Speaker 1: Hey, you welcome to Weird House Cinema Rewind. This is
Speaker 1: Rob Lamb.
Speaker 2: And this is Joe McCormick. And today on Weird House
Speaker 2: Cinema Rewind, we're gonna be featuring an older episode of
Speaker 2: Weird House Cinema, the one we did on free Jack
Speaker 2: starring Emilio Estevez, Mick Jagger. What was Anthony Hopkins in
Speaker 2: this one?
Speaker 1: Yeah? He is?
Speaker 2: Is Renee Russo in it? Where's all of these names
Speaker 2: come from? And my memory, I.
Speaker 1: Mean, it's it's all about Mick Jagger. It's all about
Speaker 1: getting the meat right.
Speaker 2: Get the meat that's right.
Speaker 1: All right? So in free Jack, there is one hundred
Speaker 1: percent chance of bone jacking occurring. And you know what,
Speaker 1: if you tune into Monday Night Football tonight on ESPN,
Speaker 1: I'd say maybe there's a fifty to fifty chance they'll
Speaker 1: be bone jacking. But I am to understand there's one
Speaker 1: hundred percent chance there's gonna be some sort of interesting
Speaker 1: shenanigans from PayPal. That's the word around the office here
Speaker 1: at any rate, Do with that what you will. Football fans,
Speaker 1: that's right, football fans, tal alert. And now, without any
Speaker 1: further ado, let's get into free Jack.
Speaker 3: Welcome to Stuff to Blow your Mind, a production of iHeartRadio.
Speaker 1: Hey, welcome to Weird House Cinema. This is Rob Lamb.
Speaker 2: And I'm Joe McCormick. And boy, we have got a
Speaker 2: treat for you today, one that has been a long
Speaker 2: time coming for me personally, because we're going to be
Speaker 2: talking about a nineteen ninety Oh I've already forgotten the year.
Speaker 2: Was it ninety one or ninety two?
Speaker 1: I believe it came out in ninety.
Speaker 2: Two, Okay, a nineteen ninety two science fiction film called
Speaker 2: Free Jack. And I have a personal history with this movie,
Speaker 2: which is that I have owned this DVD for approximately
Speaker 2: fifteen years, and until this weekend, I had never watched it.
Speaker 2: I remember buying it for three dollars and ninety five
Speaker 2: cents at an East Tennessee used bookstore sometime when I
Speaker 2: was in college. Because on the cover of the DVD
Speaker 2: case it has a picture of Emilio Estevez holding some
Speaker 2: kind of futuristic looking gun, and then a bunch of
Speaker 2: very very foggy future corridors, and then Mick Jagger looking
Speaker 2: very stern like he's going to dole out some punishment.
Speaker 2: Anthony Hopkins holding his fingers in front of his face
Speaker 2: like he's going to smoke a cigar or something, and
Speaker 2: Renee Russo wearing like an mc escher pattern.
Speaker 1: Yeah. I remember the VHS box art for this. I
Speaker 1: remember the the you know, the covers. I remember the trailer.
Speaker 1: It looks like it's gonna be tremendous fun. It looks
Speaker 1: really badass. In fact, I have very strong memories of
Speaker 1: when this came out because I was fourteen, and you know,
Speaker 1: I don't even remember what my favorite films were at
Speaker 1: that point. You know, I guess that's post Batman, so
Speaker 1: I guess Batman was still in the mix. But I was,
Speaker 1: you know, exploring some more sci fi, getting into that
Speaker 1: reading sci fi, and then I saw the trailer for
Speaker 1: free Jack, and I was just convinced that this was
Speaker 1: going to be a great film. I got so excited
Speaker 1: about it. I'm like looking through copies of Newsweek to
Speaker 1: try and follow the coverage of free Jack, and that
Speaker 1: was a little disappointed when it was there.
Speaker 2: You're like making a scrap booking the I.
Speaker 1: Would do that with other films, like yeah, I had
Speaker 1: done that with Batman. When it came out, I was
Speaker 1: like cutting out all these pictures. I made like scrapbook
Speaker 1: pages of it. I was so excited about it. I
Speaker 1: did that with Dick Tracy.
Speaker 2: That's fandom.
Speaker 1: Yeah, and then this came and I'm like, let's do it.
Speaker 1: I'm down. This is the next one. This is going
Speaker 1: to be the next film that I'm crazy for. And
Speaker 1: then it hit theaters and I remember I was I
Speaker 1: was calling my local theater in the small Tennessee town
Speaker 1: that I lived in, and I was like, when are
Speaker 1: you all getting free Jack? When's free Jack coming? And
Speaker 1: they they didn't have an answer for that, because of
Speaker 1: course the answer was free Jack was not coming to
Speaker 1: a small town.
Speaker 2: Is mister Jagger going to be here for the premiere?
Speaker 2: Can I get them to sign my poster?
Speaker 1: Yeah? Well, I just thought it was going to be
Speaker 1: this huge thing that everybody was going to be obsessed with.
Speaker 1: Turns out people weren't obsessed with it. Turns out this
Speaker 1: was what a January release. This was a film that
Speaker 1: had experienced troubles, that was pretty much known, I think,
Speaker 1: to not be that good, and was just dumped unceremoniously
Speaker 1: in the January release window of nineteen ninety two.
Speaker 2: Yeah, floppiject season. Yeah, but There's a lot of good
Speaker 2: movies get released in the winter, though, but oh yeah,
Speaker 2: a lot of this is something that I think often
Speaker 2: happens with horror movies that should be released in October.
Speaker 2: But there's just a sign of utter disrespect by the
Speaker 2: studios that release them, often good ones. I don't know
Speaker 2: if the studio is playing into it in this case,
Speaker 2: but like when The Witch came out, I think it
Speaker 2: was released in February or something just utterly inexplicable. Why
Speaker 2: not in October?
Speaker 1: Yeah, I don't know. You know, as much as I
Speaker 1: love movies and I love charting all this stuff, yeah,
Speaker 1: I don't have as good ahead for other aspects of
Speaker 1: movie production, and you know, and certainly the calendar of
Speaker 1: putting them out another thing I don't usually have a
Speaker 1: good head for. I usually don't get obsessed with the
Speaker 1: budgets on things, but sometimes it's notable, and I was
Speaker 1: checking this one out, I did notice that this was
Speaker 1: a thirty million dollar picture, which I my understanding is
Speaker 1: that that was still quite a chunk of change for
Speaker 1: a film in nineteen ninety one, nineteen ninety two, So
Speaker 1: this was a this was a big budget affair, and
Speaker 1: certainly when we start getting into connections. A lot of
Speaker 1: names were involved in this picture. Oh yeah, so this
Speaker 1: may be the most expensive film that we've yet covered
Speaker 1: on Weird House Cinema. This was this was a mainstream shot.
Speaker 1: This was something that that was born to be a blockbuster,
Speaker 1: but it just didn't happen.
Speaker 2: This is a parade of heavy hitters, both in terms
Speaker 2: of a list stars. He had Emilio Estevez, who was,
Speaker 2: you know, a big deal in the early nineties. He
Speaker 2: had Renee Russo, Anthony Hopkins, Mick Jagger of the Rolling Stones.
Speaker 2: But then also it's just filled out with a ton
Speaker 2: of great character actors in the in the mid level roles.
Speaker 1: Yeah, I don't think everybody's necessarily cast in a good spot.
Speaker 1: Right by the end of this episode, I will recast
Speaker 1: the picture in a way that I think will work
Speaker 1: better or would have worked better. But yeah, it's still
Speaker 1: a very fun picture to discuss, has a lot of
Speaker 1: cool elements in it, just everything didn't come together like
Speaker 1: it should.
Speaker 2: No see this one's I think it's going to be
Speaker 2: a lot of fun to talk about. Ultimately, I think
Speaker 2: it's a little disappointing to actually watch and one of
Speaker 2: the main reasons is the weirdness and the absurdity is
Speaker 2: not concentrated enough. The movie goes on too long, it's
Speaker 2: stretched out too much. But we'll try to press it
Speaker 2: down into a diamond for you. The listener.
Speaker 1: All right, well, let's let's go ahead and have that
Speaker 1: elevator pitch.
Speaker 2: Joe, Okay, So the pitch is in the early nineties,
Speaker 2: Formula one racer Alex Furlong is about to die in
Speaker 2: a fiery crash when he is suddenly time warped into
Speaker 2: the dystopian hell of the year two thousand and nine
Speaker 2: by mercenaries under the command of Mick Jagger a guy
Speaker 2: named Visindak, and they want to sell his body to
Speaker 2: a rich dead man who's currently living inside a computer
Speaker 2: and needs a new meat vehicle so that he can
Speaker 2: live forever and achieve his dreams. But before the transfer
Speaker 2: to the new meat vehicle can take place, for long
Speaker 2: escapes and now he is what is referred to in
Speaker 2: the future as a free jack, and he spends the
Speaker 2: rest of the movie running around, being chased by Mick
Speaker 2: Jagger and trying to put the pieces together.
Speaker 1: Yep.
Speaker 2: Now, before we get into the contents of the film itself,
Speaker 2: this movie really does have something that I love, which
Speaker 2: is a good, crappy, early two thousands DVD menu experience.
Speaker 1: Oh yeah.
Speaker 2: Yeah. In fact, I was just talking to Seth before
Speaker 2: we started recording about how someday, someday, I almost want
Speaker 2: to do a whole exploration just of the genre of
Speaker 2: early DVD menus that tried to do too much and
Speaker 2: we're really aesthetically repulsive and had strange sort of CGI animations.
Speaker 2: One of my favorites is the DVD menu for the
Speaker 2: movie Leviathan, which has exactly one animation, and it's just
Speaker 2: like a guy in a diving suit who sort of
Speaker 2: like does a half turned step and then pivots back
Speaker 2: to his original position and then does that over and
Speaker 2: over forever.
Speaker 1: Oh wow. Yeah, I mean even the ones that were
Speaker 1: really well done, Like I think one of the first
Speaker 1: DVDs I bought, and I wasn't an early adopter on
Speaker 1: that technology, but I picked up this double DVD special
Speaker 1: edition of Big Trouble in Little China, the John Poker film,
Speaker 1: and yeah, it was they really put a lot of
Speaker 1: effort into it. You know, it's like so many different
Speaker 1: extra features, a lot of cool extra features. But then
Speaker 1: at times you're just kind of waiting for the graphics
Speaker 1: to stop doing things so you can actually push play
Speaker 1: on the movie.
Speaker 2: Yeah. Yeah, so this one, it has these crappy CGI menus.
Speaker 2: One of the features it has is a rotating CGI
Speaker 2: jack like in the Game of Jacks. And I was
Speaker 2: confused at first, because again I despite owning the CVD
Speaker 2: for like fifteen years or something, I had never seen
Speaker 2: it until this weekend. So I was like, wait a minute,
Speaker 2: does the title free Jack refer to some kind of
Speaker 2: jack like in.
Speaker 1: Jack's Oh, this would be the what's it called the
Speaker 1: spiritual Uh? Yeah, god? What they call it? The spiritual
Speaker 1: the spiritual switchboard?
Speaker 2: Spiritual switchboard? Yes, yes, yes, So it's a piece of
Speaker 2: technology that actually shows up at the end of the
Speaker 2: movie and looks exactly like a Jack from a Game
Speaker 2: of Jacks.
Speaker 1: Oh man, I just realized as a Jack. Was that
Speaker 1: on purpose?
Speaker 2: I don't know, Like with the title free Jack? Yeah,
Speaker 2: I don't know. But then there's another thing on this
Speaker 2: DVD that was just cavir on my tongue. It was
Speaker 2: a menu option called Experience our Website, which when you
Speaker 2: click it, all it does is it takes you to
Speaker 2: a screen that shows you the URL of Morgan Creek
Speaker 2: Motion Pictures, which is www dot Morgan Creek, and then
Speaker 2: you have the option to go back to the main menu.
Speaker 1: So you would have to like write it down on
Speaker 1: the sheet of paper and take it to your computer. Wow.
Speaker 1: So good.
Speaker 2: Anyway, let's hit some trailer audio.
Speaker 4: Alex Furlong is about to die and enter the year
Speaker 4: two thousand and nine, where immortality is only a heartbeat away,
Speaker 4: where money can buy anything.
Speaker 1: Shouldn't you consider an alternative bite.
Speaker 4: Started to deceive you, including life itself, lose your mind
Speaker 4: and you can live forever.
Speaker 2: Free Jack.
Speaker 1: See sounds exciting, sounds great, sounds like it's gonna be
Speaker 1: one heck of a movie.
Speaker 2: Right. If you'd been a kid at the time, you'd
Speaker 2: be writing your local theater saying, make the free Jack
Speaker 2: World premiere happen here.
Speaker 1: Yep.
Speaker 2: But so there are some key concepts in the film
Speaker 2: that we're going to have to explain now, I think
Speaker 2: for this discussion to make any sense. And one of
Speaker 2: the distinctions that is that is most important is that
Speaker 2: between the bone Jack and the bone Jacker and the
Speaker 2: free Jack. Right.
Speaker 1: So essentially, again, the whole idea here is people who
Speaker 1: died in horrific accidents in the past. A lot of
Speaker 1: times you know exactly when they died, where they died,
Speaker 1: and you know that there's like a catastrophic event like
Speaker 1: in this case a car wreck, a race car wreck,
Speaker 1: so you know exactly where in time and space to
Speaker 1: reach back and steal their body, in other words, jack
Speaker 1: their bones. It's called bone jacking, and the people who
Speaker 1: do it are bone.
Speaker 2: Jackers, right, So they're bone jackers. And the person who
Speaker 2: gets bone jacked from the past to the future to
Speaker 2: become somebody's meat vehicle, that person is the bone jack.
Speaker 1: Okay do they call them that? I thought maybe they
Speaker 1: were just jacks, but they're called bone jacks.
Speaker 2: I think they're called bone jack So the victim is
Speaker 2: the bone jack. The verb would be to bone jack someone.
Speaker 2: And then if you're one of these mercenaries who does
Speaker 2: the bone jacking, you're a bone jacker.
Speaker 1: Okay.
Speaker 2: But then if a bone jack gets loose, then all
Speaker 2: bets are off and they're a free jack, right, It's
Speaker 2: like being a free agent.
Speaker 1: So then they have to try and either jack the
Speaker 1: free jack or bone jack the free jack in order
Speaker 1: to get them back.
Speaker 2: Right, for the bone Jack. Yes, yes, okay, that's right.
Speaker 2: But I was thinking about, Okay, so the people who
Speaker 2: who are the prime candidates for bone jacking in the
Speaker 2: premise of this film are It's basically going to be
Speaker 2: anyone who died on videotape with like a precise time
Speaker 2: code and so you know the time and place where
Speaker 2: they died, and that's well recorded and survives into the future.
Speaker 2: So I realized, like, oh, probably all of the people
Speaker 2: who are who were first in line to get bone
Speaker 2: jacked are the people from the faces of death videos.
Speaker 1: Sometimes they don't actually die, right, Sometimes that stuff's fake. Right.
Speaker 2: Oh really, I've never actually watched one. I just remember
Speaker 2: that was the thing when I was in high school
Speaker 2: or whatever this is if you don't remember, these were
Speaker 2: like morbid video cassettes of just like footage of people
Speaker 2: dying and in various ways.
Speaker 1: Yeah, I mean, and I guess it does help if
Speaker 1: it is a case where something blows up, because then
Speaker 1: there's more, it's less mystery of the body suddenly vanishes,
Speaker 1: you know, right before they would die.
Speaker 2: I mean, I think there'd still be a mystery. They
Speaker 2: establish in this movie that there's a mystery.
Speaker 1: Yeah, but there's a difference between Okay, there was a
Speaker 1: car wreck and we never found the body to somebody
Speaker 1: fired a bullet at JFK and then he vanished, you know,
Speaker 1: and then it turns out he was bone jacked and
Speaker 1: now is a body for some like super rich dude
Speaker 1: in the future. Like that just doesn't make any sense.
Speaker 1: That would be a huge incident.
Speaker 2: Okay. So the film was directed by a guy named
Speaker 2: Jeff Murphy who is a New Zealand film director who
Speaker 2: passed away in twenty eighteen. His breakout film seems to
Speaker 2: have been a New Zealand road trip movie that I've
Speaker 2: never seen, called Goodbye pork Pie. But he had a
Speaker 2: Hollywood period in which he directed films like Young Guns two,
Speaker 2: which I didn't check, but I'm pretty sure that does
Speaker 2: star Emilio Estevez.
Speaker 1: It is, Yeah, it is an okay film.
Speaker 2: Yeah, so connection there, Young Guns two in nineteen ninety
Speaker 2: Free Jack in ninety two, so you can see the
Speaker 2: connection there. But then he also directed a prestige period
Speaker 2: drama I think about the regency period known as Under
Speaker 2: Siege two Dark Territory in nineteen ninety five.
Speaker 1: I've seen that one. That one has a terrible lead
Speaker 1: but has has some really talented people in it, because
Speaker 1: Eric Bogosian plays the main villain. And then I want
Speaker 1: to say, you have.
Speaker 2: Who's Eric Bogosian? I've heard that name.
Speaker 1: Oh, Eric Bogosian. He's been in a ton of stuff.
Speaker 1: You've definitely seen him in things I think he was in. Well,
Speaker 1: most recently he was in Uncut Gems. But he's been
Speaker 1: in a ton of stuff.
Speaker 2: Yeah, he was in another Regency era drama, Charlie's Angels
Speaker 2: Full Throttle, and he was a voice. I just looked
Speaker 2: this up. He was a voice in Beavis and butthead
Speaker 2: do America.
Speaker 1: Well, yeah, there you go. He's an impressive actor, I
Speaker 1: would say. But yeah, so I saw that movie. It
Speaker 1: also had Steven Saga on it, of course, but yeah,
Speaker 1: what can you do?
Speaker 2: But Jeff Murphy was also a second unit director for
Speaker 2: some big, you know, mainstream films, like like Peter Jackson's
Speaker 2: Lord of the Rings trilogy. He did second unit stuff.
Speaker 2: He did Dante's Peak, Triple X, State of the Union.
Speaker 1: All right, So yeah, he had a pretty solid career. Now,
Speaker 1: one thing about this film, this is something I didn't
Speaker 1: realize back in the day when I originally watched it,
Speaker 1: and it was just kind of a creeping realization as
Speaker 1: I was watching it just the other day, and it
Speaker 1: is that this was filmed I think, entirely in Atlanta, Georgia,
Speaker 1: in the city in which we live, the city that
Speaker 1: we're recording this episode.
Speaker 2: In around like you saw Peachtree in it, didn't you
Speaker 2: do you recognize suddenly when they're downtown and they're like,
Speaker 2: there's Mortes stations and stuff.
Speaker 1: Well, by that point I had looked it up, but
Speaker 1: early on in the film, there's just a lot of
Speaker 1: like you're in two thousand and nine, it's in the future,
Speaker 1: and everything's like kind of gritty and industrial in a
Speaker 1: way that plenty of parts of Atlanta still are. So
Speaker 1: I was kind of thinking it was like, you know,
Speaker 1: it's kind of an Atlanta feel to it, and then
Speaker 1: I'm like, wait, I should look this up, and sure enough,
Speaker 1: filmed in Atlanta. Of course, nowadays everything's filmed in Atlanta,
Speaker 1: filmed in Georgia, so it doesn't really mean anything. But
Speaker 1: you know, back back in the day, there weren't that
Speaker 1: many films filming in Atlanta, so it's it's kind of notable.
Speaker 2: This one has some of the exact same locations and
Speaker 2: streets featured in Baby Driver.
Speaker 1: Yeah, like you could.
Speaker 2: You could compare Free Jack and Baby Driver and do
Speaker 2: some side by sides.
Speaker 1: Like they went to film Baby Driver and they're like, look,
Speaker 1: we'll give you the free Jack package. This is what
Speaker 1: it consists on.
Speaker 2: You know, another dystopian future movie that uses Mortes stations.
Speaker 2: There were cut scenes from Escape from New York that
Speaker 2: were filmed in moretestations in Atlanta.
Speaker 1: Yeah. Yeah. Of course the High Museum here in Atlanta
Speaker 1: is famously where doctor Hannibal Lecter was housed in Manhunter,
Speaker 1: the original adaptation of Red Dragon.
Speaker 2: M h Yeah, so played by Brian Cox.
Speaker 1: Yeah. Yeah, a tremendous role. That was a really really
Speaker 1: fun film, as I recall. But of course nowadays everything
Speaker 1: is filmed around Atlanta, so it's it can be excruciating
Speaker 1: at times. I find like I'm watching Cobra Kai and
Speaker 1: they film like all of it in Atlanta, like everywhere,
Speaker 1: Like I expect to see myself see out of my
Speaker 1: own house and take out the garbage in the background
Speaker 1: in a scene, you know, so I don't know, it
Speaker 1: kind of takes me out of the experience sometimes these days.
Speaker 1: But it's fun with these older films for some reason.
Speaker 2: Yeah. So this was actually based on a novel, I think,
Speaker 2: but maybe loosely based.
Speaker 1: Yes, the novel very loosely based on a novel by
Speaker 1: Robert Sheckley. He lived nineteen twenty eight through two thousand
Speaker 1: and five, and it was quite successful. The book in
Speaker 1: question was nineteen fifty eight More Tality, Inc. And originally
Speaker 1: I didn't have time to read any of this book.
Speaker 1: But originally the transit is from nineteen fifty eight to
Speaker 1: the year twenty one to ten, so much further in
Speaker 1: the into the future.
Speaker 2: But anyway, Yeah, by shortening that length though that that
Speaker 2: dramatically changes what's possible with the plot in terms of
Speaker 2: meeting people who you previously knew and not appearing to
Speaker 2: have aged a single day in between.
Speaker 1: Yeah. So it's supposedly a good book. I'd love to
Speaker 1: hear from anyone out there who's read it. I read
Speaker 1: that it, you know, it doesn't again, doesn't have much
Speaker 1: to do with this movie. I don't think the terms
Speaker 1: free jacker bonejacker used it all in the book, and
Speaker 1: I think there's supposedly a sequence in it where a
Speaker 1: guy the main character, gets in line for something and
Speaker 1: then finds out it's a suicide booth, which of course
Speaker 1: is a gag in Futurama in the first episode of that, right,
Speaker 1: but yeah, so very loosely based on a novel. Also,
Speaker 1: there are a number of people that are credited on
Speaker 1: the screenplay for this, and we'll get back to one
Speaker 1: in a bit, but one of the people is Ronald Shusett,
Speaker 1: who worked with Dan O'Bannon on Alien and Total Recall.
Speaker 2: Ah, two great sci fi scripts.
Speaker 1: Yeah, all right, now we've got our lead. Our star,
Speaker 1: Emilio Estevez plays the character Alex Furlong. Now, Estevez is,
Speaker 1: of course the nephew of noted B movie icon Joe Estevez,
Speaker 1: And you lead with that, Yeah, yeah, I mean he's
Speaker 1: also the son of acting legend Martin Sheen, whose, of
Speaker 1: course real name is Ramon Estevez. So if you weren't
Speaker 1: aware of that, like Martin Sheen, that's his Hollywood name,
Speaker 1: his real name is Estevez. H And yeah, so you
Speaker 1: know Martin Sheen from stuff like Apocalypse Now or Spawn.
Speaker 1: He's been in everything.
Speaker 2: I was just thinking how funny it was that you
Speaker 2: don't you don't often put it together in your brain,
Speaker 2: or at least I don't that like Martin Sheen, who
Speaker 2: played the President on the West Wing, who's this kind
Speaker 2: of like grumpy but kind irascible fatherly figure. He's presented
Speaker 2: this lovable nerd. Is also the main character from Apocalypse
Speaker 2: Now and the villain from Spawn.
Speaker 1: Yeah. I mean, he's been in so many different types
Speaker 1: of films. He's been in some crap, you know, not
Speaker 1: as much as Joe Estevez, but you know, but he
Speaker 1: was in some really great films, especially early in his career.
Speaker 1: Nineteen seventy Three's bad Lands by Terrence Malick, wonderful picture.
Speaker 2: Emilia Estevez was was, I guess, pretty young at the
Speaker 2: time this was filmed. I don't know exactly how he
Speaker 2: was in his twenties, I guess.
Speaker 1: Yeah, I'm not sure, but he was. Certainly he was
Speaker 1: chugging right along. I mean, he'd been in the Breakfast Club,
Speaker 1: the Young Guns, films, Repoman, a true cult classic, the
Speaker 1: Mighty Ducks that came later, I guess, and then of
Speaker 1: course he was in Maximum Overdrive, So you know, he's
Speaker 1: been I think this was a movie that came out
Speaker 1: at a time when he was very much the sort
Speaker 1: of name you would put ahead of Mick Jagger on
Speaker 1: a film.
Speaker 2: That's pretty weird. So, of course, the thing that mainly
Speaker 2: drew me into this when I picked it up at
Speaker 2: the used bookstore was that it stars Mick Jagger, and
Speaker 2: I had no idea Mick Jagger had ever been in
Speaker 2: a movie at this time. Of course, Mick Jagger the
Speaker 2: lead singer of the Rolling Stones. I was so my
Speaker 2: mind was so rendered by the idea of him being
Speaker 2: in a movie at all. I wonder if that sort
Speaker 2: of prevented me from watching it in the years in between,
Speaker 2: because I was almost kind of scared to find out
Speaker 2: what it was like.
Speaker 1: Like, you were afraid that his performance would just be
Speaker 1: so good that it would change you on a fundamental level.
Speaker 2: Yeah, how can you really make informed decisions about transformative change?
Speaker 1: Yeah, it's so. Yeah, Mick Jagger's presence in this film
Speaker 1: is interesting. Mick Jagger is I think you would call
Speaker 1: him an intermittent actor at best. You look him up
Speaker 1: on IMDb and most of his film credits are himself
Speaker 1: in concert footage. But when he does act, when he
Speaker 1: has acted, it's been all over the place. So his
Speaker 1: first screen role was the lead in nineteen seventies Ned Kelly,
Speaker 1: which I haven't seen it, but it does seem very
Speaker 1: much like, Hey, we got this young fella here. He's
Speaker 1: the front man of this popular band. Let's put him
Speaker 1: in a movie. And then in nineteen eighty six he
Speaker 1: was in a film called Laughter in the Dark, based
Speaker 1: on a book by Nabokov that I haven't read. Are
Speaker 1: you familiar with this one?
Speaker 2: I think I've heard of it, but I've never read it, Okay.
Speaker 1: And then in nineteen ninety seven he was in an
Speaker 1: adaptation of Bent, which based on the play by Martin Sherman.
Speaker 1: This is about the persecution of homosexuals doing the third Reich,
Speaker 1: you know, very very serious, very stirring piece of drama.
Speaker 1: And then he'll still occasionally act in things seemingly when
Speaker 1: the mood hits him. But I think this is this
Speaker 1: may be free Jack maybe one of the few, like
Speaker 1: really like big budget kind of action films that he
Speaker 1: pops up in. And I don't think he really has
Speaker 1: another appearance in his career like.
Speaker 2: This, well, because one was enough, clearly. I mean his
Speaker 2: role in this film changed him, It changed the world,
Speaker 2: I would say, probably my Well, I don't know. There
Speaker 2: are a couple of things I really did love about
Speaker 2: Free Jack One was just a spectacular scene with Frankie
Speaker 2: Faison that we'll get to in a minute. But Mick
Speaker 2: Jagger also, he really rules this movie, especially when he's
Speaker 2: not talking.
Speaker 1: Like he's best when he's not talking.
Speaker 2: Yes, just reaction shots where he's wearing a spaceball's helmet
Speaker 2: or a shot that suddenly cuts to him and we
Speaker 2: get to see him in a coat with like gigantic
Speaker 2: shoulder pads and you know, ankle link dragging. It's his costume.
Speaker 2: Is Mick Jagger's costumes, Mick Jagger's reaction shots and occasionally
Speaker 2: when Mick Jagger laughs at something that this movie really
Speaker 2: kicks into high gear.
Speaker 1: He has absolutely has a great coat in this His
Speaker 1: costuming is is phenomenal. But but yeah, I guess it's
Speaker 1: one of those things you can't help but compare Mick
Speaker 1: Jagger the actor to David Bowie the actor. And with
Speaker 1: David Bowie you were able to in I think most,
Speaker 1: if not all, of his film roles, the mystique of
Speaker 1: David Bowie the musical performer translated to the film roles
Speaker 1: that he took on and made them work marvelously. Like
Speaker 1: David Bowie was great and everything he was in I
Speaker 1: can't think of anything I've seen David Bowie in where
Speaker 1: I'm like that was disappointing. But mc jagger the you know,
Speaker 1: the calculus didn't work there, The transit was not successful.
Speaker 2: David Bowie's visual presence in a film is the equivalent
Speaker 2: of the creaky lore theme from the soundtrack to The
Speaker 2: Lord of the Rings. You know, like it really it
Speaker 2: conjures up the same kind of fog of the ancients.
Speaker 1: Yeah, absolutely so. We'll have more to say about mc
Speaker 1: jagger's performance in this film as we proceed, but we should.
Speaker 1: We should also hit on the fact that Renee Russo's
Speaker 1: in this she plays Julie Redland, the love interest in
Speaker 1: the past that is also the love interest in the future.
Speaker 1: And say what you will about this movie or Russo's
Speaker 1: I think, you know, perfectly fine but probably forgettable for performance.
Speaker 1: But she met her husband on this film. One of
Speaker 1: its mini screenwriters was Dan Gilroy, who also went on
Speaker 1: to write and direct twenty fourteen's Nightcrawler. Oh wow, yeah,
Speaker 1: so say so. No matter what you think of the picture,
Speaker 1: some good stuff came out of it.
Speaker 2: Anthony Hopkins has an excellent check collecting scene in this film. Yea,
Speaker 2: Anthony Hopkins is a fabulous actor, but this is I
Speaker 2: would say you could show this his scene in this
Speaker 2: movie as like the classroom textbook example of phoning it
Speaker 2: in if you were trying to explain that concept.
Speaker 1: Yeah. I mean he's not asked to do much. No,
Speaker 1: his character from the get go is dead and is
Speaker 1: just a like brain waves and a giant jack in
Speaker 1: the sky. Yeah, but still he's Anthony Hopkins, so he
Speaker 1: classes up every scene he's in and makes you believe
Speaker 1: it on a level that just Emilio Estevez is not
Speaker 1: capable of doing it.
Speaker 2: Yeah, it's a little rough. I guarantee you that when
Speaker 2: Anthony Hopkins delivered his lines in the single takes of
Speaker 2: the scenes that we saw that made it into the
Speaker 2: final version of the movie, that was the first time
Speaker 2: he had read them.
Speaker 1: Yeah, I would not doubt it. Now. Another actor that
Speaker 1: I think everybody will will pretty much recognize now that
Speaker 1: that is in it is Jonathan Banks, who plays his
Speaker 1: character Michelette Micholette.
Speaker 2: Michelette Michelette. He's like, he's like a creepy he's a
Speaker 2: business executive, he's a suit Yeah.
Speaker 1: So uh yeah. Banks was born in forty seven. He's
Speaker 1: had a whole career of playing heavies with eyes you
Speaker 1: can't trust. He's got these Yeah, he's got these these eyes.
Speaker 1: You just look at him and you're like that, that
Speaker 1: guy's bad back. He's a lion.
Speaker 2: Yeah, he's he was.
Speaker 1: Made to play like mercenaries and dirty cops and you
Speaker 1: know thugs. You know, that's like his whole thing.
Speaker 2: He looks like somebody whose hobby is shoplifting golf equipment.
Speaker 1: Yeah. Now, everybody now definitely knows him as Mike, first
Speaker 1: from Breaking Bad and then from the fabulous prequel A
Speaker 1: Better Call Saul, And he's tremendous on those shows because
Speaker 1: it gives him a chance to be this cold, heavy
Speaker 1: but also play this aging, emotional human being with you know,
Speaker 1: with human connections in his life. That was not always
Speaker 1: the case with the kind of roles that Banks would
Speaker 1: have because he's he's been in so many things. He
Speaker 1: often plays again like cops and heavies. He was Deputy
Speaker 1: Brent in Grimlins in eighty four. Let's see. He was
Speaker 1: in a few episodes of Tales. He was in one
Speaker 1: episode of Tales from the Crypt. He was in an
Speaker 1: episode of Highlander, the TV series he was in Deep
Speaker 1: Space nine. He was a show regular slash lead on
Speaker 1: Wise Guy from eighty seven through ninety. He was in
Speaker 1: Murder She wrote, he was on airplane just so much stuff.
Speaker 2: Yeah.
Speaker 1: But his first screen role is a nineteen seventy four
Speaker 1: education short from the Los Angeles Public Library titled Linda's
Speaker 1: Film on Menstruation. Oh, so it's worth looking up.
Speaker 4: You know.
Speaker 1: It's just educational short film and it's on YouTube, and
Speaker 1: you get to see baby Jonathan Banks in there playing
Speaker 1: like this gruff guy who doesn't understand menstruation.
Speaker 2: Oh, he's like a don't do what Donnie don't does.
Speaker 1: Yeah, Like he's sitting on the couch and he's like,
Speaker 1: I don't understand menstruation. So that the woman in the
Speaker 1: room turns on the TV and there's an animation. There's
Speaker 1: a cartoon that explains it all.
Speaker 2: So oh I see.
Speaker 1: Yeah.
Speaker 2: So he's he's ready to learn. He's not somebody who's
Speaker 2: just like just doesn't get it.
Speaker 1: Yeah. But his face he has that. One of the
Speaker 1: great things about Jonathan Banks. He has a great, like
Speaker 1: smoldering look, like he's great at at just expressing that
Speaker 1: I don't I don't really care what's going on here
Speaker 1: with my with my you know, just my eyes and
Speaker 1: kind of like the melting features of my face. So
Speaker 1: he has that going on in that scene. You can
Speaker 1: definitely see it's it forecast everything to come in his career, Like,
Speaker 1: this is a guy that's going to play a lot
Speaker 1: of heavies, fair enough, all right, So he's essentially your
Speaker 1: one of your sub villains here, one of your top
Speaker 1: three anyway. But then you have a whole host of
Speaker 1: additional players in this film as well.
Speaker 2: God, the cast is huge.
Speaker 1: Yeah. For instance, you have this character named Brad who
Speaker 1: shows up in the past and the future, played by
Speaker 1: David Johansson, which if you like me and you, I
Speaker 1: don't know, you grew up watching the right era of
Speaker 1: MTV or the right reruns of Saturday Night Live, then
Speaker 1: you probably will recognize him as Buster Poindexter.
Speaker 2: Oh no, I know him as New York Dolls and Scrooged.
Speaker 1: Oh yeah, yeah. That was one of his big screen roles,
Speaker 1: is Scrooge. There's another great one, and that's Tales from
Speaker 1: the Dark Side, the movie in which he plays an
Speaker 1: assassin in the Cat from Hell segment, which is based
Speaker 1: on a Stephen King short story.
Speaker 2: Oh yeah, I remember that.
Speaker 1: I remember the cat like goes down his throat and
Speaker 1: jumps out his stomach.
Speaker 2: Yeah.
Speaker 1: Great, yep, yeah.
Speaker 2: Oh, but he's great in this.
Speaker 1: Yeah. Yeah, he's great. He's like, what is pit boss
Speaker 1: or something? He's somebody knows in the past, and then
Speaker 1: in the future he looks him up, and of course
Speaker 1: now he's in the Hell City of two thousand and
Speaker 1: nine America. This character, Brad is just a low life
Speaker 1: who instantly betrays him and gets shot.
Speaker 2: Yeah. Amanda Plumbers in this.
Speaker 1: Yeah, the daughter of the late great Christopher Plumber, best
Speaker 1: known for She's probably best known for stuff like pulp
Speaker 1: fiction and The Fisher King. She often plays characters with
Speaker 1: a really fantastic frantic energy. She's a wonderful character actor,
Speaker 1: I would say, a wonderful weird character actor. She's also
Speaker 1: in an excellent episode of the nineties Outer Limits series
Speaker 1: that I recently watched, titled A Stitch in Time, where
Speaker 1: she plays the time traveling doctor Thereesa Givens, who, like Go,
Speaker 1: uses her time machine to kill sexual predators in the past. Yeah.
Speaker 1: So she actually won an Emmy for that. She's great
Speaker 1: in it.
Speaker 2: Wow.
Speaker 1: In this, she plays a nun with a shotgun.
Speaker 2: That's right. I kept calling her sister Shotgun when.
Speaker 1: I think that's her name. I can't remember what else
Speaker 1: it could be. I think she's just none. Actually, I
Speaker 1: think she's credited as Oh, let's see who else we have. Okay,
Speaker 1: we have grand l Bush places character Boone, who's sort
Speaker 1: of a corpo samurai, like right out of the Cyberpunk
Speaker 1: role playing game and video game franchise.
Speaker 2: Yes, he's like a he's like a corporate executive slash
Speaker 2: bodyguard or like mercenary type guy. Who. So he's he's
Speaker 2: in the corporate world, but he's skilled. He's got a
Speaker 2: katana and stuff.
Speaker 1: Yeah, he's always carrying around this short samurai sword and
Speaker 1: he has a gun. He's wearing a big suit. Yeah.
Speaker 1: So he's yeah, like I say, right out of Cyberpunk.
Speaker 2: So I knew this guys from die Hard, in which
Speaker 2: he's one of the two FBI agents who come in.
Speaker 2: He's Special Agent Johnson. It's him and Robert dove Who
Speaker 2: are the two FBI guys?
Speaker 1: Oh, okay, yeah those are some some Dovey's definitely heavy.
Speaker 1: I think I probably knew Bush best from playing ball
Speaker 1: Rock and Street Fighter too. No street Fighter. It's not
Speaker 1: street Fighter too. It's just street Fighter, the Jean Claude
Speaker 1: van Dam version of that. But yeah, he's been in
Speaker 1: a bunch of so. He was in Exorcist three, he
Speaker 1: was in License to Kill. I think I remember him
Speaker 1: from that. Basically, he did a bunch of nineties action.
Speaker 1: He was in Demolition Man. But make no mistake about
Speaker 1: Grandell Bush. He was a highly trained actor who did
Speaker 1: everything from Shakespeare and to like seventy stage musicals, like
Speaker 1: rock musicals.
Speaker 2: Oh, he was in Hair.
Speaker 1: Yeah, he was in Hair. He did a lot of
Speaker 1: TV work. He did Roots, he was in the color purple.
Speaker 1: And again, this is one of the weird things about
Speaker 1: free Jack is that it brings people together because he
Speaker 1: like so, yeah, he also met his wife, his wife
Speaker 1: of twenty six years in counting on this picture. What okay?
Speaker 1: So his wife, she was a journalist for Beet and
Speaker 1: she was on set to interview him about his role
Speaker 1: in this film, and magic happened. The magic of Freejack
Speaker 1: brought them together.
Speaker 2: Free Jack, I mean it just gets people in a
Speaker 2: place where they're ready to commit, you know.
Speaker 1: All right. Up next, this is another bit player in it.
Speaker 1: He just has one maybe two crazy scenes.
Speaker 2: I think just one scene, but he's great in it.
Speaker 2: This is Frankie Faison, yeah, who you might know best
Speaker 2: from playing Burrell in The Wire, but he's also Barney
Speaker 2: in the Hannibal Lecture movies. He's a great actor. He's
Speaker 2: very good at having like a kind of a calming presence,
Speaker 2: soft voice, but in this he's exactly the opposite. And
Speaker 2: this he's electric as this guy who gives in my view,
Speaker 2: an oscar worthy monologue about rat based cuisine and then
Speaker 2: a sort of Hamlet style to be or not to
Speaker 2: be soliloquy, except it's about an eagle who's trying to
Speaker 2: decide whether to commit suicide.
Speaker 1: Yeah. Yeah, and his character is listed as Eagleman. Yeah,
Speaker 1: that's his.
Speaker 2: Whole eagle monologue.
Speaker 1: Yeah yeah, it's a yeah, this is the weirdest thing
Speaker 1: in the whole picture at this scene, Like this is
Speaker 1: Frankie's keeping it weird for us with this one. But yeah, Yeah,
Speaker 1: He's been in a ton of things over the years.
Speaker 1: He was a Landlow in eighty eight Is Coming to America.
Speaker 1: But then in terms of sort of horror and sci
Speaker 1: fi stuff, he was in Chud, he was in Cat People,
Speaker 1: He was in Maximum Overdrive with Emilio.
Speaker 2: And several don't we have several Maximum Overdrive people in
Speaker 2: this movie?
Speaker 1: Yeah? I guess we do. Yeah. And then for another
Speaker 1: Stephen King connection, the Langealiers, he was in that as well,
Speaker 1: that TV adaptation.
Speaker 2: Oh maybe we should talk about that on Weird House
Speaker 2: if we ever want to watch a four hour movie.
Speaker 1: Oh man, I never saw it. I just I read
Speaker 1: though it's novella it's based on, and loved the novella.
Speaker 2: But it is awful. It is, you know, made for
Speaker 2: TV Stephen King stuff late nineties, early two thousands, whenever
Speaker 2: it was that came out. It has unbelievably bad CGI
Speaker 2: monsters and they just run around eating up the screen
Speaker 2: like the screen itself.
Speaker 1: They're supposed to be like the Critters, like they're basically
Speaker 1: Stephen King wrote The Critters as time munching Kremlin monsters.
Speaker 2: Yeah. My memory about it is that it's about a
Speaker 2: cast of people on an airplane who all have their
Speaker 2: own demons that get explored in flashbacks. And then also
Speaker 2: there are monsters that eat time.
Speaker 1: Oh yeah, I mainly remember the monsters that eat Time
Speaker 1: from the again from the novella. Okay, one more bit
Speaker 1: player just to mention, and that's this guy John Shay
Speaker 1: who plays his character Morgan. I don't know much about
Speaker 1: this guy, but his IMDb headshot looks so much like
Speaker 1: Jeffrey Epstein. I feel like he's destined for some for
Speaker 1: a biopick there. He also played Lex Luthor on Lewis
Speaker 1: and Clark you know who Adventure as a Superman.
Speaker 2: Yeah.
Speaker 1: Music wise, the score didn't really do anything for me,
Speaker 1: I have to admit, but it's by Trevor Jones, who
Speaker 1: scored a lot of eighties films that I love, such
Speaker 1: as The Dark Crystal, Labyrinth, Time Bandits. In the nineties
Speaker 1: he did Dark City. So again, nothing in this picture
Speaker 1: really blew me away, but I think his was, particularly
Speaker 1: his work in those hints and films was really really good.
Speaker 2: Oh I like it. I like his score on The
Speaker 2: Dark Crystal. Yeah, that really help score that driving pace
Speaker 2: in the film. In fact, that should come down to someday.
Speaker 2: I want to, I don't know, have a good argument
Speaker 2: with somebody about which of the Dark City cuts is better,
Speaker 2: because did I say Dark Crystal or Dark City earlier?
Speaker 1: For you? I think you said Dark Crystal earlier. Then
Speaker 1: you said Dark City, which got me excited because I
Speaker 1: had no idea there were different cuts of Dark City
Speaker 1: of Dark City, Yeah, that's what. So there's one cut
Speaker 1: that is maybe artistically superior because it cuts out some
Speaker 1: kind of bad voiceover narration at the beginning and a
Speaker 1: few other things. But the original cut has such great pacing,
Speaker 1: like it just drives and drives. H. I don't know,
Speaker 1: we'll explore it someday. Yeah, yeah, that's that's a fun one.
Speaker 2: But one of the things that I thought was funny
Speaker 2: about the music by Trevor Jones. So when you get
Speaker 2: to the opening credits of the movie, it is just
Speaker 2: cgi shards flying around the screen like an after dark screensaver,
Speaker 2: while you've got saxophone music playing a tune that sounds
Speaker 2: a little bit like the melody of the reins of
Speaker 2: casta Mirror. It's like a cross between rains of Castmer
Speaker 2: and then Evangelists and then Baker Street. Okay, And of
Speaker 2: course the shards become the title free Jack uh and
Speaker 2: and then we immediately cut to swirling fog and silhouettes
Speaker 2: of trucks and jeeps cutting through this dark landscape with
Speaker 2: their high beams. And then in one of the greatest
Speaker 2: transitions in the movie. So you got that, you got
Speaker 2: the the music playing and the and the dark trucks
Speaker 2: over the horizon, and then immediately estevez butt. You're Joe
Speaker 2: Estevez's butt in like his alarm clock's going off. He's
Speaker 2: laying in bed.
Speaker 1: Whoa, it's not not what did I say?
Speaker 2: Sorry?
Speaker 1: Different?
Speaker 2: Better? No, this is Emilio Estevez. You just like see
Speaker 2: his butt and he's wearing like green underwear, and he's
Speaker 2: his alarm clock's going off, and he's like you know,
Speaker 2: and his sheets are tossed all over the place.
Speaker 1: Uh.
Speaker 2: And I don't know why I didn't know it first,
Speaker 2: why they made that choice to begin with his butt,
Speaker 2: but I think it's explained later on once you finally
Speaker 2: get all the premise wheeled out.
Speaker 1: Okay, I don't remember the explanation, but yeah, I'll roll
Speaker 1: with it. Like the whole opening segment of this section
Speaker 1: of this movie, I understand most of the choices they made,
Speaker 1: you know, like they want to establish who he is
Speaker 1: and what his connections are with people in the past,
Speaker 1: and we want we want to have a bone jacking
Speaker 1: scenario that is susceptible to disruption. So it but still
Speaker 1: you're watching it and you're like, I would just wish
Speaker 1: they would go ahead and bone jack this guy so
Speaker 1: we can get to the future. It seems like we
Speaker 1: spend a lot of time getting to that point.
Speaker 4: Yeah.
Speaker 2: It starts off with Renee Russo and Emilio Estevez just
Speaker 2: flirting a lot. It's almost overwhelmingly Sacharin. They're just like
Speaker 2: telling each other how much they love each other, and
Speaker 2: he's like, I'll win that race, honey, you just watch again.
Speaker 2: He's a race car driver and they're talking about like
Speaker 2: what will the other driver's wives be wearing? And so
Speaker 2: I think they're engaged again. Emilio Estevez playing this guy
Speaker 2: Alex Furlong, that's his name for long. He's his Formula
Speaker 2: one racer, and and so we're watching all this sweety
Speaker 2: sweety time stuff where they're, you know, they're racing around
Speaker 2: a track in the daytime, or Emilia Westevez is he's
Speaker 2: doing like training laps or something. And then we're cutting
Speaker 2: back and forth between that and him flirting with Renee Russo,
Speaker 2: and then Mick Jagger and an army of helmeted Apocalypse
Speaker 2: goons driving their heavy machinery through the dark and Mick
Speaker 2: Jagger is using this futuristic digital map to navigate to
Speaker 2: a precise point in New York. And then we get
Speaker 2: Renee Russo and Emilia Westevez banter. She's like critiquing his
Speaker 2: driving for some reason, and he's like, you drive your typewriter,
Speaker 2: I'll drive my car. And then she says it's a computer.
Speaker 2: Uh and oh. And then very importantly because it comes
Speaker 2: up later in the movie, Emilio says he won't race
Speaker 2: unless Renee Russo nibbles his ear in public, and they
Speaker 2: kind of hymn and haw about that, and then she does,
Speaker 2: and then they say how much they love each other.
Speaker 2: So all is well in the Kingdom of nineteen ninety one.
Speaker 2: Everybody's happy and in love and things are great.
Speaker 1: Little do they know, though, there is about to be
Speaker 1: a catastrophic car wreck. And then that's when the bone
Speaker 1: jacking will actually begin.
Speaker 2: Right, the bone jacking will begin.
Speaker 1: Oh.
Speaker 2: But we also we meet Brad the manager. Remember this
Speaker 2: is the guy from the New York Dolls. Brad seems
Speaker 2: to manage Emilio Estevez and some other racers, and he
Speaker 2: says things like, you do the driving, I'll do the jiving,
Speaker 2: and so he's going out schmoozing with potential sponsors. I
Speaker 2: think there's this guy who introduces himself with the name
Speaker 2: of the company. He says like Champion Spark Plugs, and
Speaker 2: then Emilio is disrespectful to him and says like, hi,
Speaker 2: mister Plugs. And so meanwhile in the dark world, Mick
Speaker 2: Jagger and his goons are like rousting a bunch of
Speaker 2: post apocalyptic future people out of their their hovels and
Speaker 2: setting up a bunch of equipment to do something in
Speaker 2: this blasted future hell zone. And then we get mixed
Speaker 2: first line, which is just okay, let's do it.
Speaker 1: Yeah. It sets the tone for the rest of the picture,
Speaker 1: like it instantly dissolves the magic of him just looking
Speaker 1: just you know, being there, grim faced and all in
Speaker 1: the cool coat.
Speaker 2: Right. So then Emelio's racing, Alex is driving along, and
Speaker 2: Mick Jagger has a bunch of guys getting ready to
Speaker 2: do something. They're like guys wearing these reflective foil suits.
Speaker 2: And then there's a hacker guy who of course is
Speaker 2: wearing sunglasses inside while he's operating a computer. The hacker
Speaker 2: guy is named Ripper, and he's got these cool scars
Speaker 2: on his face, and they're locking onto a CGI version
Speaker 2: of Alex, and then Alex's car flies off course in
Speaker 2: the past and it's about to explode in a fireball,
Speaker 2: and then zap. Just as the car explodes, Emilio is
Speaker 2: time warped into the future and he appears on an
Speaker 2: operating table. He's surrounded by the doctors in all the
Speaker 2: shiny tin foil body suits. And this seems to be
Speaker 2: it's like some kind of mobile surgical center that's inside
Speaker 2: a giant truck, which just seems like a bad idea,
Speaker 2: like would you be trying to do surgery and like
Speaker 2: a truck that's you know, like an all terrain vehicle,
Speaker 2: it's bouncing around all over the place.
Speaker 1: But anyway, well, I will I will come to the
Speaker 1: picture's defense here and say that this would make sense
Speaker 1: in the sence you're jacking somebody's bones out of such
Speaker 1: a delicate moment in time. Okay, the timing could be
Speaker 1: a little off. And what do you do if they
Speaker 1: come through and they have like a head wound or
Speaker 1: or some sort of a laceration, like you didn't get
Speaker 1: them quite in time. You need to be able to
Speaker 1: treat them immediately, So that's my excuse.
Speaker 2: Okay, I buy it. Yeah, I mean it would be
Speaker 2: necessary even though it's not ideal. It's just something you
Speaker 2: gotta do if you're going to be bone jacking people.
Speaker 2: It's the price of bone jacking, right. And so the
Speaker 2: doctors do. They're trying to stabilize him. They're pumping in,
Speaker 2: you know, doing the CPR and stuff. They get his
Speaker 2: heart beating again, but then they realize, oh, no, Emilio
Speaker 2: Estevez still has brain function. This is bad because he's
Speaker 2: not supposed to. So they're like, grab the lobotomizer, yeah,
Speaker 2: which is a blue, glowing electric and noodle that's flopping
Speaker 2: around all over the place. And I think what it's
Speaker 2: supposed to do is go up his nose and then
Speaker 2: dig around a bit and then give him an electric
Speaker 2: shock to the brain that will make him complacent or
Speaker 2: wipe his brain or something.
Speaker 1: Yeah, it makes no sense at all because he just
Speaker 1: have something called like a mind wiper, you know, and
Speaker 1: just use that because once you bring in the idea
Speaker 1: of lobotomizing, it makes it seem like this brain's not
Speaker 1: going to be worth putting somebody else's mind. Jan if
Speaker 1: you're gonna if you're gonna screw with it and lobotomize it.
Speaker 1: But yeah, it's confusing.
Speaker 2: Good point. But just when they're about to jab his brain,
Speaker 2: the Jagger convoy is attacked to people with guns pop
Speaker 2: up on rooftops all around. They start blowing stuff up.
Speaker 2: This knocks everybody over and Emilio gets loose, and this
Speaker 2: is apparently very bad because immediately the doctor in the
Speaker 2: tinfoil suits start screaming, free Jack, free Jack, grab him
Speaker 2: and this leads to a big fight scene that involves
Speaker 2: the lobottomizer where Emilio has to fight them off using
Speaker 2: the lobottomizer and he zaps them with it, and eventually
Speaker 2: he gets out of the medical truck, but like as
Speaker 2: soon as he's trying to escape, he turns back and
Speaker 2: then he locks eyes with Mick Jagger, and Mick Jagger
Speaker 2: just says, get the mate.
Speaker 1: Yeah. He tells them, yeah, stunners only don't want him damaged.
Speaker 1: And I have to say, there are two things in
Speaker 1: this movie that I think absolutely three things. Eagleman absolutely works,
Speaker 1: Mick Jagger's coat works, and then the Stunners are pretty great.
Speaker 1: So these are the rifles, these space age looking rifles
Speaker 1: that the Bonejacker Squad has that seem to shoot like
Speaker 1: electro plasma pulses and it looks really cool. Like this
Speaker 1: is definitely one of the things in the origin, in
Speaker 1: the trailer and in the original promotional footage that I
Speaker 1: bought into when I was younger, like those guns look
Speaker 1: cool and that looks neat they're shooting all these like
Speaker 1: blue beams and all. Because even though this film, this
Speaker 1: film is essentially cyberpunk, you know, or or cyberpunk made
Speaker 1: from cyberpunk derivatives or something, but one of the things
Speaker 1: you see in so many visions of the future from
Speaker 1: this period, from like the nineties, is that everybody's just
Speaker 1: shooting hard ammo. It's just a ballistic you know, worship
Speaker 1: gone wild. And at times I watch that stuff and
Speaker 1: I'm like, I just I just want to see some
Speaker 1: laser beams and some some some phasers and stuff, you know,
Speaker 1: like that's I like sci fi guns that shoot of
Speaker 1: fancy light beams at things. And so this film at
Speaker 1: least really delivers in that category. Well, it has both
Speaker 1: because it's the Bonejackers use the light based weapons because
Speaker 1: they don't want to damage his body. They just want
Speaker 1: to immobilize him so he can be taken to the
Speaker 1: what the psychic switchboard or whatever it's called spiritual switch
Speaker 1: spiritual switchboard, but the but the but other bad guys
Speaker 1: who just want to kill people.
Speaker 2: They use like ballistic weapons.
Speaker 1: Yeah, they don't care about keeping the meat neat right.
Speaker 2: But so here we get a big chase scene. He's
Speaker 2: running all over the place. At one point he gets
Speaker 2: in a taxi and then gets kicked out of it,
Speaker 2: and so Alex is running all over the place, like
Speaker 2: he tries to go to Renee Russo's apartment. He's trying
Speaker 2: to find people that he used to know because he
Speaker 2: somehow doesn't realize that he's in the future. I think
Speaker 2: this is a pretty standard accidental time travel or unwitting
Speaker 2: time travel trope where the person's like they just won't
Speaker 2: accept that the year is different. So they're running around
Speaker 2: trying to find things they know where person or a
Speaker 2: thing should be there, but it's not.
Speaker 1: And it's like what, yeah, yeah, pretty buy the books.
Speaker 1: There's a lot of stuff in this film that is
Speaker 1: just by the books, right, this sort of picture.
Speaker 2: But everywhere he goes, people are like, oh my god,
Speaker 2: he's a free jack. So everybody knows what this is.
Speaker 2: This is a it must be on the news every night.
Speaker 2: It's like, you know, today three free jacks were apprehended, and.
Speaker 1: Hey, yeah, how often does this happened? It's enough that
Speaker 1: there is a slang for it. Yeah, and everybody's on
Speaker 1: the lookout for it. Like I feel like if this
Speaker 1: is on the bonejackers for just being kind of sloppy.
Speaker 2: The bonejackers are really they are screwing up a lot.
Speaker 2: It sounds like, yeah, and there's this dystopian pa, you know,
Speaker 2: like the future totalitarian society has pas everywhere that just
Speaker 2: blair stuff at people. So it's going like everybody off
Speaker 2: the street, there's a free jacket large anyone on the
Speaker 2: street will be fired upon. And then of course we
Speaker 2: see the truest sign of dystopia, which is a giant
Speaker 2: digital billboard and says welcome to New York Thursday, November
Speaker 2: twenty third, two thousand and nine. And then Amelio looks
Speaker 2: at it and he's like what. And then there's this
Speaker 2: great moment where he pulls out his like race ticket
Speaker 2: from his I don't know, from driving earlier that day
Speaker 2: to see the date and it says nineteen ninety one,
Speaker 2: and it's like it's as if the movie is suggesting
Speaker 2: that he was actually thinking, wait, was it two thousand
Speaker 2: and nine earlier today? Better check?
Speaker 1: Well, the movie implies, and at times expressly states that
Speaker 1: that Emilio Westavez, his character, is not the sharpest knife
Speaker 1: in the drawer, right. I think Anthony Hopkins character refers
Speaker 1: to him as a dullard at one point. So yes, yeah,
Speaker 1: he's uh yeah, he needs to check. He has to
Speaker 1: double check to see what year it actually was earlier today.
Speaker 2: So later we meet some corporate creeps. They're like in
Speaker 2: a giant elevator that's going up millions of floors, in
Speaker 2: a skyscraper that reaches up to the clouds. There they're
Speaker 2: in this weird skyscraper that looks like a combination of
Speaker 2: an office and a church. It's like the Cathedral of Business,
Speaker 2: you know, the Basilica of Saint Dick Fold. And uh
Speaker 2: so one of the suits is Jonathan Banks. Again, that's
Speaker 2: Mike Irman Trout from Breaking Bad, who we were talking
Speaker 2: about earlier. And here we get a bit of exposition dump.
Speaker 2: They start explaining that they're they're trying to break the
Speaker 2: bad news about the bone jack getting loose and becoming
Speaker 2: a free jack to a guy who is wearing a
Speaker 2: Ghost of Christmas Yet to come Hood and they're like, sorry, Gramps,
Speaker 2: your bone Jack got away. And then they're they're explaining, actually,
Speaker 2: we've got even worse news. The spiritual switchboard can only
Speaker 2: hold you for another thirty six hours. Shouldn't you consider
Speaker 2: an alternative body? And the guy in the Ghost of
Speaker 2: Christmas Yet to Come Hood is like, I don't want
Speaker 2: an alternative body. I want this one. And then there's
Speaker 2: a reveal and it's hologram Emilio Estavez. And here I
Speaker 2: think it starts to make sense that the first thing
Speaker 2: we see in the movie is Emelio Estavez's butt, because
Speaker 2: it seems like the quality of his body in particular,
Speaker 2: I guess, including his butt compared to other future bodies
Speaker 2: and butts, seems to be relevant to the plot, Like
Speaker 2: only that butt will do I guess.
Speaker 1: I wonder what if the other free Jack on hold
Speaker 1: they had Joe Estevez. Yeah, and they're they're like, come on,
Speaker 1: we got Joe s as ready to go enough. Yeah, Emilio,
Speaker 1: it has to be Emilio. I don't want Joe, I
Speaker 1: don't want Charlie. I don't I want Martin. It's got
Speaker 1: to be Amidia And.
Speaker 2: There's actually another reason for that that we'll get to later.
Speaker 1: Oh.
Speaker 2: But then we get a scene that's a meeting between
Speaker 2: Mick Jagger again, he's playing this this mercenary named Victor
Speaker 2: visindek with with Jonathan Banks. They like meet up to
Speaker 2: scheme together.
Speaker 1: Yeah. So two things about this scene. First of all,
Speaker 1: the office set is incredible in this This is one
Speaker 1: of several interior sets that are in this movie that
Speaker 1: are really cool, Like they just like they went crazy
Speaker 1: with art decorating it and like this one has like
Speaker 1: this crazy fractured redstone wall behind them, which is really good.
Speaker 1: I appreciate that. But then the actual scene, the actual
Speaker 1: energy between Mick Jagger and Jonathan Banks, it's just weird,
Speaker 1: like and it seems like the casting is so off.
Speaker 1: So Jonathan Banks here is playing like the sleazy boss
Speaker 1: who owns Faberge eggs. Yeah, and Jagger is playing like
Speaker 1: the you know, the the badass warrior with a code,
Speaker 1: and it just feels like it should be reverse. Like
Speaker 1: mc jagger is the type of guy who owns Faberge eggs.
Speaker 1: Jonathan Banks is your mercenary. You know, Jonathan Banks is
Speaker 1: great in this anyway, and like, Banks totally delivers. He
Speaker 1: knows what he's doing, so he's yeah, he's perfectly fine
Speaker 1: in this role. But it feels like you could just
Speaker 1: swap these two and you would have been a better place.
Speaker 2: I kind of agree with you there, Yeah, except that
Speaker 2: would have given us fewer chances to see Mick Jagger
Speaker 2: wearing the Spaceball's helmet.
Speaker 1: True, true, And I don't think it would have saved
Speaker 1: the picture in any way. But but yeah, this scene
Speaker 1: is pretty great in a dumb way. You got like
Speaker 1: basically saying like you were supposed to bone jack that guy,
Speaker 1: and it's like I tried. Now he's a free jack.
Speaker 1: You're off the case. No, I'm still going to bone
Speaker 1: jack that guy. I always bone my jack. Basically.
Speaker 2: Yep, that's pretty much it. He tries to fire him,
Speaker 2: and Mick Jagger's like, no, you can't fire me, you know, yeah,
Speaker 2: I'll get that meat. A funny thing, Rachel was watching
Speaker 2: parts of this with me, and she pointed out that
Speaker 2: Mick Jagger's delivery in these scenes is very late season
Speaker 2: Sir c lanister.
Speaker 1: Oh, what what do you mean?
Speaker 2: Just the kind of like vindictive cold frown and a
Speaker 2: similar delivery. And I don't know. I mean I saw
Speaker 2: it when she said it.
Speaker 1: No, no, no, I could I could get that. Yeah, yeah, yeah,
Speaker 1: but this is gonna be one of the ultimate like
Speaker 1: weird things about Jagger's performance is that what he gives
Speaker 1: us here in this scene is not what we get
Speaker 1: later on. Like his his performance is just all over
Speaker 1: the place, Like he's a cold professional in one scene
Speaker 1: and then he'll be something completely different in another.
Speaker 2: Yeah, I can't wait to talk about the scene where
Speaker 2: he's like doing hacker tricks on a car on a
Speaker 2: wine delivery truck.
Speaker 1: Yeah, he becomes the Riddler out of out of the
Speaker 1: later on.
Speaker 2: Yeah. Anyway, Alex ends up taking refuge in a church,
Speaker 2: sleeps on the floor in front of the altar, is
Speaker 2: ambushed by Amanda Plumber in the form of Sister Shotgun.
Speaker 2: She pulls a shotgun on him and and they meet.
Speaker 2: They talk about things. She is shocked to learn that
Speaker 2: he's a free jack. They argue about this, like she yeah,
Speaker 2: she seemed skeptical that he's a free jack, And then
Speaker 2: he explains things to her and she eventually ends up
Speaker 2: trying to help him, like she's she explains the whole
Speaker 2: bone jacking premise. We also get like more exposition dump
Speaker 2: from from her and he's like, what, so they were
Speaker 2: gonna do a brain transplant on me? And she goes, no,
Speaker 2: a mind transplant. So this movie is firmly dualistic, yep.
Speaker 2: And then she helps him find the address of somebody
Speaker 2: who knows so she sends she arms him with a
Speaker 2: gun and sends him off to meet somebody. But then
Speaker 2: we should come back to the whole time. We're also
Speaker 2: cutting between Emilio Estevez and Mick Jagger, and there's like
Speaker 2: a great scene with Mick Jagger hanging out at his
Speaker 2: apartment with his buddy.
Speaker 1: Yeah, yeah, his buddy Ripper. And this is another great
Speaker 1: interior set with like really strange art on the walls
Speaker 1: and it looks lived in, like it was really well done.
Speaker 2: Yeah, there's a red couch backlit white walls with masks
Speaker 2: all over them, like a strange rectangular clock, a mountain revolver,
Speaker 2: and cutouts from pin up magazines.
Speaker 1: Yeah, yeah, it's strange. I didn't know how to take you.
Speaker 1: And I also couldn't tell if like Ripper and Jagger's
Speaker 1: character was supposed to be like, like, are they do
Speaker 1: they live together here? You know, like I was expecting
Speaker 1: like some more development there and then we didn't get it.
Speaker 1: So I guess maybe they don't. They just work together,
Speaker 1: but because then they just talk about the business of
Speaker 1: bone jacking.
Speaker 2: Right exactly. Ripper is played by Issi Morales Junior, who
Speaker 2: and he's the hacker who was wearing sunglasses inside earlier.
Speaker 2: Oh and we find out Mick Jagger has a lie
Speaker 2: detector computer that he tests out on Ripper. And then
Speaker 2: I don't recall this ever being used in the film. Again,
Speaker 2: it's being set up as if it's like Chekhov's lie
Speaker 2: detector machine. Did you did this ever come up?
Speaker 5: Again?
Speaker 1: No, I don't think it did. Another case of kind
Speaker 1: of wasted space.
Speaker 2: Totally pointless. Yeah. Yeah, But then the next thing is
Speaker 2: really while while Emilio Estevez is traveling to meet his
Speaker 2: old manager, Brad, the New York Dolls guy he won
Speaker 2: through two thousand and nine New York City, and this
Speaker 2: is this is trying to give us some of the
Speaker 2: texture of the future.
Speaker 1: Yeah, and it's just your basic eighties Hell City take
Speaker 1: on New York City with the sex clubs is a
Speaker 1: weird future car transporting chicken cages across town.
Speaker 2: Oh yeah, I like that, But it's also like cheesy
Speaker 2: medieval movies like you know, Braveheart or something, and that
Speaker 2: anybody who's not a CEO just has dirt smeared on
Speaker 2: their face.
Speaker 1: Yep, yep. And then of course we get a street gang,
Speaker 1: like a Warrior's Escape from from New York s Street gang,
Speaker 1: and it's it's super confusing too, because the gang we
Speaker 1: see like, there's this this this African American gentleman, and
Speaker 1: he has a helmet on that has both a Confederate
Speaker 1: flag and a swastika. They just like threw everything at
Speaker 1: the helmet and I have no idea what these guys are,
Speaker 1: what their deal is, except they like to shoot guns
Speaker 1: in the street.
Speaker 2: I don't think it makes any sense. It's sort of
Speaker 2: an unspoken convention of dystopian hell city sci fi that
Speaker 2: the people of the future use the political symbols of
Speaker 2: the past with no particular meaning or coherence, which, in
Speaker 2: a way I think about it, that's I think the
Speaker 2: current kind of true. Over time people just use symbols
Speaker 2: of the past with clearly without understanding what they mean
Speaker 2: at all.
Speaker 1: But ultimately these this is this is just action. He's
Speaker 1: moving through anyway to get from point A to point B.
Speaker 2: Right. So Alex meets up with Brad, and Brad's like, oh, wow,
Speaker 2: you're a bone jack or I mean, you're a free jacket.
Speaker 2: So they're hanging out, and I love how they're in
Speaker 2: Brad's apartment and people. You just hear people constantly getting
Speaker 2: shot and screaming outside the window. Sounds like the future.
Speaker 2: The wars out in the streets never stop. Yeah, And
Speaker 2: Emilio Estevez is like, well, why me, Why why do
Speaker 2: they need my bones? Why am I the bone jack?
Speaker 2: Why can't they just take somebody else's body?
Speaker 1: And oh yeah, because that's a great point that you
Speaker 1: don't think about until this point exactly.
Speaker 2: And Brad's like, well, the answer is obvious. You're clean.
Speaker 2: You're from the past, so you haven't been exposed to
Speaker 2: all of the pollution and drugs that have ruined everybody
Speaker 2: else's body in the future. Plus everybody who's alive today
Speaker 2: has been living for years without an ozone layer.
Speaker 1: So yeah, the ozone layer is gone. So this makes
Speaker 1: me wonder is this part of the pre Highlander two chronology?
Speaker 1: Oh yeah, because it's set in what twenty twenty four,
Speaker 1: So I think you could line up.
Speaker 2: This movie has a lot in common with Highlander two.
Speaker 1: Actually, yeah, not as good, not as good as that is.
Speaker 2: Good. Well, I would say, actually it's better than Highlander two,
Speaker 2: but Highlander two is better to watch.
Speaker 1: Yeah, well, I don't know. I think I would say
Speaker 1: it's better than Highlander two.
Speaker 2: But you mean you'll say Highlander two is better.
Speaker 1: Highland two is a better film, okay, and also a
Speaker 1: better viewing experience. But then anyway, it's still fun.
Speaker 2: It's so.
Speaker 1: Yeah, we continue moving through the city here, even more
Speaker 1: dystopia cyberpunk tropes are rolled out. You know, big business
Speaker 1: controls everything. Japanese businesses have this superiority, environmental disaster, future drugs,
Speaker 1: bodies for sale, immortality for the rich. It's just checking
Speaker 1: off all the boxes.
Speaker 2: It's all there. Yeah, And like every other sci fi
Speaker 2: movie from the late eighties and early nineties, it assumes
Speaker 2: that Japanese corporations are soon to take over the United States.
Speaker 1: Yeah everything.
Speaker 2: Yeah, and so the Japanese business panic is which actually
Speaker 2: was in Diehard too, I seen, oh.
Speaker 1: Yeah, was it? Okay.
Speaker 2: It's a pervasive assumption of the movies of the time, you.
Speaker 1: Know, speaking of cyberpunk, I've been playing the Cyberpunk twenty
Speaker 1: seventy seven game. Oh really, Yeah, And that's one of
Speaker 1: the interesting things to engage in with it is to
Speaker 1: think about, like, this is a very it's a very
Speaker 1: nineteen eighties vision of the future that really doesn't match
Speaker 1: up in many ways with sort of modern sensibilities and all.
Speaker 1: And yeah, you have all that stuff like the like
Speaker 1: Japanese business panic that are a part of it, and yeah,
Speaker 1: it's it's it's weird to think about.
Speaker 2: Well, that panic plays into the first scene where we
Speaker 2: meet Renee Russo of two thousand and nine, who I
Speaker 2: will say looks exactly the same as she did in
Speaker 2: nineteen ninety one. He literally does not look like she
Speaker 2: has aged a day, So I guess maybe she has
Speaker 2: not been exposed to the sky without ozone or something
Speaker 2: that's ruined everybody else his body in the future. But
Speaker 2: she is now a high powered executive at this corporation
Speaker 2: called McCandless, which is the biggest, most powerful corporation in
Speaker 2: the world, and she is colleagues with Jonathan Banks, with
Speaker 2: this guy Michellet, and Renee Russo is doing some top
Speaker 2: level negotiation in Japanese with these representatives from a Japanese
Speaker 2: corporation and the executives across the table. Eventually, after they
Speaker 2: negotiate their like the mineral rights are yours and the
Speaker 2: CEO of the McCandless Corporation is Ian McCandless, played by
Speaker 2: Anthony Hopkins, and he video calls Renee Russo he's like,
Speaker 2: congratulations on business, now do more business now.
Speaker 1: I don't recall, do we know McCandless is actually dead
Speaker 1: and that he's the patron looking to get inside his
Speaker 1: bone Jack body.
Speaker 2: So technically no, that is a real spoiler that is
Speaker 2: revealed at the end of the movie that the person
Speaker 2: looking for Emilio Estevez's bone Jack body is actually Anthony Hopkins.
Speaker 2: But you are not supposed to know it at this point.
Speaker 2: You're supposed to think he's still alive and just communicating
Speaker 2: with her through video phone calls. But no, it's absolutely obvious.
Speaker 2: I had never seen the movie before and I was like, Okay,
Speaker 2: Anthony Hopkins is the person who needs the Stavez body.
Speaker 1: Okay. See, I couldn't remember if like the trailer spoiled
Speaker 1: it for me or marketing material back in the early nineties.
Speaker 1: But I feel like I always knew, like there was
Speaker 1: never a twist here for me.
Speaker 5: Yeah, it's it's a thousand percent obvious.
Speaker 2: So then you're back to Brad and Alex walking around.
Speaker 2: They're trying to find Renee Russo. Brad's trying to help
Speaker 2: him find her because it's like, oh, once you know
Speaker 2: she sees you, she'll she'll help you. And so Brad
Speaker 2: takes Alex to a diner where for some reason, people
Speaker 2: start pointing guns at each other. And then you find
Speaker 2: out it's a double cross because Brad told told Alex
Speaker 2: that he was gonna help him fire the Renee Russo,
Speaker 2: but instead he just calls up the police to collect
Speaker 2: the bounty on his old friend.
Speaker 1: Yeah, and again, this is a whole section of the
Speaker 1: movie that takes way longer than it needs to.
Speaker 2: Yes, and this turns into a car chase Emelio Estevez
Speaker 2: driving a police motorcycle around, driving through restaurant kitchens. I
Speaker 2: see some familiar Atlanta streets in the scene, and eventually
Speaker 2: Alex like crashes through a checkpoint and we get to
Speaker 2: see some of the roads and stuff. But he's going
Speaker 2: to Renee Russo's apartment.
Speaker 1: I have to say, I like they have a mix,
Speaker 1: an appropriate mix of some old looking conventional cars, but
Speaker 1: then also some snazzy future cars. Not flying cars, road
Speaker 1: based cars, but futuristic in appearance.
Speaker 2: Most of the cars, or at least the nice looking
Speaker 2: cars in the future, are covered by some kind of
Speaker 2: single piece fiberglass carapace.
Speaker 1: Yeah, which seems like a good solution. You know, you
Speaker 1: don't have to completely redesign your space cars from the
Speaker 1: ground up. Just get some sort of sleek body to
Speaker 1: put on top of it, and you know, it ends
Speaker 1: up looking pretty good.
Speaker 2: It's just a Honda Civic with a big one piece
Speaker 2: top on it. Yeah.
Speaker 1: Yeah, they're essentially parade floats, right.
Speaker 2: Also, the horses and carriages in the future, there's lots
Speaker 2: of horses and carriages all over the place.
Speaker 1: Huh okay, yeah, I forgot about that.
Speaker 2: But Alex goes to Julie's apartment, Julia's renee Russo he
Speaker 2: breaks in. He's like, hey, I'm here. I got bone jacked,
Speaker 2: you know, but now I'm a free jack. And they argue,
Speaker 2: let's pick up exactly where we left. Yeah. Yeah, So,
Speaker 2: I don't know, seventeen years or something have passed for
Speaker 2: her it's been I haven't done the math, right whatever.
Speaker 2: Some number of years have passed, and he's just like, hey,
Speaker 2: you know, how are things and she's she freaks out.
Speaker 2: She doesn't think it's really him. She thinks that somebody
Speaker 2: else has bonejacked his body and is now trying to
Speaker 2: trick her.
Speaker 1: I want to see a remake where the Renee Russo
Speaker 1: character is totally not into this and she's like talking
Speaker 1: to her husband or partner and he's like, yeah, God,
Speaker 1: my ex boyfriend from seventeen years ago turns out he's
Speaker 1: a free jack. Won't leave me alone. I've told him
Speaker 1: like that was seventeen years ago. Like, life moves on.
Speaker 1: I'm sorry you went through this, but I cannot help you.
Speaker 2: Right, I've got the end of it. I'm an executive
Speaker 2: at McCandleis. I don't have time for this.
Speaker 1: Yeah like you, Yeah, you were a mistake seventeen years ago,
Speaker 1: and I really am not about to pick that same
Speaker 1: mistake up and run through the streets with it.
Speaker 2: That would have been an amazing direction, but no. Instead,
Speaker 2: she's just like single and at first she's skeptical, but
Speaker 2: you know what's gonna happen. Come on, Yeah, and then
Speaker 2: this turns into a car chase. Mick Jagger like finds
Speaker 2: Emelia Estevez at her apartment and then he starts chasing
Speaker 2: him down in this red land boat that is just hilarious.
Speaker 2: But Alex hijacks a truck full I think it's like
Speaker 2: a wine bottle delivery truck. It's full of these neon
Speaker 2: green bottles of wine. So they do a car chase
Speaker 2: around we see a Marta station and then there's one
Speaker 2: of my favorite parts of the movie that was really
Speaker 2: funny was when I have to.
Speaker 1: Say, real quick though, I have to say about that
Speaker 1: wine vehicle. Yeah, I'm watching it this time. I instantly
Speaker 1: thought of Amy Sedaris's regional wine lady Ronnie Vino from
Speaker 1: her television series At Home with Amy Siderius. And I
Speaker 1: don't know what she drives. She's this hilarious character that
Speaker 1: goes door to door selling wines. But like, this has
Speaker 1: to be Ronnie Vino's vehicle. It is stolen here.
Speaker 2: Well I have to check that out. But anyway, I
Speaker 2: thought the scene was funny for multiple reasons. Number one
Speaker 2: is that, yeah, I understand Alex. Forlong our protagonist is
Speaker 2: supposed to be a race car driver, so it makes
Speaker 2: sense that he would have some skills at evading these
Speaker 2: mercenaries no matter what he was driving, But still it
Speaker 2: seems implausible. He's just fully out maneuvering a fleet of
Speaker 2: police interceptor vehicles and these like mercenary motorcycles and stuff
Speaker 2: in a delivery truck for like full of you know,
Speaker 2: Neon Green Pole mass On.
Speaker 1: Yeah.
Speaker 2: Oh, and it's got a laptop inside the cab where
Speaker 2: he's driving that Mick Jagger keeps coming on, like popping
Speaker 2: up on the screen on the laptop and harassing him
Speaker 2: while he's driving and saying like, you can't get rid
Speaker 2: of me that easily, And he'll try to close the
Speaker 2: laptop and then it'll just open up automatically and Mick
Speaker 2: Jaggery jaggers and laughing at him.
Speaker 1: Yeah again he suddenly his character is suddenly the Riddler
Speaker 1: or something. You know, it's like a complete shift from
Speaker 1: what it was earlier.
Speaker 2: And the mercenaries who worked for Mick Jagger, they're all
Speaker 2: dressed like spaceballs once again. Eventually, Furlong escapes this scene
Speaker 2: by jumping off of a bridge into water from a
Speaker 2: height that would absolutely have killed him. He drifts down
Speaker 2: the river, I guess, and he ends up. He ends
Speaker 2: up washing up on a dock somewhere and he meets
Speaker 2: Frankie Faison, who we mentioned earlier, who's just hanging out
Speaker 2: at a dock next to all this toxic water and
Speaker 2: he's eating something. He tries to share his food, I think,
Speaker 2: but he's like, yeah, this is a sauteed river rat.
Speaker 2: And then they have a fantastic conversation about the best
Speaker 2: way to cook river rats. And then this goes into
Speaker 2: this monologue about an eagle that really doesn't make any sense,
Speaker 2: but I would say acting prize for the movie goes
Speaker 2: to Frankie Faison.
Speaker 1: Well, and it works too, because the kind of monologue
Speaker 1: you'd expect to get from like a crazy person, you know,
Speaker 1: that lives under a bridge in the in a dystopian future,
Speaker 1: Like it shouldn't make sense. It should it should have
Speaker 1: this sort of raw energy to it that's kind of
Speaker 1: muddled by strange thinking, and it totally shines through. It's
Speaker 1: it is the best scene in the whole picture.
Speaker 2: It's like simultaneously incoherent and wise.
Speaker 1: Yes, yeah, And in that very sagely you're like, I
Speaker 1: don't know what he just said, but I think it
Speaker 1: was really important, and I will I will buy him.
Speaker 1: It's the same trick that shaman throughout history have used,
Speaker 1: and Eagle Guy has no exception.
Speaker 2: Yeah, but anyway, so we come back to Renee Russo
Speaker 2: and her colleague Boone, who again this is Grandel Bush.
Speaker 2: They go looking for Alex and the slums and they
Speaker 2: sort of make up, right Rene, So it's like if
Speaker 2: I'd known it was really you, and so they're happy
Speaker 2: now again together. She believes it's really him and she's
Speaker 2: going to help him free Jack. She's going to help
Speaker 2: him escape somehow, and her plan is, oh, and they
Speaker 2: see a digital billboard that's like, oh, the bounty on
Speaker 2: him is now ten million dollars. But the plan is
Speaker 2: that she's going to meet up with a fancy friend
Speaker 2: of hers named Morgan at the most slicely canteena of
Speaker 2: two thousand and nine New York. It's like, you know
Speaker 2: very much. New York's hottest club is free Jack. And
Speaker 2: so they go there and she's going to go meet
Speaker 2: her friend who apparently helps people escape. I don't know
Speaker 2: why she knows a guy who just helps Free Jack's escape,
Speaker 2: but she does. And meanwhile, Emilio Estevez is just sitting
Speaker 2: by himself at the bar. He drinks something that the
Speaker 2: bartender gives him and this like messes up his brain.
Speaker 2: And then Mick Jagger's real life wife at the time
Speaker 2: of this film, or at least his partner, I think
Speaker 2: their marriage was later annulled. Her name's Jerry Hall. She
Speaker 2: is also in the movie, and she shows up as
Speaker 2: a TV interviewer who like walks up to Emelio Estevez
Speaker 2: and is like, Hey, what's going on? And then they
Speaker 2: realize like, oh, this is that free jack everybody's looking for,
Speaker 2: and they put him on live TV and he starts
Speaker 2: quoting Arnold Schwarzenegger from The Terminator.
Speaker 1: Yeah, it's actually pretty great, you know, because they just
Speaker 1: went ahead and had the Furlong character just get totally wasted,
Speaker 1: like he's a kind of a dumb dumb and this
Speaker 1: expresses it, you know. He just he drinks too much
Speaker 1: of this bar. He's out of it, and he's just
Speaker 1: starts gabbing to the journalists here and she's like, roll it,
Speaker 1: We're gonna get the ratings tonight. So I actually kind
Speaker 1: of like this scene.
Speaker 2: Weird connection is that. So she was I think married
Speaker 2: to Mick Jagger, at the time, but Jerry Hall is
Speaker 2: now married to Rupert Murdoch. Yes, that Murdock.
Speaker 1: Wasn't she also in Batman? Wasn't she the model character
Speaker 1: that Jack Nicholson's Joker scars with acid? I think she?
Speaker 2: Oh, I don't remember that.
Speaker 1: Yeah, yeah, I think she popped up in a number
Speaker 1: of films during that period. All right, So from here
Speaker 1: we go to Morgan's apartment and once again, once again
Speaker 1: some great interior decorating.
Speaker 2: Yes, giant foot art. He just has these like twenty
Speaker 2: foot tall feet sculptures in his house.
Speaker 1: Yeah, very cool. Yeah, and I really think we should
Speaker 1: credit where credits due. First of all, for mc jagger's coat.
Speaker 1: Lisa Jensen was costume designer on this film, and then
Speaker 1: art direction for the film was James A. Taylor, Set
Speaker 1: direction by Bruce A. Gibson. So really, without this bunch,
Speaker 1: I'm not sure what we would be looking at in
Speaker 1: these scenes.
Speaker 2: I agree. So I think they're just negotiating like that
Speaker 2: they're going to get him out of there, like Morgan's
Speaker 2: gonna arrange for him to escape somewhere. And then and
Speaker 2: then there's a love scene of course, Emilio Estevez and
Speaker 2: Rene Russo they they're you know, they slip into something
Speaker 2: more comfortable and there's some saxophone playing in the background
Speaker 2: and you get all that.
Speaker 1: Yeah, but again, more just wasted space in this film,
Speaker 1: like this previous scene wasted space. Then there's this, and yeah, I.
Speaker 2: Could really trim this down. Yeah, there is something that's
Speaker 2: utterly inconsequential to the rest of the film, but a
Speaker 2: good B plot scene where Amanda Plumber just kicks Jonathan
Speaker 2: Banks in the testes. Yeah, and they really milk it,
Speaker 2: like he does the classic sinking to the floor, moaning
Speaker 2: with his eyes rolling back kind of thing.
Speaker 1: Yeah. It accomplishes nothing though for the plot or for
Speaker 1: these characters, Like I don't really know why we bothered
Speaker 1: with this.
Speaker 2: So Emilio Estevez is getting ready to escape. He's going
Speaker 2: to a boat and he's going with Boone I remember
Speaker 2: Grandel Marsha And they're walking together and Boone is explaining
Speaker 2: that he has become a people to the city, like
Speaker 2: he inspires everyone because he has a free jack and
Speaker 2: the people are like, wow, I guess if he could
Speaker 2: be free, I could be free too or something.
Speaker 1: Yeah. It's a little flimsy, but clearly they had to
Speaker 1: establish why Boone would help him. Yeah, if there's ten million,
Speaker 1: and I think it's supposedly more. At this point, it
Speaker 1: keeps going up, like there's a tremendous amount of money
Speaker 1: on the table for the guy. Why are you helping him?
Speaker 1: And he says, well, you inspire my grandma.
Speaker 2: Yeah, that's right.
Speaker 1: Yeah, And I'm like, okay, I'll buy it. I'm not
Speaker 1: happy if.
Speaker 2: By my grandma loves you.
Speaker 1: Yeah.
Speaker 2: So they're supposed to go get on a boat, but
Speaker 2: then bam, boat explodes. It's a Jagger ambush, and then
Speaker 2: it's a double double cross because Jagger is trying to
Speaker 2: capture Furlong alive. But then these other dudes show up
Speaker 2: and start shooting at Mick Jagger and shooting at Emilio Estevez,
Speaker 2: and I think Boone is like, those aren't bone jackers.
Speaker 2: There's someone else in the area, and so they're all
Speaker 2: they're all running around. You find out Boone has a
Speaker 2: katana and he's like a total badass and he fights people.
Speaker 1: Yeah. I mean basically, you have Jagger's bunch wants to
Speaker 1: finish the bone jacking contract, and then Jonathan Banks's bunch
Speaker 1: they don't want the bone jacking to take place because
Speaker 1: they don't want Anthony Hopkins to get his new body
Speaker 1: because then he's still in charge of the company if
Speaker 1: that happens. Yeah, we don't really learn that till later,
Speaker 1: but that's why we're building up too.
Speaker 2: That's right. We find that out from Jonathan Banks and
Speaker 2: a big another exposition dumb scene. But everybody's running around chasing,
Speaker 2: shooting at each other. There's a big fight scene between
Speaker 2: Emilio Estevez and a large, strong bone jacker who gets electrocuted.
Speaker 2: During this whole sequence, Mick Jagger is creeping around in
Speaker 2: a hilarious helmet. But then there's a scene where Furlong
Speaker 2: has a chance to kill Mick Jagger, but he doesn't.
Speaker 2: He lets him live. He spares his life, and for
Speaker 2: this Mick Jagger, Mick Jagger gives him a head start.
Speaker 2: He's like, I'll let you escape because I'm a man
Speaker 2: of honor. You're a man of honor. And he starts counting,
Speaker 2: and Mick Jagger says, one Mississippi, two Mississippi.
Speaker 1: I mean this ridiculous. Yeah, that's just ridiculous. It's way
Speaker 1: too much of a lead too, Like why you just
Speaker 1: spend like they established it's gonna take costs like millions
Speaker 1: and millions of dollars to catch this guy again. You've
Speaker 1: got him, but you're like, no, I'm a man of
Speaker 1: my honor. I'm gonna let you get away again.
Speaker 2: Right, So they eventually they go back to mccandles's headquarters.
Speaker 2: He meets back up with Renever, so they go to
Speaker 2: McCandless headquarters to meet with Jonathan Banks and have Jonathan
Speaker 2: Banks explain the whole plot. Yep, and Renee Russo and
Speaker 2: Emilio Estevez end up end up going up to the
Speaker 2: Spiritual Switchboard to find you know, there's a number of
Speaker 2: double crosses yet again, and people trying to kill each other.
Speaker 2: So they end up a the Spiritual Switchboard, which looks
Speaker 2: like a smoother version of the Satan powered Hyperdrive and
Speaker 2: event Horizon.
Speaker 1: Yeah, it's you know, clearly whatever is happening here, it
Speaker 1: can only take place at the top of a high
Speaker 1: rise in Manhattan aka Atlanta, And yeah, it raises a
Speaker 1: lot of questions, like, I guess the big one is
Speaker 1: what if we are actually dealing with spirit Like what
Speaker 1: if this film is presenting a future in which which
Speaker 1: there is a spiritual reality to the individual, and that's
Speaker 1: why you have some sort of crazy contraption, because there's
Speaker 1: like an actual ghost soul, you know, like there's an
Speaker 1: Anthony Hopkins poltergeist trapped in this thing and they have
Speaker 1: to eventually try and slam it into some new meat.
Speaker 2: Yeah, it really does explore some Cartesian territory.
Speaker 1: I think.
Speaker 2: I think you can give its it's philosophical credit, especially
Speaker 2: because so they go up to the Spiritual Switchboard and
Speaker 2: they meet McCandleis that's Anthony Hopkins, and he's full on
Speaker 2: lawnmower Man beyond cyberspace. He's just hanging out in digital
Speaker 2: worlds with digital diamonds. Our heroes are transported to a
Speaker 2: giant VR castle inside what looks like a Utah desert,
Speaker 2: and Anthony Hopkins says, welcome to my mind. And Anthony
Speaker 2: Hopkins has been faking being alive through video simulation the
Speaker 2: whole time. We find out that he's in love with
Speaker 2: Rene Russo and he wants Amelio Estevez's body so that
Speaker 2: she would love him in return. And so they're trying
Speaker 2: to do the mind transfer on this big thing that
Speaker 2: looks exactly like a jack, like it's a spike with
Speaker 2: these balls coming out of the middle of it, and
Speaker 2: the jack opens up and there's a big crit stole
Speaker 2: inside it, so it's literally crystal energy.
Speaker 1: Now the film does get very briefly and just into
Speaker 1: the philosophy or another. The philosophy really, I guess you
Speaker 1: would say the ethics of bone jacking, which is kind
Speaker 1: of interesting because you know, he's like they bring up
Speaker 1: the point which I mostly agree with here, like he
Speaker 1: was gonna Emlio wes Vez's character was going to die.
Speaker 1: That was going to happen, and they can't really interfere
Speaker 1: with that, like that would be that would really mess up,
Speaker 1: you know, the entire time stream. All they can do
Speaker 1: is steal his body and then do something with it.
Speaker 1: And it's just an accident that he got free and
Speaker 1: that he's escaped. So to a certain extent, bone jacking
Speaker 1: is a victimist crime.
Speaker 2: Oh you think so, huh, you're a pro bone jacking,
Speaker 2: are you?
Speaker 1: Well, I'm I'm I'm not in I guess I'm not
Speaker 1: entirely pro bone jacking. I mean it does symbolize, you know,
Speaker 1: the a great deal of unbalanced privilege in the future
Speaker 1: for the few individuals who can afford immortality, which you know,
Speaker 1: we still see plenty of science fiction that deals with that,
Speaker 1: because that's ultimately a that's a reality we're potentially facing.
Speaker 1: You know, these longevity science improves, you know, who's going
Speaker 1: to be able to afford it? Who gets to have
Speaker 1: their life span extended? Who gets to live forever? You know? Sure,
Speaker 1: so it gets into some of that territory and that
Speaker 1: is that is some rich sci fi territory to explore,
Speaker 1: and they briefly do it.
Speaker 2: Yeah, as sort of they kind of half address it.
Speaker 2: There is a line where Amelio Estevez says to Anthony Hopkins,
Speaker 2: you don't need a new body, you need a new soul.
Speaker 1: Yeah, and he's like, yeah, whatever, meat, Ye prepare.
Speaker 2: To have me in your meat. And then there's a
Speaker 2: psychedelic mind transfer scene, but it doesn't complete because Jonathan
Speaker 2: Banks shows up to kill everybody. I guess because oh,
Speaker 2: because he just wants Anthony Hopkins to die so that
Speaker 2: he can take over the business.
Speaker 1: Right. He needs this to fail, and he's been trying
Speaker 1: to make it fail the whole and then the last
Speaker 1: thing he's going to try is just shooting the crystal,
Speaker 1: which he does, but then he shot himself.
Speaker 4: No.
Speaker 2: I think Renee Russo she shoots.
Speaker 1: Why does she have a gun?
Speaker 2: She gets a gun something, she shoots the crystal stops
Speaker 2: the transfer, and then there's a question. So Emilio Estevez
Speaker 2: is there and it's like, uh, is Anthony Hopkins mind
Speaker 2: in him or is it still his mind? And there's
Speaker 2: a standoff with Mick Jagger and Jonathan Banks with their
Speaker 2: all point and guns at each other and they're all
Speaker 2: trying to figure out is that really Anthony Hopkins or not?
Speaker 2: And they're going to kill him if it's if it's
Speaker 2: still Amelio Estevez, but Jagger's gonna let him live if
Speaker 2: it's Anthony Hopkins. And uh, so they do a trick.
Speaker 2: They're like, what's your personal identification number? And Emilio Estevez
Speaker 2: starts saying numbers and Mick Jagger's like that's right, and
Speaker 2: so they they shoot Jonathan Banks. But then you find
Speaker 2: out there's a very sweet ending where for a moment
Speaker 2: you are supposed to think, oh, maybe it did complete
Speaker 2: and the bad guy won. Anthony Hopkins is now in
Speaker 2: the meat. But there is a sweet ending where Renee
Speaker 2: Russ and Emilio estevezer driving off and Mick Jagger comes
Speaker 2: up to them and like leans into the car window
Speaker 2: and is like, hey, you know, I know that number
Speaker 2: you gave was wrong, but I decided to let you
Speaker 2: live because you're a stand up guy or something.
Speaker 1: Yeah, it's I mean, it's not a bad ending. I
Speaker 1: like the whole mystery of it, like did it work?
Speaker 1: Did it not work? And it's like a kind of
Speaker 1: a fun double cross ultimately a face turn for Mick
Speaker 1: Jagger's character. But it does take a long time to
Speaker 1: get to this point in the picture.
Speaker 2: It does, and it strikes me as like that would
Speaker 2: be a cool thing in the future, if there's some
Speaker 2: kind of like a prestige attached to the idea of
Speaker 2: being original meat. You say like, no, no, no, my mind
Speaker 2: is still in the meat that it was originally and
Speaker 2: this is not new meat.
Speaker 1: Well, you know, I mentioned the nineties Outer Limit series earlier.
Speaker 1: This whole film would have made a really solid forty
Speaker 1: five minute nineties Outer Limit episode. Yes, Instead, it's like
Speaker 1: twice that length, and I think that's the one of
Speaker 1: the problems here.
Speaker 2: There is a really funny rock song that plays over
Speaker 2: the end credits. I had to look this up. It's
Speaker 2: by The Scorpions and it's called Solid. It's called hit
Speaker 2: between the eyes, and the lyrics include lines like late
Speaker 2: at night, when you're all alone, take a ride to
Speaker 2: the danger zone.
Speaker 1: Yeah, but that's it.
Speaker 2: As we've been saying, I think this movie's pretty awful.
Speaker 2: It has some real pleasures in terms of ridiculous dialog
Speaker 2: and shots of Mick Jagger looking really funny in certain costumes.
Speaker 2: I think it would be better if it was like
Speaker 2: thirty to forty minutes Shorter leaned harder into the absurdity.
Speaker 2: It could sort of veer into camp classic if it
Speaker 2: were like that. As it is, it's kind of an
Speaker 2: uncut gem.
Speaker 1: It would have been nate if the first time Emilio's
Speaker 1: character jumps off the bridge and you say, oh, that
Speaker 1: would have killed the normal person. What if he does
Speaker 1: die and he's immediately bonejacked again?
Speaker 2: Bone jack to a second future. This time it's twenty twenty.
Speaker 2: Things are even worse.
Speaker 1: Yeah, yeah, with all your points there, Oh, here's my
Speaker 1: casting workaround. Okay, that could have improved things. Okay. Grand
Speaker 1: Al Bush plays our hero Alex Furlong, Okay, yeah. Amanda
Speaker 1: Plumber plays Julie Redland, the love interest.
Speaker 2: Okay, nice, Yeah, she's a exec at McCandless.
Speaker 1: Yeah, Yeah, Jonathan Banks and Mick Jagger switch role, so
Speaker 1: Banks as Vicendek and Jagger as Michellette.
Speaker 2: The corporate guy with Faberge eggs.
Speaker 1: Yeah, Frankie still plays the Eagle guy, but in a
Speaker 1: far expanded role. I don't know how they just get
Speaker 1: more screen time for that.
Speaker 2: Care he should become like the full on Obi wan
Speaker 2: Kenobi of the movie. He's just like throughout the whole
Speaker 2: thing is like this sort of the guy to character.
Speaker 1: Yeah, Anthony Hopkins remains mccandle's because he's fine in that,
Speaker 1: and then the rest just fill in as needed. I
Speaker 1: don't know. Emilio can play somebody. Yeah, Buster pointe exer
Speaker 1: can do whatever. But I feel like, get the weirder actors,
Speaker 1: the more interesting actors up towards the top, That's what
Speaker 1: I want, and Smick Jagger more appropriately get the meat.
Speaker 1: All right, Well, if you want to get the meat.
Speaker 1: Lucky for you, again, this was a thirty million dollar picture,
Speaker 1: so you can rent it or buy it everywhere. It's
Speaker 1: it's not as like streamable as part of a service
Speaker 1: as you might expect, you know, in terms of like
Speaker 1: Netflix and Amazon Prime and all, but you can absolutely
Speaker 1: buy it or rent it anywhere. It's even available on
Speaker 1: Blu Ray for crying out loud.
Speaker 2: I wonder if the Blu Ray has the same menus.
Speaker 2: My god, Blu Ray made in like twenty fourteen or
Speaker 2: something still has the page just for the url of
Speaker 2: Morgan Creek.
Speaker 1: I bet it has like just a loveless, like film
Speaker 1: studio template. Like whatever everything else had that came out
Speaker 1: that wasn't didn't have like a cult following or you know,
Speaker 1: wasn't a huge hit. It just gets the same treatment
Speaker 1: as everything else.
Speaker 2: Hey, everybody right in about your favorite DVD menus. What's
Speaker 2: the worst DVD menu you've ever found that? What's the
Speaker 2: most absurd dedication of an entire menu option you've ever found?
Speaker 1: Yeah, the most over ambitious animation from swishing from one
Speaker 1: page to the next. Yeah, I'd love to hear about it.
Speaker 1: Or oh god, some of these, especially some of the
Speaker 1: kids DVDs from back in the day, they would have
Speaker 1: games like really, oh god, like really rough attempts to
Speaker 1: have some sort of a click based game on the DVD.
Speaker 1: It was rough.
Speaker 2: Sometimes they got Easter eggs, you remember those, where like
Speaker 2: you'd move the cursor around to a thing that you
Speaker 2: didn't realize you could move it to and then it
Speaker 2: would play a hidden scene or something.
Speaker 1: Yeah. Oh man, I hope there's still I do love
Speaker 1: hidden tracks and Easter eggs and stuff, and I hope
Speaker 1: some of that's still going on. All right, Well, we're
Speaker 1: gonna go ahead and close it out here. But yeah,
Speaker 1: this was free Jack. We hope you enjoyed it. Again.
Speaker 1: There was a little bit of weirdness in this one,
Speaker 1: maybe not as weird as some of the other pictures,
Speaker 1: but still was a lot of fun to talk about,
Speaker 1: and I think it is important to just talk about
Speaker 1: sometimes these these big budget films which can sometimes turn
Speaker 1: out pretty weird but also can just really fail to
Speaker 1: set the world on fire. All right, Well, if you
Speaker 1: want to watch more episodes of weird Ouse Cinema, you
Speaker 1: can catch it every Friday in the Stuff to Blow
Speaker 1: your Mind podcast feed, and you can find that podcast
Speaker 1: feed wherever you get your podcasts, wherever that happens to be.
Speaker 1: Just rate, review, and subscribe if you have the ability
Speaker 1: to do so.
Speaker 2: Huge thanks as always to our excellent audio producer Seth
Speaker 2: Nicholas Johnson. If you would like to get in touch
Speaker 2: with us with feedback on this episode or any other
Speaker 2: to suggest a topic for the future, just to say hello.
Speaker 2: You can email us at contact at stuff to Blow
Speaker 2: your Mind dot com.
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