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Speaker 1: Welcome to Stuff to Blow Your Mind production of My

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Speaker 1: Heart Radio. Hey, welcome to Weird House Cinema. This is

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Speaker 1: Rob Lamb and this is Joe McCormick. And today we're

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Speaker 1: going to be talking about the nineteen three sci fi

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Speaker 1: fantasy adventure Krull. And while I'm sure we've done a

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Speaker 1: movie that fits into this category before, one of the

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Speaker 1: main things that stuck out to me about Krull, at

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Speaker 1: least as a film project, is that it has the

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Speaker 1: overwhelming aroma of a troubled, big budget production. This is

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Speaker 1: a movie that really excels in many domains, especially domains

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Speaker 1: where money can make a lot of difference in in

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Speaker 1: a production, but also has major issues. This movie is

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Speaker 1: a very mixed bag. Some elements are so genuinely wonderful

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Speaker 1: and more or less the way they're intended to be.

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Speaker 1: Some are kind of dull, maybe even boring. Sometimes others

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Speaker 1: are extremely unintentionally funny. Uh. And on top of that,

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Speaker 1: it's called Krall. You really cannot beat the phonetics of

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Speaker 1: the name, and it all comes together into a preposterous, beautiful,

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Speaker 1: disorganized explosion at the Star Wars factory kind of movie. Yeah, Yeah,

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Speaker 1: there there's a lot of wonderful weirdness in this one.

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Speaker 1: It's gonna be fun to discuss. One note about the title.

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Speaker 1: I don't know about everyone else out there, but I've

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Speaker 1: seen Krawl multiple times over the years, and I frequently

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Speaker 1: find myself having that moment in between viewings where I wonder, wait,

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Speaker 1: what was Krall was? And then I have to remind myself, oh,

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Speaker 1: Krawl was the planet. That the planet and two suns,

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Speaker 1: because other times I'll be like, what is the monster

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Speaker 1: name Krawl? The monster on the post is the magical weapon,

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Speaker 1: The Crawl is Krawl, that guy with the scruffy beard,

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Speaker 1: that's the hero. No, No, it's it's the planet. It's

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Speaker 1: like if you titled any movie that takes place on

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Speaker 1: Earth Earth, so instead of cool hand, Luke is just Yeah.

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Speaker 1: I always think Kroll is the monster because it looks

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Speaker 1: like the correct name for like the fish face. Uh

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Speaker 1: you know, critter, that's that's keeping the princess hostage. Yeah,

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Speaker 1: it would work. It would be like and in Days

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Speaker 1: of Your the Cruel came to our world, but now

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Speaker 1: it's um, it's the Beast, and the beast is in

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Speaker 1: the Black Fortress, and the weapon is the glade and

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Speaker 1: our hero is um clown. Right, it's not clown coal.

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Speaker 1: It always looks on the screen and in text like

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Speaker 1: it's it's spelled almost like clown. This movie has such

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Speaker 1: an ineffective hero every time, and the hero is talking.

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Speaker 1: When Rachel and I were watching it, we we just

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Speaker 1: sort of started making sounds like I don't know. I

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Speaker 1: I would I would slightly disagree on on some of

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Speaker 1: his heroic moments, but but we'll be Okay, that's fair enough.

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Speaker 1: If you're a clown fan, I won't spoil your fund.

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Speaker 1: But okay, So, so I mentioned earlier, it's kind of

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Speaker 1: an explosion at the Star Wars factory, I think, to

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Speaker 1: reference a review that I was reading, a contemporaneous review

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Speaker 1: from published in Variety in nineteen eighty two, you could

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Speaker 1: also call it an explosion simultaneously at the Star Wars

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Speaker 1: factory and the Excalibur factory, because this review said quote,

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Speaker 1: although inoffensively designed only to please the senses and appeal

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Speaker 1: to one's whimsical sense of adventure, krawl, nevertheless comes off

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Speaker 1: as a blatantly derivative hodgepodge of Excalibur meets Star Wars,

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Speaker 1: lavishly mounted at a reported cost of twenty seven million

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Speaker 1: dollars a collection of action set pieces never gels into

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Speaker 1: an absorbing narrative. And it's funny because there's not really

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Speaker 1: anything in that paragraph I can disagree with, even though

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Speaker 1: I love Krall. Yeah, like this is this is correct,

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Speaker 1: But it also is a very fun movie and one

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Speaker 1: that I've seen many times over the years. So yeah,

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Speaker 1: I keep coming back to it. Uh, something works and that,

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Speaker 1: and it's become a cult classic for this reason. Yeah.

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Speaker 1: So the Variety review, like many others at the time,

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Speaker 1: makes note of the enormous budget. This is twenty seven

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Speaker 1: million in you know, nineteen eighty two eighty three dollars. Uh,

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Speaker 1: And that is one of the curious things about Kralt.

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Speaker 1: This is not the brain eaters. We're not watching a

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Speaker 1: Roger Corman production made on the cheap. So I don't

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Speaker 1: think any failures of the film can be chalked up

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Speaker 1: to lack of resources or lack of ability to realize

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Speaker 1: the director's vision or something. This is a luxuriously realized

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Speaker 1: almost one wants to say, gilded film with gorgeous location shots.

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Speaker 1: You know, they've got all those uh scenes set with

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Speaker 1: like the jagged peaks of the Italian mountains, just beautiful, wonderful,

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Speaker 1: cavernous indoor sets, including you know my favorite, the thing

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Speaker 1: that has a place in my heart, built indoor sets

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Speaker 1: of forests, misty, magical fake forests. Yeah, these are great.

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Speaker 1: In fact, I'm I'm less into the movie when they're

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Speaker 1: actually outdoors, but when they're indoors and they're on like

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Speaker 1: an obvious but extremely well executed indoor swamp or indoor

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Speaker 1: forest or whatever the case might be, I'm all in. Yeah,

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Speaker 1: So you've got all that jolly weird set pieces, uh, costumes, characters,

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Speaker 1: and yet I do think I have to agree with

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Speaker 1: with the review that Krull does not really work as

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Speaker 1: a story. It's almost as if the main characters and

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Speaker 1: their motivation are kind of like place holders that somebody

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Speaker 1: put in an early draft of a script to kind

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Speaker 1: of build a world around, but then they never came

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Speaker 1: back and replaced them and filled in the drama. Some

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Speaker 1: occasional exceptions emerge, like I can think of a couple

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Speaker 1: of really nice dialogue driven scenes here and there, Like

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Speaker 1: one is a scene where the hero Colon persuades some

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Speaker 1: rowdy bandits to join his quest for some reason. Suddenly

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Speaker 1: I think the writing is a lot better in that scene. Yes,

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Speaker 1: I think this is the first my first viewing of

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Speaker 1: Kroll that well, first of all, this was my first

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Speaker 1: viewing of Kroll that was completely solo. In the past,

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Speaker 1: I've always watched this with with at least one of

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Speaker 1: their person if not a group of people, and there's

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Speaker 1: a lot of talking over it. And also this was

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Speaker 1: the first time I really got to appreciate the sequence

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Speaker 1: in question, which has a number of terrific act actors

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Speaker 1: will get to in a minute and just have some

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Speaker 1: nice back and forth dialogue, and I'm like, yeah, this

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Speaker 1: is this is a solid scene. I like everything about this.

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Speaker 1: But meanwhile, some of the other scenes, just like the

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Speaker 1: kind of exposition of the quest scenes are I don't know,

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Speaker 1: I mean like they I love them, but they they

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Speaker 1: do not have a really believable element of human drama

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Speaker 1: or character. I think I saw a user review somewhere

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Speaker 1: this might have been on letterbox, where someone was like, yeah,

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Speaker 1: this is this movie. The plot is a a first

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Speaker 1: time dungeon Master's campaign. Yes, and and I can yeah,

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Speaker 1: I think that's a fair comment, you know, because you

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Speaker 1: get that various feeling of Okay, these characters now meet

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Speaker 1: these characters. These characters send the characters here. Now they

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Speaker 1: have to go here, and then eventually they're going to

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Speaker 1: face the big bat. And uh yeah, yeah. It has

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Speaker 1: a It has a simple structure like that, and it

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Speaker 1: almost feels like, yeah, of course, I'm not gonna describe

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Speaker 1: the characters. That's for the players to do. So that's

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Speaker 1: why some of the major characters are kind of empty

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Speaker 1: vessels in some respects. Yeah, yeah, yeah, yeah. I think

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Speaker 1: some of the semantic content of this film is just

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Speaker 1: a skeleton upon which to drape the meat of the movie.

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Speaker 1: And the meat is a buffet of delicious sets and

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Speaker 1: set pieces mountains, hillsides, swamps, built, indoor forests. The meat,

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Speaker 1: of course, is the beast. The meat is alan arms strong,

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Speaker 1: and most of all, I would say, the meat is

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Speaker 1: the glave. How can you not love the glave? Because

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Speaker 1: we really cannot discuss Krull any further without devoting a

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Speaker 1: serious explainer to the glave. Once you see Krull, every

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Speaker 1: time you close your eyes, you'll see the glave. The

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Speaker 1: glave is just part of you. Now. It is like

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Speaker 1: a golden, five fingered starfish with knives jutting out of

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Speaker 1: each arm. And it is referred to with such solemnity.

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Speaker 1: It's it's just wonderful. Yeah, the glave is awesome. The

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Speaker 1: glavee is kind of I see about four different elements

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Speaker 1: coming into play here. Uh, it's it's it's pretty much

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Speaker 1: directly stated that the glaze is like a an important

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Speaker 1: sacred symbol that is now in physical weapon form. Uh.

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Speaker 1: It is. There. There's a little bit of sort of

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Speaker 1: Eastern design to it as well. It's reminiscent of of

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Speaker 1: the scharoken that are attributed to the Japanese martial arts.

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Speaker 1: For the most part, there's also a little bit of

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Speaker 1: a South Asian flair to it. It reminds one of

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Speaker 1: the chockrame weapon, a spinning blade weapon. I looked it

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Speaker 1: up on Etsy and there are sellers who appear to

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Speaker 1: have created glave fidget spinners, which is just perfect. That's great.

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Speaker 1: And of course it's also a magical weapon, and in

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Speaker 1: this movie, anything magical might also be possibly technological. So

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Speaker 1: it also reminds me a lot of the flying silver

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Speaker 1: Balls of Death from the Phantasm movies in the sense

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Speaker 1: that it doesn't really have to behave in a way

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Speaker 1: that makes sense from like a physics or aerodynamics point

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Speaker 1: of view. No, it's like a flying starfish circular saw

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Speaker 1: that you control with telekinesis right. I'm still thinking about

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Speaker 1: that comment you cited that it's a first time Dungeon

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Speaker 1: Masters campaign that is so perfect, because I would say

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Speaker 1: one of the main reasons for that is that the

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Speaker 1: connections from set piece to set piece are very flimsy.

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Speaker 1: It's just always like, well, we have to go here now,

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Speaker 1: and and that gets you to the next scene that

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Speaker 1: you wanted to show. But could you explain why they

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Speaker 1: were going from one thing to another? It's I think

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Speaker 1: it's rare that you could credit or credits are doing

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Speaker 1: the exact one sentence review for this from a letterbox

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Speaker 1: from someone about the user name Cinema of Void Rights.

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Speaker 1: It's like watching a first time d M test running

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Speaker 1: a campaign of a level two parties searching for a

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Speaker 1: plus five fidget spinner to fight a space goblin. So

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Speaker 1: fidget spinner, there you go. Yeah, a bit harsh, but fair.

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Speaker 1: They only gave it one and a half stars. I

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Speaker 1: I would give it. I would give it five glades.

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Speaker 1: Five glades easy. You would sacrifice all five of your

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Speaker 1: fingers in the process of giving it five glaves. All right, well,

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Speaker 1: let's get to the elevator pitch here. I would just

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Speaker 1: give it a brief one. I would say, it's dungeons

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Speaker 1: and lasers. That's a that's a great tagline. Rob. I

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Speaker 1: feel like I have been at least lately forgetting that

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Speaker 1: the elevator pitch is actually supposed to be a straightforward

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Speaker 1: description of the movie. So I wanted to be yeah, okay,

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Speaker 1: I've forgotten that lately, and so this time I remembered that.

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Speaker 1: I was like, oh, wait, okay, so let me try

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Speaker 1: to do that, just so you understand what we're talking about. Um. So,

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Speaker 1: like an evil mountain arrives from space and it settles

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Speaker 1: down on the world of Kroll. Kroll again is the

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Speaker 1: name of the planet. And from this evil space mountain

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Speaker 1: pour forth the Slayers who are laser blasting shock troops

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Speaker 1: who terrorized the peaceful villages of this magical planet. In

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Speaker 1: response to Kingdoms of Krull planned a unite by joining

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Speaker 1: by joining in marriage the heirs to their thrones, and

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Speaker 1: these are Prince Cowen and Princess Lisa. But before they

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Speaker 1: can they can get all their act together, Princess Lissa

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Speaker 1: is kidnapped by the Beast, the vile ruler of the

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Speaker 1: Space Mountain. Can Cowen save the princess? Probably? Yeah, yeah,

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Speaker 1: he has a really good shot head pulling that off.

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Speaker 1: All right, Well, let's go ahead and listen to strailer audio.

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Speaker 1: Here on a distant planet, a great kingdom was ravaged

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Speaker 1: by beings who came from the future to conquer the universe.

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Speaker 1: Now the only survivors follow a doubtful scene and its

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Speaker 1: own was king. They will hold her in the black forts.

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Speaker 1: You must have help at the end. Living in possible journey,

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Speaker 1: they must fight an invincible enemy. Use knowledge your seat,

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Speaker 1: I shall be your ky. Columbia Pictures presents a world

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Speaker 1: apart from anything you have seen before. Grow see sounds

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Speaker 1: pretty delightful. It sounds like a big budget eighties swashbuckling

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Speaker 1: fantasy sci fi adventure with the James Horner score. Yeah yeah, yeah,

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Speaker 1: As we'll discuss, this is James Horner score for sure,

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Speaker 1: so it's it's it's not my favorite score in the world.

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Speaker 1: It's not my favorite James Horner score, but it's pretty good.

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Speaker 1: It's pretty solid. It does everything it needs to do.

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Speaker 1: It's not my favorite either, but it has that that

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Speaker 1: majesty all the kind of like fluttering brass of the

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Speaker 1: orchestra always kind of uh, every other scene sounds like

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Speaker 1: a coronation him. Yes, all right. When it comes to

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Speaker 1: availability for this film, well, it's widely available. I think

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Speaker 1: we both watched it on HBO Max, so it's available

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Speaker 1: there at least for now until they take it down.

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Speaker 1: They seem to be changing things around a lot over there.

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Speaker 1: But but as of right now, they still have a

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Speaker 1: lot of good films in the in the collection. Karl

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Speaker 1: has also been released in various blue rays, DVD, VHS

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Speaker 1: of course, and special editions over the years. There's even

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Speaker 1: a VHS style blu ray that came out that really

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Speaker 1: captures the original awesomeness of the VHS tape, which I

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Speaker 1: fondly remember seeing on the shelves at VHS rental stores

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Speaker 1: when I was a kid, because it ultimately looks it

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Speaker 1: looks super scary. I think I was a little afraid

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Speaker 1: of this VHS box because you see our heroes in

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Speaker 1: the foreground and in the background they've merged the Beast

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Speaker 1: and the Black Fortress together, and it's just absolutely horrifying.

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Speaker 1: He's staring right into my soul with his blood red

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Speaker 1: eyes yeah, the mountain is the beast's face. That does

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Speaker 1: not happen in the movie. But I also like, is

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Speaker 1: this a real picture of the VHS boxes? That tagline? Right? Um,

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Speaker 1: I think so. I think this is an accurate recreation

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Speaker 1: of the VHS box. Okay, well then I just have

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Speaker 1: to share it says journey into a mystical time where

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Speaker 1: a horrible beast is the ruler. I feel like somebody

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Speaker 1: could have put some more effort into that man maybe.

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Speaker 1: So now, coming back to what we've been talking about

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Speaker 1: with the basic plot of KRALL versus the this the

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Speaker 1: the overall visual style of it. I think that's ultimately

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Speaker 1: where KRALL excels via its sets, via its costumes. By

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Speaker 1: all accounts, the genesis of this film was it was

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Speaker 1: a studio desire for a big fantasy holm and I

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Speaker 1: think originally it was going to be a lot more

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Speaker 1: uh traditional, and that the beast wasn't going to be

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Speaker 1: a space titan, he was going to be a dragon.

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Speaker 1: But but they changed over time, and clearly folks were

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Speaker 1: brought in to just really breathe a great deal of

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Speaker 1: visual life into this piece. It's almost like they gave

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Speaker 1: some extremely talented people a coloring book or a paint

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Speaker 1: by numbers sort of a thing, and they're like, this

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Speaker 1: is the movie we're making. Um, just do what do

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Speaker 1: what you can with it. And boy did they ever.

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Speaker 1: Like every little corner of the coloring book is just

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Speaker 1: colored in with pigments you wouldn't expect or didn't expect

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Speaker 1: or didn't know existed. Uh, and it makes it delightful.

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Speaker 1: Like some of the choices they make. It's like, for instance,

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Speaker 1: it's not an earthlike merely an earthlike planet. No, it's

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Speaker 1: a planet with two sons. It's not a dragon, it's

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Speaker 1: a space titan. It doesn't live in a just a

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Speaker 1: cavern or a castle that lives in a space mountain

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Speaker 1: that came from down from the heavens. Uh. There's not

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Speaker 1: a magic sword, there's a magic glave. And yeah, everything

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Speaker 1: has this wonderful weird sheen to it and they're fabulous

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Speaker 1: weird details that are not explained at all, And that's

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Speaker 1: something I love in a film like this. I agree

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Speaker 1: it's very much a genre mashup. Is this sci fi

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Speaker 1: or is this fantasy? It? It doesn't, it doesn't commit

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Speaker 1: either way. It's just it's just pulling in whatever seems

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Speaker 1: cool in in any given scene. Now, we were also

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Speaker 1: enjoying the detail that there was a video game adaptation

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Speaker 1: of Krawl was available in the arcades and on a

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Speaker 1: hom Atari system. So, first of all, I think this

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Speaker 1: is a pretty good looking game given its context. But

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Speaker 1: also the main thing I love about it is the

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Speaker 1: sound effects. It has these chip generated sound effects that

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Speaker 1: are just oh, there's a sound that it makes when

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Speaker 1: you're a little coal one sprite picks up an item,

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Speaker 1: like when it grabs a piece of the glade. It's

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Speaker 1: so good. I wonder if we could even sample that

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Speaker 1: sound effect. Can't you just imagine that that sound playing

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Speaker 1: anytime you like, pick up a dish to put it

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Speaker 1: in the dishwasher. Yeah, it's so perfectly muddy and glitchy

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Speaker 1: and fun. Um. I have to say to looking at

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Speaker 1: not not merely the arcade cabinet for this, which of

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Speaker 1: course many of these arcade cabinets look terrific, but just

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Speaker 1: looking at stills from the arcade game at least, I

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Speaker 1: was impressed by how much it actually looked like the

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Speaker 1: film that was based on. Like I could look at

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Speaker 1: the details and be like, oh, those are the Slayers, Okay,

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Speaker 1: that's the beast running around. That's clearly the glade being

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Speaker 1: thrown about. So um yeah, unlike I can think of

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Speaker 1: other examples where you look at it at screenshots from

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Speaker 1: these older games, you're like, really, that's supposed to be et.

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Speaker 1: That's Indiana Jones. I don't know, I muna say. In

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Speaker 1: the poster for the game, Colwan looks right that the

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Speaker 1: artist successfully rendered this guy. But Princess Lissa here, they

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Speaker 1: gave her a spherical haircut. Yeah, and she has like

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Speaker 1: some really deep eyeshadow. I don't remember if she ever

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Speaker 1: ended up looking like this in the movie, but she

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Speaker 1: looks like she has decided to wed the beasts. Like

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Speaker 1: she looks like the princess in peril in in uh

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Speaker 1: in the legend, after she has decided that she will

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Speaker 1: uh marry or she's been sort of ensourcefuled into dancing

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Speaker 1: around with the the villain and that was he also

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Speaker 1: called the beast. I can't remember what his name was. Um,

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Speaker 1: he's just called evil or some darkness, I think, yes, darkness, Yes,

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Speaker 1: Tim Curry, Tim Curry and about a thousand pounds of

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Speaker 1: late x and and so forth. All right, let's do

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Speaker 1: those connections. Yeah, we have quiet, We have quite a

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Speaker 1: selection of talented individuals involved here. Uh, I think I

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Speaker 1: can safely say for none of them was this their

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Speaker 1: finest work. Well, for a couple of them this might

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Speaker 1: have been their their biggest film. But for the most

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Speaker 1: part we have several individuals who had done greater things

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Speaker 1: before would go on to greater things. At the top

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Speaker 1: here we have the director Peter Yates, who lived through

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Speaker 1: eleven British TV and film director probably I think probably

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Speaker 1: best known for nineteen Bullets starring Steve McQueen, Jacqueline Bassett

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Speaker 1: and Robert Vaughan, featuring one of, if not the best

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Speaker 1: car chase has ever committed to film. Actually have not

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Speaker 1: seen Bullet. I know it's famous for for the car chase. Also,

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Speaker 1: I did not realize Robert Vaughan was in it. Who

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Speaker 1: was in Batt'll Beyond the Stars. We talked extensively about

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Speaker 1: Robert Vaughan's career as a guy in lawyer commercials. Yeah,

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Speaker 1: he has a pretty prominent role in Bullet, as I recall,

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Speaker 1: It's been a long time since I've seen it, but um,

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Speaker 1: but it's a classic. Yates also directed nineteen seventy seven's

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Speaker 1: The Deep, based on the novel of the same name

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Speaker 1: about double shipwrecks and Barracoutas from Peter Benchley, and that

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Speaker 1: start also started um Jacqueline Bassett, Nick Nolty, Robert Shaw

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Speaker 1: and Louis Gossett Jr. I've always wanted to see that one,

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Speaker 1: but I haven't. Yeah, it looks very it's it's very wet,

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Speaker 1: very wet looking film. Um And and I heard what

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Speaker 1: it's got A It's like they're going for one ship, right,

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Speaker 1: but there's another ship wreck underneath it, like they're going

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Speaker 1: for the heroine shipwreck, but that is on top. It

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Speaker 1: turns out on top of like a Spanish galleon or

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Speaker 1: something that has a bunch of gold in it. And

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Speaker 1: then I think they're Baracoutis. But again I haven't seen

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Speaker 1: it or read it myself. Not Sharks baracouta Is this time. Yeah, yeah. Now.

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Speaker 1: Yates also directed The Year of the Comet, The Dresser

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Speaker 1: starring Albert Finney, two time Academy Award nominee for The

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Speaker 1: Dresser and also for nineteen seventy nine Breaking Away. So

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Speaker 1: you have a talented director here helming this thing, though,

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Speaker 1: I think if you look at his other films, like

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Speaker 1: this is the only one that's really kind of a

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Speaker 1: big budget genre piece. So I think he was branching

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Speaker 1: out and trying something new here. Yeah. I read somewhere

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Speaker 1: that he he sort of looked at this as as

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Speaker 1: an amusing challenge, like that this is not somebody who's

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Speaker 1: otherwise going to be making fantasy films. He's like, well,

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Speaker 1: I wonder if I could do it now. The writer

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Speaker 1: on this, or at least the right I don't recall

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Speaker 1: the history on the screenplay exactly, but our final credited

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Speaker 1: right or who gets all the credit is Stanford Sherman.

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Speaker 1: Dates unknown on Stanford here, but he's a screenwriter who

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Speaker 1: wrote for such shows as TV shows as The Man

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Speaker 1: from Uncle and the six nine sixties Batman series, multiple

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Speaker 1: episodes of that. His film screenplays and include Kroll The

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Speaker 1: Man who Wasn't There, which is a Steve Guttenberg Invisible

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Speaker 1: Man movie, and is The Ice Pirates. Oh okay, so

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Speaker 1: The Man who Wasn't There? Not the Cohen Brothers movie, right, right,

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Speaker 1: This is a Steve Guttenberg Invisible Man movie. I'm I

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Speaker 1: believe it is a comedy, but you know, all the

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Speaker 1: best to the goot, but I'm not in a big

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Speaker 1: hurry to watch this movie. Oh but you mentioned Ice Pirates.

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Speaker 1: That's something people have told us to cover on Weird House. Yeah,

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Speaker 1: i'd have to. I only have vague memories of watching

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Speaker 1: Ice Pirates. I can't remember how inappropriate it is, So

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Speaker 1: that's one of those that will require a review first. Okay,

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Speaker 1: all right, let's get into the wonderful cast for this film,

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Speaker 1: starting though with the star playing Cowlin, which, again it's

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Speaker 1: really hard to not to say clown reading this name,

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Speaker 1: but played by Ken Marshall, who was born nineteen fifty

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Speaker 1: and American Juilliard trained actor. Acted from nineteen seventy nine

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Speaker 1: through two thousand and three. He may also be familiar

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Speaker 1: to some of our listeners as Lieutenant Commander Michael Eddington

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Speaker 1: on Deep Space nine. I'm a little foggy on these episodes,

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Speaker 1: but I think he's like a trader to the Federation

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Speaker 1: who ends up joining up with the one of that

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Speaker 1: rag tag group of civilizations that had like the Shape Changer,

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Speaker 1: the changeling species in it, and some other creatures. He

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Speaker 1: also played Marco Polo in a three mini series and

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Speaker 1: also appeared in the movie Feds. Um. I have to say,

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Speaker 1: like I I agree, he's not maybe the best in

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Speaker 1: this but I feel like in those scenes that have good,

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Speaker 1: well written dialogue, and he's also surrounded by often an

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Speaker 1: incredible group of of more talented, more experienced actors. I

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Speaker 1: found that I bought his charismatic you know, you know,

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Speaker 1: raising everybody up, getting everybody united, his little speeches and

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Speaker 1: so forth. I bought into that. So at least some

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Speaker 1: of the time, I find that he works pretty well

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Speaker 1: on screen. Oh sure, I mean he I mean I

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Speaker 1: was making a little bit of fun. But also he

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Speaker 1: is fun in the role, like I would not replace

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Speaker 1: Ken Marshall here, right alright. His his love interest, of course,

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Speaker 1: is Princess Uh Lisa is it? Lisa Lissa Lissa l

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Speaker 1: y s s a play by Lisette Anthony, British actor

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Speaker 1: known for such titles as Dracula Dead and Loving It,

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Speaker 1: Husbands and Wives, and reboot of Dark Shadows. She also

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Speaker 1: appears in the Anton Corbin music video for the solid

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Speaker 1: depeche Mode song I Feel for You. I don't really

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Speaker 1: remember this music video, but it's a solid track. It's

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Speaker 1: not one of the depeche Mode tracks that annoys me.

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Speaker 1: She also did an episode of Tales from the crypt Forever, Ambergriss.

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Speaker 1: This is an episode that had Roger Daltry and Steve

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Speaker 1: you Sime in it. And uh, yeah, she's a kidnapped

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Speaker 1: princess in this movie, so her performance hits all the

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Speaker 1: expected notes for that kind of a role. Uh. And

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Speaker 1: I also was reading that her voice was apparently dubbed

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Speaker 1: in the final cut, so we have to take that

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Speaker 1: into account. I was noticing that in nearly every scene

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Speaker 1: there's a bit of a twinkle in her eye, like

423
00:24:25,960 --> 00:24:30,440
Speaker 1: she's almost on the edge of playing it for comedy. Uh.

424
00:24:30,480 --> 00:24:34,159
Speaker 1: I sense an awareness of the campiness of the movie

425
00:24:34,240 --> 00:24:36,960
Speaker 1: that a little bit comes through on the screen, like, Uh,

426
00:24:37,240 --> 00:24:40,359
Speaker 1: I mean this not in an insulting way. She plays

427
00:24:40,400 --> 00:24:42,679
Speaker 1: the role almost as if she's playing kind of like

428
00:24:42,920 --> 00:24:46,320
Speaker 1: a princess in an SNL sketch. Yeah. Yeah, I think

429
00:24:46,320 --> 00:24:48,159
Speaker 1: if it is the right tone for this because, like

430
00:24:48,200 --> 00:24:53,400
Speaker 1: you say, it bordering on comedy without actually venturing into

431
00:24:53,440 --> 00:24:58,120
Speaker 1: that territory, without actually subverting the film or the role

432
00:24:58,520 --> 00:25:02,960
Speaker 1: to any extent. Yeah, I can see that twinkle. All right. Well,

433
00:25:02,960 --> 00:25:05,280
Speaker 1: you can't have a story like this without a wizard

434
00:25:05,359 --> 00:25:08,639
Speaker 1: in it, and actually we have multiple wizards in this film,

435
00:25:08,680 --> 00:25:10,760
Speaker 1: but we have at least one who really knows what

436
00:25:10,800 --> 00:25:12,880
Speaker 1: he's doing. I bet you also didn't think you get

437
00:25:12,880 --> 00:25:15,760
Speaker 1: a Dune crossover in Krawl. Oh yeah, we got at

438
00:25:15,840 --> 00:25:18,359
Speaker 1: least a couple of them. Here. This is the character

439
00:25:18,600 --> 00:25:21,560
Speaker 1: and who I'm I'm blanking on how we pronounced this one.

440
00:25:21,600 --> 00:25:28,120
Speaker 1: It's why inn, Why are so unior? Yeah? Uinier uinear Yes,

441
00:25:28,280 --> 00:25:31,760
Speaker 1: a kind of wizard and seer uh and just general

442
00:25:31,920 --> 00:25:34,439
Speaker 1: wise dude, he's putting the party together. He's the one

443
00:25:34,480 --> 00:25:37,760
Speaker 1: who shows up after stuff goes goes poorly and says,

444
00:25:37,800 --> 00:25:40,000
Speaker 1: all right, we need to we need to solve this

445
00:25:40,040 --> 00:25:43,400
Speaker 1: peace problem. Played by the wonderful Freddie Jones, who lived

446
00:25:44,440 --> 00:25:47,679
Speaker 1: through twenty nineteen. And Yeah, he's a real treat in this.

447
00:25:48,000 --> 00:25:51,040
Speaker 1: He's got a he's got a strong screen presence. He's

448
00:25:51,080 --> 00:25:54,040
Speaker 1: one of I think the central grounding performances in the film.

449
00:25:54,760 --> 00:25:57,359
Speaker 1: H Every scene he's in, he can he breathes a

450
00:25:57,400 --> 00:26:02,000
Speaker 1: sort of seriousness in life into it. The Dune crossover,

451
00:26:02,080 --> 00:26:04,800
Speaker 1: of course, is that he played through for Hollatt in

452
00:26:04,960 --> 00:26:08,520
Speaker 1: David Lynch's eighty four adaptation of Dune. He was also

453
00:26:08,560 --> 00:26:11,000
Speaker 1: in Lynch's nineteen eighty film The Elephant Man. He did

454
00:26:11,119 --> 00:26:13,360
Speaker 1: he did a lot of TV work. He also had

455
00:26:13,400 --> 00:26:15,720
Speaker 1: memorable roles in such films as eighty five is Young

456
00:26:15,760 --> 00:26:22,040
Speaker 1: Sherlock Holmes, Firestarter, the nineteen eighty two Clint Eastwood, UH

457
00:26:22,440 --> 00:26:27,840
Speaker 1: Fighter Jet SR seventy one movie Firefox, and n Zulu Dawn.

458
00:26:28,440 --> 00:26:32,280
Speaker 1: What would you call his facial hair style in this

459
00:26:33,160 --> 00:26:37,000
Speaker 1: in Krall? I don't know what the exact name for that.

460
00:26:37,119 --> 00:26:39,360
Speaker 1: It's like a mustache that goes down and becomes two

461
00:26:39,440 --> 00:26:42,800
Speaker 1: beardlets on either side. And the great thing I included

462
00:26:42,840 --> 00:26:45,080
Speaker 1: this for you, Joe, is if you put his character

463
00:26:45,119 --> 00:26:48,600
Speaker 1: and Krall next to his character in Dune, it basically

464
00:26:48,600 --> 00:26:52,679
Speaker 1: looks like his beard pieces were subsequently removed after the

465
00:26:52,680 --> 00:26:57,439
Speaker 1: filming of Krall and pasted on his eyebrows for the character.

466
00:26:57,480 --> 00:27:03,040
Speaker 1: And it's just a face wristole inversion. I was thinking

467
00:27:03,080 --> 00:27:06,040
Speaker 1: of the two parts of his beard as lobes, like

468
00:27:06,119 --> 00:27:10,359
Speaker 1: his beard has two lobes, like the lobes of a brain.

469
00:27:11,320 --> 00:27:14,320
Speaker 1: And uh yeah, I don't know, I I can't think

470
00:27:14,359 --> 00:27:16,960
Speaker 1: of anywhere else I've seen this. Anyways, he's great, like

471
00:27:17,040 --> 00:27:19,720
Speaker 1: I said, anytime he's on screen, he's got a very

472
00:27:20,320 --> 00:27:24,720
Speaker 1: loud presence that I think works really well, really fills

473
00:27:24,760 --> 00:27:27,679
Speaker 1: up those big, huge sets in a way that a

474
00:27:27,680 --> 00:27:31,080
Speaker 1: lot of performances don't. And this character also has a

475
00:27:31,119 --> 00:27:33,879
Speaker 1: love interest of sorts as well. Discuss the Widow of

476
00:27:33,920 --> 00:27:39,000
Speaker 1: the Web played by Francesca honest Uh born English actor,

477
00:27:39,119 --> 00:27:42,240
Speaker 1: known for her roles as Lady Jessica in David Lynch's

478
00:27:42,280 --> 00:27:46,600
Speaker 1: Dune from So there's our other Dune connection. She was

479
00:27:47,160 --> 00:27:50,439
Speaker 1: Lily in the mini series of the same name. She

480
00:27:50,560 --> 00:27:54,399
Speaker 1: was Lady Macbeth in that pretty great ninetevent one adaptation

481
00:27:54,440 --> 00:27:57,560
Speaker 1: starring John Finch that was was long one of my

482
00:27:57,640 --> 00:28:01,960
Speaker 1: favorite Macbeth adaptations. And anyway, she's been very active in film,

483
00:28:01,960 --> 00:28:04,439
Speaker 1: TV and theater over the years, and was active as

484
00:28:04,440 --> 00:28:07,800
Speaker 1: recently as She plays a nice tragic role in this.

485
00:28:08,880 --> 00:28:11,119
Speaker 1: But you know what else you didn't think you were

486
00:28:11,119 --> 00:28:14,720
Speaker 1: going to get in Krall is the Green bass Vampire. Yeah,

487
00:28:15,240 --> 00:28:17,920
Speaker 1: I had. For the most part, I forgot he was

488
00:28:17,960 --> 00:28:21,000
Speaker 1: in this. I think all subsequent viewings of Krall came

489
00:28:21,080 --> 00:28:26,160
Speaker 1: before I really appreciated the awesomeness of Alan Armstrong, who

490
00:28:26,200 --> 00:28:31,280
Speaker 1: plays a a bandit um, an axe wielding bandit ruler

491
00:28:31,560 --> 00:28:34,280
Speaker 1: who answers to no man and wears a spiked choker

492
00:28:34,320 --> 00:28:37,400
Speaker 1: around his neck. So that nobody can strangle him. Um,

493
00:28:37,440 --> 00:28:41,080
Speaker 1: this is the thirty seven year old Alan Armstrong uh

494
00:28:41,280 --> 00:28:44,800
Speaker 1: Boord six. We've talked about him here before on the show.

495
00:28:44,840 --> 00:28:48,280
Speaker 1: He was of course in Split Second, but we mainly

496
00:28:48,280 --> 00:28:52,560
Speaker 1: discussed him in our episode on the brilliant snooker musical

497
00:28:52,920 --> 00:28:56,040
Speaker 1: Billy the Kid in the Green Bay's Vampire. I have

498
00:28:56,160 --> 00:29:00,640
Speaker 1: to point out that the Wikipedia page for Kroll describes

499
00:29:00,800 --> 00:29:05,360
Speaker 1: his character in Krull Torquil as quote a man who

500
00:29:05,400 --> 00:29:08,000
Speaker 1: favors an act and as a leader of a group

501
00:29:08,040 --> 00:29:12,280
Speaker 1: of bandits. You know you've really made an impression when

502
00:29:12,280 --> 00:29:14,360
Speaker 1: the first thing they say about you is that you

503
00:29:14,440 --> 00:29:18,280
Speaker 1: favor an ax. He does always have a super shiny

504
00:29:18,320 --> 00:29:20,720
Speaker 1: axe on him. But this is a great role. This

505
00:29:20,720 --> 00:29:23,520
Speaker 1: is especially for Alan Armstrong, who who has you know,

506
00:29:23,560 --> 00:29:26,800
Speaker 1: as a great character actor doesn't always have a like

507
00:29:26,840 --> 00:29:30,760
Speaker 1: a really central staying role in a picture, but in

508
00:29:30,800 --> 00:29:33,320
Speaker 1: this he has a lot of screen time. He's an

509
00:29:33,360 --> 00:29:37,120
Speaker 1: interesting character that actually has probably has more of a

510
00:29:37,240 --> 00:29:40,560
Speaker 1: character arc than some of the other characters in the film.

511
00:29:40,640 --> 00:29:43,840
Speaker 1: Like he goes through changes, he's uh, there's this sort

512
00:29:43,880 --> 00:29:45,680
Speaker 1: of oh and I you know, what are we in

513
00:29:45,680 --> 00:29:47,880
Speaker 1: this for? As bandits? Do we just want to steal

514
00:29:47,960 --> 00:29:50,600
Speaker 1: emeralds and make off. Do we care about the future

515
00:29:51,000 --> 00:29:54,080
Speaker 1: of the world of Krull uh So? Really, I think

516
00:29:54,160 --> 00:29:56,400
Speaker 1: Torquoil here has there's a lot more going on with

517
00:29:56,480 --> 00:29:59,360
Speaker 1: him compared to some of the other characters. Torquel's great

518
00:29:59,360 --> 00:30:04,240
Speaker 1: alan arms trying. He just has like unwashed charm for days.

519
00:30:04,480 --> 00:30:09,440
Speaker 1: Absolutely brilliant. Yeah, this is another one of the performances

520
00:30:09,520 --> 00:30:12,160
Speaker 1: that I think really cements the picture. You know what

521
00:30:12,280 --> 00:30:15,520
Speaker 1: else I I actually thought was a pretty good performance

522
00:30:15,680 --> 00:30:20,760
Speaker 1: is the comic relief character Ergo. Yeah, Parigo the Wizard

523
00:30:20,920 --> 00:30:25,160
Speaker 1: the he seems to mainly specialize in transmutation spells. That's

524
00:30:25,200 --> 00:30:28,680
Speaker 1: pretty much all we see him doing, um trying to

525
00:30:28,760 --> 00:30:32,120
Speaker 1: turn people into animals and failing, trying to turn himself

526
00:30:32,120 --> 00:30:34,320
Speaker 1: into the right animal and failing, finally pulling through in

527
00:30:34,360 --> 00:30:37,880
Speaker 1: the end. But yet played by David Batley who lived

528
00:30:38,680 --> 00:30:41,520
Speaker 1: five through two thousand and three, and he has that

529
00:30:41,800 --> 00:30:45,080
Speaker 1: he has that sort of Eric Idol Nigel Planner manner

530
00:30:45,120 --> 00:30:47,760
Speaker 1: and physicality to him that works really well for a

531
00:30:48,360 --> 00:30:51,880
Speaker 1: comedic performance in a comedic presence, and he mostly did

532
00:30:51,880 --> 00:30:54,520
Speaker 1: comedic roles on stage and screen. As soon as he

533
00:30:54,560 --> 00:30:57,040
Speaker 1: showed up, Rachel was like he's in Charlie and the

534
00:30:57,120 --> 00:30:59,959
Speaker 1: Chocolate Factory. Yeah. Yeah, he plays at what a care

535
00:31:00,080 --> 00:31:04,120
Speaker 1: to name? Mr Turcantine. I haven't seen this Willy Wonkin

536
00:31:04,160 --> 00:31:06,520
Speaker 1: a bit, so I don't recall exactly how he factors

537
00:31:06,560 --> 00:31:10,200
Speaker 1: into the stories of the doom Children. Rachel thought he

538
00:31:10,320 --> 00:31:13,760
Speaker 1: was a teacher in a school. That would make sense,

539
00:31:13,960 --> 00:31:15,600
Speaker 1: so I guess that would be at the beginning of

540
00:31:15,640 --> 00:31:17,800
Speaker 1: the movie. I'm not sure. Yeah, outside of those two

541
00:31:17,800 --> 00:31:20,080
Speaker 1: big films, those are the two big films I think

542
00:31:20,120 --> 00:31:23,440
Speaker 1: for this guy. He mostly did TV, and especially after Krawl,

543
00:31:23,520 --> 00:31:26,160
Speaker 1: it was mostly television. You may already get the sense

544
00:31:26,280 --> 00:31:29,000
Speaker 1: that we're meeting a lot of characters in this movie,

545
00:31:29,040 --> 00:31:31,560
Speaker 1: but it just keeps going right. Yeah, because we also

546
00:31:31,600 --> 00:31:36,400
Speaker 1: have a Cyclops, a memorable cinematic Cyclops played by Bernard

547
00:31:36,440 --> 00:31:41,760
Speaker 1: Breslaw lived who lived ninety four through a towering six

548
00:31:41,800 --> 00:31:45,440
Speaker 1: ft seven British actor. Uh in this playing a curse

549
00:31:45,520 --> 00:31:50,600
Speaker 1: Cyclops with second sight in a weird trident weapon. Uh.

550
00:31:50,640 --> 00:31:53,680
Speaker 1: This actor, I've seen him in at least one other thing.

551
00:31:53,760 --> 00:31:57,440
Speaker 1: He has a really fun goon roll in The Delicious

552
00:31:57,520 --> 00:32:00,360
Speaker 1: nineteen sixty nine. I think it's a hammer for auction,

553
00:32:00,720 --> 00:32:04,400
Speaker 1: a groovy space movie called Moon zero two, and he

554
00:32:04,440 --> 00:32:07,040
Speaker 1: has also also had roles in the carry On movies

555
00:32:07,160 --> 00:32:10,600
Speaker 1: in Britain and also nineteen seven Jabberwockie. I have to

556
00:32:10,640 --> 00:32:15,160
Speaker 1: say that I think unfortunately the Cyclops in this movie

557
00:32:15,320 --> 00:32:18,200
Speaker 1: is not a great creature design, at least not in

558
00:32:18,240 --> 00:32:21,760
Speaker 1: the way they intended. But I loved every time the

559
00:32:21,800 --> 00:32:26,120
Speaker 1: Cyclops showed up because he he looked so amazingly humorous,

560
00:32:26,160 --> 00:32:30,880
Speaker 1: like they make the Cyclops very placid and awkward and

561
00:32:31,000 --> 00:32:34,520
Speaker 1: stiff in his movements, and I was wondering, why is

562
00:32:34,560 --> 00:32:37,280
Speaker 1: he like that? Why is he so placid and awkward?

563
00:32:37,320 --> 00:32:40,160
Speaker 1: And then I realized it's because, well, he's not really

564
00:32:40,160 --> 00:32:43,120
Speaker 1: getting to act with much of his real face, and

565
00:32:43,240 --> 00:32:46,360
Speaker 1: he can't see he can't see in his costume, so

566
00:32:46,440 --> 00:32:50,720
Speaker 1: his movements are necessarily very constricted. And the effect of

567
00:32:50,760 --> 00:32:53,800
Speaker 1: all this put together oddly made me keep thinking of

568
00:32:53,880 --> 00:32:56,960
Speaker 1: him as trumpy and pod people. Yeah, this brings me

569
00:32:57,040 --> 00:32:58,960
Speaker 1: back to a discussion we had in an episode on

570
00:32:59,040 --> 00:33:03,000
Speaker 1: Metal Storm that is aduction of Jared Sin because that movie,

571
00:33:03,000 --> 00:33:06,160
Speaker 1: of course has some Cyclops characters in it, and they

572
00:33:06,200 --> 00:33:08,560
Speaker 1: created the Cyclops effect by deciding, Okay, we're gonna have

573
00:33:08,560 --> 00:33:11,760
Speaker 1: like a mutation type thing going on, where one eye

574
00:33:11,760 --> 00:33:14,760
Speaker 1: of the actor is obscured and only one eye of

575
00:33:14,800 --> 00:33:18,280
Speaker 1: the faces in use, which gives it a unique look

576
00:33:18,280 --> 00:33:21,640
Speaker 1: but also allows the actor to see and to act

577
00:33:21,680 --> 00:33:25,120
Speaker 1: through their own facial expressions to a degree that Bernard

578
00:33:25,160 --> 00:33:27,680
Speaker 1: here was not permitted to do. So, Yeah, you put

579
00:33:27,720 --> 00:33:30,480
Speaker 1: somebody in what I think is still ultimately pretty good

580
00:33:30,600 --> 00:33:34,600
Speaker 1: Cyclops costume, but they are just severe limitations by putting

581
00:33:34,600 --> 00:33:36,880
Speaker 1: that effect in place on someone. If you watch it

582
00:33:36,920 --> 00:33:39,440
Speaker 1: again with this in mind, that like the actor couldn't see,

583
00:33:39,480 --> 00:33:41,480
Speaker 1: it makes a lot more sense when you see the

584
00:33:41,480 --> 00:33:44,760
Speaker 1: way he moves like that. It always looks so funny,

585
00:33:44,880 --> 00:33:48,280
Speaker 1: the way he kind of like it is very constrained,

586
00:33:48,320 --> 00:33:50,760
Speaker 1: and the way he kind of rotates his body in

587
00:33:50,840 --> 00:33:53,320
Speaker 1: order to do things, And I think it's because he's

588
00:33:53,360 --> 00:33:55,560
Speaker 1: just he's trying to be careful not to run into

589
00:33:55,680 --> 00:33:58,640
Speaker 1: or trip over things. Yeah, I mean, it's one of

590
00:33:58,680 --> 00:34:00,840
Speaker 1: the limitations of the Cyclops does lie. This is why,

591
00:34:01,080 --> 00:34:04,040
Speaker 1: to this day, one of the best and most memorable,

592
00:34:04,240 --> 00:34:08,040
Speaker 1: if not the best Cyclops effect is Ray Harry Howsen's

593
00:34:08,160 --> 00:34:12,600
Speaker 1: uh uh stop motion Cyclops creature. And I can't even

594
00:34:12,640 --> 00:34:14,879
Speaker 1: remember which film it's from. But I think if if,

595
00:34:14,920 --> 00:34:17,400
Speaker 1: if you're listening to this, you probably can picture in

596
00:34:17,400 --> 00:34:20,480
Speaker 1: your mind. All right, well, let's let's get into some

597
00:34:20,560 --> 00:34:23,000
Speaker 1: of the other actors here. Uh, this is a lesser

598
00:34:23,040 --> 00:34:25,960
Speaker 1: bandit character in the film that still has kind of

599
00:34:25,960 --> 00:34:28,279
Speaker 1: a story arc to him, character art to him. And

600
00:34:28,280 --> 00:34:33,320
Speaker 1: this is Keegan played by Liam Neeson. Oh boy, Liam Neeson,

601
00:34:33,880 --> 00:34:36,240
Speaker 1: you know you can you can see his star power

602
00:34:36,320 --> 00:34:38,719
Speaker 1: shining through even though this is a small role. He

603
00:34:38,800 --> 00:34:41,920
Speaker 1: plays a bandit who the main thing we know about

604
00:34:42,000 --> 00:34:44,680
Speaker 1: him is that he's a horrible two timer who has

605
00:34:44,760 --> 00:34:47,239
Speaker 1: like nine different wives who don't know about each other.

606
00:34:48,000 --> 00:34:50,560
Speaker 1: That's right. Yeah, there's not much to go on here.

607
00:34:50,600 --> 00:34:54,319
Speaker 1: And yet yeah, he's basically, you know, physically, he's a

608
00:34:54,360 --> 00:34:57,040
Speaker 1: big guy. So he's playing this this kind of hulking

609
00:34:57,080 --> 00:34:59,239
Speaker 1: brood of a of a bandit, but he's got a

610
00:34:59,239 --> 00:35:02,680
Speaker 1: twinkle in his and yeah, the Nissan magic is able

611
00:35:02,719 --> 00:35:04,560
Speaker 1: to shine through a bit here, even though it's a

612
00:35:04,560 --> 00:35:06,359
Speaker 1: bit part. And I don't I don't imagine I need

613
00:35:06,400 --> 00:35:08,800
Speaker 1: to say anymore about about Liam Neeson. You know Liam Neeson,

614
00:35:09,000 --> 00:35:12,160
Speaker 1: uh now mostly known as in his post taken career

615
00:35:12,320 --> 00:35:15,480
Speaker 1: as a as an older action star. But yeah, and

616
00:35:15,520 --> 00:35:17,880
Speaker 1: then he had the you know, the whole series of

617
00:35:18,040 --> 00:35:21,600
Speaker 1: films there we know Schindler's List, But even before sun

618
00:35:21,680 --> 00:35:23,880
Speaker 1: There's list was he was in like two movies that

619
00:35:23,920 --> 00:35:27,959
Speaker 1: I've always loved. He was in the six film The Mission. Uh,

620
00:35:28,080 --> 00:35:30,640
Speaker 1: not a huge part in that, but but but memorable.

621
00:35:30,680 --> 00:35:33,120
Speaker 1: And of course he's the lead in nine nine dark Man,

622
00:35:33,480 --> 00:35:36,200
Speaker 1: which was a tremendously fun film at the time. Even

623
00:35:36,280 --> 00:35:39,040
Speaker 1: in Krull, he has a particular set of skills, but

624
00:35:39,080 --> 00:35:44,560
Speaker 1: those skills are favoring an acts and cheating on his wives. Yeah,

625
00:35:44,600 --> 00:35:47,839
Speaker 1: that's true. Alright, Let's get into some of these other

626
00:35:47,920 --> 00:35:50,439
Speaker 1: characters in the party, this enormous party. I mean, really,

627
00:35:50,560 --> 00:35:52,640
Speaker 1: this is just wear any dungeon master out. Some of

628
00:35:52,640 --> 00:35:56,120
Speaker 1: these have to be a player nonplayer characters. How many

629
00:35:56,239 --> 00:35:58,480
Speaker 1: characters are we at now? We're not even doing all

630
00:35:58,520 --> 00:36:01,799
Speaker 1: of them? Were just okay, well we gotta have At

631
00:36:01,840 --> 00:36:04,680
Speaker 1: some point they're like, uh um, how are we going

632
00:36:04,719 --> 00:36:07,839
Speaker 1: to figure out where the fortresses because it teleports every day. Well,

633
00:36:07,880 --> 00:36:09,640
Speaker 1: we need a see her, right, you gotta have a

634
00:36:09,640 --> 00:36:11,880
Speaker 1: see here. So that that means they go to a

635
00:36:11,960 --> 00:36:14,239
Speaker 1: seer by the name of see Her, I believe, or

636
00:36:14,280 --> 00:36:17,280
Speaker 1: he's credited as such, and this is played by John Welch,

637
00:36:17,360 --> 00:36:20,879
Speaker 1: who of nineteen fourteen through ninety five, longtime British TV

638
00:36:21,000 --> 00:36:24,160
Speaker 1: actor who also appeared in such films as nineteen seventies Cromwell,

639
00:36:24,719 --> 00:36:28,600
Speaker 1: nineteen seventies, The Man Who Haunted Himself and a very

640
00:36:28,640 --> 00:36:32,720
Speaker 1: small part in Charles B. Pierce's nineteen seventy eight Viking

641
00:36:32,760 --> 00:36:37,080
Speaker 1: movie The Norseman WHOA Yeah, I haven't seen that one yet.

642
00:36:37,120 --> 00:36:39,680
Speaker 1: But Charles B. Pierce of course gave us the Boggy

643
00:36:39,719 --> 00:36:44,000
Speaker 1: Creek movies and a Viking saga. Gave us that as

644
00:36:44,040 --> 00:36:47,800
Speaker 1: a gift. Yes, yes, he gave These are cinematic gifts

645
00:36:47,840 --> 00:36:51,080
Speaker 1: that he bestowed upon the world. Was Boggy Creek to

646
00:36:51,440 --> 00:36:53,360
Speaker 1: one of like the I don't know, like second or

647
00:36:53,440 --> 00:36:56,040
Speaker 1: third movies we did on on Weird House. Yeah, I

648
00:36:56,040 --> 00:36:58,560
Speaker 1: think it was. It was pretty pretty early on. Uh.

649
00:36:58,719 --> 00:37:01,160
Speaker 1: That was That was a fun one. That one starred

650
00:37:01,239 --> 00:37:04,120
Speaker 1: Charles p Pierce. Remember that. That's that's a Charles B.

651
00:37:04,239 --> 00:37:08,359
Speaker 1: Pierce tour to force, written, directed and starring. Can't beat

652
00:37:08,400 --> 00:37:11,080
Speaker 1: that trio. All right, we have another bandit here. We

653
00:37:11,160 --> 00:37:14,759
Speaker 1: have a run played by the great Robbie Coltrane born

654
00:37:15,880 --> 00:37:19,759
Speaker 1: Robbie Coltrane. I know him, yeah, yeah, probably best known

655
00:37:19,800 --> 00:37:22,680
Speaker 1: for his role as Hagrid in the Harry Potter movies.

656
00:37:22,800 --> 00:37:24,840
Speaker 1: We of course also had a memorable run in the

657
00:37:24,920 --> 00:37:28,480
Speaker 1: James Bond franchise in Britain, who was on TV's Cracker.

658
00:37:28,880 --> 00:37:32,160
Speaker 1: Other roles include parts in Van Helsing from Hell, Henry

659
00:37:32,200 --> 00:37:34,680
Speaker 1: the Five, and a very bit role you know, I

660
00:37:34,760 --> 00:37:37,160
Speaker 1: was surprised to see this in nineteen eighties Flash Gordon.

661
00:37:37,560 --> 00:37:40,200
Speaker 1: He is man at airfield in that. In that, so

662
00:37:40,320 --> 00:37:42,880
Speaker 1: I don't think that is a major role in this movie.

663
00:37:42,920 --> 00:37:45,960
Speaker 1: He has a really funny moment when he uh, he

664
00:37:46,040 --> 00:37:50,080
Speaker 1: gets killed while they're assaulting the fortress, the Beasts fortress

665
00:37:50,120 --> 00:37:52,520
Speaker 1: at the end, and after he gets shot by the slayers,

666
00:37:52,880 --> 00:37:54,960
Speaker 1: everybody has to run over to him so they can

667
00:37:55,000 --> 00:37:57,239
Speaker 1: listen to him give a death monologue. But then it's

668
00:37:57,280 --> 00:38:02,799
Speaker 1: just like the journey was worth it. Yeah, I think

669
00:38:03,040 --> 00:38:05,319
Speaker 1: I'd read that his voice was apparently dubbed in the

670
00:38:05,320 --> 00:38:07,880
Speaker 1: final cut of this movie as well. And oh what

671
00:38:08,040 --> 00:38:11,160
Speaker 1: a mess alright, So the cast also there there are

672
00:38:11,160 --> 00:38:13,200
Speaker 1: other folks involved in this. I don't think we even

673
00:38:13,280 --> 00:38:15,520
Speaker 1: hit everybody in the party. But moving on to some

674
00:38:15,560 --> 00:38:18,160
Speaker 1: of the behind the scenes stuff we already mentioned James Horner,

675
00:38:18,400 --> 00:38:22,359
Speaker 1: who lived fifty three through composed known for scores such

676
00:38:22,400 --> 00:38:26,080
Speaker 1: as Battle Beyond the Stars, but also Alien Star Trek,

677
00:38:26,120 --> 00:38:29,759
Speaker 1: To the Wrath of con Willow, Field of Dreams, many more.

678
00:38:29,880 --> 00:38:32,400
Speaker 1: I think Avatar was one of his final even not

679
00:38:32,480 --> 00:38:35,880
Speaker 1: his final score, and his score to the Name of

680
00:38:35,880 --> 00:38:38,680
Speaker 1: the Rose remains one of my favorites, certainly one of

681
00:38:38,680 --> 00:38:42,200
Speaker 1: my favorites hit my favorite James Horner uh score, but

682
00:38:42,239 --> 00:38:44,360
Speaker 1: also just one of my favorite scores in general. I

683
00:38:44,400 --> 00:38:47,520
Speaker 1: feel like he really pulled that one off. This one,

684
00:38:47,640 --> 00:38:51,120
Speaker 1: as we've said, is more of a traditional eighties fantasy

685
00:38:51,239 --> 00:38:55,759
Speaker 1: fanfare adventure score. Alright, look into some more behind the

686
00:38:55,800 --> 00:38:59,760
Speaker 1: scenes stuff here. The director of photography was Peter shows

687
00:38:59,800 --> 00:39:04,279
Speaker 1: Just Sky born ninety one, Polish born cinematographer who is

688
00:39:04,320 --> 00:39:06,799
Speaker 1: well known for his work with David Cronenberg on such

689
00:39:06,840 --> 00:39:10,240
Speaker 1: films as Dead Ringers and Naked Lunch, but also various

690
00:39:10,239 --> 00:39:14,040
Speaker 1: other Cronenberg films. He also worked on the rocky horror

691
00:39:14,040 --> 00:39:17,560
Speaker 1: picture show Mars Attacks and The Little Picture by the

692
00:39:17,640 --> 00:39:21,879
Speaker 1: Name of the Empire Strikes Back. Um production designer on

693
00:39:21,960 --> 00:39:27,840
Speaker 1: this was Stephen Grimes seven through eight award winning production

694
00:39:27,880 --> 00:39:30,799
Speaker 1: designer known for Out of Africa and Never Say Never

695
00:39:30,880 --> 00:39:35,400
Speaker 1: Again um from and eighty three respectively, among many others.

696
00:39:35,760 --> 00:39:38,360
Speaker 1: And then I also noticed that an art direction credit

697
00:39:38,400 --> 00:39:42,160
Speaker 1: goes to Tony Curtis. Uh, not that Tony Curtis, but

698
00:39:42,840 --> 00:39:46,400
Speaker 1: um the production designer art designer Tony Curtis, who with

699
00:39:46,480 --> 00:39:49,279
Speaker 1: thirty seven through one, who did a lot of like

700
00:39:49,360 --> 00:39:53,480
Speaker 1: seventies amicast horror movies and also worked on the snake

701
00:39:53,560 --> 00:40:06,920
Speaker 1: movie Venom from one that we previously discussed. So at

702
00:40:07,000 --> 00:40:09,160
Speaker 1: this point, all the playing pieces are on the table.

703
00:40:09,600 --> 00:40:12,040
Speaker 1: It's time. It's time to crawl. It's time to crawl

704
00:40:12,080 --> 00:40:15,680
Speaker 1: down on some crawl all right. I know this is

705
00:40:16,000 --> 00:40:19,320
Speaker 1: the most overdone physics pedant thing to point out in

706
00:40:19,320 --> 00:40:21,600
Speaker 1: a movie. I don't usually mention it these days, but

707
00:40:21,640 --> 00:40:24,040
Speaker 1: I thought it was funny by virtue of its prominence.

708
00:40:24,520 --> 00:40:28,080
Speaker 1: The very first thing that happens in this movie is

709
00:40:28,120 --> 00:40:31,719
Speaker 1: a depiction of sound in outer space. Uh So there's

710
00:40:31,719 --> 00:40:34,919
Speaker 1: a vast field of stars in the void and the orchestras,

711
00:40:35,120 --> 00:40:38,400
Speaker 1: you know, pumping out the kind of coronation overture you

712
00:40:38,440 --> 00:40:41,440
Speaker 1: know that James Horner music with like a weird boys

713
00:40:41,520 --> 00:40:44,799
Speaker 1: choir oong and eyeing. It's almost kind of you can't

714
00:40:44,800 --> 00:40:47,400
Speaker 1: always get what you want. And then we see a glave.

715
00:40:47,760 --> 00:40:51,600
Speaker 1: We see this golden starfish whirling through space towards the camera,

716
00:40:52,280 --> 00:40:55,680
Speaker 1: and the glave is so it's whirling like you know,

717
00:40:55,719 --> 00:40:59,440
Speaker 1: the rotor blades on a helicopter, and it's making helicopter sounds,

718
00:40:59,440 --> 00:41:03,080
Speaker 1: like switching sounds. But not only is it sound in space,

719
00:41:03,160 --> 00:41:06,120
Speaker 1: the sound is directly what would be a result of

720
00:41:06,160 --> 00:41:10,839
Speaker 1: the little starfish finger knives swishing through the air. Now

721
00:41:10,920 --> 00:41:13,760
Speaker 1: you might say, oh, but this is a terrestrial fantasy film,

722
00:41:14,040 --> 00:41:16,359
Speaker 1: but not exactly, because the next thing we see is

723
00:41:16,440 --> 00:41:21,040
Speaker 1: something flying through space. The villains Fortress slash Mountain is

724
00:41:21,120 --> 00:41:25,719
Speaker 1: also a spaceship. Yeah, the Black Fortress. And really this

725
00:41:25,719 --> 00:41:28,879
Speaker 1: this film comes out swinging, uh in terms of just

726
00:41:29,200 --> 00:41:32,319
Speaker 1: like weird stuff that's gonna makes you ask a lot

727
00:41:32,320 --> 00:41:35,640
Speaker 1: of questions, because yeah, here comes this this mountain and

728
00:41:35,680 --> 00:41:38,279
Speaker 1: it has this structure in it, and we see more

729
00:41:38,320 --> 00:41:40,839
Speaker 1: and more of this throughout the film. But I love

730
00:41:40,920 --> 00:41:43,719
Speaker 1: the design of this because it it is essentially an

731
00:41:43,760 --> 00:41:46,719
Speaker 1: evil castle. It is the film's evil castle where the

732
00:41:46,800 --> 00:41:53,000
Speaker 1: evil big bad lives. But it defies easy categorization. Beyond that,

733
00:41:53,080 --> 00:41:56,160
Speaker 1: because it is. It is also a spaceship, it's also

734
00:41:56,200 --> 00:42:00,440
Speaker 1: an asteroid. It's like it's geologic. It feels it is

735
00:42:00,480 --> 00:42:04,680
Speaker 1: it is formed through geology and erosion, but it also feels,

736
00:42:04,800 --> 00:42:07,120
Speaker 1: especially when you get into the occupied portions of it,

737
00:42:07,120 --> 00:42:09,759
Speaker 1: it feels like it was it was was grown, like

738
00:42:10,040 --> 00:42:13,560
Speaker 1: the whole interior castle was extruded by some sort of

739
00:42:13,600 --> 00:42:17,840
Speaker 1: strange space mollusc Yeah. On the outside, a lot of

740
00:42:17,840 --> 00:42:20,799
Speaker 1: the texture we see as columnar basalt, but then when

741
00:42:20,800 --> 00:42:24,920
Speaker 1: we go inside, a lot of the stuff looks like, um,

742
00:42:25,040 --> 00:42:28,040
Speaker 1: I don't know, that kind of like rigid mucus architecture

743
00:42:28,120 --> 00:42:32,240
Speaker 1: made by the creatures and aliens. Yeah, except the cleaner

744
00:42:32,280 --> 00:42:36,759
Speaker 1: and and and well yet yes, yeah, or it's like

745
00:42:36,960 --> 00:42:39,360
Speaker 1: a lot of times you feel like you're inside a

746
00:42:39,440 --> 00:42:44,719
Speaker 1: text book illustration of an ear canal. That's right. Um, So,

747
00:42:45,239 --> 00:42:47,840
Speaker 1: the mountain from space gently settles down on the surface

748
00:42:47,880 --> 00:42:50,400
Speaker 1: of this planet, very slowly, and yet the surface just

749
00:42:50,520 --> 00:42:53,840
Speaker 1: explodes anyway. When it does, it looks like it's settling

750
00:42:53,880 --> 00:42:57,959
Speaker 1: down in the sand hills of Nebraska. And we better

751
00:42:57,960 --> 00:42:59,840
Speaker 1: make friends with Space Mountain because it's going to be

752
00:42:59,880 --> 00:43:02,040
Speaker 1: a major set piece in the movie. You will see

753
00:43:02,040 --> 00:43:05,640
Speaker 1: it over and over, and immediately we get some voiceover narration.

754
00:43:06,440 --> 00:43:09,879
Speaker 1: So I think this is the voice of un Here.

755
00:43:10,080 --> 00:43:13,200
Speaker 1: Youre yes, this is this is this is Freddie Jones

756
00:43:13,600 --> 00:43:16,720
Speaker 1: une hear uine? Hear yeah. The une Here starts saying

757
00:43:17,000 --> 00:43:18,560
Speaker 1: we haven't met him yet, so we don't know who

758
00:43:18,600 --> 00:43:21,719
Speaker 1: he is. It's just voiceover this. It was given to

759
00:43:21,760 --> 00:43:25,279
Speaker 1: me to know that many worlds have been enslaved by

760
00:43:25,520 --> 00:43:29,720
Speaker 1: the Beast and his army, the Slayers, And this too

761
00:43:29,880 --> 00:43:32,439
Speaker 1: was given to me to know that the Beast would

762
00:43:32,480 --> 00:43:36,160
Speaker 1: come to our world, to the world of Krull, and

763
00:43:36,239 --> 00:43:39,239
Speaker 1: his black fortress would be seen in the land, the

764
00:43:39,320 --> 00:43:42,640
Speaker 1: smoke of burning villages would darken the sky, and the

765
00:43:42,680 --> 00:43:47,000
Speaker 1: cries of the dying echo through deserted valleys. And meanwhile

766
00:43:47,040 --> 00:43:50,239
Speaker 1: we see the Slayers for the first time. Um, Rob,

767
00:43:50,239 --> 00:43:53,480
Speaker 1: how would you describe the Slayers? Oh boy, this is

768
00:43:53,840 --> 00:43:56,399
Speaker 1: This is the one of the things that I think

769
00:43:56,440 --> 00:43:58,799
Speaker 1: a lot about trying to figure out the Slayers, because

770
00:43:58,800 --> 00:44:02,640
Speaker 1: the Slayers here, they have this kind of black armor

771
00:44:02,680 --> 00:44:05,280
Speaker 1: that is at once it once it kind of feels

772
00:44:05,320 --> 00:44:07,719
Speaker 1: like some sort of an evil suit of armor from fantasy,

773
00:44:07,760 --> 00:44:09,680
Speaker 1: but it also feels kind of like a space suit.

774
00:44:09,760 --> 00:44:15,000
Speaker 1: Also kind of like an exoskeleton. They have these staffs

775
00:44:15,040 --> 00:44:18,400
Speaker 1: which can be used as a melee weapon but also

776
00:44:19,360 --> 00:44:22,320
Speaker 1: can shoot laser beams like this, So there there's clearly

777
00:44:22,360 --> 00:44:26,960
Speaker 1: some high technology here. They come from another world. They

778
00:44:27,080 --> 00:44:31,719
Speaker 1: ride horses though, um they ride horses into battle again,

779
00:44:31,760 --> 00:44:34,520
Speaker 1: they shoot laser beams, and we also come to find

780
00:44:34,520 --> 00:44:38,600
Speaker 1: out that if you kill one, they admit a high

781
00:44:38,600 --> 00:44:42,640
Speaker 1: pitched squeal. There they crackle with red electricity. Their heads

782
00:44:42,680 --> 00:44:46,600
Speaker 1: explode a kind of like bloody space weasel comes out

783
00:44:46,600 --> 00:44:49,640
Speaker 1: of their head and then burrows into the ground and

784
00:44:49,680 --> 00:44:52,360
Speaker 1: then other pieces of their body kind of self berry

785
00:44:52,520 --> 00:44:55,200
Speaker 1: as well. I have no idea, have no idea, there's

786
00:44:55,200 --> 00:44:58,840
Speaker 1: no explanation exactly what's going on here, but it is

787
00:44:58,880 --> 00:45:03,200
Speaker 1: then it's thoroughly agrigal and otherworldly, an alien and so

788
00:45:03,480 --> 00:45:06,759
Speaker 1: it absolutely works. Yes, I love the Jason goes to

789
00:45:06,840 --> 00:45:09,319
Speaker 1: Hell thing here where they each have it. So the head,

790
00:45:09,440 --> 00:45:13,680
Speaker 1: the helmet thing explodes, the bloody alien slug tongue comes

791
00:45:13,719 --> 00:45:17,640
Speaker 1: out and then like burrows down into the ground. And

792
00:45:17,719 --> 00:45:20,960
Speaker 1: the way I interpreted that, did you get the same thing?

793
00:45:21,040 --> 00:45:25,399
Speaker 1: That like what the slayer actually is the tongue, it's

794
00:45:25,440 --> 00:45:29,240
Speaker 1: the alien slug and that the rest of the body

795
00:45:29,400 --> 00:45:32,200
Speaker 1: is just like a like a suit that the tongue operates.

796
00:45:32,239 --> 00:45:34,800
Speaker 1: It's like crying in the body. Yeah, I think that

797
00:45:34,840 --> 00:45:38,479
Speaker 1: would make sense. I yeah, it's it's it's either that

798
00:45:38,840 --> 00:45:43,080
Speaker 1: or it's it's like a humanoid body that has been

799
00:45:43,120 --> 00:45:45,719
Speaker 1: repurposed and armored. Because this is the other weird thing

800
00:45:45,760 --> 00:45:51,359
Speaker 1: about it. So this introduction again, which I'm assuming it's

801
00:45:51,400 --> 00:45:53,520
Speaker 1: the voice of your year who we meet later, he's

802
00:45:53,520 --> 00:45:55,960
Speaker 1: talking about, Oh, the prophecy was that the beast would come.

803
00:45:55,960 --> 00:45:57,640
Speaker 1: But then later we hear that, like the beast has

804
00:45:57,640 --> 00:46:00,399
Speaker 1: been here for a very long time, law long enough

805
00:46:00,480 --> 00:46:03,200
Speaker 1: that the Cyclops is that we encounter the Cyclops, we

806
00:46:03,280 --> 00:46:06,840
Speaker 1: encounter like he has like they're his kind, has a

807
00:46:06,880 --> 00:46:10,440
Speaker 1: generational issue with the beast, like he was cursed by

808
00:46:10,480 --> 00:46:14,440
Speaker 1: the beasts and his his people ages ago. So like,

809
00:46:14,880 --> 00:46:17,080
Speaker 1: so he's been here for a while trying to conquer

810
00:46:17,120 --> 00:46:20,320
Speaker 1: the world of Krull, and he has these slayers, which

811
00:46:21,120 --> 00:46:24,320
Speaker 1: may or may not be entirely off world in origin,

812
00:46:24,480 --> 00:46:26,160
Speaker 1: or they might be some sort of It might be

813
00:46:26,200 --> 00:46:28,239
Speaker 1: a situation where they're like, Okay, go capture us some

814
00:46:28,280 --> 00:46:31,440
Speaker 1: more humanoids so we can turn them into slayers. We

815
00:46:31,560 --> 00:46:34,640
Speaker 1: just don't know. We're left to fill in the blanks

816
00:46:34,680 --> 00:46:36,880
Speaker 1: on our own, which again is something I love to

817
00:46:36,880 --> 00:46:40,799
Speaker 1: do in movies like this. The Slayers present an enigma. Yes, yes,

818
00:46:41,200 --> 00:46:44,239
Speaker 1: all of that is true. Um okay, but I forget

819
00:46:44,239 --> 00:46:48,520
Speaker 1: I got sidetracked from n years narration here because he's

820
00:46:48,520 --> 00:46:51,640
Speaker 1: not done he's going to talk about. He says, but

821
00:46:51,800 --> 00:46:54,080
Speaker 1: one thing I cannot know, because remember he's been telling

822
00:46:54,120 --> 00:46:55,640
Speaker 1: us all the things that have been given to him

823
00:46:55,680 --> 00:46:58,240
Speaker 1: to know. He says, one thing, I cannot know whether

824
00:46:58,320 --> 00:47:02,080
Speaker 1: the prophecy be true that a girl of ancient name

825
00:47:02,239 --> 00:47:05,560
Speaker 1: shall become queen, that she shall choose a king, and

826
00:47:05,600 --> 00:47:08,640
Speaker 1: that together they shall rule our world, and that their

827
00:47:08,800 --> 00:47:12,920
Speaker 1: son shall rule the galaxy. That we're getting into some

828
00:47:13,000 --> 00:47:16,240
Speaker 1: doune territory here. Yeah, I mean, some of that be true.

829
00:47:16,440 --> 00:47:18,880
Speaker 1: We know that it be true because it ultimately happens

830
00:47:18,880 --> 00:47:20,600
Speaker 1: in the film. Some of this, I don't know the

831
00:47:20,600 --> 00:47:24,160
Speaker 1: whole thing about the prophecy of the child and the galaxy.

832
00:47:24,200 --> 00:47:26,399
Speaker 1: There might have been a mistranslation when he was given

833
00:47:26,400 --> 00:47:29,080
Speaker 1: to know this. We don't even see them have a son.

834
00:47:29,200 --> 00:47:32,240
Speaker 1: Spoiler that there's no son in the movie at all.

835
00:47:32,280 --> 00:47:34,719
Speaker 1: They so we don't even know if the Sun will

836
00:47:34,800 --> 00:47:38,560
Speaker 1: rule Krull, let alone a galaxy. Right this this is

837
00:47:38,600 --> 00:47:43,279
Speaker 1: another the scale of the saga here, of the the

838
00:47:43,920 --> 00:47:47,719
Speaker 1: war between the kingdoms of Krull and the Beast. I

839
00:47:47,760 --> 00:47:49,920
Speaker 1: have a lot of questions about this as well, because

840
00:47:49,920 --> 00:47:53,960
Speaker 1: we never see an enormous force of slayers, and we

841
00:47:54,080 --> 00:47:56,239
Speaker 1: come to know later on. It has given us to

842
00:47:56,320 --> 00:48:01,000
Speaker 1: know that the Black Fortress, even though it arrived via

843
00:48:01,360 --> 00:48:05,080
Speaker 1: a descent from orbit, yet moves around regularly by just

844
00:48:05,120 --> 00:48:08,160
Speaker 1: teleporting from one place to another, never the same place twice,

845
00:48:08,400 --> 00:48:10,319
Speaker 1: so you never know where it's going to be. So

846
00:48:10,440 --> 00:48:15,400
Speaker 1: this keeps a largely medieval civilization from mounting a proper

847
00:48:15,520 --> 00:48:19,279
Speaker 1: siege against the Black Fortress, and it allows the Black

848
00:48:19,320 --> 00:48:23,600
Speaker 1: Fortress to sort of to essentially carry out small raids

849
00:48:23,760 --> 00:48:25,719
Speaker 1: like you don't. They don't have that many slayers, but

850
00:48:25,760 --> 00:48:29,200
Speaker 1: they have good horses apparently, and they have laser weapons,

851
00:48:29,239 --> 00:48:31,640
Speaker 1: so they seems like they can be highly effective in

852
00:48:31,760 --> 00:48:37,160
Speaker 1: surprise strikes. But ultimately, how it seems like they've been

853
00:48:37,200 --> 00:48:39,200
Speaker 1: here on Crawl for a long time. They haven't conquered

854
00:48:39,200 --> 00:48:41,960
Speaker 1: the whole planet yet. Supposedly they're working up to it,

855
00:48:42,320 --> 00:48:45,680
Speaker 1: but it seems like a tall order. Given what the

856
00:48:45,680 --> 00:48:48,520
Speaker 1: beast has at his disposal, we we have no idea

857
00:48:48,640 --> 00:48:51,400
Speaker 1: like what the map looks like? What what does beast

858
00:48:51,520 --> 00:48:54,520
Speaker 1: territory look like? Versus these other kingdoms? We again, we

859
00:48:54,520 --> 00:48:56,600
Speaker 1: have to fill in all these blanks. So I just

860
00:48:56,640 --> 00:48:58,520
Speaker 1: have a hard time imagining, like, well, what is what

861
00:48:58,600 --> 00:49:01,359
Speaker 1: does conquered territory look like? How does we hold territory?

862
00:49:01,680 --> 00:49:03,719
Speaker 1: Is it? Just like I would love to know, what

863
00:49:03,800 --> 00:49:07,719
Speaker 1: does a conquered region look like? Is it people going

864
00:49:07,760 --> 00:49:11,520
Speaker 1: about their normal business but having to like, like harvest

865
00:49:11,560 --> 00:49:14,080
Speaker 1: corn for the beast or build a space laser that

866
00:49:14,120 --> 00:49:16,880
Speaker 1: points at a planet they've never heard of? Does he

867
00:49:16,960 --> 00:49:19,680
Speaker 1: have beast puppet rulers that he leaves behind, and do

868
00:49:19,840 --> 00:49:22,080
Speaker 1: they look like him? Do they have like the fish

869
00:49:22,400 --> 00:49:25,759
Speaker 1: the fish teeth and stuff? Yeah? Or does it do

870
00:49:25,800 --> 00:49:29,640
Speaker 1: they just absolutely destroy everybody and turn all the humans

871
00:49:29,680 --> 00:49:33,280
Speaker 1: they find into slayers? There is it a board situation?

872
00:49:33,360 --> 00:49:35,359
Speaker 1: We didn have no idea. This is why we need

873
00:49:35,400 --> 00:49:39,080
Speaker 1: a cruel series to to take all of this and

874
00:49:39,160 --> 00:49:42,440
Speaker 1: stitch together, you know, a six season story. All right,

875
00:49:42,600 --> 00:49:45,080
Speaker 1: we gotta so in the castle. We're here in a

876
00:49:45,080 --> 00:49:47,319
Speaker 1: castle with the princess. Now, because remember we heard about

877
00:49:47,320 --> 00:49:50,560
Speaker 1: a girl of ancient name, she's gonna become queen and um,

878
00:49:50,920 --> 00:49:53,440
Speaker 1: and so we see her in a castle, and this

879
00:49:53,520 --> 00:49:57,080
Speaker 1: castle is full of guards wearing plastic armor with glossy

880
00:49:57,160 --> 00:50:02,439
Speaker 1: paint that looks kind of like mid priced Iron Man costumes, um,

881
00:50:03,120 --> 00:50:06,360
Speaker 1: but also with more not total body coverage, just like

882
00:50:06,400 --> 00:50:09,600
Speaker 1: the actual armor part is more kind of shoulders and

883
00:50:09,640 --> 00:50:13,000
Speaker 1: then bikini, so it's almost like sexy Iron Man costume.

884
00:50:13,520 --> 00:50:16,040
Speaker 1: This too. The look in the castle, of course, looks

885
00:50:16,080 --> 00:50:19,239
Speaker 1: like a castle, but it's also immaculate. So this also

886
00:50:19,280 --> 00:50:21,920
Speaker 1: made me thinking about the possible sci fi connections, because

887
00:50:21,920 --> 00:50:25,719
Speaker 1: the castle looks like it was three D printed by

888
00:50:25,840 --> 00:50:29,040
Speaker 1: like a colony barge or some sort of a spaceship

889
00:50:29,120 --> 00:50:33,520
Speaker 1: that visited the planet crawl the the traditional armor of

890
00:50:33,560 --> 00:50:37,279
Speaker 1: the kingdom kingdom here they Yeah, it looks like some

891
00:50:37,320 --> 00:50:40,640
Speaker 1: sort of sci fi space armor or the or it's

892
00:50:40,680 --> 00:50:43,920
Speaker 1: the memory of sci fi space armor reproduced for a

893
00:50:44,000 --> 00:50:48,400
Speaker 1: medieval level technology culture. So it's it's strange try and

894
00:50:48,440 --> 00:50:51,160
Speaker 1: figure this out, like what who are the people of Krull?

895
00:50:51,640 --> 00:50:54,120
Speaker 1: Did they? Are? They themselves aliens that came here maybe

896
00:50:54,200 --> 00:50:57,080
Speaker 1: not too long before the Beast arrived? What is going

897
00:50:57,120 --> 00:50:59,600
Speaker 1: on here? I also have thoughts on the decor of

898
00:50:59,640 --> 00:51:01,760
Speaker 1: the still here, because again, this is not the evil

899
00:51:01,760 --> 00:51:04,200
Speaker 1: castle from space. This is the nice castle where the

900
00:51:04,200 --> 00:51:07,560
Speaker 1: princess lives. The doors here look like they have dart

901
00:51:07,600 --> 00:51:11,960
Speaker 1: boards on them. Uh. And I couldn't help but keep

902
00:51:12,000 --> 00:51:17,640
Speaker 1: noticing this feature. That are these random metal torture chairs,

903
00:51:17,800 --> 00:51:20,160
Speaker 1: just like sitting up against the wall in these big

904
00:51:20,200 --> 00:51:23,439
Speaker 1: empty rooms where no one would ever sit. And later

905
00:51:23,560 --> 00:51:26,560
Speaker 1: we see the chairs repeatedly like I don't think anybody

906
00:51:26,560 --> 00:51:28,120
Speaker 1: ever sits in them, but we see when like a

907
00:51:28,200 --> 00:51:30,719
Speaker 1: fight breaks out later the chair is getting kicked over.

908
00:51:32,160 --> 00:51:34,520
Speaker 1: But okay, we gotta meet characters. So we got a princess,

909
00:51:34,560 --> 00:51:37,480
Speaker 1: we got a king. Princess seems melancholy at first, but

910
00:51:37,520 --> 00:51:39,800
Speaker 1: I think she's just waiting for her prince to arrive,

911
00:51:40,440 --> 00:51:42,560
Speaker 1: and he's on the way. This is gonna be Prince Colwin.

912
00:51:42,880 --> 00:51:45,600
Speaker 1: She's gonna marry him, and she's very excited. But her

913
00:51:45,640 --> 00:51:50,239
Speaker 1: father is weirdly disapproving, even though he has explicitly authorized

914
00:51:50,280 --> 00:51:53,600
Speaker 1: this marriage. But he's making comments like, you know, Fease,

915
00:51:53,719 --> 00:51:57,680
Speaker 1: too handsome and confident and too great a warrior. Uh.

916
00:51:57,880 --> 00:52:00,520
Speaker 1: I think the implication is like, wouldn't you rather marry

917
00:52:00,560 --> 00:52:05,440
Speaker 1: a nice scheming, machiavellian backstabber. Um. But their marriage is

918
00:52:05,520 --> 00:52:07,920
Speaker 1: going to be some kind of political arrangement, right, Like

919
00:52:08,000 --> 00:52:10,640
Speaker 1: each one has a daddy who is a king, and

920
00:52:10,680 --> 00:52:13,640
Speaker 1: the two daddy's have agreed to join the forces of

921
00:52:13,680 --> 00:52:17,239
Speaker 1: their kingdoms by marrying their kids together. Right, It's like

922
00:52:17,280 --> 00:52:21,160
Speaker 1: the Rights Romeo and Juliet, except it's about to work.

923
00:52:21,239 --> 00:52:23,600
Speaker 1: It's about to actually, they're about to pull it off.

924
00:52:23,640 --> 00:52:26,080
Speaker 1: And the fathers of are like, Okay, alright, it's fine.

925
00:52:26,120 --> 00:52:28,960
Speaker 1: You can bring peace to our family and we'll reunite,

926
00:52:29,160 --> 00:52:32,200
Speaker 1: will unite our forces, and we'll we'll join forces against

927
00:52:32,239 --> 00:52:36,520
Speaker 1: the beast and save our world. Okay, kids. And it's also,

928
00:52:36,840 --> 00:52:40,600
Speaker 1: to be clear, not like a miserable political marriage. Fortunately,

929
00:52:40,640 --> 00:52:43,080
Speaker 1: it seems like Listen and Colwyn are just really into

930
00:52:43,120 --> 00:52:46,080
Speaker 1: each other, right. And I wanted to highlight one thing

931
00:52:46,120 --> 00:52:48,960
Speaker 1: here in the Castle, which is that usually, as we

932
00:52:48,960 --> 00:52:51,399
Speaker 1: were saying earlier, the sets and locations in this movie

933
00:52:51,400 --> 00:52:55,560
Speaker 1: are are very beautiful. Occasionally there's one that just looks

934
00:52:55,560 --> 00:52:59,320
Speaker 1: pretty hokey, and I would single out the set where

935
00:52:59,400 --> 00:53:02,840
Speaker 1: the where Colwan and his people arrive at the castle

936
00:53:03,000 --> 00:53:05,520
Speaker 1: and there's like a dude, I don't know, Captain of

937
00:53:05,520 --> 00:53:07,880
Speaker 1: the Guard or something standing at the top of a staircase.

938
00:53:08,400 --> 00:53:10,960
Speaker 1: It looks it looks very fake. It looks thrown together,

939
00:53:11,960 --> 00:53:13,799
Speaker 1: like it doesn't look like stone. It looks like a

940
00:53:13,800 --> 00:53:16,640
Speaker 1: wooden staircase that was painted over to look like stone.

941
00:53:16,680 --> 00:53:19,960
Speaker 1: And but it looks like you could swashbuckle all over

942
00:53:20,000 --> 00:53:22,799
Speaker 1: the place here. And that's oh, and they will, they will.

943
00:53:22,840 --> 00:53:25,279
Speaker 1: And so the prince and the princess have a marriage ceremony.

944
00:53:25,320 --> 00:53:28,960
Speaker 1: They're surrounded by all the iron man's and Princess Lissa

945
00:53:29,000 --> 00:53:32,400
Speaker 1: pulls fire out of a bowl of water and hands

946
00:53:32,400 --> 00:53:35,000
Speaker 1: it to the prince. And this is their traditional crull

947
00:53:35,080 --> 00:53:39,040
Speaker 1: style marriage. But oh, the marriage is the wedding is

948
00:53:39,080 --> 00:53:42,760
Speaker 1: interrupted when slayers show up. Slayers right in. They bust

949
00:53:42,800 --> 00:53:45,680
Speaker 1: down the doors of the castle and they attack the wedding.

950
00:53:47,040 --> 00:53:48,960
Speaker 1: And I would say this is a scene where the

951
00:53:49,080 --> 00:53:52,759
Speaker 1: mixed baggy nous of the movie really emerges, because there

952
00:53:52,760 --> 00:53:56,560
Speaker 1: are some shots in this attack sequence that are very

953
00:53:56,600 --> 00:54:00,279
Speaker 1: scary and effective, Like there's a great creepy looking scene

954
00:54:00,320 --> 00:54:03,760
Speaker 1: where the slayers with some kind of apparent anti gravity

955
00:54:03,840 --> 00:54:07,240
Speaker 1: magic or climbing up the walls to go into the castle.

956
00:54:08,040 --> 00:54:10,800
Speaker 1: But then there are other shots that are so bad,

957
00:54:11,040 --> 00:54:14,120
Speaker 1: Like some of the fight choreography in this section is

958
00:54:14,280 --> 00:54:18,920
Speaker 1: especially humorous, very phoned in. People just kind of halfheartedly

959
00:54:19,080 --> 00:54:23,520
Speaker 1: jiggling swords at each other. Yeah, Now, don't look too

960
00:54:23,560 --> 00:54:26,960
Speaker 1: closely at that that special anti gravity technology that the

961
00:54:26,960 --> 00:54:32,400
Speaker 1: Slayers are using, because the string becomes visible at times

962
00:54:32,920 --> 00:54:35,120
Speaker 1: which you can't blame it too much. This reminds me

963
00:54:35,200 --> 00:54:40,560
Speaker 1: of I follow Todd Masters on Instagram as an effects

964
00:54:40,600 --> 00:54:42,799
Speaker 1: guy who's been working in effects for ages, and I

965
00:54:42,800 --> 00:54:45,759
Speaker 1: remember seeing some thread he had going there with some

966
00:54:45,800 --> 00:54:47,799
Speaker 1: other effects guys and they were talking about it. Yeah,

967
00:54:47,800 --> 00:54:49,640
Speaker 1: I remember the days when you could just count on

968
00:54:49,960 --> 00:54:54,040
Speaker 1: some VHS grime to cover up the details of an effect.

969
00:54:54,120 --> 00:54:55,560
Speaker 1: You know, like a lot of these were not put

970
00:54:55,600 --> 00:54:59,600
Speaker 1: together thinking you would ever view them, uh at the

971
00:54:59,600 --> 00:55:01,680
Speaker 1: same in the same picture quality that you know, we're

972
00:55:01,680 --> 00:55:05,319
Speaker 1: reviewing them in our homes now. Yeah. Still I'm I'm

973
00:55:05,640 --> 00:55:08,280
Speaker 1: nitpicking here. The Slayers still look nice and creepy scaling

974
00:55:08,360 --> 00:55:11,200
Speaker 1: up that wall. Yes they do. But again, I mean,

975
00:55:11,239 --> 00:55:13,520
Speaker 1: if you actually like stop and try to watch any

976
00:55:13,560 --> 00:55:17,239
Speaker 1: of the fights, like any of the people trading blows here,

977
00:55:17,400 --> 00:55:21,120
Speaker 1: it's some of them they're barely trying. Yeah, yeah, the

978
00:55:21,160 --> 00:55:24,759
Speaker 1: fight choreography here is not amazing. They're still there's there's

979
00:55:24,760 --> 00:55:27,840
Speaker 1: swashbuckling to be had here. There's a lot of jumping around.

980
00:55:28,000 --> 00:55:30,040
Speaker 1: You get the sense of a battle, but maybe not

981
00:55:30,080 --> 00:55:32,560
Speaker 1: those that the details and the nuance that you would

982
00:55:32,600 --> 00:55:35,640
Speaker 1: associate with like a great fight scene, great sword fighting

983
00:55:35,680 --> 00:55:39,200
Speaker 1: or anything. Yeah. Anyway, big effect of this whole sequence

984
00:55:39,239 --> 00:55:41,760
Speaker 1: is the princess is kidnapped by the slayers and taken

985
00:55:41,800 --> 00:55:44,960
Speaker 1: back to the Black Fortress, and everybody else but Colewan

986
00:55:45,080 --> 00:55:48,040
Speaker 1: is killed and then Colwan's left there. He's wounded, he's

987
00:55:48,120 --> 00:55:52,800
Speaker 1: lying on the staircase, he's distraught. Everybody's dead, and Colewan

988
00:55:53,000 --> 00:55:56,520
Speaker 1: is then revived by unear this guy Freddy Jones here

989
00:55:56,520 --> 00:55:59,200
Speaker 1: who introduces himself. He's like, I am in here, and

990
00:56:00,080 --> 00:56:02,759
Speaker 1: um Colewin's like, oh, the old one, and he's like,

991
00:56:02,880 --> 00:56:07,440
Speaker 1: I'm not old. But he says, you know, you've come

992
00:56:07,480 --> 00:56:10,040
Speaker 1: down from the Granite mountains. So Colwyn knows who he is.

993
00:56:10,080 --> 00:56:13,400
Speaker 1: This guy's a famous I don't know, profit or magician

994
00:56:13,520 --> 00:56:16,600
Speaker 1: or wise man of some kind. He says he's needed

995
00:56:16,640 --> 00:56:21,200
Speaker 1: now and Colwyn starts crying about his his father being dead.

996
00:56:21,480 --> 00:56:25,160
Speaker 1: Uh though unfortunately it really looks like he's laughing in

997
00:56:25,200 --> 00:56:29,080
Speaker 1: the scene where he's supposed to be crying. Yeah, he's um, yeah,

998
00:56:29,120 --> 00:56:32,239
Speaker 1: it's it's hard to figure out exactly what's going on,

999
00:56:33,560 --> 00:56:35,880
Speaker 1: but he gets a he gets a charge from unier

1000
00:56:35,920 --> 00:56:38,360
Speaker 1: youniors like stop crying. You have to go rescue the

1001
00:56:38,400 --> 00:56:40,799
Speaker 1: princess and defeat the beast, but first you have to

1002
00:56:40,800 --> 00:56:43,839
Speaker 1: get a glave. So here begins our adventure and from

1003
00:56:43,880 --> 00:56:47,280
Speaker 1: here on out is just stringing together one set piece

1004
00:56:47,320 --> 00:56:52,040
Speaker 1: to the next. So we get a truly beautiful sequence

1005
00:56:52,080 --> 00:56:55,400
Speaker 1: where Colin has to go retrieve a glave from the

1006
00:56:55,440 --> 00:56:57,560
Speaker 1: top of a mountain, and I think this was a

1007
00:56:57,680 --> 00:57:00,640
Speaker 1: shot in in mountains in Italy. But we get all

1008
00:57:00,640 --> 00:57:05,879
Speaker 1: these craggy, craggy peaks and and jagged mountain tops and

1009
00:57:06,440 --> 00:57:09,040
Speaker 1: Colan's climbing up them to get to the cave, to

1010
00:57:09,120 --> 00:57:12,000
Speaker 1: get to the glave cave. But meanwhile we're treated all

1011
00:57:12,040 --> 00:57:15,840
Speaker 1: these vistas, um and uh and yeah, this is a

1012
00:57:15,840 --> 00:57:18,800
Speaker 1: great looking sequence. Eventually he comes up to the cave

1013
00:57:18,880 --> 00:57:22,080
Speaker 1: and has to stick his arm into what looks like

1014
00:57:22,520 --> 00:57:25,800
Speaker 1: molten lava in order to retrieve the glave, and it's

1015
00:57:25,840 --> 00:57:28,560
Speaker 1: covered in mud, like caked on mud or something. And

1016
00:57:28,600 --> 00:57:31,440
Speaker 1: it kind of crackles off and then underneath the brilliance

1017
00:57:31,480 --> 00:57:35,440
Speaker 1: of the glave shines through, and he's very excited. I

1018
00:57:35,520 --> 00:57:37,600
Speaker 1: like that he he has to do something to get

1019
00:57:37,600 --> 00:57:40,040
Speaker 1: the weapon, you know, like you have to pull the

1020
00:57:40,080 --> 00:57:43,520
Speaker 1: weapon from the burning fire. It reminds me in the

1021
00:57:43,960 --> 00:57:47,560
Speaker 1: recent film, uh, uh the north the Northman? Is it

1022
00:57:47,600 --> 00:57:50,880
Speaker 1: the Northman or the Northman? Uh? The Northman the Northman? Okay,

1023
00:57:50,920 --> 00:57:52,840
Speaker 1: not the Northman. That was the film. The reference Eli

1024
00:57:52,880 --> 00:57:54,640
Speaker 1: and the Northman is a scene where he gets the

1025
00:57:54,680 --> 00:57:58,200
Speaker 1: sword and he has to, at least in his own mind, uh,

1026
00:57:58,200 --> 00:58:00,720
Speaker 1: fight some sort of an undead eighth in order to

1027
00:58:00,800 --> 00:58:04,080
Speaker 1: claim it. Uh. And it feels better when there's a

1028
00:58:04,080 --> 00:58:06,280
Speaker 1: trial that has to be overcome to get the weapon,

1029
00:58:06,720 --> 00:58:10,320
Speaker 1: as opposed to like say Thrilling Bloody Sword, where our

1030
00:58:10,400 --> 00:58:13,360
Speaker 1: main hero he does have to do some swimming. But

1031
00:58:13,360 --> 00:58:15,480
Speaker 1: then when he gets to the skeletons like, hey, they

1032
00:58:15,560 --> 00:58:18,200
Speaker 1: want my armor and this sword. It's really good stuff.

1033
00:58:18,280 --> 00:58:19,880
Speaker 1: Let me tell you how it works. And he's like, yeah,

1034
00:58:19,920 --> 00:58:22,280
Speaker 1: I would love it. That's why I swam here. And

1035
00:58:22,280 --> 00:58:24,720
Speaker 1: then he takes off with and there's no trial to overcome.

1036
00:58:25,120 --> 00:58:27,600
Speaker 1: That's funny. I didn't compare that scene and thrilling, bloody

1037
00:58:27,600 --> 00:58:29,280
Speaker 1: sword to the one in The Northman, but they are

1038
00:58:29,360 --> 00:58:31,320
Speaker 1: kind of similar. They have both have to like go

1039
00:58:31,440 --> 00:58:34,080
Speaker 1: down into a mound or some kind of cavern to

1040
00:58:34,120 --> 00:58:36,160
Speaker 1: get the weapon. But yeah, and the Northman he has

1041
00:58:36,240 --> 00:58:39,200
Speaker 1: to fight a drawer. I guess in Conan the Barbarian,

1042
00:58:39,480 --> 00:58:41,880
Speaker 1: he doesn't actually fight a skeleton, but he's he's at

1043
00:58:41,960 --> 00:58:44,640
Speaker 1: least he has to deal with the wild dogs or

1044
00:58:44,640 --> 00:58:47,560
Speaker 1: wolves that have cornered him in the crypt, and he

1045
00:58:47,600 --> 00:58:50,520
Speaker 1: has to accept the sword, go out and kill some dogs.

1046
00:58:51,320 --> 00:58:57,800
Speaker 1: At least there's that or wolves not dogs for their wolves. Okay, uh.

1047
00:58:57,840 --> 00:59:00,400
Speaker 1: Here we get a moment where there's some I think

1048
00:59:00,480 --> 00:59:04,280
Speaker 1: very convenient writing to restrict the amount of special effects

1049
00:59:04,280 --> 00:59:06,560
Speaker 1: that are gonna have to happen in the movie because

1050
00:59:06,600 --> 00:59:08,720
Speaker 1: you and here says to Cole and he's like, hey,

1051
00:59:08,960 --> 00:59:11,400
Speaker 1: you can't just use the glave now. You gotta wait

1052
00:59:11,440 --> 00:59:14,400
Speaker 1: until it's time. And he's like, how well I know

1053
00:59:14,440 --> 00:59:16,160
Speaker 1: when it's time and you and he's like, well, it's

1054
00:59:16,200 --> 00:59:17,960
Speaker 1: when it's in the final act of the movie and

1055
00:59:18,000 --> 00:59:20,720
Speaker 1: you're facing the bad guy. This is not a weapon

1056
00:59:20,760 --> 00:59:24,480
Speaker 1: you get to bust out for um encounters leading up

1057
00:59:24,480 --> 00:59:26,680
Speaker 1: to the final fight. I think he says, you will

1058
00:59:26,760 --> 00:59:38,360
Speaker 1: know when it's time. But here, we're gonna recruit a

1059
00:59:38,360 --> 00:59:42,480
Speaker 1: bunch more characters. So we recruit Ergo the Magnificent. This

1060
00:59:42,560 --> 00:59:46,200
Speaker 1: is the comic relief character who's a sort of eccentric,

1061
00:59:46,240 --> 00:59:50,760
Speaker 1: incompetent magician who's always referencing spells to try to change

1062
00:59:50,800 --> 00:59:54,040
Speaker 1: other people into things, but instead ends up changing himself

1063
00:59:54,080 --> 00:59:57,120
Speaker 1: into things. He transforms himself into a goose in the

1064
00:59:57,120 --> 01:00:01,400
Speaker 1: first scene, I think, yeah, goose. When the Bandits show up,

1065
01:00:01,400 --> 01:00:04,040
Speaker 1: he's like, I'll turn the bandits into pigs, and he

1066
01:00:04,040 --> 01:00:06,880
Speaker 1: turns himself into like a cute little piglet. Oh yeah,

1067
01:00:06,880 --> 01:00:09,800
Speaker 1: So we meet the bandits there. It's when our heroes,

1068
01:00:10,280 --> 01:00:14,120
Speaker 1: having recruited Ergo by the way, sort of accidentally by

1069
01:00:14,160 --> 01:00:16,720
Speaker 1: way of Cyclops. Terror like ERGEs like, no, no, no,

1070
01:00:16,800 --> 01:00:18,560
Speaker 1: I'm not going with you. I'm going my own way.

1071
01:00:18,560 --> 01:00:21,720
Speaker 1: But then he just encounter runs into a Cyclops and

1072
01:00:21,760 --> 01:00:24,160
Speaker 1: then he's like, okay, I'm with you. I'm with you now.

1073
01:00:25,240 --> 01:00:28,760
Speaker 1: But yeah, so the characters meet Torque Will that's alanor

1074
01:00:29,000 --> 01:00:31,360
Speaker 1: Armstrong and the band of thieves, and it starts with

1075
01:00:31,400 --> 01:00:34,520
Speaker 1: the thieves trying to rob them but then Colwan, rather

1076
01:00:35,200 --> 01:00:39,520
Speaker 1: cleverly and charismatically, is able to make them join his cause.

1077
01:00:39,560 --> 01:00:42,560
Speaker 1: I think it's by saying He's like, well, I'm the

1078
01:00:42,640 --> 01:00:45,840
Speaker 1: legitimate king now, so I can have all your crimes forgiven.

1079
01:00:46,120 --> 01:00:48,720
Speaker 1: And he demonstrates this by using the key that he

1080
01:00:48,800 --> 01:00:52,120
Speaker 1: has from his father's master at arms, I think, to

1081
01:00:52,360 --> 01:00:56,400
Speaker 1: unlock all of their manacles. Yeah, but still, I'll an

1082
01:00:56,440 --> 01:00:59,200
Speaker 1: Armstrong's character. Torquial has to has to be convinced because

1083
01:00:59,200 --> 01:01:01,840
Speaker 1: he's like, we're already free, We're already do what we want.

1084
01:01:02,040 --> 01:01:04,160
Speaker 1: Why should we come with you and go on this

1085
01:01:04,280 --> 01:01:08,200
Speaker 1: deafinition with you? And and yeah. Basically, our hero rolls

1086
01:01:08,200 --> 01:01:11,439
Speaker 1: in natural twenty on his persuasion and gives a nice

1087
01:01:11,480 --> 01:01:15,120
Speaker 1: speech and they're like, finally, like other other members of

1088
01:01:15,160 --> 01:01:17,800
Speaker 1: the bandit party, uh, they break first and they're like, yeah,

1089
01:01:17,840 --> 01:01:19,440
Speaker 1: I think I'm with this guy, like this is a

1090
01:01:19,480 --> 01:01:22,400
Speaker 1: noble mission, fighting not only for ourselves, but fighting for

1091
01:01:22,560 --> 01:01:25,000
Speaker 1: our children, fighting for the future of our world. Will

1092
01:01:25,080 --> 01:01:27,720
Speaker 1: join up with him, And finally Alan Armstrong is like,

1093
01:01:28,200 --> 01:01:30,800
Speaker 1: all right, well we'll see where this goes. It's a

1094
01:01:30,880 --> 01:01:35,920
Speaker 1: solid huss all around. Yeah, So next there I lose again.

1095
01:01:35,960 --> 01:01:38,080
Speaker 1: As I said, earlier. You kind of lose track of

1096
01:01:38,160 --> 01:01:41,640
Speaker 1: what exactly the reason for each of the next stops

1097
01:01:41,680 --> 01:01:44,640
Speaker 1: on the journey is. But they're going somewhere for some reason.

1098
01:01:44,680 --> 01:01:48,640
Speaker 1: I think they have to meet a seer in order

1099
01:01:48,800 --> 01:01:51,080
Speaker 1: for him to be able to tell them where the

1100
01:01:51,120 --> 01:01:54,680
Speaker 1: fortress is. But they're wandering around through a forest and

1101
01:01:54,720 --> 01:01:57,920
Speaker 1: they have another encounter with the Cyclops we saw earlier.

1102
01:01:57,960 --> 01:02:01,200
Speaker 1: I think the Cyclops sort of pivots out from behind

1103
01:02:01,280 --> 01:02:04,080
Speaker 1: a tree and throws a spear at a slayer in

1104
01:02:04,200 --> 01:02:07,080
Speaker 1: order to save the life of Ergo the Magnificent. I

1105
01:02:07,080 --> 01:02:10,000
Speaker 1: believe that's right, Yes, and ergoes all freaked out. But

1106
01:02:10,040 --> 01:02:13,560
Speaker 1: we get some backstory on the Cyclops. The Cyclops says,

1107
01:02:13,600 --> 01:02:18,120
Speaker 1: what's the plural cyclopes? The Cyclops is part of a

1108
01:02:18,200 --> 01:02:20,720
Speaker 1: member of a you know, a group of cyclops is

1109
01:02:21,160 --> 01:02:24,800
Speaker 1: that existed long before when the slayers came to crull

1110
01:02:24,840 --> 01:02:28,800
Speaker 1: in the ancient past, and that they fought then and

1111
01:02:28,880 --> 01:02:31,840
Speaker 1: ever since then. Every Cyclops has a has a death

1112
01:02:31,880 --> 01:02:35,560
Speaker 1: grudge against slayers, and he will attack slayers on site.

1113
01:02:35,560 --> 01:02:38,000
Speaker 1: So that's why the Cyclops has been helping them. Yeah,

1114
01:02:38,040 --> 01:02:40,720
Speaker 1: and they are truly cursed with second side because they

1115
01:02:40,760 --> 01:02:42,600
Speaker 1: can see end of the future, but they see only

1116
01:02:42,640 --> 01:02:45,160
Speaker 1: one thing. They see their death. They know where it

1117
01:02:45,200 --> 01:02:47,560
Speaker 1: will occur, they know when it will occur, and if

1118
01:02:47,560 --> 01:02:51,240
Speaker 1: they try to deviate from their fate, it will only

1119
01:02:51,360 --> 01:02:55,720
Speaker 1: ensure that their death is more painful, which always struck

1120
01:02:55,720 --> 01:02:57,920
Speaker 1: me like, that's one of the details in the film

1121
01:02:58,000 --> 01:03:00,439
Speaker 1: that when I especially want to watch this one was younger,

1122
01:03:00,480 --> 01:03:02,600
Speaker 1: I was like, Oh, the boy, that's that's awful, that's

1123
01:03:02,640 --> 01:03:05,200
Speaker 1: so tragic. How do you think that interacts with the

1124
01:03:05,240 --> 01:03:07,800
Speaker 1: actual cyclops death when we see it later? I was

1125
01:03:07,880 --> 01:03:12,480
Speaker 1: thinking that the demise of the Cyclops was very clumsy writing,

1126
01:03:12,520 --> 01:03:15,160
Speaker 1: because there's like a scene where he's he says, I

1127
01:03:15,200 --> 01:03:17,240
Speaker 1: can't go on with you because I know I'm about

1128
01:03:17,280 --> 01:03:19,280
Speaker 1: to die, So I'm gonna die here, and then they leave,

1129
01:03:19,320 --> 01:03:22,640
Speaker 1: and then he immediately just follows after them and helps

1130
01:03:22,720 --> 01:03:25,480
Speaker 1: them do the next thing and then he dies. Yeah. There,

1131
01:03:25,480 --> 01:03:27,120
Speaker 1: it seems like they're needed to be a bit more

1132
01:03:27,200 --> 01:03:30,560
Speaker 1: connective tissue, Like there a moment where he's where he realizes, no,

1133
01:03:30,680 --> 01:03:33,360
Speaker 1: they really need me, and even though it's going to

1134
01:03:33,360 --> 01:03:36,560
Speaker 1: totally mess up my noble death here, I've got to

1135
01:03:36,600 --> 01:03:38,600
Speaker 1: go and save them. And so then yeah, he ends up.

1136
01:03:39,360 --> 01:03:41,040
Speaker 1: He ends up sort of saying he basically he's just

1137
01:03:41,120 --> 01:03:43,000
Speaker 1: kind of suddenly he's there with them, and he I

1138
01:03:43,000 --> 01:03:44,760
Speaker 1: guess he kind of holds a door open for them,

1139
01:03:44,760 --> 01:03:47,000
Speaker 1: and then he's subsequently crushed by that door and and

1140
01:03:47,160 --> 01:03:51,360
Speaker 1: does die horrible death. Right, So, so we learned about

1141
01:03:51,400 --> 01:03:55,360
Speaker 1: the cyclops and then on let's see, they collect the Seer,

1142
01:03:55,440 --> 01:03:58,760
Speaker 1: and Seer also has like a little kid friend, and

1143
01:03:58,880 --> 01:04:00,720
Speaker 1: so they're part of the party. Now the Seer is

1144
01:04:00,760 --> 01:04:04,440
Speaker 1: like a ust of this blind old wizard um and uh,

1145
01:04:04,480 --> 01:04:06,800
Speaker 1: they're going to a place in the middle of a

1146
01:04:06,880 --> 01:04:09,800
Speaker 1: swamp where three trees grow together so that they can

1147
01:04:09,840 --> 01:04:13,320
Speaker 1: see where the where the fortress is going to teleport to. Next.

1148
01:04:13,560 --> 01:04:16,840
Speaker 1: You have to remember, the Seer tries to uh peek

1149
01:04:16,920 --> 01:04:20,560
Speaker 1: in to spy on the beasts whereabouts from his own abode.

1150
01:04:21,280 --> 01:04:24,320
Speaker 1: But then the beast like reaches through the magic with

1151
01:04:24,400 --> 01:04:28,200
Speaker 1: his six fingered claw and and and stops the Seer.

1152
01:04:28,440 --> 01:04:30,160
Speaker 1: So he's like, no, no, we can't do it from here.

1153
01:04:30,200 --> 01:04:32,360
Speaker 1: We have to go from into a place where it's safe,

1154
01:04:32,640 --> 01:04:36,920
Speaker 1: where the beast can't like triangulate our our location or

1155
01:04:37,000 --> 01:04:41,640
Speaker 1: can't use some sort of a counter offense against us.

1156
01:04:41,880 --> 01:04:44,560
Speaker 1: It's like a it's like a Saron Palanteer kind of thing.

1157
01:04:44,600 --> 01:04:47,680
Speaker 1: They have to find a place where somehow the palanteer

1158
01:04:47,840 --> 01:04:51,560
Speaker 1: Saron can't see them through it. Yeah, and the place

1159
01:04:51,800 --> 01:04:54,160
Speaker 1: is the swamp overall, but I know you love the

1160
01:04:54,200 --> 01:04:57,080
Speaker 1: swamp sequence. Do you want to describe it? Yeah, it's

1161
01:04:57,160 --> 01:04:59,240
Speaker 1: it's I thought it was really effective every time i've

1162
01:04:59,280 --> 01:05:01,240
Speaker 1: I've viewed it. It's prety effective because we get the

1163
01:05:01,240 --> 01:05:04,440
Speaker 1: slayer attack and you know, we were expecting Slayers to

1164
01:05:04,640 --> 01:05:07,680
Speaker 1: to to pop up again. So there's this, there's this fight.

1165
01:05:07,960 --> 01:05:11,680
Speaker 1: There's also a fabulous quicksand sequence. Characters get caught in

1166
01:05:12,040 --> 01:05:15,320
Speaker 1: in wonderful cinematic quicksand and you get the you know,

1167
01:05:15,360 --> 01:05:20,280
Speaker 1: traditional shenanigans involving that. But then we realize all those

1168
01:05:20,440 --> 01:05:23,440
Speaker 1: the Beast is so clever because this was this this

1169
01:05:23,800 --> 01:05:28,040
Speaker 1: attack was really a distraction because then we see the Seer,

1170
01:05:28,160 --> 01:05:31,400
Speaker 1: who I think is supposed to be blind. Um, he's

1171
01:05:31,440 --> 01:05:33,000
Speaker 1: he's standing there, he's kind of away from it. He's

1172
01:05:33,040 --> 01:05:34,760
Speaker 1: not gonna be in the middle of this combat. He's

1173
01:05:34,960 --> 01:05:37,440
Speaker 1: he's standing off to the side, and then suddenly behind

1174
01:05:37,560 --> 01:05:41,400
Speaker 1: him is another seer. There's something that has taken on

1175
01:05:41,520 --> 01:05:44,160
Speaker 1: his form. And then it reaches out to him and

1176
01:05:44,200 --> 01:05:47,360
Speaker 1: like extends its claws and stabs into him, and like

1177
01:05:47,440 --> 01:05:50,600
Speaker 1: the actor playing the Seer, he's he emits this horrible

1178
01:05:50,800 --> 01:05:55,919
Speaker 1: cry and and and yeah, I find everything with this

1179
01:05:56,480 --> 01:05:59,760
Speaker 1: changeling as they later call it, this doppel gang or creature,

1180
01:05:59,840 --> 01:06:01,960
Speaker 1: this and sent by the beast to replace the Seer,

1181
01:06:02,440 --> 01:06:05,400
Speaker 1: it all comes off really creepy. And it's always creep

1182
01:06:05,440 --> 01:06:07,920
Speaker 1: me out anytime I've watched it, something about watching this

1183
01:06:08,000 --> 01:06:12,800
Speaker 1: old man suffer, uh, you know, killed in solitude by

1184
01:06:12,840 --> 01:06:15,840
Speaker 1: this interloper while everyone's distracted over here with the battle

1185
01:06:15,840 --> 01:06:18,640
Speaker 1: in the Quicksand yeah, this part was creepy. And then

1186
01:06:18,920 --> 01:06:22,160
Speaker 1: of course the the Seer, I think after this, tries

1187
01:06:22,240 --> 01:06:26,840
Speaker 1: to kill Colon, uh the Seer changeling. Yeah, yeah, there's

1188
01:06:26,840 --> 01:06:30,240
Speaker 1: an attempt on his life. And then I believe it's

1189
01:06:30,280 --> 01:06:33,600
Speaker 1: the Cyclops that skewers him with his trident and all

1190
01:06:33,640 --> 01:06:36,600
Speaker 1: he emits this horrible screeching sound when he dies, and

1191
01:06:36,640 --> 01:06:40,320
Speaker 1: there's this kind of melting imploding effect, and he also

1192
01:06:40,480 --> 01:06:42,760
Speaker 1: his body kind of self buries when it falls. We

1193
01:06:42,760 --> 01:06:45,840
Speaker 1: don't see a blood weasel come out of his head,

1194
01:06:45,920 --> 01:06:49,120
Speaker 1: but it's it's very evident that this was a creature

1195
01:06:49,280 --> 01:06:52,960
Speaker 1: of dark magic sent by the beast. So, oh, we're

1196
01:06:52,960 --> 01:06:55,560
Speaker 1: down a seer and now it isn't gonna do any

1197
01:06:55,560 --> 01:06:57,560
Speaker 1: good to go to these three trees in the swamp

1198
01:06:57,600 --> 01:06:59,680
Speaker 1: because we don't have a seer that can I don't know,

1199
01:06:59,720 --> 01:07:02,040
Speaker 1: look at the trees and figure out where the fortress is.

1200
01:07:02,080 --> 01:07:05,040
Speaker 1: So we have to go somewhere else. And uineer has

1201
01:07:05,080 --> 01:07:07,240
Speaker 1: an idea, right you hear is like, I know the

1202
01:07:07,280 --> 01:07:09,600
Speaker 1: widow of the web, but she can tell us where

1203
01:07:09,600 --> 01:07:12,840
Speaker 1: the fortress is. Yeah, and this this becomes even more

1204
01:07:12,880 --> 01:07:15,760
Speaker 1: complicated because it's revealed that this is sort this is

1205
01:07:15,800 --> 01:07:18,640
Speaker 1: years X as well, so he has a they have

1206
01:07:18,640 --> 01:07:20,720
Speaker 1: a lot of history. There's a lot of baggage here.

1207
01:07:21,480 --> 01:07:24,880
Speaker 1: But also it's it makes it maybe a bit more

1208
01:07:24,960 --> 01:07:27,920
Speaker 1: possible as a solution because he has some sort of

1209
01:07:27,920 --> 01:07:30,680
Speaker 1: connection here. They're not going to just show up and

1210
01:07:30,720 --> 01:07:33,760
Speaker 1: be consumed by a monster. Right. Oh, and we should

1211
01:07:33,800 --> 01:07:36,160
Speaker 1: mention on the way I think it's before we get

1212
01:07:36,160 --> 01:07:38,800
Speaker 1: to hear that. Uh, there's a there's like a sweet

1213
01:07:38,800 --> 01:07:41,640
Speaker 1: interaction where the kid who was with the seer has

1214
01:07:41,680 --> 01:07:43,880
Speaker 1: been talking about how if he could have if he

1215
01:07:43,880 --> 01:07:46,360
Speaker 1: can only have one wish, he would want a puppy,

1216
01:07:46,560 --> 01:07:52,200
Speaker 1: and then uh, ergo, the the selfish, incompetent magician transforms

1217
01:07:52,240 --> 01:07:55,280
Speaker 1: himself into a puppy for the kid. Oh yeah, this

1218
01:07:55,360 --> 01:07:57,800
Speaker 1: is great. This is yeah because it's a very cute

1219
01:07:57,840 --> 01:08:01,760
Speaker 1: like Bassett hound puppy. It's adorable, and it's a much

1220
01:08:01,800 --> 01:08:05,960
Speaker 1: better There's a wonderful clumsy moment earlier where the seer

1221
01:08:06,120 --> 01:08:09,040
Speaker 1: is clearly dead because we just saw the crumpled body

1222
01:08:09,360 --> 01:08:12,960
Speaker 1: of the doppel ganger. And then the whole party comes

1223
01:08:13,000 --> 01:08:15,680
Speaker 1: around and the kid is like, he was my only family,

1224
01:08:15,960 --> 01:08:19,639
Speaker 1: and then uh, Colin turns human says we're your family now,

1225
01:08:19,920 --> 01:08:23,599
Speaker 1: and that's the that's the that's that's that's the entirety

1226
01:08:23,680 --> 01:08:27,719
Speaker 1: of their um their grief counseling here. So at least,

1227
01:08:28,160 --> 01:08:31,559
Speaker 1: at least we we have a puppy, that is, at

1228
01:08:31,600 --> 01:08:33,799
Speaker 1: least one of the characters turns himself into a puppy

1229
01:08:33,880 --> 01:08:36,600
Speaker 1: and lets the kid carry the puppy. Earlier, there we

1230
01:08:37,000 --> 01:08:39,880
Speaker 1: interaction the kid had said if he could have one wish,

1231
01:08:39,880 --> 01:08:42,320
Speaker 1: he would want a puppy, and ERGEs like, why oh

1232
01:08:42,360 --> 01:08:44,599
Speaker 1: that you're messing up? Why one puppy when you could

1233
01:08:44,640 --> 01:08:47,200
Speaker 1: wish for a hundred, and the kid says I only

1234
01:08:47,240 --> 01:08:50,280
Speaker 1: want one, and Ergo just thinks this is stupid. Yeah,

1235
01:08:50,920 --> 01:08:52,760
Speaker 1: I like that too. That's another one of these nice

1236
01:08:52,920 --> 01:08:56,679
Speaker 1: character interaction scenes. But anyway, onto the Widow of the Web.

1237
01:08:56,760 --> 01:08:59,599
Speaker 1: So Junior has to go on by himself because if

1238
01:08:59,640 --> 01:09:02,759
Speaker 1: more the one person approaches, the Widow of the Web

1239
01:09:02,800 --> 01:09:05,519
Speaker 1: will kill them all immediately. But if he goes alone

1240
01:09:05,680 --> 01:09:08,439
Speaker 1: he might have a chance. And so everybody else hangs

1241
01:09:08,479 --> 01:09:10,160
Speaker 1: back behind. And this is where we get some nice

1242
01:09:10,200 --> 01:09:14,599
Speaker 1: conversation where like Liam Neeson explains about his fourteen wives, uh,

1243
01:09:14,640 --> 01:09:18,000
Speaker 1: and some locals coming. Where where did these like women

1244
01:09:18,160 --> 01:09:21,519
Speaker 1: come from? When we we see them hanging out with

1245
01:09:21,560 --> 01:09:24,400
Speaker 1: the bandits, it's just one of those scenes where suddenly

1246
01:09:24,479 --> 01:09:26,400
Speaker 1: there are more people around and in first you're like, oh,

1247
01:09:26,400 --> 01:09:27,800
Speaker 1: this party is bigger than I thought it was, and

1248
01:09:27,800 --> 01:09:29,519
Speaker 1: they're like, oh no, this is these are different people

1249
01:09:30,000 --> 01:09:32,880
Speaker 1: that like the people of the forest that they're they're

1250
01:09:32,920 --> 01:09:35,200
Speaker 1: hanging out with and getting u you know, a full

1251
01:09:35,240 --> 01:09:38,040
Speaker 1: rest so they can restore all their spell slots for

1252
01:09:38,080 --> 01:09:43,360
Speaker 1: the encounter as ahead, right, and so oh meanwhile the fortress, uh,

1253
01:09:43,520 --> 01:09:46,200
Speaker 1: we get some interactions with the beast and the princess,

1254
01:09:46,200 --> 01:09:48,960
Speaker 1: and the beast is like be my wife, and the

1255
01:09:49,000 --> 01:09:52,360
Speaker 1: princess is like, I don't want to, and he's like,

1256
01:09:52,479 --> 01:09:54,960
Speaker 1: let me show you what your prince is doing, and

1257
01:09:55,040 --> 01:09:58,519
Speaker 1: so he pulls up a TV screen pretty much for

1258
01:09:58,560 --> 01:10:03,600
Speaker 1: her to watch cole In here being seduced by a

1259
01:10:03,720 --> 01:10:07,720
Speaker 1: changeling who's pretending to be a woman here, and she

1260
01:10:07,880 --> 01:10:11,400
Speaker 1: I think she's supposed to like make Colewin look bad

1261
01:10:11,439 --> 01:10:14,559
Speaker 1: while the princess is watching, uh, and then kill him,

1262
01:10:15,240 --> 01:10:17,960
Speaker 1: but instead she's like, you know, oh, let me comfort you,

1263
01:10:18,040 --> 01:10:20,960
Speaker 1: and he's like, I I will not accept comfort. And

1264
01:10:21,000 --> 01:10:23,840
Speaker 1: so he proves his virtue, he proves his faithfulness while

1265
01:10:23,960 --> 01:10:27,280
Speaker 1: the princess is watching him on TV and then uh,

1266
01:10:27,320 --> 01:10:31,280
Speaker 1: and then he's so good. The changeling is like, okay,

1267
01:10:31,320 --> 01:10:32,920
Speaker 1: well I have to kill you now, but she's like,

1268
01:10:32,920 --> 01:10:35,360
Speaker 1: but you're so nice. I can't do it. And so

1269
01:10:35,720 --> 01:10:37,720
Speaker 1: I mean, what more could you ask for? What a

1270
01:10:37,840 --> 01:10:40,160
Speaker 1: what A? What a stand up guy? Yeah, this is

1271
01:10:40,200 --> 01:10:44,000
Speaker 1: a very confusing scene. Yeah, it's a lot going on here,

1272
01:10:44,439 --> 01:10:46,960
Speaker 1: but anyway, the princess is like, see see how good

1273
01:10:47,080 --> 01:10:51,439
Speaker 1: my my my husband is. Now that's additional reason why

1274
01:10:51,439 --> 01:10:54,519
Speaker 1: I'm not going to marry the beast. But okay, so

1275
01:10:54,680 --> 01:10:57,760
Speaker 1: in here has to go talk to the Widow of

1276
01:10:57,760 --> 01:11:00,680
Speaker 1: the web, who is like a sorcerer us who is

1277
01:11:00,760 --> 01:11:04,960
Speaker 1: trapped in a uh sphere in the middle of a

1278
01:11:05,000 --> 01:11:08,799
Speaker 1: giant cave surrounded by spider webs because there's a giant

1279
01:11:08,800 --> 01:11:12,240
Speaker 1: spider that lives in the cave. And as he approaches

1280
01:11:12,320 --> 01:11:14,639
Speaker 1: and tries to get to the sphere, the spider attacks,

1281
01:11:14,680 --> 01:11:17,240
Speaker 1: but he manages to make it through and then he

1282
01:11:17,280 --> 01:11:20,320
Speaker 1: talks to the enchantress and they have a history together. Yeah,

1283
01:11:20,360 --> 01:11:22,200
Speaker 1: and there's why they talk about it for a while.

1284
01:11:22,280 --> 01:11:23,920
Speaker 1: There's there are a a lot of ins and out. It's

1285
01:11:23,920 --> 01:11:28,040
Speaker 1: a lot of tragedies. There's a uh deceased son in

1286
01:11:28,080 --> 01:11:31,040
Speaker 1: the mix. Like, it's a lot and I every time

1287
01:11:31,080 --> 01:11:33,719
Speaker 1: I watch it, I'm left not really having a full

1288
01:11:34,160 --> 01:11:38,280
Speaker 1: ideal exactly what their personal history is. But it's well,

1289
01:11:38,360 --> 01:11:41,400
Speaker 1: it's well acted, so I'm buying that the history is

1290
01:11:41,439 --> 01:11:45,240
Speaker 1: there and that they reach some sort of decision here

1291
01:11:45,439 --> 01:11:47,639
Speaker 1: and it involves a magic hour glass and he's given

1292
01:11:47,640 --> 01:11:50,519
Speaker 1: the sand from the hour glass and this sometimes how

1293
01:11:50,560 --> 01:11:53,479
Speaker 1: helps him get back across the web. And there's that

1294
01:11:53,560 --> 01:11:57,600
Speaker 1: big stop motion spider. Uh. I think the deal is

1295
01:11:57,680 --> 01:12:01,599
Speaker 1: this The spider would kill him as he was. She

1296
01:12:01,760 --> 01:12:04,880
Speaker 1: is able to use her magic to tell him where

1297
01:12:04,920 --> 01:12:08,639
Speaker 1: the fortress is going to be, but he can't get

1298
01:12:08,680 --> 01:12:10,680
Speaker 1: back out to the mouth of the cave without the

1299
01:12:10,680 --> 01:12:14,200
Speaker 1: spider killing him. So she's like, I know, if you

1300
01:12:14,479 --> 01:12:17,720
Speaker 1: if you carry the sand from my hour glass in

1301
01:12:17,840 --> 01:12:20,639
Speaker 1: your hand, then the spider can't hurt you, but as

1302
01:12:20,640 --> 01:12:23,200
Speaker 1: soon as the sand falls out of your hand, you

1303
01:12:23,200 --> 01:12:26,400
Speaker 1: will die. Uh. So he's like, okay, So she breaks

1304
01:12:26,400 --> 01:12:29,040
Speaker 1: the hour glass. I think that kills her, dooms her

1305
01:12:29,080 --> 01:12:31,920
Speaker 1: in some way, and he gets the sand, he leaves,

1306
01:12:31,960 --> 01:12:34,320
Speaker 1: he makes it out, and then he tells he gets

1307
01:12:34,360 --> 01:12:36,600
Speaker 1: back to his friends, he's like the black fortresses in

1308
01:12:37,280 --> 01:12:39,640
Speaker 1: the desert, and then the sand pours out of his

1309
01:12:39,720 --> 01:12:43,280
Speaker 1: hand and they're like, oh no, the desert and he's dead.

1310
01:12:43,080 --> 01:12:45,920
Speaker 1: Good ride though, good good death. But there's a problem

1311
01:12:45,920 --> 01:12:47,639
Speaker 1: because how are we going to get to the desert

1312
01:12:47,680 --> 01:12:50,400
Speaker 1: that's very far away? And I think it's the Cyclops

1313
01:12:50,439 --> 01:12:54,160
Speaker 1: that suggests, you know what we need, need us some firemars, yes,

1314
01:12:54,280 --> 01:12:57,439
Speaker 1: fire mayors of the answer. So we've we've reached the

1315
01:12:57,439 --> 01:13:00,880
Speaker 1: part of the film here that that was my wife's

1316
01:13:00,880 --> 01:13:02,880
Speaker 1: favorite part of the film growing up. She grew up

1317
01:13:02,880 --> 01:13:05,040
Speaker 1: as a as a horse enthusiast, and so I think

1318
01:13:05,080 --> 01:13:08,360
Speaker 1: a lot of horse enthusiasts and and and and viewers

1319
01:13:08,360 --> 01:13:10,559
Speaker 1: who were into horses when they were young, like this

1320
01:13:10,640 --> 01:13:13,040
Speaker 1: is their favorite part because we have when they finally

1321
01:13:13,040 --> 01:13:16,800
Speaker 1: find these these fire mayres. These are played by Clydesdale's.

1322
01:13:16,840 --> 01:13:19,960
Speaker 1: There are some truly beautiful horses. Uh. It's it's hard

1323
01:13:20,000 --> 01:13:23,400
Speaker 1: not to, uh to to get pulled in by their

1324
01:13:23,439 --> 01:13:26,960
Speaker 1: their their equine majesty. Yeah, and they literally like their

1325
01:13:26,960 --> 01:13:29,519
Speaker 1: hooves are on fire while they gallop through the sky.

1326
01:13:29,560 --> 01:13:32,439
Speaker 1: But they take them to the fortress. The cyclop stays

1327
01:13:32,479 --> 01:13:34,640
Speaker 1: behind because he's like, no, it's my time now, I

1328
01:13:34,760 --> 01:13:36,920
Speaker 1: have to stay here and die. And so they go

1329
01:13:36,960 --> 01:13:39,799
Speaker 1: off to the fortress and they assaulted. They start climbing

1330
01:13:39,880 --> 01:13:41,760
Speaker 1: up the sides of the Beast's fortress, and it kind

1331
01:13:41,800 --> 01:13:45,120
Speaker 1: of reminded me of the attack on the Riddler's Island

1332
01:13:45,160 --> 01:13:48,200
Speaker 1: at the end of Batman Forever, which I watched recently

1333
01:13:48,360 --> 01:13:52,320
Speaker 1: for an episode I did of Seth's music podcast Rusty

1334
01:13:52,360 --> 01:13:54,760
Speaker 1: Needles Record Club, which if you haven't checked that out,

1335
01:13:55,320 --> 01:13:57,519
Speaker 1: give it a listen. It's been a long time since

1336
01:13:57,560 --> 01:13:59,799
Speaker 1: I've seen Batman Forever, so you're gonna have to describe

1337
01:13:59,840 --> 01:14:03,360
Speaker 1: the attack on Riddler's Island. Uh, we were talking about

1338
01:14:03,360 --> 01:14:07,080
Speaker 1: because we were talking about the Batman Forever soundtrack, but yes, uh,

1339
01:14:07,200 --> 01:14:09,880
Speaker 1: the Riddler's Island. In the end of this movie, Jim

1340
01:14:09,920 --> 01:14:12,120
Speaker 1: Carey and Tommy Lee Jones are hanging out on essentially

1341
01:14:12,160 --> 01:14:15,439
Speaker 1: an island that is also the Agro Crag from Guts,

1342
01:14:16,240 --> 01:14:20,599
Speaker 1: and Batman and Robin attack it by sea and by air,

1343
01:14:20,760 --> 01:14:22,920
Speaker 1: and eventually they just end up climbing up some very

1344
01:14:23,000 --> 01:14:26,800
Speaker 1: fake looking rocks. And that's what this assault is like.

1345
01:14:26,840 --> 01:14:30,280
Speaker 1: They're climbing up some fake looking rocks while the Slayers

1346
01:14:30,280 --> 01:14:33,080
Speaker 1: shoot lasers at them and they're stuck. They're like, hey,

1347
01:14:33,120 --> 01:14:35,080
Speaker 1: what are we gonna do. They're shooting lasers at us.

1348
01:14:35,120 --> 01:14:36,840
Speaker 1: It's not like they've been doing that the whole movie,

1349
01:14:37,360 --> 01:14:38,680
Speaker 1: but you know, they don't know how they're going to

1350
01:14:38,760 --> 01:14:41,120
Speaker 1: get past the lasers. And then they're saved by the

1351
01:14:41,160 --> 01:14:44,559
Speaker 1: Cyclops going back on his word, showing up on a

1352
01:14:44,600 --> 01:14:47,559
Speaker 1: fire Mare and saying, I'll I'll run up there, and

1353
01:14:47,560 --> 01:14:49,880
Speaker 1: and he does. Yeah, it's this is another part where

1354
01:14:49,880 --> 01:14:52,320
Speaker 1: I have to think about the nature of the beast

1355
01:14:52,400 --> 01:14:55,879
Speaker 1: power structure. So since the I guess it's the the

1356
01:14:55,640 --> 01:14:58,640
Speaker 1: the the castle the fortress here since it teleports regularly,

1357
01:14:59,040 --> 01:15:01,840
Speaker 1: they never have to really invest too much in the

1358
01:15:01,920 --> 01:15:05,280
Speaker 1: defense all of the fortress because they're only going to

1359
01:15:05,320 --> 01:15:07,200
Speaker 1: be there a short amount of time. Nobody's gonna be

1360
01:15:07,280 --> 01:15:11,960
Speaker 1: able to mount anything more than a quick rushed assault

1361
01:15:12,479 --> 01:15:16,400
Speaker 1: on the fortress. But still they they they have the

1362
01:15:16,479 --> 01:15:20,000
Speaker 1: laser guns, so they're they're pretty adequate at defending it. Yes,

1363
01:15:20,080 --> 01:15:22,680
Speaker 1: but with the help of the Mighty Cyclops, they make

1364
01:15:22,720 --> 01:15:25,479
Speaker 1: their way in. And then his real death, unlike what

1365
01:15:25,520 --> 01:15:28,200
Speaker 1: he predicted earlier, is that, like you said, he's holding

1366
01:15:28,200 --> 01:15:30,840
Speaker 1: a couple of rocks apart until all of Colwyn's guys

1367
01:15:30,880 --> 01:15:33,760
Speaker 1: get through, and then he just sort of gives up

1368
01:15:33,800 --> 01:15:37,000
Speaker 1: and lets the rocks squash him. Yeah, but okay, so

1369
01:15:37,120 --> 01:15:41,000
Speaker 1: Colwyn and Torquoal's bandits and um, a couple of other

1370
01:15:41,520 --> 01:15:43,680
Speaker 1: other people in the party ergo and there's a lot

1371
01:15:43,680 --> 01:15:46,360
Speaker 1: of people the kid. They all fight. They fight their

1372
01:15:46,400 --> 01:15:49,479
Speaker 1: way into the fortress. Inside is like a giant cave.

1373
01:15:49,520 --> 01:15:52,240
Speaker 1: It's got this big alien mucus bridge. They get sniped

1374
01:15:52,280 --> 01:15:55,960
Speaker 1: out by slayers. Liam Neeson has a death scene where

1375
01:15:56,000 --> 01:15:58,320
Speaker 1: you know, he I really wish his last line had

1376
01:15:58,360 --> 01:16:01,439
Speaker 1: been like tell my eight why I didn't care about them,

1377
01:16:02,400 --> 01:16:04,679
Speaker 1: but I don't know. He says something else, and then

1378
01:16:04,680 --> 01:16:07,519
Speaker 1: he dies on the floor. I like the detail that

1379
01:16:07,720 --> 01:16:10,799
Speaker 1: the slayers on the outside of the of the castle,

1380
01:16:10,880 --> 01:16:12,599
Speaker 1: the ones that go out in the field and battle,

1381
01:16:12,800 --> 01:16:15,160
Speaker 1: they have dark armor, but the ones on the inside

1382
01:16:15,160 --> 01:16:17,320
Speaker 1: of the castle they have white armor. They're kind of

1383
01:16:17,320 --> 01:16:20,880
Speaker 1: like stormtrooper slayers. So it's it's it's a nice little

1384
01:16:21,040 --> 01:16:23,479
Speaker 1: tweaking of the design. So there's a part where in

1385
01:16:23,479 --> 01:16:25,720
Speaker 1: the castle, Coalwin and the bandits come to a dead

1386
01:16:25,840 --> 01:16:27,720
Speaker 1: end there. They come up against like a dome that

1387
01:16:27,800 --> 01:16:30,000
Speaker 1: they can't get through, and they know the princess is

1388
01:16:30,040 --> 01:16:32,559
Speaker 1: in there, but they think there's no way in until

1389
01:16:32,640 --> 01:16:36,479
Speaker 1: cole One goes there is one way, and what do

1390
01:16:36,520 --> 01:16:38,840
Speaker 1: you what's it going to be? It's it's glave in time.

1391
01:16:39,040 --> 01:16:43,200
Speaker 1: It is time, uh he So the glave turns into

1392
01:16:43,320 --> 01:16:47,080
Speaker 1: a floating, flying circular saw and it cuts a hole

1393
01:16:47,120 --> 01:16:50,879
Speaker 1: in the wall of the princess's prison cell, but very slowly,

1394
01:16:51,040 --> 01:16:54,240
Speaker 1: giving us plenty of time. Meanwhile for the the bandits

1395
01:16:54,280 --> 01:16:57,120
Speaker 1: to get trapped in another room and a spike death

1396
01:16:57,200 --> 01:16:59,640
Speaker 1: for one of them named Bardolph. Like spikes come out

1397
01:16:59,680 --> 01:17:02,280
Speaker 1: of the wall Holls and starts stabbing at them, but

1398
01:17:02,400 --> 01:17:04,519
Speaker 1: finally the glave cuts through the wall and then there's

1399
01:17:04,560 --> 01:17:06,559
Speaker 1: a reunion, you know, the Prince of the princess are

1400
01:17:06,640 --> 01:17:10,559
Speaker 1: together again. They embrace and oh it's so great. Uh

1401
01:17:10,600 --> 01:17:13,840
Speaker 1: and Colwan is ready to fight, but she could you

1402
01:17:13,920 --> 01:17:16,040
Speaker 1: explain what this meant? She goes, you can't fight the

1403
01:17:16,080 --> 01:17:19,559
Speaker 1: beast here. You must fight him away from the center.

1404
01:17:20,000 --> 01:17:22,360
Speaker 1: I don't know what that means. I don't know either.

1405
01:17:22,479 --> 01:17:24,360
Speaker 1: They just it's like, you've got to fight him in

1406
01:17:24,400 --> 01:17:29,240
Speaker 1: another location. And so they do, and yeah, the final

1407
01:17:29,400 --> 01:17:32,080
Speaker 1: battle ensues, and I have to say this, the final

1408
01:17:32,120 --> 01:17:36,559
Speaker 1: battle has some real issues. So this not not very good. Yeah,

1409
01:17:37,080 --> 01:17:41,200
Speaker 1: the beast design, the car, the creature design seems great. Uh.

1410
01:17:41,240 --> 01:17:43,080
Speaker 1: They don't show a lot of it, so maybe it

1411
01:17:43,160 --> 01:17:46,040
Speaker 1: wasn't that great. Who knows, but uh, from what we see,

1412
01:17:46,040 --> 01:17:47,760
Speaker 1: if it, it it looks pretty cool. Is this big, you know,

1413
01:17:47,920 --> 01:17:53,160
Speaker 1: black alien costume? Uh, this horrible mouth, big red eyes,

1414
01:17:53,439 --> 01:17:57,320
Speaker 1: weird tubes, the the six fingers on the hand. I

1415
01:17:57,320 --> 01:18:00,640
Speaker 1: think the big problem is though, that the beast is

1416
01:18:00,680 --> 01:18:04,320
Speaker 1: like thirty ft tall instead of a respectable seven, So

1417
01:18:04,960 --> 01:18:08,400
Speaker 1: it ends up feeling like our hero Colin is fighting

1418
01:18:08,520 --> 01:18:12,320
Speaker 1: a drive in movie theater project. We never feel like

1419
01:18:12,400 --> 01:18:15,920
Speaker 1: the Beast occupies the same physical space with any other

1420
01:18:16,000 --> 01:18:17,840
Speaker 1: character in the film, at least not in his full

1421
01:18:17,840 --> 01:18:23,080
Speaker 1: blown beast mode, his beast form, you know. Uh, so

1422
01:18:23,760 --> 01:18:25,920
Speaker 1: we end up with these The whole battle is just

1423
01:18:26,000 --> 01:18:29,880
Speaker 1: kind of a battle of psychic and magical projectiles. Glave

1424
01:18:30,120 --> 01:18:33,920
Speaker 1: is flying through the air, Beast is breathing fireballs or something,

1425
01:18:34,520 --> 01:18:37,839
Speaker 1: and um, you know, it just doesn't feel like a battle.

1426
01:18:37,880 --> 01:18:40,879
Speaker 1: It doesn't have it doesn't I don't feel the stakes

1427
01:18:40,920 --> 01:18:42,880
Speaker 1: at all here, you know. But I always say a

1428
01:18:42,920 --> 01:18:45,559
Speaker 1: good fight scene needs, you know, it needs beats, it

1429
01:18:45,600 --> 01:18:49,400
Speaker 1: needs drama, it needs twists. And one twist here is that. Oh.

1430
01:18:49,439 --> 01:18:52,080
Speaker 1: You know, the Glave is very powerful. It's clearly a

1431
01:18:52,120 --> 01:18:54,120
Speaker 1: great weapon. But at some point he gets stuck in

1432
01:18:54,200 --> 01:18:57,720
Speaker 1: the Beast and we see Colwyn trying to pull it

1433
01:18:57,720 --> 01:19:00,960
Speaker 1: out psychically. He's like reaching out like and the and

1434
01:19:01,040 --> 01:19:04,520
Speaker 1: the Glave will not get out of the Beast's flesh.

1435
01:19:04,680 --> 01:19:08,679
Speaker 1: So we're really in trouble now. But then Lissa, uh,

1436
01:19:08,720 --> 01:19:11,639
Speaker 1: she's like, cold one, it's not the Glave, it's you.

1437
01:19:12,280 --> 01:19:15,599
Speaker 1: And then he says, listen, it's us, it's us. He

1438
01:19:15,640 --> 01:19:19,880
Speaker 1: can't defeat um and uh he and he figures out

1439
01:19:19,920 --> 01:19:22,639
Speaker 1: that the woman he chooses as his wife needs to

1440
01:19:22,720 --> 01:19:26,320
Speaker 1: give him fire. That will she says like, take the

1441
01:19:26,360 --> 01:19:29,640
Speaker 1: fire from my hand, and that somehow transforms Cole went

1442
01:19:29,720 --> 01:19:33,520
Speaker 1: into a pyromancer. Uh, and now he can shoot fireballs

1443
01:19:33,520 --> 01:19:36,200
Speaker 1: out of his hands. This would probably have been explained

1444
01:19:36,200 --> 01:19:38,040
Speaker 1: if we got to see the full wedding, like with

1445
01:19:38,080 --> 01:19:41,479
Speaker 1: the full vows, where it's like, do you promise to

1446
01:19:42,120 --> 01:19:44,840
Speaker 1: give your husband a magical fire that he may use

1447
01:19:44,880 --> 01:19:49,160
Speaker 1: against extraterrestrial threats? Uh? And you can say I do

1448
01:19:49,280 --> 01:19:52,160
Speaker 1: you know that sort of yeah, with this fire that

1449
01:19:52,200 --> 01:19:56,400
Speaker 1: I got from my wife, I v burn yeah, yeah,

1450
01:19:56,520 --> 01:19:58,760
Speaker 1: And I kind of forgot about the whole thing with

1451
01:19:58,800 --> 01:20:01,880
Speaker 1: the fire and the Sarah money we saw earlier, so

1452
01:20:02,760 --> 01:20:05,200
Speaker 1: even reviewing and I'm like, what, what's this fire thing? What?

1453
01:20:05,400 --> 01:20:07,479
Speaker 1: This feels kind of out of left field, but I

1454
01:20:07,479 --> 01:20:09,960
Speaker 1: guess it was established, but still it feels kind of

1455
01:20:10,000 --> 01:20:12,680
Speaker 1: weird and thrown on. And it's also another one of

1456
01:20:12,720 --> 01:20:16,720
Speaker 1: those it turns out the weapon wasn't magic. You were

1457
01:20:16,760 --> 01:20:20,439
Speaker 1: the magic the whole time. The magic was love. Here's

1458
01:20:20,479 --> 01:20:24,320
Speaker 1: the love fire. Now go blast that beast. Can you

1459
01:20:24,360 --> 01:20:27,720
Speaker 1: feel the love of kroll. So at this point they, yeah,

1460
01:20:27,760 --> 01:20:30,080
Speaker 1: he defeats the beast. The beast kind of blows up

1461
01:20:30,120 --> 01:20:33,200
Speaker 1: and stuff, and then the whole Black Fortress begins to

1462
01:20:33,240 --> 01:20:35,920
Speaker 1: fall apart. It's like any magical fortress in a film,

1463
01:20:36,040 --> 01:20:38,439
Speaker 1: like the stuff starts falling to pieces, kind of like

1464
01:20:38,479 --> 01:20:41,280
Speaker 1: the Castle of the Dark Crystal, how poor portions of

1465
01:20:41,280 --> 01:20:43,679
Speaker 1: it were falling apart, except this time the whole Black

1466
01:20:43,680 --> 01:20:46,840
Speaker 1: Fortress is crumbling. And then as we we're having to

1467
01:20:46,840 --> 01:20:50,400
Speaker 1: get all the characters together, Hey, find find uh, you know,

1468
01:20:50,439 --> 01:20:52,519
Speaker 1: the wizard, and get him up. Make sure he's not

1469
01:20:52,560 --> 01:20:54,840
Speaker 1: a tiger anymore, because that's the other thing, you know,

1470
01:20:54,840 --> 01:20:56,799
Speaker 1: you've got to pull through and change into a tiger

1471
01:20:56,800 --> 01:20:59,880
Speaker 1: to kill some slayers. Let's find the kid. Uh, let's seed.

1472
01:21:00,240 --> 01:21:03,040
Speaker 1: Is anybody dying and need some last words? Nope, okay,

1473
01:21:03,040 --> 01:21:06,000
Speaker 1: everybody's good. All right, everybody's living. Let's leave the castle.

1474
01:21:06,200 --> 01:21:08,759
Speaker 1: Let's leave the Black Fortress. And then as they actually

1475
01:21:08,880 --> 01:21:11,160
Speaker 1: leave the Black Fortress, we do get an awesome effect.

1476
01:21:11,280 --> 01:21:14,800
Speaker 1: The Black Fortress is not crumbling down, it's crumbling up

1477
01:21:15,160 --> 01:21:18,360
Speaker 1: and the pieces are falling up into the sky and

1478
01:21:18,400 --> 01:21:22,120
Speaker 1: going over the outer space. I love that, Yeah, I

1479
01:21:22,320 --> 01:21:24,799
Speaker 1: I dig it. And then we get some nice happy stuff.

1480
01:21:24,840 --> 01:21:28,200
Speaker 1: I think cole One's like, hey, Alan Armstrong, why don't

1481
01:21:28,200 --> 01:21:32,000
Speaker 1: why don't you be my vice president? Yeah, Torquoi is

1482
01:21:32,120 --> 01:21:35,720
Speaker 1: named hand to the king, so good for Torquo, solid gut.

1483
01:21:36,000 --> 01:21:38,920
Speaker 1: It's a it's a very sweet and wholesome ending. Uh.

1484
01:21:38,960 --> 01:21:41,400
Speaker 1: And and that does it for Kroll. Will their son

1485
01:21:41,520 --> 01:21:44,840
Speaker 1: rule the galaxy? Though? Uh, it's not addressed. In fact,

1486
01:21:44,960 --> 01:21:47,479
Speaker 1: they even remind us at the end, almost like they

1487
01:21:47,479 --> 01:21:49,760
Speaker 1: were not hoping we would just forget about that because

1488
01:21:49,800 --> 01:21:52,320
Speaker 1: the movie doesn't deal with it. It's like, uh, and

1489
01:21:52,520 --> 01:21:55,080
Speaker 1: as the prophecy said, they were wed and their son

1490
01:21:55,160 --> 01:21:57,920
Speaker 1: would rule the galaxy. But what's in the galaxy? Do

1491
01:21:57,960 --> 01:21:59,960
Speaker 1: we even? We don't even see what any other planet

1492
01:22:00,200 --> 01:22:04,160
Speaker 1: look like. I don't know. Yeah, I guess if I'm

1493
01:22:04,240 --> 01:22:07,639
Speaker 1: digging into this idea that the castle of the humans

1494
01:22:07,640 --> 01:22:09,719
Speaker 1: on Crawl was built by a colony bards, then maybe

1495
01:22:09,720 --> 01:22:11,839
Speaker 1: there are other worlds out there that for some reason

1496
01:22:12,640 --> 01:22:16,240
Speaker 1: the human colonists they're decided on a medieval uh structure

1497
01:22:16,280 --> 01:22:19,240
Speaker 1: to their civilization, and maybe there are multiple beast ships

1498
01:22:19,280 --> 01:22:22,519
Speaker 1: moving around trying to uh to get them who knows,

1499
01:22:23,000 --> 01:22:26,160
Speaker 1: saying we must prevent these the beasts of people are like,

1500
01:22:26,200 --> 01:22:29,200
Speaker 1: we must prevent these space medieval types from becoming Space

1501
01:22:29,479 --> 01:22:33,400
Speaker 1: Renaissance types or something. I don't know. The Guilt Navigator arrives,

1502
01:22:34,320 --> 01:22:37,400
Speaker 1: the representative of the Lance Raad disembarks that come out

1503
01:22:37,439 --> 01:22:41,560
Speaker 1: and they say, sorry, Colwen Lissa, you have been officially

1504
01:22:41,600 --> 01:22:45,719
Speaker 1: deposed by the Lancerraad. This planet now belongs to the Harconins. Uh,

1505
01:22:45,880 --> 01:22:48,240
Speaker 1: too bad. Or they could go with the sort of

1506
01:22:48,280 --> 01:22:52,679
Speaker 1: a classic outer Limits ending where ope, the beasts parents

1507
01:22:52,720 --> 01:22:55,680
Speaker 1: show up and we realized that the beast was just

1508
01:22:55,920 --> 01:22:58,360
Speaker 1: a child of this species and now they have to

1509
01:22:58,400 --> 01:23:01,360
Speaker 1: deal with the grown ups with their full full strength. Okay,

1510
01:23:01,360 --> 01:23:04,120
Speaker 1: I think I can say no more about Krall. Yeah,

1511
01:23:04,120 --> 01:23:06,160
Speaker 1: there's nothing left to be said. But go watch it

1512
01:23:06,200 --> 01:23:07,720
Speaker 1: if you haven't seen it before, and if you have

1513
01:23:07,760 --> 01:23:09,960
Speaker 1: seen it before, well, now's a great time to go

1514
01:23:10,160 --> 01:23:13,799
Speaker 1: rewatch Krawl. Watch it with someone you love or by yourself.

1515
01:23:13,840 --> 01:23:17,760
Speaker 1: It's great, it's great both ways. All Right, we're gonna

1516
01:23:17,760 --> 01:23:19,840
Speaker 1: go and close out this weird house cinema. But yeah,

1517
01:23:19,840 --> 01:23:21,320
Speaker 1: we'd love to hear from everyone out there. If you

1518
01:23:21,320 --> 01:23:24,439
Speaker 1: have memories about watching Krawl, if if Kral is close

1519
01:23:24,479 --> 01:23:28,519
Speaker 1: to your heart, etcetera. Share share your love for Kral

1520
01:23:28,640 --> 01:23:32,599
Speaker 1: with us um as. As always, if you want to

1521
01:23:32,680 --> 01:23:36,519
Speaker 1: see some blog posts about these these movie selections, go

1522
01:23:36,600 --> 01:23:38,479
Speaker 1: to some muta music dot com and blog about them

1523
01:23:38,479 --> 01:23:41,799
Speaker 1: there and include the video clip I'm bad, the podcast

1524
01:23:41,840 --> 01:23:45,360
Speaker 1: episode and so forth. And also if you use letterboxed,

1525
01:23:45,479 --> 01:23:47,840
Speaker 1: that's uh L E T T E R B o

1526
01:23:48,080 --> 01:23:51,799
Speaker 1: x D dot com. We have a profile their Weird House.

1527
01:23:52,240 --> 01:23:54,200
Speaker 1: Go there. You'll find a list of all the movies

1528
01:23:54,200 --> 01:23:56,200
Speaker 1: we've covered on Weird House Cinema and sometimes there's a

1529
01:23:56,200 --> 01:23:59,000
Speaker 1: peek ahead to what we're covering in the future. So

1530
01:23:59,040 --> 01:24:00,840
Speaker 1: it's a nice like visual a way to see what

1531
01:24:00,880 --> 01:24:03,200
Speaker 1: we've looked at, what we've watched. And you can also

1532
01:24:03,760 --> 01:24:07,040
Speaker 1: throw in little tabulations there and like see them by decade,

1533
01:24:07,479 --> 01:24:10,720
Speaker 1: uh see them in order that they were made, that

1534
01:24:10,920 --> 01:24:13,040
Speaker 1: sort of thing you just thinks. As always to our

1535
01:24:13,120 --> 01:24:16,519
Speaker 1: excellent audio producer Seth Nicholas Johnson. If you would like

1536
01:24:16,560 --> 01:24:18,640
Speaker 1: to get in touch with us with feedback on this

1537
01:24:18,680 --> 01:24:21,280
Speaker 1: episode or any other, to suggest a topic for the future,

1538
01:24:21,360 --> 01:24:23,760
Speaker 1: or just to say hello, you can email us at

1539
01:24:23,880 --> 01:24:34,000
Speaker 1: contact at stuff to Blow your Mind dot com. Stuff

1540
01:24:34,000 --> 01:24:36,200
Speaker 1: to Blow Your Mind is production of I Heart radio.

1541
01:24:36,560 --> 01:24:38,880
Speaker 1: For more podcasts My heart Radio, visit the i heart

1542
01:24:38,960 --> 01:24:41,680
Speaker 1: Radio app, Apple podcasts, or wherever you listen to your

1543
01:24:41,720 --> 01:24:42,360
Speaker 1: favorite shows.