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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 uh

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Speaker 1: to set us up for the movie that we're gonna

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Speaker 1: be talking about today, I wanted to discuss a problem

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Speaker 1: that often arises when you're making a monster movie, and

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Speaker 1: that is the problem of picking which kind of monster

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Speaker 1: to commit to. You know, it's like, uh uh, maybe

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Speaker 1: the family is going out to dinner and everybody's trying

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Speaker 1: to decide, oh, where should we go? You know, somebody

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Speaker 1: with you know brother brother Daryl wants to go to

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Speaker 1: the steakhouse, and and Grandpa wants to go to the

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Speaker 1: Mexican restaurant, and so forth. Everybody wants something different. They

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Speaker 1: can all have it at the same place, unless you

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Speaker 1: go to the king size buffet where you can get

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Speaker 1: a little bit of everything on your plate. And that's

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Speaker 1: what's going on at the movie today. They decided why

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Speaker 1: commit to just one kind of monster? You know, why

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Speaker 1: make a movie just about a like monster baboon hagbride

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Speaker 1: or a little diminutive rubber merman, goblin or fart zombies

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Speaker 1: or a cast member from Cats that has a hook hand.

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Speaker 1: What if you could just put them all in the

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Speaker 1: same movie and let them all run wild. Yeah, and

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Speaker 1: that is very much the case with the movie we're

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Speaker 1: talking about here today. This is gonna be Spookies from

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Speaker 1: six a great year for genre films, though I can't

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Speaker 1: lay I we can't credit Spookies for really being a

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Speaker 1: part of that. This is this is not a great movie.

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Speaker 1: This this may be one of the worst movies we've

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Speaker 1: we've discussed for for Weird House, But you know, we're

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Speaker 1: still gonna We're still gonna focus on the positives. It

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Speaker 1: does have some positives, and I think the monster Buffet

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Speaker 1: is the big one, because, Yeah, when you mentioned this,

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Speaker 1: I was trying to think of other films that really

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Speaker 1: hit the same caliber, uh, you know, of of just

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Speaker 1: having multiple different types of monsters. And I mean I

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Speaker 1: thought of Gremlins too, but then again, even though those

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Speaker 1: are diverse types of Gremlins, they're still gremlins. I thought

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Speaker 1: of Monster Squad, but that is still a case where

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Speaker 1: those are all like universal monsters that are that have

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Speaker 1: been historically paired together, so it's not that weird, it's

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Speaker 1: established um or. I thought of say, thirteen ghosts. Both

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Speaker 1: versions of it, but especially the later version of it

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Speaker 1: was a lot of fun. Had thirteen very different types

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Speaker 1: of ghosts, but they were all still essentially ghosts. I

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Speaker 1: keep meaning to watch that one, Rachel, and I love

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Speaker 1: those like late nineties terrible monster movie remakes, you know,

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Speaker 1: the nineties, Uh, what's it called? House on Haunted Hill

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Speaker 1: and all that, and thinking we're gonna watch thirteen ghosts.

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Speaker 1: Maybe this is the year it is? It is. I've

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Speaker 1: heard it's loud and the scriptor I've heard a plaed

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Speaker 1: to it. It's loud, it's got a good cast, and

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Speaker 1: it's some neat ghosts in it. But but but okay, yeah,

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Speaker 1: I see the point you're making. So, yeah, monster Squad,

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Speaker 1: and and that combines all of the classic universal monsters

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Speaker 1: into one thing. So you've got like a uh an

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Speaker 1: Off brand creature from the Black Lagoon, you got a Wolfman,

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Speaker 1: you've got a Mummy, you gotta Dracula and so forth.

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Speaker 1: But this one, yeah, I like that. This is like

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Speaker 1: a Monster Squad, but for obscure or previously unknown monsters

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Speaker 1: or monsters that you would not think of is going

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Speaker 1: in a monster movie. So it does have sort of

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Speaker 1: uh sort of like dirt caked fart zombies that the

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Speaker 1: just uh, the just exude flatulence as they chase people

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Speaker 1: around in a room. And it does have this like

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Speaker 1: baboon bride creature. It does have a like a lady

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Speaker 1: who turns into a giant spider. I think maybe she's

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Speaker 1: supposed to be a certain kind of yokai um. But

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Speaker 1: it's also got like a if you bought a one

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Speaker 1: of those grim reapers that goes on your lawn for

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Speaker 1: Halloween and raises the scythe up and down and goes

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Speaker 1: whoa when people walk by, but it came to life

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Speaker 1: and started attacking people. It has that, And it's also

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Speaker 1: just got a Jawa, yeah, sort of a yeah, kind

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Speaker 1: of a child vampire jawa running around. Yeah. There, there's

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Speaker 1: there's a lot of a lot of stuff here, and

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Speaker 1: there's not really a good reason why it's all there.

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Speaker 1: This is not a movie that's really concerned why people

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Speaker 1: or monsters have any reason to be in the same

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Speaker 1: place at the same time, and yet there they are. Well,

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Speaker 1: this movie did get me thinking about one thing. I

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Speaker 1: think maybe maybe maybe the weird structure of this film

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Speaker 1: gave me a sort of insight into a curiosity, a

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Speaker 1: type of curiosity that powers the construction of certain horror movies,

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Speaker 1: and it is I think the same type of curiosity

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Speaker 1: that leads people to make those Um this might be

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Speaker 1: overly nerdy and obscure, but have you ever seen those

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Speaker 1: videos people make on the internet where they just take

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Speaker 1: like some like real time strategy video game and they

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Speaker 1: just keep pairing different kind of units from the game

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Speaker 1: against each other and seeing which one wins. What I'm

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Speaker 1: talking about, Okay, so here's my you know, power Mac

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Speaker 1: marine versus the the alien screamer queen, and uh, you

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Speaker 1: know which one will be victorious. You just do that

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Speaker 1: a hundred times, the different types of units. I think

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Speaker 1: sometimes eighties horror movies especially kind of work that way.

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Speaker 1: But they work with a certain kind of monster or slasher,

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Speaker 1: and then with certain types of human stereotypes or or

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Speaker 1: personality archetypes. So it's like, what does a nerd versus

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Speaker 1: hockey mask slasher look like? Or what does preppy rich

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Speaker 1: kid versus merman grimlin look like? You know, it's like

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Speaker 1: the bug fights, but with with human stereotypes on one

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Speaker 1: side and different types of monsters on the other. Does

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Speaker 1: that make any sense. Yeah, yeah, I can see that

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Speaker 1: that definitely being a part of the alchemy going into

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Speaker 1: some of some of those pictures, But in this case

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Speaker 1: it's not. This does not feel like the product of

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Speaker 1: an alchemy lab. This seems like the lab has been

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Speaker 1: ransacked and all the liquids are are mixing together on

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Speaker 1: the table and making random explosions. Oh, this movie does

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Speaker 1: have some really good random explosions. You don't see him coming? No, um, so, spookies,

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Speaker 1: I guess we should talk about what the basic Elevator

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Speaker 1: Vader pitch here is. Um. Basically, the plot, such as

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Speaker 1: it exists, is that people, random people are drawn to

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Speaker 1: a weird house in a graveyard where Warlock is trying

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Speaker 1: to bring his brideback to life, and equally random monsters

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Speaker 1: rampage through the shambles of what is essentially a kind

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Speaker 1: of resurrected film. I also was thinking of it in

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Speaker 1: terms of what if Troll Too had lacked vision and

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Speaker 1: just featured more monsters, what a Control Too was more

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Speaker 1: of a hodgepodge instead of like one one director's clear

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Speaker 1: artistic vision realized to its fullest extent. Right, So yeah,

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Speaker 1: I think for me this film was worse control to this.

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Speaker 1: I think this is the worst film we've we we've

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Speaker 1: looked at on Weird House and uh and I think

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Speaker 1: ultimately I would like not to return to its level.

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Speaker 1: But there's still some fun stuff to talk about here.

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Speaker 1: Well wait, then, how did you end up on this one?

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Speaker 1: What what led you to Spookies? Um? I was familiar

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Speaker 1: with the title, and I had signed up for Shutter

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Speaker 1: to watch a previous film that we had covered. I

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Speaker 1: forget which one, and I was slipping around and there

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Speaker 1: was Spooky, So I thought, well, I'm gonna start watching it.

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Speaker 1: Let's see what this is like. Okay, So that's that's

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Speaker 1: how it came to be. And oh, in the other

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Speaker 1: part this is important too. This was right before the

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Speaker 1: Labor Day weekend, and I knew we had a shortened

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Speaker 1: week coming up, and we were talking about doing, um

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Speaker 1: another movie that I think we're gonna be doing for

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Speaker 1: next week that is a much better film and has

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Speaker 1: some more uh I don't know discuss It has some

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Speaker 1: some plot points in that they're gonna be worth discussing more.

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Speaker 1: And I thought, well, let's save that for next week

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Speaker 1: when we have a little more time. Spookies is perhaps

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Speaker 1: the that the right amount of movie for what we

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Speaker 1: have time to put together. Okay, I got another question.

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Speaker 1: The title Spookies. Does it refer to the buffet of

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Speaker 1: different kinds of monsters? Are they? Are they the titular spookies?

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Speaker 1: I guess, I guess so. I mean I've never heard

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Speaker 1: of spooky as a now and that's an adjective, right,

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Speaker 1: I think the title sometimes it makes me think of

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Speaker 1: things like the jeepers creepers, or phrases like that, or

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Speaker 1: the hebe gebes or something where I'm like, oh, well,

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Speaker 1: maybe the ideas this film is supposed to give me

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Speaker 1: the creepies, Like I have the creepies now because I

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Speaker 1: watched this film. Do you mean the spookies the spookies?

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Speaker 1: What I say, the creepies, Okay, creep Okay, yeah, I

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Speaker 1: have the spookies because I watched the film. I don't know.

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Speaker 1: That's That's as much as I could figure out. Well.

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Speaker 1: I wondered also though, if it was um if it's

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Speaker 1: a little like shortened kind of short cute word with

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Speaker 1: an S at the end, because it's in the era

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Speaker 1: of the Gromlins type movies, so you know, Gremlin's critters

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Speaker 1: and all that if it was trying to cash in

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Speaker 1: on that, uh Google, is that sort of thing? Did

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Speaker 1: they think, Okay, we need something like that to get

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Speaker 1: the people picking up the box in the video store?

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Speaker 1: How about spookies? Yeah yeah, it was probably something like that.

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Speaker 1: All right, Well, let's let's give everyone a taste of

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Speaker 1: the trailer audio here so you'll you'll know what you're

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Speaker 1: getting into a little bit more. What's this supposed to be?

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Speaker 1: Sort of like a part cheesy game or something. I

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Speaker 1: know what this is. I mean, I've never seen one

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Speaker 1: like this before. It's wegi board. Well, how do you play?

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Speaker 1: Don't you need? Dice? Is something you don't play? Board

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Speaker 1: is a tool for communication, communication with the dead? All right? Well,

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Speaker 1: one way you know this is going to be a

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Speaker 1: really good movie is that it has three directors. Yeah. Yeah,

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Speaker 1: and and from the get go it apparently had two directors. Um. Now,

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Speaker 1: when you get into the production history of this film,

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Speaker 1: we're not going to really get into it a lot.

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Speaker 1: There's there's a whole documentary that is a special feature

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Speaker 1: on the Vinegar Syndrome Blu ray for this and that

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Speaker 1: feature is that that that making a feature is longer

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Speaker 1: than the film itself has a lot of interviews and

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Speaker 1: if you're if you're super into all the nitty gritty

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Speaker 1: of of the production of this sort of film, then

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Speaker 1: I would say go check that out. But ultimately I

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Speaker 1: feel like a lot of it was maybe maybe too

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Speaker 1: much for me. Like I ultimately I love a movie

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Speaker 1: of this caliber, but I don't necessarily need all the

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Speaker 1: ins and outs of how it has made. But you know,

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Speaker 1: you're my lege will vary, but essentially the key factors

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Speaker 1: to keep in mind here is you had you had

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Speaker 1: these two directors who had Thomas Dorian and you had

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Speaker 1: Brendan Faulkner, and they were the initial directors. And the

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Speaker 1: producer was this guy Michael Lee, who was has been

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Speaker 1: described as as like a video nasty millionaire who made

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Speaker 1: a lot of money importing films into Britain during the

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Speaker 1: period where a lot of these were banned. His company,

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Speaker 1: I think was was v I Pico Vera VIPKO, and

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Speaker 1: he wanted to produce a film. These guys already had

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Speaker 1: sort of a pre existing vision and then as a

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Speaker 1: producer he had a certain amount of insight into what

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Speaker 1: he wanted. Um they shot this film that was going

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Speaker 1: to be titled Twisted Souls, and then that a relationship

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Speaker 1: fell apart and another director was brought in to finish it,

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Speaker 1: and that's this director, Genie Joseph. She ended up directing

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Speaker 1: additional footage and completing the picture. And so what we

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Speaker 1: have on screen here is is one picture, but there

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Speaker 1: you can tell where stuff was added. There's this whole

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Speaker 1: additional plot where where there are characters who you never

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Speaker 1: see on screen together, so you you can tell. I

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Speaker 1: think what the framing narrative is. So if I understand correctly,

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Speaker 1: the plot about the party kids who drive around in

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Speaker 1: the woods and then end up at a house, a

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Speaker 1: random house in the woods, go into the house and

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Speaker 1: then are attacked by a buffet of different kinds of monsters.

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Speaker 1: That was the original film. And then the framing narrative

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Speaker 1: where there is an evil old warlock who is who

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Speaker 1: is sacrificing people who wander into his house to the

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Speaker 1: monsters in order to revive his dead bride. That is

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Speaker 1: the framing narrative that was that was later added to

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Speaker 1: sort of boost this up to feature length, right, And yeah, ultimately,

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Speaker 1: like I said, don't want, I don't want to get

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Speaker 1: into all the ins and outs of the production. Um.

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Speaker 1: I did watch the feature att but uh or the

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Speaker 1: feature rather, it's it's pretty too long to be a

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Speaker 1: feature atte. But I would say that the features simo

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Speaker 1: featurissimo here. Uh. You know, I don't think the film

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Speaker 1: was ever going to be good. This is not like

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Speaker 1: this was on track to be something and and it

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Speaker 1: was changing into something else. I don't think there's a

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Speaker 1: case to be made for like release the Twisted Souls

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Speaker 1: cut or anything of that nature. Um I, I don't.

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Speaker 1: I think the film is as fun and memorable as

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Speaker 1: it is because you have so much weird stuff going on,

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Speaker 1: and you have these two different energies involved in it. Um.

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Speaker 1: So yeah, I mean, it wouldn't be Spooky's if it

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Speaker 1: wasn't this ridiculous. I gotta say it does make for

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Speaker 1: some extremely funny moments, uh, the inner cutting between the

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Speaker 1: different plots, because first of all, it gives it an

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Speaker 1: energy similar to Pod People, where it has at the beginning,

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Speaker 1: like the A, B and C plot, and it's frantically

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Speaker 1: cutting back and forth between them at such a pace

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Speaker 1: that that you're constantly trying to figure out which movie

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Speaker 1: you're in. Um. But then also to to stay on

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Speaker 1: the mystery science theater theme for a second. It sometimes

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Speaker 1: seems almost as if the Warlock in the framing narrative

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Speaker 1: is sort of riffing the movie in in the middle,

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Speaker 1: So like the the kids will be walking through the

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Speaker 1: house and one of them will make a comment to say, like, uh, wow,

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Speaker 1: the so the lights in this place still work? Maybe

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Speaker 1: somebody lives here, and then it'll cut to the Warlock

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Speaker 1: a different room, different place. You're not even sure where

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Speaker 1: he is, but he'll go someone does still live here. Yeah,

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Speaker 1: I that was a moment that I definitely laughed out.

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Speaker 1: Lad Uh. Yeah. The resulting energy is is is weird

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Speaker 1: and wonderful. It also feels a bit like the stuff

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Speaker 1: with the Warlock that was at it. It's it's it's

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Speaker 1: like you decided to make a horror anthology, but you

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Speaker 1: only had the one picture to draw upon. Because there's

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Speaker 1: certainly been cases where you have like different productions that

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Speaker 1: were unfinished or or were recut, and then you have

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Speaker 1: them rereleased as part of a horror anthology. Was some

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Speaker 1: sort of a framing framing narrative in place, but in

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Speaker 1: this case, it's just one the one picture. Yeah, Yeah,

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Speaker 1: it's a framing narrative around one movie that was not

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Speaker 1: going to make it to feature length. I'd say that

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Speaker 1: core movie is what maybe sixty minutes? Yeah, yeah, I mean,

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Speaker 1: I'm not sure how much stuff got got cut. I

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Speaker 1: know some stuff got cut, but um, is it stuff

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Speaker 1: that would have really that I really wanted to see

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Speaker 1: instead of this wizard and his strange cat creature? I'm

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Speaker 1: not sure. All right, well, let me let me go

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Speaker 1: ahead and mention some of the other projects that some

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Speaker 1: of the other folks were involved in here. So Thomas

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Speaker 1: Duran again co director co writer on Twist the Twisted

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Speaker 1: Souls portion of this UM. Interestingly enough, he was the

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Speaker 1: voice of the monster in Devil's Express, starring Warhawk Tanzania. Yeah,

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Speaker 1: so I gotta give him credit for that. He also

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Speaker 1: worked on a spattering of other genre pictures. Brendan Faulkner Uh,

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Speaker 1: also the co director co writer on Twisted Souls, wrote

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Speaker 1: in direct Killer Dead. Genie Joseph, who finished the film UM.

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Speaker 1: She wrote and directed the horror like Mind Benders. I

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Speaker 1: have not seen this, but I looked it up. Apparently

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Speaker 1: it's also known as Invasion of the Mind Benders, and

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Speaker 1: the VHS cover definitely made me laugh out loud, so

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Speaker 1: it says invasion of the mind Benders. And then it

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Speaker 1: has like a lady on fire and she's shooting rays

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Speaker 1: of light out of her eyeballs over a guy who

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Speaker 1: who's looking up in enraptured at a bunch of clouds.

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Speaker 1: And then next to it, it's got a tagline says

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Speaker 1: controlling a mind is a dangerous thing. I like how

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Speaker 1: this does look like a a horror paperback from the eighties,

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Speaker 1: So oh yeah, it's got looks more like book art

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Speaker 1: than the movie art um and a plot description from

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Speaker 1: IMDb on Mind Benders says two teenagers noticed a sudden

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Speaker 1: change and their fellow students. No one is able to

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Speaker 1: explain this zombie like behavior, which, at the command of

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Speaker 1: an unseen alien, makes them punish transgressors with merciless violence. Alright,

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Speaker 1: so most of the there are a lot of people

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Speaker 1: involved in this. There's a lot of there's a lot

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Speaker 1: of of loving attention pay to the monsters, and we're

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Speaker 1: ultimately not gonna be able to mention all of them

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Speaker 1: by name, but I want to mention a few of

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Speaker 1: them as well as the writers involved here. So Jennifer

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Speaker 1: aspin All was in the makeup department, went on to

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Speaker 1: work on a on a lot of projects including Westworld,

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Speaker 1: Captain Marvel, and Saturday Night Live. There's a Frankie m

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Speaker 1: Ferrell who who was one of the writers on the screenplay.

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Speaker 1: He also produced N seven Street Trash. That's a melt

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Speaker 1: movie that we've discussed before, and Burgund was a writer

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Speaker 1: additional material plus costume design. She was also associate producer

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Speaker 1: on the Mask. Yes, the one with Jim Carey in

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Speaker 1: a green cartoon face. So did Anne Bergend do the

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Speaker 1: costumes and the because we're gonna have some commentary on

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Speaker 1: the costumes, she at least did some of them. But

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Speaker 1: also you have this guy Tom Malinelli, who is credited

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Speaker 1: with art direction, art department and costume design. This is

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Speaker 1: another individual who worked on Street Trash. Okay, there's a

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Speaker 1: guy by the name of al Maglioschetti who plays Lewis

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Speaker 1: Wilson in this. I don't remember which one Lewis Wilson was,

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Speaker 1: but he also did special effects photography. He went on

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Speaker 1: to do visual effects and a lot of big pictures

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Speaker 1: including Star Trek, The Undiscovered Country, Water World, uh T two,

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Speaker 1: Bill and Ted's Bogus Journey. The Adams Family, Jason goes

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Speaker 1: to Hell and many others. Oh. In fact, so I

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Speaker 1: see the connection to uh T two there. But the

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Speaker 1: camera operator, the steadicam operator in this movie j Michael Murrow,

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Speaker 1: I think, also did steady caam for a lot of

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Speaker 1: James Cameron movies, including Terminator Too. Yeah, this is an

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Speaker 1: individual that I believe Michael Weldon pointed out as being

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Speaker 1: involved in this picture in his right up in one

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Speaker 1: of the psychotronic uh in the Psycotronic Video Guide or

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Speaker 1: the Psychotronic Video Guide or the Guide to Film, I

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Speaker 1: can't remember which one. Now, getting into the actors a

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Speaker 1: little bit, there are a number of actors in this

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Speaker 1: who didn't really have any other credits. But my favorite

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Speaker 1: actor in in this whole picture is Peter Assillo Jr.

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Speaker 1: He plays rich is uh Oh, I would say the

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Speaker 1: richest character in this film. Um, how would we describe him?

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Speaker 1: He's the he's the cut up, He's the He's a Ham,

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Speaker 1: He's a Ham, He's constant Ham, glorious Ham, He's a ham.

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Speaker 1: Who's You get the sense that he's improvising a lot

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Speaker 1: of his lines. There are scenes of just um where

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Speaker 1: where it feels like what happened is they just turned

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Speaker 1: the camera on him and they're like, Rich, come on,

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Speaker 1: you know, just riff a little bit. And so he'll

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Speaker 1: like wander around kind of bumping into the other characters

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Speaker 1: and be like, hey, hey, how's your sinuses and stuff

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Speaker 1: like that. He also, uh is it plays a character

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Speaker 1: who loves beer. Uh, And it's clear he loves beer

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Speaker 1: because even after the monsters started attacking and all everything

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Speaker 1: goes crazy, he's still always got his beer in his hand. Yeah,

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Speaker 1: he's he's a lot of fun in this. He's like

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Speaker 1: them tall mustachioed guy that was apparently in real life

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Speaker 1: was just always on just was always the goofy cut

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Speaker 1: up and was much beloved. Um and and so he

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Speaker 1: brings that exact same energy to this role. His character

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Speaker 1: Rich has a puppet named Muck, and so he's off.

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Speaker 1: He's constantly interacting and harassing the other characters with this puppet.

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Speaker 1: And he wears a T shirt that pit ficture features

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Speaker 1: an image of himself and the puppet mouke on it. Right.

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Speaker 1: So uh, he lived ene through two thousand and seventeen.

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Speaker 1: He uh, he played an uncredited zombie and Don of

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Speaker 1: the Dead and then went on to do a lot

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Speaker 1: of bit parts, um and things, often freaks and crazy,

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Speaker 1: sometimes background work. I noticed he pops up even in

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Speaker 1: an episode of thirty Rock playing paparazzi character, so you know,

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Speaker 1: just somebody click the camera in the background. But then

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Speaker 1: we also have this character, Duke, This Duke so interesting.

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Speaker 1: How would you how would you describe Duke to everyone?

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Speaker 1: Duke is a is a fabulous bully. He's sort of

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Speaker 1: the like tough guy, bad guy, bad boy of the group. Um,

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Speaker 1: it's hard to convey by describing, but a lot of

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Speaker 1: the scenes with Duke in them have this bizarre rhythm

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Speaker 1: and logic that you sort of get, you get a

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Speaker 1: feel for as the movie goes on, but it can't

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Speaker 1: really be compared to anything else I can think about.

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Speaker 1: Gonna try to describe one scene just to give you

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Speaker 1: an idea of like of duke rhythm, and it goes

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Speaker 1: like this, So like they're in the house and Duke

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Speaker 1: just pulls a box off the shelf and he opens

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Speaker 1: it and an amulet flies out of the box onto

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Speaker 1: the floor. And then this other character named Carol picks

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Speaker 1: up the amulet and she says, isn't it wonderful? And

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Speaker 1: he goes, pretty damn weird. If you ask me, what

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Speaker 1: is it art or something? I think it's worth any money.

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00:21:59,800 --> 00:22:03,760
Speaker 1: And then he immediately from saying this line, turns his

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Speaker 1: head to the side and sees a door that has

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Speaker 1: just been behind him the whole time, and then he goes,

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Speaker 1: what the hell is in here? And he starts jostling

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Speaker 1: the lock frantically, and then he breaks a chair across

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Speaker 1: the door and starts shoving a board into the door jam,

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Speaker 1: trying to pry it open. This is duke energy, would

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Speaker 1: you agree? Yes, yes, very much so, he um. I.

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Speaker 1: In my notes, I've noted that he was essentially a

399
00:22:31,560 --> 00:22:35,840
Speaker 1: discount Fonzie in a trash bag because he's wearing this

400
00:22:35,960 --> 00:22:39,560
Speaker 1: weird cost him. He's wearing plastic clothes like a shirt

401
00:22:39,600 --> 00:22:42,640
Speaker 1: and pants that are they look like they're made from

402
00:22:42,640 --> 00:22:48,200
Speaker 1: the same material material as like black heavy duty garbage bags. Yeah.

403
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Speaker 1: I don't know if it's like the workout thing or what.

404
00:22:51,080 --> 00:22:53,320
Speaker 1: I don't know that that that is literally what it

405
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Speaker 1: looks like it's made out of. And I, oh, yeah,

406
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Speaker 1: I have no explanation. Um my. One of my early

407
00:23:00,160 --> 00:23:03,000
Speaker 1: theories watching this film was that he was perhaps like

408
00:23:03,040 --> 00:23:06,360
Speaker 1: the frontman of a band or something, and that are

409
00:23:06,480 --> 00:23:09,280
Speaker 1: the characters. The human characters in this film. It's essentially

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Speaker 1: like a band and some hangers on and like maybe

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Speaker 1: they're older, producer. But this is a complete misread on

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Speaker 1: my part because there's nothing to support that in the film.

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Speaker 1: There's nothing to support any actual connections between any of

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00:23:23,480 --> 00:23:26,280
Speaker 1: these human characters. Well, this gets you to something about

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00:23:26,359 --> 00:23:28,040
Speaker 1: the movie, which is that it has one of my

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Speaker 1: absolute favorite horror movie tropes, which is the utterly implosible

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Speaker 1: friend group. Uh, you know many eighties movies especially have

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Speaker 1: this is the eighties were the decade of the implausible

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Speaker 1: friend group movie. Though you know, it still happens every

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Speaker 1: now and then. But I think you probably know what

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00:23:44,000 --> 00:23:46,600
Speaker 1: I'm talking about. But if not, just picture this. Okay,

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Speaker 1: So it's a horror movie. You've got a group of

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Speaker 1: friends hanging out. Maybe they're going to somebody's uncle's cabin

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Speaker 1: in the woods, or they're driving around looking for a

425
00:23:53,400 --> 00:23:56,080
Speaker 1: party as in this movie, or something like that, and

426
00:23:56,119 --> 00:24:00,200
Speaker 1: the group consists of people who would never in reality

427
00:24:00,080 --> 00:24:03,239
Speaker 1: to be hanging out together. What you usually get is

428
00:24:03,680 --> 00:24:08,800
Speaker 1: either one or two of each teen subculture archetype that

429
00:24:08,880 --> 00:24:12,359
Speaker 1: the movie wants to show, So you get like a jock,

430
00:24:12,920 --> 00:24:18,399
Speaker 1: a nerd, a punk, a stoner, preppy, rich kid, et cetera,

431
00:24:18,920 --> 00:24:21,920
Speaker 1: instead of what you would imagine would happen in reality,

432
00:24:21,960 --> 00:24:24,240
Speaker 1: which is you'd have like a group of jocks or

433
00:24:24,280 --> 00:24:27,200
Speaker 1: like a group of nerds, a group of stoners, and

434
00:24:27,200 --> 00:24:30,159
Speaker 1: and that would be the friend group. Yeah, yeah, I

435
00:24:30,160 --> 00:24:32,640
Speaker 1: mean it's sometimes and I guess in your better films,

436
00:24:33,440 --> 00:24:36,720
Speaker 1: you see a diverse group of people brought together by

437
00:24:36,880 --> 00:24:41,280
Speaker 1: by circumstances that then have to survive the monster. Oftentimes

438
00:24:41,359 --> 00:24:44,840
Speaker 1: maybe yeah, like maybe it's uh, you know, it's stoner's

439
00:24:44,880 --> 00:24:48,760
Speaker 1: and greaser's because they're both fleeing a storm or something

440
00:24:48,800 --> 00:24:50,760
Speaker 1: and we're holding up in the same place and now

441
00:24:50,760 --> 00:24:53,640
Speaker 1: where have we Now we have to fight goblins or something. Right,

442
00:24:53,680 --> 00:24:55,480
Speaker 1: That's more like you'd get in a Night of the

443
00:24:55,520 --> 00:24:58,040
Speaker 1: Living Dead. You know, different people are sort of driven

444
00:24:58,080 --> 00:25:01,400
Speaker 1: into a into a house by the zombies attacking. It's

445
00:25:01,440 --> 00:25:03,520
Speaker 1: not like they were all hanging out to begin with.

446
00:25:04,320 --> 00:25:07,159
Speaker 1: But in this film, everyone was hanging out to begin with,

447
00:25:07,280 --> 00:25:10,639
Speaker 1: and we're given no explanation why that would be, you know,

448
00:25:10,720 --> 00:25:12,879
Speaker 1: and I think there are a number of reasons this happens.

449
00:25:12,960 --> 00:25:14,879
Speaker 1: Number one is what I was talking about earlier. It's

450
00:25:14,960 --> 00:25:17,520
Speaker 1: kind of the bug fights mentality, Like you you want

451
00:25:17,520 --> 00:25:22,520
Speaker 1: to see different human cultural archetypes being faced with violent

452
00:25:22,560 --> 00:25:26,520
Speaker 1: struggle or extreme circumstances with that kind of like bug

453
00:25:26,560 --> 00:25:30,399
Speaker 1: fights or or video game unit versus unit mentality. Is

454
00:25:30,440 --> 00:25:33,400
Speaker 1: just kind of a basic curiosity about like how does

455
00:25:33,440 --> 00:25:36,440
Speaker 1: this one work? But there's another version of it, I

456
00:25:36,720 --> 00:25:38,680
Speaker 1: think that is sort of there at the core too,

457
00:25:38,720 --> 00:25:41,919
Speaker 1: which is the dead teenager. Movies of the eighties are often,

458
00:25:42,600 --> 00:25:47,200
Speaker 1: in essence clumsy and vulgar morality plays, and as such,

459
00:25:47,280 --> 00:25:49,720
Speaker 1: in a way, you get them trying to sort of

460
00:25:49,760 --> 00:25:53,040
Speaker 1: recreate the dynamics of the Canterbury Tales. So whereas in

461
00:25:53,080 --> 00:25:55,560
Speaker 1: the Canterbury Tales you would might get the Knight's Tale

462
00:25:55,560 --> 00:25:57,760
Speaker 1: and the Partner's Tale and the Wife of Bath, here

463
00:25:57,800 --> 00:26:00,240
Speaker 1: you get the Jock's tail and the punk's tale and

464
00:26:00,280 --> 00:26:03,600
Speaker 1: the nerds tale and uh, and those are the little

465
00:26:03,720 --> 00:26:06,520
Speaker 1: vignettes you see them them go through before they finally

466
00:26:06,600 --> 00:26:09,280
Speaker 1: meet their their end at the ultimate confrontation with the

467
00:26:09,280 --> 00:26:13,840
Speaker 1: monster or mad slasher or whatever it is. I would

468
00:26:13,880 --> 00:26:15,760
Speaker 1: have liked to have seen Rich's Tale. I guess we

469
00:26:15,800 --> 00:26:18,000
Speaker 1: do see Rich's Tale to a certain extent here, Yeah,

470
00:26:18,160 --> 00:26:22,639
Speaker 1: kind of rich rich see Partner's Tale sort of right,

471
00:26:22,680 --> 00:26:24,560
Speaker 1: but also Miller's Tale one of one of the good

472
00:26:24,640 --> 00:26:28,679
Speaker 1: humorous ones. But I totally agree with you. It works

473
00:26:28,680 --> 00:26:31,359
Speaker 1: better when there is some kind of external circumstance that

474
00:26:31,400 --> 00:26:34,600
Speaker 1: can assemble people who are are not naturally friends. But

475
00:26:34,640 --> 00:26:36,439
Speaker 1: in this movie, yeah, it's just like, well, they're all

476
00:26:36,480 --> 00:26:39,560
Speaker 1: hanging out together for no for no reason, they appear

477
00:26:39,640 --> 00:26:42,520
Speaker 1: to hate each other. Yeah, yeah, there there's there's tension

478
00:26:42,560 --> 00:26:45,200
Speaker 1: from the very beginning. Yeah, but we don't really know

479
00:26:45,800 --> 00:26:48,399
Speaker 1: why there's it's not explained, but it's the kind of

480
00:26:48,440 --> 00:26:52,000
Speaker 1: tension that eventually erupts into a full fledged fist fight

481
00:26:52,119 --> 00:26:55,800
Speaker 1: between two of the characters. In fact, between Duke and

482
00:26:56,080 --> 00:26:58,840
Speaker 1: the older guy who I thought was maybe a a

483
00:26:58,880 --> 00:27:02,000
Speaker 1: manager of some sort. They have like an epic quiet

484
00:27:02,119 --> 00:27:06,320
Speaker 1: man asked, fist fight. Yes, and I'm not really sure

485
00:27:06,320 --> 00:27:10,240
Speaker 1: why it occurs. Oh, man, that seems good. Oh and

486
00:27:10,240 --> 00:27:13,320
Speaker 1: and like their girlfriends are they're just like watching them fight,

487
00:27:13,480 --> 00:27:15,560
Speaker 1: and one of them is like, should we stop them?

488
00:27:15,560 --> 00:27:17,439
Speaker 1: And the other one is basically like, no, just let

489
00:27:17,480 --> 00:27:20,680
Speaker 1: them go. And if they've been to set by multiple

490
00:27:20,760 --> 00:27:23,800
Speaker 1: monsters at this point so yeah, it's just not a

491
00:27:23,800 --> 00:27:25,879
Speaker 1: good time for a fist fight. Okay, well, are you

492
00:27:25,920 --> 00:27:28,520
Speaker 1: ready to talk a little more about the plot? Yes,

493
00:27:28,680 --> 00:27:31,159
Speaker 1: such as it is, let's let's get into the plot.

494
00:27:31,520 --> 00:27:33,600
Speaker 1: Uh what So. One of the first things that had

495
00:27:33,640 --> 00:27:36,399
Speaker 1: me laughing in this movie was, I know, this was

496
00:27:36,440 --> 00:27:38,960
Speaker 1: the title of the original film before it was recut

497
00:27:38,960 --> 00:27:42,600
Speaker 1: and supplemented by the additional footage, but this credit was

498
00:27:42,640 --> 00:27:47,920
Speaker 1: given to Twisted Souls inc. Twisted Souls Incorporated. Um, I

499
00:27:47,960 --> 00:27:50,920
Speaker 1: don't know. That sounds like a like a tattoo company

500
00:27:51,040 --> 00:27:54,320
Speaker 1: or something. I'm not sure what exactly, but so you

501
00:27:54,320 --> 00:27:56,920
Speaker 1: get an opening on a graveyard is very Edwards style

502
00:27:57,000 --> 00:28:01,119
Speaker 1: graveyard with some kind of flimsy looking tombstone owns, and

503
00:28:01,160 --> 00:28:04,359
Speaker 1: then there is a stone crypt cover on one of

504
00:28:04,359 --> 00:28:08,000
Speaker 1: the graves that starts throbbing like it's stretching and deforming.

505
00:28:08,400 --> 00:28:11,040
Speaker 1: And immediately I thought, oh, that that's a nice special effect.

506
00:28:11,119 --> 00:28:14,959
Speaker 1: I think that could be similar that there's a similar

507
00:28:15,000 --> 00:28:18,000
Speaker 1: effect actually in the original Nightmare on Elm Street, where

508
00:28:18,160 --> 00:28:21,080
Speaker 1: you remember the scene where a character is lying on

509
00:28:21,119 --> 00:28:23,760
Speaker 1: a bed dreaming and then on the wall behind them,

510
00:28:23,800 --> 00:28:27,280
Speaker 1: like Freddie's head sort of stretches out through the wall,

511
00:28:27,400 --> 00:28:29,320
Speaker 1: and I think I'm not sure, but I think that

512
00:28:29,359 --> 00:28:33,000
Speaker 1: was accomplished just by using like a sheet, a flexible

513
00:28:33,040 --> 00:28:36,080
Speaker 1: sheet as the wall. And then so you know, the

514
00:28:36,160 --> 00:28:38,920
Speaker 1: actor sticks their head in there, and it looks like

515
00:28:38,960 --> 00:28:42,440
Speaker 1: the wall is actually bending around some surface, some object

516
00:28:42,520 --> 00:28:43,880
Speaker 1: coming out of it. I think the same thing is

517
00:28:43,920 --> 00:28:46,400
Speaker 1: probably going on to the grave here. Yeah, that was

518
00:28:46,440 --> 00:28:49,520
Speaker 1: a great scene in in Nightmare. That was a great scene. Yea.

519
00:28:49,840 --> 00:28:51,640
Speaker 1: It reminds me a lot of the short story The

520
00:28:51,720 --> 00:28:56,040
Speaker 1: Yellow Wallpaper. Okay, what was Spooky's actually based on an

521
00:28:56,080 --> 00:29:00,440
Speaker 1: early script treatment by Charlotte Perkins Gilman. I think I

522
00:29:00,480 --> 00:29:05,040
Speaker 1: recall reading that somewhere. Um, now we so we keep

523
00:29:05,080 --> 00:29:07,280
Speaker 1: seeing this graveyard right out in front of the big

524
00:29:07,280 --> 00:29:09,960
Speaker 1: White Mansion. There's the big White mansion. It's the house

525
00:29:10,000 --> 00:29:11,760
Speaker 1: for the movie. Looks kind of like the White House

526
00:29:11,800 --> 00:29:14,320
Speaker 1: because it has these pillars out there. Well, it does

527
00:29:14,360 --> 00:29:16,760
Speaker 1: have an interesting history because it turns out this is

528
00:29:16,800 --> 00:29:20,960
Speaker 1: the John Ja homestead. That's right, What a bizarre connection.

529
00:29:21,080 --> 00:29:26,200
Speaker 1: So this Spooky's, the movie with fart zombies, was filmed

530
00:29:26,400 --> 00:29:30,280
Speaker 1: at the the the ancestral home of John j. One

531
00:29:30,320 --> 00:29:33,040
Speaker 1: of the US founding fathers, the first Chief Justice of

532
00:29:33,040 --> 00:29:36,560
Speaker 1: the Supreme Court, one of the authors of the Federalist Papers.

533
00:29:37,440 --> 00:29:39,280
Speaker 1: I didn't know this when I watched the movie, but

534
00:29:39,320 --> 00:29:40,800
Speaker 1: it made me think back on it, and I'm like,

535
00:29:41,200 --> 00:29:45,440
Speaker 1: could this be interpreted as containing any federalist propaganda? I

536
00:29:45,440 --> 00:29:50,000
Speaker 1: couldn't really, I couldn't really make that work. But but anyway,

537
00:29:50,040 --> 00:29:52,160
Speaker 1: so we'll keep seeing. This is the setting. They show

538
00:29:52,200 --> 00:29:54,640
Speaker 1: you a lot of the setting, and then it cuts

539
00:29:54,680 --> 00:29:58,040
Speaker 1: to this dude in white glove sitting doctor claws style,

540
00:29:58,120 --> 00:30:00,360
Speaker 1: so it's a high back chair. He has got his

541
00:30:00,400 --> 00:30:02,760
Speaker 1: back to the camera, he's got his hand on a

542
00:30:02,840 --> 00:30:05,320
Speaker 1: cane and white gloves. He's got a big old ring on,

543
00:30:05,840 --> 00:30:09,520
Speaker 1: and he is talking to a winter green coffin and

544
00:30:09,560 --> 00:30:14,600
Speaker 1: he says, I convade no longer. The Vinyl Foolish victims

545
00:30:14,680 --> 00:30:18,760
Speaker 1: will be here very soon. So just doing a really

546
00:30:18,840 --> 00:30:21,520
Speaker 1: excellent accent that kind of comes and goes. He doesn't

547
00:30:21,520 --> 00:30:25,000
Speaker 1: always have the accent. Yeah, it's not very consistent. There

548
00:30:24,800 --> 00:30:28,280
Speaker 1: are times where it feels like it's fifty Low Pan

549
00:30:28,800 --> 00:30:31,840
Speaker 1: and fifty Major Todd from Raiders of the Lost Ark.

550
00:30:31,920 --> 00:30:34,920
Speaker 1: You know, it's he kind of he's going for some

551
00:30:34,960 --> 00:30:37,360
Speaker 1: sort of a German accent, like that's what he's aiming for,

552
00:30:37,640 --> 00:30:39,840
Speaker 1: but there's a bit of drift to it. The vinyl

553
00:30:39,880 --> 00:30:43,400
Speaker 1: foolish victims. Yeah, yeah, well actually that maybe maybe that

554
00:30:43,440 --> 00:30:46,320
Speaker 1: connects more thematically than I realized, because of course Duke

555
00:30:46,400 --> 00:30:49,840
Speaker 1: does turn out to be wearing vinyl clothes, so at

556
00:30:49,920 --> 00:30:53,080
Speaker 1: least one of the victims is vinyl in nature. That's true,

557
00:30:53,120 --> 00:30:56,959
Speaker 1: that's true. But okay, so we get a read on

558
00:30:57,000 --> 00:31:02,080
Speaker 1: the Warlocks plan. This guy is going to sacrifice victims

559
00:31:02,120 --> 00:31:06,920
Speaker 1: in his house in order to resurrect his his wife,

560
00:31:06,960 --> 00:31:08,960
Speaker 1: I think, and and we're led to believe at the

561
00:31:09,000 --> 00:31:11,760
Speaker 1: time that like you know, they loved each other dearly,

562
00:31:11,960 --> 00:31:14,320
Speaker 1: but she has long departed and and she will soon

563
00:31:14,360 --> 00:31:18,480
Speaker 1: be raised and they will be happy together forever. Yes, yeah,

564
00:31:18,480 --> 00:31:22,440
Speaker 1: it's uh and alright, so it seems that at this

565
00:31:22,480 --> 00:31:24,240
Speaker 1: point in the film, like like all right, let's see

566
00:31:24,280 --> 00:31:27,480
Speaker 1: how this occurs. Let's see how this this this happens. Uh,

567
00:31:27,600 --> 00:31:30,680
Speaker 1: then we cut two is that this might be movie

568
00:31:30,680 --> 00:31:33,040
Speaker 1: B or movie C. At this point we cut to

569
00:31:33,200 --> 00:31:35,479
Speaker 1: a guy running around in the woods who looks like

570
00:31:35,520 --> 00:31:38,680
Speaker 1: a cast member from Cats. He looks like a jellical

571
00:31:38,720 --> 00:31:41,240
Speaker 1: cat going to the jelical ball, and he has a

572
00:31:41,240 --> 00:31:43,560
Speaker 1: hook for a hand Yeah, some sort of a wear

573
00:31:43,680 --> 00:31:45,800
Speaker 1: cat with a hook for a hand in this kind

574
00:31:45,840 --> 00:31:49,920
Speaker 1: of strange costume, running around looking, you know, very creepy.

575
00:31:50,400 --> 00:31:52,560
Speaker 1: You know, I'm not saying that these are you know,

576
00:31:52,560 --> 00:31:56,160
Speaker 1: it's not thriller level of of creature creation here, but

577
00:31:56,200 --> 00:31:59,280
Speaker 1: it's pretty good and I am legitimately creeped out by

578
00:31:59,280 --> 00:32:02,120
Speaker 1: this guy. Oh and we also get the cast member

579
00:32:02,160 --> 00:32:05,920
Speaker 1: of Cats observing a kid with a backpack who's just

580
00:32:06,000 --> 00:32:09,400
Speaker 1: wandering around by himself in the woods. Is this billy

581
00:32:09,640 --> 00:32:13,080
Speaker 1: or is he just a billy? I think it's billy. Yeah.

582
00:32:13,200 --> 00:32:15,560
Speaker 1: And then you get to movie See I think um.

583
00:32:15,760 --> 00:32:18,920
Speaker 1: And then in movie Cee, we meet our implausible friend

584
00:32:18,920 --> 00:32:21,680
Speaker 1: group which are driving around the woods in two different cars.

585
00:32:21,760 --> 00:32:24,760
Speaker 1: Car number one consists of a bad boy driver. This

586
00:32:24,800 --> 00:32:27,720
Speaker 1: is Duke. He's wearing his black plastic clothes. He's being

587
00:32:27,800 --> 00:32:30,320
Speaker 1: an aggressive jerk from moment one, just screaming at his

588
00:32:30,360 --> 00:32:33,400
Speaker 1: passengers about spilling beer on the upholstery while he's sort

589
00:32:33,400 --> 00:32:36,400
Speaker 1: of zipping around in the dark. And then you see

590
00:32:36,400 --> 00:32:40,920
Speaker 1: car number two. The driver is this much older guy

591
00:32:41,040 --> 00:32:45,160
Speaker 1: who reads as like, uh, the ultimate narc, hanging out

592
00:32:45,200 --> 00:32:47,960
Speaker 1: with these teens around him. He's wearing a suit and tie.

593
00:32:48,320 --> 00:32:51,760
Speaker 1: He has at least fifteen years older than everyone else.

594
00:32:51,800 --> 00:32:54,160
Speaker 1: I thought he was supposed to be somebody's dad, but

595
00:32:54,240 --> 00:32:57,240
Speaker 1: I think he's just a member of this friend group

596
00:32:57,320 --> 00:33:01,240
Speaker 1: who looks like he could be their ad. Yeah, and

597
00:33:01,280 --> 00:33:05,120
Speaker 1: I it's never explained, And based on some of the

598
00:33:05,200 --> 00:33:07,120
Speaker 1: behind the scenes interviews that I saw, I don't think

599
00:33:07,200 --> 00:33:10,000
Speaker 1: they knew either. This was not something where like they

600
00:33:10,040 --> 00:33:13,000
Speaker 1: cut out some scenes that explains something. No, it's just

601
00:33:13,400 --> 00:33:15,880
Speaker 1: it's just this is what they was put together, and

602
00:33:15,920 --> 00:33:17,960
Speaker 1: they had no idea what their connections were supposed to be.

603
00:33:18,320 --> 00:33:22,200
Speaker 1: And there's immediately a a rivalry between this guy. We

604
00:33:22,240 --> 00:33:25,680
Speaker 1: find out his name is Peter and Duke. The drivers

605
00:33:25,680 --> 00:33:28,040
Speaker 1: of the two cards don't like each other. Peters talking

606
00:33:28,040 --> 00:33:29,840
Speaker 1: about Duke, he says, I told you we shouldn't have

607
00:33:29,880 --> 00:33:32,440
Speaker 1: followed him first. He starts a fight at that party,

608
00:33:32,520 --> 00:33:35,320
Speaker 1: gets us all thrown out, embarrasses the hell out of us.

609
00:33:35,560 --> 00:33:37,360
Speaker 1: Then he gets us lost out here in the middle

610
00:33:37,400 --> 00:33:40,680
Speaker 1: of nowhere. So I guess Duke's calling the shots. They're

611
00:33:40,680 --> 00:33:44,160
Speaker 1: all just they're riding for Duke and Duke. Duke is

612
00:33:44,200 --> 00:33:49,040
Speaker 1: not is not proving his worth. Duke is leading them astray. Yeah,

613
00:33:49,120 --> 00:33:51,400
Speaker 1: it's just it's so ridiculous. I can't even begin to

614
00:33:51,400 --> 00:33:53,360
Speaker 1: follow it. I guess part of it is the problem

615
00:33:53,400 --> 00:33:55,880
Speaker 1: of having this many monsters in a film. You need

616
00:33:55,960 --> 00:33:58,120
Speaker 1: not one, but two car loads of people to serve

617
00:33:58,160 --> 00:34:00,880
Speaker 1: as victims, and and then you get this kind of

618
00:34:00,880 --> 00:34:04,120
Speaker 1: a situation. Yeah, I guess that's true. Some some movies

619
00:34:04,120 --> 00:34:07,240
Speaker 1: get around that with a van or just hey yeah,

620
00:34:07,240 --> 00:34:09,239
Speaker 1: I just have two groups. You know, there's the one van,

621
00:34:09,320 --> 00:34:11,680
Speaker 1: there's the the other I mean troll to sort of

622
00:34:11,719 --> 00:34:14,560
Speaker 1: managed this right, or the family. And then you had

623
00:34:14,560 --> 00:34:17,439
Speaker 1: the like the boyfriend and his his crew that were

624
00:34:17,440 --> 00:34:20,160
Speaker 1: coming in another vehicle. Uh, they don't have to know

625
00:34:20,239 --> 00:34:21,960
Speaker 1: each other before they get to the house. If you

626
00:34:22,040 --> 00:34:24,440
Speaker 1: just serve them up to a buffet of monsters, they

627
00:34:24,440 --> 00:34:26,759
Speaker 1: could just both arrive at the house. I mean, I

628
00:34:26,760 --> 00:34:29,080
Speaker 1: guess they just wanted to have lots of dynamic dialogue

629
00:34:29,080 --> 00:34:42,239
Speaker 1: between all these these people. Uh. And then so we

630
00:34:42,320 --> 00:34:44,000
Speaker 1: then we got back to Billy. I guess this is

631
00:34:44,040 --> 00:34:47,759
Speaker 1: a movie to or b B plot. Um, he's in

632
00:34:47,800 --> 00:34:50,239
Speaker 1: the woods eating a snack cake by himself, and then

633
00:34:50,239 --> 00:34:53,840
Speaker 1: he gets startled by a guy wearing the Denham tuxedo

634
00:34:54,320 --> 00:34:56,719
Speaker 1: who's like, hey, give an old man a light and

635
00:34:56,760 --> 00:35:00,520
Speaker 1: it's very creepy, uh though the guy is not old. Um.

636
00:35:00,880 --> 00:35:03,520
Speaker 1: And then the kid gives him a light. Why does

637
00:35:03,560 --> 00:35:06,759
Speaker 1: this kid kid have a lighter? I don't know. And

638
00:35:06,800 --> 00:35:09,359
Speaker 1: then the guys like go home, and the kids like, no,

639
00:35:09,640 --> 00:35:13,520
Speaker 1: I have plans, big plans. And it turns out his

640
00:35:13,600 --> 00:35:16,600
Speaker 1: parents forgot his thirteenth birthday and that's why he ran

641
00:35:16,640 --> 00:35:19,160
Speaker 1: away from home. So he's just running around in the woods.

642
00:35:19,800 --> 00:35:21,759
Speaker 1: And then the kid walks away from the guy. And

643
00:35:21,800 --> 00:35:24,120
Speaker 1: then the guy in the woods as the kid walks away,

644
00:35:24,160 --> 00:35:27,440
Speaker 1: is just immediately killed by the jelical cat. He gets

645
00:35:27,480 --> 00:35:29,800
Speaker 1: like slashes on his face, like while the kid is

646
00:35:29,840 --> 00:35:33,040
Speaker 1: still in frame walking away. It's yeah, it's such a

647
00:35:33,080 --> 00:35:35,720
Speaker 1: weird series of events because this yet this kid runaway

648
00:35:35,800 --> 00:35:38,640
Speaker 1: kid in in you know, running into a drifter in

649
00:35:38,680 --> 00:35:41,240
Speaker 1: a way that feels like sort of a slice of American,

650
00:35:41,320 --> 00:35:44,640
Speaker 1: a kind of tail, right, But then the drifter is

651
00:35:44,680 --> 00:35:47,759
Speaker 1: just just torn to pieces by the by the wear cat. Yeah.

652
00:35:47,840 --> 00:35:49,600
Speaker 1: And then so we get a bunch more stuff with

653
00:35:49,640 --> 00:35:52,480
Speaker 1: the witch plot a plot I guess or b plot

654
00:35:52,719 --> 00:35:56,520
Speaker 1: with the one with the warlock trying to resurrect his wife. Um,

655
00:35:56,640 --> 00:35:59,279
Speaker 1: we start seeing his face and I got man, this

656
00:35:59,360 --> 00:36:03,480
Speaker 1: is a I dry warlock. His face is just caked

657
00:36:03,560 --> 00:36:07,560
Speaker 1: with some kind of powder. He needs moisturizer. It is.

658
00:36:07,760 --> 00:36:11,919
Speaker 1: It's bad. Yeah. But we also get to see his

659
00:36:11,920 --> 00:36:13,919
Speaker 1: his wife in the coffin and she kind of looks

660
00:36:13,960 --> 00:36:17,160
Speaker 1: like a blond win owner rider. Yeah. But eventually we

661
00:36:17,239 --> 00:36:20,400
Speaker 1: cut back to the party, party boys, the party kids

662
00:36:20,400 --> 00:36:23,319
Speaker 1: in the cars. They're they're driving around. Eventually they get

663
00:36:23,360 --> 00:36:25,560
Speaker 1: blocked by an obstruction in the road. I think I

664
00:36:25,600 --> 00:36:28,480
Speaker 1: think bust for Jones throws a tree branch on the

665
00:36:28,560 --> 00:36:30,520
Speaker 1: road in front of Duke's car and then they have

666
00:36:30,560 --> 00:36:34,919
Speaker 1: to stop and move it. And uh and Peter Mr

667
00:36:35,000 --> 00:36:37,480
Speaker 1: Nark gets out of his car and he's like, listen, Duke,

668
00:36:37,920 --> 00:36:40,320
Speaker 1: we've been driving around for two hours in circles, getting

669
00:36:40,320 --> 00:36:43,560
Speaker 1: nowhere fast. And then Duke says, right, let's get out

670
00:36:43,560 --> 00:36:46,560
Speaker 1: of this place. And then uh, I wrote this exchange

671
00:36:46,600 --> 00:36:49,600
Speaker 1: down because this was good. Peter says, what are we

672
00:36:49,640 --> 00:36:53,319
Speaker 1: doing now? Duke says, we're partying, man, something you're too

673
00:36:53,360 --> 00:36:56,200
Speaker 1: old to appreciate. Huh. If any of you people want

674
00:36:56,200 --> 00:36:58,960
Speaker 1: to come have some fun, come with us. And then

675
00:36:59,000 --> 00:37:01,480
Speaker 1: Peter says, this is ridiculous. Do you even know where

676
00:37:01,520 --> 00:37:04,560
Speaker 1: you're going, And Duke says, yeah, I'm going nuts. I'm

677
00:37:04,600 --> 00:37:06,680
Speaker 1: going nuts because I gotta stand here and listen to

678
00:37:06,719 --> 00:37:10,480
Speaker 1: you so snappy, so snappy. That's that's some some nmit

679
00:37:11,040 --> 00:37:13,719
Speaker 1: material right there. That's like as sit back from the

680
00:37:13,719 --> 00:37:19,319
Speaker 1: typewriter and kind of like go ah, yeah, alright, But

681
00:37:19,360 --> 00:37:21,000
Speaker 1: we come back to the kid. We come back to

682
00:37:21,040 --> 00:37:23,960
Speaker 1: Billy wandering around. He's going to find the White House

683
00:37:24,000 --> 00:37:26,960
Speaker 1: as well. Yeah, he wanders around, he finds the White House.

684
00:37:27,000 --> 00:37:30,000
Speaker 1: He goes inside, of course, because you know horror movie logic,

685
00:37:30,080 --> 00:37:32,279
Speaker 1: you just come across what appears to be an abandoned

686
00:37:32,320 --> 00:37:35,520
Speaker 1: house that is not your house, and you just go in. Yeah,

687
00:37:35,600 --> 00:37:38,160
Speaker 1: I mean, I guess it's you know, we've talked about tales.

688
00:37:38,239 --> 00:37:41,799
Speaker 1: So many old tales involved leaving the trail or you know,

689
00:37:42,040 --> 00:37:45,239
Speaker 1: entering into the wild place where you're not supposed to go,

690
00:37:45,760 --> 00:37:48,960
Speaker 1: and in stories that involve a haunted house. And essentially

691
00:37:49,000 --> 00:37:52,120
Speaker 1: this is a haunted house picture. Um, it's just haunted

692
00:37:52,160 --> 00:37:56,080
Speaker 1: with random monsters instead of ghosts. Um. It's like people

693
00:37:56,120 --> 00:37:58,239
Speaker 1: are drawn to it. People will find a reason to

694
00:37:58,280 --> 00:38:01,080
Speaker 1: go into that haunted house, be it for shelter or

695
00:38:01,200 --> 00:38:04,640
Speaker 1: for treasure, or in this case, um with with with

696
00:38:04,760 --> 00:38:09,080
Speaker 1: the main characters for the potential reality of partying right. Uh.

697
00:38:09,120 --> 00:38:11,920
Speaker 1: And and actually the kid also goes into the house

698
00:38:12,000 --> 00:38:15,680
Speaker 1: with the for with partying in mind, because apparently so

699
00:38:15,800 --> 00:38:17,719
Speaker 1: his parents forgot it was his birthday, that's why he

700
00:38:17,800 --> 00:38:21,160
Speaker 1: ran away from home. He wanders into the house. Uh there.

701
00:38:21,160 --> 00:38:23,319
Speaker 1: Oh at this point there's also this is when we

702
00:38:23,320 --> 00:38:26,000
Speaker 1: start seeing a jawa running around just like a like

703
00:38:26,040 --> 00:38:30,120
Speaker 1: a child in a in a in a brown hooded cloak.

704
00:38:30,680 --> 00:38:34,000
Speaker 1: But anyway, Billy the kid, he is in the house

705
00:38:34,080 --> 00:38:37,360
Speaker 1: and he walks into a room full of birthday party

706
00:38:37,440 --> 00:38:42,120
Speaker 1: streamers and sad half inflated balloons, and he goes cool.

707
00:38:44,719 --> 00:38:47,320
Speaker 1: He says, hey, a surprise party, so he didn't forget

708
00:38:47,360 --> 00:38:51,040
Speaker 1: after all, This is really great. So the again, the

709
00:38:51,080 --> 00:38:54,520
Speaker 1: logic of this is that this boy thinks his parents

710
00:38:54,600 --> 00:38:57,960
Speaker 1: through him a surprise birthday party in a random house

711
00:38:58,040 --> 00:39:02,120
Speaker 1: that he walked into in the woods. Uh. And then

712
00:39:02,120 --> 00:39:05,439
Speaker 1: he opens a box that he thinks contains a bowling ball,

713
00:39:05,480 --> 00:39:07,719
Speaker 1: but in fact it's a head and it is the

714
00:39:08,080 --> 00:39:11,360
Speaker 1: Warlock's head, and he goes, happy birthday, Billy, mohaha ha

715
00:39:11,760 --> 00:39:15,840
Speaker 1: And uh yeah, of course there you go but between

716
00:39:15,880 --> 00:39:18,160
Speaker 1: the the old Warlock who we we find out his

717
00:39:18,239 --> 00:39:24,200
Speaker 1: name is Creon. Creon, Yeah, Creon and Billy. Yeah, they

718
00:39:24,239 --> 00:39:27,640
Speaker 1: have this kind of uh discount Mike and the Tall

719
00:39:27,680 --> 00:39:32,600
Speaker 1: Man vibe from Phantasm, you know, creepy old man who's

720
00:39:32,640 --> 00:39:36,560
Speaker 1: mysterious and seems to command supernatural powers. And oh and

721
00:39:36,560 --> 00:39:39,360
Speaker 1: there's of course there are jawa s creatures in both films.

722
00:39:39,640 --> 00:39:43,880
Speaker 1: Though of course Phantasm is on certainly on several levels

723
00:39:44,280 --> 00:39:48,319
Speaker 1: ahead of this, uh, you know, an order of magnitude

724
00:39:48,360 --> 00:39:52,120
Speaker 1: or two above Spookies in terms of quality. But the

725
00:39:52,440 --> 00:39:54,440
Speaker 1: thing you can always say on behalf of Spookies is

726
00:39:54,440 --> 00:39:58,400
Speaker 1: Spookies has more variety. Uh you know. Uh, the Phantasm

727
00:39:58,440 --> 00:40:02,440
Speaker 1: may have like three year so interesting kinds of monsters.

728
00:40:02,440 --> 00:40:06,520
Speaker 1: Spookies has at least nine. Right. So of course, eventually

729
00:40:06,600 --> 00:40:09,200
Speaker 1: the party kids arrive at the house and they're like, hey,

730
00:40:09,239 --> 00:40:11,319
Speaker 1: here's a house. Let's go inside and see if there's

731
00:40:11,320 --> 00:40:14,480
Speaker 1: a party. Uh. Again, this is not the only I

732
00:40:14,520 --> 00:40:17,840
Speaker 1: gotta say, this is not the only movie where this happens.

733
00:40:17,880 --> 00:40:21,080
Speaker 1: This is sort of standard eighties horror movie logic. You

734
00:40:21,160 --> 00:40:23,120
Speaker 1: just arrive at a place and you think there might

735
00:40:23,160 --> 00:40:25,239
Speaker 1: be a party there, and so you go inside and

736
00:40:25,280 --> 00:40:27,960
Speaker 1: try to party, right, And I think Rich has brought

737
00:40:28,239 --> 00:40:30,640
Speaker 1: like snacks and beer, right, that's another part of it.

738
00:40:30,760 --> 00:40:33,520
Speaker 1: So they have brought a certain amount of party with them.

739
00:40:33,600 --> 00:40:36,080
Speaker 1: He has red stripe, and he has chips, and he's

740
00:40:36,400 --> 00:40:39,080
Speaker 1: consuming them. In almost every scene from here on out.

741
00:40:39,960 --> 00:40:42,440
Speaker 1: He's ultimately an optimist here, like like, this is not

742
00:40:42,480 --> 00:40:44,520
Speaker 1: the party we intended to go to, but we're going

743
00:40:44,600 --> 00:40:46,840
Speaker 1: to have a party here. We are going to enjoy

744
00:40:46,880 --> 00:40:51,480
Speaker 1: ourselves in this just obviously haunted house. There's a weird

745
00:40:51,520 --> 00:40:56,399
Speaker 1: sequence after this where the catman chases Billy birthday boy

746
00:40:56,440 --> 00:41:01,880
Speaker 1: Billy around, chases him outside, and then like buries him alive.

747
00:41:02,040 --> 00:41:06,320
Speaker 1: I think, yes, like yeah, Like watching this for the

748
00:41:06,360 --> 00:41:08,880
Speaker 1: first time and not really knowing anything about the production,

749
00:41:09,480 --> 00:41:11,880
Speaker 1: you're thinking, well, Billy's going to be around for a while,

750
00:41:12,160 --> 00:41:15,920
Speaker 1: but no, the wear a cat ambushes him like like

751
00:41:16,400 --> 00:41:19,000
Speaker 1: massacures his face like squat, you know, just I don't

752
00:41:19,000 --> 00:41:20,920
Speaker 1: know if he uses the hook or just his cat clause,

753
00:41:21,120 --> 00:41:24,160
Speaker 1: but swipes him across the face. There's blood. Billy falls

754
00:41:24,160 --> 00:41:28,400
Speaker 1: into a Doug grave and then the cat starts burying

755
00:41:28,480 --> 00:41:32,280
Speaker 1: him alive and buries him alive, and you never see

756
00:41:32,320 --> 00:41:37,200
Speaker 1: Billy again. What. Uh, yeah, this plotline does not return.

757
00:41:37,440 --> 00:41:40,719
Speaker 1: It's just like a like thirteen year old child does

758
00:41:40,800 --> 00:41:42,920
Speaker 1: get killed like at the beginning of this movie, and

759
00:41:42,920 --> 00:41:45,320
Speaker 1: then it doesn't connect to anything. It didn't connect anything.

760
00:41:45,440 --> 00:41:48,799
Speaker 1: Like really speaking, you don't have your you don't have

761
00:41:48,840 --> 00:41:52,960
Speaker 1: a child be your sort of throwaway victim unless there

762
00:41:52,960 --> 00:41:56,080
Speaker 1: are other child characters involved and they have a relationship

763
00:41:56,120 --> 00:41:59,160
Speaker 1: with that child, or you know, the adults have a

764
00:41:59,200 --> 00:42:02,720
Speaker 1: relationship with that child. It generally needs to mean something

765
00:42:03,280 --> 00:42:05,320
Speaker 1: for that to take place, and in this movie it

766
00:42:05,560 --> 00:42:08,680
Speaker 1: means absolutely nothing. It just seems like an idea somebody

767
00:42:08,719 --> 00:42:11,520
Speaker 1: started having and then they just got there like Okay,

768
00:42:11,520 --> 00:42:13,000
Speaker 1: I don't know where I'm going with that, I'm done

769
00:42:13,000 --> 00:42:16,600
Speaker 1: with that, onto other things. Yeah, And of course this

770
00:42:16,760 --> 00:42:19,160
Speaker 1: was part of the bit that was filmed afterwards to

771
00:42:19,200 --> 00:42:22,680
Speaker 1: complete the film, so we can ultimately excuse it that way.

772
00:42:22,719 --> 00:42:25,000
Speaker 1: But within the context of the film itself as a

773
00:42:25,000 --> 00:42:29,439
Speaker 1: as a solid, you know, sort of cohesive viewing experience, Uh,

774
00:42:29,440 --> 00:42:32,000
Speaker 1: it's it's very alarming. Okay. So now you've got the

775
00:42:32,600 --> 00:42:35,360
Speaker 1: party kids in the house, and I guess maybe we

776
00:42:35,400 --> 00:42:37,879
Speaker 1: should mention who all of them are because again, like

777
00:42:38,239 --> 00:42:40,680
Speaker 1: clearly you're supposed to be getting I think a list

778
00:42:40,719 --> 00:42:43,879
Speaker 1: of types, you know, your archetypes. So you've got Duke.

779
00:42:44,120 --> 00:42:46,840
Speaker 1: He's the bad boy, he's the he's the tough guy, bully,

780
00:42:46,960 --> 00:42:51,959
Speaker 1: wearing plastic bad boy clothes. And then Duke's girlfriend's name

781
00:42:52,120 --> 00:42:55,399
Speaker 1: is Linda. She's his his long suffering girlfriend, and she's

782
00:42:55,480 --> 00:42:57,880
Speaker 1: dressed in these bright eighties colors and spins a lot

783
00:42:57,920 --> 00:43:01,000
Speaker 1: of the movie rolling her eyes at duke behavior. You know,

784
00:43:01,040 --> 00:43:03,080
Speaker 1: it's just kind of like, oh, brother, that's our Duke.

785
00:43:04,080 --> 00:43:07,839
Speaker 1: Then you've got Peter, the you know, the seventy five

786
00:43:07,920 --> 00:43:12,680
Speaker 1: year old, uh accountant, who I guess maybe you might

787
00:43:12,920 --> 00:43:15,960
Speaker 1: think was one of the protagonists. Uh. At first, I

788
00:43:16,000 --> 00:43:19,080
Speaker 1: thought the protagonist of the film was going to be

789
00:43:19,360 --> 00:43:24,480
Speaker 1: Peter's girlfriend, Megan, because she at least initially has that

790
00:43:24,680 --> 00:43:28,440
Speaker 1: sensible protagonist energy in a in a horror movie with

791
00:43:28,520 --> 00:43:30,959
Speaker 1: the group like this. But I noticed more and more

792
00:43:31,120 --> 00:43:33,879
Speaker 1: as the movie goes on that that evaporates, and then

793
00:43:33,920 --> 00:43:38,680
Speaker 1: she mainly becomes characterized by like just making statements of

794
00:43:38,719 --> 00:43:43,720
Speaker 1: fatalistic despair. She just says things like there's no escape,

795
00:43:43,840 --> 00:43:46,400
Speaker 1: every one of us is going to die. Wow. So

796
00:43:46,440 --> 00:43:49,560
Speaker 1: she starts out as the Sigourney Weaver potential Sigourney Weaver

797
00:43:49,680 --> 00:43:52,440
Speaker 1: the picture and becomes the Bill Paxton at the picture. Yes,

798
00:43:52,640 --> 00:43:56,879
Speaker 1: Megan Yeah. The descent of Megan Um, on the other hand,

799
00:43:56,960 --> 00:44:00,600
Speaker 1: a supremely positive and optimistic force with them. The film

800
00:44:00,680 --> 00:44:03,360
Speaker 1: is Rich the jokester who's got a puppet who loves

801
00:44:03,440 --> 00:44:06,520
Speaker 1: beer and chips. Uh, and he just sort of like

802
00:44:07,400 --> 00:44:10,160
Speaker 1: he bumbles through every scene. There are moments where he

803
00:44:10,160 --> 00:44:12,600
Speaker 1: shows flashes of fear, but there are other times where

804
00:44:12,600 --> 00:44:15,800
Speaker 1: he's being like attacked by a monster and he's just like, yeah, okay,

805
00:44:15,800 --> 00:44:17,560
Speaker 1: come on, you know, if you're gonna kill me, bring

806
00:44:17,560 --> 00:44:21,120
Speaker 1: it on. And then we got a couple of characters

807
00:44:21,160 --> 00:44:26,000
Speaker 1: named Adrian and Dave. Adrian is I think supposed to

808
00:44:26,000 --> 00:44:30,480
Speaker 1: be a British fancy fashion lady wearing this like cool

809
00:44:30,560 --> 00:44:35,560
Speaker 1: cream colored jacket, and her boyfriend Dave is like also

810
00:44:35,680 --> 00:44:37,440
Speaker 1: I think supposed to be a kind of like fancy

811
00:44:37,560 --> 00:44:40,960
Speaker 1: rich guy. He's an allergic man with sinus problems. He's

812
00:44:40,960 --> 00:44:44,000
Speaker 1: wearing a khaki jacket. I think these two are supposed

813
00:44:44,000 --> 00:44:47,160
Speaker 1: to be fussy and fancy. They're like rich city people

814
00:44:47,200 --> 00:44:48,879
Speaker 1: who are just over it and they want to get

815
00:44:48,880 --> 00:44:51,879
Speaker 1: a cab back to soho or whatever. Yeah, yeah, they're

816
00:44:51,920 --> 00:44:54,239
Speaker 1: kind of what the what are the characters in um

817
00:44:54,560 --> 00:44:57,480
Speaker 1: Christmas Vacation? Todd and Margot? They're sort of the Todd

818
00:44:57,480 --> 00:45:00,160
Speaker 1: and Margot of this, Okay, Yeah, they're kind of like

819
00:45:00,200 --> 00:45:05,200
Speaker 1: American psycho people. Yeah. Now she's played by Charlotte Alexandria,

820
00:45:05,239 --> 00:45:07,920
Speaker 1: who is a French actor who apparently did a lot

821
00:45:07,920 --> 00:45:12,239
Speaker 1: of fairly diverse smattering of film in Europe before coming

822
00:45:12,239 --> 00:45:15,880
Speaker 1: over and playing this. And in the documentary they mentioned

823
00:45:15,920 --> 00:45:19,040
Speaker 1: I haven't seen this actually verified anywhere, but they said

824
00:45:19,040 --> 00:45:22,720
Speaker 1: that she played the Virgin Mary in the Life of Brian. Okay,

825
00:45:23,000 --> 00:45:25,640
Speaker 1: but I don't know about that. Uh. And then the

826
00:45:25,680 --> 00:45:29,520
Speaker 1: last two people there is Carol, who's got curly blonde

827
00:45:29,520 --> 00:45:31,680
Speaker 1: hair and seems like maybe she is of like a

828
00:45:31,760 --> 00:45:34,719
Speaker 1: spiritual persuasion. You get the vibe like she could do

829
00:45:34,800 --> 00:45:39,440
Speaker 1: your horoscope, I think. And then you've got Carol's boyfriend, Lewis,

830
00:45:39,520 --> 00:45:42,400
Speaker 1: who has no characteristics that I could identify except that

831
00:45:42,440 --> 00:45:45,280
Speaker 1: he wears denim and I think he's played by somebody

832
00:45:45,280 --> 00:45:48,640
Speaker 1: who did some effects for the movie. Yes, yeah, definitely,

833
00:45:48,680 --> 00:45:50,560
Speaker 1: And there's a lot of that and this, especially when

834
00:45:50,600 --> 00:45:52,960
Speaker 1: you get into the monsters people in the monster suits

835
00:45:52,960 --> 00:45:56,919
Speaker 1: are not are not necessarily designated actors. They are also

836
00:45:57,000 --> 00:46:00,400
Speaker 1: involved in other other parts of the production. Yeah, and

837
00:46:00,440 --> 00:46:02,439
Speaker 1: here's where you get into like that scene I talked

838
00:46:02,440 --> 00:46:05,360
Speaker 1: about earlier where they're just like finding things and Duke

839
00:46:05,520 --> 00:46:09,120
Speaker 1: is just continually turning his attention from one destructive project

840
00:46:09,200 --> 00:46:13,320
Speaker 1: to another. Uh. He's like prying open doors and smashing

841
00:46:13,360 --> 00:46:16,799
Speaker 1: stuff and uh. And at one point somebody's like Duke,

842
00:46:16,920 --> 00:46:18,719
Speaker 1: stop doing that, and he goes like, I don't care

843
00:46:18,719 --> 00:46:21,840
Speaker 1: about this old creep joint. Uh. But he gets the

844
00:46:21,880 --> 00:46:25,560
Speaker 1: door open and and he gets attacked by a desiccated corpse.

845
00:46:26,040 --> 00:46:28,200
Speaker 1: It's just like a corpse falls out of the closet

846
00:46:28,200 --> 00:46:32,040
Speaker 1: and he's like, nah, it's fake. The thing about that corpse,

847
00:46:32,120 --> 00:46:33,640
Speaker 1: this is just so this Yeah, this is just a

848
00:46:33,640 --> 00:46:35,719
Speaker 1: scene where the corpse falls out of the closet on him.

849
00:46:35,880 --> 00:46:38,239
Speaker 1: But later on in the film we see that this

850
00:46:38,360 --> 00:46:42,240
Speaker 1: corpse is completely articulated and and can be brought to life.

851
00:46:42,840 --> 00:46:46,279
Speaker 1: There's there's so much love and uh and detail that

852
00:46:46,360 --> 00:46:49,399
Speaker 1: went into the creation of the various monsters in this

853
00:46:49,880 --> 00:46:52,680
Speaker 1: So I I will say that that is That's the

854
00:46:52,719 --> 00:46:55,400
Speaker 1: best thing I can say about this film is that, Yeah,

855
00:46:55,440 --> 00:46:57,399
Speaker 1: a lot of love went into the creation of these

856
00:46:57,480 --> 00:47:02,960
Speaker 1: various zombies and corpses and uh, monsters and grim reapers,

857
00:47:03,440 --> 00:47:05,840
Speaker 1: whatever the case may be. You know it has. So

858
00:47:05,880 --> 00:47:08,480
Speaker 1: after this they get into a wegi aboard scene, and

859
00:47:08,480 --> 00:47:10,960
Speaker 1: this is sort of when all hell breaks loose, right

860
00:47:11,040 --> 00:47:14,359
Speaker 1: Like they start they find a wegi board. Of course,

861
00:47:14,440 --> 00:47:17,080
Speaker 1: Carol is the one who's like, oh, I know how

862
00:47:17,160 --> 00:47:19,759
Speaker 1: this thing works, that it's a tool. She says, it's

863
00:47:19,800 --> 00:47:21,799
Speaker 1: not a game, it's a tool the dead can reach

864
00:47:21,840 --> 00:47:24,520
Speaker 1: out to us. And so they play with the wig

865
00:47:24,560 --> 00:47:29,480
Speaker 1: aboard and the Warlock ends up telling them answers to

866
00:47:29,600 --> 00:47:31,719
Speaker 1: questions through it, like they ask, will we ever leave

867
00:47:31,760 --> 00:47:36,200
Speaker 1: this house? And he says no and then um and

868
00:47:36,239 --> 00:47:39,680
Speaker 1: then the warlock transforms Carol into a demon by making

869
00:47:39,800 --> 00:47:42,920
Speaker 1: a vein on his forehead throb and the camera zooms

870
00:47:42,920 --> 00:47:45,200
Speaker 1: in on the vein on his forehead, and then Carol

871
00:47:45,280 --> 00:47:49,000
Speaker 1: turns into like one of the demons from Evil Dad. Right, yeah, yeah,

872
00:47:49,239 --> 00:47:53,439
Speaker 1: it's it's overtly evil dead ask and uh and oh,

873
00:47:53,480 --> 00:47:56,440
Speaker 1: and I should point out the wigi board has pictures

874
00:47:56,480 --> 00:47:58,680
Speaker 1: of the various monsters on it, so I think the

875
00:47:58,719 --> 00:48:01,040
Speaker 1: wegi board is supposed to be involved in the summoning

876
00:48:01,120 --> 00:48:04,239
Speaker 1: or unleashing of this various monster, but we don't know

877
00:48:04,320 --> 00:48:06,960
Speaker 1: exactly how or why that is the case. One thing

878
00:48:06,960 --> 00:48:09,440
Speaker 1: I found funny is that the warlock in this movie

879
00:48:09,520 --> 00:48:13,759
Speaker 1: keeps making chess metaphors for what he's doing, and they're

880
00:48:13,800 --> 00:48:16,680
Speaker 1: often inappropriate or I don't see how they apply to

881
00:48:16,719 --> 00:48:20,040
Speaker 1: what he's talking about. Like hes like it's just like

882
00:48:20,080 --> 00:48:23,600
Speaker 1: a game of chess. But he's referring to trapping everybody

883
00:48:23,640 --> 00:48:27,520
Speaker 1: in a house. Yeah, do you have to trap your opponent?

884
00:48:27,600 --> 00:48:30,120
Speaker 1: I mean, I guess you you form traps for people

885
00:48:30,120 --> 00:48:33,520
Speaker 1: in ChIL I don't know. It didn't seem super applicable. Yeah, Like,

886
00:48:34,080 --> 00:48:36,359
Speaker 1: I don't think there's even enough there not aren't quite

887
00:48:36,440 --> 00:48:39,480
Speaker 1: enough monsters to be an entire chess set anyway, right,

888
00:48:40,040 --> 00:48:43,160
Speaker 1: But it's close, it's actually pretty close. But here's where

889
00:48:43,160 --> 00:48:45,800
Speaker 1: you get to the standard. You know, you you probably

890
00:48:45,840 --> 00:48:48,000
Speaker 1: if you've seen horror movies before, you know the format.

891
00:48:48,040 --> 00:48:50,840
Speaker 1: After this, the the you know, all hell breaks loose.

892
00:48:50,920 --> 00:48:54,719
Speaker 1: Various monsters are unleashed and the party crew barricade themselves

893
00:48:54,800 --> 00:48:57,719
Speaker 1: inside the house, and they're gonna of course split up

894
00:48:57,760 --> 00:49:00,239
Speaker 1: and get attacked one by one by by different types

895
00:49:00,280 --> 00:49:04,120
Speaker 1: of monsters. I like how after they first barricade themselves inside, Peter,

896
00:49:04,360 --> 00:49:08,640
Speaker 1: the older guy, he it seems he recognizes they have

897
00:49:08,719 --> 00:49:11,560
Speaker 1: reached this point in the plot and then explains as much.

898
00:49:11,600 --> 00:49:13,960
Speaker 1: He pretty much says, for the rest of the movie,

899
00:49:14,000 --> 00:49:16,399
Speaker 1: we will now be picked off one by one. Yes.

900
00:49:17,480 --> 00:49:19,600
Speaker 1: And so they split up, like Duke and Linda go

901
00:49:19,680 --> 00:49:22,360
Speaker 1: one way, and they end up encountering some zombies that

902
00:49:22,480 --> 00:49:25,520
Speaker 1: keep farting. Uh, we can talk about that if you want.

903
00:49:25,560 --> 00:49:28,759
Speaker 1: I'm not sure what to make of that scene. Peter

904
00:49:28,880 --> 00:49:31,719
Speaker 1: and Meghan and Rich go another way, Dave and Adrian

905
00:49:31,840 --> 00:49:35,799
Speaker 1: stay put. They encounter some gremlins. I think. Yeah, so

906
00:49:36,000 --> 00:49:39,360
Speaker 1: let's talk about those fart undies. Um, they're they're credited

907
00:49:39,400 --> 00:49:42,680
Speaker 1: as being the Muckman. Even though they don't look particularly mucky.

908
00:49:42,719 --> 00:49:44,760
Speaker 1: They look very dry to me, like sort of dry

909
00:49:44,880 --> 00:49:50,160
Speaker 1: dog biscuit mummies. Yeah, crumbling and short, short, short crust. Yeah.

910
00:49:50,320 --> 00:49:52,720
Speaker 1: And it's in a basement and they are wine casts.

911
00:49:52,920 --> 00:49:56,399
Speaker 1: And ultimately they're defeated by melting them with wine, which

912
00:49:56,400 --> 00:49:58,359
Speaker 1: is when the effect looks pretty good, I have to say.

913
00:49:58,520 --> 00:50:01,640
Speaker 1: And the Muckman don't look bad add but clearly at

914
00:50:01,680 --> 00:50:05,680
Speaker 1: some point in post production and I think the making

915
00:50:05,719 --> 00:50:07,839
Speaker 1: of gets into this a little bit. They decided, well,

916
00:50:07,880 --> 00:50:10,799
Speaker 1: let's add fart noises, and I think the rationale was

917
00:50:11,239 --> 00:50:14,080
Speaker 1: they look kind of swamp thingy, so maybe swamp equals

918
00:50:14,520 --> 00:50:19,880
Speaker 1: uh niquals fart noises. Yeah. But but it also reminds

919
00:50:19,880 --> 00:50:22,800
Speaker 1: me of some behind the scenes stuff I heard about

920
00:50:23,880 --> 00:50:27,360
Speaker 1: the cartoon Invader Zim where they were talking about putting

921
00:50:27,400 --> 00:50:29,239
Speaker 1: together a scene and if they didn't feel like the

922
00:50:29,239 --> 00:50:32,520
Speaker 1: scene was funny enough, they would just keep adding sound

923
00:50:32,600 --> 00:50:36,399
Speaker 1: effects to it until they were satisfied. And so that's

924
00:50:36,400 --> 00:50:38,680
Speaker 1: what this felt like to me. They were like they

925
00:50:38,680 --> 00:50:42,080
Speaker 1: were thinking, this needs something, this needs something else. Maybe

926
00:50:42,080 --> 00:50:45,520
Speaker 1: the answer is fart noises. It also reminds me of

927
00:50:45,560 --> 00:50:48,799
Speaker 1: something I think I recall Stephen King writing years ago

928
00:50:48,840 --> 00:50:52,960
Speaker 1: about how when he's writing a scene and he and

929
00:50:53,040 --> 00:50:55,200
Speaker 1: he's trying to make it really scary and he can

930
00:50:55,239 --> 00:50:57,879
Speaker 1: tell it's just not scary, and he doesn't he can't

931
00:50:57,920 --> 00:50:59,840
Speaker 1: figure out how to make it work. Then he just

932
00:51:00,080 --> 00:51:03,520
Speaker 1: dials up the grossness factor. It's sort of like to

933
00:51:03,520 --> 00:51:06,080
Speaker 1: to salvage something that he can't otherwise figure out how

934
00:51:06,120 --> 00:51:09,239
Speaker 1: to make work, just make it disgusting, right, And so

935
00:51:09,280 --> 00:51:12,240
Speaker 1: that's what they go for here. I don't think it works.

936
00:51:12,480 --> 00:51:16,799
Speaker 1: It just comes off as kind of awkward and dumb. Um.

937
00:51:16,840 --> 00:51:19,120
Speaker 1: But I have to say the muckman themselves, I don't

938
00:51:19,120 --> 00:51:21,200
Speaker 1: think they look bad. I think they look pretty good,

939
00:51:22,000 --> 00:51:23,520
Speaker 1: which is, you know the same thing I'd say for

940
00:51:23,600 --> 00:51:25,440
Speaker 1: most of the creatures in this Well, yeah, I'd say

941
00:51:25,480 --> 00:51:27,399
Speaker 1: that's the best thing about the movie is at least

942
00:51:27,400 --> 00:51:30,480
Speaker 1: a solid two thirds of the monsters look great. And

943
00:51:30,520 --> 00:51:33,040
Speaker 1: you never know what you're gonna get. It's just it's

944
00:51:33,080 --> 00:51:44,759
Speaker 1: it will be totally unexpected. Uh So, another kind of

945
00:51:44,840 --> 00:51:47,919
Speaker 1: encounter we get is that the rich, fussy people, Dave

946
00:51:48,000 --> 00:51:51,359
Speaker 1: and Adrian, they're they're they're sort of being catty at

947
00:51:51,400 --> 00:51:53,640
Speaker 1: each other. They're at each other's throats, and then they

948
00:51:53,719 --> 00:51:58,759
Speaker 1: get groblin. They wait, sorry, is the term gromlin or groblin? Um?

949
00:51:58,920 --> 00:52:01,160
Speaker 1: I say grom Land, but it's a made up word,

950
00:52:01,239 --> 00:52:03,920
Speaker 1: so you can certainly say groblin instead. No, No, I

951
00:52:04,200 --> 00:52:08,080
Speaker 1: want to respect your your your your terminology here gromlin. Yes,

952
00:52:08,120 --> 00:52:11,200
Speaker 1: So they get Gromlin. They get attacked by a little

953
00:52:11,320 --> 00:52:15,520
Speaker 1: green rubber gremlin merman with a like fish gator tail.

954
00:52:16,120 --> 00:52:18,880
Speaker 1: Uh And there is a long scene of Adrian fighting

955
00:52:19,280 --> 00:52:23,640
Speaker 1: the Gromlins while synth Funeral Music plays music choice very weird.

956
00:52:23,719 --> 00:52:26,759
Speaker 1: It's like a shopping mall version of Mozart's Requiem while

957
00:52:26,800 --> 00:52:30,520
Speaker 1: she's struggling with this little rubber critter. Yeah, it's a

958
00:52:30,960 --> 00:52:33,520
Speaker 1: it's it's it's actually not a bad scene. Like she's

959
00:52:33,640 --> 00:52:36,520
Speaker 1: she's good in this fighting making it. It's one of

960
00:52:36,560 --> 00:52:39,880
Speaker 1: these where a person is often fighting, um, a puppet

961
00:52:40,120 --> 00:52:42,600
Speaker 1: or fighting just a prop, you know, and acting like

962
00:52:42,680 --> 00:52:45,080
Speaker 1: it's attacking them. But she she does a good job

963
00:52:45,120 --> 00:52:47,399
Speaker 1: with the scene. And then also ultimately the Gromlin looks

964
00:52:47,400 --> 00:52:51,120
Speaker 1: pretty good. It Uh, it's well designed. It. Um, it's

965
00:52:51,120 --> 00:52:55,279
Speaker 1: not like it's not Hobgoblin's level. Um, it's maybe a

966
00:52:55,320 --> 00:53:00,640
Speaker 1: little above that. Yeah, i'd say above Hobgoblins. Definitely below Rimlin's.

967
00:53:01,160 --> 00:53:04,000
Speaker 1: Maybe on the level of ghoulies. Yeah, yeah, I think

968
00:53:04,000 --> 00:53:06,279
Speaker 1: that's fair. Oh No. At some point in here we

969
00:53:06,320 --> 00:53:10,160
Speaker 1: get an update on the Warlock framing narrative, which which

970
00:53:10,200 --> 00:53:12,440
Speaker 1: is this probably won't be all that surprising, But it

971
00:53:12,480 --> 00:53:15,000
Speaker 1: turns out the lady in the coffin, who is being

972
00:53:15,080 --> 00:53:18,080
Speaker 1: revived by the evil magic of the Warlock, does not

973
00:53:18,360 --> 00:53:20,239
Speaker 1: want to come back from the dead. She does not

974
00:53:20,440 --> 00:53:22,799
Speaker 1: like the Warlock guy, and she was just fine with

975
00:53:22,800 --> 00:53:27,080
Speaker 1: her eternal slumber, not interested in his his satanic, you know,

976
00:53:27,160 --> 00:53:30,640
Speaker 1: magical deal, and she's just like, get me out of here.

977
00:53:32,600 --> 00:53:35,839
Speaker 1: Sometimes dead is better, you know. Yeah. Oh, but but

978
00:53:36,000 --> 00:53:38,879
Speaker 1: to mention some of the other monster scenes, which which

979
00:53:38,880 --> 00:53:42,000
Speaker 1: are mostly pretty great. H So Adrian gets attacked by

980
00:53:42,760 --> 00:53:45,320
Speaker 1: so she beats the Gromlin she like hits it with

981
00:53:45,360 --> 00:53:47,360
Speaker 1: the fire poker I think, and crushes it with a

982
00:53:47,400 --> 00:53:50,759
Speaker 1: bookshelf or something, and then she runs off. Then she

983
00:53:50,760 --> 00:53:52,880
Speaker 1: gets attacked by a different creature. This time it is

984
00:53:52,920 --> 00:53:56,680
Speaker 1: the creature from the Electric Contestines Lagoon. Very nice looking monster,

985
00:53:56,840 --> 00:53:59,880
Speaker 1: very mutac very creative. I don't I can't think of

986
00:53:59,880 --> 00:54:03,960
Speaker 1: an other film where a monster uses like belly tentacles

987
00:54:04,000 --> 00:54:07,040
Speaker 1: to not only grab but also electrocute of victim and

988
00:54:07,040 --> 00:54:10,120
Speaker 1: in doing so melt her face off with like a

989
00:54:10,120 --> 00:54:14,120
Speaker 1: stop motion effect, which is really nice. There's another monster

990
00:54:14,200 --> 00:54:16,839
Speaker 1: we get to see I mentioned earlier, like the the

991
00:54:16,960 --> 00:54:21,440
Speaker 1: zombie Baboon bride Hag, which is where the Warlock lady

992
00:54:21,840 --> 00:54:26,640
Speaker 1: escapes or you know, the warlocks bride escapes and she

993
00:54:26,640 --> 00:54:29,200
Speaker 1: she gets away from him, wanders into some catacombs and

994
00:54:29,200 --> 00:54:33,279
Speaker 1: then she gets attacked by this baboon creature. Yeah, puppeteer

995
00:54:33,480 --> 00:54:35,960
Speaker 1: is clearly in shot in the lower left hand corner

996
00:54:35,960 --> 00:54:39,640
Speaker 1: of the screen at one point. Um but yeah, still

997
00:54:39,760 --> 00:54:43,680
Speaker 1: still a fun sequence, but probably one of the ultimately

998
00:54:43,719 --> 00:54:47,080
Speaker 1: one of the weaker looking puppet creatures that we encounter,

999
00:54:47,280 --> 00:54:49,239
Speaker 1: and also one that doesn't I really don't know what

1000
00:54:49,280 --> 00:54:51,880
Speaker 1: exactly are we going for here now. Somehow, as you

1001
00:54:51,920 --> 00:54:54,960
Speaker 1: mentioned earlier, Duke and Peter end up in a fist fight.

1002
00:54:55,040 --> 00:54:59,960
Speaker 1: The characters reunite. Megan's like, um, well we're all going

1003
00:55:00,080 --> 00:55:03,040
Speaker 1: to die and that's just how it is, and uh,

1004
00:55:03,080 --> 00:55:05,799
Speaker 1: and Duke is like I want I want to fight,

1005
00:55:05,920 --> 00:55:08,400
Speaker 1: and Peters like okay buck oh and so they just

1006
00:55:08,440 --> 00:55:12,560
Speaker 1: starts slugging it out and uh and does this fight

1007
00:55:12,680 --> 00:55:16,120
Speaker 1: end with Duke dead? I don't recall. I do not

1008
00:55:16,280 --> 00:55:19,400
Speaker 1: remember either. Yeah, I don't remember what actually kills Duke.

1009
00:55:20,000 --> 00:55:23,719
Speaker 1: I think the Grim Reaper does. Oh yeah, because the yeah,

1010
00:55:23,760 --> 00:55:27,040
Speaker 1: like a statue of the Grim Reaper comes to life

1011
00:55:27,200 --> 00:55:30,640
Speaker 1: and then it attacks them. I think it kills Duke

1012
00:55:30,880 --> 00:55:35,000
Speaker 1: and Peter. The old guy literally dives right through a

1013
00:55:35,040 --> 00:55:43,560
Speaker 1: closed door like bust st Yeah. Yeah, it's always insane

1014
00:55:43,640 --> 00:55:46,239
Speaker 1: enough when someone like throws himself through glass in one

1015
00:55:46,280 --> 00:55:48,680
Speaker 1: of these films, which yeah, I mean people cann and

1016
00:55:48,760 --> 00:55:52,040
Speaker 1: do throw themselves through glass sometimes if the circumstances right,

1017
00:55:52,080 --> 00:55:54,680
Speaker 1: but in movies it takes on an entirely different air.

1018
00:55:54,719 --> 00:55:58,040
Speaker 1: People often pop up completely unscathed. They do it with

1019
00:55:58,239 --> 00:56:00,120
Speaker 1: just on the fly, without a lot of thought. But

1020
00:56:00,160 --> 00:56:01,759
Speaker 1: in this case, it's not even a window. It's a

1021
00:56:01,760 --> 00:56:05,399
Speaker 1: wooden door. Yeah, that was a nice detail, fortunately made

1022
00:56:05,400 --> 00:56:10,879
Speaker 1: completely out of balsa wood. Uh. The jokester rich at

1023
00:56:10,920 --> 00:56:13,239
Speaker 1: some point he thought he was going to get killed

1024
00:56:13,280 --> 00:56:15,400
Speaker 1: earlier by one of the evil dead zombies, but then

1025
00:56:15,440 --> 00:56:17,960
Speaker 1: he just keeps wandering around with his beer and his chips,

1026
00:56:18,480 --> 00:56:21,560
Speaker 1: and he eventually wanders into it like a lady leads

1027
00:56:21,600 --> 00:56:25,040
Speaker 1: him into a cave, and then she transforms into a

1028
00:56:25,080 --> 00:56:27,160
Speaker 1: giant spider so I think she's supposed to be like

1029
00:56:27,200 --> 00:56:30,279
Speaker 1: a like a spider woman creature of some type, and

1030
00:56:30,360 --> 00:56:32,920
Speaker 1: she she sucks all his fluids out, which is a

1031
00:56:33,040 --> 00:56:35,640
Speaker 1: nice effect. It is. It's a nice effect. It's a

1032
00:56:35,719 --> 00:56:38,560
Speaker 1: it's a fun sequence, but also one that raises questions

1033
00:56:38,560 --> 00:56:41,360
Speaker 1: about sort of the the energy economy of this film,

1034
00:56:41,400 --> 00:56:44,120
Speaker 1: because a lot of work went into this they have

1035
00:56:44,160 --> 00:56:48,160
Speaker 1: like a custom Spider Woman layer. There there's a different

1036
00:56:48,200 --> 00:56:52,120
Speaker 1: actor playing this sort of Japanese Jora Gumo spider woman,

1037
00:56:52,600 --> 00:56:55,400
Speaker 1: and she doesn't just she doesn't just like you know,

1038
00:56:55,440 --> 00:56:57,800
Speaker 1: suddenly reveal, oh she has half a spider face or

1039
00:56:58,200 --> 00:57:01,000
Speaker 1: suddenly she's a spider No. There there's like five stages

1040
00:57:01,040 --> 00:57:05,880
Speaker 1: to this transformation, uh, each one involving some some either

1041
00:57:05,960 --> 00:57:10,879
Speaker 1: impressive or ambitious uh practical effects so uh and that's

1042
00:57:10,880 --> 00:57:14,080
Speaker 1: not even counting the rich head that has then deflated

1043
00:57:14,120 --> 00:57:17,120
Speaker 1: like a balloon when he sucked dry. Yeah, it likes

1044
00:57:17,120 --> 00:57:21,160
Speaker 1: so much like the content is severely like eyebrow raising

1045
00:57:21,320 --> 00:57:27,320
Speaker 1: but really great effects. But likewise, with the very next scene,

1046
00:57:27,320 --> 00:57:30,040
Speaker 1: which is the Grim Reaper fight on the balcony, like

1047
00:57:30,120 --> 00:57:34,240
Speaker 1: the old guy Peter ends up fighting this, it's just

1048
00:57:34,360 --> 00:57:37,640
Speaker 1: death personified with the scythe This is this is one

1049
00:57:37,680 --> 00:57:40,320
Speaker 1: that definitely reminded me of the key m Peel Grimlin's

1050
00:57:40,360 --> 00:57:44,439
Speaker 1: to Um pitch meeting skit. Uh. There's the one where

1051
00:57:44,440 --> 00:57:46,840
Speaker 1: the guy recommends that Hulk Hogan be in the picture

1052
00:57:47,000 --> 00:57:49,320
Speaker 1: and they're like, whoa hold the phone, You're you're talking

1053
00:57:49,400 --> 00:57:53,280
Speaker 1: Hulk Hogan, you're pro wrestler. It's it's similar to that.

1054
00:57:53,320 --> 00:57:55,560
Speaker 1: It's like, Okay, we're gonna put the Grim Reaper in this.

1055
00:57:56,120 --> 00:58:00,440
Speaker 1: The personification of death a highly symbolic character that is

1056
00:58:00,880 --> 00:58:05,800
Speaker 1: very rarely actually incorporated into some sort of a film.

1057
00:58:05,880 --> 00:58:09,040
Speaker 1: I mean there are examples of this, obviously, including stuff

1058
00:58:09,080 --> 00:58:11,160
Speaker 1: like Bill and Tad or or I guess what. The

1059
00:58:11,200 --> 00:58:14,080
Speaker 1: Final Destination films to a certain extent without that character

1060
00:58:14,240 --> 00:58:16,720
Speaker 1: like really appearing on the screen. But for the most part,

1061
00:58:16,800 --> 00:58:20,840
Speaker 1: like the Grim Reaper is, is not a physical entity

1062
00:58:20,880 --> 00:58:24,320
Speaker 1: that you talk about people encountering, unless you're dealing with

1063
00:58:24,360 --> 00:58:29,320
Speaker 1: a property that is being fairly satirical or extremely symbolic.

1064
00:58:29,720 --> 00:58:32,720
Speaker 1: Well wait, sorry, thinking back to the Final Destination movies,

1065
00:58:32,800 --> 00:58:37,200
Speaker 1: does Tony Todd actually play the Grim Reaper or just

1066
00:58:37,280 --> 00:58:40,480
Speaker 1: a guy who knows about the Grim Reaper? Oh? I'm

1067
00:58:40,480 --> 00:58:42,960
Speaker 1: not sure on this. I have a very vague memory

1068
00:58:43,160 --> 00:58:45,000
Speaker 1: of these films, and I don't think I saw all

1069
00:58:45,040 --> 00:58:47,440
Speaker 1: of them. Tony Todd, of course, as the actor played

1070
00:58:47,480 --> 00:58:50,600
Speaker 1: Candy Man uh and is is a great actor. Yeah,

1071
00:58:50,600 --> 00:58:53,000
Speaker 1: I don't remember if he's just kind of the wise

1072
00:58:53,040 --> 00:58:56,080
Speaker 1: man who knows the ways of death or his death embodied.

1073
00:58:56,240 --> 00:58:58,880
Speaker 1: I recall, like several of those movies have a scene

1074
00:58:58,880 --> 00:59:01,800
Speaker 1: where the characters go they meet him and they're like, hey,

1075
00:59:01,840 --> 00:59:04,280
Speaker 1: what's up. And he's like and he tells them like

1076
00:59:04,400 --> 00:59:09,080
Speaker 1: facts about death. He's like, I don't know, He's just like,

1077
00:59:09,160 --> 00:59:13,040
Speaker 1: did you know? Um? I recall in the first one

1078
00:59:13,120 --> 00:59:17,080
Speaker 1: he refers to the Grim Reaper as a mac daddy. Now,

1079
00:59:17,200 --> 00:59:19,360
Speaker 1: is Tony Todd? I can't remember. Is Tony Todd wearing

1080
00:59:19,440 --> 00:59:22,000
Speaker 1: like a black robe? Does he have like a scythe

1081
00:59:22,000 --> 00:59:24,760
Speaker 1: pin on his shirt or anything? I don't recall the

1082
00:59:24,800 --> 00:59:27,560
Speaker 1: capacity in which he has encountered in the later films

1083
00:59:27,600 --> 00:59:30,320
Speaker 1: and the first film, I think he plays a guy

1084
00:59:30,360 --> 00:59:34,320
Speaker 1: who is interpreted as a mortuary worker. Like they break

1085
00:59:34,360 --> 00:59:36,400
Speaker 1: into a morgue where one of the people is being

1086
00:59:36,600 --> 00:59:39,760
Speaker 1: kept and he's just there and uh, and he tells

1087
00:59:39,800 --> 00:59:42,400
Speaker 1: them facts about death and then tells them that like

1088
00:59:42,480 --> 00:59:46,560
Speaker 1: they can't escape death because death is a mac daddy. Well,

1089
00:59:46,600 --> 00:59:49,480
Speaker 1: this thing, I mean, it's a great cameo. Yeah. This

1090
00:59:49,560 --> 00:59:52,760
Speaker 1: Grim Reaper, however, can be defeated. And the way they

1091
00:59:52,760 --> 00:59:55,560
Speaker 1: defeat him is pretty hilarious. Yeah. They like knocking. So

1092
00:59:55,720 --> 00:59:59,000
Speaker 1: Peter I think punches him or somehow knocks him off

1093
00:59:59,040 --> 01:00:03,480
Speaker 1: the balcony and then he explodes just like explodes in

1094
01:00:03,600 --> 01:00:07,120
Speaker 1: a giant fireball. He's made of gasoline. Yeah, like a

1095
01:00:07,240 --> 01:00:09,960
Speaker 1: truck that has gone off a cliff in an action

1096
01:00:10,000 --> 01:00:12,280
Speaker 1: film or a Mad Max movie or something, and it

1097
01:00:12,440 --> 01:00:16,400
Speaker 1: just burst into a just a big fireball at the bottom.

1098
01:00:16,520 --> 01:00:19,640
Speaker 1: That's what death does when you knock him off a roof. So, uh,

1099
01:00:19,800 --> 01:00:21,640
Speaker 1: there's some more, just sort of like wrapping up the

1100
01:00:21,680 --> 01:00:24,640
Speaker 1: plot kind of stuff. There is a scene at the

1101
01:00:24,800 --> 01:00:27,240
Speaker 1: end that I gotta say, as as much as I

1102
01:00:27,320 --> 01:00:30,040
Speaker 1: enjoyed some of the monster scenes early on, the ending

1103
01:00:30,160 --> 01:00:36,200
Speaker 1: scene was excruciating. It just goes on and on and on.

1104
01:00:36,360 --> 01:00:39,760
Speaker 1: It's basically a chase where uh, the woman who has

1105
01:00:39,800 --> 01:00:43,560
Speaker 1: been awoken from her eternal slumber by the sacrifices within

1106
01:00:43,600 --> 01:00:47,160
Speaker 1: the house and just trying to escape her like evil

1107
01:00:47,200 --> 01:00:50,320
Speaker 1: warlock husband. She runs out of the house and then

1108
01:00:50,440 --> 01:00:53,919
Speaker 1: zombies keep attacking her and she just keeps running from them,

1109
01:00:54,040 --> 01:00:57,480
Speaker 1: and it's playing this driving synth music that's kind of

1110
01:00:57,520 --> 01:00:59,680
Speaker 1: like good and getting you pumped up at first, but

1111
01:00:59,720 --> 01:01:03,280
Speaker 1: then it just goes on and on and on and on,

1112
01:01:03,640 --> 01:01:07,240
Speaker 1: and I thought I was gonna start screaming. Yeah, this

1113
01:01:07,600 --> 01:01:09,520
Speaker 1: I had a similar experience like I've been I was

1114
01:01:09,600 --> 01:01:12,320
Speaker 1: kind of really more enthusiastic about these monsters and some

1115
01:01:12,360 --> 01:01:16,000
Speaker 1: of the acting, but then this whole sequence hits and

1116
01:01:16,080 --> 01:01:18,480
Speaker 1: I begin to feel like a little weird, like a

1117
01:01:18,480 --> 01:01:21,200
Speaker 1: little nauseous, you know, like like it was it was

1118
01:01:21,280 --> 01:01:24,400
Speaker 1: getting psychedelic in the bad sense, like this scene is

1119
01:01:24,400 --> 01:01:28,280
Speaker 1: the brown acid, you know, Yes, And it did seem

1120
01:01:28,280 --> 01:01:29,960
Speaker 1: to go. I don't think it's actually that long. I

1121
01:01:29,960 --> 01:01:32,800
Speaker 1: think it's maybe it's less than ten minutes, but it

1122
01:01:32,920 --> 01:01:36,240
Speaker 1: just feels it's just dragging. It really drags. And then

1123
01:01:36,280 --> 01:01:38,360
Speaker 1: basically at the end we get our nice like sort

1124
01:01:38,400 --> 01:01:42,400
Speaker 1: of crazy dark ending where Creon finally comes bursting up

1125
01:01:42,440 --> 01:01:44,800
Speaker 1: through that grave, the pulsating grave from the beginning of

1126
01:01:44,840 --> 01:01:48,960
Speaker 1: the film. He's laughing maniacally. We cut to the Jawa

1127
01:01:49,080 --> 01:01:53,800
Speaker 1: child laughing maniacally, and then freeze frame on Creon laughing,

1128
01:01:54,080 --> 01:01:59,040
Speaker 1: and that's the real credits. Yes, and that's spookies. Spookies,

1129
01:01:59,160 --> 01:02:01,640
Speaker 1: you know. I can't stop thinking about your comparison of

1130
01:02:01,680 --> 01:02:05,200
Speaker 1: the Grim Reaper with with the Hulkster from from the

1131
01:02:05,320 --> 01:02:09,040
Speaker 1: Key and Peel skit Um. Something about that is connecting

1132
01:02:09,200 --> 01:02:12,960
Speaker 1: very strongly for me. Yeah, I mean, if you're gonna

1133
01:02:13,000 --> 01:02:15,640
Speaker 1: have the Grim Reaper in your picture. Like I mean,

1134
01:02:15,720 --> 01:02:18,400
Speaker 1: I hate to criticize the one thing that really works

1135
01:02:18,440 --> 01:02:21,560
Speaker 1: about the film, the monster buffet. Like the Grim Reaper

1136
01:02:21,600 --> 01:02:23,960
Speaker 1: doesn't need to be on the buffet. He like he

1137
01:02:23,960 --> 01:02:27,880
Speaker 1: he needs to be an entree that you order special,

1138
01:02:28,080 --> 01:02:30,640
Speaker 1: like maybe you have a side item with that. But

1139
01:02:30,920 --> 01:02:32,560
Speaker 1: for the most part, like this is the Grim Reaper.

1140
01:02:32,600 --> 01:02:34,320
Speaker 1: He's a big deal. He needs to be your your

1141
01:02:34,360 --> 01:02:37,200
Speaker 1: big bad uh. And instead of just one of the

1142
01:02:37,280 --> 01:02:40,120
Speaker 1: random things summoned by the Luigi board. Yeah, yeah, it

1143
01:02:40,920 --> 01:02:42,959
Speaker 1: could be part of the buffet, but at least needs

1144
01:02:43,000 --> 01:02:44,960
Speaker 1: to be a special part of the buffet. So it's

1145
01:02:44,960 --> 01:02:46,800
Speaker 1: not just like one more thing you scoop out of

1146
01:02:46,800 --> 01:02:50,360
Speaker 1: a steam tray. It is. It's the roast beef carving station,

1147
01:02:51,120 --> 01:02:53,680
Speaker 1: you know. It's like the special the the endpoint this

1148
01:02:53,840 --> 01:02:56,480
Speaker 1: like this is where the real stuff is. However, I

1149
01:02:56,520 --> 01:02:58,400
Speaker 1: will say the Grim Reaper looks pretty cool. Like all

1150
01:02:58,400 --> 01:03:01,440
Speaker 1: these you can you can question why these monsters are

1151
01:03:01,440 --> 01:03:03,680
Speaker 1: in it, but ultimately all the monsters are pretty fun

1152
01:03:03,680 --> 01:03:06,640
Speaker 1: to look at on screen when they show up. Uh,

1153
01:03:06,840 --> 01:03:10,160
Speaker 1: some of them look great, some of them look ambitious

1154
01:03:10,200 --> 01:03:13,800
Speaker 1: but but interesting. Uh. They are ultimately the stars of

1155
01:03:13,840 --> 01:03:16,400
Speaker 1: this picture. I want to be a reap of maniac

1156
01:03:16,560 --> 01:03:22,440
Speaker 1: have fun with my family and friends. All right, Well,

1157
01:03:22,440 --> 01:03:25,080
Speaker 1: is there anything you know? Sometimes we do a deeper

1158
01:03:25,120 --> 01:03:26,480
Speaker 1: read of some of the things that some of the

1159
01:03:26,520 --> 01:03:28,720
Speaker 1: aspects of a particular film. But this this film is

1160
01:03:28,800 --> 01:03:32,320
Speaker 1: kind of like a It's like a meta material that

1161
01:03:32,320 --> 01:03:35,880
Speaker 1: that resists any stain or um or or water, affi

1162
01:03:36,040 --> 01:03:38,320
Speaker 1: beads of fixing to it. Everything just runs off of it.

1163
01:03:38,400 --> 01:03:40,680
Speaker 1: There's not a aren't a lot of deep thoughts we

1164
01:03:40,680 --> 01:03:43,960
Speaker 1: can really have about Spookies, but that's all right. It

1165
01:03:44,520 --> 01:03:49,080
Speaker 1: wicks away cognition, it does. Yeah, don't watch this film

1166
01:03:49,120 --> 01:03:50,880
Speaker 1: if you want to want to have deep thoughts about

1167
01:03:50,960 --> 01:03:53,960
Speaker 1: virtually anything. But if you want to see some some

1168
01:03:54,040 --> 01:03:57,280
Speaker 1: kind of groovy monsters, it's it's worth taking a look at,

1169
01:03:57,720 --> 01:04:00,800
Speaker 1: which leads to our next point, where can you watch Spookies?

1170
01:04:00,840 --> 01:04:03,640
Speaker 1: Well again, Vinegar Syndrome put out an awesome blue ray

1171
01:04:03,680 --> 01:04:07,120
Speaker 1: of the movie, especially if you're a hardcore spooky fan.

1172
01:04:07,400 --> 01:04:09,600
Speaker 1: That's what you need to pick up. Uh. It's a

1173
01:04:09,680 --> 01:04:13,520
Speaker 1: four K restoration from the thirty five millimeter original camera

1174
01:04:13,600 --> 01:04:16,920
Speaker 1: negative pack full of special bonuses. But you can also

1175
01:04:17,000 --> 01:04:21,240
Speaker 1: stream this film via shutter or a MC yes, American

1176
01:04:21,280 --> 01:04:24,520
Speaker 1: movie Classics, because this is Spookies after all. Is there

1177
01:04:24,520 --> 01:04:27,479
Speaker 1: a Criterion Collection edition? And I'm sorry I keep making

1178
01:04:27,520 --> 01:04:32,080
Speaker 1: that joke. Vinegar syndrome is your Criterion addition for for

1179
01:04:32,160 --> 01:04:37,200
Speaker 1: films like this. I promise I'll stop now, Okay, alright, Well,

1180
01:04:37,200 --> 01:04:39,960
Speaker 1: we're gonna go ahead and close the tomb on this

1181
01:04:40,000 --> 01:04:44,160
Speaker 1: one and and try and see let's shut But certainly

1182
01:04:44,160 --> 01:04:47,680
Speaker 1: we'll be back with another Weird House Cinema episode next Friday.

1183
01:04:47,880 --> 01:04:51,440
Speaker 1: I believe we're gonna be talking about a film of

1184
01:04:51,440 --> 01:04:56,120
Speaker 1: of superior quality, both objectively and subjectively speaking. But in

1185
01:04:56,120 --> 01:04:58,080
Speaker 1: the meantime, you can check out all these episodes of

1186
01:04:58,120 --> 01:05:01,080
Speaker 1: Weird Hout Cinema that published on Friday's and the Stuff

1187
01:05:01,120 --> 01:05:03,280
Speaker 1: to Blow Your Mind podcast feed. We are primarily a

1188
01:05:03,280 --> 01:05:05,960
Speaker 1: science podcast, but we set aside most of the science

1189
01:05:06,000 --> 01:05:09,120
Speaker 1: on Fridays to discuss a weird film. Core episodes of

1190
01:05:09,120 --> 01:05:11,720
Speaker 1: Stuff to Blow Your Mind on Tuesdays and Thursdays, Artifact

1191
01:05:11,800 --> 01:05:14,840
Speaker 1: on Wednesday, and on Monday. We do listener mail rerun

1192
01:05:14,880 --> 01:05:17,520
Speaker 1: on the weekend. Huge thanks as always to our excellent

1193
01:05:17,520 --> 01:05:20,640
Speaker 1: audio producer Seth Nicholas Johnson. If you would like to

1194
01:05:20,640 --> 01:05:23,000
Speaker 1: get in touch with us, with feedback on this episode

1195
01:05:23,040 --> 01:05:25,080
Speaker 1: or any other, to suggest a topic for the future,

1196
01:05:25,280 --> 01:05:27,920
Speaker 1: just to say hello. You can email us at contact

1197
01:05:27,960 --> 01:05:37,480
Speaker 1: at stuff to Blow your Mind dot com. Stuff to

1198
01:05:37,480 --> 01:05:40,040
Speaker 1: Blow Your Mind is production of I Heart Radio. For

1199
01:05:40,120 --> 01:05:42,320
Speaker 1: more podcasts for my heart Radio, visit the i heart

1200
01:05:42,360 --> 01:05:45,120
Speaker 1: Radio app, Apple Podcasts, or wherever you listen to your

1201
01:05:45,120 --> 01:05:45,800
Speaker 1: favorite shows.