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Speaker 1: Hey, Welcome to Weird House Cinema. Rewind, This is Rob

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Speaker 1: Lamb and today we're gonna We're gonna go back to

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Speaker 1: a much older episode of Weird House Cinema. This one

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Speaker 1: originally published nine ten, twenty twenty one. It is gonna

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Speaker 1: be our look at the nineteen eighty six film Spookies.

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Speaker 1: This one's This one's very uneven. I think we described

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Speaker 1: it at the time as being overstuffed and underdone, but

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Speaker 1: it's still a heck of a lot of fun. So

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Speaker 1: if you enjoy b movies with there are maybe a

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Speaker 1: little rough around the edges, Spookies might just be the

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Speaker 1: film for you.

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Speaker 2: Let's jump right in.

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

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

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Speaker 2: And this is Joe McCormick. And to set us up

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Speaker 2: for the movie that we're gonna be talking about today,

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Speaker 2: I wanted to discuss a problem that often arises when

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Speaker 2: you're making a monster movie, and that is the problem

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Speaker 2: of picking which kind of monster to commit to. You know,

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Speaker 2: it's like maybe the family's going out to dinner and

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Speaker 2: everybody's trying to decide, Oh, where should we go? You

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Speaker 2: know somebody, you know, brother Daryl wants to go to

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Speaker 2: the steakhouse, and Grandpa wants to go to the Mexican restaurant,

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Speaker 2: and so forth. Everybody wants something different. They can't all

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Speaker 2: have it at the same place unless you go to

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Speaker 2: the king size buffet where you can get a little

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Speaker 2: bit of everything on your plate. And that's what's going

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Speaker 2: on with the movie today. They decided, why commit to

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Speaker 2: just one kind of monster? You know, why make a

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Speaker 2: movie just about a like monster baboon hag Bride or

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Speaker 2: a little diminutive rubber merman goblin or fart zombies or

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Speaker 2: a cast member from Cats that has a hook hand.

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Speaker 2: What if you could just put them all in the

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Speaker 2: same movie and let them all run wild.

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Speaker 1: Yeah, and that is very much the case with the

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Speaker 1: movie we're talking about here today. This is gonna be

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Speaker 1: Spookies from nineteen eighty six, a great year for genre films,

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Speaker 1: though I can't lay we can't credit Spookies for really

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Speaker 1: being a part of that. This is this is not

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Speaker 1: a great movie. This may be one of the worst

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Speaker 1: movies we've we've discussed for Weird House, but you know,

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Speaker 1: we're still gonna We're still gonna focus on the positives.

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Speaker 1: It does have some positives, and I think the Monster

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Speaker 1: Buffet is the big one, because you know, when you

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Speaker 1: mentioned this, I was trying to think of other films

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Speaker 1: that really hit the same caliber, you know, of just

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Speaker 1: having multiple different types of monsters, and I mean I

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Speaker 1: thought of Gremlins too, but then again, even though those

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Speaker 1: are diverse types of Grimlins, they're still Grimlins. I thought

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Speaker 1: of Monster Squad, but that is still a case where

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Speaker 1: those are all like universal monsters that are that have

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Speaker 1: been historically paired together, so it's not that weird. It's established.

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Speaker 1: Or I thought of, say, Thirteen Ghosts. Both versions of it,

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Speaker 1: but especially the later version of it was a lot

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Speaker 1: of fun. Had thirteen very different types of ghosts, but

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Speaker 1: they were all still essentially ghosts.

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Speaker 2: I keep meaning to watch that one, Rachel and I

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Speaker 2: love those like late nineties terrible monster movie remakes, you know,

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Speaker 2: the nineties what's it called House on Haunted Hill and

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Speaker 2: all that, and thinking we're going to watch thirteen Ghosts.

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Speaker 2: Maybe this is the year it is? It is. I've

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Speaker 2: heard it's loud. It's the main descriptor I've heard applied

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Speaker 2: to it.

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Speaker 1: It's loud, it's got a good cast, and get some

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Speaker 1: neat ghosts in it.

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Speaker 2: But but okay, yeah, I see the point you're making.

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Speaker 2: So yeah, monster Squad, and that combines all of the

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Speaker 2: classic universal monsters into one thing. So you got like

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Speaker 2: a an off brand creature from the Black Lagoon, you

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Speaker 2: got a wolf Man, you got a Mummy, you got

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Speaker 2: a Dracula, and so forth. But this one, Yeah, I

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Speaker 2: like that. This is like a Monster Squad, but for

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Speaker 2: obscure or previously unknown monsters or monsters that you would

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Speaker 2: not think of is going in a monster movie. So

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Speaker 2: it does have sort of sort of like dirt caked

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Speaker 2: fart zombies that the just exude flatulence as they chase

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Speaker 2: people around in a room. And it does have this

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Speaker 2: like Baboon bride creature. It does have a like a

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Speaker 2: lady who turns into a giant spider. I think maybe

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Speaker 2: she's supposed to be a certain kind of yokai. But

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Speaker 2: it's also got like a if you bought a one

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Speaker 2: of those grim reapers that goes on your lawn for

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Speaker 2: Halloween and raises the scythe up and down and goes

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Speaker 2: ooh when people walk by. But it came to life

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Speaker 2: and started attacking people. It has that, and it's also

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Speaker 2: just got a.

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Speaker 1: Jawa, yeah, sort of a yeah, kind of a child

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Speaker 1: vampire Java running around.

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Speaker 2: Yeah.

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Speaker 1: There's there's a lot of a lot of stuff here,

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Speaker 1: and there's not really a good reason why it's all there.

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Speaker 1: This is not a movie that's really concerned why people

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Speaker 1: or monsters have any reason to be in the same

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Speaker 1: place at the same time, and yet there they are.

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Speaker 2: Well, this movie did get me thinking about one thing.

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Speaker 2: I think maybe, maybe maybe the weird structure of this

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Speaker 2: film gave me a sort of insight into a curiosity,

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Speaker 2: a type of curiosity that powers the construction of certain

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Speaker 2: horror movies. And it is I think the same type

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Speaker 2: of curiosity that leads people to make those This might

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Speaker 2: be overly nerdy and obscure, but have you ever seen

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Speaker 2: those videos people make on the internet where they just

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Speaker 2: take like some like real time strategy video game and

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Speaker 2: they just keep pairing different kind of units from the

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Speaker 2: game against each other and seeing which one wins. You

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Speaker 2: know what I'm talking about. Yeah, Okay, so here's my

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Speaker 2: you know, power Mechmarine versus the the Alien Screamer Queen,

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Speaker 2: and you know which one will be victorious. You just

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Speaker 2: do that one hundred times with the different types of units.

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Speaker 2: I think sometimes eighties horror movies especially kind of work

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Speaker 2: that way, but they work with a certain kind of

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Speaker 2: monster or slasher and then with certain types of human

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Speaker 2: stereotypes or personality archetypes. So it's like, what does a

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Speaker 2: nerd versus hockey mask slasher look like? Or what does

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Speaker 2: preppy rich kid versus merman grimlin look like? You know,

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Speaker 2: it's like the bug fights, but with human stereotypes on

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Speaker 2: one side and different types of monsters on the other.

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Speaker 2: Does that make any sense? Yeah?

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Speaker 1: Yeah, I can see that definitely being a part of

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Speaker 1: the alchemy going into some of those pictures. But in

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Speaker 1: this case it's not. This does not feel like the

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Speaker 1: product of an alchemy lab. This seems like the lab

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Speaker 1: has been ransacked and all the liquids are mixing together

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Speaker 1: on the table and making random explosions.

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Speaker 2: Oh, this movie does have some really good random explosions.

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Speaker 2: You don't see him coming.

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Speaker 1: No, so, spookies, I guess we should talk about what

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Speaker 1: the basic Elevator Vader pitch here is. Basically, the plot,

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Speaker 1: such as it exists, is that people, random people are

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Speaker 1: drawn to a weird house in a graveyard where a

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Speaker 1: warlock is trying to bring his bride back to life,

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Speaker 1: and equally random monster's rampage through the shambles of what

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Speaker 1: is essentially a kind of resurrected film. I also was

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Speaker 1: thinking of it in terms of what if Troll Too

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Speaker 1: had lacked vision and just featured more monsters.

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Speaker 2: What if troll Too was more of a hodgepodge instead

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Speaker 2: of like one one director's clear artistic vision realized to

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Speaker 2: its fullest extent.

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Speaker 1: Right, So yeah, I think for me this film was

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Speaker 1: worse than Troll Too.

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Speaker 2: This.

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Speaker 1: I think this is the worst film we've looked at

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Speaker 1: on Weird House, and I think ultimately I would like

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Speaker 1: not to return to its level. But there's still some

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Speaker 1: fun stuff to talk about here.

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Speaker 2: Well wait, then, how did you end up on this one?

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Speaker 2: What led you to Spooky's.

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Speaker 1: I was familiar with the title, and I had signed

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Speaker 1: up for Shutter to watch a previous film that we

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Speaker 1: had covered. I forget which one, and I was slipping

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Speaker 1: around and there was Spooky So I thought, well, I'm

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Speaker 1: going to start watching it. Let's see what this is like. Okay,

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Speaker 1: So that's that's how it came to be, and oh

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Speaker 1: in the other part this is important too. This was

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Speaker 1: right before the Labor Day weekend, and I knew we

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Speaker 1: had a shortened week coming up, and we were talking

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Speaker 1: about doing another movie that I think we're going to

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Speaker 1: be doing for next week that is a much better

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Speaker 1: film and has some more I gotta know discuss it

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Speaker 1: has some some plot points in it, they're going to

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Speaker 1: be worth discussing more. And I thought, well, let's save

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Speaker 1: that for next week when we have a little more time.

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Speaker 1: Spookies is perhaps the right amount of movie for what

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Speaker 1: we have time to put together.

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Speaker 2: Okay, got another question. The title Spookies. Does it refer

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Speaker 2: to the buffet of different kinds of monsters? Are they?

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Speaker 2: Are they the titular spookies?

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Speaker 1: I guess, I guess so.

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Speaker 2: I mean I've never heard of spooky as a now

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Speaker 2: and that's an adjective, right.

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Speaker 1: Mm hmm. I think the title sometimes it makes me

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Speaker 1: think of things like the jeepers creepers, or phrases like that,

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Speaker 1: or the hebgb's or something where I'm like, oh, well,

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Speaker 1: maybe the idea is this film is supposed to give

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Speaker 1: me the creepies like I have the creepies now because

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Speaker 1: I watch this film, you mean the Spookies, the Spookies,

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Speaker 1: what I say, the creepies, Okay, creepy Okay, yeah, I

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Speaker 1: mean I have the Spookies because I watched the film.

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Speaker 1: I don't know's that's as much as I could figure out.

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Speaker 2: Well. I wondered also though, if it was if it's

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Speaker 2: a little like short and kind of short cute word

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Speaker 2: with an S at the end, because it's in the

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Speaker 2: era of the Gromlins type movies, so you know, Grimlins,

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Speaker 2: Critters and all that. If it was trying to cash

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Speaker 2: in on that Goolies that sort of thing. Oh exactly

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Speaker 2: did they think, Okay, we need something like that to

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Speaker 2: get the people picking up the box in the video store?

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Speaker 2: How about spookies? Yeah?

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Speaker 1: Yeah, it was probably something like that. All right, Well,

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Speaker 1: let's let's give everyone a taste of the trailer audio

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Speaker 1: here so you'll know what you're getting into a little

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Speaker 1: bit more.

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Speaker 2: It's this supposed to be it's sort of like a

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Speaker 2: Parcheesi game or something.

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Speaker 4: I know what this is.

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Speaker 1: I mean, I've never seen one like this before. It's

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Speaker 1: Ouiji board. How do you play it? Don't you?

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Speaker 2: Ney Dice? Is something you.

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Speaker 4: Don't play Ouija board is a tool for communication, communication

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Speaker 4: with the dead.

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Speaker 2: All right, Well, one way you know this is going

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Speaker 2: to be a really good movie is that it has

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Speaker 2: three directors.

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Speaker 1: Yeah, yeah, and from the get go it apparently had

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Speaker 1: two directors. Now, when you get into the production history

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Speaker 1: of this film, we're not going to really get into

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Speaker 1: it a lot. There's a whole documentary that is a

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Speaker 1: special feature on the Vinegar Syndrome Blu ray for this

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Speaker 1: and that feature is that that making of feature is

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Speaker 1: longer than the film itself, has a lot of interviews

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Speaker 1: and if you're if you're super into all the nitty

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Speaker 1: gritty of the production of this sort of film, then

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Speaker 1: I would say go check that out. But ultimately I

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Speaker 1: feel like a lot of it was maybe maybe too

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Speaker 1: much for me. Like I ultimately I love a movie

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Speaker 1: of this caliber, but I don't necessarily need all the

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Speaker 1: ins and outs of how it is made. But you know,

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Speaker 1: your mileage will vary. But essentially, the key factors to

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Speaker 1: keep in mind here is you had you had these

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Speaker 1: two directors. You had Thomas Dorin and you had Brendan Faulkner,

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Speaker 1: and they were the initial directors and the producer was

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Speaker 1: this guy Michael Lee, who was has been described as

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Speaker 1: as like a video nasty millionaire who made a lot

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Speaker 1: of money importing films into Britain during the period where

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Speaker 1: a lot of these were banned. His company, I think

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Speaker 1: was was vip Co Vipko, and he wanted to produce

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Speaker 1: a film. These guys already had sort of a pre

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Speaker 1: existing vision and then as a producer he had a

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Speaker 1: certain amount of insight into what he wanted. They shot

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Speaker 1: this film that was going to be titled Twisted Souls,

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Speaker 1: and then that relationship fell apart and another director was

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Speaker 1: brought in to finish it, and that's this director, Genie Joseph.

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Speaker 1: She ended up directing additional footage and completing the picture.

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Speaker 1: And so what we have on screen here is is

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Speaker 1: one picture, but there you can tell where stuff was added.

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Speaker 1: There's this whole additional plot.

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Speaker 2: Where there are characters who you never see on screen together,

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Speaker 2: so you can tell. I think what the framing narrative is.

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Speaker 2: So if I understand correctly, the plot about the party

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Speaker 2: kids who drive around in the woods and then end

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Speaker 2: up at a house, a random house in the woods,

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Speaker 2: go into the house and then are attacked by a

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Speaker 2: buffet of different kinds of monsters. That was the original film.

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Speaker 2: And then the framing there rative where there is an

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Speaker 2: evil old warlock who is who is sacrificing people who

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Speaker 2: wander into his house to the monsters in order to

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Speaker 2: revive his dead bride. That is the framing narrative. Yep,

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Speaker 2: that was that was later added to sort of boost

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Speaker 2: this up to feature length, right.

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Speaker 1: And you know, ultimately, like I said, I don't want

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Speaker 1: I don't want to get into all the ins and

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Speaker 1: outs of the production. I did watch the Future att

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Speaker 1: but or the feature rather, it's it's pretty too long

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Speaker 1: to be a feature at but I.

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Speaker 2: Would say that the feature here.

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Speaker 1: Yeah, I you know, I don't think the film was

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Speaker 1: ever going to be good. This is not like this

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Speaker 1: was on track to be something and and it was

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Speaker 1: changing into something else. I don't think there's a case

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Speaker 1: to be made for like release the Twisted Souls cut

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Speaker 1: or anything of that nature. I don't. I think the

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Speaker 1: film is as fun and memorable as it is because

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Speaker 1: you have so much weird stuff going on, and you

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Speaker 1: have these two different energy is involved in it. So yeah,

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Speaker 1: I mean, it wouldn't be Spooky's if it wasn't this ridiculous?

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Speaker 2: I gotta say it does make for some extremely funny moments,

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Speaker 2: the inner cutting between the different plots, because first of all,

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Speaker 2: it gives it an energy similar to Pod People, where

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Speaker 2: it has at the beginning like the A, B and

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Speaker 2: C plot, and it's frantically cutting back and forth between

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Speaker 2: them at such a pace that you are constantly trying

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Speaker 2: to figure out which movie you're in. But then also

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Speaker 2: to stay on the mystery science theater theme for a second.

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Speaker 2: It sometimes seems almost as if the Warlock in the

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Speaker 2: framing narrative is sort of riffing the movie in the middle.

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Speaker 2: So like the kids will be walking through the house

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Speaker 2: and one of them will make a comment to say, like, wow,

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Speaker 2: so the lights in this place still work, maybe somebody

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Speaker 2: lives here, And then it'll cut to the Warlock a

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Speaker 2: different room, different place. You're not even sure where he is,

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Speaker 2: but he'll go someone does still live.

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Speaker 1: Yeah, that was a moment that I definitely laughed out

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Speaker 1: loud out.

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Speaker 2: Yeah.

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Speaker 1: The resulting energy is weird and wonderful. It also feels

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Speaker 1: a bit like the stuff with the Warlock that was added.

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Speaker 1: It's like you decided to make a horror anthology, but

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Speaker 1: you only had the one picture to draw upon, because

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Speaker 1: there's certainly been cases where you have like different productions

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Speaker 1: that were unfinished or were recut, and then you have

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Speaker 1: them re released as part of a horror anthology with

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Speaker 1: some sort of framing narrative in place. But in this case,

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Speaker 1: it's just one the one picture.

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Speaker 2: Yeah. Yeah, it's a framing narrative around one movie that

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Speaker 2: was not going to make it to feature length. I'd

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Speaker 2: say that core movie is what maybe sixty minutes?

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Speaker 1: Yeah, yeah, I mean, I'm not sure how much stuff

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Speaker 1: got cut. I know some stuff got cut, but is

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Speaker 1: it stuff that would have really that I really wanted

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Speaker 1: to see instead of this wizard and his strange cat creature.

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Speaker 1: I'm not sure. All right, Well, let me go ahead

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Speaker 1: and mention some of the other projects that some of

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Speaker 1: the other folks were involved in here. So Thomas Durant

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Speaker 1: again co director, co writer on the Twisted Souls portion

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Speaker 1: of this. Interestingly enough, he was the voice of the

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Speaker 1: monster in Devil's Express, starring Warhawk Tanzania. Ooh yeah, so

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Speaker 1: I got to give him credit for that. He also

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Speaker 1: worked on a spattering of other genre pictures. Brendon Faulkner,

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Speaker 1: also the co director co writer on Twisted Souls, wrote

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Speaker 1: and directed the nineteen ninety two film Killer Dead Jeanie Joseph,

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Speaker 1: who finished the film. She wrote and directed the nineteen

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Speaker 1: eighty seven horflick Mind Benders.

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Speaker 2: I have not seen this, but I looked it up.

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Speaker 2: Apparently it's also known as Invasion of the Mind Benders,

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Speaker 2: and the VHS cover definitely made me laugh out loud.

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Speaker 2: So it says Invasion of the Mind Benders. And then

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Speaker 2: it has like a lady on and she's shooting rays

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Speaker 2: of light out of her eyeballs over a guy who's

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Speaker 2: looking up enraptured at a bunch of clouds. And then

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Speaker 2: next to it, it's got a tagline says controlling a

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Speaker 2: mind is a dangerous thing.

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Speaker 1: I like how this does look like a horror paperback

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Speaker 1: from the eighties, so.

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Speaker 2: Oh yeah, it's got looks more like book art than

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Speaker 2: movie art. And a plot description from IMDb on Mind

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Speaker 2: Benders says, two teenagers notice a sudden change in their

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Speaker 2: fellow students. No one is able to explain this zombie

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Speaker 2: like behavior, which, at the command of an unseen alien,

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Speaker 2: makes them punish transgressors with merciless violence.

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Speaker 1: All right, So most of the there are a lot

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Speaker 1: of people involved in this. There's a lot of there's

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Speaker 1: a lot of loving attention pay to the monsters, and

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Speaker 1: we're ultimately not gonna be able to mention all of

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Speaker 1: them by name, but I want to mention a few

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Speaker 1: of them, as well as the the writers involved here.

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Speaker 1: So Jennifer Aspinall was in the makeup department, went under

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Speaker 1: work on a lot of projects including Westworld, Captain Marvel,

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Speaker 1: and Saturday Night Live. There's a Frank m farrell who

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Speaker 1: was one of the writers on the screenplay. He also

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Speaker 1: produced nineteen eighty seven Street Trash. That's a melt movie

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Speaker 1: that we've discussed before. Anne Bergund was a writer additional

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Speaker 1: material plus costume design. She was also associate producer on

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Speaker 1: nineteen ninety four's The Mask, Yes, the one with Jim

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Speaker 1: Carrey in a green cartoon face.

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Speaker 2: So did Anne Bergund do the costumes in this, because

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Speaker 2: we're gonna have some commentary on the costumes.

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Speaker 1: She at least did some of them. But also you

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Speaker 1: have this guy Tom Mulinelli who is credited with art direction,

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Speaker 1: art department and costume design. This is another individual who

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Speaker 1: worked on Street trash. Okay, there's a guy by the

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Speaker 1: name of al magli O'schetti who plays Lewis Wilson in this.

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Speaker 1: I don't remember which one Lewis Wilson was, but he

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Speaker 1: also did special effects photography. He went on to do

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Speaker 1: visual effects in a lot of big pictures including Star Trek,

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Speaker 1: The Undiscovered Country, Water World, The T two Bill and

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Speaker 1: Ted's Bogus Journey, The Adams Family, Jason Goes to Hell,

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Speaker 1: and many others.

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Speaker 2: Oh. In fact, so I see the connection to T

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Speaker 2: two there. But the camera operator, the steadycam operator in

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Speaker 2: this movie, j Michael Murrow, I think, also did steady

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Speaker 2: cam for a lot of James Cameron movies, including Terminator two.

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Speaker 1: Yeah, this is an individual that I believe Michael Weldon

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Speaker 1: pointed out as being involved in this picture in his

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Speaker 1: write up in one of the Psychotronic in the Psychotronic

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Speaker 1: Video Guide or the Psychotronic Video Guide or the Guide

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Speaker 1: to Film, I can't remember which one. Now, getting into

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Speaker 1: the actors a little bit, there are a number of

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Speaker 1: actors in this who didn't really have any other credits.

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Speaker 1: But my favorite actor in this whole picture is Peter

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Speaker 1: Ascillo Junior. He plays Rich is oh I would say,

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Speaker 1: the richest character in this film. How would we describe him?

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Speaker 1: He's the he's the cut up, He's.

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Speaker 2: The He's a ham.

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Speaker 1: He's a ham.

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Speaker 2: He's a constant, glorious ham. He's a ham. Who's you

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Speaker 2: get the sense that he's improvising a lot of his lines.

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Speaker 2: There are scenes of just where where it feels like

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Speaker 2: what happened is they just turn the camera on him

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Speaker 2: and they're like, Rich, come on, you know, just riff

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Speaker 2: a little bit. And so he'll like wander around kind

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Speaker 2: of bumping into the other characters and be like, hey, hey,

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Speaker 2: how's your sinuses and stuff like that. He also is

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Speaker 2: plays a character who loves beer, and it's clear he

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Speaker 2: loves beer because even after the monsters started attacking and

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Speaker 2: all everything goes crazy, he's still always got his beer

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Speaker 2: in his hand.

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Speaker 1: Yeah, he's a lot of fun in this He's like

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Speaker 1: this tall, mustachioed guy that was apparently in real life

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Speaker 1: was just always on, just was always the goofy cut

390
00:20:52,400 --> 00:20:56,320
Speaker 1: up and was much beloved, and so he brings that

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Speaker 1: exact same energy to this role. His character, Rich has

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Speaker 1: a puppet named Muk and so he's off. He's constantly

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Speaker 1: interacting and harassing the other characters with this puppet. And

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Speaker 1: he wears a T shirt that features an image of

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Speaker 1: himself and the puppet Muke on it. Right, So he

396
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Speaker 1: lived nineteen fifty three through twenty seventeen. He played an

397
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Speaker 1: uncredited zombie and Down of the Dead, and then went

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Speaker 1: on to do a lot of bit parts and things,

399
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Speaker 1: often freaks and crazy, sometimes background work. I noticed he

400
00:21:31,600 --> 00:21:34,040
Speaker 1: pops up even in an episode of thirty Rock playing

401
00:21:34,400 --> 00:21:37,480
Speaker 1: paparazzi character, so you know, just somebody clicking a camera

402
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Speaker 1: in the background. But then we also have this character Duke,

403
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Speaker 1: who is Duke also interesting. How would you describe Duke

404
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Speaker 1: to everyone?

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Speaker 2: Duke is a fabulous bully. He's sort of the like

406
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Speaker 2: tough guy, bad guy, bad boy of the group. It's

407
00:21:55,480 --> 00:21:57,639
Speaker 2: hard to convey by describing, but a lot of the

408
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Speaker 2: scenes with Duke in them have this bizarre rhythm and

409
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Speaker 2: logic that you sort of get, You get a feel

410
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Speaker 2: for as the movie goes on, but it can't really

411
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Speaker 2: be compared to anything else I can think of. I'm

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Speaker 2: going to try to describe one scene just to give

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Speaker 2: you an idea of like of duke rhythm, and it

414
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Speaker 2: goes like this, so like they're in the house and

415
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Speaker 2: Duke just pulls a box off the shelf and he

416
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Speaker 2: opens it and an amulet flies out of the box

417
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Speaker 2: onto the floor. And then this other character named Carol

418
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Speaker 2: picks up the amulet and she says, isn't it wonderful?

419
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Speaker 2: And he goes, pretty damn weird. If you ask me,

420
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Speaker 2: what is it? Art or something? Think it's worth any money?

421
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Speaker 2: And then he, immediately from saying this line, turns his

422
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Speaker 2: head to the side and sees a door that has

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Speaker 2: just been behind him the whole time, and then he goes,

424
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Speaker 2: what the hell is in here? And he starts jostling

425
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Speaker 2: the lock frantically, and then he breaks a chair across

426
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Speaker 2: the door and starts shoving a board into the door

427
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Speaker 2: jam trying to pry it open. This is Duke energy.

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Speaker 1: Would yes, yes, very much so he In my notes,

429
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Speaker 1: I noted that he was essentially a discount Phonsie in

430
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Speaker 1: a trash bag because he's wearing this weird costume.

431
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Speaker 2: He's wearing plastic clothes like a shirt and pants that

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Speaker 2: are they look like they're made from the same material

433
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Speaker 2: material as like black heavy duty garbage bags.

434
00:23:24,240 --> 00:23:26,560
Speaker 1: Yeah, yeah, I don't know if it's like a workout

435
00:23:26,600 --> 00:23:27,119
Speaker 1: thing or what.

436
00:23:27,280 --> 00:23:30,280
Speaker 2: Yeah, I don't know that that that is literally what

437
00:23:30,280 --> 00:23:33,040
Speaker 2: it looks like it's made out of. And I yeah,

438
00:23:33,400 --> 00:23:34,359
Speaker 2: I have no explanation.

439
00:23:36,080 --> 00:23:38,800
Speaker 1: My one of my early theories watching this film was

440
00:23:38,840 --> 00:23:41,800
Speaker 1: that he was perhaps like the frontman of a band

441
00:23:41,960 --> 00:23:45,160
Speaker 1: or something, and that are the characters, the human characters

442
00:23:45,160 --> 00:23:48,080
Speaker 1: in this film. It's essentially like a band and some

443
00:23:48,119 --> 00:23:52,119
Speaker 1: hangers on and like maybe they're older producer. But this

444
00:23:52,200 --> 00:23:55,960
Speaker 1: is a complete misread on my part because there's nothing

445
00:23:56,000 --> 00:23:58,600
Speaker 1: to support that in the film. There's nothing to support

446
00:23:58,680 --> 00:24:01,560
Speaker 1: any actual connections but between any of these human characters.

447
00:24:01,840 --> 00:24:04,000
Speaker 2: Well, this gets you to something about the movie, which

448
00:24:04,000 --> 00:24:06,720
Speaker 2: is that it has one of my absolute favorite horror

449
00:24:06,720 --> 00:24:11,479
Speaker 2: movie tropes, which is the utterly implosable friend group. You know,

450
00:24:11,560 --> 00:24:15,199
Speaker 2: many eighties movies especially have this. The eighties were the

451
00:24:15,320 --> 00:24:18,000
Speaker 2: decade of the implausible friend group movie. Though you know,

452
00:24:18,119 --> 00:24:20,360
Speaker 2: it still happens every now and then. But I think

453
00:24:20,400 --> 00:24:22,480
Speaker 2: you probably know what I'm talking about. But if not,

454
00:24:22,680 --> 00:24:24,520
Speaker 2: just picture this. Okay, so it's a horror movie. You

455
00:24:24,600 --> 00:24:26,760
Speaker 2: got a group of friends hanging out. Maybe they're going

456
00:24:26,800 --> 00:24:29,600
Speaker 2: to somebody's uncle's cabin in the woods, or they're driving

457
00:24:29,680 --> 00:24:31,919
Speaker 2: around looking for a party as in this movie or

458
00:24:31,920 --> 00:24:35,600
Speaker 2: something like that, and the group consists of people who

459
00:24:35,600 --> 00:24:39,199
Speaker 2: would never in reality be hanging out together. What you

460
00:24:39,320 --> 00:24:43,800
Speaker 2: usually get is either one or two of each teen

461
00:24:44,119 --> 00:24:47,879
Speaker 2: subculture archetype that the movie wants to show, So you

462
00:24:47,960 --> 00:24:53,119
Speaker 2: get like a jock, a nerd, a punk, a stoner,

463
00:24:53,600 --> 00:24:56,680
Speaker 2: a preppie, rich kid, et cetera, instead of what you

464
00:24:56,680 --> 00:24:59,719
Speaker 2: would imagine would happen in reality, which is you'd have

465
00:24:59,760 --> 00:25:02,600
Speaker 2: like a group of jocks, or like a group of nerds,

466
00:25:02,640 --> 00:25:05,000
Speaker 2: a group of stoners, and and that would be the

467
00:25:05,040 --> 00:25:05,639
Speaker 2: friend group.

468
00:25:06,200 --> 00:25:09,679
Speaker 1: Yeah, yeah, I mean sometimes I guess in your better films,

469
00:25:10,480 --> 00:25:13,440
Speaker 1: you see a diverse group of people brought together by

470
00:25:14,160 --> 00:25:19,320
Speaker 1: circumstances that then have to survive the monster. Oftentimes maybe yeah, yeah,

471
00:25:19,359 --> 00:25:22,719
Speaker 1: like maybe it's uh, you know, it's stoners and greasers

472
00:25:23,560 --> 00:25:26,320
Speaker 1: because they're both fleeing a storm or something and we're

473
00:25:26,320 --> 00:25:28,439
Speaker 1: holding up in the same place and now we're have

474
00:25:28,520 --> 00:25:30,280
Speaker 1: we now we have to fight goblins or something.

475
00:25:30,480 --> 00:25:32,440
Speaker 2: Right, That's more like you'd get in a Night of

476
00:25:32,480 --> 00:25:34,639
Speaker 2: the Living Dead. You know, different people are sort of

477
00:25:34,760 --> 00:25:38,600
Speaker 2: driven into a house by the zombies attacking. It's not

478
00:25:38,640 --> 00:25:40,679
Speaker 2: like they were all hanging out to begin with.

479
00:25:41,040 --> 00:25:43,760
Speaker 1: Right, But in this film everyone was hanging out to

480
00:25:43,800 --> 00:25:46,920
Speaker 1: begin with, and we're given no explanation why that would be.

481
00:25:47,480 --> 00:25:49,040
Speaker 2: You know, And I think there are a number of

482
00:25:49,080 --> 00:25:51,120
Speaker 2: reasons this happens. Number one is what I was talking

483
00:25:51,160 --> 00:25:54,040
Speaker 2: about earlier. It's kind of the bug fights mentality, Like

484
00:25:54,080 --> 00:25:59,040
Speaker 2: you want to see different human cultural archetypes being faced

485
00:25:59,080 --> 00:26:03,000
Speaker 2: with violent struggle or extreme circumstances with that kind of

486
00:26:03,080 --> 00:26:07,240
Speaker 2: like bug fights or video game unit versus unit mentality.

487
00:26:07,280 --> 00:26:10,239
Speaker 2: It's just kind of a basic curiosity about like how

488
00:26:10,280 --> 00:26:13,399
Speaker 2: does this one work? But there's another version of it.

489
00:26:13,640 --> 00:26:15,720
Speaker 2: I think this is sort of there at the core too,

490
00:26:15,760 --> 00:26:18,439
Speaker 2: which is that the dead teenager movies of the eighties

491
00:26:18,480 --> 00:26:23,640
Speaker 2: are often, in essence clumsy and vulgar morality plays, and

492
00:26:23,720 --> 00:26:26,439
Speaker 2: as such, in a way you get them trying to

493
00:26:26,480 --> 00:26:29,600
Speaker 2: sort of recreate the dynamics of the Canterbury Tales. So

494
00:26:29,680 --> 00:26:32,240
Speaker 2: whereas in the Canterbury Tales you might get the knight's

495
00:26:32,280 --> 00:26:34,560
Speaker 2: tale and the partner's tale and the Wife of Bath,

496
00:26:34,640 --> 00:26:37,160
Speaker 2: here you get the jock's tail and the punk's tale

497
00:26:37,200 --> 00:26:41,359
Speaker 2: and the NERD's tale, and those are the little vignettes

498
00:26:41,400 --> 00:26:43,880
Speaker 2: you see them them go through before they finally meet

499
00:26:43,920 --> 00:26:47,399
Speaker 2: their end at the ultimate confrontation with the monster or

500
00:26:47,480 --> 00:26:49,000
Speaker 2: mad slasher or whatever it is.

501
00:26:50,600 --> 00:26:52,520
Speaker 1: I would have liked to have seen Rich's tale. I

502
00:26:52,520 --> 00:26:54,760
Speaker 1: guess we do see Rich's tale to a certain extent here.

503
00:26:54,880 --> 00:26:59,400
Speaker 2: Yeah, I kind of Rich, I see Partner's tale sort

504
00:26:59,400 --> 00:27:01,359
Speaker 2: of right, but also a Miller's tale, one one of

505
00:27:01,359 --> 00:27:05,040
Speaker 2: the good humorous ones. But I totally agree with you.

506
00:27:05,240 --> 00:27:07,480
Speaker 2: It works better when there is some kind of external

507
00:27:07,520 --> 00:27:11,560
Speaker 2: circumstance that can assemble people who are not naturally friends.

508
00:27:11,560 --> 00:27:13,320
Speaker 2: But in this movie, yes, it's just like, well, they're

509
00:27:13,359 --> 00:27:16,280
Speaker 2: all hanging out together for no for no reason, they

510
00:27:16,320 --> 00:27:17,440
Speaker 2: appear to hate each other.

511
00:27:18,000 --> 00:27:21,159
Speaker 1: Yeah, yeah, there's there's tension from the very beginning. Yeah,

512
00:27:21,320 --> 00:27:24,760
Speaker 1: but we don't really know why there's. It's not explained.

513
00:27:24,800 --> 00:27:26,920
Speaker 1: But it's the kind of tension that eventually erupts into

514
00:27:26,960 --> 00:27:30,520
Speaker 1: a full fledged fist fight between two of the characters.

515
00:27:30,920 --> 00:27:34,320
Speaker 1: In fact, between Duke and the older guy who I

516
00:27:34,320 --> 00:27:37,520
Speaker 1: thought was maybe a manager of some sort. They have

517
00:27:37,600 --> 00:27:40,440
Speaker 1: like an epic quiet man asque this fight.

518
00:27:40,720 --> 00:27:41,159
Speaker 2: Yes, and.

519
00:27:42,640 --> 00:27:44,120
Speaker 1: I'm not really sure why it occurs.

520
00:27:45,000 --> 00:27:47,960
Speaker 2: Oh man, that seems good. Oh and and like their

521
00:27:48,040 --> 00:27:51,200
Speaker 2: girlfriends are They're just like watching them fight, and one

522
00:27:51,200 --> 00:27:52,800
Speaker 2: of them is like, should we stop them? And the

523
00:27:52,800 --> 00:27:54,760
Speaker 2: other one is basically like no, just let them go.

524
00:27:55,840 --> 00:27:58,919
Speaker 1: And they've been beset by multiple monsters at this point.

525
00:27:59,040 --> 00:28:01,960
Speaker 1: So yeah, it's just not a good time for a fistfight.

526
00:28:02,280 --> 00:28:03,840
Speaker 2: Okay, Well, are you ready to talk a little more

527
00:28:03,880 --> 00:28:04,560
Speaker 2: about the plot?

528
00:28:05,240 --> 00:28:08,320
Speaker 1: Yes, such as it is, let's get into the plot.

529
00:28:09,160 --> 00:28:11,199
Speaker 2: So one of the first things that had me laughing

530
00:28:11,240 --> 00:28:13,960
Speaker 2: in this movie was, I know this was the title

531
00:28:14,000 --> 00:28:16,840
Speaker 2: of the original film before it was recut and supplemented

532
00:28:16,880 --> 00:28:20,080
Speaker 2: by the additional footage, but this credit was given to

533
00:28:20,200 --> 00:28:25,399
Speaker 2: Twisted Souls inc Twisted Souls Incorporated. I don't know. That

534
00:28:25,440 --> 00:28:28,920
Speaker 2: sounds like a tattoo company or something. I'm not sure

535
00:28:28,960 --> 00:28:32,760
Speaker 2: what exactly, But so you get an opening on a graveyard.

536
00:28:32,760 --> 00:28:35,359
Speaker 2: It's very ed wood style graveyard with some kind of

537
00:28:35,359 --> 00:28:40,400
Speaker 2: flimsy looking tombstones, and then there is a stone crypt

538
00:28:40,480 --> 00:28:43,560
Speaker 2: cover on one of the graves that starts throbbing, like

539
00:28:43,600 --> 00:28:47,080
Speaker 2: it's stretching and deforming, and immediately I thought, oh, that's

540
00:28:47,120 --> 00:28:50,920
Speaker 2: a nice special effect. I think that could be similar.

541
00:28:51,320 --> 00:28:54,040
Speaker 2: There's a similar effect actually in the original Nightmare on

542
00:28:54,080 --> 00:28:57,640
Speaker 2: ELM Street where you remember the scene where a character

543
00:28:57,720 --> 00:28:59,719
Speaker 2: is lying on a bed dreaming and then on the

544
00:28:59,720 --> 00:29:03,440
Speaker 2: wall behind them, like Freddy's head sort of stretches out

545
00:29:03,520 --> 00:29:05,920
Speaker 2: through the wall. And I think, I'm not sure, but

546
00:29:05,960 --> 00:29:09,360
Speaker 2: I think that was accomplished just by using like a sheet,

547
00:29:09,400 --> 00:29:12,680
Speaker 2: a flexible sheet as the wall. And then so you know,

548
00:29:12,960 --> 00:29:15,840
Speaker 2: the actor sticks their head in there and it looks

549
00:29:15,880 --> 00:29:18,959
Speaker 2: like the wall is actually bending around some surface, some

550
00:29:19,040 --> 00:29:20,920
Speaker 2: objects coming out of it. I think the same thing's

551
00:29:20,960 --> 00:29:22,400
Speaker 2: probably going on with the grave here.

552
00:29:22,880 --> 00:29:25,800
Speaker 1: Yeah, that was a great scene in Nightmare. That was

553
00:29:25,800 --> 00:29:27,960
Speaker 1: a great scene. Yeah, it reminds me a lot of

554
00:29:27,960 --> 00:29:29,640
Speaker 1: this short story the Yellow Wallpaper.

555
00:29:29,880 --> 00:29:33,360
Speaker 2: Oh okay, what was Spooky's actually based on an early

556
00:29:33,400 --> 00:29:37,800
Speaker 2: script treatment by Charlotte Perkins Gilman. I think I recall

557
00:29:37,880 --> 00:29:43,280
Speaker 2: reading that somewhere. So we keep seeing this graveyard right

558
00:29:43,280 --> 00:29:45,600
Speaker 2: out in front of the big white mansion. There's a

559
00:29:45,600 --> 00:29:47,720
Speaker 2: big white mansion. It's the house for the movie. Looks

560
00:29:47,800 --> 00:29:49,640
Speaker 2: kind of like the White House because it has these

561
00:29:49,680 --> 00:29:50,880
Speaker 2: pillars out in the front.

562
00:29:50,920 --> 00:29:53,320
Speaker 1: Well, it does have an interesting history because it turns

563
00:29:53,320 --> 00:29:55,440
Speaker 1: out this is the John Jay Homestead.

564
00:29:55,680 --> 00:30:00,640
Speaker 2: That's right, What a bizarre connection. So this Spooky the

565
00:30:00,640 --> 00:30:05,720
Speaker 2: movie with fart Zombies was filmed at the ancestral home

566
00:30:06,160 --> 00:30:08,920
Speaker 2: of John Jay, one of the US founding fathers, the

567
00:30:08,960 --> 00:30:11,680
Speaker 2: first Chief Justice of the Supreme Court, one of the

568
00:30:11,720 --> 00:30:15,480
Speaker 2: authors of the Federalist papers. I didn't know this when

569
00:30:15,480 --> 00:30:17,240
Speaker 2: I watched the movie, but it made me think back

570
00:30:17,280 --> 00:30:19,640
Speaker 2: on it, and I'm like, could this be interpreted as

571
00:30:20,240 --> 00:30:24,200
Speaker 2: containing any federalist propaganda? I couldn't. I couldn't really make

572
00:30:24,240 --> 00:30:28,320
Speaker 2: that work. But anyway, so we'll keep seeing this as

573
00:30:28,400 --> 00:30:30,160
Speaker 2: the setting. They show you a lot of the setting

574
00:30:30,760 --> 00:30:33,600
Speaker 2: and then it cuts to this dude in white gloves

575
00:30:33,640 --> 00:30:36,280
Speaker 2: sitting doctor claw style, so it's a high back chair.

576
00:30:36,880 --> 00:30:39,200
Speaker 2: He's got his back to the camera, he's got his

577
00:30:39,280 --> 00:30:41,520
Speaker 2: hand on a cane and white gloves. He's got a

578
00:30:41,520 --> 00:30:44,440
Speaker 2: big old ring on and he is talking to a

579
00:30:44,560 --> 00:30:49,040
Speaker 2: winter green coffin and he says, I conveyed no longer.

580
00:30:49,480 --> 00:30:54,600
Speaker 2: The final foolish victims will be here very soon. So

581
00:30:55,000 --> 00:30:57,720
Speaker 2: just doing a really excellent accent that kind of comes

582
00:30:57,720 --> 00:30:59,800
Speaker 2: and goes. He doesn't always have the accent.

583
00:31:00,080 --> 00:31:03,000
Speaker 1: Yeah, it's not very consistent. There are times where it

584
00:31:03,040 --> 00:31:06,800
Speaker 1: feels like it's fifty percent low pan and fifty percent

585
00:31:06,960 --> 00:31:07,960
Speaker 1: major taught from.

586
00:31:07,880 --> 00:31:08,920
Speaker 2: Raiders of the Lost Arc.

587
00:31:09,000 --> 00:31:11,640
Speaker 1: You know, it's oh yeah, it kind of he's going

588
00:31:11,720 --> 00:31:13,520
Speaker 1: for some sort of a German accent, like that's what

589
00:31:13,560 --> 00:31:16,080
Speaker 1: he's aiming for, but there's a bit of drift to it.

590
00:31:16,440 --> 00:31:19,920
Speaker 2: The vinyl foolish victims. Yeah, yeah, well, actually that may

591
00:31:20,120 --> 00:31:22,680
Speaker 2: maybe that connects more thematically than I realized, because of

592
00:31:22,760 --> 00:31:25,760
Speaker 2: course Duke does turn out to be wearing vinyl clothes,

593
00:31:26,320 --> 00:31:29,320
Speaker 2: so at least one of the victims is vinyl in nature.

594
00:31:29,680 --> 00:31:30,760
Speaker 1: That's true, that's true.

595
00:31:30,840 --> 00:31:35,120
Speaker 2: But okay, so we get a read on the Warlocks plan.

596
00:31:35,280 --> 00:31:40,040
Speaker 2: This guy is going to sacrifice victims in his house

597
00:31:40,800 --> 00:31:44,480
Speaker 2: in order to resurrect his his wife, I think, and

598
00:31:45,040 --> 00:31:47,440
Speaker 2: we're led to believe at the time that, like you know,

599
00:31:47,480 --> 00:31:50,320
Speaker 2: they loved each other dearly, but she has long departed

600
00:31:50,400 --> 00:31:52,560
Speaker 2: and she will soon be raised and they will be

601
00:31:52,600 --> 00:31:53,640
Speaker 2: happy together forever.

602
00:31:54,080 --> 00:31:59,320
Speaker 1: Yes, yeah, it's all right. So it seems that at

603
00:31:59,360 --> 00:32:00,880
Speaker 1: this point in the thing, I'm like, like, all right,

604
00:32:00,960 --> 00:32:03,760
Speaker 1: let's see how this occurs. Let's see how this happens.

605
00:32:04,680 --> 00:32:08,160
Speaker 2: Then we cut to this might be movie B or

606
00:32:08,200 --> 00:32:10,600
Speaker 2: movie C. At this point, we cut to a guy

607
00:32:10,680 --> 00:32:13,160
Speaker 2: running around in the woods who looks like a cast

608
00:32:13,240 --> 00:32:16,560
Speaker 2: member from Cats. He looks like a jellical cat going

609
00:32:16,600 --> 00:32:18,640
Speaker 2: to the jellicle ball and he has a hook for

610
00:32:18,680 --> 00:32:19,080
Speaker 2: a hand.

611
00:32:19,480 --> 00:32:21,520
Speaker 1: Yeah, some sort of a weare cat with a hook

612
00:32:21,560 --> 00:32:25,200
Speaker 1: for a hand in this kind of strange costume running

613
00:32:25,200 --> 00:32:27,880
Speaker 1: around looking, you know, very creepy. You know, I'm not

614
00:32:27,920 --> 00:32:30,920
Speaker 1: saying that these are you know, it's not thriller level

615
00:32:31,040 --> 00:32:34,680
Speaker 1: of creature creation here, but it's pretty good and I

616
00:32:34,720 --> 00:32:36,720
Speaker 1: am legitimately creeped out by this guy.

617
00:32:37,200 --> 00:32:39,680
Speaker 2: Oh and we also get the cast member of Cats

618
00:32:39,720 --> 00:32:43,840
Speaker 2: observing a kid with a backpack who's just wandering around

619
00:32:43,840 --> 00:32:44,960
Speaker 2: by himself in the woods.

620
00:32:45,600 --> 00:32:48,160
Speaker 1: Right, is this billy or is he just a billy?

621
00:32:48,560 --> 00:32:50,920
Speaker 2: I think it's billy. Yeah, And then you get to

622
00:32:50,960 --> 00:32:54,200
Speaker 2: Movie C, I think. And then in Movie C we

623
00:32:54,280 --> 00:32:57,360
Speaker 2: meet our implausible friend group which are driving around the

624
00:32:57,400 --> 00:33:00,560
Speaker 2: woods in two different cars. Car number one consist of

625
00:33:00,600 --> 00:33:03,040
Speaker 2: a bad boy driver. This is Duke. He's wearing his

626
00:33:03,040 --> 00:33:06,560
Speaker 2: black plastic clothes. He's being an aggressive jerk from moment one,

627
00:33:06,640 --> 00:33:09,120
Speaker 2: just screaming at his passengers about spilling beer on the

628
00:33:09,400 --> 00:33:11,680
Speaker 2: upholstery while he's sort of zipping around in the dark.

629
00:33:12,680 --> 00:33:16,080
Speaker 2: And then you see car number two. The driver is

630
00:33:16,120 --> 00:33:21,120
Speaker 2: this much older guy who reads as like the ultimate

631
00:33:21,280 --> 00:33:24,040
Speaker 2: narc hanging out with these teens around him. He's wearing

632
00:33:24,040 --> 00:33:27,480
Speaker 2: a suit and tie. He is at least fifteen years

633
00:33:27,520 --> 00:33:29,800
Speaker 2: older than everyone else. I thought he was supposed to

634
00:33:29,840 --> 00:33:33,320
Speaker 2: be somebody's dad, but I think he's just a member

635
00:33:33,320 --> 00:33:36,720
Speaker 2: of this friend group who looks like he could be

636
00:33:36,800 --> 00:33:37,320
Speaker 2: their dad.

637
00:33:37,960 --> 00:33:42,080
Speaker 1: Yeah, and it's never explained, And based on some of

638
00:33:41,440 --> 00:33:43,960
Speaker 1: the behind the scenes interviews that I saw, I don't

639
00:33:43,960 --> 00:33:47,080
Speaker 1: think they knew either. This was not something where they

640
00:33:47,120 --> 00:33:50,080
Speaker 1: cut out some scenes that explain something. No, it's just

641
00:33:50,440 --> 00:33:52,920
Speaker 1: it's just this is what they was put together, and

642
00:33:52,960 --> 00:33:54,920
Speaker 1: they had no idea whether connections were supposed to be.

643
00:33:55,400 --> 00:33:59,480
Speaker 2: And there's immediately a rivalry between this guy. We find

644
00:33:59,480 --> 00:34:02,800
Speaker 2: out his name is Peter, and Duke. The drivers of

645
00:34:02,800 --> 00:34:05,080
Speaker 2: the two cars don't like each other. Peter is talking

646
00:34:05,120 --> 00:34:06,920
Speaker 2: about Duke. He says, I told you we shouldn't have

647
00:34:06,920 --> 00:34:09,480
Speaker 2: followed him. First. He starts a fight at that party,

648
00:34:09,600 --> 00:34:12,359
Speaker 2: gets us all thrown out, embarrasses the hell out of us.

649
00:34:12,600 --> 00:34:14,440
Speaker 2: Then he gets us lost out here in the middle

650
00:34:14,480 --> 00:34:17,719
Speaker 2: of nowhere. So I guess Duke's calling the shots. They're

651
00:34:17,760 --> 00:34:21,239
Speaker 2: all just they're riding for Duke. And Duke. Duke is

652
00:34:21,280 --> 00:34:25,720
Speaker 2: not is not proving his worth. Duke is leading them astray.

653
00:34:25,840 --> 00:34:28,359
Speaker 1: Yeah, it's just it's so ridiculous. I can't even begin

654
00:34:28,400 --> 00:34:30,120
Speaker 1: to follow it. I guess part of it is the

655
00:34:30,120 --> 00:34:32,640
Speaker 1: problem of having this many monsters in a film. You

656
00:34:32,760 --> 00:34:34,920
Speaker 1: need not one, but two car loads of people to

657
00:34:34,960 --> 00:34:37,960
Speaker 1: serve as victims, and then you get this kind of

658
00:34:37,960 --> 00:34:38,480
Speaker 1: a situation.

659
00:34:38,800 --> 00:34:41,600
Speaker 2: Yeah, I guess that's true. Some some movies get around

660
00:34:41,640 --> 00:34:42,480
Speaker 2: that with a van.

661
00:34:42,600 --> 00:34:45,240
Speaker 1: That's true, or just hey, yeah, just have two groups.

662
00:34:45,280 --> 00:34:47,399
Speaker 1: You know, there's the one van, there's the other. I mean,

663
00:34:47,440 --> 00:34:51,120
Speaker 1: troll Too sort of managed this right, sure, or the family,

664
00:34:51,160 --> 00:34:53,520
Speaker 1: and then you had the like the boyfriend and his

665
00:34:53,800 --> 00:34:55,560
Speaker 1: crew that were coming in another vehicle.

666
00:34:56,239 --> 00:34:58,239
Speaker 2: They don't have to know each other before they get

667
00:34:58,239 --> 00:34:59,920
Speaker 2: to the house. If you just want to serve them

668
00:35:00,160 --> 00:35:02,080
Speaker 2: up to a buffet of monsters, they could just both

669
00:35:02,200 --> 00:35:03,040
Speaker 2: arrive at the house.

670
00:35:03,480 --> 00:35:04,919
Speaker 1: I mean, I guess they just wanted to have lots

671
00:35:04,920 --> 00:35:07,440
Speaker 1: of dynamic dialogue between all of these people.

672
00:35:08,920 --> 00:35:20,480
Speaker 4: Yeah, and then so then we cut back to Billy.

673
00:35:20,560 --> 00:35:23,680
Speaker 2: I guess this is movie two or b B plot.

674
00:35:24,440 --> 00:35:26,960
Speaker 2: He's in the woods eating a snack cake by himself,

675
00:35:27,040 --> 00:35:29,880
Speaker 2: and then he gets startled by a guy wearing a

676
00:35:30,000 --> 00:35:33,439
Speaker 2: denim tuxedo who's like, hey, give an old man a light,

677
00:35:33,640 --> 00:35:36,680
Speaker 2: and it's very creepy, U though the guy's not old.

678
00:35:37,920 --> 00:35:40,600
Speaker 2: And then the kid gives him a light. Why does

679
00:35:40,640 --> 00:35:43,799
Speaker 2: this kid kid have a lighter? I don't know. And

680
00:35:43,840 --> 00:35:46,560
Speaker 2: then the guys like go home, and the kid's like, no,

681
00:35:46,719 --> 00:35:50,560
Speaker 2: I have plans, big plans. And it turns out his

682
00:35:50,640 --> 00:35:53,680
Speaker 2: parents forgot his thirteenth birthday and that's why he ran

683
00:35:53,719 --> 00:35:56,200
Speaker 2: away from home. So he's just running around in the woods.

684
00:35:56,840 --> 00:35:58,839
Speaker 2: And then the kid walks away from the guy, and

685
00:35:58,880 --> 00:36:01,120
Speaker 2: then the guy in the woods as the kid walks away,

686
00:36:01,200 --> 00:36:04,480
Speaker 2: is just immediately killed by the jellicle cat. He gets

687
00:36:04,520 --> 00:36:06,880
Speaker 2: like slashes on his face, like while the kid is

688
00:36:06,920 --> 00:36:08,560
Speaker 2: still in frame walking away.

689
00:36:09,200 --> 00:36:11,359
Speaker 1: It's yeah, it's such a weird series of events because

690
00:36:11,360 --> 00:36:14,640
Speaker 1: it's yet this kid runaway kid, you know, running into

691
00:36:14,640 --> 00:36:17,239
Speaker 1: a drifter in a way that feels like sort of

692
00:36:17,239 --> 00:36:20,160
Speaker 1: a Slice of Americana kind of tail, right, But then

693
00:36:20,800 --> 00:36:23,400
Speaker 1: the drifter is just just torn to pieces by the

694
00:36:23,560 --> 00:36:24,359
Speaker 1: by the wear cat.

695
00:36:24,640 --> 00:36:26,440
Speaker 2: Yeah, and then so we get a bunch more stuff

696
00:36:26,480 --> 00:36:29,040
Speaker 2: with the which plot the A plot I guess or

697
00:36:29,120 --> 00:36:32,320
Speaker 2: B plot the one with the warlock trying to resurrect

698
00:36:32,320 --> 00:36:36,160
Speaker 2: his wife. We start seeing his face and I got man,

699
00:36:36,200 --> 00:36:39,960
Speaker 2: this is a dry, dry warlock. His face is just

700
00:36:40,120 --> 00:36:43,840
Speaker 2: caked with some kind of powder. He needs moisturizer.

701
00:36:44,040 --> 00:36:44,640
Speaker 1: It is.

702
00:36:44,800 --> 00:36:45,360
Speaker 2: It's bad.

703
00:36:45,760 --> 00:36:46,760
Speaker 1: Yeah.

704
00:36:47,000 --> 00:36:49,640
Speaker 2: But we also get to see his his wife in

705
00:36:49,680 --> 00:36:51,560
Speaker 2: the coffin and she kind of looks like a blonde

706
00:36:51,640 --> 00:36:55,920
Speaker 2: Winona rider. Yeah. But eventually we cut back to the party,

707
00:36:56,080 --> 00:36:58,600
Speaker 2: party boys, the party kids in the cars. They're they're

708
00:36:58,680 --> 00:37:01,520
Speaker 2: driving around. Eventually they they get blocked by an obstruction

709
00:37:01,600 --> 00:37:03,760
Speaker 2: in the road. I think, I think bust for Jones

710
00:37:03,800 --> 00:37:06,320
Speaker 2: throws a tree branch on the road in front of

711
00:37:06,400 --> 00:37:08,640
Speaker 2: Duke's car and then they have to stop and move it.

712
00:37:09,360 --> 00:37:13,560
Speaker 2: And Peter, mister Nark, gets out of his car and

713
00:37:13,600 --> 00:37:16,200
Speaker 2: he's like, listen, Duke, we've been driving around for two

714
00:37:16,280 --> 00:37:19,960
Speaker 2: hours in circles, getting nowhere fast. And then Duke says, right,

715
00:37:20,040 --> 00:37:22,960
Speaker 2: let's get out of this place. And then I wrote

716
00:37:22,960 --> 00:37:26,359
Speaker 2: this exchange down because this was good. Peter says, what

717
00:37:26,400 --> 00:37:30,040
Speaker 2: are we doing now? Duke says, we're partying. Man, something

718
00:37:30,040 --> 00:37:32,719
Speaker 2: you're too old to appreciate. Huh. If any of you

719
00:37:32,760 --> 00:37:35,280
Speaker 2: people want to come have some fun, come with us,

720
00:37:35,719 --> 00:37:38,239
Speaker 2: and then Peter says, this is ridiculous. Do you even

721
00:37:38,280 --> 00:37:41,360
Speaker 2: know where you're going? And Duke says, yeah, I'm going nuts.

722
00:37:41,440 --> 00:37:43,840
Speaker 2: I'm going nuts because I got to stand here and listen.

723
00:37:43,640 --> 00:37:47,560
Speaker 1: To you so snappy, so snappy. That's some man it

724
00:37:48,080 --> 00:37:49,040
Speaker 1: material right there.

725
00:37:49,239 --> 00:37:52,040
Speaker 2: That's like a sit back from the typewriter and kind

726
00:37:52,040 --> 00:37:52,399
Speaker 2: of like.

727
00:37:53,000 --> 00:37:57,000
Speaker 1: Go ah, yeah, all right. But we come back to

728
00:37:57,040 --> 00:37:59,960
Speaker 1: the kid. We come back to Billy wandering around. He's

729
00:38:00,080 --> 00:38:01,439
Speaker 1: going to find the White House as well.

730
00:38:01,680 --> 00:38:04,160
Speaker 2: Yeah, he wanders around, he finds the White House. He

731
00:38:04,200 --> 00:38:07,040
Speaker 2: goes inside, of course, because you know horror movie logic,

732
00:38:07,120 --> 00:38:09,320
Speaker 2: you just come across what appears to be an abandoned

733
00:38:09,360 --> 00:38:11,960
Speaker 2: house that is not your house, and you just go in.

734
00:38:12,360 --> 00:38:13,960
Speaker 1: Yeah, I mean, I guess it's you know, we've talked

735
00:38:13,960 --> 00:38:17,680
Speaker 1: about tales. So many old tales involved leaving the trail

736
00:38:18,320 --> 00:38:21,480
Speaker 1: or you know, entering into the wild place where you're

737
00:38:21,520 --> 00:38:24,680
Speaker 1: not supposed to go, and in stories that involve a

738
00:38:24,719 --> 00:38:27,640
Speaker 1: haunted house. And essentially this is a haunted house picture.

739
00:38:28,440 --> 00:38:32,680
Speaker 1: It's just haunted with random monsters instead of ghosts. It's

740
00:38:32,760 --> 00:38:34,840
Speaker 1: like people are drawn to it. People will find a

741
00:38:34,880 --> 00:38:37,000
Speaker 1: reason to go into that haunted house, be it for

742
00:38:37,080 --> 00:38:41,600
Speaker 1: shelter or for treasure or in this case with with

743
00:38:41,600 --> 00:38:44,920
Speaker 1: with the main characters, for the potentiality of partying.

744
00:38:45,400 --> 00:38:48,560
Speaker 2: Right. Uh and and actually the kid also goes into

745
00:38:48,560 --> 00:38:51,239
Speaker 2: the house with the for with partying in mind. Yes,

746
00:38:51,560 --> 00:38:54,360
Speaker 2: because apparently so his parents forgot it was his birthday.

747
00:38:54,400 --> 00:38:56,759
Speaker 2: That's why he ran away from home. He wanders into

748
00:38:56,760 --> 00:38:59,520
Speaker 2: the house. Uh, they're oh at this point, there's also

749
00:38:59,800 --> 00:39:02,000
Speaker 2: this is when we start seeing a jawa running around

750
00:39:02,120 --> 00:39:05,000
Speaker 2: just like a like a child in a in a

751
00:39:06,000 --> 00:39:10,440
Speaker 2: brown hooded cloak. But anyway, Billy the kid, he is

752
00:39:10,480 --> 00:39:13,359
Speaker 2: in the house and he walks into a room full

753
00:39:13,360 --> 00:39:18,120
Speaker 2: of birthday party streamers and sad half inflated balloons, and

754
00:39:18,160 --> 00:39:23,640
Speaker 2: he goes cool. He says, hey, a surprise party, so

755
00:39:23,680 --> 00:39:27,120
Speaker 2: he didn't forget after all, This is really great. So

756
00:39:27,280 --> 00:39:30,439
Speaker 2: the again, the logic of this is that this boy

757
00:39:30,560 --> 00:39:33,920
Speaker 2: thinks his parents threw him a surprise birthday party in

758
00:39:34,000 --> 00:39:36,840
Speaker 2: a random house that he walked into in the woods.

759
00:39:38,880 --> 00:39:41,800
Speaker 2: And then he opens a box that he thinks contains

760
00:39:41,800 --> 00:39:44,239
Speaker 2: a bowling ball, but in fact it's a head and

761
00:39:44,320 --> 00:39:47,320
Speaker 2: it is the Warlock's head, and he goes Happy birthday.

762
00:39:47,360 --> 00:39:51,040
Speaker 2: Billy moahahaha, And yeah, of course there you go.

763
00:39:52,320 --> 00:39:55,200
Speaker 1: But between the old warlock, who we find out his

764
00:39:55,280 --> 00:40:00,880
Speaker 1: name is Creon, Creon, Yeah Creon and Billy please, Yeah,

765
00:40:01,080 --> 00:40:04,720
Speaker 1: they have this kind of discount Mike and the tall

766
00:40:04,760 --> 00:40:09,360
Speaker 1: Man vibe from Phantasm. Yeah, yeah, creepy old man who's

767
00:40:09,719 --> 00:40:13,560
Speaker 1: mysterious and seems to command supernatural powers. And oh and

768
00:40:13,600 --> 00:40:16,400
Speaker 1: there's of course there are jawa s creatures in both films,

769
00:40:16,719 --> 00:40:20,960
Speaker 1: though of course Phantasm is on certainly on several levels

770
00:40:21,360 --> 00:40:25,640
Speaker 1: ahead of this. Yeah, an order of magnitude or two

771
00:40:25,760 --> 00:40:27,880
Speaker 1: above Spookies in terms of quality.

772
00:40:28,280 --> 00:40:31,400
Speaker 2: But the thing you can always say on behalf of Spookyes,

773
00:40:31,440 --> 00:40:35,440
Speaker 2: is Spookyes has more variety. Yes, you know, the Phantasm

774
00:40:35,480 --> 00:40:39,520
Speaker 2: may have like three or so interesting kinds of monsters,

775
00:40:39,520 --> 00:40:43,600
Speaker 2: Spookyes has at least nine. Right, So of course, eventually

776
00:40:43,640 --> 00:40:46,279
Speaker 2: the party kids arrive at the house and they're like, hey,

777
00:40:46,280 --> 00:40:48,319
Speaker 2: here's a house. Let's go inside and see if there's

778
00:40:48,360 --> 00:40:52,480
Speaker 2: a party. This is not the only I gotta say,

779
00:40:52,560 --> 00:40:55,040
Speaker 2: this is not the only movie where this happens. This

780
00:40:55,120 --> 00:40:58,360
Speaker 2: is sort of standard eighties horror movie logic. You just

781
00:40:58,480 --> 00:41:00,319
Speaker 2: arrive at a place and you think they're might be

782
00:41:00,360 --> 00:41:02,560
Speaker 2: a party there, and so you go inside and try

783
00:41:02,600 --> 00:41:03,399
Speaker 2: to party.

784
00:41:03,440 --> 00:41:06,719
Speaker 1: Right, And I think Rich has brought like snacks and beer, right,

785
00:41:06,800 --> 00:41:08,960
Speaker 1: that's another part of it. So they have brought a

786
00:41:08,960 --> 00:41:10,359
Speaker 1: certain amount of party with them.

787
00:41:10,640 --> 00:41:13,120
Speaker 2: He has red stripe, and he has chips, and he's

788
00:41:13,480 --> 00:41:16,160
Speaker 2: consuming them in almost every scene from here on out.

789
00:41:17,040 --> 00:41:19,440
Speaker 1: He's ultimately an optimist. He was like, this is not

790
00:41:19,520 --> 00:41:21,640
Speaker 1: the party we intended to go to, but we're going

791
00:41:21,680 --> 00:41:23,920
Speaker 1: to have a party here. We are going to enjoy

792
00:41:23,960 --> 00:41:27,040
Speaker 1: ourselves in this just obviously haunted house.

793
00:41:27,360 --> 00:41:31,040
Speaker 2: Then there's a weird sequence after this where the catman

794
00:41:31,600 --> 00:41:35,880
Speaker 2: chases Billy birthday boy Billy around, chases him outside, and

795
00:41:35,920 --> 00:41:40,600
Speaker 2: then like buries him alive. I think, yes, like this

796
00:41:40,600 --> 00:41:41,680
Speaker 2: bar scene.

797
00:41:42,000 --> 00:41:44,040
Speaker 1: Yeah, Like watching this for the first time and not

798
00:41:44,080 --> 00:41:47,760
Speaker 1: really knowing anything about the production, you're thinking, well, Billy's

799
00:41:47,760 --> 00:41:50,200
Speaker 1: going to be around for a while. But no, the

800
00:41:50,320 --> 00:41:54,520
Speaker 1: wear a cat ambushes him like like massacures his face

801
00:41:54,600 --> 00:41:56,239
Speaker 1: like squatt, you know, just I don't know if he

802
00:41:56,320 --> 00:41:58,680
Speaker 1: uses the hook or just his cat claws, but swipes

803
00:41:58,719 --> 00:42:02,400
Speaker 1: him across the face. There's blood. Billy falls into a

804
00:42:02,520 --> 00:42:06,120
Speaker 1: doug grave and then the cat starts burying him alive

805
00:42:06,880 --> 00:42:10,120
Speaker 1: and buries him alive and you never see Billy again.

806
00:42:10,760 --> 00:42:11,000
Speaker 3: What.

807
00:42:12,239 --> 00:42:15,239
Speaker 2: Yeah, this plot line does not return. It's just like

808
00:42:15,960 --> 00:42:18,600
Speaker 2: a like thirteen year old child does get killed like

809
00:42:18,640 --> 00:42:20,560
Speaker 2: at the beginning of this movie, and then it doesn't

810
00:42:20,560 --> 00:42:21,240
Speaker 2: connect to anything.

811
00:42:21,280 --> 00:42:24,759
Speaker 1: Yeah, it didn't connect anything, like speak you don't have

812
00:42:24,880 --> 00:42:27,440
Speaker 1: your you don't have a child, be your sort of

813
00:42:27,440 --> 00:42:32,160
Speaker 1: throwaway victim unless there are other child characters involved and

814
00:42:32,200 --> 00:42:34,880
Speaker 1: they have a relationship with that child, or you know,

815
00:42:35,360 --> 00:42:38,240
Speaker 1: the adults have a relationship with that child. It generally

816
00:42:38,520 --> 00:42:41,680
Speaker 1: needs to mean something for that to take place, and

817
00:42:41,719 --> 00:42:43,720
Speaker 1: in this movie it means absolutely nothing.

818
00:42:43,960 --> 00:42:46,759
Speaker 2: It just seems like an idea somebody started having and

819
00:42:46,800 --> 00:42:48,799
Speaker 2: then they just got there like, oh, okay, I don't

820
00:42:48,840 --> 00:42:50,279
Speaker 2: know where I'm going with that. I'm done with that,

821
00:42:50,640 --> 00:42:51,520
Speaker 2: onto other things.

822
00:42:51,880 --> 00:42:54,960
Speaker 1: Yeah. Of course this was part of the bit that

823
00:42:55,080 --> 00:42:58,279
Speaker 1: was filmed afterwards to complete the film, so we can

824
00:42:58,560 --> 00:43:00,759
Speaker 1: ultimately excuse it that way. But when the context of

825
00:43:00,800 --> 00:43:04,399
Speaker 1: the film itself as as a solid, you know, sort

826
00:43:04,440 --> 00:43:07,600
Speaker 1: of cohesive viewing experience, it's it's very alarming.

827
00:43:07,840 --> 00:43:11,280
Speaker 2: Okay, So now you've got the party kids in the house,

828
00:43:11,360 --> 00:43:13,560
Speaker 2: and I guess maybe we should mention who all of

829
00:43:13,560 --> 00:43:16,360
Speaker 2: them are, because again, like, clearly you're supposed to be

830
00:43:16,440 --> 00:43:19,520
Speaker 2: getting I think, a list of types, you know, your archetypes.

831
00:43:20,120 --> 00:43:22,600
Speaker 2: So you've got Duke. He's the bad boy, he's the

832
00:43:22,719 --> 00:43:26,240
Speaker 2: he's the tough guy, bully, wearing plastic bad boy clothes.

833
00:43:26,800 --> 00:43:31,040
Speaker 2: And then Duke's girlfriend's name is Linda. She's his long

834
00:43:31,080 --> 00:43:34,240
Speaker 2: suffering girlfriend, and she's dressed in these bright eighties colors

835
00:43:34,239 --> 00:43:36,520
Speaker 2: and spins a lot of the movie rolling her eyes

836
00:43:36,560 --> 00:43:39,280
Speaker 2: at Duke's behavior. You know, it's just kind of like, oh, brother,

837
00:43:39,440 --> 00:43:40,200
Speaker 2: that's our Duke.

838
00:43:40,600 --> 00:43:41,080
Speaker 1: Yeah.

839
00:43:41,160 --> 00:43:44,879
Speaker 2: Then you've got Peter, the you know, the seventy five

840
00:43:44,960 --> 00:43:50,160
Speaker 2: year old accountant, who I guess maybe you might think

841
00:43:50,320 --> 00:43:53,560
Speaker 2: was one of the protagonists. At first, I thought the

842
00:43:53,640 --> 00:43:58,480
Speaker 2: protagonist of the film was going to be Peter's girlfriend, Megan,

843
00:43:58,760 --> 00:44:03,920
Speaker 2: because she at least initially has that sensible protagonist energy

844
00:44:04,040 --> 00:44:06,799
Speaker 2: in a horror movie with the group like this. But

845
00:44:06,880 --> 00:44:09,120
Speaker 2: I notice more and more as the movie goes on

846
00:44:09,280 --> 00:44:13,600
Speaker 2: that that evaporates, and then she mainly becomes characterized by

847
00:44:14,200 --> 00:44:19,040
Speaker 2: like just making statements of fatalistic despair. She just says

848
00:44:19,080 --> 00:44:21,840
Speaker 2: things like there's no escape. Every one of us is

849
00:44:21,880 --> 00:44:22,600
Speaker 2: going to die.

850
00:44:23,040 --> 00:44:25,880
Speaker 1: Wow. So she starts out as the Sigourney Weaver potential

851
00:44:25,880 --> 00:44:28,400
Speaker 1: Sigourney Weaver the picture and becomes the Bill Paxton of

852
00:44:28,480 --> 00:44:28,920
Speaker 1: the picture.

853
00:44:29,160 --> 00:44:33,960
Speaker 2: Yes, Meghan, Yeah, the Descent of Megan. On the other hand,

854
00:44:34,200 --> 00:44:38,120
Speaker 2: a supremely positive and optimistic force within the film is Rich,

855
00:44:38,239 --> 00:44:41,360
Speaker 2: the jokester who's got a puppet who loves beer and chips,

856
00:44:42,480 --> 00:44:46,120
Speaker 2: and he just sort of like he bumbles through every scene.

857
00:44:46,200 --> 00:44:48,640
Speaker 2: There are moments where he shows flashes of fear, but

858
00:44:48,640 --> 00:44:50,920
Speaker 2: there are other times where he's being attacked by a

859
00:44:50,960 --> 00:44:53,520
Speaker 2: monster and he's just like, yeah, okay, come on, you know,

860
00:44:53,520 --> 00:44:56,799
Speaker 2: if you're going to kill me, bring it on. And

861
00:44:56,840 --> 00:44:59,880
Speaker 2: then we got a couple of characters named Adrian and Day.

862
00:45:00,680 --> 00:45:05,399
Speaker 2: Adrian is I think supposed to be a British fancy

863
00:45:05,400 --> 00:45:09,840
Speaker 2: fashion lady wearing this like cool cream colored jacket, and

864
00:45:09,960 --> 00:45:13,400
Speaker 2: her boyfriend Dave is like also I think supposed to

865
00:45:13,440 --> 00:45:15,440
Speaker 2: be a kind of like fancy rich guy. He's an

866
00:45:15,520 --> 00:45:19,200
Speaker 2: allergic man with sinus problems. He's wearing a khaki jacket.

867
00:45:19,239 --> 00:45:22,680
Speaker 2: I think these two are supposed to be fussy and fancy.

868
00:45:22,719 --> 00:45:25,239
Speaker 2: They're like rich city people who are just over it

869
00:45:25,320 --> 00:45:27,360
Speaker 2: and they want to get a cab back to Soho

870
00:45:27,520 --> 00:45:28,000
Speaker 2: or whatever.

871
00:45:28,320 --> 00:45:30,000
Speaker 1: Yeah, Yeah, they're kind of what the what are the

872
00:45:30,080 --> 00:45:34,200
Speaker 1: characters in Christmas Vacation Todd and Margo, they're sort of

873
00:45:34,239 --> 00:45:35,239
Speaker 1: the Todd and Margo of this.

874
00:45:35,360 --> 00:45:38,640
Speaker 2: Oh okay, Yeah, they're kind of like American psycho people.

875
00:45:38,960 --> 00:45:42,759
Speaker 1: Yeah. Now she's played by Charlotte Alexandria, who is a

876
00:45:42,840 --> 00:45:46,040
Speaker 1: French actor who apparently did a lot of fairly diverse

877
00:45:46,719 --> 00:45:50,080
Speaker 1: smattering of film in Europe before coming over and playing this.

878
00:45:50,520 --> 00:45:54,120
Speaker 1: And in the documentary they mentioned I haven't seen this

879
00:45:54,280 --> 00:45:56,600
Speaker 1: actually verified anywhere, but they said that she played the

880
00:45:56,680 --> 00:45:58,280
Speaker 1: Virgin Mary in the Life of Brian.

881
00:45:58,680 --> 00:46:02,560
Speaker 2: Hmm, okay, but I don't know about that. And then

882
00:46:02,600 --> 00:46:06,120
Speaker 2: the last two people there is Carol, who's got curly

883
00:46:06,160 --> 00:46:08,560
Speaker 2: blonde hair and seems like maybe she is of like

884
00:46:08,600 --> 00:46:11,680
Speaker 2: a spiritual persuasion. You get the vibe like she could

885
00:46:11,680 --> 00:46:16,520
Speaker 2: do your horoscope, I think. And then you've got Carol's boyfriend, Lewis,

886
00:46:16,560 --> 00:46:19,440
Speaker 2: who has no characteristics that I could identify except that

887
00:46:19,480 --> 00:46:22,320
Speaker 2: he wears denim and I think he's played by somebody

888
00:46:22,320 --> 00:46:24,240
Speaker 2: who did some effects for the movie.

889
00:46:24,640 --> 00:46:27,040
Speaker 1: Yes, yeah, definitely, And there's a lot of that in this,

890
00:46:27,120 --> 00:46:29,319
Speaker 1: especially when you get into the monsters. People in the

891
00:46:29,360 --> 00:46:33,560
Speaker 1: monster suits are not are not necessarily designated actors. They

892
00:46:33,560 --> 00:46:35,960
Speaker 1: are also involved in other parts of the production.

893
00:46:36,400 --> 00:46:39,120
Speaker 2: Yeah, and so here's where you get into that scene

894
00:46:39,200 --> 00:46:41,560
Speaker 2: I talked about earlier where they're just like finding things

895
00:46:41,719 --> 00:46:45,040
Speaker 2: and Duke is just continually turning his attention from one

896
00:46:45,080 --> 00:46:49,759
Speaker 2: destructive project to another. He's like prying open doors and

897
00:46:49,800 --> 00:46:54,200
Speaker 2: smashing stuff. And at one point somebody's like, Duke, stop

898
00:46:54,280 --> 00:46:56,040
Speaker 2: doing that, and he goes like, I don't care about

899
00:46:56,040 --> 00:46:59,640
Speaker 2: this old creep joint. But he gets the door open

900
00:46:59,800 --> 00:47:03,480
Speaker 2: and he gets attacked by a desiccated corpse. It just

901
00:47:03,560 --> 00:47:05,919
Speaker 2: like a corpse falls out of the closet and he's like, nah,

902
00:47:05,960 --> 00:47:06,520
Speaker 2: it's fake.

903
00:47:08,040 --> 00:47:10,239
Speaker 1: The thing about that corpse, this is just so this Yeah,

904
00:47:10,239 --> 00:47:11,880
Speaker 1: this is just a scene where the corpse falls out

905
00:47:11,920 --> 00:47:13,839
Speaker 1: of the closet on him. But later on in the

906
00:47:13,840 --> 00:47:17,800
Speaker 1: film we see that this corpse is completely articulated and

907
00:47:18,160 --> 00:47:22,000
Speaker 1: can be brought to life. There's so much love and

908
00:47:22,719 --> 00:47:26,040
Speaker 1: detail that went into the creation of the various monsters

909
00:47:26,080 --> 00:47:29,399
Speaker 1: in this so I will say that that is That's

910
00:47:29,400 --> 00:47:32,480
Speaker 1: the best thing I can say about this film is that, Yeah,

911
00:47:32,520 --> 00:47:34,480
Speaker 1: a lot of love went into the creation of these

912
00:47:34,560 --> 00:47:40,440
Speaker 1: various zombies and corpses and monsters and grim reapers of

913
00:47:40,480 --> 00:47:41,520
Speaker 1: whatever the case may be.

914
00:47:42,080 --> 00:47:44,200
Speaker 2: You know it has. So after this, they get into

915
00:47:44,239 --> 00:47:46,560
Speaker 2: a wijaboard scene, and this is sort of when all

916
00:47:46,840 --> 00:47:49,880
Speaker 2: hell breaks loose, right Like they start they find a

917
00:47:49,880 --> 00:47:53,640
Speaker 2: wig aboard. Of course, Carol is the one who's like, oh,

918
00:47:53,680 --> 00:47:56,200
Speaker 2: I know how this thing works. It is a tool,

919
00:47:56,320 --> 00:47:58,080
Speaker 2: she says, it's not a game, it's a tool the

920
00:47:58,120 --> 00:48:00,840
Speaker 2: dead can reach out to us. And so they play

921
00:48:01,040 --> 00:48:05,280
Speaker 2: with the wig aboard and the Warlock ends up telling

922
00:48:05,320 --> 00:48:08,160
Speaker 2: them answers to questions through it, like they ask, will

923
00:48:08,200 --> 00:48:11,640
Speaker 2: we ever leave this house? And he says no, and

924
00:48:11,719 --> 00:48:15,680
Speaker 2: then and then the warlock transforms Carol into a demon

925
00:48:16,080 --> 00:48:19,120
Speaker 2: by making a vein on his forehead throb and the

926
00:48:19,120 --> 00:48:21,600
Speaker 2: camera zooms in on the vein on his forehead, and

927
00:48:21,640 --> 00:48:24,080
Speaker 2: then Carol turns into like one of the demons from

928
00:48:24,080 --> 00:48:24,880
Speaker 2: Evil Dead.

929
00:48:25,239 --> 00:48:30,480
Speaker 1: Right, Yeah, yeah, it's it's overtly Evil Dead ask and oh,

930
00:48:30,520 --> 00:48:32,839
Speaker 1: and I should point out that the Ouiji board has

931
00:48:33,000 --> 00:48:35,640
Speaker 1: pictures of the various monsters on it, So I think

932
00:48:35,680 --> 00:48:37,600
Speaker 1: the Ouiji board is supposed to be involved in the

933
00:48:37,640 --> 00:48:41,239
Speaker 1: summoning or unleashing of this various monster, but we don't

934
00:48:41,239 --> 00:48:43,320
Speaker 1: know exactly how or why that is the case.

935
00:48:43,640 --> 00:48:46,000
Speaker 2: One thing I found funny is that the warlock in

936
00:48:46,040 --> 00:48:50,440
Speaker 2: this movie keeps making chess metaphors for what he's doing,

937
00:48:50,480 --> 00:48:53,200
Speaker 2: and they're often inappropriate or I don't see how they

938
00:48:53,200 --> 00:48:56,520
Speaker 2: apply to what he's talking about. Like he's like, it's

939
00:48:56,640 --> 00:48:59,360
Speaker 2: just like a game of chess, but he's referring to

940
00:48:59,680 --> 00:49:03,520
Speaker 2: trap everybody in a house. Yeah, do you have to

941
00:49:03,600 --> 00:49:06,239
Speaker 2: trap your opponent? I mean, I guess you you form

942
00:49:06,360 --> 00:49:08,520
Speaker 2: traps for people in jail. I don't know. It didn't

943
00:49:08,520 --> 00:49:09,719
Speaker 2: seem super applicable.

944
00:49:10,040 --> 00:49:13,160
Speaker 1: Yeah, Like, I don't think there's even enough. There aren't

945
00:49:13,239 --> 00:49:16,560
Speaker 1: quite enough monsters to be an entire chess set anyway, right,

946
00:49:17,080 --> 00:49:19,040
Speaker 1: But it's close, it's actually pretty close.

947
00:49:19,520 --> 00:49:21,680
Speaker 2: But here's where you get to the standard. You know,

948
00:49:22,120 --> 00:49:24,440
Speaker 2: you probably if you've seen horror movies before, you know

949
00:49:24,520 --> 00:49:27,160
Speaker 2: the format. After this, the the you know, all hell

950
00:49:27,239 --> 00:49:30,560
Speaker 2: breaks loose. Various monsters are unleashed, and the party crew

951
00:49:30,640 --> 00:49:34,200
Speaker 2: barricade themselves inside the house and they're gonna of course

952
00:49:34,239 --> 00:49:37,000
Speaker 2: split up and get attacked one by one by different

953
00:49:37,000 --> 00:49:39,840
Speaker 2: types of monsters. I like how after they first barricade

954
00:49:39,840 --> 00:49:44,560
Speaker 2: themselves inside, Peter, the older guy, he it seems he

955
00:49:44,640 --> 00:49:47,440
Speaker 2: recognizes they've reached this point in the plot and then

956
00:49:47,520 --> 00:49:50,439
Speaker 2: explains as much. He pretty much says, for the rest

957
00:49:50,520 --> 00:49:52,359
Speaker 2: of the movie, we will now be picked off one

958
00:49:52,400 --> 00:49:52,799
Speaker 2: by one.

959
00:49:53,200 --> 00:49:53,439
Speaker 1: Yes.

960
00:49:54,520 --> 00:49:56,680
Speaker 2: And so they split up, like Duke and Linda go

961
00:49:56,760 --> 00:49:59,400
Speaker 2: one way, and they end up encountering some zombies that

962
00:49:59,520 --> 00:50:02,560
Speaker 2: keep far. We can talk about that if you want.

963
00:50:02,640 --> 00:50:04,600
Speaker 2: I'm not sure what to make of that scene. And

964
00:50:05,560 --> 00:50:08,279
Speaker 2: Peter and Meghan and Rich go another way, Dave and

965
00:50:08,280 --> 00:50:10,960
Speaker 2: Adrianne stay put. They encounter some grimlins.

966
00:50:11,000 --> 00:50:14,520
Speaker 1: I think, yeah, so let's talk about those fart zombies.

967
00:50:15,120 --> 00:50:18,680
Speaker 1: They're credited as being the Muckmen. Even though they don't

968
00:50:18,680 --> 00:50:21,080
Speaker 1: look particularly mucky. They look very dry to me, like

969
00:50:21,120 --> 00:50:23,200
Speaker 1: sort of dried dog biscuit mummies.

970
00:50:23,600 --> 00:50:26,440
Speaker 2: Yeah, crumbling and short, short, short crust.

971
00:50:26,840 --> 00:50:29,280
Speaker 1: Yeah. And it's in a basement and they are wine

972
00:50:29,360 --> 00:50:32,640
Speaker 1: casts and ultimately they're defeated by melting them with wine,

973
00:50:33,200 --> 00:50:35,040
Speaker 1: which is when the effect looks pretty good, I have

974
00:50:35,080 --> 00:50:38,520
Speaker 1: to say. And the muckman don't look bad, but clearly,

975
00:50:38,560 --> 00:50:41,160
Speaker 1: at some point in post production, and I think the

976
00:50:42,480 --> 00:50:44,920
Speaker 1: making up gets into this a little bit, they decided, well,

977
00:50:44,960 --> 00:50:47,920
Speaker 1: let's add fart noises, and I think The rationale was

978
00:50:48,280 --> 00:50:51,160
Speaker 1: they look kind of swamp thingy, so maybe swamp equals

979
00:50:51,920 --> 00:50:57,040
Speaker 1: he equals fart noises. Yeah, but it also reminds me

980
00:50:57,360 --> 00:51:01,000
Speaker 1: of some behind the scenes stuff I heard about the

981
00:51:01,239 --> 00:51:04,719
Speaker 1: cartoon Invader Zim where they were talking about putting together

982
00:51:04,760 --> 00:51:06,640
Speaker 1: a scene and if they didn't feel like the scene

983
00:51:06,719 --> 00:51:10,080
Speaker 1: was funny enough, they would just keep adding sound effects

984
00:51:10,080 --> 00:51:13,600
Speaker 1: to it until they were satisfied. And so that's what

985
00:51:13,640 --> 00:51:16,359
Speaker 1: this felt like to me, Like they were thinking, this

986
00:51:16,400 --> 00:51:19,759
Speaker 1: needs something, this needs something else. Maybe the answer is

987
00:51:19,800 --> 00:51:20,480
Speaker 1: fart noises.

988
00:51:21,400 --> 00:51:24,120
Speaker 2: It also reminds me of something I think I recall

989
00:51:24,160 --> 00:51:28,440
Speaker 2: Stephen King writing years ago about how when he's writing

990
00:51:28,440 --> 00:51:31,680
Speaker 2: a scene and he's trying to make it really scary

991
00:51:31,760 --> 00:51:34,200
Speaker 2: and he can tell it's just not scary, and he

992
00:51:34,239 --> 00:51:36,279
Speaker 2: doesn't he can't figure out how to make it work.

993
00:51:36,360 --> 00:51:39,919
Speaker 2: Then he just dials up the grossness factor. It's sort

994
00:51:39,960 --> 00:51:42,839
Speaker 2: of like to salvage something that he can't otherwise figure

995
00:51:42,840 --> 00:51:45,439
Speaker 2: out how to make work, just make it disgusting.

996
00:51:45,480 --> 00:51:48,120
Speaker 1: Right, And so that's what they go for here. I

997
00:51:48,320 --> 00:51:51,160
Speaker 1: don't think it works. It just comes off as as

998
00:51:51,719 --> 00:51:54,799
Speaker 1: kind of awkward and dumb. But I have to say

999
00:51:54,840 --> 00:51:57,239
Speaker 1: the muckmen themselves. I don't think they look bad. I

1000
00:51:57,239 --> 00:51:59,719
Speaker 1: think they look pretty good, which is, you know the

1001
00:51:59,800 --> 00:52:01,480
Speaker 1: same thing i'd say for most of the creatures in

1002
00:52:01,520 --> 00:52:02,000
Speaker 1: this Well.

1003
00:52:02,000 --> 00:52:03,680
Speaker 2: Yeah, i'd say that's the best thing about the movie

1004
00:52:03,719 --> 00:52:06,280
Speaker 2: is at least a solid two thirds of the monsters

1005
00:52:06,320 --> 00:52:06,800
Speaker 2: look great.

1006
00:52:07,440 --> 00:52:10,000
Speaker 1: And you never know what you're gonna get. It's just it.

1007
00:52:10,120 --> 00:52:11,520
Speaker 1: It'll be totally unexpected.

1008
00:52:20,680 --> 00:52:23,759
Speaker 2: So another kind of encounter we get is that the rich,

1009
00:52:23,800 --> 00:52:27,400
Speaker 2: fussy people, Dave and Adrian, they're they're they're sort of

1010
00:52:27,600 --> 00:52:30,200
Speaker 2: being catty at each other. They're at each other's throats,

1011
00:52:30,239 --> 00:52:33,480
Speaker 2: and then they get groblin. They oh, yeah, wait, sorry,

1012
00:52:33,520 --> 00:52:35,160
Speaker 2: is the term gromlin or groblin?

1013
00:52:36,360 --> 00:52:38,400
Speaker 1: I say gromlin, but it's a made up word, so

1014
00:52:38,520 --> 00:52:40,200
Speaker 1: you can certainly say groblin instead.

1015
00:52:40,600 --> 00:52:45,120
Speaker 2: No, no, I want to respect your your your terminology here, gromblin. Yes,

1016
00:52:45,160 --> 00:52:48,280
Speaker 2: So they get Gromlin. They get attacked by a little

1017
00:52:48,400 --> 00:52:52,600
Speaker 2: green rubber grimlin merman with a like fish gator tail,

1018
00:52:53,360 --> 00:52:56,120
Speaker 2: and there is a long scene of Adrian fighting the

1019
00:52:56,440 --> 00:53:00,680
Speaker 2: Gromlins while synth Funeral Music plays music choice very weird.

1020
00:53:00,760 --> 00:53:03,839
Speaker 2: It's like a shopping mall version of Mozart's Requiem. While

1021
00:53:03,880 --> 00:53:05,800
Speaker 2: she's struggling with this little rubber critter.

1022
00:53:06,160 --> 00:53:10,160
Speaker 1: Yeah, it's a it's it's it's actually not a bad scene.

1023
00:53:10,200 --> 00:53:13,399
Speaker 1: Like she she's good in this fighting making it. It's

1024
00:53:13,400 --> 00:53:16,480
Speaker 1: one of these where a person is often fighting a

1025
00:53:16,520 --> 00:53:19,560
Speaker 1: puppet or fighting just a prop, you know, and acting

1026
00:53:19,600 --> 00:53:21,879
Speaker 1: like it's attacking them. But she she does a good

1027
00:53:21,920 --> 00:53:24,240
Speaker 1: job with the scene. And then also ultimately the Gromlin

1028
00:53:24,280 --> 00:53:28,279
Speaker 1: looks pretty good. Yet it's well designed. It it's not

1029
00:53:28,440 --> 00:53:33,120
Speaker 1: like it's not hobgoblins level. It's maybe a little above that.

1030
00:53:33,520 --> 00:53:38,640
Speaker 2: Yeah, i'd say above hobgoblins, definitely below grimlins. Maybe on

1031
00:53:38,680 --> 00:53:39,680
Speaker 2: the level of ghoulies.

1032
00:53:40,160 --> 00:53:41,520
Speaker 1: Yeah, yeah, I think that's fair.

1033
00:53:41,719 --> 00:53:43,520
Speaker 2: Oh no, it's at some point in here we get

1034
00:53:43,560 --> 00:53:47,359
Speaker 2: an update on the Warlock framing narrative, which which is

1035
00:53:47,680 --> 00:53:49,840
Speaker 2: this probably won't be all that surprising, But it turns

1036
00:53:49,840 --> 00:53:52,799
Speaker 2: out the lady in the coffin, who is being revived

1037
00:53:52,880 --> 00:53:55,680
Speaker 2: by the evil magic of the Warlock, does not want

1038
00:53:55,719 --> 00:53:57,719
Speaker 2: to come back from the dead. She does not like

1039
00:53:57,800 --> 00:53:59,960
Speaker 2: the Warlock guy, and she was just fine with her

1040
00:54:00,040 --> 00:54:04,160
Speaker 2: eternal slumber, not interested in his his satanic, you know,

1041
00:54:04,239 --> 00:54:07,680
Speaker 2: magical deal, and she's just like, get me out of here.

1042
00:54:09,640 --> 00:54:11,160
Speaker 1: Sometimes dead is better, you know.

1043
00:54:11,320 --> 00:54:15,400
Speaker 2: Yeah. Oh, but to mention some of the other monster scenes,

1044
00:54:15,440 --> 00:54:18,800
Speaker 2: which which are mostly pretty great. So Adrianne gets attacked

1045
00:54:18,840 --> 00:54:22,239
Speaker 2: by those who she beats the Gromlin she like hits

1046
00:54:22,239 --> 00:54:24,200
Speaker 2: it with the fire poker I think, and crushes it

1047
00:54:24,239 --> 00:54:27,560
Speaker 2: with a bookshelf or something, ye, and then she runs off.

1048
00:54:27,600 --> 00:54:29,640
Speaker 2: Then she gets attacked by a different creature. This time

1049
00:54:29,680 --> 00:54:32,759
Speaker 2: it is the creature from the Electric Intestine's Lagoon. Very

1050
00:54:32,840 --> 00:54:34,200
Speaker 2: nice looking monster, very.

1051
00:54:34,120 --> 00:54:36,960
Speaker 1: Mute, sy, very creative. I don't I can't think of

1052
00:54:37,000 --> 00:54:41,120
Speaker 1: another film where a monster uses like belly tentacles to

1053
00:54:41,200 --> 00:54:44,239
Speaker 1: not only grab but also electrocute a victim and in

1054
00:54:44,280 --> 00:54:47,520
Speaker 1: doing so melt her face off with like a stop

1055
00:54:47,560 --> 00:54:50,040
Speaker 1: motion effect, which is really nice.

1056
00:54:50,160 --> 00:54:52,880
Speaker 2: There's another monster we get to see I mentioned earlier,

1057
00:54:53,000 --> 00:54:56,960
Speaker 2: like the the zombie baboon bride Hag, which is where

1058
00:54:57,000 --> 00:55:01,760
Speaker 2: the warlock lady escapes or you know, the Warlock's bride

1059
00:55:01,920 --> 00:55:05,480
Speaker 2: escapes and she gets away from him, wanders into some

1060
00:55:05,520 --> 00:55:08,719
Speaker 2: catacombs and then she gets attacked by this baboon creature.

1061
00:55:09,160 --> 00:55:12,560
Speaker 1: Yeah, puppeteer is clearly in shot in the lower left

1062
00:55:12,560 --> 00:55:16,279
Speaker 1: hand corner of the screen at one point, but yeah,

1063
00:55:16,440 --> 00:55:19,560
Speaker 1: still still a fun sequence. Nice, but probably one of

1064
00:55:19,600 --> 00:55:23,480
Speaker 1: the ultimately one of the weaker looking puppet creatures that

1065
00:55:23,520 --> 00:55:26,120
Speaker 1: we encounter, and also one that doesn't I really don't

1066
00:55:26,120 --> 00:55:27,719
Speaker 1: know what exactly they are you going for here?

1067
00:55:27,920 --> 00:55:30,960
Speaker 2: Now? Somehow, as you mentioned earlier, Duke and Peter end

1068
00:55:31,040 --> 00:55:36,240
Speaker 2: up in a fist fight. The characters reunite. Megan's like, well,

1069
00:55:36,440 --> 00:55:38,759
Speaker 2: we're all going to die and that's just how it is.

1070
00:55:39,360 --> 00:55:43,520
Speaker 2: And Duke is like, I want to fight, and Peter's

1071
00:55:43,560 --> 00:55:46,680
Speaker 2: like okay, bucko, and so they just start slugging it out.

1072
00:55:47,280 --> 00:55:51,320
Speaker 2: And does this fight end with Duke dead? I don't recall.

1073
00:55:52,760 --> 00:55:55,160
Speaker 1: I do not remember either. Yeah, I don't remember what

1074
00:55:55,360 --> 00:55:56,439
Speaker 1: actually kills Duke.

1075
00:55:57,080 --> 00:55:59,080
Speaker 2: I think the Grim Reaper does. Oh yeah, because the

1076
00:55:59,120 --> 00:56:03,560
Speaker 2: great Yeah, like a statue of the Grim Reaper comes

1077
00:56:03,600 --> 00:56:06,360
Speaker 2: to life and then it attacks them. I think it

1078
00:56:06,480 --> 00:56:11,719
Speaker 2: kills Duke and Peter. The old guy literally dives right

1079
00:56:11,760 --> 00:56:14,759
Speaker 2: through a closed door like busts strike he does.

1080
00:56:15,040 --> 00:56:19,839
Speaker 1: Yes, yeah, I mean it's all in ball. Yeah, it's

1081
00:56:19,840 --> 00:56:23,080
Speaker 1: always insane enough when someone like throws himself through glass

1082
00:56:23,080 --> 00:56:25,240
Speaker 1: in one of these films, which yeah, I mean people

1083
00:56:25,440 --> 00:56:28,160
Speaker 1: can and do throw themselves through glass sometimes if the

1084
00:56:28,200 --> 00:56:30,799
Speaker 1: circumstance is right, but in movies it takes on an

1085
00:56:30,920 --> 00:56:34,560
Speaker 1: entirely different air. People often pop up completely unscathed. They

1086
00:56:34,600 --> 00:56:36,560
Speaker 1: do it with just on the fly, without a lot

1087
00:56:36,560 --> 00:56:38,480
Speaker 1: of thought. But in this case, it's not even a window.

1088
00:56:38,520 --> 00:56:39,520
Speaker 1: It's a wooden door.

1089
00:56:39,880 --> 00:56:41,960
Speaker 2: Yeah, that was a nice detail.

1090
00:56:41,800 --> 00:56:43,680
Speaker 1: Fortunately made completely out of bals of wood.

1091
00:56:46,480 --> 00:56:49,560
Speaker 2: The jokester rich At some point you thought he was

1092
00:56:49,600 --> 00:56:52,240
Speaker 2: gonna get killed earlier by one of the evil dead zombies,

1093
00:56:52,239 --> 00:56:54,319
Speaker 2: but then he just keeps wandering around with his beer

1094
00:56:54,360 --> 00:56:57,759
Speaker 2: and his chips, and he eventually wanders into it like

1095
00:56:57,800 --> 00:57:00,799
Speaker 2: a lady leads him into a cave, and then she

1096
00:57:00,960 --> 00:57:03,880
Speaker 2: transforms into a giant spider So I think she's supposed

1097
00:57:03,880 --> 00:57:06,520
Speaker 2: to be like a like a spider woman creature of

1098
00:57:06,560 --> 00:57:09,160
Speaker 2: some type, and she she sucks all his fluids out,

1099
00:57:09,600 --> 00:57:10,680
Speaker 2: which is a nice effect.

1100
00:57:11,080 --> 00:57:13,960
Speaker 1: It is. It's a nice effect. It's a fun sequence,

1101
00:57:14,000 --> 00:57:16,720
Speaker 1: but also one that raises questions about sort of the

1102
00:57:16,720 --> 00:57:20,120
Speaker 1: the energy economy of this film, because a lot of

1103
00:57:20,120 --> 00:57:22,440
Speaker 1: work went into this. They have like a custom Spider

1104
00:57:23,040 --> 00:57:26,600
Speaker 1: Woman layer there there's a different actor playing this sort

1105
00:57:26,600 --> 00:57:31,440
Speaker 1: of Japanese Joragumo spider woman, and she doesn't just she

1106
00:57:31,480 --> 00:57:33,640
Speaker 1: doesn't just like you know, suddenly reveal oh she has

1107
00:57:33,680 --> 00:57:36,280
Speaker 1: half a spider face or suddenly she's a spider.

1108
00:57:36,280 --> 00:57:36,320
Speaker 3: No.

1109
00:57:36,400 --> 00:57:40,760
Speaker 1: There there's like five stages to this transformation, each one

1110
00:57:40,840 --> 00:57:47,720
Speaker 1: involving some either impressive or ambitious practical effects. So and

1111
00:57:47,720 --> 00:57:50,480
Speaker 1: that's not even counting the rich head that is then

1112
00:57:50,560 --> 00:57:53,040
Speaker 1: deflated like a balloon when he sucked dry.

1113
00:57:53,400 --> 00:57:55,880
Speaker 2: Yeah, well it likes so much like the content is

1114
00:57:56,160 --> 00:58:03,360
Speaker 2: severely like eyebrow raising but really great effects. But likewise,

1115
00:58:03,400 --> 00:58:05,720
Speaker 2: with the very next scene, which is the Grim Reaper

1116
00:58:05,800 --> 00:58:08,720
Speaker 2: fight on the balcony, like the old guy Peter ends

1117
00:58:08,800 --> 00:58:13,800
Speaker 2: up fighting this, it is just death personified with the scythe.

1118
00:58:13,760 --> 00:58:16,200
Speaker 1: This is one that definitely reminded me of the Key

1119
00:58:16,280 --> 00:58:21,280
Speaker 1: and Peel Grimlins two pitch meeting skit. There's the one

1120
00:58:21,280 --> 00:58:23,520
Speaker 1: where the guy recommends that Hulk Hogan be in the

1121
00:58:23,560 --> 00:58:26,360
Speaker 1: picture and they're like, WHOA hold the phone, you're talking

1122
00:58:26,440 --> 00:58:30,960
Speaker 1: Hulk Hogan pro wrestler. It's similar to that. It's like, Okay,

1123
00:58:31,040 --> 00:58:34,560
Speaker 1: we're gonna put the Grim Reaper in this. The personification

1124
00:58:34,680 --> 00:58:38,800
Speaker 1: of death a highly symbolic character that is very rarely

1125
00:58:38,920 --> 00:58:43,160
Speaker 1: actually incorporated into some sort of a film. I mean,

1126
00:58:43,200 --> 00:58:46,439
Speaker 1: there are examples of this, obviously, including stuff like Bill

1127
00:58:46,480 --> 00:58:49,400
Speaker 1: and Tad or I guess with the Final Destination films

1128
00:58:49,400 --> 00:58:52,120
Speaker 1: to a certain extent without that character like really appearing

1129
00:58:52,200 --> 00:58:54,480
Speaker 1: on the screen. But for the most part, like the

1130
00:58:54,520 --> 00:58:58,480
Speaker 1: Grim Reaper is, is not a physical entity that you

1131
00:58:58,600 --> 00:59:02,000
Speaker 1: talk about people encountering, unless you're dealing with a property

1132
00:59:02,040 --> 00:59:06,360
Speaker 1: that is being fairly satirical or extremely symbolic.

1133
00:59:06,760 --> 00:59:09,800
Speaker 2: Well wait, sorry, thinking back to the Final Destination movies,

1134
00:59:09,880 --> 00:59:14,280
Speaker 2: does Tony Todd actually play the Grim Reaper or just

1135
00:59:14,320 --> 00:59:17,280
Speaker 2: a guy who knows about the Grim Reaper? Oh?

1136
00:59:17,360 --> 00:59:19,600
Speaker 1: I'm not sure on this. I have a very vague

1137
00:59:19,680 --> 00:59:21,760
Speaker 1: memory of these films, and I don't think I saw

1138
00:59:21,840 --> 00:59:24,120
Speaker 1: all of them. Tony Todd, of course, as the actor

1139
00:59:24,160 --> 00:59:27,680
Speaker 1: played Candy Man, yeah, and is a great actor. Yeah,

1140
00:59:27,680 --> 00:59:30,040
Speaker 1: I don't remember if he's just kind of the wise

1141
00:59:30,120 --> 00:59:33,160
Speaker 1: man who knows the ways of death or his death embodied.

1142
00:59:33,320 --> 00:59:35,919
Speaker 2: I recall, like several of those movies have a scene

1143
00:59:35,920 --> 00:59:38,840
Speaker 2: where the characters go and they meet him and they're like, hey,

1144
00:59:38,880 --> 00:59:41,320
Speaker 2: what's up, And he's like and he tells them like

1145
00:59:41,480 --> 00:59:46,120
Speaker 2: facts about death. He's like, I don't know, He's just like,

1146
00:59:46,200 --> 00:59:50,240
Speaker 2: did you know. I recall in the first one, he

1147
00:59:50,320 --> 00:59:52,600
Speaker 2: refers to the Grim Reaper as a mac daddy.

1148
00:59:53,000 --> 00:59:55,520
Speaker 1: Really yeh yeah, Now is Tony Todd I can't remember.

1149
00:59:55,560 --> 00:59:57,680
Speaker 1: Is Tony Todd wearing like a black robe? Does he

1150
00:59:57,760 --> 01:00:00,640
Speaker 1: have like a scythe pin on his shirt or anything?

1151
01:00:00,840 --> 01:00:03,560
Speaker 2: I don't recall the capacity in which he has encountered

1152
01:00:03,600 --> 01:00:06,680
Speaker 2: in the later films. In the first film, I think

1153
01:00:06,720 --> 01:00:10,760
Speaker 2: he plays a guy who is interpreted as a mortuary worker.

1154
01:00:10,840 --> 01:00:12,680
Speaker 2: Like they break into a morgue where one of the

1155
01:00:12,720 --> 01:00:16,480
Speaker 2: people is being kept, and he's just there and he

1156
01:00:16,560 --> 01:00:19,200
Speaker 2: tells them facts about death and then tells them that

1157
01:00:19,400 --> 01:00:22,200
Speaker 2: like they can't escape death because death is a mac Daddy.

1158
01:00:23,400 --> 01:00:26,040
Speaker 2: Well this, I mean, it's a great cameo. Yeah.

1159
01:00:26,400 --> 01:00:29,640
Speaker 1: This Grim Reaper, however, can be defeated. And the way

1160
01:00:29,680 --> 01:00:31,120
Speaker 1: they defeat him is pretty hilarious.

1161
01:00:31,360 --> 01:00:34,120
Speaker 2: Yeah, they like knock it. So Peter I think, punches

1162
01:00:34,200 --> 01:00:37,640
Speaker 2: him or somehow knocks him off the balcony and then

1163
01:00:37,680 --> 01:00:41,960
Speaker 2: he explodes, just like explodes in a giant fireball, like

1164
01:00:42,000 --> 01:00:43,240
Speaker 2: he's made of gasoline.

1165
01:00:43,560 --> 01:00:46,080
Speaker 1: Yeah, like a truck that has gone off a cliff

1166
01:00:46,400 --> 01:00:49,000
Speaker 1: in an action film or a Mad Max movie or something,

1167
01:00:49,160 --> 01:00:52,600
Speaker 1: and then just burst into a just a big fireball

1168
01:00:52,600 --> 01:00:54,960
Speaker 1: at the bottom. That's what death does when you knock

1169
01:00:55,000 --> 01:00:55,680
Speaker 1: him off a roof.

1170
01:00:56,080 --> 01:00:58,600
Speaker 2: So there's some more just sort of like wrapping up

1171
01:00:58,640 --> 01:01:01,560
Speaker 2: the plot kind of stuff. There is a scene at

1172
01:01:01,600 --> 01:01:04,200
Speaker 2: the end that I got to say, as much as

1173
01:01:04,240 --> 01:01:06,640
Speaker 2: I enjoyed some of the monster scenes early on, the

1174
01:01:06,760 --> 01:01:12,280
Speaker 2: ending scene was excruciating. It just goes on and on

1175
01:01:12,680 --> 01:01:16,680
Speaker 2: and on. It's basically a chase where the woman who

1176
01:01:16,720 --> 01:01:20,320
Speaker 2: has been awoken from her eternal slumber by the sacrifices

1177
01:01:20,360 --> 01:01:23,720
Speaker 2: within the house and is trying to escape her like

1178
01:01:23,880 --> 01:01:27,200
Speaker 2: evil warlock husband. She runs out of the house and

1179
01:01:27,240 --> 01:01:30,440
Speaker 2: then zombies keep attacking her and she just keeps running

1180
01:01:30,480 --> 01:01:34,160
Speaker 2: from them, and it's playing this driving synth music that's

1181
01:01:34,240 --> 01:01:36,640
Speaker 2: kind of like good and getting you pumped up at first,

1182
01:01:36,680 --> 01:01:39,480
Speaker 2: but then it just goes on and on and on

1183
01:01:39,760 --> 01:01:43,680
Speaker 2: and on, and I thought I was gonna start screaming.

1184
01:01:43,840 --> 01:01:46,400
Speaker 1: Yeah this I had a similar experience like I've been.

1185
01:01:46,440 --> 01:01:49,040
Speaker 1: I was kind of really more enthusiastic about these monsters

1186
01:01:49,080 --> 01:01:52,200
Speaker 1: and some of the acting, but then this whole sequence

1187
01:01:52,280 --> 01:01:55,280
Speaker 1: hits and I begin to feel like a little weird,

1188
01:01:55,360 --> 01:01:57,920
Speaker 1: like a little nauseous, you know, like like it was

1189
01:01:58,080 --> 01:02:01,000
Speaker 1: it was getting psychedelic in the ad sense, like this

1190
01:02:01,040 --> 01:02:04,600
Speaker 1: scene is the brown acid, you know, right, yes, And

1191
01:02:04,760 --> 01:02:06,480
Speaker 1: it did seem to go. I don't think it's actually

1192
01:02:06,520 --> 01:02:08,920
Speaker 1: that long. I think it's maybe it's less than ten minutes,

1193
01:02:09,200 --> 01:02:12,600
Speaker 1: but who it just feels it's just dragging. It really drags.

1194
01:02:12,960 --> 01:02:15,040
Speaker 1: And then basically at the end we get our nice

1195
01:02:15,080 --> 01:02:18,840
Speaker 1: like sort of crazy dark ending where Creon finally comes

1196
01:02:18,880 --> 01:02:21,400
Speaker 1: bursting up through that grave, the pulsating grave from the

1197
01:02:21,440 --> 01:02:24,760
Speaker 1: beginning of the film, he's laughing maniacally. We cut to

1198
01:02:24,920 --> 01:02:29,760
Speaker 1: the Jaha child laughing maniacally, and then freeze frame on

1199
01:02:29,880 --> 01:02:32,360
Speaker 1: Creon laughing, and that's it, roll credits.

1200
01:02:32,520 --> 01:02:37,200
Speaker 2: Yes, yes, and that's Spookies. Spookies. You know, I can't

1201
01:02:37,200 --> 01:02:39,640
Speaker 2: stop thinking about your comparison of the Grim Reaper with

1202
01:02:40,360 --> 01:02:45,320
Speaker 2: the Hulkster from the Key and Peel Skit. Something about

1203
01:02:45,320 --> 01:02:47,320
Speaker 2: that is connecting very strongly for me.

1204
01:02:49,080 --> 01:02:50,880
Speaker 1: Yeah, I mean, if you're gonna have the Grim Reaper

1205
01:02:50,920 --> 01:02:54,320
Speaker 1: in your picture, like I mean, I hate to criticize

1206
01:02:54,400 --> 01:02:56,520
Speaker 1: the one thing that really works about this film, the

1207
01:02:56,560 --> 01:02:59,160
Speaker 1: monster buffet. Like the Grim Reaper doesn't need to be

1208
01:02:59,200 --> 01:03:02,480
Speaker 1: on the buffet. He like he needs to be an

1209
01:03:02,680 --> 01:03:06,520
Speaker 1: entree that you order special, like maybe you have a

1210
01:03:06,560 --> 01:03:08,760
Speaker 1: side item with that, but for the most part, like

1211
01:03:08,760 --> 01:03:10,400
Speaker 1: this is the Grim Reaper. He's a big deal. He

1212
01:03:10,440 --> 01:03:14,040
Speaker 1: needs to be your big bad instead of just one

1213
01:03:14,080 --> 01:03:16,760
Speaker 1: of the random things summoned by the Ouiji board. Yeah.

1214
01:03:16,800 --> 01:03:19,440
Speaker 2: Yeah, it could be part of the buffet, but at

1215
01:03:19,520 --> 01:03:21,600
Speaker 2: least needs to be a special part of the buffet.

1216
01:03:21,720 --> 01:03:23,640
Speaker 2: So it's not just like one more thing you scoop

1217
01:03:23,640 --> 01:03:26,280
Speaker 2: out of a steam tray. It is. It's the roast

1218
01:03:26,280 --> 01:03:29,640
Speaker 2: beef carving station, you know. It's like the special the

1219
01:03:30,040 --> 01:03:32,480
Speaker 2: end point. It's like this is where the real stuff is.

1220
01:03:33,000 --> 01:03:35,200
Speaker 1: However, I will say the Grim Reaper looks pretty cool.

1221
01:03:35,200 --> 01:03:38,480
Speaker 1: Like all these you can question why these monsters are

1222
01:03:38,480 --> 01:03:40,720
Speaker 1: in it, but ultimately all the monsters are pretty fun

1223
01:03:40,720 --> 01:03:44,040
Speaker 1: to look at on screen when they show up. Some

1224
01:03:44,080 --> 01:03:48,400
Speaker 1: of them look great, some of them look ambitious but interesting.

1225
01:03:49,440 --> 01:03:51,440
Speaker 1: They are ultimately the stars of this picture.

1226
01:03:51,960 --> 01:03:54,200
Speaker 2: I want to be a RepA maniac, have fun with

1227
01:03:54,240 --> 01:03:55,320
Speaker 2: my family and friends.

1228
01:03:58,840 --> 01:04:01,520
Speaker 1: All right, Well, is there anything you know? Sometimes we

1229
01:04:01,600 --> 01:04:03,320
Speaker 1: do a deeper read of some of the things, some

1230
01:04:03,360 --> 01:04:05,400
Speaker 1: of the aspects of a particular film, but this this

1231
01:04:05,480 --> 01:04:07,560
Speaker 1: film's kind of like a it's like a meta material

1232
01:04:08,160 --> 01:04:13,400
Speaker 1: that resist any stain or or water, of beads of

1233
01:04:13,480 --> 01:04:15,640
Speaker 1: fixing to it. Everything just runs off of it. There's

1234
01:04:15,680 --> 01:04:17,720
Speaker 1: not a There aren't a lot of deep thoughts we

1235
01:04:17,720 --> 01:04:20,760
Speaker 1: can really have about Spookies. But that's all right.

1236
01:04:21,000 --> 01:04:23,440
Speaker 2: It wicks away cognition.

1237
01:04:23,240 --> 01:04:26,640
Speaker 1: It does. Yeah, don't watch this film if you want

1238
01:04:26,680 --> 01:04:29,720
Speaker 1: to want to have deep thoughts about virtually anything. But

1239
01:04:29,760 --> 01:04:32,960
Speaker 1: if you want to see some some kind of groovy monsters,

1240
01:04:32,760 --> 01:04:36,040
Speaker 1: it's worth taking a look at. Which leads to our

1241
01:04:36,040 --> 01:04:38,920
Speaker 1: next point, where can you watch Spookies? Well again, Vinegar

1242
01:04:38,960 --> 01:04:41,280
Speaker 1: Syndrome put out an awesome blu ray of the movie,

1243
01:04:42,360 --> 01:04:44,880
Speaker 1: especially if you're a hardcore spooky fan. That's what you

1244
01:04:44,920 --> 01:04:48,720
Speaker 1: need to pick up. It's a four K restoration from

1245
01:04:48,800 --> 01:04:51,880
Speaker 1: the thirty five millimeters original camera negative pack full of

1246
01:04:51,880 --> 01:04:55,520
Speaker 1: special bonuses. But you can also stream this film via

1247
01:04:55,680 --> 01:04:59,800
Speaker 1: Shutter or a GMC. Yes, American Movie Classics, because this

1248
01:04:59,880 --> 01:05:01,080
Speaker 1: is Spookies after all.

1249
01:05:01,320 --> 01:05:04,000
Speaker 2: Is there a Criterion Collection edition? And I'm sorry I

1250
01:05:04,120 --> 01:05:05,000
Speaker 2: keep making that joke.

1251
01:05:05,640 --> 01:05:09,840
Speaker 1: Vinegar Syndrome is your Criterion edition for films like this.

1252
01:05:10,440 --> 01:05:11,640
Speaker 2: I promise I'll stop now.

1253
01:05:12,040 --> 01:05:15,880
Speaker 1: Okay, all right, Well, we're gonna go ahead and close

1254
01:05:15,960 --> 01:05:18,720
Speaker 1: the tomb on this one and try and see it

1255
01:05:18,880 --> 01:05:22,960
Speaker 1: shut But certainly we'll be back with another Weird House

1256
01:05:23,080 --> 01:05:25,760
Speaker 1: Cinema episode next Friday. I believe we're going to be

1257
01:05:25,840 --> 01:05:31,040
Speaker 1: talking about a film of superior quality, both objectively and

1258
01:05:31,080 --> 01:05:34,240
Speaker 1: subjectively speaking. But in the meantime you can check out

1259
01:05:34,240 --> 01:05:36,960
Speaker 1: all these episodes of Weird House Cinema that publish on

1260
01:05:37,000 --> 01:05:39,439
Speaker 1: Fridays and the Stuff to Blow Your Mind podcast feed

1261
01:05:39,480 --> 01:05:42,200
Speaker 1: We are primarily a science podcast, but we set aside

1262
01:05:42,200 --> 01:05:45,080
Speaker 1: most of the science on Fridays to discuss a weird film.

1263
01:05:45,520 --> 01:05:47,120
Speaker 1: Core episodes of Stuff to Blow Your Mind, or on

1264
01:05:47,120 --> 01:05:50,480
Speaker 1: Tuesdays and Thursdays, Artifact on Wednesday and on Monday. We

1265
01:05:50,520 --> 01:05:52,920
Speaker 1: do listener mail rerun on the weekend.

1266
01:05:52,800 --> 01:05:55,760
Speaker 2: Huge Things, As always to our excellent audio producer Seth

1267
01:05:55,840 --> 01:05:58,280
Speaker 2: Nicholas Johnson. If you would like to get in touch

1268
01:05:58,280 --> 01:06:00,560
Speaker 2: with us with feedback on this episode or any other,

1269
01:06:00,640 --> 01:06:02,600
Speaker 2: to suggest a topic for the future, or just to

1270
01:06:02,600 --> 01:06:05,880
Speaker 2: say hello, you can email us at contact at Stuffdblow

1271
01:06:05,920 --> 01:06:14,040
Speaker 2: your Mind dot com.

1272
01:06:14,160 --> 01:06:17,080
Speaker 3: Stuff to Blow Your Mind is production of iHeartRadio. For

1273
01:06:17,200 --> 01:06:21,000
Speaker 3: more podcasts from iHeartRadio, visit the iHeartRadio app, Apple Podcasts,

1274
01:06:21,080 --> 01:06:23,360
Speaker 3: or wherever you listen to your favorite shows,