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

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Speaker 2: Hey you welcome to Weird House Cinema. This is Rob Lamb.

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Speaker 3: And this is Joe McCormick in Today's film on Weird

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Speaker 3: House Cinema is the nineteen ninety four sci fi action

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Speaker 3: thrill ride Time Cop, starring Jean Claude, Van dam, Ron

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Speaker 3: Silver and Mia Sarah. I had seen this movie before,

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Speaker 3: but not in a long time, and boy was this something.

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Speaker 3: If you want to be transported mind and body back

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Speaker 3: to the year nineteen ninety four, watch Time Cop. Time

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Speaker 3: Cop is a time capsule, not only because it has

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Speaker 3: scenes of characters going to mals in nineteen ninety four,

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Speaker 3: which is a kind of site that I'm sure many

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Speaker 3: people our age can't help but be profoundly stirred by.

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Speaker 3: But it's also a type of movie that I think

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Speaker 3: used to exist, and I don't know if it still does,

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Speaker 3: if there are still movies like this, I don't know

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Speaker 3: what the examples are, but it is essentially an R

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Speaker 3: rated action movie for kids. Action movies nowadays are all

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Speaker 3: they're all PG thirteen, you know, because they want to

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Speaker 3: get all the I guess younger teenagers in the theaters.

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Speaker 3: But this movie is definitely R rated, does not shy

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Speaker 3: away from the F words and the blood squirting everywhere,

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Speaker 3: but it is not at all a dark, gritty, morally

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Speaker 3: ambiguous tale of depravity and revenge, the kind of thing

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Speaker 3: you might expect from an R rated action movie. Instead,

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Speaker 3: it's like a live action cartoon. It is a goofy, goobery,

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Speaker 3: brightly colored slapstick fest with non stop kicks to the groin.

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Speaker 2: Yeah, it's true. Warning up front. If you have like

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Speaker 2: a groin strain or anything, and you don't want to

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Speaker 2: watch people get injured in the groin, then you might

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Speaker 2: want to wait on this movie un til you're heeled up.

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Speaker 3: I was trying to think of other movies in this category,

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Speaker 3: like the you know, the cartoonish action movie with a

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Speaker 3: high silliness factor and a well earned R rating. I

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Speaker 3: haven't seen it in a long time, but I think

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Speaker 3: Demolition Man was another one like this and came out

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Speaker 3: around the exact same time. But the other thing I

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Speaker 3: want to say is that, at least from my perspective,

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Speaker 3: time Copy is awesome. I was shocked how much I

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Speaker 3: liked this. This movie is dumb as hell, but I

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Speaker 3: thought it held up really well for what it is.

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Speaker 3: The ninety eight minute runtime just races by the movie

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Speaker 3: will lower your IQ by several points, but I thought

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Speaker 3: it was truly entertaining, a spectacular amusement.

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Speaker 2: I agree on all of that. Yeah, it's a very

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Speaker 2: tight film. It didn't give you any opportunity to really

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Speaker 2: be bored by the proceedings. Great action, as we'll discuss,

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Speaker 2: and when it comes to the IQ points, Absolutely don't

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Speaker 2: think too hard about the time traveling this movie. Don't

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Speaker 2: look at the light Marion, because if you do, you're

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Speaker 2: going to break something. So be prepared. I'm not saying

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Speaker 2: it's still a fun exercise, but just know you are

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Speaker 2: going to run up against the wall if you try

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Speaker 2: and figure this out, if you try and chart this.

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Speaker 2: In fact, I found at least one blog post online

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Speaker 2: where somebody tried to create some charts to understand the

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Speaker 2: various time travel shenanigans in this movie, and they just

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Speaker 2: threw their hands up as well.

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Speaker 3: This is not primer, This is not where like you

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Speaker 3: charged it out and it actually does all make sense.

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Speaker 3: This is just like, I have no idea how these

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Speaker 3: people got here this time. It just doesn't work.

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Speaker 2: Yeah, people started traveling through time and it's a mess

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Speaker 2: which I mean is kind of that kind of the theme.

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Speaker 2: So embrace the messiness of this film. Now when it

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Speaker 2: comes to time travel, this is our fourth proper time

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Speaker 2: travel movie on Weird House Cinema. It comes up occasionally.

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Speaker 2: It's like a side gimmick. I think I had to

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Speaker 2: remind myself of this. But in The Eliminators the Mad

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Speaker 2: Scientists and that also does time travel. But it's not

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Speaker 2: a time travel movie. Our time travel movies have been

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Speaker 2: free jack transfers to and time after time prior to.

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Speaker 3: This, all movies with their own unique pleasures. But I

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Speaker 3: think this is our first martial arts focus time travel movie.

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Speaker 2: That's right, Yeah, this one is a definite martial arts picture.

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Speaker 2: I would describe the martial arts action in this film

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Speaker 2: as not being it's not about epic stories. Like I

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Speaker 2: think I've said before, a proper action sequence, be it

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Speaker 2: with swords or fisticuffs, it needs to tell a story,

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Speaker 2: and especially in a martial arts movie, your fights need

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Speaker 2: to tell stories. In some movies, those fights are like

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Speaker 2: novels within the film. In this book, in this book,

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Speaker 2: in this movie, time time cop, the fights are more

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Speaker 2: like short stories but they're really solid short stories.

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Speaker 3: Well, I don't know if you agree with this. I

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Speaker 3: was divided on the action scenes. Basically, I thought all

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Speaker 3: of the all of the action scenes involving gun, most

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Speaker 3: of those were kind of in I don't know, I

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Speaker 3: could take them or leave them. They were kind of

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Speaker 3: standard nineties action slop, you know, close up of one

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Speaker 3: person shooting, close up of another person shooting a bunch

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Speaker 3: of like barrels exploding in the meantime. But the hand

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Speaker 3: to hand fights and like knife fights and all that

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Speaker 3: that was top notch, really really good stuff.

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Speaker 2: Oh yeah, absolutely, it's the melee that is where the

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Speaker 2: amusement in the entertainment is here. I mean, that's why

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Speaker 2: you have Van Dam. Mean, it's okay if Van Dam

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Speaker 2: fires a gun in an action movie, but it's not

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Speaker 2: really what you want to see. Yeah, unless he's doing

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Speaker 2: the splits at the same time, and then I guess

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Speaker 2: that counts.

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Speaker 3: Oh he does a world class jump splits in this movie.

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Speaker 3: But the other thing I would say is that the

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Speaker 3: hand to hand fight scenes are excellent, but they're excellent

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Speaker 3: in a cartoony way. They don't come off as particularly

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Speaker 3: like realistic, plausible fights. There's like there's one I've got

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Speaker 3: in mind where there is a knife fight where the

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Speaker 3: characters are just it's like a sword duel. So what

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Speaker 3: you expect to see in a sword dou in a

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Speaker 3: movie as characters slamming their swords into the other person's sword.

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Speaker 3: That makes more sense with the sword because you might

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Speaker 3: be using it to try to hit and parry. But

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Speaker 3: there's a scene in this movie where they're doing that

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Speaker 3: with like six inch long knives. They're just like slamming

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Speaker 3: their knife blades together.

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Speaker 2: Yeah, and a plus, this is definitely a movie where

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Speaker 2: I guess our lead character gets extra points if he

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Speaker 2: does a quality kill if there's like a fatality move involved.

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Speaker 2: So it's you know, it's very based in all of that. Now,

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Speaker 2: to come back to the time travel aspects of this,

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Speaker 2: I want to I want to go back to a

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Speaker 2: continuing conversation we've had Joe in previous time travel episodes.

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Speaker 2: I guess, particularly time after time, you talked about time

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Speaker 2: travel story types. I thought you might refresh everyone's memory

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Speaker 2: on this and figure out exactly where time coop falls

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Speaker 2: into all of that.

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Speaker 3: Okay, well, so these were story categories I created. This

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Speaker 3: is not like a you know, a accepted literary framework,

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Speaker 3: so don't go trying to cite this in your film

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Speaker 3: or literature classes. But these were the basic types of

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Speaker 3: time travel stories I could think of in our Time

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Speaker 3: after Time episode. So the first one was what I

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Speaker 3: called Journey to Time Island. This is a time travel

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Speaker 3: story that uses the future or the past primarily just

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Speaker 3: as a setting. It's a hostile setting for an adventure narrative,

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Speaker 3: so it might as well be Skull Island or an

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Speaker 3: alien planet in a Star Trek episode. It's just an

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Speaker 3: unfamiliar setting where characters must face unfamiliar challenges. Second type

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Speaker 3: of story is what I called phish out of Time.

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Speaker 3: This is usually what you find in time travel comedies.

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Speaker 3: It is the time based equivalent of the fish out

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Speaker 3: of water plot, where most of the tension, its comedic tension,

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Speaker 3: comes from people not getting it, not understanding local conditions,

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Speaker 3: not being able to adapt to the expectations, and the

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Speaker 3: social taboos and stuff of the time to which they

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Speaker 3: have been transported. Time after Time had some of that

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Speaker 3: with you know, HG. Wells walking around in nineteen seventies

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Speaker 3: cities and being scared of the traffic and then going

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Speaker 3: to the Scottish breakfast restaurant where he enjoys Palm Fritz.

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Speaker 2: Yeah yeah, McDonald's.

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Speaker 3: Okay. The third category was what I called fresh eyes

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Speaker 3: for bad Eras. This is primarily a story that tries

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Speaker 3: to comment on the particular features of the time in

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Speaker 3: which they are set, usually the present, but sometimes the future,

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Speaker 3: and sort of have social commentary about it. So the

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Speaker 3: time traveler is able to bring fresh eyes to look

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Speaker 3: on the present and see how wrong it is. Usually

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Speaker 3: notice bad things about it that you know, all of

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Speaker 3: the Krono locals have just learned to ignore. I think

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Speaker 3: there are two main subtypes of the fresh eyes for

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Speaker 3: bad Eras plot. One is like, the modern world sucks,

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Speaker 3: and this is observed either by somebody from the future

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Speaker 3: or from the past. And the other is, if we

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Speaker 3: keep this up, look what the future is going to

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Speaker 3: be like, it's going to be bad.

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Speaker 4: Yeah.

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Speaker 2: This is a great one, of course, because it's always

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Speaker 2: that chance to visit the like the dystopian or post

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Speaker 2: apocalyptic future and realize, oh, this is a bad course around.

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Speaker 2: We've got a course correct, because look at all these

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Speaker 2: flaming barrels in the street.

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Speaker 3: That's right, okay. Fourth category of story is what I

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Speaker 3: called debugging history. This is one that focuses kind of

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Speaker 3: on the butterfly effect or on the consequences of actions

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Speaker 3: across time. It's where people are trying to isolate a

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Speaker 3: variable in the progression of history and human life and

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Speaker 3: maybe alter it in order to fix something that goes wrong.

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Speaker 3: It's primarily concerned with consequences of decisions and long term

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Speaker 3: ripple effects. A great example of this is Back to

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Speaker 3: the Future.

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Speaker 4: Yes.

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Speaker 3: And then the last category is what I would call

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Speaker 3: the time travel arms race story. This is the type

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Speaker 3: of story that is actually the most focused on time

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Speaker 3: travel itself, and the kind that focuses on time travel

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Speaker 3: as a mechanism. It takes it seriously as a mechanism

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Speaker 3: and usually as a weapon, something that grants you god

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Speaker 3: like power. These plots often have competing time travelers, like

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Speaker 3: maybe both the heroes and the villains have access to

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Speaker 3: time travel, and they're often like trying to go back

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Speaker 3: further and further to get ahead of the other one

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Speaker 3: or change something or fix something. And it recognizes time

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Speaker 3: travel as a dangerous, chaotic, uncontrollable power. Essentially. In fact,

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Speaker 3: I would say this type of story is the one

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Speaker 3: that best fits Time Cop. I think Time Cop is

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Speaker 3: a time travel arms race movie.

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Speaker 2: Yeah, I think that's a I think that's that's a

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Speaker 2: good comparison to make, because yeah, time travel technology is

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Speaker 2: just straight up compared to atomic power in this movie.

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Speaker 2: And the way it is explored is it's explored is

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Speaker 2: this thing that is ultimately a great threat that has

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Speaker 2: to be controlled. There are discussions on should it be

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Speaker 2: policed or should it just be banned out right or

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Speaker 2: prevented in some manner. So absolutely like this is a

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Speaker 2: time travel arms race all the way.

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Speaker 3: There is a part of the mood, Well, we can

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Speaker 3: discuss the implications of this, but I did think it

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Speaker 3: was funny. Whereas this character who's a politician, is like,

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Speaker 3: we shouldn't be trying to police the use of time travel.

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Speaker 3: We should just ban it.

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Speaker 2: But I mean, I get, I get. I think what

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Speaker 2: he was saying there is like, why are we paying

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Speaker 2: for time cops that are going out like after the

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Speaker 2: fact and trying to fix things and chase people down

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Speaker 2: when maybe we need to be carrying out real world

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Speaker 2: strike some time travel facilities, which I think they also

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Speaker 2: allude to trying to do that's going on. Maybe they

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Speaker 2: just need that we need to double down on that.

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Speaker 3: I don't know, Yeah, I guess so. So, Yeah, I

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Speaker 3: think Time Cop is an arms race plot. It's not

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Speaker 3: really especially concerned with social commentary or satire. There's a

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Speaker 3: little bit of that, but what's there doesn't really depend

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Speaker 3: on the time travel mechanic. It is mainly concerned with

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Speaker 3: the implications of time travel as a technology and inevitably

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Speaker 3: as a And you know what, I think I would

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Speaker 3: sort of agree with the spirit of the movie, which

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Speaker 3: is that if time travel to the past were invented,

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Speaker 3: it would immediately be misused, two disastrous effects. I think

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Speaker 3: that's likely true, and I think, as the movie says,

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Speaker 3: it's quite plausible that the invention of time travel would

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Speaker 3: be far worse than the invention of nuclear weapons. Just

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Speaker 3: a genuine nightmare.

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Speaker 2: Yeah, all of history just swirling the drain pretty much,

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Speaker 2: all right. So the elevator pitch on this one, I mean,

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Speaker 2: it's basically in the title. You don't even really need

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Speaker 2: to go further than Time Cop. But basically the pitch

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Speaker 2: is time crimes are happening throughout all of human history,

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Speaker 2: and it's up to a single government agency and one

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Speaker 2: incorruptible time cop to police them.

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Speaker 3: Couldn't have said it better myself. That's right.

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Speaker 4: Now.

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Speaker 2: It's probably worth noting as well that this is our,

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Speaker 2: I think, our first true cop movie. And by that,

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Speaker 2: I don't mean a movie that has cops in it

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Speaker 2: or concerns police work or cops saving the day. I

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Speaker 2: mean a movie that has this like blank cop, like

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Speaker 2: Maniac Cop, RoboCop, Scanner Cop, and so forth.

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Speaker 3: Yeah, hyphen cop movies, yes, though most of them don't

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Speaker 3: actually have a hyphen.

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Speaker 4: You know.

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Speaker 3: I would not say I am especially fond of cop

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Speaker 3: movies in general, but I love sci fi or supernatural

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Speaker 3: hyphen cop movies almost as much as I love sci

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Speaker 3: fi or supernatural wrestling movies. And I'm going to pitch

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Speaker 3: some ideas right now for aspiring filmmakers. Lych Cop. I

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Speaker 3: may have suggested that one on the show before, but

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Speaker 3: if not, there you go. You can have it. Take it.

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Speaker 3: I give it to you.

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Speaker 2: Natural regression from Maniac Cop, I think.

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Speaker 3: Yeah, yeah, yeah, how about Predator Cop. Yeah, it's got

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Speaker 3: like the blades and the and the and the like

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Speaker 3: the razor frisbee.

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Speaker 2: Okay, yeah, that I could see that happening.

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Speaker 3: Mars Cop. That's pretty surely somebody you know that if

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Speaker 3: they haven't made that, go and do it. How about

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Speaker 3: Druid Cop.

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Speaker 4: M Druid Cop.

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Speaker 2: Druid Cop could work.

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Speaker 3: Yeah, there's some mistletoe badge element you could play with there.

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Speaker 3: I don't know. Shark Cop Shark Cop.

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Speaker 2: Shark Cop does seem to exist on the Z grade

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Speaker 2: level at least I did a little searching around. Nothing

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Speaker 2: that anybody needs to seek out. But great minds think

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Speaker 2: alike when it comes to Shark Cop.

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Speaker 3: And why not in the end lawnmore Man Cop.

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Speaker 2: I mean, we live in a world where we have

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Speaker 2: more than one scanner cop movie. So yeah, lawnmower Man

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Speaker 2: Cop just makes sense.

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Speaker 3: Okay, I think we're about to do the trailer, right,

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Speaker 3: should we do the trailer?

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Speaker 2: Yes, let's listen to this trailer. It's a good one.

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Speaker 3: Well, hold on before we play it. I want you

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Speaker 3: folks out there to listen for this. So this is

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Speaker 3: a classic ninety style in a world trailer and it

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Speaker 3: says one man, not once, but twice.

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Speaker 4: All right, here we go.

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Speaker 5: We're all alone, no chaperone, head get on of the.

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Speaker 6: World and plumba.

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Speaker 5: That's miss became. There's something wild about your child's.

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Speaker 6: Let me be outrage.

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Speaker 3: Join Partner, Thanks partner, Let me go Max, I'm not

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Speaker 3: hurting anybody. Good to take you back in the year

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Speaker 3: two thousand and four, time travel is a reality.

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Speaker 4: Charge for the violations of TEC Code only penty.

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Speaker 5: Time travel intend to.

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Speaker 3: Alter the future and the crime. And it turns out

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Speaker 3: going back in time as a pretty easy way to

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Speaker 3: make money.

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Speaker 2: I think you got yourself and shipping of gold, and

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Speaker 2: you're taking a general way.

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Speaker 3: The genie is already out of the bottle.

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Speaker 4: The technology is there now.

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Speaker 3: One man, you hear the name Aaron McCole is about

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Speaker 3: to take the ultimate power trips. He's gonna be president.

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Speaker 3: You're gonna need the press. You don't need endorsements.

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Speaker 4: You don't need to either the truth if you need

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Speaker 4: money or to enforce the laws of time.

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Speaker 3: Are we still together in ten years? Am I dead?

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Speaker 3: When that is determined to stop? Here I can go

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Speaker 3: back to save her. This comeback.

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Speaker 2: It's not going back to still money.

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Speaker 3: Stay here, Walker, my future, your dad. I think it

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Speaker 3: planned to fore ahead. Jean Claude, Down Down, Run Silver Da.

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Speaker 4: Mia, Sarah, Yeah, I love it.

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Speaker 2: This is a kind of a funky trailer where it

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Speaker 2: starts off with that old timey nineteen twenty nine opening

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Speaker 2: before we get that noodling guitar riff to let you

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Speaker 2: know it's not the past anymore, baby, and then we

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Speaker 2: get the whole time travel scenario laid out for us

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Speaker 2: with dramatic narration by If I'm not mistaken, this is

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Speaker 2: Don la Fontaine, the voice of God himself. It's sometimes

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Speaker 2: a little hard to track down credentials on these trailers,

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Speaker 2: but I'm like ninety nine percent sure this is Don Lafontaine.

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Speaker 2: And eventually they also go ahead and cap it off

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Speaker 2: with Another thing I love in particularly nineties trailers is

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Speaker 2: they just use James Horner's Alien score at the end,

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Speaker 2: that building bump bump bum bum bum bum bump bump

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Speaker 2: bump music. And you know, even though that's obviously not

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Speaker 2: the score for this film, they were like, Nope, that

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Speaker 2: Alien's score that really gets into people's bloodstream. We've got

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Speaker 2: to use that as much as possible to sell our films.

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Speaker 3: You have ten seconds to clear minimum safe distance. Yeah,

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Speaker 3: and it worked.

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Speaker 2: This movie did like financially clear minimum safe distance. And

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Speaker 2: then so this is a successful film, made money, made

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Speaker 2: people happy.

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Speaker 3: I didn't go deep into the critical reaction to Timecop.

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Speaker 3: But it seems critics were sort of divided on it,

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Speaker 3: and a lot of the people who did like it

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Speaker 3: kind of gave it middling positive reviews. They said, like,

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Speaker 3: it's an okay ripoff of Terminator. Sometimes I read stuff

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Speaker 3: like that and I'm like, these same critics were giving

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Speaker 3: positive reviews to Steven Segall and Hard to Kill. What

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Speaker 3: was wrong with people? Like they just did not know

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Speaker 3: how to have fun correctly?

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Speaker 2: Yeah, this is a movie that it's it's kind of

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Speaker 2: like it's you know, it's like Ketchup in French Fries.

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Speaker 4: I guess, you know.

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Speaker 2: It's like you can say, oh, we need to deconstruct this,

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Speaker 2: you know, what could we do to improve this set

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Speaker 2: or the other. But at the end of the day,

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Speaker 2: it's it's ketchup in French fries and and that's going

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Speaker 2: to that's going to please most of the people who

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Speaker 2: ordered it, knowing what they were ordering. So yeah, I

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Speaker 2: don't get some of the criticism that it got, Like

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Speaker 2: Ebert gave it two stars, But again, Ibert Ebert's always

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Speaker 2: kind of an interesting litmus test for films like this

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Speaker 2: because Time Cop is exactly the sort of film that

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Speaker 2: I could see Roger Ebert giving at.

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Speaker 3: Least three stars too.

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Speaker 2: Yeah, maybe even a little more, you never know, But

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Speaker 2: in this case he was just very much in the

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Speaker 2: middle of the board on it.

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Speaker 3: Well, it reminds me of Ebert's statement about how when

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Speaker 3: you're a child and you have the choice to watch

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Speaker 3: either Gamera, Guardian of the Universe or Air Force One,

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Speaker 3: the child knows that Gamera is better. But then when

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Speaker 3: you get older and more mature and you think yourself wise,

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Speaker 3: you think no air Force One, that is more realistic,

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Speaker 3: that is better. Then when you get older, once again

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Speaker 3: even wiser than that, maybe you gain true wisdom instead

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Speaker 3: of the fake, pretentious wisdom of young adulthood, you realize

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Speaker 3: no Gamera is better.

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Speaker 4: Yeah, all right.

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Speaker 2: If you want to watch Time Cop before we get

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Speaker 2: into the discussion here, well, lucky you. It's widely available digitally.

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Speaker 2: It's also on DVD and Blu Ray, though I don't

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Speaker 2: think it's been given any special treatment on Blu Ray

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Speaker 2: over the years. I could be wrong, but I didn't

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Speaker 2: find anything. All right, let's jump into the discussion of

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Speaker 2: the people who may this film. The director and cinematographer

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Speaker 2: is Peter Hyams born nineteen forty three. He was born

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Speaker 2: into a kind of show business family Broadway in theater,

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Speaker 2: and he eventually started off his career in TV journalism

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Speaker 2: in New York City, in Chicago and then Chicago. In

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Speaker 2: nineteen sixty six, he reported from Vietnam, I Believe for

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Speaker 2: New York City CBS affiliate, and it was during this

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Speaker 2: basic time period that he got into documentary filmmaking. He

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Speaker 2: sold his first screenplay, t R. Baskin to Paramount Pictures

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Speaker 2: in nineteen seventy and it was produced in seventy one

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Speaker 2: that had Candice Bergen in the leading role. He started

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Speaker 2: directing as well on TV movies at first, but then

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Speaker 2: in seventy four he directed the comedy Busting, starring Elliott

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Speaker 2: Gould and Robert Blake as cops. Then came a pair

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Speaker 2: of dramas out Time and Pepper, both in nineteen seventy four,

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Speaker 2: but then in seventy seven he directed the fake Mars

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Speaker 2: landing thriller I Guess you could say It's a conspiracy

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Speaker 2: thriller capricorn I, and a number of big films Fought,

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Speaker 2: including eighty one's Outland, a gritty space western starring Sean Connery,

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Speaker 2: Peter Boyle and also a very early performance from Clark.

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Speaker 4: Peter.

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Speaker 2: So, I think we talked about Outline before. Have you

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Speaker 2: seen Outland, Joe?

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Speaker 4: I don't.

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Speaker 3: This is one of those movies. I really don't know

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Speaker 3: if I've seen it or not. If I have seen it,

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Speaker 3: it did not make an impression, but I know about it.

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Speaker 3: It's supposed to be like a remake of High Noon

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Speaker 3: in Space, right, Yeah, I.

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Speaker 2: Remember digging it many years ago.

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Speaker 4: I don't know.

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Speaker 2: It might be too grimy for me now, but it's

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Speaker 2: like a grimy space western with Sean Connery as the

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Speaker 2: new sheriff in town. Peter Boyle is the corrupt mine owner,

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Speaker 2: and then a lot of people's heads blow up.

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Speaker 3: Okay, well, maybe if I watch it I can figure

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Speaker 3: out if I have already watched it.

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Speaker 2: Another big one from Hyam's was two thousand and was

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Speaker 2: the two of the film from nineteen eighty four. Actually,

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Speaker 2: I'm already getting my ears confused here due to the

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Speaker 2: time travel anomalies. But twenty ten, the Year We Made Contact,

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Speaker 2: released in nineteen eighty four.

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Speaker 4: He directed that as well.

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Speaker 3: The sequel to two thousand and one, A Space Odyssey,

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Speaker 3: which twenty ten generally got pretty positive reviews, but it

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Speaker 3: seems like, I don't know, just kind of a misguided

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Speaker 3: idea trying to make a sequel to two thousand and one.

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Speaker 4: Yeah.

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Speaker 2: Yeah, it's not a film I've seen in its entirety before.

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Speaker 2: I had some friends were fans of it and like it.

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Speaker 2: Though you obviously go into it with certain understandings, like

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Speaker 2: you know, it's not going to be two thousand and one.

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Speaker 2: It's not the timeless classic the two thousand and one is.

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Speaker 2: But I've heard it's interesting as a mid eighties sci

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Speaker 2: fi movie. Now, the late eighties saw Hims direct some

436
00:22:39,480 --> 00:22:42,280
Speaker 2: mainstream thrillers, but then in the nineties we got ninety

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Speaker 2: two's Stay Tuned. One of the many Changing Channels movies.

438
00:22:46,560 --> 00:22:49,280
Speaker 2: This is the one that starred John Ritter. It would

439
00:22:49,280 --> 00:22:51,800
Speaker 2: be interesting to come back and watch one of the

440
00:22:51,880 --> 00:22:55,199
Speaker 2: many Changing Channels films in the future, because there were

441
00:22:55,200 --> 00:22:57,000
Speaker 2: a number of of them. I want to say Charles

442
00:22:57,119 --> 00:22:59,480
Speaker 2: Band was involved in at least one of these. It

443
00:22:59,600 --> 00:23:02,560
Speaker 2: just kind of a weird bug that got into everyone's

444
00:23:02,640 --> 00:23:07,560
Speaker 2: mind based on the whole wide realm of cable television

445
00:23:07,640 --> 00:23:11,320
Speaker 2: and satellite TV channels. And then of course came time

446
00:23:11,400 --> 00:23:14,359
Speaker 2: cop He followed this up with another Jean Claude van

447
00:23:14,440 --> 00:23:18,000
Speaker 2: Dam film, Sudden Death co starring Powers Booth. Then came

448
00:23:18,080 --> 00:23:21,440
Speaker 2: nineteen ninety seven's monster film The Relic, followed by a

449
00:23:21,560 --> 00:23:25,119
Speaker 2: ninety nine's End of Days that's an Arnold schwarzenegtive versus

450
00:23:25,200 --> 00:23:28,879
Speaker 2: Satan movie. Then there's a two thousand and one Musketeer film,

451
00:23:29,680 --> 00:23:32,440
Speaker 2: the two thousand and five film Adaptation of A Sound

452
00:23:32,480 --> 00:23:35,359
Speaker 2: of Thunder, which, if I remember correctly, is one of

453
00:23:35,400 --> 00:23:38,879
Speaker 2: our listener's favorite films, or at least one that he

454
00:23:39,320 --> 00:23:41,359
Speaker 2: regularly communally watches with some friends.

455
00:23:42,960 --> 00:23:43,480
Speaker 4: Is that the case?

456
00:23:43,480 --> 00:23:44,720
Speaker 2: Do you remember this, listener mail?

457
00:23:45,320 --> 00:23:47,879
Speaker 3: Maybe? Well, this might have come up after I mentioned

458
00:23:48,000 --> 00:23:50,280
Speaker 3: the movie adaptation of A Sound of Thunder, which I

459
00:23:51,240 --> 00:23:55,399
Speaker 3: noted as being quite bad. Well, it's an adaptation of

460
00:23:55,800 --> 00:23:59,200
Speaker 3: a Ray Bradbury story about the like the Butterfly fact,

461
00:23:59,240 --> 00:24:02,119
Speaker 3: so it's a you know, time travel thing, but I

462
00:24:02,200 --> 00:24:05,400
Speaker 3: think it ends up with these like lizard baboons attacking

463
00:24:05,440 --> 00:24:09,720
Speaker 3: people in the future, and it's got Ben Kingsley obviously

464
00:24:09,960 --> 00:24:12,639
Speaker 3: thinking about what time the bank closes while he's shooting

465
00:24:12,680 --> 00:24:13,199
Speaker 3: his scenes.

466
00:24:15,480 --> 00:24:17,840
Speaker 2: I guess I haven't seen that one, but there was

467
00:24:17,880 --> 00:24:19,600
Speaker 2: a Ray Bradberry theater adaptation up.

468
00:24:19,640 --> 00:24:20,879
Speaker 4: It was pretty good, all right.

469
00:24:20,920 --> 00:24:24,040
Speaker 2: So for Peter Hyams, his last movie, his last directorial

470
00:24:24,080 --> 00:24:28,240
Speaker 2: credit was twenty thirteen's Enemies Closer, and that one also

471
00:24:28,280 --> 00:24:31,359
Speaker 2: starred Jean Claude van Dam as the villain, apparently at

472
00:24:31,440 --> 00:24:34,440
Speaker 2: Hyam's request, like they brought him in. He's like, hey,

473
00:24:34,640 --> 00:24:36,600
Speaker 2: I'll direct this, but I know who you need to

474
00:24:36,640 --> 00:24:39,800
Speaker 2: cast as the villain is John Claud Bend And.

475
00:24:39,920 --> 00:24:40,879
Speaker 3: It worked well together.

476
00:24:41,640 --> 00:24:43,560
Speaker 2: Yeah, I guess. So, you know, the three different films

477
00:24:43,560 --> 00:24:47,520
Speaker 2: they worked on. And his son, John Hyam is also

478
00:24:47,640 --> 00:24:50,639
Speaker 2: pretty much in the Jean Claude van Dam business, having

479
00:24:51,800 --> 00:24:55,320
Speaker 2: worked on two thousand and nine's Universal Soldier Regeneration and

480
00:24:55,960 --> 00:24:58,680
Speaker 2: twenty twelve Universal Soldier Day of Reckoning.

481
00:24:59,119 --> 00:25:01,879
Speaker 3: I did not realize the Universal Soldier series had hit

482
00:25:02,000 --> 00:25:05,440
Speaker 3: the colon abstract noun phase.

483
00:25:05,960 --> 00:25:08,879
Speaker 2: Yep, yep they did. And you know, I think I

484
00:25:09,000 --> 00:25:11,960
Speaker 2: remember reading some not bad things about these these later

485
00:25:13,080 --> 00:25:16,720
Speaker 2: Jean Claud van Dam Universal Soldier movies, you know, Regeneration

486
00:25:16,800 --> 00:25:18,520
Speaker 2: and Day of Reckoning. I can't remember which one is

487
00:25:18,760 --> 00:25:20,320
Speaker 2: supposed to be good, or if they're both good.

488
00:25:20,800 --> 00:25:21,080
Speaker 4: I don't know.

489
00:25:21,200 --> 00:25:22,160
Speaker 2: Take that with a grain of salt.

490
00:25:22,560 --> 00:25:26,359
Speaker 3: I got an idea. Jetson's Meat Flintstone's kind of crossover event.

491
00:25:26,640 --> 00:25:31,560
Speaker 3: It's Universal Soldier meets hell Raiser. What do you think.

492
00:25:32,200 --> 00:25:34,920
Speaker 2: Yeah, it'd be good for the hell Raiser franchise. I

493
00:25:35,000 --> 00:25:37,040
Speaker 2: think it needs that kind of shot in the arm

494
00:25:37,320 --> 00:25:39,800
Speaker 2: cross it over, cross it over. There was a you know,

495
00:25:40,240 --> 00:25:42,359
Speaker 2: speaking of it, there's a tangent, but there was a

496
00:25:42,480 --> 00:25:43,520
Speaker 2: I don't know if it was any good or not.

497
00:25:43,600 --> 00:25:45,119
Speaker 2: I think I looked at one of them. But somebody

498
00:25:45,160 --> 00:25:46,920
Speaker 2: did a hell Raiser versus.

499
00:25:48,480 --> 00:25:48,840
Speaker 4: Cabal.

500
00:25:49,119 --> 00:25:52,680
Speaker 2: What is it Night Breed hell Raiser versus Nightbreed comic

501
00:25:52,720 --> 00:25:55,520
Speaker 2: book back in the day like that. That sounds interesting,

502
00:25:55,640 --> 00:25:55,960
Speaker 2: Go for that.

503
00:25:56,440 --> 00:25:59,199
Speaker 3: But they're both Clive Barker things, aren't they.

504
00:25:59,760 --> 00:25:59,960
Speaker 5: Yeah?

505
00:26:00,040 --> 00:26:02,840
Speaker 2: Yeah, okay, okay, yeah. I mean you could go outside

506
00:26:02,880 --> 00:26:04,359
Speaker 2: the Clive Barker. I mean, you could keep it in

507
00:26:04,400 --> 00:26:06,920
Speaker 2: Clive Barker. It could be hell Raiser versus raw Head Rex.

508
00:26:07,359 --> 00:26:08,240
Speaker 2: That could be interesting.

509
00:26:08,280 --> 00:26:08,600
Speaker 4: I don't know.

510
00:26:09,640 --> 00:26:13,160
Speaker 2: I mean, he has a rich world, rich literary world

511
00:26:13,320 --> 00:26:16,639
Speaker 2: that he created. Now, speaking of comic books, we should

512
00:26:16,720 --> 00:26:19,720
Speaker 2: note that Time Cop is based on a Dark Horse

513
00:26:19,880 --> 00:26:23,600
Speaker 2: Comics comic book series by the same name by Mark V.

514
00:26:23,760 --> 00:26:28,240
Speaker 2: Hayden and Mike Richardson, who also have story and screenplay

515
00:26:28,280 --> 00:26:31,760
Speaker 2: credits on the film. Richardson also created the comic book

516
00:26:31,920 --> 00:26:35,399
Speaker 2: The Mask and yes it is the Mask that is

517
00:26:35,440 --> 00:26:37,959
Speaker 2: the basis for the Jim Carrey movie. And Mark had

518
00:26:38,000 --> 00:26:40,480
Speaker 2: a story credit on the first movie you mean the

519
00:26:40,560 --> 00:26:44,160
Speaker 2: first Mask movie, the first Mask movie, The Mask Starr

520
00:26:45,160 --> 00:26:48,399
Speaker 2: starring Jim Carrey, that also came out in nineteen ninety four.

521
00:26:48,480 --> 00:26:51,639
Speaker 2: So this was a big deal for these two. The

522
00:26:51,760 --> 00:26:56,560
Speaker 2: dark Horse Comics world really got to come out firing

523
00:26:56,600 --> 00:26:59,240
Speaker 2: and all cylinders here, and both of these individuals remain

524
00:26:59,280 --> 00:27:02,880
Speaker 2: active in writing and producing now, specifically Mark v. Heiden

525
00:27:03,359 --> 00:27:05,880
Speaker 2: on this he has screenplay, story and comic series credit.

526
00:27:06,000 --> 00:27:09,960
Speaker 2: Born fifty six. After nineteen eighty four, he went on

527
00:27:10,040 --> 00:27:12,680
Speaker 2: to write an episode of Perversions of Science. This is

528
00:27:12,720 --> 00:27:15,159
Speaker 2: a would be sci fi tales from the Crypt with

529
00:27:15,280 --> 00:27:20,280
Speaker 2: a terrible VR sexy robot as the show's keeper. And

530
00:27:20,400 --> 00:27:22,760
Speaker 2: then there he did nine episodes of the Time Coop

531
00:27:22,840 --> 00:27:28,160
Speaker 2: TV series, and eventually such shows as Smallville, The Battlesarcalactica, Reboot, Heroes,

532
00:27:28,320 --> 00:27:31,920
Speaker 2: Falling Skies, The Kind of Flash in the Pan twenty

533
00:27:32,040 --> 00:27:35,359
Speaker 2: nineteen reboot of Swamp Thing. I don't know if that

534
00:27:35,480 --> 00:27:36,840
Speaker 2: might have been good, but it just came out at

535
00:27:36,880 --> 00:27:39,639
Speaker 2: a bad time and seemed to have some platform issues,

536
00:27:40,240 --> 00:27:42,320
Speaker 2: and he has production credits on all of those. His

537
00:27:42,640 --> 00:27:46,399
Speaker 2: next project is actually writing and eping a hell Raiser

538
00:27:46,480 --> 00:27:50,520
Speaker 2: series for HBO Max. I did not know this was coming, Okay, Yeah,

539
00:27:50,720 --> 00:27:54,040
Speaker 2: I have my doubts about it. I mean nothing against

540
00:27:54,880 --> 00:27:57,960
Speaker 2: this creator. I just have doubts that there's anything left

541
00:27:58,000 --> 00:27:59,560
Speaker 2: in the tank on hell Raiser that is.

542
00:27:59,600 --> 00:28:03,480
Speaker 3: No prible a twenty six episode season arc cannot solve.

543
00:28:04,920 --> 00:28:08,239
Speaker 2: Yeah, yeah, yeah, we'll see. I mean, I wish them

544
00:28:08,240 --> 00:28:10,840
Speaker 2: the best. I hope it's good, all right. Mike Richardson,

545
00:28:10,880 --> 00:28:14,080
Speaker 2: on the other hand, screenplay story comics series also credit

546
00:28:14,160 --> 00:28:17,760
Speaker 2: on this also EP born nineteen fifty, the founder of

547
00:28:17,840 --> 00:28:21,240
Speaker 2: dark Horse Comics. Mike's writing credits have been limited or

548
00:28:21,320 --> 00:28:24,159
Speaker 2: more limited compared to his partner on this film, mostly

549
00:28:24,359 --> 00:28:28,280
Speaker 2: character credits on Mask franchise stuff, but he served as

550
00:28:28,359 --> 00:28:31,399
Speaker 2: executive producer on such films as twenty sixteen's The Legend

551
00:28:31,440 --> 00:28:34,680
Speaker 2: of Tarzan, twenty nineteen's hell Boy That's the more recent

552
00:28:34,720 --> 00:28:39,240
Speaker 2: hell Boy film, and both RIPD movies. In comics. However,

553
00:28:39,320 --> 00:28:41,400
Speaker 2: it's notable that he was also a writer on the

554
00:28:41,520 --> 00:28:44,920
Speaker 2: Star Wars Crimson Empire comics series that I've heard good

555
00:28:45,000 --> 00:28:47,440
Speaker 2: things about. And he also apparently wrote on Time Cop

556
00:28:48,040 --> 00:28:51,160
Speaker 2: the comic book. All Right, you know, you didn't come

557
00:28:51,160 --> 00:28:53,040
Speaker 2: here to hear about the people who wrote this, though.

558
00:28:53,520 --> 00:28:56,480
Speaker 2: You want to hear about Jean Claude van Dam, who

559
00:28:56,560 --> 00:29:02,040
Speaker 2: plays Walker the titular Time Cop nineteen sixty. Yep, it's

560
00:29:02,080 --> 00:29:05,400
Speaker 2: the Muscles from Brussels, Dutch born martial artist turned actor

561
00:29:05,640 --> 00:29:08,520
Speaker 2: who also studied ballet for several years in his teens.

562
00:29:09,120 --> 00:29:11,120
Speaker 2: And I've read that Jean Claud van Dam himself has

563
00:29:11,120 --> 00:29:14,760
Speaker 2: attributed ballet for the grace of his movement, so he

564
00:29:14,880 --> 00:29:17,760
Speaker 2: kind of combines the grace of ballet with the power

565
00:29:17,800 --> 00:29:18,320
Speaker 2: of karate.

566
00:29:18,840 --> 00:29:22,320
Speaker 3: He is very graceful, and what he lacks in Arnold

567
00:29:22,320 --> 00:29:27,440
Speaker 3: Schwarzenegger type of bulk he has in agility. There's a

568
00:29:27,480 --> 00:29:30,560
Speaker 3: lot of like jumping and the kind of impossible kick

569
00:29:30,680 --> 00:29:32,000
Speaker 3: postures in this film.

570
00:29:32,800 --> 00:29:34,920
Speaker 2: Yeah, and there's a lot of fluidity to the way

571
00:29:35,000 --> 00:29:38,080
Speaker 2: he moves that works well on screen as well. So

572
00:29:38,280 --> 00:29:40,160
Speaker 2: he and a friend moved to Hollywood in the early

573
00:29:40,280 --> 00:29:44,080
Speaker 2: eighties to seek acting glory. So his early credits are

574
00:29:44,400 --> 00:29:47,040
Speaker 2: mostly I mean most of it aren't even even credits

575
00:29:47,160 --> 00:29:50,480
Speaker 2: those uncredited background roles for the most part, but he

576
00:29:50,560 --> 00:29:53,680
Speaker 2: ended up befriending and sparring with Chuck Norris. He also

577
00:29:53,720 --> 00:29:57,440
Speaker 2: did some bodyguard work at Norris's bar called Woody's Wharf,

578
00:29:57,480 --> 00:30:00,280
Speaker 2: which is apparently still around under different ownership. You can

579
00:30:00,360 --> 00:30:02,960
Speaker 2: you can look it up as a website and everything.

580
00:30:03,680 --> 00:30:06,720
Speaker 2: But his first role, Jean Claude Vandam's first real role

581
00:30:06,760 --> 00:30:10,360
Speaker 2: of note is the villain in the bonkers movie No Retreat,

582
00:30:10,480 --> 00:30:13,200
Speaker 2: No Surrender, in which and I think I've seen this.

583
00:30:13,280 --> 00:30:14,840
Speaker 2: I think I watched the riff tracks version of this,

584
00:30:15,680 --> 00:30:19,400
Speaker 2: a riff of this. The plot is Kurt McKinney is

585
00:30:19,480 --> 00:30:23,000
Speaker 2: training with Bruce Lee's ghost so that he can ultimately

586
00:30:23,080 --> 00:30:27,479
Speaker 2: defeat even the Russian Krashyinsky played by Jean Claude Van Dam.

587
00:30:27,760 --> 00:30:29,720
Speaker 3: I'm gonna feel like I'm losing my mind if I'm

588
00:30:29,720 --> 00:30:32,320
Speaker 3: wrong about this, but I think this is the movie

589
00:30:32,480 --> 00:30:36,880
Speaker 3: that I saw Rift live by some former cast members

590
00:30:36,920 --> 00:30:38,520
Speaker 3: of Mystery Science Theater three thousand.

591
00:30:40,000 --> 00:30:43,120
Speaker 2: Okay, yeah, now I'm unsure. Maybe I know I saw

592
00:30:43,160 --> 00:30:45,960
Speaker 2: it Rift, but I'm a little foggy on if it

593
00:30:46,120 --> 00:30:49,480
Speaker 2: was on the screen or live or what. So one

594
00:30:49,520 --> 00:30:52,040
Speaker 2: way or another. We've seen this gem of the motion

595
00:30:52,200 --> 00:30:55,040
Speaker 2: picture for the most part. However, this was not people's

596
00:30:55,120 --> 00:30:58,480
Speaker 2: first in their introduction to Jean Claude van Dam. For this,

597
00:30:58,680 --> 00:31:01,680
Speaker 2: we really need to consider night He mediates. Blood Sport

598
00:31:01,800 --> 00:31:05,240
Speaker 2: one of the most iconic Western martial arts films of

599
00:31:05,480 --> 00:31:09,600
Speaker 2: that era. It introduced John Claude Van Dam's just I

600
00:31:09,640 --> 00:31:12,840
Speaker 2: guess his trademark move, which is doing the splits while

601
00:31:13,240 --> 00:31:17,400
Speaker 2: violently punching or shoving somebody in the crock. Probably a punch,

602
00:31:17,440 --> 00:31:19,480
Speaker 2: I guess, Maybe it's a chop. I can't see because

603
00:31:19,520 --> 00:31:20,320
Speaker 2: he's all up in there.

604
00:31:20,880 --> 00:31:24,160
Speaker 3: This was parodied in Mortal Kombat because this is also

605
00:31:24,200 --> 00:31:27,160
Speaker 3: what Johnny Cage does in the Mortal Commer character. Johnny

606
00:31:27,200 --> 00:31:29,280
Speaker 3: Cage is a parody of Jean Claude van Dam.

607
00:31:30,120 --> 00:31:33,040
Speaker 2: Yeah, and blood Sport. This is a film I haven't

608
00:31:33,040 --> 00:31:34,920
Speaker 2: seen in a long time, but I remember it being

609
00:31:35,120 --> 00:31:38,360
Speaker 2: a lot of goofy fun. It has Donald Gibb in it,

610
00:31:39,080 --> 00:31:43,600
Speaker 2: plays this lovable biker. Bolo Jung is in it playing

611
00:31:43,680 --> 00:31:47,239
Speaker 2: this just you know, super intimidating martial artists, and then

612
00:31:47,280 --> 00:31:48,800
Speaker 2: Forrest Whittaker is in it as well. I do not

613
00:31:48,880 --> 00:31:50,800
Speaker 2: remember Farrest Whittaker from this film.

614
00:31:51,120 --> 00:31:52,160
Speaker 4: But he is in the credits.

615
00:31:52,360 --> 00:31:55,960
Speaker 3: It's like he's playing a fed of some kind. Hmm, okay,

616
00:31:55,960 --> 00:31:58,440
Speaker 3: it makes sense, you know, it's interesting. I don't quite

617
00:31:58,680 --> 00:32:01,400
Speaker 3: think I realized that John Claude van Dam doing the

618
00:32:01,480 --> 00:32:04,600
Speaker 3: splits and punching someone in the crotch was his signature move.

619
00:32:04,760 --> 00:32:07,280
Speaker 3: But of course it makes sense with the Johnny Cage

620
00:32:07,320 --> 00:32:10,200
Speaker 3: connection and in time cop I don't think he ever

621
00:32:10,360 --> 00:32:13,720
Speaker 3: does that, but he does both elements of that independently

622
00:32:13,920 --> 00:32:18,360
Speaker 3: multiple times. So there are prominent splits and prominent groin

623
00:32:18,480 --> 00:32:19,440
Speaker 3: punches and kicks.

624
00:32:19,920 --> 00:32:21,960
Speaker 2: It's weird to try and figure out, Like maybe it's

625
00:32:22,080 --> 00:32:24,080
Speaker 2: just I mean, the splitz make sense, like this is

626
00:32:24,120 --> 00:32:28,120
Speaker 2: a great physical stunt that he is capable of. If

627
00:32:28,160 --> 00:32:31,240
Speaker 2: there is even a faint reason to have him do

628
00:32:31,280 --> 00:32:33,320
Speaker 2: it in your film, you go ahead and incorporated into

629
00:32:33,360 --> 00:32:35,720
Speaker 2: the plot. It's what the people want to see. The

630
00:32:35,920 --> 00:32:39,400
Speaker 2: violence to the crotch. However, while part of that original

631
00:32:39,480 --> 00:32:43,160
Speaker 2: trademark move is not necessarily required, but I don't know,

632
00:32:43,240 --> 00:32:46,640
Speaker 2: maybe there's some sort of thematic link there, Like the

633
00:32:46,800 --> 00:32:49,640
Speaker 2: idea of doing the splits is maybe kind of painful

634
00:32:50,360 --> 00:32:53,000
Speaker 2: in your mind. If you cannot do the splits yourself,

635
00:32:53,520 --> 00:32:56,720
Speaker 2: and therefore it's just a short walk to somebody just

636
00:32:56,800 --> 00:32:58,520
Speaker 2: being like punched in the groin.

637
00:32:58,960 --> 00:33:00,760
Speaker 3: There's a lot of it into Time Cup, though in

638
00:33:00,840 --> 00:33:03,120
Speaker 3: Time Cup there's at least I think one major kick

639
00:33:03,200 --> 00:33:05,480
Speaker 3: to the groin. There's a scene where he's like sort

640
00:33:05,480 --> 00:33:08,920
Speaker 3: of drumming on a guy's groin with sticks, and then

641
00:33:09,040 --> 00:33:11,960
Speaker 3: there are there in the Final Showdown, there are some

642
00:33:12,160 --> 00:33:14,120
Speaker 3: guns to the groin of the villains.

643
00:33:15,000 --> 00:33:16,840
Speaker 4: Yes, so, I don't know.

644
00:33:16,920 --> 00:33:18,720
Speaker 3: It seems like it was a recurring theme. It was

645
00:33:18,800 --> 00:33:20,560
Speaker 3: on their minds for some reason.

646
00:33:21,040 --> 00:33:23,680
Speaker 2: And somehow us describing it makes it sound more violent

647
00:33:23,760 --> 00:33:25,680
Speaker 2: than it actually comes off in the film. I don't

648
00:33:25,680 --> 00:33:28,680
Speaker 2: know why that is, but I don't know. It's very

649
00:33:28,800 --> 00:33:32,840
Speaker 2: video game esque, I guess in the end. Yeah, anyway,

650
00:33:33,000 --> 00:33:35,320
Speaker 2: back to Jean Claude van Dam. In nineteen eighty nine,

651
00:33:35,320 --> 00:33:39,080
Speaker 2: he ventured into sci fi properly with Albert Pyune's Cyborg,

652
00:33:39,720 --> 00:33:42,320
Speaker 2: and then there's just a whole string of Van Dam flicks.

653
00:33:42,720 --> 00:33:47,080
Speaker 2: There's nineteen nineties Lionheart with Brian Thompson, nineteen nineties Death Warrant.

654
00:33:47,200 --> 00:33:50,280
Speaker 2: That one was pinned by David Goyer. There's nineteen ninety

655
00:33:50,320 --> 00:33:53,560
Speaker 2: one's double impact. This is double the Van Dam in

656
00:33:53,640 --> 00:33:56,800
Speaker 2: which he plays twins and also Bolo Jung is back

657
00:33:56,840 --> 00:33:57,880
Speaker 2: to beat up on them.

658
00:33:58,360 --> 00:34:00,320
Speaker 3: You know, Van Dam was optioned to play the Twins

659
00:34:00,360 --> 00:34:01,120
Speaker 3: and dead Ringers.

660
00:34:03,520 --> 00:34:06,440
Speaker 2: That would have been a very, very different film.

661
00:34:06,720 --> 00:34:08,680
Speaker 3: It's we need it.

662
00:34:08,719 --> 00:34:10,080
Speaker 2: I don't know that we've done it. Have we done

663
00:34:10,080 --> 00:34:11,320
Speaker 2: a Twins movie before?

664
00:34:12,680 --> 00:34:14,600
Speaker 3: No, I don't think so. I don't want to do

665
00:34:14,719 --> 00:34:15,400
Speaker 3: dead Ringers.

666
00:34:15,880 --> 00:34:17,799
Speaker 2: No, no, no, I don't want to do dead Ringers either.

667
00:34:17,880 --> 00:34:21,640
Speaker 2: But there's there's a lot to say about it because

668
00:34:22,040 --> 00:34:24,440
Speaker 2: on an acting level, it seems like actives of a

669
00:34:24,480 --> 00:34:27,120
Speaker 2: certain caliber will get to play twins at some point,

670
00:34:27,400 --> 00:34:29,239
Speaker 2: and it's you know, it's like the challenge of it.

671
00:34:29,640 --> 00:34:31,480
Speaker 2: But then also you get people like Van Dam and

672
00:34:31,560 --> 00:34:35,440
Speaker 2: I love Van Dam's performance, but he's not on the

673
00:34:35,560 --> 00:34:37,920
Speaker 2: acting level. He's not the pure acting talent where you're like,

674
00:34:38,080 --> 00:34:42,640
Speaker 2: I need him to play opposite himself as twins. You know,

675
00:34:43,960 --> 00:34:46,240
Speaker 2: it seems like it's better left for like the Jeremy

676
00:34:46,280 --> 00:34:47,040
Speaker 2: Irons of the world.

677
00:34:47,480 --> 00:34:49,680
Speaker 3: I'm sure there is a good Twins movie we could do.

678
00:34:49,800 --> 00:34:51,120
Speaker 3: We'll have to come back to that.

679
00:34:51,760 --> 00:34:55,279
Speaker 2: Okay, all right. Ninety two he does Universal Soldier This

680
00:34:55,400 --> 00:34:58,239
Speaker 2: is Roland Emericks Super Soldier movie in which he takes

681
00:34:58,280 --> 00:35:01,279
Speaker 2: on Dolph Lundren and and he also starred in ninety

682
00:35:01,280 --> 00:35:04,040
Speaker 2: three's Hard Target from John Wu opposite Lance Hendrickson, and

683
00:35:04,080 --> 00:35:06,719
Speaker 2: then ninety four he was in the feature film adaptation

684
00:35:06,840 --> 00:35:10,040
Speaker 2: of Street Fighter, a film of such just crazy good

685
00:35:10,160 --> 00:35:13,600
Speaker 2: casting and Bonker's energy that I think we will have

686
00:35:13,680 --> 00:35:14,239
Speaker 2: to come back.

687
00:35:14,160 --> 00:35:16,520
Speaker 3: To it at some point, maybe on a Tuesday.

688
00:35:16,680 --> 00:35:17,120
Speaker 4: We'll do that.

689
00:35:17,800 --> 00:35:22,120
Speaker 2: Yeah, special Tuesday edition. So the Jean claud van damtrain

690
00:35:22,200 --> 00:35:25,880
Speaker 2: continues to keep on rolling after all of that. Highlights

691
00:35:25,920 --> 00:35:30,360
Speaker 2: include ninety seven's Double Team co starring Dennis Rodman, Mickey Rourke,

692
00:35:30,440 --> 00:35:34,200
Speaker 2: and Paul Freeman of all People. Other highlights include ninety

693
00:35:34,239 --> 00:35:37,000
Speaker 2: nine The Universal Soldier of the Return, two thousand and

694
00:35:37,000 --> 00:35:41,120
Speaker 2: one's The Order There's two thousand and eight's JCVD we

695
00:35:41,239 --> 00:35:45,200
Speaker 2: mentioned Regeneration Kung Fu Panda two also gets into voice acting.

696
00:35:45,800 --> 00:35:49,440
Speaker 2: The Expendables two. Also the TV series Jean Claude van

697
00:35:49,560 --> 00:35:53,520
Speaker 2: Johnson two kick Boxer sequels. I think at least they

698
00:35:53,560 --> 00:35:56,160
Speaker 2: have kick Kickboxer on the name, and then he's also

699
00:35:56,239 --> 00:35:57,680
Speaker 2: a voice talent in minions.

700
00:35:57,760 --> 00:36:02,960
Speaker 3: The Rise of Grouse Grew Is Grew one of the minions.

701
00:36:03,960 --> 00:36:06,879
Speaker 2: I think Grew is the minion Master.

702
00:36:07,000 --> 00:36:07,279
Speaker 3: I don't know.

703
00:36:07,320 --> 00:36:11,520
Speaker 2: I haven't seen these movies. He's what they're minions of. Yes, okay,

704
00:36:11,960 --> 00:36:14,759
Speaker 2: all right, so that's our hero. But you can't have

705
00:36:14,840 --> 00:36:16,640
Speaker 2: a hero without a villain. And we know from other

706
00:36:16,719 --> 00:36:19,920
Speaker 2: films if your hero is also like a muscly action

707
00:36:20,760 --> 00:36:24,320
Speaker 2: guy with maybe less acting chops, it makes sense to

708
00:36:24,440 --> 00:36:28,800
Speaker 2: have a seasoned veteran actor to play off of to

709
00:36:29,120 --> 00:36:31,520
Speaker 2: be your antagonist. And that's what we have in this

710
00:36:31,680 --> 00:36:33,600
Speaker 2: film with Ron Silver.

711
00:36:34,400 --> 00:36:37,560
Speaker 3: I love Ron Silver in Time Cop. He is just

712
00:36:37,680 --> 00:36:41,359
Speaker 3: the smoothest, sleaziest Oh he's great.

713
00:36:42,200 --> 00:36:46,520
Speaker 2: Yes, yeah, it's it's a very fun performance. Ron Silver, Yeah,

714
00:36:46,560 --> 00:36:50,600
Speaker 2: plays Senator Aaron McComb. Silver lived nineteen forty six through

715
00:36:50,640 --> 00:36:53,960
Speaker 2: two thousand and nine. He's the corrupt US senator who

716
00:36:54,040 --> 00:36:56,359
Speaker 2: harnesses the power of time travel to advance his own

717
00:36:56,400 --> 00:37:01,640
Speaker 2: political ambitions. Just a really mean guy. Silver himself came

718
00:37:01,719 --> 00:37:04,240
Speaker 2: up on TV and transitioned into small parts in film.

719
00:37:04,680 --> 00:37:07,560
Speaker 2: He starred in the CD supernatural thriller The Entity in

720
00:37:07,640 --> 00:37:10,200
Speaker 2: nineteen eighty two. He had a supporting role in eighty

721
00:37:10,239 --> 00:37:13,439
Speaker 2: three Silkwood. He plays a vendor. Apparently in nineteen eighty

722
00:37:13,440 --> 00:37:17,320
Speaker 2: four is Romancing the Stone, which I don't remember. That

723
00:37:17,520 --> 00:37:22,000
Speaker 2: same year he appeared in Hurley Burley on Broadway, followed

724
00:37:22,040 --> 00:37:26,000
Speaker 2: by another Broadway play, Social Security, and then in nineteen

725
00:37:26,000 --> 00:37:28,800
Speaker 2: eighty eight he won a Tony Award for his performance

726
00:37:28,840 --> 00:37:32,239
Speaker 2: in the Broadway play Speed the Plow. From there, we

727
00:37:32,360 --> 00:37:34,440
Speaker 2: see him take on some of the biggest and notable

728
00:37:34,520 --> 00:37:37,680
Speaker 2: roles of his career, the lead in nineteen eighty nine's

729
00:37:37,800 --> 00:37:41,719
Speaker 2: Enemies a Love Story, the villain role in Catherine Bigelow's

730
00:37:41,760 --> 00:37:45,320
Speaker 2: nineteen ninety thriller Blue Steel, and the role of Alan

731
00:37:45,360 --> 00:37:50,280
Speaker 2: Dershowitz in nineteen nineties Reversal of Fortune opposite Jeremy Irons

732
00:37:50,320 --> 00:37:52,560
Speaker 2: and Glenn Close as the Von Bulohs.

733
00:37:53,200 --> 00:37:56,200
Speaker 3: So that's a film adaptation of a creepy, real life,

734
00:37:56,440 --> 00:37:58,840
Speaker 3: famous court case that in a lot of ways I

735
00:37:58,880 --> 00:38:02,480
Speaker 3: think prefigures the sort of a true crime podcast obsession.

736
00:38:03,880 --> 00:38:07,719
Speaker 2: Yeah, yeah, it's I've never seen it in full. I

737
00:38:07,800 --> 00:38:10,040
Speaker 2: remember when it came out as a young person. I

738
00:38:10,080 --> 00:38:14,520
Speaker 2: remember hearing about it through the media, so I have it.

739
00:38:14,560 --> 00:38:16,440
Speaker 2: It's still in my head. It's like Reversal of Fortune

740
00:38:16,480 --> 00:38:19,160
Speaker 2: is a big deal because it was like, there's a

741
00:38:19,200 --> 00:38:21,279
Speaker 2: whole thing about in Time magazine and my grandpa, so

742
00:38:21,400 --> 00:38:25,799
Speaker 2: it must be really important. But yeah, also very much

743
00:38:25,840 --> 00:38:28,319
Speaker 2: a true crime sort of story, and I have gone

744
00:38:28,360 --> 00:38:32,279
Speaker 2: back and watched clips of it, and Silver's great as Dershowitz.

745
00:38:32,560 --> 00:38:34,960
Speaker 2: There's a lot of nuance to his performance. It's really

746
00:38:35,000 --> 00:38:38,120
Speaker 2: fun to watch. But anyway, probably due in large part

747
00:38:38,200 --> 00:38:41,520
Speaker 2: to that villain performance in Blue Steel. He is cast

748
00:38:41,560 --> 00:38:43,840
Speaker 2: as the villain in Time Cop and his old discuss.

749
00:38:43,920 --> 00:38:46,680
Speaker 2: It's a lot of fun. He also appeared in nineteen

750
00:38:46,760 --> 00:38:50,880
Speaker 2: ninety six is The Arrival, written and directed by David Toohey. Toohey,

751
00:38:50,920 --> 00:38:52,800
Speaker 2: of course would go on to work with Vin Diesel

752
00:38:52,880 --> 00:38:55,200
Speaker 2: on the Riddick movies, and it's still working with him

753
00:38:55,200 --> 00:38:57,759
Speaker 2: on Riddick movies. Silver worked pretty steadily through the rest

754
00:38:57,800 --> 00:39:00,319
Speaker 2: of his career, with one of the highlights probably being

755
00:39:00,400 --> 00:39:02,959
Speaker 2: a recurring role in The West Wing. And it's also

756
00:39:03,000 --> 00:39:05,680
Speaker 2: of note that he directed and acted in a nineteen

757
00:39:05,760 --> 00:39:08,400
Speaker 2: ninety three TV movie called Life Pod, which is a

758
00:39:08,640 --> 00:39:12,800
Speaker 2: sci fi take on Hitchcock's Lifeboat huh oh. And this

759
00:39:12,960 --> 00:39:16,120
Speaker 2: is also interesting. Doesn't really reflect his performance here, but

760
00:39:16,200 --> 00:39:19,200
Speaker 2: Silver apparently had a master's degree in Chinese history and

761
00:39:19,280 --> 00:39:20,880
Speaker 2: apparently spoke fluent Mandarin.

762
00:39:21,120 --> 00:39:22,719
Speaker 3: So I had no idea.

763
00:39:22,880 --> 00:39:23,479
Speaker 4: I had no idea.

764
00:39:23,640 --> 00:39:26,920
Speaker 2: Yeah, so his performance in this film maybe lacks the

765
00:39:27,000 --> 00:39:31,600
Speaker 2: nuance of reversal of fortune, but it's still like he's

766
00:39:31,640 --> 00:39:33,320
Speaker 2: all in and he's not phoned in this baby and

767
00:39:34,000 --> 00:39:36,759
Speaker 2: thinking about when the bank's closing, or at least if

768
00:39:36,800 --> 00:39:39,160
Speaker 2: he is, he's going for the bank as well. Because yeah,

769
00:39:39,239 --> 00:39:42,160
Speaker 2: it's a very energetic performance. And since this is a

770
00:39:42,239 --> 00:39:44,800
Speaker 2: time travel movie, he's playing his character both in the

771
00:39:44,840 --> 00:39:47,640
Speaker 2: future and in the present, or in the present and

772
00:39:47,760 --> 00:39:49,279
Speaker 2: in the past, depending on how you look at it.

773
00:39:49,400 --> 00:39:51,400
Speaker 2: I don't know, two different versions of the same character,

774
00:39:51,760 --> 00:39:52,600
Speaker 2: which is kind of fun.

775
00:39:53,120 --> 00:39:56,120
Speaker 3: I think he's excellent in this movie. He just fantastic

776
00:39:56,200 --> 00:40:00,640
Speaker 3: as the slimy, rich guy politician villain. I don't know

777
00:40:00,719 --> 00:40:02,879
Speaker 3: if this is best to talk about here or later.

778
00:40:03,239 --> 00:40:05,160
Speaker 3: Maybe we should go ahead and do it here, because

779
00:40:05,239 --> 00:40:07,320
Speaker 3: there was something rob You flag this to me, and

780
00:40:07,440 --> 00:40:09,480
Speaker 3: I couldn't help but notice it as well. It's kind

781
00:40:09,480 --> 00:40:12,680
Speaker 3: of unsettling about his character. So I'll just say the

782
00:40:12,840 --> 00:40:17,040
Speaker 3: villain of this movie is a very rich guy who

783
00:40:17,920 --> 00:40:21,600
Speaker 3: prominently who famously has lost a lot of money due

784
00:40:21,640 --> 00:40:26,080
Speaker 3: to some stupid business decisions. He is a narcissistic bully

785
00:40:26,160 --> 00:40:30,440
Speaker 3: who constantly abuses his underlings. He runs for president on

786
00:40:30,560 --> 00:40:34,400
Speaker 3: a theory that he doesn't need endorsements from respected figures

787
00:40:34,600 --> 00:40:36,920
Speaker 3: or the truth on his side. He just needs to

788
00:40:37,000 --> 00:40:41,400
Speaker 3: be on television NonStop. One of his signature campaign themes

789
00:40:41,719 --> 00:40:45,600
Speaker 3: seems to be anti immigration sentiment. He notably eats a

790
00:40:45,640 --> 00:40:48,640
Speaker 3: lot of junk food. He promises that he's going to

791
00:40:48,760 --> 00:40:52,360
Speaker 3: make America like it was the eighties again. Part of

792
00:40:52,440 --> 00:40:54,880
Speaker 3: his pitch for the presidency is that he'll be so

793
00:40:55,200 --> 00:40:58,200
Speaker 3: rich he can't be bought off. And there's one part

794
00:40:58,239 --> 00:41:00,400
Speaker 3: where I can't remember what he did, think he's just

795
00:41:00,520 --> 00:41:03,200
Speaker 3: murdered somebody or something, And the character says, maybe he'll

796
00:41:03,239 --> 00:41:06,560
Speaker 3: calm down after the election, you know, maybe he'll grow

797
00:41:06,640 --> 00:41:09,360
Speaker 3: to meet the occasion once he understands the seriousness of

798
00:41:09,400 --> 00:41:14,160
Speaker 3: the office. So, yeah, interesting character in this nineteen ninety

799
00:41:14,160 --> 00:41:14,720
Speaker 3: four movie.

800
00:41:16,480 --> 00:41:18,440
Speaker 2: Yeah, Yeah, it's kind of ahead of its time in

801
00:41:18,560 --> 00:41:24,560
Speaker 2: that respect. It's a yeah, great villain role, great villain performance. Yeah,

802
00:41:24,600 --> 00:41:27,239
Speaker 2: he's even hard on his past self. So there's in

803
00:41:27,320 --> 00:41:29,800
Speaker 2: a sense, there's negative self talk in this film because

804
00:41:29,840 --> 00:41:32,160
Speaker 2: he he even gives his past self a hard time

805
00:41:32,600 --> 00:41:33,719
Speaker 2: over the gentle food.

806
00:41:33,840 --> 00:41:35,680
Speaker 3: In a scene in which I think he also like

807
00:41:36,080 --> 00:41:37,879
Speaker 3: shoots a business partner in the head.

808
00:41:38,480 --> 00:41:47,400
Speaker 4: Yeah, all right.

809
00:41:47,680 --> 00:41:50,719
Speaker 2: The other of the three top build actors on the

810
00:41:50,840 --> 00:41:54,520
Speaker 2: cast is MIAs Sarah playing Melissa. Mia Sarah is born

811
00:41:54,560 --> 00:41:58,239
Speaker 2: in sixty seven. While she had one small role on

812
00:41:58,320 --> 00:41:59,960
Speaker 2: an episode of All in the Family in eighty three,

813
00:42:00,360 --> 00:42:03,480
Speaker 2: her career was launched in a major way when she

814
00:42:03,600 --> 00:42:07,120
Speaker 2: played Lily in Ridley Scott's nineteen eighty five dark fantasy

815
00:42:07,200 --> 00:42:09,320
Speaker 2: film Legend opposite Tom Cruise.

816
00:42:09,840 --> 00:42:12,600
Speaker 3: Legend is a film I think you and I have

817
00:42:12,760 --> 00:42:16,560
Speaker 3: discussed the sort of mixed merits and demerits of before.

818
00:42:17,840 --> 00:42:19,959
Speaker 3: It's a weird movie to go back and experience because

819
00:42:19,960 --> 00:42:22,040
Speaker 3: there's a lot about it that's really good and a

820
00:42:22,080 --> 00:42:25,400
Speaker 3: lot about it that is kind of boring actually, and

821
00:42:26,400 --> 00:42:28,080
Speaker 3: or I don't know, maybe you didn't agree with me

822
00:42:28,200 --> 00:42:30,080
Speaker 3: on that, but it's like the kind of movie you

823
00:42:30,160 --> 00:42:33,920
Speaker 3: can't really recommend because overall it's not that great. But

824
00:42:34,080 --> 00:42:36,480
Speaker 3: also I kind of find myself wanting to bring it

825
00:42:36,600 --> 00:42:38,320
Speaker 3: up a lot. At least Tim Curry in it, or

826
00:42:38,360 --> 00:42:39,640
Speaker 3: the music in it or whatever.

827
00:42:40,520 --> 00:42:42,160
Speaker 2: Yeah, it has a lot going for and it's a

828
00:42:42,200 --> 00:42:44,160
Speaker 2: Ridley Scott film, so you know, at the very least

829
00:42:44,360 --> 00:42:46,759
Speaker 2: it's going to beautiful to look at. I haven't given

830
00:42:46,800 --> 00:42:49,480
Speaker 2: it a dedicated viewing since I was like in junior

831
00:42:49,560 --> 00:42:51,480
Speaker 2: high or something. I think when I've had it on

832
00:42:51,920 --> 00:42:54,400
Speaker 2: since then, it's been in the background or something. So

833
00:42:54,480 --> 00:42:57,320
Speaker 2: it's one i'd have to come back and revisit. But

834
00:42:57,440 --> 00:42:59,400
Speaker 2: it's one I want to revisit. I have a lot

835
00:42:59,480 --> 00:43:03,880
Speaker 2: of memories about it, but still I know that it

836
00:43:04,000 --> 00:43:06,840
Speaker 2: is kind of up and down now. One note on

837
00:43:07,000 --> 00:43:10,040
Speaker 2: legend that's important for this century is that it was

838
00:43:10,360 --> 00:43:14,480
Speaker 2: filmed in massive studios of course, next to another little

839
00:43:14,560 --> 00:43:19,759
Speaker 2: mid eighties fantasy production, Labyrinth. Yeah, and I wasn't aware

840
00:43:19,760 --> 00:43:22,200
Speaker 2: of this first of these two productions kind of overlapped.

841
00:43:22,239 --> 00:43:24,840
Speaker 2: But also the cast and crew apparently hung out a

842
00:43:24,880 --> 00:43:28,520
Speaker 2: little during the overlapping productions, which I mean mostly that

843
00:43:28,760 --> 00:43:31,759
Speaker 2: just makes me try to imagine David Bowie's Jare At

844
00:43:31,840 --> 00:43:35,280
Speaker 2: the Goblin King and Tim Curry's Darkness the Big Horned

845
00:43:35,320 --> 00:43:38,480
Speaker 2: Demon Dude, like hanging out together and you know, chilling

846
00:43:39,080 --> 00:43:42,520
Speaker 2: between the two productions, but having.

847
00:43:42,560 --> 00:43:43,640
Speaker 3: The minno cheese together.

848
00:43:43,880 --> 00:43:45,200
Speaker 4: Yeh, yeah, something like that.

849
00:43:45,960 --> 00:43:49,640
Speaker 2: But it's also where Mia Sarah first met Brian Henson.

850
00:43:49,719 --> 00:43:52,080
Speaker 2: Of course, the son of Jim Henson, who worked on Labyrinth.

851
00:43:52,920 --> 00:43:55,600
Speaker 2: She would later meet him again and wound up marrying

852
00:43:55,760 --> 00:43:59,120
Speaker 2: him in twenty ten, so her future husband she met

853
00:43:59,200 --> 00:44:04,680
Speaker 2: on between the sets of Labyrinth and Legend. So anyway,

854
00:44:04,760 --> 00:44:07,160
Speaker 2: Mia Sarah kicked it off big with this Ridley Scott film.

855
00:44:07,440 --> 00:44:09,880
Speaker 2: Follow that up with the role of Sloan Peterson in

856
00:44:10,000 --> 00:44:13,520
Speaker 2: nineteen eighty six is Ferris Bueller's Day Off, So right

857
00:44:13,600 --> 00:44:16,640
Speaker 2: out of the gate, two big films, one of which

858
00:44:16,800 --> 00:44:19,480
Speaker 2: definitely has I think maybe more of a pop culture

859
00:44:19,600 --> 00:44:22,600
Speaker 2: footprint than the other. Now flash forward to nineteen ninety three.

860
00:44:22,719 --> 00:44:25,520
Speaker 2: She appears in two episodes of a TV series called

861
00:44:25,640 --> 00:44:26,440
Speaker 2: Time Tracks.

862
00:44:26,880 --> 00:44:27,600
Speaker 3: Would you believe?

863
00:44:28,600 --> 00:44:31,520
Speaker 2: This is prior to Time Cop, but it is about

864
00:44:31,560 --> 00:44:35,839
Speaker 2: a time traveling policeman who brings back time traveling fugitives

865
00:44:36,120 --> 00:44:36,800
Speaker 2: from the past.

866
00:44:38,640 --> 00:44:40,520
Speaker 3: So I wonder if that came up in her audition.

867
00:44:40,880 --> 00:44:42,760
Speaker 3: It's like, I've been in this movie already.

868
00:44:43,360 --> 00:44:46,560
Speaker 2: It's like I've got experience you can use, I've done

869
00:44:46,600 --> 00:44:48,000
Speaker 2: this sort of thing before, and they're like, well, it

870
00:44:48,280 --> 00:44:52,360
Speaker 2: just makes sense. So anyway, she does Time Cop after that.

871
00:44:53,200 --> 00:44:55,040
Speaker 2: Let's see, she was in the nineteen ninety seven twenty

872
00:44:55,080 --> 00:44:57,640
Speaker 2: thousand Leagues under the c mini series starring Michael Kine.

873
00:44:58,360 --> 00:45:00,399
Speaker 2: She also played Harley Quinn on the TV the series

874
00:45:00,440 --> 00:45:02,680
Speaker 2: Birds of Prey in the early two thousands, and she

875
00:45:02,800 --> 00:45:04,600
Speaker 2: retired from acting in twenty thirteen.

876
00:45:04,800 --> 00:45:08,759
Speaker 3: So another actor in this movie. I was watching and

877
00:45:09,080 --> 00:45:12,560
Speaker 3: I kept trying to place he is the boss of

878
00:45:12,840 --> 00:45:16,280
Speaker 3: the time cops in the film. And I finally realized

879
00:45:16,440 --> 00:45:18,680
Speaker 3: it's the sheriff for my cousin Vinnie.

880
00:45:19,640 --> 00:45:23,800
Speaker 2: Yes, this is Bruce McGill born nineteen fifty. This is

881
00:45:23,880 --> 00:45:26,040
Speaker 2: not a guy I recognized at all. I didn't even

882
00:45:26,120 --> 00:45:28,640
Speaker 2: draw any connections to other films. But when you look

883
00:45:28,719 --> 00:45:31,400
Speaker 2: him up, you realize, oh, man, this is a longtime

884
00:45:31,480 --> 00:45:34,080
Speaker 2: character actor whose work goes back to I think nineteen

885
00:45:34,160 --> 00:45:38,200
Speaker 2: seventy seven. He played Daniel Simpson Day or d Day

886
00:45:38,560 --> 00:45:41,279
Speaker 2: in Animal House in seventy eight, as well as in

887
00:45:41,400 --> 00:45:43,839
Speaker 2: the And I had no idea this existed Animal House

888
00:45:43,960 --> 00:45:45,640
Speaker 2: TV spinoff Delta House.

889
00:45:45,920 --> 00:45:46,080
Speaker 5: Huh.

890
00:45:46,600 --> 00:45:48,040
Speaker 3: I did not know that was the thing either.

891
00:45:48,520 --> 00:45:52,480
Speaker 2: It existed in some format, but beyond that, just extensive

892
00:45:52,520 --> 00:45:55,080
Speaker 2: TV and film credits, often pretty high up in the

893
00:45:55,160 --> 00:45:59,160
Speaker 2: billing of respectable, you know, for respectable character work in films.

894
00:45:59,440 --> 00:46:01,960
Speaker 2: He was an all Overstone's The Hand in nineteen eighty one.

895
00:46:02,080 --> 00:46:04,680
Speaker 2: That's a crawling hand movie with Michael Caine in and

896
00:46:04,800 --> 00:46:07,279
Speaker 2: he was in Silkwood in eighty three. He was in

897
00:46:07,400 --> 00:46:09,600
Speaker 2: a Tales from the Crypt episode in ninety one called

898
00:46:09,640 --> 00:46:12,000
Speaker 2: The Trap. As you pointed out, he was in My

899
00:46:12,120 --> 00:46:15,240
Speaker 2: Cousin Vinnie in ninety two, eighteen episodes of the original

900
00:46:15,360 --> 00:46:18,880
Speaker 2: mcguiver series, Exit Wounds in two thousand and one, he

901
00:46:19,040 --> 00:46:21,520
Speaker 2: was in Lincoln in twenty twelve, and he's still active.

902
00:46:21,719 --> 00:46:21,919
Speaker 4: Wait.

903
00:46:22,040 --> 00:46:23,919
Speaker 3: I just had to look it up to make sure.

904
00:46:24,000 --> 00:46:26,960
Speaker 3: Exit Wounds is the movie with Steven Segal and DMX.

905
00:46:27,640 --> 00:46:32,759
Speaker 2: Yes, yes, so hm. That was a fun production to

906
00:46:32,800 --> 00:46:37,760
Speaker 2: work on. I wonder, all right, we also have Gloria

907
00:46:37,840 --> 00:46:41,640
Speaker 2: Rubin in this, playing Fielding another time cop. Ruben was

908
00:46:41,680 --> 00:46:44,120
Speaker 2: born in sixty four. Largely a TV actor prior to this,

909
00:46:44,239 --> 00:46:46,279
Speaker 2: but afterwards she pops up in films such as ninety

910
00:46:46,320 --> 00:46:49,400
Speaker 2: five's Nick of Time, Lincoln in twenty twelve again the

911
00:46:49,480 --> 00:46:53,040
Speaker 2: remake of Firestarter from twenty twenty two. Her TV credits

912
00:46:53,040 --> 00:46:56,360
Speaker 2: include such shows as Homicide, Life on the Street, Falling Skies,

913
00:46:56,480 --> 00:46:58,240
Speaker 2: The Blacklist, and Mister Robot.

914
00:47:00,000 --> 00:47:01,879
Speaker 3: I thought she was good and I was actually really

915
00:47:01,960 --> 00:47:06,400
Speaker 3: disappointed when her character betrays John Claude Van Dam and

916
00:47:07,160 --> 00:47:09,320
Speaker 3: reveals herself to be working for the villain. And I

917
00:47:09,440 --> 00:47:11,440
Speaker 3: was almost shouting no with the TV.

918
00:47:12,160 --> 00:47:14,440
Speaker 2: Yeah yeah, but we find out, I mean, there are

919
00:47:14,440 --> 00:47:17,040
Speaker 2: reasons for her betrayal, and really, I mean, she's kind

920
00:47:17,080 --> 00:47:19,040
Speaker 2: of one of the more interesting side characters in the

921
00:47:19,120 --> 00:47:21,520
Speaker 2: film that I kind of wanted to see more from.

922
00:47:21,600 --> 00:47:22,920
Speaker 2: I kind of this is the kind of character that

923
00:47:23,440 --> 00:47:25,320
Speaker 2: you could have, you know, at least from a narrative

924
00:47:25,320 --> 00:47:28,560
Speaker 2: standpoint and plotting standpoint, you could have used to carry

925
00:47:28,600 --> 00:47:30,200
Speaker 2: a sequel or a TV series.

926
00:47:30,560 --> 00:47:33,839
Speaker 3: I agree. It's also a shame when after her little

927
00:47:34,160 --> 00:47:37,800
Speaker 3: minor redemption arc she she gets murdered by the time goons.

928
00:47:37,840 --> 00:47:39,560
Speaker 3: I feel like I wish she could have sort of

929
00:47:39,640 --> 00:47:41,880
Speaker 3: buttied up with John Claude for the end.

930
00:47:42,320 --> 00:47:44,360
Speaker 2: Yeah, that would have been good, all right, if you

931
00:47:44,520 --> 00:47:46,719
Speaker 2: just a couple of other really actors of note here.

932
00:47:46,920 --> 00:47:50,640
Speaker 2: Scott Lawrence plays the character George Spotta. Is it Spota

933
00:47:50,719 --> 00:47:52,480
Speaker 2: or Spoda? I can't remember what they said. I think

934
00:47:52,520 --> 00:47:56,080
Speaker 2: they call him Spoda Spoda all right, he's a yeah,

935
00:47:56,160 --> 00:47:59,360
Speaker 2: he's a government man. I forget what department he's with.

936
00:47:59,680 --> 00:48:02,360
Speaker 3: I know if they even say he gives like classified

937
00:48:02,440 --> 00:48:04,600
Speaker 3: briefings to they Senate Oversight Committee.

938
00:48:05,080 --> 00:48:07,080
Speaker 2: Yeah, that's really his only role in the film. As

939
00:48:07,120 --> 00:48:09,719
Speaker 2: he comes in all smooth, he lays out the time

940
00:48:09,760 --> 00:48:13,360
Speaker 2: travel exposition, and then he's gone. Maybe McCombe had him erased,

941
00:48:13,600 --> 00:48:16,719
Speaker 2: but maybe they don't even suggest that, but it's as

942
00:48:16,760 --> 00:48:21,160
Speaker 2: if he was erased because he never shows up again. Now,

943
00:48:21,200 --> 00:48:22,960
Speaker 2: the interesting thing about Laurence if you look him up,

944
00:48:22,960 --> 00:48:24,759
Speaker 2: you see a picture of him. He has a distinctive look,

945
00:48:24,920 --> 00:48:27,640
Speaker 2: so you've probably seen him in stuff before. I know

946
00:48:27,719 --> 00:48:30,880
Speaker 2: i'd seen him in some things. But if you have

947
00:48:31,080 --> 00:48:34,560
Speaker 2: played pretty much a Star Wars video game ever, certainly

948
00:48:34,600 --> 00:48:37,680
Speaker 2: since nineteen ninety four, then you have heard him because

949
00:48:37,719 --> 00:48:40,800
Speaker 2: he's been the go to voice actor for Darth Vader

950
00:48:41,400 --> 00:48:44,480
Speaker 2: in everything that has come out since Star Wars tie

951
00:48:44,520 --> 00:48:45,440
Speaker 2: Fighter in ninety four.

952
00:48:46,200 --> 00:48:49,600
Speaker 3: Really did he do Darth Vader in Jedi Fallen Order?

953
00:48:49,880 --> 00:48:50,200
Speaker 4: He did?

954
00:48:50,400 --> 00:48:53,000
Speaker 3: Yep, Oh okay, I did not realize it was the

955
00:48:53,040 --> 00:48:53,520
Speaker 3: same guy.

956
00:48:54,120 --> 00:48:55,040
Speaker 4: Yeah, I thought.

957
00:48:55,360 --> 00:48:57,719
Speaker 2: I thought he was really good played through that game

958
00:48:57,800 --> 00:49:02,239
Speaker 2: and I loved it. So, yeah, solid Darth Vader from

959
00:49:02,320 --> 00:49:05,719
Speaker 2: this guy. Now as an actor, non voice actor, his

960
00:49:05,840 --> 00:49:07,719
Speaker 2: credits go all the way back to bit parts on

961
00:49:07,880 --> 00:49:11,000
Speaker 2: Murder She Road and New Heart, La Law, Murphy Brown

962
00:49:11,600 --> 00:49:14,200
Speaker 2: and so forth in the late eighties. But you'll probably

963
00:49:14,480 --> 00:49:17,520
Speaker 2: more likely to recognize him from two thousand and nine's Avatar.

964
00:49:17,560 --> 00:49:19,759
Speaker 2: I believe he plays a soldier in that. And he

965
00:49:20,120 --> 00:49:22,640
Speaker 2: was also a long running character on the TV show

966
00:49:22,760 --> 00:49:24,319
Speaker 2: Jag Jag.

967
00:49:24,520 --> 00:49:26,080
Speaker 3: That's one of those shows you see a lot of

968
00:49:26,160 --> 00:49:28,000
Speaker 3: credits linking there, but I've never seen.

969
00:49:27,880 --> 00:49:29,680
Speaker 2: It, all right, And then finally, the music in this

970
00:49:29,800 --> 00:49:33,839
Speaker 2: film is the work of Mark Isham born nineteen fifty one.

971
00:49:34,239 --> 00:49:37,080
Speaker 2: We've talked about him before. Electronic music pioneer turned highly

972
00:49:37,120 --> 00:49:40,400
Speaker 2: prolific film score composer, skilled on both the trumpet and

973
00:49:40,520 --> 00:49:43,960
Speaker 2: the synth. His early solo music is especially notable. I

974
00:49:44,000 --> 00:49:46,040
Speaker 2: went back and was listening to some of it while

975
00:49:46,040 --> 00:49:48,319
Speaker 2: I was working on notes here, and it's pretty good,

976
00:49:48,400 --> 00:49:51,239
Speaker 2: like some of his I think. His nineteen eighty three

977
00:49:51,280 --> 00:49:55,279
Speaker 2: album Vapor Drawings was released on Wyndham Hill, known for

978
00:49:55,600 --> 00:49:58,600
Speaker 2: putting out a lot of especially ambient electronic music back

979
00:49:58,640 --> 00:50:01,319
Speaker 2: in the day, his work has been held up as

980
00:50:01,320 --> 00:50:05,640
Speaker 2: an inspiration by specifically Boards of Canada. And Yeah, all

981
00:50:05,680 --> 00:50:08,720
Speaker 2: that being said, I can't say this score really impressed

982
00:50:08,760 --> 00:50:11,160
Speaker 2: me beyond like I guess, just doing what a score

983
00:50:11,280 --> 00:50:16,120
Speaker 2: needs to do, but you know, still it gets the

984
00:50:16,239 --> 00:50:19,360
Speaker 2: job done. He also scored the film Blade, which we

985
00:50:19,440 --> 00:50:21,879
Speaker 2: previously discussed on Weird House, which definitely had some nice

986
00:50:21,960 --> 00:50:23,000
Speaker 2: meditative tracks on it.

987
00:50:23,280 --> 00:50:26,320
Speaker 3: I don't really remember the music in Timecop except for

988
00:50:26,520 --> 00:50:28,640
Speaker 3: the music from Aliens and the trailer.

989
00:50:29,680 --> 00:50:29,879
Speaker 4: Yeah.

990
00:50:30,040 --> 00:50:31,919
Speaker 2: Yeah, So, like I said, it gets the job done

991
00:50:31,960 --> 00:50:34,440
Speaker 2: and that's good, but it doesn't really stand out to

992
00:50:34,520 --> 00:50:35,080
Speaker 2: me beyond that.

993
00:50:35,600 --> 00:50:37,040
Speaker 3: All right, you ready talked about the plot.

994
00:50:37,800 --> 00:50:38,239
Speaker 4: Let's do it.

995
00:50:38,960 --> 00:50:42,480
Speaker 3: This movie has a historical cold open. We are told,

996
00:50:42,760 --> 00:50:46,319
Speaker 3: little Chyron says Gainesville, Georgia, eighteen sixty three.

997
00:50:47,160 --> 00:50:49,360
Speaker 2: Yeah, this is filmed in Canada, of course, but the

998
00:50:49,560 --> 00:50:53,040
Speaker 2: setting is only an hour's drive from where we are

999
00:50:53,160 --> 00:50:56,040
Speaker 2: right now. But it's also one hundred and sixty years

1000
00:50:56,160 --> 00:50:58,680
Speaker 2: from where we are right now, so take that for

1001
00:50:58,760 --> 00:50:59,200
Speaker 2: what it's worth.

1002
00:50:59,600 --> 00:51:02,239
Speaker 3: Yeah, And of course historical setting means this would be

1003
00:51:02,280 --> 00:51:05,600
Speaker 3: in the middle of the US Civil War inside Confederate territory.

1004
00:51:06,760 --> 00:51:10,440
Speaker 3: So Confederate soldiers are on horseback. They're clopping along through

1005
00:51:10,560 --> 00:51:13,200
Speaker 3: the mud and the rain. They are drawing a wagon

1006
00:51:13,320 --> 00:51:15,960
Speaker 3: behind them. They come across a creepy guy with a

1007
00:51:16,040 --> 00:51:18,560
Speaker 3: missing tooth standing in the middle of the road, and

1008
00:51:18,680 --> 00:51:22,200
Speaker 3: he tells them he knows they're transporting a shipment of

1009
00:51:22,280 --> 00:51:25,040
Speaker 3: gold bullion to General Lee. He says they need to

1010
00:51:25,120 --> 00:51:29,320
Speaker 3: give him the gold and the soldiers. They keep referring

1011
00:51:29,360 --> 00:51:31,920
Speaker 3: to him as a single guy as y'all, and I

1012
00:51:32,040 --> 00:51:34,520
Speaker 3: was like, is that a historically based thing? I was

1013
00:51:34,560 --> 00:51:38,279
Speaker 3: looking up singular usage of y'all. I found some references

1014
00:51:38,360 --> 00:51:40,640
Speaker 3: to it, but I don't know if that was intentional.

1015
00:51:40,719 --> 00:51:43,719
Speaker 3: That might just be a bit of confusion there real quick.

1016
00:51:43,840 --> 00:51:48,520
Speaker 2: This particular actor playing the stranger is Callum Keith Rennie

1017
00:51:48,800 --> 00:51:52,239
Speaker 2: for nineteen sixty. This is pretty early in his career,

1018
00:51:52,320 --> 00:51:54,040
Speaker 2: but he went on to work a lot on TV,

1019
00:51:54,640 --> 00:51:58,879
Speaker 2: especially Canadian series. So if this guy looks familiar, that's

1020
00:51:58,920 --> 00:52:00,560
Speaker 2: why you've probably seen in something.

1021
00:52:00,920 --> 00:52:02,480
Speaker 3: He did kind of look familiar to me, but I

1022
00:52:02,480 --> 00:52:04,799
Speaker 3: couldn't have said from what. But I mainly just kept

1023
00:52:04,880 --> 00:52:08,880
Speaker 3: noticing his missing tooth, which is he's kind of whistling

1024
00:52:08,960 --> 00:52:11,280
Speaker 3: through it while he's saying, give me the gold. Anyway.

1025
00:52:11,360 --> 00:52:12,960
Speaker 3: They won't do it. They say, no, you don't get

1026
00:52:12,960 --> 00:52:15,520
Speaker 3: the gold. So he opens up his coat and reveals

1027
00:52:15,800 --> 00:52:19,600
Speaker 3: double laser sighted machine guns from the future and blasts

1028
00:52:19,640 --> 00:52:24,000
Speaker 3: all the soldiers. And so this might cause one to wonder, oh,

1029
00:52:24,120 --> 00:52:26,160
Speaker 3: what kind of direction is this movie going in? Is

1030
00:52:26,280 --> 00:52:29,239
Speaker 3: this like the well worn thought experiment, would you go

1031
00:52:29,360 --> 00:52:31,840
Speaker 3: back in time and kill Hitler before he came to power?

1032
00:52:32,200 --> 00:52:34,480
Speaker 3: That this could be a similar thought experiment, would you

1033
00:52:34,600 --> 00:52:37,520
Speaker 3: economically cripple the Confederacy to cause them to lose the

1034
00:52:37,560 --> 00:52:40,759
Speaker 3: war earlier? But no, that is not what's going on here.

1035
00:52:40,840 --> 00:52:44,719
Speaker 3: The chronopirates in time cop are They're not concerned with

1036
00:52:44,880 --> 00:52:48,120
Speaker 3: disabling Nazi Germany or the CSA. They are after the money.

1037
00:52:48,239 --> 00:52:49,040
Speaker 3: They want the gold.

1038
00:52:49,480 --> 00:52:51,360
Speaker 2: Now they don't bring this up at all, But I

1039
00:52:51,520 --> 00:52:55,279
Speaker 2: wonder if this is how the time criminals rationalize things

1040
00:52:55,320 --> 00:52:57,840
Speaker 2: at first. In the same way that the bonejackers and

1041
00:52:57,960 --> 00:53:00,680
Speaker 2: free jack steal the bodies of people who are about

1042
00:53:00,760 --> 00:53:04,120
Speaker 2: to die in the past, these criminals at least initially

1043
00:53:04,200 --> 00:53:08,160
Speaker 2: target the funds of historically losing sides and conflicts. You know,

1044
00:53:08,800 --> 00:53:11,200
Speaker 2: so it's not actually, you know, it's not paradox free

1045
00:53:11,360 --> 00:53:14,919
Speaker 2: by any stretch of the imagination. But golden treasure often

1046
00:53:15,040 --> 00:53:18,520
Speaker 2: vanished during these tense periods in history. So you can

1047
00:53:18,640 --> 00:53:21,640
Speaker 2: imagine the time criminals being like, all right, well, nobody's

1048
00:53:21,640 --> 00:53:23,520
Speaker 2: going to miss that amber room if we go back

1049
00:53:23,560 --> 00:53:24,160
Speaker 2: and snatch it.

1050
00:53:24,400 --> 00:53:26,399
Speaker 3: That kind of logic could well be in play. Yeah,

1051
00:53:26,520 --> 00:53:29,400
Speaker 3: but we don't ever get that full explanation. So we

1052
00:53:29,560 --> 00:53:31,879
Speaker 3: jump forward in time, like one hundred and thirty years

1053
00:53:32,040 --> 00:53:34,200
Speaker 3: and see a shot of the Capitol Building. Always love

1054
00:53:34,239 --> 00:53:36,120
Speaker 3: a shot of the Capitol Building in a movie to

1055
00:53:36,160 --> 00:53:38,319
Speaker 3: let us know we're in Washington, d C. And it's

1056
00:53:38,360 --> 00:53:40,520
Speaker 3: got to be accompanied to buy a little title that

1057
00:53:40,640 --> 00:53:44,279
Speaker 3: says Washington, DC. But now we know it's nineteen ninety

1058
00:53:44,280 --> 00:53:48,319
Speaker 3: four and it says here's the Senate Oversite Committee covert operations.

1059
00:53:49,520 --> 00:53:52,000
Speaker 3: So the Senate Oversite Committee here gets a secret briefing

1060
00:53:52,400 --> 00:53:54,719
Speaker 3: in which they are told the following. Number one, a

1061
00:53:54,840 --> 00:53:58,000
Speaker 3: time machine has been invented by a scientist on our payroll.

1062
00:53:58,800 --> 00:54:00,960
Speaker 3: Number two, you can't go to the future. You can

1063
00:54:01,040 --> 00:54:03,960
Speaker 3: only go back to the past, and we will later

1064
00:54:04,120 --> 00:54:07,680
Speaker 3: learn you can return to the present moment from which

1065
00:54:07,719 --> 00:54:11,080
Speaker 3: you came. Number three. This technology is dangerous and it

1066
00:54:11,120 --> 00:54:13,719
Speaker 3: should never be used. If you go back into the

1067
00:54:13,800 --> 00:54:18,680
Speaker 3: past and make changes, it could have unpredictable catastrophic consequences

1068
00:54:18,719 --> 00:54:21,120
Speaker 3: for the future and for this reason, you can't do

1069
00:54:21,480 --> 00:54:24,120
Speaker 3: like you can't go back and kill Hitler number four

1070
00:54:24,640 --> 00:54:28,000
Speaker 3: because it's so dangerous. We need to create some new

1071
00:54:28,200 --> 00:54:34,080
Speaker 3: type of cop, some kind of time cop. And literally

1072
00:54:34,160 --> 00:54:36,680
Speaker 3: they say we need to create something called a Time

1073
00:54:36,960 --> 00:54:42,239
Speaker 3: Enforcement Commission to police time itself and prevent dangerous unauthorized

1074
00:54:42,320 --> 00:54:46,839
Speaker 3: use of time travel. Now this immediately raises big questions like, wait,

1075
00:54:47,080 --> 00:54:50,600
Speaker 3: what is the authorized use of time travel? A government

1076
00:54:50,680 --> 00:54:53,680
Speaker 3: scientists just invented time travel, and as far as I

1077
00:54:53,719 --> 00:54:57,320
Speaker 3: can tell, the only time travel that is then permitted

1078
00:54:57,880 --> 00:54:59,880
Speaker 3: is to go back in time and stop other pe

1079
00:55:00,000 --> 00:55:01,640
Speaker 3: people from changing the past.

1080
00:55:02,200 --> 00:55:03,960
Speaker 2: Yeah, I guess so. I mean, otherwise, the only thing

1081
00:55:04,000 --> 00:55:06,360
Speaker 2: I can think of is historical research. You want to

1082
00:55:06,440 --> 00:55:09,560
Speaker 2: go back and see what actually happened at pivotal points

1083
00:55:09,560 --> 00:55:12,960
Speaker 2: in history and get a you know, unbiased view of

1084
00:55:13,080 --> 00:55:15,640
Speaker 2: what occurred. Or it's just purely tourism. I don't know,

1085
00:55:15,719 --> 00:55:17,960
Speaker 2: Like pick any historic moment in the past, you go

1086
00:55:18,040 --> 00:55:19,440
Speaker 2: back and you just watch it as a tourist.

1087
00:55:19,880 --> 00:55:22,560
Speaker 3: You want to see the Sphinx before the face decayed.

1088
00:55:23,120 --> 00:55:25,040
Speaker 2: Yeah, yeah, stuff like that. You want to see like

1089
00:55:25,200 --> 00:55:27,879
Speaker 2: all of the wonders of the ancient world back when

1090
00:55:27,920 --> 00:55:30,439
Speaker 2: they were still standing. You know, I guess that could

1091
00:55:30,480 --> 00:55:33,919
Speaker 2: make sense, But of course we know that it would

1092
00:55:33,960 --> 00:55:36,040
Speaker 2: never work out like that. I mean, we all know

1093
00:55:36,360 --> 00:55:39,480
Speaker 2: the about the butterfly effect, we know about the sound

1094
00:55:39,560 --> 00:55:42,080
Speaker 2: of thunder and Ray Bradbury's stories. We know about Homer

1095
00:55:42,160 --> 00:55:46,279
Speaker 2: Simpson stepping on dinosaurs. So any of these ideas would

1096
00:55:46,400 --> 00:55:50,240
Speaker 2: inevitably lead to chaos and paradox, or at least paradox.

1097
00:55:50,880 --> 00:55:53,640
Speaker 3: But despite this knowledge, it doesn't stop them from getting

1098
00:55:53,640 --> 00:55:55,560
Speaker 3: into trouble. You know what, you dad your hands in

1099
00:55:55,600 --> 00:55:59,480
Speaker 3: the toaster again. It just keeps happening. So this scene

1100
00:55:59,520 --> 00:56:02,880
Speaker 3: includes a few bits more of of plot set up,

1101
00:56:02,960 --> 00:56:05,600
Speaker 3: and we see them tap Bruce McGill playing a character

1102
00:56:05,680 --> 00:56:11,120
Speaker 3: named Matushak to head up the Tec let's see oh,

1103
00:56:11,239 --> 00:56:13,360
Speaker 3: And they say that they they've got proof that they

1104
00:56:13,480 --> 00:56:16,040
Speaker 3: need these time cops, and they cite the fact that

1105
00:56:16,280 --> 00:56:19,920
Speaker 3: terrorists have been purchasing weapons with the use of Confederate

1106
00:56:20,040 --> 00:56:23,479
Speaker 3: gold stolen from the past, and the agent here says,

1107
00:56:23,560 --> 00:56:25,560
Speaker 3: we had it carbon dated and it's real.

1108
00:56:27,560 --> 00:56:30,000
Speaker 2: I feel like another direction they could have gone in

1109
00:56:30,120 --> 00:56:31,520
Speaker 2: with this film is they could have had a great

1110
00:56:31,600 --> 00:56:34,960
Speaker 2: split second esque buddy cop structure where one cop is

1111
00:56:35,000 --> 00:56:37,839
Speaker 2: an historian who's always on about how he can't cause

1112
00:56:37,880 --> 00:56:40,000
Speaker 2: ripples in the time stream, and the other is just

1113
00:56:40,040 --> 00:56:41,680
Speaker 2: all about busting heads in the past.

1114
00:56:42,120 --> 00:56:45,200
Speaker 3: Yeah, well boy, But which one would John club Vandam

1115
00:56:45,320 --> 00:56:47,359
Speaker 3: be the nerd or the Harley Stone guy?

1116
00:56:48,120 --> 00:56:49,759
Speaker 2: I mean, that's the thing. Jean Clave van Dam is

1117
00:56:49,840 --> 00:56:53,560
Speaker 2: kind of both in this. He's he's very he's very lawful,

1118
00:56:53,680 --> 00:56:57,680
Speaker 2: good until the fight starts, and then he's just brutal.

1119
00:56:57,719 --> 00:56:58,040
Speaker 4: I don't know.

1120
00:56:58,120 --> 00:56:59,720
Speaker 2: I mean, I guess these you can still be brutal

1121
00:56:59,760 --> 00:57:03,000
Speaker 2: in good in a D and D scenario, but once

1122
00:57:03,040 --> 00:57:06,600
Speaker 2: he starts fighting, you know, your your DM may ask

1123
00:57:06,719 --> 00:57:09,560
Speaker 2: for some sort of a check on your on what

1124
00:57:09,640 --> 00:57:10,800
Speaker 2: your alignment actually is.

1125
00:57:11,440 --> 00:57:13,520
Speaker 3: By the way, when I was thinking about this, I

1126
00:57:14,080 --> 00:57:16,560
Speaker 3: was trying to remember the name of the Rutger Howard character.

1127
00:57:16,640 --> 00:57:19,720
Speaker 3: In split second, it is Harley Stone. I remembered it, right,

1128
00:57:19,800 --> 00:57:21,880
Speaker 3: But when I looked that up to confirm, I discovered

1129
00:57:21,920 --> 00:57:24,360
Speaker 3: this is also the pen name of what appears to

1130
00:57:24,440 --> 00:57:26,800
Speaker 3: be an author of erotic motorcycle books.

1131
00:57:27,440 --> 00:57:29,120
Speaker 2: Okay, I mean it's a good name for that too,

1132
00:57:29,360 --> 00:57:32,520
Speaker 2: all right. So they have a new government body to

1133
00:57:32,680 --> 00:57:35,960
Speaker 2: govern time travel. They bring in a guy who used

1134
00:57:35,960 --> 00:57:38,280
Speaker 2: to run the DC Police force to run it, because

1135
00:57:38,320 --> 00:57:41,640
Speaker 2: that makes sense. But who's gonna head up oversight over

1136
00:57:41,720 --> 00:57:42,200
Speaker 2: this program?

1137
00:57:42,560 --> 00:57:46,480
Speaker 3: Good question. A grinning ron silver in the corner casually

1138
00:57:46,560 --> 00:57:48,840
Speaker 3: offers to do it. Yes, yes, I will accept this

1139
00:57:48,920 --> 00:57:53,840
Speaker 3: godlike power. Sure, And this is Senator Aaron McCombe. Let's

1140
00:57:53,920 --> 00:57:56,560
Speaker 3: cut to somewhere else. Next we go to a shopping

1141
00:57:56,680 --> 00:57:58,600
Speaker 3: mall nineteen ninety four. I guess that's supposed to be

1142
00:57:58,640 --> 00:58:01,920
Speaker 3: a shopping mall in the wash In DC area. And

1143
00:58:02,120 --> 00:58:06,200
Speaker 3: what can we say to describe this glorious, beautiful setting.

1144
00:58:06,360 --> 00:58:08,760
Speaker 3: There's like an A and W, a bunch of Kiosk

1145
00:58:09,000 --> 00:58:13,480
Speaker 3: selling what looked like Christmas decorations. There are big camera

1146
00:58:13,600 --> 00:58:16,680
Speaker 3: facing advertisements for Nissan and other things.

1147
00:58:17,080 --> 00:58:20,120
Speaker 2: Yeah, presumably this is a Canadian mall, because I think

1148
00:58:20,520 --> 00:58:24,040
Speaker 2: everything was filmed in Canada. But the interiors are great.

1149
00:58:24,280 --> 00:58:27,720
Speaker 2: I did not see a sign for hot pogos aka

1150
00:58:28,000 --> 00:58:30,240
Speaker 2: corn dogs, so I was a little disappointed in that.

1151
00:58:30,360 --> 00:58:33,720
Speaker 2: But otherwise, it's a great mall environment that we find

1152
00:58:33,760 --> 00:58:36,080
Speaker 2: our characters running around in. And we encounter a little

1153
00:58:36,080 --> 00:58:38,680
Speaker 2: bit of John claud van dam mall vigilanteism.

1154
00:58:39,080 --> 00:58:45,200
Speaker 3: Wait what if this was the same mall as scanners anyway, Yes, yeah, yeah,

1155
00:58:45,240 --> 00:58:48,120
Speaker 3: so there's vigilantiism. Wait, but before we get to that. Okay,

1156
00:58:48,200 --> 00:58:50,520
Speaker 3: So there's a flirting meet up between Jehan Claud van

1157
00:58:50,600 --> 00:58:55,640
Speaker 3: Dam playing police officer Max Walker and Mia Sarah playing

1158
00:58:55,720 --> 00:58:59,000
Speaker 3: his wife Melissa, and they I don't know, they meet

1159
00:58:59,040 --> 00:59:00,880
Speaker 3: each other. It's like, oh, hi, I would be nice

1160
00:59:00,880 --> 00:59:01,720
Speaker 3: if I was married to you.

1161
00:59:01,840 --> 00:59:04,720
Speaker 2: Good thing, I am, Yeah, And she makes a crack

1162
00:59:04,760 --> 00:59:07,840
Speaker 2: about his english and he's likely it's okay, I know

1163
00:59:07,880 --> 00:59:10,760
Speaker 2: all the best words. And then he leans in and

1164
00:59:10,760 --> 00:59:13,360
Speaker 2: whispers something in her ear and she giggles. And I

1165
00:59:13,400 --> 00:59:15,920
Speaker 2: spent way too much time running through the possibilities of

1166
00:59:15,960 --> 00:59:18,640
Speaker 2: what words he could have possibly whispered to her. And

1167
00:59:18,760 --> 00:59:22,680
Speaker 2: there are no not dumb choices. They're all ridiculous.

1168
00:59:23,000 --> 00:59:24,760
Speaker 3: I assumed he said a bad word.

1169
00:59:25,200 --> 00:59:27,840
Speaker 2: Yeah, but even like which one if you start actually

1170
00:59:28,080 --> 00:59:31,360
Speaker 2: like like framing it out and thinking about it, all

1171
00:59:31,440 --> 00:59:35,000
Speaker 2: dumb choices. There's there's no suave move. I'm glad. I'm

1172
00:59:35,000 --> 00:59:36,120
Speaker 2: glad we didn't hear him say it.

1173
00:59:36,200 --> 00:59:36,840
Speaker 4: Whatever it was.

1174
00:59:37,160 --> 00:59:39,160
Speaker 3: Anyway, she's asking, oh, are you going to take that

1175
00:59:39,240 --> 00:59:41,959
Speaker 3: new job with the Time Enforcement Commission, and he goes,

1176
00:59:42,080 --> 00:59:43,680
Speaker 3: I don't bake cookies for a living.

1177
00:59:44,920 --> 00:59:47,280
Speaker 2: Okay, it doesn't make sense, but okay, yeah, but.

1178
00:59:47,440 --> 00:59:50,520
Speaker 3: Oh so there's there's a mugging. Sorry you mentioned this.

1179
00:59:50,640 --> 00:59:57,560
Speaker 3: There's a mugging. A dorky looking dude wearing rectangular sunglasses indoors,

1180
00:59:58,080 --> 01:00:01,480
Speaker 3: a red bandana on his head, a red and white

1181
01:00:01,760 --> 01:00:06,480
Speaker 3: plaid long sleeve polo shirt with the sleeves rolled up

1182
01:00:06,680 --> 01:00:09,880
Speaker 3: just a bit to reveal that underneath the plaid polo

1183
01:00:09,960 --> 01:00:12,680
Speaker 3: shirt he is wearing a long sleeve white T shirt,

1184
01:00:13,160 --> 01:00:16,400
Speaker 3: all of it tucked into jeans, with a belt with

1185
01:00:16,560 --> 01:00:20,960
Speaker 3: a wallet chain on, rollerblades with neon green laces, and

1186
01:00:21,080 --> 01:00:24,040
Speaker 3: he rolls by and snatches an old lady's purse.

1187
01:00:26,040 --> 01:00:26,240
Speaker 4: Yeah.

1188
01:00:26,320 --> 01:00:28,920
Speaker 2: I love this obviously like forty year old punk kid

1189
01:00:29,120 --> 01:00:31,760
Speaker 2: that they encounter here. And at first I was thinking, oh,

1190
01:00:31,880 --> 01:00:33,960
Speaker 2: this is probably a stunt player. So you know the

1191
01:00:34,240 --> 01:00:36,480
Speaker 2: stunt players, you know, they look like what they look like,

1192
01:00:36,560 --> 01:00:40,040
Speaker 2: and you know. But but I look this guy up

1193
01:00:40,080 --> 01:00:42,600
Speaker 2: and I think he has like Shakespearean credits in his background.

1194
01:00:42,720 --> 01:00:44,800
Speaker 2: So I don't know all this casting came together.

1195
01:00:44,880 --> 01:00:46,880
Speaker 3: But he's got some good stories from the set of

1196
01:00:47,040 --> 01:00:47,560
Speaker 3: Time Cop.

1197
01:00:48,080 --> 01:00:50,320
Speaker 2: Yeah, at any rate, does not look like a punk

1198
01:00:50,440 --> 01:00:53,400
Speaker 2: kid who should be snatching purses in a nineties mall.

1199
01:00:53,600 --> 01:00:56,280
Speaker 3: Jean Claude van Dam stops him with like the sole

1200
01:00:56,520 --> 01:00:59,160
Speaker 3: of his boot to his face. Like he doesn't kick him,

1201
01:00:59,160 --> 01:01:02,200
Speaker 3: but he like does a kick pose with his leg

1202
01:01:02,360 --> 01:01:05,200
Speaker 3: up at like a you know, a one hundred degree angle.

1203
01:01:05,280 --> 01:01:09,880
Speaker 3: It's like way up there the boot facing the mugging guy.

1204
01:01:10,320 --> 01:01:12,960
Speaker 3: He screeches to a halt on his rollerblades and then

1205
01:01:13,000 --> 01:01:15,280
Speaker 3: he's like, read the soul of my boot, and he

1206
01:01:15,400 --> 01:01:19,280
Speaker 3: reads Wolverine and then anyway, so he like scares the

1207
01:01:19,320 --> 01:01:21,920
Speaker 3: guy into giving the purse back. So I think we're

1208
01:01:21,920 --> 01:01:24,640
Speaker 3: supposed to take from this. Oh wow, he's a really

1209
01:01:24,720 --> 01:01:26,560
Speaker 3: tough cop. He's a really cool guy.

1210
01:01:26,960 --> 01:01:29,360
Speaker 2: And very lawful. Like you see something bad going on,

1211
01:01:29,520 --> 01:01:31,160
Speaker 2: he's gonna jump in there and fix things.

1212
01:01:39,640 --> 01:01:42,320
Speaker 3: So at some point while at the mall, Max glances

1213
01:01:42,480 --> 01:01:45,960
Speaker 3: up at the mezzanine above them, and he sees a

1214
01:01:46,040 --> 01:01:49,680
Speaker 3: couple of weird looking dudes staring down at him. These

1215
01:01:49,920 --> 01:01:53,840
Speaker 3: are going to be recurring characters. These are future time goons.

1216
01:01:53,920 --> 01:01:56,960
Speaker 3: But honestly, the best way I could describe them is

1217
01:01:57,160 --> 01:01:59,880
Speaker 3: that they remind me of the early nineties wrestling duo

1218
01:02:00,080 --> 01:02:01,320
Speaker 3: with the Nasty Boys.

1219
01:02:02,240 --> 01:02:04,400
Speaker 2: You're absolutely right on this. I think this is something.

1220
01:02:04,440 --> 01:02:05,800
Speaker 2: I didn't think of this while I was watching it,

1221
01:02:05,880 --> 01:02:09,160
Speaker 2: but something was like sparking in my brain, and yeah,

1222
01:02:09,640 --> 01:02:14,320
Speaker 2: strong nasty boy vibes to these time goons. Timegons very

1223
01:02:14,360 --> 01:02:16,800
Speaker 2: much in the spirit of the two Timegoons from Highlander two,

1224
01:02:17,200 --> 01:02:21,200
Speaker 2: only less extreme, like not that like obviously from the future.

1225
01:02:21,520 --> 01:02:24,680
Speaker 2: These guys are blending in a little bit. I didn't

1226
01:02:24,720 --> 01:02:26,919
Speaker 2: mark the players earlier, but I think the main ones

1227
01:02:26,960 --> 01:02:30,400
Speaker 2: we see are Canadian stunt men Brent Woosey and Steven Lambert.

1228
01:02:30,760 --> 01:02:34,320
Speaker 3: Excellent timegoons. I love them, but as soon as Jean

1229
01:02:34,360 --> 01:02:37,880
Speaker 3: Claude van Dam glances back, they're gone quick. Note at

1230
01:02:37,920 --> 01:02:40,280
Speaker 3: the mall, the music they're playing you might not have caught.

1231
01:02:40,320 --> 01:02:44,320
Speaker 3: This is the band Chicago's nineteen seventy single Does anybody

1232
01:02:44,440 --> 01:02:45,760
Speaker 3: really know what time it is?

1233
01:02:46,640 --> 01:02:47,320
Speaker 4: Huh? Nice?

1234
01:02:48,160 --> 01:02:52,200
Speaker 3: Anyway, Max and Melissa they go back home for some romance,

1235
01:02:52,400 --> 01:02:55,040
Speaker 3: and then Max gets a phone call saying he has

1236
01:02:55,120 --> 01:02:58,040
Speaker 3: to go out on some kind of police business and

1237
01:02:58,200 --> 01:03:01,240
Speaker 3: Melissa has something important to tell him him. What could

1238
01:03:01,280 --> 01:03:03,640
Speaker 3: it be? But we'll we will have to wait until

1239
01:03:03,680 --> 01:03:07,000
Speaker 3: he gets back. Unfortunately, that won't happen because he As

1240
01:03:07,080 --> 01:03:09,760
Speaker 3: he heads out the front door, they are suddenly attacked

1241
01:03:09,800 --> 01:03:13,200
Speaker 3: again by the science fiction punks, including the Nasty Boys

1242
01:03:13,360 --> 01:03:16,280
Speaker 3: and just guys who generally look like Krang's body in

1243
01:03:16,360 --> 01:03:17,080
Speaker 3: a trench coat.

1244
01:03:17,680 --> 01:03:21,600
Speaker 2: Yeah, yeah, again, I think these are all stunt players,

1245
01:03:22,120 --> 01:03:24,560
Speaker 2: but they're out. They all look tough and or cruel.

1246
01:03:25,280 --> 01:03:27,640
Speaker 2: Even the guys who aren't his brawny have a real

1247
01:03:27,760 --> 01:03:30,280
Speaker 2: kind of like lean and hungry look to them. So

1248
01:03:30,960 --> 01:03:33,360
Speaker 2: I bought all the all the time goods we encounter

1249
01:03:33,480 --> 01:03:33,959
Speaker 2: in this movie.

1250
01:03:34,360 --> 01:03:36,800
Speaker 3: So I think you're supposed to wonder, who are these guys, why,

1251
01:03:37,120 --> 01:03:40,640
Speaker 3: why are they Why is this couple being attacked? We don't,

1252
01:03:40,720 --> 01:03:42,960
Speaker 3: We are not to know for now. But Max is

1253
01:03:43,040 --> 01:03:45,919
Speaker 3: shot and left for dead outside, But then it turns

1254
01:03:45,960 --> 01:03:48,160
Speaker 3: out he was wearing body armor and he survives, and

1255
01:03:48,240 --> 01:03:51,000
Speaker 3: he tries to go back to rescue Melissa, but before

1256
01:03:51,040 --> 01:03:54,680
Speaker 3: he can do that, the house explodes in a giant fireball, and.

1257
01:03:54,720 --> 01:03:57,480
Speaker 2: His movie just keeps things rolling, because before you even

1258
01:03:57,520 --> 01:04:00,600
Speaker 2: really have time to process this, we're off to another time.

1259
01:04:01,280 --> 01:04:05,160
Speaker 3: That's right now. It's Wall Street October thirtieth, nineteen twenty nine,

1260
01:04:05,720 --> 01:04:08,560
Speaker 3: which would be one day after the so called Black Tuesday.

1261
01:04:08,680 --> 01:04:11,200
Speaker 3: This is the beginning of the Great Depression. We follow

1262
01:04:11,280 --> 01:04:15,040
Speaker 3: a big wig stockbroker named Atwood who is busy buying

1263
01:04:15,360 --> 01:04:18,840
Speaker 3: shares of oil companies and such things while everybody else

1264
01:04:18,960 --> 01:04:22,280
Speaker 3: is busy selling. And we see him consulting a list

1265
01:04:22,360 --> 01:04:26,280
Speaker 3: of stock prices from a copy of USA Today from

1266
01:04:26,360 --> 01:04:27,600
Speaker 3: the twenty first century.

1267
01:04:27,800 --> 01:04:31,520
Speaker 2: Uh oh, yep, we have a little white collar time

1268
01:04:31,600 --> 01:04:32,720
Speaker 2: crime on our hands here.

1269
01:04:33,200 --> 01:04:35,760
Speaker 3: Yeah, I'd imagine if time travel invented, there'd be a

1270
01:04:35,840 --> 01:04:38,600
Speaker 3: lot of that. We have a no good time traveler

1271
01:04:38,640 --> 01:04:40,560
Speaker 3: screwing up the past so we can get rich in

1272
01:04:40,640 --> 01:04:43,440
Speaker 3: the future. I also have to say it's interesting that

1273
01:04:43,920 --> 01:04:45,880
Speaker 3: manipulating the past has got to be a lot easier

1274
01:04:45,880 --> 01:04:48,320
Speaker 3: if it's an open book test, like you can take

1275
01:04:48,560 --> 01:04:52,520
Speaker 3: newspapers from the future with you anyway. Atwood sitting at

1276
01:04:52,560 --> 01:04:55,840
Speaker 3: his desk doing financial time crimes, listening to heavy metal

1277
01:04:55,920 --> 01:04:58,200
Speaker 3: music on a secret Walkman that he had hidden in

1278
01:04:58,280 --> 01:05:02,240
Speaker 3: his bag, and then oh, here's JCVD. Max Walker is

1279
01:05:02,320 --> 01:05:06,320
Speaker 3: here to arrest him. It seems Atwood is a time

1280
01:05:06,440 --> 01:05:09,400
Speaker 3: cop like Max, but now he's a time criminal.

1281
01:05:10,520 --> 01:05:11,320
Speaker 4: Yeah, he turned bad.

1282
01:05:11,880 --> 01:05:14,520
Speaker 3: And when we see Jean Claude here, he looks very

1283
01:05:14,560 --> 01:05:18,040
Speaker 3: different than he did before. He's older. Obviously he has

1284
01:05:18,160 --> 01:05:20,680
Speaker 3: been sent back from farther in the future than the

1285
01:05:20,800 --> 01:05:24,000
Speaker 3: last scene we saw. So Rob, is it time for

1286
01:05:24,080 --> 01:05:25,120
Speaker 3: a digression on hair?

1287
01:05:25,800 --> 01:05:28,080
Speaker 2: Yeah, I think one of the central messages in this

1288
01:05:28,240 --> 01:05:30,680
Speaker 2: film is that you will have better hair in the future.

1289
01:05:30,920 --> 01:05:34,160
Speaker 3: I'd say the difference is that he goes from in

1290
01:05:34,280 --> 01:05:38,640
Speaker 3: the nineties era. He has a sort of slick pompadour

1291
01:05:38,800 --> 01:05:40,280
Speaker 3: with I don't know what you call that is, like

1292
01:05:40,400 --> 01:05:42,480
Speaker 3: the is it like the duck back where it's sort

1293
01:05:42,520 --> 01:05:45,080
Speaker 3: of like rolled in from the sides in the back.

1294
01:05:45,160 --> 01:05:47,200
Speaker 3: I don't know what that is. In the future, it's

1295
01:05:47,320 --> 01:05:49,959
Speaker 3: like edge of mullet. But he does look cool.

1296
01:05:50,760 --> 01:05:53,080
Speaker 2: Yeah, it's like everybody. We also see this with Ron

1297
01:05:53,120 --> 01:05:56,120
Speaker 2: Silver's character. In the future, hair is going to be slicker.

1298
01:05:57,240 --> 01:05:59,439
Speaker 2: It's just I don't know, like just the wet look

1299
01:05:59,560 --> 01:06:03,080
Speaker 2: is in once you get into the far future of well,

1300
01:06:03,120 --> 01:06:04,320
Speaker 2: what is it two thousand and four?

1301
01:06:04,840 --> 01:06:08,800
Speaker 3: Yeah, yeah, two thousand and four. So maxterrives to arrest

1302
01:06:08,920 --> 01:06:12,040
Speaker 3: this guy Atwood. We get an action scene Atwood brings

1303
01:06:12,080 --> 01:06:14,880
Speaker 3: in his nineteen twenty nine security guys. There's a guy

1304
01:06:14,960 --> 01:06:17,680
Speaker 3: with like a wax mustache who does the backwards fist

1305
01:06:17,880 --> 01:06:21,480
Speaker 3: fighting stance, and he just does not stand a chance

1306
01:06:21,600 --> 01:06:25,000
Speaker 3: against the future based fighting techniques of our hero. But

1307
01:06:25,280 --> 01:06:28,600
Speaker 3: there's exposition in the scene because Atwood reveals that he

1308
01:06:28,760 --> 01:06:32,880
Speaker 3: is working for a big time crime boss, and his

1309
01:06:33,040 --> 01:06:36,960
Speaker 3: boss is Senator Aaron McComb. That's Ron Silver. He is

1310
01:06:37,040 --> 01:06:39,640
Speaker 3: the chair of the committee that oversees time crimes in

1311
01:06:39,720 --> 01:06:42,720
Speaker 3: the Senate, and now he's running for president. He's smart,

1312
01:06:43,040 --> 01:06:46,040
Speaker 3: he's ruthless, and he will go back in time and

1313
01:06:46,200 --> 01:06:49,760
Speaker 3: wipe out Atwood's entire family if he testifies against him,

1314
01:06:49,800 --> 01:06:54,200
Speaker 3: so Atwood cannot flip. Another thing is that Atwood also

1315
01:06:54,560 --> 01:06:57,160
Speaker 3: explains that Macomb is stealing all this money from the

1316
01:06:57,280 --> 01:07:01,280
Speaker 3: past for a specific reason he can get money for

1317
01:07:01,520 --> 01:07:05,520
Speaker 3: his presidential campaign. Something about this seemed really funny to me, Like,

1318
01:07:05,640 --> 01:07:08,080
Speaker 3: couldn't he just get money from like, if he's gonna

1319
01:07:08,120 --> 01:07:10,800
Speaker 3: do crime, couldn't he just get money from some corrupt,

1320
01:07:10,880 --> 01:07:13,720
Speaker 3: self interested billionaire in the future. It doesn't seem that hard.

1321
01:07:14,280 --> 01:07:16,800
Speaker 2: Yeah, I just just juice the donors a bit. But

1322
01:07:16,920 --> 01:07:19,240
Speaker 2: now he decides to go back in time and do

1323
01:07:19,400 --> 01:07:22,240
Speaker 2: shady things in the past in order to gain money

1324
01:07:22,560 --> 01:07:24,680
Speaker 2: to take into the future or to collect on in

1325
01:07:24,760 --> 01:07:25,160
Speaker 2: the future.

1326
01:07:25,480 --> 01:07:27,680
Speaker 3: Anyway, Atwood tries to jump out the window at the

1327
01:07:27,680 --> 01:07:31,040
Speaker 3: skyscraper to avoid being taken back by Walter to testify

1328
01:07:31,440 --> 01:07:34,800
Speaker 3: or not Walter Walker, But then Walker jumps after him,

1329
01:07:34,880 --> 01:07:37,919
Speaker 3: and he grabs him in mid air and dials home

1330
01:07:38,040 --> 01:07:40,960
Speaker 3: on his time phone in midair to take him back,

1331
01:07:41,440 --> 01:07:43,640
Speaker 3: So the dude is captured. Walker takes him back to

1332
01:07:43,640 --> 01:07:46,200
Speaker 3: where they came from, which is the year two thousand

1333
01:07:46,400 --> 01:07:47,120
Speaker 3: and four.

1334
01:07:48,400 --> 01:07:51,280
Speaker 2: He has a far future full of self driving cars

1335
01:07:51,520 --> 01:07:54,920
Speaker 2: and fancy guns. Basically those the main two bits of

1336
01:07:54,960 --> 01:07:55,840
Speaker 2: technology we see.

1337
01:07:56,120 --> 01:07:58,200
Speaker 3: Yeah, a lot of computer screens.

1338
01:07:58,360 --> 01:08:00,280
Speaker 2: Yeah yeah, but we don't see what they're eating. Don't

1339
01:08:00,280 --> 01:08:02,720
Speaker 2: get a sense of like what will smoothies be like

1340
01:08:02,800 --> 01:08:04,840
Speaker 2: in the future, What will Roger be like in the future.

1341
01:08:04,880 --> 01:08:05,200
Speaker 4: We don't know.

1342
01:08:05,480 --> 01:08:07,800
Speaker 3: No, they really don't go into that at all. So

1343
01:08:07,920 --> 01:08:11,360
Speaker 3: they arrive at the Tec headquarters in Washington. This place

1344
01:08:11,480 --> 01:08:13,480
Speaker 3: is kind of a set from like Aliens. There's no

1345
01:08:13,640 --> 01:08:16,080
Speaker 3: normal doors in the future. It's all just like the

1346
01:08:16,200 --> 01:08:19,800
Speaker 3: sliding powered pressure locked doors and the spinning red lights

1347
01:08:19,840 --> 01:08:23,040
Speaker 3: on the ceiling and all that. So Atwood is taken

1348
01:08:23,080 --> 01:08:27,000
Speaker 3: straight to his time trial. No lawyer, no jury, here's

1349
01:08:27,040 --> 01:08:29,160
Speaker 3: a judge. You are guilty prepared to die.

1350
01:08:29,920 --> 01:08:33,120
Speaker 2: Yeah, time Court is more than a little totalitarian. I mean,

1351
01:08:33,160 --> 01:08:35,200
Speaker 2: I guess at least the judges don't have masks or

1352
01:08:35,280 --> 01:08:35,640
Speaker 2: hoods on.

1353
01:08:36,080 --> 01:08:39,479
Speaker 3: And his punishment is this did not make sense at

1354
01:08:39,479 --> 01:08:42,800
Speaker 3: all to me. It is execution by time travel. So

1355
01:08:42,960 --> 01:08:46,640
Speaker 3: he is transported back to nineteen twenty nine in the

1356
01:08:46,760 --> 01:08:49,400
Speaker 3: middle of the air and dropped like on a car,

1357
01:08:49,680 --> 01:08:52,880
Speaker 3: and he's killed by the impact. I thought the whole

1358
01:08:53,000 --> 01:08:56,519
Speaker 3: point of the Tec division was to avoid people going

1359
01:08:56,640 --> 01:08:59,000
Speaker 3: back and messing around in the past, and so now

1360
01:08:59,080 --> 01:09:01,960
Speaker 3: they are executing people for going into the past by

1361
01:09:02,000 --> 01:09:04,680
Speaker 3: sending them into the past and dropping them on the sidewalk.

1362
01:09:05,080 --> 01:09:05,320
Speaker 4: Yeah.

1363
01:09:05,720 --> 01:09:08,120
Speaker 2: The best I could figure out on this one is

1364
01:09:08,200 --> 01:09:11,960
Speaker 2: that by the time they arrested him, there had been like, say,

1365
01:09:12,160 --> 01:09:16,000
Speaker 2: like forty four different changes to the time stream, and

1366
01:09:16,080 --> 01:09:19,599
Speaker 2: then they did a forty fifth change by stopping him

1367
01:09:19,720 --> 01:09:23,680
Speaker 2: mid drop, and so they're actually like correcting it by

1368
01:09:23,720 --> 01:09:25,720
Speaker 2: one by just throwing him back in and letting him

1369
01:09:25,760 --> 01:09:28,880
Speaker 2: finish the fall. M that's my best. That's The's the

1370
01:09:28,920 --> 01:09:29,240
Speaker 2: best I.

1371
01:09:29,240 --> 01:09:29,760
Speaker 4: Can do though.

1372
01:09:30,560 --> 01:09:32,920
Speaker 3: All right, Well, after all this, Max is very disappointed

1373
01:09:32,960 --> 01:09:35,840
Speaker 3: because he knows Ron Silver is behind all of the

1374
01:09:35,920 --> 01:09:38,960
Speaker 3: time crimes. But he doesn't have a witness to testify

1375
01:09:39,000 --> 01:09:41,400
Speaker 3: against him, so we can't do anything about it. So

1376
01:09:41,520 --> 01:09:43,360
Speaker 3: we see a little bit of the day to day

1377
01:09:43,400 --> 01:09:45,400
Speaker 3: life of the time cops. We see them, you know,

1378
01:09:45,560 --> 01:09:48,599
Speaker 3: trying to pick up signals of time traveling assassins, time

1379
01:09:48,640 --> 01:09:50,760
Speaker 3: traveling thieves. They have to go out and stop them

1380
01:09:50,800 --> 01:09:53,800
Speaker 3: and all that. Of course, the boss is still Bruce

1381
01:09:53,920 --> 01:09:57,519
Speaker 3: McGill playing this guy named Eugene Matushak. The scene is

1382
01:09:57,600 --> 01:10:00,720
Speaker 3: interrupted by a tour of politicians who do oversight on

1383
01:10:00,800 --> 01:10:04,920
Speaker 3: the Tec, including Ron Silver, who has graciously taken time

1384
01:10:05,000 --> 01:10:08,400
Speaker 3: out of his presidential campaign to accompany them. And you

1385
01:10:08,400 --> 01:10:11,240
Speaker 3: can see in the office they've got like a dartboard

1386
01:10:11,360 --> 01:10:15,479
Speaker 3: with a Aaron McComb for President poster on it. They

1387
01:10:15,560 --> 01:10:18,759
Speaker 3: quickly turn that around and hide it. And in this scene,

1388
01:10:20,200 --> 01:10:24,479
Speaker 3: Walker gets up in Macomb's face and he's like, I

1389
01:10:24,640 --> 01:10:25,200
Speaker 3: know it's you.

1390
01:10:26,800 --> 01:10:27,000
Speaker 2: I know.

1391
01:10:27,160 --> 01:10:29,200
Speaker 3: This is a convention of cop movies. You got to

1392
01:10:29,200 --> 01:10:30,960
Speaker 3: have the cop, I don't know, be a tough guy

1393
01:10:31,080 --> 01:10:34,000
Speaker 3: who like lets the crime boss know that he's onto him.

1394
01:10:34,680 --> 01:10:37,840
Speaker 3: But it makes no sense in the context of this

1395
01:10:38,000 --> 01:10:41,240
Speaker 3: movie when you know he could go back in time

1396
01:10:41,479 --> 01:10:44,519
Speaker 3: and wipe you out of existence, which he does do

1397
01:10:45,320 --> 01:10:48,920
Speaker 3: or he does try to do. And also by doing

1398
01:10:49,040 --> 01:10:53,240
Speaker 3: this this isn't explored, but presumably Walker ensures that Macomb

1399
01:10:53,360 --> 01:10:56,960
Speaker 3: will go wipe out Atwood's entire family from history, who

1400
01:10:57,040 --> 01:10:59,960
Speaker 3: presumably did nothing to deserve this, because now he knows

1401
01:11:00,200 --> 01:11:02,919
Speaker 3: that Atwood told Walker even though he didn't testify.

1402
01:11:03,680 --> 01:11:06,080
Speaker 2: I mean, he's just lawful, good to a fault. He like,

1403
01:11:06,280 --> 01:11:08,479
Speaker 2: he comes up to Macombe and he's like, hey, just

1404
01:11:08,560 --> 01:11:10,439
Speaker 2: so you know, you were breaking the law with all

1405
01:11:10,479 --> 01:11:14,160
Speaker 2: of this. Yeah, it is illegal. I'm gonna I'm gonna

1406
01:11:14,200 --> 01:11:15,519
Speaker 2: arrest you one day because that's my job.

1407
01:11:16,000 --> 01:11:19,080
Speaker 3: Please don't use time travel to destroy me in the meantime.

1408
01:11:19,080 --> 01:11:21,240
Speaker 2: Yeah, because that's also illegal. Dude, you don't don't do

1409
01:11:21,360 --> 01:11:23,400
Speaker 2: that as well, because that's that's illegal. You're just going

1410
01:11:23,439 --> 01:11:26,240
Speaker 2: to more crimes. Come on, cut out the crimes.

1411
01:11:27,080 --> 01:11:29,559
Speaker 3: Also in the scene, we learned that Macomb missed out

1412
01:11:29,640 --> 01:11:32,720
Speaker 3: on making billions of dollars because of a bad business deal.

1413
01:11:32,920 --> 01:11:34,960
Speaker 3: Back in the nineties, he was co owner of a

1414
01:11:35,040 --> 01:11:37,960
Speaker 3: business that now makes all the super conducting chips that

1415
01:11:38,080 --> 01:11:41,320
Speaker 3: power all of the time travel technology. But he sold

1416
01:11:41,400 --> 01:11:43,840
Speaker 3: his share in this company right before his partner got

1417
01:11:43,880 --> 01:11:45,920
Speaker 3: the patent on the chip, so he missed out on

1418
01:11:46,000 --> 01:11:50,160
Speaker 3: the money do anyway. In this scene, Ron Silver explains

1419
01:11:50,200 --> 01:11:53,959
Speaker 3: that he wants to eliminate the entire Time Enforcement Commission

1420
01:11:54,080 --> 01:11:57,040
Speaker 3: because of the dangers it poses. What if an agent

1421
01:11:57,160 --> 01:12:00,920
Speaker 3: goes back in time and makes contact with themselves with

1422
01:12:01,080 --> 01:12:04,720
Speaker 3: their own body, and they explained that the you know

1423
01:12:04,920 --> 01:12:07,760
Speaker 3: this is in the technical reports quote the same matter

1424
01:12:08,280 --> 01:12:12,599
Speaker 3: cannot occupy the same space at the same time, which

1425
01:12:12,680 --> 01:12:15,360
Speaker 3: made me think, huh, isn't that, by definition what is

1426
01:12:15,439 --> 01:12:16,360
Speaker 3: always happening?

1427
01:12:17,880 --> 01:12:20,640
Speaker 2: Yeah, this is a This is like a rule, an

1428
01:12:20,680 --> 01:12:24,040
Speaker 2: important rule in the in the Time Coop universe, and

1429
01:12:24,160 --> 01:12:26,559
Speaker 2: it's one that I sometimes I find myself just thinking

1430
01:12:26,640 --> 01:12:28,560
Speaker 2: back on in life, just trying to figure out what

1431
01:12:28,680 --> 01:12:32,639
Speaker 2: it means, and I never quite can do it, though

1432
01:12:32,720 --> 01:12:35,599
Speaker 2: sometimes it does feel truthy enough that if you don't

1433
01:12:35,600 --> 01:12:37,479
Speaker 2: think about it too much, you can be like, yeah, yeah,

1434
01:12:37,960 --> 01:12:41,360
Speaker 2: that absolutely cannot happen. That would be a paradox and

1435
01:12:41,600 --> 01:12:43,400
Speaker 2: it would destroy everything. But if you think too hard

1436
01:12:43,439 --> 01:12:46,200
Speaker 2: about it, there are all sorts of holes that emerge

1437
01:12:46,200 --> 01:12:47,040
Speaker 2: in the logic here.

1438
01:12:47,479 --> 01:12:50,000
Speaker 3: But in the context of the movie, literally all it

1439
01:12:50,120 --> 01:12:53,000
Speaker 3: means is that, like you can't touch the body of

1440
01:12:53,120 --> 01:12:56,520
Speaker 3: your past self because there will be vague disastrous consequences.

1441
01:12:57,200 --> 01:12:59,040
Speaker 2: Yeah, it's kind of like in the back of the

1442
01:12:59,080 --> 01:13:01,080
Speaker 2: future it's a stabt or they're just looking at you

1443
01:13:01,200 --> 01:13:04,720
Speaker 2: encountering yourself in the past. It could potentially have this

1444
01:13:04,880 --> 01:13:07,479
Speaker 2: devastating effect. But I don't know. I guess the best

1445
01:13:07,520 --> 01:13:09,760
Speaker 2: I can do is, like it's like, if you touch

1446
01:13:09,840 --> 01:13:14,880
Speaker 2: yourself in the past, then that means the effect is

1447
01:13:14,960 --> 01:13:17,920
Speaker 2: coming before the cause, and there's some sort of temporal

1448
01:13:19,000 --> 01:13:23,080
Speaker 2: like just a paradox that destroys itself kind of thing happens.

1449
01:13:23,120 --> 01:13:24,120
Speaker 2: That's the best I can do.

1450
01:13:24,600 --> 01:13:26,400
Speaker 3: But why would that only be touched. I mean you

1451
01:13:26,520 --> 01:13:29,280
Speaker 3: could cause all kinds of changes, Like characters talk to

1452
01:13:29,360 --> 01:13:30,320
Speaker 3: each other in the past.

1453
01:13:31,040 --> 01:13:33,400
Speaker 2: Yeah, well yeah, they breathe in the same room with

1454
01:13:33,479 --> 01:13:35,320
Speaker 2: each other. And then you can also argue that like

1455
01:13:35,439 --> 01:13:37,840
Speaker 2: if if it's significantly far enough in the future, it's

1456
01:13:37,920 --> 01:13:41,120
Speaker 2: not the same matter, like the things have you get

1457
01:13:41,160 --> 01:13:43,559
Speaker 2: down to discussions of how how much of your body

1458
01:13:43,640 --> 01:13:45,360
Speaker 2: is the same as your body from ten years ago,

1459
01:13:45,439 --> 01:13:46,000
Speaker 2: that sort of thing.

1460
01:13:46,439 --> 01:13:48,639
Speaker 3: That is a very good point. Okay, okay, so wait,

1461
01:13:48,880 --> 01:13:51,200
Speaker 3: villain scene in a villain limo, this has got a

1462
01:13:51,240 --> 01:13:54,000
Speaker 3: future villain limo that Ron Silver gets into to talk

1463
01:13:54,040 --> 01:13:56,240
Speaker 3: about all of his plans to commit more crimes and

1464
01:13:56,360 --> 01:13:58,759
Speaker 3: do evil. Can we talk about the twenty first century

1465
01:13:58,880 --> 01:13:59,880
Speaker 3: cars in this film?

1466
01:14:00,760 --> 01:14:01,680
Speaker 4: Oh? I love them.

1467
01:14:01,760 --> 01:14:03,519
Speaker 2: These are better than the sci fi cars and free

1468
01:14:03,600 --> 01:14:09,080
Speaker 2: Jack in my opinion. These big windowless especially the limo,

1469
01:14:09,160 --> 01:14:13,920
Speaker 2: the presidential limo looks really nice. This just sleek windowless

1470
01:14:14,320 --> 01:14:16,840
Speaker 2: robot car that you climb into and you ride around

1471
01:14:16,880 --> 01:14:17,160
Speaker 2: town in.

1472
01:14:17,520 --> 01:14:20,920
Speaker 3: They look like big dustbusters on top of a set

1473
01:14:20,960 --> 01:14:21,519
Speaker 3: of wheels.

1474
01:14:22,200 --> 01:14:22,400
Speaker 4: Yeah.

1475
01:14:22,520 --> 01:14:24,400
Speaker 2: Yeah, are some of those like fancy shoes?

1476
01:14:24,520 --> 01:14:26,680
Speaker 4: You see that? They're like who wears that?

1477
01:14:27,240 --> 01:14:27,280
Speaker 5: This?

1478
01:14:27,520 --> 01:14:28,960
Speaker 4: That's what this looks like? All right?

1479
01:14:29,040 --> 01:14:31,560
Speaker 3: Well, in the car, Ron Silver gets a breakdown of

1480
01:14:31,680 --> 01:14:35,080
Speaker 3: the latest polling results in his presidential campaign. Now, I

1481
01:14:35,120 --> 01:14:36,920
Speaker 3: thought it was interesting that a lot of movies of

1482
01:14:37,000 --> 01:14:41,080
Speaker 3: this period, if you've got a megalomaniac politician as a villain,

1483
01:14:41,760 --> 01:14:44,639
Speaker 3: the movie would be very vague about what his political

1484
01:14:44,720 --> 01:14:48,200
Speaker 3: positions were, I guess, for fear of alienating half of

1485
01:14:48,280 --> 01:14:53,160
Speaker 3: the audience. But Time Cop doesn't shy away. It gives specifics.

1486
01:14:53,320 --> 01:14:58,240
Speaker 3: Ron Silver's constituency is. This is a quote the pro life,

1487
01:14:58,400 --> 01:15:03,080
Speaker 3: pro death penalty coal and the quote closed the border

1488
01:15:03,240 --> 01:15:07,599
Speaker 3: America for Americans anti immigration faction. Those are his people.

1489
01:15:08,080 --> 01:15:08,280
Speaker 4: Yeah.

1490
01:15:08,520 --> 01:15:10,800
Speaker 2: As I was watching this film right before this scene,

1491
01:15:10,840 --> 01:15:13,040
Speaker 2: I was I was thinking idly to myself, I wonder

1492
01:15:13,080 --> 01:15:15,439
Speaker 2: if Macomb's supposed to be, you know, of this political

1493
01:15:15,479 --> 01:15:17,680
Speaker 2: party or the other political party. And then they just

1494
01:15:17,720 --> 01:15:19,960
Speaker 2: straight up and tits tell me yeah, which again, yeah,

1495
01:15:20,040 --> 01:15:22,559
Speaker 2: is just not the move you would expect from certainly

1496
01:15:22,600 --> 01:15:24,360
Speaker 2: a modern film with a character like this in it.

1497
01:15:24,760 --> 01:15:27,639
Speaker 3: Well, his aid says, in order to win, he's gonna

1498
01:15:27,680 --> 01:15:29,840
Speaker 3: need a lot more money, and then Ron Silver just

1499
01:15:30,000 --> 01:15:32,920
Speaker 3: like smashes his aid's face against the side of the

1500
01:15:33,040 --> 01:15:36,120
Speaker 3: car and he's like, don't tell me what I can't do.

1501
01:15:37,680 --> 01:15:40,760
Speaker 3: He says elections are won with television, while his aid

1502
01:15:40,880 --> 01:15:43,680
Speaker 3: is cringing and holding his bloody nose. He says he

1503
01:15:43,760 --> 01:15:47,200
Speaker 3: doesn't need endorsements from the establishment, he doesn't need facts

1504
01:15:47,240 --> 01:15:50,320
Speaker 3: on his side. He just needs money and media exposure.

1505
01:15:50,960 --> 01:15:53,160
Speaker 3: And to get the television time he needs, he'll have

1506
01:15:53,240 --> 01:15:56,960
Speaker 3: to steal fifty million dollars. Clearly, Jean Claude van dam

1507
01:15:57,280 --> 01:15:59,400
Speaker 3: is getting in the way of this, so he asked

1508
01:15:59,439 --> 01:16:02,400
Speaker 3: this like creepy, silent hinch dude. At the other end

1509
01:16:02,439 --> 01:16:04,920
Speaker 3: of the limo to go have a chat with him,

1510
01:16:07,080 --> 01:16:10,120
Speaker 3: and then there's a scene of him just like devilishly

1511
01:16:10,280 --> 01:16:11,320
Speaker 3: chewing peanuts.

1512
01:16:12,320 --> 01:16:15,360
Speaker 2: Yeah again, offering peanuts to to the a that he

1513
01:16:15,560 --> 01:16:16,240
Speaker 2: just walloped.

1514
01:16:16,560 --> 01:16:16,760
Speaker 4: Yeah.

1515
01:16:17,479 --> 01:16:20,000
Speaker 2: Just a great villain performance by Silver.

1516
01:16:20,640 --> 01:16:23,760
Speaker 3: Okay, Next we got an action scene where Walker is

1517
01:16:23,840 --> 01:16:26,919
Speaker 3: asleep in his apartment and he is attacked by Macomb's goons.

1518
01:16:27,960 --> 01:16:30,639
Speaker 3: I thought this was a really really fun action scene

1519
01:16:30,680 --> 01:16:33,280
Speaker 3: and really funny. So like the creepy guy from the

1520
01:16:33,360 --> 01:16:36,400
Speaker 3: limo attacks him with a taser, there's another guy there

1521
01:16:36,479 --> 01:16:39,759
Speaker 3: who's like a martial artist who attacks him with a knife,

1522
01:16:39,840 --> 01:16:42,840
Speaker 3: and there's like a knife duel and the scene also

1523
01:16:42,960 --> 01:16:47,320
Speaker 3: has the famous underwear jump splits onto the kitchen counter

1524
01:16:47,960 --> 01:16:48,439
Speaker 3: real quick.

1525
01:16:49,280 --> 01:16:52,320
Speaker 2: The knife wielding guy who's credited his knife number one

1526
01:16:52,680 --> 01:16:55,560
Speaker 2: is James lu born nineteen fifty two. He was in

1527
01:16:55,640 --> 01:16:57,840
Speaker 2: Big Trouble in Little China playing one of the gang

1528
01:16:57,920 --> 01:16:59,880
Speaker 2: members in the Big Gang Battle. But he was also

1529
01:17:00,880 --> 01:17:03,040
Speaker 2: a martial arts choreographer on that film as well, and

1530
01:17:03,080 --> 01:17:05,600
Speaker 2: he's been in tons of stuff. He's been like a

1531
01:17:05,680 --> 01:17:09,479
Speaker 2: go to guy for martial arts in Hollywood for decades.

1532
01:17:10,000 --> 01:17:12,720
Speaker 3: He's great in this scene and this fight is super fun.

1533
01:17:12,880 --> 01:17:15,000
Speaker 3: But this is also the fight I was talking about earlier.

1534
01:17:15,080 --> 01:17:18,040
Speaker 3: That's really funny because they're just like they just keep

1535
01:17:18,160 --> 01:17:21,519
Speaker 3: like clacking their knife blades together, and you know they're

1536
01:17:21,600 --> 01:17:22,240
Speaker 3: not that long.

1537
01:17:23,600 --> 01:17:25,960
Speaker 2: Yeah, yeah, all right, well Walker.

1538
01:17:26,000 --> 01:17:27,960
Speaker 3: After this fight, he gets a new partner. You know,

1539
01:17:28,080 --> 01:17:30,400
Speaker 3: his boss is like, this is one of the best

1540
01:17:30,400 --> 01:17:32,599
Speaker 3: parts of any hyphen cop movie. You got to get

1541
01:17:32,640 --> 01:17:33,240
Speaker 3: a new partner.

1542
01:17:33,760 --> 01:17:34,000
Speaker 4: Yep.

1543
01:17:34,120 --> 01:17:38,240
Speaker 2: And this is where we meet agent Sarah Fielding.

1544
01:17:38,160 --> 01:17:40,760
Speaker 3: Right, So they are going to be sent out into

1545
01:17:40,760 --> 01:17:45,160
Speaker 3: the field together. Fielding is with internal Affairs, and initially

1546
01:17:45,600 --> 01:17:48,400
Speaker 3: obviously they're butting heads, but they're sent out into the

1547
01:17:48,439 --> 01:17:51,839
Speaker 3: field together to stop a disturbance in time in nineteen

1548
01:17:51,920 --> 01:17:55,840
Speaker 3: ninety four that is of course being caused by Ron

1549
01:17:55,920 --> 01:17:58,800
Speaker 3: Silver going back in time to do something wicked. And

1550
01:17:58,920 --> 01:18:01,560
Speaker 3: this leads to the whole time launch scene. Do you

1551
01:18:01,600 --> 01:18:04,400
Speaker 3: want to describe the time launch rocket sled scene?

1552
01:18:04,520 --> 01:18:06,240
Speaker 4: Rob, Yeah? Oh my god.

1553
01:18:06,439 --> 01:18:10,840
Speaker 2: So we've seen people emerging and re entering like time

1554
01:18:11,000 --> 01:18:14,920
Speaker 2: distortion bubbles in the in the past already, but we

1555
01:18:14,960 --> 01:18:16,760
Speaker 2: didn't know how they were getting there. We didn't know

1556
01:18:16,800 --> 01:18:19,360
Speaker 2: what the apparatus looked like. This is where we find

1557
01:18:19,439 --> 01:18:22,439
Speaker 2: out via seeing it, but also some narration between the

1558
01:18:22,720 --> 01:18:26,680
Speaker 2: newbie fielding and and and fandamn, you know the old

1559
01:18:26,760 --> 01:18:29,920
Speaker 2: hand at this and this is where we realize, oh, well,

1560
01:18:30,000 --> 01:18:32,839
Speaker 2: everything in the time Cop headquarters looks like an underground

1561
01:18:32,840 --> 01:18:35,160
Speaker 2: bunker because I guess it is. They have some sort

1562
01:18:35,160 --> 01:18:38,479
Speaker 2: of like weird accelerator system built in here, and it's

1563
01:18:38,520 --> 01:18:42,240
Speaker 2: how they achieved time travel. It seems to involve climbing

1564
01:18:42,360 --> 01:18:46,599
Speaker 2: into a rocket propelled sled that is then launched at

1565
01:18:46,640 --> 01:18:50,880
Speaker 2: some sort of enormous magnet monolith and if it goes

1566
01:18:51,439 --> 01:18:54,920
Speaker 2: everything goes well, then you're going to be like blasted

1567
01:18:55,040 --> 01:18:58,320
Speaker 2: through the time bubble to your destination. But if it

1568
01:18:58,400 --> 01:19:00,479
Speaker 2: doesn't go well, you're going to be splash it against

1569
01:19:00,479 --> 01:19:04,320
Speaker 2: the wall, like the Volmer Twins. Yes, they made well,

1570
01:19:04,439 --> 01:19:06,200
Speaker 2: multiple mentions to the vulner Twins.

1571
01:19:06,560 --> 01:19:08,839
Speaker 3: I didn't know. It's almost like that was a reference

1572
01:19:09,000 --> 01:19:11,880
Speaker 3: to something that like the fans would get, but I

1573
01:19:12,000 --> 01:19:13,479
Speaker 3: didn't understand what that was about.

1574
01:19:14,280 --> 01:19:16,960
Speaker 2: Yeah, or I think you mentioned earlier too. Maybe it's

1575
01:19:17,000 --> 01:19:19,360
Speaker 2: a deleted scene. Maybe there was a scene with Volmer Twins,

1576
01:19:19,400 --> 01:19:21,760
Speaker 2: Like I want to know more about the Volmer Twins now.

1577
01:19:22,200 --> 01:19:24,479
Speaker 3: Apparently they were splatted against the wall. But yeah, what's

1578
01:19:24,520 --> 01:19:27,320
Speaker 3: the deal with So sometimes you go through the rocket

1579
01:19:27,400 --> 01:19:29,280
Speaker 3: sled and you appear in the past like in the

1580
01:19:29,400 --> 01:19:33,320
Speaker 3: air and fall into the reflecting pool at the Capitol.

1581
01:19:33,800 --> 01:19:36,240
Speaker 3: And then other times you just like walk into a

1582
01:19:36,280 --> 01:19:38,400
Speaker 3: guy's office from the time field.

1583
01:19:38,520 --> 01:19:43,080
Speaker 2: Yeah, sometimes you just stroll in coolly, you know, as

1584
01:19:43,120 --> 01:19:44,920
Speaker 2: if you just strolled in from the other side, and

1585
01:19:45,080 --> 01:19:48,280
Speaker 2: not as if you were just aboard a rocket propelled

1586
01:19:48,400 --> 01:19:51,960
Speaker 2: sled that was about to make you vomit. So it's

1587
01:19:52,080 --> 01:19:55,080
Speaker 2: very inconsistent in this film. But I don't know, I

1588
01:19:55,200 --> 01:19:56,360
Speaker 2: love the inconsistency of.

1589
01:20:05,120 --> 01:20:08,280
Speaker 3: So Walker and Fielding. They bond, they have some banter

1590
01:20:08,520 --> 01:20:11,160
Speaker 3: about time travel, and they go back to nineteen ninety

1591
01:20:11,160 --> 01:20:14,280
Speaker 3: four and investigate this disturbance. Of course, it is Ron

1592
01:20:14,320 --> 01:20:16,960
Speaker 3: Silver trying to change history. Macomb is going back to

1593
01:20:17,120 --> 01:20:21,559
Speaker 3: visit himself in an industrial warehouse while his past self

1594
01:20:21,680 --> 01:20:23,680
Speaker 3: is in the middle of trying to sell out his

1595
01:20:23,840 --> 01:20:26,200
Speaker 3: share of that computer chip company that would have made

1596
01:20:26,240 --> 01:20:29,400
Speaker 3: him billions if he'd stayed a partner in it. Future

1597
01:20:29,439 --> 01:20:32,360
Speaker 3: Ron Silver talks to nineteen ninety four Ron Silver. He

1598
01:20:32,439 --> 01:20:35,160
Speaker 3: tells him to stop eating candy bars, and then he

1599
01:20:35,360 --> 01:20:38,880
Speaker 3: kills his business partner and he says, you own the company. Now,

1600
01:20:39,080 --> 01:20:41,200
Speaker 3: why would that be the case if his partner was

1601
01:20:41,280 --> 01:20:44,599
Speaker 3: just murdered, he says. He says that they can't touch

1602
01:20:44,640 --> 01:20:47,200
Speaker 3: each other because the same matter cannot occupy the same

1603
01:20:47,280 --> 01:20:50,240
Speaker 3: space at the same time. And then Walker and Fielding

1604
01:20:50,439 --> 01:20:52,920
Speaker 3: sting the meeting. They come out and they're like hands

1605
01:20:53,000 --> 01:20:57,160
Speaker 3: up everybody, but Fielding betrays Walker turns out she was

1606
01:20:57,280 --> 01:20:59,960
Speaker 3: working for Macomb the whole time. And then there's an

1607
01:21:00,000 --> 01:21:01,080
Speaker 3: another action scene.

1608
01:21:01,960 --> 01:21:02,360
Speaker 4: This one.

1609
01:21:03,640 --> 01:21:05,240
Speaker 3: This one, I will say the first half of it

1610
01:21:05,439 --> 01:21:07,800
Speaker 3: I liked less than some of the other action scenes

1611
01:21:07,840 --> 01:21:09,800
Speaker 3: because it's just a lot of shooting and it's you know,

1612
01:21:09,920 --> 01:21:14,800
Speaker 3: standard nineties gunplay slop. But it later turns into a

1613
01:21:14,880 --> 01:21:19,560
Speaker 3: martial arts scene that involves a what's it called a

1614
01:21:19,920 --> 01:21:24,120
Speaker 3: liquid nitrogen freezing and shattering moment, which is awesome.

1615
01:21:24,320 --> 01:21:26,759
Speaker 2: Yeah, because again this has to do with like super

1616
01:21:26,840 --> 01:21:29,160
Speaker 2: cool computer parts, and also of course they have big,

1617
01:21:29,720 --> 01:21:34,040
Speaker 2: big containers of liquid nitrogen. One of the time, Goons

1618
01:21:34,080 --> 01:21:36,599
Speaker 2: gets his arm frozen in a fight with Van Dam,

1619
01:21:36,680 --> 01:21:39,400
Speaker 2: and then of course Van Dam kicks that arm, shatters

1620
01:21:39,479 --> 01:21:42,439
Speaker 2: that arm. It's a quality kill. One we've mentioned on

1621
01:21:42,479 --> 01:21:44,800
Speaker 2: the show before, back when we did an episode about

1622
01:21:45,600 --> 01:21:50,599
Speaker 2: the potential science of freezing and shattering biological matter.

1623
01:21:51,160 --> 01:21:53,080
Speaker 3: I think that. I think we did a couple of

1624
01:21:53,160 --> 01:21:56,040
Speaker 3: episodes maybe on that called something like shatter like shatter

1625
01:21:56,160 --> 01:21:58,640
Speaker 3: me like sub zero. I think, yeah, something like that.

1626
01:21:59,240 --> 01:22:03,800
Speaker 3: So Walker, So Walker escapes. Fielding is wounded here but

1627
01:22:03,960 --> 01:22:07,519
Speaker 3: not killed. Walker goes back to the future. Now Ron Silver,

1628
01:22:08,080 --> 01:22:10,920
Speaker 3: he's changed the past and the future has changed as well.

1629
01:22:11,360 --> 01:22:14,400
Speaker 3: He's way ahead in the polls now because he's so rich.

1630
01:22:14,479 --> 01:22:17,080
Speaker 3: I guess he's like thirty points ahead. He's definitely gonna

1631
01:22:17,080 --> 01:22:21,120
Speaker 3: win and become president. Walker convinces his boss Bruce McGill

1632
01:22:21,240 --> 01:22:24,280
Speaker 3: of what happened, and they managed to send Walker back

1633
01:22:24,320 --> 01:22:27,000
Speaker 3: to the past in the Rocket Sled once again, despite

1634
01:22:27,040 --> 01:22:29,519
Speaker 3: the fact that tec is now being ruled over by

1635
01:22:29,560 --> 01:22:32,920
Speaker 3: a corrupt Ron Silver, whose goons come in and shoot

1636
01:22:33,000 --> 01:22:36,360
Speaker 3: Matuschik and then Walker. So he goes back to the

1637
01:22:36,400 --> 01:22:39,240
Speaker 3: past once again. There is a redemption scene for agent

1638
01:22:39,320 --> 01:22:42,439
Speaker 3: Fielding in the hospital. She He goes to talk to

1639
01:22:42,560 --> 01:22:46,360
Speaker 3: her and she's like, I'm sorry, I worked with Macomb

1640
01:22:46,439 --> 01:22:48,800
Speaker 3: and she agrees to be a witness in time court

1641
01:22:48,960 --> 01:22:52,559
Speaker 3: against Ron Silver in the future. But before that can happen,

1642
01:22:52,920 --> 01:22:55,799
Speaker 3: she is murdered by the Nasty Boys.

1643
01:22:56,520 --> 01:22:58,519
Speaker 2: I can't remember if it's this scene or earlier, but

1644
01:22:58,600 --> 01:23:01,839
Speaker 2: we do find out like she's only turned and agreed

1645
01:23:01,880 --> 01:23:05,280
Speaker 2: to work with McComb because he threatened her parents, right,

1646
01:23:05,640 --> 01:23:07,840
Speaker 2: I think that's right. Yeah, yeah, so she had no

1647
01:23:08,000 --> 01:23:10,880
Speaker 2: choice in the matter. I mean, she had a choice,

1648
01:23:10,920 --> 01:23:13,360
Speaker 2: but she has reasons for turning to the bad side,

1649
01:23:13,360 --> 01:23:16,080
Speaker 2: which you know, I thought was some good development.

1650
01:23:16,439 --> 01:23:18,040
Speaker 3: Yeah. Like I said earlier, I kind of wish that

1651
01:23:18,200 --> 01:23:21,000
Speaker 3: maybe they could have teamed back up and been buddies

1652
01:23:21,040 --> 01:23:24,479
Speaker 3: for the end. But alas killed by the Nasty Boys,

1653
01:23:24,920 --> 01:23:28,280
Speaker 3: and so now now dude is on the run. Walker's

1654
01:23:28,360 --> 01:23:32,000
Speaker 3: running from them and he but then sort of the

1655
01:23:32,240 --> 01:23:35,120
Speaker 3: plot takes a sharp turn here because he realizes he's

1656
01:23:35,200 --> 01:23:39,559
Speaker 3: come back in time early enough to prevent his wife

1657
01:23:39,720 --> 01:23:43,240
Speaker 3: from being murdered by the Nasty Boys. So he meets

1658
01:23:43,240 --> 01:23:45,680
Speaker 3: her in a mall, convinces her that it's really him

1659
01:23:45,760 --> 01:23:50,160
Speaker 3: from the future, conspires with her in secret to keep

1660
01:23:50,280 --> 01:23:53,240
Speaker 3: him secret from his past self. Which is interesting.

1661
01:23:53,720 --> 01:23:55,560
Speaker 2: Oh yeah, there's so much that goes on, like this

1662
01:23:55,640 --> 01:23:58,120
Speaker 2: film is. It does such a great job of stringing

1663
01:23:58,160 --> 01:24:01,120
Speaker 2: all this together. Because also while he was checking on

1664
01:24:01,240 --> 01:24:05,160
Speaker 2: fielding at the hospital he found his wife's pregnancy results

1665
01:24:05,280 --> 01:24:06,240
Speaker 2: just on the same tray.

1666
01:24:06,760 --> 01:24:07,479
Speaker 3: I forgot about that.

1667
01:24:08,000 --> 01:24:10,360
Speaker 2: He's like, Oh, yeah, that's what the secret was that

1668
01:24:10,640 --> 01:24:12,560
Speaker 2: or that's not the secret. That's what the news was

1669
01:24:12,640 --> 01:24:13,920
Speaker 2: that she was going to tell me. It was that

1670
01:24:14,080 --> 01:24:14,840
Speaker 2: she was with child.

1671
01:24:15,200 --> 01:24:18,120
Speaker 3: Right, Maybe that's the thing that makes him want to

1672
01:24:18,160 --> 01:24:20,880
Speaker 3: go do this instead of just getting on with his work.

1673
01:24:21,720 --> 01:24:24,960
Speaker 3: But this leads to a huge showdown at their house

1674
01:24:25,760 --> 01:24:28,960
Speaker 3: the night Ron Silver's goons are sent back to kill them,

1675
01:24:29,520 --> 01:24:32,679
Speaker 3: but this time future van Dam is there to help

1676
01:24:32,840 --> 01:24:35,599
Speaker 3: the two of them in the past, so this turns

1677
01:24:35,680 --> 01:24:40,040
Speaker 3: into a long, massive action sequence at and around their house.

1678
01:24:40,760 --> 01:24:42,920
Speaker 3: I will say the action here was up and down

1679
01:24:43,040 --> 01:24:45,080
Speaker 3: for me. There were some parts that were really great

1680
01:24:45,240 --> 01:24:48,400
Speaker 3: others that were less interesting. But the payoff at the

1681
01:24:48,560 --> 01:24:53,120
Speaker 3: end when they finally have when they finally confront Senator

1682
01:24:53,200 --> 01:24:57,519
Speaker 3: Macomb is so good. It's perfect. It has terrible nineteen

1683
01:24:57,600 --> 01:25:00,719
Speaker 3: ninety four CGI. That is one of the most beautiful

1684
01:25:00,800 --> 01:25:03,880
Speaker 3: things I've ever seen, And it's the payoff of what

1685
01:25:03,960 --> 01:25:07,000
Speaker 3: we've been hearing the whole movie. The same matter cannot

1686
01:25:07,040 --> 01:25:10,000
Speaker 3: occupy the same place at the same time. They try

1687
01:25:10,080 --> 01:25:11,799
Speaker 3: that with Senator mccomb's body.

1688
01:25:12,880 --> 01:25:13,080
Speaker 4: Yeah.

1689
01:25:13,240 --> 01:25:16,200
Speaker 2: Now the setup to this is also brain breaking because

1690
01:25:16,320 --> 01:25:18,799
Speaker 2: we have the big shootout, all sorts of time goons

1691
01:25:18,840 --> 01:25:23,200
Speaker 2: are killed. But finally there's like an explosive device. Future

1692
01:25:23,479 --> 01:25:26,560
Speaker 2: Ron Silver has MIAs Sarah held captive and he's like,

1693
01:25:26,920 --> 01:25:28,760
Speaker 2: I'll blow it up. You know, it doesn't matter to

1694
01:25:28,840 --> 01:25:31,479
Speaker 2: me because my future, my past self is out there.

1695
01:25:31,880 --> 01:25:35,439
Speaker 2: He's gonna benefit. And so if I die now, then

1696
01:25:35,920 --> 01:25:38,439
Speaker 2: he still grows up to be me in the future,

1697
01:25:38,760 --> 01:25:39,880
Speaker 2: so it doesn't matter.

1698
01:25:40,120 --> 01:25:42,120
Speaker 3: But he grows up to be you, and then you

1699
01:25:42,280 --> 01:25:43,920
Speaker 3: come back to the past and die here.

1700
01:25:44,680 --> 01:25:47,920
Speaker 2: Hey, are you the head of time travel policing, Joe,

1701
01:25:49,280 --> 01:25:52,600
Speaker 2: trust Macomb. He knows how this works. He's the mastermind.

1702
01:25:52,880 --> 01:25:55,040
Speaker 2: So at any rate, yeah, I agree that the logic

1703
01:25:55,320 --> 01:25:58,800
Speaker 2: it does not make sense. No, but Macomb believes that

1704
01:25:58,880 --> 01:26:01,160
Speaker 2: he has the upper hand here. But then oops in

1705
01:26:01,360 --> 01:26:04,720
Speaker 2: strolls nineteen ninety four Macomb and he's like, what are

1706
01:26:04,760 --> 01:26:06,439
Speaker 2: you doing here? And he's like, well, you left a

1707
01:26:06,479 --> 01:26:08,240
Speaker 2: message that I needed to show up here, and he says,

1708
01:26:08,240 --> 01:26:11,840
Speaker 2: I did no such thing. Ah, this is this is

1709
01:26:11,920 --> 01:26:13,880
Speaker 2: what van Dam has done. He was the one who

1710
01:26:13,960 --> 01:26:17,800
Speaker 2: left that message. He orchestrated this and now Macomb's like, well,

1711
01:26:17,880 --> 01:26:19,960
Speaker 2: this is just going to be a multiple homicide and

1712
01:26:20,000 --> 01:26:20,519
Speaker 2: now it's going to.

1713
01:26:20,520 --> 01:26:21,280
Speaker 4: Be a blood bath.

1714
01:26:21,840 --> 01:26:24,960
Speaker 2: And then then we get the payoff. We get some

1715
01:26:25,840 --> 01:26:28,800
Speaker 2: fun one liners back and forth, but it ends with

1716
01:26:29,320 --> 01:26:32,920
Speaker 2: a tussle over the gun and Jean Claude van Dam's

1717
01:26:33,000 --> 01:26:38,280
Speaker 2: character kicks ninety four Macomb into two thousand and four Macomb,

1718
01:26:38,800 --> 01:26:42,800
Speaker 2: and now Matter is occupying the same same space at

1719
01:26:42,840 --> 01:26:43,360
Speaker 2: the same time.

1720
01:26:43,760 --> 01:26:46,680
Speaker 3: So yeah, they start melting together and screaming. At one

1721
01:26:46,720 --> 01:26:48,960
Speaker 3: point they've got like the two faces and like their

1722
01:26:49,080 --> 01:26:53,800
Speaker 3: eyes are joining, and it's it's very well. Eventually they

1723
01:26:53,880 --> 01:26:56,240
Speaker 3: turn into what looks like, I don't like a CGI

1724
01:26:56,439 --> 01:27:00,120
Speaker 3: version of like an indoscopy procedure, and.

1725
01:27:00,160 --> 01:27:02,800
Speaker 2: Then this puddle, and then the puddle it just evaporates

1726
01:27:02,800 --> 01:27:06,880
Speaker 2: into nothing. So it's like they just consume themselves and

1727
01:27:07,000 --> 01:27:10,439
Speaker 2: are just completely removed from all timelines, though I guess

1728
01:27:10,479 --> 01:27:12,560
Speaker 2: they can still remember him, so on some level, I

1729
01:27:12,560 --> 01:27:14,040
Speaker 2: don't know. It breaks my brain if I think about

1730
01:27:14,040 --> 01:27:16,599
Speaker 2: it too much. But at any rate, Macomb in the past,

1731
01:27:16,680 --> 01:27:18,920
Speaker 2: Macomb in the future are gone Macomb. It's as if

1732
01:27:19,000 --> 01:27:24,560
Speaker 2: Macomb never existed. And yeah, I remember thinking this. It

1733
01:27:24,640 --> 01:27:27,760
Speaker 2: doesn't like I say, the closer you look, the more

1734
01:27:29,240 --> 01:27:34,040
Speaker 2: brain destroying it becomes. But how they good here? And yeah,

1735
01:27:34,439 --> 01:27:37,000
Speaker 2: it just you gotta Yeah, you can't think about it

1736
01:27:37,080 --> 01:27:41,680
Speaker 2: too much. But I do remember loving this sequence back

1737
01:27:41,720 --> 01:27:43,439
Speaker 2: in the day. When I saw it in the nineties,

1738
01:27:43,439 --> 01:27:45,559
Speaker 2: I was like, this is amazing. These effects are amazing.

1739
01:27:46,120 --> 01:27:49,200
Speaker 2: Now it's a bit dated looking. I think the sound

1740
01:27:49,240 --> 01:27:51,519
Speaker 2: effects hold up really well. The sound effects help sell it.

1741
01:27:52,040 --> 01:27:54,320
Speaker 2: I would not want good effects here. I want these

1742
01:27:54,360 --> 01:27:57,080
Speaker 2: effects to be exactly as bad as they are. It's perfect.

1743
01:27:57,160 --> 01:27:59,120
Speaker 2: It looks like an after dark screensaver.

1744
01:27:59,400 --> 01:28:00,479
Speaker 3: It's beautiful.

1745
01:28:02,200 --> 01:28:03,880
Speaker 2: Yeah, I mean, I guess you know. It shouldn't look

1746
01:28:03,920 --> 01:28:07,440
Speaker 2: too biological. It's not supposed to look like a realistic

1747
01:28:07,600 --> 01:28:09,960
Speaker 2: melt because it's not. This is a this is something

1748
01:28:10,040 --> 01:28:14,200
Speaker 2: happening with like like a time paradox resolving itself by

1749
01:28:14,720 --> 01:28:20,240
Speaker 2: by destroying matter across time lines or something. At any rate,

1750
01:28:20,360 --> 01:28:21,160
Speaker 2: it's a quality kill.

1751
01:28:21,640 --> 01:28:26,040
Speaker 3: Yes, So the evil Senator Macomb is defeated. Jean Claude

1752
01:28:26,080 --> 01:28:29,880
Speaker 3: van dam, Mia, Sarah and their son live happily ever after,

1753
01:28:29,920 --> 01:28:31,920
Speaker 3: and we see like into the future and there's like, oh,

1754
01:28:32,040 --> 01:28:35,599
Speaker 3: happy family times and it's happy ending. We get some sweet.

1755
01:28:35,680 --> 01:28:38,679
Speaker 3: I think, like some sweet two to do kind of music.

1756
01:28:38,760 --> 01:28:39,400
Speaker 3: And that's the end.

1757
01:28:39,960 --> 01:28:42,479
Speaker 2: Now, when Jean Claude Van Kidd runs out and he

1758
01:28:42,520 --> 01:28:44,760
Speaker 2: scoops him up, I immediately was like, Okay, this is

1759
01:28:44,800 --> 01:28:45,360
Speaker 2: the happy ending.

1760
01:28:45,560 --> 01:28:46,280
Speaker 4: But he doesn't.

1761
01:28:46,280 --> 01:28:48,200
Speaker 2: He doesn't remember. He doesn't know this child at all.

1762
01:28:48,400 --> 01:28:50,560
Speaker 2: He's gonna have to like go in and get a

1763
01:28:50,640 --> 01:28:53,960
Speaker 2: full breakdown from from Mia Sarah about who this kid

1764
01:28:54,120 --> 01:28:56,800
Speaker 2: is and what his relationship to him is. He's gonna

1765
01:28:56,800 --> 01:29:00,080
Speaker 2: have to look at some photo galleries or something, or

1766
01:29:00,120 --> 01:29:02,920
Speaker 2: at least it's not implied that suddenly a full recollection

1767
01:29:03,520 --> 01:29:06,599
Speaker 2: of this timeline comes into his mind.

1768
01:29:07,040 --> 01:29:09,040
Speaker 3: That didn't make sense to me. I didn't know, and

1769
01:29:09,920 --> 01:29:12,320
Speaker 3: I don't know. As with all the time paradoxes, I

1770
01:29:12,360 --> 01:29:15,240
Speaker 3: think you just can't think about it. So that's time cop,

1771
01:29:16,680 --> 01:29:17,479
Speaker 3: It's time cop.

1772
01:29:18,360 --> 01:29:22,640
Speaker 2: Yeah, good luck trying to resolve the various time paradoxes

1773
01:29:23,040 --> 01:29:26,439
Speaker 2: in this film. Don't do not try it. But all

1774
01:29:26,520 --> 01:29:30,559
Speaker 2: that aside, still a super fun nineties sci fi action film.

1775
01:29:31,640 --> 01:29:35,000
Speaker 2: Really probably the van dam action film to rewatch on

1776
01:29:35,080 --> 01:29:39,320
Speaker 2: it if you're not looking for a pure martial arts picture. Now,

1777
01:29:39,479 --> 01:29:41,960
Speaker 2: we of course watched this movie in the future. I mean,

1778
01:29:42,000 --> 01:29:44,559
Speaker 2: we're in the future even compared to two thousand and four.

1779
01:29:45,240 --> 01:29:47,720
Speaker 2: We would love to hear from anyone who has recollections

1780
01:29:47,800 --> 01:29:49,799
Speaker 2: like we do of watching it in the past.

1781
01:29:50,439 --> 01:29:52,240
Speaker 3: Did you watch it in nineteen twenty nine?

1782
01:29:53,920 --> 01:29:54,120
Speaker 4: Yeah?

1783
01:29:54,200 --> 01:29:56,120
Speaker 2: Oh man, that was another thing I was thinking, like

1784
01:29:56,200 --> 01:29:58,720
Speaker 2: if what else did McComb do to raise money, like

1785
01:30:00,000 --> 01:30:01,960
Speaker 2: go back in the past. Like maybe as he's running

1786
01:30:02,000 --> 01:30:03,800
Speaker 2: for president, they're like, hey, he's that guy who wrote

1787
01:30:03,840 --> 01:30:05,240
Speaker 2: that song, Hey Jude and.

1788
01:30:05,360 --> 01:30:05,720
Speaker 4: Let it be.

1789
01:30:07,040 --> 01:30:11,600
Speaker 2: Yeah, he wrote so many classic songs. That's where he

1790
01:30:11,640 --> 01:30:14,679
Speaker 2: made most of his money. He invented the mister Coffee.

1791
01:30:14,760 --> 01:30:18,000
Speaker 2: I mean, he's just like looking around his house. It's like,

1792
01:30:18,280 --> 01:30:20,720
Speaker 2: all right, that guys, get in the get in the

1793
01:30:20,800 --> 01:30:23,120
Speaker 2: times led, We're going back to invent the mister coffee.

1794
01:30:23,520 --> 01:30:25,360
Speaker 2: Daddy needs a little more money for the campaign.

1795
01:30:25,800 --> 01:30:29,080
Speaker 3: He's singing thriller in the commercial for the mister Coffee.

1796
01:30:30,439 --> 01:30:33,599
Speaker 2: Yeah, another great, great tune that he wrote. All right, Well, hey,

1797
01:30:33,600 --> 01:30:35,719
Speaker 2: if you want to write into us about time travel

1798
01:30:35,760 --> 01:30:38,600
Speaker 2: and time cop please do. We'd love to hear from you.

1799
01:30:39,240 --> 01:30:42,240
Speaker 2: You know, we'll probably discuss those on our listener mail episodes,

1800
01:30:42,320 --> 01:30:45,240
Speaker 2: which air in the Stuff to Blow Your Mind Podcast.

1801
01:30:45,320 --> 01:30:47,880
Speaker 2: Feed every Monday. On Tuesdays and Thursdays, we do core

1802
01:30:47,920 --> 01:30:50,280
Speaker 2: episodes of Stuff to Blow Your Mind. We're mostly a

1803
01:30:50,360 --> 01:30:52,760
Speaker 2: science podcast, but then on Fridays we set aside most

1804
01:30:52,800 --> 01:30:54,920
Speaker 2: serious concerns to just talk about a weird film on

1805
01:30:54,960 --> 01:30:56,800
Speaker 2: Weird House Cinema. If you want to see a complete

1806
01:30:56,840 --> 01:30:59,200
Speaker 2: list of all the films we've discussed so far, you

1807
01:30:59,280 --> 01:31:01,120
Speaker 2: can go to letter box dot com. That's L E

1808
01:31:01,200 --> 01:31:03,040
Speaker 2: T T E R B O x D dot com.

1809
01:31:03,400 --> 01:31:05,920
Speaker 2: We have a profile there it's weird House. We have

1810
01:31:06,000 --> 01:31:08,400
Speaker 2: a list there of all the films we've done, with

1811
01:31:08,560 --> 01:31:09,760
Speaker 2: links to where you can listen to them.

1812
01:31:10,000 --> 01:31:13,479
Speaker 3: Huge thanks to our audio producer Jjposway. If you would

1813
01:31:13,560 --> 01:31:15,280
Speaker 3: like to get in touch with us with feedback on

1814
01:31:15,360 --> 01:31:17,640
Speaker 3: this episode or any other, to suggest a topic for

1815
01:31:17,720 --> 01:31:20,240
Speaker 3: the future, or just to say hello, you can email

1816
01:31:20,360 --> 01:31:23,320
Speaker 3: us at contact at stuff to Blow your Mind dot com.

1817
01:31:30,240 --> 01:31:33,160
Speaker 1: Stuff to Blow Your Mind is production of iHeartRadio. For

1818
01:31:33,280 --> 01:31:36,040
Speaker 1: more podcasts from my heart Radio, visit the iHeartRadio app,

1819
01:31:36,200 --> 01:31:38,960
Speaker 1: Apple Podcasts, or wherever you listen to your favorite shows.