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Speaker 6: What kind of a show you guys putting on here today?

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Speaker 7: You're not interested in armed now?

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Speaker 4: No, Look, we're going to do this thing.

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Speaker 8: We're going to have a conversation.

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Speaker 4: From Chicago.

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Speaker 6: This is Film Spotting celebrating our twentieth year.

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Speaker 4: I'm Adam Kempinar.

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Speaker 9: And I'm Josh Larson.

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Speaker 4: I don't understand at all. Why just her classroom? Why

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Speaker 4: only hurt a children?

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Speaker 6: We have a lot of emotional parents here.

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Speaker 4: I think his best.

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Speaker 6: If you keep some that's from this place, I'll tell

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Speaker 6: you who didn't keep their distance, Josh. Moviegoers. Zach Kraiger's

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Speaker 6: horror mystery Weapons was number one at the box office

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Speaker 6: last weekend.

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Speaker 9: Josh Brolin and Julia Garner starring that one. We've got

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Speaker 9: a review, plus the new doc It's Never Over Jeff Buckley,

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Speaker 9: that and more.

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Speaker 1: This is where the story really starts.

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Speaker 6: Ahead on film Spotting, Welcome to film Spotting. I know

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Speaker 6: you're very happy, Josh that Weapons was released in August.

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Speaker 6: You have plenty of time to get your Halloween costume ready.

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Speaker 4: You're all set.

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Speaker 9: There's one very obvious direction you could go with Weapons, Adam,

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Speaker 9: and I'll be curious to see if that happens when

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Speaker 9: Halloween rolls around for a lot of people.

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Speaker 6: Yeah, we've got a review of Weapons coming up. Plus

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Speaker 6: I'll have some thoughts on the new doc It's Never

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Speaker 6: Over Jeff Buckley, and we'll play Massacre theater.

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Speaker 9: But first Weapons. Late one night in the suburban town

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Speaker 9: of Maybrook, Pennsylvania, every kid from a singer classroom disappeared

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Speaker 9: at the exact same time, and that, as the opening

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Speaker 9: narration tells us, is where the story starts. Here's Josh Brolin,

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Speaker 9: the father of one of the missing children, confronting Julia Garner,

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Speaker 9: the Missing Kids teacher.

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Speaker 4: Hey, I want to talk to you.

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Speaker 3: I don't think we have anything to say to each other.

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Speaker 4: I think you have a lot to say you and.

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Speaker 3: Every other person in the city.

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Speaker 1: Believe me, the message is a loud and clear I'm

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Speaker 1: the problem, got it?

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Speaker 7: You know what? I think.

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Speaker 2: That's the first honest thing I've heard you say you

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Speaker 2: are the problem?

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Speaker 3: What you want to get in my face?

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Speaker 2: You want to threaten me?

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Speaker 4: Nobody's threatening you right now.

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Speaker 9: That's the wrong tree.

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Speaker 5: Aren't you have this whole victim persona that you're taking on?

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Speaker 7: It might have to be.

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Speaker 6: Maybe it was always obvious. The Weapons trailer features imagery

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Speaker 6: of a tense town hall meeting with angry parents demanding answers,

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Speaker 6: snapshots of departed children, and a candlelight, flower filled memorial

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Speaker 6: outside an elementary school adorned with a sign that says,

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Speaker 6: may Brook strong And have I mentioned that the movie

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Speaker 6: is called Weapons? If you didn't go into Zach Craiger's

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Speaker 6: sophomore feature already assuming the writer director intended an allegory

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Speaker 6: of American school shootings, you almost certainly walked out considering

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Speaker 6: the strong possibility during a dream sequence in which Brolin's

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Speaker 6: grieving father, Archer HMM, a weapon iSER, chases after his

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Speaker 6: missing son Matthew. A large assault rifle appears floating above

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Speaker 6: one of the neighborhood houses. Craiger also introduces and underscores

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Speaker 6: how bullying regularly occurs amongst this group of students. Since

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Speaker 6: many studies have connected bullying to school shootings, it's reasonable

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Speaker 6: to assume that he expects us to make the same connection.

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Speaker 6: We like to pose deeply flawed questions here on film

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Speaker 6: spotting Josh, So pardon me if this one follows suit.

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Speaker 6: Craiger's invoking of school shootings is a entirely intentional and

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Speaker 6: powerful offering, a meaningful added layer to unpack while unraveling

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Speaker 6: the chilling mystery of Maybrook's lost children. B entire lif intentional,

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Speaker 6: but also entirely hollow and as a result, possibly even

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Speaker 6: distasteful or see. I don't know whether it's intentional or unintentional,

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Speaker 6: and I'm not convinced Craiger himself knows, but I don't

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Speaker 6: care because I was having too much dreadful fun.

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Speaker 7: Boy.

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Speaker 9: This is gonna be an addition of how dnse is Josh,

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Speaker 9: because I'm gonna take you Adam through the timeline of

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Speaker 9: my wrestling with this very question. Uh and and I'll,

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Speaker 9: you know, get to the end right now and say, see,

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Speaker 9: I loved weapons. I think it's I think it's incredible,

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Speaker 9: but I will allow, not only allow, but give way

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Speaker 9: to anyone who feels be that was the unethical choice,

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Speaker 9: right that this that you posited. Essentially, it's interesting. You know,

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Speaker 9: this is the week of Cinema interrupt Us and a

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Speaker 9: listener came up to me just yesterday after we had

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Speaker 9: screamed Robert Altman's the Player, and I thought, you know,

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Speaker 9: we're we're gonna talk a little bit about what we

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Speaker 9: just saw, and she wanted to talk about weapons. And

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Speaker 9: if you want to follow this listener on letterbox, she's there.

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Speaker 9: She posted about weapons. Kurt Runs is her handle crt Runs,

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Speaker 9: and she was quite distraught about what she called the

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Speaker 9: ethical choices made by the filmmakers. Now, I should say

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Speaker 9: we didn't end up getting into it too much, so

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Speaker 9: I am not certain that she's talking specifically about the

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Speaker 9: school shooting's connection. It seemed to be perhaps more generally

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Speaker 9: about children and the use of children in the film.

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Speaker 9: So it's just an example that I want to use

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Speaker 9: to put out there is anyone who does have those

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Speaker 9: concerns I think are legitimate. I mercifully have not been

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Speaker 9: personally touched by what has become all too common in

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Speaker 9: American society school shootings, and if I had, I might

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Speaker 9: have a totally different perspective on this. I did end

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Speaker 9: up in that place where I found this to be

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Speaker 9: a potent allegory, a cathartic allegory from the vantage point

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Speaker 9: of a person who witnesses this from afar but still

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Speaker 9: feels an impotent rage about it. But to the denseness question, Adam,

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Speaker 9: I'm telling you, I'm in that group where not only

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Speaker 9: was it not walking out of the theater, it was

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Speaker 9: looking over my notes and trying to piece things together,

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Speaker 9: where I was suddenly like, oh, that's it, Like this

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Speaker 9: is absolutely it, And maybe that moves me more towards

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Speaker 9: the intentional category on the part of Craiger and his collaborators.

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Speaker 9: You know where I started right away, though, Adam was

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Speaker 9: with the Tale of the Pie Piper, and as soon

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Speaker 9: as I knew the premise going in, But as soon

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Speaker 9: as we get it anew in the opening segment of

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Speaker 9: Weapons and Craiger pretty much gets it out of the

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Speaker 9: way before the title, I think, even with these haunting

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Speaker 9: images of the children fleeing at night, you know, I

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Speaker 9: was thinking about that legend of the Pied Piper, the

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Speaker 9: rat catcher, who the town refuses to pay for his services,

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Speaker 9: and so he leads the town's children away and they disappear.

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Speaker 9: And I'm thinking as I'm watching, what was that legend

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Speaker 9: about and why does it persist? And you know, read

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Speaker 9: up some more when I got home and realize that

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Speaker 9: some people suggest, well, this was a way for medieval

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Speaker 9: communities to deal with mass deaths of children, maybe to

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Speaker 9: natural disasters, maybe to disease, and a story like that

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Speaker 9: was helpful in processing it. So I thought, Okay, how

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Speaker 9: might weapons which is very much about children being lost

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Speaker 9: to inexplicable evil, right, just something that you can't rationalize,

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Speaker 9: like a natural disaster, how might weapons be working in

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Speaker 9: the same way or is it hollow or is it

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Speaker 9: you know, not really serving the purpose? Is it ecsploiding this?

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Speaker 9: And that's when I usually go to the text. You know,

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Speaker 9: during the movie, I was thinking, is this like a

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Speaker 9: Gaza situation? We've been inundated with images of starving children

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Speaker 9: in Gaza. Obviously that couldn't have been intentional, But is

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Speaker 9: that a way to go with this where there's a

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Speaker 9: potent metaphor or allegory here. I thought of a couple

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Speaker 9: of other directions, and then, yes, you mentioned it in

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Speaker 9: the setup there, Adam, this image of a gun over

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Speaker 9: a house. In the moment, I didn't make the connection,

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Speaker 9: but I did think about other things in the text,

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Speaker 9: and you counted them off right, this empty classroom, the

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Speaker 9: memorial candles and flowers, and I'm realizing these are bitterly familiar.

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Speaker 9: And I do think that this movie works as a

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Speaker 9: modern pied piper tale. And we can't really at this

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Speaker 9: point get into why I found it. So in the

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Speaker 9: end there is a Bonker's climax. Let's just say that

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Speaker 9: is darkly funny, insanely sustained on the level of filmmaking.

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Speaker 9: But also I found myself, Adam like, feeling disturbingly cathartic

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Speaker 9: emotions from that, because subconsciously, I think I had been

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Speaker 9: connecting it to this recurring, recurring crisis in America that

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Speaker 9: fits a few things. We hear Archer, the Josh Brolin character,

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Speaker 9: saying I see something that doesn't make any sense at all,

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Speaker 9: and later accusing the teacher. You're either negligent or complicit.

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Speaker 9: We are both negligent and complicit as a society when

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Speaker 9: it comes to sacrificing kids at the idle of firearms.

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Speaker 9: And I personally found weapons to be entirely effective as

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Speaker 9: an allegory for that, even if it took me a

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Speaker 9: while being dense and not usually watching movies as puzzle

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Speaker 9: pieces while I'm in the moment, it took me a

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Speaker 9: while to get there, but I got there, and I

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Speaker 9: think I like where the movie landed, or at least

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Speaker 9: where I landed with it.

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Speaker 6: We'll see where the conversation goes if you feel like

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Speaker 6: we need to get into that sustained bonkers ending, and

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Speaker 6: I agree. We can certainly make some room for some

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Speaker 6: spoiler talk here, and we will provide plenty of advanced

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Speaker 6: warning if we do decide to do that. You talk

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Speaker 6: about some of these other references potentially, I don't think

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Speaker 6: this movie has anything in common with the other movie

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Speaker 6: I'm going to mention, or the book I'm going to mention.

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Speaker 6: But when you talk about losing children and how we

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Speaker 6: process that, does it have to be losing children to

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Speaker 6: something evil? It can just be nonsensical, unfathomable. The Sweet

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Speaker 6: hereafter that am Agoyan film The Russell Banks novel is

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Speaker 6: something I thought about as I.

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Speaker 9: Have you been talking to Scott's bias.

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Speaker 4: No, I haven't.

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Speaker 9: Actually, our friend critic and Next Picture Show hosts he

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Speaker 9: was at the screen and I was at and afterwards

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Speaker 9: he's like, I'm going to try to sell the group.

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Speaker 9: I'm pairing it with the Sweet look after which I think,

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Speaker 9: I think you're exactly right. I think that's great. That

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Speaker 9: would be a brilliant YEP. That would be a brilliant pairent.

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Speaker 9: I hope they do that.

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Speaker 6: And you mention things that people viewers could potentially get

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Speaker 6: upset about, like the person who came up to you

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Speaker 6: after Cinema interrupt us. There's even another potential aspect, and

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Speaker 6: I know some people have, and that's regarding who and what?

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Speaker 6: Maybe what is the better way to phrase it, what

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Speaker 6: the villain is? That again, we would have to leave

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Speaker 6: to some spoiler talk in terms of my answer to

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Speaker 6: the question. And I like this movie too. I don't

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Speaker 6: like the movie quite as much as you do, but

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Speaker 6: I do like the movie. I maybe tempted to say

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Speaker 6: d all of the above or or can I go

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Speaker 6: with other in that I think it's it's maybe a

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Speaker 6: bit of a red herring. You certainly can't ignore it

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Speaker 6: for all the reasons I outlined and you discussed. I

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Speaker 6: don't necessarily think that Craiger is trying to make an

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Speaker 6: overt political statement, nor do I think he's saying something

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Speaker 6: particularly profound about how we as a country or society

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Speaker 6: process collective trauma. And if you were inclined, I'll go

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Speaker 6: back to this notion of maybe getting a little bit

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Speaker 6: upset about the film, If you were inclined to be

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Speaker 6: annoyed that the movie is exploiting these tragedies, another strike

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Speaker 6: against it could be This just occurred to me today

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Speaker 6: as I was prepping for this conversation Josh, the narrator

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Speaker 6: tells us this little girl's voice. We never find out

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Speaker 6: exactly who she is as far as I know, right,

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Speaker 6: but we have this girl's voice narrating the story at

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Speaker 6: the beginning and comes back at the end, and she

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Speaker 6: tells us that the powers that be in the town

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Speaker 6: are going to cover up what really happened to the kids.

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Speaker 9: Sod unresolved. I have unresolved questions about the narrator and

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Speaker 9: the logic behind that. I don't think that's a strength

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Speaker 9: of the film and even really necessary.

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Speaker 6: Well, yeah, I bring that up only because now now

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Speaker 6: Craiger is potentially harnessing the language of conspiracy theories, which

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Speaker 6: I don't know that we necessarily want to bring up

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Speaker 6: when it comes to conversations about tragedies involving school shootings.

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Speaker 6: But for me, I suppose it it speaks to the

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Speaker 6: challenge and the limitations of these types of allegorical interpretations.

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Speaker 4: And I've maybe talked about this a little bit before.

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Speaker 6: We've talked about Mickey seventeen this year, We've talked about

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Speaker 6: Tarkovsky during our Tarkovsky Marathon, So there's been a lot

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Speaker 6: of allegorical talk. But it doesn't necessarily expand my understanding

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Speaker 6: or appreciation of a work to read what happens in

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Speaker 6: a movie as representative of something else. I'm more interested

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Speaker 6: in what the text itself is giving me or not

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Speaker 6: giving me, and what I grasped onto here, And I

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Speaker 6: don't mean grasped onto to try to decipher some deeper meaning.

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Speaker 6: I mean just keeping me engaged in the story and

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Speaker 6: feeling like you've got a filmmaker actually wrestling with something.

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Speaker 6: Maybe even something personal and not just trying to usher

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Speaker 6: us forward toward a bloody resolution. Within this pulp fiction

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Speaker 6: esque or magnolia esque nonlinear structure that we have, and

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Speaker 6: that is what we have. We have chapters divided by characters,

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Speaker 6: character names, and it overlaps. We get repeating moments from

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Speaker 6: different points of view, different perspectives of these individual characters.

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Speaker 6: It's not just that each one of them, Josh, each

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Speaker 6: one of these characters is dealing with individual pain and

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Speaker 6: trying to forge ahead. There are lots of movies about

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Speaker 6: characters who are suffering. Here we have very lonely, isolated,

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Speaker 6: hurt characters who consistently and I would say arguably always

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Speaker 6: unintentionally hurt other people. Not only are none of them bad,

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Speaker 6: We're usually sympathetic to their circumstances, we understand, but their

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Speaker 6: pain leads to choices and a spiraling that causes other pain.

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Speaker 6: I'll give you just two examples. The first two characters

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Speaker 6: we meet Justine the teacher, Julia Garner's character. She is

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Speaker 6: certainly a victim here. She is not someone to blame

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Speaker 6: for anything that has happened. She's not to blame for

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Speaker 6: this tragedy, despite how some people feel or think have

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Speaker 6: to believe. They're clinging to this notion that she must

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Speaker 6: be to blame because they need they need someone to blame.

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Speaker 6: She's not a witch, but she chooses to self medicate

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Speaker 6: excessively with alcohol. It's an issue that we learned she

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Speaker 6: had before this tragedy, and selfishly, again understandably but selfishly,

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Speaker 6: she brings another character down with her, and that character

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Speaker 6: makes their own choices. I'm not discounting that, but it's

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Speaker 6: a cycle. And what do his choices lead to another

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Speaker 6: person's unintended pain and disappointment? Think about Josh all that

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Speaker 6: ensues in this film, all the dominoes that fall that

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Speaker 6: you can trace back to Justine at the bar, and

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Speaker 6: of course before that, the tragedy. But Justine at the

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Speaker 6: bar insisting just have one drink with me, Please drink Yeah.

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Speaker 6: And then we go to Archer. The pain of losing

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Speaker 6: his son not only causes him to lash out at Justine,

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Speaker 6: amplifying her pain, which leads to her going to the

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Speaker 6: bar and meeting with that person and wanting to have

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Speaker 6: just one real drink. But Kraiger shows us one interaction

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Speaker 6: one interaction with Archer's wife, her saying goodbye to go

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Speaker 6: to work. He's sleeping, he's waking up in his son's bed.

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Speaker 6: It's clear from that one terse interaction that their marriage

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Speaker 6: is completely on the ropes since Matthew's disappearance. Rather than

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Speaker 6: turning to each other, rather than relying on each other,

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Speaker 6: Archer anyway has completely turned intword. He is understandably here

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Speaker 6: again but selfishly let the pain completely consume him, and

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Speaker 6: he's completely detached from his marriage. And I think there's

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Speaker 6: a corollary with every other main character, certainly every other

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Speaker 6: character who gets to chapter save one. And I won't

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Speaker 6: get into that because of spoilers. And it even connects

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Speaker 6: back to the character who we shall not speak about,

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Speaker 6: because then we're really getting into spoilers that villain character

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Speaker 6: as I'm identifying them. But that connection to Josh even

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Speaker 6: confirms further from me that Krager explores the way pain

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Speaker 6: consumes and controls us, how it can be weaponized, and

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Speaker 6: the collateral damage it causes.

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Speaker 9: I think you're onto something that I was trying to

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Speaker 9: piece together, and this is helpful in that vein about

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Speaker 9: the notion of parasites in a way and feeding off

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Speaker 9: others and these characters, it really is. Yeah, it's a motif.

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Speaker 9: There are characters watching a nature documentary and we see

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Speaker 9: a good thirty seconds of it, and it's about a

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Speaker 9: form of parasites. And it's not that the characters you're

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Speaker 9: describing are necessarily meaning to feed off others. But I

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Speaker 9: like how you're talking about the recurring, the transferring of pain,

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Speaker 9: and I think that fits. Yeah. The structure I think

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Speaker 9: is is very intricate and smart and clever and effective.

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Speaker 9: I want to return to it, but first I want

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Speaker 9: to say that I like what you were talking about

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Speaker 9: in terms of appreciating the experience that you're given, not

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Speaker 9: necessarily putting all your eggs in the basket of the allegory.

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Speaker 9: And I wanted to return to that because I'm not,

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Speaker 9: despite what I said at the top, I'm not as

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Speaker 9: enthusiastic about weapons because it does function for me as

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Speaker 9: an allegory for school shootings. I mostly appreciated this as

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Speaker 9: an expertly constructed, terrifying, like heart thumping horror movie. And

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Speaker 9: and then if I can afterwards, when I'm going home

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Speaker 9: trying to catch my breath and I missed my stop

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Speaker 9: on the train, can I point out because I was

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Speaker 9: so discombobulated by this movie. I wouldn't one stop too far.

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Speaker 9: If after that great experience, I can then have that.

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Speaker 9: Oh but it could also mean this, then it's a bonus.

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Speaker 9: So just wanted to kind of like agree with you.

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Speaker 9: It's kind of prioritizing that.

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Speaker 4: And real quick.

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Speaker 6: My version of that was seeing it late afternoon and

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Speaker 6: coming home and sitting at dinner and I was being

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Speaker 6: a bad husband and father, where Sarah looked across the

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Speaker 6: table at one point and said, you seem to have

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Speaker 6: something on your mind, and I had to be honest

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Speaker 6: and say, I just kind of can't shake the movie.

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Speaker 9: I just saw I have a few things on my mind. Yeah, yes,

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Speaker 9: and I'm never going into the basement again. Oh right,

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Speaker 9: so I already you're there right now, I believe.

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Speaker 7: Yeah.

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Speaker 4: So we were, Oh the structure.

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Speaker 9: I wanted to ask you so a question I had

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Speaker 9: in my notes, and I think this might have already

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Speaker 9: come up on the film spotting Family discord a listener

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Speaker 9: who had seen the movie. I think that's where I

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Speaker 9: saw it, and they were talking about the chapters and

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Speaker 9: what that might have added, and I did actually have

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Speaker 9: that in my note. Did the structure add anything? And

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Speaker 9: where I landed after thinking about it some more. Yes,

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Speaker 9: the things you talked about absolutely allowing us to make

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Speaker 9: these connections, I think what it does it also kind

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Speaker 9: of excruciatingly but inventively doles out the pieces of this

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Speaker 9: increasingly terrifying puzzle. I think it's effective that way. But also,

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Speaker 9: you know, I do think that it allows us to

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Speaker 9: get a fuller sense of this traumatized community. I found

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Speaker 9: myself forming more intimate connections with each character and learning

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Speaker 9: about their foibles to your point, in a way I

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Speaker 9: probably would not have if this was all focused on

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Speaker 9: Justine Say or all focused on Archer, those others would

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Speaker 9: have been more supporting character. And by making everyone a

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Speaker 9: supporting character, I felt like I knew this, this place,

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Speaker 9: this town better than I would have otherwise, and so

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Speaker 9: I appreciated that. And I also think, you know, it

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Speaker 9: allows the actors to really dig in and get not scenes,

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Speaker 9: not even just one scene where they get to be

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Speaker 9: the main focus, but an entire section. And I think

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Speaker 9: Brolin is excellent and Garner is incredible as this exasperated

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Speaker 9: basket case you described her well, you know, she is

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Speaker 9: not the villain, but boy, she's making almost every wrong

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Speaker 9: choice you could given the situation she's in. And I

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Speaker 9: think Garner is incredible in the role.

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Speaker 6: Yeah, she's very good because she is making all those

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Speaker 6: wrong choices, but we see her as flawed, we see

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Speaker 6: her as human, and I think we understand, at least

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Speaker 6: I understood that she was thinking about her students, that

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Speaker 6: she was making us choices that weren't here. Again, she

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Speaker 6: wasn't making choices that were driven by selfishness, but her

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Speaker 6: pain was eating her to make what often were very

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Speaker 6: bad decisions. I was at first a little bit confounded

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Speaker 6: by the structure, Josh, because I was so interested in

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Speaker 6: those first two characters, and especially Justine, especially Garner and

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Speaker 6: her performance too. And once we started going from Justine

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Speaker 6: to Archer and then to Paul, which is the Alden Ehrenwright.

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Speaker 4: Character who is he was also great, He's very good.

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Speaker 6: But once I went from him, and then I went,

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Speaker 6: I think we go from from him maybe to James,

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Speaker 6: who is a character we do meet earlier. Again, all

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Speaker 6: these these stories overlap, and he's someone who is asking

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Speaker 6: for money and he's he's looking.

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Speaker 4: For a fix.

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Speaker 6: There may be another character in between, but we do

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Speaker 6: meet James at one point, and the point here is

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Speaker 6: regardless of what order they go in. H I started

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Speaker 6: feeling like, Okay, you're right, he is being very clever

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Speaker 6: about how he's doling out information, and I almost felt

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Speaker 6: like Craiger was being too clever.

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Speaker 4: You're being a little too deliberate.

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Speaker 6: You're being a little bit too precocious about how you're

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Speaker 6: doling out the information. And I, maybe, to the movie's credit, Josh,

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Speaker 6: I was so invested in where the story was going

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Speaker 6: that I wanted to get some of the resolution at

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Speaker 6: a little quicker and I felt I felt like he

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Speaker 6: was going down some paths that were distractions. But I

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Speaker 6: want to go back to why I really felt that

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Speaker 6: way and why I felt like some of those storylines

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Speaker 6: were kind of At first, I felt like it was

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Speaker 6: the movie spinning its wheels a little bit. I started

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Speaker 6: to feel sitting in my seat, I started to feel

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Speaker 6: myself become a little disengaged from the story. And as

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Speaker 6: I said, it really was because I was so tied

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Speaker 6: to those characters, Justine an Archer, and I think that

434
00:24:55,119 --> 00:25:03,080
Speaker 6: that's because the movie fundamentally is about them. It understands

435
00:25:02,800 --> 00:25:07,879
Speaker 6: that at the core of this film, seventeen kids disappear

436
00:25:08,000 --> 00:25:10,960
Speaker 6: all from one teacher's classroom, and he's the one who

437
00:25:11,000 --> 00:25:15,560
Speaker 6: says it, why only hers for different for different reasons.

438
00:25:16,200 --> 00:25:18,960
Speaker 6: This is what she's also trying to learn, what she's

439
00:25:19,040 --> 00:25:22,439
Speaker 6: trying to understand, So they're both trying to understand this

440
00:25:22,600 --> 00:25:28,040
Speaker 6: central mystery. And we try not to play screenwriter here

441
00:25:28,040 --> 00:25:31,480
Speaker 6: and rewrite the movie. But there's a part of me

442
00:25:31,720 --> 00:25:34,879
Speaker 6: that wonders if this movie would be just as effective,

443
00:25:34,920 --> 00:25:37,480
Speaker 6: if not more effective, if you sort of played the

444
00:25:37,520 --> 00:25:40,680
Speaker 6: movie straight and let let Justine be the main character,

445
00:25:41,119 --> 00:25:45,159
Speaker 6: let Archer be a co lead or a supporting character,

446
00:25:45,200 --> 00:25:48,320
Speaker 6: and have their storylines intersect. But what we would miss

447
00:25:48,400 --> 00:25:51,919
Speaker 6: in that, Josh and how I ultimately came around is

448
00:25:51,960 --> 00:25:55,159
Speaker 6: at some point, at some point when we got we

449
00:25:55,200 --> 00:25:58,560
Speaker 6: got into those chapters, what clicked for me is what

450
00:25:58,600 --> 00:26:02,040
Speaker 6: I articulated earlier. Clicked for me was, oh, there's a

451
00:26:02,080 --> 00:26:05,119
Speaker 6: reason why we're meeting all these characters, and the through

452
00:26:05,200 --> 00:26:09,040
Speaker 6: line is the pain and the transference of pain. Yes,

453
00:26:09,080 --> 00:26:13,000
Speaker 6: it's also cleverly giving us new information and we're starting

454
00:26:13,000 --> 00:26:15,920
Speaker 6: to put together the pieces of what's really happening here,

455
00:26:16,040 --> 00:26:18,960
Speaker 6: but it's the transference of pain, and that that for

456
00:26:19,080 --> 00:26:23,159
Speaker 6: me then made me understand what Craiger I thought was

457
00:26:23,200 --> 00:26:26,560
Speaker 6: really up to and it justified it for me. Now,

458
00:26:26,840 --> 00:26:29,919
Speaker 6: I'll also add quickly, I saw this today because it

459
00:26:29,920 --> 00:26:33,520
Speaker 6: popped up in my feed Letterboxed published it. He really

460
00:26:33,600 --> 00:26:36,240
Speaker 6: is just a huge fan of Magnolia. And I swear

461
00:26:36,280 --> 00:26:39,240
Speaker 6: to you the first time Alden Ehrenreich popped up on screen,

462
00:26:39,760 --> 00:26:42,440
Speaker 6: I sat there as he walked into that bar, and

463
00:26:42,560 --> 00:26:45,080
Speaker 6: I cannot totally explain it, but I sat there and

464
00:26:45,119 --> 00:26:50,600
Speaker 6: stared at him on screen and went mustache, huh, mustache?

465
00:26:50,640 --> 00:26:51,760
Speaker 4: Like why?

466
00:26:52,119 --> 00:26:55,359
Speaker 6: And he's a he's a police officer and he's got

467
00:26:55,400 --> 00:26:57,280
Speaker 6: that mustache. The first time we see him, he's in

468
00:26:57,320 --> 00:26:59,440
Speaker 6: his uniform and he's got a mustache. And I kind

469
00:26:59,440 --> 00:27:02,120
Speaker 6: of just sat there. There was something about it. I'm

470
00:27:02,160 --> 00:27:05,040
Speaker 6: not even saying I responded negatively to it, but there

471
00:27:05,080 --> 00:27:07,000
Speaker 6: was something that just made me dwell on it.

472
00:27:07,240 --> 00:27:08,240
Speaker 4: And then I read.

473
00:27:08,000 --> 00:27:11,840
Speaker 6: Today that that was just Craiger going, I just love

474
00:27:11,920 --> 00:27:14,960
Speaker 6: the character John c Riley plays in Magnolia. So I

475
00:27:15,040 --> 00:27:18,200
Speaker 6: had Alden Aaron Reich have a mustache like the cop

476
00:27:18,240 --> 00:27:18,959
Speaker 6: in Magnolia.

477
00:27:19,240 --> 00:27:21,880
Speaker 9: Okay, there you go. We have to find all kinds

478
00:27:21,880 --> 00:27:25,639
Speaker 9: of inspiration, all kinds of places. Sure, Yeah, yeah, definitely

479
00:27:25,720 --> 00:27:28,720
Speaker 9: magnolia a touchstone. You can see that throughout this movie

480
00:27:28,800 --> 00:27:31,480
Speaker 9: and to your point about you know, once you connected

481
00:27:31,520 --> 00:27:33,360
Speaker 9: with the through line of pain for all the characters

482
00:27:33,560 --> 00:27:35,560
Speaker 9: that's tied to what I was saying about, then it

483
00:27:35,600 --> 00:27:38,800
Speaker 9: became a portrait of communal pain for me. The structure

484
00:27:38,800 --> 00:27:41,520
Speaker 9: allowed it to be a community's pain that we're holding,

485
00:27:41,880 --> 00:27:46,120
Speaker 9: and the pacinge I never flagged because again I don't

486
00:27:46,119 --> 00:27:49,760
Speaker 9: remember where we get these set pieces, and I'm going

487
00:27:49,800 --> 00:27:54,240
Speaker 9: to dance around this for spoilers, but there is a

488
00:27:54,600 --> 00:27:59,639
Speaker 9: gas station incident which the way that is staged is

489
00:28:00,280 --> 00:28:05,760
Speaker 9: the opposite of a jump scare, and so Adam I think,

490
00:28:06,840 --> 00:28:11,680
Speaker 9: I think my heart leapt when I realized what was happening,

491
00:28:11,760 --> 00:28:14,159
Speaker 9: and then it like tried to literally crawl out of

492
00:28:14,160 --> 00:28:14,600
Speaker 9: my throat.

493
00:28:14,760 --> 00:28:18,440
Speaker 6: Yeah, it was cusation right before that happened. You heard

494
00:28:18,480 --> 00:28:19,840
Speaker 6: the audio, Yeah it was.

495
00:28:19,920 --> 00:28:23,240
Speaker 9: It was this, yes, sensation I don't know that I've

496
00:28:23,280 --> 00:28:26,280
Speaker 9: had since maybe I was a kid's watching The Shining

497
00:28:26,600 --> 00:28:30,119
Speaker 9: too young. And then there is another moment which I

498
00:28:30,160 --> 00:28:34,000
Speaker 9: think occurs earlier that I will not describe in detail

499
00:28:34,040 --> 00:28:38,320
Speaker 9: as well. It is I'll just say Justine is asleep

500
00:28:38,360 --> 00:28:42,040
Speaker 9: in her car and particularly vulnt where you're going, and

501
00:28:42,320 --> 00:28:48,760
Speaker 9: the way Craiger uses delicate movement of the camera, very

502
00:28:49,120 --> 00:28:54,920
Speaker 9: specific blocking and then sound design to communicate what could

503
00:28:55,040 --> 00:28:58,440
Speaker 9: be about to happen without it's a single take, I

504
00:28:58,440 --> 00:29:03,080
Speaker 9: can say that, and it's just an unbearable experience of dread.

505
00:29:03,960 --> 00:29:06,600
Speaker 9: And connected to it, the mileage they get in this

506
00:29:06,680 --> 00:29:12,600
Speaker 9: movie out of a suburban homes front door opening to

507
00:29:12,840 --> 00:29:18,600
Speaker 9: a blackness. I don't know how they managed that, but

508
00:29:18,760 --> 00:29:22,920
Speaker 9: it is unlike anything else I think I've seen the

509
00:29:22,960 --> 00:29:26,240
Speaker 9: cinematographer Larkin Seeple here, who worked on everything everywhere, all

510
00:29:26,240 --> 00:29:32,920
Speaker 9: at once. Actually, the blackness when that door opens is underworldly.

511
00:29:33,720 --> 00:29:36,240
Speaker 9: I don't know how you describe it, but it's terrifying

512
00:29:36,360 --> 00:29:38,120
Speaker 9: just a shot of that every time you see it,

513
00:29:38,120 --> 00:29:41,120
Speaker 9: because it's a motif I never got used to. So

514
00:29:41,160 --> 00:29:45,440
Speaker 9: there are The overall point is there are enough well

515
00:29:46,480 --> 00:29:49,960
Speaker 9: brilliantly crafted horror set pieces in this for me to

516
00:29:50,560 --> 00:29:54,720
Speaker 9: just hook me and keep me, allowing me to catch

517
00:29:54,720 --> 00:29:57,240
Speaker 9: my breath when we do then go follow another character

518
00:29:57,360 --> 00:30:00,080
Speaker 9: for a little while while also being fearful of but

519
00:30:00,880 --> 00:30:05,640
Speaker 9: in some cases I know is coming that they don't,

520
00:30:05,680 --> 00:30:08,080
Speaker 9: that a character might not which brings us back to

521
00:30:08,080 --> 00:30:11,080
Speaker 9: Craiger's you know earlier movie Barbarian, which which I liked

522
00:30:11,120 --> 00:30:15,240
Speaker 9: well enough, but it did cleverly play with narrative perspective.

523
00:30:15,320 --> 00:30:19,080
Speaker 9: Barbarian is you know famously a good way into the

524
00:30:19,080 --> 00:30:22,479
Speaker 9: movie cuts off from the people we've been watching and

525
00:30:22,520 --> 00:30:26,160
Speaker 9: introduces someone entirely new, and then has that person in

526
00:30:26,200 --> 00:30:30,000
Speaker 9: the situation we'd been watching, so we know more information there,

527
00:30:30,200 --> 00:30:32,480
Speaker 9: and he's doing something similar here. I think it's more

528
00:30:32,560 --> 00:30:36,360
Speaker 9: effective here playing with the idea of narrative perspective.

529
00:30:37,160 --> 00:30:39,800
Speaker 6: Well, I wouldn't know, because I tried to do my

530
00:30:39,880 --> 00:30:43,680
Speaker 6: homework and finally catch up with Barbarian the other night.

531
00:30:43,880 --> 00:30:47,600
Speaker 4: You had to bail and two Krager's.

532
00:30:47,080 --> 00:30:51,760
Speaker 6: Credit as a filmmaker when it comes to building dread,

533
00:30:52,160 --> 00:31:00,160
Speaker 6: because at this point there had been no Gore, zero Gore,

534
00:31:00,520 --> 00:31:03,920
Speaker 6: zero monsters on screen. Here, I was Josh thinking I

535
00:31:04,040 --> 00:31:08,880
Speaker 6: was finally a big boy at middle aged, at middle age,

536
00:31:08,920 --> 00:31:12,520
Speaker 6: I could handle horror finally. Yeah, right, yeah, I've had

537
00:31:12,520 --> 00:31:15,440
Speaker 6: this string of horror movies that I've enjoyed for the

538
00:31:15,440 --> 00:31:18,440
Speaker 6: most part, or I've enjoyed talking about here on the show,

539
00:31:18,960 --> 00:31:22,200
Speaker 6: and I pretty much remember the exact moment it was

540
00:31:22,240 --> 00:31:25,640
Speaker 6: about forty minutes in. I think I can say it's

541
00:31:25,680 --> 00:31:29,680
Speaker 6: when the main character goes to the basement.

542
00:31:29,880 --> 00:31:33,760
Speaker 4: The second time another I said, another basement.

543
00:31:33,800 --> 00:31:39,520
Speaker 6: I said, you know what, I'm out. The dread, the feeling,

544
00:31:39,760 --> 00:31:44,360
Speaker 6: the anticipation of dread was so overwhelming. I just said,

545
00:31:45,000 --> 00:31:47,960
Speaker 6: I can't do it. I don't want to know what's coming.

546
00:31:48,280 --> 00:31:50,600
Speaker 6: I'm bailing on this film and I will just go

547
00:31:50,720 --> 00:31:54,520
Speaker 6: in to weapons without having the benefit of seeing this film,

548
00:31:54,560 --> 00:31:56,440
Speaker 6: and I don't know that I ever will see it.

549
00:31:56,960 --> 00:32:01,040
Speaker 6: I mentioned Tarkovsky earlier, and you mentioned the door We

550
00:32:01,080 --> 00:32:03,880
Speaker 6: go back to the Tarkovsky marathon, all the films and

551
00:32:03,920 --> 00:32:08,160
Speaker 6: all the filmmakers that he references, Kraiger and including on

552
00:32:08,240 --> 00:32:12,120
Speaker 6: that letterbox article. He doesn't mention Tarkovsky. But the significance

553
00:32:12,160 --> 00:32:17,000
Speaker 6: of doorways, remember, is something we keyed in on and

554
00:32:18,200 --> 00:32:20,360
Speaker 6: it comes up again and again.

555
00:32:20,440 --> 00:32:20,640
Speaker 4: Here.

556
00:32:20,760 --> 00:32:23,480
Speaker 6: It's not just that door and it happens even in

557
00:32:23,520 --> 00:32:27,000
Speaker 6: Barbarian in the first forty minutes that I saw. Yeah,

558
00:32:27,160 --> 00:32:31,960
Speaker 6: in Tarkovsky, sometimes it's just the archway itself. It's the

559
00:32:32,120 --> 00:32:37,600
Speaker 6: entryway that is like this this threshold, this powerful threshold

560
00:32:37,640 --> 00:32:41,600
Speaker 6: that that becomes an entryway, It becomes this powerful force.

561
00:32:41,640 --> 00:32:45,720
Speaker 6: Almost he is obsessed with doors and the creepiness of

562
00:32:45,760 --> 00:32:50,360
Speaker 6: a door opening slowly beckoning you to enter, the unseen

563
00:32:50,480 --> 00:32:54,640
Speaker 6: force that's kind of ushering you you in, and even

564
00:32:54,640 --> 00:32:56,840
Speaker 6: if it's just opening on its own and the way

565
00:32:56,880 --> 00:33:02,840
Speaker 6: he also repeatedly mounts the care on like Archer's truck door,

566
00:33:03,360 --> 00:33:05,640
Speaker 6: so even the truck door, so when it shuts, you

567
00:33:05,680 --> 00:33:09,480
Speaker 6: get that very sudden jarring effect. And you mentioned both

568
00:33:10,040 --> 00:33:16,080
Speaker 6: the scene in the car with Justine and the gas

569
00:33:16,080 --> 00:33:18,680
Speaker 6: station that we heard a little bit of the gas

570
00:33:18,680 --> 00:33:22,160
Speaker 6: station confrontation, and in both those cases what he does

571
00:33:22,360 --> 00:33:24,920
Speaker 6: so well there because there are so many other examples

572
00:33:24,960 --> 00:33:27,880
Speaker 6: where he's lifting moments from the shining where he's using

573
00:33:27,880 --> 00:33:31,320
Speaker 6: the steady cam to great effect, and he's using those

574
00:33:31,360 --> 00:33:35,640
Speaker 6: more jarring effects and he loves movement. What I love

575
00:33:35,680 --> 00:33:40,000
Speaker 6: about both of those scenes, it's Julia Garner first alerting

576
00:33:40,080 --> 00:33:43,520
Speaker 6: us with their eyes that something is coming, and that's

577
00:33:43,560 --> 00:33:46,800
Speaker 6: what clues us in and gets us a little nervous first,

578
00:33:46,880 --> 00:33:49,360
Speaker 6: gets us anxious first, and then the camera just kind

579
00:33:49,360 --> 00:33:52,040
Speaker 6: of swings a little bit before it even shows us

580
00:33:52,040 --> 00:33:55,640
Speaker 6: what's coming towards us. And then in that shot in

581
00:33:55,680 --> 00:34:00,520
Speaker 6: the car, it is a still camera that is just

582
00:34:00,640 --> 00:34:03,200
Speaker 6: focused on her in the driver's seat of her car,

583
00:34:03,520 --> 00:34:09,040
Speaker 6: and it's all what's happening off camera. That's what's killing us,

584
00:34:09,160 --> 00:34:12,160
Speaker 6: is view us, the waiting, the waiting, and the not

585
00:34:12,400 --> 00:34:14,759
Speaker 6: knowing what is happening and.

586
00:34:14,680 --> 00:34:16,439
Speaker 4: What could be about to happen.

587
00:34:16,560 --> 00:34:20,160
Speaker 6: So he understands how to use that space within the frame,

588
00:34:20,200 --> 00:34:23,960
Speaker 6: but also the space outside of the frame to build

589
00:34:24,440 --> 00:34:27,280
Speaker 6: that dread. And then even you think about the poster

590
00:34:28,080 --> 00:34:32,000
Speaker 6: and the imagery that comes back that recurs in this

591
00:34:32,080 --> 00:34:36,320
Speaker 6: film again and again, the running shots of the children,

592
00:34:36,880 --> 00:34:41,920
Speaker 6: it does become clearer what that is meant to evoke.

593
00:34:42,560 --> 00:34:42,800
Speaker 4: To me.

594
00:34:42,960 --> 00:34:46,879
Speaker 6: It really does feel like a jet plane where their

595
00:34:47,000 --> 00:34:52,600
Speaker 6: arms are spread back like wings and obvious lead for

596
00:34:52,680 --> 00:34:55,440
Speaker 6: them all to be running to the same place at

597
00:34:55,480 --> 00:34:58,920
Speaker 6: the same time, they must be here again that idea

598
00:34:58,920 --> 00:35:02,120
Speaker 6: of control. They must to be lacking some control. But

599
00:35:02,200 --> 00:35:07,879
Speaker 6: there's also this sense, Josh, that while some force must

600
00:35:07,920 --> 00:35:11,160
Speaker 6: be driving them, they also look like kids who are

601
00:35:11,280 --> 00:35:15,240
Speaker 6: using their imagination and that they're totally free in the moment.

602
00:35:15,280 --> 00:35:20,960
Speaker 6: And so that juxtaposition, that contradiction is so striking.

603
00:35:21,280 --> 00:35:25,200
Speaker 9: And it's you know, you, Sometimes horror can be reduced

604
00:35:25,880 --> 00:35:29,000
Speaker 9: to one image like this, and then if the movie

605
00:35:29,040 --> 00:35:32,080
Speaker 9: backs it up, it will go down indelibly as a

606
00:35:32,200 --> 00:35:34,960
Speaker 9: landmark horror image. And I think that is going to

607
00:35:35,040 --> 00:35:39,680
Speaker 9: be the case with this shot of the kids running.

608
00:35:39,960 --> 00:35:42,600
Speaker 9: I mean, it's instrumental to the marketing campaign, but it's

609
00:35:42,680 --> 00:35:45,880
Speaker 9: more it's richer than that when you actually see the film.

610
00:35:46,000 --> 00:35:48,440
Speaker 9: And I do like how he uses it sparingly. As

611
00:35:48,480 --> 00:35:51,240
Speaker 9: I said, we get this before the title of the movie,

612
00:35:51,520 --> 00:35:56,520
Speaker 9: and we don't really return to it. Let's say this,

613
00:35:56,560 --> 00:35:59,680
Speaker 9: we don't return to it for the majority of the

614
00:35:59,680 --> 00:36:04,560
Speaker 9: film otherwise save for one one little reference that you

615
00:36:04,600 --> 00:36:08,520
Speaker 9: know is effective. But it's not like he's way using

616
00:36:08,600 --> 00:36:11,719
Speaker 9: it too much to my mind, basically, And I think

617
00:36:11,719 --> 00:36:13,279
Speaker 9: it's just going to be a marker. It's going to

618
00:36:13,320 --> 00:36:15,600
Speaker 9: be like the you know, the blood coming out of

619
00:36:15,640 --> 00:36:18,480
Speaker 9: the elevator in the Shining. It's going to be like

620
00:36:18,560 --> 00:36:21,279
Speaker 9: Heather's face looking in the camera in Blair Witch. I

621
00:36:21,280 --> 00:36:24,280
Speaker 9: think the silhouette of a kid running down a dark

622
00:36:24,960 --> 00:36:28,239
Speaker 9: suburban street is going to ten to twenty years from

623
00:36:28,239 --> 00:36:31,759
Speaker 9: now have that cultural cachet and impact, and I think

624
00:36:31,800 --> 00:36:34,080
Speaker 9: it earns it. I think it earns it now. I

625
00:36:34,160 --> 00:36:37,480
Speaker 9: don't think Weapons is a perfect film, and I want

626
00:36:37,480 --> 00:36:40,600
Speaker 9: to ask you something that's somewhat related to your Barbarian experience,

627
00:36:40,640 --> 00:36:44,040
Speaker 9: which I loved hearing about the part you didn't get to.

628
00:36:44,239 --> 00:36:46,880
Speaker 9: For me, the ending of Barbarian is kind of what

629
00:36:47,000 --> 00:36:52,080
Speaker 9: lost me. Where Craiger did start really amping up the insanity.

630
00:36:52,880 --> 00:36:57,239
Speaker 9: I almost felt like the movie had abandoned not not

631
00:36:57,280 --> 00:36:59,560
Speaker 9: only given a new perspective to what came before, but

632
00:36:59,600 --> 00:37:02,600
Speaker 9: a band in it in trying to trick us and

633
00:37:02,640 --> 00:37:07,000
Speaker 9: be clever. I don't think that happens in Weapons, but

634
00:37:07,239 --> 00:37:12,600
Speaker 9: I do think while I found the ending, particularly the climax, cathartic,

635
00:37:13,400 --> 00:37:15,520
Speaker 9: I do think there are and this is a question

636
00:37:15,560 --> 00:37:17,719
Speaker 9: for you because it goes to like horror logic, I

637
00:37:17,760 --> 00:37:20,600
Speaker 9: do think there are some we're gonna have to dance

638
00:37:20,640 --> 00:37:25,200
Speaker 9: around this, some logic plot holes that were not big

639
00:37:25,280 --> 00:37:28,919
Speaker 9: enough to throw me off. But let's just say to

640
00:37:28,920 --> 00:37:31,880
Speaker 9: totally buy in on weapons, you have to understand that

641
00:37:31,920 --> 00:37:35,680
Speaker 9: this is the most incompetent police force in the history

642
00:37:35,719 --> 00:37:36,240
Speaker 9: of the world.

643
00:37:37,880 --> 00:37:41,359
Speaker 4: Is that fair? And if you really did that, did

644
00:37:41,360 --> 00:37:42,319
Speaker 4: that throw you off?

645
00:37:42,360 --> 00:37:46,600
Speaker 9: With Once we once we understand what's really going on here,

646
00:37:46,640 --> 00:37:48,520
Speaker 9: and the movie does tell us it puts all its

647
00:37:48,560 --> 00:37:51,359
Speaker 9: cards on the table quite clearly, and then your mind

648
00:37:51,400 --> 00:37:55,680
Speaker 9: starts thinking, Okay, if this is what happened, how did

649
00:37:55,719 --> 00:37:59,319
Speaker 9: it actually go down? And we see some of that,

650
00:38:00,000 --> 00:38:03,399
Speaker 9: but then your mind starts saying, like I was anticipating,

651
00:38:03,440 --> 00:38:05,360
Speaker 9: like they're going to have to answer this big question

652
00:38:05,440 --> 00:38:09,759
Speaker 9: I have, and the answer was, you know, like these

653
00:38:09,760 --> 00:38:11,440
Speaker 9: guys needed a few more years of training.

654
00:38:11,480 --> 00:38:12,080
Speaker 4: I think, Okay.

655
00:38:12,480 --> 00:38:15,360
Speaker 6: You know what I would point out, Josh, is the

656
00:38:15,400 --> 00:38:19,080
Speaker 6: thing that undoes the film even more is this is

657
00:38:19,360 --> 00:38:22,160
Speaker 6: a movie that does, for the most part, play by

658
00:38:22,600 --> 00:38:26,600
Speaker 6: the rules. It plays by real world rules, and it

659
00:38:26,680 --> 00:38:29,399
Speaker 6: acknowledges that this is a world that has, as our

660
00:38:29,440 --> 00:38:35,799
Speaker 6: world does, ring cameras that captures neighborhood activity. And I

661
00:38:35,880 --> 00:38:41,600
Speaker 6: will say, if only there was one ring camera placed

662
00:38:41,640 --> 00:38:46,920
Speaker 6: in one particular area, then there also wouldn't be an

663
00:38:47,080 --> 00:38:50,080
Speaker 6: entire movie. So there are there are ways that we

664
00:38:50,160 --> 00:38:54,040
Speaker 6: could certainly undercut it. But for the most part, I

665
00:38:54,080 --> 00:38:58,759
Speaker 6: really respect that Craiger tries to play by rules in

666
00:38:58,800 --> 00:39:01,080
Speaker 6: ways that I don't think a lot of horror movies

667
00:39:01,520 --> 00:39:04,880
Speaker 6: try to. And I'm I'm game for getting into some

668
00:39:04,880 --> 00:39:07,840
Speaker 6: spoiler talk if you want to save that. And maybe

669
00:39:07,880 --> 00:39:11,799
Speaker 6: at the very end of the podcast. We can do that,

670
00:39:11,880 --> 00:39:14,400
Speaker 6: I think in terms of just kind of putting a

671
00:39:14,440 --> 00:39:19,200
Speaker 6: bow on this conversation, I am interested. I find it

672
00:39:19,239 --> 00:39:23,920
Speaker 6: interesting to hear that you weren't necessarily totally on board

673
00:39:23,920 --> 00:39:27,960
Speaker 6: with the ending of the film, because I wasn't either.

674
00:39:28,239 --> 00:39:31,319
Speaker 6: And the way I would describe it is it does

675
00:39:31,400 --> 00:39:38,480
Speaker 6: get openly silly. There is I think and my audience.

676
00:39:38,520 --> 00:39:40,719
Speaker 6: I didn't see it with a huge crowd, but the

677
00:39:40,800 --> 00:39:43,120
Speaker 6: crowd laughed. I don't think there's any I don't think

678
00:39:43,160 --> 00:39:46,319
Speaker 6: there's any response you can have to what happens at

679
00:39:46,360 --> 00:39:49,800
Speaker 6: the end of this film, but to laugh. It seems

680
00:39:50,320 --> 00:39:54,120
Speaker 6: decidedly intentional on the filmmaker's part, and I do have

681
00:39:54,800 --> 00:39:59,399
Speaker 6: I do have tremendous respect for Craiger for going there,

682
00:39:59,680 --> 00:40:03,319
Speaker 6: and it requires, I think, great confidence as a filmmaker

683
00:40:03,840 --> 00:40:06,239
Speaker 6: to do it when you have a film that otherwise

684
00:40:06,400 --> 00:40:11,080
Speaker 6: is so gory and so portentous and is so dread filled.

685
00:40:11,200 --> 00:40:14,120
Speaker 6: My questions would be, based on everything that came before,

686
00:40:15,920 --> 00:40:18,359
Speaker 6: should there be some kind of should there be real

687
00:40:18,440 --> 00:40:21,839
Speaker 6: and you mentioned this, Josh, should there be real emotional

688
00:40:21,920 --> 00:40:25,640
Speaker 6: Catharsis at the end, and then did you have it

689
00:40:25,840 --> 00:40:30,239
Speaker 6: or did the silliness undercut that and my answers are yes,

690
00:40:30,320 --> 00:40:34,600
Speaker 6: there should be and no not really, I didn't really

691
00:40:34,640 --> 00:40:38,359
Speaker 6: have it, and the silliness is part of what undercut it.

692
00:40:38,400 --> 00:40:41,400
Speaker 6: I walked out of this movie more with kind of

693
00:40:41,440 --> 00:40:45,400
Speaker 6: a grin on my face, thinking, boy, Craiger's really is

694
00:40:45,440 --> 00:40:49,160
Speaker 6: such a cheeky filmmaker. So it never it didn't fully

695
00:40:49,200 --> 00:40:53,239
Speaker 6: deliver on the promise of its provocative premise for me.

696
00:40:53,840 --> 00:40:56,400
Speaker 9: Yeah, to be clear, I was all in on the climax,

697
00:40:56,440 --> 00:40:58,640
Speaker 9: the actual ending, and what I was referring to is

698
00:40:58,760 --> 00:41:02,200
Speaker 9: once we start seeing the logistics of the answer to

699
00:41:02,239 --> 00:41:02,760
Speaker 9: the mystery.

700
00:41:03,000 --> 00:41:04,600
Speaker 4: So that's where I love the silliest.

701
00:41:05,080 --> 00:41:09,919
Speaker 9: Yeah, answered the bottom it was I was like, no,

702
00:41:10,840 --> 00:41:12,200
Speaker 9: this isn't going to happen, is it.

703
00:41:12,320 --> 00:41:12,720
Speaker 4: Yeah?

704
00:41:13,000 --> 00:41:16,399
Speaker 9: And then I was like, oh, it's happening. Yeah, And

705
00:41:16,440 --> 00:41:19,480
Speaker 9: it's like it's it's still happening, and it's happening like

706
00:41:19,520 --> 00:41:22,279
Speaker 9: that and not and it's like it's almost like they

707
00:41:22,360 --> 00:41:26,120
Speaker 9: knew they had a good joke. And then I mean

708
00:41:26,160 --> 00:41:29,920
Speaker 9: it is played as a comedy bit because it's now

709
00:41:30,000 --> 00:41:32,640
Speaker 9: let's up the ante here. Now what if it happens

710
00:41:32,680 --> 00:41:37,799
Speaker 9: here now here? And the audio that goes with it,

711
00:41:38,960 --> 00:41:42,040
Speaker 9: we really can't we really. I can't talk in detail

712
00:41:42,080 --> 00:41:44,120
Speaker 9: here about why it works for me, but I will

713
00:41:44,160 --> 00:41:49,200
Speaker 9: say out of my my intellectual response gave way to

714
00:41:49,360 --> 00:41:52,719
Speaker 9: the Catharsis. And again, this was before I had made

715
00:41:52,719 --> 00:41:55,799
Speaker 9: the allegorical connection to school shooting, so it was like

716
00:41:55,880 --> 00:42:00,200
Speaker 9: a subliminal, subconscious like. I didn't know why I was

717
00:42:00,239 --> 00:42:06,440
Speaker 9: feeling so cathartic about this crazy climax, because every bone

718
00:42:06,440 --> 00:42:10,239
Speaker 9: in my body was probably telling me I should not

719
00:42:10,320 --> 00:42:14,279
Speaker 9: be enjoying this, I should not be disturbed laughing. Why

720
00:42:14,320 --> 00:42:15,120
Speaker 9: am I finding this?

721
00:42:15,320 --> 00:42:15,360
Speaker 1: Like?

722
00:42:16,120 --> 00:42:20,040
Speaker 9: Yes, like, And I think for a couple of reasons,

723
00:42:20,400 --> 00:42:26,200
Speaker 9: the brilliance of the filmmaking, and deep down there was

724
00:42:26,239 --> 00:42:30,080
Speaker 9: something this movie was nagging at me about that I

725
00:42:30,120 --> 00:42:33,839
Speaker 9: needed a cathartic experience. So I really do believe that's

726
00:42:33,840 --> 00:42:37,000
Speaker 9: what I had. And I completely understand if you were

727
00:42:37,040 --> 00:42:40,000
Speaker 9: taken out by because it is a big, big swing.

728
00:42:40,360 --> 00:42:43,200
Speaker 6: And I think the distinction in what I'm hearing or

729
00:42:43,239 --> 00:42:45,440
Speaker 6: what I think I'm hearing from you is you're speaking

730
00:42:45,480 --> 00:42:50,879
Speaker 6: about Catharsis more in the sense of the movie itself

731
00:42:51,280 --> 00:42:55,120
Speaker 6: delivering a sense of Catharsis, And I'm thinking very specifically

732
00:42:55,920 --> 00:43:00,640
Speaker 6: in terms of the characters. I'm thinking about where Justine

733
00:43:00,719 --> 00:43:04,280
Speaker 6: is at, where Archer is at. I'm thinking about where

734
00:43:04,800 --> 00:43:07,680
Speaker 6: another character or characters are at that I don't want

735
00:43:07,719 --> 00:43:11,040
Speaker 6: to get. Yeah, yeah, yeah, that's the Catharsis. I need

736
00:43:11,040 --> 00:43:14,440
Speaker 6: the movie to deliver, and I think the movie tries

737
00:43:14,640 --> 00:43:16,960
Speaker 6: to deliver it. It's not that it's not there, but

738
00:43:17,719 --> 00:43:20,080
Speaker 6: I didn't feel it on the level that I thought

739
00:43:20,080 --> 00:43:22,240
Speaker 6: I might based on everything that came before.

740
00:43:22,520 --> 00:43:24,680
Speaker 9: Yeah, the final moments, and this is related back to

741
00:43:24,719 --> 00:43:28,600
Speaker 9: my qualms about the voiceover narration that bookends this and

742
00:43:28,680 --> 00:43:31,640
Speaker 9: the final moments, I maybe fell closer to that. When

743
00:43:31,680 --> 00:43:34,200
Speaker 9: we do get that narration again and it again opens

744
00:43:34,200 --> 00:43:38,240
Speaker 9: some questions, I think maybe I don't know how you feel.

745
00:43:38,560 --> 00:43:40,400
Speaker 9: I feel like we've covered a lot of good stuff,

746
00:43:40,640 --> 00:43:43,560
Speaker 9: and maybe we hold spoilers for like if we get

747
00:43:43,600 --> 00:43:47,239
Speaker 9: listener feedback emails and you know, that might be a

748
00:43:47,360 --> 00:43:52,080
Speaker 9: chance to dig into some of the particulars. But I

749
00:43:52,120 --> 00:43:53,759
Speaker 9: do want to say real quickly, because we praise the

750
00:43:53,760 --> 00:43:59,160
Speaker 9: performances overall. Austin Abrams, who plays James, who's the young

751
00:43:59,200 --> 00:44:02,520
Speaker 9: guy who is looking for a fix, and really I

752
00:44:02,520 --> 00:44:07,839
Speaker 9: think anchors a significantly comic section of the movie. I

753
00:44:07,960 --> 00:44:11,759
Speaker 9: was like this, this guy is amazing. He is fantastic.

754
00:44:12,360 --> 00:44:14,080
Speaker 9: And then I was looking at the credits and do

755
00:44:14,120 --> 00:44:17,239
Speaker 9: you saw Wolf's right the Clooney and Brad Pitt thing.

756
00:44:17,840 --> 00:44:22,120
Speaker 9: Remember that grungy goofball the third Wheel who hangs around

757
00:44:22,160 --> 00:44:23,840
Speaker 9: with them, He's sort.

758
00:44:23,600 --> 00:44:27,000
Speaker 6: Of like and he had that same sort of effortless

759
00:44:27,480 --> 00:44:28,000
Speaker 6: kind of.

760
00:44:28,080 --> 00:44:32,439
Speaker 4: Yes, effortlessness Austin abras right, like so good?

761
00:44:32,480 --> 00:44:35,040
Speaker 6: Here too interesting? Yeah, I'm glad you looked that up.

762
00:44:35,680 --> 00:44:39,480
Speaker 6: Weapons is currently playing in wide release. If you've seen

763
00:44:39,520 --> 00:44:42,239
Speaker 6: it and you agree or disagree, or you have any

764
00:44:42,280 --> 00:44:43,960
Speaker 6: other thoughts you'd like to share, we would love to

765
00:44:44,000 --> 00:44:46,280
Speaker 6: hear from you feedback at film spotting dot net.

766
00:44:46,680 --> 00:44:48,680
Speaker 9: Listening is the number one thing you can do to

767
00:44:48,760 --> 00:44:52,080
Speaker 9: support an independently produced show like ours. Here are a

768
00:44:52,160 --> 00:44:54,040
Speaker 9: couple of other things you could do. Take a minute

769
00:44:54,080 --> 00:44:56,280
Speaker 9: to give us a rating or a review on Apple

770
00:44:56,320 --> 00:45:00,880
Speaker 9: Podcasts or Spotify. Every new review helps us each new listeners,

771
00:45:00,920 --> 00:45:04,880
Speaker 9: so please send one of those along. Even better, how

772
00:45:04,880 --> 00:45:09,000
Speaker 9: about joining the film Spotting Family. We are continuing our

773
00:45:09,040 --> 00:45:13,239
Speaker 9: celebration of film Spotting's twentieth year by sharing voice messages

774
00:45:13,719 --> 00:45:17,280
Speaker 9: from film Spotting Family members. So these were submitted ahead

775
00:45:17,280 --> 00:45:21,560
Speaker 9: of Film Spotting Fest back in March. Here our messages

776
00:45:21,600 --> 00:45:25,200
Speaker 9: from Aaron as well as Eric Nelson from Racine, Wisconsin.

777
00:45:26,200 --> 00:45:29,120
Speaker 7: I've raised three kids on Film Spotty. They all love

778
00:45:29,200 --> 00:45:32,959
Speaker 7: film in their own way. My oldest Ambrose, obsessions about

779
00:45:33,040 --> 00:45:35,840
Speaker 7: John Williams and did the Christopher Nolan Marathon with me

780
00:45:36,120 --> 00:45:37,239
Speaker 7: to become a completist.

781
00:45:37,680 --> 00:45:40,080
Speaker 4: But he also saw Puss and Boots in the theater

782
00:45:40,239 --> 00:45:41,040
Speaker 4: five times.

783
00:45:41,360 --> 00:45:44,120
Speaker 7: I discovered Get Out with Vigo and we even agree

784
00:45:44,160 --> 00:45:47,600
Speaker 7: with Josh that Jordan Peel's US is the better film.

785
00:45:47,880 --> 00:45:49,080
Speaker 4: But then Vigo fell in.

786
00:45:48,960 --> 00:45:51,600
Speaker 7: Love with a girl in part based on their shared

787
00:45:51,640 --> 00:45:55,600
Speaker 7: affinity for the Saw movies. My third son, Keanu, he

788
00:45:55,719 --> 00:45:58,799
Speaker 7: only loves good movies like Dog Day Afternoon, Whiplash.

789
00:45:58,840 --> 00:46:01,400
Speaker 4: Fury Road will probably.

790
00:46:00,880 --> 00:46:03,160
Speaker 7: Find a way to burn Film Spotty Nation to the

791
00:46:03,160 --> 00:46:06,960
Speaker 7: ground if they don't give Sherlock Junior its rightful place

792
00:46:07,080 --> 00:46:09,920
Speaker 7: among the pantheon. And this is what you get for

793
00:46:10,040 --> 00:46:13,040
Speaker 7: young adults when your kids don't know a world without

794
00:46:13,040 --> 00:46:16,400
Speaker 7: Film Spotting. As a cinephile, there's stuff I worry about

795
00:46:16,440 --> 00:46:19,000
Speaker 7: with the trajectory my boys are on. But then I

796
00:46:19,080 --> 00:46:22,640
Speaker 7: listen to episode fourteen from two thousand and five, Adam

797
00:46:22,800 --> 00:46:27,160
Speaker 7: enthusiastically hope that Ian mcdermot's portrayal of emperpor Palpatine would

798
00:46:27,239 --> 00:46:30,560
Speaker 7: finally get him Oscar attention, while Sam praised A Boy

799
00:46:30,560 --> 00:46:33,799
Speaker 7: and his Dog, a nineteen seventy five film where Don

800
00:46:33,880 --> 00:46:38,840
Speaker 7: Johnson telepathically communicates with his dog in a post apocalyptic

801
00:46:38,960 --> 00:46:42,600
Speaker 7: world while battling Jason Robards, who wants to use the

802
00:46:42,640 --> 00:46:49,440
Speaker 7: hero for a sperm bank. Thank God, people grow and change, Adam, Sam, Josh.

803
00:46:49,560 --> 00:46:52,879
Speaker 7: They continue to surprise us because they love film. They

804
00:46:52,920 --> 00:46:57,279
Speaker 7: share themselves authentically while they interpret art. I see that

805
00:46:57,360 --> 00:47:00,239
Speaker 7: in my boys. I love that about my boys, and

806
00:47:00,320 --> 00:47:02,840
Speaker 7: I'm not sure my family would be this kind of

807
00:47:02,880 --> 00:47:06,520
Speaker 7: awesome if it wasn't for twenty years of film Spotting.

808
00:47:07,480 --> 00:47:10,680
Speaker 8: Hey, film Spotting. This is Aaron Neworth and Lagua Hills, California.

809
00:47:10,719 --> 00:47:13,720
Speaker 8: Happy twentieth. I've been listening to this show since two

810
00:47:13,719 --> 00:47:16,160
Speaker 8: thousand and eight, which is.

811
00:47:16,280 --> 00:47:17,160
Speaker 4: That's a long time.

812
00:47:18,080 --> 00:47:19,959
Speaker 8: I want to talk about my favorite film Spotting moment

813
00:47:20,560 --> 00:47:23,200
Speaker 8: money to choose from. I of course love Adam and

814
00:47:23,239 --> 00:47:25,440
Speaker 8: Josh together, but there were the Mattie Ball game years

815
00:47:25,520 --> 00:47:27,520
Speaker 8: and one that's the moment that's always stuck out to

816
00:47:27,560 --> 00:47:30,280
Speaker 8: me is episode two thirty four, it's when you reviewed

817
00:47:30,280 --> 00:47:33,000
Speaker 8: Seneca Kyaw York, the Charlie Coffin film that I'm quite

818
00:47:33,000 --> 00:47:35,440
Speaker 8: a fan of. You guys gave a wonderful review of it.

819
00:47:35,480 --> 00:47:37,640
Speaker 8: You went over the film and its themes and what

820
00:47:37,680 --> 00:47:39,799
Speaker 8: you took away from it and all that, and then

821
00:47:39,840 --> 00:47:42,440
Speaker 8: you also laid into at the movies in its final

822
00:47:42,480 --> 00:47:45,600
Speaker 8: incarnation at that time, and how disappointing it was to

823
00:47:45,640 --> 00:47:48,279
Speaker 8: see what passed his film criticism on that show to

824
00:47:48,640 --> 00:47:52,759
Speaker 8: go out there with their frankly very underwhelming thoughts on

825
00:47:52,840 --> 00:47:56,839
Speaker 8: the film. Meanwhile, here we are, twenty years later, Film

826
00:47:56,880 --> 00:47:58,640
Speaker 8: Spotting is still going and I'm happy to listen while

827
00:47:58,680 --> 00:48:00,439
Speaker 8: I have. The movies in that form is no longer

828
00:48:00,480 --> 00:48:03,960
Speaker 8: anywhere to be found. So thank you for preventing such

829
00:48:04,000 --> 00:48:05,360
Speaker 8: wonderful reviews over the years.

830
00:48:05,440 --> 00:48:09,120
Speaker 6: And cheers always great to hear from Aaron and Eric

831
00:48:09,520 --> 00:48:12,640
Speaker 6: Senecticky New York. Yeah, episode two thirty four, that's a

832
00:48:13,160 --> 00:48:16,600
Speaker 6: that's an infamous one in the Film Spotting catalog, when

833
00:48:17,239 --> 00:48:20,680
Speaker 6: Maddie and I got a little upset at the Benz

834
00:48:21,040 --> 00:48:25,360
Speaker 6: for their review, and I use that term loosely, it

835
00:48:25,440 --> 00:48:25,640
Speaker 6: was like.

836
00:48:25,600 --> 00:48:27,120
Speaker 9: A film critic brawl going.

837
00:48:27,239 --> 00:48:30,520
Speaker 6: Yeah, it was a little bit of a brawl, a

838
00:48:30,560 --> 00:48:33,200
Speaker 6: one sided brawl for sure.

839
00:48:33,440 --> 00:48:34,960
Speaker 4: And then you've got Eric.

840
00:48:35,040 --> 00:48:39,080
Speaker 6: Now, I don't know how this is possible, great great voicemail,

841
00:48:39,160 --> 00:48:43,840
Speaker 6: Thank you, Eric, But he's chiding me for hoping that

842
00:48:43,920 --> 00:48:49,200
Speaker 6: Ian McDermot might get OSCAR attention for playing the Emperor

843
00:48:49,280 --> 00:48:52,840
Speaker 6: in Revenge of the Sith. By the way, after hearing

844
00:48:53,719 --> 00:48:58,200
Speaker 6: this voicemail, I looked up who was nominated for Oscars

845
00:48:58,200 --> 00:49:00,480
Speaker 6: in two thousand and six and who won. And you

846
00:49:00,520 --> 00:49:04,640
Speaker 6: know what, Ian McDermott got robbed. He deserved a nomination.

847
00:49:04,960 --> 00:49:07,279
Speaker 9: I support you, I support you and your crusade. He

848
00:49:07,360 --> 00:49:08,000
Speaker 9: is fantastic.

849
00:49:09,160 --> 00:49:12,560
Speaker 6: And then Sam, Now I haven't seen a boy and

850
00:49:12,600 --> 00:49:15,920
Speaker 6: his dog. It sounds like Eric may have a case

851
00:49:15,960 --> 00:49:18,640
Speaker 6: against Sam. But how is it, Josh, with all of

852
00:49:18,680 --> 00:49:22,080
Speaker 6: your opinions over the years, how is it that only

853
00:49:22,800 --> 00:49:25,799
Speaker 6: me and Sam are getting taken to task by Eric

854
00:49:26,280 --> 00:49:27,880
Speaker 6: for terrible movie thoughts.

855
00:49:28,640 --> 00:49:30,719
Speaker 9: I mean, I have not seen a boy and his

856
00:49:30,800 --> 00:49:34,200
Speaker 9: dog either, but just reading or hearing that description, I

857
00:49:34,200 --> 00:49:37,520
Speaker 9: should say it's hard for me to even top that one.

858
00:49:38,160 --> 00:49:43,200
Speaker 6: Yeah, we do appreciate all the great feedback that we get,

859
00:49:43,239 --> 00:49:45,439
Speaker 6: of course, all the love and support that we get

860
00:49:45,520 --> 00:49:49,120
Speaker 6: from longtime listeners. And supporters like Aaron and Eric. I

861
00:49:49,200 --> 00:49:53,240
Speaker 6: think we only have one more of these very special

862
00:49:53,280 --> 00:49:56,560
Speaker 6: messages to share. We'll get to that in a few weeks.

863
00:49:56,880 --> 00:49:59,600
Speaker 6: We think all of our Film Spotting Family members. In

864
00:49:59,640 --> 00:50:02,480
Speaker 6: addition to keeping us doing what we're doing, your support

865
00:50:02,600 --> 00:50:05,160
Speaker 6: comes with perks. You get to listen early in ad free,

866
00:50:05,200 --> 00:50:08,200
Speaker 6: you get our weekly newsletter, you get exclusive opportunities like

867
00:50:08,239 --> 00:50:10,400
Speaker 6: being part of the Film Spotting Family discord, and you

868
00:50:10,480 --> 00:50:13,839
Speaker 6: get monthly bonus shows. In July we shared with you

869
00:50:14,080 --> 00:50:16,840
Speaker 6: are we were wrong once and it turns out I

870
00:50:16,920 --> 00:50:19,800
Speaker 6: was wrong again about the Coen Brothers burn after reading

871
00:50:20,239 --> 00:50:23,600
Speaker 6: and in August. Later this month, we haven't taped it yet,

872
00:50:23,600 --> 00:50:28,880
Speaker 6: but we're doing a blind cow review of Akira Kurrosawa's

873
00:50:29,120 --> 00:50:31,839
Speaker 6: Stray Dog that's available on the Criterion Channel. Now why

874
00:50:31,880 --> 00:50:34,960
Speaker 6: are we talking about Stray Dog. We gave Film Spotting

875
00:50:34,960 --> 00:50:38,120
Speaker 6: Family members a vote. It was up against The Rocky

876
00:50:38,120 --> 00:50:42,640
Speaker 6: Horror Picture Show for its fiftieth anniversary and Gaslight, which

877
00:50:42,920 --> 00:50:46,200
Speaker 6: is a forties film, and we have nineteen forties Madness

878
00:50:46,280 --> 00:50:49,800
Speaker 6: coming up. Straight Dog is also a nineteen forties film,

879
00:50:49,920 --> 00:50:53,719
Speaker 6: and with highest to lowest coming out, we thought, why not.

880
00:50:54,080 --> 00:50:57,440
Speaker 6: We've got the Kurrosawa tie in there because Highest to Lois,

881
00:50:57,440 --> 00:51:00,440
Speaker 6: of course, is a remake of a Kurrosawa film. It

882
00:51:00,520 --> 00:51:04,200
Speaker 6: turns out it's a Blind Cow because it's blind spotting

883
00:51:04,520 --> 00:51:07,600
Speaker 6: for you, Josh and for Sam, but a sacred cow

884
00:51:07,640 --> 00:51:10,759
Speaker 6: for me. I've seen Stray Dog Straight Dog one. I

885
00:51:10,800 --> 00:51:13,439
Speaker 6: do look forward to revisiting that film. You and Sam

886
00:51:13,440 --> 00:51:14,640
Speaker 6: will be seeing it for the first time.

887
00:51:15,120 --> 00:51:17,880
Speaker 9: Cannot wait. It's been a curs hour summer for me.

888
00:51:18,280 --> 00:51:21,320
Speaker 9: I think we had our trip to Japan w and

889
00:51:21,360 --> 00:51:23,920
Speaker 9: I so before that we watched Yo Jimbo, and then

890
00:51:23,960 --> 00:51:26,400
Speaker 9: when we got back Thrown of Blood. I just watched

891
00:51:26,480 --> 00:51:29,240
Speaker 9: High and Low this past week for the first time.

892
00:51:29,400 --> 00:51:32,480
Speaker 9: If I can add Stray Dog to the pile, that's

893
00:51:32,520 --> 00:51:33,799
Speaker 9: just great. Can't wait to watch it.

894
00:51:34,040 --> 00:51:35,520
Speaker 6: If you'd like to be part of the Film Spotting

895
00:51:35,560 --> 00:51:39,160
Speaker 6: Family and hear that conversation later this month, you can

896
00:51:39,160 --> 00:51:43,600
Speaker 6: do that at film spotting Family dot com.

897
00:51:44,040 --> 00:51:46,320
Speaker 8: I mean, he was literally the best singer I've ever heard.

898
00:51:46,840 --> 00:51:54,000
Speaker 6: This is a less and he's my favorite vacation.

899
00:51:54,200 --> 00:51:56,440
Speaker 7: I stayed with my father, you had a whole other family.

900
00:51:56,960 --> 00:51:58,440
Speaker 1: No calls were returned, and.

901
00:51:58,600 --> 00:52:00,719
Speaker 3: Put his little hands on my face and shape We're

902
00:52:00,760 --> 00:52:02,239
Speaker 3: going to be okay, mommy right.

903
00:52:03,480 --> 00:52:07,040
Speaker 9: Welcome to Adam's Alcove, your source for Under the Radar

904
00:52:07,320 --> 00:52:09,600
Speaker 9: music doc reviews. Do we have some I feel like

905
00:52:09,640 --> 00:52:13,040
Speaker 9: we need some soothing music to go along with this.

906
00:52:13,440 --> 00:52:15,120
Speaker 6: Yeah, this is going to be short lived, though. I

907
00:52:15,120 --> 00:52:18,480
Speaker 6: think this segment's over after this week. Oh no, no,

908
00:52:19,400 --> 00:52:21,960
Speaker 6: are there other raid docks coming out hitting the ratings?

909
00:52:21,960 --> 00:52:25,040
Speaker 4: A great are getting canceled already? Yeah.

910
00:52:25,239 --> 00:52:28,480
Speaker 9: That was from the trailer for It's Never Over. Jeff Buckley,

911
00:52:28,760 --> 00:52:31,440
Speaker 9: a new doc about the singer songwriter who died in

912
00:52:31,560 --> 00:52:35,920
Speaker 9: nineteen ninety seven at thirty, but whose music has lived on,

913
00:52:36,040 --> 00:52:39,919
Speaker 9: in particular his now ubiquitous cover of Leonard Cohen's Hallelujah,

914
00:52:40,160 --> 00:52:43,880
Speaker 9: which appeared on his only studio album, nineteen ninety four's Grace.

915
00:52:44,440 --> 00:52:47,640
Speaker 9: The documentary was directed by Amy J. Berg, who made

916
00:52:47,680 --> 00:52:50,800
Speaker 9: the Janis Joplin doc Little Girl Blue in twenty fifteen

917
00:52:51,160 --> 00:52:53,399
Speaker 9: and was OSCAR nominated for the two thousand and six

918
00:52:53,440 --> 00:52:58,360
Speaker 9: documentary Deliver Us from Evil. I mostly know Jeff Buckley

919
00:52:58,440 --> 00:53:02,239
Speaker 9: from that Hallelujah cover, Adam, but I think you were

920
00:53:02,600 --> 00:53:04,680
Speaker 9: more of a fan of his work, So tell us.

921
00:53:04,719 --> 00:53:07,759
Speaker 9: Does the new doc offer anything for non fans.

922
00:53:07,520 --> 00:53:11,600
Speaker 6: Like me, absolutely, and I don't know how you couldn't

923
00:53:11,640 --> 00:53:16,600
Speaker 6: be a convert after seeing the movie and to that point. Unfortunately,

924
00:53:16,920 --> 00:53:21,040
Speaker 6: as people hear this, they won't have this opportunity because

925
00:53:21,120 --> 00:53:26,040
Speaker 6: my understanding is this is exclusive footage that Magnolia is

926
00:53:26,280 --> 00:53:29,719
Speaker 6: only Magnolia Pictures is only making available the first week

927
00:53:29,719 --> 00:53:33,960
Speaker 6: of the movie's release, so eight eight through eight fourteen.

928
00:53:34,320 --> 00:53:37,919
Speaker 6: But I saw it in that window opening weekend and

929
00:53:38,760 --> 00:53:41,680
Speaker 6: after the movie and they say this with some text

930
00:53:41,680 --> 00:53:45,400
Speaker 6: at the very beginning. Stick around after the credits, because

931
00:53:45,440 --> 00:53:50,920
Speaker 6: they've got twenty six minutes of exclusive remastered footage of

932
00:53:50,960 --> 00:53:54,840
Speaker 6: a rare solo performance from February nineteen ninety four of

933
00:53:54,920 --> 00:53:59,200
Speaker 6: Jeff Buckley at a place called the Middle East in Cambridge, Massachusetts.

934
00:53:59,800 --> 00:54:03,840
Speaker 6: I saw it on a Sunday afternoon, not a huge crowd,

935
00:54:04,160 --> 00:54:07,640
Speaker 6: but every person there Josh stayed for all twenty six

936
00:54:07,680 --> 00:54:10,359
Speaker 6: minutes of that footage, some of which you do see

937
00:54:10,360 --> 00:54:13,560
Speaker 6: in the dock itself. But it makes sense that anybody

938
00:54:13,640 --> 00:54:16,479
Speaker 6: who considers themselves to be a Buckley fan would want

939
00:54:16,560 --> 00:54:18,600
Speaker 6: to stay and see that footage. But I have to

940
00:54:18,680 --> 00:54:22,040
Speaker 6: imagine there were some people there who were there at

941
00:54:22,120 --> 00:54:24,920
Speaker 6: the movie out of curiosity who weren't that familiar with

942
00:54:25,000 --> 00:54:27,480
Speaker 6: his work or familiar with it at all. And the

943
00:54:27,560 --> 00:54:32,440
Speaker 6: doc is so powerful a testament to his talent that

944
00:54:32,920 --> 00:54:37,120
Speaker 6: getting the chance to watch him perform unfiltered wasn't one

945
00:54:37,280 --> 00:54:40,719
Speaker 6: anybody was going to miss out on. I shared a

946
00:54:40,719 --> 00:54:44,360
Speaker 6: little bit of personal music background last week during Adam's

947
00:54:44,880 --> 00:54:47,840
Speaker 6: doc Alacove talking about the Mark Bowland doc. I might

948
00:54:47,880 --> 00:54:51,640
Speaker 6: as well do it here. I don't want to disparage

949
00:54:51,960 --> 00:54:54,400
Speaker 6: that doc when I say this, I want to properly

950
00:54:54,440 --> 00:55:00,120
Speaker 6: appraise this one. It's never over is a greater cinematic, musical,

951
00:55:00,320 --> 00:55:03,560
Speaker 6: and emotional experience then the Bowlin Dock. Not just because

952
00:55:03,600 --> 00:55:09,080
Speaker 6: of my deeper appreciation for Buckley's music, It's largely attributable

953
00:55:09,120 --> 00:55:14,040
Speaker 6: to how Berg approaches Buckley's life with the same intense

954
00:55:14,400 --> 00:55:18,880
Speaker 6: empathy that Buckley himself approached his art. I was a

955
00:55:18,920 --> 00:55:22,480
Speaker 6: year late to Buckley. Grace came out in the summer

956
00:55:22,520 --> 00:55:25,040
Speaker 6: of ninety four, and this is yet another part of

957
00:55:25,040 --> 00:55:27,000
Speaker 6: my life. Like film spotting, I can connect back to

958
00:55:27,040 --> 00:55:30,600
Speaker 6: my college roommate, Kevin Rich. He introduced me to Sam

959
00:55:30,760 --> 00:55:34,399
Speaker 6: after they both moved to Chicago after graduation from their

960
00:55:34,440 --> 00:55:39,560
Speaker 6: respective colleges. In the summer of ninety five, when school

961
00:55:39,600 --> 00:55:41,359
Speaker 6: got out for the year, I drove down to Saint

962
00:55:41,440 --> 00:55:45,839
Speaker 6: Louis to visit Kevin in his Saint Louis suburb, and

963
00:55:46,040 --> 00:55:48,240
Speaker 6: I'd already gotten to know some of his high school friends,

964
00:55:48,480 --> 00:55:51,120
Speaker 6: and I met Jeff Halquist for the first time. Jeffy

965
00:55:51,600 --> 00:55:54,440
Speaker 6: he was a musician, one of Kevin's friends. Obviously, Jeffy

966
00:55:54,520 --> 00:55:57,759
Speaker 6: was a musician like me. And we're hanging out and

967
00:55:57,880 --> 00:56:01,200
Speaker 6: he's telling me about Jeff Buckley, who I had never

968
00:56:01,239 --> 00:56:03,520
Speaker 6: heard of. And he's telling me about this album Grace

969
00:56:03,880 --> 00:56:07,120
Speaker 6: and how incredible it was. And I don't remember if

970
00:56:07,160 --> 00:56:10,920
Speaker 6: we listened to it together or not. I do know

971
00:56:11,040 --> 00:56:14,040
Speaker 6: that when I heard it, within the first thirty seconds,

972
00:56:14,239 --> 00:56:17,680
Speaker 6: I knew that I could trust Jeffy's taste in music,

973
00:56:17,960 --> 00:56:22,840
Speaker 6: because that voice and that songwriting was otherworldly. It was

974
00:56:22,840 --> 00:56:27,120
Speaker 6: like nothing I'd ever heard before. And that's because to

975
00:56:27,160 --> 00:56:30,880
Speaker 6: explain what Jeff Buckley's music sounds like to someone, the

976
00:56:30,920 --> 00:56:35,640
Speaker 6: best way I can characterize it now is this radical

977
00:56:35,680 --> 00:56:40,640
Speaker 6: combination of Led Zeppelin, Nina Simone, and Tim Buckley, his father.

978
00:56:41,320 --> 00:56:43,759
Speaker 6: In ninety four, I knew Zeppelin, I didn't really know

979
00:56:43,880 --> 00:56:47,600
Speaker 6: Nina Simone and I wasn't familiar at all with Tim Buckley.

980
00:56:47,760 --> 00:56:51,520
Speaker 6: That combination itself is singular, but there just was no

981
00:56:51,600 --> 00:56:55,400
Speaker 6: context for Jeff Buckley. His sound was that distinctive. And

982
00:56:55,800 --> 00:56:57,800
Speaker 6: I want to highlight, to go back to your question

983
00:56:57,840 --> 00:57:00,680
Speaker 6: asking about what's in it for people who don't really

984
00:57:01,040 --> 00:57:03,160
Speaker 6: know him or aren't fans of his music other than

985
00:57:03,200 --> 00:57:05,600
Speaker 6: hopefully being turned on to it because he's such a

986
00:57:05,600 --> 00:57:08,120
Speaker 6: remarkable artist. I do want to highlight two choices that

987
00:57:08,800 --> 00:57:11,399
Speaker 6: Berg makes that really elevate this documentary. And I haven't

988
00:57:11,440 --> 00:57:15,080
Speaker 6: seen any of Berg's other films, I'm very curious now,

989
00:57:15,680 --> 00:57:18,840
Speaker 6: and they tie back to Nina Simone in a way.

990
00:57:19,040 --> 00:57:22,960
Speaker 6: One's overarching in Berg's approach, and one's very specific to

991
00:57:23,520 --> 00:57:26,480
Speaker 6: the song you mentioned, the one Buckley is best known for, Hallelujah,

992
00:57:26,840 --> 00:57:30,360
Speaker 6: the Leonard Cohne cover. You know the doc's going to

993
00:57:30,520 --> 00:57:32,800
Speaker 6: have to devote time to it, right, It's only a

994
00:57:32,840 --> 00:57:37,840
Speaker 6: matter of when and how and maybe how long. A

995
00:57:37,880 --> 00:57:42,520
Speaker 6: lot of other music docs would spend this time, having

996
00:57:42,600 --> 00:57:48,080
Speaker 6: various musicians and industry luminaries and honestly probably a lot

997
00:57:48,120 --> 00:57:52,280
Speaker 6: of dudes talking about what Buckley's version means to them,

998
00:57:52,760 --> 00:57:57,200
Speaker 6: breaking down what makes it so special musically, and Berg

999
00:57:57,520 --> 00:58:01,400
Speaker 6: grounds it in Buckley's relationship at the time to a

1000
00:58:01,440 --> 00:58:05,720
Speaker 6: fellow musician, Joan Wasser. You actually hear her talking for

1001
00:58:05,880 --> 00:58:09,240
Speaker 6: a good chunk of the song. Over the top of

1002
00:58:09,320 --> 00:58:13,040
Speaker 6: the song. Buckley wrote that the song you see this

1003
00:58:13,600 --> 00:58:16,680
Speaker 6: in the film, that the song wasn't some spiritual please

1004
00:58:16,760 --> 00:58:19,200
Speaker 6: so much as a song about sex. And whether you

1005
00:58:19,360 --> 00:58:22,840
Speaker 6: believe that or Buckley believed it, it's really irrelevant. The

1006
00:58:22,840 --> 00:58:27,200
Speaker 6: point is that Berg doesn't make it all about spotlighting

1007
00:58:27,440 --> 00:58:31,160
Speaker 6: the song. The song's a tool to further express very

1008
00:58:31,240 --> 00:58:35,880
Speaker 6: real emotions and physical desires. It's about spotlighting this relationship,

1009
00:58:36,080 --> 00:58:40,800
Speaker 6: this really powerful relationship that they had. And then, really

1010
00:58:40,800 --> 00:58:43,960
Speaker 6: what I think is Berg's boldest stroke, Josh, the majority

1011
00:58:44,000 --> 00:58:47,040
Speaker 6: of time we spend in this movie with talking heads

1012
00:58:47,520 --> 00:58:52,760
Speaker 6: reflecting on Jeff and these relationships, it's devoted to the

1013
00:58:52,800 --> 00:58:57,720
Speaker 6: women in his life, his mother, his first significant love, Rebecca, Joan.

1014
00:58:58,680 --> 00:59:02,400
Speaker 6: And it's not something that Berg structurally is imposing on

1015
00:59:02,480 --> 00:59:06,840
Speaker 6: the material. It's there organically. Jeff laments later in the

1016
00:59:06,880 --> 00:59:11,880
Speaker 6: film that he doesn't really understand how to be a man.

1017
00:59:12,280 --> 00:59:15,880
Speaker 6: There's talk about how he was raised by his mother.

1018
00:59:15,920 --> 00:59:17,600
Speaker 6: We get into how he was raised by his mother

1019
00:59:17,720 --> 00:59:21,480
Speaker 6: because his dad split before he was born, the fact

1020
00:59:21,480 --> 00:59:24,080
Speaker 6: that he's got this voice that can go into those

1021
00:59:24,160 --> 00:59:26,800
Speaker 6: very higher registers, and he's sings so powerfully, but it's

1022
00:59:26,840 --> 00:59:31,640
Speaker 6: kind of this androgynous voice. And before led Zeppelin ever

1023
00:59:31,720 --> 00:59:35,240
Speaker 6: gets mentioned, the first three influences that are invoked are

1024
00:59:35,920 --> 00:59:38,040
Speaker 6: ain't no Mountain high Enough. I think it's the Diana

1025
00:59:38,120 --> 00:59:42,840
Speaker 6: Ross version. It's definitely a female singer, Judy Garland and

1026
00:59:43,360 --> 00:59:47,840
Speaker 6: his obsession with Nina Simone, and the movie makes that

1027
00:59:48,120 --> 00:59:53,480
Speaker 6: influence explicitly clear. It's almost like Berg decided that the

1028
00:59:53,480 --> 00:59:57,840
Speaker 6: best way to honor Buckley was was to not let

1029
00:59:57,840 --> 01:00:00,960
Speaker 6: the ghost of Tim Buckley continue to haunt him at

1030
01:00:00,960 --> 01:00:03,760
Speaker 6: the expense of the women who knew him best.

1031
01:00:04,000 --> 01:00:05,000
Speaker 4: It even starts.

1032
01:00:05,040 --> 01:00:08,920
Speaker 6: The movie starts with Rebecca, the first girlfriend, saying that

1033
01:00:08,960 --> 01:00:12,440
Speaker 6: she's been hesitant to speak about Jeff and their relationship

1034
01:00:12,800 --> 01:00:16,919
Speaker 6: since his death because the girlfriend isn't always treated well

1035
01:00:17,720 --> 01:00:21,000
Speaker 6: in these types of stories, and it's true that they're

1036
01:00:21,040 --> 01:00:27,640
Speaker 6: either marginalized or worse, they're villainized. And Berg reclaims the

1037
01:00:27,680 --> 01:00:31,960
Speaker 6: portrayal of women in these tragic rocktails, and in so

1038
01:00:32,120 --> 01:00:37,080
Speaker 6: doing renders the more honest, intimate portrayal of who Buckley was.

1039
01:00:37,160 --> 01:00:41,000
Speaker 6: I thought that was fascinating, fascinating choice, really effective, and

1040
01:00:41,040 --> 01:00:43,520
Speaker 6: then you've got the incredible music on top of it.

1041
01:00:43,560 --> 01:00:50,280
Speaker 6: I think it's a must see, all right.

1042
01:00:50,360 --> 01:00:53,080
Speaker 9: Yeah, it definitely makes me want to put on grace

1043
01:00:53,280 --> 01:00:56,200
Speaker 9: and give the whole album a listen after this, and

1044
01:00:56,360 --> 01:00:58,040
Speaker 9: maybe catch up with the doc itself soon.

1045
01:00:58,560 --> 01:00:59,720
Speaker 4: Yeah, it's never over. Jeff.

1046
01:00:59,720 --> 01:01:03,240
Speaker 6: Buckle is out in limited release. If you get a

1047
01:01:03,320 --> 01:01:05,600
Speaker 6: chance to see it, and if you do and have

1048
01:01:05,600 --> 01:01:07,600
Speaker 6: any thoughts to share, we would love to hear from

1049
01:01:07,640 --> 01:01:11,960
Speaker 6: you feedback at filmspotting dot net. Next week on the show,

1050
01:01:12,880 --> 01:01:16,960
Speaker 6: we had intended to talk about the return of Spike

1051
01:01:17,040 --> 01:01:21,920
Speaker 6: Lee and Denzel Washington. Highest to lois a remake slash

1052
01:01:22,080 --> 01:01:26,480
Speaker 6: reimagining of Akira Krosawa's nineteen sixty three film High and Low.

1053
01:01:26,520 --> 01:01:30,080
Speaker 6: This is their fourth collaboration and first since one of

1054
01:01:30,120 --> 01:01:33,440
Speaker 6: my favorite films two thousand and six is Inside Man.

1055
01:01:33,520 --> 01:01:37,960
Speaker 6: Highest to Lowest, and we're now discovering that it's getting

1056
01:01:38,000 --> 01:01:41,480
Speaker 6: such a limited theatrical release. I don't know how this

1057
01:01:41,600 --> 01:01:44,480
Speaker 6: is possible. I actually am able to see it in

1058
01:01:44,560 --> 01:01:47,840
Speaker 6: Iowa City, Josh, but somehow you're not really able to

1059
01:01:47,880 --> 01:01:50,120
Speaker 6: see it in Chicago this weekend.

1060
01:01:50,880 --> 01:01:53,440
Speaker 9: Yeah, we got to clarify this, so there's a chance

1061
01:01:53,520 --> 01:01:56,880
Speaker 9: we can still do this next week, but it appears

1062
01:01:57,000 --> 01:01:59,560
Speaker 9: it's not coming to Chicago until the following week, and

1063
01:02:00,120 --> 01:02:02,840
Speaker 9: with Cinnamon interruptus, I wasn't able to make the press screening.

1064
01:02:03,240 --> 01:02:05,640
Speaker 9: So yeah, we're going to get to this no matter what.

1065
01:02:05,880 --> 01:02:07,560
Speaker 9: It's just a question of if it's going to be

1066
01:02:07,680 --> 01:02:10,560
Speaker 9: sooner rather than later. We'll stay tuned on that one.

1067
01:02:10,760 --> 01:02:12,880
Speaker 6: Yeah, will it be next week's show or the week after,

1068
01:02:13,800 --> 01:02:16,360
Speaker 6: As Josh said, stay tuned for that. What we do

1069
01:02:16,520 --> 01:02:18,760
Speaker 6: know for sure is that next week on the show

1070
01:02:18,920 --> 01:02:23,880
Speaker 6: we will have a Pantheon Project conversation, another Sacred Cow

1071
01:02:24,000 --> 01:02:28,120
Speaker 6: conversation coming Dog Day Afternoon, the Sydney Lamette film. This

1072
01:02:28,160 --> 01:02:30,680
Speaker 6: is why we held off on including this in our

1073
01:02:31,040 --> 01:02:33,840
Speaker 6: Lamette Marathon. Now, of course, we also tried to keep

1074
01:02:33,880 --> 01:02:36,680
Speaker 6: that marathon, as we usually do, two blind spots. Sydney

1075
01:02:36,800 --> 01:02:39,439
Speaker 6: met films we hadn't seen, but we knew we didn't

1076
01:02:39,480 --> 01:02:42,040
Speaker 6: want to talk about Dog Day Afternoon because it was

1077
01:02:42,080 --> 01:02:45,600
Speaker 6: turning fifty this year and it is in the Pantheon,

1078
01:02:45,640 --> 01:02:47,960
Speaker 6: so we're going to give it that Pantheon Project treatment.

1079
01:02:48,400 --> 01:02:49,200
Speaker 4: Next week.

1080
01:02:49,400 --> 01:02:52,720
Speaker 6: I don't remember the last time I saw Dog Day Afternoon.

1081
01:02:52,800 --> 01:02:55,680
Speaker 6: It might have been in college, Josh. Just like One

1082
01:02:55,680 --> 01:02:56,760
Speaker 6: Flow Over the Cuckoo's Nest.

1083
01:02:57,120 --> 01:02:59,480
Speaker 9: It's been a while. We're going back to the seventies,

1084
01:02:59,560 --> 01:03:03,200
Speaker 9: back to you. Would you consider Pacino an anti hero?

1085
01:03:03,280 --> 01:03:06,080
Speaker 9: A seventies anti hero for sure? Thinking about Hackman and

1086
01:03:06,200 --> 01:03:09,840
Speaker 9: Nicholson and Newman. I know that goes back to the sixties,

1087
01:03:09,840 --> 01:03:12,840
Speaker 9: but that's a conversation we've been having. So yeah, very

1088
01:03:12,880 --> 01:03:16,240
Speaker 9: eager to take another look at Dog Day Afternoon, just

1089
01:03:16,280 --> 01:03:18,760
Speaker 9: in general, but also in the context of some of

1090
01:03:18,760 --> 01:03:20,320
Speaker 9: these other conversations we've been having.

1091
01:03:20,880 --> 01:03:23,800
Speaker 6: We'll also have results from the current deeply flawed film

1092
01:03:23,840 --> 01:03:27,280
Speaker 6: spotting poll. We're asking you, aside from Jaws, which of

1093
01:03:27,320 --> 01:03:30,320
Speaker 6: the nineteen seventy six nominees for Best Picture, So the

1094
01:03:30,320 --> 01:03:34,560
Speaker 6: films of nineteen seventy five should have won the Oscar

1095
01:03:34,920 --> 01:03:38,000
Speaker 6: the other options maybe the greatest ever lineup of Best

1096
01:03:38,040 --> 01:03:41,640
Speaker 6: Pick nominees. We got Kubrick's Berry Lindon, We have Dog

1097
01:03:41,720 --> 01:03:45,560
Speaker 6: Day Afternoon, One Flew over the Cuckoo's Nest, and Robert

1098
01:03:45,760 --> 01:03:47,919
Speaker 6: Altman's Nashville.

1099
01:03:48,320 --> 01:03:48,680
Speaker 4: Josh.

1100
01:03:48,760 --> 01:03:51,840
Speaker 6: I was surprised. Now this was early when I looked

1101
01:03:51,840 --> 01:03:55,520
Speaker 6: at the initial voting, but I thought for sure this

1102
01:03:55,680 --> 01:03:58,560
Speaker 6: was going to be Dog Day Afternoon, or it would

1103
01:03:58,560 --> 01:04:02,680
Speaker 6: be Cuckoo's Nest and Nashville was in the lead for

1104
01:04:02,720 --> 01:04:06,040
Speaker 6: a show killing me. It's not in the lead anymore

1105
01:04:06,080 --> 01:04:07,840
Speaker 6: as I take a quick glance. But this is one

1106
01:04:07,880 --> 01:04:11,720
Speaker 6: of those polls where maybe it's not deeply flawed because

1107
01:04:12,520 --> 01:04:15,959
Speaker 6: it's almost a four way race. Oh wow, Oh yeah,

1108
01:04:16,080 --> 01:04:17,840
Speaker 6: it's very very close.

1109
01:04:18,600 --> 01:04:20,920
Speaker 9: Yeah, no shade on Nashville. I just that wouldn't have

1110
01:04:20,920 --> 01:04:23,120
Speaker 9: been my guest that it would have the lead at something.

1111
01:04:23,200 --> 01:04:24,960
Speaker 9: It's not in last place, but that it's in the

1112
01:04:25,040 --> 01:04:26,280
Speaker 9: running does make sense.

1113
01:04:26,560 --> 01:04:29,480
Speaker 6: Yeah, not in last place. I'm a little bit surprised.

1114
01:04:29,520 --> 01:04:32,560
Speaker 6: I thought maybe that one would take up the rear.

1115
01:04:32,640 --> 01:04:36,080
Speaker 6: But it is in contention. Your vote really does matter.

1116
01:04:36,120 --> 01:04:38,600
Speaker 6: You can vote in that poll and leave a comment

1117
01:04:38,640 --> 01:04:43,320
Speaker 6: at film spotting dot net. And since we're mentioning Altman here,

1118
01:04:43,560 --> 01:04:46,640
Speaker 6: I'd be remiss, Josh if I didn't ask. I'm very

1119
01:04:46,680 --> 01:04:52,120
Speaker 6: curious myself. We're taping this here. D two has been completed.

1120
01:04:52,440 --> 01:04:56,640
Speaker 6: Cinema interrupt us the player too. How it's been going.

1121
01:04:57,200 --> 01:05:00,880
Speaker 9: It's well, it was a lot of fun, but we're

1122
01:05:00,880 --> 01:05:02,880
Speaker 9: a little behind at them. As you know, the goal

1123
01:05:02,960 --> 01:05:06,200
Speaker 9: is to finish the movie in three days, stopping and

1124
01:05:06,240 --> 01:05:10,720
Speaker 9: starting repeatedly. I just checked before we started recording, and

1125
01:05:11,280 --> 01:05:13,520
Speaker 9: we are only twenty minutes into the player after an

1126
01:05:13,520 --> 01:05:14,280
Speaker 9: hour and a half.

1127
01:05:14,560 --> 01:05:19,400
Speaker 4: Are you killing of interrupting now? I'm oho, it's not

1128
01:05:19,520 --> 01:05:22,240
Speaker 4: as short, Josh. I didn't like the sound of that. Laugh.

1129
01:05:23,480 --> 01:05:25,720
Speaker 9: I'm trying to make myself. I've never been in all

1130
01:05:25,720 --> 01:05:28,000
Speaker 9: the years i've been doing this this far behind after

1131
01:05:28,040 --> 01:05:30,760
Speaker 9: the first day of interrupting. But wow, you know the

1132
01:05:30,840 --> 01:05:32,200
Speaker 9: opening shot.

1133
01:05:32,240 --> 01:05:33,840
Speaker 6: I was just going to say, how the player you

1134
01:05:33,920 --> 01:05:35,600
Speaker 6: spend just on the opening shot?

1135
01:05:36,040 --> 01:05:39,480
Speaker 4: Guess how many minutes I mean the full day one?

1136
01:05:39,920 --> 01:05:42,000
Speaker 9: No, it was. It was not that bad. Thirty minutes.

1137
01:05:42,040 --> 01:05:46,480
Speaker 9: We spent thirty minutes breaking that down obviously. I mean,

1138
01:05:46,560 --> 01:05:48,920
Speaker 9: you know, if it's going this long, we're having a

1139
01:05:48,960 --> 01:05:51,120
Speaker 9: good time. That's the way I'm looking at it right now.

1140
01:05:51,160 --> 01:05:53,640
Speaker 9: And I will panic on day three when we have

1141
01:05:53,800 --> 01:05:55,600
Speaker 9: like I don't know, an hour of screen time to

1142
01:05:55,600 --> 01:05:58,520
Speaker 9: get through or something. But yeah, it's going great. The

1143
01:05:58,560 --> 01:06:01,560
Speaker 9: players holding up to screw as I knew it would.

1144
01:06:01,600 --> 01:06:04,960
Speaker 9: And here's a really cool thing. This always happens when

1145
01:06:04,960 --> 01:06:06,840
Speaker 9: I do this at the conference on World Affairs. There

1146
01:06:06,840 --> 01:06:09,440
Speaker 9: are other speakers there and I'm usually able to find

1147
01:06:09,440 --> 01:06:12,000
Speaker 9: someone to bring in as a guest and they can

1148
01:06:12,040 --> 01:06:14,720
Speaker 9: add something to it, and didn't have someone this year.

1149
01:06:14,760 --> 01:06:17,480
Speaker 9: But a day before this started email out of the

1150
01:06:17,480 --> 01:06:23,360
Speaker 9: blue from Alexander Julian, who's credited as a costume designer

1151
01:06:23,360 --> 01:06:30,040
Speaker 9: but really slash wardrobe designer because he outfitted all the

1152
01:06:30,040 --> 01:06:33,680
Speaker 9: studio executives in their suits for the Player, which, as

1153
01:06:33,720 --> 01:06:37,520
Speaker 9: I'm sure you can realize, is crucial to that movie.

1154
01:06:37,600 --> 01:06:40,360
Speaker 9: He I guess, worked out of a boutique on Rodeo

1155
01:06:40,480 --> 01:06:44,600
Speaker 9: Drive from nineteen seventy something on he heard we were

1156
01:06:44,600 --> 01:06:47,240
Speaker 9: doing this and he's just like, he's just sending me

1157
01:06:47,320 --> 01:06:49,440
Speaker 9: these emails full of details. He's like, I just got

1158
01:06:49,480 --> 01:06:51,480
Speaker 9: to get this out while it's in my head. Use

1159
01:06:51,520 --> 01:06:54,400
Speaker 9: it if you can. And there are some gems in there.

1160
01:06:54,480 --> 01:06:57,400
Speaker 9: So we've already talked a little bit about one of

1161
01:06:57,160 --> 01:07:00,280
Speaker 9: the suits, and there are a couple other mom moments

1162
01:07:00,320 --> 01:07:01,280
Speaker 9: we'll get to now.

1163
01:07:01,560 --> 01:07:02,640
Speaker 4: Adam, now you can see.

1164
01:07:02,440 --> 01:07:05,640
Speaker 9: Why we're barely through this movie. You can you can

1165
01:07:05,680 --> 01:07:10,120
Speaker 9: get so granular at interrupt us. It's wonderful but we

1166
01:07:10,200 --> 01:07:11,120
Speaker 9: might have to pick things.

1167
01:07:11,040 --> 01:07:11,560
Speaker 4: Up a little bit.

1168
01:07:12,120 --> 01:07:16,240
Speaker 6: So you're saying this man Alexander Julian played a major

1169
01:07:16,360 --> 01:07:23,400
Speaker 6: role in communicating Tim Robbins tremendous douchebaggery in that film.

1170
01:07:23,280 --> 01:07:24,960
Speaker 4: Exactly, mil Yeah he is.

1171
01:07:25,480 --> 01:07:29,960
Speaker 9: He's very particular about the shade of green he chose

1172
01:07:30,120 --> 01:07:34,280
Speaker 9: for that particular reason. So yeah, Unfortunately, by the time

1173
01:07:34,280 --> 01:07:36,760
Speaker 9: this airs will have wrapped up, hopefully have finished the movie,

1174
01:07:36,840 --> 01:07:39,960
Speaker 9: so listeners can't join us, but there are some there.

1175
01:07:40,080 --> 01:07:43,000
Speaker 9: Thank you so much to those film Spotting listeners who

1176
01:07:43,120 --> 01:07:46,400
Speaker 9: have stopped by to be a part of it. And yeah,

1177
01:07:46,480 --> 01:07:47,320
Speaker 9: we'll see if we can.

1178
01:07:47,240 --> 01:07:48,640
Speaker 4: Get through Altman.

1179
01:07:49,440 --> 01:07:53,320
Speaker 6: We got Nilosh Foreman, Lamette Kubrick all in that Film

1180
01:07:53,320 --> 01:07:55,800
Speaker 6: Spotting poll question. You can vote now at film spotting

1181
01:07:55,880 --> 01:07:59,320
Speaker 6: dot net and you can check out our show schedule

1182
01:07:59,560 --> 01:08:00,960
Speaker 6: at film spotting dot net.

1183
01:08:01,200 --> 01:08:04,840
Speaker 9: Slash episodes this week on our sister podcast, The Next

1184
01:08:04,880 --> 01:08:08,320
Speaker 9: Picture Show, looking at Cinema's present via its past. They

1185
01:08:08,360 --> 01:08:12,160
Speaker 9: have a new pairing that is for the Naked Gun fanatics.

1186
01:08:12,600 --> 01:08:15,520
Speaker 9: They are looking at the New Naked Gun twenty twenty

1187
01:08:15,520 --> 01:08:19,479
Speaker 9: five with Liam Neeson and Pamela Anderson. And of course

1188
01:08:19,520 --> 01:08:23,120
Speaker 9: the first episode is going back to nineteen eighty eight

1189
01:08:23,200 --> 01:08:26,960
Speaker 9: to consider the original. New episodes of the Next Picture

1190
01:08:26,960 --> 01:08:30,400
Speaker 9: Show drop every Tuesday and you can find them wherever

1191
01:08:30,439 --> 01:08:35,000
Speaker 9: you get your podcasts. It's time now for Massacre theater,

1192
01:08:35,120 --> 01:08:37,360
Speaker 9: where we perform a scene and you get a chance

1193
01:08:37,360 --> 01:08:40,840
Speaker 9: to win a film spotting prize. Last time we massacred

1194
01:08:40,960 --> 01:08:41,559
Speaker 9: this scene.

1195
01:08:42,560 --> 01:08:45,360
Speaker 10: This may seem like a really stupid question, and there

1196
01:08:45,400 --> 01:08:50,160
Speaker 10: are no stupid questions. You inherit five million dollars the

1197
01:08:50,160 --> 01:08:52,240
Speaker 10: same day Aliens land on the Earth and say they're

1198
01:08:52,240 --> 01:08:54,320
Speaker 10: going to blow it up in two days.

1199
01:08:54,800 --> 01:08:55,360
Speaker 7: What do you do?

1200
01:08:57,479 --> 01:09:02,519
Speaker 4: That's the stupidest question I've ever heard. I don't operately

1201
01:09:02,600 --> 01:09:04,760
Speaker 4: row out to the middle of a lake somewhere, bring

1202
01:09:04,800 --> 01:09:09,759
Speaker 4: along a bottle of tequila, my sacks and some buck.

1203
01:09:11,840 --> 01:09:16,000
Speaker 9: How very That was Christian Slater as J. D. Dean

1204
01:09:16,240 --> 01:09:20,439
Speaker 9: and Winona Ryder as Veronica Sawyer in nineteen eighty nine's Heathers,

1205
01:09:20,920 --> 01:09:24,680
Speaker 9: written by Daniel Waters and directed by Michael Leeman. That

1206
01:09:24,760 --> 01:09:26,800
Speaker 9: masacre was part of Our Jack Nicholson Show A couple

1207
01:09:26,840 --> 01:09:30,840
Speaker 9: of weeks ago, a fiftieth anniversary Pantheon Project review of

1208
01:09:30,880 --> 01:09:33,400
Speaker 9: One Flew Over the Cuckoo's Nest and our Top five

1209
01:09:33,520 --> 01:09:36,839
Speaker 9: Nicholson scenes. So why that scene from Heathers.

1210
01:09:37,320 --> 01:09:42,120
Speaker 6: Here's Taylor in Chicago. Another incredible, another incredible Josh Larson

1211
01:09:42,200 --> 01:09:44,599
Speaker 6: performance in this scene from Heathers, it will there you go?

1212
01:09:45,000 --> 01:09:48,120
Speaker 6: His Christian Slater doing Jack Nicholson was almost at the

1213
01:09:48,200 --> 01:09:51,400
Speaker 6: same bizarre meta impression level as the time you all

1214
01:09:51,400 --> 01:09:53,720
Speaker 6: did a scene from Vertigo where it ended up as

1215
01:09:53,800 --> 01:09:59,400
Speaker 6: Adam doing Jimmy Stewart doing Andy Samberg's Nick Cage. WEO,

1216
01:09:59,439 --> 01:10:01,160
Speaker 6: that is exact eactly what I was going for.

1217
01:10:01,439 --> 01:10:04,080
Speaker 4: It was okay, yeah, I didn't remember that, but uh huh.

1218
01:10:04,120 --> 01:10:07,519
Speaker 6: Aside from the influence of Jack Nicholson this episode's focus

1219
01:10:07,680 --> 01:10:10,160
Speaker 6: on Slater's performance in Heathers, I also have to note

1220
01:10:10,160 --> 01:10:12,599
Speaker 6: that Heathers is a movie set in high school. This

1221
01:10:12,640 --> 01:10:15,519
Speaker 6: week's episode featured a voicemail from the great Trip Burton,

1222
01:10:15,640 --> 01:10:18,040
Speaker 6: who was a high school teacher. Yes, that's that's the

1223
01:10:18,080 --> 01:10:19,719
Speaker 6: tie in we were going for Old Taylor.

1224
01:10:19,840 --> 01:10:25,560
Speaker 9: Wow, Wow, nice work, Taylor. Here's David Zobel from Roswell, Georgia.

1225
01:10:25,800 --> 01:10:28,240
Speaker 9: At first I thought it might be Mars Attacks, which

1226
01:10:28,320 --> 01:10:31,160
Speaker 9: might be the first time it recorded history. Those two

1227
01:10:31,200 --> 01:10:36,240
Speaker 9: movies have been confused. Then came along the how very Yeah, yeah,

1228
01:10:36,280 --> 01:10:38,960
Speaker 9: you thought that had to be a giveaway ad him.

1229
01:10:39,040 --> 01:10:44,400
Speaker 6: Josh, this might be the most incorrect entries we've ever

1230
01:10:44,479 --> 01:10:48,200
Speaker 6: received for MASc Theater in the show's history. A lot

1231
01:10:48,439 --> 01:10:50,960
Speaker 6: of Mars attacks, So I think that speaks to how

1232
01:10:51,000 --> 01:10:53,880
Speaker 6: good you're nicholson impression it was.

1233
01:10:54,120 --> 01:10:55,200
Speaker 4: That's how I'm going to take it.

1234
01:10:55,640 --> 01:10:59,280
Speaker 6: Here's Bruce McClintock in Seminole, Florida. Heathers was such a

1235
01:10:59,280 --> 01:11:01,880
Speaker 6: formative experien that I remember exactly when and where I

1236
01:11:01,920 --> 01:11:03,920
Speaker 6: saw it in the theater. I'm guessing that you paired

1237
01:11:03,960 --> 01:11:06,639
Speaker 6: Heathers with one floor over the Cuckoo's Nest, because each

1238
01:11:06,720 --> 01:11:10,679
Speaker 6: highlights the absurdity and harshness of an institutional existence. Both

1239
01:11:10,720 --> 01:11:14,439
Speaker 6: introduce a charismatic but anarchic character to disrupt the status quo.

1240
01:11:14,920 --> 01:11:18,320
Speaker 6: High School is purgatory as well. Or maybe it was

1241
01:11:18,360 --> 01:11:21,679
Speaker 6: because Christians later sounded a little like Jack Nicholson.

1242
01:11:22,040 --> 01:11:24,360
Speaker 4: Let's go with all of that. I think Perl's figured

1243
01:11:24,360 --> 01:11:24,679
Speaker 4: it out.

1244
01:11:25,439 --> 01:11:29,840
Speaker 6: Reach into the still mostly brimming despite all the incorrect entries.

1245
01:11:29,960 --> 01:11:32,480
Speaker 6: Film spotting hat and pick out the winner, Josh.

1246
01:11:32,640 --> 01:11:35,680
Speaker 9: Our winner is Scott G. From Skokie, Illinois.

1247
01:11:36,000 --> 01:11:39,280
Speaker 6: Congratulations Scott, email feedback at filmspotting dot net and we

1248
01:11:39,320 --> 01:11:41,320
Speaker 6: will set you up with your very own film Spotting

1249
01:11:41,360 --> 01:11:44,960
Speaker 6: t shirt, tote bag, or trial membership to the Film

1250
01:11:45,040 --> 01:11:45,759
Speaker 6: Spotting Family.

1251
01:11:48,280 --> 01:11:50,640
Speaker 4: That was the greatest acting I have ever seen. I

1252
01:11:50,760 --> 01:11:51,760
Speaker 4: just don't know how you do it.

1253
01:11:51,840 --> 01:11:52,120
Speaker 1: Gary.

1254
01:11:52,320 --> 01:11:54,400
Speaker 3: How do you make yourself so sobeerg and emotional to

1255
01:11:54,400 --> 01:11:55,600
Speaker 3: make everybody cry like that?

1256
01:11:56,080 --> 01:11:59,519
Speaker 9: It's not that hard, really, I just think about the

1257
01:11:59,560 --> 01:12:00,920
Speaker 9: saddest moment in my life.

1258
01:12:02,320 --> 01:12:05,679
Speaker 6: I don't know that I've ever been more terrified about

1259
01:12:05,680 --> 01:12:10,160
Speaker 6: a Massacre theater scene in the entire time we've done this.

1260
01:12:10,200 --> 01:12:13,599
Speaker 9: I agree with you, Adam, and we've sung as part

1261
01:12:13,640 --> 01:12:17,240
Speaker 9: of Massacre Theater in before a live audience, and I

1262
01:12:17,240 --> 01:12:19,480
Speaker 9: didn't feel this unnerved.

1263
01:12:19,760 --> 01:12:22,720
Speaker 4: What is Sam doing to us? Why why do we

1264
01:12:22,760 --> 01:12:27,320
Speaker 4: allow this? Sam chose this scene, But we have veto power.

1265
01:12:27,640 --> 01:12:28,839
Speaker 4: We should say no.

1266
01:12:29,240 --> 01:12:29,880
Speaker 9: Don't say that.

1267
01:12:30,080 --> 01:12:30,519
Speaker 4: Let's just.

1268
01:12:31,960 --> 01:12:34,439
Speaker 9: Let's just remember Sam's responsible for whatever happens.

1269
01:12:34,560 --> 01:12:37,760
Speaker 4: That's right, It's Sam's fault. It's always Sam's fault.

1270
01:12:38,280 --> 01:12:40,920
Speaker 6: I'm not going to ask you if you're ready, because

1271
01:12:40,960 --> 01:12:43,160
Speaker 6: I know you're not, nor am I.

1272
01:12:44,280 --> 01:12:51,799
Speaker 4: Come on, come on, okay, and action mama, come to mama, baby, come.

1273
01:12:51,640 --> 01:12:56,120
Speaker 6: On you've been bad, Johnny.

1274
01:12:56,320 --> 01:12:57,320
Speaker 4: I may have been bad.

1275
01:12:57,720 --> 01:13:00,160
Speaker 6: I may have kept you chained in that room, but

1276
01:13:00,200 --> 01:13:04,960
Speaker 6: it was for your good. Ah. Don't you remember when

1277
01:13:04,960 --> 01:13:12,240
Speaker 6: I used to singdia oh when you were little? Rock

1278
01:13:12,360 --> 01:13:17,559
Speaker 6: goodbye baaby on the tree top. When the wind blows,

1279
01:13:18,080 --> 01:13:23,720
Speaker 6: the cradle will rock. When the bough breaks, the cradle

1280
01:13:23,960 --> 01:13:25,040
Speaker 6: will fall.

1281
01:13:26,360 --> 01:13:27,120
Speaker 4: Break.

1282
01:13:29,439 --> 01:13:33,679
Speaker 6: I only dropped you once, No, well maybe twice.

1283
01:13:37,760 --> 01:13:45,840
Speaker 9: And scene scene I mean your decision to go half

1284
01:13:45,960 --> 01:13:49,360
Speaker 9: James Cagney half Gonzo even though it was a woman.

1285
01:13:49,600 --> 01:13:53,000
Speaker 4: Yeah, that's brilliant. Did I go as a woman? I

1286
01:13:53,000 --> 01:13:56,439
Speaker 4: don't know. Well, no, you would as a Cagney Gonzo?

1287
01:13:56,640 --> 01:13:59,519
Speaker 4: Is who you? That's correct? If you know what film

1288
01:13:59,560 --> 01:13:59,960
Speaker 4: we just meant?

1289
01:14:00,160 --> 01:14:04,120
Speaker 6: Acord emailed the movies title and your qualification to feedback

1290
01:14:04,160 --> 01:14:08,439
Speaker 6: at filmspotting dot net. The deadline is Monday, August twenty eighth.

1291
01:14:08,760 --> 01:14:11,679
Speaker 6: We'll select the winner randomly from all the correct entries

1292
01:14:12,320 --> 01:14:14,519
Speaker 6: and announce it in a couple of weeks. But really,

1293
01:14:14,520 --> 01:14:17,040
Speaker 6: the winner was everyone who got to hear that, Josh,

1294
01:14:17,320 --> 01:14:19,280
Speaker 6: And that is our show.

1295
01:14:19,800 --> 01:14:20,040
Speaker 4: I mean.

1296
01:14:20,080 --> 01:14:22,719
Speaker 9: If it was ever more appropriate to end the show

1297
01:14:22,760 --> 01:14:25,639
Speaker 9: with a mask or theater, I think it was this.

1298
01:14:25,640 --> 01:14:28,240
Speaker 4: One in fact we might have ended the show like

1299
01:14:29,040 --> 01:14:32,240
Speaker 4: for good. You're not wrong. Okay.

1300
01:14:32,280 --> 01:14:34,360
Speaker 9: If you want to find Adam and the show while

1301
01:14:34,360 --> 01:14:37,760
Speaker 9: it still exists, you can do that at Instagram and Facebook,

1302
01:14:37,800 --> 01:14:41,120
Speaker 9: as well as letterbox. He's at film Spotting. I'm at

1303
01:14:41,160 --> 01:14:44,320
Speaker 9: those places as well as Blue Sky. As Larsen on

1304
01:14:44,560 --> 01:14:48,439
Speaker 9: film film Spotting is independently produced and listeners supported. You

1305
01:14:48,560 --> 01:14:51,559
Speaker 9: can support the show by joining the film Spotting Family

1306
01:14:51,680 --> 01:14:54,160
Speaker 9: at film Spotting family dot com. That way, you can

1307
01:14:54,240 --> 01:14:56,120
Speaker 9: listen early at n AD free. You'll also get a

1308
01:14:56,120 --> 01:14:59,760
Speaker 9: weekly newsletter, monthly bonus episodes, and access to the entire

1309
01:14:59,760 --> 01:15:03,120
Speaker 9: show show archive. For show t shirts another merch go

1310
01:15:03,160 --> 01:15:05,679
Speaker 9: to film spotting dot net slash shop.

1311
01:15:06,560 --> 01:15:08,960
Speaker 6: In the film Spotting archive, you will not find a

1312
01:15:08,960 --> 01:15:12,759
Speaker 6: review of Zach Kraiger's previous film Barbarian. And that's because

1313
01:15:13,560 --> 01:15:17,720
Speaker 6: I will never watch Zach Craiger's previous film Barbarian and

1314
01:15:17,840 --> 01:15:20,960
Speaker 6: never finished. Make me no, I will not finish it.

1315
01:15:21,000 --> 01:15:23,600
Speaker 6: But it did make our twenty twenty two Scenes of

1316
01:15:23,640 --> 01:15:27,559
Speaker 6: the Year show. I forgot that, Josh, you had funniest moment.

1317
01:15:27,640 --> 01:15:28,639
Speaker 6: I guess that's fitting.

1318
01:15:29,000 --> 01:15:32,040
Speaker 9: Yeah, right, did you get this far? The measuring tape.

1319
01:15:31,640 --> 01:15:35,960
Speaker 4: Scene measuring tape. I don't in the tunnel. No, I

1320
01:15:35,960 --> 01:15:37,240
Speaker 4: don't remember. There's a lot tunne.

1321
01:15:37,920 --> 01:15:39,040
Speaker 9: Oh you did bail early.

1322
01:15:39,120 --> 01:15:41,439
Speaker 4: It's a good scene. Just go back for that. At least.

1323
01:15:42,040 --> 01:15:45,920
Speaker 6: I interviewed Josh Brolin way back on episode one eighty five.

1324
01:15:46,040 --> 01:15:48,920
Speaker 6: We also on that show had a No Country for

1325
01:15:48,960 --> 01:15:52,960
Speaker 6: Old Men review and shared our top five Cone Brothers scenes. Wow,

1326
01:15:53,000 --> 01:15:56,840
Speaker 6: that was a packed episode. Back on episode one eighty five,

1327
01:15:57,280 --> 01:16:00,719
Speaker 6: out new this weekend streaming, you can see fixed Adam

1328
01:16:00,720 --> 01:16:02,960
Speaker 6: Devine learns that he's going to be neutered, so he

1329
01:16:03,000 --> 01:16:06,759
Speaker 6: has twenty four hours to quote squeeze in one last

1330
01:16:06,840 --> 01:16:09,800
Speaker 6: Balls to the Wall adventure with the Boys worth noting

1331
01:16:10,120 --> 01:16:12,639
Speaker 6: it's animated and it's about dogs.

1332
01:16:13,520 --> 01:16:16,080
Speaker 9: Oh okay, hell, I was actually hoping this was an

1333
01:16:16,160 --> 01:16:18,160
Speaker 9: Elon Musk biopic MMM.

1334
01:16:18,680 --> 01:16:22,320
Speaker 6: With the voices of Idris Elba, Catherine Hahn, Fred Armison,

1335
01:16:22,360 --> 01:16:26,000
Speaker 6: and others. It's on Netflix, Okay. Out wide, Jimmy and Stiggs,

1336
01:16:26,040 --> 01:16:28,320
Speaker 6: an out of Ork filmmaker, goes on a bender, during

1337
01:16:28,360 --> 01:16:30,840
Speaker 6: which he claims to have been abducted by aliens. He

1338
01:16:30,880 --> 01:16:33,320
Speaker 6: recruits an old friend to join him on a hallucinatory,

1339
01:16:33,400 --> 01:16:36,040
Speaker 6: drug fueled battle. I don't know who the director is.

1340
01:16:36,280 --> 01:16:39,320
Speaker 6: I have no actors or actresses here. I think Sam

1341
01:16:39,360 --> 01:16:43,240
Speaker 6: is actually just making these up. It's like Anchorman and

1342
01:16:43,280 --> 01:16:44,000
Speaker 6: I'm just reading.

1343
01:16:44,680 --> 01:16:45,280
Speaker 4: But you're in.

1344
01:16:45,760 --> 01:16:46,680
Speaker 9: You want to go see that?

1345
01:16:46,840 --> 01:16:47,000
Speaker 10: Yeah?

1346
01:16:47,040 --> 01:16:49,960
Speaker 4: I do, of course, nobody too.

1347
01:16:50,160 --> 01:16:53,000
Speaker 6: Bob Odenkirk returns as a former assassin who is again

1348
01:16:53,360 --> 01:16:56,040
Speaker 6: forced back into battle, this time while his family is

1349
01:16:56,040 --> 01:16:58,839
Speaker 6: on vacation. Josh, I know you caught up with nobody

1350
01:16:58,920 --> 01:17:00,000
Speaker 6: because you like to do your homework.

1351
01:17:01,479 --> 01:17:03,960
Speaker 9: Did not, But I can tell you nobody to does

1352
01:17:04,000 --> 01:17:04,799
Speaker 9: certainly exist.

1353
01:17:05,640 --> 01:17:10,040
Speaker 6: Wichboard is also out. A cursed Witchboard awakens dark forces

1354
01:17:10,040 --> 01:17:13,000
Speaker 6: they always do. Was there a movie called Witchboard in

1355
01:17:13,040 --> 01:17:16,800
Speaker 6: the eighties there was? Is this a remake? Maybe it's

1356
01:17:16,800 --> 01:17:19,320
Speaker 6: from the director of The Mask and a Nightmare on

1357
01:17:19,320 --> 01:17:21,360
Speaker 6: Elm Street Three Dream Warriors.

1358
01:17:21,439 --> 01:17:21,599
Speaker 4: Yes.

1359
01:17:21,640 --> 01:17:25,880
Speaker 9: See Sam's telling on himself here, asking if this is

1360
01:17:25,920 --> 01:17:28,160
Speaker 9: a version that previously existed.

1361
01:17:28,200 --> 01:17:30,160
Speaker 4: When this does not even exist.

1362
01:17:30,520 --> 01:17:33,880
Speaker 6: In limited release, you can see twenty sixteen's shin Godzilla.

1363
01:17:34,160 --> 01:17:37,000
Speaker 6: It's getting a four K restoration in a re release

1364
01:17:37,040 --> 01:17:40,400
Speaker 6: in theaters. Our friend Isaac Feldberg says the best most

1365
01:17:40,439 --> 01:17:44,280
Speaker 6: thoughtfully made modern Godzilla movie. Okay, very curious now and

1366
01:17:44,360 --> 01:17:47,040
Speaker 6: Spike Lee's highest to Lois. We do hope to talk

1367
01:17:47,040 --> 01:17:49,640
Speaker 6: about that film next week, but we may have to

1368
01:17:50,080 --> 01:17:52,839
Speaker 6: put it off another week. We will have our Pantheon

1369
01:17:52,880 --> 01:17:57,880
Speaker 6: Project conversation about Dog Day Afternoon for its fiftieth anniversary.

1370
01:17:58,040 --> 01:18:00,880
Speaker 9: Film Spotting is produced by Golden Joe So and Sam

1371
01:18:00,960 --> 01:18:04,360
Speaker 9: van Halgren. Without Sam and Golden Joe, this show wouldn't go.

1372
01:18:04,720 --> 01:18:08,120
Speaker 9: Our production assistant is Sophie Kempinar. Special thanks to everyone

1373
01:18:08,200 --> 01:18:13,360
Speaker 9: at wbeazy Chicago. More information is available at wbez dot org.

1374
01:18:13,720 --> 01:18:15,280
Speaker 9: For film Spotting, I'm Josh.

1375
01:18:15,160 --> 01:18:18,960
Speaker 6: Larson and I'm Adam Kempinar. Thanks for listening. This conversation

1376
01:18:19,120 --> 01:18:20,960
Speaker 6: can serve no purpose anymore.

1377
01:18:21,840 --> 01:18:22,600
Speaker 4: The fine.

1378
01:18:39,120 --> 01:18:42,080
Speaker 6: Film Spotting is listeners supported. Join the film Spotting Family

1379
01:18:42,120 --> 01:18:45,040
Speaker 6: at film spottingfamily dot com and get access to ad

1380
01:18:45,040 --> 01:18:48,479
Speaker 6: free episodes, monthly bonus shows, our weekly newsletter, and, for

1381
01:18:48,520 --> 01:18:51,160
Speaker 6: the first time, all into one place, the entire film

1382
01:18:51,200 --> 01:18:53,880
Speaker 6: Spotting archive going back to two thousand and five. That's

1383
01:18:53,920 --> 01:18:59,120
Speaker 6: a film Spotting Family dot com panically