1
00:00:00,400 --> 00:00:04,560
Speaker 1: Film Spotting is presented by Regal Unlimited. Regal Unlimited is

2
00:00:04,600 --> 00:00:07,560
Speaker 1: the all you can watch movie subscription pass that pays

3
00:00:07,560 --> 00:00:11,000
Speaker 1: for itself in just two visits. See any standard two

4
00:00:11,080 --> 00:00:15,280
Speaker 1: D movie anytime, with no blackoutdates or restrictions. Save on tickets,

5
00:00:15,360 --> 00:00:18,319
Speaker 1: Save on snacks. Members get ten percent off all non

6
00:00:18,400 --> 00:00:21,800
Speaker 1: alcoholic concession items. Sign up now in the Regal app

7
00:00:21,920 --> 00:00:25,960
Speaker 1: or at rgmovies dot com Slash Unlimited.

8
00:00:29,880 --> 00:00:32,360
Speaker 2: What kind of a show you guys putting on here today?

9
00:00:32,479 --> 00:00:33,600
Speaker 3: You're not interested in armed?

10
00:00:33,760 --> 00:00:33,960
Speaker 2: Now?

11
00:00:34,080 --> 00:00:35,400
Speaker 4: No, Look, we're going to do this thing.

12
00:00:35,440 --> 00:00:36,080
Speaker 3: We're going to have a.

13
00:00:36,040 --> 00:00:42,280
Speaker 4: Conversation from Chicago. This is film Spotting. I'm Adam Kempinar.

14
00:00:42,080 --> 00:00:43,199
Speaker 1: And I'm Josh Larson.

15
00:00:43,520 --> 00:00:47,159
Speaker 4: I know I've met Alix's father before. I'm Alex's aunt

16
00:00:47,640 --> 00:00:51,040
Speaker 4: and his mom is my baby sister. Okay, so you're

17
00:00:51,080 --> 00:00:54,320
Speaker 4: not as legal guardian? Well, no, that would be his parents,

18
00:00:54,320 --> 00:00:57,080
Speaker 4: of course. What's a party without aunt Gladys? Josh?

19
00:00:57,240 --> 00:00:59,480
Speaker 1: Did you invite her? I didn't invite her?

20
00:01:00,120 --> 00:01:00,720
Speaker 4: A little scared.

21
00:01:01,360 --> 00:01:05,600
Speaker 1: This week it's film Spottied's annual rap Party. Our picks

22
00:01:05,600 --> 00:01:08,120
Speaker 1: for the standout moments of twenty twenty five.

23
00:01:08,120 --> 00:01:11,399
Speaker 4: The funniest, the most Moving and more. Plus we bestow

24
00:01:11,720 --> 00:01:14,959
Speaker 4: this year's Golden Brick Award that and more ahead on

25
00:01:15,040 --> 00:01:24,959
Speaker 4: Film Spotting. Welcome to Film Spotting A year ago, Josh,

26
00:01:25,000 --> 00:01:28,160
Speaker 4: we were in Chicago for the twenty twenty four wrap party.

27
00:01:28,360 --> 00:01:30,679
Speaker 4: This year, I'm in Iowa City. You're not even in

28
00:01:30,840 --> 00:01:33,959
Speaker 4: Saint Andrews, Scotland. You're somewhere else in the world right now.

29
00:01:34,880 --> 00:01:37,760
Speaker 1: Yes, I decided to mix it up even further and

30
00:01:37,880 --> 00:01:41,720
Speaker 1: get a slight break from the gloom and rain. We're

31
00:01:41,720 --> 00:01:43,520
Speaker 1: in Spain. We're going to be in Spain for a

32
00:01:43,520 --> 00:01:47,480
Speaker 1: couple of weeks recording on the road. A little bit

33
00:01:47,520 --> 00:01:50,920
Speaker 1: different than the usual rap party. We'll see how instead

34
00:01:50,960 --> 00:01:54,160
Speaker 1: of a movie theater or a live event venue, a

35
00:01:54,200 --> 00:01:55,040
Speaker 1: hotel room.

36
00:01:54,880 --> 00:01:57,920
Speaker 4: Does give it a try. I see you went hoodie

37
00:01:58,040 --> 00:02:02,080
Speaker 4: instead of party dress. I mean should have maybe at

38
00:02:02,160 --> 00:02:04,360
Speaker 4: least tried to class it up a little bit. But

39
00:02:04,400 --> 00:02:07,000
Speaker 4: this is what you get, the rap party. This is

40
00:02:07,000 --> 00:02:09,880
Speaker 4: where we share our favorite scenes of the movie year,

41
00:02:10,080 --> 00:02:13,359
Speaker 4: opening scene, funniest, most moving. We like to have our

42
00:02:13,520 --> 00:02:17,720
Speaker 4: music category and then the scene of the year. Also,

43
00:02:17,880 --> 00:02:20,840
Speaker 4: we will get back to playing Massacre Theater will announce

44
00:02:20,919 --> 00:02:24,920
Speaker 4: the seventeenth annual Golden Brick Award winner. Can you believe it?

45
00:02:25,320 --> 00:02:27,519
Speaker 1: I can't believe that, and I'm on the edge of

46
00:02:27,600 --> 00:02:29,080
Speaker 1: my seat. I have no idea.

47
00:02:29,160 --> 00:02:29,560
Speaker 4: You don't know.

48
00:02:29,680 --> 00:02:34,240
Speaker 1: I've been. I've been a lot of touch traveling. I

49
00:02:34,280 --> 00:02:35,959
Speaker 1: don't know who the winner is. I can't wait to

50
00:02:36,000 --> 00:02:36,440
Speaker 1: find out.

51
00:02:37,120 --> 00:02:39,840
Speaker 4: I keep it so secret. The voting is so secret.

52
00:02:39,880 --> 00:02:44,200
Speaker 4: I don't even tell my co host exactly. How about that? Yeah,

53
00:02:44,240 --> 00:02:46,600
Speaker 4: The Golden Brick, of course, goes to our favorite film

54
00:02:46,639 --> 00:02:50,079
Speaker 4: from a new or emerging director that's voted on by you, me,

55
00:02:50,280 --> 00:02:54,320
Speaker 4: producer Sam, and by film Spotting listeners. Maybe I'll tell

56
00:02:54,360 --> 00:02:57,359
Speaker 4: you here when we take a break between segments. A

57
00:02:57,440 --> 00:03:01,040
Speaker 4: quick reminder, Film Spotting is now available as video podcast.

58
00:03:01,320 --> 00:03:03,959
Speaker 4: If you're a Spotify listener, you can toggle between audio

59
00:03:03,960 --> 00:03:06,440
Speaker 4: and video. You can also watch the show on YouTube,

60
00:03:06,480 --> 00:03:09,240
Speaker 4: YouTube dot com slash film Spotting. For a link to

61
00:03:09,400 --> 00:03:13,120
Speaker 4: all of our episodes, go to filmspotting dot net slash episodes.

62
00:03:13,400 --> 00:03:15,760
Speaker 1: But first, the twenty twenty five rap Party.

63
00:03:15,960 --> 00:03:20,240
Speaker 4: It is time Josh to share our favorite scenes of

64
00:03:20,280 --> 00:03:23,120
Speaker 4: the movie movie year, and we like to get started.

65
00:03:23,160 --> 00:03:27,680
Speaker 4: Why not with our favorite opening scene. I'm not sure

66
00:03:27,720 --> 00:03:30,040
Speaker 4: why we like this category so much, other than the

67
00:03:30,040 --> 00:03:34,359
Speaker 4: fact that great movies usually have great opening scenes. In fact,

68
00:03:34,680 --> 00:03:37,040
Speaker 4: I had a hypothesis I wanted to throw out this

69
00:03:37,160 --> 00:03:39,880
Speaker 4: year while I was thinking about this category. I think

70
00:03:39,960 --> 00:03:43,560
Speaker 4: a bad movie can have a great opening scene, but

71
00:03:43,600 --> 00:03:47,320
Speaker 4: I'm not sure a great movie can have a bad

72
00:03:47,440 --> 00:03:49,640
Speaker 4: opening scene. Are you following me?

73
00:03:49,880 --> 00:03:52,840
Speaker 1: It's tough, I'm following you. I like it, it's tough

74
00:03:52,920 --> 00:03:57,080
Speaker 1: to recover from a bad opening scene. As much as

75
00:03:57,200 --> 00:03:59,480
Speaker 1: I think we both go into movies rooting for them

76
00:03:59,560 --> 00:04:00,000
Speaker 1: to work.

77
00:04:00,000 --> 00:04:00,160
Speaker 4: Work.

78
00:04:01,040 --> 00:04:05,440
Speaker 1: Yeah, there's something magical and exciting about a film that

79
00:04:05,560 --> 00:04:09,400
Speaker 1: kicks off and right away you're hooked. It doesn't have,

80
00:04:09,960 --> 00:04:12,400
Speaker 1: you know, the slow burn, which can work can lead

81
00:04:12,440 --> 00:04:15,000
Speaker 1: to a great movie, as you're saying, but man, if

82
00:04:15,040 --> 00:04:17,960
Speaker 1: it grabs you right away. As you're saying that, sharing

83
00:04:18,000 --> 00:04:20,080
Speaker 1: your theory, I'm thinking about my top ten list, and

84
00:04:20,560 --> 00:04:23,720
Speaker 1: you know, as I go down the vast majority of them,

85
00:04:23,760 --> 00:04:28,480
Speaker 1: of those titles, I can immediately recall the opening scene.

86
00:04:28,760 --> 00:04:32,160
Speaker 1: And that's actually, you know, the case for one of

87
00:04:32,200 --> 00:04:33,640
Speaker 1: my honorable mentions here.

88
00:04:35,040 --> 00:04:38,560
Speaker 4: This won't apply with this category obviously, as it's opening

89
00:04:38,600 --> 00:04:42,600
Speaker 4: scene or it's opening scenes, but maybe it's still worth

90
00:04:42,600 --> 00:04:44,480
Speaker 4: pointing out. And I think it is for the show

91
00:04:44,640 --> 00:04:48,240
Speaker 4: as a whole that we will try to make note

92
00:04:48,279 --> 00:04:51,919
Speaker 4: of when we are going to spoil something. But this

93
00:04:52,200 --> 00:04:55,160
Speaker 4: is our end of year review, and some of our

94
00:04:55,200 --> 00:04:58,480
Speaker 4: favorite scenes I can speak for my list anyway, are

95
00:04:58,600 --> 00:05:03,200
Speaker 4: going to involve spoilers. So consider this your initial.

96
00:05:02,760 --> 00:05:06,200
Speaker 1: Warning, initial warning, but we will offer others because I

97
00:05:06,320 --> 00:05:09,440
Speaker 1: have one pick from a film that's just now expanding.

98
00:05:09,520 --> 00:05:11,120
Speaker 1: It's a little later in the show. When I get

99
00:05:11,160 --> 00:05:14,960
Speaker 1: to that, I will be very clear about what movie

100
00:05:14,960 --> 00:05:16,919
Speaker 1: it is, and those who are interested in seeing it

101
00:05:16,960 --> 00:05:18,880
Speaker 1: will have a chance to, you know, plug their ears

102
00:05:18,920 --> 00:05:21,839
Speaker 1: for thirty seconds or so or skip ahead. But yeah,

103
00:05:22,279 --> 00:05:24,520
Speaker 1: good warning to share here at the outset.

104
00:05:25,000 --> 00:05:27,840
Speaker 4: Well, let's dig in then, too, opening scenes or if

105
00:05:27,880 --> 00:05:30,159
Speaker 4: you wanted to preface your list in any way, do

106
00:05:30,200 --> 00:05:35,400
Speaker 4: you have any overarching approach, overarching criteria as you did

107
00:05:35,440 --> 00:05:37,960
Speaker 4: approach this rap party list.

108
00:05:38,360 --> 00:05:41,000
Speaker 1: Let's jump right in and I'm going to start with

109
00:05:41,080 --> 00:05:44,360
Speaker 1: my opening scene. A couple are couple of honorable mentions here,

110
00:05:44,360 --> 00:05:47,599
Speaker 1: including this first one does come from a top ten

111
00:05:47,680 --> 00:05:51,640
Speaker 1: lister for me, and that is on becoming a Guinea

112
00:05:51,680 --> 00:05:56,320
Speaker 1: Foul from director writer director Rungano Noni my number two

113
00:05:56,400 --> 00:05:59,080
Speaker 1: film of the year. And this was one Adam where

114
00:05:59,160 --> 00:06:04,120
Speaker 1: already antisated it from Nioni's previous film, liking that one,

115
00:06:04,480 --> 00:06:07,080
Speaker 1: I Am Not a Witch, I was eager for this movie,

116
00:06:07,240 --> 00:06:12,000
Speaker 1: and then she hits us with this dryly comic opening

117
00:06:12,080 --> 00:06:15,719
Speaker 1: sequence that you don't quite know what you're supposed to

118
00:06:15,760 --> 00:06:18,080
Speaker 1: make of it, you just know you're riveted. Basically, the

119
00:06:18,120 --> 00:06:21,839
Speaker 1: main character, Shula played by Susan Chardi, late at night,

120
00:06:22,120 --> 00:06:25,800
Speaker 1: driving back, we're assuming from a costume party. Because of this,

121
00:06:26,920 --> 00:06:29,560
Speaker 1: I realized later, I think a listener pointed out, I

122
00:06:29,640 --> 00:06:33,080
Speaker 1: believe it's Missy Elliott cosplay is what she's wearing. But

123
00:06:33,160 --> 00:06:35,880
Speaker 1: that's just one element that makes you try trying to

124
00:06:35,880 --> 00:06:39,119
Speaker 1: figure out what is she wearing? Where's she coming from?

125
00:06:39,360 --> 00:06:42,159
Speaker 1: We learn later it's from this party. And yeah, she

126
00:06:42,279 --> 00:06:45,320
Speaker 1: discovers on the side of the road the body of

127
00:06:45,400 --> 00:06:49,520
Speaker 1: her uncle laying there. And part of what makes us

128
00:06:49,600 --> 00:06:52,359
Speaker 1: unsure of what to think about this is that she

129
00:06:52,440 --> 00:06:56,880
Speaker 1: doesn't have this tragic response, this immediately sorrowful response. There's

130
00:06:57,400 --> 00:07:00,960
Speaker 1: there's a lot of thinking and pondering going on, and

131
00:07:01,000 --> 00:07:03,880
Speaker 1: we're wondering what she's thinking about. A few comic elements

132
00:07:03,880 --> 00:07:06,719
Speaker 1: come into play, so talk about setting a tricky tone

133
00:07:06,760 --> 00:07:10,360
Speaker 1: for the film to follow. This absolutely manages to do

134
00:07:10,400 --> 00:07:13,520
Speaker 1: that on becoming a guinea foule, so that earned it

135
00:07:13,560 --> 00:07:16,520
Speaker 1: an honorable mention for me. One more honorable mention here,

136
00:07:16,560 --> 00:07:21,600
Speaker 1: and this comes from Lurker. Lurker was a Golden Brick nominee,

137
00:07:21,600 --> 00:07:24,720
Speaker 1: not a finalist, but a nominee, and begins with this

138
00:07:24,840 --> 00:07:30,280
Speaker 1: perfectly orchestrated bait and hook scheme that is set by

139
00:07:30,280 --> 00:07:33,320
Speaker 1: the main character, this La Boutique sales clerk played by

140
00:07:33,360 --> 00:07:36,720
Speaker 1: Theodor Pellerin. He ends up throughout the film worming his

141
00:07:36,800 --> 00:07:40,440
Speaker 1: way into the entourage of a rising pop star played

142
00:07:40,440 --> 00:07:44,040
Speaker 1: by Archie Modeque, and this opening scene is his first move.

143
00:07:44,120 --> 00:07:48,040
Speaker 1: The pop star comes into the boutique and Pellerin's character

144
00:07:48,160 --> 00:07:51,680
Speaker 1: clocks him and comes up with this insidious plan to

145
00:07:51,720 --> 00:07:54,760
Speaker 1: get under his skin right away, and watching that unfold,

146
00:07:54,840 --> 00:08:00,000
Speaker 1: you know you're in for a very unsettling but captivating ride,

147
00:07:59,480 --> 00:08:02,360
Speaker 1: all right. I pick is coming from a movie that

148
00:08:03,360 --> 00:08:05,680
Speaker 1: I thought might have shown up more on our Top

149
00:08:05,760 --> 00:08:08,600
Speaker 1: ten show, Adam, but turns out, if I'm recalling correctly,

150
00:08:08,640 --> 00:08:14,000
Speaker 1: no one had it. It's Sirat and there's been some

151
00:08:14,160 --> 00:08:19,120
Speaker 1: interesting pushback to this Spanish French existential parable that follow

152
00:08:19,120 --> 00:08:23,680
Speaker 1: those a roaming band of ravers really across North Africa.

153
00:08:23,960 --> 00:08:26,040
Speaker 1: I know there are some critics I'm aware of who

154
00:08:26,040 --> 00:08:29,240
Speaker 1: it's among their first top five films of the year.

155
00:08:29,560 --> 00:08:32,199
Speaker 1: Others aren't so high on it. I am a fan,

156
00:08:32,480 --> 00:08:35,160
Speaker 1: and a big part of that reason is the opening scene.

157
00:08:35,160 --> 00:08:37,800
Speaker 1: Exactly what you were talking about, Adam, is you knew

158
00:08:37,840 --> 00:08:41,319
Speaker 1: you were in for something different and special here. Basically

159
00:08:41,360 --> 00:08:46,000
Speaker 1: all we get are these shots of hands piling up

160
00:08:46,360 --> 00:08:49,280
Speaker 1: an array of speakers on top of each other, and

161
00:08:49,320 --> 00:08:51,520
Speaker 1: the camera pulls back and we see that it's this

162
00:08:51,760 --> 00:08:57,319
Speaker 1: giant wall essentially set in the Moroccan desert. It's all

163
00:08:57,320 --> 00:09:00,559
Speaker 1: distorted like misshapen wall because of how it's built, and

164
00:09:00,600 --> 00:09:04,240
Speaker 1: then it's set against this backdrop of sheer cliffs. So

165
00:09:04,400 --> 00:09:07,640
Speaker 1: it's this striking image just in terms of the composition.

166
00:09:08,040 --> 00:09:11,160
Speaker 1: But then the music comes in and King dang Ray's

167
00:09:11,200 --> 00:09:14,520
Speaker 1: score for this movie, for Surat is so crucial. It's

168
00:09:14,559 --> 00:09:18,319
Speaker 1: maybe the defining trait, a thumping Raves score, and we

169
00:09:18,400 --> 00:09:21,800
Speaker 1: start we get the beginning of it here and throughout

170
00:09:21,800 --> 00:09:24,559
Speaker 1: this movie. I think when I did talk about it,

171
00:09:24,679 --> 00:09:25,920
Speaker 1: or it came up on the show at some point.

172
00:09:26,000 --> 00:09:28,880
Speaker 1: I described the music as having a metaphysical presence. Here

173
00:09:29,720 --> 00:09:32,520
Speaker 1: you get the sense that it's from beyond this world,

174
00:09:32,520 --> 00:09:35,800
Speaker 1: but also emanating from deep within the earth. And that's

175
00:09:35,840 --> 00:09:40,080
Speaker 1: both the sound and the compositions that give you that sense.

176
00:09:40,120 --> 00:09:43,160
Speaker 1: So for me, this was the year's best stage setter.

177
00:09:43,240 --> 00:09:46,040
Speaker 1: The opening of Sirat, and if you're unfamiliar with it

178
00:09:46,080 --> 00:09:47,920
Speaker 1: and you want to check it out, it's spelled si

179
00:09:48,679 --> 00:09:49,120
Speaker 1: r At.

180
00:09:49,760 --> 00:09:52,520
Speaker 4: I am mixed on Sarat, as you know, Josh, but

181
00:09:52,559 --> 00:09:55,000
Speaker 4: I'm with you completely on that opening scene. And if

182
00:09:55,000 --> 00:09:57,920
Speaker 4: I remember correctly, I don't have the exact number of

183
00:09:58,040 --> 00:10:00,240
Speaker 4: minutes here in front of me, but it's one of

184
00:10:00,240 --> 00:10:02,560
Speaker 4: those films where we don't get the title of the

185
00:10:02,600 --> 00:10:06,440
Speaker 4: film until very many minutes into the movie, right. It

186
00:10:06,520 --> 00:10:08,480
Speaker 4: kind of sneaks up on you at some point, and

187
00:10:08,520 --> 00:10:11,280
Speaker 4: so it builds to the title of the film, and

188
00:10:11,360 --> 00:10:14,920
Speaker 4: you're right, we get that building of the speaker system

189
00:10:14,960 --> 00:10:17,160
Speaker 4: and it really is pretty captivating. So I like your

190
00:10:17,160 --> 00:10:20,559
Speaker 4: pick quite a bit. I for some reason have more

191
00:10:20,640 --> 00:10:24,720
Speaker 4: honorable mentions or backup choices for this category than any

192
00:10:24,760 --> 00:10:28,400
Speaker 4: other category. Maybe that's because it's first, Josh in my preparation,

193
00:10:28,520 --> 00:10:30,880
Speaker 4: So just feel free to jump in and interrupt me

194
00:10:31,640 --> 00:10:35,400
Speaker 4: or make any other comments that you want here as

195
00:10:35,440 --> 00:10:38,360
Speaker 4: we go. But when I was putting together my list,

196
00:10:38,400 --> 00:10:41,920
Speaker 4: I was thinking, of course, about the boldness of a

197
00:10:41,960 --> 00:10:44,800
Speaker 4: couple of the bigger movies of the year, like One

198
00:10:44,840 --> 00:10:48,559
Speaker 4: Battle after Another and Sinners, movies that throw you right

199
00:10:48,600 --> 00:10:50,959
Speaker 4: into the action right And then it may be odd

200
00:10:51,000 --> 00:10:55,439
Speaker 4: to hear this title thrown out in connection with those two.

201
00:10:55,720 --> 00:10:57,880
Speaker 4: But another movie that made my top ten lists like

202
00:10:57,960 --> 00:11:01,480
Speaker 4: those two movies, Vulcan Is a Door from Joel Petrichis.

203
00:11:02,360 --> 00:11:07,199
Speaker 4: It is brash to me in its mixing of orchestral

204
00:11:07,280 --> 00:11:10,640
Speaker 4: music with the sound and imagery of a tire repair

205
00:11:10,679 --> 00:11:14,080
Speaker 4: shop arson, which you understand later, or you might understand

206
00:11:14,120 --> 00:11:17,880
Speaker 4: if you actually know what Vulcan Isidora translates to, which

207
00:11:17,960 --> 00:11:22,320
Speaker 4: actually is a tire repair shop. And then you get

208
00:11:22,320 --> 00:11:26,920
Speaker 4: this thrash metal music as these two losers, it seems,

209
00:11:27,320 --> 00:11:29,600
Speaker 4: are walking down a road like none of it really

210
00:11:29,640 --> 00:11:33,000
Speaker 4: makes any sense at first, but it does. It does

211
00:11:33,040 --> 00:11:36,480
Speaker 4: grab your attention, and then you get the the evocative

212
00:11:37,040 --> 00:11:40,480
Speaker 4: dreaminess of train Dreams, and then you get the more

213
00:11:40,679 --> 00:11:44,319
Speaker 4: deranged kind of fairy tale dreaminess of one of your

214
00:11:44,360 --> 00:11:47,960
Speaker 4: favorite movies of the Year Weapons And here's a movie

215
00:11:48,040 --> 00:11:49,559
Speaker 4: you like more than me as well. But I love

216
00:11:49,600 --> 00:11:51,560
Speaker 4: the beginning. I know you're a fan of it as well.

217
00:11:51,840 --> 00:11:56,920
Speaker 4: How about Kelly Reichert's The Mastermind, where the opening seems

218
00:11:56,960 --> 00:12:00,960
Speaker 4: like this sweet family outing to the art museum, but

219
00:12:01,040 --> 00:12:04,640
Speaker 4: of course she realized pretty quickly it's also a criminal

220
00:12:04,840 --> 00:12:08,400
Speaker 4: casing the joint that they're looking to rob. And I

221
00:12:08,640 --> 00:12:11,160
Speaker 4: don't know how intentional this was, or whether it was

222
00:12:11,160 --> 00:12:13,439
Speaker 4: intended to be misdirection, or it was just me as

223
00:12:13,480 --> 00:12:16,320
Speaker 4: a viewer knowing what the movie was about and making

224
00:12:16,360 --> 00:12:19,600
Speaker 4: some assumptions, But I was sure watching it, Josh, that

225
00:12:19,679 --> 00:12:24,720
Speaker 4: the family was in on it, right, I'm with you, okay, good,

226
00:12:24,880 --> 00:12:27,040
Speaker 4: or at least the wife played by Alanaheim was in

227
00:12:27,160 --> 00:12:30,200
Speaker 4: on it. Like when he drops the little figurine, he's

228
00:12:30,320 --> 00:12:33,800
Speaker 4: testing the security system. He's testing himself, probably to what

229
00:12:33,880 --> 00:12:36,320
Speaker 4: he's capable of, whether he can pull it off or not,

230
00:12:36,600 --> 00:12:38,920
Speaker 4: And when he drops it in her purse, it seems

231
00:12:39,000 --> 00:12:41,560
Speaker 4: like she's aware of it. At least it seemed that

232
00:12:41,600 --> 00:12:45,600
Speaker 4: way to me. The kids are maybe purposefully causing diversions.

233
00:12:45,640 --> 00:12:47,800
Speaker 4: They may not know exactly what they're doing, but they're

234
00:12:47,840 --> 00:12:50,800
Speaker 4: being directed to cause those diversions, and then you realize

235
00:12:50,840 --> 00:12:55,080
Speaker 4: probably later, no, no, they're just there to have that

236
00:12:55,160 --> 00:12:58,160
Speaker 4: sweet family outing, and he's there for his own reasons.

237
00:12:58,559 --> 00:13:00,480
Speaker 1: I think that's part of the genius of the movie.

238
00:13:00,559 --> 00:13:02,960
Speaker 1: I was tricked, if you want to put it that way,

239
00:13:03,080 --> 00:13:05,760
Speaker 1: as well. I had the same initial reading. And I

240
00:13:05,800 --> 00:13:09,319
Speaker 1: think that shows you a couple of things. Again. Reikert's

241
00:13:09,360 --> 00:13:12,079
Speaker 1: genius in how she's going to play with our expectations

242
00:13:12,400 --> 00:13:15,960
Speaker 1: and also the way most of us come into movies knowing,

243
00:13:16,200 --> 00:13:18,480
Speaker 1: especially if we have an affection for the actor right

244
00:13:18,520 --> 00:13:21,360
Speaker 1: playing this character, even if we know it's about a

245
00:13:21,400 --> 00:13:24,439
Speaker 1: guy whose plan didn't entirely come together, we go in.

246
00:13:25,040 --> 00:13:27,600
Speaker 1: I think our basic is to root for him, right,

247
00:13:28,120 --> 00:13:31,480
Speaker 1: and so we're kind of seeing that well, maybe you know,

248
00:13:31,520 --> 00:13:33,760
Speaker 1: maybe they're behind on their house payments, and that's why

249
00:13:33,800 --> 00:13:36,240
Speaker 1: this guy, yes, and that's why his wife is helping

250
00:13:36,280 --> 00:13:38,160
Speaker 1: him and the kids were told to make a ruckus.

251
00:13:38,679 --> 00:13:41,360
Speaker 1: And then you realize, oh, no, this is this movie

252
00:13:41,400 --> 00:13:45,600
Speaker 1: is a complete deconstruction of this guy, and that that

253
00:13:45,720 --> 00:13:49,760
Speaker 1: asshole could have gotten his wife arrested. And by the

254
00:13:49,840 --> 00:13:51,440
Speaker 1: end of the movie, don't you feel like if they

255
00:13:51,480 --> 00:13:54,760
Speaker 1: had pulled him pulled her aside, because the stolen fig

256
00:13:55,000 --> 00:13:56,839
Speaker 1: urine was in her purse, he would have just walked

257
00:13:56,920 --> 00:13:59,360
Speaker 1: the other way, like, I don't know, maybe, so I'm

258
00:13:59,400 --> 00:14:00,840
Speaker 1: taking the to go home.

259
00:14:01,240 --> 00:14:04,040
Speaker 4: Yeah, it's a very good point. So my runner up.

260
00:14:04,080 --> 00:14:06,480
Speaker 4: Here is a case I said recently on a show

261
00:14:06,520 --> 00:14:08,880
Speaker 4: that I can't remember the last time I cheated, And

262
00:14:09,240 --> 00:14:12,320
Speaker 4: here I suppose I am cheating, but it's at the

263
00:14:12,360 --> 00:14:15,400
Speaker 4: behest of or I'm really being prompted by a listener.

264
00:14:15,440 --> 00:14:18,920
Speaker 4: I put out these prompts Josh for the best scenes

265
00:14:18,920 --> 00:14:21,160
Speaker 4: of the year on our Facebook page, and wow, did

266
00:14:21,200 --> 00:14:24,040
Speaker 4: we get some great responses. And I had these two

267
00:14:24,160 --> 00:14:28,320
Speaker 4: movies just as separate honorable mentions in contention for my

268
00:14:28,800 --> 00:14:32,240
Speaker 4: runner up or my my winning spot. And then Jed

269
00:14:32,320 --> 00:14:35,640
Speaker 4: Deering on our Facebook page, Facebook dot com slash film

270
00:14:35,720 --> 00:14:39,440
Speaker 4: Spotting wrote this, this should clearly be framed as what

271
00:14:39,520 --> 00:14:42,320
Speaker 4: was the best opening scene with a driver approaching a

272
00:14:42,400 --> 00:14:46,240
Speaker 4: dead body? Award either the secret Agent pulling up to

273
00:14:46,280 --> 00:14:50,040
Speaker 4: the gas station or you said it, Josh, Shula pulling

274
00:14:50,120 --> 00:14:52,840
Speaker 4: up to her uncle's body and on becoming a guinea fowl,

275
00:14:53,320 --> 00:14:56,040
Speaker 4: both unnerving in their own right, with great supporting help

276
00:14:56,040 --> 00:15:01,200
Speaker 4: providing levity from the gas station attendant or Shoula's cousin, respectively.

277
00:15:01,960 --> 00:15:05,160
Speaker 4: I just love the Jed link these brilliant openings and

278
00:15:05,200 --> 00:15:11,320
Speaker 4: what these bodies represent for Shula repression, for Marcelo or

279
00:15:11,400 --> 00:15:17,520
Speaker 4: Armando oppression. They each would prefer to drive on, just

280
00:15:17,680 --> 00:15:20,360
Speaker 4: keep going and not have to reckon with the darkness

281
00:15:20,400 --> 00:15:23,760
Speaker 4: that those bodies will likely invite into their lives. But

282
00:15:23,840 --> 00:15:27,120
Speaker 4: they don't or or they can't. And in the case

283
00:15:27,160 --> 00:15:30,520
Speaker 4: of the Secret Agent, you have Kleiber, Mendoza, Affilio the director,

284
00:15:30,560 --> 00:15:34,160
Speaker 4: and with Guinea Flu you said, Rungano Nioni. They create

285
00:15:34,240 --> 00:15:37,320
Speaker 4: such a sense of mystery, and more so with the

286
00:15:37,360 --> 00:15:42,000
Speaker 4: Secret Agent dread by being so patient, so patient with

287
00:15:42,040 --> 00:15:48,360
Speaker 4: the camera and also by withholding information. And you know Philio,

288
00:15:48,520 --> 00:15:51,240
Speaker 4: we talked about this during the Top ten show, the

289
00:15:51,320 --> 00:15:55,720
Speaker 4: way he manages genres in tone with that movie. Marcello's

290
00:15:55,760 --> 00:15:59,040
Speaker 4: yellow Volkswagen bug pulls up to that gas station, we

291
00:15:59,120 --> 00:16:02,680
Speaker 4: see the feet of that dead body sticking out from under.

292
00:16:02,920 --> 00:16:06,520
Speaker 4: I think it's just some cardboard and we know everything

293
00:16:06,600 --> 00:16:10,240
Speaker 4: we need to know. But as Jed noted, there's also

294
00:16:10,280 --> 00:16:12,840
Speaker 4: some dark humor in the way the gas station attendant

295
00:16:12,960 --> 00:16:16,760
Speaker 4: suddenly appears and assures him, No, everything's fine, there's no

296
00:16:16,840 --> 00:16:19,240
Speaker 4: reason to pull away. Sure, go ahead and get some gas.

297
00:16:19,440 --> 00:16:22,160
Speaker 4: He has an answer for everything that Marcello says. It

298
00:16:22,360 --> 00:16:25,440
Speaker 4: makes it worse. Yeah, exactly right, it makes it worse.

299
00:16:25,800 --> 00:16:29,000
Speaker 4: That's a great point. And then when other cars show

300
00:16:29,120 --> 00:16:32,440
Speaker 4: up and see the body or the police once they

301
00:16:32,560 --> 00:16:36,720
Speaker 4: arrive to investigate and harass Marcelo the way, the other

302
00:16:36,760 --> 00:16:40,320
Speaker 4: cars immediately turn around, and Bolt is combic in its

303
00:16:40,320 --> 00:16:44,560
Speaker 4: own way as well. Everybody can tell that something is

304
00:16:44,600 --> 00:16:46,720
Speaker 4: off and we don't want a piece of it. But

305
00:16:46,840 --> 00:16:51,760
Speaker 4: Barcelo is stuck and guineafoul Josh having no sense. That's

306
00:16:51,800 --> 00:16:54,680
Speaker 4: a case where unlike The Mastermind, I really had no

307
00:16:54,840 --> 00:16:57,720
Speaker 4: sense at all what the movie was about. I just

308
00:16:57,800 --> 00:17:00,400
Speaker 4: knew the director and I knew their previous film. And

309
00:17:00,480 --> 00:17:04,399
Speaker 4: so I'm watching Susan Chardi. I'm watching the actress in

310
00:17:04,480 --> 00:17:09,280
Speaker 4: that futuristic outfit, that slick vehicle driving in the dead

311
00:17:09,280 --> 00:17:12,399
Speaker 4: of night, and for a while I was questioning whether

312
00:17:12,480 --> 00:17:15,959
Speaker 4: Nioni had made a sci fi movie, Like what is

313
00:17:16,080 --> 00:17:20,119
Speaker 4: this movie? My bearings were completely off. We don't know

314
00:17:20,160 --> 00:17:22,520
Speaker 4: what costume she's wearing or why. I'm not sure we

315
00:17:22,560 --> 00:17:25,320
Speaker 4: ever actually get the answer, we just have to put

316
00:17:25,359 --> 00:17:28,960
Speaker 4: those pieces together. I just loved how deliberate and how

317
00:17:29,080 --> 00:17:33,159
Speaker 4: enigmatic both of those beginnings are, and they make you

318
00:17:33,240 --> 00:17:35,720
Speaker 4: want to pay such close attention to both of those films.

319
00:17:36,760 --> 00:17:39,919
Speaker 1: Yeah, that's a great idea to pair those that the

320
00:17:39,960 --> 00:17:42,359
Speaker 1: listener had. And I think in the case of The

321
00:17:42,400 --> 00:17:44,680
Speaker 1: Secret Agent, which I was able to see, I've seen

322
00:17:44,720 --> 00:17:47,159
Speaker 1: since we did our Top ten show and I hadn't

323
00:17:47,560 --> 00:17:50,840
Speaker 1: had access to it yet, it's for Marcelo. It's the

324
00:17:50,920 --> 00:17:55,680
Speaker 1: precursor of everything that he's going to be facing, and

325
00:17:56,760 --> 00:18:01,320
Speaker 1: not necessarily because it's perfectly relayed it or logically related

326
00:18:01,400 --> 00:18:04,280
Speaker 1: to his situation, but I think it also just captures

327
00:18:04,280 --> 00:18:06,960
Speaker 1: and this is maybe where the Secret Agent opening is unique,

328
00:18:07,119 --> 00:18:12,520
Speaker 1: is the precariousness of this time and place, and it's

329
00:18:12,600 --> 00:18:17,679
Speaker 1: like this just this little, this little portrait, mini story,

330
00:18:17,760 --> 00:18:20,040
Speaker 1: many narrative that captures what it might have been like

331
00:18:20,119 --> 00:18:23,720
Speaker 1: to live then, and there just this random body that

332
00:18:24,240 --> 00:18:26,640
Speaker 1: people are looking at fleeing, as you said, but other

333
00:18:26,640 --> 00:18:28,800
Speaker 1: people are just saying, eh, I don't worry about it,

334
00:18:28,960 --> 00:18:30,879
Speaker 1: as if this is not that uncommon, you know.

335
00:18:31,200 --> 00:18:32,800
Speaker 4: So yeah, yeah, yeah, I like that.

336
00:18:33,040 --> 00:18:33,600
Speaker 1: Double picks.

337
00:18:33,760 --> 00:18:38,359
Speaker 4: Speaking of many narratives, my winner for opening scene. This

338
00:18:38,480 --> 00:18:42,760
Speaker 4: comes from another movie that you didn't have an opportunity

339
00:18:42,800 --> 00:18:46,760
Speaker 4: to see before our top ten show, and it's the

340
00:18:46,760 --> 00:18:52,040
Speaker 4: beginning of yokum Trier's sentimental value. I suppose you could

341
00:18:52,040 --> 00:18:56,240
Speaker 4: call it a prologue that does some practical table setting,

342
00:18:56,280 --> 00:18:58,440
Speaker 4: and that we meet the main character who is effectively

343
00:18:58,440 --> 00:19:01,560
Speaker 4: the main character of the film, Nora. We'nada riitsvist character.

344
00:19:01,880 --> 00:19:05,000
Speaker 4: We meet her sister mainly in the past, but we

345
00:19:05,040 --> 00:19:07,399
Speaker 4: do meet her, We meet her father, we meet the

346
00:19:07,440 --> 00:19:10,840
Speaker 4: main characters of the story. Maybe more significantly, though, we

347
00:19:10,880 --> 00:19:14,840
Speaker 4: meet the house. And is cliche or as obvious as

348
00:19:14,880 --> 00:19:17,240
Speaker 4: it may be to say that the house, which is

349
00:19:17,280 --> 00:19:20,200
Speaker 4: the primary setting of the movie's action and where the

350
00:19:20,840 --> 00:19:25,000
Speaker 4: emotional drama plays out, is another main character. I think

351
00:19:25,040 --> 00:19:28,480
Speaker 4: you have to say that here. It certainly applies here

352
00:19:28,680 --> 00:19:32,119
Speaker 4: because what's happening in this prologue As we hear a

353
00:19:32,320 --> 00:19:35,879
Speaker 4: narrator say, the narrator tells us about how Nora. This

354
00:19:36,000 --> 00:19:37,000
Speaker 4: how the movie begins.

355
00:19:37,080 --> 00:19:37,240
Speaker 2: Right.

356
00:19:37,359 --> 00:19:40,840
Speaker 4: The opening words are about how Nora, in the sixth grade,

357
00:19:41,200 --> 00:19:45,240
Speaker 4: had to write an essay as if she was an object,

358
00:19:45,720 --> 00:19:47,840
Speaker 4: and she chose to write it from the point of

359
00:19:47,920 --> 00:19:52,359
Speaker 4: view of this house her childhood home, So her essay

360
00:19:52,720 --> 00:19:56,560
Speaker 4: and the way Trier shoots it is essentially an exercise

361
00:19:56,600 --> 00:20:01,480
Speaker 4: in anthropomorphism, right, and the language here that the narrator

362
00:20:01,600 --> 00:20:06,080
Speaker 4: uses that Nora used as a kid. She described how

363
00:20:06,119 --> 00:20:09,360
Speaker 4: it's belly shook as she and her sister ran downstairs

364
00:20:09,359 --> 00:20:12,080
Speaker 4: and out the back door, that it saw them take

365
00:20:12,119 --> 00:20:14,520
Speaker 4: the shortcut through the fence and onto the road where

366
00:20:14,520 --> 00:20:17,240
Speaker 4: the house no longer could see them. So when the

367
00:20:17,320 --> 00:20:20,320
Speaker 4: narrator says that it saw them take the shortcut through

368
00:20:20,320 --> 00:20:23,159
Speaker 4: the fence, we actually in that moment we get a

369
00:20:23,200 --> 00:20:27,080
Speaker 4: cut and we see their legs take that shortcut. From

370
00:20:27,119 --> 00:20:30,880
Speaker 4: the perspective of the basement. The cameras in the basement

371
00:20:30,920 --> 00:20:34,800
Speaker 4: looking through these two square windows that look just like eyes,

372
00:20:35,320 --> 00:20:39,440
Speaker 4: followed by two cuts through a main floor window, one

373
00:20:39,440 --> 00:20:42,240
Speaker 4: inside and then one outside as the girls go through

374
00:20:42,280 --> 00:20:45,480
Speaker 4: that fence, and the way the camera tracks just slightly

375
00:20:45,520 --> 00:20:47,520
Speaker 4: to the right as the girl's exit to the left

376
00:20:47,560 --> 00:20:50,000
Speaker 4: with the window in the background, it really does emphasize

377
00:20:50,600 --> 00:20:54,520
Speaker 4: how the tree in the yard limits the view of

378
00:20:54,560 --> 00:20:56,760
Speaker 4: the window. Just like if you were a person who

379
00:20:56,760 --> 00:21:00,160
Speaker 4: can no longer see around that tree, it may make

380
00:21:00,400 --> 00:21:04,520
Speaker 4: the house feel as though. Every window is a set

381
00:21:04,560 --> 00:21:08,040
Speaker 4: of eyes, and the house is alive, and the presentation

382
00:21:08,160 --> 00:21:11,920
Speaker 4: up to that point is quite stately. But that changes

383
00:21:11,960 --> 00:21:15,120
Speaker 4: as life gets messier in the house, the shots get tighter,

384
00:21:15,560 --> 00:21:18,879
Speaker 4: the camera gets a little bit shakier. We get these lines.

385
00:21:18,920 --> 00:21:20,879
Speaker 4: She wondered if the house like to be empty and

386
00:21:21,000 --> 00:21:23,240
Speaker 4: light or full and heavy, if the floors like to

387
00:21:23,240 --> 00:21:25,919
Speaker 4: be trod on, if the walls were ticklish, if it

388
00:21:25,960 --> 00:21:30,040
Speaker 4: ever felt pain, and all those sounds of life. Sounds

389
00:21:30,080 --> 00:21:33,000
Speaker 4: of pain like a glass breaking during a fight, sounds

390
00:21:33,040 --> 00:21:36,000
Speaker 4: of joy, like heels hitting the hardwood floor when people

391
00:21:36,040 --> 00:21:38,960
Speaker 4: are dancing, and those neutral sounds. That's what I really

392
00:21:39,040 --> 00:21:41,760
Speaker 4: love that we take for granted until a filmmaker like

393
00:21:41,800 --> 00:21:44,760
Speaker 4: Trier makes us pay attention to them. A door scraping

394
00:21:44,760 --> 00:21:48,160
Speaker 4: the hardwood floor as it opens, a kid's jacket scraping

395
00:21:48,200 --> 00:21:52,679
Speaker 4: the wall as she walks down the hallway. We go

396
00:21:52,720 --> 00:21:56,040
Speaker 4: into the past here, those who inhabited the space before her,

397
00:21:56,119 --> 00:21:59,399
Speaker 4: we see them. We advance through Nora's teen years, We

398
00:21:59,400 --> 00:22:01,719
Speaker 4: get into the press day and watch the home split

399
00:22:01,840 --> 00:22:06,800
Speaker 4: metaphorically as the house also the home splits literally and

400
00:22:07,000 --> 00:22:10,320
Speaker 4: in terms of the characters and the setting and the themes.

401
00:22:11,119 --> 00:22:13,920
Speaker 4: That's all there, introducing us to it, Josh, but also

402
00:22:13,960 --> 00:22:18,520
Speaker 4: it puts us into Nora's expressive, really creative, but also

403
00:22:19,000 --> 00:22:23,639
Speaker 4: really fragile emotional headspace. And it does function as its

404
00:22:23,680 --> 00:22:26,560
Speaker 4: own beautiful short film as well.

405
00:22:26,840 --> 00:22:29,760
Speaker 1: It does. Yeah, it is a short film that sentimental

406
00:22:29,840 --> 00:22:31,720
Speaker 1: value begins with. I did get a chance to see

407
00:22:31,760 --> 00:22:35,720
Speaker 1: it a sense, and it's lovely crushing in a lot

408
00:22:35,760 --> 00:22:38,600
Speaker 1: of ways. And one thing Trier does in that opening

409
00:22:38,640 --> 00:22:40,480
Speaker 1: with the camera, in addition to what you talked about,

410
00:22:41,040 --> 00:22:45,159
Speaker 1: is the establishing shots of the house actually so not

411
00:22:45,200 --> 00:22:49,080
Speaker 1: necessarily the perspective ones looking out that you've been describing.

412
00:22:48,560 --> 00:22:50,400
Speaker 4: But also stateliness. Yeah.

413
00:22:50,480 --> 00:22:53,200
Speaker 1: Yeah, it's the stateliness, but he you know, you could

414
00:22:53,320 --> 00:22:57,119
Speaker 1: choose the perfect angle to provide that stateliness. But what

415
00:22:57,160 --> 00:23:00,800
Speaker 1: I like is that in almost every one the camera

416
00:23:00,880 --> 00:23:04,880
Speaker 1: is slightly moving. It's just drifting one way or another.

417
00:23:05,280 --> 00:23:07,040
Speaker 1: And I think that connects with the quality you were

418
00:23:07,040 --> 00:23:11,000
Speaker 1: talking about giving the house the sense of being, of

419
00:23:11,400 --> 00:23:14,760
Speaker 1: being alive. It's the house isn't moving, but because the

420
00:23:14,760 --> 00:23:17,360
Speaker 1: camera is, it feels like it is a little bit.

421
00:23:17,440 --> 00:23:21,840
Speaker 1: So a lot of very sophisticated delicate we're going into

422
00:23:21,880 --> 00:23:25,600
Speaker 1: making that such a captivating opening to sentimental value.

423
00:23:25,760 --> 00:23:28,199
Speaker 4: I'm doing a series of book cradings this week. You

424
00:23:28,240 --> 00:23:31,960
Speaker 4: can find me there book cradings. Yes, I write true

425
00:23:31,960 --> 00:23:34,000
Speaker 4: crime novels based on fictional stories.

426
00:23:33,680 --> 00:23:34,320
Speaker 1: That I make up.

427
00:23:36,359 --> 00:23:42,679
Speaker 2: Yes, well, you may write about it, but I live it. Now,

428
00:23:42,840 --> 00:23:46,000
Speaker 2: if you'll excuse me, we're having a birthday party and

429
00:23:46,080 --> 00:23:47,639
Speaker 2: I'm the best singer in the office.

430
00:23:47,880 --> 00:23:52,119
Speaker 4: Okay, we move on now to the Funniest Movie Scenes

431
00:23:52,160 --> 00:23:55,920
Speaker 4: of twenty twenty five, a category in which the differences

432
00:23:55,960 --> 00:23:59,960
Speaker 4: in our respective senses of humor may be revealed. Will

433
00:24:00,119 --> 00:24:02,600
Speaker 4: find so we will find out. I know there's some overlap,

434
00:24:03,000 --> 00:24:04,800
Speaker 4: but we shall see.

435
00:24:05,320 --> 00:24:07,120
Speaker 1: I think that's a good way to put it. And man,

436
00:24:07,200 --> 00:24:10,040
Speaker 1: this is this is what I miss not being at

437
00:24:10,080 --> 00:24:12,760
Speaker 1: a live rep party because this is the most fun

438
00:24:12,800 --> 00:24:16,080
Speaker 1: category to do every year. Just get the whole theater

439
00:24:16,240 --> 00:24:19,640
Speaker 1: laughing at at showing these clips. But hey, we'll get

440
00:24:19,680 --> 00:24:22,760
Speaker 1: back to that next year. For now, I have a

441
00:24:22,760 --> 00:24:26,800
Speaker 1: couple of honorable mentions to go through printing a new

442
00:24:26,840 --> 00:24:31,239
Speaker 1: Mickey from Mickey seventeen. I just, you know, love this

443
00:24:31,359 --> 00:24:33,000
Speaker 1: movie to the end of the year. Even though it

444
00:24:33,000 --> 00:24:35,080
Speaker 1: fell out of favor with a lot of people. It

445
00:24:35,160 --> 00:24:37,640
Speaker 1: did fall just outside of my top ten list. However,

446
00:24:38,080 --> 00:24:40,000
Speaker 1: I wanted to give what I think is one of

447
00:24:40,000 --> 00:24:42,159
Speaker 1: its best gags a nod here, and that's when the

448
00:24:42,200 --> 00:24:44,840
Speaker 1: new Mickey just comes rolling out of that clone printer

449
00:24:45,480 --> 00:24:48,199
Speaker 1: and he just ends up flopping onto the ground like

450
00:24:48,200 --> 00:24:50,680
Speaker 1: a dead fish, because you know, the scientists, they didn't

451
00:24:50,680 --> 00:24:53,040
Speaker 1: even bother to put a gurney there to catch them.

452
00:24:53,800 --> 00:24:57,720
Speaker 1: I think it's just, you know, not only silly, funny slapstick,

453
00:24:57,840 --> 00:25:01,040
Speaker 1: but as this whole movie is, I think, funny commentary,

454
00:25:01,160 --> 00:25:04,480
Speaker 1: bitter commentary on sort of the indifference here with which

455
00:25:04,560 --> 00:25:08,560
Speaker 1: laborers are treated in the global economy. So, and of

456
00:25:08,600 --> 00:25:10,760
Speaker 1: course another honorable mention, I'm gonna have to pick one

457
00:25:10,760 --> 00:25:14,199
Speaker 1: from my favorite comedy of twenty twenty five, which was

458
00:25:14,280 --> 00:25:17,400
Speaker 1: one of them days, and for me, it's the payday

459
00:25:17,440 --> 00:25:22,720
Speaker 1: loan application. So many options to go within this movie,

460
00:25:22,800 --> 00:25:26,000
Speaker 1: but it is the conversation that Sizza and Keiki Palmer's

461
00:25:26,440 --> 00:25:30,919
Speaker 1: roommates have, these desperate roommates with a payday loan clerk

462
00:25:31,119 --> 00:25:34,959
Speaker 1: played scene stealing one of the scene stealers of the year.

463
00:25:35,000 --> 00:25:37,720
Speaker 1: I forget if we managed to include her in our poll.

464
00:25:37,840 --> 00:25:43,919
Speaker 1: But Kayla Monterroso, Mahea she just couldn't give less other

465
00:25:44,000 --> 00:25:46,080
Speaker 1: than anything about their predicament.

466
00:25:47,119 --> 00:25:48,080
Speaker 5: Are you having a heart attack?

467
00:25:48,840 --> 00:25:50,600
Speaker 2: Oh my god, mal are you okay?

468
00:25:50,920 --> 00:25:53,520
Speaker 4: Are you never see a credit score this?

469
00:25:53,680 --> 00:25:55,520
Speaker 3: Well?

470
00:25:56,560 --> 00:25:59,440
Speaker 5: Well, I you know, I went to business school.

471
00:26:02,119 --> 00:26:03,679
Speaker 4: I'm, you know, trying to figure out how to make

472
00:26:03,720 --> 00:26:05,120
Speaker 4: every dang back so bad.

473
00:26:05,960 --> 00:26:09,879
Speaker 2: It's so bad, you got problems, So you act like

474
00:26:09,920 --> 00:26:11,320
Speaker 2: we in Beverly Hills or somewhere.

475
00:26:11,359 --> 00:26:12,400
Speaker 4: Go you in a hood too.

476
00:26:13,400 --> 00:26:16,199
Speaker 1: One more honorable mention. I called this out when we

477
00:26:16,240 --> 00:26:19,080
Speaker 1: did do our long review of one battle after another.

478
00:26:19,560 --> 00:26:23,200
Speaker 1: I'm still waiting to see this sign and an anti

479
00:26:23,280 --> 00:26:26,879
Speaker 1: ice protest someday soon. Why is your shirt so tight?

480
00:26:27,280 --> 00:26:37,440
Speaker 4: Why is your shirt so tight? I'm like gay, If

481
00:26:37,440 --> 00:26:39,320
Speaker 4: that's what you're saying, I didn't say that.

482
00:26:39,720 --> 00:26:40,959
Speaker 2: I'm not homosexual.

483
00:26:43,520 --> 00:26:45,679
Speaker 1: Yeah, I love that so much. Okay, let's get to

484
00:26:45,720 --> 00:26:49,439
Speaker 1: my pick. And I think we have a listener who's

485
00:26:49,480 --> 00:26:52,879
Speaker 1: going to help me set this up. Adam Ross Bratton,

486
00:26:52,920 --> 00:26:55,359
Speaker 1: who he took us up on the invite actually to

487
00:26:55,440 --> 00:26:57,960
Speaker 1: send in a video pick a Pioneer.

488
00:26:58,160 --> 00:27:01,080
Speaker 4: Our first look look at Ross had to be Ross.

489
00:27:01,200 --> 00:27:04,240
Speaker 3: Hey, Adam, Josh Sam and all the films Spotting Nation.

490
00:27:04,720 --> 00:27:07,520
Speaker 3: This is Ross Bratton from New York City, a proud

491
00:27:07,560 --> 00:27:10,639
Speaker 3: member of the Trivia Spotting Mafia, and the co host

492
00:27:10,720 --> 00:27:14,000
Speaker 3: of the A Trip Through Comedy podcast. Since there's no

493
00:27:14,080 --> 00:27:16,520
Speaker 3: live wrap party this year, I figured I would at

494
00:27:16,600 --> 00:27:19,399
Speaker 3: least send in my pick for the funniest movie moment

495
00:27:19,560 --> 00:27:23,360
Speaker 3: of this year, and that came from Andrew DeYoung's Friendship,

496
00:27:23,640 --> 00:27:26,760
Speaker 3: starring Tim Robinson and Paul Rudd. There are so many

497
00:27:26,760 --> 00:27:29,560
Speaker 3: great scenes to choose from, but the one that definitely

498
00:27:29,560 --> 00:27:33,399
Speaker 3: stood out for me and had me laughing so much

499
00:27:34,200 --> 00:27:37,159
Speaker 3: was the drug trip scene. If you've seen it, you

500
00:27:37,240 --> 00:27:39,560
Speaker 3: know what I'm talking about. And if you haven't seen it,

501
00:27:39,640 --> 00:27:41,679
Speaker 3: I Am not going to spoil it because it's truly

502
00:27:41,680 --> 00:27:44,800
Speaker 3: something that needs to be seen to be believed. I

503
00:27:44,800 --> 00:27:46,800
Speaker 3: hope everyone had a good time at the movies this

504
00:27:46,840 --> 00:27:49,240
Speaker 3: past year in twenty twenty five, and I'm hoping in

505
00:27:49,240 --> 00:27:51,399
Speaker 3: twenty seventy six we get a whole bunch of great

506
00:27:51,440 --> 00:27:55,000
Speaker 3: comedies and fun times. Looking forward to hopefully seeing you

507
00:27:55,040 --> 00:27:57,040
Speaker 3: all at somewhere at the theater.

508
00:27:57,440 --> 00:27:58,440
Speaker 2: All right, bye.

509
00:27:58,760 --> 00:28:02,040
Speaker 1: I am with Ross have the same pick from Friendship

510
00:28:02,640 --> 00:28:06,040
Speaker 1: as he said, this is the dark comedy, deeply weird

511
00:28:06,080 --> 00:28:10,240
Speaker 1: and uncomfortable. Dark comedy starring Paul Rudd and Tim Robinson,

512
00:28:10,240 --> 00:28:14,200
Speaker 1: written directed by Andrew DeYoung. They played neighbors and budding friends.

513
00:28:14,320 --> 00:28:17,399
Speaker 1: But this movie, to me, it's somewhat I don't know

514
00:28:17,440 --> 00:28:19,679
Speaker 1: if it loses track, but it changes direction from the

515
00:28:19,720 --> 00:28:23,600
Speaker 1: notion of friendship to focus and become another Tim Robinson

516
00:28:23,720 --> 00:28:28,840
Speaker 1: portrait of the contemporary American male identity crisis, a crisis

517
00:28:28,840 --> 00:28:31,640
Speaker 1: of our own making, we should say now, as part

518
00:28:31,760 --> 00:28:36,080
Speaker 1: of this guy's flailing and failing as a friend, as

519
00:28:36,119 --> 00:28:41,000
Speaker 1: a husband, as a father, Robinson's Craig decides, Okay, what

520
00:28:41,080 --> 00:28:43,920
Speaker 1: I need now to get things back on track is

521
00:28:43,960 --> 00:28:47,440
Speaker 1: to accept an offer of drugs from the clerk working

522
00:28:47,440 --> 00:28:50,680
Speaker 1: at the mobile phone shop played by Billy Brick. The

523
00:28:50,760 --> 00:28:55,240
Speaker 1: drug in question licking an exotic toad with psychedelic properties.

524
00:28:55,640 --> 00:29:00,560
Speaker 4: It's like ice cream on a hot summer day.

525
00:29:01,640 --> 00:29:07,960
Speaker 1: Don't pop him, you look like pop him.

526
00:29:06,360 --> 00:29:08,880
Speaker 2: Can you stay with me?

527
00:29:09,360 --> 00:29:11,840
Speaker 4: I'm sorry, I need to go get some rollers in

528
00:29:11,840 --> 00:29:12,400
Speaker 4: a red bull.

529
00:29:13,640 --> 00:29:14,920
Speaker 5: It's time for you to touch.

530
00:29:14,720 --> 00:29:18,600
Speaker 1: God like Ross. I almost don't want to spoil this

531
00:29:18,720 --> 00:29:22,120
Speaker 1: for those who haven't seen Friendship, but basically, you know

532
00:29:22,160 --> 00:29:25,600
Speaker 1: what we get is an anti drug trip scene. It's

533
00:29:25,640 --> 00:29:28,760
Speaker 1: the opposite of every wild psychedelic sequence that the movies

534
00:29:28,800 --> 00:29:32,000
Speaker 1: have given us, very much to Craig's chagrin, he is

535
00:29:32,120 --> 00:29:36,800
Speaker 1: quite quite disappointed. It's just perfectly played by Robinson at

536
00:29:36,800 --> 00:29:40,920
Speaker 1: his probably his most illogically indignant, which he's that's a

537
00:29:40,960 --> 00:29:44,560
Speaker 1: specialty of his. And Burt here brick here, I should say,

538
00:29:44,680 --> 00:29:47,840
Speaker 1: is you know this brain dead straight man also perfect.

539
00:29:48,640 --> 00:29:50,720
Speaker 1: We get a little nice, you know, nice bits of

540
00:29:50,760 --> 00:29:54,040
Speaker 1: visual humor from Deong as well as director camera angles,

541
00:29:54,320 --> 00:29:57,200
Speaker 1: especially as Craig comes in and out of his trip,

542
00:29:57,840 --> 00:29:59,840
Speaker 1: just to add to why this is such a funny.

543
00:30:00,320 --> 00:30:05,160
Speaker 1: So that's my pick. The toad is mysterious from Friendship.

544
00:30:05,160 --> 00:30:08,480
Speaker 4: A scene I did not watch, Josh because I didn't

545
00:30:08,480 --> 00:30:10,400
Speaker 4: get a chance to see the entire movie, and I

546
00:30:10,840 --> 00:30:12,960
Speaker 4: know and I did not. I did not want to

547
00:30:13,000 --> 00:30:15,600
Speaker 4: take it out of context. It did seem like one

548
00:30:15,600 --> 00:30:17,960
Speaker 4: of those one of those scenes, in one of those

549
00:30:18,040 --> 00:30:21,560
Speaker 4: gags I had to appreciate within the context of the

550
00:30:21,720 --> 00:30:24,600
Speaker 4: entire film. And we've had listeners, we had family members

551
00:30:24,640 --> 00:30:28,000
Speaker 4: certainly all all year on Discord bugging us about how

552
00:30:28,120 --> 00:30:31,000
Speaker 4: we haven't or I hadn't caught up with Friendship, we

553
00:30:31,000 --> 00:30:35,000
Speaker 4: hadn't reviewed it, you saw it when it came out

554
00:30:35,000 --> 00:30:37,000
Speaker 4: of it Yeah, yeah, I gave it a review when

555
00:30:37,040 --> 00:30:38,440
Speaker 4: it came out, and I'm glad.

556
00:30:39,080 --> 00:30:42,800
Speaker 1: I'm glad that I didn't spoil it then. So if

557
00:30:42,800 --> 00:30:44,680
Speaker 1: you ever do get around to it, you'll you'll have

558
00:30:44,720 --> 00:30:45,280
Speaker 1: that pleasure.

559
00:30:45,760 --> 00:30:49,960
Speaker 4: Okay. My first mention more love for sentimental value. And

560
00:30:50,000 --> 00:30:52,280
Speaker 4: this one comes up, Josh, only because it literally just

561
00:30:52,360 --> 00:30:55,160
Speaker 4: popped up in my feed on Instagram a couple hours ago.

562
00:30:55,200 --> 00:30:58,840
Speaker 4: You know how the the algorithm is always listening, it's

563
00:30:58,840 --> 00:31:02,760
Speaker 4: always watching. Apparently it is because it knew I was

564
00:31:02,800 --> 00:31:07,160
Speaker 4: preparing for this show. And it's the moment when Gustav

565
00:31:07,240 --> 00:31:11,240
Speaker 4: when stellin Scarsguard, the father, the grandfather in this case,

566
00:31:11,480 --> 00:31:15,160
Speaker 4: gives his grandson, who can't be more than about ten.

567
00:31:15,800 --> 00:31:19,160
Speaker 4: He gives his grandson for his birthday to DVDs, and

568
00:31:19,200 --> 00:31:24,120
Speaker 4: the DVDs are Michaelanica's The Piano Teacher and Gaspar no

569
00:31:24,160 --> 00:31:27,600
Speaker 4: ways irreversible. Now, I will say this though, it would

570
00:31:27,600 --> 00:31:30,600
Speaker 4: be funnier if he just gave him the piano teacher

571
00:31:31,680 --> 00:31:35,960
Speaker 4: or something more like the piano teacher, the piano teacher

572
00:31:35,960 --> 00:31:38,680
Speaker 4: and something else like it, because I just don't believe

573
00:31:38,720 --> 00:31:41,120
Speaker 4: that even Gustav and how out of touch he is

574
00:31:41,440 --> 00:31:45,640
Speaker 4: would give him gaspar no ways irreversible. But the piano

575
00:31:45,720 --> 00:31:47,720
Speaker 4: teacher is is beautiful.

576
00:31:47,760 --> 00:31:49,960
Speaker 1: That's ale would I wouldn't put it past that guy.

577
00:31:50,280 --> 00:31:52,040
Speaker 4: Yeah, and what does he say? He says something about

578
00:31:52,040 --> 00:31:54,200
Speaker 4: how it'll it'll teach you everything you need to know

579
00:31:54,240 --> 00:31:59,360
Speaker 4: about women and relationships or something, and it's it's it's beautiful.

580
00:32:00,280 --> 00:32:02,840
Speaker 4: So who stops birthday gifts? Is my first mention here

581
00:32:02,960 --> 00:32:06,240
Speaker 4: for sheer, audaciousness and insanity. Yes, I'm also going to

582
00:32:06,280 --> 00:32:11,640
Speaker 4: mention chasing ant Gladys weapons. Speaking of audaciousness and insanity,

583
00:32:12,280 --> 00:32:16,120
Speaker 4: I'll just say three way kill in no other choice,

584
00:32:16,200 --> 00:32:19,479
Speaker 4: the latest from Channook Park. We're gonna get to our

585
00:32:19,520 --> 00:32:23,120
Speaker 4: Golden Brick winner and our nominees here in a second.

586
00:32:24,080 --> 00:32:27,680
Speaker 4: I'll say that there is one choice. One of the

587
00:32:27,720 --> 00:32:30,760
Speaker 4: nominees is definitely more of an Atom choice than a Josh.

588
00:32:30,920 --> 00:32:33,240
Speaker 4: And there's one choice that's definitely more of a Josh

589
00:32:33,320 --> 00:32:36,160
Speaker 4: choice than an Atom. The one that's more of a

590
00:32:36,240 --> 00:32:39,640
Speaker 4: Josh choice is Boys Go to Jupiter. But there's a

591
00:32:39,680 --> 00:32:42,680
Speaker 4: line in that movie Josh that I adore, and it's

592
00:32:42,680 --> 00:32:47,200
Speaker 4: when a curator says, nobody invented gatorade. It's a liquid

593
00:32:47,560 --> 00:32:48,040
Speaker 4: like milk.

594
00:32:49,920 --> 00:32:53,720
Speaker 1: Well, I think true. I'm glad it got got a

595
00:32:53,800 --> 00:32:54,480
Speaker 1: chuckle from you.

596
00:32:54,920 --> 00:32:57,160
Speaker 4: I think it's true. Actually, I do believe it's it's

597
00:32:57,160 --> 00:32:59,520
Speaker 4: actually it's just an element. Gatorade at this point is

598
00:32:59,560 --> 00:33:02,640
Speaker 4: an element. I'm going to go back to another Golden

599
00:33:02,640 --> 00:33:05,400
Speaker 4: Brick finalist and one that you love. This one I

600
00:33:05,640 --> 00:33:09,320
Speaker 4: I like considerably more Grand Theft Hamlet. And it's not

601
00:33:09,400 --> 00:33:13,360
Speaker 4: from the later performances. It's when they're they're initially trying

602
00:33:13,480 --> 00:33:16,520
Speaker 4: to stage. It's really they're they're in those early stages

603
00:33:16,560 --> 00:33:19,760
Speaker 4: of trying to to get a production of Hamlet done.

604
00:33:19,800 --> 00:33:22,400
Speaker 4: There I think they're just really playing around with the idea,

605
00:33:22,440 --> 00:33:24,800
Speaker 4: even at this point of staging Hamlet, and they're at

606
00:33:24,800 --> 00:33:28,640
Speaker 4: the Vinewood Bowl within Grand Theft Auto and we hear

607
00:33:29,080 --> 00:33:32,120
Speaker 4: we hear one of the directors within the game say,

608
00:33:32,160 --> 00:33:34,960
Speaker 4: if I could just request that you refrain from killing

609
00:33:34,960 --> 00:33:37,440
Speaker 4: each other and don't kill the actors.

610
00:33:37,040 --> 00:33:38,600
Speaker 1: Either, How does that go for them?

611
00:33:38,880 --> 00:33:40,920
Speaker 4: It's it It does not go well because like a

612
00:33:40,960 --> 00:33:44,800
Speaker 4: split second later, of course, or a split second before

613
00:33:45,560 --> 00:33:49,720
Speaker 4: you know, someone of course gets gets killed. So those

614
00:33:49,720 --> 00:33:52,479
Speaker 4: are some honorable mentions. A runner up for me, I

615
00:33:52,520 --> 00:33:55,080
Speaker 4: am going to give a little bit more love, and

616
00:33:55,120 --> 00:33:57,400
Speaker 4: I think this may end the love I'm going to

617
00:33:57,400 --> 00:33:59,160
Speaker 4: give to this movie here on the Rap Party. But

618
00:33:59,160 --> 00:34:01,560
Speaker 4: I'm gonna give a little bit more praise to Joel

619
00:34:01,560 --> 00:34:05,520
Speaker 4: Patriychas's vulcan 'sadora. And this is a music moment contender

620
00:34:05,960 --> 00:34:10,359
Speaker 4: as well. But Joel patriychas writer, director and actor, he's

621
00:34:10,440 --> 00:34:13,719
Speaker 4: the star of this scene. Certainly. He plays Derek, who

622
00:34:14,000 --> 00:34:17,000
Speaker 4: with his friend Marty, is clearly on some kind of

623
00:34:17,040 --> 00:34:20,600
Speaker 4: mission in the Michigan Woods. Whatever they have planned, we

624
00:34:20,640 --> 00:34:23,880
Speaker 4: don't know. At this point. It seems ominous, mainly because

625
00:34:23,880 --> 00:34:27,880
Speaker 4: of Marty's demeanor as played by Joshua Burge, and his behavior.

626
00:34:28,239 --> 00:34:32,440
Speaker 4: He is always angrily reminding Derek that nothing matters anymore.

627
00:34:33,480 --> 00:34:38,480
Speaker 4: Their first night in the woods, Derek decides to how

628
00:34:38,520 --> 00:34:42,120
Speaker 4: do you put it? Entertain Marty. He's got this old

629
00:34:42,200 --> 00:34:45,920
Speaker 4: school disc man that I had, like in nineteen ninety

630
00:34:45,960 --> 00:34:49,200
Speaker 4: five on the on the dash velkrode to the dash

631
00:34:49,280 --> 00:34:53,960
Speaker 4: of my Chevy S ten Josh Potholes. He's got some

632
00:34:54,160 --> 00:34:57,120
Speaker 4: speakers that he can plug into them, and he's got

633
00:34:57,120 --> 00:35:00,040
Speaker 4: these green glow sticks and he's also got his I

634
00:35:00,080 --> 00:35:04,080
Speaker 4: Love a Jaegermeister, and he's got this whole little performance

635
00:35:04,880 --> 00:35:10,040
Speaker 4: to God Smacks Voodoo worked up, except he's changed. He's

636
00:35:10,120 --> 00:35:15,799
Speaker 4: changed the words to feature his favorite liqueur, everyone's favorite liqueur, Jaegermeister.

637
00:35:15,920 --> 00:35:17,360
Speaker 4: And so I'm just gonna give you a little, a

638
00:35:17,360 --> 00:35:19,000
Speaker 4: little bit of the words because I don't think for

639
00:35:19,040 --> 00:35:21,960
Speaker 4: copyright reasons we can play it some of the words

640
00:35:22,000 --> 00:35:25,520
Speaker 4: to God Smacks Voodoo. I'm not the one who's so

641
00:35:25,640 --> 00:35:27,799
Speaker 4: far away, Josh, you can sing it along with me

642
00:35:27,840 --> 00:35:29,000
Speaker 4: if you want. I know, you know the.

643
00:35:28,960 --> 00:35:30,040
Speaker 1: Words, go for it.

644
00:35:30,120 --> 00:35:32,320
Speaker 4: This is your But I when I feel the snake

645
00:35:32,360 --> 00:35:35,120
Speaker 4: bite enter my veins, never did I want to be

646
00:35:35,200 --> 00:35:37,799
Speaker 4: here again? And I don't remember why I came so

647
00:35:38,200 --> 00:35:43,080
Speaker 4: snake bite. You know. He's dripping then this green liquid

648
00:35:43,280 --> 00:35:48,640
Speaker 4: from from the glow sticks on his bare chest, and

649
00:35:49,800 --> 00:35:52,799
Speaker 4: while he's doing it, he's saying things like, oh, this

650
00:35:52,840 --> 00:35:53,320
Speaker 4: is cool.

651
00:35:53,480 --> 00:35:54,760
Speaker 1: This is so cool, dude.

652
00:35:54,920 --> 00:35:56,799
Speaker 4: And then at one point he says something that is

653
00:35:57,360 --> 00:35:59,759
Speaker 4: like the movie you talk about, just summing up the

654
00:35:59,760 --> 00:36:05,520
Speaker 4: movie deeply sad and also deeply disturbing at what it hints,

655
00:36:05,520 --> 00:36:08,200
Speaker 4: at what it foreshadows. He says, this is what I'm

656
00:36:08,239 --> 00:36:11,239
Speaker 4: going to miss about life, and you're like, Okay, where

657
00:36:11,280 --> 00:36:13,680
Speaker 4: is this going? But also if you think this is

658
00:36:13,719 --> 00:36:18,719
Speaker 4: something that you're going to miss about life, I mean,

659
00:36:19,120 --> 00:36:21,319
Speaker 4: I don't know if you're exactly the kind of person

660
00:36:21,360 --> 00:36:22,880
Speaker 4: I want to hang out with in the woods or

661
00:36:22,880 --> 00:36:23,479
Speaker 4: anywhere else.

662
00:36:24,000 --> 00:36:25,439
Speaker 1: Definitely not in the woods at least.

663
00:36:25,440 --> 00:36:29,759
Speaker 4: And he is so into it, and Marty couldn't be

664
00:36:30,080 --> 00:36:34,200
Speaker 4: lessened to it. There is nothing even slightly cool about

665
00:36:34,200 --> 00:36:38,160
Speaker 4: this performance. And just watching him dance and watching him

666
00:36:38,200 --> 00:36:40,600
Speaker 4: grown and act like I don't know, he's been bitten

667
00:36:40,640 --> 00:36:44,640
Speaker 4: by a snake or something. It absolutely killed me.

668
00:36:45,120 --> 00:36:47,680
Speaker 1: It was I think at that point maybe one I

669
00:36:47,760 --> 00:36:51,759
Speaker 1: was considering as scene of the ear honestly just for.

670
00:36:51,880 --> 00:36:54,759
Speaker 4: All the levels at play, because.

671
00:36:54,480 --> 00:36:57,480
Speaker 1: There is something almost moving about it too.

672
00:36:57,760 --> 00:37:03,480
Speaker 4: Yeah, yeah, yes, moving about Derek's commitment and the commitment

673
00:37:03,480 --> 00:37:09,279
Speaker 4: of Joel petrekis to the character and to the performance

674
00:37:09,360 --> 00:37:13,800
Speaker 4: and to that film. Vulca Disidora Okay, my winner, though

675
00:37:13,880 --> 00:37:16,200
Speaker 4: maybe not a surprise because I mentioned it on our

676
00:37:16,239 --> 00:37:19,440
Speaker 4: Top ten Films of the Year show and Josh, you

677
00:37:19,520 --> 00:37:22,600
Speaker 4: did it you Caught Up with the Naked Gun after

678
00:37:22,680 --> 00:37:25,359
Speaker 4: Alison Wilmore put it on our Top ten list, and

679
00:37:25,440 --> 00:37:30,360
Speaker 4: I praised it, and your letterboxed rating did not disappoint

680
00:37:30,400 --> 00:37:33,319
Speaker 4: you apparently sat there staring at it like you were

681
00:37:33,360 --> 00:37:37,040
Speaker 4: at an insurance seminar. You gave the Buster Keaton face

682
00:37:37,200 --> 00:37:40,240
Speaker 4: the entire time. I don't think that's what I wrote,

683
00:37:40,280 --> 00:37:42,719
Speaker 4: but okay, well close enough. That's how I like to

684
00:37:42,760 --> 00:37:44,360
Speaker 4: imagine you looking.

685
00:37:44,600 --> 00:37:47,840
Speaker 1: You want to hear the real experience with naked gun.

686
00:37:48,320 --> 00:37:50,719
Speaker 1: Going back to my early comment saying, you know, we

687
00:37:50,760 --> 00:37:54,880
Speaker 1: go in rooting for a movie. We did the prep here, Adam,

688
00:37:54,920 --> 00:37:56,920
Speaker 1: the whole family did the prep. I thought we were

689
00:37:56,960 --> 00:38:00,840
Speaker 1: out for a dinner. Both daughters were in older daughter's

690
00:38:00,840 --> 00:38:03,880
Speaker 1: girlfriend was with us for dinner in Saint Andrew's, enjoying

691
00:38:03,880 --> 00:38:07,040
Speaker 1: the holidays, good mood, laughing. We ended it with a

692
00:38:07,080 --> 00:38:11,840
Speaker 1: whiskey flight, and I just thought, this is the time, like,

693
00:38:11,920 --> 00:38:14,760
Speaker 1: if the naked gun is ever going to work, Yeah,

694
00:38:14,920 --> 00:38:18,000
Speaker 1: for me, it's tonight, right, it's tonight.

695
00:38:19,040 --> 00:38:21,439
Speaker 4: Eh, you know, Okay, I.

696
00:38:21,320 --> 00:38:23,399
Speaker 1: Think I laughed at the scene you're about to bring up.

697
00:38:23,640 --> 00:38:27,440
Speaker 1: I think, okay, you know I have that, and yeah

698
00:38:27,560 --> 00:38:30,280
Speaker 1: I thought for it first, well, first two or three minutes.

699
00:38:30,320 --> 00:38:31,320
Speaker 1: It was amusing.

700
00:38:32,040 --> 00:38:35,200
Speaker 4: We'll always have the snowman Menaja twelve Well, Josh, Yes,

701
00:38:36,040 --> 00:38:41,200
Speaker 4: Dredben and Beth Davenport, Liam Neeson and and I can't

702
00:38:41,239 --> 00:38:43,799
Speaker 4: believe I'm blanking on her name. I didn't write it

703
00:38:43,800 --> 00:38:45,560
Speaker 4: down because why would I need to. I can see

704
00:38:45,560 --> 00:38:48,680
Speaker 4: her plaint his day, Pamela Anderson, thank you, Josh. Yeah,

705
00:38:48,760 --> 00:38:51,600
Speaker 4: they have fallen for each other. And we know that

706
00:38:51,680 --> 00:38:55,160
Speaker 4: because we get the romantic montage to the tune of

707
00:38:55,200 --> 00:38:58,279
Speaker 4: here's another music moment, right, we get the montage to

708
00:38:58,320 --> 00:39:01,440
Speaker 4: the tune of Nothing's Gonna stop Us now by Starship.

709
00:39:01,800 --> 00:39:05,920
Speaker 4: They're at a winter cabin getaway. It's this whole fantasy sequence, right,

710
00:39:05,960 --> 00:39:10,200
Speaker 4: that's so magical that we get some actual magic. A

711
00:39:10,280 --> 00:39:15,560
Speaker 4: snowman comes to life and starts frolicking with them outside

712
00:39:15,640 --> 00:39:20,320
Speaker 4: but also inside in the bedroom, and their little trio

713
00:39:21,360 --> 00:39:26,560
Speaker 4: is just going along great until Frank and Beth push

714
00:39:26,640 --> 00:39:30,359
Speaker 4: him away. And when they Frank and Beth end up

715
00:39:30,400 --> 00:39:34,560
Speaker 4: together in the hot tub and they're laughing facing the camera,

716
00:39:35,080 --> 00:39:38,600
Speaker 4: but behind them is the snowman looking through the window

717
00:39:38,680 --> 00:39:41,359
Speaker 4: with them, and it seems like the snowman's happy, because

718
00:39:41,400 --> 00:39:43,920
Speaker 4: the snowman has a happy face always, right, But then

719
00:39:43,960 --> 00:39:48,799
Speaker 4: the song does that macabre fade in unison with the

720
00:39:48,840 --> 00:39:52,240
Speaker 4: Snowman's face turning evil, and the rest of the sequence

721
00:39:52,280 --> 00:39:55,400
Speaker 4: is basically a horror montage with the cucked snowman trying

722
00:39:55,400 --> 00:39:58,840
Speaker 4: to kill them. Yeah, that was my biggest laugh in

723
00:39:58,880 --> 00:40:01,400
Speaker 4: that movie, and I I do think it was my

724
00:40:01,480 --> 00:40:03,919
Speaker 4: biggest movie laugh of the year. Well.

725
00:40:03,960 --> 00:40:06,160
Speaker 1: As I also said on Ladderbox, I'm very happy for

726
00:40:06,200 --> 00:40:09,480
Speaker 1: the people, but many many people who feel similarly.

727
00:40:09,840 --> 00:40:13,440
Speaker 4: Yeah, that doesn't sound condescending at all. I totally believe.

728
00:40:13,160 --> 00:40:17,680
Speaker 1: You, Josh. We all have our senses of humor. Adam,

729
00:40:18,320 --> 00:40:19,320
Speaker 1: I'm glad that's yours.

730
00:40:20,080 --> 00:40:25,480
Speaker 6: Hey, I'll miss.

731
00:40:25,320 --> 00:40:28,239
Speaker 2: You, but I have to go.

732
00:40:28,400 --> 00:40:33,480
Speaker 1: You understand, I I know, I understand.

733
00:40:36,239 --> 00:40:36,920
Speaker 2: That's good.

734
00:40:37,760 --> 00:40:41,480
Speaker 4: Let's go now, two most moving moment. Let's go in

735
00:40:41,520 --> 00:40:45,200
Speaker 4: the complete opposite direction and talk about the scenes that

736
00:40:46,239 --> 00:40:49,920
Speaker 4: maybe made us well up. Josh, we'll see if we

737
00:40:50,239 --> 00:40:53,520
Speaker 4: have different tastes when it comes to what really moves

738
00:40:53,640 --> 00:40:57,080
Speaker 4: us emotionally. Maybe we can actually get things started with

739
00:40:57,560 --> 00:41:00,279
Speaker 4: this quick note from a listener Jonathan Anderson, and send

740
00:41:00,360 --> 00:41:02,600
Speaker 4: us an email. I think, well, he says, he already

741
00:41:02,600 --> 00:41:05,000
Speaker 4: complained to you about it, but he emailed me as well.

742
00:41:05,040 --> 00:41:08,520
Speaker 4: He says, I'm sighing in advance over Clark and pop

743
00:41:08,680 --> 00:41:12,800
Speaker 4: Kent on the porch not making most moving. It's fine.

744
00:41:13,200 --> 00:41:16,680
Speaker 4: Opinions are subjective. I just wish that you shared mine,

745
00:41:16,680 --> 00:41:18,759
Speaker 4: because that movie did a fair bit of good for

746
00:41:18,880 --> 00:41:21,720
Speaker 4: my heart this year, chiefly in that moment.

747
00:41:22,239 --> 00:41:25,799
Speaker 1: And I feel so bad about this because what were

748
00:41:25,800 --> 00:41:29,399
Speaker 1: we just saying about being happy when movies make people happy? Right?

749
00:41:29,480 --> 00:41:29,680
Speaker 4: Yes?

750
00:41:29,840 --> 00:41:32,640
Speaker 1: And I know Jonathan well, a veteran of many bolder

751
00:41:32,719 --> 00:41:36,760
Speaker 1: meetups film spotting meetups. I have to say, though, Adam,

752
00:41:37,640 --> 00:41:39,759
Speaker 1: I'm feeling pretty good, and I think you should feel

753
00:41:39,800 --> 00:41:42,319
Speaker 1: pretty good, and I think producer Sam should feel pretty good.

754
00:41:42,320 --> 00:41:46,040
Speaker 1: We had the trifecta on this Superman movie. Yes, supermany

755
00:41:46,760 --> 00:41:49,640
Speaker 1: do you remember when it came out and it had

756
00:41:49,840 --> 00:42:00,600
Speaker 1: essentially saved cinema? Mm hm, Now, Jonathan, aside your end lists, honors, awards, crickets, vacation,

757
00:42:01,640 --> 00:42:04,320
Speaker 1: I think it was a movie of its moment, which

758
00:42:04,400 --> 00:42:06,879
Speaker 1: again I think we said at the time we both

759
00:42:06,960 --> 00:42:10,960
Speaker 1: understood why certain aspects of it were appealing to audiences

760
00:42:11,040 --> 00:42:12,799
Speaker 1: where we were at the moment that it came out,

761
00:42:12,880 --> 00:42:16,319
Speaker 1: and some of the you know, the good qualities about

762
00:42:16,360 --> 00:42:21,040
Speaker 1: Superman that the movie tried to celebrate, but oof. I

763
00:42:21,080 --> 00:42:24,160
Speaker 1: don't think that one has lasted too well in people's memories,

764
00:42:24,200 --> 00:42:25,359
Speaker 1: at least by the end of the year.

765
00:42:25,719 --> 00:42:28,680
Speaker 4: Great, more emails, Josh, We're going to get more emails now.

766
00:42:28,880 --> 00:42:31,400
Speaker 4: You had to just rekandl didn't you.

767
00:42:31,520 --> 00:42:34,000
Speaker 1: I mean, this is moving moment. We're supposed to make

768
00:42:34,040 --> 00:42:36,560
Speaker 1: people feel well. Oh, I guess yeah.

769
00:42:36,200 --> 00:42:39,160
Speaker 4: Yeah, maybe a little different. But movement can take a

770
00:42:39,160 --> 00:42:42,080
Speaker 4: lot of different forms. Tell us what moved you this year?

771
00:42:42,680 --> 00:42:46,480
Speaker 1: All right? So I am going to share two honorable mentions. First,

772
00:42:46,680 --> 00:42:50,640
Speaker 1: and my first one comes from a Golden Brick finalist.

773
00:42:50,960 --> 00:42:54,399
Speaker 1: Sorry baby sharing a sandwich. This is when John carro

774
00:42:54,520 --> 00:42:58,000
Speaker 1: Lynch shows up for just one scene in Ava Victor's

775
00:42:58,000 --> 00:43:02,560
Speaker 1: film and essentially word's off a panic attack for Victor's

776
00:43:02,680 --> 00:43:05,359
Speaker 1: Agnes with a kind word and a bite to eat.

777
00:43:05,560 --> 00:43:09,080
Speaker 1: It's just an incredible moment. Another one here, Adam, I

778
00:43:09,120 --> 00:43:13,480
Speaker 1: have a sentimental value pick great. It comes from that

779
00:43:13,840 --> 00:43:17,440
Speaker 1: late film, relatively late film. I think conversation between the

780
00:43:17,440 --> 00:43:20,960
Speaker 1: two grown sisters at this point about how they survive

781
00:43:21,000 --> 00:43:23,440
Speaker 1: their childhood, and I think I have the line. The

782
00:43:23,480 --> 00:43:26,680
Speaker 1: one that really sealed it for me is when the

783
00:43:26,719 --> 00:43:29,600
Speaker 1: younger sister says to the older I had you so

784
00:43:30,080 --> 00:43:33,960
Speaker 1: in context, man, that one really does a lot of work.

785
00:43:34,000 --> 00:43:36,960
Speaker 1: So those are my two honorable mentions. Here comes my

786
00:43:37,040 --> 00:43:40,880
Speaker 1: spoiler warning, my big spoiler warning for my actual pick

787
00:43:41,520 --> 00:43:47,320
Speaker 1: from Hamnet, the Chloe Jow film. This is, as I said,

788
00:43:47,440 --> 00:43:50,080
Speaker 1: not only a fairly recent release, but I think opening

789
00:43:50,160 --> 00:43:54,480
Speaker 1: wider this weekend in some cities, and so if you

790
00:43:54,760 --> 00:43:57,879
Speaker 1: are planning to see Hammett Hamnett, even think you might

791
00:43:58,680 --> 00:44:01,520
Speaker 1: skip ahead a little bit while I talk about my pick.

792
00:44:01,560 --> 00:44:06,000
Speaker 1: I'm calling it the laying on of hands. It's basically

793
00:44:06,040 --> 00:44:09,600
Speaker 1: the ending of the film. The whole movie is features

794
00:44:09,640 --> 00:44:12,560
Speaker 1: Jesse Buckley and Paul Mescal riffing on the early family

795
00:44:12,640 --> 00:44:18,480
Speaker 1: life of William Shakespeare, and at this point, at the climax,

796
00:44:18,560 --> 00:44:22,800
Speaker 1: it is I guess I should say it is major spoiler.

797
00:44:22,880 --> 00:44:26,000
Speaker 1: When Buckley's Agnes comes to the Globe Theater to see

798
00:44:26,000 --> 00:44:29,160
Speaker 1: a performance of Hamlet, not knowing anything about it. At

799
00:44:29,160 --> 00:44:33,440
Speaker 1: this point, her husband's been away working on his plays,

800
00:44:33,560 --> 00:44:35,799
Speaker 1: hasn't really been sharing with her what they're about. So

801
00:44:35,840 --> 00:44:40,440
Speaker 1: she comes sees Hamlet and discovers there that her husband,

802
00:44:40,520 --> 00:44:43,719
Speaker 1: who she feels has been refusing to grieve the death

803
00:44:43,760 --> 00:44:46,040
Speaker 1: of their son, their young son earlier in the film,

804
00:44:46,320 --> 00:44:49,600
Speaker 1: she discovers he's been writing Hamlet essentially to process the

805
00:44:49,760 --> 00:44:54,680
Speaker 1: enormity of that loss. And so Hamlet's death at the

806
00:44:54,800 --> 00:44:58,560
Speaker 1: end on stage and a little meta touch here that

807
00:44:58,680 --> 00:45:03,560
Speaker 1: works beautifully. Hamlet is performed by Noah Jew, the brother

808
00:45:03,840 --> 00:45:07,760
Speaker 1: of Jacobi Jew, who played their Doomed Sun off stage,

809
00:45:07,800 --> 00:45:10,520
Speaker 1: So a little bit of connection there that I think

810
00:45:10,560 --> 00:45:13,000
Speaker 1: you can sense and feel somehow. I actually didn't know

811
00:45:13,040 --> 00:45:15,759
Speaker 1: it in the moment until after i'd seen the film

812
00:45:15,760 --> 00:45:19,040
Speaker 1: and read about it. That death of Hamlet on stage,

813
00:45:20,000 --> 00:45:23,759
Speaker 1: the dramatized death is shattering enough. But then you get Agnes,

814
00:45:23,800 --> 00:45:26,200
Speaker 1: who is standing below the stage right at the front,

815
00:45:26,280 --> 00:45:29,520
Speaker 1: watching this as we've seen it, dawning on her what

816
00:45:29,560 --> 00:45:32,480
Speaker 1: all of this means her response. We're also waiting for

817
00:45:32,560 --> 00:45:35,080
Speaker 1: her response, like is she going to be angry about this?

818
00:45:35,239 --> 00:45:38,960
Speaker 1: Is she going to accept it? She reaches out to

819
00:45:39,040 --> 00:45:42,160
Speaker 1: the actor's fallen body, and then if that's not enough,

820
00:45:42,440 --> 00:45:45,120
Speaker 1: kloe Jau just keeps laying it on here, and for

821
00:45:45,160 --> 00:45:49,160
Speaker 1: me it works. The entire audience in response, reaches out

822
00:45:49,239 --> 00:45:54,320
Speaker 1: toward Agnes, and so it's this overwhelming note of profound

823
00:45:54,400 --> 00:45:57,880
Speaker 1: communal compassion. It doesn't hurt that it reminds me of

824
00:45:57,920 --> 00:46:00,480
Speaker 1: one of my favorite Wes Anderson moments everyone in the

825
00:46:00,520 --> 00:46:04,879
Speaker 1: sub reaching out to Steve Zisu during his epiphany. That

826
00:46:04,920 --> 00:46:08,000
Speaker 1: came to mind, and yeah, I'm not alone on this one.

827
00:46:08,040 --> 00:46:10,120
Speaker 1: When I put out a call the email for favorite

828
00:46:10,120 --> 00:46:13,920
Speaker 1: scenes of the year, Tony Sturgeon responded and wrote this,

829
00:46:14,560 --> 00:46:17,040
Speaker 1: I could really say that any moment when Jesse Buckley

830
00:46:17,120 --> 00:46:19,480
Speaker 1: is on screen watching the play in Hamnet could win

831
00:46:19,520 --> 00:46:22,920
Speaker 1: the category, but specifically the moment when she reaches out

832
00:46:22,960 --> 00:46:24,799
Speaker 1: to the actor plane Hamlet and then we get the

833
00:46:24,840 --> 00:46:27,919
Speaker 1: overhead shot of the entire audience stretching their arms toward

834
00:46:27,960 --> 00:46:31,439
Speaker 1: the stage was one I will not forget. So that's

835
00:46:31,520 --> 00:46:34,920
Speaker 1: laying on of hands from Hamnet for my most moving moment.

836
00:46:35,440 --> 00:46:38,440
Speaker 4: You're certainly not wrong about that in terms of it

837
00:46:38,480 --> 00:46:41,759
Speaker 4: being a popular choice, because when I put it out

838
00:46:41,800 --> 00:46:44,759
Speaker 4: on Facebook, we got a lot of comments and it

839
00:46:44,840 --> 00:46:47,560
Speaker 4: was by far the most popular comment as well, So

840
00:46:47,680 --> 00:46:51,120
Speaker 4: that scene had a profound effect on our listeners. It

841
00:46:51,200 --> 00:46:54,279
Speaker 4: seems that movie seemed to have a profound effect on

842
00:46:54,440 --> 00:46:56,759
Speaker 4: our listeners, and I get it, and I think for me,

843
00:46:56,800 --> 00:46:59,040
Speaker 4: it's actually a little bit similar to one of your

844
00:46:59,200 --> 00:47:02,640
Speaker 4: honorable mentions the sharing a sandwich scene in Sorry Baby,

845
00:47:02,680 --> 00:47:05,879
Speaker 4: a movie I quite like and I like Hamdit as well,

846
00:47:06,239 --> 00:47:08,960
Speaker 4: And there's something about that sandwich scene. As much as

847
00:47:08,960 --> 00:47:12,719
Speaker 4: I enjoyed it in the moment, there was still a

848
00:47:12,800 --> 00:47:16,880
Speaker 4: part of me that couldn't help but feel the falseness

849
00:47:16,920 --> 00:47:19,239
Speaker 4: of it. And what I mean is the falseness in

850
00:47:19,360 --> 00:47:23,640
Speaker 4: terms of not believing a scene like that could happen,

851
00:47:24,320 --> 00:47:28,319
Speaker 4: but wanting it so desperately, wanting to believe a conversation

852
00:47:28,480 --> 00:47:32,759
Speaker 4: like that could suddenly emerge between those two people in

853
00:47:32,800 --> 00:47:35,000
Speaker 4: that moment, just not really believing we live in a

854
00:47:35,000 --> 00:47:36,160
Speaker 4: world where it could happen.

855
00:47:36,320 --> 00:47:37,960
Speaker 1: Well, yeah, I think that's you know, I think that's

856
00:47:38,000 --> 00:47:41,640
Speaker 1: what elevates it for me to be moving because it

857
00:47:41,640 --> 00:47:44,400
Speaker 1: feels miraculous exactly as you're describing.

858
00:47:44,560 --> 00:47:47,600
Speaker 4: And yeah, and I wasn't willing to go with the

859
00:47:47,640 --> 00:47:51,360
Speaker 4: miracle there, and maybe that is as I'm saying something similar.

860
00:47:51,400 --> 00:47:53,160
Speaker 4: There's a connection there with the end of hamd It

861
00:47:53,680 --> 00:47:58,440
Speaker 4: as well, because let me be clear, wasn't cold hearted

862
00:47:58,480 --> 00:48:02,120
Speaker 4: about it, didn't sit through it, resisting it. I ultimately,

863
00:48:02,719 --> 00:48:05,000
Speaker 4: I ultimately did get on board with it, but found

864
00:48:05,040 --> 00:48:10,400
Speaker 4: myself at the end more moved by Paul meskal As

865
00:48:10,920 --> 00:48:14,520
Speaker 4: as Shakespeare in that scene in his performance, and and

866
00:48:14,840 --> 00:48:19,160
Speaker 4: him and and those those silent expressions with his wife,

867
00:48:19,200 --> 00:48:22,840
Speaker 4: and also Noah Jupe some of his deliveries of lines

868
00:48:23,000 --> 00:48:26,400
Speaker 4: as Hamlet. There his reaction to the laying of hands

869
00:48:26,600 --> 00:48:28,920
Speaker 4: moved me. He was incredibiously then he.

870
00:48:29,040 --> 00:48:33,080
Speaker 1: Surprised and startled and yeah, yeah, something about that.

871
00:48:33,560 --> 00:48:38,920
Speaker 4: The the the forcedness of that moment didn't quite land

872
00:48:38,960 --> 00:48:41,839
Speaker 4: with me. And I think I'll share this in our

873
00:48:42,200 --> 00:48:44,600
Speaker 4: in our notes, because you know, I saw it. I

874
00:48:44,600 --> 00:48:46,719
Speaker 4: saw it weeks later. I couldn't help but laugh about

875
00:48:46,719 --> 00:48:49,440
Speaker 4: it because it was it was similar to what I

876
00:48:49,560 --> 00:48:54,120
Speaker 4: was feeling when when I was watching it someone who

877
00:48:54,200 --> 00:48:56,040
Speaker 4: I I don't know otherwise it just popped up on

878
00:48:56,080 --> 00:48:58,840
Speaker 4: my feet. On Instagram did a video where they said

879
00:48:59,160 --> 00:49:02,839
Speaker 4: something like this is Jesse Buckley reacting at the end

880
00:49:02,840 --> 00:49:06,120
Speaker 4: of Hamlet, at the end of Hamnet to Hamlet, and

881
00:49:06,719 --> 00:49:10,799
Speaker 4: they basically just go over the top dramatizing how she

882
00:49:10,880 --> 00:49:13,520
Speaker 4: doesn't seem to have any idea how to react to

883
00:49:13,600 --> 00:49:16,640
Speaker 4: a play. She has no idea what a play is

884
00:49:16,760 --> 00:49:19,200
Speaker 4: or how an audience member is supposed to react to anything.

885
00:49:19,520 --> 00:49:23,000
Speaker 4: And it it's very funny. I thought it was very funny,

886
00:49:23,000 --> 00:49:28,200
Speaker 4: and something about the way she enters that scene kept

887
00:49:28,239 --> 00:49:31,440
Speaker 4: me kept me a little bit detached from it, Josh.

888
00:49:31,480 --> 00:49:34,920
Speaker 4: But as you're going to hear in a moment, Hamnett

889
00:49:35,000 --> 00:49:40,000
Speaker 4: certainly worked. It's emotional. It's emotional magic on me. I

890
00:49:40,040 --> 00:49:42,959
Speaker 4: have another music moment contender, this honorable mention, and that's

891
00:49:43,000 --> 00:49:46,520
Speaker 4: the final performance of the song Our Love in the

892
00:49:46,560 --> 00:49:51,080
Speaker 4: Ballad of Wallace Island. Here's a spoiler warning that I'll

893
00:49:51,120 --> 00:49:53,080
Speaker 4: give And actually, you know what, I should just go

894
00:49:53,080 --> 00:49:55,800
Speaker 4: ahead and say here with this honorable mention, my runner

895
00:49:55,880 --> 00:50:03,240
Speaker 4: up that's coming next and my winneroilers apply across the board. Okay,

896
00:50:03,560 --> 00:50:07,480
Speaker 4: so just be warned. Train Dreams, when we reviewed it

897
00:50:07,560 --> 00:50:10,040
Speaker 4: and we both recommended it, I said that there was

898
00:50:10,080 --> 00:50:14,680
Speaker 4: a line at the end that that helped unlock the

899
00:50:14,719 --> 00:50:16,760
Speaker 4: movie a little bit even more for me, or helped

900
00:50:16,920 --> 00:50:21,319
Speaker 4: helped really crystallize what I was responding to. And and

901
00:50:21,360 --> 00:50:23,759
Speaker 4: I'm going to give you that line. But this was

902
00:50:23,800 --> 00:50:25,560
Speaker 4: another movie, Josh, that a lot of people on our

903
00:50:25,600 --> 00:50:31,360
Speaker 4: Facebook page shared, maybe second to Hamden. And here's Brett Gerlt.

904
00:50:31,680 --> 00:50:34,520
Speaker 4: He said the end of Train Dreams, Dennis Johnson's words

905
00:50:34,560 --> 00:50:36,399
Speaker 4: cut me to the core. There's a line a little

906
00:50:36,480 --> 00:50:39,160
Speaker 4: earlier that got me too, that he was only just

907
00:50:39,239 --> 00:50:41,400
Speaker 4: beginning to have a faint understanding of his life. Here

908
00:50:41,440 --> 00:50:44,520
Speaker 4: he's speaking about Joel Edgerton's Robert Greener, even though it

909
00:50:44,560 --> 00:50:47,600
Speaker 4: was now slipping away from him. So when we reviewed it,

910
00:50:47,640 --> 00:50:49,960
Speaker 4: we talked about, or I certainly talked about how I

911
00:50:50,040 --> 00:50:53,760
Speaker 4: was moved by the film, but that that line that

912
00:50:53,760 --> 00:50:57,560
Speaker 4: that struck me so much, Josh. And it's a case

913
00:50:57,600 --> 00:51:01,640
Speaker 4: where it reinforces what the movie to me means emotionally,

914
00:51:01,719 --> 00:51:03,840
Speaker 4: but also what I think it's getting at in terms

915
00:51:03,840 --> 00:51:07,719
Speaker 4: of its its core idea. And and it's one that

916
00:51:07,800 --> 00:51:10,680
Speaker 4: I think we have also the screenwriters Clint Bentley and

917
00:51:10,719 --> 00:51:14,080
Speaker 4: Greg Queedar being a little a little clever with us

918
00:51:14,080 --> 00:51:15,960
Speaker 4: as well. Do you know what the last line of

919
00:51:16,160 --> 00:51:19,239
Speaker 4: spoken dialogue is in the film, because there's a couple

920
00:51:19,320 --> 00:51:22,279
Speaker 4: more lines that the narrator says, but the last line

921
00:51:22,280 --> 00:51:25,480
Speaker 4: of spoken dialets I've seen it, yeah, in the movie,

922
00:51:26,080 --> 00:51:29,080
Speaker 4: and I only I only caught this on that second

923
00:51:29,200 --> 00:51:34,359
Speaker 4: viewing Robert's in the plane and looking down on the

924
00:51:34,360 --> 00:51:38,080
Speaker 4: world and having this this revelation, and the last line

925
00:51:38,120 --> 00:51:40,680
Speaker 4: a character says in the movie is hey, you better

926
00:51:40,760 --> 00:51:44,480
Speaker 4: hang on to something. And of course that's the pilot

927
00:51:44,520 --> 00:51:49,680
Speaker 4: telling Robert to stabilize himself because in the plane she's

928
00:51:49,760 --> 00:51:52,120
Speaker 4: going to do some movements in the air and he

929
00:51:52,200 --> 00:51:55,319
Speaker 4: needs to to kind of brace himself a little bit.

930
00:51:55,680 --> 00:51:59,480
Speaker 4: But but that's the movie, that's that's the message. It's

931
00:51:59,560 --> 00:52:04,439
Speaker 4: it's what we have hang on, hang on to someone

932
00:52:04,800 --> 00:52:07,840
Speaker 4: during our lives, and at the end, hang on to

933
00:52:08,239 --> 00:52:12,440
Speaker 4: those memories. And that moment, actually, that line prompts the

934
00:52:13,080 --> 00:52:17,320
Speaker 4: montage that ensues a split second later of Robert's life,

935
00:52:17,920 --> 00:52:21,960
Speaker 4: all the connections that he's made. It culminates the movie.

936
00:52:21,960 --> 00:52:24,960
Speaker 4: That line really is the prompt for it. You better

937
00:52:25,040 --> 00:52:28,560
Speaker 4: hang on to something for me, It summarizes the entire movie.

938
00:52:28,600 --> 00:52:31,280
Speaker 4: So that line is really one of the most moving

939
00:52:31,600 --> 00:52:32,399
Speaker 4: moments of the year.

940
00:52:32,719 --> 00:52:36,440
Speaker 1: Yeah, I could have gone with a couple from Train Dreams. Actually,

941
00:52:36,640 --> 00:52:39,200
Speaker 1: the one I'll just throw in quickly here I didn't

942
00:52:39,200 --> 00:52:43,960
Speaker 1: make an official honorable mention was what do you understand?

943
00:52:44,040 --> 00:52:45,839
Speaker 1: Is that what he says to his dog at something,

944
00:52:46,320 --> 00:52:48,680
Speaker 1: what do you know? Yeah, yeah, he just wheels down

945
00:52:48,480 --> 00:52:51,319
Speaker 1: and looks deeply at the dog and says, what do

946
00:52:51,400 --> 00:52:54,600
Speaker 1: you know? And for some reason that one probably got

947
00:52:54,640 --> 00:52:56,680
Speaker 1: to me more than anything else in Train Dreams, though

948
00:52:56,800 --> 00:53:00,759
Speaker 1: I agree they're a number of them you could choose from.

949
00:53:01,200 --> 00:53:05,320
Speaker 4: So again, you and so many of our listeners. Apparently

950
00:53:05,560 --> 00:53:09,239
Speaker 4: you're you're more artistically inclined than I am. Or you

951
00:53:09,360 --> 00:53:13,040
Speaker 4: like to go with the less obvious moment from from Hamnet.

952
00:53:13,080 --> 00:53:16,839
Speaker 4: I suppose because you picked the end scene there where

953
00:53:16,840 --> 00:53:21,440
Speaker 4: we have this bit of poetry. Okay, I guess my

954
00:53:21,600 --> 00:53:25,520
Speaker 4: choice is too on the nose, Josh, but I'm going

955
00:53:25,520 --> 00:53:29,719
Speaker 4: with I'll be brave. I'm going with Hamnet's sacrifice, the

956
00:53:29,760 --> 00:53:34,000
Speaker 4: moment that moved me the most from Hamnet. I'm just

957
00:53:34,040 --> 00:53:37,840
Speaker 4: gonna lay it out there, the moment that had tears

958
00:53:38,080 --> 00:53:42,040
Speaker 4: actively streaming down my face for fifteen to twenty minutes,

959
00:53:42,080 --> 00:53:46,480
Speaker 4: which does not happen when I watch movies. That was

960
00:53:46,560 --> 00:53:50,920
Speaker 4: the actual the death scene in this movie, and the

961
00:53:51,000 --> 00:53:54,400
Speaker 4: damn was already bracing diverse. This isn't quite a spoiler,

962
00:53:54,480 --> 00:53:57,560
Speaker 4: because we know that anyone going into the movie probably

963
00:53:57,600 --> 00:54:00,440
Speaker 4: knows that Hamnet's going to die. But the dan was

964
00:54:00,440 --> 00:54:03,640
Speaker 4: bracing to burst already. I knew this was coming. But

965
00:54:03,680 --> 00:54:08,600
Speaker 4: when Jacoby Jub's Hamnet offers to go with his sister

966
00:54:08,680 --> 00:54:12,880
Speaker 4: Judith so she won't have to go into death alone,

967
00:54:14,239 --> 00:54:18,600
Speaker 4: puts himself up to death as well, and then we

968
00:54:18,680 --> 00:54:21,280
Speaker 4: hear him say that line a couple times. I'll be brave,

969
00:54:21,440 --> 00:54:27,239
Speaker 4: I'll be brave, father man. That's Josh. Where I was completely,

970
00:54:27,520 --> 00:54:30,640
Speaker 4: I was gone. I was an absolute wreck. So the

971
00:54:30,680 --> 00:54:35,759
Speaker 4: death scene itself is where Hamnet really really got to me.

972
00:54:36,960 --> 00:54:40,760
Speaker 4: The winner for me though the scene I am ultimately

973
00:54:40,800 --> 00:54:44,359
Speaker 4: going to go with, and we had some listeners who

974
00:54:44,440 --> 00:54:48,839
Speaker 4: were also big proponents of this scene. Garrett Steiger on

975
00:54:48,880 --> 00:54:51,560
Speaker 4: Facebook said, there's a five to ten minute stretch near

976
00:54:51,560 --> 00:54:54,400
Speaker 4: the end of twenty eight years Later that absolutely wrecked

977
00:54:54,400 --> 00:54:57,799
Speaker 4: me on both of my viewings. Brady Larson said, it's

978
00:54:57,840 --> 00:55:00,359
Speaker 4: crazy and unexpected that the most moving scene would come

979
00:55:00,360 --> 00:55:02,399
Speaker 4: from a zombie movie, but we are in the year

980
00:55:02,440 --> 00:55:04,800
Speaker 4: of Sinners, and horror clearly made a huge splash in

981
00:55:04,840 --> 00:55:07,279
Speaker 4: twenty twenty five. If I think of twenty twenty five

982
00:55:07,320 --> 00:55:10,200
Speaker 4: moments that had my eyes leaking, nothing came close to

983
00:55:10,280 --> 00:55:12,919
Speaker 4: Ray fines last fifteen minutes and twenty eight years later,

984
00:55:13,320 --> 00:55:15,640
Speaker 4: his thoughts on dying and the stigma around death and

985
00:55:15,680 --> 00:55:19,520
Speaker 4: the gentle, steady way find speaks wrecked me. I'm tearing

986
00:55:19,640 --> 00:55:23,160
Speaker 4: up just thinking about them. I was hesitant Josh to

987
00:55:23,200 --> 00:55:28,440
Speaker 4: pick a runner up and a winner that involve characters dying.

988
00:55:28,800 --> 00:55:33,319
Speaker 4: It seems like pretty low hanging emotional fruit, especially when

989
00:55:33,360 --> 00:55:37,200
Speaker 4: they both involve children, one dying and one one losing

990
00:55:37,200 --> 00:55:41,840
Speaker 4: a parent. Here, the bravery of the children is paramount

991
00:55:41,920 --> 00:55:45,919
Speaker 4: in both as well. And about twenty eight years later,

992
00:55:46,000 --> 00:55:50,240
Speaker 4: I'll mention that the speed with which it all occurs,

993
00:55:50,239 --> 00:55:53,160
Speaker 4: I think the word I want to use, the alacrity

994
00:55:53,200 --> 00:55:56,719
Speaker 4: with which it all occurs is a bit troubling. The

995
00:55:58,000 --> 00:56:01,160
Speaker 4: speed with which they go from your mother's going to

996
00:56:01,239 --> 00:56:06,160
Speaker 4: die too, and now let's kill her and let you

997
00:56:06,239 --> 00:56:09,880
Speaker 4: process it, Spike, it's still a bit much for me

998
00:56:10,080 --> 00:56:15,000
Speaker 4: to take. I feel like it. I feel like it's

999
00:56:15,040 --> 00:56:18,600
Speaker 4: a suspension of disbelief that the movie requires you to take.

1000
00:56:18,719 --> 00:56:21,960
Speaker 4: And I, even as I'm still wrestling with it a

1001
00:56:21,960 --> 00:56:25,880
Speaker 4: little bit, I was able to suspend that disbelief. And

1002
00:56:25,920 --> 00:56:28,960
Speaker 4: I was because of the sensitivity with which Danny Boyle

1003
00:56:29,120 --> 00:56:32,680
Speaker 4: ultimately handles it, and Alex Garland as a screenwriter, and

1004
00:56:32,719 --> 00:56:35,839
Speaker 4: certainly the performers in the scene, including Jody Comer and

1005
00:56:35,880 --> 00:56:41,160
Speaker 4: including Ray Fines there and with this scene in particular,

1006
00:56:41,880 --> 00:56:44,080
Speaker 4: even though it is a scene about death, it's not

1007
00:56:44,160 --> 00:56:47,799
Speaker 4: really The spirit of the scene isn't about grief and

1008
00:56:47,880 --> 00:56:51,040
Speaker 4: mourning loss. It is a scene about love. It is

1009
00:56:51,320 --> 00:56:54,120
Speaker 4: about hope, and it is a scene that offers the

1010
00:56:54,239 --> 00:57:00,640
Speaker 4: kind of closure that's a counter to Hamnet and that

1011
00:57:01,080 --> 00:57:05,680
Speaker 4: too few of us get in these types of moments.

1012
00:57:05,760 --> 00:57:09,719
Speaker 4: It's truly about life more than death, and I think

1013
00:57:09,760 --> 00:57:14,400
Speaker 4: that that's fitting too, especially with The Bone Temple coming

1014
00:57:14,400 --> 00:57:16,920
Speaker 4: out this weekend, a movie I am very excited to

1015
00:57:16,960 --> 00:57:19,200
Speaker 4: see because of this movie and because of how this

1016
00:57:19,320 --> 00:57:22,040
Speaker 4: movie ends, and a scene like this in particular. But

1017
00:57:22,280 --> 00:57:24,080
Speaker 4: one of the things we talked about is the way

1018
00:57:24,760 --> 00:57:28,400
Speaker 4: this film seems to be setting up a trilogy that

1019
00:57:28,560 --> 00:57:32,640
Speaker 4: wants I'll put this asterisk there, that wants more than

1020
00:57:32,840 --> 00:57:36,800
Speaker 4: other zombie movies, or with a more pointed perspective than

1021
00:57:36,880 --> 00:57:40,560
Speaker 4: other zombie movies that I'm familiar with, wants us to

1022
00:57:40,680 --> 00:57:44,520
Speaker 4: really reckon with this idea of what it means to

1023
00:57:44,640 --> 00:57:48,680
Speaker 4: be human and how far we're willing to go to

1024
00:57:48,760 --> 00:57:54,720
Speaker 4: eliminate these figures that seem less than human. It makes

1025
00:57:54,760 --> 00:57:56,920
Speaker 4: sense that we would have a scene like this that

1026
00:57:57,840 --> 00:57:59,760
Speaker 4: is about death, But like I said, is blurring that

1027
00:57:59,840 --> 00:58:04,560
Speaker 4: line into something that becomes transcendent, and that's why for

1028
00:58:04,680 --> 00:58:08,640
Speaker 4: me it became something bigger and more important than one

1029
00:58:08,680 --> 00:58:11,200
Speaker 4: I wanted to champion. Is my most moving moment of

1030
00:58:11,200 --> 00:58:11,480
Speaker 4: the year.

1031
00:58:12,400 --> 00:58:15,400
Speaker 1: Yeah, for me, that was the strongest section of twenty

1032
00:58:15,400 --> 00:58:18,360
Speaker 1: eight years later is that whole refined section. So many

1033
00:58:18,400 --> 00:58:22,880
Speaker 1: interesting things going on, dynamics at play, and definitely that

1034
00:58:23,000 --> 00:58:28,680
Speaker 1: moving though I would agree quite quick process that refines

1035
00:58:29,200 --> 00:58:31,520
Speaker 1: takes us through, but the ideas it was playing with

1036
00:58:31,600 --> 00:58:34,240
Speaker 1: were definitely fascinating. For sure.

1037
00:58:35,120 --> 00:58:37,280
Speaker 4: We do have more of our twenty twenty five rap

1038
00:58:37,320 --> 00:58:41,280
Speaker 4: party to come, our music moments and our scenes of

1039
00:58:41,560 --> 00:58:44,400
Speaker 4: the year, and we remind you that as always, you

1040
00:58:44,440 --> 00:58:48,600
Speaker 4: can see our full lists at filmspotting dot net slash lists.

1041
00:58:49,040 --> 00:58:52,240
Speaker 1: Another thing that's so fun about our live rap parties, Adam,

1042
00:58:52,360 --> 00:58:55,360
Speaker 1: are getting to meet and hang out and see again

1043
00:58:55,480 --> 00:58:58,680
Speaker 1: so many Film Spotting family members, those folks who have

1044
00:58:58,720 --> 00:59:02,160
Speaker 1: decided actually financially support the show and keep us going.

1045
00:59:02,680 --> 00:59:04,280
Speaker 1: All sorts of people come to the live shows, but

1046
00:59:04,320 --> 00:59:07,200
Speaker 1: I want to say at least half of those we

1047
00:59:07,280 --> 00:59:09,800
Speaker 1: meet are probably family members come out for the show

1048
00:59:09,840 --> 00:59:12,640
Speaker 1: as well. You know the discounty tickets we offer family

1049
00:59:12,640 --> 00:59:15,080
Speaker 1: members probably doesn't hurt. I think now might be a

1050
00:59:15,080 --> 00:59:18,280
Speaker 1: good time, as we're doing our rap party to thank

1051
00:59:18,480 --> 00:59:21,360
Speaker 1: a few of those folks, So let's do that, including

1052
00:59:21,480 --> 00:59:27,600
Speaker 1: Family Plus member Mona Bettancourt in Chicago, family member Sophie

1053
00:59:27,880 --> 00:59:32,000
Speaker 1: Belange from Quebec City, and then also Family Plus member

1054
00:59:32,200 --> 00:59:37,240
Speaker 1: Alexander Matthew Lesher in Seattle. Now, Alexander has been listening

1055
00:59:37,720 --> 00:59:42,960
Speaker 1: since two thousand and six, and that was a review,

1056
00:59:43,080 --> 00:59:50,160
Speaker 1: Alexander wrote here of the Three Burials of Melchiatis Estrada Strada.

1057
00:59:50,280 --> 00:59:52,600
Speaker 4: Josh, did you review that back in two thousand and six?

1058
00:59:53,400 --> 00:59:56,360
Speaker 1: Yeah, oh yeah, I saw it. I feel like I

1059
00:59:56,480 --> 01:00:02,640
Speaker 1: was positive on Yeah, Tommy Leech director, Yes, debut, I

1060
01:00:02,720 --> 01:00:06,360
Speaker 1: believe perhaps I don't know, I think exist on other work. Okay, Yeah.

1061
01:00:07,280 --> 01:00:09,920
Speaker 1: Alexander shared a bit more with us. You do not

1062
01:00:10,000 --> 01:00:12,280
Speaker 1: discuss that movie much on the show.

1063
01:00:12,080 --> 01:00:14,840
Speaker 4: Anymore, he says, I'm not sure it's been uttered since

1064
01:00:14,920 --> 01:00:15,479
Speaker 4: until now.

1065
01:00:15,960 --> 01:00:19,840
Speaker 1: That's quite possible. Alexander shared a couple of favorite moments

1066
01:00:19,920 --> 01:00:22,560
Speaker 1: from the show. These go way back as well. The

1067
01:00:22,600 --> 01:00:26,960
Speaker 1: American Dreams review with Sam Van Halgren, now producer former

1068
01:00:27,040 --> 01:00:29,920
Speaker 1: co host, Do you have fond memories of that one, Adam.

1069
01:00:30,640 --> 01:00:34,120
Speaker 4: Well, it was, it was confrontational. I think it was

1070
01:00:34,120 --> 01:00:37,800
Speaker 4: certainly a bit surreal to hear Sam praise a movie

1071
01:00:37,840 --> 01:00:41,760
Speaker 4: that everybody hated, it seems. I looked it up today,

1072
01:00:41,840 --> 01:00:44,240
Speaker 4: Josh thirty nine percent on Rotten Tomatoes. Not that that

1073
01:00:44,320 --> 01:00:47,840
Speaker 4: usually means anything. I'm just saying across the board, no

1074
01:00:47,840 --> 01:00:50,440
Speaker 4: one really liked American Dreams. I'm sure you're looking up

1075
01:00:50,440 --> 01:00:53,600
Speaker 4: your review right now. And I was thinking about this

1076
01:00:53,640 --> 01:00:55,280
Speaker 4: when I was looking this over this morning.

1077
01:00:55,440 --> 01:00:57,400
Speaker 1: I think we've done this bit on the show, Adam,

1078
01:00:57,480 --> 01:00:59,680
Speaker 1: I am looking it up. Yeah, three and a half

1079
01:00:59,680 --> 01:01:00,520
Speaker 1: out of four stars.

1080
01:01:00,720 --> 01:01:02,840
Speaker 4: Of course you did. Of course you did. You're in

1081
01:01:02,880 --> 01:01:04,240
Speaker 4: Sam's corner, justice.

1082
01:01:04,000 --> 01:01:04,600
Speaker 1: Sir Sam.

1083
01:01:04,760 --> 01:01:07,480
Speaker 4: What's so funny is, over the years now, we've had

1084
01:01:07,480 --> 01:01:13,640
Speaker 4: these moments where Sam has disliked a classic, some movie

1085
01:01:13,680 --> 01:01:18,120
Speaker 4: that most cinophiles think is great, and then he rewatches

1086
01:01:18,160 --> 01:01:21,320
Speaker 4: it in the in the years since, and he goes, oh, yeah,

1087
01:01:21,360 --> 01:01:25,120
Speaker 4: I was wrong, It's actually really good. I'm very curious

1088
01:01:25,120 --> 01:01:28,320
Speaker 4: to know what would happen if he rewatched American Dreams.

1089
01:01:28,640 --> 01:01:31,959
Speaker 4: Would he still be like would he reverse or would

1090
01:01:31,960 --> 01:01:34,720
Speaker 4: he be like, No, I was right, this is a masterpiece.

1091
01:01:35,120 --> 01:01:38,200
Speaker 1: Why are we doing boogie nights for our we were

1092
01:01:38,200 --> 01:01:41,640
Speaker 1: wrong once episode point onest episode for family members? Why

1093
01:01:41,680 --> 01:01:45,520
Speaker 1: are we going to change American dreams? Okay, good point,

1094
01:01:45,800 --> 01:01:49,520
Speaker 1: Let's change it out Alexander. Alexander shared another favorite moment

1095
01:01:49,520 --> 01:01:53,000
Speaker 1: from the show, Michael Phillips sign whenever No Country for

1096
01:01:53,080 --> 01:01:55,480
Speaker 1: Old Men got mentioned during the Best of two thousand

1097
01:01:55,480 --> 01:01:58,280
Speaker 1: and seven episode, Did.

1098
01:01:58,080 --> 01:01:59,520
Speaker 4: He really say? We have a quote here?

1099
01:02:00,320 --> 01:02:02,680
Speaker 1: Yeah? What a dumb movie named after a Yates poem.

1100
01:02:02,720 --> 01:02:03,480
Speaker 1: Give me a break?

1101
01:02:03,720 --> 01:02:06,720
Speaker 4: See the thing is? My initial response reading this today

1102
01:02:06,880 --> 01:02:10,200
Speaker 4: was just like you, did he really say that? But

1103
01:02:10,240 --> 01:02:12,720
Speaker 4: then I can also hear Michael Phillips saying that so

1104
01:02:12,840 --> 01:02:15,480
Speaker 4: clearly in my head, so I'm gonna say he probably did.

1105
01:02:15,800 --> 01:02:19,400
Speaker 1: All right, here's a movie Alexander credits would becoming a cinophile,

1106
01:02:19,440 --> 01:02:24,480
Speaker 1: Gary Marshall's nineteen eighty two soap opera spoof Young Doctors

1107
01:02:24,680 --> 01:02:25,160
Speaker 1: in Love.

1108
01:02:25,560 --> 01:02:28,040
Speaker 4: That's a first timer that's never been mentioned in twenty

1109
01:02:28,120 --> 01:02:29,680
Speaker 4: years on this show, Josh, until now.

1110
01:02:30,000 --> 01:02:35,280
Speaker 1: Probably we also heard about movies that caused our other

1111
01:02:35,320 --> 01:02:39,040
Speaker 1: family members to become cinophiles. Mona Bettencourt said, bringing up

1112
01:02:39,120 --> 01:02:44,880
Speaker 1: Baby that makes sense, and Sophie Belange shared two titles

1113
01:02:45,160 --> 01:02:48,600
Speaker 1: three titles actually nineteen ninety five's La Haine, Jim Jarmush's

1114
01:02:48,600 --> 01:02:50,919
Speaker 1: Ghost Dog, The Way the Samurai, and One Flew Over

1115
01:02:51,080 --> 01:02:53,000
Speaker 1: the Cuckoo's Nest Good Stuff.

1116
01:02:53,040 --> 01:02:56,240
Speaker 4: We thank Sophie, Mona and Alexander for being family members

1117
01:02:56,280 --> 01:03:00,680
Speaker 4: and for reminding us about American Dreams and for all

1118
01:03:00,760 --> 01:03:03,160
Speaker 4: those years of listening. In addition to keeping us doing

1119
01:03:03,200 --> 01:03:06,320
Speaker 4: what we're doing, membership comes with perks. You get to

1120
01:03:06,360 --> 01:03:09,120
Speaker 4: listen early and ed free. You get our weekly newsletter,

1121
01:03:09,120 --> 01:03:11,919
Speaker 4: you get exclusive opportunities like being part of the film

1122
01:03:11,920 --> 01:03:15,200
Speaker 4: spotting Family Discord, and you get our monthly bonus shows.

1123
01:03:15,440 --> 01:03:19,720
Speaker 4: Our January bonus is coming soon. Sorry Mona, it won't

1124
01:03:19,760 --> 01:03:24,040
Speaker 4: be Bringing Up Baby. Sorry, Alexander and Josh. Apparently it

1125
01:03:24,080 --> 01:03:28,040
Speaker 4: won't be American Dreams. Bringing Up Baby was one of

1126
01:03:28,080 --> 01:03:30,800
Speaker 4: the we Were Wrong Once options, along with Paul Thomas

1127
01:03:30,800 --> 01:03:34,920
Speaker 4: Anderson's Boogie Knights and Michael Mann's Collateral. The Family did speak,

1128
01:03:35,000 --> 01:03:37,400
Speaker 4: though they voted, and the winner of the family poll

1129
01:03:37,480 --> 01:03:42,080
Speaker 4: was Boogie Nights. So, along with our upcoming revisit a

1130
01:03:42,160 --> 01:03:45,600
Speaker 4: Sacred Cow, an early Sacred Cow, look at one battle

1131
01:03:45,600 --> 01:03:48,479
Speaker 4: after another, We're going to have some more Pta talk.

1132
01:03:48,680 --> 01:03:51,479
Speaker 4: We are going to take a look at Boogie Nights.

1133
01:03:51,840 --> 01:03:54,240
Speaker 4: We are currently running a promotion. If you would like

1134
01:03:54,280 --> 01:03:56,720
Speaker 4: to join the film Spotting Family and get access to

1135
01:03:56,840 --> 01:03:59,680
Speaker 4: all of that, you can go to Filmspottingfamily dot com

1136
01:04:00,160 --> 01:04:02,840
Speaker 4: and you can get twenty percent off now through January

1137
01:04:02,920 --> 01:04:06,520
Speaker 4: thirty first on any subscription. All you have to do

1138
01:04:06,680 --> 01:04:10,400
Speaker 4: is you'd use promo code Supreme as in Marty Supreme.

1139
01:04:10,520 --> 01:04:13,720
Speaker 4: Use code Supreme. You can also click the link directly

1140
01:04:14,320 --> 01:04:17,680
Speaker 4: in these show notes. That's all you have to do.

1141
01:04:18,000 --> 01:04:21,080
Speaker 4: Use promo Code Supreme or click the link in the

1142
01:04:21,360 --> 01:04:25,440
Speaker 4: podcast description. Another way you can help us is to

1143
01:04:25,520 --> 01:04:28,400
Speaker 4: go ahead and rate us or leave us a review

1144
01:04:28,840 --> 01:04:32,240
Speaker 4: over on Apple Podcasts or Spotify. It does help us

1145
01:04:32,240 --> 01:04:34,440
Speaker 4: reach new listeners. Plus, it just makes us feel good

1146
01:04:34,800 --> 01:04:38,200
Speaker 4: to see that high number. You know, four point seven

1147
01:04:38,320 --> 01:04:41,640
Speaker 4: four point eight is better than four point six. I'm

1148
01:04:41,640 --> 01:04:45,800
Speaker 4: not a big math guy, Josh, but try I like

1149
01:04:45,840 --> 01:04:48,520
Speaker 4: four point seven and four point eight better out of five.

1150
01:04:49,000 --> 01:04:52,440
Speaker 4: We would like to thank ham Slides and Monroe for

1151
01:04:52,520 --> 01:04:55,960
Speaker 4: their recent reviews on Apple podcast.

1152
01:04:55,920 --> 01:04:57,680
Speaker 1: I want nothing to do with ham Slides.

1153
01:04:58,920 --> 01:05:03,560
Speaker 6: Old Neck released his Demons unto the World of Man,

1154
01:05:06,760 --> 01:05:11,880
Speaker 6: and the World of Man fell before the Demons next week.

1155
01:05:12,040 --> 01:05:15,440
Speaker 4: It is our twenty twenty six movie preview. We are

1156
01:05:15,640 --> 01:05:19,080
Speaker 4: planning to move on. We will also have a review

1157
01:05:19,120 --> 01:05:22,240
Speaker 4: of a twenty twenty six film that probably would make

1158
01:05:22,520 --> 01:05:25,280
Speaker 4: the preview our most anticipated films of the year. I

1159
01:05:25,280 --> 01:05:27,840
Speaker 4: think it at least make my list if it wasn't

1160
01:05:27,960 --> 01:05:32,480
Speaker 4: opening this weekend, and that is The Bone Temple. Josh,

1161
01:05:32,480 --> 01:05:35,760
Speaker 4: are you excited? I liked the last one more than you,

1162
01:05:35,840 --> 01:05:37,920
Speaker 4: but are you somewhat eager to see this?

1163
01:05:38,600 --> 01:05:41,920
Speaker 1: Yeah? I still liked the previous one and Nia da

1164
01:05:41,960 --> 01:05:44,560
Speaker 1: Costa here taking over as director from Danny Boyle, we

1165
01:05:44,600 --> 01:05:48,600
Speaker 1: should say, which is part of my excitement for The

1166
01:05:48,640 --> 01:05:51,120
Speaker 1: Bone Temple. I'm hoping to catch it Adam at that

1167
01:05:51,280 --> 01:05:54,800
Speaker 1: point when it releases. I think we'll be in Sevilla,

1168
01:05:55,120 --> 01:06:00,880
Speaker 1: so not sure about the new release scene in Sevia Spain,

1169
01:06:00,960 --> 01:06:02,880
Speaker 1: but I'm gonna see if I could track it down.

1170
01:06:03,280 --> 01:06:07,000
Speaker 4: Okay. The preview will take the form of a draft.

1171
01:06:07,240 --> 01:06:09,320
Speaker 4: Just like last year. We did pretty well last year

1172
01:06:09,320 --> 01:06:12,800
Speaker 4: in terms of our prescients. Ten of the twelve films

1173
01:06:13,360 --> 01:06:15,680
Speaker 4: that we're mentioned, we had ten draft slots, but we

1174
01:06:15,720 --> 01:06:19,840
Speaker 4: each allowed ourselves one tie. So I picked Richard Linklater's

1175
01:06:19,920 --> 01:06:23,840
Speaker 4: Nouvelle Vague along with Blue Moon, and you picked Maggie

1176
01:06:23,880 --> 01:06:29,600
Speaker 4: Gillenhoal's The Bride along with Guermo del Toro's Frankenstein. Of course,

1177
01:06:30,040 --> 01:06:32,920
Speaker 4: Maggie Gillenhals The Bride might just get drafted again this

1178
01:06:33,040 --> 01:06:36,840
Speaker 4: year because it did not come out in twenty twenty five.

1179
01:06:37,320 --> 01:06:40,439
Speaker 4: Ten of the twelve films that we drafted then ended

1180
01:06:40,560 --> 01:06:45,600
Speaker 4: up factoring into our combined top twenty films of the year.

1181
01:06:46,040 --> 01:06:49,760
Speaker 4: So we were feeling the zeitgeist, if you will, at

1182
01:06:49,840 --> 01:06:51,840
Speaker 4: least in terms of quality, but also in terms of

1183
01:06:51,880 --> 01:06:55,880
Speaker 4: the films that were among the most discussed of the

1184
01:06:55,960 --> 01:06:58,280
Speaker 4: year and are being talked about as part of award season.

1185
01:06:58,480 --> 01:07:02,200
Speaker 4: That did include what was then untitled Pta Film, which

1186
01:07:02,280 --> 01:07:06,919
Speaker 4: was my first pick in the second overall slot. Next

1187
01:07:06,920 --> 01:07:09,560
Speaker 4: week we will also share our poll results. We asked

1188
01:07:09,600 --> 01:07:13,320
Speaker 4: you to tell us your most anticipated twenty twenty six film,

1189
01:07:13,480 --> 01:07:15,360
Speaker 4: but we're just giving you the first half of the

1190
01:07:15,440 --> 01:07:19,240
Speaker 4: year up until Memorial Day. Which one of these is

1191
01:07:19,280 --> 01:07:22,480
Speaker 4: your most anticipated film? Josh, will you please give our

1192
01:07:22,480 --> 01:07:24,000
Speaker 4: listeners the options again.

1193
01:07:24,720 --> 01:07:30,200
Speaker 1: Indeed, we have Wuthering Heights, the aforementioned The Bride Project,

1194
01:07:30,480 --> 01:07:34,120
Speaker 1: Hail Mary, that one with Ryan Gosling, the drama which

1195
01:07:34,120 --> 01:07:38,840
Speaker 1: stars and Daya and Robert Pattinson, David Lowry's pop music

1196
01:07:38,880 --> 01:07:42,680
Speaker 1: world drama slash horror movie Mother Mary. That one stars

1197
01:07:43,280 --> 01:07:47,160
Speaker 1: and Hathaway and MICHAELA. Coyle, and The Devil Wears Prada

1198
01:07:47,240 --> 01:07:49,280
Speaker 1: two will also give you the option of auther.

1199
01:07:49,560 --> 01:07:53,480
Speaker 4: I'm sorry, it's actually quote Wuthering Heights unquote. It's stylized,

1200
01:07:53,480 --> 01:07:55,520
Speaker 4: and it doesn't count unless you say it that way.

1201
01:07:55,880 --> 01:07:57,360
Speaker 1: Got it? Okay? Well remember that?

1202
01:07:57,880 --> 01:07:59,880
Speaker 4: Okay? You can vote in that poll and leave a

1203
01:07:59,880 --> 01:08:04,200
Speaker 4: comment at film spotting dot Net results, and your feedback

1204
01:08:04,320 --> 01:08:07,560
Speaker 4: will be featured next week on the show. We also

1205
01:08:07,600 --> 01:08:11,560
Speaker 4: wanted to give a plug to the Eastman Museum out

1206
01:08:11,600 --> 01:08:14,160
Speaker 4: there in the Rochester, New York area, if you are

1207
01:08:14,280 --> 01:08:18,520
Speaker 4: in that area. Longtime listener Jared Case is the museum's

1208
01:08:18,680 --> 01:08:23,400
Speaker 4: curator of film exhibitions, and he knows that Film Spotting

1209
01:08:23,439 --> 01:08:26,960
Speaker 4: Madness Best of the nineteen Forties is coming up, and

1210
01:08:27,520 --> 01:08:33,160
Speaker 4: they have a series Josh that ties in nicely with

1211
01:08:33,400 --> 01:08:36,040
Speaker 4: Film Spotting Madness Best of the nineteen Forties. So if

1212
01:08:36,040 --> 01:08:37,880
Speaker 4: you're in that area and want to seek out some

1213
01:08:37,960 --> 01:08:41,160
Speaker 4: of those screenings, they're watching The Naked City from Jules

1214
01:08:41,240 --> 01:08:44,720
Speaker 4: Dassen on January twentieth, powind Pressburger's I Know Where I'm

1215
01:08:44,760 --> 01:08:48,719
Speaker 4: Going on thirty five millimeter, the thirty first Carol Reid's

1216
01:08:48,760 --> 01:08:51,840
Speaker 4: odd Man Out on thirty five millimeter January twenty eighth,

1217
01:08:51,920 --> 01:08:54,760
Speaker 4: so worth checking out. We'll pull the link to more

1218
01:08:54,840 --> 01:08:58,040
Speaker 4: details in our show notes. You can also find that

1219
01:08:58,120 --> 01:09:01,280
Speaker 4: on our website at filmspotting dot net. And again we

1220
01:09:01,320 --> 01:09:03,680
Speaker 4: want to thank Jared for being a longtime supporter of

1221
01:09:03,720 --> 01:09:06,360
Speaker 4: the show, and he even on the website mentions film

1222
01:09:06,360 --> 01:09:09,840
Speaker 4: Spotting in conjunction with this series, Josh.

1223
01:09:09,160 --> 01:09:12,080
Speaker 1: A great chance for some listeners to knock out those

1224
01:09:12,080 --> 01:09:15,120
Speaker 1: forties blind spots. This would be all three of these

1225
01:09:15,120 --> 01:09:17,320
Speaker 1: would have been blind spots except for just a few

1226
01:09:17,320 --> 01:09:19,519
Speaker 1: months ago. I did track down I Know Where I'm

1227
01:09:19,520 --> 01:09:21,720
Speaker 1: Going set in Scotland, did a little homework on that

1228
01:09:21,800 --> 01:09:24,880
Speaker 1: and enjoyed it quite a bit. So yeah, hopefully some

1229
01:09:24,920 --> 01:09:27,800
Speaker 1: folks will be able to get over there. Quick note

1230
01:09:27,880 --> 01:09:31,639
Speaker 1: about our sister podcast, The Next Picture Show, Looking at

1231
01:09:31,680 --> 01:09:36,840
Speaker 1: Cinema's present via its Past. They are still looking at

1232
01:09:36,840 --> 01:09:39,040
Speaker 1: twenty twenty five as we are on this show. In fact,

1233
01:09:39,200 --> 01:09:42,719
Speaker 1: they now have their episode on the Best of twenty

1234
01:09:42,760 --> 01:09:44,800
Speaker 1: twenty five So if you want to hear from the

1235
01:09:44,800 --> 01:09:47,439
Speaker 1: whole crew their favorite movies from last year that is

1236
01:09:47,520 --> 01:09:50,320
Speaker 1: out now. New episodes of The Next Picture Show do

1237
01:09:50,439 --> 01:09:52,800
Speaker 1: drop every Tuesday and you can find them wherever you

1238
01:09:52,840 --> 01:09:53,880
Speaker 1: get your podcasts.

1239
01:09:54,960 --> 01:09:57,120
Speaker 2: Emily said four words, I didn't know. Tell me if

1240
01:09:57,120 --> 01:09:59,240
Speaker 2: they catch brick.

1241
01:09:59,560 --> 01:10:03,720
Speaker 6: No or bad brick Nope, tug tug.

1242
01:10:04,960 --> 01:10:09,719
Speaker 4: Tug might be a drink like milk and vodka or something.

1243
01:10:10,080 --> 01:10:12,639
Speaker 4: Bad brick certainly not going to be one. As we

1244
01:10:12,720 --> 01:10:17,320
Speaker 4: announce our twenty twenty five Golden Brick winner, our seventeenth

1245
01:10:17,360 --> 01:10:20,639
Speaker 4: annual Golden Brick Award, it goes to our favorite film

1246
01:10:20,680 --> 01:10:24,519
Speaker 4: from a new or a merging director and the Golden Brick,

1247
01:10:24,600 --> 01:10:27,160
Speaker 4: yes was named in honor of Ryan Johnson's two thousand

1248
01:10:27,160 --> 01:10:30,639
Speaker 4: and six film Brick, which was a new film from him.

1249
01:10:30,680 --> 01:10:33,200
Speaker 4: He was a new director, and it was a film

1250
01:10:33,240 --> 01:10:35,760
Speaker 4: that we adored that was not playing on a ton

1251
01:10:35,800 --> 01:10:39,840
Speaker 4: of screens, and we recommended it a lot. We talked

1252
01:10:39,840 --> 01:10:42,439
Speaker 4: about it a lot. Hopefully we know at the time

1253
01:10:42,479 --> 01:10:44,400
Speaker 4: we got a lot more people to see it. Josh,

1254
01:10:44,400 --> 01:10:46,360
Speaker 4: and that's the point of the Golden Brick is to

1255
01:10:46,960 --> 01:10:50,200
Speaker 4: try to talk about a movie that is underseen and

1256
01:10:50,600 --> 01:10:53,040
Speaker 4: get more people to seek it out. We started out

1257
01:10:53,080 --> 01:10:57,080
Speaker 4: with fourteen films on our long list, narrowed that down

1258
01:10:57,680 --> 01:11:00,880
Speaker 4: to five, and we feel pretty good overall about the

1259
01:11:01,640 --> 01:11:05,760
Speaker 4: list of nominees. Are our list of five finalists.

1260
01:11:06,439 --> 01:11:08,479
Speaker 1: Yeah, And I was thinking, Adam, as you were talking.

1261
01:11:08,560 --> 01:11:11,320
Speaker 1: You know, back when the Golden Bricks started, we would

1262
01:11:11,320 --> 01:11:15,040
Speaker 1: only be discussing theatrical releases, and so a movie like

1263
01:11:15,160 --> 01:11:17,640
Speaker 1: Brick didn't play on a ton of screens. And I thought, Hi,

1264
01:11:17,720 --> 01:11:21,360
Speaker 1: I wonder if this has changed in the era of streaming,

1265
01:11:21,560 --> 01:11:24,559
Speaker 1: where you know, a movie like Brick, if it had

1266
01:11:24,600 --> 01:11:28,280
Speaker 1: come out now, would have been probably widely available via

1267
01:11:28,320 --> 01:11:31,479
Speaker 1: some service. Does that make it easier to find these?

1268
01:11:31,560 --> 01:11:34,160
Speaker 1: But then when I'm looking at the titles these finalists

1269
01:11:34,200 --> 01:11:38,560
Speaker 1: we're about to announce, actually, in some ways we're inundated

1270
01:11:38,600 --> 01:11:40,960
Speaker 1: with so many options and so many titles. We still

1271
01:11:41,120 --> 01:11:45,640
Speaker 1: need this championing that the Brick is all about. You know,

1272
01:11:45,680 --> 01:11:48,439
Speaker 1: we need to kind of sift through all that stuff

1273
01:11:48,479 --> 01:11:53,080
Speaker 1: that's out there, especially in the indie or smaller film landscape,

1274
01:11:53,120 --> 01:11:55,439
Speaker 1: and say this is one we've been able to check out.

1275
01:11:55,479 --> 01:11:58,920
Speaker 1: It rezes really rises to the top. It's distinctive in

1276
01:11:59,000 --> 01:12:01,519
Speaker 1: some way, not just newer emerging director, but I think

1277
01:12:01,520 --> 01:12:04,759
Speaker 1: we talk about directors who have a clear, unique vision

1278
01:12:05,200 --> 01:12:07,439
Speaker 1: to what they're trying to do, or a voice, a

1279
01:12:07,479 --> 01:12:12,280
Speaker 1: distinct voice as well. And yeah, that's out there, but

1280
01:12:12,400 --> 01:12:15,360
Speaker 1: in some ways in the streaming universe almost harder to find.

1281
01:12:15,800 --> 01:12:17,840
Speaker 4: Yeah, I think you're exactly right there. Yeah, there's a

1282
01:12:17,840 --> 01:12:21,200
Speaker 4: bit of a contradiction there. More availability doesn't necessarily mean

1283
01:12:21,240 --> 01:12:24,360
Speaker 4: that more eyeballs are on it or that they feel

1284
01:12:24,760 --> 01:12:27,680
Speaker 4: more available, And so we do feel even more of

1285
01:12:27,720 --> 01:12:32,720
Speaker 4: an obligation to champion these films and get them in

1286
01:12:32,760 --> 01:12:34,840
Speaker 4: front of people. And we did end up with five

1287
01:12:35,160 --> 01:12:38,360
Speaker 4: this year of a pretty good array of movies here,

1288
01:12:38,400 --> 01:12:41,120
Speaker 4: even though this may be the first year where we

1289
01:12:41,240 --> 01:12:46,639
Speaker 4: have sixty percent of our finalists being documentaries, and those

1290
01:12:46,680 --> 01:12:50,639
Speaker 4: documentaries are Sam Crane and Penny Grill's Grand Theft Hamlet,

1291
01:12:50,760 --> 01:12:56,360
Speaker 4: David Ositz doc Predators, and Charlie Shackleton's doc Piece of Criticism,

1292
01:12:56,520 --> 01:13:01,320
Speaker 4: Zodiac Killer Project, Unfinished Movies Zodiac Killer Project. And then

1293
01:13:01,439 --> 01:13:05,479
Speaker 4: we have Julian Glanders, Boys Go to Jupiter and Eva

1294
01:13:05,800 --> 01:13:10,400
Speaker 4: Victor's Sorry Baby Now, Josh, I would be happy to

1295
01:13:10,520 --> 01:13:12,439
Speaker 4: let you do the honors here, but as you said,

1296
01:13:12,520 --> 01:13:15,280
Speaker 4: I haven't even shared with you who won yet. You

1297
01:13:15,320 --> 01:13:17,240
Speaker 4: don't know, you're you're in the dark.

1298
01:13:17,640 --> 01:13:20,559
Speaker 1: I'm in the audience. The camera's on my expectant face.

1299
01:13:22,120 --> 01:13:23,479
Speaker 1: So give us to us.

1300
01:13:24,000 --> 01:13:26,759
Speaker 4: I'm going to give it to you. A reminder, I voted,

1301
01:13:27,200 --> 01:13:31,280
Speaker 4: You voted, Sam voted. Our listeners voted, and by voting

1302
01:13:31,320 --> 01:13:35,760
Speaker 4: we mean we we rank the five. Our listeners only

1303
01:13:35,760 --> 01:13:37,760
Speaker 4: get to pick the one, but then we see how

1304
01:13:37,800 --> 01:13:41,240
Speaker 4: the voting comes out, and that is effectively a ranking,

1305
01:13:41,400 --> 01:13:45,840
Speaker 4: and we see what the average ranking is of those five,

1306
01:13:45,960 --> 01:13:51,240
Speaker 4: and whoever ranks the highest is the Golden Brick winner.

1307
01:13:51,360 --> 01:13:56,080
Speaker 4: Sometimes it doesn't happen that often. There is usually alignment. Occasionally, Josh,

1308
01:13:56,120 --> 01:13:58,240
Speaker 4: we do have a Listener's Choice winner that is not

1309
01:13:58,400 --> 01:14:02,160
Speaker 4: the same as the overall Golden Brick winner. This year

1310
01:14:02,800 --> 01:14:07,040
Speaker 4: there is alignment. Okay, the Listener's Choice winner is also

1311
01:14:07,280 --> 01:14:09,519
Speaker 4: the Golden Brick winner, and the twenty twenty five Golden

1312
01:14:09,560 --> 01:14:12,639
Speaker 4: Brick winner is I'm going to say, not a surprise.

1313
01:14:13,400 --> 01:14:16,160
Speaker 4: Eva Victor's sorry baby.

1314
01:14:16,439 --> 01:14:18,320
Speaker 1: When you said it aligned with the listeners, I thought,

1315
01:14:18,400 --> 01:14:22,559
Speaker 1: that's probably where we're going. And I'm really happy with this, Adam,

1316
01:14:22,640 --> 01:14:26,960
Speaker 1: I said a couple of times you know that in

1317
01:14:27,000 --> 01:14:29,920
Speaker 1: my top ten lists which Sorry Baby was on, I

1318
01:14:29,960 --> 01:14:34,559
Speaker 1: actually had Grand Theft Hamlet higher. And the one factor

1319
01:14:34,600 --> 01:14:36,640
Speaker 1: when it comes to voting for the Brick though, is

1320
01:14:36,760 --> 01:14:40,960
Speaker 1: looking forward to new work from the filmmaker, and I

1321
01:14:40,960 --> 01:14:44,880
Speaker 1: think Victor has shown they have just such a distinct

1322
01:14:45,520 --> 01:14:52,360
Speaker 1: balance of comedy and pathos, real genuine emotion, and they're

1323
01:14:53,120 --> 01:14:58,280
Speaker 1: also there's some filmmaking chops to Sorry Baby as well

1324
01:14:58,320 --> 01:15:01,400
Speaker 1: that we might get to perhaps in one of our

1325
01:15:01,439 --> 01:15:04,960
Speaker 1: other categories. So yeah, I think this is a great pick,

1326
01:15:05,000 --> 01:15:07,000
Speaker 1: and I do like it when the listener pick and

1327
01:15:07,040 --> 01:15:10,120
Speaker 1: our votes ALIGNE and we have unity here on the

1328
01:15:10,120 --> 01:15:12,599
Speaker 1: Golden Brick. Congratulations to Sorry Baby.

1329
01:15:13,120 --> 01:15:16,160
Speaker 4: Not a top ten for me, but a top fifteen

1330
01:15:16,360 --> 01:15:18,960
Speaker 4: or right around there, certainly a top twenty. And that's

1331
01:15:18,960 --> 01:15:21,200
Speaker 4: a really good point by you. Not only just excited

1332
01:15:21,880 --> 01:15:28,120
Speaker 4: based on the film Sorry Baby overall, but the total

1333
01:15:28,160 --> 01:15:33,639
Speaker 4: package from E the Victor as a director, as a writer,

1334
01:15:34,240 --> 01:15:37,879
Speaker 4: and as a performer as an actor within this movie,

1335
01:15:38,200 --> 01:15:41,960
Speaker 4: that's certainly something that makes you excited for the future,

1336
01:15:42,000 --> 01:15:42,479
Speaker 4: and their.

1337
01:15:42,360 --> 01:15:46,000
Speaker 1: Work formidable in every category based on Sorry Baby.

1338
01:15:46,840 --> 01:15:49,920
Speaker 4: The search for the twenty twenty six Golden Brick winner

1339
01:15:50,160 --> 01:15:53,639
Speaker 4: starts now and it starts probably where the twenty twenty

1340
01:15:53,680 --> 01:15:57,360
Speaker 4: five search began. The Sundance Film Festival. For us who

1341
01:15:57,360 --> 01:16:00,599
Speaker 4: are not attending, that means the Virtual Sundance Film Festival.

1342
01:16:00,600 --> 01:16:04,200
Speaker 4: That's where I saw the Zodiac Killer Project originally. It

1343
01:16:04,320 --> 01:16:08,240
Speaker 4: opens January twenty second, runs through February first. The festival

1344
01:16:08,280 --> 01:16:10,800
Speaker 4: passes are sold out, but single film tickets just went

1345
01:16:10,840 --> 01:16:13,479
Speaker 4: on sale earlier this week. If you would like to partake,

1346
01:16:13,920 --> 01:16:16,720
Speaker 4: you can do that at Sundance dot org. And we

1347
01:16:17,320 --> 01:16:21,160
Speaker 4: love to get recommendations. You can email us your Golden

1348
01:16:21,160 --> 01:16:24,280
Speaker 4: Brick recommendation feedback at film spotting dot net. And if

1349
01:16:24,280 --> 01:16:27,120
Speaker 4: you would like to learn more about the brick, our

1350
01:16:27,320 --> 01:16:32,000
Speaker 4: very loose criteria and our past nominees and winners, you

1351
01:16:32,040 --> 01:16:36,439
Speaker 4: can do that at film spotting dot net. Slash bricks with.

1352
01:16:36,560 --> 01:16:41,200
Speaker 1: The toss symbol. Would the tours?

1353
01:16:41,680 --> 01:16:43,000
Speaker 3: Would the tours? Says simple?

1354
01:16:43,240 --> 01:16:44,920
Speaker 1: Would the tours a sign?

1355
01:16:44,960 --> 01:16:45,439
Speaker 4: My damn point?

1356
01:16:45,439 --> 01:16:46,000
Speaker 1: Why do you say that?

1357
01:16:46,040 --> 01:16:46,920
Speaker 2: Why do you say tour?

1358
01:16:47,400 --> 01:16:48,360
Speaker 4: Will you say say it?

1359
01:16:48,439 --> 01:16:52,599
Speaker 1: Like I said, Well, it's been a good, healthy break,

1360
01:16:52,920 --> 01:16:55,280
Speaker 1: time to think about what we've done in the past

1361
01:16:55,479 --> 01:16:58,240
Speaker 1: on Massacre Theater, Adam, and now it's time to bring

1362
01:16:58,280 --> 01:17:01,360
Speaker 1: it into a new Age. We are return to our

1363
01:17:01,400 --> 01:17:03,640
Speaker 1: favorite game where Adam and I perform a scene. You

1364
01:17:03,680 --> 01:17:06,800
Speaker 1: get a chance to win a film spotting prize, our

1365
01:17:07,040 --> 01:17:10,719
Speaker 1: first Masacer of the new year. Adam, are you ready?

1366
01:17:11,160 --> 01:17:12,160
Speaker 4: No, but let's do it.

1367
01:17:12,800 --> 01:17:15,000
Speaker 1: Do you even know what scene we're doing?

1368
01:17:16,800 --> 01:17:20,840
Speaker 4: I'm aware of the scene, but I have done less

1369
01:17:20,880 --> 01:17:23,400
Speaker 4: than our usual prep in that I have not even

1370
01:17:23,439 --> 01:17:25,760
Speaker 4: watched it. And you know what, that's fine.

1371
01:17:26,040 --> 01:17:26,360
Speaker 1: You know what.

1372
01:17:26,439 --> 01:17:27,519
Speaker 4: I agree.

1373
01:17:27,920 --> 01:17:32,040
Speaker 1: Usually usually I watch it for the first time just

1374
01:17:32,080 --> 01:17:34,880
Speaker 1: before we are about to record, so in the midst

1375
01:17:34,880 --> 01:17:38,320
Speaker 1: of recording. But since I did get a chance earlier

1376
01:17:38,320 --> 01:17:40,360
Speaker 1: today to watch it, I'm going to say, let's not

1377
01:17:40,439 --> 01:17:42,479
Speaker 1: even pause. Let's just dive right in.

1378
01:17:43,080 --> 01:17:43,280
Speaker 2: Now.

1379
01:17:43,280 --> 01:17:45,680
Speaker 1: We do have to decide roles, though, and I'm going

1380
01:17:45,760 --> 01:17:47,639
Speaker 1: to suggest, and this is going to be a clue

1381
01:17:48,479 --> 01:17:53,640
Speaker 1: that I don't want to be too obvious, a clue,

1382
01:17:53,760 --> 01:17:55,880
Speaker 1: I would like you to play one part because of

1383
01:17:55,920 --> 01:17:57,200
Speaker 1: your affinity for the actor.

1384
01:17:58,439 --> 01:18:00,960
Speaker 4: I had a feeling you were going to go there,

1385
01:18:01,000 --> 01:18:05,479
Speaker 4: because I don't have any idea who the other character

1386
01:18:05,640 --> 01:18:08,760
Speaker 4: is in the actor playing them. Now that said, you

1387
01:18:08,880 --> 01:18:11,840
Speaker 4: know that I am still just going to play myself, right,

1388
01:18:12,479 --> 01:18:13,240
Speaker 4: m No.

1389
01:18:13,080 --> 01:18:16,840
Speaker 1: No, no, no, you you can't hear that is the

1390
01:18:16,880 --> 01:18:18,040
Speaker 1: extent of my range.

1391
01:18:18,120 --> 01:18:20,400
Speaker 4: Josh, you know this actor's work very well.

1392
01:18:20,680 --> 01:18:24,559
Speaker 1: You are a huge admirer of this performance in particular. Yeah,

1393
01:18:24,600 --> 01:18:26,960
Speaker 1: and so I think you can. You can channel something

1394
01:18:27,120 --> 01:18:29,160
Speaker 1: other than Adam company are.

1395
01:18:29,640 --> 01:18:34,520
Speaker 4: It's not like this actor, though, has a very distinct presence.

1396
01:18:37,560 --> 01:18:41,360
Speaker 1: Here's another clue. I would disagree and say he does okay,

1397
01:18:41,479 --> 01:18:46,559
Speaker 1: and yet in this performance it's something different than what

1398
01:18:47,200 --> 01:18:55,240
Speaker 1: we usually see him doing. Okay, enough clues, enough, clues enough, lawful.

1399
01:18:56,840 --> 01:18:58,799
Speaker 4: All I know is you're going to be highly critical

1400
01:18:58,840 --> 01:19:00,920
Speaker 4: of my performance when this is over. As a direct

1401
01:19:01,800 --> 01:19:06,679
Speaker 4: everyone everyone can enjoy that. When it's done, I'm up first. Yes,

1402
01:19:06,800 --> 01:19:11,120
Speaker 4: so I will give you the action, please and action?

1403
01:19:13,000 --> 01:19:14,639
Speaker 1: Are you a drinking man, Reverend?

1404
01:19:15,960 --> 01:19:19,640
Speaker 4: It doesn't help, Nah, I suppose not.

1405
01:19:21,600 --> 01:19:27,519
Speaker 1: Can God forgive us for what we've done to this world?

1406
01:19:30,880 --> 01:19:33,400
Speaker 4: I don't. I don't know who can know the mind

1407
01:19:33,400 --> 01:19:39,600
Speaker 4: of God. But we can choose a righteous life. Believe forgiveness,

1408
01:19:40,240 --> 01:19:47,800
Speaker 4: grace covers us all. I believe that. And scene.

1409
01:19:49,000 --> 01:19:52,360
Speaker 1: I think I think you got close at the close

1410
01:19:52,400 --> 01:19:54,640
Speaker 1: of that last line. Yeah, yeah, yeah, the beginning of

1411
01:19:54,640 --> 01:19:58,040
Speaker 1: the last line, you were doing the actor as I

1412
01:19:58,120 --> 01:20:00,960
Speaker 1: think he's commonly perceived, then you should okay along the

1413
01:20:01,000 --> 01:20:04,479
Speaker 1: way and you got closer to the other side. So yeah,

1414
01:20:04,560 --> 01:20:06,759
Speaker 1: nice work. Nice work for being a little rusty.

1415
01:20:07,680 --> 01:20:09,240
Speaker 4: I'll take whatever I can get. If you know a

1416
01:20:09,280 --> 01:20:12,360
Speaker 4: film we just massacred email the movies title, your name

1417
01:20:12,400 --> 01:20:15,840
Speaker 4: and location feedback. Filmspotting dot net is the email. Your

1418
01:20:16,160 --> 01:20:19,519
Speaker 4: deadline is Monday, January twenty sixth, and we will select

1419
01:20:19,680 --> 01:20:22,400
Speaker 4: the winner randomly from all the correct entries and announce

1420
01:20:22,400 --> 01:20:23,559
Speaker 4: it in a couple of weeks.

1421
01:20:25,040 --> 01:20:26,439
Speaker 1: You don't want a big event, ton.

1422
01:20:29,280 --> 01:20:35,920
Speaker 4: Your money up, All money coma blow baby. Two more

1423
01:20:35,960 --> 01:20:39,599
Speaker 4: categories to go in our twenty twenty five rap party.

1424
01:20:39,640 --> 01:20:43,080
Speaker 4: Before our scenes of the year, we have our favorite

1425
01:20:43,320 --> 01:20:47,680
Speaker 4: music moment of the year. Josh, what do you have?

1426
01:20:48,400 --> 01:20:50,880
Speaker 1: All right? I have three honorable mentions for you before

1427
01:20:50,880 --> 01:20:53,880
Speaker 1: I get to my pick. The first is the appearance

1428
01:20:53,960 --> 01:20:58,120
Speaker 1: by the Eddie Palmiery Salsa Orchestra in Spike Lee's Highest

1429
01:20:58,120 --> 01:21:00,439
Speaker 1: to Lowest. I think it anchors the movie's best sequence,

1430
01:21:00,520 --> 01:21:03,240
Speaker 1: the money Drop, so had to consider it here. I

1431
01:21:03,280 --> 01:21:06,519
Speaker 1: have another one. This comes from HEADA. It's oh so

1432
01:21:06,800 --> 01:21:10,040
Speaker 1: quiet now to my mind. The b York cover is

1433
01:21:10,080 --> 01:21:13,559
Speaker 1: the definitive one of this mid century number, but it

1434
01:21:13,640 --> 01:21:16,280
Speaker 1: does get a rousing rendition here. It's for a dance

1435
01:21:16,320 --> 01:21:19,719
Speaker 1: scene in Nia Dacasa's head to And what I also

1436
01:21:19,880 --> 01:21:22,160
Speaker 1: like about it, even though it's kind of where the

1437
01:21:22,240 --> 01:21:26,160
Speaker 1: music cuts short. I love how it's this over the top,

1438
01:21:27,400 --> 01:21:31,640
Speaker 1: movingly choreographed and performed musical number, and then it just

1439
01:21:31,720 --> 01:21:36,240
Speaker 1: gets cut short, magisterially cut short by the appearance of

1440
01:21:36,320 --> 01:21:40,040
Speaker 1: Nina Haas's Eileen as soon as she comes on screen.

1441
01:21:40,120 --> 01:21:43,000
Speaker 1: So going with It's oh so quiet from HEADA for

1442
01:21:43,040 --> 01:21:45,840
Speaker 1: an honorable mention, and this last honorable mention, I'm just

1443
01:21:45,840 --> 01:21:48,799
Speaker 1: gonna hint at. I don't want to spoil it. Adam,

1444
01:21:48,840 --> 01:21:52,479
Speaker 1: you like this movie even more than I do, and

1445
01:21:52,560 --> 01:21:54,320
Speaker 1: so you should get to picket. So I'm gonna save

1446
01:21:54,360 --> 01:21:57,360
Speaker 1: that and move on to my actual pick. And this

1447
01:21:57,520 --> 01:22:00,280
Speaker 1: is where I'm going with Train Dreams. As I said, said,

1448
01:22:00,640 --> 01:22:05,040
Speaker 1: thought about it for the moving moment category, and went

1449
01:22:05,080 --> 01:22:08,880
Speaker 1: with it for music because I really love what I'm

1450
01:22:08,920 --> 01:22:13,479
Speaker 1: going to call Arn's Lullaby. This is an extended scene

1451
01:22:13,560 --> 01:22:17,160
Speaker 1: that is actually bookended by two musical pieces, and both

1452
01:22:17,160 --> 01:22:21,000
Speaker 1: of them come from William H. Macy's Arn The grizzled

1453
01:22:21,120 --> 01:22:24,280
Speaker 1: veteran lagger. So it's the end of a workday and

1454
01:22:24,560 --> 01:22:27,759
Speaker 1: Arn's tent is next to that of the movie's main character,

1455
01:22:27,880 --> 01:22:32,240
Speaker 1: Joel Edgerton's Granger. Iron is singing a song that he's

1456
01:22:32,240 --> 01:22:36,519
Speaker 1: made up, but it's one that embodies the mystical but

1457
01:22:36,680 --> 01:22:39,439
Speaker 1: reverent perspective that his character, I think shares with the

1458
01:22:39,479 --> 01:22:44,639
Speaker 1: movie itself. Other Laggers tell Arn to shut up, and

1459
01:22:44,720 --> 01:22:47,920
Speaker 1: that leads him and Granger to have this quiet conversation

1460
01:22:48,040 --> 01:22:53,280
Speaker 1: about the song. They talk about mortality, morality, and America.

1461
01:22:54,080 --> 01:22:57,360
Speaker 1: Granger eventually asks him to sing again, but Arn decides

1462
01:22:57,479 --> 01:23:18,320
Speaker 1: a harmonica might be better received instead. There's something fitting

1463
01:23:18,360 --> 01:23:23,000
Speaker 1: I think about pure instrumentation taking over at this point.

1464
01:23:23,040 --> 01:23:25,719
Speaker 1: So much of Train Dreams is about what we don't

1465
01:23:25,760 --> 01:23:29,960
Speaker 1: know or can't understand regarding the vast universe. It leaves

1466
01:23:30,040 --> 01:23:32,599
Speaker 1: us speechless, but we still long to connect with it

1467
01:23:32,600 --> 01:23:35,640
Speaker 1: in some way, and you know, when words fail or

1468
01:23:35,680 --> 01:23:41,000
Speaker 1: a stifled music can also often step in. I think

1469
01:23:41,080 --> 01:23:44,439
Speaker 1: that this quiet bit of musicality and Train Dreams does

1470
01:23:44,560 --> 01:23:46,800
Speaker 1: sum up a lot of what the movie's all about.

1471
01:23:46,840 --> 01:23:49,679
Speaker 1: And so, yeah, that's my music moment of the year.

1472
01:23:50,560 --> 01:23:54,040
Speaker 4: It's an inspired choice because I think it's a sneaky

1473
01:23:54,120 --> 01:23:57,400
Speaker 4: pick in that it's not one that I'm guessing you're

1474
01:23:57,439 --> 01:23:59,559
Speaker 4: going to find on any other lists of the scenes

1475
01:23:59,600 --> 01:24:01,639
Speaker 4: of the year, and it's one I didn't think about

1476
01:24:01,680 --> 01:24:05,080
Speaker 4: at all when I started thinking about my favorite moments

1477
01:24:05,120 --> 01:24:08,559
Speaker 4: from Train Dreams. And yet I love every moment that

1478
01:24:08,600 --> 01:24:12,200
Speaker 4: William H. Macy is in. There is so much truth

1479
01:24:13,000 --> 01:24:16,640
Speaker 4: in every moment he is on screen, and that's absolutely

1480
01:24:16,840 --> 01:24:20,559
Speaker 4: one of them. So I'm really glad that you brought

1481
01:24:20,560 --> 01:24:24,200
Speaker 4: that up and allowed me to reflect on some more

1482
01:24:24,280 --> 01:24:28,320
Speaker 4: William H. Macy from that movie. I've got a few

1483
01:24:28,320 --> 01:24:30,840
Speaker 4: honorable mentions, only a couple here, though, And this is

1484
01:24:30,880 --> 01:24:34,160
Speaker 4: a movie that everybody thought or there was a lot

1485
01:24:34,200 --> 01:24:36,559
Speaker 4: of buzz coming out of Toronto. I think it was Toronto.

1486
01:24:36,680 --> 01:24:39,120
Speaker 4: This was a film that there was going to be

1487
01:24:39,200 --> 01:24:42,920
Speaker 4: in the Best picture conversation, and there's going to be

1488
01:24:42,960 --> 01:24:45,960
Speaker 4: a lot of buzz about maybe end of year top

1489
01:24:46,000 --> 01:24:49,040
Speaker 4: ten list talk, and it certainly didn't come up at

1490
01:24:49,040 --> 01:24:53,120
Speaker 4: all for us on our show, Josh. But both dance

1491
01:24:53,200 --> 01:24:56,519
Speaker 4: scenes in the Life of Chuck are pretty good as

1492
01:24:56,600 --> 01:25:00,800
Speaker 4: music moments. I do like the first one. I prefer

1493
01:25:00,880 --> 01:25:03,280
Speaker 4: that one to the second one. Even though I like

1494
01:25:03,320 --> 01:25:05,800
Speaker 4: the second one too, but I really like the first

1495
01:25:05,840 --> 01:25:10,720
Speaker 4: one with Tom Hittleston and his dance number out out

1496
01:25:10,720 --> 01:25:15,439
Speaker 4: on that street with the drummer performing, that really catches

1497
01:25:15,479 --> 01:25:19,479
Speaker 4: you off guard there. Kyle Bailey, a listener on Facebook, said,

1498
01:25:19,800 --> 01:25:22,080
Speaker 4: most of the Testament of Ann Lee, and he's right.

1499
01:25:22,640 --> 01:25:24,800
Speaker 4: We mentioned during our Top ten show how so much

1500
01:25:24,800 --> 01:25:27,400
Speaker 4: of that film is music. It is effectively a musical,

1501
01:25:27,439 --> 01:25:30,040
Speaker 4: So you could go with a lot of different choices.

1502
01:25:30,080 --> 01:25:32,800
Speaker 4: But if I was going to pick one, it's All

1503
01:25:32,880 --> 01:25:37,720
Speaker 4: is Summer. All is Summer is the boat montage when

1504
01:25:37,720 --> 01:25:40,960
Speaker 4: they're coming over to America, and how that sequence is

1505
01:25:41,080 --> 01:25:49,120
Speaker 4: edited and performed is really something. My other choice is one,

1506
01:25:49,280 --> 01:25:52,280
Speaker 4: Josh that you mentioned as an honorable mention for you,

1507
01:25:52,360 --> 01:25:55,960
Speaker 4: and that's Puerto Rico Eddie Polmieri the Orchestra Highest to

1508
01:25:55,960 --> 01:25:58,680
Speaker 4: Lowest from the Spike Lee movie. Everything about how the

1509
01:25:58,760 --> 01:26:02,240
Speaker 4: music is used there, diegetic music is used there is

1510
01:26:02,280 --> 01:26:07,640
Speaker 4: so great. My runner up, though, is from a documentary

1511
01:26:07,840 --> 01:26:12,320
Speaker 4: of sorts made by Alex Ross Perry, and it's the

1512
01:26:12,360 --> 01:26:16,360
Speaker 4: documentary Pavements. I'm gonna call it Major Leagues, but as

1513
01:26:16,400 --> 01:26:18,519
Speaker 4: I'll get to in a moment, it's not just the

1514
01:26:18,600 --> 01:26:22,679
Speaker 4: song Major Leagues. And when I recommended this documentary about

1515
01:26:22,720 --> 01:26:25,960
Speaker 4: the nineties indie rock band, I said this, I can't

1516
01:26:26,000 --> 01:26:29,160
Speaker 4: speak with any authority about the group. I've never really

1517
01:26:29,240 --> 01:26:31,679
Speaker 4: listened to them. I wasn't a fan, but I wasn't

1518
01:26:31,720 --> 01:26:33,360
Speaker 4: not a fan. I just didn't listen to them in

1519
01:26:33,400 --> 01:26:38,760
Speaker 4: the nineties. And I've been struck as I have have

1520
01:26:38,920 --> 01:26:41,680
Speaker 4: heard them a little bit more, certainly heard them in

1521
01:26:41,720 --> 01:26:46,679
Speaker 4: the film. Been struck by how Riley detached, they seem,

1522
01:26:47,240 --> 01:26:50,960
Speaker 4: perhaps even cynical, they and their music seem yet how

1523
01:26:51,040 --> 01:26:55,080
Speaker 4: heart felt an earnest the music can be. And the

1524
01:26:55,640 --> 01:26:59,360
Speaker 4: documentary is this perfect encapsulation of that, because it's both

1525
01:26:59,360 --> 01:27:04,160
Speaker 4: a genuine retrospective of the band and a documentary. It's

1526
01:27:05,080 --> 01:27:09,439
Speaker 4: it's this film that has within it a jukebox musical

1527
01:27:09,600 --> 01:27:12,960
Speaker 4: that's called named after one of their songs, Slanted and Chanted.

1528
01:27:13,680 --> 01:27:17,120
Speaker 4: And the musical is not it's not real. It's staged

1529
01:27:17,160 --> 01:27:20,120
Speaker 4: for the movie. But if you have music, and you

1530
01:27:20,160 --> 01:27:25,519
Speaker 4: have choreography, and you have performers that you've cast and

1531
01:27:25,560 --> 01:27:28,240
Speaker 4: they're singing their guts out, well, then isn't it Isn't

1532
01:27:28,240 --> 01:27:31,679
Speaker 4: it real? And what's more heartfelt? And what's more earnest

1533
01:27:31,800 --> 01:27:35,599
Speaker 4: than musical theater. The last I don't know five to

1534
01:27:35,800 --> 01:27:38,800
Speaker 4: eight minutes of this movie of the documentary is this

1535
01:27:38,960 --> 01:27:43,200
Speaker 4: musical performance that we've seen rehearsals for. It starts out

1536
01:27:43,240 --> 01:27:46,519
Speaker 4: with this song called Spit on a Stranger that morphs

1537
01:27:46,520 --> 01:27:49,360
Speaker 4: into major Leagues, and then we also get some of

1538
01:27:49,400 --> 01:27:52,880
Speaker 4: the song called here and Alex ross Perry is cross

1539
01:27:52,920 --> 01:27:57,719
Speaker 4: cutting that performance with band performance from today but also

1540
01:27:57,720 --> 01:28:01,679
Speaker 4: from the past and interview remarks from and it concludes

1541
01:28:01,720 --> 01:28:05,759
Speaker 4: the film, but it also it functions as the finale

1542
01:28:05,880 --> 01:28:09,280
Speaker 4: of the musical and it really adds some emotional weight

1543
01:28:09,640 --> 01:28:14,160
Speaker 4: to the band's reflections and to the band's the resilience

1544
01:28:14,320 --> 01:28:16,920
Speaker 4: that you get. You get the sense of the band's

1545
01:28:16,960 --> 01:28:19,280
Speaker 4: resilience having watched this film, and the fact that they're

1546
01:28:19,280 --> 01:28:22,360
Speaker 4: all they're all still friends and they've got their families now,

1547
01:28:22,400 --> 01:28:24,960
Speaker 4: and the perspective that they have on their on their

1548
01:28:25,040 --> 01:28:27,920
Speaker 4: lives and on the band and their music. And when

1549
01:28:27,960 --> 01:28:31,920
Speaker 4: Michael esper who is a real legitimate Broadway you know,

1550
01:28:32,000 --> 01:28:37,400
Speaker 4: stage performer who's portraying Stephen Malkmus in the musical version,

1551
01:28:37,840 --> 01:28:41,280
Speaker 4: when he starts belting out I was dressed for success

1552
01:28:41,680 --> 01:28:44,000
Speaker 4: the first this line he's singing over the chorus of

1553
01:28:44,520 --> 01:28:46,840
Speaker 4: singers who were singing bring on the major leagues, and

1554
01:28:46,840 --> 01:28:50,400
Speaker 4: then he intones his final phrase and he's all alone

1555
01:28:50,400 --> 01:28:54,160
Speaker 4: in the dark. Just a spot on him on the stage.

1556
01:28:54,600 --> 01:28:56,320
Speaker 4: I could throw this one back into the mix, Josh,

1557
01:28:56,400 --> 01:28:58,960
Speaker 4: of most moving moments. I guess I'm just a sucker

1558
01:28:59,000 --> 01:29:02,599
Speaker 4: for the sincerity of me musical theater, because again, as

1559
01:29:02,640 --> 01:29:06,599
Speaker 4: a as a culmination of the entire film it it

1560
01:29:06,640 --> 01:29:10,439
Speaker 4: did really move me. I like it so much. I

1561
01:29:10,600 --> 01:29:13,880
Speaker 4: like the music so much, this amalgam of these three

1562
01:29:13,920 --> 01:29:19,559
Speaker 4: songs as as musical theater that I'm actually afraid to

1563
01:29:19,640 --> 01:29:23,759
Speaker 4: listen to Pavements version or their versions of those songs.

1564
01:29:23,800 --> 01:29:26,320
Speaker 4: I'm sure I'd like them, but I also kind of

1565
01:29:26,320 --> 01:29:28,320
Speaker 4: feel like, how could they be better than what I

1566
01:29:28,479 --> 01:29:31,519
Speaker 4: just heard in the musical. That's what I want to

1567
01:29:31,520 --> 01:29:33,920
Speaker 4: hang on to, And I haven't listened to the full

1568
01:29:34,040 --> 01:29:36,720
Speaker 4: versions of those songs yet, So I love I love

1569
01:29:36,760 --> 01:29:40,280
Speaker 4: the Pavements versions of those tunes. And that's my runner

1570
01:29:40,400 --> 01:29:43,599
Speaker 4: up for music moment of the Year. But I think

1571
01:29:43,600 --> 01:29:46,559
Speaker 4: the one you were alluding to earlier when you said

1572
01:29:46,600 --> 01:29:48,679
Speaker 4: the no brainer music moment of the Year, but also

1573
01:29:49,320 --> 01:29:53,519
Speaker 4: your honorable mention, Josh, or a runner up for you

1574
01:29:53,560 --> 01:29:59,559
Speaker 4: certainly is is the juke Joint dance or I lied

1575
01:29:59,680 --> 01:30:04,040
Speaker 4: to you from Ryan Kugler's Sinners. Yes, this was like

1576
01:30:04,160 --> 01:30:07,960
Speaker 4: Hamnett on Facebook for moving moment. This is the one

1577
01:30:08,040 --> 01:30:10,720
Speaker 4: for Scene of the Year, but also music moment that

1578
01:30:10,840 --> 01:30:12,840
Speaker 4: came up most often from all.

1579
01:30:12,720 --> 01:30:13,880
Speaker 1: The scene of the year candidate.

1580
01:30:13,960 --> 01:30:17,000
Speaker 4: Yeah, sure, yeah, from our audience. And I'm just gonna

1581
01:30:17,040 --> 01:30:19,719
Speaker 4: mention one listener here. This is Sean Stranglin, who said,

1582
01:30:19,800 --> 01:30:22,240
Speaker 4: I think it's that one hundred and thirty seven minutes

1583
01:30:22,280 --> 01:30:25,519
Speaker 4: stretch from when Sinners began to win Sinners ends. You

1584
01:30:25,560 --> 01:30:28,479
Speaker 4: could just go with that as your music moment. We're

1585
01:30:28,479 --> 01:30:32,560
Speaker 4: going to single out here the juke Joint dance sequence.

1586
01:30:33,360 --> 01:30:38,799
Speaker 4: It starts very grounded and ends in the stars. Literally,

1587
01:30:39,680 --> 01:30:43,720
Speaker 4: you have this moment or you have the staging of it.

1588
01:30:43,840 --> 01:30:46,200
Speaker 4: Our friend Mikado Murphy at the New York Times did

1589
01:30:46,240 --> 01:30:48,120
Speaker 4: an anatomy of a scene with it, Josh that I

1590
01:30:48,200 --> 01:30:51,479
Speaker 4: just watched today with Koogler's That's a very fun watch,

1591
01:30:51,479 --> 01:30:54,000
Speaker 4: and he talks about establishing the stakes of the scene

1592
01:30:54,400 --> 01:30:58,719
Speaker 4: because you have Smoke and Stack who have different differing

1593
01:30:58,760 --> 01:31:03,720
Speaker 4: opinions about how successful this night's going to be and

1594
01:31:03,800 --> 01:31:06,360
Speaker 4: Sammy's role in it in the music, and so he

1595
01:31:06,479 --> 01:31:11,439
Speaker 4: triangulates them where one is on each side of Sammy

1596
01:31:11,640 --> 01:31:13,479
Speaker 4: with him in the middle. But if you watch you

1597
01:31:13,520 --> 01:31:16,120
Speaker 4: also see the Delta Slim Delroy Lindo's character who is

1598
01:31:16,160 --> 01:31:20,240
Speaker 4: supporting him, is behind him in the scene. And the

1599
01:31:20,320 --> 01:31:23,960
Speaker 4: music is original music by Ludwig Gorns and the composer,

1600
01:31:24,000 --> 01:31:27,759
Speaker 4: but also Rafael Sadik who's an Oakland musician and writer.

1601
01:31:28,640 --> 01:31:35,920
Speaker 4: And the voiceover where we hear one naming with Saku's

1602
01:31:35,960 --> 01:31:41,599
Speaker 4: character Annie. She says that the music that's there are

1603
01:31:41,640 --> 01:31:44,000
Speaker 4: legends of people born with a gift of making music

1604
01:31:44,040 --> 01:31:46,599
Speaker 4: so true it can pierce the veil between life and death,

1605
01:31:47,160 --> 01:31:49,879
Speaker 4: conjuring spirits from the past in the future. In Africa,

1606
01:31:49,880 --> 01:31:54,599
Speaker 4: they're called grios. And it makes me think about the

1607
01:31:54,640 --> 01:31:57,360
Speaker 4: movie Lone Star, which I talked about recently on the show,

1608
01:31:57,600 --> 01:32:00,920
Speaker 4: where you have a movie that's con the past, and

1609
01:32:01,479 --> 01:32:04,479
Speaker 4: you have the past and the present intersecting with each other.

1610
01:32:04,920 --> 01:32:08,120
Speaker 4: And even though they're very different films and using different

1611
01:32:08,120 --> 01:32:11,160
Speaker 4: techniques here, one thing they're doing similarly with the past

1612
01:32:11,479 --> 01:32:15,040
Speaker 4: and the present is that they are interacting with each

1613
01:32:15,080 --> 01:32:18,719
Speaker 4: other seamlessly. We have this use of the long take

1614
01:32:19,080 --> 01:32:21,600
Speaker 4: here in this scene, so there's no editing, and we

1615
01:32:21,680 --> 01:32:28,400
Speaker 4: have these ancestors, these musical ancestors, interacting. Sammy doesn't know

1616
01:32:28,439 --> 01:32:31,160
Speaker 4: he's interacting with him, but we know that he is.

1617
01:32:31,400 --> 01:32:34,080
Speaker 4: In this sequence and the way the music and the

1618
01:32:34,120 --> 01:32:38,479
Speaker 4: sound design and the camera all start to swirl together

1619
01:32:39,520 --> 01:32:42,840
Speaker 4: and it culminates in literally blowing the roof off of

1620
01:32:42,880 --> 01:32:46,719
Speaker 4: the juke joint. It was one of those moments we said,

1621
01:32:46,720 --> 01:32:49,519
Speaker 4: I remember when we reviewed it, you knew, you knew then.

1622
01:32:49,720 --> 01:32:52,640
Speaker 4: This felt important, This felt like one of the This

1623
01:32:52,720 --> 01:32:54,439
Speaker 4: had to be one of the scenes of the year

1624
01:32:54,720 --> 01:32:56,720
Speaker 4: at the time. And the reason why is because it's

1625
01:32:56,760 --> 01:33:01,880
Speaker 4: a showcase for Bravura filmmaking. But it's that, and it

1626
01:33:02,000 --> 01:33:05,679
Speaker 4: encompasses and expresses some of the most potent ideas even

1627
01:33:05,720 --> 01:33:07,240
Speaker 4: at that point in the film. It comes I think

1628
01:33:07,280 --> 01:33:10,720
Speaker 4: at about the halfway point. You know, it's expressing those

1629
01:33:10,760 --> 01:33:14,479
Speaker 4: potent ideas that the film is exploring the ownership of

1630
01:33:14,520 --> 01:33:20,400
Speaker 4: black culture and identity in particular, and it's one of

1631
01:33:20,439 --> 01:33:23,400
Speaker 4: those defining scenes in one of the defining movies of

1632
01:33:23,439 --> 01:33:26,519
Speaker 4: the year. And with that in mind, it had to

1633
01:33:26,560 --> 01:33:30,400
Speaker 4: be for me the music moment of the year. And

1634
01:33:30,439 --> 01:33:32,960
Speaker 4: that's true, Josh, despite the fact I will say this,

1635
01:33:33,880 --> 01:33:36,920
Speaker 4: despite the fact that I do wish I do wish

1636
01:33:37,000 --> 01:33:41,320
Speaker 4: that Googler didn't repeat Annie's narration from the opening of

1637
01:33:41,360 --> 01:33:46,479
Speaker 4: the movie. We hear her voice over again, and I

1638
01:33:46,560 --> 01:33:48,880
Speaker 4: wish that that was something that we as viewers just

1639
01:33:48,920 --> 01:33:51,320
Speaker 4: got to piece together for ourselves from the beginning of

1640
01:33:51,320 --> 01:33:53,559
Speaker 4: the film to that moment, rather than needing it to

1641
01:33:53,640 --> 01:33:59,280
Speaker 4: remind us. But that is a small quibble with a moment.

1642
01:33:59,320 --> 01:34:01,920
Speaker 4: Otherwise it is mind blowing.

1643
01:34:02,880 --> 01:34:06,360
Speaker 1: Yeah, you know, it's willingness to trust your audience to

1644
01:34:06,439 --> 01:34:09,320
Speaker 1: not double up on that. But one of the amazing

1645
01:34:09,360 --> 01:34:11,960
Speaker 1: things about this just I remember watching it, and it's

1646
01:34:12,360 --> 01:34:15,679
Speaker 1: the ability to sustain it because you pick up fairly

1647
01:34:15,720 --> 01:34:20,639
Speaker 1: early on. Oh, I see what he's going to try

1648
01:34:20,640 --> 01:34:24,040
Speaker 1: to do here, you know, and then it keeps going

1649
01:34:24,360 --> 01:34:28,200
Speaker 1: and it keeps getting more interesting. Yes, and it doesn't

1650
01:34:28,720 --> 01:34:32,840
Speaker 1: lose itself in trying to pull off the quote unquote trick.

1651
01:34:33,000 --> 01:34:33,200
Speaker 4: You know.

1652
01:34:33,240 --> 01:34:36,519
Speaker 1: It's this, it's of a hole, the pieces of a whole.

1653
01:34:36,640 --> 01:34:40,040
Speaker 1: It's a sustained movement. It works as a piece of musicality,

1654
01:34:40,760 --> 01:34:44,200
Speaker 1: and yeah, it's absolutely one of the defining moments. I'm

1655
01:34:44,240 --> 01:34:47,519
Speaker 1: glad glad we could market here on our rap party show.

1656
01:34:47,840 --> 01:34:50,840
Speaker 4: That was a great transition because we have to now

1657
01:34:50,880 --> 01:34:52,880
Speaker 4: get to our scenes of the year. We just said

1658
01:34:52,880 --> 01:34:55,360
Speaker 4: this was a perfect candidate for it. But really, when

1659
01:34:55,400 --> 01:34:58,240
Speaker 4: you have four other categories and all of these honorable

1660
01:34:58,280 --> 01:35:02,120
Speaker 4: mentions and runners up and choices, they're all scenes of

1661
01:35:02,160 --> 01:35:05,840
Speaker 4: the year, essentially among your favorite scenes of the year,

1662
01:35:05,920 --> 01:35:09,280
Speaker 4: and yet we are giving ourselves the task of picking

1663
01:35:09,360 --> 01:35:12,560
Speaker 4: out just one or two or a few more actual

1664
01:35:12,960 --> 01:35:16,920
Speaker 4: scenes of the year. So how did it play out

1665
01:35:16,920 --> 01:35:18,320
Speaker 4: for you, Josh?

1666
01:35:18,560 --> 01:35:21,120
Speaker 1: It played out pretty easy when it came down to it.

1667
01:35:21,160 --> 01:35:23,599
Speaker 1: And I'm going to keep my honorable mentions quick because

1668
01:35:23,600 --> 01:35:26,479
Speaker 1: I have a lot to say about my actual pick.

1669
01:35:26,640 --> 01:35:32,799
Speaker 1: So here's three quick ones. Dinner party, black Bag, the incident.

1670
01:35:33,200 --> 01:35:35,880
Speaker 1: That's what I'm going to call this sequence in Sorry Baby.

1671
01:35:36,040 --> 01:35:41,479
Speaker 1: This is the Bravia filmmaking choices made there. And third

1672
01:35:41,520 --> 01:35:46,639
Speaker 1: one haircut in Weapons. Those who've seen it know what

1673
01:35:46,680 --> 01:35:50,000
Speaker 1: I mean, the haircut scene. My pick, though, my clear

1674
01:35:50,720 --> 01:35:53,840
Speaker 1: scene of the year for twenty twenty five is will

1675
01:35:53,880 --> 01:35:57,479
Speaker 1: You Pray for Me? From Wake Up Dead Man. I

1676
01:35:57,479 --> 01:36:00,000
Speaker 1: don't know how this came up, on the Facebook page

1677
01:36:00,080 --> 01:36:01,880
Speaker 1: you've been mentioning if it did at all, Adam, But

1678
01:36:02,000 --> 01:36:04,920
Speaker 1: I don't know if I noticed as soon as Wake

1679
01:36:04,960 --> 01:36:07,559
Speaker 1: Up dead Man started playing in theaters, then definitely when

1680
01:36:07,560 --> 01:36:09,360
Speaker 1: it hit Netflix. I don't know if I've noticed any

1681
01:36:09,400 --> 01:36:14,160
Speaker 1: other scene from last year, maybe the Sinner sequence, but

1682
01:36:14,320 --> 01:36:17,559
Speaker 1: one that is mentioned so often in reviews and on

1683
01:36:17,600 --> 01:36:22,360
Speaker 1: social media than this one. This is the mid movie

1684
01:36:22,360 --> 01:36:25,640
Speaker 1: interruption that writer director Ryan Johnson gives us in the

1685
01:36:25,760 --> 01:36:29,680
Speaker 1: latest Knives Out Mystery. It seems like too obvious of

1686
01:36:29,680 --> 01:36:32,920
Speaker 1: a pick, maybe, as we were talking about with Sinners,

1687
01:36:32,960 --> 01:36:34,200
Speaker 1: to put it here as seen of the year, but

1688
01:36:34,240 --> 01:36:35,840
Speaker 1: I'm still going to go with it because i do

1689
01:36:35,920 --> 01:36:38,200
Speaker 1: have some personal reasons for choosing it, which I'll get

1690
01:36:38,200 --> 01:36:41,480
Speaker 1: to now. At this point in the movie, Josh O'Connor's

1691
01:36:41,520 --> 01:36:44,519
Speaker 1: father Judd and Daniel Craig's Benoa Bloch they formed something

1692
01:36:44,520 --> 01:36:48,080
Speaker 1: of a Holmes and Watson bond in the movie's murder investigation,

1693
01:36:48,520 --> 01:36:51,599
Speaker 1: and they believe this phone call that father Jud's going

1694
01:36:51,640 --> 01:36:54,599
Speaker 1: to make to a construction company could help them find

1695
01:36:54,760 --> 01:36:59,120
Speaker 1: a crucial clue that might unravel the whole case. Bridget

1696
01:36:59,120 --> 01:37:02,320
Speaker 1: Everetts Louise answers the call, but she doesn't have the information.

1697
01:37:02,520 --> 01:37:06,240
Speaker 1: So Father Judd wants to quickly move on, but she

1698
01:37:06,360 --> 01:37:07,120
Speaker 1: has a request.

1699
01:37:07,520 --> 01:37:13,200
Speaker 5: Hey father something, Yeah, it's though, I mean, if you

1700
01:37:13,200 --> 01:37:15,000
Speaker 5: can make it quick, this is this is a priority

1701
01:37:15,200 --> 01:37:18,719
Speaker 5: for us.

1702
01:37:20,560 --> 01:37:20,920
Speaker 2: Louise.

1703
01:37:22,680 --> 01:37:28,160
Speaker 5: Oh God, Louise, will you pray for me?

1704
01:37:32,280 --> 01:37:32,439
Speaker 1: Uh?

1705
01:37:34,200 --> 01:37:38,439
Speaker 4: Yeah, of course? Can I ask what for?

1706
01:37:38,560 --> 01:37:42,639
Speaker 2: It's my mother?

1707
01:37:43,920 --> 01:37:47,080
Speaker 1: Will you pray for me? This stops Father Judd and

1708
01:37:47,160 --> 01:37:51,960
Speaker 1: the movie dead in their tracks, and honestly, it shocked

1709
01:37:52,000 --> 01:37:55,400
Speaker 1: me as well. I mean it shouldn't have, because this

1710
01:37:55,479 --> 01:37:59,639
Speaker 1: farnt of the movie, there was already some intriguing theological imagery,

1711
01:37:59,760 --> 01:38:02,960
Speaker 1: some conversations, so it's not like it completely came out

1712
01:38:02,960 --> 01:38:05,040
Speaker 1: of nowhere. But I didn't know until that point that

1713
01:38:05,120 --> 01:38:08,559
Speaker 1: Ryan Johnson was going to make religion, indeed theology, the

1714
01:38:08,640 --> 01:38:12,920
Speaker 1: central theme of Wake Up Dead Man. And honestly, Adam,

1715
01:38:12,960 --> 01:38:15,200
Speaker 1: I feel like he's been holding holding out on me.

1716
01:38:16,080 --> 01:38:18,479
Speaker 1: You and I have. We've interviewed him a couple of times,

1717
01:38:18,520 --> 01:38:20,840
Speaker 1: we've hung out around film spotting events. I had no

1718
01:38:20,920 --> 01:38:26,280
Speaker 1: idea he had this level of interest and thoughtfulness on

1719
01:38:26,320 --> 01:38:29,360
Speaker 1: stuff like this, and I think this prayer request moment

1720
01:38:29,400 --> 01:38:33,200
Speaker 1: is when I realized, Wow, this is really what this

1721
01:38:33,320 --> 01:38:36,040
Speaker 1: knive's out in my history is going to be about

1722
01:38:36,600 --> 01:38:39,040
Speaker 1: now just on its own terms. It is so beautifully

1723
01:38:39,040 --> 01:38:44,439
Speaker 1: written and constructed and performed. Noticing the scene, how how

1724
01:38:44,479 --> 01:38:46,960
Speaker 1: father Judd, you know, when he initially wants to move

1725
01:38:47,000 --> 01:38:48,920
Speaker 1: on from Louise, he says, if you can make it

1726
01:38:49,000 --> 01:38:51,920
Speaker 1: quick when she asks, can I ask you something? And

1727
01:38:51,920 --> 01:38:54,200
Speaker 1: then we even get this sense of Block's presence in

1728
01:38:54,240 --> 01:38:56,639
Speaker 1: the room. He's waving his hand at Judd, you know, like,

1729
01:38:56,960 --> 01:38:58,679
Speaker 1: and I think we hear him say something like maybe

1730
01:38:58,680 --> 01:39:00,439
Speaker 1: she can call you back, you know, like of her,

1731
01:39:00,439 --> 01:39:02,120
Speaker 1: get rid of her. Both of them are so eager

1732
01:39:02,600 --> 01:39:05,120
Speaker 1: to move on when she hasn't been proven to have

1733
01:39:05,240 --> 01:39:09,280
Speaker 1: the clue. And then when Louise unburdens herself, it dawns

1734
01:39:09,320 --> 01:39:12,439
Speaker 1: on father Judd that this is his place, this is

1735
01:39:12,479 --> 01:39:17,120
Speaker 1: what he was called for. Andy responds, The downshift in

1736
01:39:17,360 --> 01:39:21,799
Speaker 1: energy here is astonishing. I don't know of another movie

1737
01:39:21,840 --> 01:39:25,720
Speaker 1: that functions in exactly the same way, the downshift and

1738
01:39:26,439 --> 01:39:32,040
Speaker 1: energy and performance in camera work. Judd slowly goes into

1739
01:39:32,080 --> 01:39:34,479
Speaker 1: the other room. He gently closes the door on Bloc

1740
01:39:34,560 --> 01:39:38,559
Speaker 1: to take the call in private, and then Johnson cuts

1741
01:39:39,000 --> 01:39:41,479
Speaker 1: to the room that Blanc is still in and we

1742
01:39:41,520 --> 01:39:44,200
Speaker 1: see it's dark out now it's been raining to show

1743
01:39:44,200 --> 01:39:45,920
Speaker 1: that Jud's been on the call for a long time

1744
01:39:45,960 --> 01:39:50,000
Speaker 1: and Blanc's been impatiently waiting. It's as if the silly

1745
01:39:50,040 --> 01:39:53,439
Speaker 1: world has stopped spinning for a moment and we've become

1746
01:39:53,479 --> 01:39:56,240
Speaker 1: attuned to what matters being there for someone in distress,

1747
01:39:56,800 --> 01:39:59,559
Speaker 1: and in this case, it's something as every day but

1748
01:39:59,600 --> 01:40:03,720
Speaker 1: also as overwhelming as an ailing mother and a fraud relationship,

1749
01:40:03,720 --> 01:40:06,479
Speaker 1: which is what Louise describes. And I do want to

1750
01:40:06,520 --> 01:40:09,920
Speaker 1: call out Bridget Everett's performance here too. Johnson doesn't cut

1751
01:40:09,920 --> 01:40:13,320
Speaker 1: to her face until Louise starts breaking down about the

1752
01:40:13,360 --> 01:40:15,759
Speaker 1: fight with her mother. Before that, we just hear her voice,

1753
01:40:16,360 --> 01:40:18,840
Speaker 1: But when the camera finds her, Everett just steps up

1754
01:40:18,880 --> 01:40:20,800
Speaker 1: to the plate and hits it out of the park.

1755
01:40:21,720 --> 01:40:22,040
Speaker 3: Father.

1756
01:40:22,120 --> 01:40:34,559
Speaker 2: I I'm feeling pretty alone right now. I'm so sorry, Louis,

1757
01:40:36,240 --> 01:40:37,280
Speaker 2: You're not alone.

1758
01:40:39,040 --> 01:40:39,800
Speaker 4: I'm right here.

1759
01:40:41,160 --> 01:40:46,000
Speaker 1: I'm here. There's a meta element here too. Everett starred

1760
01:40:46,000 --> 01:40:49,559
Speaker 1: in the recent HBO series Somebody Somewhere, and I only

1761
01:40:49,560 --> 01:40:51,439
Speaker 1: saw a few episodes of it, kind of watched it

1762
01:40:51,479 --> 01:40:54,559
Speaker 1: over Debbie's shoulder because she watched the whole thing, and

1763
01:40:54,600 --> 01:40:56,880
Speaker 1: I know from that that that series offered the same

1764
01:40:56,920 --> 01:41:00,120
Speaker 1: sort of honest portrait of complicated faith in America that

1765
01:41:00,120 --> 01:41:03,200
Speaker 1: that I think Johnson is exploring here with Wake Up

1766
01:41:03,240 --> 01:41:06,799
Speaker 1: dead Man. So the casting is perfect on every front.

1767
01:41:07,600 --> 01:41:10,040
Speaker 1: And I want to share a comment here from Devin

1768
01:41:10,160 --> 01:41:14,760
Speaker 1: super actually on Everett's performance. He shared this with our

1769
01:41:14,800 --> 01:41:17,479
Speaker 1: scenestealer pole that we put out a while back. I

1770
01:41:17,520 --> 01:41:19,680
Speaker 1: want to throw my weight behind Bridget Everett and Wake

1771
01:41:19,760 --> 01:41:21,519
Speaker 1: Up dead Man. I was on board with the movie

1772
01:41:21,520 --> 01:41:24,840
Speaker 1: before she showed up, but she instantly grabs attention and

1773
01:41:24,920 --> 01:41:28,160
Speaker 1: reveals the film's beating heart. It's a small demonstration of

1774
01:41:28,160 --> 01:41:30,759
Speaker 1: what she does so well on HBO somebody somewhere, pivoting

1775
01:41:30,760 --> 01:41:35,599
Speaker 1: from broad comedy to heart wrenching drama without breaking a sweat. Honestly,

1776
01:41:36,160 --> 01:41:39,120
Speaker 1: it's miraculous. All right. So I'm almost done here. But

1777
01:41:39,160 --> 01:41:42,479
Speaker 1: here's why I had to elevate this scene I had

1778
01:41:42,600 --> 01:41:44,920
Speaker 1: initially when I first watched the movie, Adam, I thought, oh,

1779
01:41:45,000 --> 01:41:48,040
Speaker 1: most moving moment, this is it, And then watch the

1780
01:41:48,080 --> 01:41:51,280
Speaker 1: movie again, thought about it some more, and yeah, scene

1781
01:41:51,320 --> 01:41:55,880
Speaker 1: of the year one year ago. So last January, I was,

1782
01:41:56,439 --> 01:41:58,960
Speaker 1: like so many of us here in the US, facing

1783
01:41:58,960 --> 01:42:02,040
Speaker 1: the prospect of another administration, and I posted something on

1784
01:42:02,120 --> 01:42:05,160
Speaker 1: social media, more of a reminder to myself, just thinking

1785
01:42:05,200 --> 01:42:08,040
Speaker 1: about the year ahead than anything else. I just said,

1786
01:42:08,080 --> 01:42:11,480
Speaker 1: what will your resistance look like? I will not become complacent,

1787
01:42:12,080 --> 01:42:14,760
Speaker 1: but I will also not become consumed, and I'll do

1788
01:42:14,800 --> 01:42:17,240
Speaker 1: what I can in my local context to do justice,

1789
01:42:17,280 --> 01:42:20,920
Speaker 1: love kindness, and walk humbly. It was a struggle to

1790
01:42:21,040 --> 01:42:24,760
Speaker 1: do that in twenty twenty five, especially especially to not

1791
01:42:24,840 --> 01:42:27,920
Speaker 1: be consumed, and especially as the year war on and

1792
01:42:27,960 --> 01:42:30,760
Speaker 1: the cruelty violence from the White House became worse than

1793
01:42:31,120 --> 01:42:33,439
Speaker 1: even I could have imagined. And I'm a pessimist on

1794
01:42:33,520 --> 01:42:37,640
Speaker 1: these things, believe me. Then this scene came around in

1795
01:42:37,720 --> 01:42:39,559
Speaker 1: Wake Up Dead Man, and it came to me, and

1796
01:42:39,600 --> 01:42:41,839
Speaker 1: it reminded me of that pledge I made to myself,

1797
01:42:42,560 --> 01:42:45,120
Speaker 1: you know, like Judge Judd, that I need to be

1798
01:42:45,320 --> 01:42:48,280
Speaker 1: to be snapped out of my misplaced fervor in cases

1799
01:42:48,320 --> 01:42:52,559
Speaker 1: and just reoriented toward toward ways I'm best suited to

1800
01:42:52,680 --> 01:42:57,479
Speaker 1: help hold out against despair. It's safe to say there's

1801
01:42:57,479 --> 01:42:59,719
Speaker 1: more to spare now the start of twenty twenty six,

1802
01:43:00,160 --> 01:43:02,120
Speaker 1: that there was a start twenty twenty five. Pick your

1803
01:43:02,120 --> 01:43:05,760
Speaker 1: outrageous abuse, But I think I'm going to keep the

1804
01:43:05,880 --> 01:43:07,880
Speaker 1: scene in mind and keep it in the back of

1805
01:43:07,880 --> 01:43:10,559
Speaker 1: my pocket and think about, you know, as long as

1806
01:43:10,560 --> 01:43:13,160
Speaker 1: I remember to take the call when it comes from

1807
01:43:13,200 --> 01:43:15,680
Speaker 1: someone else or I don't know, trust someone will be

1808
01:43:15,720 --> 01:43:18,240
Speaker 1: there to take my call at some point, that we

1809
01:43:18,320 --> 01:43:21,040
Speaker 1: might actually be okay. So this is kind of a

1810
01:43:21,080 --> 01:43:22,519
Speaker 1: scene that was a scene of the year, the scene

1811
01:43:22,560 --> 01:43:25,439
Speaker 1: that I needed, which is why I had to have

1812
01:43:25,479 --> 01:43:28,200
Speaker 1: it as my last and final pick. Will you Pray

1813
01:43:28,240 --> 01:43:29,639
Speaker 1: for Me? From Wake Up Dead Man?

1814
01:43:31,080 --> 01:43:35,000
Speaker 4: Wonderful choice, and it will be interesting to see just

1815
01:43:35,280 --> 01:43:39,160
Speaker 4: how closely the two of us are aligned when we

1816
01:43:39,200 --> 01:43:41,320
Speaker 4: get to my choice here in a moment. And about

1817
01:43:41,360 --> 01:43:45,439
Speaker 4: that scene, which I agree is a very startling scene

1818
01:43:45,479 --> 01:43:50,280
Speaker 4: and a moving scene. What is so startling about it

1819
01:43:50,360 --> 01:43:54,679
Speaker 4: is not that you doubt ever or I don't doubt

1820
01:43:54,720 --> 01:43:59,920
Speaker 4: Ryan Johnson's intelligence or thoughtfulness as a filmmaker, but even

1821
01:44:00,160 --> 01:44:03,000
Speaker 4: within the context of this movie, that's when you realize

1822
01:44:03,320 --> 01:44:07,400
Speaker 4: his full conviction on this topic and the full conviction

1823
01:44:07,479 --> 01:44:10,880
Speaker 4: of his thoughtfulness on this topic, and that this this

1824
01:44:11,000 --> 01:44:14,439
Speaker 4: isn't going to be a punchline, and religion here certainly

1825
01:44:14,520 --> 01:44:17,000
Speaker 4: isn't going to be a punchline. But it's also where

1826
01:44:17,080 --> 01:44:21,080
Speaker 4: you understand the conviction of Father jud not that you

1827
01:44:21,240 --> 01:44:23,880
Speaker 4: doubt him at this point in the movie. I think

1828
01:44:23,920 --> 01:44:28,439
Speaker 4: we do understand that he is fundamentally a man of

1829
01:44:29,160 --> 01:44:32,719
Speaker 4: action over words, that he is a man of deed,

1830
01:44:32,800 --> 01:44:36,639
Speaker 4: that he understands his calling. But that is the scene

1831
01:44:36,680 --> 01:44:41,160
Speaker 4: where we absolutely there's no there's no denying it. There's

1832
01:44:41,200 --> 01:44:44,200
Speaker 4: no way you could you could ever question it after

1833
01:44:44,760 --> 01:44:48,280
Speaker 4: this moment. There's certainly no no way that Benoi Blanc

1834
01:44:48,560 --> 01:44:50,920
Speaker 4: could ever question. I think it's a transformative scene for

1835
01:44:50,960 --> 01:44:53,840
Speaker 4: his character as well, observing Father Judd.

1836
01:44:54,320 --> 01:44:56,639
Speaker 1: That's a good point. Yeah, And you know, and Judd

1837
01:44:56,720 --> 01:44:59,240
Speaker 1: himself discovers it. That's part of the wonder of the scene,

1838
01:44:59,360 --> 01:45:01,840
Speaker 1: is like it's it's something that you know he had

1839
01:45:01,880 --> 01:45:03,920
Speaker 1: to be jolted towards. But yeah, I like your note

1840
01:45:03,920 --> 01:45:06,559
Speaker 1: about Blanc too, because I think it's true we see

1841
01:45:06,560 --> 01:45:08,040
Speaker 1: that in his response as well.

1842
01:45:08,800 --> 01:45:11,120
Speaker 4: You mentioned the dinner party in Black Bag. I'm going

1843
01:45:11,200 --> 01:45:14,800
Speaker 4: to mention the polygraph scene in Black Bag, which is

1844
01:45:14,840 --> 01:45:20,840
Speaker 4: my favorite from that film. It's very hard to not

1845
01:45:21,439 --> 01:45:25,280
Speaker 4: single out something from one battle after another, I know,

1846
01:45:25,520 --> 01:45:27,240
Speaker 4: the film of the year, especially when it was my

1847
01:45:27,320 --> 01:45:30,000
Speaker 4: number two and the number one for you and Alison

1848
01:45:30,040 --> 01:45:32,080
Speaker 4: and Michael. But I did say this to you and

1849
01:45:32,160 --> 01:45:35,760
Speaker 4: Sam via Slack. In terms of scenes of the year,

1850
01:45:35,840 --> 01:45:39,479
Speaker 4: I really consider moments. They aren't moments moments like the

1851
01:45:39,600 --> 01:45:44,720
Speaker 4: chase the underground railroad, They're sequences. I can't pinpoint those

1852
01:45:44,760 --> 01:45:48,120
Speaker 4: downs down two scenes now, that said our friend Mariah

1853
01:45:48,120 --> 01:45:52,479
Speaker 4: Gates on the film Spotting facebook page said, in answer

1854
01:45:52,520 --> 01:45:55,679
Speaker 4: to the prompt about scene of the year, Benicio keeping

1855
01:45:55,720 --> 01:45:58,880
Speaker 4: is cool as he runs his Latino Harriet Tubman escape

1856
01:45:58,880 --> 01:46:02,040
Speaker 4: for his community members while simultaneously helping Leo as he

1857
01:46:02,080 --> 01:46:05,200
Speaker 4: flails about trying to contact the French seventy five. If

1858
01:46:05,200 --> 01:46:07,160
Speaker 4: I had to narrow it down to just a portion

1859
01:46:07,280 --> 01:46:09,880
Speaker 4: of that, it would be something in that hallway as

1860
01:46:09,920 --> 01:46:13,120
Speaker 4: he is navigating that, and the and the the calmness

1861
01:46:13,400 --> 01:46:16,200
Speaker 4: with which he does that. I do think that that

1862
01:46:16,439 --> 01:46:20,320
Speaker 4: sequence is maybe the filmmaking sequence of the year.

1863
01:46:20,840 --> 01:46:22,920
Speaker 1: And you know what that's and that's the one I'm

1864
01:46:22,920 --> 01:46:25,160
Speaker 1: going to carry in my other back pocket to get you.

1865
01:46:26,680 --> 01:46:31,240
Speaker 1: I need you, brother s, s s, please courage, Bob Carriage,

1866
01:46:32,200 --> 01:46:32,479
Speaker 1: It's it.

1867
01:46:34,600 --> 01:46:41,880
Speaker 4: Court. Yeah, thank you, Hey, thank you, since thank you, Sinse,

1868
01:46:42,040 --> 01:46:48,960
Speaker 4: thank you God, damn it. I want to get to

1869
01:46:50,280 --> 01:46:52,519
Speaker 4: my very brief I'm just going to list it my

1870
01:46:52,600 --> 01:46:54,599
Speaker 4: runner up and then I'm going to get to where

1871
01:46:55,120 --> 01:46:58,120
Speaker 4: we really are connected on my pick for Scene of

1872
01:46:58,120 --> 01:47:00,280
Speaker 4: the Year, and so I'm going to I'm going to

1873
01:47:00,280 --> 01:47:03,599
Speaker 4: breeze past this one because we don't see it. Turns out,

1874
01:47:03,640 --> 01:47:05,880
Speaker 4: after reading your letterbox review, we don't see eye to

1875
01:47:05,920 --> 01:47:08,920
Speaker 4: eye on this movie, even though I would love and

1876
01:47:08,960 --> 01:47:12,320
Speaker 4: we're we're long enough into this show that that I

1877
01:47:12,320 --> 01:47:14,479
Speaker 4: don't think we need to get into it. But for

1878
01:47:14,560 --> 01:47:17,280
Speaker 4: people who have seen it, and I think you, you,

1879
01:47:17,400 --> 01:47:20,160
Speaker 4: even Josh, even though we see this movie differently and

1880
01:47:20,200 --> 01:47:24,320
Speaker 4: we see this scene differently, I think when I say it,

1881
01:47:24,400 --> 01:47:27,920
Speaker 4: you'll understand. You you probably do understand why. I see

1882
01:47:27,920 --> 01:47:31,760
Speaker 4: this moment as a fascinating one from the year, and

1883
01:47:31,800 --> 01:47:35,879
Speaker 4: it's from the documentary Predators, one of our Golden Brick nominees,

1884
01:47:35,920 --> 01:47:39,880
Speaker 4: and it's it's specifically the moment though it's the it's

1885
01:47:39,920 --> 01:47:43,879
Speaker 4: the ending of a of a scene that is crucial,

1886
01:47:44,720 --> 01:47:48,760
Speaker 4: and the context is crucial, but it's it's the line

1887
01:47:48,840 --> 01:47:52,680
Speaker 4: delivery when this character who is a character, a man

1888
01:47:52,720 --> 01:47:56,880
Speaker 4: who is playing the role of a Chris Hansen impersonator

1889
01:47:56,960 --> 01:48:01,200
Speaker 4: essentially on the Internet, a YouTube creation who calls himself

1890
01:48:01,240 --> 01:48:05,719
Speaker 4: Skeet Hanson, who, like Chris Hansen, he and his crew

1891
01:48:05,760 --> 01:48:10,040
Speaker 4: do actual legitimate work of catching predators, setting up these

1892
01:48:10,040 --> 01:48:14,080
Speaker 4: sting operations. And in the movie Predators, we see as

1893
01:48:14,479 --> 01:48:16,680
Speaker 4: they set up a sting, they get a man. I

1894
01:48:16,680 --> 01:48:18,280
Speaker 4: think he's a younger man. It's been a long time

1895
01:48:18,280 --> 01:48:21,200
Speaker 4: since I've seen it, but someone in his twenties maybe,

1896
01:48:21,400 --> 01:48:25,800
Speaker 4: who shows up at this motel room. And the thing

1897
01:48:25,840 --> 01:48:28,680
Speaker 4: about this scene is that the police don't show up

1898
01:48:28,720 --> 01:48:33,120
Speaker 4: right away, so then things get really messy. The humanity

1899
01:48:33,160 --> 01:48:36,320
Speaker 4: that's on display gets really messy, messy enough that even

1900
01:48:36,360 --> 01:48:40,280
Speaker 4: Skeet Hanson has to confront the messiness. And by the

1901
01:48:40,400 --> 01:48:45,560
Speaker 4: end of the scene he still has to Josh apparently

1902
01:48:46,439 --> 01:48:51,080
Speaker 4: deliver for himself and for his viewers and get the

1903
01:48:51,120 --> 01:48:54,559
Speaker 4: click and get the video. And he still has to

1904
01:48:54,600 --> 01:48:59,879
Speaker 4: deliver his catchphrase. He has to say, you've just been skeated,

1905
01:49:00,640 --> 01:49:03,600
Speaker 4: except he can't say it. He can't deliver it with

1906
01:49:03,720 --> 01:49:06,400
Speaker 4: the gusto that he normally says it because he just

1907
01:49:06,680 --> 01:49:09,000
Speaker 4: he can't even bring himself to do it. He can't

1908
01:49:09,000 --> 01:49:12,440
Speaker 4: get fully into character. And that that half hearted delivery

1909
01:49:12,840 --> 01:49:16,400
Speaker 4: and the blank stare with which he says it as

1910
01:49:16,400 --> 01:49:20,320
Speaker 4: he obliges himself and his audience that that, for me

1911
01:49:20,439 --> 01:49:23,360
Speaker 4: is the movie that that's the movie in a nutshell?

1912
01:49:23,960 --> 01:49:28,440
Speaker 4: Is that that that kind of despair and that conundrum

1913
01:49:28,760 --> 01:49:30,880
Speaker 4: and and so I think I think there's a lot

1914
01:49:30,960 --> 01:49:35,720
Speaker 4: going on in that You've just been skeeded line line delivery.

1915
01:49:35,960 --> 01:49:37,920
Speaker 4: And maybe we'll just leave it there that that's my

1916
01:49:38,000 --> 01:49:40,479
Speaker 4: last honorable mention unless you want want to get into

1917
01:49:40,479 --> 01:49:42,000
Speaker 4: any conversation about that movie.

1918
01:49:41,880 --> 01:49:45,439
Speaker 1: Josh, Yeah, we need to discuss Predators at some point.

1919
01:49:45,520 --> 01:49:49,040
Speaker 1: We've we've kind of very briefly done it on my

1920
01:49:49,160 --> 01:49:52,360
Speaker 1: letterboxed review. But yeah, I know you have a lot

1921
01:49:52,400 --> 01:49:55,439
Speaker 1: more thoughts on it, and I don't know what context

1922
01:49:55,439 --> 01:49:57,519
Speaker 1: will be able to do that. Maybe it'll just have

1923
01:49:57,600 --> 01:49:58,880
Speaker 1: to be offline with each other.

1924
01:49:59,760 --> 01:50:02,519
Speaker 4: May so my runner up this would be very brief

1925
01:50:02,560 --> 01:50:04,600
Speaker 4: because I'm literally just going to say one word. This

1926
01:50:04,680 --> 01:50:06,360
Speaker 4: is a case where I don't want to spoil it

1927
01:50:06,400 --> 01:50:09,200
Speaker 4: for people who may still be catching up with the movie.

1928
01:50:09,240 --> 01:50:11,559
Speaker 4: I named my number one film of the year. Yes,

1929
01:50:11,600 --> 01:50:15,519
Speaker 4: actually just ahead of one battle after another from it

1930
01:50:15,600 --> 01:50:17,960
Speaker 4: was just an accident. Jafar Panahi I'm just going to

1931
01:50:18,000 --> 01:50:22,439
Speaker 4: say footsteps, and I'm going to leave it there. My winner,

1932
01:50:23,439 --> 01:50:27,479
Speaker 4: my scene of the Year. And I do want to

1933
01:50:27,520 --> 01:50:34,040
Speaker 4: stress to people, and I hope people by now, especially

1934
01:50:34,040 --> 01:50:36,000
Speaker 4: people who have listened to the show for a while,

1935
01:50:37,320 --> 01:50:40,840
Speaker 4: believe and understand our sincerity and our conviction Josh that

1936
01:50:40,880 --> 01:50:44,479
Speaker 4: this isn't remotely by design, but it is fitting that

1937
01:50:44,520 --> 01:50:48,200
Speaker 4: as we close out our twentieth year of doing this show,

1938
01:50:48,920 --> 01:50:51,320
Speaker 4: a year in which we were able to celebrate that

1939
01:50:51,439 --> 01:50:56,240
Speaker 4: anniversary with Film Spotting Fest, an amazing opportunity to get

1940
01:50:56,280 --> 01:50:59,560
Speaker 4: together with our community of listeners, an event. There was

1941
01:50:59,600 --> 01:51:04,800
Speaker 4: headline by Koganata and by Ryan Johnson that we ended

1942
01:51:04,880 --> 01:51:10,720
Speaker 4: up being each so captivated by and really, I don't

1943
01:51:10,760 --> 01:51:12,960
Speaker 4: know what better word to use by moments that were

1944
01:51:12,960 --> 01:51:18,360
Speaker 4: so provocative to us emotionally, intellectually different moments, but different

1945
01:51:18,360 --> 01:51:21,639
Speaker 4: moments from the same movie, and they even made us

1946
01:51:21,680 --> 01:51:25,640
Speaker 4: think along similar lines. And the movie is Wake Up

1947
01:51:25,680 --> 01:51:31,599
Speaker 4: Dead Man. My moment though, and spoilers, I'm throwing out

1948
01:51:31,600 --> 01:51:35,479
Speaker 4: the spoilers. If you haven't seen it, you need to stop.

1949
01:51:36,120 --> 01:51:38,160
Speaker 4: You need to go watch Wake Up Dead Man. If

1950
01:51:38,200 --> 01:51:42,200
Speaker 4: you have not seen it yet, it's on Netflix. During

1951
01:51:42,600 --> 01:51:46,960
Speaker 4: our review I said that I was surprised. The moment

1952
01:51:47,000 --> 01:51:50,000
Speaker 4: I'm going with is I'm calling it absolution. It's the

1953
01:51:50,040 --> 01:51:55,679
Speaker 4: confession scene. It's Martha Glenn Close her confession scene. She's

1954
01:51:55,680 --> 01:51:59,960
Speaker 4: in the arms of father Judd and confessing her role

1955
01:52:00,160 --> 01:52:03,719
Speaker 4: in three deaths that she is confessing to in this moment.

1956
01:52:04,400 --> 01:52:06,519
Speaker 4: And I said during the review that I didn't expect

1957
01:52:06,560 --> 01:52:09,600
Speaker 4: to feel so moved during a murderer's confession in it

1958
01:52:09,640 --> 01:52:12,280
Speaker 4: who done it? And I want to be clear, I

1959
01:52:12,320 --> 01:52:16,160
Speaker 4: do feel some compassion for Martha there in her dying moments,

1960
01:52:16,640 --> 01:52:19,240
Speaker 4: despite all of the evil she's done, because she has

1961
01:52:19,320 --> 01:52:23,519
Speaker 4: confessed it and she's doing it with such clarity. But

1962
01:52:24,080 --> 01:52:27,960
Speaker 4: that isn't really what I was trying to describe, or

1963
01:52:28,000 --> 01:52:32,640
Speaker 4: saying I was moved is barely sufficient because it is

1964
01:52:32,640 --> 01:52:36,479
Speaker 4: a lot more than that. And I could even pinpoint

1965
01:52:36,479 --> 01:52:41,679
Speaker 4: it down to a specific moment within this scene where

1966
01:52:42,520 --> 01:52:44,760
Speaker 4: you know how we say or people sometimes use that

1967
01:52:44,800 --> 01:52:50,320
Speaker 4: cliche they say I got chills or it gives me chills. No,

1968
01:52:50,400 --> 01:52:54,400
Speaker 4: I mean I actually got chills. I actually got a

1969
01:52:54,520 --> 01:52:57,639
Speaker 4: chill watching it for the first time, and every single

1970
01:52:57,680 --> 01:53:00,160
Speaker 4: time I've watched it since. Josh pulling the scene for

1971
01:53:00,840 --> 01:53:04,479
Speaker 4: this show and rewatching it and preparing my thoughts on it,

1972
01:53:04,960 --> 01:53:08,240
Speaker 4: I get that same little I don't know what other

1973
01:53:08,280 --> 01:53:12,240
Speaker 4: word to describe it other than a chill watching this scene.

1974
01:53:12,320 --> 01:53:15,040
Speaker 4: And it's the kind of chill you get where you're

1975
01:53:15,120 --> 01:53:20,040
Speaker 4: marveling at how something all comes together when an artistic

1976
01:53:20,120 --> 01:53:24,479
Speaker 4: moment all comes together, emotionally, intellectually, the filmmaking, the acting,

1977
01:53:24,720 --> 01:53:28,880
Speaker 4: it's just all there. She's confessing her sins, She's going

1978
01:53:28,920 --> 01:53:32,000
Speaker 4: to her death. I don't know what Father Judd is

1979
01:53:32,040 --> 01:53:36,320
Speaker 4: going to say, but my only thought is that he's

1980
01:53:36,400 --> 01:53:38,760
Speaker 4: going to comfort her. Right, He's there to comfort her.

1981
01:53:38,800 --> 01:53:41,200
Speaker 4: That's his role there in this moment, and so we're

1982
01:53:41,200 --> 01:53:45,640
Speaker 4: going to get this lovely, redemptive moment where she receives

1983
01:53:45,920 --> 01:53:50,240
Speaker 4: grace despite all that she's done. The last thing that

1984
01:53:50,320 --> 01:53:54,559
Speaker 4: I imagine him doing is challenging her. He's not going

1985
01:53:54,600 --> 01:53:57,639
Speaker 4: to do that. That's never going to happen. You said something,

1986
01:53:57,840 --> 01:54:02,439
Speaker 4: Josh talking about your scene about feeling shocked even though

1987
01:54:02,479 --> 01:54:06,640
Speaker 4: you shouldn't, and I'll use the word surprise. This is

1988
01:54:06,680 --> 01:54:09,759
Speaker 4: the first surprise for me. What does he say after

1989
01:54:09,800 --> 01:54:11,680
Speaker 4: she rattles off the names of all the men who

1990
01:54:11,760 --> 01:54:17,920
Speaker 4: have died because of her, he says, and Grace, he asks,

1991
01:54:18,080 --> 01:54:21,360
Speaker 4: except it's not a question, he goes there. He is

1992
01:54:22,120 --> 01:54:26,720
Speaker 4: going to force her to confront her role in Grace's

1993
01:54:27,000 --> 01:54:30,800
Speaker 4: tragic downfall on her deathbed as she's confessing her sins.

1994
01:54:31,120 --> 01:54:35,080
Speaker 4: That's surprise number one. Surprise number two, this is the

1995
01:54:35,080 --> 01:54:38,840
Speaker 4: moment that really gets me. Glenn Close's response. Honestly, the

1996
01:54:38,840 --> 01:54:41,440
Speaker 4: fact that I left her off my favorite supporting performances

1997
01:54:41,480 --> 01:54:46,160
Speaker 4: of the year is criminal. Her face, her immediate resistance,

1998
01:54:48,120 --> 01:54:51,280
Speaker 4: not that the reaction is surprising for her character, but

1999
01:54:51,320 --> 01:54:55,760
Speaker 4: the portrayal of it, the actual acting. The reaction is

2000
01:54:56,560 --> 01:54:59,880
Speaker 4: such an expression of hatred and anger. The way she

2001
01:55:00,200 --> 01:55:05,680
Speaker 4: hardens and clenches is just a kick. And he tells

2002
01:55:05,680 --> 01:55:08,160
Speaker 4: her to let it go. And that's then. Surprise number

2003
01:55:08,160 --> 01:55:12,480
Speaker 4: three is watching Martha soften and say and this is

2004
01:55:12,520 --> 01:55:14,920
Speaker 4: all happening in a matter of like ten seconds, right,

2005
01:55:15,080 --> 01:55:18,000
Speaker 4: That's the beauty of it. Three surprises like this, Three

2006
01:55:18,040 --> 01:55:21,320
Speaker 4: little revelations in ten to fifteen seconds of screen time,

2007
01:55:21,800 --> 01:55:25,000
Speaker 4: her softening and saying, yes, I see it now, that

2008
01:55:25,120 --> 01:55:30,440
Speaker 4: poor girl, and asking for forgiveness for Grace, Grace.

2009
01:55:31,600 --> 01:55:35,640
Speaker 2: I've seen it now forgive me, Chris.

2010
01:55:37,280 --> 01:55:40,720
Speaker 4: I understand the confession. I understand what it's supposed to be,

2011
01:55:41,280 --> 01:55:43,360
Speaker 4: and I think it is and what I don't think

2012
01:55:43,440 --> 01:55:46,960
Speaker 4: it usually is. But I think what we see here

2013
01:55:47,080 --> 01:55:49,280
Speaker 4: is what it is supposed to be, Josh, It's not

2014
01:55:49,360 --> 01:55:52,280
Speaker 4: supposed to be what it usually is, which is I

2015
01:55:52,320 --> 01:55:55,520
Speaker 4: did these bad things, and here I'm admitting them. So

2016
01:55:55,600 --> 01:55:58,400
Speaker 4: tell me what penance I should serve, and then I'll

2017
01:55:58,400 --> 01:56:01,320
Speaker 4: be absolved of those. The priest is there to be

2018
01:56:01,360 --> 01:56:05,120
Speaker 4: a mediator. He's supposed to be an instrument of God's mercy.

2019
01:56:05,880 --> 01:56:11,880
Speaker 4: It's called the sacrament of reconciliation. It's an opportunity for healing,

2020
01:56:13,480 --> 01:56:17,680
Speaker 4: and even in a moment like this, it's a moment

2021
01:56:17,720 --> 01:56:22,400
Speaker 4: of guidance. And that is as I said, that's what

2022
01:56:22,440 --> 01:56:25,840
Speaker 4: I think we actually get in these fleeting moments. And

2023
01:56:26,160 --> 01:56:29,360
Speaker 4: what's notable about the scene, too, is that when I

2024
01:56:29,360 --> 01:56:32,520
Speaker 4: talked about that clenching of her face, what does Ryan do?

2025
01:56:32,880 --> 01:56:36,080
Speaker 4: What does Ryan Johnson do? He gives us insert shots,

2026
01:56:36,880 --> 01:56:40,920
Speaker 4: two notable insert shots of her hands, her face and

2027
01:56:40,960 --> 01:56:46,080
Speaker 4: her hands clenching. The way she resists, man does she harden?

2028
01:56:46,680 --> 01:56:49,080
Speaker 4: She does not want to let go of that anger

2029
01:56:49,240 --> 01:56:54,040
Speaker 4: and hatred, right, and then she does when she does

2030
01:56:54,120 --> 01:56:59,160
Speaker 4: let go. Her hands, Her hands let go, mirroring father

2031
01:56:59,320 --> 01:57:03,760
Speaker 4: jud and his hands. When he talks about how he

2032
01:57:03,800 --> 01:57:06,560
Speaker 4: faces the world when he faced the world as a boxer,

2033
01:57:07,160 --> 01:57:10,280
Speaker 4: he faced the world with his hands up, clenched, his fists,

2034
01:57:10,360 --> 01:57:13,200
Speaker 4: ready to fight the world, versus how he faces the

2035
01:57:13,200 --> 01:57:16,880
Speaker 4: world now with his hands out, ready to be more

2036
01:57:16,920 --> 01:57:20,080
Speaker 4: inviting and accept people in. I don't think it's by

2037
01:57:20,120 --> 01:57:23,120
Speaker 4: accident that he cuts to those insert insert shots of

2038
01:57:23,560 --> 01:57:27,800
Speaker 4: her hands clenching and then finally her hands releasing, and

2039
01:57:28,720 --> 01:57:32,000
Speaker 4: that here, here's where we're going to completely intersect, not

2040
01:57:32,160 --> 01:57:34,000
Speaker 4: just on the movie, but in terms of our frame

2041
01:57:34,600 --> 01:57:37,720
Speaker 4: frames of mind. That scene has been in my mind

2042
01:57:37,880 --> 01:57:40,839
Speaker 4: a lot, not just because of this show, but because

2043
01:57:42,320 --> 01:57:46,440
Speaker 4: right this second. Over the past three or four days

2044
01:57:46,480 --> 01:57:52,160
Speaker 4: as we're taping this especially, it's become increasingly harder for

2045
01:57:52,280 --> 01:57:55,000
Speaker 4: me to think about facing the world with my hands out.

2046
01:57:56,160 --> 01:58:02,160
Speaker 4: I'm I'm as angry as I've ever been. I've been

2047
01:58:02,200 --> 01:58:06,120
Speaker 4: able to I've been I will say this, I've been

2048
01:58:06,160 --> 01:58:09,520
Speaker 4: privileged enough to not be consumed by it, to use

2049
01:58:09,560 --> 01:58:13,520
Speaker 4: your word, up until now, I've been able to let

2050
01:58:13,560 --> 01:58:18,520
Speaker 4: it not distract me as much as I as it should.

2051
01:58:19,360 --> 01:58:24,160
Speaker 4: And and the recent events in in Minneapolis have have

2052
01:58:24,160 --> 01:58:26,080
Speaker 4: have forced me to confront it in a way that

2053
01:58:27,440 --> 01:58:28,880
Speaker 4: have forced me to confront it in a way that

2054
01:58:29,040 --> 01:58:35,720
Speaker 4: have caused that anger to rise. And I don't think

2055
01:58:35,760 --> 01:58:38,360
Speaker 4: the takeaway from this scene or from Wake Up Dead

2056
01:58:38,400 --> 01:58:41,880
Speaker 4: Man is necessarily that we should all let that anger

2057
01:58:41,960 --> 01:58:46,200
Speaker 4: go or that that anger isn't valid. I do think

2058
01:58:46,240 --> 01:58:50,200
Speaker 4: it's certainly a reminder for acceptance, or that it's a

2059
01:58:50,240 --> 01:58:52,880
Speaker 4: reminder that we should we should be approaching the world

2060
01:58:53,520 --> 01:58:56,920
Speaker 4: that way first and foremost. But I do think it's

2061
01:58:57,040 --> 01:58:59,840
Speaker 4: it's a reminder that we should be open, we should

2062
01:58:59,840 --> 01:59:03,560
Speaker 4: be open to the idea of reconciliation. But I do

2063
01:59:03,600 --> 01:59:05,520
Speaker 4: think there's also a key part of that Josh, which

2064
01:59:05,560 --> 01:59:11,520
Speaker 4: is open to reconciliation if those who have sinned are repentant.

2065
01:59:12,320 --> 01:59:16,520
Speaker 4: M I think that's an important component of that as well.

2066
01:59:16,600 --> 01:59:19,640
Speaker 1: Essial and justice comes first exactly.

2067
01:59:20,240 --> 01:59:25,280
Speaker 4: So yeah, it's no no scene. It's my number one

2068
01:59:25,360 --> 01:59:29,920
Speaker 4: scene of the year, not because of recent events. Recent

2069
01:59:29,960 --> 01:59:35,360
Speaker 4: events tacked on to its its relevance to me and

2070
01:59:35,760 --> 01:59:38,120
Speaker 4: why it's why it's so important to me. But no

2071
01:59:38,400 --> 01:59:42,760
Speaker 4: moment impacted me more watching it as I as I

2072
01:59:42,800 --> 01:59:47,360
Speaker 4: took it in that than that scene, that absolution scene

2073
01:59:47,640 --> 01:59:48,760
Speaker 4: from Wake Up dead Men.

2074
01:59:49,720 --> 01:59:52,280
Speaker 1: And we've talked about both of our scenes in terms

2075
01:59:52,320 --> 01:59:57,400
Speaker 1: of being surprised and unexpected, and I think that, you know,

2076
01:59:57,440 --> 02:00:00,360
Speaker 1: the ultimate magic trick of Wake Up dead Man being

2077
02:00:00,400 --> 02:00:03,520
Speaker 1: this murder mystery is that it does have those twists.

2078
02:00:03,800 --> 02:00:07,080
Speaker 1: It does have those surprises in terms of the plot,

2079
02:00:07,520 --> 02:00:11,280
Speaker 1: the mystery plot. But we've been talking about different ones.

2080
02:00:11,360 --> 02:00:16,160
Speaker 1: We've been talking about next level like provocative surprises that

2081
02:00:16,280 --> 02:00:21,400
Speaker 1: Ryan Johnson wove into this movie, even beyond the ones

2082
02:00:21,400 --> 02:00:24,360
Speaker 1: that I thought for sure we were just going to

2083
02:00:24,400 --> 02:00:27,000
Speaker 1: get going in the movie. I just thought this was

2084
02:00:27,040 --> 02:00:30,760
Speaker 1: going to be yes, the background, you know, the glass

2085
02:00:30,800 --> 02:00:34,040
Speaker 1: onion was the island, and you know, it was the

2086
02:00:34,040 --> 02:00:36,280
Speaker 1: family home and the first knives out you could say,

2087
02:00:36,280 --> 02:00:38,760
Speaker 1: and then this was this church in this community was

2088
02:00:38,800 --> 02:00:41,960
Speaker 1: going to be the background, and man movie made.

2089
02:00:41,840 --> 02:00:44,680
Speaker 4: It so much more. The layers, the layers there, and

2090
02:00:44,760 --> 02:00:48,840
Speaker 4: the different the different emotional notes, the complexity of that

2091
02:00:48,920 --> 02:00:51,040
Speaker 4: final scene for me and your scene as well, is

2092
02:00:51,400 --> 02:00:55,760
Speaker 4: what elevates this film. We're already talking about spoilers, so

2093
02:00:56,360 --> 02:00:58,040
Speaker 4: it shouldn't matter, but I'm going to say it again,

2094
02:00:58,560 --> 02:01:00,920
Speaker 4: have you heard or have you been thinking about it

2095
02:01:01,000 --> 02:01:06,720
Speaker 4: all the Have you heard any theories about this film

2096
02:01:06,800 --> 02:01:11,320
Speaker 4: in terms of the character of Grace and something that

2097
02:01:12,680 --> 02:01:17,360
Speaker 4: Benoit Blanc may or may not reveal about the nature

2098
02:01:17,440 --> 02:01:21,400
Speaker 4: of what happened to Grace near the end of this film,

2099
02:01:21,760 --> 02:01:24,520
Speaker 4: But is it's not something that Ryan Johnson like draws

2100
02:01:24,560 --> 02:01:26,960
Speaker 4: a sign and with an arrow pointing to have you

2101
02:01:27,000 --> 02:01:28,560
Speaker 4: heard anything about that?

2102
02:01:28,840 --> 02:01:33,240
Speaker 1: No, I haven't, but I'm sure. I'm sure there's something

2103
02:01:33,360 --> 02:01:35,000
Speaker 1: planted and planned there.

2104
02:01:35,600 --> 02:01:38,080
Speaker 4: Well, so I'll just tell you briefly. It's really interesting

2105
02:01:38,200 --> 02:01:43,200
Speaker 4: because in the scene where he is doing his his reveal,

2106
02:01:43,440 --> 02:01:47,200
Speaker 4: the pre reveal, and then of course he gets stymied,

2107
02:01:47,480 --> 02:01:53,040
Speaker 4: right is he He is explaining that he had to

2108
02:01:53,200 --> 02:01:55,400
Speaker 4: think about it in terms of the myth, right, he

2109
02:01:55,440 --> 02:01:58,160
Speaker 4: had to think about it from a storytelling perspective. And

2110
02:01:58,200 --> 02:02:01,400
Speaker 4: these are his words, not to solve whether it was

2111
02:02:01,480 --> 02:02:04,120
Speaker 4: real or not, but to feel in my soul the

2112
02:02:04,240 --> 02:02:07,360
Speaker 4: essence of that which it strove to convey. Now, listen

2113
02:02:07,400 --> 02:02:11,520
Speaker 4: to this line. A holy priest struck down by no man,

2114
02:02:12,680 --> 02:02:16,480
Speaker 4: but by the hand of Satan, himself, laid to rest

2115
02:02:16,800 --> 02:02:20,360
Speaker 4: in the sealed tomb of his father, but then risen

2116
02:02:20,400 --> 02:02:22,840
Speaker 4: by the will of God. As you listen to that.

2117
02:02:23,760 --> 02:02:27,680
Speaker 4: Anything strike you as off or incorrect about that last sentence.

2118
02:02:30,200 --> 02:02:31,520
Speaker 1: No, you're just gonna have to give it to me.

2119
02:02:31,560 --> 02:02:32,520
Speaker 1: It's too late here, And.

2120
02:02:33,680 --> 02:02:36,600
Speaker 4: I'm with you. I even knew this and read it

2121
02:02:36,640 --> 02:02:41,080
Speaker 4: again last night and confused myself. A holy priest struck

2122
02:02:41,160 --> 02:02:43,960
Speaker 4: down by no man. The holy priest is Jefferson Wicks.

2123
02:02:44,000 --> 02:02:48,080
Speaker 4: Of course, Josh Brolin's character right, struck down by no man,

2124
02:02:48,120 --> 02:02:50,600
Speaker 4: but by the hand of Satan. Himself laid to rest

2125
02:02:50,640 --> 02:02:54,440
Speaker 4: in the sealed tomb of his father. He's laid to

2126
02:02:54,520 --> 02:03:00,000
Speaker 4: rest in the sealed tomb of his grandfather, the Reverend Prentice.

2127
02:03:01,160 --> 02:03:05,400
Speaker 4: That's not the sealed tomb of his father, unless he

2128
02:03:05,600 --> 02:03:11,240
Speaker 4: is actually the son of his father, because Reverend Prentice

2129
02:03:11,240 --> 02:03:18,280
Speaker 4: Wicks is also the father of he's the grandson, and

2130
02:03:18,360 --> 02:03:22,560
Speaker 4: he's the father of Jefferson because he had a sexual

2131
02:03:22,640 --> 02:03:26,680
Speaker 4: relationship with his daughter. And that's the explanation for the hatred.

2132
02:03:28,200 --> 02:03:31,280
Speaker 4: And actually, Josh, that the reason why that resonates with

2133
02:03:31,360 --> 02:03:34,120
Speaker 4: me so much, and it should resonate, honestly with I

2134
02:03:34,160 --> 02:03:37,520
Speaker 4: think everybody listening is because I do remember in the

2135
02:03:37,560 --> 02:03:41,480
Speaker 4: moment watching the movie and feeling, why are we buying

2136
02:03:42,320 --> 02:03:48,080
Speaker 4: Martha's portrayal of the Harlot Horror. Why would Grace what

2137
02:03:48,160 --> 02:03:51,200
Speaker 4: reason would Grace have? Why are we believing that she

2138
02:03:51,320 --> 02:03:53,600
Speaker 4: was just born evil and hates her father and wants

2139
02:03:53,600 --> 02:03:58,880
Speaker 4: to away, yeah, and has such feelings of avarice and Greek. No, No,

2140
02:03:59,120 --> 02:04:02,800
Speaker 4: she was probably abused. She was probably abused and can't

2141
02:04:02,800 --> 02:04:05,720
Speaker 4: wait for the man to die and just wants his

2142
02:04:05,800 --> 02:04:09,480
Speaker 4: money and to get out of town. Okay, And is

2143
02:04:09,520 --> 02:04:13,560
Speaker 4: it possible that Benoi Blanc is actually dropping he know,

2144
02:04:13,800 --> 02:04:18,160
Speaker 4: he figured that out and is dropping that into that revelation.

2145
02:04:18,560 --> 02:04:22,560
Speaker 4: But just like us right now, nobody, nobody here, nobody

2146
02:04:22,560 --> 02:04:24,240
Speaker 4: puts it together when he says.

2147
02:04:24,040 --> 02:04:29,800
Speaker 1: That, Yeah, yeah, it's it's certainly possible. I'm thinking about

2148
02:04:29,800 --> 02:04:32,920
Speaker 1: it in terms of the movie's themes and and your

2149
02:04:33,040 --> 02:04:34,400
Speaker 1: pick in particular.

2150
02:04:35,960 --> 02:04:39,680
Speaker 4: Yes, I see it now, I see now that poor

2151
02:04:39,680 --> 02:04:41,240
Speaker 4: girl forgive me Grace.

2152
02:04:41,720 --> 02:04:46,840
Speaker 1: That's what she sees, right, And I guess what I now.

2153
02:04:46,840 --> 02:04:50,240
Speaker 1: That's where That's where I was going. Is like, it

2154
02:04:50,920 --> 02:04:55,520
Speaker 1: doesn't because then you're talking about even if Grace had

2155
02:04:55,520 --> 02:05:00,840
Speaker 1: been the grace that Martha thinks, yes, she still needs

2156
02:05:00,880 --> 02:05:03,360
Speaker 1: to confess for what she did to her and let

2157
02:05:03,400 --> 02:05:03,600
Speaker 1: it go.

2158
02:05:03,920 --> 02:05:06,320
Speaker 4: It works on either level, she still needs to let

2159
02:05:06,360 --> 02:05:09,080
Speaker 4: it go. But if she is actually seeing it now,

2160
02:05:09,240 --> 02:05:11,560
Speaker 4: that poor girl takes on different meaning.

2161
02:05:11,920 --> 02:05:15,520
Speaker 1: Yeah, yeah, yeah, it's fast. I think you know, I

2162
02:05:15,560 --> 02:05:20,240
Speaker 1: think jud in his position, we get a sense that

2163
02:05:20,360 --> 02:05:22,600
Speaker 1: he has even if he doesn't know what you just

2164
02:05:22,760 --> 02:05:25,840
Speaker 1: piece together, he still gets a sense that Grace is

2165
02:05:25,880 --> 02:05:30,760
Speaker 1: someone that needs to be understood fully right beyond and

2166
02:05:30,880 --> 02:05:33,960
Speaker 1: how she's been depicted, and that that's like how he

2167
02:05:34,480 --> 02:05:36,640
Speaker 1: allows Martha to get down that path so.

2168
02:05:36,720 --> 02:05:39,800
Speaker 4: Well, and what you what you just said is actually

2169
02:05:39,840 --> 02:05:43,360
Speaker 4: a perfect way to sum up what we were just

2170
02:05:43,400 --> 02:05:48,800
Speaker 4: speaking to. Benois Blanc understands it on the level of Grace,

2171
02:05:49,640 --> 02:05:54,400
Speaker 4: that poor girl who was abused, perhaps father jud understands

2172
02:05:54,440 --> 02:05:57,240
Speaker 4: it simply on the level of she didn't deserve.

2173
02:05:56,880 --> 02:05:58,560
Speaker 1: That, exactly, exactly.

2174
02:05:58,720 --> 02:06:04,320
Speaker 4: Yeah, yeah, okay, that is our twenty twenty five rap party,

2175
02:06:04,560 --> 02:06:09,320
Speaker 4: our scenes of the year. And well that was fun,

2176
02:06:09,400 --> 02:06:12,879
Speaker 4: even if we got into some relatively heavy territory there.

2177
02:06:12,680 --> 02:06:13,040
Speaker 1: At the end.

2178
02:06:13,120 --> 02:06:15,080
Speaker 4: But that's what the movies are all about, Josh. It's

2179
02:06:15,120 --> 02:06:15,960
Speaker 4: not always a party.

2180
02:06:16,520 --> 02:06:18,920
Speaker 1: I mean, see, if we had a live audience, we

2181
02:06:18,920 --> 02:06:21,280
Speaker 1: wouldn't have we wouldn't have gotten into all of this, right,

2182
02:06:21,320 --> 02:06:23,320
Speaker 1: we wouldn't have laid this on a live.

2183
02:06:23,120 --> 02:06:26,440
Speaker 4: Group, so next year, a little lighter, I would have

2184
02:06:26,440 --> 02:06:28,520
Speaker 4: had a whiskey flight in front of me and played

2185
02:06:28,560 --> 02:06:32,360
Speaker 4: more scenes from the Naked Gun exactly. All right, that's

2186
02:06:32,400 --> 02:06:32,800
Speaker 4: our show.

2187
02:06:33,800 --> 02:06:35,960
Speaker 1: If you want to connect with Adaman the show on

2188
02:06:36,000 --> 02:06:38,960
Speaker 1: social media, you can find them on Instagram, Facebook, letterbox,

2189
02:06:39,280 --> 02:06:42,400
Speaker 1: and YouTube. At film spotting, I'm at all those places.

2190
02:06:42,440 --> 02:06:47,280
Speaker 1: As Larsen on film we are independently produced and listeners supported.

2191
02:06:47,400 --> 02:06:49,720
Speaker 1: You can support the show by joining the film Spotting

2192
02:06:49,720 --> 02:06:53,240
Speaker 1: Family at film spottingfamily dot com. You can listen early

2193
02:06:53,240 --> 02:06:55,680
Speaker 1: in ad free. You'll also get a weekly newsletter, monthly

2194
02:06:55,720 --> 02:06:59,360
Speaker 1: bonus episodes, and access to the entire show archive. For

2195
02:06:59,400 --> 02:07:01,920
Speaker 1: show t shirts another merch, go to filmspotting dot net

2196
02:07:02,120 --> 02:07:03,160
Speaker 1: slash shop.

2197
02:07:03,640 --> 02:07:06,160
Speaker 4: In that archive, you can find full reviews of many

2198
02:07:06,200 --> 02:07:08,160
Speaker 4: of the films we've talked about this week as part

2199
02:07:08,200 --> 02:07:10,640
Speaker 4: of the Rap Party. Also reviews of all of our

2200
02:07:10,680 --> 02:07:15,160
Speaker 4: Golden Brick finalists and long listers. Out streaming this weekend.

2201
02:07:15,160 --> 02:07:18,080
Speaker 4: The new one from Matt Damon and Ben Affleck. They

2202
02:07:18,120 --> 02:07:21,240
Speaker 4: are Miami Cops mixed up in a Joe Carnahan directed

2203
02:07:21,280 --> 02:07:23,800
Speaker 4: Dirty Cops kind of thing. It's called The Rip. It's

2204
02:07:23,840 --> 02:07:28,200
Speaker 4: on Netflix in limited release. Expanding is Gus van Zant's

2205
02:07:28,240 --> 02:07:31,280
Speaker 4: dead Man's Wire. I recommended that on last week's show.

2206
02:07:31,600 --> 02:07:34,640
Speaker 4: And expanding a movie that we gave some love to

2207
02:07:35,240 --> 02:07:38,120
Speaker 4: this week Hamnet winner of the Golden Globe for Best

2208
02:07:38,160 --> 02:07:41,880
Speaker 4: Drama and Best Actress. That went to Jesse Buckley in

2209
02:07:41,960 --> 02:07:45,520
Speaker 4: wide release Charlie the Wonderdog tagline He's a good boy

2210
02:07:45,880 --> 02:07:48,360
Speaker 4: most of the time. It's an animated film featuring the

2211
02:07:48,400 --> 02:07:52,160
Speaker 4: talents of Owen Wilson and out twenty eight years later,

2212
02:07:52,600 --> 02:07:55,200
Speaker 4: The Bone Temple. But Josh, if I heard you're right,

2213
02:07:55,560 --> 02:07:56,960
Speaker 4: possibly you're not going to get to it.

2214
02:07:57,400 --> 02:07:59,959
Speaker 1: We'll see if it's playing near me wherever I happen.

2215
02:07:59,760 --> 02:08:04,120
Speaker 4: To be okay, and if it has English subtitles wherever

2216
02:08:04,240 --> 02:08:05,120
Speaker 4: you may be playing, or.

2217
02:08:05,080 --> 02:08:07,520
Speaker 1: However that one points, I haven't thought of that yet.

2218
02:08:08,760 --> 02:08:12,200
Speaker 4: Next week one of us may be talking about The

2219
02:08:12,200 --> 02:08:14,840
Speaker 4: Bone Temple and we will have our twenty twenty six

2220
02:08:15,160 --> 02:08:16,200
Speaker 4: movie preview.

2221
02:08:16,440 --> 02:08:19,080
Speaker 1: Film Spotting is produced by Golden Joe Desso and Sam

2222
02:08:19,160 --> 02:08:22,280
Speaker 1: van Halgren. Without Sam and Golden Joe, this show wouldn't go.

2223
02:08:22,680 --> 02:08:26,080
Speaker 1: Our production assistant is Sophie Kempinar special thanks to everyone

2224
02:08:26,120 --> 02:08:30,880
Speaker 1: at wbeazy Chicago. More information is available at wbez dot org.

2225
02:08:31,280 --> 02:08:33,320
Speaker 1: For film spotting, I'm Josh Larson.

2226
02:08:33,240 --> 02:08:35,240
Speaker 4: And I'm Adam Kempinar. Thanks for listening.

2227
02:08:35,560 --> 02:08:40,080
Speaker 3: This conversation can serve no purpose anymore. The burn.

2228
02:08:48,320 --> 02:08:51,320
Speaker 4: Film Spotting is listener supported. Join the film Spotting family

2229
02:08:51,360 --> 02:08:55,040
Speaker 4: at filmspottingfamily dot com and get access to ad free episodes,

2230
02:08:55,080 --> 02:08:58,320
Speaker 4: monthly bonus shows, our weekly newsletter, and, for the first time,

2231
02:08:58,400 --> 02:09:01,440
Speaker 4: all in one place, the entire film spotting archive going

2232
02:09:01,480 --> 02:09:03,880
Speaker 4: back to two thousand and five. That's a film Spotting

2233
02:09:03,920 --> 02:09:08,320
Speaker 4: Family dot com pannably