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Speaker 1: Hey, you welcome to Weird House Cinema Rewind. This is

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Speaker 1: Rob Lamb.

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Speaker 2: And this is Joe McCormick. And today on Weird House

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Speaker 2: Cinema Rewind, we're gonna be featuring an older episode of

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Speaker 2: Weird House Cinema, the one we did on free Jack

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Speaker 2: starring Emilio Estevez, Mick Jagger. What was Anthony Hopkins in

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Speaker 2: this one?

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Speaker 1: Yeah? He is?

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Speaker 2: Is Renee Russo in it? Where's all of these names

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Speaker 2: come from? And my memory, I.

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Speaker 1: Mean, it's it's all about Mick Jagger. It's all about

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Speaker 1: getting the meat right.

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Speaker 2: Get the meat that's right.

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Speaker 1: All right? So in free Jack, there is one hundred

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Speaker 1: percent chance of bone jacking occurring. And you know what,

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Speaker 1: if you tune into Monday Night Football tonight on ESPN,

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Speaker 1: I'd say maybe there's a fifty to fifty chance they'll

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Speaker 1: be bone jacking. But I am to understand there's one

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Speaker 1: hundred percent chance there's gonna be some sort of interesting

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Speaker 1: shenanigans from PayPal. That's the word around the office here

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Speaker 1: at any rate, Do with that what you will. Football fans,

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Speaker 1: that's right, football fans, tal alert. And now, without any

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Speaker 1: further ado, let's get into free Jack.

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Speaker 3: Welcome to Stuff to Blow your Mind, a production of iHeartRadio.

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Speaker 1: Hey, welcome to Weird House Cinema. This is Rob Lamb.

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Speaker 2: And I'm Joe McCormick. And boy, we have got a

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Speaker 2: treat for you today, one that has been a long

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Speaker 2: time coming for me personally, because we're going to be

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Speaker 2: talking about a nineteen ninety Oh I've already forgotten the year.

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Speaker 2: Was it ninety one or ninety two?

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Speaker 1: I believe it came out in ninety.

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Speaker 2: Two, Okay, a nineteen ninety two science fiction film called

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Speaker 2: Free Jack. And I have a personal history with this movie,

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Speaker 2: which is that I have owned this DVD for approximately

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Speaker 2: fifteen years, and until this weekend, I had never watched it.

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Speaker 2: I remember buying it for three dollars and ninety five

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Speaker 2: cents at an East Tennessee used bookstore sometime when I

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Speaker 2: was in college. Because on the cover of the DVD

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Speaker 2: case it has a picture of Emilio Estevez holding some

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Speaker 2: kind of futuristic looking gun, and then a bunch of

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Speaker 2: very very foggy future corridors, and then Mick Jagger looking

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Speaker 2: very stern like he's going to dole out some punishment.

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Speaker 2: Anthony Hopkins holding his fingers in front of his face

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Speaker 2: like he's going to smoke a cigar or something, and

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Speaker 2: Renee Russo wearing like an mc escher pattern.

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Speaker 1: Yeah. I remember the VHS box art for this. I

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Speaker 1: remember the the you know, the covers. I remember the trailer.

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Speaker 1: It looks like it's gonna be tremendous fun. It looks

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Speaker 1: really badass. In fact, I have very strong memories of

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Speaker 1: when this came out because I was fourteen, and you know,

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Speaker 1: I don't even remember what my favorite films were at

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Speaker 1: that point. You know, I guess that's post Batman, so

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Speaker 1: I guess Batman was still in the mix. But I was,

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Speaker 1: you know, exploring some more sci fi, getting into that

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Speaker 1: reading sci fi, and then I saw the trailer for

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Speaker 1: free Jack, and I was just convinced that this was

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Speaker 1: going to be a great film. I got so excited

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Speaker 1: about it. I'm like looking through copies of Newsweek to

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Speaker 1: try and follow the coverage of free Jack, and that

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Speaker 1: was a little disappointed when it was there.

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Speaker 2: You're like making a scrap booking the I.

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Speaker 1: Would do that with other films, like yeah, I had

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Speaker 1: done that with Batman. When it came out, I was

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Speaker 1: like cutting out all these pictures. I made like scrapbook

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Speaker 1: pages of it. I was so excited about it. I

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Speaker 1: did that with Dick Tracy.

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Speaker 2: That's fandom.

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Speaker 1: Yeah, and then this came and I'm like, let's do it.

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Speaker 1: I'm down. This is the next one. This is going

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Speaker 1: to be the next film that I'm crazy for. And

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Speaker 1: then it hit theaters and I remember I was I

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Speaker 1: was calling my local theater in the small Tennessee town

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Speaker 1: that I lived in, and I was like, when are

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Speaker 1: you all getting free Jack? When's free Jack coming? And

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Speaker 1: they they didn't have an answer for that, because of

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Speaker 1: course the answer was free Jack was not coming to

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Speaker 1: a small town.

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Speaker 2: Is mister Jagger going to be here for the premiere?

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Speaker 2: Can I get them to sign my poster?

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Speaker 1: Yeah? Well, I just thought it was going to be

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Speaker 1: this huge thing that everybody was going to be obsessed with.

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Speaker 1: Turns out people weren't obsessed with it. Turns out this

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Speaker 1: was what a January release. This was a film that

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Speaker 1: had experienced troubles, that was pretty much known, I think,

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Speaker 1: to not be that good, and was just dumped unceremoniously

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Speaker 1: in the January release window of nineteen ninety two.

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Speaker 2: Yeah, floppiject season. Yeah, but There's a lot of good

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Speaker 2: movies get released in the winter, though, but oh yeah,

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Speaker 2: a lot of this is something that I think often

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Speaker 2: happens with horror movies that should be released in October.

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Speaker 2: But there's just a sign of utter disrespect by the

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Speaker 2: studios that release them, often good ones. I don't know

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Speaker 2: if the studio is playing into it in this case,

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Speaker 2: but like when The Witch came out, I think it

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Speaker 2: was released in February or something just utterly inexplicable. Why

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Speaker 2: not in October?

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Speaker 1: Yeah, I don't know. You know, as much as I

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Speaker 1: love movies and I love charting all this stuff, yeah,

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Speaker 1: I don't have as good ahead for other aspects of

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Speaker 1: movie production, and you know, and certainly the calendar of

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Speaker 1: putting them out another thing I don't usually have a

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Speaker 1: good head for. I usually don't get obsessed with the

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Speaker 1: budgets on things, but sometimes it's notable, and I was

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Speaker 1: checking this one out, I did notice that this was

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Speaker 1: a thirty million dollar picture, which I my understanding is

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Speaker 1: that that was still quite a chunk of change for

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Speaker 1: a film in nineteen ninety one, nineteen ninety two, So

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Speaker 1: this was a this was a big budget affair, and

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Speaker 1: certainly when we start getting into connections. A lot of

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Speaker 1: names were involved in this picture. Oh yeah, so this

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Speaker 1: may be the most expensive film that we've yet covered

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Speaker 1: on Weird House Cinema. This was this was a mainstream shot.

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Speaker 1: This was something that that was born to be a blockbuster,

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Speaker 1: but it just didn't happen.

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Speaker 2: This is a parade of heavy hitters, both in terms

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Speaker 2: of a list stars. He had Emilio Estevez, who was,

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Speaker 2: you know, a big deal in the early nineties. He

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Speaker 2: had Renee Russo, Anthony Hopkins, Mick Jagger of the Rolling Stones.

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Speaker 2: But then also it's just filled out with a ton

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Speaker 2: of great character actors in the in the mid level roles.

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Speaker 1: Yeah, I don't think everybody's necessarily cast in a good spot.

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Speaker 1: Right by the end of this episode, I will recast

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Speaker 1: the picture in a way that I think will work

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Speaker 1: better or would have worked better. But yeah, it's still

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Speaker 1: a very fun picture to discuss, has a lot of

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Speaker 1: cool elements in it, just everything didn't come together like

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Speaker 1: it should.

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Speaker 2: No see this one's I think it's going to be

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Speaker 2: a lot of fun to talk about. Ultimately, I think

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Speaker 2: it's a little disappointing to actually watch and one of

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Speaker 2: the main reasons is the weirdness and the absurdity is

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Speaker 2: not concentrated enough. The movie goes on too long, it's

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Speaker 2: stretched out too much. But we'll try to press it

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Speaker 2: down into a diamond for you. The listener.

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Speaker 1: All right, well, let's let's go ahead and have that

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Speaker 1: elevator pitch.

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Speaker 2: Joe, Okay, So the pitch is in the early nineties,

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Speaker 2: Formula one racer Alex Furlong is about to die in

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Speaker 2: a fiery crash when he is suddenly time warped into

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Speaker 2: the dystopian hell of the year two thousand and nine

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Speaker 2: by mercenaries under the command of Mick Jagger a guy

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Speaker 2: named Visindak, and they want to sell his body to

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Speaker 2: a rich dead man who's currently living inside a computer

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Speaker 2: and needs a new meat vehicle so that he can

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Speaker 2: live forever and achieve his dreams. But before the transfer

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Speaker 2: to the new meat vehicle can take place, for long

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Speaker 2: escapes and now he is what is referred to in

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Speaker 2: the future as a free jack, and he spends the

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Speaker 2: rest of the movie running around, being chased by Mick

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Speaker 2: Jagger and trying to put the pieces together.

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Speaker 1: Yep.

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Speaker 2: Now, before we get into the contents of the film itself,

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Speaker 2: this movie really does have something that I love, which

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Speaker 2: is a good, crappy, early two thousands DVD menu experience.

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Speaker 1: Oh yeah.

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Speaker 2: Yeah. In fact, I was just talking to Seth before

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Speaker 2: we started recording about how someday, someday, I almost want

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Speaker 2: to do a whole exploration just of the genre of

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Speaker 2: early DVD menus that tried to do too much and

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Speaker 2: we're really aesthetically repulsive and had strange sort of CGI animations.

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Speaker 2: One of my favorites is the DVD menu for the

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Speaker 2: movie Leviathan, which has exactly one animation, and it's just

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Speaker 2: like a guy in a diving suit who sort of

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Speaker 2: like does a half turned step and then pivots back

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Speaker 2: to his original position and then does that over and

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Speaker 2: over forever.

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Speaker 1: Oh wow. Yeah, I mean even the ones that were

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Speaker 1: really well done, Like I think one of the first

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Speaker 1: DVDs I bought, and I wasn't an early adopter on

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Speaker 1: that technology, but I picked up this double DVD special

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Speaker 1: edition of Big Trouble in Little China, the John Poker film,

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Speaker 1: and yeah, it was they really put a lot of

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Speaker 1: effort into it. You know, it's like so many different

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Speaker 1: extra features, a lot of cool extra features. But then

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Speaker 1: at times you're just kind of waiting for the graphics

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Speaker 1: to stop doing things so you can actually push play

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Speaker 1: on the movie.

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Speaker 2: Yeah. Yeah, so this one, it has these crappy CGI menus.

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Speaker 2: One of the features it has is a rotating CGI

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Speaker 2: jack like in the Game of Jacks. And I was

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Speaker 2: confused at first, because again I despite owning the CVD

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Speaker 2: for like fifteen years or something, I had never seen

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Speaker 2: it until this weekend. So I was like, wait a minute,

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Speaker 2: does the title free Jack refer to some kind of

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Speaker 2: jack like in.

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Speaker 1: Jack's Oh, this would be the what's it called the

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Speaker 1: spiritual Uh? Yeah, god? What they call it? The spiritual

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Speaker 1: the spiritual switchboard?

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Speaker 2: Spiritual switchboard? Yes, yes, yes, So it's a piece of

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Speaker 2: technology that actually shows up at the end of the

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Speaker 2: movie and looks exactly like a Jack from a Game

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Speaker 2: of Jacks.

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Speaker 1: Oh man, I just realized as a Jack. Was that

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Speaker 1: on purpose?

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Speaker 2: I don't know, Like with the title free Jack? Yeah,

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Speaker 2: I don't know. But then there's another thing on this

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Speaker 2: DVD that was just cavir on my tongue. It was

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Speaker 2: a menu option called Experience our Website, which when you

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Speaker 2: click it, all it does is it takes you to

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Speaker 2: a screen that shows you the URL of Morgan Creek

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Speaker 2: Motion Pictures, which is www dot Morgan Creek, and then

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Speaker 2: you have the option to go back to the main menu.

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Speaker 1: So you would have to like write it down on

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Speaker 1: the sheet of paper and take it to your computer. Wow.

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Speaker 1: So good.

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Speaker 2: Anyway, let's hit some trailer audio.

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Speaker 4: Alex Furlong is about to die and enter the year

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Speaker 4: two thousand and nine, where immortality is only a heartbeat away,

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Speaker 4: where money can buy anything.

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Speaker 1: Shouldn't you consider an alternative bite.

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Speaker 4: Started to deceive you, including life itself, lose your mind

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Speaker 4: and you can live forever.

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Speaker 2: Free Jack.

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Speaker 1: See sounds exciting, sounds great, sounds like it's gonna be

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Speaker 1: one heck of a movie.

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Speaker 2: Right. If you'd been a kid at the time, you'd

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Speaker 2: be writing your local theater saying, make the free Jack

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Speaker 2: World premiere happen here.

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Speaker 1: Yep.

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Speaker 2: But so there are some key concepts in the film

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Speaker 2: that we're going to have to explain now, I think

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Speaker 2: for this discussion to make any sense. And one of

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Speaker 2: the distinctions that is that is most important is that

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Speaker 2: between the bone Jack and the bone Jacker and the

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Speaker 2: free Jack. Right.

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Speaker 1: So essentially, again, the whole idea here is people who

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Speaker 1: died in horrific accidents in the past. A lot of

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Speaker 1: times you know exactly when they died, where they died,

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Speaker 1: and you know that there's like a catastrophic event like

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Speaker 1: in this case a car wreck, a race car wreck,

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Speaker 1: so you know exactly where in time and space to

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Speaker 1: reach back and steal their body, in other words, jack

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Speaker 1: their bones. It's called bone jacking, and the people who

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Speaker 1: do it are bone.

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Speaker 2: Jackers, right, So they're bone jackers. And the person who

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Speaker 2: gets bone jacked from the past to the future to

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Speaker 2: become somebody's meat vehicle, that person is the bone jack.

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Speaker 1: Okay do they call them that? I thought maybe they

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Speaker 1: were just jacks, but they're called bone jacks.

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Speaker 2: I think they're called bone jack So the victim is

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Speaker 2: the bone jack. The verb would be to bone jack someone.

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Speaker 2: And then if you're one of these mercenaries who does

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Speaker 2: the bone jacking, you're a bone jacker.

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Speaker 1: Okay.

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Speaker 2: But then if a bone jack gets loose, then all

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Speaker 2: bets are off and they're a free jack, right, It's

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Speaker 2: like being a free agent.

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Speaker 1: So then they have to try and either jack the

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Speaker 1: free jack or bone jack the free jack in order

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Speaker 1: to get them back.

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Speaker 2: Right, for the bone Jack. Yes, yes, okay, that's right.

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Speaker 2: But I was thinking about, Okay, so the people who

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Speaker 2: who are the prime candidates for bone jacking in the

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Speaker 2: premise of this film are It's basically going to be

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Speaker 2: anyone who died on videotape with like a precise time

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Speaker 2: code and so you know the time and place where

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Speaker 2: they died, and that's well recorded and survives into the future.

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Speaker 2: So I realized, like, oh, probably all of the people

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Speaker 2: who are who were first in line to get bone

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Speaker 2: jacked are the people from the faces of death videos.

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Speaker 1: Sometimes they don't actually die, right, Sometimes that stuff's fake. Right.

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Speaker 2: Oh really, I've never actually watched one. I just remember

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Speaker 2: that was the thing when I was in high school

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Speaker 2: or whatever this is if you don't remember, these were

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Speaker 2: like morbid video cassettes of just like footage of people

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Speaker 2: dying and in various ways.

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Speaker 1: Yeah, I mean, and I guess it does help if

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Speaker 1: it is a case where something blows up, because then

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Speaker 1: there's more, it's less mystery of the body suddenly vanishes,

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Speaker 1: you know, right before they would die.

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Speaker 2: I mean, I think there'd still be a mystery. They

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Speaker 2: establish in this movie that there's a mystery.

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Speaker 1: Yeah, but there's a difference between Okay, there was a

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Speaker 1: car wreck and we never found the body to somebody

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Speaker 1: fired a bullet at JFK and then he vanished, you know,

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Speaker 1: and then it turns out he was bone jacked and

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Speaker 1: now is a body for some like super rich dude

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Speaker 1: in the future. Like that just doesn't make any sense.

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Speaker 1: That would be a huge incident.

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Speaker 2: Okay. So the film was directed by a guy named

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Speaker 2: Jeff Murphy who is a New Zealand film director who

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Speaker 2: passed away in twenty eighteen. His breakout film seems to

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Speaker 2: have been a New Zealand road trip movie that I've

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Speaker 2: never seen, called Goodbye pork Pie. But he had a

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Speaker 2: Hollywood period in which he directed films like Young Guns two,

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Speaker 2: which I didn't check, but I'm pretty sure that does

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Speaker 2: star Emilio Estevez.

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Speaker 1: It is, Yeah, it is an okay film.

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Speaker 2: Yeah, so connection there, Young Guns two in nineteen ninety

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Speaker 2: Free Jack in ninety two, so you can see the

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Speaker 2: connection there. But then he also directed a prestige period

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Speaker 2: drama I think about the regency period known as Under

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Speaker 2: Siege two Dark Territory in nineteen ninety five.

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Speaker 1: I've seen that one. That one has a terrible lead

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Speaker 1: but has has some really talented people in it, because

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Speaker 1: Eric Bogosian plays the main villain. And then I want

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Speaker 1: to say, you have.

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Speaker 2: Who's Eric Bogosian? I've heard that name.

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Speaker 1: Oh, Eric Bogosian. He's been in a ton of stuff.

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Speaker 1: You've definitely seen him in things I think he was in. Well,

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Speaker 1: most recently he was in Uncut Gems. But he's been

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Speaker 1: in a ton of stuff.

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Speaker 2: Yeah, he was in another Regency era drama, Charlie's Angels

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Speaker 2: Full Throttle, and he was a voice. I just looked

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Speaker 2: this up. He was a voice in Beavis and butthead

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Speaker 2: do America.

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Speaker 1: Well, yeah, there you go. He's an impressive actor, I

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Speaker 1: would say. But yeah, so I saw that movie. It

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Speaker 1: also had Steven Saga on it, of course, but yeah,

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Speaker 1: what can you do?

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Speaker 2: But Jeff Murphy was also a second unit director for

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Speaker 2: some big, you know, mainstream films, like like Peter Jackson's

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Speaker 2: Lord of the Rings trilogy. He did second unit stuff.

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Speaker 2: He did Dante's Peak, Triple X, State of the Union.

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Speaker 1: All right, So yeah, he had a pretty solid career. Now,

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Speaker 1: one thing about this film, this is something I didn't

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Speaker 1: realize back in the day when I originally watched it,

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Speaker 1: and it was just kind of a creeping realization as

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Speaker 1: I was watching it just the other day, and it

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Speaker 1: is that this was filmed I think, entirely in Atlanta, Georgia,

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Speaker 1: in the city in which we live, the city that

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Speaker 1: we're recording this episode.

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Speaker 2: In around like you saw Peachtree in it, didn't you

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Speaker 2: do you recognize suddenly when they're downtown and they're like,

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Speaker 2: there's Mortes stations and stuff.

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Speaker 1: Well, by that point I had looked it up, but

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Speaker 1: early on in the film, there's just a lot of

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Speaker 1: like you're in two thousand and nine, it's in the future,

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Speaker 1: and everything's like kind of gritty and industrial in a

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Speaker 1: way that plenty of parts of Atlanta still are. So

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Speaker 1: I was kind of thinking it was like, you know,

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Speaker 1: it's kind of an Atlanta feel to it, and then

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Speaker 1: I'm like, wait, I should look this up, and sure enough,

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Speaker 1: filmed in Atlanta. Of course, nowadays everything's filmed in Atlanta,

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Speaker 1: filmed in Georgia, so it doesn't really mean anything. But

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Speaker 1: you know, back back in the day, there weren't that

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Speaker 1: many films filming in Atlanta, so it's it's kind of notable.

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Speaker 2: This one has some of the exact same locations and

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Speaker 2: streets featured in Baby Driver.

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Speaker 1: Yeah, like you could.

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Speaker 2: You could compare Free Jack and Baby Driver and do

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Speaker 2: some side by sides.

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Speaker 1: Like they went to film Baby Driver and they're like, look,

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Speaker 1: we'll give you the free Jack package. This is what

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Speaker 1: it consists on.

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Speaker 2: You know, another dystopian future movie that uses Mortes stations.

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Speaker 2: There were cut scenes from Escape from New York that

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Speaker 2: were filmed in moretestations in Atlanta.

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Speaker 1: Yeah. Yeah. Of course the High Museum here in Atlanta

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Speaker 1: is famously where doctor Hannibal Lecter was housed in Manhunter,

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Speaker 1: the original adaptation of Red Dragon.

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Speaker 2: M h Yeah, so played by Brian Cox.

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Speaker 1: Yeah. Yeah, a tremendous role. That was a really really

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Speaker 1: fun film, as I recall. But of course nowadays everything

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Speaker 1: is filmed around Atlanta, so it's it can be excruciating

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Speaker 1: at times. I find like I'm watching Cobra Kai and

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Speaker 1: they film like all of it in Atlanta, like everywhere,

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Speaker 1: Like I expect to see myself see out of my

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Speaker 1: own house and take out the garbage in the background

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Speaker 1: in a scene, you know, so I don't know, it

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Speaker 1: kind of takes me out of the experience sometimes these days.

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Speaker 1: But it's fun with these older films for some reason.

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Speaker 2: Yeah. So this was actually based on a novel, I think,

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Speaker 2: but maybe loosely based.

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Speaker 1: Yes, the novel very loosely based on a novel by

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Speaker 1: Robert Sheckley. He lived nineteen twenty eight through two thousand

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Speaker 1: and five, and it was quite successful. The book in

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Speaker 1: question was nineteen fifty eight More Tality, Inc. And originally

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Speaker 1: I didn't have time to read any of this book.

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Speaker 1: But originally the transit is from nineteen fifty eight to

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Speaker 1: the year twenty one to ten, so much further in

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Speaker 1: the into the future.

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Speaker 2: But anyway, Yeah, by shortening that length though that that

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Speaker 2: dramatically changes what's possible with the plot in terms of

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Speaker 2: meeting people who you previously knew and not appearing to

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Speaker 2: have aged a single day in between.

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Speaker 1: Yeah. So it's supposedly a good book. I'd love to

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Speaker 1: hear from anyone out there who's read it. I read

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Speaker 1: that it, you know, it doesn't again, doesn't have much

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Speaker 1: to do with this movie. I don't think the terms

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Speaker 1: free jacker bonejacker used it all in the book, and

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Speaker 1: I think there's supposedly a sequence in it where a

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Speaker 1: guy the main character, gets in line for something and

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Speaker 1: then finds out it's a suicide booth, which of course

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Speaker 1: is a gag in Futurama in the first episode of that, right,

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Speaker 1: but yeah, so very loosely based on a novel. Also,

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Speaker 1: there are a number of people that are credited on

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Speaker 1: the screenplay for this, and we'll get back to one

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Speaker 1: in a bit, but one of the people is Ronald Shusett,

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Speaker 1: who worked with Dan O'Bannon on Alien and Total Recall.

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Speaker 2: Ah, two great sci fi scripts.

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Speaker 1: Yeah, all right, now we've got our lead. Our star,

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Speaker 1: Emilio Estevez plays the character Alex Furlong. Now, Estevez is,

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Speaker 1: of course the nephew of noted B movie icon Joe Estevez,

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Speaker 1: And you lead with that, Yeah, yeah, I mean he's

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Speaker 1: also the son of acting legend Martin Sheen, whose, of

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Speaker 1: course real name is Ramon Estevez. So if you weren't

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Speaker 1: aware of that, like Martin Sheen, that's his Hollywood name,

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Speaker 1: his real name is Estevez. H And yeah, so you

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Speaker 1: know Martin Sheen from stuff like Apocalypse Now or Spawn.

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Speaker 1: He's been in everything.

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Speaker 2: I was just thinking how funny it was that you

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Speaker 2: don't you don't often put it together in your brain,

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Speaker 2: or at least I don't that like Martin Sheen, who

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Speaker 2: played the President on the West Wing, who's this kind

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Speaker 2: of like grumpy but kind irascible fatherly figure. He's presented

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Speaker 2: this lovable nerd. Is also the main character from Apocalypse

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Speaker 2: Now and the villain from Spawn.

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Speaker 1: Yeah. I mean, he's been in so many different types

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Speaker 1: of films. He's been in some crap, you know, not

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Speaker 1: as much as Joe Estevez, but you know, but he

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Speaker 1: was in some really great films, especially early in his career.

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Speaker 1: Nineteen seventy Three's bad Lands by Terrence Malick, wonderful picture.

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Speaker 2: Emilia Estevez was was, I guess, pretty young at the

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Speaker 2: time this was filmed. I don't know exactly how he

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Speaker 2: was in his twenties, I guess.

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Speaker 1: Yeah, I'm not sure, but he was. Certainly he was

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Speaker 1: chugging right along. I mean, he'd been in the Breakfast Club,

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Speaker 1: the Young Guns, films, Repoman, a true cult classic, the

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Speaker 1: Mighty Ducks that came later, I guess, and then of

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Speaker 1: course he was in Maximum Overdrive, So you know, he's

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Speaker 1: been I think this was a movie that came out

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Speaker 1: at a time when he was very much the sort

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Speaker 1: of name you would put ahead of Mick Jagger on

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Speaker 1: a film.

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Speaker 2: That's pretty weird. So, of course, the thing that mainly

427
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Speaker 2: drew me into this when I picked it up at

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Speaker 2: the used bookstore was that it stars Mick Jagger, and

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Speaker 2: I had no idea Mick Jagger had ever been in

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Speaker 2: a movie at this time. Of course, Mick Jagger the

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Speaker 2: lead singer of the Rolling Stones. I was so my

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Speaker 2: mind was so rendered by the idea of him being

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Speaker 2: in a movie at all. I wonder if that sort

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Speaker 2: of prevented me from watching it in the years in between,

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Speaker 2: because I was almost kind of scared to find out

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Speaker 2: what it was like.

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Speaker 1: Like, you were afraid that his performance would just be

438
00:21:26,560 --> 00:21:28,840
Speaker 1: so good that it would change you on a fundamental level.

439
00:21:28,920 --> 00:21:33,439
Speaker 2: Yeah, how can you really make informed decisions about transformative change?

440
00:21:34,080 --> 00:21:39,160
Speaker 1: Yeah, it's so. Yeah, Mick Jagger's presence in this film

441
00:21:39,240 --> 00:21:42,800
Speaker 1: is interesting. Mick Jagger is I think you would call

442
00:21:42,880 --> 00:21:45,960
Speaker 1: him an intermittent actor at best. You look him up

443
00:21:45,960 --> 00:21:49,679
Speaker 1: on IMDb and most of his film credits are himself

444
00:21:49,760 --> 00:21:53,960
Speaker 1: in concert footage. But when he does act, when he

445
00:21:54,040 --> 00:21:56,359
Speaker 1: has acted, it's been all over the place. So his

446
00:21:56,359 --> 00:21:59,960
Speaker 1: first screen role was the lead in nineteen seventies Ned Kelly,

447
00:22:00,520 --> 00:22:02,919
Speaker 1: which I haven't seen it, but it does seem very

448
00:22:02,960 --> 00:22:05,800
Speaker 1: much like, Hey, we got this young fella here. He's

449
00:22:05,800 --> 00:22:08,199
Speaker 1: the front man of this popular band. Let's put him

450
00:22:08,200 --> 00:22:12,000
Speaker 1: in a movie. And then in nineteen eighty six he

451
00:22:12,040 --> 00:22:15,600
Speaker 1: was in a film called Laughter in the Dark, based

452
00:22:15,600 --> 00:22:18,320
Speaker 1: on a book by Nabokov that I haven't read. Are

453
00:22:18,320 --> 00:22:19,240
Speaker 1: you familiar with this one?

454
00:22:19,960 --> 00:22:22,520
Speaker 2: I think I've heard of it, but I've never read it, Okay.

455
00:22:22,560 --> 00:22:25,000
Speaker 1: And then in nineteen ninety seven he was in an

456
00:22:25,040 --> 00:22:29,080
Speaker 1: adaptation of Bent, which based on the play by Martin Sherman.

457
00:22:29,160 --> 00:22:32,600
Speaker 1: This is about the persecution of homosexuals doing the third Reich,

458
00:22:33,200 --> 00:22:37,280
Speaker 1: you know, very very serious, very stirring piece of drama.

459
00:22:37,840 --> 00:22:40,639
Speaker 1: And then he'll still occasionally act in things seemingly when

460
00:22:40,680 --> 00:22:43,320
Speaker 1: the mood hits him. But I think this is this

461
00:22:43,400 --> 00:22:45,239
Speaker 1: may be free Jack maybe one of the few, like

462
00:22:45,359 --> 00:22:48,639
Speaker 1: really like big budget kind of action films that he

463
00:22:48,680 --> 00:22:51,520
Speaker 1: pops up in. And I don't think he really has

464
00:22:51,560 --> 00:22:53,320
Speaker 1: another appearance in his career like.

465
00:22:53,320 --> 00:22:56,479
Speaker 2: This, well, because one was enough, clearly. I mean his

466
00:22:56,640 --> 00:22:59,879
Speaker 2: role in this film changed him, It changed the world,

467
00:23:01,000 --> 00:23:03,080
Speaker 2: I would say, probably my Well, I don't know. There

468
00:23:03,080 --> 00:23:05,040
Speaker 2: are a couple of things I really did love about

469
00:23:05,080 --> 00:23:09,800
Speaker 2: Free Jack One was just a spectacular scene with Frankie

470
00:23:09,800 --> 00:23:12,880
Speaker 2: Faison that we'll get to in a minute. But Mick

471
00:23:12,960 --> 00:23:17,200
Speaker 2: Jagger also, he really rules this movie, especially when he's

472
00:23:17,240 --> 00:23:18,400
Speaker 2: not talking.

473
00:23:18,560 --> 00:23:20,520
Speaker 1: Like he's best when he's not talking.

474
00:23:21,000 --> 00:23:25,520
Speaker 2: Yes, just reaction shots where he's wearing a spaceball's helmet

475
00:23:25,680 --> 00:23:27,919
Speaker 2: or a shot that suddenly cuts to him and we

476
00:23:27,960 --> 00:23:30,360
Speaker 2: get to see him in a coat with like gigantic

477
00:23:30,720 --> 00:23:35,120
Speaker 2: shoulder pads and you know, ankle link dragging. It's his costume.

478
00:23:35,200 --> 00:23:39,000
Speaker 2: Is Mick Jagger's costumes, Mick Jagger's reaction shots and occasionally

479
00:23:39,080 --> 00:23:42,400
Speaker 2: when Mick Jagger laughs at something that this movie really

480
00:23:42,480 --> 00:23:43,399
Speaker 2: kicks into high gear.

481
00:23:43,720 --> 00:23:46,119
Speaker 1: He has absolutely has a great coat in this His

482
00:23:46,200 --> 00:23:49,720
Speaker 1: costuming is is phenomenal. But but yeah, I guess it's

483
00:23:49,720 --> 00:23:52,160
Speaker 1: one of those things you can't help but compare Mick

484
00:23:52,240 --> 00:23:54,879
Speaker 1: Jagger the actor to David Bowie the actor. And with

485
00:23:55,000 --> 00:23:58,040
Speaker 1: David Bowie you were able to in I think most,

486
00:23:58,119 --> 00:24:00,879
Speaker 1: if not all, of his film roles, the mystique of

487
00:24:00,960 --> 00:24:05,359
Speaker 1: David Bowie the musical performer translated to the film roles

488
00:24:05,400 --> 00:24:08,960
Speaker 1: that he took on and made them work marvelously. Like

489
00:24:09,040 --> 00:24:11,960
Speaker 1: David Bowie was great and everything he was in I

490
00:24:11,960 --> 00:24:13,840
Speaker 1: can't think of anything I've seen David Bowie in where

491
00:24:13,840 --> 00:24:17,240
Speaker 1: I'm like that was disappointing. But mc jagger the you know,

492
00:24:17,280 --> 00:24:21,800
Speaker 1: the calculus didn't work there, The transit was not successful.

493
00:24:22,480 --> 00:24:25,679
Speaker 2: David Bowie's visual presence in a film is the equivalent

494
00:24:25,880 --> 00:24:29,760
Speaker 2: of the creaky lore theme from the soundtrack to The

495
00:24:29,760 --> 00:24:35,040
Speaker 2: Lord of the Rings. You know, like it really it

496
00:24:35,119 --> 00:24:37,680
Speaker 2: conjures up the same kind of fog of the ancients.

497
00:24:38,200 --> 00:24:41,199
Speaker 1: Yeah, absolutely so. We'll have more to say about mc

498
00:24:41,280 --> 00:24:44,520
Speaker 1: jagger's performance in this film as we proceed, but we should.

499
00:24:44,560 --> 00:24:46,840
Speaker 1: We should also hit on the fact that Renee Russo's

500
00:24:46,880 --> 00:24:50,280
Speaker 1: in this she plays Julie Redland, the love interest in

501
00:24:50,320 --> 00:24:52,920
Speaker 1: the past that is also the love interest in the future.

502
00:24:53,480 --> 00:24:55,879
Speaker 1: And say what you will about this movie or Russo's

503
00:24:55,960 --> 00:24:59,359
Speaker 1: I think, you know, perfectly fine but probably forgettable for performance.

504
00:24:59,400 --> 00:25:02,399
Speaker 1: But she met her husband on this film. One of

505
00:25:02,400 --> 00:25:06,359
Speaker 1: its mini screenwriters was Dan Gilroy, who also went on

506
00:25:06,440 --> 00:25:10,520
Speaker 1: to write and direct twenty fourteen's Nightcrawler. Oh wow, yeah,

507
00:25:11,200 --> 00:25:14,200
Speaker 1: so say so. No matter what you think of the picture,

508
00:25:14,320 --> 00:25:15,399
Speaker 1: some good stuff came out of it.

509
00:25:16,440 --> 00:25:21,760
Speaker 2: Anthony Hopkins has an excellent check collecting scene in this film. Yea,

510
00:25:23,000 --> 00:25:26,639
Speaker 2: Anthony Hopkins is a fabulous actor, but this is I

511
00:25:26,680 --> 00:25:29,679
Speaker 2: would say you could show this his scene in this

512
00:25:29,760 --> 00:25:34,320
Speaker 2: movie as like the classroom textbook example of phoning it

513
00:25:34,359 --> 00:25:36,919
Speaker 2: in if you were trying to explain that concept.

514
00:25:37,119 --> 00:25:40,000
Speaker 1: Yeah. I mean he's not asked to do much. No,

515
00:25:40,560 --> 00:25:43,520
Speaker 1: his character from the get go is dead and is

516
00:25:43,600 --> 00:25:46,720
Speaker 1: just a like brain waves and a giant jack in

517
00:25:46,760 --> 00:25:50,800
Speaker 1: the sky. Yeah, but still he's Anthony Hopkins, so he

518
00:25:50,840 --> 00:25:53,560
Speaker 1: classes up every scene he's in and makes you believe

519
00:25:53,600 --> 00:25:56,800
Speaker 1: it on a level that just Emilio Estevez is not

520
00:25:56,920 --> 00:25:57,760
Speaker 1: capable of doing it.

521
00:25:58,359 --> 00:26:01,240
Speaker 2: Yeah, it's a little rough. I guarantee you that when

522
00:26:01,280 --> 00:26:05,399
Speaker 2: Anthony Hopkins delivered his lines in the single takes of

523
00:26:05,480 --> 00:26:07,439
Speaker 2: the scenes that we saw that made it into the

524
00:26:07,440 --> 00:26:09,440
Speaker 2: final version of the movie, that was the first time

525
00:26:09,480 --> 00:26:10,160
Speaker 2: he had read them.

526
00:26:12,560 --> 00:26:17,200
Speaker 1: Yeah, I would not doubt it. Now. Another actor that

527
00:26:17,240 --> 00:26:20,640
Speaker 1: I think everybody will will pretty much recognize now that

528
00:26:20,640 --> 00:26:23,320
Speaker 1: that is in it is Jonathan Banks, who plays his

529
00:26:23,400 --> 00:26:25,679
Speaker 1: character Michelette Micholette.

530
00:26:25,880 --> 00:26:31,240
Speaker 2: Michelette Michelette. He's like, he's like a creepy he's a

531
00:26:31,280 --> 00:26:33,679
Speaker 2: business executive, he's a suit Yeah.

532
00:26:34,280 --> 00:26:37,480
Speaker 1: So uh yeah. Banks was born in forty seven. He's

533
00:26:37,480 --> 00:26:40,320
Speaker 1: had a whole career of playing heavies with eyes you

534
00:26:40,359 --> 00:26:43,440
Speaker 1: can't trust. He's got these Yeah, he's got these these eyes.

535
00:26:43,480 --> 00:26:44,919
Speaker 1: You just look at him and you're like that, that

536
00:26:44,960 --> 00:26:46,320
Speaker 1: guy's bad back. He's a lion.

537
00:26:46,520 --> 00:26:47,520
Speaker 2: Yeah, he's he was.

538
00:26:47,520 --> 00:26:51,639
Speaker 1: Made to play like mercenaries and dirty cops and you

539
00:26:51,680 --> 00:26:53,560
Speaker 1: know thugs. You know, that's like his whole thing.

540
00:26:54,520 --> 00:26:58,000
Speaker 2: He looks like somebody whose hobby is shoplifting golf equipment.

541
00:26:58,720 --> 00:27:03,439
Speaker 1: Yeah. Now, everybody now definitely knows him as Mike, first

542
00:27:03,480 --> 00:27:06,879
Speaker 1: from Breaking Bad and then from the fabulous prequel A

543
00:27:06,960 --> 00:27:10,359
Speaker 1: Better Call Saul, And he's tremendous on those shows because

544
00:27:10,359 --> 00:27:12,280
Speaker 1: it gives him a chance to be this cold, heavy

545
00:27:12,320 --> 00:27:15,719
Speaker 1: but also play this aging, emotional human being with you know,

546
00:27:16,280 --> 00:27:19,440
Speaker 1: with human connections in his life. That was not always

547
00:27:19,520 --> 00:27:21,680
Speaker 1: the case with the kind of roles that Banks would

548
00:27:21,680 --> 00:27:23,879
Speaker 1: have because he's he's been in so many things. He

549
00:27:23,920 --> 00:27:27,640
Speaker 1: often plays again like cops and heavies. He was Deputy

550
00:27:27,640 --> 00:27:30,960
Speaker 1: Brent in Grimlins in eighty four. Let's see. He was

551
00:27:31,000 --> 00:27:32,879
Speaker 1: in a few episodes of Tales. He was in one

552
00:27:32,880 --> 00:27:34,399
Speaker 1: episode of Tales from the Crypt. He was in an

553
00:27:34,400 --> 00:27:37,440
Speaker 1: episode of Highlander, the TV series he was in Deep

554
00:27:37,480 --> 00:27:40,480
Speaker 1: Space nine. He was a show regular slash lead on

555
00:27:40,560 --> 00:27:43,199
Speaker 1: Wise Guy from eighty seven through ninety. He was in

556
00:27:43,320 --> 00:27:47,159
Speaker 1: Murder She wrote, he was on airplane just so much stuff.

557
00:27:47,440 --> 00:27:47,640
Speaker 2: Yeah.

558
00:27:47,960 --> 00:27:51,200
Speaker 1: But his first screen role is a nineteen seventy four

559
00:27:51,359 --> 00:27:55,360
Speaker 1: education short from the Los Angeles Public Library titled Linda's

560
00:27:55,359 --> 00:27:59,200
Speaker 1: Film on Menstruation. Oh, so it's worth looking up.

561
00:27:59,480 --> 00:27:59,639
Speaker 4: You know.

562
00:27:59,640 --> 00:28:03,679
Speaker 1: It's just educational short film and it's on YouTube, and

563
00:28:03,720 --> 00:28:06,520
Speaker 1: you get to see baby Jonathan Banks in there playing

564
00:28:06,760 --> 00:28:09,960
Speaker 1: like this gruff guy who doesn't understand menstruation.

565
00:28:10,320 --> 00:28:12,600
Speaker 2: Oh, he's like a don't do what Donnie don't does.

566
00:28:13,160 --> 00:28:14,960
Speaker 1: Yeah, Like he's sitting on the couch and he's like,

567
00:28:15,080 --> 00:28:18,480
Speaker 1: I don't understand menstruation. So that the woman in the

568
00:28:18,560 --> 00:28:21,280
Speaker 1: room turns on the TV and there's an animation. There's

569
00:28:21,320 --> 00:28:22,760
Speaker 1: a cartoon that explains it all.

570
00:28:22,800 --> 00:28:23,600
Speaker 2: So oh I see.

571
00:28:23,640 --> 00:28:24,080
Speaker 1: Yeah.

572
00:28:24,119 --> 00:28:26,879
Speaker 2: So he's he's ready to learn. He's not somebody who's

573
00:28:26,920 --> 00:28:28,400
Speaker 2: just like just doesn't get it.

574
00:28:29,080 --> 00:28:31,800
Speaker 1: Yeah. But his face he has that. One of the

575
00:28:31,840 --> 00:28:34,119
Speaker 1: great things about Jonathan Banks. He has a great, like

576
00:28:34,359 --> 00:28:38,240
Speaker 1: smoldering look, like he's great at at just expressing that

577
00:28:38,520 --> 00:28:40,480
Speaker 1: I don't I don't really care what's going on here

578
00:28:40,560 --> 00:28:42,600
Speaker 1: with my with my you know, just my eyes and

579
00:28:42,680 --> 00:28:45,600
Speaker 1: kind of like the melting features of my face. So

580
00:28:45,640 --> 00:28:47,400
Speaker 1: he has that going on in that scene. You can

581
00:28:47,440 --> 00:28:50,959
Speaker 1: definitely see it's it forecast everything to come in his career, Like,

582
00:28:51,000 --> 00:28:52,280
Speaker 1: this is a guy that's going to play a lot

583
00:28:52,320 --> 00:28:55,320
Speaker 1: of heavies, fair enough, all right, So he's essentially your

584
00:28:55,840 --> 00:28:59,000
Speaker 1: one of your sub villains here, one of your top

585
00:28:59,040 --> 00:29:01,280
Speaker 1: three anyway. But then you have a whole host of

586
00:29:01,320 --> 00:29:03,200
Speaker 1: additional players in this film as well.

587
00:29:03,360 --> 00:29:04,880
Speaker 2: God, the cast is huge.

588
00:29:05,240 --> 00:29:07,520
Speaker 1: Yeah. For instance, you have this character named Brad who

589
00:29:07,560 --> 00:29:10,200
Speaker 1: shows up in the past and the future, played by

590
00:29:10,520 --> 00:29:13,680
Speaker 1: David Johansson, which if you like me and you, I

591
00:29:13,680 --> 00:29:15,400
Speaker 1: don't know, you grew up watching the right era of

592
00:29:15,520 --> 00:29:18,800
Speaker 1: MTV or the right reruns of Saturday Night Live, then

593
00:29:18,800 --> 00:29:21,200
Speaker 1: you probably will recognize him as Buster Poindexter.

594
00:29:21,440 --> 00:29:24,840
Speaker 2: Oh no, I know him as New York Dolls and Scrooged.

595
00:29:25,280 --> 00:29:27,720
Speaker 1: Oh yeah, yeah. That was one of his big screen roles,

596
00:29:27,880 --> 00:29:31,000
Speaker 1: is Scrooge. There's another great one, and that's Tales from

597
00:29:31,000 --> 00:29:33,719
Speaker 1: the Dark Side, the movie in which he plays an

598
00:29:33,720 --> 00:29:36,760
Speaker 1: assassin in the Cat from Hell segment, which is based

599
00:29:36,800 --> 00:29:38,160
Speaker 1: on a Stephen King short story.

600
00:29:38,600 --> 00:29:39,680
Speaker 2: Oh yeah, I remember that.

601
00:29:39,800 --> 00:29:41,800
Speaker 1: I remember the cat like goes down his throat and

602
00:29:41,840 --> 00:29:42,719
Speaker 1: jumps out his stomach.

603
00:29:42,840 --> 00:29:43,080
Speaker 2: Yeah.

604
00:29:43,080 --> 00:29:46,280
Speaker 1: Great, yep, yeah.

605
00:29:46,520 --> 00:29:48,080
Speaker 2: Oh, but he's great in this.

606
00:29:48,560 --> 00:29:51,240
Speaker 1: Yeah. Yeah, he's great. He's like, what is pit boss

607
00:29:51,360 --> 00:29:53,959
Speaker 1: or something? He's somebody knows in the past, and then

608
00:29:54,000 --> 00:29:56,360
Speaker 1: in the future he looks him up, and of course

609
00:29:56,400 --> 00:29:58,560
Speaker 1: now he's in the Hell City of two thousand and

610
00:29:58,640 --> 00:30:02,920
Speaker 1: nine America. This character, Brad is just a low life

611
00:30:03,680 --> 00:30:06,520
Speaker 1: who instantly betrays him and gets shot.

612
00:30:06,880 --> 00:30:09,360
Speaker 2: Yeah. Amanda Plumbers in this.

613
00:30:10,000 --> 00:30:12,960
Speaker 1: Yeah, the daughter of the late great Christopher Plumber, best

614
00:30:13,000 --> 00:30:15,160
Speaker 1: known for She's probably best known for stuff like pulp

615
00:30:15,200 --> 00:30:18,240
Speaker 1: fiction and The Fisher King. She often plays characters with

616
00:30:18,280 --> 00:30:22,320
Speaker 1: a really fantastic frantic energy. She's a wonderful character actor,

617
00:30:22,320 --> 00:30:26,520
Speaker 1: I would say, a wonderful weird character actor. She's also

618
00:30:26,680 --> 00:30:29,680
Speaker 1: in an excellent episode of the nineties Outer Limits series

619
00:30:29,680 --> 00:30:33,040
Speaker 1: that I recently watched, titled A Stitch in Time, where

620
00:30:33,040 --> 00:30:37,040
Speaker 1: she plays the time traveling doctor Thereesa Givens, who, like Go,

621
00:30:37,280 --> 00:30:42,840
Speaker 1: uses her time machine to kill sexual predators in the past. Yeah.

622
00:30:42,880 --> 00:30:45,680
Speaker 1: So she actually won an Emmy for that. She's great

623
00:30:45,680 --> 00:30:45,920
Speaker 1: in it.

624
00:30:46,120 --> 00:30:46,479
Speaker 2: Wow.

625
00:30:47,160 --> 00:30:48,800
Speaker 1: In this, she plays a nun with a shotgun.

626
00:30:49,160 --> 00:30:52,680
Speaker 2: That's right. I kept calling her sister Shotgun when.

627
00:30:52,840 --> 00:30:54,880
Speaker 1: I think that's her name. I can't remember what else

628
00:30:54,880 --> 00:30:59,360
Speaker 1: it could be. I think she's just none. Actually, I

629
00:30:59,360 --> 00:31:02,720
Speaker 1: think she's credited as Oh, let's see who else we have. Okay,

630
00:31:02,760 --> 00:31:06,640
Speaker 1: we have grand l Bush places character Boone, who's sort

631
00:31:06,680 --> 00:31:09,800
Speaker 1: of a corpo samurai, like right out of the Cyberpunk

632
00:31:10,200 --> 00:31:12,560
Speaker 1: role playing game and video game franchise.

633
00:31:12,760 --> 00:31:16,400
Speaker 2: Yes, he's like a he's like a corporate executive slash

634
00:31:16,840 --> 00:31:21,560
Speaker 2: bodyguard or like mercenary type guy. Who. So he's he's

635
00:31:22,040 --> 00:31:24,760
Speaker 2: in the corporate world, but he's skilled. He's got a

636
00:31:24,840 --> 00:31:26,080
Speaker 2: katana and stuff.

637
00:31:26,280 --> 00:31:29,800
Speaker 1: Yeah, he's always carrying around this short samurai sword and

638
00:31:29,840 --> 00:31:32,640
Speaker 1: he has a gun. He's wearing a big suit. Yeah.

639
00:31:32,680 --> 00:31:35,160
Speaker 1: So he's yeah, like I say, right out of Cyberpunk.

640
00:31:35,520 --> 00:31:38,760
Speaker 2: So I knew this guys from die Hard, in which

641
00:31:38,800 --> 00:31:41,640
Speaker 2: he's one of the two FBI agents who come in.

642
00:31:41,680 --> 00:31:45,560
Speaker 2: He's Special Agent Johnson. It's him and Robert dove Who

643
00:31:45,560 --> 00:31:47,080
Speaker 2: are the two FBI guys?

644
00:31:47,520 --> 00:31:51,920
Speaker 1: Oh, okay, yeah those are some some Dovey's definitely heavy.

645
00:31:53,160 --> 00:31:55,760
Speaker 1: I think I probably knew Bush best from playing ball

646
00:31:55,880 --> 00:31:58,480
Speaker 1: Rock and Street Fighter too. No street Fighter. It's not

647
00:31:58,480 --> 00:32:01,680
Speaker 1: street Fighter too. It's just street Fighter, the Jean Claude

648
00:32:01,720 --> 00:32:05,000
Speaker 1: van Dam version of that. But yeah, he's been in

649
00:32:05,040 --> 00:32:06,719
Speaker 1: a bunch of so. He was in Exorcist three, he

650
00:32:06,760 --> 00:32:09,200
Speaker 1: was in License to Kill. I think I remember him

651
00:32:09,240 --> 00:32:12,080
Speaker 1: from that. Basically, he did a bunch of nineties action.

652
00:32:12,240 --> 00:32:15,760
Speaker 1: He was in Demolition Man. But make no mistake about

653
00:32:15,760 --> 00:32:18,200
Speaker 1: Grandell Bush. He was a highly trained actor who did

654
00:32:18,200 --> 00:32:22,120
Speaker 1: everything from Shakespeare and to like seventy stage musicals, like

655
00:32:22,200 --> 00:32:23,000
Speaker 1: rock musicals.

656
00:32:23,040 --> 00:32:23,800
Speaker 2: Oh, he was in Hair.

657
00:32:23,920 --> 00:32:26,040
Speaker 1: Yeah, he was in Hair. He did a lot of

658
00:32:26,040 --> 00:32:29,440
Speaker 1: TV work. He did Roots, he was in the color purple.

659
00:32:30,120 --> 00:32:32,280
Speaker 1: And again, this is one of the weird things about

660
00:32:32,320 --> 00:32:35,479
Speaker 1: free Jack is that it brings people together because he

661
00:32:35,680 --> 00:32:39,320
Speaker 1: like so, yeah, he also met his wife, his wife

662
00:32:39,400 --> 00:32:42,800
Speaker 1: of twenty six years in counting on this picture. What okay?

663
00:32:43,360 --> 00:32:47,200
Speaker 1: So his wife, she was a journalist for Beet and

664
00:32:47,240 --> 00:32:49,960
Speaker 1: she was on set to interview him about his role

665
00:32:50,000 --> 00:32:53,960
Speaker 1: in this film, and magic happened. The magic of Freejack

666
00:32:54,000 --> 00:32:54,760
Speaker 1: brought them together.

667
00:32:56,280 --> 00:32:57,960
Speaker 2: Free Jack, I mean it just gets people in a

668
00:32:57,960 --> 00:32:59,560
Speaker 2: place where they're ready to commit, you know.

669
00:33:01,360 --> 00:33:04,080
Speaker 1: All right. Up next, this is another bit player in it.

670
00:33:04,200 --> 00:33:06,760
Speaker 1: He just has one maybe two crazy scenes.

671
00:33:06,840 --> 00:33:09,120
Speaker 2: I think just one scene, but he's great in it.

672
00:33:09,840 --> 00:33:13,160
Speaker 2: This is Frankie Faison, yeah, who you might know best

673
00:33:13,160 --> 00:33:16,720
Speaker 2: from playing Burrell in The Wire, but he's also Barney

674
00:33:16,720 --> 00:33:20,760
Speaker 2: in the Hannibal Lecture movies. He's a great actor. He's

675
00:33:21,000 --> 00:33:23,480
Speaker 2: very good at having like a kind of a calming presence,

676
00:33:23,600 --> 00:33:27,480
Speaker 2: soft voice, but in this he's exactly the opposite. And

677
00:33:27,560 --> 00:33:30,880
Speaker 2: this he's electric as this guy who gives in my view,

678
00:33:31,200 --> 00:33:35,200
Speaker 2: an oscar worthy monologue about rat based cuisine and then

679
00:33:35,240 --> 00:33:37,600
Speaker 2: a sort of Hamlet style to be or not to

680
00:33:37,640 --> 00:33:40,640
Speaker 2: be soliloquy, except it's about an eagle who's trying to

681
00:33:40,640 --> 00:33:42,240
Speaker 2: decide whether to commit suicide.

682
00:33:42,560 --> 00:33:46,200
Speaker 1: Yeah. Yeah, and his character is listed as Eagleman. Yeah,

683
00:33:46,400 --> 00:33:46,920
Speaker 1: that's his.

684
00:33:46,760 --> 00:33:47,840
Speaker 2: Whole eagle monologue.

685
00:33:47,880 --> 00:33:51,800
Speaker 1: Yeah yeah, it's a yeah, this is the weirdest thing

686
00:33:51,800 --> 00:33:53,560
Speaker 1: in the whole picture at this scene, Like this is

687
00:33:53,920 --> 00:33:57,760
Speaker 1: Frankie's keeping it weird for us with this one. But yeah, Yeah,

688
00:33:57,760 --> 00:33:59,400
Speaker 1: He's been in a ton of things over the years.

689
00:33:59,400 --> 00:34:01,880
Speaker 1: He was a Landlow in eighty eight Is Coming to America.

690
00:34:02,840 --> 00:34:04,880
Speaker 1: But then in terms of sort of horror and sci

691
00:34:04,920 --> 00:34:07,640
Speaker 1: fi stuff, he was in Chud, he was in Cat People,

692
00:34:08,120 --> 00:34:10,880
Speaker 1: He was in Maximum Overdrive with Emilio.

693
00:34:11,000 --> 00:34:13,960
Speaker 2: And several don't we have several Maximum Overdrive people in

694
00:34:14,000 --> 00:34:14,560
Speaker 2: this movie?

695
00:34:14,680 --> 00:34:16,879
Speaker 1: Yeah? I guess we do. Yeah. And then for another

696
00:34:16,920 --> 00:34:20,239
Speaker 1: Stephen King connection, the Langealiers, he was in that as well,

697
00:34:20,360 --> 00:34:21,400
Speaker 1: that TV adaptation.

698
00:34:21,840 --> 00:34:24,200
Speaker 2: Oh maybe we should talk about that on Weird House

699
00:34:24,239 --> 00:34:26,440
Speaker 2: if we ever want to watch a four hour movie.

700
00:34:26,920 --> 00:34:28,879
Speaker 1: Oh man, I never saw it. I just I read

701
00:34:28,880 --> 00:34:31,360
Speaker 1: though it's novella it's based on, and loved the novella.

702
00:34:31,440 --> 00:34:34,480
Speaker 2: But it is awful. It is, you know, made for

703
00:34:34,560 --> 00:34:37,800
Speaker 2: TV Stephen King stuff late nineties, early two thousands, whenever

704
00:34:37,800 --> 00:34:41,880
Speaker 2: it was that came out. It has unbelievably bad CGI

705
00:34:42,000 --> 00:34:44,640
Speaker 2: monsters and they just run around eating up the screen

706
00:34:44,840 --> 00:34:45,880
Speaker 2: like the screen itself.

707
00:34:46,000 --> 00:34:48,520
Speaker 1: They're supposed to be like the Critters, like they're basically

708
00:34:48,560 --> 00:34:53,320
Speaker 1: Stephen King wrote The Critters as time munching Kremlin monsters.

709
00:34:53,440 --> 00:34:55,480
Speaker 2: Yeah. My memory about it is that it's about a

710
00:34:55,520 --> 00:34:58,239
Speaker 2: cast of people on an airplane who all have their

711
00:34:58,280 --> 00:35:01,560
Speaker 2: own demons that get explored in flashbacks. And then also

712
00:35:01,600 --> 00:35:03,120
Speaker 2: there are monsters that eat time.

713
00:35:03,640 --> 00:35:05,719
Speaker 1: Oh yeah, I mainly remember the monsters that eat Time

714
00:35:06,440 --> 00:35:09,799
Speaker 1: from the again from the novella. Okay, one more bit

715
00:35:09,880 --> 00:35:12,080
Speaker 1: player just to mention, and that's this guy John Shay

716
00:35:12,120 --> 00:35:14,920
Speaker 1: who plays his character Morgan. I don't know much about

717
00:35:14,920 --> 00:35:17,800
Speaker 1: this guy, but his IMDb headshot looks so much like

718
00:35:17,880 --> 00:35:21,400
Speaker 1: Jeffrey Epstein. I feel like he's destined for some for

719
00:35:21,440 --> 00:35:25,200
Speaker 1: a biopick there. He also played Lex Luthor on Lewis

720
00:35:25,239 --> 00:35:27,160
Speaker 1: and Clark you know who Adventure as a Superman.

721
00:35:27,560 --> 00:35:36,719
Speaker 2: Yeah.

722
00:35:36,800 --> 00:35:39,759
Speaker 1: Music wise, the score didn't really do anything for me,

723
00:35:40,080 --> 00:35:43,120
Speaker 1: I have to admit, but it's by Trevor Jones, who

724
00:35:43,160 --> 00:35:45,560
Speaker 1: scored a lot of eighties films that I love, such

725
00:35:45,560 --> 00:35:49,960
Speaker 1: as The Dark Crystal, Labyrinth, Time Bandits. In the nineties

726
00:35:50,000 --> 00:35:53,560
Speaker 1: he did Dark City. So again, nothing in this picture

727
00:35:53,680 --> 00:35:56,640
Speaker 1: really blew me away, but I think his was, particularly

728
00:35:56,640 --> 00:35:59,080
Speaker 1: his work in those hints and films was really really good.

729
00:35:59,239 --> 00:36:00,800
Speaker 2: Oh I like it. I like his score on The

730
00:36:00,880 --> 00:36:04,600
Speaker 2: Dark Crystal. Yeah, that really help score that driving pace

731
00:36:04,680 --> 00:36:07,520
Speaker 2: in the film. In fact, that should come down to someday.

732
00:36:07,560 --> 00:36:10,000
Speaker 2: I want to, I don't know, have a good argument

733
00:36:10,000 --> 00:36:12,760
Speaker 2: with somebody about which of the Dark City cuts is better,

734
00:36:12,840 --> 00:36:15,960
Speaker 2: because did I say Dark Crystal or Dark City earlier?

735
00:36:16,560 --> 00:36:18,400
Speaker 1: For you? I think you said Dark Crystal earlier. Then

736
00:36:18,440 --> 00:36:20,560
Speaker 1: you said Dark City, which got me excited because I

737
00:36:20,560 --> 00:36:22,840
Speaker 1: had no idea there were different cuts of Dark City

738
00:36:23,200 --> 00:36:26,040
Speaker 1: of Dark City, Yeah, that's what. So there's one cut

739
00:36:26,080 --> 00:36:30,279
Speaker 1: that is maybe artistically superior because it cuts out some

740
00:36:30,360 --> 00:36:33,279
Speaker 1: kind of bad voiceover narration at the beginning and a

741
00:36:33,320 --> 00:36:37,120
Speaker 1: few other things. But the original cut has such great pacing,

742
00:36:37,239 --> 00:36:40,960
Speaker 1: like it just drives and drives. H. I don't know,

743
00:36:41,440 --> 00:36:44,640
Speaker 1: we'll explore it someday. Yeah, yeah, that's that's a fun one.

744
00:36:45,040 --> 00:36:46,520
Speaker 2: But one of the things that I thought was funny

745
00:36:46,520 --> 00:36:49,040
Speaker 2: about the music by Trevor Jones. So when you get

746
00:36:49,080 --> 00:36:51,719
Speaker 2: to the opening credits of the movie, it is just

747
00:36:52,320 --> 00:36:56,560
Speaker 2: cgi shards flying around the screen like an after dark screensaver,

748
00:36:56,960 --> 00:37:00,840
Speaker 2: while you've got saxophone music playing a tune that sounds

749
00:37:00,920 --> 00:37:03,680
Speaker 2: a little bit like the melody of the reins of

750
00:37:03,760 --> 00:37:07,520
Speaker 2: casta Mirror. It's like a cross between rains of Castmer

751
00:37:07,600 --> 00:37:11,319
Speaker 2: and then Evangelists and then Baker Street. Okay, And of

752
00:37:11,320 --> 00:37:15,280
Speaker 2: course the shards become the title free Jack uh and

753
00:37:15,280 --> 00:37:19,200
Speaker 2: and then we immediately cut to swirling fog and silhouettes

754
00:37:19,239 --> 00:37:22,520
Speaker 2: of trucks and jeeps cutting through this dark landscape with

755
00:37:22,560 --> 00:37:25,640
Speaker 2: their high beams. And then in one of the greatest

756
00:37:25,680 --> 00:37:27,560
Speaker 2: transitions in the movie. So you got that, you got

757
00:37:27,600 --> 00:37:30,200
Speaker 2: the the music playing and the and the dark trucks

758
00:37:30,239 --> 00:37:34,560
Speaker 2: over the horizon, and then immediately estevez butt. You're Joe

759
00:37:34,640 --> 00:37:38,160
Speaker 2: Estevez's butt in like his alarm clock's going off. He's

760
00:37:38,239 --> 00:37:38,839
Speaker 2: laying in bed.

761
00:37:39,120 --> 00:37:42,080
Speaker 1: Whoa, it's not not what did I say?

762
00:37:43,880 --> 00:37:44,120
Speaker 2: Sorry?

763
00:37:45,400 --> 00:37:45,720
Speaker 1: Different?

764
00:37:46,360 --> 00:37:49,520
Speaker 2: Better? No, this is Emilio Estevez. You just like see

765
00:37:49,560 --> 00:37:52,160
Speaker 2: his butt and he's wearing like green underwear, and he's

766
00:37:52,600 --> 00:37:54,719
Speaker 2: his alarm clock's going off, and he's like you know,

767
00:37:54,800 --> 00:37:57,080
Speaker 2: and his sheets are tossed all over the place.

768
00:37:57,640 --> 00:37:57,759
Speaker 1: Uh.

769
00:37:57,960 --> 00:38:00,279
Speaker 2: And I don't know why I didn't know it first,

770
00:38:00,320 --> 00:38:03,480
Speaker 2: why they made that choice to begin with his butt,

771
00:38:03,480 --> 00:38:05,720
Speaker 2: but I think it's explained later on once you finally

772
00:38:05,719 --> 00:38:07,120
Speaker 2: get all the premise wheeled out.

773
00:38:07,440 --> 00:38:10,879
Speaker 1: Okay, I don't remember the explanation, but yeah, I'll roll

774
00:38:10,920 --> 00:38:13,800
Speaker 1: with it. Like the whole opening segment of this section

775
00:38:13,880 --> 00:38:17,600
Speaker 1: of this movie, I understand most of the choices they made,

776
00:38:17,800 --> 00:38:20,279
Speaker 1: you know, like they want to establish who he is

777
00:38:20,400 --> 00:38:22,400
Speaker 1: and what his connections are with people in the past,

778
00:38:22,800 --> 00:38:26,480
Speaker 1: and we want we want to have a bone jacking

779
00:38:26,719 --> 00:38:32,839
Speaker 1: scenario that is susceptible to disruption. So it but still

780
00:38:32,840 --> 00:38:34,399
Speaker 1: you're watching it and you're like, I would just wish

781
00:38:34,400 --> 00:38:36,120
Speaker 1: they would go ahead and bone jack this guy so

782
00:38:36,160 --> 00:38:38,040
Speaker 1: we can get to the future. It seems like we

783
00:38:38,080 --> 00:38:40,360
Speaker 1: spend a lot of time getting to that point.

784
00:38:40,680 --> 00:38:40,879
Speaker 4: Yeah.

785
00:38:40,920 --> 00:38:43,759
Speaker 2: It starts off with Renee Russo and Emilio Estevez just

786
00:38:43,800 --> 00:38:48,120
Speaker 2: flirting a lot. It's almost overwhelmingly Sacharin. They're just like

787
00:38:48,320 --> 00:38:50,279
Speaker 2: telling each other how much they love each other, and

788
00:38:51,320 --> 00:38:53,960
Speaker 2: he's like, I'll win that race, honey, you just watch again.

789
00:38:54,000 --> 00:38:57,759
Speaker 2: He's a race car driver and they're talking about like

790
00:38:57,760 --> 00:39:00,520
Speaker 2: what will the other driver's wives be wearing? And so

791
00:39:00,600 --> 00:39:05,759
Speaker 2: I think they're engaged again. Emilio Estevez playing this guy

792
00:39:05,800 --> 00:39:09,920
Speaker 2: Alex Furlong, that's his name for long. He's his Formula

793
00:39:09,960 --> 00:39:13,920
Speaker 2: one racer, and and so we're watching all this sweety

794
00:39:14,080 --> 00:39:17,360
Speaker 2: sweety time stuff where they're, you know, they're racing around

795
00:39:17,360 --> 00:39:19,919
Speaker 2: a track in the daytime, or Emilia Westevez is he's

796
00:39:19,920 --> 00:39:23,160
Speaker 2: doing like training laps or something. And then we're cutting

797
00:39:23,200 --> 00:39:26,840
Speaker 2: back and forth between that and him flirting with Renee Russo,

798
00:39:27,560 --> 00:39:31,279
Speaker 2: and then Mick Jagger and an army of helmeted Apocalypse

799
00:39:31,360 --> 00:39:34,879
Speaker 2: goons driving their heavy machinery through the dark and Mick

800
00:39:35,000 --> 00:39:38,799
Speaker 2: Jagger is using this futuristic digital map to navigate to

801
00:39:38,960 --> 00:39:42,319
Speaker 2: a precise point in New York. And then we get

802
00:39:42,600 --> 00:39:47,319
Speaker 2: Renee Russo and Emilia Westevez banter. She's like critiquing his

803
00:39:47,520 --> 00:39:50,800
Speaker 2: driving for some reason, and he's like, you drive your typewriter,

804
00:39:50,920 --> 00:39:53,880
Speaker 2: I'll drive my car. And then she says it's a computer.

805
00:39:56,640 --> 00:39:59,719
Speaker 2: Uh and oh. And then very importantly because it comes

806
00:39:59,760 --> 00:40:02,359
Speaker 2: up later in the movie, Emilio says he won't race

807
00:40:02,480 --> 00:40:05,560
Speaker 2: unless Renee Russo nibbles his ear in public, and they

808
00:40:06,040 --> 00:40:08,000
Speaker 2: kind of hymn and haw about that, and then she does,

809
00:40:08,080 --> 00:40:10,040
Speaker 2: and then they say how much they love each other.

810
00:40:10,560 --> 00:40:13,960
Speaker 2: So all is well in the Kingdom of nineteen ninety one.

811
00:40:14,080 --> 00:40:16,560
Speaker 2: Everybody's happy and in love and things are great.

812
00:40:16,960 --> 00:40:19,200
Speaker 1: Little do they know, though, there is about to be

813
00:40:19,320 --> 00:40:22,439
Speaker 1: a catastrophic car wreck. And then that's when the bone

814
00:40:22,480 --> 00:40:23,760
Speaker 1: jacking will actually begin.

815
00:40:23,719 --> 00:40:25,000
Speaker 2: Right, the bone jacking will begin.

816
00:40:25,080 --> 00:40:25,319
Speaker 1: Oh.

817
00:40:25,320 --> 00:40:28,120
Speaker 2: But we also we meet Brad the manager. Remember this

818
00:40:28,160 --> 00:40:31,080
Speaker 2: is the guy from the New York Dolls. Brad seems

819
00:40:31,120 --> 00:40:34,960
Speaker 2: to manage Emilio Estevez and some other racers, and he

820
00:40:35,000 --> 00:40:37,600
Speaker 2: says things like, you do the driving, I'll do the jiving,

821
00:40:37,680 --> 00:40:40,759
Speaker 2: and so he's going out schmoozing with potential sponsors. I

822
00:40:40,760 --> 00:40:43,719
Speaker 2: think there's this guy who introduces himself with the name

823
00:40:43,760 --> 00:40:46,600
Speaker 2: of the company. He says like Champion Spark Plugs, and

824
00:40:46,640 --> 00:40:49,960
Speaker 2: then Emilio is disrespectful to him and says like, hi,

825
00:40:50,080 --> 00:40:54,759
Speaker 2: mister Plugs. And so meanwhile in the dark world, Mick

826
00:40:54,840 --> 00:40:57,440
Speaker 2: Jagger and his goons are like rousting a bunch of

827
00:40:58,200 --> 00:41:02,640
Speaker 2: post apocalyptic future people out of their their hovels and

828
00:41:03,080 --> 00:41:05,520
Speaker 2: setting up a bunch of equipment to do something in

829
00:41:05,560 --> 00:41:09,360
Speaker 2: this blasted future hell zone. And then we get mixed

830
00:41:09,360 --> 00:41:12,719
Speaker 2: first line, which is just okay, let's do it.

831
00:41:13,400 --> 00:41:16,320
Speaker 1: Yeah. It sets the tone for the rest of the picture,

832
00:41:16,560 --> 00:41:21,760
Speaker 1: like it instantly dissolves the magic of him just looking

833
00:41:21,880 --> 00:41:23,840
Speaker 1: just you know, being there, grim faced and all in

834
00:41:23,840 --> 00:41:24,439
Speaker 1: the cool coat.

835
00:41:24,719 --> 00:41:29,120
Speaker 2: Right. So then Emelio's racing, Alex is driving along, and

836
00:41:29,160 --> 00:41:31,440
Speaker 2: Mick Jagger has a bunch of guys getting ready to

837
00:41:31,480 --> 00:41:35,440
Speaker 2: do something. They're like guys wearing these reflective foil suits.

838
00:41:35,480 --> 00:41:37,960
Speaker 2: And then there's a hacker guy who of course is

839
00:41:38,000 --> 00:41:41,680
Speaker 2: wearing sunglasses inside while he's operating a computer. The hacker

840
00:41:41,719 --> 00:41:44,240
Speaker 2: guy is named Ripper, and he's got these cool scars

841
00:41:44,280 --> 00:41:48,080
Speaker 2: on his face, and they're locking onto a CGI version

842
00:41:48,200 --> 00:41:52,360
Speaker 2: of Alex, and then Alex's car flies off course in

843
00:41:52,400 --> 00:41:54,600
Speaker 2: the past and it's about to explode in a fireball,

844
00:41:54,640 --> 00:41:58,360
Speaker 2: and then zap. Just as the car explodes, Emilio is

845
00:41:58,480 --> 00:42:01,440
Speaker 2: time warped into the future and he appears on an

846
00:42:01,440 --> 00:42:04,320
Speaker 2: operating table. He's surrounded by the doctors in all the

847
00:42:04,360 --> 00:42:08,040
Speaker 2: shiny tin foil body suits. And this seems to be

848
00:42:08,080 --> 00:42:11,600
Speaker 2: it's like some kind of mobile surgical center that's inside

849
00:42:11,640 --> 00:42:14,480
Speaker 2: a giant truck, which just seems like a bad idea,

850
00:42:14,640 --> 00:42:16,600
Speaker 2: like would you be trying to do surgery and like

851
00:42:16,640 --> 00:42:19,200
Speaker 2: a truck that's you know, like an all terrain vehicle,

852
00:42:19,239 --> 00:42:20,880
Speaker 2: it's bouncing around all over the place.

853
00:42:20,920 --> 00:42:22,880
Speaker 1: But anyway, well, I will I will come to the

854
00:42:22,880 --> 00:42:26,400
Speaker 1: picture's defense here and say that this would make sense

855
00:42:26,760 --> 00:42:30,600
Speaker 1: in the sence you're jacking somebody's bones out of such

856
00:42:30,640 --> 00:42:33,520
Speaker 1: a delicate moment in time. Okay, the timing could be

857
00:42:33,560 --> 00:42:35,560
Speaker 1: a little off. And what do you do if they

858
00:42:35,600 --> 00:42:37,800
Speaker 1: come through and they have like a head wound or

859
00:42:38,120 --> 00:42:40,000
Speaker 1: or some sort of a laceration, like you didn't get

860
00:42:40,040 --> 00:42:42,120
Speaker 1: them quite in time. You need to be able to

861
00:42:43,760 --> 00:42:47,360
Speaker 1: treat them immediately, So that's my excuse.

862
00:42:47,120 --> 00:42:48,840
Speaker 2: Okay, I buy it. Yeah, I mean it would be

863
00:42:48,960 --> 00:42:51,239
Speaker 2: necessary even though it's not ideal. It's just something you

864
00:42:51,320 --> 00:42:53,319
Speaker 2: gotta do if you're going to be bone jacking people.

865
00:42:53,320 --> 00:42:56,319
Speaker 2: It's the price of bone jacking, right. And so the

866
00:42:56,400 --> 00:42:59,320
Speaker 2: doctors do. They're trying to stabilize him. They're pumping in,

867
00:42:59,480 --> 00:43:01,480
Speaker 2: you know, doing the CPR and stuff. They get his

868
00:43:01,520 --> 00:43:04,760
Speaker 2: heart beating again, but then they realize, oh, no, Emilio

869
00:43:04,880 --> 00:43:07,799
Speaker 2: Estevez still has brain function. This is bad because he's

870
00:43:07,800 --> 00:43:11,760
Speaker 2: not supposed to. So they're like, grab the lobotomizer, yeah,

871
00:43:11,800 --> 00:43:15,200
Speaker 2: which is a blue, glowing electric and noodle that's flopping

872
00:43:15,239 --> 00:43:16,920
Speaker 2: around all over the place. And I think what it's

873
00:43:16,920 --> 00:43:19,080
Speaker 2: supposed to do is go up his nose and then

874
00:43:19,200 --> 00:43:21,600
Speaker 2: dig around a bit and then give him an electric

875
00:43:21,680 --> 00:43:25,400
Speaker 2: shock to the brain that will make him complacent or

876
00:43:25,400 --> 00:43:26,640
Speaker 2: wipe his brain or something.

877
00:43:26,960 --> 00:43:29,880
Speaker 1: Yeah, it makes no sense at all because he just

878
00:43:30,000 --> 00:43:32,400
Speaker 1: have something called like a mind wiper, you know, and

879
00:43:32,520 --> 00:43:34,200
Speaker 1: just use that because once you bring in the idea

880
00:43:34,239 --> 00:43:37,279
Speaker 1: of lobotomizing, it makes it seem like this brain's not

881
00:43:37,320 --> 00:43:40,400
Speaker 1: going to be worth putting somebody else's mind. Jan if

882
00:43:40,440 --> 00:43:42,840
Speaker 1: you're gonna if you're gonna screw with it and lobotomize it.

883
00:43:42,920 --> 00:43:44,240
Speaker 1: But yeah, it's confusing.

884
00:43:44,280 --> 00:43:47,040
Speaker 2: Good point. But just when they're about to jab his brain,

885
00:43:47,160 --> 00:43:50,479
Speaker 2: the Jagger convoy is attacked to people with guns pop

886
00:43:50,560 --> 00:43:53,120
Speaker 2: up on rooftops all around. They start blowing stuff up.

887
00:43:53,400 --> 00:43:56,960
Speaker 2: This knocks everybody over and Emilio gets loose, and this

888
00:43:57,000 --> 00:44:00,279
Speaker 2: is apparently very bad because immediately the doctor in the

889
00:44:00,280 --> 00:44:04,240
Speaker 2: tinfoil suits start screaming, free Jack, free Jack, grab him

890
00:44:04,880 --> 00:44:08,120
Speaker 2: and this leads to a big fight scene that involves

891
00:44:08,160 --> 00:44:11,319
Speaker 2: the lobottomizer where Emilio has to fight them off using

892
00:44:11,360 --> 00:44:14,240
Speaker 2: the lobottomizer and he zaps them with it, and eventually

893
00:44:14,280 --> 00:44:16,520
Speaker 2: he gets out of the medical truck, but like as

894
00:44:16,520 --> 00:44:19,120
Speaker 2: soon as he's trying to escape, he turns back and

895
00:44:19,160 --> 00:44:22,760
Speaker 2: then he locks eyes with Mick Jagger, and Mick Jagger

896
00:44:22,880 --> 00:44:24,520
Speaker 2: just says, get the mate.

897
00:44:25,880 --> 00:44:28,760
Speaker 1: Yeah. He tells them, yeah, stunners only don't want him damaged.

898
00:44:29,160 --> 00:44:32,880
Speaker 1: And I have to say, there are two things in

899
00:44:32,880 --> 00:44:36,360
Speaker 1: this movie that I think absolutely three things. Eagleman absolutely works,

900
00:44:36,480 --> 00:44:39,959
Speaker 1: Mick Jagger's coat works, and then the Stunners are pretty great.

901
00:44:40,000 --> 00:44:43,400
Speaker 1: So these are the rifles, these space age looking rifles

902
00:44:43,520 --> 00:44:47,799
Speaker 1: that the Bonejacker Squad has that seem to shoot like

903
00:44:47,960 --> 00:44:51,400
Speaker 1: electro plasma pulses and it looks really cool. Like this

904
00:44:51,520 --> 00:44:53,719
Speaker 1: is definitely one of the things in the origin, in

905
00:44:53,760 --> 00:44:57,000
Speaker 1: the trailer and in the original promotional footage that I

906
00:44:57,080 --> 00:44:59,759
Speaker 1: bought into when I was younger, like those guns look

907
00:44:59,800 --> 00:45:02,560
Speaker 1: cool and that looks neat they're shooting all these like

908
00:45:02,600 --> 00:45:06,360
Speaker 1: blue beams and all. Because even though this film, this

909
00:45:06,440 --> 00:45:10,160
Speaker 1: film is essentially cyberpunk, you know, or or cyberpunk made

910
00:45:10,200 --> 00:45:13,080
Speaker 1: from cyberpunk derivatives or something, but one of the things

911
00:45:13,120 --> 00:45:16,480
Speaker 1: you see in so many visions of the future from

912
00:45:16,640 --> 00:45:19,400
Speaker 1: this period, from like the nineties, is that everybody's just

913
00:45:19,400 --> 00:45:24,320
Speaker 1: shooting hard ammo. It's just a ballistic you know, worship

914
00:45:24,400 --> 00:45:27,719
Speaker 1: gone wild. And at times I watch that stuff and

915
00:45:27,760 --> 00:45:29,600
Speaker 1: I'm like, I just I just want to see some

916
00:45:29,719 --> 00:45:33,400
Speaker 1: laser beams and some some some phasers and stuff, you know,

917
00:45:33,480 --> 00:45:36,759
Speaker 1: like that's I like sci fi guns that shoot of

918
00:45:37,200 --> 00:45:40,040
Speaker 1: fancy light beams at things. And so this film at

919
00:45:40,160 --> 00:45:43,480
Speaker 1: least really delivers in that category. Well, it has both

920
00:45:43,560 --> 00:45:47,200
Speaker 1: because it's the Bonejackers use the light based weapons because

921
00:45:47,200 --> 00:45:49,600
Speaker 1: they don't want to damage his body. They just want

922
00:45:49,640 --> 00:45:52,359
Speaker 1: to immobilize him so he can be taken to the

923
00:45:52,920 --> 00:45:56,040
Speaker 1: what the psychic switchboard or whatever it's called spiritual switch

924
00:45:56,239 --> 00:46:00,319
Speaker 1: spiritual switchboard, but the but the but other bad guys

925
00:46:00,360 --> 00:46:01,440
Speaker 1: who just want to kill people.

926
00:46:01,480 --> 00:46:03,160
Speaker 2: They use like ballistic weapons.

927
00:46:03,640 --> 00:46:06,759
Speaker 1: Yeah, they don't care about keeping the meat neat right.

928
00:46:07,120 --> 00:46:09,000
Speaker 2: But so here we get a big chase scene. He's

929
00:46:09,080 --> 00:46:10,759
Speaker 2: running all over the place. At one point he gets

930
00:46:10,800 --> 00:46:13,040
Speaker 2: in a taxi and then gets kicked out of it,

931
00:46:13,680 --> 00:46:16,799
Speaker 2: and so Alex is running all over the place, like

932
00:46:16,840 --> 00:46:19,080
Speaker 2: he tries to go to Renee Russo's apartment. He's trying

933
00:46:19,120 --> 00:46:21,759
Speaker 2: to find people that he used to know because he

934
00:46:21,880 --> 00:46:24,560
Speaker 2: somehow doesn't realize that he's in the future. I think

935
00:46:24,600 --> 00:46:28,920
Speaker 2: this is a pretty standard accidental time travel or unwitting

936
00:46:28,960 --> 00:46:31,680
Speaker 2: time travel trope where the person's like they just won't

937
00:46:31,719 --> 00:46:34,040
Speaker 2: accept that the year is different. So they're running around

938
00:46:34,080 --> 00:46:36,600
Speaker 2: trying to find things they know where person or a

939
00:46:36,600 --> 00:46:37,880
Speaker 2: thing should be there, but it's not.

940
00:46:38,040 --> 00:46:41,080
Speaker 1: And it's like what, yeah, yeah, pretty buy the books.

941
00:46:41,080 --> 00:46:42,600
Speaker 1: There's a lot of stuff in this film that is

942
00:46:43,920 --> 00:46:45,760
Speaker 1: just by the books, right, this sort of picture.

943
00:46:46,080 --> 00:46:48,880
Speaker 2: But everywhere he goes, people are like, oh my god,

944
00:46:48,960 --> 00:46:51,640
Speaker 2: he's a free jack. So everybody knows what this is.

945
00:46:51,800 --> 00:46:53,799
Speaker 2: This is a it must be on the news every night.

946
00:46:53,840 --> 00:46:58,920
Speaker 2: It's like, you know, today three free jacks were apprehended, and.

947
00:46:58,920 --> 00:47:01,160
Speaker 1: Hey, yeah, how often does this happened? It's enough that

948
00:47:01,160 --> 00:47:03,759
Speaker 1: there is a slang for it. Yeah, and everybody's on

949
00:47:03,800 --> 00:47:06,279
Speaker 1: the lookout for it. Like I feel like if this

950
00:47:06,360 --> 00:47:09,280
Speaker 1: is on the bonejackers for just being kind of sloppy.

951
00:47:09,080 --> 00:47:12,479
Speaker 2: The bonejackers are really they are screwing up a lot.

952
00:47:12,520 --> 00:47:16,440
Speaker 2: It sounds like, yeah, and there's this dystopian pa, you know,

953
00:47:16,520 --> 00:47:20,040
Speaker 2: like the future totalitarian society has pas everywhere that just

954
00:47:20,080 --> 00:47:23,000
Speaker 2: blair stuff at people. So it's going like everybody off

955
00:47:23,040 --> 00:47:25,440
Speaker 2: the street, there's a free jacket large anyone on the

956
00:47:25,440 --> 00:47:28,719
Speaker 2: street will be fired upon. And then of course we

957
00:47:28,760 --> 00:47:31,680
Speaker 2: see the truest sign of dystopia, which is a giant

958
00:47:31,719 --> 00:47:36,160
Speaker 2: digital billboard and says welcome to New York Thursday, November

959
00:47:36,160 --> 00:47:40,239
Speaker 2: twenty third, two thousand and nine. And then Amelio looks

960
00:47:40,280 --> 00:47:42,640
Speaker 2: at it and he's like what. And then there's this

961
00:47:42,760 --> 00:47:46,040
Speaker 2: great moment where he pulls out his like race ticket

962
00:47:46,200 --> 00:47:49,080
Speaker 2: from his I don't know, from driving earlier that day

963
00:47:49,320 --> 00:47:52,120
Speaker 2: to see the date and it says nineteen ninety one,

964
00:47:52,640 --> 00:47:54,960
Speaker 2: and it's like it's as if the movie is suggesting

965
00:47:54,960 --> 00:47:57,240
Speaker 2: that he was actually thinking, wait, was it two thousand

966
00:47:57,239 --> 00:47:59,160
Speaker 2: and nine earlier today? Better check?

967
00:48:00,120 --> 00:48:04,399
Speaker 1: Well, the movie implies, and at times expressly states that

968
00:48:04,400 --> 00:48:07,839
Speaker 1: that Emilio Westavez, his character, is not the sharpest knife

969
00:48:07,880 --> 00:48:11,200
Speaker 1: in the drawer, right. I think Anthony Hopkins character refers

970
00:48:11,200 --> 00:48:14,759
Speaker 1: to him as a dullard at one point. So yes, yeah,

971
00:48:14,800 --> 00:48:17,440
Speaker 1: he's uh yeah, he needs to check. He has to

972
00:48:17,440 --> 00:48:20,760
Speaker 1: double check to see what year it actually was earlier today.

973
00:48:21,800 --> 00:48:24,880
Speaker 2: So later we meet some corporate creeps. They're like in

974
00:48:24,920 --> 00:48:28,000
Speaker 2: a giant elevator that's going up millions of floors, in

975
00:48:28,000 --> 00:48:31,520
Speaker 2: a skyscraper that reaches up to the clouds. There they're

976
00:48:31,560 --> 00:48:34,680
Speaker 2: in this weird skyscraper that looks like a combination of

977
00:48:34,719 --> 00:48:38,279
Speaker 2: an office and a church. It's like the Cathedral of Business,

978
00:48:38,320 --> 00:48:43,040
Speaker 2: you know, the Basilica of Saint Dick Fold. And uh

979
00:48:43,719 --> 00:48:46,200
Speaker 2: so one of the suits is Jonathan Banks. Again, that's

980
00:48:46,320 --> 00:48:48,279
Speaker 2: Mike Irman Trout from Breaking Bad, who we were talking

981
00:48:48,320 --> 00:48:51,279
Speaker 2: about earlier. And here we get a bit of exposition dump.

982
00:48:51,360 --> 00:48:54,440
Speaker 2: They start explaining that they're they're trying to break the

983
00:48:54,520 --> 00:48:58,320
Speaker 2: bad news about the bone jack getting loose and becoming

984
00:48:58,320 --> 00:49:01,680
Speaker 2: a free jack to a guy who is wearing a

985
00:49:01,800 --> 00:49:06,040
Speaker 2: Ghost of Christmas Yet to come Hood and they're like, sorry, Gramps,

986
00:49:06,080 --> 00:49:10,000
Speaker 2: your bone Jack got away. And then they're they're explaining, actually,

987
00:49:10,040 --> 00:49:13,360
Speaker 2: we've got even worse news. The spiritual switchboard can only

988
00:49:13,400 --> 00:49:16,480
Speaker 2: hold you for another thirty six hours. Shouldn't you consider

989
00:49:16,520 --> 00:49:20,239
Speaker 2: an alternative body? And the guy in the Ghost of

990
00:49:20,320 --> 00:49:22,279
Speaker 2: Christmas Yet to Come Hood is like, I don't want

991
00:49:22,280 --> 00:49:25,520
Speaker 2: an alternative body. I want this one. And then there's

992
00:49:25,560 --> 00:49:30,360
Speaker 2: a reveal and it's hologram Emilio Estavez. And here I

993
00:49:30,360 --> 00:49:32,160
Speaker 2: think it starts to make sense that the first thing

994
00:49:32,160 --> 00:49:34,920
Speaker 2: we see in the movie is Emelio Estavez's butt, because

995
00:49:34,920 --> 00:49:38,680
Speaker 2: it seems like the quality of his body in particular,

996
00:49:38,719 --> 00:49:42,120
Speaker 2: I guess, including his butt compared to other future bodies

997
00:49:42,160 --> 00:49:44,960
Speaker 2: and butts, seems to be relevant to the plot, Like

998
00:49:45,080 --> 00:49:47,960
Speaker 2: only that butt will do I guess.

999
00:49:48,239 --> 00:49:50,560
Speaker 1: I wonder what if the other free Jack on hold

1000
00:49:50,560 --> 00:49:53,319
Speaker 1: they had Joe Estevez. Yeah, and they're they're like, come on,

1001
00:49:53,360 --> 00:49:56,280
Speaker 1: we got Joe s as ready to go enough. Yeah, Emilio,

1002
00:49:56,360 --> 00:49:58,600
Speaker 1: it has to be Emilio. I don't want Joe, I

1003
00:49:58,640 --> 00:50:01,319
Speaker 1: don't want Charlie. I don't I want Martin. It's got

1004
00:50:01,360 --> 00:50:02,440
Speaker 1: to be Amidia And.

1005
00:50:02,400 --> 00:50:04,840
Speaker 2: There's actually another reason for that that we'll get to later.

1006
00:50:05,440 --> 00:50:05,640
Speaker 1: Oh.

1007
00:50:05,680 --> 00:50:08,000
Speaker 2: But then we get a scene that's a meeting between

1008
00:50:08,080 --> 00:50:11,080
Speaker 2: Mick Jagger again, he's playing this this mercenary named Victor

1009
00:50:11,360 --> 00:50:14,719
Speaker 2: visindek with with Jonathan Banks. They like meet up to

1010
00:50:14,920 --> 00:50:15,720
Speaker 2: scheme together.

1011
00:50:16,320 --> 00:50:18,359
Speaker 1: Yeah. So two things about this scene. First of all,

1012
00:50:18,640 --> 00:50:21,319
Speaker 1: the office set is incredible in this This is one

1013
00:50:21,360 --> 00:50:24,759
Speaker 1: of several interior sets that are in this movie that

1014
00:50:24,800 --> 00:50:27,080
Speaker 1: are really cool, Like they just like they went crazy

1015
00:50:27,120 --> 00:50:29,759
Speaker 1: with art decorating it and like this one has like

1016
00:50:29,800 --> 00:50:34,319
Speaker 1: this crazy fractured redstone wall behind them, which is really good.

1017
00:50:34,400 --> 00:50:38,080
Speaker 1: I appreciate that. But then the actual scene, the actual

1018
00:50:38,680 --> 00:50:42,240
Speaker 1: energy between Mick Jagger and Jonathan Banks, it's just weird,

1019
00:50:42,760 --> 00:50:45,480
Speaker 1: like and it seems like the casting is so off.

1020
00:50:45,520 --> 00:50:48,200
Speaker 1: So Jonathan Banks here is playing like the sleazy boss

1021
00:50:48,239 --> 00:50:52,960
Speaker 1: who owns Faberge eggs. Yeah, and Jagger is playing like

1022
00:50:53,040 --> 00:50:55,720
Speaker 1: the you know, the the badass warrior with a code,

1023
00:50:55,960 --> 00:50:58,160
Speaker 1: and it just feels like it should be reverse. Like

1024
00:50:58,239 --> 00:51:02,120
Speaker 1: mc jagger is the type of guy who owns Faberge eggs.

1025
00:51:02,400 --> 00:51:06,200
Speaker 1: Jonathan Banks is your mercenary. You know, Jonathan Banks is

1026
00:51:06,239 --> 00:51:09,600
Speaker 1: great in this anyway, and like, Banks totally delivers. He

1027
00:51:09,640 --> 00:51:11,680
Speaker 1: knows what he's doing, so he's yeah, he's perfectly fine

1028
00:51:11,680 --> 00:51:14,400
Speaker 1: in this role. But it feels like you could just

1029
00:51:14,440 --> 00:51:16,200
Speaker 1: swap these two and you would have been a better place.

1030
00:51:16,560 --> 00:51:18,560
Speaker 2: I kind of agree with you there, Yeah, except that

1031
00:51:18,560 --> 00:51:21,240
Speaker 2: would have given us fewer chances to see Mick Jagger

1032
00:51:21,280 --> 00:51:22,640
Speaker 2: wearing the Spaceball's helmet.

1033
00:51:22,920 --> 00:51:25,520
Speaker 1: True, true, And I don't think it would have saved

1034
00:51:25,520 --> 00:51:28,160
Speaker 1: the picture in any way. But but yeah, this scene

1035
00:51:28,200 --> 00:51:31,040
Speaker 1: is pretty great in a dumb way. You got like

1036
00:51:31,600 --> 00:51:33,719
Speaker 1: basically saying like you were supposed to bone jack that guy,

1037
00:51:33,760 --> 00:51:35,439
Speaker 1: and it's like I tried. Now he's a free jack.

1038
00:51:35,640 --> 00:51:37,480
Speaker 1: You're off the case. No, I'm still going to bone

1039
00:51:37,560 --> 00:51:41,560
Speaker 1: jack that guy. I always bone my jack. Basically.

1040
00:51:42,400 --> 00:51:44,759
Speaker 2: Yep, that's pretty much it. He tries to fire him,

1041
00:51:45,280 --> 00:51:49,839
Speaker 2: and Mick Jagger's like, no, you can't fire me, you know, yeah,

1042
00:51:50,400 --> 00:51:54,560
Speaker 2: I'll get that meat. A funny thing, Rachel was watching

1043
00:51:54,600 --> 00:51:56,520
Speaker 2: parts of this with me, and she pointed out that

1044
00:51:56,600 --> 00:51:59,920
Speaker 2: Mick Jagger's delivery in these scenes is very late season

1045
00:52:00,120 --> 00:52:01,600
Speaker 2: Sir c lanister.

1046
00:52:01,680 --> 00:52:02,600
Speaker 1: Oh, what what do you mean?

1047
00:52:02,880 --> 00:52:05,759
Speaker 2: Just the kind of like vindictive cold frown and a

1048
00:52:05,880 --> 00:52:08,480
Speaker 2: similar delivery. And I don't know. I mean I saw

1049
00:52:08,520 --> 00:52:09,279
Speaker 2: it when she said it.

1050
00:52:09,600 --> 00:52:13,680
Speaker 1: No, no, no, I could I could get that. Yeah, yeah, yeah,

1051
00:52:14,040 --> 00:52:16,480
Speaker 1: but this is gonna be one of the ultimate like

1052
00:52:16,520 --> 00:52:20,160
Speaker 1: weird things about Jagger's performance is that what he gives

1053
00:52:20,239 --> 00:52:22,440
Speaker 1: us here in this scene is not what we get

1054
00:52:22,480 --> 00:52:26,000
Speaker 1: later on. Like his his performance is just all over

1055
00:52:26,040 --> 00:52:28,960
Speaker 1: the place, Like he's a cold professional in one scene

1056
00:52:29,000 --> 00:52:31,040
Speaker 1: and then he'll be something completely different in another.

1057
00:52:31,280 --> 00:52:32,960
Speaker 2: Yeah, I can't wait to talk about the scene where

1058
00:52:32,960 --> 00:52:35,799
Speaker 2: he's like doing hacker tricks on a car on a

1059
00:52:35,840 --> 00:52:36,960
Speaker 2: wine delivery truck.

1060
00:52:37,239 --> 00:52:39,040
Speaker 1: Yeah, he becomes the Riddler out of out of the

1061
00:52:39,400 --> 00:52:39,719
Speaker 1: later on.

1062
00:52:39,920 --> 00:52:44,640
Speaker 2: Yeah. Anyway, Alex ends up taking refuge in a church,

1063
00:52:44,800 --> 00:52:46,680
Speaker 2: sleeps on the floor in front of the altar, is

1064
00:52:46,719 --> 00:52:49,880
Speaker 2: ambushed by Amanda Plumber in the form of Sister Shotgun.

1065
00:52:50,000 --> 00:52:53,480
Speaker 2: She pulls a shotgun on him and and they meet.

1066
00:52:53,520 --> 00:52:55,600
Speaker 2: They talk about things. She is shocked to learn that

1067
00:52:55,640 --> 00:52:59,520
Speaker 2: he's a free jack. They argue about this, like she yeah,

1068
00:52:59,560 --> 00:53:02,000
Speaker 2: she seemed skeptical that he's a free jack, And then

1069
00:53:02,040 --> 00:53:05,080
Speaker 2: he explains things to her and she eventually ends up

1070
00:53:05,080 --> 00:53:08,120
Speaker 2: trying to help him, like she's she explains the whole

1071
00:53:08,160 --> 00:53:11,360
Speaker 2: bone jacking premise. We also get like more exposition dump

1072
00:53:11,440 --> 00:53:14,600
Speaker 2: from from her and he's like, what, so they were

1073
00:53:14,640 --> 00:53:17,319
Speaker 2: gonna do a brain transplant on me? And she goes, no,

1074
00:53:17,719 --> 00:53:22,239
Speaker 2: a mind transplant. So this movie is firmly dualistic, yep.

1075
00:53:22,600 --> 00:53:25,440
Speaker 2: And then she helps him find the address of somebody

1076
00:53:25,520 --> 00:53:27,759
Speaker 2: who knows so she sends she arms him with a

1077
00:53:27,800 --> 00:53:31,160
Speaker 2: gun and sends him off to meet somebody. But then

1078
00:53:31,360 --> 00:53:33,520
Speaker 2: we should come back to the whole time. We're also

1079
00:53:33,719 --> 00:53:36,719
Speaker 2: cutting between Emilio Estevez and Mick Jagger, and there's like

1080
00:53:36,760 --> 00:53:39,279
Speaker 2: a great scene with Mick Jagger hanging out at his

1081
00:53:39,360 --> 00:53:40,920
Speaker 2: apartment with his buddy.

1082
00:53:41,440 --> 00:53:44,440
Speaker 1: Yeah, yeah, his buddy Ripper. And this is another great

1083
00:53:44,480 --> 00:53:48,720
Speaker 1: interior set with like really strange art on the walls

1084
00:53:48,800 --> 00:53:51,879
Speaker 1: and it looks lived in, like it was really well done.

1085
00:53:52,040 --> 00:53:56,200
Speaker 2: Yeah, there's a red couch backlit white walls with masks

1086
00:53:56,239 --> 00:54:00,720
Speaker 2: all over them, like a strange rectangular clock, a mountain revolver,

1087
00:54:00,880 --> 00:54:02,839
Speaker 2: and cutouts from pin up magazines.

1088
00:54:03,239 --> 00:54:06,640
Speaker 1: Yeah, yeah, it's strange. I didn't know how to take you.

1089
00:54:06,640 --> 00:54:09,520
Speaker 1: And I also couldn't tell if like Ripper and Jagger's

1090
00:54:09,600 --> 00:54:11,520
Speaker 1: character was supposed to be like, like, are they do

1091
00:54:11,600 --> 00:54:14,120
Speaker 1: they live together here? You know, like I was expecting

1092
00:54:14,360 --> 00:54:17,319
Speaker 1: like some more development there and then we didn't get it.

1093
00:54:17,320 --> 00:54:19,160
Speaker 1: So I guess maybe they don't. They just work together,

1094
00:54:19,680 --> 00:54:21,719
Speaker 1: but because then they just talk about the business of

1095
00:54:21,760 --> 00:54:22,680
Speaker 1: bone jacking.

1096
00:54:22,520 --> 00:54:25,919
Speaker 2: Right exactly. Ripper is played by Issi Morales Junior, who

1097
00:54:25,960 --> 00:54:28,880
Speaker 2: and he's the hacker who was wearing sunglasses inside earlier.

1098
00:54:30,040 --> 00:54:32,239
Speaker 2: Oh and we find out Mick Jagger has a lie

1099
00:54:32,280 --> 00:54:35,480
Speaker 2: detector computer that he tests out on Ripper. And then

1100
00:54:35,600 --> 00:54:38,080
Speaker 2: I don't recall this ever being used in the film. Again,

1101
00:54:38,160 --> 00:54:40,799
Speaker 2: it's being set up as if it's like Chekhov's lie

1102
00:54:40,880 --> 00:54:43,960
Speaker 2: detector machine. Did you did this ever come up?

1103
00:54:43,960 --> 00:54:44,240
Speaker 5: Again?

1104
00:54:44,719 --> 00:54:47,480
Speaker 1: No, I don't think it did. Another case of kind

1105
00:54:47,480 --> 00:54:48,640
Speaker 1: of wasted space.

1106
00:54:48,400 --> 00:54:52,080
Speaker 2: Totally pointless. Yeah. Yeah, But then the next thing is

1107
00:54:52,120 --> 00:54:55,600
Speaker 2: really while while Emilio Estevez is traveling to meet his

1108
00:54:55,640 --> 00:54:59,919
Speaker 2: old manager, Brad, the New York Dolls guy he won

1109
00:55:00,360 --> 00:55:02,560
Speaker 2: through two thousand and nine New York City, and this

1110
00:55:02,760 --> 00:55:04,200
Speaker 2: is this is trying to give us some of the

1111
00:55:04,200 --> 00:55:05,440
Speaker 2: texture of the future.

1112
00:55:05,960 --> 00:55:08,600
Speaker 1: Yeah, and it's just your basic eighties Hell City take

1113
00:55:08,640 --> 00:55:11,200
Speaker 1: on New York City with the sex clubs is a

1114
00:55:11,239 --> 00:55:14,160
Speaker 1: weird future car transporting chicken cages across town.

1115
00:55:14,160 --> 00:55:17,320
Speaker 2: Oh yeah, I like that, But it's also like cheesy

1116
00:55:17,400 --> 00:55:20,160
Speaker 2: medieval movies like you know, Braveheart or something, and that

1117
00:55:20,280 --> 00:55:23,360
Speaker 2: anybody who's not a CEO just has dirt smeared on

1118
00:55:23,400 --> 00:55:23,920
Speaker 2: their face.

1119
00:55:24,400 --> 00:55:26,960
Speaker 1: Yep, yep. And then of course we get a street gang,

1120
00:55:27,080 --> 00:55:31,439
Speaker 1: like a Warrior's Escape from from New York s Street gang,

1121
00:55:31,480 --> 00:55:35,560
Speaker 1: and it's it's super confusing too, because the gang we

1122
00:55:35,600 --> 00:55:39,359
Speaker 1: see like, there's this this this African American gentleman, and

1123
00:55:39,400 --> 00:55:42,560
Speaker 1: he has a helmet on that has both a Confederate

1124
00:55:42,600 --> 00:55:46,839
Speaker 1: flag and a swastika. They just like threw everything at

1125
00:55:46,880 --> 00:55:50,160
Speaker 1: the helmet and I have no idea what these guys are,

1126
00:55:50,200 --> 00:55:52,040
Speaker 1: what their deal is, except they like to shoot guns

1127
00:55:52,040 --> 00:55:52,480
Speaker 1: in the street.

1128
00:55:52,560 --> 00:55:54,440
Speaker 2: I don't think it makes any sense. It's sort of

1129
00:55:54,480 --> 00:55:57,839
Speaker 2: an unspoken convention of dystopian hell city sci fi that

1130
00:55:58,160 --> 00:56:01,080
Speaker 2: the people of the future use the political symbols of

1131
00:56:01,120 --> 00:56:04,440
Speaker 2: the past with no particular meaning or coherence, which, in

1132
00:56:04,480 --> 00:56:07,120
Speaker 2: a way I think about it, that's I think the

1133
00:56:07,200 --> 00:56:10,320
Speaker 2: current kind of true. Over time people just use symbols

1134
00:56:10,320 --> 00:56:13,040
Speaker 2: of the past with clearly without understanding what they mean

1135
00:56:13,080 --> 00:56:13,399
Speaker 2: at all.

1136
00:56:14,680 --> 00:56:17,399
Speaker 1: But ultimately these this is this is just action. He's

1137
00:56:17,440 --> 00:56:19,480
Speaker 1: moving through anyway to get from point A to point B.

1138
00:56:19,920 --> 00:56:23,400
Speaker 2: Right. So Alex meets up with Brad, and Brad's like, oh, wow,

1139
00:56:23,520 --> 00:56:25,880
Speaker 2: you're a bone jack or I mean, you're a free jacket.

1140
00:56:26,120 --> 00:56:29,200
Speaker 2: So they're hanging out, and I love how they're in

1141
00:56:29,320 --> 00:56:32,800
Speaker 2: Brad's apartment and people. You just hear people constantly getting

1142
00:56:32,840 --> 00:56:36,480
Speaker 2: shot and screaming outside the window. Sounds like the future.

1143
00:56:36,600 --> 00:56:40,480
Speaker 2: The wars out in the streets never stop. Yeah, And

1144
00:56:40,520 --> 00:56:43,239
Speaker 2: Emilio Estevez is like, well, why me, Why why do

1145
00:56:43,320 --> 00:56:45,799
Speaker 2: they need my bones? Why am I the bone jack?

1146
00:56:45,800 --> 00:56:47,800
Speaker 2: Why can't they just take somebody else's body?

1147
00:56:48,280 --> 00:56:50,920
Speaker 1: And oh yeah, because that's a great point that you

1148
00:56:50,960 --> 00:56:53,200
Speaker 1: don't think about until this point exactly.

1149
00:56:54,080 --> 00:56:57,600
Speaker 2: And Brad's like, well, the answer is obvious. You're clean.

1150
00:56:57,719 --> 00:57:00,680
Speaker 2: You're from the past, so you haven't been exposed to

1151
00:57:00,760 --> 00:57:03,560
Speaker 2: all of the pollution and drugs that have ruined everybody

1152
00:57:03,560 --> 00:57:07,160
Speaker 2: else's body in the future. Plus everybody who's alive today

1153
00:57:07,160 --> 00:57:09,680
Speaker 2: has been living for years without an ozone layer.

1154
00:57:09,640 --> 00:57:11,839
Speaker 1: So yeah, the ozone layer is gone. So this makes

1155
00:57:11,880 --> 00:57:14,680
Speaker 1: me wonder is this part of the pre Highlander two chronology?

1156
00:57:14,920 --> 00:57:17,640
Speaker 1: Oh yeah, because it's set in what twenty twenty four,

1157
00:57:18,240 --> 00:57:19,560
Speaker 1: So I think you could line up.

1158
00:57:19,600 --> 00:57:21,800
Speaker 2: This movie has a lot in common with Highlander two.

1159
00:57:21,920 --> 00:57:25,280
Speaker 1: Actually, yeah, not as good, not as good as that is.

1160
00:57:25,320 --> 00:57:29,880
Speaker 2: Good. Well, I would say, actually it's better than Highlander two,

1161
00:57:29,960 --> 00:57:31,680
Speaker 2: but Highlander two is better to watch.

1162
00:57:32,120 --> 00:57:34,440
Speaker 1: Yeah, well, I don't know. I think I would say

1163
00:57:34,440 --> 00:57:35,800
Speaker 1: it's better than Highlander two.

1164
00:57:35,880 --> 00:57:38,160
Speaker 2: But you mean you'll say Highlander two is better.

1165
00:57:38,320 --> 00:57:40,960
Speaker 1: Highland two is a better film, okay, and also a

1166
00:57:40,960 --> 00:57:45,120
Speaker 1: better viewing experience. But then anyway, it's still fun.

1167
00:57:45,160 --> 00:57:46,720
Speaker 2: It's so.

1168
00:57:46,880 --> 00:57:49,240
Speaker 1: Yeah, we continue moving through the city here, even more

1169
00:57:49,360 --> 00:57:53,120
Speaker 1: dystopia cyberpunk tropes are rolled out. You know, big business

1170
00:57:53,120 --> 00:57:59,560
Speaker 1: controls everything. Japanese businesses have this superiority, environmental disaster, future drugs,

1171
00:57:59,560 --> 00:58:02,919
Speaker 1: bodies for sale, immortality for the rich. It's just checking

1172
00:58:02,960 --> 00:58:03,760
Speaker 1: off all the boxes.

1173
00:58:03,800 --> 00:58:06,960
Speaker 2: It's all there. Yeah, And like every other sci fi

1174
00:58:07,040 --> 00:58:09,480
Speaker 2: movie from the late eighties and early nineties, it assumes

1175
00:58:09,520 --> 00:58:12,800
Speaker 2: that Japanese corporations are soon to take over the United States.

1176
00:58:12,880 --> 00:58:13,600
Speaker 1: Yeah everything.

1177
00:58:13,680 --> 00:58:18,120
Speaker 2: Yeah, and so the Japanese business panic is which actually

1178
00:58:18,200 --> 00:58:20,000
Speaker 2: was in Diehard too, I seen, oh.

1179
00:58:19,920 --> 00:58:20,760
Speaker 1: Yeah, was it? Okay.

1180
00:58:21,080 --> 00:58:24,560
Speaker 2: It's a pervasive assumption of the movies of the time, you.

1181
00:58:24,520 --> 00:58:28,120
Speaker 1: Know, speaking of cyberpunk, I've been playing the Cyberpunk twenty

1182
00:58:28,160 --> 00:58:31,280
Speaker 1: seventy seven game. Oh really, Yeah, And that's one of

1183
00:58:31,320 --> 00:58:34,160
Speaker 1: the interesting things to engage in with it is to

1184
00:58:34,280 --> 00:58:37,440
Speaker 1: think about, like, this is a very it's a very

1185
00:58:37,480 --> 00:58:40,919
Speaker 1: nineteen eighties vision of the future that really doesn't match

1186
00:58:41,000 --> 00:58:43,720
Speaker 1: up in many ways with sort of modern sensibilities and all.

1187
00:58:43,760 --> 00:58:45,640
Speaker 1: And yeah, you have all that stuff like the like

1188
00:58:45,760 --> 00:58:48,959
Speaker 1: Japanese business panic that are a part of it, and yeah,

1189
00:58:49,000 --> 00:58:50,880
Speaker 1: it's it's it's weird to think about.

1190
00:58:51,120 --> 00:58:53,680
Speaker 2: Well, that panic plays into the first scene where we

1191
00:58:53,720 --> 00:58:55,880
Speaker 2: meet Renee Russo of two thousand and nine, who I

1192
00:58:55,920 --> 00:58:59,040
Speaker 2: will say looks exactly the same as she did in

1193
00:58:59,120 --> 00:59:01,280
Speaker 2: nineteen ninety one. He literally does not look like she

1194
00:59:01,360 --> 00:59:03,760
Speaker 2: has aged a day, So I guess maybe she has

1195
00:59:03,800 --> 00:59:06,880
Speaker 2: not been exposed to the sky without ozone or something

1196
00:59:07,160 --> 00:59:10,600
Speaker 2: that's ruined everybody else his body in the future. But

1197
00:59:10,640 --> 00:59:14,040
Speaker 2: she is now a high powered executive at this corporation

1198
00:59:14,200 --> 00:59:17,600
Speaker 2: called McCandless, which is the biggest, most powerful corporation in

1199
00:59:17,640 --> 00:59:21,720
Speaker 2: the world, and she is colleagues with Jonathan Banks, with

1200
00:59:22,040 --> 00:59:25,040
Speaker 2: this guy Michellet, and Renee Russo is doing some top

1201
00:59:25,120 --> 00:59:29,720
Speaker 2: level negotiation in Japanese with these representatives from a Japanese

1202
00:59:29,800 --> 00:59:33,240
Speaker 2: corporation and the executives across the table. Eventually, after they

1203
00:59:33,280 --> 00:59:39,520
Speaker 2: negotiate their like the mineral rights are yours and the

1204
00:59:39,560 --> 00:59:43,800
Speaker 2: CEO of the McCandless Corporation is Ian McCandless, played by

1205
00:59:43,840 --> 00:59:47,360
Speaker 2: Anthony Hopkins, and he video calls Renee Russo he's like,

1206
00:59:47,440 --> 00:59:51,080
Speaker 2: congratulations on business, now do more business now.

1207
00:59:51,200 --> 00:59:54,600
Speaker 1: I don't recall, do we know McCandless is actually dead

1208
00:59:54,640 --> 00:59:58,080
Speaker 1: and that he's the patron looking to get inside his

1209
00:59:58,120 --> 00:59:58,880
Speaker 1: bone Jack body.

1210
00:59:58,960 --> 01:00:02,200
Speaker 2: So technically no, that is a real spoiler that is

1211
01:00:02,240 --> 01:00:04,920
Speaker 2: revealed at the end of the movie that the person

1212
01:00:05,080 --> 01:00:10,200
Speaker 2: looking for Emilio Estevez's bone Jack body is actually Anthony Hopkins.

1213
01:00:10,200 --> 01:00:13,120
Speaker 2: But you are not supposed to know it at this point.

1214
01:00:13,120 --> 01:00:15,960
Speaker 2: You're supposed to think he's still alive and just communicating

1215
01:00:15,960 --> 01:00:19,640
Speaker 2: with her through video phone calls. But no, it's absolutely obvious.

1216
01:00:19,680 --> 01:00:22,280
Speaker 2: I had never seen the movie before and I was like, Okay,

1217
01:00:22,560 --> 01:00:26,080
Speaker 2: Anthony Hopkins is the person who needs the Stavez body.

1218
01:00:26,280 --> 01:00:28,640
Speaker 1: Okay. See, I couldn't remember if like the trailer spoiled

1219
01:00:28,680 --> 01:00:31,560
Speaker 1: it for me or marketing material back in the early nineties.

1220
01:00:31,560 --> 01:00:33,480
Speaker 1: But I feel like I always knew, like there was

1221
01:00:33,560 --> 01:00:35,160
Speaker 1: never a twist here for me.

1222
01:00:35,400 --> 01:00:45,880
Speaker 5: Yeah, it's it's a thousand percent obvious.

1223
01:00:46,680 --> 01:00:49,120
Speaker 2: So then you're back to Brad and Alex walking around.

1224
01:00:49,160 --> 01:00:51,880
Speaker 2: They're trying to find Renee Russo. Brad's trying to help

1225
01:00:51,960 --> 01:00:54,280
Speaker 2: him find her because it's like, oh, once you know

1226
01:00:54,400 --> 01:00:57,600
Speaker 2: she sees you, she'll she'll help you. And so Brad

1227
01:00:57,640 --> 01:01:02,080
Speaker 2: takes Alex to a diner where for some reason, people

1228
01:01:02,120 --> 01:01:06,480
Speaker 2: start pointing guns at each other. And then you find

1229
01:01:06,480 --> 01:01:10,160
Speaker 2: out it's a double cross because Brad told told Alex

1230
01:01:10,200 --> 01:01:11,920
Speaker 2: that he was gonna help him fire the Renee Russo,

1231
01:01:12,040 --> 01:01:14,400
Speaker 2: but instead he just calls up the police to collect

1232
01:01:14,400 --> 01:01:15,680
Speaker 2: the bounty on his old friend.

1233
01:01:16,280 --> 01:01:18,360
Speaker 1: Yeah, and again, this is a whole section of the

1234
01:01:18,360 --> 01:01:20,160
Speaker 1: movie that takes way longer than it needs to.

1235
01:01:20,320 --> 01:01:23,520
Speaker 2: Yes, and this turns into a car chase Emelio Estevez

1236
01:01:23,600 --> 01:01:27,640
Speaker 2: driving a police motorcycle around, driving through restaurant kitchens. I

1237
01:01:27,680 --> 01:01:31,360
Speaker 2: see some familiar Atlanta streets in the scene, and eventually

1238
01:01:31,400 --> 01:01:35,000
Speaker 2: Alex like crashes through a checkpoint and we get to

1239
01:01:35,040 --> 01:01:37,480
Speaker 2: see some of the roads and stuff. But he's going

1240
01:01:37,600 --> 01:01:39,760
Speaker 2: to Renee Russo's apartment.

1241
01:01:40,200 --> 01:01:42,120
Speaker 1: I have to say, I like they have a mix,

1242
01:01:42,400 --> 01:01:45,640
Speaker 1: an appropriate mix of some old looking conventional cars, but

1243
01:01:45,680 --> 01:01:49,080
Speaker 1: then also some snazzy future cars. Not flying cars, road

1244
01:01:49,080 --> 01:01:51,000
Speaker 1: based cars, but futuristic in appearance.

1245
01:01:51,120 --> 01:01:53,520
Speaker 2: Most of the cars, or at least the nice looking

1246
01:01:53,560 --> 01:01:55,520
Speaker 2: cars in the future, are covered by some kind of

1247
01:01:55,640 --> 01:01:57,920
Speaker 2: single piece fiberglass carapace.

1248
01:01:58,560 --> 01:02:01,440
Speaker 1: Yeah, which seems like a good solution. You know, you

1249
01:02:01,440 --> 01:02:04,640
Speaker 1: don't have to completely redesign your space cars from the

1250
01:02:04,640 --> 01:02:07,160
Speaker 1: ground up. Just get some sort of sleek body to

1251
01:02:07,240 --> 01:02:09,560
Speaker 1: put on top of it, and you know, it ends

1252
01:02:09,640 --> 01:02:10,400
Speaker 1: up looking pretty good.

1253
01:02:10,440 --> 01:02:12,720
Speaker 2: It's just a Honda Civic with a big one piece

1254
01:02:12,920 --> 01:02:13,800
Speaker 2: top on it. Yeah.

1255
01:02:13,880 --> 01:02:15,680
Speaker 1: Yeah, they're essentially parade floats, right.

1256
01:02:16,360 --> 01:02:18,920
Speaker 2: Also, the horses and carriages in the future, there's lots

1257
01:02:18,960 --> 01:02:20,640
Speaker 2: of horses and carriages all over the place.

1258
01:02:20,960 --> 01:02:22,640
Speaker 1: Huh okay, yeah, I forgot about that.

1259
01:02:23,520 --> 01:02:26,960
Speaker 2: But Alex goes to Julie's apartment, Julia's renee Russo he

1260
01:02:27,000 --> 01:02:29,760
Speaker 2: breaks in. He's like, hey, I'm here. I got bone jacked,

1261
01:02:29,840 --> 01:02:31,640
Speaker 2: you know, but now I'm a free jack. And they argue,

1262
01:02:31,680 --> 01:02:35,000
Speaker 2: let's pick up exactly where we left. Yeah. Yeah, So,

1263
01:02:35,280 --> 01:02:37,680
Speaker 2: I don't know, seventeen years or something have passed for

1264
01:02:37,720 --> 01:02:40,240
Speaker 2: her it's been I haven't done the math, right whatever.

1265
01:02:40,280 --> 01:02:43,040
Speaker 2: Some number of years have passed, and he's just like, hey,

1266
01:02:43,080 --> 01:02:45,439
Speaker 2: you know, how are things and she's she freaks out.

1267
01:02:45,720 --> 01:02:48,600
Speaker 2: She doesn't think it's really him. She thinks that somebody

1268
01:02:48,640 --> 01:02:51,520
Speaker 2: else has bonejacked his body and is now trying to

1269
01:02:51,560 --> 01:02:52,080
Speaker 2: trick her.

1270
01:02:52,800 --> 01:02:55,760
Speaker 1: I want to see a remake where the Renee Russo

1271
01:02:55,920 --> 01:02:58,360
Speaker 1: character is totally not into this and she's like talking

1272
01:02:58,360 --> 01:03:01,560
Speaker 1: to her husband or partner and he's like, yeah, God,

1273
01:03:01,600 --> 01:03:05,400
Speaker 1: my ex boyfriend from seventeen years ago turns out he's

1274
01:03:05,440 --> 01:03:08,720
Speaker 1: a free jack. Won't leave me alone. I've told him

1275
01:03:08,800 --> 01:03:11,720
Speaker 1: like that was seventeen years ago. Like, life moves on.

1276
01:03:11,800 --> 01:03:14,240
Speaker 1: I'm sorry you went through this, but I cannot help you.

1277
01:03:14,480 --> 01:03:17,360
Speaker 2: Right, I've got the end of it. I'm an executive

1278
01:03:17,360 --> 01:03:19,120
Speaker 2: at McCandleis. I don't have time for this.

1279
01:03:19,640 --> 01:03:22,840
Speaker 1: Yeah like you, Yeah, you were a mistake seventeen years ago,

1280
01:03:22,880 --> 01:03:24,360
Speaker 1: and I really am not about to pick that same

1281
01:03:24,400 --> 01:03:26,800
Speaker 1: mistake up and run through the streets with it.

1282
01:03:26,960 --> 01:03:29,200
Speaker 2: That would have been an amazing direction, but no. Instead,

1283
01:03:29,240 --> 01:03:32,080
Speaker 2: she's just like single and at first she's skeptical, but

1284
01:03:32,120 --> 01:03:34,520
Speaker 2: you know what's gonna happen. Come on, Yeah, and then

1285
01:03:34,640 --> 01:03:37,720
Speaker 2: this turns into a car chase. Mick Jagger like finds

1286
01:03:37,920 --> 01:03:42,040
Speaker 2: Emelia Estevez at her apartment and then he starts chasing

1287
01:03:42,120 --> 01:03:45,440
Speaker 2: him down in this red land boat that is just hilarious.

1288
01:03:45,880 --> 01:03:49,000
Speaker 2: But Alex hijacks a truck full I think it's like

1289
01:03:49,040 --> 01:03:52,120
Speaker 2: a wine bottle delivery truck. It's full of these neon

1290
01:03:52,240 --> 01:03:55,240
Speaker 2: green bottles of wine. So they do a car chase

1291
01:03:55,280 --> 01:03:58,520
Speaker 2: around we see a Marta station and then there's one

1292
01:03:58,600 --> 01:04:00,480
Speaker 2: of my favorite parts of the movie that was really

1293
01:04:00,520 --> 01:04:03,080
Speaker 2: funny was when I have to.

1294
01:04:03,040 --> 01:04:04,680
Speaker 1: Say, real quick though, I have to say about that

1295
01:04:04,720 --> 01:04:09,560
Speaker 1: wine vehicle. Yeah, I'm watching it this time. I instantly

1296
01:04:09,600 --> 01:04:15,520
Speaker 1: thought of Amy Sedaris's regional wine lady Ronnie Vino from

1297
01:04:15,520 --> 01:04:17,800
Speaker 1: her television series At Home with Amy Siderius. And I

1298
01:04:17,840 --> 01:04:21,360
Speaker 1: don't know what she drives. She's this hilarious character that

1299
01:04:21,440 --> 01:04:24,520
Speaker 1: goes door to door selling wines. But like, this has

1300
01:04:24,600 --> 01:04:28,160
Speaker 1: to be Ronnie Vino's vehicle. It is stolen here.

1301
01:04:28,200 --> 01:04:30,880
Speaker 2: Well I have to check that out. But anyway, I

1302
01:04:30,920 --> 01:04:33,360
Speaker 2: thought the scene was funny for multiple reasons. Number one

1303
01:04:33,400 --> 01:04:36,600
Speaker 2: is that, yeah, I understand Alex. Forlong our protagonist is

1304
01:04:36,600 --> 01:04:38,880
Speaker 2: supposed to be a race car driver, so it makes

1305
01:04:38,880 --> 01:04:41,520
Speaker 2: sense that he would have some skills at evading these

1306
01:04:41,600 --> 01:04:44,760
Speaker 2: mercenaries no matter what he was driving, But still it

1307
01:04:44,760 --> 01:04:49,040
Speaker 2: seems implausible. He's just fully out maneuvering a fleet of

1308
01:04:49,480 --> 01:04:53,600
Speaker 2: police interceptor vehicles and these like mercenary motorcycles and stuff

1309
01:04:53,840 --> 01:04:56,840
Speaker 2: in a delivery truck for like full of you know,

1310
01:04:57,000 --> 01:04:58,520
Speaker 2: Neon Green Pole mass On.

1311
01:04:59,000 --> 01:04:59,600
Speaker 1: Yeah.

1312
01:05:00,080 --> 01:05:03,080
Speaker 2: Oh, and it's got a laptop inside the cab where

1313
01:05:03,080 --> 01:05:06,560
Speaker 2: he's driving that Mick Jagger keeps coming on, like popping

1314
01:05:06,640 --> 01:05:09,160
Speaker 2: up on the screen on the laptop and harassing him

1315
01:05:09,160 --> 01:05:11,520
Speaker 2: while he's driving and saying like, you can't get rid

1316
01:05:11,600 --> 01:05:14,080
Speaker 2: of me that easily, And he'll try to close the

1317
01:05:14,160 --> 01:05:17,680
Speaker 2: laptop and then it'll just open up automatically and Mick

1318
01:05:17,760 --> 01:05:19,680
Speaker 2: Jaggery jaggers and laughing at him.

1319
01:05:19,760 --> 01:05:22,520
Speaker 1: Yeah again he suddenly his character is suddenly the Riddler

1320
01:05:22,680 --> 01:05:24,880
Speaker 1: or something. You know, it's like a complete shift from

1321
01:05:24,920 --> 01:05:25,720
Speaker 1: what it was earlier.

1322
01:05:25,960 --> 01:05:28,200
Speaker 2: And the mercenaries who worked for Mick Jagger, they're all

1323
01:05:28,240 --> 01:05:32,520
Speaker 2: dressed like spaceballs once again. Eventually, Furlong escapes this scene

1324
01:05:32,520 --> 01:05:35,120
Speaker 2: by jumping off of a bridge into water from a

1325
01:05:35,160 --> 01:05:38,160
Speaker 2: height that would absolutely have killed him. He drifts down

1326
01:05:38,160 --> 01:05:40,400
Speaker 2: the river, I guess, and he ends up. He ends

1327
01:05:40,480 --> 01:05:43,200
Speaker 2: up washing up on a dock somewhere and he meets

1328
01:05:43,240 --> 01:05:46,840
Speaker 2: Frankie Faison, who we mentioned earlier, who's just hanging out

1329
01:05:46,840 --> 01:05:49,560
Speaker 2: at a dock next to all this toxic water and

1330
01:05:49,680 --> 01:05:52,600
Speaker 2: he's eating something. He tries to share his food, I think,

1331
01:05:52,680 --> 01:05:55,120
Speaker 2: but he's like, yeah, this is a sauteed river rat.

1332
01:05:55,560 --> 01:05:58,120
Speaker 2: And then they have a fantastic conversation about the best

1333
01:05:58,120 --> 01:06:00,880
Speaker 2: way to cook river rats. And then this goes into

1334
01:06:00,880 --> 01:06:04,480
Speaker 2: this monologue about an eagle that really doesn't make any sense,

1335
01:06:04,520 --> 01:06:06,800
Speaker 2: but I would say acting prize for the movie goes

1336
01:06:06,800 --> 01:06:07,680
Speaker 2: to Frankie Faison.

1337
01:06:08,200 --> 01:06:10,920
Speaker 1: Well, and it works too, because the kind of monologue

1338
01:06:10,960 --> 01:06:14,320
Speaker 1: you'd expect to get from like a crazy person, you know,

1339
01:06:14,320 --> 01:06:17,640
Speaker 1: that lives under a bridge in the in a dystopian future,

1340
01:06:17,960 --> 01:06:21,000
Speaker 1: Like it shouldn't make sense. It should it should have

1341
01:06:21,080 --> 01:06:23,280
Speaker 1: this sort of raw energy to it that's kind of

1342
01:06:23,360 --> 01:06:27,760
Speaker 1: muddled by strange thinking, and it totally shines through. It's

1343
01:06:27,840 --> 01:06:29,480
Speaker 1: it is the best scene in the whole picture.

1344
01:06:29,520 --> 01:06:32,440
Speaker 2: It's like simultaneously incoherent and wise.

1345
01:06:32,960 --> 01:06:35,920
Speaker 1: Yes, yeah, And in that very sagely you're like, I

1346
01:06:35,960 --> 01:06:38,240
Speaker 1: don't know what he just said, but I think it

1347
01:06:38,280 --> 01:06:41,120
Speaker 1: was really important, and I will I will buy him.

1348
01:06:41,120 --> 01:06:43,800
Speaker 1: It's the same trick that shaman throughout history have used,

1349
01:06:44,160 --> 01:06:45,760
Speaker 1: and Eagle Guy has no exception.

1350
01:06:45,920 --> 01:06:49,720
Speaker 2: Yeah, but anyway, so we come back to Renee Russo

1351
01:06:49,840 --> 01:06:54,360
Speaker 2: and her colleague Boone, who again this is Grandel Bush.

1352
01:06:54,720 --> 01:06:58,560
Speaker 2: They go looking for Alex and the slums and they

1353
01:06:58,600 --> 01:07:00,600
Speaker 2: sort of make up, right Rene, So it's like if

1354
01:07:00,640 --> 01:07:04,640
Speaker 2: I'd known it was really you, and so they're happy

1355
01:07:04,760 --> 01:07:08,200
Speaker 2: now again together. She believes it's really him and she's

1356
01:07:08,240 --> 01:07:10,240
Speaker 2: going to help him free Jack. She's going to help

1357
01:07:10,280 --> 01:07:14,440
Speaker 2: him escape somehow, and her plan is, oh, and they

1358
01:07:14,520 --> 01:07:17,080
Speaker 2: see a digital billboard that's like, oh, the bounty on

1359
01:07:17,200 --> 01:07:21,560
Speaker 2: him is now ten million dollars. But the plan is

1360
01:07:21,600 --> 01:07:23,480
Speaker 2: that she's going to meet up with a fancy friend

1361
01:07:23,480 --> 01:07:26,680
Speaker 2: of hers named Morgan at the most slicely canteena of

1362
01:07:26,720 --> 01:07:29,360
Speaker 2: two thousand and nine New York. It's like, you know

1363
01:07:29,560 --> 01:07:32,640
Speaker 2: very much. New York's hottest club is free Jack. And

1364
01:07:32,680 --> 01:07:35,000
Speaker 2: so they go there and she's going to go meet

1365
01:07:35,040 --> 01:07:37,960
Speaker 2: her friend who apparently helps people escape. I don't know

1366
01:07:38,000 --> 01:07:40,720
Speaker 2: why she knows a guy who just helps Free Jack's escape,

1367
01:07:40,760 --> 01:07:44,880
Speaker 2: but she does. And meanwhile, Emilio Estevez is just sitting

1368
01:07:44,920 --> 01:07:47,440
Speaker 2: by himself at the bar. He drinks something that the

1369
01:07:47,480 --> 01:07:50,360
Speaker 2: bartender gives him and this like messes up his brain.

1370
01:07:51,240 --> 01:07:54,520
Speaker 2: And then Mick Jagger's real life wife at the time

1371
01:07:54,560 --> 01:07:56,800
Speaker 2: of this film, or at least his partner, I think

1372
01:07:56,840 --> 01:08:00,480
Speaker 2: their marriage was later annulled. Her name's Jerry Hall. She

1373
01:08:00,840 --> 01:08:03,400
Speaker 2: is also in the movie, and she shows up as

1374
01:08:03,560 --> 01:08:07,400
Speaker 2: a TV interviewer who like walks up to Emelio Estevez

1375
01:08:07,920 --> 01:08:10,000
Speaker 2: and is like, Hey, what's going on? And then they

1376
01:08:10,040 --> 01:08:13,240
Speaker 2: realize like, oh, this is that free jack everybody's looking for,

1377
01:08:13,320 --> 01:08:15,360
Speaker 2: and they put him on live TV and he starts

1378
01:08:15,440 --> 01:08:18,160
Speaker 2: quoting Arnold Schwarzenegger from The Terminator.

1379
01:08:18,520 --> 01:08:21,479
Speaker 1: Yeah, it's actually pretty great, you know, because they just

1380
01:08:21,520 --> 01:08:26,040
Speaker 1: went ahead and had the Furlong character just get totally wasted,

1381
01:08:26,120 --> 01:08:28,880
Speaker 1: like he's a kind of a dumb dumb and this

1382
01:08:29,600 --> 01:08:31,479
Speaker 1: expresses it, you know. He just he drinks too much

1383
01:08:31,479 --> 01:08:33,280
Speaker 1: of this bar. He's out of it, and he's just

1384
01:08:33,320 --> 01:08:36,680
Speaker 1: starts gabbing to the journalists here and she's like, roll it,

1385
01:08:37,000 --> 01:08:40,519
Speaker 1: We're gonna get the ratings tonight. So I actually kind

1386
01:08:40,520 --> 01:08:41,360
Speaker 1: of like this scene.

1387
01:08:41,800 --> 01:08:45,040
Speaker 2: Weird connection is that. So she was I think married

1388
01:08:45,040 --> 01:08:47,800
Speaker 2: to Mick Jagger, at the time, but Jerry Hall is

1389
01:08:47,920 --> 01:08:51,519
Speaker 2: now married to Rupert Murdoch. Yes, that Murdock.

1390
01:08:52,120 --> 01:08:56,080
Speaker 1: Wasn't she also in Batman? Wasn't she the model character

1391
01:08:56,200 --> 01:08:59,840
Speaker 1: that Jack Nicholson's Joker scars with acid? I think she?

1392
01:09:00,240 --> 01:09:01,120
Speaker 2: Oh, I don't remember that.

1393
01:09:01,400 --> 01:09:03,200
Speaker 1: Yeah, yeah, I think she popped up in a number

1394
01:09:03,200 --> 01:09:05,760
Speaker 1: of films during that period. All right, So from here

1395
01:09:05,800 --> 01:09:09,559
Speaker 1: we go to Morgan's apartment and once again, once again

1396
01:09:09,800 --> 01:09:11,360
Speaker 1: some great interior decorating.

1397
01:09:11,479 --> 01:09:14,519
Speaker 2: Yes, giant foot art. He just has these like twenty

1398
01:09:14,560 --> 01:09:17,599
Speaker 2: foot tall feet sculptures in his house.

1399
01:09:18,600 --> 01:09:21,639
Speaker 1: Yeah, very cool. Yeah, and I really think we should

1400
01:09:21,640 --> 01:09:24,559
Speaker 1: credit where credits due. First of all, for mc jagger's coat.

1401
01:09:24,920 --> 01:09:27,800
Speaker 1: Lisa Jensen was costume designer on this film, and then

1402
01:09:27,960 --> 01:09:30,360
Speaker 1: art direction for the film was James A. Taylor, Set

1403
01:09:30,400 --> 01:09:34,719
Speaker 1: direction by Bruce A. Gibson. So really, without this bunch,

1404
01:09:35,000 --> 01:09:36,559
Speaker 1: I'm not sure what we would be looking at in

1405
01:09:36,600 --> 01:09:37,080
Speaker 1: these scenes.

1406
01:09:37,360 --> 01:09:40,160
Speaker 2: I agree. So I think they're just negotiating like that

1407
01:09:40,200 --> 01:09:42,000
Speaker 2: they're going to get him out of there, like Morgan's

1408
01:09:42,040 --> 01:09:45,479
Speaker 2: gonna arrange for him to escape somewhere. And then and

1409
01:09:45,520 --> 01:09:48,080
Speaker 2: then there's a love scene of course, Emilio Estevez and

1410
01:09:48,400 --> 01:09:51,920
Speaker 2: Rene Russo they they're you know, they slip into something

1411
01:09:51,920 --> 01:09:55,080
Speaker 2: more comfortable and there's some saxophone playing in the background

1412
01:09:55,160 --> 01:09:55,840
Speaker 2: and you get all that.

1413
01:09:56,200 --> 01:09:59,320
Speaker 1: Yeah, but again, more just wasted space in this film,

1414
01:09:59,400 --> 01:10:03,479
Speaker 1: like this previous scene wasted space. Then there's this, and yeah, I.

1415
01:10:03,479 --> 01:10:06,840
Speaker 2: Could really trim this down. Yeah, there is something that's

1416
01:10:06,960 --> 01:10:09,519
Speaker 2: utterly inconsequential to the rest of the film, but a

1417
01:10:09,560 --> 01:10:12,439
Speaker 2: good B plot scene where Amanda Plumber just kicks Jonathan

1418
01:10:12,520 --> 01:10:15,479
Speaker 2: Banks in the testes. Yeah, and they really milk it,

1419
01:10:15,520 --> 01:10:17,839
Speaker 2: like he does the classic sinking to the floor, moaning

1420
01:10:17,920 --> 01:10:19,639
Speaker 2: with his eyes rolling back kind of thing.

1421
01:10:20,160 --> 01:10:23,000
Speaker 1: Yeah. It accomplishes nothing though for the plot or for

1422
01:10:23,040 --> 01:10:26,400
Speaker 1: these characters, Like I don't really know why we bothered

1423
01:10:26,400 --> 01:10:26,720
Speaker 1: with this.

1424
01:10:27,880 --> 01:10:30,840
Speaker 2: So Emilio Estevez is getting ready to escape. He's going

1425
01:10:30,880 --> 01:10:35,160
Speaker 2: to a boat and he's going with Boone I remember

1426
01:10:35,160 --> 01:10:38,600
Speaker 2: Grandel Marsha And they're walking together and Boone is explaining

1427
01:10:38,640 --> 01:10:40,840
Speaker 2: that he has become a people to the city, like

1428
01:10:40,880 --> 01:10:43,600
Speaker 2: he inspires everyone because he has a free jack and

1429
01:10:43,640 --> 01:10:46,439
Speaker 2: the people are like, wow, I guess if he could

1430
01:10:46,439 --> 01:10:48,280
Speaker 2: be free, I could be free too or something.

1431
01:10:48,920 --> 01:10:51,160
Speaker 1: Yeah. It's a little flimsy, but clearly they had to

1432
01:10:51,280 --> 01:10:54,559
Speaker 1: establish why Boone would help him. Yeah, if there's ten million,

1433
01:10:54,640 --> 01:10:56,560
Speaker 1: and I think it's supposedly more. At this point, it

1434
01:10:56,640 --> 01:10:58,840
Speaker 1: keeps going up, like there's a tremendous amount of money

1435
01:10:59,160 --> 01:11:01,639
Speaker 1: on the table for the guy. Why are you helping him?

1436
01:11:01,880 --> 01:11:03,559
Speaker 1: And he says, well, you inspire my grandma.

1437
01:11:03,640 --> 01:11:04,280
Speaker 2: Yeah, that's right.

1438
01:11:04,400 --> 01:11:07,040
Speaker 1: Yeah, And I'm like, okay, I'll buy it. I'm not

1439
01:11:07,080 --> 01:11:07,599
Speaker 1: happy if.

1440
01:11:08,000 --> 01:11:09,479
Speaker 2: By my grandma loves you.

1441
01:11:10,120 --> 01:11:11,400
Speaker 1: Yeah.

1442
01:11:11,439 --> 01:11:13,080
Speaker 2: So they're supposed to go get on a boat, but

1443
01:11:13,160 --> 01:11:16,880
Speaker 2: then bam, boat explodes. It's a Jagger ambush, and then

1444
01:11:16,920 --> 01:11:19,760
Speaker 2: it's a double double cross because Jagger is trying to

1445
01:11:19,840 --> 01:11:23,080
Speaker 2: capture Furlong alive. But then these other dudes show up

1446
01:11:23,080 --> 01:11:26,280
Speaker 2: and start shooting at Mick Jagger and shooting at Emilio Estevez,

1447
01:11:26,920 --> 01:11:30,280
Speaker 2: and I think Boone is like, those aren't bone jackers.

1448
01:11:30,360 --> 01:11:33,920
Speaker 2: There's someone else in the area, and so they're all

1449
01:11:33,960 --> 01:11:36,160
Speaker 2: they're all running around. You find out Boone has a

1450
01:11:36,240 --> 01:11:39,679
Speaker 2: katana and he's like a total badass and he fights people.

1451
01:11:40,040 --> 01:11:42,840
Speaker 1: Yeah. I mean basically, you have Jagger's bunch wants to

1452
01:11:42,920 --> 01:11:46,479
Speaker 1: finish the bone jacking contract, and then Jonathan Banks's bunch

1453
01:11:46,760 --> 01:11:49,360
Speaker 1: they don't want the bone jacking to take place because

1454
01:11:49,400 --> 01:11:51,120
Speaker 1: they don't want Anthony Hopkins to get his new body

1455
01:11:51,120 --> 01:11:52,680
Speaker 1: because then he's still in charge of the company if

1456
01:11:52,680 --> 01:11:54,880
Speaker 1: that happens. Yeah, we don't really learn that till later,

1457
01:11:54,920 --> 01:11:56,080
Speaker 1: but that's why we're building up too.

1458
01:11:56,160 --> 01:11:58,160
Speaker 2: That's right. We find that out from Jonathan Banks and

1459
01:11:58,200 --> 01:12:02,280
Speaker 2: a big another exposition dumb scene. But everybody's running around chasing,

1460
01:12:02,320 --> 01:12:04,880
Speaker 2: shooting at each other. There's a big fight scene between

1461
01:12:04,880 --> 01:12:08,840
Speaker 2: Emilio Estevez and a large, strong bone jacker who gets electrocuted.

1462
01:12:09,600 --> 01:12:12,280
Speaker 2: During this whole sequence, Mick Jagger is creeping around in

1463
01:12:12,280 --> 01:12:17,360
Speaker 2: a hilarious helmet. But then there's a scene where Furlong

1464
01:12:17,520 --> 01:12:20,280
Speaker 2: has a chance to kill Mick Jagger, but he doesn't.

1465
01:12:20,600 --> 01:12:23,920
Speaker 2: He lets him live. He spares his life, and for

1466
01:12:24,040 --> 01:12:27,960
Speaker 2: this Mick Jagger, Mick Jagger gives him a head start.

1467
01:12:28,000 --> 01:12:30,000
Speaker 2: He's like, I'll let you escape because I'm a man

1468
01:12:30,040 --> 01:12:32,679
Speaker 2: of honor. You're a man of honor. And he starts counting,

1469
01:12:32,840 --> 01:12:36,720
Speaker 2: and Mick Jagger says, one Mississippi, two Mississippi.

1470
01:12:38,880 --> 01:12:41,840
Speaker 1: I mean this ridiculous. Yeah, that's just ridiculous. It's way

1471
01:12:41,840 --> 01:12:43,960
Speaker 1: too much of a lead too, Like why you just

1472
01:12:44,000 --> 01:12:46,799
Speaker 1: spend like they established it's gonna take costs like millions

1473
01:12:46,840 --> 01:12:49,639
Speaker 1: and millions of dollars to catch this guy again. You've

1474
01:12:49,680 --> 01:12:51,880
Speaker 1: got him, but you're like, no, I'm a man of

1475
01:12:51,920 --> 01:12:54,200
Speaker 1: my honor. I'm gonna let you get away again.

1476
01:12:54,400 --> 01:12:57,600
Speaker 2: Right, So they eventually they go back to mccandles's headquarters.

1477
01:12:58,760 --> 01:13:00,920
Speaker 2: He meets back up with Renever, so they go to

1478
01:13:01,080 --> 01:13:05,320
Speaker 2: McCandless headquarters to meet with Jonathan Banks and have Jonathan

1479
01:13:05,360 --> 01:13:08,760
Speaker 2: Banks explain the whole plot. Yep, and Renee Russo and

1480
01:13:08,760 --> 01:13:12,320
Speaker 2: Emilio Estevez end up end up going up to the

1481
01:13:12,320 --> 01:13:16,160
Speaker 2: Spiritual Switchboard to find you know, there's a number of

1482
01:13:16,160 --> 01:13:18,639
Speaker 2: double crosses yet again, and people trying to kill each other.

1483
01:13:18,680 --> 01:13:21,320
Speaker 2: So they end up a the Spiritual Switchboard, which looks

1484
01:13:21,360 --> 01:13:24,200
Speaker 2: like a smoother version of the Satan powered Hyperdrive and

1485
01:13:24,280 --> 01:13:25,120
Speaker 2: event Horizon.

1486
01:13:26,160 --> 01:13:28,920
Speaker 1: Yeah, it's you know, clearly whatever is happening here, it

1487
01:13:28,960 --> 01:13:30,840
Speaker 1: can only take place at the top of a high

1488
01:13:30,920 --> 01:13:36,920
Speaker 1: rise in Manhattan aka Atlanta, And yeah, it raises a

1489
01:13:36,920 --> 01:13:38,800
Speaker 1: lot of questions, like, I guess the big one is

1490
01:13:39,240 --> 01:13:42,400
Speaker 1: what if we are actually dealing with spirit Like what

1491
01:13:42,439 --> 01:13:48,880
Speaker 1: if this film is presenting a future in which which

1492
01:13:48,920 --> 01:13:51,360
Speaker 1: there is a spiritual reality to the individual, and that's

1493
01:13:51,360 --> 01:13:53,280
Speaker 1: why you have some sort of crazy contraption, because there's

1494
01:13:53,320 --> 01:13:56,280
Speaker 1: like an actual ghost soul, you know, like there's an

1495
01:13:56,280 --> 01:14:00,439
Speaker 1: Anthony Hopkins poltergeist trapped in this thing and they have

1496
01:14:00,560 --> 01:14:02,920
Speaker 1: to eventually try and slam it into some new meat.

1497
01:14:03,280 --> 01:14:06,360
Speaker 2: Yeah, it really does explore some Cartesian territory.

1498
01:14:06,880 --> 01:14:07,439
Speaker 1: I think.

1499
01:14:08,400 --> 01:14:12,400
Speaker 2: I think you can give its it's philosophical credit, especially

1500
01:14:12,400 --> 01:14:14,920
Speaker 2: because so they go up to the Spiritual Switchboard and

1501
01:14:14,920 --> 01:14:19,680
Speaker 2: they meet McCandleis that's Anthony Hopkins, and he's full on

1502
01:14:19,840 --> 01:14:23,439
Speaker 2: lawnmower Man beyond cyberspace. He's just hanging out in digital

1503
01:14:23,479 --> 01:14:27,320
Speaker 2: worlds with digital diamonds. Our heroes are transported to a

1504
01:14:27,360 --> 01:14:30,799
Speaker 2: giant VR castle inside what looks like a Utah desert,

1505
01:14:31,360 --> 01:14:36,000
Speaker 2: and Anthony Hopkins says, welcome to my mind. And Anthony

1506
01:14:36,000 --> 01:14:40,720
Speaker 2: Hopkins has been faking being alive through video simulation the

1507
01:14:40,720 --> 01:14:42,760
Speaker 2: whole time. We find out that he's in love with

1508
01:14:42,840 --> 01:14:46,639
Speaker 2: Rene Russo and he wants Amelio Estevez's body so that

1509
01:14:46,680 --> 01:14:50,519
Speaker 2: she would love him in return. And so they're trying

1510
01:14:50,560 --> 01:14:52,920
Speaker 2: to do the mind transfer on this big thing that

1511
01:14:53,000 --> 01:14:55,400
Speaker 2: looks exactly like a jack, like it's a spike with

1512
01:14:55,479 --> 01:14:57,800
Speaker 2: these balls coming out of the middle of it, and

1513
01:14:57,840 --> 01:15:00,400
Speaker 2: the jack opens up and there's a big crit stole

1514
01:15:00,439 --> 01:15:03,120
Speaker 2: inside it, so it's literally crystal energy.

1515
01:15:03,880 --> 01:15:06,719
Speaker 1: Now the film does get very briefly and just into

1516
01:15:07,000 --> 01:15:10,080
Speaker 1: the philosophy or another. The philosophy really, I guess you

1517
01:15:10,080 --> 01:15:14,400
Speaker 1: would say the ethics of bone jacking, which is kind

1518
01:15:14,439 --> 01:15:16,840
Speaker 1: of interesting because you know, he's like they bring up

1519
01:15:16,840 --> 01:15:19,519
Speaker 1: the point which I mostly agree with here, like he

1520
01:15:19,600 --> 01:15:21,800
Speaker 1: was gonna Emlio wes Vez's character was going to die.

1521
01:15:22,240 --> 01:15:25,360
Speaker 1: That was going to happen, and they can't really interfere

1522
01:15:25,360 --> 01:15:27,800
Speaker 1: with that, like that would be that would really mess up,

1523
01:15:29,000 --> 01:15:31,760
Speaker 1: you know, the entire time stream. All they can do

1524
01:15:31,880 --> 01:15:34,559
Speaker 1: is steal his body and then do something with it.

1525
01:15:34,880 --> 01:15:37,160
Speaker 1: And it's just an accident that he got free and

1526
01:15:37,200 --> 01:15:42,000
Speaker 1: that he's escaped. So to a certain extent, bone jacking

1527
01:15:42,040 --> 01:15:43,360
Speaker 1: is a victimist crime.

1528
01:15:43,800 --> 01:15:46,599
Speaker 2: Oh you think so, huh, you're a pro bone jacking,

1529
01:15:46,640 --> 01:15:46,960
Speaker 2: are you?

1530
01:15:47,640 --> 01:15:50,920
Speaker 1: Well, I'm I'm I'm not in I guess I'm not

1531
01:15:51,120 --> 01:15:54,000
Speaker 1: entirely pro bone jacking. I mean it does symbolize, you know,

1532
01:15:54,080 --> 01:15:57,840
Speaker 1: the a great deal of unbalanced privilege in the future

1533
01:15:58,240 --> 01:16:01,559
Speaker 1: for the few individuals who can afford immortality, which you know,

1534
01:16:01,760 --> 01:16:03,640
Speaker 1: we still see plenty of science fiction that deals with that,

1535
01:16:03,680 --> 01:16:06,920
Speaker 1: because that's ultimately a that's a reality we're potentially facing.

1536
01:16:06,960 --> 01:16:11,720
Speaker 1: You know, these longevity science improves, you know, who's going

1537
01:16:11,800 --> 01:16:14,080
Speaker 1: to be able to afford it? Who gets to have

1538
01:16:14,160 --> 01:16:17,799
Speaker 1: their life span extended? Who gets to live forever? You know? Sure,

1539
01:16:18,240 --> 01:16:19,920
Speaker 1: so it gets into some of that territory and that

1540
01:16:20,040 --> 01:16:22,679
Speaker 1: is that is some rich sci fi territory to explore,

1541
01:16:22,760 --> 01:16:24,439
Speaker 1: and they briefly do it.

1542
01:16:24,640 --> 01:16:27,960
Speaker 2: Yeah, as sort of they kind of half address it.

1543
01:16:28,160 --> 01:16:33,080
Speaker 2: There is a line where Amelio Estevez says to Anthony Hopkins,

1544
01:16:33,160 --> 01:16:35,839
Speaker 2: you don't need a new body, you need a new soul.

1545
01:16:37,760 --> 01:16:42,040
Speaker 1: Yeah, and he's like, yeah, whatever, meat, Ye prepare.

1546
01:16:41,680 --> 01:16:45,160
Speaker 2: To have me in your meat. And then there's a

1547
01:16:45,160 --> 01:16:49,759
Speaker 2: psychedelic mind transfer scene, but it doesn't complete because Jonathan

1548
01:16:49,800 --> 01:16:52,559
Speaker 2: Banks shows up to kill everybody. I guess because oh,

1549
01:16:52,560 --> 01:16:55,280
Speaker 2: because he just wants Anthony Hopkins to die so that

1550
01:16:55,320 --> 01:16:56,599
Speaker 2: he can take over the business.

1551
01:16:57,000 --> 01:16:59,160
Speaker 1: Right. He needs this to fail, and he's been trying

1552
01:16:59,160 --> 01:17:01,360
Speaker 1: to make it fail the whole and then the last

1553
01:17:01,360 --> 01:17:03,080
Speaker 1: thing he's going to try is just shooting the crystal,

1554
01:17:03,120 --> 01:17:05,120
Speaker 1: which he does, but then he shot himself.

1555
01:17:05,160 --> 01:17:05,200
Speaker 4: No.

1556
01:17:05,240 --> 01:17:07,360
Speaker 2: I think Renee Russo she shoots.

1557
01:17:07,760 --> 01:17:08,599
Speaker 1: Why does she have a gun?

1558
01:17:08,920 --> 01:17:11,439
Speaker 2: She gets a gun something, she shoots the crystal stops

1559
01:17:11,479 --> 01:17:15,200
Speaker 2: the transfer, and then there's a question. So Emilio Estevez

1560
01:17:15,280 --> 01:17:17,840
Speaker 2: is there and it's like, uh, is Anthony Hopkins mind

1561
01:17:17,840 --> 01:17:20,040
Speaker 2: in him or is it still his mind? And there's

1562
01:17:20,080 --> 01:17:22,680
Speaker 2: a standoff with Mick Jagger and Jonathan Banks with their

1563
01:17:22,680 --> 01:17:25,080
Speaker 2: all point and guns at each other and they're all

1564
01:17:25,080 --> 01:17:27,800
Speaker 2: trying to figure out is that really Anthony Hopkins or not?

1565
01:17:27,840 --> 01:17:30,200
Speaker 2: And they're going to kill him if it's if it's

1566
01:17:30,240 --> 01:17:33,439
Speaker 2: still Amelio Estevez, but Jagger's gonna let him live if

1567
01:17:33,479 --> 01:17:36,679
Speaker 2: it's Anthony Hopkins. And uh, so they do a trick.

1568
01:17:36,720 --> 01:17:40,320
Speaker 2: They're like, what's your personal identification number? And Emilio Estevez

1569
01:17:40,360 --> 01:17:44,360
Speaker 2: starts saying numbers and Mick Jagger's like that's right, and

1570
01:17:44,439 --> 01:17:47,840
Speaker 2: so they they shoot Jonathan Banks. But then you find

1571
01:17:47,840 --> 01:17:50,280
Speaker 2: out there's a very sweet ending where for a moment

1572
01:17:50,360 --> 01:17:53,400
Speaker 2: you are supposed to think, oh, maybe it did complete

1573
01:17:53,400 --> 01:17:56,519
Speaker 2: and the bad guy won. Anthony Hopkins is now in

1574
01:17:56,560 --> 01:17:59,679
Speaker 2: the meat. But there is a sweet ending where Renee

1575
01:17:59,760 --> 01:18:04,200
Speaker 2: Russ and Emilio estevezer driving off and Mick Jagger comes

1576
01:18:04,280 --> 01:18:06,280
Speaker 2: up to them and like leans into the car window

1577
01:18:06,320 --> 01:18:08,519
Speaker 2: and is like, hey, you know, I know that number

1578
01:18:08,560 --> 01:18:10,600
Speaker 2: you gave was wrong, but I decided to let you

1579
01:18:10,680 --> 01:18:13,519
Speaker 2: live because you're a stand up guy or something.

1580
01:18:13,760 --> 01:18:17,519
Speaker 1: Yeah, it's I mean, it's not a bad ending. I

1581
01:18:17,680 --> 01:18:19,720
Speaker 1: like the whole mystery of it, like did it work?

1582
01:18:19,760 --> 01:18:21,280
Speaker 1: Did it not work? And it's like a kind of

1583
01:18:21,320 --> 01:18:24,200
Speaker 1: a fun double cross ultimately a face turn for Mick

1584
01:18:24,280 --> 01:18:28,200
Speaker 1: Jagger's character. But it does take a long time to

1585
01:18:28,200 --> 01:18:29,320
Speaker 1: get to this point in the picture.

1586
01:18:29,400 --> 01:18:31,320
Speaker 2: It does, and it strikes me as like that would

1587
01:18:31,360 --> 01:18:32,960
Speaker 2: be a cool thing in the future, if there's some

1588
01:18:33,040 --> 01:18:35,880
Speaker 2: kind of like a prestige attached to the idea of

1589
01:18:35,920 --> 01:18:38,800
Speaker 2: being original meat. You say like, no, no, no, my mind

1590
01:18:38,880 --> 01:18:40,800
Speaker 2: is still in the meat that it was originally and

1591
01:18:40,840 --> 01:18:41,840
Speaker 2: this is not new meat.

1592
01:18:42,200 --> 01:18:44,879
Speaker 1: Well, you know, I mentioned the nineties Outer Limit series earlier.

1593
01:18:45,200 --> 01:18:48,400
Speaker 1: This whole film would have made a really solid forty

1594
01:18:48,439 --> 01:18:53,000
Speaker 1: five minute nineties Outer Limit episode. Yes, Instead, it's like

1595
01:18:53,120 --> 01:18:56,519
Speaker 1: twice that length, and I think that's the one of

1596
01:18:56,520 --> 01:18:57,320
Speaker 1: the problems here.

1597
01:18:57,640 --> 01:19:00,800
Speaker 2: There is a really funny rock song that plays over

1598
01:19:00,840 --> 01:19:03,479
Speaker 2: the end credits. I had to look this up. It's

1599
01:19:03,479 --> 01:19:06,760
Speaker 2: by The Scorpions and it's called Solid. It's called hit

1600
01:19:06,840 --> 01:19:10,120
Speaker 2: between the eyes, and the lyrics include lines like late

1601
01:19:10,160 --> 01:19:12,880
Speaker 2: at night, when you're all alone, take a ride to

1602
01:19:12,960 --> 01:19:15,600
Speaker 2: the danger zone.

1603
01:19:16,720 --> 01:19:17,920
Speaker 1: Yeah, but that's it.

1604
01:19:18,160 --> 01:19:20,799
Speaker 2: As we've been saying, I think this movie's pretty awful.

1605
01:19:21,000 --> 01:19:23,960
Speaker 2: It has some real pleasures in terms of ridiculous dialog

1606
01:19:24,120 --> 01:19:27,880
Speaker 2: and shots of Mick Jagger looking really funny in certain costumes.

1607
01:19:28,280 --> 01:19:30,120
Speaker 2: I think it would be better if it was like

1608
01:19:30,320 --> 01:19:34,320
Speaker 2: thirty to forty minutes Shorter leaned harder into the absurdity.

1609
01:19:34,520 --> 01:19:37,720
Speaker 2: It could sort of veer into camp classic if it

1610
01:19:37,760 --> 01:19:39,800
Speaker 2: were like that. As it is, it's kind of an

1611
01:19:39,880 --> 01:19:40,639
Speaker 2: uncut gem.

1612
01:19:41,240 --> 01:19:43,600
Speaker 1: It would have been nate if the first time Emilio's

1613
01:19:43,680 --> 01:19:45,519
Speaker 1: character jumps off the bridge and you say, oh, that

1614
01:19:45,520 --> 01:19:48,280
Speaker 1: would have killed the normal person. What if he does

1615
01:19:48,400 --> 01:19:50,400
Speaker 1: die and he's immediately bonejacked again?

1616
01:19:50,880 --> 01:19:54,160
Speaker 2: Bone jack to a second future. This time it's twenty twenty.

1617
01:19:54,640 --> 01:19:55,719
Speaker 2: Things are even worse.

1618
01:19:56,120 --> 01:20:02,639
Speaker 1: Yeah, yeah, with all your points there, Oh, here's my

1619
01:20:03,080 --> 01:20:06,880
Speaker 1: casting workaround. Okay, that could have improved things. Okay. Grand

1620
01:20:06,920 --> 01:20:12,040
Speaker 1: Al Bush plays our hero Alex Furlong, Okay, yeah. Amanda

1621
01:20:12,080 --> 01:20:14,479
Speaker 1: Plumber plays Julie Redland, the love interest.

1622
01:20:14,600 --> 01:20:18,759
Speaker 2: Okay, nice, Yeah, she's a exec at McCandless.

1623
01:20:18,200 --> 01:20:21,800
Speaker 1: Yeah, Yeah, Jonathan Banks and Mick Jagger switch role, so

1624
01:20:22,200 --> 01:20:25,599
Speaker 1: Banks as Vicendek and Jagger as Michellette.

1625
01:20:25,120 --> 01:20:27,120
Speaker 2: The corporate guy with Faberge eggs.

1626
01:20:27,479 --> 01:20:32,000
Speaker 1: Yeah, Frankie still plays the Eagle guy, but in a

1627
01:20:32,160 --> 01:20:34,400
Speaker 1: far expanded role. I don't know how they just get

1628
01:20:34,439 --> 01:20:35,280
Speaker 1: more screen time for that.

1629
01:20:35,320 --> 01:20:37,240
Speaker 2: Care he should become like the full on Obi wan

1630
01:20:37,320 --> 01:20:39,880
Speaker 2: Kenobi of the movie. He's just like throughout the whole

1631
01:20:39,880 --> 01:20:42,000
Speaker 2: thing is like this sort of the guy to character.

1632
01:20:42,479 --> 01:20:46,600
Speaker 1: Yeah, Anthony Hopkins remains mccandle's because he's fine in that,

1633
01:20:47,000 --> 01:20:48,800
Speaker 1: and then the rest just fill in as needed. I

1634
01:20:48,800 --> 01:20:52,800
Speaker 1: don't know. Emilio can play somebody. Yeah, Buster pointe exer

1635
01:20:52,840 --> 01:20:56,519
Speaker 1: can do whatever. But I feel like, get the weirder actors,

1636
01:20:56,520 --> 01:20:58,800
Speaker 1: the more interesting actors up towards the top, That's what

1637
01:20:58,840 --> 01:21:02,479
Speaker 1: I want, and Smick Jagger more appropriately get the meat.

1638
01:21:05,080 --> 01:21:06,880
Speaker 1: All right, Well, if you want to get the meat.

1639
01:21:07,880 --> 01:21:10,400
Speaker 1: Lucky for you, again, this was a thirty million dollar picture,

1640
01:21:10,760 --> 01:21:13,240
Speaker 1: so you can rent it or buy it everywhere. It's

1641
01:21:13,320 --> 01:21:16,120
Speaker 1: it's not as like streamable as part of a service

1642
01:21:16,160 --> 01:21:17,720
Speaker 1: as you might expect, you know, in terms of like

1643
01:21:17,760 --> 01:21:20,800
Speaker 1: Netflix and Amazon Prime and all, but you can absolutely

1644
01:21:21,000 --> 01:21:23,000
Speaker 1: buy it or rent it anywhere. It's even available on

1645
01:21:23,080 --> 01:21:24,599
Speaker 1: Blu Ray for crying out loud.

1646
01:21:24,760 --> 01:21:26,759
Speaker 2: I wonder if the Blu Ray has the same menus.

1647
01:21:27,280 --> 01:21:30,720
Speaker 2: My god, Blu Ray made in like twenty fourteen or

1648
01:21:30,720 --> 01:21:33,240
Speaker 2: something still has the page just for the url of

1649
01:21:33,320 --> 01:21:34,040
Speaker 2: Morgan Creek.

1650
01:21:34,760 --> 01:21:38,639
Speaker 1: I bet it has like just a loveless, like film

1651
01:21:38,680 --> 01:21:42,240
Speaker 1: studio template. Like whatever everything else had that came out

1652
01:21:42,280 --> 01:21:44,519
Speaker 1: that wasn't didn't have like a cult following or you know,

1653
01:21:44,640 --> 01:21:46,639
Speaker 1: wasn't a huge hit. It just gets the same treatment

1654
01:21:46,680 --> 01:21:47,320
Speaker 1: as everything else.

1655
01:21:47,400 --> 01:21:51,719
Speaker 2: Hey, everybody right in about your favorite DVD menus. What's

1656
01:21:51,760 --> 01:21:55,320
Speaker 2: the worst DVD menu you've ever found that? What's the

1657
01:21:55,320 --> 01:22:00,439
Speaker 2: most absurd dedication of an entire menu option you've ever found?

1658
01:22:01,160 --> 01:22:05,200
Speaker 1: Yeah, the most over ambitious animation from swishing from one

1659
01:22:05,240 --> 01:22:07,880
Speaker 1: page to the next. Yeah, I'd love to hear about it.

1660
01:22:07,960 --> 01:22:09,960
Speaker 1: Or oh god, some of these, especially some of the

1661
01:22:10,040 --> 01:22:12,960
Speaker 1: kids DVDs from back in the day, they would have

1662
01:22:13,040 --> 01:22:16,840
Speaker 1: games like really, oh god, like really rough attempts to

1663
01:22:16,880 --> 01:22:19,400
Speaker 1: have some sort of a click based game on the DVD.

1664
01:22:19,520 --> 01:22:20,439
Speaker 1: It was rough.

1665
01:22:20,479 --> 01:22:23,040
Speaker 2: Sometimes they got Easter eggs, you remember those, where like

1666
01:22:23,160 --> 01:22:25,000
Speaker 2: you'd move the cursor around to a thing that you

1667
01:22:25,040 --> 01:22:26,960
Speaker 2: didn't realize you could move it to and then it

1668
01:22:26,960 --> 01:22:28,679
Speaker 2: would play a hidden scene or something.

1669
01:22:29,280 --> 01:22:31,599
Speaker 1: Yeah. Oh man, I hope there's still I do love

1670
01:22:31,680 --> 01:22:34,120
Speaker 1: hidden tracks and Easter eggs and stuff, and I hope

1671
01:22:34,160 --> 01:22:37,080
Speaker 1: some of that's still going on. All right, Well, we're

1672
01:22:37,120 --> 01:22:40,479
Speaker 1: gonna go ahead and close it out here. But yeah,

1673
01:22:40,520 --> 01:22:43,759
Speaker 1: this was free Jack. We hope you enjoyed it. Again.

1674
01:22:44,080 --> 01:22:46,840
Speaker 1: There was a little bit of weirdness in this one,

1675
01:22:47,160 --> 01:22:48,879
Speaker 1: maybe not as weird as some of the other pictures,

1676
01:22:48,880 --> 01:22:50,400
Speaker 1: but still was a lot of fun to talk about,

1677
01:22:50,760 --> 01:22:53,400
Speaker 1: and I think it is important to just talk about

1678
01:22:53,479 --> 01:22:56,639
Speaker 1: sometimes these these big budget films which can sometimes turn

1679
01:22:56,680 --> 01:23:01,200
Speaker 1: out pretty weird but also can just really fail to

1680
01:23:01,240 --> 01:23:03,880
Speaker 1: set the world on fire. All right, Well, if you

1681
01:23:03,920 --> 01:23:06,439
Speaker 1: want to watch more episodes of weird Ouse Cinema, you

1682
01:23:06,479 --> 01:23:09,639
Speaker 1: can catch it every Friday in the Stuff to Blow

1683
01:23:09,640 --> 01:23:11,920
Speaker 1: your Mind podcast feed, and you can find that podcast

1684
01:23:11,960 --> 01:23:14,840
Speaker 1: feed wherever you get your podcasts, wherever that happens to be.

1685
01:23:15,120 --> 01:23:17,360
Speaker 1: Just rate, review, and subscribe if you have the ability

1686
01:23:17,400 --> 01:23:17,760
Speaker 1: to do so.

1687
01:23:18,080 --> 01:23:20,800
Speaker 2: Huge thanks as always to our excellent audio producer Seth

1688
01:23:20,880 --> 01:23:23,200
Speaker 2: Nicholas Johnson. If you would like to get in touch

1689
01:23:23,240 --> 01:23:25,360
Speaker 2: with us with feedback on this episode or any other

1690
01:23:25,479 --> 01:23:27,880
Speaker 2: to suggest a topic for the future, just to say hello.

1691
01:23:27,960 --> 01:23:30,840
Speaker 2: You can email us at contact at stuff to Blow

1692
01:23:30,840 --> 01:23:39,040
Speaker 2: your Mind dot com.

1693
01:23:39,120 --> 01:23:42,080
Speaker 3: Stuff to Blow Your Mind is production of iHeartRadio. For

1694
01:23:42,160 --> 01:23:44,960
Speaker 3: more podcasts from my heart Radio, visit the iHeartRadio app,

1695
01:23:45,120 --> 01:23:47,880
Speaker 3: Apple Podcasts, or wherever you listen to your favorite shows.