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Speaker 1: Welcome to Stuff to Blow your Mind, a production of iHeartRadio.

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Speaker 2: Hey you welcome to Weird House Cinema.

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Speaker 3: This is Rob Lamb and this is Joe McCormick. And

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Speaker 3: today it's all Time Cops. It's not the movie Time Cop,

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Speaker 3: it's another Time Cop movie. This is one where you know,

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Speaker 3: there are different ways you get into a piece of

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Speaker 3: B cinema. Sometimes you watch a trailer and it really

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Speaker 3: grabs you. Sometimes you just hear the pitch and it

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Speaker 3: gets the hooks in. But for me, this movie transfers

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Speaker 3: to the Return of Jack Death. It lured me in

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Speaker 3: with one of the best B movie posters I've ever seen.

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Speaker 3: I can't remember how I first came across this. How

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Speaker 3: did we get started on the transfer train? You were

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Speaker 3: talking about transfers and then I found this poster.

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Speaker 2: I think, yeah, a couple of things came together. I

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Speaker 2: think I got a preview of a Full Moon Entertainment

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Speaker 2: streaming channel in order to watch shock Waves, and then

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Speaker 2: forgot to unsubscribe, and you know, so I had it

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Speaker 2: for a month, and then we were talking about Full

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Speaker 2: Moon Entertainment and the question was raised, I think by

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Speaker 2: Seth are all the films in the Full Moon Entertainment

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Speaker 2: Catalog or they are they all essentially Evil Bong and

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Speaker 2: Ginger dead Man. And I was like, no, no, no, no,

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Speaker 2: you know there's some early stuff. I think there's some

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Speaker 2: good stuff in there, maybe the Transfer movies. I haven't

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Speaker 2: seen them yet. And then the next thing I knew,

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Speaker 2: I had a bout of insomnia. So I fired up

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Speaker 2: Transfers one and started watching it.

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Speaker 3: Okay, that's right. So you were talking about Transfers one

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Speaker 3: and you were pitching me on the concept, which which

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Speaker 3: sounded quite enticing, sort of similar. It sounded like a

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Speaker 3: cross between Time Coop and there's a series of video games.

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Speaker 3: I've never played one, but the games are called Assassin's

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Speaker 3: Creed and the premise of them is that you don't physically,

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Speaker 3: in your body go back in time, but you can

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Speaker 3: send your mind back in time to inhabit the body

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Speaker 3: of one of your ancestors. Is that right?

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Speaker 2: I think that's how it works. Yeah. I'm not really

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Speaker 2: versed in those games.

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Speaker 3: Either, Okay, And so that's one of the basic plot

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Speaker 3: mechanics of Trancers, right, that it has a drug based

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Speaker 3: time travel mechanism where you can send your brain, or

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Speaker 3: at least your consciousness back into the body of one

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Speaker 3: of your long dead relatives.

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Speaker 2: Correct. Yeah, Roughly speaking, if we're going to lean into

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Speaker 2: what's going on, there are seemingly two methods of time

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Speaker 2: travel in the film. There's the genetic ancestral drug technique

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Speaker 2: to move consciousness and a physical time travel technique with

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Speaker 2: severe limitation. So there is a continuation or survival of

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Speaker 2: consciousness in these films akin to reincarnation, as well as

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Speaker 2: a consciousness based model of time. And it seemed to

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Speaker 2: indicate that time is largely an illusion created by conscious

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Speaker 2: and can be manipulated through pharmacology and manipulated to such

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Speaker 2: a degree that then physical time travel is possible as well.

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Speaker 3: That's right. Transfers too gets deep. This is I remember

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Speaker 3: when I first signed up for Netflix many many years ago.

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Speaker 3: It was interesting because, like, you would tell it what

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Speaker 3: movies you liked, and then it would start suggesting its own,

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Speaker 3: Like Netflix curated thematic subgenres for you. And I remember

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Speaker 3: one of the little categories that curated for me based

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Speaker 3: on the movies that I had liked previously was mind

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Speaker 3: bending thrillers. And so I think this is technically a

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Speaker 3: mind bending thriller.

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Speaker 2: Yes, it bends the mind.

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Speaker 3: It's a little bit. Yeah, it bends it in multiple directions.

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Speaker 3: But I got to come back to this poster. So

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Speaker 3: you were telling me about trancers, and then I looked

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Speaker 3: up the poster but ended up seeing the poster for

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Speaker 3: transfers to the Return of Jack Death. This thing is beautiful.

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Speaker 3: It belongs in the Eufisia. It's so it's got a

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Speaker 3: painting of the main guy in the movie. But I

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Speaker 3: was not familiar with this guy. I guess his name

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Speaker 3: is Jack Death, right like mega death, not like the

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Speaker 3: actual word death. And then the painting he looks like

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Speaker 3: Elaine's boss from Seinfeld, you know, the guy with the

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Speaker 3: like very smooth, slickback white hair and the dark eyebrows,

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Speaker 3: and he's looking kind of like Sam the Eagle, looking

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Speaker 3: kind of stern and handsome with a strong jawline. But

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Speaker 3: he's got a long coat on. It's almost like, you know,

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Speaker 3: he's like a flasher creep, but inside the coat it's

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Speaker 3: not his body. It's like a galaxy full of stars.

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Speaker 3: And then there are a couple of people standing with him,

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Speaker 3: two women each holding guns. One of them is Helen Hunt,

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Speaker 3: kind of smiling in a mild way, holding a shotgun

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Speaker 3: and wearing the mom jean'siest mom jeans that have ever

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Speaker 3: been created. Oh and they're also like standing on the

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Speaker 3: surface of Mars, which doesn't correlate to anything that happened

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Speaker 3: in the movie. Right. Do you know why in this

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Speaker 3: poster Jack Death has a galaxy inside his coat?

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Speaker 2: Well, I mean, there's nothing in the film to indicate

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Speaker 2: why this would be, but I guess if we lean

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Speaker 2: into it, he's a you know, he's from the future,

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Speaker 2: so he is. He has a sci fi nature to him.

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Speaker 2: And if you can, I don't know, you're spending time

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Speaker 2: and space. That's about as much as I can come

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Speaker 2: up with.

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Speaker 3: Okay, So I guess one thing we should acknowledge is

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Speaker 3: that this is yet another episode where we're covering a

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Speaker 3: sequel without having covered the original film. And I think, Rob,

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Speaker 3: you're going to sort of do recap duty for us, Yeah,

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Speaker 3: to tell us about the first Transfers movie. But we

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Speaker 3: do not apologize for doing this. In fact, I think

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Speaker 3: some of my favorite episodes of Weird House Cinema have

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Speaker 3: been where we covered a sequel without covering the original.

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Speaker 3: I don't know why that often works out so well.

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Speaker 3: Something about it is kind of liberating, But I feel

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Speaker 3: like it's something we're going to keep doing, and we

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Speaker 3: maybe even need like a dedicated word for like the

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Speaker 3: seq velocity episodes.

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Speaker 2: Or yeah, because I think one of the reasons that

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Speaker 2: it works is that when you're dealing with sequels, especially

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Speaker 2: sequels of this caliber, you know, in sequels of genre films,

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Speaker 2: there are at least one of two things are likely

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Speaker 2: to be happening here. So on one level, a sequel

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Speaker 2: is a chance to move beyond the establishing setting and

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Speaker 2: origin stories and get into the meat of a new,

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Speaker 2: fresh story, provided, however, that you don't have to then

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Speaker 2: reset heaven and Earth to make a sequel work. So

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Speaker 2: I would say that a great example of this is

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Speaker 2: Blade two, where Giama do Toro did not have to

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Speaker 2: deal with any of like the origin story of Blade

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Speaker 2: for the most part, and just got to get into

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Speaker 2: just run right into a new adventure with only minor resetting.

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Speaker 3: It's kind of like getting to start a movie in

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Speaker 3: the second act.

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Speaker 2: Yeah. Probably, I love this film, obviously, But a bad

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Speaker 2: example of this would be Highlander two, where everything was

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Speaker 2: wrapped up in Highlander one, so in order to do

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Speaker 2: a equal they really had to reset having an Earth

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Speaker 2: and inject a whole bunch of new material.

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Speaker 3: Yeah, there are a lot of sequels that have to

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Speaker 3: essentially undo the previous film in some way in order

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Speaker 3: to exist, and on certain occasions that can be a

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Speaker 3: kind of like bold and gutsy and admirable move. This

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Speaker 3: is a widely hated movie, but one one that does

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Speaker 3: this in a way that I think could have been

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Speaker 3: great is Alien three. Alien three. I mean, I guess

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Speaker 3: I'm not gonna spoil anything for a movie that's been

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Speaker 3: out this long. Alien three begins by killing most of

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Speaker 3: the characters that survived Aliens. Yeah, and and love characters, yeah,

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Speaker 3: beloved characters that all die right at the beginning, actually

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Speaker 3: off screen. It's just like it happens in between the films,

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Speaker 3: and a lot of people like this, but something about

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Speaker 3: me always kind of appreciated like this could be the

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Speaker 3: setup to a real powerful gut punch of a third

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Speaker 3: Alien movie. Unfortunately, Alien three is it's one of those

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Speaker 3: movies that is it's hard to say it's bad because

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Speaker 3: I think it's essentially an unf finished film. We don't

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Speaker 3: we didn't ever get to see what Alien three would

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Speaker 3: have been.

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Speaker 2: Yeah, so so many great aspects to it, I mean,

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Speaker 2: has a wonderful cast.

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Speaker 3: Pete Posselway, Charles S. Dutton. Yeah, it's got an amazing cast.

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Speaker 2: And Dance as a oh arly likable human being, which

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Speaker 2: or at least a more relatable human being than he

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Speaker 2: tends to play. I don't I don't remember all the

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Speaker 2: wrinkles in his character, but he wasn't a complete bastard desire.

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Speaker 3: Call Charles Dance is just wonderful. Yeah, it has a

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Speaker 3: great cast, has in a way a strong setup. It's

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Speaker 3: just yeah, like I said, it's basically an unfinished film

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Speaker 3: that was nevertheless released and kind of really suffers for that.

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Speaker 3: It's sort of held together by duct tape and paper clips.

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Speaker 3: But that was all a tangent to say. There are

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Speaker 3: some cases where it feels like it can be really strong.

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Speaker 3: Most of the time, when your sequel has to undo

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Speaker 3: the previous film, it's just really irritating.

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Speaker 2: How do you feel about Halloween one Halloween two? Because

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Speaker 2: Halloween One ends with like Donald Pleasant is like finally

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Speaker 2: we have killed him, and then Halloween two begins with

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Speaker 2: oh wait, my bad, I'm sorry I missed him, or

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Speaker 2: he's not dead.

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Speaker 3: You know, I mean Halloween two is not the worst

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Speaker 3: slasher movie and not the worst slasher sequel. Like it's

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Speaker 3: a pretty competently executed slasher horror movie. But yeah, it's

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Speaker 3: it's totally unnecessary, and it's quite clear that it was

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Speaker 3: just just kind of a cash grab. It's like the

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Speaker 3: first movie was really successful, we got to do another one.

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Speaker 3: I mean, I don't think it doesn't feel it like

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Speaker 3: Carpenter didn't even direct it. I think he co wrote

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Speaker 3: the screenplay if I'm not mistaken, but I could be

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Speaker 3: wrong about that. But whoever was all the creative forces

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Speaker 3: behind it. It is a competently made horror movie, but

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Speaker 3: their heart wasn't really in it.

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Speaker 2: Yeah, so yeah. The next thing about sequels is definitely

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Speaker 2: the rehash and redo area of sequel making it in

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Speaker 2: its worst case, you have a like direct to video

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Speaker 2: cash in that is intentional, it just complete, letely lacking

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Speaker 2: of the originality of the first film. But you also

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Speaker 2: see this this reverse and that's when you have particularly

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Speaker 2: a lower budget or an indie picture that does really well,

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Speaker 2: and then the sequel is a chance to essentially redo it,

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Speaker 2: hopefully with improvements to the budget, cast, script, et cetera.

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Speaker 2: I think prime examples of this would be Evil Dead

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Speaker 2: Too and Fantasm Too, both of which benefited from larger

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Speaker 2: budgets and are both kinds of sequel slash remakes. I

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Speaker 2: know fans are torn on some of the issues regarding these,

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Speaker 2: and there are arguments about like what's better Phantasm War

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Speaker 2: or Phantasm Too, But undeniably these are cases where the

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Speaker 2: filmmakers got to go back and spend a lot more money,

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Speaker 2: maybe with a lot more you know, caveats attached to

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Speaker 2: how they use that money, but still they got to

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Speaker 2: explore the same dream with more cash.

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Speaker 3: I don't know if the same is true of Phantasm

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Speaker 3: two because I haven't seen it, but certainly with Evil

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Speaker 3: Dead two there's a big difference, not just in in budget,

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Speaker 3: not just in the resources they had to work with,

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Speaker 3: but in the tone of the movie. Whereas the first

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Speaker 3: Evil Dead movie is like a is like a dark, straight,

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Speaker 3: gross horror movie, the second one is a comedy essentially.

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Speaker 2: Yeah, yeah, so you get to tweak the tone even

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Speaker 2: in cases, and then sometimes I can think it can

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Speaker 2: have great results.

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Speaker 3: But now, how does this apply to transwers, Because if

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Speaker 3: I'm not mistaken, I think the first one actually got

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Speaker 3: a theatrical release, and this one, I don't know, but

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Speaker 3: it feels extremely straight to video.

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Speaker 2: Yes, this one was straight to video, unlike the previous one.

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Speaker 2: I couldn't find any information about the actual budget for

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Speaker 2: Transwers too, so this one maybe cost as much, maybe

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Speaker 2: cost more, but I doubt it. I think it costs less.

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Speaker 2: It's certainly made at least one key upgrade, and that's

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Speaker 2: in villain casting, which we'll get to in a bit.

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Speaker 2: But they largely rehashed the plot of the first one,

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Speaker 2: except with additional complications and additional characters. But I feel

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Speaker 2: like they brought almost everybody back, so you know, it's

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Speaker 2: kind of like a cast reunion to a certain extent.

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Speaker 3: Okay, well, so if you're about to recap the first

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Speaker 3: movie for us, the first thing I've got to know

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Speaker 3: is it's called transfers to the Return of Jack Death.

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Speaker 3: Where did he return from? Did he return from the

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Speaker 3: future to the past or from the past to the future.

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Speaker 2: No, he doesn't return from anywhere. He returns to your

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Speaker 2: TV screen basically. Okay, that's the only thing that returns

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Speaker 2: to because there's talk of him returning to the future,

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Speaker 2: but he does not return to the future. He doesn't

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Speaker 2: return to the future until Transfers three.

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Speaker 3: So it just literally could have been called Transfers to

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Speaker 3: Jack Death is in another movie.

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Speaker 2: Yeah yeah, all right, so previously on Transfers. Okay, So

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Speaker 2: angel City of the twenty third century, it has a

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Speaker 2: lot of problems. Most of Los Angeles is underwater and

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Speaker 2: a psychic mastermind known as Whistler, who uses his psychic

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Speaker 2: powers to turn other humans into transfers zombie like thralls.

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Speaker 2: You know, these these are psychically controlled sleep ragents who

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Speaker 2: can be triggered into a monstrous rampage. But luckily you

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Speaker 2: have some transfer hunters on the case. And there's none

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Speaker 2: more excellent at singing trancers than old Jack Death.

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Speaker 3: Jack Death is sort of the Harley Stone of trancers.

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Speaker 2: Yeah, so he's a pro at taking them out. Pro

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Speaker 2: it sings in those trancers. Meanwhile, the police actually have

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Speaker 2: Whistler's body, They have the super bad guy's body, but

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Speaker 2: they don't have his mind because Whistler, we find out,

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Speaker 2: has used the time travel drug to send his consciousness

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Speaker 2: back in time to nineteen eighty five, where his consciousness

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Speaker 2: now inhabits his ancestors body and his ancestor in nineteen

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Speaker 2: eighty five is a police detective, so complications.

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Speaker 3: Uh oh.

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Speaker 2: Now, while in the past, Whistler hasn't just been hiding,

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Speaker 2: he's been hunting down and murdering the ancestors of his

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Speaker 2: key enemies in the future members of the ruling Council

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Speaker 2: of Angel City. So he's you know, he's basically running

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Speaker 2: a terminator game on his enemies here. So Jack Death

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Speaker 2: has been hired by the one remaining member of the

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Speaker 2: ruling Council to follow Whistler quote down the line, down

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Speaker 2: the timeline by using the time travel drug, and Jack

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Speaker 2: Death's consciousness emerges in his own nineteen eighty five ancestors

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Speaker 2: body a reporter in in nineteen eighty five Los Angeles,

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Speaker 2: but before he goes, he shoots Whistler's future body, his

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Speaker 2: comentose body dead before he goes, So he's kind of like,

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Speaker 2: I'll go get him, but I'm not bringing him back alive.

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Speaker 2: He's not coming back to this body. Too dangerous to live,

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Speaker 2: all right, Okay, So where does Helen Hunt come in.

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Speaker 2: She's kind of okay. Once in the past he meets

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Speaker 2: up with this punk girl named Lena, and that is

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Speaker 2: Helen Hunt, Okay, And so she's she's she's in it.

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Speaker 2: She's gonna help him. She you know, she gets her

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Speaker 2: eyes are open to the time Shenanigan's going on, so

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Speaker 2: she's she's right there with him to help him to

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Speaker 2: fight the battle. They fall in love, et cetera, you know,

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Speaker 2: as one would expect, and they hunt down the drunken,

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Speaker 2: homeless former pro baseball player hap Ashby, who is the

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Speaker 2: nineteen eighty five ancestor of the future ruler who is

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Speaker 2: in jeopardy. So in this quest, death is aided by

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Speaker 2: some high tech equipment that is also sent back through

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Speaker 2: time and space to him, presumably via a different time

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Speaker 2: travel methods. So once you've had your consciousness zipped back,

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Speaker 2: they can send you a small box like the size

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Speaker 2: of a cigar box that has a few, you know,

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Speaker 2: special tools that you can use.

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Speaker 3: Does this include the watch that allows you to stop

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Speaker 3: time for ten seconds?

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Speaker 2: Yes, this includes the watch that gives you a long

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Speaker 2: second if you push a button. The long second is

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Speaker 2: just pausing time for a second, letting you do some

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Speaker 2: bullet time stuff.

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Speaker 3: But heredibly.

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Speaker 2: Yeah, But he also has two doses of a serum

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Speaker 2: that he can use if the serum is injected into

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Speaker 2: somebody who is a conscious from the future occupying a body.

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Speaker 2: Then it will kick that consciousness out and send it

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Speaker 2: back to the future. So these two doses. One is

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Speaker 2: to allow Jack death to return to the future for

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Speaker 2: his consciousness to leave his ancestor's body. The other dose

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Speaker 2: is to send Whistler out of his ancestor's body. But

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Speaker 2: since Whistler is dead in the future, he'll just go

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Speaker 2: into oblivion. Okay, all right, So he defeats Whistler, but

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Speaker 2: he faces a problem. Only one of the two consciousness

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Speaker 2: booting doses survive the battle. He can only inject one

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Speaker 2: of them. He can kill Whistler in the past and

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Speaker 2: use the one dose to return himself, but that means

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Speaker 2: killing the body that Whistler inhabits, which is an innocent

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Speaker 2: man with a family. So instead he ejects Whistler's consciousness

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Speaker 2: into oblivion, thus sparing Whistler's ancestor, and remains behind. In

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Speaker 2: nineteen eighty five to Mary Lena played by Helen Hunt

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Speaker 2: and live in the twentieth century.

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Speaker 3: Happily ever After with in the nineteen eighties in southern California. Wow.

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Speaker 2: Perfectly serviceable movie, but I think in some in some

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Speaker 2: ways a better movie, but ultimately I think Transfers two

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Speaker 2: is more.

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Speaker 3: Fun I'm gonna guess that Transfers two is significantly funnier

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Speaker 3: than the first movie.

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Speaker 2: Yes, it definitely leans into the comedy a little bit

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Speaker 2: more without getting into like full blown yu you know,

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Speaker 2: yuck a minute mode that you kind of see in

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Speaker 2: the later full Full Moon Pictures releases. And we'll get

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Speaker 2: into some of that in a bit here. But Transfers

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Speaker 2: one did have a few laughs, and I'll mention one

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Speaker 2: or two of them as we go.

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Speaker 3: Okay, so that's the previous movie. What's the elevator pitch

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Speaker 3: on the second movie? Jack Death is back, Baby, Jack

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Speaker 3: Death all over again. Yeah, I was trying to think. Okay,

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Speaker 3: I've got an all pitch on the second movie, which

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Speaker 3: is that, due to unforeseen trancers, Jack Death realizes that ooh,

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Speaker 3: he had another wife in the future that he forgot

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Speaker 3: to tell Helen Hunt about, and now she's back in

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Speaker 3: the past, and so now he's faced with the dilemma

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Speaker 3: must he choose between them or can he marry both women?

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Speaker 2: Let's hear that trailer audio.

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Speaker 3: My name's Jack Death. I'm a transfer hunter from the

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Speaker 3: twenty first century.

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Speaker 2: It's been seven years since I went down the line

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Speaker 2: at Old California.

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Speaker 3: Life's been good. I thought i'd send my last transfer,

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Speaker 3: but nothing lasts forever.

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Speaker 2: Jack Transfers too, the Return of Jack Death, Jack twentieth

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Speaker 2: cent She must be getting to you.

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Speaker 3: You have no idea. I actually haven't listened to this,

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Speaker 3: but I imagine there's a really good in a world

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Speaker 3: narrator in it.

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Speaker 2: Yeah, the trailer. I actually don't advise watching the trailer

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Speaker 2: in full because the one that the official one that's

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Speaker 2: uploaded by Full Moon, is like three minutes long and

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Speaker 2: is basically a summary of the entire film. If let

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Speaker 2: me shows you everything, and I know it's late. Not

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Speaker 2: that spoilers are going to ruin your enjoyment of Transfers too,

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Speaker 2: but you know, I think it's it's worth going into.

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Speaker 3: Fresh Oh wait a minute, then, should people not listen

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Speaker 3: to this episode before they watch?

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Speaker 2: Oh no, they can do that.

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Speaker 3: That's far right.

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Speaker 2: I mean, I think everybody who's been listening to weird

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Speaker 2: El Cinema, you know the deal. We're gonna you know,

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Speaker 2: we're going to talk loosely about the movie. We're going

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Speaker 2: to talk about the people in it, and then we'll

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Speaker 2: get more into the plot. So if you need to

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Speaker 2: jump out halfway through, you know where to jump out at.

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Speaker 2: You know, if you need to go watch the movie

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Speaker 2: and you want you don't want any spoilers, otherwise we're

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Speaker 2: going to spoil pretty much everything. Well.

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Speaker 3: I greatly enjoyed transfers too, but I would not say

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Speaker 3: a lot was hanging on the outcome of the plot

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Speaker 3: for me.

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Speaker 2: Yeah, it's pretty predictable. You know what's going to happen,

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Speaker 2: all right.

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Speaker 3: So who made this thing?

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Speaker 2: Well, Charles Band, of course he's the director. He has

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Speaker 2: an original story credit on this. Born nineteen fifty one.

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Speaker 2: We've discussed his bio before, but briefly, he's the man

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Speaker 2: behind Empire International Pictures and then Full Moon Features, and

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Speaker 2: he directs did some really awesome eighties and nineties sci

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Speaker 2: fi and horror films, you know, lower budget, fair for sure,

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Speaker 2: before going increasingly in the Evil Bong Ginger dead Man direction.

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Speaker 2: This is I believe our third Charles Band production, but

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Speaker 2: our first film that he actually directed.

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Speaker 3: What were the other two? He was a producer on Robot.

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Speaker 2: Jocks, right, Robot Jocks and Arena.

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Speaker 3: Two absolutely glorious films. And I think there's a Robot

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Speaker 3: Jocks tie in later on here.

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Speaker 2: Yeah. Yeah, So he has sixty eight directorial credits, and

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Speaker 2: I'd say most, if not all, of it from recent

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Speaker 2: decades is certainly of the Evil Bong sort. But this

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Speaker 2: movie is from the era in which Band was still

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Speaker 2: making films that seemed to aim to be more genre

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Speaker 2: action entertainment without just being you know, abject horror comedy

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Speaker 2: and so forth. I'm talking stuff like nineteen eighty two's Parasite,

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Speaker 2: which starred Demi Moore, metal Storm, The Destruction of Jared

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Speaker 2: Sin from nineteen eighty three, which which I really enjoyed.

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Speaker 2: That's a fun, sort of otherworldly post apocalyptic mashup thing.

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Speaker 2: Nineteen ninety two's Doctor Mordred, which is kind of a

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Speaker 2: Doctor Strange picture before we had a Doctor Strange picture, okay.

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Speaker 2: And these films were not critical hits by any means.

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Speaker 2: I assume they made money of some sort since things

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Speaker 2: kept going, but you know, many of them developed a following,

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Speaker 2: and as a producer, Band played a role in bringing

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Speaker 2: a lot of weird schlock to the screen, and I

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Speaker 2: think like, ultimately as a producer is where he has

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Speaker 2: the most enduring value. You know, there's a lot of

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Speaker 2: fun stuff going on in the Empire Pictures Days as

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Speaker 2: well as the early Full Moon Days, and even though

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Speaker 2: the evil Bong stuff is not for me, I recognize

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Speaker 2: that that too seems to have its following, so fair enough.

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Speaker 3: Yeah, I think we're on the same page here, Like

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Speaker 3: I love a good funny bee horror movie, but ones

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Speaker 3: that lean too hard on that intentionally, that try to

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Speaker 3: be too funny at a certain point, that kind of

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Speaker 3: step over the line of intentionality, and the the silver

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Speaker 3: loses its luster.

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Speaker 2: Yeah, or it certainly becomes harder to achieve perfection. You know.

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Speaker 2: I can think of some horror comedies that are really good,

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Speaker 2: and we'll probably mention one in a bit that I'm

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Speaker 2: rather fond of. But yeah, I feel like it's just

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Speaker 2: harder and harder to do. Whereas the sweet Spot is

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Speaker 2: trying to It's trying and maybe not fully succeeding in

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Speaker 2: making a serious horror sci fi film.

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Speaker 3: So one of the most hilarious things of our entire

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Speaker 3: Transfers journey. Last night, Rachel and I watched Transfers to

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Speaker 3: the Return of Jack Death, but also ended up researching

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Speaker 3: other Transfers movies throughout the evening, so of course, you

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Speaker 3: had Transfers in nineteen eighty four, and then you had

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Speaker 3: Transfers to the Return of Jack Death. This was nineteen

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Speaker 3: ninety one, which, as we've talked about on the show before,

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Speaker 3: nineteen ninety one is maybe the most eighties year that

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Speaker 3: ever happened. But it doesn't stop there. You've got Transfers

434
00:22:54,880 --> 00:22:59,520
Speaker 3: three Death Lives in nineteen ninety two, Transfers four, Jack

435
00:22:59,560 --> 00:23:03,719
Speaker 3: of Swords in ninety four, Transfers five Sudden Death d

436
00:23:03,800 --> 00:23:07,159
Speaker 3: Etch Again in ninety four, and then Transfer six and

437
00:23:07,240 --> 00:23:10,840
Speaker 3: Transfer six does not have a subtitle. It really should have.

438
00:23:11,840 --> 00:23:13,760
Speaker 3: I think they should have kept going with the play

439
00:23:13,800 --> 00:23:15,480
Speaker 3: on the word death, so it could have been Transfer

440
00:23:15,560 --> 00:23:18,719
Speaker 3: six Death by Misadventure. I don't know, there's a lot

441
00:23:18,720 --> 00:23:19,480
Speaker 3: of stuff you could do.

442
00:23:20,280 --> 00:23:23,240
Speaker 2: Yeah, I haven't seen Transfers three yet, but I want

443
00:23:23,280 --> 00:23:25,960
Speaker 2: to actually have it q'ed up because I think I'm

444
00:23:26,000 --> 00:23:28,840
Speaker 2: on board for that one. I'm less thrilled about the

445
00:23:28,880 --> 00:23:31,280
Speaker 2: idea of Transfers four and five, because I understand those

446
00:23:31,320 --> 00:23:34,320
Speaker 2: are kind of notoriously bad ones. One was I think

447
00:23:34,359 --> 00:23:36,760
Speaker 2: filmed in an East European castle, and some of the

448
00:23:36,800 --> 00:23:39,119
Speaker 2: people involved in that one we're paid in money that

449
00:23:39,160 --> 00:23:42,359
Speaker 2: couldn't leave the country if I read correctly, and the

450
00:23:42,440 --> 00:23:45,080
Speaker 2: other is a Western, so you have like medieval transfers,

451
00:23:45,680 --> 00:23:49,960
Speaker 2: Old West transfers, and then transfer six is it doesn't

452
00:23:49,960 --> 00:23:51,040
Speaker 2: even have Jack death in it.

453
00:23:51,200 --> 00:23:53,080
Speaker 3: Well, it's got an old Western. So this is like

454
00:23:53,160 --> 00:23:56,240
Speaker 3: going in the same arc as the Trimors sequels. Trimmers

455
00:23:56,280 --> 00:23:58,119
Speaker 3: and transfers are kind of running parallel.

456
00:23:58,359 --> 00:24:00,480
Speaker 2: Yeah, I mean, they couldn't really do transfers in space

457
00:24:00,520 --> 00:24:03,400
Speaker 2: because it's already sort I don't know. Maybe they could

458
00:24:03,440 --> 00:24:04,640
Speaker 2: do transfers in space and.

459
00:24:04,600 --> 00:24:07,200
Speaker 3: That would explain the galaxy inside his coat.

460
00:24:07,520 --> 00:24:09,320
Speaker 2: That would maybe they go into space in three. I

461
00:24:09,320 --> 00:24:10,639
Speaker 2: don't know, Like I say, I haven't seen three.

462
00:24:10,840 --> 00:24:13,840
Speaker 3: One thing I was really surprised by Transfers four and five,

463
00:24:13,880 --> 00:24:16,680
Speaker 3: which are the ones you're saying are notoriously awful, were

464
00:24:16,720 --> 00:24:20,320
Speaker 3: both apparently directed by David Nutter, who does tons of

465
00:24:20,400 --> 00:24:24,479
Speaker 3: high profile TV work, including directing many Game of Thrones

466
00:24:24,480 --> 00:24:26,520
Speaker 3: episodes that are some of the most memorable ones. I

467
00:24:26,520 --> 00:24:28,760
Speaker 3: think he did the Red Wedding episode, and he did

468
00:24:28,800 --> 00:24:31,320
Speaker 3: a bunch of X Files episodes that are like really

469
00:24:31,359 --> 00:24:34,800
Speaker 3: well remembered. I think he directed Clyde Bruckman's Final Repose.

470
00:24:34,640 --> 00:24:40,040
Speaker 2: Yeah, he's a trusted hand in TV and presumably film

471
00:24:40,080 --> 00:24:43,159
Speaker 2: direction as well. But I mean, yeah, these productions like

472
00:24:43,240 --> 00:24:45,639
Speaker 2: Game of Thrones are essentially film productions.

473
00:24:45,960 --> 00:24:48,359
Speaker 3: Charles band or whoever owns this. Now, if you're looking

474
00:24:48,400 --> 00:24:52,200
Speaker 3: for some amateur filmmakers to make transfers seven Death by Misadventure,

475
00:24:52,280 --> 00:24:54,720
Speaker 3: I think, hey, we're your people. Get in touch.

476
00:24:55,240 --> 00:24:57,320
Speaker 2: Now. The writers on this one, I should point out

477
00:24:57,320 --> 00:25:00,760
Speaker 2: that Danny Bilson and Paul Demio wrote the first These

478
00:25:00,800 --> 00:25:03,800
Speaker 2: are also the guys who wrote Arena. We mentioned them

479
00:25:03,840 --> 00:25:07,560
Speaker 2: briefly in that episode of Weirdhouse Cinema. Danny Bilson went

480
00:25:07,560 --> 00:25:11,400
Speaker 2: on to write screenplays for The Rocketeer and The Five Bloods,

481
00:25:11,440 --> 00:25:15,760
Speaker 2: which came out just last year I think, and I

482
00:25:15,760 --> 00:25:20,159
Speaker 2: think was pretty acclaimed. That's a Spike Lee film. And

483
00:25:20,200 --> 00:25:23,840
Speaker 2: then the writers on this picture. The screenwriter is credited

484
00:25:23,840 --> 00:25:27,280
Speaker 2: as Jackson Burr. Not a lot of information on him,

485
00:25:27,280 --> 00:25:29,240
Speaker 2: but he was active from nineteen eighty nine through nineteen

486
00:25:29,280 --> 00:25:31,440
Speaker 2: ninety four, did a number of screenplays for Full Moon

487
00:25:31,760 --> 00:25:34,399
Speaker 2: and some other B movies. Most notably he did the

488
00:25:34,400 --> 00:25:37,080
Speaker 2: screenplay for the Full Moon feature Subspecies.

489
00:25:37,440 --> 00:25:38,959
Speaker 3: All Right, I think we got to get into the

490
00:25:39,000 --> 00:25:42,560
Speaker 3: cast because we've said the phrase Jack Death probably thirty

491
00:25:42,600 --> 00:25:46,520
Speaker 3: five times already. Who plays Jack Death? Well, this is

492
00:25:46,640 --> 00:25:51,080
Speaker 3: a glorious chuck roast of a man named Tim Thomerson.

493
00:25:51,480 --> 00:25:55,040
Speaker 2: Yes, Tim Thomerson, who I think it's safe to say

494
00:25:55,119 --> 00:25:59,040
Speaker 2: is a B movie icon of sorts. He's still very

495
00:25:59,080 --> 00:26:03,240
Speaker 2: much around act born nineteen forty six. I was looking

496
00:26:03,320 --> 00:26:05,119
Speaker 2: him up because I hadn't really researched him before this.

497
00:26:05,200 --> 00:26:07,880
Speaker 2: I just knew that he was in some Full Moon pictures,

498
00:26:07,960 --> 00:26:11,399
Speaker 2: and you know, that was kind of as far as

499
00:26:11,440 --> 00:26:14,000
Speaker 2: I knew. That was where he emerged from. But he

500
00:26:14,080 --> 00:26:16,919
Speaker 2: actually started out as a stand up comic and was

501
00:26:17,000 --> 00:26:19,760
Speaker 2: quite successful at it in the late seventies and very

502
00:26:19,800 --> 00:26:21,720
Speaker 2: early eighties. I mean he was shown up on late

503
00:26:21,840 --> 00:26:23,280
Speaker 2: night talk shows and so forth.

504
00:26:23,440 --> 00:26:25,960
Speaker 3: Yeah, you shared a bit that you found on YouTube.

505
00:26:26,000 --> 00:26:28,439
Speaker 3: I mean, a lot of seventies and eighties stand up comedy.

506
00:26:28,520 --> 00:26:30,919
Speaker 3: I feel like it's like there's the really good stuff,

507
00:26:30,960 --> 00:26:33,639
Speaker 3: and that's really good, and then almost everything else is

508
00:26:33,880 --> 00:26:37,520
Speaker 3: just Drek. And I mean, I can't say that the

509
00:26:37,600 --> 00:26:40,600
Speaker 3: video you shared was amazing, but maybe he was a

510
00:26:40,640 --> 00:26:42,840
Speaker 3: little bit better than Drek. Yeah.

511
00:26:42,920 --> 00:26:45,320
Speaker 2: Yeah, I'm I'm I'm just ready for the worst when

512
00:26:45,320 --> 00:26:47,440
Speaker 2: I look at pretty much any stand up comedy, but

513
00:26:47,560 --> 00:26:52,960
Speaker 2: especially stand up comedy from years past, and for the

514
00:26:53,040 --> 00:26:56,159
Speaker 2: most part, it seems like he had kind of a

515
00:26:56,320 --> 00:26:58,480
Speaker 2: zany seventies guy kind of vibe. He had a big,

516
00:26:58,600 --> 00:27:02,479
Speaker 2: bushy mustache and did some sort of like some like

517
00:27:02,520 --> 00:27:06,080
Speaker 2: poststoner kind of humor. Yeah, kind of a watered down

518
00:27:06,359 --> 00:27:09,320
Speaker 2: Robin Williams vibe as well, Like imagine a toned down

519
00:27:09,400 --> 00:27:11,440
Speaker 2: Robin Williams who lifts, Yeah.

520
00:27:11,280 --> 00:27:14,639
Speaker 3: I would say surfer guy Robin Williams who does a

521
00:27:14,640 --> 00:27:17,680
Speaker 3: lot of mouth sound effects and occasionally uses props.

522
00:27:17,960 --> 00:27:21,880
Speaker 2: Yeah. So Zip has kind of a zany entertainment origin,

523
00:27:22,320 --> 00:27:24,800
Speaker 2: especially when you compare it to stuff like his role

524
00:27:24,800 --> 00:27:28,199
Speaker 2: as Jack Death, who certainly has some comedic corners to it,

525
00:27:28,240 --> 00:27:30,480
Speaker 2: and you see some of that comedic energy bleed through

526
00:27:30,600 --> 00:27:33,000
Speaker 2: in his performance here. But for the most part, it's

527
00:27:33,080 --> 00:27:37,440
Speaker 2: kind of a noir esque, hardened detective kind of a role,

528
00:27:37,520 --> 00:27:40,199
Speaker 2: you know, and he has the face for it. He's,

529
00:27:40,280 --> 00:27:42,200
Speaker 2: you know, ruggedly handsome kind of guy.

530
00:27:42,480 --> 00:27:45,600
Speaker 3: Oh exactly. I chose my Chuck Roast phrase very carefully

531
00:27:45,640 --> 00:27:49,440
Speaker 3: because I think that sort of community. He's very ruggedly handsome,

532
00:27:49,880 --> 00:27:55,400
Speaker 3: classically meaty noir guy, but with an extra little twist

533
00:27:55,440 --> 00:27:56,280
Speaker 3: of absurdity.

534
00:27:57,880 --> 00:27:59,840
Speaker 2: I was kind of surprised that, like, he has this

535
00:28:00,160 --> 00:28:03,439
Speaker 2: very you know, I don't know, like he has a

536
00:28:03,640 --> 00:28:06,320
Speaker 2: like blondish whitish hair in this and he has his

537
00:28:06,480 --> 00:28:10,119
Speaker 2: very like, very rugged features. And I looked it up

538
00:28:10,160 --> 00:28:11,919
Speaker 2: to just see how old he was when they filmed

539
00:28:11,920 --> 00:28:15,240
Speaker 2: this Transfers too, and he's forty five, so he's he's

540
00:28:15,240 --> 00:28:17,040
Speaker 2: just three years older in this film than I am

541
00:28:17,520 --> 00:28:20,280
Speaker 2: right now. So and he was, but he was thirty

542
00:28:20,320 --> 00:28:22,120
Speaker 2: eight in the first Transfers and in that I would

543
00:28:22,160 --> 00:28:23,919
Speaker 2: have assumed that he was like in his late forties.

544
00:28:23,920 --> 00:28:25,840
Speaker 2: So yeah, I think he was had a very cured

545
00:28:26,080 --> 00:28:26,800
Speaker 2: look about him.

546
00:28:27,119 --> 00:28:30,359
Speaker 3: Yeah, he has a face that speaks of much tobacco

547
00:28:30,480 --> 00:28:30,920
Speaker 3: and beach.

548
00:28:32,080 --> 00:28:36,119
Speaker 2: Yes, yes, they're very very sun dried. So his career

549
00:28:36,320 --> 00:28:38,840
Speaker 2: trarectory again stand up comedy. But then he was doing

550
00:28:38,840 --> 00:28:40,720
Speaker 2: a lot of TV work, popping up on stuff like

551
00:28:40,840 --> 00:28:44,480
Speaker 2: Laverne and Shirley. And then he did a little film

552
00:28:44,600 --> 00:28:47,520
Speaker 2: in nineteen eighty three called metal Storm the Director The

553
00:28:47,560 --> 00:28:51,240
Speaker 2: Destruction of Jaredson that was directed by Charles Band And

554
00:28:51,280 --> 00:28:53,520
Speaker 2: so the following year he did the first Transfers film.

555
00:28:53,600 --> 00:28:55,560
Speaker 3: Okay, well you've mentioned this a couple of times now,

556
00:28:55,560 --> 00:28:57,560
Speaker 3: and I hear the elation in your voice. So maybe

557
00:28:57,600 --> 00:28:59,120
Speaker 3: maybe I gotta watch Metal Storm.

558
00:29:00,080 --> 00:29:01,720
Speaker 2: Yeah, I need to watch it again, but I remember

559
00:29:01,720 --> 00:29:04,120
Speaker 2: it'd be fun. But yeah, but the thing is once

560
00:29:04,120 --> 00:29:07,480
Speaker 2: you're once you go to band camp, you're in band camp.

561
00:29:08,520 --> 00:29:10,920
Speaker 2: So yeah. So he did Transfers and then the other

562
00:29:10,960 --> 00:29:13,920
Speaker 2: Transfer films, with the exception of the sixth one. He

563
00:29:14,040 --> 00:29:17,080
Speaker 2: also starred as doll Man. In the Dollman films, he

564
00:29:17,120 --> 00:29:19,320
Speaker 2: played this character, Britt Bardo, who's like, it's like a

565
00:29:19,360 --> 00:29:22,360
Speaker 2: miniaturized human gimmick. I haven't actually seen any of those,

566
00:29:22,840 --> 00:29:26,080
Speaker 2: but they were apparently successful enough in the Full Moon

567
00:29:26,520 --> 00:29:29,720
Speaker 2: universe to do stuff like doll Man versus Demonic Toys.

568
00:29:31,000 --> 00:29:33,960
Speaker 3: Oh, don't they have a They've had different franchises that

569
00:29:33,960 --> 00:29:37,880
Speaker 3: are all about killer toys. They've got puppet Master, Demonic Toys,

570
00:29:37,960 --> 00:29:41,840
Speaker 3: doll Man. Am I missing some others?

571
00:29:42,080 --> 00:29:44,040
Speaker 2: I think technically when you get into like the Ginger

572
00:29:44,120 --> 00:29:46,320
Speaker 2: dead Man stuff, like Ginger dead Man is like a

573
00:29:46,320 --> 00:29:52,640
Speaker 2: small gingerbread cookie that that kills people consistency. But he

574
00:29:53,040 --> 00:29:56,160
Speaker 2: was also in some other stuff. He was in Zone Troopers, Nemesis,

575
00:29:56,280 --> 00:29:59,360
Speaker 2: Iron Eagle, Cherry two, thousand, which is a good one.

576
00:29:59,640 --> 00:30:03,120
Speaker 2: He's also so in Near Dark, the excellent vampire film

577
00:30:03,200 --> 00:30:07,320
Speaker 2: from Catherine Bigelow with Lance Hendrickson in it and Bill

578
00:30:07,400 --> 00:30:08,640
Speaker 2: Paxton among others.

579
00:30:08,880 --> 00:30:10,800
Speaker 3: Yeah, that's one of the best vampire movies ever.

580
00:30:11,120 --> 00:30:12,680
Speaker 2: I think he plays a dad in that. I don't

581
00:30:12,680 --> 00:30:15,000
Speaker 2: really remember Tim Thomerson in it.

582
00:30:15,280 --> 00:30:19,080
Speaker 3: Yeah, the main character's dad maybe. Yeah. So Rachel and

583
00:30:19,120 --> 00:30:22,080
Speaker 3: I were discussing a theory last night that Tim Thomerson

584
00:30:22,360 --> 00:30:25,640
Speaker 3: edits Wikipedia because we were drilling into the wikis for

585
00:30:25,720 --> 00:30:27,760
Speaker 3: like to see what was going on with the Deep

586
00:30:27,800 --> 00:30:31,880
Speaker 3: Transfer sequels after we finished the movie, and we came

587
00:30:31,920 --> 00:30:35,360
Speaker 3: across some hilarious unsourced claims, like on the wiki for

588
00:30:35,440 --> 00:30:38,240
Speaker 3: Trancers six, which, by the way, it doesn't have a subtitle,

589
00:30:38,600 --> 00:30:43,520
Speaker 3: but the tagline on the poster is same attitude, different sects.

590
00:30:44,080 --> 00:30:46,720
Speaker 3: So I think it's that Jack Death this time comes

591
00:30:46,760 --> 00:30:49,440
Speaker 3: back and inhabits the body of an ancestor who was female.

592
00:30:49,840 --> 00:30:52,320
Speaker 2: Yes, in fact, I could be wrong, but it might

593
00:30:52,440 --> 00:30:55,280
Speaker 2: be his own daughter. I'm not sure what.

594
00:30:55,800 --> 00:30:56,920
Speaker 3: Yeah, would that makes sense?

595
00:30:57,240 --> 00:31:00,440
Speaker 2: It would still be his future. It will be his

596
00:31:00,480 --> 00:31:04,240
Speaker 2: I did. Don't try and time travel in these movies work.

597
00:31:04,280 --> 00:31:05,720
Speaker 2: It'll just it'll just hurt your brain.

598
00:31:06,080 --> 00:31:09,320
Speaker 3: Stop. Okay, But anyway, you get to the reception section

599
00:31:09,640 --> 00:31:12,800
Speaker 3: of the wiki for Transfer six, it has one sentence

600
00:31:12,840 --> 00:31:16,120
Speaker 3: in it. The reception section reads, reception for the film

601
00:31:16,120 --> 00:31:18,520
Speaker 3: has been overall negative, mainly due to the lack of

602
00:31:18,520 --> 00:31:21,640
Speaker 3: Tim Thomerson. And I thought about that scene in The

603
00:31:21,680 --> 00:31:25,160
Speaker 3: Simpsons where where Homer's reading the list of suggestions to

604
00:31:25,240 --> 00:31:28,240
Speaker 3: Roger Meyer, and he's like, whenever Poochie's not on screen,

605
00:31:28,520 --> 00:31:31,040
Speaker 3: all the other characters should be asking, where's Poochy?

606
00:31:32,360 --> 00:31:37,719
Speaker 2: Where's Thomason? Yeah? He he is the center of this

607
00:31:38,040 --> 00:31:39,720
Speaker 2: these pictures, it's hard to imagine one with that.

608
00:31:48,520 --> 00:31:50,040
Speaker 3: Oh, but we got to get to the real star

609
00:31:50,080 --> 00:31:52,440
Speaker 3: power here. We've got a couple of stars in the

610
00:31:52,480 --> 00:31:54,760
Speaker 3: sky of Transfers two. One is Richard Lynch, the other

611
00:31:54,880 --> 00:31:58,440
Speaker 3: is Helen Hunt. This is this Academy Award winning actress.

612
00:31:58,920 --> 00:32:02,520
Speaker 2: That's right, the Helen Hunt born nineteen sixty three, very

613
00:32:02,600 --> 00:32:05,280
Speaker 2: much active today, plays Lena Death in this because she's

614
00:32:05,320 --> 00:32:09,040
Speaker 2: married to Jack Death at this point. Now, don't worry

615
00:32:09,080 --> 00:32:12,720
Speaker 2: Helen Hunt fans. This was several years before her award

616
00:32:12,800 --> 00:32:15,480
Speaker 2: winning role in As Good as It Gets. Her career

617
00:32:15,480 --> 00:32:19,800
Speaker 2: hadn't quite taken off yet. At the time of Transfers two,

618
00:32:19,880 --> 00:32:24,320
Speaker 2: she had just done additional voices on Captain Planet, and

619
00:32:24,440 --> 00:32:27,480
Speaker 2: afterwards she was in a really weird supernatural western with

620
00:32:27,560 --> 00:32:31,000
Speaker 2: Bruce Dern called Into the bad Lands, which I remember

621
00:32:31,040 --> 00:32:32,600
Speaker 2: being good. I saw it when I was a kid,

622
00:32:32,640 --> 00:32:35,880
Speaker 2: but I remember liking that. But yeah, she hadn't hadn't

623
00:32:35,920 --> 00:32:38,800
Speaker 2: quite taken off yet. She'd come back for Transfers three

624
00:32:38,840 --> 00:32:41,720
Speaker 2: in nineteen ninety two, but shortly after that I think

625
00:32:41,760 --> 00:32:44,080
Speaker 2: she had moved beyond the orbit of full moon and

626
00:32:44,640 --> 00:32:46,280
Speaker 2: was onto bigger and brighter things.

627
00:32:46,600 --> 00:32:49,920
Speaker 3: So Helen Hunt in this movie plays Jack Death's wife

628
00:32:50,080 --> 00:32:52,920
Speaker 3: in the past, who is going to come into conflict

629
00:32:52,960 --> 00:32:56,960
Speaker 3: when his wife from the future comes back to the past, right,

630
00:32:57,880 --> 00:33:01,440
Speaker 3: and Helen Hunt is an exception good actress, and this

631
00:33:01,560 --> 00:33:05,200
Speaker 3: is in many ways an exceptionally poorly written role, which

632
00:33:05,240 --> 00:33:08,440
Speaker 3: is always a really enjoyable collision of forces when you

633
00:33:08,480 --> 00:33:12,440
Speaker 3: have like a great actor saying ridiculous lines. And some

634
00:33:12,480 --> 00:33:14,640
Speaker 3: of my favorite parts of this movie were the scenes

635
00:33:14,640 --> 00:33:18,560
Speaker 3: where Helen Hunt is just rattling off paragraph long lines

636
00:33:18,560 --> 00:33:22,520
Speaker 3: about the mechanics of time travel and complaining about the

637
00:33:22,560 --> 00:33:25,120
Speaker 3: fact that he has another wife that she didn't know about.

638
00:33:25,960 --> 00:33:27,800
Speaker 3: So that's one of the real chef kiss things in

639
00:33:27,840 --> 00:33:30,520
Speaker 3: this movie. And it's also different because she's a very

640
00:33:30,880 --> 00:33:34,720
Speaker 3: down to earth good actor, unlike there are other actors

641
00:33:34,760 --> 00:33:37,040
Speaker 3: like who could be really great. But also we're in

642
00:33:37,120 --> 00:33:39,760
Speaker 3: lots of B movies delivering ridiculous lines, like you know,

643
00:33:39,800 --> 00:33:43,000
Speaker 3: I think Donald Pleasance, but somehow Donald Pleasance I think

644
00:33:43,120 --> 00:33:46,600
Speaker 3: fits more into the B movie world when he's in it.

645
00:33:47,280 --> 00:33:51,000
Speaker 3: Here it's just somebody who's clearly got like more screen

646
00:33:51,080 --> 00:33:55,200
Speaker 3: presence than this movie demands, doing these lines that are

647
00:33:55,200 --> 00:33:59,400
Speaker 3: absolutely absurd, but doing them, you know, doing the job yep.

648
00:34:00,280 --> 00:34:03,360
Speaker 3: But also, oh my god, her costuming in this movie.

649
00:34:03,560 --> 00:34:06,520
Speaker 3: I guess it was part of the fashion in nineteen

650
00:34:06,600 --> 00:34:09,880
Speaker 3: ninety one to have these like really high wasted, loose genes.

651
00:34:10,239 --> 00:34:13,719
Speaker 3: But her mom jeans in this movie are just extraordinary.

652
00:34:13,560 --> 00:34:18,600
Speaker 3: They explore previously unknown reaches of mom Jean Zenus. They're

653
00:34:18,600 --> 00:34:21,520
Speaker 3: almost kind of like the mc hammer pants but jeans.

654
00:34:21,880 --> 00:34:26,200
Speaker 2: Yeah. Yeah, And like you said, she has some she

655
00:34:26,239 --> 00:34:28,880
Speaker 2: has some real acting challenges in this film that she's

656
00:34:28,920 --> 00:34:31,319
Speaker 2: you know, totally has the chops for, but she's put

657
00:34:31,600 --> 00:34:33,960
Speaker 2: put in, particularly, she's put in some really challenging scenes

658
00:34:33,960 --> 00:34:38,160
Speaker 2: with the very green actor Megan Ward. In this it's

659
00:34:38,280 --> 00:34:43,319
Speaker 2: in some Bechdel flunking dialogue where it's just all about

660
00:34:43,400 --> 00:34:47,200
Speaker 2: Jack Death. It's just two female characters talking exclusively about

661
00:34:47,239 --> 00:34:51,000
Speaker 2: the male character. And you know, Helen Hunt clearly has

662
00:34:51,400 --> 00:34:54,360
Speaker 2: this screen presence in this talent, and Megan Ward is

663
00:34:54,440 --> 00:34:56,000
Speaker 2: just not there yet.

664
00:34:56,320 --> 00:34:58,960
Speaker 3: That is funny almost any time, Well, it is like pouchy.

665
00:34:59,320 --> 00:35:02,160
Speaker 3: Everybody should be saying where's pooci because in this movie,

666
00:35:02,200 --> 00:35:04,680
Speaker 3: if Jack Death is not on screen, basically the other

667
00:35:04,800 --> 00:35:08,120
Speaker 3: characters on screen are talking about where's Jack Death? Who's

668
00:35:08,160 --> 00:35:09,399
Speaker 3: going to get to marry Jack Death?

669
00:35:10,040 --> 00:35:14,600
Speaker 2: Now, speaking of Megan Ward, she plays Alice Stillwell, who

670
00:35:14,680 --> 00:35:19,440
Speaker 2: is Jack Death's first wife from the future. Born nineteen

671
00:35:19,480 --> 00:35:23,680
Speaker 2: sixty nine, she was in Encino Man. She's done a

672
00:35:23,680 --> 00:35:26,200
Speaker 2: lot of TV work, including some work on General Hospital.

673
00:35:27,440 --> 00:35:30,239
Speaker 2: So she's not in the first Trancers, and I'll give

674
00:35:30,280 --> 00:35:32,160
Speaker 2: her the benefit of the doubt and assume that she

675
00:35:32,239 --> 00:35:34,879
Speaker 2: grew as a performer after this. But yeah, she's green

676
00:35:34,920 --> 00:35:38,040
Speaker 2: as grass in Transfers too, and has no help from

677
00:35:38,080 --> 00:35:41,520
Speaker 2: the dialogue either, So it's it can't place all the

678
00:35:41,560 --> 00:35:45,200
Speaker 2: blame on her by any means, But the result is

679
00:35:45,680 --> 00:35:48,279
Speaker 2: she kind of ends up dragging down every scene she's in,

680
00:35:49,080 --> 00:35:51,239
Speaker 2: except her scene with a character named Rabbit, which we'll

681
00:35:51,280 --> 00:35:51,919
Speaker 2: get to in a bit.

682
00:35:52,200 --> 00:35:54,960
Speaker 3: Yeah, she gets through her lines, but she's pretty consistently

683
00:35:55,640 --> 00:35:59,239
Speaker 3: kind of low energy, like not really amped up to

684
00:35:59,280 --> 00:36:02,920
Speaker 3: the absurd level that the rest of like the older

685
00:36:02,960 --> 00:36:04,040
Speaker 3: actors were going for.

686
00:36:04,400 --> 00:36:06,440
Speaker 2: She would have worked great in the humanoid like she

687
00:36:06,440 --> 00:36:09,920
Speaker 2: has humanoid level energy, but the thing is in this

688
00:36:10,080 --> 00:36:14,600
Speaker 2: everybody else has much higher levels of energy or intensity. Yeah,

689
00:36:14,640 --> 00:36:16,560
Speaker 2: and speaking of intensity.

690
00:36:16,239 --> 00:36:21,680
Speaker 3: The legend in fact, this actor has real legends about

691
00:36:21,719 --> 00:36:23,760
Speaker 3: him that I wasn't even aware of before we started

692
00:36:24,160 --> 00:36:26,920
Speaker 3: researching for this. It's time to talk about Richard Lynch,

693
00:36:27,000 --> 00:36:28,120
Speaker 3: our villain for the film.

694
00:36:28,239 --> 00:36:33,600
Speaker 2: Yes, Richard Lynch plays doctor Wardo, who the nature of

695
00:36:33,600 --> 00:36:35,319
Speaker 2: this character is kind of confusing. We'll get into that

696
00:36:35,320 --> 00:36:38,160
Speaker 2: in a bit. But Lynch was born in nineteen forty

697
00:36:38,239 --> 00:36:41,600
Speaker 2: died in twenty twelve, a true B movie legend. With that,

698
00:36:42,320 --> 00:36:45,319
Speaker 2: it was a huge upgrade for the Transfers franchise here

699
00:36:45,880 --> 00:36:48,640
Speaker 2: because the chief villain, Whistler in the first film was

700
00:36:48,640 --> 00:36:52,520
Speaker 2: played by this guy, Michael Stefani, who was fine. I mean,

701
00:36:52,560 --> 00:36:55,839
Speaker 2: I'm not saying Stefani was bad, but he didn't have

702
00:36:55,920 --> 00:37:01,319
Speaker 2: the smoldering intensity of Richard Lynch. Now, Lynch had a

703
00:37:01,360 --> 00:37:03,960
Speaker 2: really signature look. You know, he had to look up

704
00:37:03,960 --> 00:37:06,120
Speaker 2: a picture of him if you don't remember him. Bright

705
00:37:06,200 --> 00:37:11,399
Speaker 2: blonde hair, sharp nose, the scarred face. And I never

706
00:37:11,440 --> 00:37:15,760
Speaker 2: knew the history on his on the scars that he had.

707
00:37:16,200 --> 00:37:17,799
Speaker 2: In fact, I'd say a lot of the films I've

708
00:37:17,800 --> 00:37:19,919
Speaker 2: seen him in, the picture quality is not really good

709
00:37:19,960 --> 00:37:21,640
Speaker 2: enough to pick up on it all that much, you.

710
00:37:21,560 --> 00:37:24,080
Speaker 3: Know, right when you're watching like a like a YouTube

711
00:37:24,200 --> 00:37:27,279
Speaker 3: rip of a check dub of Scanner Cop three, you

712
00:37:27,880 --> 00:37:31,080
Speaker 3: don't really pick out the fine detail of his face

713
00:37:31,120 --> 00:37:31,840
Speaker 3: as well.

714
00:37:31,920 --> 00:37:34,920
Speaker 2: Right. But something that's mentioned in the obits for him,

715
00:37:34,920 --> 00:37:37,040
Speaker 2: including the New York Times Oh Bit for Richard Lynch,

716
00:37:37,480 --> 00:37:41,600
Speaker 2: is that, according to Lynch, he suffered scarring in nineteen

717
00:37:41,680 --> 00:37:45,359
Speaker 2: sixty seven after he set himself on fire while under

718
00:37:45,360 --> 00:37:48,160
Speaker 2: the influence of LSD in New York Central Park.

719
00:37:48,520 --> 00:37:50,440
Speaker 3: This is one of those stories that I didn't know

720
00:37:50,520 --> 00:37:52,799
Speaker 3: until yesterday, and I was like, how have I never

721
00:37:52,840 --> 00:37:53,760
Speaker 3: read this before?

722
00:37:54,080 --> 00:37:55,759
Speaker 2: Yeah, yeah, it seems like the kind of thing I

723
00:37:55,760 --> 00:37:58,960
Speaker 2: would have picked up on it sure enough if you

724
00:37:58,960 --> 00:38:01,160
Speaker 2: look it up. On YouTube, you can find a scene

725
00:38:01,320 --> 00:38:06,160
Speaker 2: from the documentary LSD Trip to Nowhere, and I think

726
00:38:06,200 --> 00:38:08,880
Speaker 2: it's a no, it's Trip to Where LSD Trip to

727
00:38:08,920 --> 00:38:12,839
Speaker 2: Where question Mark, a documentary from nineteen sixty eight, and

728
00:38:12,960 --> 00:38:16,760
Speaker 2: it's just some rough interview footage of a young Richard

729
00:38:16,840 --> 00:38:20,920
Speaker 2: Lynch whose you know, injuries are far more apparent in

730
00:38:21,000 --> 00:38:23,080
Speaker 2: this early footage. I don't know if he's you know,

731
00:38:23,080 --> 00:38:27,080
Speaker 2: he still hasn't healed up from reconstructive surgery or what

732
00:38:27,120 --> 00:38:30,080
Speaker 2: the exact details are, but he's talking about this experience

733
00:38:30,120 --> 00:38:32,280
Speaker 2: and it's a it's a rough rough watch.

734
00:38:32,600 --> 00:38:37,040
Speaker 3: So he was appearing in basically an anti LSD scare film.

735
00:38:37,680 --> 00:38:41,520
Speaker 2: Yes, But anyways, it goes beyond Lynch's looks though, because

736
00:38:41,520 --> 00:38:44,640
Speaker 2: he was a solid actor who brought just real menace

737
00:38:44,840 --> 00:38:47,759
Speaker 2: to as many many villainous roles over the decades there.

738
00:38:47,840 --> 00:38:49,799
Speaker 2: You know, there are a lot of character actors who

739
00:38:49,880 --> 00:38:53,120
Speaker 2: had you know, odd looks to them, you know, and

740
00:38:53,160 --> 00:38:56,440
Speaker 2: have particular features of their appearance that lend well to

741
00:38:57,760 --> 00:39:00,759
Speaker 2: you know, to horror and sci fi. But but and

742
00:39:00,840 --> 00:39:03,160
Speaker 2: some of them don't clearly don't have like the acting

743
00:39:03,239 --> 00:39:05,040
Speaker 2: chops to back it up. I think Lynch is one

744
00:39:05,080 --> 00:39:07,400
Speaker 2: of those guys that clearly did have the acting chops.

745
00:39:07,719 --> 00:39:10,279
Speaker 3: Yeah, I agree. You know, one thing that's interesting is

746
00:39:10,320 --> 00:39:13,600
Speaker 3: that I noticed later touches of this in his in

747
00:39:13,640 --> 00:39:16,520
Speaker 3: his adult roles, but it's less there. It's more there

748
00:39:16,640 --> 00:39:19,479
Speaker 3: in that early interview from the sixties when he's young,

749
00:39:19,520 --> 00:39:22,680
Speaker 3: is that he has that kind of classic Transatlantic accent.

750
00:39:23,000 --> 00:39:25,239
Speaker 3: He sounds a little bit like William F. Buckley when

751
00:39:25,280 --> 00:39:25,800
Speaker 3: he talks.

752
00:39:26,239 --> 00:39:29,640
Speaker 2: Yeah. So his credits include such films as God Told

753
00:39:29,680 --> 00:39:33,560
Speaker 2: Me To The the excellent weird Larry Cohen film, in

754
00:39:33,600 --> 00:39:39,840
Speaker 2: which he plays an alien hymaphroditic Christ like being that

755
00:39:39,880 --> 00:39:43,040
Speaker 2: has come to New York City. He's in The Seven Ups,

756
00:39:43,640 --> 00:39:45,759
Speaker 2: which is, you know, not a genre piece, it's just

757
00:39:46,120 --> 00:39:48,440
Speaker 2: like a crime movie. He was in The Ninth Configuration.

758
00:39:49,280 --> 00:39:52,440
Speaker 2: He was in The Sword and the Sorcerer and the Barbarians.

759
00:39:52,880 --> 00:39:55,560
Speaker 2: So he definitely got into the into the you know,

760
00:39:55,600 --> 00:39:58,799
Speaker 2: the medieval fantasy type epics, you know, generally playing some

761
00:39:58,800 --> 00:40:03,080
Speaker 2: sort of evil sorcerer. He was in Scanner cop Oh. Yeah,

762
00:40:03,120 --> 00:40:05,959
Speaker 2: he was in Necronomicon Book of the Dead. And he's

763
00:40:06,000 --> 00:40:10,319
Speaker 2: one of many B movie and genre icons who Rob

764
00:40:10,440 --> 00:40:12,919
Speaker 2: Zombie brought into some of his films. So you'll find

765
00:40:12,960 --> 00:40:15,120
Speaker 2: him especially in the Lords of Salem.

766
00:40:15,760 --> 00:40:17,760
Speaker 3: I would say he also is in the B movie

767
00:40:17,760 --> 00:40:20,440
Speaker 3: Hall of Fame for his participation in Warwielf.

768
00:40:20,920 --> 00:40:24,440
Speaker 2: Yeah. Oh yeah, yeah, that's right, he's in that NOL. Yeah,

769
00:40:24,480 --> 00:40:26,360
Speaker 2: now you know. Actually, now that I mentioned it, I

770
00:40:26,360 --> 00:40:29,000
Speaker 2: can't recall if he actually got to complete his scenes

771
00:40:29,040 --> 00:40:31,680
Speaker 2: for Lords of Salem. He might have, He might have been.

772
00:40:33,400 --> 00:40:34,920
Speaker 2: That might have been towards the end of his life.

773
00:40:34,960 --> 00:40:37,759
Speaker 2: It's possible that he's not in that at all. He

774
00:40:37,800 --> 00:40:40,000
Speaker 2: may have just been originally part of the cast, now

775
00:40:40,000 --> 00:40:41,239
Speaker 2: that I think about it, but I think he was

776
00:40:41,239 --> 00:40:43,080
Speaker 2: in Rob Zombie's Halloween movie.

777
00:40:43,600 --> 00:40:44,879
Speaker 3: That sounds right. Yeah.

778
00:40:44,880 --> 00:40:46,840
Speaker 2: He also showed up on Star Trek, The Next Generation

779
00:40:47,040 --> 00:40:49,959
Speaker 2: Murder she wrote, and Six Feet Under. So yeah, Richard

780
00:40:50,040 --> 00:40:51,759
Speaker 2: Lynch was in a lot of things. He was in

781
00:40:51,800 --> 00:40:55,000
Speaker 2: a lot of B movies, played a lot of bad

782
00:40:55,120 --> 00:40:56,920
Speaker 2: guys and was just really good at it.

783
00:40:57,200 --> 00:40:59,560
Speaker 3: Does he ever play a good guy? I can't recall

784
00:40:59,600 --> 00:41:01,880
Speaker 3: that ever happening. I've never seen a movie where he

785
00:41:01,960 --> 00:41:02,640
Speaker 3: wasn't a villain.

786
00:41:03,280 --> 00:41:05,000
Speaker 2: I don't know. I mean, he had to have at

787
00:41:05,080 --> 00:41:07,359
Speaker 2: some point, but I mean, and I think he could

788
00:41:07,360 --> 00:41:09,280
Speaker 2: have done it. I mean, especially as he got older,

789
00:41:09,400 --> 00:41:11,560
Speaker 2: you know, he could I could see him leaning into

790
00:41:11,680 --> 00:41:14,319
Speaker 2: you know, because you see out of character photographs of

791
00:41:14,400 --> 00:41:15,960
Speaker 2: him and he's just, you know, he's just this older

792
00:41:16,040 --> 00:41:18,360
Speaker 2: dude with you know, with white hair at that point.

793
00:41:19,239 --> 00:41:22,359
Speaker 2: But then again, if you're hiring Richard Lynch, you want

794
00:41:22,360 --> 00:41:23,400
Speaker 2: the intensity, right.

795
00:41:23,520 --> 00:41:26,239
Speaker 3: Like, try to imagine this movie with Richard Lynch as

796
00:41:26,360 --> 00:41:30,200
Speaker 3: as Jack Death and Tim Thomerson as the as the villain.

797
00:41:30,280 --> 00:41:31,920
Speaker 3: That doesn't quite work, does it No?

798
00:41:32,160 --> 00:41:34,680
Speaker 2: And then also these films of this caliber, they're often

799
00:41:34,880 --> 00:41:40,000
Speaker 2: painting in very you know, strict colors. You know, you

800
00:41:40,040 --> 00:41:43,879
Speaker 2: want your villain streak, you want your hero streak, You're

801
00:41:43,880 --> 00:41:46,600
Speaker 2: not necessarily looking for a really complex palette.

802
00:41:46,680 --> 00:41:49,120
Speaker 3: So a lot of Richard Lynch's screen time in Trancers

803
00:41:49,120 --> 00:41:53,120
Speaker 3: Too is actually on screen. On screen, He'll be on

804
00:41:53,160 --> 00:41:59,160
Speaker 3: a TV screen, like indoctrinating people, indoctrinating his transfer army

805
00:41:59,200 --> 00:42:02,319
Speaker 3: with weird mantra. Or there's a great part later in

806
00:42:02,320 --> 00:42:04,040
Speaker 3: the movie. It was one of my favorite parts actually,

807
00:42:04,080 --> 00:42:07,200
Speaker 3: where he's on a TV show being given a softball

808
00:42:07,239 --> 00:42:08,800
Speaker 3: interview by Barbara Crampton.

809
00:42:09,280 --> 00:42:13,520
Speaker 2: Yeah. Yeah. Another B movie name of note noted for

810
00:42:13,560 --> 00:42:18,000
Speaker 2: a reanimator from Beyond Your Next Beyond the Gates and

811
00:42:18,280 --> 00:42:21,879
Speaker 2: Lords of Salem as well. But there's some great scenes. Yeah,

812
00:42:21,880 --> 00:42:25,400
Speaker 2: in this movie he plays a psychic madman cult leader,

813
00:42:25,719 --> 00:42:29,640
Speaker 2: so there's plenty of Lynchian depth there for him to

814
00:42:29,640 --> 00:42:30,080
Speaker 2: get into.

815
00:42:30,239 --> 00:42:33,480
Speaker 3: Oh, don't forget environmental terrorists. Yes, they had to throw

816
00:42:33,520 --> 00:42:35,800
Speaker 3: that in as well. He's many things, too many people

817
00:42:35,800 --> 00:42:38,440
Speaker 3: in this movie. And it's also funny how it made

818
00:42:38,480 --> 00:42:41,160
Speaker 3: me think about how I'm not quite sure whether this

819
00:42:41,200 --> 00:42:43,480
Speaker 3: is I wonder if there was like some event in

820
00:42:43,520 --> 00:42:45,920
Speaker 3: the news that really put this in people's brains. But

821
00:42:46,560 --> 00:42:49,719
Speaker 3: I really think in the early nineteen nineties there were

822
00:42:49,760 --> 00:42:54,360
Speaker 3: a lot of movies about where the villains were eco terrorists.

823
00:42:55,560 --> 00:42:58,480
Speaker 2: Yeah, I think it was kind of maybe a safe

824
00:42:58,480 --> 00:43:02,520
Speaker 2: place to go in some ways, but also perhaps revealed

825
00:43:02,560 --> 00:43:06,400
Speaker 2: some anxieties about you know, environmental movements and you know

826
00:43:06,480 --> 00:43:10,200
Speaker 2: the ramifications of or perceived ramifications of environmental movements.

827
00:43:10,680 --> 00:43:12,400
Speaker 3: So you do see it a lot weird.

828
00:43:12,680 --> 00:43:14,520
Speaker 2: All right. There are other humans in this movie, though,

829
00:43:14,520 --> 00:43:15,200
Speaker 2: we should get to them.

830
00:43:15,200 --> 00:43:15,319
Speaker 3: Oh.

831
00:43:15,400 --> 00:43:19,560
Speaker 2: Yeah, we have Biff Maynard or perhaps diff Mannerd. He

832
00:43:19,719 --> 00:43:23,160
Speaker 2: sometimes his name is apparently misspelled as Maynard, but anyway,

833
00:43:23,200 --> 00:43:26,200
Speaker 2: he plays haf Ashby this actor was born nineteen forty

834
00:43:26,239 --> 00:43:29,480
Speaker 2: three died twenty fourteen. He's reprising his role from the

835
00:43:29,520 --> 00:43:35,080
Speaker 2: first film as as the one remaining ancestor of the

836
00:43:35,120 --> 00:43:39,280
Speaker 2: Future Leader, who is a washed up professional baseball player.

837
00:43:39,680 --> 00:43:42,520
Speaker 3: Okay, yes, and he has to be kept alive or

838
00:43:42,560 --> 00:43:44,880
Speaker 3: else the future Politician will not exist.

839
00:43:45,320 --> 00:43:48,760
Speaker 2: Yeah, okay, he's I wouldn't say he's a great actor,

840
00:43:48,800 --> 00:43:51,440
Speaker 2: but he's a he's a decent enough actor. And he

841
00:43:51,520 --> 00:43:54,360
Speaker 2: has given some wonky lines and reactions in this movie

842
00:43:54,360 --> 00:43:56,520
Speaker 2: that are fabulous. So he's a treat.

843
00:43:57,000 --> 00:44:00,200
Speaker 3: Oh yeah, he's great. And you know, his names sort

844
00:44:00,200 --> 00:44:03,080
Speaker 3: of reads like a sentence somehow, it's like Biff Menard.

845
00:44:03,320 --> 00:44:06,640
Speaker 3: I don't know, it works, And he spends most of

846
00:44:06,680 --> 00:44:09,440
Speaker 3: the movie getting back on the sauce gradually.

847
00:44:09,800 --> 00:44:13,280
Speaker 2: Yes, we also, oh, you know we were talking about

848
00:44:13,320 --> 00:44:15,759
Speaker 2: in the Humanoid how oh we have a bond girl

849
00:44:15,800 --> 00:44:18,600
Speaker 2: in this one, Well, move over Humanoid, because we don't

850
00:44:18,600 --> 00:44:19,920
Speaker 2: just have a bond girl in this one. We have

851
00:44:19,960 --> 00:44:21,240
Speaker 2: a double bond girl.

852
00:44:21,520 --> 00:44:23,840
Speaker 3: Oh that's right, Martin Beswick, Right.

853
00:44:24,040 --> 00:44:26,799
Speaker 2: That's right. She plays Nurse Trotter. It's just a you know,

854
00:44:26,880 --> 00:44:29,439
Speaker 2: sort of a secondary villain role. But she was born

855
00:44:29,520 --> 00:44:32,440
Speaker 2: nineteen forty one still around as of this recording. She

856
00:44:32,600 --> 00:44:35,279
Speaker 2: was in From Russia with Love in nineteen sixty three

857
00:44:35,640 --> 00:44:37,760
Speaker 2: and Thunderball in nineteen sixty five.

858
00:44:38,400 --> 00:44:42,600
Speaker 3: I was actually so She and Jeffrey Colms another B

859
00:44:42,760 --> 00:44:47,040
Speaker 3: movie icon. Man. This cast list is gigantic. They are

860
00:44:47,120 --> 00:44:49,759
Speaker 3: sort of a team in this movie. They don't do

861
00:44:49,920 --> 00:44:52,680
Speaker 3: much like physical attacking. I mean, I guess they do

862
00:44:52,880 --> 00:44:56,080
Speaker 3: a little bit, but mostly what they do is sit

863
00:44:56,200 --> 00:44:59,600
Speaker 3: side by side and kind of give the main characters

864
00:44:59,640 --> 00:45:02,800
Speaker 3: the side, like look at them, almost as if to

865
00:45:02,880 --> 00:45:06,840
Speaker 3: give them withering looks an issue, like a self esteem annihilating,

866
00:45:07,480 --> 00:45:09,040
Speaker 3: deprecating comment about them.

867
00:45:09,680 --> 00:45:12,800
Speaker 2: Yeah, yeah, yes, I wouldn't say either. I mean, she

868
00:45:13,280 --> 00:45:15,560
Speaker 2: definitely gets to bust out some side I Jeffrey Combs,

869
00:45:15,640 --> 00:45:19,000
Speaker 2: who again another B B movie icon, the reanimator himself.

870
00:45:20,160 --> 00:45:21,520
Speaker 2: He doesn't have a lot to do in this. He

871
00:45:21,680 --> 00:45:25,240
Speaker 2: just basically sits around with the goateeeyeh, kind of asks

872
00:45:25,800 --> 00:45:28,320
Speaker 2: Lynch's character what he should do, you know, follows orders,

873
00:45:28,360 --> 00:45:30,200
Speaker 2: and also confers with the nurse.

874
00:45:30,239 --> 00:45:30,439
Speaker 1: Here.

875
00:45:30,719 --> 00:45:34,920
Speaker 3: Yeah, his goatee and his shady glare do most of

876
00:45:34,920 --> 00:45:35,400
Speaker 3: the acting.

877
00:45:35,760 --> 00:45:37,759
Speaker 2: All right, I'm gonna I'm gonna largely skip over the

878
00:45:37,800 --> 00:45:40,000
Speaker 2: McNulty's here, But basically you have an old McNulty and

879
00:45:40,040 --> 00:45:42,880
Speaker 2: a girl MacNulty. Old MacNulty is played by this actor,

880
00:45:43,040 --> 00:45:46,919
Speaker 2: Art Lafleur born nineteen forty three. You may have seen him.

881
00:45:47,000 --> 00:45:49,319
Speaker 2: He played the babe in The Sandlot. He was in

882
00:45:49,360 --> 00:45:51,680
Speaker 2: the Blob, he was in Cobra, he was in Field

883
00:45:51,680 --> 00:45:53,760
Speaker 2: of Dreams. He was even in a Key and Peel sketch.

884
00:45:54,040 --> 00:45:56,960
Speaker 3: Huh, he's got slight notes of Buddy Hackett.

885
00:45:56,840 --> 00:46:00,719
Speaker 2: Right, yeah. And then Alison Croft plays Girl Nulty. We'll

886
00:46:00,719 --> 00:46:02,919
Speaker 2: get into the distinction here. She's born in nineteen seventy five.

887
00:46:03,040 --> 00:46:05,560
Speaker 2: Went on to appear on Mad Men and Shameless.

888
00:46:05,800 --> 00:46:07,880
Speaker 3: I feel like this is the biggest cast list we

889
00:46:07,960 --> 00:46:09,600
Speaker 3: have ever plowed through in a movie.

890
00:46:09,920 --> 00:46:12,400
Speaker 2: I mean, it's like there's something interesting about all of them,

891
00:46:12,600 --> 00:46:14,520
Speaker 2: or in the case of the next guy, he's just

892
00:46:14,760 --> 00:46:18,840
Speaker 2: such a delight on screen. Talking about Sonny Carl Davis

893
00:46:18,840 --> 00:46:19,680
Speaker 2: playing Rabbit.

894
00:46:19,960 --> 00:46:21,759
Speaker 3: Tell me about Rabbit, all right.

895
00:46:22,120 --> 00:46:24,640
Speaker 2: I couldn't find anything about when he was born, but

896
00:46:24,719 --> 00:46:27,279
Speaker 2: I think he's still around. Davis has been in a

897
00:46:27,320 --> 00:46:29,839
Speaker 2: bunch of films, including a bit part in Fast Times

898
00:46:29,840 --> 00:46:32,399
Speaker 2: at Ridgemont High. But the first place I saw him

899
00:46:32,480 --> 00:46:35,520
Speaker 2: was in the excellent nineteen eighty six horror comedy Terror Vision,

900
00:46:35,760 --> 00:46:37,960
Speaker 2: in which he plays kind of a creepy satellite TV

901
00:46:38,040 --> 00:46:38,640
Speaker 2: repair guy.

902
00:46:39,239 --> 00:46:41,120
Speaker 3: I'm trying to Oh, I think I know who. He

903
00:46:41,239 --> 00:46:43,439
Speaker 3: was in Fast Times at Ridgemont High. He's the guy

904
00:46:43,440 --> 00:46:46,920
Speaker 3: who gets Judge Reinhold fired from his job by complaining

905
00:46:47,000 --> 00:46:49,719
Speaker 3: about his he didn't like his food at the restaurant.

906
00:46:49,800 --> 00:46:51,440
Speaker 2: You remember this, I don't.

907
00:46:51,880 --> 00:46:54,760
Speaker 3: He's like, I think I just want my money back. Yeah,

908
00:46:54,800 --> 00:46:57,920
Speaker 3: it's it's him. It's a memorable performance because sunny Carl

909
00:46:57,960 --> 00:47:00,000
Speaker 3: Davis has he sticks in you.

910
00:47:01,440 --> 00:47:03,239
Speaker 2: He was also in Film and Louise and I Think

911
00:47:03,280 --> 00:47:06,120
Speaker 2: get a part in the Urbs. But in this he

912
00:47:06,160 --> 00:47:10,400
Speaker 2: plays Rabbit, a deranged orderly at the sort of mental institution.

913
00:47:10,480 --> 00:47:12,799
Speaker 2: We'll get into that in a bit, but he has

914
00:47:12,840 --> 00:47:16,319
Speaker 2: some cheesy comedic lines that he manages to bring to

915
00:47:16,400 --> 00:47:20,880
Speaker 2: life delightfully. And the character Rabbit would apparently go on

916
00:47:21,040 --> 00:47:24,880
Speaker 2: to be a staple of the Evil Bong franchise and

917
00:47:24,960 --> 00:47:27,839
Speaker 2: related Full Moon pictures. I'm not sure how they brought

918
00:47:27,920 --> 00:47:29,799
Speaker 2: him back, or you know, if it's just basically the

919
00:47:29,840 --> 00:47:33,840
Speaker 2: little cameos, but essentially he's played Rabbit nine times.

920
00:47:34,080 --> 00:47:36,360
Speaker 3: I get the feeling that what Dick Miller is to

921
00:47:36,400 --> 00:47:39,640
Speaker 3: the Roger Korman universe, Sonny Carl Davis is to the

922
00:47:39,640 --> 00:47:40,800
Speaker 3: full Moon universe.

923
00:47:41,280 --> 00:47:43,000
Speaker 2: Yeah, but he's great in this.

924
00:47:43,440 --> 00:47:46,080
Speaker 3: I ended up really loving Rabbit. Yeah, I love Rabbit too.

925
00:47:46,120 --> 00:47:49,640
Speaker 3: One of the many surprises of the film, This fiscile,

926
00:47:49,840 --> 00:47:53,520
Speaker 3: balding man with eyelids that open like eight meters wide

927
00:47:53,719 --> 00:47:57,200
Speaker 3: is also apparently the heart throb of the hospital staff,

928
00:47:57,680 --> 00:48:01,320
Speaker 3: like all the ladies are Gogaffer Rabbit. Yeah, it doesn't

929
00:48:01,320 --> 00:48:03,080
Speaker 3: make a lot of sense, but okay.

930
00:48:03,280 --> 00:48:06,640
Speaker 2: All right, let's see real quick. We should mention Telma Hopkins.

931
00:48:06,640 --> 00:48:10,360
Speaker 2: She plays Commander Reins in the Future. She's reprising a

932
00:48:10,480 --> 00:48:14,080
Speaker 2: role from Trancers one. She was part of Tony Orlando

933
00:48:14,160 --> 00:48:17,400
Speaker 2: and Dawn, that musical act. But she also did a

934
00:48:17,400 --> 00:48:19,200
Speaker 2: fair amount of TV and film work. She was on

935
00:48:19,280 --> 00:48:20,440
Speaker 2: Family Matters.

936
00:48:20,280 --> 00:48:22,120
Speaker 3: And I realized I was trying to think where did

937
00:48:22,160 --> 00:48:24,520
Speaker 3: I recognize her from? But she plays Aunt Rachel on

938
00:48:24,600 --> 00:48:28,480
Speaker 3: Family Matters. Okay, but yeah, so she's like the commander

939
00:48:28,560 --> 00:48:31,560
Speaker 3: of the future cops in the future in There are

940
00:48:31,560 --> 00:48:33,440
Speaker 3: a couple of scenes in this I guess the bookends

941
00:48:33,480 --> 00:48:36,120
Speaker 3: of the film that are in the future and she's

942
00:48:36,160 --> 00:48:39,280
Speaker 3: sort of like recapping what's going on, explaining the plot

943
00:48:39,400 --> 00:48:43,239
Speaker 3: and giving people orders. And there's a very funny scene

944
00:48:43,280 --> 00:48:45,839
Speaker 3: at the very beginning where she's telling a dyspeptic art

945
00:48:45,920 --> 00:48:48,520
Speaker 3: Lafleur that he must go back into the past and

946
00:48:48,560 --> 00:48:49,800
Speaker 3: he complains mightily.

947
00:48:51,280 --> 00:48:54,279
Speaker 2: Yeah. I also remember her character is one of Jack

948
00:48:54,360 --> 00:48:58,120
Speaker 2: Death's axes, so everything revolves around Jack.

949
00:48:58,040 --> 00:49:00,800
Speaker 3: Death, right, yes, when Jack Death is not on screen,

950
00:49:00,840 --> 00:49:02,479
Speaker 3: everyone's asking where is Jack Death?

951
00:49:03,480 --> 00:49:06,280
Speaker 2: All right, real quick, I'll mention the music. Phil Davies

952
00:49:06,520 --> 00:49:10,000
Speaker 2: and Mark Ryder did it. They also did the scores

953
00:49:10,040 --> 00:49:13,480
Speaker 2: for Society and a few other films, and I think

954
00:49:13,520 --> 00:49:15,359
Speaker 2: writer ended up working a bit more on his own

955
00:49:15,760 --> 00:49:16,320
Speaker 2: for Transfers.

956
00:49:16,360 --> 00:49:16,759
Speaker 3: I'll say it.

957
00:49:16,840 --> 00:49:18,960
Speaker 2: You know, it's a decent score. It's invisible most of

958
00:49:19,000 --> 00:49:20,600
Speaker 2: the time, you don't really think about it. But there

959
00:49:20,600 --> 00:49:22,439
Speaker 2: were other parts of it that I kind of dug.

960
00:49:22,480 --> 00:49:25,719
Speaker 2: You know. It's electronic, a bit sappy at times, but effective.

961
00:49:26,000 --> 00:49:28,680
Speaker 2: I think Wardo's theme so when there's sort of like

962
00:49:28,760 --> 00:49:31,360
Speaker 2: sinister stuff going on in the asylum, that's where I

963
00:49:31,360 --> 00:49:33,200
Speaker 2: would notice the music and be like, all right, this

964
00:49:33,239 --> 00:49:34,319
Speaker 2: is all right, I can dig this.

965
00:49:35,320 --> 00:49:37,520
Speaker 3: Yeah, I don't think I really noticed the music, except

966
00:49:37,560 --> 00:49:39,840
Speaker 3: I noticed it a little bit right at the beginning,

967
00:49:39,880 --> 00:49:42,280
Speaker 3: because so maybe we should get into the plot breakdown.

968
00:49:42,320 --> 00:49:42,840
Speaker 3: Are you ready?

969
00:49:43,040 --> 00:49:43,600
Speaker 2: Let's do it.

970
00:49:44,000 --> 00:49:47,480
Speaker 3: We open on Jack Death and Helen Hunt. I accidentally

971
00:49:47,520 --> 00:49:52,200
Speaker 3: just called her Helen Haunt cruising in his classic Yeah, exactly,

972
00:49:52,760 --> 00:49:55,759
Speaker 3: cruising in his classic corvette. And by the way, Jack

973
00:49:55,840 --> 00:49:59,760
Speaker 3: Death loves his corvette. This is very much a point

974
00:49:59,800 --> 00:50:03,880
Speaker 3: to note in the film. Yes, and we get some moody,

975
00:50:04,120 --> 00:50:06,759
Speaker 3: kind of sad music playing, and this was one of

976
00:50:06,760 --> 00:50:08,840
Speaker 3: the only points where I really noticed the score. Like

977
00:50:08,880 --> 00:50:12,520
Speaker 3: I said, there's the dreamy electronic music. The Death's hair

978
00:50:12,680 --> 00:50:15,040
Speaker 3: is blowing in the wind, and then we get narration

979
00:50:15,680 --> 00:50:18,839
Speaker 3: and Jack Death tells us in voiceover, during the last

980
00:50:18,840 --> 00:50:21,080
Speaker 3: six years, I spent a lot of time wandering this

981
00:50:21,160 --> 00:50:24,239
Speaker 3: part of the California coast. It's tough knowing it's all

982
00:50:24,239 --> 00:50:26,440
Speaker 3: going to be under the ocean after the Killer Quakes

983
00:50:26,480 --> 00:50:30,319
Speaker 3: of twenty sixty three. My name is Jack Death. I'm

984
00:50:30,360 --> 00:50:33,600
Speaker 3: a cop from the future Trancer detail and I didn't

985
00:50:33,640 --> 00:50:36,640
Speaker 3: know it yet, but back up the line, my old supervisor,

986
00:50:36,719 --> 00:50:39,520
Speaker 3: MacNulty was on his way to see me. McNulty's a

987
00:50:39,520 --> 00:50:42,359
Speaker 3: professional pain in the ass, but the Council has stuck

988
00:50:42,440 --> 00:50:45,160
Speaker 3: with him because, like me, he had an ancestor in

989
00:50:45,200 --> 00:50:48,799
Speaker 3: Old California. That's the only way to send someone's consciousness

990
00:50:48,840 --> 00:50:52,080
Speaker 3: back in time over the genetic bridge. I hadn't learned

991
00:50:52,120 --> 00:50:55,000
Speaker 3: about the TCL chamber yet. And then I guess it's

992
00:50:55,000 --> 00:50:58,560
Speaker 3: really just starting to get very detailed for voiceover narration.

993
00:50:59,400 --> 00:51:02,360
Speaker 3: But I stopped because I was thinking this must present

994
00:51:02,440 --> 00:51:06,280
Speaker 3: a very bizarre pattern of sort of discrimination and hiring

995
00:51:06,320 --> 00:51:08,759
Speaker 3: of time cops in the future, right, Like you have

996
00:51:08,840 --> 00:51:11,600
Speaker 3: to submit your family tree and details to see if

997
00:51:11,600 --> 00:51:14,360
Speaker 3: they can find a relative of yours in Old California.

998
00:51:15,160 --> 00:51:17,960
Speaker 2: Yeah, it's they don't go in into it a lot.

999
00:51:18,000 --> 00:51:20,520
Speaker 2: But like, like clearly the transfer, I mean, I guess

1000
00:51:20,640 --> 00:51:23,359
Speaker 2: the transfer's thing is it was isolated in time at

1001
00:51:23,400 --> 00:51:26,319
Speaker 2: one point, but then the trans then the transfers are

1002
00:51:26,360 --> 00:51:29,520
Speaker 2: moving around in time. Whistler and Whistler's brother are moving

1003
00:51:29,520 --> 00:51:31,799
Speaker 2: around in time, So that means the time. That means

1004
00:51:31,840 --> 00:51:34,960
Speaker 2: that your transfer cops have to become time cops. And yeah,

1005
00:51:35,000 --> 00:51:35,480
Speaker 2: there you go.

1006
00:51:35,960 --> 00:51:38,560
Speaker 3: So anyway, we get this opening scene I was talking

1007
00:51:38,560 --> 00:51:43,160
Speaker 3: about where Commander Rains Telma Hopkins is explaining to McNulty

1008
00:51:43,239 --> 00:51:46,000
Speaker 3: how all the time travel stuff works, and this scene.

1009
00:51:47,239 --> 00:51:48,560
Speaker 3: I got to be honest and say I had to

1010
00:51:48,600 --> 00:51:51,279
Speaker 3: watch this twice. I did not follow this scene at all.

1011
00:51:51,360 --> 00:51:53,319
Speaker 3: The first time, I was like, what is going on?

1012
00:51:53,360 --> 00:51:55,040
Speaker 3: I guess you had a leg up because you'd seen

1013
00:51:55,080 --> 00:51:58,399
Speaker 3: the first movie, right, But if you haven't, this one

1014
00:51:58,520 --> 00:52:01,040
Speaker 3: just kind of rolls over you. It's like a wave.

1015
00:52:01,640 --> 00:52:05,200
Speaker 3: But basically it's the stuff we've already talked about your consciousness.

1016
00:52:05,200 --> 00:52:07,399
Speaker 3: If you take a drug, your consciousness can go back

1017
00:52:07,400 --> 00:52:10,920
Speaker 3: in time to an ancestor. It seems mostly you can't

1018
00:52:10,960 --> 00:52:14,200
Speaker 3: travel back in time physically, at least not your whole body.

1019
00:52:14,320 --> 00:52:18,200
Speaker 3: But now there is a machine called the TCL Chamber

1020
00:52:18,600 --> 00:52:22,200
Speaker 3: that looks like a crappy version of the Apollo Command Module,

1021
00:52:22,480 --> 00:52:25,480
Speaker 3: and you can send that back in time empty though

1022
00:52:25,880 --> 00:52:29,160
Speaker 3: nobody can go in it, And then people can get

1023
00:52:29,200 --> 00:52:32,520
Speaker 3: in it in the past physically in their bodies and

1024
00:52:32,560 --> 00:52:34,920
Speaker 3: go forward in time to the future. Got it?

1025
00:52:35,600 --> 00:52:38,280
Speaker 2: Yeah? And if you don't get it, I just advise

1026
00:52:38,320 --> 00:52:41,319
Speaker 2: you to watch the movies because they do a little

1027
00:52:41,320 --> 00:52:43,800
Speaker 2: better job explaining it, I guess, or at least presenting

1028
00:52:43,800 --> 00:52:44,320
Speaker 2: it visually.

1029
00:52:44,680 --> 00:52:47,479
Speaker 3: So Telma Hopkins is explaining that they need to send

1030
00:52:47,560 --> 00:52:51,520
Speaker 3: McNulty's consciousness back in time to possess the body of

1031
00:52:51,560 --> 00:52:54,440
Speaker 3: his ancestor, who at this point is a fifteen year

1032
00:52:54,480 --> 00:52:57,920
Speaker 3: old girl in California in nineteen ninety one to I

1033
00:52:57,920 --> 00:53:03,560
Speaker 3: think tell Jack Death about the TCL chamber that will

1034
00:53:03,600 --> 00:53:06,040
Speaker 3: allow him to get into it and travel back to

1035
00:53:06,080 --> 00:53:08,239
Speaker 3: the future. Is that right, that's right.

1036
00:53:08,360 --> 00:53:11,239
Speaker 2: Yeah. In the last film, McNulty had to go back

1037
00:53:11,280 --> 00:53:13,359
Speaker 2: in time to do the same thing, and in that

1038
00:53:13,400 --> 00:53:15,600
Speaker 2: one it was like, you know, an eight to ten

1039
00:53:15,680 --> 00:53:18,399
Speaker 2: year old girl that he had to inhabit, which was

1040
00:53:18,680 --> 00:53:21,160
Speaker 2: one of the funnier part the legitimately funnier parts of

1041
00:53:21,280 --> 00:53:24,040
Speaker 2: Trancers one where this little girl showing up and she's

1042
00:53:24,080 --> 00:53:26,800
Speaker 2: talking like a like you know, like a like a

1043
00:53:27,120 --> 00:53:31,240
Speaker 2: like a tough, rough and tumble, you know, police commander

1044
00:53:31,280 --> 00:53:32,000
Speaker 2: from the future.

1045
00:53:32,200 --> 00:53:33,240
Speaker 3: Is she smoking a cigar?

1046
00:53:34,719 --> 00:53:38,440
Speaker 2: No, she's not smoking a cigar, but she's almost almost

1047
00:53:38,480 --> 00:53:39,200
Speaker 2: smoking a cigar.

1048
00:53:39,360 --> 00:53:42,439
Speaker 3: Well, in this movie, McNulty's ancestor smokes a cigar, which

1049
00:53:42,480 --> 00:53:45,560
Speaker 3: I think is played for comedy. Yeah, I think partially

1050
00:53:45,600 --> 00:53:48,480
Speaker 3: on the basis of some of some gendered assumptions, but

1051
00:53:48,520 --> 00:53:50,160
Speaker 3: also I mean, I guess it is funny to see

1052
00:53:50,160 --> 00:53:53,000
Speaker 3: any like fifteen year old chomping on the cigar. Yeah,

1053
00:53:53,320 --> 00:53:57,040
Speaker 3: all right. So then Commander Rains explains more of the plot. Again,

1054
00:53:57,120 --> 00:53:59,319
Speaker 3: I did not understand any of this the first time

1055
00:53:59,360 --> 00:54:02,920
Speaker 3: I had to go back. But so they've sent someone

1056
00:54:02,960 --> 00:54:06,279
Speaker 3: else back in time to the body of an ancestor,

1057
00:54:06,360 --> 00:54:11,480
Speaker 3: and this other person is Jack Death's wife in the future, Alice,

1058
00:54:11,960 --> 00:54:14,799
Speaker 3: who we learn is dead in the future. I can't

1059
00:54:15,040 --> 00:54:17,160
Speaker 3: I don't know if this was established in the first movie,

1060
00:54:17,160 --> 00:54:19,120
Speaker 3: but she has been murdered in the future.

1061
00:54:19,480 --> 00:54:22,120
Speaker 2: It's weird when when we actually discuss it like this,

1062
00:54:22,120 --> 00:54:24,520
Speaker 2: this sounds like the most complicated movie plot of all.

1063
00:54:24,560 --> 00:54:26,799
Speaker 3: Oh yeah, I know. I was trying to think like

1064
00:54:27,200 --> 00:54:30,360
Speaker 3: it actually is super complicated. It just doesn't really feel

1065
00:54:30,440 --> 00:54:32,160
Speaker 3: like that in the movie because all this stuff you

1066
00:54:32,280 --> 00:54:34,600
Speaker 3: just like, you kind of don't catch it and it

1067
00:54:34,640 --> 00:54:37,680
Speaker 3: doesn't matter, and then you just keep watching. Yeah. But

1068
00:54:37,760 --> 00:54:40,960
Speaker 3: so she's dead in the future, but she wasn't dead

1069
00:54:41,120 --> 00:54:43,520
Speaker 3: a few years ago in the future. So they sent

1070
00:54:43,600 --> 00:54:46,400
Speaker 3: somebody back in time but still to the future, just

1071
00:54:46,440 --> 00:54:49,000
Speaker 3: a few years before in the future before she died,

1072
00:54:49,360 --> 00:54:51,200
Speaker 3: to tell her that she has to go farther back

1073
00:54:51,200 --> 00:54:54,400
Speaker 3: in time to nineteen ninety one so she can I

1074
00:54:54,400 --> 00:54:58,839
Speaker 3: believe hunt trancers there, right, And oh my god, there's

1075
00:54:58,880 --> 00:55:00,960
Speaker 3: so many funny exchanges in this scene where it just

1076
00:55:01,000 --> 00:55:05,080
Speaker 3: gets amazingly complicated. McNulty's like, I thought we killed Whistler

1077
00:55:05,080 --> 00:55:07,800
Speaker 3: and all the trancers in the past, and then Rains

1078
00:55:07,880 --> 00:55:09,760
Speaker 3: is like, but there's a new Whistler in the past

1079
00:55:09,840 --> 00:55:12,400
Speaker 3: and now he's made new trancers in the past.

1080
00:55:13,560 --> 00:55:16,040
Speaker 2: Yeah, And I like, I didn't even realize Whistler was

1081
00:55:17,000 --> 00:55:19,120
Speaker 2: I thought there was just the one Whistler, so I'd

1082
00:55:19,160 --> 00:55:22,279
Speaker 2: never figured out if Richard Lynch's character in this is

1083
00:55:22,400 --> 00:55:26,680
Speaker 2: truly like Whistler's brother. Is it Whistler himself, his consciousness,

1084
00:55:26,719 --> 00:55:28,640
Speaker 2: some kind of escape. They're kind of all over the

1085
00:55:28,680 --> 00:55:31,719
Speaker 2: place briefly explaining who he is supposed to be.

1086
00:55:32,000 --> 00:55:34,759
Speaker 3: Okay, I think I know the answer. Okay, I think

1087
00:55:34,840 --> 00:55:39,120
Speaker 3: the answer is that Richard Lynch is playing Whistler's brother,

1088
00:55:39,880 --> 00:55:44,520
Speaker 3: playing a guy named ed WARDO. Whistler, who is the brother.

1089
00:55:44,680 --> 00:55:46,280
Speaker 3: I think the guy in the first movie is named

1090
00:55:46,400 --> 00:55:47,960
Speaker 3: James Whistler, Is that right?

1091
00:55:50,320 --> 00:55:53,040
Speaker 2: Possibly? I feel like I looked that up and I was.

1092
00:55:53,400 --> 00:55:55,480
Speaker 2: I also was confused when I started looking up his

1093
00:55:55,600 --> 00:55:58,120
Speaker 2: name in the first film. But I think I think yes,

1094
00:55:58,160 --> 00:56:00,360
Speaker 2: I think you're correct. This is supposed to be Whistler's brother.

1095
00:56:00,920 --> 00:56:04,240
Speaker 2: This is you know, I guess they all both both

1096
00:56:04,280 --> 00:56:06,920
Speaker 2: siblings had the psychic gift of creating trancers.

1097
00:56:07,120 --> 00:56:10,040
Speaker 3: Uh, Because there's a scene later on where Helen Hunt

1098
00:56:10,040 --> 00:56:12,120
Speaker 3: and Jack Death are figuring it out in a very

1099
00:56:12,200 --> 00:56:16,680
Speaker 3: Doctor Akila type moment. They're like, oh, this Richard Lynch

1100
00:56:16,760 --> 00:56:21,520
Speaker 3: is is his name is E d Wardo. Wait a minute.

1101
00:56:21,719 --> 00:56:25,520
Speaker 3: You know Whistler had a brother named ed Wardo Whistler.

1102
00:56:25,600 --> 00:56:28,480
Speaker 3: It's him, you know, E ed Wardo. Huh I get it.

1103
00:56:28,600 --> 00:56:30,520
Speaker 2: Yeah, all right, good enough for me.

1104
00:56:30,719 --> 00:56:33,640
Speaker 3: Okay, but I was thinking about doctor Wardo throughout this

1105
00:56:33,719 --> 00:56:37,879
Speaker 3: movie as doctor Warrio. Okay, now we get a bunch

1106
00:56:38,040 --> 00:56:41,320
Speaker 3: more plot mechanics. There's so much explaining at the beginning

1107
00:56:41,360 --> 00:56:43,920
Speaker 3: of this. So they say, okay, Jack Death, he can't

1108
00:56:43,920 --> 00:56:45,920
Speaker 3: come back to the future of the normal serum way

1109
00:56:46,280 --> 00:56:49,399
Speaker 3: because his old body in the future is now They

1110
00:56:49,400 --> 00:56:52,319
Speaker 3: call it calcified, which I guess would mean it's like

1111
00:56:52,760 --> 00:56:55,239
Speaker 3: all made of bone. Now, I guess like he just

1112
00:56:55,239 --> 00:56:56,640
Speaker 3: can't come back. His body's bad.

1113
00:56:57,120 --> 00:56:58,880
Speaker 2: Yeah, it looks bad. They show it on a slab

1114
00:56:58,920 --> 00:57:01,239
Speaker 2: and it's just all looking Yeah.

1115
00:57:01,280 --> 00:57:04,160
Speaker 3: So he can only come back to the future in

1116
00:57:04,200 --> 00:57:07,080
Speaker 3: the TCL chamber in that lunar module thing, or not

1117
00:57:07,360 --> 00:57:10,120
Speaker 3: to the command module thing. They're sending that back for him,

1118
00:57:10,120 --> 00:57:13,120
Speaker 3: otherwise he'll be stuck in the past forever. And then

1119
00:57:13,160 --> 00:57:16,200
Speaker 3: we get introduced to this James Bond gadget we mentioned earlier,

1120
00:57:16,240 --> 00:57:18,920
Speaker 3: the long second watch, which slows time for like ten

1121
00:57:18,960 --> 00:57:22,080
Speaker 3: seconds so you can go into bullet time basically. Oh,

1122
00:57:22,120 --> 00:57:25,640
Speaker 3: and then there's a funny part where McNulty is like, hey, Rains,

1123
00:57:25,760 --> 00:57:28,200
Speaker 3: aren't you and Jack Death? You know you were formerly

1124
00:57:28,240 --> 00:57:30,680
Speaker 3: in love but you split up. Why would you want

1125
00:57:30,720 --> 00:57:35,440
Speaker 3: him back? And the implication there is that, like, if

1126
00:57:35,480 --> 00:57:37,560
Speaker 3: you discovered your ex was stuck in the past, you

1127
00:57:37,720 --> 00:57:40,200
Speaker 3: just leave them stuck in the past. But she's like, look,

1128
00:57:40,240 --> 00:57:42,480
Speaker 3: I can't leave him stuck in the past just because

1129
00:57:42,480 --> 00:57:44,400
Speaker 3: we have a history. We have to think about the

1130
00:57:44,440 --> 00:57:47,720
Speaker 3: future of the future. And oh, and they find out

1131
00:57:47,760 --> 00:57:50,120
Speaker 3: that Jack Death is going to get a seat on

1132
00:57:50,240 --> 00:57:53,040
Speaker 3: the Council, which is very important somehow, but it's not

1133
00:57:53,080 --> 00:57:54,920
Speaker 3: really explained, I don't think now.

1134
00:57:55,280 --> 00:57:57,440
Speaker 2: The later someone says it's like becoming a king of

1135
00:57:57,440 --> 00:57:59,960
Speaker 2: the universe, So I guess it's really important.

1136
00:58:00,080 --> 00:58:02,120
Speaker 3: I don't know. Jack Death doesn't come off as like

1137
00:58:02,160 --> 00:58:04,520
Speaker 3: a really terrible person, but I don't know if he

1138
00:58:04,960 --> 00:58:07,640
Speaker 3: seems like the best choice for a king of the universe.

1139
00:58:07,920 --> 00:58:10,360
Speaker 2: I mean, he's anti establishment for the most part. You know,

1140
00:58:10,480 --> 00:58:13,120
Speaker 2: he's kind of a rogue cop. He doesn't need to

1141
00:58:13,120 --> 00:58:15,720
Speaker 2: be mayor of the city right exactly.

1142
00:58:16,600 --> 00:58:18,840
Speaker 3: But one thing I noted when we were first watching

1143
00:58:18,880 --> 00:58:22,040
Speaker 3: this is that the exposition scene here at the beginning

1144
00:58:22,080 --> 00:58:24,640
Speaker 3: just sounds like a transcript of the pitch meeting. It's

1145
00:58:24,680 --> 00:58:28,520
Speaker 3: just somebody describing the like basically the concept of the movie.

1146
00:58:29,560 --> 00:58:31,440
Speaker 3: But then there was also a really funny part here

1147
00:58:31,480 --> 00:58:32,920
Speaker 3: I took a screen grab for you to look at,

1148
00:58:32,920 --> 00:58:36,840
Speaker 3: where while she's explaining everything to him, a technician and

1149
00:58:36,920 --> 00:58:38,960
Speaker 3: a lab coat comes up and just starts trying to

1150
00:58:39,080 --> 00:58:42,640
Speaker 3: undress MacNulty like reaches over to his coat, and MacNulty

1151
00:58:42,720 --> 00:58:55,120
Speaker 3: is very irritated. But anyway, Okay, so the action starts

1152
00:58:55,160 --> 00:58:57,760
Speaker 3: when we go back to the past to nineteen ninety one,

1153
00:58:57,800 --> 00:59:00,400
Speaker 3: where Jack Death and Helen Hunt are driving around and

1154
00:59:00,400 --> 00:59:02,880
Speaker 3: they drive up to Happ's house. Remember, Halp is the

1155
00:59:02,920 --> 00:59:05,840
Speaker 3: guy who he originally had to go back in time

1156
00:59:05,920 --> 00:59:09,440
Speaker 3: to protect because he's the ancestor of a future politician.

1157
00:59:09,840 --> 00:59:13,840
Speaker 3: And here I started noticing one of my favorite types

1158
00:59:13,880 --> 00:59:18,560
Speaker 3: of awkward cinematography, which is regular dialogue scenes where there's

1159
00:59:18,560 --> 00:59:22,760
Speaker 3: nothing particularly intense going on, where the camera is way

1160
00:59:22,840 --> 00:59:26,520
Speaker 3: too close to the actors. So, like, you know, a

1161
00:59:26,520 --> 00:59:29,560
Speaker 3: standard way of shooting dialogue between two characters today is

1162
00:59:30,320 --> 00:59:33,680
Speaker 3: alternating cuts between what are usually called over the shoulder shots,

1163
00:59:33,680 --> 00:59:36,520
Speaker 3: so you shoot from roughly, you know, over the shoulder

1164
00:59:36,560 --> 00:59:38,680
Speaker 3: of where the other person in the conversation would be.

1165
00:59:38,760 --> 00:59:41,280
Speaker 3: You know, there are other choices you can make. You know,

1166
00:59:41,760 --> 00:59:44,600
Speaker 3: it's an open art form, but a lot of times

1167
00:59:44,640 --> 00:59:47,880
Speaker 3: this movie will be cutting back and forth between people talking,

1168
00:59:48,240 --> 00:59:52,520
Speaker 3: and it's cutting between what is basically just extreme close

1169
00:59:52,640 --> 00:59:55,360
Speaker 3: ups of people's faces while they're talking, and the effect

1170
00:59:55,400 --> 00:59:59,160
Speaker 3: is very funny. I could screencap many examples, but I

1171
00:59:59,200 --> 01:00:02,040
Speaker 3: just included one here for just Helen Hunt talking. I

1172
01:00:02,040 --> 01:00:04,560
Speaker 3: think she's talking about wanting to go house hunting, and

1173
01:00:04,600 --> 01:00:06,240
Speaker 3: it's like right up in her pores.

1174
01:00:07,440 --> 01:00:09,520
Speaker 2: Yeah, it's one thing of it's Richard Lynch, because Richard

1175
01:00:09,560 --> 01:00:14,120
Speaker 2: Lynch is generally saying intense villain stuff and staring into

1176
01:00:14,120 --> 01:00:16,360
Speaker 2: your soul when they're doing these close ups. But this

1177
01:00:16,440 --> 01:00:18,240
Speaker 2: is a scene where they're just talking about sort of

1178
01:00:18,560 --> 01:00:21,280
Speaker 2: side character stuff about how she really wants to settle

1179
01:00:21,320 --> 01:00:23,480
Speaker 2: down and get a house and he doesn't feel ready.

1180
01:00:23,600 --> 01:00:25,200
Speaker 3: Yeah, and then it cuts back to him and he's

1181
01:00:25,640 --> 01:00:27,600
Speaker 3: being kind of being a jerk about it. I don't

1182
01:00:27,600 --> 01:00:29,560
Speaker 3: want to spend a day with some pencil neck real

1183
01:00:29,680 --> 01:00:32,080
Speaker 3: estate agent going house hunting. But we're right up in

1184
01:00:32,160 --> 01:00:34,960
Speaker 3: his pores too, and they're just a mile wide, and

1185
01:00:35,000 --> 01:00:38,320
Speaker 3: it's wow, it's amazing. Another thing was so they get

1186
01:00:38,360 --> 01:00:41,080
Speaker 3: to Happ's house. Happ lives in this mansion which is

1187
01:00:41,720 --> 01:00:46,800
Speaker 3: a hideous property where he's restoring an antique fire truck,

1188
01:00:46,800 --> 01:00:49,080
Speaker 3: and I was wondering, is this something from the first movie?

1189
01:00:49,520 --> 01:00:53,160
Speaker 3: Was happ in transfers one a fire truck enthusiast?

1190
01:00:53,720 --> 01:00:56,680
Speaker 2: Happ in the first movie was a former pro baseball

1191
01:00:56,680 --> 01:01:00,880
Speaker 2: player that is now homeless, you know, than his you know,

1192
01:01:00,880 --> 01:01:04,400
Speaker 2: suffering from from alcoholism, and so in this they sobered him,

1193
01:01:04,440 --> 01:01:08,080
Speaker 2: sobered him up. And I don't remember it being explained why,

1194
01:01:08,120 --> 01:01:11,640
Speaker 2: but he's set up in this ugly mansion that's decorated

1195
01:01:11,720 --> 01:01:16,120
Speaker 2: like it's like something a stereotypical divorced, middle aged dad

1196
01:01:16,160 --> 01:01:18,520
Speaker 2: would dream up, where uh, you know, you're storing a

1197
01:01:18,560 --> 01:01:21,680
Speaker 2: fire truck and there and everything. All the decoration inside

1198
01:01:21,680 --> 01:01:25,200
Speaker 2: the house is like fire trucks and baseball memorabilia and

1199
01:01:25,240 --> 01:01:27,560
Speaker 2: there's a big old bar in the center of everything.

1200
01:01:27,840 --> 01:01:31,160
Speaker 3: Maximum Baseball. It's it's like the you know, the concept

1201
01:01:31,200 --> 01:01:34,360
Speaker 3: of a man cave, but it's this mansion.

1202
01:01:34,160 --> 01:01:37,040
Speaker 2: A better description. Yeah, it's it's full man cave mansion.

1203
01:01:37,360 --> 01:01:39,000
Speaker 2: And it's just ridiculous.

1204
01:01:39,040 --> 01:01:42,160
Speaker 3: He's got thirty six dart boards. Yeah.

1205
01:01:42,200 --> 01:01:43,760
Speaker 2: So I don't know where Hap got this money. But

1206
01:01:43,760 --> 01:01:47,200
Speaker 2: they're living with Hap, uh like kind of like looking

1207
01:01:47,240 --> 01:01:48,800
Speaker 2: after him as parents.

1208
01:01:48,560 --> 01:01:51,240
Speaker 3: I think, so yeah, yeah, which is especially funny. We'll

1209
01:01:51,240 --> 01:01:53,480
Speaker 3: get back to that in just a second. But uh,

1210
01:01:53,880 --> 01:01:56,200
Speaker 3: there's there was also a funny exchange. So they're like,

1211
01:01:56,280 --> 01:01:58,840
Speaker 3: why did why did Jack Death come back to Happ's house?

1212
01:01:58,880 --> 01:02:00,480
Speaker 3: What are they doing here? I thought that supposed to

1213
01:02:00,520 --> 01:02:05,000
Speaker 3: be on vacation or a honeymoon or something. But he's like, Hap,

1214
01:02:05,080 --> 01:02:07,360
Speaker 3: I had to come back because I had a funny feeling.

1215
01:02:07,800 --> 01:02:12,000
Speaker 3: And then Haf goes, no, no, not trancers again, Jack,

1216
01:02:12,400 --> 01:02:15,240
Speaker 3: And then it cuts to not dialogue in the scene,

1217
01:02:15,440 --> 01:02:18,920
Speaker 3: but voiceover of Jack Death saying I'd been having a

1218
01:02:18,960 --> 01:02:22,840
Speaker 3: strange feeling, the feeling I get when there are trancers around.

1219
01:02:24,800 --> 01:02:25,640
Speaker 2: Just to make it clear.

1220
01:02:26,720 --> 01:02:30,120
Speaker 3: But then anyway, Lena Helen Hunt's character announces that she

1221
01:02:30,240 --> 01:02:33,880
Speaker 3: has to get Hap to bed. Why does Lena have

1222
01:02:33,960 --> 01:02:36,000
Speaker 3: to make Hap go to bed? It's like he's a

1223
01:02:36,080 --> 01:02:38,680
Speaker 3: child and there babysitting him just permanently.

1224
01:02:39,080 --> 01:02:41,960
Speaker 2: I mean, he looks like he's in his late fifties

1225
01:02:42,040 --> 01:02:45,400
Speaker 2: or early sixties here. Yeah, and yet they refer to

1226
01:02:45,440 --> 01:02:47,920
Speaker 2: this a couple of times in the movie that they

1227
01:02:47,960 --> 01:02:51,680
Speaker 2: are still kind of grooming this guy to eventually procreate,

1228
01:02:52,280 --> 01:02:55,000
Speaker 2: to produce the offspring that the world depends on, like

1229
01:02:55,120 --> 01:02:58,160
Speaker 2: the ancestor that ends up being the ruler of the future.

1230
01:02:58,400 --> 01:03:03,200
Speaker 2: Apparently has not been produced yet by this specimen of

1231
01:03:03,240 --> 01:03:06,720
Speaker 2: a man here. So I'm not really sure how that's

1232
01:03:06,760 --> 01:03:09,040
Speaker 2: gonna work out. Yeah, but I think they could have

1233
01:03:09,080 --> 01:03:14,320
Speaker 2: done an interesting sitcom with them essentially raising Hap. You know,

1234
01:03:14,480 --> 01:03:17,560
Speaker 2: I don't know, Meet the Deaths, Death Family matters.

1235
01:03:17,600 --> 01:03:21,280
Speaker 3: I don't know very good. Yes, I would watch that sitcom, But.

1236
01:03:21,280 --> 01:03:23,360
Speaker 2: This is the life they've created for them, but that

1237
01:03:23,440 --> 01:03:26,520
Speaker 2: life is about to be turned upside down by trancers.

1238
01:03:26,880 --> 01:03:29,280
Speaker 3: Oh wait, if it was the sitcom Richard Lynch would

1239
01:03:29,280 --> 01:03:31,560
Speaker 3: become the erkle of it. He'd be like the nerdy

1240
01:03:31,600 --> 01:03:34,040
Speaker 3: next door neighbor who keeps showing up and he's like, look,

1241
01:03:34,080 --> 01:03:36,000
Speaker 3: I've figured out how to create trancers.

1242
01:03:36,480 --> 01:03:38,480
Speaker 2: Oh man, it would be the most intense. Did I

1243
01:03:38,560 --> 01:03:42,000
Speaker 2: do that ever? Yeah, Richard Lynch staring like straight into

1244
01:03:42,000 --> 01:03:42,600
Speaker 2: your bones.

1245
01:03:42,880 --> 01:03:46,080
Speaker 3: Did I do that? But then we cut to the

1246
01:03:46,120 --> 01:03:48,600
Speaker 3: next morning, and there's several things going on at the

1247
01:03:48,640 --> 01:03:52,120
Speaker 3: same time. One of them, I guess, is a conversation

1248
01:03:52,320 --> 01:03:56,160
Speaker 3: between Helen Hunt and Jack Death about house hunting. We

1249
01:03:56,320 --> 01:03:58,560
Speaker 3: sort of mentioned that already, but also there's just an

1250
01:03:58,640 --> 01:04:04,320
Speaker 3: immediate tranfer attack. Landscaping company shows up. The camera lingers

1251
01:04:04,360 --> 01:04:06,840
Speaker 3: ominously on a guy with a shovel who's working in

1252
01:04:06,880 --> 01:04:09,360
Speaker 3: the yard. So it's like, wow, I wonder what's gonna happen.

1253
01:04:09,640 --> 01:04:12,160
Speaker 3: You think he's going to be a trancer. And then

1254
01:04:12,600 --> 01:04:15,800
Speaker 3: hap goes out to be like, hey, you know, good

1255
01:04:15,920 --> 01:04:19,240
Speaker 3: job digging on the lawn, and the guy immediately like

1256
01:04:19,280 --> 01:04:22,120
Speaker 3: his face wargs out and he gets these gross forked

1257
01:04:22,200 --> 01:04:25,320
Speaker 3: lightning veins coming down his cheeks, and also there's just

1258
01:04:25,440 --> 01:04:28,400
Speaker 3: random dirt on his forehead and some kind of dark

1259
01:04:28,440 --> 01:04:31,160
Speaker 3: liquid dripping out of his eyes. Yeah.

1260
01:04:31,280 --> 01:04:33,960
Speaker 2: They at this point a transfer has been triggered out

1261
01:04:33,960 --> 01:04:36,840
Speaker 2: of their like sleeper cell mode and they're just full

1262
01:04:36,880 --> 01:04:40,840
Speaker 2: on maniacal attack mode. And then one of the interesting

1263
01:04:40,920 --> 01:04:45,160
Speaker 2: things is if the transfer is then killed with like

1264
01:04:45,200 --> 01:04:47,280
Speaker 2: a laser gun or in the first film or in

1265
01:04:47,320 --> 01:04:50,240
Speaker 2: this you know, just shot with normal munitions. Once they

1266
01:04:50,320 --> 01:04:54,720
Speaker 2: hit the ground, they will disintegrate and leave like a

1267
01:04:54,760 --> 01:04:57,320
Speaker 2: smoking outline of their body on the ground.

1268
01:04:57,480 --> 01:05:00,480
Speaker 3: Yeah, they turn into red lasers and descending great. Yeah.

1269
01:05:00,520 --> 01:05:04,000
Speaker 2: Yeah, And it's totally unexplained. Why why would this happen?

1270
01:05:04,040 --> 01:05:06,040
Speaker 2: I guess it has to do maybe I don't know,

1271
01:05:06,080 --> 01:05:08,920
Speaker 2: the psychic powers or somehow linked they create the transfers

1272
01:05:09,040 --> 01:05:11,360
Speaker 2: or linked to this idea of consciousness and time and

1273
01:05:11,680 --> 01:05:12,080
Speaker 2: I don't know.

1274
01:05:12,720 --> 01:05:14,920
Speaker 3: But anyway, so this is going on. The transfer attack

1275
01:05:15,000 --> 01:05:19,160
Speaker 3: happens while Jack Death and Lena are talking about wanting well,

1276
01:05:19,280 --> 01:05:21,720
Speaker 3: Helen Hunt wants to buy a house, and Jack Death

1277
01:05:21,840 --> 01:05:23,480
Speaker 3: is being a jerk about it because he does not

1278
01:05:23,600 --> 01:05:26,800
Speaker 3: want to spend time touring homes. He's just h no,

1279
01:05:26,920 --> 01:05:27,560
Speaker 3: I don't want to.

1280
01:05:27,840 --> 01:05:29,960
Speaker 2: Yeah. A lot of manchild elements in this movie.

1281
01:05:30,040 --> 01:05:31,960
Speaker 3: Yes, And then they're talking about it. I guess they

1282
01:05:31,960 --> 01:05:34,280
Speaker 3: sort of make up and they're talking about their future

1283
01:05:34,480 --> 01:05:37,760
Speaker 3: and they're kissing, and then Jack Death suddenly perks up.

1284
01:05:38,080 --> 01:05:42,000
Speaker 3: His spidy senses are going and he's like trancers, and

1285
01:05:42,200 --> 01:05:45,040
Speaker 3: so the landscape or Trancer and his crew are trying

1286
01:05:45,080 --> 01:05:49,000
Speaker 3: to kill hap but Jack Death hilariously, it's like he

1287
01:05:49,200 --> 01:05:51,080
Speaker 3: riding in on a horse to save the day, but

1288
01:05:51,200 --> 01:05:54,400
Speaker 3: instead he drives up on them in a golf cart,

1289
01:05:54,640 --> 01:05:57,760
Speaker 3: steering with one hand and shooting with the other. And

1290
01:05:57,800 --> 01:06:00,400
Speaker 3: this was maybe my biggest laugh out loud moment of

1291
01:06:00,440 --> 01:06:02,080
Speaker 3: the movie. Very very strong.

1292
01:06:02,400 --> 01:06:05,360
Speaker 2: It's very great and played like a lot of stuff

1293
01:06:05,360 --> 01:06:06,680
Speaker 2: in this film. Most of the things of this film

1294
01:06:06,840 --> 01:06:08,160
Speaker 2: played seriously.

1295
01:06:07,920 --> 01:06:10,080
Speaker 3: Yes, which makes it work much better.

1296
01:06:10,320 --> 01:06:10,880
Speaker 2: Yeah.

1297
01:06:10,920 --> 01:06:13,440
Speaker 3: So Jack Death defeats the trancers and it's like, oh,

1298
01:06:13,520 --> 01:06:15,520
Speaker 3: I thought we dealt with all the trancers. I wonder

1299
01:06:15,560 --> 01:06:19,240
Speaker 3: if there's a new Whistler in the past. But immediately

1300
01:06:19,480 --> 01:06:24,120
Speaker 3: McNulty arrives in his ancestor's body on a bicycle and

1301
01:06:25,000 --> 01:06:28,360
Speaker 3: there's a bunch more exposition explains all this stuff about

1302
01:06:28,360 --> 01:06:31,920
Speaker 3: time travel, basically rehashes a lot of what we learned earlier,

1303
01:06:32,040 --> 01:06:35,360
Speaker 3: explains about the TCL chamber. They end up setting up

1304
01:06:35,400 --> 01:06:38,680
Speaker 3: a tent in the yard to hide the time machine

1305
01:06:38,680 --> 01:06:41,520
Speaker 3: when it arrives from the future. I love it.

1306
01:06:41,600 --> 01:06:44,720
Speaker 2: The very cheap move on the production. I like it.

1307
01:06:45,000 --> 01:06:47,800
Speaker 3: I'm not sure exactly what the quality was. It's something

1308
01:06:47,840 --> 01:06:50,760
Speaker 3: about her line delivery. But Rachel and I kept noticing

1309
01:06:50,800 --> 01:06:54,760
Speaker 3: that the actress who plays McNulty's ancestor, who is good like,

1310
01:06:54,840 --> 01:06:58,320
Speaker 3: she's funny in this she has very all Garfield energy.

1311
01:06:58,600 --> 01:07:01,560
Speaker 3: I'm referring to an acts from a sketch and I

1312
01:07:01,560 --> 01:07:05,600
Speaker 3: think you should leave. It's the sketch with the intervention

1313
01:07:05,880 --> 01:07:08,840
Speaker 3: for Tim Robinson that's in the Garfield house, you know

1314
01:07:08,880 --> 01:07:11,360
Speaker 3: where she's saying like, yeah, but it's a total party house.

1315
01:07:12,200 --> 01:07:13,880
Speaker 2: Yeah. I had to look this back up. That's fun

1316
01:07:13,920 --> 01:07:15,760
Speaker 2: It's a fun sketch, Yea. The actor I think you're

1317
01:07:15,760 --> 01:07:19,480
Speaker 2: referring to is Kate Burlant yea who she was born

1318
01:07:19,520 --> 01:07:22,400
Speaker 2: eighty seven, so she's actually younger than trancers.

1319
01:07:22,440 --> 01:07:25,880
Speaker 3: One. Wow, she's very funny in that sketch. By the way,

1320
01:07:25,680 --> 01:07:28,520
Speaker 3: we quoted all the time, you kind of quote were

1321
01:07:28,640 --> 01:07:30,040
Speaker 3: for the rest of the movie. We're kind of like

1322
01:07:30,080 --> 01:07:32,440
Speaker 3: pointing all around and you know, like she says all

1323
01:07:32,520 --> 01:07:35,200
Speaker 3: Garfield as she points it out to her friends. It's

1324
01:07:35,200 --> 01:07:39,240
Speaker 3: like all trancers. But anyway, so we get a transition

1325
01:07:39,440 --> 01:07:42,400
Speaker 3: to this whole other plot. And this whole other plot

1326
01:07:42,480 --> 01:07:45,800
Speaker 3: is unknown to Jack Death and Lena. Jack Death's wife

1327
01:07:45,880 --> 01:07:48,640
Speaker 3: from the future, Alice Stillwell, is also still in the

1328
01:07:48,680 --> 01:07:52,080
Speaker 3: past in the body of her ancestor, but she's trapped

1329
01:07:52,120 --> 01:07:54,880
Speaker 3: in this place run by Richard Lynch's people. It's this

1330
01:07:55,120 --> 01:07:59,840
Speaker 3: evil cult pseudo psychiatric hospital that is operated by New

1331
01:08:00,120 --> 01:08:01,000
Speaker 3: Slur's goons.

1332
01:08:01,480 --> 01:08:03,840
Speaker 2: Yeah, and actually the plot element here is kind of fun.

1333
01:08:04,320 --> 01:08:06,440
Speaker 2: I thought, I thought this was pretty creative. Is that

1334
01:08:07,080 --> 01:08:09,440
Speaker 2: since you you just kind of, you know, quantum leap

1335
01:08:09,560 --> 01:08:12,080
Speaker 2: back in time to your ancestor in the time period

1336
01:08:12,120 --> 01:08:14,120
Speaker 2: you're going to. Well, she was sent back to eighty five,

1337
01:08:14,120 --> 01:08:17,800
Speaker 2: but as it turns out, her ancestor was in a

1338
01:08:18,520 --> 01:08:22,519
Speaker 2: mental institution at the time, so she instantly was was

1339
01:08:22,560 --> 01:08:25,080
Speaker 2: trapped in the institution, and I imagine it was I

1340
01:08:25,080 --> 01:08:28,360
Speaker 2: guess exasperated by her claiming or acting like she was

1341
01:08:28,360 --> 01:08:30,240
Speaker 2: in herself. And then she wasn't able to get to

1342
01:08:30,280 --> 01:08:32,720
Speaker 2: her special watch with a long second, so she's just

1343
01:08:32,760 --> 01:08:34,120
Speaker 2: been lost this whole time.

1344
01:08:34,360 --> 01:08:36,599
Speaker 3: Yeah, so it's a it's a major bummer. And then

1345
01:08:36,640 --> 01:08:40,160
Speaker 3: we meet we meet several characters here, so she's trapped

1346
01:08:40,160 --> 01:08:43,360
Speaker 3: in there. We meet Rabbit. Anything else we need to

1347
01:08:43,360 --> 01:08:45,479
Speaker 3: say about Rabbit, No, I mean, you know Rabbit. At

1348
01:08:45,479 --> 01:08:49,200
Speaker 3: this point, also we meet the villains Martin Beswick and

1349
01:08:50,520 --> 01:08:52,800
Speaker 3: what's his name, Jeffery Combs. They're just sitting around sort

1350
01:08:52,800 --> 01:08:57,920
Speaker 3: of looking judgmentally at everyone. Now, obviously this is not

1351
01:08:58,000 --> 01:09:01,240
Speaker 3: a real psychiatric hospital provide care to its patients. It

1352
01:09:01,320 --> 01:09:03,800
Speaker 3: is basically a transfer factory that is being run by

1353
01:09:03,840 --> 01:09:07,080
Speaker 3: Richard Lynch, and they're playing TVs of him, creepy talking

1354
01:09:07,080 --> 01:09:09,000
Speaker 3: at the patients all night long. You know.

1355
01:09:09,240 --> 01:09:12,360
Speaker 2: Yeah, we come to learn that basically his scheme here

1356
01:09:12,680 --> 01:09:14,360
Speaker 2: in the first film, we learned that you can't make

1357
01:09:14,360 --> 01:09:16,800
Speaker 2: a transfer out of like a strong willed person, right

1358
01:09:17,000 --> 01:09:19,960
Speaker 2: in order for Whistler or Whistler's brother to use their

1359
01:09:19,960 --> 01:09:22,920
Speaker 2: psychic power to turn you into this this zombie like thrall,

1360
01:09:23,439 --> 01:09:27,080
Speaker 2: you have to be kind of, you know, of a

1361
01:09:27,080 --> 01:09:30,679
Speaker 2: weakened state mentally. And so this whole operation, this transfer

1362
01:09:30,720 --> 01:09:35,120
Speaker 2: factory of transfer farm, is about weakening people like mentally

1363
01:09:35,600 --> 01:09:38,559
Speaker 2: with pharmaceuticals, we find out later, so that then he

1364
01:09:38,600 --> 01:09:41,920
Speaker 2: can easily control them and easily manipulate them and create

1365
01:09:42,000 --> 01:09:43,160
Speaker 2: like a transfer army.

1366
01:09:43,479 --> 01:09:47,680
Speaker 3: Yeah, exactly. So Alice stages an escape from this facility

1367
01:09:47,720 --> 01:09:51,160
Speaker 3: while the orderly rabbit is busy having a midnight rendezvous

1368
01:09:51,160 --> 01:09:53,559
Speaker 3: with another orderly who I guess is his girlfriend. They're

1369
01:09:53,560 --> 01:09:58,040
Speaker 3: like hanging out to drink vodka mixed with orange soda. Yeah,

1370
01:09:58,040 --> 01:10:00,200
Speaker 3: it just looks pretty gross. I don't know. Maybe that's

1371
01:10:00,200 --> 01:10:02,280
Speaker 3: a drink some people have. I don't know it was.

1372
01:10:03,720 --> 01:10:05,760
Speaker 2: I mean, I guess it depends on the orange soda.

1373
01:10:05,800 --> 01:10:07,160
Speaker 2: Maybe you got a nice orange soda.

1374
01:10:07,320 --> 01:10:09,600
Speaker 3: Oh yeah, I guess, I don't know. It looked like

1375
01:10:09,640 --> 01:10:12,400
Speaker 3: one of those, like really neon, you know, the traffic

1376
01:10:12,439 --> 01:10:13,720
Speaker 3: cone orange soda.

1377
01:10:13,960 --> 01:10:16,680
Speaker 2: The perfect cocktail for drinking on the job in a

1378
01:10:16,720 --> 01:10:20,840
Speaker 2: broom closet at an unlicensed mental institution run by a

1379
01:10:20,840 --> 01:10:21,400
Speaker 2: cult leader.

1380
01:10:21,600 --> 01:10:23,519
Speaker 3: Right, so they're planning, I guess, to drink on the

1381
01:10:23,640 --> 01:10:26,960
Speaker 3: job and do no good, but they get interrupted by

1382
01:10:27,000 --> 01:10:32,080
Speaker 3: Alice's breakout, and then everybody gives chase and then Alice

1383
01:10:32,160 --> 01:10:36,479
Speaker 3: eventually she escapes I think, actually multiple times, but at

1384
01:10:36,520 --> 01:10:39,920
Speaker 3: some point she discovers the time machine, the TCL chamber.

1385
01:10:40,240 --> 01:10:43,679
Speaker 3: It's in a barn somewhere, But then she is captured

1386
01:10:43,680 --> 01:10:46,679
Speaker 3: and taken back to Whistler House, and then we cut

1387
01:10:46,680 --> 01:10:50,000
Speaker 3: back to our main character is Jack Death McNulty or

1388
01:10:50,080 --> 01:10:53,719
Speaker 3: magnulty in his ancestors body, Helen Hunt. They're all hanging

1389
01:10:53,760 --> 01:10:55,960
Speaker 3: around in this tent they've put up on the yard

1390
01:10:56,000 --> 01:10:58,760
Speaker 3: where they're supposed to receive the time machine. But there's

1391
01:10:58,800 --> 01:11:01,080
Speaker 3: a problem because it does and actually show up. They

1392
01:11:01,120 --> 01:11:03,719
Speaker 3: just get the door of it. So they obviously need

1393
01:11:03,760 --> 01:11:07,120
Speaker 3: to connect with Alice because she knows where the rest

1394
01:11:07,160 --> 01:11:10,519
Speaker 3: of the time machine is, and so they're standing around

1395
01:11:10,560 --> 01:11:13,439
Speaker 3: and then there's also just tons of This movie has

1396
01:11:13,479 --> 01:11:17,160
Speaker 3: a lot of scenes of characters explaining to each other

1397
01:11:17,400 --> 01:11:21,519
Speaker 3: things that the audience already knows from previous explaining scenes. Yes,

1398
01:11:22,280 --> 01:11:24,280
Speaker 3: but one of the funny things is in the scene

1399
01:11:24,280 --> 01:11:27,280
Speaker 3: you get to see the characters react. So McNulty explains

1400
01:11:27,360 --> 01:11:30,760
Speaker 3: to Jack Death and Helen Hunt that his wife is

1401
01:11:30,840 --> 01:11:34,880
Speaker 3: back here in the present, and an incredulous Helen Hunt

1402
01:11:34,920 --> 01:11:36,960
Speaker 3: is like, you have a wife. I thought she was

1403
01:11:37,040 --> 01:11:40,120
Speaker 3: dead and he's like, no, honey, I can explain she's

1404
01:11:40,160 --> 01:11:42,400
Speaker 3: dead in the future, but now she's alive in the past,

1405
01:11:42,760 --> 01:11:46,479
Speaker 3: which again was very funny. But they, yeah, they need

1406
01:11:46,520 --> 01:11:48,479
Speaker 3: her help to figure out where the time machine is,

1407
01:11:48,520 --> 01:11:52,000
Speaker 3: so they're trying to look into that. Meanwhile, Jack Death

1408
01:11:52,040 --> 01:11:56,080
Speaker 3: goes to investigate the landscaping company who sent trancers to

1409
01:11:56,120 --> 01:12:00,240
Speaker 3: HAPs house, and at first they deny knowing anything. They're like, no,

1410
01:12:00,320 --> 01:12:02,439
Speaker 3: I don't know. I think somebody stole our truck. That

1411
01:12:02,520 --> 01:12:05,000
Speaker 3: must have been them, not us. So we meet this

1412
01:12:05,120 --> 01:12:07,840
Speaker 3: red haired, burly guy with a beard, and then a

1413
01:12:07,840 --> 01:12:11,560
Speaker 3: forklift operator named Ramone who has an awesome outfit. He

1414
01:12:11,600 --> 01:12:14,560
Speaker 3: has like this striped sort of like what do you

1415
01:12:14,600 --> 01:12:18,040
Speaker 3: call the two third length sleeve T shirt with stripes,

1416
01:12:18,080 --> 01:12:20,400
Speaker 3: and it's tucked into his pants with a belt, and

1417
01:12:20,400 --> 01:12:24,680
Speaker 3: he's got cool boots. And so I loved Ramone and

1418
01:12:24,760 --> 01:12:26,799
Speaker 3: his outfit and I really wanted him to stick around.

1419
01:12:26,800 --> 01:12:30,400
Speaker 3: But alas, like most other characters you meet, turns out

1420
01:12:30,400 --> 01:12:31,080
Speaker 3: to be a trancer.

1421
01:12:31,760 --> 01:12:35,040
Speaker 2: Yeah. I'd say one of the big flaws in these films,

1422
01:12:35,439 --> 01:12:37,400
Speaker 2: and that didn't really take away from enjoyment, is that

1423
01:12:37,720 --> 01:12:40,439
Speaker 2: trancers are not really scary. They look kind of look

1424
01:12:40,520 --> 01:12:41,920
Speaker 2: kind of dumb, agreed.

1425
01:12:41,960 --> 01:12:44,720
Speaker 3: But so the tranfers attack him. There's a great forklift

1426
01:12:44,760 --> 01:12:46,880
Speaker 3: fight scene where they like pin him to a bunch

1427
01:12:46,920 --> 01:12:49,679
Speaker 3: of two by fours with a forklift, but he uses

1428
01:12:49,800 --> 01:12:52,360
Speaker 3: his long second watch to sort of get around behind

1429
01:12:52,400 --> 01:12:54,000
Speaker 3: them and defeat the trancers.

1430
01:12:54,200 --> 01:12:56,760
Speaker 2: Yep, yep, got to work in use of the gadget.

1431
01:12:57,040 --> 01:13:00,599
Speaker 3: But eventually, after all this, they find out that the Transfer,

1432
01:13:00,680 --> 01:13:04,439
Speaker 3: the Evil Transfer Factory, hospital, and landscaping company I think,

1433
01:13:04,479 --> 01:13:07,840
Speaker 3: are actually all run by the same organization, which is

1434
01:13:07,960 --> 01:13:14,080
Speaker 3: Richard Lynch's organization, which is Green World, a sadistic environmentalist

1435
01:13:14,200 --> 01:13:19,000
Speaker 3: transfer cult. And Helen Hunt does online research on her computer. Again,

1436
01:13:19,040 --> 01:13:21,920
Speaker 3: this is nineteen ninety one, so I don't know about this,

1437
01:13:22,000 --> 01:13:25,360
Speaker 3: but she's on her computer reading articles to discover that

1438
01:13:25,439 --> 01:13:29,760
Speaker 3: the director of the bad organization, the Green World, is

1439
01:13:29,840 --> 01:13:32,439
Speaker 3: one ed Wardo. And this is where they do the

1440
01:13:32,560 --> 01:13:36,200
Speaker 3: doctor Acula moment where they put everything together. But also

1441
01:13:36,320 --> 01:13:39,080
Speaker 3: she's describing the organization Green World, and she's like, they

1442
01:13:39,160 --> 01:13:41,280
Speaker 3: sell organic cookies, that kind of thing.

1443
01:13:42,960 --> 01:13:45,759
Speaker 2: Yeah, and yeah. The more we learn about Wardo's operation,

1444
01:13:45,920 --> 01:13:49,439
Speaker 2: it's it's it's I ended up enjoying this this quite

1445
01:13:49,439 --> 01:13:53,040
Speaker 2: a bit. Well, having a nice cult leader madman situation

1446
01:13:53,400 --> 01:13:56,120
Speaker 2: and that VHS tape that they keep playing where he's

1447
01:13:56,479 --> 01:14:00,000
Speaker 2: like using this to mind warp the thralls. It's it's actually,

1448
01:14:00,200 --> 01:14:02,400
Speaker 2: it's really good. It has this this loop to it

1449
01:14:02,439 --> 01:14:05,519
Speaker 2: where he's saying things like you belong in a green world.

1450
01:14:05,880 --> 01:14:09,080
Speaker 3: Oh yeah, yeah, And when he gets interviewed by Barbara

1451
01:14:09,080 --> 01:14:12,519
Speaker 3: Crampton on TV later, it's hilarious because he's saying these

1452
01:14:12,760 --> 01:14:15,400
Speaker 3: things that are just obviously evil, but she's like, oh,

1453
01:14:15,439 --> 01:14:18,120
Speaker 3: that's nice. He's like, you know, we bring people to

1454
01:14:18,240 --> 01:14:22,439
Speaker 3: our facility and we cleanse them.

1455
01:14:22,880 --> 01:14:26,280
Speaker 2: Yeah. Those scenes with the there are two of them

1456
01:14:26,720 --> 01:14:28,680
Speaker 2: from that interview. Those are some of my, I think,

1457
01:14:28,680 --> 01:14:30,439
Speaker 2: my favorite parts of the film. And I think there's

1458
01:14:30,800 --> 01:14:32,519
Speaker 2: if there any DJs out there and you want some

1459
01:14:32,600 --> 01:14:36,080
Speaker 2: cool cryptic samples to put into your mix, look to

1460
01:14:36,160 --> 01:14:39,000
Speaker 2: this film and look to those scenes where Wardo is

1461
01:14:39,040 --> 01:14:42,040
Speaker 2: talking to the TV host, because there's there's some fun

1462
01:14:42,080 --> 01:14:42,679
Speaker 2: stuff in there.

1463
01:14:43,080 --> 01:14:47,439
Speaker 3: There's also a getting ready to fight montage, not montage,

1464
01:14:47,479 --> 01:14:49,080
Speaker 3: I don't know what you call it. Like the scene

1465
01:14:49,080 --> 01:14:51,320
Speaker 3: in the movie where like the hero suits up. Often

1466
01:14:51,320 --> 01:14:53,720
Speaker 3: they'll like put on their gun belt or something, but

1467
01:14:53,760 --> 01:14:55,639
Speaker 3: in this movie, it's not putting on the gun belt.

1468
01:14:55,720 --> 01:14:58,639
Speaker 3: It's it's Jack Death slicking his hair back.

1469
01:14:59,080 --> 01:15:00,840
Speaker 2: Yeah, that's one of the things as your Moves. They

1470
01:15:01,680 --> 01:15:03,479
Speaker 2: have that in the first film too, where the one

1471
01:15:03,479 --> 01:15:05,479
Speaker 2: of the first things he does when he inhabits his

1472
01:15:05,520 --> 01:15:08,800
Speaker 2: ancestors body is to find a nice like tin of

1473
01:15:08,880 --> 01:15:10,760
Speaker 2: palmate and start greasing back.

1474
01:15:11,040 --> 01:15:14,960
Speaker 3: He's a dapper dan man, he is so Jack Death. Eventually,

1475
01:15:15,240 --> 01:15:17,519
Speaker 3: a bunch of stuff happens. Jack Fath eventually ends up

1476
01:15:17,560 --> 01:15:20,639
Speaker 3: rescuing his other wife from the future from the Green

1477
01:15:20,680 --> 01:15:23,720
Speaker 3: World facility. It's kind of funny. He like rescues her

1478
01:15:23,760 --> 01:15:26,000
Speaker 3: while she's on like a gurney, and he like just

1479
01:15:26,080 --> 01:15:28,760
Speaker 3: loads the whole thing into his corvette while she's still

1480
01:15:28,760 --> 01:15:32,559
Speaker 3: attached to it, and then he unstraps her later after

1481
01:15:32,640 --> 01:15:34,519
Speaker 3: like they escape from the bad guys. But then there's

1482
01:15:34,560 --> 01:15:37,920
Speaker 3: this hilarious dialogue when they talk things through. It's like,

1483
01:15:38,040 --> 01:15:40,280
Speaker 3: are you who I think you are? Are you who

1484
01:15:40,320 --> 01:15:43,880
Speaker 3: I think you are? Still well? Alice b And then

1485
01:15:43,920 --> 01:15:47,519
Speaker 3: he goes, Welcome to old California, Alice, I'm your husband.

1486
01:15:47,840 --> 01:15:48,639
Speaker 3: Jack Death.

1487
01:15:50,760 --> 01:15:51,280
Speaker 2: Yeah.

1488
01:15:51,360 --> 01:15:55,200
Speaker 3: Yeah, it's so stupid, it's kind of sweet.

1489
01:15:55,600 --> 01:15:58,679
Speaker 2: It is It's again. It's it's such a man boy

1490
01:15:58,760 --> 01:16:01,240
Speaker 2: movie in so many ways, but but it's too dumb

1491
01:16:01,240 --> 01:16:02,799
Speaker 2: and good hearted to really offend.

1492
01:16:03,000 --> 01:16:05,200
Speaker 3: Yeah. Well, A bunch of the middle section of the

1493
01:16:05,240 --> 01:16:09,000
Speaker 3: movie is concerned with basically two subplots. One is the

1494
01:16:09,080 --> 01:16:14,120
Speaker 3: time wives subplot, which is this marriage conflict because Helen Hunt,

1495
01:16:14,240 --> 01:16:16,240
Speaker 3: it seems, is not a fan of the fact that

1496
01:16:16,320 --> 01:16:18,679
Speaker 3: Jack Death now has two wives at the same time.

1497
01:16:19,520 --> 01:16:22,360
Speaker 3: And Jack Death's reaction to the situation is just this

1498
01:16:22,439 --> 01:16:24,840
Speaker 3: kind of I don't know, he's kind of furrowing his

1499
01:16:24,960 --> 01:16:29,120
Speaker 3: eyebrows inexpressibly frustrated, but at the same time kind of

1500
01:16:29,200 --> 01:16:31,760
Speaker 3: passive with this like what am I supposed to do

1501
01:16:32,120 --> 01:16:36,880
Speaker 3: kind of attitude, and his future wife keeps kissing him

1502
01:16:36,880 --> 01:16:40,240
Speaker 3: and he's clearly into it, and Helen Hunt doesn't like this.

1503
01:16:40,680 --> 01:16:43,040
Speaker 3: I think it seems clear that Jack Death would like

1504
01:16:43,120 --> 01:16:44,759
Speaker 3: if he could to marry both women.

1505
01:16:45,200 --> 01:16:47,719
Speaker 2: Yeah, I don't know. I was trying to think deep

1506
01:16:47,720 --> 01:16:50,160
Speaker 2: and hard about this and like maybe it's you know,

1507
01:16:50,160 --> 01:16:52,160
Speaker 2: it's kind of like Jack Death is unstuck in time,

1508
01:16:52,240 --> 01:16:54,719
Speaker 2: you know, like he's you know, it's not so much

1509
01:16:54,720 --> 01:16:57,000
Speaker 2: as like she was my wife and you are my

1510
01:16:57,080 --> 01:16:59,400
Speaker 2: wife now. It's like you were both my wives and different.

1511
01:16:59,400 --> 01:17:01,559
Speaker 2: I don't know. Once you start traveling around in time

1512
01:17:02,400 --> 01:17:03,040
Speaker 2: gets screwy.

1513
01:17:03,600 --> 01:17:05,479
Speaker 3: There is a really great scene. This is one of

1514
01:17:05,560 --> 01:17:08,760
Speaker 3: the funny ones where Helen Hunt is like forced to

1515
01:17:08,800 --> 01:17:12,559
Speaker 3: deliver absolutely absurd dialogue there's a long one here where

1516
01:17:12,600 --> 01:17:14,759
Speaker 3: she has a scene with Jack Death and she's saying,

1517
01:17:15,040 --> 01:17:17,240
Speaker 3: I've had to handle a lot being married to someone

1518
01:17:17,240 --> 01:17:22,280
Speaker 3: from the future Jack, but two wives, And eventually there's

1519
01:17:22,280 --> 01:17:25,360
Speaker 3: also a confrontation between them where Alice from the future

1520
01:17:25,439 --> 01:17:28,080
Speaker 3: is telling Helen Hunt that, you know, basically she needs

1521
01:17:28,120 --> 01:17:31,439
Speaker 3: to step aside, and she's like, he needs me to

1522
01:17:31,479 --> 01:17:34,679
Speaker 3: defeat Wardo. I am a tranfer Hunter. All you bring

1523
01:17:34,720 --> 01:17:37,560
Speaker 3: to the party is stuff for Jack to worry about.

1524
01:17:37,720 --> 01:17:40,479
Speaker 3: And so eventually Helen Hunt leaves, she's had enough of

1525
01:17:40,560 --> 01:17:42,720
Speaker 3: this time wives confusion, and as she's about to leave,

1526
01:17:42,800 --> 01:17:45,000
Speaker 3: Alice says to her, I'm sorry, Lena, but you should

1527
01:17:45,000 --> 01:17:47,080
Speaker 3: have known better than to get involved with a man

1528
01:17:47,120 --> 01:17:47,879
Speaker 3: from the future.

1529
01:17:49,720 --> 01:17:53,280
Speaker 2: Again. Though, Helen Hunt is great in these scenes. Oh yeah,

1530
01:17:52,840 --> 01:17:57,640
Speaker 2: she's believable. Yes, in these scenes with all this ridiculous dialogue.

1531
01:17:57,680 --> 01:17:59,840
Speaker 3: She I mean, she is a really good actress, and

1532
01:18:00,080 --> 01:18:02,479
Speaker 3: she sells it in a great way. She does not

1533
01:18:02,640 --> 01:18:06,120
Speaker 3: do a great job I think of convincingly portraying being

1534
01:18:06,160 --> 01:18:07,439
Speaker 3: in love with Jack Death.

1535
01:18:08,240 --> 01:18:12,440
Speaker 2: Well yeah, maybe not maybe not that, but everything.

1536
01:18:12,120 --> 01:18:14,880
Speaker 3: Else, I don't know. It's a tall order there. But

1537
01:18:14,920 --> 01:18:17,040
Speaker 3: then okay, so then There's another thing, which is that

1538
01:18:17,360 --> 01:18:20,240
Speaker 3: hap they keep talking about how he's getting back on

1539
01:18:20,439 --> 01:18:24,760
Speaker 3: quote the sauce, and so he begins drinking again, and

1540
01:18:25,120 --> 01:18:28,839
Speaker 3: as a result of drinking, he gets he gets baseball itis,

1541
01:18:28,880 --> 01:18:32,960
Speaker 3: like he becomes obsessed with playing baseball, and so he

1542
01:18:33,560 --> 01:18:36,200
Speaker 3: starts like he buys a bunch of liquor for a

1543
01:18:36,200 --> 01:18:39,080
Speaker 3: bunch of homeless guys and starts playing baseball with them,

1544
01:18:39,439 --> 01:18:41,400
Speaker 3: and they have to go find him and retrieve him.

1545
01:18:41,760 --> 01:18:46,719
Speaker 2: Yeah. Yeah, it's it's ridiculous but kind of funny at times.

1546
01:18:46,720 --> 01:18:49,040
Speaker 2: I don't know, hard to decide where I stand on it,

1547
01:18:49,120 --> 01:18:51,120
Speaker 2: but they go for it.

1548
01:18:51,400 --> 01:18:52,880
Speaker 3: So one of the best parts of the movie, as

1549
01:18:52,880 --> 01:18:56,120
Speaker 3: we mentioned, is when when ed Wardo goes on the

1550
01:18:56,200 --> 01:18:59,439
Speaker 3: Sadie Brady Show with Barbara Crampton and it's like this

1551
01:18:59,560 --> 01:19:02,519
Speaker 3: talk show where she's giving these I don't know, well,

1552
01:19:03,120 --> 01:19:05,280
Speaker 3: it's so many funny things about it. Number One, they're

1553
01:19:05,320 --> 01:19:08,920
Speaker 3: sitting in rolling office chairs with like you know, the

1554
01:19:09,000 --> 01:19:14,040
Speaker 3: casters on the bottom. Another thing is that Richard, so

1555
01:19:14,160 --> 01:19:17,520
Speaker 3: she asks questions like what do you say to allegations

1556
01:19:17,560 --> 01:19:20,200
Speaker 3: that you know, Green World is kidnapping people and turning

1557
01:19:20,200 --> 01:19:23,240
Speaker 3: them into mindless zombies, And he's like many people have

1558
01:19:23,280 --> 01:19:26,799
Speaker 3: had their lives destroyed by pollution. In our detox centers,

1559
01:19:26,840 --> 01:19:29,760
Speaker 3: we cleanse and purify these individuals. We give them a

1560
01:19:29,800 --> 01:19:32,240
Speaker 3: new mission in life so they can help us cleanse

1561
01:19:32,280 --> 01:19:38,439
Speaker 3: and purify the planet. It sounds legit, right, yeah. But

1562
01:19:38,479 --> 01:19:41,000
Speaker 3: so that's on TV and at some point Jack Death

1563
01:19:41,120 --> 01:19:44,160
Speaker 3: is watching that at the house, and then it cuts

1564
01:19:44,160 --> 01:19:46,960
Speaker 3: away from The Sadie Brady Show to show a trailer

1565
01:19:46,960 --> 01:19:51,639
Speaker 3: for Robot Jocks, except it's a movie called Crash and Burn. Yeah.

1566
01:19:51,680 --> 01:19:53,920
Speaker 2: I believe this is This is a follow up to

1567
01:19:54,080 --> 01:19:57,920
Speaker 2: Robot Jocks that was directed by Charles Band came out

1568
01:19:57,960 --> 01:20:01,879
Speaker 2: in nineteen ninety, so he it's not just a subtle trailer,

1569
01:20:01,920 --> 01:20:04,760
Speaker 2: it's like a straight up here's the trailer. I think

1570
01:20:05,000 --> 01:20:07,800
Speaker 2: we mentioned this one in passing when we talked about

1571
01:20:07,880 --> 01:20:09,960
Speaker 2: Robot Jocks because this is the sequel that has Bill

1572
01:20:10,000 --> 01:20:10,680
Speaker 2: Moseley in it.

1573
01:20:11,280 --> 01:20:14,120
Speaker 3: Oh okay, yeah, yeah yeah. Now I think from here

1574
01:20:14,160 --> 01:20:16,519
Speaker 3: on out, I think maybe our summary should become a

1575
01:20:16,520 --> 01:20:19,439
Speaker 3: little more cursory so has not to spoil everything. But

1576
01:20:19,560 --> 01:20:23,959
Speaker 3: they realize, of course that Richard Lynch is growing drugs

1577
01:20:24,000 --> 01:20:26,800
Speaker 3: from the future in his greenhouse, and these drugs are

1578
01:20:26,800 --> 01:20:29,960
Speaker 3: called scurb seventy eight. I don't know how you spell scurb.

1579
01:20:30,040 --> 01:20:33,280
Speaker 3: I tried skerb. What do you think sounds good to me?

1580
01:20:33,840 --> 01:20:36,280
Speaker 3: These are the drugs he uses to make his transfer army,

1581
01:20:36,640 --> 01:20:39,840
Speaker 3: and eventually Helen Hunt, of course, is kidnapped by Richard

1582
01:20:39,920 --> 01:20:42,800
Speaker 3: Lynch and taken to Green World for let's say, in

1583
01:20:42,800 --> 01:20:47,439
Speaker 3: the parlance of Halloween three, final processing, and they have

1584
01:20:47,520 --> 01:20:50,080
Speaker 3: to stage a rescue mission. Everybody gets there to bust

1585
01:20:50,080 --> 01:20:52,439
Speaker 3: out Helen Hunt. Oh, and they also end up escaping

1586
01:20:52,520 --> 01:20:55,920
Speaker 3: with Rabbit, who takes their side, but who is tragically

1587
01:20:56,000 --> 01:20:58,639
Speaker 3: killed in the getaway. And when Rabbit died, I think

1588
01:20:58,680 --> 01:21:01,200
Speaker 3: I cried out. I was like, no, you can't do

1589
01:21:01,320 --> 01:21:02,160
Speaker 3: that to Rabbit.

1590
01:21:03,080 --> 01:21:04,960
Speaker 2: I mean, on one level, we know he's gonna be

1591
01:21:05,080 --> 01:21:07,240
Speaker 2: back in the Full Moon universe. But I also like

1592
01:21:07,320 --> 01:21:10,439
Speaker 2: to think that that in the future they will realize

1593
01:21:10,479 --> 01:21:13,960
Speaker 2: that Rabbit made the ultimate sacrifice to save them, and

1594
01:21:14,000 --> 01:21:17,000
Speaker 2: so Rabbit will. They'll be just massive statues of Rabbit

1595
01:21:17,520 --> 01:21:21,080
Speaker 2: smiling maniacally. Yeah, but this is all leading to the

1596
01:21:21,360 --> 01:21:23,200
Speaker 2: final battle, of course, the final showdown.

1597
01:21:23,479 --> 01:21:25,719
Speaker 3: Right. They end up in the barn that is housing

1598
01:21:25,840 --> 01:21:28,240
Speaker 3: the time machine that can send the physical body back

1599
01:21:28,240 --> 01:21:31,720
Speaker 3: to the future because Alice from the future knew where

1600
01:21:31,720 --> 01:21:35,519
Speaker 3: that was. There's a big shootout final scene there. There's

1601
01:21:35,840 --> 01:21:37,439
Speaker 3: in a kind of fun way. I don't think this

1602
01:21:37,479 --> 01:21:40,519
Speaker 3: final battle is all that great, except the low tech

1603
01:21:40,640 --> 01:21:43,719
Speaker 3: saves the day. Like they end up sort of defeating

1604
01:21:43,760 --> 01:21:46,640
Speaker 3: the transfers with like a tractor and a pitchfork and

1605
01:21:46,680 --> 01:21:47,320
Speaker 3: things like that.

1606
01:21:47,760 --> 01:21:50,400
Speaker 2: Yeah, for a final battle between time cops and a

1607
01:21:50,520 --> 01:21:55,400
Speaker 2: zombie thrall creating psychic Mastermind and his goons, it's pretty straightforward.

1608
01:21:55,920 --> 01:21:58,280
Speaker 3: But then there's sort of time travel to the rescue

1609
01:21:58,320 --> 01:22:02,880
Speaker 3: at the end. They use the Dais Makina of time travel. Actually,

1610
01:22:02,960 --> 01:22:04,280
Speaker 3: you know what, to be fair, it's not a Day

1611
01:22:04,320 --> 01:22:06,200
Speaker 3: six macina because it's set up by the rest of

1612
01:22:06,240 --> 01:22:08,599
Speaker 3: the film. It's not like out of nowhere. They use

1613
01:22:08,680 --> 01:22:11,880
Speaker 3: the mechanics of time travel to resolve the character tension,

1614
01:22:11,960 --> 01:22:14,040
Speaker 3: because what's it going to be? You know, Jack Death

1615
01:22:14,080 --> 01:22:16,160
Speaker 3: has two wives and he kind of wants it to

1616
01:22:16,160 --> 01:22:18,920
Speaker 3: be married to both wives, but ultimately he decides, no,

1617
01:22:19,080 --> 01:22:21,640
Speaker 3: I'm only going to stay married to Helen Hunt to

1618
01:22:21,640 --> 01:22:24,559
Speaker 3: my wife from the past, and I'm going to stay

1619
01:22:24,560 --> 01:22:27,639
Speaker 3: here in the past. And Alice, his wife in the future,

1620
01:22:28,000 --> 01:22:32,720
Speaker 3: she's going to instead of seruming back into her original

1621
01:22:32,720 --> 01:22:35,639
Speaker 3: body in the future and then getting murdered, She's going

1622
01:22:35,680 --> 01:22:39,040
Speaker 3: to travel into the future in the TCL chamber in

1623
01:22:39,120 --> 01:22:42,040
Speaker 3: her nineteen ninety one body, so that she can't be

1624
01:22:42,160 --> 01:22:44,960
Speaker 3: murdered in the way that she originally would have been.

1625
01:22:45,320 --> 01:22:47,680
Speaker 3: Though that would seem to create a paradox because if

1626
01:22:47,680 --> 01:22:48,080
Speaker 3: she talks.

1627
01:22:48,840 --> 01:22:52,000
Speaker 2: Yeah, something in this film creates a paradox.

1628
01:22:52,000 --> 01:22:54,400
Speaker 3: Because if she travels back to the future in that body,

1629
01:22:54,439 --> 01:22:56,440
Speaker 3: how can that body become her ancestor?

1630
01:22:57,560 --> 01:23:02,839
Speaker 2: Yeah, yeah, absolutely, yes, yes, this is the Transfers franchise.

1631
01:23:02,880 --> 01:23:05,439
Speaker 2: I think is very much a paradox free time travel

1632
01:23:05,600 --> 01:23:08,320
Speaker 2: system where yeah, again you have.

1633
01:23:08,439 --> 01:23:10,920
Speaker 3: It's gonna be fine, It's.

1634
01:23:10,760 --> 01:23:13,439
Speaker 2: All going to work out. I don't think too hard

1635
01:23:13,479 --> 01:23:16,040
Speaker 2: about it. In fact, I think I think he even

1636
01:23:16,040 --> 01:23:17,680
Speaker 2: says something to that effect at one point. He's like,

1637
01:23:17,720 --> 01:23:20,040
Speaker 2: it'll work out fine. Somebody has a question about time

1638
01:23:20,080 --> 01:23:21,639
Speaker 2: Travel's like, it's fine, it works.

1639
01:23:21,720 --> 01:23:24,320
Speaker 3: It works. If you're wondering how they eat and breathe

1640
01:23:24,320 --> 01:23:27,680
Speaker 3: in other science facts, you know, it's it's transfers.

1641
01:23:27,720 --> 01:23:34,320
Speaker 2: Just relax, all right, well that's Transfers too. I myself

1642
01:23:34,320 --> 01:23:37,360
Speaker 2: look forward to watching Transfers three, who knows what'll it'll

1643
01:23:37,400 --> 01:23:38,160
Speaker 2: it'll consist of.

1644
01:23:38,560 --> 01:23:41,320
Speaker 3: I think we're going to go deep into the transfer sequels,

1645
01:23:41,360 --> 01:23:43,479
Speaker 3: and you know what, if they're worthy of discussion, we

1646
01:23:43,560 --> 01:23:44,400
Speaker 3: will discuss them.

1647
01:23:44,680 --> 01:23:47,160
Speaker 2: Yeah. Otherwise maybe I'll mention it in passing. I don't know.

1648
01:23:47,520 --> 01:23:51,479
Speaker 2: We'll see. Now you may be wondering where can I

1649
01:23:51,680 --> 01:23:56,200
Speaker 2: see Transfers and Transfers too? For myself, Well, I will

1650
01:23:56,240 --> 01:23:59,320
Speaker 2: say that the full Moon Features channel is a great

1651
01:23:59,320 --> 01:24:04,040
Speaker 2: hookup in the department. You can subscribe to this on iPhone, Apple, TV, Android, Roku,

1652
01:24:04,200 --> 01:24:07,960
Speaker 2: Xbox one, all the things. Plus it's also a channel

1653
01:24:08,000 --> 01:24:11,280
Speaker 2: on Prime. That's how I ended up watching it. Full

1654
01:24:11,320 --> 01:24:13,479
Speaker 2: Moon is not a sponsor. I want to be clear

1655
01:24:13,520 --> 01:24:15,400
Speaker 2: on that. I'm just telling you how you can potentially

1656
01:24:15,400 --> 01:24:18,960
Speaker 2: watch the movie. Transfers two is also highly available for

1657
01:24:19,040 --> 01:24:23,200
Speaker 2: digital renter purchase as well as on Blu Ray and Joe.

1658
01:24:23,200 --> 01:24:25,400
Speaker 2: Where did you watch this gym of a film?

1659
01:24:25,600 --> 01:24:27,520
Speaker 3: Oh? I watched this on tub.

1660
01:24:27,920 --> 01:24:30,400
Speaker 2: All right, so you can go to tub and watch

1661
01:24:30,400 --> 01:24:32,960
Speaker 2: it as well. At one point, Full Moon put out

1662
01:24:33,120 --> 01:24:36,439
Speaker 2: Transers the Ultimate Death Collection, which was a five disc

1663
01:24:36,560 --> 01:24:39,439
Speaker 2: set that did not include Transfer six because I guess

1664
01:24:39,439 --> 01:24:42,040
Speaker 2: it wasn't out yet. But one thing. Say what you

1665
01:24:42,080 --> 01:24:44,960
Speaker 2: will about Full Moon. They get the product out there,

1666
01:24:45,080 --> 01:24:49,120
Speaker 2: they make it available. They're even like remastering stuff. I noticed.

1667
01:24:49,200 --> 01:24:51,800
Speaker 2: So Full Moon fans are in luck.

1668
01:24:52,160 --> 01:24:54,519
Speaker 3: Okay, if they want me on the hook for Transfer seven,

1669
01:24:54,600 --> 01:24:56,559
Speaker 3: I'm going to need some of the cast of Transfers

1670
01:24:56,600 --> 01:24:57,320
Speaker 3: two to return.

1671
01:24:57,800 --> 01:25:00,559
Speaker 2: I think Helen Hunt should come back, you know why not?

1672
01:25:00,840 --> 01:25:02,720
Speaker 2: I mean, yeah, she didn't need to come back at

1673
01:25:02,720 --> 01:25:04,960
Speaker 2: this point, But what if they if they got a

1674
01:25:04,960 --> 01:25:08,759
Speaker 2: good enough screenplay together, which could happen you know, yeah,

1675
01:25:09,160 --> 01:25:12,080
Speaker 2: it could work. She could even be the main transfer

1676
01:25:12,120 --> 01:25:13,360
Speaker 2: We don't, I mean, I don't know what happens to

1677
01:25:13,400 --> 01:25:15,320
Speaker 2: her character. Again, I haven't seen three yet or the

1678
01:25:15,360 --> 01:25:19,640
Speaker 2: subsequent films. But with time travel, anything as possible. You know,

1679
01:25:21,120 --> 01:25:23,800
Speaker 2: whatever you need in the Transfers universe verse can be

1680
01:25:24,240 --> 01:25:28,360
Speaker 2: provided by the multiple paradox free time travel systems in place.

1681
01:25:28,720 --> 01:25:31,960
Speaker 3: What if one of her descendants becomes a villain in

1682
01:25:32,000 --> 01:25:34,599
Speaker 3: the future and then has to has to see them

1683
01:25:34,640 --> 01:25:37,320
Speaker 3: back into her body to be a villain in the past.

1684
01:25:37,840 --> 01:25:39,400
Speaker 2: Sure, let's do it.

1685
01:25:39,400 --> 01:25:42,280
Speaker 3: I think that's that's my pitch. If that wasn't already

1686
01:25:42,360 --> 01:25:44,480
Speaker 3: Transfers for Death and Taxes.

1687
01:25:44,560 --> 01:25:48,160
Speaker 2: Yes, all right, obviously, we'd love to hear from everyone

1688
01:25:48,200 --> 01:25:51,040
Speaker 2: out there. Did you know have you seen the Transfers films?

1689
01:25:51,080 --> 01:25:52,479
Speaker 2: Did you watch the first any I would love to

1690
01:25:52,479 --> 01:25:54,519
Speaker 2: hear from someone who saw Transfers one in the theater?

1691
01:25:54,640 --> 01:25:57,439
Speaker 2: What was that like? Do you remember seeing these films

1692
01:25:57,439 --> 01:25:59,200
Speaker 2: in your video rental store?

1693
01:26:00,120 --> 01:26:00,360
Speaker 3: What?

1694
01:26:00,360 --> 01:26:03,559
Speaker 2: What are some death related titles you can imagine for

1695
01:26:03,640 --> 01:26:07,640
Speaker 2: sequels and TV sitcom spinoffs. We'd love for you to

1696
01:26:07,680 --> 01:26:10,160
Speaker 2: share all of that with us. In the meantime, if

1697
01:26:10,200 --> 01:26:12,400
Speaker 2: you want to check out other episodes of Weird House Cinema,

1698
01:26:12,400 --> 01:26:14,360
Speaker 2: you will find it every Friday in the Stuff to

1699
01:26:14,360 --> 01:26:17,200
Speaker 2: Blow Your Mind podcast feed. Friday is the day when

1700
01:26:17,200 --> 01:26:22,000
Speaker 2: we know we enjoy weird movies and we geek out

1701
01:26:22,000 --> 01:26:24,840
Speaker 2: on them excessively. The rest of the time, we're a

1702
01:26:24,840 --> 01:26:27,120
Speaker 2: science podcasts, so our core episodes of Stuff to Blow

1703
01:26:27,120 --> 01:26:29,240
Speaker 2: Your Mind are on Tuesday and Thursday. We have a

1704
01:26:29,240 --> 01:26:32,400
Speaker 2: short form artifact episode on Wednesdays and Monday. That's a

1705
01:26:32,439 --> 01:26:36,360
Speaker 2: listener mail where we talk about things you've written in

1706
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Speaker 2: to us about regarding all the shows.

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Speaker 3: Huge thanks as always to our excellent audio producer Seth

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Speaker 3: Nicholas Johnson. If you would like to get in touch

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Speaker 3: with us with feedback on this episode or any other,

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Speaker 3: to suggest topic for the future, just to say hello.

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Speaker 3: You can email us at contact at stuff to Blow

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Speaker 3: your Mind dot com.

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Speaker 1: That Blow Your Mind is production of iHeartRadio. For more

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Speaker 1: podcasts from iHeartRadio, visit the iHeartRadio app, Apple Podcasts, or

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Speaker 1: wherever you listen to your favorite shows.