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Speaker 1: Hey, you welcome to Weird House Cinema rewind. This is

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Speaker 1: Rob Lamb. You might be wondering, Hey, why are we

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Speaker 1: getting a rewind today? Shouldn't just be a normal episode. Well,

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Speaker 1: this particular rewind is accounting for the July fourth holiday,

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Speaker 1: which is a corporate corporate company holiday. We had it off,

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Speaker 1: so rather than really rush things and to get a

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Speaker 1: fresh episode out, we're just going to do a rerun here.

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Speaker 1: This is an episode that originally published October twenty eighth,

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Speaker 1: twenty twenty two. In this episode, I sat down with

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Speaker 1: guest co host David Streepy, a friend of mine and

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Speaker 1: a host of the Talking Tofu podcast, to discuss the

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Speaker 1: nineteen eighty seven Gromlins movie The gate It is a

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Speaker 1: lot of fun, full of sleepovers, tiny demons, and of

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Speaker 1: course the Gateway to Hell. So dive right in and

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Speaker 1: enjoy it and we'll see you next week with the

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Speaker 1: brand new Weird House.

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Speaker 2: Welcome to Stuff to Blow your Mind, a production of iHeartRadio.

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Speaker 1: Hey, welcome to Weird House Cinema. This is Rob Lamb.

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Speaker 1: Joe is on parental leave, so I have a special

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Speaker 1: guest co host for this episode. It is David Streepy.

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Speaker 1: Who co hosts the podcast Talking Tofu.

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Speaker 3: Hey, yeah, thank you, Congratulations to Joe. I'm a long

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Speaker 3: time stuffy and is that what you call your fans?

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Speaker 3: Do your fans have a.

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Speaker 1: I don't think they have a name.

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Speaker 3: Stuffy, yes, mindies, mindies, mindies, weird housies.

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Speaker 1: Maybe maybe yeah. I don't know they really call themselves anything.

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Speaker 1: Do fans of your podcast call themselves something?

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Speaker 3: We call them toeheads, but don't I don't know anybody

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Speaker 3: who has self identified as a or you know, we

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Speaker 3: have fans. I don't know that anybody's waving the towhead

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Speaker 3: flag really loudly and proudly yet, but we're trying to

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Speaker 3: get it in there.

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Speaker 1: What's your quick elevator pitch description of talking Tofu?

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Speaker 3: Oh? Well, so my wife and I are a couple

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Speaker 3: of goblins when it comes to snacking. We are both vegans.

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Speaker 3: We couldn't really find a fun podcast about vegan snacking,

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Speaker 3: so we decided to make one ourselves. It's i'd say

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Speaker 3: thirty percent snacking and seventy percent whatever else is going

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Speaker 3: on in our lives. We just finished a recording. We

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Speaker 3: went to Universal Studios, Florida try out the vegan food there.

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Speaker 3: It was mostly about the rides that we rode and

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Speaker 3: the things that we encountered while we were there, a

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Speaker 3: little bit about the food, but just having fun with

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Speaker 3: our family. And most episodes are kind of follow that trend.

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Speaker 1: It's a very funny podcast though, thank you, Well, there's

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Speaker 1: a lot of laughter.

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Speaker 3: You're too nice, Thank you.

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Speaker 1: And you guys have done some movie episodes before as well.

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Speaker 1: Talked about what are some of the movies you guys

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Speaker 1: have chatted about.

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Speaker 3: Let's see, we've done Screen three. I think we've done

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Speaker 3: Scream two and Scream three, and because this is spooky season,

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Speaker 3: you may expect Scream four to happen. We usually pair

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Speaker 3: that with some vegan candy that we'll go through and

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Speaker 3: snack on while we recount the plot. We also do.

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Speaker 3: We've done When Harry Met Sally, which I had never

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Speaker 3: seen before, which it's an amazing movie.

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Speaker 1: Rob.

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Speaker 3: I don't know if you've seen it.

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Speaker 1: This is the one with the big Foot in it,

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Speaker 1: the sasquatch.

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Speaker 3: No, that's Harry and Anderson. Common misconception, very common misconception.

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Speaker 1: That's the one I've seen, not this one.

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Speaker 3: You gotta see When Harry met Sally. We should have

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Speaker 3: done when Harry met Sally for Spooky Season. Fantastic movie.

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Speaker 3: Though you got to you gotta check it out. I

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Speaker 3: know the rest of the world was already there. I

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Speaker 3: was kind of late to the party, but it really

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Speaker 3: holds up. So yeah, we'll do that. We've watched singles,

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Speaker 3: the Cameron Crowe movie from nineteen ninety two, that's the

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Speaker 3: grunge scene, and Seattle. It's probably not a very accurate

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Speaker 3: representation of the grunge scene in Seattle nineteen ninety two,

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Speaker 3: but had a lot of fun with that one. So yeah,

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Speaker 3: it's kind of all over the place, things that one

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Speaker 3: or the other of us have held dear in our

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Speaker 3: hearts that the other one hasn't seen. I think most

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Speaker 3: recently we did Hackers from nineteen ninety five, Johnny Lee Miller,

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Speaker 3: Angelina Joe Lee, Fantastic Movie. I mean, there's there's a

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Speaker 3: good movie, there's a great movie. There's a fantastic movie.

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Speaker 3: None of these are objective terms, really, but for me,

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Speaker 3: it just really just hits me right in the core.

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Speaker 1: But Hackers one hundred percent accurate when it comes to

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Speaker 1: the hacking lifestyle of the time period.

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Speaker 3: One hundred percent accurate. All computers on the inside look

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Speaker 3: like cityscapes drawn in green lines that you have to

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Speaker 3: navigate through and find the right door to put the

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Speaker 3: right icon into. Yes.

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Speaker 1: Now, speaking of being late to the party on films,

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Speaker 1: the film we're going to be talking about here today,

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Speaker 1: nineteen eighty seven's The Gate. This is a film that

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Speaker 1: I think we're both in the same boat on this one, right,

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Speaker 1: we both have memories of at least some of the

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Speaker 1: promotional materials for this film, but neither of us had

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Speaker 1: seen it until now.

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Speaker 3: That's right. I was really familiar with this one as

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Speaker 3: a kid. I was pretty shy about scary movies as

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Speaker 3: a kid, and particularly I remember getting specifically burned with

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Speaker 3: Poltergeist because Poltergeist I did see as a child, as

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Speaker 3: an eight year old, it had a child in it,

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Speaker 3: so I thought that it was okay for children, and

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Speaker 3: that film's very not okay for children, very not okay for.

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Speaker 1: Children, and not at all. I too saw Poltergeist at

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Speaker 1: at a very young age. It was one of these

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Speaker 1: where I think my aunt had taped a bunch of

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Speaker 1: movies off of HBO, and I don't even know how

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Speaker 1: this ended up happening, but I ended up watching at

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Speaker 1: least parts of Poltergeist, and it just really scared the

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Speaker 1: heck out of me. I just I would even just

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Speaker 1: hearing it. Was one of these things where whatever the

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Speaker 1: movie was that was taped, they're like three movies taped

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Speaker 1: per vhs, and whatever was taped directly ahead of Poltergeist

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Speaker 1: was a family film of some kind, and so you

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Speaker 1: had to like super on your guard to stop the

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Speaker 1: tape before the Poltergeist intro started playing, because that alone

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Speaker 1: would creep me out.

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Speaker 3: I think Poltergeist was one that really stuck out to me,

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Speaker 3: not just as an incorrect read that child means safe

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Speaker 3: for children, but it was gross horror it was, and

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Speaker 3: that was the first exposure that I had really had

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Speaker 3: to gross out stuff being in a film. So I

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Speaker 3: thought that horror movies were ghosts jumping out at you.

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Speaker 3: I was a child. I had no idea. I thought

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Speaker 3: that it was just you know, haunted house things that

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Speaker 3: would scare you. But the grossness of it fascinated and

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Speaker 3: terrified me. It was not I was not brave enough

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Speaker 3: to overcome my terror to indulge the fascination of it.

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Speaker 3: And still it's one of those ones that to this

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Speaker 3: day I can't really go back to just because of

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Speaker 3: how badly it scarred me as a child. But I

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Speaker 3: guess my point being that around that time I was

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Speaker 3: seeing the marketing for The Gate, I was seeing the

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Speaker 3: marketing for House, which was another movie. I lump all

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Speaker 3: of those together in kind of that not for me

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Speaker 3: as a child, a not for me kind of category. Yeah,

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Speaker 3: the trailer and the VHS art really stuck out to

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Speaker 3: me and kind of reinforced the not for meness of it,

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Speaker 3: I think, and specifically the poster art, the VHS cover art.

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Speaker 3: It's very sinister, very dark, does not seem like it's

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Speaker 3: going to be for children. And I don't want to

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Speaker 3: jump too far ahead. I don't know that this movie

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Speaker 3: is for children, but it's definitely kid friendly, I think,

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Speaker 3: more than I was expecting. I'm sorry.

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Speaker 1: Yeah, it's support The Gate is surprisingly kid for and

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Speaker 1: and Yeah, that comparison to Poltergeist, I think is very apt.

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Speaker 1: It feels in many ways like Poltergeist for kids. Like

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Speaker 1: one of the things that I still find terrifying and

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Speaker 1: terrifying and super weird about Poulter Guys, even looking back

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Speaker 1: on it and having rewatched it as an adult, is

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Speaker 1: that it seems like a movie where not just typical

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Speaker 1: haunted house stuff happens, but like you, but you don't

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Speaker 1: know what will happen. There seem to be no rules

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Speaker 1: regarding what's going to jump out at you. One second,

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Speaker 1: it's somebody thinks their face is meat. Then pizza is

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Speaker 1: crawling around, and then some sort of extra dimensional dragon

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Speaker 1: is climbing out of the wall or something. It's just

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Speaker 1: whatever the effects team can think up is going to

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Speaker 1: come at you. And there's a similar vibe in the Gate.

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Speaker 1: But at the same time, the kids in the Gate

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Speaker 1: feel like like real central characters with actual identities and

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Speaker 1: relationships to each other, and the film doesn't have a

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Speaker 1: mean objective in its relationship to those children, or presumably

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Speaker 1: to the children that may be watching the film.

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Speaker 3: That's a good point, And I think a big difference

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Speaker 3: for me would probably be the in Pultry guys, they

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Speaker 3: they wanted you to either leave the house or they'd

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Speaker 3: kill you.

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Speaker 1: Yeah, and the Gate.

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Speaker 3: I'm not really sure what the Gate wants or what

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Speaker 3: the demons in the Gate want. They don't. They only

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Speaker 3: seem to want to get out of the Gate, and

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Speaker 3: I guess I guess that's it. I guess they don't

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Speaker 3: care who's in their path or what happens to the

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Speaker 3: people in their path. But then they spend a lot

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Speaker 3: of time with the people who are in their path,

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Speaker 3: and that kind of confuses me a little bit about

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Speaker 3: it too.

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Speaker 1: Yeah, we'll discuss when we get into the plot. They

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Speaker 1: do seem to have a couple of things they need

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Speaker 1: to check off the box. I mean maybe one big objective,

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Speaker 1: but kind of a roundabout way to get there.

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Speaker 4: Yeah.

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Speaker 3: Yeah, it doesn't seem like there's a solid plan that

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Speaker 3: they can refer to. It's a lot of instinct.

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Speaker 1: Yeah. I never saw this film as a kid. I

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Speaker 1: remember seeing The Box sar weirdly enough at some point.

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Speaker 1: I I remember I watched the nineteen ninety sequel The

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

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

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Speaker 1: me in that is that it features a lot of

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

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

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

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

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

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

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

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Speaker 3: And this happens multiple times.

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Speaker 1: Well I think, so, yeah, anything you wish for it

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Speaker 1: turns to poop.

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Speaker 3: What So, I don't want to get too hung up

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Speaker 3: on this, but is this the same big demon from

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Speaker 3: the Gate one?

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

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

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Speaker 1: He's back in the sequel. Some of the creative team

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

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Speaker 1: I remember is demonic wishes turned to poop the next morning.

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Speaker 1: And you know, at the time, it was like, all right,

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Speaker 1: well that makes sense. That's the demon's work.

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Speaker 3: That's a bullseye of a premise. And I love the

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Speaker 3: idea that this demon tried his best to get out

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Speaker 3: of that gate legitimately in this episode or in this movie,

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Speaker 3: but then in his retirement he just kind of became

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Speaker 3: a trickster wish fulfillment and and that was how he

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Speaker 3: went out. You know.

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

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

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

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Speaker 1: just do the gate again. But at any rate, the gate, too,

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Speaker 1: is a discussion for another time. We're here to talk

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Speaker 1: about the gate. So you mentioned that trailer. Let's go

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Speaker 1: ahead and listen to that trailer audio right here.

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Speaker 4: Great, there is a passageway to the most evil place.

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Speaker 4: You can imagine, a gate behind which the demons waked

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Speaker 4: to take back what was once theirs. And now someone

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Speaker 4: has opened the gate.

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Speaker 1: This is weird. Tarring soon decomposed corns or dead father.

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Speaker 4: Who knows, tearing o hair the hands.

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Speaker 3: The police. You got demons.

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Speaker 4: Mean?

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Speaker 2: You guys are serious about that demon stuff.

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Speaker 1: Demons were kind.

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Speaker 4: You've been bad. They have opened the gate. Great, it's

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Speaker 4: not too late.

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Speaker 1: All right. Great trailer probably not one hundred percent loyal

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Speaker 1: to the actual tone of the film, but we have

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Speaker 1: excellent narration by the great Percy Rodriguez, who lived nineteen

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Speaker 1: eighteen through two thousand and seven. He was also an

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

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

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

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

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Speaker 1: adult talk about the.

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Speaker 3: Gait one hundred percent. This reinforces the hey, this is

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Speaker 3: not for me. It also really showcases some of the movies'

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Speaker 3: biggest moments and gives you some of the biggest effects.

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Speaker 3: It holds a few things back, but the overall tone's

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Speaker 3: very sinister.

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Speaker 1: It's very dark.

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Speaker 3: It seems paced as almost kind of a torturous movie

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Speaker 3: like the It really showcases the peril that the kids

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Speaker 3: are all in and kind of their reaction to that peril.

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Speaker 3: So yeah, if I had the GB's hearing about this movie,

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Speaker 3: this trailer definitely would have scared me away for good.

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

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

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

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

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

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

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

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Speaker 3: One hundred percent. I think the uh I was blessed

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Speaker 3: with distance between the last time I had seen the

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Speaker 3: trailer for this movie and actually watching the movie, because

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Speaker 3: I came into it pretty cold and then rewatched the

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Speaker 3: trailer after the fact. And I was really glad I did,

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Speaker 3: because I was very surprised by how competent this movie

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Speaker 3: is and by how much I enjoyed everything that happened

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Speaker 3: in it, even though it wasn't what I was expecting.

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Speaker 4: It to be.

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

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

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Speaker 1: The Gate was a fairly big release. It's widely available

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Speaker 1: for digital purchase in rental everywhere. I streamed it as

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

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Speaker 1: on some free streaming sites. And it's also a pretty

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Speaker 1: stacked Blu Ray edition that came out in twenty seventeen,

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Speaker 1: and it's loaded with extras.

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Speaker 3: That's amazing to me that such a lovingly curated Blu

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Speaker 3: Ray would exist of this movie. It amazes me that

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Speaker 3: there's a sequel to it and it, you know, it

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Speaker 3: strikes me as a largely forgotten film, and that's clearly

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Speaker 3: not the case. That's my mystery to the how of

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Speaker 3: what his legacy is.

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Speaker 1: All Right, let's start to the top. The director is

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Speaker 1: Tybord Takach born nineteen fifty four, Hungarian born director who

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Speaker 1: kicked off his career with the nineteen seventy eight Canadian

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Speaker 1: dystopian rock opera Metal Messiah. After this film, he did

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Speaker 1: nineteen eighty nine's I Madman and The Gate two. He

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Speaker 1: directed four different episodes of the nineteen nineties Outer Limits

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Speaker 1: series Dave Whoa. I don't know if we've actually watched

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Speaker 1: any of these. They include If These Walls Could Talk,

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Speaker 1: The Voyage Home, White Light Forever, and Blood Brothers.

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Speaker 3: The Voyage Homes sounds familiar, but that's also a Star

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Speaker 3: Trek movie, so I might just be thinking of that.

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Speaker 1: His subsequent credits include a mix of TV episodes and

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Speaker 1: eventually some sci fi original programming you know, bat Caliber film,

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Speaker 1: including two thousand and five's Mansquito, which, at the time

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Speaker 1: when it first came out, I think looked pretty bad,

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Speaker 1: but we had no idea about how bad direct to

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Speaker 1: sci fi channel movies would get.

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Speaker 3: And you know I today, I am committing to come

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Speaker 3: back for your Manskedo episode.

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Speaker 1: I'm not brave enough yet. I gotta get my courage up,

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Speaker 1: all right. So that's the director. The writer is Michael

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Speaker 1: Nankin born nineteen fifty five. Accomplished TV director, writer, and producer.

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Speaker 1: He wrote nineteen eighty seven's Ruskies, and episodes of TV

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Speaker 1: shows such as Life goes On, Chicago Hope, the nineteen

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Speaker 1: nineties Flipper Show. As a directory, He's done a ton

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Speaker 1: of TV work, including episodes of Life Goes On, the

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Speaker 1: Battlestar Galactica reboot, and one episode of The Good Lord Bird.

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Speaker 1: And I think he also wrote I Madman as well.

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Speaker 3: Oh, you know, it doesn't surprise me that he's predominantly

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Speaker 3: a TV writer, because I got a very TV vibe

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Speaker 3: from the snappiness of the dialogue in this movie, especially

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Speaker 3: the way that the children talk to each other, I

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Speaker 3: thought was very authentic first of all, but also really snappy.

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Speaker 1: Yeah. I don't clearly remember specific episodes of Life Goes On,

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Speaker 1: but I think I watched some of it, and it

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Speaker 1: was just that was a time during which I watched

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Speaker 1: a lot of TV, So even if I didn't watch

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Speaker 1: the show directly, I was very aware of it. And Yeah,

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Speaker 1: there was like there was a wholesomeness to that show

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Speaker 1: that makes sense once you've watched The Gate all the

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Speaker 1: way through. Otherwise you might think life goes On in

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Speaker 1: the Gate? What could they possibly common? Well, you know,

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Speaker 1: there's you get down to some of the character work.

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Speaker 1: I think it makes sense.

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Speaker 3: I think there's there's definitely a thread in the amount

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Speaker 3: of care and respect given to a family dynamic, and

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Speaker 3: especially the way that kids interact with each other, which

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Speaker 3: is really difficult I think for an adult to right.

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Speaker 1: Well, let's get into the kids. In fact, I don't

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Speaker 1: have any data in here on the adult actors in

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Speaker 1: the film. They all have just brief roles for the

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Speaker 1: most part, mom and dad and dad, and any adult

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Speaker 1: supervision is completely absent from the entire film, which was

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Speaker 1: an interesting choice.

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Speaker 4: Yeah.

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Speaker 3: I think that the parents occupy maybe forty five seconds

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Speaker 3: of screen time, and most of that time they are

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Speaker 3: either punishing the children or bad mouthing Glenn's friend to Glenn,

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Speaker 3: which is just bad behavior.

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Speaker 1: Yeah, all right, well Glenn. Yeah, Glenn is our central character,

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Speaker 1: our main kid in this and interestingly enough, is played

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Speaker 1: by Stephen Dorf. Yeah. This is the film debut of

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Speaker 1: Stephen Dorf born nineteen seventy three. I think he's like

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Speaker 1: twelve in this, though he looks even younger. You buy

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Speaker 1: him as even younger. I think a lot of it

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Speaker 1: has to do with the he has a very you know,

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Speaker 1: he has a little bit of baby fat in his

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Speaker 1: face still and has a very childlike quality to his face.

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Speaker 3: Definitely, twelve is a shock to me. I would have

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Speaker 3: said eight seven or eight.

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Speaker 1: Now when we say the name Stephen Dorf, most people

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Speaker 1: out there probably familiar with him from such works as

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Speaker 1: a Blade. Of course, he plays the villainous Deacon Frost

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Speaker 1: opposite Wesley Snipes in that nineteen ninety eight film. He

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Speaker 1: was in Stuart Gordon's Space Truckers in ninety six. He

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Speaker 1: did some bigger also some bigger roles in the early nineties,

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Speaker 1: including the Power of One and Post Blade. He was

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Speaker 1: in such films as John Waters Cecil be Himented in

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Speaker 1: two thousand, he was in what I remember is being

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Speaker 1: a terrible horror movie from two thousand and two Fear

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Speaker 1: dot Com.

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Speaker 3: I have never seen any of these movies. Having not

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Speaker 3: seen Blade is one of my secret shames, so I'm

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Speaker 3: glad to reveal it here for your listeners. I do

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Speaker 3: need to correct that, especially before you know the rebooted

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Speaker 3: Blade comes out. So yeah, the the Gate is one

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Speaker 3: of my exposure to Stephen Dorth and it's a good one.

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Speaker 1: Now. Prior to this, he he did have some roles

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Speaker 1: on a few different TV shows, including the new Leave

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Speaker 1: It to Beaver, Different Strokes, and in Love and War.

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Speaker 1: I'm not familiar with that last one, but but yeah,

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Speaker 1: he'd already gotten his feet a little bit wet in

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Speaker 1: the whole child actor realm. And then he's off to

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Speaker 1: the races as the star of the Gate.

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Speaker 3: And he does it competently. I can't. He carries so

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Speaker 3: much of this movie. It's it's really hard to overstate

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Speaker 3: how competent of an actor he is in this one.

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

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

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Speaker 1: can sort of see the grown up Stephen Dorf through him,

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Speaker 1: especially if you've seen other Stephen Dorf films and you're like,

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Speaker 1: it's it's it's kind of weird. It's like staring through

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Speaker 1: a time tunnel or something. All right. So that's Glenn

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Speaker 1: the brother, and then we also have Glenn's sister, al

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Speaker 1: Al is played by Krista Denton born nineteen seventy two,

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Speaker 1: and I think she does a great job in this too.

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Speaker 1: She was only active from nineteen eighty four through nineteen ninety.

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Speaker 1: This is probably her most prominent role, but she also

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Speaker 1: had some parts in nineteen eighty five of The Bad Seed,

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Speaker 1: nineteen eighty six's Eight Million Ways to Die and some

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

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Speaker 1: It to Beaver.

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Speaker 4: Now.

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Speaker 3: What I lack in Blade knowledge I make up for

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Speaker 3: in the new Leave It to Beaver knowledge. I was

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00:21:38,359 --> 00:21:41,359
Speaker 3: pretty fond of this series as a child. It was

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00:21:41,480 --> 00:21:45,119
Speaker 3: on some syndication for couldn't have been more than a

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00:21:45,160 --> 00:21:47,800
Speaker 3: summer or a summer at a fall. But when it

404
00:21:47,840 --> 00:21:50,600
Speaker 3: was there, I was fascinated with the idea of reboots.

405
00:21:50,800 --> 00:21:53,400
Speaker 3: I had obviously seen Leave It to Beaver on Nick

406
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Speaker 3: at Night and was just fascinated by the fact that

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Speaker 3: they could grow up and continue the series later, a

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00:21:59,480 --> 00:22:02,800
Speaker 3: premise that is just worn to shreds at this point

409
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Speaker 3: with every show under the sun, the question of oh,

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Speaker 3: what would they be like now? You know, But back

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00:22:07,680 --> 00:22:09,199
Speaker 3: then it was still pretty novel.

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Speaker 4: You know.

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Speaker 3: You had your Return to may Berry's, you had your

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Speaker 3: New Leave It to Beaver. But this one to take

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00:22:15,840 --> 00:22:19,479
Speaker 3: kind of a sidebar. It started in nineteen eighty three

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Speaker 3: as a two hour movie made for television called Still

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Speaker 3: the Beaver. That movie featured Ed Beagley Jr. Featured a

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Speaker 3: young Corey Feldman not. I don't think this was his

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00:22:33,160 --> 00:22:37,480
Speaker 3: first role or anything. But some pretty pretty stars studied

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Speaker 3: made for TV movie back then.

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Speaker 1: You know, Oh wow, they were some actors from the

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Speaker 1: original Leave It to Beaver, right.

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Speaker 3: I think so. Yes, Jerry Mathers does reprise his role

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00:22:47,680 --> 00:22:51,639
Speaker 3: as the Beaver, and that's consistent with the series as well.

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Speaker 3: Ed Bagley Junior Corey Feldman do not hang around for

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Speaker 3: the series. I think the series doesn't happen until a

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00:22:58,359 --> 00:23:01,919
Speaker 3: couple of years later, mid to late eighties, so I

428
00:23:01,960 --> 00:23:05,040
Speaker 3: think they rebooted the reboot kind of in that time,

429
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Speaker 3: but it's all lumped under one new Leave It to

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Speaker 3: Beaver umbrella.

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

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

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

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

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

436
00:23:26,640 --> 00:23:29,200
Speaker 1: then I remember coming to them excited and saying, guess what,

437
00:23:29,640 --> 00:23:32,760
Speaker 1: Leave It to Beaver is back, and maybe it was

438
00:23:32,800 --> 00:23:34,959
Speaker 1: a little bit shocked that they weren't as excited as

439
00:23:34,960 --> 00:23:38,560
Speaker 1: I was. I specifically remember an episode where there were

440
00:23:38,560 --> 00:23:42,080
Speaker 1: a pair of tennis shoes that a child in the

441
00:23:42,080 --> 00:23:44,639
Speaker 1: show really wanted I guess the Beaver's son or something.

442
00:23:45,119 --> 00:23:47,160
Speaker 1: And they were called Earth Angels, and they would play

443
00:23:47,160 --> 00:23:50,320
Speaker 1: that song Earth Angel every time he was lusting after

444
00:23:50,359 --> 00:23:52,720
Speaker 1: these beautiful sneakers that had little wings on them.

445
00:23:53,840 --> 00:23:56,480
Speaker 3: That's pretty great. That's pretty great. I think with the

446
00:23:56,520 --> 00:23:59,320
Speaker 3: show like this, the lift is really getting the elements

447
00:23:59,320 --> 00:24:02,480
Speaker 3: together to make it. Once you've got that going, you

448
00:24:02,520 --> 00:24:05,000
Speaker 3: can probably turn out one hundred and two episodes, just

449
00:24:05,040 --> 00:24:06,640
Speaker 3: as you can do ten.

450
00:24:16,040 --> 00:24:18,880
Speaker 1: All Right, we have one more essential child to get

451
00:24:18,880 --> 00:24:22,639
Speaker 1: to here, and that is Terry. Terry is Glenn's friend.

452
00:24:23,040 --> 00:24:27,919
Speaker 1: This is Glenn's best friend, we believe here, played by

453
00:24:28,000 --> 00:24:31,199
Speaker 1: Lewis Tripp, who was born nineteen seventy three. Just a

454
00:24:31,240 --> 00:24:36,040
Speaker 1: really pitch perfect performance as this awkward, nerdy eighties kid

455
00:24:36,119 --> 00:24:40,800
Speaker 1: who's super into heavy metal and also is just just

456
00:24:41,000 --> 00:24:43,880
Speaker 1: ready to research the heck out of a demonic problem

457
00:24:44,000 --> 00:24:44,840
Speaker 1: once it emerges.

458
00:24:45,240 --> 00:24:48,760
Speaker 3: Yeah, he's such a great casting choice. I think he's

459
00:24:48,880 --> 00:24:53,000
Speaker 3: this from the parents view, he's this bad influence to Glenn,

460
00:24:53,440 --> 00:24:57,040
Speaker 3: but he doesn't really look that stereotypical bad influence part.

461
00:24:57,119 --> 00:25:00,640
Speaker 3: He definitely does kind of nudge Glenn in a more

462
00:25:00,680 --> 00:25:05,560
Speaker 3: destructive direction and in a kind of rule breaky direction.

463
00:25:06,000 --> 00:25:07,920
Speaker 3: Glenn probably would have gone there on his own though

464
00:25:07,960 --> 00:25:10,840
Speaker 3: in a lot of these cases, but he has the

465
00:25:11,880 --> 00:25:17,040
Speaker 3: awkwardness of a latch key kid who has yet to

466
00:25:17,200 --> 00:25:22,119
Speaker 3: process some trauma from his past, which his mother died

467
00:25:23,400 --> 00:25:26,520
Speaker 3: before the events of the movie, which kind of plays

468
00:25:26,520 --> 00:25:29,639
Speaker 3: into the plot of it, and his dad. We just

469
00:25:30,080 --> 00:25:31,960
Speaker 3: we see that he's not around. I don't think that

470
00:25:32,040 --> 00:25:35,520
Speaker 3: we see him at all. So just a really specific

471
00:25:35,640 --> 00:25:39,679
Speaker 3: character that he brings a lot too and delivers it

472
00:25:39,760 --> 00:25:40,639
Speaker 3: really convincingly.

473
00:25:41,119 --> 00:25:44,000
Speaker 1: Yeah. Yeah, he's he's really in a way. I feel

474
00:25:44,000 --> 00:25:46,480
Speaker 1: like he's the he's right alongside Glenn. I mean, it's

475
00:25:46,520 --> 00:25:49,520
Speaker 1: you can't discount and Glenn as being an essential part

476
00:25:49,520 --> 00:25:51,800
Speaker 1: of the film, but the Terry's right there next to.

477
00:25:51,760 --> 00:25:54,359
Speaker 3: Him, one hundred percent. Right from the jump too. I

478
00:25:54,400 --> 00:25:58,160
Speaker 3: think he sets a lot of the actions into motion,

479
00:25:59,040 --> 00:26:05,600
Speaker 3: and he seems to want to believe just in general,

480
00:26:05,640 --> 00:26:08,240
Speaker 3: he seems to want to believe in something, and that

481
00:26:08,720 --> 00:26:12,680
Speaker 3: desire to do that also helps push kind of the

482
00:26:12,720 --> 00:26:14,960
Speaker 3: events of the of the movie forward and ultimately the

483
00:26:15,359 --> 00:26:18,240
Speaker 3: solution to the problem. Yeah, now you said that he

484
00:26:18,359 --> 00:26:20,439
Speaker 3: was in the Gate too. Is he the star of

485
00:26:20,480 --> 00:26:21,040
Speaker 3: the Gate too?

486
00:26:21,440 --> 00:26:25,600
Speaker 1: Yeah, yeah, he's the if memory serves correctly, And I

487
00:26:25,640 --> 00:26:27,960
Speaker 1: did glance at some at a brief summary of the plot,

488
00:26:27,960 --> 00:26:30,320
Speaker 1: I believe in the sequel, the idea is that Glenn

489
00:26:30,320 --> 00:26:33,520
Speaker 1: has moved away, okay, and Terry is left there in

490
00:26:33,560 --> 00:26:35,679
Speaker 1: the neighborhood. He's a bit older. I think he's a

491
00:26:35,680 --> 00:26:38,520
Speaker 1: full blown teenager by this point, so he's an awkward

492
00:26:38,560 --> 00:26:43,040
Speaker 1: teen and then gets sucked into another demonic plot.

493
00:26:43,560 --> 00:26:45,680
Speaker 3: Is it a different Gate or is it the same Gate?

494
00:26:46,200 --> 00:26:49,040
Speaker 1: I don't know. I mean maybe the same Gate, maybe

495
00:26:49,040 --> 00:26:51,880
Speaker 1: different demons because now we have wishes involved, so maybe

496
00:26:51,880 --> 00:26:54,280
Speaker 1: it's a different demonic scheme. I'm not sure.

497
00:26:54,480 --> 00:26:57,000
Speaker 3: I mean, it's all from Hell, right, so maybe it's

498
00:26:57,040 --> 00:26:59,399
Speaker 3: just different doors at the same house and different rooms

499
00:26:59,400 --> 00:27:02,879
Speaker 3: in the same house, some different demon demonic inhabitants in

500
00:27:02,920 --> 00:27:07,840
Speaker 3: those different rooms. But it's fascinating that Terry's back at it.

501
00:27:07,880 --> 00:27:08,399
Speaker 3: Good for him.

502
00:27:08,480 --> 00:27:12,720
Speaker 1: Yeah, yeah, this this actor Lewis Trip. He wasn't in much.

503
00:27:12,800 --> 00:27:14,600
Speaker 1: He was again. He was in The Gate and The

504
00:27:14,600 --> 00:27:17,960
Speaker 1: Gate too, obviously. He appeared on the nineteen eighty seven

505
00:27:18,280 --> 00:27:22,960
Speaker 1: Canadian psychic TV show Seeing Things, which starred Louis del Grande.

506
00:27:23,520 --> 00:27:25,159
Speaker 1: This is the if you're not familiar with him, this

507
00:27:25,200 --> 00:27:27,800
Speaker 1: is the exploding head guy from Scanners. The guy's had up,

508
00:27:27,840 --> 00:27:31,520
Speaker 1: oh my god, amazing mustache, but he had a full

509
00:27:32,480 --> 00:27:34,600
Speaker 1: like a pretty I'm not sure how long it went,

510
00:27:34,640 --> 00:27:36,520
Speaker 1: but I remember from my childhood when I lived in

511
00:27:36,560 --> 00:27:40,080
Speaker 1: Canada that we had one TV channel and when seeing

512
00:27:40,119 --> 00:27:42,800
Speaker 1: things came on, we would watch it. I do not

513
00:27:42,960 --> 00:27:45,520
Speaker 1: remember this child showing up on the show, but I

514
00:27:45,560 --> 00:27:46,240
Speaker 1: remember the show.

515
00:27:46,520 --> 00:27:48,320
Speaker 3: I got to check this show out. It seems like

516
00:27:48,320 --> 00:27:49,280
Speaker 3: it's right up my alley.

517
00:27:49,359 --> 00:27:52,439
Speaker 1: It had a really jazzy theme song. Nice all right. Now,

518
00:27:52,480 --> 00:27:54,679
Speaker 1: there are two other kids that show up in the film.

519
00:27:54,720 --> 00:27:58,160
Speaker 1: These are friends of Owl's. They are the Lee sisters,

520
00:27:58,600 --> 00:28:01,160
Speaker 1: and they're worth noting that they're fun in the film.

521
00:28:01,160 --> 00:28:04,919
Speaker 1: They're not central characters, but the actors who played them

522
00:28:05,080 --> 00:28:07,280
Speaker 1: are each, in their own way, pretty interesting. So first

523
00:28:07,320 --> 00:28:11,280
Speaker 1: there's Lori Lee played by Kelly Rowan born nineteen sixty five.

524
00:28:11,320 --> 00:28:13,760
Speaker 1: This is a Canadian actor who was active up until

525
00:28:13,760 --> 00:28:17,239
Speaker 1: I think twenty sixteen on screen and TV. She did

526
00:28:17,280 --> 00:28:19,480
Speaker 1: a lot of TV work, but also had roles in

527
00:28:19,560 --> 00:28:23,200
Speaker 1: nineteen ninety one's Hook, nineteen ninety five's Candy Man, Farewell

528
00:28:23,240 --> 00:28:27,439
Speaker 1: to the Flesh, ninety five's Assassins, also Lonesome Dove, The

529
00:28:27,480 --> 00:28:30,560
Speaker 1: Outlaw Years, and the OC. Wow.

530
00:28:30,680 --> 00:28:33,480
Speaker 3: I know that she's not responsible for this, but Farewell

531
00:28:33,520 --> 00:28:37,800
Speaker 3: to the Flesh is a fantastic subtitle for a movie.

532
00:28:37,920 --> 00:28:41,080
Speaker 1: She was also Dave in not one, but two episodes

533
00:28:41,120 --> 00:28:45,840
Speaker 1: of the nineties Outer Limits in Another Life and Virtual Future.

534
00:28:46,360 --> 00:28:50,520
Speaker 1: Virtual Future apparently featured both Josh Brolin and David Warner.

535
00:28:50,880 --> 00:28:54,680
Speaker 3: Wow. So there's a lot of Outer Limits thread flowing

536
00:28:54,720 --> 00:28:55,480
Speaker 3: through this cast.

537
00:28:55,640 --> 00:28:58,480
Speaker 1: Yeah, Well, you got Canadian actors. You get Canadian actors

538
00:28:58,520 --> 00:29:02,360
Speaker 1: that were active in the nineties, and there's there's like

539
00:29:02,440 --> 00:29:05,080
Speaker 1: a what seventy five percent chance maybe greater that they

540
00:29:05,120 --> 00:29:07,000
Speaker 1: were on at least one episode of the Outer One.

541
00:29:07,360 --> 00:29:08,880
Speaker 3: That's true. It's a rite of passage.

542
00:29:09,000 --> 00:29:12,560
Speaker 1: Now. The other Lee sister, Linda Lee, is played by

543
00:29:12,840 --> 00:29:18,440
Speaker 1: Jennifer Irwin born nineteen seventy five. Terrific Canadian actor who

544
00:29:18,480 --> 00:29:20,719
Speaker 1: has starred in a ton of great stuff over the years,

545
00:29:20,760 --> 00:29:24,920
Speaker 1: done guest spots and plenty of other shows. And we're

546
00:29:24,920 --> 00:29:27,600
Speaker 1: talking some big name TV comedies, and she's she's still

547
00:29:27,680 --> 00:29:28,479
Speaker 1: very much active.

548
00:29:28,760 --> 00:29:32,040
Speaker 3: Yeah, she is fantastic and everything. Every time she shows up,

549
00:29:32,600 --> 00:29:34,400
Speaker 3: even if it's just for a scene, she feels like

550
00:29:34,440 --> 00:29:37,840
Speaker 3: she's a regular. She really steals the scene every time.

551
00:29:38,400 --> 00:29:42,720
Speaker 3: I know her most intimately from The Goldbergs, where she

552
00:29:42,800 --> 00:29:47,560
Speaker 3: plays the across the street neighbor of the Goldbergs, the

553
00:29:47,560 --> 00:29:53,880
Speaker 3: titular Goldbergs. The main character has his best friend who

554
00:29:53,920 --> 00:29:56,239
Speaker 3: is the neighbor, and this is the mother of that

555
00:29:56,320 --> 00:30:01,000
Speaker 3: best friend, and she and Beverly Goldberg, the mom, have

556
00:30:01,120 --> 00:30:05,280
Speaker 3: a tough start to their relationship. They're kind of antagonistic

557
00:30:05,320 --> 00:30:07,320
Speaker 3: to each other, but then become best friends. And she's

558
00:30:07,360 --> 00:30:11,160
Speaker 3: a recurring character, just fantastic and really nails that dynamic.

559
00:30:11,520 --> 00:30:14,720
Speaker 1: Yeah, yeah, she's If you're not sure out there who

560
00:30:14,760 --> 00:30:17,960
Speaker 1: she is, you look her up, you'll recognize her instantly,

561
00:30:18,000 --> 00:30:21,760
Speaker 1: especially if you've watched such shows as TVs, the Canadian

562
00:30:21,800 --> 00:30:25,440
Speaker 1: TV show Slings and Arrows, Eastbound and Down, Halt and

563
00:30:25,520 --> 00:30:30,080
Speaker 1: Catch Fire, Superstore, Iye, Zombie, and she said guest roles

564
00:30:30,200 --> 00:30:33,760
Speaker 1: on such shows as Better Off, Ted, Party, Down, Shit's, Creak,

565
00:30:34,240 --> 00:30:37,520
Speaker 1: Hacks and Physical. So she's popped up all over the

566
00:30:37,520 --> 00:30:40,840
Speaker 1: place and is really delightful and everything she's in. Definitely,

567
00:30:41,360 --> 00:30:45,040
Speaker 1: but this was only her third role so she's super

568
00:30:45,080 --> 00:30:47,960
Speaker 1: young in this. If you didn't look her up, you

569
00:30:48,040 --> 00:30:51,040
Speaker 1: might think that actor looks kind of familiar, but I

570
00:30:51,160 --> 00:30:52,080
Speaker 1: can't really place her.

571
00:30:52,160 --> 00:30:54,160
Speaker 3: I think that was the situation I was in watching

572
00:30:54,160 --> 00:30:56,240
Speaker 3: this was I kind of had to be reminded that

573
00:30:56,320 --> 00:30:59,720
Speaker 3: this was her. She's so much younger than the roles

574
00:30:59,760 --> 00:31:00,680
Speaker 3: that I remember her in.

575
00:31:01,000 --> 00:31:03,280
Speaker 1: All Right, Getting a little bit behind the scenes here

576
00:31:04,040 --> 00:31:06,480
Speaker 1: this movie. If you watch the trailer, if you actually

577
00:31:06,520 --> 00:31:09,240
Speaker 1: watch it, you'll realize this is an effects movie. I

578
00:31:09,320 --> 00:31:11,720
Speaker 1: went into it not expecting it to be just wall

579
00:31:11,800 --> 00:31:14,240
Speaker 1: to wall amazing special effects, but it.

580
00:31:14,280 --> 00:31:17,400
Speaker 3: Is one hundred percent. It is a showcase for the

581
00:31:17,440 --> 00:31:19,560
Speaker 3: effects work as much as it is anything else. And

582
00:31:19,600 --> 00:31:21,200
Speaker 3: I don't mean that in a bad way. I mean

583
00:31:21,240 --> 00:31:23,960
Speaker 3: that it's the full gallery of what you can do

584
00:31:24,000 --> 00:31:26,240
Speaker 3: with stop motion, what you can do with force, perspective,

585
00:31:26,880 --> 00:31:27,720
Speaker 3: the whole gamut.

586
00:31:27,840 --> 00:31:30,840
Speaker 1: Now there's a whole crew working on this one, obviously,

587
00:31:30,880 --> 00:31:34,920
Speaker 1: but the main visual effects credit here goes to Randall

588
00:31:34,960 --> 00:31:38,760
Speaker 1: William Cook born nineteen fifty one, American special effects wizard

589
00:31:38,760 --> 00:31:41,240
Speaker 1: and director. They really put together, He and his team

590
00:31:41,280 --> 00:31:44,520
Speaker 1: really put together just so many strange and wonderful effects

591
00:31:44,560 --> 00:31:49,400
Speaker 1: of varying things, like really the Poltergeist system of you. You

592
00:31:49,440 --> 00:31:51,080
Speaker 1: never know what's going to come at you. It might

593
00:31:51,120 --> 00:31:54,000
Speaker 1: be a horrific body horror effect, it might be a

594
00:31:54,120 --> 00:31:58,280
Speaker 1: zombie or one of the showcases of this film, tiny

595
00:31:58,320 --> 00:32:00,360
Speaker 1: demon's running all over the place.

596
00:32:00,760 --> 00:32:05,600
Speaker 3: Yeah, and being dismembered and turning into little wormy bits

597
00:32:05,680 --> 00:32:07,320
Speaker 3: that can reconstitute.

598
00:32:07,720 --> 00:32:09,720
Speaker 1: Yes. Yeah, the wormy bits are a lot of fun.

599
00:32:10,800 --> 00:32:12,760
Speaker 1: So Cook. He has been involved in a just a

600
00:32:12,800 --> 00:32:14,880
Speaker 1: ton of great heart and sci fi special effects film

601
00:32:14,920 --> 00:32:18,120
Speaker 1: over the years. I mean some when I say great,

602
00:32:18,240 --> 00:32:21,520
Speaker 1: sometimes they're a little on the cheap side, but they're

603
00:32:21,560 --> 00:32:24,400
Speaker 1: in films where you still love the effects. Like, for instance,

604
00:32:24,600 --> 00:32:27,000
Speaker 1: he worked on a Laser Blast, which is a film

605
00:32:27,040 --> 00:32:31,480
Speaker 1: that it's not a great film, but it has just

606
00:32:31,640 --> 00:32:33,440
Speaker 1: charming and lovable special effects.

607
00:32:33,720 --> 00:32:37,560
Speaker 3: Yeah, the effects are not the reason that the film

608
00:32:37,640 --> 00:32:39,600
Speaker 3: is bad by a long shot, And in a lot

609
00:32:39,640 --> 00:32:41,160
Speaker 3: of ways there what redeemed the film.

610
00:32:41,480 --> 00:32:44,800
Speaker 1: Yeah. To a similar extent, he was in Q The

611
00:32:44,840 --> 00:32:48,320
Speaker 1: Wings Serpent, but also he was on the crew anyway

612
00:32:48,360 --> 00:32:55,640
Speaker 1: for such films as The Thing, Ghostbusters twenty ten, Fright Night, Poltergeist, two,

613
00:32:55,800 --> 00:32:58,240
Speaker 1: Highway to Hell, and the Lord of the Rings trilogy.

614
00:32:58,480 --> 00:33:00,840
Speaker 3: It doesn't surprise me at all. He's involved with these

615
00:33:00,840 --> 00:33:04,240
Speaker 3: big titles seeing what was pulled off in this movie.

616
00:33:04,120 --> 00:33:06,320
Speaker 1: And his credits kind of go all over the place too.

617
00:33:06,360 --> 00:33:10,000
Speaker 1: For instance, he directed one episode of TV's Life Goes On,

618
00:33:10,320 --> 00:33:13,280
Speaker 1: which we already mentioned. He also did a movie. He

619
00:33:13,360 --> 00:33:16,600
Speaker 1: directed a film from ninety six titled Demon in the Bottle.

620
00:33:17,040 --> 00:33:18,200
Speaker 1: I had to look this one up. I was not

621
00:33:18,240 --> 00:33:21,080
Speaker 1: familiar with it, but apparently it was the product of

622
00:33:21,120 --> 00:33:25,240
Speaker 1: a one time deal between Disney and full Moon Entertainment

623
00:33:25,440 --> 00:33:28,400
Speaker 1: who Charles band production house.

624
00:33:28,840 --> 00:33:29,760
Speaker 3: That is wild.

625
00:33:30,280 --> 00:33:34,280
Speaker 1: He acted in the Demon in the Bottle movie as well,

626
00:33:34,400 --> 00:33:38,320
Speaker 1: and he also has cameos in a weird nineteen eighty

627
00:33:38,400 --> 00:33:40,920
Speaker 1: nine film titled Doctor Caligari, which has nothing to do

628
00:33:40,960 --> 00:33:43,680
Speaker 1: with the cabinet of Doctor Caligari but is instead more

629
00:33:43,720 --> 00:33:47,600
Speaker 1: of an erotic peewee's playhouse sort of the art film. Yeah,

630
00:33:47,680 --> 00:33:51,080
Speaker 1: it's a weird one. But then he also has roles

631
00:33:51,320 --> 00:33:55,080
Speaker 1: essentially cameos in King Kong and The Fellowship of the Ring,

632
00:33:55,200 --> 00:33:57,560
Speaker 1: so you never know where this guy's going to pop up.

633
00:33:58,640 --> 00:34:02,840
Speaker 1: And finally, the music in this film really solid atmospheric

634
00:34:02,960 --> 00:34:08,680
Speaker 1: electronic score by Michael Hoenig and J. Peter Robinson totally agree.

635
00:34:08,719 --> 00:34:11,200
Speaker 3: I think the ambient score here is more of the

636
00:34:11,239 --> 00:34:15,080
Speaker 3: synthesized ambient score, is one of the standouts for this

637
00:34:15,719 --> 00:34:19,600
Speaker 3: for me. It really nails the tone just right from

638
00:34:19,640 --> 00:34:24,960
Speaker 3: the jump and really just accentuates all of those moments

639
00:34:25,040 --> 00:34:28,200
Speaker 3: just the way you think that they would and really

640
00:34:28,239 --> 00:34:29,640
Speaker 3: just elevates the entire movie.

641
00:34:29,960 --> 00:34:33,200
Speaker 1: Yeah. Yeah, this one. I don't know for me personally,

642
00:34:33,239 --> 00:34:35,399
Speaker 1: this would be like a stands on its own sort

643
00:34:35,440 --> 00:34:37,040
Speaker 1: of score that I would just like listen to and

644
00:34:37,120 --> 00:34:39,360
Speaker 1: jam out to. But it's one that just works perfectly

645
00:34:39,400 --> 00:34:41,920
Speaker 1: with the film. You can listen to it on its

646
00:34:41,920 --> 00:34:43,359
Speaker 1: own and jam out to it. It's I think it's

647
00:34:43,360 --> 00:34:47,200
Speaker 1: streaming most places, and they've even been There's at least

648
00:34:47,239 --> 00:34:50,759
Speaker 1: one special vinyl edition I saw online that has like

649
00:34:50,800 --> 00:34:54,880
Speaker 1: a pink vinyl record and the sleeve is made to

650
00:34:54,920 --> 00:34:58,600
Speaker 1: where it doesn't feature the movies art. It resembles a

651
00:34:58,719 --> 00:35:02,000
Speaker 1: very important heavy metal that is a prop and a

652
00:35:02,040 --> 00:35:03,160
Speaker 1: plot piece in the film.

653
00:35:03,320 --> 00:35:05,600
Speaker 3: I wonder if it has all of the koutrama of

654
00:35:05,719 --> 00:35:08,640
Speaker 3: the album too, with kind of the lore and the

655
00:35:09,080 --> 00:35:11,719
Speaker 3: deep stuff that helped solve the problems.

656
00:35:12,080 --> 00:35:15,560
Speaker 1: Yeah, the Evil Book of Demonology, that's right, just a

657
00:35:15,600 --> 00:35:17,640
Speaker 1: part of the record release. I think you mean the

658
00:35:17,719 --> 00:35:21,080
Speaker 1: Dark Book, the Dark Book, Yes, the Bible for Demon's

659
00:35:21,320 --> 00:35:25,359
Speaker 1: that's right, all right, well, well briefly. Michael Hoenig born

660
00:35:25,440 --> 00:35:28,719
Speaker 1: nineteen fifty two, German composer who briefly toured with Tangerine

661
00:35:28,800 --> 00:35:32,160
Speaker 1: Dream in nineteen seventy five, So I assume that he's

662
00:35:32,239 --> 00:35:35,920
Speaker 1: responsible for the synthier parts of the score. He was

663
00:35:35,920 --> 00:35:38,840
Speaker 1: a synth performer on nineteen eighty one's Galaxy of Terror,

664
00:35:39,200 --> 00:35:42,160
Speaker 1: and other scores include The Max Headroom Show, nineteen eighty

665
00:35:42,200 --> 00:35:45,680
Speaker 1: eight's The Blob, and he also worked on the nineteen

666
00:35:45,760 --> 00:35:49,360
Speaker 1: ninety eight video game Balder's Gait in its two thousand sequel.

667
00:35:49,120 --> 00:35:52,800
Speaker 3: Oh Wow Nice, Yeah, it's you know, I said it before.

668
00:35:52,880 --> 00:35:55,839
Speaker 3: It's hard to overstate how effective the synth is at

669
00:35:55,880 --> 00:35:58,280
Speaker 3: creating the vibe in this movie, right from the beginning.

670
00:35:58,400 --> 00:36:02,239
Speaker 1: The other guy involved. J. Peter Robinson born nineteen forty five.

671
00:36:02,680 --> 00:36:06,960
Speaker 1: I suspect he's maybe responsible for the more traditional aspects

672
00:36:07,000 --> 00:36:08,879
Speaker 1: of the film. Just going off on a limb here,

673
00:36:08,960 --> 00:36:12,600
Speaker 1: I suspect he was responsible for the more traditional aspects

674
00:36:12,600 --> 00:36:15,000
Speaker 1: of the score, just looking at the other films that

675
00:36:15,040 --> 00:36:19,880
Speaker 1: he he has Composer credits on an English composer, he

676
00:36:19,920 --> 00:36:21,879
Speaker 1: worked on such films as Return of the Living Dead,

677
00:36:21,920 --> 00:36:27,359
Speaker 1: two Cocktail, Blind Fury, which is a weird, weird film.

678
00:36:27,400 --> 00:36:31,080
Speaker 1: That one. It's one where Rudger Howard is a blind man.

679
00:36:31,120 --> 00:36:35,000
Speaker 1: I believe who Wayne's world in Sino Man, New Nightmare,

680
00:36:35,440 --> 00:36:37,279
Speaker 1: Mind Ripper, and many more.

681
00:36:37,640 --> 00:36:41,240
Speaker 3: Wow, it makes me wonder probably this is the case

682
00:36:41,960 --> 00:36:44,840
Speaker 3: that he wrote the metal song that is so pivotal

683
00:36:45,040 --> 00:36:48,360
Speaker 3: to the plot, as well as maybe the party music

684
00:36:48,880 --> 00:36:52,120
Speaker 3: from the Teen Party. I sound like such an old

685
00:36:52,120 --> 00:36:53,760
Speaker 3: man calling it the teen Party.

686
00:36:54,000 --> 00:36:55,680
Speaker 1: Now I was able to id one of the Teen

687
00:36:55,680 --> 00:36:59,120
Speaker 1: Party songs. We'll come back to that one nice. All right, Well,

688
00:36:59,480 --> 00:37:02,239
Speaker 1: let's get in the plot of this one. Yeah, all right,

689
00:37:02,239 --> 00:37:03,200
Speaker 1: how do we kick this one off?

690
00:37:03,280 --> 00:37:03,480
Speaker 4: Dave?

691
00:37:03,760 --> 00:37:06,680
Speaker 3: All Right, So, I don't know if I've made this

692
00:37:06,719 --> 00:37:08,480
Speaker 3: clear yet, but I'm a pretty big fan of the

693
00:37:08,480 --> 00:37:11,760
Speaker 3: synth music and the opening credits. You get this ambient

694
00:37:11,840 --> 00:37:16,640
Speaker 3: chime that just really for me. It tells me you're home,

695
00:37:16,719 --> 00:37:19,960
Speaker 3: You're in a good place. Enjoy the next eighty some

696
00:37:20,040 --> 00:37:24,560
Speaker 3: odd minutes, and it takes us right into kind of

697
00:37:25,040 --> 00:37:28,439
Speaker 3: a I guess it's spoiling it out of the gate

698
00:37:28,600 --> 00:37:31,319
Speaker 3: to call it a dream sequence, but it starts out

699
00:37:31,360 --> 00:37:31,960
Speaker 3: pretty dark.

700
00:37:32,200 --> 00:37:34,719
Speaker 1: You know. Yeah, a lot of films like this I

701
00:37:34,719 --> 00:37:37,600
Speaker 1: think would would maybe spend more time establishing a real

702
00:37:37,600 --> 00:37:40,040
Speaker 1: world dynamic I'm thinking of. I'm thinking a films like

703
00:37:40,040 --> 00:37:42,560
Speaker 1: The Never Ending Story and so forth, where you get

704
00:37:42,600 --> 00:37:44,840
Speaker 1: to see, like what is day to day life like

705
00:37:45,000 --> 00:37:48,200
Speaker 1: for this child or these children, and then let's throw

706
00:37:48,239 --> 00:37:51,120
Speaker 1: them into the supernatural. But this film just kicks off

707
00:37:51,320 --> 00:37:56,560
Speaker 1: right inside of a dream. We see Glenn walking around, right,

708
00:37:56,840 --> 00:37:58,760
Speaker 1: he's checking out what we see his bedroom.

709
00:37:58,880 --> 00:38:02,160
Speaker 3: Yeah, I think he walked into his front door and

710
00:38:02,520 --> 00:38:04,799
Speaker 3: the house is empty. It's an amazing house. It's actually

711
00:38:04,840 --> 00:38:08,560
Speaker 3: a real house that they shot this in amazing gorgeous decor.

712
00:38:09,040 --> 00:38:11,480
Speaker 3: And then he walks into what's basically my dream bedroom

713
00:38:11,640 --> 00:38:15,560
Speaker 3: from the eighties, which you know. There are colored desk lamps,

714
00:38:15,600 --> 00:38:18,640
Speaker 3: those metallic desk lamps that have different colors to them.

715
00:38:19,400 --> 00:38:23,279
Speaker 3: There are orange sheer curtains, there's this white metallic furniture,

716
00:38:23,520 --> 00:38:25,680
Speaker 3: like a desk that's made out of a white metal.

717
00:38:25,880 --> 00:38:29,360
Speaker 3: It's just very it's like a catalog shot. And my

718
00:38:29,520 --> 00:38:32,280
Speaker 3: heart that and the ambient chimes, my heart was soaring

719
00:38:32,320 --> 00:38:32,920
Speaker 3: at this point.

720
00:38:33,080 --> 00:38:35,800
Speaker 1: I don't know about you, Dave. But as a former child,

721
00:38:36,200 --> 00:38:40,239
Speaker 1: I'm always instantly interested and a little bit judgy when

722
00:38:40,280 --> 00:38:43,360
Speaker 1: any show, regardless of time period, presents us with a

723
00:38:43,440 --> 00:38:47,319
Speaker 1: child's bedroom, because it's always fascinating to sort of pick

724
00:38:47,360 --> 00:38:52,080
Speaker 1: it apart, like which details that have either sloppily or

725
00:38:52,120 --> 00:38:56,160
Speaker 1: lovingly been added, which ones feel authentic, which ones are branded,

726
00:38:56,400 --> 00:38:59,799
Speaker 1: which ones are like noticeable some of them. Occasionally see

727
00:38:59,800 --> 00:39:03,600
Speaker 1: some where I'm like, Okay, I specifically remember that generic

728
00:39:03,680 --> 00:39:06,879
Speaker 1: poster from Getty Images. I know that you just bought

729
00:39:06,960 --> 00:39:09,480
Speaker 1: the rights to use that, or it's like free to use.

730
00:39:09,800 --> 00:39:11,720
Speaker 1: None of these are things that a child would actually

731
00:39:11,760 --> 00:39:12,640
Speaker 1: have hanging in the room.

732
00:39:13,040 --> 00:39:16,120
Speaker 3: Yeah, I think sometimes you get that, like what an

733
00:39:16,160 --> 00:39:18,600
Speaker 3: interior designer at Sears would do for one of those

734
00:39:18,640 --> 00:39:21,160
Speaker 3: model bedrooms that they're trying to sell you the furniture

735
00:39:21,200 --> 00:39:23,680
Speaker 3: pieces within. You get that vibe a lot. And yeah,

736
00:39:23,760 --> 00:39:26,560
Speaker 3: books that are just encyclopedias that are neatly stacked on

737
00:39:27,040 --> 00:39:30,040
Speaker 3: a desk, or like you said, posters that are essentially

738
00:39:30,080 --> 00:39:34,080
Speaker 3: clip art from that time, or sometimes you get you know,

739
00:39:34,120 --> 00:39:36,120
Speaker 3: I don't have a specific example of this offhand, but

740
00:39:36,200 --> 00:39:39,080
Speaker 3: you get a snapshot of what the director's room would

741
00:39:39,120 --> 00:39:41,080
Speaker 3: have been, but were they a child? And I think

742
00:39:41,080 --> 00:39:44,800
Speaker 3: you see that maybe in Terry's room, which is almost

743
00:39:45,120 --> 00:39:48,799
Speaker 3: skipping ahead a little bit, but it's almost over disheveled

744
00:39:49,640 --> 00:39:51,600
Speaker 3: in terms of messiness. But I will tell you as

745
00:39:51,600 --> 00:39:54,759
Speaker 3: a father myself, my child's room does get close to

746
00:39:54,800 --> 00:39:55,840
Speaker 3: that state sometimes.

747
00:39:56,200 --> 00:40:00,160
Speaker 1: Yeah, same as the father of a young boy. Like

748
00:40:00,200 --> 00:40:02,760
Speaker 1: you see that energy where it's like, yeah, I really

749
00:40:02,840 --> 00:40:06,799
Speaker 1: like the image on this box of Pokemon cards. I'm

750
00:40:06,840 --> 00:40:09,560
Speaker 1: just going to take this box, flatten it, and I'm

751
00:40:09,560 --> 00:40:12,160
Speaker 1: going to tape it to the wall because I want

752
00:40:12,160 --> 00:40:15,600
Speaker 1: to look at it exactly. So yeah, I buy Glenn's

753
00:40:15,640 --> 00:40:17,319
Speaker 1: room as well, though, and you get and it's great

754
00:40:17,360 --> 00:40:19,319
Speaker 1: peek into the personality of a child, and if it's

755
00:40:19,320 --> 00:40:21,440
Speaker 1: executed right in the film, we see that Glenn is

756
00:40:21,640 --> 00:40:23,839
Speaker 1: he's clearly into like a little bit of sports here

757
00:40:23,880 --> 00:40:25,480
Speaker 1: and there. I think he's a baseball you know, very

758
00:40:25,719 --> 00:40:28,239
Speaker 1: you know, typical American kid in that. But also it

759
00:40:28,280 --> 00:40:31,720
Speaker 1: becomes very clear that Glenn is a total rocket nerd.

760
00:40:31,840 --> 00:40:35,239
Speaker 1: He is super into NASA. He's almost always wearing a

761
00:40:35,360 --> 00:40:36,360
Speaker 1: NASA jacket.

762
00:40:37,719 --> 00:40:42,239
Speaker 3: Yeah, Glenn is, he's a rules guy, He's an orderly guy.

763
00:40:42,520 --> 00:40:45,120
Speaker 3: He frequently wants to call mom and Dad throughout the

764
00:40:45,160 --> 00:40:47,560
Speaker 3: movie as things get worse and work, which I think

765
00:40:47,600 --> 00:40:52,440
Speaker 3: is very sweet. And he does have this jacket that

766
00:40:52,560 --> 00:40:56,520
Speaker 3: is patched with NASA patches, And at first I thought

767
00:40:56,560 --> 00:41:01,040
Speaker 3: that he was a specific kind of kid, like you said,

768
00:41:01,040 --> 00:41:04,960
Speaker 3: a real NASA buff, But I learned throughout the movie

769
00:41:05,040 --> 00:41:09,120
Speaker 3: that his sister Al also has the same jacket and

770
00:41:09,360 --> 00:41:13,400
Speaker 3: they both have it because they launched the rockets together,

771
00:41:13,960 --> 00:41:17,799
Speaker 3: and that was kind of their commonality that was had

772
00:41:17,840 --> 00:41:20,080
Speaker 3: deteriorated at the start of the film.

773
00:41:20,360 --> 00:41:23,799
Speaker 1: Yeah, the film builds up over time you realize, Yeah,

774
00:41:23,800 --> 00:41:27,319
Speaker 1: they have this sweet relationship, though they also are at

775
00:41:27,320 --> 00:41:29,640
Speaker 1: echoes to others throats at times, so you totally buy

776
00:41:29,640 --> 00:41:30,719
Speaker 1: the sibling relationship.

777
00:41:30,920 --> 00:41:34,920
Speaker 3: Yeah, definitely. And there's also this element of Al being

778
00:41:35,120 --> 00:41:37,640
Speaker 3: a little bit older, starting to hang out with teens,

779
00:41:37,680 --> 00:41:40,680
Speaker 3: starting to gravitate away from that family dynamic, and you

780
00:41:40,719 --> 00:41:43,520
Speaker 3: see that in the interactions with the whole family. But

781
00:41:44,120 --> 00:41:47,359
Speaker 3: you really see how that impacts Glenn, specifically in how

782
00:41:47,480 --> 00:41:51,960
Speaker 3: left behind he feels. Even as the events of the

783
00:41:52,440 --> 00:41:55,840
Speaker 3: movie and the gate opening or unfolding, he still feels

784
00:41:55,840 --> 00:41:57,520
Speaker 3: a little bit of that distance from Al.

785
00:42:06,400 --> 00:42:09,200
Speaker 1: Now, coming back to the whole dream, sequence. Yeah, Glenn's

786
00:42:09,239 --> 00:42:12,480
Speaker 1: wandering around this empty house. He goes into the backyard,

787
00:42:12,840 --> 00:42:16,080
Speaker 1: he climbs into the treehouse. It's in the black backyard.

788
00:42:16,160 --> 00:42:19,440
Speaker 1: He ascends into the treehouse, and then lightning strikes it,

789
00:42:19,840 --> 00:42:22,600
Speaker 1: the causing the treehouse to collapse. And then of course

790
00:42:22,640 --> 00:42:26,920
Speaker 1: he wakes up. He hears chainsaws or buzzsaws running, and

791
00:42:26,960 --> 00:42:29,160
Speaker 1: then when he looks out the window, oh, it looks

792
00:42:29,200 --> 00:42:32,080
Speaker 1: like the tree was actually struck by lightning and was

793
00:42:32,080 --> 00:42:37,080
Speaker 1: completely destroyed. Workmen are clearing everything away. And I thought

794
00:42:37,080 --> 00:42:39,799
Speaker 1: this was neat too, in two different ways, because on

795
00:42:39,800 --> 00:42:43,560
Speaker 1: one hand, this felt very like on par with the

796
00:42:43,640 --> 00:42:47,160
Speaker 1: childhood experience, where important things like the destruction of a

797
00:42:47,200 --> 00:42:50,680
Speaker 1: treehouse occur when you're asleep, and then when you wake

798
00:42:50,800 --> 00:42:53,640
Speaker 1: up or look out the back then adults have already

799
00:42:53,640 --> 00:42:56,520
Speaker 1: tended to it. Adults are already on the scene dealing

800
00:42:56,560 --> 00:42:57,920
Speaker 1: with it, and you're just like, oh, I wonder what

801
00:42:58,000 --> 00:43:01,720
Speaker 1: that was about. But then also so like, symbolically, yeah,

802
00:43:01,960 --> 00:43:06,520
Speaker 1: there's this innocence of childhood threatened imagery that's clear in

803
00:43:06,560 --> 00:43:09,160
Speaker 1: all of this. The treehouse is the iconic fortress of

804
00:43:09,239 --> 00:43:12,800
Speaker 1: childhood freedom and it was just destroyed by I guess

805
00:43:12,800 --> 00:43:14,319
Speaker 1: like a literal act of God here.

806
00:43:14,560 --> 00:43:18,120
Speaker 3: Yeah, And the terror of being in a treehouse in

807
00:43:18,160 --> 00:43:21,359
Speaker 3: a tree that is falling over, It's not It's worse

808
00:43:21,400 --> 00:43:23,480
Speaker 3: than being in a tree that's falling over. You're in

809
00:43:23,520 --> 00:43:26,560
Speaker 3: a structure inside of it, and I can't imagine feeling

810
00:43:26,600 --> 00:43:29,920
Speaker 3: more helpless than that. I do think from a narrative perspective,

811
00:43:30,280 --> 00:43:34,120
Speaker 3: I was scratching my head pretty early on about did

812
00:43:34,200 --> 00:43:39,279
Speaker 3: this happen while he was asleep? Had this? Was it

813
00:43:39,360 --> 00:43:41,760
Speaker 3: just a coincidence that it happened while he was dreaming

814
00:43:41,760 --> 00:43:44,760
Speaker 3: about it? Did he cause this to happen by dreaming

815
00:43:44,800 --> 00:43:47,560
Speaker 3: about it? The parallel between what was happening in the

816
00:43:47,640 --> 00:43:51,160
Speaker 3: dream and what was happening in life while he was

817
00:43:51,200 --> 00:43:54,080
Speaker 3: asleep kind of confused me a little bit. And there's

818
00:43:54,120 --> 00:43:57,319
Speaker 3: a little bit of both sides the line that this

819
00:43:57,440 --> 00:44:01,160
Speaker 3: movie does in that regard throughout. On the one hand,

820
00:44:01,520 --> 00:44:03,840
Speaker 3: I think it is a little bit puzzling as a choice,

821
00:44:04,120 --> 00:44:05,600
Speaker 3: But on the other hand, I kind of like the

822
00:44:05,600 --> 00:44:08,040
Speaker 3: ambiguity of it because it's a question that doesn't need

823
00:44:08,080 --> 00:44:10,840
Speaker 3: to be answered, and a lot of what is going

824
00:44:10,880 --> 00:44:13,480
Speaker 3: on with these children and what these children are facing

825
00:44:14,560 --> 00:44:17,759
Speaker 3: it shouldn't have an explanation. Children should not know exactly

826
00:44:17,840 --> 00:44:21,239
Speaker 3: what the situation, No human would you know, And I

827
00:44:21,239 --> 00:44:23,520
Speaker 3: think it's kind of a brave choice in that light

828
00:44:23,960 --> 00:44:25,319
Speaker 3: to play into that a little bit.

829
00:44:26,000 --> 00:44:28,439
Speaker 1: One quick note, I want to point out this wasn't

830
00:44:28,440 --> 00:44:31,200
Speaker 1: party music, but there is a music video playing in

831
00:44:31,239 --> 00:44:33,960
Speaker 1: the dream, and we see a clip of the music

832
00:44:34,040 --> 00:44:38,560
Speaker 1: video for No Pressure by Canadian new wave performer Eva Everything.

833
00:44:38,960 --> 00:44:41,319
Speaker 1: This is a nineteen eighty four single. She had a

834
00:44:41,360 --> 00:44:44,120
Speaker 1: nineteen eighty four album titled boob Tube, and she went

835
00:44:44,120 --> 00:44:46,759
Speaker 1: on to be a science communicator and producer. I'm not

836
00:44:46,800 --> 00:44:49,920
Speaker 1: super familiar with this because I wasn't I don't think

837
00:44:49,920 --> 00:44:52,440
Speaker 1: I was watching any of these particular shows, but it

838
00:44:52,520 --> 00:44:54,319
Speaker 1: looked like she was involved in something that was kind

839
00:44:54,360 --> 00:44:57,479
Speaker 1: of like Channel one that we had in the State,

840
00:44:57,640 --> 00:44:58,279
Speaker 1: something like that.

841
00:44:58,760 --> 00:45:00,640
Speaker 3: Yeah, I'm not familiar with. But I'm looking at this

842
00:45:00,680 --> 00:45:03,200
Speaker 3: album cover now and it's got a very aha vibe

843
00:45:03,800 --> 00:45:05,960
Speaker 3: with a little splash of color across the eyes and

844
00:45:06,000 --> 00:45:09,000
Speaker 3: an otherwise black and white picture. It's very very cool,

845
00:45:09,040 --> 00:45:10,719
Speaker 3: and I was digging the video.

846
00:45:10,719 --> 00:45:13,279
Speaker 1: All right. So back in we're in the Waking world now,

847
00:45:13,320 --> 00:45:15,560
Speaker 1: and we stay in the Waking world for the rest

848
00:45:15,560 --> 00:45:19,480
Speaker 1: of the film, and it's not long before we finally

849
00:45:19,560 --> 00:45:23,719
Speaker 1: actually meet Glenn's friend Terry. Let's describe Terry oh Man.

850
00:45:23,840 --> 00:45:27,200
Speaker 3: Terry rules first, first, and foremost, Terry rules. Terry's got,

851
00:45:27,520 --> 00:45:31,600
Speaker 3: you know, these dark rimmed glasses. It's got short hair.

852
00:45:31,760 --> 00:45:36,080
Speaker 3: He's this lanky kid Masters of the Universe T shirt,

853
00:45:37,160 --> 00:45:41,600
Speaker 3: leather jacket. I keep wanting to is it a leather

854
00:45:41,680 --> 00:45:44,240
Speaker 3: jacket or is it a leather vest I keep thinking

855
00:45:44,239 --> 00:45:45,160
Speaker 3: of it as a vest.

856
00:45:45,640 --> 00:45:47,440
Speaker 1: I think there's a costume change. I think when we

857
00:45:47,520 --> 00:45:51,040
Speaker 1: first see him, it's a leather jacket with a patch

858
00:45:51,239 --> 00:45:54,799
Speaker 1: on the back for the English heavy metal band Venom,

859
00:45:55,120 --> 00:45:58,839
Speaker 1: and later he's wearing like a jean jacket vest thing

860
00:45:58,960 --> 00:46:01,719
Speaker 1: and that has I think a patch for the Canadian

861
00:46:01,800 --> 00:46:03,320
Speaker 1: metal band Killer Dwarfs.

862
00:46:03,560 --> 00:46:06,760
Speaker 3: Wow, so somebody knew their stuff when they were putting

863
00:46:06,760 --> 00:46:07,600
Speaker 3: this outfit together.

864
00:46:07,800 --> 00:46:10,360
Speaker 1: Yeah. So right off the bat we realize, yeah, Terry's

865
00:46:10,360 --> 00:46:13,719
Speaker 1: interested very much so in heavy metal, and then we

866
00:46:13,800 --> 00:46:19,080
Speaker 1: learn later a little bit into demonology via the heavy metal. Yeah.

867
00:46:19,120 --> 00:46:21,480
Speaker 3: I think, you know, without getting too ahead of ourselves,

868
00:46:21,719 --> 00:46:25,000
Speaker 3: I really do like how this movie flips the satanic

869
00:46:25,040 --> 00:46:29,360
Speaker 3: panic angle of the time and turns the satanic panic

870
00:46:29,440 --> 00:46:33,839
Speaker 3: into what saves these kids, and presumably the world is

871
00:46:34,080 --> 00:46:37,000
Speaker 3: using these demonic lyrics to undo a curse.

872
00:46:37,600 --> 00:46:41,959
Speaker 1: Yeah. In many of the metal sploitation films of the era,

873
00:46:42,280 --> 00:46:45,640
Speaker 1: it's like, oh, the dangerous metal band is bringing demonology

874
00:46:45,680 --> 00:46:47,719
Speaker 1: to the children and he gets them in all sorts

875
00:46:47,719 --> 00:46:49,920
Speaker 1: of trouble. But in this film, as we find out, no,

876
00:46:50,400 --> 00:46:54,919
Speaker 1: the metal rockers are actually wise wizards who have given

877
00:46:55,040 --> 00:46:58,640
Speaker 1: us the tools for our own liberation and are actually

878
00:46:58,680 --> 00:47:00,879
Speaker 1: teaching us how to defeat the well.

879
00:47:01,360 --> 00:47:06,480
Speaker 3: And they do it pretty deliberately too, by a minutes

880
00:47:06,600 --> 00:47:09,319
Speaker 3: long narration at the end of a song that is

881
00:47:09,400 --> 00:47:12,920
Speaker 3: just an incantation basically, yeah, all.

882
00:47:12,920 --> 00:47:16,160
Speaker 1: Right, But before the demons show up, we have to

883
00:47:16,160 --> 00:47:19,040
Speaker 1: deal with geodes because basically the way the whole ball

884
00:47:19,040 --> 00:47:21,440
Speaker 1: gets running here is as the workmen are hauling the

885
00:47:21,480 --> 00:47:24,920
Speaker 1: tree pieces away, Glenn spots a geode in the roots,

886
00:47:24,960 --> 00:47:27,080
Speaker 1: you know, like you often see, well, maybe not often

887
00:47:27,120 --> 00:47:29,400
Speaker 1: see a geode, but sometimes you'll see the roots of

888
00:47:29,760 --> 00:47:33,920
Speaker 1: an uprooted tree gripping a stone. It's always kind of

889
00:47:33,960 --> 00:47:36,120
Speaker 1: weird and neat, and in this case it's a geode.

890
00:47:36,440 --> 00:47:39,560
Speaker 1: So he and Terry realize, well, they're probably more geodes

891
00:47:39,560 --> 00:47:42,320
Speaker 1: in that now filled in hole. Let's go dig around

892
00:47:42,320 --> 00:47:44,839
Speaker 1: in there and get some more. And they find one

893
00:47:44,920 --> 00:47:47,799
Speaker 1: the size of a beach ball, and there's this great

894
00:47:47,840 --> 00:47:50,840
Speaker 1: exchange where they find this geode and they're both like,

895
00:47:50,920 --> 00:47:53,680
Speaker 1: we're rich this. Yeah.

896
00:47:53,719 --> 00:47:56,680
Speaker 3: I'm not sure what their sense of the market value

897
00:47:56,719 --> 00:47:59,920
Speaker 3: of geodes is, or if they're near a Renaissance fair

898
00:48:00,239 --> 00:48:02,480
Speaker 3: or a flea market or something like that that might

899
00:48:02,520 --> 00:48:04,600
Speaker 3: give them an inflated sense of what they could do

900
00:48:04,680 --> 00:48:07,279
Speaker 3: with a geode. But I did have to posit at

901
00:48:07,280 --> 00:48:10,040
Speaker 3: this point because you know what's coming. They're standing at

902
00:48:10,040 --> 00:48:13,040
Speaker 3: a hole, they're pulling out these rare crystals. They're excited

903
00:48:13,040 --> 00:48:16,000
Speaker 3: about it. So I paused it and looked at the timestamp.

904
00:48:16,080 --> 00:48:18,600
Speaker 3: This is six minutes into the movie and we're already

905
00:48:18,640 --> 00:48:21,200
Speaker 3: at the demonic hole in the ground. We've already seen

906
00:48:21,239 --> 00:48:25,120
Speaker 3: a scary nightmare. We've already seen Glenn in peril falling

907
00:48:25,160 --> 00:48:29,160
Speaker 3: over in the tree. I mean, this movie wastes no time.

908
00:48:29,440 --> 00:48:32,000
Speaker 1: It's great. Yeah, you get right to the gate. It's

909
00:48:32,000 --> 00:48:34,400
Speaker 1: called the gate. It's not the road or the path

910
00:48:34,480 --> 00:48:38,760
Speaker 1: to the gate. Here we are literally at the action point.

911
00:48:39,000 --> 00:48:42,800
Speaker 3: That's right. So is this the point that al comes

912
00:48:42,840 --> 00:48:45,719
Speaker 3: out and she's bringing a bunch of trash out to

913
00:48:45,760 --> 00:48:48,040
Speaker 3: the trash can, or is that later in the movie.

914
00:48:48,120 --> 00:48:51,960
Speaker 3: It's basically that she's bringing the rockets out that defined

915
00:48:52,080 --> 00:48:55,520
Speaker 3: kind of her childhood relationship with Glenn and is tossing

916
00:48:55,560 --> 00:48:59,120
Speaker 3: them in the trash. Glenn's upset about that because she

917
00:48:59,239 --> 00:49:01,480
Speaker 3: was going to save them for him, and her comment is,

918
00:49:01,520 --> 00:49:03,200
Speaker 3: while they've been sitting there for months and you haven't

919
00:49:03,239 --> 00:49:05,200
Speaker 3: touched them, so I'm getting rid of them. He kind

920
00:49:05,200 --> 00:49:07,600
Speaker 3: of digs through them, and I think does take one out.

921
00:49:07,840 --> 00:49:10,840
Speaker 3: But that's kind of your first realization. You saw the

922
00:49:11,200 --> 00:49:14,080
Speaker 3: jacket with the patches. Now you're seeing that he has

923
00:49:14,120 --> 00:49:17,120
Speaker 3: a love of rockets that he shared with al and

924
00:49:17,160 --> 00:49:19,320
Speaker 3: that that love is no longer shared.

925
00:49:19,600 --> 00:49:21,960
Speaker 1: I have to admit that I didn't pay enough attention

926
00:49:22,040 --> 00:49:24,840
Speaker 1: to this the first time I watched it, because I

927
00:49:24,880 --> 00:49:27,600
Speaker 1: think part of it is with movies like this, usually

928
00:49:28,400 --> 00:49:32,200
Speaker 1: it doesn't matter. Yeah, yeah, this is not real character development.

929
00:49:32,239 --> 00:49:35,560
Speaker 1: It's not really important. It's just about moving character from

930
00:49:35,560 --> 00:49:37,640
Speaker 1: point A to point B. But no, this is actually

931
00:49:37,680 --> 00:49:38,800
Speaker 1: all building to something.

932
00:49:39,200 --> 00:49:44,280
Speaker 3: Yeah, it's a really loving effort to tie these characters

933
00:49:44,960 --> 00:49:48,400
Speaker 3: family stories together in a way that you know, I

934
00:49:48,440 --> 00:49:50,480
Speaker 3: had an older sister. She's four years older than me.

935
00:49:50,920 --> 00:49:53,640
Speaker 3: I definitely went through these emotions as she was growing

936
00:49:53,680 --> 00:49:56,640
Speaker 3: into being a teenager, spending less time with the family,

937
00:49:56,719 --> 00:49:59,440
Speaker 3: spending more time with her friends, and feeling those feelings

938
00:49:59,440 --> 00:50:02,279
Speaker 3: that Glenn was feeling. We didn't shoot rockets together, but

939
00:50:03,000 --> 00:50:06,000
Speaker 3: I can imagine, you know what that shared interest is

940
00:50:06,040 --> 00:50:09,960
Speaker 3: that kind of morphs into just your interest, and it

941
00:50:10,000 --> 00:50:13,440
Speaker 3: has a different taste and a different feel. So I

942
00:50:13,480 --> 00:50:17,600
Speaker 3: think Terry talks Glenn into lighting off one of the rockets. Glenn,

943
00:50:18,400 --> 00:50:21,440
Speaker 3: I believe, says, I'm not supposed to do that, but

944
00:50:21,719 --> 00:50:24,279
Speaker 3: Terry encourages him to do that. He does it, and

945
00:50:24,640 --> 00:50:29,319
Speaker 3: it zings off into the house and leaves kind of

946
00:50:29,480 --> 00:50:31,799
Speaker 3: a burned stain in the side of the house. And

947
00:50:31,960 --> 00:50:35,920
Speaker 3: I believe that gets Glenn into trouble with mom and dad,

948
00:50:36,120 --> 00:50:39,640
Speaker 3: who show up to parent for a good sixty to

949
00:50:39,680 --> 00:50:41,040
Speaker 3: seventy seconds.

950
00:50:40,719 --> 00:50:42,680
Speaker 1: And they're quick to throw Glenn under the bus as

951
00:50:42,760 --> 00:50:43,760
Speaker 1: being a bad influence.

952
00:50:43,840 --> 00:50:43,960
Speaker 4: Right.

953
00:50:45,360 --> 00:50:50,360
Speaker 3: Well, I think that the dad explains to Terry, I'm sorry.

954
00:50:50,360 --> 00:50:53,720
Speaker 3: This happens at a different point, but Glenn is talking

955
00:50:53,719 --> 00:50:55,920
Speaker 3: to his dad. He tells him a story that Terry

956
00:50:55,960 --> 00:50:58,719
Speaker 3: told him about a workman that was trapped in the

957
00:50:58,760 --> 00:51:00,880
Speaker 3: walls of the house when they were building the house,

958
00:51:01,280 --> 00:51:05,919
Speaker 3: and that the dad since kneels down to Glenn and says, yeah,

959
00:51:06,000 --> 00:51:10,480
Speaker 3: Terry has some problems, just a very dismissive yeah. And

960
00:51:10,560 --> 00:51:13,080
Speaker 3: the dad had to have known what that kid's history was,

961
00:51:13,200 --> 00:51:19,319
Speaker 3: you know, And to be that insensitive is really a

962
00:51:19,600 --> 00:51:22,880
Speaker 3: insensitive but be really on point with a lot of

963
00:51:22,880 --> 00:51:25,880
Speaker 3: the parenting from that era too, so it's not so

964
00:51:25,880 --> 00:51:29,480
Speaker 3: so disparate. But whatever it is, it's insensitive to Terry,

965
00:51:29,840 --> 00:51:32,839
Speaker 3: and it's not very thoughtful of Glenn's state of mind either,

966
00:51:33,160 --> 00:51:34,400
Speaker 3: especially regarding his friend.

967
00:51:34,680 --> 00:51:36,600
Speaker 1: Now. I think it's at this point that we learned that, hey,

968
00:51:36,719 --> 00:51:38,799
Speaker 1: mom and dad really want to go out of town.

969
00:51:38,920 --> 00:51:40,880
Speaker 1: I don't remember what they're going out of town for,

970
00:51:41,000 --> 00:51:43,320
Speaker 1: but they want to do it. But they're having second

971
00:51:43,320 --> 00:51:47,560
Speaker 1: thoughts about it because Glenn is being bad. But al

972
00:51:47,760 --> 00:51:50,399
Speaker 1: the sister is quick to jump in and saying, hey,

973
00:51:50,440 --> 00:51:53,719
Speaker 1: look I got this. I can I can take care

974
00:51:53,760 --> 00:51:55,960
Speaker 1: of Glenn, I can take care of myself. I can

975
00:51:55,960 --> 00:51:58,560
Speaker 1: take care of the house. You guys go, Everything's going

976
00:51:58,640 --> 00:51:59,799
Speaker 1: to be fine. Yeah.

977
00:52:00,000 --> 00:52:03,600
Speaker 3: I think that there's a babysitter that they reference that

978
00:52:03,840 --> 00:52:08,839
Speaker 3: maybe they should call and I'm trying to remember her name.

979
00:52:08,920 --> 00:52:12,600
Speaker 3: It becomes a pretty miss Vandergriff is her name, and

980
00:52:12,640 --> 00:52:16,399
Speaker 3: it becomes a pretty clever through line throughout. When much later,

981
00:52:16,440 --> 00:52:21,520
Speaker 3: when things are all just going to shambles, I believe

982
00:52:21,560 --> 00:52:26,040
Speaker 3: he says, I wish missus Vandergriff was here, and just

983
00:52:26,080 --> 00:52:29,680
Speaker 3: a fantastic callback to this moment, this decision.

984
00:52:30,120 --> 00:52:34,120
Speaker 1: Yeah, I wish that the parent approved authority figure we're

985
00:52:34,160 --> 00:52:37,319
Speaker 1: here because we cannot handle it. We cannot handle it.

986
00:52:37,400 --> 00:52:41,239
Speaker 1: But the whole time she's like no, there multiple times

987
00:52:41,280 --> 00:52:43,279
Speaker 1: later in the film where things are getting progressively worse,

988
00:52:43,280 --> 00:52:45,280
Speaker 1: and like we should call mom and dad, and now's

989
00:52:45,360 --> 00:52:47,360
Speaker 1: very clear, and like, no, we do not have to

990
00:52:47,360 --> 00:52:48,480
Speaker 1: bring mom and dad into this.

991
00:52:48,880 --> 00:52:52,120
Speaker 3: Yeah, she's at this point she has already kind of

992
00:52:52,160 --> 00:52:53,840
Speaker 3: ditched the family to go off and hang out with

993
00:52:53,880 --> 00:52:57,960
Speaker 3: her teen friends, to go shopping. You can tell that

994
00:52:58,000 --> 00:53:00,799
Speaker 3: she's got teen ideas in my with what to do

995
00:53:00,880 --> 00:53:03,520
Speaker 3: with an empty house, and that is borne out almost

996
00:53:03,520 --> 00:53:06,239
Speaker 3: instantly once the parents go out of town and she

997
00:53:06,360 --> 00:53:10,279
Speaker 3: throws a party. I thought that this party could have

998
00:53:10,360 --> 00:53:15,520
Speaker 3: been just a full blowout nineteen eighties high school party scene,

999
00:53:15,719 --> 00:53:20,040
Speaker 3: but I was struck by the balance of beer and cigarettes,

1000
00:53:20,040 --> 00:53:23,000
Speaker 3: which is happening, but also there's a lot of soda

1001
00:53:23,080 --> 00:53:26,640
Speaker 3: and bowls of chips set out, and something very childish

1002
00:53:26,680 --> 00:53:31,000
Speaker 3: about that too, And it really showed how at that age,

1003
00:53:31,080 --> 00:53:34,319
Speaker 3: and I think Al at this point has shown a

1004
00:53:34,360 --> 00:53:37,399
Speaker 3: little bit of remorse for leaving Glenn high and dry

1005
00:53:37,480 --> 00:53:39,560
Speaker 3: and kind of comes back to include him a little bit.

1006
00:53:40,320 --> 00:53:43,640
Speaker 3: It shows how she's not really completely there like the

1007
00:53:43,680 --> 00:53:45,840
Speaker 3: other teens are, yet there's still a little bit of

1008
00:53:45,880 --> 00:53:48,560
Speaker 3: kid left in her and a little bit of that

1009
00:53:48,640 --> 00:53:49,680
Speaker 3: bridge still.

1010
00:53:49,680 --> 00:53:52,200
Speaker 1: The party has a lot of great eighties hair hit

1011
00:53:52,280 --> 00:53:56,600
Speaker 1: with some eighties fashion. The dog Angus, the sweet old

1012
00:53:56,680 --> 00:53:59,280
Speaker 1: dog that the family has, is going around helping himself

1013
00:53:59,280 --> 00:54:01,239
Speaker 1: to some of the human food, the human snacks that

1014
00:54:01,239 --> 00:54:02,680
Speaker 1: are left laying about.

1015
00:54:02,400 --> 00:54:05,000
Speaker 3: And the boy is not at the party. Terry wants

1016
00:54:05,040 --> 00:54:08,480
Speaker 3: to be in the party, but Glenn's got them up

1017
00:54:08,520 --> 00:54:10,560
Speaker 3: in the room. He knows that Al doesn't want him

1018
00:54:10,600 --> 00:54:13,080
Speaker 3: down at the party. Terry's trying to talk him into it.

1019
00:54:13,320 --> 00:54:16,759
Speaker 3: They're working on this geode. Terry can't crack it for

1020
00:54:16,760 --> 00:54:19,440
Speaker 3: some reason, and then Glenn takes a shot at it

1021
00:54:19,480 --> 00:54:23,359
Speaker 3: and succeeds almost instantly. Yeah, cracks open and let's out

1022
00:54:23,480 --> 00:54:25,240
Speaker 3: kind of a sigh of gas.

1023
00:54:25,320 --> 00:54:28,719
Speaker 1: Right, Yeah, it's like purple smoke, purple lights. When they

1024
00:54:28,719 --> 00:54:31,839
Speaker 1: start looking at it, it's sparkly like geodes typically are,

1025
00:54:31,880 --> 00:54:35,560
Speaker 1: but it's purple light, sparkly, like it's emitting its own light.

1026
00:54:36,040 --> 00:54:38,359
Speaker 1: And then also it seems to have left some sort

1027
00:54:38,360 --> 00:54:41,239
Speaker 1: of satanic message on their magic slate that they have.

1028
00:54:41,280 --> 00:54:44,200
Speaker 1: They're the one where you pull up the the I

1029
00:54:44,200 --> 00:54:45,880
Speaker 1: don't even know if they still have these around, but

1030
00:54:45,920 --> 00:54:48,520
Speaker 1: they were definitely a big part of my childhood.

1031
00:54:48,719 --> 00:54:51,120
Speaker 3: Yeah, it's like that flimsy layer of plastic that you

1032
00:54:51,120 --> 00:54:54,160
Speaker 3: can write a message into and it'll kind of magnetize.

1033
00:54:54,200 --> 00:54:57,279
Speaker 3: That's the wrong word, but stick with something darker underneath it.

1034
00:54:57,640 --> 00:55:02,040
Speaker 1: Yeah, it barely works. It was I remember loving these,

1035
00:55:02,040 --> 00:55:04,360
Speaker 1: and you could they were sometimes branded with different TV

1036
00:55:04,440 --> 00:55:07,880
Speaker 1: shows and whatnot that they barely worked. Anything you'd write

1037
00:55:07,920 --> 00:55:09,360
Speaker 1: in it or draw in it would kind of like

1038
00:55:09,520 --> 00:55:14,240
Speaker 1: unstick and become unclear. So really, the demons here trying

1039
00:55:14,280 --> 00:55:17,640
Speaker 1: to reach out and converse with humans through this medium.

1040
00:55:17,880 --> 00:55:18,920
Speaker 1: It was a poor choice.

1041
00:55:19,000 --> 00:55:21,600
Speaker 3: Yeah, it barely works here. You can barely make out

1042
00:55:21,640 --> 00:55:24,560
Speaker 3: that there is an incantation. I kept thinking that one

1043
00:55:24,560 --> 00:55:26,600
Speaker 3: of the kids had written something and just done a

1044
00:55:26,600 --> 00:55:29,280
Speaker 3: bad job at it. But it is the demon speech.

1045
00:55:29,440 --> 00:55:34,359
Speaker 3: They picked the objectively the worst tool to communicate with.

1046
00:55:34,800 --> 00:55:38,880
Speaker 1: Meanwhile, downstairs, the party has has gone on to the

1047
00:55:38,920 --> 00:55:40,839
Speaker 1: next level, which is storytelling.

1048
00:55:41,040 --> 00:55:44,440
Speaker 3: Yeah, the camera pans across and there's a group of

1049
00:55:44,480 --> 00:55:48,680
Speaker 3: about twenty teenagers sitting around listening to one teenager tell

1050
00:55:48,719 --> 00:55:51,240
Speaker 3: a scary story which is like a camp fire style

1051
00:55:51,400 --> 00:55:56,200
Speaker 3: scary story, not even specifically or related to them or

1052
00:55:56,200 --> 00:55:59,320
Speaker 3: related to their lives, just a very kind of hokey

1053
00:55:59,560 --> 00:56:05,520
Speaker 3: scary story. Candle light all over the room, these party

1054
00:56:05,560 --> 00:56:08,439
Speaker 3: animals who are throwing down so hard just moments ago.

1055
00:56:08,960 --> 00:56:11,279
Speaker 3: I can't imagine what the transition would have been to

1056
00:56:12,040 --> 00:56:14,359
Speaker 3: candlelight scary story time. But that's where they.

1057
00:56:14,280 --> 00:56:16,719
Speaker 1: Are, yeah, because there doesn't seem to be a clear

1058
00:56:16,800 --> 00:56:19,480
Speaker 1: leader of the party and we don't see al commanding

1059
00:56:19,520 --> 00:56:22,200
Speaker 1: them all right story time, But the next time we

1060
00:56:22,280 --> 00:56:25,480
Speaker 1: check in with them, they've moved on to attempting levitation.

1061
00:56:26,960 --> 00:56:30,800
Speaker 1: And it gets pretty plot oriented here because one of

1062
00:56:30,840 --> 00:56:34,080
Speaker 1: the jockeyer teens that they can't get him to levitate,

1063
00:56:34,120 --> 00:56:35,840
Speaker 1: and he's like, well, let's get He sees Glenn and

1064
00:56:35,920 --> 00:56:37,480
Speaker 1: Terry coming by. It's like, well, let's make him do it,

1065
00:56:37,560 --> 00:56:41,560
Speaker 1: let's get the little guy, and he agrees, but it

1066
00:56:41,560 --> 00:56:44,200
Speaker 1: gets scary pretty quickly. This is where we get into

1067
00:56:44,239 --> 00:56:46,680
Speaker 1: that weird area and we have to ask the question

1068
00:56:46,800 --> 00:56:50,279
Speaker 1: is Glenn magic? Because Glenn actually does levitate and he

1069
00:56:50,320 --> 00:56:52,680
Speaker 1: ends up hanging on to a light. The light breaks

1070
00:56:52,760 --> 00:56:55,200
Speaker 1: and it's scary and Glenn runs off crying.

1071
00:56:55,520 --> 00:56:57,840
Speaker 3: Yeah. He goes like full Wonka with the fizzy lifting

1072
00:56:57,920 --> 00:56:59,960
Speaker 3: drinks and like you can't stop, and keeps kind of

1073
00:57:00,080 --> 00:57:02,520
Speaker 3: going up and going up, and then does break the glass,

1074
00:57:02,520 --> 00:57:05,840
Speaker 3: which I guess breaks the spell somehow, falls down, gets

1075
00:57:05,880 --> 00:57:09,120
Speaker 3: really embarrassed and cries, which, again like the way he

1076
00:57:09,160 --> 00:57:12,000
Speaker 3: plays these these childlike moments, the way he plays his

1077
00:57:12,080 --> 00:57:15,440
Speaker 3: excitement at being asked to come and participate in the levitation.

1078
00:57:16,440 --> 00:57:18,960
Speaker 3: They're so authentic and he does such a great job

1079
00:57:19,000 --> 00:57:19,840
Speaker 3: at delivering those.

1080
00:57:20,480 --> 00:57:22,040
Speaker 1: Yeah. I think this was the point in the film

1081
00:57:22,040 --> 00:57:24,160
Speaker 1: where I really started realizing that when you have the

1082
00:57:24,160 --> 00:57:27,600
Speaker 1: moment of him crying, you know, like a child, but

1083
00:57:27,800 --> 00:57:32,560
Speaker 1: also kind of unlike action oriented child characters in movies

1084
00:57:32,720 --> 00:57:36,040
Speaker 1: typically of this caliber, they seem to really take the

1085
00:57:37,000 --> 00:57:40,960
Speaker 1: take him seriously. Yeah, them together so he's up in

1086
00:57:41,000 --> 00:57:43,080
Speaker 1: his room crying. All and Terry come up to sort

1087
00:57:43,080 --> 00:57:46,160
Speaker 1: of talk him down. Glenn says, I want to call

1088
00:57:46,200 --> 00:57:49,600
Speaker 1: mom and dad, and All insists that it's not necessary.

1089
00:57:49,800 --> 00:57:52,360
Speaker 1: But me, I'm watching this and as a parent, I'm thinking, no,

1090
00:57:52,520 --> 00:57:55,080
Speaker 1: you shouldn't call mom and dad, Like lights have been

1091
00:57:55,120 --> 00:57:58,520
Speaker 1: broken at this point, mom and dad should be called.

1092
00:57:58,640 --> 00:58:02,040
Speaker 3: But ol overrules and I think Glenn speaks to this,

1093
00:58:02,160 --> 00:58:06,000
Speaker 3: but the focus is so not on the fact that

1094
00:58:06,040 --> 00:58:08,760
Speaker 3: this child has levitated off of the ground up to

1095
00:58:08,800 --> 00:58:11,760
Speaker 3: the ceiling, like nobody else acknowledges or it seems to

1096
00:58:11,840 --> 00:58:15,160
Speaker 3: care about that. And to me, that is like, don't

1097
00:58:15,200 --> 00:58:18,040
Speaker 3: just call your parents, Like everybody's gotta go. We got

1098
00:58:18,040 --> 00:58:19,960
Speaker 3: to get everybody out of this house. We've got to

1099
00:58:20,000 --> 00:58:23,360
Speaker 3: get over to Missus vander Griff's house, get away from

1100
00:58:23,360 --> 00:58:29,640
Speaker 3: that situation. And it, you know, it speaks to this

1101
00:58:29,720 --> 00:58:33,040
Speaker 3: recurring sentiment that I had throughout the movie of what

1102
00:58:33,360 --> 00:58:37,480
Speaker 3: are these demons trying to do? Are these just the

1103
00:58:37,520 --> 00:58:40,000
Speaker 3: effects of opening the gate and they're just being a

1104
00:58:40,040 --> 00:58:44,240
Speaker 3: little bit more of a ethereal state to the world

1105
00:58:44,240 --> 00:58:47,560
Speaker 3: around the house, or are they trying to be scared?

1106
00:58:47,560 --> 00:58:50,800
Speaker 3: Are they trying to be manipulated. Is something intentional happening

1107
00:58:50,840 --> 00:58:51,280
Speaker 3: to them?

1108
00:58:51,560 --> 00:58:53,960
Speaker 1: Yeah? Yeah, and we never get a real and it's

1109
00:58:54,040 --> 00:58:56,040
Speaker 1: kind of nice that they keep it ambiguous. Nobody ever,

1110
00:58:56,280 --> 00:58:57,760
Speaker 1: like it would have been a different type of film

1111
00:58:57,760 --> 00:59:01,680
Speaker 1: if what's your name, Missus Vanderbeek, Missus vander Griff, mister

1112
00:59:01,760 --> 00:59:03,840
Speaker 1: Vandergriff were to show up at one point and it

1113
00:59:03,880 --> 00:59:06,680
Speaker 1: turns out, Oh, she's actually like a Mary Poppins demon

1114
00:59:06,680 --> 00:59:09,040
Speaker 1: fighter and she's like, look, the demons are trying to

1115
00:59:09,040 --> 00:59:10,960
Speaker 1: inspire your fear, which they feed off of, and then

1116
00:59:10,960 --> 00:59:12,720
Speaker 1: they use the energy the fear to open the gate.

1117
00:59:12,960 --> 00:59:14,680
Speaker 1: And then she's like, you know, killed by a demon

1118
00:59:14,880 --> 00:59:17,440
Speaker 1: before she can help. But we don't get that, and

1119
00:59:17,720 --> 00:59:18,760
Speaker 1: I kind of like that we don't.

1120
00:59:19,080 --> 00:59:22,600
Speaker 3: Yeah, yeah, I think it leaves it a lot more ambiguous,

1121
00:59:22,640 --> 00:59:26,440
Speaker 3: but also just leave space for fun and that's what

1122
00:59:26,440 --> 00:59:27,360
Speaker 3: this movie delivers.

1123
00:59:27,600 --> 00:59:30,280
Speaker 1: And when you think fun, you think sleepovers, and we

1124
00:59:30,320 --> 00:59:32,480
Speaker 1: get the first of many sleepovers at this point.

1125
00:59:32,600 --> 00:59:37,760
Speaker 3: Yeah, Terry wakes up. I believe Terry is the first

1126
00:59:37,760 --> 00:59:38,280
Speaker 3: to wake up.

1127
00:59:38,360 --> 00:59:41,680
Speaker 1: Correct Terry's sleeping over. Like it's kind of like Al's solutions,

1128
00:59:41,720 --> 00:59:43,240
Speaker 1: Like we're not going to call mom and dad, but

1129
00:59:43,280 --> 00:59:44,680
Speaker 1: you know, Terry can sleep over.

1130
00:59:44,920 --> 00:59:48,320
Speaker 3: There's a very cool effect happening at the transition to

1131
00:59:48,400 --> 00:59:51,680
Speaker 3: the scene where it is the moths that are surrounding

1132
00:59:51,720 --> 00:59:54,440
Speaker 3: the bug zapper outside of the window or being projected

1133
00:59:54,480 --> 00:59:57,040
Speaker 3: onto the wall of the bedroom, and it's a stop

1134
00:59:57,080 --> 00:59:59,920
Speaker 3: motion effect that's really really effective. It makes the mall

1135
01:00:00,200 --> 01:00:05,400
Speaker 3: this look enormous and it really Chef's kiss to that one.

1136
01:00:05,640 --> 01:00:08,240
Speaker 1: Yeah. Yeah, something unsettling is happening, and you see it

1137
01:00:08,280 --> 01:00:12,960
Speaker 1: reflected in nature before things start getting really weird, and

1138
01:00:13,000 --> 01:00:14,720
Speaker 1: then they get really weird pretty quickly.

1139
01:00:15,200 --> 01:00:18,000
Speaker 3: Yeah, Terry has dreams of his mother. I think he

1140
01:00:18,400 --> 01:00:22,120
Speaker 3: wakes up and here's her calling him. I think, yeah,

1141
01:00:22,760 --> 01:00:24,760
Speaker 3: goes downstairs, opens.

1142
01:00:24,320 --> 01:00:26,360
Speaker 1: And she Yeah, she walks in and it's like an

1143
01:00:26,400 --> 01:00:30,280
Speaker 1: angelic scene where there's like smoke and white light and

1144
01:00:30,320 --> 01:00:32,640
Speaker 1: she holds up her arms and she's like like, Terry,

1145
01:00:32,680 --> 01:00:33,400
Speaker 1: I'm back.

1146
01:00:33,480 --> 01:00:39,320
Speaker 3: And he engages in a awkwardly long embrace with his

1147
01:00:39,360 --> 01:00:43,600
Speaker 3: mother where they spin around. And then I believe that

1148
01:00:44,360 --> 01:00:49,360
Speaker 3: that Glenn and Al wake up and do they hear something?

1149
01:00:49,440 --> 01:00:51,400
Speaker 3: Do they for some reason they get up and they

1150
01:00:51,400 --> 01:00:52,560
Speaker 3: come out to investigate.

1151
01:00:52,880 --> 01:00:55,360
Speaker 1: There's like a sound and then there's like stuff moving

1152
01:00:55,400 --> 01:00:57,520
Speaker 1: around in the walls, you know, kind of like Freddy

1153
01:00:57,560 --> 01:01:01,160
Speaker 1: Krueger's style, where it's like poking up the walls, and

1154
01:01:02,040 --> 01:01:04,560
Speaker 1: the walls were made out of rubber, and so everything's

1155
01:01:04,560 --> 01:01:07,280
Speaker 1: getting freaky, and so Glenn and Al come out, or

1156
01:01:07,320 --> 01:01:09,920
Speaker 1: Glenn comes out, Al hears this, or Al comes out,

1157
01:01:10,040 --> 01:01:12,440
Speaker 1: or he wakes Al up, and then there's Glenn down

1158
01:01:12,480 --> 01:01:15,880
Speaker 1: there and well, and then it gets even weirder.

1159
01:01:16,000 --> 01:01:18,920
Speaker 3: Yeah, they call his name, and he kind of snaps

1160
01:01:18,960 --> 01:01:22,400
Speaker 3: out of his dream or sleep and realizes that he's

1161
01:01:22,400 --> 01:01:25,480
Speaker 3: holding Angus the dog in his arms. And this is

1162
01:01:25,520 --> 01:01:29,200
Speaker 3: the point where I'll confess to being a little bit confused.

1163
01:01:29,880 --> 01:01:33,200
Speaker 3: He throws the dog down because he's surprised that it's

1164
01:01:33,200 --> 01:01:38,640
Speaker 3: not his mother justifiable. The dog is dead, and I

1165
01:01:38,680 --> 01:01:44,400
Speaker 3: cannot figure out was Angus dead while Terry was holding him.

1166
01:01:44,920 --> 01:01:48,720
Speaker 3: Did Terry throwing Angus down kill him. I'm not even

1167
01:01:48,760 --> 01:01:52,120
Speaker 3: going to get into at what point was Angus in

1168
01:01:52,240 --> 01:01:55,320
Speaker 3: the situation, because I don't think Angus opened the door

1169
01:01:55,360 --> 01:01:58,760
Speaker 3: and walked in on two hind legs, you know. I imagine

1170
01:01:58,600 --> 01:02:02,520
Speaker 3: that Terry picked Angus up at some point to at

1171
01:02:02,560 --> 01:02:04,920
Speaker 3: the point he needed to hug something. Would be my

1172
01:02:05,040 --> 01:02:07,760
Speaker 3: take on it. But what are your thoughts. Did Terry

1173
01:02:08,280 --> 01:02:11,680
Speaker 3: accidentally kill the dog or was the dog dead? Slash

1174
01:02:11,760 --> 01:02:13,080
Speaker 3: did the demon kill the dog?

1175
01:02:13,480 --> 01:02:16,120
Speaker 1: I am absolutely not gonna lump this one on Terry.

1176
01:02:16,160 --> 01:02:20,440
Speaker 1: I think it had to be the demon. Nobody blames

1177
01:02:20,560 --> 01:02:23,080
Speaker 1: Terry for this in the film. Later on, when they're

1178
01:02:23,080 --> 01:02:26,880
Speaker 1: talking about it, Glenn's like ingus was super old. They

1179
01:02:26,880 --> 01:02:30,880
Speaker 1: don't live much longer than this anyway. So other than that,

1180
01:02:30,920 --> 01:02:33,160
Speaker 1: they don't really engage with the whole scenario too much.

1181
01:02:33,720 --> 01:02:36,640
Speaker 1: But either way that the dog is the dog is dead.

1182
01:02:37,240 --> 01:02:39,160
Speaker 1: And I will say that I know a lot of

1183
01:02:39,200 --> 01:02:41,000
Speaker 1: people do not want to watch a film in which

1184
01:02:41,000 --> 01:02:44,840
Speaker 1: a dog dies, at least in this film, when the

1185
01:02:44,880 --> 01:02:48,240
Speaker 1: dog dies, like everything else we've been discussing, they take

1186
01:02:48,240 --> 01:02:51,240
Speaker 1: it seriously like people are affected by it. It's actually

1187
01:02:51,240 --> 01:02:53,080
Speaker 1: part of the plot and it's not just like, let's

1188
01:02:53,120 --> 01:02:55,600
Speaker 1: shock that audience by having a monster eat a dog.

1189
01:02:55,880 --> 01:02:58,480
Speaker 3: That's right. They don't spend a lot of time showing

1190
01:02:58,520 --> 01:03:01,080
Speaker 3: it either. I think they There is a weird bit

1191
01:03:01,280 --> 01:03:06,320
Speaker 3: where Al's boyfriend or suitor offers to take the dog

1192
01:03:06,440 --> 01:03:10,520
Speaker 3: to be cremated or buried but cannot do it, and

1193
01:03:10,560 --> 01:03:12,680
Speaker 3: he's kind of carrying the dog around in a blanket

1194
01:03:12,680 --> 01:03:14,600
Speaker 3: this entire time, puts it in the front seat of

1195
01:03:14,640 --> 01:03:18,360
Speaker 3: the car, tries to drive it to the animal shelter

1196
01:03:18,520 --> 01:03:21,320
Speaker 3: or the animal hospital, and then it's closed and has

1197
01:03:21,360 --> 01:03:23,840
Speaker 3: to drive back. We're not there yet, but I agree

1198
01:03:23,920 --> 01:03:27,720
Speaker 3: they do do it very sensitively and delicately, and most

1199
01:03:27,720 --> 01:03:29,280
Speaker 3: of all, they spend a lot of time on how

1200
01:03:29,320 --> 01:03:33,920
Speaker 3: Glenn feels about it and how upset he is by this.

1201
01:03:34,400 --> 01:03:37,840
Speaker 1: And again he's like, look, how the dog has died.

1202
01:03:37,920 --> 01:03:40,040
Speaker 1: We should call mom and dad. And she's like, nope,

1203
01:03:40,160 --> 01:03:42,600
Speaker 1: no need to call mom and dad. And again I'm

1204
01:03:42,600 --> 01:03:44,680
Speaker 1: thinking is especially as the parents like no, you call

1205
01:03:44,840 --> 01:03:47,800
Speaker 1: mom and dad, Like the light is broken, the dog

1206
01:03:47,920 --> 01:03:50,120
Speaker 1: is dead. Call mom and dad and at least let

1207
01:03:50,160 --> 01:03:52,960
Speaker 1: them know, because I think, for a while there I'm

1208
01:03:52,960 --> 01:03:55,000
Speaker 1: not even clear that there. I was like, would they

1209
01:03:55,000 --> 01:03:57,280
Speaker 1: do with the dog? Is he in the freezer? It

1210
01:03:57,320 --> 01:04:00,440
Speaker 1: only becomes clear later that one of the team friends

1211
01:04:00,440 --> 01:04:04,400
Speaker 1: has been tasked with taking the dog unceremoniously to like

1212
01:04:04,720 --> 01:04:07,960
Speaker 1: the animal shelter or whatever, to have it disposed of.

1213
01:04:08,280 --> 01:04:10,280
Speaker 3: And to be quick about it, because they're going to

1214
01:04:10,320 --> 01:04:12,360
Speaker 3: the beach and they want him to join them at

1215
01:04:12,400 --> 01:04:15,840
Speaker 3: the beach. Sooner than later. Yeah, so it's a weird

1216
01:04:16,720 --> 01:04:19,960
Speaker 3: friendly gesture. It's weird that Al isn't going with him

1217
01:04:19,960 --> 01:04:22,520
Speaker 3: on this trip, and it's weird that they want him

1218
01:04:22,560 --> 01:04:24,680
Speaker 3: to be quick about it. It is a little bit

1219
01:04:24,720 --> 01:04:28,200
Speaker 3: strange how removed Al is from the situation. She doesn't

1220
01:04:28,200 --> 01:04:31,280
Speaker 3: seem nearly as upset about this as Glenn does. And

1221
01:04:31,360 --> 01:04:33,560
Speaker 3: maybe it's because she doesn't want to think about these

1222
01:04:33,600 --> 01:04:36,360
Speaker 3: things that are happening. Kind of a Stephen king It

1223
01:04:36,760 --> 01:04:39,640
Speaker 3: level of a grown ups not thinking about this the

1224
01:04:39,680 --> 01:04:42,000
Speaker 3: same way that a kid is. But again, she's on

1225
01:04:42,040 --> 01:04:44,800
Speaker 3: that bridge between childhood and being a grown up, so

1226
01:04:45,040 --> 01:04:48,280
Speaker 3: she's on and off with her sensitivity to it.

1227
01:04:48,560 --> 01:04:52,960
Speaker 1: Yeah, and yeah, sometimes something strange or traumatic happens, you

1228
01:04:53,000 --> 01:04:54,480
Speaker 1: got to get your mind off of it, which is

1229
01:04:54,520 --> 01:04:57,720
Speaker 1: what this is what Glenn does. Because Glenn goes home.

1230
01:04:57,720 --> 01:05:00,280
Speaker 1: We get to see Glenn's home at this point that

1231
01:05:00,360 --> 01:05:02,480
Speaker 1: it is a wreck. The living room is just like

1232
01:05:02,720 --> 01:05:05,200
Speaker 1: in the kitchen just has stuff everywhere. There's cold pizza

1233
01:05:05,200 --> 01:05:07,520
Speaker 1: out and he just grabs a slice and eats it,

1234
01:05:07,560 --> 01:05:09,800
Speaker 1: presumably for dinner, and we get the idea that like

1235
01:05:09,840 --> 01:05:12,040
Speaker 1: this is kind of par for the course these days.

1236
01:05:13,160 --> 01:05:16,120
Speaker 1: Home is not made not all that great for Glenn

1237
01:05:16,120 --> 01:05:18,280
Speaker 1: at the moment, but then he goes to his room

1238
01:05:18,360 --> 01:05:20,520
Speaker 1: and it is a glorious site. We described it a

1239
01:05:20,520 --> 01:05:25,040
Speaker 1: little bit already, but it's Transformer's Optimus Prime kite hanging

1240
01:05:25,040 --> 01:05:29,000
Speaker 1: from the ceiling, heavy metal posters on the walls, many

1241
01:05:29,040 --> 01:05:31,080
Speaker 1: of which appear to be real. I do get kind

1242
01:05:31,080 --> 01:05:33,320
Speaker 1: of a clip art vibe from some things that are

1243
01:05:33,360 --> 01:05:35,520
Speaker 1: on the wall, but for the most part, it's believable.

1244
01:05:36,240 --> 01:05:39,320
Speaker 1: And he even has a handmade banner back there that

1245
01:05:39,440 --> 01:05:40,400
Speaker 1: just says metal.

1246
01:05:42,280 --> 01:05:44,520
Speaker 3: I think the thing that really says the most about

1247
01:05:44,520 --> 01:05:47,520
Speaker 3: his character to me is the posters on top of posters, yeah,

1248
01:05:47,560 --> 01:05:50,520
Speaker 3: which is a very genuine kid thing of Hey, I

1249
01:05:50,600 --> 01:05:52,600
Speaker 3: like these, and I'm gonna put another one up and

1250
01:05:52,640 --> 01:05:55,040
Speaker 3: it's gonna cover a quarter of it, but that's okay.

1251
01:05:55,080 --> 01:05:57,080
Speaker 3: It's gonna be at an angle. But this is the

1252
01:05:57,120 --> 01:05:58,919
Speaker 3: band that I really like at this moment. I don't

1253
01:05:58,960 --> 01:06:01,560
Speaker 3: not like the band that it's so it just kind

1254
01:06:01,560 --> 01:06:04,479
Speaker 3: of becomes this ever growing patchwork of stuff. But yeah,

1255
01:06:04,520 --> 01:06:06,800
Speaker 3: just a filthy room. He's jumping up and down on

1256
01:06:06,840 --> 01:06:09,640
Speaker 3: the bed, rocking out, listening to some metal. Do we

1257
01:06:09,720 --> 01:06:10,720
Speaker 3: know the name of this band?

1258
01:06:11,440 --> 01:06:15,160
Speaker 1: I think this is supposed to be the fictitious band

1259
01:06:15,960 --> 01:06:21,800
Speaker 1: Sacrifice or Sacrifice. It's s a c R I F

1260
01:06:22,040 --> 01:06:26,920
Speaker 1: y X. The album is the Dark Book because we

1261
01:06:27,040 --> 01:06:28,800
Speaker 1: see him handling it. But yeah, wait, at first, he

1262
01:06:28,920 --> 01:06:31,720
Speaker 1: just he throws a blanket over, like a rainbow blanket

1263
01:06:31,760 --> 01:06:34,880
Speaker 1: over his shoulders, and he's rocking out and he's he's

1264
01:06:34,960 --> 01:06:39,440
Speaker 1: lip syncing to all the cool metal voiceover stuff in it.

1265
01:06:39,640 --> 01:06:41,560
Speaker 1: But then it begins to dawn on him. It's like

1266
01:06:41,560 --> 01:06:43,760
Speaker 1: there's something in these lyrics. It's matching up with what

1267
01:06:44,160 --> 01:06:46,439
Speaker 1: is going on in the neighborhood here. That's what's going

1268
01:06:46,480 --> 01:06:49,800
Speaker 1: on over at Glenn's house. He busts out that that

1269
01:06:49,920 --> 01:06:54,640
Speaker 1: Sacrifice album and the record booklet for the Dark Book

1270
01:06:55,040 --> 01:06:57,600
Speaker 1: is the Dark Book. It's like basically a tone of

1271
01:06:57,640 --> 01:07:01,120
Speaker 1: demonology that's just ready to go in the vinyl record.

1272
01:07:02,000 --> 01:07:05,680
Speaker 3: Just imagine put it yourselves in the in the in

1273
01:07:05,720 --> 01:07:11,240
Speaker 3: the shoes of whatever necromancer or wizard this was who

1274
01:07:11,280 --> 01:07:16,280
Speaker 3: wrote this demonic tone of how to presumably both release

1275
01:07:16,360 --> 01:07:19,960
Speaker 3: and seal these demonic entities. And you call it the

1276
01:07:20,080 --> 01:07:23,720
Speaker 3: Dark Book like it's the Dark Book. It's gonna be

1277
01:07:23,760 --> 01:07:25,720
Speaker 3: the only dark Book that ever exists.

1278
01:07:27,080 --> 01:07:30,000
Speaker 1: Well, maybe it's translated from the Latin. It sounds cooler Latin, you.

1279
01:07:29,960 --> 01:07:33,680
Speaker 3: Know, right, Maybe it's a dark book in Latin, and

1280
01:07:33,720 --> 01:07:35,760
Speaker 3: they acknowledged that they would be more and that this

1281
01:07:35,920 --> 01:07:36,240
Speaker 3: was just.

1282
01:07:36,280 --> 01:07:36,800
Speaker 4: One of them.

1283
01:07:37,160 --> 01:07:39,240
Speaker 1: Yeah, it's also not very long if you can fit

1284
01:07:39,320 --> 01:07:43,840
Speaker 1: it inside of a vinyl record. Maybe there's just Ultimately,

1285
01:07:43,840 --> 01:07:48,000
Speaker 1: the demon summoning ritual is a lot more simplistic in

1286
01:07:48,040 --> 01:07:51,280
Speaker 1: this in this film because it can be actually accidentally done.

1287
01:07:52,320 --> 01:07:55,720
Speaker 3: The demonic realm is kind of a unitask thing is

1288
01:07:55,800 --> 01:07:59,040
Speaker 3: there's just one demonic realm, one demon, and like a

1289
01:07:59,080 --> 01:08:02,200
Speaker 3: can opener, there's one tool to summon and seal it.

1290
01:08:11,120 --> 01:08:12,320
Speaker 1: So at this point in the film there are like

1291
01:08:12,320 --> 01:08:15,680
Speaker 1: a few different things going on at once. We uh,

1292
01:08:16,040 --> 01:08:19,200
Speaker 1: we have the teen dude that's taking the dead dog's

1293
01:08:19,240 --> 01:08:21,919
Speaker 1: body around, trying to drop it off in animal control.

1294
01:08:22,200 --> 01:08:23,720
Speaker 1: Like we said, he comes back to the house with

1295
01:08:23,800 --> 01:08:26,360
Speaker 1: it because they won't take it. Nobody seems to be home.

1296
01:08:26,400 --> 01:08:28,519
Speaker 1: But then he sees he sees that hole in the

1297
01:08:28,520 --> 01:08:30,800
Speaker 1: backyard and we don't see him do it, but then

1298
01:08:30,800 --> 01:08:33,880
Speaker 1: we later see that the hole has been filled in,

1299
01:08:35,120 --> 01:08:38,840
Speaker 1: so presumably he dumps the dog in there, but he

1300
01:08:38,880 --> 01:08:41,280
Speaker 1: does a nice job laying the sod back in place

1301
01:08:41,360 --> 01:08:44,120
Speaker 1: using the sod squares, So it's not as lazy an

1302
01:08:44,160 --> 01:08:45,120
Speaker 1: act as you might think.

1303
01:08:45,720 --> 01:08:47,880
Speaker 3: I do wanna you know, I have in my notes

1304
01:08:47,920 --> 01:08:49,479
Speaker 3: here at this point in the film, and I'm not

1305
01:08:49,520 --> 01:08:51,280
Speaker 3: sure if it's in this scene or a scene that

1306
01:08:51,680 --> 01:08:54,080
Speaker 3: we just went past, but you know, a lot of

1307
01:08:54,080 --> 01:08:56,679
Speaker 3: the kids insults to each other are pretty unacceptable, pretty

1308
01:08:56,720 --> 01:09:00,439
Speaker 3: unforgivable then and now. But one that that shines through

1309
01:09:00,760 --> 01:09:04,840
Speaker 3: is quote buzz off clown face, which is delivered directly.

1310
01:09:05,600 --> 01:09:08,520
Speaker 3: I think Glenn says it to one of the sisters,

1311
01:09:09,040 --> 01:09:12,120
Speaker 3: and it's said so sincerely and so earnestly, and it's

1312
01:09:12,160 --> 01:09:17,160
Speaker 3: such a quaint, charming, but no less sharp and cutting

1313
01:09:17,600 --> 01:09:20,479
Speaker 3: insult that I had to make a note of it.

1314
01:09:20,720 --> 01:09:23,840
Speaker 1: Yeah, the kids are and the teens are downright mean

1315
01:09:23,880 --> 01:09:26,000
Speaker 1: with their insults at times. But yeah, certainly some of

1316
01:09:26,000 --> 01:09:29,240
Speaker 1: these insults that are thrown by the kids have not

1317
01:09:29,280 --> 01:09:30,320
Speaker 1: stood the test of time.

1318
01:09:30,560 --> 01:09:34,760
Speaker 3: That's right, that's right. So Glenn's at home alone, he

1319
01:09:34,840 --> 01:09:37,240
Speaker 3: looks out and he sees that the hole is back,

1320
01:09:38,120 --> 01:09:40,639
Speaker 3: and then they pull some wood over it.

1321
01:09:40,880 --> 01:09:44,519
Speaker 1: Yeah, yearehouse. They're like, well, let's covered up.

1322
01:09:45,160 --> 01:09:48,000
Speaker 3: Yeah, I don't understand. I guess that's to keep things

1323
01:09:48,040 --> 01:09:51,960
Speaker 3: from falling into it. This is happening while Eric is bringing.

1324
01:09:51,720 --> 01:09:53,760
Speaker 1: The dog back, right, Oh yeah, I think so.

1325
01:09:54,320 --> 01:09:56,960
Speaker 3: So we're getting kind of a split back and forth

1326
01:09:57,240 --> 01:10:00,759
Speaker 3: take between the two of them. This is where Terry

1327
01:10:00,920 --> 01:10:04,240
Speaker 3: is talking to Glenn about the Dark Book and kind

1328
01:10:04,280 --> 01:10:07,360
Speaker 3: of onboarding him to the concepts. And this is where

1329
01:10:07,920 --> 01:10:11,639
Speaker 3: again Chef's kiss. He puts the record on and plays

1330
01:10:11,640 --> 01:10:14,920
Speaker 3: it backwards, and when you play the record backwards, it

1331
01:10:15,000 --> 01:10:18,439
Speaker 3: tells you how to seal presumably the whole how to

1332
01:10:18,479 --> 01:10:19,080
Speaker 3: seal the gate.

1333
01:10:20,439 --> 01:10:23,680
Speaker 1: Yeah, there's a wonderful scene in Glenn's This is in

1334
01:10:23,800 --> 01:10:26,960
Speaker 1: the basement. This is Terry's basement, right or is this

1335
01:10:26,960 --> 01:10:27,639
Speaker 1: Glenn's basement.

1336
01:10:27,680 --> 01:10:28,759
Speaker 3: I think it's Glenn's basement.

1337
01:10:28,840 --> 01:10:31,600
Speaker 1: Okay, Yeah, there's like a drum kit down there, but

1338
01:10:31,760 --> 01:10:34,160
Speaker 1: more metal posters, like all the metal posters that didn't

1339
01:10:34,200 --> 01:10:37,559
Speaker 1: fit in his room or down here. And he's walking

1340
01:10:37,600 --> 01:10:39,760
Speaker 1: him through everything. He's given him the full pitch on

1341
01:10:39,800 --> 01:10:42,440
Speaker 1: this band about how they were really deep into demonology

1342
01:10:43,000 --> 01:10:45,920
Speaker 1: and they had this thing called the Dark Book quote

1343
01:10:46,040 --> 01:10:48,880
Speaker 1: that's like the Bible for demons. And this is where

1344
01:10:48,880 --> 01:10:51,479
Speaker 1: they got all their lyrics from but yeah, there's this

1345
01:10:51,920 --> 01:10:57,679
Speaker 1: they really stress that this particular metal band sacrifice or sacrifice. Yeah, essentially,

1346
01:10:57,680 --> 01:11:00,640
Speaker 1: they're wise wizards who are giving us information on how

1347
01:11:00,680 --> 01:11:03,680
Speaker 1: to not only summon the old gods, but also how

1348
01:11:03,720 --> 01:11:04,360
Speaker 1: to defeat them.

1349
01:11:04,600 --> 01:11:08,000
Speaker 3: That's right, that's right. It's just that simple. And it's

1350
01:11:09,080 --> 01:11:14,799
Speaker 3: as simple as writing a song with forward sounding lyrics

1351
01:11:14,800 --> 01:11:18,080
Speaker 3: that make sense but also work as backward sounding lyrics

1352
01:11:18,080 --> 01:11:22,559
Speaker 3: that actually impart information difficult, difficult to follow information.

1353
01:11:23,240 --> 01:11:26,360
Speaker 1: So at this point, with their newfound exorcism skills from

1354
01:11:26,360 --> 01:11:28,760
Speaker 1: having listening to listen to this album once and read

1355
01:11:28,800 --> 01:11:31,640
Speaker 1: the liner notes, Glenn and Terry they go back to

1356
01:11:31,680 --> 01:11:33,800
Speaker 1: the pit. They're like, let's go ahead, let's seal this

1357
01:11:33,840 --> 01:11:38,639
Speaker 1: puppy up. Uh and uh, And so they start reading

1358
01:11:38,680 --> 01:11:42,840
Speaker 1: some stuff, reciting some stuff. Al walks up. She's suspicious

1359
01:11:42,880 --> 01:11:45,960
Speaker 1: of this whole affair. But then we transition into this

1360
01:11:46,040 --> 01:11:49,320
Speaker 1: kind of sweet moment where we were we had the

1361
01:11:49,400 --> 01:11:50,920
Speaker 1: understanding that Al was going to go to the beach

1362
01:11:50,920 --> 01:11:54,920
Speaker 1: with their friends, but instead she reveals that no, she's

1363
01:11:54,960 --> 01:11:56,519
Speaker 1: she's not going to go to the beach, and she

1364
01:11:56,680 --> 01:11:59,880
Speaker 1: has a gift that she gives Glenn, this thoughtful gift.

1365
01:12:00,160 --> 01:12:02,360
Speaker 1: Of course, turns out to be more rocket stuff, and

1366
01:12:02,439 --> 01:12:08,080
Speaker 1: so we this brings back this bond between them, some nice,

1367
01:12:09,320 --> 01:12:10,840
Speaker 1: some sweet stuff going on in this scene.

1368
01:12:10,920 --> 01:12:14,280
Speaker 3: Yeah, definitely, And they launched the rocket right after that,

1369
01:12:14,360 --> 01:12:17,400
Speaker 3: and it again is a testament to with all the

1370
01:12:17,400 --> 01:12:20,120
Speaker 3: craziness that's going on, all the weird stuff that's going

1371
01:12:20,160 --> 01:12:22,960
Speaker 3: on in this hole that keeps appearing in the backyard,

1372
01:12:23,560 --> 01:12:28,240
Speaker 3: this levitation, this dead dog, and they're able to just

1373
01:12:28,280 --> 01:12:30,000
Speaker 3: kind of shrug it all off and have a really

1374
01:12:30,080 --> 01:12:34,600
Speaker 3: kid moment where they're launching the rocket together. At this scene,

1375
01:12:35,040 --> 01:12:37,840
Speaker 3: Al does have the rocket patch jacket on as well,

1376
01:12:37,880 --> 01:12:40,479
Speaker 3: so they're both kind of in uniform, just like the

1377
01:12:40,520 --> 01:12:43,840
Speaker 3: picture that Glenn looks at on the wall earlier in

1378
01:12:43,880 --> 01:12:45,200
Speaker 3: the movie. It's a very sweet moment.

1379
01:12:45,400 --> 01:12:48,280
Speaker 1: Now, pretty much from this we transitioned to Al, Terry

1380
01:12:48,280 --> 01:12:51,240
Speaker 1: and Glenn playing cards later that night. But then the

1381
01:12:51,320 --> 01:12:54,360
Speaker 1: Lea sisters come over. So even though the beach party

1382
01:12:54,680 --> 01:12:57,240
Speaker 1: was canceled, the Lee sisters decided to come over and

1383
01:12:57,280 --> 01:12:59,800
Speaker 1: hang out. It looks like there's gonna be There're gonna

1384
01:12:59,800 --> 01:13:03,479
Speaker 1: be yet again more sleepovers, this time dueling sleepovers. The

1385
01:13:03,600 --> 01:13:06,840
Speaker 1: Lice sisters doing a sleepover with Al and then Terry

1386
01:13:06,840 --> 01:13:08,439
Speaker 1: and Glenn doing a sleepover. Of course.

1387
01:13:08,800 --> 01:13:11,120
Speaker 3: Yeah, there's a scene where Glenn and Terry are are

1388
01:13:11,280 --> 01:13:14,680
Speaker 3: messing around in the parents closet and just just a

1389
01:13:14,800 --> 01:13:18,240
Speaker 3: rifle shotgun in the closet that Glenn's picking up and

1390
01:13:18,560 --> 01:13:21,200
Speaker 3: winging around and again very of the time, I'm sure,

1391
01:13:21,840 --> 01:13:23,640
Speaker 3: but so so bizarre y.

1392
01:13:24,800 --> 01:13:27,400
Speaker 1: Yeah, there's a lot, a lot to be dissected about

1393
01:13:27,400 --> 01:13:30,960
Speaker 1: that then, for sure, certainly kind of horrifying to modern viewers.

1394
01:13:30,960 --> 01:13:33,240
Speaker 1: It's like, oh my god, they've gone straight to the gun,

1395
01:13:33,560 --> 01:13:36,760
Speaker 1: Dad's gun in the closet. This will of course be

1396
01:13:36,800 --> 01:13:39,760
Speaker 1: a plot element later on, but we have but we've

1397
01:13:39,840 --> 01:13:40,840
Speaker 1: established it for now.

1398
01:13:41,600 --> 01:13:44,639
Speaker 3: One thing that we kind of glossed over when Glenn,

1399
01:13:44,840 --> 01:13:47,920
Speaker 3: when Terry was onboarding Glenn into the Dark Book and

1400
01:13:47,960 --> 01:13:49,720
Speaker 3: the contents of the Dark Book, is that we do

1401
01:13:49,800 --> 01:13:52,479
Speaker 3: see what I keep referring to in my notes as

1402
01:13:52,520 --> 01:13:57,680
Speaker 3: the minions, not those minions, guys, but actually little humanoid

1403
01:13:57,880 --> 01:14:02,240
Speaker 3: creatures that are probably what ankle now shin shin hid

1404
01:14:02,200 --> 01:14:06,080
Speaker 3: to knee high probably about that. That's the first that

1405
01:14:06,240 --> 01:14:09,320
Speaker 3: we see them kind of recorded in some official record.

1406
01:14:09,680 --> 01:14:12,920
Speaker 1: Yeah, yeah, these little I haven't refer to creatures like

1407
01:14:12,960 --> 01:14:16,120
Speaker 1: this as Gromlins, because there's sort of generic grimlins, but

1408
01:14:16,600 --> 01:14:19,040
Speaker 1: these guys. These guys are tremendous. They're one of my

1409
01:14:19,080 --> 01:14:21,240
Speaker 1: favorite effects from the screen. We see more and more

1410
01:14:21,280 --> 01:14:25,160
Speaker 1: of them as the film proceeds. They're little homunculi dudes

1411
01:14:25,840 --> 01:14:30,439
Speaker 1: with like glassy eyes and little little vampire mouths and

1412
01:14:30,800 --> 01:14:34,160
Speaker 1: pointed ears. They're hairless, and the effects here. You might

1413
01:14:34,200 --> 01:14:37,040
Speaker 1: expect creatures like this to be created via stop motion,

1414
01:14:37,640 --> 01:14:40,960
Speaker 1: but instead it's a force perspective stuff. For the most part,

1415
01:14:41,000 --> 01:14:42,519
Speaker 1: I think there's a puppet here and there, but for

1416
01:14:42,560 --> 01:14:46,960
Speaker 1: the most part, we're looking at multiple costumes worn by

1417
01:14:47,360 --> 01:14:51,640
Speaker 1: presumably full sized adult humans that are then made to

1418
01:14:51,680 --> 01:14:53,919
Speaker 1: look like tiny, scampering, squealing creatures.

1419
01:14:54,280 --> 01:14:56,640
Speaker 3: Yeah, you know, I think there's a combination of the

1420
01:14:56,640 --> 01:14:59,720
Speaker 3: stop motion, there's a combination of well, no, it's the

1421
01:14:59,720 --> 01:15:02,439
Speaker 3: same combination stop motion, and then there's a little bit

1422
01:15:02,439 --> 01:15:05,519
Speaker 3: of force perspective with humans and costumes, and then there's

1423
01:15:05,560 --> 01:15:07,840
Speaker 3: a little bit of that projection that you see a

1424
01:15:07,880 --> 01:15:12,280
Speaker 3: lot of in Ghostbusters or other worldly effects. And I

1425
01:15:12,280 --> 01:15:15,040
Speaker 3: think the projection really stood out to me, because once

1426
01:15:15,080 --> 01:15:17,320
Speaker 3: you see something like that, it's hard to unsee it.

1427
01:15:17,360 --> 01:15:20,920
Speaker 3: But the stop motion and the rubber suits force perspective.

1428
01:15:21,120 --> 01:15:24,400
Speaker 3: I found myself trying to figure out which was which

1429
01:15:24,400 --> 01:15:27,839
Speaker 3: in a lot of cases. And that's that's good effects.

1430
01:15:27,840 --> 01:15:29,720
Speaker 3: And if you ask me, I think if you're if

1431
01:15:29,760 --> 01:15:34,120
Speaker 3: you're even hesitating to be able to tell the difference

1432
01:15:34,120 --> 01:15:36,120
Speaker 3: between the two, they've done their job really, really well.

1433
01:15:36,160 --> 01:15:40,800
Speaker 3: And sometimes they'll be back to back shots of stop

1434
01:15:40,880 --> 01:15:45,439
Speaker 3: motion Gromlin. I like that better than Minion taken right

1435
01:15:45,479 --> 01:15:49,000
Speaker 3: next to a human in the costume looking through large

1436
01:15:49,600 --> 01:15:51,480
Speaker 3: stare banisters.

1437
01:15:51,520 --> 01:15:53,880
Speaker 1: You know, yeah, yeah, it's pretty seamless. I like it.

1438
01:15:54,200 --> 01:15:56,320
Speaker 1: So a lot of a lot of weird stuff is happening,

1439
01:15:56,320 --> 01:15:59,480
Speaker 1: like this is the night of where everything goes haywire,

1440
01:16:00,479 --> 01:16:03,400
Speaker 1: So a lot of different things start occurring, a lot

1441
01:16:03,400 --> 01:16:07,120
Speaker 1: of weird stuff. So something's creeping around the house. A

1442
01:16:07,160 --> 01:16:11,479
Speaker 1: window in Glen's room explodes like something like some force

1443
01:16:11,600 --> 01:16:14,920
Speaker 1: is busted in, so he wakes up Al. I think

1444
01:16:14,960 --> 01:16:16,720
Speaker 1: the Lee sisters get up now, or maybe they stay

1445
01:16:16,720 --> 01:16:18,760
Speaker 1: asleep for a little while, but they go and wake

1446
01:16:18,840 --> 01:16:22,800
Speaker 1: up Terry, and we get this switch this scene where

1447
01:16:22,800 --> 01:16:25,040
Speaker 1: they're trying to wake up Terry and then Terry walks

1448
01:16:25,080 --> 01:16:26,960
Speaker 1: up behind them and he's like, hey, guys, what's up,

1449
01:16:27,400 --> 01:16:30,800
Speaker 1: and we get that Nightmare revealed that, oh, it's the

1450
01:16:30,840 --> 01:16:34,880
Speaker 1: dead dog Angus in the bed in Terry's place, But

1451
01:16:34,960 --> 01:16:37,200
Speaker 1: Terry's there in the room with them. All three are screaming,

1452
01:16:37,560 --> 01:16:41,519
Speaker 1: and then Nightmare monster hands reach out from under the

1453
01:16:41,520 --> 01:16:43,960
Speaker 1: bed and start grabbing their ankles and they're trying to

1454
01:16:44,000 --> 01:16:47,320
Speaker 1: pull al under and it's a really scary scene out

1455
01:16:47,320 --> 01:16:47,799
Speaker 1: of nowhere.

1456
01:16:48,000 --> 01:16:52,160
Speaker 3: Yeah, it's a perfect one two punch of you think,

1457
01:16:52,200 --> 01:16:54,519
Speaker 3: this is the impactful moment when they realize that it's

1458
01:16:54,520 --> 01:16:56,840
Speaker 3: the dog and that somehow the dog is back. Even

1459
01:16:56,880 --> 01:16:59,120
Speaker 3: backing up a little bit more, it's a really impactful

1460
01:16:59,120 --> 01:17:01,519
Speaker 3: moment when the mob are attacking the window and the

1461
01:17:01,520 --> 01:17:02,440
Speaker 3: window shatters.

1462
01:17:02,520 --> 01:17:04,280
Speaker 1: That's right the months to Yeah.

1463
01:17:04,120 --> 01:17:06,519
Speaker 3: Yeah, and then you come up and see Terry, but

1464
01:17:06,560 --> 01:17:09,120
Speaker 3: it's not really Terry, it's Angus. There's a shock moment

1465
01:17:09,160 --> 01:17:11,720
Speaker 3: at that and then at that moment the hands reach

1466
01:17:11,760 --> 01:17:13,280
Speaker 3: out and grab her and it really is a one

1467
01:17:13,360 --> 01:17:15,519
Speaker 3: two three punch that it's thrilling.

1468
01:17:15,880 --> 01:17:18,040
Speaker 1: And so the Lee sisters are up at this point.

1469
01:17:18,200 --> 01:17:20,599
Speaker 1: It's and they realize what they need to do, need

1470
01:17:20,640 --> 01:17:22,960
Speaker 1: to get out of this house, so they run for

1471
01:17:23,040 --> 01:17:26,639
Speaker 1: the front door. They they're actually going out the front door,

1472
01:17:26,960 --> 01:17:30,519
Speaker 1: and then seemingly Mom and Dad show up, but it's

1473
01:17:30,560 --> 01:17:35,439
Speaker 1: not Mom and Dad. These are clearly demonic doubles of

1474
01:17:35,479 --> 01:17:38,920
Speaker 1: mom and Dad. And when who is it? Is it

1475
01:17:38,960 --> 01:17:42,240
Speaker 1: Glenn or is it Al that runs up to Dad here?

1476
01:17:42,439 --> 01:17:44,400
Speaker 3: So Glenn runs up to him. And the reason that

1477
01:17:44,439 --> 01:17:46,680
Speaker 3: I remember this is this kind of kicked off a

1478
01:17:46,720 --> 01:17:50,040
Speaker 3: little bit of the wish fulfillment thing that you're referencing

1479
01:17:50,080 --> 01:17:53,320
Speaker 3: in the Gate too. Terry got it a little bit

1480
01:17:53,360 --> 01:17:56,960
Speaker 3: earlier with his mom during in the dream, and Glenn's

1481
01:17:56,960 --> 01:17:58,719
Speaker 3: getting it a little bit now because he's been wanting

1482
01:17:58,720 --> 01:18:00,960
Speaker 3: to call Mom and Dad this entire movie, and now

1483
01:18:00,960 --> 01:18:02,639
Speaker 3: he comes out on the door and sees them. He's

1484
01:18:02,640 --> 01:18:05,920
Speaker 3: so excited that he runs up to them and pretty quickly,

1485
01:18:05,960 --> 01:18:08,519
Speaker 3: I mean, they can't keep this charade up for very long.

1486
01:18:09,080 --> 01:18:13,320
Speaker 3: The dad's voice transform. He kind of does a you've

1487
01:18:13,360 --> 01:18:19,400
Speaker 3: been bad yeah, and grabs Glenn and tries to squeeze him,

1488
01:18:19,439 --> 01:18:19,840
Speaker 3: choke him.

1489
01:18:19,960 --> 01:18:22,760
Speaker 1: I think it's like that. Yeah, Glynn like reaches up,

1490
01:18:22,840 --> 01:18:26,760
Speaker 1: touches his face, and like Dad's face immediately collapses into

1491
01:18:26,800 --> 01:18:28,880
Speaker 1: a stream of Puss's. It's horrifying.

1492
01:18:29,840 --> 01:18:32,719
Speaker 3: Yeah, it kind of folds inward on itself, Puss comes

1493
01:18:32,720 --> 01:18:35,880
Speaker 3: out of it, he drops Glenn. Glenn backs away from it,

1494
01:18:35,920 --> 01:18:38,880
Speaker 3: and then his head falls off. The Dad's head falls

1495
01:18:38,920 --> 01:18:41,879
Speaker 3: off and shatters on the sidewalk, which is just an amazing,

1496
01:18:41,920 --> 01:18:42,759
Speaker 3: amazing effect.

1497
01:18:43,200 --> 01:18:45,960
Speaker 1: Yeah, they went nuts with these effects above and beyond.

1498
01:18:46,320 --> 01:18:49,439
Speaker 1: But the kids at this point realize, oh, lou better

1499
01:18:49,439 --> 01:18:51,280
Speaker 1: turn around, so they run back into the house. But

1500
01:18:51,320 --> 01:18:53,800
Speaker 1: the house is also where the monsters are, so they

1501
01:18:53,800 --> 01:18:56,559
Speaker 1: go for the back door. And when they're heading out

1502
01:18:56,600 --> 01:18:59,639
Speaker 1: the back door, that's when the Gromlins the little homunkey

1503
01:18:59,680 --> 01:19:03,120
Speaker 1: lie tack and we get the first of many tremendously

1504
01:19:03,160 --> 01:19:06,719
Speaker 1: fun scenes with these little guys scampering around. Yeah.

1505
01:19:06,760 --> 01:19:08,560
Speaker 3: I love it that we get to see him in

1506
01:19:08,600 --> 01:19:12,000
Speaker 3: the flesh. Literally. The combo of stop motion and rear

1507
01:19:12,000 --> 01:19:15,080
Speaker 3: projection is really strong in this sequence. One of their

1508
01:19:15,200 --> 01:19:17,559
Speaker 3: arms gets cut off in a door when the door

1509
01:19:17,640 --> 01:19:20,120
Speaker 3: is shutting. The shot is in the trailer. You see

1510
01:19:20,160 --> 01:19:24,120
Speaker 3: the arm kind of descend down the crack, fall onto

1511
01:19:24,200 --> 01:19:26,839
Speaker 3: the floor, and then turn into kind of these little

1512
01:19:27,240 --> 01:19:31,559
Speaker 3: stop motion worms that kind of skit her off off

1513
01:19:31,960 --> 01:19:35,080
Speaker 3: off camera. They seem like, I want to say, there

1514
01:19:35,120 --> 01:19:38,480
Speaker 3: was a Sesame Street sequence that had these little clamation

1515
01:19:38,600 --> 01:19:42,400
Speaker 3: worms on them, same similar type of effect, but all white,

1516
01:19:42,800 --> 01:19:47,320
Speaker 3: all the same color as the Gromlin, and presumably going

1517
01:19:47,360 --> 01:19:49,280
Speaker 3: to reform the Gromlin somewhere else.

1518
01:19:49,920 --> 01:19:54,479
Speaker 1: Let's see other strange things happen. The phone rings, they

1519
01:19:54,479 --> 01:19:56,320
Speaker 1: pick it up, but it's a demon prank call.

1520
01:19:56,840 --> 01:19:57,080
Speaker 4: Again.

1521
01:19:57,160 --> 01:20:00,320
Speaker 1: We get that dad voice going, you've been bad, and

1522
01:20:00,360 --> 01:20:03,320
Speaker 1: then the phone melts. And I love the you've been

1523
01:20:03,400 --> 01:20:07,200
Speaker 1: bad part because it's such a great demonic exaggeration of

1524
01:20:07,240 --> 01:20:11,280
Speaker 1: a very simplified childhood fear of both doing something bad,

1525
01:20:11,320 --> 01:20:15,040
Speaker 1: having done something bad, but then being caught yeah, and

1526
01:20:15,080 --> 01:20:18,520
Speaker 1: having your parents disappointed or mad at you over it.

1527
01:20:18,520 --> 01:20:21,479
Speaker 3: It's also a line that Sloth uses against Ma for

1528
01:20:21,600 --> 01:20:24,639
Speaker 3: Tlly and Goonies, which happened a couple It came out

1529
01:20:24,640 --> 01:20:26,559
Speaker 3: a couple of years before this, and I kept wondering

1530
01:20:26,560 --> 01:20:28,840
Speaker 3: if that was a reference to it. I think it's

1531
01:20:28,880 --> 01:20:32,799
Speaker 3: a stretch for it to actually be. But that phrase

1532
01:20:32,880 --> 01:20:35,360
Speaker 3: you've been bad is a very short, strong and powerful

1533
01:20:35,360 --> 01:20:37,280
Speaker 3: one that works really well in both movies.

1534
01:20:37,479 --> 01:20:40,040
Speaker 1: Well, at this point in the film, the kids realized, Okay,

1535
01:20:40,040 --> 01:20:41,800
Speaker 1: we tried to running out the front door, didn't work.

1536
01:20:41,840 --> 01:20:44,040
Speaker 1: Tried going out the back door, didn't work. We've got

1537
01:20:44,080 --> 01:20:48,719
Speaker 1: to close the gate. So really, without much more tarrying about,

1538
01:20:48,880 --> 01:20:51,080
Speaker 1: the kids head out back to deal with the gate.

1539
01:20:51,520 --> 01:20:53,840
Speaker 1: The Lee sisters are initially with them, and then they bail.

1540
01:20:53,920 --> 01:20:55,920
Speaker 1: They realize, well, this sounds a bit too dangerous and

1541
01:20:55,960 --> 01:20:58,840
Speaker 1: we're side characters, so we're gonna go back in. So

1542
01:20:58,880 --> 01:21:01,360
Speaker 1: they get to the gate, the eight opens. It's spewing

1543
01:21:01,400 --> 01:21:04,920
Speaker 1: purple smoke in light. Terry tries reading the Bible at

1544
01:21:04,960 --> 01:21:06,360
Speaker 1: it a little bit. They got a Bible out of

1545
01:21:06,360 --> 01:21:08,559
Speaker 1: one of the drawers in the house and it seems

1546
01:21:08,560 --> 01:21:12,200
Speaker 1: to be working, but then the whole swallows Terry up

1547
01:21:12,520 --> 01:21:16,479
Speaker 1: and we get another homuncular attack sequence where Terry is

1548
01:21:16,520 --> 01:21:19,840
Speaker 1: attacked by tiny demons in the hole. They're climbing on him,

1549
01:21:19,880 --> 01:21:22,760
Speaker 1: they're biting him, they're swarming over him and pull it,

1550
01:21:22,840 --> 01:21:25,000
Speaker 1: pulling on his legs as he's trying to climb back out.

1551
01:21:25,120 --> 01:21:27,879
Speaker 3: That's right. I do want to point out a small

1552
01:21:27,960 --> 01:21:32,040
Speaker 3: movie flub here in this scene is that Terry's reading

1553
01:21:32,080 --> 01:21:34,559
Speaker 3: the Bible. He doesn't know what to read. He's saying,

1554
01:21:34,800 --> 01:21:37,880
Speaker 3: you know, he's asking for suggestions. They're saying, just read anything,

1555
01:21:38,200 --> 01:21:40,880
Speaker 3: and so he reads from Genesis, which you know, in

1556
01:21:40,960 --> 01:21:44,280
Speaker 3: the beginning, God created the heaven and the earth, which, okay, yeah,

1557
01:21:44,280 --> 01:21:46,160
Speaker 3: you're gonna pull a random line, like, go for it.

1558
01:21:46,680 --> 01:21:49,240
Speaker 3: But the book he's holding, he's halfway through, and we

1559
01:21:49,320 --> 01:21:51,920
Speaker 3: all know that Genesis is the first book in the Bible,

1560
01:21:52,000 --> 01:21:53,920
Speaker 3: and that this is on the first page of the

1561
01:21:53,920 --> 01:21:56,120
Speaker 3: first book in the Bible. So I'm going to ding

1562
01:21:56,240 --> 01:21:58,040
Speaker 3: these guys a little bit. It's not going to hurt

1563
01:21:58,040 --> 01:22:01,160
Speaker 3: their overall score, but just know that that somebody's watching

1564
01:22:01,200 --> 01:22:02,040
Speaker 3: this sort of thing.

1565
01:22:03,600 --> 01:22:07,040
Speaker 1: Unless they had one of those reverse books where Old

1566
01:22:07,080 --> 01:22:09,160
Speaker 1: Testament comes after New Testament.

1567
01:22:09,200 --> 01:22:13,240
Speaker 3: Right, yeah, yeah, there's the revised Standard. Yeah yeah, but yeah,

1568
01:22:13,520 --> 01:22:15,920
Speaker 3: the minions start to swarm Terry while he's in the hole,

1569
01:22:15,960 --> 01:22:21,360
Speaker 3: and this is a pretty intense moment, particularly for Terry.

1570
01:22:21,880 --> 01:22:24,200
Speaker 3: I might be naive, but I had in my mind,

1571
01:22:24,320 --> 01:22:28,400
Speaker 3: maybe we're misunderstanding these Gromlins. I know, I'm going back

1572
01:22:28,400 --> 01:22:30,719
Speaker 3: and forth between minions and Cromlins. I just can't get

1573
01:22:31,600 --> 01:22:34,880
Speaker 3: the Minions label out of my head. But I thought,

1574
01:22:34,880 --> 01:22:37,759
Speaker 3: maybe we were misunderstanding these guys. Maybe there's a chance

1575
01:22:37,800 --> 01:22:40,160
Speaker 3: that they're helpful or something like that, which is like

1576
01:22:40,200 --> 01:22:42,880
Speaker 3: a wrinkle that they would bring into a horror movie nowadays,

1577
01:22:42,960 --> 01:22:45,960
Speaker 3: you know, like, no, the humans were the monsters, but no,

1578
01:22:46,040 --> 01:22:48,639
Speaker 3: they prove themselves out to be monsters for the first

1579
01:22:48,680 --> 01:22:51,840
Speaker 3: time in this scene where they are actively biting Terry.

1580
01:22:52,040 --> 01:22:55,240
Speaker 3: They're chewing into his flesh, they're chewing into his neck.

1581
01:22:55,640 --> 01:22:58,840
Speaker 3: He's like fending them off, getting away from them, but

1582
01:22:59,080 --> 01:23:00,440
Speaker 3: their numbers are increasing.

1583
01:23:00,720 --> 01:23:04,160
Speaker 1: Yeah, Luckily Alan Glenn are able to get a rope

1584
01:23:04,200 --> 01:23:06,720
Speaker 1: and throw it down the hole. Carry's able to fight

1585
01:23:06,800 --> 01:23:10,000
Speaker 1: him off a good bed. He stomps one of the

1586
01:23:10,120 --> 01:23:13,160
Speaker 1: creature's pretty good. They get him back up out of

1587
01:23:13,200 --> 01:23:15,559
Speaker 1: the pit. They read a little more Bible at the pit,

1588
01:23:15,840 --> 01:23:17,360
Speaker 1: and then they just go ahead and pitch the whole

1589
01:23:17,360 --> 01:23:20,800
Speaker 1: book in and it explodes like a hand grenade, the

1590
01:23:20,920 --> 01:23:22,599
Speaker 1: fire for the moment like they want.

1591
01:23:24,000 --> 01:23:28,160
Speaker 3: And yeah, it closes back up magically and they're sod

1592
01:23:28,160 --> 01:23:31,040
Speaker 3: there too, I think. Don't quote me on that, but

1593
01:23:31,240 --> 01:23:34,800
Speaker 3: they jump up and down in celebration on top of

1594
01:23:34,840 --> 01:23:38,559
Speaker 3: the hole to hell that has just closed up. And

1595
01:23:38,640 --> 01:23:40,400
Speaker 3: I get that they're kids and that they're not thinking

1596
01:23:40,400 --> 01:23:42,280
Speaker 3: this all the way through, but they've been pretty competent

1597
01:23:42,439 --> 01:23:44,320
Speaker 3: so far. It's like, maybe give it a little bit

1598
01:23:44,360 --> 01:23:46,880
Speaker 3: of clearance and give it some time to cool and

1599
01:23:46,960 --> 01:23:47,479
Speaker 3: settle in.

1600
01:23:48,040 --> 01:23:50,280
Speaker 1: That's the advice I give my son. I'm like, look,

1601
01:23:50,680 --> 01:23:52,760
Speaker 1: if you ever open up a pit to hell and

1602
01:23:52,800 --> 01:23:56,000
Speaker 1: you successfully close it up with an explosive bible, don't

1603
01:23:56,040 --> 01:23:58,479
Speaker 1: just start stomping because it can't be one hundred resent

1604
01:23:58,560 --> 01:23:59,800
Speaker 1: sure that it's closed.

1605
01:23:59,880 --> 01:24:02,200
Speaker 3: It thirty to forty five minutes. Go have a snack

1606
01:24:02,280 --> 01:24:03,760
Speaker 3: and see if you still want to jump on the

1607
01:24:03,760 --> 01:24:06,160
Speaker 3: hole in celebration, and then go for it.

1608
01:24:06,240 --> 01:24:17,760
Speaker 1: Yeah, So they go back inside. Eventually they find the

1609
01:24:17,840 --> 01:24:20,720
Speaker 1: Lee sisters hiding in the closet, which I was relieved by,

1610
01:24:20,800 --> 01:24:22,400
Speaker 1: you know, and not that we're super attached to them,

1611
01:24:22,400 --> 01:24:24,679
Speaker 1: but it's nice that they were not murdered by tiny

1612
01:24:24,680 --> 01:24:26,120
Speaker 1: creatures off screen.

1613
01:24:26,960 --> 01:24:31,080
Speaker 3: Comically huge layers of garlic around their necks and they're

1614
01:24:31,120 --> 01:24:34,120
Speaker 3: holding kitchen tools in kind of a cross in front

1615
01:24:34,120 --> 01:24:35,800
Speaker 3: of them. Very funny scene.

1616
01:24:35,600 --> 01:24:37,439
Speaker 1: Very funny, but also it made me think, like how

1617
01:24:37,520 --> 01:24:40,559
Speaker 1: much garlic does this family keep? So like we've got

1618
01:24:40,600 --> 01:24:42,640
Speaker 1: maybe two pieces of garlic in the house at a

1619
01:24:42,680 --> 01:24:47,200
Speaker 1: time that this is like like like three dozen garlic

1620
01:24:47,400 --> 01:24:48,760
Speaker 1: yeah heads.

1621
01:24:48,520 --> 01:24:50,839
Speaker 3: In here, easily thirty to forty heads of garlic.

1622
01:24:51,280 --> 01:24:53,679
Speaker 1: Yeah. So they get them out and then what more

1623
01:24:53,720 --> 01:24:57,000
Speaker 1: teen boys appear. They have shown up with beer, ready

1624
01:24:57,040 --> 01:25:01,160
Speaker 1: to party. Al wisely just sends everybody. She's like, I've

1625
01:25:01,200 --> 01:25:04,160
Speaker 1: had enough surprises for one night. Everybody has to go home.

1626
01:25:04,280 --> 01:25:07,639
Speaker 1: No parties are taking place, and they begrudgingly agree.

1627
01:25:07,720 --> 01:25:10,960
Speaker 3: Yeah, and really, you know, docs some cool points from her,

1628
01:25:11,479 --> 01:25:15,639
Speaker 3: which the teens make clear, and she does not care about.

1629
01:25:15,680 --> 01:25:17,880
Speaker 3: Which good on al. You know, she's finally kind of

1630
01:25:17,880 --> 01:25:21,160
Speaker 3: realizing what's important. And you know, I might suggest she's

1631
01:25:21,200 --> 01:25:22,360
Speaker 3: growing more than they are.

1632
01:25:22,680 --> 01:25:25,719
Speaker 1: Yeah, I think so. I mean, it took an actual

1633
01:25:25,840 --> 01:25:28,479
Speaker 1: portal to hell opening up in the backyard, but still

1634
01:25:28,920 --> 01:25:29,840
Speaker 1: growth appreciated.

1635
01:25:30,120 --> 01:25:36,280
Speaker 3: Yeah, and seeing your father's face caved in and rolling

1636
01:25:36,320 --> 01:25:37,200
Speaker 3: off of his body.

1637
01:25:37,320 --> 01:25:39,280
Speaker 1: But of course it's not over yet. Things are not

1638
01:25:39,280 --> 01:25:42,559
Speaker 1: going to end that simply. Later on Glenn and Terry,

1639
01:25:42,600 --> 01:25:46,240
Speaker 1: they're hanging out, I think in the den. They're kind

1640
01:25:46,240 --> 01:25:49,160
Speaker 1: of horsing around with the geode. It bangs into the wall.

1641
01:25:49,560 --> 01:25:53,960
Speaker 1: Suddenly the wall erupts and this dead workman is hanging

1642
01:25:54,000 --> 01:25:55,920
Speaker 1: half out of the wall. This is the workman from

1643
01:25:56,000 --> 01:25:59,640
Speaker 1: Terry's story about some workman being sealed up dead in

1644
01:25:59,680 --> 01:26:00,599
Speaker 1: the wall of the house.

1645
01:26:00,840 --> 01:26:03,080
Speaker 3: That's right, And this is where Terry reveals that he

1646
01:26:03,160 --> 01:26:06,320
Speaker 3: made that story up, which again another wish fulfillment kind

1647
01:26:06,360 --> 01:26:08,439
Speaker 3: of manifesting. This is less of a wish but more

1648
01:26:08,479 --> 01:26:10,800
Speaker 3: of an idea that was in his head made real.

1649
01:26:12,000 --> 01:26:13,320
Speaker 3: And Terry gets taken.

1650
01:26:13,560 --> 01:26:16,920
Speaker 1: Yeah, the creature comes alive. It's a zombie grabs Terry,

1651
01:26:16,960 --> 01:26:19,080
Speaker 1: pulls him to the wall, and then the wall seals up,

1652
01:26:19,680 --> 01:26:22,960
Speaker 1: so at this point it's just Alan Glenn. They get

1653
01:26:22,960 --> 01:26:25,720
Speaker 1: attacked by the by the workmen. They call him the

1654
01:26:26,040 --> 01:26:29,920
Speaker 1: zombie creature. Again. There's a great scene where they're cornered

1655
01:26:29,920 --> 01:26:34,320
Speaker 1: by the workman. Al throws a boombox at it, hits him,

1656
01:26:34,479 --> 01:26:36,599
Speaker 1: hits the creature in the head, nail or nails him

1657
01:26:36,600 --> 01:26:40,320
Speaker 1: in the face. He falls over and immediately shatters into

1658
01:26:40,360 --> 01:26:42,679
Speaker 1: a whole bunch of these tiny demons are just running around.

1659
01:26:42,760 --> 01:26:48,080
Speaker 3: That's right, that's an amazing scene again in the trailer. Yeah,

1660
01:26:48,720 --> 01:26:52,479
Speaker 3: he's made up of them. Again. I don't want them

1661
01:26:52,520 --> 01:26:54,679
Speaker 3: to explain it to me, but I do want an answer,

1662
01:26:54,880 --> 01:26:56,960
Speaker 3: you know, I'm living in that dual space.

1663
01:26:57,240 --> 01:26:58,800
Speaker 1: So at this point they're like, okay, well we got

1664
01:26:58,800 --> 01:27:00,439
Speaker 1: to go for that gun. Let's get Dad's gun. So

1665
01:27:00,479 --> 01:27:03,960
Speaker 1: they go to the closet. But at this point two

1666
01:27:04,000 --> 01:27:07,480
Speaker 1: things happen in quick succession. That zombie demon Terry attacks,

1667
01:27:07,520 --> 01:27:10,720
Speaker 1: like Terry's head coming out and biting at him. So

1668
01:27:10,800 --> 01:27:14,200
Speaker 1: Al comes in and stabs Zombie Terry in the eye

1669
01:27:14,240 --> 01:27:16,639
Speaker 1: socket with a Barbie doll leg.

1670
01:27:17,000 --> 01:27:21,599
Speaker 3: So good, so good. This is for me scariest moment

1671
01:27:21,640 --> 01:27:24,600
Speaker 3: of the of the film, that, yeah, he's poking his

1672
01:27:24,680 --> 01:27:28,160
Speaker 3: head out there, that he is actually biting, that he

1673
01:27:28,200 --> 01:27:31,479
Speaker 3: has then attacked, that the kids have to attack their

1674
01:27:31,520 --> 01:27:34,439
Speaker 3: own friend. It's just terrifying stuff.

1675
01:27:34,680 --> 01:27:37,040
Speaker 1: Yeah, and the Barbie doll leg part of it is

1676
01:27:37,080 --> 01:27:40,479
Speaker 1: like knowing that baby Barbie doll legs are a little weird, Like,

1677
01:27:40,800 --> 01:27:43,639
Speaker 1: you know, we both had sisters, so both were around

1678
01:27:43,640 --> 01:27:45,639
Speaker 1: Barbie dolls and they have that weird thing where it's

1679
01:27:45,680 --> 01:27:49,479
Speaker 1: like the Barbie doll kind of has like flesh and bone, right,

1680
01:27:49,479 --> 01:27:53,439
Speaker 1: and it has it's it's rigid yet soft, And somehow

1681
01:27:53,520 --> 01:27:56,439
Speaker 1: the idea of it going into an eye socket feels

1682
01:27:56,479 --> 01:28:00,320
Speaker 1: more impactful than if if the zombie Terry had been

1683
01:28:00,320 --> 01:28:02,120
Speaker 1: stabbed with literally anything.

1684
01:28:02,400 --> 01:28:06,000
Speaker 3: Right, And the fact that the Barbie's legs and feet

1685
01:28:06,000 --> 01:28:08,320
Speaker 3: are pretty firm and solid, and that those feed are

1686
01:28:08,360 --> 01:28:11,760
Speaker 3: in particular are pointy that, you know. I had a

1687
01:28:11,800 --> 01:28:15,559
Speaker 3: note that it really shows the tone of the movie

1688
01:28:15,720 --> 01:28:19,080
Speaker 3: and the intended audience of the movie, that this is

1689
01:28:19,120 --> 01:28:22,400
Speaker 3: all pulled up. You never see the barbie go into

1690
01:28:22,439 --> 01:28:26,720
Speaker 3: the eye, you see the wind up, you hear the impact,

1691
01:28:27,000 --> 01:28:29,720
Speaker 3: and then you see the blood soaked barbie leg and

1692
01:28:29,760 --> 01:28:33,600
Speaker 3: the resulting stabbed eye, but you never get it's a

1693
01:28:33,640 --> 01:28:37,160
Speaker 3: punch that's intentionally pulled to be mindful to the audience,

1694
01:28:37,160 --> 01:28:39,920
Speaker 3: and I think it's a really thoughtful one and characterized

1695
01:28:40,720 --> 01:28:42,759
Speaker 3: by many other moments in the movie as well.

1696
01:28:43,200 --> 01:28:46,160
Speaker 1: Now, shortly after this occurs, the workman shows back up again,

1697
01:28:46,640 --> 01:28:49,599
Speaker 1: more chaos. I believe the shotgun goes off, but then

1698
01:28:49,960 --> 01:28:53,920
Speaker 1: the workman grabs al and drags her away into the wall,

1699
01:28:53,960 --> 01:28:56,920
Speaker 1: into the closet wall, and now both of them are gone.

1700
01:28:56,960 --> 01:29:00,080
Speaker 1: It's only Glenn. And earlier in the picture it was said, well,

1701
01:29:00,120 --> 01:29:02,120
Speaker 1: you know the demons, the old gods, they only need

1702
01:29:02,120 --> 01:29:06,720
Speaker 1: two sat human sacrifices in order to fully open the gate. Well,

1703
01:29:06,800 --> 01:29:09,479
Speaker 1: now it looks like they have two human sacrifices, so

1704
01:29:09,560 --> 01:29:10,639
Speaker 1: things are not looking great.

1705
01:29:10,840 --> 01:29:12,640
Speaker 3: That's right, and you get what, for my money, is

1706
01:29:12,680 --> 01:29:15,599
Speaker 3: probably the most impressive set piece of the film, which

1707
01:29:16,080 --> 01:29:20,360
Speaker 3: is Glenn running across this large living room floor of this,

1708
01:29:21,000 --> 01:29:23,800
Speaker 3: like I said earlier, amazing, amazing looking house, and that

1709
01:29:23,880 --> 01:29:26,240
Speaker 3: whole floor opens up as he runs across it, and

1710
01:29:26,280 --> 01:29:28,800
Speaker 3: we see that the entire kind of footprint of the

1711
01:29:28,840 --> 01:29:32,519
Speaker 3: house practically is now the gate and a purple light

1712
01:29:32,640 --> 01:29:34,439
Speaker 3: is coming out of it. Again, that shot is in

1713
01:29:34,479 --> 01:29:34,920
Speaker 3: the trailer.

1714
01:29:35,080 --> 01:29:39,160
Speaker 1: Yeah, yeah, it gives a lot of this away. But yeah,

1715
01:29:39,200 --> 01:29:41,839
Speaker 1: now in this we're getting into the final showdown because

1716
01:29:42,120 --> 01:29:46,080
Speaker 1: at this point I think Glenn seems to realize he's

1717
01:29:46,080 --> 01:29:49,679
Speaker 1: going to need that big rocket and the demon little

1718
01:29:49,680 --> 01:29:52,240
Speaker 1: demons are swarming all over the place, and then this

1719
01:29:52,280 --> 01:29:55,840
Speaker 1: is when the giant Demon Lord arrives. We saw a

1720
01:29:55,920 --> 01:29:58,439
Speaker 1: drawing or a wood cut off him in the liner

1721
01:29:58,520 --> 01:30:02,080
Speaker 1: notes to that heavy metal album in the Dark Book.

1722
01:30:02,360 --> 01:30:04,760
Speaker 1: But now he has arrived and he looks tremendous. This

1723
01:30:04,880 --> 01:30:10,400
Speaker 1: is like a stop motion creature. It looks very original,

1724
01:30:10,439 --> 01:30:12,880
Speaker 1: but also seems like it is like like a fifth

1725
01:30:12,960 --> 01:30:17,920
Speaker 1: level mega evolution all of the little demons and Ray

1726
01:30:17,960 --> 01:30:20,000
Speaker 1: Harry Housen would be proud of this thing. This thing

1727
01:30:20,040 --> 01:30:20,519
Speaker 1: looks great.

1728
01:30:20,800 --> 01:30:23,360
Speaker 3: Totally agree. He looks like a leveled up version of

1729
01:30:23,400 --> 01:30:26,320
Speaker 3: one of those Gromlins. He's got twice the eyes, twice

1730
01:30:26,360 --> 01:30:29,439
Speaker 3: the arms. The second set of arms are much smaller

1731
01:30:29,439 --> 01:30:31,200
Speaker 3: than the first arms. Just a lot of thought went

1732
01:30:31,240 --> 01:30:34,960
Speaker 3: into this creature and the articulations of this creature, and

1733
01:30:35,040 --> 01:30:37,880
Speaker 3: the way that he emerges and arises out of the

1734
01:30:37,920 --> 01:30:41,799
Speaker 3: hole is just an effect that it works just so well.

1735
01:30:42,040 --> 01:30:45,559
Speaker 1: Yeah, and there's like the showdown with the big demon

1736
01:30:45,920 --> 01:30:48,800
Speaker 1: and Glenn. It like grabs Glenn and then weirdly it

1737
01:30:48,920 --> 01:30:52,240
Speaker 1: marks him. It touches him and an eyeball opens and

1738
01:30:52,280 --> 01:30:56,920
Speaker 1: Glenn's palm, which is really well done effect. And it's

1739
01:30:56,920 --> 01:30:59,880
Speaker 1: also just a real shame because Carrie has been taken away.

1740
01:31:00,040 --> 01:31:02,120
Speaker 1: Harry would have loved this. This is what was all

1741
01:31:02,120 --> 01:31:04,800
Speaker 1: get out. And then the demon leaves him. It's kind

1742
01:31:04,840 --> 01:31:07,679
Speaker 1: of like the Demon's like, hey, you had a hand

1743
01:31:07,720 --> 01:31:10,519
Speaker 1: in this, so here you get a special demon gift

1744
01:31:10,560 --> 01:31:12,880
Speaker 1: from me, and you get to live to see the

1745
01:31:12,920 --> 01:31:14,479
Speaker 1: new demon world I get, you know, maybe he's going

1746
01:31:14,520 --> 01:31:15,840
Speaker 1: to be an ambassador. I don't know.

1747
01:31:16,040 --> 01:31:18,400
Speaker 3: Yeah, that's what again. A thing that I couldn't figure

1748
01:31:18,400 --> 01:31:23,040
Speaker 3: out was was the demon rewarding Glenn. Was the demon

1749
01:31:24,520 --> 01:31:27,280
Speaker 3: marking Glenn so that he could see through that eye

1750
01:31:27,320 --> 01:31:30,960
Speaker 3: that's now in Glenn's hand. All we know is that

1751
01:31:32,080 --> 01:31:37,360
Speaker 3: Glenn was spared, the demon retreated, and Glenn looks down

1752
01:31:37,360 --> 01:31:41,599
Speaker 3: and he's just revolted by this eye that's in his hand,

1753
01:31:41,600 --> 01:31:44,559
Speaker 3: which I agree, amazing effect. I don't know how many

1754
01:31:44,560 --> 01:31:47,200
Speaker 3: times I can say amazing effect during this episode, because

1755
01:31:47,240 --> 01:31:50,040
Speaker 3: but there truly are so many amazing effects here.

1756
01:31:50,520 --> 01:31:52,640
Speaker 1: Yeah, and in different different realms, Like this is a

1757
01:31:52,640 --> 01:31:55,360
Speaker 1: different style effect than anything I think we'd seen thus far.

1758
01:31:56,520 --> 01:31:58,760
Speaker 1: It's weird, I guess it. It reminds me a bit

1759
01:31:58,840 --> 01:32:02,759
Speaker 1: of the Steve King's story. I Am the Doorway. Oh yeah,

1760
01:32:02,840 --> 01:32:05,320
Speaker 1: you know, where the guy comes back with eyeballs opening

1761
01:32:05,360 --> 01:32:07,000
Speaker 1: up in his hands, and this is a way for

1762
01:32:07,439 --> 01:32:09,519
Speaker 1: alien entities to see through him.

1763
01:32:09,720 --> 01:32:13,680
Speaker 3: That's right, And I think that that, to me suggested

1764
01:32:13,840 --> 01:32:17,639
Speaker 3: that Glenn was maybe now a minion of the dark one,

1765
01:32:17,760 --> 01:32:21,240
Speaker 3: the larger demon, and maybe was serving as his eyes

1766
01:32:21,320 --> 01:32:23,439
Speaker 3: at least in that space, and that was why he

1767
01:32:23,479 --> 01:32:26,640
Speaker 3: felt like he was no longer needed and retreated. But

1768
01:32:26,920 --> 01:32:30,439
Speaker 3: it's pretty revolting, and it's a very convincing. I can

1769
01:32:30,520 --> 01:32:32,920
Speaker 3: figure out these other effects, I can't figure this one out.

1770
01:32:33,000 --> 01:32:35,280
Speaker 3: I don't know how they pulled this one off.

1771
01:32:35,280 --> 01:32:38,519
Speaker 1: All right, So we get down to the final bit here.

1772
01:32:38,840 --> 01:32:40,960
Speaker 1: So the great Purple Vortex is rising up out of

1773
01:32:41,000 --> 01:32:43,400
Speaker 1: the pit. The demons are cementing their control over the earth.

1774
01:32:43,560 --> 01:32:48,600
Speaker 1: Only Glenn can stop them, one assumes, so if I

1775
01:32:48,600 --> 01:32:50,280
Speaker 1: remember this correctly, the way it goes down as he

1776
01:32:50,320 --> 01:32:54,320
Speaker 1: stabs the palm eyeball, presumably to call the Big Demon back.

1777
01:32:54,360 --> 01:32:57,000
Speaker 1: Big Demon comes back, is on his way back. Meanwhile,

1778
01:32:57,000 --> 01:33:00,320
Speaker 1: Glenn is setting up the launcher for the rocket, big

1779
01:33:00,400 --> 01:33:02,559
Speaker 1: rocket from the closet, but also using part of a

1780
01:33:02,640 --> 01:33:06,560
Speaker 1: rocket kit that Al gave him. He's scrambling for batteries,

1781
01:33:06,880 --> 01:33:08,760
Speaker 1: you know, kind of like the classic must reload of

1782
01:33:08,800 --> 01:33:12,720
Speaker 1: the last second bit from an action film. And I suspense.

1783
01:33:13,040 --> 01:33:16,880
Speaker 1: The Demon Lord returns and Glenn fires the rocket into it.

1784
01:33:16,920 --> 01:33:19,200
Speaker 1: And this is great too, because the rocket has been

1785
01:33:19,360 --> 01:33:22,880
Speaker 1: cemented in the picture already. Is this It's kind of

1786
01:33:22,880 --> 01:33:26,639
Speaker 1: this thing. This represents this loving bond between the siblings,

1787
01:33:27,080 --> 01:33:29,719
Speaker 1: So it makes sense within the context of the film

1788
01:33:29,760 --> 01:33:32,360
Speaker 1: that it's not just a random child weapon. This is

1789
01:33:32,400 --> 01:33:34,960
Speaker 1: not just kid rambo a fighting off a demon like

1790
01:33:35,040 --> 01:33:38,839
Speaker 1: this is something that represents bonds of love and truth

1791
01:33:39,360 --> 01:33:42,559
Speaker 1: that would naturally slay a demon and it does just

1792
01:33:42,600 --> 01:33:46,160
Speaker 1: blows the demon all to glowing pieces. Yeah.

1793
01:33:46,439 --> 01:33:49,120
Speaker 3: I loved the sequence. I do have to admit that

1794
01:33:49,400 --> 01:33:51,600
Speaker 3: this is where the movie started to lose me a

1795
01:33:51,640 --> 01:33:54,559
Speaker 3: little bit, this concept of this being the solution to

1796
01:33:54,640 --> 01:33:58,080
Speaker 3: the problem. I was on board with the demonic incantation.

1797
01:33:58,320 --> 01:34:01,000
Speaker 3: I would have been on board with them finding a

1798
01:34:01,040 --> 01:34:06,160
Speaker 3: way to more articulately work that into a message of

1799
01:34:06,200 --> 01:34:09,200
Speaker 3: love and light. I think I like the idea of

1800
01:34:09,240 --> 01:34:12,080
Speaker 3: a symbol of love and the shared bond and how

1801
01:34:12,120 --> 01:34:15,040
Speaker 3: well they seated that being what saves them. But for

1802
01:34:15,040 --> 01:34:17,719
Speaker 3: some reason it lost that connective tissue at that point

1803
01:34:17,760 --> 01:34:19,880
Speaker 3: for me and just felt like a very convenient way

1804
01:34:19,920 --> 01:34:24,280
Speaker 3: to end the movie. But regardless, it works, you know,

1805
01:34:25,040 --> 01:34:26,599
Speaker 3: I mean narratively it worked.

1806
01:34:27,040 --> 01:34:30,280
Speaker 1: Yeah, it saved the world. All the weird purple weather

1807
01:34:30,479 --> 01:34:34,000
Speaker 1: stuff goes away, the pit seals back up, and then well,

1808
01:34:34,320 --> 01:34:39,880
Speaker 1: everyone's still alive. Al shows back up, here's Terry so al,

1809
01:34:39,960 --> 01:34:43,240
Speaker 1: Here and Glenn are all reunited. The house is wrecked.

1810
01:34:43,360 --> 01:34:45,479
Speaker 1: The parents are not going to be crazy about this,

1811
01:34:45,800 --> 01:34:48,839
Speaker 1: but we get the sweet scene where everybody's still okay

1812
01:34:49,000 --> 01:34:50,920
Speaker 1: and they have successfully defeated the demon.

1813
01:34:51,240 --> 01:34:53,640
Speaker 3: I do want to point out that when the demon explodes.

1814
01:34:53,880 --> 01:34:58,000
Speaker 3: There's a hilarious explosion scene where Glenn is propelled out

1815
01:34:58,000 --> 01:35:03,559
Speaker 3: of the house end over far overhead in a projection effect,

1816
01:35:03,680 --> 01:35:08,120
Speaker 3: but literally pinwheels out of the house and lands to safety.

1817
01:35:08,240 --> 01:35:11,680
Speaker 1: We get one final scene too, where we see the backyard,

1818
01:35:12,280 --> 01:35:14,080
Speaker 1: we see the place where the pit was, and there's like,

1819
01:35:14,200 --> 01:35:16,559
Speaker 1: there's a sapling growing up there, you know, the like

1820
01:35:16,760 --> 01:35:19,760
Speaker 1: the tree that was there before is being regrown, and

1821
01:35:20,439 --> 01:35:23,200
Speaker 1: there is Angus. The dog is still alive, carrying a

1822
01:35:23,240 --> 01:35:26,120
Speaker 1: shoe around, and it's it's sweet, it's nice that the

1823
01:35:26,160 --> 01:35:28,920
Speaker 1: dog didn't actually die but is back, but on this

1824
01:35:29,200 --> 01:35:31,080
Speaker 1: the same level. And I didn't think about this till

1825
01:35:31,080 --> 01:35:33,160
Speaker 1: the second time I was watching parts of the film.

1826
01:35:33,520 --> 01:35:35,200
Speaker 1: I was like, oh, well this this scene is also

1827
01:35:35,439 --> 01:35:38,519
Speaker 1: very disconnected from the rest of the movie, almost as

1828
01:35:38,520 --> 01:35:41,599
Speaker 1: if a test audience thought it was sad that the

1829
01:35:41,640 --> 01:35:43,840
Speaker 1: dog truly died. And then I go, let's just bring

1830
01:35:43,840 --> 01:35:45,800
Speaker 1: the dog back. We don't need any of the kids

1831
01:35:45,800 --> 01:35:47,439
Speaker 1: for this scene. We'll just shoot the dog in the

1832
01:35:47,479 --> 01:35:51,439
Speaker 1: same backyard. Yeah, but either way we'll take it. A

1833
01:35:51,479 --> 01:35:53,320
Speaker 1: wholesome music plays in the crash.

1834
01:35:54,000 --> 01:35:56,160
Speaker 3: I think that it makes as much sense as anything

1835
01:35:56,200 --> 01:35:59,000
Speaker 3: else if two human sacrifices were needed for the demon

1836
01:35:59,080 --> 01:36:02,719
Speaker 3: to in heard the realm, then Al and Terry should

1837
01:36:02,720 --> 01:36:06,160
Speaker 3: be dead. Through that same lens, the dog should be dead.

1838
01:36:06,400 --> 01:36:08,679
Speaker 3: They're all alive. I'm happy that they're all alive, don't

1839
01:36:08,680 --> 01:36:11,479
Speaker 3: get me wrong, But something doesn't add up here. It's

1840
01:36:11,520 --> 01:36:15,240
Speaker 3: not where they revived. Where they I mean, Angus had

1841
01:36:15,240 --> 01:36:18,280
Speaker 3: to be, so presumably Al and Terry are. It's asking

1842
01:36:18,320 --> 01:36:20,960
Speaker 3: a lot of questions that a child's audience isn't really

1843
01:36:21,040 --> 01:36:23,720
Speaker 3: going to want to or be prepared to answer. So

1844
01:36:24,680 --> 01:36:27,479
Speaker 3: it's kind of a wash at that point. And like

1845
01:36:27,520 --> 01:36:30,800
Speaker 3: I said, for such a thoughtful movie to have kind

1846
01:36:30,800 --> 01:36:33,639
Speaker 3: of that gap of logic there at the end, again,

1847
01:36:33,760 --> 01:36:38,400
Speaker 3: not of how the magic works, or how the necromancy works,

1848
01:36:38,479 --> 01:36:43,639
Speaker 3: or how the gate works itself, but why everything turned

1849
01:36:43,640 --> 01:36:46,519
Speaker 3: out great at the end of it. It feels like

1850
01:36:47,560 --> 01:36:49,960
Speaker 3: it just couldn't find a way to do it, you know,

1851
01:36:50,360 --> 01:36:53,960
Speaker 3: And so I got to take another ding for that.

1852
01:36:54,000 --> 01:36:56,280
Speaker 3: But it's not going to affect its overall score. I think.

1853
01:36:56,320 --> 01:37:00,360
Speaker 3: There's also the final line that Glenn mentions to both

1854
01:37:00,479 --> 01:37:04,040
Speaker 3: Terry and Al as the camera pans away, is you're

1855
01:37:04,160 --> 01:37:08,720
Speaker 3: my best buddies, and that's it. That's the end.

1856
01:37:09,360 --> 01:37:13,360
Speaker 1: Yep. Yeah, they crank the wholesomeness up all the way

1857
01:37:13,880 --> 01:37:18,160
Speaker 1: and the music is really it's sweet. It's almost sickeningly

1858
01:37:18,200 --> 01:37:22,760
Speaker 1: sweet at this point. But I let it slide, Let

1859
01:37:22,800 --> 01:37:24,400
Speaker 1: it slide. Yeah, it's kind of nice that a movie

1860
01:37:24,439 --> 01:37:25,599
Speaker 1: like this ends on a good note.

1861
01:37:25,680 --> 01:37:27,920
Speaker 3: The house is still all jacked up. The parents have

1862
01:37:28,040 --> 01:37:30,200
Speaker 3: not returned yet, so there is kind of I don't

1863
01:37:30,240 --> 01:37:32,439
Speaker 3: know if that gets addressed in the sequel what the

1864
01:37:32,479 --> 01:37:34,680
Speaker 3: parents thought about the state of the house when they

1865
01:37:34,680 --> 01:37:38,479
Speaker 3: got back. But there's a reckoning coming that we the

1866
01:37:38,560 --> 01:37:41,040
Speaker 3: audience are no longer a part of because we've seen

1867
01:37:41,080 --> 01:37:45,160
Speaker 3: the happy ending. The best buddies are all survived, Angus

1868
01:37:45,200 --> 01:37:47,440
Speaker 3: has been brought back to life, and the gate theoretically

1869
01:37:47,560 --> 01:37:49,160
Speaker 3: is closed until nineteen ninety.

1870
01:37:49,800 --> 01:37:53,920
Speaker 1: All right, well this was the gate. Yeah this is

1871
01:37:54,080 --> 01:37:56,760
Speaker 1: This is a pretty fun, one, pretty sweet movie. I

1872
01:37:56,760 --> 01:38:00,960
Speaker 1: think holds up pretty well outside of a few bits

1873
01:38:01,000 --> 01:38:05,040
Speaker 1: of colorful and offensive language from the children that I

1874
01:38:05,040 --> 01:38:07,760
Speaker 1: guess flew okay in the in the late eighties but

1875
01:38:08,000 --> 01:38:10,600
Speaker 1: definitely is not okay today. So that would be my

1876
01:38:10,640 --> 01:38:13,519
Speaker 1: main reservation about say, letting children watch this.

1877
01:38:13,880 --> 01:38:16,400
Speaker 3: Yeah, yeah, I think so. I ran into a similar

1878
01:38:16,400 --> 01:38:19,120
Speaker 3: instance trying to show Bill and Ted's bogus journey to

1879
01:38:19,439 --> 01:38:22,439
Speaker 3: my son recently within the past year or two, and

1880
01:38:22,479 --> 01:38:24,599
Speaker 3: there are some insults that are along the same line

1881
01:38:24,640 --> 01:38:28,720
Speaker 3: as are used here that are just unacceptable. And the

1882
01:38:29,160 --> 01:38:32,920
Speaker 3: lift of having to explain that to a child is

1883
01:38:34,240 --> 01:38:37,479
Speaker 3: you don't want it, you know, Yeah, yeah, but I

1884
01:38:37,479 --> 01:38:41,080
Speaker 3: think this. God, I can't. I can't tell you enough

1885
01:38:41,080 --> 01:38:44,920
Speaker 3: how much I enjoyed watching this movie, how great it was,

1886
01:38:45,000 --> 01:38:50,360
Speaker 3: how fun it was, how deeply I connected with the

1887
01:38:50,479 --> 01:38:52,719
Speaker 3: characters in the movie, more so than I would expect

1888
01:38:52,760 --> 01:38:55,880
Speaker 3: from a horror movie, let alone, you know, a kid's movie.

1889
01:38:56,920 --> 01:39:00,679
Speaker 3: It was just really, really thoughtfully and tastefully done.

1890
01:39:00,800 --> 01:39:03,320
Speaker 1: Absolutely, I agree, And it's been fun chatting about the

1891
01:39:03,360 --> 01:39:04,439
Speaker 1: movie with you. Yeah.

1892
01:39:04,600 --> 01:39:05,880
Speaker 3: Likewise, thank you for having me.

1893
01:39:06,120 --> 01:39:08,560
Speaker 1: Yeah, thanks for coming on. So we're gonna go and

1894
01:39:08,640 --> 01:39:12,360
Speaker 1: close it out here. Before we go, tell us one

1895
01:39:12,400 --> 01:39:14,439
Speaker 1: more time. What do you find Talking Tofu?

1896
01:39:14,640 --> 01:39:16,519
Speaker 3: All right, So you can find Talking Tofu wherever you

1897
01:39:16,520 --> 01:39:20,920
Speaker 3: get your podcasts. It's You can also reach out to

1898
01:39:21,040 --> 01:39:24,600
Speaker 3: us on Twitter and Instagram at talkin Tofu pod. You

1899
01:39:24,640 --> 01:39:27,080
Speaker 3: can also find me at line Leader on Instagram and

1900
01:39:27,160 --> 01:39:31,200
Speaker 3: Twitter if you want to uh and yeah. I think

1901
01:39:31,240 --> 01:39:35,040
Speaker 3: if you want to hear us jabber on about snacks.

1902
01:39:35,240 --> 01:39:37,479
Speaker 3: Sometimes we even eat snacks on mic. I think a

1903
01:39:37,479 --> 01:39:39,280
Speaker 3: lot of people are really into that sort of thing,

1904
01:39:39,960 --> 01:39:42,160
Speaker 3: come check us out. We'll have a lot of fun awesome.

1905
01:39:42,479 --> 01:39:45,400
Speaker 1: Well. I'll remind everyone out there that Stuff to Blow

1906
01:39:45,400 --> 01:39:48,240
Speaker 1: Your Mind is primarily a science podcast, but on Fridays

1907
01:39:48,680 --> 01:39:50,560
Speaker 1: we do Weird House Cinema, and that's our time to

1908
01:39:50,600 --> 01:39:52,559
Speaker 1: set aside most serious concerns and just talk about a

1909
01:39:52,600 --> 01:39:55,439
Speaker 1: weird film. If you want to follow the movies that

1910
01:39:55,479 --> 01:39:58,519
Speaker 1: are covered here, I blog about them at simmutomusic dot com.

1911
01:39:58,840 --> 01:40:01,080
Speaker 1: But also if you use letter box dot com that's

1912
01:40:01,160 --> 01:40:02,680
Speaker 1: L E T T E R B O x D

1913
01:40:02,880 --> 01:40:05,600
Speaker 1: dot com. We have an account there weird House, and

1914
01:40:05,600 --> 01:40:07,360
Speaker 1: you can see all the films laid out there that

1915
01:40:07,360 --> 01:40:10,320
Speaker 1: we've covered, and sometimes a peek at what's to come.

1916
01:40:11,520 --> 01:40:14,240
Speaker 1: If you want to get in touch with with me

1917
01:40:14,840 --> 01:40:17,919
Speaker 1: and and or Joe, you can email us at contact

1918
01:40:18,000 --> 01:40:20,640
Speaker 1: it's Stuff to Blow your Mind dot com. And if

1919
01:40:20,680 --> 01:40:22,639
Speaker 1: you have anything you want to say to Dave through

1920
01:40:22,680 --> 01:40:24,640
Speaker 1: that email, I'll forward it to him. But also I

1921
01:40:24,640 --> 01:40:28,040
Speaker 1: believe you guys have a have one talk intofu pod

1922
01:40:28,240 --> 01:40:31,160
Speaker 1: at gmail dot com. That's t A l k I

1923
01:40:31,280 --> 01:40:34,799
Speaker 1: N t O f U p O D at gmail

1924
01:40:34,840 --> 01:40:37,799
Speaker 1: dot com. And I do want to remind everyone talking tofu,

1925
01:40:37,840 --> 01:40:41,920
Speaker 1: it's t A l k I n apostrophe, right and

1926
01:40:41,960 --> 01:40:42,639
Speaker 1: then tofu.

1927
01:40:43,040 --> 01:40:46,360
Speaker 3: Yeah, it's a little advice to people who are naming podcasts.

1928
01:40:46,520 --> 01:40:51,839
Speaker 3: Don't get silly with the language or leave off critical

1929
01:40:51,920 --> 01:40:54,760
Speaker 3: letters because it really does make it just that much

1930
01:40:54,800 --> 01:40:59,439
Speaker 3: more difficult to get in touch with somebody. But that's correct.

1931
01:40:59,520 --> 01:41:00,639
Speaker 3: Let's talk without the.

1932
01:41:00,640 --> 01:41:03,880
Speaker 1: G, talking without the G. All right, Well, thanks as

1933
01:41:03,880 --> 01:41:06,800
Speaker 1: always to Seth Nicholas Johnson for producing this show. And yeah,

1934
01:41:06,960 --> 01:41:09,040
Speaker 1: if you want to reach out, just email me at

1935
01:41:09,120 --> 01:41:18,400
Speaker 1: contact at Stuffdblow your Mind dot com.

1936
01:41:18,520 --> 01:41:21,479
Speaker 2: Stuff to Blow your Mind is production of iHeartRadio. For

1937
01:41:21,560 --> 01:41:24,360
Speaker 2: more podcasts from my heart Radio, visit the iHeartRadio app,

1938
01:41:24,520 --> 01:41:27,760
Speaker 2: Apple Podcasts, or wherever you listen to your favorite shows.