WEBVTT - Weirdhouse Cinema Rewind: Freejack

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<v Speaker 1>Hey, you welcome to Weird House Cinema Rewind. This is

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<v Speaker 1>Rob Lamb.

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<v Speaker 2>And this is Joe McCormick. And today on Weird House

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<v Speaker 2>Cinema Rewind, we're gonna be featuring an older episode of

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<v Speaker 2>Weird House Cinema, the one we did on free Jack

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<v Speaker 2>starring Emilio Estevez, Mick Jagger. What was Anthony Hopkins in

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<v Speaker 2>this one?

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<v Speaker 1>Yeah? He is?

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<v Speaker 2>Is Renee Russo in it? Where's all of these names

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<v Speaker 2>come from? And my memory, I.

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<v Speaker 1>Mean, it's it's all about Mick Jagger. It's all about

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<v Speaker 1>getting the meat right.

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<v Speaker 2>Get the meat that's right.

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<v Speaker 1>All right? So in free Jack, there is one hundred

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<v Speaker 1>percent chance of bone jacking occurring. And you know what,

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<v Speaker 1>if you tune into Monday Night Football tonight on ESPN,

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<v Speaker 1>I'd say maybe there's a fifty to fifty chance they'll

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<v Speaker 1>be bone jacking. But I am to understand there's one

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<v Speaker 1>hundred percent chance there's gonna be some sort of interesting

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<v Speaker 1>shenanigans from PayPal. That's the word around the office here

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<v Speaker 1>at any rate, Do with that what you will. Football fans,

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

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<v Speaker 1>further ado, let's get into free Jack.

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<v Speaker 3>Welcome to Stuff to Blow your Mind, a production of iHeartRadio.

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<v Speaker 1>Hey, welcome to Weird House Cinema. This is Rob Lamb.

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<v Speaker 2>And I'm Joe McCormick. And boy, we have got a

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<v Speaker 2>treat for you today, one that has been a long

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<v Speaker 2>time coming for me personally, because we're going to be

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

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<v Speaker 2>Was it ninety one or ninety two?

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<v Speaker 1>I believe it came out in ninety.

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<v Speaker 2>Two, Okay, a nineteen ninety two science fiction film called

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<v Speaker 2>Free Jack. And I have a personal history with this movie,

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<v Speaker 2>which is that I have owned this DVD for approximately

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<v Speaker 2>fifteen years, and until this weekend, I had never watched it.

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<v Speaker 2>I remember buying it for three dollars and ninety five

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<v Speaker 2>cents at an East Tennessee used bookstore sometime when I

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<v Speaker 2>was in college. Because on the cover of the DVD

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<v Speaker 2>case it has a picture of Emilio Estevez holding some

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<v Speaker 2>kind of futuristic looking gun, and then a bunch of

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<v Speaker 2>very very foggy future corridors, and then Mick Jagger looking

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<v Speaker 2>very stern like he's going to dole out some punishment.

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<v Speaker 2>Anthony Hopkins holding his fingers in front of his face

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<v Speaker 2>like he's going to smoke a cigar or something, and

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<v Speaker 2>Renee Russo wearing like an mc escher pattern.

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<v Speaker 1>Yeah. I remember the VHS box art for this. I

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<v Speaker 1>remember the the you know, the covers. I remember the trailer.

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<v Speaker 1>It looks like it's gonna be tremendous fun. It looks

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<v Speaker 1>really badass. In fact, I have very strong memories of

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<v Speaker 1>when this came out because I was fourteen, and you know,

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<v Speaker 1>I don't even remember what my favorite films were at

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<v Speaker 1>that point. You know, I guess that's post Batman, so

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<v Speaker 1>I guess Batman was still in the mix. But I was,

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<v Speaker 1>you know, exploring some more sci fi, getting into that

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<v Speaker 1>reading sci fi, and then I saw the trailer for

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<v Speaker 1>free Jack, and I was just convinced that this was

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<v Speaker 1>going to be a great film. I got so excited

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<v Speaker 1>about it. I'm like looking through copies of Newsweek to

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<v Speaker 1>try and follow the coverage of free Jack, and that

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<v Speaker 1>was a little disappointed when it was there.

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<v Speaker 2>You're like making a scrap booking the I.

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<v Speaker 1>Would do that with other films, like yeah, I had

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<v Speaker 1>done that with Batman. When it came out, I was

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<v Speaker 1>like cutting out all these pictures. I made like scrapbook

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<v Speaker 1>pages of it. I was so excited about it. I

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<v Speaker 1>did that with Dick Tracy.

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<v Speaker 2>That's fandom.

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

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<v Speaker 1>I'm down. This is the next one. This is going

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<v Speaker 1>to be the next film that I'm crazy for. And

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<v Speaker 1>then it hit theaters and I remember I was I

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<v Speaker 1>was calling my local theater in the small Tennessee town

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<v Speaker 1>that I lived in, and I was like, when are

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<v Speaker 1>you all getting free Jack? When's free Jack coming? And

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<v Speaker 1>they they didn't have an answer for that, because of

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<v Speaker 1>course the answer was free Jack was not coming to

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<v Speaker 1>a small town.

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<v Speaker 2>Is mister Jagger going to be here for the premiere?

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<v Speaker 2>Can I get them to sign my poster?

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<v Speaker 1>Yeah? Well, I just thought it was going to be

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<v Speaker 1>this huge thing that everybody was going to be obsessed with.

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<v Speaker 1>Turns out people weren't obsessed with it. Turns out this

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<v Speaker 1>was what a January release. This was a film that

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<v Speaker 1>had experienced troubles, that was pretty much known, I think,

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<v Speaker 1>to not be that good, and was just dumped unceremoniously

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<v Speaker 1>in the January release window of nineteen ninety two.

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<v Speaker 2>Yeah, floppiject season. Yeah, but There's a lot of good

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<v Speaker 2>movies get released in the winter, though, but oh yeah,

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<v Speaker 2>a lot of this is something that I think often

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<v Speaker 2>happens with horror movies that should be released in October.

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<v Speaker 2>But there's just a sign of utter disrespect by the

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

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<v Speaker 2>if the studio is playing into it in this case,

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<v Speaker 2>but like when The Witch came out, I think it

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<v Speaker 2>was released in February or something just utterly inexplicable. Why

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<v Speaker 2>not in October?

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<v Speaker 1>Yeah, I don't know. You know, as much as I

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<v Speaker 1>love movies and I love charting all this stuff, yeah,

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<v Speaker 1>I don't have as good ahead for other aspects of

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<v Speaker 1>movie production, and you know, and certainly the calendar of

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<v Speaker 1>putting them out another thing I don't usually have a

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<v Speaker 1>good head for. I usually don't get obsessed with the

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<v Speaker 1>budgets on things, but sometimes it's notable, and I was

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<v Speaker 1>checking this one out, I did notice that this was

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<v Speaker 1>a thirty million dollar picture, which I my understanding is

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<v Speaker 1>that that was still quite a chunk of change for

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<v Speaker 1>a film in nineteen ninety one, nineteen ninety two, So

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<v Speaker 1>this was a this was a big budget affair, and

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<v Speaker 1>certainly when we start getting into connections. A lot of

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<v Speaker 1>names were involved in this picture. Oh yeah, so this

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<v Speaker 1>may be the most expensive film that we've yet covered

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<v Speaker 1>on Weird House Cinema. This was this was a mainstream shot.

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<v Speaker 1>This was something that that was born to be a blockbuster,

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<v Speaker 1>but it just didn't happen.

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<v Speaker 2>This is a parade of heavy hitters, both in terms

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<v Speaker 2>of a list stars. He had Emilio Estevez, who was,

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<v Speaker 2>you know, a big deal in the early nineties. He

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<v Speaker 2>had Renee Russo, Anthony Hopkins, Mick Jagger of the Rolling Stones.

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<v Speaker 2>But then also it's just filled out with a ton

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<v Speaker 2>of great character actors in the in the mid level roles.

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

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<v Speaker 1>Right by the end of this episode, I will recast

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<v Speaker 1>the picture in a way that I think will work

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<v Speaker 1>better or would have worked better. But yeah, it's still

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<v Speaker 1>a very fun picture to discuss, has a lot of

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<v Speaker 1>cool elements in it, just everything didn't come together like

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<v Speaker 1>it should.

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<v Speaker 2>No see this one's I think it's going to be

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<v Speaker 2>a lot of fun to talk about. Ultimately, I think

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<v Speaker 2>it's a little disappointing to actually watch and one of

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<v Speaker 2>the main reasons is the weirdness and the absurdity is

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

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<v Speaker 2>stretched out too much. But we'll try to press it

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<v Speaker 2>down into a diamond for you. The listener.

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<v Speaker 1>All right, well, let's let's go ahead and have that

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<v Speaker 1>elevator pitch.

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<v Speaker 2>Joe, Okay, So the pitch is in the early nineties,

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<v Speaker 2>Formula one racer Alex Furlong is about to die in

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<v Speaker 2>a fiery crash when he is suddenly time warped into

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<v Speaker 2>the dystopian hell of the year two thousand and nine

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<v Speaker 2>by mercenaries under the command of Mick Jagger a guy

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<v Speaker 2>named Visindak, and they want to sell his body to

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<v Speaker 2>a rich dead man who's currently living inside a computer

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<v Speaker 2>and needs a new meat vehicle so that he can

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<v Speaker 2>live forever and achieve his dreams. But before the transfer

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<v Speaker 2>to the new meat vehicle can take place, for long

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<v Speaker 2>escapes and now he is what is referred to in

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<v Speaker 2>the future as a free jack, and he spends the

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<v Speaker 2>rest of the movie running around, being chased by Mick

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<v Speaker 2>Jagger and trying to put the pieces together.

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<v Speaker 1>Yep.

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<v Speaker 2>Now, before we get into the contents of the film itself,

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<v Speaker 2>this movie really does have something that I love, which

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<v Speaker 2>is a good, crappy, early two thousands DVD menu experience.

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<v Speaker 1>Oh yeah.

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<v Speaker 2>Yeah. In fact, I was just talking to Seth before

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<v Speaker 2>we started recording about how someday, someday, I almost want

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<v Speaker 2>to do a whole exploration just of the genre of

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<v Speaker 2>early DVD menus that tried to do too much and

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

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<v Speaker 2>One of my favorites is the DVD menu for the

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<v Speaker 2>movie Leviathan, which has exactly one animation, and it's just

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<v Speaker 2>like a guy in a diving suit who sort of

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<v Speaker 2>like does a half turned step and then pivots back

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<v Speaker 2>to his original position and then does that over and

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<v Speaker 2>over forever.

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<v Speaker 1>Oh wow. Yeah, I mean even the ones that were

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<v Speaker 1>really well done, Like I think one of the first

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<v Speaker 1>DVDs I bought, and I wasn't an early adopter on

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<v Speaker 1>that technology, but I picked up this double DVD special

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<v Speaker 1>edition of Big Trouble in Little China, the John Poker film,

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<v Speaker 1>and yeah, it was they really put a lot of

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<v Speaker 1>effort into it. You know, it's like so many different

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<v Speaker 1>extra features, a lot of cool extra features. But then

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<v Speaker 1>at times you're just kind of waiting for the graphics

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<v Speaker 1>to stop doing things so you can actually push play

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<v Speaker 1>on the movie.

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<v Speaker 2>Yeah. Yeah, so this one, it has these crappy CGI menus.

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<v Speaker 2>One of the features it has is a rotating CGI

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<v Speaker 2>jack like in the Game of Jacks. And I was

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<v Speaker 2>confused at first, because again I despite owning the CVD

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<v Speaker 2>for like fifteen years or something, I had never seen

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<v Speaker 2>it until this weekend. So I was like, wait a minute,

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<v Speaker 2>does the title free Jack refer to some kind of

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<v Speaker 2>jack like in.

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<v Speaker 1>Jack's Oh, this would be the what's it called the

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<v Speaker 1>spiritual Uh? Yeah, god? What they call it? The spiritual

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<v Speaker 1>the spiritual switchboard?

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<v Speaker 2>Spiritual switchboard? Yes, yes, yes, So it's a piece of

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<v Speaker 2>technology that actually shows up at the end of the

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<v Speaker 2>movie and looks exactly like a Jack from a Game

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<v Speaker 2>of Jacks.

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<v Speaker 1>Oh man, I just realized as a Jack. Was that

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<v Speaker 1>on purpose?

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

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

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<v Speaker 2>DVD that was just cavir on my tongue. It was

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<v Speaker 2>a menu option called Experience our Website, which when you

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<v Speaker 2>click it, all it does is it takes you to

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<v Speaker 2>a screen that shows you the URL of Morgan Creek

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<v Speaker 2>Motion Pictures, which is www dot Morgan Creek, and then

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<v Speaker 2>you have the option to go back to the main menu.

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<v Speaker 1>So you would have to like write it down on

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<v Speaker 1>the sheet of paper and take it to your computer. Wow.

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<v Speaker 1>So good.

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<v Speaker 2>Anyway, let's hit some trailer audio.

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<v Speaker 4>Alex Furlong is about to die and enter the year

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<v Speaker 4>two thousand and nine, where immortality is only a heartbeat away,

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<v Speaker 4>where money can buy anything.

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<v Speaker 1>Shouldn't you consider an alternative bite.

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<v Speaker 4>Started to deceive you, including life itself, lose your mind

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<v Speaker 4>and you can live forever.

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<v Speaker 2>Free Jack.

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<v Speaker 1>See sounds exciting, sounds great, sounds like it's gonna be

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<v Speaker 1>one heck of a movie.

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<v Speaker 2>Right. If you'd been a kid at the time, you'd

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<v Speaker 2>be writing your local theater saying, make the free Jack

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<v Speaker 2>World premiere happen here.

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<v Speaker 1>Yep.

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<v Speaker 2>But so there are some key concepts in the film

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<v Speaker 2>that we're going to have to explain now, I think

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<v Speaker 2>for this discussion to make any sense. And one of

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<v Speaker 2>the distinctions that is that is most important is that

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<v Speaker 2>between the bone Jack and the bone Jacker and the

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<v Speaker 2>free Jack. Right.

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<v Speaker 1>So essentially, again, the whole idea here is people who

0:11:33.520 --> 0:11:37.319
<v Speaker 1>died in horrific accidents in the past. A lot of

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<v Speaker 1>times you know exactly when they died, where they died,

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<v Speaker 1>and you know that there's like a catastrophic event like

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<v Speaker 1>in this case a car wreck, a race car wreck,

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<v Speaker 1>so you know exactly where in time and space to

0:11:48.720 --> 0:11:53.200
<v Speaker 1>reach back and steal their body, in other words, jack

0:11:53.440 --> 0:11:56.280
<v Speaker 1>their bones. It's called bone jacking, and the people who

0:11:56.320 --> 0:11:57.559
<v Speaker 1>do it are bone.

0:11:57.320 --> 0:12:00.520
<v Speaker 2>Jackers, right, So they're bone jackers. And the person who

0:12:00.559 --> 0:12:03.520
<v Speaker 2>gets bone jacked from the past to the future to

0:12:03.559 --> 0:12:07.000
<v Speaker 2>become somebody's meat vehicle, that person is the bone jack.

0:12:07.400 --> 0:12:10.440
<v Speaker 1>Okay do they call them that? I thought maybe they

0:12:10.440 --> 0:12:12.280
<v Speaker 1>were just jacks, but they're called bone jacks.

0:12:12.320 --> 0:12:14.680
<v Speaker 2>I think they're called bone jack So the victim is

0:12:14.720 --> 0:12:18.040
<v Speaker 2>the bone jack. The verb would be to bone jack someone.

0:12:18.440 --> 0:12:20.560
<v Speaker 2>And then if you're one of these mercenaries who does

0:12:20.600 --> 0:12:22.559
<v Speaker 2>the bone jacking, you're a bone jacker.

0:12:23.120 --> 0:12:23.480
<v Speaker 1>Okay.

0:12:23.520 --> 0:12:26.280
<v Speaker 2>But then if a bone jack gets loose, then all

0:12:26.280 --> 0:12:29.360
<v Speaker 2>bets are off and they're a free jack, right, It's

0:12:29.360 --> 0:12:30.400
<v Speaker 2>like being a free agent.

0:12:30.760 --> 0:12:33.360
<v Speaker 1>So then they have to try and either jack the

0:12:33.400 --> 0:12:36.000
<v Speaker 1>free jack or bone jack the free jack in order

0:12:36.040 --> 0:12:36.800
<v Speaker 1>to get them back.

0:12:37.440 --> 0:12:40.240
<v Speaker 2>Right, for the bone Jack. Yes, yes, okay, that's right.

0:12:40.320 --> 0:12:42.440
<v Speaker 2>But I was thinking about, Okay, so the people who

0:12:42.559 --> 0:12:45.640
<v Speaker 2>who are the prime candidates for bone jacking in the

0:12:45.640 --> 0:12:47.920
<v Speaker 2>premise of this film are It's basically going to be

0:12:48.000 --> 0:12:52.600
<v Speaker 2>anyone who died on videotape with like a precise time

0:12:52.720 --> 0:12:55.200
<v Speaker 2>code and so you know the time and place where

0:12:55.200 --> 0:12:58.640
<v Speaker 2>they died, and that's well recorded and survives into the future.

0:12:58.920 --> 0:13:02.160
<v Speaker 2>So I realized, like, oh, probably all of the people

0:13:02.200 --> 0:13:04.839
<v Speaker 2>who are who were first in line to get bone

0:13:04.960 --> 0:13:08.240
<v Speaker 2>jacked are the people from the faces of death videos.

0:13:10.320 --> 0:13:13.000
<v Speaker 1>Sometimes they don't actually die, right, Sometimes that stuff's fake. Right.

0:13:13.440 --> 0:13:15.920
<v Speaker 2>Oh really, I've never actually watched one. I just remember

0:13:15.920 --> 0:13:17.360
<v Speaker 2>that was the thing when I was in high school

0:13:17.440 --> 0:13:20.079
<v Speaker 2>or whatever this is if you don't remember, these were

0:13:20.120 --> 0:13:23.520
<v Speaker 2>like morbid video cassettes of just like footage of people

0:13:23.600 --> 0:13:25.240
<v Speaker 2>dying and in various ways.

0:13:26.000 --> 0:13:28.400
<v Speaker 1>Yeah, I mean, and I guess it does help if

0:13:28.400 --> 0:13:30.440
<v Speaker 1>it is a case where something blows up, because then

0:13:30.480 --> 0:13:33.520
<v Speaker 1>there's more, it's less mystery of the body suddenly vanishes,

0:13:33.559 --> 0:13:35.600
<v Speaker 1>you know, right before they would die.

0:13:35.760 --> 0:13:37.480
<v Speaker 2>I mean, I think there'd still be a mystery. They

0:13:37.559 --> 0:13:39.560
<v Speaker 2>establish in this movie that there's a mystery.

0:13:39.840 --> 0:13:42.040
<v Speaker 1>Yeah, but there's a difference between Okay, there was a

0:13:42.480 --> 0:13:45.040
<v Speaker 1>car wreck and we never found the body to somebody

0:13:45.040 --> 0:13:47.880
<v Speaker 1>fired a bullet at JFK and then he vanished, you know,

0:13:48.320 --> 0:13:51.120
<v Speaker 1>and then it turns out he was bone jacked and

0:13:51.160 --> 0:13:54.400
<v Speaker 1>now is a body for some like super rich dude

0:13:54.400 --> 0:13:56.360
<v Speaker 1>in the future. Like that just doesn't make any sense.

0:13:56.360 --> 0:13:57.600
<v Speaker 1>That would be a huge incident.

0:13:57.920 --> 0:14:01.120
<v Speaker 2>Okay. So the film was directed by a guy named

0:14:01.200 --> 0:14:04.200
<v Speaker 2>Jeff Murphy who is a New Zealand film director who

0:14:04.240 --> 0:14:07.480
<v Speaker 2>passed away in twenty eighteen. His breakout film seems to

0:14:07.520 --> 0:14:10.000
<v Speaker 2>have been a New Zealand road trip movie that I've

0:14:10.000 --> 0:14:13.320
<v Speaker 2>never seen, called Goodbye pork Pie. But he had a

0:14:13.320 --> 0:14:16.680
<v Speaker 2>Hollywood period in which he directed films like Young Guns two,

0:14:17.080 --> 0:14:19.560
<v Speaker 2>which I didn't check, but I'm pretty sure that does

0:14:19.600 --> 0:14:20.880
<v Speaker 2>star Emilio Estevez.

0:14:20.920 --> 0:14:22.920
<v Speaker 1>It is, Yeah, it is an okay film.

0:14:23.000 --> 0:14:25.640
<v Speaker 2>Yeah, so connection there, Young Guns two in nineteen ninety

0:14:25.680 --> 0:14:28.320
<v Speaker 2>Free Jack in ninety two, so you can see the

0:14:28.320 --> 0:14:32.440
<v Speaker 2>connection there. But then he also directed a prestige period

0:14:32.480 --> 0:14:35.000
<v Speaker 2>drama I think about the regency period known as Under

0:14:35.080 --> 0:14:37.840
<v Speaker 2>Siege two Dark Territory in nineteen ninety five.

0:14:38.560 --> 0:14:43.160
<v Speaker 1>I've seen that one. That one has a terrible lead

0:14:43.480 --> 0:14:46.440
<v Speaker 1>but has has some really talented people in it, because

0:14:46.560 --> 0:14:50.120
<v Speaker 1>Eric Bogosian plays the main villain. And then I want

0:14:50.160 --> 0:14:50.840
<v Speaker 1>to say, you have.

0:14:51.080 --> 0:14:52.920
<v Speaker 2>Who's Eric Bogosian? I've heard that name.

0:14:53.240 --> 0:14:56.280
<v Speaker 1>Oh, Eric Bogosian. He's been in a ton of stuff.

0:14:56.280 --> 0:14:59.520
<v Speaker 1>You've definitely seen him in things I think he was in. Well,

0:14:59.520 --> 0:15:02.360
<v Speaker 1>most recently he was in Uncut Gems. But he's been

0:15:02.400 --> 0:15:03.160
<v Speaker 1>in a ton of stuff.

0:15:04.160 --> 0:15:08.040
<v Speaker 2>Yeah, he was in another Regency era drama, Charlie's Angels

0:15:08.040 --> 0:15:11.160
<v Speaker 2>Full Throttle, and he was a voice. I just looked

0:15:11.200 --> 0:15:13.040
<v Speaker 2>this up. He was a voice in Beavis and butthead

0:15:13.080 --> 0:15:13.720
<v Speaker 2>do America.

0:15:14.400 --> 0:15:17.440
<v Speaker 1>Well, yeah, there you go. He's an impressive actor, I

0:15:17.480 --> 0:15:19.920
<v Speaker 1>would say. But yeah, so I saw that movie. It

0:15:20.000 --> 0:15:21.960
<v Speaker 1>also had Steven Saga on it, of course, but yeah,

0:15:21.960 --> 0:15:22.560
<v Speaker 1>what can you do?

0:15:23.520 --> 0:15:26.160
<v Speaker 2>But Jeff Murphy was also a second unit director for

0:15:26.240 --> 0:15:29.600
<v Speaker 2>some big, you know, mainstream films, like like Peter Jackson's

0:15:29.640 --> 0:15:32.480
<v Speaker 2>Lord of the Rings trilogy. He did second unit stuff.

0:15:32.520 --> 0:15:36.000
<v Speaker 2>He did Dante's Peak, Triple X, State of the Union.

0:15:38.040 --> 0:15:42.520
<v Speaker 1>All right, So yeah, he had a pretty solid career. Now,

0:15:42.560 --> 0:15:44.240
<v Speaker 1>one thing about this film, this is something I didn't

0:15:44.240 --> 0:15:46.320
<v Speaker 1>realize back in the day when I originally watched it,

0:15:46.600 --> 0:15:48.800
<v Speaker 1>and it was just kind of a creeping realization as

0:15:48.840 --> 0:15:51.760
<v Speaker 1>I was watching it just the other day, and it

0:15:51.880 --> 0:15:55.560
<v Speaker 1>is that this was filmed I think, entirely in Atlanta, Georgia,

0:15:55.600 --> 0:15:58.520
<v Speaker 1>in the city in which we live, the city that

0:15:58.520 --> 0:16:00.200
<v Speaker 1>we're recording this episode.

0:15:59.800 --> 0:16:02.200
<v Speaker 2>In around like you saw Peachtree in it, didn't you

0:16:02.240 --> 0:16:04.880
<v Speaker 2>do you recognize suddenly when they're downtown and they're like,

0:16:04.920 --> 0:16:06.520
<v Speaker 2>there's Mortes stations and stuff.

0:16:06.600 --> 0:16:08.040
<v Speaker 1>Well, by that point I had looked it up, but

0:16:08.120 --> 0:16:10.160
<v Speaker 1>early on in the film, there's just a lot of

0:16:10.240 --> 0:16:12.240
<v Speaker 1>like you're in two thousand and nine, it's in the future,

0:16:12.480 --> 0:16:15.400
<v Speaker 1>and everything's like kind of gritty and industrial in a

0:16:15.440 --> 0:16:18.880
<v Speaker 1>way that plenty of parts of Atlanta still are. So

0:16:18.920 --> 0:16:20.040
<v Speaker 1>I was kind of thinking it was like, you know,

0:16:20.080 --> 0:16:22.320
<v Speaker 1>it's kind of an Atlanta feel to it, and then

0:16:22.320 --> 0:16:24.920
<v Speaker 1>I'm like, wait, I should look this up, and sure enough,

0:16:25.200 --> 0:16:28.840
<v Speaker 1>filmed in Atlanta. Of course, nowadays everything's filmed in Atlanta,

0:16:29.000 --> 0:16:31.480
<v Speaker 1>filmed in Georgia, so it doesn't really mean anything. But

0:16:32.600 --> 0:16:34.120
<v Speaker 1>you know, back back in the day, there weren't that

0:16:34.160 --> 0:16:37.200
<v Speaker 1>many films filming in Atlanta, so it's it's kind of notable.

0:16:37.080 --> 0:16:40.280
<v Speaker 2>This one has some of the exact same locations and

0:16:40.320 --> 0:16:42.000
<v Speaker 2>streets featured in Baby Driver.

0:16:42.600 --> 0:16:43.640
<v Speaker 1>Yeah, like you could.

0:16:43.680 --> 0:16:45.920
<v Speaker 2>You could compare Free Jack and Baby Driver and do

0:16:46.000 --> 0:16:47.280
<v Speaker 2>some side by sides.

0:16:47.000 --> 0:16:48.800
<v Speaker 1>Like they went to film Baby Driver and they're like, look,

0:16:48.840 --> 0:16:50.360
<v Speaker 1>we'll give you the free Jack package. This is what

0:16:50.440 --> 0:16:51.040
<v Speaker 1>it consists on.

0:16:52.960 --> 0:16:56.080
<v Speaker 2>You know, another dystopian future movie that uses Mortes stations.

0:16:56.120 --> 0:16:59.480
<v Speaker 2>There were cut scenes from Escape from New York that

0:16:59.520 --> 0:17:01.440
<v Speaker 2>were filmed in moretestations in Atlanta.

0:17:01.920 --> 0:17:04.600
<v Speaker 1>Yeah. Yeah. Of course the High Museum here in Atlanta

0:17:04.880 --> 0:17:09.280
<v Speaker 1>is famously where doctor Hannibal Lecter was housed in Manhunter,

0:17:10.760 --> 0:17:13.159
<v Speaker 1>the original adaptation of Red Dragon.

0:17:13.280 --> 0:17:16.439
<v Speaker 2>M h Yeah, so played by Brian Cox.

0:17:16.640 --> 0:17:19.440
<v Speaker 1>Yeah. Yeah, a tremendous role. That was a really really

0:17:19.440 --> 0:17:22.040
<v Speaker 1>fun film, as I recall. But of course nowadays everything

0:17:22.080 --> 0:17:25.720
<v Speaker 1>is filmed around Atlanta, so it's it can be excruciating

0:17:25.760 --> 0:17:28.399
<v Speaker 1>at times. I find like I'm watching Cobra Kai and

0:17:28.400 --> 0:17:30.639
<v Speaker 1>they film like all of it in Atlanta, like everywhere,

0:17:30.640 --> 0:17:33.960
<v Speaker 1>Like I expect to see myself see out of my

0:17:34.080 --> 0:17:36.880
<v Speaker 1>own house and take out the garbage in the background

0:17:36.920 --> 0:17:39.320
<v Speaker 1>in a scene, you know, so I don't know, it

0:17:39.600 --> 0:17:41.879
<v Speaker 1>kind of takes me out of the experience sometimes these days.

0:17:41.880 --> 0:17:43.800
<v Speaker 1>But it's fun with these older films for some reason.

0:17:44.080 --> 0:17:47.120
<v Speaker 2>Yeah. So this was actually based on a novel, I think,

0:17:47.160 --> 0:17:48.640
<v Speaker 2>but maybe loosely based.

0:17:49.240 --> 0:17:51.960
<v Speaker 1>Yes, the novel very loosely based on a novel by

0:17:52.160 --> 0:17:55.920
<v Speaker 1>Robert Sheckley. He lived nineteen twenty eight through two thousand

0:17:55.960 --> 0:17:58.280
<v Speaker 1>and five, and it was quite successful. The book in

0:17:58.359 --> 0:18:02.399
<v Speaker 1>question was nineteen fifty eight More Tality, Inc. And originally

0:18:03.320 --> 0:18:05.400
<v Speaker 1>I didn't have time to read any of this book.

0:18:05.440 --> 0:18:09.439
<v Speaker 1>But originally the transit is from nineteen fifty eight to

0:18:09.560 --> 0:18:13.600
<v Speaker 1>the year twenty one to ten, so much further in

0:18:13.640 --> 0:18:14.480
<v Speaker 1>the into the future.

0:18:15.480 --> 0:18:18.280
<v Speaker 2>But anyway, Yeah, by shortening that length though that that

0:18:18.359 --> 0:18:21.159
<v Speaker 2>dramatically changes what's possible with the plot in terms of

0:18:21.760 --> 0:18:25.359
<v Speaker 2>meeting people who you previously knew and not appearing to

0:18:25.400 --> 0:18:27.040
<v Speaker 2>have aged a single day in between.

0:18:27.560 --> 0:18:30.680
<v Speaker 1>Yeah. So it's supposedly a good book. I'd love to

0:18:30.720 --> 0:18:33.320
<v Speaker 1>hear from anyone out there who's read it. I read

0:18:33.359 --> 0:18:36.479
<v Speaker 1>that it, you know, it doesn't again, doesn't have much

0:18:36.480 --> 0:18:37.800
<v Speaker 1>to do with this movie. I don't think the terms

0:18:37.840 --> 0:18:40.960
<v Speaker 1>free jacker bonejacker used it all in the book, and

0:18:41.960 --> 0:18:44.040
<v Speaker 1>I think there's supposedly a sequence in it where a

0:18:44.080 --> 0:18:46.320
<v Speaker 1>guy the main character, gets in line for something and

0:18:46.359 --> 0:18:48.879
<v Speaker 1>then finds out it's a suicide booth, which of course

0:18:48.920 --> 0:18:52.520
<v Speaker 1>is a gag in Futurama in the first episode of that, right,

0:18:53.560 --> 0:18:58.080
<v Speaker 1>but yeah, so very loosely based on a novel. Also,

0:18:58.560 --> 0:19:00.840
<v Speaker 1>there are a number of people that are credited on

0:19:00.840 --> 0:19:03.400
<v Speaker 1>the screenplay for this, and we'll get back to one

0:19:03.440 --> 0:19:06.560
<v Speaker 1>in a bit, but one of the people is Ronald Shusett,

0:19:06.600 --> 0:19:10.399
<v Speaker 1>who worked with Dan O'Bannon on Alien and Total Recall.

0:19:10.160 --> 0:19:12.040
<v Speaker 2>Ah, two great sci fi scripts.

0:19:12.280 --> 0:19:14.960
<v Speaker 1>Yeah, all right, now we've got our lead. Our star,

0:19:15.160 --> 0:19:20.480
<v Speaker 1>Emilio Estevez plays the character Alex Furlong. Now, Estevez is,

0:19:20.520 --> 0:19:23.680
<v Speaker 1>of course the nephew of noted B movie icon Joe Estevez,

0:19:24.520 --> 0:19:27.320
<v Speaker 1>And you lead with that, Yeah, yeah, I mean he's

0:19:27.359 --> 0:19:30.440
<v Speaker 1>also the son of acting legend Martin Sheen, whose, of

0:19:30.480 --> 0:19:33.160
<v Speaker 1>course real name is Ramon Estevez. So if you weren't

0:19:33.160 --> 0:19:35.560
<v Speaker 1>aware of that, like Martin Sheen, that's his Hollywood name,

0:19:35.600 --> 0:19:40.399
<v Speaker 1>his real name is Estevez. H And yeah, so you

0:19:40.400 --> 0:19:43.160
<v Speaker 1>know Martin Sheen from stuff like Apocalypse Now or Spawn.

0:19:43.840 --> 0:19:44.760
<v Speaker 1>He's been in everything.

0:19:44.880 --> 0:19:46.760
<v Speaker 2>I was just thinking how funny it was that you

0:19:46.760 --> 0:19:48.640
<v Speaker 2>don't you don't often put it together in your brain,

0:19:48.720 --> 0:19:51.080
<v Speaker 2>or at least I don't that like Martin Sheen, who

0:19:51.119 --> 0:19:54.800
<v Speaker 2>played the President on the West Wing, who's this kind

0:19:54.840 --> 0:19:59.960
<v Speaker 2>of like grumpy but kind irascible fatherly figure. He's presented

0:20:00.240 --> 0:20:04.600
<v Speaker 2>this lovable nerd. Is also the main character from Apocalypse

0:20:04.640 --> 0:20:06.280
<v Speaker 2>Now and the villain from Spawn.

0:20:06.880 --> 0:20:09.920
<v Speaker 1>Yeah. I mean, he's been in so many different types

0:20:09.960 --> 0:20:12.199
<v Speaker 1>of films. He's been in some crap, you know, not

0:20:12.400 --> 0:20:15.000
<v Speaker 1>as much as Joe Estevez, but you know, but he

0:20:15.320 --> 0:20:17.720
<v Speaker 1>was in some really great films, especially early in his career.

0:20:17.800 --> 0:20:22.119
<v Speaker 1>Nineteen seventy Three's bad Lands by Terrence Malick, wonderful picture.

0:20:22.440 --> 0:20:25.159
<v Speaker 2>Emilia Estevez was was, I guess, pretty young at the

0:20:25.200 --> 0:20:27.119
<v Speaker 2>time this was filmed. I don't know exactly how he

0:20:27.160 --> 0:20:28.720
<v Speaker 2>was in his twenties, I guess.

0:20:29.560 --> 0:20:31.119
<v Speaker 1>Yeah, I'm not sure, but he was. Certainly he was

0:20:31.160 --> 0:20:33.679
<v Speaker 1>chugging right along. I mean, he'd been in the Breakfast Club,

0:20:34.320 --> 0:20:39.359
<v Speaker 1>the Young Guns, films, Repoman, a true cult classic, the

0:20:39.480 --> 0:20:42.800
<v Speaker 1>Mighty Ducks that came later, I guess, and then of

0:20:42.840 --> 0:20:45.880
<v Speaker 1>course he was in Maximum Overdrive, So you know, he's

0:20:45.920 --> 0:20:48.560
<v Speaker 1>been I think this was a movie that came out

0:20:48.640 --> 0:20:50.640
<v Speaker 1>at a time when he was very much the sort

0:20:50.640 --> 0:20:52.959
<v Speaker 1>of name you would put ahead of Mick Jagger on

0:20:53.000 --> 0:20:53.760
<v Speaker 1>a film.

0:20:53.920 --> 0:20:57.280
<v Speaker 2>That's pretty weird. So, of course, the thing that mainly

0:20:57.359 --> 0:20:59.919
<v Speaker 2>drew me into this when I picked it up at

0:21:00.040 --> 0:21:03.560
<v Speaker 2>the used bookstore was that it stars Mick Jagger, and

0:21:03.960 --> 0:21:06.040
<v Speaker 2>I had no idea Mick Jagger had ever been in

0:21:06.080 --> 0:21:08.159
<v Speaker 2>a movie at this time. Of course, Mick Jagger the

0:21:08.240 --> 0:21:12.000
<v Speaker 2>lead singer of the Rolling Stones. I was so my

0:21:12.200 --> 0:21:15.800
<v Speaker 2>mind was so rendered by the idea of him being

0:21:15.800 --> 0:21:17.600
<v Speaker 2>in a movie at all. I wonder if that sort

0:21:17.640 --> 0:21:20.360
<v Speaker 2>of prevented me from watching it in the years in between,

0:21:20.680 --> 0:21:22.920
<v Speaker 2>because I was almost kind of scared to find out

0:21:22.920 --> 0:21:25.760
<v Speaker 2>what it was like.

0:21:24.640 --> 0:21:26.480
<v Speaker 1>Like, you were afraid that his performance would just be

0:21:26.560 --> 0:21:28.840
<v Speaker 1>so good that it would change you on a fundamental level.

0:21:28.920 --> 0:21:33.439
<v Speaker 2>Yeah, how can you really make informed decisions about transformative change?

0:21:34.080 --> 0:21:39.160
<v Speaker 1>Yeah, it's so. Yeah, Mick Jagger's presence in this film

0:21:39.240 --> 0:21:42.800
<v Speaker 1>is interesting. Mick Jagger is I think you would call

0:21:42.880 --> 0:21:45.960
<v Speaker 1>him an intermittent actor at best. You look him up

0:21:45.960 --> 0:21:49.679
<v Speaker 1>on IMDb and most of his film credits are himself

0:21:49.760 --> 0:21:53.960
<v Speaker 1>in concert footage. But when he does act, when he

0:21:54.040 --> 0:21:56.359
<v Speaker 1>has acted, it's been all over the place. So his

0:21:56.359 --> 0:21:59.960
<v Speaker 1>first screen role was the lead in nineteen seventies Ned Kelly,

0:22:00.520 --> 0:22:02.919
<v Speaker 1>which I haven't seen it, but it does seem very

0:22:02.960 --> 0:22:05.800
<v Speaker 1>much like, Hey, we got this young fella here. He's

0:22:05.800 --> 0:22:08.199
<v Speaker 1>the front man of this popular band. Let's put him

0:22:08.200 --> 0:22:12.000
<v Speaker 1>in a movie. And then in nineteen eighty six he

0:22:12.040 --> 0:22:15.600
<v Speaker 1>was in a film called Laughter in the Dark, based

0:22:15.600 --> 0:22:18.320
<v Speaker 1>on a book by Nabokov that I haven't read. Are

0:22:18.320 --> 0:22:19.240
<v Speaker 1>you familiar with this one?

0:22:19.960 --> 0:22:22.520
<v Speaker 2>I think I've heard of it, but I've never read it, Okay.

0:22:22.560 --> 0:22:25.000
<v Speaker 1>And then in nineteen ninety seven he was in an

0:22:25.040 --> 0:22:29.080
<v Speaker 1>adaptation of Bent, which based on the play by Martin Sherman.

0:22:29.160 --> 0:22:32.600
<v Speaker 1>This is about the persecution of homosexuals doing the third Reich,

0:22:33.200 --> 0:22:37.280
<v Speaker 1>you know, very very serious, very stirring piece of drama.

0:22:37.840 --> 0:22:40.639
<v Speaker 1>And then he'll still occasionally act in things seemingly when

0:22:40.680 --> 0:22:43.320
<v Speaker 1>the mood hits him. But I think this is this

0:22:43.400 --> 0:22:45.239
<v Speaker 1>may be free Jack maybe one of the few, like

0:22:45.359 --> 0:22:48.639
<v Speaker 1>really like big budget kind of action films that he

0:22:48.680 --> 0:22:51.520
<v Speaker 1>pops up in. And I don't think he really has

0:22:51.560 --> 0:22:53.320
<v Speaker 1>another appearance in his career like.

0:22:53.320 --> 0:22:56.479
<v Speaker 2>This, well, because one was enough, clearly. I mean his

0:22:56.640 --> 0:22:59.879
<v Speaker 2>role in this film changed him, It changed the world,

0:23:01.000 --> 0:23:03.080
<v Speaker 2>I would say, probably my Well, I don't know. There

0:23:03.080 --> 0:23:05.040
<v Speaker 2>are a couple of things I really did love about

0:23:05.080 --> 0:23:09.800
<v Speaker 2>Free Jack One was just a spectacular scene with Frankie

0:23:09.800 --> 0:23:12.880
<v Speaker 2>Faison that we'll get to in a minute. But Mick

0:23:12.960 --> 0:23:17.200
<v Speaker 2>Jagger also, he really rules this movie, especially when he's

0:23:17.240 --> 0:23:18.400
<v Speaker 2>not talking.

0:23:18.560 --> 0:23:20.520
<v Speaker 1>Like he's best when he's not talking.

0:23:21.000 --> 0:23:25.520
<v Speaker 2>Yes, just reaction shots where he's wearing a spaceball's helmet

0:23:25.680 --> 0:23:27.919
<v Speaker 2>or a shot that suddenly cuts to him and we

0:23:27.960 --> 0:23:30.360
<v Speaker 2>get to see him in a coat with like gigantic

0:23:30.720 --> 0:23:35.120
<v Speaker 2>shoulder pads and you know, ankle link dragging. It's his costume.

0:23:35.200 --> 0:23:39.000
<v Speaker 2>Is Mick Jagger's costumes, Mick Jagger's reaction shots and occasionally

0:23:39.080 --> 0:23:42.400
<v Speaker 2>when Mick Jagger laughs at something that this movie really

0:23:42.480 --> 0:23:43.399
<v Speaker 2>kicks into high gear.

0:23:43.720 --> 0:23:46.119
<v Speaker 1>He has absolutely has a great coat in this His

0:23:46.200 --> 0:23:49.720
<v Speaker 1>costuming is is phenomenal. But but yeah, I guess it's

0:23:49.720 --> 0:23:52.160
<v Speaker 1>one of those things you can't help but compare Mick

0:23:52.240 --> 0:23:54.879
<v Speaker 1>Jagger the actor to David Bowie the actor. And with

0:23:55.000 --> 0:23:58.040
<v Speaker 1>David Bowie you were able to in I think most,

0:23:58.119 --> 0:24:00.879
<v Speaker 1>if not all, of his film roles, the mystique of

0:24:00.960 --> 0:24:05.359
<v Speaker 1>David Bowie the musical performer translated to the film roles

0:24:05.400 --> 0:24:08.960
<v Speaker 1>that he took on and made them work marvelously. Like

0:24:09.040 --> 0:24:11.960
<v Speaker 1>David Bowie was great and everything he was in I

0:24:11.960 --> 0:24:13.840
<v Speaker 1>can't think of anything I've seen David Bowie in where

0:24:13.840 --> 0:24:17.240
<v Speaker 1>I'm like that was disappointing. But mc jagger the you know,

0:24:17.280 --> 0:24:21.800
<v Speaker 1>the calculus didn't work there, The transit was not successful.

0:24:22.480 --> 0:24:25.679
<v Speaker 2>David Bowie's visual presence in a film is the equivalent

0:24:25.880 --> 0:24:29.760
<v Speaker 2>of the creaky lore theme from the soundtrack to The

0:24:29.760 --> 0:24:35.040
<v Speaker 2>Lord of the Rings. You know, like it really it

0:24:35.119 --> 0:24:37.680
<v Speaker 2>conjures up the same kind of fog of the ancients.

0:24:38.200 --> 0:24:41.199
<v Speaker 1>Yeah, absolutely so. We'll have more to say about mc

0:24:41.280 --> 0:24:44.520
<v Speaker 1>jagger's performance in this film as we proceed, but we should.

0:24:44.560 --> 0:24:46.840
<v Speaker 1>We should also hit on the fact that Renee Russo's

0:24:46.880 --> 0:24:50.280
<v Speaker 1>in this she plays Julie Redland, the love interest in

0:24:50.320 --> 0:24:52.920
<v Speaker 1>the past that is also the love interest in the future.

0:24:53.480 --> 0:24:55.879
<v Speaker 1>And say what you will about this movie or Russo's

0:24:55.960 --> 0:24:59.359
<v Speaker 1>I think, you know, perfectly fine but probably forgettable for performance.

0:24:59.400 --> 0:25:02.399
<v Speaker 1>But she met her husband on this film. One of

0:25:02.400 --> 0:25:06.359
<v Speaker 1>its mini screenwriters was Dan Gilroy, who also went on

0:25:06.440 --> 0:25:10.520
<v Speaker 1>to write and direct twenty fourteen's Nightcrawler. Oh wow, yeah,

0:25:11.200 --> 0:25:14.200
<v Speaker 1>so say so. No matter what you think of the picture,

0:25:14.320 --> 0:25:15.399
<v Speaker 1>some good stuff came out of it.

0:25:16.440 --> 0:25:21.760
<v Speaker 2>Anthony Hopkins has an excellent check collecting scene in this film. Yea,

0:25:23.000 --> 0:25:26.639
<v Speaker 2>Anthony Hopkins is a fabulous actor, but this is I

0:25:26.680 --> 0:25:29.679
<v Speaker 2>would say you could show this his scene in this

0:25:29.760 --> 0:25:34.320
<v Speaker 2>movie as like the classroom textbook example of phoning it

0:25:34.359 --> 0:25:36.919
<v Speaker 2>in if you were trying to explain that concept.

0:25:37.119 --> 0:25:40.000
<v Speaker 1>Yeah. I mean he's not asked to do much. No,

0:25:40.560 --> 0:25:43.520
<v Speaker 1>his character from the get go is dead and is

0:25:43.600 --> 0:25:46.720
<v Speaker 1>just a like brain waves and a giant jack in

0:25:46.760 --> 0:25:50.800
<v Speaker 1>the sky. Yeah, but still he's Anthony Hopkins, so he

0:25:50.840 --> 0:25:53.560
<v Speaker 1>classes up every scene he's in and makes you believe

0:25:53.600 --> 0:25:56.800
<v Speaker 1>it on a level that just Emilio Estevez is not

0:25:56.920 --> 0:25:57.760
<v Speaker 1>capable of doing it.

0:25:58.359 --> 0:26:01.240
<v Speaker 2>Yeah, it's a little rough. I guarantee you that when

0:26:01.280 --> 0:26:05.399
<v Speaker 2>Anthony Hopkins delivered his lines in the single takes of

0:26:05.480 --> 0:26:07.439
<v Speaker 2>the scenes that we saw that made it into the

0:26:07.440 --> 0:26:09.440
<v Speaker 2>final version of the movie, that was the first time

0:26:09.480 --> 0:26:10.160
<v Speaker 2>he had read them.

0:26:12.560 --> 0:26:17.200
<v Speaker 1>Yeah, I would not doubt it. Now. Another actor that

0:26:17.240 --> 0:26:20.640
<v Speaker 1>I think everybody will will pretty much recognize now that

0:26:20.640 --> 0:26:23.320
<v Speaker 1>that is in it is Jonathan Banks, who plays his

0:26:23.400 --> 0:26:25.679
<v Speaker 1>character Michelette Micholette.

0:26:25.880 --> 0:26:31.240
<v Speaker 2>Michelette Michelette. He's like, he's like a creepy he's a

0:26:31.280 --> 0:26:33.679
<v Speaker 2>business executive, he's a suit Yeah.

0:26:34.280 --> 0:26:37.480
<v Speaker 1>So uh yeah. Banks was born in forty seven. He's

0:26:37.480 --> 0:26:40.320
<v Speaker 1>had a whole career of playing heavies with eyes you

0:26:40.359 --> 0:26:43.440
<v Speaker 1>can't trust. He's got these Yeah, he's got these these eyes.

0:26:43.480 --> 0:26:44.919
<v Speaker 1>You just look at him and you're like that, that

0:26:44.960 --> 0:26:46.320
<v Speaker 1>guy's bad back. He's a lion.

0:26:46.520 --> 0:26:47.520
<v Speaker 2>Yeah, he's he was.

0:26:47.520 --> 0:26:51.639
<v Speaker 1>Made to play like mercenaries and dirty cops and you

0:26:51.680 --> 0:26:53.560
<v Speaker 1>know thugs. You know, that's like his whole thing.

0:26:54.520 --> 0:26:58.000
<v Speaker 2>He looks like somebody whose hobby is shoplifting golf equipment.

0:26:58.720 --> 0:27:03.439
<v Speaker 1>Yeah. Now, everybody now definitely knows him as Mike, first

0:27:03.480 --> 0:27:06.879
<v Speaker 1>from Breaking Bad and then from the fabulous prequel A

0:27:06.960 --> 0:27:10.359
<v Speaker 1>Better Call Saul, And he's tremendous on those shows because

0:27:10.359 --> 0:27:12.280
<v Speaker 1>it gives him a chance to be this cold, heavy

0:27:12.320 --> 0:27:15.719
<v Speaker 1>but also play this aging, emotional human being with you know,

0:27:16.280 --> 0:27:19.440
<v Speaker 1>with human connections in his life. That was not always

0:27:19.520 --> 0:27:21.680
<v Speaker 1>the case with the kind of roles that Banks would

0:27:21.680 --> 0:27:23.879
<v Speaker 1>have because he's he's been in so many things. He

0:27:23.920 --> 0:27:27.640
<v Speaker 1>often plays again like cops and heavies. He was Deputy

0:27:27.640 --> 0:27:30.960
<v Speaker 1>Brent in Grimlins in eighty four. Let's see. He was

0:27:31.000 --> 0:27:32.879
<v Speaker 1>in a few episodes of Tales. He was in one

0:27:32.880 --> 0:27:34.399
<v Speaker 1>episode of Tales from the Crypt. He was in an

0:27:34.400 --> 0:27:37.440
<v Speaker 1>episode of Highlander, the TV series he was in Deep

0:27:37.480 --> 0:27:40.480
<v Speaker 1>Space nine. He was a show regular slash lead on

0:27:40.560 --> 0:27:43.199
<v Speaker 1>Wise Guy from eighty seven through ninety. He was in

0:27:43.320 --> 0:27:47.159
<v Speaker 1>Murder She wrote, he was on airplane just so much stuff.

0:27:47.440 --> 0:27:47.640
<v Speaker 2>Yeah.

0:27:47.960 --> 0:27:51.200
<v Speaker 1>But his first screen role is a nineteen seventy four

0:27:51.359 --> 0:27:55.360
<v Speaker 1>education short from the Los Angeles Public Library titled Linda's

0:27:55.359 --> 0:27:59.200
<v Speaker 1>Film on Menstruation. Oh, so it's worth looking up.

0:27:59.480 --> 0:27:59.639
<v Speaker 4>You know.

0:27:59.640 --> 0:28:03.679
<v Speaker 1>It's just educational short film and it's on YouTube, and

0:28:03.720 --> 0:28:06.520
<v Speaker 1>you get to see baby Jonathan Banks in there playing

0:28:06.760 --> 0:28:09.960
<v Speaker 1>like this gruff guy who doesn't understand menstruation.

0:28:10.320 --> 0:28:12.600
<v Speaker 2>Oh, he's like a don't do what Donnie don't does.

0:28:13.160 --> 0:28:14.960
<v Speaker 1>Yeah, Like he's sitting on the couch and he's like,

0:28:15.080 --> 0:28:18.480
<v Speaker 1>I don't understand menstruation. So that the woman in the

0:28:18.560 --> 0:28:21.280
<v Speaker 1>room turns on the TV and there's an animation. There's

0:28:21.320 --> 0:28:22.760
<v Speaker 1>a cartoon that explains it all.

0:28:22.800 --> 0:28:23.600
<v Speaker 2>So oh I see.

0:28:23.640 --> 0:28:24.080
<v Speaker 1>Yeah.

0:28:24.119 --> 0:28:26.879
<v Speaker 2>So he's he's ready to learn. He's not somebody who's

0:28:26.920 --> 0:28:28.400
<v Speaker 2>just like just doesn't get it.

0:28:29.080 --> 0:28:31.800
<v Speaker 1>Yeah. But his face he has that. One of the

0:28:31.840 --> 0:28:34.119
<v Speaker 1>great things about Jonathan Banks. He has a great, like

0:28:34.359 --> 0:28:38.240
<v Speaker 1>smoldering look, like he's great at at just expressing that

0:28:38.520 --> 0:28:40.480
<v Speaker 1>I don't I don't really care what's going on here

0:28:40.560 --> 0:28:42.600
<v Speaker 1>with my with my you know, just my eyes and

0:28:42.680 --> 0:28:45.600
<v Speaker 1>kind of like the melting features of my face. So

0:28:45.640 --> 0:28:47.400
<v Speaker 1>he has that going on in that scene. You can

0:28:47.440 --> 0:28:50.959
<v Speaker 1>definitely see it's it forecast everything to come in his career, Like,

0:28:51.000 --> 0:28:52.280
<v Speaker 1>this is a guy that's going to play a lot

0:28:52.320 --> 0:28:55.320
<v Speaker 1>of heavies, fair enough, all right, So he's essentially your

0:28:55.840 --> 0:28:59.000
<v Speaker 1>one of your sub villains here, one of your top

0:28:59.040 --> 0:29:01.280
<v Speaker 1>three anyway. But then you have a whole host of

0:29:01.320 --> 0:29:03.200
<v Speaker 1>additional players in this film as well.

0:29:03.360 --> 0:29:04.880
<v Speaker 2>God, the cast is huge.

0:29:05.240 --> 0:29:07.520
<v Speaker 1>Yeah. For instance, you have this character named Brad who

0:29:07.560 --> 0:29:10.200
<v Speaker 1>shows up in the past and the future, played by

0:29:10.520 --> 0:29:13.680
<v Speaker 1>David Johansson, which if you like me and you, I

0:29:13.680 --> 0:29:15.400
<v Speaker 1>don't know, you grew up watching the right era of

0:29:15.520 --> 0:29:18.800
<v Speaker 1>MTV or the right reruns of Saturday Night Live, then

0:29:18.800 --> 0:29:21.200
<v Speaker 1>you probably will recognize him as Buster Poindexter.

0:29:21.440 --> 0:29:24.840
<v Speaker 2>Oh no, I know him as New York Dolls and Scrooged.

0:29:25.280 --> 0:29:27.720
<v Speaker 1>Oh yeah, yeah. That was one of his big screen roles,

0:29:27.880 --> 0:29:31.000
<v Speaker 1>is Scrooge. There's another great one, and that's Tales from

0:29:31.000 --> 0:29:33.719
<v Speaker 1>the Dark Side, the movie in which he plays an

0:29:33.720 --> 0:29:36.760
<v Speaker 1>assassin in the Cat from Hell segment, which is based

0:29:36.800 --> 0:29:38.160
<v Speaker 1>on a Stephen King short story.

0:29:38.600 --> 0:29:39.680
<v Speaker 2>Oh yeah, I remember that.

0:29:39.800 --> 0:29:41.800
<v Speaker 1>I remember the cat like goes down his throat and

0:29:41.840 --> 0:29:42.719
<v Speaker 1>jumps out his stomach.

0:29:42.840 --> 0:29:43.080
<v Speaker 2>Yeah.

0:29:43.080 --> 0:29:46.280
<v Speaker 1>Great, yep, yeah.

0:29:46.520 --> 0:29:48.080
<v Speaker 2>Oh, but he's great in this.

0:29:48.560 --> 0:29:51.240
<v Speaker 1>Yeah. Yeah, he's great. He's like, what is pit boss

0:29:51.360 --> 0:29:53.959
<v Speaker 1>or something? He's somebody knows in the past, and then

0:29:54.000 --> 0:29:56.360
<v Speaker 1>in the future he looks him up, and of course

0:29:56.400 --> 0:29:58.560
<v Speaker 1>now he's in the Hell City of two thousand and

0:29:58.640 --> 0:30:02.920
<v Speaker 1>nine America. This character, Brad is just a low life

0:30:03.680 --> 0:30:06.520
<v Speaker 1>who instantly betrays him and gets shot.

0:30:06.880 --> 0:30:09.360
<v Speaker 2>Yeah. Amanda Plumbers in this.

0:30:10.000 --> 0:30:12.960
<v Speaker 1>Yeah, the daughter of the late great Christopher Plumber, best

0:30:13.000 --> 0:30:15.160
<v Speaker 1>known for She's probably best known for stuff like pulp

0:30:15.200 --> 0:30:18.240
<v Speaker 1>fiction and The Fisher King. She often plays characters with

0:30:18.280 --> 0:30:22.320
<v Speaker 1>a really fantastic frantic energy. She's a wonderful character actor,

0:30:22.320 --> 0:30:26.520
<v Speaker 1>I would say, a wonderful weird character actor. She's also

0:30:26.680 --> 0:30:29.680
<v Speaker 1>in an excellent episode of the nineties Outer Limits series

0:30:29.680 --> 0:30:33.040
<v Speaker 1>that I recently watched, titled A Stitch in Time, where

0:30:33.040 --> 0:30:37.040
<v Speaker 1>she plays the time traveling doctor Thereesa Givens, who, like Go,

0:30:37.280 --> 0:30:42.840
<v Speaker 1>uses her time machine to kill sexual predators in the past. Yeah.

0:30:42.880 --> 0:30:45.680
<v Speaker 1>So she actually won an Emmy for that. She's great

0:30:45.680 --> 0:30:45.920
<v Speaker 1>in it.

0:30:46.120 --> 0:30:46.479
<v Speaker 2>Wow.

0:30:47.160 --> 0:30:48.800
<v Speaker 1>In this, she plays a nun with a shotgun.

0:30:49.160 --> 0:30:52.680
<v Speaker 2>That's right. I kept calling her sister Shotgun when.

0:30:52.840 --> 0:30:54.880
<v Speaker 1>I think that's her name. I can't remember what else

0:30:54.880 --> 0:30:59.360
<v Speaker 1>it could be. I think she's just none. Actually, I

0:30:59.360 --> 0:31:02.720
<v Speaker 1>think she's credited as Oh, let's see who else we have. Okay,

0:31:02.760 --> 0:31:06.640
<v Speaker 1>we have grand l Bush places character Boone, who's sort

0:31:06.680 --> 0:31:09.800
<v Speaker 1>of a corpo samurai, like right out of the Cyberpunk

0:31:10.200 --> 0:31:12.560
<v Speaker 1>role playing game and video game franchise.

0:31:12.760 --> 0:31:16.400
<v Speaker 2>Yes, he's like a he's like a corporate executive slash

0:31:16.840 --> 0:31:21.560
<v Speaker 2>bodyguard or like mercenary type guy. Who. So he's he's

0:31:22.040 --> 0:31:24.760
<v Speaker 2>in the corporate world, but he's skilled. He's got a

0:31:24.840 --> 0:31:26.080
<v Speaker 2>katana and stuff.

0:31:26.280 --> 0:31:29.800
<v Speaker 1>Yeah, he's always carrying around this short samurai sword and

0:31:29.840 --> 0:31:32.640
<v Speaker 1>he has a gun. He's wearing a big suit. Yeah.

0:31:32.680 --> 0:31:35.160
<v Speaker 1>So he's yeah, like I say, right out of Cyberpunk.

0:31:35.520 --> 0:31:38.760
<v Speaker 2>So I knew this guys from die Hard, in which

0:31:38.800 --> 0:31:41.640
<v Speaker 2>he's one of the two FBI agents who come in.

0:31:41.680 --> 0:31:45.560
<v Speaker 2>He's Special Agent Johnson. It's him and Robert dove Who

0:31:45.560 --> 0:31:47.080
<v Speaker 2>are the two FBI guys?

0:31:47.520 --> 0:31:51.920
<v Speaker 1>Oh, okay, yeah those are some some Dovey's definitely heavy.

0:31:53.160 --> 0:31:55.760
<v Speaker 1>I think I probably knew Bush best from playing ball

0:31:55.880 --> 0:31:58.480
<v Speaker 1>Rock and Street Fighter too. No street Fighter. It's not

0:31:58.480 --> 0:32:01.680
<v Speaker 1>street Fighter too. It's just street Fighter, the Jean Claude

0:32:01.720 --> 0:32:05.000
<v Speaker 1>van Dam version of that. But yeah, he's been in

0:32:05.040 --> 0:32:06.719
<v Speaker 1>a bunch of so. He was in Exorcist three, he

0:32:06.760 --> 0:32:09.200
<v Speaker 1>was in License to Kill. I think I remember him

0:32:09.240 --> 0:32:12.080
<v Speaker 1>from that. Basically, he did a bunch of nineties action.

0:32:12.240 --> 0:32:15.760
<v Speaker 1>He was in Demolition Man. But make no mistake about

0:32:15.760 --> 0:32:18.200
<v Speaker 1>Grandell Bush. He was a highly trained actor who did

0:32:18.200 --> 0:32:22.120
<v Speaker 1>everything from Shakespeare and to like seventy stage musicals, like

0:32:22.200 --> 0:32:23.000
<v Speaker 1>rock musicals.

0:32:23.040 --> 0:32:23.800
<v Speaker 2>Oh, he was in Hair.

0:32:23.920 --> 0:32:26.040
<v Speaker 1>Yeah, he was in Hair. He did a lot of

0:32:26.040 --> 0:32:29.440
<v Speaker 1>TV work. He did Roots, he was in the color purple.

0:32:30.120 --> 0:32:32.280
<v Speaker 1>And again, this is one of the weird things about

0:32:32.320 --> 0:32:35.479
<v Speaker 1>free Jack is that it brings people together because he

0:32:35.680 --> 0:32:39.320
<v Speaker 1>like so, yeah, he also met his wife, his wife

0:32:39.400 --> 0:32:42.800
<v Speaker 1>of twenty six years in counting on this picture. What okay?

0:32:43.360 --> 0:32:47.200
<v Speaker 1>So his wife, she was a journalist for Beet and

0:32:47.240 --> 0:32:49.960
<v Speaker 1>she was on set to interview him about his role

0:32:50.000 --> 0:32:53.960
<v Speaker 1>in this film, and magic happened. The magic of Freejack

0:32:54.000 --> 0:32:54.760
<v Speaker 1>brought them together.

0:32:56.280 --> 0:32:57.960
<v Speaker 2>Free Jack, I mean it just gets people in a

0:32:57.960 --> 0:32:59.560
<v Speaker 2>place where they're ready to commit, you know.

0:33:01.360 --> 0:33:04.080
<v Speaker 1>All right. Up next, this is another bit player in it.

0:33:04.200 --> 0:33:06.760
<v Speaker 1>He just has one maybe two crazy scenes.

0:33:06.840 --> 0:33:09.120
<v Speaker 2>I think just one scene, but he's great in it.

0:33:09.840 --> 0:33:13.160
<v Speaker 2>This is Frankie Faison, yeah, who you might know best

0:33:13.160 --> 0:33:16.720
<v Speaker 2>from playing Burrell in The Wire, but he's also Barney

0:33:16.720 --> 0:33:20.760
<v Speaker 2>in the Hannibal Lecture movies. He's a great actor. He's

0:33:21.000 --> 0:33:23.480
<v Speaker 2>very good at having like a kind of a calming presence,

0:33:23.600 --> 0:33:27.480
<v Speaker 2>soft voice, but in this he's exactly the opposite. And

0:33:27.560 --> 0:33:30.880
<v Speaker 2>this he's electric as this guy who gives in my view,

0:33:31.200 --> 0:33:35.200
<v Speaker 2>an oscar worthy monologue about rat based cuisine and then

0:33:35.240 --> 0:33:37.600
<v Speaker 2>a sort of Hamlet style to be or not to

0:33:37.640 --> 0:33:40.640
<v Speaker 2>be soliloquy, except it's about an eagle who's trying to

0:33:40.640 --> 0:33:42.240
<v Speaker 2>decide whether to commit suicide.

0:33:42.560 --> 0:33:46.200
<v Speaker 1>Yeah. Yeah, and his character is listed as Eagleman. Yeah,

0:33:46.400 --> 0:33:46.920
<v Speaker 1>that's his.

0:33:46.760 --> 0:33:47.840
<v Speaker 2>Whole eagle monologue.

0:33:47.880 --> 0:33:51.800
<v Speaker 1>Yeah yeah, it's a yeah, this is the weirdest thing

0:33:51.800 --> 0:33:53.560
<v Speaker 1>in the whole picture at this scene, Like this is

0:33:53.920 --> 0:33:57.760
<v Speaker 1>Frankie's keeping it weird for us with this one. But yeah, Yeah,

0:33:57.760 --> 0:33:59.400
<v Speaker 1>He's been in a ton of things over the years.

0:33:59.400 --> 0:34:01.880
<v Speaker 1>He was a Landlow in eighty eight Is Coming to America.

0:34:02.840 --> 0:34:04.880
<v Speaker 1>But then in terms of sort of horror and sci

0:34:04.920 --> 0:34:07.640
<v Speaker 1>fi stuff, he was in Chud, he was in Cat People,

0:34:08.120 --> 0:34:10.880
<v Speaker 1>He was in Maximum Overdrive with Emilio.

0:34:11.000 --> 0:34:13.960
<v Speaker 2>And several don't we have several Maximum Overdrive people in

0:34:14.000 --> 0:34:14.560
<v Speaker 2>this movie?

0:34:14.680 --> 0:34:16.879
<v Speaker 1>Yeah? I guess we do. Yeah. And then for another

0:34:16.920 --> 0:34:20.239
<v Speaker 1>Stephen King connection, the Langealiers, he was in that as well,

0:34:20.360 --> 0:34:21.400
<v Speaker 1>that TV adaptation.

0:34:21.840 --> 0:34:24.200
<v Speaker 2>Oh maybe we should talk about that on Weird House

0:34:24.239 --> 0:34:26.440
<v Speaker 2>if we ever want to watch a four hour movie.

0:34:26.920 --> 0:34:28.879
<v Speaker 1>Oh man, I never saw it. I just I read

0:34:28.880 --> 0:34:31.360
<v Speaker 1>though it's novella it's based on, and loved the novella.

0:34:31.440 --> 0:34:34.480
<v Speaker 2>But it is awful. It is, you know, made for

0:34:34.560 --> 0:34:37.800
<v Speaker 2>TV Stephen King stuff late nineties, early two thousands, whenever

0:34:37.800 --> 0:34:41.880
<v Speaker 2>it was that came out. It has unbelievably bad CGI

0:34:42.000 --> 0:34:44.640
<v Speaker 2>monsters and they just run around eating up the screen

0:34:44.840 --> 0:34:45.880
<v Speaker 2>like the screen itself.

0:34:46.000 --> 0:34:48.520
<v Speaker 1>They're supposed to be like the Critters, like they're basically

0:34:48.560 --> 0:34:53.320
<v Speaker 1>Stephen King wrote The Critters as time munching Kremlin monsters.

0:34:53.440 --> 0:34:55.480
<v Speaker 2>Yeah. My memory about it is that it's about a

0:34:55.520 --> 0:34:58.239
<v Speaker 2>cast of people on an airplane who all have their

0:34:58.280 --> 0:35:01.560
<v Speaker 2>own demons that get explored in flashbacks. And then also

0:35:01.600 --> 0:35:03.120
<v Speaker 2>there are monsters that eat time.

0:35:03.640 --> 0:35:05.719
<v Speaker 1>Oh yeah, I mainly remember the monsters that eat Time

0:35:06.440 --> 0:35:09.799
<v Speaker 1>from the again from the novella. Okay, one more bit

0:35:09.880 --> 0:35:12.080
<v Speaker 1>player just to mention, and that's this guy John Shay

0:35:12.120 --> 0:35:14.920
<v Speaker 1>who plays his character Morgan. I don't know much about

0:35:14.920 --> 0:35:17.800
<v Speaker 1>this guy, but his IMDb headshot looks so much like

0:35:17.880 --> 0:35:21.400
<v Speaker 1>Jeffrey Epstein. I feel like he's destined for some for

0:35:21.440 --> 0:35:25.200
<v Speaker 1>a biopick there. He also played Lex Luthor on Lewis

0:35:25.239 --> 0:35:27.160
<v Speaker 1>and Clark you know who Adventure as a Superman.

0:35:27.560 --> 0:35:36.719
<v Speaker 2>Yeah.

0:35:36.800 --> 0:35:39.759
<v Speaker 1>Music wise, the score didn't really do anything for me,

0:35:40.080 --> 0:35:43.120
<v Speaker 1>I have to admit, but it's by Trevor Jones, who

0:35:43.160 --> 0:35:45.560
<v Speaker 1>scored a lot of eighties films that I love, such

0:35:45.560 --> 0:35:49.960
<v Speaker 1>as The Dark Crystal, Labyrinth, Time Bandits. In the nineties

0:35:50.000 --> 0:35:53.560
<v Speaker 1>he did Dark City. So again, nothing in this picture

0:35:53.680 --> 0:35:56.640
<v Speaker 1>really blew me away, but I think his was, particularly

0:35:56.640 --> 0:35:59.080
<v Speaker 1>his work in those hints and films was really really good.

0:35:59.239 --> 0:36:00.800
<v Speaker 2>Oh I like it. I like his score on The

0:36:00.880 --> 0:36:04.600
<v Speaker 2>Dark Crystal. Yeah, that really help score that driving pace

0:36:04.680 --> 0:36:07.520
<v Speaker 2>in the film. In fact, that should come down to someday.

0:36:07.560 --> 0:36:10.000
<v Speaker 2>I want to, I don't know, have a good argument

0:36:10.000 --> 0:36:12.760
<v Speaker 2>with somebody about which of the Dark City cuts is better,

0:36:12.840 --> 0:36:15.960
<v Speaker 2>because did I say Dark Crystal or Dark City earlier?

0:36:16.560 --> 0:36:18.400
<v Speaker 1>For you? I think you said Dark Crystal earlier. Then

0:36:18.440 --> 0:36:20.560
<v Speaker 1>you said Dark City, which got me excited because I

0:36:20.560 --> 0:36:22.840
<v Speaker 1>had no idea there were different cuts of Dark City

0:36:23.200 --> 0:36:26.040
<v Speaker 1>of Dark City, Yeah, that's what. So there's one cut

0:36:26.080 --> 0:36:30.279
<v Speaker 1>that is maybe artistically superior because it cuts out some

0:36:30.360 --> 0:36:33.279
<v Speaker 1>kind of bad voiceover narration at the beginning and a

0:36:33.320 --> 0:36:37.120
<v Speaker 1>few other things. But the original cut has such great pacing,

0:36:37.239 --> 0:36:40.960
<v Speaker 1>like it just drives and drives. H. I don't know,

0:36:41.440 --> 0:36:44.640
<v Speaker 1>we'll explore it someday. Yeah, yeah, that's that's a fun one.

0:36:45.040 --> 0:36:46.520
<v Speaker 2>But one of the things that I thought was funny

0:36:46.520 --> 0:36:49.040
<v Speaker 2>about the music by Trevor Jones. So when you get

0:36:49.080 --> 0:36:51.719
<v Speaker 2>to the opening credits of the movie, it is just

0:36:52.320 --> 0:36:56.560
<v Speaker 2>cgi shards flying around the screen like an after dark screensaver,

0:36:56.960 --> 0:37:00.840
<v Speaker 2>while you've got saxophone music playing a tune that sounds

0:37:00.920 --> 0:37:03.680
<v Speaker 2>a little bit like the melody of the reins of

0:37:03.760 --> 0:37:07.520
<v Speaker 2>casta Mirror. It's like a cross between rains of Castmer

0:37:07.600 --> 0:37:11.319
<v Speaker 2>and then Evangelists and then Baker Street. Okay, And of

0:37:11.320 --> 0:37:15.280
<v Speaker 2>course the shards become the title free Jack uh and

0:37:15.280 --> 0:37:19.200
<v Speaker 2>and then we immediately cut to swirling fog and silhouettes

0:37:19.239 --> 0:37:22.520
<v Speaker 2>of trucks and jeeps cutting through this dark landscape with

0:37:22.560 --> 0:37:25.640
<v Speaker 2>their high beams. And then in one of the greatest

0:37:25.680 --> 0:37:27.560
<v Speaker 2>transitions in the movie. So you got that, you got

0:37:27.600 --> 0:37:30.200
<v Speaker 2>the the music playing and the and the dark trucks

0:37:30.239 --> 0:37:34.560
<v Speaker 2>over the horizon, and then immediately estevez butt. You're Joe

0:37:34.640 --> 0:37:38.160
<v Speaker 2>Estevez's butt in like his alarm clock's going off. He's

0:37:38.239 --> 0:37:38.839
<v Speaker 2>laying in bed.

0:37:39.120 --> 0:37:42.080
<v Speaker 1>Whoa, it's not not what did I say?

0:37:43.880 --> 0:37:44.120
<v Speaker 2>Sorry?

0:37:45.400 --> 0:37:45.720
<v Speaker 1>Different?

0:37:46.360 --> 0:37:49.520
<v Speaker 2>Better? No, this is Emilio Estevez. You just like see

0:37:49.560 --> 0:37:52.160
<v Speaker 2>his butt and he's wearing like green underwear, and he's

0:37:52.600 --> 0:37:54.719
<v Speaker 2>his alarm clock's going off, and he's like you know,

0:37:54.800 --> 0:37:57.080
<v Speaker 2>and his sheets are tossed all over the place.

0:37:57.640 --> 0:37:57.759
<v Speaker 1>Uh.

0:37:57.960 --> 0:38:00.279
<v Speaker 2>And I don't know why I didn't know it first,

0:38:00.320 --> 0:38:03.480
<v Speaker 2>why they made that choice to begin with his butt,

0:38:03.480 --> 0:38:05.720
<v Speaker 2>but I think it's explained later on once you finally

0:38:05.719 --> 0:38:07.120
<v Speaker 2>get all the premise wheeled out.

0:38:07.440 --> 0:38:10.879
<v Speaker 1>Okay, I don't remember the explanation, but yeah, I'll roll

0:38:10.920 --> 0:38:13.800
<v Speaker 1>with it. Like the whole opening segment of this section

0:38:13.880 --> 0:38:17.600
<v Speaker 1>of this movie, I understand most of the choices they made,

0:38:17.800 --> 0:38:20.279
<v Speaker 1>you know, like they want to establish who he is

0:38:20.400 --> 0:38:22.400
<v Speaker 1>and what his connections are with people in the past,

0:38:22.800 --> 0:38:26.480
<v Speaker 1>and we want we want to have a bone jacking

0:38:26.719 --> 0:38:32.839
<v Speaker 1>scenario that is susceptible to disruption. So it but still

0:38:32.840 --> 0:38:34.399
<v Speaker 1>you're watching it and you're like, I would just wish

0:38:34.400 --> 0:38:36.120
<v Speaker 1>they would go ahead and bone jack this guy so

0:38:36.160 --> 0:38:38.040
<v Speaker 1>we can get to the future. It seems like we

0:38:38.080 --> 0:38:40.360
<v Speaker 1>spend a lot of time getting to that point.

0:38:40.680 --> 0:38:40.879
<v Speaker 4>Yeah.

0:38:40.920 --> 0:38:43.759
<v Speaker 2>It starts off with Renee Russo and Emilio Estevez just

0:38:43.800 --> 0:38:48.120
<v Speaker 2>flirting a lot. It's almost overwhelmingly Sacharin. They're just like

0:38:48.320 --> 0:38:50.279
<v Speaker 2>telling each other how much they love each other, and

0:38:51.320 --> 0:38:53.960
<v Speaker 2>he's like, I'll win that race, honey, you just watch again.

0:38:54.000 --> 0:38:57.759
<v Speaker 2>He's a race car driver and they're talking about like

0:38:57.760 --> 0:39:00.520
<v Speaker 2>what will the other driver's wives be wearing? And so

0:39:00.600 --> 0:39:05.759
<v Speaker 2>I think they're engaged again. Emilio Estevez playing this guy

0:39:05.800 --> 0:39:09.920
<v Speaker 2>Alex Furlong, that's his name for long. He's his Formula

0:39:09.960 --> 0:39:13.920
<v Speaker 2>one racer, and and so we're watching all this sweety

0:39:14.080 --> 0:39:17.360
<v Speaker 2>sweety time stuff where they're, you know, they're racing around

0:39:17.360 --> 0:39:19.919
<v Speaker 2>a track in the daytime, or Emilia Westevez is he's

0:39:19.920 --> 0:39:23.160
<v Speaker 2>doing like training laps or something. And then we're cutting

0:39:23.200 --> 0:39:26.840
<v Speaker 2>back and forth between that and him flirting with Renee Russo,

0:39:27.560 --> 0:39:31.279
<v Speaker 2>and then Mick Jagger and an army of helmeted Apocalypse

0:39:31.360 --> 0:39:34.879
<v Speaker 2>goons driving their heavy machinery through the dark and Mick

0:39:35.000 --> 0:39:38.799
<v Speaker 2>Jagger is using this futuristic digital map to navigate to

0:39:38.960 --> 0:39:42.319
<v Speaker 2>a precise point in New York. And then we get

0:39:42.600 --> 0:39:47.319
<v Speaker 2>Renee Russo and Emilia Westevez banter. She's like critiquing his

0:39:47.520 --> 0:39:50.800
<v Speaker 2>driving for some reason, and he's like, you drive your typewriter,

0:39:50.920 --> 0:39:53.880
<v Speaker 2>I'll drive my car. And then she says it's a computer.

0:39:56.640 --> 0:39:59.719
<v Speaker 2>Uh and oh. And then very importantly because it comes

0:39:59.760 --> 0:40:02.359
<v Speaker 2>up later in the movie, Emilio says he won't race

0:40:02.480 --> 0:40:05.560
<v Speaker 2>unless Renee Russo nibbles his ear in public, and they

0:40:06.040 --> 0:40:08.000
<v Speaker 2>kind of hymn and haw about that, and then she does,

0:40:08.080 --> 0:40:10.040
<v Speaker 2>and then they say how much they love each other.

0:40:10.560 --> 0:40:13.960
<v Speaker 2>So all is well in the Kingdom of nineteen ninety one.

0:40:14.080 --> 0:40:16.560
<v Speaker 2>Everybody's happy and in love and things are great.

0:40:16.960 --> 0:40:19.200
<v Speaker 1>Little do they know, though, there is about to be

0:40:19.320 --> 0:40:22.439
<v Speaker 1>a catastrophic car wreck. And then that's when the bone

0:40:22.480 --> 0:40:23.760
<v Speaker 1>jacking will actually begin.

0:40:23.719 --> 0:40:25.000
<v Speaker 2>Right, the bone jacking will begin.

0:40:25.080 --> 0:40:25.319
<v Speaker 1>Oh.

0:40:25.320 --> 0:40:28.120
<v Speaker 2>But we also we meet Brad the manager. Remember this

0:40:28.160 --> 0:40:31.080
<v Speaker 2>is the guy from the New York Dolls. Brad seems

0:40:31.120 --> 0:40:34.960
<v Speaker 2>to manage Emilio Estevez and some other racers, and he

0:40:35.000 --> 0:40:37.600
<v Speaker 2>says things like, you do the driving, I'll do the jiving,

0:40:37.680 --> 0:40:40.759
<v Speaker 2>and so he's going out schmoozing with potential sponsors. I

0:40:40.760 --> 0:40:43.719
<v Speaker 2>think there's this guy who introduces himself with the name

0:40:43.760 --> 0:40:46.600
<v Speaker 2>of the company. He says like Champion Spark Plugs, and

0:40:46.640 --> 0:40:49.960
<v Speaker 2>then Emilio is disrespectful to him and says like, hi,

0:40:50.080 --> 0:40:54.759
<v Speaker 2>mister Plugs. And so meanwhile in the dark world, Mick

0:40:54.840 --> 0:40:57.440
<v Speaker 2>Jagger and his goons are like rousting a bunch of

0:40:58.200 --> 0:41:02.640
<v Speaker 2>post apocalyptic future people out of their their hovels and

0:41:03.080 --> 0:41:05.520
<v Speaker 2>setting up a bunch of equipment to do something in

0:41:05.560 --> 0:41:09.360
<v Speaker 2>this blasted future hell zone. And then we get mixed

0:41:09.360 --> 0:41:12.719
<v Speaker 2>first line, which is just okay, let's do it.

0:41:13.400 --> 0:41:16.320
<v Speaker 1>Yeah. It sets the tone for the rest of the picture,

0:41:16.560 --> 0:41:21.760
<v Speaker 1>like it instantly dissolves the magic of him just looking

0:41:21.880 --> 0:41:23.840
<v Speaker 1>just you know, being there, grim faced and all in

0:41:23.840 --> 0:41:24.439
<v Speaker 1>the cool coat.

0:41:24.719 --> 0:41:29.120
<v Speaker 2>Right. So then Emelio's racing, Alex is driving along, and

0:41:29.160 --> 0:41:31.440
<v Speaker 2>Mick Jagger has a bunch of guys getting ready to

0:41:31.480 --> 0:41:35.440
<v Speaker 2>do something. They're like guys wearing these reflective foil suits.

0:41:35.480 --> 0:41:37.960
<v Speaker 2>And then there's a hacker guy who of course is

0:41:38.000 --> 0:41:41.680
<v Speaker 2>wearing sunglasses inside while he's operating a computer. The hacker

0:41:41.719 --> 0:41:44.240
<v Speaker 2>guy is named Ripper, and he's got these cool scars

0:41:44.280 --> 0:41:48.080
<v Speaker 2>on his face, and they're locking onto a CGI version

0:41:48.200 --> 0:41:52.360
<v Speaker 2>of Alex, and then Alex's car flies off course in

0:41:52.400 --> 0:41:54.600
<v Speaker 2>the past and it's about to explode in a fireball,

0:41:54.640 --> 0:41:58.360
<v Speaker 2>and then zap. Just as the car explodes, Emilio is

0:41:58.480 --> 0:42:01.440
<v Speaker 2>time warped into the future and he appears on an

0:42:01.440 --> 0:42:04.320
<v Speaker 2>operating table. He's surrounded by the doctors in all the

0:42:04.360 --> 0:42:08.040
<v Speaker 2>shiny tin foil body suits. And this seems to be

0:42:08.080 --> 0:42:11.600
<v Speaker 2>it's like some kind of mobile surgical center that's inside

0:42:11.640 --> 0:42:14.480
<v Speaker 2>a giant truck, which just seems like a bad idea,

0:42:14.640 --> 0:42:16.600
<v Speaker 2>like would you be trying to do surgery and like

0:42:16.640 --> 0:42:19.200
<v Speaker 2>a truck that's you know, like an all terrain vehicle,

0:42:19.239 --> 0:42:20.880
<v Speaker 2>it's bouncing around all over the place.

0:42:20.920 --> 0:42:22.880
<v Speaker 1>But anyway, well, I will I will come to the

0:42:22.880 --> 0:42:26.400
<v Speaker 1>picture's defense here and say that this would make sense

0:42:26.760 --> 0:42:30.600
<v Speaker 1>in the sence you're jacking somebody's bones out of such

0:42:30.640 --> 0:42:33.520
<v Speaker 1>a delicate moment in time. Okay, the timing could be

0:42:33.560 --> 0:42:35.560
<v Speaker 1>a little off. And what do you do if they

0:42:35.600 --> 0:42:37.800
<v Speaker 1>come through and they have like a head wound or

0:42:38.120 --> 0:42:40.000
<v Speaker 1>or some sort of a laceration, like you didn't get

0:42:40.040 --> 0:42:42.120
<v Speaker 1>them quite in time. You need to be able to

0:42:43.760 --> 0:42:47.360
<v Speaker 1>treat them immediately, So that's my excuse.

0:42:47.120 --> 0:42:48.840
<v Speaker 2>Okay, I buy it. Yeah, I mean it would be

0:42:48.960 --> 0:42:51.239
<v Speaker 2>necessary even though it's not ideal. It's just something you

0:42:51.320 --> 0:42:53.319
<v Speaker 2>gotta do if you're going to be bone jacking people.

0:42:53.320 --> 0:42:56.319
<v Speaker 2>It's the price of bone jacking, right. And so the

0:42:56.400 --> 0:42:59.320
<v Speaker 2>doctors do. They're trying to stabilize him. They're pumping in,

0:42:59.480 --> 0:43:01.480
<v Speaker 2>you know, doing the CPR and stuff. They get his

0:43:01.520 --> 0:43:04.760
<v Speaker 2>heart beating again, but then they realize, oh, no, Emilio

0:43:04.880 --> 0:43:07.799
<v Speaker 2>Estevez still has brain function. This is bad because he's

0:43:07.800 --> 0:43:11.760
<v Speaker 2>not supposed to. So they're like, grab the lobotomizer, yeah,

0:43:11.800 --> 0:43:15.200
<v Speaker 2>which is a blue, glowing electric and noodle that's flopping

0:43:15.239 --> 0:43:16.920
<v Speaker 2>around all over the place. And I think what it's

0:43:16.920 --> 0:43:19.080
<v Speaker 2>supposed to do is go up his nose and then

0:43:19.200 --> 0:43:21.600
<v Speaker 2>dig around a bit and then give him an electric

0:43:21.680 --> 0:43:25.400
<v Speaker 2>shock to the brain that will make him complacent or

0:43:25.400 --> 0:43:26.640
<v Speaker 2>wipe his brain or something.

0:43:26.960 --> 0:43:29.880
<v Speaker 1>Yeah, it makes no sense at all because he just

0:43:30.000 --> 0:43:32.400
<v Speaker 1>have something called like a mind wiper, you know, and

0:43:32.520 --> 0:43:34.200
<v Speaker 1>just use that because once you bring in the idea

0:43:34.239 --> 0:43:37.279
<v Speaker 1>of lobotomizing, it makes it seem like this brain's not

0:43:37.320 --> 0:43:40.400
<v Speaker 1>going to be worth putting somebody else's mind. Jan if

0:43:40.440 --> 0:43:42.840
<v Speaker 1>you're gonna if you're gonna screw with it and lobotomize it.

0:43:42.920 --> 0:43:44.240
<v Speaker 1>But yeah, it's confusing.

0:43:44.280 --> 0:43:47.040
<v Speaker 2>Good point. But just when they're about to jab his brain,

0:43:47.160 --> 0:43:50.479
<v Speaker 2>the Jagger convoy is attacked to people with guns pop

0:43:50.560 --> 0:43:53.120
<v Speaker 2>up on rooftops all around. They start blowing stuff up.

0:43:53.400 --> 0:43:56.960
<v Speaker 2>This knocks everybody over and Emilio gets loose, and this

0:43:57.000 --> 0:44:00.279
<v Speaker 2>is apparently very bad because immediately the doctor in the

0:44:00.280 --> 0:44:04.240
<v Speaker 2>tinfoil suits start screaming, free Jack, free Jack, grab him

0:44:04.880 --> 0:44:08.120
<v Speaker 2>and this leads to a big fight scene that involves

0:44:08.160 --> 0:44:11.319
<v Speaker 2>the lobottomizer where Emilio has to fight them off using

0:44:11.360 --> 0:44:14.240
<v Speaker 2>the lobottomizer and he zaps them with it, and eventually

0:44:14.280 --> 0:44:16.520
<v Speaker 2>he gets out of the medical truck, but like as

0:44:16.520 --> 0:44:19.120
<v Speaker 2>soon as he's trying to escape, he turns back and

0:44:19.160 --> 0:44:22.760
<v Speaker 2>then he locks eyes with Mick Jagger, and Mick Jagger

0:44:22.880 --> 0:44:24.520
<v Speaker 2>just says, get the mate.

0:44:25.880 --> 0:44:28.760
<v Speaker 1>Yeah. He tells them, yeah, stunners only don't want him damaged.

0:44:29.160 --> 0:44:32.880
<v Speaker 1>And I have to say, there are two things in

0:44:32.880 --> 0:44:36.360
<v Speaker 1>this movie that I think absolutely three things. Eagleman absolutely works,

0:44:36.480 --> 0:44:39.959
<v Speaker 1>Mick Jagger's coat works, and then the Stunners are pretty great.

0:44:40.000 --> 0:44:43.400
<v Speaker 1>So these are the rifles, these space age looking rifles

0:44:43.520 --> 0:44:47.799
<v Speaker 1>that the Bonejacker Squad has that seem to shoot like

0:44:47.960 --> 0:44:51.400
<v Speaker 1>electro plasma pulses and it looks really cool. Like this

0:44:51.520 --> 0:44:53.719
<v Speaker 1>is definitely one of the things in the origin, in

0:44:53.760 --> 0:44:57.000
<v Speaker 1>the trailer and in the original promotional footage that I

0:44:57.080 --> 0:44:59.759
<v Speaker 1>bought into when I was younger, like those guns look

0:44:59.800 --> 0:45:02.560
<v Speaker 1>cool and that looks neat they're shooting all these like

0:45:02.600 --> 0:45:06.360
<v Speaker 1>blue beams and all. Because even though this film, this

0:45:06.440 --> 0:45:10.160
<v Speaker 1>film is essentially cyberpunk, you know, or or cyberpunk made

0:45:10.200 --> 0:45:13.080
<v Speaker 1>from cyberpunk derivatives or something, but one of the things

0:45:13.120 --> 0:45:16.480
<v Speaker 1>you see in so many visions of the future from

0:45:16.640 --> 0:45:19.400
<v Speaker 1>this period, from like the nineties, is that everybody's just

0:45:19.400 --> 0:45:24.320
<v Speaker 1>shooting hard ammo. It's just a ballistic you know, worship

0:45:24.400 --> 0:45:27.719
<v Speaker 1>gone wild. And at times I watch that stuff and

0:45:27.760 --> 0:45:29.600
<v Speaker 1>I'm like, I just I just want to see some

0:45:29.719 --> 0:45:33.400
<v Speaker 1>laser beams and some some some phasers and stuff, you know,

0:45:33.480 --> 0:45:36.759
<v Speaker 1>like that's I like sci fi guns that shoot of

0:45:37.200 --> 0:45:40.040
<v Speaker 1>fancy light beams at things. And so this film at

0:45:40.160 --> 0:45:43.480
<v Speaker 1>least really delivers in that category. Well, it has both

0:45:43.560 --> 0:45:47.200
<v Speaker 1>because it's the Bonejackers use the light based weapons because

0:45:47.200 --> 0:45:49.600
<v Speaker 1>they don't want to damage his body. They just want

0:45:49.640 --> 0:45:52.359
<v Speaker 1>to immobilize him so he can be taken to the

0:45:52.920 --> 0:45:56.040
<v Speaker 1>what the psychic switchboard or whatever it's called spiritual switch

0:45:56.239 --> 0:46:00.319
<v Speaker 1>spiritual switchboard, but the but the but other bad guys

0:46:00.360 --> 0:46:01.440
<v Speaker 1>who just want to kill people.

0:46:01.480 --> 0:46:03.160
<v Speaker 2>They use like ballistic weapons.

0:46:03.640 --> 0:46:06.759
<v Speaker 1>Yeah, they don't care about keeping the meat neat right.

0:46:07.120 --> 0:46:09.000
<v Speaker 2>But so here we get a big chase scene. He's

0:46:09.080 --> 0:46:10.759
<v Speaker 2>running all over the place. At one point he gets

0:46:10.800 --> 0:46:13.040
<v Speaker 2>in a taxi and then gets kicked out of it,

0:46:13.680 --> 0:46:16.799
<v Speaker 2>and so Alex is running all over the place, like

0:46:16.840 --> 0:46:19.080
<v Speaker 2>he tries to go to Renee Russo's apartment. He's trying

0:46:19.120 --> 0:46:21.759
<v Speaker 2>to find people that he used to know because he

0:46:21.880 --> 0:46:24.560
<v Speaker 2>somehow doesn't realize that he's in the future. I think

0:46:24.600 --> 0:46:28.920
<v Speaker 2>this is a pretty standard accidental time travel or unwitting

0:46:28.960 --> 0:46:31.680
<v Speaker 2>time travel trope where the person's like they just won't

0:46:31.719 --> 0:46:34.040
<v Speaker 2>accept that the year is different. So they're running around

0:46:34.080 --> 0:46:36.600
<v Speaker 2>trying to find things they know where person or a

0:46:36.600 --> 0:46:37.880
<v Speaker 2>thing should be there, but it's not.

0:46:38.040 --> 0:46:41.080
<v Speaker 1>And it's like what, yeah, yeah, pretty buy the books.

0:46:41.080 --> 0:46:42.600
<v Speaker 1>There's a lot of stuff in this film that is

0:46:43.920 --> 0:46:45.760
<v Speaker 1>just by the books, right, this sort of picture.

0:46:46.080 --> 0:46:48.880
<v Speaker 2>But everywhere he goes, people are like, oh my god,

0:46:48.960 --> 0:46:51.640
<v Speaker 2>he's a free jack. So everybody knows what this is.

0:46:51.800 --> 0:46:53.799
<v Speaker 2>This is a it must be on the news every night.

0:46:53.840 --> 0:46:58.920
<v Speaker 2>It's like, you know, today three free jacks were apprehended, and.

0:46:58.920 --> 0:47:01.160
<v Speaker 1>Hey, yeah, how often does this happened? It's enough that

0:47:01.160 --> 0:47:03.759
<v Speaker 1>there is a slang for it. Yeah, and everybody's on

0:47:03.800 --> 0:47:06.279
<v Speaker 1>the lookout for it. Like I feel like if this

0:47:06.360 --> 0:47:09.280
<v Speaker 1>is on the bonejackers for just being kind of sloppy.

0:47:09.080 --> 0:47:12.479
<v Speaker 2>The bonejackers are really they are screwing up a lot.

0:47:12.520 --> 0:47:16.440
<v Speaker 2>It sounds like, yeah, and there's this dystopian pa, you know,

0:47:16.520 --> 0:47:20.040
<v Speaker 2>like the future totalitarian society has pas everywhere that just

0:47:20.080 --> 0:47:23.000
<v Speaker 2>blair stuff at people. So it's going like everybody off

0:47:23.040 --> 0:47:25.440
<v Speaker 2>the street, there's a free jacket large anyone on the

0:47:25.440 --> 0:47:28.719
<v Speaker 2>street will be fired upon. And then of course we

0:47:28.760 --> 0:47:31.680
<v Speaker 2>see the truest sign of dystopia, which is a giant

0:47:31.719 --> 0:47:36.160
<v Speaker 2>digital billboard and says welcome to New York Thursday, November

0:47:36.160 --> 0:47:40.239
<v Speaker 2>twenty third, two thousand and nine. And then Amelio looks

0:47:40.280 --> 0:47:42.640
<v Speaker 2>at it and he's like what. And then there's this

0:47:42.760 --> 0:47:46.040
<v Speaker 2>great moment where he pulls out his like race ticket

0:47:46.200 --> 0:47:49.080
<v Speaker 2>from his I don't know, from driving earlier that day

0:47:49.320 --> 0:47:52.120
<v Speaker 2>to see the date and it says nineteen ninety one,

0:47:52.640 --> 0:47:54.960
<v Speaker 2>and it's like it's as if the movie is suggesting

0:47:54.960 --> 0:47:57.240
<v Speaker 2>that he was actually thinking, wait, was it two thousand

0:47:57.239 --> 0:47:59.160
<v Speaker 2>and nine earlier today? Better check?

0:48:00.120 --> 0:48:04.399
<v Speaker 1>Well, the movie implies, and at times expressly states that

0:48:04.400 --> 0:48:07.839
<v Speaker 1>that Emilio Westavez, his character, is not the sharpest knife

0:48:07.880 --> 0:48:11.200
<v Speaker 1>in the drawer, right. I think Anthony Hopkins character refers

0:48:11.200 --> 0:48:14.759
<v Speaker 1>to him as a dullard at one point. So yes, yeah,

0:48:14.800 --> 0:48:17.440
<v Speaker 1>he's uh yeah, he needs to check. He has to

0:48:17.440 --> 0:48:20.760
<v Speaker 1>double check to see what year it actually was earlier today.

0:48:21.800 --> 0:48:24.880
<v Speaker 2>So later we meet some corporate creeps. They're like in

0:48:24.920 --> 0:48:28.000
<v Speaker 2>a giant elevator that's going up millions of floors, in

0:48:28.000 --> 0:48:31.520
<v Speaker 2>a skyscraper that reaches up to the clouds. There they're

0:48:31.560 --> 0:48:34.680
<v Speaker 2>in this weird skyscraper that looks like a combination of

0:48:34.719 --> 0:48:38.279
<v Speaker 2>an office and a church. It's like the Cathedral of Business,

0:48:38.320 --> 0:48:43.040
<v Speaker 2>you know, the Basilica of Saint Dick Fold. And uh

0:48:43.719 --> 0:48:46.200
<v Speaker 2>so one of the suits is Jonathan Banks. Again, that's

0:48:46.320 --> 0:48:48.279
<v Speaker 2>Mike Irman Trout from Breaking Bad, who we were talking

0:48:48.320 --> 0:48:51.279
<v Speaker 2>about earlier. And here we get a bit of exposition dump.

0:48:51.360 --> 0:48:54.440
<v Speaker 2>They start explaining that they're they're trying to break the

0:48:54.520 --> 0:48:58.320
<v Speaker 2>bad news about the bone jack getting loose and becoming

0:48:58.320 --> 0:49:01.680
<v Speaker 2>a free jack to a guy who is wearing a

0:49:01.800 --> 0:49:06.040
<v Speaker 2>Ghost of Christmas Yet to come Hood and they're like, sorry, Gramps,

0:49:06.080 --> 0:49:10.000
<v Speaker 2>your bone Jack got away. And then they're they're explaining, actually,

0:49:10.040 --> 0:49:13.360
<v Speaker 2>we've got even worse news. The spiritual switchboard can only

0:49:13.400 --> 0:49:16.480
<v Speaker 2>hold you for another thirty six hours. Shouldn't you consider

0:49:16.520 --> 0:49:20.239
<v Speaker 2>an alternative body? And the guy in the Ghost of

0:49:20.320 --> 0:49:22.279
<v Speaker 2>Christmas Yet to Come Hood is like, I don't want

0:49:22.280 --> 0:49:25.520
<v Speaker 2>an alternative body. I want this one. And then there's

0:49:25.560 --> 0:49:30.360
<v Speaker 2>a reveal and it's hologram Emilio Estavez. And here I

0:49:30.360 --> 0:49:32.160
<v Speaker 2>think it starts to make sense that the first thing

0:49:32.160 --> 0:49:34.920
<v Speaker 2>we see in the movie is Emelio Estavez's butt, because

0:49:34.920 --> 0:49:38.680
<v Speaker 2>it seems like the quality of his body in particular,

0:49:38.719 --> 0:49:42.120
<v Speaker 2>I guess, including his butt compared to other future bodies

0:49:42.160 --> 0:49:44.960
<v Speaker 2>and butts, seems to be relevant to the plot, Like

0:49:45.080 --> 0:49:47.960
<v Speaker 2>only that butt will do I guess.

0:49:48.239 --> 0:49:50.560
<v Speaker 1>I wonder what if the other free Jack on hold

0:49:50.560 --> 0:49:53.319
<v Speaker 1>they had Joe Estevez. Yeah, and they're they're like, come on,

0:49:53.360 --> 0:49:56.280
<v Speaker 1>we got Joe s as ready to go enough. Yeah, Emilio,

0:49:56.360 --> 0:49:58.600
<v Speaker 1>it has to be Emilio. I don't want Joe, I

0:49:58.640 --> 0:50:01.319
<v Speaker 1>don't want Charlie. I don't I want Martin. It's got

0:50:01.360 --> 0:50:02.440
<v Speaker 1>to be Amidia And.

0:50:02.400 --> 0:50:04.840
<v Speaker 2>There's actually another reason for that that we'll get to later.

0:50:05.440 --> 0:50:05.640
<v Speaker 1>Oh.

0:50:05.680 --> 0:50:08.000
<v Speaker 2>But then we get a scene that's a meeting between

0:50:08.080 --> 0:50:11.080
<v Speaker 2>Mick Jagger again, he's playing this this mercenary named Victor

0:50:11.360 --> 0:50:14.719
<v Speaker 2>visindek with with Jonathan Banks. They like meet up to

0:50:14.920 --> 0:50:15.720
<v Speaker 2>scheme together.

0:50:16.320 --> 0:50:18.359
<v Speaker 1>Yeah. So two things about this scene. First of all,

0:50:18.640 --> 0:50:21.319
<v Speaker 1>the office set is incredible in this This is one

0:50:21.360 --> 0:50:24.759
<v Speaker 1>of several interior sets that are in this movie that

0:50:24.800 --> 0:50:27.080
<v Speaker 1>are really cool, Like they just like they went crazy

0:50:27.120 --> 0:50:29.759
<v Speaker 1>with art decorating it and like this one has like

0:50:29.800 --> 0:50:34.319
<v Speaker 1>this crazy fractured redstone wall behind them, which is really good.

0:50:34.400 --> 0:50:38.080
<v Speaker 1>I appreciate that. But then the actual scene, the actual

0:50:38.680 --> 0:50:42.240
<v Speaker 1>energy between Mick Jagger and Jonathan Banks, it's just weird,

0:50:42.760 --> 0:50:45.480
<v Speaker 1>like and it seems like the casting is so off.

0:50:45.520 --> 0:50:48.200
<v Speaker 1>So Jonathan Banks here is playing like the sleazy boss

0:50:48.239 --> 0:50:52.960
<v Speaker 1>who owns Faberge eggs. Yeah, and Jagger is playing like

0:50:53.040 --> 0:50:55.720
<v Speaker 1>the you know, the the badass warrior with a code,

0:50:55.960 --> 0:50:58.160
<v Speaker 1>and it just feels like it should be reverse. Like

0:50:58.239 --> 0:51:02.120
<v Speaker 1>mc jagger is the type of guy who owns Faberge eggs.

0:51:02.400 --> 0:51:06.200
<v Speaker 1>Jonathan Banks is your mercenary. You know, Jonathan Banks is

0:51:06.239 --> 0:51:09.600
<v Speaker 1>great in this anyway, and like, Banks totally delivers. He

0:51:09.640 --> 0:51:11.680
<v Speaker 1>knows what he's doing, so he's yeah, he's perfectly fine

0:51:11.680 --> 0:51:14.400
<v Speaker 1>in this role. But it feels like you could just

0:51:14.440 --> 0:51:16.200
<v Speaker 1>swap these two and you would have been a better place.

0:51:16.560 --> 0:51:18.560
<v Speaker 2>I kind of agree with you there, Yeah, except that

0:51:18.560 --> 0:51:21.240
<v Speaker 2>would have given us fewer chances to see Mick Jagger

0:51:21.280 --> 0:51:22.640
<v Speaker 2>wearing the Spaceball's helmet.

0:51:22.920 --> 0:51:25.520
<v Speaker 1>True, true, And I don't think it would have saved

0:51:25.520 --> 0:51:28.160
<v Speaker 1>the picture in any way. But but yeah, this scene

0:51:28.200 --> 0:51:31.040
<v Speaker 1>is pretty great in a dumb way. You got like

0:51:31.600 --> 0:51:33.719
<v Speaker 1>basically saying like you were supposed to bone jack that guy,

0:51:33.760 --> 0:51:35.439
<v Speaker 1>and it's like I tried. Now he's a free jack.

0:51:35.640 --> 0:51:37.480
<v Speaker 1>You're off the case. No, I'm still going to bone

0:51:37.560 --> 0:51:41.560
<v Speaker 1>jack that guy. I always bone my jack. Basically.

0:51:42.400 --> 0:51:44.759
<v Speaker 2>Yep, that's pretty much it. He tries to fire him,

0:51:45.280 --> 0:51:49.839
<v Speaker 2>and Mick Jagger's like, no, you can't fire me, you know, yeah,

0:51:50.400 --> 0:51:54.560
<v Speaker 2>I'll get that meat. A funny thing, Rachel was watching

0:51:54.600 --> 0:51:56.520
<v Speaker 2>parts of this with me, and she pointed out that

0:51:56.600 --> 0:51:59.920
<v Speaker 2>Mick Jagger's delivery in these scenes is very late season

0:52:00.120 --> 0:52:01.600
<v Speaker 2>Sir c lanister.

0:52:01.680 --> 0:52:02.600
<v Speaker 1>Oh, what what do you mean?

0:52:02.880 --> 0:52:05.759
<v Speaker 2>Just the kind of like vindictive cold frown and a

0:52:05.880 --> 0:52:08.480
<v Speaker 2>similar delivery. And I don't know. I mean I saw

0:52:08.520 --> 0:52:09.279
<v Speaker 2>it when she said it.

0:52:09.600 --> 0:52:13.680
<v Speaker 1>No, no, no, I could I could get that. Yeah, yeah, yeah,

0:52:14.040 --> 0:52:16.480
<v Speaker 1>but this is gonna be one of the ultimate like

0:52:16.520 --> 0:52:20.160
<v Speaker 1>weird things about Jagger's performance is that what he gives

0:52:20.239 --> 0:52:22.440
<v Speaker 1>us here in this scene is not what we get

0:52:22.480 --> 0:52:26.000
<v Speaker 1>later on. Like his his performance is just all over

0:52:26.040 --> 0:52:28.960
<v Speaker 1>the place, Like he's a cold professional in one scene

0:52:29.000 --> 0:52:31.040
<v Speaker 1>and then he'll be something completely different in another.

0:52:31.280 --> 0:52:32.960
<v Speaker 2>Yeah, I can't wait to talk about the scene where

0:52:32.960 --> 0:52:35.799
<v Speaker 2>he's like doing hacker tricks on a car on a

0:52:35.840 --> 0:52:36.960
<v Speaker 2>wine delivery truck.

0:52:37.239 --> 0:52:39.040
<v Speaker 1>Yeah, he becomes the Riddler out of out of the

0:52:39.400 --> 0:52:39.719
<v Speaker 1>later on.

0:52:39.920 --> 0:52:44.640
<v Speaker 2>Yeah. Anyway, Alex ends up taking refuge in a church,

0:52:44.800 --> 0:52:46.680
<v Speaker 2>sleeps on the floor in front of the altar, is

0:52:46.719 --> 0:52:49.880
<v Speaker 2>ambushed by Amanda Plumber in the form of Sister Shotgun.

0:52:50.000 --> 0:52:53.480
<v Speaker 2>She pulls a shotgun on him and and they meet.

0:52:53.520 --> 0:52:55.600
<v Speaker 2>They talk about things. She is shocked to learn that

0:52:55.640 --> 0:52:59.520
<v Speaker 2>he's a free jack. They argue about this, like she yeah,

0:52:59.560 --> 0:53:02.000
<v Speaker 2>she seemed skeptical that he's a free jack, And then

0:53:02.040 --> 0:53:05.080
<v Speaker 2>he explains things to her and she eventually ends up

0:53:05.080 --> 0:53:08.120
<v Speaker 2>trying to help him, like she's she explains the whole

0:53:08.160 --> 0:53:11.360
<v Speaker 2>bone jacking premise. We also get like more exposition dump

0:53:11.440 --> 0:53:14.600
<v Speaker 2>from from her and he's like, what, so they were

0:53:14.640 --> 0:53:17.319
<v Speaker 2>gonna do a brain transplant on me? And she goes, no,

0:53:17.719 --> 0:53:22.239
<v Speaker 2>a mind transplant. So this movie is firmly dualistic, yep.

0:53:22.600 --> 0:53:25.440
<v Speaker 2>And then she helps him find the address of somebody

0:53:25.520 --> 0:53:27.759
<v Speaker 2>who knows so she sends she arms him with a

0:53:27.800 --> 0:53:31.160
<v Speaker 2>gun and sends him off to meet somebody. But then

0:53:31.360 --> 0:53:33.520
<v Speaker 2>we should come back to the whole time. We're also

0:53:33.719 --> 0:53:36.719
<v Speaker 2>cutting between Emilio Estevez and Mick Jagger, and there's like

0:53:36.760 --> 0:53:39.279
<v Speaker 2>a great scene with Mick Jagger hanging out at his

0:53:39.360 --> 0:53:40.920
<v Speaker 2>apartment with his buddy.

0:53:41.440 --> 0:53:44.440
<v Speaker 1>Yeah, yeah, his buddy Ripper. And this is another great

0:53:44.480 --> 0:53:48.720
<v Speaker 1>interior set with like really strange art on the walls

0:53:48.800 --> 0:53:51.879
<v Speaker 1>and it looks lived in, like it was really well done.

0:53:52.040 --> 0:53:56.200
<v Speaker 2>Yeah, there's a red couch backlit white walls with masks

0:53:56.239 --> 0:54:00.720
<v Speaker 2>all over them, like a strange rectangular clock, a mountain revolver,

0:54:00.880 --> 0:54:02.839
<v Speaker 2>and cutouts from pin up magazines.

0:54:03.239 --> 0:54:06.640
<v Speaker 1>Yeah, yeah, it's strange. I didn't know how to take you.

0:54:06.640 --> 0:54:09.520
<v Speaker 1>And I also couldn't tell if like Ripper and Jagger's

0:54:09.600 --> 0:54:11.520
<v Speaker 1>character was supposed to be like, like, are they do

0:54:11.600 --> 0:54:14.120
<v Speaker 1>they live together here? You know, like I was expecting

0:54:14.360 --> 0:54:17.319
<v Speaker 1>like some more development there and then we didn't get it.

0:54:17.320 --> 0:54:19.160
<v Speaker 1>So I guess maybe they don't. They just work together,

0:54:19.680 --> 0:54:21.719
<v Speaker 1>but because then they just talk about the business of

0:54:21.760 --> 0:54:22.680
<v Speaker 1>bone jacking.

0:54:22.520 --> 0:54:25.919
<v Speaker 2>Right exactly. Ripper is played by Issi Morales Junior, who

0:54:25.960 --> 0:54:28.880
<v Speaker 2>and he's the hacker who was wearing sunglasses inside earlier.

0:54:30.040 --> 0:54:32.239
<v Speaker 2>Oh and we find out Mick Jagger has a lie

0:54:32.280 --> 0:54:35.480
<v Speaker 2>detector computer that he tests out on Ripper. And then

0:54:35.600 --> 0:54:38.080
<v Speaker 2>I don't recall this ever being used in the film. Again,

0:54:38.160 --> 0:54:40.799
<v Speaker 2>it's being set up as if it's like Chekhov's lie

0:54:40.880 --> 0:54:43.960
<v Speaker 2>detector machine. Did you did this ever come up?

0:54:43.960 --> 0:54:44.240
<v Speaker 5>Again?

0:54:44.719 --> 0:54:47.480
<v Speaker 1>No, I don't think it did. Another case of kind

0:54:47.480 --> 0:54:48.640
<v Speaker 1>of wasted space.

0:54:48.400 --> 0:54:52.080
<v Speaker 2>Totally pointless. Yeah. Yeah, But then the next thing is

0:54:52.120 --> 0:54:55.600
<v Speaker 2>really while while Emilio Estevez is traveling to meet his

0:54:55.640 --> 0:54:59.919
<v Speaker 2>old manager, Brad, the New York Dolls guy he won

0:55:00.360 --> 0:55:02.560
<v Speaker 2>through two thousand and nine New York City, and this

0:55:02.760 --> 0:55:04.200
<v Speaker 2>is this is trying to give us some of the

0:55:04.200 --> 0:55:05.440
<v Speaker 2>texture of the future.

0:55:05.960 --> 0:55:08.600
<v Speaker 1>Yeah, and it's just your basic eighties Hell City take

0:55:08.640 --> 0:55:11.200
<v Speaker 1>on New York City with the sex clubs is a

0:55:11.239 --> 0:55:14.160
<v Speaker 1>weird future car transporting chicken cages across town.

0:55:14.160 --> 0:55:17.320
<v Speaker 2>Oh yeah, I like that, But it's also like cheesy

0:55:17.400 --> 0:55:20.160
<v Speaker 2>medieval movies like you know, Braveheart or something, and that

0:55:20.280 --> 0:55:23.360
<v Speaker 2>anybody who's not a CEO just has dirt smeared on

0:55:23.400 --> 0:55:23.920
<v Speaker 2>their face.

0:55:24.400 --> 0:55:26.960
<v Speaker 1>Yep, yep. And then of course we get a street gang,

0:55:27.080 --> 0:55:31.439
<v Speaker 1>like a Warrior's Escape from from New York s Street gang,

0:55:31.480 --> 0:55:35.560
<v Speaker 1>and it's it's super confusing too, because the gang we

0:55:35.600 --> 0:55:39.359
<v Speaker 1>see like, there's this this this African American gentleman, and

0:55:39.400 --> 0:55:42.560
<v Speaker 1>he has a helmet on that has both a Confederate

0:55:42.600 --> 0:55:46.839
<v Speaker 1>flag and a swastika. They just like threw everything at

0:55:46.880 --> 0:55:50.160
<v Speaker 1>the helmet and I have no idea what these guys are,

0:55:50.200 --> 0:55:52.040
<v Speaker 1>what their deal is, except they like to shoot guns

0:55:52.040 --> 0:55:52.480
<v Speaker 1>in the street.

0:55:52.560 --> 0:55:54.440
<v Speaker 2>I don't think it makes any sense. It's sort of

0:55:54.480 --> 0:55:57.839
<v Speaker 2>an unspoken convention of dystopian hell city sci fi that

0:55:58.160 --> 0:56:01.080
<v Speaker 2>the people of the future use the political symbols of

0:56:01.120 --> 0:56:04.440
<v Speaker 2>the past with no particular meaning or coherence, which, in

0:56:04.480 --> 0:56:07.120
<v Speaker 2>a way I think about it, that's I think the

0:56:07.200 --> 0:56:10.320
<v Speaker 2>current kind of true. Over time people just use symbols

0:56:10.320 --> 0:56:13.040
<v Speaker 2>of the past with clearly without understanding what they mean

0:56:13.080 --> 0:56:13.399
<v Speaker 2>at all.

0:56:14.680 --> 0:56:17.399
<v Speaker 1>But ultimately these this is this is just action. He's

0:56:17.440 --> 0:56:19.480
<v Speaker 1>moving through anyway to get from point A to point B.

0:56:19.920 --> 0:56:23.400
<v Speaker 2>Right. So Alex meets up with Brad, and Brad's like, oh, wow,

0:56:23.520 --> 0:56:25.880
<v Speaker 2>you're a bone jack or I mean, you're a free jacket.

0:56:26.120 --> 0:56:29.200
<v Speaker 2>So they're hanging out, and I love how they're in

0:56:29.320 --> 0:56:32.800
<v Speaker 2>Brad's apartment and people. You just hear people constantly getting

0:56:32.840 --> 0:56:36.480
<v Speaker 2>shot and screaming outside the window. Sounds like the future.

0:56:36.600 --> 0:56:40.480
<v Speaker 2>The wars out in the streets never stop. Yeah, And

0:56:40.520 --> 0:56:43.239
<v Speaker 2>Emilio Estevez is like, well, why me, Why why do

0:56:43.320 --> 0:56:45.799
<v Speaker 2>they need my bones? Why am I the bone jack?

0:56:45.800 --> 0:56:47.800
<v Speaker 2>Why can't they just take somebody else's body?

0:56:48.280 --> 0:56:50.920
<v Speaker 1>And oh yeah, because that's a great point that you

0:56:50.960 --> 0:56:53.200
<v Speaker 1>don't think about until this point exactly.

0:56:54.080 --> 0:56:57.600
<v Speaker 2>And Brad's like, well, the answer is obvious. You're clean.

0:56:57.719 --> 0:57:00.680
<v Speaker 2>You're from the past, so you haven't been exposed to

0:57:00.760 --> 0:57:03.560
<v Speaker 2>all of the pollution and drugs that have ruined everybody

0:57:03.560 --> 0:57:07.160
<v Speaker 2>else's body in the future. Plus everybody who's alive today

0:57:07.160 --> 0:57:09.680
<v Speaker 2>has been living for years without an ozone layer.

0:57:09.640 --> 0:57:11.839
<v Speaker 1>So yeah, the ozone layer is gone. So this makes

0:57:11.880 --> 0:57:14.680
<v Speaker 1>me wonder is this part of the pre Highlander two chronology?

0:57:14.920 --> 0:57:17.640
<v Speaker 1>Oh yeah, because it's set in what twenty twenty four,

0:57:18.240 --> 0:57:19.560
<v Speaker 1>So I think you could line up.

0:57:19.600 --> 0:57:21.800
<v Speaker 2>This movie has a lot in common with Highlander two.

0:57:21.920 --> 0:57:25.280
<v Speaker 1>Actually, yeah, not as good, not as good as that is.

0:57:25.320 --> 0:57:29.880
<v Speaker 2>Good. Well, I would say, actually it's better than Highlander two,

0:57:29.960 --> 0:57:31.680
<v Speaker 2>but Highlander two is better to watch.

0:57:32.120 --> 0:57:34.440
<v Speaker 1>Yeah, well, I don't know. I think I would say

0:57:34.440 --> 0:57:35.800
<v Speaker 1>it's better than Highlander two.

0:57:35.880 --> 0:57:38.160
<v Speaker 2>But you mean you'll say Highlander two is better.

0:57:38.320 --> 0:57:40.960
<v Speaker 1>Highland two is a better film, okay, and also a

0:57:40.960 --> 0:57:45.120
<v Speaker 1>better viewing experience. But then anyway, it's still fun.

0:57:45.160 --> 0:57:46.720
<v Speaker 2>It's so.

0:57:46.880 --> 0:57:49.240
<v Speaker 1>Yeah, we continue moving through the city here, even more

0:57:49.360 --> 0:57:53.120
<v Speaker 1>dystopia cyberpunk tropes are rolled out. You know, big business

0:57:53.120 --> 0:57:59.560
<v Speaker 1>controls everything. Japanese businesses have this superiority, environmental disaster, future drugs,

0:57:59.560 --> 0:58:02.919
<v Speaker 1>bodies for sale, immortality for the rich. It's just checking

0:58:02.960 --> 0:58:03.760
<v Speaker 1>off all the boxes.

0:58:03.800 --> 0:58:06.960
<v Speaker 2>It's all there. Yeah, And like every other sci fi

0:58:07.040 --> 0:58:09.480
<v Speaker 2>movie from the late eighties and early nineties, it assumes

0:58:09.520 --> 0:58:12.800
<v Speaker 2>that Japanese corporations are soon to take over the United States.

0:58:12.880 --> 0:58:13.600
<v Speaker 1>Yeah everything.

0:58:13.680 --> 0:58:18.120
<v Speaker 2>Yeah, and so the Japanese business panic is which actually

0:58:18.200 --> 0:58:20.000
<v Speaker 2>was in Diehard too, I seen, oh.

0:58:19.920 --> 0:58:20.760
<v Speaker 1>Yeah, was it? Okay.

0:58:21.080 --> 0:58:24.560
<v Speaker 2>It's a pervasive assumption of the movies of the time, you.

0:58:24.520 --> 0:58:28.120
<v Speaker 1>Know, speaking of cyberpunk, I've been playing the Cyberpunk twenty

0:58:28.160 --> 0:58:31.280
<v Speaker 1>seventy seven game. Oh really, Yeah, And that's one of

0:58:31.320 --> 0:58:34.160
<v Speaker 1>the interesting things to engage in with it is to

0:58:34.280 --> 0:58:37.440
<v Speaker 1>think about, like, this is a very it's a very

0:58:37.480 --> 0:58:40.919
<v Speaker 1>nineteen eighties vision of the future that really doesn't match

0:58:41.000 --> 0:58:43.720
<v Speaker 1>up in many ways with sort of modern sensibilities and all.

0:58:43.760 --> 0:58:45.640
<v Speaker 1>And yeah, you have all that stuff like the like

0:58:45.760 --> 0:58:48.959
<v Speaker 1>Japanese business panic that are a part of it, and yeah,

0:58:49.000 --> 0:58:50.880
<v Speaker 1>it's it's it's weird to think about.

0:58:51.120 --> 0:58:53.680
<v Speaker 2>Well, that panic plays into the first scene where we

0:58:53.720 --> 0:58:55.880
<v Speaker 2>meet Renee Russo of two thousand and nine, who I

0:58:55.920 --> 0:58:59.040
<v Speaker 2>will say looks exactly the same as she did in

0:58:59.120 --> 0:59:01.280
<v Speaker 2>nineteen ninety one. He literally does not look like she

0:59:01.360 --> 0:59:03.760
<v Speaker 2>has aged a day, So I guess maybe she has

0:59:03.800 --> 0:59:06.880
<v Speaker 2>not been exposed to the sky without ozone or something

0:59:07.160 --> 0:59:10.600
<v Speaker 2>that's ruined everybody else his body in the future. But

0:59:10.640 --> 0:59:14.040
<v Speaker 2>she is now a high powered executive at this corporation

0:59:14.200 --> 0:59:17.600
<v Speaker 2>called McCandless, which is the biggest, most powerful corporation in

0:59:17.640 --> 0:59:21.720
<v Speaker 2>the world, and she is colleagues with Jonathan Banks, with

0:59:22.040 --> 0:59:25.040
<v Speaker 2>this guy Michellet, and Renee Russo is doing some top

0:59:25.120 --> 0:59:29.720
<v Speaker 2>level negotiation in Japanese with these representatives from a Japanese

0:59:29.800 --> 0:59:33.240
<v Speaker 2>corporation and the executives across the table. Eventually, after they

0:59:33.280 --> 0:59:39.520
<v Speaker 2>negotiate their like the mineral rights are yours and the

0:59:39.560 --> 0:59:43.800
<v Speaker 2>CEO of the McCandless Corporation is Ian McCandless, played by

0:59:43.840 --> 0:59:47.360
<v Speaker 2>Anthony Hopkins, and he video calls Renee Russo he's like,

0:59:47.440 --> 0:59:51.080
<v Speaker 2>congratulations on business, now do more business now.

0:59:51.200 --> 0:59:54.600
<v Speaker 1>I don't recall, do we know McCandless is actually dead

0:59:54.640 --> 0:59:58.080
<v Speaker 1>and that he's the patron looking to get inside his

0:59:58.120 --> 0:59:58.880
<v Speaker 1>bone Jack body.

0:59:58.960 --> 1:00:02.200
<v Speaker 2>So technically no, that is a real spoiler that is

1:00:02.240 --> 1:00:04.920
<v Speaker 2>revealed at the end of the movie that the person

1:00:05.080 --> 1:00:10.200
<v Speaker 2>looking for Emilio Estevez's bone Jack body is actually Anthony Hopkins.

1:00:10.200 --> 1:00:13.120
<v Speaker 2>But you are not supposed to know it at this point.

1:00:13.120 --> 1:00:15.960
<v Speaker 2>You're supposed to think he's still alive and just communicating

1:00:15.960 --> 1:00:19.640
<v Speaker 2>with her through video phone calls. But no, it's absolutely obvious.

1:00:19.680 --> 1:00:22.280
<v Speaker 2>I had never seen the movie before and I was like, Okay,

1:00:22.560 --> 1:00:26.080
<v Speaker 2>Anthony Hopkins is the person who needs the Stavez body.

1:00:26.280 --> 1:00:28.640
<v Speaker 1>Okay. See, I couldn't remember if like the trailer spoiled

1:00:28.680 --> 1:00:31.560
<v Speaker 1>it for me or marketing material back in the early nineties.

1:00:31.560 --> 1:00:33.480
<v Speaker 1>But I feel like I always knew, like there was

1:00:33.560 --> 1:00:35.160
<v Speaker 1>never a twist here for me.

1:00:35.400 --> 1:00:45.880
<v Speaker 5>Yeah, it's it's a thousand percent obvious.

1:00:46.680 --> 1:00:49.120
<v Speaker 2>So then you're back to Brad and Alex walking around.

1:00:49.160 --> 1:00:51.880
<v Speaker 2>They're trying to find Renee Russo. Brad's trying to help

1:00:51.960 --> 1:00:54.280
<v Speaker 2>him find her because it's like, oh, once you know

1:00:54.400 --> 1:00:57.600
<v Speaker 2>she sees you, she'll she'll help you. And so Brad

1:00:57.640 --> 1:01:02.080
<v Speaker 2>takes Alex to a diner where for some reason, people

1:01:02.120 --> 1:01:06.480
<v Speaker 2>start pointing guns at each other. And then you find

1:01:06.480 --> 1:01:10.160
<v Speaker 2>out it's a double cross because Brad told told Alex

1:01:10.200 --> 1:01:11.920
<v Speaker 2>that he was gonna help him fire the Renee Russo,

1:01:12.040 --> 1:01:14.400
<v Speaker 2>but instead he just calls up the police to collect

1:01:14.400 --> 1:01:15.680
<v Speaker 2>the bounty on his old friend.

1:01:16.280 --> 1:01:18.360
<v Speaker 1>Yeah, and again, this is a whole section of the

1:01:18.360 --> 1:01:20.160
<v Speaker 1>movie that takes way longer than it needs to.

1:01:20.320 --> 1:01:23.520
<v Speaker 2>Yes, and this turns into a car chase Emelio Estevez

1:01:23.600 --> 1:01:27.640
<v Speaker 2>driving a police motorcycle around, driving through restaurant kitchens. I

1:01:27.680 --> 1:01:31.360
<v Speaker 2>see some familiar Atlanta streets in the scene, and eventually

1:01:31.400 --> 1:01:35.000
<v Speaker 2>Alex like crashes through a checkpoint and we get to

1:01:35.040 --> 1:01:37.480
<v Speaker 2>see some of the roads and stuff. But he's going

1:01:37.600 --> 1:01:39.760
<v Speaker 2>to Renee Russo's apartment.

1:01:40.200 --> 1:01:42.120
<v Speaker 1>I have to say, I like they have a mix,

1:01:42.400 --> 1:01:45.640
<v Speaker 1>an appropriate mix of some old looking conventional cars, but

1:01:45.680 --> 1:01:49.080
<v Speaker 1>then also some snazzy future cars. Not flying cars, road

1:01:49.080 --> 1:01:51.000
<v Speaker 1>based cars, but futuristic in appearance.

1:01:51.120 --> 1:01:53.520
<v Speaker 2>Most of the cars, or at least the nice looking

1:01:53.560 --> 1:01:55.520
<v Speaker 2>cars in the future, are covered by some kind of

1:01:55.640 --> 1:01:57.920
<v Speaker 2>single piece fiberglass carapace.

1:01:58.560 --> 1:02:01.440
<v Speaker 1>Yeah, which seems like a good solution. You know, you

1:02:01.440 --> 1:02:04.640
<v Speaker 1>don't have to completely redesign your space cars from the

1:02:04.640 --> 1:02:07.160
<v Speaker 1>ground up. Just get some sort of sleek body to

1:02:07.240 --> 1:02:09.560
<v Speaker 1>put on top of it, and you know, it ends

1:02:09.640 --> 1:02:10.400
<v Speaker 1>up looking pretty good.

1:02:10.440 --> 1:02:12.720
<v Speaker 2>It's just a Honda Civic with a big one piece

1:02:12.920 --> 1:02:13.800
<v Speaker 2>top on it. Yeah.

1:02:13.880 --> 1:02:15.680
<v Speaker 1>Yeah, they're essentially parade floats, right.

1:02:16.360 --> 1:02:18.920
<v Speaker 2>Also, the horses and carriages in the future, there's lots

1:02:18.960 --> 1:02:20.640
<v Speaker 2>of horses and carriages all over the place.

1:02:20.960 --> 1:02:22.640
<v Speaker 1>Huh okay, yeah, I forgot about that.

1:02:23.520 --> 1:02:26.960
<v Speaker 2>But Alex goes to Julie's apartment, Julia's renee Russo he

1:02:27.000 --> 1:02:29.760
<v Speaker 2>breaks in. He's like, hey, I'm here. I got bone jacked,

1:02:29.840 --> 1:02:31.640
<v Speaker 2>you know, but now I'm a free jack. And they argue,

1:02:31.680 --> 1:02:35.000
<v Speaker 2>let's pick up exactly where we left. Yeah. Yeah, So,

1:02:35.280 --> 1:02:37.680
<v Speaker 2>I don't know, seventeen years or something have passed for

1:02:37.720 --> 1:02:40.240
<v Speaker 2>her it's been I haven't done the math, right whatever.

1:02:40.280 --> 1:02:43.040
<v Speaker 2>Some number of years have passed, and he's just like, hey,

1:02:43.080 --> 1:02:45.439
<v Speaker 2>you know, how are things and she's she freaks out.

1:02:45.720 --> 1:02:48.600
<v Speaker 2>She doesn't think it's really him. She thinks that somebody

1:02:48.640 --> 1:02:51.520
<v Speaker 2>else has bonejacked his body and is now trying to

1:02:51.560 --> 1:02:52.080
<v Speaker 2>trick her.

1:02:52.800 --> 1:02:55.760
<v Speaker 1>I want to see a remake where the Renee Russo

1:02:55.920 --> 1:02:58.360
<v Speaker 1>character is totally not into this and she's like talking

1:02:58.360 --> 1:03:01.560
<v Speaker 1>to her husband or partner and he's like, yeah, God,

1:03:01.600 --> 1:03:05.400
<v Speaker 1>my ex boyfriend from seventeen years ago turns out he's

1:03:05.440 --> 1:03:08.720
<v Speaker 1>a free jack. Won't leave me alone. I've told him

1:03:08.800 --> 1:03:11.720
<v Speaker 1>like that was seventeen years ago. Like, life moves on.

1:03:11.800 --> 1:03:14.240
<v Speaker 1>I'm sorry you went through this, but I cannot help you.

1:03:14.480 --> 1:03:17.360
<v Speaker 2>Right, I've got the end of it. I'm an executive

1:03:17.360 --> 1:03:19.120
<v Speaker 2>at McCandleis. I don't have time for this.

1:03:19.640 --> 1:03:22.840
<v Speaker 1>Yeah like you, Yeah, you were a mistake seventeen years ago,

1:03:22.880 --> 1:03:24.360
<v Speaker 1>and I really am not about to pick that same

1:03:24.400 --> 1:03:26.800
<v Speaker 1>mistake up and run through the streets with it.

1:03:26.960 --> 1:03:29.200
<v Speaker 2>That would have been an amazing direction, but no. Instead,

1:03:29.240 --> 1:03:32.080
<v Speaker 2>she's just like single and at first she's skeptical, but

1:03:32.120 --> 1:03:34.520
<v Speaker 2>you know what's gonna happen. Come on, Yeah, and then

1:03:34.640 --> 1:03:37.720
<v Speaker 2>this turns into a car chase. Mick Jagger like finds

1:03:37.920 --> 1:03:42.040
<v Speaker 2>Emelia Estevez at her apartment and then he starts chasing

1:03:42.120 --> 1:03:45.440
<v Speaker 2>him down in this red land boat that is just hilarious.

1:03:45.880 --> 1:03:49.000
<v Speaker 2>But Alex hijacks a truck full I think it's like

1:03:49.040 --> 1:03:52.120
<v Speaker 2>a wine bottle delivery truck. It's full of these neon

1:03:52.240 --> 1:03:55.240
<v Speaker 2>green bottles of wine. So they do a car chase

1:03:55.280 --> 1:03:58.520
<v Speaker 2>around we see a Marta station and then there's one

1:03:58.600 --> 1:04:00.480
<v Speaker 2>of my favorite parts of the movie that was really

1:04:00.520 --> 1:04:03.080
<v Speaker 2>funny was when I have to.

1:04:03.040 --> 1:04:04.680
<v Speaker 1>Say, real quick though, I have to say about that

1:04:04.720 --> 1:04:09.560
<v Speaker 1>wine vehicle. Yeah, I'm watching it this time. I instantly

1:04:09.600 --> 1:04:15.520
<v Speaker 1>thought of Amy Sedaris's regional wine lady Ronnie Vino from

1:04:15.520 --> 1:04:17.800
<v Speaker 1>her television series At Home with Amy Siderius. And I

1:04:17.840 --> 1:04:21.360
<v Speaker 1>don't know what she drives. She's this hilarious character that

1:04:21.440 --> 1:04:24.520
<v Speaker 1>goes door to door selling wines. But like, this has

1:04:24.600 --> 1:04:28.160
<v Speaker 1>to be Ronnie Vino's vehicle. It is stolen here.

1:04:28.200 --> 1:04:30.880
<v Speaker 2>Well I have to check that out. But anyway, I

1:04:30.920 --> 1:04:33.360
<v Speaker 2>thought the scene was funny for multiple reasons. Number one

1:04:33.400 --> 1:04:36.600
<v Speaker 2>is that, yeah, I understand Alex. Forlong our protagonist is

1:04:36.600 --> 1:04:38.880
<v Speaker 2>supposed to be a race car driver, so it makes

1:04:38.880 --> 1:04:41.520
<v Speaker 2>sense that he would have some skills at evading these

1:04:41.600 --> 1:04:44.760
<v Speaker 2>mercenaries no matter what he was driving, But still it

1:04:44.760 --> 1:04:49.040
<v Speaker 2>seems implausible. He's just fully out maneuvering a fleet of

1:04:49.480 --> 1:04:53.600
<v Speaker 2>police interceptor vehicles and these like mercenary motorcycles and stuff

1:04:53.840 --> 1:04:56.840
<v Speaker 2>in a delivery truck for like full of you know,

1:04:57.000 --> 1:04:58.520
<v Speaker 2>Neon Green Pole mass On.

1:04:59.000 --> 1:04:59.600
<v Speaker 1>Yeah.

1:05:00.080 --> 1:05:03.080
<v Speaker 2>Oh, and it's got a laptop inside the cab where

1:05:03.080 --> 1:05:06.560
<v Speaker 2>he's driving that Mick Jagger keeps coming on, like popping

1:05:06.640 --> 1:05:09.160
<v Speaker 2>up on the screen on the laptop and harassing him

1:05:09.160 --> 1:05:11.520
<v Speaker 2>while he's driving and saying like, you can't get rid

1:05:11.600 --> 1:05:14.080
<v Speaker 2>of me that easily, And he'll try to close the

1:05:14.160 --> 1:05:17.680
<v Speaker 2>laptop and then it'll just open up automatically and Mick

1:05:17.760 --> 1:05:19.680
<v Speaker 2>Jaggery jaggers and laughing at him.

1:05:19.760 --> 1:05:22.520
<v Speaker 1>Yeah again he suddenly his character is suddenly the Riddler

1:05:22.680 --> 1:05:24.880
<v Speaker 1>or something. You know, it's like a complete shift from

1:05:24.920 --> 1:05:25.720
<v Speaker 1>what it was earlier.

1:05:25.960 --> 1:05:28.200
<v Speaker 2>And the mercenaries who worked for Mick Jagger, they're all

1:05:28.240 --> 1:05:32.520
<v Speaker 2>dressed like spaceballs once again. Eventually, Furlong escapes this scene

1:05:32.520 --> 1:05:35.120
<v Speaker 2>by jumping off of a bridge into water from a

1:05:35.160 --> 1:05:38.160
<v Speaker 2>height that would absolutely have killed him. He drifts down

1:05:38.160 --> 1:05:40.400
<v Speaker 2>the river, I guess, and he ends up. He ends

1:05:40.480 --> 1:05:43.200
<v Speaker 2>up washing up on a dock somewhere and he meets

1:05:43.240 --> 1:05:46.840
<v Speaker 2>Frankie Faison, who we mentioned earlier, who's just hanging out

1:05:46.840 --> 1:05:49.560
<v Speaker 2>at a dock next to all this toxic water and

1:05:49.680 --> 1:05:52.600
<v Speaker 2>he's eating something. He tries to share his food, I think,

1:05:52.680 --> 1:05:55.120
<v Speaker 2>but he's like, yeah, this is a sauteed river rat.

1:05:55.560 --> 1:05:58.120
<v Speaker 2>And then they have a fantastic conversation about the best

1:05:58.120 --> 1:06:00.880
<v Speaker 2>way to cook river rats. And then this goes into

1:06:00.880 --> 1:06:04.480
<v Speaker 2>this monologue about an eagle that really doesn't make any sense,

1:06:04.520 --> 1:06:06.800
<v Speaker 2>but I would say acting prize for the movie goes

1:06:06.800 --> 1:06:07.680
<v Speaker 2>to Frankie Faison.

1:06:08.200 --> 1:06:10.920
<v Speaker 1>Well, and it works too, because the kind of monologue

1:06:10.960 --> 1:06:14.320
<v Speaker 1>you'd expect to get from like a crazy person, you know,

1:06:14.320 --> 1:06:17.640
<v Speaker 1>that lives under a bridge in the in a dystopian future,

1:06:17.960 --> 1:06:21.000
<v Speaker 1>Like it shouldn't make sense. It should it should have

1:06:21.080 --> 1:06:23.280
<v Speaker 1>this sort of raw energy to it that's kind of

1:06:23.360 --> 1:06:27.760
<v Speaker 1>muddled by strange thinking, and it totally shines through. It's

1:06:27.840 --> 1:06:29.480
<v Speaker 1>it is the best scene in the whole picture.

1:06:29.520 --> 1:06:32.440
<v Speaker 2>It's like simultaneously incoherent and wise.

1:06:32.960 --> 1:06:35.920
<v Speaker 1>Yes, yeah, And in that very sagely you're like, I

1:06:35.960 --> 1:06:38.240
<v Speaker 1>don't know what he just said, but I think it

1:06:38.280 --> 1:06:41.120
<v Speaker 1>was really important, and I will I will buy him.

1:06:41.120 --> 1:06:43.800
<v Speaker 1>It's the same trick that shaman throughout history have used,

1:06:44.160 --> 1:06:45.760
<v Speaker 1>and Eagle Guy has no exception.

1:06:45.920 --> 1:06:49.720
<v Speaker 2>Yeah, but anyway, so we come back to Renee Russo

1:06:49.840 --> 1:06:54.360
<v Speaker 2>and her colleague Boone, who again this is Grandel Bush.

1:06:54.720 --> 1:06:58.560
<v Speaker 2>They go looking for Alex and the slums and they

1:06:58.600 --> 1:07:00.600
<v Speaker 2>sort of make up, right Rene, So it's like if

1:07:00.640 --> 1:07:04.640
<v Speaker 2>I'd known it was really you, and so they're happy

1:07:04.760 --> 1:07:08.200
<v Speaker 2>now again together. She believes it's really him and she's

1:07:08.240 --> 1:07:10.240
<v Speaker 2>going to help him free Jack. She's going to help

1:07:10.280 --> 1:07:14.440
<v Speaker 2>him escape somehow, and her plan is, oh, and they

1:07:14.520 --> 1:07:17.080
<v Speaker 2>see a digital billboard that's like, oh, the bounty on

1:07:17.200 --> 1:07:21.560
<v Speaker 2>him is now ten million dollars. But the plan is

1:07:21.600 --> 1:07:23.480
<v Speaker 2>that she's going to meet up with a fancy friend

1:07:23.480 --> 1:07:26.680
<v Speaker 2>of hers named Morgan at the most slicely canteena of

1:07:26.720 --> 1:07:29.360
<v Speaker 2>two thousand and nine New York. It's like, you know

1:07:29.560 --> 1:07:32.640
<v Speaker 2>very much. New York's hottest club is free Jack. And

1:07:32.680 --> 1:07:35.000
<v Speaker 2>so they go there and she's going to go meet

1:07:35.040 --> 1:07:37.960
<v Speaker 2>her friend who apparently helps people escape. I don't know

1:07:38.000 --> 1:07:40.720
<v Speaker 2>why she knows a guy who just helps Free Jack's escape,

1:07:40.760 --> 1:07:44.880
<v Speaker 2>but she does. And meanwhile, Emilio Estevez is just sitting

1:07:44.920 --> 1:07:47.440
<v Speaker 2>by himself at the bar. He drinks something that the

1:07:47.480 --> 1:07:50.360
<v Speaker 2>bartender gives him and this like messes up his brain.

1:07:51.240 --> 1:07:54.520
<v Speaker 2>And then Mick Jagger's real life wife at the time

1:07:54.560 --> 1:07:56.800
<v Speaker 2>of this film, or at least his partner, I think

1:07:56.840 --> 1:08:00.480
<v Speaker 2>their marriage was later annulled. Her name's Jerry Hall. She

1:08:00.840 --> 1:08:03.400
<v Speaker 2>is also in the movie, and she shows up as

1:08:03.560 --> 1:08:07.400
<v Speaker 2>a TV interviewer who like walks up to Emelio Estevez

1:08:07.920 --> 1:08:10.000
<v Speaker 2>and is like, Hey, what's going on? And then they

1:08:10.040 --> 1:08:13.240
<v Speaker 2>realize like, oh, this is that free jack everybody's looking for,

1:08:13.320 --> 1:08:15.360
<v Speaker 2>and they put him on live TV and he starts

1:08:15.440 --> 1:08:18.160
<v Speaker 2>quoting Arnold Schwarzenegger from The Terminator.

1:08:18.520 --> 1:08:21.479
<v Speaker 1>Yeah, it's actually pretty great, you know, because they just

1:08:21.520 --> 1:08:26.040
<v Speaker 1>went ahead and had the Furlong character just get totally wasted,

1:08:26.120 --> 1:08:28.880
<v Speaker 1>like he's a kind of a dumb dumb and this

1:08:29.600 --> 1:08:31.479
<v Speaker 1>expresses it, you know. He just he drinks too much

1:08:31.479 --> 1:08:33.280
<v Speaker 1>of this bar. He's out of it, and he's just

1:08:33.320 --> 1:08:36.680
<v Speaker 1>starts gabbing to the journalists here and she's like, roll it,

1:08:37.000 --> 1:08:40.519
<v Speaker 1>We're gonna get the ratings tonight. So I actually kind

1:08:40.520 --> 1:08:41.360
<v Speaker 1>of like this scene.

1:08:41.800 --> 1:08:45.040
<v Speaker 2>Weird connection is that. So she was I think married

1:08:45.040 --> 1:08:47.800
<v Speaker 2>to Mick Jagger, at the time, but Jerry Hall is

1:08:47.920 --> 1:08:51.519
<v Speaker 2>now married to Rupert Murdoch. Yes, that Murdock.

1:08:52.120 --> 1:08:56.080
<v Speaker 1>Wasn't she also in Batman? Wasn't she the model character

1:08:56.200 --> 1:08:59.840
<v Speaker 1>that Jack Nicholson's Joker scars with acid? I think she?

1:09:00.240 --> 1:09:01.120
<v Speaker 2>Oh, I don't remember that.

1:09:01.400 --> 1:09:03.200
<v Speaker 1>Yeah, yeah, I think she popped up in a number

1:09:03.200 --> 1:09:05.760
<v Speaker 1>of films during that period. All right, So from here

1:09:05.800 --> 1:09:09.559
<v Speaker 1>we go to Morgan's apartment and once again, once again

1:09:09.800 --> 1:09:11.360
<v Speaker 1>some great interior decorating.

1:09:11.479 --> 1:09:14.519
<v Speaker 2>Yes, giant foot art. He just has these like twenty

1:09:14.560 --> 1:09:17.599
<v Speaker 2>foot tall feet sculptures in his house.

1:09:18.600 --> 1:09:21.639
<v Speaker 1>Yeah, very cool. Yeah, and I really think we should

1:09:21.640 --> 1:09:24.559
<v Speaker 1>credit where credits due. First of all, for mc jagger's coat.

1:09:24.920 --> 1:09:27.800
<v Speaker 1>Lisa Jensen was costume designer on this film, and then

1:09:27.960 --> 1:09:30.360
<v Speaker 1>art direction for the film was James A. Taylor, Set

1:09:30.400 --> 1:09:34.719
<v Speaker 1>direction by Bruce A. Gibson. So really, without this bunch,

1:09:35.000 --> 1:09:36.559
<v Speaker 1>I'm not sure what we would be looking at in

1:09:36.600 --> 1:09:37.080
<v Speaker 1>these scenes.

1:09:37.360 --> 1:09:40.160
<v Speaker 2>I agree. So I think they're just negotiating like that

1:09:40.200 --> 1:09:42.000
<v Speaker 2>they're going to get him out of there, like Morgan's

1:09:42.040 --> 1:09:45.479
<v Speaker 2>gonna arrange for him to escape somewhere. And then and

1:09:45.520 --> 1:09:48.080
<v Speaker 2>then there's a love scene of course, Emilio Estevez and

1:09:48.400 --> 1:09:51.920
<v Speaker 2>Rene Russo they they're you know, they slip into something

1:09:51.920 --> 1:09:55.080
<v Speaker 2>more comfortable and there's some saxophone playing in the background

1:09:55.160 --> 1:09:55.840
<v Speaker 2>and you get all that.

1:09:56.200 --> 1:09:59.320
<v Speaker 1>Yeah, but again, more just wasted space in this film,

1:09:59.400 --> 1:10:03.479
<v Speaker 1>like this previous scene wasted space. Then there's this, and yeah, I.

1:10:03.479 --> 1:10:06.840
<v Speaker 2>Could really trim this down. Yeah, there is something that's

1:10:06.960 --> 1:10:09.519
<v Speaker 2>utterly inconsequential to the rest of the film, but a

1:10:09.560 --> 1:10:12.439
<v Speaker 2>good B plot scene where Amanda Plumber just kicks Jonathan

1:10:12.520 --> 1:10:15.479
<v Speaker 2>Banks in the testes. Yeah, and they really milk it,

1:10:15.520 --> 1:10:17.839
<v Speaker 2>like he does the classic sinking to the floor, moaning

1:10:17.920 --> 1:10:19.639
<v Speaker 2>with his eyes rolling back kind of thing.

1:10:20.160 --> 1:10:23.000
<v Speaker 1>Yeah. It accomplishes nothing though for the plot or for

1:10:23.040 --> 1:10:26.400
<v Speaker 1>these characters, Like I don't really know why we bothered

1:10:26.400 --> 1:10:26.720
<v Speaker 1>with this.

1:10:27.880 --> 1:10:30.840
<v Speaker 2>So Emilio Estevez is getting ready to escape. He's going

1:10:30.880 --> 1:10:35.160
<v Speaker 2>to a boat and he's going with Boone I remember

1:10:35.160 --> 1:10:38.600
<v Speaker 2>Grandel Marsha And they're walking together and Boone is explaining

1:10:38.640 --> 1:10:40.840
<v Speaker 2>that he has become a people to the city, like

1:10:40.880 --> 1:10:43.600
<v Speaker 2>he inspires everyone because he has a free jack and

1:10:43.640 --> 1:10:46.439
<v Speaker 2>the people are like, wow, I guess if he could

1:10:46.439 --> 1:10:48.280
<v Speaker 2>be free, I could be free too or something.

1:10:48.920 --> 1:10:51.160
<v Speaker 1>Yeah. It's a little flimsy, but clearly they had to

1:10:51.280 --> 1:10:54.559
<v Speaker 1>establish why Boone would help him. Yeah, if there's ten million,

1:10:54.640 --> 1:10:56.560
<v Speaker 1>and I think it's supposedly more. At this point, it

1:10:56.640 --> 1:10:58.840
<v Speaker 1>keeps going up, like there's a tremendous amount of money

1:10:59.160 --> 1:11:01.639
<v Speaker 1>on the table for the guy. Why are you helping him?

1:11:01.880 --> 1:11:03.559
<v Speaker 1>And he says, well, you inspire my grandma.

1:11:03.640 --> 1:11:04.280
<v Speaker 2>Yeah, that's right.

1:11:04.400 --> 1:11:07.040
<v Speaker 1>Yeah, And I'm like, okay, I'll buy it. I'm not

1:11:07.080 --> 1:11:07.599
<v Speaker 1>happy if.

1:11:08.000 --> 1:11:09.479
<v Speaker 2>By my grandma loves you.

1:11:10.120 --> 1:11:11.400
<v Speaker 1>Yeah.

1:11:11.439 --> 1:11:13.080
<v Speaker 2>So they're supposed to go get on a boat, but

1:11:13.160 --> 1:11:16.880
<v Speaker 2>then bam, boat explodes. It's a Jagger ambush, and then

1:11:16.920 --> 1:11:19.760
<v Speaker 2>it's a double double cross because Jagger is trying to

1:11:19.840 --> 1:11:23.080
<v Speaker 2>capture Furlong alive. But then these other dudes show up

1:11:23.080 --> 1:11:26.280
<v Speaker 2>and start shooting at Mick Jagger and shooting at Emilio Estevez,

1:11:26.920 --> 1:11:30.280
<v Speaker 2>and I think Boone is like, those aren't bone jackers.

1:11:30.360 --> 1:11:33.920
<v Speaker 2>There's someone else in the area, and so they're all

1:11:33.960 --> 1:11:36.160
<v Speaker 2>they're all running around. You find out Boone has a

1:11:36.240 --> 1:11:39.679
<v Speaker 2>katana and he's like a total badass and he fights people.

1:11:40.040 --> 1:11:42.840
<v Speaker 1>Yeah. I mean basically, you have Jagger's bunch wants to

1:11:42.920 --> 1:11:46.479
<v Speaker 1>finish the bone jacking contract, and then Jonathan Banks's bunch

1:11:46.760 --> 1:11:49.360
<v Speaker 1>they don't want the bone jacking to take place because

1:11:49.400 --> 1:11:51.120
<v Speaker 1>they don't want Anthony Hopkins to get his new body

1:11:51.120 --> 1:11:52.680
<v Speaker 1>because then he's still in charge of the company if

1:11:52.680 --> 1:11:54.880
<v Speaker 1>that happens. Yeah, we don't really learn that till later,

1:11:54.920 --> 1:11:56.080
<v Speaker 1>but that's why we're building up too.

1:11:56.160 --> 1:11:58.160
<v Speaker 2>That's right. We find that out from Jonathan Banks and

1:11:58.200 --> 1:12:02.280
<v Speaker 2>a big another exposition dumb scene. But everybody's running around chasing,

1:12:02.320 --> 1:12:04.880
<v Speaker 2>shooting at each other. There's a big fight scene between

1:12:04.880 --> 1:12:08.840
<v Speaker 2>Emilio Estevez and a large, strong bone jacker who gets electrocuted.

1:12:09.600 --> 1:12:12.280
<v Speaker 2>During this whole sequence, Mick Jagger is creeping around in

1:12:12.280 --> 1:12:17.360
<v Speaker 2>a hilarious helmet. But then there's a scene where Furlong

1:12:17.520 --> 1:12:20.280
<v Speaker 2>has a chance to kill Mick Jagger, but he doesn't.

1:12:20.600 --> 1:12:23.920
<v Speaker 2>He lets him live. He spares his life, and for

1:12:24.040 --> 1:12:27.960
<v Speaker 2>this Mick Jagger, Mick Jagger gives him a head start.

1:12:28.000 --> 1:12:30.000
<v Speaker 2>He's like, I'll let you escape because I'm a man

1:12:30.040 --> 1:12:32.679
<v Speaker 2>of honor. You're a man of honor. And he starts counting,

1:12:32.840 --> 1:12:36.720
<v Speaker 2>and Mick Jagger says, one Mississippi, two Mississippi.

1:12:38.880 --> 1:12:41.840
<v Speaker 1>I mean this ridiculous. Yeah, that's just ridiculous. It's way

1:12:41.840 --> 1:12:43.960
<v Speaker 1>too much of a lead too, Like why you just

1:12:44.000 --> 1:12:46.799
<v Speaker 1>spend like they established it's gonna take costs like millions

1:12:46.840 --> 1:12:49.639
<v Speaker 1>and millions of dollars to catch this guy again. You've

1:12:49.680 --> 1:12:51.880
<v Speaker 1>got him, but you're like, no, I'm a man of

1:12:51.920 --> 1:12:54.200
<v Speaker 1>my honor. I'm gonna let you get away again.

1:12:54.400 --> 1:12:57.600
<v Speaker 2>Right, So they eventually they go back to mccandles's headquarters.

1:12:58.760 --> 1:13:00.920
<v Speaker 2>He meets back up with Renever, so they go to

1:13:01.080 --> 1:13:05.320
<v Speaker 2>McCandless headquarters to meet with Jonathan Banks and have Jonathan

1:13:05.360 --> 1:13:08.760
<v Speaker 2>Banks explain the whole plot. Yep, and Renee Russo and

1:13:08.760 --> 1:13:12.320
<v Speaker 2>Emilio Estevez end up end up going up to the

1:13:12.320 --> 1:13:16.160
<v Speaker 2>Spiritual Switchboard to find you know, there's a number of

1:13:16.160 --> 1:13:18.639
<v Speaker 2>double crosses yet again, and people trying to kill each other.

1:13:18.680 --> 1:13:21.320
<v Speaker 2>So they end up a the Spiritual Switchboard, which looks

1:13:21.360 --> 1:13:24.200
<v Speaker 2>like a smoother version of the Satan powered Hyperdrive and

1:13:24.280 --> 1:13:25.120
<v Speaker 2>event Horizon.

1:13:26.160 --> 1:13:28.920
<v Speaker 1>Yeah, it's you know, clearly whatever is happening here, it

1:13:28.960 --> 1:13:30.840
<v Speaker 1>can only take place at the top of a high

1:13:30.920 --> 1:13:36.920
<v Speaker 1>rise in Manhattan aka Atlanta, And yeah, it raises a

1:13:36.920 --> 1:13:38.800
<v Speaker 1>lot of questions, like, I guess the big one is

1:13:39.240 --> 1:13:42.400
<v Speaker 1>what if we are actually dealing with spirit Like what

1:13:42.439 --> 1:13:48.880
<v Speaker 1>if this film is presenting a future in which which

1:13:48.920 --> 1:13:51.360
<v Speaker 1>there is a spiritual reality to the individual, and that's

1:13:51.360 --> 1:13:53.280
<v Speaker 1>why you have some sort of crazy contraption, because there's

1:13:53.320 --> 1:13:56.280
<v Speaker 1>like an actual ghost soul, you know, like there's an

1:13:56.280 --> 1:14:00.439
<v Speaker 1>Anthony Hopkins poltergeist trapped in this thing and they have

1:14:00.560 --> 1:14:02.920
<v Speaker 1>to eventually try and slam it into some new meat.

1:14:03.280 --> 1:14:06.360
<v Speaker 2>Yeah, it really does explore some Cartesian territory.

1:14:06.880 --> 1:14:07.439
<v Speaker 1>I think.

1:14:08.400 --> 1:14:12.400
<v Speaker 2>I think you can give its it's philosophical credit, especially

1:14:12.400 --> 1:14:14.920
<v Speaker 2>because so they go up to the Spiritual Switchboard and

1:14:14.920 --> 1:14:19.680
<v Speaker 2>they meet McCandleis that's Anthony Hopkins, and he's full on

1:14:19.840 --> 1:14:23.439
<v Speaker 2>lawnmower Man beyond cyberspace. He's just hanging out in digital

1:14:23.479 --> 1:14:27.320
<v Speaker 2>worlds with digital diamonds. Our heroes are transported to a

1:14:27.360 --> 1:14:30.799
<v Speaker 2>giant VR castle inside what looks like a Utah desert,

1:14:31.360 --> 1:14:36.000
<v Speaker 2>and Anthony Hopkins says, welcome to my mind. And Anthony

1:14:36.000 --> 1:14:40.720
<v Speaker 2>Hopkins has been faking being alive through video simulation the

1:14:40.720 --> 1:14:42.760
<v Speaker 2>whole time. We find out that he's in love with

1:14:42.840 --> 1:14:46.639
<v Speaker 2>Rene Russo and he wants Amelio Estevez's body so that

1:14:46.680 --> 1:14:50.519
<v Speaker 2>she would love him in return. And so they're trying

1:14:50.560 --> 1:14:52.920
<v Speaker 2>to do the mind transfer on this big thing that

1:14:53.000 --> 1:14:55.400
<v Speaker 2>looks exactly like a jack, like it's a spike with

1:14:55.479 --> 1:14:57.800
<v Speaker 2>these balls coming out of the middle of it, and

1:14:57.840 --> 1:15:00.400
<v Speaker 2>the jack opens up and there's a big crit stole

1:15:00.439 --> 1:15:03.120
<v Speaker 2>inside it, so it's literally crystal energy.

1:15:03.880 --> 1:15:06.719
<v Speaker 1>Now the film does get very briefly and just into

1:15:07.000 --> 1:15:10.080
<v Speaker 1>the philosophy or another. The philosophy really, I guess you

1:15:10.080 --> 1:15:14.400
<v Speaker 1>would say the ethics of bone jacking, which is kind

1:15:14.439 --> 1:15:16.840
<v Speaker 1>of interesting because you know, he's like they bring up

1:15:16.840 --> 1:15:19.519
<v Speaker 1>the point which I mostly agree with here, like he

1:15:19.600 --> 1:15:21.800
<v Speaker 1>was gonna Emlio wes Vez's character was going to die.

1:15:22.240 --> 1:15:25.360
<v Speaker 1>That was going to happen, and they can't really interfere

1:15:25.360 --> 1:15:27.800
<v Speaker 1>with that, like that would be that would really mess up,

1:15:29.000 --> 1:15:31.760
<v Speaker 1>you know, the entire time stream. All they can do

1:15:31.880 --> 1:15:34.559
<v Speaker 1>is steal his body and then do something with it.

1:15:34.880 --> 1:15:37.160
<v Speaker 1>And it's just an accident that he got free and

1:15:37.200 --> 1:15:42.000
<v Speaker 1>that he's escaped. So to a certain extent, bone jacking

1:15:42.040 --> 1:15:43.360
<v Speaker 1>is a victimist crime.

1:15:43.800 --> 1:15:46.599
<v Speaker 2>Oh you think so, huh, you're a pro bone jacking,

1:15:46.640 --> 1:15:46.960
<v Speaker 2>are you?

1:15:47.640 --> 1:15:50.920
<v Speaker 1>Well, I'm I'm I'm not in I guess I'm not

1:15:51.120 --> 1:15:54.000
<v Speaker 1>entirely pro bone jacking. I mean it does symbolize, you know,

1:15:54.080 --> 1:15:57.840
<v Speaker 1>the a great deal of unbalanced privilege in the future

1:15:58.240 --> 1:16:01.559
<v Speaker 1>for the few individuals who can afford immortality, which you know,

1:16:01.760 --> 1:16:03.640
<v Speaker 1>we still see plenty of science fiction that deals with that,

1:16:03.680 --> 1:16:06.920
<v Speaker 1>because that's ultimately a that's a reality we're potentially facing.

1:16:06.960 --> 1:16:11.720
<v Speaker 1>You know, these longevity science improves, you know, who's going

1:16:11.800 --> 1:16:14.080
<v Speaker 1>to be able to afford it? Who gets to have

1:16:14.160 --> 1:16:17.799
<v Speaker 1>their life span extended? Who gets to live forever? You know? Sure,

1:16:18.240 --> 1:16:19.920
<v Speaker 1>so it gets into some of that territory and that

1:16:20.040 --> 1:16:22.679
<v Speaker 1>is that is some rich sci fi territory to explore,

1:16:22.760 --> 1:16:24.439
<v Speaker 1>and they briefly do it.

1:16:24.640 --> 1:16:27.960
<v Speaker 2>Yeah, as sort of they kind of half address it.

1:16:28.160 --> 1:16:33.080
<v Speaker 2>There is a line where Amelio Estevez says to Anthony Hopkins,

1:16:33.160 --> 1:16:35.839
<v Speaker 2>you don't need a new body, you need a new soul.

1:16:37.760 --> 1:16:42.040
<v Speaker 1>Yeah, and he's like, yeah, whatever, meat, Ye prepare.

1:16:41.680 --> 1:16:45.160
<v Speaker 2>To have me in your meat. And then there's a

1:16:45.160 --> 1:16:49.759
<v Speaker 2>psychedelic mind transfer scene, but it doesn't complete because Jonathan

1:16:49.800 --> 1:16:52.559
<v Speaker 2>Banks shows up to kill everybody. I guess because oh,

1:16:52.560 --> 1:16:55.280
<v Speaker 2>because he just wants Anthony Hopkins to die so that

1:16:55.320 --> 1:16:56.599
<v Speaker 2>he can take over the business.

1:16:57.000 --> 1:16:59.160
<v Speaker 1>Right. He needs this to fail, and he's been trying

1:16:59.160 --> 1:17:01.360
<v Speaker 1>to make it fail the whole and then the last

1:17:01.360 --> 1:17:03.080
<v Speaker 1>thing he's going to try is just shooting the crystal,

1:17:03.120 --> 1:17:05.120
<v Speaker 1>which he does, but then he shot himself.

1:17:05.160 --> 1:17:05.200
<v Speaker 4>No.

1:17:05.240 --> 1:17:07.360
<v Speaker 2>I think Renee Russo she shoots.

1:17:07.760 --> 1:17:08.599
<v Speaker 1>Why does she have a gun?

1:17:08.920 --> 1:17:11.439
<v Speaker 2>She gets a gun something, she shoots the crystal stops

1:17:11.479 --> 1:17:15.200
<v Speaker 2>the transfer, and then there's a question. So Emilio Estevez

1:17:15.280 --> 1:17:17.840
<v Speaker 2>is there and it's like, uh, is Anthony Hopkins mind

1:17:17.840 --> 1:17:20.040
<v Speaker 2>in him or is it still his mind? And there's

1:17:20.080 --> 1:17:22.680
<v Speaker 2>a standoff with Mick Jagger and Jonathan Banks with their

1:17:22.680 --> 1:17:25.080
<v Speaker 2>all point and guns at each other and they're all

1:17:25.080 --> 1:17:27.800
<v Speaker 2>trying to figure out is that really Anthony Hopkins or not?

1:17:27.840 --> 1:17:30.200
<v Speaker 2>And they're going to kill him if it's if it's

1:17:30.240 --> 1:17:33.439
<v Speaker 2>still Amelio Estevez, but Jagger's gonna let him live if

1:17:33.479 --> 1:17:36.679
<v Speaker 2>it's Anthony Hopkins. And uh, so they do a trick.

1:17:36.720 --> 1:17:40.320
<v Speaker 2>They're like, what's your personal identification number? And Emilio Estevez

1:17:40.360 --> 1:17:44.360
<v Speaker 2>starts saying numbers and Mick Jagger's like that's right, and

1:17:44.439 --> 1:17:47.840
<v Speaker 2>so they they shoot Jonathan Banks. But then you find

1:17:47.840 --> 1:17:50.280
<v Speaker 2>out there's a very sweet ending where for a moment

1:17:50.360 --> 1:17:53.400
<v Speaker 2>you are supposed to think, oh, maybe it did complete

1:17:53.400 --> 1:17:56.519
<v Speaker 2>and the bad guy won. Anthony Hopkins is now in

1:17:56.560 --> 1:17:59.679
<v Speaker 2>the meat. But there is a sweet ending where Renee

1:17:59.760 --> 1:18:04.200
<v Speaker 2>Russ and Emilio estevezer driving off and Mick Jagger comes

1:18:04.280 --> 1:18:06.280
<v Speaker 2>up to them and like leans into the car window

1:18:06.320 --> 1:18:08.519
<v Speaker 2>and is like, hey, you know, I know that number

1:18:08.560 --> 1:18:10.600
<v Speaker 2>you gave was wrong, but I decided to let you

1:18:10.680 --> 1:18:13.519
<v Speaker 2>live because you're a stand up guy or something.

1:18:13.760 --> 1:18:17.519
<v Speaker 1>Yeah, it's I mean, it's not a bad ending. I

1:18:17.680 --> 1:18:19.720
<v Speaker 1>like the whole mystery of it, like did it work?

1:18:19.760 --> 1:18:21.280
<v Speaker 1>Did it not work? And it's like a kind of

1:18:21.320 --> 1:18:24.200
<v Speaker 1>a fun double cross ultimately a face turn for Mick

1:18:24.280 --> 1:18:28.200
<v Speaker 1>Jagger's character. But it does take a long time to

1:18:28.200 --> 1:18:29.320
<v Speaker 1>get to this point in the picture.

1:18:29.400 --> 1:18:31.320
<v Speaker 2>It does, and it strikes me as like that would

1:18:31.360 --> 1:18:32.960
<v Speaker 2>be a cool thing in the future, if there's some

1:18:33.040 --> 1:18:35.880
<v Speaker 2>kind of like a prestige attached to the idea of

1:18:35.920 --> 1:18:38.800
<v Speaker 2>being original meat. You say like, no, no, no, my mind

1:18:38.880 --> 1:18:40.800
<v Speaker 2>is still in the meat that it was originally and

1:18:40.840 --> 1:18:41.840
<v Speaker 2>this is not new meat.

1:18:42.200 --> 1:18:44.879
<v Speaker 1>Well, you know, I mentioned the nineties Outer Limit series earlier.

1:18:45.200 --> 1:18:48.400
<v Speaker 1>This whole film would have made a really solid forty

1:18:48.439 --> 1:18:53.000
<v Speaker 1>five minute nineties Outer Limit episode. Yes, Instead, it's like

1:18:53.120 --> 1:18:56.519
<v Speaker 1>twice that length, and I think that's the one of

1:18:56.520 --> 1:18:57.320
<v Speaker 1>the problems here.

1:18:57.640 --> 1:19:00.800
<v Speaker 2>There is a really funny rock song that plays over

1:19:00.840 --> 1:19:03.479
<v Speaker 2>the end credits. I had to look this up. It's

1:19:03.479 --> 1:19:06.760
<v Speaker 2>by The Scorpions and it's called Solid. It's called hit

1:19:06.840 --> 1:19:10.120
<v Speaker 2>between the eyes, and the lyrics include lines like late

1:19:10.160 --> 1:19:12.880
<v Speaker 2>at night, when you're all alone, take a ride to

1:19:12.960 --> 1:19:15.600
<v Speaker 2>the danger zone.

1:19:16.720 --> 1:19:17.920
<v Speaker 1>Yeah, but that's it.

1:19:18.160 --> 1:19:20.799
<v Speaker 2>As we've been saying, I think this movie's pretty awful.

1:19:21.000 --> 1:19:23.960
<v Speaker 2>It has some real pleasures in terms of ridiculous dialog

1:19:24.120 --> 1:19:27.880
<v Speaker 2>and shots of Mick Jagger looking really funny in certain costumes.

1:19:28.280 --> 1:19:30.120
<v Speaker 2>I think it would be better if it was like

1:19:30.320 --> 1:19:34.320
<v Speaker 2>thirty to forty minutes Shorter leaned harder into the absurdity.

1:19:34.520 --> 1:19:37.720
<v Speaker 2>It could sort of veer into camp classic if it

1:19:37.760 --> 1:19:39.800
<v Speaker 2>were like that. As it is, it's kind of an

1:19:39.880 --> 1:19:40.639
<v Speaker 2>uncut gem.

1:19:41.240 --> 1:19:43.600
<v Speaker 1>It would have been nate if the first time Emilio's

1:19:43.680 --> 1:19:45.519
<v Speaker 1>character jumps off the bridge and you say, oh, that

1:19:45.520 --> 1:19:48.280
<v Speaker 1>would have killed the normal person. What if he does

1:19:48.400 --> 1:19:50.400
<v Speaker 1>die and he's immediately bonejacked again?

1:19:50.880 --> 1:19:54.160
<v Speaker 2>Bone jack to a second future. This time it's twenty twenty.

1:19:54.640 --> 1:19:55.719
<v Speaker 2>Things are even worse.

1:19:56.120 --> 1:20:02.639
<v Speaker 1>Yeah, yeah, with all your points there, Oh, here's my

1:20:03.080 --> 1:20:06.880
<v Speaker 1>casting workaround. Okay, that could have improved things. Okay. Grand

1:20:06.920 --> 1:20:12.040
<v Speaker 1>Al Bush plays our hero Alex Furlong, Okay, yeah. Amanda

1:20:12.080 --> 1:20:14.479
<v Speaker 1>Plumber plays Julie Redland, the love interest.

1:20:14.600 --> 1:20:18.759
<v Speaker 2>Okay, nice, Yeah, she's a exec at McCandless.

1:20:18.200 --> 1:20:21.800
<v Speaker 1>Yeah, Yeah, Jonathan Banks and Mick Jagger switch role, so

1:20:22.200 --> 1:20:25.599
<v Speaker 1>Banks as Vicendek and Jagger as Michellette.

1:20:25.120 --> 1:20:27.120
<v Speaker 2>The corporate guy with Faberge eggs.

1:20:27.479 --> 1:20:32.000
<v Speaker 1>Yeah, Frankie still plays the Eagle guy, but in a

1:20:32.160 --> 1:20:34.400
<v Speaker 1>far expanded role. I don't know how they just get

1:20:34.439 --> 1:20:35.280
<v Speaker 1>more screen time for that.

1:20:35.320 --> 1:20:37.240
<v Speaker 2>Care he should become like the full on Obi wan

1:20:37.320 --> 1:20:39.880
<v Speaker 2>Kenobi of the movie. He's just like throughout the whole

1:20:39.880 --> 1:20:42.000
<v Speaker 2>thing is like this sort of the guy to character.

1:20:42.479 --> 1:20:46.600
<v Speaker 1>Yeah, Anthony Hopkins remains mccandle's because he's fine in that,

1:20:47.000 --> 1:20:48.800
<v Speaker 1>and then the rest just fill in as needed. I

1:20:48.800 --> 1:20:52.800
<v Speaker 1>don't know. Emilio can play somebody. Yeah, Buster pointe exer

1:20:52.840 --> 1:20:56.519
<v Speaker 1>can do whatever. But I feel like, get the weirder actors,

1:20:56.520 --> 1:20:58.800
<v Speaker 1>the more interesting actors up towards the top, That's what

1:20:58.840 --> 1:21:02.479
<v Speaker 1>I want, and Smick Jagger more appropriately get the meat.

1:21:05.080 --> 1:21:06.880
<v Speaker 1>All right, Well, if you want to get the meat.

1:21:07.880 --> 1:21:10.400
<v Speaker 1>Lucky for you, again, this was a thirty million dollar picture,

1:21:10.760 --> 1:21:13.240
<v Speaker 1>so you can rent it or buy it everywhere. It's

1:21:13.320 --> 1:21:16.120
<v Speaker 1>it's not as like streamable as part of a service

1:21:16.160 --> 1:21:17.720
<v Speaker 1>as you might expect, you know, in terms of like

1:21:17.760 --> 1:21:20.800
<v Speaker 1>Netflix and Amazon Prime and all, but you can absolutely

1:21:21.000 --> 1:21:23.000
<v Speaker 1>buy it or rent it anywhere. It's even available on

1:21:23.080 --> 1:21:24.599
<v Speaker 1>Blu Ray for crying out loud.

1:21:24.760 --> 1:21:26.759
<v Speaker 2>I wonder if the Blu Ray has the same menus.

1:21:27.280 --> 1:21:30.720
<v Speaker 2>My god, Blu Ray made in like twenty fourteen or

1:21:30.720 --> 1:21:33.240
<v Speaker 2>something still has the page just for the url of

1:21:33.320 --> 1:21:34.040
<v Speaker 2>Morgan Creek.

1:21:34.760 --> 1:21:38.639
<v Speaker 1>I bet it has like just a loveless, like film

1:21:38.680 --> 1:21:42.240
<v Speaker 1>studio template. Like whatever everything else had that came out

1:21:42.280 --> 1:21:44.519
<v Speaker 1>that wasn't didn't have like a cult following or you know,

1:21:44.640 --> 1:21:46.639
<v Speaker 1>wasn't a huge hit. It just gets the same treatment

1:21:46.680 --> 1:21:47.320
<v Speaker 1>as everything else.

1:21:47.400 --> 1:21:51.719
<v Speaker 2>Hey, everybody right in about your favorite DVD menus. What's

1:21:51.760 --> 1:21:55.320
<v Speaker 2>the worst DVD menu you've ever found that? What's the

1:21:55.320 --> 1:22:00.439
<v Speaker 2>most absurd dedication of an entire menu option you've ever found?

1:22:01.160 --> 1:22:05.200
<v Speaker 1>Yeah, the most over ambitious animation from swishing from one

1:22:05.240 --> 1:22:07.880
<v Speaker 1>page to the next. Yeah, I'd love to hear about it.

1:22:07.960 --> 1:22:09.960
<v Speaker 1>Or oh god, some of these, especially some of the

1:22:10.040 --> 1:22:12.960
<v Speaker 1>kids DVDs from back in the day, they would have

1:22:13.040 --> 1:22:16.840
<v Speaker 1>games like really, oh god, like really rough attempts to

1:22:16.880 --> 1:22:19.400
<v Speaker 1>have some sort of a click based game on the DVD.

1:22:19.520 --> 1:22:20.439
<v Speaker 1>It was rough.

1:22:20.479 --> 1:22:23.040
<v Speaker 2>Sometimes they got Easter eggs, you remember those, where like

1:22:23.160 --> 1:22:25.000
<v Speaker 2>you'd move the cursor around to a thing that you

1:22:25.040 --> 1:22:26.960
<v Speaker 2>didn't realize you could move it to and then it

1:22:26.960 --> 1:22:28.679
<v Speaker 2>would play a hidden scene or something.

1:22:29.280 --> 1:22:31.599
<v Speaker 1>Yeah. Oh man, I hope there's still I do love

1:22:31.680 --> 1:22:34.120
<v Speaker 1>hidden tracks and Easter eggs and stuff, and I hope

1:22:34.160 --> 1:22:37.080
<v Speaker 1>some of that's still going on. All right, Well, we're

1:22:37.120 --> 1:22:40.479
<v Speaker 1>gonna go ahead and close it out here. But yeah,

1:22:40.520 --> 1:22:43.759
<v Speaker 1>this was free Jack. We hope you enjoyed it. Again.

1:22:44.080 --> 1:22:46.840
<v Speaker 1>There was a little bit of weirdness in this one,

1:22:47.160 --> 1:22:48.879
<v Speaker 1>maybe not as weird as some of the other pictures,

1:22:48.880 --> 1:22:50.400
<v Speaker 1>but still was a lot of fun to talk about,

1:22:50.760 --> 1:22:53.400
<v Speaker 1>and I think it is important to just talk about

1:22:53.479 --> 1:22:56.639
<v Speaker 1>sometimes these these big budget films which can sometimes turn

1:22:56.680 --> 1:23:01.200
<v Speaker 1>out pretty weird but also can just really fail to

1:23:01.240 --> 1:23:03.880
<v Speaker 1>set the world on fire. All right, Well, if you

1:23:03.920 --> 1:23:06.439
<v Speaker 1>want to watch more episodes of weird Ouse Cinema, you

1:23:06.479 --> 1:23:09.639
<v Speaker 1>can catch it every Friday in the Stuff to Blow

1:23:09.640 --> 1:23:11.920
<v Speaker 1>your Mind podcast feed, and you can find that podcast

1:23:11.960 --> 1:23:14.840
<v Speaker 1>feed wherever you get your podcasts, wherever that happens to be.

1:23:15.120 --> 1:23:17.360
<v Speaker 1>Just rate, review, and subscribe if you have the ability

1:23:17.400 --> 1:23:17.760
<v Speaker 1>to do so.

1:23:18.080 --> 1:23:20.800
<v Speaker 2>Huge thanks as always to our excellent audio producer Seth

1:23:20.880 --> 1:23:23.200
<v Speaker 2>Nicholas Johnson. If you would like to get in touch

1:23:23.240 --> 1:23:25.360
<v Speaker 2>with us with feedback on this episode or any other

1:23:25.479 --> 1:23:27.880
<v Speaker 2>to suggest a topic for the future, just to say hello.

1:23:27.960 --> 1:23:30.840
<v Speaker 2>You can email us at contact at stuff to Blow

1:23:30.840 --> 1:23:39.040
<v Speaker 2>your Mind dot com.

1:23:39.120 --> 1:23:42.080
<v Speaker 3>Stuff to Blow Your Mind is production of iHeartRadio. For

1:23:42.160 --> 1:23:44.960
<v Speaker 3>more podcasts from my heart Radio, visit the iHeartRadio app,

1:23:45.120 --> 1:23:47.880
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