

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Speaker 1: a holiday film. Well it Robot Jocks feels like Christmas.

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Speaker 1: And we've we've had a few films like that that

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Speaker 1: feel like Christmas, but they're not really a Christmas movie.

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Speaker 1: They're not set at Christmas. And I mean, and to

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Speaker 1: be clear, like this movie is not about Christmas, but

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Speaker 1: it is. It is. It is a film that takes

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Speaker 1: place during the holidays. Um now, now I should well wait,

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Speaker 1: does the does the die hard logic apply? I know

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Speaker 1: people like arguing about this on the internet. I've never

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Speaker 1: actually gotten into it about that, but yeah, I'm mean,

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Speaker 1: I don't have a strong opinion about that, but I

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Speaker 1: guess it depends on what the holiday is doing in

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Speaker 1: the film, right, and um and and I don't even

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Speaker 1: care whether people decide to label this that or the

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Speaker 1: other a holiday film. But of course you have you

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Speaker 1: have films that are very much about the holiday things,

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Speaker 1: like you know, adaptations of the Christmas Carol, Miracle on

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Speaker 1: thirty four Street, all that that kind of stuff, And

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Speaker 1: of course those are holiday films. And I should say

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Speaker 1: that some of some of my favorite holiday movies are

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Speaker 1: are certainly weird and prime contenders for the weird House treatment.

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Speaker 1: But but I thought we might go with an entry

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Speaker 1: this week from that surprisingly large subgenre of holiday horror,

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Speaker 1: with a strong emphasis on Christmas time horror films in

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Speaker 1: American cinema. You know, I would have assumed, because Halloween

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Speaker 1: is one of the most copied movies of all time,

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Speaker 1: that the Christmas horror slasher film a rose as one

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Speaker 1: of the many Halloween copycats like Friday thirte I mean,

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Speaker 1: I think that was pretty clearly an inspiration behind Friday

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Speaker 1: the thirteenth. It was like, hey, here's a real you know,

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Speaker 1: here was a successful movie about a guy with a knife,

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Speaker 1: and it's named after a day. Let's do another movie

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Speaker 1: about a knife wheelder running around named after a day.

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Speaker 1: So you would think that was true for Christmas films,

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Speaker 1: But actually the first Christmas slasher film predates Halloween um

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Speaker 1: or at least as far as I know, right, because

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Speaker 1: Black Christmas came out in nineteen four. Yeah. Yeah, it's

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Speaker 1: one of those early days slasher films. I think that's

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Speaker 1: considered it sort of almost a proto slasher film. Things

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Speaker 1: were just getting started. Um, I gotta say, I don't

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Speaker 1: love it, though I watched it years ago and just

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Speaker 1: found it kind of boring and unpleasant. I much prefer Halloween,

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Speaker 1: even if it came later. It's it's the real uh,

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Speaker 1: it's the true progenitor here, right, and in Halloween. It

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Speaker 1: makes sense at Halloween, right, And and that's that's where

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Speaker 1: to get into the kind of the enigma of the

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Speaker 1: Christmas horror film. Um. I think the just the the

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Speaker 1: just the idea of that even fascinates me because I

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Speaker 1: have a very strong memory of being a child wandering

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Speaker 1: the halls of the local VHS rental store and seeing

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Speaker 1: the posters and box art for various Christmas horror films,

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Speaker 1: especially stuff like Black Christmas and Silent Night, Deadly Night,

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Speaker 1: but even stuff like Gremlins, um, and seeing that stuff

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Speaker 1: and just feeling like, well, this, this is wrong. This

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Speaker 1: these films should not be Because even though my family

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Speaker 1: made a big deal about uh, you know about Halloween.

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Speaker 1: We did all sorts of Halloween stuff. But then when

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Speaker 1: you know, we got into Christmas, and as a child especially,

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Speaker 1: you know, Christmas is a special time and I just

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Speaker 1: I wanted it to be this like, you know, this

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Speaker 1: pure good thing, and it just felt wrong that there

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Speaker 1: were these movies jumping in there and trying to make

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Speaker 1: it grim or nasty. You know. Oh wow, I don't

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Speaker 1: remember having that feeling at all. I definitely remember being

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Speaker 1: both intrigued and actually, I think I could be wrong

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Speaker 1: in having this memory, but I sort of recall finding

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Speaker 1: it humorous, like looking at the cover of Silent Night,

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Speaker 1: Deadly Night and seeing like the Santa suit arm with

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Speaker 1: the axe and thinking that is funny. My my little

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Speaker 1: seven year old brain doesn't quite know why it's funny.

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Speaker 1: But I'm prowling through the R rated section of the

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Speaker 1: Turtles video or I'm probably not supposed to be, and

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Speaker 1: this this is funny. I wonder if part of it

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Speaker 1: for me, anyway, maybe for other folks out there, is

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Speaker 1: that at Christmas time, you know, are of the typical

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Speaker 1: American holiday season, you have this um you know, there's

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Speaker 1: this this increased um emphasis on the mythology and the

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Speaker 1: fiction of the holiday, and in this, uh, this idea

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Speaker 1: that especially children should be allowed and encouraged to believe

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Speaker 1: in it, and even past the point where their reason

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Speaker 1: has actually kicked in and they're seeing the truth for

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Speaker 1: what it is. And and so you know, therefore, perhaps

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Speaker 1: these these these obvious horror inventions, they kind of mess

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Speaker 1: with it, you know, because you're already having this crisis

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Speaker 1: of belief in your own little head about the existence

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Speaker 1: of Santa Claus. And if Santa Claus is perhaps not real,

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Speaker 1: then then what about the baby Jesus? What about the

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Speaker 1: rest of it? Is only half of it fake? You know,

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Speaker 1: so you're going out, you're having this big crisis of belief,

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Speaker 1: and then here's somebody else's is making up this, uh,

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Speaker 1: this story about killer Santa's or whatnot. Well, the other

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Speaker 1: way to frame it is, when you're seven years old

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Speaker 1: and you still believe in Santa Claus, seeing the concept

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Speaker 1: of a horror movie where Santa Claus is wielding a

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Speaker 1: bloody axe seems vaguely blasphemous, or at least carries some

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Speaker 1: kind of blasphemic weight. Yeah, I would definitely say so

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Speaker 1: that that was exactly how I felt about these films

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Speaker 1: growing up is that these these this just blasphemy. It

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Speaker 1: should not be. I mean they didn't try and like

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Speaker 1: you know, destroy the boxes or anything, but I was like, Nope,

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Speaker 1: not for me. And I have to say some of

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Speaker 1: these films are still not from me, but I've gone

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Speaker 1: back and watched some of them and I appreciate. I mean,

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Speaker 1: it's the interesting thing about it is that it has

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Speaker 1: not stopped, and when it will not stop, you're gonna

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Speaker 1: keep having horror related uh, Christmas movies and holiday films

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Speaker 1: coming out. And I I think maybe we've gotten better

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Speaker 1: at it because I think we've had maybe an awakening

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Speaker 1: in American culture anyway regarding like how are Christmas stories

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Speaker 1: and wintertime traditions work? That you know, the realization that

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Speaker 1: that the sort of department store Santa Claus vision of

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Speaker 1: the holidays is one that was highly sanitized, and it

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Speaker 1: had you had things like you know, child eating trolls

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Speaker 1: and crampus removed from it. You had you'd removed the

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Speaker 1: hostile winter aspects of the of these holiday traditions. And

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Speaker 1: so the more that you realize that, yes, this is

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Speaker 1: supposed to be a time in which there is darkness

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Speaker 1: and the promise of light. Uh, it makes more room

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Speaker 1: for and in a way almost more honest explorations of

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Speaker 1: that and some and I think more fun you know,

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Speaker 1: things like what's the Santa Claus monster film Rare Exports

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Speaker 1: that came out several years ago. That's a great one. Yeah,

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Speaker 1: like like that's that, that's fun and yeah, yeah, and

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Speaker 1: watching that didn't like trigger any like Childhood Santa Claus

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Speaker 1: blasphemy warnings for me. You know, it just felt like

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Speaker 1: a fun monster flick. Yeah, I see what you're saying.

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Speaker 1: And I will say, of that early crop of Christmas

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Speaker 1: or you know, any general Solstice horror themed movies, the

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Speaker 1: only one I really love is Gremlins. Like Black Christmas,

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Speaker 1: Silent Silent Night, Deadly Night, all that stuff didn't really

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Speaker 1: do it for me. Yeah, I mean, Gremlins has its

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Speaker 1: own problems, but but at least it was trying in

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Speaker 1: on the whole to be fun, whereas I think some

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Speaker 1: of these earlier films were just kind of like like

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Speaker 1: here here it comes nasty Christmas, it comes here, here

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Speaker 1: comes your horror Christmas. You like your Christmas will how

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Speaker 1: about some murder in your Christmas? You know? Um, and

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Speaker 1: I think it's just it's progressed as a as an

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Speaker 1: art form since those days. And part of it might

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Speaker 1: be that, you know, we can look back on those

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Speaker 1: films as being kind of like a almost kind of

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Speaker 1: a you know, an anti establishment statement, you know, sort

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Speaker 1: of striking against the the corporate purity of the traditional

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Speaker 1: American holiday season. And uh, and I think that's that

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Speaker 1: kind of leads into another reason why we keep having

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Speaker 1: these films Because on one hand, yes, the darkness has

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Speaker 1: always been a part of our winter festivals, and therefore

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Speaker 1: there's a desire I think in us to have it

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Speaker 1: in our our modern festivities. But on the other end

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Speaker 1: of things, I feel like, if if Christmas and the holidays,

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Speaker 1: if it's all feeling too fake, too purified, too forced upon, you, um,

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Speaker 1: a Christmas horror film is a way of sort of

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Speaker 1: releasing the pressure. It feels like a way to rebalance everything,

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Speaker 1: you know, a ninety minute hot topic t shirt of

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Speaker 1: rebellion against norms and society. Yeah, and that's also like

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Speaker 1: a huge reason I think that you see the Christmas

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Speaker 1: thrown into the movies like this, you know, because the

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Speaker 1: juxtaposition of Christmas alongside monsters or Mayhem blood or even

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Speaker 1: you know, in an action movie situation like die Hard. Um,

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Speaker 1: you know, it can it can just be a way

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Speaker 1: to get a reaction out of the audience and to

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Speaker 1: make everything a little more novel. Now. I feel like

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Speaker 1: that's especially the case of the more I don't know,

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Speaker 1: irreverent or maybe at least latently satirical Christmas horror films.

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Speaker 1: I guess it's a kind of different beast altogether. If

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Speaker 1: you make a Christmas horror movie that itself take is

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Speaker 1: very serious or takes itself very seriously. Well, this brings

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Speaker 1: to mind Ridley Scott's Prometheus movie, which has some very uh,

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Speaker 1: you know, serious minded themes in it that it was

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Speaker 1: trying to to bring across and then also had Christmas

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Speaker 1: stuff in it, and they seem to be commuinely trying

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Speaker 1: to like make a connection there. You know, it's like,

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Speaker 1: um and maybe trying a bit too hard. I totally

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Speaker 1: forgot about Christmas being in there. What what? What's Christmas

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Speaker 1: about it? It's just it is Christmas on the spaceship

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Speaker 1: and they have like a Christmas tree or something. What

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Speaker 1: misremembering that, I believe that Prometheus is a Christmas movie.

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Speaker 1: Let's go to the tape as use shapes with high

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Speaker 1: colo mm hmm, what the hell is that about? It's Christmas,

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Speaker 1: neither holidays sometimes still moving. Mission briefing is about to start, Captain,

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Speaker 1: I want to make it way down. Well. I haven't

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Speaker 1: had been break to see yet. But but we're not

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Speaker 1: talking about Prometheus today. We're talking about a different film entirely.

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Speaker 1: We had a number of holiday horror films to consider,

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Speaker 1: but we ended up going with the one that neither

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Speaker 1: of us had seen before but had built up something

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Speaker 1: of a reputation for weirdness, and that's Three's blood Beat.

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Speaker 1: Where did you find this thing? This movie is so

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Speaker 1: weird it made my toenails curl. What where did you

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Speaker 1: find this? I believe even earlier in the year, I

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Speaker 1: was looking through just like a database. Maybe it was

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Speaker 1: it was on Internet movie database, of course, but it

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Speaker 1: might have been something like a Wikipedia. Was just looking

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Speaker 1: at different genre films from different decades, and I noted

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Speaker 1: that this one had been flagged as being a holiday

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Speaker 1: or Christmas movie. Uh, so I was like, okay, holiday

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Speaker 1: Christmas slasher. I'll put it in and uh and maybe

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Speaker 1: we'll come back to it when we get closer to

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Speaker 1: the holidays themselves. And then when I started looking into

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Speaker 1: a little bit more, I well, I watched the trailer,

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Speaker 1: which we'll get to and that that kind of sold me.

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Speaker 1: And uh. And then also Michael Weldon in one of

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Speaker 1: his psychotronic books, he had it listed. He was one

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Speaker 1: of these sort of neutral listings where he didn't he

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Speaker 1: didn't passionately promoted, but he also didn't say it was bad.

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Speaker 1: He just said it was a confusing movie with quote

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Speaker 1: dream sequences, magical powers, nudity, and blood. Well, I'd say

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Speaker 1: that's a mostly correct description, especially on the confusing part,

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Speaker 1: because I paid close attention to this film and I

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Speaker 1: do not understand what it was about. Yeah, yeah, I

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Speaker 1: have a feeling you and I've thought longer and harder

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Speaker 1: about the meaning of the true meaning of this film,

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Speaker 1: more than than most people. But but blood Beat one word,

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Speaker 1: by the way, blood Beat, UH has a lot of

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Speaker 1: things going for it. For starters, it's it's not nearly

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Speaker 1: as all in on holiday sacrilege as most Christmas films are,

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Speaker 1: So this one's not about making you feel bad about

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Speaker 1: the about the holidays or anything. So I don't know.

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Speaker 1: I liked it a little more for that. Uh. Secondly,

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Speaker 1: it's a Wisconsin movie, and I think that makes for

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Speaker 1: our first Wisconsin movie. Yeah, this movie has a fair

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Speaker 1: quotient of of dub Bears type guys wearing flannel and

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Speaker 1: trucker hats and and having uh, you know, good mustaches.

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Speaker 1: It's uh, it's this movie. It's it's got bratt verst

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Speaker 1: and uh and you know cheese kurd just kind of

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Speaker 1: flowing through its veins and it's enough to make you think, wow,

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Speaker 1: this must be you know, Wisconsin indie film everybody, and

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Speaker 1: it's from Wisconsin. The director, who will get to in

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Speaker 1: a bit, uh is French. But I'm not going to

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Speaker 1: allow this to be considered our first French movie that

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Speaker 1: we've watched on weird how cinema We've got. There are

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Speaker 1: better choices to to to really represent French weird cinema. Okay,

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Speaker 1: So what we've established so far is this is a

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Speaker 1: Franco wisconsinite indie Christmas horror film that what sub genre

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Speaker 1: of horror would you put it in? Maybe? Um, uh,

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Speaker 1: psychic slashers, Yes, I think psychic slasher would be uh,

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Speaker 1: it would be accurate and uh. And I'll tell you

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Speaker 1: another fun thing about this is that in similar to

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Speaker 1: films like Troll two and Spooky's that we've we've looked

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Speaker 1: at on the show before. Uh, it involves mostly people

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Speaker 1: who really didn't do anything at all or or or

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Speaker 1: anything else besides this picture in terms of you know,

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Speaker 1: other film appearances, which which can be in a way

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Speaker 1: it can be um kind of liberating, like I love,

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Speaker 1: you know, making these connections to other films and you know,

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Speaker 1: the thinking about oh what were they and what were they?

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Speaker 1: And you go into it too at times and you're like, well,

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Speaker 1: if nothing else, I know, well Peter Laure's in it,

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Speaker 1: so he's going to do something interesting. That that sort

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Speaker 1: of thing. But with a movie like this, it can

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Speaker 1: feel like it just came from another universe. Or maybe

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Speaker 1: that's like it's not a film at all, but something real,

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Speaker 1: you know. In keeping with the psychic theme, I would

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Speaker 1: say this movie feels like a dream somebody had about

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Speaker 1: a movie that didn't exist, except they managed to project it,

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Speaker 1: like psychic photography or that what was that we talked.

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Speaker 1: We did an episode on the supposed a phenomena like

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Speaker 1: projected thermography, people just printing their dreams and imagery on

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Speaker 1: on on photographic plates um. I don't think people can

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Speaker 1: actually do that, by the way, but but yeah, I

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Speaker 1: just imagine that happened for somebody's dream, and it was

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Speaker 1: the kind of thing where while you're watching it, you

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Speaker 1: just accept because it's a dream that oh, yeah, these

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Speaker 1: are actors I would know, But then of course when

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Speaker 1: you wake up, you're like, oh, wait a minute, those

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Speaker 1: aren't people that they came out of my subconscious Yeah,

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Speaker 1: and you know, this would probably be worth looking even

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Speaker 1: if it was just like a just a whole bunch

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Speaker 1: of non sequitors. It was just like one weird dream

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Speaker 1: sequence after the other. You know. They're films like that

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Speaker 1: that I have enjoyed over the years. But this movie

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Speaker 1: does have a plot, and even better than that, it

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Speaker 1: seems weirdly ambitious. It's it's kind of punching above its

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Speaker 1: weight a little bit and trying to say something, which

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Speaker 1: is always the Kuda gras with a good D film, right.

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Speaker 1: I mean, so most slasher films, you know the people involved, No,

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Speaker 1: they're making trash. And and so the question is are

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Speaker 1: do they know how to make fun trash or do

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Speaker 1: they end up making just boring, miserable trash. But no,

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Speaker 1: in this case, you can. It's quite clear that somebody

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Speaker 1: involved at least thought they were making art. Yes, all right, well,

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Speaker 1: let's let's talk elevator pitch for this film. I was

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Speaker 1: thinking holidays with family are rough, especially when mom is

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Speaker 1: psychic and your girlfriend is possessed by a samurai. Yeah.

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Speaker 1: Holiday family gatherings can be awkward enough already. It just

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Speaker 1: gets worse when there's like a a psychically projected ghost

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Speaker 1: samurai running around slashing everybody's throat. Yeah. Yeah, and Mom's

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Speaker 1: constantly eavesdropping on you through her psychic paintings that are

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Speaker 1: hung all over the house. Yes, all right, Well, let's

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Speaker 1: go ahead and listen to the trailer here, and I

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Speaker 1: think we're gonna we may be playing the trailer in

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Speaker 1: full because it has a wonderful, grind Holsey like echo

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Speaker 1: vibe to it. I'm a devil, a devil to what

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Speaker 1: you want, what you lives, lives, breath reeves. He'll be

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Speaker 1: paralyzed with fears, with fear as it killed, as he killed,

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Speaker 1: as utilates, utilate anyone, And it's unnis one and it's

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Speaker 1: tinted by a psychouse. Bloody blood beat, horriful hofine share

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Speaker 1: is blood blood ready bloody blood. Yeah, just sounds grimy.

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Speaker 1: Was this the one that everything it says it says twice? Yes,

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Speaker 1: at least twice. There's like this weird echo thing. And

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Speaker 1: it's like, even even though you're you're out there listening

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Speaker 1: to this podcast and you could not see the footage,

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Speaker 1: you probably had like audible cigarette burns inside your your skull,

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Speaker 1: you know, like you can imagine that sort of gritty

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Speaker 1: uh you know, snad eight three film, but still that

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Speaker 1: you would get that kind of like nineteen seventies grit

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Speaker 1: on the footage this trailer has the sound of somebody

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Speaker 1: getting a like beer that they snuck in in their

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Speaker 1: boot out and cracking it open and dark. Absolutely all right,

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Speaker 1: Well let's talk about the people. And again I'm just

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Speaker 1: gonna remind everyone that the connections on this are not

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Speaker 1: gonna be as robust as some of our other films,

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Speaker 1: but it's still worth looking at at who these folks were,

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Speaker 1: uh and or are. Uh. So let's start at the top.

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Speaker 1: The director, the writer. Also credits for music, film editing,

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Speaker 1: and camera operation go to Fabrice on gay zafaratos Um.

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Speaker 1: This is a French director who prior to this made

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Speaker 1: the nineteen seventy seven film La grand Fremen The Large Farm.

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Speaker 1: I believe that translates to which may or may not

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Speaker 1: involve a motorcycle based on the cover art. Blood Beat

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Speaker 1: was his second film and his last film. He has

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Speaker 1: some connection to um Ri Zafaratos, who produced and uh

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Speaker 1: directed and wrote and was very active in the reasonably

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Speaker 1: active in the six season seventies. But this is a

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Speaker 1: figure that I could not find any English translations regarding like.

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Speaker 1: There seems to be like a French Wikipedia article about him,

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Speaker 1: but I don't know that he's widely known outside of that.

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Speaker 1: And I'm not even sure that this is in fact

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Speaker 1: our director of Blood Beats father. But there seems to

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Speaker 1: be some family connection there matter. Maybe it's an uncle.

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Speaker 1: I don't know, um. But anyway, this film blood Beat,

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Speaker 1: for better or Worse, is Zaparatos the younger's vision, and

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Speaker 1: his vision is weird. The film is certainly confusing. Um,

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Speaker 1: it's ambitious, it's kind of it's all over the place

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Speaker 1: in some respects. But he was trying to say something,

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Speaker 1: or at least was trying to rope all this together

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Speaker 1: into a narrative that made sense and said something. Uh,

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Speaker 1: though with varying degrees of success. Now I mentioned that

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Speaker 1: he has a music credit, so I just want to

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Speaker 1: add a quick note on the music. The score here

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Speaker 1: varies from works of class school music, including like very

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Speaker 1: well known pieces like Karl Orff's Carmina Burana is used

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Speaker 1: during the finale for example. Uh. And I just have

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Speaker 1: to say that the use especially of classical music, but

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Speaker 1: of all the music, is actually one of the funniest

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Speaker 1: and weirdest things about this movie. There are a number

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Speaker 1: of scenes that are already strange, but they're pushed over

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Speaker 1: the line by having music. It feels like nobody else

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Speaker 1: would select this this music to go with this scene.

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Speaker 1: So like a scene of characters sitting around on a

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Speaker 1: couch just sort of being awkward, but it's playing these

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Speaker 1: like fast classical strings, like all these glissandi. It's like,

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Speaker 1: what is going on? Just the music frequently does not

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Speaker 1: match the tone of the scene, or to the extent

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Speaker 1: that it does, it's just heightening something, uh that that

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Speaker 1: feels kind of off about the scene. Yeah, and then

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Speaker 1: they'll other times they'll throw and Gregorian chant. There's definitely

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Speaker 1: a bit of that U. But then other times it

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Speaker 1: gives you exactly what you might expect and hope for

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Speaker 1: with the film of this caliber, and that is kind

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Speaker 1: of amateur esque electronic music, um, which at times I

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Speaker 1: think worked pretty well, especially when you've got this kind

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Speaker 1: of pulse pounding electronic vibe going UM. At least in

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Speaker 1: a few scenes that it it worked pretty well. A

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Speaker 1: lot of the electronic music in this movie is what

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Speaker 1: I would refer to maybe there's another name for this

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Speaker 1: that already exists, but what I would call boying boying music. Uh.

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Speaker 1: This movie, actually it contains a lot of synthesizers that

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Speaker 1: sound like cartoons, spring sound effects, you know, bl blont

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Speaker 1: blant and then uh and then of course usually offset

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Speaker 1: with the sound of heartbeats, which are used frequently in

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Speaker 1: the soundtrack throughout the whole film. Now you said heartbeats,

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Speaker 1: I think you'll find that those are blood beats. Oh

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00:21:55,920 --> 00:21:59,760
Speaker 1: excuse me, yes, I stand corrected. All right. So we

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Speaker 1: we have a limited cast in this because it basically

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Speaker 1: concerns a boyfriend bringing his girlfriend home to meet his

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Speaker 1: family at Christmas. Let's start with the mom. The mom

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Speaker 1: is Kathy and she is played by Helen Bentone. Uh.

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Speaker 1: Dates unknown for her. This is her only film role

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Speaker 1: but I thought she was mostly pretty good. It's the

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Speaker 1: distracted art mom who also has the shinning, Yeah, heavy shinning.

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Speaker 1: I don't know what an actor should have done with

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Speaker 1: this role, but you know what, I'm gonna give credit

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Speaker 1: to Helen Mintone because I mean, what's off about this

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Speaker 1: role is all in the script. I mean, unless the

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Speaker 1: actor was improvising, I don't think she was. So. Uh

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Speaker 1: So this is a very weird character. But but I

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Speaker 1: think Helen Bentone does does the best that could be

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Speaker 1: done with it. Yeah, yeah, I mean it's not one

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Speaker 1: of those where you're you're gawking at her performance or

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Speaker 1: anything and and wondering what you're doing, Like she's doing

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Speaker 1: the best you can clearly, and uh, a lot of

399
00:22:57,119 --> 00:22:59,360
Speaker 1: the time it seems to work all right. And then

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Speaker 1: we also have Gary, whose mom's boyfriend in this and

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Speaker 1: Gary is played by Terry Brown. This is a guy

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00:23:06,320 --> 00:23:10,399
Speaker 1: that's he's cut from the same raw block of masculinity

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Speaker 1: that such figures as Ross Dour roused Our rather from

404
00:23:14,720 --> 00:23:18,280
Speaker 1: the final sacrifice was cut from. Yes, he's a he's

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00:23:18,320 --> 00:23:22,639
Speaker 1: a hunter, he's an outdoorsman. He's uh, he's weathered by

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00:23:22,680 --> 00:23:25,600
Speaker 1: the northern planes. And then the harsh winds. But at

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00:23:25,600 --> 00:23:28,280
Speaker 1: the same time there's like a scene where he's laying

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00:23:28,320 --> 00:23:31,520
Speaker 1: shirtless in a bed and his skin is surprisingly smooth

409
00:23:31,520 --> 00:23:35,600
Speaker 1: and youthful looking. It's very funny. So the dates are

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00:23:35,640 --> 00:23:38,000
Speaker 1: unknown for the actor Terry Brown as well, but Brown

411
00:23:38,080 --> 00:23:40,800
Speaker 1: actually pops up in some other films, generally in much

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Speaker 1: smaller roles. He followed up Blood Beat with Dark Rider

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Speaker 1: starring Joe Estevez. You know it's good if it's got

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Speaker 1: that Joe Steves seal u um. And also he pops

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Speaker 1: up in a movie from titled My Samurai, So there's

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Speaker 1: to to samur Eye films and and what is you know,

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00:24:01,640 --> 00:24:05,440
Speaker 1: very much a small filmography. That film, by the way,

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00:24:05,480 --> 00:24:09,800
Speaker 1: had Mako and Tario Quinn in it. TERRYO Quinn. Yeah,

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Speaker 1: Brown also pops up I think just bit parts copycat.

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00:24:14,200 --> 00:24:18,679
Speaker 1: He shows up on Nash Bridges and also the Princess Diaries, okay,

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Speaker 1: and playing Gary from Blood in the Princess Diaries as Gary.

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Speaker 1: He's pretty good. Um, he's believable as as this Hunter guy.

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Speaker 1: Though there are times I don't know if you've noticed this,

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Speaker 1: but there are times where he has like he suddenly

425
00:24:32,520 --> 00:24:36,160
Speaker 1: has to be emotional and he just to my eyes,

426
00:24:36,200 --> 00:24:38,879
Speaker 1: he just ratches it up way too far. Like suddenly

427
00:24:38,920 --> 00:24:41,360
Speaker 1: he's just like he's like really animated and angry, when

428
00:24:41,359 --> 00:24:42,800
Speaker 1: the rest of the time he's he's pretty chill and

429
00:24:42,880 --> 00:24:45,320
Speaker 1: like back. I don't know if i'd say he's a

430
00:24:45,359 --> 00:24:49,400
Speaker 1: good actor, but he's quite likable. Yeah. Yeah, there's there's

431
00:24:49,440 --> 00:24:53,679
Speaker 1: something naturally likable about the guy playing this role, uh

432
00:24:53,800 --> 00:24:57,399
Speaker 1: that that shines through and also makes his um his

433
00:24:57,560 --> 00:25:01,680
Speaker 1: moments of being kind of unreasonable and upset not all

434
00:25:01,680 --> 00:25:05,000
Speaker 1: that believable. All right, let's get back to the sun.

435
00:25:05,240 --> 00:25:09,920
Speaker 1: The sun is ted played by James Fitzgibbons dates unknown,

436
00:25:10,280 --> 00:25:13,040
Speaker 1: one of only two screen credits, and he looks kind

437
00:25:13,040 --> 00:25:18,760
Speaker 1: of like a cross between Benedict Cumberbatch and Don Jr. Yeah, uh,

438
00:25:18,800 --> 00:25:24,119
Speaker 1: he he's got to look he Early in the movie,

439
00:25:24,160 --> 00:25:27,320
Speaker 1: there's a scene where he's wearing a black sweater tucked

440
00:25:27,400 --> 00:25:30,320
Speaker 1: into his jeans, and I was like, well, yeah, that's

441
00:25:30,320 --> 00:25:32,560
Speaker 1: how I would just that's what I used to describe

442
00:25:32,600 --> 00:25:36,560
Speaker 1: his character. Yeah, um, And you know I could, but

443
00:25:37,320 --> 00:25:39,560
Speaker 1: I think this actor is fine in this role. Like

444
00:25:39,680 --> 00:25:42,760
Speaker 1: I bought into him being this this character and did

445
00:25:42,760 --> 00:25:45,560
Speaker 1: not think much about this as a performance, And I

446
00:25:45,600 --> 00:25:48,520
Speaker 1: guess the same could be said for his sister Dolly.

447
00:25:48,880 --> 00:25:52,600
Speaker 1: The character's sister Dolly played by Dana Day. Dates unknown

448
00:25:53,000 --> 00:25:55,080
Speaker 1: for her as well, and this is her only film role.

449
00:25:55,640 --> 00:25:59,240
Speaker 1: And then finally we have Sarah, who's Ted's poor girl

450
00:25:59,280 --> 00:26:01,560
Speaker 1: friend who has to come out here into the middle

451
00:26:01,560 --> 00:26:04,160
Speaker 1: of nowhere in Wisconsin and visit this family at Christmas,

452
00:26:04,880 --> 00:26:08,520
Speaker 1: and she is played by Claudia Peyton. Claudia Payton lived

453
00:26:08,600 --> 00:26:10,919
Speaker 1: nineteen fifty six through two thousand and twelve. This is

454
00:26:10,920 --> 00:26:14,119
Speaker 1: her only film role. Um, but uh, you know, I

455
00:26:14,160 --> 00:26:16,720
Speaker 1: think she was quite good in this as the psionically

456
00:26:16,800 --> 00:26:20,840
Speaker 1: and spiritually sensitive girlfriend having to visit her boyfriend's family

457
00:26:20,880 --> 00:26:24,639
Speaker 1: in rural Wisconsin. Her obituary reveals that she was actually

458
00:26:24,840 --> 00:26:27,600
Speaker 1: a pretty highly trained with an m A and several

459
00:26:27,640 --> 00:26:31,280
Speaker 1: certificates in the Alexander technique, which I'm to understand is

460
00:26:31,320 --> 00:26:36,399
Speaker 1: an alternative therapy based in acting for actors. Uh. She

461
00:26:36,440 --> 00:26:39,680
Speaker 1: attended Drama Studio London and seems to have taught acting

462
00:26:39,760 --> 00:26:43,120
Speaker 1: in New York City and in Chicago for a large

463
00:26:43,160 --> 00:26:45,439
Speaker 1: part of her life. You know, Also, I don't I

464
00:26:45,480 --> 00:26:48,480
Speaker 1: don't know what she should have done with this character,

465
00:26:48,680 --> 00:26:51,879
Speaker 1: but but what she did was enjoyable. I guess, like

466
00:26:52,480 --> 00:26:55,160
Speaker 1: in almost every shot of the movie, I mean literally,

467
00:26:55,400 --> 00:26:59,920
Speaker 1: i'd say nine percent plus of the shots, including her face,

468
00:27:00,680 --> 00:27:03,639
Speaker 1: she's making an expression that sounds like it should be

469
00:27:03,680 --> 00:27:10,120
Speaker 1: accompanied by a vocalization, kind of like like she just

470
00:27:10,160 --> 00:27:14,200
Speaker 1: looks perpetually in a in a state of uh, near

471
00:27:14,240 --> 00:27:18,800
Speaker 1: paralysis with awkward anxiety. Yeah, yeah, and and it and it.

472
00:27:18,920 --> 00:27:21,480
Speaker 1: I think it largely works because at heart, this is

473
00:27:21,520 --> 00:27:25,240
Speaker 1: a film about feeling awkward at your your boyfriend's parents house.

474
00:27:26,640 --> 00:27:28,960
Speaker 1: And I think you know, we've we've all been in

475
00:27:29,000 --> 00:27:31,399
Speaker 1: some version of this scenario before. Many of us have

476
00:27:31,400 --> 00:27:34,919
Speaker 1: been in some version of this scenario. Um where you know,

477
00:27:34,960 --> 00:27:37,520
Speaker 1: the awkwardness that this film is he is trying to

478
00:27:37,560 --> 00:27:41,479
Speaker 1: portray and is ultimately based entirely around you know, like

479
00:27:41,560 --> 00:27:44,439
Speaker 1: that is uh you know, they say, you know, go

480
00:27:44,520 --> 00:27:46,399
Speaker 1: with what you know. You know, make sure there's this

481
00:27:46,440 --> 00:27:49,600
Speaker 1: core of truth to your strange speculative story. Well this

482
00:27:49,720 --> 00:27:51,840
Speaker 1: is the this is the core of truth to this

483
00:27:51,920 --> 00:28:04,360
Speaker 1: motion picture. Sure enough. No, now what happens here? Are

484
00:28:04,359 --> 00:28:06,240
Speaker 1: we going to try to explain the plot? I guess

485
00:28:06,240 --> 00:28:09,080
Speaker 1: there will be spoilers, they're probably have already been spoilers,

486
00:28:09,080 --> 00:28:12,040
Speaker 1: But I don't know if it makes a difference. No, no,

487
00:28:12,160 --> 00:28:13,639
Speaker 1: I think you can. You can go into this one

488
00:28:13,680 --> 00:28:16,560
Speaker 1: spoiled and it's still gonna perplex you. Okay, well, are

489
00:28:16,600 --> 00:28:19,479
Speaker 1: you ready, let's do it? Okay. So the first thing

490
00:28:19,520 --> 00:28:22,000
Speaker 1: we get is Boing boying music like I was talking

491
00:28:22,040 --> 00:28:26,119
Speaker 1: about earlier, and you know the title. It looks like

492
00:28:26,160 --> 00:28:28,600
Speaker 1: it would be a nice logo for a board game,

493
00:28:28,720 --> 00:28:32,200
Speaker 1: don't you agree. Yeah, yeah, it's like blood Beat from

494
00:28:32,200 --> 00:28:35,200
Speaker 1: Milton Bradley. It's got it's got a nice font and

495
00:28:35,240 --> 00:28:37,680
Speaker 1: then blood dripping down the letters, and then it's got

496
00:28:37,680 --> 00:28:42,520
Speaker 1: a cartoon dagger stabbing into the d in the word blood. Uh. Though,

497
00:28:42,640 --> 00:28:45,600
Speaker 1: I wonder why it's a dagger. This dagger I'm pretty

498
00:28:45,600 --> 00:28:48,200
Speaker 1: sure does not feature in the movie. That this should

499
00:28:48,200 --> 00:28:50,640
Speaker 1: have been a katana. Yeah, it should. It should have been,

500
00:28:50,680 --> 00:28:53,440
Speaker 1: like that's the whole thing. It's a killer psychic samurai

501
00:28:53,560 --> 00:28:56,200
Speaker 1: with a real I think it's supposed to be real

502
00:28:56,320 --> 00:29:00,440
Speaker 1: or it becomes real katana. So when things actually get

503
00:29:00,480 --> 00:29:02,840
Speaker 1: going in the movie with with live action, we see

504
00:29:03,160 --> 00:29:06,240
Speaker 1: shots of a peaceful forest in winter and you've got

505
00:29:06,440 --> 00:29:09,480
Speaker 1: you know, the trees are bear dead leaves covering the land,

506
00:29:09,600 --> 00:29:12,400
Speaker 1: and we see an icy stream winding its way through

507
00:29:12,480 --> 00:29:16,040
Speaker 1: moss covered rocks and fallen limbs. It's very nice, but

508
00:29:16,080 --> 00:29:21,480
Speaker 1: then also really loud, intrusive synth melodies of a kind

509
00:29:21,480 --> 00:29:26,480
Speaker 1: of nursery rhyme music box of variety. And then we

510
00:29:26,560 --> 00:29:29,720
Speaker 1: see a hunter. So he's this figure creeping through the

511
00:29:29,760 --> 00:29:32,840
Speaker 1: forest at a rapid pace, and he's wearing camo heavy

512
00:29:32,920 --> 00:29:36,960
Speaker 1: leather boots. Uh. He's carrying a big compound bow, and

513
00:29:37,080 --> 00:29:39,920
Speaker 1: he's listening to a walkman, he's got like a portable

514
00:29:39,960 --> 00:29:44,200
Speaker 1: cassette player with headphones. Is that normal for hunters? Maybe?

515
00:29:45,040 --> 00:29:47,680
Speaker 1: I don't know. I mean what one imagines it's audio

516
00:29:47,760 --> 00:29:51,560
Speaker 1: Speedwagon playing on the walkman, I don't know why. No,

517
00:29:51,800 --> 00:29:54,560
Speaker 1: I think it's diagetic music. He's listening to the boing

518
00:29:54,600 --> 00:29:57,520
Speaker 1: boing music. That's where I was coming from. And so

519
00:29:57,560 --> 00:29:59,920
Speaker 1: we see him. You know, he catches sight of something,

520
00:30:00,080 --> 00:30:03,080
Speaker 1: he kneels, he draws back an arrow, he shoots at something,

521
00:30:03,280 --> 00:30:07,160
Speaker 1: and then you know the tot he clearly he made

522
00:30:07,160 --> 00:30:09,840
Speaker 1: the kill. Uh. So we cut straight to a pickup

523
00:30:09,880 --> 00:30:13,400
Speaker 1: truck arriving back home at a house kind of like

524
00:30:13,800 --> 00:30:18,120
Speaker 1: a farmhouse out in the the frozen waste land of Wisconsin.

525
00:30:18,880 --> 00:30:21,720
Speaker 1: And there's a woman in a colorful shawl standing in

526
00:30:21,760 --> 00:30:24,800
Speaker 1: the doorway. So this is Kathy, this is the mom.

527
00:30:24,840 --> 00:30:27,280
Speaker 1: And everything up to this point has had kind of

528
00:30:27,480 --> 00:30:30,920
Speaker 1: a strange, ominous tone, but it's very much broken when

529
00:30:30,920 --> 00:30:33,480
Speaker 1: the hunter, who turns out to be her boyfriend Gary,

530
00:30:33,640 --> 00:30:36,480
Speaker 1: starts talking. He gets out of the car and then

531
00:30:36,560 --> 00:30:41,680
Speaker 1: he's immediately he has the energy of a kid wanting

532
00:30:41,720 --> 00:30:44,840
Speaker 1: to show you the four they made in the woods.

533
00:30:45,160 --> 00:30:48,280
Speaker 1: He's like, all right, honey, I got one. Come look,

534
00:30:48,400 --> 00:30:51,320
Speaker 1: and he's like bent over and running around real fast.

535
00:30:52,520 --> 00:30:54,360
Speaker 1: And so Cathy comes to look at the deer in

536
00:30:54,360 --> 00:30:56,800
Speaker 1: the bed of the pickup truck. But then she immediately

537
00:30:56,840 --> 00:31:00,840
Speaker 1: has some kind of psychic reaction and you know, she's

538
00:31:00,880 --> 00:31:03,720
Speaker 1: like oh, and she backs up and and he's all,

539
00:31:03,960 --> 00:31:05,840
Speaker 1: you know, startled by this. He's like, hey, you know,

540
00:31:05,920 --> 00:31:08,120
Speaker 1: you've seen me show up with lots of dead deer before.

541
00:31:08,240 --> 00:31:12,360
Speaker 1: Is is this a migraine? And she seems to agree, um,

542
00:31:12,400 --> 00:31:14,520
Speaker 1: And they go back inside and there's a nice little

543
00:31:14,560 --> 00:31:18,760
Speaker 1: breakfast table scene, though in the first of many this

544
00:31:18,800 --> 00:31:22,680
Speaker 1: will be the scene will be strangely accented by classical

545
00:31:22,880 --> 00:31:26,840
Speaker 1: strings apparently playing on the radio. Uh. And then in

546
00:31:26,880 --> 00:31:29,680
Speaker 1: the foreground will get a strong performance by a box

547
00:31:29,720 --> 00:31:33,040
Speaker 1: of Kellogg's All Brand and a prominent tub of Skippy

548
00:31:33,120 --> 00:31:35,720
Speaker 1: which I think is peanut butter. Now, do you present

549
00:31:35,760 --> 00:31:37,640
Speaker 1: me with a still of this that this is a

550
00:31:37,680 --> 00:31:40,040
Speaker 1: complete breakfast he's about to have there, it looks like

551
00:31:40,120 --> 00:31:45,440
Speaker 1: two slabs of keech on a plate, multiple bowls are prepared,

552
00:31:45,880 --> 00:31:50,280
Speaker 1: multiple mugs and cups are arranged around him like this

553
00:31:50,360 --> 00:31:52,800
Speaker 1: is this is quite a spread. That's not even the

554
00:31:52,800 --> 00:31:56,240
Speaker 1: whole that's just at Gary's place at the table. So yeah,

555
00:31:56,320 --> 00:31:59,880
Speaker 1: it looks like Gary is having waffles, keysh tu, bowls

556
00:32:00,040 --> 00:32:03,440
Speaker 1: of cereal, two cups of coffee, maybe a bowl of

557
00:32:03,480 --> 00:32:07,680
Speaker 1: peanut butter. I'm not sure, but so anyway, this is

558
00:32:07,720 --> 00:32:10,520
Speaker 1: Kathy and Gary the hunter is is the boyfriend Gary?

559
00:32:10,560 --> 00:32:12,880
Speaker 1: And uh that we we find out The situation is

560
00:32:12,880 --> 00:32:14,960
Speaker 1: they're about to have Kathy's kids up to visit the

561
00:32:14,960 --> 00:32:18,680
Speaker 1: house for Christmas, and Gary wants to surprise the kids

562
00:32:18,760 --> 00:32:21,160
Speaker 1: by telling them that he and Kathy are going to

563
00:32:21,200 --> 00:32:24,440
Speaker 1: get married. He's he's he's being all sweet, but Kathy

564
00:32:24,640 --> 00:32:27,480
Speaker 1: is not in favor. She's like, I've told you so

565
00:32:27,560 --> 00:32:30,360
Speaker 1: many times, I don't want to get married again. And

566
00:32:30,400 --> 00:32:33,040
Speaker 1: then This makes Gary upset, and he goes outside to

567
00:32:33,120 --> 00:32:36,000
Speaker 1: gutt a deer. Warning by the way, I mean, obviously

568
00:32:36,040 --> 00:32:38,479
Speaker 1: this is an orated movie with all kinds of content,

569
00:32:38,600 --> 00:32:43,240
Speaker 1: but if you're bothered by realistic looking depictions of animal gutting,

570
00:32:43,280 --> 00:32:46,520
Speaker 1: this looks like a real deer gutting. To me, yeah, yeah,

571
00:32:46,560 --> 00:32:48,520
Speaker 1: this this looks like a real dead deer. So he's

572
00:32:48,520 --> 00:32:51,160
Speaker 1: out doing that, and then some kids arrive. Now at

573
00:32:51,200 --> 00:32:53,520
Speaker 1: first I could not tell who was who. Who were

574
00:32:53,600 --> 00:32:58,160
Speaker 1: Kathy's kids? Um, but so Kathy's kids are the son

575
00:32:58,320 --> 00:33:01,960
Speaker 1: named Ted and then the daughter named Dolly. And then

576
00:33:02,160 --> 00:33:05,280
Speaker 1: there's also Sarah in the car, who is Ted's He

577
00:33:05,320 --> 00:33:08,760
Speaker 1: introduces her as his friend. She's his girlfriend. And so

578
00:33:08,800 --> 00:33:11,800
Speaker 1: they arrived to find Gary gutting the deer. And then

579
00:33:12,120 --> 00:33:13,920
Speaker 1: he's all excited to see them arrive and he just

580
00:33:14,000 --> 00:33:16,720
Speaker 1: hugs him without washing his hands. He's just got deer

581
00:33:16,760 --> 00:33:21,280
Speaker 1: guts everywhere and he's just grabbing them. Um. I've got

582
00:33:21,400 --> 00:33:23,200
Speaker 1: multiple stills of that for you to look at. Here

583
00:33:23,280 --> 00:33:25,640
Speaker 1: Rob with the deer hanging in the background and him

584
00:33:25,640 --> 00:33:27,880
Speaker 1: being like, oh so good to see you, just getting

585
00:33:27,880 --> 00:33:31,680
Speaker 1: blood on their coats, and from like I said, from

586
00:33:31,680 --> 00:33:35,080
Speaker 1: the moment we meet Sarah, she seems totally uncomfortable. She

587
00:33:35,240 --> 00:33:38,960
Speaker 1: she's making the face and uh, it's kind of Marge

588
00:33:38,960 --> 00:33:44,080
Speaker 1: Simpson noise. Uh energy and uh and oh boy, just

589
00:33:44,760 --> 00:33:50,080
Speaker 1: from from the first moment of contact between Sarah and Cathy,

590
00:33:50,120 --> 00:33:53,280
Speaker 1: there is some kind of psychic friction, like they meet

591
00:33:53,320 --> 00:33:56,480
Speaker 1: face to face and then these Geiger counter sound effects

592
00:33:56,480 --> 00:34:00,320
Speaker 1: start firing off. So so at this point I was, Okay,

593
00:34:00,360 --> 00:34:03,560
Speaker 1: it looks like we have at least two psychic characters here,

594
00:34:03,760 --> 00:34:07,040
Speaker 1: or at least the mom is psychic and senses something

595
00:34:07,360 --> 00:34:10,520
Speaker 1: about the new girlfriend. Right, And then this is great too,

596
00:34:10,560 --> 00:34:14,400
Speaker 1: because it's like the movie is saying mom does not

597
00:34:14,440 --> 00:34:18,480
Speaker 1: trust your girlfriend and and it's also saying your girlfriend

598
00:34:18,760 --> 00:34:22,000
Speaker 1: is highly suspicious of your mom and uh. And I

599
00:34:22,040 --> 00:34:26,759
Speaker 1: think these two feelings and vary variations on them will

600
00:34:26,880 --> 00:34:28,760
Speaker 1: ring true to a lot of people, you know, especially

601
00:34:28,760 --> 00:34:31,919
Speaker 1: when you're dealing with a first of family meeting like this.

602
00:34:32,560 --> 00:34:36,440
Speaker 1: It's what this movie lacks in many kinds of very similitude.

603
00:34:36,560 --> 00:34:42,600
Speaker 1: It does achieve awkward family gathering very similitude. So they

604
00:34:42,640 --> 00:34:45,319
Speaker 1: go inside and Gary's washing the mammal guts off his

605
00:34:45,400 --> 00:34:47,960
Speaker 1: hands after he's touched like four people at least. And

606
00:34:47,960 --> 00:34:51,120
Speaker 1: then uh, Ted is showing Sarah around the house and

607
00:34:51,160 --> 00:34:53,640
Speaker 1: he's like, oh, you know, you've got the Christmas tree,

608
00:34:53,719 --> 00:34:56,759
Speaker 1: You've got his gun. He's like, here's my gun. And

609
00:34:56,760 --> 00:35:01,440
Speaker 1: then you've got Cathy's unsettling abstract paintings all over the

610
00:35:01,480 --> 00:35:05,279
Speaker 1: walls that look like, you know, bloodstains and and uh

611
00:35:05,800 --> 00:35:09,359
Speaker 1: rifts in the subconscious and uh you know, fissures out

612
00:35:09,360 --> 00:35:13,040
Speaker 1: of which demons erupt. And again we see some kind

613
00:35:13,040 --> 00:35:18,520
Speaker 1: of intangible mind connection between Kathy and Sarah, because Sarah

614
00:35:18,560 --> 00:35:22,560
Speaker 1: looks at Kathy's paintings and she's she's kind of spacing

615
00:35:22,560 --> 00:35:25,320
Speaker 1: out staring at them. Yeah, and there's some nice, almost

616
00:35:25,640 --> 00:35:29,279
Speaker 1: like Dario Argento esque shots of her, like staring with

617
00:35:29,320 --> 00:35:32,319
Speaker 1: the painting frame behind her. Um, you know. And I

618
00:35:32,320 --> 00:35:34,600
Speaker 1: guess it's accentuated too by this kind of like early

619
00:35:34,680 --> 00:35:40,040
Speaker 1: eighties hairstyle, etcetera. Right, And so Ted's over here obliviously

620
00:35:40,080 --> 00:35:42,600
Speaker 1: fiddling with his rifle. I don't know why he's doing that,

621
00:35:43,000 --> 00:35:45,200
Speaker 1: and he's complaining that he doesn't get to do any

622
00:35:45,280 --> 00:35:47,560
Speaker 1: hunting when he's away at school. So I guess he's

623
00:35:47,560 --> 00:35:50,560
Speaker 1: supposed to be in college. I think, yeah, And he's

624
00:35:50,600 --> 00:35:52,400
Speaker 1: just you know, he's excited to be home where with

625
00:35:52,480 --> 00:35:56,319
Speaker 1: Gary anyway, it seems like it's just hunting, Like he's

626
00:35:56,320 --> 00:35:59,480
Speaker 1: been out hunting all morning and he's gonna go do

627
00:35:59,560 --> 00:36:01,839
Speaker 1: it again. You know, there's those shirts that say I'd

628
00:36:01,960 --> 00:36:05,080
Speaker 1: rather be fishing. Ted's would say I'd rather be hunting

629
00:36:05,120 --> 00:36:09,920
Speaker 1: with mom's boyfriend. But then things start getting strange because

630
00:36:10,000 --> 00:36:12,800
Speaker 1: there is a present waiting for Sarah under the Christmas tree.

631
00:36:13,360 --> 00:36:16,120
Speaker 1: But how could that be because Ted didn't tell anyone

632
00:36:16,160 --> 00:36:18,279
Speaker 1: about Sarah. They didn't know about her, they didn't know

633
00:36:18,320 --> 00:36:20,359
Speaker 1: she was coming. So how did Kathy know to get

634
00:36:20,360 --> 00:36:24,160
Speaker 1: her a present? Well, Kathy just says a mother knows everything,

635
00:36:24,320 --> 00:36:28,360
Speaker 1: and everybody's like, well, okay, is there ever any payoff

636
00:36:28,360 --> 00:36:30,000
Speaker 1: with that? Do we find out what the gift was?

637
00:36:30,520 --> 00:36:34,000
Speaker 1: I don't think so. No, unless it was the samurai

638
00:36:34,120 --> 00:36:37,080
Speaker 1: armor that shows up later. I mean, you know, I mean,

639
00:36:37,080 --> 00:36:39,319
Speaker 1: watching this film, I'm guessing it's just like Bath and

640
00:36:39,360 --> 00:36:42,239
Speaker 1: body Works soap. You know, some sort of just just

641
00:36:42,440 --> 00:36:45,520
Speaker 1: generic soap gift that mom had on hand, and she's

642
00:36:45,520 --> 00:36:47,120
Speaker 1: just covering it's like, oh yeah, I got your gift.

643
00:36:47,400 --> 00:36:49,600
Speaker 1: It's like a dull version of Sarah with a bunch

644
00:36:49,640 --> 00:36:53,080
Speaker 1: of needles stuck in it or that, yeah, one of

645
00:36:53,120 --> 00:36:55,880
Speaker 1: the two extremes. Things just keep getting weirder. Though. So

646
00:36:55,960 --> 00:37:01,880
Speaker 1: Ted is showing uh Sarah to the guest room, and well, so,

647
00:37:01,960 --> 00:37:03,359
Speaker 1: first of all, I got to say about this room.

648
00:37:03,400 --> 00:37:05,760
Speaker 1: This is something I never figured out the whole movie.

649
00:37:06,760 --> 00:37:10,799
Speaker 1: Is there just this narrow pole running from floor to

650
00:37:10,880 --> 00:37:14,600
Speaker 1: ceiling in the middle of this room. There are some

651
00:37:15,280 --> 00:37:19,799
Speaker 1: interesting um features in this house that become apparent in

652
00:37:19,880 --> 00:37:22,879
Speaker 1: some shots that make me wonder about like the era

653
00:37:22,920 --> 00:37:24,960
Speaker 1: idea in which this house was built, or just sort

654
00:37:25,000 --> 00:37:28,640
Speaker 1: of like older Wisconsin houses in general. Because there's one

655
00:37:28,760 --> 00:37:31,680
Speaker 1: where we clearly see some sort of event on the

656
00:37:31,719 --> 00:37:35,439
Speaker 1: floor that that I guess opens up into the room

657
00:37:35,520 --> 00:37:38,239
Speaker 1: beneath it, as if they were like events included to

658
00:37:38,239 --> 00:37:40,439
Speaker 1: make sure that heat rose like through the floor into

659
00:37:40,440 --> 00:37:43,719
Speaker 1: the upper floor. So I don't know, people who live

660
00:37:43,719 --> 00:37:46,480
Speaker 1: in old Wisconsin creepy houses right in and let us

661
00:37:46,480 --> 00:37:48,560
Speaker 1: know what some of this is about. I don't know

662
00:37:48,600 --> 00:37:51,479
Speaker 1: what this pole is because it doesn't look wide enough

663
00:37:51,520 --> 00:37:54,360
Speaker 1: to be a load bearing pole. It looks it's like

664
00:37:54,480 --> 00:37:58,600
Speaker 1: about the diameter of like a length of rebar, except

665
00:37:58,640 --> 00:38:01,200
Speaker 1: it goes from the floor to the ceiling right in

666
00:38:01,200 --> 00:38:02,560
Speaker 1: the middle of the room, like it looks like you

667
00:38:02,560 --> 00:38:04,480
Speaker 1: would run straight into it getting up to go to

668
00:38:04,520 --> 00:38:07,640
Speaker 1: the bathroom in the night. I mean, I only guess

669
00:38:07,640 --> 00:38:09,960
Speaker 1: there's some sort of like temporary support strut for a

670
00:38:10,480 --> 00:38:13,600
Speaker 1: ceiling that needs to be repaired. And maybe they were

671
00:38:13,600 --> 00:38:16,640
Speaker 1: shooting in an old house. I don't know. Yeah, Well, anyway,

672
00:38:16,680 --> 00:38:19,359
Speaker 1: once we're in the room, Sarah starts having hallucinations. She's

673
00:38:19,360 --> 00:38:23,280
Speaker 1: seeing everything in like in photo negative, these these rose

674
00:38:23,320 --> 00:38:27,400
Speaker 1: colored textures, and she's I think, hallucinating the sound of

675
00:38:27,400 --> 00:38:31,480
Speaker 1: a baby crying. Meanwhile, Ted is telling this weird story

676
00:38:31,560 --> 00:38:34,319
Speaker 1: in the background about how did you want so? I

677
00:38:34,360 --> 00:38:36,480
Speaker 1: think he says, there used to be a friend of

678
00:38:36,560 --> 00:38:40,520
Speaker 1: Cathy's who lived in this room, and he says, quote,

679
00:38:40,520 --> 00:38:44,279
Speaker 1: he was some psychoanalyst or something like that, meditation he

680
00:38:44,400 --> 00:38:47,040
Speaker 1: called it. One day he just packed up and left

681
00:38:47,400 --> 00:38:49,360
Speaker 1: just a few lines on a piece of paper and

682
00:38:49,400 --> 00:38:52,239
Speaker 1: that was it. Uh. And I don't think we ever

683
00:38:52,320 --> 00:38:55,040
Speaker 1: get any more explanation about that, or that it ever

684
00:38:55,080 --> 00:38:57,120
Speaker 1: comes up again. But it makes me wonder, what is

685
00:38:57,160 --> 00:39:00,680
Speaker 1: this guy connected to the samurai at all? This movie

686
00:39:00,760 --> 00:39:05,439
Speaker 1: loves to throw out cantalizing clues that are never enough

687
00:39:05,440 --> 00:39:09,040
Speaker 1: for us to form any kind of concrete hypothesis about

688
00:39:09,160 --> 00:39:11,960
Speaker 1: what's what's going on, you know, like it's just enough

689
00:39:12,000 --> 00:39:15,560
Speaker 1: to make you think, well, maybe maybe the director writer

690
00:39:15,719 --> 00:39:18,840
Speaker 1: here does know what all this connects to, but also

691
00:39:18,880 --> 00:39:22,879
Speaker 1: makes you suspect that perhaps he does not. Yeah. Uh,

692
00:39:22,880 --> 00:39:26,960
Speaker 1: so Ted and Sarah they get into an uncomfortable makeout session,

693
00:39:27,200 --> 00:39:29,960
Speaker 1: and then uh they start having a conversation in the

694
00:39:30,040 --> 00:39:34,040
Speaker 1: middle of that about how Sarah's like, your mom is

695
00:39:34,080 --> 00:39:36,839
Speaker 1: making me uncomfortable. It's like she's in the room right

696
00:39:36,880 --> 00:39:40,520
Speaker 1: now with us, and Ted's like, ah, that's ridiculous. She's

697
00:39:40,600 --> 00:39:44,239
Speaker 1: she's painting. She's off painting somewhere. And meanwhile, it keeps

698
00:39:44,320 --> 00:39:48,440
Speaker 1: hilariously cutting to Kathy in her art studio, just making

699
00:39:48,480 --> 00:39:51,960
Speaker 1: the psychic hour glass cursor face. You know, she's just

700
00:39:52,040 --> 00:39:57,080
Speaker 1: in an error message mode. I guess, presumably psychically spying

701
00:39:57,120 --> 00:39:59,160
Speaker 1: on that. I don't know. So I think one of

702
00:39:59,160 --> 00:40:01,600
Speaker 1: the lessons of this movie is that if your boyfriend

703
00:40:01,640 --> 00:40:04,480
Speaker 1: is ever like, don't worry, my mom is not spying

704
00:40:04,480 --> 00:40:07,319
Speaker 1: on us right now with Stargate brain, don't believe him.

705
00:40:07,600 --> 00:40:10,960
Speaker 1: That's right. Yeah, I mean, for all its pretensions of

706
00:40:10,960 --> 00:40:12,919
Speaker 1: this movie is about the fear that mom can hear

707
00:40:12,960 --> 00:40:15,040
Speaker 1: you and your girlfriend making out in your old room.

708
00:40:16,320 --> 00:40:18,560
Speaker 1: But I think this is the point where we cut

709
00:40:18,680 --> 00:40:21,640
Speaker 1: to some driving. Right Oh yeah, Beau. So it's just like, okay,

710
00:40:21,719 --> 00:40:24,280
Speaker 1: next day, how about next day? Uh? And the next

711
00:40:24,400 --> 00:40:26,960
Speaker 1: morning we see a truck. At first I thought this

712
00:40:27,040 --> 00:40:30,240
Speaker 1: was Gary, but it's not Gary. It's somebody else driving

713
00:40:30,280 --> 00:40:33,720
Speaker 1: a pickup truck with a camper top on it. Uh,

714
00:40:33,800 --> 00:40:36,799
Speaker 1: just flooring it. They're like on the radio. I think

715
00:40:36,800 --> 00:40:39,360
Speaker 1: they're on a CBE saying red baron a lone painter.

716
00:40:39,480 --> 00:40:41,759
Speaker 1: I don't know what any of this means, but we

717
00:40:41,840 --> 00:40:45,400
Speaker 1: see the truck is literally getting like air time going

718
00:40:45,440 --> 00:40:48,279
Speaker 1: over hills. It's like flying up off as if off

719
00:40:48,320 --> 00:40:53,400
Speaker 1: of a ramp. Yeah, it's just a totally unnecessary vehicular stunt,

720
00:40:53,480 --> 00:40:56,320
Speaker 1: just thrown in. Like there's I mean, we get that

721
00:40:56,320 --> 00:40:58,680
Speaker 1: that Uncle Pete is eager to get to the hunt,

722
00:40:58,719 --> 00:41:01,320
Speaker 1: like somewhere a deer is reading and it must be hunted,

723
00:41:01,760 --> 00:41:04,120
Speaker 1: um and and and hunting is all the fun in

724
00:41:04,160 --> 00:41:07,400
Speaker 1: these parts. But was it necessary for the truck to

725
00:41:07,480 --> 00:41:10,520
Speaker 1: be airborne? Very good? Yeah, I don't know. This movie

726
00:41:10,600 --> 00:41:14,360
Speaker 1: in general does a bizarre job of introducing the character

727
00:41:14,400 --> 00:41:18,920
Speaker 1: of Uncle Pete because you meet him without seeing his face.

728
00:41:19,000 --> 00:41:20,880
Speaker 1: You just hear his voice and you see his car,

729
00:41:21,680 --> 00:41:24,080
Speaker 1: and then you never see his face until minutes later.

730
00:41:24,160 --> 00:41:27,040
Speaker 1: Like the characters talk about him arriving, and he arrives,

731
00:41:27,080 --> 00:41:29,880
Speaker 1: but you never get a close shot of him, and

732
00:41:29,920 --> 00:41:32,000
Speaker 1: then in the next scene he's just sort of in it.

733
00:41:32,080 --> 00:41:34,279
Speaker 1: But like usually when there's a new character, you will

734
00:41:34,280 --> 00:41:36,120
Speaker 1: get a head on shot of it so you can

735
00:41:36,120 --> 00:41:38,880
Speaker 1: see their face and what they look like. This movie, Nope,

736
00:41:38,960 --> 00:41:41,360
Speaker 1: it's just okay, Uncle Pete's in the mix now. I

737
00:41:41,360 --> 00:41:43,520
Speaker 1: guess you'll figure out which one he is. Yeah, they

738
00:41:43,560 --> 00:41:46,839
Speaker 1: don't really make you, um anticipate Uncle Pete in any way.

739
00:41:46,880 --> 00:41:48,799
Speaker 1: You're not really looking forward to meeting him. There's not

740
00:41:48,920 --> 00:41:51,600
Speaker 1: you know, there's no stories about him. Um. I mean,

741
00:41:51,640 --> 00:41:54,440
Speaker 1: he clearly he really floors it when he's driving around,

742
00:41:54,440 --> 00:41:56,799
Speaker 1: but aside from that, there's nothing to really make you

743
00:41:56,840 --> 00:41:58,480
Speaker 1: want to meet him. And then when he shows up,

744
00:41:58,520 --> 00:42:01,279
Speaker 1: there's not really any fan fare either. But so you're right,

745
00:42:01,360 --> 00:42:05,080
Speaker 1: Uncle Pete is. He's he's obsessed with deer hunting apparently,

746
00:42:05,120 --> 00:42:07,000
Speaker 1: so they all want to go out hunting in the woods,

747
00:42:07,000 --> 00:42:09,719
Speaker 1: and they do. I think basically everybody except Kathie the

748
00:42:09,719 --> 00:42:14,520
Speaker 1: mom goes deer hunting, um. And there were some I

749
00:42:14,520 --> 00:42:16,640
Speaker 1: gotta admit, I don't know much about hunting. I've never

750
00:42:16,680 --> 00:42:19,719
Speaker 1: been hunting, and so I clearly don't have any expertise.

751
00:42:19,760 --> 00:42:22,960
Speaker 1: But some things about this seemed implausible to me, like

752
00:42:23,400 --> 00:42:26,960
Speaker 1: is it normal to go bow hunting on horseback in

753
00:42:27,040 --> 00:42:30,320
Speaker 1: the woods? And where did all the horses come from?

754
00:42:30,480 --> 00:42:32,920
Speaker 1: And uh, if there's a part where they have to

755
00:42:32,960 --> 00:42:36,040
Speaker 1: be like crawling on their bellies under barbed wire fences,

756
00:42:36,120 --> 00:42:38,080
Speaker 1: which makes me think, are they supposed to be there?

757
00:42:38,120 --> 00:42:41,560
Speaker 1: Maybe they're trespassing. Uh, And I could be wrong, but

758
00:42:41,600 --> 00:42:45,000
Speaker 1: it looked like one character is carrying a lever action rifle?

759
00:42:45,640 --> 00:42:48,799
Speaker 1: Is that normal for deer hunting? And I don't know. Yeah,

760
00:42:48,880 --> 00:42:51,440
Speaker 1: like they're they're doing a mix of of bow hunting

761
00:42:51,560 --> 00:42:54,680
Speaker 1: and rifle hunting for the deer, which yeah, I guess

762
00:42:54,680 --> 00:42:56,759
Speaker 1: could be a thing. But I always again, I I

763
00:42:57,080 --> 00:42:59,960
Speaker 1: grew up with bows and rifles around, but I never

764
00:43:00,040 --> 00:43:02,160
Speaker 1: went hunting. But I remember, you know, you would have

765
00:43:02,200 --> 00:43:05,480
Speaker 1: the like bow hunting season and yeah, musket ball season

766
00:43:05,600 --> 00:43:08,440
Speaker 1: or whatever, and then there's rifles, Like so I was

767
00:43:08,520 --> 00:43:11,400
Speaker 1: under the assumption that like that like bow and rifle

768
00:43:11,480 --> 00:43:14,399
Speaker 1: hunters would not just mix like this that you're either

769
00:43:14,400 --> 00:43:16,239
Speaker 1: going to do one or the other. Well not just

770
00:43:16,560 --> 00:43:20,000
Speaker 1: they're not just in the same hunting party. There's when

771
00:43:20,040 --> 00:43:22,399
Speaker 1: they draw a bead on a deer. There's a scene

772
00:43:22,400 --> 00:43:25,239
Speaker 1: of all four hunters aiming at the same deer. So

773
00:43:25,320 --> 00:43:28,799
Speaker 1: two bows and two rifles all drawing down on this

774
00:43:28,880 --> 00:43:31,640
Speaker 1: one dough. It's it's enough to it's it's enough to

775
00:43:31,680 --> 00:43:33,319
Speaker 1: make you wonder, like if this is a case of

776
00:43:33,360 --> 00:43:36,280
Speaker 1: like an outsider, you know, in this case, a French

777
00:43:36,320 --> 00:43:42,000
Speaker 1: director trying to figure out what would be the authentic Wisconsin, um,

778
00:43:42,040 --> 00:43:46,719
Speaker 1: you know, slice of life scenario and getting some things right,

779
00:43:46,760 --> 00:43:49,600
Speaker 1: but maybe getting some things wrong just because you know,

780
00:43:49,680 --> 00:43:52,680
Speaker 1: just coming at it from a from an outsider perspective. Well,

781
00:43:52,719 --> 00:43:54,759
Speaker 1: I mean, I gotta admit again, I'd like, I don't

782
00:43:54,760 --> 00:43:56,880
Speaker 1: really know anything about hunting. Maybe you would do this,

783
00:43:56,920 --> 00:43:59,840
Speaker 1: but it certainly looked weird having this like four person

784
00:44:00,080 --> 00:44:03,400
Speaker 1: firing squad for deer. Yeah, yeah, so I don't know

785
00:44:03,520 --> 00:44:05,640
Speaker 1: hunters right in and let us know. But but we're

786
00:44:05,640 --> 00:44:09,359
Speaker 1: focusing on the you know, the details of the hunt here.

787
00:44:09,760 --> 00:44:12,480
Speaker 1: But this is also one of the best sequences in

788
00:44:12,520 --> 00:44:16,480
Speaker 1: the film. Uh, at least it genuinely building up suspense

789
00:44:16,880 --> 00:44:19,600
Speaker 1: because poor Sarah has been brought on this this trip.

790
00:44:19,880 --> 00:44:22,399
Speaker 1: I think a lot of us can can sympathize with her.

791
00:44:22,560 --> 00:44:25,759
Speaker 1: You know, here she's she's she's hanging out with um,

792
00:44:25,960 --> 00:44:29,080
Speaker 1: with this family that she's only just met, and they've

793
00:44:29,120 --> 00:44:33,480
Speaker 1: brought her now on a hunting trip, and she's she's uncomfortable. Uh,

794
00:44:33,480 --> 00:44:36,879
Speaker 1: she doesn't want to be there. She she definitely does

795
00:44:36,920 --> 00:44:39,680
Speaker 1: not want to shoot a deer. Uh. But yet here

796
00:44:39,719 --> 00:44:43,000
Speaker 1: she is, and we hear that music building up, right,

797
00:44:43,120 --> 00:44:46,080
Speaker 1: and we hear that heartbeat, that blood beat. Uh, and

798
00:44:46,239 --> 00:44:48,680
Speaker 1: it I felt like it genuinely built up tension in

799
00:44:48,680 --> 00:44:51,400
Speaker 1: a nice way. Yeah, she well, she's gone from This

800
00:44:51,440 --> 00:44:54,719
Speaker 1: is one of her few scenes where she's not extremely

801
00:44:54,760 --> 00:44:57,600
Speaker 1: apprehensive and instead she here, I would say, she looks

802
00:44:58,520 --> 00:45:04,000
Speaker 1: soul annihilatingly board Uh, just like she's staring into space

803
00:45:04,080 --> 00:45:07,000
Speaker 1: with uh. You know, the expression of of having been

804
00:45:07,040 --> 00:45:10,640
Speaker 1: waiting in line at a bank for seven hours. Well,

805
00:45:10,719 --> 00:45:13,279
Speaker 1: I think that's and that's probably what hunting is like

806
00:45:13,320 --> 00:45:15,960
Speaker 1: if you're not really into it, right, It is a

807
00:45:15,960 --> 00:45:19,000
Speaker 1: lot of waiting around. I understand. Yes, I can imagine

808
00:45:19,239 --> 00:45:21,160
Speaker 1: if you're not into it. It would be quite boring.

809
00:45:21,680 --> 00:45:23,879
Speaker 1: But but she goes from the boredom to like you're saying,

810
00:45:23,880 --> 00:45:27,120
Speaker 1: when they're drawing down on this this deer, you know, yeah,

811
00:45:27,120 --> 00:45:30,120
Speaker 1: it builds up the tension. There's the heartbeat sound effect

812
00:45:30,239 --> 00:45:33,560
Speaker 1: and and uh and and like you say this, the

813
00:45:33,600 --> 00:45:36,120
Speaker 1: sequence is quite good. But then right before they shoot,

814
00:45:36,560 --> 00:45:41,000
Speaker 1: Sarah suddenly stands up. She turns green and red. She screams,

815
00:45:41,239 --> 00:45:44,160
Speaker 1: and they all miss and then she runs away. So

816
00:45:44,200 --> 00:45:48,120
Speaker 1: immediately everybody is like, Uncle Pete's mad. And then Ted

817
00:45:48,160 --> 00:45:51,320
Speaker 1: goes running off after her, and she sort of meanders

818
00:45:51,360 --> 00:45:54,520
Speaker 1: through the woods until I had to rewind this part.

819
00:45:54,560 --> 00:45:56,880
Speaker 1: I was like, did I miss something? But no, she

820
00:45:57,080 --> 00:46:00,360
Speaker 1: just randomly collides with another guy that we have not

821
00:46:00,520 --> 00:46:03,680
Speaker 1: met before. Am I correct? This is a totally new character, right,

822
00:46:03,719 --> 00:46:05,319
Speaker 1: I had to do the same thing. I thought I'd

823
00:46:05,320 --> 00:46:07,040
Speaker 1: missed something that I was looking down at my screen

824
00:46:07,120 --> 00:46:09,440
Speaker 1: or something, so I backed it up as well. But no,

825
00:46:09,600 --> 00:46:12,320
Speaker 1: she just suddenly runs into a guy, a totally new character,

826
00:46:12,440 --> 00:46:15,239
Speaker 1: but but very much dressed like all the other locals. Yes,

827
00:46:15,320 --> 00:46:17,319
Speaker 1: but he but this guy, but he's not like a

828
00:46:17,360 --> 00:46:19,960
Speaker 1: new character we're about to meet. He's dying, so he's

829
00:46:20,000 --> 00:46:23,160
Speaker 1: been gutted, but somebody turned his stomach into a jack

830
00:46:23,200 --> 00:46:26,359
Speaker 1: O lantern and he's covered in blood. And I guess,

831
00:46:26,360 --> 00:46:28,799
Speaker 1: for the second time today, Sarah is going to get

832
00:46:28,800 --> 00:46:31,520
Speaker 1: a man with bloody hands just like grabbing her jacket

833
00:46:32,520 --> 00:46:35,719
Speaker 1: and uh. And then so this guy just dies there.

834
00:46:35,760 --> 00:46:39,000
Speaker 1: He just kind of looks like a blonder Robert Redford

835
00:46:39,080 --> 00:46:42,319
Speaker 1: ish kind of guy. Uh, and he's dead there on

836
00:46:42,360 --> 00:46:44,560
Speaker 1: the fourth floor. Oh and then there's a there's a

837
00:46:44,600 --> 00:46:46,760
Speaker 1: scene with the cops that I thought was funny because

838
00:46:46,800 --> 00:46:48,920
Speaker 1: really the only thing that happens in it is they

839
00:46:48,960 --> 00:46:52,160
Speaker 1: just repeatedly established that nobody knew who this guy was,

840
00:46:53,560 --> 00:46:57,239
Speaker 1: which seems weird, right, Like that just raises more questions. Um,

841
00:46:57,280 --> 00:46:59,520
Speaker 1: I guess maybe it's you don't have to spend as

842
00:46:59,560 --> 00:47:02,360
Speaker 1: much die log establishing the fact. But so anyway, they

843
00:47:02,440 --> 00:47:05,840
Speaker 1: get back home and then uh, there there is mounting

844
00:47:05,920 --> 00:47:09,440
Speaker 1: tension with the family because, as with the earlier scenes,

845
00:47:09,520 --> 00:47:13,080
Speaker 1: Sarah is bothered by uh, well by the experience in

846
00:47:13,080 --> 00:47:16,200
Speaker 1: the woods, but then also by Ted's mother. He's you know,

847
00:47:16,280 --> 00:47:19,160
Speaker 1: he's like, uh, He's like, oh, don't worry about anything,

848
00:47:19,160 --> 00:47:22,239
Speaker 1: but she's like, no, your mother. She makes me uncomfortable,

849
00:47:22,480 --> 00:47:25,160
Speaker 1: and I think she thinks that Kathy is spying on

850
00:47:25,280 --> 00:47:28,920
Speaker 1: her through the paintings in the bedroom, like that the

851
00:47:28,960 --> 00:47:34,680
Speaker 1: paintings function like psychic CCTV cameras, and so she has

852
00:47:34,680 --> 00:47:38,000
Speaker 1: Ted removed the paintings from the bedroom. But then we

853
00:47:38,040 --> 00:47:40,560
Speaker 1: find out that the apprehension goes both ways because Ted

854
00:47:40,640 --> 00:47:44,920
Speaker 1: goes down to Kathy's painting studio and there Ted is

855
00:47:44,960 --> 00:47:48,320
Speaker 1: having this conversation with his mom and she warns him

856
00:47:48,360 --> 00:47:51,040
Speaker 1: about Sarah. She's like, I just want you to be careful.

857
00:47:51,239 --> 00:47:54,120
Speaker 1: There's something about her. I've seen her before. I don't

858
00:47:54,200 --> 00:47:58,000
Speaker 1: understand it, but I know her. Meanwhile, Gregorian Chance in

859
00:47:58,040 --> 00:48:01,600
Speaker 1: the background, and as an other case of hint set

860
00:48:01,600 --> 00:48:05,839
Speaker 1: connections that are never fully established but but keep us

861
00:48:05,840 --> 00:48:17,759
Speaker 1: watching now. Somewhere around here is where there's a scene

862
00:48:17,760 --> 00:48:20,480
Speaker 1: where Ted and Dolly are playing monopoly, but there's a

863
00:48:20,520 --> 00:48:23,399
Speaker 1: cat lying on the monopoly board and just flopping all

864
00:48:23,440 --> 00:48:26,799
Speaker 1: around on it, which is excellent, YEP, solid slice of

865
00:48:26,840 --> 00:48:29,480
Speaker 1: life right there. But I think here is the scene

866
00:48:29,520 --> 00:48:33,279
Speaker 1: where the movie just starts to really escalate the weirdness

867
00:48:33,320 --> 00:48:37,560
Speaker 1: and sort of never stops until the end. So here, uh,

868
00:48:37,920 --> 00:48:42,719
Speaker 1: Sarah is lying in bed and Cathy's painting, and simultaneously

869
00:48:42,760 --> 00:48:46,520
Speaker 1: they start having psychic experiences, Like Cathy starts having a

870
00:48:47,360 --> 00:48:52,680
Speaker 1: Danny Torrence red Rum style psychic episode. She's like, uh,

871
00:48:52,760 --> 00:48:57,160
Speaker 1: sort of groaning and and wiggling and uh and drawing

872
00:48:57,239 --> 00:49:01,800
Speaker 1: uncontrollably on her on her on her canvas, I guess,

873
00:49:01,800 --> 00:49:05,840
Speaker 1: with her non dominant hand. And then meanwhile, Sarah up

874
00:49:05,880 --> 00:49:08,760
Speaker 1: in the bedroom finds a treasure chest full of samurai

875
00:49:08,920 --> 00:49:12,200
Speaker 1: armor and a katana next to the bed and does

876
00:49:12,239 --> 00:49:14,560
Speaker 1: the thing that people always do in movies when they

877
00:49:14,600 --> 00:49:17,279
Speaker 1: find a blade, test to see if it's sharp and

878
00:49:17,320 --> 00:49:20,560
Speaker 1: cut their fingers. Why every movie? Why do people do this?

879
00:49:20,640 --> 00:49:24,000
Speaker 1: People don't do this very often in real life. Yeah,

880
00:49:25,080 --> 00:49:28,520
Speaker 1: it's uh, I mean, I think obviously from the movie perspective,

881
00:49:29,200 --> 00:49:31,000
Speaker 1: it's because you get to have a little blood in there,

882
00:49:31,080 --> 00:49:33,880
Speaker 1: and because it's the little things that we can feel.

883
00:49:34,360 --> 00:49:36,640
Speaker 1: Someone gets their arm lopped off with a samurai sword,

884
00:49:36,880 --> 00:49:39,040
Speaker 1: we can't compare to that. But if somebody like touches

885
00:49:39,080 --> 00:49:41,600
Speaker 1: the edge of it too much, um, you know, or

886
00:49:41,600 --> 00:49:44,000
Speaker 1: it gets a paper cut, uh, you know, that can

887
00:49:44,000 --> 00:49:45,920
Speaker 1: eck us out. And so you know, from in a

888
00:49:45,960 --> 00:49:49,400
Speaker 1: way of like keeping the audience engaged and physically invested

889
00:49:49,440 --> 00:49:51,640
Speaker 1: in the film. It's a solid choice. But yeah, who

890
00:49:51,680 --> 00:49:54,160
Speaker 1: does this? Who picks up the sword and starts running

891
00:49:54,160 --> 00:49:56,359
Speaker 1: their finger across it? Well, I mean I can even

892
00:49:56,440 --> 00:49:58,319
Speaker 1: touch the blade of a knife to see how sharp

893
00:49:58,360 --> 00:50:01,520
Speaker 1: it is without cutting myself. This is like I would

894
00:50:01,520 --> 00:50:04,440
Speaker 1: assume a skill anybody who can handle a knife has.

895
00:50:04,480 --> 00:50:07,880
Speaker 1: But we have to remember, as as will soon be established,

896
00:50:08,200 --> 00:50:10,640
Speaker 1: this is a suit of armor that nobody knew was

897
00:50:10,680 --> 00:50:14,160
Speaker 1: in the house. Perhaps wasn't in the house, perhaps has

898
00:50:14,200 --> 00:50:20,560
Speaker 1: been physically manifested by stuff that's happening now involving these

899
00:50:20,600 --> 00:50:23,600
Speaker 1: two psychic characters, or psychic storms going on in the

900
00:50:23,640 --> 00:50:27,240
Speaker 1: general vicinity, I don't know. And and then the sequence

901
00:50:27,280 --> 00:50:31,200
Speaker 1: just goes on for minutes at a time of NonStop weirdness. Uh,

902
00:50:31,280 --> 00:50:33,680
Speaker 1: there's some strange I don't even remember what's going on.

903
00:50:33,719 --> 00:50:37,680
Speaker 1: There's a confrontation between Gary and Cathy where he's like,

904
00:50:37,719 --> 00:50:41,080
Speaker 1: what do you think I am? Some piece of plastic? Uh?

905
00:50:41,239 --> 00:50:45,040
Speaker 1: He says, I'm a simple man. I need love and affection. Yeah,

906
00:50:45,080 --> 00:50:46,760
Speaker 1: this is the section of the film where they decided

907
00:50:46,840 --> 00:50:49,480
Speaker 1: we need to explore their characters more. We need to

908
00:50:49,520 --> 00:50:54,000
Speaker 1: get into uh Mom and Gary's relationship uh yeah. And

909
00:50:54,040 --> 00:50:55,680
Speaker 1: then and this is also one of those moments where

910
00:50:55,680 --> 00:50:57,880
Speaker 1: he's he's he's playing he's a bit over the top

911
00:50:58,200 --> 00:51:00,920
Speaker 1: in his anger that goes out of keeping with his

912
00:51:01,040 --> 00:51:04,279
Speaker 1: character as well as his what he does afterwards, because

913
00:51:04,320 --> 00:51:07,759
Speaker 1: he basically is like, have a nice life, Kathy. Um.

914
00:51:07,800 --> 00:51:09,880
Speaker 1: And then he storms out. And you assume if you

915
00:51:09,920 --> 00:51:12,440
Speaker 1: say something like that, like you're gonna you're gonna get

916
00:51:12,480 --> 00:51:14,440
Speaker 1: in the car and go, but no, he goes into

917
00:51:14,480 --> 00:51:17,080
Speaker 1: the living room, puts his headphones on and what starts

918
00:51:17,080 --> 00:51:20,239
Speaker 1: playing a video game or watching TV or watching TVs,

919
00:51:20,360 --> 00:51:24,160
Speaker 1: like watching a small TV with headphones plugged into it. Like, like,

920
00:51:24,360 --> 00:51:25,919
Speaker 1: is that I think you have to leave the house

921
00:51:25,960 --> 00:51:27,759
Speaker 1: after you say those things? Gary? I don't think you

922
00:51:27,920 --> 00:51:30,320
Speaker 1: can just go watch television. Not only did, he doesn't

923
00:51:30,360 --> 00:51:33,400
Speaker 1: even leave, He doesn't even go into a room by himself.

924
00:51:33,440 --> 00:51:35,640
Speaker 1: He goes into the room where everybody is sitting, and

925
00:51:35,640 --> 00:51:38,960
Speaker 1: then everybody sitting in the same room just doing their

926
00:51:38,960 --> 00:51:41,560
Speaker 1: own thing, and and there are shots of them just

927
00:51:41,560 --> 00:51:43,440
Speaker 1: sitting around on the couches and stuff and playing this

928
00:51:43,640 --> 00:51:47,440
Speaker 1: drange string music. Yeah. Oh, and then Kathy comes into

929
00:51:47,480 --> 00:51:49,920
Speaker 1: It's like, so, whatever this blow up was between them,

930
00:51:49,960 --> 00:51:51,680
Speaker 1: I guess it wasn't that big a deal. Maybe this

931
00:51:51,760 --> 00:51:54,239
Speaker 1: is just this is just a Tuesday for them. Yeah.

932
00:51:54,280 --> 00:51:59,440
Speaker 1: And then also with in one of the extremely abrupt cuts,

933
00:51:59,480 --> 00:52:01,920
Speaker 1: we cut to Uncle Pete has wrecked his truck on

934
00:52:01,920 --> 00:52:04,719
Speaker 1: the side of the road. Had no idea what Uncle

935
00:52:04,719 --> 00:52:07,399
Speaker 1: Pete was doing before this, but this is our first

936
00:52:07,480 --> 00:52:10,239
Speaker 1: murder scenes. Suddenly he's just there, he's like radio ing

937
00:52:10,320 --> 00:52:12,759
Speaker 1: for help. Uh. And then I think he's trying to

938
00:52:12,840 --> 00:52:15,480
Speaker 1: change a tire and we get this movie's uh. Of

939
00:52:15,520 --> 00:52:18,840
Speaker 1: course the movies that Kike uh is just synth drowne

940
00:52:19,360 --> 00:52:23,279
Speaker 1: and the heartbeat excuse me, blood beat sound effects, and

941
00:52:23,360 --> 00:52:25,680
Speaker 1: so he's doing that, he's doing his tire and his

942
00:52:25,719 --> 00:52:31,839
Speaker 1: throat gets slashed, so the movie has shifted into slasher mode. Uh.

943
00:52:31,880 --> 00:52:35,920
Speaker 1: So then we randomly cut to two new characters who

944
00:52:36,000 --> 00:52:39,520
Speaker 1: I'm pretty sure we have never met before. Uh, both

945
00:52:39,560 --> 00:52:43,400
Speaker 1: in bathrobes. The dude of this couple is very dub airs.

946
00:52:43,520 --> 00:52:47,000
Speaker 1: He's uh, he's wearing a trucker hat in bed and

947
00:52:47,040 --> 00:52:50,760
Speaker 1: they're on a water bed and he demands he demands

948
00:52:50,840 --> 00:52:53,840
Speaker 1: his wife bring him tea. He wants hot tea on

949
00:52:53,920 --> 00:52:56,480
Speaker 1: the water bed, which and then she actually puts the

950
00:52:56,520 --> 00:52:59,440
Speaker 1: tray down on the waterbed, and I was like yelling

951
00:52:59,480 --> 00:53:01,720
Speaker 1: at the screen. You know that is a scalding waiting

952
00:53:01,719 --> 00:53:06,920
Speaker 1: to happen, doesn't He also then request orange juice. She

953
00:53:06,920 --> 00:53:09,160
Speaker 1: she's like it, do you want anything else? He's like, no,

954
00:53:09,320 --> 00:53:11,080
Speaker 1: just the tea, and then she brings it and then

955
00:53:11,080 --> 00:53:14,120
Speaker 1: he's like, hey, what about my orange juice? I mean,

956
00:53:14,160 --> 00:53:16,720
Speaker 1: I get it that it's winter in Wisconsin and perhaps

957
00:53:16,800 --> 00:53:19,319
Speaker 1: they have gas furnace going here, and you know you

958
00:53:19,360 --> 00:53:22,400
Speaker 1: need to be hydrated, but but who's having orange juice

959
00:53:22,400 --> 00:53:27,880
Speaker 1: and tea in bed in a water bed at night? Yeah?

960
00:53:28,160 --> 00:53:30,720
Speaker 1: This see or maybe he was topping off the water

961
00:53:30,760 --> 00:53:35,560
Speaker 1: bed it maybe it's full of hot tea. And then

962
00:53:35,600 --> 00:53:38,040
Speaker 1: the dog joins him on the bed. Oh yeah, well,

963
00:53:38,080 --> 00:53:40,359
Speaker 1: I gotta admit it does look super cozy. So he's

964
00:53:40,360 --> 00:53:43,160
Speaker 1: there in his flannel robe with his hat on in

965
00:53:43,280 --> 00:53:46,360
Speaker 1: bed in the water bed with his dog like literally

966
00:53:46,400 --> 00:53:49,120
Speaker 1: he's like spooning his dog with his arm around it,

967
00:53:49,440 --> 00:53:52,560
Speaker 1: reading a newspaper with a tray of hot tea and cookies.

968
00:53:53,200 --> 00:53:56,480
Speaker 1: And uh, it does look extremely cozy. I don't know

969
00:53:56,480 --> 00:53:59,040
Speaker 1: where she's going to fit into the bed though. Um.

970
00:53:59,080 --> 00:54:02,760
Speaker 1: But then while she's in the kitchen getting his orange juice. Suddenly, Uh,

971
00:54:02,880 --> 00:54:06,120
Speaker 1: she gets attacked by a random, unseen figure. But I

972
00:54:06,120 --> 00:54:08,000
Speaker 1: guess it's not gonna be random, It's gonna be our

973
00:54:08,040 --> 00:54:11,759
Speaker 1: our movie slasher. So she gets her throat slashed. And

974
00:54:11,800 --> 00:54:15,320
Speaker 1: then that bears dude is trying to figure out what happens,

975
00:54:15,320 --> 00:54:17,960
Speaker 1: so he goes into the kitchen, finds her dead. Then

976
00:54:18,120 --> 00:54:23,240
Speaker 1: he has chased. Uh. He this is a strangely extended

977
00:54:23,360 --> 00:54:27,720
Speaker 1: chase sequence, like he jumps through a glass window, runs

978
00:54:27,719 --> 00:54:30,960
Speaker 1: through a giant barn, gets in a van, drives to

979
00:54:31,040 --> 00:54:35,840
Speaker 1: a service station, finds no help, is pursued, still drives away,

980
00:54:36,080 --> 00:54:40,520
Speaker 1: runs out of gas, ends up running up at Kathy's house. Um.

981
00:54:40,920 --> 00:54:44,239
Speaker 1: And then meanwhile inside Kathy is having more of her

982
00:54:44,239 --> 00:54:48,520
Speaker 1: psychic error message face and uh, Sarah is having some

983
00:54:48,600 --> 00:54:54,359
Speaker 1: kind of bizarre erotic experience while hallucinating about the Samurai murders.

984
00:54:54,800 --> 00:54:59,360
Speaker 1: Very weird, but she's having an erotic reaction to the

985
00:54:59,400 --> 00:55:04,439
Speaker 1: psychic energy of samurai ghost thing killing people, or her

986
00:55:04,480 --> 00:55:07,799
Speaker 1: erotic energy is feeding the psychic samurai. I don't know.

987
00:55:08,040 --> 00:55:10,799
Speaker 1: I can just imagine audiences in nineteen eighty two being like,

988
00:55:10,840 --> 00:55:16,520
Speaker 1: oh see, this is a sophisticated, artistic French thing. I

989
00:55:16,560 --> 00:55:20,200
Speaker 1: have to throw in something else about the Bears guy here.

990
00:55:20,800 --> 00:55:24,319
Speaker 1: I did not include information on the actor who plays him.

991
00:55:24,360 --> 00:55:26,719
Speaker 1: But it's kind of a tour de force, especially when

992
00:55:26,719 --> 00:55:30,040
Speaker 1: he's running, because most of this this, this this sequence

993
00:55:30,400 --> 00:55:34,040
Speaker 1: is him in an open bathrobe, like wearing you know,

994
00:55:34,160 --> 00:55:36,560
Speaker 1: just like tidy, whitey underwear and I think some sort

995
00:55:36,600 --> 00:55:39,839
Speaker 1: of like small t shirt or undershirt. Oh yeah, yeah.

996
00:55:39,880 --> 00:55:42,080
Speaker 1: And then when he finally gets to the house, of course,

997
00:55:42,120 --> 00:55:44,760
Speaker 1: the samurai kills him right outside. But then he's poking

998
00:55:44,800 --> 00:55:47,680
Speaker 1: his head through the door and he's covered in blood,

999
00:55:47,719 --> 00:55:50,719
Speaker 1: and he's like and and this is actually the first

1000
00:55:50,719 --> 00:55:53,040
Speaker 1: time where we we see that the slasher is in

1001
00:55:53,120 --> 00:55:55,960
Speaker 1: fact wearing samurai armor. It's a samurai with the sword

1002
00:55:56,000 --> 00:55:58,719
Speaker 1: and a bow. Yeah. And at this point things just

1003
00:55:58,760 --> 00:56:03,240
Speaker 1: go completely off the rails. It's full Poltergeist. The pantry

1004
00:56:03,280 --> 00:56:07,080
Speaker 1: doors are flapping mad, the dirty dishes are dancing, Quaker

1005
00:56:07,080 --> 00:56:11,600
Speaker 1: oats and butternut containers are shaking violently in the cupboard. Uh,

1006
00:56:11,680 --> 00:56:17,279
Speaker 1: the telephone catches on fire. Gary in the kitchen is

1007
00:56:17,360 --> 00:56:22,759
Speaker 1: hilariously pelted with food stuffs and kitchen utensils until unconscious,

1008
00:56:22,760 --> 00:56:25,160
Speaker 1: like he takes one too many packets of ramen to

1009
00:56:25,280 --> 00:56:28,480
Speaker 1: the head and he falls over. Uh, just conked out.

1010
00:56:29,480 --> 00:56:32,680
Speaker 1: And then, uh, what else is it? Oh? Yeah, Ted

1011
00:56:32,760 --> 00:56:35,319
Speaker 1: and Dolly are upstairs. They're trying to, I think, see

1012
00:56:35,320 --> 00:56:38,600
Speaker 1: what's going on with Sarah, but her room is glowing blue,

1013
00:56:39,200 --> 00:56:40,880
Speaker 1: so I guess they decided they can't get in. And

1014
00:56:40,880 --> 00:56:44,600
Speaker 1: then they get like psychically blasted into a closet and

1015
00:56:44,640 --> 00:56:47,280
Speaker 1: the windows are raising up and down, like the windows

1016
00:56:47,280 --> 00:56:51,319
Speaker 1: are laughing and uh, and Cathy is having some kind

1017
00:56:51,360 --> 00:56:54,319
Speaker 1: of psychic exorcism thing going on. She's going like, who

1018
00:56:54,320 --> 00:56:56,600
Speaker 1: are you? What do you want here? And and red

1019
00:56:56,719 --> 00:56:59,080
Speaker 1: light is shooting out of her hands, and I think

1020
00:56:59,120 --> 00:57:03,040
Speaker 1: she's successful exercises the Samurai ghost for the time being.

1021
00:57:03,800 --> 00:57:06,040
Speaker 1: I think. So there are a couple of moments where

1022
00:57:06,080 --> 00:57:08,879
Speaker 1: they kind of get temporary victories over the Samurai ghost

1023
00:57:08,960 --> 00:57:11,680
Speaker 1: before it comes back and forth right, and and things

1024
00:57:11,719 --> 00:57:14,080
Speaker 1: just get more and more confusing, Like so in the

1025
00:57:14,160 --> 00:57:17,120
Speaker 1: aftermath of this whole attack, they're talking about what's going on,

1026
00:57:17,160 --> 00:57:20,920
Speaker 1: and Cathy says, um, he would never take me away

1027
00:57:20,960 --> 00:57:23,120
Speaker 1: from you, and he would never take you and Dolly

1028
00:57:23,240 --> 00:57:27,200
Speaker 1: away from me, But did you understand who she was?

1029
00:57:27,240 --> 00:57:29,600
Speaker 1: Talking about. I don't think the movie makes that clear

1030
00:57:29,640 --> 00:57:31,440
Speaker 1: at all. At first I thought maybe she just she

1031
00:57:31,520 --> 00:57:34,160
Speaker 1: meant like God or something, But I think she was

1032
00:57:34,200 --> 00:57:38,520
Speaker 1: supposed to be referring to an unseen character, but no

1033
00:57:38,640 --> 00:57:41,000
Speaker 1: clue who it's supposed to be. Yeah, at this point

1034
00:57:41,000 --> 00:57:42,640
Speaker 1: in the film, they're I think there are a couple

1035
00:57:42,680 --> 00:57:45,760
Speaker 1: of times where they allude to like him or in

1036
00:57:45,800 --> 00:57:48,520
Speaker 1: a way that indicates that they might be referring to

1037
00:57:48,560 --> 00:57:51,960
Speaker 1: the to the same person, like as if the Samurai

1038
00:57:52,080 --> 00:57:55,200
Speaker 1: or the thing behind the Samurai or something something is

1039
00:57:55,680 --> 00:57:59,680
Speaker 1: somebody that they would all know or had a history of,

1040
00:58:00,080 --> 00:58:02,800
Speaker 1: but they never actually dish out enough information for us

1041
00:58:02,800 --> 00:58:05,800
Speaker 1: to piece it together. Now, somehow, from here we get

1042
00:58:05,800 --> 00:58:09,280
Speaker 1: to Hunters in the Woods sitting around a campfire, playing

1043
00:58:09,320 --> 00:58:12,760
Speaker 1: the harmonica with a case of Budweiser, and of course,

1044
00:58:12,840 --> 00:58:16,840
Speaker 1: even however unusual this movie is, the logic of the

1045
00:58:16,880 --> 00:58:19,440
Speaker 1: horror genre holds true, which is that a group of

1046
00:58:19,480 --> 00:58:22,560
Speaker 1: guys sitting around a campfire in a horror movie that

1047
00:58:22,600 --> 00:58:26,640
Speaker 1: you've never met before, they are doomed. They will definitely die,

1048
00:58:27,120 --> 00:58:30,240
Speaker 1: almost certainly, beginning with one who walks away from the

1049
00:58:30,320 --> 00:58:34,320
Speaker 1: fire to urinate, which in fact holds true in this case,

1050
00:58:34,520 --> 00:58:38,960
Speaker 1: every time it's a guarantee. Yeah, yeah, that's exactly what happens.

1051
00:58:39,160 --> 00:58:40,920
Speaker 1: H And I guess part of it like you're building

1052
00:58:40,960 --> 00:58:43,440
Speaker 1: up your your your character, You're building up your your

1053
00:58:43,480 --> 00:58:46,160
Speaker 1: slash your enemy. Uh. They you just you realize, well,

1054
00:58:46,160 --> 00:58:48,960
Speaker 1: he needs more kills. We need to you know, power

1055
00:58:49,040 --> 00:58:51,040
Speaker 1: him up here. So let's just throw in three new

1056
00:58:51,120 --> 00:58:53,320
Speaker 1: characters for him to mask here. Now, I think that

1057
00:58:53,600 --> 00:58:56,400
Speaker 1: the director was still trying to play with some weird

1058
00:58:56,560 --> 00:58:59,520
Speaker 1: like uh, sex death thing here. So this is like

1059
00:58:59,640 --> 00:59:02,200
Speaker 1: inter cut with a sex scene with with Ted and

1060
00:59:02,240 --> 00:59:06,200
Speaker 1: Sarah and then uh, and then and then things just

1061
00:59:06,360 --> 00:59:09,160
Speaker 1: keep esc like it just gets weirder and weirder, like

1062
00:59:09,280 --> 00:59:13,439
Speaker 1: every ten seconds from this point on. Yeah, the last

1063
00:59:13,480 --> 00:59:15,520
Speaker 1: twenty minutes or so this film, it's like approaching the

1064
00:59:15,560 --> 00:59:18,040
Speaker 1: speed of light. You feel like you might not actually

1065
00:59:18,120 --> 00:59:21,080
Speaker 1: ever get there, and everything just breaks down as far

1066
00:59:21,120 --> 00:59:23,880
Speaker 1: as logic and reason go. There's some kind of brief

1067
00:59:23,960 --> 00:59:27,919
Speaker 1: psychic battle between Dolly and Cathy. No indication so far

1068
00:59:28,000 --> 00:59:31,080
Speaker 1: that Dolly had psychic powers, but she like goes in

1069
00:59:31,080 --> 00:59:33,360
Speaker 1: to talk to her mom and she's like, don't come

1070
00:59:33,360 --> 00:59:35,720
Speaker 1: into my mind. Stop it. And they're they're going like

1071
00:59:36,480 --> 00:59:39,560
Speaker 1: at each other's heads, Yeah, making scanner face a bit.

1072
00:59:39,560 --> 00:59:43,760
Speaker 1: They're yes, scanner facing at each other. Um. And then

1073
00:59:44,160 --> 00:59:46,880
Speaker 1: uh oh, there's a scene of Ted in the woods

1074
00:59:47,040 --> 00:59:50,680
Speaker 1: with the rifle crying, and then Gary's riding a horse,

1075
00:59:51,240 --> 00:59:54,400
Speaker 1: and then Dolly's in the woods and she turns into

1076
00:59:54,480 --> 00:59:57,280
Speaker 1: some kind of blue and red nightmare. And then the

1077
00:59:57,320 --> 01:00:00,400
Speaker 1: samurai appears and is like reaching out to Allie and

1078
01:00:00,480 --> 01:00:04,440
Speaker 1: talking to her. I didn't quite understand what was happening there. Yeah,

1079
01:00:04,560 --> 01:00:08,000
Speaker 1: and then they what they're able to actually bash the

1080
01:00:08,040 --> 01:00:11,640
Speaker 1: physical samurai, right Gary. Yeah. So Gary's got a mall

1081
01:00:11,680 --> 01:00:14,680
Speaker 1: that he was splitting wood with and he swings the

1082
01:00:14,720 --> 01:00:17,680
Speaker 1: mall at the samurai's head and hits it, but it

1083
01:00:17,800 --> 01:00:20,520
Speaker 1: just collapses into a pile of armor like it was empty,

1084
01:00:21,520 --> 01:00:25,800
Speaker 1: the physical set of armor that just manifested in the house.

1085
01:00:26,080 --> 01:00:29,919
Speaker 1: And and Dolly reacts to this by saying, Mom was right,

1086
01:00:30,160 --> 01:00:36,440
Speaker 1: but I was like about what yeah, again alluding to something. Um,

1087
01:00:36,480 --> 01:00:39,200
Speaker 1: but I'm not sure how to put these puzzle pieces together.

1088
01:00:39,640 --> 01:00:43,320
Speaker 1: But then back at the house, it's just it's difficult

1089
01:00:43,320 --> 01:00:45,840
Speaker 1: to convey how weird the energy of this scene is.

1090
01:00:45,880 --> 01:00:49,840
Speaker 1: So Gary's got the samurai armor and he's taking it

1091
01:00:49,880 --> 01:00:53,600
Speaker 1: to show it to Cathy and she's just like, burn it.

1092
01:00:53,600 --> 01:00:55,720
Speaker 1: It's evil, and he's like, no, I have to take

1093
01:00:55,760 --> 01:00:58,160
Speaker 1: it to the police, and Dolly saying, bring me some

1094
01:00:58,200 --> 01:01:02,760
Speaker 1: candy bars. And then there's a photo on a desk

1095
01:01:03,000 --> 01:01:05,240
Speaker 1: of a child and I don't know who it's supposed

1096
01:01:05,240 --> 01:01:09,600
Speaker 1: to be, and and Sarah burns the photo with pyro kinesis,

1097
01:01:10,200 --> 01:01:14,640
Speaker 1: and then basically the movie from here escalates into a

1098
01:01:14,840 --> 01:01:18,120
Speaker 1: series of psychic power fights. Remember, the only person who

1099
01:01:18,160 --> 01:01:22,080
Speaker 1: we had any indication before this part was psychic was

1100
01:01:22,200 --> 01:01:25,919
Speaker 1: the mom and and Sarah maybe Sarah, but now it's

1101
01:01:25,920 --> 01:01:31,080
Speaker 1: like everybody but Gary has psychic powers. So Sarah appears

1102
01:01:31,120 --> 01:01:34,520
Speaker 1: in samurai armor, and then this is inner cut with

1103
01:01:34,640 --> 01:01:39,200
Speaker 1: stock footage of World War Two, and meanwhile Carl Orth

1104
01:01:39,320 --> 01:01:44,720
Speaker 1: is just blaring yes Kari, Karmie Hipperona. And there's a

1105
01:01:44,840 --> 01:01:49,760
Speaker 1: psychic battle between between Kathy and the the Sarah in

1106
01:01:49,840 --> 01:01:56,600
Speaker 1: samurai form. The Samurai wins. She like stabs Kathy and Gary,

1107
01:01:56,680 --> 01:01:59,520
Speaker 1: and then there's another psychic battle between Ted and Dolly

1108
01:01:59,640 --> 01:02:01,800
Speaker 1: and the Samurai and they win. So I guess Ted

1109
01:02:01,880 --> 01:02:04,320
Speaker 1: and Dolly had psychic powers all along, and we just

1110
01:02:04,440 --> 01:02:08,440
Speaker 1: never that was never mentioned before. And then Ted and

1111
01:02:08,520 --> 01:02:10,959
Speaker 1: Dolly walked out of the house and that's the end. Yeah,

1112
01:02:10,960 --> 01:02:13,439
Speaker 1: that's the end of the movie. Yeah, and then we're

1113
01:02:13,480 --> 01:02:16,200
Speaker 1: just left to to try and piece it together, which

1114
01:02:16,680 --> 01:02:21,200
Speaker 1: which ultimately, you know, it's it's you know, there's something

1115
01:02:21,200 --> 01:02:22,560
Speaker 1: about a film that sticks with you. There are a

1116
01:02:22,560 --> 01:02:24,760
Speaker 1: lot of films there. There are a lot of arguably

1117
01:02:24,800 --> 01:02:27,120
Speaker 1: better films than this that I've I've seen and I

1118
01:02:27,120 --> 01:02:29,880
Speaker 1: immediately forget, Like I don't wake up the next morning

1119
01:02:29,960 --> 01:02:32,920
Speaker 1: and ponder them. But I've I've been thinking on and

1120
01:02:33,000 --> 01:02:35,520
Speaker 1: off about Blood Beat ever since I watched it the

1121
01:02:35,560 --> 01:02:38,320
Speaker 1: other day, and um, and so I've been trying to

1122
01:02:38,680 --> 01:02:41,720
Speaker 1: sort of put together answers for like, for the basic

1123
01:02:41,800 --> 01:02:44,320
Speaker 1: question here, what the heck was the deal with that

1124
01:02:44,360 --> 01:02:47,480
Speaker 1: samurai ghost? Why is there a samurai ghost in Wisconsin

1125
01:02:47,720 --> 01:02:51,560
Speaker 1: haunting this family? Sort of? Yeah? Um, And I didn't

1126
01:02:51,560 --> 01:02:54,040
Speaker 1: look long and hard for an official answer to this,

1127
01:02:54,600 --> 01:02:58,760
Speaker 1: but according to Michael Gengold of Rue Morgue, the director's

1128
01:02:58,800 --> 01:03:01,240
Speaker 1: answer to this in an interview on one of the

1129
01:03:01,320 --> 01:03:05,440
Speaker 1: on the Vinegar Syndrome Blu Ray is essentially, um, why not,

1130
01:03:05,800 --> 01:03:09,280
Speaker 1: Like why samurai gost in Wisconsin? Why not so um,

1131
01:03:09,400 --> 01:03:11,320
Speaker 1: I don't know, that's that's not a great answer. Uh,

1132
01:03:11,320 --> 01:03:13,240
Speaker 1: And I think we can go a lot, a lot deeper.

1133
01:03:13,720 --> 01:03:16,880
Speaker 1: So on one hand, um, you know, I'm thinking like, Okay,

1134
01:03:16,920 --> 01:03:19,200
Speaker 1: is this is Japanese Poulter guist? Is this the spirit

1135
01:03:19,240 --> 01:03:22,439
Speaker 1: of a long dead warrior and he's somehow reincarnated through

1136
01:03:22,480 --> 01:03:26,720
Speaker 1: Sarah or awakened by Mom's psychic powers or art? Uh?

1137
01:03:26,720 --> 01:03:29,720
Speaker 1: Did Mom have some prior connection to the spirit um?

1138
01:03:29,760 --> 01:03:31,560
Speaker 1: And then we can throw in all these additional questions

1139
01:03:31,560 --> 01:03:33,840
Speaker 1: like who's the little girl we keep seeing? Where does

1140
01:03:33,880 --> 01:03:36,600
Speaker 1: the physical armor come from? Is it actually hidden there

1141
01:03:36,800 --> 01:03:39,640
Speaker 1: or did it just manifest? Why are we seeing these

1142
01:03:39,680 --> 01:03:43,000
Speaker 1: flashes of World War two footage that seems to be important? Yeah,

1143
01:03:43,080 --> 01:03:45,240
Speaker 1: I mean, I would say showing stock footage of a

1144
01:03:45,360 --> 01:03:48,120
Speaker 1: of a war intercut with the scene that that seems

1145
01:03:48,160 --> 01:03:50,560
Speaker 1: to be trying to make a connection. So I have

1146
01:03:50,640 --> 01:03:54,560
Speaker 1: two theories one and I should drive home. Neither of

1147
01:03:54,560 --> 01:03:56,640
Speaker 1: these is really supported by the text. So I'm really

1148
01:03:56,680 --> 01:03:59,120
Speaker 1: I'm really going out there trying to make these work. So,

1149
01:03:59,240 --> 01:04:02,360
Speaker 1: first of all, could this vengeful Japanese ghost be somehow

1150
01:04:02,400 --> 01:04:05,560
Speaker 1: connected to the U S internment of Japanese Americans during

1151
01:04:05,600 --> 01:04:08,880
Speaker 1: the Second World War. I would see no indication of

1152
01:04:08,920 --> 01:04:11,480
Speaker 1: that in the movie. No indication in the movie, but

1153
01:04:11,640 --> 01:04:14,520
Speaker 1: I believe Fort McCoy in Wisconsin was one of the

1154
01:04:14,560 --> 01:04:19,200
Speaker 1: facilities used in this shameful chapter of American history. Uh.

1155
01:04:19,280 --> 01:04:24,440
Speaker 1: And it also was used to house Japanese prisoners of war. So, um,

1156
01:04:24,480 --> 01:04:27,320
Speaker 1: if we're going to really uh cut this film a

1157
01:04:27,360 --> 01:04:29,680
Speaker 1: lot of slack, we might say, maybe that's what it

1158
01:04:29,720 --> 01:04:32,640
Speaker 1: was going for. And I'll say, if that sounds even

1159
01:04:32,680 --> 01:04:36,000
Speaker 1: remotely interesting, there's a much better supernatural treatment of of

1160
01:04:36,080 --> 01:04:39,840
Speaker 1: of the subject matter in season two of AMC's The Terror.

1161
01:04:40,320 --> 01:04:44,240
Speaker 1: My other theory or here is that the psychic Samurai

1162
01:04:44,280 --> 01:04:49,120
Speaker 1: ghost is in fact on Edgregor, a powerful non physical

1163
01:04:49,280 --> 01:04:52,640
Speaker 1: entity that arises from a group of people on occult

1164
01:04:52,840 --> 01:04:55,560
Speaker 1: concept similar in some ways to that of a tulpa

1165
01:04:57,040 --> 01:04:59,640
Speaker 1: that wasn't about this, Oh yeah, I wasn't familiar with

1166
01:04:59,680 --> 01:05:02,240
Speaker 1: it to a is reading some Grant Morrison, Because Grant

1167
01:05:02,280 --> 01:05:05,760
Speaker 1: Morrison makes use of this concept of this occult concept

1168
01:05:05,760 --> 01:05:10,280
Speaker 1: in this DC supervillain character that he either created or

1169
01:05:10,720 --> 01:05:14,480
Speaker 1: riffed heavily on, called the Candle Maker, who said to

1170
01:05:14,520 --> 01:05:18,760
Speaker 1: be a powerful Edgregor born out of humanities collective unconscious

1171
01:05:19,000 --> 01:05:25,760
Speaker 1: tensions surrounding twenty century anxieties over nuclear war. So along

1172
01:05:25,760 --> 01:05:29,080
Speaker 1: those lines, could the psychic ghost Samurai and this picture

1173
01:05:29,440 --> 01:05:33,280
Speaker 1: being Edgregor born out of American tension and shame uh

1174
01:05:33,320 --> 01:05:36,320
Speaker 1: concerning Japanese in tournament and the use of atomic weaponry

1175
01:05:36,400 --> 01:05:40,440
Speaker 1: during the Second World War. The only thing to indicate that, though,

1176
01:05:40,520 --> 01:05:44,520
Speaker 1: would be the would be the like the inter cutting

1177
01:05:44,520 --> 01:05:47,000
Speaker 1: with the scenes from the war in that very final scene,

1178
01:05:47,000 --> 01:05:50,000
Speaker 1: Like there's nothing at all earlier in the movie to

1179
01:05:50,040 --> 01:05:53,520
Speaker 1: point in that direction. Yeah, Like, there's no, there's nothing.

1180
01:05:53,560 --> 01:05:55,400
Speaker 1: I don't think there's anything in the house that shows

1181
01:05:55,400 --> 01:05:58,840
Speaker 1: any aside from the armor that again is implied to

1182
01:05:58,960 --> 01:06:01,720
Speaker 1: just physically manifest and have no previous history in the house.

1183
01:06:01,880 --> 01:06:04,160
Speaker 1: There's nothing in there to indicate the family has any

1184
01:06:04,200 --> 01:06:08,760
Speaker 1: connections to Japanese culture, to Japanese history. You know, it's

1185
01:06:08,800 --> 01:06:11,520
Speaker 1: not nothing like, oh well, that's that's grandpa's photo. He

1186
01:06:11,560 --> 01:06:13,840
Speaker 1: fought in the war and was convicted of war crimes

1187
01:06:13,920 --> 01:06:16,320
Speaker 1: or something. Right, this would be very loose, But there

1188
01:06:16,360 --> 01:06:20,880
Speaker 1: are some what appear to be uh Buddhist or Buddhist

1189
01:06:20,960 --> 01:06:24,760
Speaker 1: suggestive artworks in the house, Like there I think, am

1190
01:06:24,760 --> 01:06:27,960
Speaker 1: I right about this weren't there, That is true. Yeah,

1191
01:06:28,000 --> 01:06:32,000
Speaker 1: like Kathy a k Mom has kind of this um

1192
01:06:32,040 --> 01:06:34,920
Speaker 1: you know, kind of like um or of a hippie, free,

1193
01:06:34,920 --> 01:06:38,480
Speaker 1: free form, artistic spirit that's just kind of captured in

1194
01:06:38,520 --> 01:06:40,200
Speaker 1: the wild, you know, it's kind of out of keeping

1195
01:06:40,240 --> 01:06:43,760
Speaker 1: with the the the rural environment around her. Uh So,

1196
01:06:44,080 --> 01:06:45,760
Speaker 1: I guess you could. I don't know what that would

1197
01:06:45,800 --> 01:06:49,480
Speaker 1: mean either, unless like the statue was like there doesn't Yeah,

1198
01:06:49,520 --> 01:06:51,560
Speaker 1: this stuff is just part of the backdrop. It doesn't

1199
01:06:51,560 --> 01:06:55,000
Speaker 1: seem to play any real significant role in the subsequent

1200
01:06:55,040 --> 01:06:58,480
Speaker 1: haunting or psychic explosion that occurs. I mean, all I

1201
01:06:58,520 --> 01:07:01,000
Speaker 1: can say is that I think the intercutting with the

1202
01:07:01,000 --> 01:07:04,080
Speaker 1: scenes of World War two is supposed to suggest something,

1203
01:07:04,280 --> 01:07:07,160
Speaker 1: but I can't form anything coherent about it that really

1204
01:07:07,160 --> 01:07:10,520
Speaker 1: connects with anything else in the movie. Yeah, but it

1205
01:07:10,640 --> 01:07:13,440
Speaker 1: it all like there's it almost makes sense in a

1206
01:07:13,480 --> 01:07:16,480
Speaker 1: way that is um that they really you know, pulls

1207
01:07:16,520 --> 01:07:19,160
Speaker 1: that your your brain strings, you know, you can't quite

1208
01:07:19,200 --> 01:07:20,880
Speaker 1: get out of mind, like, well was it. It's almost

1209
01:07:20,920 --> 01:07:24,280
Speaker 1: saying something coherently or some my coherently, and I just

1210
01:07:24,320 --> 01:07:27,080
Speaker 1: can't make out what it might be saying. Well, you know,

1211
01:07:27,120 --> 01:07:28,880
Speaker 1: I I think I've said on the show before that.

1212
01:07:29,040 --> 01:07:33,200
Speaker 1: I sometimes have a probably an unusually high tolerance for

1213
01:07:33,320 --> 01:07:36,360
Speaker 1: unanswered questions in in fiction and movies. I mean, I

1214
01:07:36,600 --> 01:07:39,880
Speaker 1: often think that it's a it's better to leave things

1215
01:07:39,880 --> 01:07:43,160
Speaker 1: a mystery than to answer them in an unsatisfying way.

1216
01:07:43,680 --> 01:07:46,520
Speaker 1: But I mean, sometimes you can just leave people hanging

1217
01:07:46,800 --> 01:07:50,600
Speaker 1: too much. Like I feel like if if the director

1218
01:07:50,640 --> 01:07:53,200
Speaker 1: truly had something like that in mind, you could have

1219
01:07:53,200 --> 01:07:56,520
Speaker 1: put a few more pointers in there. Yeah. I guess

1220
01:07:56,520 --> 01:07:59,120
Speaker 1: what we're trying to say is blood beat. It's a

1221
01:07:59,160 --> 01:08:04,320
Speaker 1: Christmas miracle. Oh yeah, Christmas. I forgot about that part.

1222
01:08:05,080 --> 01:08:08,240
Speaker 1: That's why you picked it. Yeah, yeah, it really didn't

1223
01:08:08,320 --> 01:08:10,040
Speaker 1: do a lot of thinking about like what is this

1224
01:08:10,080 --> 01:08:12,160
Speaker 1: saying about Christmas? I guess it's not really saying anything

1225
01:08:12,160 --> 01:08:15,360
Speaker 1: about Christmas, but it takes place at Christmas. Christmas is

1226
01:08:15,400 --> 01:08:20,440
Speaker 1: the reason, uh for these people coming together and psychically

1227
01:08:20,479 --> 01:08:24,840
Speaker 1: manifesting a Samurai warrior to kill everybody. So yeah, I

1228
01:08:24,840 --> 01:08:27,880
Speaker 1: gotta say I I on the whole, I enjoyed it.

1229
01:08:27,960 --> 01:08:30,519
Speaker 1: I've certainly not board, but this is one of the

1230
01:08:30,520 --> 01:08:33,880
Speaker 1: most befuddling films we have we have watched for this show,

1231
01:08:33,960 --> 01:08:39,040
Speaker 1: yet I agree, So out there you might be wondering, well,

1232
01:08:39,040 --> 01:08:42,839
Speaker 1: how can I get on this in on this holiday befuddlement. Well, um,

1233
01:08:42,840 --> 01:08:44,800
Speaker 1: this movie is out there if you're looking for it.

1234
01:08:45,080 --> 01:08:47,400
Speaker 1: I streamed it on shutter uh and I think it

1235
01:08:47,479 --> 01:08:50,759
Speaker 1: may be available via some other online services as well.

1236
01:08:50,960 --> 01:08:53,839
Speaker 1: It was also released on Blu ray by Vinegar Syndrome

1237
01:08:53,880 --> 01:08:56,559
Speaker 1: a few years back. And Uh, like I mentioned earlier,

1238
01:08:56,600 --> 01:08:59,800
Speaker 1: that actually includes an interview with the director. Uh So

1239
01:09:00,120 --> 01:09:02,599
Speaker 1: if you're really curious, maybe you can you can get

1240
01:09:02,600 --> 01:09:05,000
Speaker 1: your hands on that disk and maybe maybe even answer

1241
01:09:05,000 --> 01:09:06,960
Speaker 1: some of these questions that we have. I I don't know,

1242
01:09:07,040 --> 01:09:10,120
Speaker 1: but I'm guessing probably not. But yeah, I would say

1243
01:09:10,200 --> 01:09:11,800
Speaker 1: still go back to what we said earlier. I am

1244
01:09:11,880 --> 01:09:15,920
Speaker 1: I admire the ambition here because, you know, a lesser

1245
01:09:16,560 --> 01:09:18,920
Speaker 1: you know, director and writer might have just said, Hey,

1246
01:09:18,960 --> 01:09:22,479
Speaker 1: we're gonna have some crazy person in a samurai a

1247
01:09:22,520 --> 01:09:25,080
Speaker 1: suit of samurai armor is gonna start killing people, and

1248
01:09:25,080 --> 01:09:27,120
Speaker 1: that's all you need to know. Just somebody was crazy

1249
01:09:27,120 --> 01:09:29,960
Speaker 1: and they put on some some you know, armor and

1250
01:09:30,000 --> 01:09:33,280
Speaker 1: grab the sword and you know that that's it. But no,

1251
01:09:33,400 --> 01:09:37,720
Speaker 1: this film went for something far more elaborate, and uh,

1252
01:09:37,800 --> 01:09:40,840
Speaker 1: you know, it's one of the things that makes it interesting. Yeah, Yeah,

1253
01:09:40,880 --> 01:09:46,280
Speaker 1: it is definitely the only Franco wisconsinite psychic art house

1254
01:09:46,439 --> 01:09:51,920
Speaker 1: Christmas slasher movie I've ever seen. All Right, Well, if

1255
01:09:51,960 --> 01:09:54,479
Speaker 1: you want to check out other episodes of Weird House Cinema,

1256
01:09:54,600 --> 01:09:56,519
Speaker 1: you can catch it every Friday and the Stuff to

1257
01:09:56,560 --> 01:09:59,479
Speaker 1: Blow Your Mind podcast feed were primarily a science and

1258
01:09:59,520 --> 01:10:03,439
Speaker 1: culture podcast with episodes on Tuesdays and Thursdays, but we

1259
01:10:03,560 --> 01:10:05,760
Speaker 1: do listener mail on Mondays. We do a short form

1260
01:10:05,840 --> 01:10:09,040
Speaker 1: artifact episode on Wednesdays and on Friday. That's our time

1261
01:10:09,120 --> 01:10:13,160
Speaker 1: to set most serious matters of aside and just get

1262
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Speaker 1: into a little Weird House Cinema. Huge thanks as always

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Speaker 1: to our excellent audio producer Seth Nicholas Johnson. If you

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Speaker 1: would like to get in touch with us with feedback

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Speaker 1: on this episode or any other, to suggest topic for

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Speaker 1: the future, or just to say hello, you can email

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Speaker 1: us at contact at stuff to Blow your Mind dot com.

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Speaker 1: Stuff to Blow Your Mind is production of I Heart Radio.

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Speaker 1: For more podcasts my Heart Radio, visit the I Heart

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Speaker 1: Radio app, Apple Podcasts, or wherever you listen to your

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Speaker 1: favorite shows.