WEBVTT - Top 5 Spider-Man Scenes | #1074 0:00:21.244 --> 0:00:24.604 Film Spotting is presented by Regal Unlimited, the all you 0:00:24.645 --> 0:00:27.565 can watch movie subscription pass that pays for itself in 0:00:27.685 --> 0:00:31.365 just two visits. See any standard two D movie anytime 0:00:31.725 --> 0:00:34.845 with no blackoutdates or restrictions. Sign up now on the 0:00:34.885 --> 0:00:37.245 Regal app or at the link in our description and 0:00:37.445 --> 0:00:41.685 use code film spot twenty six to receive fifteen percent off. 0:00:42.805 --> 0:00:45.284 What kind of a show you guys putting on here today? 0:00:45.405 --> 0:00:46.524 You're not interested in art? 0:00:46.685 --> 0:00:48.364 Now? No, Look, we're going to do this thing. 0:00:48.364 --> 0:00:48.964 We're going to have a. 0:00:48.965 --> 0:00:54.764 Conversation from Chicago. This is film Spotting. I'm Adam Kembinar 0:00:54.965 --> 0:00:56.084 and I'm Josh Larson. 0:00:56.444 --> 0:01:04.085 You are amazing. Some people don't think so, but you 0:01:04.164 --> 0:01:08.765 are nice style am Do I get to say thank you? 0:01:08.804 --> 0:01:09.324 This time? 0:01:09.804 --> 0:01:13.285 With the world's Spidey sense activated, Marvel's brand new Day 0:01:13.365 --> 0:01:16.164 opens this weekend. We take a look back at twenty 0:01:16.205 --> 0:01:19.045 five years of the Web Slinger on screen with our 0:01:19.084 --> 0:01:20.925 top five Spider Man scenes. 0:01:21.365 --> 0:01:24.884 With no Power comes Great Responsibility, Let's go with that. 0:01:24.885 --> 0:01:27.325 That more ahead on film Spotting. 0:01:34.205 --> 0:01:37.565 Welcome to film Spotting, Josh. We are back from our 0:01:37.685 --> 0:01:43.124 Odysseus review standalone review and our Odyssean Like Adventure, our 0:01:43.205 --> 0:01:46.965 annual trek up to Spring Green and American Players Theater 0:01:47.125 --> 0:01:49.765 saw some great theater, got to hang out with Sam 0:01:49.885 --> 0:01:52.405 on the Wisconsin River, not quite as treacherous as what 0:01:52.445 --> 0:01:53.684 Odysseus had to put up with. 0:01:54.165 --> 0:01:56.965 It wasn't we made it. We survived. No one drifted away. 0:01:57.045 --> 0:01:59.725 I think that's the main danger on that slow river 0:01:59.885 --> 0:02:01.925 is you're not paying attention and before you know it, 0:02:01.965 --> 0:02:04.805 you're one hundred yards down. But that is such a 0:02:04.805 --> 0:02:08.285 beautiful place, and it had been a couple of years 0:02:08.325 --> 0:02:10.245 since Debbie and I were able to get up there 0:02:10.285 --> 0:02:12.484 with you all, so it was so good to be back. 0:02:12.525 --> 0:02:16.125 A lot, a lot had changed all of our kids. 0:02:16.645 --> 0:02:19.365 It's like we're walking around mostly with adults now. Yes, 0:02:20.365 --> 0:02:24.325 and a lot had changed. Apt still doing wonderful theater. 0:02:24.525 --> 0:02:29.325 I think Casey and Diana was maybe the best, certainly 0:02:29.365 --> 0:02:32.245 one of the best productions we've seen I've seen since 0:02:32.245 --> 0:02:35.244 we've been there. And uh, yeah, it was good. 0:02:35.285 --> 0:02:35.845 It was a good time. 0:02:35.845 --> 0:02:38.524 It already feels like it was a month or two ago, 0:02:38.565 --> 0:02:40.244 but I know that's how the summers work. 0:02:40.285 --> 0:02:43.205 I guess it really does. And if you really do 0:02:43.285 --> 0:02:45.404 want to see what it was like on the Wisconsin River. Yes, 0:02:45.405 --> 0:02:48.325 we did post a picture on the Film Spotting and 0:02:48.445 --> 0:02:51.005 Larsen on film social media. Is you got some fine 0:02:51.005 --> 0:02:54.244 feedback on your hat, Josh. Always always play it safe, 0:02:54.245 --> 0:02:58.364 safety first, be prepared. Yes. Later in the show, we 0:02:58.405 --> 0:03:00.285 will have a new poll for you asking you to 0:03:00.445 --> 0:03:04.165 name the definitive Spider Man movie. I am eager to 0:03:04.204 --> 0:03:08.764 see those results. Maybe it will break out along generational lines, Josh, 0:03:08.924 --> 0:03:12.285 maybe it won't. We have a reminder that Film Spotting 0:03:12.325 --> 0:03:14.925 is available as a video podcast. You can watch us 0:03:14.924 --> 0:03:18.605 talk over at YouTube dot com slash film Spotting. We 0:03:18.644 --> 0:03:22.924 are anticipating Spider Man and New Day. This is a film, Josh, 0:03:22.924 --> 0:03:26.405 that you did just see. I believe a night or 0:03:26.445 --> 0:03:29.445 two ago you were able to get to the critic 0:03:29.525 --> 0:03:32.765 screening in Chicago. I am seeing it this weekend. We 0:03:32.805 --> 0:03:35.285 do plan to talk about it next week here on 0:03:35.325 --> 0:03:40.725 Film Spotting. So anticipatory programming, we thought why not look 0:03:40.765 --> 0:03:45.005 back at this entire I was going to say cycle, 0:03:45.005 --> 0:03:48.765 but there's been so many iterations and different studios making movies. 0:03:48.805 --> 0:03:50.165 Of course, we're going to look back at all of 0:03:50.165 --> 0:03:52.045 these Spider Man movies and see if we can cull 0:03:52.125 --> 0:03:55.525 together our individual top five lists. I anticipated that we 0:03:55.565 --> 0:03:58.765 would have some overlap, and it seems that we do, 0:03:59.205 --> 0:04:02.925 and that's fine. I am eager to see where we 0:04:03.045 --> 0:04:05.525 fall on these films and where we fall in terms 0:04:05.525 --> 0:04:08.525 of why we like these individual scenes. So we will 0:04:08.565 --> 0:04:10.925 get to that as we make our way through our list. 0:04:10.965 --> 0:04:15.605 We have our top five Spider Man scenes. Any preface 0:04:16.005 --> 0:04:18.245 to your list, just. 0:04:18.245 --> 0:04:20.885 That this was way easier for me than our super 0:04:21.165 --> 0:04:25.485 Man Moments list, which we just did last summer, and 0:04:25.965 --> 0:04:28.885 the main reason for that. Spider Man has always been 0:04:29.405 --> 0:04:32.005 my superhero. If I were asked to pick the one 0:04:32.045 --> 0:04:36.725 that I followed the longest, been most enamored with, and 0:04:37.205 --> 0:04:39.964 you know I mentioned before on the show, I think 0:04:40.045 --> 0:04:41.445 that when I was a kid, this is who I 0:04:41.445 --> 0:04:43.284 wanted to be, This is who I pretended to be. 0:04:44.245 --> 0:04:47.325 It worked out well that for whatever reason, climbing was 0:04:47.365 --> 0:04:51.325 my thing as a kid. You name it, trees, jungle, gyms, sheds, 0:04:51.765 --> 0:04:53.724 if you could climb, it was I was trying to 0:04:53.765 --> 0:04:58.085 do that. And after seeing Spider Man, yeah, I added 0:04:58.085 --> 0:05:00.244 the walls of our home to that list and would 0:05:00.284 --> 0:05:03.245 try to be Spider Man to my mom's sugar in 0:05:04.245 --> 0:05:08.564 This is probably done while wearing my Spider Man under Rus, 0:05:09.005 --> 0:05:11.285 which I know have been mentioned on the show before. 0:05:11.325 --> 0:05:13.005 Do you think we need to explain under Rus to 0:05:13.365 --> 0:05:14.645 younger generations at this point? 0:05:14.725 --> 0:05:17.685 Adam, It's sad because I don't think they make him anymore, right, 0:05:17.844 --> 0:05:19.565 And they were wonderful. 0:05:19.765 --> 0:05:23.964 They were amazing. Yeah, they late seventies, early eighties, I 0:05:24.005 --> 0:05:28.964 think meant sort of as pajamas or underwear. If yeah, 0:05:29.005 --> 0:05:32.804 they met a T shirt, a T shirt top matching 0:05:32.885 --> 0:05:37.885 bottoms in your favorite superheroes costume. Essentially, what more could 0:05:38.045 --> 0:05:40.765 you know a seven eight year old want. I mean, 0:05:40.805 --> 0:05:44.005 it was just wonderful. So yeah, definitely had spider Man 0:05:44.165 --> 0:05:49.005 under Rus. And I think this was interesting compared to Superman, 0:05:49.325 --> 0:05:51.365 where I had to do a lot of research and 0:05:51.925 --> 0:05:54.245 kind of bring myself up to speed on the history 0:05:54.245 --> 0:05:57.404 of this character. When we talked about doing this list, 0:05:58.045 --> 0:06:02.005 immediately four scenes came to mind, just right in the 0:06:02.045 --> 0:06:04.245 first conversation I had with you know, with family and 0:06:04.725 --> 0:06:07.164 to my head as well. That's rare for me for 0:06:07.245 --> 0:06:09.165 a top five. You know, I'll have one or two 0:06:09.725 --> 0:06:12.845 maybe depending on the topic. And I ended up just 0:06:12.885 --> 0:06:16.484 sticking with those four. I you know, considered others, gave 0:06:16.525 --> 0:06:18.765 it some more thought, but it was one of those 0:06:18.765 --> 0:06:22.604 instances where if it's you know, pop culture personal like this, 0:06:22.844 --> 0:06:25.445 you kind of have to go with what hits you first. 0:06:25.565 --> 0:06:27.404 And then I did a little bit of searching for 0:06:27.485 --> 0:06:30.245 what could be my number five and I wound up 0:06:30.284 --> 0:06:33.005 being a moment that a listener reminded me of that 0:06:34.005 --> 0:06:35.445 I'm happy to make as a pick as well. I 0:06:35.445 --> 0:06:37.724 think it's a great pick. So yeah, this was a 0:06:37.725 --> 0:06:38.125 fun one. 0:06:38.165 --> 0:06:40.765 Basically, I will get into this a little bit more 0:06:40.805 --> 0:06:44.205 as we get into the lists. I did have to 0:06:44.205 --> 0:06:46.805 do one piece of homework. I don't know that I 0:06:46.844 --> 0:06:49.205 should have done this homework, Josh, but I had to 0:06:49.205 --> 0:06:52.085 do one piece of homework because as I was preparing, 0:06:52.685 --> 0:06:55.645 I got a little nervous. I thought, despite my love 0:06:55.925 --> 0:06:59.244 for Spider Man, and I think we've accurately dated ourselves 0:06:59.245 --> 0:07:01.845 here and everyone is clear. But we didn't grow up 0:07:01.885 --> 0:07:04.285 with Spider Man movies. We grew up with Spider Man 0:07:04.365 --> 0:07:07.685 the comic book. We grew up with Spider Man TV shows, 0:07:07.765 --> 0:07:11.205 the animated cartoons, Justice League. So Spider Man was a 0:07:11.245 --> 0:07:16.005 big part of our childhoods. But Superman. We had Superman 0:07:16.245 --> 0:07:20.605 the movie that was the that was the originator of 0:07:20.645 --> 0:07:23.725 a lot of these comic book superhero movies, and that was, 0:07:23.765 --> 0:07:26.605 of course the first one we saw. So I think 0:07:26.645 --> 0:07:28.845 I was a lot like you and that I immediately 0:07:28.925 --> 0:07:32.245 became obsessed with Superman. But then Spider Man came in, 0:07:32.285 --> 0:07:36.485 and there was something about the playfulness of Spider Man. 0:07:36.805 --> 0:07:40.925 There was something about for me, there was the strength 0:07:41.125 --> 0:07:43.445 despite the fact that he was such a live figure, 0:07:43.845 --> 0:07:48.165 but he was so strong, he was so powerful that 0:07:48.165 --> 0:07:50.085 that is something that appealed to me. And who didn't 0:07:50.165 --> 0:07:53.325 want for whatever reason? What was it about web slinging 0:07:53.405 --> 0:07:56.085 that just seems so cool? You just wanted to be 0:07:56.125 --> 0:07:59.605 able to do it because it was it was shooting 0:07:59.685 --> 0:08:03.445 something which as young boys you have to admit we're 0:08:03.525 --> 0:08:07.285 drawn to for whatever reason. But it wasn't It wasn't destructive, 0:08:07.965 --> 0:08:10.285 it wasn't it was a hyper aggressive. 0:08:10.405 --> 0:08:12.485 I think that's it. And part of it is, you know, 0:08:12.565 --> 0:08:15.965 I can remember too, just like swings, just swinging on 0:08:16.565 --> 0:08:18.325 or the like the swing that just had the disc 0:08:18.405 --> 0:08:20.845 on the bottom, so there was a single rope. You know, 0:08:21.285 --> 0:08:23.325 I would rarely be sitting on that, I would be 0:08:23.405 --> 0:08:25.645 hanging on it. And this was probably influenced by seeing 0:08:25.685 --> 0:08:28.765 the Spider Man cartoon or something like that. I think 0:08:28.925 --> 0:08:31.445 as we got a little older, Indiana Jones played into 0:08:31.485 --> 0:08:34.365 this swimming from the whip. Yeah right, It's all sort 0:08:34.365 --> 0:08:38.925 of this same motion that we gravitated towards, and then 0:08:38.965 --> 0:08:42.085 you see this superhero doing it and it's like, oh man. 0:08:42.685 --> 0:08:47.005 I was worried though, because I was thinking we didn't 0:08:47.045 --> 0:08:51.405 even review, or we avoided for a long time reviewing 0:08:52.165 --> 0:08:54.645 one of the last Spider Man movies with Tom Holland, 0:08:54.725 --> 0:08:58.045 and I knew or I was pretty certain I hadn't 0:08:58.085 --> 0:09:00.245 seen at least one of the Andrew Garfield There are 0:09:00.245 --> 0:09:02.645 only two. I knew I hadn't seen at least one 0:09:02.645 --> 0:09:04.245 of the Andrew Garfield movies, and I thought it was 0:09:04.325 --> 0:09:07.525 possible I hadn't seen both of them because I couldn't 0:09:07.564 --> 0:09:10.285 remember either of them. So I'm sitting here going, am 0:09:10.285 --> 0:09:11.645 I just not going to bring up the fact that 0:09:11.684 --> 0:09:13.765 we're doing a top five Spider Man scenes and I 0:09:13.804 --> 0:09:17.084 don't think I've seen like three of these ten movies 0:09:17.205 --> 0:09:21.845 or something. I'm straining credulity here. And then I did 0:09:21.845 --> 0:09:25.285 the research and I realized that I have seen all 0:09:25.325 --> 0:09:28.445 of these movies we did talk about, I think almost 0:09:28.525 --> 0:09:31.804 all of them on the show. The only exception, including 0:09:31.804 --> 0:09:34.805 the Amazing Spider Man the first Garfield Stone that was 0:09:34.885 --> 0:09:37.045 reviewed on the show, and I did see it, just 0:09:37.125 --> 0:09:40.805 have no recollection of it. The only one I did 0:09:40.845 --> 0:09:45.204 not see was the Amazing Spider Man two. So the second, 0:09:45.965 --> 0:09:50.325 the second one with Garfield and Stone rough. I did 0:09:50.325 --> 0:09:53.285 that homework, Josh, and it will come up. It will 0:09:53.285 --> 0:09:55.285 come up in the context of this top five. But no, 0:09:55.365 --> 0:09:58.245 it did not make it did not make my top five. 0:09:58.285 --> 0:10:00.365 I will just leave it at that. So now I 0:10:00.405 --> 0:10:02.365 have now seen all of them. I'm a completist. 0:10:02.804 --> 0:10:06.165 Good on you, good for doing your due diligence. I 0:10:06.205 --> 0:10:08.085 look forward to your letterboxed ranking soon. 0:10:08.804 --> 0:10:13.245 Yes, that is coming next. So let's go ahead and 0:10:13.365 --> 0:10:16.485 jump in your number five Spider Man scene. 0:10:16.605 --> 0:10:20.564 So yeah, this suggestion comes from a longtime listener, Jonathan Anderson, 0:10:20.765 --> 0:10:24.605 and and it comes from Spider Man two, directed by 0:10:25.365 --> 0:10:29.605 Sam Raimie. It's Spider Man being lifted by the crowd 0:10:29.765 --> 0:10:35.405 in the train, and I think that particular moment is 0:10:35.485 --> 0:10:38.925 my pick, the lifting and carrying him, But it works 0:10:38.965 --> 0:10:43.204 because it's prefaced by this great action sequence that Raimi stages. 0:10:43.765 --> 0:10:48.125 They're directly connected. So Toby Maguire here, Spider man's at 0:10:48.165 --> 0:10:50.925 the front of this elevated train, high up above the city. 0:10:50.965 --> 0:10:53.365 It's careening out of control toward the end of the track, 0:10:53.804 --> 0:10:56.765 which essentially the track just ends there, and so if 0:10:56.804 --> 0:11:00.525 you go past it, essentially like a cliff spider. Tries 0:11:00.525 --> 0:11:03.845 a couple of things to stop it, eventually casting webs 0:11:03.925 --> 0:11:06.645 onto the buildings on either side of the tracks and 0:11:06.684 --> 0:11:08.525 then holding them with his arms as he's at the 0:11:08.645 --> 0:11:11.765 very front, kind of turning himself into this human break, 0:11:13.645 --> 0:11:18.965 and the effort nearly kills him. So this is when 0:11:19.005 --> 0:11:23.125 the train stops. He succeeded, but he's completely exhausted and 0:11:23.285 --> 0:11:27.964 loses consciousness and almost falls forward off the platform, and 0:11:27.965 --> 0:11:30.485 that's when the passenger's hands. So the people who are 0:11:30.485 --> 0:11:32.485 in the car they reach out of the broken windows 0:11:32.485 --> 0:11:35.005 at the front of the train, just one and then another, 0:11:35.085 --> 0:11:37.964 another another, and they kind of grab him and hold 0:11:38.005 --> 0:11:41.204 him there, catch him, they save him, and then they 0:11:41.205 --> 0:11:43.684 bring him into the car, pass him over their heads 0:11:43.725 --> 0:11:45.844 to the back of the train where they lay him down. 0:11:46.285 --> 0:11:49.445 He doesn't have his mask on, and so a man observes, 0:11:49.645 --> 0:11:51.405 I think this speaks to a little bit of what 0:11:51.445 --> 0:11:53.565 you were talking about, Adam, about why were we so 0:11:53.684 --> 0:11:57.645 drawn to this character. A man says, he's just a kid, 0:11:57.804 --> 0:12:03.285 just a kid. He's just a kid, and all of them, 0:12:03.325 --> 0:12:07.125 my son and I think as kids too. Obviously a teenager, 0:12:07.165 --> 0:12:10.045 but still like this was different than Superman, who was 0:12:10.085 --> 0:12:12.085 not only an adult but like an alien. Right, this 0:12:12.205 --> 0:12:15.125 is a kid. So in the scene he does revive 0:12:15.325 --> 0:12:17.285 and then a couple of really little kids they hand 0:12:17.365 --> 0:12:19.245 him his mask and you know, promise we won't tell 0:12:19.285 --> 0:12:23.765 anybody here. There's that contract between Spider Man and the 0:12:23.845 --> 0:12:27.045 people that he protects, and I think that's what this 0:12:27.085 --> 0:12:31.525 whole sequence really speaks to the intimate relationship that this 0:12:31.605 --> 0:12:36.005 particular superhero has to the people he's protecting. And I 0:12:36.045 --> 0:12:37.885 do think this scene. I like how they set it 0:12:37.965 --> 0:12:41.485 up where during that whole action portion, as Spider Man 0:12:41.564 --> 0:12:44.845 is trying different things to get the train to stop, 0:12:44.965 --> 0:12:47.325 some of the passengers kind of get snarky with him, 0:12:47.445 --> 0:12:50.205 like what didn't work, and there's a back and forth. 0:12:50.245 --> 0:12:53.645 So there's already been this connection established. These aren't just 0:12:53.645 --> 0:12:58.085 faceless victims basically, and it made me wonder, I wonder 0:12:58.125 --> 0:13:01.325 if if Spider Man is the superhero who people in 0:13:01.405 --> 0:13:05.405 the story feel the closest to, almost on a personal level. 0:13:05.445 --> 0:13:07.605 I mean, he is the friendly neighborhood Spider Man, right, 0:13:07.645 --> 0:13:12.444 it's right there, And I do think there's something unique, 0:13:12.485 --> 0:13:15.565 maybe there's someone I'm forgetting about that where these aren't. 0:13:15.684 --> 0:13:19.605 You know, people talk about superheroes being the contemporary, modern 0:13:19.725 --> 0:13:23.365 day mythical guy odds, and a lot of times that's 0:13:23.405 --> 0:13:27.085 how we think of them, right, these superior beings, but 0:13:27.125 --> 0:13:29.564 not in the case of Spider Man, and a key 0:13:29.605 --> 0:13:32.125 portion of that is the relationship he has with the 0:13:32.125 --> 0:13:37.445 people on the streets that he walks and serves. So yeah, 0:13:37.485 --> 0:13:39.525 I think that's I think it's a great pick of Jonathan's. 0:13:39.564 --> 0:13:42.405 Definitely one of my favorite scenes among all the movies. 0:13:42.485 --> 0:13:43.925 So I'm gonna start there. 0:13:44.525 --> 0:13:47.085 That would have been one of the top three or 0:13:47.085 --> 0:13:49.885 four that immediately came to mind for me, and that 0:13:49.925 --> 0:13:52.005 I would have I would have said, am I going 0:13:52.045 --> 0:13:54.684 with this because it it in a way seemed obvious 0:13:54.684 --> 0:13:56.565 to me, and I mean obvious just because it was 0:13:56.645 --> 0:13:58.805 one of the first ones I thought of. Am I 0:13:59.005 --> 0:14:02.525 Am I giving enough thought to this for me? Or 0:14:02.605 --> 0:14:06.525 is this a greatest hit? And it has to be 0:14:06.645 --> 0:14:09.525 considered Josh and I am giving it an honorable mention. 0:14:10.045 --> 0:14:12.765 It is a moving scene. And you're right about the 0:14:12.804 --> 0:14:16.444 intimate relationship between Spider Man and the city and its 0:14:16.485 --> 0:14:19.364 citizens is such a crucial part of these films. Obviously, 0:14:19.485 --> 0:14:22.925 the whole saga I don't know, and I'd love to 0:14:22.925 --> 0:14:26.365 hear from some New Yorkers on this. I don't know 0:14:26.405 --> 0:14:30.605 as I rewatch scenes whether or not the way New 0:14:30.685 --> 0:14:35.325 Yorkers are depicted is one of the strengths of these films. 0:14:35.765 --> 0:14:40.205 It definitely seems to for comedic reasons. It seems to 0:14:40.805 --> 0:14:43.365 resort to the most obvious cliches. 0:14:44.085 --> 0:14:47.725 My guess is people would say the Spider Verse movies 0:14:47.765 --> 0:14:50.765 get this the closest, yes, is what I would think. 0:14:50.845 --> 0:14:56.285 That's probably that's probably it's cartoonish. Otherwise, though, so that imagery, 0:14:56.565 --> 0:15:01.125 which which seems almost like Christ's imagery obviously, with him 0:15:01.245 --> 0:15:04.885 being held aloft with his with his arms out as 0:15:04.925 --> 0:15:08.565 he's being taken back in is really a stunning image. 0:15:08.605 --> 0:15:11.165 That line about him being just a kid is one 0:15:11.205 --> 0:15:14.165 that sticks with you. And the last thing I'll say 0:15:14.285 --> 0:15:17.965 is that even in the really bad Spider Man movies 0:15:18.445 --> 0:15:20.965 and some of these films that we considered are bet 0:15:22.485 --> 0:15:26.045 there are moments like that. Maybe not on that level, 0:15:26.245 --> 0:15:27.925 that's why this one's on your list and why it's 0:15:27.925 --> 0:15:31.165 an honorable mention for me. But but every every one 0:15:31.205 --> 0:15:34.885 of these movies gives you at least one visual moment 0:15:35.045 --> 0:15:37.325 like that, that that you can that you can take 0:15:37.365 --> 0:15:40.525 away from it. And and that's maybe that's why something 0:15:40.565 --> 0:15:43.525 about Spider Man and these films at least stays in 0:15:43.565 --> 0:15:46.205 our imagination and why we want to do lists like 0:15:46.245 --> 0:15:52.645 this one. My number five is one that involves dialogue 0:15:52.925 --> 0:15:57.445 and no no great imagery, Josh, unless you consider a 0:15:57.485 --> 0:16:02.445 couple of really effectively deployed close ups, and I suppose 0:16:02.725 --> 0:16:05.125 I will. I'm gonna start with a Spider Man scene 0:16:05.125 --> 0:16:08.725 that doesn't involve anyone in a Spider Man suit, nor 0:16:08.805 --> 0:16:12.445 anyone in any kind of superhero or super villain suit 0:16:12.525 --> 0:16:16.365 at all. There's certainly no cgi. There's no spectacle to 0:16:16.485 --> 0:16:21.685 it whatsoever, unless you consider watching Michael Keaton perform on 0:16:21.805 --> 0:16:27.885 screen a spectacle. When I think of these Tom holland 0:16:28.365 --> 0:16:32.005 mcu Spider Man movies, the scene that I have to 0:16:32.045 --> 0:16:34.205 admit is most memorable for me. It's not any of 0:16:34.285 --> 0:16:37.245 these big show stopping action sequences, and it's still a 0:16:37.285 --> 0:16:42.485 treat to watch. It's the dad talk between Keaton's Adrian 0:16:42.525 --> 0:16:47.885 Tombs and Holland's Peter Parker when he's taken his daughter 0:16:48.205 --> 0:16:50.565 out on a date and they're in the back seat 0:16:50.605 --> 0:16:56.005 together as Keaton's Vulture is chauffeuring them around, and he 0:16:56.085 --> 0:16:59.445 has put together what Peter has already put together, having 0:16:59.485 --> 0:17:02.125 recognized him because he doesn't wear a mask, that he 0:17:02.325 --> 0:17:06.085 is the villain, he's the bad guy. But here Adrian's 0:17:06.285 --> 0:17:10.125 putting it together that through some of the conversation that 0:17:10.205 --> 0:17:13.885 Peter Parker, his daughter's date, is in fact his nemesis. 0:17:13.925 --> 0:17:15.405 Now Spider Man. 0:17:15.805 --> 0:17:21.485 Does she though no what? So she does good close 0:17:21.525 --> 0:17:24.885 to the verst. I'd admire that I've got a few 0:17:24.885 --> 0:17:28.685 secrets to my own. All the reasons I didn't want 0:17:28.725 --> 0:17:29.965 my daughter to date. 0:17:31.085 --> 0:17:33.125 Comic book villains is why I also wanted to give 0:17:33.125 --> 0:17:34.685 a little bit of love to this scene and not 0:17:34.765 --> 0:17:36.885 just give it to Spider Man. As we're doing our 0:17:36.925 --> 0:17:41.165 top five Spider Man moments, Comic book villains on screen 0:17:41.405 --> 0:17:43.685 are just so hard to pull off. When you think 0:17:43.725 --> 0:17:49.445 about the best super hero movies period, so often aren't 0:17:49.445 --> 0:17:52.365 the ones that are near the top of the list, 0:17:52.925 --> 0:17:55.965 They're the ones that have the most memorable villains. It's 0:17:56.005 --> 0:17:57.725 like three right off the top of my head. The 0:17:57.805 --> 0:18:02.485 Dark Knight with the Joker. Eric Killmonger is one of 0:18:02.485 --> 0:18:05.805 the great villains in Black Panther. Spider Man two. You 0:18:05.925 --> 0:18:09.005 just talked about it, and doc oc Al for Molina 0:18:09.205 --> 0:18:12.005 is a key part of that. And you might be 0:18:12.085 --> 0:18:15.445 listening and saying, well, yeah, duh. The villains, they're the antagonists. 0:18:15.445 --> 0:18:17.525 They're a huge part of the movie. They're major characters. 0:18:17.525 --> 0:18:21.205 They're driving the action. Of course, the villains are important. 0:18:21.285 --> 0:18:23.605 That's my point, though it should be obvious, and yet 0:18:23.605 --> 0:18:28.525 there are plenty of examples where they the filmmakers try 0:18:28.565 --> 0:18:32.725 to provide some psychological motivation and mostly hope the cool 0:18:32.765 --> 0:18:35.845 effects will wow the audience. They give him a cool 0:18:35.885 --> 0:18:38.805 suit or whatever and some cool powers and that's about it. 0:18:39.245 --> 0:18:42.445 And this will come up again when I do bring 0:18:42.525 --> 0:18:47.165 up the amazing Spider Man two Electro anyone. You know, 0:18:47.205 --> 0:18:49.365 I think Electro kind of fits this bill and is 0:18:49.485 --> 0:18:52.805 one of the reasons why no offense to Jamie Fox, 0:18:52.845 --> 0:18:55.525 who I think gives it his best, but he is 0:18:55.565 --> 0:19:01.005 not a good villain. And you watch this scene between 0:19:01.285 --> 0:19:05.845 Keaton and Holland, and Keaton is just delivering what I 0:19:05.885 --> 0:19:08.685 said at the time, was a masterclass in menace. It's 0:19:08.765 --> 0:19:12.885 so intense without ever raising his voice. He's so scary, 0:19:13.245 --> 0:19:16.045 despite having a smile on his face for much of 0:19:16.045 --> 0:19:19.205 the conversation. I mean, it's a twisted smile, but it's 0:19:19.205 --> 0:19:19.645 a smile. 0:19:20.045 --> 0:19:24.525 The nothing. It's more important than family. You saved my 0:19:24.645 --> 0:19:27.685 daughter's life, and I could never forget something like that. 0:19:27.805 --> 0:19:30.565 So I'm gonna give you one chance. Are you ready? 0:19:31.645 --> 0:19:34.565 Who walks through those doors? You forget any of this happened, 0:19:35.165 --> 0:19:40.365 And don't you ever ever interfere with my business again, 0:19:41.365 --> 0:19:47.165 because if you do, I'll kill you and everybody you love. 0:19:48.845 --> 0:19:51.525 I'll kill you dead. That's what I'll do to protect 0:19:51.565 --> 0:19:52.365 my family. Pete. 0:19:52.805 --> 0:19:57.244 You understand villains, if you really go back and think 0:19:57.285 --> 0:20:00.765 about him, they almost always have a grudge, of course, 0:20:01.245 --> 0:20:04.005 against someone, and it's usually Spider Man or whoever they're 0:20:04.005 --> 0:20:08.165 fighting or against the world, and they believe they're justified 0:20:08.165 --> 0:20:12.045 in their actions. Why else are they doing whatever? Why 0:20:12.085 --> 0:20:15.285 else are they doing it? Unless maybe I can't believe 0:20:15.325 --> 0:20:18.445 I'm mentioning it again, unless maybe they're the Rhino Paul 0:20:18.485 --> 0:20:21.405 Giamatti's character and the amazing Spider Man too. He just 0:20:21.445 --> 0:20:24.725 seems to want to Reacavoc for no good reason. But 0:20:24.805 --> 0:20:29.765 with the Vulture, it's very clear the Keaton tapped into 0:20:29.805 --> 0:20:32.365 a character who just wants to take care of his 0:20:32.405 --> 0:20:36.205 family and believes that his business has been screwed over 0:20:36.565 --> 0:20:39.525 by the government. And when you watch the movie, it's 0:20:39.525 --> 0:20:43.045 hard to argue with him. You absolutely understand the predicament 0:20:43.245 --> 0:20:48.405 that he's in and you sympathize with him. He certainly 0:20:48.445 --> 0:20:50.685 feels like, even though it's just these two guys sitting 0:20:50.685 --> 0:20:52.965 in a car, he feels like a real threat to 0:20:53.005 --> 0:20:57.605 Spider Man here. As a villains, he's of course a 0:20:57.645 --> 0:21:01.445 threat despite just being a man. That's it. He's not 0:21:01.565 --> 0:21:04.965 imbued with any special powers. He is just a man. 0:21:05.965 --> 0:21:07.885 All of these other villains are almost all the other 0:21:07.925 --> 0:21:10.685 villains you can think of, have been transformed in some 0:21:10.805 --> 0:21:15.165 way and are not really human or fully human anymore. 0:21:16.205 --> 0:21:21.685 Vulture stands out because of his humanity and you you 0:21:21.725 --> 0:21:26.405 see it come through in his overprotectiveness of his family 0:21:27.045 --> 0:21:29.325 in this scene. Like I said, it was one of 0:21:29.365 --> 0:21:31.245 the first few scenes that came to mind for me, 0:21:31.405 --> 0:21:33.325 maybe because it's one of the most recent, but of 0:21:33.365 --> 0:21:37.685 all the MCU incarnations, this one had to be on 0:21:37.725 --> 0:21:38.485 my list. 0:21:38.645 --> 0:21:41.765 Yeah. It came to mind to me immediately as well, unfairly, 0:21:41.845 --> 0:21:45.405 probably because I walked into the family room maybe two 0:21:45.525 --> 0:21:47.885 or three weeks ago, and this was playing on the TV. 0:21:48.005 --> 0:21:50.925 This is what my kids were watching, and I just 0:21:50.965 --> 0:21:53.125 had to stop. I had to sit down. I had 0:21:53.165 --> 0:21:54.565 to finish it, because. 0:21:54.245 --> 0:21:56.405 It's really a great scene. 0:21:56.605 --> 0:21:58.244 As a matter of fact, I've got it higher on 0:21:58.245 --> 0:22:00.285 my list. So I'm gonna do some jumping around here 0:22:01.085 --> 0:22:05.405 and I'll get back to my number four, and right 0:22:05.445 --> 0:22:07.405 now talk about my number three, which is where I 0:22:07.485 --> 0:22:11.405 have the dad talk. It is. If we have to 0:22:11.645 --> 0:22:14.405 give a majority of the credit, it is Keaton. You're right, 0:22:14.845 --> 0:22:17.245 this is a character, as you laid out well, so 0:22:18.685 --> 0:22:24.005 smartly conceived and motivated, believably so. And then what Keaton 0:22:24.085 --> 0:22:27.325 does with it, I mean, those who need cgi When 0:22:27.365 --> 0:22:32.485 you have Michael Keaton's eyebrows, you're you're good. That's definitely 0:22:32.605 --> 0:22:36.565 a huge part of the tension in this scene. I 0:22:36.605 --> 0:22:39.565 do think Holland is also quite good here though, even 0:22:39.605 --> 0:22:42.125 though it's not his moment. This is Keaton's moment. But 0:22:43.205 --> 0:22:46.525 I like how he plays Peter trying to be cool, 0:22:47.485 --> 0:22:52.485 but clearly not only intimidated but scared yes on a 0:22:52.565 --> 0:22:59.085 multiple multiple reasons because of his relationship with Vulture's daughter. Right, 0:22:59.165 --> 0:23:04.325 Laura Harrier is the actress here, and she's at the 0:23:04.325 --> 0:23:06.805 beginning of the scene, and I love the dynamic there. 0:23:06.805 --> 0:23:09.965 She's like, Okay, I'm gonna go go in and leave 0:23:10.005 --> 0:23:12.405 you two alone to have your talk. And this is 0:23:12.485 --> 0:23:14.125 I think this is what's so great about this scene 0:23:14.125 --> 0:23:17.685 as well. Is the genius, the simple genius of the 0:23:18.205 --> 0:23:20.925 of Spider Man Homecoming, let's say, to a lesser degree, 0:23:21.085 --> 0:23:23.365 far from home. And I think this gets lost a 0:23:23.405 --> 0:23:25.965 bit in No Way Home, but in Spider Man Homecoming 0:23:26.085 --> 0:23:28.885 is that it was a high school movie first and 0:23:28.965 --> 0:23:33.925 a Spider Man movie second, and so your emotional investment 0:23:34.405 --> 0:23:38.245 is equally at least, let's say, in that scene, in 0:23:38.285 --> 0:23:43.645 this familiar, uncomfortable dynamic of being, you know, a teen 0:23:43.725 --> 0:23:47.165 couple in a car with one of your parents, and 0:23:47.325 --> 0:23:50.165 what you're going to talk about, how your parent is 0:23:50.205 --> 0:23:52.405 going to act, how your boyfriend or girlfriend is going 0:23:52.485 --> 0:23:56.045 to act, however that goes Already, you've got natural anxiety, 0:23:56.365 --> 0:23:58.925 and then the context that this story brings into it 0:23:59.005 --> 0:24:01.245 just amps that up. And I think that's the line 0:24:01.245 --> 0:24:03.685 that Holland plays really well in the movie overall, but 0:24:03.765 --> 0:24:08.445 here in particular, he's anxious as the boyfriend and he's 0:24:08.485 --> 0:24:14.205 anxious as the hero facing his nemesis here, So it 0:24:14.245 --> 0:24:16.085 goes back to that, you know, he's just a kid 0:24:16.125 --> 0:24:20.125 thing we already touched on, right, that's definitely at play here. 0:24:20.245 --> 0:24:23.045 I think the best about these Holland movies are the 0:24:23.045 --> 0:24:28.445 way they kind of capture the acute anxiety of that. So, yeah, 0:24:28.445 --> 0:24:30.765 totally with you there. My number three pick is the 0:24:30.885 --> 0:24:31.485 dad talk. 0:24:31.845 --> 0:24:35.085 Now you're going in there, you show my daughter a 0:24:35.085 --> 0:24:38.845 good time, Okay, just not too good. 0:24:39.925 --> 0:24:43.285 Part of the fun of that scene as a viewer 0:24:43.885 --> 0:24:47.965 is the way it plays with our expectations and our 0:24:48.085 --> 0:24:55.525 understanding of these familiar scenes. And that's a familiar cultural scene, 0:24:56.165 --> 0:24:58.965 whether we've been involved in it ourselves or not. We 0:24:59.085 --> 0:25:03.365 understand the dad talk, as the dad in that scene 0:25:03.405 --> 0:25:05.285 even refers to it, I'm going to have the dad talk, 0:25:05.325 --> 0:25:07.405 and the daughter knows what that means as she gets 0:25:07.445 --> 0:25:12.965 out of the car, and it doesn't go the way 0:25:13.605 --> 0:25:17.805 it should go at all, So it subverts that. But 0:25:17.885 --> 0:25:27.605 then also it subverts the superhero villain hero conversation confrontation 0:25:27.725 --> 0:25:30.685 scene because There are plenty of examples in those movies 0:25:31.005 --> 0:25:34.285 where and in Spider Man movies where one of the 0:25:34.365 --> 0:25:37.005 two in the scene is kind of on to the 0:25:37.045 --> 0:25:40.365 other and their real identity, and so they have that 0:25:40.565 --> 0:25:43.445 teasing conversation where they're kind of trying to suss it 0:25:43.525 --> 0:25:46.725 out or they're prodding the other one a little bit, 0:25:46.765 --> 0:25:49.725 but it doesn't really go anywhere. They don't actually they 0:25:49.725 --> 0:25:53.605 don't say it. They don't bluntly say what they're really 0:25:53.645 --> 0:25:57.045 thinking and feeling, and they don't actually call the other 0:25:57.125 --> 0:26:00.565 person out on it. And in this scene, they just 0:26:01.165 --> 0:26:04.965 he just puts the pleasantries completely aside and does that. 0:26:05.005 --> 0:26:07.405 So I think it it just confounds our expectations in 0:26:07.445 --> 0:26:11.165 that way and a really in a really great way. 0:26:12.205 --> 0:26:14.565 You may have already seen it, Josh, but I need 0:26:14.605 --> 0:26:17.445 to go see Spider Man Brand New day in order 0:26:17.485 --> 0:26:20.205 to review it here next week on the show. That's 0:26:20.245 --> 0:26:23.725 one I am excited to see in the theater. Have 0:26:24.245 --> 0:26:26.565 a couple of kids in my house actually who are 0:26:26.765 --> 0:26:29.205 excited to see the new Spider Man movie as well, 0:26:29.405 --> 0:26:33.085 so I'll have company for that one. It will be 0:26:33.085 --> 0:26:35.285 fun to watch that now through the lens of having 0:26:35.365 --> 0:26:38.885 revisited all of these films and thinking about some things 0:26:38.925 --> 0:26:39.565 in common. 0:26:40.085 --> 0:26:43.445 There are definitely some callbacks to a few of the 0:26:43.485 --> 0:26:45.805 moments we talked about. 0:26:45.925 --> 0:26:48.805 The Invite is the big movie I still haven't caught 0:26:48.845 --> 0:26:51.485 in the theater, and you can still see that at 0:26:51.525 --> 0:26:54.005 Regal Cinemas. And here's one more I'm gonna call out 0:26:54.205 --> 0:26:56.725 because we were just in Spring Green and we were 0:26:56.725 --> 0:26:59.605 hanging out seeing some theater with our producer, Sam, and 0:26:59.645 --> 0:27:02.525 he talked about a musical that I've never seen any 0:27:02.565 --> 0:27:07.325 kind of production of. It's playing on the big screen, 0:27:07.845 --> 0:27:14.165 hades Town the musical. Sam swears by how good this 0:27:14.285 --> 0:27:18.885 musical is. And this stars the original Broadway cast Hadestown 0:27:18.925 --> 0:27:22.365 the Musical available now on the big screen, and you 0:27:22.405 --> 0:27:26.085 can see that for free with Regal Unlimited, the all 0:27:26.125 --> 0:27:28.645 you can watch movie subscription pass that pays for itself 0:27:28.685 --> 0:27:31.725 in just two visits. If you sign up for Regal Unlimited, 0:27:32.045 --> 0:27:34.605 just use the code film Spot twenty six to get 0:27:34.645 --> 0:27:39.445 fifteen percent off. Regal Unlimited is the only truly limitless 0:27:39.445 --> 0:27:42.565 movie subscription pass. You can see any standard two D 0:27:42.685 --> 0:27:45.725 movie anytime with no blockout dates or restrictions, and you 0:27:45.765 --> 0:27:48.885 don't just save money on tickets. You also save on snacks. 0:27:49.245 --> 0:27:53.365 You get ten percent off all non alcoholic concessions. Again, 0:27:53.525 --> 0:27:55.645 just sign up now in the regal app or at 0:27:55.725 --> 0:27:59.125 the link in our podcast notes and use code film 0:27:59.125 --> 0:28:08.605 Spot twenty six to get your discount. So we've got 0:28:08.605 --> 0:28:12.325 your number five, we've got my number five, and we've 0:28:12.325 --> 0:28:14.485 got your number three. That means then we do have 0:28:14.525 --> 0:28:17.045 to go back to my number four, and we're going 0:28:17.125 --> 0:28:22.485 to stick with recent vintage Spider Man. And this is 0:28:22.525 --> 0:28:26.845 from Spider Man into the Spider Verse, and the sequence 0:28:27.085 --> 0:28:32.325 is my name is Peter B. Parker Jake Johnson when 0:28:32.885 --> 0:28:37.885 we learn about the backstory of his character, and I 0:28:37.925 --> 0:28:41.165 guess this is this is what I'm looking for or 0:28:41.205 --> 0:28:44.125 something that I need from these scenes in order to 0:28:44.125 --> 0:28:49.405 make my list. Anyway, Josh, that subversion of expectations. We're 0:28:49.445 --> 0:28:52.365 not used to seeing Spider Man with the five o'clock 0:28:52.445 --> 0:28:56.205 shadow or with the B in his name, so something's 0:28:56.205 --> 0:28:59.565 a little bit off. Our spider sense is tingling a little. 0:28:59.725 --> 0:29:03.445 But he more or less looks like the Spider Man 0:29:03.525 --> 0:29:08.645 we know from the movies. Everything's checking out. He even says, 0:29:09.165 --> 0:29:12.925 let's do this one last time, suggesting that he's gonna 0:29:12.925 --> 0:29:15.245 give us the familiar yarn. Let's just bring you up 0:29:15.285 --> 0:29:18.205 to speed. But it's everything you already know. And as 0:29:18.205 --> 0:29:21.925 he's saying it, the story in the imagery lines up, 0:29:22.045 --> 0:29:24.805 including a scene we may hear about later, right the 0:29:24.885 --> 0:29:29.085 upside down kiss, the famous upside down kiss with MJ 0:29:30.205 --> 0:29:35.245 and his dialogue. The narration includes, you see, I saved 0:29:35.245 --> 0:29:38.605 the city, fell in love. Okay, I got married. Well 0:29:38.645 --> 0:29:41.165 that's that's maybe a new wrinkle. But I can buy 0:29:41.205 --> 0:29:45.045 that saved the city some more, maybe too much. I'm 0:29:45.085 --> 0:29:48.645 still I'm still buying this. I'm thinking, congratulations, Spidey. I'm glad. 0:29:48.725 --> 0:29:51.885 I'm glad things worked out. You fell in love, and then. 0:29:52.085 --> 0:29:54.365 I'm pretty sure you know the rest. You see, I 0:29:54.405 --> 0:29:57.125 saved the city, fell in love, I got married, saved 0:29:57.125 --> 0:30:00.085 the city some more, maybe too much. My marriage got testy, 0:30:00.365 --> 0:30:03.245 made some dicey money choices. Don't invest in a spider 0:30:03.285 --> 0:30:06.605 themed restaurant. Then, like fifteen years past, bob blah blah, 0:30:06.645 --> 0:30:09.005 super barn. I broke my back, A drunk flew into 0:30:09.045 --> 0:30:12.045 my face. I buried at May. My wife and I 0:30:12.125 --> 0:30:14.765 split up, but I handled it like a chap. 0:30:16.365 --> 0:30:19.525 It's the it's the part about the marriage getting testy 0:30:20.085 --> 0:30:23.965 and making some see money choices and him warning us 0:30:24.045 --> 0:30:28.485 Josh to not invest in any Spider themed restaurants. Did 0:30:28.525 --> 0:30:31.525 you know, Josh, that seahorses mate for life. I can't 0:30:31.565 --> 0:30:34.445 imagine a seahorse seeing another seahorse and making it work. 0:30:35.165 --> 0:30:41.285 This this is funny stuff, genuinely funny stuff. And even 0:30:41.365 --> 0:30:46.845 though those movies, these superhero movies, are largely about the 0:30:46.885 --> 0:30:51.845 conflict between between two identities, trying to reconcile being a 0:30:51.885 --> 0:30:55.725 hero versus just being a man, I don't think any 0:30:55.765 --> 0:30:59.965 of us actually do really consider the possibility that any 0:31:00.005 --> 0:31:02.365 of these, any of these heroes are ever going to 0:31:02.405 --> 0:31:06.405 be washed up. And so this movie makes us think 0:31:06.445 --> 0:31:12.645 about that, and the ironic jextapositions of the visuals and 0:31:12.765 --> 0:31:16.485 Peter's narration. I remember seeing as in the theater and 0:31:16.605 --> 0:31:19.445 lack good out loud at it, but I handled it 0:31:19.525 --> 0:31:22.245 like a champ. And he's sobbing in the shower, And 0:31:22.605 --> 0:31:24.445 no matter how many times I get hit, I always 0:31:24.485 --> 0:31:27.165 get back up, and he's just, you know, crouched in bed, 0:31:27.685 --> 0:31:34.325 completely despondent. The way too that Jake Johnson lowers his 0:31:34.445 --> 0:31:37.525 voice at the beginning. He's talking in that normal kind 0:31:37.525 --> 0:31:39.885 of Jake Johnson way. But then when he says the 0:31:39.925 --> 0:31:41.725 one and Only Spider. 0:31:41.365 --> 0:31:44.485 Man, the one and only Spider. 0:31:44.085 --> 0:31:47.645 Man, as if he knows as the character, he has 0:31:47.725 --> 0:31:51.605 to say it with some authority, but he also he 0:31:51.645 --> 0:31:54.765 also means it. It's not just out of some sense 0:31:54.765 --> 0:31:59.485 of duty, it's not performative. He wants to put that 0:31:59.605 --> 0:32:03.605 authority behind it. I think that's why Johnson is so 0:32:03.725 --> 0:32:05.885 perfect in that role as Peter B. Parker, is that 0:32:05.925 --> 0:32:09.645 he is inherently an ironic actor. There's always an element 0:32:09.805 --> 0:32:13.885 of winking at the audience, but he does not overplay 0:32:13.925 --> 0:32:17.965 it at all. There is something still deeply genuine that 0:32:18.045 --> 0:32:21.125 he brings to certainly this character. And I think a 0:32:21.205 --> 0:32:25.805 scene for me maybe a microcosm of Spider Verse, where 0:32:25.845 --> 0:32:31.085 I remember not only finding it legitimately hilarious, but also 0:32:31.285 --> 0:32:35.805 I was shaking my head at how the filmmakers took something, 0:32:36.205 --> 0:32:40.325 took a narrative and took imagery that was so familiar 0:32:40.765 --> 0:32:42.285 and made it feel brand new. 0:32:42.565 --> 0:32:46.605 Yeah. That quality of Jake Johnson's performance I think works 0:32:46.685 --> 0:32:49.125 really well with the progression you get in this scene 0:32:49.165 --> 0:32:51.725 because it does start out, as you were saying, with 0:32:51.765 --> 0:32:54.405 the familiar things and showing us what we knew or 0:32:54.405 --> 0:32:58.045 we've heard in other iterations. And then there's the slight diversion. 0:32:58.085 --> 0:33:01.285 He starts to use euphemisms right like the money thing. 0:33:01.325 --> 0:33:04.085 He doesn't exactly say what happened. It's way worse than 0:33:04.125 --> 0:33:07.365 the phrase uses. And then, as you said, by the 0:33:07.405 --> 0:33:10.325 time the scene comes to its end, what he's saying 0:33:10.405 --> 0:33:13.125 is exactly the opposite of all we're seeing. So that 0:33:13.245 --> 0:33:16.725 vocal quality works well with this progression towards complete denial 0:33:16.845 --> 0:33:20.485 that the visuals that the visuals are giving us. Yes, 0:33:20.565 --> 0:33:24.005 so smart, such a smart movie, able to be funny 0:33:24.005 --> 0:33:27.525 and thrilling in so many ways. And you know, even 0:33:27.565 --> 0:33:31.805 this character I think works well because he is a 0:33:31.845 --> 0:33:35.325 supporting character to this larger story we're telling, and so 0:33:35.365 --> 0:33:38.805 we can get these qualities before they become rote or 0:33:38.845 --> 0:33:42.045 too familiar or too much of a joke. Instead, they're 0:33:42.085 --> 0:33:46.365 informing the larger narrative in crucial ways but also really 0:33:46.485 --> 0:33:50.525 entertaining ones like this scene. All right, so I need 0:33:50.565 --> 0:33:54.205 to jump back to my number four to get us 0:33:54.245 --> 0:33:58.365 back on track here, and I have a bit of 0:33:58.365 --> 0:34:02.245 a cheat here. I did this with Superman two. This 0:34:02.605 --> 0:34:05.325 is going to be a title sequence in theme song. 0:34:05.445 --> 0:34:09.125 I am choosing that from the Spider Man animated series 0:34:09.165 --> 0:34:13.805 that ran from nineteen sixty seven to nineteen seventy. With 0:34:13.965 --> 0:34:16.285 the Superman list we did, I chose the opening for 0:34:16.325 --> 0:34:20.165 those Fleischer Studios shorts from nineteen forty one. A listener 0:34:21.205 --> 0:34:23.045 me in on those, and I ended up watching I 0:34:23.045 --> 0:34:25.884 don't know how many, because they were just fascinating and 0:34:25.925 --> 0:34:29.405 had that great opening sequence. And part of my reasoning 0:34:29.445 --> 0:34:32.325 for picking it there is because that sequence from nineteen 0:34:32.365 --> 0:34:36.245 forty one cemented crucial qualities of the Superman character in 0:34:36.285 --> 0:34:39.364 our collective imagination. And I think this one, even though 0:34:39.365 --> 0:34:43.404 it's borrowing quite heavily from the comic books, this did 0:34:43.485 --> 0:34:47.325 so in the late sixties and onward. I mean we 0:34:47.325 --> 0:34:50.285 were watching this adam not during its initial run. We 0:34:50.325 --> 0:34:54.364 would have been watching this maybe ten years after on reruns, right, 0:34:54.765 --> 0:34:58.245 but it had been I'm sure playing the whole time 0:34:58.365 --> 0:35:02.645 for multiple generations of kids. So if you look at 0:35:02.645 --> 0:35:04.364 the Spider Man, if you look at Spider Man as 0:35:04.365 --> 0:35:07.364 a character basically debuting in a Marvel comic in sixty two, 0:35:07.805 --> 0:35:10.925 got his first solo series in sixty three, and obviously 0:35:10.925 --> 0:35:14.725 that's set the foundation for the character. But for me, 0:35:14.925 --> 0:35:18.205 born in seventy four. I think this was my first 0:35:19.005 --> 0:35:22.245 encounter with Spider Man. That would be my my guests. 0:35:22.325 --> 0:35:25.725 I didn't really read comic books for whatever reason, until 0:35:25.805 --> 0:35:29.404 I was an adult, actually, and so this Spider Man 0:35:29.445 --> 0:35:33.725 cartoon was my first encounter, and I was locked in 0:35:34.765 --> 0:35:38.045 That opening has everything I wanted and had. The swinging 0:35:38.245 --> 0:35:43.485 you talked about, the web slinging, radioactive blood. Sure, I 0:35:43.485 --> 0:35:46.485 probably had no idea what that meant, but sure sounds great. 0:35:47.205 --> 0:35:51.685 And yeah, lots and lots and lots of climbing. And 0:35:51.725 --> 0:35:55.445 I think this also captures equality that is a crucial 0:35:55.445 --> 0:35:58.565 one for Spider Man, beyond his youth. But maybe related 0:35:59.605 --> 0:36:04.325 that's emphasized here. He was friendly. He was a friendly 0:36:04.645 --> 0:36:08.165 Spider Man. The lyrics are telling us this, but the 0:36:08.325 --> 0:36:11.925 image I'll never forget. It's this great little bit, kind 0:36:11.925 --> 0:36:14.965 of a winking bit in this opening credit sequence where 0:36:15.005 --> 0:36:17.325 he's swinging through the air and we get a close 0:36:17.405 --> 0:36:19.605 up and he just waves to the you know, quote 0:36:19.645 --> 0:36:23.404 unquote camera waving, we've met me, you know, like six 0:36:23.565 --> 0:36:27.404 or seven year old me. However old I was. There 0:36:27.485 --> 0:36:30.404 was this superhero who paused in his heroics to give 0:36:30.445 --> 0:36:37.325 me a little ways Snyder Man Steiner, So it's a 0:36:37.365 --> 0:36:40.525 delightful piece of Spider Man iconography. It still resonates today. 0:36:40.685 --> 0:36:43.205 This is where the Spider Man pointing at himself meme 0:36:43.285 --> 0:36:45.605 comes from. So I did have to have it on 0:36:45.725 --> 0:36:47.685 my list, even though it's from a TV series. 0:36:48.205 --> 0:36:51.245 Yeah, watching that clip just a little bit earlier today 0:36:51.325 --> 0:36:55.605 definitely took me back. Talk about a way nostalgia. It 0:36:55.725 --> 0:36:59.605 did bring me back to my childhood. My number three 0:37:00.645 --> 0:37:03.565 is from Spider Man two, Sam Raimi spider Man two, 0:37:03.965 --> 0:37:08.445 and it's the Planetarium Party. I have to give credit 0:37:09.085 --> 0:37:12.205 to the host of Film Spotting SVU, one of the 0:37:12.405 --> 0:37:16.005 hosts of Film Spotting SVU, Matt Singer for reminding me 0:37:16.725 --> 0:37:20.005 of this scene and the way I was reminded of 0:37:20.125 --> 0:37:25.885 this scene Josh Is via our upcoming episode of movie Deathmatch. 0:37:26.285 --> 0:37:29.565 This will drop in listener's feed if you follow film Spotting, 0:37:29.605 --> 0:37:32.484 it will drop in your feed. On Monday, August third, 0:37:33.005 --> 0:37:35.525 with Brand New Day coming out, we did a death 0:37:35.605 --> 0:37:38.845 match between what a lot of people contend are the 0:37:38.925 --> 0:37:43.325 two best Spider Man movies, Old School Spider Man two 0:37:43.965 --> 0:37:48.605 and New School Into the Spider Verse. Matt advocating for 0:37:48.765 --> 0:37:53.924 Spider Man two. Daisy Rosario defending into the Spider Verse. 0:37:54.085 --> 0:37:56.484 Had a really great conversation about it. Again, that show 0:37:56.685 --> 0:37:59.965 will be coming into your feed soon. Matt mentions a 0:38:00.005 --> 0:38:02.845 scene from Spider Man two, and when I was scanning 0:38:02.925 --> 0:38:04.885 through the movie and I went back and broke this 0:38:05.005 --> 0:38:08.765 scene down, I knew it had to be on my list. 0:38:08.845 --> 0:38:10.365 And the reason why Matt brought it up in the 0:38:10.405 --> 0:38:14.365 context of Deathmatch is he was mentioning how during this 0:38:14.525 --> 0:38:21.645 scene you really recognize Sam Raimi's sadistic tendencies as a director, 0:38:21.725 --> 0:38:24.805 how they really come out. And we'll get into that, 0:38:25.245 --> 0:38:28.565 because this is the scene that's this big high society 0:38:28.685 --> 0:38:31.885 gala and Peter has been hired by j Jonah Jamison 0:38:32.325 --> 0:38:35.525 to be the photographer for the event. There is a 0:38:35.685 --> 0:38:42.725 lot of story unfolding here. Harry Osborne and Peter are 0:38:42.885 --> 0:38:46.885 fighting about Spider Man. Peter is watching MJ. He doesn't 0:38:46.925 --> 0:38:49.125 know it when he gets there, but Peter is watching 0:38:49.285 --> 0:38:54.725 MJ get engaged to another man, John Jamison, and it 0:38:54.885 --> 0:38:59.005 all could have just unfolded, rendering all of that drama 0:38:59.605 --> 0:39:03.485 with a very dramatic expression, like I honestly could have 0:39:03.565 --> 0:39:06.805 picked this scene Josh forgetting all the sadistic stuff and 0:39:07.125 --> 0:39:09.725 just focusing on this moment. It could be a top 0:39:09.805 --> 0:39:13.725 five contender just for the moment, the dramatic expression of 0:39:13.885 --> 0:39:18.285 Peter's torment when he has to watch MJ descend the 0:39:18.365 --> 0:39:23.125 staircase with John hearing about this perfect man, and then 0:39:23.245 --> 0:39:27.485 seeing her so happy, well seemingly happy as she comes 0:39:27.525 --> 0:39:30.844 down the stairs, and the way camera and editing work 0:39:30.925 --> 0:39:36.365 together kind of swirling around him to show how devastated 0:39:37.045 --> 0:39:42.165 he is. It's very, very effective. But where this scene 0:39:42.325 --> 0:39:45.605 really becomes special for me is that it could have 0:39:45.725 --> 0:39:47.364 just been all that. It could have been just about 0:39:47.365 --> 0:39:51.605 showing his heartache and devastation. But what layers does Sam 0:39:51.685 --> 0:39:55.445 Raimi add being Sam Rami and I assume it's a 0:39:55.565 --> 0:39:59.725 Ramie touch here because it could have been written into 0:39:59.725 --> 0:40:02.885 the script by David cap But not only do I 0:40:02.925 --> 0:40:05.685 trust Matt Singer at least in giving the credit to Ramy, 0:40:05.805 --> 0:40:09.205 it also is part of it, Josh. Where there's no dialogue, 0:40:09.285 --> 0:40:11.965 it's all just physical action that happens. So here again, 0:40:12.005 --> 0:40:14.605 I'm going to give the credit to Ramie in the blocking. 0:40:15.605 --> 0:40:18.125 Think about everything that is going wrong for Peter at 0:40:18.165 --> 0:40:21.325 this point in the movie, beyond his best friend hating 0:40:21.725 --> 0:40:25.605 both him and Spider Man two parts of him and 0:40:26.165 --> 0:40:31.405 MJ forsaking him for another guy. He's doubting whether he 0:40:31.525 --> 0:40:34.445 should continue to be a superhero at all, and his 0:40:34.685 --> 0:40:39.125 powers are fading, like he's at this low point, the 0:40:39.205 --> 0:40:43.605 lowest point he could possibly be. How does Ramie portray 0:40:43.725 --> 0:40:48.165 the emotional ringer that Peter is going through, How everything 0:40:49.045 --> 0:40:51.964 he wants seems to be just out of his reach, 0:40:52.365 --> 0:40:57.364 How he is both part of society but also excluded 0:40:57.445 --> 0:41:02.605 from it. Well, the whole sequence begins with him walking 0:41:02.725 --> 0:41:07.165 into the party and seeing one last ordeure on a 0:41:07.285 --> 0:41:10.885 tray and reaching for it, and right as he reaches 0:41:10.925 --> 0:41:14.525 for it, someone else comes along and grabs it. So 0:41:14.645 --> 0:41:16.884 there you go. He he can't get just that little 0:41:16.965 --> 0:41:23.045 treat that he wants. Okay, fine, he sees we have 0:41:23.205 --> 0:41:26.165 that great mini sequence where he sees MJ arm in 0:41:26.325 --> 0:41:31.245 arm with this perfect man, it seems John. So he 0:41:31.405 --> 0:41:37.565 goes outside another waitress walking around with the tray. This 0:41:37.725 --> 0:41:41.085 one Rainy shoots it so it's at his exact eye level, 0:41:41.205 --> 0:41:44.405 like almost beckoning him to come over and take it. 0:41:45.405 --> 0:41:48.765 One more on the tray, same thing, someone grabs it 0:41:49.085 --> 0:41:51.444 just before, Like he can't even get a bite of food. 0:41:51.485 --> 0:41:54.125 Here at this party, Josh, It's it's that bad. So 0:41:54.245 --> 0:41:57.645 now he's having a conversation outside with MJ. And she 0:41:57.925 --> 0:42:00.364 tells him off how this is just not going to work, 0:42:00.445 --> 0:42:02.565 that she has to move on, that she's going to 0:42:02.645 --> 0:42:04.925 have to, you know, go with this this other you 0:42:05.005 --> 0:42:09.445 know why she's going with this other man and another 0:42:09.965 --> 0:42:12.964 A waiter passes by and and they have one drink 0:42:13.365 --> 0:42:15.165 and it seems like a fancy drink, you know, it's 0:42:15.165 --> 0:42:18.005 got a little teaky hut or something in it, and 0:42:18.165 --> 0:42:21.645 he reaches for it parched, goes to take large gulp 0:42:22.285 --> 0:42:26.605 and it's an empty it's somebody's empty glass. He can't 0:42:26.645 --> 0:42:32.045 even get his thirst satisfied there in the moment, And 0:42:33.365 --> 0:42:35.405 as if that wasn't bad enough, we get that followed 0:42:35.445 --> 0:42:40.045 by the indignity of Harry slapping him twice, and then 0:42:40.085 --> 0:42:42.844 he has to take a photo of the newly engaged 0:42:44.005 --> 0:42:48.325 MJ and John. So, I don't know, satist might be 0:42:48.405 --> 0:42:52.485 putting it mildly. Rady's a monster when you watch the 0:42:52.565 --> 0:42:55.285 scene in terms of the way he treats Peter Parker 0:42:55.685 --> 0:42:58.605 over the course of this four or five minutes, it's 0:42:58.885 --> 0:43:04.125 it's kind of horrible, but also undeniably funny watching poor 0:43:04.245 --> 0:43:08.685 Peter at all, these little steps get denied when the 0:43:08.765 --> 0:43:11.844 poor guy just wants like a crabcake and a drink 0:43:11.925 --> 0:43:14.885 of whatever is in that in that glass. But that 0:43:15.605 --> 0:43:20.245 that's the sensibility that, like I said, almost certainly wasn't 0:43:20.285 --> 0:43:25.965 in the script, that an imaginative director like Raymi brings 0:43:26.005 --> 0:43:28.525 to those films. That makes those first those first two 0:43:28.605 --> 0:43:31.165 films in particular, but parts of the third film as well, 0:43:31.205 --> 0:43:32.485 that makes those films so special. 0:43:33.005 --> 0:43:36.285 Yeah, and the comic aspect is related to, you know, slapstick. 0:43:36.325 --> 0:43:40.605 There's a slapstick element, maybe a slower, slower pace slapstick 0:43:40.645 --> 0:43:42.805 going on here, which I think of as a part 0:43:42.845 --> 0:43:46.125 of Raymie's style as well. And yeah, can't wait hear 0:43:46.165 --> 0:43:50.565 that episode with Matt we should repeat and mentioned maybe 0:43:50.685 --> 0:43:53.485 to plug more his book Spider Man Marvel Spider Man 0:43:54.005 --> 0:43:55.565 from Amazing to Spectacular. 0:43:55.765 --> 0:43:56.685 It's really I. 0:43:56.725 --> 0:43:58.924 Mean, there's so much information in it, but it looks 0:43:58.925 --> 0:44:00.965 beautiful too. And I remember when that came out a 0:44:01.085 --> 0:44:02.964 number of years ago. That was when I was trying 0:44:03.005 --> 0:44:06.085 to get my younger daughter into Spider Man, so bought 0:44:06.165 --> 0:44:09.565 that for her to move her along. It's a really 0:44:09.605 --> 0:44:10.045 great book. 0:44:12.365 --> 0:44:16.205 Before we get to our top two, we would like 0:44:16.325 --> 0:44:18.325 to remind you that you can find all of our 0:44:18.365 --> 0:44:20.725 picks and all of our top five lists over at 0:44:20.725 --> 0:44:23.845 our time five archive Filmspotting dot Net. Just click on 0:44:24.005 --> 0:44:25.885 lists right there at the top of the page. We 0:44:25.925 --> 0:44:29.365 also do link to these scenes whenever we do have 0:44:29.405 --> 0:44:31.844 the clips available, and I think with all of our 0:44:32.085 --> 0:44:35.285 picks for this list, the scenes are available if you'd 0:44:35.365 --> 0:44:40.365 like to watch along as we discuss them. Let's also 0:44:40.685 --> 0:44:44.605 take a minute, Josh to thank the Film Spotting Family 0:44:45.045 --> 0:44:49.965 membership is the single largest support source of support for 0:44:50.045 --> 0:44:52.805 the show. It does keep us doing what we've been 0:44:52.885 --> 0:44:57.325 doing for over twenty one years, and we normally shout 0:44:57.365 --> 0:44:59.445 out a couple of Film Spotting Family members. We will 0:44:59.485 --> 0:45:02.605 get back to doing that, but we wanted to highlight 0:45:02.885 --> 0:45:07.525 again Summer Madness, Summer Film Spotting Family madness, the best 0:45:07.605 --> 0:45:11.245 of the nineteen twenties and thirties. When we left off, 0:45:11.285 --> 0:45:14.125 I think maybe we were announcing the play and round, 0:45:14.285 --> 0:45:17.285 but with our week off we did have Round one. 0:45:17.605 --> 0:45:21.285 It played out and we should give some prop I 0:45:21.365 --> 0:45:24.245 suppose to the selection committee in this case myself and Sam, 0:45:24.645 --> 0:45:28.565 because all the favorites won as I thought would happen. 0:45:29.365 --> 0:45:32.605 Sure it wasn't a case of any major upsets here. 0:45:32.725 --> 0:45:34.725 We did have the favorites advance, though there were a 0:45:34.845 --> 0:45:39.445 couple close matchups. That does mean that round two is 0:45:39.685 --> 0:45:43.645 live as we are recording this. There are eight matchups then, 0:45:44.165 --> 0:45:49.085 and that includes the Wizard of Oz versus Chaplain's Modern Times, 0:45:49.405 --> 0:45:52.765 Metropolis versus King Kong, the Passion of Joan of Arc 0:45:52.885 --> 0:45:56.765 versus Bringing Up Baby. I mean I can vote fairly 0:45:56.845 --> 0:45:58.005 easily in all three of those. 0:45:58.085 --> 0:46:01.885 What about you, Well, this is basically asking me to 0:46:02.045 --> 0:46:04.685 rethink and agonize over my sit and sound top ten 0:46:04.765 --> 0:46:08.444 of all time less right in the constantly shifting order, 0:46:08.645 --> 0:46:13.525 because I believe Wizard of Oz, Modern Times, King Kong, Metropolis. 0:46:14.325 --> 0:46:16.445 I think all four of those have either been on 0:46:18.045 --> 0:46:21.365 my top ten of all time list or circling that 0:46:21.685 --> 0:46:24.765 honor in the various iterations we've done over the years 0:46:25.445 --> 0:46:29.725 on the show here. So I don't know how to 0:46:29.845 --> 0:46:32.965 start thinking about this. I'm going to need a little 0:46:33.005 --> 0:46:37.205 bit of a little bit of time. I can say 0:46:38.805 --> 0:46:40.965 Passion of Joan of Arc versus Bringing Up Baby. That's 0:46:41.005 --> 0:46:44.005 the easy one for me because I only like bringing 0:46:44.125 --> 0:46:47.925 up baby, Whereas Passion of Joan of Arc. You know 0:46:48.245 --> 0:46:51.925 that it's all timer. So that's an easy answer for me. 0:46:52.005 --> 0:46:53.125 I don't know where I'm going to go with the 0:46:53.205 --> 0:46:56.165 other ones, how to even begin thinking about it, which 0:46:56.285 --> 0:46:57.925 is I suppose why we do this thing? 0:46:58.525 --> 0:47:01.885 Yeah, well that's part of it, and certainly a reason 0:47:01.925 --> 0:47:06.765 why we do Madness proper on the show. We've always 0:47:06.805 --> 0:47:11.965 said is discovery. Even though sometimes we're talking about movies, 0:47:12.045 --> 0:47:15.045 you would think everyone knows when we've been doing more 0:47:15.165 --> 0:47:18.965 recent decades, as we go farther back, it is about 0:47:20.005 --> 0:47:23.965 sharing titles that maybe some of our audience hasn't seen, 0:47:24.005 --> 0:47:26.364 and in some cases we haven't seen, and we're doing 0:47:26.405 --> 0:47:29.245 the homework that we need to do as well. So 0:47:29.525 --> 0:47:33.325 case in point, David Colb, a listener who is a 0:47:33.325 --> 0:47:38.085 Film Spotting family member participating in this Madness and had 0:47:38.125 --> 0:47:42.125 a comment in the Film Spotting discord that we wanted 0:47:42.165 --> 0:47:43.885 to share and this, Josh, you can read it. This 0:47:44.765 --> 0:47:48.525 is an example. It's an interesting query that we can 0:47:48.645 --> 0:47:52.085 just throw out to Film Spotting listeners to consider. But 0:47:52.205 --> 0:47:55.845 also I think it just speaks to why we do tournaments, 0:47:56.205 --> 0:48:00.605 silly madness tournaments like this because of a reaction that 0:48:00.765 --> 0:48:02.485 David could have to a film like the Passion of 0:48:02.605 --> 0:48:03.085 Joan of Arc. 0:48:03.685 --> 0:48:05.685 David says, I caught up with the Passion of Joan 0:48:05.725 --> 0:48:08.245 of Arc for this tournament, and I'm confident I will 0:48:08.285 --> 0:48:10.965 be voting for it as long as it survives. One 0:48:11.005 --> 0:48:13.805 of my all time great home viewing experiences in a 0:48:13.845 --> 0:48:16.045 film I could see putting in my letterbox top four. 0:48:16.085 --> 0:48:19.125 At some point that said, a significant part of my 0:48:19.245 --> 0:48:21.725 love for the film was the score that cris Uses, 0:48:21.805 --> 0:48:24.885 which is a nineteen nineties classical work performed by the 0:48:25.005 --> 0:48:28.725 voices of Light Ensemble that was written to accompany the film. 0:48:29.245 --> 0:48:31.325 For the purposes of this tournament, how do you all 0:48:31.485 --> 0:48:35.685 evaluate silent films that have soundtracks that were written much later? 0:48:36.245 --> 0:48:38.965 Is it possible to separate these aspects of the film, 0:48:39.045 --> 0:48:39.965 and if so, should we? 0:48:40.645 --> 0:48:40.844 Well? 0:48:41.445 --> 0:48:44.725 Thank you David for participating and yet taking the time 0:48:44.765 --> 0:48:48.365 to watch Joan of Arc. This is a question that 0:48:48.405 --> 0:48:51.725 has long bedeviled me, and I've avoided trying to come 0:48:51.805 --> 0:48:56.045 up with a conclusive answer because oftentimes, when you're trying 0:48:56.045 --> 0:49:00.085 to track down older films like this, you're viewing options 0:49:00.365 --> 0:49:05.725 are limited, let alone your score options. But I think 0:49:05.765 --> 0:49:08.965 it's a really important question and I'm sure a film 0:49:09.125 --> 0:49:14.925 historian would have a decisive opinion on it. I think 0:49:15.005 --> 0:49:19.765 my instinct usually if I'm looking for options, is if 0:49:19.805 --> 0:49:23.125 there is any sort of original now with silent films, 0:49:23.165 --> 0:49:26.085 of course there's no like original original, right, but if 0:49:26.085 --> 0:49:30.925 there has been historical work done where this piece was 0:49:31.045 --> 0:49:35.885 often used to accompany, you know, the earliest screenings of 0:49:35.925 --> 0:49:39.325 the silent film that we can go back and actually pinpoint, 0:49:39.645 --> 0:49:41.605 then I would go with that just kind of be 0:49:42.085 --> 0:49:47.245 sort of a purist historically, But there are many films 0:49:47.325 --> 0:49:51.645 that older films that have used contemporary scores in the 0:49:51.725 --> 0:49:55.765 way the one David is talking about that probably work 0:49:56.045 --> 0:50:00.885 better and sound better and serve the story better. So 0:50:01.525 --> 0:50:04.205 I don't know if the historical purity route is necessarily 0:50:04.285 --> 0:50:06.485 the best defense it. 0:50:07.045 --> 0:50:10.725 It is so tough. But maybe this is obvious and 0:50:10.805 --> 0:50:14.325 not really what David is getting into, because I understand 0:50:14.405 --> 0:50:19.005 as you're suggesting there's a larger philosophical conundrum here. But 0:50:19.245 --> 0:50:23.405 for the purposes of something like Madness, your choice is 0:50:24.085 --> 0:50:26.045 your choice, and it's what you're limited to. It may 0:50:26.125 --> 0:50:28.765 simply be a case that if you only have access 0:50:28.965 --> 0:50:31.885 to something like the Criterion version of it with the 0:50:31.925 --> 0:50:36.845 score and for our arbitrary needs, you're weighing it against 0:50:36.885 --> 0:50:39.445 the Adventures of Robin Hood, and you watch both films 0:50:39.485 --> 0:50:42.205 and you have to pick one that that you like more. 0:50:42.925 --> 0:50:46.325 All you can do is go off the version of 0:50:46.405 --> 0:50:48.565 The Passion of Joan of Arc that you saw, and 0:50:49.325 --> 0:50:51.685 I don't need to overthink it any more any more 0:50:51.765 --> 0:50:54.485 than that. I think we always want to default to 0:50:55.445 --> 0:50:58.285 as close to original versions as we can find of something. 0:50:58.405 --> 0:51:05.205 But if it proves to be too difficult, I don't 0:51:05.245 --> 0:51:07.765 know what else you can do. Right, So it is 0:51:08.245 --> 0:51:12.005 a very interesting question, and I haven't had a chance 0:51:12.085 --> 0:51:13.925 yet to look. I'm curious what people in the Film 0:51:13.965 --> 0:51:17.565 Spotting Family discord have had to say in response to David. 0:51:17.685 --> 0:51:20.245 I will check that out. Other Film Spotting Family members 0:51:20.325 --> 0:51:22.045 can do that as well well, because they have access 0:51:22.525 --> 0:51:25.285 to that discord, they have access to the tournament, they 0:51:25.325 --> 0:51:28.924 get other benefits like our Film Spotting Family newsletter where 0:51:29.085 --> 0:51:33.485 these matchups and the polls go live every week. You 0:51:33.565 --> 0:51:35.765 can get access to all of this stuff, including our 0:51:35.805 --> 0:51:39.924 monthly bonus shows, for as little as five dollars a month, 0:51:39.965 --> 0:51:42.605 and we do have a current promotion going on now 0:51:42.765 --> 0:51:44.965 where it's even less than that through the month of 0:51:45.005 --> 0:51:47.605 August our Summer promotion, and all you have to do 0:51:47.765 --> 0:51:51.365 is use the promo code Summer. You'll get twenty percent 0:51:51.445 --> 0:51:55.885 off any Film Spotting Family membership. That's any monthly or 0:51:56.005 --> 0:51:59.325 annual membership twenty percent off through August. Just use the 0:51:59.405 --> 0:52:03.245 promo code Summer. We thank all of our Film Spotting 0:52:03.285 --> 0:52:16.765 Family members for their support. A couple of quick notes 0:52:16.805 --> 0:52:20.365 before we round out our top five Spider Man scenes. 0:52:20.365 --> 0:52:23.125 We have two more picks left. You brought to my 0:52:23.245 --> 0:52:28.125 attention a really fine article by Richard Roper talking about 0:52:28.325 --> 0:52:30.125 something I don't know how many of our listeners are 0:52:30.205 --> 0:52:32.725 aware of. They've maybe heard about it a little bit 0:52:32.885 --> 0:52:37.925 over the years, this mysterious Lake Street screening room that 0:52:38.245 --> 0:52:40.965 the two of us have both had the honor, quite frankly, 0:52:41.085 --> 0:52:46.005 the privilege of sitting in. And it does seem it's 0:52:46.085 --> 0:52:49.725 maybe not imminent. We don't know the exact route it's 0:52:49.765 --> 0:52:51.485 going to take or what the timing is going to be, 0:52:51.645 --> 0:52:54.884 but it does certainly seem based on Richard Roper's article, 0:52:54.925 --> 0:52:56.685 which we will link to in our show notes if 0:52:56.685 --> 0:52:58.365 you would like to read it, it does seem like 0:52:59.245 --> 0:53:02.404 the Lake Street Screening Room may be no more, which 0:53:02.485 --> 0:53:04.605 is really sad to think of when you consider all 0:53:04.685 --> 0:53:07.685 the history that is in that room. So this may 0:53:07.765 --> 0:53:10.085 be a little inside baseball, but hey, this is a 0:53:10.165 --> 0:53:13.205 film criticism show and it's something that we did want 0:53:13.245 --> 0:53:15.085 to spend a minute on. We have to. 0:53:15.205 --> 0:53:18.165 The history is so rich. This article by Richard Roper 0:53:18.925 --> 0:53:22.765 is really good, just very reflective, and based on my 0:53:22.925 --> 0:53:27.125 experience attending there over the I guess decades, now captures 0:53:27.165 --> 0:53:28.925 it quite well. So we'll link to it. It's at 0:53:29.005 --> 0:53:32.965 roderibert dot com. Appropriately because this was the home of 0:53:33.125 --> 0:53:36.965 Roger Ebert and Gene Siskel from the early newspaper years, 0:53:37.245 --> 0:53:43.965 all throughout their television show. And I do remember when 0:53:44.045 --> 0:53:46.685 I first got a chance to go, probably mid to 0:53:46.805 --> 0:53:50.765 late nineties, maybe a forty seat, it's probably in the article. 0:53:51.005 --> 0:53:53.565 I should should know this offhand, but not a very 0:53:53.605 --> 0:53:56.285 big room. And when I got a chance to go, 0:53:56.685 --> 0:53:59.765 writing a freelance movie review for a newspaper, feeling like 0:53:59.845 --> 0:54:03.844 I was entering the Holy of holies because they were 0:54:03.885 --> 0:54:07.364 all there, Ebert and Ciscol, but also at the time 0:54:07.525 --> 0:54:12.325 Michael Wilmington Chicago Tribune critic as well, alongside Ciscol, Jonathan 0:54:12.445 --> 0:54:16.325 Rosenbaum Chicago Reader critic. I mean people I had been 0:54:16.565 --> 0:54:20.924 had grown up reading religiously, and here I was sitting 0:54:21.405 --> 0:54:26.885 in an intimidatingly small screening room with them, And so 0:54:27.085 --> 0:54:30.805 it was that. It was also just the idiosyncratic nature 0:54:30.845 --> 0:54:34.125 of it. It's in this high rise, you know, sixteen 0:54:34.205 --> 0:54:38.085 middle sixteenth floor of an unassuming high rise, which I 0:54:38.165 --> 0:54:40.405 think the building's being sold, which is why the occasion 0:54:40.485 --> 0:54:43.565 for this article or has been sold. And yeah, you 0:54:43.725 --> 0:54:45.924 just walked in and you'd go up and there would 0:54:45.925 --> 0:54:47.805 be this room and there'd be all these folks and 0:54:48.485 --> 0:54:52.525 you'd get to watch these movies in advance. And it's faded. 0:54:52.805 --> 0:54:53.005 You know. 0:54:53.285 --> 0:54:55.245 I think I've only been there once, maybe within the 0:54:55.365 --> 0:54:59.605 last year or so. More screenings are being held just 0:54:59.805 --> 0:55:03.924 in you know, larger theater chains around the city. And yeah, 0:55:04.005 --> 0:55:07.884 the quality is the other thing of the presentation though. 0:55:08.285 --> 0:55:12.805 And Richard Roper interviews Steve Kraus, who's been the projectionists 0:55:12.845 --> 0:55:16.605 and really the running the whole space all this time, 0:55:17.245 --> 0:55:19.205 and you just knew that it was going to be 0:55:19.845 --> 0:55:24.285 pristine or what the format, and that's something you know, 0:55:24.445 --> 0:55:28.205 when you're going to a wider chain for press screenings, 0:55:28.285 --> 0:55:32.285 you don't always get Let's just say the framing for 0:55:32.365 --> 0:55:35.765 the Odyssey press screening was a little bit, you know, 0:55:35.925 --> 0:55:38.765 it wasn't quite even on the screen. It wasn't disastrous. 0:55:38.845 --> 0:55:41.725 We got the whole picture, but just being there reminded 0:55:41.765 --> 0:55:43.325 me again of what you would get from the Lake 0:55:43.365 --> 0:55:45.605 Street screening room. So yeah, I don't know if were 0:55:45.645 --> 0:55:48.205 we ever there together, Adam. I think by the time 0:55:48.245 --> 0:55:50.165 I was doing the show, it was being used less 0:55:50.205 --> 0:55:53.045 and less, but I'm sure there were a couple instances 0:55:53.125 --> 0:55:54.325 where we caught something there. 0:55:54.525 --> 0:55:58.685 Absolutely there were, And it's so funny how over the 0:55:58.805 --> 0:56:02.605 years now it's hard to remember exactly how many times, 0:56:02.685 --> 0:56:06.365 but I know for sure because I remember referencing and 0:56:06.445 --> 0:56:08.285 this doesn't happen very often that I do this, but 0:56:08.365 --> 0:56:12.885 I remember referencing the muted response to the Grand Budapest 0:56:13.005 --> 0:56:15.285 Hotel the first time I reviewed it, and it was 0:56:15.365 --> 0:56:18.325 the critics response in the room, and we were all 0:56:18.405 --> 0:56:21.445 together watching it in the Lake Street screen room the 0:56:21.485 --> 0:56:24.685 first time I saw that movie, I think two thousand 0:56:24.685 --> 0:56:29.125 and late two thousand and six, early two thousand and seven, 0:56:29.245 --> 0:56:30.645 so just about a year and a half or two 0:56:30.725 --> 0:56:34.925 years into film spotting was when we finally did get 0:56:35.005 --> 0:56:41.325 access to that room and absolutely feeling like you had arrived, 0:56:41.765 --> 0:56:44.725 And you especially felt like you'd arrived when you walk 0:56:44.805 --> 0:56:47.685 in and there's Roger Ebert, and no one had to 0:56:47.765 --> 0:56:51.245 tell you that that was his place in the back. 0:56:52.245 --> 0:56:55.965 You knew that, you knew that if he was sitting there, 0:56:56.085 --> 0:56:58.364 that had to be his spot, and he was going 0:56:58.445 --> 0:57:01.685 to sit there every time, and you would not ever 0:57:02.365 --> 0:57:06.245 dare to sit in that seat. And I did pretty 0:57:06.325 --> 0:57:09.205 much always find a seat just in like the third 0:57:09.325 --> 0:57:12.125 row middle. But that's the other thing about this that 0:57:12.165 --> 0:57:14.605 I did want to mention, Josh, is that I think 0:57:15.005 --> 0:57:17.005 when you hear about this place and you think about 0:57:17.045 --> 0:57:20.325 like Ciskel and Ebert being here at this private screening 0:57:20.365 --> 0:57:23.005 room for critics, the image in your mind you talk 0:57:23.005 --> 0:57:25.125 about the great presentation, which it was, the image in 0:57:25.165 --> 0:57:31.805 your mind is of this pristine, immaculate sort of place. 0:57:32.845 --> 0:57:36.005 And it's not that it was run down or tawdry 0:57:36.125 --> 0:57:39.085 or anything, but it also always felt to me just 0:57:39.405 --> 0:57:43.405 very working class and just very much a space where 0:57:43.965 --> 0:57:47.485 working working critics for there to see the movie they 0:57:47.565 --> 0:57:50.885 had to see and then go do the work that 0:57:50.965 --> 0:57:53.045 they had to do in response to that movie. It 0:57:53.165 --> 0:57:57.365 wasn't it wasn't there to be some howload movie house. 0:57:57.485 --> 0:58:00.565 It was. It was there to project to you a 0:58:01.445 --> 0:58:04.605 good picture and good sound and a comfortable seat. 0:58:05.365 --> 0:58:05.725 It was not. 0:58:05.925 --> 0:58:07.965 It was not gilded, and there was a lot of 0:58:08.005 --> 0:58:10.525 food being brought in. No I can remember, you know, 0:58:10.765 --> 0:58:13.805 in my heyday when I was, you know, working as 0:58:13.845 --> 0:58:16.445 a daily critic, I would see three in a day. 0:58:16.845 --> 0:58:20.285 You'd have fifteen minutes between the ten am got out 0:58:20.725 --> 0:58:23.525 and the twelve fifteen would start to run down to 0:58:23.565 --> 0:58:25.725 a hot dog stand and bring it back up before 0:58:25.765 --> 0:58:28.045 the next one started. So there's a lot of crinkling 0:58:28.125 --> 0:58:30.285 of papers, and yeah, you're right. It was not like 0:58:30.405 --> 0:58:34.045 this haloed museum, which was part of its charm. And 0:58:34.525 --> 0:58:38.085 it's interesting you mentioned that about the hush reception to 0:58:38.085 --> 0:58:40.765 Grand Budapest Hotel. You know, one of the things I 0:58:40.845 --> 0:58:44.325 do appreciate about these larger screenings we have more often now, 0:58:44.845 --> 0:58:47.805 often with audiences who have won tickets to see it, 0:58:48.525 --> 0:58:52.405 is that there's not that sort of and this didn't 0:58:52.445 --> 0:58:56.365 always happen, but that sort of reserved air of caution 0:58:57.005 --> 0:58:58.925 that would definitely be in that room. And I was 0:58:58.965 --> 0:59:01.005 a part of it. Like you know, especially when you're new, 0:59:01.605 --> 0:59:06.165 you don't want your your reactions to be heard by 0:59:06.285 --> 0:59:09.365 Roger because what if he's not feeling the same, you know, 0:59:09.565 --> 0:59:11.405 So you're dealing with that sort of thing. And I 0:59:11.445 --> 0:59:13.685 think that just kind of became or people just wanted 0:59:13.685 --> 0:59:16.845 to keep their reactions close, you know, not let it known, 0:59:17.125 --> 0:59:18.805 let it be known how they feel about the movie, 0:59:19.205 --> 0:59:22.365 which is maybe one of the downs sides of a 0:59:22.485 --> 0:59:24.765 situation like that compared to a bigger theater where you 0:59:24.805 --> 0:59:27.765 could let loose a little bit. But yet, you know, 0:59:27.805 --> 0:59:31.285 there probably won't be anything like it again, just the 0:59:31.325 --> 0:59:35.285 way media has gone and you know, film film. 0:59:35.125 --> 0:59:36.125 Reviewing and. 0:59:37.765 --> 0:59:42.605 The whole the whole process has changed. There's you know, 0:59:42.685 --> 0:59:45.725 as many influencers as critics at some of these screenings now, 0:59:46.365 --> 0:59:49.005 which is fine, but it's just a different it's a 0:59:49.165 --> 0:59:51.645 whole different experience than what could be had at the 0:59:51.725 --> 0:59:53.085 Lake Street Screening Room for sure. 0:59:53.845 --> 0:59:56.845 Again, we will link to the article in our show notes. 0:59:56.885 --> 0:59:59.885 It is a very interesting read if you're curious to 1:00:00.005 --> 1:00:02.925 check out Richard Roper's piece. We now move on to 1:00:03.605 --> 1:00:06.765 our deeply flawed film spotting poll. It probably is deeply 1:00:06.845 --> 1:00:09.525 flawed because we don't need all of these choices, but 1:00:09.645 --> 1:00:12.285 we're going to give them to you anyway. Your task 1:00:12.485 --> 1:00:16.045 is to choose one and only one Spider Man film. 1:00:16.325 --> 1:00:19.285 I guess that's how we do it. We're applying it's 1:00:19.405 --> 1:00:24.085 unwritten here, but it is implicit that the Incinerator is 1:00:24.405 --> 1:00:28.085 at work here, Josh behind the scenes, and only one 1:00:28.125 --> 1:00:30.325 of these movies survive. So which one is it? In 1:00:30.485 --> 1:00:31.445 chronological order? 1:00:31.525 --> 1:00:34.685 The options are, Yeah, the Incinerator has a generator, so 1:00:34.805 --> 1:00:38.565 it's never offline. Okay, So our option Spider Man two 1:00:38.605 --> 1:00:41.005 thousand and two, Spider Man two from two thousand and four, 1:00:41.845 --> 1:00:46.565 into the Spider Verse, Spider Man Homecoming, and then across 1:00:46.725 --> 1:00:49.405 the Spider Verse. So there's a couple of challenges here. 1:00:49.485 --> 1:00:51.925 We are going to include the option of other as well. 1:00:52.205 --> 1:00:55.365 For you Andrew Garfield fans, there's two things you have 1:00:55.445 --> 1:00:59.845 to decide. Am I going Spider Verse or live action? 1:01:00.645 --> 1:01:05.885 And then among that choice, which live Action or which 1:01:05.925 --> 1:01:10.605 Spider Verse I'm gonna I'm I'm still thinking my way 1:01:10.725 --> 1:01:13.965 through this, so give me, give me twenty seconds or so. 1:01:15.205 --> 1:01:17.725 Do you have Do you have any Yeah, I can 1:01:17.805 --> 1:01:20.005 banter a little bit, but I'm just going to stall 1:01:20.125 --> 1:01:22.045 as well because I've been thinking about this. But I 1:01:22.125 --> 1:01:24.685 was thinking about it before we'd even come to this 1:01:24.765 --> 1:01:26.965 poll question, just as I was doing the top five list, 1:01:27.005 --> 1:01:31.645 because I feel like I'm a little bit on the 1:01:31.725 --> 1:01:34.445 outside when it comes to the conventional wisdom on this, 1:01:35.845 --> 1:01:39.165 and that is that there's a reason why we picked 1:01:39.445 --> 1:01:43.365 for movie Deathmatch, and we did consider what various people 1:01:43.445 --> 1:01:45.565 had to say and consult various lists. There's a reason 1:01:45.605 --> 1:01:50.605 why we picked to represent the live action, we picked 1:01:50.645 --> 1:01:53.165 Spider Man two, and there's a reason why we picked 1:01:53.685 --> 1:01:55.805 into the Spider Verse. Now, part of picking into the 1:01:55.845 --> 1:01:58.285 Spider Verse may have actually had to do with it 1:01:58.445 --> 1:02:03.485 being the first animated one, and so it felt revolutionary, 1:02:03.565 --> 1:02:07.125 and Spider Man two actually felt more like the culmination, 1:02:07.365 --> 1:02:10.405 the pinnacle of what Raymie was doing. I'm not going 1:02:10.485 --> 1:02:12.365 to get into it anymore than that, but that's my 1:02:12.845 --> 1:02:18.245 quick armchair assessment for me, And I want to note 1:02:18.725 --> 1:02:21.485 I have not rewatched, other than scanning scenes for the 1:02:21.565 --> 1:02:24.565 top five. I have not sat and rewatched in one 1:02:24.645 --> 1:02:28.845 sitting fully focused taking notes for a review Spider Man two. 1:02:29.285 --> 1:02:33.365 But I have done that fairly recently with well fairly recently, 1:02:33.525 --> 1:02:36.765 like eight years ago or whenever it was for Spider 1:02:36.885 --> 1:02:38.725 not eight years ago, three years ago four years ago 1:02:38.805 --> 1:02:41.725 for Spider Man, for Spider Man the Original, right, because 1:02:41.765 --> 1:02:45.325 it's twentieth anniversary in twenty twenty two, So that is 1:02:45.685 --> 1:02:48.365 that is lingering in my mind. But my point is 1:02:48.645 --> 1:02:50.725 is that when I think about those first two movies, 1:02:51.085 --> 1:02:53.285 I feel like the conventional wisdom is that Spider Man 1:02:53.365 --> 1:02:57.645 two is the greater achievement and Spider Man the first 1:02:57.725 --> 1:03:01.805 one is the one that is stronger. In my memory. 1:03:02.605 --> 1:03:06.405 There are scenes that are have have stayed with me 1:03:07.045 --> 1:03:11.045 Josh in a greater way, and I feel like it 1:03:11.405 --> 1:03:14.165 it has edged out Spider Man two for me if 1:03:14.165 --> 1:03:16.525 I'm just picking between them. So I'm off on that. 1:03:16.765 --> 1:03:21.005 And here's where I'm off on the animated films, especially 1:03:21.205 --> 1:03:22.845 if you look at which I did, if you look 1:03:22.925 --> 1:03:26.645 back at my notes for those two films, I have 1:03:27.005 --> 1:03:30.205 way more interesting things to say and in my mind, 1:03:30.325 --> 1:03:34.525 deeper things to say about across the Spider Verse than 1:03:34.565 --> 1:03:37.525 I do into the Spider Verse. Across the Spider Verse 1:03:37.965 --> 1:03:42.325 connected with me and resonated with me in a way 1:03:42.405 --> 1:03:45.325 more meaningful way than into the Spider Verse did. Now, 1:03:45.405 --> 1:03:48.205 maybe maybe I just saw it on a better day 1:03:48.925 --> 1:03:51.365 and I was more in tune to what was happening 1:03:51.405 --> 1:03:55.085 and I was paying closer attention, but I can't change 1:03:55.125 --> 1:03:57.685 that I had the deeper reaction to across the Spider Verse. 1:03:57.725 --> 1:04:00.845 So I feel like in both cases, I'm I'm going 1:04:00.885 --> 1:04:02.045 against the grain a little bit. 1:04:02.685 --> 1:04:05.765 I think you're right that consensus would stay, would say 1:04:05.965 --> 1:04:08.445 not overall, But between the live action Spider Man two, 1:04:09.445 --> 1:04:11.405 I'm not sure. I don't have a good sense for 1:04:11.605 --> 1:04:16.205 which Spider Verse is considered better. It might be across, 1:04:16.925 --> 1:04:19.205 as you're saying, I'm going to lean on, and I 1:04:19.285 --> 1:04:21.445 know it's not in the language here we just presented, 1:04:21.525 --> 1:04:25.925 but somewhere maybe it was in slack somewhere. I think 1:04:26.365 --> 1:04:32.725 Sam used the word definitive, and I'm latching onto that 1:04:33.245 --> 1:04:35.965 because I found it very helpful. Okay, it's gonna help 1:04:36.005 --> 1:04:41.285 me weave a path towards my choice here. I think 1:04:41.445 --> 1:04:44.405 one of these Spider Verse films are probably better as 1:04:44.565 --> 1:04:50.005 films just in terms of the inventiveness, the craft. The 1:04:51.565 --> 1:04:53.845 and the live action have these, but the level at 1:04:53.885 --> 1:04:59.725 which it's operating inventedness, craft, visual elements, and balance of 1:05:00.005 --> 1:05:03.965 action and humor. One of those is probably the better film. 1:05:04.445 --> 1:05:07.925 But I'm gonna stick with definitive and for me, neither 1:05:07.965 --> 1:05:11.045 of those is possible. Those are the movies we need now. 1:05:11.165 --> 1:05:14.765 Where we've been churning our way through superheroes, let alone 1:05:14.805 --> 1:05:18.565 Spider Man for decades. Now, we need those types of 1:05:18.685 --> 1:05:23.925 movies now that are rethinking the entire superhero project in 1:05:24.165 --> 1:05:28.685 very smart and entertaining ways. Not exhaustive ways, which we've 1:05:28.685 --> 1:05:32.445 also seen elsewhere, but definitive for me. I go back 1:05:32.445 --> 1:05:35.125 to the live action and I do as well as 1:05:35.205 --> 1:05:37.885 you go back to the First Spider Man. I just 1:05:38.085 --> 1:05:41.205 think it's where and maybe we should get back to 1:05:41.245 --> 1:05:43.485 our list soon because I think we'll be talking about 1:05:43.485 --> 1:05:46.765 this with one of the picks. It's where what I 1:05:46.885 --> 1:05:52.125 had been waiting for my whole life to see on 1:05:52.205 --> 1:05:55.325 the big screen and hoping they wouldn't mess it up, 1:05:55.965 --> 1:05:57.805 And not only did they not mess it up, but 1:05:57.925 --> 1:06:01.565 they actually made it work. And so that's why I'm 1:06:01.605 --> 1:06:03.765 going to go back to the first First Spider Man. 1:06:05.325 --> 1:06:08.925 That is where I'm going to vote as well. Spider Man, 1:06:09.165 --> 1:06:11.525 we would like to know your thoughts. Can't wait to 1:06:11.525 --> 1:06:13.085 see how this one comes out. You can vote in 1:06:13.125 --> 1:06:15.925 that poll and leave a comment. We'll share your feedback 1:06:16.045 --> 1:06:18.845 here in a couple of weeks. Vote at film spotting 1:06:19.365 --> 1:06:33.045 dot net. Let's do then transition Josh very smoothly back 1:06:33.125 --> 1:06:36.725 into our top five, and honestly based on the conversation 1:06:36.845 --> 1:06:39.085 we just had. I don't know that it could go 1:06:39.245 --> 1:06:42.165 any smoother, at least with my top two picks, but 1:06:42.925 --> 1:06:46.285 we have a listener. Voicemail came in just under the wire, 1:06:47.605 --> 1:06:50.285 and I think it will help us because it will 1:06:50.405 --> 1:06:55.325 make this list feel complete. It will allow us to 1:06:55.365 --> 1:06:59.245 feel like we gave every Spider Man his due. It 1:06:59.445 --> 1:07:04.365 turns out that there is some love for Andrew Garfield 1:07:04.485 --> 1:07:09.805 Spider Man, and it comes from a bona fide expert 1:07:10.765 --> 1:07:13.925 on Spider Man. Let's go ahead and hear the credentials 1:07:14.325 --> 1:07:16.805 and the choice of Drew Jeffries I. 1:07:16.845 --> 1:07:20.405 Film Spotting, longtime listener at Drew Jeffries here. So I 1:07:20.565 --> 1:07:24.405 teach a university class on superhero films. I'm also the 1:07:24.565 --> 1:07:27.725 author of an academic book called Comic Book Film Style, 1:07:28.525 --> 1:07:30.845 but perhaps more pertinention of this week's top five. I 1:07:31.005 --> 1:07:33.685 also have that meme with the two Spider Man pointing 1:07:33.725 --> 1:07:36.405 at each other literally tattooed on my body. I have 1:07:36.485 --> 1:07:39.645 one Spider Man on each sigh. So when I found 1:07:39.645 --> 1:07:42.325 out y'all were doing your top five Spider Man scenes, 1:07:42.525 --> 1:07:44.845 I knew I had to send in a quick note. 1:07:45.685 --> 1:07:48.205 Now I have love for every iteration of Spider Man, 1:07:48.325 --> 1:07:51.285 but the Andrew Garfield of a Stone Amazing Spider Man 1:07:51.445 --> 1:07:54.805 is actually at the top of my list in part. 1:07:54.885 --> 1:07:56.885 I just find their chemistry as a couple to be 1:07:57.365 --> 1:08:00.925 so undeniable. I'd actually put them at number one on 1:08:01.245 --> 1:08:05.325 my personal list of movie couples, full stop. 1:08:05.405 --> 1:08:06.045 And no offense. 1:08:06.085 --> 1:08:09.965 But you're wrong. You're wrong about us being on different paths, 1:08:10.285 --> 1:08:11.885 on different paths from my path. 1:08:13.525 --> 1:08:15.045 And you're always going to be my path. 1:08:15.565 --> 1:08:17.885 But I'm going with a more traditional Spider scene for 1:08:18.005 --> 1:08:21.285 my pick, which is a swing scene across New York's city. 1:08:21.765 --> 1:08:25.005 This one comes towards the end of the movie. Spider's hurt. 1:08:25.245 --> 1:08:26.885 He needs a bit of help to swing over to 1:08:26.925 --> 1:08:29.525 Oscorp to save the day, and wouldn't you know it, 1:08:29.885 --> 1:08:35.525 the cranes reconstructing the city all start slowly turning inward, 1:08:35.925 --> 1:08:39.085 giving our guys something to swing from. Cue the waterworks 1:08:39.125 --> 1:08:43.445 for me. Every damn time superhero movies are so bound 1:08:43.565 --> 1:08:45.285 up with the post nine to eleven moment, But this 1:08:45.445 --> 1:08:50.245 scene really beautifully articulates the United we stand eCos instead 1:08:50.245 --> 1:08:53.925 of just restaging the attacks themselves as movies like Batman 1:08:54.005 --> 1:08:57.285 Begins or The Avengers or A Man of Steel would do. Anyway, 1:08:57.645 --> 1:08:59.285 I can't wait to hear your picks. 1:08:59.645 --> 1:09:03.245 Thanks guys, there it is Andrew Garfield, Mark Webb. Spider 1:09:03.325 --> 1:09:05.885 Man's They're not going to come up in any of 1:09:06.005 --> 1:09:09.285 our top two picks, but Drew did get that choice 1:09:09.365 --> 1:09:12.805 in and I don't think you can argue with his credentials. 1:09:12.845 --> 1:09:15.205 I think he makes a compelling choice there. And I 1:09:15.245 --> 1:09:17.485 said it earlier, Josh that even the bad ones, and 1:09:17.565 --> 1:09:20.445 I don't think the Amazing Spider Man the first one 1:09:20.525 --> 1:09:24.725 is necess sssarily one of the bad ones. It may 1:09:24.805 --> 1:09:26.845 not be one of the better ones, but it's not 1:09:26.965 --> 1:09:29.325 a it's not a terrible movie. But it has a 1:09:29.485 --> 1:09:32.285 moment like that, And Drew is right, it has a 1:09:32.445 --> 1:09:35.564 moment like that, a nice visual moment like that where 1:09:35.605 --> 1:09:40.005 those cranes come together and you go, oh, a Spider 1:09:40.085 --> 1:09:42.684 Man movie can give me a nice a nice touch 1:09:43.525 --> 1:09:45.685 like that with that character. And it speaks to what 1:09:45.805 --> 1:09:49.485 you said earlier, that intimate connection between Spider Man and 1:09:49.605 --> 1:09:51.125 the citizenry of New York. 1:09:51.645 --> 1:09:54.325 Well, thank you for the voicemail, Drew, but where's the photo? 1:09:54.685 --> 1:09:57.565 I mean, I'm not saying I don't believe you, but 1:09:58.205 --> 1:10:01.365 when we did our top five tattoos tattoos we would 1:10:01.405 --> 1:10:04.885 get we were flooded with braver souls who have guts 1:10:04.965 --> 1:10:08.085 their movie tattoo tattoos. They would send pictures. 1:10:08.165 --> 1:10:09.685 So it's coming now. 1:10:10.125 --> 1:10:13.165 Yeah, yeah, let's uh talk about something for the film 1:10:13.205 --> 1:10:15.605 Spotting Family Discord can't wait to see it. 1:10:15.765 --> 1:10:18.885 I like it. Thank you address, Yeah, you know the 1:10:18.965 --> 1:10:22.925 email address. We do a cpreciate the feedback. Let's get 1:10:22.965 --> 1:10:26.644 to our final two choices, Josh, your number two Spider 1:10:26.725 --> 1:10:27.365 Man scene. 1:10:28.085 --> 1:10:30.604 Let's get back to praise for two thousand and two's 1:10:31.125 --> 1:10:35.485 Spider Man and it's the upside Down kiss. When I 1:10:36.005 --> 1:10:39.525 started rewatching and researching this pick at him because I 1:10:39.565 --> 1:10:41.485 knew it was going to be on my list, I 1:10:41.645 --> 1:10:44.965 really expected to find out that the scene, or at 1:10:45.045 --> 1:10:47.325 least the image at least this image was pulled from 1:10:47.485 --> 1:10:50.365 a comic book run at one point that I wasn't 1:10:50.925 --> 1:10:55.045 aware of, but apparently not. What I did find was 1:10:55.405 --> 1:10:59.325 a twenty twenty two Ringer article that was a deep 1:10:59.485 --> 1:11:03.765 dive just on this scene, written by Jake kring Shriefels, 1:11:04.365 --> 1:11:07.445 and in there they talk. He talks a little bit 1:11:07.525 --> 1:11:10.085 about how the scene came about, doesn't mention that it 1:11:10.125 --> 1:11:13.325 appeared in the comics, a comic run earlier. Maybe a 1:11:13.445 --> 1:11:16.325 listener might know of something similar that they can share. 1:11:17.125 --> 1:11:19.085 We'll link to this as well if you want all 1:11:19.165 --> 1:11:22.005 the details on this deep dive. But basically, the moment 1:11:22.085 --> 1:11:26.925 arose after director Sam Raimi scrap plans to film a 1:11:27.005 --> 1:11:31.005 fairly standard kiss a top Rockefeller Center, and so they 1:11:31.045 --> 1:11:34.325 were looking for another option, and second unit director and 1:11:34.365 --> 1:11:39.325 storyboard artist Doug Leffler thought about some earlier jobs he'd 1:11:39.365 --> 1:11:42.325 been on. Earlier work he had done that featured characters 1:11:42.445 --> 1:11:46.485 falling into the frame, and so that was in his 1:11:46.605 --> 1:11:49.764 mind and he started sketching out possibilities, and he sketched 1:11:49.765 --> 1:11:51.765 out the basics for this scene. So this is Toby 1:11:51.845 --> 1:11:56.005 Maguire's Peter lowering himself next to Kristen Dunns Mary Jane 1:11:56.125 --> 1:11:57.925 in this rainy alley. 1:11:58.405 --> 1:12:00.085 You have a knack for getting in trouble. 1:12:00.925 --> 1:12:02.525 You have a knack for saving my life. 1:12:03.405 --> 1:12:06.005 I think I had a superhero stocker. I was in 1:12:06.085 --> 1:12:10.845 the neighborhood and I can't really say much better why 1:12:10.925 --> 1:12:15.005 this works than what kring Shreefels does in this article. 1:12:15.045 --> 1:12:16.485 So let me quote here. If this is in the 1:12:16.605 --> 1:12:19.605 Ringer within the context of the story, the scene is 1:12:19.645 --> 1:12:23.045 a cathartic release for Peter Parker, a rare opportunity to 1:12:23.165 --> 1:12:26.085 embrace his dual identity and be vulnerable with the girl 1:12:26.205 --> 1:12:28.845 he loves. On a much larger scale, It's one of 1:12:28.885 --> 1:12:32.205 the most iconic and romantic kisses in Hollywood history. A 1:12:32.365 --> 1:12:37.285 unique and asymmetrical composition of rain soaked interlocked lips, never 1:12:37.565 --> 1:12:41.685 seen before on the big screen. So I have this 1:12:41.765 --> 1:12:44.764 at number two. I do think this is another element 1:12:44.805 --> 1:12:49.885 of the character, is the romantic nature. And the only 1:12:49.965 --> 1:12:53.205 thing I'll say about Brand New Day is that is 1:12:53.285 --> 1:12:56.445 definitely explored. If this is something you love about the 1:12:56.485 --> 1:13:00.085 Spider Man and Peter Parker character, that is definitely explored 1:13:00.085 --> 1:13:01.725 in the new movie in Brand New Day. What that 1:13:01.925 --> 1:13:05.885 means for this iteration of the character. But here, yeah, 1:13:06.045 --> 1:13:10.365 it is the composition and what it means in terms 1:13:10.405 --> 1:13:13.205 of character. And you have when you think of this 1:13:13.365 --> 1:13:17.925 in terms of all the versions of Spider Man, it 1:13:18.045 --> 1:13:20.045 is such a unique I mean, this idea of a 1:13:20.125 --> 1:13:23.925 Spider Man and so many unique visual possibilities. It would 1:13:24.005 --> 1:13:27.485 be easy to just stop there and say the things 1:13:27.565 --> 1:13:29.525 we started with as kids, like wouldn't it be cool 1:13:29.525 --> 1:13:31.725 to see him swinging across the screen? We got it, 1:13:32.085 --> 1:13:36.125 We're good. But to take that next step and imagine 1:13:36.165 --> 1:13:42.205 ways for those visual possibilities to echo thematic ideas, to 1:13:42.365 --> 1:13:48.365 echo emotional beats, to capture character qualities. That's when you're 1:13:48.405 --> 1:13:52.685 really working at a higher level of artistry, and in 1:13:52.765 --> 1:13:55.725 a single shot, really, I mean, there's a lot going 1:13:55.805 --> 1:13:58.205 on here that goes into this. I think Kirsten Duntz 1:13:58.285 --> 1:14:01.165 makes this a pretty sexy scene in the way she 1:14:01.285 --> 1:14:05.245 plays it actually, so the actors are definitely involved in 1:14:05.325 --> 1:14:08.645 making this work, but just in a single shot in 1:14:08.725 --> 1:14:12.965 the framing, to be able to invest it, infuse it 1:14:13.125 --> 1:14:17.725 with so much emotion and thematic purpose for me, makes it, 1:14:18.285 --> 1:14:20.005 you know, could easily be the number one for a 1:14:20.045 --> 1:14:23.445 lot of people, probably their number one Spider Man Scener moment. 1:14:24.165 --> 1:14:25.165 I have it here at number two. 1:14:25.885 --> 1:14:27.925 Yeah, tough not to put on my list. It's an 1:14:27.925 --> 1:14:30.765 honorable mention, It's what I was trying to say. Or 1:14:30.885 --> 1:14:34.085 we'll go back to with your number five. I believe 1:14:34.125 --> 1:14:36.805 the stopping the train moment there are some moments, there 1:14:36.805 --> 1:14:41.325 are reasons why you consider them Mount Rushmore type moments. 1:14:41.405 --> 1:14:43.564 They belong on that list. And from the Train, Josh, 1:14:43.605 --> 1:14:46.085 it's not just them them holding him, but even when 1:14:46.125 --> 1:14:49.205 he when he faints in their their hands right, hold him, 1:14:49.485 --> 1:14:54.485 hold him up. And and here that that image is 1:14:54.685 --> 1:14:58.005 so vivid, and and I understand why the Ringer has 1:14:58.365 --> 1:15:00.485 devoted an entire article to it. I think for a 1:15:00.565 --> 1:15:03.805 lot of people, You're right, it probably is the number 1:15:03.885 --> 1:15:09.485 one scene that said everything you just articulated about it 1:15:10.005 --> 1:15:15.525 in terms of composition being so important and taking the 1:15:15.725 --> 1:15:24.684 unique visual possibilities of a spider Cara so perfectly. Even better, 1:15:24.805 --> 1:15:29.605 I think applies to my number two. It's like the 1:15:29.725 --> 1:15:34.165 filmmakers here in Spider Man Across the Spider Verse said 1:15:34.845 --> 1:15:39.005 let's take that moment, and maybe they did, Josh, because 1:15:39.005 --> 1:15:43.365 it also involves characters who are upside down. They took 1:15:43.485 --> 1:15:47.205 that moment and said, how can we extend this even more? 1:15:47.565 --> 1:15:55.685 Extend the emotional and thematic possibilities of that imagery. And 1:15:56.845 --> 1:15:59.205 when you think about these films, so the moment is 1:15:59.685 --> 1:16:02.965 Miles and Gwen at the Williamsburg clock Tower in Across 1:16:03.005 --> 1:16:07.125 the Spider Verse. In both of the films. There's plenty 1:16:07.165 --> 1:16:13.285 of examples of impressive animation, thrilling imagery, great action moments, 1:16:13.565 --> 1:16:18.045 but also just great compositions where you recognize the artists 1:16:18.085 --> 1:16:21.564 responsible for these films are elevating the craft and as 1:16:21.605 --> 1:16:24.445 you said earlier talking about the poll questions, that maybe 1:16:24.485 --> 1:16:27.565 in some ways these are even just better films. But 1:16:27.805 --> 1:16:34.485 for me, the single scene that best harnesses those capabilities 1:16:34.725 --> 1:16:39.765 is this scene. It's a reunion scene. It's been I 1:16:39.805 --> 1:16:41.925 think like a year and a half since these two 1:16:42.045 --> 1:16:46.725 characters last saw each other, so they're catching up, they're 1:16:46.805 --> 1:16:49.564 feeling each other out, but they also know each other 1:16:49.725 --> 1:16:52.005 so well. They know each other in a way like 1:16:52.245 --> 1:16:55.165 great friends do, and people who are connected the way 1:16:55.205 --> 1:16:58.845 they are, they know each other uniquely. There's also that 1:16:58.965 --> 1:17:02.485 other dynamic at play where Miles has a crush on Gwen. 1:17:03.405 --> 1:17:07.604 Daniel Pemberton's score is so lovely. During this sequence, they're 1:17:07.805 --> 1:17:11.405 high above the city. They're in this fantasy sort of realm, 1:17:11.845 --> 1:17:15.245 and everything about it captures the way you feel when 1:17:15.285 --> 1:17:18.765 you're seeing someone special to you who you haven't seen 1:17:18.845 --> 1:17:22.965 in a long time. And the director justsic Kay Thompson, 1:17:23.245 --> 1:17:25.844 he seems to want to keep it grounded in character. 1:17:26.525 --> 1:17:30.685 It's not about showing off with the animation, but it 1:17:30.845 --> 1:17:36.445 is about trying to heighten that that sensation, this fantasy 1:17:36.525 --> 1:17:40.924 sort of feeling, this special feeling that these two characters 1:17:41.045 --> 1:17:44.885 have when they're together. And the first time we see them, 1:17:46.285 --> 1:17:48.965 it is kind of subtle, right because they're they're vertical 1:17:49.005 --> 1:17:51.205 in the frame. The first time we see them together, 1:17:51.525 --> 1:17:55.205 it feels like a normal shot. So you and your 1:17:55.285 --> 1:17:58.844 dead it's a little off because the horizon is also vertical, 1:17:58.925 --> 1:18:02.165 and we're not used to seeing horizons be vertical, and 1:18:02.445 --> 1:18:04.604 we can kind of start to put together that, oh, 1:18:04.725 --> 1:18:08.205 they must be walking sideways in a way that only 1:18:08.405 --> 1:18:12.245 characters like they could do. And then when Gwen starts 1:18:12.325 --> 1:18:17.005 walking backwards along the dome and we with the camera 1:18:17.365 --> 1:18:21.285 follow her, almost like we're on a roller coaster, but 1:18:21.405 --> 1:18:24.925 a gentle roller coaster that's going over the edge with her. 1:18:25.645 --> 1:18:28.005 It's one of those kind of take your breath away moments, 1:18:28.045 --> 1:18:31.445 but not again, not in a roller coaster drop. Take 1:18:31.485 --> 1:18:34.405 your breath away just kind of eases you into it. 1:18:35.005 --> 1:18:38.564 It's it's really something. And then there's that incredible one 1:18:38.685 --> 1:18:42.925 hundred and eighty degree move that that follows her as 1:18:43.005 --> 1:18:45.725 she moves to the underside of the ledge and she's 1:18:45.765 --> 1:18:49.205 standing upside down, and I honestly just love the tilt up. 1:18:49.285 --> 1:18:51.724 Then that we get where Miles is standing on top 1:18:52.125 --> 1:18:55.965 and she's sitting up upside down, and it's still keeping 1:18:56.085 --> 1:18:59.485 some distance between them, because I think it's still about 1:19:00.125 --> 1:19:01.925 he is still trying to figure out how to kind 1:19:01.965 --> 1:19:06.845 of move into her space and how to fully reconnect 1:19:06.925 --> 1:19:09.365 with each other. So there's still some distance between them. 1:19:09.445 --> 1:19:11.645 But then he does move closer and he joins her, 1:19:12.205 --> 1:19:15.245 and they spend the next the next few minutes together 1:19:15.565 --> 1:19:17.564 talking while sitting upside down. 1:19:18.725 --> 1:19:22.925 Just a really emotionally intelligent guy beyond my years. 1:19:25.685 --> 1:19:29.445 Some of the lines of dialogue in that scene while 1:19:29.445 --> 1:19:31.885 they're sitting there or just about to sit there together, 1:19:32.365 --> 1:19:37.725 I think, really explain the motivation for the sequence and 1:19:37.765 --> 1:19:42.285 the way it's portrayed. At one point, Miles says, well, 1:19:42.325 --> 1:19:44.645 maybe some things are supposed to be just for us, 1:19:45.245 --> 1:19:47.925 and she says, how many people could you talk to 1:19:48.085 --> 1:19:50.845 about this stuff? Speaking to again that special connection, how 1:19:50.885 --> 1:19:55.885 they are Obviously they're different, and there aren't there aren't 1:19:55.925 --> 1:19:59.365 a lot of people who have their special skills and 1:19:59.685 --> 1:20:05.525 they need each other and if they are, then these 1:20:05.605 --> 1:20:09.325 types of figures who are going to have an experience 1:20:09.605 --> 1:20:13.125 that are just the experience is just for them, and 1:20:13.725 --> 1:20:16.165 they're going to talk about things that only they can 1:20:16.205 --> 1:20:18.565 talk about. Well, it makes sense that they would do 1:20:18.685 --> 1:20:21.644 it in an environment, in in a way that only 1:20:21.805 --> 1:20:25.605 they can do, that only they can have, in a 1:20:25.725 --> 1:20:28.965 moment that only they can share, which is them high 1:20:29.005 --> 1:20:33.884 above the city sitting upside down. So the whole sequence 1:20:33.925 --> 1:20:37.525 for me evokes that that they're having together, this singular 1:20:38.085 --> 1:20:41.365 experience that is just for them, and then because of that, 1:20:41.565 --> 1:20:45.565 we as viewers, it almost feels like a privilege that 1:20:45.645 --> 1:20:47.405 we get to be a part of it. It feels 1:20:47.525 --> 1:20:50.724 that intimate that we get to sit there and listen 1:20:50.805 --> 1:20:53.525 in on the conversation that they get to have. I 1:20:53.565 --> 1:20:57.845 did find a place, Josh where the production designer said, 1:20:58.125 --> 1:21:00.724 and I should find his full name. His last name's O'Keefe. 1:21:00.965 --> 1:21:04.085 But he talks about the artist Peter Chan, who did 1:21:04.125 --> 1:21:07.165 the majority of work on the sequence. He says, he 1:21:07.245 --> 1:21:09.445 did such a fantastic job. Peters an artist that we 1:21:09.525 --> 1:21:12.605 traditionally use for the most colorful scenes possible because he 1:21:12.685 --> 1:21:14.925 has this ability to handle a wide variety of colors 1:21:14.965 --> 1:21:17.285 for the scene, however, I challenged him to work with 1:21:17.405 --> 1:21:20.045 a more limited palette and pay very close attention to 1:21:20.165 --> 1:21:23.245 the sensitivity of the sequence. There are lots and lots 1:21:23.285 --> 1:21:26.285 of very subtle but huge shifts happening here. The city 1:21:26.405 --> 1:21:29.764 never feels too flat or boring. Although it feels magical 1:21:29.805 --> 1:21:33.045 and romantic, it's not telling you directly. The visuals are 1:21:33.125 --> 1:21:36.845 letting you feel the romanticism of the moment quietly, and 1:21:36.965 --> 1:21:41.125 I think that I think that does get to part 1:21:41.165 --> 1:21:45.605 of why that scene works. Again, for all of its showiness, 1:21:45.685 --> 1:21:47.365 in some way, if you think about the way the 1:21:47.485 --> 1:21:51.405 camera is following the characters and that upside down things 1:21:51.405 --> 1:21:54.605 are happening, it is so quiet at the end of 1:21:54.605 --> 1:21:57.125 the day, it is still such a quiet, beautiful scene. 1:21:58.165 --> 1:22:01.804 Yeah, there is a real sunset seeping through the cloud 1:22:01.925 --> 1:22:05.125 sense of the color here that that quote brings to mind. 1:22:05.125 --> 1:22:08.564 If listeners have not seen this scene, you really got 1:22:08.685 --> 1:22:10.725 to check it out. We'll link to it in our 1:22:10.765 --> 1:22:12.805 show notes, as we will for I think all the 1:22:12.845 --> 1:22:16.245 scenes for our picks, because it's kind of hard to describe, right, 1:22:17.925 --> 1:22:19.925 but for all the reasons you laid out, and a 1:22:20.005 --> 1:22:22.325 few more are get to this is why I have 1:22:22.925 --> 1:22:25.805 being Upside Down with Spider Gwen as my number one. 1:22:25.925 --> 1:22:29.485 I have it ahead of the Kiss. It's just mesmerizing 1:22:29.685 --> 1:22:34.405 and moving. Astute listeners will also remember I had it 1:22:34.485 --> 1:22:37.085 actually as my most moving moment at our twenty twenty 1:22:37.125 --> 1:22:39.965 three rap party, and so obviously it was going to 1:22:40.005 --> 1:22:41.405 be on this list. It was just a matter of 1:22:41.445 --> 1:22:44.885 where do I rank it with the others, and once 1:22:44.965 --> 1:22:47.805 I watched all of them again, I had to put 1:22:47.845 --> 1:22:49.765 it at the top. I do think to your point 1:22:49.805 --> 1:22:54.684 about the dialogue SHIMIEK Moore as Miles Here and Hailey 1:22:54.725 --> 1:22:58.085 Steinfeld as Spider Gwen, I do think they're giving really 1:22:58.125 --> 1:23:02.245 good performances, and the character animation with him moving his 1:23:02.365 --> 1:23:05.645 hands slightly towards her is just so astute. So in 1:23:05.765 --> 1:23:08.205 terms of performance, it's wonderful, But it really is a 1:23:08.245 --> 1:23:11.245 lot of what you were talking about, the visuals accentuating 1:23:11.325 --> 1:23:14.325 those emotions. I even like. I think the only thing 1:23:14.365 --> 1:23:16.644 I'll mention that you didn't I don't think you mentioned 1:23:16.725 --> 1:23:20.285 Gwen's ponytail. How she puts her hair in a ponytail 1:23:20.325 --> 1:23:23.884 at the start, but then when the whole screen flips, 1:23:25.485 --> 1:23:30.685 essentially she looks like she's sitting upright, but her ponytail 1:23:31.245 --> 1:23:33.845 is poking way up in the air because of gravity, right. 1:23:33.925 --> 1:23:38.005 So it's just it's clever. It's also orientating for us 1:23:38.205 --> 1:23:41.884 as the audience is It's like, it's okay, it's functional, 1:23:41.965 --> 1:23:44.965 but also like really kind of funny and cute. And 1:23:45.085 --> 1:23:47.365 then and then to have the skyline in the background 1:23:47.805 --> 1:23:50.965 be upside down with that happening, it's like, Okay, I 1:23:51.725 --> 1:23:54.845 I really I what's happening here? But okay, I think 1:23:54.885 --> 1:23:57.565 I know what's happening here, and your brain is is 1:23:57.725 --> 1:24:02.405 registering all that and it does, you know, it's dizzying 1:24:02.405 --> 1:24:04.805 and oddly beautiful, but it does speak to what you're 1:24:04.845 --> 1:24:09.005 talking about their unique experiences. These are two teens whose 1:24:09.085 --> 1:24:14.405 worlds have been completely upended literally and you know, thematically 1:24:14.645 --> 1:24:17.604 turned upside down, and this is what they're talking about here, 1:24:17.725 --> 1:24:21.325 the stresses, the pressures of these having these power and 1:24:21.405 --> 1:24:24.805 what it means for their family relationships and their personal relationships, 1:24:25.925 --> 1:24:32.325 and to yeah, to have that represented by the imagery alone, 1:24:32.405 --> 1:24:36.564 I really, you know, I didn't think the movies could 1:24:36.685 --> 1:24:39.085 find a way to top the comic book cool and 1:24:39.205 --> 1:24:43.245 emotionality of The Upside Down Kiss, But I think this. 1:24:43.605 --> 1:24:46.445 I think this scene from across the Spider Verse manages it. 1:24:46.685 --> 1:24:48.525 So yeah, number one for me. 1:24:50.885 --> 1:24:56.005 I guess I'm proving here why I did pick Spider 1:24:56.085 --> 1:24:59.644 Man two thousand and two though as my definitive Spider 1:24:59.725 --> 1:25:02.125 Man in the poll question, because when it came down 1:25:02.285 --> 1:25:05.724 to going with a number one scene, I did resort 1:25:05.885 --> 1:25:09.205 back to Sam Raimi's two thousand and two Spider Man 1:25:09.925 --> 1:25:16.805 and I went with Peter discovering his powers. And I 1:25:16.885 --> 1:25:19.684 do think there's a lot here, Josh in the scene 1:25:20.325 --> 1:25:24.845 that it reflects here again Sam Raimi's sensibilities as a 1:25:24.925 --> 1:25:28.205 director and how he applies them to this character. Why 1:25:28.285 --> 1:25:31.965 these movies work so well, Starting with Peter looking down 1:25:32.005 --> 1:25:34.765 at his hand and that extreme close up of his 1:25:34.925 --> 1:25:41.644 fingertips with the microscopic hairs, it literally makes his superpowers tactile, 1:25:42.365 --> 1:25:45.245 which is something we complain about, is these superhero movies 1:25:45.325 --> 1:25:49.764 not feeling that way, not feeling real, not feeling tangible. 1:25:50.565 --> 1:25:52.445 Here's where I said I was going to maybe mention 1:25:53.605 --> 1:25:56.005 the Amazing Spider Man two again, the movie I needed 1:25:56.045 --> 1:26:00.165 to catch up with, and I watched it as my 1:26:00.325 --> 1:26:02.885 last film so I could cross off all these Spider 1:26:02.965 --> 1:26:08.205 Man movies it's definitely the worst of all of them. 1:26:08.725 --> 1:26:11.805 I would say, without revisiting all of them, I would 1:26:11.805 --> 1:26:14.845 say it's the worst of them. And I bring it 1:26:14.925 --> 1:26:19.645 up in this context, Josh, because with my respects to 1:26:19.765 --> 1:26:23.325 our listener Drew, who said is that these movies on 1:26:23.445 --> 1:26:26.725 the whole work and that he really likes Gwen and 1:26:28.165 --> 1:26:32.005 Peter as Emma Stone and Andrew Garfield portray them. I 1:26:32.045 --> 1:26:33.845 don't really have a problem with them, but I did 1:26:33.925 --> 1:26:37.325 spend most of the movie making that face. Dennis Leary 1:26:37.445 --> 1:26:39.925 makes the whole movie when he appears as the ghost 1:26:40.005 --> 1:26:43.325 of Policemen Past, who just appears every now and again 1:26:43.845 --> 1:26:45.365 with that scolding face. 1:26:45.445 --> 1:26:46.685 Where he just got about him. 1:26:47.085 --> 1:26:50.765 He just appears and scowls at I hope he got 1:26:50.845 --> 1:26:53.525 paid well to do that, like for just one day 1:26:53.565 --> 1:26:55.724 of work, just stand in front of a green screen 1:26:55.805 --> 1:26:58.165 or whatever and scowl at Tom Holland or nobody. He 1:26:58.285 --> 1:27:00.485 was probably scowling it or not Tom Holland Andrew Garfield, 1:27:00.525 --> 1:27:02.764 he probably was scowling at nobody. I do hope Dennis 1:27:02.805 --> 1:27:05.405 Leary got paid well for that day. That's how I 1:27:05.525 --> 1:27:09.965 felt mostly disappointed watching this movie. And my biggest disappointment 1:27:10.285 --> 1:27:15.325 was maybe that at no point did I feel not 1:27:15.525 --> 1:27:17.725 just during the set pieces, the major set pieces, but 1:27:17.885 --> 1:27:21.725 during any single moment of Spider Man being Spider Man. 1:27:22.845 --> 1:27:25.485 At no point did I feel like I believed it. 1:27:26.245 --> 1:27:31.165 At every turn, the effects jolted me out of my 1:27:31.285 --> 1:27:35.405 suspension of disbelief. It felt like they had to apply 1:27:35.645 --> 1:27:41.644 some kind of computer, computerized moment, computer generated effect at 1:27:41.765 --> 1:27:47.165 every single leap or wall climb, whatever it was, and 1:27:47.285 --> 1:27:50.445 it took me out of it at every turn. And 1:27:51.205 --> 1:27:55.525 here Rainy is signaling to you, these hands are about 1:27:55.565 --> 1:27:58.325 to walk up the wall and you're gonna watch it. Yeah, 1:27:58.405 --> 1:28:01.925 it's gonna be great. This is a fun sequence. It's 1:28:01.965 --> 1:28:05.125 a funny sequence, but I think it's so memorable in 1:28:05.245 --> 1:28:08.645 part two because of the layers that Raymie brings to it. 1:28:09.085 --> 1:28:11.965 You don't need a PhD in child psychology to read 1:28:12.005 --> 1:28:17.685 Spider Man as a metaphor for puberty and adolescents with 1:28:18.245 --> 1:28:22.325 sudden physical transformations and the way that can be scary 1:28:22.605 --> 1:28:27.325 for young boys. And not surprisingly with Rainy, this sequence 1:28:27.365 --> 1:28:30.925 starts with some ominousness. It's in this dark kind of 1:28:30.965 --> 1:28:33.845 alley out of the sun, and he looks up and 1:28:33.885 --> 1:28:37.005 sees the Spider in the web crawling around and there's 1:28:37.085 --> 1:28:39.405 barbed wire right next to it, and the Danny Elfman 1:28:39.525 --> 1:28:42.445 score even heightens that a little bit. And then when 1:28:42.525 --> 1:28:49.684 Peter initially starts crawling up the wall slowly, it doesn't 1:28:49.765 --> 1:28:52.845 feel like this joyous thing. It actually feels like something 1:28:52.885 --> 1:28:56.045 out of a horror movie where a scary monster starts 1:28:56.125 --> 1:28:59.564 crawling slowly toward the main character and then picks up speed. 1:29:00.005 --> 1:29:02.165 But then once he fully realizes what he can do, 1:29:03.005 --> 1:29:11.005 that's where the excitement begins. And I suppose watching that sequence, Josh, 1:29:11.445 --> 1:29:14.085 the only part for me watching it again multiple times 1:29:14.125 --> 1:29:17.125 you could be really nitpicky about is how real a 1:29:17.245 --> 1:29:20.605 couple of those jumps felt from the aerial shots. But 1:29:20.685 --> 1:29:27.045 otherwise I bought every single amazing move Peter pulls off. There. 1:29:27.485 --> 1:29:31.285 It completely holds up, and the webs and the webs 1:29:31.365 --> 1:29:34.645 slinging feel real and don't feel like any kind of 1:29:34.805 --> 1:29:39.925 computer generated effect. He's a kid, acting like a kid 1:29:40.245 --> 1:29:43.564 like you believe a kid would act, discovering these powers 1:29:43.965 --> 1:29:46.085 and going back to where we began. Every single one 1:29:46.165 --> 1:29:50.884 of us who aspired to be Spider Man, who dreamed 1:29:50.925 --> 1:29:55.685 about this moment, suddenly actually getting bitten by the radioactive 1:29:55.725 --> 1:29:58.165 Spider that when we put on our under roofs and thought, 1:29:58.205 --> 1:30:01.005 if only I could actually sling webs and crawl up 1:30:01.045 --> 1:30:06.005 the walls. In this moment, Raymie brought that to life 1:30:06.045 --> 1:30:09.685 for us. He delivered the confusion but also the exhilaration 1:30:10.125 --> 1:30:14.644 that we imagined when we were kids, and I suppose 1:30:14.765 --> 1:30:17.005 that is a big part of why it will always 1:30:17.045 --> 1:30:19.885 be this movie. That scene in particular, that's a big 1:30:19.965 --> 1:30:21.765 reason why this will be the diff of Spider Man 1:30:21.845 --> 1:30:22.045 for me. 1:30:22.725 --> 1:30:27.125 Yeah, I remember watching this in a press screening. Wasn't 1:30:27.125 --> 1:30:29.245 at the Lake Street screening room, but in a press screening, 1:30:29.685 --> 1:30:32.725 and my immediate reaction when this scene happened was they 1:30:32.805 --> 1:30:36.205 did it because you'd been hearing about this movie being 1:30:36.245 --> 1:30:41.005 in development for so long and I didn't know if 1:30:41.045 --> 1:30:43.764 it could work until we saw the scene of Peter 1:30:43.925 --> 1:30:48.445 actually trying out his powers and they pulled it off. 1:30:48.565 --> 1:30:50.845 It absolutely worked. It was thrilling, it was funny as 1:30:50.885 --> 1:30:53.885 the character should be. All the things you said, it's 1:30:53.965 --> 1:30:57.005 my number six, it's you know, the top honorable mention 1:30:57.165 --> 1:31:02.205 for me. I think it captures the genial enthusiasm, which 1:31:02.285 --> 1:31:06.205 is a core trade of the character as well. Sometimes 1:31:06.325 --> 1:31:08.085 some of these movies try a little too hard to 1:31:08.165 --> 1:31:11.925 force that into fights here and there, but it's perfect 1:31:12.005 --> 1:31:16.125 for this sequence where Peter's response is yes, confused, maybe 1:31:16.165 --> 1:31:20.205 a little nervous, but mostly this genial enthusiasm. And you 1:31:20.325 --> 1:31:23.165 mentioned the Elphan score. The best part of it is 1:31:24.125 --> 1:31:26.445 when he starts crawling up that wall, the way the 1:31:26.645 --> 1:31:31.405 music inches the wall with him with him. So yeah, 1:31:32.045 --> 1:31:34.885 just just a really great scene and my top honorable mention. 1:31:35.645 --> 1:31:38.845 Those are our top five Spider Man scenes. We would 1:31:38.845 --> 1:31:41.365 love to hear your picks or any other comments about 1:31:41.365 --> 1:31:43.525 the show. You can email us feedback at film spotting 1:31:43.565 --> 1:31:45.765 dot net. Once again, you can find all of our 1:31:45.885 --> 1:31:48.725 choices and links to the scenes at film spotting dot 1:31:48.805 --> 1:31:51.605 net just by clicking on lists right there at the 1:31:51.725 --> 1:31:55.285 top of the page. Josh, you did list one of 1:31:55.325 --> 1:31:57.564 your honorable mentions for us already. Do you have any 1:31:57.685 --> 1:31:58.805 others you would like to throw in? 1:31:59.405 --> 1:32:01.045 Well, I feel like I should give a bone to 1:32:01.125 --> 1:32:04.005 the Andrew Garfield fans. I mean, you know, Drew Drew 1:32:04.085 --> 1:32:07.125 came to his defense, but you've just you've been scared 1:32:07.205 --> 1:32:11.685 by your your amazing Spider Graw experience. So how about this? 1:32:12.085 --> 1:32:14.125 And it speaks to some of the things we've been 1:32:14.165 --> 1:32:16.685 talking about. But in The Amazing Spider Man, there's a 1:32:16.765 --> 1:32:20.925 rescue sequence where Spider Man convinces a kid who is 1:32:21.125 --> 1:32:23.285 is in a car that's dangling from a bridge and 1:32:23.325 --> 1:32:26.045 he's trying to convince him to climb out and you know, 1:32:26.445 --> 1:32:28.644 come to him, come to safety, and the kid is scared, 1:32:29.125 --> 1:32:32.085 and what he does to convince him is he takes 1:32:32.485 --> 1:32:35.205 his masks and gives it to the kid and says, 1:32:35.245 --> 1:32:37.445 it'll make you strong. And I think that, you know, 1:32:37.605 --> 1:32:40.405 it's a really nice moment that also speaks to the 1:32:40.445 --> 1:32:42.525 intimacy that we've touched on. So I would say that 1:32:43.725 --> 1:32:47.604 for the Andrew Garfield run, I feel like I need 1:32:47.685 --> 1:32:51.605 to acknowledge the Spider Men reunion that takes place in 1:32:51.725 --> 1:32:56.005 Spider Man No Way Home. I think that's not a 1:32:56.085 --> 1:32:58.685 super successful I mean I liked it okay, but a 1:32:58.725 --> 1:33:02.205 super successful Spider Man movie. And maybe it's a little 1:33:02.245 --> 1:33:05.965 hokey that all of the previous Spider Man come to 1:33:06.205 --> 1:33:09.325 join Tom Holland. But if you are a completist or 1:33:09.365 --> 1:33:15.485 you have a long history with this character, I'm sorry, it's. 1:33:14.605 --> 1:33:15.205 Kind of cool. 1:33:15.405 --> 1:33:16.885 I mean what they asked the actors to do is 1:33:16.965 --> 1:33:18.885 kind of lame, but the idea is cool enough. Okay, 1:33:18.965 --> 1:33:22.365 So let's say that the opening of Spider Man Across 1:33:22.445 --> 1:33:27.605 the Universe is essentially a mini Spider Gwen movie, and 1:33:28.245 --> 1:33:31.765 it's wonderful. You talked about the color work in the 1:33:31.845 --> 1:33:35.885 scene we both picked with Miles and Spider Gwen. But this, 1:33:36.525 --> 1:33:39.085 I think of that sequence where she's having that fight 1:33:39.205 --> 1:33:42.684 with her father and the background walls just start dripping 1:33:42.805 --> 1:33:46.965 like water colors. Incredible. Yeah, I think I'll go with 1:33:47.045 --> 1:33:48.564 those for my honorable mentions. 1:33:48.965 --> 1:33:50.764 Yeah, we have covered a lot of the same ground. 1:33:50.845 --> 1:33:55.045 Because I already mentioned to the run your list the 1:33:55.125 --> 1:33:58.485 upside down kiss scene stopping the train Spider Gwen was 1:33:58.525 --> 1:34:00.325 one that stood out to me that opening. 1:34:01.285 --> 1:34:03.685 And you know what I do. 1:34:05.165 --> 1:34:08.564 Or I am willing to give a nod to Peters 1:34:09.085 --> 1:34:14.045 reuniting in the latest Spider Man movie. Which one is 1:34:14.085 --> 1:34:16.165 that again? No Way Home? Is that what we're calling that? 1:34:16.405 --> 1:34:19.845 No Way Home? Yes? From twenty twenty one. In terms 1:34:19.925 --> 1:34:23.005 of one or two, the didn't mention. I do have 1:34:23.525 --> 1:34:27.885 a moment that I called out during our Spider Man conversation, 1:34:28.325 --> 1:34:35.245 our twenty year anniversary conversation where Aunt May chides Willem Dafoe, 1:34:35.325 --> 1:34:39.045 who I think is great, chides Willem Dafoe's Norman Osborne. 1:34:39.085 --> 1:34:41.205 I can't remember exactly what he says, but he says 1:34:41.285 --> 1:34:44.604 something that she gives him a little slap on the wrist, 1:34:44.805 --> 1:34:46.485 and the way she does it and the way he 1:34:46.685 --> 1:34:49.925 reacts to it he doesn't like. He doesn't like the 1:34:50.005 --> 1:34:53.685 way she puts him in his place he's not used to. 1:34:53.765 --> 1:34:56.805 That is really is really great into the Spider verse. 1:34:56.845 --> 1:35:00.405 I mean, this is one of those iconic Mount Rushmore moments, 1:35:00.445 --> 1:35:02.885 perhaps as well, but the Leap of Faith is another 1:35:03.245 --> 1:35:08.405 great visual and and thematic moment as well. I thought, Josh, 1:35:08.485 --> 1:35:12.765 that I would and I did the research here. I 1:35:12.885 --> 1:35:16.205 thought that I would be able to find something from 1:35:16.925 --> 1:35:19.724 This was going to be my off the beaten path surprise, 1:35:19.885 --> 1:35:22.405 Josh Pick. You know you went with the I should 1:35:22.405 --> 1:35:25.925 have known it was coming now. It's a trend. But 1:35:26.205 --> 1:35:28.565 just as you went with the theme music or the 1:35:28.845 --> 1:35:32.525 opening theme moment, I thought, here's where I'm gonna surprise Josh. 1:35:32.685 --> 1:35:36.365 I'm gonna even though this isn't that risky here or whatever, 1:35:37.205 --> 1:35:40.405 that much of a surprise, I'm gonna go with a 1:35:40.525 --> 1:35:44.564 Spider Man moment from one of the Avengers movies or Captain. 1:35:44.565 --> 1:35:46.005 I thought about that, Yeah, right. 1:35:46.805 --> 1:35:49.085 And I went back and watched every scene I could 1:35:49.125 --> 1:35:51.764 get my hand on. I thought, surely one of these scenes, 1:35:51.845 --> 1:35:55.685 the relationship between him and Tony Stark, they have such 1:35:55.725 --> 1:35:59.525 a bond, fun that they have such a bond, And 1:35:59.765 --> 1:36:03.125 and and who doesn't love Tony Stark? Who doesn't love 1:36:03.205 --> 1:36:05.925 Robert Downey Jr. I'm I'm surely going to find a 1:36:06.005 --> 1:36:09.165 scene that I love. It's gonna jog my memory and 1:36:09.205 --> 1:36:11.245 I'm gonna I'm gonna feel like I have to put 1:36:11.285 --> 1:36:13.125 this in my top five. And not only did I 1:36:13.245 --> 1:36:15.604 not find a scene from Civil War or Infinity War 1:36:15.725 --> 1:36:18.845 or Endgame that made my top five. I this is 1:36:18.885 --> 1:36:20.965 the honorable mention I'm giving it is that I really 1:36:21.085 --> 1:36:23.644 couldn't find one, a single scene from any of those movies. 1:36:23.725 --> 1:36:27.205 Joshua is that he does appear in the Avengers. 1:36:27.485 --> 1:36:30.644 He appears in those movies. So maybe that's some feedback 1:36:30.725 --> 1:36:34.645 I'm I'm looking for from listeners in general. But you 1:36:34.685 --> 1:36:36.805 can give us any feedback on the list, But specifically, 1:36:37.885 --> 1:36:40.205 is there something Is there a key scene from many 1:36:40.205 --> 1:36:42.005 of those and I know I know there's there's the 1:36:42.085 --> 1:36:45.604 death scene, and there's the there's the life. But those 1:36:45.645 --> 1:36:46.564 don't stand out to me. 1:36:48.085 --> 1:36:50.564 In the moment and in the context. I think they're 1:36:50.765 --> 1:36:53.045 I think they're very effective. I think his return is 1:36:53.165 --> 1:36:56.085 quite moving, and I think his presence what he brings 1:36:56.845 --> 1:36:59.925 just even as a character to that battle scene, it's 1:36:59.965 --> 1:37:02.125 like at an airport or something like that. Right, Yeah, 1:37:02.805 --> 1:37:07.245 in Civil War, I think is a nice there's some 1:37:07.365 --> 1:37:10.685 nice levity there with what else we're getting. So I 1:37:10.765 --> 1:37:13.205 think he's quite good and a welcome presence in all 1:37:13.245 --> 1:37:16.325 those movies. I just didn't have anything from them that 1:37:16.405 --> 1:37:19.365 could rival, you know, the ricks that we made. 1:37:19.885 --> 1:37:23.365 Okay, what's again our top five Spider Man scenes? Email 1:37:23.485 --> 1:37:28.165 us yours feedback at film spotting dot net, Josh, that's 1:37:28.205 --> 1:37:28.564 our show. 1:37:29.845 --> 1:37:31.885 If you want to find Adam in the show on 1:37:32.085 --> 1:37:36.045 social media, you can find them on Instagram, Facebook, letterbox, YouTube, 1:37:36.085 --> 1:37:39.245 and blue Sky. At film Spotting, I'm at those places 1:37:39.445 --> 1:37:43.764 at larsen on Film. We are independently produced and listeners supported. 1:37:43.885 --> 1:37:47.925 You can support the show for twenty percent off right 1:37:48.005 --> 1:37:52.325 now by joining the film Spotting Family at filmspottingfamily dot com. 1:37:53.005 --> 1:37:56.684 Just use the code summer to get your twenty percent off. 1:37:57.045 --> 1:37:58.445 If you do that, you'll be able to listen to 1:37:58.725 --> 1:38:00.805 the show early and ad free. You'll also get monthly 1:38:00.845 --> 1:38:03.885 bonus episodes, a weekly newsletter, and access to the entire 1:38:04.005 --> 1:38:07.085 show archive. For show t shirts and other merch go 1:38:07.165 --> 1:38:09.405 to film spotting dot net slash shop. 1:38:10.165 --> 1:38:13.604 Out in limited release this weekend is I Want Your Sex, 1:38:13.725 --> 1:38:17.245 the new movie from director Greg Araki, with Olivia Wilde 1:38:17.365 --> 1:38:20.405 and Cooper Hoffman. Friend of the show, Mitchell bo Pray 1:38:20.445 --> 1:38:23.285 at Letterbox says, a rocky, sex filled riff on something 1:38:23.445 --> 1:38:25.805 like The Lady Eve or Ball of Fire. Okay, I 1:38:25.925 --> 1:38:29.725 was interested, now at more interested. Boyhood is being re 1:38:29.925 --> 1:38:34.604 released unfortunately only in Alamo drafthouse theaters and other independent chains. 1:38:34.645 --> 1:38:38.005 It does say, other independent chains, but not one near me. Josh, 1:38:38.085 --> 1:38:42.285 I can't see that beloved film of mine back in theaters. 1:38:42.485 --> 1:38:45.965 The Kidnapping of Arabella is a new film from Italian 1:38:46.005 --> 1:38:50.845 writer director Carolina Cavali. Friend of the show Robert Daniel says, 1:38:51.365 --> 1:38:54.085 and you can't say this isn't intriguing. What if Roy 1:38:54.165 --> 1:38:56.724 Anderson made Thelma and Louise. 1:38:59.685 --> 1:39:01.525 I'm gonna need a few minutes, take a. 1:39:01.525 --> 1:39:05.644 Minute to process that one. Okay, we know Roy Anderson's 1:39:05.645 --> 1:39:08.405 worked fairly well. So yeah, Sheep in the Box. This 1:39:08.525 --> 1:39:11.564 is the latest from Hirikazu Korata. Big year for Sheep 1:39:11.885 --> 1:39:14.805 at the Movies, a near future set film about a 1:39:14.845 --> 1:39:19.085 family raising a humanoid robot as a sun at the 1:39:19.165 --> 1:39:23.125 music Box, Korata, I am, I am interested? Out wide 1:39:23.365 --> 1:39:26.565 is spider Man brand new day, So next week you 1:39:26.685 --> 1:39:30.765 can't expect more Spider Man talk. We will get to 1:39:31.165 --> 1:39:34.245 the latest Spider Man movie starring Tom Holland next week. 1:39:34.325 --> 1:39:36.604 In the Film Spotting Feed, that's our show on Friday 1:39:36.685 --> 1:39:39.885 Monday is episode three of the movie Deathmatch. It is 1:39:39.965 --> 1:39:43.485 a lot of spidery. Sorry, hopefully you'll be interested. Great 1:39:43.565 --> 1:39:46.845 conversation though, Matt Singer and Daisy Rosario about spider Man 1:39:46.925 --> 1:39:50.285 two and into the spider Verse. See which one gets 1:39:50.365 --> 1:39:53.045 crowned the definitive Spider Man movie. It's going to be 1:39:53.085 --> 1:39:55.485 one of those two. Host Chris Klemack has to be 1:39:56.005 --> 1:39:59.405 the judge and make that tough call and Josh, that's 1:39:59.485 --> 1:40:01.965 it because it's break time for the next picture show. 1:40:02.005 --> 1:40:04.805 In Film Spotting SVU, I guess they've earned it. 1:40:07.165 --> 1:40:09.644 Sure, yeah, yeah they do. They do deserve a break. 1:40:10.405 --> 1:40:12.925 Film Spotting is produced by Golden Joe Toso and Sam 1:40:13.085 --> 1:40:16.165 Van Holgren. Without Sam and Golden Joe, this show wouldn't go. 1:40:16.605 --> 1:40:20.125 Our production assistant is Sophiekempanar special thanks to everyone at 1:40:20.245 --> 1:40:24.885 wbeasy Chicago. More information is available at wbez dot org. 1:40:25.285 --> 1:40:26.804 For film Spotty, I'm Josh. 1:40:26.685 --> 1:40:29.405 Larson and I'm Adam Kempinar. Thanks for listening. 1:40:29.645 --> 1:40:33.965 This conversation can serve no purpose anymore. Good Bye,