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

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Speaker 2: Hey, welcome to Weird House Cinema.

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Speaker 3: This is Rob Lamb and I am Joe McCormick. And

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Speaker 3: today on Weird House Cinema we're going to be talking

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Speaker 3: about the nineteen eighty nine Aliens ripoff Shocking Dark, which

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Speaker 3: has got to be a new favorite for me. I've

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Speaker 3: never seen this before and it is top tier schlock.

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Speaker 3: This movie is it was such a good time.

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Speaker 2: That's right, I mean, this is bad movie. Caviat from

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Speaker 2: the screenwriters behind Troll two and the director of such

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Speaker 2: films as Zombie three and Robo War's Shop Door singular

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Speaker 2: rob ro wor singular my mistake. Yes, Robo War. There

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Speaker 2: was only ever one Robo War, but.

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Speaker 3: They didn't yet have James Cameron to come along and

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Speaker 3: write Robo War with a dollar sign after it.

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Speaker 2: Yeah, this this one. I have to say, this is

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Speaker 2: a film that I actually absolutely has to be seen

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Speaker 2: to be believed. We we don't talk about bad movies

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Speaker 2: so much on Weird House. Were generally, you know, very

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Speaker 2: I would say, we're pretty forgiving. We're we're here to

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Speaker 2: to lean into films and find find what works and

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Speaker 2: celebrate what works in a movie. So it may have

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Speaker 2: been a while since we watched something this schlocky this,

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Speaker 2: but in its own way, this this perfect because I think,

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Speaker 2: you know, one would be tempted to cast a film

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Speaker 2: like Shocking Dark as the mere antithesis of great filmmaking.

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Speaker 2: But I think you could also argue that this is

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Speaker 2: the reflected reverse image, and as such it's that same greatness.

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Speaker 2: It's just reversed, you know, it's Shocking Dark. Is is stupendous,

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Speaker 2: and as such, I would argue it's more captivating than

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Speaker 2: most motion pictures. There's no lukewarm movie here to be

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Speaker 2: spat out and forgotten half finished. The experience no matter what,

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Speaker 2: is going to be absolutely memorable.

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Speaker 3: I totally agree with that this is not a middle

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Speaker 3: of the road, boring hack exercise. This is a jewel

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Speaker 3: of badness. It's the kind of badness that takes on

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Speaker 3: a form of genius, like other films of this caliber

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Speaker 3: we've talked about before, like troll To like Plan nine

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Speaker 3: from Outer Space, like Highlander two. In many ways, yeah,

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Speaker 3: I think it's right up there. This movie is so pleasurable,

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Speaker 3: and I think there will be a bunch of reasons

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Speaker 3: that we can get into. Some are harder to describe

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Speaker 3: than others, but we'll try to sort of lay out

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Speaker 3: a roadmap of the pleasures on offer here. But first,

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Speaker 3: since this movie is widely acknowledged to be a shameless

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Speaker 3: ripoff of at least one James Cameron movie, actually two

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Speaker 3: two James Cameron movie, I thought we should try to

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Speaker 3: place it within a kind of taxonomy of different ways

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Speaker 3: a movie can be thought of as a copycat or

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Speaker 3: a ripoff. All right, So, the first way I want

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Speaker 3: to think of a movie being a knockoff is the

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Speaker 3: marketing clone. And in this case, the actual substance of

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Speaker 3: the movie may have nothing to do with the film

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Speaker 3: that's being copied, but the market facing information about the film,

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Speaker 3: such as title, poster, or trailer, tries to make the

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Speaker 3: movie seem related to or identical to another more successful movie.

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Speaker 3: And there are actually a few different ways you can

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Speaker 3: do this. One example is sequels in name only. An

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Speaker 3: instance here is Troll two, which is connected to the

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Speaker 3: very same creators of Shocking Dark. Troll two had nothing

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Speaker 3: to do with the.

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Speaker 2: Movie called Troll.

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Speaker 3: Movies like this are in neither form nor function actual

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Speaker 3: sequels to the original. They just illicitly slap a title

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Speaker 3: and they're like Zombie two or Terminator two. In this case,

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Speaker 3: they put it on the poster without permission and they

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Speaker 3: opened the box office.

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Speaker 2: Yeah, and so like with this film. This film was

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Speaker 2: apparently shot as shocking dark, and it was a producer

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Speaker 2: level choice to then try and sell it as Terminator too.

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Speaker 2: So I think if everyone involved in making the film

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Speaker 2: realize like that was, that was maybe even a step

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Speaker 2: step too far. You're not just not It's one thing

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Speaker 2: to call your film troll too, but to go after

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Speaker 2: to go in the wake of Terminators. They're like, hey,

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Speaker 2: here it is Terminator too. I know there's another Terminator

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Speaker 2: two coming out in a few months. I'm not going

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Speaker 2: to say anything about that one, but why don't you

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Speaker 2: buy this?

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Speaker 3: Yeah. Another way you can have a marketing clone is

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Speaker 3: mockbusters movies that you know, as far as I can tell,

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Speaker 3: are trying to confuse people into buying the wrong DVD.

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Speaker 3: These were very popular in the late two thousands and

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Speaker 3: the twenty ten. So imagine a movie called Transmorphers with

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Speaker 3: DVD box art that looks very similar to Michael Bay's Transformers.

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Speaker 3: You can think of other examples like Atlantic Rim and

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Speaker 3: The Da Vinci Treasure. These movies may or may not

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Speaker 3: be similar to the target blockbuster in terms of plot, character,

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Speaker 3: or style. The point is that they can be hard

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Speaker 3: to tell apart before you watch them. They're hard to

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Speaker 3: tell apart like at the store, especially maybe to like

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Speaker 3: a grandparent buying a DC for their grandchild or something. Yeah,

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Speaker 3: so that's a kind of crass way you can approach

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Speaker 3: trying to steal the artistic or entertainment credibility of another film.

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Speaker 3: Another way you can have something that could be thought

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Speaker 3: of as a knockoff is the premise lifter. A lot

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Speaker 3: of copycat movies are like this, and I think it's

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Speaker 3: one of the most benign forms of copying in storytelling.

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Speaker 3: In this type of movie, you take the basic premise

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Speaker 3: or elevator pitch of a pre existing movie, but then

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Speaker 3: you take it in your own direction. So, for example,

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Speaker 3: a premise clone of the original Terminator might be a

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Speaker 3: movie about a killer robot that is transported from a

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Speaker 3: dystopian future back to the present to carry out a mission.

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Speaker 3: So you could have the same setup as the Terminator,

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Speaker 3: or at least the same setup as far as you know,

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Speaker 3: as far as it would sound in a sentence long pitch.

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Speaker 3: But then maybe the plot and the characters and execution

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Speaker 3: could be totally different, And there are even some quite

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Speaker 3: good movies in this category. I think a fresh take

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Speaker 3: on a familiar premise can be exciting and sometimes can

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Speaker 3: even be great art. Lots of examples of this category

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Speaker 3: don't even feel like copying. They might just be variations

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Speaker 3: on a theme or further exploring a new niche subgenre

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Speaker 3: in the example of Terminator. At this point, does Dangerous

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Speaker 3: Robot from the Future even really belong to James Cameron?

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Speaker 3: Or is that more just kind of a very specific

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Speaker 3: subgenre of sci fi?

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Speaker 2: Yeah?

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Speaker 3: Yeah, Now, another way a movie might be thought of

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Speaker 3: as a copycat is what I would call the vibe repeater.

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Speaker 3: A lot of Star Wars copycats are in this category.

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Speaker 3: They don't exactly lift all that much directly from Star

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Speaker 3: Wars in terms of semantic plot content, but instead they're

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Speaker 3: trying to copy like the texture and the feeling of

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Speaker 3: Star Wars. So it's more the world, the ensemble, the

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Speaker 3: look and sound, the emotional range, and so forth. So

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Speaker 3: in the case of Star Wars vibe repeaters, you'd usually

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Speaker 3: get some kind of swashbuckling space adventure with a cast

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Speaker 3: of zany characters and morphologically diverse aliens, droids, bad guys

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Speaker 3: in scary helmets, rebels fighting against the odds, space battles, mysticism,

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Speaker 3: and things like that. So these movies try to copy

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Speaker 3: the texture and the feeling of another movie that's been successful,

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Speaker 3: more so than explicit details of the story or or

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Speaker 3: explicit designs or anything like that.

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Speaker 2: Yeah, and a lot of the times, a lot of

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Speaker 2: the time it falls flat. To be honest, I guess

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Speaker 2: it depends on what you're copying. Like I would say,

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Speaker 2: in general, I've never seen a Star Wars vibe repeater

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Speaker 2: that gets the job done. But if I were to

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Speaker 2: look at, say, the various Conan the Barbarian inspired movies, Okay,

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Speaker 2: certainly none of them are on the level of Conan

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Speaker 2: in terms of cinematic quality, but like, the general vibe

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Speaker 2: might be there. It's like, all right, you know, muscle Barbarians,

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Speaker 2: and some of the similar themes might be explored. It

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Speaker 2: can work kind of like some of your better Mad Macs.

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Speaker 2: Vibe repeaters can essentially get the job done.

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Speaker 3: I agree, Yeah, yeah, okay, And then the final category

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Speaker 3: I would talk about is just the all out ripoff,

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Speaker 3: and this is the territory we're in with Shocking Dark.

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Speaker 3: Shocking Dark is indeed a marketing clone of Terminator. Specifically,

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Speaker 3: it is a sequel in name only that uses a

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Speaker 3: poster that looks exactly like the poster for Terminator. It

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Speaker 3: is both a premise lifter and a vibe repeater of Aliens.

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Speaker 3: It's taking the basic plot pitch, and it's also trying

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Speaker 3: to copy a lot of the texture and feeling of Aliens.

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Speaker 3: But it goes beyond any of these categories into outright

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Speaker 3: reproducing whole characters, situations, and scenes from Aliens, but with

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Speaker 3: a much lower budget and less finesse in terms of acting, writing, sets, costumes,

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Speaker 3: and effects. And so it's actually a pretty interesting question

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Speaker 3: to me, why would you want to do that? I

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Speaker 3: can understand. I think all of the other categories, like

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Speaker 3: I understand the mercenary money making appeal of the marketing

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Speaker 3: clone that is a cash grab. I understand the creative

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Speaker 3: appeal of taking a crack at a story premise that

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Speaker 3: has been done before, but doing it your own way.

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Speaker 3: It can be fun to work out your own unique

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Speaker 3: version of an idea. I understand wanting to capture the

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Speaker 3: vibes of a movie that you liked in the past,

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Speaker 3: but just do something different with it, you know, so

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Speaker 3: create a similar feeling that you have enjoyed yourself. But

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Speaker 3: I don't quite understand what is the appeal of just

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Speaker 3: taking the scene from Aliens where Burke leaves the face

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Speaker 3: hugger in the room with Ripley and Newt and reproducing

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Speaker 3: it essentially the same but less well within another movie.

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Speaker 3: That is a head scratcher for me.

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Speaker 2: Yeah, I mean, my only guess is that it basically

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Speaker 2: comes down to like a producer level understanding or misunderstanding

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Speaker 2: of what cinema is, you know, where it's just about

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Speaker 2: the cash grab. It's not about what emotions the movie

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Speaker 2: can summon. It's not about the stories they can tell.

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Speaker 2: It's just like, what how much money can we make

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Speaker 2: tomorrow using the limited resources we have today?

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Speaker 3: But I don't even understand, So, like, what kind of

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Speaker 3: appeal do you think you're gonna sell more movie tickets

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Speaker 3: if you have a scene in your movie it's the

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Speaker 3: same as a scene from the other movie that made money,

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Speaker 3: do you know what I mean? Like, I don't even

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Speaker 3: know how that you think that translates into getting people

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Speaker 3: into the theaters or getting people to rent it.

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Speaker 2: Yeah, I mean, I can only assume it was just

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Speaker 2: kind of a product of the time, right it. It

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Speaker 2: must have worked right because they did it all the

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Speaker 2: time in like B and C budget Italian cinema.

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Speaker 3: Yeah, I guess so. But by the way, I don't

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Speaker 3: mean to say any of this to detegrate the experience

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Speaker 3: of Shocking Dark, because despite what you might regard as

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Speaker 3: its creative failures or crimes, it is an absolutely brain

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Speaker 3: melting good time. I can't recommend this movie enough to

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Speaker 3: people who like schlock movies.

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Speaker 2: Absolutely, this is definitely so bad it's good territory. I couldn't.

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Speaker 2: I couldn't get my wife to watch it. She was like,

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Speaker 2: she kind of scratched her head with why I would

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Speaker 2: watch this in full. But if you, if you enjoy bad,

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Speaker 2: schlocking movies, movies that are very rough around the edge,

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Speaker 2: is then Shocking Dark is the film for you.

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Speaker 3: It feels like a movie built entirely out of first takes.

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Speaker 3: There are parts where actors literally screw up their lines

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Speaker 3: and then correct themselves, or they like miss a queue

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Speaker 3: and leave a long, awkward pause before responding to someone

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Speaker 3: and just leave it in. That's in the movie.

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Speaker 2: Yeah, we'll get into some specific examples of this too,

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Speaker 2: where it's just kind of like the camera's rolling, we're

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Speaker 2: gonna get what we're gonna get, and yeah, it's in

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Speaker 2: the movie.

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Speaker 3: Yeah, I love it. And then there are otherwise where

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Speaker 3: it's just hard to describe what is so funny and

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Speaker 3: pleasing about it. You just have to see it for yourself.

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Speaker 3: It's a lot of little details about timing, editing, framing,

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Speaker 3: line delivery that are difficult to translate into words, but

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Speaker 3: you should see this once again. It is top shelf shlock.

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Speaker 2: All right, I have a quick elevator pitch, and I

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Speaker 2: think you have a longer one, but mine is simply,

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Speaker 2: we have aliens at home. This movie is aliens at home.

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Speaker 3: Yes, it's like what if aliens, but instead out of

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Speaker 3: a terraforming colony on LV four twenty six, it's tunnels

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Speaker 3: allegedly underneath Venice. Does that even make sense to have

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Speaker 3: tunnels underneath Venice? Sounds like a flooding risk? But okay,

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Speaker 3: so it's tunnels underneath Venice, the city of Venice in Italy.

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Speaker 3: And then instead of colonial marines, you've got the Mega Force.

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Speaker 3: More on them later, and then instead of xenomorphs, you've

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Speaker 3: got bug eyed Ooze hippos. And then instead of Whale

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Speaker 3: and U Tanni, you have the Tubular Corporation, And instead

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Speaker 3: of James Cameron, you have the guys who made Troll.

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Speaker 2: Too and Robo War. All right, let's go ahead and

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Speaker 2: just listen to a little bit of the trailer audio

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Speaker 2: for Shocking Dark.

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Speaker 4: They thought they were fighting only against aliens. They were

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Speaker 4: sure that they had won their but they were mistaken.

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Speaker 4: Shocking Dark.

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Speaker 5: Full ferocious, indestructible, ruthless terminator.

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Speaker 4: Shocking Dark.

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Speaker 3: Hey there, this is Joe with an insert from the future.

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Speaker 3: After we finished recording the episode, just thought back about

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Speaker 3: how Shocking Dark has a pretty unbelievable plot twist in

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Speaker 3: the last fifteen minutes or so, and we end up

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Speaker 3: talking about it without much warning in the episode. So

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Speaker 3: if you want to see the movie without having a

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Speaker 3: pretty bizarre surprise spoiled for you, you should watch it

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Speaker 3: before listening further.

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Speaker 2: That's all all right, So at this point in the podcast,

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Speaker 2: you might be wondering, all right, how can I see

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Speaker 2: Shocking Dark? Then, well, Shocking Dark did not receive a

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Speaker 2: proper release in the US for a very long time,

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Speaker 2: I think for some obvious reasons. But in twenty eighteen,

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Speaker 2: the excellent Severin Films put out the definitive Blu ray edition,

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Speaker 2: scanned in two K from the director's cut negative discovered

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Speaker 2: in a Rome Lab vault. Plus there are some There

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Speaker 2: are a couple of fun extras on the disc that

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Speaker 2: I'll reference later. You can buy this in most places,

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Speaker 2: but you can also get it off their website. Severin

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Speaker 2: dot com. They do great releases in general. Shocking Dark

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Speaker 2: is probably a film where you can get by seeing

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Speaker 2: it in a grungy format, but I still think it's

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Speaker 2: worth seeing in the best quality available. I know that

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Speaker 2: some of the streams you'll find out there are on

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Speaker 2: the official services that offer them. These are also the

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Speaker 2: seven restoration, or at least you know the restoration that

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Speaker 2: Severn Films used in their release. Okay, this is what

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Speaker 2: I watched. I rented it from Video Drum here in Atlanta.

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Speaker 3: I am soon to own a disc of this, but

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Speaker 3: I watched a stream of it that was available through

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Speaker 3: I think scream box and it looked good.

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Speaker 2: Yeah, I bet it's the same restoration, because it is

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Speaker 2: worth stressing that it's a film with some things that

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Speaker 2: I think are worth seeing in high detail. The locations

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Speaker 2: they used and the I think one set that they

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Speaker 2: utilized late in the film. I think these are great.

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Speaker 2: I enjoyed seeing them, these performances, you know, respect the

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Speaker 2: actors involved here and see them in the highest format possible.

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Speaker 2: All right, let's talk about the people who made it.

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Speaker 2: The director's chair occupied by Bruno matte who of nineteen

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Speaker 2: thirty one through two thousand and seven Italian director of

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Speaker 2: B movies, exploitation films, and yes, shameless knockoffs. His story

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Speaker 2: is pretty endearing in a number of ways. Though his

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Speaker 2: father owned a film editing studio, so he grew up

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Speaker 2: in and around the business, and he has various technical

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Speaker 2: credits to go all the way back to the Night

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Speaker 2: to the early fifties. In sixty nine and seventy, he

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Speaker 2: worked as an editor on two Jess Franco films, ninety

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Speaker 2: nine Women and Count Dracula. That's the one that had

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Speaker 2: Christopher Lee in it with a mustache, and he apparently

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Speaker 2: did some uncredited directing on ninety nine Women. After this,

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Speaker 2: he directed a string of Italian sex comedies and exploitation

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Speaker 2: films leading up to nineteen eighties Hell of the Living Dead,

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Speaker 2: a Dawn of the Dead inspired zombie film featuring a

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Speaker 2: score by Goblin. Oh wow. Yeah, Now, don't be mistaken.

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Speaker 2: All of the exploitation projects continued in the background here.

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Speaker 2: But he also followed this up with eighty three's The

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Speaker 2: Seven Magnificent Gladiators, which starred Luferi No and Sybil Danning

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Speaker 2: who guess we're also in a Hercules movie that we watched,

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Speaker 2: and Brad Harris so I think was also in that

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Speaker 2: Hercules movie.

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Speaker 3: Wait, they're trying to get some Magnificent seven juice into

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Speaker 3: the title of this gladiator. Is this a future gladiator's movie?

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Speaker 2: Ooh, that's a great question. I would say given the timeframe,

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Speaker 2: there's like a seventy five percent chance that it takes

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Speaker 2: place in a post apocalyptic future. But I don't know.

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Speaker 2: This could be This could be a Sword and Sandals picture.

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Speaker 2: I mean, he does have Luf Rigno in it, so

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Speaker 2: come the Hercules connection.

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Speaker 3: He could be a Roman gladiator or he could be

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Speaker 3: a cyber gladiator. Both maver sense.

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Speaker 2: There's also eighty four's Rats Night of Terror that is

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Speaker 2: a post apocalyptic film with like rats overrunning a post

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Speaker 2: apocalyptic city, and I think they used decaying sets from

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Speaker 2: more exterior sets from a Once upon a Time in

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Speaker 2: America for that one. And then there's eighty seven's Double Target.

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Speaker 2: This had Miles O'Keefe in it, and Donald Pleasants is

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Speaker 2: Miles O'Keefe, the guy from Atour Yes Okay. Eighty seven

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Speaker 2: Scalps and Strike Commando was starring Reb Brown. Eighty eight

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Speaker 2: Zombie three, the nineteen eighty eight Predator ripoff Robo War

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Speaker 2: starring Reb Brown.

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Speaker 3: Oh, that's one of my favorites. I used to put

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Speaker 3: Robo War on when I was like hanging out with

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Speaker 3: my D and D friends. I'd put it on on

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Speaker 3: mute because something often silly looking was happening on screen.

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Speaker 3: But if you watch that one, I don't know if

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Speaker 3: that's fun to sit through the entire time because it

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Speaker 3: gets rather monotonous. There's just a lot of like running

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Speaker 3: around in the jungle and stuff, but there are some

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Speaker 3: quite funny dialogue moments in it.

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Speaker 2: The alien does not look as good as the predator

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Speaker 2: in our Predator franchise. I have to.

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Speaker 3: Say, no, it does not. I would say that the

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Speaker 3: monster costumes in shocking Dark are much better than the

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Speaker 3: monster monster suits and designs in the other Bruno Matte

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Speaker 3: and Claudio Fragoso movies I've seen.

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Speaker 2: I agreed, agreed, We'll come back to those monsters in

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Speaker 2: a bit. But let's say following Robo War, there's eighty

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Speaker 2: eight Strike Commando two, which has Richard Harrison, and then

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Speaker 2: there's the nineteen ninety five Jaws knockoff, cruel Jaws and

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Speaker 2: much more.

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Speaker 3: No nice jaws around here.

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Speaker 2: Yeah, I guess by ninety five you got to come

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Speaker 2: up with new angles on your Jaws knockoff. Anyway, what

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Speaker 2: your angle is that the shark is mean? Yeah, yeah,

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Speaker 2: he wouldn't mean enough. Further, it's just an animal now

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Speaker 2: he's mean. Okay. So Mittea continued working in low budget

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Speaker 2: horror until his death in two thousand and seven, and

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Speaker 2: I've read that he was, you know, working pretty much

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Speaker 2: extensively in the Philippines by that time.

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Speaker 3: I think Robo War was shot in the Philippines.

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Speaker 2: From what it is, a jungle movie, right, yeah, all right,

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Speaker 2: Now onto the screenwriters. It is the husband and wife

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Speaker 2: duo of Rosella Drudi and Claudio Fragasso. He was born

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Speaker 2: in fifty one they also wrote nineteen nineties, often exceeded

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Speaker 2: but never equaled Troll two, which was our second selection

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Speaker 2: ever for Weird House Cinema.

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Speaker 3: A classic for a reason.

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Speaker 2: For Grosso's credited screenplays go back to around seventy four

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Speaker 2: and hers to nineteen eighty, but they frequently worked with

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Speaker 2: Bruno on such films as Hell as a Living Dead, Rats,

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Speaker 2: Night of Terror, Zombie three Strike, Commando two, and Robo War. Now,

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Speaker 2: of their pictures, I've mainly just seen Troll two and

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Speaker 2: The Night Killer, as well as some behind the scenes

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Speaker 2: interviews with them, and it's always very interesting and it

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Speaker 2: always strikes me that they take their films very seriously.

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Speaker 2: So Troll two had aspirations of being a sort of

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Speaker 2: cutting critique of vegetarianism got them, and Night Killer aspired

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Speaker 2: to be some sort of like serious psycho sexual thriller.

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Speaker 3: In some respects Night Killer is very funny but also gross.

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Speaker 2: Yeah. Yeah, I can't. I can't recommend. I can't recommend

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Speaker 2: Night Killer to the average film viewer. It's more of

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Speaker 2: it's a deeper cut. Yeah, But I was curious, Okay,

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Speaker 2: there's going to be an interview on this disc from Severn,

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Speaker 2: and I was like, what's their takeing it beyond it?

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Speaker 2: Are they going to be you know, very serious about

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Speaker 2: it or are they going to be upfront about it

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Speaker 2: being a knockoff. It's more of the latter. They stressed,

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Speaker 2: the producers put a put some very strict parameters on

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Speaker 2: this project. It needed to be a combination of Aliens

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Speaker 2: and The Terminator, and it needed to use character names

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Speaker 2: from those films. So, yeah, have a Sarah, for instance,

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Speaker 2: in this picture.

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Speaker 3: Except she's the Ripley, right, yeah, yeah, so the Sarah

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Speaker 3: Connor is the Ripley. And then there's a Drake in it.

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Speaker 3: Drake is one of the colonial Marines in Aliens, but

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Speaker 3: instead they make him like a scientist who has been

390
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Speaker 3: driven insane by the monsters and like has a scream

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Speaker 3: from beyond space and time.

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Speaker 2: Yeah, And they said that they actually pushed back as

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Speaker 2: much as they could, trying to inject some originality into

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Speaker 2: the script, but that neither they nor Bruno had any

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Speaker 2: control over the switch to the title Terminator too, when

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Speaker 2: the producer turned around and tried to sell it.

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Speaker 3: Okay, I think maybe the direct copying of scenes from

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Speaker 3: Aliens makes more sense if like these are just hired

399
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Speaker 3: guns and they are doing what the producers tell them

400
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Speaker 3: they have to do. Yeah, that makes sense. It's like

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Speaker 3: an order that is executed unthinkingly, or maybe not unthinkingly

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Speaker 3: by the people executing it, but is given unthinkingly.

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Speaker 2: Right, But then part of the creative exercise here becomes Okay,

404
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Speaker 2: it's one thing to say, rip off aliens and terminator,

405
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Speaker 2: but then how do you do it with such a

406
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Speaker 2: limited budget. You can't, So you have to make up

407
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Speaker 2: new stuff, even if you didn't want to, even if

408
00:23:48,480 --> 00:23:51,240
Speaker 2: you want to just save all of your creative juices

409
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Speaker 2: for the next project that you have more investment in,

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Speaker 2: You're gonna have to come up with something because you cannot.

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Speaker 2: You cannot reproduce alien scene for scene, like you just

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Speaker 2: can't not do it.

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Speaker 3: Absolutely not, though I've sort of already alluded to this,

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Speaker 3: But I think that the normally, when you're dealing with

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Speaker 3: the small budget, what you would expect to be the

416
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Speaker 3: weakest link in the movie is the technical realization, like

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Speaker 3: the you know, the special effects and the monster costumes

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Speaker 3: in the sets. But I don't think that is the

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Speaker 3: weakest link here. I think that you know, some of

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Speaker 3: the monster costumes kind of look okay, they're kind of

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Speaker 3: they're they're not as scary and realistic looking as the

422
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Speaker 3: xenomorph costumes, but they're fun, they're they're pretty good. I mean, clearly,

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Speaker 3: the weakest link here is like the script and the

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Speaker 3: acting and the human elements.

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Speaker 2: I agree Frigaso thought that the monster costumes were the

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Speaker 2: worst part. You know, he's like some of the atmosphere

427
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Speaker 2: they created, But yeah, I thought the monsters were fine.

428
00:24:47,640 --> 00:24:50,720
Speaker 2: There are other glaring problems here. Drudi, for her part,

429
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Speaker 2: said that she didn't like the film, was slightly mystified

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Speaker 2: that people did like it, but was generally like glad

431
00:24:56,119 --> 00:24:58,679
Speaker 2: that the film made people happy, and she commented that

432
00:24:58,680 --> 00:25:00,800
Speaker 2: there was too much dialogue pas in the film, like

433
00:25:00,840 --> 00:25:03,080
Speaker 2: they just they had to, they had to fill up

434
00:25:03,080 --> 00:25:06,359
Speaker 2: a certain amount of runtime, and you know, you can't

435
00:25:06,800 --> 00:25:09,320
Speaker 2: just do effects and shotgun blasts the whole time. You've

436
00:25:09,359 --> 00:25:12,240
Speaker 2: got to have some dialogue, and that there's too much

437
00:25:12,240 --> 00:25:12,439
Speaker 2: of it.

438
00:25:13,640 --> 00:25:15,920
Speaker 3: That's some of my favorite stuff in the movie, when

439
00:25:15,920 --> 00:25:18,399
Speaker 3: it feels like the actors are just ad libbing to

440
00:25:18,400 --> 00:25:20,919
Speaker 3: stretch out a scene. And yeah, oh that's some of

441
00:25:20,960 --> 00:25:24,520
Speaker 3: the best stuff, especially costers stuff in that regard.

442
00:25:24,640 --> 00:25:27,639
Speaker 2: Oh goodness, yes, I guess we'll get to hurt in

443
00:25:27,680 --> 00:25:31,960
Speaker 2: a minute. So anyway, the writers here, they seem to

444
00:25:31,960 --> 00:25:34,560
Speaker 2: have no illusions about the film and they're glad people

445
00:25:34,640 --> 00:25:37,000
Speaker 2: liked it and they didn't disown it or anything, you know,

446
00:25:37,080 --> 00:25:40,640
Speaker 2: So it was it's a fun little interview, all right. Now,

447
00:25:40,760 --> 00:25:43,320
Speaker 2: let's get into the cast here. I'm going to start

448
00:25:43,359 --> 00:25:47,480
Speaker 2: with really our central protagonist here, our ripley, if you will.

449
00:25:47,880 --> 00:25:51,200
Speaker 2: It is the character Sarah, and she is played by

450
00:25:51,320 --> 00:25:53,679
Speaker 2: Haven Tyler. You know she is.

451
00:25:54,720 --> 00:25:57,320
Speaker 3: I don't think anybody could say she is a good

452
00:25:57,440 --> 00:26:00,280
Speaker 3: actress in this movie, but she is like a blee

453
00:26:00,400 --> 00:26:04,280
Speaker 3: bad Like I found her bad performance was endearing.

454
00:26:04,880 --> 00:26:08,200
Speaker 2: This is Tyler's only acting credit. She was an American

455
00:26:08,280 --> 00:26:11,680
Speaker 2: college student studying abroad at the time, and since she'd

456
00:26:11,680 --> 00:26:13,800
Speaker 2: done a little bit of modeling and she had in

457
00:26:13,840 --> 00:26:17,040
Speaker 2: the past done some like school stage performances, she signed

458
00:26:17,119 --> 00:26:19,560
Speaker 2: up with a talent agency in Rome, which led to

459
00:26:19,600 --> 00:26:23,399
Speaker 2: her casting in this production. According to a twenty twenty

460
00:26:23,440 --> 00:26:27,600
Speaker 2: one interview with Fangoria magazine, this one was conducted by

461
00:26:27,640 --> 00:26:31,960
Speaker 2: Michael Gengold. Her audition was apparently just her screaming in

462
00:26:32,000 --> 00:26:37,240
Speaker 2: a room, and it's a really good interview. I've certainly

463
00:26:37,280 --> 00:26:39,720
Speaker 2: worth worth checking out for anyone interested in this picture.

464
00:26:39,760 --> 00:26:42,800
Speaker 2: But she reflects positively on the experience of making it,

465
00:26:42,840 --> 00:26:45,439
Speaker 2: saying that like most everyone was nice. The guy who

466
00:26:45,520 --> 00:26:48,960
Speaker 2: oversaw the munitions was really professional, which is something I

467
00:26:48,960 --> 00:26:50,920
Speaker 2: have to admit is often on my mind these days.

468
00:26:50,920 --> 00:26:52,840
Speaker 2: When I watched these older films with a bunch of

469
00:26:52,840 --> 00:26:55,119
Speaker 2: guns in them, I'm like, geez, I hope nobody was

470
00:26:55,200 --> 00:26:58,240
Speaker 2: hurt or killed making this. I hope they were. They

471
00:26:58,280 --> 00:27:01,440
Speaker 2: were careful, so it's alway refreshing to hear something like that.

472
00:27:03,000 --> 00:27:05,040
Speaker 2: I showed my wife part of the movie and she

473
00:27:05,080 --> 00:27:09,080
Speaker 2: observed that Tyler bears a certain resemblance to contemporary actress

474
00:27:09,160 --> 00:27:09,800
Speaker 2: Kate McKinnon.

475
00:27:10,160 --> 00:27:11,399
Speaker 3: Yep, she looks like her.

476
00:27:12,000 --> 00:27:14,960
Speaker 2: Yes, And of course the whole idea was I think

477
00:27:14,960 --> 00:27:18,119
Speaker 2: she was calfs because she at least vaguely to some degree,

478
00:27:18,240 --> 00:27:22,040
Speaker 2: resembles Ripley. It looks like Sigourney Weaver. I don't know

479
00:27:23,119 --> 00:27:23,720
Speaker 2: sure why not.

480
00:27:24,160 --> 00:27:25,959
Speaker 3: I'm trying to get there, but I don't quite see it.

481
00:27:26,000 --> 00:27:29,800
Speaker 3: But I respect that they tried, and you know what,

482
00:27:30,000 --> 00:27:32,080
Speaker 3: I feel like my judgment is going to continue because

483
00:27:32,119 --> 00:27:33,960
Speaker 3: now that I'm looking down the list of the other

484
00:27:34,040 --> 00:27:37,040
Speaker 3: actors we have to talk about in almost every case,

485
00:27:37,080 --> 00:27:40,840
Speaker 3: I actually feel have the same judgment, which is likably bad,

486
00:27:41,160 --> 00:27:44,480
Speaker 3: not a good actor giving a very stiff, wooden performance.

487
00:27:44,520 --> 00:27:45,560
Speaker 3: But I like them a lot.

488
00:27:45,920 --> 00:27:48,320
Speaker 2: Yeah, I mean really, you know, someone like Tyler, this

489
00:27:48,440 --> 00:27:51,800
Speaker 2: is her only film, She've had very little experience. This

490
00:27:51,880 --> 00:27:55,199
Speaker 2: is a very green performance, but it's great, like she

491
00:27:55,280 --> 00:27:59,640
Speaker 2: gives it her all. It is perfect for this film totally.

492
00:27:59,640 --> 00:28:01,959
Speaker 3: And another person on that wavelength is the actor who

493
00:28:02,040 --> 00:28:03,840
Speaker 3: plays Fuller, the company Man.

494
00:28:04,359 --> 00:28:08,520
Speaker 2: Yes, Christopher Aarn's another American actor living in Italy at

495
00:28:08,520 --> 00:28:09,800
Speaker 2: the time. We haven't I don't think we've mentioned this,

496
00:28:09,800 --> 00:28:12,240
Speaker 2: but this is an Italian film, but all the dialogue

497
00:28:12,280 --> 00:28:16,920
Speaker 2: is in English. It was like shot in English, so

498
00:28:17,400 --> 00:28:21,000
Speaker 2: using a lot of American actors or Americans in general

499
00:28:21,040 --> 00:28:23,960
Speaker 2: that happened to be in Italy at the time. So

500
00:28:24,840 --> 00:28:27,880
Speaker 2: this guy's acting credits, though stretched from nineteen eighty five

501
00:28:27,920 --> 00:28:31,240
Speaker 2: through around nineteen ninety nine. They include eighty eight Raiders

502
00:28:31,359 --> 00:28:34,680
Speaker 2: of the Magic Ivory, the nineteen ninety one Top Gun

503
00:28:34,800 --> 00:28:39,000
Speaker 2: knockoff with Aliens and David Warner, Blue Tornado, nineteen ninety

504
00:28:39,000 --> 00:28:42,440
Speaker 2: one's Beyond Justice with Rudger Howard, and Elliott Gould, and

505
00:28:42,520 --> 00:28:45,600
Speaker 2: finally a bit part as a Goths soldier in the

506
00:28:45,720 --> 00:28:49,640
Speaker 2: nineteen ninety nine all star Julie Taymoor film Titus, produced

507
00:28:49,640 --> 00:28:50,840
Speaker 2: in part by Steve Bannett.

508
00:28:51,560 --> 00:28:55,960
Speaker 3: Yeah, that's come up before. I don't remember him from Titus, though.

509
00:28:56,000 --> 00:28:58,480
Speaker 2: I think it's a bit part, you know, Goth soldier

510
00:28:58,600 --> 00:29:00,480
Speaker 2: or God's Soldier number one or some thing you know.

511
00:29:00,960 --> 00:29:03,560
Speaker 3: Okay, So my read on this guy is that they

512
00:29:03,680 --> 00:29:07,280
Speaker 3: told him you are the bad guy, be mean, and

513
00:29:07,360 --> 00:29:13,280
Speaker 3: so in every single moment, every single line, every single

514
00:29:14,160 --> 00:29:17,480
Speaker 3: second that the camera is on him, he is sneering.

515
00:29:18,000 --> 00:29:19,120
Speaker 2: Yeah, he's just like.

516
00:29:19,960 --> 00:29:22,080
Speaker 3: It is one of the most over the top villain

517
00:29:22,120 --> 00:29:25,720
Speaker 3: performances I've ever seen. Dot. I don't think he ever

518
00:29:25,920 --> 00:29:27,080
Speaker 3: cracks a smile.

519
00:29:27,320 --> 00:29:32,240
Speaker 2: He is just like, yeah, he's like every scene he's

520
00:29:32,240 --> 00:29:36,280
Speaker 2: making that. You know, sometimes you see people who's like

521
00:29:36,320 --> 00:29:37,960
Speaker 2: their idea for a headshot is they need to look

522
00:29:38,000 --> 00:29:39,520
Speaker 2: mean in all of them. They need to look like

523
00:29:39,520 --> 00:29:42,240
Speaker 2: like very stern and not smile. That's his whole, the

524
00:29:42,280 --> 00:29:42,760
Speaker 2: whole picture.

525
00:29:43,080 --> 00:29:45,480
Speaker 3: Yes, Yeah, that's off to him.

526
00:29:46,440 --> 00:29:49,920
Speaker 2: Yeah, it's a he commits the part. It's fine, all right.

527
00:29:50,280 --> 00:29:53,760
Speaker 2: Now getting into the basically the colonial Marines the picture

528
00:29:54,080 --> 00:29:57,760
Speaker 2: we have the character cost and cost is played by

529
00:29:58,520 --> 00:30:01,120
Speaker 2: Garretta Garretta born nineteen fifty eight.

530
00:30:01,720 --> 00:30:06,160
Speaker 3: I love her. I can't literally like the moment when

531
00:30:06,200 --> 00:30:09,400
Speaker 3: she died in the movie, like halfway through I shouted

532
00:30:09,440 --> 00:30:12,320
Speaker 3: out loud. I was like, no, do not take her away.

533
00:30:12,840 --> 00:30:17,320
Speaker 2: How can we finish the picture without her just jarring presence.

534
00:30:19,320 --> 00:30:23,120
Speaker 2: So she is an American model turned actor with a

535
00:30:23,200 --> 00:30:26,400
Speaker 2: number of notable credits from the world of Italian b cinema,

536
00:30:27,240 --> 00:30:30,760
Speaker 2: making her something of an icon in this part of

537
00:30:30,760 --> 00:30:33,880
Speaker 2: the world of cinema. Her credits include nineteen eighty three's

538
00:30:33,920 --> 00:30:37,920
Speaker 2: Warrior of the Lost World and eighty three's twenty twenty

539
00:30:37,960 --> 00:30:42,800
Speaker 2: Texas Gladiators, Fulci's Murder Rock from nineteen eighty four, that

540
00:30:42,840 --> 00:30:47,000
Speaker 2: one not that good, but not only for Fulci, completist,

541
00:30:47,120 --> 00:30:50,720
Speaker 2: I think, but she's in that one. She's in Bruno's

542
00:30:50,920 --> 00:30:53,720
Speaker 2: Rats Night of Terror, and in nineteen eighty five she

543
00:30:53,760 --> 00:30:58,080
Speaker 2: appeared in Lamberto Baba's Classic Demons, which is definitely worth

544
00:30:58,080 --> 00:31:02,800
Speaker 2: seeing if you're into just wild Italian horror movies of

545
00:31:02,880 --> 00:31:05,520
Speaker 2: this time period is Warrior of.

546
00:31:05,480 --> 00:31:08,040
Speaker 3: The Lost World, the one they did on Mystery Science

547
00:31:08,080 --> 00:31:10,080
Speaker 3: Theater that has mega Weapon.

548
00:31:10,320 --> 00:31:11,960
Speaker 2: Yes, I believe so. I think that's the one with

549
00:31:12,600 --> 00:31:13,880
Speaker 2: Donald Pleasants in it, right.

550
00:31:14,120 --> 00:31:17,320
Speaker 3: That sounds right. Mega weapon from what I recall is

551
00:31:17,480 --> 00:31:19,960
Speaker 3: like a dump truck that's got a little like thing

552
00:31:20,080 --> 00:31:22,120
Speaker 3: pooping out some flames from it, and.

553
00:31:22,200 --> 00:31:24,520
Speaker 2: Yep, yep, that's the one. Fred Williamson's in it.

554
00:31:25,320 --> 00:31:28,280
Speaker 3: Yeah. But to repeat the theme of actors who are

555
00:31:28,360 --> 00:31:31,959
Speaker 3: giving it, they're all who are giving a I don't know,

556
00:31:32,000 --> 00:31:35,640
Speaker 3: you you might not think of as a realistic dramatic performance,

557
00:31:35,680 --> 00:31:38,000
Speaker 3: but who are going over the top in ways that

558
00:31:38,040 --> 00:31:43,640
Speaker 3: make this movie so much fun Bullseye Like Greta. Greta

559
00:31:43,800 --> 00:31:46,720
Speaker 3: is so much fun in this Yeah.

560
00:31:46,920 --> 00:31:50,080
Speaker 2: She has this kind of like unhinged green energy that

561
00:31:50,200 --> 00:31:54,840
Speaker 2: makes her just absolutely captivating to watch. Like we'll get

562
00:31:54,880 --> 00:31:58,160
Speaker 2: into the key scene here in a bit, but yeah,

563
00:31:58,200 --> 00:32:00,959
Speaker 2: anytime she is on on on screen, you're like, what

564
00:32:01,040 --> 00:32:02,920
Speaker 2: is she going to say next? What is she gonna do?

565
00:32:03,320 --> 00:32:05,440
Speaker 2: And what choices is she gonna make in her acting?

566
00:32:05,840 --> 00:32:06,560
Speaker 3: Yeah?

567
00:32:06,680 --> 00:32:11,400
Speaker 2: All right. We also have Foster Lombardi playing Frienzini, another

568
00:32:11,440 --> 00:32:15,760
Speaker 2: one of the Mega Force crew here the Marines Here

569
00:32:15,760 --> 00:32:19,040
Speaker 2: born nineteen fifty five, Italian actor. His credits include nineteen

570
00:32:19,080 --> 00:32:21,160
Speaker 2: eighty's Terror Express eighty two is Don't Look in the

571
00:32:21,160 --> 00:32:25,080
Speaker 2: attic Rat's Night of Terror nineteen eighty nine's After Death

572
00:32:25,240 --> 00:32:28,880
Speaker 2: aka zombiefore. That one was directed by Claudio Fragasso and

573
00:32:28,920 --> 00:32:32,240
Speaker 2: written by Rosella Drudi, and he was also in Blue Tornado.

574
00:32:32,840 --> 00:32:36,160
Speaker 3: Is this the guy who cost her yells at for

575
00:32:36,200 --> 00:32:36,960
Speaker 3: being Italian?

576
00:32:37,200 --> 00:32:40,920
Speaker 2: Yes? Yeah, okay, all right. It can't be an alien's

577
00:32:41,000 --> 00:32:43,440
Speaker 2: ripoff without a newt ripoff, and that is where the

578
00:32:43,600 --> 00:32:48,040
Speaker 2: character Samantha comes into play. Samantha was played by child

579
00:32:48,120 --> 00:32:52,480
Speaker 2: actress Dominica Colson, who was apparently eleven at the time,

580
00:32:52,840 --> 00:32:56,560
Speaker 2: but looks quite a bit older on the screen. Judian

581
00:32:56,600 --> 00:32:59,760
Speaker 2: Fragasso points this out that she's almost as tall as

582
00:32:59,800 --> 00:33:03,960
Speaker 2: tap Tyler and these various scenes, and I don't think

583
00:33:04,120 --> 00:33:06,360
Speaker 2: everyone was really happy with the way this ended up looking,

584
00:33:06,400 --> 00:33:08,880
Speaker 2: but hey, being being a parent of a twelve year

585
00:33:08,920 --> 00:33:12,720
Speaker 2: old and seeing how his friends have grown, especially, I

586
00:33:12,720 --> 00:33:14,800
Speaker 2: can totally see how this could happen. You cast an

587
00:33:14,840 --> 00:33:17,080
Speaker 2: eleven year old and suddenly she's like a foot and

588
00:33:17,120 --> 00:33:17,760
Speaker 2: a half taller.

589
00:33:18,160 --> 00:33:19,680
Speaker 3: Oh yeah, I guess it takes a while to make

590
00:33:19,680 --> 00:33:23,200
Speaker 3: a movie, didn't it. Yeah, yeah, I would have maybe

591
00:33:23,200 --> 00:33:23,760
Speaker 3: not this one.

592
00:33:23,760 --> 00:33:26,040
Speaker 2: But I'm maybe between the time of casting at or

593
00:33:26,080 --> 00:33:28,760
Speaker 2: maybe you don't realize that your lead actor isn't as

594
00:33:28,800 --> 00:33:31,000
Speaker 2: tall as Sigourney Weaver. I don't know.

595
00:33:31,360 --> 00:33:33,880
Speaker 3: Yeah, that would make sense. I would have guessed this

596
00:33:33,960 --> 00:33:35,600
Speaker 3: actress was older than eleven. Yeah.

597
00:33:35,640 --> 00:33:39,280
Speaker 2: Yeah, But anyway, in that interview with Angoria, Tyler shares

598
00:33:39,280 --> 00:33:41,120
Speaker 2: that she and her mom, who was on set with

599
00:33:41,160 --> 00:33:44,520
Speaker 2: her the whole time, were lovely people. So it's always

600
00:33:44,600 --> 00:33:46,719
Speaker 2: nice to hear when a low budget picture like this

601
00:33:47,200 --> 00:33:51,480
Speaker 2: is not in and of itself a secondary horror movie. Yeah. Yeah,

602
00:33:51,520 --> 00:33:54,440
Speaker 2: because you can imagine the pitch was. I was a

603
00:33:54,480 --> 00:33:58,320
Speaker 2: college student living in Italy for a summer, and I

604
00:33:58,440 --> 00:34:00,760
Speaker 2: was cast in a sci fi horror movie filmed in

605
00:34:00,800 --> 00:34:02,800
Speaker 2: an abandoned nuclear power plant.

606
00:34:03,080 --> 00:34:05,160
Speaker 3: Oh my god, that is where they filmed some of

607
00:34:05,200 --> 00:34:05,960
Speaker 3: the stuff, isn't it.

608
00:34:06,240 --> 00:34:08,479
Speaker 2: Yeah. Yeah, we'll get into like, you have so many

609
00:34:08,560 --> 00:34:12,239
Speaker 2: great sequences, and well, there are great sequences. You have

610
00:34:12,360 --> 00:34:15,839
Speaker 2: some great locations in this film, Yes, that look very

611
00:34:15,880 --> 00:34:19,360
Speaker 2: interesting that could have this industrial quality to them, but

612
00:34:19,440 --> 00:34:22,319
Speaker 2: also don't look like straight up grimy ruins, like they're

613
00:34:22,400 --> 00:34:27,440
Speaker 2: kind of they're very clean and futuristic looking in some regards,

614
00:34:27,760 --> 00:34:30,200
Speaker 2: and That's basically what the whole situation is.

615
00:34:30,360 --> 00:34:33,000
Speaker 3: When I was watching, I was really wondering where some

616
00:34:33,120 --> 00:34:36,440
Speaker 3: of this was shot, because it doesn't look like cheap sets.

617
00:34:36,480 --> 00:34:39,880
Speaker 3: It looks like a real industrial setting with like heavy

618
00:34:39,960 --> 00:34:42,960
Speaker 3: bulkhead doors and all this stuff, Like, what were they

619
00:34:42,960 --> 00:34:46,440
Speaker 3: doing here? But they actually got let into a nuclear

620
00:34:46,440 --> 00:34:47,120
Speaker 3: power plant.

621
00:34:48,000 --> 00:34:52,240
Speaker 2: Yeah. Italy, I believe, historically had four different nuclear power plants,

622
00:34:52,560 --> 00:34:55,480
Speaker 2: all of which close by nineteen ninety following the nineteen

623
00:34:55,480 --> 00:34:59,279
Speaker 2: eighty seven Italian referendums on nuclear power. And this would

624
00:34:59,280 --> 00:35:02,399
Speaker 2: have been in the wake the Chernobyl disaster. So yeah,

625
00:35:02,400 --> 00:35:05,360
Speaker 2: they shot stuff there. They also shot some in Rome's

626
00:35:05,840 --> 00:35:10,560
Speaker 2: Roma Tormini train station. I think there are some grimier

627
00:35:10,680 --> 00:35:13,400
Speaker 2: tunnel sequences that must have been shot there. And then

628
00:35:13,400 --> 00:35:16,680
Speaker 2: there's one set late in the picture. There's one like

629
00:35:16,760 --> 00:35:20,600
Speaker 2: fully created set. Basically it'll be a set that looks

630
00:35:20,600 --> 00:35:22,919
Speaker 2: a lot like maybe they were inspired by the Mother

631
00:35:23,640 --> 00:35:25,360
Speaker 2: command center in the original Alien.

632
00:35:25,600 --> 00:35:28,560
Speaker 3: That's what I was thinking was the one. Yeah, should

633
00:35:28,600 --> 00:35:32,400
Speaker 3: we spoil it right now? It's a time machine.

634
00:35:32,600 --> 00:35:36,000
Speaker 2: Yeah, this movie has the gall to throw in the

635
00:35:36,440 --> 00:35:38,560
Speaker 2: what are like last ten to fifteen minutes of the film,

636
00:35:38,600 --> 00:35:41,880
Speaker 2: they're like, oh, time travel exists. Yeah, yeah, in a

637
00:35:41,920 --> 00:35:42,439
Speaker 2: big way.

638
00:35:42,760 --> 00:35:44,360
Speaker 3: Best CODEA ever.

639
00:35:45,520 --> 00:35:47,359
Speaker 2: All right, let's see who do we have left on here? Okay,

640
00:35:47,400 --> 00:35:49,520
Speaker 2: there's a character named Drake who shows up. We mentioned

641
00:35:49,560 --> 00:35:54,520
Speaker 2: Drake earlier, played by Clive Ricci born nineteen fifty eight.

642
00:35:54,880 --> 00:35:57,719
Speaker 2: This is another This is a much much smaller role,

643
00:35:57,760 --> 00:36:01,400
Speaker 2: but another totally unhinged performance that land somewhere between bad

644
00:36:01,440 --> 00:36:02,239
Speaker 2: and transcendent.

645
00:36:02,719 --> 00:36:05,319
Speaker 3: I could not believe what I was watching in the

646
00:36:05,360 --> 00:36:08,040
Speaker 3: scene where he starts screaming at all of the Mega

647
00:36:08,080 --> 00:36:11,640
Speaker 3: Force guys and they all start screaming, and everyone's screaming,

648
00:36:11,719 --> 00:36:13,200
Speaker 3: It's like I nearly fell over.

649
00:36:13,640 --> 00:36:15,680
Speaker 2: It's a lot of screaming in this film, a lot

650
00:36:15,719 --> 00:36:18,960
Speaker 2: of shrill screaming. So this is This is an English

651
00:36:18,960 --> 00:36:22,560
Speaker 2: born actor born fifty eight, also a composer. This was

652
00:36:22,600 --> 00:36:25,480
Speaker 2: his first film credit, which I think is understandable, but

653
00:36:25,520 --> 00:36:27,799
Speaker 2: he went on to a peer in ninety four Cemetary Man,

654
00:36:28,040 --> 00:36:30,919
Speaker 2: two thousand and five's Casanova, the two thousand and seven

655
00:36:31,000 --> 00:36:34,200
Speaker 2: HBO series Rome, Dario Argento's Mother of Tears in two

656
00:36:34,239 --> 00:36:36,960
Speaker 2: thousand and seven, in the twenty twenty four series Those

657
00:36:37,000 --> 00:36:40,400
Speaker 2: About to Die, along with various other I think Italian

658
00:36:40,400 --> 00:36:43,800
Speaker 2: productions and productions that took place in Italy. I believe

659
00:36:43,800 --> 00:36:45,840
Speaker 2: he's also a translator and a voiceover artist.

660
00:36:46,200 --> 00:36:50,000
Speaker 3: M okay, well, hey, should we talk about those creature

661
00:36:50,000 --> 00:36:53,080
Speaker 3: effects that Claudio was talking down on.

662
00:36:53,480 --> 00:36:56,960
Speaker 2: Yes, this is the work of the Polucci brothers. So

663
00:36:57,080 --> 00:37:00,760
Speaker 2: these are a pair of twin Italian monster suit makers,

664
00:37:01,040 --> 00:37:05,040
Speaker 2: Francesco and Gaetano, active behind the scenes, or at least

665
00:37:05,040 --> 00:37:08,959
Speaker 2: credited as such, because sometimes, you know, special effects people

666
00:37:08,960 --> 00:37:12,360
Speaker 2: are kind of lost in the shuffle and aren't actually credited.

667
00:37:12,400 --> 00:37:15,319
Speaker 2: But based on the databases, we know that they were

668
00:37:15,400 --> 00:37:19,040
Speaker 2: active between eighty five and ninety six. They'd previously worked

669
00:37:19,040 --> 00:37:21,000
Speaker 2: on nineteen eighty five's texts and The Lord of the

670
00:37:21,040 --> 00:37:24,360
Speaker 2: Deep on some special effects, and then they followed this

671
00:37:24,520 --> 00:37:28,280
Speaker 2: up working alongside the legendary Italian special effects master Carlo

672
00:37:28,400 --> 00:37:31,920
Speaker 2: Rombaldi on nineteen eighty five Silver Bullet. This is the

673
00:37:31,920 --> 00:37:35,880
Speaker 2: Stephen King scripted adaptation of King's Werewolf story.

674
00:37:36,120 --> 00:37:37,920
Speaker 3: Does that Gary Busey in it?

675
00:37:37,920 --> 00:37:38,600
Speaker 2: It sure does?

676
00:37:38,800 --> 00:37:39,040
Speaker 3: Yeah?

677
00:37:39,160 --> 00:37:42,719
Speaker 2: Okay? And also what's his name that played Stilgar in

678
00:37:42,760 --> 00:37:44,560
Speaker 2: the David Lynch Dune.

679
00:37:44,880 --> 00:37:46,480
Speaker 3: Oh Everett McGill, there you.

680
00:37:46,520 --> 00:37:49,560
Speaker 2: Go, Yeah, Everett McGill's and that too, So anyway, this

681
00:37:49,560 --> 00:37:51,440
Speaker 2: seemed to be like this. I'm guessing this was their

682
00:37:51,480 --> 00:37:54,560
Speaker 2: big moment, like working with a legit master of like

683
00:37:54,640 --> 00:37:58,439
Speaker 2: creature effects and creature building, and after this they seem

684
00:37:58,520 --> 00:38:01,680
Speaker 2: to go their own way. Their creature work continues in

685
00:38:01,719 --> 00:38:05,120
Speaker 2: Body Count in eighty six, The Barbarians in eighty seven,

686
00:38:05,520 --> 00:38:08,120
Speaker 2: Top Line and Robo War in eighty eight, and Night

687
00:38:08,200 --> 00:38:11,319
Speaker 2: Killer in nineteen ninety, and then their last picture came

688
00:38:11,320 --> 00:38:14,400
Speaker 2: out in ninety six. But again, sometimes special effects workers

689
00:38:14,920 --> 00:38:18,480
Speaker 2: don't end up being credited properly, so I'm not entirely

690
00:38:18,520 --> 00:38:20,480
Speaker 2: sure where else they may have worked. Well.

691
00:38:20,520 --> 00:38:22,839
Speaker 3: I think the monsters in Shocking Dark look a lot

692
00:38:22,920 --> 00:38:24,879
Speaker 3: better than the monster in Robo War.

693
00:38:25,719 --> 00:38:28,719
Speaker 2: Yeah, they look good. I feel like they're mostly lit

694
00:38:28,760 --> 00:38:33,400
Speaker 2: pretty well. They clearly just had two suits, one of

695
00:38:33,440 --> 00:38:37,279
Speaker 2: which looks kind of like a fishy frogman and the

696
00:38:37,360 --> 00:38:39,680
Speaker 2: other one looks kind of like a cross between the

697
00:38:39,719 --> 00:38:42,360
Speaker 2: alien space jockey and a giant cicada.

698
00:38:42,640 --> 00:38:45,560
Speaker 3: That's what I was thinking. One is the cicada because

699
00:38:45,560 --> 00:38:48,400
Speaker 3: it's got a oh, it's got kind of a hose

700
00:38:48,480 --> 00:38:50,440
Speaker 3: running down the middle of its face that is space

701
00:38:50,560 --> 00:38:54,120
Speaker 3: jockey ish, but could also be interpreted as the insects rostrum,

702
00:38:54,560 --> 00:38:56,840
Speaker 3: and it has the red eyes of a cicada. It

703
00:38:56,920 --> 00:38:59,920
Speaker 3: just looks very insecty. But then the other one is

704
00:39:00,160 --> 00:39:03,120
Speaker 3: the one I was thinking of, is the bubblegum hippopotamus,

705
00:39:03,160 --> 00:39:05,840
Speaker 3: because it's kind of a hippo. Then when it opens

706
00:39:05,880 --> 00:39:09,160
Speaker 3: its mouth, it's got this stretchy, the bubblegum kind of

707
00:39:09,200 --> 00:39:12,200
Speaker 3: the sticky stuff in between its jaws. That that's always

708
00:39:12,200 --> 00:39:14,800
Speaker 3: like peeling up and I don't know what you call that,

709
00:39:14,800 --> 00:39:17,839
Speaker 3: that physical effect, but it's like bubble gum stuck between

710
00:39:17,880 --> 00:39:19,759
Speaker 3: two things that are peeling apart.

711
00:39:19,960 --> 00:39:22,440
Speaker 2: It's always painfully obvious that they only had two monster

712
00:39:22,520 --> 00:39:24,400
Speaker 2: suits in this film, like they're not really able to

713
00:39:24,440 --> 00:39:27,760
Speaker 2: create that illusion of there being tons and tons of monsters.

714
00:39:27,760 --> 00:39:29,880
Speaker 2: I always felt like there was Monster A and Monster B.

715
00:39:30,200 --> 00:39:31,520
Speaker 2: But still they look pretty good.

716
00:39:31,920 --> 00:39:34,440
Speaker 3: Though there are some surprise monsters later on of a

717
00:39:34,440 --> 00:39:35,200
Speaker 3: different format.

718
00:39:35,520 --> 00:39:38,480
Speaker 2: Oh yes, there is going to be a yeah, spoiler

719
00:39:38,520 --> 00:39:41,240
Speaker 2: monster coming later. I guess not much of a spoiler monster,

720
00:39:42,200 --> 00:39:44,520
Speaker 2: all right. And then finally, the music in this picture.

721
00:39:45,320 --> 00:39:49,800
Speaker 2: The score is by Carlo Maria Cordillo born nineteen fifty two,

722
00:39:49,920 --> 00:39:53,600
Speaker 2: composer and one time producer on Joe Diamato's ninety one

723
00:39:53,640 --> 00:39:57,319
Speaker 2: fantasy film Quest for the Mighty Sword. He worked a

724
00:39:57,360 --> 00:40:01,560
Speaker 2: lot in European exploitation and genre s. His credits include

725
00:40:01,680 --> 00:40:05,120
Speaker 2: the nineteen eighty one Joe Diamanto George Eastman Gorefest Absurd.

726
00:40:06,320 --> 00:40:11,240
Speaker 2: He did one Picer Simon's eighty two slasher pieces, along

727
00:40:11,280 --> 00:40:15,520
Speaker 2: with Joe Diamanto's A Tour The Fighting Eagle, and his

728
00:40:15,640 --> 00:40:19,840
Speaker 2: eight nineteen eighty three post apocalyptic film Endgame Bronx Lota

729
00:40:19,960 --> 00:40:24,319
Speaker 2: Finale eighty seven, z Iron Warrior, Fulchi's Enigma the same year,

730
00:40:24,640 --> 00:40:29,520
Speaker 2: Night Killer, Troll two, and various other schlocky titles. His

731
00:40:29,680 --> 00:40:33,800
Speaker 2: work typifies that kind of like fun and atmospheric synth

732
00:40:33,880 --> 00:40:36,560
Speaker 2: work you find in a lot of these films, which,

733
00:40:36,960 --> 00:40:39,840
Speaker 2: along with, you know, the work of bigger name players

734
00:40:39,920 --> 00:40:43,560
Speaker 2: in the game, helped inspire whole modern subgenres of like

735
00:40:43,640 --> 00:40:46,359
Speaker 2: hard disco and you know, sort of like retro dark

736
00:40:46,440 --> 00:40:47,879
Speaker 2: synth wave stuff. Yeah.

737
00:40:47,880 --> 00:40:51,560
Speaker 3: The soundtrack here is not super original, but I think

738
00:40:51,600 --> 00:40:53,480
Speaker 3: it fits well and is quite fun.

739
00:40:53,800 --> 00:40:57,319
Speaker 2: Yeah. Yeah. You can find some of these tracks on

740
00:40:58,520 --> 00:41:03,000
Speaker 2: Cordeo's official streamable releases under the title Alienator, which was

741
00:41:03,040 --> 00:41:05,279
Speaker 2: one of the alternate titles for the film if you

742
00:41:05,280 --> 00:41:08,359
Speaker 2: look for the album The Bite of Fear, So yeah,

743
00:41:08,480 --> 00:41:12,719
Speaker 2: I thought it sounded pretty good. Special edition vinyls of

744
00:41:12,840 --> 00:41:15,400
Speaker 2: his scores have been released before, I don't think for

745
00:41:15,560 --> 00:41:19,640
Speaker 2: Shocking Dark, but Patrol Too and Absurd definitely have come

746
00:41:19,640 --> 00:41:23,200
Speaker 2: out on vinyl. And finally, I should note that IMDb

747
00:41:23,440 --> 00:41:26,080
Speaker 2: lists the use of stock music on this film by

748
00:41:26,080 --> 00:41:30,239
Speaker 2: none other than legendary Greek progressive and electronic composer Evangelists

749
00:41:30,440 --> 00:41:33,600
Speaker 2: who live forty three through twenty and twenty two. But

750
00:41:33,640 --> 00:41:36,000
Speaker 2: I'm not sure what where and to what extent we

751
00:41:36,080 --> 00:41:40,160
Speaker 2: hear evangelists in Shocking Dark. But I know he did

752
00:41:40,200 --> 00:41:43,520
Speaker 2: a lot of major compositions obviously, you know Oscar winning

753
00:41:43,560 --> 00:41:46,120
Speaker 2: stuff like eighty one's Chariots a Fire or you know

754
00:41:46,160 --> 00:41:49,600
Speaker 2: the legendary score to eighty two's Blade Runner. But he

755
00:41:49,640 --> 00:41:52,160
Speaker 2: also did stuff like a twelve hour private score for

756
00:41:52,239 --> 00:41:56,600
Speaker 2: some surgery instruction videos that the Tacos tapes. So I

757
00:41:56,600 --> 00:42:00,239
Speaker 2: don't know. I'm not a vangelist expert, so I'm not

758
00:42:00,280 --> 00:42:02,600
Speaker 2: sure like what all he got into outside of like

759
00:42:02,640 --> 00:42:04,920
Speaker 2: his main work. So maybe there is some like you know,

760
00:42:05,000 --> 00:42:07,759
Speaker 2: straight up you know stock music that he did that

761
00:42:07,800 --> 00:42:10,560
Speaker 2: they're sampling here. But but again I'm not sure. I'm

762
00:42:10,560 --> 00:42:12,719
Speaker 2: not sure on the details of where we hear any

763
00:42:12,760 --> 00:42:15,520
Speaker 2: of his work in his picture Let Me Let Me

764
00:42:15,520 --> 00:42:19,759
Speaker 2: Stress though, score by Cordillo not a score by Evangelists.

765
00:42:20,160 --> 00:42:33,799
Speaker 3: Evangelists directed shocking everybody remember that. Okay, is it time

766
00:42:33,800 --> 00:42:34,680
Speaker 3: to talk about the plot?

767
00:42:35,080 --> 00:42:37,600
Speaker 2: Yeah, let's get into the plot now.

768
00:42:37,719 --> 00:42:40,120
Speaker 3: I think once we sort of hit a certain point

769
00:42:40,200 --> 00:42:42,960
Speaker 3: in the progression of the story here, the plot recap

770
00:42:43,040 --> 00:42:46,600
Speaker 3: may become thinner or more cursory than usual, since it

771
00:42:46,760 --> 00:42:49,440
Speaker 3: just did not make sense to me to like after

772
00:42:49,520 --> 00:42:53,759
Speaker 3: Act two begins, to try to narrate in detail. This

773
00:42:53,840 --> 00:42:57,560
Speaker 3: is one of those movies where when I started playing

774
00:42:57,600 --> 00:43:00,480
Speaker 3: the stream, I had to stop and make sure I

775
00:43:00,520 --> 00:43:02,799
Speaker 3: had selected the right title, because if you know that

776
00:43:02,880 --> 00:43:06,040
Speaker 3: the premise is it's a ripoff of Aliens and Terminator,

777
00:43:06,480 --> 00:43:09,879
Speaker 3: the first scene does not make any sense. We open

778
00:43:09,960 --> 00:43:14,799
Speaker 3: on tourists in Venice. Yes, so we're in some piazza

779
00:43:15,040 --> 00:43:18,880
Speaker 3: with cathedrals in the background. You see tourists wandering around

780
00:43:18,880 --> 00:43:23,120
Speaker 3: with cameras taking pictures of stuff. They're pigeons everywhere. Somebody

781
00:43:23,160 --> 00:43:26,840
Speaker 3: strikes up some soft Italian mandolin music, and then a

782
00:43:26,920 --> 00:43:29,560
Speaker 3: voice over comes on sounding like the narrator of a

783
00:43:29,600 --> 00:43:33,920
Speaker 3: slasher movie trailer, and says Venice before the year two

784
00:43:34,000 --> 00:43:40,040
Speaker 3: thousand and it goes on to say squares, museums and churches,

785
00:43:40,440 --> 00:43:45,360
Speaker 3: Tourists crowd the streets. Venice is threatened by the high tide.

786
00:43:45,920 --> 00:43:49,600
Speaker 3: The seaweed is killing the oxygen in the waters, and

787
00:43:49,640 --> 00:43:53,560
Speaker 3: the putrid waters are corroding the foundations of the city.

788
00:43:54,080 --> 00:43:56,800
Speaker 3: So we're treated to some shots of Venus from the water,

789
00:43:56,960 --> 00:43:59,160
Speaker 3: from out on the ocean, looking at the at the

790
00:43:59,200 --> 00:44:03,040
Speaker 3: coastline and the buildings, and then the narrator says, this

791
00:44:03,080 --> 00:44:06,200
Speaker 3: is Venus today, and then it grows softer and it

792
00:44:06,280 --> 00:44:12,120
Speaker 3: says what will happen tomorrow? We cut away from the

793
00:44:12,160 --> 00:44:14,520
Speaker 3: waters and the pleasure boats to a shot of the

794
00:44:14,560 --> 00:44:19,000
Speaker 3: city with soft, fuzzy lens. Now it looked very clear beforehand.

795
00:44:19,040 --> 00:44:21,640
Speaker 3: Now we got the fuzzy lens. So the camera operator

796
00:44:21,920 --> 00:44:25,520
Speaker 3: has activated conquest mode. I don't know how exactly they

797
00:44:25,600 --> 00:44:27,640
Speaker 3: do that. I mean they smear some vasoline on the

798
00:44:27,719 --> 00:44:30,759
Speaker 3: lens or something, but we're in that mode, and in

799
00:44:30,840 --> 00:44:33,240
Speaker 3: front of the city there is now a red sign

800
00:44:33,320 --> 00:44:37,200
Speaker 3: that says Venus off limits. And here we get our

801
00:44:37,239 --> 00:44:42,120
Speaker 3: first glimpse of the Mega Force. Now, these costumes are

802
00:44:43,000 --> 00:44:44,839
Speaker 3: I don't know, they're a big part of what makes

803
00:44:44,880 --> 00:44:48,560
Speaker 3: the movie funny because they're just funny looking costumes. From

804
00:44:48,600 --> 00:44:51,880
Speaker 3: the bottom to the top, the Mega Force wear heavy boots,

805
00:44:52,480 --> 00:44:58,000
Speaker 3: baggy cuffed up nylon pants, a Batman utility belt, golden

806
00:44:58,120 --> 00:45:01,799
Speaker 3: yellow longsleeve shirts, and then I don't know what you

807
00:45:01,840 --> 00:45:05,960
Speaker 3: call these this like shoulder formation or sleeve type, but

808
00:45:06,000 --> 00:45:09,520
Speaker 3: they're like a V shaped gray vest with sort of

809
00:45:09,800 --> 00:45:12,760
Speaker 3: arched cap sleeves. You know, it's like where the sleeve

810
00:45:12,840 --> 00:45:15,279
Speaker 3: comes out from the shoulder over the arm.

811
00:45:15,920 --> 00:45:17,960
Speaker 2: Yeah, it looks kind of like the things that the

812
00:45:18,040 --> 00:45:19,520
Speaker 2: Ninjas wear in Mortal Combat.

813
00:45:19,719 --> 00:45:23,640
Speaker 3: Yes, yeah, yeah, and then a gas mask and a

814
00:45:23,680 --> 00:45:24,560
Speaker 3: bicycle helmet.

815
00:45:24,800 --> 00:45:30,279
Speaker 2: Yeah yeah. So basically so, yeah, Venus is off limits. Now.

816
00:45:30,719 --> 00:45:32,840
Speaker 2: Future Venus is kind of like New York City and

817
00:45:32,960 --> 00:45:35,640
Speaker 2: Escape from New York, only it's a biohazard zone instead

818
00:45:35,680 --> 00:45:37,080
Speaker 2: of a penal colony. Will learn.

819
00:45:37,320 --> 00:45:40,640
Speaker 3: Yeah, not even any prisoners in there. There is no

820
00:45:40,760 --> 00:45:44,120
Speaker 3: Duke of Venice. There is only slime, which, by the

821
00:45:44,160 --> 00:45:46,560
Speaker 3: way they show us, we're just getting at this point.

822
00:45:46,560 --> 00:45:49,240
Speaker 3: They're showing us pictures of the water and they're slime

823
00:45:49,320 --> 00:45:52,440
Speaker 3: in the water, and then another narrator comes on. I

824
00:45:52,440 --> 00:45:55,400
Speaker 3: think this is a different voice who says the situation

825
00:45:55,560 --> 00:45:59,480
Speaker 3: in Venice is now critical. A giant toxic cloud has

826
00:45:59,480 --> 00:46:03,239
Speaker 3: settled over the city and is slowly destroying every form

827
00:46:03,280 --> 00:46:06,680
Speaker 3: of life. The government has declared it a disaster area

828
00:46:06,760 --> 00:46:10,120
Speaker 3: and has ordered the evacuation of the few remaining survivors.

829
00:46:10,560 --> 00:46:15,440
Speaker 3: Venice is now a dead city. And then like the

830
00:46:15,480 --> 00:46:19,480
Speaker 3: camera pans around looking at the canals, filming places where

831
00:46:19,520 --> 00:46:22,200
Speaker 3: there's like a lot of algae on the bricks around

832
00:46:22,200 --> 00:46:25,040
Speaker 3: the canal, or just some litter, and it kind of

833
00:46:25,080 --> 00:46:27,279
Speaker 3: reminds me of something we talked about in our Weird

834
00:46:27,320 --> 00:46:31,680
Speaker 3: House episode on Frogs from nineteen seventy two. When you've

835
00:46:31,680 --> 00:46:34,279
Speaker 3: got a movie scene, it's supposed to be showing that

836
00:46:34,320 --> 00:46:38,040
Speaker 3: a place is filled with litter and pollution, but the

837
00:46:38,160 --> 00:46:41,440
Speaker 3: trash and the scene looks too fresh. They do not

838
00:46:41,600 --> 00:46:44,880
Speaker 3: have that problem here, because I think they're just I

839
00:46:44,920 --> 00:46:47,080
Speaker 3: think they got these shots by just going around in

840
00:46:47,160 --> 00:46:50,000
Speaker 3: filming places where there was actually trash piled up.

841
00:46:50,160 --> 00:46:54,319
Speaker 2: Yeah, they just like picked out the worst spots in

842
00:46:54,400 --> 00:46:56,759
Speaker 2: Venice and like, here's your dystopian future.

843
00:46:56,880 --> 00:47:00,279
Speaker 3: Right, so it doesn't actually look that futuristic just looks

844
00:47:00,320 --> 00:47:02,480
Speaker 3: like they were cruising for trash and they found some

845
00:47:02,640 --> 00:47:07,000
Speaker 3: and you know, got some shots. So we go around

846
00:47:07,080 --> 00:47:10,920
Speaker 3: looking at these fuzzy scenes of a desolate, abandoned Venus.

847
00:47:10,960 --> 00:47:14,440
Speaker 3: There's like crumbling. There are crumbling buildings hanging over the canals,

848
00:47:14,520 --> 00:47:18,440
Speaker 3: old wooden scaffolding, and various stages of rot bricks falling

849
00:47:18,480 --> 00:47:21,920
Speaker 3: into the ocean. Rats living in old water logged mattresses.

850
00:47:22,239 --> 00:47:26,600
Speaker 3: The idea is Venus stinks. Now, it's no good. Next

851
00:47:26,760 --> 00:47:30,040
Speaker 3: we go inside a secure facility to a control room

852
00:47:30,080 --> 00:47:33,799
Speaker 3: of some kind with huge banks of lights and monitors

853
00:47:33,840 --> 00:47:36,799
Speaker 3: and dials all beeping, and in here we meet some

854
00:47:36,880 --> 00:47:39,160
Speaker 3: Megaphorce guys. And as soon as I saw this, I

855
00:47:39,239 --> 00:47:41,360
Speaker 3: was like, oh, this is not a set. They couldnot

856
00:47:41,400 --> 00:47:43,680
Speaker 3: afford to create a set like this. This is some

857
00:47:43,760 --> 00:47:46,000
Speaker 3: kind of actual industrial control room.

858
00:47:46,520 --> 00:47:50,000
Speaker 2: Yeah, it's very functional looking, like especially in the still

859
00:47:50,040 --> 00:47:51,719
Speaker 2: that you popped into our notes here, it's like you

860
00:47:51,760 --> 00:47:56,000
Speaker 2: can see computer screens online in the background, like all

861
00:47:56,040 --> 00:48:00,799
Speaker 2: the lights are on. Presumably they did not fire the

862
00:48:00,840 --> 00:48:06,120
Speaker 2: plant back up again in full, but everything looks very operational,

863
00:48:06,200 --> 00:48:08,200
Speaker 2: like this is not a this is not a power

864
00:48:08,239 --> 00:48:11,760
Speaker 2: plant that was taken off line because it had completely

865
00:48:11,760 --> 00:48:14,640
Speaker 2: worn out. No, it came offline because of you know,

866
00:48:15,000 --> 00:48:16,080
Speaker 2: other other reasons.

867
00:48:16,320 --> 00:48:20,200
Speaker 3: I'm just imagining Bruno like that guy in Chernobyl where

868
00:48:20,239 --> 00:48:23,040
Speaker 3: he's like, no, get my reactors started again.

869
00:48:24,239 --> 00:48:26,799
Speaker 2: But yeah, these are some great spaces that that we

870
00:48:26,840 --> 00:48:29,640
Speaker 2: see throughout the picture at times, like huge vault doors

871
00:48:30,719 --> 00:48:32,960
Speaker 2: in this case, you know, big control banks, some great

872
00:48:33,000 --> 00:48:38,520
Speaker 2: hallways and yeah, so some and it feels significantly different

873
00:48:38,560 --> 00:48:42,319
Speaker 2: compared to a lot of the grimy industrial spaces that

874
00:48:42,320 --> 00:48:44,480
Speaker 2: we've seen a lot of it our other movies that

875
00:48:44,520 --> 00:48:46,279
Speaker 2: we watch for Weird House Cinema. Yeah.

876
00:48:46,360 --> 00:48:49,720
Speaker 3: Yeah, So a guy from wearing the Mega Forest uniform

877
00:48:49,760 --> 00:48:52,239
Speaker 3: comes into this room. He says, what's going on here?

878
00:48:52,360 --> 00:48:55,680
Speaker 3: And the guy manning the computer says, there's an SOS

879
00:48:55,800 --> 00:48:59,720
Speaker 3: from Venice, sir. And before the guy even finishes saying Venice,

880
00:48:59,840 --> 00:49:03,280
Speaker 3: we hear people screaming from somewhere and then we realize

881
00:49:03,280 --> 00:49:06,479
Speaker 3: they're screaming on the TV that they're watching. So let's

882
00:49:06,520 --> 00:49:10,480
Speaker 3: watch and we get to see the closed circuit camera. Uh,

883
00:49:10,719 --> 00:49:14,080
Speaker 3: and it's like some workers in a steamy tunnel somewhere

884
00:49:14,160 --> 00:49:16,640
Speaker 3: and they're looking up at the camera in the tunnel

885
00:49:16,920 --> 00:49:21,240
Speaker 3: and screaming for help. And the performances of these guys

886
00:49:21,440 --> 00:49:25,240
Speaker 3: is so strong. So they're like overacting in one sense

887
00:49:25,280 --> 00:49:28,080
Speaker 3: where they're like a just screaming at the top of

888
00:49:28,120 --> 00:49:31,560
Speaker 3: their lungs. You can see their uvulas, you know, teeth out,

889
00:49:31,760 --> 00:49:34,920
Speaker 3: just shrieking. But then there are also moments where they'll

890
00:49:34,960 --> 00:49:37,560
Speaker 3: like pause and look at the camera for a second

891
00:49:37,600 --> 00:49:39,000
Speaker 3: and then scream for help again.

892
00:49:39,239 --> 00:49:41,319
Speaker 2: Yeah, so we.

893
00:49:41,280 --> 00:49:43,480
Speaker 3: See a look of grave concern on the face of

894
00:49:43,520 --> 00:49:46,040
Speaker 3: the Mega Force leader. I think this guy is technically

895
00:49:46,080 --> 00:49:49,600
Speaker 3: the Kernel, but this guy is great. He's got a

896
00:49:49,719 --> 00:49:53,800
Speaker 3: very Charlton Hesteny stab you with his Adam's Apple quality.

897
00:49:54,320 --> 00:49:57,960
Speaker 3: But he also I don't know exactly why, maybe because

898
00:49:58,000 --> 00:50:00,720
Speaker 3: of the yellow shirt. He just reminded me of corn,

899
00:50:01,120 --> 00:50:04,160
Speaker 3: Like he's a big old corn corn on the cob,

900
00:50:04,360 --> 00:50:09,200
Speaker 3: just yellow, sweet summer corn. And he also is a

901
00:50:09,239 --> 00:50:13,480
Speaker 3: really funny character because the Corn guy here stares into

902
00:50:13,520 --> 00:50:16,480
Speaker 3: space for several seconds before saying his lines. It does

903
00:50:16,520 --> 00:50:19,239
Speaker 3: it repeatedly, like it'll cut to the Megaforce guy and

904
00:50:19,280 --> 00:50:22,960
Speaker 3: then engage the emergency protocol.

905
00:50:25,480 --> 00:50:27,400
Speaker 2: I want to say that he's also one of these

906
00:50:27,480 --> 00:50:30,480
Speaker 2: characters that is often clearly reading lines off a screen,

907
00:50:30,680 --> 00:50:33,200
Speaker 2: whether they're actually on the screen digitally or they are

908
00:50:33,600 --> 00:50:36,440
Speaker 2: pasted there probably and we just can't see it from

909
00:50:36,440 --> 00:50:37,800
Speaker 2: a dude to the camera angle.

910
00:50:38,120 --> 00:50:41,560
Speaker 3: Yeah. So in the scene, Corn commander here wants to

911
00:50:41,600 --> 00:50:44,400
Speaker 3: get in touch with somebody named Raffleson, who is the

912
00:50:44,440 --> 00:50:47,239
Speaker 3: scientist in charge of whatever they're looking at, but they're

913
00:50:47,280 --> 00:50:50,960
Speaker 3: unable to raise him. Communications have been cut. As I

914
00:50:50,960 --> 00:50:54,200
Speaker 3: alluded to earlier, it's kind of hard to describe what

915
00:50:54,480 --> 00:50:57,239
Speaker 3: makes this so funny, but all throughout here there is

916
00:50:57,360 --> 00:51:01,400
Speaker 3: pretty high level hilarity in like everyan aspect of the movie,

917
00:51:01,680 --> 00:51:05,480
Speaker 3: from the physical blocking and posture of the actors to

918
00:51:05,560 --> 00:51:08,920
Speaker 3: the facial expressions, to the lines as scripted, to the

919
00:51:08,960 --> 00:51:13,360
Speaker 3: line deliveries, Like everything on that level is super awkward

920
00:51:13,400 --> 00:51:16,080
Speaker 3: and funny and sometimes adorable.

921
00:51:16,719 --> 00:51:19,600
Speaker 2: Yeah, and it's at that level that is I think

922
00:51:19,680 --> 00:51:24,160
Speaker 2: ultimately very difficult to reproduce for comedic value. Like, yes,

923
00:51:24,560 --> 00:51:27,759
Speaker 2: it's a rarey. You see something like Garth Morange's Dark

924
00:51:27,800 --> 00:51:31,040
Speaker 2: Place that was able to so perfectly capture the sort

925
00:51:31,080 --> 00:51:33,959
Speaker 2: of vibe that was achieved organically in this picture.

926
00:51:33,920 --> 00:51:38,360
Speaker 3: Right, Yes, Okay, So we go into the facility that

927
00:51:38,400 --> 00:51:40,719
Speaker 3: we were just watching on the closed circuit and we

928
00:51:40,760 --> 00:51:43,000
Speaker 3: follow around a couple of the workers in jumpsuits as

929
00:51:43,040 --> 00:51:45,879
Speaker 3: they run around the tunnels. Occasionally they remember to act

930
00:51:45,960 --> 00:51:48,799
Speaker 3: scared and then they you know, and they'll have lines

931
00:51:48,800 --> 00:51:51,680
Speaker 3: about how it seems like it's curtains for us. And

932
00:51:51,880 --> 00:51:54,840
Speaker 3: eventually they wander up on a monster hidden by fog,

933
00:51:54,920 --> 00:51:56,439
Speaker 3: so we don't get a good look at it yet,

934
00:51:57,760 --> 00:52:01,160
Speaker 3: but you know that they're like, oh no, it's our time,

935
00:52:01,719 --> 00:52:03,920
Speaker 3: so you know, they know they're done for. Then we

936
00:52:04,000 --> 00:52:06,680
Speaker 3: cut back to another guy. It's this curly haired guy

937
00:52:06,760 --> 00:52:09,319
Speaker 3: we follow as he runs around the tunnels. He makes

938
00:52:09,360 --> 00:52:12,480
Speaker 3: some really good faces if you pause it at essentially

939
00:52:12,560 --> 00:52:18,520
Speaker 3: any moment, and then he gets assaulted by this other guy, Drake.

940
00:52:18,880 --> 00:52:22,440
Speaker 3: Drake is the scientist who we mentioned earlier who gives

941
00:52:22,480 --> 00:52:28,799
Speaker 3: the just really astoundingly unhinged performance. When he first sees him,

942
00:52:28,800 --> 00:52:31,640
Speaker 3: he's like, oh, Drake, it's you. What happened to the others?

943
00:52:31,680 --> 00:52:34,760
Speaker 3: And then Drake puts a hand on him and he's like, gooss.

944
00:52:38,480 --> 00:52:41,239
Speaker 3: Drake starts I think, sort of choking him, and I

945
00:52:41,280 --> 00:52:44,720
Speaker 3: don't know, probably eats him or something. We like Drake,

946
00:52:44,760 --> 00:52:47,759
Speaker 3: by the way, So next we cut back to headquarters

947
00:52:47,760 --> 00:52:51,160
Speaker 3: and we got the corn commander, this other kind of

948
00:52:51,200 --> 00:52:56,040
Speaker 3: dorky Megaporce guy, and a lady. Now. Also, she's wearing

949
00:52:56,120 --> 00:52:58,880
Speaker 3: a vest with arched caps leaves, but hers is a

950
00:52:58,960 --> 00:53:01,799
Speaker 3: leather vest to for a jumpsuit, so I think she's

951
00:53:01,840 --> 00:53:06,360
Speaker 3: supposed to look cool. And these three people are Sarah Drumble,

952
00:53:06,560 --> 00:53:10,319
Speaker 3: the scientist. We've got Bond, who is the captain of

953
00:53:10,360 --> 00:53:13,360
Speaker 3: the Megaphore Strike Team, which will be our colonial space

954
00:53:13,400 --> 00:53:18,440
Speaker 3: Marines for the film. I recall Bond being quite unremarkable.

955
00:53:19,360 --> 00:53:21,600
Speaker 3: I don't know what to say about him. He's just

956
00:53:21,640 --> 00:53:25,200
Speaker 3: like leader Man. And then of course there's Commander Corn

957
00:53:25,840 --> 00:53:28,279
Speaker 3: who is some kind of some kind of colonel. He

958
00:53:29,000 --> 00:53:31,880
Speaker 3: stays back in the command center for much of the movie.

959
00:53:32,120 --> 00:53:35,640
Speaker 2: Yeah, he's played by one time actor Bruce McFarland, and

960
00:53:36,680 --> 00:53:40,200
Speaker 2: Raffleson on the screen is played by Al McFarland. So

961
00:53:40,280 --> 00:53:42,120
Speaker 2: I don't know if these two were like father and son,

962
00:53:42,200 --> 00:53:43,759
Speaker 2: if they were related, or they're just having to be

963
00:53:43,800 --> 00:53:47,160
Speaker 2: a couple of McFarland's in Italy at the time.

964
00:53:47,360 --> 00:53:49,480
Speaker 3: So the three of them are in what looks like

965
00:53:49,520 --> 00:53:52,040
Speaker 3: one of those featureless rooms attached to the side of

966
00:53:52,080 --> 00:53:54,880
Speaker 3: a church where you do Sunday school and they are

967
00:53:54,920 --> 00:53:59,000
Speaker 3: watching a videotape of the scientist Raffleson. He's the big

968
00:53:59,040 --> 00:54:01,360
Speaker 3: science guy in charge of all the dudes in the tunnels.

969
00:54:01,640 --> 00:54:04,279
Speaker 3: And Raffleson on the tape is saying, well, yeah, one

970
00:54:04,320 --> 00:54:06,680
Speaker 3: thing's for sure. Our group here seems to be condemned

971
00:54:06,680 --> 00:54:09,640
Speaker 3: to certain death, a hideous death. And he could not

972
00:54:09,800 --> 00:54:13,319
Speaker 3: sound more bored. But Raffleson says he wants to create

973
00:54:13,360 --> 00:54:15,680
Speaker 3: a record of what happened here. He says, about a

974
00:54:15,719 --> 00:54:19,600
Speaker 3: week ago, strange things started to take place. Several of

975
00:54:19,640 --> 00:54:23,279
Speaker 3: his team disappeared, and others showed signs of mental disturbance.

976
00:54:23,640 --> 00:54:25,920
Speaker 3: And then Drake, who's the guy we met in the tunnel,

977
00:54:26,200 --> 00:54:28,440
Speaker 3: has begun to insist that he is in touch with

978
00:54:28,480 --> 00:54:32,040
Speaker 3: a community of strange creatures, almost as if he were

979
00:54:32,480 --> 00:54:35,120
Speaker 3: and then the signal cuts off, cut to static.

980
00:54:35,560 --> 00:54:37,200
Speaker 2: Now, at this point, I feel like the movie is

981
00:54:37,200 --> 00:54:40,400
Speaker 2: starting to fire on all cylinders, and you're and to

982
00:54:40,400 --> 00:54:45,759
Speaker 2: be fair, like doesn't feel particularly aliensy at this point,

983
00:54:45,760 --> 00:54:47,600
Speaker 2: doesn't feel like a huge rip off. You know, it's

984
00:54:47,719 --> 00:54:50,240
Speaker 2: kind of like, all right, some sort of weird creature

985
00:54:50,320 --> 00:54:53,400
Speaker 2: community has emerged in post apocalyptic Venice.

986
00:54:53,520 --> 00:54:56,320
Speaker 3: Okay, yeah, you could imagine it going in other directions.

987
00:54:56,360 --> 00:55:01,319
Speaker 3: But so okay, here the corn commander tells Sarah Drumble that, uh,

988
00:55:01,560 --> 00:55:03,800
Speaker 3: she's gonna have to go on a mission into the

989
00:55:03,920 --> 00:55:06,759
Speaker 3: lab facility to see if they can rescue any survivors.

990
00:55:07,400 --> 00:55:09,279
Speaker 3: And then there's a guy who pipes up from the

991
00:55:09,280 --> 00:55:12,799
Speaker 3: back of the room who's he says something like, you know,

992
00:55:12,840 --> 00:55:16,000
Speaker 3: to heck with the survivors, I need Raffleson's secret diary.

993
00:55:16,880 --> 00:55:20,560
Speaker 3: Who is this guy? Well, he introduces himself as Samuel

994
00:55:20,680 --> 00:55:23,360
Speaker 3: Fuller from the Tubular Corporation.

995
00:55:23,840 --> 00:55:26,799
Speaker 2: Oh my god, I love the Tubular Corporation. And they

996
00:55:26,800 --> 00:55:27,560
Speaker 2: say it a lot.

997
00:55:27,920 --> 00:55:31,400
Speaker 3: They never stopped so many references to the Tubular Corporation,

998
00:55:31,880 --> 00:55:35,239
Speaker 3: So I'm trying to think, is there something that refers

999
00:55:35,280 --> 00:55:38,319
Speaker 3: to Like, where does that title come from? Obviously this

1000
00:55:38,480 --> 00:55:43,440
Speaker 3: is either Wayland Utani or Cyberdine, But where does where

1001
00:55:43,440 --> 00:55:45,239
Speaker 3: does what is the source of tubular?

1002
00:55:46,480 --> 00:55:49,360
Speaker 2: They made tubes, I guess, or they were just like

1003
00:55:49,400 --> 00:55:50,320
Speaker 2: totally tubular.

1004
00:55:50,480 --> 00:55:53,480
Speaker 3: They did like tunnels. We learned that, Yeah.

1005
00:55:53,239 --> 00:55:57,879
Speaker 2: Tubular tubular. It's just so funny. But I did find

1006
00:55:57,880 --> 00:55:59,799
Speaker 2: it hilarious. Did someone out there on one of these

1007
00:55:59,840 --> 00:56:03,560
Speaker 2: like there's like a Terminator Wiki had added a page

1008
00:56:03,600 --> 00:56:07,000
Speaker 2: for the Tubular Corporation, and it's stressed that it was

1009
00:56:07,080 --> 00:56:09,080
Speaker 2: non cannon, that it was not officially part of the

1010
00:56:09,160 --> 00:56:11,719
Speaker 2: Terminator universe. But I'm sorry you've put it on the

1011
00:56:12,160 --> 00:56:15,280
Speaker 2: Terminator Wiki, so it kind of is at this point.

1012
00:56:15,480 --> 00:56:17,840
Speaker 2: It's just like an Italian company that is in the

1013
00:56:17,840 --> 00:56:18,400
Speaker 2: same world.

1014
00:56:18,560 --> 00:56:22,879
Speaker 3: Tubular Corporation is Terminator Dutero canon. Yeah, it's like how

1015
00:56:22,920 --> 00:56:26,840
Speaker 3: some Christians feel about like the Book of Enoch or something. Okay,

1016
00:56:26,840 --> 00:56:30,120
Speaker 3: but anyway, this guy, Samuel Fuller, he is like our

1017
00:56:30,239 --> 00:56:35,240
Speaker 3: Burke from Aliens, except it completely misses the thrust of Burke,

1018
00:56:35,320 --> 00:56:37,680
Speaker 3: which is that Burke is charming at first and then

1019
00:56:37,800 --> 00:56:41,600
Speaker 3: is revealed to be a snake. Samuel Fuller is mean

1020
00:56:41,840 --> 00:56:45,600
Speaker 3: and explicitly evil from the very first moment. He is

1021
00:56:45,680 --> 00:56:49,760
Speaker 3: like if the abstract notion of contempt became flesh and blood.

1022
00:56:49,760 --> 00:56:53,839
Speaker 3: He's sneering in every single scene. You know. He comes

1023
00:56:53,920 --> 00:56:56,440
Speaker 3: up and he's like, I'm going on the mission. And

1024
00:56:56,480 --> 00:57:00,719
Speaker 3: then the Strikeforce guy Bond, he says, it's only right

1025
00:57:00,760 --> 00:57:03,920
Speaker 3: that the lady here comes along. She's a scientist, but

1026
00:57:04,040 --> 00:57:07,640
Speaker 3: I don't want any other civilians on the mission. And

1027
00:57:07,680 --> 00:57:10,400
Speaker 3: then Fuller comes up and sneers at him. Fuller, by

1028
00:57:10,400 --> 00:57:13,080
Speaker 3: the way, is wearing like a like a black and

1029
00:57:13,200 --> 00:57:16,080
Speaker 3: red jacket with these big pouches on it, like a

1030
00:57:16,120 --> 00:57:20,080
Speaker 3: cargo pockets jacket and a black and red hat. So

1031
00:57:20,520 --> 00:57:24,400
Speaker 3: again very terminator color scheme. And he comes up and

1032
00:57:24,440 --> 00:57:26,760
Speaker 3: sneers at the guy, and he says, eleven years in

1033
00:57:26,800 --> 00:57:30,120
Speaker 3: the Marines were enough to teach me that whoever talks

1034
00:57:30,160 --> 00:57:33,240
Speaker 3: a lot doesn't get much done, and you seem to

1035
00:57:33,320 --> 00:57:38,400
Speaker 3: talk a lot. So Bond is he gets mad and

1036
00:57:38,400 --> 00:57:41,040
Speaker 3: he's gonna lunge, but the corn commander holds him back

1037
00:57:41,080 --> 00:57:43,880
Speaker 3: and says, easy, Bond. Fuller here is an expert in

1038
00:57:43,960 --> 00:57:48,800
Speaker 3: martial arts. So the colonel explains that Bond doesn't really

1039
00:57:48,800 --> 00:57:51,640
Speaker 3: have a choice because the Tubular Corporation is the one

1040
00:57:51,680 --> 00:57:54,280
Speaker 3: that ordered the mission that they've got to go in there,

1041
00:57:54,720 --> 00:57:57,800
Speaker 3: and they're the ones that constructed the viaduct leading to

1042
00:57:57,960 --> 00:58:00,800
Speaker 3: the underground venus, which is like where they're headed.

1043
00:58:01,000 --> 00:58:03,720
Speaker 2: Yeah, so that is, to your point, basically a tube.

1044
00:58:03,880 --> 00:58:07,720
Speaker 2: It is, right, Yeah, it's a tube. So Sneerman here

1045
00:58:07,880 --> 00:58:09,840
Speaker 2: is with the company and he gets to come along

1046
00:58:09,920 --> 00:58:12,120
Speaker 2: with the Mega Force because he's with the company, and

1047
00:58:12,160 --> 00:58:14,600
Speaker 2: because he knows karate. Oh.

1048
00:58:14,680 --> 00:58:18,040
Speaker 3: Also here the scientist Sarah Drumbel speaks up and she

1049
00:58:18,160 --> 00:58:22,440
Speaker 3: says the project was supposed to purify the city's polluted waters.

1050
00:58:22,840 --> 00:58:25,680
Speaker 3: As things stand, it appears that all of your millions

1051
00:58:25,720 --> 00:58:29,960
Speaker 3: have only gone to worsen the situation and looks at

1052
00:58:29,960 --> 00:58:34,440
Speaker 3: her ego that remains to be seen. So then they're like, Okay,

1053
00:58:34,440 --> 00:58:36,960
Speaker 3: we've got fifteen minutes to get ready. So instead of

1054
00:58:37,040 --> 00:58:40,400
Speaker 3: the whole like drop ship situation in Aliens where we

1055
00:58:40,440 --> 00:58:43,600
Speaker 3: get to know everybody, instead we get like a locker

1056
00:58:43,680 --> 00:58:46,080
Speaker 3: room scene where we get to know the Marines before

1057
00:58:46,120 --> 00:58:50,000
Speaker 3: they go through a door. So let's meet our Mega

1058
00:58:50,000 --> 00:58:55,920
Speaker 3: Force team. They are strongly trying to recreate the competitive

1059
00:58:56,040 --> 00:58:59,439
Speaker 3: swagger and bravado of the colonial Marines when we first

1060
00:58:59,480 --> 00:59:02,320
Speaker 3: meet them in Aliens, but there once again is a

1061
00:59:02,360 --> 00:59:06,080
Speaker 3: malfunction in the photocopier, so these Marines do not feel

1062
00:59:06,600 --> 00:59:09,800
Speaker 3: like the tough, cocky space warriors that they're trying to emulate.

1063
00:59:10,120 --> 00:59:14,520
Speaker 3: This is not Vasquez, Drake, Hudson, Hicks and Apone. Instead,

1064
00:59:14,560 --> 00:59:17,680
Speaker 3: these Marines are They are trying to be cocky and

1065
00:59:17,720 --> 00:59:20,520
Speaker 3: aggressive at one another, but they just come off as

1066
00:59:20,680 --> 00:59:26,480
Speaker 3: incredibly weird. Like off the charts, bizarre energy. The first

1067
00:59:26,480 --> 00:59:29,320
Speaker 3: one we meet is my favorite by far. This is

1068
00:59:29,520 --> 00:59:32,600
Speaker 3: cost Her. We talked about her earlier, but she is

1069
00:59:32,720 --> 00:59:35,240
Speaker 3: just a gift from Heaven. I love her. When we

1070
00:59:35,280 --> 00:59:38,360
Speaker 3: first meet her, she's looking straight into the camera and

1071
00:59:38,400 --> 00:59:42,040
Speaker 3: breathing heavy. Her first line is when we can't repeat

1072
00:59:42,040 --> 00:59:44,320
Speaker 3: on the show or we're gonna get tagged explicit by

1073
00:59:44,320 --> 00:59:48,720
Speaker 3: the platforms. But she's just wandering around the Megaporce locker room,

1074
00:59:49,080 --> 00:59:53,080
Speaker 3: playing with guns and suggestively taunting the other MEGAPHCE dudes

1075
00:59:53,080 --> 00:59:54,720
Speaker 3: about not sweating enough and.

1076
00:59:54,720 --> 00:59:55,680
Speaker 2: Not being real men.

1077
00:59:56,160 --> 00:59:59,360
Speaker 3: In her interro monologue, she talks about how she's back

1078
00:59:59,400 --> 01:00:01,760
Speaker 3: and she's ready to kick butt, but like, where is

1079
01:00:01,800 --> 01:00:04,360
Speaker 3: she back from? Yeah, I don't think we ever learned that.

1080
01:00:04,800 --> 01:00:10,240
Speaker 3: There's also so much just unreal levels of forced hostility

1081
01:00:10,320 --> 01:00:14,320
Speaker 3: between these people, Like you don't feel tension in the

1082
01:00:14,400 --> 01:00:17,200
Speaker 3: room at all, but they just start insulting each other.

1083
01:00:17,320 --> 01:00:20,400
Speaker 3: Out of nowhere. There is there's out of nowhere and

1084
01:00:20,520 --> 01:00:24,919
Speaker 3: for no reason, ethnic antagonism that arises and then dissipates

1085
01:00:24,960 --> 01:00:28,760
Speaker 3: where somebody's like, you're Italian and they get real mad at

1086
01:00:28,760 --> 01:00:30,480
Speaker 3: each other and then it just goes away.

1087
01:00:31,240 --> 01:00:33,960
Speaker 2: Yeah, there's just such an unhinged feeling of what is

1088
01:00:34,040 --> 01:00:36,440
Speaker 2: going to happen next in this scene, And it just

1089
01:00:36,440 --> 01:00:40,800
Speaker 2: feels completely off the rails from the very start, because

1090
01:00:40,800 --> 01:00:43,200
Speaker 2: you have like the apparent fourth wall breaking in the beginning,

1091
01:00:43,240 --> 01:00:45,440
Speaker 2: because who else is she talking to looking right into

1092
01:00:45,440 --> 01:00:48,240
Speaker 2: the camera us, I guess yeah, And I felt kind

1093
01:00:48,240 --> 01:00:50,120
Speaker 2: of put on the spot by it. Then there are

1094
01:00:50,120 --> 01:00:54,360
Speaker 2: all these like weird like first draft insults being thrown around,

1095
01:00:54,800 --> 01:00:58,600
Speaker 2: and just an overbearing sense of wandering and scene filling,

1096
01:00:58,800 --> 01:01:02,040
Speaker 2: especially as Coster like walks. It's a huge locker room

1097
01:01:02,400 --> 01:01:05,200
Speaker 2: Nicken like, this is clearly one at this nuclear facility,

1098
01:01:05,280 --> 01:01:08,400
Speaker 2: former nuclear facility, and she's just like walking from one

1099
01:01:08,480 --> 01:01:12,040
Speaker 2: marine one Mega Force member to another to insult them

1100
01:01:12,160 --> 01:01:16,720
Speaker 2: and or encourage them, and the camera is just just

1101
01:01:17,120 --> 01:01:19,920
Speaker 2: tracking her as she goes. So this definitely feels like

1102
01:01:19,960 --> 01:01:21,720
Speaker 2: a scene where they're like, well, we've got to fill

1103
01:01:22,080 --> 01:01:24,600
Speaker 2: we got to fill some time up here, guys, so

1104
01:01:24,720 --> 01:01:28,120
Speaker 2: get out there, do the lines, maybe add a little

1105
01:01:28,120 --> 01:01:30,960
Speaker 2: bit extra, but we're absolutely not going to stop rolling.

1106
01:01:31,160 --> 01:01:33,600
Speaker 3: Oh it feels so stretched out. It's like it's like

1107
01:01:33,640 --> 01:01:38,160
Speaker 3: a jam band improv so low, but just marines yelling

1108
01:01:38,200 --> 01:01:39,880
Speaker 3: at each other but it's so good.

1109
01:01:40,200 --> 01:01:40,800
Speaker 2: Yeah.

1110
01:01:40,880 --> 01:01:44,360
Speaker 3: Oh but then after Costa is insulting everybody, she finally

1111
01:01:44,360 --> 01:01:47,120
Speaker 3: meets the one other marine she likes, the Megaphes guy

1112
01:01:47,200 --> 01:01:52,000
Speaker 3: named Cain, who is a shirtless guy with long blonde

1113
01:01:52,040 --> 01:01:55,280
Speaker 3: hair and sunglasses and a bandana on. So he's like

1114
01:01:55,320 --> 01:01:58,600
Speaker 3: a surfer. Yeah, and he's the only guy that cost

1115
01:01:58,640 --> 01:02:03,280
Speaker 3: Her seems to respect. And Cain is really weirdly like

1116
01:02:03,520 --> 01:02:06,760
Speaker 3: soft spoken, like he just doesn't seem to be playing

1117
01:02:06,800 --> 01:02:10,200
Speaker 3: one of these, like, you know, marine types. So I

1118
01:02:10,240 --> 01:02:13,440
Speaker 3: think they're trying to reproduce like the Vasquez and Drake

1119
01:02:13,560 --> 01:02:16,920
Speaker 3: friendship from Aliens, but it just doesn't it's not working.

1120
01:02:18,320 --> 01:02:20,280
Speaker 2: Yeah. I'm gonna shock everyone with the fact here that

1121
01:02:20,360 --> 01:02:24,520
Speaker 2: the actor playing Kine Cortland Riley, this was his only

1122
01:02:24,560 --> 01:02:27,360
Speaker 2: acting role. So I don't know the details on it,

1123
01:02:27,400 --> 01:02:30,320
Speaker 2: but I imagine it's another situation of here's a guy who

1124
01:02:30,360 --> 01:02:32,680
Speaker 2: happened to be in Rome. Maybe he was doing some

1125
01:02:32,720 --> 01:02:36,120
Speaker 2: modeling work or something and got picked after this picture.

1126
01:02:36,280 --> 01:02:39,360
Speaker 3: Yeah that sounds about right. I mean, he is barely acting,

1127
01:02:39,960 --> 01:02:44,400
Speaker 3: He just kind of says his lines. He then in

1128
01:02:44,480 --> 01:02:47,000
Speaker 3: this scene in the locker room, he like hands cost

1129
01:02:47,000 --> 01:02:49,720
Speaker 3: Her a shotgun and he's like, play with it, and

1130
01:02:49,760 --> 01:02:52,360
Speaker 3: then she does. She like runs around the room pointing

1131
01:02:52,400 --> 01:02:54,959
Speaker 3: it at dudes in the locker room and then gets

1132
01:02:54,960 --> 01:02:58,600
Speaker 3: into a fight with this guy Franzini. It's nuts.

1133
01:02:59,320 --> 01:03:02,640
Speaker 2: Yeah, yeah, like Franzenians of pulling a switchplay, doesn't he

1134
01:03:02,800 --> 01:03:06,720
Speaker 2: it's I recently rewatched Aliens, and I did think that

1135
01:03:06,760 --> 01:03:10,280
Speaker 2: there were times where the Colonial Marines, again to be sure,

1136
01:03:10,400 --> 01:03:14,480
Speaker 2: under significant stress, were lacking in discipline in some key moments.

1137
01:03:14,680 --> 01:03:18,360
Speaker 2: But Mega Force is just pure anarchy. They haven't even

1138
01:03:18,640 --> 01:03:21,560
Speaker 2: gone out in the field yet, there's no additional stress

1139
01:03:21,560 --> 01:03:23,280
Speaker 2: other than what they brought to the locker room, and

1140
01:03:23,280 --> 01:03:29,920
Speaker 2: they're already at each other's throats.

1141
01:03:32,840 --> 01:03:34,880
Speaker 3: Okay, So the Mega Force they meet up with the

1142
01:03:34,960 --> 01:03:37,840
Speaker 3: characters we've already met, you know, doctor Sarah, Drumbull and

1143
01:03:38,000 --> 01:03:42,080
Speaker 3: Fuller from the Tubular Corporation. So they opened the door

1144
01:03:42,120 --> 01:03:45,720
Speaker 3: to the secure facility and kickstart the action. And I

1145
01:03:45,720 --> 01:03:48,840
Speaker 3: think here is a good place to kind of shift

1146
01:03:48,880 --> 01:03:51,520
Speaker 3: gears in how we're talking about what happens, because much

1147
01:03:51,520 --> 01:03:54,640
Speaker 3: of the rest of the movie is very action focused

1148
01:03:55,080 --> 01:03:58,720
Speaker 3: and is very much a copy of the plot of Aliens,

1149
01:03:58,840 --> 01:04:03,240
Speaker 3: but with variations. So speaking, more loosely. From now on,

1150
01:04:04,040 --> 01:04:06,320
Speaker 3: I think we should just talk about things that stood

1151
01:04:06,320 --> 01:04:09,160
Speaker 3: out from this copy of the Alien's plot as it

1152
01:04:09,200 --> 01:04:14,200
Speaker 3: goes forward. So there is generally the shape of things

1153
01:04:14,200 --> 01:04:16,840
Speaker 3: to come is that they go into this facility, they

1154
01:04:16,880 --> 01:04:20,800
Speaker 3: discover the monsters inside, the monsters attack them, They discover

1155
01:04:20,920 --> 01:04:24,560
Speaker 3: what happened to the previous occupants there. They were attacked

1156
01:04:24,560 --> 01:04:27,640
Speaker 3: by monsters, and then there is a betrayal where the

1157
01:04:27,680 --> 01:04:31,160
Speaker 3: company man tries to I don't know, monster infects some

1158
01:04:31,200 --> 01:04:35,080
Speaker 3: more people, and there's just general fighting. Then there's progression

1159
01:04:35,160 --> 01:04:38,520
Speaker 3: into another location. There's discovery of a survivor, which is

1160
01:04:38,560 --> 01:04:42,120
Speaker 3: the NEWT type character, the daughter of what's his name

1161
01:04:42,240 --> 01:04:45,040
Speaker 3: Raffles and the guy who was running the facility, and

1162
01:04:45,120 --> 01:04:49,800
Speaker 3: then there is progression to another location where they learn

1163
01:04:49,880 --> 01:04:52,640
Speaker 3: some more stuff about a conspiracy to create monsters I

1164
01:04:52,640 --> 01:04:55,320
Speaker 3: think as a weapon or something. It's your standard, you know, Oh,

1165
01:04:55,400 --> 01:04:58,000
Speaker 3: the evil Corporation was trying to make trying to make

1166
01:04:58,040 --> 01:05:01,800
Speaker 3: giant monsters as I don't know, for military contracts or something.

1167
01:05:01,840 --> 01:05:04,400
Speaker 3: I don't know why they'd be all that useful. And

1168
01:05:04,440 --> 01:05:07,000
Speaker 3: then there is a self destruct sequence. You have ten

1169
01:05:07,080 --> 01:05:11,520
Speaker 3: minutes to achieve minimum safe distance. Now do we have

1170
01:05:11,560 --> 01:05:13,720
Speaker 3: anything to say else to say about the scene and

1171
01:05:13,760 --> 01:05:16,280
Speaker 3: the tunnels where they come across this guy Drake, who

1172
01:05:16,320 --> 01:05:22,640
Speaker 3: is giving a really a plus performance, like so hyperactive,

1173
01:05:23,000 --> 01:05:25,360
Speaker 3: where he's like, if you enter the city, you're going

1174
01:05:25,440 --> 01:05:30,560
Speaker 3: to die, and then he screams. He does a scream

1175
01:05:30,680 --> 01:05:33,040
Speaker 3: kind of like in the end of Invasion of the

1176
01:05:33,040 --> 01:05:37,480
Speaker 3: Body Snatchers, and then everybody starts screaming and covering their ears,

1177
01:05:37,520 --> 01:05:39,720
Speaker 3: and I don't know, that was one of the moments

1178
01:05:39,760 --> 01:05:40,560
Speaker 3: that really got me.

1179
01:05:41,160 --> 01:05:43,160
Speaker 2: Yeah, yeah, I don't know what exactly was going on

1180
01:05:43,200 --> 01:05:45,400
Speaker 2: in that sequence, but it's like it's so over the top.

1181
01:05:46,600 --> 01:05:49,400
Speaker 2: Sometimes less is more, but sometimes you've got to be

1182
01:05:49,400 --> 01:05:52,480
Speaker 2: a little more experienced to find that correct level.

1183
01:05:52,520 --> 01:05:56,760
Speaker 3: I guess I think we could continue to think about

1184
01:05:56,800 --> 01:06:00,560
Speaker 3: the question of like what is it that made them

1185
01:06:00,680 --> 01:06:05,440
Speaker 3: copy certain elements from Aliens and not others. One thing

1186
01:06:05,520 --> 01:06:10,280
Speaker 3: that they definitely took from Aliens is the motion trackers. Yeah,

1187
01:06:10,320 --> 01:06:13,680
Speaker 3: they really like these handheld devices that look kind of

1188
01:06:13,720 --> 01:06:16,280
Speaker 3: like a remote control where they're scanning for motion in

1189
01:06:16,320 --> 01:06:19,280
Speaker 3: front of them and it's making that pulsing beeping sound

1190
01:06:19,920 --> 01:06:22,560
Speaker 3: that is a very effective thing in Aliens because there's

1191
01:06:22,600 --> 01:06:25,800
Speaker 3: like a sound cue that lets you know something is approaching,

1192
01:06:25,880 --> 01:06:28,160
Speaker 3: but you know you can't hear it directly, so it's

1193
01:06:28,520 --> 01:06:31,640
Speaker 3: it's very creepy like that, and they use that to

1194
01:06:31,920 --> 01:06:34,120
Speaker 3: the best effect they can in this movie, too, so

1195
01:06:34,160 --> 01:06:37,240
Speaker 3: it kind of makes sense why they lifted that element.

1196
01:06:37,720 --> 01:06:41,439
Speaker 3: They also lifted the element of the monsters cocooning their

1197
01:06:41,520 --> 01:06:44,200
Speaker 3: victims in the walls. So they're like going through these

1198
01:06:44,200 --> 01:06:47,160
Speaker 3: tunnels and they find people who were part of this

1199
01:06:47,280 --> 01:06:49,960
Speaker 3: science mission sort of wrapped up in the slime and

1200
01:06:50,000 --> 01:06:52,720
Speaker 3: stuck to the walls, and you know, they act a

1201
01:06:52,760 --> 01:06:55,360
Speaker 3: lot like the cocooned people in Aliens.

1202
01:06:54,840 --> 01:06:59,240
Speaker 2: Do, except what bursts out of them not they larval

1203
01:06:59,280 --> 01:07:03,840
Speaker 2: monster of any form, but the monster glove hand of

1204
01:07:03,880 --> 01:07:08,400
Speaker 2: a full sized monster. Yeah, yeah, which I liked, but

1205
01:07:08,680 --> 01:07:09,760
Speaker 2: it is also stupid.

1206
01:07:12,240 --> 01:07:15,840
Speaker 3: There is a scene a lot like the the assault

1207
01:07:15,880 --> 01:07:19,320
Speaker 3: on the Hive in Aliens, where you know, the Marines

1208
01:07:19,320 --> 01:07:21,920
Speaker 3: are going through these dark tunnels and they get confused

1209
01:07:21,920 --> 01:07:23,920
Speaker 3: and attacked by monsters in the dark.

1210
01:07:25,000 --> 01:07:27,680
Speaker 2: And this this sequence, the sequence where they're actually fighting

1211
01:07:27,680 --> 01:07:30,240
Speaker 2: the monsters, I thought, is way better than it had

1212
01:07:30,280 --> 01:07:30,920
Speaker 2: any right to be.

1213
01:07:31,760 --> 01:07:32,560
Speaker 3: Yeah, pretty good.

1214
01:07:32,680 --> 01:07:34,720
Speaker 2: The monsters look pretty good. They're like throw they throw

1215
01:07:34,720 --> 01:07:36,440
Speaker 2: a dude over a rail. There are a lot of

1216
01:07:36,480 --> 01:07:40,200
Speaker 2: scenes of monsters being shot with these shotguns. So it

1217
01:07:40,480 --> 01:07:42,960
Speaker 2: all came together pretty well, and it kind of matches

1218
01:07:43,040 --> 01:07:45,160
Speaker 2: up with something Tyler had to say about the production

1219
01:07:45,320 --> 01:07:49,520
Speaker 2: that that basically Bruno is really focused on the technical

1220
01:07:49,520 --> 01:07:53,720
Speaker 2: aspects of the shoot, and meanwhile the dialogue was maybe

1221
01:07:53,760 --> 01:07:57,640
Speaker 2: you know, second or third in everyone's priority. In that

1222
01:07:57,920 --> 01:08:01,080
Speaker 2: Fangoria interview, she said, quote, there was a lovely woman

1223
01:08:01,120 --> 01:08:03,720
Speaker 2: on set. I believe she was Australian who was supposed

1224
01:08:03,760 --> 01:08:06,200
Speaker 2: to be the dialogue coach, if you will. So if

1225
01:08:06,200 --> 01:08:08,440
Speaker 2: she wasn't there, you could say whatever you wanted and

1226
01:08:08,520 --> 01:08:14,760
Speaker 2: Bruno would have no idea. Bruno didn't speak English.

1227
01:08:13,200 --> 01:08:17,200
Speaker 3: Oh man, I actually can't even imagine that directing a

1228
01:08:17,240 --> 01:08:20,439
Speaker 3: film and a language that I don't speak, that that's

1229
01:08:20,520 --> 01:08:21,920
Speaker 3: like a difficult task.

1230
01:08:22,320 --> 01:08:25,320
Speaker 2: But directing this film in a language you don't speak,

1231
01:08:26,120 --> 01:08:29,080
Speaker 2: maybe maybe you know, especially I mean I can maybe

1232
01:08:29,080 --> 01:08:31,120
Speaker 2: see where like Bruno is coming from. It's kind of like,

1233
01:08:31,120 --> 01:08:33,800
Speaker 2: all right, I've got all I can handle is the

1234
01:08:33,840 --> 01:08:36,280
Speaker 2: technical stuff here. Someone else is going to have to

1235
01:08:36,280 --> 01:08:40,479
Speaker 2: handle this script and talking to these actors because there's

1236
01:08:40,520 --> 01:08:41,280
Speaker 2: just not enough time.

1237
01:08:41,680 --> 01:08:45,080
Speaker 3: So onto more elements they copy from Aliens. There's, of course,

1238
01:08:45,160 --> 01:08:48,240
Speaker 3: the Newt character and the discovery of her. That scene

1239
01:08:48,280 --> 01:08:51,120
Speaker 3: is similar to how it is in Aliens. They've got

1240
01:08:51,240 --> 01:08:55,240
Speaker 3: the scene where they sort of create a defensible position

1241
01:08:55,400 --> 01:08:59,360
Speaker 3: and they're trying to they're trying to prevent the monsters

1242
01:08:59,360 --> 01:09:02,719
Speaker 3: from coming in getting them, and it's it's very similar

1243
01:09:03,040 --> 01:09:05,000
Speaker 3: as it is in Aliens. It's like, oh, they're inside

1244
01:09:05,040 --> 01:09:07,400
Speaker 3: the perimeter. They cut the power, but they don't say

1245
01:09:07,400 --> 01:09:09,680
Speaker 3: how could they cut the power? Man their animals. I

1246
01:09:09,680 --> 01:09:11,439
Speaker 3: think they just say how could they cut the power?

1247
01:09:12,720 --> 01:09:15,840
Speaker 3: I don't recall anybody saying game over man, game over?

1248
01:09:16,200 --> 01:09:20,360
Speaker 2: No they didn't. They they showed some restraint. But there

1249
01:09:20,400 --> 01:09:22,800
Speaker 2: are plenty of lines that are just copied wholesale, Like

1250
01:09:22,840 --> 01:09:25,920
Speaker 2: there's the pull back and forth where the Newt character

1251
01:09:26,120 --> 01:09:29,080
Speaker 2: in Aliens is like my mother said, there weren't monsters,

1252
01:09:29,120 --> 01:09:31,960
Speaker 2: but there are you know that effect. Basically have that

1253
01:09:32,120 --> 01:09:37,639
Speaker 2: here as well. The scene where Newt is separated from

1254
01:09:37,680 --> 01:09:42,000
Speaker 2: from Ripley, that's pretty much directly copied here, but without

1255
01:09:42,040 --> 01:09:48,080
Speaker 2: without the as effective a set being utilized. So yeah,

1256
01:09:48,120 --> 01:09:49,920
Speaker 2: there are multiple places like that.

1257
01:09:50,439 --> 01:09:52,640
Speaker 3: I already mentioned this earlier, but one scene that is

1258
01:09:52,640 --> 01:09:56,599
Speaker 3: copied almost exactly is the scene in Aliens where Burke

1259
01:09:56,800 --> 01:09:59,519
Speaker 3: is trying to infect Ripley and Newt with face huggers

1260
01:10:00,320 --> 01:10:02,719
Speaker 3: while they're taking a nap. He like releases them into

1261
01:10:02,760 --> 01:10:05,200
Speaker 3: the room with them and then turns off the monitors

1262
01:10:05,240 --> 01:10:08,960
Speaker 3: so none of the soldiers can see. That happens almost

1263
01:10:09,000 --> 01:10:11,479
Speaker 3: exactly the same in this with Fuller like sitting there

1264
01:10:11,520 --> 01:10:15,000
Speaker 3: watching coldly as you know, they're screaming for help and

1265
01:10:15,080 --> 01:10:18,120
Speaker 3: what is it? Though it's Ripley. She manages to get

1266
01:10:18,120 --> 01:10:21,360
Speaker 3: everybody's attention by holding a lighter up to the sprinkler

1267
01:10:21,400 --> 01:10:24,320
Speaker 3: system so they think there's a fire. Very clever on

1268
01:10:24,400 --> 01:10:26,639
Speaker 3: Ripley's part. I love that. It's a good, good moment

1269
01:10:26,680 --> 01:10:29,519
Speaker 3: of fast thinking and Aliens. But she does something different

1270
01:10:29,520 --> 01:10:30,720
Speaker 3: in this movie. What does she do?

1271
01:10:31,320 --> 01:10:33,240
Speaker 2: Oh, this is a great question that I don't know

1272
01:10:33,280 --> 01:10:35,920
Speaker 2: they answer to. I'm not sure how they wrap this sceneau.

1273
01:10:35,880 --> 01:10:38,400
Speaker 3: It's like she I think she just like presses an alarm,

1274
01:10:38,520 --> 01:10:40,919
Speaker 3: but it's a little more direct.

1275
01:10:41,120 --> 01:10:44,519
Speaker 2: Yeah, that sounds I believe you're correct on that. But

1276
01:10:44,560 --> 01:10:47,600
Speaker 2: then they have basically the same outcome where they're like,

1277
01:10:47,640 --> 01:10:49,880
Speaker 2: well, we should just execute this guy. He's not on our side,

1278
01:10:50,479 --> 01:10:55,559
Speaker 2: But unfortunately for them, it becomes apparent as we proceed

1279
01:10:55,600 --> 01:10:58,680
Speaker 2: through the plot here that our company man is not

1280
01:10:58,800 --> 01:11:02,320
Speaker 2: a man. He's maybe a little more like Ash from

1281
01:11:02,360 --> 01:11:04,440
Speaker 2: Alien by way of Terminator.

1282
01:11:04,680 --> 01:11:07,960
Speaker 3: That's right, So yes, it's more like the Ash reveal,

1283
01:11:08,240 --> 01:11:10,240
Speaker 3: but the format is Terminator.

1284
01:11:10,320 --> 01:11:10,400
Speaker 4: Like.

1285
01:11:10,400 --> 01:11:12,760
Speaker 3: He gets part of his face scraped off and he's

1286
01:11:12,800 --> 01:11:14,840
Speaker 3: got a metal indo skeleton, so he looks like a

1287
01:11:14,840 --> 01:11:17,639
Speaker 3: T eight hundred, yeah, and has revealed that the company. Yeah,

1288
01:11:17,640 --> 01:11:20,919
Speaker 3: the company man is here to ensure that their profits

1289
01:11:20,960 --> 01:11:24,320
Speaker 3: are secured and I don't know, to erase any evidence

1290
01:11:24,360 --> 01:11:27,360
Speaker 3: of what happened here. I don't remember the exact details,

1291
01:11:27,400 --> 01:11:29,280
Speaker 3: but he just turns out to be a bad guy

1292
01:11:29,640 --> 01:11:32,720
Speaker 3: and he's chasing our heroes around. You know, all of

1293
01:11:32,720 --> 01:11:35,479
Speaker 3: those space marines get wiped out by the monsters. But

1294
01:11:35,560 --> 01:11:40,120
Speaker 3: then the Fuller here is chasing Sarah Drumble around in

1295
01:11:40,160 --> 01:11:43,920
Speaker 3: this facility, much like the scene where the Terminator is

1296
01:11:44,000 --> 01:11:46,559
Speaker 3: chasing Sarah Connor in the computer factory at the end

1297
01:11:46,560 --> 01:11:50,439
Speaker 3: of Terminator there, Oh, when Fuller gets kind of semi

1298
01:11:50,520 --> 01:11:53,640
Speaker 3: defeated several times, but they comes back. You know, there

1299
01:11:53,640 --> 01:11:55,640
Speaker 3: are people who are trying to shoot him, and he's like,

1300
01:11:55,720 --> 01:11:58,799
Speaker 3: you fool, I am immune to bullets. But then Sarah

1301
01:11:58,840 --> 01:12:01,240
Speaker 3: defeats him with an with a fire extinguisher.

1302
01:12:01,320 --> 01:12:04,400
Speaker 2: I think, yeah, yeah, she's like praising with a fire extinguisher.

1303
01:12:04,520 --> 01:12:07,640
Speaker 2: And they not only need to escape the terminator, they

1304
01:12:07,680 --> 01:12:10,600
Speaker 2: need to escape the facility, which is going to explode.

1305
01:12:10,880 --> 01:12:13,000
Speaker 2: And just when he struck, Yeah, just when you think

1306
01:12:13,000 --> 01:12:18,040
Speaker 2: this film is out of jaw dropping choices, they escape.

1307
01:12:18,040 --> 01:12:21,320
Speaker 2: I think we reference this already via time machine. They

1308
01:12:21,360 --> 01:12:24,960
Speaker 2: find a Tubular Company time machine they also make tubes

1309
01:12:25,000 --> 01:12:28,880
Speaker 2: through time and space apparently, and they climb aboard that

1310
01:12:29,360 --> 01:12:31,599
Speaker 2: and escape into the.

1311
01:12:31,520 --> 01:12:35,280
Speaker 3: Past, Yes, into the past, into you know, Venice of

1312
01:12:35,360 --> 01:12:36,320
Speaker 3: nineteen eighty nine.

1313
01:12:37,160 --> 01:12:39,479
Speaker 2: I would have also settled for escape into the future

1314
01:12:39,840 --> 01:12:43,400
Speaker 2: where they land up in the background of a Stanley

1315
01:12:43,439 --> 01:12:46,479
Speaker 2: Tucci documentary and Stanley Tucci has like jump in and

1316
01:12:46,520 --> 01:12:51,040
Speaker 2: help defeat the enemy here, but they went in the

1317
01:12:51,040 --> 01:12:53,599
Speaker 2: past instead. I'm making you zucchini pasta.

1318
01:12:53,680 --> 01:12:58,719
Speaker 3: Yeah, yeah, So this coda is there are a lot

1319
01:12:58,800 --> 01:13:01,599
Speaker 3: of like jaw on the floor things in Shocking Dark,

1320
01:13:01,680 --> 01:13:03,920
Speaker 3: but this was the one for me. I could not

1321
01:13:04,080 --> 01:13:08,320
Speaker 3: believe it that the ending involved a twist with time travel.

1322
01:13:08,640 --> 01:13:12,280
Speaker 3: There's no hint earlier on that there's time travel. They

1323
01:13:12,360 --> 01:13:14,400
Speaker 3: just like go into a room while they're trying to

1324
01:13:14,520 --> 01:13:17,839
Speaker 3: escape the blast, and it's like, welcome to the Tubular

1325
01:13:17,880 --> 01:13:21,519
Speaker 3: Corporation time machine. Yes, use the following controls to go

1326
01:13:21,600 --> 01:13:24,960
Speaker 3: into the past, and they do. And then it turns

1327
01:13:25,000 --> 01:13:29,120
Speaker 3: out that Fuller, the Terminator also took a time machine

1328
01:13:29,120 --> 01:13:31,000
Speaker 3: into the past. To chase them, you.

1329
01:13:31,080 --> 01:13:33,000
Speaker 2: Have to chase them through the streets of Venice.

1330
01:13:33,240 --> 01:13:37,000
Speaker 3: Yes, chases them around Venice while they're asking just Italians

1331
01:13:37,000 --> 01:13:40,719
Speaker 3: for help, you know, and so the Terminator's like throwing

1332
01:13:40,720 --> 01:13:43,120
Speaker 3: them into the canals anybody who tries to help them.

1333
01:13:43,680 --> 01:13:49,040
Speaker 3: And then also they defeat. So Sarah defeats the terminator

1334
01:13:49,760 --> 01:13:53,640
Speaker 3: by tossing him a remote control that is somehow associated

1335
01:13:53,680 --> 01:13:56,599
Speaker 3: with the time machine. I don't understand why this defeated him,

1336
01:13:56,600 --> 01:13:59,280
Speaker 3: but she's like catch and throws him the remote and

1337
01:13:59,320 --> 01:14:02,080
Speaker 3: he catches it. Then just electricity shoots all over the

1338
01:14:02,080 --> 01:14:03,479
Speaker 3: place and he's dead.

1339
01:14:03,520 --> 01:14:07,920
Speaker 2: I guess, yep, enemy defeat it. It felt a little

1340
01:14:07,960 --> 01:14:10,880
Speaker 2: pressed for time perhaps, and I have to say, no

1341
01:14:11,000 --> 01:14:13,960
Speaker 2: gondola chases. I think we needed a gondola chase here,

1342
01:14:14,000 --> 01:14:17,000
Speaker 2: But you know, last five minutes of the picture, I

1343
01:14:17,000 --> 01:14:17,920
Speaker 2: guess they didn't have time.

1344
01:14:18,360 --> 01:14:20,639
Speaker 3: That's what a Roger Moore era James Bond a movie

1345
01:14:20,640 --> 01:14:22,880
Speaker 3: you would have done, but not Shocking Dark. But so

1346
01:14:23,280 --> 01:14:27,840
Speaker 3: it's interesting that you were like watching Shocking Dark and

1347
01:14:27,880 --> 01:14:31,360
Speaker 3: it's a ripoff of Aliens, and you forget that it was,

1348
01:14:31,479 --> 01:14:34,400
Speaker 3: according to the poster and the box art and the

1349
01:14:34,439 --> 01:14:38,040
Speaker 3: title supposed to be a ripoff of Terminator, and you

1350
01:14:38,240 --> 01:14:40,639
Speaker 3: just forget that that's even what you signed up for

1351
01:14:41,320 --> 01:14:44,000
Speaker 3: until the last fifteen minutes of the movie and then oh,

1352
01:14:44,080 --> 01:14:46,280
Speaker 3: you're like, oh, now it is a ripoff of Terminator.

1353
01:14:46,280 --> 01:14:48,640
Speaker 3: We're done with Aliens now. Now for the rest of

1354
01:14:48,680 --> 01:14:52,200
Speaker 3: the runtime, it's Terminator. We got time travel, killer robots,

1355
01:14:52,800 --> 01:14:54,719
Speaker 3: uh and Sarah Sarah Connor.

1356
01:14:54,800 --> 01:14:57,720
Speaker 2: Yeah, yeah, yeah, certainly by that point to pick you

1357
01:14:57,840 --> 01:15:00,560
Speaker 2: forgotten Terminator was really in the mix, so that the

1358
01:15:00,920 --> 01:15:03,479
Speaker 2: time travel comes out of nowhere. But I guess makes

1359
01:15:03,520 --> 01:15:05,559
Speaker 2: sense if you realize, well, it was a Terminator rip

1360
01:15:05,600 --> 01:15:06,639
Speaker 2: off all along as well.

1361
01:15:06,720 --> 01:15:09,519
Speaker 3: So I'm so glad you picked Shocking Dark for the show.

1362
01:15:09,560 --> 01:15:11,640
Speaker 3: This was a beautiful experience and I know I'm going

1363
01:15:11,680 --> 01:15:13,439
Speaker 3: to watch this one many times to come.

1364
01:15:14,000 --> 01:15:15,960
Speaker 2: Yeah, Like I say, it's been a while since we

1365
01:15:16,040 --> 01:15:19,280
Speaker 2: watched something this schlocky, so it was a nice return.

1366
01:15:20,320 --> 01:15:22,439
Speaker 2: I don't think we could cover a film like this

1367
01:15:22,560 --> 01:15:25,200
Speaker 2: every week. I don't think there are enough schlocky films

1368
01:15:25,240 --> 01:15:29,680
Speaker 2: of this caliber out there ultimately, but it's great to

1369
01:15:29,720 --> 01:15:30,840
Speaker 2: return to them. Rob.

1370
01:15:30,880 --> 01:15:33,320
Speaker 3: I don't know if you've had the experience, but in

1371
01:15:33,360 --> 01:15:36,439
Speaker 3: my I feel like movies of this sort that are

1372
01:15:36,760 --> 01:15:40,360
Speaker 3: extremely pleasing to watch and have this kind of awkwardness

1373
01:15:40,400 --> 01:15:43,600
Speaker 3: to them are actually harder to cover and explain on

1374
01:15:43,680 --> 01:15:47,000
Speaker 3: the show than some technically duller films are.

1375
01:15:47,520 --> 01:15:51,040
Speaker 2: Well, sometimes those technically dull films have also have plots

1376
01:15:51,040 --> 01:15:53,920
Speaker 2: that you can really follow because they're like bullet points,

1377
01:15:53,960 --> 01:15:57,599
Speaker 2: you know, yeah, and or there's not a lot happening

1378
01:15:58,800 --> 01:16:01,479
Speaker 2: this one. There's always a lot of things happening. There's

1379
01:16:01,680 --> 01:16:05,759
Speaker 2: like to the point where I have difficulty remembering exactly,

1380
01:16:06,439 --> 01:16:08,720
Speaker 2: you know, what all the plot points are. I just

1381
01:16:09,320 --> 01:16:13,720
Speaker 2: remember the spectacle of the acting, and then sometimes the monsters.

1382
01:16:14,560 --> 01:16:16,719
Speaker 2: But yeah, I see what you're talking about. But luckily,

1383
01:16:16,720 --> 01:16:19,599
Speaker 2: Shocking Dark is a film that invites you to view

1384
01:16:19,640 --> 01:16:20,639
Speaker 2: it over and over again.

1385
01:16:21,200 --> 01:16:23,800
Speaker 3: Yes, I do feel like I have somewhat fallen short

1386
01:16:23,840 --> 01:16:27,519
Speaker 3: in describing its virtues, but it I hope I can

1387
01:16:27,560 --> 01:16:29,840
Speaker 3: at least say, if you like schlock movies, you should

1388
01:16:29,920 --> 01:16:32,280
Speaker 3: see it. It needs to be you need to see

1389
01:16:32,280 --> 01:16:34,600
Speaker 3: it for yourself. You've got to have the experience.

1390
01:16:35,080 --> 01:16:37,280
Speaker 2: Absolutely all right, We're going to go ahead and close

1391
01:16:37,320 --> 01:16:41,240
Speaker 2: the time machine hatch on this selection of Weird House Cinema,

1392
01:16:41,320 --> 01:16:44,160
Speaker 2: but we'll be back next week with something else. I'd reminded.

1393
01:16:44,200 --> 01:16:47,040
Speaker 2: The Stuff to Blow Your Mind is primarily a science

1394
01:16:47,080 --> 01:16:49,799
Speaker 2: podcast Science and culture podcasts with core episodes on Tuesdays

1395
01:16:49,840 --> 01:16:52,479
Speaker 2: and Thursdays, but on Fridays we set aside most serious

1396
01:16:52,520 --> 01:16:54,360
Speaker 2: concerns and just talk about a weird film on Weird

1397
01:16:54,400 --> 01:16:56,200
Speaker 2: House Cinema. If you want to see a list of

1398
01:16:56,200 --> 01:16:57,680
Speaker 2: all the movies we've covered over the years, go to

1399
01:16:57,720 --> 01:17:01,160
Speaker 2: letterbox dot com. That's L E. T. T Er dot com.

1400
01:17:01,400 --> 01:17:04,160
Speaker 2: Our username is weird house and there you will find

1401
01:17:04,160 --> 01:17:06,280
Speaker 2: the list and sometimes you'll get a peek ahead at

1402
01:17:06,280 --> 01:17:08,000
Speaker 2: what's coming out the following week.

1403
01:17:08,520 --> 01:17:12,400
Speaker 3: Huge thanks as always to our excellent audio producer Jjposway.

1404
01:17:12,760 --> 01:17:14,320
Speaker 3: If you would like to get in touch with us

1405
01:17:14,320 --> 01:17:16,719
Speaker 3: with feedback on this episode or any other, to suggest

1406
01:17:16,760 --> 01:17:18,800
Speaker 3: a topic for the future, or just to say hello,

1407
01:17:18,880 --> 01:17:21,360
Speaker 3: you can email us at contact at Stuff to Blow

1408
01:17:21,400 --> 01:17:35,679
Speaker 3: Your Mind dot com.

1409
01:17:29,080 --> 01:17:32,040
Speaker 1: Stuff to Blow Your Mind is production of iHeartRadio. For

1410
01:17:32,120 --> 01:17:34,920
Speaker 1: more podcasts from my heart Radio, visit the iHeartRadio app,

1411
01:17:35,080 --> 01:17:38,280
Speaker 1: Apple Podcasts, or wherever you listen to your favorite shows.