WEBVTT - Weirdhouse Cinema Rewind: The Gate 0:00:04.519 --> 0:00:07.800 Hey, you welcome to Weird House Cinema rewind. This is 0:00:07.920 --> 0:00:09.639 Rob Lamb. You might be wondering, Hey, why are we 0:00:09.720 --> 0:00:12.799 getting a rewind today? Shouldn't just be a normal episode. Well, 0:00:13.280 --> 0:00:17.840 this particular rewind is accounting for the July fourth holiday, 0:00:17.880 --> 0:00:21.440 which is a corporate corporate company holiday. We had it off, 0:00:21.760 --> 0:00:24.799 so rather than really rush things and to get a 0:00:24.800 --> 0:00:27.520 fresh episode out, we're just going to do a rerun here. 0:00:27.760 --> 0:00:31.160 This is an episode that originally published October twenty eighth, 0:00:31.200 --> 0:00:34.880 twenty twenty two. In this episode, I sat down with 0:00:35.320 --> 0:00:38.919 guest co host David Streepy, a friend of mine and 0:00:39.120 --> 0:00:42.720 a host of the Talking Tofu podcast, to discuss the 0:00:42.800 --> 0:00:46.839 nineteen eighty seven Gromlins movie The gate It is a 0:00:46.840 --> 0:00:50.080 lot of fun, full of sleepovers, tiny demons, and of 0:00:50.080 --> 0:00:53.120 course the Gateway to Hell. So dive right in and 0:00:53.280 --> 0:00:55.240 enjoy it and we'll see you next week with the 0:00:55.240 --> 0:00:56.240 brand new Weird House. 0:01:00.440 --> 0:01:03.480 Welcome to Stuff to Blow your Mind, a production of iHeartRadio. 0:01:10.319 --> 0:01:13.560 Hey, welcome to Weird House Cinema. This is Rob Lamb. 0:01:14.120 --> 0:01:17.399 Joe is on parental leave, so I have a special 0:01:17.959 --> 0:01:21.920 guest co host for this episode. It is David Streepy. 0:01:22.120 --> 0:01:24.800 Who co hosts the podcast Talking Tofu. 0:01:24.720 --> 0:01:29.920 Hey, yeah, thank you, Congratulations to Joe. I'm a long 0:01:30.040 --> 0:01:34.040 time stuffy and is that what you call your fans? 0:01:34.040 --> 0:01:35.200 Do your fans have a. 0:01:35.720 --> 0:01:36.800 I don't think they have a name. 0:01:37.680 --> 0:01:43.520 Stuffy, yes, mindies, mindies, mindies, weird housies. 0:01:44.040 --> 0:01:47.400 Maybe maybe yeah. I don't know they really call themselves anything. 0:01:47.720 --> 0:01:50.440 Do fans of your podcast call themselves something? 0:01:50.880 --> 0:01:54.840 We call them toeheads, but don't I don't know anybody 0:01:54.840 --> 0:01:58.400 who has self identified as a or you know, we 0:01:59.160 --> 0:02:02.360 have fans. I don't know that anybody's waving the towhead 0:02:02.400 --> 0:02:05.720 flag really loudly and proudly yet, but we're trying to 0:02:05.720 --> 0:02:06.320 get it in there. 0:02:06.560 --> 0:02:10.919 What's your quick elevator pitch description of talking Tofu? 0:02:11.520 --> 0:02:14.600 Oh? Well, so my wife and I are a couple 0:02:14.600 --> 0:02:17.720 of goblins when it comes to snacking. We are both vegans. 0:02:18.400 --> 0:02:22.200 We couldn't really find a fun podcast about vegan snacking, 0:02:22.280 --> 0:02:25.520 so we decided to make one ourselves. It's i'd say 0:02:26.200 --> 0:02:30.160 thirty percent snacking and seventy percent whatever else is going 0:02:30.200 --> 0:02:32.840 on in our lives. We just finished a recording. We 0:02:32.880 --> 0:02:36.440 went to Universal Studios, Florida try out the vegan food there. 0:02:37.040 --> 0:02:38.960 It was mostly about the rides that we rode and 0:02:39.000 --> 0:02:41.120 the things that we encountered while we were there, a 0:02:41.120 --> 0:02:43.120 little bit about the food, but just having fun with 0:02:43.160 --> 0:02:47.200 our family. And most episodes are kind of follow that trend. 0:02:47.440 --> 0:02:49.960 It's a very funny podcast though, thank you, Well, there's 0:02:50.000 --> 0:02:50.639 a lot of laughter. 0:02:51.240 --> 0:02:52.280 You're too nice, Thank you. 0:02:52.600 --> 0:02:55.080 And you guys have done some movie episodes before as well. 0:02:55.680 --> 0:02:57.880 Talked about what are some of the movies you guys 0:02:57.880 --> 0:02:58.600 have chatted about. 0:02:58.800 --> 0:03:01.799 Let's see, we've done Screen three. I think we've done 0:03:01.840 --> 0:03:05.239 Scream two and Scream three, and because this is spooky season, 0:03:05.360 --> 0:03:08.560 you may expect Scream four to happen. We usually pair 0:03:08.639 --> 0:03:11.600 that with some vegan candy that we'll go through and 0:03:11.639 --> 0:03:15.320 snack on while we recount the plot. We also do. 0:03:16.000 --> 0:03:19.959 We've done When Harry Met Sally, which I had never 0:03:20.000 --> 0:03:22.600 seen before, which it's an amazing movie. 0:03:22.680 --> 0:03:22.840 Rob. 0:03:22.880 --> 0:03:23.800 I don't know if you've seen it. 0:03:23.880 --> 0:03:25.160 This is the one with the big Foot in it, 0:03:25.200 --> 0:03:25.920 the sasquatch. 0:03:26.160 --> 0:03:31.040 No, that's Harry and Anderson. Common misconception, very common misconception. 0:03:31.600 --> 0:03:33.320 That's the one I've seen, not this one. 0:03:33.720 --> 0:03:35.720 You gotta see When Harry met Sally. We should have 0:03:35.760 --> 0:03:39.880 done when Harry met Sally for Spooky Season. Fantastic movie. 0:03:39.880 --> 0:03:41.440 Though you got to you gotta check it out. I 0:03:41.480 --> 0:03:43.440 know the rest of the world was already there. I 0:03:43.560 --> 0:03:45.880 was kind of late to the party, but it really 0:03:45.920 --> 0:03:49.600 holds up. So yeah, we'll do that. We've watched singles, 0:03:50.120 --> 0:03:53.200 the Cameron Crowe movie from nineteen ninety two, that's the 0:03:53.280 --> 0:03:57.960 grunge scene, and Seattle. It's probably not a very accurate 0:03:58.000 --> 0:04:00.880 representation of the grunge scene in Seattle nineteen ninety two, 0:04:01.000 --> 0:04:03.480 but had a lot of fun with that one. So yeah, 0:04:03.520 --> 0:04:06.600 it's kind of all over the place, things that one 0:04:06.680 --> 0:04:09.440 or the other of us have held dear in our 0:04:09.480 --> 0:04:13.720 hearts that the other one hasn't seen. I think most 0:04:13.760 --> 0:04:17.279 recently we did Hackers from nineteen ninety five, Johnny Lee Miller, 0:04:17.320 --> 0:04:21.960 Angelina Joe Lee, Fantastic Movie. I mean, there's there's a 0:04:22.000 --> 0:04:24.440 good movie, there's a great movie. There's a fantastic movie. 0:04:24.520 --> 0:04:26.800 None of these are objective terms, really, but for me, 0:04:26.880 --> 0:04:29.960 it just really just hits me right in the core. 0:04:30.160 --> 0:04:32.960 But Hackers one hundred percent accurate when it comes to 0:04:33.080 --> 0:04:35.200 the hacking lifestyle of the time period. 0:04:35.640 --> 0:04:39.240 One hundred percent accurate. All computers on the inside look 0:04:39.320 --> 0:04:43.080 like cityscapes drawn in green lines that you have to 0:04:43.160 --> 0:04:45.680 navigate through and find the right door to put the 0:04:45.760 --> 0:04:47.080 right icon into. Yes. 0:04:47.480 --> 0:04:50.839 Now, speaking of being late to the party on films, 0:04:51.560 --> 0:04:53.600 the film we're going to be talking about here today, 0:04:54.040 --> 0:04:57.000 nineteen eighty seven's The Gate. This is a film that 0:04:57.080 --> 0:04:59.120 I think we're both in the same boat on this one, right, 0:04:59.160 --> 0:05:02.599 we both have memories of at least some of the 0:05:02.600 --> 0:05:06.160 promotional materials for this film, but neither of us had 0:05:06.200 --> 0:05:07.279 seen it until now. 0:05:07.600 --> 0:05:10.480 That's right. I was really familiar with this one as 0:05:10.520 --> 0:05:15.160 a kid. I was pretty shy about scary movies as 0:05:15.200 --> 0:05:21.560 a kid, and particularly I remember getting specifically burned with 0:05:21.880 --> 0:05:25.840 Poltergeist because Poltergeist I did see as a child, as 0:05:25.839 --> 0:05:29.080 an eight year old, it had a child in it, 0:05:29.320 --> 0:05:32.440 so I thought that it was okay for children, and 0:05:32.480 --> 0:05:37.360 that film's very not okay for children, very not okay for. 0:05:37.440 --> 0:05:40.640 Children, and not at all. I too saw Poltergeist at 0:05:40.800 --> 0:05:42.480 at a very young age. It was one of these 0:05:42.480 --> 0:05:44.240 where I think my aunt had taped a bunch of 0:05:44.279 --> 0:05:47.839 movies off of HBO, and I don't even know how 0:05:47.880 --> 0:05:49.640 this ended up happening, but I ended up watching at 0:05:49.680 --> 0:05:53.640 least parts of Poltergeist, and it just really scared the 0:05:53.680 --> 0:05:57.039 heck out of me. I just I would even just 0:05:57.120 --> 0:05:59.479 hearing it. Was one of these things where whatever the 0:05:59.520 --> 0:06:02.320 movie was that was taped, they're like three movies taped 0:06:02.360 --> 0:06:07.040 per vhs, and whatever was taped directly ahead of Poltergeist 0:06:07.240 --> 0:06:10.240 was a family film of some kind, and so you 0:06:10.360 --> 0:06:13.320 had to like super on your guard to stop the 0:06:13.360 --> 0:06:16.400 tape before the Poltergeist intro started playing, because that alone 0:06:16.440 --> 0:06:17.200 would creep me out. 0:06:18.440 --> 0:06:20.880 I think Poltergeist was one that really stuck out to me, 0:06:21.000 --> 0:06:26.159 not just as an incorrect read that child means safe 0:06:26.160 --> 0:06:30.760 for children, but it was gross horror it was, and 0:06:31.880 --> 0:06:34.120 that was the first exposure that I had really had 0:06:34.160 --> 0:06:38.080 to gross out stuff being in a film. So I 0:06:38.120 --> 0:06:41.479 thought that horror movies were ghosts jumping out at you. 0:06:41.520 --> 0:06:43.279 I was a child. I had no idea. I thought 0:06:43.320 --> 0:06:46.040 that it was just you know, haunted house things that 0:06:46.600 --> 0:06:50.480 would scare you. But the grossness of it fascinated and 0:06:50.640 --> 0:06:55.520 terrified me. It was not I was not brave enough 0:06:55.560 --> 0:06:58.800 to overcome my terror to indulge the fascination of it. 0:06:59.279 --> 0:07:01.000 And still it's one of those ones that to this 0:07:01.120 --> 0:07:03.440 day I can't really go back to just because of 0:07:03.480 --> 0:07:06.880 how badly it scarred me as a child. But I 0:07:06.920 --> 0:07:10.360 guess my point being that around that time I was 0:07:10.360 --> 0:07:12.560 seeing the marketing for The Gate, I was seeing the 0:07:12.600 --> 0:07:15.520 marketing for House, which was another movie. I lump all 0:07:15.560 --> 0:07:19.160 of those together in kind of that not for me 0:07:20.200 --> 0:07:24.440 as a child, a not for me kind of category. Yeah, 0:07:24.480 --> 0:07:28.120 the trailer and the VHS art really stuck out to 0:07:28.160 --> 0:07:31.360 me and kind of reinforced the not for meness of it, 0:07:31.480 --> 0:07:39.280 I think, and specifically the poster art, the VHS cover art. 0:07:39.400 --> 0:07:42.679 It's very sinister, very dark, does not seem like it's 0:07:42.720 --> 0:07:47.440 going to be for children. And I don't want to 0:07:47.480 --> 0:07:51.760 jump too far ahead. I don't know that this movie 0:07:51.880 --> 0:07:55.160 is for children, but it's definitely kid friendly, I think, 0:07:55.800 --> 0:07:57.240 more than I was expecting. I'm sorry. 0:07:57.320 --> 0:08:01.760 Yeah, it's support The Gate is surprisingly kid for and 0:08:01.760 --> 0:08:04.480 and Yeah, that comparison to Poltergeist, I think is very apt. 0:08:04.520 --> 0:08:08.400 It feels in many ways like Poltergeist for kids. Like 0:08:09.080 --> 0:08:12.240 one of the things that I still find terrifying and 0:08:12.800 --> 0:08:15.400 terrifying and super weird about Poulter Guys, even looking back 0:08:15.440 --> 0:08:17.880 on it and having rewatched it as an adult, is 0:08:17.920 --> 0:08:20.720 that it seems like a movie where not just typical 0:08:20.760 --> 0:08:23.600 haunted house stuff happens, but like you, but you don't 0:08:23.640 --> 0:08:26.080 know what will happen. There seem to be no rules 0:08:26.120 --> 0:08:29.400 regarding what's going to jump out at you. One second, 0:08:29.440 --> 0:08:33.040 it's somebody thinks their face is meat. Then pizza is 0:08:33.040 --> 0:08:35.960 crawling around, and then some sort of extra dimensional dragon 0:08:36.080 --> 0:08:38.520 is climbing out of the wall or something. It's just 0:08:38.880 --> 0:08:41.559 whatever the effects team can think up is going to 0:08:41.640 --> 0:08:44.640 come at you. And there's a similar vibe in the Gate. 0:08:45.080 --> 0:08:47.880 But at the same time, the kids in the Gate 0:08:48.920 --> 0:08:52.800 feel like like real central characters with actual identities and 0:08:52.840 --> 0:08:56.840 relationships to each other, and the film doesn't have a 0:08:56.960 --> 0:09:00.640 mean objective in its relationship to those children, or presumably 0:09:00.720 --> 0:09:02.880 to the children that may be watching the film. 0:09:03.040 --> 0:09:06.520 That's a good point, And I think a big difference 0:09:07.080 --> 0:09:09.600 for me would probably be the in Pultry guys, they 0:09:10.640 --> 0:09:12.800 they wanted you to either leave the house or they'd 0:09:12.920 --> 0:09:13.240 kill you. 0:09:13.800 --> 0:09:15.000 Yeah, and the Gate. 0:09:16.000 --> 0:09:19.920 I'm not really sure what the Gate wants or what 0:09:20.040 --> 0:09:23.320 the demons in the Gate want. They don't. They only 0:09:23.320 --> 0:09:24.880 seem to want to get out of the Gate, and 0:09:24.960 --> 0:09:27.480 I guess I guess that's it. I guess they don't 0:09:28.000 --> 0:09:30.080 care who's in their path or what happens to the 0:09:30.080 --> 0:09:33.360 people in their path. But then they spend a lot 0:09:33.360 --> 0:09:35.400 of time with the people who are in their path, 0:09:35.440 --> 0:09:37.880 and that kind of confuses me a little bit about 0:09:37.880 --> 0:09:38.200 it too. 0:09:38.360 --> 0:09:40.400 Yeah, we'll discuss when we get into the plot. They 0:09:40.400 --> 0:09:41.880 do seem to have a couple of things they need 0:09:41.920 --> 0:09:45.080 to check off the box. I mean maybe one big objective, 0:09:45.200 --> 0:09:47.400 but kind of a roundabout way to get there. 0:09:47.679 --> 0:09:47.920 Yeah. 0:09:48.080 --> 0:09:51.720 Yeah, it doesn't seem like there's a solid plan that 0:09:51.720 --> 0:09:54.200 they can refer to. It's a lot of instinct. 0:09:54.480 --> 0:09:56.559 Yeah. I never saw this film as a kid. I 0:09:56.640 --> 0:09:59.640 remember seeing The Box sar weirdly enough at some point. 0:09:59.800 --> 0:10:02.920 I I remember I watched the nineteen ninety sequel The 0:10:03.000 --> 0:10:06.040 Gate two on TV at some point in the nineties, 0:10:06.040 --> 0:10:08.200 I'm sure. And the main thing that sticks out to 0:10:08.240 --> 0:10:09.920 me in that is that it features a lot of 0:10:09.920 --> 0:10:13.160 demonic wish granting, in which the thing that you wished 0:10:13.200 --> 0:10:16.760 for literally turns to poop like the next day. So 0:10:16.800 --> 0:10:19.560 there's like a scene where the night before, some awful 0:10:19.559 --> 0:10:22.679 teenager wished for a sports car, and you know, he's 0:10:23.000 --> 0:10:24.640 torn around all over the place in the sports car 0:10:24.720 --> 0:10:26.760 during the night the next day, there's just like an 0:10:26.760 --> 0:10:28.760 elephant's worth of poop in front of the house. 0:10:29.120 --> 0:10:31.400 And this happens multiple times. 0:10:31.720 --> 0:10:34.160 Well I think, so, yeah, anything you wish for it 0:10:34.200 --> 0:10:34.839 turns to poop. 0:10:35.400 --> 0:10:38.079 What So, I don't want to get too hung up 0:10:38.080 --> 0:10:42.280 on this, but is this the same big demon from 0:10:42.520 --> 0:10:43.160 the Gate one? 0:10:43.520 --> 0:10:46.120 I don't remember. The only thing I remember vaguely is 0:10:47.000 --> 0:10:49.600 the older Terry character and played by the same actor. 0:10:50.240 --> 0:10:52.680 He's back in the sequel. Some of the creative team 0:10:52.800 --> 0:10:55.319 and the director of the same But the only thing 0:10:55.360 --> 0:10:58.720 I remember is demonic wishes turned to poop the next morning. 0:10:59.160 --> 0:11:01.560 And you know, at the time, it was like, all right, 0:11:01.600 --> 0:11:03.520 well that makes sense. That's the demon's work. 0:11:03.880 --> 0:11:07.160 That's a bullseye of a premise. And I love the 0:11:07.280 --> 0:11:10.839 idea that this demon tried his best to get out 0:11:10.840 --> 0:11:14.439 of that gate legitimately in this episode or in this movie, 0:11:14.960 --> 0:11:18.680 but then in his retirement he just kind of became 0:11:18.720 --> 0:11:23.360 a trickster wish fulfillment and and that was how he 0:11:23.400 --> 0:11:24.080 went out. You know. 0:11:24.440 --> 0:11:27.600 Yeah, I don't remember. I can't really speak to the 0:11:27.679 --> 0:11:30.440 quality of Gate two, but I do admire that they 0:11:31.080 --> 0:11:33.080 went in a slightly different direction on it. They didn't 0:11:33.160 --> 0:11:37.679 just do the gate again. But at any rate, the gate, too, 0:11:37.840 --> 0:11:41.199 is a discussion for another time. We're here to talk 0:11:41.240 --> 0:11:44.040 about the gate. So you mentioned that trailer. Let's go 0:11:44.080 --> 0:11:46.640 ahead and listen to that trailer audio right here. 0:11:46.920 --> 0:11:51.880 Great, there is a passageway to the most evil place. 0:11:51.960 --> 0:11:57.040 You can imagine, a gate behind which the demons waked 0:11:57.320 --> 0:12:08.680 to take back what was once theirs. And now someone 0:12:08.880 --> 0:12:10.760 has opened the gate. 0:12:11.880 --> 0:12:17.679 This is weird. Tarring soon decomposed corns or dead father. 0:12:17.720 --> 0:12:24.960 Who knows, tearing o hair the hands. 0:12:28.480 --> 0:12:43.160 The police. You got demons. 0:12:43.840 --> 0:12:43.960 Mean? 0:12:44.000 --> 0:12:46.000 You guys are serious about that demon stuff. 0:12:48.160 --> 0:12:51.880 Demons were kind. 0:12:51.520 --> 0:13:03.320 You've been bad. They have opened the gate. Great, it's 0:13:03.360 --> 0:13:04.240 not too late. 0:13:11.679 --> 0:13:15.360 All right. Great trailer probably not one hundred percent loyal 0:13:15.400 --> 0:13:17.960 to the actual tone of the film, but we have 0:13:18.040 --> 0:13:21.400 excellent narration by the great Percy Rodriguez, who lived nineteen 0:13:21.440 --> 0:13:23.760 eighteen through two thousand and seven. He was also an 0:13:23.760 --> 0:13:26.160 accomplished actor, but he did a ton of voiceovers for 0:13:26.200 --> 0:13:28.800 film trailers in the seventies and eighties, and his voice 0:13:28.800 --> 0:13:31.160 alone is to make is enough to make you think, well, 0:13:31.240 --> 0:13:34.040 this is not for children. Listen to this very scary 0:13:34.080 --> 0:13:35.160 adult talk about the. 0:13:35.160 --> 0:13:39.400 Gait one hundred percent. This reinforces the hey, this is 0:13:39.440 --> 0:13:43.320 not for me. It also really showcases some of the movies' 0:13:43.320 --> 0:13:46.080 biggest moments and gives you some of the biggest effects. 0:13:46.080 --> 0:13:49.000 It holds a few things back, but the overall tone's 0:13:49.200 --> 0:13:49.840 very sinister. 0:13:49.920 --> 0:13:50.720 It's very dark. 0:13:51.200 --> 0:13:55.720 It seems paced as almost kind of a torturous movie 0:13:55.840 --> 0:13:59.440 like the It really showcases the peril that the kids 0:13:59.480 --> 0:14:03.240 are all in and kind of their reaction to that peril. 0:14:03.480 --> 0:14:06.520 So yeah, if I had the GB's hearing about this movie, 0:14:06.520 --> 0:14:08.640 this trailer definitely would have scared me away for good. 0:14:08.960 --> 0:14:11.640 Yeah, it's a lot of screaming kids, but you don't 0:14:11.640 --> 0:14:13.880 really see all the scenes of kids being strong in it, 0:14:13.920 --> 0:14:15.320 and there are a lot of scenes where the kids 0:14:15.320 --> 0:14:19.000 are brave and admirable in the film. But yeah, also 0:14:19.160 --> 0:14:21.160 it does spoil a lot of the big effects in 0:14:21.200 --> 0:14:24.320 the movie, So don't watch the trailer if you are 0:14:24.320 --> 0:14:25.920 looking to go into this one kind of fresh. 0:14:26.040 --> 0:14:29.960 One hundred percent. I think the uh I was blessed 0:14:30.000 --> 0:14:32.360 with distance between the last time I had seen the 0:14:32.360 --> 0:14:34.520 trailer for this movie and actually watching the movie, because 0:14:34.520 --> 0:14:36.680 I came into it pretty cold and then rewatched the 0:14:36.720 --> 0:14:39.400 trailer after the fact. And I was really glad I did, 0:14:39.480 --> 0:14:44.040 because I was very surprised by how competent this movie 0:14:44.120 --> 0:14:48.000 is and by how much I enjoyed everything that happened 0:14:48.000 --> 0:14:50.640 in it, even though it wasn't what I was expecting. 0:14:50.320 --> 0:14:50.640 It to be. 0:14:50.960 --> 0:14:53.760 Yeah, all right, before we get into the connections the 0:14:53.760 --> 0:14:56.840 people involved in this movie, where can you watch it? Well, 0:14:56.840 --> 0:14:59.920 The Gate was a fairly big release. It's widely available 0:15:00.040 --> 0:15:02.800 for digital purchase in rental everywhere. I streamed it as 0:15:02.840 --> 0:15:05.560 part of AMC Plus, but I think it's also available 0:15:05.560 --> 0:15:08.240 on some free streaming sites. And it's also a pretty 0:15:08.240 --> 0:15:10.880 stacked Blu Ray edition that came out in twenty seventeen, 0:15:11.000 --> 0:15:12.360 and it's loaded with extras. 0:15:12.720 --> 0:15:17.440 That's amazing to me that such a lovingly curated Blu 0:15:17.520 --> 0:15:19.720 Ray would exist of this movie. It amazes me that 0:15:19.760 --> 0:15:22.800 there's a sequel to it and it, you know, it 0:15:22.800 --> 0:15:25.400 strikes me as a largely forgotten film, and that's clearly 0:15:25.400 --> 0:15:29.080 not the case. That's my mystery to the how of 0:15:29.120 --> 0:15:30.120 what his legacy is. 0:15:30.440 --> 0:15:32.800 All Right, let's start to the top. The director is 0:15:33.320 --> 0:15:37.920 Tybord Takach born nineteen fifty four, Hungarian born director who 0:15:37.960 --> 0:15:40.680 kicked off his career with the nineteen seventy eight Canadian 0:15:40.760 --> 0:15:46.240 dystopian rock opera Metal Messiah. After this film, he did 0:15:46.360 --> 0:15:50.240 nineteen eighty nine's I Madman and The Gate two. He 0:15:50.360 --> 0:15:54.560 directed four different episodes of the nineteen nineties Outer Limits 0:15:54.640 --> 0:15:57.560 series Dave Whoa. I don't know if we've actually watched 0:15:57.560 --> 0:15:59.920 any of these. They include If These Walls Could Talk, 0:16:00.120 --> 0:16:03.280 The Voyage Home, White Light Forever, and Blood Brothers. 0:16:03.680 --> 0:16:06.720 The Voyage Homes sounds familiar, but that's also a Star 0:16:06.800 --> 0:16:08.520 Trek movie, so I might just be thinking of that. 0:16:10.160 --> 0:16:12.960 His subsequent credits include a mix of TV episodes and 0:16:13.000 --> 0:16:17.960 eventually some sci fi original programming you know, bat Caliber film, 0:16:17.960 --> 0:16:21.560 including two thousand and five's Mansquito, which, at the time 0:16:22.080 --> 0:16:24.160 when it first came out, I think looked pretty bad, 0:16:24.280 --> 0:16:27.480 but we had no idea about how bad direct to 0:16:27.560 --> 0:16:29.520 sci fi channel movies would get. 0:16:30.880 --> 0:16:34.960 And you know I today, I am committing to come 0:16:34.960 --> 0:16:39.200 back for your Manskedo episode. 0:16:39.760 --> 0:16:42.680 I'm not brave enough yet. I gotta get my courage up, 0:16:43.320 --> 0:16:45.880 all right. So that's the director. The writer is Michael 0:16:46.000 --> 0:16:51.120 Nankin born nineteen fifty five. Accomplished TV director, writer, and producer. 0:16:51.440 --> 0:16:54.800 He wrote nineteen eighty seven's Ruskies, and episodes of TV 0:16:54.880 --> 0:16:58.880 shows such as Life goes On, Chicago Hope, the nineteen 0:16:58.960 --> 0:17:01.920 nineties Flipper Show. As a directory, He's done a ton 0:17:01.960 --> 0:17:04.840 of TV work, including episodes of Life Goes On, the 0:17:04.880 --> 0:17:09.600 Battlestar Galactica reboot, and one episode of The Good Lord Bird. 0:17:10.000 --> 0:17:12.280 And I think he also wrote I Madman as well. 0:17:12.720 --> 0:17:15.719 Oh, you know, it doesn't surprise me that he's predominantly 0:17:15.720 --> 0:17:18.199 a TV writer, because I got a very TV vibe 0:17:18.240 --> 0:17:22.080 from the snappiness of the dialogue in this movie, especially 0:17:22.080 --> 0:17:24.080 the way that the children talk to each other, I 0:17:24.119 --> 0:17:27.360 thought was very authentic first of all, but also really snappy. 0:17:27.560 --> 0:17:31.800 Yeah. I don't clearly remember specific episodes of Life Goes On, 0:17:31.880 --> 0:17:33.399 but I think I watched some of it, and it 0:17:33.440 --> 0:17:35.840 was just that was a time during which I watched 0:17:35.880 --> 0:17:37.880 a lot of TV, So even if I didn't watch 0:17:37.920 --> 0:17:41.480 the show directly, I was very aware of it. And Yeah, 0:17:41.480 --> 0:17:43.359 there was like there was a wholesomeness to that show 0:17:44.240 --> 0:17:46.560 that makes sense once you've watched The Gate all the 0:17:46.600 --> 0:17:48.439 way through. Otherwise you might think life goes On in 0:17:48.480 --> 0:17:50.879 the Gate? What could they possibly common? Well, you know, 0:17:50.960 --> 0:17:53.520 there's you get down to some of the character work. 0:17:53.560 --> 0:17:54.440 I think it makes sense. 0:17:54.720 --> 0:17:57.639 I think there's there's definitely a thread in the amount 0:17:57.680 --> 0:18:00.600 of care and respect given to a family dynamic, and 0:18:00.840 --> 0:18:03.800 especially the way that kids interact with each other, which 0:18:03.880 --> 0:18:06.560 is really difficult I think for an adult to right. 0:18:06.640 --> 0:18:08.320 Well, let's get into the kids. In fact, I don't 0:18:08.320 --> 0:18:11.159 have any data in here on the adult actors in 0:18:11.200 --> 0:18:14.119 the film. They all have just brief roles for the 0:18:14.119 --> 0:18:17.639 most part, mom and dad and dad, and any adult 0:18:17.680 --> 0:18:20.879 supervision is completely absent from the entire film, which was 0:18:20.920 --> 0:18:22.080 an interesting choice. 0:18:22.720 --> 0:18:23.120 Yeah. 0:18:23.160 --> 0:18:26.520 I think that the parents occupy maybe forty five seconds 0:18:26.560 --> 0:18:28.639 of screen time, and most of that time they are 0:18:28.720 --> 0:18:35.920 either punishing the children or bad mouthing Glenn's friend to Glenn, 0:18:36.080 --> 0:18:38.400 which is just bad behavior. 0:18:38.640 --> 0:18:42.000 Yeah, all right, well Glenn. Yeah, Glenn is our central character, 0:18:42.080 --> 0:18:46.600 our main kid in this and interestingly enough, is played 0:18:46.600 --> 0:18:51.560 by Stephen Dorf. Yeah. This is the film debut of 0:18:51.600 --> 0:18:54.600 Stephen Dorf born nineteen seventy three. I think he's like 0:18:54.680 --> 0:18:57.480 twelve in this, though he looks even younger. You buy 0:18:57.520 --> 0:18:59.000 him as even younger. I think a lot of it 0:18:59.040 --> 0:19:01.919 has to do with the he has a very you know, 0:19:02.119 --> 0:19:03.800 he has a little bit of baby fat in his 0:19:03.880 --> 0:19:08.359 face still and has a very childlike quality to his face. 0:19:08.680 --> 0:19:11.320 Definitely, twelve is a shock to me. I would have 0:19:11.359 --> 0:19:13.040 said eight seven or eight. 0:19:13.359 --> 0:19:16.520 Now when we say the name Stephen Dorf, most people 0:19:16.520 --> 0:19:18.760 out there probably familiar with him from such works as 0:19:19.280 --> 0:19:22.600 a Blade. Of course, he plays the villainous Deacon Frost 0:19:22.640 --> 0:19:26.399 opposite Wesley Snipes in that nineteen ninety eight film. He 0:19:26.520 --> 0:19:30.480 was in Stuart Gordon's Space Truckers in ninety six. He 0:19:30.520 --> 0:19:34.720 did some bigger also some bigger roles in the early nineties, 0:19:34.760 --> 0:19:38.000 including the Power of One and Post Blade. He was 0:19:38.040 --> 0:19:40.960 in such films as John Waters Cecil be Himented in 0:19:41.040 --> 0:19:43.840 two thousand, he was in what I remember is being 0:19:43.840 --> 0:19:46.000 a terrible horror movie from two thousand and two Fear 0:19:46.040 --> 0:19:46.720 dot Com. 0:19:46.920 --> 0:19:50.000 I have never seen any of these movies. Having not 0:19:50.080 --> 0:19:52.720 seen Blade is one of my secret shames, so I'm 0:19:52.760 --> 0:19:56.600 glad to reveal it here for your listeners. I do 0:19:56.680 --> 0:20:00.000 need to correct that, especially before you know the rebooted 0:20:00.040 --> 0:20:06.680 Blade comes out. So yeah, the the Gate is one 0:20:07.320 --> 0:20:10.320 of my exposure to Stephen Dorth and it's a good one. 0:20:10.560 --> 0:20:13.360 Now. Prior to this, he he did have some roles 0:20:14.440 --> 0:20:17.280 on a few different TV shows, including the new Leave 0:20:17.320 --> 0:20:20.880 It to Beaver, Different Strokes, and in Love and War. 0:20:20.960 --> 0:20:23.160 I'm not familiar with that last one, but but yeah, 0:20:23.160 --> 0:20:25.720 he'd already gotten his feet a little bit wet in 0:20:25.840 --> 0:20:29.320 the whole child actor realm. And then he's off to 0:20:29.359 --> 0:20:31.560 the races as the star of the Gate. 0:20:32.359 --> 0:20:35.439 And he does it competently. I can't. He carries so 0:20:35.600 --> 0:20:39.400 much of this movie. It's it's really hard to overstate 0:20:40.040 --> 0:20:42.440 how competent of an actor he is in this one. 0:20:42.680 --> 0:20:45.880 Yeah, it's it's shocking, especially that there are times too 0:20:45.960 --> 0:20:49.399 where you'll he'll act in a certain way and you 0:20:49.440 --> 0:20:53.240 can sort of see the grown up Stephen Dorf through him, 0:20:53.320 --> 0:20:55.520 especially if you've seen other Stephen Dorf films and you're like, 0:20:55.760 --> 0:20:58.040 it's it's it's kind of weird. It's like staring through 0:20:58.080 --> 0:21:01.800 a time tunnel or something. All right. So that's Glenn 0:21:02.560 --> 0:21:07.119 the brother, and then we also have Glenn's sister, al 0:21:07.760 --> 0:21:12.240 Al is played by Krista Denton born nineteen seventy two, 0:21:13.000 --> 0:21:14.840 and I think she does a great job in this too. 0:21:14.880 --> 0:21:18.360 She was only active from nineteen eighty four through nineteen ninety. 0:21:18.680 --> 0:21:21.040 This is probably her most prominent role, but she also 0:21:21.119 --> 0:21:24.199 had some parts in nineteen eighty five of The Bad Seed, 0:21:24.720 --> 0:21:28.199 nineteen eighty six's Eight Million Ways to Die and some 0:21:28.320 --> 0:21:32.080 episodes of Silver Spoons Growing Pains, and the new Leave 0:21:32.119 --> 0:21:32.560 It to Beaver. 0:21:32.920 --> 0:21:33.080 Now. 0:21:33.080 --> 0:21:35.400 What I lack in Blade knowledge I make up for 0:21:35.600 --> 0:21:38.080 in the new Leave It to Beaver knowledge. I was 0:21:38.359 --> 0:21:41.359 pretty fond of this series as a child. It was 0:21:41.480 --> 0:21:45.119 on some syndication for couldn't have been more than a 0:21:45.160 --> 0:21:47.800 summer or a summer at a fall. But when it 0:21:47.840 --> 0:21:50.600 was there, I was fascinated with the idea of reboots. 0:21:50.800 --> 0:21:53.400 I had obviously seen Leave It to Beaver on Nick 0:21:53.440 --> 0:21:56.600 at Night and was just fascinated by the fact that 0:21:56.640 --> 0:21:59.439 they could grow up and continue the series later, a 0:21:59.480 --> 0:22:02.800 premise that is just worn to shreds at this point 0:22:02.840 --> 0:22:05.600 with every show under the sun, the question of oh, 0:22:05.640 --> 0:22:07.640 what would they be like now? You know, But back 0:22:07.680 --> 0:22:09.199 then it was still pretty novel. 0:22:09.240 --> 0:22:09.439 You know. 0:22:09.480 --> 0:22:11.440 You had your Return to may Berry's, you had your 0:22:11.640 --> 0:22:15.760 New Leave It to Beaver. But this one to take 0:22:15.840 --> 0:22:19.479 kind of a sidebar. It started in nineteen eighty three 0:22:19.560 --> 0:22:23.520 as a two hour movie made for television called Still 0:22:23.560 --> 0:22:29.239 the Beaver. That movie featured Ed Beagley Jr. Featured a 0:22:29.320 --> 0:22:33.159 young Corey Feldman not. I don't think this was his 0:22:33.160 --> 0:22:37.480 first role or anything. But some pretty pretty stars studied 0:22:37.840 --> 0:22:39.120 made for TV movie back then. 0:22:39.200 --> 0:22:42.439 You know, Oh wow, they were some actors from the 0:22:42.480 --> 0:22:43.960 original Leave It to Beaver, right. 0:22:44.160 --> 0:22:47.520 I think so. Yes, Jerry Mathers does reprise his role 0:22:47.680 --> 0:22:51.639 as the Beaver, and that's consistent with the series as well. 0:22:52.520 --> 0:22:56.080 Ed Bagley Junior Corey Feldman do not hang around for 0:22:56.160 --> 0:22:58.320 the series. I think the series doesn't happen until a 0:22:58.359 --> 0:23:01.919 couple of years later, mid to late eighties, so I 0:23:01.960 --> 0:23:05.040 think they rebooted the reboot kind of in that time, 0:23:05.359 --> 0:23:08.159 but it's all lumped under one new Leave It to 0:23:08.200 --> 0:23:09.720 Beaver umbrella. 0:23:09.800 --> 0:23:11.640 I didn't realize that it went one hundred and two 0:23:11.680 --> 0:23:17.120 episodes four seasons, because I remember I remember this existing. 0:23:17.200 --> 0:23:20.200 I remember having watched reruns of Leave It to Beaver 0:23:20.240 --> 0:23:24.760 on nickod Night. I remember parents and grandparents attesting to 0:23:24.800 --> 0:23:26.600 the fact that, yes, this is a good show, and 0:23:26.640 --> 0:23:29.200 then I remember coming to them excited and saying, guess what, 0:23:29.640 --> 0:23:32.760 Leave It to Beaver is back, and maybe it was 0:23:32.800 --> 0:23:34.959 a little bit shocked that they weren't as excited as 0:23:34.960 --> 0:23:38.560 I was. I specifically remember an episode where there were 0:23:38.560 --> 0:23:42.080 a pair of tennis shoes that a child in the 0:23:42.080 --> 0:23:44.639 show really wanted I guess the Beaver's son or something. 0:23:45.119 --> 0:23:47.160 And they were called Earth Angels, and they would play 0:23:47.160 --> 0:23:50.320 that song Earth Angel every time he was lusting after 0:23:50.359 --> 0:23:52.720 these beautiful sneakers that had little wings on them. 0:23:53.840 --> 0:23:56.480 That's pretty great. That's pretty great. I think with the 0:23:56.520 --> 0:23:59.320 show like this, the lift is really getting the elements 0:23:59.320 --> 0:24:02.480 together to make it. Once you've got that going, you 0:24:02.520 --> 0:24:05.000 can probably turn out one hundred and two episodes, just 0:24:05.040 --> 0:24:06.640 as you can do ten. 0:24:16.040 --> 0:24:18.880 All Right, we have one more essential child to get 0:24:18.880 --> 0:24:22.639 to here, and that is Terry. Terry is Glenn's friend. 0:24:23.040 --> 0:24:27.919 This is Glenn's best friend, we believe here, played by 0:24:28.000 --> 0:24:31.199 Lewis Tripp, who was born nineteen seventy three. Just a 0:24:31.240 --> 0:24:36.040 really pitch perfect performance as this awkward, nerdy eighties kid 0:24:36.119 --> 0:24:40.800 who's super into heavy metal and also is just just 0:24:41.000 --> 0:24:43.880 ready to research the heck out of a demonic problem 0:24:44.000 --> 0:24:44.840 once it emerges. 0:24:45.240 --> 0:24:48.760 Yeah, he's such a great casting choice. I think he's 0:24:48.880 --> 0:24:53.000 this from the parents view, he's this bad influence to Glenn, 0:24:53.440 --> 0:24:57.040 but he doesn't really look that stereotypical bad influence part. 0:24:57.119 --> 0:25:00.640 He definitely does kind of nudge Glenn in a more 0:25:00.680 --> 0:25:05.560 destructive direction and in a kind of rule breaky direction. 0:25:06.000 --> 0:25:07.920 Glenn probably would have gone there on his own though 0:25:07.960 --> 0:25:10.840 in a lot of these cases, but he has the 0:25:11.880 --> 0:25:17.040 awkwardness of a latch key kid who has yet to 0:25:17.200 --> 0:25:22.119 process some trauma from his past, which his mother died 0:25:23.400 --> 0:25:26.520 before the events of the movie, which kind of plays 0:25:26.520 --> 0:25:29.639 into the plot of it, and his dad. We just 0:25:30.080 --> 0:25:31.960 we see that he's not around. I don't think that 0:25:32.040 --> 0:25:35.520 we see him at all. So just a really specific 0:25:35.640 --> 0:25:39.679 character that he brings a lot too and delivers it 0:25:39.760 --> 0:25:40.639 really convincingly. 0:25:41.119 --> 0:25:44.000 Yeah. Yeah, he's he's really in a way. I feel 0:25:44.000 --> 0:25:46.480 like he's the he's right alongside Glenn. I mean, it's 0:25:46.520 --> 0:25:49.520 you can't discount and Glenn as being an essential part 0:25:49.520 --> 0:25:51.800 of the film, but the Terry's right there next to. 0:25:51.760 --> 0:25:54.359 Him, one hundred percent. Right from the jump too. I 0:25:54.400 --> 0:25:58.160 think he sets a lot of the actions into motion, 0:25:59.040 --> 0:26:05.600 and he seems to want to believe just in general, 0:26:05.640 --> 0:26:08.240 he seems to want to believe in something, and that 0:26:08.720 --> 0:26:12.680 desire to do that also helps push kind of the 0:26:12.720 --> 0:26:14.960 events of the of the movie forward and ultimately the 0:26:15.359 --> 0:26:18.240 solution to the problem. Yeah, now you said that he 0:26:18.359 --> 0:26:20.439 was in the Gate too. Is he the star of 0:26:20.480 --> 0:26:21.040 the Gate too? 0:26:21.440 --> 0:26:25.600 Yeah, yeah, he's the if memory serves correctly, And I 0:26:25.640 --> 0:26:27.960 did glance at some at a brief summary of the plot, 0:26:27.960 --> 0:26:30.320 I believe in the sequel, the idea is that Glenn 0:26:30.320 --> 0:26:33.520 has moved away, okay, and Terry is left there in 0:26:33.560 --> 0:26:35.679 the neighborhood. He's a bit older. I think he's a 0:26:35.680 --> 0:26:38.520 full blown teenager by this point, so he's an awkward 0:26:38.560 --> 0:26:43.040 teen and then gets sucked into another demonic plot. 0:26:43.560 --> 0:26:45.680 Is it a different Gate or is it the same Gate? 0:26:46.200 --> 0:26:49.040 I don't know. I mean maybe the same Gate, maybe 0:26:49.040 --> 0:26:51.880 different demons because now we have wishes involved, so maybe 0:26:51.880 --> 0:26:54.280 it's a different demonic scheme. I'm not sure. 0:26:54.480 --> 0:26:57.000 I mean, it's all from Hell, right, so maybe it's 0:26:57.040 --> 0:26:59.399 just different doors at the same house and different rooms 0:26:59.400 --> 0:27:02.879 in the same house, some different demon demonic inhabitants in 0:27:02.920 --> 0:27:07.840 those different rooms. But it's fascinating that Terry's back at it. 0:27:07.880 --> 0:27:08.399 Good for him. 0:27:08.480 --> 0:27:12.720 Yeah, yeah, this this actor Lewis Trip. He wasn't in much. 0:27:12.800 --> 0:27:14.600 He was again. He was in The Gate and The 0:27:14.600 --> 0:27:17.960 Gate too, obviously. He appeared on the nineteen eighty seven 0:27:18.280 --> 0:27:22.960 Canadian psychic TV show Seeing Things, which starred Louis del Grande. 0:27:23.520 --> 0:27:25.159 This is the if you're not familiar with him, this 0:27:25.200 --> 0:27:27.800 is the exploding head guy from Scanners. The guy's had up, 0:27:27.840 --> 0:27:31.520 oh my god, amazing mustache, but he had a full 0:27:32.480 --> 0:27:34.600 like a pretty I'm not sure how long it went, 0:27:34.640 --> 0:27:36.520 but I remember from my childhood when I lived in 0:27:36.560 --> 0:27:40.080 Canada that we had one TV channel and when seeing 0:27:40.119 --> 0:27:42.800 things came on, we would watch it. I do not 0:27:42.960 --> 0:27:45.520 remember this child showing up on the show, but I 0:27:45.560 --> 0:27:46.240 remember the show. 0:27:46.520 --> 0:27:48.320 I got to check this show out. It seems like 0:27:48.320 --> 0:27:49.280 it's right up my alley. 0:27:49.359 --> 0:27:52.439 It had a really jazzy theme song. Nice all right. Now, 0:27:52.480 --> 0:27:54.679 there are two other kids that show up in the film. 0:27:54.720 --> 0:27:58.160 These are friends of Owl's. They are the Lee sisters, 0:27:58.600 --> 0:28:01.160 and they're worth noting that they're fun in the film. 0:28:01.160 --> 0:28:04.919 They're not central characters, but the actors who played them 0:28:05.080 --> 0:28:07.280 are each, in their own way, pretty interesting. So first 0:28:07.320 --> 0:28:11.280 there's Lori Lee played by Kelly Rowan born nineteen sixty five. 0:28:11.320 --> 0:28:13.760 This is a Canadian actor who was active up until 0:28:13.760 --> 0:28:17.239 I think twenty sixteen on screen and TV. She did 0:28:17.280 --> 0:28:19.480 a lot of TV work, but also had roles in 0:28:19.560 --> 0:28:23.200 nineteen ninety one's Hook, nineteen ninety five's Candy Man, Farewell 0:28:23.240 --> 0:28:27.439 to the Flesh, ninety five's Assassins, also Lonesome Dove, The 0:28:27.480 --> 0:28:30.560 Outlaw Years, and the OC. Wow. 0:28:30.680 --> 0:28:33.480 I know that she's not responsible for this, but Farewell 0:28:33.520 --> 0:28:37.800 to the Flesh is a fantastic subtitle for a movie. 0:28:37.920 --> 0:28:41.080 She was also Dave in not one, but two episodes 0:28:41.120 --> 0:28:45.840 of the nineties Outer Limits in Another Life and Virtual Future. 0:28:46.360 --> 0:28:50.520 Virtual Future apparently featured both Josh Brolin and David Warner. 0:28:50.880 --> 0:28:54.680 Wow. So there's a lot of Outer Limits thread flowing 0:28:54.720 --> 0:28:55.480 through this cast. 0:28:55.640 --> 0:28:58.480 Yeah, Well, you got Canadian actors. You get Canadian actors 0:28:58.520 --> 0:29:02.360 that were active in the nineties, and there's there's like 0:29:02.440 --> 0:29:05.080 a what seventy five percent chance maybe greater that they 0:29:05.120 --> 0:29:07.000 were on at least one episode of the Outer One. 0:29:07.360 --> 0:29:08.880 That's true. It's a rite of passage. 0:29:09.000 --> 0:29:12.560 Now. The other Lee sister, Linda Lee, is played by 0:29:12.840 --> 0:29:18.440 Jennifer Irwin born nineteen seventy five. Terrific Canadian actor who 0:29:18.480 --> 0:29:20.719 has starred in a ton of great stuff over the years, 0:29:20.760 --> 0:29:24.920 done guest spots and plenty of other shows. And we're 0:29:24.920 --> 0:29:27.600 talking some big name TV comedies, and she's she's still 0:29:27.680 --> 0:29:28.479 very much active. 0:29:28.760 --> 0:29:32.040 Yeah, she is fantastic and everything. Every time she shows up, 0:29:32.600 --> 0:29:34.400 even if it's just for a scene, she feels like 0:29:34.440 --> 0:29:37.840 she's a regular. She really steals the scene every time. 0:29:38.400 --> 0:29:42.720 I know her most intimately from The Goldbergs, where she 0:29:42.800 --> 0:29:47.560 plays the across the street neighbor of the Goldbergs, the 0:29:47.560 --> 0:29:53.880 titular Goldbergs. The main character has his best friend who 0:29:53.920 --> 0:29:56.239 is the neighbor, and this is the mother of that 0:29:56.320 --> 0:30:01.000 best friend, and she and Beverly Goldberg, the mom, have 0:30:01.120 --> 0:30:05.280 a tough start to their relationship. They're kind of antagonistic 0:30:05.320 --> 0:30:07.320 to each other, but then become best friends. And she's 0:30:07.360 --> 0:30:11.160 a recurring character, just fantastic and really nails that dynamic. 0:30:11.520 --> 0:30:14.720 Yeah, yeah, she's If you're not sure out there who 0:30:14.760 --> 0:30:17.960 she is, you look her up, you'll recognize her instantly, 0:30:18.000 --> 0:30:21.760 especially if you've watched such shows as TVs, the Canadian 0:30:21.800 --> 0:30:25.440 TV show Slings and Arrows, Eastbound and Down, Halt and 0:30:25.520 --> 0:30:30.080 Catch Fire, Superstore, Iye, Zombie, and she said guest roles 0:30:30.200 --> 0:30:33.760 on such shows as Better Off, Ted, Party, Down, Shit's, Creak, 0:30:34.240 --> 0:30:37.520 Hacks and Physical. So she's popped up all over the 0:30:37.520 --> 0:30:40.840 place and is really delightful and everything she's in. Definitely, 0:30:41.360 --> 0:30:45.040 but this was only her third role so she's super 0:30:45.080 --> 0:30:47.960 young in this. If you didn't look her up, you 0:30:48.040 --> 0:30:51.040 might think that actor looks kind of familiar, but I 0:30:51.160 --> 0:30:52.080 can't really place her. 0:30:52.160 --> 0:30:54.160 I think that was the situation I was in watching 0:30:54.160 --> 0:30:56.240 this was I kind of had to be reminded that 0:30:56.320 --> 0:30:59.720 this was her. She's so much younger than the roles 0:30:59.760 --> 0:31:00.680 that I remember her in. 0:31:01.000 --> 0:31:03.280 All Right, Getting a little bit behind the scenes here 0:31:04.040 --> 0:31:06.480 this movie. If you watch the trailer, if you actually 0:31:06.520 --> 0:31:09.240 watch it, you'll realize this is an effects movie. I 0:31:09.320 --> 0:31:11.720 went into it not expecting it to be just wall 0:31:11.800 --> 0:31:14.240 to wall amazing special effects, but it. 0:31:14.280 --> 0:31:17.400 Is one hundred percent. It is a showcase for the 0:31:17.440 --> 0:31:19.560 effects work as much as it is anything else. And 0:31:19.600 --> 0:31:21.200 I don't mean that in a bad way. I mean 0:31:21.240 --> 0:31:23.960 that it's the full gallery of what you can do 0:31:24.000 --> 0:31:26.240 with stop motion, what you can do with force, perspective, 0:31:26.880 --> 0:31:27.720 the whole gamut. 0:31:27.840 --> 0:31:30.840 Now there's a whole crew working on this one, obviously, 0:31:30.880 --> 0:31:34.920 but the main visual effects credit here goes to Randall 0:31:34.960 --> 0:31:38.760 William Cook born nineteen fifty one, American special effects wizard 0:31:38.760 --> 0:31:41.240 and director. They really put together, He and his team 0:31:41.280 --> 0:31:44.520 really put together just so many strange and wonderful effects 0:31:44.560 --> 0:31:49.400 of varying things, like really the Poltergeist system of you. You 0:31:49.440 --> 0:31:51.080 never know what's going to come at you. It might 0:31:51.120 --> 0:31:54.000 be a horrific body horror effect, it might be a 0:31:54.120 --> 0:31:58.280 zombie or one of the showcases of this film, tiny 0:31:58.320 --> 0:32:00.360 demon's running all over the place. 0:32:00.760 --> 0:32:05.600 Yeah, and being dismembered and turning into little wormy bits 0:32:05.680 --> 0:32:07.320 that can reconstitute. 0:32:07.720 --> 0:32:09.720 Yes. Yeah, the wormy bits are a lot of fun. 0:32:10.800 --> 0:32:12.760 So Cook. He has been involved in a just a 0:32:12.800 --> 0:32:14.880 ton of great heart and sci fi special effects film 0:32:14.920 --> 0:32:18.120 over the years. I mean some when I say great, 0:32:18.240 --> 0:32:21.520 sometimes they're a little on the cheap side, but they're 0:32:21.560 --> 0:32:24.400 in films where you still love the effects. Like, for instance, 0:32:24.600 --> 0:32:27.000 he worked on a Laser Blast, which is a film 0:32:27.040 --> 0:32:31.480 that it's not a great film, but it has just 0:32:31.640 --> 0:32:33.440 charming and lovable special effects. 0:32:33.720 --> 0:32:37.560 Yeah, the effects are not the reason that the film 0:32:37.640 --> 0:32:39.600 is bad by a long shot, And in a lot 0:32:39.640 --> 0:32:41.160 of ways there what redeemed the film. 0:32:41.480 --> 0:32:44.800 Yeah. To a similar extent, he was in Q The 0:32:44.840 --> 0:32:48.320 Wings Serpent, but also he was on the crew anyway 0:32:48.360 --> 0:32:55.640 for such films as The Thing, Ghostbusters twenty ten, Fright Night, Poltergeist, two, 0:32:55.800 --> 0:32:58.240 Highway to Hell, and the Lord of the Rings trilogy. 0:32:58.480 --> 0:33:00.840 It doesn't surprise me at all. He's involved with these 0:33:00.840 --> 0:33:04.240 big titles seeing what was pulled off in this movie. 0:33:04.120 --> 0:33:06.320 And his credits kind of go all over the place too. 0:33:06.360 --> 0:33:10.000 For instance, he directed one episode of TV's Life Goes On, 0:33:10.320 --> 0:33:13.280 which we already mentioned. He also did a movie. He 0:33:13.360 --> 0:33:16.600 directed a film from ninety six titled Demon in the Bottle. 0:33:17.040 --> 0:33:18.200 I had to look this one up. I was not 0:33:18.240 --> 0:33:21.080 familiar with it, but apparently it was the product of 0:33:21.120 --> 0:33:25.240 a one time deal between Disney and full Moon Entertainment 0:33:25.440 --> 0:33:28.400 who Charles band production house. 0:33:28.840 --> 0:33:29.760 That is wild. 0:33:30.280 --> 0:33:34.280 He acted in the Demon in the Bottle movie as well, 0:33:34.400 --> 0:33:38.320 and he also has cameos in a weird nineteen eighty 0:33:38.400 --> 0:33:40.920 nine film titled Doctor Caligari, which has nothing to do 0:33:40.960 --> 0:33:43.680 with the cabinet of Doctor Caligari but is instead more 0:33:43.720 --> 0:33:47.600 of an erotic peewee's playhouse sort of the art film. Yeah, 0:33:47.680 --> 0:33:51.080 it's a weird one. But then he also has roles 0:33:51.320 --> 0:33:55.080 essentially cameos in King Kong and The Fellowship of the Ring, 0:33:55.200 --> 0:33:57.560 so you never know where this guy's going to pop up. 0:33:58.640 --> 0:34:02.840 And finally, the music in this film really solid atmospheric 0:34:02.960 --> 0:34:08.680 electronic score by Michael Hoenig and J. Peter Robinson totally agree. 0:34:08.719 --> 0:34:11.200 I think the ambient score here is more of the 0:34:11.239 --> 0:34:15.080 synthesized ambient score, is one of the standouts for this 0:34:15.719 --> 0:34:19.600 for me. It really nails the tone just right from 0:34:19.640 --> 0:34:24.960 the jump and really just accentuates all of those moments 0:34:25.040 --> 0:34:28.200 just the way you think that they would and really 0:34:28.239 --> 0:34:29.640 just elevates the entire movie. 0:34:29.960 --> 0:34:33.200 Yeah. Yeah, this one. I don't know for me personally, 0:34:33.239 --> 0:34:35.399 this would be like a stands on its own sort 0:34:35.440 --> 0:34:37.040 of score that I would just like listen to and 0:34:37.120 --> 0:34:39.360 jam out to. But it's one that just works perfectly 0:34:39.400 --> 0:34:41.920 with the film. You can listen to it on its 0:34:41.920 --> 0:34:43.359 own and jam out to it. It's I think it's 0:34:43.360 --> 0:34:47.200 streaming most places, and they've even been There's at least 0:34:47.239 --> 0:34:50.759 one special vinyl edition I saw online that has like 0:34:50.800 --> 0:34:54.880 a pink vinyl record and the sleeve is made to 0:34:54.920 --> 0:34:58.600 where it doesn't feature the movies art. It resembles a 0:34:58.719 --> 0:35:02.000 very important heavy metal that is a prop and a 0:35:02.040 --> 0:35:03.160 plot piece in the film. 0:35:03.320 --> 0:35:05.600 I wonder if it has all of the koutrama of 0:35:05.719 --> 0:35:08.640 the album too, with kind of the lore and the 0:35:09.080 --> 0:35:11.719 deep stuff that helped solve the problems. 0:35:12.080 --> 0:35:15.560 Yeah, the Evil Book of Demonology, that's right, just a 0:35:15.600 --> 0:35:17.640 part of the record release. I think you mean the 0:35:17.719 --> 0:35:21.080 Dark Book, the Dark Book, Yes, the Bible for Demon's 0:35:21.320 --> 0:35:25.359 that's right, all right, well, well briefly. Michael Hoenig born 0:35:25.440 --> 0:35:28.719 nineteen fifty two, German composer who briefly toured with Tangerine 0:35:28.800 --> 0:35:32.160 Dream in nineteen seventy five, So I assume that he's 0:35:32.239 --> 0:35:35.920 responsible for the synthier parts of the score. He was 0:35:35.920 --> 0:35:38.840 a synth performer on nineteen eighty one's Galaxy of Terror, 0:35:39.200 --> 0:35:42.160 and other scores include The Max Headroom Show, nineteen eighty 0:35:42.200 --> 0:35:45.680 eight's The Blob, and he also worked on the nineteen 0:35:45.760 --> 0:35:49.360 ninety eight video game Balder's Gait in its two thousand sequel. 0:35:49.120 --> 0:35:52.800 Oh Wow Nice, Yeah, it's you know, I said it before. 0:35:52.880 --> 0:35:55.839 It's hard to overstate how effective the synth is at 0:35:55.880 --> 0:35:58.280 creating the vibe in this movie, right from the beginning. 0:35:58.400 --> 0:36:02.239 The other guy involved. J. Peter Robinson born nineteen forty five. 0:36:02.680 --> 0:36:06.960 I suspect he's maybe responsible for the more traditional aspects 0:36:07.000 --> 0:36:08.879 of the film. Just going off on a limb here, 0:36:08.960 --> 0:36:12.600 I suspect he was responsible for the more traditional aspects 0:36:12.600 --> 0:36:15.000 of the score, just looking at the other films that 0:36:15.040 --> 0:36:19.880 he he has Composer credits on an English composer, he 0:36:19.920 --> 0:36:21.879 worked on such films as Return of the Living Dead, 0:36:21.920 --> 0:36:27.359 two Cocktail, Blind Fury, which is a weird, weird film. 0:36:27.400 --> 0:36:31.080 That one. It's one where Rudger Howard is a blind man. 0:36:31.120 --> 0:36:35.000 I believe who Wayne's world in Sino Man, New Nightmare, 0:36:35.440 --> 0:36:37.279 Mind Ripper, and many more. 0:36:37.640 --> 0:36:41.240 Wow, it makes me wonder probably this is the case 0:36:41.960 --> 0:36:44.840 that he wrote the metal song that is so pivotal 0:36:45.040 --> 0:36:48.360 to the plot, as well as maybe the party music 0:36:48.880 --> 0:36:52.120 from the Teen Party. I sound like such an old 0:36:52.120 --> 0:36:53.760 man calling it the teen Party. 0:36:54.000 --> 0:36:55.680 Now I was able to id one of the Teen 0:36:55.680 --> 0:36:59.120 Party songs. We'll come back to that one nice. All right, Well, 0:36:59.480 --> 0:37:02.239 let's get in the plot of this one. Yeah, all right, 0:37:02.239 --> 0:37:03.200 how do we kick this one off? 0:37:03.280 --> 0:37:03.480 Dave? 0:37:03.760 --> 0:37:06.680 All Right, So, I don't know if I've made this 0:37:06.719 --> 0:37:08.480 clear yet, but I'm a pretty big fan of the 0:37:08.480 --> 0:37:11.760 synth music and the opening credits. You get this ambient 0:37:11.840 --> 0:37:16.640 chime that just really for me. It tells me you're home, 0:37:16.719 --> 0:37:19.960 You're in a good place. Enjoy the next eighty some 0:37:20.040 --> 0:37:24.560 odd minutes, and it takes us right into kind of 0:37:25.040 --> 0:37:28.439 a I guess it's spoiling it out of the gate 0:37:28.600 --> 0:37:31.319 to call it a dream sequence, but it starts out 0:37:31.360 --> 0:37:31.960 pretty dark. 0:37:32.200 --> 0:37:34.719 You know. Yeah, a lot of films like this I 0:37:34.719 --> 0:37:37.600 think would would maybe spend more time establishing a real 0:37:37.600 --> 0:37:40.040 world dynamic I'm thinking of. I'm thinking a films like 0:37:40.040 --> 0:37:42.560 The Never Ending Story and so forth, where you get 0:37:42.600 --> 0:37:44.840 to see, like what is day to day life like 0:37:45.000 --> 0:37:48.200 for this child or these children, and then let's throw 0:37:48.239 --> 0:37:51.120 them into the supernatural. But this film just kicks off 0:37:51.320 --> 0:37:56.560 right inside of a dream. We see Glenn walking around, right, 0:37:56.840 --> 0:37:58.760 he's checking out what we see his bedroom. 0:37:58.880 --> 0:38:02.160 Yeah, I think he walked into his front door and 0:38:02.520 --> 0:38:04.799 the house is empty. It's an amazing house. It's actually 0:38:04.840 --> 0:38:08.560 a real house that they shot this in amazing gorgeous decor. 0:38:09.040 --> 0:38:11.480 And then he walks into what's basically my dream bedroom 0:38:11.640 --> 0:38:15.560 from the eighties, which you know. There are colored desk lamps, 0:38:15.600 --> 0:38:18.640 those metallic desk lamps that have different colors to them. 0:38:19.400 --> 0:38:23.279 There are orange sheer curtains, there's this white metallic furniture, 0:38:23.520 --> 0:38:25.680 like a desk that's made out of a white metal. 0:38:25.880 --> 0:38:29.360 It's just very it's like a catalog shot. And my 0:38:29.520 --> 0:38:32.280 heart that and the ambient chimes, my heart was soaring 0:38:32.320 --> 0:38:32.920 at this point. 0:38:33.080 --> 0:38:35.800 I don't know about you, Dave. But as a former child, 0:38:36.200 --> 0:38:40.239 I'm always instantly interested and a little bit judgy when 0:38:40.280 --> 0:38:43.360 any show, regardless of time period, presents us with a 0:38:43.440 --> 0:38:47.319 child's bedroom, because it's always fascinating to sort of pick 0:38:47.360 --> 0:38:52.080 it apart, like which details that have either sloppily or 0:38:52.120 --> 0:38:56.160 lovingly been added, which ones feel authentic, which ones are branded, 0:38:56.400 --> 0:38:59.799 which ones are like noticeable some of them. Occasionally see 0:38:59.800 --> 0:39:03.600 some where I'm like, Okay, I specifically remember that generic 0:39:03.680 --> 0:39:06.879 poster from Getty Images. I know that you just bought 0:39:06.960 --> 0:39:09.480 the rights to use that, or it's like free to use. 0:39:09.800 --> 0:39:11.720 None of these are things that a child would actually 0:39:11.760 --> 0:39:12.640 have hanging in the room. 0:39:13.040 --> 0:39:16.120 Yeah, I think sometimes you get that, like what an 0:39:16.160 --> 0:39:18.600 interior designer at Sears would do for one of those 0:39:18.640 --> 0:39:21.160 model bedrooms that they're trying to sell you the furniture 0:39:21.200 --> 0:39:23.680 pieces within. You get that vibe a lot. And yeah, 0:39:23.760 --> 0:39:26.560 books that are just encyclopedias that are neatly stacked on 0:39:27.040 --> 0:39:30.040 a desk, or like you said, posters that are essentially 0:39:30.080 --> 0:39:34.080 clip art from that time, or sometimes you get you know, 0:39:34.120 --> 0:39:36.120 I don't have a specific example of this offhand, but 0:39:36.200 --> 0:39:39.080 you get a snapshot of what the director's room would 0:39:39.120 --> 0:39:41.080 have been, but were they a child? And I think 0:39:41.080 --> 0:39:44.800 you see that maybe in Terry's room, which is almost 0:39:45.120 --> 0:39:48.799 skipping ahead a little bit, but it's almost over disheveled 0:39:49.640 --> 0:39:51.600 in terms of messiness. But I will tell you as 0:39:51.600 --> 0:39:54.759 a father myself, my child's room does get close to 0:39:54.800 --> 0:39:55.840 that state sometimes. 0:39:56.200 --> 0:40:00.160 Yeah, same as the father of a young boy. Like 0:40:00.200 --> 0:40:02.760 you see that energy where it's like, yeah, I really 0:40:02.840 --> 0:40:06.799 like the image on this box of Pokemon cards. I'm 0:40:06.840 --> 0:40:09.560 just going to take this box, flatten it, and I'm 0:40:09.560 --> 0:40:12.160 going to tape it to the wall because I want 0:40:12.160 --> 0:40:15.600 to look at it exactly. So yeah, I buy Glenn's 0:40:15.640 --> 0:40:17.319 room as well, though, and you get and it's great 0:40:17.360 --> 0:40:19.319 peek into the personality of a child, and if it's 0:40:19.320 --> 0:40:21.440 executed right in the film, we see that Glenn is 0:40:21.640 --> 0:40:23.839 he's clearly into like a little bit of sports here 0:40:23.880 --> 0:40:25.480 and there. I think he's a baseball you know, very 0:40:25.719 --> 0:40:28.239 you know, typical American kid in that. But also it 0:40:28.280 --> 0:40:31.720 becomes very clear that Glenn is a total rocket nerd. 0:40:31.840 --> 0:40:35.239 He is super into NASA. He's almost always wearing a 0:40:35.360 --> 0:40:36.360 NASA jacket. 0:40:37.719 --> 0:40:42.239 Yeah, Glenn is, he's a rules guy, He's an orderly guy. 0:40:42.520 --> 0:40:45.120 He frequently wants to call mom and Dad throughout the 0:40:45.160 --> 0:40:47.560 movie as things get worse and work, which I think 0:40:47.600 --> 0:40:52.440 is very sweet. And he does have this jacket that 0:40:52.560 --> 0:40:56.520 is patched with NASA patches, And at first I thought 0:40:56.560 --> 0:41:01.040 that he was a specific kind of kid, like you said, 0:41:01.040 --> 0:41:04.960 a real NASA buff, But I learned throughout the movie 0:41:05.040 --> 0:41:09.120 that his sister Al also has the same jacket and 0:41:09.360 --> 0:41:13.400 they both have it because they launched the rockets together, 0:41:13.960 --> 0:41:17.799 and that was kind of their commonality that was had 0:41:17.840 --> 0:41:20.080 deteriorated at the start of the film. 0:41:20.360 --> 0:41:23.799 Yeah, the film builds up over time you realize, Yeah, 0:41:23.800 --> 0:41:27.319 they have this sweet relationship, though they also are at 0:41:27.320 --> 0:41:29.640 echoes to others throats at times, so you totally buy 0:41:29.640 --> 0:41:30.719 the sibling relationship. 0:41:30.920 --> 0:41:34.920 Yeah, definitely. And there's also this element of Al being 0:41:35.120 --> 0:41:37.640 a little bit older, starting to hang out with teens, 0:41:37.680 --> 0:41:40.680 starting to gravitate away from that family dynamic, and you 0:41:40.719 --> 0:41:43.520 see that in the interactions with the whole family. But 0:41:44.120 --> 0:41:47.359 you really see how that impacts Glenn, specifically in how 0:41:47.480 --> 0:41:51.960 left behind he feels. Even as the events of the 0:41:52.440 --> 0:41:55.840 movie and the gate opening or unfolding, he still feels 0:41:55.840 --> 0:41:57.520 a little bit of that distance from Al. 0:42:06.400 --> 0:42:09.200 Now, coming back to the whole dream, sequence. Yeah, Glenn's 0:42:09.239 --> 0:42:12.480 wandering around this empty house. He goes into the backyard, 0:42:12.840 --> 0:42:16.080 he climbs into the treehouse. It's in the black backyard. 0:42:16.160 --> 0:42:19.440 He ascends into the treehouse, and then lightning strikes it, 0:42:19.840 --> 0:42:22.600 the causing the treehouse to collapse. And then of course 0:42:22.640 --> 0:42:26.920 he wakes up. He hears chainsaws or buzzsaws running, and 0:42:26.960 --> 0:42:29.160 then when he looks out the window, oh, it looks 0:42:29.200 --> 0:42:32.080 like the tree was actually struck by lightning and was 0:42:32.080 --> 0:42:37.080 completely destroyed. Workmen are clearing everything away. And I thought 0:42:37.080 --> 0:42:39.799 this was neat too, in two different ways, because on 0:42:39.800 --> 0:42:43.560 one hand, this felt very like on par with the 0:42:43.640 --> 0:42:47.160 childhood experience, where important things like the destruction of a 0:42:47.200 --> 0:42:50.680 treehouse occur when you're asleep, and then when you wake 0:42:50.800 --> 0:42:53.640 up or look out the back then adults have already 0:42:53.640 --> 0:42:56.520 tended to it. Adults are already on the scene dealing 0:42:56.560 --> 0:42:57.920 with it, and you're just like, oh, I wonder what 0:42:58.000 --> 0:43:01.720 that was about. But then also so like, symbolically, yeah, 0:43:01.960 --> 0:43:06.520 there's this innocence of childhood threatened imagery that's clear in 0:43:06.560 --> 0:43:09.160 all of this. The treehouse is the iconic fortress of 0:43:09.239 --> 0:43:12.800 childhood freedom and it was just destroyed by I guess 0:43:12.800 --> 0:43:14.319 like a literal act of God here. 0:43:14.560 --> 0:43:18.120 Yeah, And the terror of being in a treehouse in 0:43:18.160 --> 0:43:21.359 a tree that is falling over, It's not It's worse 0:43:21.400 --> 0:43:23.480 than being in a tree that's falling over. You're in 0:43:23.520 --> 0:43:26.560 a structure inside of it, and I can't imagine feeling 0:43:26.600 --> 0:43:29.920 more helpless than that. I do think from a narrative perspective, 0:43:30.280 --> 0:43:34.120 I was scratching my head pretty early on about did 0:43:34.200 --> 0:43:39.279 this happen while he was asleep? Had this? Was it 0:43:39.360 --> 0:43:41.760 just a coincidence that it happened while he was dreaming 0:43:41.760 --> 0:43:44.760 about it? Did he cause this to happen by dreaming 0:43:44.800 --> 0:43:47.560 about it? The parallel between what was happening in the 0:43:47.640 --> 0:43:51.160 dream and what was happening in life while he was 0:43:51.200 --> 0:43:54.080 asleep kind of confused me a little bit. And there's 0:43:54.120 --> 0:43:57.319 a little bit of both sides the line that this 0:43:57.440 --> 0:44:01.160 movie does in that regard throughout. On the one hand, 0:44:01.520 --> 0:44:03.840 I think it is a little bit puzzling as a choice, 0:44:04.120 --> 0:44:05.600 But on the other hand, I kind of like the 0:44:05.600 --> 0:44:08.040 ambiguity of it because it's a question that doesn't need 0:44:08.080 --> 0:44:10.840 to be answered, and a lot of what is going 0:44:10.880 --> 0:44:13.480 on with these children and what these children are facing 0:44:14.560 --> 0:44:17.759 it shouldn't have an explanation. Children should not know exactly 0:44:17.840 --> 0:44:21.239 what the situation, No human would you know, And I 0:44:21.239 --> 0:44:23.520 think it's kind of a brave choice in that light 0:44:23.960 --> 0:44:25.319 to play into that a little bit. 0:44:26.000 --> 0:44:28.439 One quick note, I want to point out this wasn't 0:44:28.440 --> 0:44:31.200 party music, but there is a music video playing in 0:44:31.239 --> 0:44:33.960 the dream, and we see a clip of the music 0:44:34.040 --> 0:44:38.560 video for No Pressure by Canadian new wave performer Eva Everything. 0:44:38.960 --> 0:44:41.319 This is a nineteen eighty four single. She had a 0:44:41.360 --> 0:44:44.120 nineteen eighty four album titled boob Tube, and she went 0:44:44.120 --> 0:44:46.759 on to be a science communicator and producer. I'm not 0:44:46.800 --> 0:44:49.920 super familiar with this because I wasn't I don't think 0:44:49.920 --> 0:44:52.440 I was watching any of these particular shows, but it 0:44:52.520 --> 0:44:54.319 looked like she was involved in something that was kind 0:44:54.360 --> 0:44:57.479 of like Channel one that we had in the State, 0:44:57.640 --> 0:44:58.279 something like that. 0:44:58.760 --> 0:45:00.640 Yeah, I'm not familiar with. But I'm looking at this 0:45:00.680 --> 0:45:03.200 album cover now and it's got a very aha vibe 0:45:03.800 --> 0:45:05.960 with a little splash of color across the eyes and 0:45:06.000 --> 0:45:09.000 an otherwise black and white picture. It's very very cool, 0:45:09.040 --> 0:45:10.719 and I was digging the video. 0:45:10.719 --> 0:45:13.279 All right. So back in we're in the Waking world now, 0:45:13.320 --> 0:45:15.560 and we stay in the Waking world for the rest 0:45:15.560 --> 0:45:19.480 of the film, and it's not long before we finally 0:45:19.560 --> 0:45:23.719 actually meet Glenn's friend Terry. Let's describe Terry oh Man. 0:45:23.840 --> 0:45:27.200 Terry rules first, first, and foremost, Terry rules. Terry's got, 0:45:27.520 --> 0:45:31.600 you know, these dark rimmed glasses. It's got short hair. 0:45:31.760 --> 0:45:36.080 He's this lanky kid Masters of the Universe T shirt, 0:45:37.160 --> 0:45:41.600 leather jacket. I keep wanting to is it a leather 0:45:41.680 --> 0:45:44.240 jacket or is it a leather vest I keep thinking 0:45:44.239 --> 0:45:45.160 of it as a vest. 0:45:45.640 --> 0:45:47.440 I think there's a costume change. I think when we 0:45:47.520 --> 0:45:51.040 first see him, it's a leather jacket with a patch 0:45:51.239 --> 0:45:54.799 on the back for the English heavy metal band Venom, 0:45:55.120 --> 0:45:58.839 and later he's wearing like a jean jacket vest thing 0:45:58.960 --> 0:46:01.719 and that has I think a patch for the Canadian 0:46:01.800 --> 0:46:03.320 metal band Killer Dwarfs. 0:46:03.560 --> 0:46:06.760 Wow, so somebody knew their stuff when they were putting 0:46:06.760 --> 0:46:07.600 this outfit together. 0:46:07.800 --> 0:46:10.360 Yeah. So right off the bat we realize, yeah, Terry's 0:46:10.360 --> 0:46:13.719 interested very much so in heavy metal, and then we 0:46:13.800 --> 0:46:19.080 learn later a little bit into demonology via the heavy metal. Yeah. 0:46:19.120 --> 0:46:21.480 I think, you know, without getting too ahead of ourselves, 0:46:21.719 --> 0:46:25.000 I really do like how this movie flips the satanic 0:46:25.040 --> 0:46:29.360 panic angle of the time and turns the satanic panic 0:46:29.440 --> 0:46:33.839 into what saves these kids, and presumably the world is 0:46:34.080 --> 0:46:37.000 using these demonic lyrics to undo a curse. 0:46:37.600 --> 0:46:41.959 Yeah. In many of the metal sploitation films of the era, 0:46:42.280 --> 0:46:45.640 it's like, oh, the dangerous metal band is bringing demonology 0:46:45.680 --> 0:46:47.719 to the children and he gets them in all sorts 0:46:47.719 --> 0:46:49.920 of trouble. But in this film, as we find out, no, 0:46:50.400 --> 0:46:54.919 the metal rockers are actually wise wizards who have given 0:46:55.040 --> 0:46:58.640 us the tools for our own liberation and are actually 0:46:58.680 --> 0:47:00.879 teaching us how to defeat the well. 0:47:01.360 --> 0:47:06.480 And they do it pretty deliberately too, by a minutes 0:47:06.600 --> 0:47:09.319 long narration at the end of a song that is 0:47:09.400 --> 0:47:12.920 just an incantation basically, yeah, all. 0:47:12.920 --> 0:47:16.160 Right, But before the demons show up, we have to 0:47:16.160 --> 0:47:19.040 deal with geodes because basically the way the whole ball 0:47:19.040 --> 0:47:21.440 gets running here is as the workmen are hauling the 0:47:21.480 --> 0:47:24.920 tree pieces away, Glenn spots a geode in the roots, 0:47:24.960 --> 0:47:27.080 you know, like you often see, well, maybe not often 0:47:27.120 --> 0:47:29.400 see a geode, but sometimes you'll see the roots of 0:47:29.760 --> 0:47:33.920 an uprooted tree gripping a stone. It's always kind of 0:47:33.960 --> 0:47:36.120 weird and neat, and in this case it's a geode. 0:47:36.440 --> 0:47:39.560 So he and Terry realize, well, they're probably more geodes 0:47:39.560 --> 0:47:42.320 in that now filled in hole. Let's go dig around 0:47:42.320 --> 0:47:44.839 in there and get some more. And they find one 0:47:44.920 --> 0:47:47.799 the size of a beach ball, and there's this great 0:47:47.840 --> 0:47:50.840 exchange where they find this geode and they're both like, 0:47:50.920 --> 0:47:53.680 we're rich this. Yeah. 0:47:53.719 --> 0:47:56.680 I'm not sure what their sense of the market value 0:47:56.719 --> 0:47:59.920 of geodes is, or if they're near a Renaissance fair 0:48:00.239 --> 0:48:02.480 or a flea market or something like that that might 0:48:02.520 --> 0:48:04.600 give them an inflated sense of what they could do 0:48:04.680 --> 0:48:07.279 with a geode. But I did have to posit at 0:48:07.280 --> 0:48:10.040 this point because you know what's coming. They're standing at 0:48:10.040 --> 0:48:13.040 a hole, they're pulling out these rare crystals. They're excited 0:48:13.040 --> 0:48:16.000 about it. So I paused it and looked at the timestamp. 0:48:16.080 --> 0:48:18.600 This is six minutes into the movie and we're already 0:48:18.640 --> 0:48:21.200 at the demonic hole in the ground. We've already seen 0:48:21.239 --> 0:48:25.120 a scary nightmare. We've already seen Glenn in peril falling 0:48:25.160 --> 0:48:29.160 over in the tree. I mean, this movie wastes no time. 0:48:29.440 --> 0:48:32.000 It's great. Yeah, you get right to the gate. It's 0:48:32.000 --> 0:48:34.400 called the gate. It's not the road or the path 0:48:34.480 --> 0:48:38.760 to the gate. Here we are literally at the action point. 0:48:39.000 --> 0:48:42.800 That's right. So is this the point that al comes 0:48:42.840 --> 0:48:45.719 out and she's bringing a bunch of trash out to 0:48:45.760 --> 0:48:48.040 the trash can, or is that later in the movie. 0:48:48.120 --> 0:48:51.960 It's basically that she's bringing the rockets out that defined 0:48:52.080 --> 0:48:55.520 kind of her childhood relationship with Glenn and is tossing 0:48:55.560 --> 0:48:59.120 them in the trash. Glenn's upset about that because she 0:48:59.239 --> 0:49:01.480 was going to save them for him, and her comment is, 0:49:01.520 --> 0:49:03.200 while they've been sitting there for months and you haven't 0:49:03.239 --> 0:49:05.200 touched them, so I'm getting rid of them. He kind 0:49:05.200 --> 0:49:07.600 of digs through them, and I think does take one out. 0:49:07.840 --> 0:49:10.840 But that's kind of your first realization. You saw the 0:49:11.200 --> 0:49:14.080 jacket with the patches. Now you're seeing that he has 0:49:14.120 --> 0:49:17.120 a love of rockets that he shared with al and 0:49:17.160 --> 0:49:19.320 that that love is no longer shared. 0:49:19.600 --> 0:49:21.960 I have to admit that I didn't pay enough attention 0:49:22.040 --> 0:49:24.840 to this the first time I watched it, because I 0:49:24.880 --> 0:49:27.600 think part of it is with movies like this, usually 0:49:28.400 --> 0:49:32.200 it doesn't matter. Yeah, yeah, this is not real character development. 0:49:32.239 --> 0:49:35.560 It's not really important. It's just about moving character from 0:49:35.560 --> 0:49:37.640 point A to point B. But no, this is actually 0:49:37.680 --> 0:49:38.800 all building to something. 0:49:39.200 --> 0:49:44.280 Yeah, it's a really loving effort to tie these characters 0:49:44.960 --> 0:49:48.400 family stories together in a way that you know, I 0:49:48.440 --> 0:49:50.480 had an older sister. She's four years older than me. 0:49:50.920 --> 0:49:53.640 I definitely went through these emotions as she was growing 0:49:53.680 --> 0:49:56.640 into being a teenager, spending less time with the family, 0:49:56.719 --> 0:49:59.440 spending more time with her friends, and feeling those feelings 0:49:59.440 --> 0:50:02.279 that Glenn was feeling. We didn't shoot rockets together, but 0:50:03.000 --> 0:50:06.000 I can imagine, you know what that shared interest is 0:50:06.040 --> 0:50:09.960 that kind of morphs into just your interest, and it 0:50:10.000 --> 0:50:13.440 has a different taste and a different feel. So I 0:50:13.480 --> 0:50:17.600 think Terry talks Glenn into lighting off one of the rockets. Glenn, 0:50:18.400 --> 0:50:21.440 I believe, says, I'm not supposed to do that, but 0:50:21.719 --> 0:50:24.279 Terry encourages him to do that. He does it, and 0:50:24.640 --> 0:50:29.319 it zings off into the house and leaves kind of 0:50:29.480 --> 0:50:31.799 a burned stain in the side of the house. And 0:50:31.960 --> 0:50:35.920 I believe that gets Glenn into trouble with mom and dad, 0:50:36.120 --> 0:50:39.640 who show up to parent for a good sixty to 0:50:39.680 --> 0:50:41.040 seventy seconds. 0:50:40.719 --> 0:50:42.680 And they're quick to throw Glenn under the bus as 0:50:42.760 --> 0:50:43.760 being a bad influence. 0:50:43.840 --> 0:50:43.960 Right. 0:50:45.360 --> 0:50:50.360 Well, I think that the dad explains to Terry, I'm sorry. 0:50:50.360 --> 0:50:53.720 This happens at a different point, but Glenn is talking 0:50:53.719 --> 0:50:55.920 to his dad. He tells him a story that Terry 0:50:55.960 --> 0:50:58.719 told him about a workman that was trapped in the 0:50:58.760 --> 0:51:00.880 walls of the house when they were building the house, 0:51:01.280 --> 0:51:05.919 and that the dad since kneels down to Glenn and says, yeah, 0:51:06.000 --> 0:51:10.480 Terry has some problems, just a very dismissive yeah. And 0:51:10.560 --> 0:51:13.080 the dad had to have known what that kid's history was, 0:51:13.200 --> 0:51:19.319 you know, And to be that insensitive is really a 0:51:19.600 --> 0:51:22.880 insensitive but be really on point with a lot of 0:51:22.880 --> 0:51:25.880 the parenting from that era too, so it's not so 0:51:25.880 --> 0:51:29.480 so disparate. But whatever it is, it's insensitive to Terry, 0:51:29.840 --> 0:51:32.839 and it's not very thoughtful of Glenn's state of mind either, 0:51:33.160 --> 0:51:34.400 especially regarding his friend. 0:51:34.680 --> 0:51:36.600 Now. I think it's at this point that we learned that, hey, 0:51:36.719 --> 0:51:38.799 mom and dad really want to go out of town. 0:51:38.920 --> 0:51:40.880 I don't remember what they're going out of town for, 0:51:41.000 --> 0:51:43.320 but they want to do it. But they're having second 0:51:43.320 --> 0:51:47.560 thoughts about it because Glenn is being bad. But al 0:51:47.760 --> 0:51:50.399 the sister is quick to jump in and saying, hey, 0:51:50.440 --> 0:51:53.719 look I got this. I can I can take care 0:51:53.760 --> 0:51:55.960 of Glenn, I can take care of myself. I can 0:51:55.960 --> 0:51:58.560 take care of the house. You guys go, Everything's going 0:51:58.640 --> 0:51:59.799 to be fine. Yeah. 0:52:00.000 --> 0:52:03.600 I think that there's a babysitter that they reference that 0:52:03.840 --> 0:52:08.839 maybe they should call and I'm trying to remember her name. 0:52:08.920 --> 0:52:12.600 It becomes a pretty miss Vandergriff is her name, and 0:52:12.640 --> 0:52:16.399 it becomes a pretty clever through line throughout. When much later, 0:52:16.440 --> 0:52:21.520 when things are all just going to shambles, I believe 0:52:21.560 --> 0:52:26.040 he says, I wish missus Vandergriff was here, and just 0:52:26.080 --> 0:52:29.680 a fantastic callback to this moment, this decision. 0:52:30.120 --> 0:52:34.120 Yeah, I wish that the parent approved authority figure we're 0:52:34.160 --> 0:52:37.319 here because we cannot handle it. We cannot handle it. 0:52:37.400 --> 0:52:41.239 But the whole time she's like no, there multiple times 0:52:41.280 --> 0:52:43.279 later in the film where things are getting progressively worse, 0:52:43.280 --> 0:52:45.280 and like we should call mom and dad, and now's 0:52:45.360 --> 0:52:47.360 very clear, and like, no, we do not have to 0:52:47.360 --> 0:52:48.480 bring mom and dad into this. 0:52:48.880 --> 0:52:52.120 Yeah, she's at this point she has already kind of 0:52:52.160 --> 0:52:53.840 ditched the family to go off and hang out with 0:52:53.880 --> 0:52:57.960 her teen friends, to go shopping. You can tell that 0:52:58.000 --> 0:53:00.799 she's got teen ideas in my with what to do 0:53:00.880 --> 0:53:03.520 with an empty house, and that is borne out almost 0:53:03.520 --> 0:53:06.239 instantly once the parents go out of town and she 0:53:06.360 --> 0:53:10.279 throws a party. I thought that this party could have 0:53:10.360 --> 0:53:15.520 been just a full blowout nineteen eighties high school party scene, 0:53:15.719 --> 0:53:20.040 but I was struck by the balance of beer and cigarettes, 0:53:20.040 --> 0:53:23.000 which is happening, but also there's a lot of soda 0:53:23.080 --> 0:53:26.640 and bowls of chips set out, and something very childish 0:53:26.680 --> 0:53:31.000 about that too, And it really showed how at that age, 0:53:31.080 --> 0:53:34.319 and I think Al at this point has shown a 0:53:34.360 --> 0:53:37.399 little bit of remorse for leaving Glenn high and dry 0:53:37.480 --> 0:53:39.560 and kind of comes back to include him a little bit. 0:53:40.320 --> 0:53:43.640 It shows how she's not really completely there like the 0:53:43.680 --> 0:53:45.840 other teens are, yet there's still a little bit of 0:53:45.880 --> 0:53:48.560 kid left in her and a little bit of that 0:53:48.640 --> 0:53:49.680 bridge still. 0:53:49.680 --> 0:53:52.200 The party has a lot of great eighties hair hit 0:53:52.280 --> 0:53:56.600 with some eighties fashion. The dog Angus, the sweet old 0:53:56.680 --> 0:53:59.280 dog that the family has, is going around helping himself 0:53:59.280 --> 0:54:01.239 to some of the human food, the human snacks that 0:54:01.239 --> 0:54:02.680 are left laying about. 0:54:02.400 --> 0:54:05.000 And the boy is not at the party. Terry wants 0:54:05.040 --> 0:54:08.480 to be in the party, but Glenn's got them up 0:54:08.520 --> 0:54:10.560 in the room. He knows that Al doesn't want him 0:54:10.600 --> 0:54:13.080 down at the party. Terry's trying to talk him into it. 0:54:13.320 --> 0:54:16.759 They're working on this geode. Terry can't crack it for 0:54:16.760 --> 0:54:19.440 some reason, and then Glenn takes a shot at it 0:54:19.480 --> 0:54:23.359 and succeeds almost instantly. Yeah, cracks open and let's out 0:54:23.480 --> 0:54:25.240 kind of a sigh of gas. 0:54:25.320 --> 0:54:28.719 Right, Yeah, it's like purple smoke, purple lights. When they 0:54:28.719 --> 0:54:31.839 start looking at it, it's sparkly like geodes typically are, 0:54:31.880 --> 0:54:35.560 but it's purple light, sparkly, like it's emitting its own light. 0:54:36.040 --> 0:54:38.359 And then also it seems to have left some sort 0:54:38.360 --> 0:54:41.239 of satanic message on their magic slate that they have. 0:54:41.280 --> 0:54:44.200 They're the one where you pull up the the I 0:54:44.200 --> 0:54:45.880 don't even know if they still have these around, but 0:54:45.920 --> 0:54:48.520 they were definitely a big part of my childhood. 0:54:48.719 --> 0:54:51.120 Yeah, it's like that flimsy layer of plastic that you 0:54:51.120 --> 0:54:54.160 can write a message into and it'll kind of magnetize. 0:54:54.200 --> 0:54:57.279 That's the wrong word, but stick with something darker underneath it. 0:54:57.640 --> 0:55:02.040 Yeah, it barely works. It was I remember loving these, 0:55:02.040 --> 0:55:04.360 and you could they were sometimes branded with different TV 0:55:04.440 --> 0:55:07.880 shows and whatnot that they barely worked. Anything you'd write 0:55:07.920 --> 0:55:09.360 in it or draw in it would kind of like 0:55:09.520 --> 0:55:14.240 unstick and become unclear. So really, the demons here trying 0:55:14.280 --> 0:55:17.640 to reach out and converse with humans through this medium. 0:55:17.880 --> 0:55:18.920 It was a poor choice. 0:55:19.000 --> 0:55:21.600 Yeah, it barely works here. You can barely make out 0:55:21.640 --> 0:55:24.560 that there is an incantation. I kept thinking that one 0:55:24.560 --> 0:55:26.600 of the kids had written something and just done a 0:55:26.600 --> 0:55:29.280 bad job at it. But it is the demon speech. 0:55:29.440 --> 0:55:34.359 They picked the objectively the worst tool to communicate with. 0:55:34.800 --> 0:55:38.880 Meanwhile, downstairs, the party has has gone on to the 0:55:38.920 --> 0:55:40.839 next level, which is storytelling. 0:55:41.040 --> 0:55:44.440 Yeah, the camera pans across and there's a group of 0:55:44.480 --> 0:55:48.680 about twenty teenagers sitting around listening to one teenager tell 0:55:48.719 --> 0:55:51.240 a scary story which is like a camp fire style 0:55:51.400 --> 0:55:56.200 scary story, not even specifically or related to them or 0:55:56.200 --> 0:55:59.320 related to their lives, just a very kind of hokey 0:55:59.560 --> 0:56:05.520 scary story. Candle light all over the room, these party 0:56:05.560 --> 0:56:08.439 animals who are throwing down so hard just moments ago. 0:56:08.960 --> 0:56:11.279 I can't imagine what the transition would have been to 0:56:12.040 --> 0:56:14.359 candlelight scary story time. But that's where they. 0:56:14.280 --> 0:56:16.719 Are, yeah, because there doesn't seem to be a clear 0:56:16.800 --> 0:56:19.480 leader of the party and we don't see al commanding 0:56:19.520 --> 0:56:22.200 them all right story time, But the next time we 0:56:22.280 --> 0:56:25.480 check in with them, they've moved on to attempting levitation. 0:56:26.960 --> 0:56:30.800 And it gets pretty plot oriented here because one of 0:56:30.840 --> 0:56:34.080 the jockeyer teens that they can't get him to levitate, 0:56:34.120 --> 0:56:35.840 and he's like, well, let's get He sees Glenn and 0:56:35.920 --> 0:56:37.480 Terry coming by. It's like, well, let's make him do it, 0:56:37.560 --> 0:56:41.560 let's get the little guy, and he agrees, but it 0:56:41.560 --> 0:56:44.200 gets scary pretty quickly. This is where we get into 0:56:44.239 --> 0:56:46.680 that weird area and we have to ask the question 0:56:46.800 --> 0:56:50.279 is Glenn magic? Because Glenn actually does levitate and he 0:56:50.320 --> 0:56:52.680 ends up hanging on to a light. The light breaks 0:56:52.760 --> 0:56:55.200 and it's scary and Glenn runs off crying. 0:56:55.520 --> 0:56:57.840 Yeah. He goes like full Wonka with the fizzy lifting 0:56:57.920 --> 0:56:59.960 drinks and like you can't stop, and keeps kind of 0:57:00.080 --> 0:57:02.520 going up and going up, and then does break the glass, 0:57:02.520 --> 0:57:05.840 which I guess breaks the spell somehow, falls down, gets 0:57:05.880 --> 0:57:09.120 really embarrassed and cries, which, again like the way he 0:57:09.160 --> 0:57:12.000 plays these these childlike moments, the way he plays his 0:57:12.080 --> 0:57:15.440 excitement at being asked to come and participate in the levitation. 0:57:16.440 --> 0:57:18.960 They're so authentic and he does such a great job 0:57:19.000 --> 0:57:19.840 at delivering those. 0:57:20.480 --> 0:57:22.040 Yeah. I think this was the point in the film 0:57:22.040 --> 0:57:24.160 where I really started realizing that when you have the 0:57:24.160 --> 0:57:27.600 moment of him crying, you know, like a child, but 0:57:27.800 --> 0:57:32.560 also kind of unlike action oriented child characters in movies 0:57:32.720 --> 0:57:36.040 typically of this caliber, they seem to really take the 0:57:37.000 --> 0:57:40.960 take him seriously. Yeah, them together so he's up in 0:57:41.000 --> 0:57:43.080 his room crying. All and Terry come up to sort 0:57:43.080 --> 0:57:46.160 of talk him down. Glenn says, I want to call 0:57:46.200 --> 0:57:49.600 mom and dad, and All insists that it's not necessary. 0:57:49.800 --> 0:57:52.360 But me, I'm watching this and as a parent, I'm thinking, no, 0:57:52.520 --> 0:57:55.080 you shouldn't call mom and dad, Like lights have been 0:57:55.120 --> 0:57:58.520 broken at this point, mom and dad should be called. 0:57:58.640 --> 0:58:02.040 But ol overrules and I think Glenn speaks to this, 0:58:02.160 --> 0:58:06.000 but the focus is so not on the fact that 0:58:06.040 --> 0:58:08.760 this child has levitated off of the ground up to 0:58:08.800 --> 0:58:11.760 the ceiling, like nobody else acknowledges or it seems to 0:58:11.840 --> 0:58:15.160 care about that. And to me, that is like, don't 0:58:15.200 --> 0:58:18.040 just call your parents, Like everybody's gotta go. We got 0:58:18.040 --> 0:58:19.960 to get everybody out of this house. We've got to 0:58:20.000 --> 0:58:23.360 get over to Missus vander Griff's house, get away from 0:58:23.360 --> 0:58:29.640 that situation. And it, you know, it speaks to this 0:58:29.720 --> 0:58:33.040 recurring sentiment that I had throughout the movie of what 0:58:33.360 --> 0:58:37.480 are these demons trying to do? Are these just the 0:58:37.520 --> 0:58:40.000 effects of opening the gate and they're just being a 0:58:40.040 --> 0:58:44.240 little bit more of a ethereal state to the world 0:58:44.240 --> 0:58:47.560 around the house, or are they trying to be scared? 0:58:47.560 --> 0:58:50.800 Are they trying to be manipulated. Is something intentional happening 0:58:50.840 --> 0:58:51.280 to them? 0:58:51.560 --> 0:58:53.960 Yeah? Yeah, and we never get a real and it's 0:58:54.040 --> 0:58:56.040 kind of nice that they keep it ambiguous. Nobody ever, 0:58:56.280 --> 0:58:57.760 like it would have been a different type of film 0:58:57.760 --> 0:59:01.680 if what's your name, Missus Vanderbeek, Missus vander Griff, mister 0:59:01.760 --> 0:59:03.840 Vandergriff were to show up at one point and it 0:59:03.880 --> 0:59:06.680 turns out, Oh, she's actually like a Mary Poppins demon 0:59:06.680 --> 0:59:09.040 fighter and she's like, look, the demons are trying to 0:59:09.040 --> 0:59:10.960 inspire your fear, which they feed off of, and then 0:59:10.960 --> 0:59:12.720 they use the energy the fear to open the gate. 0:59:12.960 --> 0:59:14.680 And then she's like, you know, killed by a demon 0:59:14.880 --> 0:59:17.440 before she can help. But we don't get that, and 0:59:17.720 --> 0:59:18.760 I kind of like that we don't. 0:59:19.080 --> 0:59:22.600 Yeah, yeah, I think it leaves it a lot more ambiguous, 0:59:22.640 --> 0:59:26.440 but also just leave space for fun and that's what 0:59:26.440 --> 0:59:27.360 this movie delivers. 0:59:27.600 --> 0:59:30.280 And when you think fun, you think sleepovers, and we 0:59:30.320 --> 0:59:32.480 get the first of many sleepovers at this point. 0:59:32.600 --> 0:59:37.760 Yeah, Terry wakes up. I believe Terry is the first 0:59:37.760 --> 0:59:38.280 to wake up. 0:59:38.360 --> 0:59:41.680 Correct Terry's sleeping over. Like it's kind of like Al's solutions, 0:59:41.720 --> 0:59:43.240 Like we're not going to call mom and dad, but 0:59:43.280 --> 0:59:44.680 you know, Terry can sleep over. 0:59:44.920 --> 0:59:48.320 There's a very cool effect happening at the transition to 0:59:48.400 --> 0:59:51.680 the scene where it is the moths that are surrounding 0:59:51.720 --> 0:59:54.440 the bug zapper outside of the window or being projected 0:59:54.480 --> 0:59:57.040 onto the wall of the bedroom, and it's a stop 0:59:57.080 --> 0:59:59.920 motion effect that's really really effective. It makes the mall 1:00:00.200 --> 1:00:05.400 this look enormous and it really Chef's kiss to that one. 1:00:05.640 --> 1:00:08.240 Yeah. Yeah, something unsettling is happening, and you see it 1:00:08.280 --> 1:00:12.960 reflected in nature before things start getting really weird, and 1:00:13.000 --> 1:00:14.720 then they get really weird pretty quickly. 1:00:15.200 --> 1:00:18.000 Yeah, Terry has dreams of his mother. I think he 1:00:18.400 --> 1:00:22.120 wakes up and here's her calling him. I think, yeah, 1:00:22.760 --> 1:00:24.760 goes downstairs, opens. 1:00:24.320 --> 1:00:26.360 And she Yeah, she walks in and it's like an 1:00:26.400 --> 1:00:30.280 angelic scene where there's like smoke and white light and 1:00:30.320 --> 1:00:32.640 she holds up her arms and she's like like, Terry, 1:00:32.680 --> 1:00:33.400 I'm back. 1:00:33.480 --> 1:00:39.320 And he engages in a awkwardly long embrace with his 1:00:39.360 --> 1:00:43.600 mother where they spin around. And then I believe that 1:00:44.360 --> 1:00:49.360 that Glenn and Al wake up and do they hear something? 1:00:49.440 --> 1:00:51.400 Do they for some reason they get up and they 1:00:51.400 --> 1:00:52.560 come out to investigate. 1:00:52.880 --> 1:00:55.360 There's like a sound and then there's like stuff moving 1:00:55.400 --> 1:00:57.520 around in the walls, you know, kind of like Freddy 1:00:57.560 --> 1:01:01.160 Krueger's style, where it's like poking up the walls, and 1:01:02.040 --> 1:01:04.560 the walls were made out of rubber, and so everything's 1:01:04.560 --> 1:01:07.280 getting freaky, and so Glenn and Al come out, or 1:01:07.320 --> 1:01:09.920 Glenn comes out, Al hears this, or Al comes out, 1:01:10.040 --> 1:01:12.440 or he wakes Al up, and then there's Glenn down 1:01:12.480 --> 1:01:15.880 there and well, and then it gets even weirder. 1:01:16.000 --> 1:01:18.920 Yeah, they call his name, and he kind of snaps 1:01:18.960 --> 1:01:22.400 out of his dream or sleep and realizes that he's 1:01:22.400 --> 1:01:25.480 holding Angus the dog in his arms. And this is 1:01:25.520 --> 1:01:29.200 the point where I'll confess to being a little bit confused. 1:01:29.880 --> 1:01:33.200 He throws the dog down because he's surprised that it's 1:01:33.200 --> 1:01:38.640 not his mother justifiable. The dog is dead, and I 1:01:38.680 --> 1:01:44.400 cannot figure out was Angus dead while Terry was holding him. 1:01:44.920 --> 1:01:48.720 Did Terry throwing Angus down kill him. I'm not even 1:01:48.760 --> 1:01:52.120 going to get into at what point was Angus in 1:01:52.240 --> 1:01:55.320 the situation, because I don't think Angus opened the door 1:01:55.360 --> 1:01:58.760 and walked in on two hind legs, you know. I imagine 1:01:58.600 --> 1:02:02.520 that Terry picked Angus up at some point to at 1:02:02.560 --> 1:02:04.920 the point he needed to hug something. Would be my 1:02:05.040 --> 1:02:07.760 take on it. But what are your thoughts. Did Terry 1:02:08.280 --> 1:02:11.680 accidentally kill the dog or was the dog dead? Slash 1:02:11.760 --> 1:02:13.080 did the demon kill the dog? 1:02:13.480 --> 1:02:16.120 I am absolutely not gonna lump this one on Terry. 1:02:16.160 --> 1:02:20.440 I think it had to be the demon. Nobody blames 1:02:20.560 --> 1:02:23.080 Terry for this in the film. Later on, when they're 1:02:23.080 --> 1:02:26.880 talking about it, Glenn's like ingus was super old. They 1:02:26.880 --> 1:02:30.880 don't live much longer than this anyway. So other than that, 1:02:30.920 --> 1:02:33.160 they don't really engage with the whole scenario too much. 1:02:33.720 --> 1:02:36.640 But either way that the dog is the dog is dead. 1:02:37.240 --> 1:02:39.160 And I will say that I know a lot of 1:02:39.200 --> 1:02:41.000 people do not want to watch a film in which 1:02:41.000 --> 1:02:44.840 a dog dies, at least in this film, when the 1:02:44.880 --> 1:02:48.240 dog dies, like everything else we've been discussing, they take 1:02:48.240 --> 1:02:51.240 it seriously like people are affected by it. It's actually 1:02:51.240 --> 1:02:53.080 part of the plot and it's not just like, let's 1:02:53.120 --> 1:02:55.600 shock that audience by having a monster eat a dog. 1:02:55.880 --> 1:02:58.480 That's right. They don't spend a lot of time showing 1:02:58.520 --> 1:03:01.080 it either. I think they There is a weird bit 1:03:01.280 --> 1:03:06.320 where Al's boyfriend or suitor offers to take the dog 1:03:06.440 --> 1:03:10.520 to be cremated or buried but cannot do it, and 1:03:10.560 --> 1:03:12.680 he's kind of carrying the dog around in a blanket 1:03:12.680 --> 1:03:14.600 this entire time, puts it in the front seat of 1:03:14.640 --> 1:03:18.360 the car, tries to drive it to the animal shelter 1:03:18.520 --> 1:03:21.320 or the animal hospital, and then it's closed and has 1:03:21.360 --> 1:03:23.840 to drive back. We're not there yet, but I agree 1:03:23.920 --> 1:03:27.720 they do do it very sensitively and delicately, and most 1:03:27.720 --> 1:03:29.280 of all, they spend a lot of time on how 1:03:29.320 --> 1:03:33.920 Glenn feels about it and how upset he is by this. 1:03:34.400 --> 1:03:37.840 And again he's like, look, how the dog has died. 1:03:37.920 --> 1:03:40.040 We should call mom and dad. And she's like, nope, 1:03:40.160 --> 1:03:42.600 no need to call mom and dad. And again I'm 1:03:42.600 --> 1:03:44.680 thinking is especially as the parents like no, you call 1:03:44.840 --> 1:03:47.800 mom and dad, Like the light is broken, the dog 1:03:47.920 --> 1:03:50.120 is dead. Call mom and dad and at least let 1:03:50.160 --> 1:03:52.960 them know, because I think, for a while there I'm 1:03:52.960 --> 1:03:55.000 not even clear that there. I was like, would they 1:03:55.000 --> 1:03:57.280 do with the dog? Is he in the freezer? It 1:03:57.320 --> 1:04:00.440 only becomes clear later that one of the team friends 1:04:00.440 --> 1:04:04.400 has been tasked with taking the dog unceremoniously to like 1:04:04.720 --> 1:04:07.960 the animal shelter or whatever, to have it disposed of. 1:04:08.280 --> 1:04:10.280 And to be quick about it, because they're going to 1:04:10.320 --> 1:04:12.360 the beach and they want him to join them at 1:04:12.400 --> 1:04:15.840 the beach. Sooner than later. Yeah, so it's a weird 1:04:16.720 --> 1:04:19.960 friendly gesture. It's weird that Al isn't going with him 1:04:19.960 --> 1:04:22.520 on this trip, and it's weird that they want him 1:04:22.560 --> 1:04:24.680 to be quick about it. It is a little bit 1:04:24.720 --> 1:04:28.200 strange how removed Al is from the situation. She doesn't 1:04:28.200 --> 1:04:31.280 seem nearly as upset about this as Glenn does. And 1:04:31.360 --> 1:04:33.560 maybe it's because she doesn't want to think about these 1:04:33.600 --> 1:04:36.360 things that are happening. Kind of a Stephen king It 1:04:36.760 --> 1:04:39.640 level of a grown ups not thinking about this the 1:04:39.680 --> 1:04:42.000 same way that a kid is. But again, she's on 1:04:42.040 --> 1:04:44.800 that bridge between childhood and being a grown up, so 1:04:45.040 --> 1:04:48.280 she's on and off with her sensitivity to it. 1:04:48.560 --> 1:04:52.960 Yeah, and yeah, sometimes something strange or traumatic happens, you 1:04:53.000 --> 1:04:54.480 got to get your mind off of it, which is 1:04:54.520 --> 1:04:57.720 what this is what Glenn does. Because Glenn goes home. 1:04:57.720 --> 1:05:00.280 We get to see Glenn's home at this point that 1:05:00.360 --> 1:05:02.480 it is a wreck. The living room is just like 1:05:02.720 --> 1:05:05.200 in the kitchen just has stuff everywhere. There's cold pizza 1:05:05.200 --> 1:05:07.520 out and he just grabs a slice and eats it, 1:05:07.560 --> 1:05:09.800 presumably for dinner, and we get the idea that like 1:05:09.840 --> 1:05:12.040 this is kind of par for the course these days. 1:05:13.160 --> 1:05:16.120 Home is not made not all that great for Glenn 1:05:16.120 --> 1:05:18.280 at the moment, but then he goes to his room 1:05:18.360 --> 1:05:20.520 and it is a glorious site. We described it a 1:05:20.520 --> 1:05:25.040 little bit already, but it's Transformer's Optimus Prime kite hanging 1:05:25.040 --> 1:05:29.000 from the ceiling, heavy metal posters on the walls, many 1:05:29.040 --> 1:05:31.080 of which appear to be real. I do get kind 1:05:31.080 --> 1:05:33.320 of a clip art vibe from some things that are 1:05:33.360 --> 1:05:35.520 on the wall, but for the most part, it's believable. 1:05:36.240 --> 1:05:39.320 And he even has a handmade banner back there that 1:05:39.440 --> 1:05:40.400 just says metal. 1:05:42.280 --> 1:05:44.520 I think the thing that really says the most about 1:05:44.520 --> 1:05:47.520 his character to me is the posters on top of posters, yeah, 1:05:47.560 --> 1:05:50.520 which is a very genuine kid thing of Hey, I 1:05:50.600 --> 1:05:52.600 like these, and I'm gonna put another one up and 1:05:52.640 --> 1:05:55.040 it's gonna cover a quarter of it, but that's okay. 1:05:55.080 --> 1:05:57.080 It's gonna be at an angle. But this is the 1:05:57.120 --> 1:05:58.919 band that I really like at this moment. I don't 1:05:58.960 --> 1:06:01.560 not like the band that it's so it just kind 1:06:01.560 --> 1:06:04.479 of becomes this ever growing patchwork of stuff. But yeah, 1:06:04.520 --> 1:06:06.800 just a filthy room. He's jumping up and down on 1:06:06.840 --> 1:06:09.640 the bed, rocking out, listening to some metal. Do we 1:06:09.720 --> 1:06:10.720 know the name of this band? 1:06:11.440 --> 1:06:15.160 I think this is supposed to be the fictitious band 1:06:15.960 --> 1:06:21.800 Sacrifice or Sacrifice. It's s a c R I F 1:06:22.040 --> 1:06:26.920 y X. The album is the Dark Book because we 1:06:27.040 --> 1:06:28.800 see him handling it. But yeah, wait, at first, he 1:06:28.920 --> 1:06:31.720 just he throws a blanket over, like a rainbow blanket 1:06:31.760 --> 1:06:34.880 over his shoulders, and he's rocking out and he's he's 1:06:34.960 --> 1:06:39.440 lip syncing to all the cool metal voiceover stuff in it. 1:06:39.640 --> 1:06:41.560 But then it begins to dawn on him. It's like 1:06:41.560 --> 1:06:43.760 there's something in these lyrics. It's matching up with what 1:06:44.160 --> 1:06:46.439 is going on in the neighborhood here. That's what's going 1:06:46.480 --> 1:06:49.800 on over at Glenn's house. He busts out that that 1:06:49.920 --> 1:06:54.640 Sacrifice album and the record booklet for the Dark Book 1:06:55.040 --> 1:06:57.600 is the Dark Book. It's like basically a tone of 1:06:57.640 --> 1:07:01.120 demonology that's just ready to go in the vinyl record. 1:07:02.000 --> 1:07:05.680 Just imagine put it yourselves in the in the in 1:07:05.720 --> 1:07:11.240 the shoes of whatever necromancer or wizard this was who 1:07:11.280 --> 1:07:16.280 wrote this demonic tone of how to presumably both release 1:07:16.360 --> 1:07:19.960 and seal these demonic entities. And you call it the 1:07:20.080 --> 1:07:23.720 Dark Book like it's the Dark Book. It's gonna be 1:07:23.760 --> 1:07:25.720 the only dark Book that ever exists. 1:07:27.080 --> 1:07:30.000 Well, maybe it's translated from the Latin. It sounds cooler Latin, you. 1:07:29.960 --> 1:07:33.680 Know, right, Maybe it's a dark book in Latin, and 1:07:33.720 --> 1:07:35.760 they acknowledged that they would be more and that this 1:07:35.920 --> 1:07:36.240 was just. 1:07:36.280 --> 1:07:36.800 One of them. 1:07:37.160 --> 1:07:39.240 Yeah, it's also not very long if you can fit 1:07:39.320 --> 1:07:43.840 it inside of a vinyl record. Maybe there's just Ultimately, 1:07:43.840 --> 1:07:48.000 the demon summoning ritual is a lot more simplistic in 1:07:48.040 --> 1:07:51.280 this in this film because it can be actually accidentally done. 1:07:52.320 --> 1:07:55.720 The demonic realm is kind of a unitask thing is 1:07:55.800 --> 1:07:59.040 there's just one demonic realm, one demon, and like a 1:07:59.080 --> 1:08:02.200 can opener, there's one tool to summon and seal it. 1:08:11.120 --> 1:08:12.320 So at this point in the film there are like 1:08:12.320 --> 1:08:15.680 a few different things going on at once. We uh, 1:08:16.040 --> 1:08:19.200 we have the teen dude that's taking the dead dog's 1:08:19.240 --> 1:08:21.919 body around, trying to drop it off in animal control. 1:08:22.200 --> 1:08:23.720 Like we said, he comes back to the house with 1:08:23.800 --> 1:08:26.360 it because they won't take it. Nobody seems to be home. 1:08:26.400 --> 1:08:28.519 But then he sees he sees that hole in the 1:08:28.520 --> 1:08:30.800 backyard and we don't see him do it, but then 1:08:30.800 --> 1:08:33.880 we later see that the hole has been filled in, 1:08:35.120 --> 1:08:38.840 so presumably he dumps the dog in there, but he 1:08:38.880 --> 1:08:41.280 does a nice job laying the sod back in place 1:08:41.360 --> 1:08:44.120 using the sod squares, So it's not as lazy an 1:08:44.160 --> 1:08:45.120 act as you might think. 1:08:45.720 --> 1:08:47.880 I do wanna you know, I have in my notes 1:08:47.920 --> 1:08:49.479 here at this point in the film, and I'm not 1:08:49.520 --> 1:08:51.280 sure if it's in this scene or a scene that 1:08:51.680 --> 1:08:54.080 we just went past, but you know, a lot of 1:08:54.080 --> 1:08:56.679 the kids insults to each other are pretty unacceptable, pretty 1:08:56.720 --> 1:09:00.439 unforgivable then and now. But one that that shines through 1:09:00.760 --> 1:09:04.840 is quote buzz off clown face, which is delivered directly. 1:09:05.600 --> 1:09:08.520 I think Glenn says it to one of the sisters, 1:09:09.040 --> 1:09:12.120 and it's said so sincerely and so earnestly, and it's 1:09:12.160 --> 1:09:17.160 such a quaint, charming, but no less sharp and cutting 1:09:17.600 --> 1:09:20.479 insult that I had to make a note of it. 1:09:20.720 --> 1:09:23.840 Yeah, the kids are and the teens are downright mean 1:09:23.880 --> 1:09:26.000 with their insults at times. But yeah, certainly some of 1:09:26.000 --> 1:09:29.240 these insults that are thrown by the kids have not 1:09:29.280 --> 1:09:30.320 stood the test of time. 1:09:30.560 --> 1:09:34.760 That's right, that's right. So Glenn's at home alone, he 1:09:34.840 --> 1:09:37.240 looks out and he sees that the hole is back, 1:09:38.120 --> 1:09:40.639 and then they pull some wood over it. 1:09:40.880 --> 1:09:44.519 Yeah, yearehouse. They're like, well, let's covered up. 1:09:45.160 --> 1:09:48.000 Yeah, I don't understand. I guess that's to keep things 1:09:48.040 --> 1:09:51.960 from falling into it. This is happening while Eric is bringing. 1:09:51.720 --> 1:09:53.760 The dog back, right, Oh yeah, I think so. 1:09:54.320 --> 1:09:56.960 So we're getting kind of a split back and forth 1:09:57.240 --> 1:10:00.759 take between the two of them. This is where Terry 1:10:00.920 --> 1:10:04.240 is talking to Glenn about the Dark Book and kind 1:10:04.280 --> 1:10:07.360 of onboarding him to the concepts. And this is where 1:10:07.920 --> 1:10:11.639 again Chef's kiss. He puts the record on and plays 1:10:11.640 --> 1:10:14.920 it backwards, and when you play the record backwards, it 1:10:15.000 --> 1:10:18.439 tells you how to seal presumably the whole how to 1:10:18.479 --> 1:10:19.080 seal the gate. 1:10:20.439 --> 1:10:23.680 Yeah, there's a wonderful scene in Glenn's This is in 1:10:23.800 --> 1:10:26.960 the basement. This is Terry's basement, right or is this 1:10:26.960 --> 1:10:27.639 Glenn's basement. 1:10:27.680 --> 1:10:28.759 I think it's Glenn's basement. 1:10:28.840 --> 1:10:31.600 Okay, Yeah, there's like a drum kit down there, but 1:10:31.760 --> 1:10:34.160 more metal posters, like all the metal posters that didn't 1:10:34.200 --> 1:10:37.559 fit in his room or down here. And he's walking 1:10:37.600 --> 1:10:39.760 him through everything. He's given him the full pitch on 1:10:39.800 --> 1:10:42.440 this band about how they were really deep into demonology 1:10:43.000 --> 1:10:45.920 and they had this thing called the Dark Book quote 1:10:46.040 --> 1:10:48.880 that's like the Bible for demons. And this is where 1:10:48.880 --> 1:10:51.479 they got all their lyrics from but yeah, there's this 1:10:51.920 --> 1:10:57.679 they really stress that this particular metal band sacrifice or sacrifice. Yeah, essentially, 1:10:57.680 --> 1:11:00.640 they're wise wizards who are giving us information on how 1:11:00.680 --> 1:11:03.680 to not only summon the old gods, but also how 1:11:03.720 --> 1:11:04.360 to defeat them. 1:11:04.600 --> 1:11:08.000 That's right, that's right. It's just that simple. And it's 1:11:09.080 --> 1:11:14.799 as simple as writing a song with forward sounding lyrics 1:11:14.800 --> 1:11:18.080 that make sense but also work as backward sounding lyrics 1:11:18.080 --> 1:11:22.559 that actually impart information difficult, difficult to follow information. 1:11:23.240 --> 1:11:26.360 So at this point, with their newfound exorcism skills from 1:11:26.360 --> 1:11:28.760 having listening to listen to this album once and read 1:11:28.800 --> 1:11:31.640 the liner notes, Glenn and Terry they go back to 1:11:31.680 --> 1:11:33.800 the pit. They're like, let's go ahead, let's seal this 1:11:33.840 --> 1:11:38.639 puppy up. Uh and uh, And so they start reading 1:11:38.680 --> 1:11:42.840 some stuff, reciting some stuff. Al walks up. She's suspicious 1:11:42.880 --> 1:11:45.960 of this whole affair. But then we transition into this 1:11:46.040 --> 1:11:49.320 kind of sweet moment where we were we had the 1:11:49.400 --> 1:11:50.920 understanding that Al was going to go to the beach 1:11:50.920 --> 1:11:54.920 with their friends, but instead she reveals that no, she's 1:11:54.960 --> 1:11:56.519 she's not going to go to the beach, and she 1:11:56.680 --> 1:11:59.880 has a gift that she gives Glenn, this thoughtful gift. 1:12:00.160 --> 1:12:02.360 Of course, turns out to be more rocket stuff, and 1:12:02.439 --> 1:12:08.080 so we this brings back this bond between them, some nice, 1:12:09.320 --> 1:12:10.840 some sweet stuff going on in this scene. 1:12:10.920 --> 1:12:14.280 Yeah, definitely, And they launched the rocket right after that, 1:12:14.360 --> 1:12:17.400 and it again is a testament to with all the 1:12:17.400 --> 1:12:20.120 craziness that's going on, all the weird stuff that's going 1:12:20.160 --> 1:12:22.960 on in this hole that keeps appearing in the backyard, 1:12:23.560 --> 1:12:28.240 this levitation, this dead dog, and they're able to just 1:12:28.280 --> 1:12:30.000 kind of shrug it all off and have a really 1:12:30.080 --> 1:12:34.600 kid moment where they're launching the rocket together. At this scene, 1:12:35.040 --> 1:12:37.840 Al does have the rocket patch jacket on as well, 1:12:37.880 --> 1:12:40.479 so they're both kind of in uniform, just like the 1:12:40.520 --> 1:12:43.840 picture that Glenn looks at on the wall earlier in 1:12:43.880 --> 1:12:45.200 the movie. It's a very sweet moment. 1:12:45.400 --> 1:12:48.280 Now, pretty much from this we transitioned to Al, Terry 1:12:48.280 --> 1:12:51.240 and Glenn playing cards later that night. But then the 1:12:51.320 --> 1:12:54.360 Lea sisters come over. So even though the beach party 1:12:54.680 --> 1:12:57.240 was canceled, the Lee sisters decided to come over and 1:12:57.280 --> 1:12:59.800 hang out. It looks like there's gonna be There're gonna 1:12:59.800 --> 1:13:03.479 be yet again more sleepovers, this time dueling sleepovers. The 1:13:03.600 --> 1:13:06.840 Lice sisters doing a sleepover with Al and then Terry 1:13:06.840 --> 1:13:08.439 and Glenn doing a sleepover. Of course. 1:13:08.800 --> 1:13:11.120 Yeah, there's a scene where Glenn and Terry are are 1:13:11.280 --> 1:13:14.680 messing around in the parents closet and just just a 1:13:14.800 --> 1:13:18.240 rifle shotgun in the closet that Glenn's picking up and 1:13:18.560 --> 1:13:21.200 winging around and again very of the time, I'm sure, 1:13:21.840 --> 1:13:23.640 but so so bizarre y. 1:13:24.800 --> 1:13:27.400 Yeah, there's a lot, a lot to be dissected about 1:13:27.400 --> 1:13:30.960 that then, for sure, certainly kind of horrifying to modern viewers. 1:13:30.960 --> 1:13:33.240 It's like, oh my god, they've gone straight to the gun, 1:13:33.560 --> 1:13:36.760 Dad's gun in the closet. This will of course be 1:13:36.800 --> 1:13:39.760 a plot element later on, but we have but we've 1:13:39.840 --> 1:13:40.840 established it for now. 1:13:41.600 --> 1:13:44.639 One thing that we kind of glossed over when Glenn, 1:13:44.840 --> 1:13:47.920 when Terry was onboarding Glenn into the Dark Book and 1:13:47.960 --> 1:13:49.720 the contents of the Dark Book, is that we do 1:13:49.800 --> 1:13:52.479 see what I keep referring to in my notes as 1:13:52.520 --> 1:13:57.680 the minions, not those minions, guys, but actually little humanoid 1:13:57.880 --> 1:14:02.240 creatures that are probably what ankle now shin shin hid 1:14:02.200 --> 1:14:06.080 to knee high probably about that. That's the first that 1:14:06.240 --> 1:14:09.320 we see them kind of recorded in some official record. 1:14:09.680 --> 1:14:12.920 Yeah, yeah, these little I haven't refer to creatures like 1:14:12.960 --> 1:14:16.120 this as Gromlins, because there's sort of generic grimlins, but 1:14:16.600 --> 1:14:19.040 these guys. These guys are tremendous. They're one of my 1:14:19.080 --> 1:14:21.240 favorite effects from the screen. We see more and more 1:14:21.280 --> 1:14:25.160 of them as the film proceeds. They're little homunculi dudes 1:14:25.840 --> 1:14:30.439 with like glassy eyes and little little vampire mouths and 1:14:30.800 --> 1:14:34.160 pointed ears. They're hairless, and the effects here. You might 1:14:34.200 --> 1:14:37.040 expect creatures like this to be created via stop motion, 1:14:37.640 --> 1:14:40.960 but instead it's a force perspective stuff. For the most part, 1:14:41.000 --> 1:14:42.519 I think there's a puppet here and there, but for 1:14:42.560 --> 1:14:46.960 the most part, we're looking at multiple costumes worn by 1:14:47.360 --> 1:14:51.640 presumably full sized adult humans that are then made to 1:14:51.680 --> 1:14:53.919 look like tiny, scampering, squealing creatures. 1:14:54.280 --> 1:14:56.640 Yeah, you know, I think there's a combination of the 1:14:56.640 --> 1:14:59.720 stop motion, there's a combination of well, no, it's the 1:14:59.720 --> 1:15:02.439 same combination stop motion, and then there's a little bit 1:15:02.439 --> 1:15:05.519 of force perspective with humans and costumes, and then there's 1:15:05.560 --> 1:15:07.840 a little bit of that projection that you see a 1:15:07.880 --> 1:15:12.280 lot of in Ghostbusters or other worldly effects. And I 1:15:12.280 --> 1:15:15.040 think the projection really stood out to me, because once 1:15:15.080 --> 1:15:17.320 you see something like that, it's hard to unsee it. 1:15:17.360 --> 1:15:20.920 But the stop motion and the rubber suits force perspective. 1:15:21.120 --> 1:15:24.400 I found myself trying to figure out which was which 1:15:24.400 --> 1:15:27.839 in a lot of cases. And that's that's good effects. 1:15:27.840 --> 1:15:29.720 And if you ask me, I think if you're if 1:15:29.760 --> 1:15:34.120 you're even hesitating to be able to tell the difference 1:15:34.120 --> 1:15:36.120 between the two, they've done their job really, really well. 1:15:36.160 --> 1:15:40.800 And sometimes they'll be back to back shots of stop 1:15:40.880 --> 1:15:45.439 motion Gromlin. I like that better than Minion taken right 1:15:45.479 --> 1:15:49.000 next to a human in the costume looking through large 1:15:49.600 --> 1:15:51.480 stare banisters. 1:15:51.520 --> 1:15:53.880 You know, yeah, yeah, it's pretty seamless. I like it. 1:15:54.200 --> 1:15:56.320 So a lot of a lot of weird stuff is happening, 1:15:56.320 --> 1:15:59.480 like this is the night of where everything goes haywire, 1:16:00.479 --> 1:16:03.400 So a lot of different things start occurring, a lot 1:16:03.400 --> 1:16:07.120 of weird stuff. So something's creeping around the house. A 1:16:07.160 --> 1:16:11.479 window in Glen's room explodes like something like some force 1:16:11.600 --> 1:16:14.920 is busted in, so he wakes up Al. I think 1:16:14.960 --> 1:16:16.720 the Lee sisters get up now, or maybe they stay 1:16:16.720 --> 1:16:18.760 asleep for a little while, but they go and wake 1:16:18.840 --> 1:16:22.800 up Terry, and we get this switch this scene where 1:16:22.800 --> 1:16:25.040 they're trying to wake up Terry and then Terry walks 1:16:25.080 --> 1:16:26.960 up behind them and he's like, hey, guys, what's up, 1:16:27.400 --> 1:16:30.800 and we get that Nightmare revealed that, oh, it's the 1:16:30.840 --> 1:16:34.880 dead dog Angus in the bed in Terry's place, But 1:16:34.960 --> 1:16:37.200 Terry's there in the room with them. All three are screaming, 1:16:37.560 --> 1:16:41.519 and then Nightmare monster hands reach out from under the 1:16:41.520 --> 1:16:43.960 bed and start grabbing their ankles and they're trying to 1:16:44.000 --> 1:16:47.320 pull al under and it's a really scary scene out 1:16:47.320 --> 1:16:47.799 of nowhere. 1:16:48.000 --> 1:16:52.160 Yeah, it's a perfect one two punch of you think, 1:16:52.200 --> 1:16:54.519 this is the impactful moment when they realize that it's 1:16:54.520 --> 1:16:56.840 the dog and that somehow the dog is back. Even 1:16:56.880 --> 1:16:59.120 backing up a little bit more, it's a really impactful 1:16:59.120 --> 1:17:01.519 moment when the mob are attacking the window and the 1:17:01.520 --> 1:17:02.440 window shatters. 1:17:02.520 --> 1:17:04.280 That's right the months to Yeah. 1:17:04.120 --> 1:17:06.519 Yeah, and then you come up and see Terry, but 1:17:06.560 --> 1:17:09.120 it's not really Terry, it's Angus. There's a shock moment 1:17:09.160 --> 1:17:11.720 at that and then at that moment the hands reach 1:17:11.760 --> 1:17:13.280 out and grab her and it really is a one 1:17:13.360 --> 1:17:15.519 two three punch that it's thrilling. 1:17:15.880 --> 1:17:18.040 And so the Lee sisters are up at this point. 1:17:18.200 --> 1:17:20.599 It's and they realize what they need to do, need 1:17:20.640 --> 1:17:22.960 to get out of this house, so they run for 1:17:23.040 --> 1:17:26.639 the front door. They they're actually going out the front door, 1:17:26.960 --> 1:17:30.519 and then seemingly Mom and Dad show up, but it's 1:17:30.560 --> 1:17:35.439 not Mom and Dad. These are clearly demonic doubles of 1:17:35.479 --> 1:17:38.920 mom and Dad. And when who is it? Is it 1:17:38.960 --> 1:17:42.240 Glenn or is it Al that runs up to Dad here? 1:17:42.439 --> 1:17:44.400 So Glenn runs up to him. And the reason that 1:17:44.439 --> 1:17:46.680 I remember this is this kind of kicked off a 1:17:46.720 --> 1:17:50.040 little bit of the wish fulfillment thing that you're referencing 1:17:50.080 --> 1:17:53.320 in the Gate too. Terry got it a little bit 1:17:53.360 --> 1:17:56.960 earlier with his mom during in the dream, and Glenn's 1:17:56.960 --> 1:17:58.719 getting it a little bit now because he's been wanting 1:17:58.720 --> 1:18:00.960 to call Mom and Dad this entire movie, and now 1:18:00.960 --> 1:18:02.639 he comes out on the door and sees them. He's 1:18:02.640 --> 1:18:05.920 so excited that he runs up to them and pretty quickly, 1:18:05.960 --> 1:18:08.519 I mean, they can't keep this charade up for very long. 1:18:09.080 --> 1:18:13.320 The dad's voice transform. He kind of does a you've 1:18:13.360 --> 1:18:19.400 been bad yeah, and grabs Glenn and tries to squeeze him, 1:18:19.439 --> 1:18:19.840 choke him. 1:18:19.960 --> 1:18:22.760 I think it's like that. Yeah, Glynn like reaches up, 1:18:22.840 --> 1:18:26.760 touches his face, and like Dad's face immediately collapses into 1:18:26.800 --> 1:18:28.880 a stream of Puss's. It's horrifying. 1:18:29.840 --> 1:18:32.719 Yeah, it kind of folds inward on itself, Puss comes 1:18:32.720 --> 1:18:35.880 out of it, he drops Glenn. Glenn backs away from it, 1:18:35.920 --> 1:18:38.880 and then his head falls off. The Dad's head falls 1:18:38.920 --> 1:18:41.879 off and shatters on the sidewalk, which is just an amazing, 1:18:41.920 --> 1:18:42.759 amazing effect. 1:18:43.200 --> 1:18:45.960 Yeah, they went nuts with these effects above and beyond. 1:18:46.320 --> 1:18:49.439 But the kids at this point realize, oh, lou better 1:18:49.439 --> 1:18:51.280 turn around, so they run back into the house. But 1:18:51.320 --> 1:18:53.800 the house is also where the monsters are, so they 1:18:53.800 --> 1:18:56.559 go for the back door. And when they're heading out 1:18:56.600 --> 1:18:59.639 the back door, that's when the Gromlins the little homunkey 1:18:59.680 --> 1:19:03.120 lie tack and we get the first of many tremendously 1:19:03.160 --> 1:19:06.719 fun scenes with these little guys scampering around. Yeah. 1:19:06.760 --> 1:19:08.560 I love it that we get to see him in 1:19:08.600 --> 1:19:12.000 the flesh. Literally. The combo of stop motion and rear 1:19:12.000 --> 1:19:15.080 projection is really strong in this sequence. One of their 1:19:15.200 --> 1:19:17.559 arms gets cut off in a door when the door 1:19:17.640 --> 1:19:20.120 is shutting. The shot is in the trailer. You see 1:19:20.160 --> 1:19:24.120 the arm kind of descend down the crack, fall onto 1:19:24.200 --> 1:19:26.839 the floor, and then turn into kind of these little 1:19:27.240 --> 1:19:31.559 stop motion worms that kind of skit her off off 1:19:31.960 --> 1:19:35.080 off camera. They seem like, I want to say, there 1:19:35.120 --> 1:19:38.480 was a Sesame Street sequence that had these little clamation 1:19:38.600 --> 1:19:42.400 worms on them, same similar type of effect, but all white, 1:19:42.800 --> 1:19:47.320 all the same color as the Gromlin, and presumably going 1:19:47.360 --> 1:19:49.280 to reform the Gromlin somewhere else. 1:19:49.920 --> 1:19:54.479 Let's see other strange things happen. The phone rings, they 1:19:54.479 --> 1:19:56.320 pick it up, but it's a demon prank call. 1:19:56.840 --> 1:19:57.080 Again. 1:19:57.160 --> 1:20:00.320 We get that dad voice going, you've been bad, and 1:20:00.360 --> 1:20:03.320 then the phone melts. And I love the you've been 1:20:03.400 --> 1:20:07.200 bad part because it's such a great demonic exaggeration of 1:20:07.240 --> 1:20:11.280 a very simplified childhood fear of both doing something bad, 1:20:11.320 --> 1:20:15.040 having done something bad, but then being caught yeah, and 1:20:15.080 --> 1:20:18.520 having your parents disappointed or mad at you over it. 1:20:18.520 --> 1:20:21.479 It's also a line that Sloth uses against Ma for 1:20:21.600 --> 1:20:24.639 Tlly and Goonies, which happened a couple It came out 1:20:24.640 --> 1:20:26.559 a couple of years before this, and I kept wondering 1:20:26.560 --> 1:20:28.840 if that was a reference to it. I think it's 1:20:28.880 --> 1:20:32.799 a stretch for it to actually be. But that phrase 1:20:32.880 --> 1:20:35.360 you've been bad is a very short, strong and powerful 1:20:35.360 --> 1:20:37.280 one that works really well in both movies. 1:20:37.479 --> 1:20:40.040 Well, at this point in the film, the kids realized, Okay, 1:20:40.040 --> 1:20:41.800 we tried to running out the front door, didn't work. 1:20:41.840 --> 1:20:44.040 Tried going out the back door, didn't work. We've got 1:20:44.080 --> 1:20:48.719 to close the gate. So really, without much more tarrying about, 1:20:48.880 --> 1:20:51.080 the kids head out back to deal with the gate. 1:20:51.520 --> 1:20:53.840 The Lee sisters are initially with them, and then they bail. 1:20:53.920 --> 1:20:55.920 They realize, well, this sounds a bit too dangerous and 1:20:55.960 --> 1:20:58.840 we're side characters, so we're gonna go back in. So 1:20:58.880 --> 1:21:01.360 they get to the gate, the eight opens. It's spewing 1:21:01.400 --> 1:21:04.920 purple smoke in light. Terry tries reading the Bible at 1:21:04.960 --> 1:21:06.360 it a little bit. They got a Bible out of 1:21:06.360 --> 1:21:08.559 one of the drawers in the house and it seems 1:21:08.560 --> 1:21:12.200 to be working, but then the whole swallows Terry up 1:21:12.520 --> 1:21:16.479 and we get another homuncular attack sequence where Terry is 1:21:16.520 --> 1:21:19.840 attacked by tiny demons in the hole. They're climbing on him, 1:21:19.880 --> 1:21:22.760 they're biting him, they're swarming over him and pull it, 1:21:22.840 --> 1:21:25.000 pulling on his legs as he's trying to climb back out. 1:21:25.120 --> 1:21:27.879 That's right. I do want to point out a small 1:21:27.960 --> 1:21:32.040 movie flub here in this scene is that Terry's reading 1:21:32.080 --> 1:21:34.559 the Bible. He doesn't know what to read. He's saying, 1:21:34.800 --> 1:21:37.880 you know, he's asking for suggestions. They're saying, just read anything, 1:21:38.200 --> 1:21:40.880 and so he reads from Genesis, which you know, in 1:21:40.960 --> 1:21:44.280 the beginning, God created the heaven and the earth, which, okay, yeah, 1:21:44.280 --> 1:21:46.160 you're gonna pull a random line, like, go for it. 1:21:46.680 --> 1:21:49.240 But the book he's holding, he's halfway through, and we 1:21:49.320 --> 1:21:51.920 all know that Genesis is the first book in the Bible, 1:21:52.000 --> 1:21:53.920 and that this is on the first page of the 1:21:53.920 --> 1:21:56.120 first book in the Bible. So I'm going to ding 1:21:56.240 --> 1:21:58.040 these guys a little bit. It's not going to hurt 1:21:58.040 --> 1:22:01.160 their overall score, but just know that that somebody's watching 1:22:01.200 --> 1:22:02.040 this sort of thing. 1:22:03.600 --> 1:22:07.040 Unless they had one of those reverse books where Old 1:22:07.080 --> 1:22:09.160 Testament comes after New Testament. 1:22:09.200 --> 1:22:13.240 Right, yeah, yeah, there's the revised Standard. Yeah yeah, but yeah, 1:22:13.520 --> 1:22:15.920 the minions start to swarm Terry while he's in the hole, 1:22:15.960 --> 1:22:21.360 and this is a pretty intense moment, particularly for Terry. 1:22:21.880 --> 1:22:24.200 I might be naive, but I had in my mind, 1:22:24.320 --> 1:22:28.400 maybe we're misunderstanding these Gromlins. I know, I'm going back 1:22:28.400 --> 1:22:30.719 and forth between minions and Cromlins. I just can't get 1:22:31.600 --> 1:22:34.880 the Minions label out of my head. But I thought, 1:22:34.880 --> 1:22:37.759 maybe we were misunderstanding these guys. Maybe there's a chance 1:22:37.800 --> 1:22:40.160 that they're helpful or something like that, which is like 1:22:40.200 --> 1:22:42.880 a wrinkle that they would bring into a horror movie nowadays, 1:22:42.960 --> 1:22:45.960 you know, like, no, the humans were the monsters, but no, 1:22:46.040 --> 1:22:48.639 they prove themselves out to be monsters for the first 1:22:48.680 --> 1:22:51.840 time in this scene where they are actively biting Terry. 1:22:52.040 --> 1:22:55.240 They're chewing into his flesh, they're chewing into his neck. 1:22:55.640 --> 1:22:58.840 He's like fending them off, getting away from them, but 1:22:59.080 --> 1:23:00.440 their numbers are increasing. 1:23:00.720 --> 1:23:04.160 Yeah, Luckily Alan Glenn are able to get a rope 1:23:04.200 --> 1:23:06.720 and throw it down the hole. Carry's able to fight 1:23:06.800 --> 1:23:10.000 him off a good bed. He stomps one of the 1:23:10.120 --> 1:23:13.160 creature's pretty good. They get him back up out of 1:23:13.200 --> 1:23:15.559 the pit. They read a little more Bible at the pit, 1:23:15.840 --> 1:23:17.360 and then they just go ahead and pitch the whole 1:23:17.360 --> 1:23:20.800 book in and it explodes like a hand grenade, the 1:23:20.920 --> 1:23:22.599 fire for the moment like they want. 1:23:24.000 --> 1:23:28.160 And yeah, it closes back up magically and they're sod 1:23:28.160 --> 1:23:31.040 there too, I think. Don't quote me on that, but 1:23:31.240 --> 1:23:34.800 they jump up and down in celebration on top of 1:23:34.840 --> 1:23:38.559 the hole to hell that has just closed up. And 1:23:38.640 --> 1:23:40.400 I get that they're kids and that they're not thinking 1:23:40.400 --> 1:23:42.280 this all the way through, but they've been pretty competent 1:23:42.439 --> 1:23:44.320 so far. It's like, maybe give it a little bit 1:23:44.360 --> 1:23:46.880 of clearance and give it some time to cool and 1:23:46.960 --> 1:23:47.479 settle in. 1:23:48.040 --> 1:23:50.280 That's the advice I give my son. I'm like, look, 1:23:50.680 --> 1:23:52.760 if you ever open up a pit to hell and 1:23:52.800 --> 1:23:56.000 you successfully close it up with an explosive bible, don't 1:23:56.040 --> 1:23:58.479 just start stomping because it can't be one hundred resent 1:23:58.560 --> 1:23:59.800 sure that it's closed. 1:23:59.880 --> 1:24:02.200 It thirty to forty five minutes. Go have a snack 1:24:02.280 --> 1:24:03.760 and see if you still want to jump on the 1:24:03.760 --> 1:24:06.160 hole in celebration, and then go for it. 1:24:06.240 --> 1:24:17.760 Yeah, So they go back inside. Eventually they find the 1:24:17.840 --> 1:24:20.720 Lee sisters hiding in the closet, which I was relieved by, 1:24:20.800 --> 1:24:22.400 you know, and not that we're super attached to them, 1:24:22.400 --> 1:24:24.679 but it's nice that they were not murdered by tiny 1:24:24.680 --> 1:24:26.120 creatures off screen. 1:24:26.960 --> 1:24:31.080 Comically huge layers of garlic around their necks and they're 1:24:31.120 --> 1:24:34.120 holding kitchen tools in kind of a cross in front 1:24:34.120 --> 1:24:35.800 of them. Very funny scene. 1:24:35.600 --> 1:24:37.439 Very funny, but also it made me think, like how 1:24:37.520 --> 1:24:40.559 much garlic does this family keep? So like we've got 1:24:40.600 --> 1:24:42.640 maybe two pieces of garlic in the house at a 1:24:42.680 --> 1:24:47.200 time that this is like like like three dozen garlic 1:24:47.400 --> 1:24:48.760 yeah heads. 1:24:48.520 --> 1:24:50.839 In here, easily thirty to forty heads of garlic. 1:24:51.280 --> 1:24:53.679 Yeah. So they get them out and then what more 1:24:53.720 --> 1:24:57.000 teen boys appear. They have shown up with beer, ready 1:24:57.040 --> 1:25:01.160 to party. Al wisely just sends everybody. She's like, I've 1:25:01.200 --> 1:25:04.160 had enough surprises for one night. Everybody has to go home. 1:25:04.280 --> 1:25:07.639 No parties are taking place, and they begrudgingly agree. 1:25:07.720 --> 1:25:10.960 Yeah, and really, you know, docs some cool points from her, 1:25:11.479 --> 1:25:15.639 which the teens make clear, and she does not care about. 1:25:15.680 --> 1:25:17.880 Which good on al. You know, she's finally kind of 1:25:17.880 --> 1:25:21.160 realizing what's important. And you know, I might suggest she's 1:25:21.200 --> 1:25:22.360 growing more than they are. 1:25:22.680 --> 1:25:25.719 Yeah, I think so. I mean, it took an actual 1:25:25.840 --> 1:25:28.479 portal to hell opening up in the backyard, but still 1:25:28.920 --> 1:25:29.840 growth appreciated. 1:25:30.120 --> 1:25:36.280 Yeah, and seeing your father's face caved in and rolling 1:25:36.320 --> 1:25:37.200 off of his body. 1:25:37.320 --> 1:25:39.280 But of course it's not over yet. Things are not 1:25:39.280 --> 1:25:42.559 going to end that simply. Later on Glenn and Terry, 1:25:42.600 --> 1:25:46.240 they're hanging out, I think in the den. They're kind 1:25:46.240 --> 1:25:49.160 of horsing around with the geode. It bangs into the wall. 1:25:49.560 --> 1:25:53.960 Suddenly the wall erupts and this dead workman is hanging 1:25:54.000 --> 1:25:55.920 half out of the wall. This is the workman from 1:25:56.000 --> 1:25:59.640 Terry's story about some workman being sealed up dead in 1:25:59.680 --> 1:26:00.599 the wall of the house. 1:26:00.840 --> 1:26:03.080 That's right, And this is where Terry reveals that he 1:26:03.160 --> 1:26:06.320 made that story up, which again another wish fulfillment kind 1:26:06.360 --> 1:26:08.439 of manifesting. This is less of a wish but more 1:26:08.479 --> 1:26:10.800 of an idea that was in his head made real. 1:26:12.000 --> 1:26:13.320 And Terry gets taken. 1:26:13.560 --> 1:26:16.920 Yeah, the creature comes alive. It's a zombie grabs Terry, 1:26:16.960 --> 1:26:19.080 pulls him to the wall, and then the wall seals up, 1:26:19.680 --> 1:26:22.960 so at this point it's just Alan Glenn. They get 1:26:22.960 --> 1:26:25.720 attacked by the by the workmen. They call him the 1:26:26.040 --> 1:26:29.920 zombie creature. Again. There's a great scene where they're cornered 1:26:29.920 --> 1:26:34.320 by the workman. Al throws a boombox at it, hits him, 1:26:34.479 --> 1:26:36.599 hits the creature in the head, nail or nails him 1:26:36.600 --> 1:26:40.320 in the face. He falls over and immediately shatters into 1:26:40.360 --> 1:26:42.679 a whole bunch of these tiny demons are just running around. 1:26:42.760 --> 1:26:48.080 That's right, that's an amazing scene again in the trailer. Yeah, 1:26:48.720 --> 1:26:52.479 he's made up of them. Again. I don't want them 1:26:52.520 --> 1:26:54.679 to explain it to me, but I do want an answer, 1:26:54.880 --> 1:26:56.960 you know, I'm living in that dual space. 1:26:57.240 --> 1:26:58.800 So at this point they're like, okay, well we got 1:26:58.800 --> 1:27:00.439 to go for that gun. Let's get Dad's gun. So 1:27:00.479 --> 1:27:03.960 they go to the closet. But at this point two 1:27:04.000 --> 1:27:07.480 things happen in quick succession. That zombie demon Terry attacks, 1:27:07.520 --> 1:27:10.720 like Terry's head coming out and biting at him. So 1:27:10.800 --> 1:27:14.200 Al comes in and stabs Zombie Terry in the eye 1:27:14.240 --> 1:27:16.639 socket with a Barbie doll leg. 1:27:17.000 --> 1:27:21.599 So good, so good. This is for me scariest moment 1:27:21.640 --> 1:27:24.600 of the of the film, that, yeah, he's poking his 1:27:24.680 --> 1:27:28.160 head out there, that he is actually biting, that he 1:27:28.200 --> 1:27:31.479 has then attacked, that the kids have to attack their 1:27:31.520 --> 1:27:34.439 own friend. It's just terrifying stuff. 1:27:34.680 --> 1:27:37.040 Yeah, and the Barbie doll leg part of it is 1:27:37.080 --> 1:27:40.479 like knowing that baby Barbie doll legs are a little weird, Like, 1:27:40.800 --> 1:27:43.639 you know, we both had sisters, so both were around 1:27:43.640 --> 1:27:45.639 Barbie dolls and they have that weird thing where it's 1:27:45.680 --> 1:27:49.479 like the Barbie doll kind of has like flesh and bone, right, 1:27:49.479 --> 1:27:53.439 and it has it's it's rigid yet soft, And somehow 1:27:53.520 --> 1:27:56.439 the idea of it going into an eye socket feels 1:27:56.479 --> 1:28:00.320 more impactful than if if the zombie Terry had been 1:28:00.320 --> 1:28:02.120 stabbed with literally anything. 1:28:02.400 --> 1:28:06.000 Right, And the fact that the Barbie's legs and feet 1:28:06.000 --> 1:28:08.320 are pretty firm and solid, and that those feed are 1:28:08.360 --> 1:28:11.760 in particular are pointy that, you know. I had a 1:28:11.800 --> 1:28:15.559 note that it really shows the tone of the movie 1:28:15.720 --> 1:28:19.080 and the intended audience of the movie, that this is 1:28:19.120 --> 1:28:22.400 all pulled up. You never see the barbie go into 1:28:22.439 --> 1:28:26.720 the eye, you see the wind up, you hear the impact, 1:28:27.000 --> 1:28:29.720 and then you see the blood soaked barbie leg and 1:28:29.760 --> 1:28:33.600 the resulting stabbed eye, but you never get it's a 1:28:33.640 --> 1:28:37.160 punch that's intentionally pulled to be mindful to the audience, 1:28:37.160 --> 1:28:39.920 and I think it's a really thoughtful one and characterized 1:28:40.720 --> 1:28:42.759 by many other moments in the movie as well. 1:28:43.200 --> 1:28:46.160 Now, shortly after this occurs, the workman shows back up again, 1:28:46.640 --> 1:28:49.599 more chaos. I believe the shotgun goes off, but then 1:28:49.960 --> 1:28:53.920 the workman grabs al and drags her away into the wall, 1:28:53.960 --> 1:28:56.920 into the closet wall, and now both of them are gone. 1:28:56.960 --> 1:29:00.080 It's only Glenn. And earlier in the picture it was said, well, 1:29:00.120 --> 1:29:02.120 you know the demons, the old gods, they only need 1:29:02.120 --> 1:29:06.720 two sat human sacrifices in order to fully open the gate. Well, 1:29:06.800 --> 1:29:09.479 now it looks like they have two human sacrifices, so 1:29:09.560 --> 1:29:10.639 things are not looking great. 1:29:10.840 --> 1:29:12.640 That's right, and you get what, for my money, is 1:29:12.680 --> 1:29:15.599 probably the most impressive set piece of the film, which 1:29:16.080 --> 1:29:20.360 is Glenn running across this large living room floor of this, 1:29:21.000 --> 1:29:23.800 like I said earlier, amazing, amazing looking house, and that 1:29:23.880 --> 1:29:26.240 whole floor opens up as he runs across it, and 1:29:26.280 --> 1:29:28.800 we see that the entire kind of footprint of the 1:29:28.840 --> 1:29:32.519 house practically is now the gate and a purple light 1:29:32.640 --> 1:29:34.439 is coming out of it. Again, that shot is in 1:29:34.479 --> 1:29:34.920 the trailer. 1:29:35.080 --> 1:29:39.160 Yeah, yeah, it gives a lot of this away. But yeah, 1:29:39.200 --> 1:29:41.839 now in this we're getting into the final showdown because 1:29:42.120 --> 1:29:46.080 at this point I think Glenn seems to realize he's 1:29:46.080 --> 1:29:49.679 going to need that big rocket and the demon little 1:29:49.680 --> 1:29:52.240 demons are swarming all over the place, and then this 1:29:52.280 --> 1:29:55.840 is when the giant Demon Lord arrives. We saw a 1:29:55.920 --> 1:29:58.439 drawing or a wood cut off him in the liner 1:29:58.520 --> 1:30:02.080 notes to that heavy metal album in the Dark Book. 1:30:02.360 --> 1:30:04.760 But now he has arrived and he looks tremendous. This 1:30:04.880 --> 1:30:10.400 is like a stop motion creature. It looks very original, 1:30:10.439 --> 1:30:12.880 but also seems like it is like like a fifth 1:30:12.960 --> 1:30:17.920 level mega evolution all of the little demons and Ray 1:30:17.960 --> 1:30:20.000 Harry Housen would be proud of this thing. This thing 1:30:20.040 --> 1:30:20.519 looks great. 1:30:20.800 --> 1:30:23.360 Totally agree. He looks like a leveled up version of 1:30:23.400 --> 1:30:26.320 one of those Gromlins. He's got twice the eyes, twice 1:30:26.360 --> 1:30:29.439 the arms. The second set of arms are much smaller 1:30:29.439 --> 1:30:31.200 than the first arms. Just a lot of thought went 1:30:31.240 --> 1:30:34.960 into this creature and the articulations of this creature, and 1:30:35.040 --> 1:30:37.880 the way that he emerges and arises out of the 1:30:37.920 --> 1:30:41.799 hole is just an effect that it works just so well. 1:30:42.040 --> 1:30:45.559 Yeah, and there's like the showdown with the big demon 1:30:45.920 --> 1:30:48.800 and Glenn. It like grabs Glenn and then weirdly it 1:30:48.920 --> 1:30:52.240 marks him. It touches him and an eyeball opens and 1:30:52.280 --> 1:30:56.920 Glenn's palm, which is really well done effect. And it's 1:30:56.920 --> 1:30:59.880 also just a real shame because Carrie has been taken away. 1:31:00.040 --> 1:31:02.120 Harry would have loved this. This is what was all 1:31:02.120 --> 1:31:04.800 get out. And then the demon leaves him. It's kind 1:31:04.840 --> 1:31:07.679 of like the Demon's like, hey, you had a hand 1:31:07.720 --> 1:31:10.519 in this, so here you get a special demon gift 1:31:10.560 --> 1:31:12.880 from me, and you get to live to see the 1:31:12.920 --> 1:31:14.479 new demon world I get, you know, maybe he's going 1:31:14.520 --> 1:31:15.840 to be an ambassador. I don't know. 1:31:16.040 --> 1:31:18.400 Yeah, that's what again. A thing that I couldn't figure 1:31:18.400 --> 1:31:23.040 out was was the demon rewarding Glenn. Was the demon 1:31:24.520 --> 1:31:27.280 marking Glenn so that he could see through that eye 1:31:27.320 --> 1:31:30.960 that's now in Glenn's hand. All we know is that 1:31:32.080 --> 1:31:37.360 Glenn was spared, the demon retreated, and Glenn looks down 1:31:37.360 --> 1:31:41.599 and he's just revolted by this eye that's in his hand, 1:31:41.600 --> 1:31:44.559 which I agree, amazing effect. I don't know how many 1:31:44.560 --> 1:31:47.200 times I can say amazing effect during this episode, because 1:31:47.240 --> 1:31:50.040 but there truly are so many amazing effects here. 1:31:50.520 --> 1:31:52.640 Yeah, and in different different realms, Like this is a 1:31:52.640 --> 1:31:55.360 different style effect than anything I think we'd seen thus far. 1:31:56.520 --> 1:31:58.760 It's weird, I guess it. It reminds me a bit 1:31:58.840 --> 1:32:02.759 of the Steve King's story. I Am the Doorway. Oh yeah, 1:32:02.840 --> 1:32:05.320 you know, where the guy comes back with eyeballs opening 1:32:05.360 --> 1:32:07.000 up in his hands, and this is a way for 1:32:07.439 --> 1:32:09.519 alien entities to see through him. 1:32:09.720 --> 1:32:13.680 That's right, And I think that that, to me suggested 1:32:13.840 --> 1:32:17.639 that Glenn was maybe now a minion of the dark one, 1:32:17.760 --> 1:32:21.240 the larger demon, and maybe was serving as his eyes 1:32:21.320 --> 1:32:23.439 at least in that space, and that was why he 1:32:23.479 --> 1:32:26.640 felt like he was no longer needed and retreated. But 1:32:26.920 --> 1:32:30.439 it's pretty revolting, and it's a very convincing. I can 1:32:30.520 --> 1:32:32.920 figure out these other effects, I can't figure this one out. 1:32:33.000 --> 1:32:35.280 I don't know how they pulled this one off. 1:32:35.280 --> 1:32:38.519 All right, So we get down to the final bit here. 1:32:38.840 --> 1:32:40.960 So the great Purple Vortex is rising up out of 1:32:41.000 --> 1:32:43.400 the pit. The demons are cementing their control over the earth. 1:32:43.560 --> 1:32:48.600 Only Glenn can stop them, one assumes, so if I 1:32:48.600 --> 1:32:50.280 remember this correctly, the way it goes down as he 1:32:50.320 --> 1:32:54.320 stabs the palm eyeball, presumably to call the Big Demon back. 1:32:54.360 --> 1:32:57.000 Big Demon comes back, is on his way back. Meanwhile, 1:32:57.000 --> 1:33:00.320 Glenn is setting up the launcher for the rocket, big 1:33:00.400 --> 1:33:02.559 rocket from the closet, but also using part of a 1:33:02.640 --> 1:33:06.560 rocket kit that Al gave him. He's scrambling for batteries, 1:33:06.880 --> 1:33:08.760 you know, kind of like the classic must reload of 1:33:08.800 --> 1:33:12.720 the last second bit from an action film. And I suspense. 1:33:13.040 --> 1:33:16.880 The Demon Lord returns and Glenn fires the rocket into it. 1:33:16.920 --> 1:33:19.200 And this is great too, because the rocket has been 1:33:19.360 --> 1:33:22.880 cemented in the picture already. Is this It's kind of 1:33:22.880 --> 1:33:26.639 this thing. This represents this loving bond between the siblings, 1:33:27.080 --> 1:33:29.719 So it makes sense within the context of the film 1:33:29.760 --> 1:33:32.360 that it's not just a random child weapon. This is 1:33:32.400 --> 1:33:34.960 not just kid rambo a fighting off a demon like 1:33:35.040 --> 1:33:38.839 this is something that represents bonds of love and truth 1:33:39.360 --> 1:33:42.559 that would naturally slay a demon and it does just 1:33:42.600 --> 1:33:46.160 blows the demon all to glowing pieces. Yeah. 1:33:46.439 --> 1:33:49.120 I loved the sequence. I do have to admit that 1:33:49.400 --> 1:33:51.600 this is where the movie started to lose me a 1:33:51.640 --> 1:33:54.559 little bit, this concept of this being the solution to 1:33:54.640 --> 1:33:58.080 the problem. I was on board with the demonic incantation. 1:33:58.320 --> 1:34:01.000 I would have been on board with them finding a 1:34:01.040 --> 1:34:06.160 way to more articulately work that into a message of 1:34:06.200 --> 1:34:09.200 love and light. I think I like the idea of 1:34:09.240 --> 1:34:12.080 a symbol of love and the shared bond and how 1:34:12.120 --> 1:34:15.040 well they seated that being what saves them. But for 1:34:15.040 --> 1:34:17.719 some reason it lost that connective tissue at that point 1:34:17.760 --> 1:34:19.880 for me and just felt like a very convenient way 1:34:19.920 --> 1:34:24.280 to end the movie. But regardless, it works, you know, 1:34:25.040 --> 1:34:26.599 I mean narratively it worked. 1:34:27.040 --> 1:34:30.280 Yeah, it saved the world. All the weird purple weather 1:34:30.479 --> 1:34:34.000 stuff goes away, the pit seals back up, and then well, 1:34:34.320 --> 1:34:39.880 everyone's still alive. Al shows back up, here's Terry so al, 1:34:39.960 --> 1:34:43.240 Here and Glenn are all reunited. The house is wrecked. 1:34:43.360 --> 1:34:45.479 The parents are not going to be crazy about this, 1:34:45.800 --> 1:34:48.839 but we get the sweet scene where everybody's still okay 1:34:49.000 --> 1:34:50.920 and they have successfully defeated the demon. 1:34:51.240 --> 1:34:53.640 I do want to point out that when the demon explodes. 1:34:53.880 --> 1:34:58.000 There's a hilarious explosion scene where Glenn is propelled out 1:34:58.000 --> 1:35:03.559 of the house end over far overhead in a projection effect, 1:35:03.680 --> 1:35:08.120 but literally pinwheels out of the house and lands to safety. 1:35:08.240 --> 1:35:11.680 We get one final scene too, where we see the backyard, 1:35:12.280 --> 1:35:14.080 we see the place where the pit was, and there's like, 1:35:14.200 --> 1:35:16.559 there's a sapling growing up there, you know, the like 1:35:16.760 --> 1:35:19.760 the tree that was there before is being regrown, and 1:35:20.439 --> 1:35:23.200 there is Angus. The dog is still alive, carrying a 1:35:23.240 --> 1:35:26.120 shoe around, and it's it's sweet, it's nice that the 1:35:26.160 --> 1:35:28.920 dog didn't actually die but is back, but on this 1:35:29.200 --> 1:35:31.080 the same level. And I didn't think about this till 1:35:31.080 --> 1:35:33.160 the second time I was watching parts of the film. 1:35:33.520 --> 1:35:35.200 I was like, oh, well this this scene is also 1:35:35.439 --> 1:35:38.519 very disconnected from the rest of the movie, almost as 1:35:38.520 --> 1:35:41.599 if a test audience thought it was sad that the 1:35:41.640 --> 1:35:43.840 dog truly died. And then I go, let's just bring 1:35:43.840 --> 1:35:45.800 the dog back. We don't need any of the kids 1:35:45.800 --> 1:35:47.439 for this scene. We'll just shoot the dog in the 1:35:47.479 --> 1:35:51.439 same backyard. Yeah, but either way we'll take it. A 1:35:51.479 --> 1:35:53.320 wholesome music plays in the crash. 1:35:54.000 --> 1:35:56.160 I think that it makes as much sense as anything 1:35:56.200 --> 1:35:59.000 else if two human sacrifices were needed for the demon 1:35:59.080 --> 1:36:02.719 to in heard the realm, then Al and Terry should 1:36:02.720 --> 1:36:06.160 be dead. Through that same lens, the dog should be dead. 1:36:06.400 --> 1:36:08.679 They're all alive. I'm happy that they're all alive, don't 1:36:08.680 --> 1:36:11.479 get me wrong, But something doesn't add up here. It's 1:36:11.520 --> 1:36:15.240 not where they revived. Where they I mean, Angus had 1:36:15.240 --> 1:36:18.280 to be, so presumably Al and Terry are. It's asking 1:36:18.320 --> 1:36:20.960 a lot of questions that a child's audience isn't really 1:36:21.040 --> 1:36:23.720 going to want to or be prepared to answer. So 1:36:24.680 --> 1:36:27.479 it's kind of a wash at that point. And like 1:36:27.520 --> 1:36:30.800 I said, for such a thoughtful movie to have kind 1:36:30.800 --> 1:36:33.639 of that gap of logic there at the end, again, 1:36:33.760 --> 1:36:38.400 not of how the magic works, or how the necromancy works, 1:36:38.479 --> 1:36:43.639 or how the gate works itself, but why everything turned 1:36:43.640 --> 1:36:46.519 out great at the end of it. It feels like 1:36:47.560 --> 1:36:49.960 it just couldn't find a way to do it, you know, 1:36:50.360 --> 1:36:53.960 And so I got to take another ding for that. 1:36:54.000 --> 1:36:56.280 But it's not going to affect its overall score. I think. 1:36:56.320 --> 1:37:00.360 There's also the final line that Glenn mentions to both 1:37:00.479 --> 1:37:04.040 Terry and Al as the camera pans away, is you're 1:37:04.160 --> 1:37:08.720 my best buddies, and that's it. That's the end. 1:37:09.360 --> 1:37:13.360 Yep. Yeah, they crank the wholesomeness up all the way 1:37:13.880 --> 1:37:18.160 and the music is really it's sweet. It's almost sickeningly 1:37:18.200 --> 1:37:22.760 sweet at this point. But I let it slide, Let 1:37:22.800 --> 1:37:24.400 it slide. Yeah, it's kind of nice that a movie 1:37:24.439 --> 1:37:25.599 like this ends on a good note. 1:37:25.680 --> 1:37:27.920 The house is still all jacked up. The parents have 1:37:28.040 --> 1:37:30.200 not returned yet, so there is kind of I don't 1:37:30.240 --> 1:37:32.439 know if that gets addressed in the sequel what the 1:37:32.479 --> 1:37:34.680 parents thought about the state of the house when they 1:37:34.680 --> 1:37:38.479 got back. But there's a reckoning coming that we the 1:37:38.560 --> 1:37:41.040 audience are no longer a part of because we've seen 1:37:41.080 --> 1:37:45.160 the happy ending. The best buddies are all survived, Angus 1:37:45.200 --> 1:37:47.440 has been brought back to life, and the gate theoretically 1:37:47.560 --> 1:37:49.160 is closed until nineteen ninety. 1:37:49.800 --> 1:37:53.920 All right, well this was the gate. Yeah this is 1:37:54.080 --> 1:37:56.760 This is a pretty fun, one, pretty sweet movie. I 1:37:56.760 --> 1:38:00.960 think holds up pretty well outside of a few bits 1:38:01.000 --> 1:38:05.040 of colorful and offensive language from the children that I 1:38:05.040 --> 1:38:07.760 guess flew okay in the in the late eighties but 1:38:08.000 --> 1:38:10.600 definitely is not okay today. So that would be my 1:38:10.640 --> 1:38:13.519 main reservation about say, letting children watch this. 1:38:13.880 --> 1:38:16.400 Yeah, yeah, I think so. I ran into a similar 1:38:16.400 --> 1:38:19.120 instance trying to show Bill and Ted's bogus journey to 1:38:19.439 --> 1:38:22.439 my son recently within the past year or two, and 1:38:22.479 --> 1:38:24.599 there are some insults that are along the same line 1:38:24.640 --> 1:38:28.720 as are used here that are just unacceptable. And the 1:38:29.160 --> 1:38:32.920 lift of having to explain that to a child is 1:38:34.240 --> 1:38:37.479 you don't want it, you know, Yeah, yeah, but I 1:38:37.479 --> 1:38:41.080 think this. God, I can't. I can't tell you enough 1:38:41.080 --> 1:38:44.920 how much I enjoyed watching this movie, how great it was, 1:38:45.000 --> 1:38:50.360 how fun it was, how deeply I connected with the 1:38:50.479 --> 1:38:52.719 characters in the movie, more so than I would expect 1:38:52.760 --> 1:38:55.880 from a horror movie, let alone, you know, a kid's movie. 1:38:56.920 --> 1:39:00.679 It was just really, really thoughtfully and tastefully done. 1:39:00.800 --> 1:39:03.320 Absolutely, I agree, And it's been fun chatting about the 1:39:03.360 --> 1:39:04.439 movie with you. Yeah. 1:39:04.600 --> 1:39:05.880 Likewise, thank you for having me. 1:39:06.120 --> 1:39:08.560 Yeah, thanks for coming on. So we're gonna go and 1:39:08.640 --> 1:39:12.360 close it out here. Before we go, tell us one 1:39:12.400 --> 1:39:14.439 more time. What do you find Talking Tofu? 1:39:14.640 --> 1:39:16.519 All right, So you can find Talking Tofu wherever you 1:39:16.520 --> 1:39:20.920 get your podcasts. It's You can also reach out to 1:39:21.040 --> 1:39:24.600 us on Twitter and Instagram at talkin Tofu pod. You 1:39:24.640 --> 1:39:27.080 can also find me at line Leader on Instagram and 1:39:27.160 --> 1:39:31.200 Twitter if you want to uh and yeah. I think 1:39:31.240 --> 1:39:35.040 if you want to hear us jabber on about snacks. 1:39:35.240 --> 1:39:37.479 Sometimes we even eat snacks on mic. I think a 1:39:37.479 --> 1:39:39.280 lot of people are really into that sort of thing, 1:39:39.960 --> 1:39:42.160 come check us out. We'll have a lot of fun awesome. 1:39:42.479 --> 1:39:45.400 Well. I'll remind everyone out there that Stuff to Blow 1:39:45.400 --> 1:39:48.240 Your Mind is primarily a science podcast, but on Fridays 1:39:48.680 --> 1:39:50.560 we do Weird House Cinema, and that's our time to 1:39:50.600 --> 1:39:52.559 set aside most serious concerns and just talk about a 1:39:52.600 --> 1:39:55.439 weird film. If you want to follow the movies that 1:39:55.479 --> 1:39:58.519 are covered here, I blog about them at simmutomusic dot com. 1:39:58.840 --> 1:40:01.080 But also if you use letter box dot com that's 1:40:01.160 --> 1:40:02.680 L E T T E R B O x D 1:40:02.880 --> 1:40:05.600 dot com. We have an account there weird House, and 1:40:05.600 --> 1:40:07.360 you can see all the films laid out there that 1:40:07.360 --> 1:40:10.320 we've covered, and sometimes a peek at what's to come. 1:40:11.520 --> 1:40:14.240 If you want to get in touch with with me 1:40:14.840 --> 1:40:17.919 and and or Joe, you can email us at contact 1:40:18.000 --> 1:40:20.640 it's Stuff to Blow your Mind dot com. And if 1:40:20.680 --> 1:40:22.639 you have anything you want to say to Dave through 1:40:22.680 --> 1:40:24.640 that email, I'll forward it to him. But also I 1:40:24.640 --> 1:40:28.040 believe you guys have a have one talk intofu pod 1:40:28.240 --> 1:40:31.160 at gmail dot com. That's t A l k I 1:40:31.280 --> 1:40:34.799 N t O f U p O D at gmail 1:40:34.840 --> 1:40:37.799 dot com. And I do want to remind everyone talking tofu, 1:40:37.840 --> 1:40:41.920 it's t A l k I n apostrophe, right and 1:40:41.960 --> 1:40:42.639 then tofu. 1:40:43.040 --> 1:40:46.360 Yeah, it's a little advice to people who are naming podcasts. 1:40:46.520 --> 1:40:51.839 Don't get silly with the language or leave off critical 1:40:51.920 --> 1:40:54.760 letters because it really does make it just that much 1:40:54.800 --> 1:40:59.439 more difficult to get in touch with somebody. But that's correct. 1:40:59.520 --> 1:41:00.639 Let's talk without the. 1:41:00.640 --> 1:41:03.880 G, talking without the G. All right, Well, thanks as 1:41:03.880 --> 1:41:06.800 always to Seth Nicholas Johnson for producing this show. And yeah, 1:41:06.960 --> 1:41:09.040 if you want to reach out, just email me at 1:41:09.120 --> 1:41:18.400 contact at Stuffdblow your Mind dot com. 1:41:18.520 --> 1:41:21.479 Stuff to Blow your Mind is production of iHeartRadio. For 1:41:21.560 --> 1:41:24.360 more podcasts from my heart Radio, visit the iHeartRadio app, 1:41:24.520 --> 1:41:27.760 Apple Podcasts, or wherever you listen to your favorite shows.