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Speaker 1: Hey, you welcome to Weird House Cinema. Rewind. This is

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Speaker 1: Rob Lamb and today we are re airing our episode

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Speaker 1: from eight to twenty twenty four. It is Shocking Dark.

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Speaker 1: This is a nineteen eighty nine Aliens knockoff from the

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Speaker 1: director of Troll two. So you're in for a fun

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Speaker 1: ride with this film, and we have a pretty fun

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Speaker 1: discussion about it as well. So strap in here we go.

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Speaker 2: Welcome to Stuff to Blow your Mind, a production of iHeartRadio.

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Speaker 1: Hey you welcome to Weird House Cinema.

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Speaker 3: This is Rob Lamb and I am Joe McCormick. And

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Speaker 3: today on Weird House Cinema we're going to be talking

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Speaker 3: about the nineteen eighty nine Aliens ripoff Shocking Dark, which

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Speaker 3: has got to be a new favorite for me. I've

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Speaker 3: never seen this before and it is top tier schlock.

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Speaker 3: This movie is It was such a good time.

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Speaker 1: That's right, I mean, this is bad movie. Caviare from

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Speaker 1: the screenwriters behind Troll two and the director of such

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Speaker 1: films as Zombie three and Robo Wars.

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Speaker 3: Singular rob or singular by my.

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Speaker 1: Mistake, Yes, Robo War. There was only ever one Robo War, but.

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Speaker 3: They didn't yet have James Cameron to come along and

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Speaker 3: write Robo War with a dollar sign after it.

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Speaker 1: Yeah, Yeah, this this one. I have to say, this

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Speaker 1: is a film that I actually absolutely has to be

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Speaker 1: seen to be believed. We we don't talk about bad

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Speaker 1: movies so much on Weird House. We're generally, you know,

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Speaker 1: very I would say, we're pretty forgiving. We're we're here

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Speaker 1: to lean into films and find find what works and

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Speaker 1: celebrate what works in a movie. Uh So, it may

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Speaker 1: have been a while since we watched something this schlocky, this,

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Speaker 1: but in its own way, this perfect because I think,

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Speaker 1: you know, one would be tempted to cast a film

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Speaker 1: like Shocking Dark as the mere antithesis of great filmmaking.

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Speaker 1: But I think you could also argue that this is

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Speaker 1: the reflected reverse image, and as such it's that same greatness.

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Speaker 1: It's just reversed, you know. It's Shocking Dark is stupendous,

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Speaker 1: and as such, I would argue it's more captivating than

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Speaker 1: most motion pictures. There's no lukewarm movie here to be

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Speaker 1: spat out and forgotten half finished. The experience, no matter what,

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Speaker 1: is going to be absolutely memorable.

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Speaker 3: I totally agree with that this is not a middle

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Speaker 3: of the road boring hack exercise. This is a jewel

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Speaker 3: of badness. It's the kind of badness that takes on

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Speaker 3: a form of genius. Like other other films of this

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Speaker 3: caliber we've talked about before, like troll To, like Plan

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Speaker 3: nine from Outer Space, like Highlander two. In many ways, yeah,

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Speaker 3: I think it's right up there. This movie is so pleasurable,

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Speaker 3: and I think there will be a bunch of reasons

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Speaker 3: that we can get into. Some are harder to describe

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Speaker 3: than others, but we'll try to sort of lay out

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Speaker 3: a roadmap of the pleasures on offer here. But first,

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Speaker 3: since this movie is widely acknowledged to be a shameless

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Speaker 3: ripoff of at least one James Cameron movie, actually two

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Speaker 3: two James Cameron movies, I thought we should try to

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Speaker 3: place it within a kind of taxonomy of different ways

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Speaker 3: a movie can be thought of as a copycat or

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Speaker 3: a ripoff. All right, So, the first way I want

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Speaker 3: to think of a movie being a knockoff is the

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Speaker 3: marketing clone. And in this case, the actual substance of

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Speaker 3: the movie may have nothing to do with the film

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Speaker 3: that's being copied, but the market facing information about the film,

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Speaker 3: such as title poster or trailer tries to make the

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Speaker 3: movie seem related we did two, or identical to another

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Speaker 3: more successful movie. And there are actually a few different

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Speaker 3: ways you can do this. One example is sequels in

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Speaker 3: name only. An instance here is Troll two, which is

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Speaker 3: connected to the very same creators of Shocking Dark. Troll

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Speaker 3: two had nothing to do with the movie called Troll.

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Speaker 3: Movies like this are in neither form nor function actual

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Speaker 3: sequels to the original. They just illicitly slap a title

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Speaker 3: on there, like Zombie two or Terminator two. In this case,

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Speaker 3: they put it on the poster without permission and they

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Speaker 3: opened the box office.

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Speaker 1: Yeah, and so like with this film, this film was

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Speaker 1: apparently shot as Shocking Dark, and it was a producer

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Speaker 1: level choice to then try and sell it as Terminator too.

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Speaker 1: So I think if everyone involved in making the film

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Speaker 1: realize like that was that was maybe even a step

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Speaker 1: step too far. You're not just not it's one thing

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Speaker 1: to call your film troll too, but to go after

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Speaker 1: to go in the wake of Terminators. They're like, hey,

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Speaker 1: here it is Terminator too. I know there's another Terminator

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Speaker 1: too coming out in a few months. I'm not going

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Speaker 1: to say anything about that one, But why don't you

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Speaker 1: buy this?

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Speaker 3: Yeah. Another way you can have a marketing clone is mockbusters,

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Speaker 3: movies that you know, as far as I can tell,

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Speaker 3: are trying to confuse people into buying the wrong DVD.

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Speaker 3: These were very popular in the late two thousands and

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Speaker 3: the twenty tens. So imagine a movie called trans Morphers

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Speaker 3: with DVD box art that looks very similar to Michael

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Speaker 3: Bay's Transformers. You can think of other examples like Atlantic

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Speaker 3: Rim and The Da Vinci Treasure. These movies may or

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Speaker 3: may not be similar to the target blockbuster in terms

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Speaker 3: of plot, character, or style. The point is that they

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Speaker 3: can be hard to tell apart before you watch them.

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Speaker 3: They're hard to tell apart like at the store, especially

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Speaker 3: maybe to like a grandparent buying a DC for their

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Speaker 3: grandchild or something.

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Speaker 1: Yeah.

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Speaker 3: So that's a kind of crass way you can approach

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Speaker 3: trying to steal the artistic or entertainment credibility of another film.

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Speaker 3: Another way you can have something that could be thought

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Speaker 3: of as a knockoff is the premise lifter. A lot

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Speaker 3: of copycat movies are like this, and I think it's

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Speaker 3: one of the most benign forms of copying in storytelling.

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Speaker 3: In this type of movie. You take the basic premise

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Speaker 3: or elevator pitch of a pre existing movie, but then

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Speaker 3: you take it in your own direction. So, for example,

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Speaker 3: a premise clone of the original Terminator might be a

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Speaker 3: movie about a killer robot that is transported from a

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Speaker 3: dystopian future back to the present to carry out a mission.

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Speaker 3: So you could have the same setup as the Terminator,

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Speaker 3: or at least the same setup as far as you know,

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Speaker 3: as far as it would sound in a sentence long pitch.

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Speaker 3: But then maybe the plot and the characters and execution

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Speaker 3: could be totally different. And there are even some quite

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Speaker 3: good movies in this category. I think a fresh take

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Speaker 3: on a familiar premise can be exciting and sometimes can

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Speaker 3: even be great art. Lots of examples of this category

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Speaker 3: don't even feel like copying. They might just be variations

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Speaker 3: on a theme or further exploring a new niche subgenre

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Speaker 3: in the example of Terminator. At this point, does Dangerous

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Speaker 3: Robot from the Future even really belong to James Cameron?

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Speaker 3: Or is that more just kind of a very specific

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Speaker 3: subgenre of sci fi?

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Speaker 1: Yeah, yeah, I would agree.

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Speaker 3: Now, another way a movie might be thought of as

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Speaker 3: a copycat is what I would call the vibe repeater.

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Speaker 3: A lot of Star Wars copycats are in this category.

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Speaker 3: They don't exactly lift all that much directly from Star

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Speaker 3: Wars in terms of semantic plot content, but instead they're

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Speaker 3: trying to copy, like the texture and the feeling of

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Speaker 3: Star Wars. So it's more the world, the ensemble, the

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Speaker 3: look and sound, the emotional range, and so forth. So

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Speaker 3: in the case of Star Wars vibe repeaters, you'd usually

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Speaker 3: get some kind of swashbuckling space adventure with a cast

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Speaker 3: of zany characters and morphologically diverse aliens, droids, bad guys

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Speaker 3: in scary helmets, rebels fighting against the odds, space battles, mysticism,

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Speaker 3: and things like that. So these movies try to copy

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Speaker 3: the texture and the feeling of another movie that's been successful,

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Speaker 3: more so than explicit details of the story or explicit

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Speaker 3: designs or anything like that.

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Speaker 1: Yeah, and a lot of the times, a lot of

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Speaker 1: the time it falls flat. To be honest, I guess

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Speaker 1: it depends on what you're copying. Like I would say,

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Speaker 1: in general, I've never seen a Star Wars vibe repeater

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Speaker 1: that gets the job done. But if I were to

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Speaker 1: look at say the various conan the Barbarian inspired movies. Okay,

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Speaker 1: certainly none of them are on the level of Conan

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Speaker 1: in terms of cinematic quality, but like the general vibe

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Speaker 1: might be there. It's like, all right, you know, muscle

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Speaker 1: Barbarians and some of the similar or themes might be exploring.

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Speaker 1: It can work kind of like some of your better

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Speaker 1: mad macs of vibe repeaters can essentially get the job done.

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Speaker 3: I agree, yeah, yeah, okay, And then the final category

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Speaker 3: I would talk about is just the all out ripoff,

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Speaker 3: and this is the territory we're in with Shocking Dark.

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Speaker 3: Shocking Dark is indeed a marketing clone of Terminator. Specifically,

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Speaker 3: it is a sequel in name only that uses a

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Speaker 3: poster that looks exactly like the poster for Terminator. It

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Speaker 3: is both a premise lifter and a vibe repeater of Aliens.

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Speaker 3: It's taking the basic plot pitch, and it's also trying

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Speaker 3: to copy a lot of the texture and feeling of Aliens.

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Speaker 3: But it goes beyond any of these categories into outright

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Speaker 3: reproducing whole characters, situations, and scenes from Aliens, but with

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Speaker 3: a much lower budget and less finesse in terms of acting, writing, sets,

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Speaker 3: costumes and effects, and so it's actually a a pretty

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Speaker 3: interesting question to me. Why would you want to do that?

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Speaker 3: I can understand, I think all of the other categories,

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Speaker 3: Like I understand the mercenary money making appeal of the

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Speaker 3: marketing clone that is a cash grab. I understand the

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Speaker 3: creative appeal of taking a crack at a story premise

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Speaker 3: that has been done before, but doing it your own way.

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Speaker 3: It can be fun to work out your own unique

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Speaker 3: version of an idea. I understand wanting to capture the

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Speaker 3: vibes of a movie that you liked in the past,

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Speaker 3: but just do something different with it, you know, so

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Speaker 3: create a similar feeling that you have enjoyed yourself. But

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Speaker 3: I don't quite understand what is the appeal of just

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Speaker 3: taking the scene from Aliens where Burke leaves the face

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Speaker 3: hugger in the room with Ripley and Newt and reproducing

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Speaker 3: it essentially the same but less well within another movie.

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Speaker 3: That is a head scratcher for me.

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Speaker 1: Yeah, I mean, my only guess is that it basically

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Speaker 1: comes down to, like a producer level understand or misunderstanding

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Speaker 1: of what cinema is, you know, where it's just about

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Speaker 1: the cash grap It's not about what emotions the movie

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Speaker 1: can summon. It's not about the stories they can tell.

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Speaker 1: It's just like, how much money can we make tomorrow

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Speaker 1: using the limited resources we have today?

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Speaker 3: But I don't even understand, So, like, what kind of

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Speaker 3: appeal do you think you're gonna sell more movie tickets

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Speaker 3: if you have a scene in your movie it's the

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Speaker 3: same as a scene from the other movie that made money,

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Speaker 3: do you know what I mean? Like, I don't even

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Speaker 3: know how that you think that translates into getting people

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Speaker 3: into the theaters or getting people to rented?

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Speaker 1: Yeah, I mean, I can only assume it was just

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Speaker 1: kind of a product of the time, right. It must

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Speaker 1: have worked, right because they did it all the time

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Speaker 1: in B and C budget tali in cinema.

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Speaker 3: Yeah, I guess so. But by the way, I don't

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Speaker 3: mean to say any of this to detegrate the experience

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Speaker 3: of Shocking Dark, because despite what you might regard as

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Speaker 3: it's creator of failures or crimes, it is an absolutely

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Speaker 3: brain melting good time. I can't recommend this movie enough

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Speaker 3: to people who like schlock movies.

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Speaker 1: Absolutely, this is definitely so bad it's good territory. I

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Speaker 1: couldn't I couldn't get my wife to watch it. She

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Speaker 1: was like, she kind of scratched her head with why

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Speaker 1: I would watch this in full. But if you enjoy bad,

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Speaker 1: schlocky movies, movies that are very rough around the edges,

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Speaker 1: then Shocking Dark is the film for you.

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Speaker 3: It feels like a movie built entirely out of first takes.

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Speaker 3: There are parts where actors literally screw up their lines

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Speaker 3: and then correct themselves, or they like miss a cue

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Speaker 3: and leave a long awkward pause before responding to someone

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Speaker 3: and just leave it in. That's in the movie.

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Speaker 1: Yeah. We'll get into some specific examples of this too,

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Speaker 1: where it's just kind of like the camera's rolling, we're

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Speaker 1: gonna get what we're gonna get, and yeah, it's in

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Speaker 1: the movie.

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Speaker 3: Yeah, I love it. And then there are otherwise where

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Speaker 3: it's just hard to describe what is so funny and

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Speaker 3: pleasing about it. You just have to see it for yourself.

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Speaker 3: It's a lot of little details about timing, editing, framing,

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Speaker 3: line delivery that are difficult to translate into words, but

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Speaker 3: you should see this once again. It is top shelf

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Speaker 3: shlock all.

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Speaker 1: Right, I have a quick elevator pitch, and I think

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Speaker 1: you have a longer one, but mine is simply we

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Speaker 1: have Aliens at Home. This movie of Aliens at Home.

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Speaker 3: Yes, it's like what if aliens? But instead of a

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Speaker 3: terraforming colony on LV four twenty six, it's tunnels allegedly

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Speaker 3: underneath Venus. Does that even make sense to have tunnels

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Speaker 3: underneath Venics sounds like a flooding risk, But okay, So

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Speaker 3: it's tunnels underneath Venice, the city of Venice in Italy.

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Speaker 3: And then instead of colonial marines, you've got the Mega Force.

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Speaker 3: More on them later. And then instead of xenomorphs, you've

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Speaker 3: got bug eyed ooze hippos. And then instead of Whale

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Speaker 3: and you Tawni, you have the Tubular Corporation. And instead

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Speaker 3: of James Cameron, you have the guys who troll to

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Speaker 3: and robo war.

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Speaker 1: All right, let's go ahead and just listen to a

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Speaker 1: little bit of the trailer audio for Shocking Dark.

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Speaker 4: They thought they were fighting only against aliens. They were

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Speaker 4: sure that they had won their battle, but they were mistaken.

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Speaker 4: Shocking Dark ferocious, indestructible, ruthless terminator, shocking starm.

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Speaker 3: Hey, there, this is Joe with an insert from the future.

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Speaker 3: After we finished recording the episode, just thought back about

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Speaker 3: how Shocking Dark has a pretty unbelievable plot twist in

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Speaker 3: the last fifteen minutes or so, and we end up

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Speaker 3: talking about it without much warning in the episode. So

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Speaker 3: if you want to see the movie without having a

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Speaker 3: pretty bizarre surprise spoiled for you, you should watch it before

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Speaker 3: listening further. That's all.

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Speaker 1: All right. So at this point in the podcast, you

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Speaker 1: might be wondering, all right, how can I see Shocking Dark? Then? Well,

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Speaker 1: Shocking Dark did not receive a proper release in the

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Speaker 1: US for a very long time, I think, for some

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Speaker 1: obvious reasons. But in twenty eighteen, the excellent Severn Films

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Speaker 1: put out the definitive Blu Ray edition, scanned in two

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Speaker 1: K from the director's cut negative discovered in a Rome

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Speaker 1: Lab vault. Plus, there are there a couple of fun

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Speaker 1: extras on the disc that I'll reference later. You can

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Speaker 1: buy this in most places, but you can also get

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Speaker 1: it off their website severin dot com. They do great releases.

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Speaker 1: In general, Shocking Dark is probably a film where you

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Speaker 1: can get by seeing it in a grungy format, but

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Speaker 1: I still think it's worth seeing in the best quality available.

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Speaker 1: I know that some of the streams you'll find out

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Speaker 1: there are on the official services that offer them. These

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Speaker 1: are also the Severin restoration, or at least you know,

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Speaker 1: the restoration that Severin films used in their release. Okay,

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Speaker 1: this is what I watched. I rented it from Video

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Speaker 1: Drum here in Atlanta.

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Speaker 3: I am soon to own a disc of this, but

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Speaker 3: I watched a stream of it that was available through

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Speaker 3: I think scream Box, and it looked good.

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Speaker 1: Yeah, I bet it's the same restoration, because it is

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Speaker 1: worth stressing that it's a film with some things that

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Speaker 1: I think are worth seeing in high detail. The locations

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Speaker 1: they used and the I think one set that they

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Speaker 1: utilized late in the film. I think these are great.

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Speaker 1: I enjoyed seeing them, these performances, you know, respect the

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Speaker 1: actors involved here and see them in the highest format possible.

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Speaker 1: All right, let's talk about the people who made it.

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Speaker 1: The director's chair occupied by Bruno matte who of nineteen

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Speaker 1: thirty one through two thousand and seven Italian director of

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Speaker 1: B movies, exploitation films, and yes, shameless knockoffs. His story

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Speaker 1: is pretty endearing in a number of ways. Though his

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Speaker 1: father owned a film editing studio, so he grew up,

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Speaker 1: you know, in and around the business, and he has

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Speaker 1: various technical credits to go all the way back to

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Speaker 1: the Night to the early fifties. In sixty nine and seventy,

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Speaker 1: he worked as an editor on two Jess Franco films,

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Speaker 1: ninety nine Women and Count Dracula. That's the one that

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Speaker 1: had Christopher Lee in it with a mustache, and he

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Speaker 1: apparently did some uncredited directing on ninety nine Women. After this,

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Speaker 1: he directed a string of Italian sex comedies and exploitation

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Speaker 1: films leading up to nineteen eighties Hell of the Living Dead,

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Speaker 1: a Dawn of the Dead inspired zombie film featuring a

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Speaker 1: score by Goblin. Oh wow, Yeah, Now, don't be mistaken.

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Speaker 1: All of the exploitation projects continued in the background here.

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Speaker 1: But he also followed this up with eighty three's The

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Speaker 1: Seven Magnificent Gladiators, which starred Luf Forigno and Sybil Danning,

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Speaker 1: who guests were also in a Hercules movie that we watched,

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Speaker 1: and Brad Harris so I think was also in that

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Speaker 1: Hercules movie.

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Speaker 3: Wait, they're trying to get some Magnificent seven juice into

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Speaker 3: the title of this gladiator. Is this a future Gladiators movie?

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Speaker 1: Ooh, that's a great question, I would say, given the timeframe.

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Speaker 1: There's like a seventy five percent chance that it takes

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Speaker 1: place in a post apocalyptic future. But I don't know.

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Speaker 1: This could be This could be a Sword and Sandals picture.

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Speaker 1: I mean, he does have Luf Rigno in it, so

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Speaker 1: come the Hercules connection.

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Speaker 3: He could be a Roman gladiator or he could be

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Speaker 3: a cyber gladiator. Both makes sense.

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Speaker 1: There's also eighty four's Rats Night of Terror that is

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Speaker 1: a post apocalyptic film with like Rats overrunning a post

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Speaker 1: apocalyptic city. Great and I think they used decaying sets

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Speaker 1: from more exterior sets from Once upon a Time in

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Speaker 1: America for that one. And then there's eighty seven's Double Target.

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Speaker 1: This had Miles O'Keefe in it, and Donald Pleasants.

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Speaker 3: Is Miles O'Keefe the guy from Atour.

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Speaker 1: Yes, okay? Eighty seven Scalps and Strike Commandos starring Reb Brown,

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Speaker 1: eighty eight Zombie three, the nineteen eighty eight Predator ripoff

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Speaker 1: Robo War starring Reb Brown.

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Speaker 3: Oh, that's one of my favorites. I used to put

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Speaker 3: Robo War on when I was like hanging out with

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Speaker 3: my D and D friends. I'd put it on on

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Speaker 3: mute because something often silly looking was happening on screen.

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Speaker 3: But if you watch that one, I don't know if

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Speaker 3: that's fun to sit through the entire time, because it

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Speaker 3: gets rather monotonous. There's just a lot of like running

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Speaker 3: around in the jungle and stuff, but there are some

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Speaker 3: quite funny dialogue moments in it.

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Speaker 1: The alien does not look as good as the predator

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Speaker 1: in our Predator franchise.

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Speaker 3: I have to say, no, it does not. I would

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Speaker 3: say that the the monster costumes in Shocking Dark are

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Speaker 3: much better than the monster monster suits and designs in

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Speaker 3: the other Bruno Matte and Claudio Fergoso movies I've seen.

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Speaker 1: Agreed, Agreed, We'll come back to those monsters in a bit.

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Speaker 1: But let's say, following Robo War, there's eighty eight Strike

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Speaker 1: Commando two, which has Richard Harris in it, and then

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Speaker 1: there's the nineteen ninety five Jaws knockoff, cruel Jaws and

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Speaker 1: much more.

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Speaker 3: No nice jaws around here.

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Speaker 1: Yeah, I guess by ninety five you got to come

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Speaker 1: up with new angles on your jaws knockoff. Anyway, what

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Speaker 1: your angle is that the shark is mean? Yeah, yeah,

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Speaker 1: he wouldn't mean enough. Further, it's just an animal now,

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Speaker 1: he's mean, Okay, so Mittea continued working in low budget

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Speaker 1: horror until his death in two thousand and seven, and

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Speaker 1: I've read that he was, you know, working pretty much

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Speaker 1: extensively in the Philippines by that time.

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Speaker 3: I think Robo War was shot in the Philippines from what.

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Speaker 1: It is a jungle movie, right, yeah, all right, Now

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Speaker 1: onto the screenwriters. It is the husband and wife duo

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Speaker 1: of Rosella Drudi and Claudio Fragasso. He was born in

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Speaker 1: fifty one. They also wrote nineteen nineties, often exceeded but

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Speaker 1: never equaled, Troll two, which was our second selection ever

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Speaker 1: for Weird House Cinema.

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Speaker 3: A classic for a reason.

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Speaker 1: For Gaso's credited screenplays go back to around seventy four

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Speaker 1: and hers to nineteen eighty, but they frequently worked with

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Speaker 1: Bruno on such films as Hell as the Living Dead, Rats,

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Speaker 1: Night of Terror, Zombie three Strike, Commando two, and Robo War.

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Speaker 1: Now of their pictures, I've mainly just seen Troll two

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Speaker 1: and The Night Killer, as well as some behind the

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Speaker 1: scenes interviews with them, and it's always very interesting and

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Speaker 1: it always strikes me that they take their films very seriously.

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Speaker 1: So Troll two had aspirations of being a sort of cutting.

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Speaker 1: Critique of vegetarianism got them, and night Killer aspired to

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Speaker 1: be some sort of like serious psycho sexual thriller.

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Speaker 3: In some respects, night Killer is very funny but also gross.

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Speaker 1: Yeah, yeah, I can't. I can't recommend. I can't recommend

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Speaker 1: night Killer to the average film viewer. It's more of

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Speaker 1: it's a deeper cut. Yeah, But I was curious, Okay,

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Speaker 1: there's going to be an interview on this disc from Severn,

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Speaker 1: and I was like, what's their take going to be

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Speaker 1: on it? Are they going to be, you know, very

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Speaker 1: serious about it or are they going to be upfront

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Speaker 1: about it being a knockoff? It's more of the latter.

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Speaker 1: They stressed. The producers put a put some very strict

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Speaker 1: parameters on this project. It needed to be a combination

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Speaker 1: of Aliens and the Terminator, and it needed to use

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Speaker 1: character names from those films. So you have a Sarah,

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Speaker 1: for instance, in this.

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Speaker 3: Picture, except she's the Ripley, right right, yeah, yeah, So

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Speaker 3: the Sarah Connor is the Ripley. And then there's a

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Speaker 3: Drake in it. Drake is one of the colonial marines

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Speaker 3: in Aliens, but instead they make him like a scientist

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Speaker 3: who has been driven insane by the monsters and like

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Speaker 3: has a scream from beyond space and time.

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Speaker 1: Yeah, and they said that they actually pushed back as

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Speaker 1: much as they could, trying to inject some originality into

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Speaker 1: the script, but that neither they nor Bruno had any

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Speaker 1: control over the switch to the title Terminator too, when

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Speaker 1: the producer turned around and tried to sell it.

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Speaker 3: Okay, I think maybe the direct copying of scenes from

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Speaker 3: Aliens makes more sense if like, these are just hired

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Speaker 3: guns and they are doing what the producers tell them

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Speaker 3: they have to do. Yeah, that makes sense. It's like

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Speaker 3: an order that is executed unthinkingly or maybe not unthinkingly

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Speaker 3: by the people executing it, but is given unthinkingly.

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Speaker 1: Right, But then part of the creative exercise here becomes Okay,

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Speaker 1: it's one thing to say, rip off Aliens and Terminator,

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Speaker 1: but then how do you do it with such a

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Speaker 1: limited budget. You can't, So you have to make up

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Speaker 1: new stuff. Even if you didn't want to, even if

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Speaker 1: you wanted to save all of your creative juices for

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Speaker 1: the next project that you have more investment in, You're

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Speaker 1: gonna have to come up with something because you cannot.

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Speaker 1: You cannot reproduce Alien scene for scene, like you just

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Speaker 1: cannot do it.

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Speaker 3: Absolutely not, though I've sort of already alluded to this,

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Speaker 3: but I think that the normally, when you're dealing with

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Speaker 3: the small budget, what you would expect to be the

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Speaker 3: weakest link in the movie is the technical realization, like

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Speaker 3: the you know, the special effects and the monster costumes

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Speaker 3: and the sets. But I don't think that is the

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Speaker 3: weakest link here. I think that is, you know, some

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Speaker 3: of the monster costumes kind of look okay, they're kind

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Speaker 3: of they're they're not as scary and realistic looking as

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Speaker 3: the xenomorph costumes, but they're fun, They're they're pretty good.

430
00:24:58,840 --> 00:25:01,880
Speaker 3: I mean, clearly we link here is like the script

431
00:25:01,920 --> 00:25:03,880
Speaker 3: and the acting and the human elements.

432
00:25:04,760 --> 00:25:08,240
Speaker 1: I agree. Fergaso thought that the monster costumes were the

433
00:25:08,240 --> 00:25:12,320
Speaker 1: worst part, you know, like some of the atmosphere they created.

434
00:25:12,359 --> 00:25:14,240
Speaker 1: But yeah, I thought the monsters were fine. There are

435
00:25:14,240 --> 00:25:17,399
Speaker 1: other glaring problems here. Drew, for her part, said that

436
00:25:17,440 --> 00:25:20,240
Speaker 1: she didn't like the film, was slightly mystified that people

437
00:25:20,280 --> 00:25:22,639
Speaker 1: did like it, but was generally like glad that the

438
00:25:22,680 --> 00:25:25,240
Speaker 1: film made people happy, and she commented that there was

439
00:25:25,280 --> 00:25:27,479
Speaker 1: too much dialogue patting in the film, like they just

440
00:25:27,720 --> 00:25:29,760
Speaker 1: they had to they had to fill up a certain

441
00:25:29,800 --> 00:25:33,359
Speaker 1: amount of runtime, and you know, you can't just do

442
00:25:33,440 --> 00:25:35,919
Speaker 1: effects and shotgun blasts the whole time. You've got to

443
00:25:35,920 --> 00:25:38,760
Speaker 1: have some dialogue, and that there's too much of it.

444
00:25:39,960 --> 00:25:42,240
Speaker 3: That's some of my favorite stuff in the movie, when

445
00:25:42,240 --> 00:25:44,720
Speaker 3: it feels like the actors are just ad libbing to

446
00:25:44,720 --> 00:25:47,240
Speaker 3: stretch out a scene. And yeah, oh, that's some of

447
00:25:47,280 --> 00:25:50,840
Speaker 3: the best stuff, especially costers stuff in that regard.

448
00:25:50,960 --> 00:25:53,960
Speaker 1: Oh goodness, yes, I guess we'll get to hurt in

449
00:25:54,000 --> 00:25:58,280
Speaker 1: a minute. So anyway, the writers here, they seem to

450
00:25:58,280 --> 00:26:01,239
Speaker 1: have no illusions about the film. They're glad people liked it,

451
00:26:01,240 --> 00:26:03,480
Speaker 1: and they didn't disown it or anything, you know. So

452
00:26:04,200 --> 00:26:07,480
Speaker 1: it's a fun little interview. All right. Now, let's get

453
00:26:07,480 --> 00:26:10,200
Speaker 1: into the cast here. I'm going to start with really

454
00:26:10,760 --> 00:26:14,280
Speaker 1: our central protagonist here, our ripley, if you will. It

455
00:26:14,440 --> 00:26:18,439
Speaker 1: is the character Sarah, and she is played by Haven Tyler.

456
00:26:19,240 --> 00:26:22,480
Speaker 3: You know she is I don't think anybody could say

457
00:26:22,560 --> 00:26:25,439
Speaker 3: she is a good actress in this movie, but she

458
00:26:25,680 --> 00:26:30,600
Speaker 3: is likably bad. Like I found her bad performance was endearing.

459
00:26:31,200 --> 00:26:34,520
Speaker 1: This is Tyler's only acting credit. She was an American

460
00:26:34,600 --> 00:26:38,000
Speaker 1: college student studying abroad at the time and since she'd

461
00:26:38,000 --> 00:26:40,119
Speaker 1: done a little bit of modeling and she had in

462
00:26:40,160 --> 00:26:43,520
Speaker 1: the past done some school stage performances, she signed up

463
00:26:43,520 --> 00:26:46,040
Speaker 1: with a talent agency in Rome, which led to her

464
00:26:46,080 --> 00:26:49,960
Speaker 1: casting in this production. According to a twenty twenty one

465
00:26:50,040 --> 00:26:55,120
Speaker 1: interview with Fangoria magazine, this one was conducted by Michael Gengold.

466
00:26:56,240 --> 00:26:58,920
Speaker 1: Her audition was apparently just her screaming in a room,

467
00:27:00,520 --> 00:27:04,040
Speaker 1: and it's a really good interview. It's certainly worth worth

468
00:27:04,119 --> 00:27:06,520
Speaker 1: checking out for anyone interested in this picture. But she

469
00:27:06,880 --> 00:27:09,520
Speaker 1: reflects positively on the experience of making it, saying that

470
00:27:09,560 --> 00:27:12,320
Speaker 1: like most everyone was nice. The guy who oversaw the

471
00:27:12,400 --> 00:27:15,399
Speaker 1: munitions was really professional, which is something I have to

472
00:27:15,440 --> 00:27:17,480
Speaker 1: Amit is often on my mind these days when I

473
00:27:17,480 --> 00:27:19,719
Speaker 1: watch these older films with a bunch of guns in them,

474
00:27:19,760 --> 00:27:22,680
Speaker 1: I'm like, geez, I hope nobody was hurt or killed

475
00:27:22,720 --> 00:27:25,960
Speaker 1: making this. I hope they were. They were careful, So

476
00:27:26,000 --> 00:27:29,800
Speaker 1: it's always refreshing to hear something like that. I showed

477
00:27:30,000 --> 00:27:31,840
Speaker 1: my wife part of the movie and she observed that

478
00:27:31,920 --> 00:27:36,520
Speaker 1: Tyler bears a certain resemblance to contemporary actress Kate McKinnon. Ye,

479
00:27:36,760 --> 00:27:40,879
Speaker 1: she looks like yes, And of course the whole idea

480
00:27:40,960 --> 00:27:42,680
Speaker 1: was I think she was cass because she at least

481
00:27:42,760 --> 00:27:47,520
Speaker 1: vaguely to some degree, resembles Ripley. It looks like Sigourney Weaver.

482
00:27:47,920 --> 00:27:50,040
Speaker 1: I don't know sure why not.

483
00:27:50,480 --> 00:27:52,280
Speaker 3: I'm trying to get there, but I don't quite see it.

484
00:27:52,280 --> 00:27:56,119
Speaker 3: But I respect that they tried, And you know what,

485
00:27:56,320 --> 00:27:58,400
Speaker 3: I feel like my judgment is going to continue because

486
00:27:58,440 --> 00:28:00,320
Speaker 3: now that I'm looking down the list of the other

487
00:28:00,359 --> 00:28:03,359
Speaker 3: actors we have to talk about, in almost every case,

488
00:28:03,400 --> 00:28:07,200
Speaker 3: I actually feel have the same judgment, which is likably bad,

489
00:28:07,440 --> 00:28:10,760
Speaker 3: not a good actor giving a very stiff, wooden performance.

490
00:28:10,840 --> 00:28:11,880
Speaker 3: But I like them a lot.

491
00:28:12,240 --> 00:28:14,639
Speaker 1: Yeah, I mean really, you know, someone like Tyler. This

492
00:28:14,760 --> 00:28:17,960
Speaker 1: is her only film. Yeah, she've had very little experience.

493
00:28:18,040 --> 00:28:21,399
Speaker 1: This is a very green performance, but it's great, like

494
00:28:21,440 --> 00:28:24,640
Speaker 1: she gives it her all. It is perfect for this

495
00:28:24,720 --> 00:28:25,960
Speaker 1: film totally.

496
00:28:25,960 --> 00:28:28,280
Speaker 3: And another person on that wavelength is the actor who

497
00:28:28,359 --> 00:28:30,120
Speaker 3: plays Fuller, the company man.

498
00:28:30,680 --> 00:28:34,800
Speaker 1: Yes, Christopher Aarn's another American actor living in Italy at

499
00:28:34,840 --> 00:28:36,080
Speaker 1: the time. We haven't I don't think we've mentioned this,

500
00:28:36,119 --> 00:28:38,560
Speaker 1: but this is an Italian film, but all the dialogue

501
00:28:38,600 --> 00:28:41,880
Speaker 1: is in English. It was like shot in English, so

502
00:28:43,720 --> 00:28:47,320
Speaker 1: using a lot of American actors or Americans in general

503
00:28:47,360 --> 00:28:50,280
Speaker 1: that happened to be in Italy at the time. So

504
00:28:51,160 --> 00:28:54,200
Speaker 1: this guy's acting credits, though, stretch from nineteen eighty five

505
00:28:54,240 --> 00:28:57,560
Speaker 1: through around nineteen ninety nine. They include eighty eight Raiders

506
00:28:57,680 --> 00:29:02,280
Speaker 1: of the Magic Ivory, Anyone, Top Gun Knockoff with Aliens

507
00:29:02,280 --> 00:29:05,880
Speaker 1: and David Warner, Blue Tornado nineteen ninety one, is Beyond

508
00:29:06,080 --> 00:29:09,440
Speaker 1: Justice with Rudger Howard and Elliott Gould, and finally a

509
00:29:09,520 --> 00:29:12,360
Speaker 1: bit part A is a Goths soldier in the nineteen

510
00:29:12,440 --> 00:29:16,040
Speaker 1: ninety nine all star Julie Taymoor film Titus, produced in

511
00:29:16,080 --> 00:29:17,080
Speaker 1: part by Steve Bannett.

512
00:29:17,880 --> 00:29:22,280
Speaker 3: Yeah, that's come up before. I don't remember him from Titus, though.

513
00:29:22,320 --> 00:29:24,800
Speaker 1: I think it's a bit part you know, God Soldier

514
00:29:24,920 --> 00:29:26,760
Speaker 1: or God's Soldier Never Won or something, you know.

515
00:29:27,280 --> 00:29:29,880
Speaker 3: Okay, So my read on this guy is that they

516
00:29:29,960 --> 00:29:33,600
Speaker 3: told him you are the bad guy, be mean, and

517
00:29:33,680 --> 00:29:39,600
Speaker 3: so in every single moment, every single line, every single

518
00:29:40,480 --> 00:29:44,520
Speaker 3: second that the camera is on him, he is sneering. Yeah,

519
00:29:44,600 --> 00:29:47,600
Speaker 3: he's just like. It is one of the most over

520
00:29:47,640 --> 00:29:51,600
Speaker 3: the top villain performances I've ever seen. I don't think

521
00:29:51,640 --> 00:29:53,400
Speaker 3: he ever cracks a smile.

522
00:29:53,640 --> 00:29:58,560
Speaker 1: He is just like, Yeah, he's like every scene he's

523
00:29:58,560 --> 00:30:02,600
Speaker 1: making that. You know, sometimes you see people who's like

524
00:30:02,640 --> 00:30:04,280
Speaker 1: their idea for a headshot is they need to look

525
00:30:04,320 --> 00:30:05,800
Speaker 1: mean in all of them. They need to look like

526
00:30:05,800 --> 00:30:08,440
Speaker 1: like very stern and not smile. That's his whole vibe,

527
00:30:08,520 --> 00:30:09,160
Speaker 1: the whole picture.

528
00:30:09,400 --> 00:30:11,760
Speaker 3: Yes, yeah, that's off to him.

529
00:30:12,760 --> 00:30:16,240
Speaker 1: Yeah, it's a he commits the part. It's fun all right.

530
00:30:16,600 --> 00:30:20,080
Speaker 1: Now getting into the basically the Colonial Marines the picture

531
00:30:20,400 --> 00:30:23,840
Speaker 1: we have the character cost Her, and Costa is played

532
00:30:23,920 --> 00:30:27,440
Speaker 1: by Garretta Garetta born nineteen fifty eight.

533
00:30:28,040 --> 00:30:32,480
Speaker 3: I love her. I can't literally like the moment when

534
00:30:32,520 --> 00:30:35,720
Speaker 3: she died in the movie, like halfway through I shouted

535
00:30:35,760 --> 00:30:38,640
Speaker 3: out loud. I was like, no, do not take her away?

536
00:30:39,160 --> 00:30:43,640
Speaker 1: How can we finish the picture without her just jarring presence.

537
00:30:45,640 --> 00:30:49,440
Speaker 1: So she is an American model turned actor with a

538
00:30:49,480 --> 00:30:52,720
Speaker 1: number of notable credits from the world of Italian b cinema,

539
00:30:53,560 --> 00:30:57,040
Speaker 1: making her something of an icon and this part of

540
00:30:57,080 --> 00:31:00,000
Speaker 1: the world of cinema. Her credits include nineteen eighty three

541
00:31:00,040 --> 00:31:03,600
Speaker 1: He's Warrior of the Lost World and eighty three He's

542
00:31:03,640 --> 00:31:08,560
Speaker 1: twenty twenty Texas Gladiators, Fulci's Murder Rock from nineteen eighty four.

543
00:31:09,000 --> 00:31:13,360
Speaker 1: That one not that good. But not only for folci completists,

544
00:31:13,440 --> 00:31:16,960
Speaker 1: I think. But she's in that one. She's in Bruno's

545
00:31:17,240 --> 00:31:20,040
Speaker 1: Rats Night of Terror, and in nineteen eighty five she

546
00:31:20,080 --> 00:31:24,400
Speaker 1: appeared in Loberto Baba's Classic Demons, which is definitely worth

547
00:31:24,400 --> 00:31:29,160
Speaker 1: seeing if you're into just wild Italian horror movies of

548
00:31:29,200 --> 00:31:29,880
Speaker 1: this time period.

549
00:31:31,040 --> 00:31:33,360
Speaker 3: Is Warrior of the Lost World, the one they did

550
00:31:33,440 --> 00:31:36,400
Speaker 3: on Mystery Science Theater that has mega weapon.

551
00:31:36,640 --> 00:31:38,280
Speaker 1: Yes, I believe so. I think that's the one with

552
00:31:38,920 --> 00:31:40,200
Speaker 1: Donald Pleasants in it, right.

553
00:31:40,440 --> 00:31:43,400
Speaker 3: That sounds right. A mega weapon from what I recall,

554
00:31:43,560 --> 00:31:45,920
Speaker 3: is like a dump truck that's got a little like

555
00:31:46,040 --> 00:31:48,240
Speaker 3: thing pooping out some flames from it.

556
00:31:48,200 --> 00:31:50,840
Speaker 1: And yep, yep, that's the one. Fred Williamson's in it.

557
00:31:51,640 --> 00:31:54,600
Speaker 3: Yeah. But to repeat the theme of actors who are

558
00:31:54,680 --> 00:31:58,280
Speaker 3: giving it, they're all who are giving a I don't know,

559
00:31:58,320 --> 00:32:01,920
Speaker 3: you you might not think of as a realistic dramatic performance,

560
00:32:01,960 --> 00:32:04,320
Speaker 3: but who are going over the top in ways that

561
00:32:04,360 --> 00:32:10,000
Speaker 3: make this movie so much fun. Bullseye Like Greta. Greta

562
00:32:10,120 --> 00:32:13,080
Speaker 3: is so much fun in this Yeah.

563
00:32:13,200 --> 00:32:16,400
Speaker 1: She has this kind of like unhinged green energy that

564
00:32:16,520 --> 00:32:21,160
Speaker 1: makes her just absolutely captivating to watch. Like we'll get

565
00:32:21,200 --> 00:32:24,480
Speaker 1: into the key scene here in a bit. But yeah,

566
00:32:24,520 --> 00:32:27,239
Speaker 1: anytime she is on on on screen, you're like, what

567
00:32:27,320 --> 00:32:29,320
Speaker 1: is she gonna say next? What is she gonna do?

568
00:32:29,640 --> 00:32:31,760
Speaker 1: And what choices is she gonna make in her acting?

569
00:32:32,160 --> 00:32:32,880
Speaker 3: Yeah?

570
00:32:33,000 --> 00:32:37,720
Speaker 1: All right. We also have Foster Lombardi playing Frienzini, another

571
00:32:37,760 --> 00:32:42,080
Speaker 1: one of the Mega Force crew here the Marines here

572
00:32:42,080 --> 00:32:45,360
Speaker 1: born nineteen fifty five, Italian actor who credits include nineteen

573
00:32:45,360 --> 00:32:47,440
Speaker 1: eighty's Terror Express eighty two s Don't Look in the

574
00:32:47,480 --> 00:32:51,360
Speaker 1: Attic Rats Night of Terror, nineteen eighty nine's After Death

575
00:32:51,520 --> 00:32:55,200
Speaker 1: aka zombiefore. That one was directed by Claudio Fragasso and

576
00:32:55,240 --> 00:32:58,840
Speaker 1: written by Rosella Drudi, and he was also in Blue Tornado.

577
00:32:59,160 --> 00:33:02,440
Speaker 3: Is this the guy who cost her yells at for

578
00:33:02,520 --> 00:33:03,280
Speaker 3: being Italian?

579
00:33:03,520 --> 00:33:07,240
Speaker 1: Yes? Yeah, okay, all right. It can't be an alien's

580
00:33:07,320 --> 00:33:09,720
Speaker 1: ripoff without a newt ripoff and that is where the

581
00:33:09,920 --> 00:33:14,280
Speaker 1: character Samantha comes into play. Samantha was played by child

582
00:33:14,400 --> 00:33:18,800
Speaker 1: actress Dominica Colson, who was apparently eleven at the time

583
00:33:19,160 --> 00:33:22,880
Speaker 1: but looks quite a bit older on the screen. Judian

584
00:33:22,920 --> 00:33:26,200
Speaker 1: Fragoso points this out that she's almost as tall as

585
00:33:26,240 --> 00:33:30,800
Speaker 1: Tyler and these various scenes and I don't think everyone

586
00:33:30,880 --> 00:33:32,680
Speaker 1: was really happy with the way this ended up looking.

587
00:33:32,720 --> 00:33:35,240
Speaker 1: But hey, being being a parent of a twelve year

588
00:33:35,240 --> 00:33:39,040
Speaker 1: old and seeing how his friends have grown especially, I

589
00:33:39,040 --> 00:33:41,120
Speaker 1: can totally see how this could happen. You cast an

590
00:33:41,160 --> 00:33:43,400
Speaker 1: eleven year old and suddenly she's like a foot and

591
00:33:43,440 --> 00:33:44,080
Speaker 1: a half taller.

592
00:33:44,440 --> 00:33:45,959
Speaker 3: Oh yeah, I guess it takes a while to make

593
00:33:46,000 --> 00:33:48,320
Speaker 3: a movie, didn't it. Yeah yeah, we.

594
00:33:48,920 --> 00:33:51,240
Speaker 1: Would maybe not this one, but I'm maybe between the

595
00:33:51,280 --> 00:33:53,520
Speaker 1: time of casting at or maybe you don't realize that

596
00:33:53,880 --> 00:33:56,960
Speaker 1: your lead actor isn't as tall as Sigourney Weaver. I

597
00:33:56,960 --> 00:33:57,320
Speaker 1: don't know.

598
00:33:57,680 --> 00:34:00,200
Speaker 3: Yeah that would make sense. I would have guess this

599
00:34:00,280 --> 00:34:01,880
Speaker 3: actress was older than eleven. Yeah.

600
00:34:01,960 --> 00:34:05,600
Speaker 1: Yeah, But anyway. In that interview with Fangoria, Tyler shares

601
00:34:05,600 --> 00:34:07,400
Speaker 1: that she and her mom, who was on set with

602
00:34:07,480 --> 00:34:10,840
Speaker 1: her the whole time, were lovely people. So it's always

603
00:34:10,920 --> 00:34:13,040
Speaker 1: nice to hear when a low budget picture like this

604
00:34:13,520 --> 00:34:16,520
Speaker 1: is not in and of itself a secondary horror movie.

605
00:34:16,960 --> 00:34:20,640
Speaker 1: Yeah yeah, because you can imagine the pitch. I was

606
00:34:20,680 --> 00:34:24,480
Speaker 1: a college student living in Italy for a summer, and

607
00:34:24,520 --> 00:34:27,000
Speaker 1: I was cast in a sci fi horror movie filmed

608
00:34:27,040 --> 00:34:29,120
Speaker 1: in an abandoned nuclear power plant.

609
00:34:29,400 --> 00:34:31,480
Speaker 3: Oh my god, that is where they filmed some of

610
00:34:31,480 --> 00:34:32,279
Speaker 3: the stuff, isn't it.

611
00:34:32,560 --> 00:34:34,799
Speaker 1: Yeah, Yeah, we'll get into like you have so many

612
00:34:34,880 --> 00:34:38,560
Speaker 1: great sequences, and well, there are great sequences. You have

613
00:34:38,640 --> 00:34:42,160
Speaker 1: some great locations in this film, Yes, that look very

614
00:34:42,200 --> 00:34:45,680
Speaker 1: interesting that could have this industrial quality to them, but

615
00:34:45,760 --> 00:34:48,640
Speaker 1: also don't look like straight up grimy ruins like they're

616
00:34:48,719 --> 00:34:53,759
Speaker 1: kind of they're very clean and futuristic looking in some regards,

617
00:34:54,040 --> 00:34:56,520
Speaker 1: and that's basically what the whole situation is.

618
00:34:56,680 --> 00:34:59,359
Speaker 3: When I was watching, I was really wondering where some

619
00:34:59,440 --> 00:35:02,720
Speaker 3: of this was shot, because it doesn't look like cheap sets.

620
00:35:02,800 --> 00:35:06,200
Speaker 3: It looks like a real industrial setting with like heavy

621
00:35:06,280 --> 00:35:09,279
Speaker 3: bulkhead doors and all this stuff, Like what were they

622
00:35:09,280 --> 00:35:12,760
Speaker 3: doing here? But they actually got let into a nuclear

623
00:35:12,760 --> 00:35:13,440
Speaker 3: power plant.

624
00:35:14,320 --> 00:35:18,560
Speaker 1: Yeah. Italy, I believe, historically had four different nuclear power plants,

625
00:35:18,880 --> 00:35:21,760
Speaker 1: all of which close by nineteen ninety following the nineteen

626
00:35:21,800 --> 00:35:25,600
Speaker 1: eighty seven Italian referendums on nuclear power, and this would

627
00:35:25,600 --> 00:35:28,719
Speaker 1: have been in the wake of the Chernobyl disaster. So yeah,

628
00:35:28,719 --> 00:35:31,680
Speaker 1: they shot stuff there. They also shot some in Rome's

629
00:35:32,160 --> 00:35:36,960
Speaker 1: Roma Termini train station. I think there are some grinier

630
00:35:37,000 --> 00:35:39,719
Speaker 1: tunnel sequences that must have been shot there. And then

631
00:35:39,719 --> 00:35:42,960
Speaker 1: there's one set late in the picture. There's one like

632
00:35:43,040 --> 00:35:46,919
Speaker 1: fully created set. Basically, it'll be a set that looks

633
00:35:46,920 --> 00:35:49,239
Speaker 1: a lot like maybe they were inspired by the Mother

634
00:35:49,960 --> 00:35:51,680
Speaker 1: command center in the original Alien.

635
00:35:51,920 --> 00:35:54,880
Speaker 3: That's what I was thinking, was the one. Yeah, should

636
00:35:54,920 --> 00:35:57,759
Speaker 3: we spoil it right now? It's a time machine.

637
00:35:58,880 --> 00:36:02,279
Speaker 1: Yeah. This movie as the gall to throw in the

638
00:36:03,320 --> 00:36:05,480
Speaker 1: last ten to fifteen minutes of the film, they're like, oh,

639
00:36:05,760 --> 00:36:08,759
Speaker 1: time travel exists, Yeah, in a big way.

640
00:36:09,080 --> 00:36:10,680
Speaker 3: Best codea ever.

641
00:36:11,840 --> 00:36:13,680
Speaker 1: All right, let's see who do we have left on here? Okay,

642
00:36:13,680 --> 00:36:15,840
Speaker 1: there's a character named Drake who shows up. We mentioned

643
00:36:15,880 --> 00:36:20,839
Speaker 1: Drake earlier, played by Clive Ricci born nineteen fifty eight.

644
00:36:21,160 --> 00:36:24,040
Speaker 1: This is another This is a much much smaller role,

645
00:36:24,080 --> 00:36:27,720
Speaker 1: but another totally unhinged performance that lands somewhere between bad

646
00:36:27,760 --> 00:36:28,520
Speaker 1: and transcendent.

647
00:36:29,000 --> 00:36:31,640
Speaker 3: I could not believe what I was watching. In the

648
00:36:31,680 --> 00:36:34,360
Speaker 3: scene where he starts screaming at all of the Mega

649
00:36:34,400 --> 00:36:37,960
Speaker 3: Force guys and they all start screaming, and everyone's screaming,

650
00:36:38,040 --> 00:36:39,520
Speaker 3: It's like I nearly fell over.

651
00:36:39,960 --> 00:36:42,000
Speaker 1: It's a lot of screaming in this film, a lot

652
00:36:42,000 --> 00:36:44,799
Speaker 1: of shrill screaming. So this is a This is an

653
00:36:44,880 --> 00:36:48,719
Speaker 1: English born actor born fifty eight, also a composer. This

654
00:36:48,800 --> 00:36:51,560
Speaker 1: was his first film credit, which I think is understandable.

655
00:36:51,719 --> 00:36:54,120
Speaker 1: But he went on to appear in ninety four Cemetary Man,

656
00:36:54,360 --> 00:36:57,200
Speaker 1: two thousand and five's Casanova, the two thousand and seven

657
00:36:57,320 --> 00:37:00,520
Speaker 1: HBO series Rome, Dario Argento's Mother of Years in two

658
00:37:00,560 --> 00:37:03,279
Speaker 1: thousand and seven, in the twenty twenty four series Those

659
00:37:03,320 --> 00:37:06,719
Speaker 1: About to Die, along with various other I think Italian

660
00:37:06,719 --> 00:37:10,120
Speaker 1: productions and productions that took place in Italy. I believe

661
00:37:10,120 --> 00:37:12,080
Speaker 1: he's also a translator and a voiceover artist.

662
00:37:13,000 --> 00:37:16,800
Speaker 3: Okay, well, hey, should we talk about those creature effects

663
00:37:16,880 --> 00:37:19,399
Speaker 3: that Claudio was talking down on.

664
00:37:19,800 --> 00:37:23,279
Speaker 1: Yes, this is the work of the Polucci brothers. So

665
00:37:23,400 --> 00:37:27,040
Speaker 1: these are a pair of twin Italian monster suit makers,

666
00:37:27,360 --> 00:37:31,359
Speaker 1: Francesco and Gaetano, active behind the scenes, or at least

667
00:37:31,360 --> 00:37:35,279
Speaker 1: credited as such, because sometimes you know, special effects people

668
00:37:35,280 --> 00:37:38,680
Speaker 1: are kind of lost in the shuffle and aren't actually credited.

669
00:37:38,719 --> 00:37:41,640
Speaker 1: But based on the databases, we know that they were

670
00:37:41,680 --> 00:37:45,319
Speaker 1: active between eighty five and ninety six. They'd previously worked

671
00:37:45,360 --> 00:37:47,319
Speaker 1: on nineteen eighty five's Texts and The Lord of the

672
00:37:47,360 --> 00:37:50,680
Speaker 1: Deep on some special effects, and then they followed this

673
00:37:50,800 --> 00:37:54,600
Speaker 1: up working alongside the legendary Italian special effects master Carlo

674
00:37:54,719 --> 00:37:58,239
Speaker 1: Rombaldi on nineteen eighty five Silver Bullet. This is the

675
00:37:58,239 --> 00:38:02,200
Speaker 1: Stephen King scripted adaptation of King's Werewolf story.

676
00:38:02,520 --> 00:38:04,240
Speaker 3: Is that Gary Busey in it?

677
00:38:04,239 --> 00:38:04,920
Speaker 1: It sure does?

678
00:38:05,120 --> 00:38:05,840
Speaker 3: Yeah, okay?

679
00:38:06,360 --> 00:38:09,160
Speaker 1: And also what's his name that played Stilgar in the

680
00:38:09,920 --> 00:38:10,759
Speaker 1: David Lynch Dune.

681
00:38:11,200 --> 00:38:13,000
Speaker 3: Oh Everett McGill there you go.

682
00:38:13,520 --> 00:38:16,160
Speaker 1: Yeah, Everet McGill's in that too. So anyway, this seemed

683
00:38:16,160 --> 00:38:18,239
Speaker 1: to be like this. I'm guessing this was their big moment,

684
00:38:18,280 --> 00:38:21,640
Speaker 1: like working with a legit master of like creature effects

685
00:38:21,680 --> 00:38:24,960
Speaker 1: and creature building, and after this they seem to go

686
00:38:25,000 --> 00:38:28,640
Speaker 1: their own way. Their creature work continues in Body Count

687
00:38:28,680 --> 00:38:32,440
Speaker 1: in eighty six, The Barbarians in eighty seven, Top Line

688
00:38:32,480 --> 00:38:34,960
Speaker 1: and Robo War in eighty eight, and Night Killer in

689
00:38:35,040 --> 00:38:37,880
Speaker 1: nineteen ninety, and then their last picture came out in

690
00:38:37,960 --> 00:38:41,680
Speaker 1: ninety six. But again, sometimes special effects workers don't end

691
00:38:41,760 --> 00:38:45,239
Speaker 1: up being credited properly, so I'm not entirely sure where

692
00:38:45,280 --> 00:38:46,440
Speaker 1: else they may have worked.

693
00:38:46,600 --> 00:38:46,799
Speaker 4: Well.

694
00:38:46,840 --> 00:38:49,160
Speaker 3: I think the monsters in Shocking Dark look a lot

695
00:38:49,239 --> 00:38:51,239
Speaker 3: better than the monster in Robo War.

696
00:38:52,040 --> 00:38:55,040
Speaker 1: Yeah, they look good. I feel like they're mostly lit

697
00:38:55,080 --> 00:38:59,680
Speaker 1: pretty well. They clearly just had two suits, one of

698
00:38:59,719 --> 00:39:03,440
Speaker 1: which which looks kind of like a fishy frogman, and

699
00:39:03,480 --> 00:39:05,880
Speaker 1: the other one looks kind of like a cross between

700
00:39:05,920 --> 00:39:08,839
Speaker 1: the alien space jockey and a giant cicada.

701
00:39:08,960 --> 00:39:11,520
Speaker 3: That's what I was thinking of. One is the cicada

702
00:39:11,600 --> 00:39:13,840
Speaker 3: because it's got a oh, it's got kind of a

703
00:39:14,400 --> 00:39:16,400
Speaker 3: hose running down the middle of its face that is

704
00:39:16,440 --> 00:39:19,319
Speaker 3: space jockey ish but could also be interpreted as the

705
00:39:19,320 --> 00:39:22,960
Speaker 3: insects rostrum, and it has the red eyes of a cicada.

706
00:39:23,040 --> 00:39:25,960
Speaker 3: It just looks very insecty. But then the other one

707
00:39:26,160 --> 00:39:29,360
Speaker 3: is the one I was thinking of, is the bubblegum hippopotamus,

708
00:39:29,480 --> 00:39:32,160
Speaker 3: because it's kind of a hippo. Then when it opens

709
00:39:32,200 --> 00:39:35,480
Speaker 3: its mouth, it's got this stretchy the bubblegum kind of

710
00:39:35,520 --> 00:39:38,480
Speaker 3: the sticky stuff in between its jaws that it's always

711
00:39:38,520 --> 00:39:41,080
Speaker 3: like peeling up and I don't know what you call that,

712
00:39:41,080 --> 00:39:44,200
Speaker 3: that physical effect, but it's like bubble gum stuck between

713
00:39:44,200 --> 00:39:46,040
Speaker 3: two things that are peeling apart.

714
00:39:46,239 --> 00:39:48,760
Speaker 1: It's always painfully obvious that they only had two monster

715
00:39:48,840 --> 00:39:50,680
Speaker 1: suits in this film, like they're not really able to

716
00:39:50,760 --> 00:39:54,040
Speaker 1: create that illusion of there being tons and tons of monsters.

717
00:39:54,080 --> 00:39:56,160
Speaker 1: I always felt like there was monster A, a monster B,

718
00:39:56,520 --> 00:39:57,840
Speaker 1: but still they look pretty.

719
00:39:57,640 --> 00:40:00,640
Speaker 3: Good, though there are some surprise monsters later on of

720
00:40:00,680 --> 00:40:01,520
Speaker 3: a different format.

721
00:40:01,840 --> 00:40:04,800
Speaker 1: Oh yes, there is going to be a y spoiler

722
00:40:04,840 --> 00:40:07,560
Speaker 1: monster coming later. I guess not much of a spoiler monster,

723
00:40:08,520 --> 00:40:10,840
Speaker 1: all right. And then finally, the music in this picture.

724
00:40:11,640 --> 00:40:15,839
Speaker 1: The score is by Carlo Maria Cordillo born nineteen fifty two,

725
00:40:16,239 --> 00:40:19,879
Speaker 1: composer and one time producer on Joe Diamato's ninety one

726
00:40:19,960 --> 00:40:23,640
Speaker 1: fantasy film Quest for the Mighty Sword. He worked a

727
00:40:23,680 --> 00:40:27,880
Speaker 1: lot in European exploitation in genre cinema. His credits include

728
00:40:28,000 --> 00:40:31,440
Speaker 1: the nineteen eighty one Joe Diamato George Eastman Gorefest Absurd.

729
00:40:32,640 --> 00:40:37,560
Speaker 1: He did one Picicerre Simon's eighty two slasher pieces, along

730
00:40:37,600 --> 00:40:41,839
Speaker 1: with Joe Diamanto's A Tour the Fighting Eagle, and his

731
00:40:41,960 --> 00:40:46,160
Speaker 1: eight nineteen eighty three post apocalyptic film Endgame, Bronx Lata

732
00:40:46,280 --> 00:40:50,640
Speaker 1: Finale eighty seven, z Iron Warrior, Fulchi's Enigma the same year,

733
00:40:50,960 --> 00:40:55,839
Speaker 1: Night Killer Troll two, and various other schlocky titles. His

734
00:40:56,000 --> 00:41:00,439
Speaker 1: work typifies that kind of like fun and atmospheric work

735
00:41:00,440 --> 00:41:03,600
Speaker 1: you find in a lot of these films, which along

736
00:41:03,640 --> 00:41:06,279
Speaker 1: with you know, the work of bigger name players in

737
00:41:06,400 --> 00:41:10,800
Speaker 1: the game helped inspire whole modern subgenres of like horror, disco,

738
00:41:10,880 --> 00:41:13,760
Speaker 1: and you know, sort of like retro dark synth wave stuff.

739
00:41:13,960 --> 00:41:17,640
Speaker 3: Yeah, the soundtrack here is not super original, but I

740
00:41:17,680 --> 00:41:19,800
Speaker 3: think it fits well and is quite fun.

741
00:41:20,120 --> 00:41:23,640
Speaker 1: Yeah. Yeah. You can find some of these tracks on

742
00:41:24,840 --> 00:41:29,279
Speaker 1: Cordea's official streamable releases under the title Alienator, which is

743
00:41:29,320 --> 00:41:31,600
Speaker 1: one of the alternate titles for the film, if you

744
00:41:31,600 --> 00:41:34,680
Speaker 1: look for the album The Bite of Fear. So yeah,

745
00:41:34,800 --> 00:41:39,040
Speaker 1: I thought it sounded pretty good. Special edition vinyls of

746
00:41:39,160 --> 00:41:41,680
Speaker 1: his scores have been released before, I don't think for

747
00:41:41,880 --> 00:41:45,759
Speaker 1: Shocking Dark, but but Troll Too and Absurd definitely have

748
00:41:45,800 --> 00:41:48,560
Speaker 1: come out on vinyl. And finally, I should note that

749
00:41:48,960 --> 00:41:52,160
Speaker 1: IMDb lists the use of stock music on this film

750
00:41:52,200 --> 00:41:55,800
Speaker 1: by none other than legendary Greek progressive and electronic composer

751
00:41:55,840 --> 00:41:59,439
Speaker 1: Evangelists who live forty three through twenty and twenty two.

752
00:41:59,760 --> 00:42:02,080
Speaker 1: But I'm not sure what where and to what extent

753
00:42:02,160 --> 00:42:06,319
Speaker 1: we hear Evangelists in Shocking Dark, But I know he

754
00:42:06,320 --> 00:42:09,560
Speaker 1: did a lot of major compositions obviously, you know Oscar

755
00:42:09,600 --> 00:42:12,319
Speaker 1: winning stuff like eighty one's Chariots a Fire, or you

756
00:42:12,320 --> 00:42:15,759
Speaker 1: know the legendary score to eighty two's Blade Runner. But

757
00:42:15,800 --> 00:42:18,360
Speaker 1: he also did stuff like a twelve hour private score

758
00:42:18,400 --> 00:42:22,360
Speaker 1: for some surgery instruction videos that the Tacos tape. So

759
00:42:22,840 --> 00:42:26,040
Speaker 1: I don't know. I'm not I'm not a vangelist expert,

760
00:42:26,080 --> 00:42:28,200
Speaker 1: so I'm not sure like what all he got into

761
00:42:28,239 --> 00:42:30,360
Speaker 1: outside of like his main work. So maybe there is

762
00:42:30,400 --> 00:42:33,440
Speaker 1: some like you know, straight up you know stock music

763
00:42:33,480 --> 00:42:35,960
Speaker 1: that he did that they're sampling here. But but again

764
00:42:36,000 --> 00:42:38,120
Speaker 1: I'm not sure. I'm not sure on the details of

765
00:42:38,160 --> 00:42:40,120
Speaker 1: where we hear any of his work in this picture.

766
00:42:41,160 --> 00:42:45,320
Speaker 1: Let me stress though, score by Cordillo not a score

767
00:42:45,360 --> 00:42:46,160
Speaker 1: by vangelists.

768
00:42:46,440 --> 00:42:59,920
Speaker 3: Evangelists directed shocking everybody remember that. Okay, is it to

769
00:43:00,239 --> 00:43:01,000
Speaker 3: talk about the plot?

770
00:43:01,400 --> 00:43:03,919
Speaker 1: Yeah? It's getting the plot now.

771
00:43:04,040 --> 00:43:06,400
Speaker 3: I think once we sort of hit a certain point

772
00:43:06,520 --> 00:43:09,280
Speaker 3: in the progression of the story here, the plot recap

773
00:43:09,320 --> 00:43:12,920
Speaker 3: may become thinner or more cursory than usual. Since it

774
00:43:13,080 --> 00:43:15,760
Speaker 3: just did not make sense to me to, like after

775
00:43:15,840 --> 00:43:20,080
Speaker 3: Act two begins, to try to narrate in detail. This

776
00:43:20,160 --> 00:43:23,840
Speaker 3: is one of those movies where when I started playing

777
00:43:23,920 --> 00:43:26,759
Speaker 3: the stream, I had to stop and make sure I

778
00:43:26,840 --> 00:43:29,120
Speaker 3: had selected the right title, because if you know that

779
00:43:29,200 --> 00:43:32,360
Speaker 3: the premise is it's a ripoff of aliens and terminator.

780
00:43:32,800 --> 00:43:36,200
Speaker 3: The first scene does not make any sense. We open

781
00:43:36,280 --> 00:43:41,120
Speaker 3: on tourists in Venice. Yes, so we're in some piazza

782
00:43:41,360 --> 00:43:45,200
Speaker 3: with cathedrals in the background. You see tourists wandering around

783
00:43:45,200 --> 00:43:49,440
Speaker 3: with cameras taking pictures of stuff. They're pigeons everywhere. Somebody

784
00:43:49,480 --> 00:43:53,160
Speaker 3: strikes up some soft Italian mandolin music, and then a

785
00:43:53,239 --> 00:43:55,880
Speaker 3: voice over comes on, sounding like the narrator of a

786
00:43:55,920 --> 00:44:00,320
Speaker 3: slasher movie trailer, and says, Venus before the year two

787
00:44:00,360 --> 00:44:06,360
Speaker 3: thousand and it goes on to say squares, museums and churches,

788
00:44:06,760 --> 00:44:11,600
Speaker 3: Tourists crowd the streets. Venice is threatened by the high tide.

789
00:44:12,239 --> 00:44:15,920
Speaker 3: The seaweed is killing the oxygen in the waters, and

790
00:44:15,960 --> 00:44:19,920
Speaker 3: the putrid waters are corroding the foundations of the city.

791
00:44:20,400 --> 00:44:22,759
Speaker 3: So we're treated to some shots of Venice from the

792
00:44:22,840 --> 00:44:25,359
Speaker 3: water from out on the ocean, looking at the at

793
00:44:25,400 --> 00:44:29,040
Speaker 3: the coastline and the buildings, and then the narrator says,

794
00:44:29,160 --> 00:44:32,440
Speaker 3: this is Venus today, and then it grows softer and

795
00:44:32,440 --> 00:44:38,240
Speaker 3: it says what will happen tomorrow? We cut away from

796
00:44:38,360 --> 00:44:40,719
Speaker 3: the waters and the pleasure boats to a shot of

797
00:44:40,760 --> 00:44:44,399
Speaker 3: the city with soft, fuzzy lens Now it looked very

798
00:44:44,440 --> 00:44:47,000
Speaker 3: clear beforehand. Now we got the fuzzy lens, so the

799
00:44:47,040 --> 00:44:51,239
Speaker 3: camera operator has activated conquest mode. I don't know how

800
00:44:51,280 --> 00:44:53,799
Speaker 3: exactly they do that. I mean they smear some vasoline

801
00:44:53,800 --> 00:44:56,240
Speaker 3: on the lens or something, but we're in that mode,

802
00:44:56,640 --> 00:44:58,759
Speaker 3: and in front of the city there is now a

803
00:44:58,840 --> 00:45:03,239
Speaker 3: red sign that says Venus off limits. And here we

804
00:45:03,239 --> 00:45:07,200
Speaker 3: get our first glimpse of the Mega Force. Now, these

805
00:45:07,280 --> 00:45:10,680
Speaker 3: costumes are I don't know, they're a big part of

806
00:45:10,719 --> 00:45:14,560
Speaker 3: what makes the movie funny because they're just funny looking costumes.

807
00:45:14,680 --> 00:45:17,160
Speaker 3: From the bottom to the top, the Mega Force wear

808
00:45:17,440 --> 00:45:23,280
Speaker 3: heavy boots, baggy cuffed up nylon pants, a Batman utility belt,

809
00:45:23,880 --> 00:45:27,800
Speaker 3: golden yellow long sleeve shirts, and then I don't know

810
00:45:27,840 --> 00:45:32,200
Speaker 3: what you call these this like shoulder formation or sleeve type,

811
00:45:32,200 --> 00:45:35,719
Speaker 3: but they're like a V shaped gray vest with sort

812
00:45:35,760 --> 00:45:38,680
Speaker 3: of arched cap sleeves. You know, there's like where the

813
00:45:38,719 --> 00:45:41,600
Speaker 3: sleeve comes out from the shoulder over the arm.

814
00:45:42,239 --> 00:45:44,279
Speaker 1: Yeah, it looks kind of like the things that the

815
00:45:44,360 --> 00:45:45,680
Speaker 1: Ninjas wear in Mortal Combat.

816
00:45:46,040 --> 00:45:49,960
Speaker 3: Yes, yeah, yeah, and then a gas mask and a

817
00:45:50,000 --> 00:45:50,880
Speaker 3: bicycle outlet.

818
00:45:51,120 --> 00:45:56,600
Speaker 1: Yeah yeah. So basically, so, yeah, Venus is off limits. Now,

819
00:45:57,040 --> 00:45:59,160
Speaker 1: future Venus is kind of like New York City and

820
00:45:59,280 --> 00:46:01,960
Speaker 1: Escape from New York, only it's a biohazard zone instead

821
00:46:01,960 --> 00:46:02,920
Speaker 1: of a penal colony.

822
00:46:02,960 --> 00:46:06,640
Speaker 3: Will learn, Yeah, not even any prisoners in there. There

823
00:46:06,719 --> 00:46:10,239
Speaker 3: is no Duke of Venice. There is only slime, which,

824
00:46:10,239 --> 00:46:12,480
Speaker 3: by the way they show us, we're just getting at

825
00:46:12,480 --> 00:46:14,880
Speaker 3: this point. They're showing us pictures of the water and

826
00:46:14,920 --> 00:46:18,600
Speaker 3: they're slime in the water. And then another narrator comes on,

827
00:46:18,680 --> 00:46:21,120
Speaker 3: I think this is a different voice who says the

828
00:46:21,200 --> 00:46:25,560
Speaker 3: situation in Venice is now critical. A giant toxic cloud

829
00:46:25,640 --> 00:46:29,280
Speaker 3: has settled over the city and is slowly destroying every

830
00:46:29,280 --> 00:46:32,520
Speaker 3: form of life. The government has declared it a disaster

831
00:46:32,680 --> 00:46:36,439
Speaker 3: area and has ordered the evacuation of the few remaining survivors.

832
00:46:36,880 --> 00:46:41,759
Speaker 3: Venice is now a dead city. And then like the

833
00:46:41,760 --> 00:46:45,799
Speaker 3: camera pans around looking at the canals, filming places where

834
00:46:45,840 --> 00:46:48,520
Speaker 3: there's like a lot of algae on the bricks around

835
00:46:48,520 --> 00:46:51,360
Speaker 3: the canal, or just some litter, and it kind of

836
00:46:51,360 --> 00:46:53,600
Speaker 3: reminds me of something we talked about in our Weird

837
00:46:53,640 --> 00:46:58,000
Speaker 3: House episode on Frogs from nineteen seventy two, when you've

838
00:46:58,000 --> 00:47:00,480
Speaker 3: got a movie scene that is supposed to be showing

839
00:47:00,520 --> 00:47:04,160
Speaker 3: that a place is filled with litter and pollution. But

840
00:47:04,280 --> 00:47:07,600
Speaker 3: the trash in the scene looks too fresh. They do

841
00:47:07,680 --> 00:47:10,400
Speaker 3: not have that problem here, because I think they're just

842
00:47:11,080 --> 00:47:13,320
Speaker 3: I think they got these shots by just going around

843
00:47:13,320 --> 00:47:16,319
Speaker 3: in filming places where there was actually trash piled up.

844
00:47:16,480 --> 00:47:20,640
Speaker 1: Yeah, they just like picked out the worst spots in

845
00:47:20,719 --> 00:47:23,080
Speaker 1: Venice and like, here's your dystopian future.

846
00:47:23,200 --> 00:47:26,279
Speaker 3: Right, So it doesn't actually look that futuristic. It just

847
00:47:26,280 --> 00:47:28,600
Speaker 3: looks like they were cruising for trash and they found

848
00:47:28,640 --> 00:47:32,960
Speaker 3: some and you know, got some shots. So we go

849
00:47:33,040 --> 00:47:36,160
Speaker 3: around looking at these these fuzzy scenes of a desolate,

850
00:47:36,200 --> 00:47:39,960
Speaker 3: abandoned Venus. There's like crumbling. There are crumbling buildings hanging

851
00:47:40,000 --> 00:47:43,600
Speaker 3: over the canals, old wooden scaffolding in various stages of rot,

852
00:47:44,080 --> 00:47:47,160
Speaker 3: bricks falling into the ocean, rats living in old water

853
00:47:47,239 --> 00:47:52,920
Speaker 3: logged mattresses. The idea is Venus stinks. Now, it's no good. Next,

854
00:47:53,080 --> 00:47:56,359
Speaker 3: we go inside a secure facility to a control room

855
00:47:56,400 --> 00:48:00,000
Speaker 3: of some kind with huge banks of lights and monitors

856
00:48:00,160 --> 00:48:03,120
Speaker 3: and dials all beeping, and in here we meet some

857
00:48:03,200 --> 00:48:05,480
Speaker 3: Megaphorce guys. And as soon as I saw this, I

858
00:48:05,520 --> 00:48:07,680
Speaker 3: was like, oh, this is not a set they cannot

859
00:48:07,719 --> 00:48:10,000
Speaker 3: afford to create a set like this, this is some

860
00:48:10,080 --> 00:48:12,319
Speaker 3: kind of actual industrial control room.

861
00:48:12,840 --> 00:48:15,840
Speaker 1: Yeah, it's very it's very functional looking, like especially in

862
00:48:15,920 --> 00:48:17,879
Speaker 1: the still that you popped into our notes here, it's

863
00:48:17,920 --> 00:48:21,839
Speaker 1: like you can see computer screens online in the background,

864
00:48:22,040 --> 00:48:25,200
Speaker 1: like all the lights are on. You know, presumably they

865
00:48:25,200 --> 00:48:28,800
Speaker 1: did not fire the plant back up again in full,

866
00:48:29,520 --> 00:48:33,239
Speaker 1: but everything looks very operational, like. This is not a

867
00:48:33,640 --> 00:48:36,799
Speaker 1: This is not a power plant that was taken off

868
00:48:36,840 --> 00:48:39,560
Speaker 1: line because it had completely worn out. No, it came

869
00:48:39,600 --> 00:48:42,360
Speaker 1: off line because of you know, other other reasons.

870
00:48:42,600 --> 00:48:46,520
Speaker 3: I'm just imagining Bruno like that guy in Chernobyl where

871
00:48:46,520 --> 00:48:49,360
Speaker 3: he's like, no, get my reactors started again.

872
00:48:50,560 --> 00:48:53,120
Speaker 1: But yeah, these are some great spaces that that we

873
00:48:53,160 --> 00:48:56,000
Speaker 1: see throughout the picture at times, like huge vault doors

874
00:48:57,000 --> 00:48:59,239
Speaker 1: in this case, you know, big control banks, some great

875
00:48:59,280 --> 00:49:04,840
Speaker 1: hallway and yeah, so some and it feels significantly different

876
00:49:04,880 --> 00:49:08,640
Speaker 1: compared to a lot of the grimy industrial spaces that

877
00:49:08,640 --> 00:49:10,799
Speaker 1: we've seen in a lot of our other movies that

878
00:49:10,840 --> 00:49:12,239
Speaker 1: we watch for Weird House Cinema.

879
00:49:12,360 --> 00:49:16,040
Speaker 3: Yeah. Yeah, So a guy from wearing the Megapores uniform

880
00:49:16,080 --> 00:49:18,560
Speaker 3: comes into this room. He says, what's going on here?

881
00:49:18,680 --> 00:49:22,000
Speaker 3: And the guy manning the computer says there's an SOS

882
00:49:22,120 --> 00:49:26,120
Speaker 3: from Venice, sir, And before the guy even finishes saying venus,

883
00:49:26,200 --> 00:49:29,600
Speaker 3: we hear people screaming from somewhere and then we realize

884
00:49:29,600 --> 00:49:33,200
Speaker 3: they're screaming on the TV that they're watching. So let's watch,

885
00:49:33,280 --> 00:49:37,200
Speaker 3: and we get to see the closed circuit camera and

886
00:49:37,360 --> 00:49:40,520
Speaker 3: it's like some workers in a steamy tunnel somewhere and

887
00:49:40,560 --> 00:49:43,359
Speaker 3: they're looking up at the camera in the tunnel and

888
00:49:43,440 --> 00:49:47,920
Speaker 3: screaming for help. And the performances of these guys is

889
00:49:48,040 --> 00:49:51,560
Speaker 3: so strong, so they're they're like overacting in one sense

890
00:49:51,600 --> 00:49:54,400
Speaker 3: where they're like a just screaming at the top of

891
00:49:54,440 --> 00:49:57,880
Speaker 3: their lungs. You can see their uvulas, you know, teeth out,

892
00:49:58,080 --> 00:50:00,960
Speaker 3: just shrieking. But then they're there are also moments where

893
00:50:00,960 --> 00:50:03,480
Speaker 3: they'll like pause and look at the camera for a

894
00:50:03,520 --> 00:50:07,560
Speaker 3: second and then scream for help again. Yeah, so we

895
00:50:07,600 --> 00:50:09,799
Speaker 3: see a look of grave concern on the face of

896
00:50:09,840 --> 00:50:12,360
Speaker 3: the Mega Force leader. I think this guy is technically

897
00:50:12,400 --> 00:50:15,920
Speaker 3: the kernel, but this guy is great. He's got a

898
00:50:16,000 --> 00:50:20,120
Speaker 3: very Charlton Hesteny stab you with his Adam's Apple quality.

899
00:50:20,640 --> 00:50:24,280
Speaker 3: But he also I don't know exactly why, maybe because

900
00:50:24,280 --> 00:50:27,040
Speaker 3: of the yellow shirt. He just reminded me of corn,

901
00:50:27,440 --> 00:50:30,479
Speaker 3: like he's a big old corn corn on the cob,

902
00:50:30,640 --> 00:50:35,520
Speaker 3: just yellow, sweet summer corn. And he also is a

903
00:50:35,560 --> 00:50:39,799
Speaker 3: really funny character because the corn guy here stares into

904
00:50:39,840 --> 00:50:42,799
Speaker 3: space for several seconds before saying his lines. It does

905
00:50:42,840 --> 00:50:45,399
Speaker 3: it repeatedly, like it'll cut to the Mega Force guy

906
00:50:45,440 --> 00:50:49,280
Speaker 3: and then engage the emergency protocol.

907
00:50:51,800 --> 00:50:53,719
Speaker 1: I want to say that he's also one of these

908
00:50:53,760 --> 00:50:56,800
Speaker 1: characters that is often like clearly reading lines off a screen,

909
00:50:57,000 --> 00:50:59,520
Speaker 1: whether they're actually on the screen digitally or they are

910
00:51:00,320 --> 00:51:02,800
Speaker 1: there probably and we just can't see it from a

911
00:51:02,880 --> 00:51:04,120
Speaker 1: d to the camera angle.

912
00:51:04,440 --> 00:51:07,880
Speaker 3: Yeah. So in the scene, Corn commander here wants to

913
00:51:07,880 --> 00:51:10,719
Speaker 3: get in touch with somebody named Raffleson, who is the

914
00:51:10,760 --> 00:51:13,560
Speaker 3: scientist in charge of whatever they're looking at, but they're

915
00:51:13,600 --> 00:51:17,279
Speaker 3: unable to raise him. Communications have been cut. As I

916
00:51:17,280 --> 00:51:20,640
Speaker 3: alluded to earlier, it's kind of hard to describe what

917
00:51:20,800 --> 00:51:23,560
Speaker 3: makes this so funny, but all throughout here there is

918
00:51:23,680 --> 00:51:27,160
Speaker 3: pretty high level hilarity in like every human aspect of

919
00:51:27,160 --> 00:51:31,320
Speaker 3: the movie, from the physical blocking and posture of the actors,

920
00:51:31,719 --> 00:51:35,000
Speaker 3: to the facial expressions, to the lines as scripted, to

921
00:51:35,120 --> 00:51:39,160
Speaker 3: the line deliveries. Like everything on that level is super

922
00:51:39,200 --> 00:51:42,400
Speaker 3: awkward and funny. And sometimes adorable.

923
00:51:43,040 --> 00:51:45,920
Speaker 1: Yeah, and it's at that level that is I think

924
00:51:46,000 --> 00:51:50,479
Speaker 1: ultimately very difficult to reproduce for comedic value. Like, yes,

925
00:51:51,080 --> 00:51:54,080
Speaker 1: it's a rarey. You see something like Garth Morange's Dark

926
00:51:54,120 --> 00:51:57,359
Speaker 1: Place that was able to so perfectly capture the sort

927
00:51:57,400 --> 00:52:00,320
Speaker 1: of vibe that was achieved organically in this picture.

928
00:52:00,239 --> 00:52:04,680
Speaker 3: Right, Yes, Okay, So we go into the facility that

929
00:52:04,719 --> 00:52:07,040
Speaker 3: we were just watching on the closed circuit and we

930
00:52:07,080 --> 00:52:09,319
Speaker 3: follow around a couple of the workers in jumpsuits as

931
00:52:09,360 --> 00:52:12,640
Speaker 3: they run around the tunnels. Occasionally they remembered act scared

932
00:52:13,120 --> 00:52:15,359
Speaker 3: and then they you know, and they'll have lines about

933
00:52:15,360 --> 00:52:18,680
Speaker 3: how it seems like it's curtains for us. And eventually

934
00:52:18,680 --> 00:52:21,319
Speaker 3: they wander up on a monster hidden by fog, so

935
00:52:21,320 --> 00:52:24,200
Speaker 3: we don't get a good look at it yet, but

936
00:52:24,400 --> 00:52:27,480
Speaker 3: you know that they're like, oh no, it's our time,

937
00:52:28,040 --> 00:52:30,239
Speaker 3: so you know they know they're done for Then we

938
00:52:30,280 --> 00:52:33,000
Speaker 3: cut back to another guy. It's this curly haired guy

939
00:52:33,040 --> 00:52:35,640
Speaker 3: we follow as he runs around the tunnels. He makes

940
00:52:35,680 --> 00:52:38,800
Speaker 3: some really good faces if you pause it at essentially

941
00:52:38,840 --> 00:52:44,840
Speaker 3: any moment, and then he gets assaulted by this other guy, Drake.

942
00:52:45,200 --> 00:52:48,760
Speaker 3: Drake is the scientist who we mentioned earlier who gives

943
00:52:48,800 --> 00:52:54,719
Speaker 3: the the just really astoundingly unhinged performance. When he first

944
00:52:54,719 --> 00:52:57,360
Speaker 3: sees him, he's like, oh, Drake, it's you. What happened

945
00:52:57,400 --> 00:52:59,520
Speaker 3: to the others? And then Drake puts a hand on

946
00:52:59,600 --> 00:53:05,919
Speaker 3: him and he's like, goods. Drake starts, I think, sort

947
00:53:05,960 --> 00:53:08,719
Speaker 3: of choking him, and I don't know, probably eats him

948
00:53:08,840 --> 00:53:12,759
Speaker 3: or something. We like Drake, by the way. So next

949
00:53:12,800 --> 00:53:16,200
Speaker 3: week cut back to headquarters and we got the Corn commander,

950
00:53:16,680 --> 00:53:20,840
Speaker 3: this other kind of dorky Megaphorce guy, and a lady.

951
00:53:20,920 --> 00:53:24,320
Speaker 3: Now also, she's wearing a vest with arched caps leaves,

952
00:53:24,400 --> 00:53:27,160
Speaker 3: but hers is a leather vest for a green jumpsuit,

953
00:53:27,440 --> 00:53:30,560
Speaker 3: so I think she's supposed to look cool. And these

954
00:53:30,600 --> 00:53:35,400
Speaker 3: three people are Sarah Drumble, the scientist. We've got Bond,

955
00:53:35,520 --> 00:53:38,359
Speaker 3: who is the captain of the Megaphorce Strike Team, which

956
00:53:38,360 --> 00:53:41,440
Speaker 3: will be our colonial space Marines for the film. I

957
00:53:41,520 --> 00:53:46,360
Speaker 3: recall Bond being quite unremarkable. I don't know what to

958
00:53:46,400 --> 00:53:50,040
Speaker 3: say about him. He's just like leader Man. And then

959
00:53:50,080 --> 00:53:53,480
Speaker 3: of course there's Commander Corn, who is some kind of

960
00:53:53,680 --> 00:53:56,800
Speaker 3: some kind of colonel. He stays back in the command

961
00:53:56,880 --> 00:53:58,200
Speaker 3: center for much of the movie.

962
00:53:58,440 --> 00:54:01,919
Speaker 1: Yeah, he's played by one time or Bruce McFarland, and

963
00:54:03,000 --> 00:54:06,480
Speaker 1: Raffleson on the screen is played by Al McFarland. So

964
00:54:06,600 --> 00:54:08,439
Speaker 1: I don't know if these two were like father and son,

965
00:54:08,520 --> 00:54:10,080
Speaker 1: if they were related, or they're just having to be

966
00:54:10,120 --> 00:54:13,479
Speaker 1: a couple of McFarland's yeah, in Italy at the time.

967
00:54:13,680 --> 00:54:15,799
Speaker 3: So the three of them are in what looks like

968
00:54:15,840 --> 00:54:18,360
Speaker 3: one of those featureless rooms attached to the side of

969
00:54:18,360 --> 00:54:21,200
Speaker 3: a church where you do Sunday school, and they are

970
00:54:21,239 --> 00:54:25,319
Speaker 3: watching a videotape of the scientist Raffleson. He's the big

971
00:54:25,360 --> 00:54:27,680
Speaker 3: science guy in charge of all the dudes in the tunnels,

972
00:54:27,960 --> 00:54:30,600
Speaker 3: and Raffleson on the tape is saying, well, yeah, one

973
00:54:30,640 --> 00:54:33,000
Speaker 3: thing's for sure. Our group here seems to be condemned

974
00:54:33,000 --> 00:54:35,960
Speaker 3: to certain death, a hideous death, and he could not

975
00:54:36,120 --> 00:54:39,640
Speaker 3: sound more bored. But Raffleson says he wants to create

976
00:54:39,680 --> 00:54:42,000
Speaker 3: a record of what happened here. He says, about a

977
00:54:42,040 --> 00:54:45,920
Speaker 3: week ago, strange things started to take place. Several of

978
00:54:45,960 --> 00:54:49,600
Speaker 3: his team disappeared and others showed signs of mental disturbance.

979
00:54:49,960 --> 00:54:52,200
Speaker 3: And then Drake, who's the guy we met in the tunnel,

980
00:54:52,520 --> 00:54:54,759
Speaker 3: has begun to insist that he is in touch with

981
00:54:54,800 --> 00:54:58,400
Speaker 3: a community of strange creatures, almost as if he were.

982
00:54:58,800 --> 00:55:01,440
Speaker 3: And then the signal cuts off off, cut to static.

983
00:55:01,880 --> 00:55:03,520
Speaker 1: Now at this point, I feel like the movie is

984
00:55:03,520 --> 00:55:06,680
Speaker 1: starting to fire in all cylinders and you're and to

985
00:55:06,719 --> 00:55:12,040
Speaker 1: be fair, like doesn't feel particularly aliens at this point,

986
00:55:12,080 --> 00:55:13,920
Speaker 1: doesn't feel like a huge rip off, you know, it's

987
00:55:14,000 --> 00:55:16,560
Speaker 1: kind of like, all right, some sort of weird creature

988
00:55:16,640 --> 00:55:19,720
Speaker 1: community has emerged in post apocalyptic Venice.

989
00:55:19,840 --> 00:55:22,640
Speaker 3: Okay, yeah, you could imagine it going in other directions,

990
00:55:22,640 --> 00:55:26,800
Speaker 3: but so okay, here the corn commander tells Sarah Drumble

991
00:55:26,880 --> 00:55:30,000
Speaker 3: that she's gonna have to go on a mission into

992
00:55:30,080 --> 00:55:33,080
Speaker 3: the lab facility to see if they can rescue any survivors.

993
00:55:33,719 --> 00:55:35,600
Speaker 3: And then there's a guy who pipes up from the

994
00:55:35,600 --> 00:55:39,120
Speaker 3: back of the room who's He says something like, you know,

995
00:55:39,160 --> 00:55:42,320
Speaker 3: to heck with the survivors, I need Raffleson's secret diary.

996
00:55:43,200 --> 00:55:46,880
Speaker 3: Who is this guy? Well, he introduces himself as Samuel

997
00:55:47,000 --> 00:55:49,680
Speaker 3: Fuller from the Tubular Corporation.

998
00:55:50,160 --> 00:55:53,120
Speaker 1: Oh my god, I love the Tubular Corporation. And they

999
00:55:53,120 --> 00:55:53,799
Speaker 1: say it a lot.

1000
00:55:54,239 --> 00:55:57,719
Speaker 3: They never stopped so many references to the Tubular Corporation.

1001
00:55:58,200 --> 00:56:01,560
Speaker 3: So I'm trying to think, is there something that refers

1002
00:56:01,600 --> 00:56:04,640
Speaker 3: to like, where does that title come from? Obviously this

1003
00:56:04,800 --> 00:56:09,880
Speaker 3: is either waylund Utawni or Cyberdine, But where does where does?

1004
00:56:09,960 --> 00:56:11,560
Speaker 3: What is the source of tubular?

1005
00:56:12,800 --> 00:56:15,640
Speaker 1: They made tubes, I guess, or they were just like

1006
00:56:15,719 --> 00:56:16,640
Speaker 1: totally tubular.

1007
00:56:16,800 --> 00:56:18,040
Speaker 3: They did like tunnels.

1008
00:56:18,239 --> 00:56:22,640
Speaker 1: We learned that, Yeah, tubular tubular. It's just so funny.

1009
00:56:23,640 --> 00:56:25,600
Speaker 1: But I did find it hilarious that someone out there

1010
00:56:25,600 --> 00:56:27,640
Speaker 1: on one of these like there's like a Terminator wiki

1011
00:56:28,040 --> 00:56:32,600
Speaker 1: had added a page for the Tubular Corporation and its

1012
00:56:32,600 --> 00:56:34,400
Speaker 1: stressed that it was non canon, that it was not

1013
00:56:34,440 --> 00:56:37,280
Speaker 1: officially part of the Terminator universe. But I'm sorry you've

1014
00:56:37,360 --> 00:56:40,640
Speaker 1: put it on the Terminator wiki, so it kind of

1015
00:56:40,840 --> 00:56:43,360
Speaker 1: is at this point. It's just like an Italian company

1016
00:56:43,719 --> 00:56:44,720
Speaker 1: that is in the same world.

1017
00:56:44,840 --> 00:56:49,200
Speaker 3: Tubular Corporation is Terminator Dutero canon. Yeah, it's like how

1018
00:56:49,239 --> 00:56:53,120
Speaker 3: some Christians feel about like the Book of Enoch or something. Okay,

1019
00:56:53,160 --> 00:56:56,439
Speaker 3: but anyway, this guy, Samuel Fuller, he is like our

1020
00:56:56,560 --> 00:57:01,560
Speaker 3: Burk from Aliens, except it completely misses the thrust of Burke,

1021
00:57:01,640 --> 00:57:04,000
Speaker 3: which is that Burke is charming at first and then

1022
00:57:04,120 --> 00:57:07,920
Speaker 3: is revealed to be a snake. Samuel Fuller is mean

1023
00:57:08,120 --> 00:57:11,920
Speaker 3: and explicitly evil from the very first moment. He is

1024
00:57:11,960 --> 00:57:16,040
Speaker 3: like if the abstract notion of contempt became flesh and blood.

1025
00:57:16,080 --> 00:57:20,200
Speaker 3: He's sneering in every single scene, you know. He comes

1026
00:57:20,240 --> 00:57:22,760
Speaker 3: up and he's like, I'm going on the mission. And

1027
00:57:22,800 --> 00:57:27,000
Speaker 3: then the strikeforce guy Bond, he says, it's only right

1028
00:57:27,080 --> 00:57:30,240
Speaker 3: that the lady here comes along. She's a scientist, but

1029
00:57:30,360 --> 00:57:33,960
Speaker 3: I don't want any other civilians on the mission. And

1030
00:57:34,000 --> 00:57:36,720
Speaker 3: then Fuller comes up and sneers at him. Fuller, by

1031
00:57:36,720 --> 00:57:40,320
Speaker 3: the way, is wearing like a black and red jacket

1032
00:57:40,360 --> 00:57:43,400
Speaker 3: with these big pouches on it, like a cargo pockets

1033
00:57:43,520 --> 00:57:47,440
Speaker 3: jacket and a black and red hat. So again very

1034
00:57:47,640 --> 00:57:51,240
Speaker 3: terminator color scheme. And he comes up and sneers at

1035
00:57:51,280 --> 00:57:53,840
Speaker 3: the guy, and he says, eleven years in the Marines

1036
00:57:53,920 --> 00:57:56,800
Speaker 3: were enough to teach me that whoever talks a lot

1037
00:57:56,960 --> 00:58:00,520
Speaker 3: doesn't get much done, and you seem to talk lot.

1038
00:58:02,280 --> 00:58:05,640
Speaker 3: So Bond is he gets mad and he's going to lunge,

1039
00:58:05,680 --> 00:58:08,440
Speaker 3: but the corn commander holds him back and says, easy, Bond,

1040
00:58:08,720 --> 00:58:12,680
Speaker 3: Fuller here is an expert in martial arts. So the

1041
00:58:12,760 --> 00:58:15,880
Speaker 3: colonel explains that Bond doesn't really have a choice because

1042
00:58:15,920 --> 00:58:19,120
Speaker 3: the Tubular Corporation is the one that ordered the mission

1043
00:58:19,240 --> 00:58:21,440
Speaker 3: that they've got to go in there, and they're the

1044
00:58:21,480 --> 00:58:25,520
Speaker 3: ones that constructed the viaduct leading to the underground venice,

1045
00:58:25,600 --> 00:58:27,120
Speaker 3: which is I guess where they're headed.

1046
00:58:27,320 --> 00:58:30,040
Speaker 1: Yeah, so that is, to your point, basically a tube.

1047
00:58:30,200 --> 00:58:34,040
Speaker 3: It is, right, Yeah, it's a tube. So Sneerman here

1048
00:58:34,200 --> 00:58:36,160
Speaker 3: is with the company, and he gets to come along

1049
00:58:36,240 --> 00:58:38,440
Speaker 3: with the Mega Force because he's with the company and

1050
00:58:38,480 --> 00:58:39,640
Speaker 3: because he knows karate.

1051
00:58:40,760 --> 00:58:40,920
Speaker 1: Oh.

1052
00:58:41,000 --> 00:58:44,360
Speaker 3: Also here the scientist Sarah Drumbel speaks up, and she

1053
00:58:44,480 --> 00:58:48,760
Speaker 3: says the project was supposed to purify the city's polluted waters.

1054
00:58:49,160 --> 00:58:52,000
Speaker 3: As things stand, it appears that all of your millions

1055
00:58:52,000 --> 00:58:56,160
Speaker 3: have only gone to worsen the situation. And Fuller looks

1056
00:58:56,200 --> 00:59:00,760
Speaker 3: at her ego that remains to be seen. Then they're like, okay,

1057
00:59:00,760 --> 00:59:03,280
Speaker 3: we've got fifteen minutes to get ready. So instead of

1058
00:59:03,360 --> 00:59:06,720
Speaker 3: the whole like drop ship situation in Aliens where we

1059
00:59:06,760 --> 00:59:09,920
Speaker 3: get to know everybody, instead we get like a locker

1060
00:59:10,000 --> 00:59:12,400
Speaker 3: room scene where we get to know the Marines before

1061
00:59:12,440 --> 00:59:16,880
Speaker 3: they go through a door. So let's meet our Megaporce team.

1062
00:59:17,080 --> 00:59:23,120
Speaker 3: They are strongly trying to recreate the competitive swagger and

1063
00:59:23,200 --> 00:59:26,200
Speaker 3: bravado of the Colonial Marines when we first meet them

1064
00:59:26,200 --> 00:59:29,360
Speaker 3: in Aliens, But there once again is a malfunction in

1065
00:59:29,400 --> 00:59:33,560
Speaker 3: the photocopier, so these Marines do not feel like the tough,

1066
00:59:33,640 --> 00:59:36,800
Speaker 3: cocky space warriors that they're trying to emulate. This is

1067
00:59:36,840 --> 00:59:41,520
Speaker 3: not Vasquez, Drake, Hudson, Hicks and Apone. Instead, these marines

1068
00:59:41,560 --> 00:59:44,520
Speaker 3: are there. They are trying to be cocky and aggressive

1069
00:59:44,560 --> 00:59:48,560
Speaker 3: at one another, but they just come off as incredibly weird,

1070
00:59:48,920 --> 00:59:53,160
Speaker 3: like off the charts bizarre energy. The first one we

1071
00:59:53,200 --> 00:59:57,000
Speaker 3: meet is my favorite by far. This is Costor. We

1072
00:59:57,040 --> 00:59:59,720
Speaker 3: talked about her earlier, but she is just a gift

1073
00:59:59,720 --> 01:00:02,280
Speaker 3: from Heaven. I love her. When we first meet her,

1074
01:00:02,560 --> 01:00:06,400
Speaker 3: she's looking straight into the camera and breathing heavy. Her

1075
01:00:06,440 --> 01:00:08,800
Speaker 3: first line is when we can't repeat on the show,

1076
01:00:08,840 --> 01:00:11,880
Speaker 3: or we're gonna get tagged explicit by the platforms. But

1077
01:00:12,240 --> 01:00:15,880
Speaker 3: she's just wandering around the Megapce locker room, playing with

1078
01:00:16,040 --> 01:00:19,680
Speaker 3: guns and suggestively taunting the other Mega Force dudes about

1079
01:00:19,720 --> 01:00:22,800
Speaker 3: not sweating enough and not being real men. In her

1080
01:00:22,840 --> 01:00:26,120
Speaker 3: intern monologue, she talks about how she's back and she's

1081
01:00:26,200 --> 01:00:29,280
Speaker 3: ready to kick butt, but like, where is she back from? Yeah?

1082
01:00:29,440 --> 01:00:31,840
Speaker 3: I don't think we ever learned that there's also so

1083
01:00:31,920 --> 01:00:37,600
Speaker 3: much just unreal levels of forced hostility between these people,

1084
01:00:37,760 --> 01:00:41,320
Speaker 3: Like you don't feel tension in the room at all,

1085
01:00:41,440 --> 01:00:44,400
Speaker 3: but they just start insulting each other out of nowhere.

1086
01:00:44,480 --> 01:00:47,720
Speaker 3: There is there's out of nowhere and for no reason

1087
01:00:47,800 --> 01:00:52,360
Speaker 3: ethnic antagonism that arises and then dissipates where somebody's like

1088
01:00:52,400 --> 01:00:55,520
Speaker 3: you're Italian and they get real mad at each other

1089
01:00:55,600 --> 01:00:56,800
Speaker 3: and then it just goes away.

1090
01:00:57,560 --> 01:01:00,320
Speaker 1: Yeah, there's just such an unhinged feeling of what is

1091
01:01:00,360 --> 01:01:02,760
Speaker 1: going to happen next in this scene, and it just

1092
01:01:02,760 --> 01:01:07,120
Speaker 1: feels completely off the rails from the very start, because

1093
01:01:07,120 --> 01:01:09,520
Speaker 1: you have like the apparent fourth wall breaking in the beginning,

1094
01:01:09,560 --> 01:01:11,720
Speaker 1: because who else is she talking to looking right into

1095
01:01:11,760 --> 01:01:14,560
Speaker 1: the camera us, I guess yeah, and I feel kind

1096
01:01:14,560 --> 01:01:16,440
Speaker 1: of put on the spot by it. Then there are

1097
01:01:16,440 --> 01:01:20,680
Speaker 1: all these like weird like first draft insults being thrown around,

1098
01:01:21,120 --> 01:01:24,920
Speaker 1: and just an overbearing sense of wandering and seam filling,

1099
01:01:25,120 --> 01:01:28,360
Speaker 1: especially as Coster like walks. It's a huge locker room

1100
01:01:29,320 --> 01:01:31,840
Speaker 1: like this is clearly one at this nuclear facility, former

1101
01:01:31,920 --> 01:01:35,240
Speaker 1: nuclear facility, and she's just like walking from one marine

1102
01:01:35,360 --> 01:01:38,680
Speaker 1: one Mega Force member to another to insult them and

1103
01:01:38,840 --> 01:01:42,920
Speaker 1: or encourage them, and it just the camera is just

1104
01:01:42,920 --> 01:01:46,160
Speaker 1: just tracking her as she goes. So this definitely feels

1105
01:01:46,160 --> 01:01:47,680
Speaker 1: like a scene where they're like, well, we've got to

1106
01:01:47,720 --> 01:01:50,480
Speaker 1: fill we got to fill some time up here, guys,

1107
01:01:50,760 --> 01:01:54,160
Speaker 1: so get out there, do the lines, maybe add a

1108
01:01:54,200 --> 01:01:57,280
Speaker 1: little bit extra, but we're absolutely not going to stop rolling.

1109
01:01:57,480 --> 01:01:59,800
Speaker 3: Oh my, it feels so stretched out. It's like it's

1110
01:01:59,800 --> 01:02:04,080
Speaker 3: like a jam band improv so low, but just marines

1111
01:02:04,160 --> 01:02:06,200
Speaker 3: yelling at each other. But it's so good.

1112
01:02:06,520 --> 01:02:07,160
Speaker 1: Yeah.

1113
01:02:07,160 --> 01:02:10,600
Speaker 3: Oh but then after Costa is insulting everybody, she finally

1114
01:02:10,680 --> 01:02:13,439
Speaker 3: meets the one other marine she likes, the Megaphores guy

1115
01:02:13,520 --> 01:02:18,360
Speaker 3: named Cain, who is a shirtless guy with long blonde

1116
01:02:18,360 --> 01:02:21,600
Speaker 3: hair and sunglasses and a bandana on. So he's like

1117
01:02:21,640 --> 01:02:24,920
Speaker 3: a surfer. Yeah, and he's the only guy that cost

1118
01:02:24,960 --> 01:02:29,600
Speaker 3: he seems to respect. And Cain is really weirdly like

1119
01:02:29,840 --> 01:02:33,080
Speaker 3: soft spoken, like he just doesn't seem to be playing

1120
01:02:33,120 --> 01:02:36,520
Speaker 3: one of these, like, you know, marine types. So I

1121
01:02:36,560 --> 01:02:39,760
Speaker 3: think they're trying to reproduce like the Vasquez and Drake

1122
01:02:39,880 --> 01:02:43,240
Speaker 3: friendship from Aliens, but it just doesn't it's not working.

1123
01:02:44,640 --> 01:02:46,520
Speaker 1: Yeah, I'm going to shock everyone with the fact here

1124
01:02:46,560 --> 01:02:50,520
Speaker 1: that the actor playing Kan Cortland Riley. This was his

1125
01:02:50,560 --> 01:02:53,680
Speaker 1: only acting role, so I don't know the details on it,

1126
01:02:53,720 --> 01:02:56,120
Speaker 1: but I imagine it's another situation of here's a guy

1127
01:02:56,440 --> 01:02:58,880
Speaker 1: who happened to be in Rome. Maybe he was doing

1128
01:02:58,880 --> 01:03:01,840
Speaker 1: some modeling work or something thing and got picked up

1129
01:03:01,840 --> 01:03:02,440
Speaker 1: for this picture.

1130
01:03:02,600 --> 01:03:04,400
Speaker 3: Yeah, that sounds about right. He I mean, he is

1131
01:03:04,560 --> 01:03:09,240
Speaker 3: barely acting. He just kind of says his lines. There's

1132
01:03:09,520 --> 01:03:12,160
Speaker 3: he Then in this scene in the locker room, he

1133
01:03:12,320 --> 01:03:15,360
Speaker 3: like hands cost her or shotgun and he's like, play

1134
01:03:15,400 --> 01:03:18,040
Speaker 3: with it, and then she does. She like runs around

1135
01:03:18,040 --> 01:03:20,840
Speaker 3: the room pointing at dudes in the locker room and

1136
01:03:20,840 --> 01:03:24,920
Speaker 3: then gets into a fight with this guy Franzini. It's nuts.

1137
01:03:25,640 --> 01:03:28,920
Speaker 1: Yeah, I like franzenians up pulling a switch play, doesn't

1138
01:03:28,920 --> 01:03:32,840
Speaker 1: he It's I recently rewatched Aliens, and I did think

1139
01:03:32,880 --> 01:03:35,640
Speaker 1: that there were times where the Colonial Marines, again though

1140
01:03:35,880 --> 01:03:39,880
Speaker 1: to be sure, under significant stress, were lacking in discipline

1141
01:03:39,920 --> 01:03:43,000
Speaker 1: in some key moments. But Mega Force is just pure anarchy.

1142
01:03:43,040 --> 01:03:46,240
Speaker 1: There's not they haven't even gone out in the field yet,

1143
01:03:46,480 --> 01:03:48,960
Speaker 1: there's no additional stress other than what they brought to

1144
01:03:49,000 --> 01:03:51,160
Speaker 1: the locker room, and they're already at each other's throats.

1145
01:03:59,160 --> 01:04:01,200
Speaker 3: Okay, so the Mega Force they meet up with the

1146
01:04:01,240 --> 01:04:04,160
Speaker 3: characters we've already met, you know, doctor Sarah, Drumbull and

1147
01:04:04,320 --> 01:04:08,400
Speaker 3: Fuller from the Tubular Corporation. So they open the door

1148
01:04:08,440 --> 01:04:11,960
Speaker 3: to the secure facility and kickstart the action. And I

1149
01:04:12,040 --> 01:04:15,160
Speaker 3: think here is a good place to kind of shift

1150
01:04:15,200 --> 01:04:17,800
Speaker 3: gears in how we're talking about what happens, because much

1151
01:04:17,840 --> 01:04:20,920
Speaker 3: of the rest of the movie is very action focused

1152
01:04:21,400 --> 01:04:25,040
Speaker 3: and is very much a copy of the plot of Aliens,

1153
01:04:25,160 --> 01:04:29,600
Speaker 3: but with variations. So speaking more loosely from now on,

1154
01:04:30,360 --> 01:04:32,600
Speaker 3: I think we should just talk about things that stood

1155
01:04:32,640 --> 01:04:35,480
Speaker 3: out from this copy of the Alien's plot as it

1156
01:04:35,520 --> 01:04:40,520
Speaker 3: goes forward. So there is generally the shape of things

1157
01:04:40,520 --> 01:04:43,160
Speaker 3: to come is that they go into this facility, they

1158
01:04:43,200 --> 01:04:47,120
Speaker 3: discover the monsters inside, the monsters attack them, They discover

1159
01:04:47,240 --> 01:04:50,880
Speaker 3: what happened to the previous occupants there, they were attacked

1160
01:04:50,880 --> 01:04:54,000
Speaker 3: by monsters, and then there is a betrayal where the

1161
01:04:54,000 --> 01:04:57,480
Speaker 3: company man tries to I don't know, monster infects some

1162
01:04:57,520 --> 01:05:01,680
Speaker 3: more people, and there's just general Then there's progression into

1163
01:05:01,720 --> 01:05:04,960
Speaker 3: another location. There's discovery of a survivor, which is the

1164
01:05:05,000 --> 01:05:09,040
Speaker 3: newt type character, the daughter of what's his name Raffleson,

1165
01:05:09,120 --> 01:05:12,600
Speaker 3: the guy who was running the facility, and then there

1166
01:05:12,720 --> 01:05:16,520
Speaker 3: is progression to another location where they learn some more

1167
01:05:16,560 --> 01:05:19,240
Speaker 3: stuff about a conspiracy to create monsters I think as

1168
01:05:19,280 --> 01:05:21,640
Speaker 3: a weapon or something. It's your standard, you know, Oh,

1169
01:05:21,720 --> 01:05:24,320
Speaker 3: the Evil Corporation was trying to make trying to make

1170
01:05:24,360 --> 01:05:28,120
Speaker 3: giant monsters as I don't know, for military contracts or something.

1171
01:05:28,160 --> 01:05:30,720
Speaker 3: I don't know why they'd be all that useful. And

1172
01:05:30,760 --> 01:05:33,320
Speaker 3: then there is a self destruct sequence. You have ten

1173
01:05:33,360 --> 01:05:37,840
Speaker 3: minutes to achieve minimum safe distance. Now do we have

1174
01:05:37,880 --> 01:05:40,040
Speaker 3: anything to say else to say about the scene and

1175
01:05:40,080 --> 01:05:42,600
Speaker 3: the tunnels where they come across this guy Drake who

1176
01:05:42,640 --> 01:05:48,960
Speaker 3: is giving a really a plus performance, like so hyperactive,

1177
01:05:49,320 --> 01:05:51,680
Speaker 3: where he's like, if you enter the city, you're going

1178
01:05:51,760 --> 01:05:56,520
Speaker 3: to die one and then he screams. He does a

1179
01:05:56,560 --> 01:05:59,240
Speaker 3: scream kind of like in the end of Invasion of

1180
01:05:59,280 --> 01:06:03,120
Speaker 3: the Body Snatch, and then everybody starts screaming and covering

1181
01:06:03,160 --> 01:06:05,520
Speaker 3: their ears, and I don't know, that was one of

1182
01:06:05,560 --> 01:06:06,880
Speaker 3: the moments that really got me.

1183
01:06:07,480 --> 01:06:09,480
Speaker 1: Yeah, yeah, I don't know what exactly was going on

1184
01:06:09,520 --> 01:06:11,720
Speaker 1: in that sequence, but it's like it's so over the top.

1185
01:06:12,960 --> 01:06:15,720
Speaker 1: Sometimes less is more, but sometimes you've got to be

1186
01:06:15,720 --> 01:06:18,800
Speaker 1: a little more experienced to find that correct level.

1187
01:06:18,840 --> 01:06:23,080
Speaker 3: I guess I think we could continue to think about

1188
01:06:23,120 --> 01:06:26,880
Speaker 3: the question of, like, what is it that made them

1189
01:06:27,000 --> 01:06:31,760
Speaker 3: copy certain elements from Aliens and not others. One thing

1190
01:06:31,840 --> 01:06:36,600
Speaker 3: that they definitely took from Aliens is the motion trackers. Yeah,

1191
01:06:36,600 --> 01:06:40,040
Speaker 3: they really like these handheld devices that look kind of

1192
01:06:40,040 --> 01:06:42,600
Speaker 3: like a remote control where they're scanning for motion in

1193
01:06:42,640 --> 01:06:45,600
Speaker 3: front of them and it's making that pulsing beeping sound

1194
01:06:46,240 --> 01:06:48,880
Speaker 3: That is a very effective thing in Aliens because there's

1195
01:06:48,920 --> 01:06:52,120
Speaker 3: like a sound cue that lets you know something is approaching,

1196
01:06:52,200 --> 01:06:54,960
Speaker 3: but you know you can't hear it directly, so it's

1197
01:06:55,040 --> 01:06:58,320
Speaker 3: very creepy like that, and they use that to the

1198
01:06:58,360 --> 01:07:00,520
Speaker 3: best effect they can in this movie too, so it

1199
01:07:00,600 --> 01:07:03,560
Speaker 3: kind of makes sense why they why they lifted that element.

1200
01:07:04,000 --> 01:07:07,760
Speaker 3: They also lifted the element of the monsters cocooning their

1201
01:07:07,840 --> 01:07:10,520
Speaker 3: victims in the walls. So they're like going through these

1202
01:07:10,520 --> 01:07:13,480
Speaker 3: tunnels and they find people who were part of this

1203
01:07:13,560 --> 01:07:16,280
Speaker 3: science mission sort of wrapped up in the slime and

1204
01:07:16,320 --> 01:07:18,919
Speaker 3: stuck to the walls, and and you know, they act

1205
01:07:18,960 --> 01:07:21,600
Speaker 3: a lot like the cocooned people in Aliens.

1206
01:07:21,120 --> 01:07:25,520
Speaker 1: Do, except what bursts out of them not the larval

1207
01:07:25,600 --> 01:07:30,160
Speaker 1: monster of any form, but the monster glove hand of

1208
01:07:30,200 --> 01:07:31,240
Speaker 1: a full sized monster.

1209
01:07:31,640 --> 01:07:34,040
Speaker 3: Yeah, yeah, yeah.

1210
01:07:33,640 --> 01:07:36,120
Speaker 1: Which I like, but it is also stupid.

1211
01:07:38,560 --> 01:07:42,080
Speaker 3: There is a scene a lot like the the Assault

1212
01:07:42,200 --> 01:07:45,600
Speaker 3: on the Hive in Aliens, where you know, the Marines

1213
01:07:45,640 --> 01:07:48,240
Speaker 3: are going through these dark tunnels and they get confused

1214
01:07:48,240 --> 01:07:50,240
Speaker 3: and attacked by monsters in the dark.

1215
01:07:51,320 --> 01:07:54,600
Speaker 1: And this sequence, the sequence where they're actually fighting the monsters,

1216
01:07:54,640 --> 01:07:57,000
Speaker 1: I thought, is way better than it had any right

1217
01:07:57,040 --> 01:07:57,240
Speaker 1: to be.

1218
01:07:58,080 --> 01:07:58,880
Speaker 3: Yeah, pretty good.

1219
01:07:59,000 --> 01:08:01,040
Speaker 1: The monsters look pretty good. They'd like throw they throw

1220
01:08:01,040 --> 01:08:02,760
Speaker 1: a dude over a rail. There are a lot of

1221
01:08:02,800 --> 01:08:06,520
Speaker 1: scenes of monsters being shot with these shotguns. So it

1222
01:08:06,800 --> 01:08:09,280
Speaker 1: all came together pretty well, and it kind of matches

1223
01:08:09,360 --> 01:08:11,480
Speaker 1: up with something Tyler had to say about the production

1224
01:08:11,600 --> 01:08:15,840
Speaker 1: that that basically Bruno was really focused on the technical

1225
01:08:15,840 --> 01:08:20,000
Speaker 1: aspects of the shoot, and meanwhile the dialogue was maybe

1226
01:08:20,040 --> 01:08:23,960
Speaker 1: you know, second or third in everyone's priority. In that

1227
01:08:24,240 --> 01:08:27,400
Speaker 1: Fangoria interview, she said, quote, there was a lovely woman

1228
01:08:27,439 --> 01:08:30,040
Speaker 1: on set. I believe she was Australian who was supposed

1229
01:08:30,080 --> 01:08:32,479
Speaker 1: to be the dialogue coach, if you will. So if

1230
01:08:32,520 --> 01:08:34,760
Speaker 1: she wasn't there, you could say whatever you wanted and

1231
01:08:34,800 --> 01:08:39,440
Speaker 1: Bruno would have no idea. Bruno didn't speak English.

1232
01:08:39,520 --> 01:08:43,519
Speaker 3: Oh man, I actually can't even imagine that directing a

1233
01:08:43,560 --> 01:08:46,760
Speaker 3: film in a language that I don't speak, that that's

1234
01:08:46,840 --> 01:08:48,240
Speaker 3: like a difficult task.

1235
01:08:48,600 --> 01:08:51,639
Speaker 1: But directing this film in a language you don't speak,

1236
01:08:52,439 --> 01:08:55,360
Speaker 1: maybe maybe you know especially I mean, I can maybe

1237
01:08:55,360 --> 01:08:57,439
Speaker 1: see where like Bruno is coming from. It's kind of like,

1238
01:08:57,439 --> 01:09:00,160
Speaker 1: all right, I've got all I can handle is the

1239
01:09:00,160 --> 01:09:02,600
Speaker 1: technical stuff here. Someone else is going to have to

1240
01:09:02,600 --> 01:09:06,760
Speaker 1: handle this script and talking to these actors because there's

1241
01:09:06,800 --> 01:09:07,799
Speaker 1: just not enough time.

1242
01:09:07,960 --> 01:09:11,120
Speaker 3: So onto more elements they copy from Aliens. There's, of

1243
01:09:11,160 --> 01:09:14,120
Speaker 3: course the newt character and the discovery of her. That

1244
01:09:14,240 --> 01:09:17,200
Speaker 3: scene is similar to how it is in Aliens. They've

1245
01:09:17,200 --> 01:09:21,080
Speaker 3: got the scene where they sort of create a defensible

1246
01:09:21,120 --> 01:09:24,600
Speaker 3: position and they're trying to they're trying to prevent the

1247
01:09:25,200 --> 01:09:28,599
Speaker 3: monsters from coming in and getting them, and it's very

1248
01:09:28,600 --> 01:09:30,960
Speaker 3: similar as it is in Aliens. It's like, oh, they're

1249
01:09:30,960 --> 01:09:33,519
Speaker 3: inside the perimeter. They cut the power, But they don't

1250
01:09:33,520 --> 01:09:35,760
Speaker 3: say how could they cut the power? Man? Their animals,

1251
01:09:35,920 --> 01:09:37,759
Speaker 3: I think they just say how could they cut the power?

1252
01:09:39,040 --> 01:09:42,160
Speaker 3: I don't recall anybody saying game over, man, game over?

1253
01:09:42,520 --> 01:09:46,840
Speaker 1: No, they didn't. They showed some restraint, but there are

1254
01:09:46,880 --> 01:09:49,360
Speaker 1: plenty of lines that are just copied wholesale. Like there's

1255
01:09:49,400 --> 01:09:52,519
Speaker 1: the pull back and forth where the new character in

1256
01:09:52,600 --> 01:09:55,519
Speaker 1: Aliens is like my mother said, there weren't monsters, but

1257
01:09:55,560 --> 01:09:58,240
Speaker 1: there are, you know, that effect, But basically have that

1258
01:09:58,400 --> 01:10:03,960
Speaker 1: here as well. The scene where Newt is separated from

1259
01:10:04,000 --> 01:10:07,840
Speaker 1: from Ripley, that's pretty much directly copied here, but without

1260
01:10:08,320 --> 01:10:14,439
Speaker 1: without the as effective a set being utilized. So yeah,

1261
01:10:14,439 --> 01:10:16,200
Speaker 1: there are multiple places like that.

1262
01:10:16,720 --> 01:10:18,920
Speaker 3: I already mentioned this earlier, But one scene that is

1263
01:10:18,960 --> 01:10:22,920
Speaker 3: copied almost exactly is the scene in Aliens where Burke

1264
01:10:23,080 --> 01:10:25,880
Speaker 3: is trying to infect Ripley and Newt with face huggers

1265
01:10:26,640 --> 01:10:29,040
Speaker 3: while they're taking a nap. He like releases them into

1266
01:10:29,080 --> 01:10:31,519
Speaker 3: the room with them and then turns off the monitors

1267
01:10:31,560 --> 01:10:35,280
Speaker 3: so none of the soldiers can see that happens. Almost

1268
01:10:35,320 --> 01:10:37,800
Speaker 3: exactly the same in this with Fuller like sitting there

1269
01:10:37,840 --> 01:10:41,320
Speaker 3: watching coldly as you know, they're screaming for help and

1270
01:10:41,400 --> 01:10:44,439
Speaker 3: what is it? Though it's Ripley. She manages to get

1271
01:10:44,439 --> 01:10:47,680
Speaker 3: everybody's attention by holding a lighter up to the sprinkler

1272
01:10:47,720 --> 01:10:50,640
Speaker 3: system so they think there's a fire. Very clever on

1273
01:10:50,720 --> 01:10:52,960
Speaker 3: Ripley's part. I love that. It's a good, good moment

1274
01:10:53,000 --> 01:10:55,839
Speaker 3: of fast thinking and aliens. But she does something different

1275
01:10:55,840 --> 01:10:57,000
Speaker 3: in this movie. What does she do?

1276
01:10:57,640 --> 01:10:59,559
Speaker 1: Oh, this is a great question that I don't know

1277
01:10:59,600 --> 01:11:02,000
Speaker 1: the answer. I'm not sure how they wrap this scene up.

1278
01:11:02,200 --> 01:11:04,200
Speaker 3: It's like she I think she just like presses an

1279
01:11:04,280 --> 01:11:08,639
Speaker 3: alarm button. It's a little more direct. Yeah, that sounds

1280
01:11:09,160 --> 01:11:11,280
Speaker 3: I believe you're correct on that. But then they have

1281
01:11:11,320 --> 01:11:14,479
Speaker 3: basically the same outcome where they're like, well, we should just

1282
01:11:14,560 --> 01:11:18,520
Speaker 3: execute this guy. He's not on our side. But unfortunately

1283
01:11:18,600 --> 01:11:22,120
Speaker 3: for them, it becomes apparent as we proceed through the

1284
01:11:22,160 --> 01:11:25,439
Speaker 3: plot here that our company man is not a man.

1285
01:11:26,040 --> 01:11:29,720
Speaker 3: He's maybe a little more like Ash from Alien by

1286
01:11:29,800 --> 01:11:32,880
Speaker 3: way of Terminator. That's right, So, yes, it's more like

1287
01:11:32,960 --> 01:11:36,800
Speaker 3: the Ash reveal, but the format is terminator. Like, he

1288
01:11:36,840 --> 01:11:39,280
Speaker 3: gets part of his face scraped off and he's got

1289
01:11:39,280 --> 01:11:41,240
Speaker 3: a metal Indo skeleton, so he looks like a T

1290
01:11:41,360 --> 01:11:43,920
Speaker 3: eight hundred. Yeah, and it's revealed that the company, yeah,

1291
01:11:43,960 --> 01:11:47,240
Speaker 3: the company man is here to ensure that their profits

1292
01:11:47,280 --> 01:11:50,639
Speaker 3: are secured and I don't know, to erase any evidence

1293
01:11:50,680 --> 01:11:53,679
Speaker 3: of what happened here. I don't remember the exact details,

1294
01:11:53,720 --> 01:11:55,599
Speaker 3: but he just turns out to be a bad guy

1295
01:11:55,960 --> 01:11:59,040
Speaker 3: and he's chasing our heroes around. You know, all of

1296
01:11:59,040 --> 01:12:01,760
Speaker 3: those space marines get wiped out by the monsters. But

1297
01:12:01,880 --> 01:12:06,400
Speaker 3: then the Fuller here is chasing Sarah drumble around in

1298
01:12:06,439 --> 01:12:10,240
Speaker 3: this facility, much like the scene where the Terminator is

1299
01:12:10,320 --> 01:12:12,840
Speaker 3: chasing Sarah Connor in the computer factory. At the end

1300
01:12:12,880 --> 01:12:16,759
Speaker 3: of Terminator there, oh, when Fuller gets kind of semi

1301
01:12:16,800 --> 01:12:19,960
Speaker 3: defeated several times, but it comes back. You know, there

1302
01:12:19,960 --> 01:12:21,960
Speaker 3: are people who are trying to shoot him, and he's like,

1303
01:12:22,040 --> 01:12:25,120
Speaker 3: you fool, I am immune to bullets. But then Sarah

1304
01:12:25,160 --> 01:12:27,560
Speaker 3: defeats him with an with a fire extinguisher.

1305
01:12:27,600 --> 01:12:30,720
Speaker 1: I think, yeah, yeah, she's like phrasing with a fire extinguisher.

1306
01:12:30,840 --> 01:12:34,000
Speaker 1: And they not only need to escape the Terminator, they

1307
01:12:34,000 --> 01:12:36,920
Speaker 1: need to escape the facility, which is going to explode.

1308
01:12:37,200 --> 01:12:39,880
Speaker 1: And just yeah, just when you think this film is

1309
01:12:39,960 --> 01:12:44,599
Speaker 1: out of jaw dropping choices, there they escape. I think

1310
01:12:44,600 --> 01:12:48,120
Speaker 1: we reference this already via time machine. They find a

1311
01:12:48,240 --> 01:12:51,840
Speaker 1: Tubular Company time machine they also make tubes through time

1312
01:12:51,920 --> 01:12:56,559
Speaker 1: and space apparently, and they climb aboard that and escape

1313
01:12:56,600 --> 01:12:58,200
Speaker 1: into the past.

1314
01:12:58,680 --> 01:13:02,639
Speaker 3: Yes, into the past, you know Venice of nineteen eighty nine.

1315
01:13:03,479 --> 01:13:05,799
Speaker 1: I would have also settled for escape into the future,

1316
01:13:06,160 --> 01:13:09,719
Speaker 1: where they land up in the background of a Stanley

1317
01:13:09,760 --> 01:13:13,000
Speaker 1: Tucci documentary, and Stanley tuccis like, jump in and help

1318
01:13:13,040 --> 01:13:18,040
Speaker 1: defeat the enemy here, but they went in the past instead.

1319
01:13:18,280 --> 01:13:23,000
Speaker 3: I'm making you zucchini pasta. Yeah, yeah, So this coda

1320
01:13:23,240 --> 01:13:26,320
Speaker 3: is there are a lot of like jaw on the

1321
01:13:26,400 --> 01:13:29,280
Speaker 3: floor things in Shocking Dark, but this was the one

1322
01:13:29,320 --> 01:13:32,240
Speaker 3: for me. I could not believe it that the ending

1323
01:13:32,400 --> 01:13:36,559
Speaker 3: involved a twist with time travel. There's no hint earlier

1324
01:13:36,600 --> 01:13:39,439
Speaker 3: on that there's time travel. They just like go into

1325
01:13:39,439 --> 01:13:42,360
Speaker 3: a room while they're trying to escape the blast, and

1326
01:13:42,479 --> 01:13:45,920
Speaker 3: it's like, welcome to the Tubular Corporation time machine. Yes,

1327
01:13:46,280 --> 01:13:49,400
Speaker 3: use the following controls to go into the past, and

1328
01:13:49,479 --> 01:13:52,880
Speaker 3: they do. And then it turns out that Fuller, the

1329
01:13:53,000 --> 01:13:56,240
Speaker 3: Terminator also took a time machine into the past to

1330
01:13:56,320 --> 01:13:57,000
Speaker 3: chase them.

1331
01:13:57,240 --> 01:13:59,360
Speaker 1: You have to chase them through the streets of Venice.

1332
01:13:59,560 --> 01:14:03,320
Speaker 3: Yes, chases them around Venice while they're asking just Italians

1333
01:14:03,320 --> 01:14:07,040
Speaker 3: for help, you know, And so the Terminator's like throwing

1334
01:14:07,040 --> 01:14:09,439
Speaker 3: them into the canals anybody who tries to help them.

1335
01:14:10,000 --> 01:14:15,360
Speaker 3: And then also they defeat. So Sarah defeats the terminator

1336
01:14:16,080 --> 01:14:19,960
Speaker 3: by tossing him a remote control that is somehow associated

1337
01:14:20,000 --> 01:14:22,920
Speaker 3: with the time machine. I don't understand why this defeated him,

1338
01:14:22,920 --> 01:14:25,559
Speaker 3: but she's like catch and throws him the remote and

1339
01:14:25,600 --> 01:14:28,280
Speaker 3: he catches it and then just electricity shoots all over

1340
01:14:28,320 --> 01:14:29,800
Speaker 3: the place and he's dead.

1341
01:14:29,800 --> 01:14:34,000
Speaker 1: I guess, yep, enemy defeat it. And it felt a

1342
01:14:34,000 --> 01:14:36,920
Speaker 1: little pressed for time perhaps, And I have to say,

1343
01:14:37,120 --> 01:14:40,280
Speaker 1: no gondola chases. I think we needed a gondola chase here,

1344
01:14:40,320 --> 01:14:43,320
Speaker 1: but you know, last five minutes of the picture. I

1345
01:14:43,320 --> 01:14:44,240
Speaker 1: guess they didn't have time.

1346
01:14:44,640 --> 01:14:46,920
Speaker 3: That's what I Roger Moore era James Bond, a movie

1347
01:14:46,960 --> 01:14:49,200
Speaker 3: you would have done, but not Shocking Dark. But so

1348
01:14:49,600 --> 01:14:54,160
Speaker 3: it's interesting that you were like watching Shocking Dark and

1349
01:14:54,200 --> 01:14:57,439
Speaker 3: it's a ripoff of Aliens, and you forget that it

1350
01:14:57,560 --> 01:15:00,559
Speaker 3: was according to the poster and the box start and

1351
01:15:00,600 --> 01:15:04,200
Speaker 3: the title supposed to be a ripoff of Terminator, and

1352
01:15:04,280 --> 01:15:06,720
Speaker 3: you just forget that that's even what you signed up

1353
01:15:06,720 --> 01:15:09,920
Speaker 3: for until the last fifteen minutes of the movie, and

1354
01:15:09,960 --> 01:15:12,000
Speaker 3: then oh, you're like, oh, now it is a ripoff

1355
01:15:12,000 --> 01:15:14,599
Speaker 3: of Terminator. We're done with Aliens now. Now for the

1356
01:15:14,600 --> 01:15:17,479
Speaker 3: rest of the runtime, it's Terminator. We got time travel,

1357
01:15:17,600 --> 01:15:21,320
Speaker 3: killer robots and Sarah Sarah Connor.

1358
01:15:21,120 --> 01:15:24,559
Speaker 1: Yeah, yeah, yeah, by that point the picture you've forgotten

1359
01:15:24,640 --> 01:15:27,439
Speaker 1: Terminator was really in the mix, and so the time

1360
01:15:27,439 --> 01:15:30,040
Speaker 1: travel comes out of nowhere. But I guess makes sense

1361
01:15:30,080 --> 01:15:32,200
Speaker 1: if you realize, well, it was a Terminator ripoff all

1362
01:15:32,200 --> 01:15:32,920
Speaker 1: along as well.

1363
01:15:33,040 --> 01:15:35,840
Speaker 3: So I'm so glad you picked shocking Dark for the show.

1364
01:15:35,880 --> 01:15:37,960
Speaker 3: This was a beautiful experience and I know I'm going

1365
01:15:38,000 --> 01:15:39,759
Speaker 3: to watch this one many times to come.

1366
01:15:40,320 --> 01:15:42,280
Speaker 1: Yeah. Like I say, it's been a while since we

1367
01:15:42,320 --> 01:15:45,599
Speaker 1: watched something this schlocky, so it was a nice return.

1368
01:15:46,640 --> 01:15:48,760
Speaker 1: I don't think we could cover a film like this

1369
01:15:48,880 --> 01:15:51,519
Speaker 1: every week. I don't think there are enough schlocky films

1370
01:15:51,560 --> 01:15:56,000
Speaker 1: of this caliber out there ultimately, but it's great to

1371
01:15:56,040 --> 01:15:57,160
Speaker 1: return to them. Rob.

1372
01:15:57,200 --> 01:15:59,200
Speaker 3: I don't know if you've had the experience, but it

1373
01:15:59,479 --> 01:16:02,479
Speaker 3: in my I feel like movies of this sort that

1374
01:16:02,560 --> 01:16:06,000
Speaker 3: are extremely pleasing to watch and have this kind of

1375
01:16:06,000 --> 01:16:09,679
Speaker 3: awkwardness to them are actually harder to cover and explain

1376
01:16:09,840 --> 01:16:13,320
Speaker 3: on the show than some technically duller films are.

1377
01:16:13,840 --> 01:16:17,360
Speaker 1: Well, sometimes those technically dull films have also have plots

1378
01:16:17,360 --> 01:16:20,240
Speaker 1: that you can really follow because they're like bullet points,

1379
01:16:20,280 --> 01:16:25,519
Speaker 1: you know, and or there's not a lot happening this one.

1380
01:16:25,520 --> 01:16:27,559
Speaker 1: There's always a lot of a lot of things happening.

1381
01:16:27,560 --> 01:16:32,080
Speaker 1: There's to the point where I have difficulty remembering exactly,

1382
01:16:32,760 --> 01:16:35,040
Speaker 1: you know, what all the plot points are. I just

1383
01:16:35,600 --> 01:16:40,040
Speaker 1: remember the spectacle of the acting, and then sometimes the monsters.

1384
01:16:40,880 --> 01:16:43,000
Speaker 1: But yeah, I see what you're talking about. But luckily,

1385
01:16:43,040 --> 01:16:45,920
Speaker 1: Shocking Dark is a film that invites you to view

1386
01:16:45,960 --> 01:16:46,960
Speaker 1: it over and over again.

1387
01:16:47,520 --> 01:16:50,120
Speaker 3: Yes, I do feel like I have somewhat fallen short

1388
01:16:50,160 --> 01:16:53,840
Speaker 3: in describing its virtues, but it I hope I can

1389
01:16:53,880 --> 01:16:56,160
Speaker 3: at least say, if you like schlock movies, you should

1390
01:16:56,240 --> 01:16:58,559
Speaker 3: see it. It needs to be you need to see

1391
01:16:58,600 --> 01:17:00,920
Speaker 3: it for yourself. You've got to have the experience.

1392
01:17:01,400 --> 01:17:03,599
Speaker 1: Absolutely. All right, We're going to go ahead and close

1393
01:17:03,600 --> 01:17:07,560
Speaker 1: the time machine hatch on this selection of Weird House Cinema,

1394
01:17:07,640 --> 01:17:10,080
Speaker 1: but we'll be back next week with something else. I'd

1395
01:17:10,120 --> 01:17:12,880
Speaker 1: reminder that Stuff to Blow Your Mind is primarily a

1396
01:17:13,000 --> 01:17:15,720
Speaker 1: science podcast Science and culture podcasts with core episodes on

1397
01:17:15,760 --> 01:17:18,519
Speaker 1: Tuesdays and Thursdays, but on Fridays we set aside most

1398
01:17:18,520 --> 01:17:20,439
Speaker 1: serious concerns and just talk about a weird film on

1399
01:17:20,479 --> 01:17:22,479
Speaker 1: Weird House Cinema. If you want to see a list

1400
01:17:22,479 --> 01:17:23,880
Speaker 1: of all the movies we've covered over the years, go

1401
01:17:23,920 --> 01:17:26,000
Speaker 1: to letterbox dot com. That's l E T E r

1402
01:17:26,120 --> 01:17:29,559
Speaker 1: box d dot com. Our username is weird House, and

1403
01:17:29,640 --> 01:17:31,720
Speaker 1: there you will find the list and sometimes you'll get

1404
01:17:31,760 --> 01:17:34,320
Speaker 1: a peek ahead at what's coming out the following week.

1405
01:17:34,840 --> 01:17:38,679
Speaker 3: Huge thanks, as always to our excellent audio producer JJ Posway.

1406
01:17:39,080 --> 01:17:40,639
Speaker 3: If you would like to get in touch with us

1407
01:17:40,640 --> 01:17:43,080
Speaker 3: with feedback on this episode or any other, to suggest

1408
01:17:43,080 --> 01:17:45,040
Speaker 3: a topic for the future, or just to say hello,

1409
01:17:45,200 --> 01:17:47,679
Speaker 3: you can email us at contact at stuff to blow

1410
01:17:47,720 --> 01:17:55,280
Speaker 3: your Mind dot com.

1411
01:17:55,400 --> 01:17:58,360
Speaker 2: Stuff to Blow Your Mind is production of iHeartRadio. For

1412
01:17:58,439 --> 01:18:01,240
Speaker 2: more podcasts from my heart Radio, visit the iHeartRadio app,

1413
01:18:01,400 --> 01:18:04,120
Speaker 2: Apple Podcasts, or wherever you listen to your favorite shows.