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Speaker 1: Hello, and welcome back to Movie Mike's movie podcast. I

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Speaker 1: am your host Movie Mike. Today I want to share

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Speaker 1: with you my top ten movie pet peeves. I watched

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Speaker 1: a movie recently that irritated me so bad it inspired

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Speaker 1: this entire episode. I'm gonna let you know all of

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Speaker 1: the weird things that make me tick. In the movie review,

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Speaker 1: we'll be talking about Channing Tatum and Blink twice psychological

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Speaker 1: thriller of Swords. And in the trailer park we'll be

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Speaker 1: talking about Here, starring Tom Hanks, directed by Roberts Amakas.

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Speaker 1: They first worked together in Forrest Gump back in nineteen

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Speaker 1: ninety four and have had well some decent movies along

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Speaker 1: the way, but I feel like this one could be good.

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Speaker 1: So thank you for being here, Thank you for being subscribed.

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Speaker 1: Shout out to the Monday Morning movie crew. He Now,

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Speaker 1: let's talk movies.

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Speaker 2: In a world where everyone and their mother has a podcast,

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Speaker 2: one man stands to infiltrate the ears of listeners like

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Speaker 2: never before in a movie podcast, A man with so

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Speaker 2: much movie knowledge, he's basically like a walking IMTV with

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Speaker 2: Glad from the Nashville Podcast Network this Movie Mike Movie Podcast.

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Speaker 1: I went to see a movie recently and it irritated

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Speaker 1: me so bad that I put together a list of

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Speaker 1: my top ten movie pet peeves. These are common occurrences

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Speaker 1: and cliches that you'll see in movies time and time

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Speaker 1: again that makes me think, why are they still doing this?

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Speaker 1: And the thing was to come up with ten was

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Speaker 1: actually pretty easy. I could have probably done the top twenty,

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Speaker 1: but I also asked the question online, so we'll get

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Speaker 1: into some honorable mentions what you guys said. But I'm

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Speaker 1: already irritated as I'm starting this list, so I'm gonna

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Speaker 1: get right into it at number ten. As whenever a

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Speaker 1: movie uses CGI computer generated images for something so simple

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Speaker 1: that could easily be a practical effect, this drives me nuts.

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Speaker 1: And we are starting to see this so much, especially

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Speaker 1: in the last couple of years, where movies are trying

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Speaker 1: to cut corners save money where they can, and obviously

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Speaker 1: with the use of AI becoming a lot more prevalent

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Speaker 1: in art, even though people don't want that. At the

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Speaker 1: end of the day, a movie is a business, so

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Speaker 1: if you're spending a lot of money on an actor,

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Speaker 1: maybe you're gonna cut corners in other places. And you

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Speaker 1: think the audience isn't gonna know. I notice every single time.

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Speaker 1: The last main offender in this was I watched a

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Speaker 1: movie on Apple TV plus The Instigators with Casey Affleck

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Speaker 1: and Matt Damon. Something so simple as a banner was

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Speaker 1: computer generated graphics. I could not believe it. And it

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Speaker 1: looks so fake. You're telling me you couldn't get a

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Speaker 1: banner to make this scene look more real. You decided

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Speaker 1: to use your graphics department to make a fake banner,

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Speaker 1: And I get it. It's a shot that's maybe a

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Speaker 1: second two seconds long. To get an entire banner for

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Speaker 1: that maybe would seem a little bit wasteful. Or you

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Speaker 1: know what, don't put a banner in there at all

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Speaker 1: if you're going to make something that looks so terrible

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Speaker 1: and so obvious. The other movie recently that I had

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Speaker 1: an issue with that did this Twisters. I love Twisters.

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Speaker 1: I thought the special effects when it came to the

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Speaker 1: tornadoes and all of the chase scenes, all of that

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Speaker 1: look great. This really minor detail where they decided to

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Speaker 1: use CGI to make these windmills for a movie to

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Speaker 1: come out in twenty twenty four and have windmills that

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Speaker 1: looked like they were in a video game from two

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Speaker 1: thousand and seven. What are you doing here? This drives

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Speaker 1: me insane. You either don't put it in the movie

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Speaker 1: at all, or you find a practical effect, get a

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Speaker 1: prop in there. It always looks better on screen, it

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Speaker 1: always ages better too. So at number ten, whenever you

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Speaker 1: use CGI for such a minimal detail but make it

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Speaker 1: so obvious, get out of here. At number nine, blatant

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Speaker 1: product placement. The biggest offender of this right now is Netflix,

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Speaker 1: and I think it's their model of how they produce movies,

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Speaker 1: how they hire talent. To me, a lot of the times,

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Speaker 1: Netfli feels more like content that you would get from

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Speaker 1: a content creator like here on YouTube and TikTok and Instagram,

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Speaker 1: which halls that is fine. Movies are a product. But

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Speaker 1: when they start putting in just blatant product placement, it

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Speaker 1: drives me nuts. And it's not like product placement. It's

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Speaker 1: such a new thing. Hold on while, like, take a

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Speaker 1: sip of my high brew coffee cold brew. Hmm, that

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Speaker 1: is black and bold. Product placement isn't new to movies,

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Speaker 1: TV or podcasts, but there's a way to do it well.

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Speaker 1: The worst offender of this in recent history was whenever

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Speaker 1: they remade Cheese all that and flip the genders and

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Speaker 1: it was He's all that. That movie had fifteen one

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Speaker 1: five unique and so conspicuous product placements that that was

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Speaker 1: the main headline when that movie came out. That's a

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Speaker 1: movie that probably shouldn't have been made. You kind of

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Speaker 1: threw together some people they pulled off of social media,

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Speaker 1: throw them in a movie. And really the vehicle to

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Speaker 1: even make that movie was all the product placement, taking

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Speaker 1: any shred of art or credibility out of that movie

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Speaker 1: because it was just one big giant commercial. Here, I

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Speaker 1: am going to take a call on my motor roll

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Speaker 1: a cell phone. We need to go to the grocery

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Speaker 1: store for some insert product placement here. It was so blatant.

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Speaker 1: Whenever you have a beverage on screen with that label out,

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Speaker 1: somebody eating from a bag of chips with that label out,

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Speaker 1: with the bag in such pristine condition, you know that

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Speaker 1: is going to drive me crazy. Other movies can do

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Speaker 1: it well. If you associate a product with the character,

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Speaker 1: give it a little bit of personality, I think it

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Speaker 1: could work. Go back to et back in the day

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Speaker 1: Reese's pieces. I still think about when I think about

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Speaker 1: that movie, and I don't think about it as being

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Speaker 1: a commercial for Reese's pieces. I just think of it

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Speaker 1: of et loving Reese's pieces. So it is possible to

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Speaker 1: do it well. Another big offender in the last year

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Speaker 1: or so was Barbie. Oh my gosh, whenever that chase

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Speaker 1: scene happened, it was so apparent what car that they

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Speaker 1: were driving. It looked like a commercial for that car.

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Speaker 1: In that instance. In Twisters, it was a little bit

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Speaker 1: more subtle. Obviously, the truck in the original one was

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Speaker 1: such a big part of it, Bill's red truck, so

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Speaker 1: you can obviously bring that back. But if you pay

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Speaker 1: attention to every single vehicle they are driving in that

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Speaker 1: it is all product placement. But that movie did it

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Speaker 1: pretty well. Also, like Audi and Avengers just kind of fits.

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Speaker 1: Iron Man driving a Naudy still makes sense, and it's

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Speaker 1: not so blatant that you think, oh, they have to

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Speaker 1: get that in there. That one just makes sense. But

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Speaker 1: whenever the car looks a little bit too clean, they

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Speaker 1: focused on a little bit too many shots of having

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Speaker 1: it in action, and that's when it starts to feel

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Speaker 1: like a commercial to me. So there is a way

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Speaker 1: to do it well. Just don't make it so obvious again.

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Speaker 1: Let me take a drink here from my hybrew coffee.

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Speaker 1: All right. At number eight is the overuse of pop

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Speaker 1: culture to depict teenagers. This irritates me so much. Whenever

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Speaker 1: you're placing a movie, say in twenty twenty four, and

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Speaker 1: you have a kid looking up videos on TikTok. I

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Speaker 1: don't know why, but that image of a cell phone

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Speaker 1: on screen showing somebody swiping through something, somebody pulling up Instagram.

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Speaker 1: To me, it severely dates whatever movie you are doing.

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Speaker 1: And I think whenever a movie tries to be so

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Speaker 1: overly relevant, look, here are teenagers. This is what teenagers do.

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Speaker 1: They're making a TikTok dance. It just feels very cringe

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Speaker 1: to me, and it feels like an older filmmaker just

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Speaker 1: trying to appeal to gen z or even younger. I

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Speaker 1: hate it when movies do that because it just feels

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Speaker 1: so forced and crammed in there for characters to blatantly

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Speaker 1: reference things that are happening right now in pop culture.

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Speaker 1: It doesn't work, it doesn't age well, and for me,

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Speaker 1: I think it looks terrible in a movie. So anytime

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Speaker 1: somebody pulls up TikTok or Instagram. It immediately takes me

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Speaker 1: out of it and I get irritated. I have that

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Speaker 1: one at number eight. At number seven, non filled coffee

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Speaker 1: cups on screen. This usually happens in lower budget movies,

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Speaker 1: but when it does, it drives me insane because the

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Speaker 1: entire time two people are talking with their disposable coffee cup,

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Speaker 1: all I can pay attention to is the fact that

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Speaker 1: I know there is no liquid in there. There's no water, nothing.

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Speaker 1: Those things are as light as a feather, and I

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Speaker 1: understand why they probably do that. It's easier for somebody

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Speaker 1: to hold an empty cup. You obviously don't want to

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Speaker 1: put real coffee in there because then your hand will

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Speaker 1: be hot. But fill it up with something. Because I'm

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Speaker 1: not paying attention to what they are saying. You immediately

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Speaker 1: lose me on any dialogue happening in that situation, because

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Speaker 1: all I can pay attention to is the fact that

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Speaker 1: there is no coffee in that cup. It's not that

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Speaker 1: hard to do, guys, because I don't want to be

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Speaker 1: hyper fixated on the fact that that thing could blow

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Speaker 1: away with one quick little gust of wind. Fill up

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Speaker 1: the coffee cups. Have that one at number seven. At

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Speaker 1: number six, I have lazy writing, which is a little

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Speaker 1: bit generic. Oh look at that generic when talking about

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Speaker 1: something on the list lazy writing, But I'll get more specific.

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Speaker 1: Whenever you need to tie up some loose ends or

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Speaker 1: get somebody out of a situation. The laziest writing that

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Speaker 1: I hate is someone getting hit by a bus. I

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Speaker 1: hate this trope. Whenever you have your villain in a

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Speaker 1: movie who is just getting everything they want. All the

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Speaker 1: things are going against the protagonist, and how do you

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Speaker 1: get out of it? What do the writers decide to do.

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Speaker 1: Let's just have them get hit by a bus. If

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Speaker 1: somebody gets hit by a bus in the movie, you

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Speaker 1: might as well take that bus and take me out too,

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Speaker 1: because I'm not going to finish that movie. It is

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Speaker 1: such lazy writing. Along those same lines as whenever something

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Speaker 1: just happens at the end of it to all be

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Speaker 1: a dream, or why watch the movie? I wish I

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Speaker 1: was sleeping through that entire thing because nothing was gained.

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Speaker 1: Whenever it feels like the stakes don't matter, that is

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Speaker 1: lazy writing and I can't get behind it. So that's

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Speaker 1: why I have that one at number six getting into

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Speaker 1: the top five. Now this one, oh, it doesn't happen

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Speaker 1: that often, but when it does, you will see the

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Speaker 1: blood boiling underneath my brown skin. Whenever a movie get

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Speaker 1: split into two parts, get it out of here. There

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Speaker 1: are a couple of things that irritate me here as

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Speaker 1: a movie fan, a movie love or a movie enthusiast

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Speaker 1: the movie reviewer. I always want the best story in

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Speaker 1: any single movie I see. I don't want anything to

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Speaker 1: be left on the table. Give it to me all,

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Speaker 1: make me feel, make me cry, get me excited, throw

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Speaker 1: it all in that hour and a half, two hour,

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Speaker 1: three hours, whatever you're gonna give to me. I don't

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Speaker 1: want to feel at the end of a movie that

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Speaker 1: the story is incomplete. I get it. If you're doing

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Speaker 1: a sequel, you set it up. Difference here, whenever a

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Speaker 1: big movie comes out and they realize they're maybe running

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Speaker 1: towards the end of this franchise and they want to

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Speaker 1: get more out of us, they don't just want to

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Speaker 1: get us into the theater for this one. They want

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Speaker 1: us to come back. It's a way for them to

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Speaker 1: make more money off of a franchise. Biggest offenders of

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Speaker 1: this of all time. Harry Potter split the Last Movie

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Speaker 1: into two I get it. Huge franchise. You want to

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Speaker 1: extend that out as much as possible, but why do

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Speaker 1: you have to split it into two movies? Just make

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Speaker 1: one the better movie, because you leave me feeling like, oh,

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Speaker 1: I need to see that movie now. If you're going

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Speaker 1: to split it into two, have that next one come

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Speaker 1: out in a month. I don't want to wait that long.

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Speaker 1: Twilight did the same thing. I think Harry Potter kind

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Speaker 1: of set the stage for that. Hunger Games did it

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Speaker 1: as well. That one probably irritated me the most, but

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Speaker 1: out of all those, I was the biggest fan of

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Speaker 1: the Hunger Games. When it came to those series of

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Speaker 1: book adaptations Spider Man across the Spider Verse, that just

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Speaker 1: feels incomplete to me. I know a lot of people

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Speaker 1: rated that movie a perfect score. I couldn't do it

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Speaker 1: because as much as I loved all the action, Act one,

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Speaker 1: Act two, Act three great, but then I just kind

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Speaker 1: of left your hang in movie blue Balls. I don't

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Speaker 1: want that. That is why I get so irritated with this,

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Speaker 1: even with the mission and possible movies, when it's a

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Speaker 1: part one in part two, when you already had so

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Speaker 1: many movies, it makes it even more confusing because this

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Speaker 1: is already like the seventh movie in the franchise, but

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Speaker 1: then you're splitting the seventh movie into two. Why why

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Speaker 1: do that? Whenever movies get split into two? That is

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Speaker 1: a pet peep of mine. That one is at number four,

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Speaker 1: At number four, this one happens so often, and it's

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Speaker 1: really started to irritate me more. That's why it came

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Speaker 1: in in the top five. Whenever a hero in a movie,

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Speaker 1: in an action movie, in a superhero movie, they never

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Speaker 1: get hurt. They are in full on gunfights and they

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Speaker 1: never get hit. You mean to tell me that just

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Speaker 1: because he is the hero of the movie or she

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Speaker 1: is the hero of the movie, they're not gonna catch

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Speaker 1: a straight bullet. They're not gonna get beaten up. It

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Speaker 1: makes no sense, especially when there are situations where a

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Speaker 1: hero has to fight a group of people and everybody

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Speaker 1: in that group just takes their turn in fighting this person,

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Speaker 1: Like there's some unwritten rule that you can't all gang

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Speaker 1: up on them and beat them up at once. Why

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Speaker 1: do they do that? Like, oh no, that guy went down.

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Speaker 1: That guy went down, all right, now up, Oh I

250
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Speaker 1: went down too, Wait for the next guy. Dude's taking

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Speaker 1: out everybody in this lineup because you're all at hacking

252
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Speaker 1: him one by one, and then if you have a

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Speaker 1: big shootout, they don't get shot. They come out without

254
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Speaker 1: a scratch. Maybe by the end of the movie they

255
00:14:07,280 --> 00:14:10,000
Speaker 1: have a little cut underneath their eye, they put out

256
00:14:10,000 --> 00:14:12,800
Speaker 1: a little bandage on their head, but for the most part,

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Speaker 1: they're good. At most you maybe get him in like

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Speaker 1: a slang or something, but for some reason, unless it's

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Speaker 1: a John Wick movie. That's why that is my favorite

260
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Speaker 1: action franchise, because Keanu Reeves will get beaten up. He

261
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Speaker 1: will show John Wick at the very very rock bottom

262
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Speaker 1: trying to scrape back. That's why I like an action

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Speaker 1: hero who can take a punch, who doesn't have it

264
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Speaker 1: in this contract that he can't lose a fight, because

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Speaker 1: you need that. You need to be able to root

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Speaker 1: for something. It's hard to root for your hero when

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Speaker 1: you know they're gonna be fine by the end of

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Speaker 1: the movie, because the hero never dies. That is why

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Speaker 1: that irritates me so much. The last movie I saw

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Speaker 1: that was a big offender of this was Bad Boys.

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Speaker 1: For that movie has some fantastic action, and I get

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Speaker 1: that it's not supposed to be hype realistic, but come on,

273
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Speaker 1: you have two heroes here and they all turn out okay.

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Speaker 1: That's why it irritates me. That is at number four,

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Speaker 1: where our hero never gets hit, never gets hurt, and

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Speaker 1: also when the bad guys just decide to become decent

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Speaker 1: humans and attack them one by one at number three.

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Speaker 1: This one is very personal to me. I don't know

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Speaker 1: if anybody else is gonna relate to this one, but

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Speaker 1: it's a big one for me. Whenever a movie starts

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Speaker 1: so quietly, it's happened so often to me, and ME

282
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Speaker 1: like to get into a theater, and I'm really weird

283
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Speaker 1: about timing out things. And when I go to a

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Speaker 1: movie I don't want to have my snack until that

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Speaker 1: movie starts. I don't want to eat them in the previews.

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Speaker 1: As soon as that first frame hits that big screen,

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Speaker 1: that is when I give myself clearance to dive into

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Speaker 1: my snacks. And whenever that happens, and the first opening

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Speaker 1: scene is so quiet that I can't dip into my bag,

290
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Speaker 1: I can't crunch on my snacks. I hate quiet opening

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Speaker 1: scenes because that is prime snacking time for me. Alien

292
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Speaker 1: Romulus was completely silent. I thought they were messing with me,

293
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Speaker 1: because right when I went to have my snack, you

294
00:16:17,360 --> 00:16:20,880
Speaker 1: could hear the person next to you breathing. I don't

295
00:16:20,920 --> 00:16:24,000
Speaker 1: need to hear that. Give us a little music, give

296
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Speaker 1: us some of those swooshing movie sound effects that we

297
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Speaker 1: all love. I need something at the beginning of a

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Speaker 1: movie so I can have my snack. So all the

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Speaker 1: filmmakers out there, I know this is very selfish of me,

300
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Speaker 1: but please stop making the openings to movies so quiet.

301
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Speaker 1: That is what I have at number three, quiet opening

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Speaker 1: scenes at number two. This was the one that inspired

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Speaker 1: this entire list. Went to go see Trap. Thought it

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00:16:51,600 --> 00:16:54,000
Speaker 1: was a pretty decent m Night Shamalan movie. The thing

305
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Speaker 1: I love about m Night is he does take his risks.

306
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Speaker 1: You're either gonna love it or you're gonna hate it.

307
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Speaker 1: But I think at the core of every movie he makes,

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Speaker 1: he at least says to himself what would be a

309
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Speaker 1: good movie. So I feel like every movie for him,

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Speaker 1: in my opinion, is a case by case basis. So

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Speaker 1: I would also encourage you, if you've enjoyed any of

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Speaker 1: his movies and want to give him another shot, give

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Speaker 1: Trap a try, probably when it comes out on streaming.

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Speaker 1: But the thing I hated about Trap that irritated me.

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Speaker 1: That is a major pet peeve of mine that it's

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Speaker 1: not the only offender to this. It is how backstage

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Speaker 1: at a concert is depicted. It's always really the entire

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Speaker 1: concert going experience in this movie is just so far

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Speaker 1: off what it is. I am somebody who has been

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Speaker 1: to a lot of backstages in my life, and growing

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Speaker 1: up as a kid, it was my dream to get backstage.

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Speaker 1: My favorite band growing up was Blink when eighty two,

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Speaker 1: and I would always see them post things about having

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Speaker 1: backstage passes or listening to the radio, thing you can

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00:18:02,080 --> 00:18:04,920
Speaker 1: win backstage passes to your favorite concert. I always wanted

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Speaker 1: to go backstage at a Blink within eighty two concert

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Speaker 1: because I thought it was such a magical place. In

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Speaker 1: my head. All I had to do was get my

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Speaker 1: hands on a backstage pass. Having that all access, nobody

330
00:18:17,840 --> 00:18:20,359
Speaker 1: would question me back there, and I would go and

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Speaker 1: be able to talk to the band, see them hanging out, partying,

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Speaker 1: probably drinking, doing things you shouldn't do, and I just

333
00:18:27,600 --> 00:18:31,600
Speaker 1: always thought of it as this magical place. Backstage is

334
00:18:31,680 --> 00:18:35,240
Speaker 1: like an amusement park when it comes to the rock

335
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Speaker 1: concert or any concert business, and really what it is,

336
00:18:39,440 --> 00:18:43,040
Speaker 1: it's an office, It is just people back there working.

337
00:18:43,119 --> 00:18:46,840
Speaker 1: You have people moving around, you have managers, you have

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Speaker 1: production people set up in offices, little makeshift offices, and

339
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Speaker 1: if you are back there and are not supposed to

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Speaker 1: be back there, somebody is going to notice. And just

341
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Speaker 1: because you have a backstage pass doesn't give you clearance

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Speaker 1: to do everything back there. And when it came to Trap,

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00:19:05,440 --> 00:19:09,520
Speaker 1: they just had it all wrong. They had it this

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00:19:09,680 --> 00:19:14,440
Speaker 1: superficial version of what backstage is, of what a touring

345
00:19:14,520 --> 00:19:17,439
Speaker 1: artist is like, and that really took me out of

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00:19:17,440 --> 00:19:19,760
Speaker 1: that movie. And I felt the same way watching The

347
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Speaker 1: Idea of You, which was a movie starring Ann Hathaway,

348
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Speaker 1: where she dates this guy she met at Coachella. That

349
00:19:26,240 --> 00:19:29,119
Speaker 1: entire process of how meet and greets work, how you

350
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Speaker 1: would even run into somebody famous at Coachella, it just

351
00:19:33,520 --> 00:19:37,919
Speaker 1: always feels so hollywood and fake to me and so

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00:19:38,400 --> 00:19:40,720
Speaker 1: unlike what it is in real life. Which you could

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Speaker 1: probably say that about a lot of depictions of things

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Speaker 1: in movies, but this is one that I just have

355
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Speaker 1: experience with, and especially when it comes to anything regarding

356
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Speaker 1: recording music. Don't even get me started on that or

357
00:19:52,320 --> 00:19:55,000
Speaker 1: in people on podcasts and radio and movies and they

358
00:19:55,000 --> 00:19:56,760
Speaker 1: don't wear headphones, and you're like, there's no way that

359
00:19:56,800 --> 00:19:59,720
Speaker 1: would even work. But for the sake of this list,

360
00:19:59,800 --> 00:20:03,600
Speaker 1: I'm going with how backstage is portrayed at concerts in

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00:20:03,640 --> 00:20:07,800
Speaker 1: movies drives me up a wall. Backstage is not like that.

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Speaker 1: Sorry to let you down. If your dream is still

363
00:20:10,840 --> 00:20:14,199
Speaker 1: to go backstage. It's not that cool your favorite artists,

364
00:20:14,280 --> 00:20:17,359
Speaker 1: unless they are just a mad partier. It's probably just

365
00:20:17,400 --> 00:20:21,240
Speaker 1: hanging out back there, playing video games, doing vocal warmups,

366
00:20:21,600 --> 00:20:25,560
Speaker 1: drinking tea, and just waiting to go on stage and perform.

367
00:20:25,760 --> 00:20:28,280
Speaker 1: Nothing crazy going on back there, and it's not that

368
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Speaker 1: easy to get back there. Before I get to number one,

369
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Speaker 1: I did ask this question on social media. I wanted

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Speaker 1: to know what the movie crew has to say when

371
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Speaker 1: it comes to things that irritate you in movies. Valerie

372
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Speaker 1: m on X says, I hate it when the screen

373
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Speaker 1: on actor's phones are clearly not in call mode. This

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Speaker 1: is probably a movie with a lower budget and you

375
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Speaker 1: just throw a cell phone in somebody's hand as a prop.

376
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Speaker 1: So I get that one. I replied back to Valerie

377
00:20:54,760 --> 00:20:57,800
Speaker 1: and said along the same lines of this is whenever

378
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Speaker 1: in a movie you see somebody tech somebody that could

379
00:21:00,840 --> 00:21:03,560
Speaker 1: be their best friend, and they send that text message.

380
00:21:03,560 --> 00:21:06,439
Speaker 1: But when they show that on screen, it looks like

381
00:21:06,480 --> 00:21:09,080
Speaker 1: the first text message that they have sent to this person.

382
00:21:09,760 --> 00:21:13,920
Speaker 1: That is so unrealistic. You would have an entire conversation

383
00:21:14,080 --> 00:21:17,199
Speaker 1: before that if you knew this person. Somehow, it is

384
00:21:17,240 --> 00:21:20,600
Speaker 1: always the first message. And I know the technology exists

385
00:21:20,600 --> 00:21:22,919
Speaker 1: where you can take any kind of prop phone and

386
00:21:23,000 --> 00:21:26,000
Speaker 1: put anything on it, so again, it probably has to

387
00:21:26,000 --> 00:21:29,119
Speaker 1: do with somebody having a low budget. Michael on X

388
00:21:29,160 --> 00:21:33,240
Speaker 1: also said people eating meals in movies drives me crazy,

389
00:21:33,520 --> 00:21:35,840
Speaker 1: and I always pay attention to this because I like

390
00:21:35,920 --> 00:21:39,320
Speaker 1: paying attention to continuity errors, and that is a big

391
00:21:39,359 --> 00:21:43,680
Speaker 1: reason why people don't eat in movies. Because you're filming

392
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Speaker 1: multiple takes from different angles. In editing, you're going to

393
00:21:47,880 --> 00:21:50,280
Speaker 1: use the best take. And if somebody is eating a

394
00:21:50,280 --> 00:21:53,360
Speaker 1: hamburger and they are taking actual bites of that burger,

395
00:21:53,760 --> 00:21:55,800
Speaker 1: when you go back and try to cut it up,

396
00:21:56,320 --> 00:21:58,680
Speaker 1: you could be going from a full burger to half

397
00:21:58,680 --> 00:22:00,920
Speaker 1: a burger, to one byte left to an entire fool

398
00:22:00,920 --> 00:22:05,240
Speaker 1: burger again, so I get why, for the most part,

399
00:22:05,280 --> 00:22:08,160
Speaker 1: the actors don't take a bite unless it's a very

400
00:22:08,200 --> 00:22:12,239
Speaker 1: specific part of the movie plotline. But I would say,

401
00:22:12,240 --> 00:22:13,800
Speaker 1: don't even put the food in front of them, because

402
00:22:13,800 --> 00:22:15,840
Speaker 1: they're just kind of moving it around their plate. But

403
00:22:15,960 --> 00:22:18,639
Speaker 1: for the most part, that is because they wanted to

404
00:22:18,760 --> 00:22:20,919
Speaker 1: line up in post production. But again, when you do

405
00:22:21,000 --> 00:22:23,159
Speaker 1: see somebody there with a really good meal, or like

406
00:22:23,200 --> 00:22:25,680
Speaker 1: the Disney Channel original movies back in the day where

407
00:22:25,720 --> 00:22:28,159
Speaker 1: their mom would just on a random Tuesday make a

408
00:22:28,200 --> 00:22:32,439
Speaker 1: full fledged breakfast with orange juice and pancakes and waffles,

409
00:22:32,640 --> 00:22:35,480
Speaker 1: and then nobody eats the breakfast. They just walk out like, oh,

410
00:22:35,560 --> 00:22:37,960
Speaker 1: I'll just get a brand muffin, Like, well, she just

411
00:22:38,040 --> 00:22:40,360
Speaker 1: made you an entire breakfast on a Tuesday and you're

412
00:22:40,359 --> 00:22:43,000
Speaker 1: not gonna eat anything. What a kill for that? Growing up,

413
00:22:43,080 --> 00:22:46,919
Speaker 1: Wendy on Facebook said when nobody says goodbye when talking

414
00:22:47,040 --> 00:22:50,159
Speaker 1: on the phone, that always gets to me. I can

415
00:22:50,280 --> 00:22:52,440
Speaker 1: agree with that, but I did see a writer talking

416
00:22:52,480 --> 00:22:55,400
Speaker 1: about this on TikTok and saying that if they did

417
00:22:55,440 --> 00:22:58,640
Speaker 1: that every single time, it would just feel like wasted space,

418
00:22:58,960 --> 00:23:02,080
Speaker 1: especially when you're riding a script. If you put all

419
00:23:02,160 --> 00:23:05,159
Speaker 1: right goodbye in a script, it's gonna feel really weird

420
00:23:05,200 --> 00:23:07,959
Speaker 1: and unnecessary. So I think to us as a viewer,

421
00:23:08,840 --> 00:23:11,800
Speaker 1: it probably feels like that actually wouldn't happen that way,

422
00:23:12,200 --> 00:23:14,600
Speaker 1: but to keep the momentum moving along in a movie,

423
00:23:14,640 --> 00:23:17,840
Speaker 1: it just feels like something that you don't really need

424
00:23:17,880 --> 00:23:21,160
Speaker 1: in there. Along those same lines is whenever somebody meets

425
00:23:21,160 --> 00:23:23,800
Speaker 1: somebody and they're like, hell, let's go on a date.

426
00:23:24,119 --> 00:23:26,800
Speaker 1: How about next Tuesday? All right, and they don't really

427
00:23:26,840 --> 00:23:29,920
Speaker 1: exchange any kind of info, but yet they both show

428
00:23:30,000 --> 00:23:33,159
Speaker 1: up on that Tuesday for that date. Rebecca Martinez on

429
00:23:33,160 --> 00:23:35,359
Speaker 1: Facebook says, I love them, but the Fast and the

430
00:23:35,400 --> 00:23:38,639
Speaker 1: Furious franchise has some unbelievable scenes where they are pulling

431
00:23:38,680 --> 00:23:41,400
Speaker 1: safe through the middle of the street. Their cars are

432
00:23:41,400 --> 00:23:44,880
Speaker 1: completely destroying buildings and roads, but it looks like all

433
00:23:44,960 --> 00:23:48,720
Speaker 1: the pedestrians are safe and unharmed. This is a big

434
00:23:48,760 --> 00:23:51,840
Speaker 1: one for me too, especially not just in the Fast

435
00:23:51,840 --> 00:23:54,119
Speaker 1: and the Furious movies, where obviously you're gonna take some

436
00:23:54,160 --> 00:23:56,840
Speaker 1: strange You have all these cars on the side of

437
00:23:56,840 --> 00:24:00,680
Speaker 1: the roads getting hit. Insurance claim, insurance claim, insurance claim,

438
00:24:00,720 --> 00:24:03,040
Speaker 1: is what I see. But also, you know, they take

439
00:24:03,080 --> 00:24:06,560
Speaker 1: out some people in all those chases. Along those same lines.

440
00:24:06,680 --> 00:24:11,119
Speaker 1: Talk about this recently Superheroes when they're getting into these

441
00:24:11,440 --> 00:24:15,400
Speaker 1: crazy destructive battles in New York City. You imagine all

442
00:24:15,400 --> 00:24:17,919
Speaker 1: of that damage to the buildings alone, but you know

443
00:24:18,000 --> 00:24:20,200
Speaker 1: there were some people in those buildings, and they never

444
00:24:20,240 --> 00:24:23,840
Speaker 1: addressed that. It's a little bit irritating. I have a

445
00:24:23,840 --> 00:24:27,080
Speaker 1: few honorable mentions myself. These are very specific to me,

446
00:24:27,800 --> 00:24:29,640
Speaker 1: but I hate it when there are more than two

447
00:24:29,800 --> 00:24:32,960
Speaker 1: studio logos at the beginning of a movie. Two is enough,

448
00:24:33,119 --> 00:24:36,280
Speaker 1: like Universal Bad Robot, like all those at the beginning.

449
00:24:36,640 --> 00:24:38,960
Speaker 1: But I watched the movie recently where there were six

450
00:24:39,040 --> 00:24:42,600
Speaker 1: studio logos. The worst part of a movie is having

451
00:24:42,640 --> 00:24:45,280
Speaker 1: to sit through all those studio logos. If there is

452
00:24:45,359 --> 00:24:50,639
Speaker 1: two minutes of just all the production studios and film

453
00:24:50,680 --> 00:24:53,800
Speaker 1: houses associated with this movie, and I get it, you're

454
00:24:53,840 --> 00:24:57,320
Speaker 1: probably trying to give all those studios credit, create some

455
00:24:57,440 --> 00:25:00,240
Speaker 1: association with the viewer and their logo, and like, okay,

456
00:25:00,280 --> 00:25:03,000
Speaker 1: that studio makes good movies. But when you have two

457
00:25:03,040 --> 00:25:06,639
Speaker 1: and a half three minutes of these logos, especially on

458
00:25:06,720 --> 00:25:11,199
Speaker 1: streaming services where completion rate is so so important, and

459
00:25:11,240 --> 00:25:14,200
Speaker 1: you have somebody sitting there for two minutes where nothing happens,

460
00:25:14,359 --> 00:25:16,800
Speaker 1: it's gonna make me click off the thing. Another pet

461
00:25:16,800 --> 00:25:20,159
Speaker 1: peeve I have is really generic titles. Whenever something is

462
00:25:20,280 --> 00:25:23,080
Speaker 1: just the and another word, you gotta come up with

463
00:25:23,119 --> 00:25:26,080
Speaker 1: something better right now, especially when you can google a

464
00:25:26,160 --> 00:25:28,800
Speaker 1: movie like The Brick, and there are probably so many

465
00:25:28,840 --> 00:25:32,240
Speaker 1: movies called the Brick. Come up with something unique, because

466
00:25:32,280 --> 00:25:33,800
Speaker 1: just trying to find that one, then you have to

467
00:25:33,800 --> 00:25:36,119
Speaker 1: find what year it is, and it just seems so lazy.

468
00:25:36,160 --> 00:25:39,119
Speaker 1: Whenever a movie feels like it has a title that

469
00:25:39,240 --> 00:25:41,879
Speaker 1: was just a working title, a placeholder, and that's what

470
00:25:41,960 --> 00:25:44,120
Speaker 1: they decide to go with, that is a pet peeve

471
00:25:44,119 --> 00:25:46,960
Speaker 1: of mine. Along those same lines, whenever a movie uses

472
00:25:47,000 --> 00:25:50,560
Speaker 1: a bad font. I am really particular on fonts. I

473
00:25:50,640 --> 00:25:53,760
Speaker 1: want a big, bold font, something that has some creative

474
00:25:53,840 --> 00:25:56,720
Speaker 1: edge to it and looks like it was made specifically

475
00:25:56,760 --> 00:25:59,560
Speaker 1: for this. I'm talking fonts like the Indiana Jones font

476
00:25:59,560 --> 00:26:02,760
Speaker 1: that is so thinct, the Star Wars font, the Spider

477
00:26:02,800 --> 00:26:06,560
Speaker 1: Man font, the Twister font, even the et font. Give

478
00:26:06,640 --> 00:26:10,720
Speaker 1: that font some personality, try to create a logo, try

479
00:26:10,720 --> 00:26:14,120
Speaker 1: to create a brand here. Just don't hop on your

480
00:26:14,119 --> 00:26:17,359
Speaker 1: computer and use Times New Roman to make your movie font.

481
00:26:17,400 --> 00:26:19,639
Speaker 1: That is a pet peeve of mine. I think for

482
00:26:19,720 --> 00:26:22,159
Speaker 1: some people a pet peeve that I actually enjoy is

483
00:26:22,160 --> 00:26:24,199
Speaker 1: whenever they say the title of a movie in the

484
00:26:24,200 --> 00:26:27,240
Speaker 1: movie that is my favorite thing. I love it. I

485
00:26:27,280 --> 00:26:29,040
Speaker 1: can't get enough of that. But I feel like some

486
00:26:29,080 --> 00:26:31,399
Speaker 1: people think that's a little bit cheesy, a little bit forrest,

487
00:26:31,440 --> 00:26:35,160
Speaker 1: but for me, I love it. Those are the honorable mentions.

488
00:26:35,200 --> 00:26:38,080
Speaker 1: But at number one, this has to do with horror movies.

489
00:26:38,520 --> 00:26:40,399
Speaker 1: Oh and I was just watching a movie where this

490
00:26:40,440 --> 00:26:42,639
Speaker 1: happened again. I think the biggest offender of this right

491
00:26:42,680 --> 00:26:47,160
Speaker 1: now is Blumhouse. It has to do whenever the family

492
00:26:47,320 --> 00:26:51,080
Speaker 1: or the main character discovers the dark, hidden past and

493
00:26:51,160 --> 00:26:53,800
Speaker 1: they decide they have to go drive out and meet

494
00:26:53,840 --> 00:26:58,000
Speaker 1: the person associated with this. I hate this so much.

495
00:26:58,560 --> 00:27:02,679
Speaker 1: It is so textbook, so cliche, because all these creepy

496
00:27:02,680 --> 00:27:05,280
Speaker 1: things have been happening. They've either been dealing with a ghost,

497
00:27:05,920 --> 00:27:09,119
Speaker 1: some kind of paranormal thing inside their house and then

498
00:27:09,160 --> 00:27:11,600
Speaker 1: it gets revealed like, oh, yes, somebody died here like

499
00:27:11,600 --> 00:27:14,639
Speaker 1: one hundred years ago. This has been all these things

500
00:27:14,640 --> 00:27:17,800
Speaker 1: happening to these families. If you want to see and

501
00:27:17,880 --> 00:27:19,560
Speaker 1: find out the truth, you have to go see this

502
00:27:19,600 --> 00:27:22,359
Speaker 1: one person who lives two towns over, and then they

503
00:27:22,400 --> 00:27:25,080
Speaker 1: get to that person's house and that person's all creepy,

504
00:27:25,119 --> 00:27:27,080
Speaker 1: and they don't want to talk to them. This happens

505
00:27:27,119 --> 00:27:30,560
Speaker 1: time and time again. You've probably seen this in a movie.

506
00:27:30,680 --> 00:27:33,600
Speaker 1: And I'm not talking about any movie in particular right there,

507
00:27:33,600 --> 00:27:36,280
Speaker 1: but you've probably seen that movie. In the last three

508
00:27:36,359 --> 00:27:39,639
Speaker 1: years alone, I've seen that happen at least twice a

509
00:27:39,760 --> 00:27:44,520
Speaker 1: year in horror movies, and Blumhouse is the biggest offender

510
00:27:44,600 --> 00:27:47,800
Speaker 1: of that. Every third act in a Blumhouse movie is

511
00:27:47,880 --> 00:27:50,600
Speaker 1: exactly what I just described. They either find some kind

512
00:27:50,640 --> 00:27:54,840
Speaker 1: of document, some hidden box with all these things that like, oh,

513
00:27:54,880 --> 00:27:57,400
Speaker 1: suddenly this all makes sense. Hey, there's this person here.

514
00:27:57,440 --> 00:28:00,600
Speaker 1: I'm gonna go investigate. Oh what do you mean? Oh

515
00:28:00,640 --> 00:28:03,520
Speaker 1: I just I'm choking on my own rage here. It

516
00:28:03,640 --> 00:28:06,439
Speaker 1: just happens so often and kind of goes back to

517
00:28:06,480 --> 00:28:09,840
Speaker 1: one earlier bad writing, lazier writing, especially when it comes

518
00:28:09,840 --> 00:28:13,240
Speaker 1: to horror movies, where I feel the format, if you're

519
00:28:13,240 --> 00:28:16,520
Speaker 1: not really passionate about the movie you're making, you're going

520
00:28:16,560 --> 00:28:19,760
Speaker 1: to just use a template that is just placed in

521
00:28:19,760 --> 00:28:23,359
Speaker 1: front of you. Scary thing happens, person deals with it,

522
00:28:23,840 --> 00:28:26,480
Speaker 1: scary thing happens again, person gets a little bit more creepy.

523
00:28:26,760 --> 00:28:29,439
Speaker 1: Big scary thing happens Oh, the person has rattled a

524
00:28:29,440 --> 00:28:32,560
Speaker 1: little bit, and then another really big scary thing happens,

525
00:28:33,119 --> 00:28:37,399
Speaker 1: causing the real turmoil, causing this person, somebody to go missing,

526
00:28:37,440 --> 00:28:40,000
Speaker 1: somebody to be hurt. And that's why they decide I

527
00:28:40,160 --> 00:28:42,920
Speaker 1: need answers. I'm gonna go drive out two town's over

528
00:28:43,360 --> 00:28:46,360
Speaker 1: to Paducah and find this old lady living in a

529
00:28:46,400 --> 00:28:49,200
Speaker 1: basement who's gonna be hesitant to talk to me, but

530
00:28:49,320 --> 00:28:52,120
Speaker 1: she will have all the answers. That is my number one.

531
00:28:52,760 --> 00:28:54,880
Speaker 1: And I think it's also because how much I love

532
00:28:54,960 --> 00:28:58,280
Speaker 1: horror movies and how much I just have this desire

533
00:28:58,360 --> 00:29:03,040
Speaker 1: to be scared. When never that happens, I'm completely checked out.

534
00:29:03,400 --> 00:29:07,880
Speaker 1: I'm automatically deducting at least two points from your rating.

535
00:29:08,360 --> 00:29:10,800
Speaker 1: I watched the movie recently where that happened. I'm glad

536
00:29:10,840 --> 00:29:12,840
Speaker 1: I waited until it was streaming to watch it. I

537
00:29:12,880 --> 00:29:15,600
Speaker 1: won't say what it is, because if you do watch it,

538
00:29:16,320 --> 00:29:18,760
Speaker 1: you're gonna know, and you're gonna be irritated, and I

539
00:29:18,800 --> 00:29:21,440
Speaker 1: will not give them that satisfaction. But that is the list.

540
00:29:21,920 --> 00:29:25,320
Speaker 1: Come back and give my spoiler free review of Blink twice.

541
00:29:28,960 --> 00:29:31,480
Speaker 1: Let's get into it now. A spoiler free movie review

542
00:29:31,560 --> 00:29:35,760
Speaker 1: of Blink Twice, the directorial debut of Zoe Kravitz's daughter

543
00:29:36,200 --> 00:29:39,720
Speaker 1: to Lady Kravitz. She's engaged to the film star Channing Tatum.

544
00:29:39,920 --> 00:29:43,000
Speaker 1: I just love it when somebody who has been in

545
00:29:43,000 --> 00:29:45,240
Speaker 1: front of the camera for a very long time. My

546
00:29:45,440 --> 00:29:48,760
Speaker 1: favorite role of hers has been Catwoman and The Batman

547
00:29:48,800 --> 00:29:53,200
Speaker 1: with Robert Pattinson, decides get behind the camera. I think

548
00:29:53,480 --> 00:29:57,200
Speaker 1: the benefit of that is an actor who has worked

549
00:29:57,200 --> 00:29:59,400
Speaker 1: with different directors. They know what they like, they know

550
00:29:59,440 --> 00:30:01,520
Speaker 1: what they don't like, and therefore they know how to

551
00:30:01,640 --> 00:30:05,360
Speaker 1: get the performances out of the actors that they want

552
00:30:05,520 --> 00:30:07,840
Speaker 1: because they've been there before. We are in an age

553
00:30:07,840 --> 00:30:11,680
Speaker 1: now where I think we need new, fresh directors with

554
00:30:11,920 --> 00:30:16,160
Speaker 1: new ideas, making unique stories that aren't part of a franchise.

555
00:30:16,600 --> 00:30:20,280
Speaker 1: Though I do feel this movie is heavily inspired by

556
00:30:20,320 --> 00:30:24,280
Speaker 1: some recent horror movies, it doesn't have any real source material.

557
00:30:24,680 --> 00:30:26,600
Speaker 1: It is standing on its own. So what is this

558
00:30:26,680 --> 00:30:30,360
Speaker 1: movie about? Before I get into it, I will say

559
00:30:30,400 --> 00:30:32,400
Speaker 1: this is the only movie I can think of in

560
00:30:32,440 --> 00:30:35,400
Speaker 1: recent history that had a trigger warning at the beginning,

561
00:30:36,160 --> 00:30:38,640
Speaker 1: and I think it has to do with it ends

562
00:30:38,640 --> 00:30:41,280
Speaker 1: with us coming out a couple of weeks ago, that

563
00:30:41,320 --> 00:30:44,760
Speaker 1: movie not having a trigger warning, even though it deals

564
00:30:44,800 --> 00:30:48,720
Speaker 1: with domestic abuse, maybe some people would to go see

565
00:30:48,720 --> 00:30:50,720
Speaker 1: that not knowing that, maybe they didn't read the book.

566
00:30:50,960 --> 00:30:53,040
Speaker 1: So I think they made it a point to give

567
00:30:53,080 --> 00:30:56,200
Speaker 1: this movie a trigger warning because it does have some

568
00:30:56,360 --> 00:30:59,400
Speaker 1: sexual violence in here. So I feel like this movie

569
00:30:59,480 --> 00:31:01,800
Speaker 1: isn't for ever everybody, and even for me, who I've

570
00:31:01,840 --> 00:31:05,560
Speaker 1: never experienced anything like that. I sometimes like to know

571
00:31:05,640 --> 00:31:08,320
Speaker 1: when something is going to be that heavy, because sometimes

572
00:31:08,360 --> 00:31:10,720
Speaker 1: when it comes out of nowhere and you're not prepared

573
00:31:10,800 --> 00:31:13,360
Speaker 1: for it, especially if you are somebody who has dealt

574
00:31:13,360 --> 00:31:16,560
Speaker 1: with that, it can really hit you in a way

575
00:31:16,600 --> 00:31:18,920
Speaker 1: that you don't want to go into a theater and

576
00:31:18,960 --> 00:31:21,479
Speaker 1: experience with a bunch of strangers. So I'm glad they

577
00:31:21,520 --> 00:31:23,880
Speaker 1: put this trigger warning at the beginning. And here's what

578
00:31:23,920 --> 00:31:27,000
Speaker 1: the trigger warning said. Blink Twice is a psychological thriller

579
00:31:27,040 --> 00:31:30,720
Speaker 1: about the abuse of power. While this is a fictionalized movie,

580
00:31:31,080 --> 00:31:35,440
Speaker 1: it contains mature themes and depictions of violence, including sexual violence.

581
00:31:35,560 --> 00:31:39,120
Speaker 1: This may be upsetting and triggering to some viewers. So

582
00:31:39,240 --> 00:31:42,440
Speaker 1: what this movie is about. You have this tech billionaire

583
00:31:42,560 --> 00:31:45,600
Speaker 1: named Slater King played by Channing Tatum, and at the

584
00:31:45,600 --> 00:31:47,800
Speaker 1: beginning of the movie, he has been in some kind

585
00:31:47,840 --> 00:31:50,600
Speaker 1: of trouble. It doesn't really say flat out what happened,

586
00:31:50,640 --> 00:31:52,680
Speaker 1: but you kind of start to infer some things because

587
00:31:52,680 --> 00:31:55,920
Speaker 1: it starts with him giving an interview where he is apologizing.

588
00:31:55,960 --> 00:31:58,320
Speaker 1: He is saying he's sorry, he is saying is changing,

589
00:31:58,880 --> 00:32:02,400
Speaker 1: and he says in efforts to kind of make amends

590
00:32:02,400 --> 00:32:05,320
Speaker 1: and get himself better, he's going to therapy, and on

591
00:32:05,400 --> 00:32:08,440
Speaker 1: top of that, he has bought this island that he

592
00:32:08,600 --> 00:32:13,320
Speaker 1: just goes to, has no technology and just goes to therapy.

593
00:32:13,800 --> 00:32:16,960
Speaker 1: It's supposed to be him rebuilding and working on himself,

594
00:32:17,480 --> 00:32:19,479
Speaker 1: but he just does this interview where he's like, I'm

595
00:32:19,520 --> 00:32:22,640
Speaker 1: all good now, I'm getting better. I am sorry to everybody.

596
00:32:22,680 --> 00:32:26,040
Speaker 1: So you have to assume that he is apologizing for something,

597
00:32:26,400 --> 00:32:29,120
Speaker 1: and of course, given the trigger warning here, given the

598
00:32:29,120 --> 00:32:32,080
Speaker 1: fact that this movie is about the abuse of power,

599
00:32:32,600 --> 00:32:35,440
Speaker 1: you just kind of start to infer things, especially once

600
00:32:35,440 --> 00:32:37,720
Speaker 1: they get to the island. So how do we get

601
00:32:37,720 --> 00:32:40,120
Speaker 1: on this island? Well, you have a character named Frieda

602
00:32:40,560 --> 00:32:42,440
Speaker 1: who has really been down on her luck. She's been

603
00:32:42,480 --> 00:32:45,720
Speaker 1: working as a cocktail waitress and she finds a way

604
00:32:45,880 --> 00:32:50,080
Speaker 1: to meet Slater King by faking some credentials, gets into

605
00:32:50,120 --> 00:32:53,600
Speaker 1: a fancy party, and before you know it, she is

606
00:32:53,760 --> 00:32:56,160
Speaker 1: talking with him, she is hanging out with him, and

607
00:32:56,200 --> 00:32:58,120
Speaker 1: it is blowing her mind because she was just at

608
00:32:58,160 --> 00:33:00,440
Speaker 1: the beginning of the movie he was watching this interview

609
00:33:00,480 --> 00:33:04,120
Speaker 1: that he was doing apologizing, and now she is there

610
00:33:04,520 --> 00:33:07,520
Speaker 1: with him and he appears to have some interest in her.

611
00:33:07,960 --> 00:33:10,360
Speaker 1: And because she has been so down on her luck.

612
00:33:10,440 --> 00:33:12,320
Speaker 1: She has a best friend who they were just talking

613
00:33:12,320 --> 00:33:14,719
Speaker 1: at the beginning of the movie that I desperately need

614
00:33:14,760 --> 00:33:17,920
Speaker 1: a vacation. She is struggling making rent. They are living

615
00:33:17,920 --> 00:33:20,080
Speaker 1: in a rundown apartment, and then meet one of the

616
00:33:20,120 --> 00:33:24,480
Speaker 1: most famous billionaires who suddenly invites her to this island

617
00:33:24,600 --> 00:33:28,520
Speaker 1: with zero time to get anything ready. Hey, you want

618
00:33:28,520 --> 00:33:31,480
Speaker 1: to come with us? And you ask yourself, as the viewer,

619
00:33:31,600 --> 00:33:34,520
Speaker 1: if this was me, if I was in a really

620
00:33:34,560 --> 00:33:37,160
Speaker 1: tough point in my life. Nothing was going my way,

621
00:33:37,520 --> 00:33:41,160
Speaker 1: nobody was paying attention to me. I can't get invited

622
00:33:41,200 --> 00:33:46,000
Speaker 1: to parties, I can't even make rant. Suddenly this rich, famous, powerful,

623
00:33:46,040 --> 00:33:48,680
Speaker 1: good looking person is telling you you want to get

624
00:33:48,720 --> 00:33:51,959
Speaker 1: on my jet? Would you go do this? And I

625
00:33:51,960 --> 00:33:54,200
Speaker 1: feel like this is a commentary on a lot of

626
00:33:54,280 --> 00:33:57,080
Speaker 1: things the media. Thing that came to mind was Epstein Island.

627
00:33:57,120 --> 00:34:00,920
Speaker 1: Going to an island where anything happens. And you get

628
00:34:00,920 --> 00:34:04,080
Speaker 1: there and they immediately take away your cell phones. You

629
00:34:04,160 --> 00:34:06,920
Speaker 1: know something is gonna go down. But would you be

630
00:34:07,000 --> 00:34:09,759
Speaker 1: able to look the other way on all of those

631
00:34:09,800 --> 00:34:13,200
Speaker 1: red flags just because you need a vacation, you just

632
00:34:13,239 --> 00:34:16,600
Speaker 1: want to feel special. You go there with no belongings,

633
00:34:16,640 --> 00:34:19,520
Speaker 1: you don't have your cell phone, but suddenly they have

634
00:34:19,680 --> 00:34:22,360
Speaker 1: clothes for you to wear, they have all this nice food,

635
00:34:22,800 --> 00:34:26,439
Speaker 1: and it seems like paradise. How many red flags would

636
00:34:26,440 --> 00:34:30,560
Speaker 1: you ignore? There is something unsettling here, But obviously it's

637
00:34:30,560 --> 00:34:34,200
Speaker 1: a psychological thriller. You have to suspend belief and it

638
00:34:34,239 --> 00:34:37,640
Speaker 1: wouldn't be a movie if they would ignore all those

639
00:34:37,680 --> 00:34:40,800
Speaker 1: red flags. So she goes along with it. Channing Tatum

640
00:34:40,880 --> 00:34:42,640
Speaker 1: is on this island with a bunch of his other

641
00:34:43,200 --> 00:34:46,719
Speaker 1: tech friends. One of them is an actor who had

642
00:34:46,719 --> 00:34:49,919
Speaker 1: their TV show canceled, played by Haley Joe Osmit. This

643
00:34:50,200 --> 00:34:53,760
Speaker 1: movie has a really unique cast that somehow works together.

644
00:34:53,840 --> 00:34:58,040
Speaker 1: It is a very diverse group. You also have Christian Slater,

645
00:34:58,200 --> 00:35:02,320
Speaker 1: who I really wasn't to really enjoy in this movie.

646
00:35:02,600 --> 00:35:06,600
Speaker 1: Gina Davis, the one and only Gina Davis talking about

647
00:35:06,640 --> 00:35:10,520
Speaker 1: a league of their own. Herself has a pretty substantial

648
00:35:10,600 --> 00:35:14,680
Speaker 1: role in this movie. Adrea Rona, who I know primarily

649
00:35:14,719 --> 00:35:17,279
Speaker 1: now from Hitman with Glenn Powell. It took me a

650
00:35:17,320 --> 00:35:19,640
Speaker 1: second to realize that that was her. She showed me

651
00:35:19,719 --> 00:35:22,440
Speaker 1: an entirely different side from her that I already got

652
00:35:22,440 --> 00:35:26,000
Speaker 1: a glimpse of after watching her and hit Man. But again,

653
00:35:26,560 --> 00:35:28,799
Speaker 1: keeping this all spoiler free, I won't get into too

654
00:35:28,840 --> 00:35:31,239
Speaker 1: many of the plot points. All of this happens that

655
00:35:31,280 --> 00:35:34,399
Speaker 1: I'm talking about within the first thirty minutes. They get

656
00:35:34,440 --> 00:35:38,120
Speaker 1: to the island and slowly things start appearing a little

657
00:35:38,160 --> 00:35:42,160
Speaker 1: bit weird, and slowly it starts turning into a nightmare

658
00:35:42,200 --> 00:35:47,640
Speaker 1: where our main character is wondering are these things actually happening?

659
00:35:47,719 --> 00:35:49,960
Speaker 1: Is it all in my head? Because there are a

660
00:35:49,960 --> 00:35:53,560
Speaker 1: lot of just sinister undertones, a lot of symbolism, and

661
00:35:53,680 --> 00:35:55,680
Speaker 1: a lot of things that you, as the viewers, start

662
00:35:55,719 --> 00:35:58,920
Speaker 1: to put together. This movie was very reminiscent to me

663
00:35:59,160 --> 00:36:02,840
Speaker 1: of Get Out the Menu, which was another great psychological

664
00:36:02,920 --> 00:36:06,359
Speaker 1: thriller Nine Perfect Strangers of the series on Hulu. It's

665
00:36:06,400 --> 00:36:09,319
Speaker 1: almost all those things put together where you have a

666
00:36:09,360 --> 00:36:13,160
Speaker 1: group of people living on an island, a very resort

667
00:36:13,239 --> 00:36:18,959
Speaker 1: style group bonding, lots of drugs, lots of partying, all

668
00:36:19,040 --> 00:36:22,279
Speaker 1: while these really weird things are happening that everybody is

669
00:36:22,360 --> 00:36:25,279
Speaker 1: just choosing not to pay attention due And I think

670
00:36:25,280 --> 00:36:27,800
Speaker 1: that was the only hard thing for me to buy

671
00:36:27,880 --> 00:36:31,720
Speaker 1: into the whole pay no attention to that trope where

672
00:36:32,040 --> 00:36:35,200
Speaker 1: where something truly disturbing happens, and then you have the

673
00:36:35,239 --> 00:36:37,719
Speaker 1: main person, which in this case was Channing Tatum, just like,

674
00:36:37,960 --> 00:36:40,400
Speaker 1: pay no attention to that, don't look behind the curtain.

675
00:36:40,480 --> 00:36:42,160
Speaker 1: I don't really like that trope because it kind of

676
00:36:42,200 --> 00:36:46,160
Speaker 1: just pushes away any kind of credibility that the movie

677
00:36:46,200 --> 00:36:48,960
Speaker 1: starts to build because their only way of dealing with

678
00:36:49,040 --> 00:36:51,520
Speaker 1: it is telling you, as the viewer and also the

679
00:36:51,520 --> 00:36:54,560
Speaker 1: main character, is hey, pay no attention to that, when

680
00:36:54,760 --> 00:36:57,719
Speaker 1: I would be asking every single question. So really, the

681
00:36:57,760 --> 00:37:00,720
Speaker 1: only thing I felt this movie didn't do was build

682
00:37:00,760 --> 00:37:03,960
Speaker 1: that tension in the first and second act, to create

683
00:37:04,000 --> 00:37:06,160
Speaker 1: that suspense, to really have me on the edge of

684
00:37:06,200 --> 00:37:09,120
Speaker 1: my seat, which I feel other movies that this movie

685
00:37:09,200 --> 00:37:12,120
Speaker 1: was inspired by, like Get Out, do so well. They

686
00:37:12,160 --> 00:37:16,400
Speaker 1: give you those little pops that they feel terrifying in

687
00:37:16,440 --> 00:37:19,120
Speaker 1: the moment that they are happening, and they add to

688
00:37:19,160 --> 00:37:22,960
Speaker 1: this level of horror and suspense that keeps you really

689
00:37:23,040 --> 00:37:26,040
Speaker 1: engaged throughout the entire movie. And I wouldn't even call

690
00:37:26,080 --> 00:37:28,400
Speaker 1: it a slow burn. It just almost felt a little

691
00:37:28,400 --> 00:37:31,080
Speaker 1: bit like everybody just hanging out and you kind of

692
00:37:31,120 --> 00:37:34,960
Speaker 1: wondering is this even going anywhere? And with the themes

693
00:37:34,960 --> 00:37:37,160
Speaker 1: of this movie and in the genre that it is,

694
00:37:37,239 --> 00:37:38,759
Speaker 1: it is going to be one of those movies that

695
00:37:38,800 --> 00:37:41,759
Speaker 1: you were either going to love or hate. If you

696
00:37:41,840 --> 00:37:44,359
Speaker 1: have loved or hated the movies I've mentioned, like Get

697
00:37:44,400 --> 00:37:48,839
Speaker 1: Out the Menu or even Us from Jordan Peel, that

698
00:37:49,000 --> 00:37:51,520
Speaker 1: is going to really determine whether or not you enjoy

699
00:37:51,640 --> 00:37:54,800
Speaker 1: this movie. But I will say once this movie started

700
00:37:54,800 --> 00:37:57,080
Speaker 1: to pick up and it got to some more action,

701
00:37:57,239 --> 00:38:00,240
Speaker 1: that's where it really started to own itself. That's where

702
00:38:00,239 --> 00:38:03,399
Speaker 1: it really separated itself from all those movies I've been

703
00:38:03,400 --> 00:38:07,120
Speaker 1: mentioning and truly became its own movie. So I feel

704
00:38:07,120 --> 00:38:09,320
Speaker 1: like it was trying to have more of that Twilight

705
00:38:09,440 --> 00:38:12,160
Speaker 1: Zone vibe in the beginning and then almost turned into

706
00:38:12,200 --> 00:38:15,680
Speaker 1: an action or revenge in the style of Quentin Tarantino,

707
00:38:16,080 --> 00:38:18,960
Speaker 1: and that is where this movie really shined. And speaking

708
00:38:18,960 --> 00:38:21,640
Speaker 1: of Quentin Tarantino. There was a little pulp fiction easter

709
00:38:21,719 --> 00:38:23,400
Speaker 1: egg that I caught at the beginning of the movie.

710
00:38:23,760 --> 00:38:26,720
Speaker 1: If you remember Samuel L. Jackson's wallet in Pulp Fiction,

711
00:38:27,200 --> 00:38:30,799
Speaker 1: The Bad and Mempher wallet that he has, there was

712
00:38:31,200 --> 00:38:34,400
Speaker 1: a button on the main character's backpack that had that

713
00:38:34,480 --> 00:38:37,520
Speaker 1: same font, that same logo, in that same saying. So

714
00:38:37,600 --> 00:38:39,080
Speaker 1: I felt like that was a little bit of a

715
00:38:39,120 --> 00:38:40,920
Speaker 1: nod to that movie, maybe a little bit of a

716
00:38:40,960 --> 00:38:44,640
Speaker 1: nod to Quentin Tarantino. The other easter egg I noticed

717
00:38:44,680 --> 00:38:46,680
Speaker 1: was that Zoe Kravitz put her dad in the movie

718
00:38:47,000 --> 00:38:50,160
Speaker 1: at the beginning, where the main character is swiping through

719
00:38:50,200 --> 00:38:53,400
Speaker 1: TikTok or. I think maybe Instagram, you see the video

720
00:38:53,520 --> 00:38:57,040
Speaker 1: of Lenny Kravitz working out in full leather pants but

721
00:38:57,239 --> 00:39:00,839
Speaker 1: just crushing it. I love Lenny Krabt, and I forget

722
00:39:00,880 --> 00:39:02,759
Speaker 1: how many good songs he has. I forget that he

723
00:39:02,840 --> 00:39:06,120
Speaker 1: has such a talented daughter. So I really like that

724
00:39:06,160 --> 00:39:08,080
Speaker 1: she found a way to put him in the movie

725
00:39:08,120 --> 00:39:11,000
Speaker 1: without having a cheap cameo. I also thought it was

726
00:39:11,040 --> 00:39:13,200
Speaker 1: interesting that she didn't put herself in this movie, which

727
00:39:13,200 --> 00:39:16,600
Speaker 1: most directors do, especially in their debut, unless she was

728
00:39:16,680 --> 00:39:19,360
Speaker 1: hidden somewhere in there. I like the fact that she

729
00:39:19,520 --> 00:39:22,080
Speaker 1: didn't feel the need to put herself in her own movie.

730
00:39:22,160 --> 00:39:25,360
Speaker 1: The main character, Frida, played by Naomi Aki, I thought

731
00:39:25,400 --> 00:39:28,160
Speaker 1: was phenomenal. I really enjoyed the way she played the

732
00:39:28,239 --> 00:39:31,400
Speaker 1: character and how overall there was this really good arc

733
00:39:31,480 --> 00:39:34,200
Speaker 1: on her story. And although the movie took a little

734
00:39:34,239 --> 00:39:37,000
Speaker 1: while to get going, it's only an hour and thirty

735
00:39:37,000 --> 00:39:41,120
Speaker 1: six minutes and has a really gratifying end. And even

736
00:39:41,160 --> 00:39:42,920
Speaker 1: though there were some loose ends that I feel they

737
00:39:42,920 --> 00:39:46,000
Speaker 1: didn't quite tie up, I still really enjoyed it. For

738
00:39:46,040 --> 00:39:49,240
Speaker 1: Blink twice, I give it four out of five Polaroids.

739
00:39:52,440 --> 00:39:56,120
Speaker 1: It's time to head down to movie. Mike Trey lar Haar,

740
00:39:56,840 --> 00:40:00,640
Speaker 1: We're getting the band back together. A new movie. Here

741
00:40:01,960 --> 00:40:07,400
Speaker 1: stars Tom Hanks, Robin Wright, director Roberts the MICUs. Last

742
00:40:07,400 --> 00:40:10,719
Speaker 1: time they all worked together on a movie one of

743
00:40:10,719 --> 00:40:13,920
Speaker 1: the greatest movies in the history of film, Forrest Gump,

744
00:40:15,440 --> 00:40:20,040
Speaker 1: and this trailer looks really interesting. The thing about here

745
00:40:21,320 --> 00:40:24,080
Speaker 1: is it all takes place in a single room over

746
00:40:24,120 --> 00:40:27,839
Speaker 1: one hundred years and the camera does not move at all,

747
00:40:28,760 --> 00:40:32,360
Speaker 1: which is what a great concept for a movie. And

748
00:40:32,480 --> 00:40:35,520
Speaker 1: Roberts of MICUs had I would say his name weird

749
00:40:35,560 --> 00:40:38,120
Speaker 1: so apologize for mispronouncing his name. I just want to

750
00:40:38,120 --> 00:40:41,200
Speaker 1: say it's a MICUs. But he had quite the run

751
00:40:41,840 --> 00:40:45,600
Speaker 1: in the nineteen eighties nineteen nineties if you're not familiar

752
00:40:45,600 --> 00:40:49,399
Speaker 1: with his work. In nineteen eighty five, he is responsible

753
00:40:49,719 --> 00:40:52,600
Speaker 1: for Back to the Future, follow that up with Who

754
00:40:52,680 --> 00:40:55,799
Speaker 1: Framed Roger Rabbit? And then follow that up look at

755
00:40:55,800 --> 00:40:59,560
Speaker 1: its incredible run back to the Future, Who Framed Roger Rabbit?

756
00:41:00,200 --> 00:41:03,320
Speaker 1: To the Future Part two, Back to the Future Part three,

757
00:41:03,400 --> 00:41:06,880
Speaker 1: Death Becomes Her and in nineteen ninety four Forrest Gump.

758
00:41:07,200 --> 00:41:10,520
Speaker 1: He also did movies like Contact, What Lies Beneath, Castaway,

759
00:41:10,880 --> 00:41:13,680
Speaker 1: the Polar Express, and then kind of fell off there

760
00:41:13,719 --> 00:41:16,920
Speaker 1: in the two thousands with movies like Boe Wolf, the

761
00:41:17,000 --> 00:41:19,279
Speaker 1: Christmas Carol Movie in two thousand and nine. I think

762
00:41:19,360 --> 00:41:22,000
Speaker 1: the last good movie he probably did was back in

763
00:41:22,040 --> 00:41:25,640
Speaker 1: twenty twelve Flight. But now he is teaming up getting

764
00:41:25,640 --> 00:41:28,600
Speaker 1: the Band back together with Tom Hanks and Robin Wright

765
00:41:29,080 --> 00:41:33,319
Speaker 1: and what looks what I describe as a warm cinematic

766
00:41:33,400 --> 00:41:36,600
Speaker 1: hug from an old friend. So getting all these actors

767
00:41:36,600 --> 00:41:40,240
Speaker 1: and director back together, can they pull out a certified banger?

768
00:41:40,719 --> 00:41:43,600
Speaker 1: So let's take a look at the trailer for here Hey, Dad,

769
00:41:44,520 --> 00:41:47,320
Speaker 1: like didn't meet Margaret. It's nice to meet you, Margaret.

770
00:41:47,520 --> 00:41:51,560
Speaker 1: Nice to meet you, mister young Tom sure does fly

771
00:41:51,680 --> 00:41:52,000
Speaker 1: it on that.

772
00:41:54,680 --> 00:41:54,919
Speaker 2: Sure?

773
00:41:55,040 --> 00:41:59,680
Speaker 1: Does you know? If you like, you could spend the

774
00:41:59,719 --> 00:42:03,560
Speaker 1: rest through their knife here. You could spend the rest

775
00:42:03,560 --> 00:42:10,239
Speaker 1: of my life here. This was our home. We lived here.

776
00:42:11,040 --> 00:42:14,440
Speaker 1: So Tom Hanks and Robin Wright play the central couple

777
00:42:14,480 --> 00:42:17,760
Speaker 1: in this movie. The really distracting thing that I could

778
00:42:18,120 --> 00:42:20,440
Speaker 1: not really wrap my head around just yet is the

779
00:42:20,520 --> 00:42:23,200
Speaker 1: deaging technology that they use in this movie, because what

780
00:42:23,239 --> 00:42:25,560
Speaker 1: you see in the trailer is you see the beginning

781
00:42:25,600 --> 00:42:28,400
Speaker 1: of time. You see just this piece of land where

782
00:42:28,440 --> 00:42:32,680
Speaker 1: like dinosaurs are roaming, very primitive people are walking around,

783
00:42:32,719 --> 00:42:35,279
Speaker 1: and in the process of all that, depending on how

784
00:42:35,320 --> 00:42:38,680
Speaker 1: fast this movie moves along, you see this house being

785
00:42:38,760 --> 00:42:41,920
Speaker 1: built from the ground up, and then the entire movie

786
00:42:42,040 --> 00:42:44,680
Speaker 1: is going to take place in this one shot, in

787
00:42:44,719 --> 00:42:47,200
Speaker 1: this one room. And I really want to know how

788
00:42:47,239 --> 00:42:49,960
Speaker 1: this movie was made. Did they only use one camera

789
00:42:50,040 --> 00:42:52,560
Speaker 1: and sit it on a tripod that was like bolted

790
00:42:52,600 --> 00:42:55,000
Speaker 1: into the ground, because if you move just a little bit,

791
00:42:55,480 --> 00:42:59,360
Speaker 1: it throws off the entire process of making this movie.

792
00:42:59,360 --> 00:43:02,120
Speaker 1: But I guess you could probably fixed that in post production.

793
00:43:02,200 --> 00:43:04,560
Speaker 1: That just seems like, oh man, if that is how

794
00:43:04,600 --> 00:43:07,480
Speaker 1: this whole thing is set up, seems like a recipe

795
00:43:07,560 --> 00:43:11,000
Speaker 1: for a disaster, So that part of it feels novel

796
00:43:11,040 --> 00:43:13,239
Speaker 1: to me. I don't think a movie like this has

797
00:43:13,360 --> 00:43:16,960
Speaker 1: ever been made. But I still am distracted by that

798
00:43:17,000 --> 00:43:20,280
Speaker 1: deaging technology. But I guess you want to use Tom

799
00:43:20,360 --> 00:43:23,040
Speaker 1: Hanks and Robin Wright throughout the majority of the movie

800
00:43:23,320 --> 00:43:25,239
Speaker 1: and showing them young, that's what you have to do.

801
00:43:25,640 --> 00:43:28,719
Speaker 1: But in those moments, to me, it doesn't feel like

802
00:43:28,840 --> 00:43:31,920
Speaker 1: either of those characters are there. It very much feels

803
00:43:32,360 --> 00:43:35,520
Speaker 1: like I'm watching an animated character of sorts, much like

804
00:43:35,520 --> 00:43:37,280
Speaker 1: I did and the other Roberts that make us movies,

805
00:43:37,600 --> 00:43:40,799
Speaker 1: Polar Express and even Beowulf. And what they actually use

806
00:43:40,840 --> 00:43:44,160
Speaker 1: in this movie is this new AI technology called metaphysic Live,

807
00:43:44,440 --> 00:43:48,120
Speaker 1: and that technology is able to facewat people, So you

808
00:43:48,160 --> 00:43:51,040
Speaker 1: can just map somebody's face and put it on another body.

809
00:43:51,400 --> 00:43:53,520
Speaker 1: So they probably have somebody sitting in for both of

810
00:43:53,560 --> 00:43:58,040
Speaker 1: these characters and just imposing their faces on younger bodies.

811
00:43:58,320 --> 00:44:01,080
Speaker 1: You can also dage people. I just don't think that

812
00:44:01,200 --> 00:44:05,680
Speaker 1: technology is quite there. I think so far, probably the

813
00:44:05,719 --> 00:44:08,200
Speaker 1: irishman has used it the best They did a pretty

814
00:44:08,239 --> 00:44:11,120
Speaker 1: good job de aging Robert Downey Junior as a young

815
00:44:11,200 --> 00:44:15,640
Speaker 1: Tony Stark. But I think for an entire full length movie,

816
00:44:16,360 --> 00:44:19,080
Speaker 1: I don't really buy into the use of this technology yet.

817
00:44:19,120 --> 00:44:21,840
Speaker 1: I think we're still maybe another five, seven, ten years

818
00:44:21,880 --> 00:44:24,880
Speaker 1: away from really getting this down, but it's probably so

819
00:44:25,200 --> 00:44:28,160
Speaker 1: expensive to use. So whenever it is a young Tom

820
00:44:28,200 --> 00:44:31,160
Speaker 1: Hanks on screen, I just have a real hard time

821
00:44:31,239 --> 00:44:33,960
Speaker 1: believing that that is him there, And it's not really

822
00:44:34,080 --> 00:44:36,600
Speaker 1: until you see an older Tom Hanks that I feel like, ah,

823
00:44:36,640 --> 00:44:39,240
Speaker 1: that is him, and I am all about the Tom

824
00:44:39,280 --> 00:44:43,120
Speaker 1: Hanks grandpa era, really just aging like fine wine into

825
00:44:43,200 --> 00:44:46,799
Speaker 1: those roles of him playing older characters. So you have

826
00:44:46,960 --> 00:44:49,880
Speaker 1: him playing a character named Richard Young. Robin Wright plays

827
00:44:49,920 --> 00:44:53,720
Speaker 1: Margaret Paul Bettany Blaize, Tom Hanks's dad in the film.

828
00:44:53,880 --> 00:44:57,040
Speaker 1: So it's gonna be about multiple families all about this

829
00:44:57,239 --> 00:45:00,719
Speaker 1: place they all inhabit, which happens to be here. It's

830
00:45:00,760 --> 00:45:03,960
Speaker 1: going to travel through different generations and really just focusing

831
00:45:04,000 --> 00:45:08,759
Speaker 1: on capturing the human experience in its purest form. So

832
00:45:08,800 --> 00:45:11,840
Speaker 1: I think the idea is really novel. Can Roberts of

833
00:45:11,920 --> 00:45:15,239
Speaker 1: Mechis pull this movie off? If you look at the

834
00:45:15,320 --> 00:45:18,600
Speaker 1: run just him and Tom Hanks had together Forrest Gump.

835
00:45:18,600 --> 00:45:23,120
Speaker 1: They won six Academy Awards, including Best Picture in one

836
00:45:23,160 --> 00:45:26,600
Speaker 1: of the Greatest Movie Years of all Time nineteen ninety four.

837
00:45:27,160 --> 00:45:30,560
Speaker 1: The Meccas also won for Best Director, Tom Hanks won

838
00:45:30,600 --> 00:45:35,000
Speaker 1: for Best Actors. So that really solidified their relationship and

839
00:45:35,080 --> 00:45:37,840
Speaker 1: their dominance in film, because when I think of Roberts

840
00:45:37,880 --> 00:45:40,120
Speaker 1: of Mecchas, I just think of film and I think

841
00:45:40,120 --> 00:45:43,160
Speaker 1: those are the really great directors where they have so

842
00:45:43,360 --> 00:45:47,400
Speaker 1: much versatility and have made so many great, essential movies

843
00:45:47,440 --> 00:45:51,040
Speaker 1: to our lives for so long that it's almost unbelievable

844
00:45:51,120 --> 00:45:53,560
Speaker 1: to think that one person made all of these movies.

845
00:45:53,560 --> 00:45:56,480
Speaker 1: You're telling me, the same person who was responsible for

846
00:45:56,560 --> 00:45:58,839
Speaker 1: one of the greatest movie trilogies of all time, Back

847
00:45:58,880 --> 00:46:02,640
Speaker 1: to the Future, also did Forrest Gump. They were really

848
00:46:02,680 --> 00:46:06,279
Speaker 1: only a handful of directors who I would put in

849
00:46:06,320 --> 00:46:09,560
Speaker 1: that category. They just feel like Cinema. Zamechas is one

850
00:46:09,600 --> 00:46:13,000
Speaker 1: of them. Obviously, Spielberg is one of them now, although

851
00:46:13,120 --> 00:46:15,680
Speaker 1: not everybody would agree with me. I think Tarantino is

852
00:46:15,760 --> 00:46:19,520
Speaker 1: also in that category, and Christopher Nolan is also easing

853
00:46:19,560 --> 00:46:22,280
Speaker 1: his way into that list for me. But they followed

854
00:46:22,280 --> 00:46:25,200
Speaker 1: that up together with Castaway in two thousand, which was

855
00:46:25,239 --> 00:46:29,360
Speaker 1: another critical and commercial success. Then into The Polar Express,

856
00:46:29,400 --> 00:46:33,040
Speaker 1: which again the mechas is always pushing technology, trying to

857
00:46:33,160 --> 00:46:36,920
Speaker 1: make novel movies, and that one was just, Oh, it

858
00:46:37,000 --> 00:46:40,080
Speaker 1: looks so bad. And I love The Polar Express. As

859
00:46:40,120 --> 00:46:42,520
Speaker 1: a kid, My favorite day out of the year was

860
00:46:42,560 --> 00:46:45,399
Speaker 1: around the holidays, where we were allowed to wear our pajamas.

861
00:46:45,600 --> 00:46:48,759
Speaker 1: We'd read The Polar Express, and that movie just kind

862
00:46:48,800 --> 00:46:51,000
Speaker 1: of bombed the idea of that for me. But the

863
00:46:51,080 --> 00:46:54,319
Speaker 1: last movie they did together in twenty twenty two, the

864
00:46:54,360 --> 00:46:59,240
Speaker 1: live action Pinocchio movie. The CGI in this movie was horrendous,

865
00:46:59,600 --> 00:47:03,480
Speaker 1: and the original Pinocchio is so good. Tom Hanks as

866
00:47:03,600 --> 00:47:07,799
Speaker 1: Jeppetto just did not work. So I feel in the

867
00:47:07,880 --> 00:47:11,880
Speaker 1: last decade plus, Zamgas has kind of fallen off. Like

868
00:47:11,920 --> 00:47:14,080
Speaker 1: I said earlier, I still believe the last good movie

869
00:47:14,160 --> 00:47:16,840
Speaker 1: he made was in twenty twelve Flight with Denzel Washington.

870
00:47:17,000 --> 00:47:20,239
Speaker 1: Denzel gave a fantastic performance in that movie, but since

871
00:47:20,239 --> 00:47:24,000
Speaker 1: then hasn't put out anything great. So maybe him dipping

872
00:47:24,040 --> 00:47:26,200
Speaker 1: back into the forest gump pool is him trying to

873
00:47:26,200 --> 00:47:28,960
Speaker 1: pull another hit out of his butt. The thing that

874
00:47:29,120 --> 00:47:32,080
Speaker 1: is always hard with any movie that takes place in

875
00:47:32,200 --> 00:47:35,840
Speaker 1: one location is runtime. This movie is only an hour

876
00:47:35,880 --> 00:47:38,120
Speaker 1: and forty four minutes, which is good because it is

877
00:47:38,160 --> 00:47:41,640
Speaker 1: so hard to keep somebody's attention for watching a movie

878
00:47:42,200 --> 00:47:44,920
Speaker 1: where the location doesn't change. But this one takes it

879
00:47:45,000 --> 00:47:48,680
Speaker 1: up a level because the camera angle doesn't change at all,

880
00:47:48,760 --> 00:47:50,799
Speaker 1: and that is a really bold thing to do. With

881
00:47:50,960 --> 00:47:54,680
Speaker 1: our attention spans getting so much shorter that we need

882
00:47:54,680 --> 00:47:58,040
Speaker 1: those quick cuts, we need things moving around, especially if

883
00:47:58,040 --> 00:48:00,840
Speaker 1: you're just in one location. That tells me that the

884
00:48:00,880 --> 00:48:04,799
Speaker 1: performances in this movie have to be magnificent. They have

885
00:48:04,960 --> 00:48:07,880
Speaker 1: to be a plus. It's gonna be hard for that

886
00:48:08,040 --> 00:48:09,960
Speaker 1: to come through with the use of all this AI

887
00:48:10,000 --> 00:48:13,279
Speaker 1: technology when it comes to the face swapping and the deaging.

888
00:48:13,640 --> 00:48:16,560
Speaker 1: So maybe the first thirty forty minutes of this movie

889
00:48:16,600 --> 00:48:18,960
Speaker 1: could feel like a chore to watch if it feels

890
00:48:19,000 --> 00:48:21,840
Speaker 1: like you're just watching a video game up there, Because

891
00:48:21,880 --> 00:48:24,280
Speaker 1: I have to say, what I'm seeing from Tom Hanks

892
00:48:24,280 --> 00:48:26,880
Speaker 1: in there doesn't look that much better than his character

893
00:48:26,880 --> 00:48:30,320
Speaker 1: looked in The Polar Express. So maybe this was also

894
00:48:30,400 --> 00:48:34,520
Speaker 1: a lower budget movie. But I'm hoping, I'm hoping that

895
00:48:34,640 --> 00:48:37,560
Speaker 1: he gives a really great performance that is gonna carry

896
00:48:37,600 --> 00:48:40,040
Speaker 1: this movie. What would have been amazing if they would

897
00:48:40,040 --> 00:48:42,080
Speaker 1: have had the boyhood approach to this movie and the

898
00:48:42,160 --> 00:48:44,120
Speaker 1: mechas would have been working on this since back in

899
00:48:44,160 --> 00:48:47,760
Speaker 1: the nineties and got together with the entire cast since

900
00:48:47,800 --> 00:48:50,759
Speaker 1: then in film a few scenes here and there and

901
00:48:50,840 --> 00:48:54,919
Speaker 1: you actually see them aging in real time. That would

902
00:48:54,960 --> 00:48:57,920
Speaker 1: have been a novel concept. But hey, we'll use AI

903
00:48:58,040 --> 00:49:00,000
Speaker 1: to fix it. That's the way of the world right now.

904
00:49:00,560 --> 00:49:03,759
Speaker 1: Here is coming out in theaters on November fourteenth.

905
00:49:04,480 --> 00:49:08,760
Speaker 2: At that Bar was this week's edition of Movie by Framer.

906
00:49:08,400 --> 00:49:11,400
Speaker 1: Bar and that is gonna do it for another episode

907
00:49:11,440 --> 00:49:14,080
Speaker 1: here of the podcast. But before I go, I gotta

908
00:49:14,120 --> 00:49:16,719
Speaker 1: give my listener shout out of the week. You can

909
00:49:16,719 --> 00:49:19,760
Speaker 1: get a listener shout out by dming me on Instagram,

910
00:49:19,800 --> 00:49:23,839
Speaker 1: commenting on TikTok, replying on x You can always check

911
00:49:23,840 --> 00:49:28,400
Speaker 1: out individual movie reviews on YouTube, YouTube dot com, slash

912
00:49:28,520 --> 00:49:31,840
Speaker 1: Mike Distro. If you forget any of those avenues, just

913
00:49:31,960 --> 00:49:35,359
Speaker 1: check the episode notes always linked for you right there.

914
00:49:35,440 --> 00:49:39,160
Speaker 1: Also have a Facebook to email me Moviemike d at

915
00:49:39,239 --> 00:49:42,279
Speaker 1: gmail dot com. This week's listener shout Out of the

916
00:49:42,280 --> 00:49:46,080
Speaker 1: Week goes to Cynics seven eight six on TikTok, who

917
00:49:46,160 --> 00:49:50,160
Speaker 1: commented on my Alien Romulus review on TikTok and said,

918
00:49:50,560 --> 00:49:52,719
Speaker 1: I get that most of the movie isn't anything new,

919
00:49:52,960 --> 00:49:55,560
Speaker 1: so it's not that scary, but the last twenty minutes

920
00:49:55,920 --> 00:49:59,239
Speaker 1: was absolutely mortifying to me. And I've seen a lot

921
00:49:59,239 --> 00:50:01,960
Speaker 1: of people kind of give me some pushback on this opinion,

922
00:50:02,000 --> 00:50:04,839
Speaker 1: so appreciate that Cynics for that comment. That's why you're

923
00:50:04,840 --> 00:50:07,680
Speaker 1: this week's Listener shout out of the week. Some people

924
00:50:07,800 --> 00:50:11,160
Speaker 1: saying that I kind of misinterpreted the movie as a

925
00:50:11,200 --> 00:50:13,680
Speaker 1: horror movie, and I think, Siron, do you make a

926
00:50:13,680 --> 00:50:16,759
Speaker 1: good point here. It's depending on the things that you

927
00:50:16,920 --> 00:50:19,920
Speaker 1: find scary, because I still don't think that this was

928
00:50:20,040 --> 00:50:23,759
Speaker 1: a scary movie, but it had these images that are

929
00:50:23,840 --> 00:50:27,440
Speaker 1: a little bit disturbing, and if you have a weak's stomach,

930
00:50:27,560 --> 00:50:29,600
Speaker 1: they could kind of make you nauseous. So I feel

931
00:50:29,640 --> 00:50:32,600
Speaker 1: like the movie is unsettling in the sense that it's

932
00:50:32,640 --> 00:50:35,560
Speaker 1: a little bit gross at times and sometimes you're like, oh,

933
00:50:35,800 --> 00:50:38,960
Speaker 1: what is happening right now? But to me, that still

934
00:50:39,000 --> 00:50:42,200
Speaker 1: doesn't qualify it as a horror movie. I still feel

935
00:50:42,239 --> 00:50:45,040
Speaker 1: like it is in a different category, and I would

936
00:50:45,080 --> 00:50:47,760
Speaker 1: just put it as a good sci fi action movie.

937
00:50:48,120 --> 00:50:49,920
Speaker 1: So we could be debating this until the end of time,

938
00:50:49,960 --> 00:50:53,000
Speaker 1: but appreciate that. Thank you for listening, Thank you for

939
00:50:53,080 --> 00:50:55,399
Speaker 1: being a part of the movie crew. You don't mind,

940
00:50:55,520 --> 00:50:58,520
Speaker 1: tell a friend who likes movies encourage them to subscribe.

941
00:50:58,560 --> 00:51:00,880
Speaker 1: If you do that, tag me in an Instagram story,

942
00:51:00,920 --> 00:51:03,520
Speaker 1: I'll repost you and make you next week's listener shout

943
00:51:03,560 --> 00:51:06,480
Speaker 1: out of the week, and until next time, go out

944
00:51:06,520 --> 00:51:09,479
Speaker 1: and watch good movies and I will talk to you later.