1 00:00:04,240 --> 00:00:07,360 Speaker 1: Hey, welcome to Weird House Cinema. This is Rob Lamb 2 00:00:07,600 --> 00:00:09,959 Speaker 1: and I'm Joe McCormick. In today we're bringing you a 3 00:00:10,000 --> 00:00:14,720 Speaker 1: weird House cinema rewind. This episode originally aired on May. 4 00:00:14,840 --> 00:00:21,200 Speaker 1: Let's see May one. This was transfers to everybody meet 5 00:00:21,239 --> 00:00:24,479 Speaker 1: your new husband Jack Death. Yeah, this one, this one 6 00:00:24,560 --> 00:00:27,360 Speaker 1: is a lot of fun. Uh. Tim Thomason, Helen Hunt, 7 00:00:27,720 --> 00:00:35,760 Speaker 1: Richard Lynch, con traveling um cops, Uh, psychic zombies, various wives, 8 00:00:35,800 --> 00:00:37,960 Speaker 1: and the not so rigorous rules of time travel. We 9 00:00:38,000 --> 00:00:40,440 Speaker 1: talk a little bit about time travel cinema in general 10 00:00:40,440 --> 00:00:44,640 Speaker 1: in this episode, will Tim Thomason, Mary both women listening 11 00:00:44,720 --> 00:00:50,800 Speaker 1: to find out. Welcome to Stuff to blow your mind 12 00:00:51,040 --> 00:01:00,280 Speaker 1: production of My Heart Radio. Hey you welcome to Weird 13 00:01:00,280 --> 00:01:03,680 Speaker 1: how Cinema. This is Rob Lamb and this is Joe McCormick. 14 00:01:03,760 --> 00:01:06,920 Speaker 1: And today it's all Time Cops. It's not the movie 15 00:01:07,000 --> 00:01:10,760 Speaker 1: Time Cop, it's another Time Cop movie. Uh. This is 16 00:01:10,840 --> 00:01:13,480 Speaker 1: one where you know there are different ways you get 17 00:01:13,520 --> 00:01:16,800 Speaker 1: into a piece of b cinema. Sometimes you watch a 18 00:01:16,840 --> 00:01:20,360 Speaker 1: trailer and it really grabs you. Sometimes you just hear 19 00:01:20,400 --> 00:01:23,440 Speaker 1: the pitch and and it gets the hooks in. But 20 00:01:23,600 --> 00:01:28,200 Speaker 1: for me, this movie Transfers to the Return of Jack Death. 21 00:01:28,720 --> 00:01:31,160 Speaker 1: It lured me in with one of the best B 22 00:01:31,319 --> 00:01:35,440 Speaker 1: movie posters I've ever seen. Uh this Uh, I can't 23 00:01:35,440 --> 00:01:37,280 Speaker 1: remember how I first came across this. How did we 24 00:01:37,319 --> 00:01:39,880 Speaker 1: get started on the transfer train? You were talking about 25 00:01:39,880 --> 00:01:42,920 Speaker 1: transfers and then I found this poster. I think, yeah, 26 00:01:43,120 --> 00:01:46,679 Speaker 1: a couple of things came together. I think I got 27 00:01:47,120 --> 00:01:50,800 Speaker 1: a preview of a Full Moon Entertainment streaming channel in 28 00:01:50,880 --> 00:01:54,280 Speaker 1: order to watch shock Waves, and then forgot to unsubscribe, 29 00:01:54,280 --> 00:01:55,840 Speaker 1: and you know, so I had it for a month, 30 00:01:56,160 --> 00:01:59,520 Speaker 1: and then we were talking about Full Moon Entertainment and 31 00:01:59,520 --> 00:02:02,320 Speaker 1: and if in the question was raised I think by Seth, 32 00:02:03,440 --> 00:02:07,480 Speaker 1: are all the films in the the Full Moon Entertainment catalog? 33 00:02:07,520 --> 00:02:10,519 Speaker 1: Are they? Are they all essentially Evil Ball and Ginger 34 00:02:10,560 --> 00:02:12,560 Speaker 1: dead Man? And I was like, no, no, no, no, 35 00:02:12,600 --> 00:02:14,640 Speaker 1: there you know there's some early stuff. I think there's 36 00:02:14,639 --> 00:02:17,360 Speaker 1: some good stuff in there, maybe the transfer movies. I 37 00:02:17,400 --> 00:02:19,519 Speaker 1: haven't seen them yet. And then the next thing I 38 00:02:19,600 --> 00:02:23,160 Speaker 1: knew I had about of insomnia, so I fired up 39 00:02:23,160 --> 00:02:25,760 Speaker 1: Transfers one and started watching it. Okay, that's right. So 40 00:02:25,840 --> 00:02:28,240 Speaker 1: you were talking about Transfers one and you were pitching 41 00:02:28,280 --> 00:02:31,520 Speaker 1: me on the concept, which which sounded quite enticing. Uh, 42 00:02:31,720 --> 00:02:35,040 Speaker 1: sort of similar. It sounded like a cross between time 43 00:02:35,080 --> 00:02:39,440 Speaker 1: cop and Uh. There's a series of video games. I've 44 00:02:39,480 --> 00:02:43,480 Speaker 1: never played one, but the games are called Assassin's Creed 45 00:02:43,680 --> 00:02:47,839 Speaker 1: and the premise of them is that you don't physically, 46 00:02:48,160 --> 00:02:50,519 Speaker 1: in your body go back in time, but you can 47 00:02:50,560 --> 00:02:54,680 Speaker 1: like send your mind back in time to inhabit the 48 00:02:54,720 --> 00:02:58,120 Speaker 1: body of one of your ancestors. Is that right? I 49 00:02:58,160 --> 00:03:00,320 Speaker 1: think that's how it works. Yeah, I I I'm not 50 00:03:00,360 --> 00:03:02,880 Speaker 1: really versed in those games either, okay, And so that's 51 00:03:02,960 --> 00:03:06,040 Speaker 1: the that's one of the basic plot mechanics of transfers, 52 00:03:06,120 --> 00:03:08,200 Speaker 1: right that it has a it has a drug based 53 00:03:08,320 --> 00:03:12,440 Speaker 1: time travel mechanism where you can send your brain, or 54 00:03:12,480 --> 00:03:15,880 Speaker 1: at least your your consciousness back into the body of 55 00:03:15,960 --> 00:03:20,600 Speaker 1: one of your long dead relatives. Correct. Yeah, roughly speaking, 56 00:03:20,680 --> 00:03:24,079 Speaker 1: if we're gonna lean into what's going on, uh there 57 00:03:23,880 --> 00:03:26,440 Speaker 1: there are seemingly two methods of time travel in the film. 58 00:03:26,480 --> 00:03:30,440 Speaker 1: There's the genetic ancestral drug technique to move consciousness and 59 00:03:30,680 --> 00:03:34,680 Speaker 1: a physical time travel technique with severe limitation. So there 60 00:03:34,720 --> 00:03:37,680 Speaker 1: is a continuation or survival of consciousness in these films, 61 00:03:37,840 --> 00:03:41,400 Speaker 1: akin to reincarnation as well. As a consciousness based model 62 00:03:41,400 --> 00:03:43,680 Speaker 1: of time, and it woul seem to indicate that time 63 00:03:43,760 --> 00:03:47,120 Speaker 1: is largely an illusion created by consciousness and can be 64 00:03:47,200 --> 00:03:51,480 Speaker 1: manipulated through pharmacology and manipulated to such a degree that 65 00:03:51,560 --> 00:03:54,760 Speaker 1: then physical time travel is possible as well. That's right. 66 00:03:54,760 --> 00:03:57,960 Speaker 1: Transfers too gets deep. This is um. I remember when 67 00:03:57,960 --> 00:04:00,640 Speaker 1: I first signed up for Netflix many men of years ago. 68 00:04:01,000 --> 00:04:03,280 Speaker 1: It was interesting because, like, you would tell it what 69 00:04:03,400 --> 00:04:07,119 Speaker 1: movies you liked, and then it would start suggesting its own, 70 00:04:07,160 --> 00:04:12,080 Speaker 1: Like Netflix curated thematic subgenres for you. And I remember 71 00:04:12,120 --> 00:04:15,080 Speaker 1: one of the little uh categories that curated for me 72 00:04:15,200 --> 00:04:18,040 Speaker 1: based on the movies that I had liked previously was 73 00:04:18,400 --> 00:04:22,880 Speaker 1: mind bending thrillers. And so I think this is technically 74 00:04:22,920 --> 00:04:27,920 Speaker 1: a mind bending thriller. Yes, um, it bends the mind, 75 00:04:28,160 --> 00:04:31,080 Speaker 1: it's a little bit. It bends it in multiple directions. 76 00:04:31,720 --> 00:04:33,520 Speaker 1: But but I gotta come back to this poster. So 77 00:04:33,560 --> 00:04:36,160 Speaker 1: you were telling me about transfers, and then I looked 78 00:04:36,200 --> 00:04:39,159 Speaker 1: up the poster but ended up seeing the poster for 79 00:04:39,240 --> 00:04:44,039 Speaker 1: Transfers to the Return of Jack Death. This thing is beautiful. 80 00:04:44,120 --> 00:04:48,039 Speaker 1: It belongs in the Ufizia. It's um. So it's got 81 00:04:48,080 --> 00:04:51,320 Speaker 1: a painting of the main guy in the movie. But 82 00:04:51,400 --> 00:04:53,200 Speaker 1: I was not familiar with this guy. I guess his 83 00:04:53,320 --> 00:04:57,040 Speaker 1: name is Jack Death d e t right like megadeath, 84 00:04:57,200 --> 00:05:00,400 Speaker 1: not like the actual word death. And then the painting 85 00:05:00,520 --> 00:05:04,080 Speaker 1: he looks like Lane's boss from Seinfeld, you know, the 86 00:05:04,080 --> 00:05:07,039 Speaker 1: guy with the like very smooth, like slick back white 87 00:05:07,040 --> 00:05:10,000 Speaker 1: hair and the dark eyebrows. And he's looking kind of 88 00:05:10,040 --> 00:05:12,880 Speaker 1: like Sam the Eagle, looking kind of stern and handsome 89 00:05:12,960 --> 00:05:16,320 Speaker 1: with a strong jaw line. But he's got a long 90 00:05:16,440 --> 00:05:19,000 Speaker 1: coat on. It's almost like, you know, he's like a 91 00:05:19,000 --> 00:05:22,719 Speaker 1: flasher creep, but inside the coat it's not his body. 92 00:05:22,880 --> 00:05:26,680 Speaker 1: It's like a galaxy full of stars. And then there 93 00:05:26,680 --> 00:05:29,080 Speaker 1: are a couple of people standing with him, two women, 94 00:05:29,160 --> 00:05:32,919 Speaker 1: each holding guns. One of them is Helen Hunt, kind 95 00:05:32,920 --> 00:05:36,680 Speaker 1: of smiling in a mild way, holding a shotgun and 96 00:05:36,760 --> 00:05:40,360 Speaker 1: wearing the mom jenes eist mom jeans that have ever 97 00:05:40,440 --> 00:05:43,159 Speaker 1: been created. Oh, and they're also like standing on the 98 00:05:43,160 --> 00:05:46,400 Speaker 1: surface of Mars, which doesn't correlate to anything that happens 99 00:05:46,440 --> 00:05:49,880 Speaker 1: in the movie. Right. Do you know why in this 100 00:05:49,920 --> 00:05:54,159 Speaker 1: poster Jack Death has a galaxy inside his coat? Well, 101 00:05:54,200 --> 00:05:56,800 Speaker 1: I mean, there's nothing in the film to indicate why 102 00:05:56,839 --> 00:05:59,640 Speaker 1: this would be. But I guess if we lean into it, 103 00:05:59,720 --> 00:06:02,280 Speaker 1: he's you know, he's from the future, so he has 104 00:06:02,320 --> 00:06:05,040 Speaker 1: a he has a sci fi nature to him. And 105 00:06:05,480 --> 00:06:08,320 Speaker 1: if you can, I don't know, you're bending time in space. 106 00:06:08,720 --> 00:06:12,240 Speaker 1: Uh that's about as much as I can come up with. Okay, 107 00:06:12,560 --> 00:06:14,920 Speaker 1: So I guess one thing we should acknowledge is that 108 00:06:14,960 --> 00:06:18,000 Speaker 1: this is yet another episode where we're covering a sequel 109 00:06:18,120 --> 00:06:20,720 Speaker 1: without having covered the original film. And I think, Rob, 110 00:06:20,760 --> 00:06:23,120 Speaker 1: you're going to sort of do recap duty for us 111 00:06:23,880 --> 00:06:27,080 Speaker 1: to tell us about the first Transfers movie. But but 112 00:06:27,200 --> 00:06:29,480 Speaker 1: we do not apologize for doing this. In fact, I 113 00:06:29,520 --> 00:06:32,440 Speaker 1: think some of my favorite episodes of Weird House Cinema 114 00:06:32,480 --> 00:06:35,240 Speaker 1: have been where we covered a sequel without covering the original. 115 00:06:35,680 --> 00:06:38,000 Speaker 1: I don't know why that often works out so well. 116 00:06:38,120 --> 00:06:40,600 Speaker 1: Something about it is kind of liberating. But I feel 117 00:06:40,600 --> 00:06:43,160 Speaker 1: like it's something we're going to keep doing, and we 118 00:06:43,200 --> 00:06:45,919 Speaker 1: maybe even need like a dedicated word for like the 119 00:06:46,000 --> 00:06:50,160 Speaker 1: sequelocity episodes or yeah, because I think one of the 120 00:06:50,680 --> 00:06:54,760 Speaker 1: reasons that it works is that when you're dealing with sequels, 121 00:06:54,960 --> 00:06:57,920 Speaker 1: especially sequels of this caliber. You know, in sequels of 122 00:06:57,960 --> 00:07:02,520 Speaker 1: genre films, um there are at least one of two 123 00:07:02,560 --> 00:07:05,839 Speaker 1: things are likely to be happening here. So on one level, 124 00:07:05,920 --> 00:07:08,479 Speaker 1: a sequel is a chance to move beyond the establishing 125 00:07:08,520 --> 00:07:11,320 Speaker 1: setting and origin stories and get into the meat of 126 00:07:11,360 --> 00:07:14,840 Speaker 1: a of a new, fresh story. Uh, provided however, that 127 00:07:14,880 --> 00:07:17,160 Speaker 1: you don't have to then reset Heaven and Earth to 128 00:07:17,200 --> 00:07:19,800 Speaker 1: make a sequel work. So I would say that a 129 00:07:19,840 --> 00:07:23,920 Speaker 1: great example of this is Blade to where uh Gamma 130 00:07:24,000 --> 00:07:25,600 Speaker 1: de Toro did not have to deal with any of 131 00:07:25,640 --> 00:07:28,120 Speaker 1: like the origin story of Blade for the most part, 132 00:07:28,240 --> 00:07:30,520 Speaker 1: and just got to get into just run right into 133 00:07:30,560 --> 00:07:34,360 Speaker 1: a new adventure with only minor resetting. It's kind of 134 00:07:34,400 --> 00:07:38,800 Speaker 1: like getting to start a movie in the second act. Yeah. Probably, 135 00:07:38,840 --> 00:07:41,240 Speaker 1: I love this film obviously, But a bad example of 136 00:07:41,240 --> 00:07:44,080 Speaker 1: this would be Highlander two, where everything was wrapped up 137 00:07:44,080 --> 00:07:46,640 Speaker 1: in Highlander one, so in order to do a sequel 138 00:07:46,920 --> 00:07:49,320 Speaker 1: they really had to reset Heaven and Earth and inject 139 00:07:49,320 --> 00:07:51,560 Speaker 1: a whole bunch of new material there. Yeah. There are 140 00:07:51,560 --> 00:07:54,720 Speaker 1: a lot of sequels that have to essentially undo the 141 00:07:54,800 --> 00:07:58,480 Speaker 1: previous film in some way in order to exist, and 142 00:07:58,520 --> 00:08:01,360 Speaker 1: on certain occasions that be a kind of like bold 143 00:08:01,440 --> 00:08:04,880 Speaker 1: and gutsy and admirable move. Uh. This is a widely 144 00:08:04,960 --> 00:08:08,000 Speaker 1: hated movie, but one one that does this in a 145 00:08:08,040 --> 00:08:11,320 Speaker 1: way that I think could have been great? Is Alien three? 146 00:08:11,480 --> 00:08:13,760 Speaker 1: Alien three? I mean, I guess I'm not gonna spoil 147 00:08:13,840 --> 00:08:16,120 Speaker 1: anything for a movie that's been out this long. Alien 148 00:08:16,160 --> 00:08:20,040 Speaker 1: three begins by killing most of the characters that survived 149 00:08:20,120 --> 00:08:25,880 Speaker 1: Aliens and uh and beloved characters that all die right 150 00:08:25,920 --> 00:08:28,480 Speaker 1: at the beginning actually off screen. It's just like it 151 00:08:28,560 --> 00:08:31,239 Speaker 1: happens in between the films, and a lot of people 152 00:08:31,280 --> 00:08:33,640 Speaker 1: like this, but something about me always kind of appreciated 153 00:08:33,720 --> 00:08:36,880 Speaker 1: like this could be the setup to a real powerful 154 00:08:37,000 --> 00:08:40,120 Speaker 1: gut punch of a of a third Alien movie. Unfortunately, 155 00:08:40,160 --> 00:08:42,480 Speaker 1: Alien three is It's one of those movies that is 156 00:08:43,400 --> 00:08:45,240 Speaker 1: it's hard to say it's bad because I think it's 157 00:08:45,320 --> 00:08:48,240 Speaker 1: essentially an unfinished film. We we don't we didn't ever 158 00:08:48,280 --> 00:08:51,440 Speaker 1: get to see what Alien three would have been. Um 159 00:08:52,240 --> 00:08:54,959 Speaker 1: so many great aspects to it. I mean, it's a 160 00:08:55,000 --> 00:08:58,680 Speaker 1: wonderful cast, Pete post Away, Charles S. Dutton. Yeah, it's 161 00:08:58,679 --> 00:09:02,600 Speaker 1: got an amazing cast. A dance as a trust likable 162 00:09:02,720 --> 00:09:05,360 Speaker 1: human being, which or at least a more relatable human 163 00:09:05,400 --> 00:09:07,200 Speaker 1: being than he tends to play. I don't I don't 164 00:09:07,200 --> 00:09:10,320 Speaker 1: remember all the wrinkles in his character, but he wasn't 165 00:09:10,320 --> 00:09:14,720 Speaker 1: a complete bastard, as I recalled Charles Dance is just wonderful. Yeah, 166 00:09:14,720 --> 00:09:17,040 Speaker 1: it's it has a great cast, has in a way 167 00:09:17,040 --> 00:09:19,439 Speaker 1: a strong setup. Is just yeah, like I said, it's 168 00:09:19,480 --> 00:09:23,360 Speaker 1: basically an unfinished film that was nevertheless released and kind 169 00:09:23,360 --> 00:09:26,320 Speaker 1: of really suffers for that. It's sort of held together 170 00:09:26,400 --> 00:09:29,959 Speaker 1: by duct tape and paper clips. But but but that 171 00:09:30,080 --> 00:09:32,240 Speaker 1: was all a tangent to say. There are some cases 172 00:09:32,240 --> 00:09:34,280 Speaker 1: where it feels like it can be really strong. Most 173 00:09:34,280 --> 00:09:36,560 Speaker 1: of the time, when your sequel has to undo the 174 00:09:36,600 --> 00:09:40,400 Speaker 1: previous film, it's just really irritating. How do you feel 175 00:09:40,480 --> 00:09:44,560 Speaker 1: about Halloween one Halloween two? Because Halloween One ends with 176 00:09:44,600 --> 00:09:47,360 Speaker 1: like Donald pleasants, is like, finally we have we have 177 00:09:47,480 --> 00:09:50,800 Speaker 1: killed him, and then Halloween two begins with oh wait, 178 00:09:50,840 --> 00:09:53,400 Speaker 1: my bad, I'm sorry I missed him, or it's not dead, 179 00:09:53,880 --> 00:09:58,000 Speaker 1: you know. I mean, Halloween two is not the worst 180 00:09:58,480 --> 00:10:01,360 Speaker 1: slasher movie and not the worst slasher sequel, Like it's 181 00:10:01,360 --> 00:10:06,040 Speaker 1: a pretty competently executed, uh slasher horror movie. But yeah, 182 00:10:06,160 --> 00:10:08,960 Speaker 1: it's it's totally unnecessary and it's quite clear that it 183 00:10:09,040 --> 00:10:11,559 Speaker 1: was just just kind of a cash grab. It's like 184 00:10:11,920 --> 00:10:14,040 Speaker 1: the first movie was really successful, we got to do 185 00:10:14,040 --> 00:10:16,640 Speaker 1: another one. I mean, I don't think it doesn't feel 186 00:10:16,679 --> 00:10:19,000 Speaker 1: it like Carpenter didn't even direct it. I think he 187 00:10:19,240 --> 00:10:23,280 Speaker 1: co wrote the screenplay if I'm not mistaken, But um, 188 00:10:23,320 --> 00:10:26,760 Speaker 1: I could be wrong about that. But whoever was all 189 00:10:26,760 --> 00:10:30,160 Speaker 1: the creative forces behind it. It is a competently made 190 00:10:30,360 --> 00:10:33,520 Speaker 1: horror movie, but their heart wasn't really in it. Yeah. 191 00:10:33,760 --> 00:10:36,680 Speaker 1: So yeah. The next thing about sequels is definitely the 192 00:10:36,720 --> 00:10:40,720 Speaker 1: rehash and redo area of sequel making. In it, in 193 00:10:40,760 --> 00:10:43,559 Speaker 1: its worst case, you have a like direct to video 194 00:10:43,640 --> 00:10:48,520 Speaker 1: cash in that is intentionally just completely um uh, lacking 195 00:10:48,559 --> 00:10:51,319 Speaker 1: of the originality of the first film. But you also 196 00:10:51,360 --> 00:10:53,800 Speaker 1: see this other, this, this reverse, and that's when you have, 197 00:10:53,840 --> 00:10:57,920 Speaker 1: particularly a lower budget or indie picture that does really well, 198 00:10:58,360 --> 00:11:02,280 Speaker 1: and then the sea will is a chance to essentially 199 00:11:02,320 --> 00:11:06,559 Speaker 1: redo it, hopefully with improvements to the budget, cast, script, etcetera. 200 00:11:06,880 --> 00:11:09,760 Speaker 1: I think prime examples of this would be Evil Dead 201 00:11:09,800 --> 00:11:13,880 Speaker 1: Too and Phantasm To, both of which benefited from larger 202 00:11:13,920 --> 00:11:17,640 Speaker 1: budgets and are both kinds of sequel slash remakes. I 203 00:11:17,679 --> 00:11:20,600 Speaker 1: know fans are porn on some of the issues regarding these, 204 00:11:20,600 --> 00:11:23,160 Speaker 1: and you know their their arguments about like what's better 205 00:11:23,160 --> 00:11:27,040 Speaker 1: Phantasm Wonder Phantasm Too? But undeniably these are cases where 206 00:11:27,040 --> 00:11:29,200 Speaker 1: the filmmakers got to go back and spend a lot 207 00:11:29,240 --> 00:11:33,120 Speaker 1: more money, maybe with a lot more um um. You know, 208 00:11:33,480 --> 00:11:36,600 Speaker 1: caveats attached to how they use that money, but still 209 00:11:37,360 --> 00:11:40,080 Speaker 1: they got to explore the same dream with more cash. 210 00:11:40,320 --> 00:11:42,240 Speaker 1: I don't know if the same is true Phantasm too, 211 00:11:42,240 --> 00:11:44,559 Speaker 1: because I haven't seen it, but certainly with Evil Dead too, 212 00:11:44,600 --> 00:11:47,480 Speaker 1: there's a big difference, not just in uh in budget 213 00:11:47,559 --> 00:11:49,640 Speaker 1: and not just in the resources they had to work with, 214 00:11:49,679 --> 00:11:51,600 Speaker 1: but in the tone of the movie. Whereas the first 215 00:11:51,640 --> 00:11:54,800 Speaker 1: Evil Dead movie is like a is like a dark, straight, 216 00:11:55,080 --> 00:11:59,600 Speaker 1: gross horror movie, the second one is a comedy essentially. Yeah, yeah, 217 00:11:59,600 --> 00:12:02,160 Speaker 1: so you get tweak the tone even in cases, and 218 00:12:02,200 --> 00:12:03,800 Speaker 1: then sometimes I can think it can it can have 219 00:12:03,880 --> 00:12:06,560 Speaker 1: great results. But now, how does this apply to transfers, 220 00:12:06,600 --> 00:12:08,720 Speaker 1: Because if I'm not mistaken, I think the first one 221 00:12:08,840 --> 00:12:12,559 Speaker 1: actually got a theatrical release and this one I don't know, 222 00:12:12,679 --> 00:12:16,439 Speaker 1: but it feels extremely straight to video. Yes, this one 223 00:12:16,480 --> 00:12:19,520 Speaker 1: was straight to video, unlike the previous one. I couldn't 224 00:12:19,520 --> 00:12:22,199 Speaker 1: find any information about the actual budget for transfers to 225 00:12:22,840 --> 00:12:27,040 Speaker 1: um so this one maybe cost as much, maybe cost more, 226 00:12:27,080 --> 00:12:29,240 Speaker 1: but I doubt it. I think it costs less. Um. 227 00:12:30,600 --> 00:12:33,680 Speaker 1: It's certainly made at least one key upgrade, and that's 228 00:12:33,679 --> 00:12:35,720 Speaker 1: in villain casting, which we'll get to in a bit. 229 00:12:35,800 --> 00:12:38,240 Speaker 1: But they largely rehatch the plot of the first one, 230 00:12:38,280 --> 00:12:43,320 Speaker 1: except with additional complications and additional characters. But I feel 231 00:12:43,360 --> 00:12:46,520 Speaker 1: like they brought almost everybody back, so, uh, you know, 232 00:12:46,600 --> 00:12:50,320 Speaker 1: it's kind of like a cast reunion to a certain extent. Okay, well, 233 00:12:50,360 --> 00:12:53,240 Speaker 1: so if you're about to re recap the first movie 234 00:12:53,280 --> 00:12:55,480 Speaker 1: for us, the first thing I've got to know is 235 00:12:55,520 --> 00:12:58,839 Speaker 1: it's called Transfers to the Return of Jack Death. Where 236 00:12:58,840 --> 00:13:01,959 Speaker 1: did he return from? Do you return from the future 237 00:13:02,040 --> 00:13:05,280 Speaker 1: to the past or from the past to the future. No, 238 00:13:05,559 --> 00:13:10,240 Speaker 1: he doesn't return from anywhere. He returns to your your 239 00:13:10,280 --> 00:13:15,880 Speaker 1: your your TV screen. Basically. That's because there's talk of 240 00:13:15,960 --> 00:13:18,000 Speaker 1: him returning to the future, but he does not return 241 00:13:18,000 --> 00:13:20,000 Speaker 1: to the future. He doesn't return to the future until 242 00:13:20,040 --> 00:13:22,680 Speaker 1: Transfers three. So it just literally could have been called 243 00:13:22,840 --> 00:13:28,040 Speaker 1: transfers to Jack Death is in another movie. Yeah, alright, 244 00:13:28,080 --> 00:13:32,760 Speaker 1: so previously on Transfers. Okay, So, Angel City of the 245 00:13:32,800 --> 00:13:35,520 Speaker 1: twenty third century. It has a lot of problems. Most 246 00:13:35,559 --> 00:13:38,760 Speaker 1: of Los Angeles is underwater and a psychic mastermind known 247 00:13:38,760 --> 00:13:41,880 Speaker 1: as Whistler, who uses his psychic powers to turn other 248 00:13:41,960 --> 00:13:46,160 Speaker 1: humans into transfers, zombie like thralls. Uh you know these 249 00:13:46,160 --> 00:13:49,760 Speaker 1: are these are psychically controlled sleeper agents who can be 250 00:13:49,800 --> 00:13:53,760 Speaker 1: triggered into a monstrous rampage. But luckily you have some 251 00:13:53,840 --> 00:13:57,600 Speaker 1: transfer hunters on the case and there's none more um 252 00:13:58,559 --> 00:14:02,360 Speaker 1: you know, excellent at at at singing transfers than old 253 00:14:02,440 --> 00:14:05,400 Speaker 1: Jack Death. Jack Death is sort of the Harley Stone 254 00:14:05,400 --> 00:14:09,360 Speaker 1: of transfers, so he's a pro had taken him out, 255 00:14:09,440 --> 00:14:13,520 Speaker 1: pro it's sending those transfers. Uh. Meanwhile, the police actually 256 00:14:13,600 --> 00:14:16,839 Speaker 1: have Whistler's body, They have the super bad guy's body, 257 00:14:16,840 --> 00:14:20,200 Speaker 1: but they don't have his mind because Whistler, we find out, 258 00:14:20,280 --> 00:14:23,840 Speaker 1: has used the time travel drug to send his consciousness 259 00:14:23,880 --> 00:14:28,960 Speaker 1: back in time to five, where his consciousness now inhabits 260 00:14:29,000 --> 00:14:33,600 Speaker 1: his ancestors body in his ancestor is a police detective. 261 00:14:33,640 --> 00:14:38,280 Speaker 1: So complications. Oh. Now, while in the past, Whistler hasn't 262 00:14:38,320 --> 00:14:41,200 Speaker 1: just been hiding, he's been hunting down and murdering the 263 00:14:41,320 --> 00:14:45,000 Speaker 1: ancestors of his key enemies in the future, members of 264 00:14:45,040 --> 00:14:48,400 Speaker 1: the ruling council of Angel City. So he's you know, 265 00:14:48,480 --> 00:14:51,880 Speaker 1: he's basically running a terminator game on his enemies here. 266 00:14:52,400 --> 00:14:55,440 Speaker 1: So Jack Death has been hired by the one remaining 267 00:14:55,880 --> 00:14:59,760 Speaker 1: UH member of the ruling Council to follow Whistler Quote 268 00:14:59,800 --> 00:15:03,240 Speaker 1: down on the Line down the timeline um by using 269 00:15:03,280 --> 00:15:07,000 Speaker 1: the time travel drug, and Jack Death's consciousness emerges in 270 00:15:07,160 --> 00:15:11,640 Speaker 1: his own nine five ancestors body a reporter in in 271 00:15:12,560 --> 00:15:17,120 Speaker 1: Los Angeles. But before he goes, he shoots whistlers Um 272 00:15:17,640 --> 00:15:21,200 Speaker 1: future body his commentos body dead before he goes. So 273 00:15:21,240 --> 00:15:22,640 Speaker 1: he's kind of like, I'll go get him, but I'm 274 00:15:22,680 --> 00:15:24,840 Speaker 1: not bringing him back alive. He's not coming back to 275 00:15:24,880 --> 00:15:28,320 Speaker 1: this body. Too dangerous to live, Okay. So where does 276 00:15:28,400 --> 00:15:31,000 Speaker 1: Helen hunt come in? She's kind of okay. Once in 277 00:15:31,000 --> 00:15:34,000 Speaker 1: the past he meets up with this punk girl named 278 00:15:34,080 --> 00:15:37,400 Speaker 1: Lena and that is Helen Hunt Um. And so she's 279 00:15:37,520 --> 00:15:39,680 Speaker 1: she's she's in it. She's gonna help him. She you know, 280 00:15:39,760 --> 00:15:43,640 Speaker 1: she gets her eyes are open to the time shenanigans 281 00:15:43,680 --> 00:15:45,840 Speaker 1: going on, so she's she's right there with him to 282 00:15:45,880 --> 00:15:48,440 Speaker 1: help him fight the battle. Uh, they fall in love, 283 00:15:48,560 --> 00:15:51,400 Speaker 1: et cetera, you know, as as one would expect, and 284 00:15:51,560 --> 00:15:55,000 Speaker 1: they hunt down the drunken, homeless former pro baseball player 285 00:15:55,080 --> 00:16:00,320 Speaker 1: hap Ashby who is the ancestor of the future ruler 286 00:16:00,520 --> 00:16:03,320 Speaker 1: who is in jeopardy. So in this quest, Death is 287 00:16:03,320 --> 00:16:06,040 Speaker 1: aided by some high tech equipment that is also sent 288 00:16:06,120 --> 00:16:09,520 Speaker 1: back through time and space to him, presumably via a 289 00:16:09,560 --> 00:16:12,000 Speaker 1: different time travel methods. So once you've had your consciousness 290 00:16:12,120 --> 00:16:15,440 Speaker 1: zipped back, they can send you a small box like 291 00:16:15,480 --> 00:16:17,720 Speaker 1: the size of a cigar box that has a few 292 00:16:17,920 --> 00:16:20,480 Speaker 1: uh um, you know, special tools that you can use. 293 00:16:21,200 --> 00:16:23,680 Speaker 1: Does this include the watch that allows you to stop 294 00:16:23,720 --> 00:16:27,120 Speaker 1: time for ten seconds? Yes, this includes the watch that 295 00:16:27,160 --> 00:16:29,280 Speaker 1: gives you a long second if you push a button. 296 00:16:29,400 --> 00:16:32,000 Speaker 1: The long second is just pausing time for a second, 297 00:16:32,080 --> 00:16:34,840 Speaker 1: letting you do some bullet time stuff. Um, but it's 298 00:16:34,840 --> 00:16:39,440 Speaker 1: incredibly useful. Yeah. But he also has um two doses 299 00:16:39,480 --> 00:16:42,600 Speaker 1: of a serum that he can use. If the serum 300 00:16:42,680 --> 00:16:46,640 Speaker 1: is injected into somebody who is um a consciousness from 301 00:16:46,640 --> 00:16:49,320 Speaker 1: the future occupying a body, then it will kick that 302 00:16:49,360 --> 00:16:52,000 Speaker 1: consciousness out and send it back to the future. So 303 00:16:52,080 --> 00:16:55,040 Speaker 1: these two doses, one is to allow Jack Death to 304 00:16:55,080 --> 00:16:57,760 Speaker 1: return to the future for his consciousness to leave his 305 00:16:57,800 --> 00:17:02,920 Speaker 1: ancestors body. The other dose is to send um Whistler 306 00:17:03,040 --> 00:17:05,560 Speaker 1: out of his ancestors body. But since Whistler is dead 307 00:17:05,600 --> 00:17:09,160 Speaker 1: in the future his he'll just go into oblivion. Okay, 308 00:17:09,200 --> 00:17:13,360 Speaker 1: all right. So he defeats Whistler, but he faces a problem. 309 00:17:13,400 --> 00:17:17,240 Speaker 1: Only one of the two consciousness booting doses survived the battle. 310 00:17:17,440 --> 00:17:19,800 Speaker 1: He can only inject one of them. He can kill 311 00:17:19,840 --> 00:17:23,600 Speaker 1: Whistler in the past uh and and use the one 312 00:17:23,640 --> 00:17:26,719 Speaker 1: dose to return himself, but that means killing the body 313 00:17:27,359 --> 00:17:29,520 Speaker 1: that Whistler in habits, which is an innocent man with 314 00:17:29,560 --> 00:17:33,320 Speaker 1: a family. So instead he ejects Whistler's consciousness into oblivion, 315 00:17:33,400 --> 00:17:38,960 Speaker 1: thus sparing Whistler's ancestor, and remains behind in to marry 316 00:17:39,040 --> 00:17:42,120 Speaker 1: Lena played by Helen Hunt and live in the twentieth 317 00:17:42,200 --> 00:17:46,240 Speaker 1: century happily ever after with after in the nineteen eighties 318 00:17:46,320 --> 00:17:52,160 Speaker 1: in southern California. Wow. Perfectly serviceable movie, but I think 319 00:17:52,200 --> 00:17:55,119 Speaker 1: in in some in some ways a better movie. But 320 00:17:55,280 --> 00:17:58,000 Speaker 1: ultimately I think Transfers two is more fun. I'm gonna 321 00:17:58,040 --> 00:18:01,760 Speaker 1: guess that Transfers To is significant funnier than the first movie. 322 00:18:02,240 --> 00:18:05,520 Speaker 1: Um yes, it definitely leans into the comedy a little 323 00:18:05,560 --> 00:18:10,679 Speaker 1: bit more without getting into like full blown um you know, 324 00:18:10,840 --> 00:18:13,040 Speaker 1: um yuck a minute mode that you kind of see 325 00:18:13,040 --> 00:18:16,600 Speaker 1: in the later full uh, full Moon Pictures releases, and 326 00:18:16,640 --> 00:18:17,960 Speaker 1: we'll get into some of that in a in a 327 00:18:18,000 --> 00:18:21,159 Speaker 1: bit here. Um, But transfers one did have a few laughs, 328 00:18:21,320 --> 00:18:24,320 Speaker 1: and I'll mention one or two of them as we go. Okay, 329 00:18:24,359 --> 00:18:27,480 Speaker 1: so that's the previous movie. Well, what's the elevator pitch 330 00:18:27,520 --> 00:18:30,880 Speaker 1: on the second movie? Jack Death is back, Baby, Jack 331 00:18:30,960 --> 00:18:34,639 Speaker 1: Death all over again. Yeah, I was trying to think. Okay, 332 00:18:34,800 --> 00:18:37,560 Speaker 1: I've got an old pitch on the second movie, which 333 00:18:37,640 --> 00:18:42,000 Speaker 1: is that, due to unforeseen transfers, Jack Death realizes that, oh, 334 00:18:42,040 --> 00:18:44,640 Speaker 1: he had another wife in the future that he forgot 335 00:18:44,640 --> 00:18:47,280 Speaker 1: to tell Helen Hunt about, and now she's back in 336 00:18:47,320 --> 00:18:49,560 Speaker 1: the past and and so now he's faced with the 337 00:18:49,600 --> 00:18:52,399 Speaker 1: dilemma must he choose between them? Or can he marry 338 00:18:52,440 --> 00:18:56,080 Speaker 1: both women? Let's hear that trader audio. My name is 339 00:18:56,160 --> 00:18:59,640 Speaker 1: Jack Death. I'm a transfer hunted from the century. It's 340 00:18:59,640 --> 00:19:01,480 Speaker 1: been so even years since I went down the line 341 00:19:01,520 --> 00:19:05,399 Speaker 1: old California. Life's been good. I thought i'd send my 342 00:19:05,480 --> 00:19:18,480 Speaker 1: last transfer, but nothing lasts forever. Jack transfers to the 343 00:19:18,560 --> 00:19:22,520 Speaker 1: return of Jack Death. Jack must be getting to you. 344 00:19:23,920 --> 00:19:27,840 Speaker 1: You have no idea. I actually haven't listened to this, 345 00:19:27,960 --> 00:19:30,760 Speaker 1: but I imagine there's a really good in a world 346 00:19:30,880 --> 00:19:34,600 Speaker 1: narrator in it. Uh yeah, the trailer. I actually don't 347 00:19:34,640 --> 00:19:37,040 Speaker 1: advise watching the trailer in full because the one that 348 00:19:37,160 --> 00:19:40,480 Speaker 1: the official one that's uploaded by full moon's like three 349 00:19:40,480 --> 00:19:44,000 Speaker 1: minutes long and is basically a summary of the entire film. 350 00:19:44,000 --> 00:19:46,600 Speaker 1: It shows you everything, and you know, it's like, not 351 00:19:46,680 --> 00:19:48,919 Speaker 1: that spoiler is going to ruin your enjoyment of Transfers too, 352 00:19:49,040 --> 00:19:51,639 Speaker 1: But you know, I think it's it's worth going into 353 00:19:51,680 --> 00:19:53,960 Speaker 1: fresh Oh wait a minute, then, then should people not 354 00:19:54,040 --> 00:19:56,520 Speaker 1: listen to this episode before they watch? Oh no, they 355 00:19:56,520 --> 00:19:59,280 Speaker 1: can do that, that's right. I mean, I think everybody 356 00:19:59,280 --> 00:20:01,360 Speaker 1: who's been into weird ol cinema you know the deal. 357 00:20:01,640 --> 00:20:04,680 Speaker 1: We're gonna you know, we're gonna talk loosely about the movie. 358 00:20:04,720 --> 00:20:06,640 Speaker 1: We're gonna talk about the people in it, and then 359 00:20:06,680 --> 00:20:08,600 Speaker 1: we'll get more into the plot. So if you need 360 00:20:08,640 --> 00:20:11,000 Speaker 1: to jump out halfway through, you know where to jump 361 00:20:11,040 --> 00:20:12,600 Speaker 1: out at. Um, you know, if you need to go 362 00:20:12,640 --> 00:20:15,240 Speaker 1: watch the movie and you want, you don't want any spoilers, 363 00:20:15,320 --> 00:20:18,439 Speaker 1: otherwise we're gonna spoil pretty much everything. Well, I I 364 00:20:18,520 --> 00:20:20,800 Speaker 1: greatly enjoyed Transfers too, but I would not say the 365 00:20:20,880 --> 00:20:25,280 Speaker 1: lot was hanging on the outcome of the plot. For me, Yeah, 366 00:20:25,359 --> 00:20:28,479 Speaker 1: it's pretty predictable, you know what's gonna happen. Alright, So 367 00:20:28,520 --> 00:20:32,160 Speaker 1: who made this thing? Well, Charles Band, of course. Um, 368 00:20:32,200 --> 00:20:35,480 Speaker 1: he's the director. He has an original story credit on this, 369 00:20:36,119 --> 00:20:39,560 Speaker 1: uh born n one. We've discussed his bio before, but 370 00:20:39,560 --> 00:20:44,080 Speaker 1: but briefly, he's the man behind Empire International Pictures and 371 00:20:44,119 --> 00:20:47,120 Speaker 1: then Full Moon Features, and he directed some some really 372 00:20:47,119 --> 00:20:49,720 Speaker 1: awesome eighties and nineties sci fi and horror films, you know, 373 00:20:49,760 --> 00:20:53,720 Speaker 1: lower budget, fair for sure, before going increasingly in the 374 00:20:53,760 --> 00:20:58,280 Speaker 1: Evil Balling, Ginger dead Man direction. Um, this is I 375 00:20:58,280 --> 00:21:01,920 Speaker 1: believe our third Charles Band auction, but our first film 376 00:21:01,960 --> 00:21:04,560 Speaker 1: that he actually directed. What were the other two was 377 00:21:04,680 --> 00:21:07,600 Speaker 1: what he was a producer on, Robot Jocks, right, Robot 378 00:21:07,720 --> 00:21:11,400 Speaker 1: Jocks and Arena, two absolutely glorious films, and I think 379 00:21:11,440 --> 00:21:14,440 Speaker 1: there's a Robot Jocks tie in later on here. Yeah. Yeah, 380 00:21:14,720 --> 00:21:18,080 Speaker 1: So he has sixty eight directorial credits, and I'd say most, 381 00:21:18,560 --> 00:21:21,000 Speaker 1: if not all, of it from recent decades is certainly 382 00:21:21,040 --> 00:21:24,000 Speaker 1: of the Evil ball Sword. But this movie is from 383 00:21:24,040 --> 00:21:26,560 Speaker 1: the era in which Band was still making films that 384 00:21:26,720 --> 00:21:29,919 Speaker 1: seemed to aim to be more genre action entertainment without 385 00:21:29,960 --> 00:21:34,399 Speaker 1: just being you know, abject horror comedy and so forth. 386 00:21:34,680 --> 00:21:39,680 Speaker 1: I'm talking stuff like two, Parasite, which starred Jimmy Moore, Um, 387 00:21:40,080 --> 00:21:43,560 Speaker 1: metal Storm, The Destruction of Jared sin from three, which 388 00:21:43,960 --> 00:21:46,080 Speaker 1: which I really enjoyed. That's a that's a fun sort 389 00:21:46,080 --> 00:21:52,640 Speaker 1: of otherworldly post apocalyptic mash up thing. Doctor Mordred which 390 00:21:52,680 --> 00:21:56,120 Speaker 1: is kind of a Doctor Strange picture before we had 391 00:21:56,119 --> 00:22:00,240 Speaker 1: a Doctor Strange picture. And these films were not local 392 00:22:00,320 --> 00:22:03,040 Speaker 1: hits by any means um. I I assume they made 393 00:22:03,400 --> 00:22:06,719 Speaker 1: money of some sort um since things kept going, But 394 00:22:06,960 --> 00:22:08,959 Speaker 1: you know, many of them developed a following, and as 395 00:22:09,000 --> 00:22:11,760 Speaker 1: a producer, band played a role in bringing a lot 396 00:22:11,760 --> 00:22:14,040 Speaker 1: of weird shlock to the screen, and I think like 397 00:22:14,119 --> 00:22:16,560 Speaker 1: ultimately as a producer is where he has the most 398 00:22:16,720 --> 00:22:19,000 Speaker 1: endearing value. Uh. You know, there's a there's a lot 399 00:22:19,000 --> 00:22:22,320 Speaker 1: of fun stuff going on in the the Empire, uh Pictures, 400 00:22:22,400 --> 00:22:25,400 Speaker 1: Days as Weth, the Early Full Moon Days and and 401 00:22:25,440 --> 00:22:27,399 Speaker 1: even though the evil bolling stuff is not for me, 402 00:22:28,040 --> 00:22:30,240 Speaker 1: I recognize that that too seems to have its following, 403 00:22:30,280 --> 00:22:32,240 Speaker 1: So fair enough. Yeah, I think we're on the same 404 00:22:32,280 --> 00:22:36,480 Speaker 1: page here. Like I love a good funny b horror movie, 405 00:22:36,600 --> 00:22:40,040 Speaker 1: but ones that lean too hard on that intentionally that 406 00:22:40,160 --> 00:22:43,040 Speaker 1: try to be too funny. Uh. At a certain point 407 00:22:43,080 --> 00:22:45,480 Speaker 1: that kind of step over the line of intentionality and 408 00:22:45,520 --> 00:22:50,240 Speaker 1: the silver loses its luster. Yeah, or or it certainly 409 00:22:50,280 --> 00:22:54,600 Speaker 1: becomes harder to achieve, you know, perfection. Uh. You know, 410 00:22:54,640 --> 00:22:56,399 Speaker 1: I can. I can think of some horror comedies that 411 00:22:56,440 --> 00:22:58,879 Speaker 1: are really good. Uh, and we'll probably mention one in 412 00:22:58,880 --> 00:23:01,639 Speaker 1: a bit that I'm rather fond but uh, yeah, I 413 00:23:01,680 --> 00:23:04,479 Speaker 1: feel like it's just harder and harder to do, whereas 414 00:23:04,520 --> 00:23:07,560 Speaker 1: the sweet Spot is trying to It's trying and maybe 415 00:23:07,600 --> 00:23:12,200 Speaker 1: not fully succeeding in making a serious horror sci fi film. 416 00:23:12,240 --> 00:23:15,040 Speaker 1: So one of the most hilarious things of our entire 417 00:23:15,080 --> 00:23:17,960 Speaker 1: Transfers journey. Last night, Rachel and I watched Transfers to 418 00:23:18,240 --> 00:23:20,919 Speaker 1: the Return of Jack Death, but also ended up researching 419 00:23:20,960 --> 00:23:24,359 Speaker 1: other Transfers movies throughout the evening. So, of course, you 420 00:23:24,400 --> 00:23:27,520 Speaker 1: had Transfers in nineteen eighty four, and then you had 421 00:23:27,520 --> 00:23:30,080 Speaker 1: Transfers to the Return of Jack Death. This was nineteen 422 00:23:30,160 --> 00:23:32,879 Speaker 1: nine one, which, as we've talked about on the show before, 423 00:23:33,359 --> 00:23:38,880 Speaker 1: nine is maybe the most eighties year that ever happened. Um, 424 00:23:38,920 --> 00:23:42,040 Speaker 1: But it doesn't stop there. You've got Transfers three Death 425 00:23:42,160 --> 00:23:46,480 Speaker 1: Lives in nineteen ninety two, Transfers four, Jack of Swords 426 00:23:46,520 --> 00:23:50,200 Speaker 1: in ninety four, Transfers five Sudden Death d E T 427 00:23:50,440 --> 00:23:53,399 Speaker 1: H again in ninety four, and then Transfer six and 428 00:23:53,400 --> 00:23:57,040 Speaker 1: Transfer six does not have a subtitle. It really should have. 429 00:23:57,800 --> 00:23:59,920 Speaker 1: I think they should have kept going with the play 430 00:24:00,040 --> 00:24:01,760 Speaker 1: on the word death, so it could have been Transfer 431 00:24:01,800 --> 00:24:04,919 Speaker 1: six Death by Misadventure. I don't know, there's a lot 432 00:24:04,920 --> 00:24:08,400 Speaker 1: of stuff you could do. Yeah, I haven't seen Transfers 433 00:24:08,440 --> 00:24:10,400 Speaker 1: three yet, but I want to actually have a queued 434 00:24:10,480 --> 00:24:13,679 Speaker 1: up because I think I'm I'm on board for that one. Um. 435 00:24:13,800 --> 00:24:16,159 Speaker 1: I'm less thrilled about the idea of Transfers four and 436 00:24:16,240 --> 00:24:18,960 Speaker 1: five because I understand those are a kind of notoriously 437 00:24:19,000 --> 00:24:21,760 Speaker 1: bad ones. One was I think filmed in East European 438 00:24:21,800 --> 00:24:24,439 Speaker 1: castle and some of the people involved in that one 439 00:24:24,480 --> 00:24:26,640 Speaker 1: we're paid in money that couldn't leave the country if 440 00:24:26,720 --> 00:24:29,879 Speaker 1: it's read correctly. And the other is a Western, so 441 00:24:29,920 --> 00:24:33,720 Speaker 1: we have like medieval transfers, Old West transfers, and then 442 00:24:33,720 --> 00:24:36,680 Speaker 1: Transfer six is um is it doesn't even have Jack 443 00:24:36,760 --> 00:24:38,840 Speaker 1: Death in it. Well, it's got an old Western So 444 00:24:38,880 --> 00:24:40,760 Speaker 1: this is like going in the same arc as the 445 00:24:40,800 --> 00:24:44,800 Speaker 1: Tremors sequels, Trimmers and transfers are kind of running parallel. Yeah, 446 00:24:44,800 --> 00:24:47,000 Speaker 1: I mean, they couldn't really do transfers in space because 447 00:24:47,040 --> 00:24:49,439 Speaker 1: it's already sort of lot. I don't know. Maybe they 448 00:24:49,440 --> 00:24:52,040 Speaker 1: could do transfers in space and that would explain the 449 00:24:52,080 --> 00:24:54,880 Speaker 1: galaxy inside his coat. That would maybe they go into 450 00:24:54,880 --> 00:24:56,159 Speaker 1: space in three. I don't know, Like I say, I 451 00:24:56,160 --> 00:24:58,320 Speaker 1: haven't seen three yet. One thing, I was really surprised 452 00:24:58,359 --> 00:25:00,840 Speaker 1: by transfers four and five, of which you're the ones 453 00:25:00,920 --> 00:25:04,480 Speaker 1: you're saying are notoriously awful. We're both apparently directed by 454 00:25:04,600 --> 00:25:08,040 Speaker 1: David Nutter, who does tons of high profile TV work, 455 00:25:08,359 --> 00:25:11,480 Speaker 1: including directing many Game of Thrones episodes that are some 456 00:25:11,520 --> 00:25:13,240 Speaker 1: of the most memorable ones. I think he did the 457 00:25:13,280 --> 00:25:15,960 Speaker 1: Red Wedding episode, and he did a bunch of X 458 00:25:16,000 --> 00:25:18,440 Speaker 1: Files episodes that are like really well remembered. I think 459 00:25:18,440 --> 00:25:21,960 Speaker 1: he directed Clyde Bruckman's Final Repose. Yeah, he's a trusted 460 00:25:22,000 --> 00:25:26,600 Speaker 1: hand in um in in TV and presumably film direction 461 00:25:26,640 --> 00:25:29,359 Speaker 1: as well. But I mean, yeah, these these productions like 462 00:25:29,440 --> 00:25:32,920 Speaker 1: Game of Thrones are essentially film productions. Charles band or 463 00:25:32,920 --> 00:25:35,280 Speaker 1: whoever owns this now, if you're looking for some amateur 464 00:25:35,280 --> 00:25:39,040 Speaker 1: filmmakers to make transfers seven Death by Misadventure. I think, hey, 465 00:25:39,119 --> 00:25:42,280 Speaker 1: we're your people. Get in touch now. The writers on 466 00:25:42,320 --> 00:25:44,760 Speaker 1: this one. I should point out that Danny Bilson and 467 00:25:44,800 --> 00:25:47,560 Speaker 1: Paul Demo wrote the first one. These are also the 468 00:25:47,600 --> 00:25:50,600 Speaker 1: guys who wrote Arena. We mentioned them briefly in that 469 00:25:50,640 --> 00:25:53,919 Speaker 1: episode of Weird howse Cinema. Uh. Danny Bilson went on 470 00:25:54,000 --> 00:25:57,600 Speaker 1: to write screenplays for The Rocketeer and to Five Bloods, 471 00:25:57,640 --> 00:26:00,440 Speaker 1: which came out in what just last year I think 472 00:26:00,920 --> 00:26:03,360 Speaker 1: uh and uh, and I think was was pretty acclaimed. 473 00:26:03,359 --> 00:26:07,200 Speaker 1: That's a Spike Lee film. Um. And then the writers 474 00:26:07,240 --> 00:26:11,760 Speaker 1: on this picture. The screenwriter is accredited as Jackson Burr. Uh. 475 00:26:11,880 --> 00:26:13,680 Speaker 1: Not a lot of information on him, but he was 476 00:26:13,720 --> 00:26:17,359 Speaker 1: active from Nino, did a number of screenplays for Full 477 00:26:17,400 --> 00:26:20,520 Speaker 1: Moon and some other B movies. Most notably he did 478 00:26:20,520 --> 00:26:23,959 Speaker 1: the screenplay for the Full Moon feature Subspecies. All Right, 479 00:26:24,000 --> 00:26:26,000 Speaker 1: I think we got to get into the cast because 480 00:26:26,040 --> 00:26:29,960 Speaker 1: we've said the phrase Jack Death probably thirty five times already. 481 00:26:30,720 --> 00:26:34,399 Speaker 1: Who plays Jack Death? Well, this is a glorious chuck 482 00:26:34,520 --> 00:26:39,520 Speaker 1: roast of a man named Tim Thomerson. Yes, Tim Thomerson, 483 00:26:39,560 --> 00:26:41,680 Speaker 1: who I think it's safe to say is a B 484 00:26:41,880 --> 00:26:45,239 Speaker 1: movie icon of sorts. Um, he's he's he's still very 485 00:26:45,320 --> 00:26:49,199 Speaker 1: much around, still active, born ninety six. Uh. I was 486 00:26:49,200 --> 00:26:51,320 Speaker 1: looking him up because I hadn't really researched him before this. 487 00:26:51,400 --> 00:26:53,520 Speaker 1: I just knew that he was in some Full Moon 488 00:26:53,640 --> 00:26:57,320 Speaker 1: pictures and you know, that was kind of that as 489 00:26:57,359 --> 00:26:59,200 Speaker 1: far as I knew, that was where he emerged from. 490 00:26:59,240 --> 00:27:02,320 Speaker 1: But he actually started out as a stand up comic 491 00:27:02,760 --> 00:27:05,359 Speaker 1: and was quite successful at it in the late seventies 492 00:27:05,400 --> 00:27:07,399 Speaker 1: and very early eighties. I mean, he was showing up 493 00:27:07,400 --> 00:27:10,200 Speaker 1: on late night talk shows and so forth. Yeah, you 494 00:27:10,200 --> 00:27:12,480 Speaker 1: you shared a bit that you found on YouTube. I mean, 495 00:27:12,560 --> 00:27:14,800 Speaker 1: a lot of seventies and eighties stand up comedy, I 496 00:27:14,840 --> 00:27:17,320 Speaker 1: feel like it's like there's the really good stuff, and 497 00:27:17,359 --> 00:27:21,879 Speaker 1: that's really good, and then almost everything else is just drek. Uh. 498 00:27:21,920 --> 00:27:24,280 Speaker 1: And I mean, I can't say that the video you 499 00:27:24,320 --> 00:27:27,240 Speaker 1: shared was amazing, but maybe it was a little bit 500 00:27:27,280 --> 00:27:30,840 Speaker 1: better than Drek. Yeah. Yeah, I'm I'm I'm just ready 501 00:27:30,880 --> 00:27:32,680 Speaker 1: for the worst when I look at pretty much any 502 00:27:32,680 --> 00:27:36,320 Speaker 1: stand up comedy, but especially stand up comedy from from 503 00:27:36,400 --> 00:27:40,320 Speaker 1: from years past, and for the most part, it seems 504 00:27:40,359 --> 00:27:43,800 Speaker 1: like he had kind of a zany seventies guy, kind 505 00:27:43,800 --> 00:27:46,680 Speaker 1: of vibe. He had a big bushy mustache and did 506 00:27:46,760 --> 00:27:49,760 Speaker 1: some sort of like um, something like post stoner kind 507 00:27:49,760 --> 00:27:53,760 Speaker 1: of humor, kind of a water down Robin Williams vibe 508 00:27:53,760 --> 00:27:56,440 Speaker 1: as well. Like imagine a toned down Robin Williams who 509 00:27:56,480 --> 00:28:00,359 Speaker 1: lifts Yeah, I would say, uh, surfer guy Robin Williams 510 00:28:00,400 --> 00:28:03,040 Speaker 1: who does a lot of mouth sound effects and occasionally 511 00:28:03,160 --> 00:28:06,240 Speaker 1: uses props. Yeah, so ends up. He has kind of 512 00:28:06,240 --> 00:28:09,760 Speaker 1: a zany entertainment origin, especially when you compare it to 513 00:28:10,119 --> 00:28:12,960 Speaker 1: stuff like his role as Jack Death, who certainly has 514 00:28:13,000 --> 00:28:15,119 Speaker 1: some comedic corners to it, and you see some of 515 00:28:15,160 --> 00:28:18,040 Speaker 1: that comedic energy bleed through in his performance here. But 516 00:28:18,119 --> 00:28:21,560 Speaker 1: for the most part, it's kind of a noir esque, 517 00:28:21,880 --> 00:28:25,119 Speaker 1: hardened detective kind of a role, you know, and he 518 00:28:25,119 --> 00:28:26,600 Speaker 1: has the he has the face for it. He's, you know, 519 00:28:26,680 --> 00:28:30,080 Speaker 1: ruggedly handsome kind of guy. Oh exactly. I chose my 520 00:28:30,200 --> 00:28:32,720 Speaker 1: Chuck Roast phrase very carefully because I think that's sort 521 00:28:32,760 --> 00:28:39,600 Speaker 1: of community. He's very ruggedly handsome, classically meaty noir guy, 522 00:28:39,720 --> 00:28:44,360 Speaker 1: but with an extra little twist of absurdity. I was 523 00:28:44,440 --> 00:28:47,720 Speaker 1: kind of surprised, though, like he has this very um, 524 00:28:47,800 --> 00:28:49,959 Speaker 1: you know, I don't know, like he he has like 525 00:28:50,320 --> 00:28:53,200 Speaker 1: blondish whitish hair in this and he has his very like, 526 00:28:53,320 --> 00:28:56,560 Speaker 1: very rugged features. And I looked it up. Did you 527 00:28:56,600 --> 00:28:58,920 Speaker 1: see how old he was when they filmed this Transfers 528 00:28:58,960 --> 00:29:01,719 Speaker 1: to And he's four five, so he's he's just three 529 00:29:01,800 --> 00:29:04,240 Speaker 1: years older in this film than I am right now. 530 00:29:04,640 --> 00:29:06,720 Speaker 1: So uh, And he was, but he was thirty eight 531 00:29:06,720 --> 00:29:08,400 Speaker 1: and the first Transfers and in that I would have 532 00:29:08,400 --> 00:29:10,440 Speaker 1: assumed that he was like in his late forties. So yeah, 533 00:29:10,440 --> 00:29:13,560 Speaker 1: I think he was had a very cured look about him. Yeah. 534 00:29:13,600 --> 00:29:16,520 Speaker 1: He he has a face that speaks of much tobacco 535 00:29:16,680 --> 00:29:21,400 Speaker 1: and beach. Yes, they're very very sun dried. Uh So 536 00:29:21,760 --> 00:29:24,800 Speaker 1: his career trarectory again stand up comedy. But then he 537 00:29:24,800 --> 00:29:26,520 Speaker 1: was doing a lot of TV work, popping up on 538 00:29:26,560 --> 00:29:29,959 Speaker 1: stuff like Lavernon Shirley Um. And then he did a 539 00:29:29,960 --> 00:29:33,720 Speaker 1: little film in three called metal Storm that directed the 540 00:29:33,760 --> 00:29:37,440 Speaker 1: Destruction of Jaredson, that was directed by Charles Band And 541 00:29:37,480 --> 00:29:40,120 Speaker 1: so the following year he did the first Transfers film. Okay, 542 00:29:40,120 --> 00:29:41,880 Speaker 1: well you've mentioned this a couple of times now, and 543 00:29:41,920 --> 00:29:44,040 Speaker 1: I hear the elation in your voice, So maybe maybe 544 00:29:44,080 --> 00:29:46,880 Speaker 1: I gotta watch metal Storm. Uh yeah, I need to 545 00:29:46,880 --> 00:29:49,360 Speaker 1: watch it again. But I remember it being fun. But yeah, 546 00:29:49,400 --> 00:29:51,240 Speaker 1: but the thing is once you're once you go to 547 00:29:51,280 --> 00:29:55,360 Speaker 1: band camp. Uh you're in band camp. Uh. So yeah. 548 00:29:55,440 --> 00:29:58,200 Speaker 1: So he did Transfers and then the other Transfer films, 549 00:29:58,440 --> 00:30:01,160 Speaker 1: with the exception of the sixth one. He also started 550 00:30:01,160 --> 00:30:03,920 Speaker 1: as Dollman. In the Dollman films, he played this character 551 00:30:03,960 --> 00:30:07,200 Speaker 1: brick Bardo, who's like, it's like a miniaturized human gimmick. 552 00:30:07,200 --> 00:30:09,840 Speaker 1: I haven't actually seen any of those, but they were 553 00:30:10,120 --> 00:30:13,360 Speaker 1: apparently successful enough in the Full Moon universe to do 554 00:30:13,440 --> 00:30:17,800 Speaker 1: stuff like doll Man versus Demonic Toys. Um don't they have. 555 00:30:18,200 --> 00:30:21,440 Speaker 1: They've had different franchises that are all about killer toys. 556 00:30:21,520 --> 00:30:25,720 Speaker 1: They've got puppet Master, Demonic Toys, Dollman. Am I missing 557 00:30:25,720 --> 00:30:29,280 Speaker 1: some others? Killer g I Joe's I think technically when 558 00:30:29,280 --> 00:30:31,200 Speaker 1: you get into like the Ginger dead Man stuff, like 559 00:30:31,240 --> 00:30:34,040 Speaker 1: Ginger dead Man is like a small gingerbread cookie that 560 00:30:34,560 --> 00:30:39,560 Speaker 1: it kills people consistency. But he was. He was also 561 00:30:39,560 --> 00:30:42,400 Speaker 1: in some other stuff. He was in Zone Trooper's Nemesis, 562 00:30:42,440 --> 00:30:45,560 Speaker 1: Iron Eagle Cherry two thousand, which is a good one. 563 00:30:45,880 --> 00:30:49,640 Speaker 1: He's also in Near Dark, the excellent vampire film from 564 00:30:49,960 --> 00:30:53,240 Speaker 1: Katherine Bigelow with Lance Henrickson in it, and uh and 565 00:30:53,320 --> 00:30:55,960 Speaker 1: Bill Paxton among others. Yeah, that's one of the best 566 00:30:56,000 --> 00:30:58,480 Speaker 1: vampire movies ever. I think he plays a dad in that. 567 00:30:58,560 --> 00:31:01,840 Speaker 1: I don't really remember Tim Thomerson in it. Yeah, the 568 00:31:01,880 --> 00:31:05,760 Speaker 1: main character's dad maybe. Yeah. So Rachel and I were 569 00:31:05,760 --> 00:31:09,880 Speaker 1: discussing a theory last night that Tim Thomerson edits Wikipedia 570 00:31:09,920 --> 00:31:12,720 Speaker 1: because we were drilling into the wikies for like to 571 00:31:12,760 --> 00:31:15,080 Speaker 1: see what was going on with the Deep Transfer sequels 572 00:31:15,520 --> 00:31:18,479 Speaker 1: after we finished the movie and I we came across 573 00:31:18,520 --> 00:31:22,920 Speaker 1: some hilarious unsourced claims, like on the wiki for Transfer six, which, 574 00:31:22,920 --> 00:31:25,080 Speaker 1: by the way, it doesn't have a subtitle, but the 575 00:31:26,080 --> 00:31:30,440 Speaker 1: tagline on the poster is same attitude, different sex. So 576 00:31:30,480 --> 00:31:33,160 Speaker 1: I think it's that Jack death this time comes back 577 00:31:33,160 --> 00:31:36,360 Speaker 1: and inhabits the body of an ancestor who was female. Yes, 578 00:31:36,640 --> 00:31:38,800 Speaker 1: in fact, I could be wrong, but it might be 579 00:31:38,880 --> 00:31:43,160 Speaker 1: his own daughter. I'm not sure what would that makes sense? 580 00:31:43,440 --> 00:31:46,360 Speaker 1: It would still be his future of Okay, would still 581 00:31:46,360 --> 00:31:48,600 Speaker 1: be his I did. Don't Yeah, don't try and make 582 00:31:49,600 --> 00:31:53,360 Speaker 1: in these movies work. It'll just it'll just hurt your brain. Stop. Okay, 583 00:31:53,440 --> 00:31:56,840 Speaker 1: But anyway, you get to the reception section of the wiki, 584 00:31:56,920 --> 00:31:59,920 Speaker 1: for Transfer six. It has one sentence and the reception 585 00:32:00,040 --> 00:32:03,520 Speaker 1: section reads. Reception for the film has been overall negative, 586 00:32:03,640 --> 00:32:06,560 Speaker 1: mainly due to the lack of Tim Thomerson. And I 587 00:32:06,640 --> 00:32:09,640 Speaker 1: thought about that scene in The Simpsons where we're Homer's 588 00:32:09,720 --> 00:32:12,760 Speaker 1: reading the list of suggestions to Roger Meyer, and he's like, 589 00:32:12,800 --> 00:32:15,640 Speaker 1: whenever Pucci is not on screen, all the other characters 590 00:32:15,640 --> 00:32:22,840 Speaker 1: should be asking where's Pucci. Where's Thomason? Yeah, he is 591 00:32:22,880 --> 00:32:25,560 Speaker 1: the center of this these pictures, it's hard to imagine 592 00:32:25,560 --> 00:32:35,680 Speaker 1: one with that. Oh, but we gotta get to the 593 00:32:35,680 --> 00:32:38,440 Speaker 1: real star power here. We've got a couple of stars 594 00:32:38,440 --> 00:32:40,640 Speaker 1: in the sky of transfers To. One is Richard Lynch, 595 00:32:40,760 --> 00:32:43,920 Speaker 1: the other is Helen Hunt. This is this Academy Award 596 00:32:43,920 --> 00:32:48,720 Speaker 1: winning actress. That's right, the Helen Hunt born three, very 597 00:32:48,800 --> 00:32:51,480 Speaker 1: much active today, plays Lena Death in this because she's 598 00:32:51,560 --> 00:32:55,280 Speaker 1: married to Jack Death. Point um. Now, now, don't worry 599 00:32:55,280 --> 00:32:58,600 Speaker 1: Helen Hunt Hunt fans. This was several years before her 600 00:32:58,640 --> 00:33:01,320 Speaker 1: award winning role in His Good as It Gets. Her 601 00:33:01,360 --> 00:33:04,960 Speaker 1: career hadn't quite taken off yet. Uh for at the 602 00:33:05,000 --> 00:33:08,240 Speaker 1: time of transfers To, she had just done additional voices 603 00:33:08,280 --> 00:33:11,640 Speaker 1: on Captain Planet Um and afterwards, she was in a 604 00:33:11,720 --> 00:33:15,200 Speaker 1: really weird supernatural western with Bruce Dern called Into the 605 00:33:15,240 --> 00:33:18,000 Speaker 1: bad Lands, which I remember being good. I saw it 606 00:33:18,000 --> 00:33:20,000 Speaker 1: when I was a kid, but I remember liking that. 607 00:33:20,240 --> 00:33:22,960 Speaker 1: But uh, yeah, she hadn't hadn't quite taken off yet, 608 00:33:23,000 --> 00:33:27,160 Speaker 1: she'd even she'd come back for Transfers three. But shortly 609 00:33:27,200 --> 00:33:29,320 Speaker 1: after that, I think she had moved beyond the orbit 610 00:33:29,360 --> 00:33:32,320 Speaker 1: of full moon and uh was onto bigger and brighter things. 611 00:33:32,800 --> 00:33:36,080 Speaker 1: So Helen Hunt in this movie plays Jack Death's wife 612 00:33:36,280 --> 00:33:39,160 Speaker 1: in the past, who is going to come into conflict 613 00:33:39,160 --> 00:33:44,040 Speaker 1: when his wife from the future comes back to the past. Uh. 614 00:33:44,080 --> 00:33:47,680 Speaker 1: And Helen Hunt is an exceptionally good actress, and this 615 00:33:47,800 --> 00:33:51,400 Speaker 1: is in many ways an exceptionally poorly written role, which 616 00:33:51,480 --> 00:33:54,640 Speaker 1: is always a really enjoyable collision of forces when you 617 00:33:54,680 --> 00:33:58,640 Speaker 1: have like a great actor saying ridiculous lines. And some 618 00:33:58,680 --> 00:34:00,840 Speaker 1: of my favorite parts of this movie where the scenes 619 00:34:00,840 --> 00:34:04,719 Speaker 1: where Helen Hunt is just rattling off paragraph long lines 620 00:34:04,760 --> 00:34:08,759 Speaker 1: about the mechanics of time travel and complaining about the 621 00:34:08,760 --> 00:34:11,320 Speaker 1: fact that he has another wife that she didn't know about. 622 00:34:12,160 --> 00:34:14,000 Speaker 1: So that's one of the real chef kiss things in 623 00:34:14,040 --> 00:34:16,440 Speaker 1: this movie. And and it's also different because she's a 624 00:34:16,560 --> 00:34:20,480 Speaker 1: very down to earth good actor, unlike there are other 625 00:34:20,520 --> 00:34:23,160 Speaker 1: actors like who could be really great. But also we're 626 00:34:23,160 --> 00:34:25,960 Speaker 1: in lots of B movies delivering ridiculous lines like you know, 627 00:34:26,000 --> 00:34:29,200 Speaker 1: I think Donald pleasants, but somehow Donald Pleasants I think 628 00:34:29,320 --> 00:34:33,759 Speaker 1: fits more into the B movie world when he's in it. Uh. Here, 629 00:34:33,840 --> 00:34:37,800 Speaker 1: it's just somebody who's clearly got like more screen presence 630 00:34:37,840 --> 00:34:41,359 Speaker 1: than than this movie demands doing these lines that are 631 00:34:41,400 --> 00:34:44,959 Speaker 1: absolutely absurd, but but doing them, you know, doing the job. 632 00:34:46,480 --> 00:34:49,560 Speaker 1: But also, oh my god, her costuming in this movie. 633 00:34:49,800 --> 00:34:52,400 Speaker 1: I guess it was part of the fashion in n 634 00:34:53,360 --> 00:34:56,560 Speaker 1: to have these like really high waisted loose jeans. But 635 00:34:56,680 --> 00:34:59,920 Speaker 1: her mom jeans in this movie are just extraordinary. They 636 00:35:00,000 --> 00:35:04,560 Speaker 1: they explore previously unknown reaches of mom jeans z nous. 637 00:35:04,600 --> 00:35:09,600 Speaker 1: They're almost kind of like the mc hammer pants but jeans. Yeah. 638 00:35:09,680 --> 00:35:12,440 Speaker 1: And uh, Like, like you said, she has some she 639 00:35:12,480 --> 00:35:14,680 Speaker 1: has some real acting challenges in this this film that 640 00:35:14,760 --> 00:35:17,160 Speaker 1: she's you know, totally totally has the chops for, but 641 00:35:17,200 --> 00:35:19,000 Speaker 1: she's put in. It's put in particularly, she's put in 642 00:35:19,000 --> 00:35:23,080 Speaker 1: some really challenging scenes with the very green actor Megan Ward. 643 00:35:23,560 --> 00:35:26,720 Speaker 1: Uh in this it's in some Uh, some some Bechdel 644 00:35:26,800 --> 00:35:30,200 Speaker 1: flunking dialogue where it's just all about Jack Death. It's 645 00:35:30,239 --> 00:35:34,240 Speaker 1: just two female characters talking exclusively about the male character. 646 00:35:34,840 --> 00:35:38,480 Speaker 1: And you know, Helen Hunt clearly has the screen presence 647 00:35:38,480 --> 00:35:42,200 Speaker 1: in this talent and Megan Ward is just not there yet. 648 00:35:42,520 --> 00:35:44,719 Speaker 1: That is funny almost any time, Well, it is like 649 00:35:44,760 --> 00:35:47,920 Speaker 1: Pucci and everybody should be saying where's Pucci? Because in 650 00:35:47,920 --> 00:35:50,560 Speaker 1: this movie, if Jack Death is not on screen, basically 651 00:35:50,600 --> 00:35:53,439 Speaker 1: the other characters on screen are talking about where's Jack Death? 652 00:35:54,040 --> 00:35:56,680 Speaker 1: Who's going to get to marry Jack Death? Now? Now, 653 00:35:56,719 --> 00:36:00,560 Speaker 1: speaking of Megan Ward, uh, she she plays Alice still Well, 654 00:36:00,600 --> 00:36:04,760 Speaker 1: who is Jack Death's first wife from the future um 655 00:36:04,960 --> 00:36:09,480 Speaker 1: Born nine. She she was in in Sceno Man. She's 656 00:36:09,520 --> 00:36:11,520 Speaker 1: done a lot of TV work, including some work on 657 00:36:11,600 --> 00:36:15,439 Speaker 1: General Hospital UM. So she's not in the first Transfers 658 00:36:15,880 --> 00:36:17,800 Speaker 1: And I'll give her the benefit of the doubt and 659 00:36:17,840 --> 00:36:20,640 Speaker 1: assume that she grew as a performer after this, But yeah, 660 00:36:20,640 --> 00:36:23,719 Speaker 1: she's green as grass in Transfers to and has no 661 00:36:23,840 --> 00:36:27,439 Speaker 1: help from the dialogue either. So it's I can't place 662 00:36:27,480 --> 00:36:30,160 Speaker 1: all the blame on on her by any means, but 663 00:36:30,600 --> 00:36:33,520 Speaker 1: the result is she kind of ends up dragging down 664 00:36:33,520 --> 00:36:36,120 Speaker 1: every scene she's in, except except her scene with a 665 00:36:36,200 --> 00:36:38,640 Speaker 1: character named Rabbit, which we'll get to in a bit. Yeah, 666 00:36:38,640 --> 00:36:41,200 Speaker 1: she she gets through her lines, but she's pretty consistently 667 00:36:41,840 --> 00:36:45,160 Speaker 1: kind of low energy, like not uh not really amped 668 00:36:45,239 --> 00:36:47,960 Speaker 1: up to the absurdity level that the that the rest 669 00:36:48,000 --> 00:36:50,879 Speaker 1: of like the older actors were going for. She would 670 00:36:50,920 --> 00:36:53,200 Speaker 1: have worked great in the humanoid like she has. She 671 00:36:53,239 --> 00:36:56,120 Speaker 1: has humanoid level energy. But the thing is in this 672 00:36:56,280 --> 00:36:59,399 Speaker 1: everybody else has has has much higher levels of energy 673 00:36:59,480 --> 00:37:03,759 Speaker 1: or intensity. And speaking of intensity, the legend in fact 674 00:37:03,880 --> 00:37:08,239 Speaker 1: we're this this actor has real legends about him that 675 00:37:08,280 --> 00:37:11,239 Speaker 1: I wasn't even aware of before we started researching for this. 676 00:37:11,560 --> 00:37:13,880 Speaker 1: It's time to talk about Richard Lynch, our villain for 677 00:37:13,920 --> 00:37:18,680 Speaker 1: the film. Yes, Richard Lynch plays Dr wardo Um who 678 00:37:19,320 --> 00:37:21,120 Speaker 1: the nature of this character is kind of confusing. We'll 679 00:37:21,120 --> 00:37:23,200 Speaker 1: get into that in a bit. But but Lynch was 680 00:37:23,239 --> 00:37:27,120 Speaker 1: born in nineteen he died in a true B movie 681 00:37:27,200 --> 00:37:30,040 Speaker 1: legend with that and was a huge upgrade for the 682 00:37:30,040 --> 00:37:34,239 Speaker 1: Transfors franchise here because the chief villain, Whistler in the 683 00:37:34,280 --> 00:37:37,440 Speaker 1: first film was played by this guy, Michael Stefani, who 684 00:37:37,640 --> 00:37:40,200 Speaker 1: was was fine. I mean, I'm not saying Stefani was bad, 685 00:37:40,280 --> 00:37:44,279 Speaker 1: but he he didn't have the smoldering intensity of of 686 00:37:44,400 --> 00:37:48,680 Speaker 1: Richard Lynch. Uh. Now, Lynch had a really signature look. 687 00:37:48,719 --> 00:37:50,520 Speaker 1: You know, he had to look up a picture of 688 00:37:50,600 --> 00:37:54,320 Speaker 1: him if you don't remember him. Bright blonde hair, sharp nose, 689 00:37:54,760 --> 00:37:58,719 Speaker 1: the scarred face. And uh, I never knew the like 690 00:37:58,760 --> 00:38:01,879 Speaker 1: the history on his on the scars that he had. 691 00:38:02,400 --> 00:38:04,000 Speaker 1: In fact, I'd say a lot of the films I've 692 00:38:04,000 --> 00:38:06,120 Speaker 1: seen him in, the picture quality is not really good 693 00:38:06,200 --> 00:38:07,880 Speaker 1: enough to pick up on it all that much. You know, 694 00:38:08,280 --> 00:38:10,759 Speaker 1: when you're watching like a like a YouTube rip of 695 00:38:10,800 --> 00:38:14,360 Speaker 1: a check dub of Scanner Cop three, you you don't 696 00:38:14,360 --> 00:38:18,359 Speaker 1: really pick out the fine detail of his face as well. Right. 697 00:38:18,400 --> 00:38:20,880 Speaker 1: But but something that's mentioned in the o bits included 698 00:38:20,880 --> 00:38:22,520 Speaker 1: for him, including the New York Times, oh bit for 699 00:38:22,640 --> 00:38:26,520 Speaker 1: Richard Lynch, is that, um, according to Lynch, he suffered 700 00:38:26,600 --> 00:38:30,160 Speaker 1: scarring in nineteen sixty seven after he set himself on 701 00:38:30,280 --> 00:38:33,080 Speaker 1: fire while under the influence of L. S. D in 702 00:38:33,160 --> 00:38:35,880 Speaker 1: New York Central Park. This is one of those stories 703 00:38:36,000 --> 00:38:38,080 Speaker 1: that I didn't know until yesterday, and I was like, 704 00:38:38,160 --> 00:38:41,040 Speaker 1: how have I never read this before? Yeah? Yeah, it 705 00:38:41,040 --> 00:38:42,480 Speaker 1: seems like the kind of thing I would have picked 706 00:38:42,560 --> 00:38:45,160 Speaker 1: up on it is sure enough if you if you 707 00:38:45,200 --> 00:38:47,400 Speaker 1: look it up on YouTube, you can find a scene 708 00:38:47,560 --> 00:38:51,680 Speaker 1: from the documentary UM l s D Trip to Nowhere, 709 00:38:52,040 --> 00:38:54,040 Speaker 1: and I think it's a no, it's tripped to where 710 00:38:54,320 --> 00:38:57,640 Speaker 1: LSD trip to where question mark UM a documentary from 711 00:38:58,960 --> 00:39:02,560 Speaker 1: and it's just some rough interview footage of a young 712 00:39:02,680 --> 00:39:06,279 Speaker 1: Richard Lynch who's um, you know, injuries are far more 713 00:39:06,280 --> 00:39:09,080 Speaker 1: apparent in this early footage. I don't know if he's 714 00:39:09,120 --> 00:39:12,800 Speaker 1: you know, he still hasn't healed up from reconstructive surgery 715 00:39:13,080 --> 00:39:15,560 Speaker 1: or what the exact details are, but he's talking about 716 00:39:15,560 --> 00:39:18,440 Speaker 1: this experience and it's a it's a rough rough watch. 717 00:39:18,800 --> 00:39:24,200 Speaker 1: So he was appearing in basically an anti LSD scare film, yes, 718 00:39:24,880 --> 00:39:27,440 Speaker 1: But but anyway, it's it goes beyond Lynch's looks though, 719 00:39:27,480 --> 00:39:30,359 Speaker 1: because he was a solid actor who brought just real 720 00:39:30,480 --> 00:39:33,720 Speaker 1: menace to his many many villainous roles over the decades. 721 00:39:33,760 --> 00:39:35,800 Speaker 1: There you know, there are a lot of character actors 722 00:39:35,840 --> 00:39:39,160 Speaker 1: who had you know, odd looks to them, you know, 723 00:39:39,200 --> 00:39:42,399 Speaker 1: and have particular features of their appearance that lend well 724 00:39:42,520 --> 00:39:46,560 Speaker 1: to uh uh, you know, horror and sci fi. But 725 00:39:46,560 --> 00:39:48,880 Speaker 1: but in some of them don't clearly don't have like 726 00:39:48,920 --> 00:39:51,040 Speaker 1: the acting chops to back it up. I think Lynch 727 00:39:51,080 --> 00:39:52,840 Speaker 1: is one of those guys that clearly did have the 728 00:39:52,840 --> 00:39:55,720 Speaker 1: acting chops. Yeah, I agree. You know. One thing that's 729 00:39:55,800 --> 00:39:59,200 Speaker 1: interesting is that I noticed later touches of this in 730 00:39:59,400 --> 00:40:02,120 Speaker 1: his in his adult roles, but it's less there, it's 731 00:40:02,200 --> 00:40:05,279 Speaker 1: more there in that early interview from the sixties when 732 00:40:05,280 --> 00:40:07,360 Speaker 1: he's young, is that he has that kind of classic 733 00:40:07,440 --> 00:40:10,680 Speaker 1: Transatlantic accent. He sounds a little bit like William F. 734 00:40:10,840 --> 00:40:14,680 Speaker 1: Buckley when he talks. Yeah. So his credits include such 735 00:40:14,719 --> 00:40:18,240 Speaker 1: films as God Told Me To the the excellent weird 736 00:40:18,760 --> 00:40:24,359 Speaker 1: Larry Cohen film, in which he plays an alien him aphroditic, uh, 737 00:40:24,840 --> 00:40:27,440 Speaker 1: christ like being that has come to New York City. 738 00:40:27,719 --> 00:40:30,840 Speaker 1: He's in The Seven Ups, which is, you know, not 739 00:40:30,920 --> 00:40:33,440 Speaker 1: a genre pieces, just like a crime movie. He was 740 00:40:33,480 --> 00:40:36,320 Speaker 1: in The Ninth Configuration. Uh. He was in The Sword 741 00:40:36,360 --> 00:40:40,040 Speaker 1: and the Sorcerer and the Barbarians. So he he definitely 742 00:40:40,080 --> 00:40:42,920 Speaker 1: got into the into the you know, the medieval fantasy 743 00:40:42,960 --> 00:40:46,360 Speaker 1: type epics, you know, generally playing some sort of evil sorcerer. 744 00:40:46,840 --> 00:40:50,839 Speaker 1: He was in Scanner cop he was in Necronomicon, Book 745 00:40:50,840 --> 00:40:54,040 Speaker 1: of the Dead, and he's one of many B movie 746 00:40:54,400 --> 00:40:57,640 Speaker 1: and genre icons who Rob Zombie brought into some of 747 00:40:57,680 --> 00:41:00,760 Speaker 1: his films. So you'll find him especially in the Lords 748 00:41:00,760 --> 00:41:03,480 Speaker 1: of Salem. I would say he also is in the 749 00:41:03,520 --> 00:41:07,600 Speaker 1: B movie Hall of Fame for his participation in War Wilf. Yeah. 750 00:41:07,640 --> 00:41:10,520 Speaker 1: Oh yeah, yeah, that's right, he's he's in that. Yeah, 751 00:41:10,680 --> 00:41:12,560 Speaker 1: now you know, Actually, now that I mentioned it, I 752 00:41:12,600 --> 00:41:15,240 Speaker 1: can't recall if he actually got to complete his scenes 753 00:41:15,239 --> 00:41:19,440 Speaker 1: for Lords of Salem. He might have. He might have been, uh, 754 00:41:19,600 --> 00:41:21,120 Speaker 1: that might have been towards the end of his life. 755 00:41:21,160 --> 00:41:23,799 Speaker 1: It's possible that that he's not in that at all. 756 00:41:23,880 --> 00:41:26,000 Speaker 1: He may have just been originally part of the cast 757 00:41:26,040 --> 00:41:27,319 Speaker 1: now that I think about it, But I think he 758 00:41:27,360 --> 00:41:31,080 Speaker 1: was in Rob Zombie's Halloween movie. That sounds right. Yeah. 759 00:41:31,120 --> 00:41:33,120 Speaker 1: He also showed up on Star Trek, The Next Generation 760 00:41:33,239 --> 00:41:36,160 Speaker 1: Murder she wrote, and six Ft Under, So yeah, Richard 761 00:41:36,239 --> 00:41:37,920 Speaker 1: Lynch was in a lot of things. He was in 762 00:41:37,960 --> 00:41:40,440 Speaker 1: a lot of B movies, played a lot of of 763 00:41:40,440 --> 00:41:42,839 Speaker 1: of of bad guys and it was just really good 764 00:41:42,880 --> 00:41:45,160 Speaker 1: at it. Does he ever play a good guy? I 765 00:41:45,200 --> 00:41:47,759 Speaker 1: can't recall that ever happening. I've never seen a movie 766 00:41:47,760 --> 00:41:50,239 Speaker 1: where he wasn't a villain. I don't know. I mean 767 00:41:50,480 --> 00:41:52,839 Speaker 1: he had to have at some point, but I mean, 768 00:41:52,880 --> 00:41:54,239 Speaker 1: and I think he could have done it. I mean, 769 00:41:54,320 --> 00:41:56,440 Speaker 1: especially as he got older, you know, he could. I 770 00:41:56,440 --> 00:41:58,360 Speaker 1: could see him leaning in into you know, because you 771 00:41:58,400 --> 00:42:01,120 Speaker 1: see out of character photographs of him and he's just 772 00:42:01,200 --> 00:42:03,319 Speaker 1: you know, he's just this older dude with you know, 773 00:42:03,320 --> 00:42:06,040 Speaker 1: with white hair at that point. But then again, if 774 00:42:06,040 --> 00:42:09,759 Speaker 1: you're hiring Richard Lynch, you want the intensity, right, Like, 775 00:42:09,840 --> 00:42:12,719 Speaker 1: try to imagine this movie with Richard Lynch as as 776 00:42:12,800 --> 00:42:16,440 Speaker 1: Jack Death and Tim Thomason as the as the villain. 777 00:42:16,480 --> 00:42:19,000 Speaker 1: That doesn't quite work, does it now? And then also 778 00:42:19,080 --> 00:42:23,320 Speaker 1: the films of this caliber, they're often painting in um 779 00:42:23,360 --> 00:42:26,480 Speaker 1: in very you know, strict colors. You know, you want 780 00:42:26,480 --> 00:42:30,080 Speaker 1: your villain streak, you want your hero streak. Uh, you're 781 00:42:30,080 --> 00:42:33,120 Speaker 1: not necessarily looking for a really complex palette. So a 782 00:42:33,120 --> 00:42:35,640 Speaker 1: lot of Richard Lynch's screen time in Transfers To is 783 00:42:35,680 --> 00:42:39,760 Speaker 1: actually on screen. On screen, he'll be on a TV 784 00:42:39,960 --> 00:42:45,799 Speaker 1: screen like indoctrinating people, indoctrinating his transfer army with weird 785 00:42:45,880 --> 00:42:48,839 Speaker 1: mantras or there's a great part later in the movie. 786 00:42:48,880 --> 00:42:50,719 Speaker 1: It was one of my favorite parts actually, where he's 787 00:42:50,800 --> 00:42:54,120 Speaker 1: on a TV show being given a softball interview by 788 00:42:54,160 --> 00:42:58,960 Speaker 1: Barbara Crampton. Yeah, yeah, another B movie name of of note, 789 00:42:59,320 --> 00:43:03,800 Speaker 1: noted for animator from Beyond Your Next, Beyond the Gates 790 00:43:04,080 --> 00:43:06,279 Speaker 1: and The Lords of Salem as well. But but that's 791 00:43:06,280 --> 00:43:08,200 Speaker 1: something that's something. There's some some great scenes. Yeah, in 792 00:43:08,200 --> 00:43:12,120 Speaker 1: this movie, he plays a psychic madman cult leader, so 793 00:43:12,239 --> 00:43:15,759 Speaker 1: there's plenty of of of Lynchian depth there for him 794 00:43:15,800 --> 00:43:19,359 Speaker 1: to get into. Oh, don't forget environmental terrorists. They had 795 00:43:19,400 --> 00:43:21,440 Speaker 1: to throw that in as well. He's many things, too 796 00:43:21,440 --> 00:43:24,120 Speaker 1: many people in this movie. Uh, and it's also funny 797 00:43:24,160 --> 00:43:26,960 Speaker 1: how it made me think about how I'm not quite 798 00:43:26,960 --> 00:43:29,440 Speaker 1: sure whether I wonder if there was like some event 799 00:43:29,560 --> 00:43:32,040 Speaker 1: in the news that really put this in people's brains. 800 00:43:32,080 --> 00:43:35,759 Speaker 1: But I really think in the early nineteen nineties there 801 00:43:35,760 --> 00:43:39,000 Speaker 1: were a lot of movies about where the villains were 802 00:43:39,120 --> 00:43:43,920 Speaker 1: eco terrorists. Yeah. I think it was, yeah, kind of 803 00:43:44,080 --> 00:43:46,920 Speaker 1: maybe a safe place to go in some ways, but 804 00:43:46,920 --> 00:43:50,840 Speaker 1: but also perhaps revealed some anxieties about uh, you know, 805 00:43:51,000 --> 00:43:53,960 Speaker 1: environmental movements and the you know, the ramifications of or 806 00:43:53,960 --> 00:43:57,520 Speaker 1: perceived ramifications of environmental movements. So you do see it 807 00:43:57,520 --> 00:44:00,200 Speaker 1: a lot weird, all right. There are other human in 808 00:44:00,200 --> 00:44:02,759 Speaker 1: this movie, though we should get to them. Yeah, we 809 00:44:02,800 --> 00:44:06,680 Speaker 1: have Biff Maynard or Pert Biff Mannered. He's sometimes his 810 00:44:06,760 --> 00:44:09,800 Speaker 1: name is apparently misspelled as Maynard, but anyway, he plays 811 00:44:09,840 --> 00:44:15,080 Speaker 1: hap Ashby. This actor was born nineteen. He's reprising his 812 00:44:15,200 --> 00:44:19,719 Speaker 1: role from the first film, as as the the one 813 00:44:19,800 --> 00:44:23,720 Speaker 1: remaining ancestor of the future leader, who is a washed 814 00:44:23,800 --> 00:44:27,239 Speaker 1: up professional baseball player. Okay, yes, and he has to 815 00:44:27,239 --> 00:44:31,759 Speaker 1: be kept alive or else the future Politician will not exist. Yeah, 816 00:44:32,320 --> 00:44:35,080 Speaker 1: he's um. I wouldn't say he's a great actor, but 817 00:44:35,200 --> 00:44:37,879 Speaker 1: he's a he's a decent enough actor. And he has 818 00:44:37,920 --> 00:44:40,680 Speaker 1: given some walky lines and reactions in this movie that 819 00:44:40,920 --> 00:44:44,160 Speaker 1: are fabulous. So he's he's a treat. Oh yeah, he's great. 820 00:44:44,239 --> 00:44:46,880 Speaker 1: And you know his his name sort of reads like 821 00:44:46,920 --> 00:44:50,239 Speaker 1: a sentence somehow, it's like Biff Menard. I don't know it, 822 00:44:50,239 --> 00:44:52,960 Speaker 1: it works. Uh. And he he spends most of the 823 00:44:52,960 --> 00:44:58,239 Speaker 1: movie getting back on the sauce gradually. Yes. Uh. We also, oh, 824 00:44:58,360 --> 00:45:00,920 Speaker 1: you know we were talking about in the Humanoid how 825 00:45:00,960 --> 00:45:02,760 Speaker 1: oh we have a bond girl in this one, Well, 826 00:45:03,280 --> 00:45:05,359 Speaker 1: move over Humanoid, because we don't just have a bond 827 00:45:05,360 --> 00:45:07,399 Speaker 1: girl in this one. We have a double bond girl. 828 00:45:07,719 --> 00:45:11,240 Speaker 1: Oh that's right, Martin Beswick. Right, that's right. She plays 829 00:45:11,320 --> 00:45:13,400 Speaker 1: Nurse Trotter. It's just a you know, sort of a 830 00:45:13,440 --> 00:45:17,400 Speaker 1: secondary villain role. But she was borne still still around 831 00:45:17,400 --> 00:45:19,799 Speaker 1: as of this recording. She was in From Russia with 832 00:45:19,920 --> 00:45:24,680 Speaker 1: Love in nineteen sixty three and Thunderball in nineteen I 833 00:45:24,760 --> 00:45:29,719 Speaker 1: was actually so She and Jeffrey Combs another B movie icon. Man. 834 00:45:29,760 --> 00:45:33,520 Speaker 1: This this cast list is gigantic. Uh. They are sort 835 00:45:33,560 --> 00:45:36,000 Speaker 1: of a team in this movie that they don't do 836 00:45:36,120 --> 00:45:38,920 Speaker 1: much like physical attacking. I mean, I guess they do 837 00:45:39,080 --> 00:45:42,279 Speaker 1: a little bit, but mostly what they do is sit 838 00:45:42,360 --> 00:45:45,800 Speaker 1: side by side and kind of give the main characters 839 00:45:45,880 --> 00:45:48,920 Speaker 1: the side I like, look at them almost as if 840 00:45:48,960 --> 00:45:51,760 Speaker 1: to give them withering looks an issue, like a self 841 00:45:51,880 --> 00:45:57,560 Speaker 1: esteem annihilating, deprecating comment about them. Yeah. Yeah, yeah, I 842 00:45:57,600 --> 00:46:00,000 Speaker 1: wouldn't say either. I mean she she she definitely gets 843 00:46:00,000 --> 00:46:02,320 Speaker 1: to bust out some side. I Jeffrey Combs, who again 844 00:46:02,400 --> 00:46:06,480 Speaker 1: another B B movie icon, the reanimator himself. Um, he 845 00:46:06,520 --> 00:46:08,000 Speaker 1: doesn't have a lot to do in this. He just 846 00:46:08,160 --> 00:46:11,400 Speaker 1: basically sits around with a goatee. Um kind of asks 847 00:46:11,560 --> 00:46:14,160 Speaker 1: um Lynch's character what he should do? You know, follows 848 00:46:14,239 --> 00:46:17,520 Speaker 1: orders and also confers with the nurse here. Yeah, his 849 00:46:17,520 --> 00:46:21,640 Speaker 1: his goatee and his shady glare do most of the acting. 850 00:46:21,960 --> 00:46:23,920 Speaker 1: All Right, I'm gonna I'm gonna largely skip over the 851 00:46:24,000 --> 00:46:26,239 Speaker 1: McNulty's here, but basically you have an old McNulty and 852 00:46:26,239 --> 00:46:29,040 Speaker 1: a girl McNulty. Old McNulty is played by this actor, 853 00:46:29,239 --> 00:46:33,640 Speaker 1: Art lafleur Borne. You may have seen him. He played 854 00:46:33,880 --> 00:46:36,000 Speaker 1: the babe in the sand Lot. He was in the Blob, 855 00:46:36,120 --> 00:46:38,400 Speaker 1: he was in Cobra, he was in Field of Dreams. 856 00:46:38,400 --> 00:46:40,440 Speaker 1: He was even in a Key and Peel sketch. Uh. 857 00:46:40,800 --> 00:46:44,279 Speaker 1: He's got slight notes of Buddy Hackett, right, Yeah. And 858 00:46:44,320 --> 00:46:47,320 Speaker 1: then Alison Croft plays Girl McNulty. We'll get into the 859 00:46:47,320 --> 00:46:50,080 Speaker 1: distinction here. She's born in five went on to appear 860 00:46:50,239 --> 00:46:52,839 Speaker 1: on Madman and Shameless. I feel like this is the 861 00:46:52,840 --> 00:46:55,800 Speaker 1: biggest cast list we have ever plowed through in a movie. 862 00:46:56,120 --> 00:46:58,680 Speaker 1: I mean, it's like there's something interesting about all of them, 863 00:46:58,800 --> 00:47:00,680 Speaker 1: or in the case of the next guy, he's just 864 00:47:00,960 --> 00:47:04,520 Speaker 1: such a delight on screen. Uh. Talking about Sonny Carl 865 00:47:04,600 --> 00:47:08,360 Speaker 1: Davis playing Rabbit. Tell me about Rabbit. All right, I 866 00:47:08,360 --> 00:47:11,000 Speaker 1: couldn't find anything about when he was born, but I 867 00:47:11,000 --> 00:47:13,480 Speaker 1: think he's still around. Uh. Davis has been in a 868 00:47:13,520 --> 00:47:16,040 Speaker 1: bunch of films, including a bit part in Fast Times 869 00:47:16,040 --> 00:47:18,640 Speaker 1: at Ridgemont High. But the first place I saw him 870 00:47:18,640 --> 00:47:22,040 Speaker 1: was in the excellent nine horror comedy Terror Vision, in 871 00:47:22,080 --> 00:47:25,080 Speaker 1: which he plays kind of creepy satellite TV repair guy 872 00:47:25,480 --> 00:47:27,480 Speaker 1: I'm trying. Oh, I think I know who he was. 873 00:47:27,520 --> 00:47:29,799 Speaker 1: And Fast Times at Ridgemont High he's the guy who 874 00:47:29,840 --> 00:47:33,520 Speaker 1: gets Judge Reinhold fired from his job by complaining about 875 00:47:33,600 --> 00:47:36,560 Speaker 1: his he didn't like his food at the restaurant. Remember this, 876 00:47:37,160 --> 00:47:39,640 Speaker 1: I don't. He's like, um, I think I just want 877 00:47:39,680 --> 00:47:42,720 Speaker 1: my money back. Yeah, it's it's him. It's a memorable 878 00:47:42,760 --> 00:47:46,000 Speaker 1: performance because sunny Carl Davis has he sticks in you. 879 00:47:47,640 --> 00:47:49,400 Speaker 1: He was also in Film and Louise and I Can 880 00:47:49,480 --> 00:47:52,319 Speaker 1: get a part in the Burbs. But in this he 881 00:47:52,400 --> 00:47:56,640 Speaker 1: plays Rabbit, deranged orderly at the sort of mental institution. 882 00:47:56,640 --> 00:47:59,040 Speaker 1: We'll get into that in a bit, but he has 883 00:47:59,080 --> 00:48:02,200 Speaker 1: some cheesy comedic lines that he manages to bring to 884 00:48:02,600 --> 00:48:07,160 Speaker 1: life delightfully, and the character Rabbit would apparently go on 885 00:48:07,200 --> 00:48:11,080 Speaker 1: to be a staple of the Evil Bong franchise and 886 00:48:11,160 --> 00:48:14,040 Speaker 1: related Full Moon pictures. I'm not sure how they brought 887 00:48:14,120 --> 00:48:16,800 Speaker 1: him back or you know, if it's just basically little cameos, 888 00:48:16,880 --> 00:48:20,680 Speaker 1: but essentially he's played Rabbit nine times. I get the 889 00:48:20,680 --> 00:48:24,200 Speaker 1: feeling that what Dick Miller is to the Roger Corman universe, 890 00:48:24,239 --> 00:48:28,200 Speaker 1: sunny Carl Davis is to the Full Moon universe. Yeah, 891 00:48:28,320 --> 00:48:31,359 Speaker 1: but he's great in this. I ended up really loving Rabbit. Yeah, 892 00:48:31,400 --> 00:48:33,640 Speaker 1: I love Rabbit to One of the many surprises of 893 00:48:33,640 --> 00:48:37,880 Speaker 1: the film, this this fiscile balding man with eyelids that 894 00:48:38,000 --> 00:48:41,680 Speaker 1: opened like eight meters wide is also apparently the heart 895 00:48:41,719 --> 00:48:44,839 Speaker 1: throb of the hospital staff, like all the ladies are 896 00:48:44,840 --> 00:48:48,280 Speaker 1: Gaga or Rabbit. Yeah, it doesn't make a lot of sense, 897 00:48:48,320 --> 00:48:51,520 Speaker 1: but okay, alright, let's see real quick. Um we should 898 00:48:51,520 --> 00:48:55,320 Speaker 1: mention Tellma Hopkins. She plays Commander Reins in the future 899 00:48:55,680 --> 00:48:58,480 Speaker 1: and she's reprising a role from Transfers one. Uh. She 900 00:48:58,760 --> 00:49:01,480 Speaker 1: was part of Tony or and O and don uh 901 00:49:01,520 --> 00:49:03,759 Speaker 1: that that musical act. But she also did a fair 902 00:49:03,760 --> 00:49:05,840 Speaker 1: amount of TV and film work. She was on Family 903 00:49:05,840 --> 00:49:08,160 Speaker 1: Matters and I realized I was trying to think, where 904 00:49:08,200 --> 00:49:10,560 Speaker 1: did I recognize her from? But she plays Aunt Rachel 905 00:49:10,680 --> 00:49:14,000 Speaker 1: on Family Matters. But she Yeah, so she's like the 906 00:49:14,040 --> 00:49:17,640 Speaker 1: Commander of the future. Cops in the future. In there 907 00:49:17,640 --> 00:49:19,120 Speaker 1: are a couple of scenes in this I guess the 908 00:49:19,160 --> 00:49:22,000 Speaker 1: bookends of the film that are in the future, and 909 00:49:22,080 --> 00:49:25,120 Speaker 1: she's sort of like recapping what's going on, explaining the 910 00:49:25,160 --> 00:49:28,680 Speaker 1: plot and and giving people orders. And there's there's a 911 00:49:28,760 --> 00:49:30,960 Speaker 1: very funny scene at the very beginning where she's telling 912 00:49:30,960 --> 00:49:33,839 Speaker 1: a dyspeptic art La Fleur that he must go back 913 00:49:33,880 --> 00:49:38,719 Speaker 1: into the past and he complains mightily. Yeah. Also, remember 914 00:49:38,719 --> 00:49:42,800 Speaker 1: her character is one of Jack Death's exes, so everything 915 00:49:42,960 --> 00:49:45,960 Speaker 1: everything revolves around Jack Death, right, yes, when when Jack 916 00:49:46,000 --> 00:49:48,680 Speaker 1: Death is not on screen, everyone's asking where is Jack Death? 917 00:49:49,680 --> 00:49:52,480 Speaker 1: All right, real quick? I'll mention the music. Phil Davies 918 00:49:52,760 --> 00:49:55,640 Speaker 1: and Mark Ryder did it. Um. They also did the 919 00:49:55,719 --> 00:49:59,560 Speaker 1: scores for Society and a few other films, and I 920 00:49:59,560 --> 00:50:01,279 Speaker 1: think Right ended up working a bit more on his 921 00:50:01,320 --> 00:50:03,440 Speaker 1: own for Transfers. I'll say it. You know, it's a 922 00:50:03,440 --> 00:50:05,799 Speaker 1: decent score. It's invisible most of the time, you don't 923 00:50:05,800 --> 00:50:07,600 Speaker 1: really think about it. But there were other parts of 924 00:50:07,640 --> 00:50:10,000 Speaker 1: it that I kind of dug. You know, it's electronic, 925 00:50:10,080 --> 00:50:13,040 Speaker 1: a bit sappy at times, but effective. I think Wardo's 926 00:50:13,160 --> 00:50:15,720 Speaker 1: theme So when when there's sort of like sinister stuff 927 00:50:15,719 --> 00:50:17,799 Speaker 1: going on in the asylum, and that's where I would 928 00:50:17,840 --> 00:50:19,520 Speaker 1: notice the music and be like, all right, this is 929 00:50:19,520 --> 00:50:22,040 Speaker 1: all right, I can dig this. Uh. Yeah, I don't 930 00:50:22,040 --> 00:50:24,360 Speaker 1: think I really noticed the music, except I noticed it 931 00:50:24,400 --> 00:50:27,160 Speaker 1: a little bit right at the beginning. Because so maybe 932 00:50:27,160 --> 00:50:29,000 Speaker 1: we should get into the plot breakdown. Are you ready? 933 00:50:29,280 --> 00:50:32,480 Speaker 1: Let's do it. We open on Jack Death and Helen 934 00:50:32,560 --> 00:50:36,279 Speaker 1: Hunt accidentally just called her Helen Haunt cruising in his 935 00:50:36,400 --> 00:50:41,040 Speaker 1: classic Yeah, exactly, cruising in his classic corvette. And by 936 00:50:41,080 --> 00:50:44,319 Speaker 1: the way that Jack Death loves his Corvett. This is 937 00:50:44,560 --> 00:50:47,640 Speaker 1: very much a point to note in the film. Yes, 938 00:50:48,120 --> 00:50:50,560 Speaker 1: and uh, and we get some some moody, kind of 939 00:50:50,640 --> 00:50:53,279 Speaker 1: sad music playing, and this was one of the only 940 00:50:53,400 --> 00:50:55,920 Speaker 1: points where I really noticed the score. Like I said, Uh, 941 00:50:55,960 --> 00:50:59,320 Speaker 1: there's the dreamy electronic music. The Death's hair is blowing 942 00:50:59,320 --> 00:51:02,440 Speaker 1: in the wind. And then we get narration and Jack 943 00:51:02,480 --> 00:51:05,600 Speaker 1: Death tells us in voice over, during the last six years, 944 00:51:05,640 --> 00:51:07,640 Speaker 1: I spent a lot of time wandering this part of 945 00:51:07,680 --> 00:51:10,600 Speaker 1: the California coast. It's tough knowing it's all going to 946 00:51:10,680 --> 00:51:14,480 Speaker 1: be under the ocean after the killer quakes of My 947 00:51:14,600 --> 00:51:17,680 Speaker 1: name is Jack Death. I'm a cop from the future. 948 00:51:18,000 --> 00:51:20,799 Speaker 1: Transfer detail and I didn't know it yet, but back 949 00:51:20,880 --> 00:51:23,840 Speaker 1: up the line, my old supervisor McNulty was on his 950 00:51:23,920 --> 00:51:26,680 Speaker 1: way to see me. McNulty is a professional pain in 951 00:51:26,719 --> 00:51:29,280 Speaker 1: the ass, but the council is stuck with him because, 952 00:51:29,360 --> 00:51:33,000 Speaker 1: like me, he had an ancestor in Old California. That's 953 00:51:33,040 --> 00:51:35,720 Speaker 1: the only way to send someone's consciousness back in time 954 00:51:36,000 --> 00:51:39,239 Speaker 1: over the genetic bridge. I hadn't learned about the TCL 955 00:51:39,400 --> 00:51:41,880 Speaker 1: chamber yet, and then I guess it's really just starting 956 00:51:41,880 --> 00:51:46,000 Speaker 1: to get very detailed for for voiceover narration. But I 957 00:51:46,200 --> 00:51:49,120 Speaker 1: stopped because I was thinking this must present a very 958 00:51:49,160 --> 00:51:53,000 Speaker 1: bizarre pattern of sort of discrimination and hiring of time 959 00:51:53,040 --> 00:51:55,600 Speaker 1: cops in the future, right, Like you have to submit 960 00:51:55,640 --> 00:51:58,120 Speaker 1: your family tree and details to see if they can 961 00:51:58,120 --> 00:52:01,680 Speaker 1: find a relative of yours and Old cal Inlifornia. Yeah, 962 00:52:01,920 --> 00:52:04,680 Speaker 1: it's um. They don't go into it a lot, but like, 963 00:52:04,680 --> 00:52:07,520 Speaker 1: like clearly the transfer I mean, I guess the transfers 964 00:52:07,520 --> 00:52:10,040 Speaker 1: thing is it was isolated in time at one point, 965 00:52:10,080 --> 00:52:12,759 Speaker 1: but then the trans the then the transfers are moving 966 00:52:12,760 --> 00:52:16,040 Speaker 1: around in time. Whistler and Whistler's brother are moving around 967 00:52:16,040 --> 00:52:18,160 Speaker 1: in time, so that means the time. That means that 968 00:52:18,200 --> 00:52:21,160 Speaker 1: your transfer cops have to become time cops and yeah, 969 00:52:21,200 --> 00:52:24,279 Speaker 1: there you go. So anyway, we get this opening scene 970 00:52:24,280 --> 00:52:27,279 Speaker 1: I was talking about where Commander reins Telma Hopkins is 971 00:52:27,719 --> 00:52:31,520 Speaker 1: is explaining to McNulty how all the time travel stuff works, 972 00:52:31,520 --> 00:52:34,480 Speaker 1: and this scene, Um, I gotta be honest and say, 973 00:52:34,480 --> 00:52:36,520 Speaker 1: I had to watch this twice. I did not follow 974 00:52:36,600 --> 00:52:38,680 Speaker 1: the scene at all. The first time. I was like, 975 00:52:38,760 --> 00:52:40,399 Speaker 1: what is going on? I guess you had a leg 976 00:52:40,440 --> 00:52:43,480 Speaker 1: up because you've seen the first movie. Um, but if 977 00:52:43,560 --> 00:52:46,080 Speaker 1: you haven't, this one just kind of rolls over you. 978 00:52:46,120 --> 00:52:49,319 Speaker 1: It's like it's like a wave. But basically it's it's 979 00:52:49,320 --> 00:52:51,600 Speaker 1: the stuff we've already talked about your consciousness. If you 980 00:52:51,640 --> 00:52:53,919 Speaker 1: take a drug, your consciousness can go back in time 981 00:52:53,960 --> 00:52:57,799 Speaker 1: to an ancestor. It seems mostly you can't travel back 982 00:52:57,840 --> 00:53:00,640 Speaker 1: in time physically, at least not your whole body. But 983 00:53:01,200 --> 00:53:04,880 Speaker 1: now there is a machine called the TCL Chamber that 984 00:53:04,960 --> 00:53:08,360 Speaker 1: looks like a crappy version of the Apollo Command Module, 985 00:53:08,719 --> 00:53:12,040 Speaker 1: and you can send that back in time empty that nobody. 986 00:53:12,080 --> 00:53:15,360 Speaker 1: Nobody can go in it, and then people can get 987 00:53:15,400 --> 00:53:18,719 Speaker 1: in it in the past physically in their bodies and 988 00:53:18,760 --> 00:53:22,040 Speaker 1: go forward in time to the future. Got it. Yeah, 989 00:53:22,200 --> 00:53:24,600 Speaker 1: And if you don't get it. I just advise you 990 00:53:24,600 --> 00:53:27,520 Speaker 1: to watch the movie speak if they do a little 991 00:53:27,520 --> 00:53:30,000 Speaker 1: better job explaining it, I guess, or at least presenting 992 00:53:30,000 --> 00:53:32,920 Speaker 1: it visually. So tell my Hopkins is explaining that they 993 00:53:32,960 --> 00:53:37,040 Speaker 1: need to send McNulty's consciousness back in time to possess 994 00:53:37,120 --> 00:53:39,880 Speaker 1: the body of his ancestor, who at this point is 995 00:53:39,920 --> 00:53:44,120 Speaker 1: a fifteen year old girl in California. In two, I 996 00:53:44,160 --> 00:53:49,719 Speaker 1: think tell Jack Death about the TCL chamber that will 997 00:53:49,760 --> 00:53:52,200 Speaker 1: allow him to get into it and travel back to 998 00:53:52,280 --> 00:53:55,279 Speaker 1: the future. Is that right, that's right. Yeah. In the 999 00:53:55,360 --> 00:53:57,920 Speaker 1: last film, McNulty had to go back in time to 1000 00:53:57,920 --> 00:54:00,319 Speaker 1: do the same thing, and in that one it is like, 1001 00:54:00,440 --> 00:54:02,839 Speaker 1: you know, an eight to ten year old girl that 1002 00:54:02,880 --> 00:54:05,600 Speaker 1: he had to inhabit, which was one of the funnier 1003 00:54:05,600 --> 00:54:08,719 Speaker 1: part the legitimately funnier parts of Transfers one where this 1004 00:54:08,840 --> 00:54:11,440 Speaker 1: a little girl showing up and she's talking like a 1005 00:54:12,160 --> 00:54:13,959 Speaker 1: like you know, I got like a like a tough 1006 00:54:14,120 --> 00:54:18,200 Speaker 1: rough and tumble, you know, um, police commander from the future. 1007 00:54:18,400 --> 00:54:21,760 Speaker 1: Is she smoking a cigar? Uh No, she's not smoking 1008 00:54:21,800 --> 00:54:25,719 Speaker 1: a cigar, but she's almost almost smoking a cigar. Well, 1009 00:54:25,760 --> 00:54:28,759 Speaker 1: in this movie, McNulty's ancestor smokes a cigar, which I 1010 00:54:28,760 --> 00:54:31,880 Speaker 1: think is is played for comedy. I think partially on 1011 00:54:31,920 --> 00:54:34,959 Speaker 1: the basis of some of some gendered assumptions, but also 1012 00:54:35,000 --> 00:54:36,560 Speaker 1: I mean, I guess it is funny to see any 1013 00:54:36,600 --> 00:54:40,080 Speaker 1: like fifteen year old chomping on the cigar. Alright, So 1014 00:54:40,120 --> 00:54:43,400 Speaker 1: then Commander Rains explains more of the plot. Again, I 1015 00:54:43,440 --> 00:54:45,640 Speaker 1: did not understand any of this the first time I 1016 00:54:45,680 --> 00:54:49,520 Speaker 1: had to go back. But so they've sent someone else 1017 00:54:49,960 --> 00:54:52,680 Speaker 1: back in time to the body of an ancestor. And 1018 00:54:52,760 --> 00:54:57,640 Speaker 1: this other person is Jack Death's wife in the future, Alice, 1019 00:54:58,120 --> 00:55:01,040 Speaker 1: who we learn is dead in the future. I can't 1020 00:55:01,239 --> 00:55:03,360 Speaker 1: I don't know if this was established in the first movie, 1021 00:55:03,360 --> 00:55:06,120 Speaker 1: but she has been murdered in the future. It's weird 1022 00:55:06,160 --> 00:55:08,440 Speaker 1: when we when we actually discuss it like this, this 1023 00:55:08,480 --> 00:55:11,600 Speaker 1: sounds like the most complicated movie plot of all. Yeah, 1024 00:55:11,680 --> 00:55:13,960 Speaker 1: I know, I was trying to think, like it actually 1025 00:55:14,080 --> 00:55:16,920 Speaker 1: is super complicated. It just doesn't really feel like that 1026 00:55:16,960 --> 00:55:18,759 Speaker 1: in the movie because all this stuff you just like, 1027 00:55:19,239 --> 00:55:21,480 Speaker 1: you kind of don't catch it and it doesn't matter, 1028 00:55:21,600 --> 00:55:24,719 Speaker 1: and then you just keep watching. But so she's dead 1029 00:55:24,719 --> 00:55:28,000 Speaker 1: in the future, but she wasn't dead a few years 1030 00:55:28,000 --> 00:55:30,600 Speaker 1: ago in the future. So they sent somebody back in 1031 00:55:30,760 --> 00:55:33,680 Speaker 1: time but still to the future, just a few years before, 1032 00:55:33,719 --> 00:55:36,200 Speaker 1: in the future before she died, to tell her that 1033 00:55:36,239 --> 00:55:39,000 Speaker 1: she has to go farther back in time to nine 1034 00:55:39,440 --> 00:55:44,040 Speaker 1: so she can I believe hunt transfers they're right, And 1035 00:55:44,120 --> 00:55:46,440 Speaker 1: oh my god, there's so many funny exchanges in the 1036 00:55:46,480 --> 00:55:49,960 Speaker 1: scene where it just gets amazingly complicated. McNulty is like, 1037 00:55:50,000 --> 00:55:52,239 Speaker 1: I thought we killed Whistler and all the transfers in 1038 00:55:52,239 --> 00:55:54,719 Speaker 1: the past, and then Rains is like, but there's a 1039 00:55:54,719 --> 00:55:56,960 Speaker 1: new Whistler in the past and now he's made new 1040 00:55:56,960 --> 00:56:00,959 Speaker 1: transfers in the past. Yeah, And I like, I didn't 1041 00:56:00,960 --> 00:56:03,880 Speaker 1: even realize Whistler was what I thought. There was just 1042 00:56:03,920 --> 00:56:06,440 Speaker 1: the one Whistler. So I've never figured out if if 1043 00:56:06,560 --> 00:56:10,839 Speaker 1: Richard Lynch's character in this is truly like Whistler's brother, 1044 00:56:11,000 --> 00:56:13,680 Speaker 1: is it Whistler himself, his consciousness some kind of escaped. 1045 00:56:13,719 --> 00:56:17,080 Speaker 1: They're kind of all over the place briefly explaining who 1046 00:56:17,120 --> 00:56:19,319 Speaker 1: he is supposed to be. Okay, I think I know 1047 00:56:19,400 --> 00:56:22,840 Speaker 1: the answer. Okay, I think the answer is that Richard 1048 00:56:22,920 --> 00:56:29,880 Speaker 1: Lynch is playing Whistler's brother, playing a guy named ed WARDO. Whistler, 1049 00:56:29,920 --> 00:56:31,560 Speaker 1: who is the brother. I think the guy in the 1050 00:56:31,600 --> 00:56:37,480 Speaker 1: first movie is named James Whistler. Is that right? Um? Possibly? Um? 1051 00:56:37,680 --> 00:56:39,560 Speaker 1: I feel like I looked that up and I was. 1052 00:56:39,400 --> 00:56:41,719 Speaker 1: I also was confused when I started looking up his 1053 00:56:41,800 --> 00:56:44,359 Speaker 1: name in the first film. But I think I think, yes, 1054 00:56:44,400 --> 00:56:46,600 Speaker 1: I think you're correct. This is supposed to be Whistler's brother. 1055 00:56:47,160 --> 00:56:50,040 Speaker 1: This is um, you know, I guess they all both 1056 00:56:50,160 --> 00:56:53,600 Speaker 1: both siblings had the psychic gift of creating transfers. Uh. 1057 00:56:54,080 --> 00:56:56,319 Speaker 1: Because there's a scene later on where Helen Hunt and 1058 00:56:56,400 --> 00:56:58,760 Speaker 1: Jack Death are figuring it out in a very Doctor 1059 00:56:58,880 --> 00:57:03,440 Speaker 1: Acula type meant They're like, oh, this Richard Lynch is 1060 00:57:03,440 --> 00:57:07,720 Speaker 1: is his name is E d Wardo? Wait a minute. 1061 00:57:07,920 --> 00:57:11,799 Speaker 1: You know Whistler had a brother named ed WARDO Whistler. 1062 00:57:11,840 --> 00:57:16,040 Speaker 1: It's him, you know, E d Wardo. Get it all right? 1063 00:57:16,080 --> 00:57:18,480 Speaker 1: Good enough for me? Okay, but I was thinking about 1064 00:57:18,560 --> 00:57:23,480 Speaker 1: Dr Wardo throughout this movie as Doctor Warrio. Okay, now 1065 00:57:23,480 --> 00:57:26,200 Speaker 1: we get a bunch more plot. Mccannics. There's so much 1066 00:57:26,280 --> 00:57:29,040 Speaker 1: explaining at the beginning of this. So they say, okay, 1067 00:57:29,120 --> 00:57:31,080 Speaker 1: Jack Death, he can't come back to the future of 1068 00:57:31,080 --> 00:57:34,200 Speaker 1: the normal serum way because his old body in the 1069 00:57:34,240 --> 00:57:37,840 Speaker 1: future is now. They call it calcified, which I guess 1070 00:57:37,840 --> 00:57:40,160 Speaker 1: would mean it's like all made of bone. Now I 1071 00:57:40,200 --> 00:57:43,560 Speaker 1: guess like he just can't come back. His body's bad. Yeah, 1072 00:57:43,560 --> 00:57:45,200 Speaker 1: it looks bad. They show it on a slab and 1073 00:57:45,240 --> 00:57:48,640 Speaker 1: it's just all gross looking. Yeah. So he can only 1074 00:57:48,720 --> 00:57:51,680 Speaker 1: come back to the future in the TCL chamber and 1075 00:57:51,760 --> 00:57:54,120 Speaker 1: that lunar module thing or not learned to the command 1076 00:57:54,120 --> 00:57:56,760 Speaker 1: module thing. Uh, they're sending that back for him, otherwise 1077 00:57:56,760 --> 00:57:59,400 Speaker 1: he'll be stuck in the past forever. And then we 1078 00:57:59,440 --> 00:58:02,440 Speaker 1: get introduce us to this James Bond gadget we mentioned earlier, 1079 00:58:02,480 --> 00:58:05,600 Speaker 1: the long second watch, which slows time for like ten seconds. 1080 00:58:05,640 --> 00:58:08,600 Speaker 1: You can go into bullet time basically. Oh. And then 1081 00:58:08,760 --> 00:58:11,840 Speaker 1: there's a funny part where McNulty is like, hey, Rains, 1082 00:58:11,920 --> 00:58:14,360 Speaker 1: aren't you and Jack Death. You know you were formerly 1083 00:58:14,440 --> 00:58:16,840 Speaker 1: in love but you split up. Why would you want 1084 00:58:16,960 --> 00:58:21,200 Speaker 1: him back? And the implication there is that like, if 1085 00:58:21,520 --> 00:58:23,640 Speaker 1: if you discovered your ex was stuck in the past, 1086 00:58:23,720 --> 00:58:26,400 Speaker 1: you just leave them stuck in the past. But she's like, look, 1087 00:58:26,440 --> 00:58:28,680 Speaker 1: I can't leave him stuck in the past just because 1088 00:58:28,720 --> 00:58:30,600 Speaker 1: we have a history. We have to think about the 1089 00:58:30,640 --> 00:58:33,760 Speaker 1: future of the future. And uh oh, And they find 1090 00:58:33,760 --> 00:58:36,160 Speaker 1: out that Jack Death is going to get a seat 1091 00:58:36,240 --> 00:58:39,080 Speaker 1: on the council, which is very important somehow, but it's 1092 00:58:39,120 --> 00:58:42,439 Speaker 1: not really explained. I don't think the later someone says 1093 00:58:42,480 --> 00:58:45,320 Speaker 1: it's like becoming a king of the universe, so I 1094 00:58:45,320 --> 00:58:47,640 Speaker 1: guess it's really important. I don't know. Jack Death doesn't 1095 00:58:47,640 --> 00:58:50,240 Speaker 1: come off as like a really terrible person, but I 1096 00:58:50,240 --> 00:58:52,080 Speaker 1: don't know. If he comes he seems like the best 1097 00:58:52,160 --> 00:58:54,560 Speaker 1: choice for a king of the universe. I mean, he's 1098 00:58:54,560 --> 00:58:57,080 Speaker 1: anti establishment for the most part. You know, he's kind 1099 00:58:57,080 --> 00:59:00,360 Speaker 1: of a rogue cop. He doesn't need to be mayor 1100 00:59:00,440 --> 00:59:04,200 Speaker 1: the city right exactly. But one thing I noted when 1101 00:59:04,240 --> 00:59:07,120 Speaker 1: we were first watching this is that the exposition scene 1102 00:59:07,360 --> 00:59:09,720 Speaker 1: here at the beginning just sounds like a transcript of 1103 00:59:09,800 --> 00:59:13,120 Speaker 1: the pitch meeting. It's just somebody describing the like basically 1104 00:59:13,120 --> 00:59:16,600 Speaker 1: the concept of the movie. But then there was also 1105 00:59:16,640 --> 00:59:18,520 Speaker 1: a really funny part here I took a screen grab 1106 00:59:18,560 --> 00:59:21,280 Speaker 1: for you to look at, where while she's explaining everything 1107 00:59:21,400 --> 00:59:24,200 Speaker 1: to him, a technician and a lab coat comes up 1108 00:59:24,240 --> 00:59:27,320 Speaker 1: and just starts trying to undress McNulty, like reaches over 1109 00:59:27,400 --> 00:59:40,200 Speaker 1: to his coat and McNulty is very irritated. But anyway, Okay, 1110 00:59:40,200 --> 00:59:42,480 Speaker 1: so the action starts when we go back to the 1111 00:59:42,520 --> 00:59:46,560 Speaker 1: past where Jack Death and Helen Hunter driving around and 1112 00:59:46,600 --> 00:59:49,080 Speaker 1: they drive up to Happs house. Remember, Halp is the 1113 00:59:49,120 --> 00:59:52,080 Speaker 1: guy who he originally had to go back in time 1114 00:59:52,120 --> 00:59:55,640 Speaker 1: to protect because he's the ancestor of a future politician. 1115 00:59:56,080 --> 00:59:58,480 Speaker 1: And here I started noticing one of my one of 1116 00:59:58,480 --> 01:00:03,960 Speaker 1: my favorite type of awkward cinematography, which is regular dialogue 1117 01:00:03,960 --> 01:00:07,720 Speaker 1: scenes where there's nothing particularly intense going on, where the 1118 01:00:07,800 --> 01:00:12,240 Speaker 1: camera is way too close to the actors. Uh So, like, 1119 01:00:12,440 --> 01:00:15,280 Speaker 1: you know, a standard way of shooting dialogue between two characters, 1120 01:00:15,280 --> 01:00:19,040 Speaker 1: today's alternating cuts between what are usually called over the 1121 01:00:19,040 --> 01:00:22,200 Speaker 1: shoulder shots, so you shoot from roughly, you know, over 1122 01:00:22,240 --> 01:00:24,520 Speaker 1: the shoulder of where the other person in the conversation 1123 01:00:24,520 --> 01:00:26,320 Speaker 1: would be. You know, there are other choices you can 1124 01:00:26,320 --> 01:00:29,280 Speaker 1: make it. You know, it's an open art form. But 1125 01:00:30,120 --> 01:00:32,600 Speaker 1: a lot of times this movie will be cutting back 1126 01:00:32,600 --> 01:00:36,200 Speaker 1: and forth between people talking, and it's cutting between what 1127 01:00:36,360 --> 01:00:40,320 Speaker 1: is basically just extreme close ups of people's faces while 1128 01:00:40,360 --> 01:00:43,800 Speaker 1: they're talking, and the effect is very funny. I could 1129 01:00:43,840 --> 01:00:46,760 Speaker 1: screen cap many examples, but I just included one here 1130 01:00:46,840 --> 01:00:49,120 Speaker 1: for just Helen Hunt talking. I think she's talking about 1131 01:00:49,320 --> 01:00:51,680 Speaker 1: wanting to go house hunting. And it's like right up 1132 01:00:51,680 --> 01:00:55,120 Speaker 1: in her pores. Yeah, it's one thing if it's Richard Lynch, 1133 01:00:55,160 --> 01:00:59,600 Speaker 1: because Richard Lynch is generally saying intent villain stuff and 1134 01:00:59,720 --> 01:01:02,320 Speaker 1: stare harng into your soul when they're doing these close ups. 1135 01:01:02,360 --> 01:01:04,080 Speaker 1: But this is a scene where they're just talking about 1136 01:01:04,160 --> 01:01:07,120 Speaker 1: sort of side character stuff about how she really wants 1137 01:01:07,120 --> 01:01:09,080 Speaker 1: to settle down and get a house and he doesn't 1138 01:01:09,080 --> 01:01:11,080 Speaker 1: feel ready. Yeah, and then it cuts back to him 1139 01:01:11,120 --> 01:01:13,480 Speaker 1: and he's he's being kind of being a jerk about it. 1140 01:01:13,560 --> 01:01:15,360 Speaker 1: I don't want to spend a day with some pencil 1141 01:01:15,400 --> 01:01:18,000 Speaker 1: neck real estate agent going house hunting. But we're right 1142 01:01:18,080 --> 01:01:20,920 Speaker 1: up in his pores too, and they're just a mile wide, 1143 01:01:21,000 --> 01:01:24,320 Speaker 1: and it's wow, It's it's amazing. Another thing. So they 1144 01:01:24,360 --> 01:01:27,160 Speaker 1: get to Hap's house. Halp lives in this mansion which 1145 01:01:27,240 --> 01:01:33,000 Speaker 1: is hideous property where he's restoring an antique fire truck 1146 01:01:33,040 --> 01:01:35,280 Speaker 1: and I was wondering, is this something from the first movie? 1147 01:01:35,480 --> 01:01:40,320 Speaker 1: Was Happy in Transfers One a fire truck enthusiast happened 1148 01:01:40,320 --> 01:01:43,320 Speaker 1: the first movie was a former pro baseball player that 1149 01:01:43,440 --> 01:01:47,080 Speaker 1: is now um homeless, you know, in his you know, 1150 01:01:47,120 --> 01:01:50,440 Speaker 1: suffering from from alcoholism. And so in this they've sobered 1151 01:01:50,520 --> 01:01:53,320 Speaker 1: and sobered him up, and I don't remember it being 1152 01:01:53,360 --> 01:01:56,400 Speaker 1: explained why. But he's set up in this ugly mansion 1153 01:01:56,840 --> 01:02:01,520 Speaker 1: that's decorated like like like something a stereo typical divorced, 1154 01:02:01,520 --> 01:02:04,240 Speaker 1: middle aged dad would dream up where you know, you're 1155 01:02:04,280 --> 01:02:06,680 Speaker 1: storing a fire truck and there and everything. All the 1156 01:02:06,720 --> 01:02:11,160 Speaker 1: decoration inside the house is like fire trucks and baseball reabelia, 1157 01:02:11,320 --> 01:02:13,760 Speaker 1: and there's a big old bar in the center of everything, 1158 01:02:14,000 --> 01:02:17,360 Speaker 1: maximum Baseball. It's it's like the you know the concept 1159 01:02:17,400 --> 01:02:20,400 Speaker 1: of a man cave, but it's this entire mansion A 1160 01:02:20,480 --> 01:02:23,680 Speaker 1: better description, Yeah, it's it's full man cave mansion, and 1161 01:02:23,720 --> 01:02:27,800 Speaker 1: it's just ridiculous. He's got thirty six dart boards. Yeah. 1162 01:02:28,400 --> 01:02:29,960 Speaker 1: So I don't know where Happ got this money. But 1163 01:02:30,000 --> 01:02:33,400 Speaker 1: they're living with Hap, uh like kind of like looking 1164 01:02:33,440 --> 01:02:36,120 Speaker 1: after him as parents, I think, so. Yeah, yeah, which 1165 01:02:36,120 --> 01:02:38,360 Speaker 1: is especially funny. We'll get back to that in just 1166 01:02:38,440 --> 01:02:41,640 Speaker 1: a second. But uh, there there was also a funny exchange. 1167 01:02:41,840 --> 01:02:44,160 Speaker 1: So they're like, why did why did Jack Death come 1168 01:02:44,200 --> 01:02:45,840 Speaker 1: back to Happ's house? What are they doing here? I 1169 01:02:45,880 --> 01:02:47,840 Speaker 1: thought they were supposed to be on vacation or a 1170 01:02:47,840 --> 01:02:51,560 Speaker 1: honeymoon or something um, but he's like, Hap, I had 1171 01:02:51,560 --> 01:02:54,120 Speaker 1: to come back because I had a funny feeling. And 1172 01:02:54,160 --> 01:02:58,680 Speaker 1: then half goes no, no, not trancers again, Jack, and 1173 01:02:58,720 --> 01:03:01,720 Speaker 1: then it cuts to not dialogue in the scene, but 1174 01:03:01,960 --> 01:03:05,960 Speaker 1: voiceover of Jack death saying I've been having a strange feeling, 1175 01:03:06,280 --> 01:03:11,040 Speaker 1: the feeling I get when there are transfers around, just 1176 01:03:11,120 --> 01:03:15,080 Speaker 1: to make it clear. But then anyway, Lena Helen Hunt's 1177 01:03:15,160 --> 01:03:17,960 Speaker 1: character announces that she has to get Hap to bed. 1178 01:03:19,200 --> 01:03:21,320 Speaker 1: Why does Lena have to make Happy go to bed? 1179 01:03:21,520 --> 01:03:24,920 Speaker 1: It's like he's a child and their babysitting him just permanently. 1180 01:03:25,280 --> 01:03:27,720 Speaker 1: I mean, he looks like he's um in his late 1181 01:03:27,760 --> 01:03:31,560 Speaker 1: fifties or early sixties here. And yet they refer to 1182 01:03:31,640 --> 01:03:34,120 Speaker 1: this a couple of times in the movie that they 1183 01:03:34,160 --> 01:03:37,960 Speaker 1: are still kind of grooming this guy to eventually procreate, 1184 01:03:38,440 --> 01:03:41,200 Speaker 1: to produce the offspring that the world depends on, like 1185 01:03:41,360 --> 01:03:43,960 Speaker 1: the ancestor that ends up being the ruler of the 1186 01:03:44,000 --> 01:03:47,800 Speaker 1: future apparently has not been produced yet by this um, 1187 01:03:47,840 --> 01:03:50,760 Speaker 1: by this uh this specimen of a man here. Uh 1188 01:03:51,240 --> 01:03:54,080 Speaker 1: So I'm not really sure how that's gonna work out. Yeah, 1189 01:03:54,440 --> 01:03:56,960 Speaker 1: but I think they could have done an interesting sitcom 1190 01:03:57,000 --> 01:04:01,040 Speaker 1: with them essentially raising Hap. You know, I don't know 1191 01:04:01,080 --> 01:04:04,160 Speaker 1: Meet the deaths Um Death Family matters, I don't know 1192 01:04:04,440 --> 01:04:07,600 Speaker 1: very good. Yes, I would watch that sitcom, but this 1193 01:04:07,680 --> 01:04:09,920 Speaker 1: is the life they've created for them, but that life 1194 01:04:09,920 --> 01:04:13,479 Speaker 1: is about to be turned upside down by transfers. Oh wait, 1195 01:04:13,520 --> 01:04:15,880 Speaker 1: if it was the sitcom, Richard Lynch would become the 1196 01:04:15,960 --> 01:04:18,160 Speaker 1: arkle of it. He'd be like the nerdy next door 1197 01:04:18,200 --> 01:04:20,560 Speaker 1: neighbor who keeps showing up and he's like, look, I've 1198 01:04:20,600 --> 01:04:23,400 Speaker 1: figured out how to create transfers. Oh man, it would 1199 01:04:23,400 --> 01:04:26,480 Speaker 1: be the most intense Did I do that ever? Richard 1200 01:04:26,520 --> 01:04:30,480 Speaker 1: Lynch staring like straight into your bones? Did I do that? 1201 01:04:31,440 --> 01:04:33,640 Speaker 1: But then we cut to the next morning, and there's 1202 01:04:33,640 --> 01:04:35,960 Speaker 1: several things going on at the same time. One of them, 1203 01:04:35,960 --> 01:04:40,439 Speaker 1: I guess, is a conversation between Helen Hunt and Jack 1204 01:04:40,520 --> 01:04:43,600 Speaker 1: Death about house hunting. We sort of mentioned that already. 1205 01:04:43,640 --> 01:04:48,280 Speaker 1: But also there's just an immediate transfer attack. Landscaping company 1206 01:04:48,360 --> 01:04:51,760 Speaker 1: shows up. The camera lingers ominously on a guy with 1207 01:04:51,800 --> 01:04:54,240 Speaker 1: a shovel who's working in the yards. It's like, Wow, 1208 01:04:54,280 --> 01:04:56,600 Speaker 1: I wonder what's gonna happen. You think he's gonna be 1209 01:04:56,640 --> 01:05:00,400 Speaker 1: a transfer And then Hap goes out to be like Hey, 1210 01:05:00,440 --> 01:05:04,120 Speaker 1: you know, good job digging on the lawn, and and 1211 01:05:04,200 --> 01:05:07,360 Speaker 1: the guy immediately like his face works out and against 1212 01:05:07,360 --> 01:05:10,880 Speaker 1: these gross forked lightning veins coming down his cheeks. And 1213 01:05:10,920 --> 01:05:13,880 Speaker 1: also there's just random dirt on his forehead and some 1214 01:05:13,960 --> 01:05:17,400 Speaker 1: kind of dark liquid dripping out of his eyes. Yeah. 1215 01:05:17,480 --> 01:05:20,160 Speaker 1: They at this point a transfer has been triggered out 1216 01:05:20,160 --> 01:05:23,040 Speaker 1: of their like sleeper cell mode, and they're just full 1217 01:05:23,120 --> 01:05:27,080 Speaker 1: on maniacal attack mode. And then one of the interesting 1218 01:05:27,120 --> 01:05:31,400 Speaker 1: things is if the transfer is then killed with like 1219 01:05:31,440 --> 01:05:33,480 Speaker 1: a laser gun or in the first film or in 1220 01:05:33,520 --> 01:05:36,480 Speaker 1: this you know, just shot with normal ammunitions. Once they 1221 01:05:36,560 --> 01:05:40,880 Speaker 1: hit the ground, they will disintegrate and leave like a 1222 01:05:40,960 --> 01:05:44,400 Speaker 1: smoking outline of their body on the ground. Yeah. They 1223 01:05:44,480 --> 01:05:47,240 Speaker 1: turn into red lasers and disintegrate. Yeah. Yeah, And it's 1224 01:05:47,280 --> 01:05:50,280 Speaker 1: totally it's totally unexplained. Why why would this happen? I 1225 01:05:50,280 --> 01:05:52,320 Speaker 1: guess it has to do maybe I don't know, the 1226 01:05:52,320 --> 01:05:55,280 Speaker 1: psychic powers are somehow linked they create the transfers are 1227 01:05:55,320 --> 01:05:57,920 Speaker 1: linked to this idea of consciousness and time and I 1228 01:05:57,960 --> 01:06:00,440 Speaker 1: don't know. But anyway, so this is going on. The 1229 01:06:00,440 --> 01:06:04,360 Speaker 1: transfer attack happens while Jack Death and Lena are talking 1230 01:06:04,400 --> 01:06:06,920 Speaker 1: about wanting well Helen Hunt wants to buy a house, 1231 01:06:07,280 --> 01:06:09,360 Speaker 1: and Jack Death is being a jerk about it because 1232 01:06:09,360 --> 01:06:12,920 Speaker 1: he does not want to spend time touring homes. He's just, yeah, no, 1233 01:06:13,160 --> 01:06:15,520 Speaker 1: I don't want to. A lot of man child elements 1234 01:06:15,520 --> 01:06:17,760 Speaker 1: in this movie, yes, And then they're talking about it. 1235 01:06:17,760 --> 01:06:19,640 Speaker 1: I guess they sort of make up and they're talking 1236 01:06:19,680 --> 01:06:22,800 Speaker 1: about their future and they're kissing, and then Jack Death 1237 01:06:22,880 --> 01:06:26,360 Speaker 1: suddenly perks up is spidy, senses are going and he's 1238 01:06:26,400 --> 01:06:30,760 Speaker 1: like transfers, and so the landscaper Transer and his crew 1239 01:06:30,800 --> 01:06:35,000 Speaker 1: are trying to kill Halp, but Jack Death hilariously, it's 1240 01:06:35,040 --> 01:06:37,200 Speaker 1: like he riding in on a horse to save the day, 1241 01:06:37,240 --> 01:06:40,600 Speaker 1: but instead he drives up on them in a golf cart, 1242 01:06:40,840 --> 01:06:43,960 Speaker 1: steering with one hand and shooting with the other. And 1243 01:06:44,000 --> 01:06:46,640 Speaker 1: this was maybe my biggest laugh out loud moment of 1244 01:06:46,640 --> 01:06:49,680 Speaker 1: the movie. Very very strong, it's very very great and 1245 01:06:49,760 --> 01:06:52,160 Speaker 1: played like a lot of stuff in this film. Most 1246 01:06:52,200 --> 01:06:55,040 Speaker 1: of the things in this film played seriously, yes, which 1247 01:06:55,080 --> 01:06:58,440 Speaker 1: makes it work much better. So Jack Death defeats the 1248 01:06:58,440 --> 01:07:00,560 Speaker 1: Transcers and it's like, oh, I thought we dealt with 1249 01:07:00,600 --> 01:07:02,840 Speaker 1: all the transfers. I wonder if there's a new Whistler 1250 01:07:02,880 --> 01:07:07,680 Speaker 1: in the past. But immediately McNulty arrives in in his 1251 01:07:07,760 --> 01:07:11,920 Speaker 1: ancestors body on a bicycle and uh he there's a 1252 01:07:11,960 --> 01:07:15,200 Speaker 1: bunch more exposition explains all this stuff about time travel, 1253 01:07:15,280 --> 01:07:18,600 Speaker 1: basically rehashes a lot of what we learned earlier, explains 1254 01:07:18,640 --> 01:07:21,560 Speaker 1: about the TCL chamber. Uh. They end up setting up 1255 01:07:21,600 --> 01:07:24,840 Speaker 1: a tent in the yard to hide the time machine 1256 01:07:24,880 --> 01:07:28,120 Speaker 1: when it arrives from the future. I love it. Very 1257 01:07:28,200 --> 01:07:31,320 Speaker 1: very cheap move on the production. I like it. I'm 1258 01:07:31,360 --> 01:07:34,320 Speaker 1: not sure exactly what the quality was. It's something about 1259 01:07:34,400 --> 01:07:37,160 Speaker 1: her line delivery. But Rachel and I kept noticing that 1260 01:07:37,200 --> 01:07:40,960 Speaker 1: the actress who plays McNulty's ancestor, who who is good like, 1261 01:07:41,040 --> 01:07:44,520 Speaker 1: she's funny in this she has very all Garfield energy. 1262 01:07:44,800 --> 01:07:48,080 Speaker 1: I'm referring to an actress from sketching. I think you 1263 01:07:48,080 --> 01:07:52,600 Speaker 1: should leave. It's the sketch with the intervention for for 1264 01:07:52,680 --> 01:07:55,320 Speaker 1: Tim Robinson that's in the Garfield house, you know where 1265 01:07:55,360 --> 01:07:58,600 Speaker 1: she's saying like, yeah, but it's a total party house. Yeah. 1266 01:07:58,600 --> 01:07:59,880 Speaker 1: I had to look this back up that that's a 1267 01:08:00,160 --> 01:08:02,280 Speaker 1: it's a fun sketch. The actor I think you're referring 1268 01:08:02,280 --> 01:08:06,320 Speaker 1: to as Kate Berlant, who she's born, She's born eight seven, 1269 01:08:06,360 --> 01:08:10,800 Speaker 1: so she's actually younger than Transfers. One. Wow, she's very funny. 1270 01:08:10,800 --> 01:08:12,840 Speaker 1: And that sketch. By the way, we we quoted all 1271 01:08:12,880 --> 01:08:15,040 Speaker 1: the time, you kind of quote we were for the 1272 01:08:15,040 --> 01:08:16,760 Speaker 1: rest of the movie. We're kind of like pointing all 1273 01:08:16,800 --> 01:08:19,479 Speaker 1: around and you know, like she says, all Garfield as 1274 01:08:19,560 --> 01:08:22,360 Speaker 1: she points it out to her friends, it's like all Transfers. 1275 01:08:23,439 --> 01:08:26,920 Speaker 1: But anyway, so we get a transition to this whole 1276 01:08:26,960 --> 01:08:29,720 Speaker 1: other plot. And this whole other plot is unknown to 1277 01:08:30,000 --> 01:08:32,719 Speaker 1: Jack Death and Lena. Jack Death's wife from the future, 1278 01:08:32,760 --> 01:08:35,600 Speaker 1: Alice Stillwell, is also still in the past in the 1279 01:08:35,640 --> 01:08:39,000 Speaker 1: body of her ancestor, but she's trapped in this place 1280 01:08:39,120 --> 01:08:42,960 Speaker 1: run by Richard Lynch's people. It's this evil cult pseudo 1281 01:08:43,040 --> 01:08:47,920 Speaker 1: psychiatric hospital that is operated by new Whistlers goons. Yeah, 1282 01:08:47,960 --> 01:08:50,040 Speaker 1: and actually the plot element here is kind of fun. 1283 01:08:50,520 --> 01:08:52,679 Speaker 1: I thought, I thought, this is pretty creative. Is that 1284 01:08:53,280 --> 01:08:55,679 Speaker 1: since you you just kind of you know, quantum lead 1285 01:08:55,760 --> 01:08:58,000 Speaker 1: back in time to your ancestor in that the time 1286 01:08:58,040 --> 01:08:59,840 Speaker 1: period you're going to. Well, she was sent back to 1287 01:08:59,840 --> 01:09:03,080 Speaker 1: eight five, but as it turns out, her ancestor was 1288 01:09:03,680 --> 01:09:06,639 Speaker 1: in an in a mental institution at the time, so 1289 01:09:06,680 --> 01:09:10,519 Speaker 1: she instantly was was trapped in the institution, and uh, 1290 01:09:10,520 --> 01:09:12,840 Speaker 1: and I imagine it was I guess exasperated by her 1291 01:09:12,920 --> 01:09:15,519 Speaker 1: claiming they're acting like she was in herself. And then 1292 01:09:15,560 --> 01:09:17,479 Speaker 1: she wasn't able to get to her special watch with 1293 01:09:17,520 --> 01:09:20,760 Speaker 1: a long second. So she's just been lost this whole time. Yeah, 1294 01:09:20,880 --> 01:09:22,960 Speaker 1: so it's a it's a major bummer. And then we 1295 01:09:23,000 --> 01:09:26,760 Speaker 1: meet we meet several characters here, so she's trapped in there. 1296 01:09:26,840 --> 01:09:30,360 Speaker 1: We meet Rabbit. Anything else we need to say about Rabbit, No, 1297 01:09:30,439 --> 01:09:32,840 Speaker 1: I mean, you know Rabbit. At this point, also we 1298 01:09:32,880 --> 01:09:37,240 Speaker 1: meet the villains Martin Beswick and and uh, what's his name, 1299 01:09:37,320 --> 01:09:40,840 Speaker 1: Jeffrey Combs. They're just sitting around sort of uh, looking 1300 01:09:40,920 --> 01:09:44,639 Speaker 1: judgmentally at everyone. Now, obviously this is not a real 1301 01:09:44,720 --> 01:09:48,040 Speaker 1: psychiatric hospital providing care to its patients. That is basically 1302 01:09:48,040 --> 01:09:50,599 Speaker 1: a transfer factory that is being run by Richard Lynch, 1303 01:09:50,680 --> 01:09:53,519 Speaker 1: and they're playing TVs of him, creepy talking at the 1304 01:09:53,520 --> 01:09:56,400 Speaker 1: patients all night long. You know. Yeah, we we we 1305 01:09:56,479 --> 01:09:59,080 Speaker 1: come to learn that basically his scheme here in the 1306 01:09:59,080 --> 01:10:01,240 Speaker 1: first film, we learned you can't make a transfer out 1307 01:10:01,240 --> 01:10:04,799 Speaker 1: of like a strong wheelled person. In order for Whistler 1308 01:10:04,880 --> 01:10:07,200 Speaker 1: or Whistler's brother to use their psychic power to turn 1309 01:10:07,240 --> 01:10:10,040 Speaker 1: you into this this zombie like thrall. You have to 1310 01:10:10,240 --> 01:10:13,160 Speaker 1: you have to be kind of, uh, you know, of 1311 01:10:13,200 --> 01:10:16,400 Speaker 1: a weakened state mentally. And so this whole operation, this 1312 01:10:16,479 --> 01:10:20,760 Speaker 1: transfer factory, transfer farm, is about weakening people, uh like, 1313 01:10:20,840 --> 01:10:24,639 Speaker 1: mentally with pharmaceuticals, we find out later, so that then 1314 01:10:24,680 --> 01:10:27,800 Speaker 1: he can easily control them and easily manipulate them and 1315 01:10:27,840 --> 01:10:32,080 Speaker 1: create like a transfer army. Yeah exactly. So Alice stages 1316 01:10:32,160 --> 01:10:35,559 Speaker 1: an escape from this facility while the orderly rabbit is 1317 01:10:35,600 --> 01:10:38,439 Speaker 1: busy having a midnight rendezvous with another orderly who I 1318 01:10:38,439 --> 01:10:41,120 Speaker 1: guess is his girlfriend. They're like hanging out to uh, 1319 01:10:41,160 --> 01:10:45,360 Speaker 1: to drink vodka mixed with orange soda just looks pretty gross. 1320 01:10:45,680 --> 01:10:47,240 Speaker 1: I don't know. Maybe that's a drink some people have. 1321 01:10:47,280 --> 01:10:51,000 Speaker 1: I don't know it was. I mean, I guess it 1322 01:10:51,040 --> 01:10:52,800 Speaker 1: depends on the orange soda. Maybe you've got a nice 1323 01:10:52,800 --> 01:10:55,400 Speaker 1: orange soda. Oh yeah, I guess. I don't think it 1324 01:10:55,479 --> 01:10:57,880 Speaker 1: looked like one of those, like really neon, you know, 1325 01:10:57,920 --> 01:11:01,839 Speaker 1: the traffic cone orange soda the perfect cocktail for drinking 1326 01:11:01,920 --> 01:11:05,280 Speaker 1: on the job in a broom closet at an unlicensed 1327 01:11:05,479 --> 01:11:08,479 Speaker 1: mental institution run by a cold leader, Right, so they're 1328 01:11:08,520 --> 01:11:10,479 Speaker 1: planning I guess, to drink on the job and and 1329 01:11:10,520 --> 01:11:14,240 Speaker 1: do no good, but they get interrupted by Alice's breakout, 1330 01:11:14,320 --> 01:11:18,920 Speaker 1: and then everybody gives chase uh and then Alice eventually 1331 01:11:19,880 --> 01:11:22,880 Speaker 1: she escapes I think actually multiple times, but at some 1332 01:11:22,920 --> 01:11:26,599 Speaker 1: point she discovers the time machine the TCL chamber. It's 1333 01:11:26,640 --> 01:11:30,040 Speaker 1: in a barn somewhere, but then she has captured and 1334 01:11:30,080 --> 01:11:33,040 Speaker 1: taken back to Whistler House, and then we cut back 1335 01:11:33,080 --> 01:11:36,160 Speaker 1: to our Our main character is Jack Death McNulty or 1336 01:11:36,280 --> 01:11:39,920 Speaker 1: McNulty in his ancestors body, Helen Hunt. They're all hanging 1337 01:11:39,960 --> 01:11:42,160 Speaker 1: around in this tent they've put up on the yard 1338 01:11:42,160 --> 01:11:45,000 Speaker 1: where they're supposed to receive the time machine, but there's 1339 01:11:45,000 --> 01:11:47,400 Speaker 1: a problem because it doesn't actually show up. They just 1340 01:11:47,439 --> 01:11:50,040 Speaker 1: get the door of it. So they obviously need to 1341 01:11:50,160 --> 01:11:53,439 Speaker 1: connect with Alice because she knows where the rest of 1342 01:11:53,479 --> 01:11:56,840 Speaker 1: the time machine is, and so they're standing around and 1343 01:11:56,880 --> 01:11:59,720 Speaker 1: then there's also just tons of This movie has a 1344 01:11:59,800 --> 01:12:03,880 Speaker 1: lot of scenes of characters explaining to each other things 1345 01:12:03,920 --> 01:12:08,559 Speaker 1: that the audience already knows from previous explaining scenes. But 1346 01:12:08,680 --> 01:12:10,559 Speaker 1: one of the funny things is in the scene you 1347 01:12:10,600 --> 01:12:13,640 Speaker 1: get to see the characters react, so McNulty explains to 1348 01:12:13,880 --> 01:12:17,280 Speaker 1: Jack Death and Helen Hunt that his wife is back 1349 01:12:17,280 --> 01:12:21,040 Speaker 1: here in the present, and the an incredulous Helen Hunt 1350 01:12:21,160 --> 01:12:23,160 Speaker 1: is like, you have a wife. I thought she was 1351 01:12:23,240 --> 01:12:26,360 Speaker 1: dead and he's like, no, honey, I can explain she's 1352 01:12:26,360 --> 01:12:28,559 Speaker 1: dead in the future, but now she's alive in the past, 1353 01:12:29,000 --> 01:12:32,439 Speaker 1: which again was very funny. Um. But they yeah, they 1354 01:12:32,479 --> 01:12:34,680 Speaker 1: need her help to figure out where the time machine is, 1355 01:12:34,720 --> 01:12:38,200 Speaker 1: so they're trying to look into that. Meanwhile, Jack Death 1356 01:12:38,240 --> 01:12:42,240 Speaker 1: goes to investigate the landscaping company who sent trancers to 1357 01:12:42,320 --> 01:12:46,400 Speaker 1: HAPs house, and at first they deny knowing anything. They're like, no, 1358 01:12:46,520 --> 01:12:48,640 Speaker 1: I don't know. I think somebody stole our truck. That 1359 01:12:48,720 --> 01:12:51,200 Speaker 1: must have been them, not us. So we meet this 1360 01:12:51,320 --> 01:12:54,040 Speaker 1: red haired, burly guy with a beard, and then a 1361 01:12:54,040 --> 01:12:57,800 Speaker 1: forklift operator named Ramon who has an awesome outfit. He 1362 01:12:57,800 --> 01:13:00,800 Speaker 1: has like this striped sort of like what do you 1363 01:13:00,800 --> 01:13:04,240 Speaker 1: call the two third length sleeve T shirt with stripes, 1364 01:13:04,280 --> 01:13:06,600 Speaker 1: and it's tucked into his pants with a belt and 1365 01:13:06,640 --> 01:13:10,679 Speaker 1: he's got cool boots. Um. And so I love Ramon 1366 01:13:10,800 --> 01:13:12,960 Speaker 1: and his outfit and I really wanted him to stick around. 1367 01:13:13,000 --> 01:13:16,599 Speaker 1: But alas like most other characters you meet, turns out 1368 01:13:16,600 --> 01:13:19,280 Speaker 1: to be a transfer. Yeah. I'd say. One of the 1369 01:13:19,680 --> 01:13:22,280 Speaker 1: big flaws in these films, uh, and that didn't really 1370 01:13:22,320 --> 01:13:24,680 Speaker 1: take away from me enjoyment is that transfers are not 1371 01:13:24,760 --> 01:13:28,120 Speaker 1: really scary. They look kind of kind of dumb, agreed. 1372 01:13:28,160 --> 01:13:30,920 Speaker 1: But so the transfers attack him. There's a great forklift 1373 01:13:31,000 --> 01:13:33,080 Speaker 1: fight scene where they like pin him to a bunch 1374 01:13:33,120 --> 01:13:35,920 Speaker 1: of two by fours with a forklift, but he uses 1375 01:13:36,040 --> 01:13:38,559 Speaker 1: his long second watch to sort of get around behind 1376 01:13:38,600 --> 01:13:41,680 Speaker 1: them and defeat the transfers. Yeah, gotta work in the 1377 01:13:42,080 --> 01:13:44,800 Speaker 1: use of the gadget. But eventually, after all this, they 1378 01:13:45,120 --> 01:13:49,000 Speaker 1: find out that the transfer, the Evil Transfer Factory, hospital, 1379 01:13:49,120 --> 01:13:51,960 Speaker 1: and the landscaping company I think are actually all run 1380 01:13:52,080 --> 01:13:55,840 Speaker 1: by the same organization, which is Richard Lynch's organization, which 1381 01:13:55,880 --> 01:14:01,280 Speaker 1: is Green World, a sadistic environment, a list transfer cult. 1382 01:14:01,880 --> 01:14:05,160 Speaker 1: And Helen Hunt does online research on her computer. Again 1383 01:14:05,240 --> 01:14:08,639 Speaker 1: this is so I don't know about this, but she's 1384 01:14:08,640 --> 01:14:12,360 Speaker 1: on her computer reading articles to discover that the director 1385 01:14:12,640 --> 01:14:16,400 Speaker 1: of the bad organization, the Green World, is one e 1386 01:14:16,680 --> 01:14:19,040 Speaker 1: d Wardo. And this is where they do the doctor 1387 01:14:19,120 --> 01:14:22,439 Speaker 1: aculum moment where they put everything together. Um. But also 1388 01:14:22,520 --> 01:14:25,320 Speaker 1: she's describing the organization Green World and she's like, they 1389 01:14:25,320 --> 01:14:29,920 Speaker 1: sell organic cookies that kind of thing. Yeah, and yeah. 1390 01:14:29,920 --> 01:14:33,599 Speaker 1: The more we learn about Wardo's operation, it's it's, it's it's. 1391 01:14:33,840 --> 01:14:36,519 Speaker 1: I ended up enjoying this this quite a bit, having 1392 01:14:36,520 --> 01:14:40,920 Speaker 1: a nice cult leader madman situation and that VHS tape 1393 01:14:40,960 --> 01:14:43,479 Speaker 1: that they keep playing where he's like using this to 1394 01:14:43,600 --> 01:14:47,000 Speaker 1: mind warp the thralls, it's it's actually, it's really good. 1395 01:14:47,040 --> 01:14:49,000 Speaker 1: It has this uh this loop to it where he's 1396 01:14:49,000 --> 01:14:52,880 Speaker 1: saying things like you belong in a green world. Oh yeah, yeah, yeah, 1397 01:14:52,960 --> 01:14:55,840 Speaker 1: and he when he gets interviewed by Barbara Crampton on 1398 01:14:55,920 --> 01:14:59,320 Speaker 1: TV later, it's hilarious because he's saying these things that 1399 01:14:59,360 --> 01:15:02,160 Speaker 1: are just viously evil, but she's like, oh that's nice. 1400 01:15:02,320 --> 01:15:05,160 Speaker 1: He's like, you know, we bring people to our facility 1401 01:15:05,200 --> 01:15:10,759 Speaker 1: and we cleanse them. Yeah. Those those via those scenes 1402 01:15:10,800 --> 01:15:13,840 Speaker 1: with the there are two of them from that interview. 1403 01:15:14,080 --> 01:15:15,680 Speaker 1: Those are some of my think my favorite parts of 1404 01:15:15,680 --> 01:15:17,960 Speaker 1: the film. And I think there's if there any DJs 1405 01:15:17,960 --> 01:15:20,680 Speaker 1: out there and you want some cool cryptic samples to 1406 01:15:20,720 --> 01:15:23,280 Speaker 1: put into your mix, look to this film and look 1407 01:15:23,320 --> 01:15:26,320 Speaker 1: to those scenes where um Wardo is talking of UH 1408 01:15:26,360 --> 01:15:28,559 Speaker 1: to the TV host, because there's there's some fun stuff 1409 01:15:28,600 --> 01:15:32,800 Speaker 1: in there. There's also a getting ready to fight montage 1410 01:15:32,920 --> 01:15:34,680 Speaker 1: not montage, I don't know what you call it. Like 1411 01:15:34,680 --> 01:15:37,200 Speaker 1: the scene in the movie where like the hero suits up. 1412 01:15:37,280 --> 01:15:39,519 Speaker 1: Often they'll like put on their gun belt or something, 1413 01:15:39,800 --> 01:15:41,880 Speaker 1: but in this movie, it's not putting on the gun belt. 1414 01:15:41,960 --> 01:15:45,720 Speaker 1: It's it's Jack Death slicking his hair back. Yeah, that's 1415 01:15:45,720 --> 01:15:48,120 Speaker 1: one of his signature moves. They they they have that 1416 01:15:48,160 --> 01:15:49,760 Speaker 1: in the first film to where the first one of 1417 01:15:49,760 --> 01:15:52,320 Speaker 1: the first things he does when he inhabits his ancestors 1418 01:15:52,360 --> 01:15:54,960 Speaker 1: body is to find a nice uh like tin a 1419 01:15:55,040 --> 01:15:58,280 Speaker 1: palm aide and start greasing back. He's a dapper dan man, 1420 01:15:58,640 --> 01:16:02,400 Speaker 1: he is, so Jack Death. Eventually, a bunch of stuff happens. 1421 01:16:02,479 --> 01:16:05,760 Speaker 1: Jack Teath eventually ends up rescuing his other wife from 1422 01:16:05,760 --> 01:16:08,720 Speaker 1: the future from the Green World facility. Uh. It's kind 1423 01:16:08,720 --> 01:16:10,640 Speaker 1: of funny. He like rescues her while she's on like 1424 01:16:10,680 --> 01:16:13,400 Speaker 1: a gurney and he like just loads the whole thing 1425 01:16:13,479 --> 01:16:16,519 Speaker 1: into his corvette while she's still attached to it um 1426 01:16:16,600 --> 01:16:19,479 Speaker 1: and then he unstraps her later after like they escape 1427 01:16:19,520 --> 01:16:22,200 Speaker 1: from the bad guys. But then there's this hilarious dialogue 1428 01:16:22,240 --> 01:16:24,800 Speaker 1: when they talk things through. It's like, are you who 1429 01:16:24,840 --> 01:16:27,479 Speaker 1: I think you are? Are you who? I think you are? 1430 01:16:28,000 --> 01:16:31,080 Speaker 1: Still well, Alice b And then he goes, welcome to 1431 01:16:31,120 --> 01:16:39,560 Speaker 1: old California, Alice, I'm your husband, Jack Death. Yeah, yeah, ah, 1432 01:16:39,760 --> 01:16:42,960 Speaker 1: it's so stupid as kind of sweet it is. It's again, 1433 01:16:42,960 --> 01:16:46,000 Speaker 1: it's it's such a man boy movie in so many ways, 1434 01:16:46,040 --> 01:16:49,800 Speaker 1: but but it's too dumb and good hearted to really offend. Yeah. Well, 1435 01:16:49,840 --> 01:16:52,400 Speaker 1: A bunch of the middle section of the movie is 1436 01:16:52,400 --> 01:16:56,800 Speaker 1: concerned with basically two subplots. One is the time wives subplot, 1437 01:16:57,320 --> 01:17:00,960 Speaker 1: which is this marriage conflict because Helen Hunt, it seems, 1438 01:17:01,080 --> 01:17:03,040 Speaker 1: is not a fan of the fact that Jack Death 1439 01:17:03,120 --> 01:17:06,320 Speaker 1: now has two wives at the same time. And Jack 1440 01:17:06,360 --> 01:17:09,080 Speaker 1: Death's reaction to the situation, it's just this kind of 1441 01:17:09,439 --> 01:17:13,040 Speaker 1: I don't know, he's kind of furrowing his eyebrows, inexpressibly 1442 01:17:13,200 --> 01:17:15,879 Speaker 1: frustrated and but at the same time kind of passive 1443 01:17:16,000 --> 01:17:18,479 Speaker 1: with this, like what am I supposed to do? Kind 1444 01:17:18,479 --> 01:17:23,040 Speaker 1: of attitude. Um, and his future wife keeps kissing him 1445 01:17:23,120 --> 01:17:26,479 Speaker 1: and he's clearly into it, and Helen Hunt doesn't like this. 1446 01:17:26,880 --> 01:17:29,200 Speaker 1: I think it seems clear that Jack Death would like 1447 01:17:29,320 --> 01:17:32,080 Speaker 1: if he could to marry both women. Yeah, I don't know. 1448 01:17:32,200 --> 01:17:34,240 Speaker 1: I was I was trying to think deep and hard 1449 01:17:34,280 --> 01:17:36,680 Speaker 1: about this, and like maybe it's you know, it's kind 1450 01:17:36,680 --> 01:17:38,640 Speaker 1: of like Jack Death is unstuck in time, you know, 1451 01:17:38,760 --> 01:17:41,360 Speaker 1: like he's you know, it's not so much as like 1452 01:17:41,760 --> 01:17:43,720 Speaker 1: she was my wife and you are my wife now, 1453 01:17:43,760 --> 01:17:45,680 Speaker 1: it's like you were both my wives and different. I 1454 01:17:45,720 --> 01:17:50,080 Speaker 1: don't know, once you start traveling around in time. There's 1455 01:17:50,120 --> 01:17:52,360 Speaker 1: a really great scene. This is one of the funny 1456 01:17:52,360 --> 01:17:56,040 Speaker 1: ones where Helen Hunt is like forced to deliver absolutely 1457 01:17:56,080 --> 01:17:59,160 Speaker 1: absurd dialogue. There's a long one here where she has 1458 01:17:59,200 --> 01:18:01,599 Speaker 1: a scene with Jack Death and she's saying, I've had 1459 01:18:01,640 --> 01:18:03,760 Speaker 1: to handle a lot being married to someone from the 1460 01:18:03,800 --> 01:18:08,840 Speaker 1: future Jack but two wives. And eventually there's also a 1461 01:18:08,880 --> 01:18:12,040 Speaker 1: confrontation between them where Alice from the future is telling 1462 01:18:12,080 --> 01:18:15,800 Speaker 1: Helen Hunt that, you know, basically she needs to step aside. Uh, 1463 01:18:15,800 --> 01:18:19,200 Speaker 1: and she's like, he needs me to defeat Wardo. I'm 1464 01:18:19,240 --> 01:18:21,600 Speaker 1: a transfer Hunter. All you bring to the party is 1465 01:18:21,640 --> 01:18:25,200 Speaker 1: stuff for Jack to worry about. And so eventually Helen 1466 01:18:25,280 --> 01:18:27,879 Speaker 1: Hunt leaves, she's had enough of this time wive's confusion, 1467 01:18:27,880 --> 01:18:29,760 Speaker 1: and as she's about to leave, Alice says to her, 1468 01:18:29,840 --> 01:18:32,120 Speaker 1: I'm sorry, Lena, but you should have known better than 1469 01:18:32,160 --> 01:18:36,240 Speaker 1: to get involved with a man from the future again. No, 1470 01:18:36,439 --> 01:18:40,480 Speaker 1: Helen Hunt is great in these scenes. Yeah, she's believable 1471 01:18:40,920 --> 01:18:44,240 Speaker 1: in these scenes with all this ridiculous dialogue. She I 1472 01:18:44,240 --> 01:18:46,519 Speaker 1: mean she she is a really good actress, and she 1473 01:18:46,520 --> 01:18:48,720 Speaker 1: she sells it in a great way. She does not 1474 01:18:48,840 --> 01:18:52,320 Speaker 1: do a great job I think of convincingly portraying being 1475 01:18:52,360 --> 01:18:55,840 Speaker 1: in love with Jack death, well yeah, maybe not maybe 1476 01:18:55,920 --> 01:18:59,080 Speaker 1: not that, but about everything else, don't know. It's a 1477 01:18:59,120 --> 01:19:02,680 Speaker 1: tall order there. But then okay, So then there's another thing, 1478 01:19:02,720 --> 01:19:05,559 Speaker 1: which is that hap uh. They keep talking about how 1479 01:19:05,600 --> 01:19:09,200 Speaker 1: he's getting back on quote the sauce, and so he 1480 01:19:09,200 --> 01:19:12,719 Speaker 1: he begins drinking again and as a result of drinking, 1481 01:19:12,840 --> 01:19:16,360 Speaker 1: he gets he gets baseball itis. Like he he becomes 1482 01:19:16,360 --> 01:19:20,720 Speaker 1: obsessed with playing baseball, and so he starts like he 1483 01:19:20,760 --> 01:19:23,360 Speaker 1: buys a bunch of liquor for a bunch of homeless 1484 01:19:23,360 --> 01:19:26,040 Speaker 1: guys and starts playing baseball with them, and they have 1485 01:19:26,080 --> 01:19:29,000 Speaker 1: to go find him and retrieve him. Yeah. Yeah, it's 1486 01:19:29,840 --> 01:19:33,320 Speaker 1: it's ridiculous but kind of funny at times. I don't know, 1487 01:19:33,600 --> 01:19:36,840 Speaker 1: hard to decide where I stand on it, but they 1488 01:19:36,880 --> 01:19:38,640 Speaker 1: go for it. So one of the best parts of 1489 01:19:38,640 --> 01:19:40,880 Speaker 1: the movie, as we mentioned, is when when e d 1490 01:19:41,160 --> 01:19:44,400 Speaker 1: Wardo goes on the Sadie Brady Show with Barbara Crampton 1491 01:19:44,720 --> 01:19:47,840 Speaker 1: and it's like this talk show where she's giving these 1492 01:19:48,200 --> 01:19:50,760 Speaker 1: I don't know, well, I so many funny things about it. 1493 01:19:50,840 --> 01:19:54,559 Speaker 1: Number one, they're sitting in rolling office chairs with like 1494 01:19:54,800 --> 01:19:58,400 Speaker 1: you know, the casters on the bottom. Another thing is 1495 01:19:58,520 --> 01:20:02,479 Speaker 1: that Richard, So she asks questions like what do you 1496 01:20:02,520 --> 01:20:05,599 Speaker 1: say to allegations that, you know, Green World is kidnapping 1497 01:20:05,640 --> 01:20:08,680 Speaker 1: people and turning them into mindless zombies. And he's like, 1498 01:20:08,760 --> 01:20:11,840 Speaker 1: many people have had their lives destroyed by pollution. In 1499 01:20:11,880 --> 01:20:15,400 Speaker 1: our detox centers, we cleanse and purify these individuals. We 1500 01:20:15,479 --> 01:20:17,439 Speaker 1: give them a new mission in life so they can 1501 01:20:17,479 --> 01:20:21,559 Speaker 1: help us cleanse and purify the planet. It sounds legit, right, 1502 01:20:24,560 --> 01:20:26,880 Speaker 1: But so that's on TV and at some point Jack 1503 01:20:26,960 --> 01:20:30,040 Speaker 1: Death is watching that at the house and then it 1504 01:20:30,080 --> 01:20:32,720 Speaker 1: cuts away from The Sadie Brady Show to show a 1505 01:20:32,760 --> 01:20:36,479 Speaker 1: trailer for Robot Jocks, except it's a movie called Crash 1506 01:20:36,520 --> 01:20:39,200 Speaker 1: and Burn. Yeah, I believe this is This is a 1507 01:20:39,280 --> 01:20:42,400 Speaker 1: follow up to Robot Jocks that was directed by Charles 1508 01:20:42,400 --> 01:20:46,880 Speaker 1: band Um came out in n so he he It's 1509 01:20:46,920 --> 01:20:49,000 Speaker 1: not just a subtle trailer it's like a straight up 1510 01:20:49,040 --> 01:20:52,240 Speaker 1: here's the trailer. I think we we mentioned this one 1511 01:20:52,280 --> 01:20:55,040 Speaker 1: in passing when we talked about Robot Jocks, because this 1512 01:20:55,080 --> 01:20:59,360 Speaker 1: is the sequel that has Bill Moseley in it. Oh okay, yeah, yeah, yeah. 1513 01:20:59,520 --> 01:21:01,479 Speaker 1: Now I think from here on out, I think maybe 1514 01:21:01,479 --> 01:21:03,880 Speaker 1: our our summary should become a little more cursory, because 1515 01:21:04,040 --> 01:21:07,280 Speaker 1: so as not to spoil everything. But they they realize, 1516 01:21:07,280 --> 01:21:10,599 Speaker 1: of course, that Richard Lynch is growing drugs from the 1517 01:21:10,640 --> 01:21:14,760 Speaker 1: future in his greenhouse, and these drugs are called scrub sight. 1518 01:21:14,880 --> 01:21:16,880 Speaker 1: I don't know how you spell scurb. I tried s 1519 01:21:16,960 --> 01:21:19,280 Speaker 1: K E R B. What do you think sounds good 1520 01:21:19,280 --> 01:21:21,519 Speaker 1: to me? These are the drugs he uses to make 1521 01:21:21,560 --> 01:21:24,960 Speaker 1: his transfer army. And eventually Helen Hunt, of course, is 1522 01:21:25,040 --> 01:21:28,080 Speaker 1: kidnapped by Richard Lynch and taken to green World for 1523 01:21:28,560 --> 01:21:31,840 Speaker 1: let's say, in the parlance of Halloween three final processing, 1524 01:21:32,640 --> 01:21:35,719 Speaker 1: and they have to stay to rescue mission. Everybody gets 1525 01:21:35,720 --> 01:21:37,760 Speaker 1: there to bust out Helen Hunt. Oh, and they also 1526 01:21:37,840 --> 01:21:40,960 Speaker 1: end up escaping with Rabbit, who takes their side, but 1527 01:21:41,040 --> 01:21:44,519 Speaker 1: who is tragically killed in the getaway. And when Rabbit died, 1528 01:21:44,600 --> 01:21:46,760 Speaker 1: I think I cried out. I was like, no, you 1529 01:21:46,920 --> 01:21:50,160 Speaker 1: can't do that to Rabbit. I mean, at one level, 1530 01:21:50,200 --> 01:21:52,040 Speaker 1: we know he's going to be back in the Full 1531 01:21:52,080 --> 01:21:54,559 Speaker 1: Moon universe. But I also like to think that that 1532 01:21:54,840 --> 01:21:57,479 Speaker 1: in the future they will realize that Rabbit made the 1533 01:21:57,600 --> 01:22:01,320 Speaker 1: ultimate sacrifice to save them, and so Rabbit will There'll 1534 01:22:01,360 --> 01:22:06,400 Speaker 1: be just massive statues of Rabbit smiling maniacally. Yeah, but 1535 01:22:06,439 --> 01:22:08,559 Speaker 1: this is all leading to the final battle of course, 1536 01:22:08,560 --> 01:22:11,040 Speaker 1: the final showdown. Right. They end up in the barn 1537 01:22:11,200 --> 01:22:13,439 Speaker 1: that is housing the time machine that can send the 1538 01:22:13,439 --> 01:22:17,080 Speaker 1: physical body back to the future because because Alice from 1539 01:22:17,120 --> 01:22:19,840 Speaker 1: the Future knew where that was. There's a big shootout 1540 01:22:19,960 --> 01:22:22,960 Speaker 1: final scene there. There's in a kind of fun way. 1541 01:22:23,080 --> 01:22:25,160 Speaker 1: I don't think this final battle is all that great, 1542 01:22:25,240 --> 01:22:28,960 Speaker 1: except that low Tech saves the day. Like they end 1543 01:22:29,040 --> 01:22:31,800 Speaker 1: up sort of defeating the transfers with like a tractor 1544 01:22:31,800 --> 01:22:34,560 Speaker 1: and a pitchfork and things like that. Yeah, for for 1545 01:22:34,600 --> 01:22:37,439 Speaker 1: a final battle between time cops and a zombie thrall 1546 01:22:37,520 --> 01:22:41,680 Speaker 1: creating psychic Mastermind and his guns. It's it's pretty straightforward. 1547 01:22:42,120 --> 01:22:44,479 Speaker 1: But then there's sort of time travel to the rescue 1548 01:22:44,520 --> 01:22:47,120 Speaker 1: at the end. They use the Da s X Machina 1549 01:22:47,200 --> 01:22:49,880 Speaker 1: of time travel. Actually, you know what, to be fair, 1550 01:22:49,920 --> 01:22:51,920 Speaker 1: it's not a day six Marchina, because it's set up 1551 01:22:51,920 --> 01:22:53,519 Speaker 1: by the rest of the film. It's not like out 1552 01:22:53,600 --> 01:22:56,320 Speaker 1: of nowhere. They use the mechanics of time travel to 1553 01:22:56,439 --> 01:22:59,439 Speaker 1: resolve the character tension, because what's it going to be? 1554 01:22:59,479 --> 01:23:01,640 Speaker 1: You know, Jack Death has has two wives, and he 1555 01:23:01,720 --> 01:23:03,800 Speaker 1: kind of wants to be married to both wives. But 1556 01:23:03,920 --> 01:23:06,599 Speaker 1: ultimately he decides, no, I'm only going to stay married 1557 01:23:06,680 --> 01:23:09,519 Speaker 1: to Helen Hunt, to my wife from the from the past, 1558 01:23:09,960 --> 01:23:12,040 Speaker 1: and I'm going to stay here in the past and 1559 01:23:12,160 --> 01:23:15,719 Speaker 1: Alice his wife in the future. She's going to instead 1560 01:23:15,760 --> 01:23:19,400 Speaker 1: of serum ng back into her original body in the 1561 01:23:19,439 --> 01:23:23,000 Speaker 1: future and then getting murdered, she's going to travel into 1562 01:23:23,000 --> 01:23:27,519 Speaker 1: the future in the TCL chamber in her body so 1563 01:23:27,600 --> 01:23:30,000 Speaker 1: that she can't be murdered, uh, in the way that 1564 01:23:30,040 --> 01:23:32,559 Speaker 1: she originally would have been. Though that would seem to 1565 01:23:32,560 --> 01:23:36,559 Speaker 1: create a paradox because if she something in this film 1566 01:23:36,600 --> 01:23:39,519 Speaker 1: creates a paradox because if she travels back to the 1567 01:23:39,520 --> 01:23:45,920 Speaker 1: future in that body, how can that body become her ancestor? Yeah, yeah, absolutely, yes, yes, 1568 01:23:47,120 --> 01:23:49,920 Speaker 1: this is the Transferors franchise. I think is very much 1569 01:23:49,960 --> 01:23:54,479 Speaker 1: a paradox free time travel system where again you have 1570 01:23:54,680 --> 01:23:57,720 Speaker 1: it's gonna be fine and it's all going to work out. 1571 01:23:58,720 --> 01:24:01,639 Speaker 1: I don't think too hard about In fact, I think 1572 01:24:01,680 --> 01:24:03,400 Speaker 1: I think he even says something to that effect. At 1573 01:24:03,400 --> 01:24:05,479 Speaker 1: one point. He's like, it'll work out fine. Somebody has 1574 01:24:05,479 --> 01:24:07,840 Speaker 1: a question about time traveling, is like, it's fine, it works. 1575 01:24:07,920 --> 01:24:10,519 Speaker 1: It works. If you're wondering how they eat and breathe 1576 01:24:10,520 --> 01:24:14,519 Speaker 1: and other science facts, you know, it's it's transfers. Just relax, 1577 01:24:17,400 --> 01:24:20,920 Speaker 1: all right, Well that's transfers to. I myself look forward 1578 01:24:20,920 --> 01:24:24,400 Speaker 1: to watching Transfers three. Who knows what'll it'll it'll consist of. 1579 01:24:24,760 --> 01:24:27,519 Speaker 1: I think we're gonna go deep into the transfer sequels 1580 01:24:27,560 --> 01:24:29,720 Speaker 1: and you know what, if they're worthy of discussion, we 1581 01:24:29,760 --> 01:24:32,960 Speaker 1: will discuss them. Yeah. Otherwise maybe I'll mention it in passing. 1582 01:24:33,000 --> 01:24:36,560 Speaker 1: I don't know. We'll see um. Now, you might be 1583 01:24:36,640 --> 01:24:41,719 Speaker 1: wondering where can I see transfers and transfers to? For myself, well, 1584 01:24:42,080 --> 01:24:44,920 Speaker 1: I will say that the full Moon Features channel is 1585 01:24:45,160 --> 01:24:47,720 Speaker 1: a great hook up in this department. You can subscribe 1586 01:24:47,720 --> 01:24:51,160 Speaker 1: to this on iPhone, Apple, TV, Android, Roku, Xbox One, 1587 01:24:51,760 --> 01:24:54,759 Speaker 1: all the things. Plus it's also a channel on Prime. 1588 01:24:54,880 --> 01:24:57,760 Speaker 1: That's how I ended up watching it. Uh, full Moon 1589 01:24:58,080 --> 01:24:59,880 Speaker 1: is not a sponsor. I want to be clear on that, 1590 01:25:00,439 --> 01:25:02,760 Speaker 1: just telling you how you can potentially watch the movie. Um. 1591 01:25:03,120 --> 01:25:06,360 Speaker 1: Transfers too is also highly available for digital renter purchase 1592 01:25:06,680 --> 01:25:09,760 Speaker 1: as well as on Blu ray and Joe, Where did 1593 01:25:09,760 --> 01:25:11,960 Speaker 1: you watch this? Uh? This gym of the film? Oh? 1594 01:25:12,080 --> 01:25:15,080 Speaker 1: I watched this on to be all right, so you 1595 01:25:15,080 --> 01:25:17,720 Speaker 1: can go to be and watch it as well. At 1596 01:25:17,760 --> 01:25:21,200 Speaker 1: one point, Full Moon put out Transfers the Ultimate Death Collection, 1597 01:25:21,240 --> 01:25:24,439 Speaker 1: which was a five disc set that did not include 1598 01:25:24,439 --> 01:25:27,120 Speaker 1: Transfer six because I guess it wasn't out yet. But 1599 01:25:27,400 --> 01:25:29,680 Speaker 1: one thing, say what you will about Full Moon. They 1600 01:25:30,040 --> 01:25:33,160 Speaker 1: get the product out there, they make it available. Uh, 1601 01:25:33,160 --> 01:25:36,960 Speaker 1: they're even like remastering stuff. I noticed. So um, Full 1602 01:25:36,960 --> 01:25:39,280 Speaker 1: Moon fans are in luck. Okay, if they want me 1603 01:25:39,280 --> 01:25:41,559 Speaker 1: on the hook for Transfer seven, I'm gonna need some 1604 01:25:41,600 --> 01:25:44,559 Speaker 1: of the cast of Transfers to return. I think Helen 1605 01:25:44,600 --> 01:25:47,599 Speaker 1: Hunt should come back, you know why not? I mean, yeah, 1606 01:25:47,840 --> 01:25:49,800 Speaker 1: she didn't need to come back at this point, But 1607 01:25:50,240 --> 01:25:52,320 Speaker 1: what if they if they got a good enough screenplay together, 1608 01:25:52,680 --> 01:25:56,720 Speaker 1: which could happen you know, yeah, it could work. She 1609 01:25:56,720 --> 01:25:58,800 Speaker 1: could even be the main transfer. We don't I mean, 1610 01:25:58,840 --> 01:26:00,400 Speaker 1: I don't know what happens to her character. Again, I 1611 01:26:00,439 --> 01:26:03,479 Speaker 1: haven't seen three yet or the subsequent films. But with 1612 01:26:03,520 --> 01:26:08,080 Speaker 1: time travel, anything is possible. You know, whatever you need 1613 01:26:08,240 --> 01:26:11,360 Speaker 1: in the Transfers Universe verse can be provided by the 1614 01:26:11,439 --> 01:26:15,240 Speaker 1: multiple paradox free time travel systems in place. What if 1615 01:26:15,280 --> 01:26:18,639 Speaker 1: one of her descendants becomes a villain in the future 1616 01:26:18,800 --> 01:26:21,479 Speaker 1: and then has to has to see them back into 1617 01:26:21,560 --> 01:26:24,320 Speaker 1: her body to be a villain in the past. Sure, 1618 01:26:25,080 --> 01:26:27,800 Speaker 1: let's do it. Think that's that's my pitch. If that 1619 01:26:27,840 --> 01:26:33,360 Speaker 1: wasn't already Transfers for death and taxes? Yes, all right, obviously, 1620 01:26:33,320 --> 01:26:35,320 Speaker 1: we'd love to hear from everyone out there. Did uh? 1621 01:26:35,840 --> 01:26:37,479 Speaker 1: You know? Have you seen the Transfers films? Did you 1622 01:26:37,479 --> 01:26:38,960 Speaker 1: watch the first any? I would love to hear from 1623 01:26:38,960 --> 01:26:41,080 Speaker 1: someone who saw Transfers one in the theater? What was 1624 01:26:41,160 --> 01:26:43,720 Speaker 1: that like? Do you remember seeing these these films in 1625 01:26:43,760 --> 01:26:47,599 Speaker 1: your your video rental store? What? What are some death 1626 01:26:47,640 --> 01:26:52,800 Speaker 1: related titles you can imagine for sequels and TV sitcom spinoffs? Uh, 1627 01:26:53,000 --> 01:26:55,559 Speaker 1: we'd love for you to share all of that with us. Uh. 1628 01:26:55,600 --> 01:26:57,200 Speaker 1: In the meantime, if you want to check out other 1629 01:26:57,200 --> 01:26:59,360 Speaker 1: episodes of Weird House Cinema, you will find it every 1630 01:26:59,360 --> 01:27:02,080 Speaker 1: Friday in the Stuff to Blow your Mind podcast feed 1631 01:27:02,439 --> 01:27:04,519 Speaker 1: Friday is the day when we we you know, we 1632 01:27:05,040 --> 01:27:08,280 Speaker 1: enjoy weird movies and we we we geek out on 1633 01:27:08,320 --> 01:27:11,880 Speaker 1: them excessively. The rest of the time we're science podcasts, 1634 01:27:11,920 --> 01:27:13,840 Speaker 1: our core episodes of Stuff to Blow Your Mind on 1635 01:27:13,880 --> 01:27:16,839 Speaker 1: Tuesday and Thursday. We have a short form artifact episode 1636 01:27:16,880 --> 01:27:19,519 Speaker 1: on Wednesdays and Monday. That's a listener mail where we 1637 01:27:19,560 --> 01:27:24,080 Speaker 1: talk about things you've written in to us about regarding 1638 01:27:24,320 --> 01:27:26,960 Speaker 1: all the shows, huge things as always to our excellent 1639 01:27:26,960 --> 01:27:29,760 Speaker 1: audio producer Seth Nicholas Johnson. If you would like to 1640 01:27:29,760 --> 01:27:31,879 Speaker 1: get in touch with us with feedback on this episode 1641 01:27:31,920 --> 01:27:34,160 Speaker 1: or any other to suggest topic for the future, just 1642 01:27:34,240 --> 01:27:36,800 Speaker 1: to say hello, you can email us at contact at 1643 01:27:36,880 --> 01:27:46,400 Speaker 1: stuff to blow your Mind dot com. Stuff to Blow 1644 01:27:46,439 --> 01:27:49,000 Speaker 1: your Mind is production of I Heart Radio. For more 1645 01:27:49,000 --> 01:27:51,599 Speaker 1: podcasts for my heart Radio, visit the i heart Radio app, 1646 01:27:51,800 --> 01:27:54,519 Speaker 1: Apple Podcasts, or wherever you listen to your favorite shows.