WEBVTT - Weirdhouse Cinema Rewind: Spookies

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<v Speaker 1>Hey, Welcome to Weird House Cinema. Rewind, This is Rob

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<v Speaker 1>Lamb and today we're gonna We're gonna go back to

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<v Speaker 1>a much older episode of Weird House Cinema. This one

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<v Speaker 1>originally published nine ten, twenty twenty one. It is gonna

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<v Speaker 1>be our look at the nineteen eighty six film Spookies.

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<v Speaker 1>This one's This one's very uneven. I think we described

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<v Speaker 1>it at the time as being overstuffed and underdone, but

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<v Speaker 1>it's still a heck of a lot of fun. So

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<v Speaker 1>if you enjoy b movies with there are maybe a

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<v Speaker 1>little rough around the edges, Spookies might just be the

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<v Speaker 1>film for you.

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<v Speaker 2>Let's jump right in.

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

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

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<v Speaker 2>And this is Joe McCormick. And to set us up

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<v Speaker 2>for the movie that we're gonna be talking about today,

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<v Speaker 2>I wanted to discuss a problem that often arises when

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<v Speaker 2>you're making a monster movie, and that is the problem

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<v Speaker 2>of picking which kind of monster to commit to. You know,

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<v Speaker 2>it's like maybe the family's going out to dinner and

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

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<v Speaker 2>know somebody, you know, brother Daryl wants to go to

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<v Speaker 2>the steakhouse, and Grandpa wants to go to the Mexican restaurant,

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<v Speaker 2>and so forth. Everybody wants something different. They can't all

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<v Speaker 2>have it at the same place unless you go to

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<v Speaker 2>the king size buffet where you can get a little

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<v Speaker 2>bit of everything on your plate. And that's what's going

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<v Speaker 2>on with the movie today. They decided, why commit to

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<v Speaker 2>just one kind of monster? You know, why make a

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<v Speaker 2>movie just about a like monster baboon hag Bride or

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<v Speaker 2>a little diminutive rubber merman goblin or fart zombies or

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<v Speaker 2>a cast member from Cats that has a hook hand.

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<v Speaker 2>What if you could just put them all in the

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<v Speaker 2>same movie and let them all run wild.

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<v Speaker 1>Yeah, and that is very much the case with the

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<v Speaker 1>movie we're talking about here today. This is gonna be

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<v Speaker 1>Spookies from nineteen eighty six, a great year for genre films,

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<v Speaker 1>though I can't lay we can't credit Spookies for really

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<v Speaker 1>being a part of that. This is this is not

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<v Speaker 1>a great movie. This may be one of the worst

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<v Speaker 1>movies we've we've discussed for Weird House, but you know,

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<v Speaker 1>we're still gonna We're still gonna focus on the positives.

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<v Speaker 1>It does have some positives, and I think the Monster

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<v Speaker 1>Buffet is the big one, because you know, when you

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<v Speaker 1>mentioned this, I was trying to think of other films

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<v Speaker 1>that really hit the same caliber, you know, of just

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<v Speaker 1>having multiple different types of monsters, and I mean I

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<v Speaker 1>thought of Gremlins too, but then again, even though those

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<v Speaker 1>are diverse types of Grimlins, they're still Grimlins. I thought

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<v Speaker 1>of Monster Squad, but that is still a case where

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<v Speaker 1>those are all like universal monsters that are that have

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

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<v Speaker 1>Or I thought of, say, Thirteen Ghosts. Both versions of it,

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<v Speaker 1>but especially the later version of it was a lot

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<v Speaker 1>of fun. Had thirteen very different types of ghosts, but

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<v Speaker 1>they were all still essentially ghosts.

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<v Speaker 2>I keep meaning to watch that one, Rachel and I

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<v Speaker 2>love those like late nineties terrible monster movie remakes, you know,

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<v Speaker 2>the nineties what's it called House on Haunted Hill and

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

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<v Speaker 2>Maybe this is the year it is? It is. I've

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<v Speaker 2>heard it's loud. It's the main descriptor I've heard applied

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<v Speaker 2>to it.

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<v Speaker 1>It's loud, it's got a good cast, and get some

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<v Speaker 1>neat ghosts in it.

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

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<v Speaker 2>So yeah, monster Squad, and that combines all of the

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<v Speaker 2>classic universal monsters into one thing. So you got like

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<v Speaker 2>a an off brand creature from the Black Lagoon, you

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<v Speaker 2>got a wolf Man, you got a Mummy, you got

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<v Speaker 2>a Dracula, and so forth. But this one, Yeah, I

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<v Speaker 2>like that. This is like a Monster Squad, but for

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<v Speaker 2>obscure or previously unknown monsters or monsters that you would

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<v Speaker 2>not think of is going in a monster movie. So

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<v Speaker 2>it does have sort of sort of like dirt caked

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<v Speaker 2>fart zombies that the just exude flatulence as they chase

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<v Speaker 2>people around in a room. And it does have this

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<v Speaker 2>like Baboon bride creature. It does have a like a

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<v Speaker 2>lady who turns into a giant spider. I think maybe

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<v Speaker 2>she's supposed to be a certain kind of yokai. But

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<v Speaker 2>it's also got like a if you bought a one

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<v Speaker 2>of those grim reapers that goes on your lawn for

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<v Speaker 2>Halloween and raises the scythe up and down and goes

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<v Speaker 2>ooh when people walk by. But it came to life

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<v Speaker 2>and started attacking people. It has that, and it's also

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<v Speaker 2>just got a.

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<v Speaker 1>Jawa, yeah, sort of a yeah, kind of a child

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<v Speaker 1>vampire Java running around.

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<v Speaker 2>Yeah.

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<v Speaker 1>There's there's a lot of a lot of stuff here,

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<v Speaker 1>and there's not really a good reason why it's all there.

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<v Speaker 1>This is not a movie that's really concerned why people

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<v Speaker 1>or monsters have any reason to be in the same

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<v Speaker 1>place at the same time, and yet there they are.

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<v Speaker 2>Well, this movie did get me thinking about one thing.

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<v Speaker 2>I think maybe, maybe maybe the weird structure of this

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<v Speaker 2>film gave me a sort of insight into a curiosity,

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<v Speaker 2>a type of curiosity that powers the construction of certain

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<v Speaker 2>horror movies. And it is I think the same type

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<v Speaker 2>of curiosity that leads people to make those This might

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<v Speaker 2>be overly nerdy and obscure, but have you ever seen

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<v Speaker 2>those videos people make on the internet where they just

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<v Speaker 2>take like some like real time strategy video game and

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<v Speaker 2>they just keep pairing different kind of units from the

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<v Speaker 2>game against each other and seeing which one wins. You

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

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<v Speaker 2>you know, power Mechmarine versus the the Alien Screamer Queen,

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<v Speaker 2>and you know which one will be victorious. You just

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<v Speaker 2>do that one hundred times with the different types of units.

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<v Speaker 2>I think sometimes eighties horror movies especially kind of work

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<v Speaker 2>that way, but they work with a certain kind of

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<v Speaker 2>monster or slasher and then with certain types of human

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

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<v Speaker 2>nerd versus hockey mask slasher look like? Or what does

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<v Speaker 2>preppy rich kid versus merman grimlin look like? You know,

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<v Speaker 2>it's like the bug fights, but with human stereotypes on

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<v Speaker 2>one side and different types of monsters on the other.

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<v Speaker 2>Does that make any sense? Yeah?

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<v Speaker 1>Yeah, I can see that definitely being a part of

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<v Speaker 1>the alchemy going into some of those pictures. But in

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<v Speaker 1>this case it's not. This does not feel like the

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<v Speaker 1>product of an alchemy lab. This seems like the lab

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<v Speaker 1>has been ransacked and all the liquids are mixing together

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<v Speaker 1>on the table and making random explosions.

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<v Speaker 2>Oh, this movie does have some really good random explosions.

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<v Speaker 2>You don't see him coming.

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<v Speaker 1>No, so, spookies, I guess we should talk about what

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<v Speaker 1>the basic Elevator Vader pitch here is. Basically, the plot,

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<v Speaker 1>such as it exists, is that people, random people are

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<v Speaker 1>drawn to a weird house in a graveyard where a

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<v Speaker 1>warlock is trying to bring his bride back to life,

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<v Speaker 1>and equally random monster's rampage through the shambles of what

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<v Speaker 1>is essentially a kind of resurrected film. I also was

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<v Speaker 1>thinking of it in terms of what if Troll Too

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<v Speaker 1>had lacked vision and just featured more monsters.

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<v Speaker 2>What if troll Too was more of a hodgepodge instead

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<v Speaker 2>of like one one director's clear artistic vision realized to

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<v Speaker 2>its fullest extent.

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<v Speaker 1>Right, So yeah, I think for me this film was

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<v Speaker 1>worse than Troll Too.

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<v Speaker 2>This.

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<v Speaker 1>I think this is the worst film we've looked at

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<v Speaker 1>on Weird House, and I think ultimately I would like

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<v Speaker 1>not to return to its level. But there's still some

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<v Speaker 1>fun stuff to talk about here.

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<v Speaker 2>Well wait, then, how did you end up on this one?

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<v Speaker 2>What led you to Spooky's.

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<v Speaker 1>I was familiar with the title, and I had signed

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<v Speaker 1>up for Shutter to watch a previous film that we

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<v Speaker 1>had covered. I forget which one, and I was slipping

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<v Speaker 1>around and there was Spooky So I thought, well, I'm

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

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<v Speaker 1>So that's that's how it came to be, and oh

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<v Speaker 1>in the other part this is important too. This was

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<v Speaker 1>right before the Labor Day weekend, and I knew we

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<v Speaker 1>had a shortened week coming up, and we were talking

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<v Speaker 1>about doing another movie that I think we're going to

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<v Speaker 1>be doing for next week that is a much better

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<v Speaker 1>film and has some more I gotta know discuss it

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<v Speaker 1>has some some plot points in it, they're going to

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

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<v Speaker 1>that for next week when we have a little more time.

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<v Speaker 1>Spookies is perhaps the right amount of movie for what

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<v Speaker 1>we have time to put together.

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<v Speaker 2>Okay, got another question. The title Spookies. Does it refer

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<v Speaker 2>to the buffet of different kinds of monsters? Are they?

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<v Speaker 2>Are they the titular spookies?

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<v Speaker 1>I guess, I guess so.

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<v Speaker 2>I mean I've never heard of spooky as a now

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<v Speaker 2>and that's an adjective, right.

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<v Speaker 1>Mm hmm. I think the title sometimes it makes me

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<v Speaker 1>think of things like the jeepers creepers, or phrases like that,

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<v Speaker 1>or the hebgb's or something where I'm like, oh, well,

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<v Speaker 1>maybe the idea is this film is supposed to give

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<v Speaker 1>me the creepies like I have the creepies now because

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<v Speaker 1>I watch this film, you mean the Spookies, the Spookies,

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<v Speaker 1>what I say, the creepies, Okay, creepy Okay, yeah, I

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<v Speaker 1>mean I have the Spookies because I watched the film.

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<v Speaker 1>I don't know's that's as much as I could figure out.

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<v Speaker 2>Well. I wondered also though, if it was if it's

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<v Speaker 2>a little like short and kind of short cute word

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<v Speaker 2>with an S at the end, because it's in the

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<v Speaker 2>era of the Gromlins type movies, so you know, Grimlins,

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<v Speaker 2>Critters and all that. If it was trying to cash

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<v Speaker 2>in on that Goolies that sort of thing. Oh exactly

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<v Speaker 2>did they think, Okay, we need something like that to

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<v Speaker 2>get the people picking up the box in the video store?

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<v Speaker 2>How about spookies? Yeah?

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<v Speaker 1>Yeah, it was probably something like that. All right, Well,

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<v Speaker 1>let's let's give everyone a taste of the trailer audio

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<v Speaker 1>here so you'll know what you're getting into a little

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<v Speaker 1>bit more.

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<v Speaker 2>It's this supposed to be it's sort of like a

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<v Speaker 2>Parcheesi game or something.

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<v Speaker 4>I know what this is.

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

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<v Speaker 1>Ouiji board. How do you play it? Don't you?

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<v Speaker 2>Ney Dice? Is something you.

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<v Speaker 4>Don't play Ouija board is a tool for communication, communication

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<v Speaker 4>with the dead.

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<v Speaker 2>All right, Well, one way you know this is going

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<v Speaker 2>to be a really good movie is that it has

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<v Speaker 2>three directors.

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<v Speaker 1>Yeah, yeah, and from the get go it apparently had

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<v Speaker 1>two directors. Now, when you get into the production history

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<v Speaker 1>of this film, we're not going to really get into

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<v Speaker 1>it a lot. There's a whole documentary that is a

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<v Speaker 1>special feature on the Vinegar Syndrome Blu ray for this

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<v Speaker 1>and that feature is that that making of feature is

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<v Speaker 1>longer than the film itself, has a lot of interviews

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<v Speaker 1>and if you're if you're super into all the nitty

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<v Speaker 1>gritty of the production of this sort of film, then

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<v Speaker 1>I would say go check that out. But ultimately I

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<v Speaker 1>feel like a lot of it was maybe maybe too

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<v Speaker 1>much for me. Like I ultimately I love a movie

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<v Speaker 1>of this caliber, but I don't necessarily need all the

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<v Speaker 1>ins and outs of how it is made. But you know,

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<v Speaker 1>your mileage will vary. But essentially, the key factors to

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<v Speaker 1>keep in mind here is you had you had these

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<v Speaker 1>two directors. You had Thomas Dorin and you had Brendan Faulkner,

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<v Speaker 1>and they were the initial directors and the producer was

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<v Speaker 1>this guy Michael Lee, who was has been described as

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<v Speaker 1>as like a video nasty millionaire who made a lot

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<v Speaker 1>of money importing films into Britain during the period where

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<v Speaker 1>a lot of these were banned. His company, I think

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<v Speaker 1>was was vip Co Vipko, and he wanted to produce

0:11:57.800 --> 0:12:00.200
<v Speaker 1>a film. These guys already had sort of a pre

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<v Speaker 1>existing vision and then as a producer he had a

0:12:02.480 --> 0:12:07.000
<v Speaker 1>certain amount of insight into what he wanted. They shot

0:12:07.160 --> 0:12:11.360
<v Speaker 1>this film that was going to be titled Twisted Souls,

0:12:12.520 --> 0:12:16.400
<v Speaker 1>and then that relationship fell apart and another director was

0:12:16.400 --> 0:12:20.960
<v Speaker 1>brought in to finish it, and that's this director, Genie Joseph.

0:12:21.000 --> 0:12:24.960
<v Speaker 1>She ended up directing additional footage and completing the picture.

0:12:25.040 --> 0:12:29.000
<v Speaker 1>And so what we have on screen here is is

0:12:29.040 --> 0:12:32.280
<v Speaker 1>one picture, but there you can tell where stuff was added.

0:12:32.280 --> 0:12:34.679
<v Speaker 1>There's this whole additional plot.

0:12:34.400 --> 0:12:37.800
<v Speaker 2>Where there are characters who you never see on screen together,

0:12:38.880 --> 0:12:41.720
<v Speaker 2>so you can tell. I think what the framing narrative is.

0:12:41.800 --> 0:12:46.120
<v Speaker 2>So if I understand correctly, the plot about the party

0:12:46.200 --> 0:12:48.920
<v Speaker 2>kids who drive around in the woods and then end

0:12:49.000 --> 0:12:51.600
<v Speaker 2>up at a house, a random house in the woods,

0:12:51.679 --> 0:12:54.040
<v Speaker 2>go into the house and then are attacked by a

0:12:54.080 --> 0:12:58.280
<v Speaker 2>buffet of different kinds of monsters. That was the original film.

0:12:58.840 --> 0:13:01.160
<v Speaker 2>And then the framing there rative where there is an

0:13:01.200 --> 0:13:06.040
<v Speaker 2>evil old warlock who is who is sacrificing people who

0:13:06.080 --> 0:13:09.480
<v Speaker 2>wander into his house to the monsters in order to

0:13:09.679 --> 0:13:14.600
<v Speaker 2>revive his dead bride. That is the framing narrative. Yep,

0:13:14.760 --> 0:13:17.400
<v Speaker 2>that was that was later added to sort of boost

0:13:17.440 --> 0:13:19.480
<v Speaker 2>this up to feature length, right.

0:13:19.960 --> 0:13:22.720
<v Speaker 1>And you know, ultimately, like I said, I don't want

0:13:22.720 --> 0:13:24.040
<v Speaker 1>I don't want to get into all the ins and

0:13:24.080 --> 0:13:27.559
<v Speaker 1>outs of the production. I did watch the Future att

0:13:27.679 --> 0:13:30.520
<v Speaker 1>but or the feature rather, it's it's pretty too long

0:13:30.559 --> 0:13:33.320
<v Speaker 1>to be a feature at but I.

0:13:33.320 --> 0:13:36.640
<v Speaker 2>Would say that the feature here.

0:13:36.720 --> 0:13:39.679
<v Speaker 1>Yeah, I you know, I don't think the film was

0:13:39.720 --> 0:13:42.680
<v Speaker 1>ever going to be good. This is not like this

0:13:42.800 --> 0:13:45.400
<v Speaker 1>was on track to be something and and it was

0:13:45.559 --> 0:13:47.600
<v Speaker 1>changing into something else. I don't think there's a case

0:13:47.600 --> 0:13:50.320
<v Speaker 1>to be made for like release the Twisted Souls cut

0:13:50.600 --> 0:13:53.960
<v Speaker 1>or anything of that nature. I don't. I think the

0:13:54.000 --> 0:13:56.760
<v Speaker 1>film is as fun and memorable as it is because

0:13:57.280 --> 0:13:59.280
<v Speaker 1>you have so much weird stuff going on, and you

0:13:59.280 --> 0:14:04.600
<v Speaker 1>have these two different energy is involved in it. So yeah,

0:14:04.679 --> 0:14:07.960
<v Speaker 1>I mean, it wouldn't be Spooky's if it wasn't this ridiculous?

0:14:08.240 --> 0:14:11.440
<v Speaker 2>I gotta say it does make for some extremely funny moments,

0:14:12.000 --> 0:14:15.240
<v Speaker 2>the inner cutting between the different plots, because first of all,

0:14:15.240 --> 0:14:18.480
<v Speaker 2>it gives it an energy similar to Pod People, where

0:14:18.480 --> 0:14:20.280
<v Speaker 2>it has at the beginning like the A, B and

0:14:20.360 --> 0:14:23.360
<v Speaker 2>C plot, and it's frantically cutting back and forth between

0:14:23.400 --> 0:14:27.400
<v Speaker 2>them at such a pace that you are constantly trying

0:14:27.400 --> 0:14:31.960
<v Speaker 2>to figure out which movie you're in. But then also

0:14:31.720 --> 0:14:35.040
<v Speaker 2>to stay on the mystery science theater theme for a second.

0:14:35.320 --> 0:14:38.160
<v Speaker 2>It sometimes seems almost as if the Warlock in the

0:14:38.200 --> 0:14:42.200
<v Speaker 2>framing narrative is sort of riffing the movie in the middle.

0:14:42.280 --> 0:14:45.200
<v Speaker 2>So like the kids will be walking through the house

0:14:45.240 --> 0:14:48.480
<v Speaker 2>and one of them will make a comment to say, like, wow,

0:14:48.960 --> 0:14:51.600
<v Speaker 2>so the lights in this place still work, maybe somebody

0:14:51.640 --> 0:14:53.960
<v Speaker 2>lives here, And then it'll cut to the Warlock a

0:14:54.000 --> 0:14:56.600
<v Speaker 2>different room, different place. You're not even sure where he is,

0:14:57.080 --> 0:14:59.760
<v Speaker 2>but he'll go someone does still live.

0:15:02.360 --> 0:15:06.160
<v Speaker 1>Yeah, that was a moment that I definitely laughed out

0:15:06.240 --> 0:15:06.840
<v Speaker 1>loud out.

0:15:07.680 --> 0:15:07.880
<v Speaker 2>Yeah.

0:15:08.200 --> 0:15:12.840
<v Speaker 1>The resulting energy is weird and wonderful. It also feels

0:15:12.840 --> 0:15:15.920
<v Speaker 1>a bit like the stuff with the Warlock that was added.

0:15:15.960 --> 0:15:19.440
<v Speaker 1>It's like you decided to make a horror anthology, but

0:15:19.520 --> 0:15:21.920
<v Speaker 1>you only had the one picture to draw upon, because

0:15:21.920 --> 0:15:24.680
<v Speaker 1>there's certainly been cases where you have like different productions

0:15:24.720 --> 0:15:28.040
<v Speaker 1>that were unfinished or were recut, and then you have

0:15:28.120 --> 0:15:30.600
<v Speaker 1>them re released as part of a horror anthology with

0:15:30.640 --> 0:15:34.240
<v Speaker 1>some sort of framing narrative in place. But in this case,

0:15:34.280 --> 0:15:35.840
<v Speaker 1>it's just one the one picture.

0:15:35.920 --> 0:15:39.640
<v Speaker 2>Yeah. Yeah, it's a framing narrative around one movie that

0:15:39.800 --> 0:15:41.800
<v Speaker 2>was not going to make it to feature length. I'd

0:15:41.800 --> 0:15:45.160
<v Speaker 2>say that core movie is what maybe sixty minutes?

0:15:45.480 --> 0:15:48.080
<v Speaker 1>Yeah, yeah, I mean, I'm not sure how much stuff

0:15:48.120 --> 0:15:51.440
<v Speaker 1>got cut. I know some stuff got cut, but is

0:15:51.480 --> 0:15:53.600
<v Speaker 1>it stuff that would have really that I really wanted

0:15:53.640 --> 0:15:57.120
<v Speaker 1>to see instead of this wizard and his strange cat creature.

0:15:57.160 --> 0:16:07.800
<v Speaker 1>I'm not sure. All right, Well, let me go ahead

0:16:07.840 --> 0:16:11.200
<v Speaker 1>and mention some of the other projects that some of

0:16:11.240 --> 0:16:14.160
<v Speaker 1>the other folks were involved in here. So Thomas Durant

0:16:14.760 --> 0:16:18.800
<v Speaker 1>again co director, co writer on the Twisted Souls portion

0:16:18.880 --> 0:16:22.120
<v Speaker 1>of this. Interestingly enough, he was the voice of the

0:16:22.200 --> 0:16:27.200
<v Speaker 1>monster in Devil's Express, starring Warhawk Tanzania. Ooh yeah, so

0:16:27.240 --> 0:16:28.920
<v Speaker 1>I got to give him credit for that. He also

0:16:29.000 --> 0:16:32.480
<v Speaker 1>worked on a spattering of other genre pictures. Brendon Faulkner,

0:16:33.760 --> 0:16:36.640
<v Speaker 1>also the co director co writer on Twisted Souls, wrote

0:16:36.640 --> 0:16:40.320
<v Speaker 1>and directed the nineteen ninety two film Killer Dead Jeanie Joseph,

0:16:40.360 --> 0:16:44.080
<v Speaker 1>who finished the film. She wrote and directed the nineteen

0:16:44.080 --> 0:16:46.000
<v Speaker 1>eighty seven horflick Mind Benders.

0:16:46.560 --> 0:16:48.440
<v Speaker 2>I have not seen this, but I looked it up.

0:16:48.440 --> 0:16:51.600
<v Speaker 2>Apparently it's also known as Invasion of the Mind Benders,

0:16:51.720 --> 0:16:55.040
<v Speaker 2>and the VHS cover definitely made me laugh out loud.

0:16:55.120 --> 0:16:57.480
<v Speaker 2>So it says Invasion of the Mind Benders. And then

0:16:57.520 --> 0:17:02.360
<v Speaker 2>it has like a lady on and she's shooting rays

0:17:02.360 --> 0:17:06.080
<v Speaker 2>of light out of her eyeballs over a guy who's

0:17:06.240 --> 0:17:09.640
<v Speaker 2>looking up enraptured at a bunch of clouds. And then

0:17:09.800 --> 0:17:12.480
<v Speaker 2>next to it, it's got a tagline says controlling a

0:17:12.560 --> 0:17:14.359
<v Speaker 2>mind is a dangerous thing.

0:17:16.240 --> 0:17:19.080
<v Speaker 1>I like how this does look like a horror paperback

0:17:19.359 --> 0:17:20.960
<v Speaker 1>from the eighties, so.

0:17:21.119 --> 0:17:23.640
<v Speaker 2>Oh yeah, it's got looks more like book art than

0:17:24.080 --> 0:17:29.640
<v Speaker 2>movie art. And a plot description from IMDb on Mind

0:17:29.760 --> 0:17:33.400
<v Speaker 2>Benders says, two teenagers notice a sudden change in their

0:17:33.400 --> 0:17:36.280
<v Speaker 2>fellow students. No one is able to explain this zombie

0:17:36.320 --> 0:17:39.040
<v Speaker 2>like behavior, which, at the command of an unseen alien,

0:17:39.200 --> 0:17:43.120
<v Speaker 2>makes them punish transgressors with merciless violence.

0:17:45.520 --> 0:17:48.119
<v Speaker 1>All right, So most of the there are a lot

0:17:48.119 --> 0:17:49.960
<v Speaker 1>of people involved in this. There's a lot of there's

0:17:49.960 --> 0:17:54.200
<v Speaker 1>a lot of loving attention pay to the monsters, and

0:17:54.240 --> 0:17:56.520
<v Speaker 1>we're ultimately not gonna be able to mention all of

0:17:56.560 --> 0:17:58.960
<v Speaker 1>them by name, but I want to mention a few

0:17:58.960 --> 0:18:01.400
<v Speaker 1>of them, as well as the the writers involved here.

0:18:01.440 --> 0:18:05.120
<v Speaker 1>So Jennifer Aspinall was in the makeup department, went under

0:18:05.119 --> 0:18:08.560
<v Speaker 1>work on a lot of projects including Westworld, Captain Marvel,

0:18:08.600 --> 0:18:12.320
<v Speaker 1>and Saturday Night Live. There's a Frank m farrell who

0:18:13.200 --> 0:18:15.520
<v Speaker 1>was one of the writers on the screenplay. He also

0:18:15.880 --> 0:18:19.920
<v Speaker 1>produced nineteen eighty seven Street Trash. That's a melt movie

0:18:19.920 --> 0:18:24.720
<v Speaker 1>that we've discussed before. Anne Bergund was a writer additional

0:18:24.720 --> 0:18:28.280
<v Speaker 1>material plus costume design. She was also associate producer on

0:18:28.359 --> 0:18:31.440
<v Speaker 1>nineteen ninety four's The Mask, Yes, the one with Jim

0:18:31.480 --> 0:18:33.520
<v Speaker 1>Carrey in a green cartoon face.

0:18:34.040 --> 0:18:37.480
<v Speaker 2>So did Anne Bergund do the costumes in this, because

0:18:37.520 --> 0:18:39.920
<v Speaker 2>we're gonna have some commentary on the costumes.

0:18:40.880 --> 0:18:43.119
<v Speaker 1>She at least did some of them. But also you

0:18:43.200 --> 0:18:47.080
<v Speaker 1>have this guy Tom Mulinelli who is credited with art direction,

0:18:47.400 --> 0:18:51.000
<v Speaker 1>art department and costume design. This is another individual who

0:18:51.080 --> 0:18:53.840
<v Speaker 1>worked on Street trash. Okay, there's a guy by the

0:18:53.920 --> 0:18:58.199
<v Speaker 1>name of al magli O'schetti who plays Lewis Wilson in this.

0:18:58.240 --> 0:19:00.800
<v Speaker 1>I don't remember which one Lewis Wilson was, but he

0:19:00.840 --> 0:19:03.159
<v Speaker 1>also did special effects photography. He went on to do

0:19:03.240 --> 0:19:05.800
<v Speaker 1>visual effects in a lot of big pictures including Star Trek,

0:19:05.840 --> 0:19:10.600
<v Speaker 1>The Undiscovered Country, Water World, The T two Bill and

0:19:10.640 --> 0:19:14.080
<v Speaker 1>Ted's Bogus Journey, The Adams Family, Jason Goes to Hell,

0:19:14.440 --> 0:19:15.480
<v Speaker 1>and many others.

0:19:15.800 --> 0:19:18.639
<v Speaker 2>Oh. In fact, so I see the connection to T

0:19:18.840 --> 0:19:22.919
<v Speaker 2>two there. But the camera operator, the steadycam operator in

0:19:22.960 --> 0:19:26.560
<v Speaker 2>this movie, j Michael Murrow, I think, also did steady

0:19:26.600 --> 0:19:29.560
<v Speaker 2>cam for a lot of James Cameron movies, including Terminator two.

0:19:29.960 --> 0:19:32.159
<v Speaker 1>Yeah, this is an individual that I believe Michael Weldon

0:19:32.280 --> 0:19:34.760
<v Speaker 1>pointed out as being involved in this picture in his

0:19:34.880 --> 0:19:38.119
<v Speaker 1>write up in one of the Psychotronic in the Psychotronic

0:19:38.240 --> 0:19:41.560
<v Speaker 1>Video Guide or the Psychotronic Video Guide or the Guide

0:19:41.560 --> 0:19:44.080
<v Speaker 1>to Film, I can't remember which one. Now, getting into

0:19:44.080 --> 0:19:45.800
<v Speaker 1>the actors a little bit, there are a number of

0:19:45.840 --> 0:19:48.280
<v Speaker 1>actors in this who didn't really have any other credits.

0:19:48.640 --> 0:19:51.600
<v Speaker 1>But my favorite actor in this whole picture is Peter

0:19:51.680 --> 0:19:57.640
<v Speaker 1>Ascillo Junior. He plays Rich is oh I would say,

0:19:57.680 --> 0:20:02.800
<v Speaker 1>the richest character in this film. How would we describe him?

0:20:02.800 --> 0:20:04.280
<v Speaker 1>He's the he's the cut up, He's.

0:20:04.119 --> 0:20:05.160
<v Speaker 2>The He's a ham.

0:20:05.560 --> 0:20:06.120
<v Speaker 1>He's a ham.

0:20:06.200 --> 0:20:10.199
<v Speaker 2>He's a constant, glorious ham. He's a ham. Who's you

0:20:10.240 --> 0:20:13.400
<v Speaker 2>get the sense that he's improvising a lot of his lines.

0:20:13.480 --> 0:20:17.320
<v Speaker 2>There are scenes of just where where it feels like

0:20:17.400 --> 0:20:19.640
<v Speaker 2>what happened is they just turn the camera on him

0:20:19.640 --> 0:20:21.440
<v Speaker 2>and they're like, Rich, come on, you know, just riff

0:20:21.520 --> 0:20:24.320
<v Speaker 2>a little bit. And so he'll like wander around kind

0:20:24.320 --> 0:20:27.240
<v Speaker 2>of bumping into the other characters and be like, hey, hey,

0:20:27.359 --> 0:20:31.719
<v Speaker 2>how's your sinuses and stuff like that. He also is

0:20:32.000 --> 0:20:36.080
<v Speaker 2>plays a character who loves beer, and it's clear he

0:20:36.119 --> 0:20:39.239
<v Speaker 2>loves beer because even after the monsters started attacking and

0:20:39.280 --> 0:20:42.000
<v Speaker 2>all everything goes crazy, he's still always got his beer

0:20:42.040 --> 0:20:42.560
<v Speaker 2>in his hand.

0:20:43.960 --> 0:20:45.879
<v Speaker 1>Yeah, he's a lot of fun in this He's like

0:20:45.920 --> 0:20:49.800
<v Speaker 1>this tall, mustachioed guy that was apparently in real life

0:20:49.840 --> 0:20:52.320
<v Speaker 1>was just always on, just was always the goofy cut

0:20:52.400 --> 0:20:56.320
<v Speaker 1>up and was much beloved, and so he brings that

0:20:56.359 --> 0:21:00.560
<v Speaker 1>exact same energy to this role. His character, Rich has

0:21:00.640 --> 0:21:05.320
<v Speaker 1>a puppet named Muk and so he's off. He's constantly

0:21:05.359 --> 0:21:08.560
<v Speaker 1>interacting and harassing the other characters with this puppet. And

0:21:08.600 --> 0:21:11.639
<v Speaker 1>he wears a T shirt that features an image of

0:21:11.720 --> 0:21:17.840
<v Speaker 1>himself and the puppet Muke on it. Right, So he

0:21:17.920 --> 0:21:21.639
<v Speaker 1>lived nineteen fifty three through twenty seventeen. He played an

0:21:21.720 --> 0:21:24.480
<v Speaker 1>uncredited zombie and Down of the Dead, and then went

0:21:24.520 --> 0:21:27.600
<v Speaker 1>on to do a lot of bit parts and things,

0:21:27.640 --> 0:21:31.399
<v Speaker 1>often freaks and crazy, sometimes background work. I noticed he

0:21:31.600 --> 0:21:34.040
<v Speaker 1>pops up even in an episode of thirty Rock playing

0:21:34.400 --> 0:21:37.480
<v Speaker 1>paparazzi character, so you know, just somebody clicking a camera

0:21:37.520 --> 0:21:41.040
<v Speaker 1>in the background. But then we also have this character Duke,

0:21:41.560 --> 0:21:45.800
<v Speaker 1>who is Duke also interesting. How would you describe Duke

0:21:45.880 --> 0:21:46.360
<v Speaker 1>to everyone?

0:21:46.960 --> 0:21:50.560
<v Speaker 2>Duke is a fabulous bully. He's sort of the like

0:21:50.640 --> 0:21:55.440
<v Speaker 2>tough guy, bad guy, bad boy of the group. It's

0:21:55.480 --> 0:21:57.639
<v Speaker 2>hard to convey by describing, but a lot of the

0:21:57.640 --> 0:22:01.520
<v Speaker 2>scenes with Duke in them have this bizarre rhythm and

0:22:01.600 --> 0:22:04.520
<v Speaker 2>logic that you sort of get, You get a feel

0:22:04.600 --> 0:22:07.120
<v Speaker 2>for as the movie goes on, but it can't really

0:22:07.160 --> 0:22:09.440
<v Speaker 2>be compared to anything else I can think of. I'm

0:22:09.440 --> 0:22:12.240
<v Speaker 2>going to try to describe one scene just to give

0:22:12.280 --> 0:22:15.520
<v Speaker 2>you an idea of like of duke rhythm, and it

0:22:15.560 --> 0:22:17.840
<v Speaker 2>goes like this, so like they're in the house and

0:22:18.080 --> 0:22:21.119
<v Speaker 2>Duke just pulls a box off the shelf and he

0:22:21.200 --> 0:22:23.960
<v Speaker 2>opens it and an amulet flies out of the box

0:22:24.000 --> 0:22:27.040
<v Speaker 2>onto the floor. And then this other character named Carol

0:22:27.119 --> 0:22:30.399
<v Speaker 2>picks up the amulet and she says, isn't it wonderful?

0:22:31.000 --> 0:22:33.439
<v Speaker 2>And he goes, pretty damn weird. If you ask me,

0:22:33.720 --> 0:22:36.479
<v Speaker 2>what is it? Art or something? Think it's worth any money?

0:22:36.920 --> 0:22:40.760
<v Speaker 2>And then he, immediately from saying this line, turns his

0:22:40.880 --> 0:22:43.480
<v Speaker 2>head to the side and sees a door that has

0:22:43.560 --> 0:22:46.520
<v Speaker 2>just been behind him the whole time, and then he goes,

0:22:46.640 --> 0:22:49.520
<v Speaker 2>what the hell is in here? And he starts jostling

0:22:49.560 --> 0:22:53.120
<v Speaker 2>the lock frantically, and then he breaks a chair across

0:22:53.160 --> 0:22:56.040
<v Speaker 2>the door and starts shoving a board into the door

0:22:56.160 --> 0:22:59.560
<v Speaker 2>jam trying to pry it open. This is Duke energy.

0:22:59.560 --> 0:23:05.119
<v Speaker 1>Would yes, yes, very much so he In my notes,

0:23:05.440 --> 0:23:10.320
<v Speaker 1>I noted that he was essentially a discount Phonsie in

0:23:10.400 --> 0:23:13.880
<v Speaker 1>a trash bag because he's wearing this weird costume.

0:23:14.160 --> 0:23:17.480
<v Speaker 2>He's wearing plastic clothes like a shirt and pants that

0:23:17.560 --> 0:23:20.520
<v Speaker 2>are they look like they're made from the same material

0:23:20.760 --> 0:23:23.760
<v Speaker 2>material as like black heavy duty garbage bags.

0:23:24.240 --> 0:23:26.560
<v Speaker 1>Yeah, yeah, I don't know if it's like a workout

0:23:26.600 --> 0:23:27.119
<v Speaker 1>thing or what.

0:23:27.280 --> 0:23:30.280
<v Speaker 2>Yeah, I don't know that that that is literally what

0:23:30.280 --> 0:23:33.040
<v Speaker 2>it looks like it's made out of. And I yeah,

0:23:33.400 --> 0:23:34.359
<v Speaker 2>I have no explanation.

0:23:36.080 --> 0:23:38.800
<v Speaker 1>My one of my early theories watching this film was

0:23:38.840 --> 0:23:41.800
<v Speaker 1>that he was perhaps like the frontman of a band

0:23:41.960 --> 0:23:45.160
<v Speaker 1>or something, and that are the characters, the human characters

0:23:45.160 --> 0:23:48.080
<v Speaker 1>in this film. It's essentially like a band and some

0:23:48.119 --> 0:23:52.119
<v Speaker 1>hangers on and like maybe they're older producer. But this

0:23:52.200 --> 0:23:55.960
<v Speaker 1>is a complete misread on my part because there's nothing

0:23:56.000 --> 0:23:58.600
<v Speaker 1>to support that in the film. There's nothing to support

0:23:58.680 --> 0:24:01.560
<v Speaker 1>any actual connections but between any of these human characters.

0:24:01.840 --> 0:24:04.000
<v Speaker 2>Well, this gets you to something about the movie, which

0:24:04.000 --> 0:24:06.720
<v Speaker 2>is that it has one of my absolute favorite horror

0:24:06.720 --> 0:24:11.479
<v Speaker 2>movie tropes, which is the utterly implosable friend group. You know,

0:24:11.560 --> 0:24:15.199
<v Speaker 2>many eighties movies especially have this. The eighties were the

0:24:15.320 --> 0:24:18.000
<v Speaker 2>decade of the implausible friend group movie. Though you know,

0:24:18.119 --> 0:24:20.360
<v Speaker 2>it still happens every now and then. But I think

0:24:20.400 --> 0:24:22.480
<v Speaker 2>you probably know what I'm talking about. But if not,

0:24:22.680 --> 0:24:24.520
<v Speaker 2>just picture this. Okay, so it's a horror movie. You

0:24:24.600 --> 0:24:26.760
<v Speaker 2>got a group of friends hanging out. Maybe they're going

0:24:26.800 --> 0:24:29.600
<v Speaker 2>to somebody's uncle's cabin in the woods, or they're driving

0:24:29.680 --> 0:24:31.919
<v Speaker 2>around looking for a party as in this movie or

0:24:31.920 --> 0:24:35.600
<v Speaker 2>something like that, and the group consists of people who

0:24:35.600 --> 0:24:39.199
<v Speaker 2>would never in reality be hanging out together. What you

0:24:39.320 --> 0:24:43.800
<v Speaker 2>usually get is either one or two of each teen

0:24:44.119 --> 0:24:47.879
<v Speaker 2>subculture archetype that the movie wants to show, So you

0:24:47.960 --> 0:24:53.119
<v Speaker 2>get like a jock, a nerd, a punk, a stoner,

0:24:53.600 --> 0:24:56.680
<v Speaker 2>a preppie, rich kid, et cetera, instead of what you

0:24:56.680 --> 0:24:59.719
<v Speaker 2>would imagine would happen in reality, which is you'd have

0:24:59.760 --> 0:25:02.600
<v Speaker 2>like a group of jocks, or like a group of nerds,

0:25:02.640 --> 0:25:05.000
<v Speaker 2>a group of stoners, and and that would be the

0:25:05.040 --> 0:25:05.639
<v Speaker 2>friend group.

0:25:06.200 --> 0:25:09.679
<v Speaker 1>Yeah, yeah, I mean sometimes I guess in your better films,

0:25:10.480 --> 0:25:13.440
<v Speaker 1>you see a diverse group of people brought together by

0:25:14.160 --> 0:25:19.320
<v Speaker 1>circumstances that then have to survive the monster. Oftentimes maybe yeah, yeah,

0:25:19.359 --> 0:25:22.719
<v Speaker 1>like maybe it's uh, you know, it's stoners and greasers

0:25:23.560 --> 0:25:26.320
<v Speaker 1>because they're both fleeing a storm or something and we're

0:25:26.320 --> 0:25:28.439
<v Speaker 1>holding up in the same place and now we're have

0:25:28.520 --> 0:25:30.280
<v Speaker 1>we now we have to fight goblins or something.

0:25:30.480 --> 0:25:32.440
<v Speaker 2>Right, That's more like you'd get in a Night of

0:25:32.480 --> 0:25:34.639
<v Speaker 2>the Living Dead. You know, different people are sort of

0:25:34.760 --> 0:25:38.600
<v Speaker 2>driven into a house by the zombies attacking. It's not

0:25:38.640 --> 0:25:40.679
<v Speaker 2>like they were all hanging out to begin with.

0:25:41.040 --> 0:25:43.760
<v Speaker 1>Right, But in this film everyone was hanging out to

0:25:43.800 --> 0:25:46.920
<v Speaker 1>begin with, and we're given no explanation why that would be.

0:25:47.480 --> 0:25:49.040
<v Speaker 2>You know, And I think there are a number of

0:25:49.080 --> 0:25:51.120
<v Speaker 2>reasons this happens. Number one is what I was talking

0:25:51.160 --> 0:25:54.040
<v Speaker 2>about earlier. It's kind of the bug fights mentality, Like

0:25:54.080 --> 0:25:59.040
<v Speaker 2>you want to see different human cultural archetypes being faced

0:25:59.080 --> 0:26:03.000
<v Speaker 2>with violent struggle or extreme circumstances with that kind of

0:26:03.080 --> 0:26:07.240
<v Speaker 2>like bug fights or video game unit versus unit mentality.

0:26:07.280 --> 0:26:10.239
<v Speaker 2>It's just kind of a basic curiosity about like how

0:26:10.280 --> 0:26:13.399
<v Speaker 2>does this one work? But there's another version of it.

0:26:13.640 --> 0:26:15.720
<v Speaker 2>I think this is sort of there at the core too,

0:26:15.760 --> 0:26:18.439
<v Speaker 2>which is that the dead teenager movies of the eighties

0:26:18.480 --> 0:26:23.640
<v Speaker 2>are often, in essence clumsy and vulgar morality plays, and

0:26:23.720 --> 0:26:26.439
<v Speaker 2>as such, in a way you get them trying to

0:26:26.480 --> 0:26:29.600
<v Speaker 2>sort of recreate the dynamics of the Canterbury Tales. So

0:26:29.680 --> 0:26:32.240
<v Speaker 2>whereas in the Canterbury Tales you might get the knight's

0:26:32.280 --> 0:26:34.560
<v Speaker 2>tale and the partner's tale and the Wife of Bath,

0:26:34.640 --> 0:26:37.160
<v Speaker 2>here you get the jock's tail and the punk's tale

0:26:37.200 --> 0:26:41.359
<v Speaker 2>and the NERD's tale, and those are the little vignettes

0:26:41.400 --> 0:26:43.880
<v Speaker 2>you see them them go through before they finally meet

0:26:43.920 --> 0:26:47.399
<v Speaker 2>their end at the ultimate confrontation with the monster or

0:26:47.480 --> 0:26:49.000
<v Speaker 2>mad slasher or whatever it is.

0:26:50.600 --> 0:26:52.520
<v Speaker 1>I would have liked to have seen Rich's tale. I

0:26:52.520 --> 0:26:54.760
<v Speaker 1>guess we do see Rich's tale to a certain extent here.

0:26:54.880 --> 0:26:59.400
<v Speaker 2>Yeah, I kind of Rich, I see Partner's tale sort

0:26:59.400 --> 0:27:01.359
<v Speaker 2>of right, but also a Miller's tale, one one of

0:27:01.359 --> 0:27:05.040
<v Speaker 2>the good humorous ones. But I totally agree with you.

0:27:05.240 --> 0:27:07.480
<v Speaker 2>It works better when there is some kind of external

0:27:07.520 --> 0:27:11.560
<v Speaker 2>circumstance that can assemble people who are not naturally friends.

0:27:11.560 --> 0:27:13.320
<v Speaker 2>But in this movie, yes, it's just like, well, they're

0:27:13.359 --> 0:27:16.280
<v Speaker 2>all hanging out together for no for no reason, they

0:27:16.320 --> 0:27:17.440
<v Speaker 2>appear to hate each other.

0:27:18.000 --> 0:27:21.159
<v Speaker 1>Yeah, yeah, there's there's tension from the very beginning. Yeah,

0:27:21.320 --> 0:27:24.760
<v Speaker 1>but we don't really know why there's. It's not explained.

0:27:24.800 --> 0:27:26.920
<v Speaker 1>But it's the kind of tension that eventually erupts into

0:27:26.960 --> 0:27:30.520
<v Speaker 1>a full fledged fist fight between two of the characters.

0:27:30.920 --> 0:27:34.320
<v Speaker 1>In fact, between Duke and the older guy who I

0:27:34.320 --> 0:27:37.520
<v Speaker 1>thought was maybe a manager of some sort. They have

0:27:37.600 --> 0:27:40.440
<v Speaker 1>like an epic quiet man asque this fight.

0:27:40.720 --> 0:27:41.159
<v Speaker 2>Yes, and.

0:27:42.640 --> 0:27:44.120
<v Speaker 1>I'm not really sure why it occurs.

0:27:45.000 --> 0:27:47.960
<v Speaker 2>Oh man, that seems good. Oh and and like their

0:27:48.040 --> 0:27:51.200
<v Speaker 2>girlfriends are They're just like watching them fight, and one

0:27:51.200 --> 0:27:52.800
<v Speaker 2>of them is like, should we stop them? And the

0:27:52.800 --> 0:27:54.760
<v Speaker 2>other one is basically like no, just let them go.

0:27:55.840 --> 0:27:58.919
<v Speaker 1>And they've been beset by multiple monsters at this point.

0:27:59.040 --> 0:28:01.960
<v Speaker 1>So yeah, it's just not a good time for a fistfight.

0:28:02.280 --> 0:28:03.840
<v Speaker 2>Okay, Well, are you ready to talk a little more

0:28:03.880 --> 0:28:04.560
<v Speaker 2>about the plot?

0:28:05.240 --> 0:28:08.320
<v Speaker 1>Yes, such as it is, let's get into the plot.

0:28:09.160 --> 0:28:11.199
<v Speaker 2>So one of the first things that had me laughing

0:28:11.240 --> 0:28:13.960
<v Speaker 2>in this movie was, I know this was the title

0:28:14.000 --> 0:28:16.840
<v Speaker 2>of the original film before it was recut and supplemented

0:28:16.880 --> 0:28:20.080
<v Speaker 2>by the additional footage, but this credit was given to

0:28:20.200 --> 0:28:25.399
<v Speaker 2>Twisted Souls inc Twisted Souls Incorporated. I don't know. That

0:28:25.440 --> 0:28:28.920
<v Speaker 2>sounds like a tattoo company or something. I'm not sure

0:28:28.960 --> 0:28:32.760
<v Speaker 2>what exactly, But so you get an opening on a graveyard.

0:28:32.760 --> 0:28:35.359
<v Speaker 2>It's very ed wood style graveyard with some kind of

0:28:35.359 --> 0:28:40.400
<v Speaker 2>flimsy looking tombstones, and then there is a stone crypt

0:28:40.480 --> 0:28:43.560
<v Speaker 2>cover on one of the graves that starts throbbing, like

0:28:43.600 --> 0:28:47.080
<v Speaker 2>it's stretching and deforming, and immediately I thought, oh, that's

0:28:47.120 --> 0:28:50.920
<v Speaker 2>a nice special effect. I think that could be similar.

0:28:51.320 --> 0:28:54.040
<v Speaker 2>There's a similar effect actually in the original Nightmare on

0:28:54.080 --> 0:28:57.640
<v Speaker 2>ELM Street where you remember the scene where a character

0:28:57.720 --> 0:28:59.719
<v Speaker 2>is lying on a bed dreaming and then on the

0:28:59.720 --> 0:29:03.440
<v Speaker 2>wall behind them, like Freddy's head sort of stretches out

0:29:03.520 --> 0:29:05.920
<v Speaker 2>through the wall. And I think, I'm not sure, but

0:29:05.960 --> 0:29:09.360
<v Speaker 2>I think that was accomplished just by using like a sheet,

0:29:09.400 --> 0:29:12.680
<v Speaker 2>a flexible sheet as the wall. And then so you know,

0:29:12.960 --> 0:29:15.840
<v Speaker 2>the actor sticks their head in there and it looks

0:29:15.880 --> 0:29:18.959
<v Speaker 2>like the wall is actually bending around some surface, some

0:29:19.040 --> 0:29:20.920
<v Speaker 2>objects coming out of it. I think the same thing's

0:29:20.960 --> 0:29:22.400
<v Speaker 2>probably going on with the grave here.

0:29:22.880 --> 0:29:25.800
<v Speaker 1>Yeah, that was a great scene in Nightmare. That was

0:29:25.800 --> 0:29:27.960
<v Speaker 1>a great scene. Yeah, it reminds me a lot of

0:29:27.960 --> 0:29:29.640
<v Speaker 1>this short story the Yellow Wallpaper.

0:29:29.880 --> 0:29:33.360
<v Speaker 2>Oh okay, what was Spooky's actually based on an early

0:29:33.400 --> 0:29:37.800
<v Speaker 2>script treatment by Charlotte Perkins Gilman. I think I recall

0:29:37.880 --> 0:29:43.280
<v Speaker 2>reading that somewhere. So we keep seeing this graveyard right

0:29:43.280 --> 0:29:45.600
<v Speaker 2>out in front of the big white mansion. There's a

0:29:45.600 --> 0:29:47.720
<v Speaker 2>big white mansion. It's the house for the movie. Looks

0:29:47.800 --> 0:29:49.640
<v Speaker 2>kind of like the White House because it has these

0:29:49.680 --> 0:29:50.880
<v Speaker 2>pillars out in the front.

0:29:50.920 --> 0:29:53.320
<v Speaker 1>Well, it does have an interesting history because it turns

0:29:53.320 --> 0:29:55.440
<v Speaker 1>out this is the John Jay Homestead.

0:29:55.680 --> 0:30:00.640
<v Speaker 2>That's right, What a bizarre connection. So this Spooky the

0:30:00.640 --> 0:30:05.720
<v Speaker 2>movie with fart Zombies was filmed at the ancestral home

0:30:06.160 --> 0:30:08.920
<v Speaker 2>of John Jay, one of the US founding fathers, the

0:30:08.960 --> 0:30:11.680
<v Speaker 2>first Chief Justice of the Supreme Court, one of the

0:30:11.720 --> 0:30:15.480
<v Speaker 2>authors of the Federalist papers. I didn't know this when

0:30:15.480 --> 0:30:17.240
<v Speaker 2>I watched the movie, but it made me think back

0:30:17.280 --> 0:30:19.640
<v Speaker 2>on it, and I'm like, could this be interpreted as

0:30:20.240 --> 0:30:24.200
<v Speaker 2>containing any federalist propaganda? I couldn't. I couldn't really make

0:30:24.240 --> 0:30:28.320
<v Speaker 2>that work. But anyway, so we'll keep seeing this as

0:30:28.400 --> 0:30:30.160
<v Speaker 2>the setting. They show you a lot of the setting

0:30:30.760 --> 0:30:33.600
<v Speaker 2>and then it cuts to this dude in white gloves

0:30:33.640 --> 0:30:36.280
<v Speaker 2>sitting doctor claw style, so it's a high back chair.

0:30:36.880 --> 0:30:39.200
<v Speaker 2>He's got his back to the camera, he's got his

0:30:39.280 --> 0:30:41.520
<v Speaker 2>hand on a cane and white gloves. He's got a

0:30:41.520 --> 0:30:44.440
<v Speaker 2>big old ring on and he is talking to a

0:30:44.560 --> 0:30:49.040
<v Speaker 2>winter green coffin and he says, I conveyed no longer.

0:30:49.480 --> 0:30:54.600
<v Speaker 2>The final foolish victims will be here very soon. So

0:30:55.000 --> 0:30:57.720
<v Speaker 2>just doing a really excellent accent that kind of comes

0:30:57.720 --> 0:30:59.800
<v Speaker 2>and goes. He doesn't always have the accent.

0:31:00.080 --> 0:31:03.000
<v Speaker 1>Yeah, it's not very consistent. There are times where it

0:31:03.040 --> 0:31:06.800
<v Speaker 1>feels like it's fifty percent low pan and fifty percent

0:31:06.960 --> 0:31:07.960
<v Speaker 1>major taught from.

0:31:07.880 --> 0:31:08.920
<v Speaker 2>Raiders of the Lost Arc.

0:31:09.000 --> 0:31:11.640
<v Speaker 1>You know, it's oh yeah, it kind of he's going

0:31:11.720 --> 0:31:13.520
<v Speaker 1>for some sort of a German accent, like that's what

0:31:13.560 --> 0:31:16.080
<v Speaker 1>he's aiming for, but there's a bit of drift to it.

0:31:16.440 --> 0:31:19.920
<v Speaker 2>The vinyl foolish victims. Yeah, yeah, well, actually that may

0:31:20.120 --> 0:31:22.680
<v Speaker 2>maybe that connects more thematically than I realized, because of

0:31:22.760 --> 0:31:25.760
<v Speaker 2>course Duke does turn out to be wearing vinyl clothes,

0:31:26.320 --> 0:31:29.320
<v Speaker 2>so at least one of the victims is vinyl in nature.

0:31:29.680 --> 0:31:30.760
<v Speaker 1>That's true, that's true.

0:31:30.840 --> 0:31:35.120
<v Speaker 2>But okay, so we get a read on the Warlocks plan.

0:31:35.280 --> 0:31:40.040
<v Speaker 2>This guy is going to sacrifice victims in his house

0:31:40.800 --> 0:31:44.480
<v Speaker 2>in order to resurrect his his wife, I think, and

0:31:45.040 --> 0:31:47.440
<v Speaker 2>we're led to believe at the time that, like you know,

0:31:47.480 --> 0:31:50.320
<v Speaker 2>they loved each other dearly, but she has long departed

0:31:50.400 --> 0:31:52.560
<v Speaker 2>and she will soon be raised and they will be

0:31:52.600 --> 0:31:53.640
<v Speaker 2>happy together forever.

0:31:54.080 --> 0:31:59.320
<v Speaker 1>Yes, yeah, it's all right. So it seems that at

0:31:59.360 --> 0:32:00.880
<v Speaker 1>this point in the thing, I'm like, like, all right,

0:32:00.960 --> 0:32:03.760
<v Speaker 1>let's see how this occurs. Let's see how this happens.

0:32:04.680 --> 0:32:08.160
<v Speaker 2>Then we cut to this might be movie B or

0:32:08.200 --> 0:32:10.600
<v Speaker 2>movie C. At this point, we cut to a guy

0:32:10.680 --> 0:32:13.160
<v Speaker 2>running around in the woods who looks like a cast

0:32:13.240 --> 0:32:16.560
<v Speaker 2>member from Cats. He looks like a jellical cat going

0:32:16.600 --> 0:32:18.640
<v Speaker 2>to the jellicle ball and he has a hook for

0:32:18.680 --> 0:32:19.080
<v Speaker 2>a hand.

0:32:19.480 --> 0:32:21.520
<v Speaker 1>Yeah, some sort of a weare cat with a hook

0:32:21.560 --> 0:32:25.200
<v Speaker 1>for a hand in this kind of strange costume running

0:32:25.200 --> 0:32:27.880
<v Speaker 1>around looking, you know, very creepy. You know, I'm not

0:32:27.920 --> 0:32:30.920
<v Speaker 1>saying that these are you know, it's not thriller level

0:32:31.040 --> 0:32:34.680
<v Speaker 1>of creature creation here, but it's pretty good and I

0:32:34.720 --> 0:32:36.720
<v Speaker 1>am legitimately creeped out by this guy.

0:32:37.200 --> 0:32:39.680
<v Speaker 2>Oh and we also get the cast member of Cats

0:32:39.720 --> 0:32:43.840
<v Speaker 2>observing a kid with a backpack who's just wandering around

0:32:43.840 --> 0:32:44.960
<v Speaker 2>by himself in the woods.

0:32:45.600 --> 0:32:48.160
<v Speaker 1>Right, is this billy or is he just a billy?

0:32:48.560 --> 0:32:50.920
<v Speaker 2>I think it's billy. Yeah, And then you get to

0:32:50.960 --> 0:32:54.200
<v Speaker 2>Movie C, I think. And then in Movie C we

0:32:54.280 --> 0:32:57.360
<v Speaker 2>meet our implausible friend group which are driving around the

0:32:57.400 --> 0:33:00.560
<v Speaker 2>woods in two different cars. Car number one consist of

0:33:00.600 --> 0:33:03.040
<v Speaker 2>a bad boy driver. This is Duke. He's wearing his

0:33:03.040 --> 0:33:06.560
<v Speaker 2>black plastic clothes. He's being an aggressive jerk from moment one,

0:33:06.640 --> 0:33:09.120
<v Speaker 2>just screaming at his passengers about spilling beer on the

0:33:09.400 --> 0:33:11.680
<v Speaker 2>upholstery while he's sort of zipping around in the dark.

0:33:12.680 --> 0:33:16.080
<v Speaker 2>And then you see car number two. The driver is

0:33:16.120 --> 0:33:21.120
<v Speaker 2>this much older guy who reads as like the ultimate

0:33:21.280 --> 0:33:24.040
<v Speaker 2>narc hanging out with these teens around him. He's wearing

0:33:24.040 --> 0:33:27.480
<v Speaker 2>a suit and tie. He is at least fifteen years

0:33:27.520 --> 0:33:29.800
<v Speaker 2>older than everyone else. I thought he was supposed to

0:33:29.840 --> 0:33:33.320
<v Speaker 2>be somebody's dad, but I think he's just a member

0:33:33.320 --> 0:33:36.720
<v Speaker 2>of this friend group who looks like he could be

0:33:36.800 --> 0:33:37.320
<v Speaker 2>their dad.

0:33:37.960 --> 0:33:42.080
<v Speaker 1>Yeah, and it's never explained, And based on some of

0:33:41.440 --> 0:33:43.960
<v Speaker 1>the behind the scenes interviews that I saw, I don't

0:33:43.960 --> 0:33:47.080
<v Speaker 1>think they knew either. This was not something where they

0:33:47.120 --> 0:33:50.080
<v Speaker 1>cut out some scenes that explain something. No, it's just

0:33:50.440 --> 0:33:52.920
<v Speaker 1>it's just this is what they was put together, and

0:33:52.960 --> 0:33:54.920
<v Speaker 1>they had no idea whether connections were supposed to be.

0:33:55.400 --> 0:33:59.480
<v Speaker 2>And there's immediately a rivalry between this guy. We find

0:33:59.480 --> 0:34:02.800
<v Speaker 2>out his name is Peter, and Duke. The drivers of

0:34:02.800 --> 0:34:05.080
<v Speaker 2>the two cars don't like each other. Peter is talking

0:34:05.120 --> 0:34:06.920
<v Speaker 2>about Duke. He says, I told you we shouldn't have

0:34:06.920 --> 0:34:09.480
<v Speaker 2>followed him. First. He starts a fight at that party,

0:34:09.600 --> 0:34:12.359
<v Speaker 2>gets us all thrown out, embarrasses the hell out of us.

0:34:12.600 --> 0:34:14.440
<v Speaker 2>Then he gets us lost out here in the middle

0:34:14.480 --> 0:34:17.719
<v Speaker 2>of nowhere. So I guess Duke's calling the shots. They're

0:34:17.760 --> 0:34:21.239
<v Speaker 2>all just they're riding for Duke. And Duke. Duke is

0:34:21.280 --> 0:34:25.720
<v Speaker 2>not is not proving his worth. Duke is leading them astray.

0:34:25.840 --> 0:34:28.359
<v Speaker 1>Yeah, it's just it's so ridiculous. I can't even begin

0:34:28.400 --> 0:34:30.120
<v Speaker 1>to follow it. I guess part of it is the

0:34:30.120 --> 0:34:32.640
<v Speaker 1>problem of having this many monsters in a film. You

0:34:32.760 --> 0:34:34.920
<v Speaker 1>need not one, but two car loads of people to

0:34:34.960 --> 0:34:37.960
<v Speaker 1>serve as victims, and then you get this kind of

0:34:37.960 --> 0:34:38.480
<v Speaker 1>a situation.

0:34:38.800 --> 0:34:41.600
<v Speaker 2>Yeah, I guess that's true. Some some movies get around

0:34:41.640 --> 0:34:42.480
<v Speaker 2>that with a van.

0:34:42.600 --> 0:34:45.240
<v Speaker 1>That's true, or just hey, yeah, just have two groups.

0:34:45.280 --> 0:34:47.399
<v Speaker 1>You know, there's the one van, there's the other. I mean,

0:34:47.440 --> 0:34:51.120
<v Speaker 1>troll Too sort of managed this right, sure, or the family,

0:34:51.160 --> 0:34:53.520
<v Speaker 1>and then you had the like the boyfriend and his

0:34:53.800 --> 0:34:55.560
<v Speaker 1>crew that were coming in another vehicle.

0:34:56.239 --> 0:34:58.239
<v Speaker 2>They don't have to know each other before they get

0:34:58.239 --> 0:34:59.920
<v Speaker 2>to the house. If you just want to serve them

0:35:00.160 --> 0:35:02.080
<v Speaker 2>up to a buffet of monsters, they could just both

0:35:02.200 --> 0:35:03.040
<v Speaker 2>arrive at the house.

0:35:03.480 --> 0:35:04.919
<v Speaker 1>I mean, I guess they just wanted to have lots

0:35:04.920 --> 0:35:07.440
<v Speaker 1>of dynamic dialogue between all of these people.

0:35:08.920 --> 0:35:20.480
<v Speaker 4>Yeah, and then so then we cut back to Billy.

0:35:20.560 --> 0:35:23.680
<v Speaker 2>I guess this is movie two or b B plot.

0:35:24.440 --> 0:35:26.960
<v Speaker 2>He's in the woods eating a snack cake by himself,

0:35:27.040 --> 0:35:29.880
<v Speaker 2>and then he gets startled by a guy wearing a

0:35:30.000 --> 0:35:33.439
<v Speaker 2>denim tuxedo who's like, hey, give an old man a light,

0:35:33.640 --> 0:35:36.680
<v Speaker 2>and it's very creepy, U though the guy's not old.

0:35:37.920 --> 0:35:40.600
<v Speaker 2>And then the kid gives him a light. Why does

0:35:40.640 --> 0:35:43.799
<v Speaker 2>this kid kid have a lighter? I don't know. And

0:35:43.840 --> 0:35:46.560
<v Speaker 2>then the guys like go home, and the kid's like, no,

0:35:46.719 --> 0:35:50.560
<v Speaker 2>I have plans, big plans. And it turns out his

0:35:50.640 --> 0:35:53.680
<v Speaker 2>parents forgot his thirteenth birthday and that's why he ran

0:35:53.719 --> 0:35:56.200
<v Speaker 2>away from home. So he's just running around in the woods.

0:35:56.840 --> 0:35:58.839
<v Speaker 2>And then the kid walks away from the guy, and

0:35:58.880 --> 0:36:01.120
<v Speaker 2>then the guy in the woods as the kid walks away,

0:36:01.200 --> 0:36:04.480
<v Speaker 2>is just immediately killed by the jellicle cat. He gets

0:36:04.520 --> 0:36:06.880
<v Speaker 2>like slashes on his face, like while the kid is

0:36:06.920 --> 0:36:08.560
<v Speaker 2>still in frame walking away.

0:36:09.200 --> 0:36:11.359
<v Speaker 1>It's yeah, it's such a weird series of events because

0:36:11.360 --> 0:36:14.640
<v Speaker 1>it's yet this kid runaway kid, you know, running into

0:36:14.640 --> 0:36:17.239
<v Speaker 1>a drifter in a way that feels like sort of

0:36:17.239 --> 0:36:20.160
<v Speaker 1>a Slice of Americana kind of tail, right, But then

0:36:20.800 --> 0:36:23.400
<v Speaker 1>the drifter is just just torn to pieces by the

0:36:23.560 --> 0:36:24.359
<v Speaker 1>by the wear cat.

0:36:24.640 --> 0:36:26.440
<v Speaker 2>Yeah, and then so we get a bunch more stuff

0:36:26.480 --> 0:36:29.040
<v Speaker 2>with the which plot the A plot I guess or

0:36:29.120 --> 0:36:32.320
<v Speaker 2>B plot the one with the warlock trying to resurrect

0:36:32.320 --> 0:36:36.160
<v Speaker 2>his wife. We start seeing his face and I got man,

0:36:36.200 --> 0:36:39.960
<v Speaker 2>this is a dry, dry warlock. His face is just

0:36:40.120 --> 0:36:43.840
<v Speaker 2>caked with some kind of powder. He needs moisturizer.

0:36:44.040 --> 0:36:44.640
<v Speaker 1>It is.

0:36:44.800 --> 0:36:45.360
<v Speaker 2>It's bad.

0:36:45.760 --> 0:36:46.760
<v Speaker 1>Yeah.

0:36:47.000 --> 0:36:49.640
<v Speaker 2>But we also get to see his his wife in

0:36:49.680 --> 0:36:51.560
<v Speaker 2>the coffin and she kind of looks like a blonde

0:36:51.640 --> 0:36:55.920
<v Speaker 2>Winona rider. Yeah. But eventually we cut back to the party,

0:36:56.080 --> 0:36:58.600
<v Speaker 2>party boys, the party kids in the cars. They're they're

0:36:58.680 --> 0:37:01.520
<v Speaker 2>driving around. Eventually they they get blocked by an obstruction

0:37:01.600 --> 0:37:03.760
<v Speaker 2>in the road. I think, I think bust for Jones

0:37:03.800 --> 0:37:06.320
<v Speaker 2>throws a tree branch on the road in front of

0:37:06.400 --> 0:37:08.640
<v Speaker 2>Duke's car and then they have to stop and move it.

0:37:09.360 --> 0:37:13.560
<v Speaker 2>And Peter, mister Nark, gets out of his car and

0:37:13.600 --> 0:37:16.200
<v Speaker 2>he's like, listen, Duke, we've been driving around for two

0:37:16.280 --> 0:37:19.960
<v Speaker 2>hours in circles, getting nowhere fast. And then Duke says, right,

0:37:20.040 --> 0:37:22.960
<v Speaker 2>let's get out of this place. And then I wrote

0:37:22.960 --> 0:37:26.359
<v Speaker 2>this exchange down because this was good. Peter says, what

0:37:26.400 --> 0:37:30.040
<v Speaker 2>are we doing now? Duke says, we're partying. Man, something

0:37:30.040 --> 0:37:32.719
<v Speaker 2>you're too old to appreciate. Huh. If any of you

0:37:32.760 --> 0:37:35.280
<v Speaker 2>people want to come have some fun, come with us,

0:37:35.719 --> 0:37:38.239
<v Speaker 2>and then Peter says, this is ridiculous. Do you even

0:37:38.280 --> 0:37:41.360
<v Speaker 2>know where you're going? And Duke says, yeah, I'm going nuts.

0:37:41.440 --> 0:37:43.840
<v Speaker 2>I'm going nuts because I got to stand here and listen.

0:37:43.640 --> 0:37:47.560
<v Speaker 1>To you so snappy, so snappy. That's some man it

0:37:48.080 --> 0:37:49.040
<v Speaker 1>material right there.

0:37:49.239 --> 0:37:52.040
<v Speaker 2>That's like a sit back from the typewriter and kind

0:37:52.040 --> 0:37:52.399
<v Speaker 2>of like.

0:37:53.000 --> 0:37:57.000
<v Speaker 1>Go ah, yeah, all right. But we come back to

0:37:57.040 --> 0:37:59.960
<v Speaker 1>the kid. We come back to Billy wandering around. He's

0:38:00.080 --> 0:38:01.439
<v Speaker 1>going to find the White House as well.

0:38:01.680 --> 0:38:04.160
<v Speaker 2>Yeah, he wanders around, he finds the White House. He

0:38:04.200 --> 0:38:07.040
<v Speaker 2>goes inside, of course, because you know horror movie logic,

0:38:07.120 --> 0:38:09.320
<v Speaker 2>you just come across what appears to be an abandoned

0:38:09.360 --> 0:38:11.960
<v Speaker 2>house that is not your house, and you just go in.

0:38:12.360 --> 0:38:13.960
<v Speaker 1>Yeah, I mean, I guess it's you know, we've talked

0:38:13.960 --> 0:38:17.680
<v Speaker 1>about tales. So many old tales involved leaving the trail

0:38:18.320 --> 0:38:21.480
<v Speaker 1>or you know, entering into the wild place where you're

0:38:21.520 --> 0:38:24.680
<v Speaker 1>not supposed to go, and in stories that involve a

0:38:24.719 --> 0:38:27.640
<v Speaker 1>haunted house. And essentially this is a haunted house picture.

0:38:28.440 --> 0:38:32.680
<v Speaker 1>It's just haunted with random monsters instead of ghosts. It's

0:38:32.760 --> 0:38:34.840
<v Speaker 1>like people are drawn to it. People will find a

0:38:34.880 --> 0:38:37.000
<v Speaker 1>reason to go into that haunted house, be it for

0:38:37.080 --> 0:38:41.600
<v Speaker 1>shelter or for treasure or in this case with with

0:38:41.600 --> 0:38:44.920
<v Speaker 1>with the main characters, for the potentiality of partying.

0:38:45.400 --> 0:38:48.560
<v Speaker 2>Right. Uh and and actually the kid also goes into

0:38:48.560 --> 0:38:51.239
<v Speaker 2>the house with the for with partying in mind. Yes,

0:38:51.560 --> 0:38:54.360
<v Speaker 2>because apparently so his parents forgot it was his birthday.

0:38:54.400 --> 0:38:56.759
<v Speaker 2>That's why he ran away from home. He wanders into

0:38:56.760 --> 0:38:59.520
<v Speaker 2>the house. Uh, they're oh at this point, there's also

0:38:59.800 --> 0:39:02.000
<v Speaker 2>this is when we start seeing a jawa running around

0:39:02.120 --> 0:39:05.000
<v Speaker 2>just like a like a child in a in a

0:39:06.000 --> 0:39:10.440
<v Speaker 2>brown hooded cloak. But anyway, Billy the kid, he is

0:39:10.480 --> 0:39:13.359
<v Speaker 2>in the house and he walks into a room full

0:39:13.360 --> 0:39:18.120
<v Speaker 2>of birthday party streamers and sad half inflated balloons, and

0:39:18.160 --> 0:39:23.640
<v Speaker 2>he goes cool. He says, hey, a surprise party, so

0:39:23.680 --> 0:39:27.120
<v Speaker 2>he didn't forget after all, This is really great. So

0:39:27.280 --> 0:39:30.439
<v Speaker 2>the again, the logic of this is that this boy

0:39:30.560 --> 0:39:33.920
<v Speaker 2>thinks his parents threw him a surprise birthday party in

0:39:34.000 --> 0:39:36.840
<v Speaker 2>a random house that he walked into in the woods.

0:39:38.880 --> 0:39:41.800
<v Speaker 2>And then he opens a box that he thinks contains

0:39:41.800 --> 0:39:44.239
<v Speaker 2>a bowling ball, but in fact it's a head and

0:39:44.320 --> 0:39:47.320
<v Speaker 2>it is the Warlock's head, and he goes Happy birthday.

0:39:47.360 --> 0:39:51.040
<v Speaker 2>Billy moahahaha, And yeah, of course there you go.

0:39:52.320 --> 0:39:55.200
<v Speaker 1>But between the old warlock, who we find out his

0:39:55.280 --> 0:40:00.880
<v Speaker 1>name is Creon, Creon, Yeah Creon and Billy please, Yeah,

0:40:01.080 --> 0:40:04.720
<v Speaker 1>they have this kind of discount Mike and the tall

0:40:04.760 --> 0:40:09.360
<v Speaker 1>Man vibe from Phantasm. Yeah, yeah, creepy old man who's

0:40:09.719 --> 0:40:13.560
<v Speaker 1>mysterious and seems to command supernatural powers. And oh and

0:40:13.600 --> 0:40:16.400
<v Speaker 1>there's of course there are jawa s creatures in both films,

0:40:16.719 --> 0:40:20.960
<v Speaker 1>though of course Phantasm is on certainly on several levels

0:40:21.360 --> 0:40:25.640
<v Speaker 1>ahead of this. Yeah, an order of magnitude or two

0:40:25.760 --> 0:40:27.880
<v Speaker 1>above Spookies in terms of quality.

0:40:28.280 --> 0:40:31.400
<v Speaker 2>But the thing you can always say on behalf of Spookyes,

0:40:31.440 --> 0:40:35.440
<v Speaker 2>is Spookyes has more variety. Yes, you know, the Phantasm

0:40:35.480 --> 0:40:39.520
<v Speaker 2>may have like three or so interesting kinds of monsters,

0:40:39.520 --> 0:40:43.600
<v Speaker 2>Spookyes has at least nine. Right, So of course, eventually

0:40:43.640 --> 0:40:46.279
<v Speaker 2>the party kids arrive at the house and they're like, hey,

0:40:46.280 --> 0:40:48.319
<v Speaker 2>here's a house. Let's go inside and see if there's

0:40:48.360 --> 0:40:52.480
<v Speaker 2>a party. This is not the only I gotta say,

0:40:52.560 --> 0:40:55.040
<v Speaker 2>this is not the only movie where this happens. This

0:40:55.120 --> 0:40:58.360
<v Speaker 2>is sort of standard eighties horror movie logic. You just

0:40:58.480 --> 0:41:00.319
<v Speaker 2>arrive at a place and you think they're might be

0:41:00.360 --> 0:41:02.560
<v Speaker 2>a party there, and so you go inside and try

0:41:02.600 --> 0:41:03.399
<v Speaker 2>to party.

0:41:03.440 --> 0:41:06.719
<v Speaker 1>Right, And I think Rich has brought like snacks and beer, right,

0:41:06.800 --> 0:41:08.960
<v Speaker 1>that's another part of it. So they have brought a

0:41:08.960 --> 0:41:10.359
<v Speaker 1>certain amount of party with them.

0:41:10.640 --> 0:41:13.120
<v Speaker 2>He has red stripe, and he has chips, and he's

0:41:13.480 --> 0:41:16.160
<v Speaker 2>consuming them in almost every scene from here on out.

0:41:17.040 --> 0:41:19.440
<v Speaker 1>He's ultimately an optimist. He was like, this is not

0:41:19.520 --> 0:41:21.640
<v Speaker 1>the party we intended to go to, but we're going

0:41:21.680 --> 0:41:23.920
<v Speaker 1>to have a party here. We are going to enjoy

0:41:23.960 --> 0:41:27.040
<v Speaker 1>ourselves in this just obviously haunted house.

0:41:27.360 --> 0:41:31.040
<v Speaker 2>Then there's a weird sequence after this where the catman

0:41:31.600 --> 0:41:35.880
<v Speaker 2>chases Billy birthday boy Billy around, chases him outside, and

0:41:35.920 --> 0:41:40.600
<v Speaker 2>then like buries him alive. I think, yes, like this

0:41:40.600 --> 0:41:41.680
<v Speaker 2>bar scene.

0:41:42.000 --> 0:41:44.040
<v Speaker 1>Yeah, Like watching this for the first time and not

0:41:44.080 --> 0:41:47.760
<v Speaker 1>really knowing anything about the production, you're thinking, well, Billy's

0:41:47.760 --> 0:41:50.200
<v Speaker 1>going to be around for a while. But no, the

0:41:50.320 --> 0:41:54.520
<v Speaker 1>wear a cat ambushes him like like massacures his face

0:41:54.600 --> 0:41:56.239
<v Speaker 1>like squatt, you know, just I don't know if he

0:41:56.320 --> 0:41:58.680
<v Speaker 1>uses the hook or just his cat claws, but swipes

0:41:58.719 --> 0:42:02.400
<v Speaker 1>him across the face. There's blood. Billy falls into a

0:42:02.520 --> 0:42:06.120
<v Speaker 1>doug grave and then the cat starts burying him alive

0:42:06.880 --> 0:42:10.120
<v Speaker 1>and buries him alive and you never see Billy again.

0:42:10.760 --> 0:42:11.000
<v Speaker 3>What.

0:42:12.239 --> 0:42:15.239
<v Speaker 2>Yeah, this plot line does not return. It's just like

0:42:15.960 --> 0:42:18.600
<v Speaker 2>a like thirteen year old child does get killed like

0:42:18.640 --> 0:42:20.560
<v Speaker 2>at the beginning of this movie, and then it doesn't

0:42:20.560 --> 0:42:21.240
<v Speaker 2>connect to anything.

0:42:21.280 --> 0:42:24.759
<v Speaker 1>Yeah, it didn't connect anything, like speak you don't have

0:42:24.880 --> 0:42:27.440
<v Speaker 1>your you don't have a child, be your sort of

0:42:27.440 --> 0:42:32.160
<v Speaker 1>throwaway victim unless there are other child characters involved and

0:42:32.200 --> 0:42:34.880
<v Speaker 1>they have a relationship with that child, or you know,

0:42:35.360 --> 0:42:38.240
<v Speaker 1>the adults have a relationship with that child. It generally

0:42:38.520 --> 0:42:41.680
<v Speaker 1>needs to mean something for that to take place, and

0:42:41.719 --> 0:42:43.720
<v Speaker 1>in this movie it means absolutely nothing.

0:42:43.960 --> 0:42:46.759
<v Speaker 2>It just seems like an idea somebody started having and

0:42:46.800 --> 0:42:48.799
<v Speaker 2>then they just got there like, oh, okay, I don't

0:42:48.840 --> 0:42:50.279
<v Speaker 2>know where I'm going with that. I'm done with that,

0:42:50.640 --> 0:42:51.520
<v Speaker 2>onto other things.

0:42:51.880 --> 0:42:54.960
<v Speaker 1>Yeah. Of course this was part of the bit that

0:42:55.080 --> 0:42:58.279
<v Speaker 1>was filmed afterwards to complete the film, so we can

0:42:58.560 --> 0:43:00.759
<v Speaker 1>ultimately excuse it that way. But when the context of

0:43:00.800 --> 0:43:04.399
<v Speaker 1>the film itself as as a solid, you know, sort

0:43:04.440 --> 0:43:07.600
<v Speaker 1>of cohesive viewing experience, it's it's very alarming.

0:43:07.840 --> 0:43:11.280
<v Speaker 2>Okay, So now you've got the party kids in the house,

0:43:11.360 --> 0:43:13.560
<v Speaker 2>and I guess maybe we should mention who all of

0:43:13.560 --> 0:43:16.360
<v Speaker 2>them are, because again, like, clearly you're supposed to be

0:43:16.440 --> 0:43:19.520
<v Speaker 2>getting I think, a list of types, you know, your archetypes.

0:43:20.120 --> 0:43:22.600
<v Speaker 2>So you've got Duke. He's the bad boy, he's the

0:43:22.719 --> 0:43:26.240
<v Speaker 2>he's the tough guy, bully, wearing plastic bad boy clothes.

0:43:26.800 --> 0:43:31.040
<v Speaker 2>And then Duke's girlfriend's name is Linda. She's his long

0:43:31.080 --> 0:43:34.240
<v Speaker 2>suffering girlfriend, and she's dressed in these bright eighties colors

0:43:34.239 --> 0:43:36.520
<v Speaker 2>and spins a lot of the movie rolling her eyes

0:43:36.560 --> 0:43:39.280
<v Speaker 2>at Duke's behavior. You know, it's just kind of like, oh, brother,

0:43:39.440 --> 0:43:40.200
<v Speaker 2>that's our Duke.

0:43:40.600 --> 0:43:41.080
<v Speaker 1>Yeah.

0:43:41.160 --> 0:43:44.879
<v Speaker 2>Then you've got Peter, the you know, the seventy five

0:43:44.960 --> 0:43:50.160
<v Speaker 2>year old accountant, who I guess maybe you might think

0:43:50.320 --> 0:43:53.560
<v Speaker 2>was one of the protagonists. At first, I thought the

0:43:53.640 --> 0:43:58.480
<v Speaker 2>protagonist of the film was going to be Peter's girlfriend, Megan,

0:43:58.760 --> 0:44:03.920
<v Speaker 2>because she at least initially has that sensible protagonist energy

0:44:04.040 --> 0:44:06.799
<v Speaker 2>in a horror movie with the group like this. But

0:44:06.880 --> 0:44:09.120
<v Speaker 2>I notice more and more as the movie goes on

0:44:09.280 --> 0:44:13.600
<v Speaker 2>that that evaporates, and then she mainly becomes characterized by

0:44:14.200 --> 0:44:19.040
<v Speaker 2>like just making statements of fatalistic despair. She just says

0:44:19.080 --> 0:44:21.840
<v Speaker 2>things like there's no escape. Every one of us is

0:44:21.880 --> 0:44:22.600
<v Speaker 2>going to die.

0:44:23.040 --> 0:44:25.880
<v Speaker 1>Wow. So she starts out as the Sigourney Weaver potential

0:44:25.880 --> 0:44:28.400
<v Speaker 1>Sigourney Weaver the picture and becomes the Bill Paxton of

0:44:28.480 --> 0:44:28.920
<v Speaker 1>the picture.

0:44:29.160 --> 0:44:33.960
<v Speaker 2>Yes, Meghan, Yeah, the Descent of Megan. On the other hand,

0:44:34.200 --> 0:44:38.120
<v Speaker 2>a supremely positive and optimistic force within the film is Rich,

0:44:38.239 --> 0:44:41.360
<v Speaker 2>the jokester who's got a puppet who loves beer and chips,

0:44:42.480 --> 0:44:46.120
<v Speaker 2>and he just sort of like he bumbles through every scene.

0:44:46.200 --> 0:44:48.640
<v Speaker 2>There are moments where he shows flashes of fear, but

0:44:48.640 --> 0:44:50.920
<v Speaker 2>there are other times where he's being attacked by a

0:44:50.960 --> 0:44:53.520
<v Speaker 2>monster and he's just like, yeah, okay, come on, you know,

0:44:53.520 --> 0:44:56.799
<v Speaker 2>if you're going to kill me, bring it on. And

0:44:56.840 --> 0:44:59.880
<v Speaker 2>then we got a couple of characters named Adrian and Day.

0:45:00.680 --> 0:45:05.399
<v Speaker 2>Adrian is I think supposed to be a British fancy

0:45:05.400 --> 0:45:09.840
<v Speaker 2>fashion lady wearing this like cool cream colored jacket, and

0:45:09.960 --> 0:45:13.400
<v Speaker 2>her boyfriend Dave is like also I think supposed to

0:45:13.440 --> 0:45:15.440
<v Speaker 2>be a kind of like fancy rich guy. He's an

0:45:15.520 --> 0:45:19.200
<v Speaker 2>allergic man with sinus problems. He's wearing a khaki jacket.

0:45:19.239 --> 0:45:22.680
<v Speaker 2>I think these two are supposed to be fussy and fancy.

0:45:22.719 --> 0:45:25.239
<v Speaker 2>They're like rich city people who are just over it

0:45:25.320 --> 0:45:27.360
<v Speaker 2>and they want to get a cab back to Soho

0:45:27.520 --> 0:45:28.000
<v Speaker 2>or whatever.

0:45:28.320 --> 0:45:30.000
<v Speaker 1>Yeah, Yeah, they're kind of what the what are the

0:45:30.080 --> 0:45:34.200
<v Speaker 1>characters in Christmas Vacation Todd and Margo, they're sort of

0:45:34.239 --> 0:45:35.239
<v Speaker 1>the Todd and Margo of this.

0:45:35.360 --> 0:45:38.640
<v Speaker 2>Oh okay, Yeah, they're kind of like American psycho people.

0:45:38.960 --> 0:45:42.759
<v Speaker 1>Yeah. Now she's played by Charlotte Alexandria, who is a

0:45:42.840 --> 0:45:46.040
<v Speaker 1>French actor who apparently did a lot of fairly diverse

0:45:46.719 --> 0:45:50.080
<v Speaker 1>smattering of film in Europe before coming over and playing this.

0:45:50.520 --> 0:45:54.120
<v Speaker 1>And in the documentary they mentioned I haven't seen this

0:45:54.280 --> 0:45:56.600
<v Speaker 1>actually verified anywhere, but they said that she played the

0:45:56.680 --> 0:45:58.280
<v Speaker 1>Virgin Mary in the Life of Brian.

0:45:58.680 --> 0:46:02.560
<v Speaker 2>Hmm, okay, but I don't know about that. And then

0:46:02.600 --> 0:46:06.120
<v Speaker 2>the last two people there is Carol, who's got curly

0:46:06.160 --> 0:46:08.560
<v Speaker 2>blonde hair and seems like maybe she is of like

0:46:08.600 --> 0:46:11.680
<v Speaker 2>a spiritual persuasion. You get the vibe like she could

0:46:11.680 --> 0:46:16.520
<v Speaker 2>do your horoscope, I think. And then you've got Carol's boyfriend, Lewis,

0:46:16.560 --> 0:46:19.440
<v Speaker 2>who has no characteristics that I could identify except that

0:46:19.480 --> 0:46:22.320
<v Speaker 2>he wears denim and I think he's played by somebody

0:46:22.320 --> 0:46:24.240
<v Speaker 2>who did some effects for the movie.

0:46:24.640 --> 0:46:27.040
<v Speaker 1>Yes, yeah, definitely, And there's a lot of that in this,

0:46:27.120 --> 0:46:29.319
<v Speaker 1>especially when you get into the monsters. People in the

0:46:29.360 --> 0:46:33.560
<v Speaker 1>monster suits are not are not necessarily designated actors. They

0:46:33.560 --> 0:46:35.960
<v Speaker 1>are also involved in other parts of the production.

0:46:36.400 --> 0:46:39.120
<v Speaker 2>Yeah, and so here's where you get into that scene

0:46:39.200 --> 0:46:41.560
<v Speaker 2>I talked about earlier where they're just like finding things

0:46:41.719 --> 0:46:45.040
<v Speaker 2>and Duke is just continually turning his attention from one

0:46:45.080 --> 0:46:49.759
<v Speaker 2>destructive project to another. He's like prying open doors and

0:46:49.800 --> 0:46:54.200
<v Speaker 2>smashing stuff. And at one point somebody's like, Duke, stop

0:46:54.280 --> 0:46:56.040
<v Speaker 2>doing that, and he goes like, I don't care about

0:46:56.040 --> 0:46:59.640
<v Speaker 2>this old creep joint. But he gets the door open

0:46:59.800 --> 0:47:03.480
<v Speaker 2>and he gets attacked by a desiccated corpse. It just

0:47:03.560 --> 0:47:05.919
<v Speaker 2>like a corpse falls out of the closet and he's like, nah,

0:47:05.960 --> 0:47:06.520
<v Speaker 2>it's fake.

0:47:08.040 --> 0:47:10.239
<v Speaker 1>The thing about that corpse, this is just so this Yeah,

0:47:10.239 --> 0:47:11.880
<v Speaker 1>this is just a scene where the corpse falls out

0:47:11.920 --> 0:47:13.839
<v Speaker 1>of the closet on him. But later on in the

0:47:13.840 --> 0:47:17.800
<v Speaker 1>film we see that this corpse is completely articulated and

0:47:18.160 --> 0:47:22.000
<v Speaker 1>can be brought to life. There's so much love and

0:47:22.719 --> 0:47:26.040
<v Speaker 1>detail that went into the creation of the various monsters

0:47:26.080 --> 0:47:29.399
<v Speaker 1>in this so I will say that that is That's

0:47:29.400 --> 0:47:32.480
<v Speaker 1>the best thing I can say about this film is that, Yeah,

0:47:32.520 --> 0:47:34.480
<v Speaker 1>a lot of love went into the creation of these

0:47:34.560 --> 0:47:40.440
<v Speaker 1>various zombies and corpses and monsters and grim reapers of

0:47:40.480 --> 0:47:41.520
<v Speaker 1>whatever the case may be.

0:47:42.080 --> 0:47:44.200
<v Speaker 2>You know it has. So after this, they get into

0:47:44.239 --> 0:47:46.560
<v Speaker 2>a wijaboard scene, and this is sort of when all

0:47:46.840 --> 0:47:49.880
<v Speaker 2>hell breaks loose, right Like they start they find a

0:47:49.880 --> 0:47:53.640
<v Speaker 2>wig aboard. Of course, Carol is the one who's like, oh,

0:47:53.680 --> 0:47:56.200
<v Speaker 2>I know how this thing works. It is a tool,

0:47:56.320 --> 0:47:58.080
<v Speaker 2>she says, it's not a game, it's a tool the

0:47:58.120 --> 0:48:00.840
<v Speaker 2>dead can reach out to us. And so they play

0:48:01.040 --> 0:48:05.280
<v Speaker 2>with the wig aboard and the Warlock ends up telling

0:48:05.320 --> 0:48:08.160
<v Speaker 2>them answers to questions through it, like they ask, will

0:48:08.200 --> 0:48:11.640
<v Speaker 2>we ever leave this house? And he says no, and

0:48:11.719 --> 0:48:15.680
<v Speaker 2>then and then the warlock transforms Carol into a demon

0:48:16.080 --> 0:48:19.120
<v Speaker 2>by making a vein on his forehead throb and the

0:48:19.120 --> 0:48:21.600
<v Speaker 2>camera zooms in on the vein on his forehead, and

0:48:21.640 --> 0:48:24.080
<v Speaker 2>then Carol turns into like one of the demons from

0:48:24.080 --> 0:48:24.880
<v Speaker 2>Evil Dead.

0:48:25.239 --> 0:48:30.480
<v Speaker 1>Right, Yeah, yeah, it's it's overtly Evil Dead ask and oh,

0:48:30.520 --> 0:48:32.839
<v Speaker 1>and I should point out that the Ouiji board has

0:48:33.000 --> 0:48:35.640
<v Speaker 1>pictures of the various monsters on it, So I think

0:48:35.680 --> 0:48:37.600
<v Speaker 1>the Ouiji board is supposed to be involved in the

0:48:37.640 --> 0:48:41.239
<v Speaker 1>summoning or unleashing of this various monster, but we don't

0:48:41.239 --> 0:48:43.320
<v Speaker 1>know exactly how or why that is the case.

0:48:43.640 --> 0:48:46.000
<v Speaker 2>One thing I found funny is that the warlock in

0:48:46.040 --> 0:48:50.440
<v Speaker 2>this movie keeps making chess metaphors for what he's doing,

0:48:50.480 --> 0:48:53.200
<v Speaker 2>and they're often inappropriate or I don't see how they

0:48:53.200 --> 0:48:56.520
<v Speaker 2>apply to what he's talking about. Like he's like, it's

0:48:56.640 --> 0:48:59.360
<v Speaker 2>just like a game of chess, but he's referring to

0:48:59.680 --> 0:49:03.520
<v Speaker 2>trap everybody in a house. Yeah, do you have to

0:49:03.600 --> 0:49:06.239
<v Speaker 2>trap your opponent? I mean, I guess you you form

0:49:06.360 --> 0:49:08.520
<v Speaker 2>traps for people in jail. I don't know. It didn't

0:49:08.520 --> 0:49:09.719
<v Speaker 2>seem super applicable.

0:49:10.040 --> 0:49:13.160
<v Speaker 1>Yeah, Like, I don't think there's even enough. There aren't

0:49:13.239 --> 0:49:16.560
<v Speaker 1>quite enough monsters to be an entire chess set anyway, right,

0:49:17.080 --> 0:49:19.040
<v Speaker 1>But it's close, it's actually pretty close.

0:49:19.520 --> 0:49:21.680
<v Speaker 2>But here's where you get to the standard. You know,

0:49:22.120 --> 0:49:24.440
<v Speaker 2>you probably if you've seen horror movies before, you know

0:49:24.520 --> 0:49:27.160
<v Speaker 2>the format. After this, the the you know, all hell

0:49:27.239 --> 0:49:30.560
<v Speaker 2>breaks loose. Various monsters are unleashed, and the party crew

0:49:30.640 --> 0:49:34.200
<v Speaker 2>barricade themselves inside the house and they're gonna of course

0:49:34.239 --> 0:49:37.000
<v Speaker 2>split up and get attacked one by one by different

0:49:37.000 --> 0:49:39.840
<v Speaker 2>types of monsters. I like how after they first barricade

0:49:39.840 --> 0:49:44.560
<v Speaker 2>themselves inside, Peter, the older guy, he it seems he

0:49:44.640 --> 0:49:47.440
<v Speaker 2>recognizes they've reached this point in the plot and then

0:49:47.520 --> 0:49:50.439
<v Speaker 2>explains as much. He pretty much says, for the rest

0:49:50.520 --> 0:49:52.359
<v Speaker 2>of the movie, we will now be picked off one

0:49:52.400 --> 0:49:52.799
<v Speaker 2>by one.

0:49:53.200 --> 0:49:53.439
<v Speaker 1>Yes.

0:49:54.520 --> 0:49:56.680
<v Speaker 2>And so they split up, like Duke and Linda go

0:49:56.760 --> 0:49:59.400
<v Speaker 2>one way, and they end up encountering some zombies that

0:49:59.520 --> 0:50:02.560
<v Speaker 2>keep far. We can talk about that if you want.

0:50:02.640 --> 0:50:04.600
<v Speaker 2>I'm not sure what to make of that scene. And

0:50:05.560 --> 0:50:08.279
<v Speaker 2>Peter and Meghan and Rich go another way, Dave and

0:50:08.280 --> 0:50:10.960
<v Speaker 2>Adrianne stay put. They encounter some grimlins.

0:50:11.000 --> 0:50:14.520
<v Speaker 1>I think, yeah, so let's talk about those fart zombies.

0:50:15.120 --> 0:50:18.680
<v Speaker 1>They're credited as being the Muckmen. Even though they don't

0:50:18.680 --> 0:50:21.080
<v Speaker 1>look particularly mucky. They look very dry to me, like

0:50:21.120 --> 0:50:23.200
<v Speaker 1>sort of dried dog biscuit mummies.

0:50:23.600 --> 0:50:26.440
<v Speaker 2>Yeah, crumbling and short, short, short crust.

0:50:26.840 --> 0:50:29.280
<v Speaker 1>Yeah. And it's in a basement and they are wine

0:50:29.360 --> 0:50:32.640
<v Speaker 1>casts and ultimately they're defeated by melting them with wine,

0:50:33.200 --> 0:50:35.040
<v Speaker 1>which is when the effect looks pretty good, I have

0:50:35.080 --> 0:50:38.520
<v Speaker 1>to say. And the muckman don't look bad, but clearly,

0:50:38.560 --> 0:50:41.160
<v Speaker 1>at some point in post production, and I think the

0:50:42.480 --> 0:50:44.920
<v Speaker 1>making up gets into this a little bit, they decided, well,

0:50:44.960 --> 0:50:47.920
<v Speaker 1>let's add fart noises, and I think The rationale was

0:50:48.280 --> 0:50:51.160
<v Speaker 1>they look kind of swamp thingy, so maybe swamp equals

0:50:51.920 --> 0:50:57.040
<v Speaker 1>he equals fart noises. Yeah, but it also reminds me

0:50:57.360 --> 0:51:01.000
<v Speaker 1>of some behind the scenes stuff I heard about the

0:51:01.239 --> 0:51:04.719
<v Speaker 1>cartoon Invader Zim where they were talking about putting together

0:51:04.760 --> 0:51:06.640
<v Speaker 1>a scene and if they didn't feel like the scene

0:51:06.719 --> 0:51:10.080
<v Speaker 1>was funny enough, they would just keep adding sound effects

0:51:10.080 --> 0:51:13.600
<v Speaker 1>to it until they were satisfied. And so that's what

0:51:13.640 --> 0:51:16.359
<v Speaker 1>this felt like to me, Like they were thinking, this

0:51:16.400 --> 0:51:19.759
<v Speaker 1>needs something, this needs something else. Maybe the answer is

0:51:19.800 --> 0:51:20.480
<v Speaker 1>fart noises.

0:51:21.400 --> 0:51:24.120
<v Speaker 2>It also reminds me of something I think I recall

0:51:24.160 --> 0:51:28.440
<v Speaker 2>Stephen King writing years ago about how when he's writing

0:51:28.440 --> 0:51:31.680
<v Speaker 2>a scene and he's trying to make it really scary

0:51:31.760 --> 0:51:34.200
<v Speaker 2>and he can tell it's just not scary, and he

0:51:34.239 --> 0:51:36.279
<v Speaker 2>doesn't he can't figure out how to make it work.

0:51:36.360 --> 0:51:39.919
<v Speaker 2>Then he just dials up the grossness factor. It's sort

0:51:39.960 --> 0:51:42.839
<v Speaker 2>of like to salvage something that he can't otherwise figure

0:51:42.840 --> 0:51:45.439
<v Speaker 2>out how to make work, just make it disgusting.

0:51:45.480 --> 0:51:48.120
<v Speaker 1>Right, And so that's what they go for here. I

0:51:48.320 --> 0:51:51.160
<v Speaker 1>don't think it works. It just comes off as as

0:51:51.719 --> 0:51:54.799
<v Speaker 1>kind of awkward and dumb. But I have to say

0:51:54.840 --> 0:51:57.239
<v Speaker 1>the muckmen themselves. I don't think they look bad. I

0:51:57.239 --> 0:51:59.719
<v Speaker 1>think they look pretty good, which is, you know the

0:51:59.800 --> 0:52:01.480
<v Speaker 1>same thing i'd say for most of the creatures in

0:52:01.520 --> 0:52:02.000
<v Speaker 1>this Well.

0:52:02.000 --> 0:52:03.680
<v Speaker 2>Yeah, i'd say that's the best thing about the movie

0:52:03.719 --> 0:52:06.280
<v Speaker 2>is at least a solid two thirds of the monsters

0:52:06.320 --> 0:52:06.800
<v Speaker 2>look great.

0:52:07.440 --> 0:52:10.000
<v Speaker 1>And you never know what you're gonna get. It's just it.

0:52:10.120 --> 0:52:11.520
<v Speaker 1>It'll be totally unexpected.

0:52:20.680 --> 0:52:23.759
<v Speaker 2>So another kind of encounter we get is that the rich,

0:52:23.800 --> 0:52:27.400
<v Speaker 2>fussy people, Dave and Adrian, they're they're they're sort of

0:52:27.600 --> 0:52:30.200
<v Speaker 2>being catty at each other. They're at each other's throats,

0:52:30.239 --> 0:52:33.480
<v Speaker 2>and then they get groblin. They oh, yeah, wait, sorry,

0:52:33.520 --> 0:52:35.160
<v Speaker 2>is the term gromlin or groblin?

0:52:36.360 --> 0:52:38.400
<v Speaker 1>I say gromlin, but it's a made up word, so

0:52:38.520 --> 0:52:40.200
<v Speaker 1>you can certainly say groblin instead.

0:52:40.600 --> 0:52:45.120
<v Speaker 2>No, no, I want to respect your your your terminology here, gromblin. Yes,

0:52:45.160 --> 0:52:48.280
<v Speaker 2>So they get Gromlin. They get attacked by a little

0:52:48.400 --> 0:52:52.600
<v Speaker 2>green rubber grimlin merman with a like fish gator tail,

0:52:53.360 --> 0:52:56.120
<v Speaker 2>and there is a long scene of Adrian fighting the

0:52:56.440 --> 0:53:00.680
<v Speaker 2>Gromlins while synth Funeral Music plays music choice very weird.

0:53:00.760 --> 0:53:03.839
<v Speaker 2>It's like a shopping mall version of Mozart's Requiem. While

0:53:03.880 --> 0:53:05.800
<v Speaker 2>she's struggling with this little rubber critter.

0:53:06.160 --> 0:53:10.160
<v Speaker 1>Yeah, it's a it's it's it's actually not a bad scene.

0:53:10.200 --> 0:53:13.399
<v Speaker 1>Like she she's good in this fighting making it. It's

0:53:13.400 --> 0:53:16.480
<v Speaker 1>one of these where a person is often fighting a

0:53:16.520 --> 0:53:19.560
<v Speaker 1>puppet or fighting just a prop, you know, and acting

0:53:19.600 --> 0:53:21.879
<v Speaker 1>like it's attacking them. But she she does a good

0:53:21.920 --> 0:53:24.240
<v Speaker 1>job with the scene. And then also ultimately the Gromlin

0:53:24.280 --> 0:53:28.279
<v Speaker 1>looks pretty good. Yet it's well designed. It it's not

0:53:28.440 --> 0:53:33.120
<v Speaker 1>like it's not hobgoblins level. It's maybe a little above that.

0:53:33.520 --> 0:53:38.640
<v Speaker 2>Yeah, i'd say above hobgoblins, definitely below grimlins. Maybe on

0:53:38.680 --> 0:53:39.680
<v Speaker 2>the level of ghoulies.

0:53:40.160 --> 0:53:41.520
<v Speaker 1>Yeah, yeah, I think that's fair.

0:53:41.719 --> 0:53:43.520
<v Speaker 2>Oh no, it's at some point in here we get

0:53:43.560 --> 0:53:47.359
<v Speaker 2>an update on the Warlock framing narrative, which which is

0:53:47.680 --> 0:53:49.840
<v Speaker 2>this probably won't be all that surprising, But it turns

0:53:49.840 --> 0:53:52.799
<v Speaker 2>out the lady in the coffin, who is being revived

0:53:52.880 --> 0:53:55.680
<v Speaker 2>by the evil magic of the Warlock, does not want

0:53:55.719 --> 0:53:57.719
<v Speaker 2>to come back from the dead. She does not like

0:53:57.800 --> 0:53:59.960
<v Speaker 2>the Warlock guy, and she was just fine with her

0:54:00.040 --> 0:54:04.160
<v Speaker 2>eternal slumber, not interested in his his satanic, you know,

0:54:04.239 --> 0:54:07.680
<v Speaker 2>magical deal, and she's just like, get me out of here.

0:54:09.640 --> 0:54:11.160
<v Speaker 1>Sometimes dead is better, you know.

0:54:11.320 --> 0:54:15.400
<v Speaker 2>Yeah. Oh, but to mention some of the other monster scenes,

0:54:15.440 --> 0:54:18.800
<v Speaker 2>which which are mostly pretty great. So Adrianne gets attacked

0:54:18.840 --> 0:54:22.239
<v Speaker 2>by those who she beats the Gromlin she like hits

0:54:22.239 --> 0:54:24.200
<v Speaker 2>it with the fire poker I think, and crushes it

0:54:24.239 --> 0:54:27.560
<v Speaker 2>with a bookshelf or something, ye, and then she runs off.

0:54:27.600 --> 0:54:29.640
<v Speaker 2>Then she gets attacked by a different creature. This time

0:54:29.680 --> 0:54:32.759
<v Speaker 2>it is the creature from the Electric Intestine's Lagoon. Very

0:54:32.840 --> 0:54:34.200
<v Speaker 2>nice looking monster, very.

0:54:34.120 --> 0:54:36.960
<v Speaker 1>Mute, sy, very creative. I don't I can't think of

0:54:37.000 --> 0:54:41.120
<v Speaker 1>another film where a monster uses like belly tentacles to

0:54:41.200 --> 0:54:44.239
<v Speaker 1>not only grab but also electrocute a victim and in

0:54:44.280 --> 0:54:47.520
<v Speaker 1>doing so melt her face off with like a stop

0:54:47.560 --> 0:54:50.040
<v Speaker 1>motion effect, which is really nice.

0:54:50.160 --> 0:54:52.880
<v Speaker 2>There's another monster we get to see I mentioned earlier,

0:54:53.000 --> 0:54:56.960
<v Speaker 2>like the the zombie baboon bride Hag, which is where

0:54:57.000 --> 0:55:01.760
<v Speaker 2>the warlock lady escapes or you know, the Warlock's bride

0:55:01.920 --> 0:55:05.480
<v Speaker 2>escapes and she gets away from him, wanders into some

0:55:05.520 --> 0:55:08.719
<v Speaker 2>catacombs and then she gets attacked by this baboon creature.

0:55:09.160 --> 0:55:12.560
<v Speaker 1>Yeah, puppeteer is clearly in shot in the lower left

0:55:12.560 --> 0:55:16.279
<v Speaker 1>hand corner of the screen at one point, but yeah,

0:55:16.440 --> 0:55:19.560
<v Speaker 1>still still a fun sequence. Nice, but probably one of

0:55:19.600 --> 0:55:23.480
<v Speaker 1>the ultimately one of the weaker looking puppet creatures that

0:55:23.520 --> 0:55:26.120
<v Speaker 1>we encounter, and also one that doesn't I really don't

0:55:26.120 --> 0:55:27.719
<v Speaker 1>know what exactly they are you going for here?

0:55:27.920 --> 0:55:30.960
<v Speaker 2>Now? Somehow, as you mentioned earlier, Duke and Peter end

0:55:31.040 --> 0:55:36.240
<v Speaker 2>up in a fist fight. The characters reunite. Megan's like, well,

0:55:36.440 --> 0:55:38.759
<v Speaker 2>we're all going to die and that's just how it is.

0:55:39.360 --> 0:55:43.520
<v Speaker 2>And Duke is like, I want to fight, and Peter's

0:55:43.560 --> 0:55:46.680
<v Speaker 2>like okay, bucko, and so they just start slugging it out.

0:55:47.280 --> 0:55:51.320
<v Speaker 2>And does this fight end with Duke dead? I don't recall.

0:55:52.760 --> 0:55:55.160
<v Speaker 1>I do not remember either. Yeah, I don't remember what

0:55:55.360 --> 0:55:56.439
<v Speaker 1>actually kills Duke.

0:55:57.080 --> 0:55:59.080
<v Speaker 2>I think the Grim Reaper does. Oh yeah, because the

0:55:59.120 --> 0:56:03.560
<v Speaker 2>great Yeah, like a statue of the Grim Reaper comes

0:56:03.600 --> 0:56:06.360
<v Speaker 2>to life and then it attacks them. I think it

0:56:06.480 --> 0:56:11.719
<v Speaker 2>kills Duke and Peter. The old guy literally dives right

0:56:11.760 --> 0:56:14.759
<v Speaker 2>through a closed door like busts strike he does.

0:56:15.040 --> 0:56:19.839
<v Speaker 1>Yes, yeah, I mean it's all in ball. Yeah, it's

0:56:19.840 --> 0:56:23.080
<v Speaker 1>always insane enough when someone like throws himself through glass

0:56:23.080 --> 0:56:25.240
<v Speaker 1>in one of these films, which yeah, I mean people

0:56:25.440 --> 0:56:28.160
<v Speaker 1>can and do throw themselves through glass sometimes if the

0:56:28.200 --> 0:56:30.799
<v Speaker 1>circumstance is right, but in movies it takes on an

0:56:30.920 --> 0:56:34.560
<v Speaker 1>entirely different air. People often pop up completely unscathed. They

0:56:34.600 --> 0:56:36.560
<v Speaker 1>do it with just on the fly, without a lot

0:56:36.560 --> 0:56:38.480
<v Speaker 1>of thought. But in this case, it's not even a window.

0:56:38.520 --> 0:56:39.520
<v Speaker 1>It's a wooden door.

0:56:39.880 --> 0:56:41.960
<v Speaker 2>Yeah, that was a nice detail.

0:56:41.800 --> 0:56:43.680
<v Speaker 1>Fortunately made completely out of bals of wood.

0:56:46.480 --> 0:56:49.560
<v Speaker 2>The jokester rich At some point you thought he was

0:56:49.600 --> 0:56:52.240
<v Speaker 2>gonna get killed earlier by one of the evil dead zombies,

0:56:52.239 --> 0:56:54.319
<v Speaker 2>but then he just keeps wandering around with his beer

0:56:54.360 --> 0:56:57.759
<v Speaker 2>and his chips, and he eventually wanders into it like

0:56:57.800 --> 0:57:00.799
<v Speaker 2>a lady leads him into a cave, and then she

0:57:00.960 --> 0:57:03.880
<v Speaker 2>transforms into a giant spider So I think she's supposed

0:57:03.880 --> 0:57:06.520
<v Speaker 2>to be like a like a spider woman creature of

0:57:06.560 --> 0:57:09.160
<v Speaker 2>some type, and she she sucks all his fluids out,

0:57:09.600 --> 0:57:10.680
<v Speaker 2>which is a nice effect.

0:57:11.080 --> 0:57:13.960
<v Speaker 1>It is. It's a nice effect. It's a fun sequence,

0:57:14.000 --> 0:57:16.720
<v Speaker 1>but also one that raises questions about sort of the

0:57:16.720 --> 0:57:20.120
<v Speaker 1>the energy economy of this film, because a lot of

0:57:20.120 --> 0:57:22.440
<v Speaker 1>work went into this. They have like a custom Spider

0:57:23.040 --> 0:57:26.600
<v Speaker 1>Woman layer there there's a different actor playing this sort

0:57:26.600 --> 0:57:31.440
<v Speaker 1>of Japanese Joragumo spider woman, and she doesn't just she

0:57:31.480 --> 0:57:33.640
<v Speaker 1>doesn't just like you know, suddenly reveal oh she has

0:57:33.680 --> 0:57:36.280
<v Speaker 1>half a spider face or suddenly she's a spider.

0:57:36.280 --> 0:57:36.320
<v Speaker 3>No.

0:57:36.400 --> 0:57:40.760
<v Speaker 1>There there's like five stages to this transformation, each one

0:57:40.840 --> 0:57:47.720
<v Speaker 1>involving some either impressive or ambitious practical effects. So and

0:57:47.720 --> 0:57:50.480
<v Speaker 1>that's not even counting the rich head that is then

0:57:50.560 --> 0:57:53.040
<v Speaker 1>deflated like a balloon when he sucked dry.

0:57:53.400 --> 0:57:55.880
<v Speaker 2>Yeah, well it likes so much like the content is

0:57:56.160 --> 0:58:03.360
<v Speaker 2>severely like eyebrow raising but really great effects. But likewise,

0:58:03.400 --> 0:58:05.720
<v Speaker 2>with the very next scene, which is the Grim Reaper

0:58:05.800 --> 0:58:08.720
<v Speaker 2>fight on the balcony, like the old guy Peter ends

0:58:08.800 --> 0:58:13.800
<v Speaker 2>up fighting this, it is just death personified with the scythe.

0:58:13.760 --> 0:58:16.200
<v Speaker 1>This is one that definitely reminded me of the Key

0:58:16.280 --> 0:58:21.280
<v Speaker 1>and Peel Grimlins two pitch meeting skit. There's the one

0:58:21.280 --> 0:58:23.520
<v Speaker 1>where the guy recommends that Hulk Hogan be in the

0:58:23.560 --> 0:58:26.360
<v Speaker 1>picture and they're like, WHOA hold the phone, you're talking

0:58:26.440 --> 0:58:30.960
<v Speaker 1>Hulk Hogan pro wrestler. It's similar to that. It's like, Okay,

0:58:31.040 --> 0:58:34.560
<v Speaker 1>we're gonna put the Grim Reaper in this. The personification

0:58:34.680 --> 0:58:38.800
<v Speaker 1>of death a highly symbolic character that is very rarely

0:58:38.920 --> 0:58:43.160
<v Speaker 1>actually incorporated into some sort of a film. I mean,

0:58:43.200 --> 0:58:46.439
<v Speaker 1>there are examples of this, obviously, including stuff like Bill

0:58:46.480 --> 0:58:49.400
<v Speaker 1>and Tad or I guess with the Final Destination films

0:58:49.400 --> 0:58:52.120
<v Speaker 1>to a certain extent without that character like really appearing

0:58:52.200 --> 0:58:54.480
<v Speaker 1>on the screen. But for the most part, like the

0:58:54.520 --> 0:58:58.480
<v Speaker 1>Grim Reaper is, is not a physical entity that you

0:58:58.600 --> 0:59:02.000
<v Speaker 1>talk about people encountering, unless you're dealing with a property

0:59:02.040 --> 0:59:06.360
<v Speaker 1>that is being fairly satirical or extremely symbolic.

0:59:06.760 --> 0:59:09.800
<v Speaker 2>Well wait, sorry, thinking back to the Final Destination movies,

0:59:09.880 --> 0:59:14.280
<v Speaker 2>does Tony Todd actually play the Grim Reaper or just

0:59:14.320 --> 0:59:17.280
<v Speaker 2>a guy who knows about the Grim Reaper? Oh?

0:59:17.360 --> 0:59:19.600
<v Speaker 1>I'm not sure on this. I have a very vague

0:59:19.680 --> 0:59:21.760
<v Speaker 1>memory of these films, and I don't think I saw

0:59:21.840 --> 0:59:24.120
<v Speaker 1>all of them. Tony Todd, of course, as the actor

0:59:24.160 --> 0:59:27.680
<v Speaker 1>played Candy Man, yeah, and is a great actor. Yeah,

0:59:27.680 --> 0:59:30.040
<v Speaker 1>I don't remember if he's just kind of the wise

0:59:30.120 --> 0:59:33.160
<v Speaker 1>man who knows the ways of death or his death embodied.

0:59:33.320 --> 0:59:35.919
<v Speaker 2>I recall, like several of those movies have a scene

0:59:35.920 --> 0:59:38.840
<v Speaker 2>where the characters go and they meet him and they're like, hey,

0:59:38.880 --> 0:59:41.320
<v Speaker 2>what's up, And he's like and he tells them like

0:59:41.480 --> 0:59:46.120
<v Speaker 2>facts about death. He's like, I don't know, He's just like,

0:59:46.200 --> 0:59:50.240
<v Speaker 2>did you know. I recall in the first one, he

0:59:50.320 --> 0:59:52.600
<v Speaker 2>refers to the Grim Reaper as a mac daddy.

0:59:53.000 --> 0:59:55.520
<v Speaker 1>Really yeh yeah, Now is Tony Todd I can't remember.

0:59:55.560 --> 0:59:57.680
<v Speaker 1>Is Tony Todd wearing like a black robe? Does he

0:59:57.760 --> 1:00:00.640
<v Speaker 1>have like a scythe pin on his shirt or anything?

1:00:00.840 --> 1:00:03.560
<v Speaker 2>I don't recall the capacity in which he has encountered

1:00:03.600 --> 1:00:06.680
<v Speaker 2>in the later films. In the first film, I think

1:00:06.720 --> 1:00:10.760
<v Speaker 2>he plays a guy who is interpreted as a mortuary worker.

1:00:10.840 --> 1:00:12.680
<v Speaker 2>Like they break into a morgue where one of the

1:00:12.720 --> 1:00:16.480
<v Speaker 2>people is being kept, and he's just there and he

1:00:16.560 --> 1:00:19.200
<v Speaker 2>tells them facts about death and then tells them that

1:00:19.400 --> 1:00:22.200
<v Speaker 2>like they can't escape death because death is a mac Daddy.

1:00:23.400 --> 1:00:26.040
<v Speaker 2>Well this, I mean, it's a great cameo. Yeah.

1:00:26.400 --> 1:00:29.640
<v Speaker 1>This Grim Reaper, however, can be defeated. And the way

1:00:29.680 --> 1:00:31.120
<v Speaker 1>they defeat him is pretty hilarious.

1:00:31.360 --> 1:00:34.120
<v Speaker 2>Yeah, they like knock it. So Peter I think, punches

1:00:34.200 --> 1:00:37.640
<v Speaker 2>him or somehow knocks him off the balcony and then

1:00:37.680 --> 1:00:41.960
<v Speaker 2>he explodes, just like explodes in a giant fireball, like

1:00:42.000 --> 1:00:43.240
<v Speaker 2>he's made of gasoline.

1:00:43.560 --> 1:00:46.080
<v Speaker 1>Yeah, like a truck that has gone off a cliff

1:00:46.400 --> 1:00:49.000
<v Speaker 1>in an action film or a Mad Max movie or something,

1:00:49.160 --> 1:00:52.600
<v Speaker 1>and then just burst into a just a big fireball

1:00:52.600 --> 1:00:54.960
<v Speaker 1>at the bottom. That's what death does when you knock

1:00:55.000 --> 1:00:55.680
<v Speaker 1>him off a roof.

1:00:56.080 --> 1:00:58.600
<v Speaker 2>So there's some more just sort of like wrapping up

1:00:58.640 --> 1:01:01.560
<v Speaker 2>the plot kind of stuff. There is a scene at

1:01:01.600 --> 1:01:04.200
<v Speaker 2>the end that I got to say, as much as

1:01:04.240 --> 1:01:06.640
<v Speaker 2>I enjoyed some of the monster scenes early on, the

1:01:06.760 --> 1:01:12.280
<v Speaker 2>ending scene was excruciating. It just goes on and on

1:01:12.680 --> 1:01:16.680
<v Speaker 2>and on. It's basically a chase where the woman who

1:01:16.720 --> 1:01:20.320
<v Speaker 2>has been awoken from her eternal slumber by the sacrifices

1:01:20.360 --> 1:01:23.720
<v Speaker 2>within the house and is trying to escape her like

1:01:23.880 --> 1:01:27.200
<v Speaker 2>evil warlock husband. She runs out of the house and

1:01:27.240 --> 1:01:30.440
<v Speaker 2>then zombies keep attacking her and she just keeps running

1:01:30.480 --> 1:01:34.160
<v Speaker 2>from them, and it's playing this driving synth music that's

1:01:34.240 --> 1:01:36.640
<v Speaker 2>kind of like good and getting you pumped up at first,

1:01:36.680 --> 1:01:39.480
<v Speaker 2>but then it just goes on and on and on

1:01:39.760 --> 1:01:43.680
<v Speaker 2>and on, and I thought I was gonna start screaming.

1:01:43.840 --> 1:01:46.400
<v Speaker 1>Yeah this I had a similar experience like I've been.

1:01:46.440 --> 1:01:49.040
<v Speaker 1>I was kind of really more enthusiastic about these monsters

1:01:49.080 --> 1:01:52.200
<v Speaker 1>and some of the acting, but then this whole sequence

1:01:52.280 --> 1:01:55.280
<v Speaker 1>hits and I begin to feel like a little weird,

1:01:55.360 --> 1:01:57.920
<v Speaker 1>like a little nauseous, you know, like like it was

1:01:58.080 --> 1:02:01.000
<v Speaker 1>it was getting psychedelic in the ad sense, like this

1:02:01.040 --> 1:02:04.600
<v Speaker 1>scene is the brown acid, you know, right, yes, And

1:02:04.760 --> 1:02:06.480
<v Speaker 1>it did seem to go. I don't think it's actually

1:02:06.520 --> 1:02:08.920
<v Speaker 1>that long. I think it's maybe it's less than ten minutes,

1:02:09.200 --> 1:02:12.600
<v Speaker 1>but who it just feels it's just dragging. It really drags.

1:02:12.960 --> 1:02:15.040
<v Speaker 1>And then basically at the end we get our nice

1:02:15.080 --> 1:02:18.840
<v Speaker 1>like sort of crazy dark ending where Creon finally comes

1:02:18.880 --> 1:02:21.400
<v Speaker 1>bursting up through that grave, the pulsating grave from the

1:02:21.440 --> 1:02:24.760
<v Speaker 1>beginning of the film, he's laughing maniacally. We cut to

1:02:24.920 --> 1:02:29.760
<v Speaker 1>the Jaha child laughing maniacally, and then freeze frame on

1:02:29.880 --> 1:02:32.360
<v Speaker 1>Creon laughing, and that's it, roll credits.

1:02:32.520 --> 1:02:37.200
<v Speaker 2>Yes, yes, and that's Spookies. Spookies. You know, I can't

1:02:37.200 --> 1:02:39.640
<v Speaker 2>stop thinking about your comparison of the Grim Reaper with

1:02:40.360 --> 1:02:45.320
<v Speaker 2>the Hulkster from the Key and Peel Skit. Something about

1:02:45.320 --> 1:02:47.320
<v Speaker 2>that is connecting very strongly for me.

1:02:49.080 --> 1:02:50.880
<v Speaker 1>Yeah, I mean, if you're gonna have the Grim Reaper

1:02:50.920 --> 1:02:54.320
<v Speaker 1>in your picture, like I mean, I hate to criticize

1:02:54.400 --> 1:02:56.520
<v Speaker 1>the one thing that really works about this film, the

1:02:56.560 --> 1:02:59.160
<v Speaker 1>monster buffet. Like the Grim Reaper doesn't need to be

1:02:59.200 --> 1:03:02.480
<v Speaker 1>on the buffet. He like he needs to be an

1:03:02.680 --> 1:03:06.520
<v Speaker 1>entree that you order special, like maybe you have a

1:03:06.560 --> 1:03:08.760
<v Speaker 1>side item with that, but for the most part, like

1:03:08.760 --> 1:03:10.400
<v Speaker 1>this is the Grim Reaper. He's a big deal. He

1:03:10.440 --> 1:03:14.040
<v Speaker 1>needs to be your big bad instead of just one

1:03:14.080 --> 1:03:16.760
<v Speaker 1>of the random things summoned by the Ouiji board. Yeah.

1:03:16.800 --> 1:03:19.440
<v Speaker 2>Yeah, it could be part of the buffet, but at

1:03:19.520 --> 1:03:21.600
<v Speaker 2>least needs to be a special part of the buffet.

1:03:21.720 --> 1:03:23.640
<v Speaker 2>So it's not just like one more thing you scoop

1:03:23.640 --> 1:03:26.280
<v Speaker 2>out of a steam tray. It is. It's the roast

1:03:26.280 --> 1:03:29.640
<v Speaker 2>beef carving station, you know. It's like the special the

1:03:30.040 --> 1:03:32.480
<v Speaker 2>end point. It's like this is where the real stuff is.

1:03:33.000 --> 1:03:35.200
<v Speaker 1>However, I will say the Grim Reaper looks pretty cool.

1:03:35.200 --> 1:03:38.480
<v Speaker 1>Like all these you can question why these monsters are

1:03:38.480 --> 1:03:40.720
<v Speaker 1>in it, but ultimately all the monsters are pretty fun

1:03:40.720 --> 1:03:44.040
<v Speaker 1>to look at on screen when they show up. Some

1:03:44.080 --> 1:03:48.400
<v Speaker 1>of them look great, some of them look ambitious but interesting.

1:03:49.440 --> 1:03:51.440
<v Speaker 1>They are ultimately the stars of this picture.

1:03:51.960 --> 1:03:54.200
<v Speaker 2>I want to be a RepA maniac, have fun with

1:03:54.240 --> 1:03:55.320
<v Speaker 2>my family and friends.

1:03:58.840 --> 1:04:01.520
<v Speaker 1>All right, Well, is there anything you know? Sometimes we

1:04:01.600 --> 1:04:03.320
<v Speaker 1>do a deeper read of some of the things, some

1:04:03.360 --> 1:04:05.400
<v Speaker 1>of the aspects of a particular film, but this this

1:04:05.480 --> 1:04:07.560
<v Speaker 1>film's kind of like a it's like a meta material

1:04:08.160 --> 1:04:13.400
<v Speaker 1>that resist any stain or or water, of beads of

1:04:13.480 --> 1:04:15.640
<v Speaker 1>fixing to it. Everything just runs off of it. There's

1:04:15.680 --> 1:04:17.720
<v Speaker 1>not a There aren't a lot of deep thoughts we

1:04:17.720 --> 1:04:20.760
<v Speaker 1>can really have about Spookies. But that's all right.

1:04:21.000 --> 1:04:23.440
<v Speaker 2>It wicks away cognition.

1:04:23.240 --> 1:04:26.640
<v Speaker 1>It does. Yeah, don't watch this film if you want

1:04:26.680 --> 1:04:29.720
<v Speaker 1>to want to have deep thoughts about virtually anything. But

1:04:29.760 --> 1:04:32.960
<v Speaker 1>if you want to see some some kind of groovy monsters,

1:04:32.760 --> 1:04:36.040
<v Speaker 1>it's worth taking a look at. Which leads to our

1:04:36.040 --> 1:04:38.920
<v Speaker 1>next point, where can you watch Spookies? Well again, Vinegar

1:04:38.960 --> 1:04:41.280
<v Speaker 1>Syndrome put out an awesome blu ray of the movie,

1:04:42.360 --> 1:04:44.880
<v Speaker 1>especially if you're a hardcore spooky fan. That's what you

1:04:44.920 --> 1:04:48.720
<v Speaker 1>need to pick up. It's a four K restoration from

1:04:48.800 --> 1:04:51.880
<v Speaker 1>the thirty five millimeters original camera negative pack full of

1:04:51.880 --> 1:04:55.520
<v Speaker 1>special bonuses. But you can also stream this film via

1:04:55.680 --> 1:04:59.800
<v Speaker 1>Shutter or a GMC. Yes, American Movie Classics, because this

1:04:59.880 --> 1:05:01.080
<v Speaker 1>is Spookies after all.

1:05:01.320 --> 1:05:04.000
<v Speaker 2>Is there a Criterion Collection edition? And I'm sorry I

1:05:04.120 --> 1:05:05.000
<v Speaker 2>keep making that joke.

1:05:05.640 --> 1:05:09.840
<v Speaker 1>Vinegar Syndrome is your Criterion edition for films like this.

1:05:10.440 --> 1:05:11.640
<v Speaker 2>I promise I'll stop now.

1:05:12.040 --> 1:05:15.880
<v Speaker 1>Okay, all right, Well, we're gonna go ahead and close

1:05:15.960 --> 1:05:18.720
<v Speaker 1>the tomb on this one and try and see it

1:05:18.880 --> 1:05:22.960
<v Speaker 1>shut But certainly we'll be back with another Weird House

1:05:23.080 --> 1:05:25.760
<v Speaker 1>Cinema episode next Friday. I believe we're going to be

1:05:25.840 --> 1:05:31.040
<v Speaker 1>talking about a film of superior quality, both objectively and

1:05:31.080 --> 1:05:34.240
<v Speaker 1>subjectively speaking. But in the meantime you can check out

1:05:34.240 --> 1:05:36.960
<v Speaker 1>all these episodes of Weird House Cinema that publish on

1:05:37.000 --> 1:05:39.439
<v Speaker 1>Fridays and the Stuff to Blow Your Mind podcast feed

1:05:39.480 --> 1:05:42.200
<v Speaker 1>We are primarily a science podcast, but we set aside

1:05:42.200 --> 1:05:45.080
<v Speaker 1>most of the science on Fridays to discuss a weird film.

1:05:45.520 --> 1:05:47.120
<v Speaker 1>Core episodes of Stuff to Blow Your Mind, or on

1:05:47.120 --> 1:05:50.480
<v Speaker 1>Tuesdays and Thursdays, Artifact on Wednesday and on Monday. We

1:05:50.520 --> 1:05:52.920
<v Speaker 1>do listener mail rerun on the weekend.

1:05:52.800 --> 1:05:55.760
<v Speaker 2>Huge Things, As always to our excellent audio producer Seth

1:05:55.840 --> 1:05:58.280
<v Speaker 2>Nicholas Johnson. If you would like to get in touch

1:05:58.280 --> 1:06:00.560
<v Speaker 2>with us with feedback on this episode or any other,

1:06:00.640 --> 1:06:02.600
<v Speaker 2>to suggest a topic for the future, or just to

1:06:02.600 --> 1:06:05.880
<v Speaker 2>say hello, you can email us at contact at Stuffdblow

1:06:05.920 --> 1:06:14.040
<v Speaker 2>your Mind dot com.

1:06:14.160 --> 1:06:17.080
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1:06:17.200 --> 1:06:21.000
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