WEBVTT - Weirdhouse Cinema Rewind: Split Second 0:00:04.480 --> 0:00:08.480 Hey, welcome to Weird House Cinema. Rewind, this is Rob 0:00:08.600 --> 0:00:10.959 Lamb and hey, you know we're all kind of writing 0:00:11.039 --> 0:00:14.600 high I guess on a little alien fever here. So 0:00:14.680 --> 0:00:18.160 here is another film that clearly was inspired, at least 0:00:18.160 --> 0:00:21.439 in part by alien and aliens. We're going to be 0:00:21.440 --> 0:00:25.799 talking about Split Second, which takes place in the future 0:00:25.960 --> 0:00:28.520 of two thousand and eight. This is an episode that 0:00:28.600 --> 0:00:31.800 Joe and I recorded back in let's see it would 0:00:31.800 --> 0:00:34.120 have been March of twenty twenty one. But it's a 0:00:34.159 --> 0:00:37.600 real fun one. Rugger Howard as the grumpiest detective of 0:00:37.640 --> 0:00:41.760 all time going up against some kind of monster. Let's 0:00:41.960 --> 0:00:47.919 dive in and explore the film. 0:00:48.040 --> 0:00:56.640 Welcome to Stuff to Blow your Mind, a production of iHeartRadio. 0:00:58.000 --> 0:01:01.320 Hey, welcome to Weird House Cinema. This is Rob Lamb. 0:01:01.520 --> 0:01:03.960 And I'm Jim McCormick, and we have got a post 0:01:03.960 --> 0:01:06.560 apocalyptic buddy cop movie for you today. 0:01:07.200 --> 0:01:09.920 That's right, So peel a chocolate off the side of 0:01:09.920 --> 0:01:14.160 your fridge, sugar down your coffee, and prepare for the 0:01:14.280 --> 0:01:17.760 ride that is nineteen ninety two's Split Second. 0:01:18.400 --> 0:01:21.040 Now this was new to me. I actually just finished 0:01:21.040 --> 0:01:24.319 watching it minutes ago. But you had already seen this one, 0:01:24.360 --> 0:01:27.000 I think last year or the year before or something, 0:01:27.080 --> 0:01:29.480 so you brought it back up for the show. 0:01:29.319 --> 0:01:32.080 Right right. I had watched it in one setting sometime 0:01:32.120 --> 0:01:34.560 in the last few years, and I was watching it 0:01:34.640 --> 0:01:36.080 late at night, so I got a little sleepy towards 0:01:36.080 --> 0:01:38.880 the end. Not not the film's fault, but but my fault. 0:01:39.280 --> 0:01:42.319 This time around, I watched it in chunks, often first 0:01:42.319 --> 0:01:44.440 thing in the morning, while I myself was having a 0:01:44.440 --> 0:01:48.360 cup of coffee, So I really got to appreciate every detail, 0:01:48.400 --> 0:01:50.960 every nook and cranny of this film. And I feel 0:01:50.960 --> 0:01:54.920 like second helpings of split second yeah really paid off 0:01:54.960 --> 0:01:55.160 for me. 0:01:55.480 --> 0:01:58.640 Now, did this movie convince you to use about three 0:01:58.720 --> 0:02:01.280 quarters of a cup of sugar per mug of coffee? 0:02:01.600 --> 0:02:04.640 Yeah? Yeah, yeah, as well, we'll get into in this 0:02:04.680 --> 0:02:09.000 we there's just such all reckless disregard for our hero's 0:02:09.080 --> 0:02:12.600 health as he does he doesn't drink, which I think 0:02:12.680 --> 0:02:17.680 is anymore anymore. Yes, he's given up the alcohol, but 0:02:18.040 --> 0:02:22.960 has taken to just reckless consumption of chocolate and sugar 0:02:23.040 --> 0:02:24.840 heavy caffeine. 0:02:24.760 --> 0:02:29.040 And like his teeth are like Swiss cheese, Like he 0:02:29.200 --> 0:02:32.720 is just and I bet this world. So this is 0:02:32.760 --> 0:02:38.360 a dystopian future buddy cop movie that is set in 0:02:38.400 --> 0:02:42.400 a future London that has been flooded by global warming. 0:02:42.600 --> 0:02:45.560 So like the water levels have risen, the Thames is 0:02:45.600 --> 0:02:48.080 now creeping out into the outer burrows, I guess, so 0:02:48.120 --> 0:02:50.920 all the streets are now like the canals of Venice 0:02:51.120 --> 0:02:55.440 just flooded with gross, muddy rat water, and the cops 0:02:55.480 --> 0:02:57.399 have to like drive around in them in these big 0:02:57.480 --> 0:03:00.360 jeeps that can drive in the shallow water, or actually 0:03:00.440 --> 0:03:03.600 navigate them in fan boats like it's a bayou movie. 0:03:04.000 --> 0:03:06.560 Yeah, yeah, this is the again, this is a ninety 0:03:06.560 --> 0:03:08.920 two film, so this is the future of two thousand 0:03:08.919 --> 0:03:12.760 and eight. But one of the things about this film 0:03:12.880 --> 0:03:15.160 is that I feel like it does have a really 0:03:15.240 --> 0:03:19.160 solid visual feel. It has a great esthetic. You know, 0:03:19.600 --> 0:03:21.919 just all these scenes of just a two wet London 0:03:22.000 --> 0:03:26.160 and everything's at least partially flooded. It's just a soggy 0:03:26.320 --> 0:03:28.639 mess and everything else the rest of the world has 0:03:28.680 --> 0:03:34.280 a suitably industrial grime to it as well. It looks. 0:03:34.360 --> 0:03:36.600 It looks great. I really enjoyed the look of the film. 0:03:36.800 --> 0:03:40.680 It's the steam injected, microbial matt future of Highlander two, 0:03:40.760 --> 0:03:45.040 where everything is always just dark and moist and unpleasant. 0:03:45.360 --> 0:03:47.480 Yeah, there's a little bit of a blade runner DNA 0:03:47.560 --> 0:03:48.320 in this for sure. 0:03:48.720 --> 0:03:49.720 Yeah, we'll discuss. 0:03:50.480 --> 0:03:53.040 Another great thing about this film, and we'll touch on 0:03:53.080 --> 0:03:55.400 this time and time again too, is that it has 0:03:55.440 --> 0:03:57.360 all the hallmarks of the film in which the script 0:03:57.360 --> 0:04:01.360 has been reworked multiple times with different intense in mind, 0:04:01.880 --> 0:04:04.600 and it's result it results in a kind of chaos 0:04:04.680 --> 0:04:08.120 in key places, kind of ambiguity that can in the 0:04:08.200 --> 0:04:11.560 right proportions, work really well for a detective story or 0:04:11.600 --> 0:04:14.560 a monster story, and luckily this film is both. 0:04:15.280 --> 0:04:17.000 I would say for me, this was one of the 0:04:17.040 --> 0:04:20.560 funniest movies we have watched so far for weird House cinema. 0:04:20.600 --> 0:04:23.560 And to explain what I mean, so it has it's 0:04:23.600 --> 0:04:28.520 like a cargo truck just packed with every grizzled, macho 0:04:28.720 --> 0:04:33.240 buddy cop movie cliche and every dystopian sci fi cliche 0:04:33.560 --> 0:04:38.760 all together, but at such a volume and velocity that 0:04:38.839 --> 0:04:41.680 it does not seem just like lazy hack writing, but 0:04:41.760 --> 0:04:45.239 more kind of transcendent parody. But at the same time, 0:04:45.600 --> 0:04:47.800 it doesn't go to the level of parity where it's 0:04:47.839 --> 0:04:51.200 winking at you about it. It plays it straight, which 0:04:51.240 --> 0:04:53.680 makes for a much funnier end product. 0:04:53.880 --> 0:04:55.920 Yeah, so I feel like when we laugh at this film, 0:04:55.920 --> 0:04:58.320 and I laughed at it at two, we're not laughing, 0:04:58.960 --> 0:05:01.360 you know, at somebody's face, old art or something here. 0:05:01.400 --> 0:05:02.680 You know, we're not just we're not. It's not like 0:05:02.680 --> 0:05:05.680 a mean laugh. I feel like we are laughing in 0:05:05.720 --> 0:05:08.880 a way that was intended by at least a large 0:05:08.920 --> 0:05:10.560 number of people involved in this film. 0:05:10.800 --> 0:05:13.719 Yes, Split Second is not a failure. It succeeds. 0:05:14.200 --> 0:05:15.200 Yes, though that. 0:05:15.200 --> 0:05:17.680 Seems to have been lost on people when it originally 0:05:17.720 --> 0:05:20.680 came out, who seemed to just regard it. Why or 0:05:20.680 --> 0:05:22.520 at least some of the reviews we were looking at 0:05:22.760 --> 0:05:26.760 people were just saying, like another you know, hackneyed, cliched 0:05:27.279 --> 0:05:30.640 dystopian sci fi movie, you can skip it. I think 0:05:30.680 --> 0:05:33.080 this one is worth a solidly worth a watch. 0:05:33.320 --> 0:05:35.159 Yeah. Well, when I looked it up after i'd seen 0:05:35.200 --> 0:05:36.360 it the second time, I looked it up in the 0:05:36.360 --> 0:05:39.000 Psychotronic Video Guide from Michael Weldon, and I found he 0:05:39.000 --> 0:05:42.000 didn't care for it. He called it a quote boring, dull, 0:05:42.080 --> 0:05:45.720 misty science fiction movie. And yeah, I agreed to disagree 0:05:45.760 --> 0:05:48.440 on this one because I think it's pretty terrific. It's 0:05:48.440 --> 0:05:51.400 a lot of fun. Maybe it was just too fresh 0:05:51.440 --> 0:05:54.479 in nineteen ninety six and hasn't hadn't aged enough yet. 0:05:54.839 --> 0:05:57.000 I'm not sure. But then again, you could also argue 0:05:57.040 --> 0:06:01.640 that the tropes wouldn't have been as trod well trod 0:06:01.760 --> 0:06:04.080 in the early nineties as they would be in the 0:06:04.160 --> 0:06:05.120 year twenty twenty one. 0:06:05.520 --> 0:06:07.600 Well, a lot of the funny stuff in this movie 0:06:07.640 --> 0:06:10.680 would continue to be used unironically for the next like 0:06:10.880 --> 0:06:15.360 decade or two in straightforward like a list cop moviees. Oh, 0:06:15.400 --> 0:06:17.400 but I don't know if we've been mentioned. Also, this 0:06:17.480 --> 0:06:20.320 is a monster movie, so it is a dystopian sci 0:06:20.320 --> 0:06:24.240 fi movie, a grizzled buddy cop movie, and a monster 0:06:24.320 --> 0:06:26.039 movie all crammed into one. 0:06:26.400 --> 0:06:27.880 Yeah, your here's your elevator? 0:06:27.880 --> 0:06:28.599 Pitch okay. 0:06:28.640 --> 0:06:30.600 In the Gritty Future of two thousand and eight, a 0:06:30.680 --> 0:06:34.679 murderous horror emerges from the flooded London underground, and only 0:06:34.760 --> 0:06:39.120 the gruffiest cop imaginable, supercharged on a diet of anxiety, 0:06:39.120 --> 0:06:41.080 coffee and chocolate, can stop it. 0:06:41.839 --> 0:06:44.320 I don't know if you noticed that you said gruffiest, 0:06:44.400 --> 0:06:47.120 which I think is that is the right term, because 0:06:47.120 --> 0:06:48.600 he's gruff Andy's scruffy. 0:06:48.760 --> 0:06:51.360 Yeah, it's a combination. It's a hybrid that he has 0:06:51.400 --> 0:06:53.400 absorbed the DNA of both qualities. 0:06:54.000 --> 0:06:55.320 Let's say that trailer audio. 0:06:55.800 --> 0:06:59.479 He can hear it's heartbeat. 0:07:00.800 --> 0:07:02.680 He knows it's out there. 0:07:03.240 --> 0:07:04.480 Somebody must have seen something. 0:07:04.920 --> 0:07:08.440 He knows what it can do. You're telling me, but's 0:07:08.480 --> 0:07:11.400 something running around loose in this city, ripping a half out. 0:07:11.240 --> 0:07:12.160 Of people any kingdom. 0:07:12.440 --> 0:07:13.880 Maybe eat some for breakfast. 0:07:14.320 --> 0:07:16.960 Now it's really pissing him off. 0:07:17.880 --> 0:07:24.520 But and his new partner work makes. 0:07:24.280 --> 0:07:27.960 Two paranoid people with guns are a menace to society. 0:07:28.280 --> 0:07:31.080 You need paranoid too. If you like this, follow you 0:07:32.560 --> 0:07:39.840 rutger howerd split second, nice timing, split second. 0:07:48.000 --> 0:07:51.880 All right, well, oh sorry, did you specify before that 0:07:52.000 --> 0:07:53.760 this is a rutger Hower film. 0:07:54.040 --> 0:07:56.240 I don't know that we did. It'll probably be obvious 0:07:56.320 --> 0:07:58.920 to a number of people. And maybe there's a picture 0:07:58.960 --> 0:08:01.600 of rutger Hower, you know, capping this thing off. But yees, 0:08:01.680 --> 0:08:04.880 this is this is a rutger Hower extravaganza in the 0:08:04.920 --> 0:08:08.200 same way that modern film fans a lot of you 0:08:08.280 --> 0:08:12.200 like the cage rage. This one is filled with Howard power. 0:08:13.920 --> 0:08:15.800 Yes, yeah, oh yeah, but. 0:08:15.800 --> 0:08:19.040 There are other people involved too. Let's start where we 0:08:19.120 --> 0:08:22.040 tend to start. Let's start with the director. Okay, the 0:08:22.040 --> 0:08:25.560 guy by the name of Tony Mayleem, English director who 0:08:25.640 --> 0:08:29.360 also directed the nineteen eighty one slasher film The Burning. 0:08:30.280 --> 0:08:31.920 Mayleem also went on to do a fair amount of 0:08:32.120 --> 0:08:35.920 documentary work, and I'm to understand Split Second was a 0:08:35.960 --> 0:08:38.880 particularly grueling project for him, and he had to step 0:08:38.920 --> 0:08:42.240 away towards the end of the production and let Ian 0:08:42.360 --> 0:08:44.200 Sharp finish directing the picture. 0:08:44.760 --> 0:08:47.680 M Yeah, I can imagine this might have been some 0:08:47.800 --> 0:08:50.680 trouble because you're dealing with a lot of flooded sets. 0:08:50.800 --> 0:08:54.280 I mean almost you know, like every other set in 0:08:54.320 --> 0:08:56.960 this movie. There's just water everywhere, and I would imagine 0:08:57.000 --> 0:08:59.400 that makes filming very difficult and tedious. 0:08:59.600 --> 0:09:01.480 Yeah, and you gotta have a pigeon wrangler. You gotta 0:09:01.520 --> 0:09:03.720 have a rat wrangler. Oh yeah, you gotta have a 0:09:03.720 --> 0:09:08.480 Hower wrangler, and every every everybody's got to be on hand. 0:09:09.280 --> 0:09:11.600 I didn't check for the credits, but was there an 0:09:11.640 --> 0:09:13.520 assistant to mister Howard in there? 0:09:14.000 --> 0:09:16.319 I didn't notice. Yeah, I should have. I should have looked. 0:09:16.840 --> 0:09:18.200 Somebody had to get him his coffee. 0:09:18.400 --> 0:09:20.319 The HOWERD power generator. 0:09:21.280 --> 0:09:23.040 Uh, he might I think he might be self powering. 0:09:23.160 --> 0:09:25.480 I really don't know enough about We'll get We'll get 0:09:25.480 --> 0:09:26.240 to Howard in a second. 0:09:26.440 --> 0:09:27.760 How power is renewable? 0:09:28.000 --> 0:09:30.800 Yes. Now, the writer on this is a guy named 0:09:30.800 --> 0:09:34.360 Gary Scott Thompson. Not a lot that I know about him, 0:09:34.360 --> 0:09:36.400 except that he is the guy who gave us Too Fast, 0:09:36.440 --> 0:09:39.920 Too Furious. He also wrote The Hollow Man Joe, it 0:09:40.000 --> 0:09:42.079 was Too Fast, Too Furious, one of the good fast 0:09:42.080 --> 0:09:42.880 furious movies. 0:09:43.080 --> 0:09:45.680 No, you generally want to stay away from the even 0:09:45.760 --> 0:09:48.760 numbered ones until you get to around six or eight. 0:09:49.240 --> 0:09:50.280 Uh huh. 0:09:50.559 --> 0:09:54.280 Once you get once you get past five, everything is 0:09:54.360 --> 0:09:57.520 like bad but worth watchings. Everything's kind of good bad 0:09:57.559 --> 0:09:59.880 after that's where you're in, like the Flying Cars era. 0:10:01.000 --> 0:10:02.840 The real ones you want to stay away from, I 0:10:02.840 --> 0:10:05.400 think are like two and four, which I remember being 0:10:05.520 --> 0:10:06.120 rather boring. 0:10:06.520 --> 0:10:09.480 All right, cool, I'll keep that in mind well. 0:10:09.640 --> 0:10:13.040 And also the Hollow Man. God. I love Paul Verhoven, 0:10:13.120 --> 0:10:15.360 but that is just a dreadful movie. 0:10:15.880 --> 0:10:19.760 Yeah, I don't remember anything good about that one. Now. 0:10:20.120 --> 0:10:24.080 As for split second here again, this script seems like 0:10:24.120 --> 0:10:27.000 it was probably changed a number of times, and I 0:10:27.040 --> 0:10:29.520 think that was the case based on some just IMDb 0:10:29.679 --> 0:10:32.360 stuff I looked at. It has a lot of the 0:10:32.400 --> 0:10:35.320 obvious signs of Blade Runner and alien on it, as 0:10:35.360 --> 0:10:37.760 you would expect at that time, and certainly casting Rudger 0:10:37.840 --> 0:10:39.600 Howard is that was one of the films he made 0:10:39.600 --> 0:10:42.959 a big splash in a Blade Runner. But it also 0:10:43.080 --> 0:10:45.719 to me anyway, I feel like there's a huge two 0:10:45.760 --> 0:10:48.560 thousand a d comics influence here as well. I have 0:10:48.640 --> 0:10:52.520 no proof of that. And Gary Scott Thompson, I believe, 0:10:52.640 --> 0:10:55.760 is an American writer, not British, but there are a 0:10:55.800 --> 0:10:57.560 lot of British folks involved in this one, and I 0:10:57.559 --> 0:10:59.720 feel like it thematically has a lot of the elements 0:10:59.720 --> 0:11:02.840 you find in those original Judge Dread comics, you know, 0:11:02.920 --> 0:11:06.720 where there's a grittiness, but there's also this comedic and 0:11:06.800 --> 0:11:10.560 satiric vein going through everything like everything's over the top, like, 0:11:10.800 --> 0:11:13.920 and we lose some of that in the americanized versions 0:11:13.920 --> 0:11:16.920 of Judge Dread, you know where in the films, Yeah, 0:11:17.000 --> 0:11:20.520 Judge Dread is, you know, grumbling and blasting things with 0:11:20.559 --> 0:11:23.520 an enormous gun, but he doesn't have a humorous maid 0:11:24.080 --> 0:11:26.560 or funny robots in his life like he does in 0:11:26.600 --> 0:11:27.200 the comics. 0:11:29.440 --> 0:11:31.600 So one thing that's funny about this movie is that 0:11:31.720 --> 0:11:36.000 it is very British. It's not just incidentally set in London. 0:11:36.160 --> 0:11:39.240 Like the setting is very pointedly British, and some of 0:11:39.280 --> 0:11:43.679 the characters are very pointedly British in the way they're characterized. 0:11:43.760 --> 0:11:47.000 But our main hero, Rutger Howard, despite being Rutger Howard, 0:11:47.640 --> 0:11:52.200 is a very American cop character. He's very much like 0:11:52.240 --> 0:11:55.480 an American tough guy cop lead. 0:11:55.920 --> 0:11:59.720 Yeah, that's right, despite of course being Dutch. Rutger Howard 0:11:59.880 --> 0:12:03.200 was born in nineteen forty four and died in twenty nineteen. 0:12:03.640 --> 0:12:07.000 In this he plays Harley Stone, a character we will 0:12:08.240 --> 0:12:13.760 discuss at length here, but yeah, he was a wonderful actor, environmentalist. 0:12:13.800 --> 0:12:16.360 He also had a nonprofit aimed at HIV and AIDS 0:12:16.400 --> 0:12:20.679 awareness called the Rugger Howard Starfish Association, and he wrote 0:12:20.679 --> 0:12:25.359 to prominence in the films a fellow Dutchman of filmmaker 0:12:25.400 --> 0:12:28.280 Paul of Villehoven, who we just mentioned and made a 0:12:28.360 --> 0:12:31.640 huge splash in American cinema in nineteen eighty two's Blade Runner. 0:12:32.240 --> 0:12:36.120 He's also very notable in nineteen eighty five's Lady Hawk 0:12:36.400 --> 0:12:39.560 and nineteen eighty six is the Hitcher, and he's worked 0:12:39.600 --> 0:12:43.600 with Hooven culminated in the nineteen eighty five medieval adventure 0:12:43.600 --> 0:12:46.280 film that I have not seen, Flesh and Blood, which 0:12:46.320 --> 0:12:49.360 co star Jennifer Jason Lee and Ronald Lacey. And I 0:12:49.480 --> 0:12:52.800 understand that the two disagreed on the nature of his character. 0:12:52.880 --> 0:12:56.200 Howard wanted to get away from villain roles, but Verhoven 0:12:56.240 --> 0:13:00.440 wanted him to play a more morally ambiguous character. And 0:13:00.480 --> 0:13:03.920 that's an interesting wrinkle to think about because in this 0:13:04.040 --> 0:13:08.360 obviously he's our hero, and I can't think of a 0:13:08.400 --> 0:13:10.800 lot of films like Later On where he played anything 0:13:10.800 --> 0:13:14.120 other than a protagonist, you know, like what are the 0:13:14.120 --> 0:13:17.240 big rudger howand villain roles? Yeah, you named Blade Runner 0:13:17.760 --> 0:13:20.000 the hitcher, But anything else. 0:13:19.960 --> 0:13:22.080 Well, I would argue that maybe you shouldn't even think 0:13:22.120 --> 0:13:25.600 of him necessarily as the villain of Blade Runner. I mean, 0:13:25.640 --> 0:13:28.520 in Blade Runners, I would say he's something more like 0:13:28.720 --> 0:13:33.120 the creature in Frankenstein, as someone true does bad things, 0:13:33.120 --> 0:13:36.360 who harms people, but in other ways is sort of 0:13:36.360 --> 0:13:39.080 a sort of a babe in the wilderness, Like he's 0:13:39.240 --> 0:13:41.640 he's lost and desperate and doesn't know what to do 0:13:41.679 --> 0:13:42.800 with his own mortality. 0:13:43.400 --> 0:13:47.320 Yeah, but you can easily imagine, like the filmmaking system 0:13:47.400 --> 0:13:49.520 that after Blade Runner is like, oh, can we get 0:13:49.520 --> 0:13:51.439 Howard to play this terrorist? Can we get Howard to 0:13:51.480 --> 0:13:55.480 play this evil king? And it sounds like he was like, 0:13:55.480 --> 0:13:57.959 I don't want those type of roles. Want I want 0:13:58.000 --> 0:14:01.120 something different and I want and you know, you know, 0:14:01.559 --> 0:14:03.920 my mind come turns to Batman begins. 0:14:04.120 --> 0:14:05.520 Right, he's a corrupt businessman. 0:14:05.559 --> 0:14:07.760 He's a corrupt businessman, but he's yeah, he's a suit 0:14:07.920 --> 0:14:08.160 in that. 0:14:08.559 --> 0:14:10.920 Oh, I think he's also I remember, God, I haven't 0:14:10.920 --> 0:14:13.200 seen sin City in many years, but I remember him 0:14:13.240 --> 0:14:16.520 being some kind of evil corrupt, like yeah or something 0:14:16.559 --> 0:14:17.280 in that. Also. 0:14:17.720 --> 0:14:20.880 Okay, well he maybe managed to sprinkle some villainy in 0:14:20.920 --> 0:14:23.080 the later movies, but yeah. He went on to be 0:14:23.080 --> 0:14:25.760 in a ton of films and TV projects, one hundred 0:14:25.800 --> 0:14:29.080 and seventy five acting credits on IMDb, and they really 0:14:29.160 --> 0:14:31.680 run the gamut from B movies to blockbusters. Like he 0:14:31.800 --> 0:14:34.680 was just in a lot of stuff and he's just 0:14:35.160 --> 0:14:37.320 I've never seen him in something where I'm like, ah, 0:14:37.360 --> 0:14:40.880 that's boring. You know, he's he's an exciting element even 0:14:40.880 --> 0:14:41.680 in a bad picture. 0:14:41.880 --> 0:14:44.640 Oh, you should try to watch Dariu Argento's Dracula. 0:14:44.960 --> 0:14:48.600 Okay, yah is the second time you've challenged me on 0:14:48.640 --> 0:14:48.960 that one. 0:14:49.080 --> 0:14:51.320 No, I'm not saying I've watched it. I'm saying I've 0:14:51.360 --> 0:14:53.760 never been able to watch more than like sixty seconds 0:14:53.760 --> 0:14:58.320 of it. Okay, But so, I guess if we're talking 0:14:58.360 --> 0:15:00.600 about Rutger, how are we got to talk about the 0:15:00.600 --> 0:15:05.160 tears in the rain monologue? Which this is a famous moment, 0:15:05.240 --> 0:15:08.240 probably the most famous moment of Rutger Howard's career, also 0:15:08.320 --> 0:15:11.680 the most famous moment of Blade Runner the movie. The 0:15:11.720 --> 0:15:14.720 context is, of course, Harrison Ford in the movie plays Deckard, 0:15:14.800 --> 0:15:17.480 who is a type of police officer or bounty hunter 0:15:17.720 --> 0:15:22.440 who is hired to quote retire escaped replicants. Replicants are 0:15:22.760 --> 0:15:27.000 you know, sort of androids or humanoids who are created 0:15:26.360 --> 0:15:30.920 by this company to essentially be forced labor, and they 0:15:30.920 --> 0:15:34.360 have a very short lifespan so that they don't you know, 0:15:34.440 --> 0:15:37.120 get off and get ideas about independence. They can only 0:15:37.160 --> 0:15:40.000 live for something like four years. And so the plot 0:15:40.040 --> 0:15:41.840 of Blade Runner is that there are a group of 0:15:41.880 --> 0:15:45.040 replicants who escape and they're trying to find a way 0:15:45.080 --> 0:15:48.960 to get more life. They want to extend their lifespan. Meanwhile, 0:15:49.080 --> 0:15:52.120 Harrison Ford deckerd is trying to hunt them down, and 0:15:52.200 --> 0:15:54.320 in the end of the movie, he's chasing around in 0:15:54.360 --> 0:15:57.400 a building while the rain is pouring outside. He's chasing 0:15:57.520 --> 0:16:01.400 Rutger Howard's character, a replicant named Roy Bates, and there's 0:16:01.440 --> 0:16:04.240 a moment where where Deckard is almost about to fall 0:16:04.280 --> 0:16:06.920 to his death off the roof, but then Roy Batty 0:16:07.080 --> 0:16:10.880 grabs his arm and saves him, despite him being there 0:16:11.160 --> 0:16:13.920 to kill him. He saves him, and then he gives 0:16:13.960 --> 0:16:18.320 this speech. It's a soliloquy. He says, I've seen things 0:16:18.320 --> 0:16:21.640 you people wouldn't believe. Attack ships on fire off the 0:16:21.680 --> 0:16:25.280 shoulder of Orian, I watch seabeams glitter in the dark 0:16:25.360 --> 0:16:28.680 near the Tanhuser Gate. All those moments will be lost 0:16:28.760 --> 0:16:33.000 in time, like Tears in Rain. It's a beautiful moment 0:16:33.040 --> 0:16:35.680 and a beautiful metaphor. But what I've read is that 0:16:35.960 --> 0:16:39.160 apparently there was a line similar to that already in 0:16:39.200 --> 0:16:41.560 the script, which I think was written by David Peeples. 0:16:41.640 --> 0:16:46.120 But apparently Rutger Hower himself rewrote the line before filming, 0:16:46.560 --> 0:16:49.280 and he was the person who added the comparison to 0:16:49.320 --> 0:16:51.480 Tears in Rain, the most famous part of it. So 0:16:51.520 --> 0:16:53.080 that's from the actor himself. 0:16:53.560 --> 0:16:56.040 Yeah, I've always been impressed by that and of course 0:16:56.080 --> 0:16:59.520 that that monologue we've talked about on the show before. 0:16:59.560 --> 0:17:01.720 Oh here's the line that DJs should be using in 0:17:01.760 --> 0:17:05.840 their tracks. They they they definitely got the memo on 0:17:06.000 --> 0:17:07.919 Tears and Rain, because man, I can think of so 0:17:07.960 --> 0:17:12.920 many different mixes and tracks where something from from Roy 0:17:13.000 --> 0:17:16.000 pops up, that props up on it's a I mean, 0:17:16.000 --> 0:17:16.920 it's just a great piece. 0:17:17.320 --> 0:17:19.680 Yeah. Yeah, it's such a great line that in a 0:17:19.720 --> 0:17:22.119 way it's kind of lost its power by being over 0:17:22.200 --> 0:17:23.679 analyzed and over quoted. 0:17:24.520 --> 0:17:27.520 There's a band called Grumbling Fur and they have a 0:17:28.200 --> 0:17:31.960 song titled the Ballad of Roy Batty and it's this 0:17:31.960 --> 0:17:35.160 this kind of somber British song, but it's the lyrics 0:17:35.200 --> 0:17:37.120 are that that monologue. 0:17:37.320 --> 0:17:37.840 Oh wow. 0:17:38.000 --> 0:17:40.359 Yeah, So check that out if you want. 0:17:41.320 --> 0:17:43.800 But here a very different role in this So he 0:17:43.880 --> 0:17:48.560 plays in Blade Runner. He is a tragic Frankenstein's creature 0:17:48.640 --> 0:17:52.119 type character who who doesn't understand the point of his 0:17:52.160 --> 0:17:55.080 own existence. He wants more life, but he can't have it, 0:17:55.480 --> 0:17:58.960 and he and he ends in this tragic, introspective state. 0:17:59.440 --> 0:18:03.320 In split second, Hower is just Hower is the ultimate 0:18:03.440 --> 0:18:05.520 like beef steak grumpy cop. 0:18:06.320 --> 0:18:11.240 Yeah, yeah, he is. He is something. It's worth noting 0:18:11.240 --> 0:18:13.120 that he was I believe forty seven or forty eight 0:18:13.160 --> 0:18:15.320 at the time, so this is, you know, slightly older 0:18:15.480 --> 0:18:18.719 Rutger Hower certainly compared to like Blade Runner and stuff. 0:18:18.920 --> 0:18:20.920 He's carrying a bit of weight in this though, though 0:18:20.920 --> 0:18:23.920 nothing that feels like awkward or anything. But I think 0:18:23.920 --> 0:18:26.600 it feel like it feels like his physicality works perfectly 0:18:26.640 --> 0:18:29.480 well portraying this cop on the edge, he's not taken 0:18:29.520 --> 0:18:33.320 care of himself, who lives this reckless lifestyle and the 0:18:33.359 --> 0:18:36.560 bit of a slob. And yeah, again, while they avoid 0:18:36.600 --> 0:18:39.840 the hard drinking stereotype in this because he's apparently quit drinking, 0:18:40.160 --> 0:18:43.760 he does smoke like a chimney, just constantly smoking, consumes 0:18:43.800 --> 0:18:49.040 copious amounts of coffee, sugar, chocolate. And man, that name too, 0:18:49.400 --> 0:18:53.520 Harler Stone. It's motorcycle plus rocks. You know, you couldn't 0:18:53.520 --> 0:18:54.600 do any better than that. 0:18:54.600 --> 0:18:56.960 That was the thing that convinced me to watch this movie. 0:18:56.960 --> 0:18:58.720 I looked it up and I saw the main character 0:18:58.840 --> 0:19:01.480 is named Harley Stone, and I was, yeah, I'm in. 0:19:02.000 --> 0:19:03.639 Yep, I mean yeah, and he has I think a 0:19:03.720 --> 0:19:06.320 Harley in his apartment, so it's I guess that's part 0:19:06.359 --> 0:19:07.919 of it, but actually no, no. 0:19:08.000 --> 0:19:09.800 It was multiple things. I'm sorry I have to add 0:19:09.840 --> 0:19:12.000 on his name is Harley Stone. And then of course 0:19:12.000 --> 0:19:15.760 it becomes here's your new partner, buddy cop movie. It's 0:19:15.760 --> 0:19:18.040 like Tango and Cash, but said in the future, where 0:19:18.040 --> 0:19:20.520 there's a he's got a partner who's the opposite of 0:19:20.600 --> 0:19:23.720 him in every way, and this partner is named Dick Durkin. 0:19:24.240 --> 0:19:29.119 Yep, Harley and Dick. The Adventures off. Well, we've touched 0:19:29.119 --> 0:19:31.160 on the tropes here, but like one of the big 0:19:31.200 --> 0:19:34.600 tropes with this guy with Harley Stone is he's the worst. 0:19:34.880 --> 0:19:37.440 I can't stand him, but he's the best. We've got 0:19:37.480 --> 0:19:40.159 to use him, like he's just a walking disaster, but 0:19:40.320 --> 0:19:43.440 nobody does it better than Harley Stone, so we have 0:19:43.520 --> 0:19:45.360 to use him. He's the only one who can get 0:19:45.359 --> 0:19:49.240 our man and or monster exactly. It's the you're a 0:19:49.320 --> 0:19:51.840 loose cannon, you're off the force, you're the only man 0:19:51.880 --> 0:19:55.439 for the job. And Howard is I mean, he is 0:19:55.480 --> 0:19:59.119 so good in this because this character, this Harley Stone. 0:19:59.480 --> 0:20:02.560 At time, there are all these moments where you realize 0:20:02.560 --> 0:20:04.520 that the film is winking at you, that it's you 0:20:04.520 --> 0:20:06.320 know that he's just so over the top he's just 0:20:06.359 --> 0:20:08.280 doing what he's doing in the way he's acting is 0:20:08.359 --> 0:20:12.320 just it's it's just ridiculous. But yet Howard also walks 0:20:12.320 --> 0:20:15.040 that line to where he is, you know. I feel 0:20:15.080 --> 0:20:17.720 he is definitely cool in a lot of the film too, 0:20:17.840 --> 0:20:19.760 in a way that the mini actors wouldn't be able 0:20:19.760 --> 0:20:21.920 to pull that off, you know, like like here's this 0:20:22.040 --> 0:20:25.880 uh this, you know, this this over the hill rundown cop. 0:20:25.880 --> 0:20:27.879 But yeah, he looks pretty cool in those glasses and 0:20:27.880 --> 0:20:29.439 that giant leather coat. 0:20:30.520 --> 0:20:32.280 Yeah, it never gets too juicy. 0:20:32.640 --> 0:20:36.400 Yeah, so it's ultimately just a joy to watch him. 0:20:36.520 --> 0:20:38.480 I think some of the best scenes are ones where 0:20:38.560 --> 0:20:40.720 they're just we're just going about about a day. You know, 0:20:40.720 --> 0:20:43.320 it's a ride along with Harley Stone as he does 0:20:43.400 --> 0:20:46.880 things like like shave at a bar where he has 0:20:47.480 --> 0:20:49.600 shown up for breakfast, you know, things like that. 0:20:49.840 --> 0:20:52.000 Yeah, he goes to like a moody night club for 0:20:52.080 --> 0:20:54.800 breakfast where they're playing Knights in White Satin on the 0:20:54.880 --> 0:20:56.960 jukebox and they give him a big old play to 0:20:57.040 --> 0:20:59.760 full Inger. I think it is a full English breakfast 0:21:00.520 --> 0:21:02.840 that it's not just eggs and bacon, but there's baked 0:21:02.840 --> 0:21:05.800 beans on that plate and he's slurping it up and 0:21:05.880 --> 0:21:08.520 shaving with an electric razor over his plate. 0:21:08.960 --> 0:21:12.080 Yep. And yeah, so, oh my god, he's just so good. 0:21:12.320 --> 0:21:14.399 But let's talk a little bit about that partner. This 0:21:14.440 --> 0:21:18.800 would be again, Detective Dick Durkin, played by an actor 0:21:18.800 --> 0:21:20.760 by the name of Alistair Duncan. 0:21:21.720 --> 0:21:24.520 You know I love this guy too. I think he's great. 0:21:24.280 --> 0:21:26.879 In this role. Like again, he hits just the right note, 0:21:26.920 --> 0:21:32.120 like he's he's not too comedic, he's just comedic enough. 0:21:33.400 --> 0:21:35.600 He's the perfect foil to Harley Stone. So they're setting 0:21:35.640 --> 0:21:38.080 it up like a you know, a Rigs and Myrtle 0:21:38.160 --> 0:21:40.800 or Tango and Cash kind of thing where they're opposites, 0:21:40.800 --> 0:21:43.760 but they end up complimenting each other. And this guy, 0:21:43.880 --> 0:21:47.520 this guy is the the wimpy bookish nerd who went 0:21:47.560 --> 0:21:48.400 to Oxford. 0:21:49.240 --> 0:21:51.280 Yeah, well, I mean not completely wimpy. He's a he's 0:21:51.320 --> 0:21:54.639 very fitness conscious, right, that's true. And uh and and 0:21:54.720 --> 0:21:57.360 he's a yeah, but he's by the books. He's he's 0:21:57.400 --> 0:21:59.399 I think he's doing tai chi in one scene. And 0:21:59.440 --> 0:22:02.439 he of course course Rutger Howard's character Stone is like 0:22:02.520 --> 0:22:04.680 just so anxiety written. At one point, he's like, let 0:22:04.680 --> 0:22:06.960 me give you a massage, let me, let me help 0:22:07.000 --> 0:22:08.520 you out. He's like, don't touch me, like's take the 0:22:08.560 --> 0:22:12.240 gun in his nose. But but yeah, yeah, he's great 0:22:12.280 --> 0:22:12.399 in this. 0:22:12.640 --> 0:22:12.760 Uh. 0:22:13.320 --> 0:22:16.480 Duncan perfectly fine actor. He's done an increasing amount of 0:22:16.560 --> 0:22:19.399 high profile voice work over the over the years, especially 0:22:19.440 --> 0:22:22.359 in major video games, but he was a steady actor 0:22:22.359 --> 0:22:24.560 in the nineties as well, showed up on things like 0:22:24.800 --> 0:22:28.639 Highlander of the TV series Hercules Murder. She wrote, so 0:22:29.240 --> 0:22:30.080 a bunch of stuff. 0:22:30.200 --> 0:22:32.760 Wait, he's not the voice of Wheatley in Portal Too, 0:22:32.880 --> 0:22:33.720 is he? 0:22:33.720 --> 0:22:35.119 He might be. I don't know. I didn't look that 0:22:35.160 --> 0:22:38.240 one up specifically, but I did notice that he's okay, 0:22:38.280 --> 0:22:41.040 you know, for instance, you know the Mortor games where 0:22:41.040 --> 0:22:41.320 you know. 0:22:42.359 --> 0:22:44.080 I'm sorry I looked it up. No, that's a guy 0:22:44.160 --> 0:22:47.880 named Stephen Merchant. But but for a second I thought 0:22:47.880 --> 0:22:48.560 it was possible. 0:22:48.840 --> 0:22:51.280 Stephen Stephen, they're kind of cut from the same cloth, though, 0:22:51.280 --> 0:22:54.520 I can imagine Merchant in this role. But no, Alster Duncan. 0:22:54.640 --> 0:22:57.439 I believe one of his more high profile roles is 0:22:57.440 --> 0:23:00.560 those the Shadow of Mordor games. He played like the 0:23:00.720 --> 0:23:03.520 raith elf that is your alter ego or whatnot? I 0:23:03.560 --> 0:23:05.399 haven't really played the games, but he's that character. 0:23:05.600 --> 0:23:07.320 Oh okay, but let's. 0:23:07.080 --> 0:23:10.360 Not forget our female lead, Joe Ooh. 0:23:09.760 --> 0:23:13.000 So this movie has Kim Katroll in it. She plays 0:23:13.480 --> 0:23:17.439 Michelle McLain and so of course. Kim Catrall is a 0:23:17.440 --> 0:23:20.639 Canadian actress, probably best known today for being part of 0:23:20.680 --> 0:23:23.080 the main cast of Sex and the City, but with 0:23:23.160 --> 0:23:26.240 a long career of lots of interesting movie and TV roles. 0:23:26.640 --> 0:23:29.840 More in the Weird House, Wheelhouse, you might say, Big 0:23:29.880 --> 0:23:32.359 Trouble in Little China and which she plays Gracie Law 0:23:32.840 --> 0:23:35.400 or Star Trek six The Undiscovered Country, which I think 0:23:35.440 --> 0:23:38.119 she was filming either right around the same time as 0:23:38.160 --> 0:23:42.200 Split Second or simultaneous to Split Second. Yeah, because of 0:23:42.240 --> 0:23:45.440 the hair right right, And I gotta say I love 0:23:45.560 --> 0:23:48.119 Kim Katroll. People who have only seen her in like 0:23:48.240 --> 0:23:51.520 more straightforward roles I think might not appreciate just how 0:23:51.600 --> 0:23:54.959 good her comic timing is and how good she is 0:23:55.000 --> 0:23:57.959 at walking that fine line, which is like exactly what 0:23:58.000 --> 0:24:01.320 she's doing in this movie, that tight rope of like 0:24:01.440 --> 0:24:04.920 absurdity and parody but not quite Yeah. 0:24:05.040 --> 0:24:08.800 Yeah, I agree, absolutely certainly. Big Dub and Little China 0:24:08.840 --> 0:24:12.360 is a great example of her work. But prior to 0:24:12.560 --> 0:24:14.520 Sex and the City, she was in a fair amount 0:24:14.560 --> 0:24:18.080 of genre pictures. She kind of reinvented hersel herself, I 0:24:18.080 --> 0:24:20.399 guess with the Sex and the City role. But before 0:24:20.480 --> 0:24:22.439 that she was in she was in an episode of 0:24:22.440 --> 0:24:25.240 the nineties Outer Limits. I don't think one I've seen yet, 0:24:25.400 --> 0:24:27.240 but I'm going to get to it as I steadily 0:24:27.240 --> 0:24:29.440 make my way through all that. But she was also 0:24:29.440 --> 0:24:32.840 in a nineteen ninety eight TV adaptation of Peter Binchley's Creature, 0:24:33.160 --> 0:24:36.200 in which she and Craig T. Nelson battle a Nazi 0:24:36.280 --> 0:24:37.399 engineered killer shark. 0:24:37.760 --> 0:24:41.159 I watched that on TV when it premiered when I 0:24:41.240 --> 0:24:44.200 was a kid. I think I was in I don't know, 0:24:44.240 --> 0:24:47.879 it would have been like sixth grade or something, and yeah, wow, 0:24:48.040 --> 0:24:49.280 it was a it was a winner. 0:24:50.080 --> 0:24:54.080 So Kim is great and split second given the limited 0:24:54.080 --> 0:24:56.639 amount of stuff that she's given to work with. So 0:24:57.000 --> 0:24:58.879 this is a film where she doesn't have much of 0:24:58.880 --> 0:25:10.360 a role, but she manages to shine through that role anyway. Yeah, 0:25:11.880 --> 0:25:13.359 all right, let's talk about some of the other bit 0:25:13.440 --> 0:25:16.960 players in this. Oh, you have this guy, Alin Armstrong 0:25:17.440 --> 0:25:22.400 is Alan. I'm sorry it's a Alan, but I guess 0:25:22.440 --> 0:25:26.040 it's Alan Alan, I don't know. I'm just gonna call 0:25:26.119 --> 0:25:30.280 him Thrasher because that's his character's name. So. Born in 0:25:30.359 --> 0:25:33.359 nineteen forty six, Armstrong is a great British character actor. 0:25:34.040 --> 0:25:37.480 You would recognize him for instance, very recognizable face. But 0:25:37.560 --> 0:25:41.320 he's been in films such as Kroll, Braveheart, Van Helsing 0:25:41.480 --> 0:25:44.680 and Sleepy Hollow, The Double There and tons of TV 0:25:44.840 --> 0:25:47.399 work and he's great in this because he plays the 0:25:47.840 --> 0:25:49.320 I mean, this is a trope too. You have your 0:25:49.320 --> 0:25:53.240 problematic cop, but then you have their just just completely 0:25:53.720 --> 0:25:56.359 enraged boss who just can't take this guy anymore. But 0:25:56.400 --> 0:25:57.720 he's the best, so you got to work with him. 0:25:58.160 --> 0:26:01.679 And that's what Thrasher is. Thrasher manages to be like 0:26:01.720 --> 0:26:06.920 the angriest, foulest police chief ever, like just bristling with 0:26:06.920 --> 0:26:10.440 with with rage. Just his face, his kind of already 0:26:10.480 --> 0:26:15.160 gargoylish face is just twisted with anger and just resentment 0:26:15.560 --> 0:26:19.040 of Stone. And he also has I love his hair 0:26:19.080 --> 0:26:22.040 in this because he has this great dying widow's peak, 0:26:22.119 --> 0:26:23.560 you know where it's like it used to be a 0:26:23.560 --> 0:26:26.600 widow's peak and now it's barely anything, and it somehow 0:26:26.600 --> 0:26:30.120 elevates the character to an even greater level of just again, 0:26:30.200 --> 0:26:33.320 just such visceral hate in every breath he takes. 0:26:33.640 --> 0:26:35.919 At the British casting office, they were like, get me 0:26:36.000 --> 0:26:39.560 the actor who's every breath says you're off the force. 0:26:39.680 --> 0:26:40.720 Here's your new partner. 0:26:41.040 --> 0:26:43.880 Yes, except louder and more intense. 0:26:44.160 --> 0:26:46.280 Yeah, because he has some expletives in there. 0:26:46.440 --> 0:26:48.480 Yeah. So he's wonderful in this and he has some 0:26:48.800 --> 0:26:52.480 great scenes. Now the next actor of note Sale doesn't 0:26:52.480 --> 0:26:55.639 really have any great scenes but is just by all accounts, 0:26:56.520 --> 0:27:01.120 was a tremendous actor, Pete Posselthwaite who from nineteen forty 0:27:01.160 --> 0:27:02.520 six through twenty eleven. 0:27:03.560 --> 0:27:04.360 I love Pete. 0:27:04.520 --> 0:27:07.479 Yeah, so if you don't recognize the name, look him 0:27:07.520 --> 0:27:11.560 up you'll recognize the face. Tremendous English actor with instantly 0:27:11.560 --> 0:27:15.200 recognizable from such films as Alien three, In the Name 0:27:15.240 --> 0:27:19.480 of the Father, Amistad, The Sharp Films, The Lost World, 0:27:19.520 --> 0:27:21.760 Jurassic Park. I believe he was the big game hunter 0:27:21.880 --> 0:27:22.520 character in that. 0:27:22.960 --> 0:27:24.880 Yep, Yep, he was yep. 0:27:24.960 --> 0:27:27.800 Great look great actor. Again, not much of a role 0:27:27.840 --> 0:27:31.359 for him in this, but you know, he's great in 0:27:31.400 --> 0:27:33.959 so many other things. We have to point him out. 0:27:34.160 --> 0:27:36.840 Well, most of the parts in this movie are sort 0:27:36.840 --> 0:27:41.919 of underwritten compared to the main two cops. Yeah, but 0:27:42.080 --> 0:27:44.600 the cast members really do shine through, Like you were 0:27:44.600 --> 0:27:48.000 saying with Kim Cattrall and Alan Armstrong, they all kind 0:27:48.000 --> 0:27:48.960 of bring you to attention. 0:27:49.800 --> 0:27:54.080 Now, one interesting thing about Pustlethwaite in this is that 0:27:54.280 --> 0:27:56.080 he's a guy who largely kept out of the spotlight, 0:27:56.080 --> 0:27:59.520 but he was passionate about various causes, including anti war 0:27:59.560 --> 0:28:03.080 protests and environmentalism, which is which is interesting given the 0:28:03.480 --> 0:28:06.240 you know, the environmental I don't want to say theme 0:28:06.280 --> 0:28:09.360 of this film, but like mild sprinkling to the plot. 0:28:09.840 --> 0:28:12.080 Because he starred in a film in two thousand and 0:28:12.119 --> 0:28:14.720 nine titled The Age of Stupid, in which quote a 0:28:14.760 --> 0:28:17.880 failed archivist looks at old footage from the year two 0:28:17.920 --> 0:28:21.680 thousand and eight to understand why humankind failed to address 0:28:21.720 --> 0:28:25.800 climate change. So basically it's a documentary, and at some 0:28:25.880 --> 0:28:28.320 point in making the film they decided they wanted to 0:28:28.359 --> 0:28:31.400 add a like a fictional narrative structure to it, where 0:28:31.400 --> 0:28:33.760 it's like somebody from the future looking back on today. 0:28:34.280 --> 0:28:36.280 And they reached out to him because they knew he 0:28:36.320 --> 0:28:38.400 was great, and they knew that he was interested in 0:28:38.440 --> 0:28:40.680 these causes, and he ended up signing up for it, 0:28:40.720 --> 0:28:43.720 and it allowed the film to just to reach a 0:28:43.720 --> 0:28:46.680 lot more theaters and to really reach far more people 0:28:46.720 --> 0:28:49.040 with its message. So it's a documentary but has a 0:28:49.080 --> 0:28:50.280 sci fi narrative structure. 0:28:50.680 --> 0:28:53.560 Interesting. Now, there's another character in this movie that is 0:28:53.880 --> 0:28:56.120 very weird, but we don't get to until like the 0:28:56.200 --> 0:28:58.320 last ten to fifteen minutes of the movie. 0:28:58.720 --> 0:29:01.560 Yeah, Like I kept thinking, did I miss Michael J. 0:29:01.680 --> 0:29:04.080 Pollard Because Michael J. Pollard who is in this He 0:29:04.120 --> 0:29:08.240 plays this rat catcher character and it's a very small role, 0:29:08.440 --> 0:29:12.480 but he has a very fun scene with our detectives. Now. Pollard, 0:29:12.600 --> 0:29:17.200 American actor, lived thirty nine through twenty nineteen, probably best 0:29:17.240 --> 0:29:19.640 well known for his one of his earlier roles in 0:29:19.720 --> 0:29:22.200 Bonnie and Clyde. Well, I say earlier roles, but he 0:29:22.240 --> 0:29:24.280 also was in a lot of TV stuff before that, 0:29:24.400 --> 0:29:27.920 like Andy Griffiths Show, Classic Star Trek, Alvert Hitchcock Presents. 0:29:27.960 --> 0:29:30.040 But he was in sixty seven's Bonnie and Clyde. 0:29:30.200 --> 0:29:33.960 That's the one with Warren Bady, Yeah, Faye Dunaway. 0:29:33.760 --> 0:29:37.200 Yeah, yeah, the Bonnie and Clyde. Yeah, it's been a 0:29:37.200 --> 0:29:39.560 long time since I've seen that, but I can picture it, 0:29:39.600 --> 0:29:42.479 like I remember his character Pollard was also, I mean, 0:29:42.480 --> 0:29:43.920 he was in a bunch of stuff, but you might 0:29:43.960 --> 0:29:48.600 recognize him from Scrooged. He was in Roxanne in nineteen 0:29:48.600 --> 0:29:52.320 eighty seven, and some listeners to Weird House especially might 0:29:52.560 --> 0:29:55.520 remember him from Rob Zombie's House of a Thousand Corpses. 0:29:56.240 --> 0:29:59.120 He was also, like a lot of actors of that generation, 0:29:59.160 --> 0:30:01.120 he showed up on Tales for the Crypt in an 0:30:01.120 --> 0:30:03.880 episode titled Came the Dawn. So he wasn't a lot 0:30:03.920 --> 0:30:07.320 of stuff always good, all right, just a couple of 0:30:07.360 --> 0:30:10.320 more two small acting roles of note here. Ian Durry 0:30:10.360 --> 0:30:13.640 plays his character JJ. Very small part, but this is 0:30:13.680 --> 0:30:15.800 Ian Durry of the Blockheads, and he was part of 0:30:15.800 --> 0:30:18.200 the new wave in post punk scene, lived forty two 0:30:18.320 --> 0:30:21.200 through two thousand. I don't really know him or his work, 0:30:21.280 --> 0:30:23.360 but as a fun easter egg, I imagine for some 0:30:23.440 --> 0:30:25.000 of you music fans out. 0:30:24.840 --> 0:30:27.240 There, I don't remember who JJ was in the movie. 0:30:27.280 --> 0:30:29.800 I think I'm like thirty five percent sure he was 0:30:29.840 --> 0:30:33.640 the bartender, but I don't remember. I just know he's 0:30:33.640 --> 0:30:37.240 in it. And then there's this also, this character in 0:30:37.320 --> 0:30:40.040 it named pad O'Donnell, played by an actor by the 0:30:40.120 --> 0:30:44.760 name of Tony Steadman or Steedman. I'm not sure, but 0:30:45.080 --> 0:30:47.640 this is an English character actor who played Socrates and 0:30:47.720 --> 0:30:51.400 Bill and Ted. Oh okay, yeah, so in this he's 0:30:51.440 --> 0:30:53.760 just the guy who checks out weapons at the London 0:30:53.800 --> 0:30:54.520 Police Department. 0:30:54.680 --> 0:30:56.640 Well, actually all he does is he says like, no, 0:30:56.720 --> 0:30:58.760 you can't have that, and then they grab it behind 0:30:58.800 --> 0:30:59.200 his back. 0:30:59.320 --> 0:31:01.400 Yeah. He's like that gun's too big and they're like, no, 0:31:02.080 --> 0:31:02.880 we're taking it. 0:31:02.920 --> 0:31:03.840 We need big guns. 0:31:03.960 --> 0:31:07.120 He's like, all right, I did what I could. Now 0:31:07.560 --> 0:31:09.320 getting into some of the other people involved in this. 0:31:09.520 --> 0:31:12.200 This is also pretty interesting because you listen to the 0:31:12.280 --> 0:31:16.080 musical score in this film, and it's from my point 0:31:16.080 --> 0:31:18.560 of view, it's not bad. It's it's at least not 0:31:18.760 --> 0:31:23.360 you know, classical piano, but it's it's you know, it's 0:31:23.440 --> 0:31:25.480 ultimately kind of lukewarm. It has kind of like hell 0:31:25.600 --> 0:31:31.440 razorily hell Hell razory synth chrals at times. You know, 0:31:31.520 --> 0:31:34.360 it's got some synth drums and so forth. So it 0:31:34.440 --> 0:31:37.560 works for me. I never hated it, but it's interesting 0:31:37.600 --> 0:31:39.080 considering what might have been. 0:31:39.440 --> 0:31:41.880 Oh that's right, now, how did you come across this 0:31:41.960 --> 0:31:44.040 next fact? Give me the story. 0:31:44.320 --> 0:31:46.360 Well, there's not much story, like a lot of these things. 0:31:46.440 --> 0:31:48.880 I think I was just reading IMDb too much, And 0:31:49.720 --> 0:31:54.920 it was noted that the filmmakers actually rejected the original score, 0:31:55.360 --> 0:31:58.640 which was composed by the legendary Wendy Carlos. 0:31:58.680 --> 0:32:01.200 How could you reject Wendy Carlos score? 0:32:01.560 --> 0:32:07.040 Yeah, I mean, Wendy Carlos is a legend basically twofold. 0:32:07.200 --> 0:32:10.000 On one hand, she wrote the scores for this like 0:32:10.040 --> 0:32:14.640 the Shining Tron Clockwork Orange, but also just in general, 0:32:14.720 --> 0:32:17.200 she's a true pioneer of electronic music and the use 0:32:17.200 --> 0:32:20.280 of the synthesizer. Yeah, Andy, as we touched on on 0:32:20.280 --> 0:32:22.200 stuff to blow your mind before. She's also a great 0:32:22.240 --> 0:32:24.240 solar photographer. So how could you say no? 0:32:24.600 --> 0:32:27.080 Yeah, it's crazy. So yeah, the score they ended up 0:32:27.080 --> 0:32:30.440 going with, I feel like it is extremely generic. It's 0:32:30.480 --> 0:32:33.200 just doo doo doo doom doo doo don is a 0:32:33.320 --> 0:32:38.120 standard ominous future drums and drone. And I went and 0:32:38.200 --> 0:32:41.160 I looked up some clips because you provided a link. 0:32:41.200 --> 0:32:45.000 There's like an AllMusic page where Wendy Carlos at some 0:32:45.240 --> 0:32:50.200 point released a collection of lost or themes from movies, 0:32:50.240 --> 0:32:53.680 including a couple of things she composed for this movie 0:32:53.720 --> 0:32:56.440 that never actually made it into the film. The two 0:32:56.480 --> 0:32:59.640 tracks here are Visit to a Morgue and Returned to 0:32:59.680 --> 0:33:02.160 the More, which I thought was funny, but I checked 0:33:02.240 --> 0:33:04.720 him out, and having heard both side by side, I'm 0:33:04.800 --> 0:33:08.000 certain her complete score would have been one hundred times better. 0:33:08.440 --> 0:33:11.000 Absolutely. I listened it to these tracks as well, and 0:33:11.040 --> 0:33:13.280 I think they sound great. I'd loved it to hear 0:33:13.320 --> 0:33:15.760 the whole thing. If you want to listen to these tracks, 0:33:15.800 --> 0:33:18.960 the album to look up is Rediscovering Lost Scores, Volume two. 0:33:19.360 --> 0:33:21.240 I'll try to include a link to it on the 0:33:22.280 --> 0:33:25.520 post I do for this episode at samoodomusic dot com. 0:33:25.520 --> 0:33:29.160 But yeah, it's quite good. Sadly, I don't think you 0:33:29.160 --> 0:33:30.600 can find this on Spotify right now. 0:33:30.920 --> 0:33:33.120 Wendy Carlos is still alive. I don't know if she's 0:33:33.160 --> 0:33:36.320 composing anymore, but filmmakers out there, if you have the 0:33:36.360 --> 0:33:38.960 opportunity to get a Wendy Carlos score in your movie, 0:33:38.960 --> 0:33:40.720 don't pass it up now. 0:33:40.800 --> 0:33:44.479 One last interesting individual involved in the creation of Split Second, 0:33:44.960 --> 0:33:49.280 Stephen Norrington was involved in the creature design, so some 0:33:49.360 --> 0:33:51.520 of you might recognize the name. This is London born 0:33:51.720 --> 0:33:55.200 effects makeup artist who worked on such films as Aliens, 0:33:55.600 --> 0:34:00.680 Young Sherlock Holmes, Hardware, Alien three, Jim Henson's The Taylor, 0:34:01.240 --> 0:34:03.520 and then he would go on from this to direct 0:34:03.520 --> 0:34:06.520 a film titled Death Machine with Brad Dorif and Richard 0:34:06.520 --> 0:34:10.000 Brake before I think any I don't think I knew 0:34:10.040 --> 0:34:12.520 who Richard Brake was at that time, but he's since 0:34:12.560 --> 0:34:14.759 gone on to make a name for himself as a 0:34:15.120 --> 0:34:21.000 as a reliable, intimidating character actor. But he followed this 0:34:21.080 --> 0:34:26.920 film up Norrington did directing nineteen ninety eight's Blade, the 0:34:27.760 --> 0:34:31.560 film that started all of the Marvel Cinematic universe, starring, 0:34:31.640 --> 0:34:33.120 of course, Wesley Snipes. 0:34:33.440 --> 0:34:36.640 Now I know you're kind of a bladehead, and I 0:34:36.719 --> 0:34:40.760 the only I think. I've only seen the original Blade 0:34:40.840 --> 0:34:43.719 once many many years ago, like in middle school, and 0:34:43.760 --> 0:34:45.040 that's that's about all I know. 0:34:45.760 --> 0:34:47.840 Oh, well, you need to see it again because it 0:34:48.040 --> 0:34:49.000 absolutely holds up. 0:34:50.000 --> 0:34:52.640 I do remember. I remember a lot of gross scenes 0:34:52.680 --> 0:34:55.640 where they're like they're like shining a flashlight on a 0:34:55.760 --> 0:34:58.040 on a big fat vampire to like burn his skin 0:34:58.160 --> 0:34:59.000 and make him talk. 0:34:59.400 --> 0:35:03.319 Yep, Yep that happened. Yeah, that that's that's a fun thing. 0:35:03.360 --> 0:35:06.160 I love the first two Blade movies and uh and 0:35:06.200 --> 0:35:09.560 that that was that was Norton here. But from there 0:35:09.600 --> 0:35:11.200 he went on to make a film title The Last 0:35:11.200 --> 0:35:13.920 Minute that I don't know anything about, and then the 0:35:13.920 --> 0:35:16.000 film that caused him to I think peace out on 0:35:16.040 --> 0:35:21.520 directing entirely The League of Extraordinary Gentlemen. But I believe 0:35:21.560 --> 0:35:23.600 he has continued to work in effects in other areas 0:35:23.640 --> 0:35:24.279 of filmmaking. 0:35:24.640 --> 0:35:27.200 I never saw that one, but it is notorious. I 0:35:27.280 --> 0:35:31.120 remember the day that my friends had been out and 0:35:31.160 --> 0:35:33.440 seen it earlier in the day, and then I was 0:35:33.440 --> 0:35:35.319 hanging out with them later in the day and they 0:35:35.360 --> 0:35:37.799 could not stop talking about how awful. It was. 0:35:38.480 --> 0:35:40.960 Yeah, I never saw it. I read the graphic novels 0:35:41.000 --> 0:35:43.440 by Alan Moore and loved those, and it has so 0:35:43.520 --> 0:35:47.759 many tremendous actors in it. But yeah, it was. It 0:35:47.800 --> 0:35:51.239 was apparently no fun for anybody that was involved in 0:35:51.280 --> 0:35:55.160 it or solid. But you know, this brings me to 0:35:55.200 --> 0:35:56.920 a good point that I feel like we need to, 0:35:57.239 --> 0:35:58.960 you know, make sure we hammer home every now and then. 0:35:59.040 --> 0:36:01.719 Is that, you know, between norm Rington's case and Meleem's 0:36:01.760 --> 0:36:04.279 experiences that we mentioned earlier, I think it's always worth 0:36:04.280 --> 0:36:08.600 reminding ourselves that it's an endeavor for any motion picture 0:36:08.640 --> 0:36:10.600 to be made, and it's ultimately kind of a minor 0:36:10.640 --> 0:36:15.280 miracle that any creative process of the scope actually reaches completion. 0:36:16.000 --> 0:36:18.879 And the stresses of creative projects like this are very real. 0:36:19.000 --> 0:36:22.279 So you know, it's you know, it's surprising you don't 0:36:22.280 --> 0:36:24.439 see more pictures where people you just have to step 0:36:24.480 --> 0:36:25.759 away from it because it's too much. 0:36:26.040 --> 0:36:28.920 Yeah, it's one of the kind of beautiful things about 0:36:28.920 --> 0:36:32.360 B cinema, emphasized in even in great movies like the 0:36:32.400 --> 0:36:35.600 movie ed Wood about the actual director ed Wood, that 0:36:35.920 --> 0:36:39.120 B movies, to whatever extent they succeed or fail, can 0:36:39.160 --> 0:36:42.680 often be funny, but it's also it's kind of it's 0:36:42.760 --> 0:36:44.560 kind of magical that they get made at all. 0:36:46.560 --> 0:36:50.120 All right, well, let's get into the movie itself. This 0:36:50.160 --> 0:36:54.040 one starts out with an opening scroll and opening some 0:36:54.120 --> 0:36:56.520 text to read, which I always like because I feel 0:36:56.520 --> 0:36:59.080 like that way, time travelers from the early days of 0:36:59.120 --> 0:37:01.840 cinema won't be instantly out of place when they go 0:37:01.880 --> 0:37:04.360 to the movie theater. You know, it's going to be 0:37:04.400 --> 0:37:06.160 a talkie, it's going to be a lot, but it's 0:37:06.160 --> 0:37:08.279 going to start off the old fashioned way with some 0:37:08.520 --> 0:37:09.759 words on a screen. 0:37:09.800 --> 0:37:12.279 And a guy playing the piano in the side of 0:37:12.280 --> 0:37:12.720 the theater. 0:37:14.239 --> 0:37:18.880 Yeah, basically, the opening scroll is after forty days and 0:37:19.000 --> 0:37:22.200 nights of torrential rain, the city is largely submerged below water, 0:37:22.560 --> 0:37:25.400 a result of the devastating effects of continued global warming. 0:37:25.800 --> 0:37:28.680 The warnings ignored for decades have now resulted in undreamed 0:37:28.719 --> 0:37:32.439 of levels of pollution where day has become almost endless night. 0:37:33.120 --> 0:37:35.239 You know, I'll have to check, but I do not 0:37:35.360 --> 0:37:38.400 recall endless night being one of the one of the 0:37:38.440 --> 0:37:40.760 proposed consequences of a warming climate. 0:37:42.000 --> 0:37:47.879 No, it's day for night sometimes now, Yeah, this one 0:37:47.960 --> 0:37:50.239 this and also it also brings up the idea that 0:37:50.320 --> 0:37:52.879 it was just it recently rained a lot, which also 0:37:52.920 --> 0:37:54.400 seems out of keep. Like I thought it was just 0:37:54.440 --> 0:37:56.799 the fact that London is pretty flooded these days because 0:37:56.840 --> 0:38:01.920 of rising you know, rising sea levels, but also some 0:38:02.000 --> 0:38:04.640 other like sinking issues that have been going on with 0:38:04.680 --> 0:38:05.560 the city for some time. 0:38:05.840 --> 0:38:08.840 Yeah. Well, so they start while they're showing this text 0:38:08.880 --> 0:38:12.080 crawl like the Star Wars thing. Instead of a starfield, 0:38:12.120 --> 0:38:15.480 it's panning over an aerial shot of a flooded London 0:38:15.920 --> 0:38:19.839 with a kind of sinister tangerine sun flaring in the background, 0:38:20.360 --> 0:38:23.759 and it's brighter in that opening panning shot than it 0:38:23.840 --> 0:38:26.800 is at any other point in the movie. True, true, 0:38:27.120 --> 0:38:29.400 But I did find myself wondering how did they achieve 0:38:29.440 --> 0:38:32.920 this shot because it does actually look like an aerial 0:38:32.960 --> 0:38:35.440 shot of London and it does actually look flooded. 0:38:35.880 --> 0:38:37.920 Yeah, there are details you see, especially as they sort 0:38:37.920 --> 0:38:39.400 of re use this footage later in the film. You 0:38:39.440 --> 0:38:41.560 can see like, oh, yeah, that looks like a lake 0:38:41.719 --> 0:38:43.480 over here. And you know they didn't do it digitally. 0:38:43.520 --> 0:38:44.480 This is nineteen ninety one. 0:38:44.600 --> 0:38:46.279 Yeah, so I was wondering what was going on there? 0:38:46.320 --> 0:38:49.680 I mean, did they did London actually flood at some 0:38:49.760 --> 0:38:51.759 point and this was real footage of it that they 0:38:51.880 --> 0:38:54.520 digitally altered somehow, I don't know. 0:38:54.680 --> 0:38:57.560 But it's convincing. It does set the stage. And again, 0:38:57.800 --> 0:39:01.400 let the city is just a flooded mess throughout this 0:39:01.520 --> 0:39:03.959 entire picture. You buy it completely. It's not like they 0:39:04.000 --> 0:39:05.880 just give you this bit of world building and then 0:39:05.920 --> 0:39:08.360 that it's is ignored for the rest of the film. No, 0:39:08.480 --> 0:39:10.360 It's present in virtually every shot. 0:39:11.480 --> 0:39:14.359 And one thing I like is that before you see 0:39:14.400 --> 0:39:17.680 the title of the movie, you just see Rutger Hower read. 0:39:17.520 --> 0:39:19.120 Letters as it should be. 0:39:19.440 --> 0:39:22.640 Yeah, but then when the title of the movie comes up, 0:39:22.680 --> 0:39:23.800 it looks really funny. 0:39:24.239 --> 0:39:26.160 Yeah, for a film with such a strong sense of 0:39:26.160 --> 0:39:29.000 its own aesthetics, the title card just looks really dumb. 0:39:29.000 --> 0:39:32.040 The letters are like these big blue balloons, like there 0:39:32.120 --> 0:39:34.640 should be floating in the sky of a Mario Brothers level. 0:39:34.880 --> 0:39:38.120 Yes, yes, and it's so it's it says split second. 0:39:38.160 --> 0:39:40.600 But I was experienced a kind of I was seeing 0:39:40.600 --> 0:39:44.120 a kind of selective dyslexic effect where it was hard 0:39:44.160 --> 0:39:46.840 for me do not see the title as spilt second. 0:39:47.960 --> 0:39:51.000 And then also because of the way the L and 0:39:51.040 --> 0:39:54.920 the capitol I come together sput second, kind of like 0:39:54.960 --> 0:39:59.640 the celebrity Jeopardy four and flicks problem. And I've just 0:39:59.719 --> 0:40:02.480 now I wondered for the first time, what is the 0:40:02.480 --> 0:40:04.800 significance of the title split second. 0:40:06.200 --> 0:40:09.160 I don't think it has any significance at all other 0:40:09.200 --> 0:40:14.000 than it just implies a pacing that is largely backed 0:40:14.040 --> 0:40:16.800 up by the picture. You know, stuff is just happening, 0:40:16.800 --> 0:40:20.080 and characters are especially stone. It just has a gut 0:40:20.160 --> 0:40:24.040 level response to everything. So I guess that's the extent 0:40:24.080 --> 0:40:24.239 of it. 0:40:24.480 --> 0:40:28.160 Yeah, the movie might as well be called exciting exciting. 0:40:28.280 --> 0:40:33.239 Yeah, so, yeah, they didn't take long for rug or 0:40:33.280 --> 0:40:34.960 Howard to pop up. He has a lot of screen 0:40:35.000 --> 0:40:37.399 time in this and the first I think we see 0:40:37.400 --> 0:40:40.800 of him is he's walking up in leather, scratching his groin, 0:40:40.880 --> 0:40:43.200 putting on a pair of shades. He's got a big 0:40:43.239 --> 0:40:47.560 old gun. And then shortly thereafter my favorite, one of 0:40:47.640 --> 0:40:51.200 my favorite sequences in the film, he lights his cigar 0:40:51.280 --> 0:40:54.960 with a blowtorch, then gets out of his vehicle calls 0:40:55.000 --> 0:40:58.600 a dog a dickhead on his way into a grimy nightclub. 0:40:58.960 --> 0:41:01.480 For some reason, it's just so, it's such a funny scene. 0:41:01.520 --> 0:41:03.560 Like when I saw that scene the first time I 0:41:03.600 --> 0:41:05.560 watched the film, I was like, oh my god, I'm 0:41:05.600 --> 0:41:06.399 watching all of this. 0:41:06.880 --> 0:41:09.600 I'm in Before he even gets in the car, we 0:41:09.760 --> 0:41:13.200 just get this corridor advancing scene. This is our introduction 0:41:13.400 --> 0:41:17.000 to our protagonist. And god his costume. So he's got 0:41:17.040 --> 0:41:20.600 the sci fi stomper boots. I guess these are these 0:41:20.600 --> 0:41:22.919 are actual all weather boots of some kind. I don't 0:41:22.920 --> 0:41:24.360 know what they're called, but they're the ones with a 0:41:24.360 --> 0:41:27.200 bunch of straps and buckles poking out all over the place. 0:41:28.360 --> 0:41:31.560 And then we get holster vision, like an extreme close 0:41:31.640 --> 0:41:34.520 up of all his different holsters and the guns in them. 0:41:34.800 --> 0:41:37.920 Of course he's wearing a long coat, right, kalflinth coat, 0:41:38.080 --> 0:41:40.239 because hey, you know, how else are they going to 0:41:40.280 --> 0:41:41.040 know that you're bad? 0:41:41.719 --> 0:41:45.000 Yeah, despite it being like really humid looking in this city, 0:41:45.040 --> 0:41:48.000 Like I don't know, it just seems like the smells, 0:41:48.040 --> 0:41:49.120 I don't know, you would. 0:41:48.960 --> 0:41:51.440 Not want to wear that coat, I don't think. And 0:41:51.680 --> 0:41:54.680 then and then he's wearing just plastic pants with a 0:41:54.880 --> 0:41:58.080 gut stabber silver belt buckle. It looks like if he 0:41:58.160 --> 0:42:01.520 bends over to tie his shoes to cause internal bleeding 0:42:01.560 --> 0:42:02.920 and is large intestine. 0:42:03.280 --> 0:42:06.600 Yeah. Yeah, And you don't get the sense that he's 0:42:06.760 --> 0:42:09.200 purchased any new This character has not purchased any new 0:42:09.239 --> 0:42:11.120 clothing since he's let himself go, you. 0:42:11.080 --> 0:42:16.000 Know, right exactly. Sunglasses with tiny frames like the beady 0:42:16.080 --> 0:42:18.760 little circular frames that are about the size of a quarter, 0:42:20.200 --> 0:42:23.000 like they simultaneously like they kind of look cool but 0:42:23.040 --> 0:42:27.240 it's also funny. Yeah. And cigar in his mouth at 0:42:27.280 --> 0:42:32.640 all times, just pathological oral fixation. It never leaves his lips. 0:42:32.600 --> 0:42:36.040 Yeap constantly, just a halo of smoke around his head. 0:42:36.400 --> 0:42:38.560 Uh huh. So in a way, he's kind of a 0:42:38.640 --> 0:42:40.600 dystopian sci Fi Pouci. 0:42:41.400 --> 0:42:44.360 Yeah. Yeah, but but again is rugger Hower and he 0:42:44.480 --> 0:42:47.080 manages to strike that balance where it you know, you 0:42:47.800 --> 0:42:49.920 in any given scene, you're either buying into the coolness 0:42:50.000 --> 0:42:52.520 or noticing again the wink in his performance and or 0:42:52.600 --> 0:42:53.040 the writing. 0:42:53.680 --> 0:42:55.279 So here's a question I don't know if you have 0:42:55.320 --> 0:42:57.640 an answer to. Maybe if you don't, maybe the listeners 0:42:57.640 --> 0:43:01.120 can add some input. Where does the law coats as 0:43:01.320 --> 0:43:04.360 cool thing come from in movies? Where you got a 0:43:04.440 --> 0:43:08.320 character who's just a real like just bad to the bone, 0:43:08.680 --> 0:43:10.880 he's got to wear like a calf length coat. 0:43:11.320 --> 0:43:13.239 That's a great question. I don't know, but it's it's 0:43:13.239 --> 0:43:15.760 been around for a while at this point. It doesn't 0:43:15.760 --> 0:43:17.760 seem to be going away anytime soon. 0:43:17.880 --> 0:43:20.280 Like it was already in place at this time, really 0:43:20.320 --> 0:43:24.560 realized in Matrix Chic. But yeah, but this was way 0:43:24.600 --> 0:43:28.080 before that, and it was definitely in movies even before this. 0:43:28.719 --> 0:43:30.640 Yeah, I don't have an answer for that. Maybe that's 0:43:30.680 --> 0:43:33.880 one we can our listeners will have some insight on. 0:43:34.239 --> 0:43:38.000 Yeah, okay. Oh, and also this movie is if anybody 0:43:38.120 --> 0:43:41.800 out there is actually like a gun owner or into 0:43:42.440 --> 0:43:45.040 firearms safety at all, this movie will just make you 0:43:45.120 --> 0:43:49.360 shudder because all Rutger Howard does is just walk around 0:43:49.480 --> 0:43:52.680 swinging big guns all over the place and tossing them 0:43:52.680 --> 0:43:54.040 around like Duffel bags. 0:43:54.440 --> 0:43:57.680 Yeah, yeah, gesturing with them. He'll stick a gun in 0:43:57.680 --> 0:43:59.840 your face for virtually no reason. 0:44:00.080 --> 0:44:01.759 Yeah, just to play around, you know. 0:44:02.000 --> 0:44:05.000 Yeah, other character, other characters to pick up on this 0:44:05.000 --> 0:44:08.640 this recklessness and start engaging in it. And boy, there's 0:44:08.680 --> 0:44:10.359 some big gun Like the guns look good in this, 0:44:10.480 --> 0:44:14.719 like the gun these are some some video game asque weapons, 0:44:14.760 --> 0:44:17.200 you know, Like he has this pistol that just looks 0:44:17.280 --> 0:44:19.680 like a big just sci fi cannon. And then later 0:44:20.160 --> 0:44:25.320 these like mini gun looking combat shotgun things. It's pretty crazy. 0:44:25.520 --> 0:44:27.880 Yeah, you're not joking about that. They literally have like 0:44:27.960 --> 0:44:30.680 it's like a mini gun barrel, so like the multiple 0:44:30.680 --> 0:44:33.239 barrels and the rotating I don't know what you call 0:44:33.280 --> 0:44:36.399 that piece, but like like like what Jesse Ventura has 0:44:36.480 --> 0:44:39.840 in Predator, except it's supposed to be shotgun barrels. 0:44:39.920 --> 0:44:41.840 Yeah, like a shot gun gatlin gun. 0:44:42.000 --> 0:44:44.680 Yeah. And then at the very beginning, so we see 0:44:44.760 --> 0:44:47.320 him coming down the corridor showing off his cool look, 0:44:47.520 --> 0:44:49.960 and then he gets into a jeep and drives away, 0:44:50.440 --> 0:44:52.319 and of course we see that his car is just 0:44:52.360 --> 0:44:56.719 a rolling sty It is full of garbage, mostly coffee 0:44:56.719 --> 0:44:59.560 cups and the containers of sugary products. 0:45:00.040 --> 0:45:02.080 Yeah, there's like he's a one brand guy when it 0:45:02.120 --> 0:45:05.000 comes to these sugary things. I think maybe they're donuts 0:45:05.120 --> 0:45:07.920 or chocolate balls. But like when we say that he 0:45:07.960 --> 0:45:10.080 lives on a diet, like that's directly from the film 0:45:10.120 --> 0:45:11.880 that they say that he lives on a diet of 0:45:12.239 --> 0:45:15.960 of what caffeine, sugar and anxiety anxiety? No caffeine, no sugar, 0:45:16.040 --> 0:45:17.960 chocolate in anxiety or is it sugar? 0:45:18.280 --> 0:45:21.880 I think coffee sugar or sugar chocolate in an anxiety? 0:45:21.960 --> 0:45:24.560 Yeah, maybe, yeah, yeah, I think so. And so that's 0:45:24.600 --> 0:45:28.080 like literally if he's not smoking, and or if he's smoking, 0:45:28.280 --> 0:45:33.360 he's also liable to be consuming chocolate and putting just 0:45:33.440 --> 0:45:35.200 tons of sugar. Like it's a scene where he fills 0:45:35.280 --> 0:45:37.960 up his coffee in an office and it's just like 0:45:38.440 --> 0:45:40.880 thirty percent sugar and then the rest is coffee. 0:45:40.960 --> 0:45:43.120 Yeah, And so he's driving around. You mentioned that he's 0:45:43.120 --> 0:45:45.360 on his way to this filthy night club he's going to. 0:45:45.440 --> 0:45:48.600 But also for some reason at the very beginning, it's 0:45:48.640 --> 0:45:51.480 it's not established why this is at all he's being 0:45:51.560 --> 0:45:55.759 pursued by police, so he is a police detective. But 0:45:55.800 --> 0:45:58.680 he's also like, while he's driving around, there are cops 0:45:58.800 --> 0:46:03.080 chasing him, being like where there's Harley Stone going just unbeatable. Yeah, 0:46:03.920 --> 0:46:05.799 But he ends up in this dirty night club that 0:46:05.840 --> 0:46:09.800 he has to enter through like a corrugated aluminum sewer 0:46:09.840 --> 0:46:12.560 tunnel that has a bunch of wet socks dangling from 0:46:12.600 --> 0:46:15.319 the walls. And I don't know what the deal with 0:46:15.360 --> 0:46:17.200 that was. But he goes inside. He's told there's a 0:46:17.239 --> 0:46:21.240 two drink minimum, and he orders two coffees with extra sugar, 0:46:22.200 --> 0:46:24.839 and he seems to be here trying to scope things out. 0:46:24.920 --> 0:46:27.880 It's like he's got a sixth sense that there is 0:46:27.920 --> 0:46:31.400 a that there is Duin's afoot in the club, and 0:46:31.440 --> 0:46:36.360 he's just scoping around and eventually ends up trying to 0:46:36.360 --> 0:46:38.120 make a phone call I think, but it's hard to 0:46:38.160 --> 0:46:40.200 understand what he's saying on the phone because he's still 0:46:40.200 --> 0:46:41.520 got the cigar in his mouth. 0:46:41.880 --> 0:46:43.480 He's not here for fun, though, because I don't think 0:46:43.480 --> 0:46:45.360 Harley Stone does fun, not anymore. 0:46:45.480 --> 0:46:47.520 No, he does not go to the club to party. 0:46:47.600 --> 0:46:50.720 He goes to the club to find the killer. Yeah, 0:46:50.760 --> 0:46:53.640 and he's looking for somebody I guess the killer. But 0:46:53.680 --> 0:46:55.920 then meanwhile there's a scream and we find that a 0:46:55.920 --> 0:47:00.000 woman has been murdered in the bathroom. There's blood splattered everywhere, 0:47:00.480 --> 0:47:04.239 her heart has been removed, and there is there are 0:47:04.280 --> 0:47:07.760 the words I'm back scrawled on the mirror in blood. 0:47:08.480 --> 0:47:10.759 Yeah, And this is one of many scenes that will 0:47:10.760 --> 0:47:14.320 come in this film where a filthy environment is sprawled 0:47:14.360 --> 0:47:18.200 with blood and it looks it looks great like this 0:47:18.280 --> 0:47:21.760 film man Like Again, the aesthetics of this film are 0:47:22.320 --> 0:47:25.440 pretty tremendous, and there's something about like it has an 0:47:25.760 --> 0:47:30.800 almost erotic fixation on blood and death. And you see 0:47:30.880 --> 0:47:32.960 the first taste of it in this scene. 0:47:33.239 --> 0:47:36.080 And we see that Harley Stone, the character is also 0:47:36.280 --> 0:47:40.360 fixated because he's he's not just on a case. He 0:47:40.560 --> 0:47:44.759 is obsessed. He starts chasing down the blood trail that's 0:47:44.840 --> 0:47:48.120 running out of the bathroom. He's freaking out. He's pointing 0:47:48.160 --> 0:47:51.200 his gun at random people as he runs through these alleys. 0:47:51.600 --> 0:47:54.399 Other police are trying to like join in and help him, 0:47:54.400 --> 0:47:56.319 I think, but he's screaming at them to get out 0:47:56.320 --> 0:47:58.640 of his way. And here I believe we have a 0:47:58.640 --> 0:48:01.000 classic case of take it too personal. 0:48:01.320 --> 0:48:02.800 Yep, he's taking it too personal. 0:48:03.440 --> 0:48:07.239 She says, he's taking it too personal. That's right, you 0:48:07.280 --> 0:48:09.640 can't stop. I mean, he's the best, even if he 0:48:09.760 --> 0:48:12.160 is taking it too personal. And the whole chase we 0:48:12.239 --> 0:48:15.799 get this doom doom. We hear a heart beating and 0:48:15.880 --> 0:48:20.440 heavy breathing that suggests a psychic connection somehow between the 0:48:20.560 --> 0:48:24.200 killer and Harley Stone. But I guess somehow he gets subdued. 0:48:24.239 --> 0:48:26.040 I think he ends up like on a fire escape, 0:48:26.160 --> 0:48:30.200 just kind of I don't know, hyperventilating and leaning against 0:48:30.239 --> 0:48:32.680 the railing. And then we cut to the fan boats, 0:48:32.719 --> 0:48:35.120 you know, the Bayou boats, except they're out on the Thames, 0:48:35.880 --> 0:48:40.000 and we hear the Chief of Police Thrasher, talking to 0:48:40.040 --> 0:48:42.640 this other guy, and we get some backstory on Harleystone. 0:48:42.760 --> 0:48:44.480 Is he talking to Dick Durkin? 0:48:44.880 --> 0:48:46.919 I think so, yeah, because he's preparing him, because again, 0:48:46.960 --> 0:48:49.080 he's the best. We've got to use him. But we 0:48:49.120 --> 0:48:51.920 need a good cop to pal around with him, to 0:48:52.320 --> 0:48:53.960 keep tabs on him and keep him from getting out 0:48:53.960 --> 0:48:54.440 of hand. 0:48:54.320 --> 0:48:56.960 Right, We need a nerd cop to put a leash 0:48:57.040 --> 0:49:01.239 on the loose cannon cop. Yeah, And so it's just 0:49:01.480 --> 0:49:05.160 perfect cop movie cliches. Butt on a fan boat on 0:49:05.200 --> 0:49:08.680 the Thames, and Thrasher talks about how it took four 0:49:08.880 --> 0:49:11.879 officers to subdue Harley Stone and now he's in lock 0:49:11.960 --> 0:49:14.880 up and Dick Dirkin is so curious what happened to 0:49:14.880 --> 0:49:19.000 Harley Stone to make him this way? And Thrasher says, well, 0:49:19.080 --> 0:49:22.640 a serial killer murdered his partner Foster three years ago 0:49:23.040 --> 0:49:26.640 and he was there when it happened. And Dick Dirkin says, oh, 0:49:26.760 --> 0:49:30.960 is it survivor's guilt and Thrasher says, nah, just plain guilt. 0:49:31.200 --> 0:49:34.439 He had an affair with Foster's wife, left her, hit 0:49:34.520 --> 0:49:37.600 the booze went over the edge. Now he lives on 0:49:37.640 --> 0:49:43.000 here's the quote anxiety, coffee and chocolate. Oh. And they 0:49:43.040 --> 0:49:45.279 specified that he's worked in every hell hole in the 0:49:45.320 --> 0:49:48.319 world and he's been fired from all of them, and 0:49:48.560 --> 0:49:50.160 they say he's the best. 0:49:51.800 --> 0:49:54.120 S Yeah, what are these other hell holes? I wonder 0:49:54.200 --> 0:49:56.759 It's like there's a whole there's a whole universe of 0:49:57.000 --> 0:49:59.200 Harley Stone adventures we don't know anything about. 0:49:59.120 --> 0:50:01.200 Right, So he's worked in like every city in the 0:50:01.200 --> 0:50:03.800 world or something, or only the ones that are hell holes, 0:50:03.840 --> 0:50:05.319 which are those yep? 0:50:05.480 --> 0:50:09.160 Just every like flooded, monster ridden Metropolis on Earth. 0:50:09.400 --> 0:50:11.080 I guess we may have missed our chance for a 0:50:11.600 --> 0:50:15.480 prequel that's like the Adventures of Harley Stone in I 0:50:15.520 --> 0:50:17.480 don't know, New Orleans or something. 0:50:17.920 --> 0:50:20.160 Yeah, I don't know who the young Rutger Hower would be. 0:50:20.239 --> 0:50:22.719 I mean, he can't really replace him. 0:50:22.880 --> 0:50:26.799 Yeah. But so Harley Stone's back in the station. He's 0:50:26.880 --> 0:50:29.880 raging against the bars and lock up, rattling them, and 0:50:29.920 --> 0:50:32.040 then he gets out eventually and he's getting coffee. And 0:50:32.080 --> 0:50:34.040 here we get one of the great coffee scenes where 0:50:34.040 --> 0:50:36.719 he puts like, you know, eighteen spoonfuls of sugar in. 0:50:38.120 --> 0:50:41.520 And then we meet Pete Postelwaite and they have a 0:50:41.520 --> 0:50:45.040 big confrontation. It is clear that Rutger and Pete do 0:50:45.120 --> 0:50:47.000 not like one another, right. 0:50:47.840 --> 0:50:51.880 I think it's later revealed that Pete's character was also 0:50:52.320 --> 0:50:54.799 the slain partner's best friend, and so he holds it 0:50:54.840 --> 0:50:55.600 against him. 0:50:55.520 --> 0:50:58.919 Right, And then there's a great chief chewout scene. Yeah, 0:50:58.960 --> 0:51:01.160 and so he gets invited it into the chief's office 0:51:01.200 --> 0:51:04.719 to get Harley Stone gets chewed out. We hear all 0:51:04.760 --> 0:51:07.000 about how he's a loose cannon, how he's taken it 0:51:07.040 --> 0:51:09.480 to personal, how he's off the force, and then here's 0:51:09.520 --> 0:51:12.560 your new partner. And the new partner, of course, is 0:51:12.600 --> 0:51:16.920 Dick Dirkin, the nerd from Oxford who is getting filled 0:51:16.920 --> 0:51:18.719 in on the case. And he's like, I thought we 0:51:18.719 --> 0:51:22.160 were dealing with the psychotic, not a psychopath. But the 0:51:22.160 --> 0:51:24.600 scoop on Dick Dirkin is that he's an expert on 0:51:24.719 --> 0:51:28.080 serial killers. He's a sort of lily livered college boy 0:51:28.120 --> 0:51:31.279 who went to Oxford, and Harley Stone does not like him. 0:51:31.320 --> 0:51:34.880 I think Harley Stone, I think, clearly believes that the 0:51:34.960 --> 0:51:37.280 book Learning is weak and puny. 0:51:38.200 --> 0:51:42.200 Well, it's like any kind of premeditation is is puny. 0:51:42.280 --> 0:51:46.959 Like Stone again, he rules from the gut. He's he's 0:51:47.040 --> 0:51:51.520 just all action and no chill. There's just his brain 0:51:51.719 --> 0:51:56.400 is just like an exploding rat of anxiety and of 0:51:56.440 --> 0:51:58.280 you know, fueled with caffeine and sugar. 0:51:58.440 --> 0:52:01.399 Yeah, and then oh oh oh, and then so can 0:52:01.440 --> 0:52:04.120 you explain to me what you think is implied to 0:52:04.239 --> 0:52:07.440 have happened in the following scene, because right after the 0:52:07.520 --> 0:52:10.560 chew out, Harley Stone goes back to his desk and 0:52:10.600 --> 0:52:12.960 there's just a cooler with a heart in it. There, 0:52:13.239 --> 0:52:15.520 like a cooler full of ice that's got a chewed 0:52:15.600 --> 0:52:19.080 up heart. And I don't know why it's on ice, 0:52:19.280 --> 0:52:22.240 because this is not going to be a successful transplant 0:52:22.560 --> 0:52:25.879 or like donor organ, it has a bite taken out 0:52:25.880 --> 0:52:28.440 of it, but for some reason, it's on ice in 0:52:28.520 --> 0:52:31.640 a cooler sitting right next to his desk. Are we 0:52:31.719 --> 0:52:34.960 to understand that this heart has been delivered by the 0:52:35.080 --> 0:52:36.360 killer to his desk? 0:52:36.920 --> 0:52:40.319 I think, okay, so out of picture, I would say 0:52:40.440 --> 0:52:42.960 this is a clear sign of an earlier draft of 0:52:43.360 --> 0:52:46.040 the plot. I think at one point this screenplay did 0:52:46.040 --> 0:52:47.520 not have a monster in it. It was just a 0:52:47.520 --> 0:52:51.840 serial killer flick, or supposed to be a serial color story. 0:52:52.520 --> 0:52:54.800 I think if I'm going to try and read into 0:52:55.000 --> 0:52:56.840 the movie, I'm going to want to live within the 0:52:56.920 --> 0:53:00.920 narrative of the film. The monster killer villain and must 0:53:00.960 --> 0:53:05.000 have hired at delivery service to deliver this heart. And 0:53:05.080 --> 0:53:08.920 they must have stolen the cooler and some ice from 0:53:09.440 --> 0:53:13.040 like a local store in order just to mess with Stone. 0:53:13.400 --> 0:53:16.160 Why the ice? The heart's not going to be used 0:53:16.160 --> 0:53:16.760 for anything. 0:53:17.320 --> 0:53:20.040 I think it basically the well out of picture. The 0:53:20.080 --> 0:53:22.800 reason is that because it looks really cool glistening among 0:53:22.840 --> 0:53:24.480 the ice. You know, it's a beautiful one of these 0:53:24.520 --> 0:53:27.279 scenes that again things that are dead or bleeding in 0:53:27.320 --> 0:53:29.760 this film are the only things that are beautiful aside 0:53:29.800 --> 0:53:34.680 from Kim Katrell. Everything else is grizzly and dirty. Yeah, 0:53:34.160 --> 0:53:37.520 and so I think that's the real reason. Otherwise, I 0:53:37.520 --> 0:53:39.959 guess just shock value, just to be like, hey, here's 0:53:39.960 --> 0:53:40.880 this heart on ice. 0:53:41.239 --> 0:53:44.360 Maybe the dewey, glistening cubes of ice as they slowly 0:53:44.440 --> 0:53:48.200 melt into a puddle, they symbolize the fleetingness of human life. 0:53:48.800 --> 0:53:52.799 I guess. So, yeah, it's impossible to say. With this 0:53:53.000 --> 0:53:54.400 monster slash Killer. 0:54:02.440 --> 0:54:04.560 They pretty much go straight out into the field. So 0:54:04.560 --> 0:54:07.840 it's Harley Stone and Dick Dirkin learning to be buddy 0:54:07.840 --> 0:54:11.200 cops and finding out about each other, finding out about 0:54:11.239 --> 0:54:15.240 each other's minds and bodies as they investigate the scenes 0:54:15.239 --> 0:54:15.800 of the crime. 0:54:16.480 --> 0:54:19.920 Yeah, and oh man, there's so many great hijinks that 0:54:20.040 --> 0:54:21.920 come out of this as they feel each other, and 0:54:22.000 --> 0:54:25.680 it's basically you know, odd couple mixed buddy cop kind 0:54:25.680 --> 0:54:27.440 of stuff. But it's just really well done. 0:54:27.760 --> 0:54:30.360 There's a part where a murder gets called in and 0:54:30.400 --> 0:54:32.360 they go to investigate the murder and it's like on 0:54:32.400 --> 0:54:34.439 the top floor of an apartment building and we see 0:54:34.480 --> 0:54:37.480 that Harley Stone has trouble climbing the stairs, I guess 0:54:37.480 --> 0:54:39.320 because he's out of shape, and he asks to stop 0:54:39.360 --> 0:54:41.120 for a cigar halfway. 0:54:40.760 --> 0:54:43.279 Up, out of breath. Got to stop and smoke. 0:54:43.200 --> 0:54:46.160 Right, But so we find there's another victim of the 0:54:46.239 --> 0:54:49.239 killer up in this apartment. It's a twenty eight year 0:54:49.280 --> 0:54:51.839 old man who has had his heart torn out, and 0:54:51.960 --> 0:54:55.480 Stone somehow knows intuitively what the time of death was. 0:54:55.560 --> 0:54:57.960 And this is one of the hints picking up on 0:54:58.000 --> 0:55:00.480 the thing at the club earlier, that there's a psychic 0:55:00.560 --> 0:55:02.920 connection between Harley Stone and the killer. 0:55:03.280 --> 0:55:03.720 Yeah. 0:55:03.800 --> 0:55:06.120 Oh, and here we get a there's a really funny 0:55:06.160 --> 0:55:10.040 part here where there's just a rat execution, Like the 0:55:10.440 --> 0:55:13.080 partner he Harley Stone pulls out his gun and it 0:55:13.080 --> 0:55:15.680 looks like he's about to shoot Dick Durkin in the face, 0:55:16.200 --> 0:55:19.320 but instead he shoots right over his shoulder to shoot 0:55:19.320 --> 0:55:22.040 a rat that was going to bite him or something. 0:55:22.480 --> 0:55:24.600 It was a monster It looked like a monster rat too, 0:55:24.640 --> 0:55:26.960 because there are plenty of live rats in this picture, 0:55:27.200 --> 0:55:29.560 but right before he shoots it, it looks like it's 0:55:29.560 --> 0:55:32.560 a like a puppet rat and looks extra gross. So 0:55:33.280 --> 0:55:36.520 I don't know, you know, couch that within the narrative 0:55:36.560 --> 0:55:37.080 as you will. 0:55:38.000 --> 0:55:40.640 Oh, and clearly the killer is trying to send a 0:55:40.680 --> 0:55:44.920 message with these crimes, because there are multiple messages for Stone, 0:55:45.239 --> 0:55:48.120 his dead former partner's gun is at the scene of 0:55:48.160 --> 0:55:51.640 this crime, and there is an occult symbol in blood 0:55:51.719 --> 0:55:55.200 on the ceiling and Drkin immediately starts coming up with 0:55:55.239 --> 0:55:58.719 theories about this. He's I guess he knows all about astrology, 0:55:58.760 --> 0:56:02.400 and he's like, it's the symbolifical it's gonna used in 0:56:02.440 --> 0:56:04.120 the occult. 0:56:04.800 --> 0:56:08.520 Yeah, there's a lot of occult nonsense that it's brought 0:56:08.600 --> 0:56:11.040 up as they try and figure out this killer. 0:56:11.400 --> 0:56:13.480 Oh and then there's a there's a great moment where 0:56:14.040 --> 0:56:18.360 they get they get to Harley Stone a dental cast 0:56:18.560 --> 0:56:21.160 based on the bites on the heart and it's a 0:56:21.200 --> 0:56:24.520 giant beast mouth. But still, after this, everybody's talking about 0:56:24.520 --> 0:56:27.279 a serial killer, like this isn't just an obvious piece 0:56:27.320 --> 0:56:30.279 of evidence that it's a monster they're dealing with. Yeah, 0:56:30.840 --> 0:56:33.040 is this a serial killer with a panther's head? 0:56:33.360 --> 0:56:36.279 Because as well, we'll find out later and becomes increasingly 0:56:36.320 --> 0:56:38.800 clear this is not a human we're going up against. 0:56:38.800 --> 0:56:41.320 This is a monster. This is essentially a grindle beast. 0:56:41.520 --> 0:56:45.400 Yeah. Yeah, And meanwhile, some things happen. Harley Stone has 0:56:45.440 --> 0:56:48.440 another like anxiety attack in an alley and starts shooting 0:56:48.480 --> 0:56:50.640 his gun randomly at the sky. I think he has 0:56:50.680 --> 0:56:54.040 to get talked down, but eventually, finally we get to 0:56:54.040 --> 0:56:58.640 meet Kim Katrol. So Harley Stone goes to I think 0:56:58.719 --> 0:57:01.839 the grave of his former partner. Is that right? 0:57:02.160 --> 0:57:02.520 Yeah? 0:57:02.560 --> 0:57:06.480 And she's there, she's placing memento on his grave. Is 0:57:06.480 --> 0:57:09.879 she supposed to be his dead partner's widow? I might 0:57:09.920 --> 0:57:13.960 have missed that, Yes, yes, okay, because they've previously had 0:57:14.000 --> 0:57:18.240 a relationship, right, Okay, Well, as soon as he arrives, 0:57:18.600 --> 0:57:21.200 she shows concern for his well being. She observes that 0:57:21.320 --> 0:57:26.560 he is he is not the cleanest or the most 0:57:26.600 --> 0:57:30.040 well rested, and that he needs caring for. 0:57:30.160 --> 0:57:32.720 I think, yeah, yeah, So they go back to this apartment. 0:57:32.760 --> 0:57:35.040 Yeah, they go back to his filthy apartment that just 0:57:35.040 --> 0:57:39.120 looks like the inside of of like an unethical animal enclosure. 0:57:39.600 --> 0:57:41.880 It is it is. I mean, it's like every scene 0:57:41.880 --> 0:57:44.400 in this film, it's like they went wild decorating it. 0:57:44.400 --> 0:57:48.800 There's so many grizzly details in this this just pig 0:57:48.840 --> 0:57:53.120 style that he lives in, including live pigeons and live rats. 0:57:53.240 --> 0:57:56.520 Yes, live pigeons, live rats. So a few other details 0:57:56.560 --> 0:57:57.960 I want to run by you to make sure I'm 0:57:57.960 --> 0:58:01.320 not mistaken here. Number one, does he keep his gun 0:58:01.400 --> 0:58:02.440 in a refrigerator? 0:58:03.360 --> 0:58:05.600 Yes, though we don't have a clear indication that the 0:58:05.640 --> 0:58:06.680 refrigerator is on. 0:58:07.040 --> 0:58:10.600 Okay, maybe it's just using a broken refrigerator as a shelf. 0:58:10.960 --> 0:58:13.880 Yeah, he has an actual refrigerator in which he keeps 0:58:13.920 --> 0:58:18.280 other foul things. But there's like a convenient store refrigerator 0:58:18.320 --> 0:58:19.840 that might not be plugged up. It has like a 0:58:19.840 --> 0:58:21.080 shotgun and some AMMO in it. 0:58:21.080 --> 0:58:23.000 Okay, that's what I thought. And then also, yeah, the 0:58:23.040 --> 0:58:27.080 apartment's full of live pigeons and motorcycles. There are just 0:58:27.880 --> 0:58:30.520 his apartment is full of motorcycles. 0:58:30.880 --> 0:58:33.360 How motorcycle signs as well? 0:58:33.560 --> 0:58:37.000 Yes, how did he get them in there? Did he 0:58:37.080 --> 0:58:39.320 get those Harley Davidson's up the steps? 0:58:40.440 --> 0:58:40.960 I guess so? 0:58:42.440 --> 0:58:44.880 And then also we at one point we see inside 0:58:44.880 --> 0:58:49.520 his refrigerator, which seems to contain exclusively coffee. And then 0:58:49.720 --> 0:58:53.560 like mud, there's just a big, just a big canister 0:58:53.680 --> 0:58:55.600 of mud that is spilled everywhere. 0:58:56.000 --> 0:58:59.240 Well, I think there are chocolates in there, or perhaps don't. 0:58:59.240 --> 0:59:01.320 I don't know. They're chocolate things that he eats out 0:59:01.320 --> 0:59:03.880 of those little bags. So the refrigerator has those bags 0:59:03.920 --> 0:59:08.040 in there. Yeah and yeah, and also these foul looking chocolates. 0:59:08.120 --> 0:59:10.880 And so basically, as soon as they get to his apartment, well, 0:59:10.960 --> 0:59:15.800 Kim Katrol is still surveying the land of disgust. She 0:59:15.800 --> 0:59:18.080 she he like falls asleep on the couch with a 0:59:18.120 --> 0:59:20.880 cigarette burning right next to his eye, and she has 0:59:20.920 --> 0:59:23.520 to go put it out for him. But I think 0:59:23.600 --> 0:59:26.680 the implication is this, this this filthy down on his 0:59:26.760 --> 0:59:30.800 luck cop uh just just needs his own his own 0:59:30.840 --> 0:59:34.080 personal Kim Katrol to help make his house into a home. 0:59:34.560 --> 0:59:39.240 Yeah, and she's really she's not tremendously disgusted by this environment. 0:59:39.440 --> 0:59:41.840 No, she she kind of rolls with it. 0:59:42.240 --> 0:59:46.840 Yeah, despite being like this angelic being really yeah. 0:59:46.960 --> 0:59:49.160 Oh. At some point also, I think to emphasize how 0:59:49.160 --> 0:59:52.080 dirty he is, he combs his hair with like a 0:59:52.120 --> 0:59:53.440 shoe polish brush. 0:59:53.720 --> 0:59:56.960 Yeah, yep, yep, because he does groom himself. He's not like, 0:59:57.440 --> 1:00:01.000 you know, completely abandoned self care. But what self care 1:00:01.040 --> 1:00:04.200 he does, it's reckless in the wrong place, is like 1:00:04.320 --> 1:00:04.760 at a bar. 1:00:05.680 --> 1:00:09.600 At some point later, Durkin and Harley Stone are driving 1:00:09.640 --> 1:00:12.640 around and they're trying to like outmacho each other. Rutger 1:00:12.720 --> 1:00:16.840 Hower is derisively tossing aside books that he finds in 1:00:16.880 --> 1:00:19.680 the car. The implication, I think is that like books 1:00:19.720 --> 1:00:21.000 are for weak, puny men. 1:00:21.440 --> 1:00:23.840 M yep, yep. I think. This is also the scene 1:00:23.840 --> 1:00:26.800 where we find out that Durkin has sex every night. 1:00:27.400 --> 1:00:29.160 That is what he claims. Though you wonder if he's 1:00:29.200 --> 1:00:30.840 just trying to impress Harley Stone. 1:00:31.160 --> 1:00:32.240 Yeah, Stone is doubtful. 1:00:32.400 --> 1:00:35.800 Oh oh oh, and then there was this fascinating strain. 1:00:35.920 --> 1:00:38.640 So meanwhile, while they're out doing something, I don't remember 1:00:38.680 --> 1:00:41.160 what they're doing, they're driving somewhere and we see Kim 1:00:41.200 --> 1:00:45.840 catroll back at Harley Stone's rancid cell and she finds 1:00:45.880 --> 1:00:49.000 a bunch of chocolates that are just stuck to the 1:00:49.040 --> 1:00:52.760 outside of the filthy refrigerator in the shape of a heart, 1:00:53.160 --> 1:00:56.920 and then she plucks one off of the refrigerator facade 1:00:57.040 --> 1:00:59.040 and she eats it. Disgusting. 1:01:00.080 --> 1:01:02.680 Yeah, this made no sense that you would like, why 1:01:02.760 --> 1:01:04.760 are they stuck there? Why are they being stored there 1:01:04.800 --> 1:01:08.000 again in a place that clearly pigeons and rats have 1:01:08.080 --> 1:01:11.160 access to. It seems like a terrible move, even if 1:01:11.200 --> 1:01:13.640 you want ready access to your chocolate. And then for 1:01:13.720 --> 1:01:16.360 her to be like, oh, this is fine, this is normal. 1:01:16.440 --> 1:01:17.520 I'm hungry for chocolate. 1:01:17.680 --> 1:01:20.000 Oh wait, no, no, no, I remember where they were going. Now, 1:01:20.080 --> 1:01:22.440 this is when they're going out to get quote breakfast, 1:01:22.560 --> 1:01:24.920 but they go to like the moody night club that's 1:01:24.960 --> 1:01:26.200 playing Knights in White Satin. 1:01:26.480 --> 1:01:27.920 Yeah, and then that's where he shaves. 1:01:27.960 --> 1:01:29.800 He shaves over his plate at the bar. 1:01:30.200 --> 1:01:32.160 But they're getting work done. They're figuring out what the 1:01:32.240 --> 1:01:33.040 killer might be. 1:01:33.160 --> 1:01:35.960 Right, Durkin has a theory. He thinks that he's like, 1:01:36.040 --> 1:01:37.800 I think you and this killer are on the same 1:01:37.840 --> 1:01:41.600 psychic wavelength. What sign are you? And it's revealed that 1:01:41.640 --> 1:01:45.320 he's a scorpio, and Durkin has all kinds of astrological 1:01:45.360 --> 1:01:49.040 theories about when the killer strikes. And then meanwhile, there 1:01:49.120 --> 1:01:51.920 is a tent scene where the killer breaks into Harley's 1:01:51.960 --> 1:01:54.600 apartment while Kim Catral is taking a shower. It's very 1:01:54.640 --> 1:01:58.960 psycho and he's sneaking around doing his heartbeat thing, and 1:01:59.000 --> 1:02:01.640 of course Harley gets a bad feeling, you know, get 1:02:01.680 --> 1:02:04.560 through his psychic connection and him and Durkin run back 1:02:04.600 --> 1:02:07.080 to the apartment and they're they're rushing up to the rescue. 1:02:07.440 --> 1:02:09.720 I was really afraid Kim Katral was going to be killed, 1:02:09.760 --> 1:02:12.600 but nope. Instead they heard her scream earlier, but she 1:02:12.640 --> 1:02:16.160 screamed because the water got cold, and instead somebody somewhere 1:02:16.160 --> 1:02:19.240 else in the building got their heart ripped out. So 1:02:19.560 --> 1:02:23.120 Stone and Durkin chase, and then a lot happens really fast. 1:02:23.160 --> 1:02:26.520 We find somebody else with their heart ripped out. Durkin 1:02:26.680 --> 1:02:29.560 gets blasted with a shotgun by the killer. 1:02:29.800 --> 1:02:32.320 And what looks like he's blasted through a window with 1:02:32.360 --> 1:02:34.480 it as well, so you just think he's dead at that. 1:02:34.440 --> 1:02:37.520 Point, yeah, And then yeah, yeah, he goes out the 1:02:37.520 --> 1:02:39.840 window after getting hit like in the belly with a 1:02:39.880 --> 1:02:43.320 scatter gun. And then we also find out Kim Katral 1:02:43.440 --> 1:02:46.480 gets bitten on the shoulder by the monster somehow. 1:02:46.640 --> 1:02:49.200 Though we do not see that happen, though they're. 1:02:49.040 --> 1:02:53.320 Still talking about this being a human killer. And again, 1:02:53.320 --> 1:02:54.919 this is one of the things where like I think 1:02:54.960 --> 1:02:57.480 the script I don't know, like like you were saying earlier, 1:02:57.520 --> 1:03:00.320 like the earlier drafts are showing through, because are we 1:03:00.400 --> 1:03:03.080 to understand in the final version of the movie that 1:03:03.160 --> 1:03:06.640 the monster shot Durkin with a shotgun. 1:03:07.360 --> 1:03:10.320 Yes, yes, and if I was watching for it this time, 1:03:10.760 --> 1:03:14.120 and it's the shotgun is clearly held by monsterous hands. 1:03:14.200 --> 1:03:18.840 So our monster is clearly capable of utilizing modern tools, 1:03:19.080 --> 1:03:22.640 well like the cooler that he somehow got delivered through 1:03:22.680 --> 1:03:25.520 a shipping service, but also he can handle a shotgun. 1:03:25.640 --> 1:03:28.600 Okay, all right, But anyway, we find out after this 1:03:28.640 --> 1:03:32.000 big shootout, we find out everybody's okay. Durkin is in fact, 1:03:32.080 --> 1:03:33.840 is not dead. He's like, haven't you ever heard of 1:03:33.880 --> 1:03:38.800 a bulletproof vest? And Kim Catral's okay. But Harley Stone 1:03:38.840 --> 1:03:41.360 has another panic attack again. He starts freaking out in 1:03:41.400 --> 1:03:44.240 the alley and he has to get sedated by cops. 1:03:44.800 --> 1:03:46.360 And I have to say, it is kind of interesting 1:03:46.360 --> 1:03:49.520 to see a hero suffer a panic attack in a 1:03:49.520 --> 1:03:53.000 film like split second, like a believable panic attack, you know, 1:03:53.080 --> 1:03:55.320 not like a and not one that reeks of like 1:03:56.040 --> 1:03:59.720 machismo all that much, because generally in a film like this, 1:04:00.240 --> 1:04:02.800 it's kind of a rule that stress never gets on 1:04:02.840 --> 1:04:06.360 top of your hero. You know, there they're up for 1:04:06.400 --> 1:04:08.680 the battle. You know, It's like Beowulf doesn't have a 1:04:08.720 --> 1:04:11.360 panic attack, so I don't know, in a way, it's 1:04:11.400 --> 1:04:14.000 kind of a nice human element that that Harley Stone 1:04:14.120 --> 1:04:16.880 is is human enough to, you know, to not be 1:04:16.920 --> 1:04:18.600 able to stay on top of it all. 1:04:18.880 --> 1:04:22.640 Yeah, it is unusual. So he is a gruff and 1:04:22.720 --> 1:04:27.520 absurdly macho in that classic cop protagonist's style. But he 1:04:27.600 --> 1:04:30.200 also clearly has real anxiety issues. 1:04:30.480 --> 1:04:32.600 Yeah, like to the point where there's a medical intervention 1:04:32.680 --> 1:04:35.120 here because he's having such a panic attack. 1:04:35.480 --> 1:04:37.880 Yeah, that does not seem usual. I can't think of 1:04:37.920 --> 1:04:41.280 other examples of that. Maybe there are some, but oh oh, 1:04:41.280 --> 1:04:43.240 And then we get a good flashback scene where it's 1:04:43.280 --> 1:04:46.240 revealed that he saw his partner get slaughtered by the killer. 1:04:46.360 --> 1:04:49.200 He just like, they're walking around in ankle deep water 1:04:49.400 --> 1:04:52.560 in some gross place and and his partner just gets 1:04:52.640 --> 1:04:55.840 yanked down under the water and then the killer somehow 1:04:55.960 --> 1:04:59.760 mauls him, mauls Harley Stone, leaving a big scratch on 1:04:59.800 --> 1:05:03.600 his arm. And then after Harley Stone comes to later, 1:05:03.720 --> 1:05:06.520 Durkin sees the big scar going down from his shoulder 1:05:06.560 --> 1:05:08.960 to his arm and he's like, that's it, that's the 1:05:09.000 --> 1:05:12.560 psychic connection. But back at the station, there's another great 1:05:12.640 --> 1:05:16.400 chief chewout scene where there's suddenly just an exposition dump. 1:05:16.440 --> 1:05:18.400 They're like, oh, we got to move this plot along. 1:05:18.800 --> 1:05:22.280 So there you find out that during the gunfight earlier, 1:05:22.360 --> 1:05:24.640 Rutger Howard shot the killer a bunch of times and 1:05:24.720 --> 1:05:28.600 yet it's still alive, so something's up. And then they 1:05:28.640 --> 1:05:30.960 also get some lab reports back where they say that 1:05:31.000 --> 1:05:34.920 the Killer's DNA is polymorphic. It has the DNA of 1:05:35.000 --> 1:05:39.080 all its previous victims put together, including Harley Stone I 1:05:39.080 --> 1:05:41.840 think from when he got scratched by it, and it 1:05:41.960 --> 1:05:45.800 has his dead former partner's fingerprints, and it has like 1:05:46.000 --> 1:05:50.640 rat DNA and rat virus DNA. Yeah, this scene is 1:05:50.720 --> 1:05:54.280 a supreme pizza. They're getting you everything. 1:05:54.200 --> 1:05:55.960 All the topic click all the boxes. 1:05:56.080 --> 1:05:59.040 Yes. Oh, and then there's a great so right after this, 1:05:59.160 --> 1:06:01.840 there's a great scene where Durkin and Harley Stone go 1:06:01.960 --> 1:06:05.760 to the morgue because they realize, oh, the killer didn't 1:06:05.800 --> 1:06:08.240 manage to get the last victim's heart. The heart is 1:06:08.240 --> 1:06:11.040 still in them. So they're like, oh, it's going to 1:06:11.080 --> 1:06:13.040 come back to the morgue and try to get the heart. 1:06:13.440 --> 1:06:15.360 So they go to the morgue. This is actually kind 1:06:15.360 --> 1:06:17.560 of a cool looking scene the way it's set up, 1:06:17.560 --> 1:06:20.400 with like all the plastic and there are these nasty 1:06:20.480 --> 1:06:22.600 like ivy bags everywhere. 1:06:22.160 --> 1:06:25.960 But otherwise it's a very sterile and wide environment. Yeah, 1:06:26.000 --> 1:06:29.520 because again this film it there's an eroticism of death. 1:06:29.920 --> 1:06:34.080 So the cleanest, holiest place, the holiest scene in the 1:06:34.200 --> 1:06:37.680 entire film, the holiest setting is the morgue. Yes, it 1:06:37.680 --> 1:06:39.920 feels like a heaven with corpses in it. 1:06:40.240 --> 1:06:42.880 And since they're returning to the Morgue here, I think 1:06:42.960 --> 1:06:46.080 this would have been the occasion for Wendy Carlos's return 1:06:46.160 --> 1:06:48.120 to the Morgue theme, which you can hear a clip 1:06:48.160 --> 1:06:51.760 of online. Yeah, and you know, once again we wish 1:06:51.760 --> 1:06:54.760 we'd had that score. But so they're creeping around trying 1:06:54.760 --> 1:06:57.000 to find things. They end up pointing their guns at 1:06:57.000 --> 1:06:59.840 some unwitting lab technician who's. 1:06:59.480 --> 1:07:00.920 Like, oh, know what's going on. 1:07:01.400 --> 1:07:03.320 And then there is a really funny part where they 1:07:03.400 --> 1:07:08.840 start they start to see that the ceiling panels are jiggling. Yeah, 1:07:08.880 --> 1:07:11.360 and I think that means, oh, the monster is up there, 1:07:11.920 --> 1:07:14.080 and they have to face the monster, and there's a 1:07:14.080 --> 1:07:16.520 big scene where they start shooting at it while it's 1:07:16.600 --> 1:07:21.040 running around, and eventually it escapes, but Durkin, having now 1:07:21.120 --> 1:07:24.840 confronted the monster, firsthand is a changed man. 1:07:25.720 --> 1:07:29.000 Yes, and here we get to probably my favorite part 1:07:29.000 --> 1:07:30.400 of the whole film, the conversion. 1:07:30.560 --> 1:07:32.120 Yes, this is amazing. 1:07:32.520 --> 1:07:35.320 Yeah, this is where so Durkin has encountered the killer 1:07:35.720 --> 1:07:39.000 and he is shaken by this and he undergoes what 1:07:39.160 --> 1:07:42.720 is kind of a religious conversion, and Stone is here 1:07:42.760 --> 1:07:44.920 to guide him along the way. So he's like that 1:07:45.040 --> 1:07:48.120 anxiety you're feeling, now, well here, First of all, that 1:07:48.120 --> 1:07:50.160 anxiety is good. That will fuel you. But you need 1:07:50.160 --> 1:07:53.280 more fuel. You need these chocolates. Eat this chocolate, drink 1:07:53.320 --> 1:07:56.800 of this burnt coffee that's thirty percent sugar. And now 1:07:56.880 --> 1:07:59.400 let's get you a giant gun right out of you know, 1:07:59.400 --> 1:08:02.959 some kil's video game. This is the Harley Stone Way, 1:08:03.280 --> 1:08:05.120 and this is how you're going to live your life 1:08:05.320 --> 1:08:07.680 from here on out. And I am not exaggerating. 1:08:07.920 --> 1:08:11.920 Chocolate, sugar, coffee and the guns from Doom. And he 1:08:12.360 --> 1:08:15.160 converts him to the religion of Harley Stone. You are 1:08:15.240 --> 1:08:16.679 one thousand percent correct. 1:08:17.160 --> 1:08:19.599 Yeah, And he stays converted for the rest of the picture. 1:08:19.680 --> 1:08:23.519 It's beautiful, and he basically reverts to adolescents. So he 1:08:23.960 --> 1:08:27.839 like really starts loving Harley Stone's motorcycles in this apartment, 1:08:28.200 --> 1:08:29.439 sits on them and he goes like. 1:08:29.439 --> 1:08:33.240 Broom, broom, yep, yep, and he keeps mumbling it's like 1:08:33.280 --> 1:08:36.240 a mantra. He's like, we need big freaking guns. Yeah, 1:08:36.280 --> 1:08:38.519 we need big freaking guns, big freaking guns. 1:08:38.600 --> 1:08:42.519 And he also starts dressing like Harley Stone. I don't 1:08:42.520 --> 1:08:44.799 remember when this starts, but he puts on a big 1:08:44.920 --> 1:08:45.639 leather coat. 1:08:46.280 --> 1:08:49.920 Yep. So again it's it's so like, this is this 1:08:50.040 --> 1:08:52.480 was no accident, this is this is brilliant. 1:08:53.360 --> 1:08:55.680 And then I guess maybe after this point, I'm going 1:08:55.760 --> 1:08:57.840 to describe the plot in less detail, but we'll just 1:08:57.880 --> 1:09:00.400 say it goes into third act Overdrive, and there are 1:09:00.479 --> 1:09:04.519 various people getting kidnapped. Durkin gets kidnapped and then Harley 1:09:04.520 --> 1:09:07.599 Stone goes back to get him. Michelle McLain gets kidnapped. 1:09:07.680 --> 1:09:10.840 That's Kim Cattrol. She goes missing and then they're trying 1:09:10.880 --> 1:09:14.080 to find her. There's a great part where after Durkin 1:09:14.120 --> 1:09:17.080 has been kidnapped to the monster has apparently like carved 1:09:17.120 --> 1:09:21.280 all of this like occult symbology into his chest and 1:09:21.320 --> 1:09:24.280 then they realize like, wait, it's not a cult symbols, 1:09:24.400 --> 1:09:26.840 it's a map, and they're like holding a map up 1:09:26.880 --> 1:09:28.840 to his chest while he's bleeding everything. 1:09:29.400 --> 1:09:32.160 Yeah, bleeding chest. It looks it was awful, like he 1:09:32.200 --> 1:09:33.760 needs to go to the emergency room. But you know 1:09:33.760 --> 1:09:36.200 it's like, all right, bundle up, grab some chocolate. We're 1:09:36.200 --> 1:09:36.960 going out in the field. 1:09:37.160 --> 1:09:38.800 And there's a big set piece at the end where 1:09:38.800 --> 1:09:40.840 they have to go rescue Kim Katrol in like a 1:09:40.880 --> 1:09:44.040 flooded subway tunnel, and they confront the monster and there 1:09:44.080 --> 1:09:46.960 are various kinds of like traps and weapons setups they 1:09:47.040 --> 1:09:49.439 use against him. They try to use electricity, and they 1:09:49.439 --> 1:09:52.479 try to use explosives, and then in the end, I 1:09:53.000 --> 1:09:56.120 this was totally inexplicable to me. Did you understand why 1:09:57.400 --> 1:10:00.240 Harley Stone was able to do a Temple of Doom 1:10:00.360 --> 1:10:03.120 style reverse heart ripping on the monster? 1:10:04.360 --> 1:10:06.200 I think it was. I think it's kind of like 1:10:06.240 --> 1:10:09.880 when obi Wan battles General Grievous, Like General Grievous has 1:10:09.960 --> 1:10:13.160 damaged enough in the battle that obi Wan is able 1:10:13.200 --> 1:10:18.599 to target the inner weak spot. Okay, So I think 1:10:18.640 --> 1:10:21.240 that's basically what's happened here. Is like all their attempts 1:10:21.280 --> 1:10:24.400 to blow him up and shoot him and to electrocute him, 1:10:24.600 --> 1:10:27.720 it managed to expose the heart enough that he was 1:10:27.760 --> 1:10:32.240 able to reach in and pull this grotesque like black, 1:10:32.479 --> 1:10:36.000 just solid black heart out of the monster that continues 1:10:36.040 --> 1:10:39.559 to beat like NonStop after he rips. 1:10:39.360 --> 1:10:41.240 It out, and then he shoots it while it's in 1:10:41.280 --> 1:10:44.639 his hand point blank. Yes, it looks like he would 1:10:44.640 --> 1:10:45.760 have shot his fingers off. 1:10:46.040 --> 1:10:46.280 Yes. 1:10:48.000 --> 1:10:50.479 But so one of my favorite things about this movie. 1:10:50.520 --> 1:10:52.479 I kept thinking, like, Okay, so what are we going 1:10:52.560 --> 1:10:54.240 to find out about the monster in the end, We're 1:10:54.240 --> 1:10:57.759 going to find out like it's actually his former partner 1:10:58.040 --> 1:11:01.479 as or something like that, But nope, like it has no, 1:11:01.760 --> 1:11:05.280 it's not any character we previously knew. It doesn't really 1:11:05.320 --> 1:11:07.960 have any causal connection to anything else that happens in 1:11:08.000 --> 1:11:12.160 the story. It's only really apparently after Harley Stone, just 1:11:12.200 --> 1:11:15.160 because they happened to have met before. Like, it's just 1:11:15.240 --> 1:11:16.200 a random monster. 1:11:16.680 --> 1:11:20.240 Yeah, But it's increasingly difficult to try and figure out 1:11:20.320 --> 1:11:22.720 what this monster's supposed to be, huh, because we have 1:11:22.760 --> 1:11:27.160 all these strange qualities that are brought up, some oftentimes conflicting. 1:11:27.640 --> 1:11:30.880 So we know it's it's humanoid but not human. It 1:11:30.920 --> 1:11:34.000 lives in the sewers and flooded ruins. It has rat 1:11:34.120 --> 1:11:36.920 DNA but it also has DNA from all of its victims, 1:11:37.240 --> 1:11:40.080 so it's some sort of a gene stealer. It's intelligent, 1:11:40.160 --> 1:11:43.120 it knows human language, it knows occult symbology. It can 1:11:43.200 --> 1:11:47.800 use weapons and tools and delivery services. But it's also 1:11:47.920 --> 1:11:50.920 this total grindel monster. It's a bestial killer. It has 1:11:51.000 --> 1:11:56.400 monster hands and monster teeth. We're largely left to assume 1:11:56.439 --> 1:11:59.320 it is completely organic and or naked, but in one 1:11:59.360 --> 1:12:02.080 of the rare mpses we see of it, it has 1:12:02.120 --> 1:12:06.120 this kind of motorcycle visor kind of head that makes 1:12:06.160 --> 1:12:09.439 you think, well, maybe it's part robot or something, or 1:12:10.040 --> 1:12:11.880 costume or something as well. 1:12:12.120 --> 1:12:15.680 It looks like a cross between the xenomorph venom and 1:12:15.880 --> 1:12:18.000 like Judge Dread with the helmet. 1:12:18.840 --> 1:12:21.960 Well, this more specifically reminds me of Judge Death. I believe, 1:12:22.640 --> 1:12:26.200 one of the foul evil judges where you have like 1:12:26.200 --> 1:12:29.120 the big teeth underneath the Yeah, I think that's Judge Dead. 1:12:29.120 --> 1:12:30.080 I may have my Judge all. 1:12:30.360 --> 1:12:32.080 I don't know Judge Dread world all that. Well, I 1:12:32.160 --> 1:12:34.240 just being like, yes, you're exactly right. Its head does 1:12:34.320 --> 1:12:37.439 look like a helmet with a solid black visor. 1:12:37.960 --> 1:12:41.439 Yeah, And on top of that, it may think it's 1:12:41.479 --> 1:12:44.160 the devil, or is the devil? It eats human hearts. 1:12:44.160 --> 1:12:46.880 There's a psychic connection between it and the people it's harmed, 1:12:46.960 --> 1:12:50.760 or at least with stone. Is itself obsessed with the 1:12:50.760 --> 1:12:53.479 occult and the Chinese zodiac. It's active during the year 1:12:53.520 --> 1:12:56.240 at the rat and again it's weird. Black heart continues 1:12:56.280 --> 1:12:59.640 to beat outside its body, so you're left asking, like, 1:12:59.680 --> 1:13:03.599 what exactly is this thing? Did a human killer mutate 1:13:03.760 --> 1:13:06.880 into this in the sewers? Is it an emergent horror, 1:13:06.880 --> 1:13:10.720 a genetically engineered monster, an alien? We just don't know. 1:13:10.920 --> 1:13:14.360 Is it a rat virus that took on bodily form? 1:13:14.680 --> 1:13:17.400 What was the part about it being a rat virus? 1:13:17.439 --> 1:13:19.080 There's just like one line about that. 1:13:19.600 --> 1:13:22.600 Yeah. Again, perhaps all these rewrites are the cause. But 1:13:23.280 --> 1:13:26.360 ultimately I really liked this. I love not knowing what 1:13:26.400 --> 1:13:31.640 this thing is because again, monstrosity is often about category confusion, 1:13:31.680 --> 1:13:33.480 and this monster is confusing. 1:13:33.720 --> 1:13:35.080 Yes, yes, there's a. 1:13:35.160 --> 1:13:38.400 Chaotic ambiguity about it, and I find that. I ultimately 1:13:38.439 --> 1:13:42.160 really like that it's emerged from the inhuman realm and 1:13:42.240 --> 1:13:45.519 humans are able to kill it. Possibly we have that 1:13:45.640 --> 1:13:49.320 stinger with the bubbles, but human understanding fails any attempt 1:13:49.320 --> 1:13:51.760 to comprehend it, and so it has this kind of 1:13:52.520 --> 1:13:56.040 pure monstrosity to it that it works. And they also 1:13:56.120 --> 1:13:58.160 don't shoot it a lot. We don't see much of it, 1:13:58.520 --> 1:14:01.800 so there's a lot of mys regarding what it is. 1:14:02.120 --> 1:14:03.360 Yeah, I wouldn't change a thing. 1:14:04.520 --> 1:14:04.720 Oh. 1:14:04.920 --> 1:14:06.840 One thing I forgot to mention that I thought was 1:14:06.880 --> 1:14:10.599 great about the conversion to the religion of Harley Stone 1:14:11.160 --> 1:14:14.080 is that you also see after the plot is resolved, 1:14:14.800 --> 1:14:19.080 like further religious disciplining to keep him on the path. 1:14:19.240 --> 1:14:22.800 Because Durkin at one point they ask after they've beaten 1:14:22.840 --> 1:14:25.519 the monster, I think Kim Katral says, is it dead? 1:14:26.120 --> 1:14:31.000 And Durkin says, existentially, that's difficult to answer. Philosophy of 1:14:31.040 --> 1:14:33.320 death is one of my hobbies. And then they both 1:14:33.479 --> 1:14:37.120 yell at him like Drkin. I think the implication is that, 1:14:37.320 --> 1:14:40.400 uh oh, it sounds like he's reverting to his puny 1:14:40.439 --> 1:14:44.439 milksop intellectual personality and they need to like, you know, 1:14:44.520 --> 1:14:46.960 whip him to make sure he adheres to the harley 1:14:47.000 --> 1:14:47.719 Stone Path. 1:14:48.360 --> 1:14:51.720 Yeah, eat some chocolate and have some more coffee and 1:14:51.880 --> 1:14:56.599 cigars right now. Ah. Yeah. I feel like the Harley 1:14:56.600 --> 1:14:59.400 Stone Way is also similar to like my taste in films, 1:15:00.600 --> 1:15:03.400 and perhaps someone out there might see one of the 1:15:03.400 --> 1:15:06.320 films we cover on Weird House and for the first 1:15:06.360 --> 1:15:09.040 time and experience a similar conversion, you know, like something 1:15:09.040 --> 1:15:12.519 has shaken you, something has changed after seeing a film 1:15:12.560 --> 1:15:15.839 like Split Second or Mad Love or Teens in the Universe. 1:15:16.160 --> 1:15:19.000 What do I do now? Well, let us recommend this 1:15:19.120 --> 1:15:23.439 cinematic diet of chocolate, brain jarring coffee and violent excess. 1:15:23.720 --> 1:15:23.920 Yeah. 1:15:24.320 --> 1:15:25.120 Put that coat on. 1:15:25.400 --> 1:15:29.200 Yeah, put this coat on. Have a seat on this motorcycle. 1:15:32.240 --> 1:15:33.679 Gets you some plastic pants. 1:15:35.840 --> 1:15:39.519 Yeah, So this one's really fun. I recommend it. Let's 1:15:39.520 --> 1:15:41.880 see places to see it. I think we both watched 1:15:41.920 --> 1:15:44.960 it streaming on Amazon Prime. It's part of the Prime 1:15:46.240 --> 1:15:48.479 streaming plan right now, at least in the United States. 1:15:48.680 --> 1:15:50.320 It's probably. I think it's one of these films is 1:15:50.400 --> 1:15:56.400 ultimately available wherever you buy or rent things digitally. Got 1:15:56.439 --> 1:15:58.400 to check, Yeah, yeah, I forgot to check if there 1:15:58.520 --> 1:16:00.320 was like a really good Blu ray or anything of it. 1:16:00.360 --> 1:16:03.360 But I hope there is. If not, there should be one. 1:16:03.439 --> 1:16:05.479 Wait, I thought you, I thought the last time you 1:16:05.520 --> 1:16:07.520 watched it you rented it from videodrome. 1:16:08.000 --> 1:16:10.719 No last time, or did I hmm hmm. 1:16:11.280 --> 1:16:14.240 Our local video store where yes you can still rent 1:16:14.439 --> 1:16:15.439 movies on disc. 1:16:15.840 --> 1:16:18.400 Yeah, excellent place. Well I would have rented it there. 1:16:18.520 --> 1:16:20.479 Oh well, you know, I take that back. There is 1:16:20.880 --> 1:16:23.000 this is not the addition that I rented if I 1:16:23.040 --> 1:16:26.120 did rent it, But there is a very handsome looking 1:16:26.160 --> 1:16:30.840 Blu ray of this available now Criteria not Criterion. It 1:16:30.840 --> 1:16:33.519 looks like it's MVD, I'm not familiar with that. But 1:16:33.560 --> 1:16:36.160 it has some wonderful brand new art on the cover 1:16:36.320 --> 1:16:39.840 that looks absolutely snazzy. Looks like this came out. Oh, 1:16:39.880 --> 1:16:42.840 this just came out in August of last year, so 1:16:43.200 --> 1:16:45.160 I would say, yeah, check this out. I feel kind 1:16:45.160 --> 1:16:47.519 of foolish for not picking this up on Blu ray now. 1:16:48.160 --> 1:16:49.640 And it looks like it. Oh my goodness. It has 1:16:49.680 --> 1:16:52.280 audio commentary, teraries, it has a bunch of stuff on it. 1:16:52.360 --> 1:16:56.200 So yeah, if you're into this, go check it out. 1:16:56.640 --> 1:16:59.000 The tagline on the cover. So a few things about 1:16:59.040 --> 1:17:01.200 the box art. I think this is the original box 1:17:01.320 --> 1:17:03.439 art that may have the newer version may have something 1:17:03.439 --> 1:17:06.439 more elaborate. Yeah, first of all, the old box art 1:17:06.600 --> 1:17:10.760 looks like a Sega Genesis game, Yes you see that. 1:17:11.280 --> 1:17:14.160 And then second I want to talk about the taglines 1:17:14.520 --> 1:17:17.720 says rutger Hower split Second, and then it says he's 1:17:17.760 --> 1:17:21.400 seen the future now he has to kill it. 1:17:21.640 --> 1:17:22.639 Ah, and he does. 1:17:22.760 --> 1:17:25.360 Yeah, he kills the future. Oh and it also says 1:17:25.360 --> 1:17:28.200 he'll need bigger guns. It's like they couldn't decide, so 1:17:28.240 --> 1:17:31.440 they included both possible taglines. 1:17:31.880 --> 1:17:33.240 Yeah I think that. 1:17:33.439 --> 1:17:33.519 So. 1:17:33.600 --> 1:17:36.519 Yeah, this this Blu ray looks impressive and has a 1:17:36.560 --> 1:17:38.800 mini poster that comes with it with the original style 1:17:38.880 --> 1:17:42.479 VHS artwork. But I don't say see anything about a 1:17:42.560 --> 1:17:46.320 Windy Carlos score being an option on there. So sadly 1:17:46.400 --> 1:17:48.839 that will remain lost to history. 1:17:49.000 --> 1:17:51.120 If you got connections in the film world you want 1:17:51.120 --> 1:17:54.479 to put out a new remastered version of Split Second 1:17:54.640 --> 1:17:58.160 with the all new, original Windy Carlos score, I would 1:17:58.200 --> 1:17:59.960 pay top dollar for that day. 1:18:00.560 --> 1:18:02.960 Yeah. We're talking thirty to forty bucks here. Yeah, so 1:18:03.120 --> 1:18:07.160 make it happen. All right, Well, we're gonna go ahead 1:18:07.160 --> 1:18:08.760 and close this one out, but we'd love to hear 1:18:08.800 --> 1:18:11.719 from everyone out there, you know, people who saw Split 1:18:11.800 --> 1:18:14.280 Second back in the day when it came out, people 1:18:14.280 --> 1:18:17.000 who've discovered it since then. What are your thoughts on 1:18:17.000 --> 1:18:20.920 the film with the performances yeah, everything's on the table. 1:18:21.720 --> 1:18:23.360 In the meantime, if you want to check out other 1:18:23.439 --> 1:18:26.720 episodes of Weird House Cinema, this publishes every Friday in 1:18:26.800 --> 1:18:29.960 the Stuff to Blow Your Mind podcast feed. You can 1:18:29.960 --> 1:18:33.479 find that feed wherever you get your podcasts, and we 1:18:33.600 --> 1:18:37.280 just asked you rate, review and subscribe as I have 1:18:37.479 --> 1:18:40.000 been doing. If you go to Summuta music dot com, 1:18:40.000 --> 1:18:42.280 it's se m U T A m U s I 1:18:42.479 --> 1:18:46.160 C dot com. That's a little personal blog, but I 1:18:46.280 --> 1:18:50.000 will put up bits about the episodes of Weird House there. 1:18:50.040 --> 1:18:52.800 So some of these other media bits that I've discussed here, 1:18:52.880 --> 1:18:54.920 I'll include them there for your easy. 1:18:54.640 --> 1:18:58.120 Access huge things. As always to our excellent audio producer 1:18:58.160 --> 1:19:00.599 Seth Nicholas Johnson. If you would like to get in 1:19:00.640 --> 1:19:03.200 touch with us with feedback on this episode or any other, 1:19:03.640 --> 1:19:05.960 to suggest a topic for the future, or just to 1:19:05.960 --> 1:19:08.840 say hello, you can email us at contact at stuff 1:19:08.920 --> 1:19:17.360 to Blow your Mind dot com. 1:19:17.479 --> 1:19:20.439 Stuff to Blow Your Mind is production of iHeartRadio. 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