1 00:00:00,440 --> 00:00:03,920 Speaker 1: Hi, everybody. Hey, it's Scott Patterson and this is I 2 00:00:04,080 --> 00:00:08,760 Speaker 1: am all Mini Sods and we're breaking down our movie 3 00:00:08,800 --> 00:00:13,720 Speaker 1: review of The Goonies. Here's the stat sheet on The 4 00:00:13,720 --> 00:00:19,040 Speaker 1: Goonies in film distributed by Warner Brothers Pictures. It is 5 00:00:19,079 --> 00:00:22,480 Speaker 1: a PG rated film in the genre of comedy, kids 6 00:00:22,480 --> 00:00:26,840 Speaker 1: and family adventure, directed by Richard Donner, Produced by Harvey 7 00:00:26,840 --> 00:00:31,640 Speaker 1: Bernhardt and Richard Donner, Written by Chris Columbus, story by 8 00:00:31,840 --> 00:00:37,000 Speaker 1: Steven Spielberg. Released June wide, United States. An hour and 9 00:00:37,040 --> 00:00:41,040 Speaker 1: fifty one minute running time, surround sound Dolby Stereo. It's 10 00:00:41,040 --> 00:00:45,320 Speaker 1: starred Shawn Aston, Josh Brolin, Jeff Cohen, Corey Feldman, Carry Green, 11 00:00:45,400 --> 00:00:49,000 Speaker 1: Martha Plimpton, k Jujuan, John Mattutzak and Ramsey, Joe Pantolion, 12 00:00:49,159 --> 00:00:53,920 Speaker 1: Keith Walker. Uh. The executive production team is quite impressive, 13 00:00:54,000 --> 00:00:58,520 Speaker 1: Kathleen Kennedy and Frank Marshall. This is an Amblant entertainment 14 00:00:58,600 --> 00:01:03,320 Speaker 1: production in conjunction with Warner Brothers. Dave Grusin did the 15 00:01:03,320 --> 00:01:08,120 Speaker 1: original music. John Williams, the multiple Oscar winning John Williams, 16 00:01:08,120 --> 00:01:11,040 Speaker 1: along with about everybody else on this list. Uh did 17 00:01:11,080 --> 00:01:14,760 Speaker 1: the non original music. The cinematographer was Nick McLean the 18 00:01:14,840 --> 00:01:19,920 Speaker 1: film editor, beautiful job, Michael con Jane Feinberg, Mike Fent, 19 00:01:20,000 --> 00:01:23,400 Speaker 1: and Judy Taylor cast to film all legendary casting directors, 20 00:01:23,640 --> 00:01:28,160 Speaker 1: art direction, Rick Carter, production designer, j Michael Reeva brilliant job. 21 00:01:28,640 --> 00:01:33,960 Speaker 1: Dan Cole's rude assistant director, very difficult job and well done. 22 00:01:34,080 --> 00:01:39,880 Speaker 1: Linda Deskenna set direction. Just a brilliant film. And Henry 23 00:01:40,080 --> 00:01:42,800 Speaker 1: Marken is my partner in crime. Here. Last week we 24 00:01:42,880 --> 00:01:46,080 Speaker 1: did uh, rose Mary's Baby. Rose there. I just wanted 25 00:01:46,120 --> 00:01:48,520 Speaker 1: to hear. I love hearing you say that. Say it again, 26 00:01:48,960 --> 00:01:52,400 Speaker 1: rose Mary's Baby. Nobody ever, nobody says it like that. 27 00:01:52,480 --> 00:01:55,280 Speaker 1: There you go. So we did that last week. Uh. 28 00:01:55,320 --> 00:01:58,120 Speaker 1: And now this is episode number two for Henry's movie 29 00:01:58,120 --> 00:02:01,000 Speaker 1: reviews on I Am All Mini Zodes on I Am 30 00:02:01,040 --> 00:02:04,680 Speaker 1: All In podcast I Heart Radio and uh, we're gonna 31 00:02:04,840 --> 00:02:07,160 Speaker 1: talk about the Goonies because it was mentioned, and it 32 00:02:07,240 --> 00:02:12,120 Speaker 1: was it was episode two where Madeleine said I hate nature. 33 00:02:12,639 --> 00:02:15,240 Speaker 1: So here's what I did. I was very entertained. I've 34 00:02:15,280 --> 00:02:17,280 Speaker 1: seen it before, I hadn't seen it a while, but 35 00:02:17,320 --> 00:02:20,359 Speaker 1: I thought it was Listen, here's what I think of goonies. 36 00:02:21,480 --> 00:02:25,079 Speaker 1: Hit me with your wisdom. Well, it's just it's it's 37 00:02:25,080 --> 00:02:28,720 Speaker 1: a combination of At the time it was more modern 38 00:02:28,760 --> 00:02:33,519 Speaker 1: filmmaking and it hearkens back to Disney type of filmmaking. 39 00:02:33,639 --> 00:02:36,760 Speaker 1: But with I mean, these kids are so clever, it's 40 00:02:36,800 --> 00:02:41,600 Speaker 1: so well directed, it's so well written, it's so well shot. 41 00:02:41,840 --> 00:02:44,839 Speaker 1: I mean, you just do not get this kind of 42 00:02:45,200 --> 00:02:49,240 Speaker 1: and it just shows how great a director Richard Donner was. 43 00:02:49,360 --> 00:02:51,600 Speaker 1: He passed away, but he was. He was one of 44 00:02:51,600 --> 00:02:55,160 Speaker 1: the best. He was as good at what he did 45 00:02:55,200 --> 00:02:58,520 Speaker 1: in that film as what Spielberg has ever done in 46 00:02:58,560 --> 00:03:02,440 Speaker 1: any film. Because the the frame was so active and 47 00:03:02,560 --> 00:03:08,959 Speaker 1: so full, every single scene, every single cutaway, every single shot, 48 00:03:09,440 --> 00:03:12,600 Speaker 1: every single line delivered by these actors and these kids. 49 00:03:12,760 --> 00:03:15,000 Speaker 1: And that's the sign of a great director, is how 50 00:03:15,040 --> 00:03:17,440 Speaker 1: good are the actors and how how much are they 51 00:03:17,480 --> 00:03:19,959 Speaker 1: filling the frame. It was so active and so busy 52 00:03:20,400 --> 00:03:24,200 Speaker 1: and so fun, and these kids were so likable. They're 53 00:03:24,240 --> 00:03:28,520 Speaker 1: good kids, kids, and it's like all the emotional nerves 54 00:03:28,600 --> 00:03:32,920 Speaker 1: every single time. It's funny you mentioned the you talked 55 00:03:32,919 --> 00:03:38,280 Speaker 1: about Spielberg, because Richard Donner, we actually had a stacked staff, right, 56 00:03:38,400 --> 00:03:41,520 Speaker 1: he had Chris Columbus on the screenplay of course he 57 00:03:41,600 --> 00:03:44,280 Speaker 1: did Harry Potter and the Home Alonees and those weren't 58 00:03:44,280 --> 00:03:49,320 Speaker 1: successful at all. And then uh, Spielberg was credited as 59 00:03:49,440 --> 00:03:53,160 Speaker 1: story and executive producing and even shot a couple of scenes. 60 00:03:53,200 --> 00:03:55,960 Speaker 1: I think he shot the water pipe scene, you know. 61 00:03:56,080 --> 00:03:58,960 Speaker 1: And so just the fact that, yeah, just the fact 62 00:03:58,960 --> 00:04:01,680 Speaker 1: that Spielberg was just in in the back, you know, 63 00:04:01,800 --> 00:04:04,680 Speaker 1: just just telling Richard Donna, who of course it's Superman. 64 00:04:04,840 --> 00:04:06,440 Speaker 1: I mean, it's just like three guys who know how 65 00:04:06,480 --> 00:04:09,920 Speaker 1: to make a good movie. You're getting script notes or 66 00:04:09,960 --> 00:04:12,520 Speaker 1: directing notes when you need them, right, I'm sure you 67 00:04:12,560 --> 00:04:15,920 Speaker 1: didn't impose himself from Steven Spielberg. Donner can make a 68 00:04:15,920 --> 00:04:17,320 Speaker 1: phone call like Steve, what do you think of this? 69 00:04:17,400 --> 00:04:20,040 Speaker 1: What do you think? I mean, just the i Q 70 00:04:20,480 --> 00:04:22,880 Speaker 1: of those guys in terms of their filmmaking. It was 71 00:04:22,920 --> 00:04:25,800 Speaker 1: just youdging that writer's room, by the way, the energy 72 00:04:25,920 --> 00:04:29,680 Speaker 1: and like the combustion, just everyone talking, firing ideas off 73 00:04:29,680 --> 00:04:31,600 Speaker 1: of one another. It's like a it's like a squash 74 00:04:31,640 --> 00:04:35,520 Speaker 1: court the balls. I mean, what a what a brilliant 75 00:04:36,160 --> 00:04:40,280 Speaker 1: set up for um. I mean just really likable kids 76 00:04:40,320 --> 00:04:43,560 Speaker 1: and and a great journey. Anyway, So if you want 77 00:04:43,560 --> 00:04:46,160 Speaker 1: to go through the synopsis. Go ahead, and we'll get 78 00:04:46,200 --> 00:04:50,240 Speaker 1: into this film, even though I only saw half of it. Yeah. Uh, 79 00:04:50,400 --> 00:04:52,560 Speaker 1: spoiler alert for anyone who hasn't seen The Goonies. I 80 00:04:52,560 --> 00:04:55,640 Speaker 1: don't know it's been out since I don't, so you're 81 00:04:55,640 --> 00:04:59,120 Speaker 1: a little late on the spoilers. But yeah, The Goonies. 82 00:04:59,480 --> 00:05:01,280 Speaker 1: It is a out a group of kids who live 83 00:05:01,360 --> 00:05:03,360 Speaker 1: in the goon Docks and they are known as the Goonies. 84 00:05:03,680 --> 00:05:06,240 Speaker 1: And essentially their house is going to be four clothes 85 00:05:06,279 --> 00:05:07,760 Speaker 1: and they all we have to move away from each other, 86 00:05:07,760 --> 00:05:11,560 Speaker 1: and it's really sad, and as we discussed, it strikes 87 00:05:11,600 --> 00:05:15,040 Speaker 1: all the emotional nerves of why you care about these kids? 88 00:05:15,800 --> 00:05:18,479 Speaker 1: And they find one of them. Sean Aston's character, he 89 00:05:18,560 --> 00:05:21,880 Speaker 1: plays Mikey. He uh, he lives with his mom and dad. 90 00:05:21,920 --> 00:05:25,360 Speaker 1: His dad owns museum, and he finds a map for 91 00:05:25,480 --> 00:05:29,120 Speaker 1: this one eyed Willie, this pirate, this this mythic legend 92 00:05:29,160 --> 00:05:33,160 Speaker 1: who had buried treasure somewhere in the goon Docks. So 93 00:05:33,600 --> 00:05:35,880 Speaker 1: him and his buddies, who are going to lose their house, 94 00:05:36,040 --> 00:05:39,120 Speaker 1: set out for one final quest to make as much 95 00:05:39,160 --> 00:05:42,880 Speaker 1: money and buried treasured as possible to basically pay off 96 00:05:42,920 --> 00:05:47,240 Speaker 1: this wealthy land developer who's this evil figure is trying 97 00:05:47,279 --> 00:05:49,000 Speaker 1: to buy out all the houses and turn into a 98 00:05:49,080 --> 00:05:52,000 Speaker 1: big country club. Of course that's just evil, evil, evil. 99 00:05:52,480 --> 00:05:55,080 Speaker 1: So they go off on this quest. Each kid has 100 00:05:55,360 --> 00:05:59,520 Speaker 1: his own his or her own kind of like comic identity. 101 00:05:59,640 --> 00:06:03,080 Speaker 1: It's really just organic with all these people running around, 102 00:06:03,120 --> 00:06:06,320 Speaker 1: they go in these caves. At the same time they 103 00:06:06,400 --> 00:06:10,919 Speaker 1: meet this crime family, the Free Tellies just scum of 104 00:06:10,920 --> 00:06:13,360 Speaker 1: the earth. I mean, by the way, it's it's not 105 00:06:13,640 --> 00:06:16,279 Speaker 1: cliche because I feel like they're one of the first 106 00:06:16,360 --> 00:06:19,520 Speaker 1: movies to like create this, Like it's innovative for its time. 107 00:06:19,839 --> 00:06:22,960 Speaker 1: It's cliche now. But like the they were just like 108 00:06:23,040 --> 00:06:25,600 Speaker 1: they just looked like evil people. I mean, just with 109 00:06:25,680 --> 00:06:29,000 Speaker 1: the criminal hat and the the mom the for Telling 110 00:06:29,040 --> 00:06:31,839 Speaker 1: mother had like this raspy asked, boys, like, you can't 111 00:06:32,279 --> 00:06:35,560 Speaker 1: love someone like that. It's just gross human being who 112 00:06:35,920 --> 00:06:39,640 Speaker 1: a jerk. But still at the same time, you still 113 00:06:39,760 --> 00:06:44,400 Speaker 1: feel safe with them somewhat correct, Okay, correct, you don't 114 00:06:44,560 --> 00:06:47,080 Speaker 1: feel like I mean, you feel like the kids are 115 00:06:47,120 --> 00:06:50,200 Speaker 1: in sort of you know, they could get a little trouble, 116 00:06:50,200 --> 00:06:52,719 Speaker 1: a little danger. I never felt, And I think that's 117 00:06:52,839 --> 00:06:55,240 Speaker 1: one of the big discussions about the film is we're 118 00:06:55,240 --> 00:06:59,040 Speaker 1: gonna put these kids in very close proximity and even 119 00:06:59,040 --> 00:07:02,200 Speaker 1: being held captive either For Telly's Robert Davey plays one 120 00:07:02,240 --> 00:07:05,400 Speaker 1: of the brothers, and Joe Pantalion brilliantly. I mean, these 121 00:07:05,440 --> 00:07:08,919 Speaker 1: these guys were great together. Um, and then they have 122 00:07:09,120 --> 00:07:15,720 Speaker 1: that that uh, I guess another relative, another brother who's 123 00:07:15,760 --> 00:07:19,400 Speaker 1: he's chained in a dungeon in this house in the basement, 124 00:07:20,080 --> 00:07:24,400 Speaker 1: and he is how should say figured, He's a disfigured 125 00:07:25,080 --> 00:07:28,240 Speaker 1: kind of black sheep brother who really they're not letting 126 00:07:28,520 --> 00:07:31,880 Speaker 1: the sunlight see. And that's kind of the hidden jam 127 00:07:31,880 --> 00:07:36,160 Speaker 1: of this is when they meet him, just when Chunk 128 00:07:36,320 --> 00:07:38,880 Speaker 1: thinks he's going to die at the Foretelli's hand, he's 129 00:07:38,920 --> 00:07:42,320 Speaker 1: just teamed up with Sloth. They become best friends. I mean, 130 00:07:42,440 --> 00:07:45,720 Speaker 1: just a great Disney you know, too odd ducks together 131 00:07:45,800 --> 00:07:50,000 Speaker 1: become one great relationship. We're talking about a horribly deformed 132 00:07:50,080 --> 00:07:54,240 Speaker 1: human being who is who's more animal than human being, 133 00:07:54,360 --> 00:07:58,480 Speaker 1: and um, just kind of a terrifying character. But still 134 00:07:58,480 --> 00:08:02,200 Speaker 1: there are comedic elements to each of these characters. So 135 00:08:02,280 --> 00:08:05,920 Speaker 1: it's that very fine line. This very difficult acting job 136 00:08:06,280 --> 00:08:09,200 Speaker 1: and a very difficult writing and directing job is to 137 00:08:09,320 --> 00:08:16,040 Speaker 1: keep these characters somewhat likable and somewhat not terrifying, you 138 00:08:16,040 --> 00:08:18,960 Speaker 1: know what I mean, So that the kids I wanted 139 00:08:18,960 --> 00:08:23,200 Speaker 1: to punch in the face. And it was like he 140 00:08:23,320 --> 00:08:27,040 Speaker 1: was he was the son of the land developer, and 141 00:08:27,080 --> 00:08:30,240 Speaker 1: he was he had a varsity jacket on. He was 142 00:08:30,280 --> 00:08:33,199 Speaker 1: a jock. He was Spielberg love playing around with jocks, 143 00:08:33,520 --> 00:08:35,920 Speaker 1: growing up as jocks or the villains. And he's just 144 00:08:36,320 --> 00:08:37,840 Speaker 1: I mean, he was looking up one of the girls. 145 00:08:37,920 --> 00:08:39,800 Speaker 1: He was looking up somebody's skirt in the rear view 146 00:08:39,840 --> 00:08:42,240 Speaker 1: mirror of the car. And I mean, I feel like 147 00:08:42,280 --> 00:08:45,320 Speaker 1: those characters don't exist. And actually that's not true. They 148 00:08:45,320 --> 00:08:49,120 Speaker 1: exist in real life all the time. I feel like 149 00:08:49,440 --> 00:08:53,440 Speaker 1: I feel like you sometimes forget that it's easy to 150 00:08:53,480 --> 00:08:56,160 Speaker 1: write up a really bad person. Uh, And it can 151 00:08:56,200 --> 00:08:58,680 Speaker 1: be kind of cliche. But as I said, it's not 152 00:08:58,760 --> 00:09:00,680 Speaker 1: cliche if you're one of the first to do it, 153 00:09:00,720 --> 00:09:03,680 Speaker 1: you're an innovator. It's only cliche when the next twenty 154 00:09:03,760 --> 00:09:06,719 Speaker 1: years of filmmaking just copy you. It's cliche. So these 155 00:09:06,760 --> 00:09:10,640 Speaker 1: guys did it first with creating these characters and these 156 00:09:10,840 --> 00:09:13,520 Speaker 1: stereotypes that we see and sort of the comic relief, 157 00:09:13,559 --> 00:09:16,920 Speaker 1: the funny fat kid and the jerk bully in Troy 158 00:09:17,000 --> 00:09:20,480 Speaker 1: who I really just wanted to ran the kisser. So 159 00:09:20,520 --> 00:09:23,480 Speaker 1: we've already had the laughter, we've already fallen in love 160 00:09:23,520 --> 00:09:26,160 Speaker 1: with the characters, but now we've got to really feel 161 00:09:26,200 --> 00:09:28,760 Speaker 1: for them and fall in love with them to continue 162 00:09:28,800 --> 00:09:30,800 Speaker 1: on this journey and keep this film at a very 163 00:09:30,840 --> 00:09:34,040 Speaker 1: high level. And it happens in one scene, and I 164 00:09:34,080 --> 00:09:38,320 Speaker 1: think it's after Josh Broland gets the paperwork from the 165 00:09:38,360 --> 00:09:41,000 Speaker 1: guys who are from the bank who are foreclosing and 166 00:09:41,120 --> 00:09:43,559 Speaker 1: who are soulless and talk about, oh well, this is 167 00:09:43,600 --> 00:09:45,760 Speaker 1: gonna be a wonderful golf course and it's gonna be great, 168 00:09:45,800 --> 00:09:47,679 Speaker 1: and get these families out of here, this kind of thing. 169 00:09:47,720 --> 00:09:50,640 Speaker 1: So it's so hits, so deep and so personally and 170 00:09:50,679 --> 00:09:54,040 Speaker 1: it makes you so angry. But we're not yet seeing 171 00:09:54,080 --> 00:09:57,720 Speaker 1: that affect these kids on a level that we might expect. 172 00:09:58,120 --> 00:10:00,680 Speaker 1: We don't really need it, but we get it anyway. 173 00:10:00,720 --> 00:10:03,440 Speaker 1: In that one scene where you know, we see that 174 00:10:03,480 --> 00:10:06,280 Speaker 1: Shaun Aston and Josh Brolin are brother, you know, brought 175 00:10:06,320 --> 00:10:09,319 Speaker 1: Josh Brolin's the older brother and he's yes, stupid brother, 176 00:10:09,360 --> 00:10:11,680 Speaker 1: and they're smacking each other and Sean Aston is just 177 00:10:11,720 --> 00:10:15,040 Speaker 1: such an appealing young actor, right, and you just like him, 178 00:10:15,080 --> 00:10:17,200 Speaker 1: and we never really see the love they have for 179 00:10:17,240 --> 00:10:21,960 Speaker 1: each other as as brothers until this one moment where 180 00:10:21,960 --> 00:10:28,079 Speaker 1: Shaun Ashton just collapses into Josh Brolin's arms because they 181 00:10:28,120 --> 00:10:32,080 Speaker 1: know they're gonna lose their home, and Josh Brawlin just 182 00:10:32,200 --> 00:10:36,120 Speaker 1: hugs him and then drags him across the porch in 183 00:10:36,160 --> 00:10:38,880 Speaker 1: the front house to the back door and they go 184 00:10:38,920 --> 00:10:42,880 Speaker 1: in and Sean Aston is dragging his feet, he can't 185 00:10:42,880 --> 00:10:49,360 Speaker 1: even walk, And for me, that was like, Wow, that's 186 00:10:49,520 --> 00:10:52,000 Speaker 1: great filmmaking. I don't care what kind of a film 187 00:10:52,040 --> 00:10:55,360 Speaker 1: you're watching. If you can make an audience feel that 188 00:10:55,559 --> 00:10:59,439 Speaker 1: deeply for those characters, that's as good as it gets. 189 00:10:59,480 --> 00:11:01,400 Speaker 1: You don't. You can't do it any better than that. 190 00:11:01,520 --> 00:11:04,720 Speaker 1: So now we're after seeing that scene, we're gonna be 191 00:11:06,040 --> 00:11:10,640 Speaker 1: strapped in to that vehicle and take that ride throughout 192 00:11:10,679 --> 00:11:14,240 Speaker 1: the entire film and be completely engaged. Anyway, that's my 193 00:11:14,320 --> 00:11:23,200 Speaker 1: two cents. Yeah, well, we're talking about emotional scenes. I 194 00:11:23,240 --> 00:11:25,480 Speaker 1: think you know. A good place for me to resume 195 00:11:25,600 --> 00:11:30,400 Speaker 1: is my favorite scene was uh when mouth when they're 196 00:11:30,440 --> 00:11:33,200 Speaker 1: at the bottom of the well. So if if you 197 00:11:33,320 --> 00:11:36,800 Speaker 1: kind of recall where they're going in their quest for 198 00:11:36,840 --> 00:11:40,320 Speaker 1: paried treasure, their essentially going underground, and so they're right 199 00:11:40,400 --> 00:11:43,280 Speaker 1: now they're running from the fertilities and there, and they're 200 00:11:43,480 --> 00:11:46,400 Speaker 1: they got the map and their deep underground and now 201 00:11:46,440 --> 00:11:48,400 Speaker 1: they're setting up booby traps. So they're going in the 202 00:11:48,440 --> 00:11:51,600 Speaker 1: right direction for some pari treasure. And essentially they end 203 00:11:51,679 --> 00:11:55,560 Speaker 1: up underneath a road side well, at the bottom of 204 00:11:55,559 --> 00:11:57,200 Speaker 1: a well, and they have this point where they can 205 00:11:57,240 --> 00:11:59,959 Speaker 1: all go up, climb the rope and escape and call 206 00:12:00,000 --> 00:12:03,079 Speaker 1: all tonight, or they go deeper into the story. And 207 00:12:03,080 --> 00:12:05,840 Speaker 1: that's um As a writer, I think that's an awesome 208 00:12:05,880 --> 00:12:09,800 Speaker 1: part where the protagonist basically says double down, we're we're in, 209 00:12:09,880 --> 00:12:12,720 Speaker 1: We're all in, or let's quit now, and they keep going. 210 00:12:12,840 --> 00:12:14,959 Speaker 1: But before they do, my favorite part in the movie 211 00:12:15,000 --> 00:12:17,600 Speaker 1: is actually when they're at the bottom of a wishing 212 00:12:17,640 --> 00:12:22,080 Speaker 1: well and there's a bunch of coins and mouth basically says, 213 00:12:22,160 --> 00:12:25,200 Speaker 1: you know, my dreams never came true, so I'm taking 214 00:12:25,200 --> 00:12:28,040 Speaker 1: it back. Hell, I'm taking them all back. He grabs 215 00:12:28,040 --> 00:12:30,760 Speaker 1: a coin, he grabs a lot of coins, and really 216 00:12:30,760 --> 00:12:33,560 Speaker 1: cool moment because there's this level of complexity and deep 217 00:12:33,559 --> 00:12:37,120 Speaker 1: emotions that come from a fifteen year old kid, and 218 00:12:37,160 --> 00:12:39,280 Speaker 1: I'm twenty one years old. This movie came out thirty 219 00:12:39,920 --> 00:12:42,360 Speaker 1: years ago, and yet I still feel something when he 220 00:12:42,400 --> 00:12:45,320 Speaker 1: talks about, hey, I I threw coins in this wishing 221 00:12:45,360 --> 00:12:48,160 Speaker 1: well and nothing's come true. I'm taking it all back 222 00:12:48,320 --> 00:12:50,959 Speaker 1: like that kind of like pessimism from a fifteen year 223 00:12:50,960 --> 00:12:53,320 Speaker 1: old kid about how the real world works. It's like, 224 00:12:53,400 --> 00:12:57,839 Speaker 1: holy hell, Like what I mean, what awesome, awesome moment. 225 00:12:58,000 --> 00:13:00,240 Speaker 1: It makes you angry. It makes you angry at the 226 00:13:00,280 --> 00:13:02,880 Speaker 1: world and angry what kids have to go through, and 227 00:13:02,920 --> 00:13:06,640 Speaker 1: makes you love those kids even more exactly. How dare 228 00:13:06,679 --> 00:13:10,480 Speaker 1: anybody not grant the wishes of these children? How dare they? 229 00:13:10,559 --> 00:13:13,080 Speaker 1: I mean, it's just so beautifully manipulent. If I love it, 230 00:13:13,160 --> 00:13:16,120 Speaker 1: I love great writing. It's just so great. And then 231 00:13:16,160 --> 00:13:18,680 Speaker 1: after that moment, they go and they you know, it's 232 00:13:18,720 --> 00:13:21,320 Speaker 1: like one or two more booby traps. They come together, 233 00:13:21,400 --> 00:13:24,000 Speaker 1: the guy with the tools he's got, like he's grappling 234 00:13:24,040 --> 00:13:27,920 Speaker 1: hook plungers. Like again, very cliche and cheesey now, but 235 00:13:28,120 --> 00:13:31,480 Speaker 1: at the time, awesome, awesome, awesome, awesome, loved it. That 236 00:13:31,559 --> 00:13:33,640 Speaker 1: brought up the comic book Lover and Me, Like it's 237 00:13:33,679 --> 00:13:37,360 Speaker 1: like a Batman utility belt. Situation. They find this pirate 238 00:13:37,440 --> 00:13:41,720 Speaker 1: ship loaded with jewels and cash and forever items to 239 00:13:41,760 --> 00:13:44,680 Speaker 1: be cash in to save the homes. For Tellies catch 240 00:13:44,760 --> 00:13:47,360 Speaker 1: up with them. There's a little fight. Of course, as 241 00:13:47,360 --> 00:13:50,120 Speaker 1: you talked about, it's safe. The for Tellies aren't vicious people. 242 00:13:50,120 --> 00:13:53,360 Speaker 1: They just want the golden stuff. Then here comes Sloth 243 00:13:53,800 --> 00:13:57,920 Speaker 1: and Chunk, two best friends. Um Sloth has the famous 244 00:13:58,480 --> 00:14:05,880 Speaker 1: hey you guys line, uh, swings in like a pirate 245 00:14:06,440 --> 00:14:10,200 Speaker 1: and essentially defends the kids, lets them escape, and there's 246 00:14:10,200 --> 00:14:11,920 Speaker 1: this great moment. I don't know if you you might 247 00:14:11,960 --> 00:14:14,520 Speaker 1: have you might have not caught it. I caught it 248 00:14:14,559 --> 00:14:17,199 Speaker 1: because I'm just I'm just a total superhero nerd. But 249 00:14:17,400 --> 00:14:20,120 Speaker 1: so Richard Darner the director of this film. He did 250 00:14:20,200 --> 00:14:23,160 Speaker 1: a Superman one and two with Christopher Reeves. A Warner 251 00:14:23,200 --> 00:14:28,120 Speaker 1: Brothers distributed both Superman films and this film. Sloth rips 252 00:14:28,160 --> 00:14:31,920 Speaker 1: open his shirt. Underneath he's got a Superman shirt, just 253 00:14:32,040 --> 00:14:34,840 Speaker 1: the red and yellow crest on the blue shirt he's ripped, 254 00:14:35,080 --> 00:14:39,120 Speaker 1: and the Superman theme plays in the movie. I totally 255 00:14:39,160 --> 00:14:41,200 Speaker 1: forgot about that scene when I watched them when I 256 00:14:41,240 --> 00:14:43,280 Speaker 1: was like five or six years old, but that that 257 00:14:43,440 --> 00:14:45,840 Speaker 1: struck me. I was like, oh my god, forgot and 258 00:14:45,880 --> 00:14:48,440 Speaker 1: my I got the chills, I get the harvest pounding. 259 00:14:48,480 --> 00:14:51,120 Speaker 1: It was awesome. They escape, they get out of there, 260 00:14:51,160 --> 00:14:54,080 Speaker 1: they get out of the caves and the landlord. They 261 00:14:54,080 --> 00:14:56,440 Speaker 1: see the cops, the land developer. Everyone's like, all right, 262 00:14:56,480 --> 00:14:58,440 Speaker 1: well glad, you guys are okay, but the house is 263 00:14:58,520 --> 00:15:00,880 Speaker 1: for closed. Right before the dad signs of paper to 264 00:15:00,920 --> 00:15:03,840 Speaker 1: give it over. Oh my god, surprised. There's like six 265 00:15:03,960 --> 00:15:08,400 Speaker 1: or seven diamonds in here. The houses are saved. Mm hmm. 266 00:15:09,040 --> 00:15:14,080 Speaker 1: Such a simple premise, such a brilliant premise. How do 267 00:15:14,160 --> 00:15:18,200 Speaker 1: we get money to save our home? I mean, my god, 268 00:15:18,960 --> 00:15:22,720 Speaker 1: how do engage kids? I mean, just what a wonderful film? 269 00:15:22,760 --> 00:15:24,760 Speaker 1: What did you what's your rating of it? What's your 270 00:15:24,840 --> 00:15:27,600 Speaker 1: what's your rating? Overall? I gave a rating of Rosemary's 271 00:15:27,640 --> 00:15:30,480 Speaker 1: Baby last week was an eight point one out of ten. 272 00:15:30,520 --> 00:15:34,360 Speaker 1: I gave a specific decimal calculated rating out of time 273 00:15:34,440 --> 00:15:36,760 Speaker 1: giving this. I'm giving this a ten out of ten. 274 00:15:36,840 --> 00:15:39,520 Speaker 1: I don't think it gets better. Oh, it doesn't get 275 00:15:39,560 --> 00:15:42,200 Speaker 1: better than this. It does not get better than this, 276 00:15:42,320 --> 00:15:45,640 Speaker 1: in my opinion, even if it is the best. Had 277 00:15:45,680 --> 00:15:49,080 Speaker 1: me in tears in the first act because Seawan Asketon 278 00:15:49,280 --> 00:15:53,280 Speaker 1: and Josh Broland dragged a ten a big time. I've 279 00:15:53,320 --> 00:15:57,840 Speaker 1: given it eleven if I could who great film, greatness, 280 00:15:58,920 --> 00:16:02,920 Speaker 1: high numbers, but is like tell me what okay, So 281 00:16:02,960 --> 00:16:04,400 Speaker 1: if you're not going to give it a perfect score, 282 00:16:04,480 --> 00:16:08,160 Speaker 1: tell me you know how the gymnasts tumbled? Did they 283 00:16:08,240 --> 00:16:11,320 Speaker 1: drop anything, did they stumble? Did they fall? I didn't 284 00:16:11,360 --> 00:16:14,880 Speaker 1: see one flaw? And and as I recall, I give 285 00:16:14,920 --> 00:16:16,680 Speaker 1: it a nine. I give a nine point zero just 286 00:16:16,720 --> 00:16:19,000 Speaker 1: because I'm so, I'm critical, I'm tough, you know, But 287 00:16:19,360 --> 00:16:22,920 Speaker 1: but where are the flaws? Point out the flaws? What's 288 00:16:22,920 --> 00:16:26,560 Speaker 1: wrong with the film? To doctor point, that's a big deduction. 289 00:16:26,920 --> 00:16:30,520 Speaker 1: That's you're taking away ten from a perfect score, like 290 00:16:30,920 --> 00:16:33,120 Speaker 1: like a ten is like The Godfather, like just like 291 00:16:33,160 --> 00:16:35,720 Speaker 1: the Picture of Film, or or like The Dark Knight 292 00:16:35,840 --> 00:16:38,400 Speaker 1: or Shaw Redemption where it's like the movie. But that's 293 00:16:38,440 --> 00:16:41,680 Speaker 1: those are dramas. Those are dramas. Stay with the category. 294 00:16:41,840 --> 00:16:45,880 Speaker 1: The category is is these are not dramas. This is 295 00:16:45,880 --> 00:16:51,040 Speaker 1: a kid's film. So they kids film has their specific 296 00:16:51,120 --> 00:16:54,720 Speaker 1: tasks that they have to complete to stay within the genre. 297 00:16:54,840 --> 00:16:57,280 Speaker 1: They can't just keep crossing genres. I mean, you get 298 00:16:57,280 --> 00:17:00,440 Speaker 1: confused in the film falls apart. But for me, it's 299 00:17:00,440 --> 00:17:04,320 Speaker 1: a ten for that kind of it's filmmaking at its 300 00:17:04,359 --> 00:17:07,800 Speaker 1: finest because that's what you have to suspend the disbelief 301 00:17:08,720 --> 00:17:11,640 Speaker 1: and also while also letting the audience know that these 302 00:17:11,680 --> 00:17:15,199 Speaker 1: kids are not going to get hurt. That's hard. I 303 00:17:15,240 --> 00:17:18,480 Speaker 1: think kids comedies are tougher to do and I don't 304 00:17:18,520 --> 00:17:20,679 Speaker 1: and there's a ton of them, and they're not like 305 00:17:20,760 --> 00:17:23,440 Speaker 1: the Goonies. I think they hit it out of the 306 00:17:23,480 --> 00:17:28,399 Speaker 1: park with that film. In my opinion, thank you, but no, 307 00:17:28,520 --> 00:17:30,639 Speaker 1: I'm still waiting for you. What are the flaws? What 308 00:17:30,680 --> 00:17:32,879 Speaker 1: are the flaws in the film that you take a 309 00:17:32,960 --> 00:17:36,000 Speaker 1: point away? I just think sometimes I was like, all right, 310 00:17:36,240 --> 00:17:38,320 Speaker 1: you know, we get the point that like there's like 311 00:17:38,359 --> 00:17:40,679 Speaker 1: one sometimes they say one or two lines trying to 312 00:17:40,720 --> 00:17:43,800 Speaker 1: force a joke that that you're just like, okay, we 313 00:17:43,880 --> 00:17:47,200 Speaker 1: get Chuck's hilarious, mouth's grades ever, never shuts up, Mike, 314 00:17:47,240 --> 00:17:49,280 Speaker 1: he's good as the ambitious travel kids. I think there 315 00:17:49,320 --> 00:17:52,359 Speaker 1: were just sometimes one or two lines that were extra 316 00:17:52,680 --> 00:17:54,480 Speaker 1: that you need to cement for the five or six 317 00:17:54,560 --> 00:17:56,360 Speaker 1: year olds and the seven year olds in the audience, 318 00:17:56,720 --> 00:18:00,359 Speaker 1: which it's nobody's fault. Nobody's fault. It's still a train 319 00:18:00,480 --> 00:18:02,520 Speaker 1: out of ten for me, it's a ten ten out 320 00:18:02,520 --> 00:18:04,800 Speaker 1: of ten for you. I'm just saying it's not perfect 321 00:18:04,800 --> 00:18:07,119 Speaker 1: because there's always those one or two extras, a little 322 00:18:07,200 --> 00:18:12,800 Speaker 1: little redundant, Okay, yes, and redundancy. Redundancy just is slight flawed, 323 00:18:12,880 --> 00:18:15,440 Speaker 1: but by no means hurts the movie. It just means 324 00:18:15,440 --> 00:18:18,159 Speaker 1: it's not a tent for me. That's that's that's that's fair. 325 00:18:18,240 --> 00:18:20,840 Speaker 1: That's fair. That's all. I just I just wanted to. 326 00:18:20,920 --> 00:18:23,760 Speaker 1: I just wanted is fair? Thank you? I got my 327 00:18:23,920 --> 00:18:30,879 Speaker 1: free trial. Inquiring mindes want to, no want Scott, this 328 00:18:30,960 --> 00:18:33,480 Speaker 1: was a blast, Thank you so much. Episode two with 329 00:18:33,560 --> 00:18:37,120 Speaker 1: you the goonies. Can't wait for the next one. All right, 330 00:18:37,119 --> 00:18:44,800 Speaker 1: Henry always fun. Scott Patterson with Henry markin reviewing movies. 331 00:18:45,080 --> 00:18:49,360 Speaker 1: I Am all Minisodes, Episode two. All right, everybody, we'll 332 00:18:49,359 --> 00:18:50,080 Speaker 1: see you next time.