WEBVTT - Weirdhouse Cinema: I Come in Peace

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<v Speaker 1>Welcome to Stuff to Blow Your Mind, a production of iHeartRadio.

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<v Speaker 2>Hey, welcome to Weird House Cinema. This is Rob Lamb.

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<v Speaker 3>And this is Joe McCormick. And today on Weird House Cinema,

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<v Speaker 3>we are going to be talking about the nineteen ninety

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<v Speaker 3>sci fi action cop movie I Come in Peace, starring

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<v Speaker 3>the one and only Dolph Lundegren.

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<v Speaker 2>That's right, aka Dark Angel. That was I think the

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<v Speaker 2>international title for it, and it was released in the

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<v Speaker 2>States is I Come in Peace. I Come in Peace

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<v Speaker 2>as the title that I was exposed to as a kid.

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<v Speaker 2>You see it on the other trailers that would be

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<v Speaker 2>on your VHS rental, or I think I would see

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<v Speaker 2>the poster art, and I was always really intimidated because

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<v Speaker 2>it had this like really scary looking like giant dude

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<v Speaker 2>with like long white, like white blonde hair, very serious demeanor,

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<v Speaker 2>and yeah, he's he's from space and he is here

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<v Speaker 2>to deal drugs and I don't know that anything can

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<v Speaker 2>possibly stop him.

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<v Speaker 3>So it's funny. I recall no awareness whatsoever of this

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<v Speaker 3>movie when I was a kid, which is strange to

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<v Speaker 3>me because it seems like exactly the kind of movie

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<v Speaker 3>I would have thought was cool would have remembered and

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<v Speaker 3>would have sought out when I was, you know, eight

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<v Speaker 3>or whatever. But I don't remember this one. The Dolph

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<v Speaker 3>Lundgren movie I do really remember, though I never actually

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<v Speaker 3>saw it. I just have the cover of the VHS

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<v Speaker 3>box burned into my brain. Is a later one from

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<v Speaker 3>nineteen ninety six called Silent Trigger, where he's just holding

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<v Speaker 3>this ridiculous looking gun with like bullets that are the

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<v Speaker 3>size of crossbow bolts. Silent trigger? Is that a thing?

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<v Speaker 2>Can you hear?

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<v Speaker 3>I don't know. Is it like the trigger doesn't make

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<v Speaker 3>a noise. I have no idea what it's about. It's

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<v Speaker 3>just Dolph lund and looking very grim and I think

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<v Speaker 3>he's got headphones on or maybe ear muffs because maybe

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<v Speaker 3>the trigger is too loud and that's the problem. And

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<v Speaker 3>the plot is about how he wants to achieve a

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<v Speaker 3>silent trigger so he can take the ear muffs off.

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<v Speaker 2>Well, Dolph never had any trouble looking grim and serious

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<v Speaker 2>like that's that's pretty much one of his his trademarks.

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<v Speaker 2>The interesting thing about the movie we're gonna be discussing

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<v Speaker 2>today is that he gets a little more room to

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<v Speaker 2>flex his acting muscles. And to understand that was one

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<v Speaker 2>of the things that attracted him to the to the project.

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<v Speaker 2>So we're gonna get to see Dolph, you know, do

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<v Speaker 2>a little bit of comedy, do a little bit of romance,

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<v Speaker 2>be uh, be more of a certainly an action hero.

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<v Speaker 2>He's still gonna, you know, spinkick the soul out of people,

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<v Speaker 2>but you know he's gonna maybe try a few other

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<v Speaker 2>things as well.

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<v Speaker 3>I'm more used to him in Ivan Drago mode, where

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<v Speaker 3>he's just if he dies, he dies, But here he

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<v Speaker 3>is he's trying to loosen up. He's trying to be

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<v Speaker 3>funny and charming and make the same kind of transition

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<v Speaker 3>that Arnold Schwarzenegger did from like originally just kind of

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<v Speaker 3>like a grim, humorless muscleman like The Terminator, to become

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<v Speaker 3>more of a charismatic action hero. And no offense to

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<v Speaker 3>Dolph Lindergrin. I'm not sure if he quite has the

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<v Speaker 3>charisma at the ready to make that shift.

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<v Speaker 2>Yeah, I'm not sure it was entirely a success, but

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<v Speaker 2>it'll be fun to talk about here. But yeah, I mean,

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<v Speaker 2>he barely takes his shirt off in this movie too.

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<v Speaker 2>I should mention that's true. I think he's got it

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<v Speaker 2>on pretty much the whole time. Does it ever come off?

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<v Speaker 2>I think maybe there's one scene where he's getting bandaged

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<v Speaker 2>up or something by a coroner. By the way, it's

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<v Speaker 2>towards the end though, almost as if they were like,

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<v Speaker 2>oh man, Doff's been fully closed this whole picture. Maybe

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<v Speaker 2>he should take his shirt off a little bit. And

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<v Speaker 2>he's like, okay, I will, but I'm trying to try

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<v Speaker 2>new things here.

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<v Speaker 3>I love a scene that has a coroner whose main

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<v Speaker 3>experience is doing autopsies. They just start rolling for medicine.

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<v Speaker 3>But hey, I know why you picked this movie, Rob.

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<v Speaker 3>I think I know because you said it has Christmas themes,

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<v Speaker 3>and by god, it's not really advertised in the marketing

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<v Speaker 3>materials for the movie, but when I saw it, yes,

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<v Speaker 3>this is a Christmas film, so it's perfect for December.

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<v Speaker 2>That's right. We love to cover legit weird Christmas movies

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<v Speaker 2>on weird house cinema, like Santa Claus versus the I mean, sorry,

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<v Speaker 2>Santa Claus Conquers the Martians. We're gonna be I think

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<v Speaker 2>we're gonna be doing another weird Christmas movie straight up

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<v Speaker 2>in the week ahead. But we also like to dig

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<v Speaker 2>into those Christmas subgenres like Christmas horror. We covered one

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<v Speaker 2>of these previously with nineteen eighty three's blood Beat, but

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<v Speaker 2>this time we're looking at an even larger holiday subgenre,

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<v Speaker 2>the Christmas action movie.

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<v Speaker 3>Now, the big one that probably comes to mind for

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<v Speaker 3>everyone is die Hard, which I think at least the

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<v Speaker 3>first two die Hard movies are both set around Christmas.

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<v Speaker 3>From what I recall, I don't know if the trend

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<v Speaker 3>continues after that, but I can't really think of another one.

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<v Speaker 3>What are there other ones you've got on the list?

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<v Speaker 2>Oh? Yeah, so Lethal Weapon apparently takes place at Christmas.

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<v Speaker 2>Various Shane Black films. You know, he loves to go

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<v Speaker 2>for the holidays and his action pictures and you have,

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<v Speaker 2>so you have plenty of very mainstream films to consider

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<v Speaker 2>in this subgenre, and you know they're probably influencing each

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<v Speaker 2>other to some degree. I wouldn't say these are necessarily

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<v Speaker 2>weird films. They may have some weird elements here and there,

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<v Speaker 2>but you do get into the weird with films like

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<v Speaker 2>nineteen ninety two's Batman Returns, Oh Lord, which which definitely

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<v Speaker 2>employs some Christmas in its weirdness.

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<v Speaker 3>I always forget that there are Christmas themes in Batman Returns.

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<v Speaker 3>But yeah, that one that's about as weird as a

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<v Speaker 3>big budget mainstream movie gets.

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<v Speaker 2>Yeah, like I he kind of pushed it over the line,

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<v Speaker 2>and not in a bad way, but in just like

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<v Speaker 2>a mainstream way. So we may have to come back

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<v Speaker 2>to Batman Returns in the future. I rented this movie

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<v Speaker 2>I Come In Peace from Atlanta's own video drome, and

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<v Speaker 2>while I was there looking with the owner and manager,

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<v Speaker 2>Matt about Christmas action movies, he was talking about he

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<v Speaker 2>was thinking he was probably going to put together a

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<v Speaker 2>selection of Christmas action movies there in the store, and

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<v Speaker 2>he pointed out that a fair number of Hong Kong

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<v Speaker 2>action films also take place during Christmas HM, which I

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<v Speaker 2>was not aware of. And as for like why combine

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<v Speaker 2>action films and Christmas, he said that he thinks part

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<v Speaker 2>of is just how easy it is to use the

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<v Speaker 2>holiday aesthetic to give a picture a sense of time

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<v Speaker 2>and place, which I think is pretty valid. You know,

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<v Speaker 2>it's like when and where does this take place? Well,

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<v Speaker 2>we've got some tensil in the background. Christmas is almost

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<v Speaker 2>like artificial depth has been applied to the scene. And

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<v Speaker 2>or if you're filming at Christmas, you know, roll with it.

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<v Speaker 2>But I think another aspect of it is certainly the

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<v Speaker 2>juxtaposition between Christmas commercial Christmas that kind of like artificial

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<v Speaker 2>souped up sense of joy and happiness with horror sci

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<v Speaker 2>fi or just straight up explosions and spin kicks.

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<v Speaker 3>I feel like using Christmas as a time setting for

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<v Speaker 3>a movie is almost like using a recognizable location setting

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<v Speaker 3>in the world, except it's cheaper to do. You know,

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<v Speaker 3>It's easier to just like put up Christmas decorations on

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<v Speaker 3>whatever set you'd be using anyway than it is to

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<v Speaker 3>shoot a scene in Times Square and have everybody be like,

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<v Speaker 3>I know where that is. You know, you have Christmas

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<v Speaker 3>decorations in any room and people go, I know what

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<v Speaker 3>that is.

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<v Speaker 2>Yeah, I can relate, And it's there's also just almost

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<v Speaker 2>a little bit, you know, you can get some nice

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<v Speaker 2>subtle comedy in there a lot easier as well. So okay,

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<v Speaker 2>so we have an action film. It is a Christmas

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<v Speaker 2>movie and hot on the heels of our RoboCop episode,

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<v Speaker 2>this is another Texas movie filmed and this time set

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<v Speaker 2>in Houston, Texas. I have to say I always like

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<v Speaker 2>it when they just go ahead and set the damn

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<v Speaker 2>picture where it's actually filmed, especially if it doesn't really

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<v Speaker 2>impact anything, you know, because otherwise they're like, oh, Ironman

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<v Speaker 2>can't go to Atlanta. He's got to be someone like

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<v Speaker 2>why can't Why can't Ironman come to Atlanta?

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<v Speaker 3>Mm hmm. Actually they go farther than just letting it

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<v Speaker 3>actually be Houston. Dolph Lundgren is frequently seen wearing Houston

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<v Speaker 3>Astros merchandise. Like when we first see him, he's got

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<v Speaker 3>an Astros T shirt on underneath his cutoff denim vest.

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<v Speaker 2>Yeah, this the Houston Astros. By the way, it's the

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<v Speaker 2>baseball team there. It's like the Astrodome. I had to

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<v Speaker 2>look him up though, and I realized, oh they were.

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<v Speaker 2>Until nineteen sixty four, they were known as the Colt

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<v Speaker 2>forty five. I don't know if their mascot was a

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<v Speaker 2>handgun or what have you. But anyway, Oh, I was

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<v Speaker 2>thinking malt liquor. Oh yeah, I guess it could go

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<v Speaker 2>that way. The cult forty five is also a gun, right.

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<v Speaker 3>I guess, so I'd imagine the malt liquor is named

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<v Speaker 3>after the gun.

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<v Speaker 2>All right, maybe it's the malt liquor with the gun.

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<v Speaker 2>I don't know. Now, you can also think if I

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<v Speaker 2>Come In Piece as a kind of late eighties, you know,

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<v Speaker 2>certainly nineteen ninety update of Not of This Earth, the

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<v Speaker 2>film we've talked about on the show before, as well

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<v Speaker 2>as a predecessor to another film we've talked about on

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<v Speaker 2>the show before, nineteen ninety two, Split Second, starring Rutger Howard.

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<v Speaker 2>Split Second especially, I think gave us both We can't

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<v Speaker 2>help but compare this to these two films, even though,

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<v Speaker 2>to be sure, I Come In Peace arrives in theaters

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<v Speaker 2>years ahead of Split Second. But there are so many

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<v Speaker 2>things they have in common with each other.

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<v Speaker 3>Yeah, there is some extremely similar DNA, especially in the

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<v Speaker 3>specific buddy cop dynamic of the two movies. Both of

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<v Speaker 3>these movies have sci fi elements where ultimately there's like

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<v Speaker 3>an alien or monster doing most of the murders. But

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<v Speaker 3>then they also have a main cop who is like

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<v Speaker 3>a tough, no nonsense butt kicker who doesn't play by

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<v Speaker 3>the rules, whose life is shattered by tragedy. The chief

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<v Speaker 3>tries to take him off the case he's taken it

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<v Speaker 3>too personal, and he gets a new partner who's a

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<v Speaker 3>college educated nerd who insists on following the rules. But

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<v Speaker 3>then in the third act is converted to the cult

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<v Speaker 3>of instinct and breaks all the rules in order to

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<v Speaker 3>save the day.

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<v Speaker 2>Yeah. To put it in like D and D terms,

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<v Speaker 2>it's like, you have your chaotic good and your lawful good,

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<v Speaker 2>but by the end, everybody's chaotic good because the message

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<v Speaker 2>is chaos gets things done.

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<v Speaker 3>I guess that's right. Your your main cop is chaotic good.

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<v Speaker 3>I'd say, actually, the new partner usually starts off more

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<v Speaker 3>as lawful neutral, like they would rather follow the rules

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<v Speaker 3>than do the thing, and then by the end they

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<v Speaker 3>are converted to the cult of the chaotic good.

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<v Speaker 2>Yeah, so that's the way it tends to play out.

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<v Speaker 2>We had a whole offline discussion about well where does

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<v Speaker 2>this come from then, like what specific film is being

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<v Speaker 2>copied by both Split Second and I come in piece,

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<v Speaker 2>like some sort of non genre piece, And we were

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<v Speaker 2>looking around at different buddy cop movies and the articles

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<v Speaker 2>about the evolution of the buddy cop movie, like apparently

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<v Speaker 2>it goes all the way back to the forties with Kurosawa,

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<v Speaker 2>but I'm not sure, Like where do you where you

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<v Speaker 2>find that first really influential example of the he's a

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<v Speaker 2>bad cop or not a bad cops? He plays by

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<v Speaker 2>his own rules and he plays by the rules and

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<v Speaker 2>now they're on the same case. That kind of odd couple,

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<v Speaker 2>buddy cop the scenario, where does that come from? Exactly?

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<v Speaker 2>What puts that on the map?

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<v Speaker 3>Maybe we'll have to chase down that lead someday, but

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<v Speaker 3>I think we don't know the full answer today.

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<v Speaker 2>Yeah.

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<v Speaker 3>But also so this movie, yes, it has every cop

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<v Speaker 3>movie cliche in it. It is it is explosion fest.

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<v Speaker 3>On the other hand, there are some elements to it

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<v Speaker 3>that I think are kind of clever and do work

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<v Speaker 3>on their own terms. I don't want to over sell

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<v Speaker 3>that element of it, because this is ultimately a quite

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<v Speaker 3>dumb movie, But like the idea of the villains being

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<v Speaker 3>alien drug dealers, I don't know, that's just kind of good.

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<v Speaker 2>Yeah. The only film I could come across and this

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<v Speaker 2>is not. This is one. I didn't make it all

0:11:48.720 --> 0:11:49.800
<v Speaker 2>the way through it because I thought it was a

0:11:49.840 --> 0:11:52.960
<v Speaker 2>little bit rough content wise for my taste at the time.

0:11:52.960 --> 0:11:55.440
<v Speaker 2>But nineteen eighty two's Liquid Sky, I believe, also has

0:11:55.520 --> 0:11:58.800
<v Speaker 2>some sort of like alien drug dealer kind of scenario

0:11:58.880 --> 0:12:03.320
<v Speaker 2>or aliens harvesting dugs from human beings, and there are

0:12:03.520 --> 0:12:06.040
<v Speaker 2>surely others. So right in with your suggestions.

0:12:06.400 --> 0:12:08.839
<v Speaker 3>Yeah, you know, I was trying to think of another

0:12:08.880 --> 0:12:12.600
<v Speaker 3>movie also that has the dynamic of an alien bounty

0:12:12.679 --> 0:12:16.400
<v Speaker 3>hunter or cop chasing an alien criminal on Earth, and

0:12:16.440 --> 0:12:21.200
<v Speaker 3>I was like, oh, Critters. Actually, the Critters has that dynamic.

0:12:21.480 --> 0:12:25.920
<v Speaker 3>And also there is a Jesse Ventura movie called a

0:12:26.040 --> 0:12:29.720
<v Speaker 3>Braxis Guardian of the Universe that has the same dynamic.

0:12:30.320 --> 0:12:35.319
<v Speaker 3>That movie is quite i think, unintentionally hilarious, but nowhere

0:12:35.320 --> 0:12:39.560
<v Speaker 3>near on the level of like a budget or filmmaking

0:12:39.559 --> 0:12:41.640
<v Speaker 3>finesse that I come in pieces.

0:12:42.200 --> 0:12:43.840
<v Speaker 2>Yeah, I mean you could even go I think the

0:12:43.880 --> 0:12:47.640
<v Speaker 2>Critters example is great. Our aliens in this film also

0:12:47.720 --> 0:12:53.320
<v Speaker 2>kind of dressed like The Critters bounty hunters, but you

0:12:53.320 --> 0:12:56.040
<v Speaker 2>could even apply it to things like Highlander, where you

0:12:56.120 --> 0:13:01.080
<v Speaker 2>have these outsiders, powerful outsider beings who are at odds

0:13:01.080 --> 0:13:04.160
<v Speaker 2>with each other but in the background of normal life.

0:13:04.800 --> 0:13:06.400
<v Speaker 3>Yeah, that's good, all right.

0:13:06.480 --> 0:13:08.679
<v Speaker 2>I came up with an elevator pitch for this one.

0:13:08.720 --> 0:13:11.120
<v Speaker 2>But Joe, your chris Well is better than mine. Would

0:13:11.200 --> 0:13:11.960
<v Speaker 2>you mind reading this?

0:13:12.200 --> 0:13:16.800
<v Speaker 3>Oh? Okay, so I'm doing Chriswell predict So, my friend,

0:13:17.040 --> 0:13:21.679
<v Speaker 3>can your heart stand the shocking facts about drug pushers

0:13:21.760 --> 0:13:23.200
<v Speaker 3>from outer space?

0:13:25.160 --> 0:13:28.880
<v Speaker 2>Yes? It is. I come in peace aka Dark Angel,

0:13:28.960 --> 0:13:31.319
<v Speaker 2>and I might suggest you could also call this film

0:13:31.320 --> 0:13:32.120
<v Speaker 2>White Christmas.

0:13:34.679 --> 0:13:35.959
<v Speaker 3>Yeah, because of all the heroin.

0:13:36.120 --> 0:13:38.400
<v Speaker 2>Yeah, all right, let's go ahead and listen to the

0:13:38.440 --> 0:13:39.760
<v Speaker 2>trailer audio. I don't know if we'll listen to the

0:13:39.760 --> 0:13:41.800
<v Speaker 2>whole thing, but we should at least listen to the

0:13:41.800 --> 0:13:44.760
<v Speaker 2>first part of it, because even though most like the

0:13:44.760 --> 0:13:47.040
<v Speaker 2>posters don't make it look like a Christmas film, they

0:13:47.080 --> 0:13:49.520
<v Speaker 2>do push the Christmas button right here at the top

0:13:49.559 --> 0:13:50.120
<v Speaker 2>of the trailer.

0:13:55.640 --> 0:14:00.440
<v Speaker 4>Houston, Texas, It's Christmas.

0:14:00.440 --> 0:14:05.400
<v Speaker 3>Someone specials coming to town. And it's not Santa.

0:14:05.080 --> 0:14:16.360
<v Speaker 4>Claus, Jack and Jane, a coup who does things his

0:14:16.559 --> 0:14:17.120
<v Speaker 4>own way.

0:14:17.280 --> 0:14:19.000
<v Speaker 3>What are you doing?

0:14:22.720 --> 0:14:26.680
<v Speaker 2>He's sensitive, understanding.

0:14:27.440 --> 0:14:32.960
<v Speaker 3>And kind to strangers the Christmas? But all that's about

0:14:33.040 --> 0:14:33.680
<v Speaker 3>to end.

0:14:37.880 --> 0:14:41.200
<v Speaker 4>Three well armed men have their throats cut where they

0:14:41.240 --> 0:14:44.040
<v Speaker 4>can even draw their weapons, and who could possibly move

0:14:44.080 --> 0:14:46.280
<v Speaker 4>that fast?

0:14:47.400 --> 0:14:52.840
<v Speaker 2>Aliens say, what are you crazy? True?

0:14:53.400 --> 0:15:00.240
<v Speaker 4>It's true. You need a psychiatrist, Jack, your psycho of

0:15:00.280 --> 0:15:01.360
<v Speaker 4>heroin to kill people with.

0:15:03.680 --> 0:15:05.520
<v Speaker 3>What are you gonna do? Tell them where? We're fighting

0:15:05.560 --> 0:15:14.960
<v Speaker 3>drug dealers from outer space? Huh?

0:15:15.560 --> 0:15:17.640
<v Speaker 2>All right? Doesn't that put you in the holiday spirit?

0:15:17.720 --> 0:15:18.760
<v Speaker 2>Doesn't that put you in the mood?

0:15:19.200 --> 0:15:21.280
<v Speaker 3>I did listen to the trailer earlier, but I can't

0:15:21.280 --> 0:15:23.280
<v Speaker 3>remember what the narration is like, is it is it

0:15:23.360 --> 0:15:24.000
<v Speaker 3>the voice?

0:15:24.560 --> 0:15:27.560
<v Speaker 2>Yeah, it's well, I don't know if it is the voice.

0:15:27.560 --> 0:15:29.520
<v Speaker 2>It might be. I didn't check to see if it

0:15:29.560 --> 0:15:33.920
<v Speaker 2>was Lafontein on this. But the narration is Houston, Texas.

0:15:34.000 --> 0:15:37.400
<v Speaker 2>It's Christmas, someone special that's coming to town. And it's

0:15:37.520 --> 0:15:38.600
<v Speaker 2>not Santa Claus.

0:15:39.160 --> 0:15:42.520
<v Speaker 3>This Christmas get drug snaked by a Martian.

0:15:44.200 --> 0:15:45.960
<v Speaker 2>I will put an asterisk by that. We will come

0:15:46.000 --> 0:15:48.200
<v Speaker 2>back to this question because I think a case could

0:15:48.200 --> 0:15:52.520
<v Speaker 2>be made that it is Santa Claus. Hmm, okay, all right,

0:15:52.560 --> 0:15:53.960
<v Speaker 2>Well if you want to go see I Come in

0:15:54.040 --> 0:15:57.280
<v Speaker 2>Pece aka Dark Angel before proceeding with the rest of

0:15:57.320 --> 0:16:00.680
<v Speaker 2>the episode. Well, it's pretty widely available. Watched this on

0:16:00.720 --> 0:16:03.960
<v Speaker 2>the excellent twenty thirteen Shout Factory Blu ray release, which

0:16:04.000 --> 0:16:06.920
<v Speaker 2>we've again rented from Video Drum. That was pretty solid.

0:16:06.920 --> 0:16:08.680
<v Speaker 2>It only has one feature att on it, but it's

0:16:08.680 --> 0:16:10.200
<v Speaker 2>a good one and get sent a little bit into

0:16:10.200 --> 0:16:12.720
<v Speaker 2>the making of the film, and you can also rent

0:16:12.720 --> 0:16:14.920
<v Speaker 2>it digitally for wherever you get your movies.

0:16:15.680 --> 0:16:17.920
<v Speaker 3>I think they kind of missed an opportunity with this

0:16:17.960 --> 0:16:20.840
<v Speaker 3>disc where you know, sometimes you have these physical media

0:16:20.920 --> 0:16:24.800
<v Speaker 3>releases that mirror plot elements from the movie. So you've

0:16:24.800 --> 0:16:27.360
<v Speaker 3>got your you know, your Evil Dead release where the

0:16:27.720 --> 0:16:30.360
<v Speaker 3>case is the Book of the Dead bound in flesh.

0:16:30.360 --> 0:16:33.520
<v Speaker 3>It's probably not really flesh, but who knows. I think

0:16:33.560 --> 0:16:35.960
<v Speaker 3>in this case they should have made the disc razor

0:16:36.040 --> 0:16:37.200
<v Speaker 3>sharp on the edges.

0:16:38.240 --> 0:16:40.360
<v Speaker 2>Yeah yeah, I think that would have worked. And maybe

0:16:40.360 --> 0:16:42.320
<v Speaker 2>the case could have had a little liquid smoke in

0:16:42.360 --> 0:16:43.880
<v Speaker 2>it so when you open it and then there you

0:16:43.920 --> 0:16:46.440
<v Speaker 2>have some files of alien space drugs in there.

0:16:46.480 --> 0:16:53.320
<v Speaker 3>Oh yeah, yeah, that'd be good.

0:16:57.400 --> 0:16:59.480
<v Speaker 2>All right, Let's talk about the people behind this film,

0:16:59.480 --> 0:17:01.880
<v Speaker 2>starting with the director. This is someone we've never talked

0:17:01.880 --> 0:17:04.000
<v Speaker 2>about on the show before because he is very much

0:17:04.280 --> 0:17:07.199
<v Speaker 2>an action guy for the most part. It's Craig R.

0:17:07.280 --> 0:17:12.359
<v Speaker 2>Baxley born nineteen forty nine. Third generation stuntman and stunt

0:17:12.440 --> 0:17:16.680
<v Speaker 2>coordinator turned director. His father, Paul Baxley, worked on such

0:17:16.680 --> 0:17:20.160
<v Speaker 2>films as Diamonds or Forever and the original Star Trek series.

0:17:20.480 --> 0:17:23.800
<v Speaker 3>I think Diamonds Are Forever is the James Bond film

0:17:23.880 --> 0:17:27.440
<v Speaker 3>that Sean Connery came back for after he had left

0:17:27.520 --> 0:17:30.040
<v Speaker 3>the James Bond franchise for one movie.

0:17:30.359 --> 0:17:34.840
<v Speaker 2>That's the one. Yeah. Now, Craig Craig bar Baxley, the

0:17:34.880 --> 0:17:37.440
<v Speaker 2>director of the Sun Here, started out doing stunt work

0:17:37.480 --> 0:17:40.240
<v Speaker 2>in the early seventies on films like Diamonds or Forever,

0:17:40.320 --> 0:17:43.399
<v Speaker 2>but also the Omega Man that was also from seventy one.

0:17:43.720 --> 0:17:47.479
<v Speaker 2>He eventually starts doing stunt coordinator work. By seventy three

0:17:47.600 --> 0:17:50.159
<v Speaker 2>or seventy four, he's still doing stunts though. He was

0:17:50.240 --> 0:17:53.560
<v Speaker 2>Warren Baty stuntman on a few movies, and he worked

0:17:53.600 --> 0:17:57.000
<v Speaker 2>steadily in the stunt department for another decade, culminating in

0:17:57.119 --> 0:18:00.920
<v Speaker 2>nineteen eighty seven's Predator. This is one where he served

0:18:00.960 --> 0:18:04.040
<v Speaker 2>as stunt coordinator and also stunt coordinator second unit.

0:18:04.320 --> 0:18:07.720
<v Speaker 3>I can't help but see a few little gizmo's and

0:18:07.800 --> 0:18:10.720
<v Speaker 3>gadgets in this movie that may have been inspired by

0:18:10.800 --> 0:18:11.720
<v Speaker 3>the movie Predator.

0:18:12.160 --> 0:18:16.119
<v Speaker 2>Yeah. Yeah, they're definitely some shared DNA, I think, And

0:18:16.200 --> 0:18:21.640
<v Speaker 2>of course both are just bombastic action film sci fi

0:18:21.680 --> 0:18:24.200
<v Speaker 2>action films of the day. Though I may come back

0:18:24.240 --> 0:18:26.240
<v Speaker 2>to this, Predator is a film that had like three

0:18:26.280 --> 0:18:27.760
<v Speaker 2>times the budget of this movie.

0:18:28.160 --> 0:18:32.320
<v Speaker 3>Yeah. As far as just like straight macho sci fi

0:18:32.440 --> 0:18:34.840
<v Speaker 3>action goes, I think Predator is kind of unbeatable.

0:18:35.160 --> 0:18:37.600
<v Speaker 2>Yeah, yeah, it's right there at the top. So Predator

0:18:37.680 --> 0:18:39.800
<v Speaker 2>was let the last film where in which he served

0:18:39.800 --> 0:18:42.600
<v Speaker 2>as stunt coordinator. He started directing a few years prior

0:18:42.640 --> 0:18:45.240
<v Speaker 2>to Predator with some episodes of TV's The A Team,

0:18:45.600 --> 0:18:48.520
<v Speaker 2>but then directed his first feature film with nineteen eighty

0:18:48.560 --> 0:18:53.359
<v Speaker 2>eight's Action Jackson starring Carl Weathers of Predator, Fame and

0:18:53.440 --> 0:18:56.680
<v Speaker 2>much more. And now then comes I Come in Peace,

0:18:56.800 --> 0:19:00.080
<v Speaker 2>followed up by nineteen ninety one Stone Cold star r

0:19:00.320 --> 0:19:02.720
<v Speaker 2>Brian Bosworth. Have you seen this one, Joe.

0:19:02.680 --> 0:19:04.480
<v Speaker 3>No, but I think we talked about it in some

0:19:04.560 --> 0:19:08.199
<v Speaker 3>other episode. I don't remember why. It's some kind of

0:19:08.200 --> 0:19:09.000
<v Speaker 3>biker connection.

0:19:09.480 --> 0:19:12.480
<v Speaker 2>Yep, yep. I've watched the Riff Tracks version of it

0:19:12.520 --> 0:19:13.560
<v Speaker 2>and it was a lot of fun.

0:19:13.840 --> 0:19:14.240
<v Speaker 3>Okay.

0:19:14.760 --> 0:19:17.720
<v Speaker 2>So Baxley, you know, firmly established himself in the action

0:19:17.920 --> 0:19:21.000
<v Speaker 2>tough guy genre of film, but he eventually became a

0:19:21.040 --> 0:19:24.800
<v Speaker 2>repeat Stephen King adaptation director with the nineteen ninety nine

0:19:24.840 --> 0:19:27.120
<v Speaker 2>Storm of the Century mini series, two thousand and two's

0:19:27.240 --> 0:19:30.879
<v Speaker 2>Rose Read two thousand and four's Kingdom Hospital. That's King's

0:19:30.880 --> 0:19:34.680
<v Speaker 2>adaptation of Lars von Trier's The Kingdom, and he's also

0:19:34.880 --> 0:19:38.320
<v Speaker 2>apparently directing an upcoming adaptation of Kings the Gingerbread Girl.

0:19:38.920 --> 0:19:41.560
<v Speaker 3>I had a weird experience with Storm of the Century,

0:19:41.640 --> 0:19:46.920
<v Speaker 3>which is I remember seeing ads for it before it premiered.

0:19:47.200 --> 0:19:48.280
<v Speaker 3>I don't know if it was on T and T

0:19:48.440 --> 0:19:49.480
<v Speaker 3>or whatever I think it was. You know, it was

0:19:49.480 --> 0:19:52.440
<v Speaker 3>made for TV mini series. And then I didn't actually

0:19:52.480 --> 0:19:55.439
<v Speaker 3>see it, but I bought at a used bookstore a

0:19:55.520 --> 0:19:59.480
<v Speaker 3>copy of the screenplay that was like published in bound form,

0:20:00.160 --> 0:20:04.840
<v Speaker 3>so I like read the teleplay very Storm at the Century.

0:20:05.119 --> 0:20:07.720
<v Speaker 2>I just never I was never drawn in by because

0:20:07.720 --> 0:20:10.040
<v Speaker 2>I couldn't tell what, like, what's the speculative elopment, what's

0:20:10.080 --> 0:20:11.119
<v Speaker 2>the gimmick? Is it?

0:20:11.160 --> 0:20:15.000
<v Speaker 3>There's like a there's a demon. So a town that

0:20:15.119 --> 0:20:17.600
<v Speaker 3>lives on a little island off the coast of New England.

0:20:17.640 --> 0:20:21.400
<v Speaker 3>I assume it's said in Maine. Uh is cut off

0:20:21.440 --> 0:20:24.320
<v Speaker 3>from the mainland by a blizzard, and in that time

0:20:24.440 --> 0:20:27.680
<v Speaker 3>a demon comes to the town and tries to make

0:20:27.720 --> 0:20:29.600
<v Speaker 3>a get the townspeople to make a deal with the

0:20:29.640 --> 0:20:31.840
<v Speaker 3>devil with him. I think he's like, I will I

0:20:31.880 --> 0:20:34.000
<v Speaker 3>will keep killing you until you give me all your

0:20:34.080 --> 0:20:35.440
<v Speaker 3>children and then I'll go away.

0:20:36.000 --> 0:20:37.280
<v Speaker 2>Okay, that's that's unbranded.

0:20:37.440 --> 0:20:38.800
<v Speaker 3>I don't remember how it ends up.

0:20:40.359 --> 0:20:42.760
<v Speaker 2>Well anyway, Uh, I guess the important thing to take

0:20:42.800 --> 0:20:45.280
<v Speaker 2>home about Baxley at this point with I Come in

0:20:45.359 --> 0:20:48.520
<v Speaker 2>Peace is this is a guy who knows stunts, who

0:20:48.560 --> 0:20:51.560
<v Speaker 2>knows who knows stunt teams, know what stunts can do,

0:20:52.000 --> 0:20:54.159
<v Speaker 2>how to and ultimately how to shoot them, or how

0:20:54.160 --> 0:20:56.399
<v Speaker 2>to line up the right people to shoot them. And

0:20:56.480 --> 0:20:58.840
<v Speaker 2>so no matter what you say about I Come in Peace,

0:20:59.280 --> 0:21:01.879
<v Speaker 2>the explode usions are just top notch.

0:21:02.359 --> 0:21:05.520
<v Speaker 3>Everything explodes if you're done with the location. It's like,

0:21:05.600 --> 0:21:07.639
<v Speaker 3>do we need to shoot any more scenes there? I

0:21:07.640 --> 0:21:10.320
<v Speaker 3>don't think, so let's blow it up. It's done.

0:21:10.720 --> 0:21:15.400
<v Speaker 2>I'm talking like huge fireballs sometimes filmed like in interior

0:21:15.480 --> 0:21:18.320
<v Speaker 2>spaces where I often get a little wigged out by

0:21:18.680 --> 0:21:21.320
<v Speaker 2>fire effects, and shows these days, you know, have like

0:21:21.560 --> 0:21:23.639
<v Speaker 2>a man on fire effect and I'm always like I

0:21:23.680 --> 0:21:27.640
<v Speaker 2>admire it and I'm a little bit afraid for anyone involved.

0:21:28.000 --> 0:21:31.520
<v Speaker 2>But like, these are enormous explosions, Like it's just fearsome,

0:21:31.600 --> 0:21:33.719
<v Speaker 2>and yeah, a lot of this stuff, as they discussed

0:21:33.720 --> 0:21:34.800
<v Speaker 2>in the extras, I mean, this is the kind of

0:21:34.840 --> 0:21:37.840
<v Speaker 2>thing you would today you would use green screen and

0:21:38.040 --> 0:21:41.320
<v Speaker 2>or CGI explosions, and a lot of these they were

0:21:41.359 --> 0:21:43.520
<v Speaker 2>having to like shoot the actors in the same shot

0:21:43.680 --> 0:21:46.320
<v Speaker 2>with the explosions, and you know, are all these additional

0:21:46.480 --> 0:21:48.560
<v Speaker 2>There's an entire arc to shooting these things, so you

0:21:48.600 --> 0:21:52.240
<v Speaker 2>don't like wide out your film while you're also just

0:21:52.359 --> 0:21:56.440
<v Speaker 2>making everything explode an enormous fireball. And I should add

0:21:56.640 --> 0:21:59.320
<v Speaker 2>doing all of that safely, I think the most important thing.

0:21:59.600 --> 0:22:03.560
<v Speaker 3>Yeah, yeah, yeah, you will not if you watch I

0:22:03.600 --> 0:22:06.320
<v Speaker 3>Come in Peace, you will not leave the movie thinking

0:22:06.560 --> 0:22:10.440
<v Speaker 3>not enough stuff exploded. That's just not an opinion anybody's

0:22:10.440 --> 0:22:10.840
<v Speaker 3>gonna have.

0:22:11.280 --> 0:22:14.760
<v Speaker 2>Yeah, all right, now the screenplay here, there are two

0:22:14.880 --> 0:22:20.159
<v Speaker 2>individuals credited. There's Jonathan Tidor, who he hasn't worked on

0:22:20.200 --> 0:22:23.320
<v Speaker 2>a lot else. This was his first produced screenplay. I

0:22:23.359 --> 0:22:26.080
<v Speaker 2>believe he's directed a little bit as well. But then

0:22:26.680 --> 0:22:30.680
<v Speaker 2>the other writer is someone that's credited is Leonard mass Junior.

0:22:31.200 --> 0:22:35.359
<v Speaker 2>But this is a moniker for David Cope for nineteen

0:22:35.440 --> 0:22:37.919
<v Speaker 2>sixty three. So this is of course one of the

0:22:37.920 --> 0:22:41.600
<v Speaker 2>most successful screenwriters of the nineteen nineties, and beyond having

0:22:41.640 --> 0:22:45.040
<v Speaker 2>worked on ninety two's Death becomes Her ninety three's Jurassic Park.

0:22:45.800 --> 0:22:48.320
<v Speaker 2>To a lesser extent, ninety four is the Shadow, ninety

0:22:48.359 --> 0:22:51.280
<v Speaker 2>six is Mission Impossible. Then you Got The Lost World,

0:22:51.359 --> 0:22:55.440
<v Speaker 2>Jurassic Park, other films like Panic Room in twenty two

0:22:55.480 --> 0:22:58.680
<v Speaker 2>thousand and two, Spider Man in two thousand and two,

0:22:58.960 --> 0:23:01.320
<v Speaker 2>War of the World's two thousand and five, and also

0:23:01.359 --> 0:23:04.919
<v Speaker 2>the two most recent Indiana Jones movies. He's also directed

0:23:04.920 --> 0:23:05.720
<v Speaker 2>a little bit as well.

0:23:05.920 --> 0:23:07.480
<v Speaker 3>When do we get to Dolf take you a look

0:23:07.520 --> 0:23:07.920
<v Speaker 3>at golf?

0:23:08.040 --> 0:23:11.400
<v Speaker 2>Come on, all right, all right, Dolph Lundgren plays Detective

0:23:11.480 --> 0:23:15.360
<v Speaker 2>Jack Kane. I don't really don't even have to introduce

0:23:15.400 --> 0:23:17.719
<v Speaker 2>Dolph all that much here, but you know, born nineteen

0:23:17.760 --> 0:23:20.119
<v Speaker 2>fifty seven. I believe he's about six ' five. Always

0:23:20.119 --> 0:23:22.960
<v Speaker 2>hard to tell with people in entertainment, like what's the

0:23:23.000 --> 0:23:25.760
<v Speaker 2>actual height, what's the build height? He's pretty tall, and

0:23:25.800 --> 0:23:28.240
<v Speaker 2>we have people in this film that look even taller,

0:23:28.280 --> 0:23:30.199
<v Speaker 2>and of course there are ways to trick that, but

0:23:30.680 --> 0:23:34.159
<v Speaker 2>at any rate, huge guy, tall guy. Swedish made his

0:23:34.200 --> 0:23:37.080
<v Speaker 2>film debut in nineteen eighty five's View to a Kill,

0:23:38.119 --> 0:23:41.120
<v Speaker 2>and he immediately followed that up with his iconic role

0:23:41.359 --> 0:23:43.800
<v Speaker 2>of Ivan Drago. As you mentioned in Rocky four.

0:23:44.119 --> 0:23:46.680
<v Speaker 3>I did not remember that Dolph Lundgren was in A

0:23:46.760 --> 0:23:48.639
<v Speaker 3>View to a Kill, though that would make sense because

0:23:48.680 --> 0:23:52.359
<v Speaker 3>I know he at some point was the boyfriend of

0:23:52.400 --> 0:23:54.320
<v Speaker 3>Grace Jones, who is in view to a kill.

0:23:54.840 --> 0:23:58.280
<v Speaker 2>Yeah, if memory serves, they were no longer dating at

0:23:58.280 --> 0:23:59.960
<v Speaker 2>that point, but still knew each other, and she read

0:24:00.040 --> 0:24:03.000
<v Speaker 2>commended him for the job, saying like, Hey, you want

0:24:03.040 --> 0:24:07.280
<v Speaker 2>somebody stern and huge to stand in the background of

0:24:07.400 --> 0:24:09.240
<v Speaker 2>your movie, what you should call my friend Dolph? And

0:24:09.280 --> 0:24:13.439
<v Speaker 2>they did. But yeah, certainly by by Rocky four is

0:24:13.480 --> 0:24:16.560
<v Speaker 2>off to the races, I mean, very iconic role. If

0:24:16.560 --> 0:24:19.040
<v Speaker 2>he'd done nothing else after that, we would still be

0:24:19.160 --> 0:24:21.320
<v Speaker 2>talking about it. But then in nineteen eighty seven he

0:24:21.320 --> 0:24:24.159
<v Speaker 2>played he Man and the Masters of the Universe adaptation.

0:24:24.640 --> 0:24:26.800
<v Speaker 2>I remember him as being being very fun and of

0:24:26.840 --> 0:24:28.399
<v Speaker 2>course very jacked in that as well.

0:24:29.119 --> 0:24:31.600
<v Speaker 3>Yeah, I think in that movie, don't they like they're

0:24:31.600 --> 0:24:34.440
<v Speaker 3>not just hanging out in Eternia or whatever. They come

0:24:34.480 --> 0:24:36.680
<v Speaker 3>to modern day la so he gets to have some

0:24:37.000 --> 0:24:38.480
<v Speaker 3>you know what is the eighties?

0:24:39.119 --> 0:24:41.200
<v Speaker 2>Yeah, Masters of the Universe is one of those films

0:24:41.240 --> 0:24:44.920
<v Speaker 2>that it just has some awesome design choices in There're

0:24:44.960 --> 0:24:48.280
<v Speaker 2>some great casting. I love all the villains in that movie.

0:24:48.600 --> 0:24:50.959
<v Speaker 2>But even at and at the time I was I

0:24:51.000 --> 0:24:53.760
<v Speaker 2>was rather disappointed when we leave Eternia and then we

0:24:53.840 --> 0:24:56.520
<v Speaker 2>just do a you know, fish out of water story

0:24:56.560 --> 0:25:01.600
<v Speaker 2>with all these goofy scenes of these fantastic characters interacting

0:25:01.600 --> 0:25:05.240
<v Speaker 2>with modern life before then going back to attorney and

0:25:05.280 --> 0:25:06.760
<v Speaker 2>having like an awesome showdown.

0:25:07.040 --> 0:25:08.400
<v Speaker 3>Yeah, let's go to the gallery.

0:25:10.600 --> 0:25:14.760
<v Speaker 2>Oh yeah, there's a huge mole scene. That's awesome. But anyway,

0:25:14.800 --> 0:25:17.359
<v Speaker 2>so he was already a huge name by nineteen ninety.

0:25:17.920 --> 0:25:19.880
<v Speaker 2>He had just played the title role in an eighty

0:25:19.960 --> 0:25:23.720
<v Speaker 2>nine adaptation of Marvel's The Punisher. But as all these

0:25:23.960 --> 0:25:27.480
<v Speaker 2>titles suggest, yeah, he was playing the stern, tough guy

0:25:28.200 --> 0:25:30.159
<v Speaker 2>with maybe a little bit of humor there in Masters

0:25:30.160 --> 0:25:32.680
<v Speaker 2>of the Universe. But apparently what attracted him to the

0:25:32.720 --> 0:25:34.760
<v Speaker 2>script is it gave him that chance to try more things,

0:25:34.840 --> 0:25:37.160
<v Speaker 2>you know, to try a little comedy, try a little romance,

0:25:37.720 --> 0:25:40.479
<v Speaker 2>and in the futurette I mentioned earlier, the director back

0:25:40.520 --> 0:25:41.960
<v Speaker 2>Soley gave him, gave him a lot of credit for

0:25:41.960 --> 0:25:46.080
<v Speaker 2>his professionalism and his performance. So he was trying new things.

0:25:46.880 --> 0:25:49.119
<v Speaker 2>But for the most part moving forward, Dolph would end

0:25:49.200 --> 0:25:52.399
<v Speaker 2>up sticking mostly to action and is still active today,

0:25:52.520 --> 0:25:56.000
<v Speaker 2>often in a lot of action films. Subsequent movies included

0:25:56.080 --> 0:26:00.760
<v Speaker 2>the Universal Soldier franchise nineteen ninety five, Johnny Mnemonic. He

0:26:00.840 --> 0:26:03.840
<v Speaker 2>pops up in the Coen Brothers Hail Caesar, and he's

0:26:03.840 --> 0:26:06.080
<v Speaker 2>also in the Opperman movies. I think he's like a

0:26:06.480 --> 0:26:10.040
<v Speaker 2>Russian submarine pilot. I can't even remember if he's in

0:26:10.200 --> 0:26:12.280
<v Speaker 2>the movie or if he because I think, you know

0:26:12.560 --> 0:26:14.840
<v Speaker 2>the Coen Brothers film late Coen Brothers films, everybody in

0:26:14.840 --> 0:26:16.200
<v Speaker 2>the world is in most casts.

0:26:16.560 --> 0:26:20.200
<v Speaker 3>Yeah, yeah, that movie's got a big cast. But yeah,

0:26:20.240 --> 0:26:21.800
<v Speaker 3>I did not remember that. That's funny.

0:26:21.960 --> 0:26:24.560
<v Speaker 2>So again, Dolph was trying new stuff with this particular

0:26:24.640 --> 0:26:28.679
<v Speaker 2>spreading his wiiing was a little bit but one of

0:26:28.720 --> 0:26:30.320
<v Speaker 2>the things for me anyway, I don't know if you

0:26:30.359 --> 0:26:33.080
<v Speaker 2>had this experience, Joe. It's like, you can't help but

0:26:33.080 --> 0:26:37.480
<v Speaker 2>compare this movie to Split Second, which came later. But

0:26:38.280 --> 0:26:41.000
<v Speaker 2>in doing so, you can't help but compare Rugger Howard's

0:26:41.040 --> 0:26:46.160
<v Speaker 2>performance to Dolph Lungdren's performance. And that's entirely unfair. It's

0:26:46.200 --> 0:26:49.440
<v Speaker 2>unfair to compare most actors to Rugger Howard. But yet

0:26:49.440 --> 0:26:50.199
<v Speaker 2>I kept doing it.

0:26:50.520 --> 0:26:53.160
<v Speaker 3>Yeah, I mean it's natural for us. I would say

0:26:53.160 --> 0:26:55.720
<v Speaker 3>that I wouldn't expect most people who see one of

0:26:55.760 --> 0:26:57.720
<v Speaker 3>these two movies to see the other one. And I

0:26:57.720 --> 0:27:01.080
<v Speaker 3>wouldn't expect most people who see both to remember both

0:27:01.119 --> 0:27:04.280
<v Speaker 3>of them, So the comparison is not like inevitable, but

0:27:04.560 --> 0:27:07.560
<v Speaker 3>for weirdos like us, Yeah, yeah, it's kind of hard

0:27:07.560 --> 0:27:08.119
<v Speaker 3>to ignore it.

0:27:08.720 --> 0:27:11.639
<v Speaker 2>Yeah. This is another thing that comes to mind is

0:27:12.359 --> 0:27:16.200
<v Speaker 2>I often remember this film, or at least promotional materials

0:27:16.200 --> 0:27:19.840
<v Speaker 2>for it, alongside promotional materials for Eve of Destruction, and

0:27:19.960 --> 0:27:22.399
<v Speaker 2>have kind of merged them into a single film that

0:27:22.480 --> 0:27:25.880
<v Speaker 2>I haven't seen. So I still need to get around

0:27:25.920 --> 0:27:28.240
<v Speaker 2>to Eva's Destruction at some point, but I don't think

0:27:28.240 --> 0:27:31.520
<v Speaker 2>it's one we could necessarily watch for weird house. All right,

0:27:31.560 --> 0:27:34.800
<v Speaker 2>So Dolph is our cop who plays by his own rules.

0:27:34.960 --> 0:27:36.840
<v Speaker 2>We have to also have a cop that plays by

0:27:36.960 --> 0:27:41.119
<v Speaker 2>the rules. That is Special Agent Rwood Larry Smith or

0:27:41.160 --> 0:27:43.560
<v Speaker 2>Agent Smith played by Brian Bendon.

0:27:43.960 --> 0:27:46.399
<v Speaker 3>We do not learn that his name is our Wood

0:27:46.480 --> 0:27:48.240
<v Speaker 3>until the very last line of the film.

0:27:48.680 --> 0:27:51.359
<v Speaker 2>Yeah, it's a hilarious reveal that they leave until the

0:27:51.480 --> 0:27:54.200
<v Speaker 2>very end, but it hits about as well as most

0:27:54.240 --> 0:27:56.320
<v Speaker 2>of the comedy in this movie, the intentional comedy.

0:27:56.480 --> 0:27:57.560
<v Speaker 3>Yeah.

0:27:57.760 --> 0:28:01.280
<v Speaker 2>So, Brian Benden born nineteen five, you might watch this

0:28:01.359 --> 0:28:03.360
<v Speaker 2>movie and say, where have I seen this guy before?

0:28:03.600 --> 0:28:03.919
<v Speaker 3>Well?

0:28:04.200 --> 0:28:06.439
<v Speaker 2>I never watched it, But he was the star of

0:28:06.560 --> 0:28:10.040
<v Speaker 2>the HBO sitcom dream On from nineteen ninety through nineteen

0:28:10.119 --> 0:28:13.080
<v Speaker 2>ninety six, and he was also in Radio Land Murders

0:28:13.119 --> 0:28:15.240
<v Speaker 2>in ninety four. Both of these were things that co

0:28:15.359 --> 0:28:16.320
<v Speaker 2>starred Michael McKean.

0:28:17.640 --> 0:28:20.160
<v Speaker 3>That's weird. I haven't seen those things, though he did

0:28:20.200 --> 0:28:22.480
<v Speaker 3>somehow seem familiar to me. I know, I must have

0:28:22.520 --> 0:28:23.320
<v Speaker 3>seen him in something.

0:28:23.800 --> 0:28:25.600
<v Speaker 2>Yeah, I think I would just see ads for dream

0:28:25.680 --> 0:28:27.840
<v Speaker 2>On or you know, or perhaps if you're trying to

0:28:27.840 --> 0:28:30.040
<v Speaker 2>watch the Tales from the Crypt episode, dream On would

0:28:30.040 --> 0:28:31.920
<v Speaker 2>be on as the intro and you're like, well, I

0:28:31.960 --> 0:28:33.919
<v Speaker 2>guess I gotta stet through this to get to the Cryptkeeper.

0:28:34.440 --> 0:28:36.199
<v Speaker 2>It was not a film that was catering to me

0:28:36.280 --> 0:28:39.440
<v Speaker 2>as its audience, for sure, but people seem to quite

0:28:39.520 --> 0:28:41.680
<v Speaker 2>like it at the time. It's easy to see looking

0:28:41.680 --> 0:28:43.960
<v Speaker 2>at this film how this actor went on to have

0:28:44.000 --> 0:28:47.600
<v Speaker 2>success and kind of a you know, a TV sitcom environment.

0:28:47.960 --> 0:28:49.720
<v Speaker 3>Yeah, but he's the nerdy new partner.

0:28:50.280 --> 0:28:52.680
<v Speaker 2>Yes. Now, of course we also need a love interest,

0:28:52.680 --> 0:28:56.640
<v Speaker 2>and that's where we have the coroner Diane Palone, played

0:28:56.640 --> 0:28:58.000
<v Speaker 2>by Betsy Brantley.

0:28:58.400 --> 0:29:00.480
<v Speaker 3>She plays the romantic coroner her.

0:29:00.760 --> 0:29:03.600
<v Speaker 2>Yes, which is fun I mean, it's the fun idea,

0:29:03.720 --> 0:29:07.200
<v Speaker 2>and they do. It mostly works from a like a

0:29:07.240 --> 0:29:10.160
<v Speaker 2>slight comedic standpoint, and she does come off as like

0:29:11.280 --> 0:29:13.560
<v Speaker 2>the character who knows her stuff, like she makes some

0:29:13.760 --> 0:29:16.040
<v Speaker 2>vital breakthroughs in the case.

0:29:16.480 --> 0:29:19.560
<v Speaker 3>Credit to Betsy Brantley for delivering some of the most

0:29:19.640 --> 0:29:24.080
<v Speaker 3>ludicrous lines in this entire script, like the scene where

0:29:24.120 --> 0:29:28.680
<v Speaker 3>she has to where she asks Dulph Undergren to promise

0:29:28.760 --> 0:29:32.920
<v Speaker 3>her something anything, that was hilarious, and also the scene

0:29:32.920 --> 0:29:36.680
<v Speaker 3>where she has to explain how the alien endorphin plot works.

0:29:37.040 --> 0:29:40.280
<v Speaker 2>Oh yes, yeah, she's she's she's great in that scene

0:29:40.280 --> 0:29:41.800
<v Speaker 2>as well. Yeah, the whole idea. We'll come back to

0:29:41.840 --> 0:29:45.200
<v Speaker 2>the promises aspect of the plot. That's yes, it doesn't

0:29:45.280 --> 0:29:49.280
<v Speaker 2>quite work, but anyway. Brand is an American actress best

0:29:49.280 --> 0:29:51.720
<v Speaker 2>known for her roles as the Mother and Princess Bride

0:29:52.440 --> 0:29:56.840
<v Speaker 2>So that's John Savage's mother in that film, as well

0:29:56.880 --> 0:29:59.440
<v Speaker 2>as supporting roles in such movies as ninety eight Deep

0:29:59.440 --> 0:30:02.800
<v Speaker 2>Impact and nineteen ninety nine's Double Jeopardy. She was the

0:30:02.840 --> 0:30:06.280
<v Speaker 2>performance model for Jessica Rabbit and who framed Roger Rabbit

0:30:06.360 --> 0:30:10.000
<v Speaker 2>from eighty eight, and her first big role was opposite

0:30:10.040 --> 0:30:13.000
<v Speaker 2>Sean Connery in nineteen eighty two s Five Days One Summer.

0:30:13.280 --> 0:30:16.800
<v Speaker 2>But her first credit acting credit is actually for a

0:30:16.840 --> 0:30:20.480
<v Speaker 2>small part in Richard O'Brien's Rocky Horror follow up, Shock

0:30:20.560 --> 0:30:22.320
<v Speaker 2>Treatment from nineteen eighty one.

0:30:22.960 --> 0:30:25.400
<v Speaker 3>I know you've talked about looking at that multiple times.

0:30:25.800 --> 0:30:27.680
<v Speaker 3>Of course, I know Rocky Horror, but I've never seen

0:30:27.680 --> 0:30:28.360
<v Speaker 3>Shock Treatment.

0:30:28.800 --> 0:30:32.000
<v Speaker 2>Yeah, we recently had someone right in suggesting it as well,

0:30:32.080 --> 0:30:33.840
<v Speaker 2>so I don't know. I need to give it a shot.

0:30:33.880 --> 0:30:36.440
<v Speaker 2>I've never actually watched it. I've seen Rocky Horror so

0:30:36.480 --> 0:30:40.320
<v Speaker 2>many times, but I've never watched Shock Treatment. Brandley also

0:30:40.320 --> 0:30:42.360
<v Speaker 2>pops up in a nineteen eighty four episode of the

0:30:42.400 --> 0:30:47.120
<v Speaker 2>excellent Granada Sherlock Holmes series, and she was previously married

0:30:47.120 --> 0:30:50.440
<v Speaker 2>to director Steven Soderberg and later worked with him on

0:30:50.960 --> 0:30:55.320
<v Speaker 2>his nineteen ninety six film Schizopolis and more recently in

0:30:55.360 --> 0:30:59.280
<v Speaker 2>his twenty twenty two film Kimmy, which was also written

0:30:59.280 --> 0:31:02.640
<v Speaker 2>by Cope. All right, it's time to get to our

0:31:03.240 --> 0:31:05.080
<v Speaker 2>alien drug pusher here.

0:31:05.520 --> 0:31:07.320
<v Speaker 3>What are you gonna do first? Good Alien? Bad Alien?

0:31:07.440 --> 0:31:09.800
<v Speaker 2>Oh, we got to go bad Alien. Okay, okay, the

0:31:09.880 --> 0:31:12.520
<v Speaker 2>reason for the season here, and he's credited as bad

0:31:12.560 --> 0:31:16.600
<v Speaker 2>Alien tallic so Talliic is his name, though I don't

0:31:16.600 --> 0:31:20.120
<v Speaker 2>remember them ever calling him that. That's the good character's name.

0:31:20.320 --> 0:31:21.600
<v Speaker 3>I don't recall that coming up.

0:31:22.600 --> 0:31:26.920
<v Speaker 2>Played by Matteus Hughes born nineteen fifty nine. I have

0:31:27.000 --> 0:31:29.000
<v Speaker 2>to just say again, this is a character that scared

0:31:29.040 --> 0:31:31.840
<v Speaker 2>me a bit as a kid, and watching the film

0:31:32.000 --> 0:31:34.240
<v Speaker 2>still a bit scary. He's still quite a screen presence.

0:31:34.840 --> 0:31:37.400
<v Speaker 2>I've seen his height listed as anywhere between sixty five

0:31:37.400 --> 0:31:41.200
<v Speaker 2>and six eight, and he's wearing lifts in this alongside

0:31:41.200 --> 0:31:43.120
<v Speaker 2>you know, various camera trick or a just make him

0:31:43.120 --> 0:31:44.640
<v Speaker 2>look like an absolute giant.

0:31:45.160 --> 0:31:48.720
<v Speaker 3>Another freaky thing they do to him is they, I

0:31:48.720 --> 0:31:51.239
<v Speaker 3>guess it must be contacts or something, they cloud his

0:31:51.400 --> 0:31:54.680
<v Speaker 3>eyes over so you can't really see where he's looking,

0:31:54.760 --> 0:31:57.400
<v Speaker 3>like his eyes are kind of foggy. And he speaks

0:31:57.440 --> 0:32:01.080
<v Speaker 3>in this this creepy horse whisper, and basically the only

0:32:01.160 --> 0:32:04.160
<v Speaker 3>line he says in the movie is repeatedly telling people

0:32:04.520 --> 0:32:07.480
<v Speaker 3>I come in peace, right before killing them.

0:32:07.760 --> 0:32:10.680
<v Speaker 2>It's great. It's like you get the sense that this

0:32:10.800 --> 0:32:12.720
<v Speaker 2>is the only thing he knows how to say in

0:32:12.840 --> 0:32:16.120
<v Speaker 2>like Earth language. Maybe he can say to multiple Earth languages,

0:32:16.280 --> 0:32:18.520
<v Speaker 2>and he doesn't necessarily even know what it means. He

0:32:18.600 --> 0:32:21.320
<v Speaker 2>just knows that it's something that you can say to

0:32:21.400 --> 0:32:25.760
<v Speaker 2>a hostile human being to momentarily give them pause so

0:32:25.800 --> 0:32:29.760
<v Speaker 2>you can blow them up or drug snake them. So.

0:32:29.840 --> 0:32:34.320
<v Speaker 2>Hughes is a German born Venice Beach bodybuilder who initially

0:32:34.360 --> 0:32:37.160
<v Speaker 2>pops up as an uncredited extra in the nineteen eighty

0:32:37.200 --> 0:32:40.600
<v Speaker 2>seven cult themed Dragnet movie, but then he followed this

0:32:40.760 --> 0:32:43.760
<v Speaker 2>up with small roles and eighty seven's No Retreat, No

0:32:43.840 --> 0:32:47.240
<v Speaker 2>Surrender eighty eight's Big Top Peewee. He plays the lion

0:32:47.280 --> 0:32:49.480
<v Speaker 2>tamer in that, but then he pops up in another

0:32:49.520 --> 0:32:51.360
<v Speaker 2>movie that we've We've talked about the cover art for

0:32:51.400 --> 0:32:54.480
<v Speaker 2>this one because he's the other muscle dude fighting Jorge

0:32:54.640 --> 0:32:58.160
<v Speaker 2>Rivero on the cover on the VHS art for nineteen

0:32:58.200 --> 0:32:59.280
<v Speaker 2>eighty eights Fist Fighter.

0:33:00.000 --> 0:33:04.000
<v Speaker 3>Oky Rivero is the star of Conquest, and many listeners

0:33:04.000 --> 0:33:06.920
<v Speaker 3>may also know him as the villain from the movie Werewolf.

0:33:06.960 --> 0:33:12.960
<v Speaker 2>He's Yury, Yeah, so Matteas. Hughes's other credits include ninety

0:33:13.040 --> 0:33:17.200
<v Speaker 2>one's Kickboxer two, ninety one's Star Trek six, The Undiscovered Country.

0:33:17.200 --> 0:33:20.640
<v Speaker 2>I believe he's a klingon in that I'm assuming like

0:33:20.680 --> 0:33:23.640
<v Speaker 2>maybe kind of a background muscle clingon. And then he's

0:33:23.680 --> 0:33:28.400
<v Speaker 2>also in two thousand and eight puppet Master, The Littlest Reich. Again.

0:33:28.480 --> 0:33:30.320
<v Speaker 2>I love him in this, He's one. It's one of

0:33:30.320 --> 0:33:32.320
<v Speaker 2>these roles where I guess I haven't seen him in

0:33:32.320 --> 0:33:36.120
<v Speaker 2>a lot. So this character feels to me like very

0:33:36.160 --> 0:33:38.800
<v Speaker 2>disconnected from the rest of cinema, Like he is an

0:33:38.840 --> 0:33:42.160
<v Speaker 2>actual seven foot alien who has just popped out of

0:33:42.160 --> 0:33:47.400
<v Speaker 2>a crater to start harvesting human brain juice for space drugs. Yeah,

0:33:47.840 --> 0:33:49.680
<v Speaker 2>now that's the bad alien. We also have a good

0:33:49.720 --> 0:33:53.440
<v Speaker 2>alien by the name of Azak. Again, I'm not sure

0:33:53.520 --> 0:33:56.960
<v Speaker 2>we ever hear his name, but this alien is played

0:33:56.960 --> 0:34:01.680
<v Speaker 2>by another very tall individual. Jay Bilas born nineteen sixty

0:34:01.680 --> 0:34:04.800
<v Speaker 2>three former pro basketball player and coach who currently works

0:34:04.800 --> 0:34:08.319
<v Speaker 2>for ESPN as a college basketball analyst. He had no

0:34:08.440 --> 0:34:11.600
<v Speaker 2>acting experience for this, but he was six ' eight

0:34:11.719 --> 0:34:14.240
<v Speaker 2>so they said, hey, how would you like to shave

0:34:14.360 --> 0:34:17.320
<v Speaker 2>the front part of your head and put some contacts

0:34:17.360 --> 0:34:21.080
<v Speaker 2>in and run from some explosions, and he gave it

0:34:21.120 --> 0:34:23.080
<v Speaker 2>his all. So it is that given all of that,

0:34:23.160 --> 0:34:25.680
<v Speaker 2>given how green he was, like, that's a pretty good job.

0:34:27.280 --> 0:34:29.680
<v Speaker 3>So when he's on one of those shows, on ESPN

0:34:29.719 --> 0:34:31.920
<v Speaker 3>where the guys are yelling at each other. Do they

0:34:31.920 --> 0:34:33.840
<v Speaker 3>bring this up at him? They're you know, They're like,

0:34:33.880 --> 0:34:36.759
<v Speaker 3>oh yeah, yeah, uh huh. The astros are good this year.

0:34:36.920 --> 0:34:39.319
<v Speaker 3>How about you go and starring I Come In Piece too.

0:34:40.040 --> 0:34:41.400
<v Speaker 2>I don't know. I hope he's proud of it.

0:34:41.440 --> 0:34:44.360
<v Speaker 3>I hope he should be proud of his haircut in

0:34:44.400 --> 0:34:49.040
<v Speaker 3>this movie is solid. There are multiple mullets in I

0:34:49.120 --> 0:34:51.760
<v Speaker 3>Come In Piece, but this one, this one is scullet.

0:34:52.520 --> 0:34:55.359
<v Speaker 2>Yeah, it's hair. The hairstyle is apocalypse in the front,

0:34:55.440 --> 0:34:56.000
<v Speaker 2>party in the.

0:34:55.960 --> 0:34:59.160
<v Speaker 3>Back, yep, yep. He also has cloudy eyes.

0:34:59.760 --> 0:35:02.160
<v Speaker 2>Right. These are the main characters that are in play,

0:35:02.320 --> 0:35:04.080
<v Speaker 2>So I'll try and run through some of the other

0:35:04.120 --> 0:35:07.160
<v Speaker 2>actors a little a little more speed. But we have

0:35:07.800 --> 0:35:10.920
<v Speaker 2>some criminal elements human criminal elements that pop up. The

0:35:10.960 --> 0:35:15.320
<v Speaker 2>first is Victor Manning, played by Sherman Howard born nineteen

0:35:15.400 --> 0:35:17.600
<v Speaker 2>forty nine, American actor of stage and screen, perhaps best

0:35:17.640 --> 0:35:21.080
<v Speaker 2>known for playing the zombie and headphones bub from the

0:35:21.160 --> 0:35:23.919
<v Speaker 2>eighty five Romero movie Day of the Dead. He also

0:35:24.000 --> 0:35:26.560
<v Speaker 2>pops up An eighty nine's lethal Weapon two, as well

0:35:26.600 --> 0:35:30.040
<v Speaker 2>as various TV episodes, including shows like Seinfeld and Deep Space. Nine.

0:35:30.200 --> 0:35:34.080
<v Speaker 3>He plays an incredibly smug gang boss in this of

0:35:34.800 --> 0:35:37.239
<v Speaker 3>a weird gang that we'll discuss more as we go on.

0:35:37.840 --> 0:35:39.560
<v Speaker 2>Yeah. Yeah, we don't see as much of them as

0:35:39.560 --> 0:35:42.760
<v Speaker 2>I would have liked it good that it's pretty pretty

0:35:42.800 --> 0:35:43.640
<v Speaker 2>fun and over the top.

0:35:43.680 --> 0:35:46.959
<v Speaker 3>One last, you know, regarding the bad guys. We've talked

0:35:46.960 --> 0:35:50.760
<v Speaker 3>about movies before where unfortunately you have some trouble telling

0:35:50.800 --> 0:35:54.000
<v Speaker 3>the different characters apart. I don't have that trouble with

0:35:54.040 --> 0:35:56.799
<v Speaker 3>the main characters in this movie, but the villains. There

0:35:56.800 --> 0:36:00.000
<v Speaker 3>are like seven villain characters in the yuppie gang slash

0:36:00.160 --> 0:36:04.640
<v Speaker 3>the Feds in this movie that all look exactly the same. Fortunately,

0:36:04.680 --> 0:36:06.600
<v Speaker 3>you do not need to be able to tell them

0:36:06.600 --> 0:36:07.680
<v Speaker 3>apart to follow the plot.

0:36:08.120 --> 0:36:10.040
<v Speaker 2>Yeah yeah, a lot of bad guys in suits in

0:36:10.080 --> 0:36:13.080
<v Speaker 2>this film, and ultimately they're not a part of the

0:36:13.120 --> 0:36:20.120
<v Speaker 2>final showdown. Another key character is Inspector Switzer. This is

0:36:20.120 --> 0:36:22.880
<v Speaker 2>our villainous federal agent who's looking into the whole alien

0:36:22.960 --> 0:36:26.760
<v Speaker 2>murders angle, played by David Ackroyd More nineteen forty, actor

0:36:26.800 --> 0:36:29.080
<v Speaker 2>of State, screen and TV. His other credits include eighty

0:36:29.080 --> 0:36:33.680
<v Speaker 2>three's Cocaine One Man Seduction, eighty three's Deadly Lessons, and

0:36:33.800 --> 0:36:36.840
<v Speaker 2>nineteen eighty six is a Smoky Mountain Christmas starring Dolly Parton.

0:36:37.280 --> 0:36:40.760
<v Speaker 3>Ow Yeah, does he play a hard nosed federal agent

0:36:40.800 --> 0:36:41.080
<v Speaker 3>in that?

0:36:42.440 --> 0:36:45.000
<v Speaker 2>I hope so, I hope so, all right.

0:36:44.840 --> 0:36:47.000
<v Speaker 3>To Dolly, I'm gonna bust up this whole operation.

0:36:49.400 --> 0:36:51.799
<v Speaker 2>Now, on the criminal element side of things, we also

0:36:51.800 --> 0:36:54.279
<v Speaker 2>have another guy who I'm uncertain if he's the main

0:36:54.320 --> 0:36:57.360
<v Speaker 2>boss or the secondary boss, but his name is Warren.

0:36:57.480 --> 0:37:00.560
<v Speaker 2>We only encounter him in a skyscraper number two.

0:37:00.640 --> 0:37:04.200
<v Speaker 3>He's so like the main boss of the villain of

0:37:04.239 --> 0:37:06.600
<v Speaker 3>the gang in the movie, leaves after the first scene.

0:37:06.600 --> 0:37:09.160
<v Speaker 3>He never comes back in the movie. He's just we

0:37:09.640 --> 0:37:12.560
<v Speaker 3>we hear about him being in Rio, enjoying the sun

0:37:12.640 --> 0:37:15.960
<v Speaker 3>and the beach while all the other characters are suffering

0:37:16.040 --> 0:37:20.239
<v Speaker 3>under the alien boot heel. And so he leaves. This

0:37:20.280 --> 0:37:22.920
<v Speaker 3>other guy, Warren in charge.

0:37:22.800 --> 0:37:26.239
<v Speaker 2>Yeah, played by Sam Anderson born nineteen forty seven. And

0:37:26.280 --> 0:37:28.399
<v Speaker 2>if you're a movie go over of a certain age,

0:37:28.760 --> 0:37:31.160
<v Speaker 2>you probably see this actor and you're like, I've seen

0:37:31.160 --> 0:37:33.600
<v Speaker 2>this guy before, but I just can't place him. I

0:37:33.800 --> 0:37:36.480
<v Speaker 2>suspect that the reason is that he's the principal. In

0:37:36.560 --> 0:37:38.720
<v Speaker 2>nineteen ninety four is Forrest Gump, yep.

0:37:38.840 --> 0:37:42.319
<v Speaker 3>I had. I spent several minutes with it pause, just

0:37:42.400 --> 0:37:45.120
<v Speaker 3>trying to think without looking it up, who is this guy?

0:37:45.719 --> 0:37:49.560
<v Speaker 3>And then I realized, Yeah, he's the he's the Creepy Principle.

0:37:50.080 --> 0:37:51.719
<v Speaker 2>And he's done some other TV work as well. I

0:37:51.760 --> 0:37:54.680
<v Speaker 2>think he's also in Critters too. Oh okay, cool, but

0:37:54.760 --> 0:37:58.120
<v Speaker 2>certainly Forrest Gump, that's a that's a big pop culture

0:37:58.160 --> 0:38:01.400
<v Speaker 2>footprint to leave there. We talked about Split Second earlier.

0:38:01.400 --> 0:38:05.080
<v Speaker 2>We mentioned Split Second. Interestingly enough, there is one individual.

0:38:05.320 --> 0:38:07.960
<v Speaker 2>There may be some more in the deeper in the credits,

0:38:08.000 --> 0:38:11.360
<v Speaker 2>but there's one core member of the cast who connects

0:38:11.360 --> 0:38:15.480
<v Speaker 2>these two pictures, and that is the wonderful character actor

0:38:15.600 --> 0:38:19.440
<v Speaker 2>Michael J. Pollard, who lived nineteen thirty nine through twenty nineteen.

0:38:19.840 --> 0:38:22.920
<v Speaker 2>He played the Ratcatcher in Split Second, and in this

0:38:23.040 --> 0:38:25.920
<v Speaker 2>movie he plays a snarling criminal informant by the name

0:38:25.960 --> 0:38:28.400
<v Speaker 2>of Boner who's essentially Gollum.

0:38:28.480 --> 0:38:33.200
<v Speaker 3>He's essentially Gollum, Yeah, who, I will add, plays no

0:38:33.360 --> 0:38:36.719
<v Speaker 3>role whatsoever in the plot. He's just there to like

0:38:36.800 --> 0:38:40.279
<v Speaker 3>get ruffed up by Dolph Lindegren. And then Dolph Londergren,

0:38:40.520 --> 0:38:44.200
<v Speaker 3>unrelated to his interaction with this guy, has an epiphany

0:38:44.239 --> 0:38:44.960
<v Speaker 3>about the case.

0:38:45.520 --> 0:38:48.480
<v Speaker 2>Yeah, it's weird that it goes like that. It's almost

0:38:48.520 --> 0:38:50.479
<v Speaker 2>like they're like, like, look, we got Pollard for a day.

0:38:51.120 --> 0:38:53.840
<v Speaker 2>We got to use him, find a way slot him in.

0:38:53.840 --> 0:38:57.439
<v Speaker 3>There somewhere he just happens to be fortunately standing next

0:38:57.480 --> 0:38:59.840
<v Speaker 3>to a pool table, and then Dolph Londergren looking at

0:38:59.840 --> 0:39:04.640
<v Speaker 3>the pool table is like, aha, aliens are throwing murdered

0:39:04.640 --> 0:39:05.640
<v Speaker 3>discs through the air.

0:39:08.160 --> 0:39:10.920
<v Speaker 2>But Pollard's always great though, as other films include sixty

0:39:10.920 --> 0:39:13.520
<v Speaker 2>seven's Bonnie and Clyde. He's an eighty eight Scrooge for

0:39:13.560 --> 0:39:16.560
<v Speaker 2>a Christmas tie in, and he's also in Rob Zombie's

0:39:16.719 --> 0:39:18.879
<v Speaker 2>House of a Thousand Corpses from two thousand and three.

0:39:20.280 --> 0:39:21.920
<v Speaker 2>All Right, now, this is a small role, but I

0:39:21.960 --> 0:39:24.799
<v Speaker 2>have to point out that al Leong is in this

0:39:25.200 --> 0:39:28.040
<v Speaker 2>playing the luggage salesman. There's like, essentially it's like a

0:39:28.120 --> 0:39:32.160
<v Speaker 2>drug drop kind of a situation. Born nineteen fifty two.

0:39:32.600 --> 0:39:36.160
<v Speaker 2>Small role, but I think film fans will recognize this

0:39:36.239 --> 0:39:39.319
<v Speaker 2>guy because he plays the Wingkong hatchetman from nineteen eighty

0:39:39.400 --> 0:39:40.960
<v Speaker 2>six is Big Trouble in Little China.

0:39:41.560 --> 0:39:44.360
<v Speaker 3>He's another one of these recognizable character actors from a

0:39:44.400 --> 0:39:47.879
<v Speaker 3>bunch of ades movies. A lot of other people might

0:39:47.920 --> 0:39:49.160
<v Speaker 3>remember him from die Hard.

0:39:49.640 --> 0:39:52.000
<v Speaker 2>Yeah, he popped up in die Hard. He's Genghis Khan

0:39:52.160 --> 0:39:55.640
<v Speaker 2>and Bill and Ted from eighty nine. He's in Lethal Weapon.

0:39:56.080 --> 0:39:58.400
<v Speaker 2>Longtime stump man as well. One of these guys is

0:39:58.440 --> 0:40:00.400
<v Speaker 2>kind of kind of a low key action film legend,

0:40:00.440 --> 0:40:02.000
<v Speaker 2>I think, because you just see him pop up in

0:40:02.040 --> 0:40:04.680
<v Speaker 2>so many things. And he had a signature look and

0:40:04.760 --> 0:40:07.359
<v Speaker 2>it had kind of like a receding hairline, but long hair,

0:40:07.440 --> 0:40:11.120
<v Speaker 2>so you know, glorious mullet, and then a really robust.

0:40:10.760 --> 0:40:13.800
<v Speaker 3>Mustache, powerful mustache, really strong.

0:40:14.160 --> 0:40:16.359
<v Speaker 2>Yeah. So sometimes he's just standing in the background. Other

0:40:16.400 --> 0:40:19.319
<v Speaker 2>times he's screaming with a hatchet in his hand. Does

0:40:19.360 --> 0:40:19.839
<v Speaker 2>great work.

0:40:20.160 --> 0:40:22.399
<v Speaker 3>You attached a picture of him in the outline where

0:40:22.400 --> 0:40:26.160
<v Speaker 3>he's like squatting in the foreground and then you can

0:40:26.200 --> 0:40:29.000
<v Speaker 3>see the Hollywood Hills in the background and the Hollywood

0:40:29.040 --> 0:40:30.920
<v Speaker 3>sign is under his thigh.

0:40:30.960 --> 0:40:34.200
<v Speaker 2>Glorious. I hope he used this as his main promotional

0:40:34.200 --> 0:40:36.640
<v Speaker 2>image for many years. I think he's still active too.

0:40:37.000 --> 0:40:41.080
<v Speaker 2>Great now. This we generally don't mention like special effects coordinators,

0:40:41.080 --> 0:40:43.600
<v Speaker 2>but I will mention real quick that Bruno van Zebrowick

0:40:44.360 --> 0:40:48.080
<v Speaker 2>is the individual who had the honors on this movie

0:40:49.000 --> 0:40:52.160
<v Speaker 2>still active and highly cited by Baxley in the feature

0:40:52.160 --> 0:40:54.239
<v Speaker 2>atte is a key part of the film's success, you know,

0:40:54.280 --> 0:40:58.680
<v Speaker 2>from a stunt and production standpoint, So I'm looking at

0:40:58.800 --> 0:41:00.919
<v Speaker 2>him a little bit. He worked on pre and also

0:41:00.960 --> 0:41:03.800
<v Speaker 2>such films as John Carpenter's The Thing, Return of the Jedi,

0:41:04.360 --> 0:41:10.080
<v Speaker 2>David Lynch's Dune Action, Jackson Roadhouse, Alien three, and Die Hard.

0:41:10.200 --> 0:41:14.360
<v Speaker 2>So again, the stunt and and explosive effects pyrotechnics pedigree

0:41:14.360 --> 0:41:17.359
<v Speaker 2>of this film is just, you know, you can't deny it.

0:41:17.880 --> 0:41:20.200
<v Speaker 2>And then finally coming to the music, I got kind

0:41:20.200 --> 0:41:23.160
<v Speaker 2>of excited when I was previewing the credits for this

0:41:23.200 --> 0:41:27.440
<v Speaker 2>one because we have Jon Hammer on this born nineteen

0:41:27.560 --> 0:41:31.719
<v Speaker 2>forty eight. This is the Czech American musician, composer, and

0:41:31.760 --> 0:41:35.400
<v Speaker 2>record producer, best known for two tracks. Really he's done

0:41:35.400 --> 0:41:37.160
<v Speaker 2>a lot of work. But there's the theme song to

0:41:37.200 --> 0:41:40.400
<v Speaker 2>Miami Wece the TV show, and there's another track he

0:41:40.440 --> 0:41:44.680
<v Speaker 2>did for Miamivice titled Crocket's Theme. Both of these were

0:41:44.719 --> 0:41:48.360
<v Speaker 2>from the eighties TV series. Crockett's theme especially is just

0:41:48.440 --> 0:41:51.880
<v Speaker 2>an incredible track. It's just oh, it's just so perfect.

0:41:51.880 --> 0:41:57.840
<v Speaker 2>It's just this glittering, upbeat synth masterpiece. You know that

0:41:57.960 --> 0:42:00.800
<v Speaker 2>just just bleeds eighties directly in your veins.

0:42:01.440 --> 0:42:05.279
<v Speaker 3>Yeah, it's strong, it's moody. It's got a kind of

0:42:06.200 --> 0:42:10.240
<v Speaker 3>a surprising and moody chord progression, but also the bouncing

0:42:10.360 --> 0:42:14.160
<v Speaker 3>rhythmic synthesizer tone in it. I feel like it's something

0:42:14.200 --> 0:42:17.400
<v Speaker 3>that has tried to be copied later by anything that

0:42:17.640 --> 0:42:20.319
<v Speaker 3>is evoking the spirit of the eighties, even like the

0:42:20.320 --> 0:42:24.600
<v Speaker 3>Grand Theft Auto games I think have some musical score

0:42:24.680 --> 0:42:26.800
<v Speaker 3>in them that is trying to copy this feeling.

0:42:27.440 --> 0:42:30.480
<v Speaker 2>Yeah. Absolutely, it's incredible. I highly recommend listening to it.

0:42:31.080 --> 0:42:33.319
<v Speaker 2>And even the Miami Vice theme song like that one

0:42:33.760 --> 0:42:39.319
<v Speaker 2>earned him I believe two Grammys, So highly successful guy.

0:42:40.120 --> 0:42:43.640
<v Speaker 2>Other scores include two episodes of Tales from the Crypt.

0:42:43.719 --> 0:42:46.000
<v Speaker 2>I'm not sure exactly which ones off off the top

0:42:46.040 --> 0:42:48.360
<v Speaker 2>of my head. He did Night Ride or two thousand.

0:42:48.680 --> 0:42:50.640
<v Speaker 2>Some of his music appears on nineteen ninety two is

0:42:50.680 --> 0:42:53.040
<v Speaker 2>Beyond the Mind's Eye, which was one of these like

0:42:53.200 --> 0:42:57.480
<v Speaker 2>early like CGI psychedelic visionary art kind of things he

0:42:57.520 --> 0:43:01.120
<v Speaker 2>could order off an advertisement on tele Vision. And he

0:43:01.200 --> 0:43:04.360
<v Speaker 2>also scored nineteen ninety six as beast Master three The

0:43:04.440 --> 0:43:05.360
<v Speaker 2>Eye of Braxis.

0:43:06.000 --> 0:43:06.920
<v Speaker 3>Who is Braxis?

0:43:07.760 --> 0:43:09.080
<v Speaker 2>I don't know, but he's got an eye. I was

0:43:09.080 --> 0:43:12.080
<v Speaker 2>trying to like, what beefy guy plays Praxis in this,

0:43:12.480 --> 0:43:14.200
<v Speaker 2>and I couldn't tell that there is a Praxis. There's

0:43:14.200 --> 0:43:16.080
<v Speaker 2>a voice of Braxis. So maybe it's some sort of

0:43:16.160 --> 0:43:19.240
<v Speaker 2>a special effects god sort of situation.

0:43:19.200 --> 0:43:22.200
<v Speaker 3>I briefly forgotten. Then just remember that we covered beast

0:43:22.239 --> 0:43:24.800
<v Speaker 3>Master two through the portal of time on this show.

0:43:25.239 --> 0:43:27.560
<v Speaker 2>Oh yeah, that one was great wings houser.

0:43:27.440 --> 0:43:30.600
<v Speaker 3>And that one speaking of he Man coming to La

0:43:30.920 --> 0:43:39.320
<v Speaker 3>that's another one.

0:43:41.920 --> 0:43:44.680
<v Speaker 2>All right. Let's let's get into the plot of I

0:43:44.800 --> 0:43:45.560
<v Speaker 2>Come in Peace.

0:43:46.160 --> 0:43:49.440
<v Speaker 3>All right. So the opening sequence we have ringing synth

0:43:49.560 --> 0:43:53.000
<v Speaker 3>bells and a lonely city street late at night. They're

0:43:53.000 --> 0:43:57.640
<v Speaker 3>trying to establish that moody eighties, you know, neon signs.

0:43:57.680 --> 0:44:01.560
<v Speaker 3>In the background, dark city atmosphere. A car is driving

0:44:01.600 --> 0:44:05.200
<v Speaker 3>down the street. It's a luxury car. We see the

0:44:05.320 --> 0:44:08.400
<v Speaker 3>driver and he looks like one of Patrick Bateman's friends,

0:44:08.440 --> 0:44:12.240
<v Speaker 3>and this will be a recurring theme. Fancy suit, smug face,

0:44:12.360 --> 0:44:17.040
<v Speaker 3>looks like a rich, aggressive, mean guy. Driver of the

0:44:17.040 --> 0:44:21.680
<v Speaker 3>car activates some blinking futuristic panel on his dashboard. What

0:44:21.840 --> 0:44:26.280
<v Speaker 3>is it? It is a CD player and he inserts

0:44:26.320 --> 0:44:30.719
<v Speaker 3>a gleaming silver CD into the slot. What's he listening to?

0:44:30.920 --> 0:44:33.600
<v Speaker 3>Can you guess? It's a new hit called Hark the

0:44:33.600 --> 0:44:34.760
<v Speaker 3>Herald Angels sing.

0:44:35.280 --> 0:44:37.000
<v Speaker 2>He had to get that hit of the Christmas music.

0:44:37.440 --> 0:44:40.359
<v Speaker 3>So this guy from the Bateman Crew, he's cruising through

0:44:40.400 --> 0:44:43.360
<v Speaker 3>the deserted city streets. It's nighttime. He's jamming to his

0:44:43.440 --> 0:44:48.240
<v Speaker 3>Christmas carols until the music starts skipping. The song sounds

0:44:48.280 --> 0:44:51.600
<v Speaker 3>totally scrambled, like the notes are playing at double speed,

0:44:51.719 --> 0:44:53.800
<v Speaker 3>random order, that kind of thing. And the driver is

0:44:53.880 --> 0:44:57.880
<v Speaker 3>very angry. He needs his Hark and he complains. He's like,

0:44:57.960 --> 0:45:00.600
<v Speaker 3>you pay seventy thousand dollars for a and then they

0:45:00.640 --> 0:45:04.359
<v Speaker 3>give you a broken CD player. Then suddenly the CD

0:45:04.640 --> 0:45:08.120
<v Speaker 3>shoots out of the slot at him violently. He startled,

0:45:08.160 --> 0:45:10.920
<v Speaker 3>and he nearly collides with a bus at an intersection,

0:45:11.400 --> 0:45:14.480
<v Speaker 3>swerves to avoid an impact, and ends up crashing his

0:45:14.480 --> 0:45:17.239
<v Speaker 3>car into a lot full of Christmas trees. So they're

0:45:17.320 --> 0:45:19.359
<v Speaker 3>hitting you with a lot of Christmas right at the top.

0:45:20.840 --> 0:45:23.560
<v Speaker 3>Almost makes you wonder if this whole prologue here was

0:45:23.680 --> 0:45:28.480
<v Speaker 3>like added on to it really emphasize the Christmas themes,

0:45:28.480 --> 0:45:31.759
<v Speaker 3>but I guess probably not, because we're about to meet

0:45:31.880 --> 0:45:34.600
<v Speaker 3>a crucial character. So he gets out of the car,

0:45:34.800 --> 0:45:37.839
<v Speaker 3>he complains some more, and then, to make things even worse,

0:45:37.920 --> 0:45:41.600
<v Speaker 3>suddenly a fireball descends from out of space and obliterates

0:45:41.600 --> 0:45:44.680
<v Speaker 3>his car, leaving only a flaming crater in its place,

0:45:45.160 --> 0:45:48.480
<v Speaker 3>And the driver looks on as out of the flaming

0:45:48.520 --> 0:45:52.400
<v Speaker 3>crater comes a man dressed in black with gloves, a

0:45:52.440 --> 0:45:56.240
<v Speaker 3>long dark coat, and some kind of technological gadget strapped

0:45:56.239 --> 0:45:59.520
<v Speaker 3>to his arm like the Predator. He's got long blonde hair,

0:45:59.600 --> 0:46:02.399
<v Speaker 3>his eyes a foggy, like they're clouded with cataracts.

0:46:03.200 --> 0:46:05.440
<v Speaker 2>Yeah, and they shoot him rising up out of this

0:46:05.480 --> 0:46:08.160
<v Speaker 2>crater like he's like he's a redwood tree, you know.

0:46:08.200 --> 0:46:10.040
<v Speaker 2>It just seems like he's at least eight or nine

0:46:10.040 --> 0:46:11.160
<v Speaker 2>feet tall. It's great.

0:46:11.719 --> 0:46:14.319
<v Speaker 3>So the man from the sky approaches the driver and

0:46:14.400 --> 0:46:17.400
<v Speaker 3>looms over him. He opens his lips and says, in

0:46:17.440 --> 0:46:22.760
<v Speaker 3>a hoarse whisper, I come in peace. Cut to something

0:46:22.760 --> 0:46:26.040
<v Speaker 3>else next week, Get an infiltration. There is a dude

0:46:26.160 --> 0:46:29.840
<v Speaker 3>sneaking into some kind of building through air ducts, cutting

0:46:29.840 --> 0:46:32.480
<v Speaker 3>through metal grating with a torch, climbing around in the

0:46:32.560 --> 0:46:35.200
<v Speaker 3>duct work. This is also a favorite theme of eighties

0:46:35.239 --> 0:46:37.880
<v Speaker 3>action movies. They love putting a guy climbing through the

0:46:38.400 --> 0:46:42.200
<v Speaker 3>ventilation shafts. So what's going on here, Well, it's a heist.

0:46:42.520 --> 0:46:44.360
<v Speaker 3>This is some kind of police building. I think they

0:46:44.600 --> 0:46:49.080
<v Speaker 3>later call it a federal warehouse. An infiltrator sneaks in.

0:46:49.400 --> 0:46:53.239
<v Speaker 3>He sneaks into an evidence room and then in there

0:46:53.280 --> 0:46:55.680
<v Speaker 3>he runs into a police officer and kills him with

0:46:55.719 --> 0:46:59.640
<v Speaker 3>a throwing knife. He steals the officers. I was thinking

0:46:59.680 --> 0:47:01.960
<v Speaker 3>at first he stole his clothes and his badge, but

0:47:02.000 --> 0:47:04.000
<v Speaker 3>I think maybe he just takes his badge or his

0:47:04.080 --> 0:47:08.200
<v Speaker 3>name tag, because you know, this police officer's clothes would

0:47:08.200 --> 0:47:09.680
<v Speaker 3>have a big knife hole in the front and a

0:47:09.680 --> 0:47:10.600
<v Speaker 3>bunch of blood on it.

0:47:11.120 --> 0:47:13.480
<v Speaker 2>Yeah, this whole sequence is ridiculous, you know, it's their

0:47:13.480 --> 0:47:17.960
<v Speaker 2>standards sort of nineties Batman s chaos criminals because there's not,

0:47:18.040 --> 0:47:21.560
<v Speaker 2>ultimately nothing smooth about them. They immediately follow up the

0:47:21.560 --> 0:47:24.960
<v Speaker 2>stealth portion of their mission with a seemingly unnecessary murder.

0:47:25.280 --> 0:47:28.520
<v Speaker 3>Right, and so he's disguised as a cop. Now he's

0:47:28.560 --> 0:47:31.440
<v Speaker 3>got this other guy's badge and name tag on. He

0:47:31.560 --> 0:47:35.720
<v Speaker 3>loads up a briefcase full of these little plastic baggies

0:47:35.760 --> 0:47:38.479
<v Speaker 3>of white powder. It looks like he's stealing about thirty

0:47:38.560 --> 0:47:42.040
<v Speaker 3>pounds of heroin. And then the killer meets up with

0:47:42.120 --> 0:47:45.200
<v Speaker 3>a co conspirator who's been like walking him through the

0:47:45.280 --> 0:47:48.319
<v Speaker 3>heist on a walkie talkie. Together they go to the

0:47:48.320 --> 0:47:51.480
<v Speaker 3>front desk and they sign out to this suitcase full

0:47:51.520 --> 0:47:54.239
<v Speaker 3>of drugs. And the guy at the desk has a

0:47:54.320 --> 0:47:58.080
<v Speaker 3>righteous mullet. He's like, some must be some party, ha hahu.

0:48:00.200 --> 0:48:02.160
<v Speaker 2>According to I was looking at a two thousand and

0:48:02.400 --> 0:48:05.919
<v Speaker 2>nine Dea press release, and according to that press release,

0:48:06.000 --> 0:48:08.000
<v Speaker 2>thirty pounds of heroin might be worth somewhere in the

0:48:08.000 --> 0:48:10.080
<v Speaker 2>neighborhood of for like thirty million dollars. So just go

0:48:10.080 --> 0:48:13.439
<v Speaker 2>ahead and sign that out to officers shifty and sauce here.

0:48:13.840 --> 0:48:16.400
<v Speaker 3>Yes, So on the way out these guys, one of

0:48:16.400 --> 0:48:19.399
<v Speaker 3>these guys drops a bag on the staircase in the

0:48:19.520 --> 0:48:22.760
<v Speaker 3>lobby of this police building. Somebody is just blasting joy

0:48:22.800 --> 0:48:26.280
<v Speaker 3>to the world, and they leave the building. They pile

0:48:26.400 --> 0:48:29.279
<v Speaker 3>into a waiting getaway car. The driver also has a

0:48:29.360 --> 0:48:33.120
<v Speaker 3>mullet and is wearing you know, he's dressed like a

0:48:33.120 --> 0:48:36.560
<v Speaker 3>Bateman bro. They're driving a luxury sedan. So the themes

0:48:36.640 --> 0:48:41.400
<v Speaker 3>yet again they drive away and then the police building explodes,

0:48:41.680 --> 0:48:44.279
<v Speaker 3>and as we said in this movie, everything explodes.

0:48:44.840 --> 0:48:47.600
<v Speaker 2>Yeah, just fireballs of unreal proportion. It's amazing.

0:48:48.239 --> 0:48:49.920
<v Speaker 3>But the other guys in the car are like, what

0:48:50.200 --> 0:48:53.920
<v Speaker 3>was that, and the infiltrator dude says a little insurance

0:48:54.000 --> 0:48:57.640
<v Speaker 3>policy and the guy goes, what the hell for and

0:48:57.680 --> 0:49:06.080
<v Speaker 3>he's like, no witnesses experienced criminals here, and then they're

0:49:06.080 --> 0:49:11.160
<v Speaker 3>all like, oh yeah, okay. So next we move on

0:49:11.200 --> 0:49:14.719
<v Speaker 3>to a stakeout where we meet Dolph Lindgren's character. This

0:49:14.800 --> 0:49:18.840
<v Speaker 3>is Detective Jack Caine. He's sitting in a car with

0:49:18.880 --> 0:49:22.920
<v Speaker 3>an earpiece listening to a drug deal unfold at what

0:49:23.040 --> 0:49:26.200
<v Speaker 3>looks like an empty nearby nightclub, and he's got a

0:49:26.239 --> 0:49:29.040
<v Speaker 3>man on the inside wearing a wire. This guy on

0:49:29.080 --> 0:49:33.239
<v Speaker 3>the inside is Turner, his partner who is undercover as

0:49:33.280 --> 0:49:36.640
<v Speaker 3>a drug buyer. And the gang Turner is doing this

0:49:36.719 --> 0:49:40.040
<v Speaker 3>deal with is called, for some reason, the White Boys.

0:49:42.000 --> 0:49:44.880
<v Speaker 3>Their thing is that they are yuppies, so this is

0:49:45.000 --> 0:49:49.520
<v Speaker 3>like a criminal street gang that distributes heroin throughout Houston.

0:49:49.840 --> 0:49:53.080
<v Speaker 3>But they all have Ivy League degrees and they drive

0:49:53.160 --> 0:49:56.160
<v Speaker 3>sports cars and they look like a Brooks Brothers catalog,

0:49:56.920 --> 0:49:58.880
<v Speaker 3>so it's like, is this one of the concepts of

0:49:58.920 --> 0:50:01.080
<v Speaker 3>the gangs from the war years, along with like the

0:50:01.120 --> 0:50:04.760
<v Speaker 3>baseball guys. If not, it should have been, Yeah, I agree.

0:50:05.360 --> 0:50:08.640
<v Speaker 3>And Victor Manning, the leader of the gang, is giving

0:50:08.680 --> 0:50:11.799
<v Speaker 3>a speech to Turner about how he once thought his

0:50:12.000 --> 0:50:14.920
<v Speaker 3>education would be his saving grace, but then he got

0:50:14.920 --> 0:50:18.280
<v Speaker 3>out of Princeton and he realized MBAs were quickly becoming

0:50:18.320 --> 0:50:21.400
<v Speaker 3>a devalued commodity. So he says he went back to

0:50:21.400 --> 0:50:26.040
<v Speaker 3>school and he got another master's in international banking, and

0:50:26.080 --> 0:50:29.960
<v Speaker 3>then he's like quizzing Turner, and in character, he's like,

0:50:30.040 --> 0:50:33.840
<v Speaker 3>what university did you attend? And Turner says a funny

0:50:33.880 --> 0:50:39.000
<v Speaker 3>but sort of unrepeatable line. And then before the gang

0:50:39.040 --> 0:50:41.120
<v Speaker 3>boss here gets to the point of his story, his

0:50:41.239 --> 0:50:45.480
<v Speaker 3>preppagoons arrive with the heroine they stole from the police warehouse.

0:50:46.320 --> 0:50:48.439
<v Speaker 3>By the way, this is one of these scenes taking

0:50:48.480 --> 0:50:50.719
<v Speaker 3>place on a street where the storefronts are just all

0:50:50.760 --> 0:50:53.839
<v Speaker 3>apparently liquor stores and adult movie theaters, and they all

0:50:53.840 --> 0:50:54.960
<v Speaker 3>have neon signs.

0:50:55.760 --> 0:50:57.200
<v Speaker 2>He's very convincing. I don't know if they had to

0:50:57.200 --> 0:50:59.480
<v Speaker 2>build this or they just found this in Houston.

0:50:59.840 --> 0:51:03.160
<v Speaker 3>So they let Turner see the merchandise, say yep, that's

0:51:03.200 --> 0:51:05.080
<v Speaker 3>a bunch of drugs, and then he opens up a

0:51:05.120 --> 0:51:08.560
<v Speaker 3>briefcase full of money, and Victor Maning goes on with

0:51:08.600 --> 0:51:10.759
<v Speaker 3>his speech. He's like, you know, if you don't have

0:51:10.840 --> 0:51:14.120
<v Speaker 3>at least a master's degree these days, you could find

0:51:14.120 --> 0:51:16.680
<v Speaker 3>yourself really desperate. You might have to turn to a

0:51:16.719 --> 0:51:21.279
<v Speaker 3>life of crime, or even worse, become a cop. And meanwhile,

0:51:21.520 --> 0:51:25.400
<v Speaker 3>right next door, two guys in duster coats run into

0:51:25.680 --> 0:51:29.200
<v Speaker 3>an unrelated liquor store and start robbing it. They're roughing

0:51:29.280 --> 0:51:32.080
<v Speaker 3>up customers, they're pointing a shotgun at the shop owner.

0:51:32.560 --> 0:51:35.400
<v Speaker 3>And Dolph Lindgren sitting in his car, he sees this happening.

0:51:35.560 --> 0:51:38.719
<v Speaker 3>Uh oh. Jack Kane is supposed to be listening in

0:51:38.760 --> 0:51:40.880
<v Speaker 3>on the wire for Turner to make the deal so

0:51:40.920 --> 0:51:43.359
<v Speaker 3>they can, you know, make the arrests. But now there

0:51:43.360 --> 0:51:47.120
<v Speaker 3>are people in peril. What's a dolf gonna do. Of course,

0:51:47.200 --> 0:51:50.360
<v Speaker 3>he's gonna go administer some roundhouse kicks. So he drops

0:51:50.400 --> 0:51:53.319
<v Speaker 3>his earpiece. He says, keep talking, guys, and he goes

0:51:53.320 --> 0:51:55.440
<v Speaker 3>and he roundhouse kicks one of the guys in the

0:51:55.600 --> 0:51:59.840
<v Speaker 3>in the store and then shoots the other one and Unfortunately,

0:52:00.040 --> 0:52:03.080
<v Speaker 3>while Kine is busy doing that not listening, the gang

0:52:03.120 --> 0:52:07.040
<v Speaker 3>boss reveals that they know Turner's real identity. They've been

0:52:07.080 --> 0:52:10.879
<v Speaker 3>playing him this whole time. They shoot Turner, they take

0:52:10.960 --> 0:52:14.280
<v Speaker 3>the money he brought, and then Victor Manning leaves the scene,

0:52:14.360 --> 0:52:16.960
<v Speaker 3>telling his goons to make sure they get quote every

0:52:17.040 --> 0:52:22.719
<v Speaker 3>grain of that heroine. But after the boss leaves, while

0:52:22.719 --> 0:52:25.560
<v Speaker 3>the preppy henchmen are finishing up with the scene, a

0:52:25.640 --> 0:52:29.560
<v Speaker 3>new player arrives and hey, it's the alien from that

0:52:29.640 --> 0:52:33.000
<v Speaker 3>flaming crater. He comes up to the henchmen, he says,

0:52:33.160 --> 0:52:36.960
<v Speaker 3>I come in peace. Then he attacks them with an

0:52:37.080 --> 0:52:41.080
<v Speaker 3>alien murder disc that shoots out of his wrist. Rob

0:52:41.120 --> 0:52:44.360
<v Speaker 3>do you want to describe the death disk attack?

0:52:45.520 --> 0:52:48.480
<v Speaker 2>Yeah? I really love the idea of the death discs,

0:52:48.719 --> 0:52:50.320
<v Speaker 2>and ultimately it's a lot of fun in the movie.

0:52:51.000 --> 0:52:53.680
<v Speaker 2>I enjoyed the sci fi explanation that they get into

0:52:53.719 --> 0:52:55.359
<v Speaker 2>about how they work more than that in a bed.

0:52:56.200 --> 0:53:00.000
<v Speaker 2>But let's face it, the execution of the effect is adequate.

0:53:00.400 --> 0:53:02.120
<v Speaker 2>You know, it doesn't take you out of the movie,

0:53:02.400 --> 0:53:06.480
<v Speaker 2>but it's very clearly just a CD spinning that they shot.

0:53:07.440 --> 0:53:09.719
<v Speaker 2>Watching the movie, you really want this thing to be

0:53:09.800 --> 0:53:12.640
<v Speaker 2>something more like a cross between the tall Man's spheres

0:53:12.719 --> 0:53:16.720
<v Speaker 2>from Phantasm and the Predators killer frisbee. I don't remember

0:53:16.760 --> 0:53:18.840
<v Speaker 2>if he had the frisbee in Predator one or if

0:53:18.880 --> 0:53:20.320
<v Speaker 2>that's just a Predator two thing.

0:53:20.200 --> 0:53:21.440
<v Speaker 3>But I think that's Predator two.

0:53:21.680 --> 0:53:24.400
<v Speaker 2>Yeah, okay, so you want it to be like that

0:53:24.440 --> 0:53:27.320
<v Speaker 2>insteady weirdly seems to hit with more blunt force impact

0:53:27.360 --> 0:53:32.560
<v Speaker 2>than slicing terror, So, you know, maybe a little disappointing

0:53:32.560 --> 0:53:35.200
<v Speaker 2>in that regard, but otherwise still effective. You still buy it.

0:53:35.600 --> 0:53:37.880
<v Speaker 3>Yes, On the other hand, I mean it is quite

0:53:37.880 --> 0:53:38.959
<v Speaker 3>clearly just a CD.

0:53:39.760 --> 0:53:43.160
<v Speaker 2>Yeah, and it it kind of deflates it a bit too.

0:53:43.239 --> 0:53:45.520
<v Speaker 2>When we had that opening scene with the CD player

0:53:45.560 --> 0:53:48.319
<v Speaker 2>and the CD flying out, that's not doing that. It's

0:53:48.400 --> 0:53:49.800
<v Speaker 2>not doing the effect any favors.

0:53:50.160 --> 0:53:54.640
<v Speaker 3>Yeah, it's a strange. It's strange to offer that visual comparison.

0:53:54.680 --> 0:53:57.160
<v Speaker 3>It's almost like the alien got the idea of using

0:53:57.160 --> 0:53:58.440
<v Speaker 3>a CD from that scene.

0:53:58.960 --> 0:53:59.880
<v Speaker 2>Yeah.

0:54:00.080 --> 0:54:03.600
<v Speaker 3>So after defeating the henchman, the alien steals the heroine

0:54:03.680 --> 0:54:06.799
<v Speaker 3>and leaves alien one of those drugs, and then Dolph

0:54:06.880 --> 0:54:10.840
<v Speaker 3>Lundegren comes in to find his partner dead. So in

0:54:10.880 --> 0:54:13.400
<v Speaker 3>the next scene, police are all over the place. So

0:54:13.400 --> 0:54:16.439
<v Speaker 3>we kind of get a walk through. Somebody says, looks

0:54:16.480 --> 0:54:19.360
<v Speaker 3>like somebody put the white boys through the queas and art,

0:54:19.840 --> 0:54:22.520
<v Speaker 3>I guess, referring to the cuts from the Flying Disc.

0:54:22.880 --> 0:54:27.239
<v Speaker 3>And Jack Kaine's boss arrives to give the classic reprimand

0:54:27.360 --> 0:54:30.920
<v Speaker 3>of the rogue cop by the chief monologue. So we

0:54:31.000 --> 0:54:33.440
<v Speaker 3>get eye out to break your neck. You're taking it

0:54:33.480 --> 0:54:36.960
<v Speaker 3>to personal. You're a loose cannon. You're off the case,

0:54:37.160 --> 0:54:40.440
<v Speaker 3>go on vacation. That's in order. We're not yet to

0:54:40.560 --> 0:54:42.560
<v Speaker 3>meet your new partner, but that will come in the

0:54:42.600 --> 0:54:43.280
<v Speaker 3>next scene.

0:54:43.840 --> 0:54:45.400
<v Speaker 2>Yeah, absolutely, by the books.

0:54:45.640 --> 0:54:47.799
<v Speaker 3>Now, in the opening scene, we don't necessarily get a

0:54:47.800 --> 0:54:50.080
<v Speaker 3>great look at the character of Jack Kine because he

0:54:50.200 --> 0:54:53.439
<v Speaker 3>is sitting in a car. And then the later action

0:54:53.560 --> 0:54:55.799
<v Speaker 3>scene'es in like a dark store where they've shot out

0:54:55.840 --> 0:54:58.120
<v Speaker 3>the light. So let's take in Kane in his full

0:54:58.160 --> 0:54:58.879
<v Speaker 3>glory here.

0:54:59.280 --> 0:55:01.560
<v Speaker 2>Yeah, I'd say he's essentially a walking, big and tall

0:55:01.640 --> 0:55:04.879
<v Speaker 2>store wrack in this film. Like I just kept being

0:55:04.920 --> 0:55:08.200
<v Speaker 2>shocked by just like how much clothing he's wearing. And

0:55:08.440 --> 0:55:10.279
<v Speaker 2>you know, not just that he's not shirtless, but like

0:55:10.360 --> 0:55:12.120
<v Speaker 2>it's like, wow, that's that's a lot of clothes. He

0:55:12.160 --> 0:55:13.719
<v Speaker 2>had to go to the big and tall shop for that.

0:55:13.719 --> 0:55:15.440
<v Speaker 2>That's specially in this movie.

0:55:15.480 --> 0:55:19.840
<v Speaker 3>He does not have his Ivan Drago blonde Frankenstein haircut.

0:55:19.880 --> 0:55:22.239
<v Speaker 3>He's got brown hair and I don't know what you

0:55:22.280 --> 0:55:24.839
<v Speaker 3>call this hairdo, but it's more normal looking. It's sort

0:55:24.840 --> 0:55:28.239
<v Speaker 3>of done up a little bit elvisy, but with a

0:55:28.360 --> 0:55:31.080
<v Speaker 3>I don't know, later more eighties kind of style. His

0:55:31.200 --> 0:55:34.840
<v Speaker 3>outfit includes what looks to me like a black denim

0:55:34.920 --> 0:55:37.200
<v Speaker 3>cutoff of vest. I think it used to be a

0:55:37.320 --> 0:55:40.880
<v Speaker 3>jacket or long sleeve shirt, but with the sleeves removed,

0:55:41.280 --> 0:55:44.160
<v Speaker 3>the badge mounted on the vest. And then this is

0:55:44.280 --> 0:55:48.760
<v Speaker 3>over a black Houston Astro's T shirt. So it's a,

0:55:48.920 --> 0:55:52.040
<v Speaker 3>I thought, an amusing look. But another thing I want

0:55:52.080 --> 0:55:53.640
<v Speaker 3>to get to is that a lot of movies of

0:55:53.680 --> 0:55:59.040
<v Speaker 3>this kind will introduce some sort of little personality quirk

0:55:59.120 --> 0:56:02.719
<v Speaker 3>to their main cut character to distinguish them ever so

0:56:02.880 --> 0:56:06.880
<v Speaker 3>slightly from the other butt kicking, loose cannon cops who

0:56:06.960 --> 0:56:10.080
<v Speaker 3>get results that we may have encountered in our movie

0:56:10.080 --> 0:56:14.160
<v Speaker 3>Going Lives. For example, with Rutger Howard's character Harley Stone

0:56:14.239 --> 0:56:17.080
<v Speaker 3>in Split Second, the quirk was do you remember what

0:56:17.120 --> 0:56:17.400
<v Speaker 3>it was?

0:56:17.520 --> 0:56:20.200
<v Speaker 2>Rob? Oh? He loved coffee and he loved sweets.

0:56:20.520 --> 0:56:22.960
<v Speaker 3>Yeah, it's a sweet tooth. He loved candy, and he

0:56:23.000 --> 0:56:27.160
<v Speaker 3>put tons of sugar in his coffee. Yeah, so that

0:56:27.280 --> 0:56:30.360
<v Speaker 3>was an interesting pick, And honestly, I think the quirk

0:56:30.480 --> 0:56:33.880
<v Speaker 3>they pick for Dolph Lindegren's character here is kind of weak.

0:56:34.200 --> 0:56:37.960
<v Speaker 3>The quirk is that he never breaks a promise. It

0:56:38.040 --> 0:56:41.440
<v Speaker 3>is something that is universally true of his personality and

0:56:41.600 --> 0:56:46.320
<v Speaker 3>everybody knows this about him. Odd choice, Yeah, I agree.

0:56:46.360 --> 0:56:48.840
<v Speaker 2>I mean it feels kind of mythic or folkloric in

0:56:48.880 --> 0:56:51.560
<v Speaker 2>its own way, but it also never feels real either.

0:56:51.719 --> 0:56:56.440
<v Speaker 2>There's like the scene with his on again, off again girlfriend,

0:56:56.480 --> 0:56:58.200
<v Speaker 2>which is like, I wish you would make a promise

0:56:58.200 --> 0:57:00.000
<v Speaker 2>to me one day, like you make promises to us

0:57:00.160 --> 0:57:01.920
<v Speaker 2>people and he's like, I don't know, I'm not ready

0:57:02.000 --> 0:57:02.680
<v Speaker 2>to do that yet.

0:57:02.880 --> 0:57:04.600
<v Speaker 3>Yeah, he doesn't do it in the scene. But also

0:57:04.680 --> 0:57:08.040
<v Speaker 3>what promises is she aware of him making to other people?

0:57:08.080 --> 0:57:11.920
<v Speaker 3>And also isn't keeping promises just a normal thing that

0:57:12.080 --> 0:57:15.520
<v Speaker 3>is expected of most honest people, Like I feel like

0:57:15.560 --> 0:57:17.520
<v Speaker 3>it would be more notable if a person was known

0:57:17.560 --> 0:57:20.160
<v Speaker 3>for breaking a promise every promise they made.

0:57:20.640 --> 0:57:22.400
<v Speaker 2>Yeah. Yeah, it seems like they get to come up

0:57:22.440 --> 0:57:24.200
<v Speaker 2>with something else with this character, and I mean they

0:57:24.280 --> 0:57:26.960
<v Speaker 2>kinda they kind of weave it into the plot a

0:57:27.000 --> 0:57:28.480
<v Speaker 2>little bit, but it never really sticks.

0:57:29.120 --> 0:57:31.840
<v Speaker 3>The way it's first introduced is in this scene where

0:57:32.000 --> 0:57:34.200
<v Speaker 3>the chief is, you know, Chiefs is chewing him out.

0:57:34.520 --> 0:57:36.880
<v Speaker 3>He's saying, you're off the case. I command you to

0:57:36.920 --> 0:57:39.439
<v Speaker 3>take vacation, and then he says, actually, no, I don't

0:57:39.520 --> 0:57:43.280
<v Speaker 3>order you to take vacation. I order you to promise

0:57:43.440 --> 0:57:46.360
<v Speaker 3>me you will take all your vacation days, because I

0:57:46.400 --> 0:57:50.120
<v Speaker 3>know you never break a promise. Jack Caine, Oh, he

0:57:50.200 --> 0:57:52.800
<v Speaker 3>got him, He got him. Can't get out of this.

0:57:52.920 --> 0:57:55.920
<v Speaker 3>There's no way out unless there is intervention by a

0:57:55.960 --> 0:57:59.640
<v Speaker 3>higher power. And then here we introduce the FEDS. The

0:57:59.680 --> 0:58:03.960
<v Speaker 3>FBI comes in and Dolf meets the character of Agent Switzer,

0:58:04.480 --> 0:58:08.080
<v Speaker 3>an arrogant, domineering FBI agent of the shut up and

0:58:08.120 --> 0:58:11.240
<v Speaker 3>do what you're told style. He explains that his job

0:58:11.360 --> 0:58:14.200
<v Speaker 3>is to know things, and he's smarter than everybody else

0:58:14.520 --> 0:58:17.720
<v Speaker 3>and that regular cops like Dolf are just stupid and

0:58:17.760 --> 0:58:19.880
<v Speaker 3>beneath him and they need to obey what he says.

0:58:20.560 --> 0:58:23.560
<v Speaker 3>So Switzer takes Dolf into the bathroom to discuss the

0:58:23.680 --> 0:58:26.600
<v Speaker 3>strangeness of the murder scene, it's like, what could have

0:58:26.680 --> 0:58:30.120
<v Speaker 3>left these incisions on the victims? And Dolph says, I've

0:58:30.160 --> 0:58:32.479
<v Speaker 3>seen a lot of knife wounds, but these were done

0:58:32.480 --> 0:58:38.480
<v Speaker 3>by something else. Okay, I mean to be clear, Like

0:58:38.560 --> 0:58:40.960
<v Speaker 3>we see the wounds in the movie and that nothing

0:58:41.000 --> 0:58:43.120
<v Speaker 3>seems all that remarkable about them.

0:58:43.400 --> 0:58:45.600
<v Speaker 2>Yeah, but also we don't have a weapon.

0:58:45.680 --> 0:58:46.360
<v Speaker 3>Yeah, that's right.

0:58:46.760 --> 0:58:48.040
<v Speaker 2>They're like, what could have done?

0:58:48.280 --> 0:58:50.920
<v Speaker 3>Whatever this weapon is, it's the key to understanding what

0:58:51.000 --> 0:58:55.040
<v Speaker 3>happened here. So Switzer decides that Cain should be back

0:58:55.040 --> 0:58:57.280
<v Speaker 3>on the case. He comes and he tells the chief, Hey,

0:58:57.480 --> 0:58:59.960
<v Speaker 3>you know, you've got to put him back on the case,

0:59:00.040 --> 0:59:03.560
<v Speaker 3>and the chief complies. But the condition here is that

0:59:03.680 --> 0:59:06.560
<v Speaker 3>Cain has to be paired with a new partner, and

0:59:06.840 --> 0:59:09.640
<v Speaker 3>Dolph might as well look directly into the camera and

0:59:09.680 --> 0:59:16.680
<v Speaker 3>shrug while a zoinc sound effect plays. It's like, new partner. Okay,

0:59:16.840 --> 0:59:20.000
<v Speaker 3>So it's a classic cop movie pair up. The new

0:59:20.040 --> 0:59:24.200
<v Speaker 3>partner is a sharply dressed FBI agent named Larry Smith,

0:59:24.360 --> 0:59:28.760
<v Speaker 3>and it's cop oil versus FBI water. Cain is tall,

0:59:28.960 --> 0:59:33.920
<v Speaker 3>Smith is short, Cain is buff, Smith is skinny. Smith

0:59:34.080 --> 0:59:36.920
<v Speaker 3>is by the book. Cain plays by his own rules.

0:59:37.160 --> 0:59:40.280
<v Speaker 3>Smith is snooty and stuck up, while Cain is down

0:59:40.320 --> 0:59:42.760
<v Speaker 3>to earth. You could have a beer with him. Smith

0:59:42.840 --> 0:59:46.480
<v Speaker 3>operates on reason and logic, which the movie implies are

0:59:46.560 --> 0:59:50.800
<v Speaker 3>stupid and doomed to fail, while Cain relies on instinct,

0:59:50.840 --> 0:59:52.800
<v Speaker 3>which is smart and gets results.

0:59:54.000 --> 0:59:56.480
<v Speaker 2>Yeah, there's a whole sequence where they discuss the difference

0:59:56.480 --> 1:00:00.720
<v Speaker 2>between relying on your gut and relying on on logic

1:00:00.760 --> 1:00:04.640
<v Speaker 2>and learning without ever drawing the obvious. I mean, I

1:00:04.640 --> 1:00:09.880
<v Speaker 2>would think to everyone connection between learning and repetition and instinct. Yeah,

1:00:09.920 --> 1:00:13.640
<v Speaker 2>like these things go hand in hand. Why these seems

1:00:13.680 --> 1:00:15.760
<v Speaker 2>like these are falsely separate categories here.

1:00:15.840 --> 1:00:19.080
<v Speaker 3>Yeah, of course to the extent that instinct would actually

1:00:19.160 --> 1:00:23.880
<v Speaker 3>be useful. It's like because of experience. Yeah, But essentially

1:00:23.920 --> 1:00:26.040
<v Speaker 3>they're setting it up where like Cain is a jock

1:00:26.200 --> 1:00:29.200
<v Speaker 3>and Smith is a nerd, and this movie hates nerds. Well,

1:00:29.200 --> 1:00:31.600
<v Speaker 3>actually there are some nerds later on that we find

1:00:31.600 --> 1:00:35.840
<v Speaker 3>out are okay, but certain nerds are not so good.

1:00:36.240 --> 1:00:38.280
<v Speaker 3>And in the scene where they very first meet in

1:00:38.320 --> 1:00:42.439
<v Speaker 3>the chief's office, they are immediately clashing because Smith condescends

1:00:42.480 --> 1:00:45.240
<v Speaker 3>to Cain, He's like trying to explain the definition of

1:00:45.280 --> 1:00:48.760
<v Speaker 3>the word parameters and Cain is getting mad, and then

1:00:48.800 --> 1:00:52.080
<v Speaker 3>they get interrupted when the coroner comes in. The coroner

1:00:52.280 --> 1:00:56.080
<v Speaker 3>is Diane Palone, as we mentioned earlier. She also happens

1:00:56.080 --> 1:00:59.720
<v Speaker 3>to be Cain's girlfriend or something like that. They are

1:00:59.760 --> 1:01:04.680
<v Speaker 3>in some kind of ambiguous romantic relationship. Oh and something

1:01:04.720 --> 1:01:08.720
<v Speaker 3>I didn't mention before. Apparently Jack Kane went off the

1:01:08.800 --> 1:01:12.840
<v Speaker 3>grid for eight days before the nightclubs stakeout, and nobody

1:01:12.920 --> 1:01:15.320
<v Speaker 3>knew where he was or if he was even alive,

1:01:15.480 --> 1:01:19.480
<v Speaker 3>including his boss and including Diane. Though it's I don't

1:01:19.520 --> 1:01:22.280
<v Speaker 3>think it's ever explained why he went dark all this time?

1:01:22.560 --> 1:01:23.400
<v Speaker 3>Do they ever say?

1:01:23.600 --> 1:01:26.520
<v Speaker 2>We never get an explanation, He never has to explain

1:01:27.000 --> 1:01:30.000
<v Speaker 2>what was yeah, and we just kind of forget about

1:01:30.000 --> 1:01:30.680
<v Speaker 2>it after a while.

1:01:30.800 --> 1:01:32.880
<v Speaker 3>Maybe his reason was just instinct.

1:01:33.240 --> 1:01:34.880
<v Speaker 2>Yeah, Or maybe he had a really good reason. He

1:01:34.880 --> 1:01:36.280
<v Speaker 2>made a promise about it. I don't know.

1:01:44.920 --> 1:01:46.880
<v Speaker 3>Anyway. So Jack and Smith are in the room and

1:01:46.920 --> 1:01:49.080
<v Speaker 3>the coroner comes into the scene to explain that the

1:01:49.080 --> 1:01:52.600
<v Speaker 3>forensics work has done. The murder weapon was quote razor

1:01:52.680 --> 1:01:55.840
<v Speaker 3>thin and razor sharp. It made a deep, straight incision.

1:01:55.880 --> 1:01:59.120
<v Speaker 3>I'd have trouble making with the scalpel. And the chief says,

1:01:59.200 --> 1:02:02.640
<v Speaker 3>how do you explain, and the coroner says, I can't

1:02:03.240 --> 1:02:06.680
<v Speaker 3>music sting. Everyone in the room makes ominous eyes at

1:02:06.680 --> 1:02:09.640
<v Speaker 3>each other. I was laughing out loud here. I'm reminded

1:02:09.760 --> 1:02:12.760
<v Speaker 3>of our episode on the cattle mutilation panic, where it's like,

1:02:12.880 --> 1:02:16.439
<v Speaker 3>it's impossible to explain these cuts in the skin being

1:02:16.520 --> 1:02:21.720
<v Speaker 3>so straight and precise with earthly technology. Oh and also

1:02:22.120 --> 1:02:24.800
<v Speaker 3>Jack tries to patch things up with Diane after this,

1:02:24.920 --> 1:02:27.320
<v Speaker 3>but it doesn't go well. She's mad at him because

1:02:27.400 --> 1:02:29.760
<v Speaker 3>you know, he disappeared for eight days without talking to her,

1:02:29.960 --> 1:02:33.000
<v Speaker 3>and Smith mocks Jack's relationship troubles.

1:02:33.520 --> 1:02:37.000
<v Speaker 2>Smith is not likable at first. He thankfully he does

1:02:37.040 --> 1:02:39.440
<v Speaker 2>grow on you. But they really come out strong with

1:02:39.480 --> 1:02:43.720
<v Speaker 2>the idea that this guy's just unlikable, that we're totally

1:02:43.760 --> 1:02:46.080
<v Speaker 2>unteamed Dolph at this point and can't wait to lose

1:02:46.120 --> 1:02:46.520
<v Speaker 2>this guy.

1:02:47.040 --> 1:02:49.920
<v Speaker 3>That's right. So we get to see them clashing again

1:02:50.160 --> 1:02:54.040
<v Speaker 3>because they get immediately into some police work. Smith wants

1:02:54.080 --> 1:02:57.640
<v Speaker 3>to start off their investigation by reading the coroner's report

1:02:58.000 --> 1:03:00.720
<v Speaker 3>and Cain wants to ignore the report and go straight

1:03:00.760 --> 1:03:03.720
<v Speaker 3>to the scene of the crime. Smith explains how he

1:03:03.880 --> 1:03:07.400
<v Speaker 3>solves crimes. According to the Quote Switzer Manual, it is

1:03:07.440 --> 1:03:11.680
<v Speaker 3>a handbook created by his boss, agent Switzer. Uh And

1:03:11.920 --> 1:03:14.680
<v Speaker 3>to be fair, yet that does sound really lame. But

1:03:14.720 --> 1:03:18.680
<v Speaker 3>the handbook includes advice such as exploit the knowledge of experts.

1:03:18.720 --> 1:03:22.920
<v Speaker 3>Their expertise is essential. And Jack Kane is dismissive of this,

1:03:23.000 --> 1:03:25.280
<v Speaker 3>and rightly so. It would be foolish to clutter your

1:03:25.280 --> 1:03:28.040
<v Speaker 3>mind with facts about the case. You know, he's you're

1:03:28.040 --> 1:03:30.280
<v Speaker 3>supposed to go to the crime scene and like get

1:03:30.280 --> 1:03:31.760
<v Speaker 3>a vibe, feel it out.

1:03:32.600 --> 1:03:34.400
<v Speaker 2>Yeah, just just feel it out. And we see this

1:03:34.440 --> 1:03:37.280
<v Speaker 2>all the time in cop shows, right, I Mean, there's

1:03:37.360 --> 1:03:39.760
<v Speaker 2>like a cop and he just has to inhabit the scene,

1:03:39.880 --> 1:03:42.680
<v Speaker 2>you know, he has to get in the mind the killer.

1:03:43.280 --> 1:03:45.720
<v Speaker 2>Put in some headphones and listen to some music and

1:03:45.800 --> 1:03:48.280
<v Speaker 2>kind of like a have a jazz session with the

1:03:48.320 --> 1:03:50.640
<v Speaker 2>crime scene. Yeah.

1:03:50.760 --> 1:03:55.680
<v Speaker 3>Yeah, he has to really feel it. But then, oh,

1:03:55.720 --> 1:03:58.680
<v Speaker 3>and then there's some more clashing because Switzer the Switzer

1:03:58.680 --> 1:04:03.640
<v Speaker 3>Manual says that you're supposed to professionally. Smith says external

1:04:03.720 --> 1:04:06.080
<v Speaker 3>things are very important. They tell people who you are.

1:04:06.600 --> 1:04:09.600
<v Speaker 3>And Jack Kane is apparently just not dressed up to standards.

1:04:10.640 --> 1:04:13.520
<v Speaker 3>But once they get to the crime scene, this dynamic continues.

1:04:13.680 --> 1:04:16.840
<v Speaker 3>Jack mock Smith for taking measurements and notes at the

1:04:16.840 --> 1:04:20.840
<v Speaker 3>crime scene. What a nerd, Jack says, So it's all clinical.

1:04:20.920 --> 1:04:24.680
<v Speaker 3>Huh what about instinct? And Smith thinks instinct is no

1:04:24.800 --> 1:04:29.000
<v Speaker 3>good Jack says, it works for him. Meanwhile, we're going

1:04:29.040 --> 1:04:31.720
<v Speaker 3>to see the arrival of a second man from space.

1:04:32.080 --> 1:04:35.840
<v Speaker 3>There's like a derelict building where there's a woman sorting

1:04:35.840 --> 1:04:40.160
<v Speaker 3>through aluminum cans. Suddenly a fireball hits from above, plows

1:04:40.160 --> 1:04:42.600
<v Speaker 3>through a bunch of walls, and a guy dressed like

1:04:42.640 --> 1:04:45.880
<v Speaker 3>the first alien emerges, except he has dark hair instead

1:04:45.920 --> 1:04:48.160
<v Speaker 3>of blonde hair. And this is the one with the scullet.

1:04:48.200 --> 1:04:49.560
<v Speaker 3>This is going to be our good alien.

1:04:50.040 --> 1:04:54.400
<v Speaker 2>Yes, who spoiler is hunting the bad alien, right.

1:04:54.360 --> 1:04:57.760
<v Speaker 3>But we also see the bad alien at work. We're

1:04:57.760 --> 1:05:00.760
<v Speaker 3>going to get our first alien heroin at tax scene

1:05:01.400 --> 1:05:04.400
<v Speaker 3>in a in a scene structure that will be recreated

1:05:04.440 --> 1:05:07.680
<v Speaker 3>several more times in the film. The blonde alien like

1:05:08.440 --> 1:05:11.960
<v Speaker 3>he attacks a bail bondsman in his office late at night,

1:05:12.320 --> 1:05:14.280
<v Speaker 3>and he does some kind of weird stuff to his

1:05:14.360 --> 1:05:16.840
<v Speaker 3>body before murdering him. Rob, do you want to explain

1:05:17.000 --> 1:05:19.200
<v Speaker 3>the breakdown of one of these attacks?

1:05:19.640 --> 1:05:22.680
<v Speaker 2>Sure? Sure, this is how it goes down. So first,

1:05:23.080 --> 1:05:26.560
<v Speaker 2>our evil alien drug pusher is going to rip the

1:05:26.640 --> 1:05:28.920
<v Speaker 2>shirt open a little bit, and then he's going to

1:05:29.080 --> 1:05:31.640
<v Speaker 2>use sort of like a it's kind of like a tentacle,

1:05:31.720 --> 1:05:35.000
<v Speaker 2>but also kind of like a kind of like the

1:05:35.040 --> 1:05:37.680
<v Speaker 2>thing Scorpion shoots out of his wrist in Mortal Kombat.

1:05:37.720 --> 1:05:39.520
<v Speaker 2>You know. Yeah, it's I think of it as a

1:05:39.520 --> 1:05:43.200
<v Speaker 2>heroin injector tentacle. So this embeds in your chest and

1:05:43.360 --> 1:05:45.800
<v Speaker 2>just fills you with like a lethal dose or a

1:05:45.800 --> 1:05:48.160
<v Speaker 2>near lethal dose of heroin, just all the heroin in

1:05:48.160 --> 1:05:50.640
<v Speaker 2>the world pumped directly into you. And then while this

1:05:50.720 --> 1:05:54.080
<v Speaker 2>is going through your system, he has this big spike

1:05:54.400 --> 1:05:57.840
<v Speaker 2>that he loads out of his like wrist gauntlet thing,

1:05:58.480 --> 1:06:02.680
<v Speaker 2>and he drives that into your brain to then we

1:06:02.720 --> 1:06:05.000
<v Speaker 2>get a lot of sci fi explanations about this later,

1:06:05.040 --> 1:06:07.560
<v Speaker 2>but essentially he's draining the brain juice out of your

1:06:07.560 --> 1:06:12.480
<v Speaker 2>heroin addle brain and then using that later to manufacture

1:06:12.560 --> 1:06:13.920
<v Speaker 2>his own special space drug.

1:06:14.440 --> 1:06:16.680
<v Speaker 3>That's right, So that what you were calling the heroin

1:06:16.680 --> 1:06:19.280
<v Speaker 3>injector tentacle, I was thinking of as the drug snake.

1:06:19.400 --> 1:06:22.480
<v Speaker 3>But yeah, it's like a it's like a prehensile winding

1:06:22.560 --> 1:06:24.560
<v Speaker 3>kind of thing. It stabs into the people, it injects

1:06:24.640 --> 1:06:26.360
<v Speaker 3>them and then he gets the brain juice.

1:06:26.520 --> 1:06:29.479
<v Speaker 2>Oh, and then the spike. Yeah is really really they

1:06:29.520 --> 1:06:31.120
<v Speaker 2>did a great job with the effects on this, because

1:06:31.160 --> 1:06:33.840
<v Speaker 2>the spike really looks brutal when he drives this into.

1:06:33.840 --> 1:06:35.640
<v Speaker 2>One of the victims says, they don't show it at first.

1:06:35.680 --> 1:06:40.320
<v Speaker 2>They kind of successfully build up the mystique regarding like

1:06:40.360 --> 1:06:43.000
<v Speaker 2>what exactly is he doing to these people, But then

1:06:43.040 --> 1:06:44.960
<v Speaker 2>we see it. Yeah, he's draining something out of their

1:06:44.960 --> 1:06:48.080
<v Speaker 2>brains after he gets them high with the heroin.

1:06:48.840 --> 1:06:50.919
<v Speaker 3>Oh, and every time he says I come in peace.

1:06:51.480 --> 1:06:51.760
<v Speaker 2>Yes.

1:06:52.440 --> 1:06:54.760
<v Speaker 3>There are also later scenes where he does the same

1:06:54.800 --> 1:06:58.320
<v Speaker 3>attack on different people. He attacks a guy driving a forklift,

1:06:58.640 --> 1:07:01.600
<v Speaker 3>a woman repairing a car, and in these later scenes

1:07:01.600 --> 1:07:05.160
<v Speaker 3>we see the scullet alien chasing after the blonde alien,

1:07:05.640 --> 1:07:08.640
<v Speaker 3>blowing up nearly every car and building in Houston in

1:07:08.680 --> 1:07:11.760
<v Speaker 3>the process, so many explosions. There's one scene where that

1:07:12.360 --> 1:07:16.960
<v Speaker 3>the fugitive alien is just running away by like jumping

1:07:17.160 --> 1:07:19.840
<v Speaker 3>from car hood to car hood. He's like running in

1:07:19.960 --> 1:07:22.480
<v Speaker 3>every step lands on a different cars hood as they're

1:07:22.520 --> 1:07:25.440
<v Speaker 3>parked in a row, and all of the cars explode

1:07:25.480 --> 1:07:26.919
<v Speaker 3>as soon as he jumps off of them.

1:07:27.440 --> 1:07:30.600
<v Speaker 2>Because the aliens. In addition to these gadgets that we've

1:07:30.600 --> 1:07:33.000
<v Speaker 2>already mentioned with the bad alien. They also have these

1:07:33.080 --> 1:07:35.920
<v Speaker 2>crazy guns that I believe are also based on the

1:07:35.920 --> 1:07:39.520
<v Speaker 2>same underlying technology that they used to create the RoboCop gun.

1:07:39.920 --> 1:07:43.480
<v Speaker 2>They have this like crazy space gun that just explodes

1:07:43.520 --> 1:07:45.040
<v Speaker 2>everything in its line of fire.

1:07:45.240 --> 1:07:49.280
<v Speaker 3>Yeah, it shoots explosives at a buzzing rate of fire.

1:07:49.920 --> 1:07:53.520
<v Speaker 3>But the blonde alien just keeps getting away. So we

1:07:53.600 --> 1:07:56.240
<v Speaker 3>come back to our cops. Jack Kane apparently is going

1:07:56.280 --> 1:07:59.320
<v Speaker 3>to show Agent Smith how to work by instinct, and

1:07:59.360 --> 1:08:03.200
<v Speaker 3>so he takes him to some kind of combination nightclub

1:08:03.360 --> 1:08:07.040
<v Speaker 3>bar slash strip club and he says, I can think here,

1:08:08.000 --> 1:08:10.160
<v Speaker 3>and Smith is not happy with this. He's like, I

1:08:10.200 --> 1:08:13.440
<v Speaker 3>don't drink on duty. And then Jack Caine goes and

1:08:13.560 --> 1:08:17.040
<v Speaker 3>harasses and sort of beats up a guy, some regular

1:08:17.120 --> 1:08:20.160
<v Speaker 3>informant of his. This is owner, Yeah, this is the

1:08:20.240 --> 1:08:24.559
<v Speaker 3>ratcatcher from Split Second. But this apparently gets them nowhere.

1:08:24.640 --> 1:08:27.280
<v Speaker 3>The guy has no information to report except to say

1:08:27.280 --> 1:08:30.280
<v Speaker 3>that like, oh, there's no drugs on the streets. Everything

1:08:30.360 --> 1:08:33.759
<v Speaker 3>dried up. What happened? Smith promises to file a report

1:08:33.800 --> 1:08:38.080
<v Speaker 3>about this, but Jack Caine does get insight in this

1:08:38.200 --> 1:08:42.679
<v Speaker 3>scene unrelated to his harassment of this poor guy here

1:08:43.320 --> 1:08:46.120
<v Speaker 3>by looking at a nearby pool table in the bar.

1:08:46.280 --> 1:08:49.120
<v Speaker 3>And I didn't understand what his revelation was at first,

1:08:49.160 --> 1:08:52.000
<v Speaker 3>but then going back on it, I realized, Oh, he's

1:08:52.040 --> 1:08:55.599
<v Speaker 3>watching the ball bouncing off the walls of the pool

1:08:55.640 --> 1:08:58.720
<v Speaker 3>table to make a bank shot. And then he realizes

1:08:58.840 --> 1:09:01.800
<v Speaker 3>that the weapon at the scene was a projectile that

1:09:01.960 --> 1:09:03.280
<v Speaker 3>bounced off the walls.

1:09:04.400 --> 1:09:06.920
<v Speaker 2>Yeah. I don't understand the connection either, but hey, I mean,

1:09:07.520 --> 1:09:10.640
<v Speaker 2>that's the thing. We're too logical. He is an investigator

1:09:11.080 --> 1:09:12.879
<v Speaker 2>that is based entirely in instinct.

1:09:13.040 --> 1:09:16.400
<v Speaker 3>That's true. We are nerds and losers who rely on reason,

1:09:16.479 --> 1:09:19.360
<v Speaker 3>and that that's not getting us anywhere, so we would

1:09:19.360 --> 1:09:22.040
<v Speaker 3>never solve this case. He goes back to the crime scene,

1:09:22.040 --> 1:09:25.479
<v Speaker 3>taking Smith with him, and they find the weapon. They

1:09:26.320 --> 1:09:28.960
<v Speaker 3>Jack Kane sort of like models how it flew around

1:09:29.000 --> 1:09:32.600
<v Speaker 3>the room and realizes it ended up lodging itself in

1:09:32.760 --> 1:09:36.320
<v Speaker 3>a speaker cabinet and it's still there in the speaker cabinet.

1:09:36.320 --> 1:09:39.520
<v Speaker 3>It's like jammed into the speaker cone and like vibrating,

1:09:40.080 --> 1:09:42.519
<v Speaker 3>and it looks again like a metal CD. It looks

1:09:42.600 --> 1:09:45.800
<v Speaker 3>it's a disc and if removed from the speaker, it

1:09:46.040 --> 1:09:49.200
<v Speaker 3>cuts them and flies around the room until lodging itself

1:09:49.240 --> 1:09:52.360
<v Speaker 3>back in the speaker. So they have found the secret

1:09:52.400 --> 1:09:56.000
<v Speaker 3>alien weapon. Jack Kane takes the weapon home to his apartment,

1:09:56.120 --> 1:09:59.920
<v Speaker 3>against the protestation of Smith, who quotes the Switzer Manual

1:10:00.360 --> 1:10:03.479
<v Speaker 3>saying that evidence must be turned over in a timely manner.

1:10:03.800 --> 1:10:05.800
<v Speaker 3>And again, I'm sorry, I got a side with him here.

1:10:05.840 --> 1:10:08.559
<v Speaker 3>He's right, like, can cops just take evidence home with

1:10:08.640 --> 1:10:10.840
<v Speaker 3>them overnight? What about chain of custody?

1:10:11.520 --> 1:10:14.840
<v Speaker 2>Yeah, and that's just normal evidence, not even getting into

1:10:14.880 --> 1:10:18.480
<v Speaker 2>the realm of strange alien weapons that nobody understands.

1:10:18.760 --> 1:10:20.920
<v Speaker 3>But in this scene we get a little bit of

1:10:20.960 --> 1:10:24.080
<v Speaker 3>the thawing of the relationship between them because Smith follows

1:10:24.160 --> 1:10:27.520
<v Speaker 3>Jack Kaine into his apartment and he is immediately impressed

1:10:28.000 --> 1:10:32.000
<v Speaker 3>Jack Kane. But why he's impressed was funny. He's impressed

1:10:32.040 --> 1:10:35.000
<v Speaker 3>that Jack Kane has like high end wine and fine

1:10:35.120 --> 1:10:38.280
<v Speaker 3>art on his walls. So Smith is like, Wow, I

1:10:38.320 --> 1:10:41.040
<v Speaker 3>thought you were a low life, but actually you are

1:10:41.040 --> 1:10:43.840
<v Speaker 3>secretly very classy and I didn't realize.

1:10:44.720 --> 1:10:47.639
<v Speaker 2>Yeah, and I love that, Like this kind of reveals

1:10:47.640 --> 1:10:50.080
<v Speaker 2>more about Kane's character, but also doesn't. It's just kind

1:10:50.080 --> 1:10:52.400
<v Speaker 2>of like, oh, he likes paintings and he likes wine.

1:10:52.439 --> 1:10:54.759
<v Speaker 2>All right, very well, yeah, he's a wine guy instead

1:10:54.760 --> 1:10:57.280
<v Speaker 2>of a beer guy. I guess that's some level of depth.

1:10:57.600 --> 1:10:59.760
<v Speaker 3>It seems like he's a beer guy in public, but

1:10:59.800 --> 1:11:03.439
<v Speaker 3>a line guy in private. What does that mean? Well, anyway,

1:11:03.560 --> 1:11:05.639
<v Speaker 3>Jack threatened Smith. He's like, if you try to take

1:11:05.680 --> 1:11:07.720
<v Speaker 3>this evidence from me, I'm gonna I'm gonna hit you

1:11:07.880 --> 1:11:11.400
<v Speaker 3>very very hard. So Smith leaves, and then Jack later

1:11:11.520 --> 1:11:14.599
<v Speaker 3>goes to Diane's apartment to be like, I love you.

1:11:14.600 --> 1:11:16.920
<v Speaker 3>You know, I'm sorry that I didn't tell you where

1:11:16.960 --> 1:11:20.479
<v Speaker 3>I was for eight days. She's she's very mad. But

1:11:20.600 --> 1:11:24.160
<v Speaker 3>here's where we get to that that bizarrely written line

1:11:25.760 --> 1:11:29.639
<v Speaker 3>where she's like, Jack promised me something. She says, promise

1:11:29.720 --> 1:11:32.280
<v Speaker 3>to remember my birthday. Promise you'll come meet my mother,

1:11:32.400 --> 1:11:35.479
<v Speaker 3>Promise me anything. I just want you to promise me

1:11:35.560 --> 1:11:37.679
<v Speaker 3>something like you promise everybody else.

1:11:38.400 --> 1:11:41.559
<v Speaker 2>Yeah, it seems like a very low bar for him

1:11:41.560 --> 1:11:46.040
<v Speaker 2>to meet in this relationship. So it's really hard to

1:11:46.360 --> 1:11:49.400
<v Speaker 2>figure this one out. What they were trying to trying

1:11:49.479 --> 1:11:51.559
<v Speaker 2>trying to reveal about this character.

1:11:51.800 --> 1:11:54.000
<v Speaker 3>I feel like he could have workshopped that. Yeah, I

1:11:54.040 --> 1:11:56.880
<v Speaker 3>don't know. Yeah, but he doesn't promise her anything. They

1:11:56.960 --> 1:12:00.920
<v Speaker 3>just start smooching, you know. And and Dolph comes back

1:12:00.920 --> 1:12:03.640
<v Speaker 3>to his apartment the next morning to find it ransacked

1:12:03.720 --> 1:12:07.000
<v Speaker 3>and Smith is hiding inside. Smith says he just got there.

1:12:07.040 --> 1:12:09.880
<v Speaker 3>He found it like this. Somebody tried to steal the

1:12:10.240 --> 1:12:14.160
<v Speaker 3>evidence the alien weapon, but fortunately Jack dropped it off

1:12:14.200 --> 1:12:17.320
<v Speaker 3>the night before with somebody else who Well, here we're

1:12:17.320 --> 1:12:19.840
<v Speaker 3>going to meet another character, the scientist who works at

1:12:19.880 --> 1:12:24.880
<v Speaker 3>the university. And what's this is Jack Kine actually associating

1:12:24.880 --> 1:12:27.240
<v Speaker 3>with a nerd. I guess there really is more to

1:12:27.320 --> 1:12:30.479
<v Speaker 3>him than meets the eye. And in this scene they

1:12:30.560 --> 1:12:32.960
<v Speaker 3>go talk to the nerd and it is explained that

1:12:33.000 --> 1:12:37.320
<v Speaker 3>the murder disc works by electro magnetism, being attracted to

1:12:37.400 --> 1:12:41.760
<v Speaker 3>the electric charge of the human body or to any

1:12:42.200 --> 1:12:45.680
<v Speaker 3>magnetic charge. So they say the reason it's lodged in

1:12:45.720 --> 1:12:48.400
<v Speaker 3>the speaker is because the speaker cone has a magnet

1:12:48.439 --> 1:12:51.519
<v Speaker 3>in it. That's the driver and it was attracted to that.

1:12:51.760 --> 1:12:55.800
<v Speaker 3>But you can tune it to attack the charge of

1:12:55.840 --> 1:12:59.840
<v Speaker 3>a human body. And the scientist says, it's like turning

1:13:00.200 --> 1:13:04.080
<v Speaker 3>radio dial to K I L L.

1:13:04.640 --> 1:13:06.519
<v Speaker 2>This whole scene with what is the name Bruce, I

1:13:06.520 --> 1:13:10.640
<v Speaker 2>think the scientists very over the top. This is some

1:13:10.720 --> 1:13:13.680
<v Speaker 2>of the other like intentional humor humorous parts of the

1:13:13.680 --> 1:13:16.320
<v Speaker 2>film are a little more subtle, but this is one

1:13:16.320 --> 1:13:19.600
<v Speaker 2>of the moments where it's really ratcheted up, like like

1:13:19.680 --> 1:13:23.360
<v Speaker 2>some sort of a an explosion that's been triggered for

1:13:24.000 --> 1:13:24.840
<v Speaker 2>a string of cars.

1:13:25.200 --> 1:13:27.479
<v Speaker 3>And I would say with mixed success. Some of the

1:13:27.560 --> 1:13:30.240
<v Speaker 3>gags in the scene really fall flat. Others are kind

1:13:30.240 --> 1:13:33.000
<v Speaker 3>of funny, Like it is funny the way the scientist

1:13:33.120 --> 1:13:36.280
<v Speaker 3>is frantically trying to hide pills from the FBI guy.

1:13:36.560 --> 1:13:39.320
<v Speaker 2>Well, that was good. Yeah, it's like these are vital

1:13:39.360 --> 1:13:40.000
<v Speaker 2>to my research.

1:13:40.640 --> 1:13:43.400
<v Speaker 3>So they leave the disc with the scientist and then

1:13:43.479 --> 1:13:46.200
<v Speaker 3>later Jack and Smith meet with Diane at the coroner's

1:13:46.200 --> 1:13:50.440
<v Speaker 3>office to review new evidence from the alien murder suspects.

1:13:50.520 --> 1:13:52.960
<v Speaker 3>The people who have gotten you know, drug snaked, and

1:13:53.000 --> 1:13:55.800
<v Speaker 3>she explains what's going on. People are being injected with

1:13:55.960 --> 1:14:00.240
<v Speaker 3>massive heroin overdoses. They don't know why yet, but she's like,

1:14:00.280 --> 1:14:02.320
<v Speaker 3>you know, people do all kinds of weird stuff to

1:14:02.400 --> 1:14:06.920
<v Speaker 3>each other. And then she looks at Jack. But on

1:14:06.960 --> 1:14:09.519
<v Speaker 3>the way out, Jack, oh, this is the scene where

1:14:09.560 --> 1:14:12.639
<v Speaker 3>he gets a postcard from the villain from Victor Manning

1:14:12.720 --> 1:14:16.240
<v Speaker 3>and Rio that's just like it's just like, Jack, wish

1:14:16.320 --> 1:14:18.600
<v Speaker 3>you were dead. I hate you. I'm sending people to

1:14:18.680 --> 1:14:19.519
<v Speaker 3>kill you right now.

1:14:21.439 --> 1:14:23.800
<v Speaker 2>Yeah, and again we'll never see this guy again. There's

1:14:23.840 --> 1:14:26.360
<v Speaker 2>no follow up to this part of the plot.

1:14:26.920 --> 1:14:28.800
<v Speaker 3>At the end, you get a sense that the ending

1:14:28.880 --> 1:14:31.040
<v Speaker 3>is kind of like the ending of Silence of the Lambs,

1:14:31.080 --> 1:14:33.320
<v Speaker 3>where it's like, you know, they're going after Chilton and

1:14:33.360 --> 1:14:36.880
<v Speaker 3>wherever he is. But okay, so Victor Manning's gang is

1:14:36.920 --> 1:14:40.880
<v Speaker 3>coming after Jack Jack for some reason. So there's like

1:14:40.920 --> 1:14:44.719
<v Speaker 3>a car chase where his goons chase Jack and Smith

1:14:44.760 --> 1:14:48.240
<v Speaker 3>around in traffic. So they're like, okay, we got to

1:14:48.240 --> 1:14:50.479
<v Speaker 3>go confront these guys. So they go to the White

1:14:50.479 --> 1:14:53.479
<v Speaker 3>Boy's headquarters, which just seems to be like a big

1:14:53.600 --> 1:14:59.720
<v Speaker 3>law firm. Jack like, he gets inside by setting off

1:14:59.760 --> 1:15:02.480
<v Speaker 3>a bunch of car alarms on the sports cars outside.

1:15:02.760 --> 1:15:06.000
<v Speaker 3>People open the door and he sneaks in. He beats

1:15:06.080 --> 1:15:08.800
<v Speaker 3>up the guards outside the board meeting, and then goes

1:15:08.800 --> 1:15:11.919
<v Speaker 3>into the board meeting confronts Warren, the second in command,

1:15:12.600 --> 1:15:15.800
<v Speaker 3>and Warren thinks that it is the cops who killed

1:15:15.800 --> 1:15:18.479
<v Speaker 3>their guys and stole all the heroin. Jack doesn't know

1:15:18.479 --> 1:15:21.160
<v Speaker 3>what he's talking about so they're like, well, then, who

1:15:21.200 --> 1:15:23.920
<v Speaker 3>actually took all the heroin? They don't know, but the

1:15:24.000 --> 1:15:27.000
<v Speaker 3>gang has no drugs to deal so their business is suffering.

1:15:27.720 --> 1:15:29.800
<v Speaker 3>So Warren makes a deal. He says, all right, we

1:15:29.840 --> 1:15:33.120
<v Speaker 3>have captured your FBI buddy Smith here and we're going

1:15:33.120 --> 1:15:36.479
<v Speaker 3>to kill him unless Jack goes and buys them a

1:15:36.479 --> 1:15:39.960
<v Speaker 3>bunch of heroin for them to sell. This is the

1:15:40.000 --> 1:15:43.920
<v Speaker 3>scene where we meet al Leong because he's the guy

1:15:43.960 --> 1:15:47.439
<v Speaker 3>who's supposed to be like selling the heroin to Jack,

1:15:48.000 --> 1:15:51.120
<v Speaker 3>but it's a double cross. He gives Jack an empty

1:15:51.160 --> 1:15:54.000
<v Speaker 3>suitcase with nothing in it after Jack gives him the money,

1:15:54.400 --> 1:15:56.960
<v Speaker 3>and then he runs out of the building. Jack chases

1:15:57.000 --> 1:16:01.519
<v Speaker 3>after him, but on pursuit he encounters as the blonde

1:16:01.560 --> 1:16:04.000
<v Speaker 3>Aly and meets him I think, like grabs him by

1:16:04.000 --> 1:16:06.960
<v Speaker 3>the neck. But then the cop alien shows up and

1:16:07.000 --> 1:16:08.840
<v Speaker 3>they start shooting at each other and they make the

1:16:08.880 --> 1:16:12.320
<v Speaker 3>whole alleyway explode and Jack witnesses the entire thing.

1:16:12.960 --> 1:16:15.320
<v Speaker 2>So at this point things are finally like getting back

1:16:15.360 --> 1:16:18.080
<v Speaker 2>on track. I feel like the investigation portion of the

1:16:18.120 --> 1:16:20.880
<v Speaker 2>movie feels like he goes on a bit too long.

1:16:21.320 --> 1:16:26.479
<v Speaker 2>There aren't as many explosions, you know. Luckily, we do

1:16:26.520 --> 1:16:29.080
<v Speaker 2>have those random scenes with the aliens to keep things moving.

1:16:29.360 --> 1:16:32.439
<v Speaker 3>Oh meanwhile, in this whole scene, Smith beats up his

1:16:32.479 --> 1:16:35.320
<v Speaker 3>captors and escapes, so maybe hey, he's maybe he's part

1:16:35.400 --> 1:16:39.120
<v Speaker 3>jock after all. But after this, we we sort of

1:16:39.160 --> 1:16:42.479
<v Speaker 3>followed the blonde alien back to his lair like he's

1:16:42.560 --> 1:16:45.000
<v Speaker 3>you know, he has this big fight and he gets

1:16:45.040 --> 1:16:48.760
<v Speaker 3>away and we see him go back to It's kind

1:16:48.760 --> 1:16:50.599
<v Speaker 3>of in fact, it's kind of like when we see

1:16:50.600 --> 1:16:53.400
<v Speaker 3>the Predator, like, you know, cleaning his trophies in the

1:16:53.400 --> 1:16:54.280
<v Speaker 3>first movie.

1:16:55.120 --> 1:16:57.880
<v Speaker 2>Yeah, yeah, we find that he's he's just basically camped

1:16:57.920 --> 1:17:00.839
<v Speaker 2>out in the ruins there, the industrial ruin there in Houston.

1:17:02.280 --> 1:17:04.320
<v Speaker 2>When I would see the trailer for this movie and

1:17:04.360 --> 1:17:06.599
<v Speaker 2>the promotional materials back in the day, I always assumed

1:17:06.640 --> 1:17:09.400
<v Speaker 2>that this guy was going to like take over or

1:17:09.439 --> 1:17:13.040
<v Speaker 2>insert himself into the local drug world using his technology.

1:17:13.200 --> 1:17:16.000
<v Speaker 2>You know those maybe those crazy discs that fly around

1:17:16.000 --> 1:17:19.559
<v Speaker 2>attracted to people's electromagnetic fields. I assumed he was going

1:17:19.640 --> 1:17:23.519
<v Speaker 2>to maybe be using some sort of crazy space drug

1:17:23.600 --> 1:17:26.000
<v Speaker 2>that the world wasn't ready for. He was going to

1:17:26.040 --> 1:17:29.160
<v Speaker 2>dominate the market, destroy the competition. But no, instead he's

1:17:29.200 --> 1:17:32.040
<v Speaker 2>operating like a lone wolf out here, you know, living

1:17:32.080 --> 1:17:35.320
<v Speaker 2>amidst the ruins, just harvesting what he needs to fill

1:17:35.400 --> 1:17:37.880
<v Speaker 2>up is this small supply of drugs that he's going

1:17:37.880 --> 1:17:39.720
<v Speaker 2>to bring back I guess to his home planet or

1:17:39.760 --> 1:17:40.519
<v Speaker 2>his home system.

1:17:41.000 --> 1:17:44.160
<v Speaker 3>Is he also using the drugs he's harvesting for his

1:17:44.200 --> 1:17:46.200
<v Speaker 3>own pleasure? I think we see him do that.

1:17:46.640 --> 1:17:49.599
<v Speaker 2>I believe so. Yeah, I mean in general, he does

1:17:49.640 --> 1:17:52.719
<v Speaker 2>a lot of snarling, and you know, he has again

1:17:53.040 --> 1:17:57.479
<v Speaker 2>just terrific performance here. Just he's a beast. But yeah,

1:17:57.479 --> 1:18:00.679
<v Speaker 2>I think he is also using this special brain drug.

1:18:00.720 --> 1:18:04.160
<v Speaker 2>What do they call it? It's called like barci, Is

1:18:04.200 --> 1:18:05.120
<v Speaker 2>that right, Barsie?

1:18:05.160 --> 1:18:05.439
<v Speaker 3>I think?

1:18:05.520 --> 1:18:07.839
<v Speaker 2>Yeah, we find out eventually it's called barsie.

1:18:09.200 --> 1:18:12.080
<v Speaker 3>That's human brain juice, that's what it's called barsie.

1:18:12.400 --> 1:18:14.559
<v Speaker 2>Yeah, at least that's what the good cop tells us

1:18:14.560 --> 1:18:16.320
<v Speaker 2>when he dies in the backseat.

1:18:16.640 --> 1:18:18.679
<v Speaker 3>Yeah. But we'll get there in just a second. Okay.

1:18:18.760 --> 1:18:21.559
<v Speaker 3>But first there is a scene between Jack and Diane

1:18:22.080 --> 1:18:25.160
<v Speaker 3>where she explains how, you know, all the murder victims

1:18:25.200 --> 1:18:26.840
<v Speaker 3>have a hole jammed in their heads all the way

1:18:26.880 --> 1:18:30.800
<v Speaker 3>down to their pituitary glands. Ah, there it is, which

1:18:30.840 --> 1:18:34.400
<v Speaker 3>she says, this is where endorphins are created. She explains

1:18:34.439 --> 1:18:38.240
<v Speaker 3>that endorphins aren't nature's ecstasy. So if you shot somebody

1:18:38.280 --> 1:18:42.400
<v Speaker 3>full of heroin then extracted the endorphins from their pituitary gland,

1:18:42.720 --> 1:18:46.080
<v Speaker 3>you would have on your hands the perfect drug. The

1:18:46.120 --> 1:18:51.040
<v Speaker 3>only problem is nobody on Earth has the technology to extract, preserve,

1:18:51.160 --> 1:18:55.679
<v Speaker 3>or administer endorphins. Not yet. But Jack puts it all together.

1:18:55.760 --> 1:18:58.320
<v Speaker 3>He's like, Aha, nobody on Earth, So now I know

1:18:58.439 --> 1:19:03.400
<v Speaker 3>for sure we're dealing with as he tells Smith, and

1:19:03.479 --> 1:19:05.519
<v Speaker 3>they go back to their scientist's friend to try to

1:19:05.560 --> 1:19:08.639
<v Speaker 3>get the disc back because they got some physical evidence

1:19:08.640 --> 1:19:11.479
<v Speaker 3>to back up the drug dealer theory, the alien drug

1:19:11.479 --> 1:19:14.040
<v Speaker 3>dealer theory. Sorry, but when they get there, the disc

1:19:14.120 --> 1:19:16.880
<v Speaker 3>has been stolen. The scientist says that the disc was

1:19:16.920 --> 1:19:20.280
<v Speaker 3>stolen by guys who looked like Smith. So you assume

1:19:20.360 --> 1:19:23.000
<v Speaker 3>at this point that means more of these preppy gang members.

1:19:23.040 --> 1:19:26.439
<v Speaker 3>You know, they're dressed in their suits and they're back

1:19:26.479 --> 1:19:30.280
<v Speaker 3>to square one. But then the alien drug dealer attacks

1:19:30.280 --> 1:19:32.640
<v Speaker 3>more people in a convenience store and gets into a

1:19:32.720 --> 1:19:36.360
<v Speaker 3>fight with the alien cop, and the alien cop is

1:19:36.439 --> 1:19:38.479
<v Speaker 3>injured in the fight, like he's got sort of iin

1:19:38.560 --> 1:19:41.920
<v Speaker 3>home from alien guts, hanging out of his belly and

1:19:42.600 --> 1:19:46.720
<v Speaker 3>eventually Jack well. First they get to the cops get

1:19:46.760 --> 1:19:49.040
<v Speaker 3>to the location, and Jack is ordered off the case

1:19:49.080 --> 1:19:52.400
<v Speaker 3>once again. The Feds take over everything. They're like, Jack,

1:19:52.479 --> 1:19:55.080
<v Speaker 3>now you really have to go on vacation, and he

1:19:55.160 --> 1:19:58.599
<v Speaker 3>convinces Diane to quit her job and go on vacation

1:19:58.760 --> 1:20:02.240
<v Speaker 3>with him. But before they can do that, Jack gets

1:20:02.240 --> 1:20:05.160
<v Speaker 3>into his car and he is confronted by the cop

1:20:05.240 --> 1:20:07.519
<v Speaker 3>alien who's like hiding in his back seat. I guess

1:20:07.520 --> 1:20:10.599
<v Speaker 3>somehow he knows Jack can be trusted unlike anybody else here.

1:20:11.080 --> 1:20:13.280
<v Speaker 2>He can tell he can tell that this is a

1:20:13.439 --> 1:20:17.479
<v Speaker 2>true police officer, you know, a man who solves crimes

1:20:17.479 --> 1:20:20.120
<v Speaker 2>with his gut as opposed to his logic. This is

1:20:20.160 --> 1:20:21.800
<v Speaker 2>the guy I need to bring the details of the

1:20:21.840 --> 1:20:22.240
<v Speaker 2>case too.

1:20:22.640 --> 1:20:27.240
<v Speaker 3>Instinct can recognize instinct. Yes, so the alien explains, I

1:20:27.320 --> 1:20:30.679
<v Speaker 3>am a law enforcement officer from space. The other alien

1:20:30.880 --> 1:20:34.320
<v Speaker 3>is a drug pusher from space, and he explains if

1:20:34.360 --> 1:20:37.679
<v Speaker 3>he escapes, he will bring more like him to Earth

1:20:37.760 --> 1:20:40.400
<v Speaker 3>because they'll realize this is a good place to harvest

1:20:40.520 --> 1:20:44.759
<v Speaker 3>endorphins and they will kill millions to steal their brain juice.

1:20:45.240 --> 1:20:47.360
<v Speaker 3>Oh and then Smith is in the car with him

1:20:47.360 --> 1:20:49.519
<v Speaker 3>at this point. So Smith witnesses all of this. He

1:20:49.600 --> 1:20:52.120
<v Speaker 3>knows about the alien at this point, and then the

1:20:52.160 --> 1:20:55.720
<v Speaker 3>alien self destructs. They're like, we've got his body to

1:20:55.760 --> 1:20:57.760
<v Speaker 3>show people, so they'll have to believe us. And then

1:20:57.800 --> 1:21:00.200
<v Speaker 3>like light starts coming out of his mouth and his

1:21:00.280 --> 1:21:01.600
<v Speaker 3>eyes and he explodes.

1:21:02.040 --> 1:21:04.320
<v Speaker 2>He does like a mini quickening and then explodes.

1:21:04.400 --> 1:21:08.200
<v Speaker 3>Yeah, but he leaves behind his alien gun as evidence.

1:21:08.800 --> 1:21:12.200
<v Speaker 3>Smith insists on turning in this piece of evidence, and

1:21:12.280 --> 1:21:15.000
<v Speaker 3>he he holds Jack at gunpoint to be like, you're

1:21:15.000 --> 1:21:17.160
<v Speaker 3>not taking this one. I'm taking this to the boss.

1:21:17.600 --> 1:21:19.960
<v Speaker 3>You know, this is we got to go by the book.

1:21:20.560 --> 1:21:23.360
<v Speaker 3>But there's a double cross. He takes the gun to Switzer,

1:21:23.800 --> 1:21:27.320
<v Speaker 3>and Switzer instead of you know, using it to expose

1:21:27.360 --> 1:21:29.680
<v Speaker 3>the whole plot, he like hides the gun in a

1:21:29.760 --> 1:21:32.439
<v Speaker 3>bag and he's like, Okay, this will be of great

1:21:32.560 --> 1:21:35.160
<v Speaker 3>use to the US military for our you know, for

1:21:35.200 --> 1:21:38.280
<v Speaker 3>our global domination. Now we're going to have to kill

1:21:38.400 --> 1:21:41.200
<v Speaker 3>Jack Cain. And then he does another double cross and

1:21:41.280 --> 1:21:44.400
<v Speaker 3>he's about to kill Smith, I guess to eliminate witnesses

1:21:44.439 --> 1:21:47.599
<v Speaker 3>once again, but Jack Caine shows back up and saves

1:21:47.720 --> 1:21:51.599
<v Speaker 3>Smith's life by shooting Switzer. After this, Smith just fully

1:21:51.640 --> 1:21:55.479
<v Speaker 3>converts to Harley Stone. You know, he's like, I'm kind

1:21:55.479 --> 1:21:58.280
<v Speaker 3>of used to following procedure, but now I think we

1:21:58.320 --> 1:22:01.120
<v Speaker 3>should just and he holds up the alien gun and

1:22:01.120 --> 1:22:02.920
<v Speaker 3>he's like, kick some ass.

1:22:04.640 --> 1:22:07.520
<v Speaker 2>And so it's definitely going to be just all explosions

1:22:07.520 --> 1:22:10.439
<v Speaker 2>in action from here on out, and that's ultimately what

1:22:10.479 --> 1:22:11.760
<v Speaker 2>this film does best.

1:22:11.760 --> 1:22:13.640
<v Speaker 3>Right, So there's a bunch of the rest of the

1:22:13.640 --> 1:22:15.679
<v Speaker 3>movie is really just fight scenes. There's like a fight

1:22:15.720 --> 1:22:18.759
<v Speaker 3>scene where they go and try to confront the alien

1:22:18.800 --> 1:22:21.960
<v Speaker 3>and shoot him with the alien gun, but it gets away.

1:22:22.920 --> 1:22:25.600
<v Speaker 3>They're injured in the process. They have to retreat the

1:22:25.880 --> 1:22:29.400
<v Speaker 3>two cops. Finally, they eventually meet up with Diane. She's like, hey,

1:22:29.439 --> 1:22:31.320
<v Speaker 3>I quit my job, ready to go on vacation, and

1:22:31.320 --> 1:22:33.759
<v Speaker 3>they're like, no, we have to kill an alien drug dealer.

1:22:34.479 --> 1:22:38.120
<v Speaker 3>So then all three of them are again can they

1:22:38.240 --> 1:22:43.360
<v Speaker 3>confront the alien? There is a final showdown inside an

1:22:43.439 --> 1:22:47.640
<v Speaker 3>abandoned factory, of course, where Dolph ends up taunting the

1:22:47.680 --> 1:22:51.320
<v Speaker 3>alien drug dealer by like smashing the endorphin vials. He's like, oh,

1:22:51.320 --> 1:22:54.400
<v Speaker 3>you're precious, Barsie, I've got it now, and he's smashing

1:22:54.439 --> 1:22:58.519
<v Speaker 3>it on the floor and there's a big. You think

1:22:58.560 --> 1:23:01.080
<v Speaker 3>at the end that the aliens going to defeat Dolf

1:23:01.200 --> 1:23:04.640
<v Speaker 3>by like piercing him with the drug snake. But in

1:23:04.680 --> 1:23:09.440
<v Speaker 3>the end, Dolf is able to out you know, outdrawn

1:23:09.560 --> 1:23:12.800
<v Speaker 3>the alien and twist the drug snake back on him,

1:23:13.400 --> 1:23:16.639
<v Speaker 3>and then he injects him. He like kicks him into

1:23:16.680 --> 1:23:19.439
<v Speaker 3>a pipe where the pipe stabs through him, much like

1:23:19.800 --> 1:23:21.519
<v Speaker 3>the defeat of the villain at the end of the

1:23:21.520 --> 1:23:24.120
<v Speaker 3>movie Commando with Arnold Schwarzenegger by the way, where the

1:23:24.200 --> 1:23:28.360
<v Speaker 3>villains he gets shoved into a pipe. And then in

1:23:28.439 --> 1:23:31.240
<v Speaker 3>the end, the alien just says once again, I come

1:23:31.320 --> 1:23:37.120
<v Speaker 3>in peace, and Dolph Lindergren says, you go in pieces.

1:23:37.240 --> 1:23:39.840
<v Speaker 2>It's a great exchange. It's a great exchange. I think

1:23:39.880 --> 1:23:42.519
<v Speaker 2>they give it away in the trailer, but it's great

1:23:42.520 --> 1:23:44.920
<v Speaker 2>when you finally reach it organically at the end of

1:23:44.920 --> 1:23:45.519
<v Speaker 2>this journey.

1:23:46.479 --> 1:23:48.679
<v Speaker 3>And then at the end of the movie, the three

1:23:48.760 --> 1:23:50.360
<v Speaker 3>friends are like, hey, we did it.

1:23:51.080 --> 1:23:53.360
<v Speaker 2>Yeah, yeah, And I think they're all going to go

1:23:53.400 --> 1:23:56.759
<v Speaker 2>on vacation together. They're talking about this vacation, but Smith's

1:23:56.760 --> 1:23:59.920
<v Speaker 2>there too, and so yeah, I'm assuming that they just

1:24:00.040 --> 1:24:01.920
<v Speaker 2>all go on vacation together. And I'm fine with it.

1:24:01.920 --> 1:24:04.320
<v Speaker 3>I think it's great, they're three way buried now and

1:24:04.360 --> 1:24:06.639
<v Speaker 3>they're going to go to Rio and get revenge on

1:24:07.080 --> 1:24:08.439
<v Speaker 3>Victor what's his name?

1:24:08.960 --> 1:24:11.240
<v Speaker 2>Yeah. I love how this film sets up a future

1:24:11.280 --> 1:24:14.320
<v Speaker 2>adventure that does not involve all of the cool stuff

1:24:14.600 --> 1:24:18.200
<v Speaker 2>that made this film watchable. You know, they're like up next,

1:24:18.560 --> 1:24:21.400
<v Speaker 2>just drug dealers. All right, Well, at this point, I

1:24:21.439 --> 1:24:24.040
<v Speaker 2>do want to come back to a question we raised earlier.

1:24:24.439 --> 1:24:29.240
<v Speaker 2>Is Tallic the drug pushing alien Santa Claus? So that's

1:24:29.280 --> 1:24:31.639
<v Speaker 2>credibly good question. Yeah, and you may have a gut

1:24:31.680 --> 1:24:34.080
<v Speaker 2>answer for this. Your instincts may tell you one way

1:24:34.120 --> 1:24:36.000
<v Speaker 2>or another, but I thought we might apply a little

1:24:36.040 --> 1:24:38.800
<v Speaker 2>logic here. So first of all, kind of in the

1:24:38.840 --> 1:24:44.040
<v Speaker 2>pro category, Tallic has white hair. Like Santa he is

1:24:44.080 --> 1:24:47.640
<v Speaker 2>coming to town. We already established that, yes, he is

1:24:47.720 --> 1:24:52.240
<v Speaker 2>giving people something that evidence suggests they like. Okay, yeah, yeah,

1:24:52.280 --> 1:24:54.840
<v Speaker 2>I mean biometrically, you can't argue with that. I guess

1:24:55.400 --> 1:25:00.320
<v Speaker 2>he arrives from on high. Okay, Like Santa c in

1:25:00.360 --> 1:25:02.360
<v Speaker 2>a number of movies, he has to contend with a

1:25:02.400 --> 1:25:05.200
<v Speaker 2>supernatural adversary that is trying to stop him.

1:25:05.479 --> 1:25:07.519
<v Speaker 3>Oh, this would make the alien good cop kind of

1:25:07.560 --> 1:25:10.240
<v Speaker 3>the pitch of this film.

1:25:10.640 --> 1:25:14.240
<v Speaker 2>Yeah, yeah, he makes use of various special tools, much

1:25:14.360 --> 1:25:16.839
<v Speaker 2>like like the Santa Claus in that film.

1:25:17.200 --> 1:25:18.280
<v Speaker 3>Uh huh.

1:25:18.400 --> 1:25:21.799
<v Speaker 2>He prefers to operate in the shadows. Obviously, his blood

1:25:21.920 --> 1:25:26.200
<v Speaker 2>may or may not be eggnog, which you know is

1:25:26.280 --> 1:25:29.120
<v Speaker 2>very Christmas y. He I also have to add he

1:25:29.160 --> 1:25:32.080
<v Speaker 2>may use a sleigh in reindeer. We never see what

1:25:32.280 --> 1:25:34.479
<v Speaker 2>made the crater. We don't know. If Talk and the

1:25:34.520 --> 1:25:37.680
<v Speaker 2>other alien just fell from the sky, we don't know.

1:25:38.320 --> 1:25:40.760
<v Speaker 2>You know, if they were encapsuled in anything, If there's

1:25:40.800 --> 1:25:44.200
<v Speaker 2>a spaceship, but disposable spaceship they travel in, it's just

1:25:44.280 --> 1:25:47.160
<v Speaker 2>left of the imagination, and you may use your imagination

1:25:47.600 --> 1:25:50.480
<v Speaker 2>to insert a sleigh with reindeer.

1:25:50.600 --> 1:25:53.800
<v Speaker 3>Therefore, he did use a sleigh in reindeer, disprove or

1:25:53.800 --> 1:25:55.200
<v Speaker 3>accept exactly.

1:25:56.120 --> 1:26:01.240
<v Speaker 2>However, he has no beard. That's just undeniging. Talk has

1:26:01.280 --> 1:26:06.080
<v Speaker 2>no beard, therefore maybe he's not Santa. Also, he does

1:26:06.080 --> 1:26:09.320
<v Speaker 2>not reward and punish with his gift giving. Instead, it's

1:26:09.360 --> 1:26:12.760
<v Speaker 2>heroin and brain drains for everybody, unless he blows you

1:26:12.840 --> 1:26:16.519
<v Speaker 2>up with his space gun instead. And then finally, there

1:26:16.560 --> 1:26:20.200
<v Speaker 2>are no rules of correspondence with talent clause like nobody's

1:26:20.240 --> 1:26:23.200
<v Speaker 2>writing to tallic and saying, hey, I've been a good

1:26:23.240 --> 1:26:25.120
<v Speaker 2>boy this year. I would really like a whole lot

1:26:25.120 --> 1:26:28.360
<v Speaker 2>of heroin shot into my neck with a space snake. Now,

1:26:28.840 --> 1:26:31.120
<v Speaker 2>you don't communicate with him, he just comes regardless.

1:26:31.439 --> 1:26:33.519
<v Speaker 3>I would also say that no one leaves out milk

1:26:33.520 --> 1:26:35.920
<v Speaker 3>and cookies for Tallic No.

1:26:35.920 --> 1:26:37.920
<v Speaker 2>No, I mean he doesn't want milkin cookies. He wants

1:26:37.920 --> 1:26:41.360
<v Speaker 2>that sweet brain juice, so he knows where to get it.

1:26:41.520 --> 1:26:42.760
<v Speaker 2>You don't need to leave it out for him.

1:26:43.320 --> 1:26:46.600
<v Speaker 3>Does he know who's been naughty and who's been nice? Unclear?

1:26:46.960 --> 1:26:51.479
<v Speaker 2>Unclear? Yeah, I might push that into the con category

1:26:51.520 --> 1:26:54.759
<v Speaker 2>as well. But hey, maybe you listeners have some thoughts

1:26:54.800 --> 1:26:57.240
<v Speaker 2>on this. We'd love to hear from you. Also, just

1:26:57.280 --> 1:27:00.479
<v Speaker 2>in general, on the topic of Christmas action films, are

1:27:00.520 --> 1:27:02.560
<v Speaker 2>there some other key examples that we didn't mention? Do

1:27:02.560 --> 1:27:05.799
<v Speaker 2>you have some favorites? I don't know. I'll even entertain

1:27:05.840 --> 1:27:10.280
<v Speaker 2>the old sort of false or sort of sort of

1:27:10.320 --> 1:27:14.240
<v Speaker 2>trumped up argument of is Diehard a Christmas movie or not?

1:27:15.439 --> 1:27:17.320
<v Speaker 2>I mean, it's a Christmas movie if you want it

1:27:17.360 --> 1:27:18.080
<v Speaker 2>to be. Why not?

1:27:18.680 --> 1:27:20.599
<v Speaker 3>Okay? I think that is all I can do on

1:27:20.640 --> 1:27:21.799
<v Speaker 3>the icome In piece.

1:27:22.200 --> 1:27:24.000
<v Speaker 2>Yeah, yeah, right in. We'd love to hear from anyone

1:27:24.000 --> 1:27:27.120
<v Speaker 2>else has thoughts on this film. In the meantime, we'll

1:27:27.160 --> 1:27:28.920
<v Speaker 2>go ahead and remind you that Stuff to Blow Your

1:27:28.920 --> 1:27:32.240
<v Speaker 2>Mind is primarily a science podcast, you know, that employs

1:27:32.320 --> 1:27:35.840
<v Speaker 2>reason and logic, But on on Fridays we set aside

1:27:35.840 --> 1:27:37.200
<v Speaker 2>all of that. We just go with our gut and

1:27:37.240 --> 1:27:39.919
<v Speaker 2>we talk about a weird movie here on Weird House Cinema.

1:27:40.320 --> 1:27:42.080
<v Speaker 2>If you want to see a complete list of all

1:27:42.120 --> 1:27:44.599
<v Speaker 2>the movies we've covered thus far on the show, head

1:27:44.600 --> 1:27:46.720
<v Speaker 2>on over to letterbox dot com. It's l E T

1:27:46.720 --> 1:27:49.120
<v Speaker 2>T E R B O x D dot com. Our

1:27:49.240 --> 1:27:51.240
<v Speaker 2>user name there is weird House and you'll find a

1:27:51.280 --> 1:27:54.200
<v Speaker 2>list there of everything we've covered. Follow us on social

1:27:54.280 --> 1:27:56.880
<v Speaker 2>media if you If you're on there on Instagram, we

1:27:56.920 --> 1:28:00.919
<v Speaker 2>are st b ym podcast. That is our hand on Instagram.

1:28:01.360 --> 1:28:04.960
<v Speaker 3>Huge thanks as always to our excellent audio producer JJ Posway.

1:28:05.360 --> 1:28:07.000
<v Speaker 3>If you would like to get in touch with us

1:28:07.000 --> 1:28:09.559
<v Speaker 3>with feedback on this episode or any other, to suggest

1:28:09.560 --> 1:28:11.679
<v Speaker 3>your topic for the future, or just to say hello,

1:28:11.760 --> 1:28:14.679
<v Speaker 3>you can email us at contact at stuff to Blow

1:28:14.760 --> 1:28:22.920
<v Speaker 3>your Mind dot com.

1:28:23.000 --> 1:28:25.960
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1:28:26.040 --> 1:28:28.840
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