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Speaker 1: Welcome to Stuff to Blow Your Mind production of My

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Speaker 1: Heart Radio. Hey, welcome to Weird House Cinema. This is

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Speaker 1: Rob Lamb. Joe is on parental leave, so I have

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Speaker 1: a special guest co host for this episode. It is

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Speaker 1: David Streepy, who co hosts the podcast Talking Tofu. Hey, yeah,

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Speaker 1: thank you, Congratulations to Joe. I'm a long time stuffy

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Speaker 1: And uh is that what you call your fans? Do

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Speaker 1: de your fans have a I don't think they have

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Speaker 1: a name that stuff mind these mind these mind these

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Speaker 1: weird houses. Maybe maybe yeah, I don't know that they

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Speaker 1: really call themselves anything. Do do fans of your podcasts

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Speaker 1: call themselves something? We call them toeheads, but I don't

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Speaker 1: I don't know anybody who has self identified as a

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Speaker 1: or you know, we we have fans, but I don't

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Speaker 1: know that anybody's waving the toehead flag really loudly and

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Speaker 1: proudly yet. But we're trying to get it in there.

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Speaker 1: What's your quick uh you know, elevator pitch description of

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Speaker 1: talking Tofu? Oh, well, so my wife and I are

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Speaker 1: a couple of goblins when it comes to snacking. We're

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Speaker 1: both vegans. We couldn't really find a fun podcast about

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Speaker 1: vegan snacking, so we decided to make one ourselves. It's

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Speaker 1: i'd say, snacking and whatever else is going on in

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Speaker 1: our lives. Uh. We just finished a recording. We went

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Speaker 1: to Universal Studios, Florida try out the vegan food there.

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Speaker 1: It was mostly about the rides that we rode and

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Speaker 1: the things that we encountered while we were there, a

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Speaker 1: little bit about the food, but just having fun with

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Speaker 1: our family. Uh. And and most episodes are kind of

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Speaker 1: followed that that trend. It's a very funny podcast though,

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Speaker 1: Thank you. There's a lot of laughter. Ah, you're too nice.

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Speaker 1: Thank you. And you guys have done some movie episodes

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Speaker 1: before as well. Uh talked about what are some of

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Speaker 1: the movies you guys have chatted about. Let's see, we've

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Speaker 1: done Scream three. I think we've done Scream too and

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Speaker 1: Scream three, and because this is spooky season, you may

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Speaker 1: expect Scream four to happen. We usually pair that with

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Speaker 1: some vegan candy that will we'll go through and snack

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Speaker 1: on while we recount the plot. We also do We've

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Speaker 1: done When Harry Met Sally, which I had never seen before,

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Speaker 1: which it's an amazing movie. Rob. I don't know if

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Speaker 1: you've seen it, this is the one with the big

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Speaker 1: Foot in it. The sasquatch. Now that's Harry and Henderson's

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Speaker 1: common misconception, very common misconception. That's the one I've seen.

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Speaker 1: Not this one. You gotta see when Harry met Sally.

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Speaker 1: We should have done when Harry met Sally for Spooky Season.

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Speaker 1: Fantastic movie, though, you gotta, you gotta check it out.

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Speaker 1: I know the rest of the world was already there.

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Speaker 1: I was kind of late to the party. But it

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Speaker 1: really holds up. So yeah, we'll do that. Uh, we've

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Speaker 1: watched singles, the Cameron Crow movie from that's the grunge

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Speaker 1: scene and Seattle. It's probably not a very accurate representation

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Speaker 1: of the grunge scene in Seattle in nWo, but had

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Speaker 1: a lot of fun with that one. So yeah, it's

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Speaker 1: kind of all over the place. Things that one or

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Speaker 1: the other of us have held deer in our hearts

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Speaker 1: that the other one hasn't seen. Um. I think most

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Speaker 1: recently we did Hackers from Johnny Lee Miller, Angelina Jolie.

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Speaker 1: Fantastic movie. I mean, there's the there's a good movie,

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Speaker 1: there's a great movie. There's a fantastic movie. None of

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Speaker 1: these are objective terms, really, but for me just really

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Speaker 1: just hits me right right in the core. But hackers

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Speaker 1: accurate when it comes to the the hacking lifestyle of

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Speaker 1: the time period. Accurate. All computers on the inside look

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Speaker 1: like city escapes drawn in green lines that you have

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Speaker 1: to navigate through and find the right door to put

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Speaker 1: the right icon into. Yes, now, speaking of being late

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Speaker 1: to the party on films, the film we're gonna be

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Speaker 1: talking about here today is The Gate. This is a

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Speaker 1: film that I think we're both in the same boat

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Speaker 1: on this one, right. We we both have memories of

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Speaker 1: like at least some of the promotional materials for this film,

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Speaker 1: but neither of us had seen it until now. That's right.

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Speaker 1: I was really familiar with this one as a kid.

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Speaker 1: I was pretty shy about scary movies as a kid,

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Speaker 1: and particularly I remember getting specifically burned with Poltergeist because

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Speaker 1: polter Geist I did see as a child, as an

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Speaker 1: eight year old, It had a child in it, so

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Speaker 1: I thought that it was okay for children, and that

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Speaker 1: film is very not okay for children. Um, very not

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Speaker 1: okay for children, not at all. I I too saw

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Speaker 1: poulter Geist at at a very young age. It was

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Speaker 1: one of these where I think my aunt had taped

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Speaker 1: a bunch of movies off of HBO, and I don't know,

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Speaker 1: I don't even know how this ended up happening, but

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Speaker 1: I ended up watching at least parts of Poulter Geist,

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Speaker 1: and it just really scared the heck out of me.

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Speaker 1: I just I would even just hearing. It was one

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Speaker 1: of these things where whatever the movie was that was

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Speaker 1: taped there, like three movies taped per vhs, and whatever

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Speaker 1: was taped directly ahead of Poulter Guys was a family

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Speaker 1: film of some time, and so you had to like

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Speaker 1: to be super on your guard to stop the tape

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Speaker 1: before the Poulter Guy's intro started playing, because that alone

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Speaker 1: would create me out. I think Poulter Guist was one

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Speaker 1: that really stuck out to me, not just as incorrect

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Speaker 1: read that child means safe for children, but it was

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Speaker 1: gross horror, it was, and and that was the first

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Speaker 1: exposure that I had really had to gross out stuff

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Speaker 1: being in a film. So I thought that horror movies

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Speaker 1: were ghosts jumping out at you. I was a child.

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Speaker 1: I had no idea. I thought that it was just

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Speaker 1: you know, haunted house things that that would scare you,

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Speaker 1: but the grossness of it fascinated and terrified me. It

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Speaker 1: was not I was not brave enough to overcome my

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Speaker 1: terror to and old the fascination of it. And still

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Speaker 1: it's one of those ones that to this day I

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Speaker 1: can't really go back to, just because of how badly

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Speaker 1: it scarred me as a child. But I guess my

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Speaker 1: point being that around that time I was seeing the

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Speaker 1: marketing for The Gate, I was seeing the marketing for House,

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Speaker 1: which was another movie. I lump all of those together

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Speaker 1: and kind of that not for me as a child,

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Speaker 1: uh not for me kind of category. The trailer and

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Speaker 1: the VHS art really stuck out to me and kind

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Speaker 1: of reinforced the not for me nous of it. I

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Speaker 1: think the and and um specifically the the poster art,

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Speaker 1: the VHS cover art. It's very sinister, very dark. Does

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Speaker 1: not seem like it's it's going to be for children.

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Speaker 1: And I don't want to jump too far ahead. I

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Speaker 1: don't know that this movie is for children, but it's

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Speaker 1: definitely kid friendly, I think more than I was expecting.

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Speaker 1: I'm sorry it's support The Gate is surprisingly kid friendly.

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Speaker 1: And and yeah, that that comparison to polter Geist. I

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Speaker 1: think is very apted. It feels in many ways like

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Speaker 1: Polter Guys for kids. Like one of the things that

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Speaker 1: I still find terrifying and terrifying and super weird about

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Speaker 1: Poulter Guys, even looking back on it and having rewatched

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Speaker 1: it as an adult, is that it seems like a

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Speaker 1: movie where not just typical haunted house stuff happens, but

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Speaker 1: like you, but you don't know what will happen. There

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Speaker 1: seems to be no rules regarding what's going to jump

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Speaker 1: out at you. Um, one second, it's somebody thinks their

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Speaker 1: faces meat. Then then pizza is crawling around, and then

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Speaker 1: some sort of extra dimensional dragon is climbing out of

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Speaker 1: the wall or something. It's just whatever the effects team

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Speaker 1: can think of is gonna come at you. And there's

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Speaker 1: a similar vibe in The Gate. But at the same time,

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Speaker 1: the kids in the Gate uh feel like like real

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Speaker 1: central characters with with actual identities and relationships to each other,

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Speaker 1: and the film doesn't have a mean of active in

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Speaker 1: its relationship to those children, or presumably to the children

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Speaker 1: that maybe watching the film. That's that's a good point,

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Speaker 1: And I think a big difference for me would probably

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Speaker 1: be the and Polt You Guys they they wanted you

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Speaker 1: to either leave the house or they'd kill you. And

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Speaker 1: the Gate, I'm not really sure what the Gate want

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Speaker 1: or what the what the demons in the Gate want.

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Speaker 1: They don't They only seem to want to get out

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Speaker 1: of the Gate, and I guess I guess that's it.

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Speaker 1: I guess they don't care who's in their path or

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Speaker 1: what happens to the people in their path. But then

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Speaker 1: they spend a lot of time with the people who

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Speaker 1: are in their path, and and that kind of confuses

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Speaker 1: me a little bit about it too. We'll discuss when

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Speaker 1: we get into the plot. They do seem to have

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Speaker 1: a couple of things they need to check off the

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Speaker 1: Box and then maybe one big objective, but kind of

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Speaker 1: a roundabout way to get there. Yeah, it doesn't seem

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Speaker 1: like there's a solid plan that they can refer to.

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Speaker 1: It's it's a lot of instinct. Yeah. I never saw

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Speaker 1: this film as a kid. I remember seeing The Box sorry,

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Speaker 1: weirdly enough, at some point I remember I watched the sequel,

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Speaker 1: The Gate two on TV at some point in the nineties,

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Speaker 1: I'm sure. And the main thing that sticks out to me,

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Speaker 1: and that is that it features a lot of demonic

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Speaker 1: wish granting, in which the thing that you wished for

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Speaker 1: literally literally turns to poop, like the next day. So

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Speaker 1: there's like a scene where the night before some awful

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Speaker 1: teenager wish for a sports car and you know he's

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Speaker 1: torn around all over the place in the sports car

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Speaker 1: during the night. The next day there's just like an

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Speaker 1: elephant's worth of poop in front of the house. And

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Speaker 1: this happens multiple times. Well, I think, so, yeah, anything

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Speaker 1: you wish for it turns to poop. What So I

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Speaker 1: don't want to get too hung up on this, but

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Speaker 1: is this the same big demon from the Gate one?

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Speaker 1: I don't remember. The only thing I remember vaguely is

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Speaker 1: the older Terry character and played by the same actor,

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Speaker 1: like he's back in the sequel. Some of the creative

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Speaker 1: team and the director of the same But the only

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Speaker 1: thing I remember is demonic we should turned to poop

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Speaker 1: the next morning. And you know, at the time, it

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Speaker 1: was like, all right, well, that makes sense that that's

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Speaker 1: the that's a that's a bull's eye of a premise.

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Speaker 1: And I love the idea that this demon tried his

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Speaker 1: best to get out of that gate legitimately in this

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Speaker 1: episode or in this movie. But then in his retirement

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Speaker 1: he just kind of became a trickster wish fulfillment, and

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Speaker 1: and that was how he went out. You know, yeah,

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Speaker 1: I don't remember. I can't really speak to the quality

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Speaker 1: of Gate two, but I do admire that they went

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Speaker 1: in a slightly different direction on it. They didn't just

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Speaker 1: do the Gate again. But at any rate, Uh, the

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Speaker 1: Gate too is a discussion for another time. We're here

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Speaker 1: to talk about the Gate. So you mentioned that trailer.

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Speaker 1: Let's go ahead and listen to that trailer audio right here. Great,

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Speaker 1: there is a passage way to the most evil place.

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Speaker 1: You can imagine a gate behind which the demons winked

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Speaker 1: dig back what was one's things, And now someone has

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Speaker 1: opened the gate as weird tearing sound, decomposed corns her

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Speaker 1: dead father, who knows, tearing out by the hands and

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Speaker 1: halling the fleece. You got demons. I mean, you guys

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Speaker 1: are serious about that demon stuff. Demons were kind, you've

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Speaker 1: been bad. They have great it's not truly alright, great trailer,

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Speaker 1: probably not loyal to the actual tone of the film,

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Speaker 1: but we have excellent narration by the great Percy Rodriguez,

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Speaker 1: who lived through two thousand and seven. He was also

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Speaker 1: an accomplished actor, but he did a ton of voiceovers

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Speaker 1: for film trailers in the seventies and eighties, and his

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Speaker 1: voice alone is to make is enough to make you think, well,

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Speaker 1: this is not for children. Listen to this very scary

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Speaker 1: adult talk about the gate on this. This reinforces the hey,

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Speaker 1: this is not for me. It also really showcases some

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Speaker 1: of the movie's biggest moments and gives you some of

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Speaker 1: the biggest effects. It holds a few things back, but

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Speaker 1: the overall tones very sinister. It's very dark. It seems

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Speaker 1: paced as almost kind of a torturous movie like the

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Speaker 1: It really showed as is the peril that the kids

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Speaker 1: are all in and kind of their reaction to that peril. So, yeah,

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Speaker 1: if I had the GBS hearing about this movie, this

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Speaker 1: trailer definitely would have scared me away for good. Yeah,

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Speaker 1: it's a lot of screaming kids, but you don't really

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Speaker 1: see all the scenes of kids being strong in it,

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Speaker 1: and there there are a lot of scenes where the

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Speaker 1: kids are brave and and admirable in the film. But yeah,

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Speaker 1: also it does spoil a lot of the big effects

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Speaker 1: in the movie, So don't watch the trailer if you

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Speaker 1: are looking to go into this one kind of fresh.

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Speaker 1: I think the uh I was blessed with distance between

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Speaker 1: the last time I had seen the trailer for this

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Speaker 1: movie and actually watching the movie, because I came into

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Speaker 1: it pretty cold and then rewatched the trailer after the fact,

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Speaker 1: and I was really glad I did, because I was

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Speaker 1: very surprised by how competent this movie is and by

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Speaker 1: how much I enjoyed everything that happened in it, even

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Speaker 1: though it wasn't what I was expecting it to be. Yeah,

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Speaker 1: all right, before we get into the connections the people

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Speaker 1: involved in this movie, Uh, where can you watch it? Well?

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Speaker 1: The gate is it was a fairly big release. It's

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Speaker 1: widely available for digital purchase and rental everywhere. I streamed

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Speaker 1: it as part of AMC Plus, but I think it's

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Speaker 1: also available on some free streaming sites. And there's also

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Speaker 1: a pretty stacked Blu ray edition that came out in

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Speaker 1: seventeen and that's loaded with extras. It's amazing to me that, uh,

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Speaker 1: such a lovingly curated blue ray would exist of this movie.

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Speaker 1: It amazes me that there's a sequel to it and

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Speaker 1: it you know, it strikes me as a largely forgotten

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Speaker 1: film and that's clearly not the case. That's my misery

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Speaker 1: to the of how of what his legacy is. All right,

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Speaker 1: let's start at the top. The director is Taibor Talkatch

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Speaker 1: born nineteen fifty four, Hungarian born director who kicked off

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Speaker 1: his career with the eight Canadian dystopian rock opera Metal

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Speaker 1: messiah Um. After this film, he did nins I, Madman,

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Speaker 1: and The Gate Too. He directed four different episodes of

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Speaker 1: the nineteen nineties Outer Limits series Dave WHOA. I don't

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Speaker 1: know if we've actually any of these. They include If

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Speaker 1: These Walls Could Talk, The Voyage Home, White Light Forever,

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Speaker 1: and Blood Brothers. The Voyage Homes sounds familiar, but that's

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Speaker 1: also Star Trek movie, so I might just be thinking

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Speaker 1: of that. His subsequent credits include a mix of TV

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Speaker 1: episodes and eventually some sci fi original programming. Uh you

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Speaker 1: know that Caliber film, including two thousand five Man Squito, which,

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Speaker 1: at the time when it first came out, I think

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Speaker 1: looked pretty bad, but we had no idea about how

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Speaker 1: bad direct to sci fi channel movies would get. And

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Speaker 1: you know I I today, I am committing to come

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Speaker 1: back for your your Man Squito episode. I'm not brave

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Speaker 1: enough yet I'm gonna get my courage up, all right.

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Speaker 1: So that's the director. The writer is Michael Nankin born.

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Speaker 1: Accomplished TV director, writer, and producer. He wrote seven Ruskies

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Speaker 1: and episodes of TV shows such as Life goes On,

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Speaker 1: Chica Hope, the nineties Flippers Show. As a director, he's

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Speaker 1: done a ton of TV work, including episodes of Life

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Speaker 1: Goes On, the Battlestar Galactica reboot, and one episode of

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Speaker 1: The Good Lord Bird. And I think he also wrote

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Speaker 1: I Madman as well. Huh. You know, it doesn't surprise

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Speaker 1: me that he's predominantly a TV writer because I got

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Speaker 1: a very TV vibe from the snappiness of the dialogue

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Speaker 1: in this movie, especially the way that the children talked

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Speaker 1: to each other. I thought was very authentic first of all,

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Speaker 1: but also really snappy. Yeah. I don't clearly remember specific

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Speaker 1: episodes of Life Goes On, but I think I watched

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Speaker 1: some of it, and it was just that was a

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Speaker 1: time during which I watched a lot of TV, so

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Speaker 1: even if I didn't watch the show directly, I was

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Speaker 1: very aware of it. And uh yeah, there was like

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Speaker 1: there's a wholesomeness to that show that makes sense once

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Speaker 1: you've watched The Gate all the way through. Otherwise you

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Speaker 1: might think life goes on in the Gate. What could

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Speaker 1: they possibly have in common? Well, you know, there's you

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Speaker 1: get down to some of the character work. I think

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Speaker 1: it makes sense. I think there's there's definitely a thread

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Speaker 1: in the amount of care and respect given to a

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Speaker 1: family dynamic, and especially the way that kids interact with

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Speaker 1: each other, which is really difficult I think for an

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Speaker 1: adult to write, Well, let's get into the kids. In fact,

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Speaker 1: I don't have any data in here on the adult

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Speaker 1: actors in the film. Uh, they all have just brief

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Speaker 1: roles for the most part, mom and dad and dad

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Speaker 1: and any any adult supervision is completely absent from the

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Speaker 1: entire film, which was an interesting choice. Yeah. I think

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Speaker 1: that the parents occupy maybe forty five seconds of screen time,

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Speaker 1: and most of that time they are either punishing the

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Speaker 1: children or bad mouthing the Glenn's friend to Glenn, which

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Speaker 1: is just just bad behavior. Yeah, alright, well Glenn. Yeah,

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Speaker 1: Glenn is our central character, our main kid in this,

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Speaker 1: and interestingly enough is played by Stephen Dorff. Yeah. This

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Speaker 1: is the film debut of Stephen Dorff for nine. I

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Speaker 1: think he's like twelve in this though he looks he

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Speaker 1: looks even younger you by I am as even younger.

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Speaker 1: I think a lot of it has to do with

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Speaker 1: the fact he has a very you know, he has

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Speaker 1: a little bit of baby fat in his face, still

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Speaker 1: has a you know, very childlike quality to his face. Definitely,

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Speaker 1: twelve is a shock to me. I would have said eight,

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Speaker 1: seven or eight. Now when we say the name Stephen Dorff.

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Speaker 1: Most people out there probably familiar with him from such

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Speaker 1: works as Uh His Blade. Of course, he plays the

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Speaker 1: villainous Deacon Frost opposite Wesley Snipes in that film. He

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Speaker 1: was in UH Stewart Gordon Space Truckers in nineties six.

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Speaker 1: He did some bigger also some bigger roles in the

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Speaker 1: early nineties, including the Power of One and Post Blade.

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Speaker 1: He was in such films as John Waters Cecil Be

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Speaker 1: Damned in two thousand is in a what I remember

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Speaker 1: is being a terrible horror movie from two thousand and

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Speaker 1: two Fear dot Com. I've never seen any of these movies.

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Speaker 1: Having not seen Blade is one of my secret shames,

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Speaker 1: so I'm glad to reveal it here for your listeners.

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Speaker 1: I do need to correct, especially before you know the

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Speaker 1: rebooted Blade comes out. Um, So, yeah, the The Gate

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Speaker 1: is of my exposure to Stephen Dorf and and it's

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Speaker 1: a good one. Now, prior to this, he he did

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Speaker 1: have some rolls um on a few different TV shows,

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Speaker 1: including the new Leave It to Beaver, Different Strokes, and

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Speaker 1: in Love and War. I'm not familiar with that last one,

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Speaker 1: but but yeah, he'd already gotten his feet a little

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Speaker 1: bit wet in the whole child actor realm. And then

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Speaker 1: he's off to the races as the star of the

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Speaker 1: Gate and he does it competently. I can't. He carries

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Speaker 1: so much of this movie. It's it's really hard to

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Speaker 1: overstate how competent of an actor is in this one. Yeah,

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Speaker 1: it's it's shocking, especially that there are times too where

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Speaker 1: you he'll he'll act in a certain way and you

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Speaker 1: can sort of see the grown up um Stephen Dorff

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Speaker 1: through him, especially if you've seen other Stephen Dorf films

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Speaker 1: and you're like, it's it's it's kind of weird. It's

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Speaker 1: like staring through a time tunnel or something. All Right.

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Speaker 1: So that's Glenn, the the the Brother, and then we

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Speaker 1: also have Glenn's sister, al al Is played by Krista Denton.

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Speaker 1: Born nineteen seventy two, and I think she has a

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Speaker 1: great job in this too. She was only active from

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Speaker 1: through nineteen nine. This is probably her most prominent role,

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Speaker 1: but she also had some parts in Nive, the Bad

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Speaker 1: Seed nine eight six is eight Million Ways to Die

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Speaker 1: and some episodes of Silver Spoons Growing Pains, and the

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Speaker 1: new Leave It to Beaver. Now. What I lack in

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Speaker 1: Blade knowledge I make up for in the new Leave

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Speaker 1: It to Beaver knowledge. I was pretty fond of this

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Speaker 1: series as a child. It was on some syndication for

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Speaker 1: it couldn't have been more than a summer or a

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Speaker 1: summer at a fall. But when it was there, I

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Speaker 1: was fascinated with the idea of reboots. I had obviously

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Speaker 1: seen Leave It to Beaver on Nick at Night and

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Speaker 1: was just fascinated by the fact that they could grow

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Speaker 1: up and continued the series later, a premise that is

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Speaker 1: just worn to shreds at this point with every show

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Speaker 1: under the sun, the question of oh what would they

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Speaker 1: be like now? You know, but back then it was

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Speaker 1: still pretty novel. You know, you had your Return to Mayberry's,

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Speaker 1: you had your new Leave It to Beaver, but this

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Speaker 1: one to to take kind of a sidebar. It started

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Speaker 1: in nine three as a two hour movie made for

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Speaker 1: television called Still the Beaver. That movie, UH featured Ed

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Speaker 1: Bigley Jr. Featured a young Corey Feldman not I don't

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Speaker 1: think this was his first role or anything, but um,

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Speaker 1: some pretty pretty star studded made for TV movie back then.

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Speaker 1: You know they were to some actors from the original

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Speaker 1: Leave It to Beaver, right, I think so. Yes, Jerry

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Speaker 1: Mathers does reply reprise his role as the Beaver, and

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Speaker 1: that's consistent with the series as well. Uh. Ed Baigley

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Speaker 1: Junior Corey Feldman do not hang around for the series.

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Speaker 1: I think the series doesn't happen until a couple of

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Speaker 1: years later, mid to late eighties. So I think they

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Speaker 1: rebooted the reboot kind of in that time, but it's

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Speaker 1: all lumped under one new Leave It to Beaver umbrella.

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Speaker 1: I didn't realize that it went a hundred and two

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Speaker 1: episodes four seasons, because I I remember I remember this existing.

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Speaker 1: I remember having watched reruns of Leave It to Beaver

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Speaker 1: on nickod Night. I remember parents and grandparents attesting to

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Speaker 1: the fact that yes, this is a good show, and

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Speaker 1: then I remember coming to them excited and saying, guess

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Speaker 1: what leave it to? Beaver is back? And maybe it was.

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Speaker 1: It was a little bit shocked that they weren't as

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Speaker 1: excited as I was. I specifically remember an episode where

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Speaker 1: there were a pair of tennis shoes that some child

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Speaker 1: in the show really wanted I guess the Beaver's son

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Speaker 1: or something, and they were called Earth Angels, and they

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Speaker 1: would play that song Earth Angel every time he was

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Speaker 1: lusting after these beautiful sneakers that had little wings on them.

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Speaker 1: That's pretty great. That's pretty great. I think with the

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Speaker 1: show like this, theft is really getting the elements together

402
00:23:02,320 --> 00:23:05,240
Speaker 1: to make it. Once you've got that going, you can

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Speaker 1: probably turn out a hundred and two episodes just as

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Speaker 1: easy as you can do ten. All right, we have

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Speaker 1: one more central child to get to here, and that

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Speaker 1: is Terry. Terry is Glenn's friend. This is Glenn's best friend.

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Speaker 1: Uh we we believe here, played by Louis Tripp, who

408
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Speaker 1: was born three just a really pitch perfect performance as

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Speaker 1: this awkward, nerdy eighties kid who's super into heavy metal

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Speaker 1: and uh and also it's just just ready to research

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Speaker 1: the heck out of a demonic problem once it emerges. Yeah,

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Speaker 1: he's he's such a great casting choice. I think he's

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Speaker 1: this from the parents view, he's this bad influence to Glenn,

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Speaker 1: but he doesn't really look that stereotypical bad influence part.

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Speaker 1: He definitely does kind of nudge Glenn in a more

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Speaker 1: destructive direction and in a kind of rule breaky direction.

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Speaker 1: Glenn probably would have gone there on his own though

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Speaker 1: in a lot of these cases. Um, but he has

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Speaker 1: the the awkwardness of a latch key kid who has

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Speaker 1: yet to process some trauma from his past, which his

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00:24:23,800 --> 00:24:28,440
Speaker 1: mother died before the events of the movie, um, which

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Speaker 1: kind of plays into the plot of it, and his dad.

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Speaker 1: We just we see that he's not around. I don't

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Speaker 1: think that we see him at all. So just a

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Speaker 1: really specific character that he brings a lot to and

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Speaker 1: delivers it really convincingly. Yeah. Yeah, he's he's really in

427
00:24:45,960 --> 00:24:48,640
Speaker 1: a way. I feel like he's the he's right alongside Glenn.

428
00:24:48,680 --> 00:24:51,200
Speaker 1: I mean, it's you can't discount and Glenn as being

429
00:24:51,320 --> 00:24:53,679
Speaker 1: an essential part of the film, but the Terry's right

430
00:24:53,680 --> 00:24:56,919
Speaker 1: there next to him right from the jump too. I

431
00:24:56,960 --> 00:25:00,800
Speaker 1: think he sets a lot of the action into motion,

432
00:25:01,600 --> 00:25:08,160
Speaker 1: and um, he seems to want to believe just in general,

433
00:25:08,200 --> 00:25:10,840
Speaker 1: he seems to want to believe in something, and that

434
00:25:11,240 --> 00:25:15,280
Speaker 1: desire to do that also helps push kind of the

435
00:25:15,280 --> 00:25:17,520
Speaker 1: events of the of the movie forward and ultimately the

436
00:25:17,920 --> 00:25:20,840
Speaker 1: solution to the problem. Yeah. Now you said that he

437
00:25:20,920 --> 00:25:23,000
Speaker 1: was in the Gate too. Is he the star of

438
00:25:23,040 --> 00:25:27,720
Speaker 1: the Gate too? Yeah? Yeah, he's the if memory serves correctly.

439
00:25:27,760 --> 00:25:30,080
Speaker 1: And I did glance at some at a brief summary

440
00:25:30,080 --> 00:25:32,360
Speaker 1: of the plot. I believe in the sequel, the ideas

441
00:25:32,400 --> 00:25:36,000
Speaker 1: that Glenn has moved away and Terry is left there

442
00:25:36,000 --> 00:25:38,160
Speaker 1: in the neighborhood. He's a bit older. I think he's

443
00:25:38,160 --> 00:25:40,719
Speaker 1: a full blown teenager by this point, so he's an

444
00:25:40,720 --> 00:25:45,560
Speaker 1: awkwardine and then gets, you know, sucked into another demonic plot.

445
00:25:46,119 --> 00:25:48,280
Speaker 1: Is it a different gate or is it the same gate?

446
00:25:48,760 --> 00:25:51,280
Speaker 1: I don't know it meant, I mean, maybe the same gate,

447
00:25:51,359 --> 00:25:54,159
Speaker 1: maybe different demons because now we have wishes involved, so

448
00:25:54,200 --> 00:25:57,280
Speaker 1: maybe it's a different demonic scheme. I'm not sure. I mean,

449
00:25:57,320 --> 00:26:00,000
Speaker 1: it's all from Hell, right, so maybe it's just different

450
00:26:00,040 --> 00:26:02,159
Speaker 1: doors at the same house and different rooms in the

451
00:26:02,200 --> 00:26:06,479
Speaker 1: same house, and different demon demonic inhabitants in those different rooms.

452
00:26:06,920 --> 00:26:10,320
Speaker 1: But it's fascinating that, uh, that Terry is back at it.

453
00:26:10,440 --> 00:26:14,280
Speaker 1: Good for him. Yeah, this this actor uh Lewis trip.

454
00:26:14,359 --> 00:26:16,359
Speaker 1: He wasn't in much. He was again he was in

455
00:26:16,400 --> 00:26:19,399
Speaker 1: the Gate and the Gate too. Obviously. He appeared on

456
00:26:19,480 --> 00:26:24,000
Speaker 1: the seven Canadian psychic TV show Seeing Things, which started

457
00:26:24,560 --> 00:26:27,359
Speaker 1: Louis del Grande. This is the if you're not familiar

458
00:26:27,400 --> 00:26:29,400
Speaker 1: with him, this is the exploding head guy from Scanners.

459
00:26:29,440 --> 00:26:33,399
Speaker 1: The guy's head up, Oh my god, mustache, but he

460
00:26:33,480 --> 00:26:36,560
Speaker 1: had a full uh like a pretty I'm not sure

461
00:26:36,560 --> 00:26:37,960
Speaker 1: how long it went, but I remember it from my

462
00:26:38,040 --> 00:26:40,800
Speaker 1: childhood when I lived in Canada that we had one

463
00:26:40,840 --> 00:26:44,000
Speaker 1: TV channel and when Seeing Things came on, we would

464
00:26:44,040 --> 00:26:47,200
Speaker 1: watch it. I do not remember this child showing up

465
00:26:47,200 --> 00:26:49,400
Speaker 1: on the show, but I remember the show. I gotta

466
00:26:49,480 --> 00:26:51,400
Speaker 1: check this show out. It seems like it's right at

467
00:26:51,400 --> 00:26:54,359
Speaker 1: my alley. It had a really jazzy theme song. Nice

468
00:26:54,600 --> 00:26:56,280
Speaker 1: all right. Now, there are two other kids that show

469
00:26:56,359 --> 00:26:59,480
Speaker 1: up in the film. These are friends of Owls. They

470
00:26:59,480 --> 00:27:02,480
Speaker 1: are the lead sisters, and they're they're worth noting that

471
00:27:02,840 --> 00:27:05,359
Speaker 1: they're fun in the film. They're not central characters, but

472
00:27:05,760 --> 00:27:08,239
Speaker 1: the actors who played them um are each in their

473
00:27:08,240 --> 00:27:11,200
Speaker 1: own way pretty interesting. So first, there's Laurie Lee played

474
00:27:11,200 --> 00:27:15,080
Speaker 1: by Kelly Rowan born five. This is a Canadian actor

475
00:27:15,160 --> 00:27:16,959
Speaker 1: who was active up until I think two of them

476
00:27:17,040 --> 00:27:20,119
Speaker 1: sixteen on screen and TV. She did a lot of

477
00:27:20,160 --> 00:27:25,280
Speaker 1: TV work, but also had roles in Hook, Candy Man,

478
00:27:25,280 --> 00:27:30,879
Speaker 1: Farewell to the Flesh, Assassins, also Lonesome Dove, The Outlaw Years,

479
00:27:31,160 --> 00:27:34,159
Speaker 1: and The o C. Wow. I know that she's not

480
00:27:34,280 --> 00:27:36,840
Speaker 1: responsible for this, but Farewell to the Flesh is a

481
00:27:36,880 --> 00:27:42,240
Speaker 1: fantastic subtitle for a movie. She was also David not one,

482
00:27:42,560 --> 00:27:45,760
Speaker 1: but two episodes of the nineties Outer Limits in Another

483
00:27:45,880 --> 00:27:51,480
Speaker 1: Life and Virtual Future. Virtual Future apparently featured both Josh

484
00:27:51,520 --> 00:27:55,119
Speaker 1: Brolin and David Warner. Wow. So there's a there's a

485
00:27:55,160 --> 00:27:58,400
Speaker 1: lot of Outer Limits thread flowing through this cast. Yeah,

486
00:27:58,480 --> 00:28:01,040
Speaker 1: you well, you got Canadian actors. You a Canadian actors

487
00:28:01,080 --> 00:28:04,960
Speaker 1: that were active in the nineties, and there's there's like

488
00:28:05,000 --> 00:28:07,960
Speaker 1: a what s Champ maybe greater that they were on

489
00:28:08,040 --> 00:28:10,320
Speaker 1: at least one episode of the Outer Limbs. That's true,

490
00:28:10,359 --> 00:28:12,960
Speaker 1: it's a write of passage. Now the other least sister,

491
00:28:13,119 --> 00:28:20,080
Speaker 1: Linda Lee, is played by Jennifer Irwin uh terrific Canadian

492
00:28:20,119 --> 00:28:22,760
Speaker 1: actor who has started a ton of great stuff over

493
00:28:22,760 --> 00:28:26,600
Speaker 1: the years, done guest spots and plenty of other shows.

494
00:28:27,200 --> 00:28:29,720
Speaker 1: And we're talking some big name TV comedies and she's

495
00:28:29,800 --> 00:28:33,200
Speaker 1: she's still very much active. Yeah, she is fantastic and everything.

496
00:28:33,400 --> 00:28:35,960
Speaker 1: Every time she shows up, even if it's just for

497
00:28:36,000 --> 00:28:38,440
Speaker 1: a scene, she feels like she's a regular. She really

498
00:28:38,880 --> 00:28:42,760
Speaker 1: steals the scene every time. I know. We're most intimately

499
00:28:42,880 --> 00:28:46,720
Speaker 1: from The Goldbergs, where she plays the across the street

500
00:28:46,800 --> 00:28:53,680
Speaker 1: neighbor of the Goldbergs, the titular Goldberg's. The main character

501
00:28:54,800 --> 00:28:57,560
Speaker 1: has his best friend who is the neighbor, and this

502
00:28:57,680 --> 00:29:01,400
Speaker 1: is the mother of that best friend, and she and

503
00:29:01,680 --> 00:29:06,040
Speaker 1: Beverly Goldberg, the mom, have a uh tough start to

504
00:29:06,080 --> 00:29:08,400
Speaker 1: their relationship. They're kind of antagonistic to each other, but

505
00:29:08,440 --> 00:29:11,200
Speaker 1: then become best friends. And she's a recurring character, just

506
00:29:11,280 --> 00:29:15,840
Speaker 1: fantastic and really nails that dynamic. Yeah, yeah, she's If

507
00:29:15,840 --> 00:29:18,320
Speaker 1: you're not sure out there who she is, um, you

508
00:29:18,480 --> 00:29:21,200
Speaker 1: look her up, you'll recognize her instantly, especially if you've

509
00:29:21,240 --> 00:29:24,800
Speaker 1: watched such shows as uh TVs, the Canadian TV show

510
00:29:24,840 --> 00:29:29,760
Speaker 1: Slings and Arrows, Eastbound and Down, Halt and Catch Fire, Superstore,

511
00:29:30,200 --> 00:29:33,480
Speaker 1: Eye Zombie, And she said guest roles on such shows

512
00:29:33,480 --> 00:29:37,280
Speaker 1: as Better Off, Ted Party, Down Ship's Creek Hacks and

513
00:29:37,400 --> 00:29:40,760
Speaker 1: Physical so She's popped up all over the place and

514
00:29:41,080 --> 00:29:44,200
Speaker 1: is really delightful and everything. She said. Definitely, but this

515
00:29:44,240 --> 00:29:47,840
Speaker 1: was only her third role, so so she's super young

516
00:29:47,880 --> 00:29:50,440
Speaker 1: in this. She's if if you didn't look her up,

517
00:29:50,480 --> 00:29:53,360
Speaker 1: you might think, well should that actor looks kind of familiar,

518
00:29:53,400 --> 00:29:55,280
Speaker 1: but I can't really place her. I think that was

519
00:29:55,320 --> 00:29:57,640
Speaker 1: the situation I was in watching this was I kind

520
00:29:57,640 --> 00:29:59,920
Speaker 1: of had to be reminded that this was her. She's

521
00:30:00,040 --> 00:30:03,240
Speaker 1: so much younger than the roles that I remember her in.

522
00:30:03,560 --> 00:30:05,800
Speaker 1: All Right, Getting a little bit behind the scenes here,

523
00:30:06,600 --> 00:30:08,720
Speaker 1: this this movie. If you watch the trailer, if you

524
00:30:08,760 --> 00:30:11,320
Speaker 1: actually watch it, you'll realize this is an effects movie.

525
00:30:11,720 --> 00:30:13,880
Speaker 1: I went into it not expecting it to be just

526
00:30:14,000 --> 00:30:18,160
Speaker 1: wall to wall amazing special effects, but it is. It

527
00:30:18,280 --> 00:30:21,200
Speaker 1: is a showcase for the effects work as much as

528
00:30:21,240 --> 00:30:22,800
Speaker 1: it is anything else. And I don't mean that in

529
00:30:22,840 --> 00:30:25,120
Speaker 1: a bad way. I mean that it's the full gallery

530
00:30:25,360 --> 00:30:27,520
Speaker 1: of what you can do with stop mission, what you

531
00:30:27,560 --> 00:30:30,920
Speaker 1: can do with force, perspective, the whole gamut. Now, uh,

532
00:30:31,440 --> 00:30:33,400
Speaker 1: there's a whole crew at working on this one, obviously,

533
00:30:33,440 --> 00:30:37,479
Speaker 1: but the main visual effects credit here goes to Randall

534
00:30:37,520 --> 00:30:41,920
Speaker 1: William Cook for one American Special Effects wizard and director.

535
00:30:42,360 --> 00:30:44,120
Speaker 1: They really put together. He and his team really put

536
00:30:44,120 --> 00:30:47,640
Speaker 1: together just so many strange and wonderful effects of varying

537
00:30:48,520 --> 00:30:51,960
Speaker 1: things that really the poltergeist uh system of you. You

538
00:30:52,000 --> 00:30:53,800
Speaker 1: never know what's gonna come at you. It might be

539
00:30:53,840 --> 00:30:57,160
Speaker 1: a horrific body horror effect. It might be a zombie

540
00:30:57,600 --> 00:31:01,400
Speaker 1: or one of the showcases of this film, tiny demons

541
00:31:01,760 --> 00:31:05,640
Speaker 1: running all over the place. Yeah, and being dismembered and

542
00:31:05,720 --> 00:31:11,000
Speaker 1: turning into little wormy bits that reconstitute Yes. Yeah, the

543
00:31:11,040 --> 00:31:14,280
Speaker 1: wormy bits are a lot of fun. So Cook He

544
00:31:14,320 --> 00:31:16,040
Speaker 1: has been involved in just a ton of great horror

545
00:31:16,080 --> 00:31:19,560
Speaker 1: sci fi special effects film over the years. Um. I

546
00:31:19,560 --> 00:31:22,320
Speaker 1: mean some when I say great, sometimes they're a little

547
00:31:22,320 --> 00:31:24,920
Speaker 1: on the cheap side, but they're they're in films where

548
00:31:25,000 --> 00:31:27,520
Speaker 1: you still love the effects. Like for instance, he worked

549
00:31:27,520 --> 00:31:31,040
Speaker 1: on a Laser Blast, which is a film that it's

550
00:31:31,080 --> 00:31:34,719
Speaker 1: not a great film, but it has just charming and

551
00:31:34,760 --> 00:31:39,560
Speaker 1: lovable special effects. Yeah. The effects are not the reason

552
00:31:39,600 --> 00:31:41,840
Speaker 1: that the film is bad by a long shot, and

553
00:31:41,840 --> 00:31:45,480
Speaker 1: in a lot of ways there what redeemed the film. Yeah. Uh.

554
00:31:45,520 --> 00:31:48,160
Speaker 1: To a similar extent, he was in que the Wing Serpent,

555
00:31:48,440 --> 00:31:51,520
Speaker 1: but also he was on the crew anyway for such

556
00:31:51,520 --> 00:31:57,560
Speaker 1: films as The Thing, Ghostbusters two thousand and ten, Fright Night, Poltergeist,

557
00:31:57,640 --> 00:32:00,920
Speaker 1: Too Highway to Hell, and the Lord of the Rings trilogy.

558
00:32:01,040 --> 00:32:03,200
Speaker 1: It doesn't surprise me at all that he's involved with

559
00:32:03,240 --> 00:32:05,920
Speaker 1: these big titles, seeing what what was pulled off in

560
00:32:05,960 --> 00:32:08,360
Speaker 1: this movie, and his credits kind of go all over

561
00:32:08,400 --> 00:32:11,160
Speaker 1: the place to For instance, he directed one episode of

562
00:32:11,200 --> 00:32:14,880
Speaker 1: TVs Life Goes On, which we already mentioned. He also

563
00:32:14,960 --> 00:32:17,440
Speaker 1: did a movie. He directed a film from nineties six

564
00:32:17,440 --> 00:32:19,920
Speaker 1: titled Demon in a in the Bottle. I had to

565
00:32:19,920 --> 00:32:21,320
Speaker 1: look this one up. I was not familiar with it,

566
00:32:21,400 --> 00:32:24,360
Speaker 1: but apparently it was the product of a one time

567
00:32:24,400 --> 00:32:29,400
Speaker 1: deal between Disney and full Moon Entertainment Charles band Uh

568
00:32:30,200 --> 00:32:35,880
Speaker 1: production house. He acted in the Demon in the Bottle

569
00:32:35,920 --> 00:32:39,920
Speaker 1: movie as well, and he also has cameos in a

570
00:32:40,000 --> 00:32:43,480
Speaker 1: weird film title Dr Calighari, which has nothing to do

571
00:32:43,520 --> 00:32:46,239
Speaker 1: with the Cabinet of Dr Calighari, but is instead more

572
00:32:46,280 --> 00:32:50,200
Speaker 1: of an erotic peewee's playhouse sort of the art film. Yeah,

573
00:32:50,240 --> 00:32:52,840
Speaker 1: it's a it's a weird one. But then he also

574
00:32:52,920 --> 00:32:56,680
Speaker 1: has roles essentially cameos in in King Kong and The

575
00:32:56,720 --> 00:32:59,160
Speaker 1: Fellowship of the Ring, So you never know where this

576
00:32:59,160 --> 00:33:02,720
Speaker 1: Guy's Gonna Pop Up. And finally, the music in this

577
00:33:02,800 --> 00:33:09,160
Speaker 1: film really solid atmospheric electronic score by Michael Hohenig and J.

578
00:33:09,280 --> 00:33:12,680
Speaker 1: Peter Robinson totally agree. I think the ambience score here

579
00:33:12,880 --> 00:33:16,320
Speaker 1: is or the synthesized ambience score, is one of the

580
00:33:16,560 --> 00:33:21,000
Speaker 1: standouts for this For me. It really nails the tone

581
00:33:21,040 --> 00:33:26,440
Speaker 1: just right right from the jump and really just accentuates

582
00:33:26,520 --> 00:33:28,480
Speaker 1: all of those moments just the way you think that

583
00:33:28,520 --> 00:33:33,080
Speaker 1: they would and and really just elevates the entire movie. Yeah, yeah,

584
00:33:33,080 --> 00:33:36,120
Speaker 1: this one. I don't know for me personally, this would

585
00:33:36,120 --> 00:33:38,040
Speaker 1: be a like a stands on its own sort of

586
00:33:38,080 --> 00:33:39,920
Speaker 1: score that I would just like listen to and jam

587
00:33:39,920 --> 00:33:42,120
Speaker 1: out too. But it's one that just works perfectly with

588
00:33:42,200 --> 00:33:44,640
Speaker 1: the film. You can listen to it on its own

589
00:33:44,640 --> 00:33:46,400
Speaker 1: and jam out to it. It's I think it's streaming

590
00:33:46,440 --> 00:33:49,479
Speaker 1: most places, and they're there even been a literally at

591
00:33:49,520 --> 00:33:53,160
Speaker 1: least one special vinyl edition I saw online that has

592
00:33:53,200 --> 00:33:57,200
Speaker 1: like a pink vinyl record and the sleeve is made

593
00:33:57,360 --> 00:34:00,480
Speaker 1: to where it doesn't feature the movies art yet symbols

594
00:34:00,680 --> 00:34:03,920
Speaker 1: a very important heavy metal record that is a prop

595
00:34:04,160 --> 00:34:06,400
Speaker 1: and a plot piece in the film. I wonder if

596
00:34:06,440 --> 00:34:09,280
Speaker 1: it has all of the ku trauma of the album too,

597
00:34:09,320 --> 00:34:12,640
Speaker 1: with kind of the lore and the deep stuff that

598
00:34:12,840 --> 00:34:16,239
Speaker 1: helps solve the problems. Yeah, the the the Evil Book

599
00:34:16,280 --> 00:34:19,200
Speaker 1: of Demonology, and that's just a part of the record release.

600
00:34:19,520 --> 00:34:22,160
Speaker 1: I think you mean the Dark Book, the Dark Book, Yes,

601
00:34:22,400 --> 00:34:26,359
Speaker 1: the Bible for Demon's right, all right? Well, well briefly Uh.

602
00:34:26,440 --> 00:34:30,719
Speaker 1: Michael Hohnig Born two, German composer who briefly toured with

603
00:34:30,760 --> 00:34:34,759
Speaker 1: Tangerine Dream in ninety five. So I assume that he's

604
00:34:34,800 --> 00:34:38,319
Speaker 1: responsible for the synthier parts of the score. Uh. He

605
00:34:38,400 --> 00:34:41,880
Speaker 1: was a synth performer on One's Galaxy of Terror and

606
00:34:41,920 --> 00:34:46,400
Speaker 1: other scores include The Max Headroom Show, The Blob, and

607
00:34:46,440 --> 00:34:50,359
Speaker 1: he also worked on video game boulders Gate and It's

608
00:34:50,400 --> 00:34:53,799
Speaker 1: two thousand sequel. Oh wow nice, Yeah, it's you know,

609
00:34:54,640 --> 00:34:57,719
Speaker 1: I said it before. It's hard to overstate how effective

610
00:34:57,719 --> 00:34:59,720
Speaker 1: the scent is it creating the vibe in this movie

611
00:35:00,200 --> 00:35:03,880
Speaker 1: from the beginning. The other guy involved, J Peter Robinson Born.

612
00:35:05,280 --> 00:35:08,360
Speaker 1: I suspect that he's may be responsible for the the

613
00:35:08,400 --> 00:35:10,920
Speaker 1: more traditional aspects of the film. Just going off on

614
00:35:10,920 --> 00:35:14,080
Speaker 1: a limb here, I suspect he was responsible for the

615
00:35:14,080 --> 00:35:16,920
Speaker 1: more traditional aspects of the score, just looking at the

616
00:35:16,920 --> 00:35:20,080
Speaker 1: other films that he did. He did. He has composer

617
00:35:20,120 --> 00:35:23,560
Speaker 1: credits on English Composer. He worked on such films as

618
00:35:23,600 --> 00:35:27,840
Speaker 1: Return of the Living Dead, to Cocktail, Blind Fury, which

619
00:35:27,880 --> 00:35:31,080
Speaker 1: is a weird, weird film. That one. It's one where

620
00:35:31,120 --> 00:35:35,640
Speaker 1: Rudger Howard is a blind man. I believe Wayne's world

621
00:35:35,800 --> 00:35:40,600
Speaker 1: in Sino Man, New Nightmare, Mind Ripper, and many more. Wow,

622
00:35:40,760 --> 00:35:44,239
Speaker 1: it makes me wonder probably this is the case, uh,

623
00:35:44,480 --> 00:35:47,400
Speaker 1: that he wrote the metal song that is so pivotal

624
00:35:47,560 --> 00:35:50,920
Speaker 1: to the plot, as well as maybe the party music

625
00:35:51,520 --> 00:35:54,680
Speaker 1: from the Teen Party. I sound like such an old

626
00:35:54,680 --> 00:35:57,200
Speaker 1: band calling it the teen Party. Now I was able

627
00:35:57,239 --> 00:35:59,040
Speaker 1: to I d one of the Teen Party songs will

628
00:35:59,040 --> 00:36:01,959
Speaker 1: come back to that one nice. All right. Well, let's

629
00:36:02,080 --> 00:36:04,799
Speaker 1: let's get into the plot of this one. Yeah, all right,

630
00:36:04,800 --> 00:36:07,000
Speaker 1: how do we kick this one off? Dave? Alright, So,

631
00:36:08,120 --> 00:36:09,840
Speaker 1: I don't know if I've made this clear yet, but

632
00:36:09,840 --> 00:36:11,680
Speaker 1: I'm I'm a pretty big fan of the synth music

633
00:36:11,880 --> 00:36:14,800
Speaker 1: and the opening credits. You get this ambient chime that

634
00:36:14,920 --> 00:36:19,520
Speaker 1: just really for me. It tells me your home, You're

635
00:36:19,640 --> 00:36:22,440
Speaker 1: you're in a good place. Enjoy the next eighties some

636
00:36:22,600 --> 00:36:26,600
Speaker 1: odd minutes. Uh, and and it takes us right into

637
00:36:26,800 --> 00:36:30,560
Speaker 1: kind of a I guess it's spoiling it out of

638
00:36:30,600 --> 00:36:33,279
Speaker 1: the gate to call it a dream sequence, but it

639
00:36:33,360 --> 00:36:36,880
Speaker 1: starts out pretty dark. You know, a lot of films

640
00:36:36,920 --> 00:36:39,120
Speaker 1: like this, I think would would maybe spend more time

641
00:36:39,239 --> 00:36:42,120
Speaker 1: establishing a real world dynamic I'm thinking of. I'm thinking

642
00:36:42,120 --> 00:36:44,280
Speaker 1: of films like The Never Ending Story and so forth,

643
00:36:44,320 --> 00:36:46,560
Speaker 1: where you get to see, like what is day to

644
00:36:46,640 --> 00:36:49,879
Speaker 1: day life like for this child or these children, and

645
00:36:49,920 --> 00:36:53,040
Speaker 1: then let's throw them into the supernatural. But this film

646
00:36:53,080 --> 00:36:56,799
Speaker 1: just kicks off right inside of a dream. We see

647
00:36:56,840 --> 00:37:00,719
Speaker 1: Glenn walking around, right, he's he's checking out. We see

648
00:37:00,719 --> 00:37:03,279
Speaker 1: his bedroom, yeah, I think he he walks into his

649
00:37:03,360 --> 00:37:06,919
Speaker 1: front door and the house is empty. It's an amazing house.

650
00:37:06,920 --> 00:37:08,840
Speaker 1: It's actually a real house that they shot this in

651
00:37:09,280 --> 00:37:13,120
Speaker 1: amazing gorgeous decor. And then he walks into what's basically

652
00:37:13,160 --> 00:37:15,960
Speaker 1: my dream bedroom from the eighties, which you know, there

653
00:37:15,960 --> 00:37:20,080
Speaker 1: are colored desk lamps, those metallic desk lamps that have

654
00:37:20,160 --> 00:37:23,960
Speaker 1: different colors to them. Uh, there're orange sheer curtains. There's

655
00:37:24,000 --> 00:37:27,440
Speaker 1: this white metallic furniture, like a desk that's made out

656
00:37:27,440 --> 00:37:29,759
Speaker 1: of a white metal. It's just very it's it's like

657
00:37:29,800 --> 00:37:33,960
Speaker 1: a catalog shot and my heart that and the ambient chimes.

658
00:37:34,040 --> 00:37:35,960
Speaker 1: My heart was soaring at this point. I don't know

659
00:37:35,960 --> 00:37:39,360
Speaker 1: about you, Dave, but as a former child, I'm always

660
00:37:39,480 --> 00:37:43,600
Speaker 1: instantly interested in a little bit judge when any show,

661
00:37:43,600 --> 00:37:47,560
Speaker 1: regardless of time period, presents us with a child's bedroom, uh,

662
00:37:47,840 --> 00:37:50,360
Speaker 1: because it's always fascinating to sort of pick it apart,

663
00:37:50,440 --> 00:37:55,840
Speaker 1: like which details that have either sloppily or lovingly been added,

664
00:37:55,960 --> 00:37:59,560
Speaker 1: which ones feel authentic, which ones are branded, which ones

665
00:37:59,640 --> 00:38:02,799
Speaker 1: are like noticed some of them. Occasionally see something where

666
00:38:02,800 --> 00:38:06,839
Speaker 1: I'm like, Okay, I specifically remember that generic poster from

667
00:38:06,880 --> 00:38:10,080
Speaker 1: Getty Images. I know that you just bought the rights

668
00:38:10,120 --> 00:38:12,560
Speaker 1: to use that or it's like free to use. None

669
00:38:12,560 --> 00:38:14,440
Speaker 1: of these are things that a child would actually have

670
00:38:14,480 --> 00:38:18,080
Speaker 1: hanging in the room. Yeah, I think sometimes you get that, uh,

671
00:38:18,200 --> 00:38:20,680
Speaker 1: like what an interior designer at Sears would do for

672
00:38:20,719 --> 00:38:23,040
Speaker 1: one of those model bedrooms that they're trying to sell

673
00:38:23,080 --> 00:38:25,839
Speaker 1: you the furniture pieces within. You get that vibe a lot.

674
00:38:25,880 --> 00:38:28,520
Speaker 1: And Yeah, books that are just encyclopedias that are neatly

675
00:38:28,600 --> 00:38:30,839
Speaker 1: stacked on a on a desk, or like you said,

676
00:38:31,120 --> 00:38:35,600
Speaker 1: posters that are essentially clip art from that time, or

677
00:38:35,719 --> 00:38:37,560
Speaker 1: sometimes you get. You know, I don't have a specific

678
00:38:37,560 --> 00:38:40,120
Speaker 1: example of this offhand, but you get a snapshot of

679
00:38:40,120 --> 00:38:42,640
Speaker 1: what the director's room would have been. But were they

680
00:38:42,680 --> 00:38:44,480
Speaker 1: a child, And I think you see that maybe in

681
00:38:44,640 --> 00:38:48,719
Speaker 1: Terri's room, which is almost skipping ahead a little bit,

682
00:38:48,719 --> 00:38:53,480
Speaker 1: but it's almost over disheveled in terms of messiness. But

683
00:38:53,520 --> 00:38:56,120
Speaker 1: I will tell you as a father myself, my child's

684
00:38:56,200 --> 00:38:59,360
Speaker 1: room does get close to that stage sometimes. Yeah, same

685
00:38:59,400 --> 00:39:02,280
Speaker 1: as the as as the father of a young boy.

686
00:39:02,600 --> 00:39:05,000
Speaker 1: Like you see that energy where it's like, yeah, I

687
00:39:05,040 --> 00:39:08,880
Speaker 1: really like the image on this box of Pokemon cards.

688
00:39:09,120 --> 00:39:12,080
Speaker 1: I'm just gonna take this box, flatten it, and I'm

689
00:39:12,080 --> 00:39:14,680
Speaker 1: going to tape it to the wall because I want

690
00:39:14,719 --> 00:39:17,759
Speaker 1: to look at it exactly. So yeah, I I buy

691
00:39:17,800 --> 00:39:19,640
Speaker 1: Glenn's room as well, though, and you get and it's

692
00:39:19,640 --> 00:39:21,480
Speaker 1: a great peek into the personality of a child, and

693
00:39:21,600 --> 00:39:23,360
Speaker 1: if it's executed right in the film, we see that

694
00:39:23,440 --> 00:39:25,840
Speaker 1: Glenn is he's clearly into like a little bit of

695
00:39:25,840 --> 00:39:27,719
Speaker 1: sports here and there, and there's a baseball you know,

696
00:39:27,880 --> 00:39:30,479
Speaker 1: very you know, typical American kid in that. But also

697
00:39:30,719 --> 00:39:34,239
Speaker 1: it becomes very clear that Glenn is a total rocket nerd.

698
00:39:34,400 --> 00:39:37,759
Speaker 1: He is super into NASA he's almost always wearing a

699
00:39:37,880 --> 00:39:43,720
Speaker 1: NASA jacket. Yeah, Glenn is. He's a rules guy, He's

700
00:39:43,800 --> 00:39:46,920
Speaker 1: an orderly guy. He frequently wants to call mom and

701
00:39:47,000 --> 00:39:49,319
Speaker 1: Dad throughout the movie as things get worse and work,

702
00:39:49,640 --> 00:39:52,799
Speaker 1: which I think is very sweet. Uh. And he does

703
00:39:52,880 --> 00:39:57,319
Speaker 1: have this jacket that is patched with NASA patches, And

704
00:39:57,560 --> 00:40:02,000
Speaker 1: at first I thought that he was specific kind of

705
00:40:02,080 --> 00:40:05,279
Speaker 1: kid like, like you said, a real NASA buff, but

706
00:40:05,360 --> 00:40:09,840
Speaker 1: I learned throughout the movie that his sister Al also

707
00:40:09,920 --> 00:40:13,600
Speaker 1: has the same jacket and they they both have it

708
00:40:13,680 --> 00:40:17,520
Speaker 1: because they launched the rockets together and that was kind

709
00:40:17,520 --> 00:40:22,120
Speaker 1: of their commonality that was had deteriorated at the start

710
00:40:22,160 --> 00:40:25,279
Speaker 1: of the film. Yeah, they they the film builds up

711
00:40:25,320 --> 00:40:27,640
Speaker 1: over time you realize, Yeah, they have this sweet relationship,

712
00:40:28,280 --> 00:40:31,520
Speaker 1: though they also are at each others throats at times,

713
00:40:31,520 --> 00:40:34,640
Speaker 1: so you totally buy the sibling relationship. Yeah, definitely. And

714
00:40:35,160 --> 00:40:38,520
Speaker 1: there's also this element of Al being a little bit older,

715
00:40:38,920 --> 00:40:41,520
Speaker 1: starting to hang out with teens, starting to gravitate away

716
00:40:41,560 --> 00:40:43,840
Speaker 1: from that family dynamic, and you see that in the

717
00:40:43,920 --> 00:40:47,640
Speaker 1: interactions with the whole family. But you really see how

718
00:40:47,680 --> 00:40:51,640
Speaker 1: that impacts Glenn specifically and how left behind he feels,

719
00:40:52,080 --> 00:40:55,799
Speaker 1: even as the events of the movie and the gate

720
00:40:55,880 --> 00:40:58,880
Speaker 1: opening or unfolding, he still feels a little bit of

721
00:40:58,920 --> 00:41:11,200
Speaker 1: that distance from now coming back to the whole dream sequence. Yeah,

722
00:41:11,280 --> 00:41:15,040
Speaker 1: Glenn's wandering around this empty house. He goes into the backyard,

723
00:41:15,400 --> 00:41:18,680
Speaker 1: he climbs into the treehouse. It's in the black backyard.

724
00:41:18,719 --> 00:41:22,000
Speaker 1: He ascends into the treehouse, and then lightning strikes it,

725
00:41:22,360 --> 00:41:25,160
Speaker 1: the causing the treehouse to collapse. And then of course

726
00:41:25,200 --> 00:41:28,960
Speaker 1: he wakes up. He hears chainsaws or buzz saws running,

727
00:41:29,320 --> 00:41:31,440
Speaker 1: and then when he looks out the window, Oh, it

728
00:41:31,480 --> 00:41:34,440
Speaker 1: looks like the tree was actually struck by lightning and

729
00:41:34,520 --> 00:41:39,360
Speaker 1: was completely destroyed. Workmen are clearing everything away. And I

730
00:41:39,400 --> 00:41:42,200
Speaker 1: thought this was neat to in two different ways, because

731
00:41:42,239 --> 00:41:45,960
Speaker 1: on one hand, this felt very like on par with

732
00:41:46,040 --> 00:41:49,640
Speaker 1: the childhood experience, where important things like the destruction of

733
00:41:49,640 --> 00:41:52,960
Speaker 1: a treehouse occur when you're asleep, and then when you

734
00:41:53,000 --> 00:41:55,799
Speaker 1: wake up or look out the back then adults have

735
00:41:55,840 --> 00:41:58,760
Speaker 1: already tended to it. Adults are already on the scene

736
00:41:58,760 --> 00:42:00,680
Speaker 1: dealing with it, and you're just like, I wonder whether

737
00:42:00,640 --> 00:42:04,080
Speaker 1: that was about But then also like symbolically, yeah, that

738
00:42:04,520 --> 00:42:09,040
Speaker 1: there's this innocence of childhood threatened imagery. That's clear in

739
00:42:09,080 --> 00:42:11,640
Speaker 1: all of this. The tree house is the iconic fortress

740
00:42:11,680 --> 00:42:15,360
Speaker 1: of childhood freedom and it was just destroyed by I guess,

741
00:42:15,360 --> 00:42:17,960
Speaker 1: like a literal act of God here. Yeah, And the

742
00:42:18,320 --> 00:42:21,120
Speaker 1: terror of being in a tree house in a tree

743
00:42:21,280 --> 00:42:24,040
Speaker 1: that is falling over, it's not even it's worse than

744
00:42:24,120 --> 00:42:26,160
Speaker 1: being in a tree that's falling over. You're in a

745
00:42:26,200 --> 00:42:29,319
Speaker 1: structure inside of it. And I can't imagine feeling more

746
00:42:29,320 --> 00:42:32,480
Speaker 1: helpless than that. I do think from a narrative perspective,

747
00:42:32,840 --> 00:42:36,680
Speaker 1: I was scratching my head pretty early on about did

748
00:42:36,760 --> 00:42:41,759
Speaker 1: this happen while he was asleep? Had this Was it

749
00:42:41,880 --> 00:42:44,320
Speaker 1: just a coincidence that had happened while he was dreaming

750
00:42:44,320 --> 00:42:47,320
Speaker 1: about it? Did he cause this to happen by dreaming

751
00:42:47,360 --> 00:42:50,120
Speaker 1: about it? The parallel between what was happening in the

752
00:42:50,200 --> 00:42:53,719
Speaker 1: dream and what was happening in life while he was

753
00:42:53,760 --> 00:42:56,640
Speaker 1: asleep kind of confused me a little bit. And there's

754
00:42:56,680 --> 00:42:59,680
Speaker 1: a little bit of both sides ng the line that

755
00:42:59,800 --> 00:43:03,160
Speaker 1: this movie does in that regard throughout, And on the

756
00:43:03,160 --> 00:43:05,560
Speaker 1: one hand, I think it is a little bit puzzling

757
00:43:05,640 --> 00:43:07,719
Speaker 1: as a choice, But on the other hand, I kind

758
00:43:07,719 --> 00:43:09,960
Speaker 1: of like the ambiguity of it because it's a question

759
00:43:10,000 --> 00:43:12,480
Speaker 1: that doesn't need to be answered, and a lot of

760
00:43:12,560 --> 00:43:15,080
Speaker 1: what is going on with these children and what these

761
00:43:15,160 --> 00:43:19,319
Speaker 1: children are facing, it shouldn't have an explanation. Children should

762
00:43:19,360 --> 00:43:22,920
Speaker 1: not know exactly what the situation that no human would

763
00:43:23,000 --> 00:43:24,839
Speaker 1: you know. And I think it's it's kind of a

764
00:43:24,840 --> 00:43:27,319
Speaker 1: brave choice in that light to to play into that

765
00:43:27,360 --> 00:43:30,200
Speaker 1: a little bit. What one one quick note I want

766
00:43:30,200 --> 00:43:32,360
Speaker 1: to point out this wasn't party music, but there is

767
00:43:32,360 --> 00:43:35,520
Speaker 1: a music video playing in the dream and we see

768
00:43:35,560 --> 00:43:38,160
Speaker 1: a clip of the music video for No Pressure by

769
00:43:38,200 --> 00:43:43,600
Speaker 1: Canadian new wave performer Eva Everything This is single. She

770
00:43:43,640 --> 00:43:46,759
Speaker 1: had four album titled boob Tube and she went on

771
00:43:46,800 --> 00:43:49,200
Speaker 1: to be a science communicator and producer. I'm not I'm

772
00:43:49,200 --> 00:43:51,719
Speaker 1: not super familiar with with this because I wasn't I

773
00:43:52,080 --> 00:43:54,760
Speaker 1: don't think I was watching any of these these particular shows,

774
00:43:54,800 --> 00:43:56,520
Speaker 1: but it looked like she was involved in something that

775
00:43:56,600 --> 00:43:59,040
Speaker 1: was kind of like Channel one that we had in

776
00:43:59,640 --> 00:44:02,280
Speaker 1: the stay Ate something like that. Yeah, I'm not familiar

777
00:44:02,320 --> 00:44:04,000
Speaker 1: with her. What I'm looking at this album cover now

778
00:44:04,040 --> 00:44:06,839
Speaker 1: and it's got a very aha vibe with a little

779
00:44:06,840 --> 00:44:09,399
Speaker 1: splash of color across the eyes and an otherwise black

780
00:44:09,440 --> 00:44:12,200
Speaker 1: and white picture. It's very very cool, and and I

781
00:44:12,280 --> 00:44:14,759
Speaker 1: was digging the video. Alright, so back in we're in

782
00:44:14,800 --> 00:44:16,960
Speaker 1: the Waking World now, and we stay in the Waking

783
00:44:16,960 --> 00:44:20,520
Speaker 1: World for the rest of the film, and uh, it's

784
00:44:20,560 --> 00:44:24,120
Speaker 1: not long before we finally actually meet Glenn's friend Carry.

785
00:44:24,560 --> 00:44:28,280
Speaker 1: Let's describe Terry oh Man. Terry rules first, First, and foremost,

786
00:44:28,400 --> 00:44:32,520
Speaker 1: Terry Rules. Terry's got you know, these dark rimmed glasses.

787
00:44:33,080 --> 00:44:37,440
Speaker 1: It's got short hair. He's this lanky kid. Uh. Masters

788
00:44:37,440 --> 00:44:42,680
Speaker 1: of the Universe T shirt, leather jacket. I keep wanting

789
00:44:42,719 --> 00:44:44,799
Speaker 1: to uh, is it a leather jacket or is it

790
00:44:44,840 --> 00:44:47,720
Speaker 1: a leather vest I keep thinking of it as a vest.

791
00:44:48,200 --> 00:44:50,040
Speaker 1: I think there's a costume change. I think when we

792
00:44:50,080 --> 00:44:53,719
Speaker 1: first see him, it's a leather jacket with a patch

793
00:44:53,760 --> 00:44:57,600
Speaker 1: on the back for the English heavy metal band Venom.

794
00:44:57,680 --> 00:45:01,040
Speaker 1: And later he's wearing like a Jeane jack it vest

795
00:45:01,160 --> 00:45:03,759
Speaker 1: thing and that has I think a patch for the

796
00:45:03,800 --> 00:45:07,960
Speaker 1: Canadian metal band Killer Dwarfs. Wow, so somebody knew their

797
00:45:07,960 --> 00:45:10,799
Speaker 1: stuff when they were putting this outfit together. Yeah, so

798
00:45:10,960 --> 00:45:13,920
Speaker 1: right off the bat we realize, yeah, Terry's interested very

799
00:45:14,000 --> 00:45:16,600
Speaker 1: much so in heavy metal. Uh. And then we learned

800
00:45:16,640 --> 00:45:21,600
Speaker 1: later a little bit into demonology via the heavy metal Yeah,

801
00:45:21,680 --> 00:45:24,040
Speaker 1: I think, you know, without getting too ahead of ourselves,

802
00:45:24,280 --> 00:45:27,560
Speaker 1: I really do like how this movie flips the satanic

803
00:45:27,560 --> 00:45:31,920
Speaker 1: panic angle of the time and turns the satanic panic

804
00:45:32,000 --> 00:45:36,400
Speaker 1: into what saves these kids and presumably the world is

805
00:45:36,640 --> 00:45:40,919
Speaker 1: using these demonic lyrics to undo a curse. Yeah, because

806
00:45:41,400 --> 00:45:44,560
Speaker 1: in many of these the metal splitation films of the era,

807
00:45:44,840 --> 00:45:48,200
Speaker 1: it's like, oh, the dangerous metal band is bringing demonology

808
00:45:48,239 --> 00:45:50,239
Speaker 1: to the children, and he gets some in all sorts

809
00:45:50,280 --> 00:45:51,880
Speaker 1: of trouble. But in but in this film, as we

810
00:45:51,920 --> 00:45:56,920
Speaker 1: find out, no, the metal rockers are actually wise wizards

811
00:45:56,960 --> 00:45:59,440
Speaker 1: who have given us the tools for our own liberation

812
00:45:59,760 --> 00:46:02,360
Speaker 1: and and and are actually teaching us how to defeat

813
00:46:02,400 --> 00:46:06,279
Speaker 1: the demons well may and they do it pretty deliberately too,

814
00:46:07,400 --> 00:46:10,960
Speaker 1: by minutes long and narration at the end of a

815
00:46:11,040 --> 00:46:15,759
Speaker 1: song that is just an incantation basically all right, but

816
00:46:15,800 --> 00:46:18,120
Speaker 1: before the demons show up, we we get we we

817
00:46:18,440 --> 00:46:21,120
Speaker 1: have to deal with g odes because basically the way

818
00:46:21,120 --> 00:46:23,480
Speaker 1: the whole ball gets running here is as the workmen

819
00:46:23,480 --> 00:46:26,480
Speaker 1: are hauling the tree pieces away, Glenn spots a g

820
00:46:26,680 --> 00:46:29,000
Speaker 1: ode in the roots, you know, like you often see, well,

821
00:46:29,080 --> 00:46:31,160
Speaker 1: maybe not often see a geode, but sometimes you'll see

822
00:46:31,400 --> 00:46:35,600
Speaker 1: the roots of an uprooted tree gripping a stone. Uh,

823
00:46:35,640 --> 00:46:37,719
Speaker 1: it's always kind of weird and neat, and in this

824
00:46:37,760 --> 00:46:40,640
Speaker 1: case it's a g ode. So he and Terry realized, well,

825
00:46:40,840 --> 00:46:43,520
Speaker 1: they're probably more g odes in that now filled in hole.

826
00:46:43,960 --> 00:46:46,200
Speaker 1: Let's go dig around in there and get some more.

827
00:46:46,520 --> 00:46:48,880
Speaker 1: And they find one the size of a beach ball.

828
00:46:49,640 --> 00:46:51,880
Speaker 1: And there's this great exchange where they like, they find

829
00:46:52,000 --> 00:46:56,239
Speaker 1: this geode and they're both like, we're rich this. Yeah.

830
00:46:56,280 --> 00:46:59,240
Speaker 1: I'm not sure what their sense of the market value

831
00:46:59,239 --> 00:47:02,479
Speaker 1: of gds is, or if they're near a renaissance fair

832
00:47:02,760 --> 00:47:05,000
Speaker 1: or a flea market or something like that that might

833
00:47:05,040 --> 00:47:07,160
Speaker 1: give them an inflated sense of what they could do

834
00:47:07,239 --> 00:47:09,279
Speaker 1: with the g O. But I I did have to

835
00:47:09,320 --> 00:47:12,080
Speaker 1: posit at this point because you know what's coming. They're

836
00:47:12,120 --> 00:47:14,680
Speaker 1: standing at a hole, they're pulling out these rare crystals.

837
00:47:14,880 --> 00:47:17,879
Speaker 1: They're excited about it. So I paused it and looked

838
00:47:17,880 --> 00:47:19,759
Speaker 1: at the time stamp. This is six minutes into the

839
00:47:19,760 --> 00:47:22,720
Speaker 1: movie and we're already at the demonic hole in the ground.

840
00:47:22,880 --> 00:47:26,520
Speaker 1: We've already seen a scary nightmare. We've already seen Glenn

841
00:47:26,560 --> 00:47:30,360
Speaker 1: in peril falling over in the tree. I mean this,

842
00:47:30,360 --> 00:47:33,359
Speaker 1: this movie wastes no time. That's great. Yeah, you get

843
00:47:33,520 --> 00:47:35,799
Speaker 1: right to the gate. It's called the gate. It's not

844
00:47:35,880 --> 00:47:38,960
Speaker 1: the road or the path to the gate. Uh. Here

845
00:47:39,000 --> 00:47:42,440
Speaker 1: we are literally at the action point. That's right. So

846
00:47:42,600 --> 00:47:46,280
Speaker 1: is this the point that Al comes out and she's

847
00:47:46,400 --> 00:47:49,160
Speaker 1: bringing a bunch of trash out to the trash canners?

848
00:47:49,160 --> 00:47:51,640
Speaker 1: This is that later in the movie. It's basically that

849
00:47:51,680 --> 00:47:55,000
Speaker 1: she's bringing the rockets out that defined kind of her

850
00:47:55,080 --> 00:47:58,840
Speaker 1: childhood relationship with Glenn and is tossing them in the trash.

851
00:47:59,000 --> 00:48:02,160
Speaker 1: Glenn's upset about out that because she was going to

852
00:48:02,200 --> 00:48:04,439
Speaker 1: save them for him, and her comment is, well, they've

853
00:48:04,440 --> 00:48:06,200
Speaker 1: been sitting there for months and you haven't touched them,

854
00:48:06,239 --> 00:48:08,160
Speaker 1: so I'm getting rid of them. He kind of digs

855
00:48:08,160 --> 00:48:10,480
Speaker 1: through them, and I think does take one out. But

856
00:48:10,560 --> 00:48:14,120
Speaker 1: that's kind of your first realization. You saw the jacket

857
00:48:14,120 --> 00:48:16,759
Speaker 1: with the patches. Now you're seeing that he has a

858
00:48:16,800 --> 00:48:20,239
Speaker 1: love of rockets that he shared with Al, and that

859
00:48:20,239 --> 00:48:22,760
Speaker 1: that love is no longer shared. I have to admit

860
00:48:22,800 --> 00:48:25,200
Speaker 1: that I didn't pay enough attention to this the first

861
00:48:25,200 --> 00:48:28,040
Speaker 1: time I watched it, because I think part of it

862
00:48:28,080 --> 00:48:33,239
Speaker 1: is with movies like this, usually it doesn't matter. This

863
00:48:33,320 --> 00:48:36,279
Speaker 1: is not real. Character development is not really important. It's

864
00:48:36,320 --> 00:48:39,040
Speaker 1: just about moving character from point A to point B.

865
00:48:39,239 --> 00:48:42,000
Speaker 1: But no, this is actually all building to something. Yeah,

866
00:48:42,080 --> 00:48:46,880
Speaker 1: it's it's a really loving effort to tie these characters

867
00:48:47,520 --> 00:48:50,840
Speaker 1: family stories together in a way that did you know

868
00:48:50,880 --> 00:48:53,080
Speaker 1: I had an older sister, She's four years older than me.

869
00:48:53,480 --> 00:48:56,200
Speaker 1: I definitely went through these emotions as she was growing

870
00:48:56,239 --> 00:48:59,240
Speaker 1: into being a teenager, spending less time with the family,

871
00:48:59,280 --> 00:49:01,600
Speaker 1: spending more time with her friends, and and feeling those

872
00:49:01,600 --> 00:49:04,600
Speaker 1: feelings that Glenn was feeling. We didn't shoot rockets together,

873
00:49:04,719 --> 00:49:08,360
Speaker 1: but I can imagine, you know what that shared interest

874
00:49:08,440 --> 00:49:12,319
Speaker 1: is that kind of morphs into just your interest, and

875
00:49:12,400 --> 00:49:15,040
Speaker 1: it has a different taste and a different feel. So

876
00:49:15,920 --> 00:49:18,759
Speaker 1: I think Terry talks Glenn into lighting off one of

877
00:49:18,800 --> 00:49:22,560
Speaker 1: the rockets. Glenn, I believe, says, I'm not supposed to

878
00:49:22,600 --> 00:49:25,759
Speaker 1: do that, but Terry encourages him to do that. He

879
00:49:25,840 --> 00:49:31,279
Speaker 1: does it, and it zings off into the house and

880
00:49:31,360 --> 00:49:33,719
Speaker 1: leaves kind of a burned stain in the side of

881
00:49:33,719 --> 00:49:36,920
Speaker 1: the house, and I believe that gets Glenn into trouble

882
00:49:37,320 --> 00:49:40,480
Speaker 1: with mom and Dad, who show up to parent for

883
00:49:40,480 --> 00:49:43,799
Speaker 1: for a good sixty to seventy seconds and they're quick

884
00:49:43,800 --> 00:49:48,280
Speaker 1: to throw Glenn under the bus. Has been a bad influence, right, Well,

885
00:49:48,320 --> 00:49:52,920
Speaker 1: I think that the dad explains to Terry, I'm sorry,

886
00:49:52,920 --> 00:49:56,240
Speaker 1: this happens at a different point, but Glenn is talking

887
00:49:56,280 --> 00:49:58,120
Speaker 1: to his dad. He's he tells him a story that

888
00:49:58,239 --> 00:50:01,080
Speaker 1: Terry told him about a workman and that was trapped

889
00:50:01,080 --> 00:50:03,000
Speaker 1: in the walls of the house when they were building

890
00:50:03,040 --> 00:50:06,800
Speaker 1: the house, and that the dad since kneels down to

891
00:50:06,840 --> 00:50:10,200
Speaker 1: Glenn and says, yeah, Terry has some problems. Just a

892
00:50:10,320 --> 00:50:14,440
Speaker 1: very dismissive and the dad had to have known what

893
00:50:14,480 --> 00:50:17,799
Speaker 1: that kid's history was, you know, And and to be

894
00:50:17,960 --> 00:50:24,520
Speaker 1: that insensitive is really a insensitive but be really on

895
00:50:24,640 --> 00:50:27,080
Speaker 1: point with a lot of the parenting from that era too,

896
00:50:27,120 --> 00:50:30,520
Speaker 1: so it's not so so disparate. But whatever it is,

897
00:50:30,560 --> 00:50:34,000
Speaker 1: it's insensitive to Terry, and it's not very thoughtful of

898
00:50:34,160 --> 00:50:37,279
Speaker 1: glenn state of mind either, especially regarding his friend. And

899
00:50:37,320 --> 00:50:39,160
Speaker 1: I think it's at this point that we learned that, hey,

900
00:50:39,280 --> 00:50:41,359
Speaker 1: mom and dad really want to go out of town.

901
00:50:41,480 --> 00:50:43,400
Speaker 1: I don't remember what they're going out of town for,

902
00:50:43,560 --> 00:50:45,880
Speaker 1: but they want to do it. But they're having second

903
00:50:45,880 --> 00:50:49,480
Speaker 1: thoughts about it because Glenn is being bad um, But

904
00:50:49,840 --> 00:50:52,960
Speaker 1: Al the sister is quick to jump in and saying, hey,

905
00:50:53,000 --> 00:50:55,480
Speaker 1: look I got this. I can can, I can can.

906
00:50:55,520 --> 00:50:57,520
Speaker 1: I can take care of Glenn, I can take care

907
00:50:57,600 --> 00:50:59,840
Speaker 1: of myself. I can take care of the house. You

908
00:51:00,040 --> 00:51:02,920
Speaker 1: guys go, Everything's gonna be fine. Yeah. I think that

909
00:51:03,040 --> 00:51:07,560
Speaker 1: there's a babysitter that they reference that maybe they should call,

910
00:51:07,719 --> 00:51:12,040
Speaker 1: and I'm trying to remember her name. It becomes a

911
00:51:12,120 --> 00:51:15,759
Speaker 1: pretty miss Vandergriff is her name, and it becomes a

912
00:51:15,760 --> 00:51:19,200
Speaker 1: pretty clever through line throughout when uh, much later, when

913
00:51:19,239 --> 00:51:25,160
Speaker 1: things are all just going to shambles, I believe he says, uh,

914
00:51:25,200 --> 00:51:28,600
Speaker 1: I wish Ms Mrs vander Griff was here and just

915
00:51:28,640 --> 00:51:32,919
Speaker 1: a fantastic call back to at this moment, this decision. Yeah,

916
00:51:33,040 --> 00:51:36,200
Speaker 1: I wish that the the the parent approved auth already

917
00:51:36,200 --> 00:51:39,400
Speaker 1: figure we're here because we cannot handle it. We cannot

918
00:51:39,440 --> 00:51:41,719
Speaker 1: handle it. But the whole time she's like no, like

919
00:51:41,880 --> 00:51:44,200
Speaker 1: like he we There are multiple times later in the

920
00:51:44,200 --> 00:51:46,160
Speaker 1: film where things are getting progressively worse, He's like we

921
00:51:46,160 --> 00:51:48,960
Speaker 1: should call mom and dad, and Al's very clear and like, no,

922
00:51:49,200 --> 00:51:51,720
Speaker 1: we do not have to bring mom and dad into this. Yeah,

923
00:51:51,840 --> 00:51:54,959
Speaker 1: she's at this point she has already kind of ditched

924
00:51:55,000 --> 00:51:56,560
Speaker 1: the family to go off and hang out with her

925
00:51:56,600 --> 00:52:00,480
Speaker 1: teen friends to go shopping. Uh. You can tell that

926
00:52:00,560 --> 00:52:03,360
Speaker 1: she's got teen ideas in mind with what to do

927
00:52:03,400 --> 00:52:06,000
Speaker 1: with an empty house, and that is borne out almost

928
00:52:06,080 --> 00:52:08,799
Speaker 1: instantly once the parents go out of town and she

929
00:52:08,920 --> 00:52:12,840
Speaker 1: throws a party. I thought that this party could have

930
00:52:12,880 --> 00:52:17,960
Speaker 1: been just a full blowout nineteen eighties high school party scene.

931
00:52:18,280 --> 00:52:22,600
Speaker 1: But I was struck by the balance of beer and cigarettes,

932
00:52:22,600 --> 00:52:25,320
Speaker 1: which is happening. But also there's a lot of soda

933
00:52:25,640 --> 00:52:29,160
Speaker 1: and bowls of chips set out, and something very childish

934
00:52:29,239 --> 00:52:33,080
Speaker 1: about that too. And it really showed how at that

935
00:52:33,239 --> 00:52:36,319
Speaker 1: age and and I think Al at this point has

936
00:52:36,440 --> 00:52:39,600
Speaker 1: shown a little bit of remorse for leaving Glenn high

937
00:52:39,640 --> 00:52:41,600
Speaker 1: and dry and kind of comes back to include him

938
00:52:41,640 --> 00:52:45,320
Speaker 1: a little bit. It shows how she's not really completely

939
00:52:45,400 --> 00:52:47,839
Speaker 1: there like the other teens are, yet she there's still

940
00:52:47,880 --> 00:52:49,920
Speaker 1: a little bit of kid left in her and and

941
00:52:49,920 --> 00:52:52,319
Speaker 1: it's still a little bit of that bridge still the

942
00:52:52,320 --> 00:52:54,920
Speaker 1: party of a lot of great eighties hair hit with

943
00:52:54,960 --> 00:52:59,239
Speaker 1: some eighties fashion. The dog Angus, there's the sweet old

944
00:52:59,239 --> 00:53:01,439
Speaker 1: dog that the family. He has is going around helping

945
00:53:01,480 --> 00:53:03,720
Speaker 1: himself to some of the human food. The human snacks

946
00:53:03,719 --> 00:53:06,279
Speaker 1: that are left laying about, and the boys not at

947
00:53:06,320 --> 00:53:09,160
Speaker 1: the party. Terry wants to be in the party, but

948
00:53:10,000 --> 00:53:12,160
Speaker 1: Glenn's got them up in the room. He knows that

949
00:53:12,200 --> 00:53:14,600
Speaker 1: Al doesn't want him down at the party. Terry's trying

950
00:53:14,640 --> 00:53:17,080
Speaker 1: to talk him into it. They're working on this g o.

951
00:53:17,760 --> 00:53:20,600
Speaker 1: Terry can't crack it for some reason, and then Glenn

952
00:53:20,640 --> 00:53:24,720
Speaker 1: takes a shot at it and succeeds almost instantly cracks

953
00:53:24,760 --> 00:53:28,759
Speaker 1: open and let's out kind of a sigh of gas. Right, Yeah,

954
00:53:28,800 --> 00:53:31,799
Speaker 1: it's like purple smoke, purple lights. When they start looking

955
00:53:31,800 --> 00:53:34,520
Speaker 1: at it, it's sparkly like like geodes typically are, but

956
00:53:34,560 --> 00:53:37,640
Speaker 1: it's it's it's purple light, sparkly like it's emitting its

957
00:53:37,640 --> 00:53:40,440
Speaker 1: own light. And then also it seems to have left

958
00:53:40,600 --> 00:53:43,400
Speaker 1: some sort of satanic message on their magic slate that

959
00:53:43,480 --> 00:53:45,080
Speaker 1: they have. They're the one where you pull up the

960
00:53:45,719 --> 00:53:48,320
Speaker 1: uh the I don't even know they still have these around,

961
00:53:48,360 --> 00:53:50,319
Speaker 1: but they were. They were definitely a big part of

962
00:53:50,360 --> 00:53:53,400
Speaker 1: my childhood. Yeah, it's like that flimsy layer of plastic

963
00:53:53,480 --> 00:53:55,680
Speaker 1: that you can write a message into and it'll kind

964
00:53:55,680 --> 00:53:59,080
Speaker 1: of magnetize. That's the wrong word, but stick with something darker.

965
00:53:59,160 --> 00:54:03,560
Speaker 1: Underneath it. Yeah, it barely works. It was we I

966
00:54:03,600 --> 00:54:06,160
Speaker 1: remember loving these, and you could they were sometimes branded

967
00:54:06,160 --> 00:54:09,400
Speaker 1: with different TV shows and whatnot, that they barely worked.

968
00:54:09,600 --> 00:54:11,719
Speaker 1: Anything you'd write in it or drawn it would kind

969
00:54:11,719 --> 00:54:16,080
Speaker 1: of like unstick and become unclear. So really, the demons

970
00:54:16,120 --> 00:54:19,440
Speaker 1: here trying to reach out and converse with humans through

971
00:54:19,520 --> 00:54:22,839
Speaker 1: this medium. It was a poor choice. Yeah, it barely works. Here.

972
00:54:22,880 --> 00:54:25,520
Speaker 1: You can barely make out that there is an incantation.

973
00:54:25,880 --> 00:54:28,080
Speaker 1: I kept thinking that one of the kids had written

974
00:54:28,160 --> 00:54:30,080
Speaker 1: something and just done a bad job at it. But

975
00:54:30,120 --> 00:54:34,040
Speaker 1: it is the demon speech. They picked the objectively the

976
00:54:34,080 --> 00:54:40,040
Speaker 1: worst tool to communicate with. Meanwhile, downstairs, the party has

977
00:54:40,280 --> 00:54:42,680
Speaker 1: uh has gone on to the next level, which is

978
00:54:42,680 --> 00:54:46,360
Speaker 1: is storytelling. Yeah, they they're the camera pans across and

979
00:54:46,480 --> 00:54:50,040
Speaker 1: there's a group of about twenty teenagers sitting around listening

980
00:54:50,040 --> 00:54:52,640
Speaker 1: to one teenager tell a scary story, which is like

981
00:54:52,680 --> 00:54:57,400
Speaker 1: a camp fire style scary story, not even a specifically

982
00:54:57,560 --> 00:55:00,480
Speaker 1: or related to them or related to their lives, just

983
00:55:00,560 --> 00:55:04,080
Speaker 1: a very kind of hokey scary story. Candle light all

984
00:55:04,120 --> 00:55:08,960
Speaker 1: over the room. Uh, these these party animals who are

985
00:55:08,960 --> 00:55:12,280
Speaker 1: throwing down so hard just moments ago, I can't imagine

986
00:55:12,320 --> 00:55:15,480
Speaker 1: what the transition would have been to candle light scary

987
00:55:15,560 --> 00:55:18,400
Speaker 1: story time, but that's where they are, yeah, because there

988
00:55:18,400 --> 00:55:20,200
Speaker 1: doesn't seem to be a clear leader of the party

989
00:55:20,239 --> 00:55:23,280
Speaker 1: and we don't see al commanding them all right story time,

990
00:55:23,920 --> 00:55:25,960
Speaker 1: But the next time we check in with them, Uh,

991
00:55:26,000 --> 00:55:31,520
Speaker 1: they've moved on to attempting levitation. And it gets a

992
00:55:31,560 --> 00:55:34,400
Speaker 1: pretty plot oriented here because one of the jockey r

993
00:55:34,480 --> 00:55:37,239
Speaker 1: teens that they can't get him to levitate, and he's like, well,

994
00:55:37,280 --> 00:55:39,239
Speaker 1: let's get He sees Glenn and Terry coming by. It's like,

995
00:55:39,400 --> 00:55:41,000
Speaker 1: let's make him do it. Let's get the little guy,

996
00:55:41,600 --> 00:55:45,400
Speaker 1: and uh, he agrees, but he gets scary pretty quickly.

997
00:55:45,480 --> 00:55:47,480
Speaker 1: Like this is where we get into that weird area

998
00:55:47,520 --> 00:55:50,120
Speaker 1: of and we have to ask the question is Glenn magic?

999
00:55:50,400 --> 00:55:53,439
Speaker 1: Because Glenn actually does levitate and he ends up hanging

1000
00:55:53,440 --> 00:55:56,480
Speaker 1: onto a light. The light breaks and it's scary and

1001
00:55:56,520 --> 00:55:59,480
Speaker 1: Glenn runs off crying. Yeah, he goes like full Wonka

1002
00:55:59,560 --> 00:56:02,000
Speaker 1: with the lifting drinks and like you can't stop, and

1003
00:56:02,080 --> 00:56:04,080
Speaker 1: keeps kind of going up and going up, and then

1004
00:56:04,120 --> 00:56:06,960
Speaker 1: does break the glass, which I guess breaks the spell somehow,

1005
00:56:07,080 --> 00:56:10,839
Speaker 1: falls down, gets really embarrassed and cries, which again, like

1006
00:56:11,239 --> 00:56:14,040
Speaker 1: the way he plays these these childlike moments, the way

1007
00:56:14,040 --> 00:56:16,560
Speaker 1: he plays his excitement at being asked to come and

1008
00:56:16,600 --> 00:56:20,759
Speaker 1: participate in the levitation, They're so authentic and he does

1009
00:56:20,760 --> 00:56:23,680
Speaker 1: such a great job at delivering those. Yeah. I think

1010
00:56:23,719 --> 00:56:25,080
Speaker 1: this was the point in the film where I really

1011
00:56:25,080 --> 00:56:28,800
Speaker 1: started realizing that when you have the moment of him crying, uh,

1012
00:56:28,880 --> 00:56:31,800
Speaker 1: you know, like a child, but also kind of unlike

1013
00:56:32,680 --> 00:56:37,360
Speaker 1: action oriented child characters in movies typically of this caliber, uh,

1014
00:56:37,520 --> 00:56:43,080
Speaker 1: they seem to really take the take him seriously, come together. Uh. So,

1015
00:56:43,080 --> 00:56:45,160
Speaker 1: so he's up in his room crying, Allan Terry come

1016
00:56:45,239 --> 00:56:48,160
Speaker 1: up to sort of talk him down. H Glenn says,

1017
00:56:48,200 --> 00:56:50,840
Speaker 1: I want to call mom and dad, and all insist

1018
00:56:50,880 --> 00:56:53,759
Speaker 1: that it's not necessary. But me, I'm watching this and

1019
00:56:53,800 --> 00:56:56,000
Speaker 1: as a parent, I'm thinking, no, you shouldn't call mom

1020
00:56:56,000 --> 00:56:59,480
Speaker 1: and dad, Like lights have been broken at this point. Uh,

1021
00:56:59,600 --> 00:57:02,719
Speaker 1: mom and d should be called. But how overrules it?

1022
00:57:02,960 --> 00:57:06,040
Speaker 1: And I think Glenn speaks to this, but the focus

1023
00:57:07,160 --> 00:57:09,319
Speaker 1: is so not on the fact that this child has

1024
00:57:09,440 --> 00:57:12,120
Speaker 1: levitated off of the ground up to the ceiling, like

1025
00:57:12,239 --> 00:57:15,200
Speaker 1: nobody else acknowledges or it seems to care about that.

1026
00:57:15,640 --> 00:57:18,800
Speaker 1: And to me, that is like, don't just call your parents, like,

1027
00:57:19,040 --> 00:57:21,919
Speaker 1: everybody's gotta go. We gotta get everybody out of this house.

1028
00:57:22,040 --> 00:57:24,560
Speaker 1: We've got to get over to Mrs vander Griff's house,

1029
00:57:25,160 --> 00:57:30,440
Speaker 1: get away from that situation. And it, you know, it

1030
00:57:30,480 --> 00:57:34,400
Speaker 1: speaks to this recurring sentiment that I that I had

1031
00:57:34,440 --> 00:57:37,560
Speaker 1: throughout the movie of what are these demons trying to do?

1032
00:57:38,840 --> 00:57:41,720
Speaker 1: Are these just the effects of opening the gate and

1033
00:57:41,720 --> 00:57:45,240
Speaker 1: they're just being a little bit more of a ethereal

1034
00:57:45,400 --> 00:57:49,200
Speaker 1: state to the world around the house, or are they

1035
00:57:49,200 --> 00:57:51,720
Speaker 1: trying to be scared? Are they trying to be manipulated?

1036
00:57:51,800 --> 00:57:55,120
Speaker 1: Is something intentional happening to them? Yeah? Yeah, And we

1037
00:57:55,120 --> 00:57:57,040
Speaker 1: we never get a real and it's kind of nice

1038
00:57:57,080 --> 00:57:59,200
Speaker 1: that we keep it ambiguous. Nobody ever, like it would

1039
00:57:59,200 --> 00:58:01,560
Speaker 1: have been a different type of film if what's her name,

1040
00:58:01,640 --> 00:58:05,520
Speaker 1: Mrs Vanderbeek, Mrs Vandergriff, Mr Vandergriff were to show up

1041
00:58:05,560 --> 00:58:08,120
Speaker 1: at one point and it turns out she's actually like

1042
00:58:08,160 --> 00:58:10,560
Speaker 1: a Mary Poppins demon fighter and she's like, look, the

1043
00:58:10,640 --> 00:58:13,040
Speaker 1: demons are trying to inspire your fear, which they feed

1044
00:58:13,040 --> 00:58:14,560
Speaker 1: off off, and then they use the interview the fear

1045
00:58:14,600 --> 00:58:16,400
Speaker 1: to open the gate. And then she's like, you know,

1046
00:58:16,480 --> 00:58:18,960
Speaker 1: killed by a demon before she gets help. But we

1047
00:58:18,960 --> 00:58:20,880
Speaker 1: don't get that, and then I kind of like that

1048
00:58:20,960 --> 00:58:23,840
Speaker 1: we don't. Yeah, yeah, I think it. It leaves it

1049
00:58:24,040 --> 00:58:27,760
Speaker 1: a lot more ambiguous, but also just leave space for fun.

1050
00:58:28,120 --> 00:58:31,000
Speaker 1: And that's what this movie delivers. And when you think fun,

1051
00:58:31,200 --> 00:58:33,680
Speaker 1: you think sleepovers, and we get the first of many

1052
00:58:33,720 --> 00:58:38,680
Speaker 1: sleepovers at this point. Yeah, Terry wakes up. Uh. I

1053
00:58:38,720 --> 00:58:41,880
Speaker 1: believe Terry is the first to wake up. Correct, Terry

1054
00:58:41,960 --> 00:58:44,360
Speaker 1: sleeping over? Like it's kind of like Owl's solution is like,

1055
00:58:44,600 --> 00:58:46,000
Speaker 1: we're not going to call mom and dad, but you know,

1056
00:58:46,400 --> 00:58:49,640
Speaker 1: Terry can sleep over. There's a very cool effect happening

1057
00:58:49,840 --> 00:58:52,480
Speaker 1: at the transition to the scene where it is the

1058
00:58:52,520 --> 00:58:55,880
Speaker 1: moths that are surrounding the bugsapper outside of the window

1059
00:58:56,040 --> 00:58:59,000
Speaker 1: or being projected onto the wall of the bedroom, and

1060
00:58:59,000 --> 00:59:02,160
Speaker 1: it's stop motion effect that's really really effective. It makes

1061
00:59:02,200 --> 00:59:07,400
Speaker 1: the moths look enormous. Uh, and it really Chef's kiss

1062
00:59:07,440 --> 00:59:10,400
Speaker 1: to that one. Yeah. Yeah, something unsettling is happening, and

1063
00:59:10,400 --> 00:59:14,240
Speaker 1: you see it reflected in in in nature before things

1064
00:59:14,240 --> 00:59:16,600
Speaker 1: start getting really weird, and then they get really weird

1065
00:59:16,640 --> 00:59:20,320
Speaker 1: pretty quickly. Yeah, Terry has dreams of his mother. I

1066
00:59:20,320 --> 00:59:23,240
Speaker 1: think he wakes up and and here's her calling him,

1067
00:59:23,480 --> 00:59:28,160
Speaker 1: I think goes downstairs opens and she yeah, she walks

1068
00:59:28,200 --> 00:59:31,240
Speaker 1: in and it's like an angelic scene where she's there's

1069
00:59:31,240 --> 00:59:33,600
Speaker 1: like smoke and white light and she holds up her

1070
00:59:33,720 --> 00:59:37,000
Speaker 1: arms and she's like like, Terry, I'm back, and he

1071
00:59:38,280 --> 00:59:42,160
Speaker 1: uh engages in a awkwardly long embraced with his mother

1072
00:59:42,320 --> 00:59:46,880
Speaker 1: where they spin around. And then I believe that the

1073
00:59:47,080 --> 00:59:51,880
Speaker 1: Glenn and Al wake up and do they hear something?

1074
00:59:52,000 --> 00:59:53,960
Speaker 1: Do they for some reason? They get up and they

1075
00:59:53,960 --> 00:59:56,840
Speaker 1: come out to investigate. There's like a sound, and then

1076
00:59:56,840 --> 00:59:59,320
Speaker 1: there's like stuff moving around in the walls, you know,

1077
00:59:59,360 --> 01:00:02,600
Speaker 1: kind of like for Krueger style where it's like poking

1078
01:00:02,840 --> 01:00:05,120
Speaker 1: up the walls and and uh, like the walls were

1079
01:00:05,120 --> 01:00:08,240
Speaker 1: made out of rubber, and so everything's getting freaky, and

1080
01:00:08,280 --> 01:00:10,600
Speaker 1: so Glenn and Al come out or Glenn comes out,

1081
01:00:10,640 --> 01:00:13,080
Speaker 1: Al hears this, or Al comes out or he wakes

1082
01:00:13,120 --> 01:00:16,800
Speaker 1: out up and then there's Glenn down there, um and well,

1083
01:00:16,960 --> 01:00:19,360
Speaker 1: and then then he gets even weirder. Yeah, they call

1084
01:00:19,480 --> 01:00:22,400
Speaker 1: his name and he kind of snaps out of his

1085
01:00:22,560 --> 01:00:25,720
Speaker 1: dream or sleep and realizes that he's holding Angus the

1086
01:00:25,760 --> 01:00:28,960
Speaker 1: dog in his arms. And this is the point where

1087
01:00:29,760 --> 01:00:32,960
Speaker 1: I'll confess to being a little bit confused. He throws

1088
01:00:33,000 --> 01:00:37,720
Speaker 1: the dog down because he's surprised that it's not his mother. Justifiable.

1089
01:00:38,760 --> 01:00:43,320
Speaker 1: The dog is dead, and I cannot figure out was

1090
01:00:43,400 --> 01:00:48,560
Speaker 1: Angus dead while Terry was holding him? Did Terry throwing

1091
01:00:48,680 --> 01:00:52,320
Speaker 1: Angus down kill him? I'm not even gonna get into

1092
01:00:53,040 --> 01:00:56,120
Speaker 1: at what point was Angus in the situation, because I

1093
01:00:56,120 --> 01:00:58,720
Speaker 1: don't think Angus opened the door and walked in on

1094
01:00:58,760 --> 01:01:02,280
Speaker 1: two hind legs, you know. I imagine that that Terry

1095
01:01:02,320 --> 01:01:05,480
Speaker 1: picked Angus up at some point to at the point

1096
01:01:05,480 --> 01:01:08,320
Speaker 1: he needed to hug something would be my take on it.

1097
01:01:08,400 --> 01:01:11,440
Speaker 1: But but what are your thoughts? Did did Terry accidentally

1098
01:01:11,520 --> 01:01:14,520
Speaker 1: kill the dog? Or was the dog dead? Slash? Did

1099
01:01:14,560 --> 01:01:17,680
Speaker 1: the demon kill the dog? I Am absolutely not gonna

1100
01:01:17,720 --> 01:01:19,440
Speaker 1: lump this one on Terry. I think it had to

1101
01:01:19,440 --> 01:01:24,000
Speaker 1: be the demon. Um Nobody blames Terry for this in

1102
01:01:24,040 --> 01:01:26,680
Speaker 1: the film later on, when they're talking about Glenn's like

1103
01:01:27,120 --> 01:01:30,280
Speaker 1: Angus was super old. He they don't live much longer

1104
01:01:30,320 --> 01:01:33,920
Speaker 1: than this anyway, So other than that, they don't really

1105
01:01:34,000 --> 01:01:37,439
Speaker 1: engage with the whole scenario too much. But either way

1106
01:01:37,480 --> 01:01:40,600
Speaker 1: that the dog is the dog is dead. And I

1107
01:01:40,640 --> 01:01:42,360
Speaker 1: will say that I know a lot of people do

1108
01:01:42,400 --> 01:01:44,280
Speaker 1: not want to watch a film and which the dog dies,

1109
01:01:45,400 --> 01:01:49,160
Speaker 1: at least in this film, when the dog dies, like

1110
01:01:49,160 --> 01:01:51,360
Speaker 1: like everything else we've been discussing, they take it seriously

1111
01:01:51,400 --> 01:01:53,920
Speaker 1: like it's people are affected by it. It's actually part

1112
01:01:53,960 --> 01:01:55,920
Speaker 1: of the plot and it's not just like, let's shock

1113
01:01:56,000 --> 01:01:58,880
Speaker 1: that audience by having a monster eat a dog. That's right.

1114
01:01:58,920 --> 01:02:01,520
Speaker 1: They don't spend a lot of time showing it either.

1115
01:02:01,760 --> 01:02:04,800
Speaker 1: I think they There is a weird bit where Al's

1116
01:02:05,000 --> 01:02:10,200
Speaker 1: boyfriend or suitor offers to take the dog to be

1117
01:02:10,400 --> 01:02:13,560
Speaker 1: cremated or buried, but cannot do it, and he's kind

1118
01:02:13,560 --> 01:02:15,960
Speaker 1: of carrying the dog around in a blanket this entire time,

1119
01:02:16,080 --> 01:02:18,280
Speaker 1: puts it in the front seat of the car, tries

1120
01:02:18,360 --> 01:02:21,200
Speaker 1: to drive it uh to the animal shelter or the

1121
01:02:21,240 --> 01:02:24,480
Speaker 1: animal hospital, and then it's closed and has to drive back.

1122
01:02:24,480 --> 01:02:26,920
Speaker 1: We're not there yet, but I agree they do do

1123
01:02:26,960 --> 01:02:30,720
Speaker 1: it very sensitively and delicately, and most of all, they

1124
01:02:30,720 --> 01:02:32,880
Speaker 1: spend a lot of time on how Glenn feels about

1125
01:02:32,880 --> 01:02:37,480
Speaker 1: it and how upset he is by this. And again

1126
01:02:37,640 --> 01:02:40,880
Speaker 1: he's like, look, how the dog has died. We should

1127
01:02:40,880 --> 01:02:43,120
Speaker 1: call mom and dad and she's like, no, no need

1128
01:02:43,160 --> 01:02:45,680
Speaker 1: to call mom and dad. And again I'm thinking is

1129
01:02:45,760 --> 01:02:47,480
Speaker 1: especially as the parents like, no, you call up my

1130
01:02:47,600 --> 01:02:50,880
Speaker 1: my dad, like the light is broken, the dog is dead.

1131
01:02:51,320 --> 01:02:53,040
Speaker 1: Calm mom and dad and at least let them know,

1132
01:02:53,680 --> 01:02:55,880
Speaker 1: because I think for a while there I'm not even

1133
01:02:55,920 --> 01:02:57,760
Speaker 1: clear that there. I was like, what they do with

1134
01:02:57,800 --> 01:03:00,080
Speaker 1: the dog? Is he in the freezer? You don't? It

1135
01:03:00,080 --> 01:03:03,000
Speaker 1: becomes clear later that that one of the teen friends

1136
01:03:03,000 --> 01:03:06,680
Speaker 1: has been tasked with taking the dog unceremoniously to the

1137
01:03:06,840 --> 01:03:09,760
Speaker 1: like the animal shelter or the or whatever, to have

1138
01:03:09,800 --> 01:03:12,240
Speaker 1: it disposed of, and to be quick about it because

1139
01:03:12,280 --> 01:03:14,240
Speaker 1: they're going to the beach and they want him to

1140
01:03:14,320 --> 01:03:17,680
Speaker 1: join them at the beach sooner than later. So it's

1141
01:03:17,880 --> 01:03:22,080
Speaker 1: a weird friendly gesture. It's weird that Al isn't going

1142
01:03:22,120 --> 01:03:24,520
Speaker 1: with him on this trip, uh, And it's weird that

1143
01:03:24,560 --> 01:03:26,640
Speaker 1: they want him to be quick about it. It is

1144
01:03:26,680 --> 01:03:30,240
Speaker 1: a little bit strange how removed Al is from the situation.

1145
01:03:30,320 --> 01:03:33,720
Speaker 1: She doesn't seem nearly as upset about this as Glenna does. Uh.

1146
01:03:33,760 --> 01:03:35,920
Speaker 1: And maybe it's because she doesn't want to think about

1147
01:03:35,960 --> 01:03:38,880
Speaker 1: these things that are happening. Kind of Stephen king it

1148
01:03:39,320 --> 01:03:42,479
Speaker 1: level of grown ups not thinking about this the same

1149
01:03:42,480 --> 01:03:44,680
Speaker 1: way that a kid is. But again she's on that

1150
01:03:44,760 --> 01:03:48,320
Speaker 1: bridge between childhood and being a grown up, so she's

1151
01:03:48,360 --> 01:03:51,680
Speaker 1: on and off with her sensitivity to it. Yeah and

1152
01:03:51,680 --> 01:03:55,760
Speaker 1: and yeah. Sometimes something strange or traumatic happens, you gotta

1153
01:03:55,800 --> 01:03:57,800
Speaker 1: get your mind off of it, which is what this

1154
01:03:57,880 --> 01:04:00,360
Speaker 1: is what Glenn does. Because we Glenn go home, we

1155
01:04:00,400 --> 01:04:02,720
Speaker 1: get to see Glun's home. At this point. We see

1156
01:04:02,720 --> 01:04:04,920
Speaker 1: that it is a wreck. The living room is just

1157
01:04:04,960 --> 01:04:07,360
Speaker 1: like in the kitchen just has stuff everywhere. There's cold

1158
01:04:07,400 --> 01:04:10,120
Speaker 1: pizza out and he just grabs the slice and eats it,

1159
01:04:10,120 --> 01:04:12,360
Speaker 1: presumably for dinner, and we get the idea that like

1160
01:04:12,400 --> 01:04:14,600
Speaker 1: this is kind of par for the course these days.

1161
01:04:15,280 --> 01:04:17,880
Speaker 1: Um home. Home is not maybe not all that great

1162
01:04:18,200 --> 01:04:20,320
Speaker 1: for Glenn at the moment, But then he goes to

1163
01:04:20,400 --> 01:04:22,960
Speaker 1: his room and it is a glorious site. We described

1164
01:04:23,000 --> 01:04:26,720
Speaker 1: a little bit already, but it's trans transformers, optimist prime

1165
01:04:26,840 --> 01:04:31,000
Speaker 1: kite hanging from the ceiling, heavy metal posters on the walls,

1166
01:04:31,360 --> 01:04:33,360
Speaker 1: many of which appear to be real. I do get

1167
01:04:33,440 --> 01:04:35,720
Speaker 1: kind of a clip art vibe from some things that

1168
01:04:35,760 --> 01:04:38,040
Speaker 1: are on the wall, but for the most part it's believable.

1169
01:04:38,800 --> 01:04:41,840
Speaker 1: And he even has a handmade banner back there that

1170
01:04:41,960 --> 01:04:46,280
Speaker 1: just says metal. I think the thing that really says

1171
01:04:46,440 --> 01:04:48,680
Speaker 1: the most about his character to me is the posters

1172
01:04:48,720 --> 01:04:51,800
Speaker 1: on top of posters, which is a very genuine kid

1173
01:04:51,800 --> 01:04:54,440
Speaker 1: thing of Hey, I like these, and I'm gonna put

1174
01:04:54,440 --> 01:04:56,880
Speaker 1: another one up and it's gonna cover a quarter of it.

1175
01:04:56,960 --> 01:04:59,120
Speaker 1: But that's okay. It's gonna be at an angle. But

1176
01:04:59,240 --> 01:05:01,160
Speaker 1: this is the band I really like at this moment.

1177
01:05:01,160 --> 01:05:03,280
Speaker 1: I don't not like the band that it's covering, So

1178
01:05:03,600 --> 01:05:06,360
Speaker 1: it just kind of becomes this ever growing patchwork of stuff.

1179
01:05:06,600 --> 01:05:09,040
Speaker 1: But yeah, just a filthy room. He's jumping up and

1180
01:05:09,080 --> 01:05:11,880
Speaker 1: down on the bed, rocking out, listening to some metal.

1181
01:05:11,960 --> 01:05:14,120
Speaker 1: Do we know the name of this band? Um? I

1182
01:05:14,160 --> 01:05:19,760
Speaker 1: think this is supposed to be the fictitious band Sacrifice

1183
01:05:20,640 --> 01:05:25,240
Speaker 1: or Sacrifice. It's s a c R I F y X.

1184
01:05:25,640 --> 01:05:30,000
Speaker 1: The album is the Dark Book because we see him

1185
01:05:30,040 --> 01:05:32,000
Speaker 1: handling it. But wait, at first, he just he throws

1186
01:05:32,040 --> 01:05:35,160
Speaker 1: a blanket over, like a rainbow blanket over his shoulders,

1187
01:05:35,360 --> 01:05:38,480
Speaker 1: and he's rocking out and he's he's lips sinking to

1188
01:05:38,640 --> 01:05:42,440
Speaker 1: all the cool metal voiceover stuff in it. But then

1189
01:05:42,480 --> 01:05:44,600
Speaker 1: it begins to dawn on him. It's like there's something

1190
01:05:44,600 --> 01:05:47,040
Speaker 1: in these lyrics. It's matching up with what is going

1191
01:05:47,080 --> 01:05:48,960
Speaker 1: on in the neighborhood here. This is what that's going

1192
01:05:49,000 --> 01:05:52,320
Speaker 1: on over at Glenn's house. He busts out that that

1193
01:05:52,440 --> 01:05:57,160
Speaker 1: Sacrifice album and the record booklet for the Dark Book

1194
01:05:57,640 --> 01:06:00,200
Speaker 1: is the Dark Book. It's like basically a tone of

1195
01:06:00,240 --> 01:06:03,680
Speaker 1: demonology that's just ready to go in the vinyl record.

1196
01:06:04,480 --> 01:06:08,240
Speaker 1: Just imagine put it yourselves in the in the in

1197
01:06:08,280 --> 01:06:13,480
Speaker 1: the shoes of whatever necromancer or or wizard this was

1198
01:06:13,560 --> 01:06:18,240
Speaker 1: who wrote this demonic tone of how to presumably both

1199
01:06:18,440 --> 01:06:22,400
Speaker 1: release and seal these demonic enterities. And you call it

1200
01:06:22,440 --> 01:06:26,200
Speaker 1: the Dark Book, like it's the Dark Book. It's gonna

1201
01:06:26,200 --> 01:06:29,960
Speaker 1: be the only dark book that ever exists. Well, maybe

1202
01:06:30,000 --> 01:06:33,720
Speaker 1: it's translated from the Latin. It sounds coolers Latin, you know, right,

1203
01:06:34,240 --> 01:06:36,960
Speaker 1: Maybe it's a dark book in Latin, and they acknowledge

1204
01:06:37,000 --> 01:06:38,680
Speaker 1: that they would be more and that this was just

1205
01:06:38,840 --> 01:06:41,360
Speaker 1: one of them. Yeah, it's also not very long if

1206
01:06:41,400 --> 01:06:44,880
Speaker 1: you can fit it inside of a vinyl record. Uh,

1207
01:06:45,160 --> 01:06:49,040
Speaker 1: maybe there's just Ultimately, the demon summoning ritual is a

1208
01:06:49,080 --> 01:06:51,960
Speaker 1: lot more simplistic in this um in this film, because

1209
01:06:52,000 --> 01:06:55,920
Speaker 1: it can be actually accidentally done. The demonic realm is

1210
01:06:55,960 --> 01:06:59,800
Speaker 1: kind of a unitask thing is there's just one demonic realm,

1211
01:07:00,040 --> 01:07:03,400
Speaker 1: one demon and like a can opener, there's one tool

1212
01:07:03,480 --> 01:07:14,280
Speaker 1: to summon and seal it. So at this point in

1213
01:07:14,280 --> 01:07:16,000
Speaker 1: the film, they're like a few different things going on

1214
01:07:16,080 --> 01:07:20,000
Speaker 1: at once. Um we uh, we have the team dude

1215
01:07:20,040 --> 01:07:23,280
Speaker 1: that's taking the dead dog's body around trying to drop

1216
01:07:23,280 --> 01:07:25,560
Speaker 1: it off an animal control. Like we said, he comes

1217
01:07:25,560 --> 01:07:27,520
Speaker 1: back to the house with it because they won't take it.

1218
01:07:27,800 --> 01:07:29,880
Speaker 1: Nobody seems to be home. But then he sees he

1219
01:07:30,120 --> 01:07:32,680
Speaker 1: sees that hole in the backyard, and we don't see

1220
01:07:32,760 --> 01:07:35,120
Speaker 1: him do it, but then we later see that the

1221
01:07:35,120 --> 01:07:39,400
Speaker 1: the hole has been filled in. Um, so presumably he

1222
01:07:39,480 --> 01:07:41,920
Speaker 1: dumps the dog in there, but he does a nice

1223
01:07:42,000 --> 01:07:45,040
Speaker 1: job laying the sad back in place using the sad squares.

1224
01:07:45,280 --> 01:07:47,160
Speaker 1: So it's not as as lazy and act as you

1225
01:07:47,240 --> 01:07:49,960
Speaker 1: might think. I do wanna you know, I have in

1226
01:07:50,000 --> 01:07:51,760
Speaker 1: my notes here at this point in the film, and

1227
01:07:51,800 --> 01:07:53,320
Speaker 1: I'm not sure if it's in this scene or a

1228
01:07:53,360 --> 01:07:56,160
Speaker 1: scene that that we just went past. But you know,

1229
01:07:56,280 --> 01:07:58,880
Speaker 1: a lot of the kids insults to each other pretty unacceptable,

1230
01:07:58,960 --> 01:08:02,640
Speaker 1: pretty unforgivable then and now. But one that that shines

1231
01:08:02,760 --> 01:08:07,400
Speaker 1: through is quote buzz off clown face, which is delivered directly.

1232
01:08:08,160 --> 01:08:11,040
Speaker 1: I think Glenn says it to one of the sisters,

1233
01:08:11,600 --> 01:08:14,680
Speaker 1: and it said so sincerely and so earnestly, And it's

1234
01:08:14,720 --> 01:08:19,280
Speaker 1: such a quaint, charming, but but no less sharp and

1235
01:08:19,320 --> 01:08:23,439
Speaker 1: cutting insult that I had to make a note of it. Yeah,

1236
01:08:23,479 --> 01:08:26,479
Speaker 1: the kids are in the teams are downright mean with

1237
01:08:26,520 --> 01:08:28,720
Speaker 1: their insults at times. But yeah, certainly some of these

1238
01:08:28,720 --> 01:08:32,120
Speaker 1: insults that are thrown by the kids have not stood

1239
01:08:32,160 --> 01:08:35,640
Speaker 1: the test of time. That's right, that's right. Um. So

1240
01:08:35,760 --> 01:08:38,800
Speaker 1: Glenn's at home alone, he looks out and he sees

1241
01:08:38,840 --> 01:08:42,200
Speaker 1: that the hole is back, and then they pulled some

1242
01:08:42,240 --> 01:08:46,559
Speaker 1: wood over it. Yeah, that treehouse. They're like, well, let's

1243
01:08:46,560 --> 01:08:50,040
Speaker 1: cover it up. Yeah. I don't understand. I guess that's

1244
01:08:50,040 --> 01:08:52,720
Speaker 1: to keep things from falling into it. Uh. This is

1245
01:08:52,760 --> 01:08:56,360
Speaker 1: happening while Eric is bringing the dog back, right, So

1246
01:08:57,280 --> 01:09:00,360
Speaker 1: we're getting kind of a split back and forth between

1247
01:09:00,400 --> 01:09:03,600
Speaker 1: the two of them. Uh. This is where Terry is

1248
01:09:03,960 --> 01:09:06,960
Speaker 1: talking to Glenn about the Dark Book and kind of

1249
01:09:07,040 --> 01:09:10,759
Speaker 1: onboarding him to the concepts. And this is where again

1250
01:09:10,920 --> 01:09:14,960
Speaker 1: Chef's kiss. He puts the record on and plays it backwards.

1251
01:09:15,479 --> 01:09:17,960
Speaker 1: And when you play the record backwards. It tells you

1252
01:09:17,960 --> 01:09:23,280
Speaker 1: how to seal presumably the whole, how to seal the gate. Yeah,

1253
01:09:23,320 --> 01:09:27,960
Speaker 1: there's there's a wonderful scene in Glenn's This isn't the basement. Uh,

1254
01:09:28,000 --> 01:09:30,240
Speaker 1: this is Terry's basement, right or is this Glenn's basement?

1255
01:09:30,240 --> 01:09:32,680
Speaker 1: I think it's Glenn's basement. Okay, Yeah, there's like a

1256
01:09:32,760 --> 01:09:35,519
Speaker 1: drum kit down there, but more metal posters, like all

1257
01:09:35,520 --> 01:09:37,760
Speaker 1: the metal posters that didn't fit in his room or

1258
01:09:37,800 --> 01:09:41,400
Speaker 1: down here, and he's walking him through everything. He's given

1259
01:09:41,439 --> 01:09:43,439
Speaker 1: him the full pitch on this band about how they

1260
01:09:43,439 --> 01:09:46,800
Speaker 1: were really deep into demonology and they had this thing

1261
01:09:46,840 --> 01:09:50,640
Speaker 1: called the Dark Book quote that's like the Bible for demons,

1262
01:09:50,760 --> 01:09:53,120
Speaker 1: and this is where they got all their lyrics from.

1263
01:09:53,160 --> 01:09:56,439
Speaker 1: But yeah, there's this They really stressed that this particular

1264
01:09:56,479 --> 01:10:00,479
Speaker 1: metal band sacrifice or sacrifice. Um, yeah, it's entually. They're

1265
01:10:00,479 --> 01:10:03,280
Speaker 1: wise wizards who are giving us information on how to

1266
01:10:03,360 --> 01:10:06,360
Speaker 1: not only summon the old gods but also how to

1267
01:10:06,360 --> 01:10:09,759
Speaker 1: defeat them. That's right, that's right. Um, it's just that simple.

1268
01:10:10,000 --> 01:10:16,040
Speaker 1: And it's as simple as writing a song with forward

1269
01:10:16,560 --> 01:10:19,719
Speaker 1: sounding lyrics that makes sense but also work as backwards

1270
01:10:19,760 --> 01:10:24,160
Speaker 1: sounding lyrics that actually in part information, difficult, difficult to

1271
01:10:24,200 --> 01:10:28,360
Speaker 1: follow information. So at this point, with their newfound exorcism

1272
01:10:28,360 --> 01:10:30,719
Speaker 1: skills from having listening to the listen to this album

1273
01:10:30,800 --> 01:10:33,720
Speaker 1: once and read the liner notes, Glenn and Terry they

1274
01:10:33,760 --> 01:10:35,800
Speaker 1: go back to the pit. They like, let's go ahead,

1275
01:10:35,880 --> 01:10:40,200
Speaker 1: let's see this puppy up. Uh and uh, and so

1276
01:10:40,320 --> 01:10:44,599
Speaker 1: they start reading some stuff, reciting some stuff. Al walks up,

1277
01:10:44,720 --> 01:10:48,080
Speaker 1: she's suspicious of this whole affair. But then we transition

1278
01:10:48,120 --> 01:10:50,880
Speaker 1: into this kind of sweet moment where we we we

1279
01:10:50,880 --> 01:10:53,000
Speaker 1: were we had the understanding that Al was going to

1280
01:10:53,040 --> 01:10:56,320
Speaker 1: go to the beach with their friends, but instead she

1281
01:10:56,520 --> 01:10:58,320
Speaker 1: reveals that no, she's she's not going to go to

1282
01:10:58,320 --> 01:11:01,160
Speaker 1: the beach, and she has a gift that she gives Glenn,

1283
01:11:01,360 --> 01:11:03,559
Speaker 1: this thoughtful gift that of course turns out to be

1284
01:11:03,600 --> 01:11:07,520
Speaker 1: more rocket stuff. And so we this kind brings back, uh,

1285
01:11:07,680 --> 01:11:11,520
Speaker 1: this bond between them. Uh. This is some nice uh,

1286
01:11:11,880 --> 01:11:14,200
Speaker 1: some sweet stuff going on in this scene. Yeah, definitely,

1287
01:11:14,320 --> 01:11:17,360
Speaker 1: And they they launched the rocket right after that. And

1288
01:11:17,439 --> 01:11:21,200
Speaker 1: again as a testament to all the craziness that's going on,

1289
01:11:21,439 --> 01:11:23,599
Speaker 1: all the weird stuff that's going on, this hole that

1290
01:11:23,720 --> 01:11:28,439
Speaker 1: keeps appearing in the backyard, the levitation, this dead dog,

1291
01:11:29,760 --> 01:11:31,639
Speaker 1: and they're able to just kind of shrug it all

1292
01:11:31,680 --> 01:11:34,439
Speaker 1: off and have a really kid moment where they're launching

1293
01:11:34,479 --> 01:11:38,679
Speaker 1: the rocket together. At this scene, Al does have the

1294
01:11:38,800 --> 01:11:41,200
Speaker 1: rocket patch jacket on as well, so they're both kind

1295
01:11:41,200 --> 01:11:45,240
Speaker 1: of in uniform, just like the picture that Glenn looks

1296
01:11:45,280 --> 01:11:46,960
Speaker 1: at on the wall earlier in the movie. It's a

1297
01:11:47,040 --> 01:11:49,520
Speaker 1: very sweet moment. Now, pretty much from this we transitioned

1298
01:11:49,560 --> 01:11:52,880
Speaker 1: to Al, Terry, and Glenn playing cards later that night.

1299
01:11:53,400 --> 01:11:56,120
Speaker 1: But then the Lea sisters come over. So even though

1300
01:11:56,000 --> 01:11:59,320
Speaker 1: the beach party was canceled, the Lee sisters decided to

1301
01:11:59,320 --> 01:12:01,880
Speaker 1: come over and hang out. It looks like there's gonna be.

1302
01:12:01,960 --> 01:12:04,599
Speaker 1: They're gonna be yet yet again. More sleepovers, this time

1303
01:12:04,680 --> 01:12:08,840
Speaker 1: dueling sleepovers. Belief sisters doing a sleepover with Al and

1304
01:12:08,920 --> 01:12:11,559
Speaker 1: the interior and Glenn doing a sleepover. Of course. Yeah,

1305
01:12:11,600 --> 01:12:13,680
Speaker 1: there there's a scene where Glenn and Terry A are

1306
01:12:13,800 --> 01:12:17,240
Speaker 1: messing around in the parents closet and just just a

1307
01:12:17,360 --> 01:12:20,800
Speaker 1: rifle shotgun in the closet that Glenn's picking up and

1308
01:12:21,120 --> 01:12:23,799
Speaker 1: winging around. And again very of the time, I'm sure,

1309
01:12:24,400 --> 01:12:28,760
Speaker 1: but so so Bizarres. Yeah, there's a lot, a lot

1310
01:12:28,800 --> 01:12:31,920
Speaker 1: to be dissected about that theme for sure. Uh, certainly

1311
01:12:31,960 --> 01:12:34,160
Speaker 1: kind of horrifying to modern viewers. It's like, oh my god,

1312
01:12:34,160 --> 01:12:37,840
Speaker 1: they've gone straight to the gun, Dad's gun in the closet. Uh.

1313
01:12:37,880 --> 01:12:40,639
Speaker 1: This will of course be a plot element later on,

1314
01:12:41,200 --> 01:12:44,360
Speaker 1: but we have, but we've established it for now. One

1315
01:12:44,400 --> 01:12:47,559
Speaker 1: thing that we kind of glossed over when Glenn, when

1316
01:12:47,640 --> 01:12:50,600
Speaker 1: Terry was onboarding Glenn into the Dark Book and the

1317
01:12:50,640 --> 01:12:52,759
Speaker 1: contents of the Dark Book, is that we do see

1318
01:12:53,040 --> 01:12:56,360
Speaker 1: what I keep referring to in my notes as the minions. Uh,

1319
01:12:56,439 --> 01:13:01,120
Speaker 1: not those minions, guys, but actually little humanoid creatures that

1320
01:13:01,160 --> 01:13:05,280
Speaker 1: are probably what ankle now shin shinn hide to Kneehi,

1321
01:13:05,520 --> 01:13:09,200
Speaker 1: probably about that. Uh, that's the first that we see

1322
01:13:09,240 --> 01:13:12,960
Speaker 1: them kind of recorded in some official record. Yeah, yeah,

1323
01:13:12,960 --> 01:13:15,600
Speaker 1: these little um. I often refer to creatures like this

1324
01:13:15,680 --> 01:13:19,120
Speaker 1: as gromlins because they're sort of generic grimlins. But but

1325
01:13:19,160 --> 01:13:21,360
Speaker 1: these guys, these guys are tremendous. They're one of the

1326
01:13:21,520 --> 01:13:23,600
Speaker 1: my favorite effects from the screen. We see more and

1327
01:13:23,640 --> 01:13:27,240
Speaker 1: more of them as the film proceeds. They're little homunculi

1328
01:13:27,360 --> 01:13:32,120
Speaker 1: dudes with with like glassy eyes and little little vampire

1329
01:13:32,240 --> 01:13:36,439
Speaker 1: mouths and pointed ears, their hairless and the effects here.

1330
01:13:36,439 --> 01:13:38,960
Speaker 1: You might expect creatures like this to be created via

1331
01:13:39,000 --> 01:13:43,080
Speaker 1: stop motion, but instead it's a forced perspective stuff. For

1332
01:13:43,120 --> 01:13:44,840
Speaker 1: the most part, I think there's a puppet here and there,

1333
01:13:44,880 --> 01:13:49,000
Speaker 1: but for the most part, we're looking at multiple costumes

1334
01:13:49,000 --> 01:13:53,800
Speaker 1: worn by presumably full sized adult humans that are then

1335
01:13:53,880 --> 01:13:57,519
Speaker 1: made to look like tiny, scampering, squealing creatures. Yeah, you know,

1336
01:13:57,600 --> 01:13:59,840
Speaker 1: I think there's a combination of the stop motion that

1337
01:14:00,040 --> 01:14:03,920
Speaker 1: a combination of well, no, it's the same combination stop motion,

1338
01:14:04,040 --> 01:14:06,400
Speaker 1: and then there's a little bit of forced perspective with

1339
01:14:06,520 --> 01:14:08,600
Speaker 1: humans and costumes, and then there's a little bit of

1340
01:14:08,600 --> 01:14:11,720
Speaker 1: that projection that you see a lot of in Ghostbusters

1341
01:14:11,800 --> 01:14:15,120
Speaker 1: or other other other worldly effects. And I think the

1342
01:14:15,160 --> 01:14:18,120
Speaker 1: projection really stood out to me because once you see

1343
01:14:18,160 --> 01:14:20,600
Speaker 1: something like that, it's hard to unsee it. But to

1344
01:14:20,640 --> 01:14:24,080
Speaker 1: stop motion in the rubber suits force perspective, I found

1345
01:14:24,080 --> 01:14:27,120
Speaker 1: myself trying to figure out which was which in a

1346
01:14:27,120 --> 01:14:30,760
Speaker 1: lot of cases. And that's that's good effects. And if

1347
01:14:30,800 --> 01:14:34,320
Speaker 1: you ask me, I think if you're if you're even

1348
01:14:34,560 --> 01:14:37,000
Speaker 1: hesitating to to be able to tell the difference between

1349
01:14:37,000 --> 01:14:38,840
Speaker 1: the two, they've done their job really, really well. And

1350
01:14:38,920 --> 01:14:45,000
Speaker 1: sometimes they'll be back to back shots of uh, stop motion, Gromlin.

1351
01:14:45,160 --> 01:14:48,280
Speaker 1: I like that better than Minion. Uh taken right next

1352
01:14:48,320 --> 01:14:54,040
Speaker 1: to a human in the costume looking through large stair banisters.

1353
01:14:54,080 --> 01:14:56,479
Speaker 1: You know. Yeah, yeah, it's pretty seamless. I like it.

1354
01:14:56,760 --> 01:14:58,880
Speaker 1: So a lot of a lot of weird stuff is happening,

1355
01:14:58,880 --> 01:15:02,960
Speaker 1: like this is the night where everything goes haywire. Uh.

1356
01:15:03,040 --> 01:15:05,720
Speaker 1: So a lot of different things start start occurring, a

1357
01:15:05,760 --> 01:15:09,360
Speaker 1: lot of weird stuff. So something's creeping around the house.

1358
01:15:09,560 --> 01:15:13,400
Speaker 1: A window in Glenn's room explodes, uh like something like

1359
01:15:13,479 --> 01:15:16,880
Speaker 1: some forces busted in. So he wakes up Al. I

1360
01:15:17,320 --> 01:15:19,080
Speaker 1: think the least sisters get up now, or maybe they

1361
01:15:19,080 --> 01:15:21,120
Speaker 1: stay asleep for a little while, but they go and

1362
01:15:21,160 --> 01:15:23,880
Speaker 1: wake up Terry, and we get this switch this uh

1363
01:15:23,960 --> 01:15:26,439
Speaker 1: this uh this scene where they're trying to wake up Terry,

1364
01:15:26,439 --> 01:15:28,960
Speaker 1: and then Terry walks up behind them and he's like, hey, guys,

1365
01:15:29,040 --> 01:15:32,960
Speaker 1: what's up, And we get that Nightmare reveal that oh

1366
01:15:33,000 --> 01:15:37,080
Speaker 1: it's the dead dog Angus in the bed in Terry's place,

1367
01:15:37,360 --> 01:15:39,040
Speaker 1: But Terry's there in the room with them all through

1368
01:15:39,080 --> 01:15:43,680
Speaker 1: your screaming, and then nightmare monster hands reach out from

1369
01:15:43,760 --> 01:15:46,200
Speaker 1: under the bed and start grabbing their ankles and they're

1370
01:15:46,200 --> 01:15:49,360
Speaker 1: trying to pull al under and it's a really scary

1371
01:15:49,400 --> 01:15:52,880
Speaker 1: scene out of nowhere. Yeah, it's it's a perfect one

1372
01:15:52,960 --> 01:15:56,040
Speaker 1: to punch of you think this is the impactful moment

1373
01:15:56,040 --> 01:15:57,960
Speaker 1: when they realize that it's the dog and that somehow

1374
01:15:58,000 --> 01:16:00,599
Speaker 1: the dog is back. Even backing up little bit more,

1375
01:16:00,800 --> 01:16:03,519
Speaker 1: it's really impactful moment when the moths are attacking the

1376
01:16:03,560 --> 01:16:07,519
Speaker 1: window and the window shatters. Yeah. Yeah, and then you

1377
01:16:07,560 --> 01:16:09,960
Speaker 1: come up and see Terry, but it's not really Terry,

1378
01:16:09,960 --> 01:16:12,479
Speaker 1: it's Angus. There's a shock moment at that and then

1379
01:16:12,720 --> 01:16:15,000
Speaker 1: at that moment the hands reach out and grab her

1380
01:16:15,040 --> 01:16:16,840
Speaker 1: and it really is a one to three punch that

1381
01:16:17,400 --> 01:16:20,200
Speaker 1: it's thrilling. And so the least sisters are up at

1382
01:16:20,200 --> 01:16:22,680
Speaker 1: this point. It's and they realize what needs they need

1383
01:16:22,720 --> 01:16:24,920
Speaker 1: to do, need to get out of this house, so

1384
01:16:24,960 --> 01:16:28,200
Speaker 1: they run for the front door. They they're actually going

1385
01:16:28,240 --> 01:16:32,080
Speaker 1: out the front door, and then seemingly Mom and Dad

1386
01:16:32,120 --> 01:16:34,960
Speaker 1: show up, but it's not Mom and Dad. These are

1387
01:16:35,040 --> 01:16:39,880
Speaker 1: clearly uh, demonic doubles of Mom and dad. Uh. And

1388
01:16:39,960 --> 01:16:42,439
Speaker 1: when who is it? Is it Glenn or is it

1389
01:16:42,760 --> 01:16:45,920
Speaker 1: Awl that runs up to Dad here? So Glenn runs

1390
01:16:46,000 --> 01:16:47,680
Speaker 1: up to him, and the reason that I remember this

1391
01:16:47,880 --> 01:16:49,960
Speaker 1: is this kind of kicked off a little bit of

1392
01:16:50,360 --> 01:16:53,120
Speaker 1: the wish fulfillment thing that you're referencing in in the

1393
01:16:53,160 --> 01:16:56,360
Speaker 1: Gate to. Uh. Terry got it a little bit earlier

1394
01:16:56,479 --> 01:16:59,719
Speaker 1: with his mom during in the Dream, and Glen's getting

1395
01:16:59,720 --> 01:17:01,240
Speaker 1: it a lit a bit now because he's been wanting

1396
01:17:01,280 --> 01:17:03,519
Speaker 1: to call Mom and Dad this entire movie, and now

1397
01:17:03,520 --> 01:17:05,160
Speaker 1: he comes out on the door and sees them. He's

1398
01:17:05,200 --> 01:17:08,479
Speaker 1: so excited that he runs up to them and pretty quickly.

1399
01:17:08,520 --> 01:17:11,519
Speaker 1: I mean, they can't keep this charade up for very long. Uh.

1400
01:17:11,640 --> 01:17:15,840
Speaker 1: The dad's voice transform. He kind of does up you've

1401
01:17:15,920 --> 01:17:21,960
Speaker 1: been bad and grabs Glenn and and tries to squeeze him,

1402
01:17:22,000 --> 01:17:24,680
Speaker 1: choke him. I think it's choked like that when like

1403
01:17:24,760 --> 01:17:28,400
Speaker 1: reaches up touches his face and like Dad's face immediately

1404
01:17:28,439 --> 01:17:32,639
Speaker 1: collapses into a stream of pus. It's it's horrifying. Yeah,

1405
01:17:32,680 --> 01:17:35,479
Speaker 1: it kind of folds inward on itself. Pus comes out

1406
01:17:35,479 --> 01:17:38,439
Speaker 1: of it. He drops Glenn. Glenn backs away from it,

1407
01:17:38,520 --> 01:17:41,400
Speaker 1: and then his head falls off. The Dad's head falls

1408
01:17:41,439 --> 01:17:44,439
Speaker 1: off and shatters on the sidewalk, which just an amazing,

1409
01:17:44,479 --> 01:17:47,920
Speaker 1: amazing effect. Yeah, they went nuts with these effects above

1410
01:17:48,000 --> 01:17:51,200
Speaker 1: and beyond. But the kids at this point realize, oh

1411
01:17:51,520 --> 01:17:53,719
Speaker 1: loue better turn around, so they run back into the house.

1412
01:17:53,760 --> 01:17:56,120
Speaker 1: But the house is also where the monsters are, so

1413
01:17:56,200 --> 01:17:58,960
Speaker 1: they go for the back door, and when they're heading

1414
01:17:58,960 --> 01:18:01,799
Speaker 1: out the back door, that when the Gromlins the little

1415
01:18:01,800 --> 01:18:05,640
Speaker 1: Homunculi attack and we get the first of many tremendously

1416
01:18:05,720 --> 01:18:09,400
Speaker 1: fun scenes with these little guys scampering around. Yeah, I

1417
01:18:09,479 --> 01:18:12,280
Speaker 1: love it. That's we get to see him in the flesh. Literally.

1418
01:18:12,600 --> 01:18:15,679
Speaker 1: The combo of stop motion and reprojection is really strong

1419
01:18:15,760 --> 01:18:18,479
Speaker 1: in the sequence. Uh. One of their arms gets cut

1420
01:18:18,479 --> 01:18:20,880
Speaker 1: off in a door when the door is shutting. The

1421
01:18:20,920 --> 01:18:23,599
Speaker 1: shot is in the trailer. You see the arm kind

1422
01:18:23,600 --> 01:18:27,599
Speaker 1: of descend down the crack, fall onto the floor, and

1423
01:18:27,640 --> 01:18:30,919
Speaker 1: then turn into kind of these little stop motion worms

1424
01:18:31,280 --> 01:18:35,120
Speaker 1: that kind of skitter off um off of off camera.

1425
01:18:35,439 --> 01:18:37,800
Speaker 1: They seem like, I want to say, there was a

1426
01:18:37,840 --> 01:18:42,400
Speaker 1: Sesame Street sequence that had these little clamation worms on them, Uh,

1427
01:18:42,400 --> 01:18:45,479
Speaker 1: the same similar type of effect, but all white, all

1428
01:18:45,520 --> 01:18:50,000
Speaker 1: the same color as the Gromlin and presumably going to

1429
01:18:50,120 --> 01:18:53,320
Speaker 1: reform the Gromlins somewhere else. Uh was the other other

1430
01:18:53,400 --> 01:18:57,599
Speaker 1: strange things happened? They the phone rings, they pick it up,

1431
01:18:57,640 --> 01:19:00,120
Speaker 1: but it's a demon prank call again, we get that

1432
01:19:00,240 --> 01:19:04,840
Speaker 1: dad voice going, you've been bad, and then the phone melts. Uh.

1433
01:19:04,880 --> 01:19:06,960
Speaker 1: And I love that you've been bad part because it's

1434
01:19:07,000 --> 01:19:11,560
Speaker 1: such a great demonic exaggeration of a very simplified childhood

1435
01:19:11,600 --> 01:19:14,960
Speaker 1: fear of of both doing something bad, having done something bad,

1436
01:19:15,040 --> 01:19:19,560
Speaker 1: but then being caught and and having your parents disappointed

1437
01:19:19,640 --> 01:19:22,120
Speaker 1: or mad at you over it. It's also a line

1438
01:19:22,160 --> 01:19:25,920
Speaker 1: that Sloth uses against Mow for Telly and Goonies, which

1439
01:19:26,080 --> 01:19:27,880
Speaker 1: happened a couple of came out a couple of years

1440
01:19:27,880 --> 01:19:30,120
Speaker 1: before this, and I kept wondering if that was a

1441
01:19:30,160 --> 01:19:32,280
Speaker 1: reference to it. I think it's a stretch for it

1442
01:19:32,360 --> 01:19:36,200
Speaker 1: to actually be. But that phrase you've been bad is

1443
01:19:36,240 --> 01:19:38,800
Speaker 1: a very short, strong and powerful one that works really

1444
01:19:38,800 --> 01:19:40,800
Speaker 1: well in both movies. Well, at this point in the

1445
01:19:40,840 --> 01:19:43,400
Speaker 1: film that the kids realized, okay, well we tried running

1446
01:19:43,400 --> 01:19:44,920
Speaker 1: out the front door, didn't work. Tried going out the

1447
01:19:44,960 --> 01:19:47,360
Speaker 1: back door, didn't work. We've got to close the gate.

1448
01:19:48,320 --> 01:19:52,160
Speaker 1: So really, without much more terrying about, the kid's head

1449
01:19:52,160 --> 01:19:54,799
Speaker 1: out back to deal with the gate. The least sisters

1450
01:19:54,800 --> 01:19:57,080
Speaker 1: are initially with them, and then they bail. They realized, well,

1451
01:19:57,080 --> 01:19:59,320
Speaker 1: this sounds a bit too dangerous and word side characters.

1452
01:19:59,320 --> 01:20:01,760
Speaker 1: So we're gonna go back again. Um. So they get

1453
01:20:01,800 --> 01:20:04,719
Speaker 1: to the gate. The gate opens, its spewing purple smoke

1454
01:20:04,800 --> 01:20:07,640
Speaker 1: and light. Terry tries reading the Bible at it a

1455
01:20:07,640 --> 01:20:09,080
Speaker 1: little bit. They got a Bible out of one of

1456
01:20:09,080 --> 01:20:11,839
Speaker 1: the drawers in the house and it seems to be working,

1457
01:20:12,200 --> 01:20:15,519
Speaker 1: but then the whole swallows Terry up and we get

1458
01:20:15,560 --> 01:20:20,040
Speaker 1: another homuncular attack sequence where Terry is attacked by tiny

1459
01:20:20,080 --> 01:20:23,360
Speaker 1: demons in the whole. They're climbing on him, they're fighting him.

1460
01:20:23,600 --> 01:20:25,679
Speaker 1: They're swarming over him and pull him on it, pulling

1461
01:20:25,720 --> 01:20:27,519
Speaker 1: on his legs as he's trying to climb back out.

1462
01:20:27,680 --> 01:20:30,840
Speaker 1: That's right. I do wanna point out a small movie

1463
01:20:30,840 --> 01:20:34,599
Speaker 1: flub here in this scene is that Terry is reading

1464
01:20:34,640 --> 01:20:37,120
Speaker 1: the Bible. He he doesn't know what to read. He's saying,

1465
01:20:37,320 --> 01:20:39,800
Speaker 1: you know, he's asking for suggestions, and they're saying, just

1466
01:20:39,840 --> 01:20:43,280
Speaker 1: read anything. And so he reads from Genesis, which you know,

1467
01:20:43,360 --> 01:20:45,920
Speaker 1: in the beginning God created the heaven and the earth,

1468
01:20:46,080 --> 01:20:48,080
Speaker 1: which okay, yeah, you're gonna pull a random line like,

1469
01:20:48,200 --> 01:20:51,360
Speaker 1: go for it. But the book he's holding, he's halfway through,

1470
01:20:51,520 --> 01:20:53,840
Speaker 1: and we all know that Genesis is the first book

1471
01:20:53,880 --> 01:20:55,759
Speaker 1: in the Bible, and that this is on the first

1472
01:20:55,800 --> 01:20:58,280
Speaker 1: page of the first book in the Bible. So I'm

1473
01:20:58,280 --> 01:21:00,360
Speaker 1: gonna ding these guys a little bit. It's not gonna

1474
01:21:00,439 --> 01:21:03,400
Speaker 1: hurt their overall score, but just know that that somebody's

1475
01:21:03,439 --> 01:21:06,840
Speaker 1: watching this sort of thing unless they had to the

1476
01:21:06,920 --> 01:21:10,080
Speaker 1: route one of those reverse books where um Old Testament

1477
01:21:10,280 --> 01:21:12,800
Speaker 1: comes after New Testament. I don't, right, Yeah, yeah, there's

1478
01:21:12,840 --> 01:21:16,880
Speaker 1: a revised standard. Yeah, but yeah. The minions start to

1479
01:21:16,920 --> 01:21:19,000
Speaker 1: swarm Terry while he's in the hole, and this is

1480
01:21:19,120 --> 01:21:24,760
Speaker 1: a pretty intense moment um, particularly for Terry. I might

1481
01:21:24,800 --> 01:21:27,320
Speaker 1: be naive, but I had in my mind maybe we're

1482
01:21:27,360 --> 01:21:31,240
Speaker 1: misunderstanding these Gromlins. I know, I'm going back and forth

1483
01:21:31,280 --> 01:21:34,800
Speaker 1: between millions and Gromlins. I just can't get the millions

1484
01:21:35,160 --> 01:21:37,840
Speaker 1: label out of my head. But I thought maybe we

1485
01:21:37,840 --> 01:21:40,880
Speaker 1: were misunderstanding these guys. Maybe there's a chance that they're

1486
01:21:40,880 --> 01:21:43,200
Speaker 1: helpful or something like that, which is like a wrinkle

1487
01:21:43,240 --> 01:21:46,360
Speaker 1: that they would bring into a horror movie nowadays. You know, like, no,

1488
01:21:46,560 --> 01:21:49,479
Speaker 1: the humans were the monsters, but now they proved themselves

1489
01:21:49,520 --> 01:21:51,760
Speaker 1: out to be monsters for the first time. In this

1490
01:21:51,760 --> 01:21:55,679
Speaker 1: scene where they are actively biting Terry, they're chewing into

1491
01:21:55,720 --> 01:21:59,479
Speaker 1: his flesh. They're chewing into his neck. He's like fending

1492
01:21:59,479 --> 01:22:03,639
Speaker 1: them off, away from them, but their numbers are increasing. Yeah,

1493
01:22:04,240 --> 01:22:06,880
Speaker 1: luckily Alan Glenn are able to get a rope and

1494
01:22:07,000 --> 01:22:09,280
Speaker 1: throw it down the whole car. He's able to fight

1495
01:22:09,360 --> 01:22:11,840
Speaker 1: him off a good bed. He stomps one of the Uh.

1496
01:22:12,560 --> 01:22:15,160
Speaker 1: The creature is pretty good. Uh. They get him back

1497
01:22:15,240 --> 01:22:17,320
Speaker 1: up out of the pit. They read a little more

1498
01:22:17,360 --> 01:22:19,240
Speaker 1: Bible at the pit, and then they just go ahead

1499
01:22:19,240 --> 01:22:21,760
Speaker 1: and pitch the whole book in and it explodes like

1500
01:22:21,800 --> 01:22:27,479
Speaker 1: a hand grenade for the moment, like they won. And yeah,

1501
01:22:27,760 --> 01:22:31,160
Speaker 1: it closes back up magically, and their sod there too,

1502
01:22:31,200 --> 01:22:35,120
Speaker 1: I think. Don't quote me on that, but they jump

1503
01:22:35,200 --> 01:22:37,920
Speaker 1: up and down in celebration on top of the hole

1504
01:22:38,080 --> 01:22:41,519
Speaker 1: to Hell that has just closed up. And I get

1505
01:22:41,520 --> 01:22:43,240
Speaker 1: that their kids and that they're not thinking this all

1506
01:22:43,280 --> 01:22:45,360
Speaker 1: the way through it, but they've been pretty competent so far.

1507
01:22:45,520 --> 01:22:47,360
Speaker 1: It's like, maybe give it a little bit of clearance

1508
01:22:47,400 --> 01:22:50,040
Speaker 1: and give it some time to to cool and settle in.

1509
01:22:50,640 --> 01:22:52,800
Speaker 1: That's the advice I give my son. I'm like, look,

1510
01:22:53,200 --> 01:22:55,320
Speaker 1: if you ever open up a pit to hell and

1511
01:22:55,360 --> 01:22:58,519
Speaker 1: you successfully close it up with an explosive Bible don't

1512
01:22:58,560 --> 01:23:01,320
Speaker 1: just start stomping. Can't be one who to resent sure

1513
01:23:01,360 --> 01:23:03,920
Speaker 1: that it's close, give it thirty to forty five minutes,

1514
01:23:03,960 --> 01:23:05,800
Speaker 1: go have a snack and see if you still want

1515
01:23:05,800 --> 01:23:08,120
Speaker 1: to jump on the hole in celebration, and then go

1516
01:23:08,240 --> 01:23:20,240
Speaker 1: for it. So they go back inside. Eventually they find

1517
01:23:20,280 --> 01:23:22,640
Speaker 1: the Lee sisters hiding in the closet, which I was

1518
01:23:22,680 --> 01:23:24,960
Speaker 1: relieved by, you know, and not that we're super attached them,

1519
01:23:24,960 --> 01:23:27,200
Speaker 1: but it's nice that they were not murdered by tiny

1520
01:23:27,240 --> 01:23:32,320
Speaker 1: creatures offscreen. Um comically huge layers of garlic around their

1521
01:23:32,360 --> 01:23:35,880
Speaker 1: necks and they're holding kitchen tools and kind of a

1522
01:23:35,880 --> 01:23:38,679
Speaker 1: cross in front of them. Very funny scene, Very funny,

1523
01:23:38,720 --> 01:23:40,599
Speaker 1: but also it made me think, like how much garlic

1524
01:23:40,640 --> 01:23:42,960
Speaker 1: does this family keep? I feel like I've got We've

1525
01:23:43,000 --> 01:23:45,120
Speaker 1: got maybe two pieces of garlic in the house at

1526
01:23:45,120 --> 01:23:49,040
Speaker 1: a time that this is like like like three dozen

1527
01:23:49,320 --> 01:23:53,439
Speaker 1: garlic heads in here, easily thirty to forty heads of garlic.

1528
01:23:54,240 --> 01:23:56,479
Speaker 1: So they get them out and then well more teen

1529
01:23:56,520 --> 01:23:59,640
Speaker 1: boys appear. They have shown up with beer ready to

1530
01:23:59,680 --> 01:24:03,720
Speaker 1: part al. Wisely just sends everybody home. She's like, I've

1531
01:24:03,760 --> 01:24:06,679
Speaker 1: had enough surprises for one night. Everybody has to go home.

1532
01:24:06,840 --> 01:24:10,519
Speaker 1: No parties are taking place, and they begrudgingly agree. Yeah,

1533
01:24:10,560 --> 01:24:13,559
Speaker 1: and really, you know, docs some cool points from her

1534
01:24:14,040 --> 01:24:18,120
Speaker 1: which the teens make clear and she does not care about,

1535
01:24:18,240 --> 01:24:20,400
Speaker 1: which good on al. You know, she's finally kind of

1536
01:24:20,439 --> 01:24:23,719
Speaker 1: realizing what's important. And you know, I might suggest she's

1537
01:24:23,760 --> 01:24:26,680
Speaker 1: growing more than they are. Yeah, I think so. I mean,

1538
01:24:26,720 --> 01:24:29,640
Speaker 1: it took an actual portal to hell opening up in

1539
01:24:29,640 --> 01:24:34,439
Speaker 1: the backyard, but but still growth appreciated and seeing your

1540
01:24:34,520 --> 01:24:39,719
Speaker 1: father's face caved in and rolling off of his body.

1541
01:24:39,880 --> 01:24:41,800
Speaker 1: But of course it's not over yet. Things are not

1542
01:24:41,840 --> 01:24:45,160
Speaker 1: gonna end that simply. Uh. Later on Glenn and Terry

1543
01:24:45,160 --> 01:24:48,559
Speaker 1: they're hanging out, I think in the din Uh, they're

1544
01:24:48,640 --> 01:24:51,080
Speaker 1: kind of horsing around with the g od. It bangs

1545
01:24:51,120 --> 01:24:55,400
Speaker 1: into the wall. Suddenly the wall erupts and this dead

1546
01:24:55,479 --> 01:24:57,680
Speaker 1: workman is hanging half out of the wall. This is

1547
01:24:57,680 --> 01:25:01,679
Speaker 1: the workman from Terry's story about someone workman being sealed

1548
01:25:01,760 --> 01:25:03,880
Speaker 1: up dead in the walls of the house. That's right,

1549
01:25:03,960 --> 01:25:06,120
Speaker 1: And this is where Terry reveals that he made that

1550
01:25:06,160 --> 01:25:09,680
Speaker 1: story up, which again another wish fulfillment kind of manifesting.

1551
01:25:09,720 --> 01:25:11,240
Speaker 1: This is less of a wish but more of an

1552
01:25:11,280 --> 01:25:14,840
Speaker 1: idea that was in his head made real. Uh, and

1553
01:25:15,120 --> 01:25:17,920
Speaker 1: Terry gets taken. Yeah, the creature comes alive. It's a

1554
01:25:18,040 --> 01:25:20,559
Speaker 1: zombie grabs Terry, pulls him into the wall, and then

1555
01:25:20,560 --> 01:25:24,000
Speaker 1: the wall seals up. So at this point it's just

1556
01:25:24,040 --> 01:25:27,679
Speaker 1: Alan Glenn. They get attacked by the by the workman.

1557
01:25:27,720 --> 01:25:30,920
Speaker 1: They call him the zombie creature again. Um, there's a

1558
01:25:30,920 --> 01:25:34,639
Speaker 1: great scene where they're cornered by the workman. Al throws

1559
01:25:34,680 --> 01:25:37,759
Speaker 1: a boom box at it, hits him, hits the creature

1560
01:25:37,800 --> 01:25:39,599
Speaker 1: in the head, nail or nails him in the face.

1561
01:25:39,840 --> 01:25:43,320
Speaker 1: He falls over and immediately shatters into a whole bunch

1562
01:25:43,360 --> 01:25:45,760
Speaker 1: of these tiny demons are just running around. That's right,

1563
01:25:45,840 --> 01:25:50,120
Speaker 1: that's an amazing scene again in the trailer. Uh. Yeah,

1564
01:25:50,240 --> 01:25:54,599
Speaker 1: that that he's made up of them. Again. I don't

1565
01:25:54,640 --> 01:25:56,439
Speaker 1: want them to explain it to me, but I do

1566
01:25:56,560 --> 01:25:59,519
Speaker 1: want an answer. You know, I'm living in that dual space.

1567
01:25:59,800 --> 01:26:01,400
Speaker 1: So at this point they're like, okay, well we gotta

1568
01:26:01,400 --> 01:26:03,120
Speaker 1: go for that gun. Let's get Dad's guns. So they

1569
01:26:03,200 --> 01:26:06,760
Speaker 1: go to the closet. But at this point two things

1570
01:26:06,840 --> 01:26:10,160
Speaker 1: happen in quick succession. That zombie demon Terry attacks, like

1571
01:26:10,760 --> 01:26:13,599
Speaker 1: Terry's head coming out and biting at him. So Al

1572
01:26:13,640 --> 01:26:17,200
Speaker 1: comes in and stabs Zombie Terry in the ice socket

1573
01:26:17,479 --> 01:26:21,559
Speaker 1: with a Barbie doll leg So good, so good. This

1574
01:26:21,720 --> 01:26:25,320
Speaker 1: is for me scariest moment of the of the film,

1575
01:26:25,360 --> 01:26:28,600
Speaker 1: that he's poking his head out there, that he is

1576
01:26:28,680 --> 01:26:33,080
Speaker 1: actually biting, that he has then attacked, that the kids

1577
01:26:33,080 --> 01:26:37,479
Speaker 1: have to attack their own friend. It's just terrifying stuff. Yeah,

1578
01:26:37,479 --> 01:26:39,760
Speaker 1: and the Barbie doll leg part of it is like

1579
01:26:40,200 --> 01:26:43,040
Speaker 1: knowing the baby Barbie doll legs are a little weird, Like,

1580
01:26:43,320 --> 01:26:45,800
Speaker 1: you know, we both had sisters, so they both were

1581
01:26:45,800 --> 01:26:48,040
Speaker 1: around Barbie dolls and they have that weird thing where

1582
01:26:48,080 --> 01:26:50,679
Speaker 1: it's like the Barbie doll kind of has like flesh

1583
01:26:50,720 --> 01:26:54,519
Speaker 1: and bone and it has it's it's rigid yet soft,

1584
01:26:54,960 --> 01:26:57,599
Speaker 1: And somehow the idea of it going into an ice

1585
01:26:57,640 --> 01:27:01,880
Speaker 1: socket feels more impactful than than if if if the

1586
01:27:02,000 --> 01:27:05,479
Speaker 1: zombie Terry had been stabbed with literally anything right, and

1587
01:27:05,520 --> 01:27:09,120
Speaker 1: the fact that the Barbie's legs and feet are pretty

1588
01:27:09,200 --> 01:27:12,320
Speaker 1: firm and solid, and that those feat in particular are pointy,

1589
01:27:13,000 --> 01:27:16,160
Speaker 1: that you know, I had a note that it really

1590
01:27:16,200 --> 01:27:19,559
Speaker 1: shows the tone of the movie and the the intended

1591
01:27:19,600 --> 01:27:22,280
Speaker 1: audience of the movie that this is all pulled up.

1592
01:27:22,320 --> 01:27:25,680
Speaker 1: You never see the barbie go into the eye, you

1593
01:27:25,720 --> 01:27:29,800
Speaker 1: see the wind up, you hear the impact, and then

1594
01:27:29,840 --> 01:27:33,000
Speaker 1: you see the blood soaked barbie like and the resulting

1595
01:27:33,520 --> 01:27:36,720
Speaker 1: stabbed I but you never get it's a punch that's

1596
01:27:36,720 --> 01:27:39,840
Speaker 1: intentionally pulled to be mindful to the audience, and I

1597
01:27:39,880 --> 01:27:43,880
Speaker 1: think it's a really thoughtful one and characterized by many

1598
01:27:43,920 --> 01:27:46,559
Speaker 1: other moments in the movie as well. Now, shortly after

1599
01:27:46,560 --> 01:27:49,960
Speaker 1: this occurs, the workman shows back up again, more chaos.

1600
01:27:50,080 --> 01:27:53,080
Speaker 1: I believe the shotgun goes off, but then the workman

1601
01:27:53,120 --> 01:27:56,719
Speaker 1: grabs Al and drags her away into the wall, into

1602
01:27:56,720 --> 01:27:59,519
Speaker 1: the closet wall, and now both of them are gone.

1603
01:27:59,520 --> 01:28:02,599
Speaker 1: It's only Lynn. And earlier in the picture it was said, well,

1604
01:28:02,680 --> 01:28:04,680
Speaker 1: you know the demons, the old gods, they only need

1605
01:28:04,680 --> 01:28:09,240
Speaker 1: to sack human sacrifices in order to fully open the gate. Well,

1606
01:28:09,320 --> 01:28:12,040
Speaker 1: now it looks like they have to human sacrifices, so

1607
01:28:12,120 --> 01:28:14,240
Speaker 1: things are not looking great. That's right, and you get

1608
01:28:14,280 --> 01:28:16,559
Speaker 1: what for my money, is probably the most impressive set

1609
01:28:16,600 --> 01:28:19,960
Speaker 1: piece of the film, which is Glenn running across this

1610
01:28:20,120 --> 01:28:24,799
Speaker 1: large living room floor of this, like I said earlier, amazing,

1611
01:28:24,840 --> 01:28:27,760
Speaker 1: amazing looking house, and that whole floor opens up as

1612
01:28:27,800 --> 01:28:30,439
Speaker 1: he runs across it, and we see that the entire

1613
01:28:30,520 --> 01:28:33,880
Speaker 1: kind of footprint of the house practically is now the

1614
01:28:33,960 --> 01:28:36,400
Speaker 1: gate and a purple light is coming out of it. Again,

1615
01:28:36,439 --> 01:28:39,960
Speaker 1: that shot is in the trailer. Yeah, a lot of

1616
01:28:39,960 --> 01:28:43,000
Speaker 1: this away, but yeah, and in this we're getting into

1617
01:28:43,040 --> 01:28:46,360
Speaker 1: the final showdown because at this point I think Glenn

1618
01:28:46,360 --> 01:28:51,439
Speaker 1: seems to realize he's gonna need that big rocket, and uh,

1619
01:28:51,479 --> 01:28:53,960
Speaker 1: the demon little demons are swarming all over the place.

1620
01:28:54,280 --> 01:28:56,960
Speaker 1: And then this is when the giant Demon Lord arrives.

1621
01:28:57,040 --> 01:28:59,880
Speaker 1: We saw a drawing or a wood cut off in

1622
01:29:00,560 --> 01:29:03,880
Speaker 1: the liner notes to that that heavy metal album in

1623
01:29:03,920 --> 01:29:06,240
Speaker 1: the Dark book. But now he has arrived and he

1624
01:29:06,240 --> 01:29:10,640
Speaker 1: looks tremendous. This is like a stop motion creature that

1625
01:29:11,320 --> 01:29:14,360
Speaker 1: it looks very very original, but also seems like it

1626
01:29:14,439 --> 01:29:17,680
Speaker 1: is like a like a fifth level mega evolution. All

1627
01:29:17,720 --> 01:29:21,360
Speaker 1: of the little demons and Ray Harry Howsing would be

1628
01:29:21,360 --> 01:29:24,120
Speaker 1: proud of this thing. This thing looks great. Totally agree.

1629
01:29:24,200 --> 01:29:26,160
Speaker 1: He looks like a leveled up version of one of

1630
01:29:26,160 --> 01:29:29,439
Speaker 1: those Gromlins. He's got twice the eyes, twice the arms.

1631
01:29:29,840 --> 01:29:32,240
Speaker 1: The second set of arms are much smaller than the

1632
01:29:32,240 --> 01:29:34,000
Speaker 1: first time. Is just a lot of thought went into

1633
01:29:34,040 --> 01:29:37,680
Speaker 1: this creature and the articulations of this creature and the

1634
01:29:37,680 --> 01:29:40,759
Speaker 1: way that he emerges in arises out of the hole

1635
01:29:41,280 --> 01:29:45,440
Speaker 1: is just an effect that it works just so well. Yeah,

1636
01:29:45,560 --> 01:29:48,920
Speaker 1: and there's like the showdown with the big demon and Glenn.

1637
01:29:48,960 --> 01:29:52,040
Speaker 1: It like grabs Glenn and then weirdly it marks him.

1638
01:29:52,040 --> 01:29:54,800
Speaker 1: It like it touches him, and an eyeball opens and

1639
01:29:54,840 --> 01:29:59,280
Speaker 1: Glenn's palm, which is really well done effect. And and

1640
01:29:59,320 --> 01:30:02,000
Speaker 1: it's also just a real shame because Carrie has been

1641
01:30:02,040 --> 01:30:03,840
Speaker 1: taken away and Terry would have loved this. This is

1642
01:30:04,520 --> 01:30:07,080
Speaker 1: all get out. Uh and then the demon leaves him.

1643
01:30:07,080 --> 01:30:09,720
Speaker 1: It's kind of like the demons like, hey, you you

1644
01:30:09,760 --> 01:30:11,920
Speaker 1: had a hand in this. Uh, so here you get

1645
01:30:11,920 --> 01:30:14,760
Speaker 1: a special demon gift from me and you get to

1646
01:30:14,840 --> 01:30:16,519
Speaker 1: live to see the new demon world I get. You know,

1647
01:30:16,520 --> 01:30:18,840
Speaker 1: maybe he's going to be an ambassador. I don't know. Yeah,

1648
01:30:18,880 --> 01:30:20,960
Speaker 1: that's what again. What the thing that I couldn't figure

1649
01:30:20,960 --> 01:30:25,559
Speaker 1: out was was the demon rewarding Glenn? Was the demon

1650
01:30:27,080 --> 01:30:29,600
Speaker 1: marking Glenn said that he could see through that I

1651
01:30:29,880 --> 01:30:33,479
Speaker 1: that's now in Glenn's hand. All we know is that

1652
01:30:34,600 --> 01:30:39,880
Speaker 1: Glenn was spared. The demon retreated and Glenn looks down

1653
01:30:39,920 --> 01:30:43,760
Speaker 1: and he's just revolted, revolted by this eye that's in

1654
01:30:43,800 --> 01:30:46,720
Speaker 1: his hand, which I agree, amazing effect. I don't know

1655
01:30:46,760 --> 01:30:49,360
Speaker 1: how many times I can say amazing effect during this episode,

1656
01:30:49,400 --> 01:30:53,240
Speaker 1: because but there truly are so many amazing effects here. Yeah,

1657
01:30:53,439 --> 01:30:55,559
Speaker 1: and in different different realms, Like this is a different

1658
01:30:55,600 --> 01:30:57,920
Speaker 1: style effect than anything I think we've seen thus far.

1659
01:30:58,880 --> 01:31:01,320
Speaker 1: It's it's weird, I said. It reminds me a bit

1660
01:31:01,400 --> 01:31:05,280
Speaker 1: of the Stephen King's story. I Am the Doorway. Yeah,

1661
01:31:05,400 --> 01:31:07,560
Speaker 1: you know where the guy comes back with with eyeballs

1662
01:31:07,560 --> 01:31:09,320
Speaker 1: opening up in his hands, and this is a way

1663
01:31:09,320 --> 01:31:12,720
Speaker 1: for alien entities to to see through him. That's right.

1664
01:31:12,800 --> 01:31:17,280
Speaker 1: And I think that that, to me suggested that Glenn

1665
01:31:17,400 --> 01:31:20,360
Speaker 1: was maybe now a minion of the dark One, the

1666
01:31:20,760 --> 01:31:23,800
Speaker 1: larger demon, and maybe we're was serving as his eyes

1667
01:31:23,880 --> 01:31:26,000
Speaker 1: at least in that space, and that was why he

1668
01:31:26,080 --> 01:31:29,160
Speaker 1: felt like he was no longer needed and retreated. But

1669
01:31:29,240 --> 01:31:32,880
Speaker 1: it's it's pretty revolting, and it's a very convincing. I

1670
01:31:32,920 --> 01:31:35,120
Speaker 1: can figure out these other effects. I can't figure this

1671
01:31:35,160 --> 01:31:37,479
Speaker 1: one out. I don't know how they pulled this one off,

1672
01:31:37,840 --> 01:31:41,120
Speaker 1: all right. So we get down to the final bit here.

1673
01:31:41,400 --> 01:31:43,519
Speaker 1: So the Great Purple Vortex is rising up out of

1674
01:31:43,520 --> 01:31:45,920
Speaker 1: the pit. The demons are submending their control over the earth.

1675
01:31:46,120 --> 01:31:51,040
Speaker 1: Only Glenn can stop them, one assumes, so he if

1676
01:31:51,040 --> 01:31:52,720
Speaker 1: I remember this correctly, the way it goes down as

1677
01:31:52,760 --> 01:31:56,360
Speaker 1: he stabs the palm eyeball, presumably to call the big

1678
01:31:56,360 --> 01:31:59,519
Speaker 1: Demon back. Big Demon comes back, is on his way back. Meanwhile,

1679
01:31:59,560 --> 01:32:02,559
Speaker 1: Glenn is setting up the launcher for the rocket, this

1680
01:32:02,640 --> 01:32:05,040
Speaker 1: big rocket from the closet, but also using part of

1681
01:32:05,040 --> 01:32:08,320
Speaker 1: a rocket kit that Al gave him. Uh. He's scrambling

1682
01:32:08,360 --> 01:32:10,880
Speaker 1: for batteries, you know, kind of like the classic must

1683
01:32:10,880 --> 01:32:14,360
Speaker 1: reloaded the last second bit from a from an action film,

1684
01:32:14,400 --> 01:32:18,439
Speaker 1: and I suspense. The demon Lord returns and Glenn fires

1685
01:32:18,479 --> 01:32:20,479
Speaker 1: the rocket into it. And this is great too, because

1686
01:32:20,520 --> 01:32:24,600
Speaker 1: the rocket has been cemented in the picture already. Is

1687
01:32:24,640 --> 01:32:27,120
Speaker 1: this it's kind of this thing. This represents this loving

1688
01:32:27,160 --> 01:32:30,639
Speaker 1: bond between the siblings. It's uh, so it makes sense

1689
01:32:31,120 --> 01:32:33,000
Speaker 1: within the context of the film that it's not just

1690
01:32:33,080 --> 01:32:35,920
Speaker 1: a random child weapon. This is not just kid Rambo

1691
01:32:36,479 --> 01:32:39,679
Speaker 1: fighting off a demon like this is something that represents uh,

1692
01:32:39,960 --> 01:32:43,559
Speaker 1: bonds of love and truth that would naturally slay a demon.

1693
01:32:43,920 --> 01:32:48,679
Speaker 1: And it does just blows the demon all to glowing pieces. Yeah,

1694
01:32:48,760 --> 01:32:51,879
Speaker 1: I loved this sequence. I do have to admit that

1695
01:32:51,920 --> 01:32:54,160
Speaker 1: this is where the movie started to lose me a

1696
01:32:54,200 --> 01:32:57,120
Speaker 1: little bit, this concept of this being the solution to

1697
01:32:57,160 --> 01:33:00,680
Speaker 1: the problem. I was on board with the demonic incantation.

1698
01:33:00,880 --> 01:33:03,519
Speaker 1: I would have been on board with them finding a

1699
01:33:03,600 --> 01:33:08,720
Speaker 1: way to more articulately work that into a message of

1700
01:33:08,760 --> 01:33:11,760
Speaker 1: love and light. I think I like the idea of

1701
01:33:11,800 --> 01:33:14,639
Speaker 1: a symbol of love and the shared bond and how

1702
01:33:14,680 --> 01:33:17,559
Speaker 1: well they seated that being what saves them. But for

1703
01:33:17,600 --> 01:33:20,280
Speaker 1: some reason it lost that connective tissue at that point

1704
01:33:20,320 --> 01:33:22,439
Speaker 1: for me and just felt like a very convenient way

1705
01:33:22,439 --> 01:33:26,840
Speaker 1: to end the movie. Um but regardless, it works, you know,

1706
01:33:27,600 --> 01:33:31,760
Speaker 1: I mean narratively it worked. It saved the world. All

1707
01:33:31,800 --> 01:33:34,639
Speaker 1: the weird purple weather stuff goes away, that the pit

1708
01:33:34,720 --> 01:33:37,799
Speaker 1: seals back up, and then well, every everyone's still alive.

1709
01:33:37,880 --> 01:33:42,640
Speaker 1: Al shows back up. Here's Terry, uh so Alter, here

1710
01:33:42,720 --> 01:33:46,000
Speaker 1: and Glenn are all reunited. The house is wrecked. The

1711
01:33:46,200 --> 01:33:48,439
Speaker 1: parents are not going to be crazy about this, but

1712
01:33:48,479 --> 01:33:51,000
Speaker 1: we get the sweet scene where you know, everybody's still

1713
01:33:51,040 --> 01:33:54,000
Speaker 1: okay and they have successfully defeated the demon. I do

1714
01:33:54,040 --> 01:33:56,719
Speaker 1: want to point out that when the demon explodes, there's

1715
01:33:56,720 --> 01:34:00,640
Speaker 1: a hilarious explosion scene where Glenn is held out of

1716
01:34:00,680 --> 01:34:06,120
Speaker 1: the house end over end overhead in a projection effect,

1717
01:34:06,240 --> 01:34:09,400
Speaker 1: but literally pin wheels out of the house and lands

1718
01:34:10,040 --> 01:34:13,160
Speaker 1: to safety. We get one final scene to where we

1719
01:34:13,439 --> 01:34:16,120
Speaker 1: see the backyard, We see the place where the pit was,

1720
01:34:16,240 --> 01:34:18,760
Speaker 1: and there's like, there's a sapling growing up there, you know,

1721
01:34:18,800 --> 01:34:20,640
Speaker 1: the like the the tree that was there before is

1722
01:34:20,680 --> 01:34:25,200
Speaker 1: being regrown. And there is Angus, the dog still alive,

1723
01:34:25,320 --> 01:34:28,479
Speaker 1: carrying a shoe around, and it's it's sweet, it's nice

1724
01:34:28,479 --> 01:34:31,160
Speaker 1: that the dog didn't actually die but is back, but

1725
01:34:31,280 --> 01:34:33,120
Speaker 1: on this and the same level. And I didn't think

1726
01:34:33,120 --> 01:34:35,120
Speaker 1: about this till the second time I was watching parts

1727
01:34:35,160 --> 01:34:37,120
Speaker 1: of the film. I was like, oh, well, this this

1728
01:34:37,160 --> 01:34:39,960
Speaker 1: scene is also very disconnected from the rest of the movie,

1729
01:34:40,360 --> 01:34:43,880
Speaker 1: almost as if a test audience thought it was sad

1730
01:34:43,920 --> 01:34:46,160
Speaker 1: that the dog truly died, and they're like, let's just

1731
01:34:46,160 --> 01:34:48,040
Speaker 1: bring the dog back. We don't need any of the

1732
01:34:48,080 --> 01:34:49,880
Speaker 1: kids for this scene. We'll just shoot the dog in

1733
01:34:49,880 --> 01:34:54,040
Speaker 1: the same backyard. But either way we'll take it. A

1734
01:34:54,040 --> 01:34:57,000
Speaker 1: wholesome music plays in the crest role. I think that

1735
01:34:57,120 --> 01:34:59,360
Speaker 1: it makes as much sense as anything else. If too

1736
01:34:59,439 --> 01:35:02,720
Speaker 1: human sack prefaces were needed for the demon to enter

1737
01:35:02,840 --> 01:35:06,439
Speaker 1: the realm, then Al and Terry should be dead. Uh.

1738
01:35:06,640 --> 01:35:09,200
Speaker 1: Through that same lens, the dogs should be dead. They're

1739
01:35:09,240 --> 01:35:11,439
Speaker 1: all alive. I'm happy that they're all alive, don't get

1740
01:35:11,439 --> 01:35:14,240
Speaker 1: me wrong, but something doesn't add up here. It's not

1741
01:35:14,400 --> 01:35:18,080
Speaker 1: where they revived. Where they I mean, Angus had to be,

1742
01:35:18,120 --> 01:35:21,120
Speaker 1: so presumably Al and Terry are. It's asking a lot

1743
01:35:21,120 --> 01:35:23,920
Speaker 1: of questions that a child audience isn't really going to

1744
01:35:24,000 --> 01:35:27,639
Speaker 1: want to or be prepared to answer. So it's kind

1745
01:35:27,680 --> 01:35:30,439
Speaker 1: of a wash at that point. And like I said,

1746
01:35:30,479 --> 01:35:33,599
Speaker 1: for such a thoughtful movie to have kind of that

1747
01:35:33,760 --> 01:35:36,360
Speaker 1: gap of of logic there at the end again, not

1748
01:35:36,560 --> 01:35:40,960
Speaker 1: of how the magic works or how the necromancy works,

1749
01:35:41,040 --> 01:35:46,160
Speaker 1: or how the gate works itself, but why everything turned

1750
01:35:46,200 --> 01:35:49,160
Speaker 1: out great at the end of it. It feels like

1751
01:35:50,120 --> 01:35:52,479
Speaker 1: it just couldn't find a way to do it, you know,

1752
01:35:52,920 --> 01:35:56,160
Speaker 1: And so I gotta I gotta take a another ding

1753
01:35:56,240 --> 01:35:58,240
Speaker 1: for that, But it's not gonna affect its overall score.

1754
01:35:58,600 --> 01:36:01,240
Speaker 1: I think. There's also the final line that Glenn mentions

1755
01:36:01,320 --> 01:36:05,280
Speaker 1: too both Terry and Al as the camera pans away,

1756
01:36:05,800 --> 01:36:10,400
Speaker 1: is you're my best buddies, and that's the That's it.

1757
01:36:10,720 --> 01:36:15,640
Speaker 1: That's the Yeah, they cranked the wholesomeness up all the

1758
01:36:15,680 --> 01:36:19,120
Speaker 1: way and the news music is really um, it's sweet.

1759
01:36:19,280 --> 01:36:22,920
Speaker 1: It's it's almost sickeningly sweet at this point. But but

1760
01:36:23,720 --> 01:36:26,280
Speaker 1: let it, let it slide, Let it slide. It's kind

1761
01:36:26,280 --> 01:36:27,600
Speaker 1: of nice that a movie like this ends on a

1762
01:36:27,640 --> 01:36:29,880
Speaker 1: good note. The house is still all jacked up. The

1763
01:36:30,000 --> 01:36:32,400
Speaker 1: parents have not returned yet, so there is kind of

1764
01:36:32,520 --> 01:36:34,400
Speaker 1: I don't know if that gets addressed in the sequel

1765
01:36:34,760 --> 01:36:36,880
Speaker 1: what the parents thought about the state of the house

1766
01:36:36,920 --> 01:36:40,479
Speaker 1: when they got back. But there's a reckoning coming that

1767
01:36:40,760 --> 01:36:43,120
Speaker 1: we the audience are no longer a part of because

1768
01:36:43,160 --> 01:36:46,720
Speaker 1: we've seen the happy ending. The best buddies are all survived,

1769
01:36:47,200 --> 01:36:49,320
Speaker 1: Angus has been brought back to life, and the gate

1770
01:36:49,400 --> 01:36:54,880
Speaker 1: theoretically is closed until all right, well, uh this was

1771
01:36:55,040 --> 01:36:57,160
Speaker 1: the gate. Yeah, this is a This is a pretty

1772
01:36:57,160 --> 01:37:00,000
Speaker 1: fun one, pretty pretty sweet movie. I think holds up

1773
01:37:00,040 --> 01:37:04,560
Speaker 1: pretty well outside of a few bits of colorful and

1774
01:37:04,600 --> 01:37:07,800
Speaker 1: offensive language from the children. That that that I guess

1775
01:37:08,360 --> 01:37:10,920
Speaker 1: flew okay in the in the late eighties, but definitely

1776
01:37:10,960 --> 01:37:13,120
Speaker 1: it's not okay today, So that that would be my

1777
01:37:13,200 --> 01:37:17,200
Speaker 1: main reservation about say, letting children watch this. Yeah, yeah,

1778
01:37:17,280 --> 01:37:19,599
Speaker 1: I think so I ran into a similar instance trying

1779
01:37:19,640 --> 01:37:22,439
Speaker 1: to show Bill and Ted's bogus journey to my son

1780
01:37:23,320 --> 01:37:25,360
Speaker 1: recently within the past year or two, and there are

1781
01:37:25,439 --> 01:37:27,599
Speaker 1: some insults that are along the same line as as

1782
01:37:27,840 --> 01:37:31,960
Speaker 1: are used here that are just unacceptable. And the lift

1783
01:37:32,000 --> 01:37:36,840
Speaker 1: of having to explain that to a child is you

1784
01:37:36,880 --> 01:37:41,639
Speaker 1: don't want it, you know. Yeah, but I think this. God,

1785
01:37:41,760 --> 01:37:44,000
Speaker 1: I can't. I can't tell you enough how much I

1786
01:37:44,120 --> 01:37:48,000
Speaker 1: enjoyed watching this movie, how great it was, how fun

1787
01:37:48,120 --> 01:37:53,560
Speaker 1: it was, how deeply I connected with the characters in

1788
01:37:53,600 --> 01:37:55,800
Speaker 1: the movie, more so than I would expect from a

1789
01:37:55,880 --> 01:37:59,160
Speaker 1: horror movie, let alone, you know, a kid's movie. Uh,

1790
01:37:59,479 --> 01:38:04,240
Speaker 1: it's just really really thoughtfully and tastefully done. Absolutely, I agree,

1791
01:38:04,280 --> 01:38:07,559
Speaker 1: And it's it's been fun chatting about the movie with you. Yeah. Likewise,

1792
01:38:07,640 --> 01:38:09,720
Speaker 1: thank you for having me. Yeah, thanks for coming on.

1793
01:38:10,360 --> 01:38:12,840
Speaker 1: So we're gonna go and close it out here before

1794
01:38:12,920 --> 01:38:15,519
Speaker 1: we go, Uh, tell usone one more time? Where what

1795
01:38:15,600 --> 01:38:17,840
Speaker 1: do you find talk Talking Tofu? Alright, so you can

1796
01:38:17,880 --> 01:38:21,280
Speaker 1: find Talking Tofu wherever you get your podcasts um it's

1797
01:38:21,640 --> 01:38:24,479
Speaker 1: You can also reach out to us on Twitter and

1798
01:38:24,560 --> 01:38:27,840
Speaker 1: Instagram at Talking Tofu pod. Uh. You can also find

1799
01:38:27,880 --> 01:38:30,320
Speaker 1: me aad line leader on Instagram and Twitter. If you

1800
01:38:30,400 --> 01:38:34,439
Speaker 1: want to uh and yeah, I think if you if

1801
01:38:34,479 --> 01:38:38,280
Speaker 1: you want to hear us jabber on about snacks. Sometimes

1802
01:38:38,320 --> 01:38:40,120
Speaker 1: we even eat snacks on Mike. I think a lot

1803
01:38:40,200 --> 01:38:42,400
Speaker 1: of people are really into that sort of thing. Uh,

1804
01:38:42,520 --> 01:38:45,200
Speaker 1: come check us out. We'll have a lot of fun awesome. Well.

1805
01:38:45,520 --> 01:38:48,040
Speaker 1: I'll remind everyone out there that Stuff to Blow Your

1806
01:38:48,080 --> 01:38:51,280
Speaker 1: Mind is primarily a science podcast, but on Fridays we

1807
01:38:51,400 --> 01:38:53,320
Speaker 1: do Weird House Cinema, and that's our time to set

1808
01:38:53,320 --> 01:38:55,719
Speaker 1: aside most serious concerns and just talk about a weird film.

1809
01:38:56,280 --> 01:38:58,599
Speaker 1: If you want to follow the movies that are covered here,

1810
01:38:58,640 --> 01:39:00,880
Speaker 1: I blog about them at some mute music dot com.

1811
01:39:01,400 --> 01:39:03,800
Speaker 1: But also if you use letterbox dot com, that's l

1812
01:39:03,800 --> 01:39:05,920
Speaker 1: E T T E R B o x D dot com.

1813
01:39:06,360 --> 01:39:08,320
Speaker 1: We have an account there weird House, and you can

1814
01:39:08,360 --> 01:39:10,439
Speaker 1: see all the films laid out there that we've covered,

1815
01:39:10,439 --> 01:39:14,200
Speaker 1: and sometimes a peek at what's to come. Um. If

1816
01:39:14,240 --> 01:39:17,280
Speaker 1: you want to get in touch with with me, uh

1817
01:39:17,400 --> 01:39:20,479
Speaker 1: and and or Joe, you can email us at contact.

1818
01:39:20,560 --> 01:39:23,200
Speaker 1: It's stuff to Blow your Mind dot com And if

1819
01:39:23,240 --> 01:39:25,200
Speaker 1: you have anything you want to say to Dave through

1820
01:39:25,240 --> 01:39:27,120
Speaker 1: that email, I'll forward it to them. But also I

1821
01:39:27,200 --> 01:39:30,280
Speaker 1: believe you guys have a have one talk in Tofu

1822
01:39:30,400 --> 01:39:32,800
Speaker 1: pod at gmail dot com. It's t A l k

1823
01:39:33,479 --> 01:39:36,920
Speaker 1: I n t O f U p O D at

1824
01:39:37,000 --> 01:39:39,439
Speaker 1: gmail dot com. And I do want to remind everyone

1825
01:39:39,600 --> 01:39:44,320
Speaker 1: talking Tofu it's t A l k I n um apostrophe, right,

1826
01:39:44,400 --> 01:39:47,719
Speaker 1: and then to Yeah, it's a little advice to people

1827
01:39:47,720 --> 01:39:52,000
Speaker 1: who are naming podcasts. Don't get silly with the language

1828
01:39:52,280 --> 01:39:56,040
Speaker 1: or leave off critical letters because it really does make

1829
01:39:56,120 --> 01:39:58,599
Speaker 1: it just that much more difficult to get in touch

1830
01:39:58,680 --> 01:40:03,200
Speaker 1: with somebody. But that's correct. It's talking without the G,

1831
01:40:03,880 --> 01:40:06,719
Speaker 1: talking without the G. All right, Well, thanks as always

1832
01:40:06,760 --> 01:40:09,280
Speaker 1: to Seth Nicholas Johnson for producing this show. And yeah,

1833
01:40:09,520 --> 01:40:12,120
Speaker 1: if you want to reach out, just email me at contact.

1834
01:40:12,200 --> 01:40:21,439
Speaker 1: It's Stuff to Blow your Mind dot com. Stuff to

1835
01:40:21,479 --> 01:40:24,000
Speaker 1: Blow your Mind is production of I Heart Radio. For

1836
01:40:24,120 --> 01:40:26,320
Speaker 1: more podcasts from my Heart Radio, visit the i heart

1837
01:40:26,360 --> 01:40:29,080
Speaker 1: Radio app, Apple Podcasts, or wherever you listen to your

1838
01:40:29,120 --> 01:40:29,759
Speaker 1: favorite shows.