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Speaker 1: Welcome to Stuff to Blow your Mind, a production of iHeartRadio.

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Speaker 2: Hey, welcome to Weird House Cinema. This is Rob.

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Speaker 3: Lamb and I'm Joe McCormick. And boy, we have got

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Speaker 3: a treat for you today, one that has been a

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Speaker 3: long time coming for me personally, because we're going to

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Speaker 3: be talking about a nineteen ninety Oh I've already forgotten

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Speaker 3: the year. Was it ninety one or ninety two?

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Speaker 2: I believe it came out in ninety.

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Speaker 3: Two, Okay, a nineteen ninety two science fiction film called

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Speaker 3: Free Jack. And I have a personal history with this movie,

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Speaker 3: which is that I have owned this DVD for approximately

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Speaker 3: fifteen years, and until this weekend, I had never watched it.

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Speaker 3: I remember buying it for three dollars and ninety five

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Speaker 3: cents at an East Tennessee used bookstore sometime when I

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Speaker 3: was in college. Because on the cover of the DVD

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Speaker 3: case it has a picture of Emilio Estevez holding some

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Speaker 3: kind of futuristic looking gun, and then a bunch of

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Speaker 3: very very foggy future corridors, and then Mick Jagger looking

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Speaker 3: very stern like he's going to dole out some punishment.

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Speaker 3: Anthony Hopkins holding his fingers in front of his face

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Speaker 3: like he's going to smoke a cigar or something, and

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Speaker 3: Renee Russo wearing like an mc escher pattern.

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Speaker 2: Yeah. I remember the VHS box art for this. I

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Speaker 2: remember the the you know, the covers. I remember the trailer.

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Speaker 2: It looks like it's going to be tremendous fun. It

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Speaker 2: looks really badass. In fact, I have a very strong

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Speaker 2: memories of when this came out, because I was fourteen,

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Speaker 2: and you know, I don't even remember what my favorite

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Speaker 2: films were at that point. You know, I guess that's

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Speaker 2: post Batman, so I guess Batman was still in the mix.

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Speaker 2: But I was, you know, exploring some more sci fi,

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Speaker 2: getting into that reading sci fi, and then I saw

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Speaker 2: the trailer for free Jack, and I was just convinced

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Speaker 2: that this was going to be a great film. I

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Speaker 2: got so excited about it. I'm like look through copies

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Speaker 2: of Newsweek to try and follow the coverage of free Jack,

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Speaker 2: and that was a little just pointed when it was there.

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Speaker 3: You're like making a scrap book.

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Speaker 2: I would do that with other films, like, yeah, I

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Speaker 2: had done that with Batman. When it came out, I

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Speaker 2: was like cutting out all these pictures on me, like

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Speaker 2: scrapbook pages of it. I was so excited about it.

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Speaker 2: I did that with Dick Tracy.

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Speaker 3: That's fandom.

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Speaker 2: Yeah, And and then this came and I'm like, let's

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Speaker 2: do it. I'm down. This is the next one. This

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Speaker 2: is going to be the next film that I'm crazy for.

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Speaker 2: And then it hit theaters and I remember I was

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Speaker 2: I was calling my local theater in the small Tennessee

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Speaker 2: town that I lived in, and I was like, when

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Speaker 2: are you all getting free Jack? When's free Jack coming?

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Speaker 2: And they they didn't have an answer for that, because

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Speaker 2: of course the answer was free Jack was not coming

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Speaker 2: to a small town.

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Speaker 3: Is mister Jagger going to be here for the premiere?

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Speaker 3: Can I get him to sign my poster?

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Speaker 2: Yeah? Well, I just thought it was going to be

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Speaker 2: this huge thing that everybody was going to be obsessed with.

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Speaker 2: Turns out people weren't obsessed with it. Turns out this

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Speaker 2: was what a January release. This was a film that

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Speaker 2: had experienced troubles, that was pretty much known, I think,

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Speaker 2: to not be that good, and was just dumped unceremoniously

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Speaker 2: in the January release window of nineteen ninety two.

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Speaker 3: Yeah. FLOPAGEXT season, Yeah, so there's a lot of good

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Speaker 3: movies get released in the winter, though, Oh yeah, a

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Speaker 3: lot of this is something that I think often happens

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Speaker 3: with horror movies that should be released in October. But

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Speaker 3: there's just a sign of utter disrespect by the studios

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Speaker 3: that release them, often good ones. I don't know if

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Speaker 3: the studio is playing into it in this case, but

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Speaker 3: like when The Witch came out, I think it was

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Speaker 3: released in February or something just utterly inexplicable. Why not

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Speaker 3: in October?

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Speaker 2: Yeah, I don't know. I you know, as much as

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Speaker 2: I love movies and I love charting all this stuff, yeah,

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Speaker 2: I don't have as good a head for other aspects

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Speaker 2: of movie production, and you know, and certainly the calendar

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Speaker 2: of putting them out another thing I don't usually have

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Speaker 2: a good head for. I usually don't get obsessed with

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Speaker 2: the budget some things, but sometimes it's notable, and I

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Speaker 2: was checking this one out, I did notice that this

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Speaker 2: was a thirty million dollar picture, which my understanding is

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Speaker 2: that that was still quite a chunk of change for

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Speaker 2: a film in nineteen ninety one, nineteen ninety two, So

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Speaker 2: this was a this was a big budget affair, and

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Speaker 2: certainly when we start getting into the connections. A lot

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Speaker 2: of names were involved in this picture. Oh yeah, so

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Speaker 2: this may be the most expensive film that we've yet

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Speaker 2: covered on Weird House Cinema. This was this was a

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Speaker 2: mainstream shot. This was something that was born to be

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Speaker 2: a blockbuster, but it just didn't happen.

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Speaker 3: This is a parade of heavy hitters, both in terms

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Speaker 3: of a list stars. You had Emilio Estevez, who was,

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Speaker 3: you know, a big deal in the early nineties. He

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Speaker 3: had Renee Russo, Anthony Hopkins, Mick Jagger of the Rolling Stones.

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Speaker 3: But then also it's just filled out with a ton

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Speaker 3: of great character actors in the in the mid level roles.

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Speaker 2: Yeah, I don't think everybody's necessarily cast in a good spot.

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Speaker 2: Right by the end of this episode, I will recast

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Speaker 2: the picture in way that I think will work better

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Speaker 2: or would have worked better. But yeah, it's it's still

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Speaker 2: a very fun picture to discuss, has a lot of

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Speaker 2: cool elements in it, just everything didn't come together like

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Speaker 2: it should.

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Speaker 3: No see this one's I think it's gonna be a

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Speaker 3: lot of fun to talk about. Ultimately, I think it's

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Speaker 3: a little disappointing to actually watch and one of the

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Speaker 3: main reasons is the weirdness and the absurdity is not

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Speaker 3: concentrated enough. This the movie goes on too long. It's

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Speaker 3: stretched out too much. But we'll try to press it

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Speaker 3: down into a diamond for you. The listener.

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Speaker 2: All right, well, let's let's go ahead and have that

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Speaker 2: elevator pitch.

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Speaker 3: Joe, Okay, So the pitch is in the early nineties,

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Speaker 3: Formula one racer Alex Furlong is about to die in

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Speaker 3: a fiery crash when he is suddenly time warped into

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Speaker 3: the dystopian hell of the year two thousand and nine

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Speaker 3: by mercenaries under the command of Mick Jagger a guy

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Speaker 3: named Visindak, and they want to sell his body to

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Speaker 3: a rich dead man who's currently living inside a computer

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Speaker 3: and needs a new meat vehicle so that he can

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Speaker 3: live forever and achieve his dreams. But before the transfer

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Speaker 3: to the new meat vehicle can take place, for long

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Speaker 3: escapes and now he is what is referred to in

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Speaker 3: the future as a free jack, and he spends the

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Speaker 3: rest of the movie running around, being chased by Mick

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Speaker 3: Jagger and trying to put the pieces together.

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Speaker 2: Yep.

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Speaker 3: Now, before we get into the contents of the film, itself.

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Speaker 3: This movie really does have something that I love, which

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Speaker 3: is a good, crappy, early two thousands DVD menu experience.

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Speaker 2: Oh yeah.

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Speaker 3: Yeah. In fact, I was just talking to Seth before

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Speaker 3: we started recording about how someday, someday, I almost want

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Speaker 3: to do a whole exploration just of the genre of

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Speaker 3: early DVD menus that tried to do too much and

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Speaker 3: were really esthetically repulsive and had strange sort of CGI animations.

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Speaker 3: One of my favorites is the DVD menu for the

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Speaker 3: movie Leviathan, which has exactly one animation, and it's just

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Speaker 3: like a guy in a diving suit who sort of

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Speaker 3: like does a half turned step and then pivots back

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Speaker 3: to his original position and then does that over and

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Speaker 3: over forever.

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Speaker 2: Oh wow. Yeah, I mean even the ones that were

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Speaker 2: really well done, Like I think one of the first

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Speaker 2: DVDs I bought, and I wasn't an early adopter on

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Speaker 2: that technology, but I picked up this double DVD special

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Speaker 2: edition of Big Trouble and Little China, the John Conner film,

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Speaker 2: and yeah, it was. They really put a lot of

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Speaker 2: effort into it. You know, it's like so many different

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Speaker 2: extra features, a lot of cool extra features. But then

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Speaker 2: at times you're just kind of waiting for the graphics

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Speaker 2: to stop doing things so you can actually push play

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Speaker 2: on the movie.

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Speaker 3: Yeah. Yeah, so this one, it has these crappy CGI menus.

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Speaker 3: One of the features it has is a rotating CGI

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Speaker 3: jack like in the Game of Jacks. And I was

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Speaker 3: confused at first, because again I despite owning the CVD

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Speaker 3: for like fifteen years or something, I had never seen

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Speaker 3: it until this weekend. So I was like, wait a minute,

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Speaker 3: does the title free Jack refer to some kind of

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Speaker 3: jack like in Jack's.

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Speaker 2: Oh this is this? This would be the what's it

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Speaker 2: called the spiritual Uh? Yeah, god? What they call it?

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Speaker 3: The spiritual the spiritual switchboard? Spiritual switchboard? Yes, yes, yes,

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Speaker 3: So it's a piece of technology that actually shows up

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Speaker 3: at the end of the movie and looks exactly like

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Speaker 3: a Jack from a Game of Jacks.

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Speaker 2: Oh man, I just realized as a Jack. Was that

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Speaker 2: on purpose?

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Speaker 3: I don't know, like with the title free Jack? Yeah,

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Speaker 3: I don't know. But then there's another thing on this

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Speaker 3: DVD that was just cavir on my tongue. It was

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Speaker 3: a menu option called Experience our Website, which when you

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Speaker 3: click it, all it does is it takes you to

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Speaker 3: a screen that shows you the URL of Morgan Creek

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Speaker 3: Motion Pictures, which is www dot morgan Creek dot com.

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Speaker 3: And then you have the option to go back to

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Speaker 3: the main menu.

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Speaker 2: So you you would have to like write it down

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Speaker 2: on the set to pay take it to your computer. Wow,

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Speaker 2: so good.

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Speaker 3: Anyway, let's hit some trailer audio.

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Speaker 4: Alex Furlong is about to die and enter the year

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Speaker 4: two thousand and nine, where immortality is only a heartbeat away,

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Speaker 4: where money can buy anything.

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Speaker 2: Shouldn't you consider an alternative body?

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Speaker 4: Sorry to deceive you, including life itself, lose your mind

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Speaker 4: and you can live forever.

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Speaker 3: Free Jack.

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Speaker 2: See sounds exciting, sounds great, sounds like it's gonna be

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Speaker 2: one heck of a movie.

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Speaker 3: Right. If you'd been a kid at the time, you'd

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Speaker 3: be writing your local theaters saying, make the free Jack

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Speaker 3: World premiere happen here. But so, there are some key

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Speaker 3: concepts in the film that we're going to have to

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Speaker 3: explain now, I think for this discussion to make any sense,

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Speaker 3: And one of the distinctions that is most important is

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Speaker 3: that between the bone jack and the bone Jacker and

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Speaker 3: the free Jack. Right.

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Speaker 2: So essentially, again, the whole idea here is people who

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Speaker 2: died in horrific accidents in the past. A lot of

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Speaker 2: times you know exactly when they died, where they died,

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Speaker 2: and you know that there's like a catastrophic event like

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Speaker 2: in this case a car wreck, a race car wreck,

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Speaker 2: so you know exactly where in time and space to

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Speaker 2: reach back and steal their body, in other words, jack

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Speaker 2: their bones. It's called bone jacking, and the people who

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Speaker 2: do it are bone jackers.

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Speaker 3: Right, So they're bone jackers. And the person who gets

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Speaker 3: bone jacked from the past to the future to become

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Speaker 3: somebody's meat vehicle, that person is the bone bone jack.

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Speaker 2: Okay did they call them that? I thought maybe they

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Speaker 2: were just jacks, but they're called bone jacks.

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Speaker 3: I think they're called bone jacks. So the victim is

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Speaker 3: the bone jack. The verb would be to bone jack someone.

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Speaker 3: And then if you're one of these mercenaries who does

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Speaker 3: the bone jacking, you're a bone jacker.

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Speaker 2: Okay.

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Speaker 3: But then if a bone jack gets loose, then all

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Speaker 3: bets are off and they're a free jack. Right, It's

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Speaker 3: like being a free agent.

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Speaker 2: So then they have to try and either jack the

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Speaker 2: free jack or bone jack the free jack in order

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Speaker 2: to get them back, right.

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Speaker 3: For the bone jack Yes, yes, okay, that's right. But

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Speaker 3: I was thinking about, Okay, so the people who who

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Speaker 3: are the prime candidates for bone jacking in the premise

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Speaker 3: of this film are It's basically going to be anyone

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Speaker 3: who died on videotape with like a precise time code

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Speaker 3: and so you know the time and place where they died,

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Speaker 3: and that's well recorded and survives into the future. So

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Speaker 3: I realized, like, oh, probably all of the people who

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Speaker 3: are who are first in line to get bone jacked

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Speaker 3: are the people from the faces of death videos.

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Speaker 2: Sometimes they don't actually die, right, Sometimes that stuff's fake.

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Speaker 3: Right. Oh really, I've never actually watched one. I just

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Speaker 3: remember that was the thing when I was in high

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Speaker 3: school or whatever this is if you don't remember, these

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Speaker 3: were like morbid video cassettes of just like footage of

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Speaker 3: people dying in various ways.

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Speaker 2: Yeah, I mean, I guess it does help if it

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Speaker 2: is a case where something blows up, because then there's more,

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Speaker 2: it's less mystery of the body suddenly vanishes, you know,

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Speaker 2: right before they would die.

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Speaker 3: I mean, I think there'd still be a mystery. They

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Speaker 3: establish in this movie that there's a mystery.

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Speaker 2: Yeah, but there's a difference between Okay, there was a

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Speaker 2: car wreck and we never found the body to somebody

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Speaker 2: fired a bullet at JFK and then he vanished, you know,

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Speaker 2: and then it turns out he was bonejacked and now

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Speaker 2: is a body for some like super rich dude in

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Speaker 2: the future. Like that just doesn't make any sense. That

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Speaker 2: would be a huge incident.

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Speaker 3: Okay. So the film was directed by a guy named

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Speaker 3: Jeff Murphy who is a New Zealand film director who

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Speaker 3: passed away in twenty eighteen. His breakout film seems to

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Speaker 3: have been a New Zealand road trip movie that I've

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Speaker 3: never seen, called Goodbye pork Pie. But he had a

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Speaker 3: Hollywood period in which he directed films like Young Guns two,

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Speaker 3: which I didn't check, but I'm pretty sure that does

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Speaker 3: star Emelio Estevez.

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Speaker 2: It is yeah, it is ail.

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Speaker 3: Yeah, So connection there, Young Guns two in nineteen ninety

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Speaker 3: Free Jack in ninety two, so you can see the

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Speaker 3: connection there. But then he also directed a prestige period

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Speaker 3: drama I think about the Regency period known as Under

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Speaker 3: Siege two, Dark Territory in nineteen ninety five.

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Speaker 2: I've seen that one. That one has a terrible lead,

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Speaker 2: but has has some really talented people in it, because

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Speaker 2: Eric Bogosian plays the main villain. And then I want

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Speaker 2: to say, you have.

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Speaker 3: Who's Eric Bogosian? I've heard that name.

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Speaker 2: Oh, Eric Bogosian. He's been in a ton of stuff.

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Speaker 2: You've definitely seen him in things. I think he was in, well,

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Speaker 2: most recently he was in Uncut Gems. But he's been

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Speaker 2: in a ton of stuff.

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Speaker 4: Uh.

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Speaker 3: Yeah, he was in another Regency or a drama, Charlie's

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Speaker 3: Angels full Throttle, and he was a voice. I just

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Speaker 3: looked this up. He was a voice in Beavis and

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Speaker 3: butthead Do America.

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Speaker 2: Well, yeah, there you go. He's an impressive actor, I

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Speaker 2: would say. But yeah, so I saw that movie. It

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Speaker 2: also had Steven Seagal on it, of course, but yeah,

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Speaker 2: what can you do?

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Speaker 3: But Jeff Murphy was also a second unit director for

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Speaker 3: some big, you know, mainstream films, like like Peter Jackson's

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Speaker 3: Lord of the Rings trilogy. He did second unit stuff.

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Speaker 3: He did Dante's Peak, Triple X, State of the Union.

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Speaker 2: All right, So yeah, he had a pretty solid career. Now,

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Speaker 2: one thing about this film, this is something I didn't

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Speaker 2: realize back in the day when I originally watched it

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Speaker 2: and it was just kind of a creeping realization as

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Speaker 2: I was watching it just the other day, and it

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Speaker 2: is that this was filmed I think, entirely in Atlanta, Georgia,

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Speaker 2: in the city in which we live, the city that

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Speaker 2: we're recording this episode.

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Speaker 3: In and around. Like you saw Peachtree in it, didn't

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Speaker 3: you do you recognize suddenly when they're downtown and they're like,

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Speaker 3: there's Morta stations and.

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Speaker 2: Well, by that point I had looked it up. But

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Speaker 2: early on in the film, there's just a lot of

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Speaker 2: like you're in two thousand and nine, it's in the future,

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Speaker 2: and everything's like kind of gritty and industrial in a

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Speaker 2: way that plenty of parts of Atlanta still are. So

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Speaker 2: I was kind of thinking it was like, you know,

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Speaker 2: it's kind of an Atlanta feel to it, and then

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Speaker 2: I'm like, wait, I should look this up, and sure enough,

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Speaker 2: filmed in Atlanta. Of course, nowadays everything's filmed in Atlanta

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Speaker 2: or filmed in Georgia, so it doesn't really mean anything.

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Speaker 2: But you know, back in the day, there weren't that

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Speaker 2: many films filming in Atlanta, so it's kind of notable.

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Speaker 3: This one has some of the exact same locations and

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Speaker 3: streets featured in Baby Driver. Yeah, like you could. You

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Speaker 3: could compare Free Jack and Baby Driver and do some

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Speaker 3: side by sides.

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Speaker 2: Like they went to film Baby Driver and they're like, look,

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Speaker 2: we'll give you the free Jack package. This is what

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Speaker 2: it consists of.

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Speaker 3: You know, another dystopian future movie that uses Morta stations.

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Speaker 3: There were cut scenes from Escape from New York that

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Speaker 3: were filmed in Morta stations in Atlanta.

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Speaker 2: Yeah. Yeah. Of course the High Museum here in Atlanta

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Speaker 2: is famously where doctor Hannah Lecter was housed in Manhunter,

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Speaker 2: the original adaptation of Red Dragon.

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Speaker 3: M h Yeah, so played by Brian Cox.

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Speaker 2: Yeah. Yeah, a tremendous role. That was a really really

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Speaker 2: fun film, as I recall. But of course nowadays everything

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Speaker 2: is filmed around Atlanta, so it's it can be excruciating

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Speaker 2: at times. I find like I'm watching Cobra Kai and

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Speaker 2: they film like all of it in Atlanta, like everywhere,

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Speaker 2: Like I expect to see myself see out of my

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Speaker 2: own house and take out the garbage in the background

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Speaker 2: in a scene, you know, so I don't know, it

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Speaker 2: kind of takes me out of the experience sometimes these days.

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Speaker 2: But it's fun with these older films for some reason.

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Speaker 3: Yeah, so this was actually based on a novel, I think,

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Speaker 3: but maybe loosely based.

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Speaker 2: Yes, the novel very loosely based on a novel by

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Speaker 2: Robert Sheckley. He lived nineteen twenty eight through two thousand

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Speaker 2: and five, and it was quite successful. The book in

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Speaker 2: question was nineteen fifty eight Immortality, Inc. And originally I

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Speaker 2: didn't have time to read any of this book. But

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Speaker 2: originally the trans is from nineteen fifty eight to the

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Speaker 2: year twenty one to ten, so much further in the

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Speaker 2: into the future.

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Speaker 3: But anyway, Yeah, by shortening that length though, that that

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Speaker 3: dramatically changes what's possible with the plot in terms of

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Speaker 3: meeting people who you previously knew and not appearing to

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Speaker 3: have aged a single day in between.

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Speaker 2: Yeah. So it's supposedly a good book. I'd love to

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Speaker 2: hear from anyone out there who's read it. I read

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Speaker 2: that it, you know, it doesn't again, doesn't have much

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Speaker 2: to do with this movie. I don't think the terms

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Speaker 2: free jacker, bonejacker used it all in the book, and

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Speaker 2: I think there's supposedly a sequence in it where a

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Speaker 2: guy the main character, gets in line for something and

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Speaker 2: then finds out it's a suicide booth, which of course

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Speaker 2: is a gag in Futurama in the first episode of that, right,

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Speaker 2: but yeah, so very loosely based on a novel. Also,

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Speaker 2: there are a number of people that are credited on

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Speaker 2: the screenplay for this, and we'll get back to one

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Speaker 2: in a bit, but one of the people is Ronald Shuse,

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Speaker 2: who worked with Dan O'Bannon on Alien and Total Recall.

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Speaker 3: Ah, two great sci fi scripts.

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Speaker 2: Yeah, all right, now we've got our lead. Our star,

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Speaker 2: Emilio Estevez plays the character Alex Furlong. Now, Estevez is,

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Speaker 2: of course the nephew of noted B movie icon Joe Stevez.

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Speaker 3: And do you lead with that?

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Speaker 2: Yeah? Yeah, I mean he's also the son of acting

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Speaker 2: legend Martin Sheen, whose, of course real name is Ramon Estevez.

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Speaker 2: So if you weren't aware of that, like Martin Sheen,

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Speaker 2: that's his Hollywood name, his real name is Estevez. H

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Speaker 2: And yeah, so you know Martin Sheen from stuff like

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Speaker 2: Apocalypse Now or Spawn. He's been in everything.

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Speaker 3: I was just thinking how funny it was that you

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Speaker 3: don't you don't often put it together in your brain,

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Speaker 3: or at least I don't that like Martin Sheen, who

380
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Speaker 3: played the President on the West Wing, who's this kind

381
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Speaker 3: of like grumpy but kind, irascible fatherly figure he's presented

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Speaker 3: as this lovable nerd. Is also the main character from

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Speaker 3: Apocalypse Now and the villain from Spawn.

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Speaker 2: Yeah. I mean, he's been in so many different types

385
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Speaker 2: of films. He's been in some crap, you know, not

386
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Speaker 2: as much as Joe Estevez, but you know, but he

387
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Speaker 2: was in some really great films, especially early in his career.

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Speaker 2: Nineteen seventy Three's bad Lands by Terrence Malick, wonderful picture.

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Speaker 3: Emilia Estevez was was, I guess, pretty young at the

390
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Speaker 3: time this was filmed. I don't know exactly how he

391
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Speaker 3: was in his twenties, I guess.

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Speaker 2: Yeah, I'm not sure, but he was. Certainly he was

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Speaker 2: chugging right along. I mean, he'd been in the Breakfast Club,

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Speaker 2: the Young Guns, films, Repoman, a true cult classic, the

395
00:19:33,040 --> 00:19:36,399
Speaker 2: Mighty Ducks that came later, I guess, and then of

396
00:19:36,400 --> 00:19:39,440
Speaker 2: course he was in Maximum Overdrive, So you know, he's

397
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Speaker 2: been I think this was a movie that came out

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Speaker 2: at a time when he was very much the sort

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Speaker 2: of name you would put ahead of Mick Jagger on

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Speaker 2: a film.

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Speaker 3: That's pretty weird. So, of course, the thing that mainly

402
00:19:50,960 --> 00:19:53,560
Speaker 3: drew me into this when I picked it up at

403
00:19:53,560 --> 00:19:57,119
Speaker 3: the used bookstore was that it stars Mick Jagger, and

404
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Speaker 3: I had no idea Mick Jagger had ever been in

405
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Speaker 3: a movie at this time. Of course, Mick Jagger the

406
00:20:01,800 --> 00:20:05,280
Speaker 3: lead singer of the Rolling Stones. I was so my

407
00:20:05,760 --> 00:20:09,359
Speaker 3: mind was so rendered by the idea of him being

408
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Speaker 3: in a movie at all. I wonder if that sort

409
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Speaker 3: of prevented me from watching it in the years in between,

410
00:20:14,240 --> 00:20:16,480
Speaker 3: because I was almost kind of scared to find out

411
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Speaker 3: what it was like.

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Speaker 2: Like, you were afraid that his performance would just be

413
00:20:20,119 --> 00:20:22,440
Speaker 2: so good that it would change you on a fundamental level.

414
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Speaker 3: Yeah, how can you really make informed decisions about transformative change?

415
00:20:27,640 --> 00:20:32,720
Speaker 2: Yeah, it's so. Yeah, Mick Jagger's presence in this film

416
00:20:32,800 --> 00:20:36,359
Speaker 2: is interesting. Mick Jagger is I think you would call

417
00:20:36,440 --> 00:20:39,520
Speaker 2: him an intermittent actor at best. You look him up

418
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Speaker 2: on IMDb, and most of his film credits are himself

419
00:20:43,359 --> 00:20:47,440
Speaker 2: in concert footage. Yeah, but when he does act, when

420
00:20:47,480 --> 00:20:49,760
Speaker 2: he has acted, it's been all over the place. So

421
00:20:49,800 --> 00:20:52,920
Speaker 2: his first screen role was the lead in nineteen seventies

422
00:20:52,960 --> 00:20:56,000
Speaker 2: Ned Kelly, which I haven't seen it, but it does

423
00:20:56,040 --> 00:20:58,359
Speaker 2: seem very much like, Hey, we got this young fella here.

424
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Speaker 2: He's the front man of this popular band. Let's put

425
00:21:01,640 --> 00:21:05,399
Speaker 2: him in a movie. And then in nineteen eighty six

426
00:21:05,480 --> 00:21:07,600
Speaker 2: he was in a film called Laughter in the Dark,

427
00:21:08,840 --> 00:21:11,720
Speaker 2: based on a book by Navakov that I haven't read.

428
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Speaker 2: Are you familiar with this one?

429
00:21:13,520 --> 00:21:15,679
Speaker 3: I think I've heard of it, but I've never read it, Okay.

430
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Speaker 2: And then in nineteen ninety seven he was in an

431
00:21:18,600 --> 00:21:22,639
Speaker 2: adaptation of Bent, which based on the play by Martin Sherman.

432
00:21:22,720 --> 00:21:26,160
Speaker 2: This is about the persecution of homosexuals doing the Third Reich,

433
00:21:26,800 --> 00:21:30,840
Speaker 2: you know, very very serious, very stirring piece of drama.

434
00:21:31,400 --> 00:21:34,240
Speaker 2: And then he'll still occasionally act in things seemingly when

435
00:21:34,280 --> 00:21:36,879
Speaker 2: the mood hits him. But I think this is this

436
00:21:36,960 --> 00:21:38,800
Speaker 2: may be free Jack maybe one of the few, like

437
00:21:38,920 --> 00:21:42,200
Speaker 2: really like big budget kind of action films that he

438
00:21:42,280 --> 00:21:45,080
Speaker 2: pops up in. And I don't think he really has

439
00:21:45,119 --> 00:21:46,920
Speaker 2: another appearance in his career like.

440
00:21:46,880 --> 00:21:50,040
Speaker 3: This, well, because one was enough, clearly. I mean, his

441
00:21:50,200 --> 00:21:53,520
Speaker 3: role in this film changed him, It changed the world,

442
00:21:54,560 --> 00:21:56,639
Speaker 3: I would say, probably my Well, I don't know. There

443
00:21:56,640 --> 00:21:58,639
Speaker 3: are a couple of things I really did love about

444
00:21:58,640 --> 00:22:02,320
Speaker 3: free Jack. One was a just a spectacular scene with

445
00:22:03,000 --> 00:22:05,840
Speaker 3: Frankie Faison that we'll get to in a minute. But

446
00:22:06,280 --> 00:22:10,560
Speaker 3: Mick Jagger also, he really rules this movie, especially when

447
00:22:10,560 --> 00:22:11,960
Speaker 3: he's not talking.

448
00:22:12,119 --> 00:22:14,080
Speaker 2: Like he's best when he's not talking.

449
00:22:14,560 --> 00:22:19,040
Speaker 3: Yes, just reaction shots where he's wearing a spaceball's helmet

450
00:22:19,240 --> 00:22:21,480
Speaker 3: or a shot that suddenly cuts to him and we

451
00:22:21,520 --> 00:22:23,919
Speaker 3: get to see him in a coat with like gigantic

452
00:22:24,280 --> 00:22:28,680
Speaker 3: shoulder pads and you know, ankle link dragging. It's his costume.

453
00:22:28,760 --> 00:22:32,639
Speaker 3: Is Mick Jagger's costumes, Mick Jagger's reaction shots and occasionally

454
00:22:32,680 --> 00:22:35,960
Speaker 3: when Mick Jagger laughs at something that this movie really

455
00:22:36,040 --> 00:22:36,960
Speaker 3: kicks into high gear.

456
00:22:37,280 --> 00:22:39,679
Speaker 2: He has absolutely has a great coat in this His

457
00:22:39,800 --> 00:22:43,280
Speaker 2: costuming is is phenomenal. But but yeah, I guess it's

458
00:22:43,280 --> 00:22:45,720
Speaker 2: one of those things you can't help. But compare Mick

459
00:22:45,800 --> 00:22:48,439
Speaker 2: Jagger the actor to David Bowie the actor, And with

460
00:22:48,560 --> 00:22:51,560
Speaker 2: David Bowie you were able to in I think most,

461
00:22:51,680 --> 00:22:54,439
Speaker 2: if not all, of his film roles, the mystique of

462
00:22:54,520 --> 00:22:58,919
Speaker 2: David Bowie the musical performer translated to the film roles

463
00:22:58,960 --> 00:23:02,520
Speaker 2: that he took on and made them work marvelously. Like

464
00:23:02,600 --> 00:23:05,520
Speaker 2: David Bowie was great and everything he was in I

465
00:23:05,520 --> 00:23:07,400
Speaker 2: can't think of anything I've seen David Bowie in where

466
00:23:07,440 --> 00:23:10,840
Speaker 2: I'm like that was disappointing. But mc jagger, the you know,

467
00:23:10,880 --> 00:23:15,360
Speaker 2: the calculus didn't work there, The transit was not successful.

468
00:23:16,040 --> 00:23:19,280
Speaker 3: David Bowie's visual presence in a film is the equivalent

469
00:23:19,440 --> 00:23:23,320
Speaker 3: of the creaky lore theme from the soundtrack to The

470
00:23:23,359 --> 00:23:27,119
Speaker 3: Lord of the Rings. You know the d like it

471
00:23:27,240 --> 00:23:30,560
Speaker 3: really it conjures up the same kind of fog of

472
00:23:30,600 --> 00:23:31,280
Speaker 3: the ancients.

473
00:23:31,760 --> 00:23:34,760
Speaker 2: Yeah, absolutely so. We'll have more to say about Mick

474
00:23:34,840 --> 00:23:38,119
Speaker 2: Jagger's performance in this film as we proceed, but we should.

475
00:23:38,119 --> 00:23:40,440
Speaker 2: We should also hit on the fact that Renee Russo's

476
00:23:40,440 --> 00:23:43,840
Speaker 2: in this she plays Julie Redland, the love interest in

477
00:23:43,880 --> 00:23:46,520
Speaker 2: the past that is also the love interest in the future.

478
00:23:47,040 --> 00:23:49,440
Speaker 2: And say what you will about this movie or Russo's

479
00:23:49,560 --> 00:23:52,920
Speaker 2: I think, you know, perfectly fine but probably forgettable for performance.

480
00:23:53,000 --> 00:23:55,960
Speaker 2: But she met her husband on this film. One of

481
00:23:56,000 --> 00:23:59,879
Speaker 2: its mini screenwriters was Dan Gilroy, who also went on

482
00:24:00,040 --> 00:24:04,080
Speaker 2: to write and direct twenty fourteen's Nightcrawler. Oh wow, Yeah,

483
00:24:04,760 --> 00:24:07,800
Speaker 2: so say so. No matter what you think of the picture,

484
00:24:07,880 --> 00:24:09,000
Speaker 2: some good stuff came out of it.

485
00:24:10,040 --> 00:24:16,480
Speaker 3: Anthony Hopkins has an excellent check collecting scene in this film. Yeah,

486
00:24:16,560 --> 00:24:20,240
Speaker 3: Anthony Hopkins is a fabulous actor, but this is I

487
00:24:20,240 --> 00:24:23,239
Speaker 3: would say you could show this his scene in this

488
00:24:23,320 --> 00:24:27,879
Speaker 3: movie as like the classroom textbook example of phoning it

489
00:24:27,920 --> 00:24:30,520
Speaker 3: in if you were trying to explain that concept.

490
00:24:30,680 --> 00:24:33,560
Speaker 2: Yeah. I mean he's not asked to do much. No,

491
00:24:34,160 --> 00:24:36,960
Speaker 2: his character from the get go is dead and it

492
00:24:37,040 --> 00:24:40,160
Speaker 2: is just a like brain waves and a giant jack

493
00:24:40,200 --> 00:24:44,240
Speaker 2: in the sky. Yeah, but still he's Anthony Hopkins, so

494
00:24:44,280 --> 00:24:46,760
Speaker 2: he classes up every scene he's in and makes you

495
00:24:46,800 --> 00:24:50,239
Speaker 2: believe it on a level that just Emilio Westevez is

496
00:24:50,280 --> 00:24:51,320
Speaker 2: not capable of doing it.

497
00:24:51,920 --> 00:24:54,840
Speaker 3: Yeah, it's a little rough. I guarantee you that when

498
00:24:54,840 --> 00:24:59,000
Speaker 3: Anthony Hopkins delivered his lines in the single takes of

499
00:24:59,040 --> 00:25:01,000
Speaker 3: the scenes that we saw that made it into the

500
00:25:01,000 --> 00:25:03,000
Speaker 3: final version of the movie, that was the first time

501
00:25:03,040 --> 00:25:03,720
Speaker 3: he had read them.

502
00:25:06,119 --> 00:25:10,800
Speaker 2: Yeah, I would not doubt it. Now, another actor that

503
00:25:10,840 --> 00:25:14,200
Speaker 2: I think everybody will will pretty much recognize now that

504
00:25:14,200 --> 00:25:16,879
Speaker 2: that is in it is Jonathan Banks, who plays his

505
00:25:17,000 --> 00:25:19,320
Speaker 2: character Michelette Miicolette.

506
00:25:19,440 --> 00:25:24,800
Speaker 3: Michelette Michelette. He's like, he's like a creepy he's a

507
00:25:24,840 --> 00:25:27,240
Speaker 3: business executive, he's a suit Yeah.

508
00:25:27,880 --> 00:25:31,040
Speaker 2: So uh yeah. Banks was born in forty seven. He's

509
00:25:31,040 --> 00:25:33,879
Speaker 2: had a whole career of playing heavies with eyes you

510
00:25:33,920 --> 00:25:37,000
Speaker 2: can't trust. He's got these Yeah, he's got these these eyes.

511
00:25:37,040 --> 00:25:38,480
Speaker 2: You just look at him and you're like that, that

512
00:25:38,520 --> 00:25:41,280
Speaker 2: guy's bad back, a lion. Yeah, he's he was made

513
00:25:41,359 --> 00:25:45,920
Speaker 2: to play like mercenaries and dirty cops and you know thugs.

514
00:25:45,960 --> 00:25:47,160
Speaker 2: You know, that's like his whole thing.

515
00:25:48,080 --> 00:25:51,600
Speaker 3: He looks like somebody whose hobby is shoplifting golf equipment.

516
00:25:52,320 --> 00:25:57,000
Speaker 2: Yeah. Now, everybody now definitely knows him as Mike, first

517
00:25:57,040 --> 00:26:00,760
Speaker 2: from Breaking Bad and then from The Fabulous Equal Better

518
00:26:00,800 --> 00:26:04,000
Speaker 2: Call Saul, And he's tremendous on those shows because it

519
00:26:04,000 --> 00:26:06,000
Speaker 2: gives him a chance to be this cold, heavy but

520
00:26:06,080 --> 00:26:09,280
Speaker 2: also play this aging, emotional human being with you know,

521
00:26:09,840 --> 00:26:13,080
Speaker 2: with human connections in his life. That was not always

522
00:26:13,080 --> 00:26:15,200
Speaker 2: the case with the kind of roles that Banks would

523
00:26:15,240 --> 00:26:17,440
Speaker 2: have because he's he's been in so many things he

524
00:26:17,480 --> 00:26:21,200
Speaker 2: often plays again like cops and heavies. He was Deputy

525
00:26:21,200 --> 00:26:24,520
Speaker 2: Brent in Grimlins in eighty four. Let's see. He was

526
00:26:24,560 --> 00:26:26,439
Speaker 2: in a few episodes of Tales. He was in one

527
00:26:26,440 --> 00:26:27,960
Speaker 2: episode of Tales from the Crypt. He was in an

528
00:26:27,960 --> 00:26:30,960
Speaker 2: episode of Highlander, the TV series. He was in Deep

529
00:26:31,040 --> 00:26:34,040
Speaker 2: Space nine. He was a show regular slash lead on

530
00:26:34,119 --> 00:26:36,760
Speaker 2: Wise Guy from eighty seven through ninety. He was in

531
00:26:36,880 --> 00:26:40,760
Speaker 2: Murder She wrote, he was on airplane. Just so much stuff.

532
00:26:41,520 --> 00:26:44,800
Speaker 2: But his first screen role is a nineteen seventy four

533
00:26:44,920 --> 00:26:48,880
Speaker 2: education short from the Los Angeles Public Library titled Linda's

534
00:26:48,920 --> 00:26:52,760
Speaker 2: Film on Menstruation. Oh so it's worth looking up.

535
00:26:53,080 --> 00:26:53,240
Speaker 4: You know.

536
00:26:53,240 --> 00:26:56,840
Speaker 2: It's just an educational short film and it's on YouTube,

537
00:26:57,119 --> 00:26:59,680
Speaker 2: and you get to see baby Jonathan Banks in there

538
00:26:59,720 --> 00:27:03,560
Speaker 2: playing like this gruff guy who doesn't understand menstruation.

539
00:27:03,880 --> 00:27:06,160
Speaker 3: Oh, he's like a don't do what Donnie don't does.

540
00:27:06,760 --> 00:27:08,560
Speaker 2: Yeah, Like he's sitting on the couch and he's like,

541
00:27:08,640 --> 00:27:12,080
Speaker 2: I don't understand menstruation. So that the woman in the

542
00:27:12,119 --> 00:27:14,880
Speaker 2: room turns on the TV and there's an animation. There's

543
00:27:14,880 --> 00:27:16,320
Speaker 2: a cartoon that explains it all.

544
00:27:16,359 --> 00:27:17,120
Speaker 3: So oh I see.

545
00:27:17,200 --> 00:27:17,640
Speaker 4: Yeah.

546
00:27:17,680 --> 00:27:20,440
Speaker 3: So he's he's ready to learn. He's not somebody who's

547
00:27:20,520 --> 00:27:21,960
Speaker 3: just like just doesn't get it.

548
00:27:22,680 --> 00:27:25,399
Speaker 2: Yeah. But his face he has that. One of the

549
00:27:25,400 --> 00:27:27,679
Speaker 2: great things about Jonathan Banks. He has a great, like

550
00:27:27,920 --> 00:27:31,800
Speaker 2: smoldering look like he's great at at just expressing that

551
00:27:32,080 --> 00:27:34,040
Speaker 2: I don't I don't really care what's going on here

552
00:27:34,119 --> 00:27:36,159
Speaker 2: with my with my you know, just my eyes and

553
00:27:36,240 --> 00:27:39,119
Speaker 2: kind of like the melting features of my face. So

554
00:27:39,240 --> 00:27:40,959
Speaker 2: he has that going on in that scene. You can

555
00:27:41,000 --> 00:27:44,520
Speaker 2: definitely see it's it forecast everything to come in his career, Like,

556
00:27:44,560 --> 00:27:46,360
Speaker 2: this is a guy that's gonna play a lot of heavies,

557
00:27:46,480 --> 00:27:49,679
Speaker 2: fair enough, all right, So he's essentially your one of

558
00:27:49,680 --> 00:27:53,400
Speaker 2: your sub villains here, one of your top three anyway.

559
00:27:53,680 --> 00:27:55,800
Speaker 2: But then you have a whole host of additional players

560
00:27:55,800 --> 00:27:56,800
Speaker 2: in this film as well.

561
00:27:56,920 --> 00:27:58,440
Speaker 3: God, the cast is huge.

562
00:27:58,840 --> 00:28:01,120
Speaker 2: Yeah. For instance, you have this character named Brad who

563
00:28:01,119 --> 00:28:03,760
Speaker 2: shows up in the past and the future, played by

564
00:28:04,119 --> 00:28:07,240
Speaker 2: David Johansson, which if you like me and you, I

565
00:28:07,280 --> 00:28:09,000
Speaker 2: don't know, you grew up watching the right era of

566
00:28:09,080 --> 00:28:12,360
Speaker 2: MTV or the right reruns of Saturday Night Live, then

567
00:28:12,400 --> 00:28:14,760
Speaker 2: you probably will recognize him as Buster Poindexter.

568
00:28:15,000 --> 00:28:18,400
Speaker 3: Oh no, I know him as New York Dolls and Scrooged.

569
00:28:18,840 --> 00:28:21,359
Speaker 2: Oh yeah, yeah. That was one of his big screen roles,

570
00:28:21,440 --> 00:28:24,560
Speaker 2: is Scrooge. There's another great one, and that's Tales from

571
00:28:24,560 --> 00:28:27,240
Speaker 2: the Dark Side, the movie in which he plays an

572
00:28:27,280 --> 00:28:30,320
Speaker 2: assassin in the cat from Hell segment, which is based

573
00:28:30,359 --> 00:28:31,719
Speaker 2: on a Stephen King short story.

574
00:28:32,160 --> 00:28:33,239
Speaker 3: Oh Yeah, I remember that.

575
00:28:33,359 --> 00:28:35,359
Speaker 2: I remember the cat like goes down his throat and

576
00:28:35,440 --> 00:28:36,320
Speaker 2: jumps out his stomach.

577
00:28:36,400 --> 00:28:36,640
Speaker 3: Yeah.

578
00:28:36,680 --> 00:28:39,840
Speaker 2: Great, yep, yeah.

579
00:28:40,080 --> 00:28:41,640
Speaker 3: Oh, but he's great in this.

580
00:28:42,160 --> 00:28:44,840
Speaker 2: Yeah. Yeah, he's great. He's like, what is pit boss

581
00:28:44,920 --> 00:28:47,520
Speaker 2: or something? He's somebody knows in the past, and then

582
00:28:47,560 --> 00:28:49,920
Speaker 2: in the future he looks him up, and of course

583
00:28:49,960 --> 00:28:52,120
Speaker 2: now he's in the Hell City of two thousand and

584
00:28:52,200 --> 00:28:56,560
Speaker 2: nine America. This character Brad is just a low life

585
00:28:57,240 --> 00:29:00,000
Speaker 2: who instantly betrays him and gets shot.

586
00:29:00,440 --> 00:29:02,960
Speaker 3: Yeah. Amanda Plumbers in this.

587
00:29:03,600 --> 00:29:06,520
Speaker 2: Yeah, the daughter of the late great Christopher Plumber, best

588
00:29:06,560 --> 00:29:08,760
Speaker 2: known for She's probably best known for stuff like pulp

589
00:29:08,760 --> 00:29:11,800
Speaker 2: fiction and The Fisher King. She often plays characters with

590
00:29:11,840 --> 00:29:15,880
Speaker 2: a really fantastic, frantic energy's She's a wonderful character actor.

591
00:29:15,880 --> 00:29:20,080
Speaker 2: I would say, a wonderful weird character actor. She's also

592
00:29:20,240 --> 00:29:23,240
Speaker 2: in an excellent episode of the nineties Outer Limits series

593
00:29:23,240 --> 00:29:26,600
Speaker 2: that I recently watched, titled A Stitch in Time, where

594
00:29:26,600 --> 00:29:30,640
Speaker 2: she plays the time traveling doctor Thereesa Gibvens, who, like Go,

595
00:29:30,880 --> 00:29:35,200
Speaker 2: uses her time machine to kill sexual predators in the past.

596
00:29:35,400 --> 00:29:35,880
Speaker 3: Who.

597
00:29:36,160 --> 00:29:39,000
Speaker 2: Yeah, so she actually won an Emmy for that. She's

598
00:29:39,000 --> 00:29:39,480
Speaker 2: great in it.

599
00:29:39,720 --> 00:29:40,040
Speaker 3: Wow.

600
00:29:40,720 --> 00:29:42,400
Speaker 2: In this, she plays a nun with a shotgun.

601
00:29:42,720 --> 00:29:46,320
Speaker 3: That's right. I kept calling her sister Shotgun when.

602
00:29:46,400 --> 00:29:48,440
Speaker 2: I think that's her name. I can't remember what else

603
00:29:48,480 --> 00:29:52,960
Speaker 2: it could be. I think she's just none. Actually I

604
00:29:52,960 --> 00:29:55,760
Speaker 2: think what she's credited as. Oh, let's see who else

605
00:29:55,840 --> 00:29:59,680
Speaker 2: we have. Okay, we have grand l Bush places character Boone,

606
00:29:59,680 --> 00:30:02,520
Speaker 2: who's sort of a corpo samurai, like right out of

607
00:30:02,560 --> 00:30:06,120
Speaker 2: the Cyberpunk role playing game and video game franchise.

608
00:30:06,320 --> 00:30:09,960
Speaker 3: Yes, he's like a he's like a corporate executive slash

609
00:30:10,400 --> 00:30:15,120
Speaker 3: bodyguard or like mercenary type guy. Who. So he's he's

610
00:30:15,600 --> 00:30:18,360
Speaker 3: in the corporate world, but he's skilled. He's got a

611
00:30:18,400 --> 00:30:19,640
Speaker 3: katana and stuff.

612
00:30:19,840 --> 00:30:23,400
Speaker 2: Yeah, he's always carrying around this short samurai sword and

613
00:30:23,640 --> 00:30:26,360
Speaker 2: has a gun. He's wearing a big suit. Yeah. So

614
00:30:26,440 --> 00:30:28,720
Speaker 2: he's Yeah, like I say, right out out of Cyberpunk.

615
00:30:29,080 --> 00:30:32,360
Speaker 3: So I knew this guys from die Hard, in which

616
00:30:32,360 --> 00:30:35,200
Speaker 3: he's one of the the two FBI agents who come in.

617
00:30:35,240 --> 00:30:39,080
Speaker 3: He's Special Agent Johnson. It's him and Robert dove Who

618
00:30:39,120 --> 00:30:40,640
Speaker 3: are the two FBI guys?

619
00:30:41,120 --> 00:30:45,480
Speaker 2: Oh okay, yeah those are some some Dovey's definitely heavy.

620
00:30:46,720 --> 00:30:49,320
Speaker 2: I think I probably knew Bush best from playing ball

621
00:30:49,440 --> 00:30:52,040
Speaker 2: Rock and Street Fighter too. No street Fighter, it's not

622
00:30:52,080 --> 00:30:54,880
Speaker 2: street Fighter too. It's just street Fighter. Yeah, the Jean

623
00:30:54,960 --> 00:30:58,479
Speaker 2: Claude van Dam version of that. But yeah, he's been

624
00:30:58,520 --> 00:31:00,000
Speaker 2: in a bunch of So. He was an Exorcist three,

625
00:31:00,200 --> 00:31:02,600
Speaker 2: he was in License to Kill. I think I remember

626
00:31:02,680 --> 00:31:05,680
Speaker 2: him from that. Basically, he did a bunch of nineties action.

627
00:31:05,840 --> 00:31:09,280
Speaker 2: He was in Demolition Man. But make no mistake about

628
00:31:09,320 --> 00:31:11,760
Speaker 2: Grandell Bush. He was a highly trained actor who did

629
00:31:11,760 --> 00:31:15,680
Speaker 2: everything from Shakespeare and to like seventy stage musicals, like

630
00:31:15,800 --> 00:31:16,560
Speaker 2: rock musicals.

631
00:31:16,600 --> 00:31:18,560
Speaker 3: Oh, he was in Hair. Yeah, he was in Hair.

632
00:31:18,680 --> 00:31:21,640
Speaker 2: He did a lot of TV work. He did Roots,

633
00:31:21,880 --> 00:31:24,880
Speaker 2: he was in the color purple. And again, this is

634
00:31:24,960 --> 00:31:26,880
Speaker 2: one of the weird things about free Jack is that

635
00:31:27,240 --> 00:31:30,760
Speaker 2: it brings people together because he like so, yeah, he

636
00:31:30,920 --> 00:31:33,840
Speaker 2: also met his wife, his wife of twenty six years

637
00:31:33,880 --> 00:31:35,240
Speaker 2: in counting on this picture.

638
00:31:35,400 --> 00:31:36,360
Speaker 3: What okay?

639
00:31:36,920 --> 00:31:40,760
Speaker 2: So his wife, she was a journalist for Beet and

640
00:31:40,800 --> 00:31:43,520
Speaker 2: she was on set to interview him about his role

641
00:31:43,560 --> 00:31:47,520
Speaker 2: in this film, and magic happened. The magic of Freejack

642
00:31:47,560 --> 00:31:48,320
Speaker 2: brought them together.

643
00:31:49,840 --> 00:31:51,520
Speaker 3: Free Jack, I mean it just gets people in a

644
00:31:51,520 --> 00:31:53,120
Speaker 3: place where they're ready to commit, you know.

645
00:31:54,920 --> 00:31:57,640
Speaker 2: All right. Up next, this is another bit player in it.

646
00:31:57,800 --> 00:32:00,520
Speaker 2: He just has one maybe two crazy.

647
00:32:00,440 --> 00:32:02,720
Speaker 3: I think, just one scene, but he's great in it.

648
00:32:03,400 --> 00:32:06,720
Speaker 3: This is Frankie Faison, yeah, who you might know best

649
00:32:06,760 --> 00:32:10,280
Speaker 3: from playing Burrell in The Wire, but he's also Barney

650
00:32:10,280 --> 00:32:14,320
Speaker 3: in the Hannibal Lecture movies. He's a great actor. He's

651
00:32:14,560 --> 00:32:16,960
Speaker 3: very good at having like a kind of a calming presence,

652
00:32:17,160 --> 00:32:21,040
Speaker 3: soft voice, but in this he's exactly the opposite. And

653
00:32:21,120 --> 00:32:24,440
Speaker 3: this he's electric as this guy who gives in my view,

654
00:32:24,800 --> 00:32:28,800
Speaker 3: an oscar worthy monologue about rat based cuisine and then

655
00:32:28,800 --> 00:32:31,160
Speaker 3: a sort of Hamlet style to be or not to

656
00:32:31,200 --> 00:32:34,200
Speaker 3: be soliloquy, except it's about an eagle who's trying to

657
00:32:34,240 --> 00:32:35,800
Speaker 3: decide whether to commit suicide.

658
00:32:36,120 --> 00:32:38,960
Speaker 2: Yeah. Yeah, and his character is listed as Eagleman.

659
00:32:39,280 --> 00:32:41,400
Speaker 3: Yeah, that's his whole eagle monologue.

660
00:32:41,440 --> 00:32:45,360
Speaker 2: Yeah yeah, it's a yeah, this is the weirdest thing

661
00:32:45,360 --> 00:32:47,120
Speaker 2: in the whole picture at this scene, Like this is

662
00:32:47,520 --> 00:32:51,320
Speaker 2: Frankie's keeping it weird for us with this one. But yeah, yeah,

663
00:32:51,360 --> 00:32:52,960
Speaker 2: He's been in a ton of things over the years.

664
00:32:52,960 --> 00:32:55,520
Speaker 2: He was a landlord in eighty eight Is Coming to America.

665
00:32:56,400 --> 00:32:58,440
Speaker 2: But then in terms of sort of horror and sci

666
00:32:58,480 --> 00:33:01,200
Speaker 2: fi stuff, he was in Chud, he was in Cat people.

667
00:33:01,720 --> 00:33:04,040
Speaker 2: He was in Maximum Overdrive with Emilio.

668
00:33:05,320 --> 00:33:08,480
Speaker 3: Don't we have several Maximum Overdrive people in this movie? Yeah?

669
00:33:08,600 --> 00:33:10,800
Speaker 2: I guess we do. Yeah. And then for another Stephen

670
00:33:10,880 --> 00:33:13,800
Speaker 2: King connection, the Langoliers. He was in that as well,

671
00:33:13,920 --> 00:33:14,960
Speaker 2: that TV adaptation.

672
00:33:15,440 --> 00:33:17,760
Speaker 3: Oh maybe we should talk about that on Weird House

673
00:33:17,800 --> 00:33:20,040
Speaker 3: if we ever want to watch a four hour movie.

674
00:33:20,480 --> 00:33:22,440
Speaker 2: Oh man, I never saw it. I just I read

675
00:33:22,440 --> 00:33:24,920
Speaker 2: though it's novella. It's based on In Love the novella.

676
00:33:25,000 --> 00:33:28,040
Speaker 3: But it is awful. It is, you know, made for

677
00:33:28,120 --> 00:33:31,360
Speaker 3: TV Stephen King stuff, late nineties, early two thousands, whenever

678
00:33:31,360 --> 00:33:35,440
Speaker 3: it was that came out. It has unbelievably bad CGI

679
00:33:35,560 --> 00:33:37,760
Speaker 3: monsters in it. They just run around eating up the

680
00:33:37,840 --> 00:33:39,440
Speaker 3: screen like the screen itself.

681
00:33:39,560 --> 00:33:42,040
Speaker 2: They're supposed to be like the Critters, like they're basically

682
00:33:42,120 --> 00:33:46,920
Speaker 2: Stephen King wrote The Critters as time munching kremlin monsters.

683
00:33:47,000 --> 00:33:49,040
Speaker 3: Yeah. My memory about it is that it's about a

684
00:33:49,120 --> 00:33:51,800
Speaker 3: cast of people on an airplane who all have their

685
00:33:51,840 --> 00:33:55,120
Speaker 3: own demons that get explored in flashbacks. And then also

686
00:33:55,200 --> 00:33:56,720
Speaker 3: there are monsters that eat time.

687
00:33:57,200 --> 00:33:59,360
Speaker 2: Oh yeah, I mainly remember the monsters that eat Time

688
00:34:00,080 --> 00:34:03,360
Speaker 2: from the again from the novella. Okay, one more bit

689
00:34:03,440 --> 00:34:05,640
Speaker 2: player just to mention, and that's this guy John Shay,

690
00:34:05,720 --> 00:34:08,479
Speaker 2: who plays his character Morgan. I don't know much about

691
00:34:08,480 --> 00:34:11,360
Speaker 2: this guy, but his IMDb headshot looks so much like

692
00:34:11,440 --> 00:34:14,960
Speaker 2: Jeffrey Epstein. I feel like he's destined for some for

693
00:34:15,000 --> 00:34:18,800
Speaker 2: a biopick there. He also played Lex Luthor on Lewis

694
00:34:18,800 --> 00:34:20,719
Speaker 2: and Clark, you know that venture as a Superman.

695
00:34:21,120 --> 00:34:30,279
Speaker 3: Yeah.

696
00:34:30,360 --> 00:34:33,319
Speaker 2: Music wise, the score didn't really do anything for me,

697
00:34:33,640 --> 00:34:36,680
Speaker 2: I have to admit, but it's by Trevor Jones, who

698
00:34:36,760 --> 00:34:39,120
Speaker 2: scored a lot of eighties films that I love, such

699
00:34:39,160 --> 00:34:43,520
Speaker 2: as The Dark Crystal, Labyrinth, Time Bandits. In the nineties

700
00:34:43,560 --> 00:34:47,160
Speaker 2: he did Dark City. So again, nothing in this picture

701
00:34:47,239 --> 00:34:50,160
Speaker 2: really blew me away, but I think his was, particularly

702
00:34:50,239 --> 00:34:52,640
Speaker 2: his work in those hints in films, was really really good.

703
00:34:52,800 --> 00:34:54,400
Speaker 3: Oh I like it. I like his score on The

704
00:34:54,440 --> 00:34:57,800
Speaker 3: Dark Crystal. Yeah, that's really a great score, that driving

705
00:34:57,880 --> 00:35:00,440
Speaker 3: pace in the film. In fact, that that actually come

706
00:35:00,480 --> 00:35:02,560
Speaker 3: down to someday I want to, I don't know, have

707
00:35:02,960 --> 00:35:05,200
Speaker 3: a good argument with somebody about which of the Dark

708
00:35:05,239 --> 00:35:08,560
Speaker 3: City cuts is better, because did I say Dark Crystal

709
00:35:08,640 --> 00:35:10,320
Speaker 3: or Dark City earlier? For you?

710
00:35:10,520 --> 00:35:12,279
Speaker 2: I think you said Dark Crystal earlier. Then you said

711
00:35:12,360 --> 00:35:14,360
Speaker 2: Dark City, which got me excited because I had no

712
00:35:14,360 --> 00:35:15,759
Speaker 2: idea there were different cuts.

713
00:35:15,680 --> 00:35:18,560
Speaker 3: Of Dark City of Dark City, Yeah, that's what. So

714
00:35:18,719 --> 00:35:23,080
Speaker 3: there's one cut that is maybe artistically superior because it

715
00:35:23,160 --> 00:35:26,360
Speaker 3: cuts out some kind of bad voiceover narration at the

716
00:35:26,360 --> 00:35:28,720
Speaker 3: beginning and a few other things. But the original cut

717
00:35:29,000 --> 00:35:33,239
Speaker 3: has such great pacing, like it just drives and drives. H.

718
00:35:34,080 --> 00:35:36,320
Speaker 3: I don't know, we'll explore it someday.

719
00:35:36,600 --> 00:35:38,200
Speaker 2: Yeah. Yeah, that's a fun one.

720
00:35:38,600 --> 00:35:40,080
Speaker 3: But one of the things that I thought was funny

721
00:35:40,120 --> 00:35:42,640
Speaker 3: about the music by Trevor Jones. So when you get

722
00:35:42,640 --> 00:35:45,279
Speaker 3: to the opening credits of the movie, it is just

723
00:35:45,920 --> 00:35:50,120
Speaker 3: CGI shards flying around the screen like an after dark screensaver,

724
00:35:50,560 --> 00:35:54,400
Speaker 3: while you've got saxophone music playing a tune that sounds

725
00:35:54,520 --> 00:35:57,239
Speaker 3: a little bit like the melody of the rains of

726
00:35:57,320 --> 00:36:00,440
Speaker 3: CASTI Mirror. It's like a cross between the reins of

727
00:36:00,520 --> 00:36:04,240
Speaker 3: cast Mirror and then Evangelists and then Baker Street. Okay,

728
00:36:04,640 --> 00:36:07,399
Speaker 3: And of course the shards become the title free Jack

729
00:36:08,000 --> 00:36:11,800
Speaker 3: uh and and then we immediately cut to swirling fog

730
00:36:11,960 --> 00:36:15,319
Speaker 3: and silhouettes of trucks and jeeps cutting through this dark

731
00:36:15,400 --> 00:36:18,640
Speaker 3: landscape with their high beams. And then in one of

732
00:36:18,680 --> 00:36:20,759
Speaker 3: the greatest transitions in the movie. So you got that,

733
00:36:20,840 --> 00:36:23,000
Speaker 3: you got the the music playing and the and the

734
00:36:23,120 --> 00:36:27,040
Speaker 3: dark trucks over the horizon, and then immediately estevez butt.

735
00:36:27,239 --> 00:36:30,800
Speaker 3: You're just Joe Estevez's butt in like his alarm clock's

736
00:36:30,840 --> 00:36:32,399
Speaker 3: going off. He's laying in bed.

737
00:36:32,719 --> 00:36:33,560
Speaker 2: Whoa, it's not not.

738
00:36:35,080 --> 00:36:37,680
Speaker 3: What did I say? Sorry?

739
00:36:38,960 --> 00:36:39,280
Speaker 2: Different?

740
00:36:39,960 --> 00:36:42,759
Speaker 3: Better? No, this is ameliaest of Az. You just like

741
00:36:42,840 --> 00:36:45,440
Speaker 3: see his butt and he's wearing like green underwear and

742
00:36:45,480 --> 00:36:48,279
Speaker 3: he's his alarm clock's going off, and he's like, you know,

743
00:36:48,360 --> 00:36:50,640
Speaker 3: and his sheets are tossed all over the place.

744
00:36:51,200 --> 00:36:51,319
Speaker 2: Uh.

745
00:36:51,520 --> 00:36:53,840
Speaker 3: And I don't know why. I didn't know at first

746
00:36:53,880 --> 00:36:57,040
Speaker 3: why they made that choice to begin with his butt,

747
00:36:57,040 --> 00:36:59,280
Speaker 3: but I think it's explained later on once you finally

748
00:36:59,280 --> 00:37:00,680
Speaker 3: get all the premise wheeled out.

749
00:37:01,040 --> 00:37:04,440
Speaker 2: Okay, I don't remember the explanation, but yeah, I'll roll

750
00:37:04,480 --> 00:37:07,360
Speaker 2: with it. Like the whole opening segment of this section

751
00:37:07,440 --> 00:37:11,160
Speaker 2: of this movie, I understand most of the choices they made,

752
00:37:11,360 --> 00:37:13,839
Speaker 2: you know, like they want to establish who he is

753
00:37:13,960 --> 00:37:15,960
Speaker 2: and what his connections are with people in the past,

754
00:37:16,360 --> 00:37:20,040
Speaker 2: and we want we want to have a bone jacking

755
00:37:20,280 --> 00:37:26,399
Speaker 2: scenario that is susceptible to disruption. So it but still

756
00:37:26,400 --> 00:37:27,960
Speaker 2: you're watching it and you're like, I would just wish

757
00:37:27,960 --> 00:37:29,680
Speaker 2: they would go ahead and bone jack this guy so

758
00:37:29,719 --> 00:37:31,600
Speaker 2: we can get to the future. It seems like we

759
00:37:31,640 --> 00:37:33,920
Speaker 2: spend a lot of time getting to that point.

760
00:37:34,239 --> 00:37:34,439
Speaker 4: Yeah.

761
00:37:34,480 --> 00:37:37,319
Speaker 3: It starts off with Renee Russo and Emilio Estevez just

762
00:37:37,360 --> 00:37:41,560
Speaker 3: flirting a lot. It's it's almost overwhelmingly Sacharin. They're just

763
00:37:41,600 --> 00:37:43,719
Speaker 3: like telling each other how much they love each other,

764
00:37:43,840 --> 00:37:47,000
Speaker 3: and he's like, I'll win that race, honey, you just

765
00:37:47,080 --> 00:37:51,000
Speaker 3: watch again. He's a race car driver and they're talking

766
00:37:51,000 --> 00:37:53,640
Speaker 3: about like what will the other driver's wives be wearing?

767
00:37:53,760 --> 00:37:59,000
Speaker 3: And so I think they're engaged again. Emilio Estevez playing

768
00:37:59,040 --> 00:38:02,120
Speaker 3: this guy Alex for Long, that's his name, for Long.

769
00:38:02,160 --> 00:38:06,680
Speaker 3: He's his Formula one racer, and and so we're watching

770
00:38:06,719 --> 00:38:09,960
Speaker 3: all this sweety sweety time stuff where they're, you know,

771
00:38:10,000 --> 00:38:12,520
Speaker 3: they're racing around a track in the daytime, or Emilia

772
00:38:12,560 --> 00:38:15,920
Speaker 3: Westevez is he's doing like training laps or something. And

773
00:38:15,960 --> 00:38:18,920
Speaker 3: then we're cutting back and forth between that and him

774
00:38:18,960 --> 00:38:22,879
Speaker 3: flirting with Renee Russo, and then Mick Jagger and an

775
00:38:23,000 --> 00:38:27,520
Speaker 3: army of helmeted Apocalypse goons driving their heavy machinery through

776
00:38:27,560 --> 00:38:31,160
Speaker 3: the dark and Mick Jagger is using this futuristic digital

777
00:38:31,280 --> 00:38:34,600
Speaker 3: map to navigate to a precise point in New York.

778
00:38:35,280 --> 00:38:38,120
Speaker 3: And then we get Rene Russo and Emilia Westavez banter.

779
00:38:39,560 --> 00:38:43,040
Speaker 3: She's like critiquing his driving for some reason, and he's like,

780
00:38:43,160 --> 00:38:46,040
Speaker 3: you drive your typewriter, I'll drive my car. And then

781
00:38:46,080 --> 00:38:47,440
Speaker 3: she says it's a computer.

782
00:38:50,200 --> 00:38:51,279
Speaker 2: Uh and oh.

783
00:38:51,360 --> 00:38:53,880
Speaker 3: And then very importantly because it comes up later in

784
00:38:53,960 --> 00:38:57,120
Speaker 3: the movie, Emilio says he won't race unless Renee Russo

785
00:38:57,239 --> 00:38:59,719
Speaker 3: nibbles his ear in public, and they they kind of

786
00:38:59,800 --> 00:39:01,680
Speaker 3: him and haw about that, and then she does, and

787
00:39:01,800 --> 00:39:04,160
Speaker 3: then they say how much they love each other. So

788
00:39:04,520 --> 00:39:07,480
Speaker 3: all is well in the Kingdom of nineteen ninety one.

789
00:39:07,640 --> 00:39:10,120
Speaker 3: Everybody's happy and in love and things are great.

790
00:39:10,520 --> 00:39:12,719
Speaker 2: Little do they know, though, there is about to be

791
00:39:12,880 --> 00:39:16,000
Speaker 2: a catastrophic car wreck. And then that's when the bone

792
00:39:16,080 --> 00:39:17,240
Speaker 2: jacking will actually begin.

793
00:39:17,280 --> 00:39:18,520
Speaker 3: Right, the bonejacking will begin.

794
00:39:18,600 --> 00:39:18,719
Speaker 4: Oh.

795
00:39:18,880 --> 00:39:21,640
Speaker 3: But we also we meet Brad the manager. Remember this

796
00:39:21,760 --> 00:39:24,600
Speaker 3: is the guy from the New York Dolls. Brad seems

797
00:39:24,680 --> 00:39:28,480
Speaker 3: to manage Emilio Estevez and some other racers, and he

798
00:39:28,560 --> 00:39:31,120
Speaker 3: says things like, you do the driving, I'll do the jiving.

799
00:39:31,239 --> 00:39:34,279
Speaker 3: And so he's going out schmoozing with potential sponsors. I

800
00:39:34,320 --> 00:39:37,279
Speaker 3: think there's this guy who introduces himself with the name

801
00:39:37,320 --> 00:39:40,040
Speaker 3: of the company. He says like Champion Spark Plugs, and

802
00:39:40,200 --> 00:39:43,480
Speaker 3: then Emilio is disrespectful to him and says like, hi,

803
00:39:43,640 --> 00:39:48,319
Speaker 3: mister Plugs. And so meanwhile in the dark world, Mick

804
00:39:48,400 --> 00:39:50,920
Speaker 3: Jagger and his goons are like rousting a bunch of

805
00:39:51,760 --> 00:39:56,960
Speaker 3: post apocalyptic future people out of their hovels and setting

806
00:39:57,000 --> 00:39:59,160
Speaker 3: up a bunch of equipment to do something in this

807
00:39:59,320 --> 00:40:02,839
Speaker 3: blasted few your hell zone. And then we get mixed

808
00:40:02,920 --> 00:40:06,200
Speaker 3: first line, which is just okay, let's do it.

809
00:40:06,960 --> 00:40:09,880
Speaker 2: Yeah. It sets the tone for the rest of the picture.

810
00:40:10,600 --> 00:40:15,520
Speaker 2: It instantly dissolves the magic of him just looking just

811
00:40:15,760 --> 00:40:17,480
Speaker 2: you know, being there, grim faced and all in the

812
00:40:17,520 --> 00:40:18,000
Speaker 2: cool coat.

813
00:40:18,320 --> 00:40:22,640
Speaker 3: Right. So then Emelio's racing, Alex is driving along, and

814
00:40:22,719 --> 00:40:24,960
Speaker 3: Mick Jagger has a bunch of guys getting ready to

815
00:40:25,040 --> 00:40:29,000
Speaker 3: do something. They're like guys wearing these reflective foil suits.

816
00:40:29,040 --> 00:40:31,520
Speaker 3: And then there's a hacker guy who of course is

817
00:40:31,560 --> 00:40:35,240
Speaker 3: wearing sunglasses inside while he's operating a computer. The hacker

818
00:40:35,280 --> 00:40:37,760
Speaker 3: guy is named Ripper, and he's got these cool scars

819
00:40:37,840 --> 00:40:41,600
Speaker 3: on his face and they're locking onto a CGI version

820
00:40:41,800 --> 00:40:45,880
Speaker 3: of Alex, and then Alex's car flies off course in

821
00:40:45,960 --> 00:40:48,160
Speaker 3: the past and it's about to explode in a fireball,

822
00:40:48,200 --> 00:40:51,880
Speaker 3: and then zap. Just as the car explodes, Emilio is

823
00:40:52,040 --> 00:40:54,960
Speaker 3: time warped into the future and he appears on an

824
00:40:55,000 --> 00:40:57,840
Speaker 3: operating table. He's surrounded by the doctors in all the

825
00:40:57,920 --> 00:41:01,560
Speaker 3: shiny tin foil body suits, and it seems to be

826
00:41:01,640 --> 00:41:05,120
Speaker 3: it's like some kind of mobile surgical center that's inside

827
00:41:05,200 --> 00:41:08,000
Speaker 3: a giant truck, which just seems like a bad idea,

828
00:41:08,200 --> 00:41:10,160
Speaker 3: like would you be trying to do surgery and like

829
00:41:10,239 --> 00:41:12,760
Speaker 3: a truck that's you know, like an all terrain vehicle,

830
00:41:12,760 --> 00:41:15,520
Speaker 3: it's bouncing around all over the place. But anyway, well,

831
00:41:15,560 --> 00:41:16,000
Speaker 3: I will.

832
00:41:15,920 --> 00:41:17,719
Speaker 2: I will come to the picture's defense here and say

833
00:41:17,800 --> 00:41:22,160
Speaker 2: that this would make sense in the sense you're jacking

834
00:41:22,239 --> 00:41:25,960
Speaker 2: somebody's bones out of such a delicate moment in time. Okay,

835
00:41:26,239 --> 00:41:28,520
Speaker 2: the timing could be a little off, And what do

836
00:41:28,600 --> 00:41:30,480
Speaker 2: you do if they come through and they have like

837
00:41:30,560 --> 00:41:32,880
Speaker 2: a head wound or or some sort of a laceration,

838
00:41:33,040 --> 00:41:35,080
Speaker 2: like you didn't get them quite in time. You need

839
00:41:35,120 --> 00:41:40,920
Speaker 2: to be able to treat them immediately. So that's my excuse.

840
00:41:40,680 --> 00:41:43,040
Speaker 3: Okay, I buy it. Yeah, I mean it would be necessary,

841
00:41:43,080 --> 00:41:45,160
Speaker 3: even though it's not ideal. It's just something you gotta

842
00:41:45,239 --> 00:41:47,040
Speaker 3: do if you're going to be bone jacking people. It's

843
00:41:47,080 --> 00:41:50,719
Speaker 3: the price of bone jacking, right. And so the doctors do.

844
00:41:50,920 --> 00:41:53,239
Speaker 3: They're trying to stabilize them. They're pumping into you know,

845
00:41:53,360 --> 00:41:55,839
Speaker 3: doing the CPR and stuff. They get his heart beating again,

846
00:41:55,920 --> 00:41:59,319
Speaker 3: but then they realize, oh no, Emilio Estevez still has

847
00:41:59,400 --> 00:42:01,920
Speaker 3: brain functions. This is bad because he's not supposed to.

848
00:42:02,440 --> 00:42:06,320
Speaker 3: So they're like, grab the lobottomizer, yeah, which is a blue,

849
00:42:06,480 --> 00:42:09,799
Speaker 3: glowing electric and noodle that's flopping around all over the place.

850
00:42:09,840 --> 00:42:11,200
Speaker 3: And I think what it's supposed to do is go

851
00:42:11,360 --> 00:42:13,759
Speaker 3: up his nose and then dig around a bit and

852
00:42:13,880 --> 00:42:16,759
Speaker 3: then give him an electric shock to the brain that

853
00:42:16,920 --> 00:42:20,160
Speaker 3: will make him complacent or wipe his brain or something.

854
00:42:20,520 --> 00:42:23,360
Speaker 2: Yeah, it makes no sense at all because he just

855
00:42:23,560 --> 00:42:25,880
Speaker 2: have something called like a mind wiper, you know, and

856
00:42:26,080 --> 00:42:27,759
Speaker 2: just use that. Because once you bring in the idea

857
00:42:27,800 --> 00:42:30,800
Speaker 2: of lobotomizing, it makes it seem like this brain's not

858
00:42:30,880 --> 00:42:34,160
Speaker 2: going to be worth putting somebody else's mind. If you're

859
00:42:34,160 --> 00:42:36,360
Speaker 2: gonna if you're gonna screw with it and lobottomize it.

860
00:42:36,480 --> 00:42:37,760
Speaker 2: But yeah, it's confusing.

861
00:42:37,880 --> 00:42:40,600
Speaker 3: Good point. But just when they're about to jab his brain,

862
00:42:40,719 --> 00:42:44,000
Speaker 3: the Jagger convoy is attacked to people with guns pop

863
00:42:44,120 --> 00:42:46,600
Speaker 3: up on rooftops all around. They start blowing stuff up.

864
00:42:46,960 --> 00:42:50,440
Speaker 3: This knocks everybody over and Emilio gets loose, and this

865
00:42:50,560 --> 00:42:53,800
Speaker 3: is apparently very bad because immediately the doctor's and the

866
00:42:53,840 --> 00:42:57,719
Speaker 3: tinfoil suits start screaming, free Jack, free Jack, grab him

867
00:42:58,440 --> 00:43:01,640
Speaker 3: and this leads to a big fight scene that involves

868
00:43:01,719 --> 00:43:04,480
Speaker 3: the lobottomizer where Emilio has to like fight them off

869
00:43:04,640 --> 00:43:07,200
Speaker 3: using the lobotomizer and he zaps them with it, and

870
00:43:07,360 --> 00:43:09,840
Speaker 3: eventually he gets out of the medical truck, but like

871
00:43:09,960 --> 00:43:12,479
Speaker 3: as soon as he's trying to escape, he turns back

872
00:43:12,600 --> 00:43:15,799
Speaker 3: and then he locks eyes with Mick Jagger, and Mick

873
00:43:15,880 --> 00:43:18,040
Speaker 3: Jagger just says, get the mate.

874
00:43:19,480 --> 00:43:22,320
Speaker 2: Yeah. He tells them, yeah, stunners only don't want them damaged.

875
00:43:22,719 --> 00:43:26,400
Speaker 2: And I have to say, there are two things in

876
00:43:26,480 --> 00:43:29,879
Speaker 2: this movie that I think absolutely three things. Eagleman absolutely works,

877
00:43:30,000 --> 00:43:33,520
Speaker 2: Mick Jagger's coat works, and then the Stunners are pretty great.

878
00:43:33,560 --> 00:43:36,920
Speaker 2: So these are the rifles, these space age looking rifles

879
00:43:37,080 --> 00:43:41,320
Speaker 2: that the Bonejacker Squad has that seem to shoot like

880
00:43:41,560 --> 00:43:44,920
Speaker 2: electro plasma pulses and it looks really cool. Like this

881
00:43:45,080 --> 00:43:47,279
Speaker 2: is definitely one of the things in the original in

882
00:43:47,320 --> 00:43:50,520
Speaker 2: the trailer and in the original promotional footage that I

883
00:43:50,640 --> 00:43:53,359
Speaker 2: bought into when I was younger, Like those guns look

884
00:43:53,440 --> 00:43:56,080
Speaker 2: cool and that looks neat they're shooting all these like

885
00:43:56,160 --> 00:44:00,320
Speaker 2: blue beams and all. Because even though this film films

886
00:44:00,400 --> 00:44:04,440
Speaker 2: essentially cyberpunk, you know, or or cyberpunk made from cyberpunk

887
00:44:04,480 --> 00:44:07,000
Speaker 2: derivatives or something, but one of the things you see

888
00:44:07,040 --> 00:44:10,840
Speaker 2: in so many visions of the future from this period,

889
00:44:10,920 --> 00:44:13,920
Speaker 2: from like the nineties, is that everybody's just shooting hard ammo.

890
00:44:14,040 --> 00:44:19,400
Speaker 2: It's just a ballistic you know, worship gone wild. And

891
00:44:19,880 --> 00:44:21,719
Speaker 2: at times I watch that stuff and I'm like, I

892
00:44:22,160 --> 00:44:24,080
Speaker 2: just I just want to see some laser beams and

893
00:44:24,200 --> 00:44:27,399
Speaker 2: some some some phasers and stuff, you know, Like that's

894
00:44:27,680 --> 00:44:31,359
Speaker 2: I like sci fi guns that shoot of fancy light

895
00:44:31,440 --> 00:44:34,200
Speaker 2: beams at things. And so this film at least really

896
00:44:34,239 --> 00:44:35,920
Speaker 2: delivers in that category.

897
00:44:36,120 --> 00:44:39,200
Speaker 3: Well, it has both because it's the Bonejackers use the

898
00:44:39,480 --> 00:44:42,560
Speaker 3: light based weapons because they don't want to damage his body.

899
00:44:42,680 --> 00:44:44,759
Speaker 3: They just want to immobilize him. So he can be

900
00:44:44,880 --> 00:44:48,239
Speaker 3: taken to the what the psychic switchboard or whatever it's

901
00:44:48,280 --> 00:44:52,920
Speaker 3: called spiritual switch spiritual switchboard, but the but the but

902
00:44:53,080 --> 00:44:55,160
Speaker 3: other bad guys who just want to kill people. They

903
00:44:55,280 --> 00:44:56,720
Speaker 3: use like ballistic weapons.

904
00:44:57,200 --> 00:45:00,279
Speaker 2: Yeah, they don't care about keeping the meat neat right.

905
00:45:00,680 --> 00:45:02,560
Speaker 3: But so here we get a big chase scene. He's

906
00:45:02,640 --> 00:45:04,319
Speaker 3: running all over the place. At one point he gets

907
00:45:04,360 --> 00:45:06,560
Speaker 3: in a taxi and then gets kicked out of it,

908
00:45:07,239 --> 00:45:10,320
Speaker 3: and so Alex is running all over the place, like

909
00:45:10,400 --> 00:45:12,640
Speaker 3: he tries to go to Renee Russo's apartment. He's trying

910
00:45:12,680 --> 00:45:15,279
Speaker 3: to find people that he used to know because he

911
00:45:15,480 --> 00:45:18,080
Speaker 3: somehow doesn't realize that he's in the future. I think

912
00:45:18,160 --> 00:45:22,440
Speaker 3: this is a pretty standard accidental time travel or unwitting

913
00:45:22,520 --> 00:45:25,240
Speaker 3: time travel trope where the person's like they just won't

914
00:45:25,280 --> 00:45:27,600
Speaker 3: accept that the year is different. So they're running around

915
00:45:27,640 --> 00:45:30,120
Speaker 3: trying to find things they know where person or a

916
00:45:30,160 --> 00:45:32,120
Speaker 3: thing should be there, but it's not, and it's like what.

917
00:45:32,760 --> 00:45:35,120
Speaker 2: Yeah, yeah, pretty by the books. There's a lot of

918
00:45:35,120 --> 00:45:38,359
Speaker 2: stuff in this film that is just by the books, right,

919
00:45:38,520 --> 00:45:39,320
Speaker 2: this sort of picture.

920
00:45:39,640 --> 00:45:42,399
Speaker 3: But everywhere he goes, people are like, oh my god,

921
00:45:42,520 --> 00:45:45,080
Speaker 3: he's a free jack. So everybody knows what this is.

922
00:45:45,400 --> 00:45:47,359
Speaker 3: This is it must be on the news every night.

923
00:45:47,400 --> 00:45:51,279
Speaker 3: It's like, you know, today three free jacks were apprehended.

924
00:45:52,160 --> 00:45:54,560
Speaker 2: And hell yeah, how often does this happen? It's enough

925
00:45:54,640 --> 00:45:57,200
Speaker 2: that there is a slang for it. Yeah, and everybody's

926
00:45:57,239 --> 00:45:59,680
Speaker 2: on the lookout for it. Like I feel like if

927
00:45:59,719 --> 00:46:02,760
Speaker 2: this is on the bonejackers for just being kind of sloppy.

928
00:46:02,640 --> 00:46:05,960
Speaker 3: The bonejackers are really they are screwing up a lot.

929
00:46:06,080 --> 00:46:10,000
Speaker 3: It sounds like yeah, and there's this dystopian pa, you know,

930
00:46:10,080 --> 00:46:13,560
Speaker 3: like the future totalitarian society has pas everywhere that just

931
00:46:13,640 --> 00:46:16,560
Speaker 3: blair stuff at people. So it's going like everybody off

932
00:46:16,600 --> 00:46:19,000
Speaker 3: the street, there's a free jacket large. Anyone on the

933
00:46:19,000 --> 00:46:22,279
Speaker 3: street will be fired upon. And then of course we

934
00:46:22,360 --> 00:46:25,200
Speaker 3: see the truest sign of dystopia, which is a giant

935
00:46:25,280 --> 00:46:29,680
Speaker 3: digital billboard and says welcome to New York Thursday, November

936
00:46:29,760 --> 00:46:33,799
Speaker 3: twenty third, two thousand and nine. And then Amelio looks

937
00:46:33,840 --> 00:46:36,120
Speaker 3: at it and he's like what. And then there's this

938
00:46:36,320 --> 00:46:39,600
Speaker 3: great moment where he pulls out his like race ticket

939
00:46:39,800 --> 00:46:42,600
Speaker 3: from his I don't know, from driving earlier that day

940
00:46:42,880 --> 00:46:45,640
Speaker 3: to see the date and it says nineteen ninety one,

941
00:46:46,200 --> 00:46:48,480
Speaker 3: and it's like, it's as if the movie is suggesting

942
00:46:48,560 --> 00:46:50,800
Speaker 3: that he was actually thinking, wait, was it two thousand

943
00:46:50,800 --> 00:46:52,680
Speaker 3: and nine earlier today? Better check?

944
00:46:53,640 --> 00:46:57,279
Speaker 2: Well, the movie implies, and at times expressly states that

945
00:46:58,320 --> 00:47:02,359
Speaker 2: Emilio Westavez's character is not the sharpest knife in the drawer, right.

946
00:47:03,000 --> 00:47:05,160
Speaker 2: I think Anthony Hopkins character refers to him as a

947
00:47:05,239 --> 00:47:09,160
Speaker 2: dullard at one point. So, yes, yeah, he's uh yeah,

948
00:47:09,880 --> 00:47:11,560
Speaker 2: he needs to check. He has to double check to

949
00:47:12,080 --> 00:47:14,279
Speaker 2: see what year it actually was earlier today.

950
00:47:15,160 --> 00:47:18,320
Speaker 3: Uh So, later we meet some corporate creeps. They're like

951
00:47:18,360 --> 00:47:21,400
Speaker 3: in a giant elevator that's going up millions of floors,

952
00:47:21,480 --> 00:47:24,560
Speaker 3: in a skyscraper that reaches up to the clouds. There

953
00:47:24,600 --> 00:47:27,960
Speaker 3: they're in this weird skyscraper that looks like a combination

954
00:47:28,160 --> 00:47:30,960
Speaker 3: of an office and a church. It's like the Cathedral

955
00:47:31,040 --> 00:47:34,320
Speaker 3: of Business, you know, the Basilica of Saint Dick Fold

956
00:47:35,920 --> 00:47:39,439
Speaker 3: And uh so, one of the suits is Jonathan Banks. Again,

957
00:47:39,520 --> 00:47:41,640
Speaker 3: that's Mike Irman Trout from Breaking Bad, who we were

958
00:47:41,680 --> 00:47:43,840
Speaker 3: talking about earlier. And here we get a bit of

959
00:47:43,880 --> 00:47:47,600
Speaker 3: exposition dump. They start explaining that they're they're trying to

960
00:47:47,640 --> 00:47:51,319
Speaker 3: break the bad news about the bone jack getting loose

961
00:47:51,400 --> 00:47:54,440
Speaker 3: and becoming a free Jack to a guy who is

962
00:47:54,640 --> 00:47:58,200
Speaker 3: wearing a Ghost of Christmas Yet to come Hood and

963
00:47:58,400 --> 00:48:01,640
Speaker 3: they're like, sorry, Gramps, your bone jack got away. And

964
00:48:01,800 --> 00:48:04,719
Speaker 3: then they're they're explaining, actually, we've got even worse news.

965
00:48:05,080 --> 00:48:08,160
Speaker 3: The spiritual switchboard can only hold you for another thirty

966
00:48:08,200 --> 00:48:12,000
Speaker 3: six hours. Shouldn't you consider an alternative body? And the

967
00:48:12,080 --> 00:48:15,000
Speaker 3: guy in the Ghost of Christmas Yet to come Hood

968
00:48:15,080 --> 00:48:17,520
Speaker 3: is like, I don't want an alternative body. I want

969
00:48:17,719 --> 00:48:20,719
Speaker 3: this one. And then there's a reveal and it's hologram

970
00:48:21,000 --> 00:48:24,759
Speaker 3: Emilio Estavez. And here I think it starts to make

971
00:48:24,800 --> 00:48:26,479
Speaker 3: sense that the first thing we see in the movie

972
00:48:26,640 --> 00:48:29,800
Speaker 3: is Emelio Estavez's butt, because it seems like the quality

973
00:48:30,000 --> 00:48:33,640
Speaker 3: of his body in particular, I guess, including his butt

974
00:48:34,040 --> 00:48:37,279
Speaker 3: compared to other future bodies and butts, seems to be

975
00:48:37,400 --> 00:48:40,000
Speaker 3: relevant to the plot, Like only that butt will do

976
00:48:41,080 --> 00:48:41,479
Speaker 3: I guess.

977
00:48:41,760 --> 00:48:44,080
Speaker 2: I wonder what if the other free Jack on hold

978
00:48:44,120 --> 00:48:46,840
Speaker 2: they had Joe Estevez. Yeah, and they're they're like, come on,

979
00:48:46,920 --> 00:48:50,000
Speaker 2: we got Joe as ready to go. Yeah, Emilio, it

980
00:48:50,080 --> 00:48:52,399
Speaker 2: has to be Emilio. I don't want Joe, I don't

981
00:48:52,440 --> 00:48:55,000
Speaker 2: want Charlie, I don't want Martin it's got to be

982
00:48:55,080 --> 00:48:55,920
Speaker 2: Emilia and.

983
00:48:55,960 --> 00:48:58,319
Speaker 3: There's actually another reason for that that we'll get to later.

984
00:48:59,040 --> 00:48:59,160
Speaker 4: Oh.

985
00:48:59,239 --> 00:49:01,520
Speaker 3: But then we get a scene that's a meeting between

986
00:49:01,640 --> 00:49:04,600
Speaker 3: Mick Jagger again, he's playing this this mercenary named Victor

987
00:49:04,960 --> 00:49:08,239
Speaker 3: Visindek with with Jonathan Banks. They like meet up to

988
00:49:08,480 --> 00:49:09,240
Speaker 3: scheme together.

989
00:49:09,880 --> 00:49:11,879
Speaker 2: Yeah. So two things about this scene. First of all,

990
00:49:12,200 --> 00:49:14,879
Speaker 2: the office set is incredible in this This is one

991
00:49:14,920 --> 00:49:18,279
Speaker 2: of several interior sets that are in this movie that

992
00:49:18,360 --> 00:49:20,560
Speaker 2: are really cool. Like they just like they went crazy

993
00:49:20,680 --> 00:49:23,320
Speaker 2: with art decorating it and like this one has like

994
00:49:23,400 --> 00:49:27,920
Speaker 2: this crazy fractured redstone wall behind them, which is really good.

995
00:49:27,960 --> 00:49:31,600
Speaker 2: I appreciate that. But then the actual scene, the actual

996
00:49:32,280 --> 00:49:35,760
Speaker 2: energy between Mick Jagger and Jonathan Banks, it's just weird,

997
00:49:36,320 --> 00:49:39,040
Speaker 2: like and it seems like the casting is so off.

998
00:49:39,080 --> 00:49:41,720
Speaker 2: So Jonathan Banks here is playing like the sleazy boss

999
00:49:41,840 --> 00:49:46,480
Speaker 2: who owns Faberge eggs. Yeah, and Jagger is playing like

1000
00:49:46,600 --> 00:49:49,200
Speaker 2: the you know, the the badass warrior with a code,

1001
00:49:49,520 --> 00:49:51,719
Speaker 2: and it just feels like it should be reverse, Like

1002
00:49:51,840 --> 00:49:55,640
Speaker 2: Mick Jagger is the type of guy who owns Faberge eggs.

1003
00:49:55,960 --> 00:49:59,719
Speaker 2: Jonathan Banks is your mercenary, you know, Jonathan Banks is

1004
00:49:59,719 --> 00:50:03,120
Speaker 2: great in this anyway, and like Banks totally delivers. He

1005
00:50:03,200 --> 00:50:05,239
Speaker 2: knows what he's doing, so he's yeah, he's perfectly fine

1006
00:50:05,239 --> 00:50:07,960
Speaker 2: in this role. But it feels like you could just

1007
00:50:08,000 --> 00:50:09,719
Speaker 2: swap these two and you would have been a better place.

1008
00:50:10,080 --> 00:50:12,120
Speaker 3: I kind of agree with you there, Yeah, except that

1009
00:50:12,120 --> 00:50:14,800
Speaker 3: would have given us fewer chances to see Mick Jagger

1010
00:50:14,840 --> 00:50:16,160
Speaker 3: wearing the Spaceball's helmet.

1011
00:50:16,520 --> 00:50:19,080
Speaker 2: True, true, And I don't think it would have saved

1012
00:50:19,080 --> 00:50:21,720
Speaker 2: the picture in any way. But but yeah, this scene

1013
00:50:21,760 --> 00:50:24,560
Speaker 2: is pretty great in a dumb way. You got like

1014
00:50:25,200 --> 00:50:27,279
Speaker 2: basically saying like you were supposed to bone jack that guy,

1015
00:50:27,320 --> 00:50:28,960
Speaker 2: and it's like I tried. Now he's a free jack.

1016
00:50:29,200 --> 00:50:31,040
Speaker 2: You're off the case. No, I'm still going to bone

1017
00:50:31,120 --> 00:50:35,080
Speaker 2: jack that guy. I always bone my jack basically.

1018
00:50:35,960 --> 00:50:38,279
Speaker 3: Yep, that's pretty much it. He tries to fire him,

1019
00:50:38,840 --> 00:50:43,399
Speaker 3: and Mick Jagger's like, no, you can't fire me, you know, yeah,

1020
00:50:43,920 --> 00:50:48,080
Speaker 3: I'll get that meat. A funny thing, Rachel was watching

1021
00:50:48,160 --> 00:50:50,040
Speaker 3: parts of this with me, and she pointed out that

1022
00:50:50,160 --> 00:50:53,520
Speaker 3: Mick Jagger's delivery in these scenes is very late season

1023
00:50:53,680 --> 00:50:55,080
Speaker 3: Sir c lanister.

1024
00:50:55,280 --> 00:50:56,120
Speaker 2: Oh, what what do you mean?

1025
00:50:56,440 --> 00:50:59,320
Speaker 3: Just the kind of like vindictive cold frown and a

1026
00:50:59,400 --> 00:51:01,800
Speaker 3: similar to Livery and I don't know. I mean I

1027
00:51:01,840 --> 00:51:02,800
Speaker 3: saw it when she said it.

1028
00:51:03,200 --> 00:51:07,239
Speaker 2: No, no, no, I could I could get that. Yeah, yeah, yeah,

1029
00:51:07,640 --> 00:51:10,000
Speaker 2: but this is gonna be one of the ultimate like

1030
00:51:10,120 --> 00:51:13,719
Speaker 2: weird things about Jagger's performance is that what he gives

1031
00:51:13,800 --> 00:51:16,000
Speaker 2: us here in this scene is not what we get

1032
00:51:16,080 --> 00:51:19,520
Speaker 2: later on. Like his his performance is just all over

1033
00:51:19,600 --> 00:51:22,480
Speaker 2: the place, like he's a cold professional in one scene

1034
00:51:22,560 --> 00:51:24,560
Speaker 2: and then he'll be something completely different in another.

1035
00:51:24,840 --> 00:51:26,520
Speaker 3: Yeah, I can't wait to talk about the scene where

1036
00:51:26,520 --> 00:51:29,239
Speaker 3: he's like doing hacker tricks on a car on a

1037
00:51:29,400 --> 00:51:30,479
Speaker 3: wine delivery truck.

1038
00:51:30,840 --> 00:51:33,239
Speaker 2: Yeah, he becomes the Riddler out of the later on.

1039
00:51:33,480 --> 00:51:38,160
Speaker 3: Yeah. Anyway, Alex ends up taking refuge in a church,

1040
00:51:38,360 --> 00:51:40,200
Speaker 3: sleeps on the floor in front of the altar, is

1041
00:51:40,280 --> 00:51:43,440
Speaker 3: ambushed by Amanda Plumber in the form of Sister Shotgun.

1042
00:51:43,560 --> 00:51:47,200
Speaker 3: She pulls a shotgun on him and they meet. They

1043
00:51:47,239 --> 00:51:49,399
Speaker 3: talk about things. She is shocked to learn that he's

1044
00:51:49,400 --> 00:51:53,080
Speaker 3: a free jack. They argue about this, like she yeah,

1045
00:51:53,160 --> 00:51:55,520
Speaker 3: she seems skeptical that he's a free jack, and then

1046
00:51:55,600 --> 00:51:58,640
Speaker 3: he explains things to her and she eventually ends up

1047
00:51:58,680 --> 00:52:01,640
Speaker 3: trying to help him like she's She explains the whole

1048
00:52:01,719 --> 00:52:04,879
Speaker 3: bone jacking premise. We also get like more exposition dump

1049
00:52:05,000 --> 00:52:08,439
Speaker 3: from her and he's like, what, so they were gonna

1050
00:52:08,440 --> 00:52:10,840
Speaker 3: do a brain transplant on me? And she goes, no,

1051
00:52:11,280 --> 00:52:15,200
Speaker 3: a mind transplant, So this movie is firmly dualistic.

1052
00:52:15,600 --> 00:52:15,799
Speaker 2: Yep.

1053
00:52:16,200 --> 00:52:19,000
Speaker 3: And then she helps him find the address of somebody

1054
00:52:19,080 --> 00:52:21,320
Speaker 3: who knows, so she sends she arms him with a

1055
00:52:21,360 --> 00:52:24,719
Speaker 3: gun and sends him off to meet somebody. But then

1056
00:52:24,920 --> 00:52:27,120
Speaker 3: we should cut back to the whole time. We're also

1057
00:52:27,280 --> 00:52:30,279
Speaker 3: cutting between Emilio Estevez and Mick Jagger, and there's like

1058
00:52:30,360 --> 00:52:32,800
Speaker 3: a great scene with Mick Jagger hanging out at his

1059
00:52:32,920 --> 00:52:34,440
Speaker 3: apartment with his buddy.

1060
00:52:35,000 --> 00:52:37,959
Speaker 2: Yeah, yeah, his buddy Ripper. And this is another great

1061
00:52:38,040 --> 00:52:42,280
Speaker 2: interior set with like really strange art on the walls

1062
00:52:42,360 --> 00:52:45,439
Speaker 2: and it looks lived in, like it was really well done.

1063
00:52:45,600 --> 00:52:49,720
Speaker 3: Yeah, there's a red couch backlit white walls with masks

1064
00:52:49,800 --> 00:52:54,240
Speaker 3: all over them, like a strange rectangular clock, a mounted revolver,

1065
00:52:54,440 --> 00:52:56,400
Speaker 3: and cutouts from pin up magazines.

1066
00:52:56,800 --> 00:52:59,840
Speaker 2: Yeah, you know, it's strange. I didn't know how to

1067
00:53:00,239 --> 00:53:03,080
Speaker 2: And I also couldn't tell if like Ripper and Jagger's

1068
00:53:03,160 --> 00:53:05,080
Speaker 2: character was supposed to be, like, like are they do

1069
00:53:05,160 --> 00:53:06,120
Speaker 2: they live together here?

1070
00:53:06,360 --> 00:53:06,520
Speaker 1: You know?

1071
00:53:06,719 --> 00:53:10,120
Speaker 2: Like I was expecting like some more development there and

1072
00:53:10,200 --> 00:53:11,600
Speaker 2: then we didn't get it. So I guess maybe they

1073
00:53:11,640 --> 00:53:14,279
Speaker 2: don't they just work together, but because then they just

1074
00:53:14,320 --> 00:53:16,239
Speaker 2: talk about the business of bone jacking.

1075
00:53:16,080 --> 00:53:19,399
Speaker 3: Right exactly. Ripper is played by Issi Morales Junior, who

1076
00:53:19,520 --> 00:53:22,400
Speaker 3: and he's the hacker who was wearing sunglasses inside earlier.

1077
00:53:23,600 --> 00:53:25,759
Speaker 3: Oh and we find out Mick Jagger has a lie

1078
00:53:25,840 --> 00:53:29,000
Speaker 3: detector computer that he tests out on Ripper. And then

1079
00:53:29,160 --> 00:53:31,640
Speaker 3: I don't recall this ever being used in the film again,

1080
00:53:31,719 --> 00:53:34,359
Speaker 3: it's being set up as if it's like Chekhov's lie

1081
00:53:34,440 --> 00:53:38,320
Speaker 3: detector machine. Did you did this ever come up again? No?

1082
00:53:38,760 --> 00:53:41,080
Speaker 2: I don't think it did. Another case of kind of

1083
00:53:41,160 --> 00:53:42,120
Speaker 2: wasted space.

1084
00:53:41,960 --> 00:53:45,600
Speaker 3: Totally pointless. Yeah. Yeah, But then the next thing is

1085
00:53:45,680 --> 00:53:49,120
Speaker 3: really while while Amelia Estevez is traveling to meet his

1086
00:53:49,239 --> 00:53:53,800
Speaker 3: old manager, Brad the New York Dolls guy, he wanders

1087
00:53:53,880 --> 00:53:56,160
Speaker 3: through two thousand and nine New York City and this

1088
00:53:56,320 --> 00:53:57,680
Speaker 3: is this is trying to give us some of the

1089
00:53:57,800 --> 00:53:58,960
Speaker 3: texture of the future.

1090
00:53:59,520 --> 00:54:02,239
Speaker 2: Yeah, it's just your basic eighties Hell City take on

1091
00:54:02,320 --> 00:54:05,040
Speaker 2: New York City with the sex clubs. Is a weird

1092
00:54:05,120 --> 00:54:07,680
Speaker 2: future car transporting chicken cages across town.

1093
00:54:07,719 --> 00:54:10,840
Speaker 3: Oh yeah, I like that, but it's also like cheesy

1094
00:54:11,000 --> 00:54:13,680
Speaker 3: medieval movies, like you know, Braveheart or something in that

1095
00:54:13,840 --> 00:54:16,920
Speaker 3: anybody who's not a CEO just has dirt smeared on

1096
00:54:16,960 --> 00:54:17,440
Speaker 3: their face.

1097
00:54:17,960 --> 00:54:20,480
Speaker 2: Yep. Yeah. And then of course we get a street gang,

1098
00:54:20,640 --> 00:54:24,960
Speaker 2: like a Warrior's Escape from from New York s Street Gang,

1099
00:54:25,040 --> 00:54:29,080
Speaker 2: and it's it's super confusing too, because the gang we

1100
00:54:29,200 --> 00:54:32,880
Speaker 2: see like, there's this this this African American gentleman, and

1101
00:54:32,960 --> 00:54:36,080
Speaker 2: he has a helmet on that has both a Confederate

1102
00:54:36,160 --> 00:54:40,400
Speaker 2: flag and a swastika. They just like threw everything at

1103
00:54:40,440 --> 00:54:43,680
Speaker 2: the helmet and I have no idea what these guys are,

1104
00:54:43,800 --> 00:54:45,600
Speaker 2: what their deal is, except they like to shoot guns

1105
00:54:45,600 --> 00:54:46,000
Speaker 2: in the street.

1106
00:54:46,120 --> 00:54:48,000
Speaker 3: I don't think it makes any sense. It's sort of

1107
00:54:48,000 --> 00:54:51,320
Speaker 3: an unspoken convention of dystopian hell city sci fi that

1108
00:54:51,719 --> 00:54:54,640
Speaker 3: the people of the future use the political symbols of

1109
00:54:54,680 --> 00:54:57,960
Speaker 3: the past with no particular meaning or coherence, which, in

1110
00:54:58,040 --> 00:55:01,799
Speaker 3: a way to think about it, I think kind of true.

1111
00:55:01,880 --> 00:55:04,480
Speaker 3: Over time, people just use symbols of the past with

1112
00:55:04,719 --> 00:55:06,960
Speaker 3: clearly without understanding what they mean at all.

1113
00:55:08,239 --> 00:55:11,880
Speaker 2: But ultimately this is just action. He's moving through anyway

1114
00:55:11,920 --> 00:55:13,080
Speaker 2: to get from point A to point B.

1115
00:55:13,480 --> 00:55:16,959
Speaker 3: Right, So Alex meets up with Brad and Brad's like, oh, wow,

1116
00:55:17,120 --> 00:55:19,400
Speaker 3: you're a bone jack or I mean, you're a free jacket.

1117
00:55:19,640 --> 00:55:22,719
Speaker 3: So they're hanging out, and I love how they're in

1118
00:55:22,880 --> 00:55:26,320
Speaker 3: Brad's apartment and people. You just hear people constantly getting

1119
00:55:26,400 --> 00:55:30,000
Speaker 3: shot and screaming outside the window. It sounds like the future.

1120
00:55:30,200 --> 00:55:33,960
Speaker 3: The wars out in the streets never stop. Yeah, And

1121
00:55:34,080 --> 00:55:36,800
Speaker 3: Emilio Estevez is like, well, why me, Why why do

1122
00:55:36,880 --> 00:55:39,319
Speaker 3: they need my bones? Why am I the bone jack?

1123
00:55:39,360 --> 00:55:41,320
Speaker 3: Why can't they just take somebody else's body?

1124
00:55:41,840 --> 00:55:44,440
Speaker 2: And oh yeah, because that's a great point that you

1125
00:55:44,520 --> 00:55:46,680
Speaker 2: don't think about until this point exactly.

1126
00:55:47,640 --> 00:55:51,120
Speaker 3: And Brad's like, well, the answer is obvious. You're clean.

1127
00:55:51,320 --> 00:55:54,200
Speaker 3: You're from the past, so you haven't been exposed to

1128
00:55:54,320 --> 00:55:57,080
Speaker 3: all of the pollution and drugs that have ruined everybody

1129
00:55:57,120 --> 00:56:00,680
Speaker 3: else's body in the future. Plus everybody who alive today

1130
00:56:00,719 --> 00:56:02,960
Speaker 3: has been living for years without an ozone.

1131
00:56:02,640 --> 00:56:05,080
Speaker 2: Layer, So yeah, the ozone layer is gone. So this

1132
00:56:05,200 --> 00:56:07,360
Speaker 2: makes me wonder is this part of the pre Highlander

1133
00:56:07,400 --> 00:56:10,520
Speaker 2: two chronology? Oh yeah, because it's set in what twenty

1134
00:56:10,680 --> 00:56:13,080
Speaker 2: twenty four, So I think you could line up.

1135
00:56:13,160 --> 00:56:15,359
Speaker 3: This movie has a lot in common with Highlander two.

1136
00:56:15,480 --> 00:56:18,800
Speaker 2: Actually, yeah, not as good, not as good as that is.

1137
00:56:18,880 --> 00:56:23,440
Speaker 3: Good. Well, I would say, actually it's better than Highlander two,

1138
00:56:23,520 --> 00:56:25,160
Speaker 3: but Highlander two is better to watch.

1139
00:56:25,719 --> 00:56:28,000
Speaker 2: Yeah, well, I don't know. I think I would say

1140
00:56:28,040 --> 00:56:29,600
Speaker 2: it's better than Highlander.

1141
00:56:29,200 --> 00:56:31,680
Speaker 3: Two, but I mean you'll say Highlander two is better.

1142
00:56:31,880 --> 00:56:34,440
Speaker 2: Highlander two is a better film, okay, and also a

1143
00:56:34,520 --> 00:56:40,640
Speaker 2: better viewing experience. But then anyway, it's still fun. It's so. Yeah,

1144
00:56:40,680 --> 00:56:43,600
Speaker 2: we continue moving through the city here, even more dystopia

1145
00:56:43,840 --> 00:56:47,480
Speaker 2: cyberpunk tropes are rolled out. You know, big business controls everything.

1146
00:56:47,840 --> 00:56:53,520
Speaker 2: Japanese businesses have this superiority, environmental disaster, future drugs, bodies

1147
00:56:53,560 --> 00:56:56,680
Speaker 2: for sale, immortality for the rich. It's just checking off

1148
00:56:56,680 --> 00:56:57,240
Speaker 2: all the boxes.

1149
00:56:57,360 --> 00:57:00,480
Speaker 3: It's all there. Yeah, And like every other sci fi

1150
00:57:00,600 --> 00:57:03,040
Speaker 3: movie from the late eighties and early nineties, it assumes

1151
00:57:03,080 --> 00:57:06,160
Speaker 3: that Japanese corporations are soon to take over the United States.

1152
00:57:06,480 --> 00:57:07,120
Speaker 2: Yeah everything.

1153
00:57:07,239 --> 00:57:11,680
Speaker 3: Yeah, and so the Japanese business panic is which actually

1154
00:57:11,800 --> 00:57:12,840
Speaker 3: was in Diehard.

1155
00:57:12,560 --> 00:57:14,360
Speaker 2: Too, I seen, oh yeah, was it? Okay.

1156
00:57:14,640 --> 00:57:17,400
Speaker 3: It's a pervasive assumption of the movies of the time.

1157
00:57:17,960 --> 00:57:21,360
Speaker 2: You know, speaking of cyberpunk, I've been playing the Cyberpunk

1158
00:57:21,400 --> 00:57:24,760
Speaker 2: twenty seventy seven game. Oh really, yeah, And that's one

1159
00:57:24,800 --> 00:57:27,560
Speaker 2: of the interesting things to engage in with it is

1160
00:57:27,640 --> 00:57:30,760
Speaker 2: to think about, like, this is a very it's a

1161
00:57:30,880 --> 00:57:34,200
Speaker 2: very nineteen eighties vision of the future that really doesn't

1162
00:57:34,240 --> 00:57:36,960
Speaker 2: match up in many ways with sort of modern sensibilities

1163
00:57:37,000 --> 00:57:38,840
Speaker 2: and all. And yeah, you have all that stuff like

1164
00:57:38,920 --> 00:57:41,640
Speaker 2: the like Japanese business panic that are a part of it,

1165
00:57:41,800 --> 00:57:44,480
Speaker 2: and yeah, it's it's it's weird to think about.

1166
00:57:44,680 --> 00:57:47,160
Speaker 3: Well, that panic plays into the first scene where we

1167
00:57:47,280 --> 00:57:49,440
Speaker 3: meet Renee Russo of two thousand and nine, who I

1168
00:57:49,480 --> 00:57:52,600
Speaker 3: will say looks exactly the same as she did in

1169
00:57:52,720 --> 00:57:54,840
Speaker 3: nineteen ninety one. She literally does not look like she

1170
00:57:54,920 --> 00:57:57,280
Speaker 3: has aged a day, So I guess maybe she has

1171
00:57:57,360 --> 00:58:00,080
Speaker 3: not been exposed to the sky without ozone or or

1172
00:58:00,120 --> 00:58:03,560
Speaker 3: something that's ruined everybody else's his body in the future.

1173
00:58:04,080 --> 00:58:06,880
Speaker 3: But she is now a high powered executive at this

1174
00:58:07,080 --> 00:58:10,960
Speaker 3: corporation called McCandless, which is the biggest, most powerful corporation

1175
00:58:11,080 --> 00:58:15,160
Speaker 3: in the world, and she is colleagues with Jonathan Banks,

1176
00:58:15,200 --> 00:58:18,280
Speaker 3: with this guy Michellet, and Renee Russo is doing some

1177
00:58:18,400 --> 00:58:22,760
Speaker 3: top level negotiation in Japanese with these representatives from a

1178
00:58:22,840 --> 00:58:26,600
Speaker 3: Japanese corporation and the executives across the table eventually after

1179
00:58:26,680 --> 00:58:32,840
Speaker 3: they negotiate their like the mineral rights are yours? And

1180
00:58:32,960 --> 00:58:37,200
Speaker 3: the CEO of the McCandless Corporation is Ian McCandless played

1181
00:58:37,240 --> 00:58:40,920
Speaker 3: by Anthony Hopkins, and he video calls Renee russo he's like,

1182
00:58:41,000 --> 00:58:44,520
Speaker 3: congratulations on business. Now do more business now.

1183
00:58:44,760 --> 00:58:48,160
Speaker 2: I don't recall, do we know McCandless is actually dead

1184
00:58:48,200 --> 00:58:51,600
Speaker 2: and that he's the patron looking to get inside this

1185
00:58:51,680 --> 00:58:52,400
Speaker 2: bone Jack body.

1186
00:58:52,520 --> 00:58:55,720
Speaker 3: So technically no, that is a real spoiler that is

1187
00:58:55,800 --> 00:58:58,480
Speaker 3: revealed at the end of the movie that the person

1188
00:58:58,640 --> 00:59:03,680
Speaker 3: looking for Emilistevez's bone Jack body is actually Anthony Hopkins.

1189
00:59:03,800 --> 00:59:06,640
Speaker 3: But you are not supposed to know it at this point.

1190
00:59:06,680 --> 00:59:09,480
Speaker 3: You're supposed to think he's still alive and just communicating

1191
00:59:09,520 --> 00:59:13,160
Speaker 3: with her through video phone calls. But no, it's absolutely obvious.

1192
00:59:13,240 --> 00:59:15,800
Speaker 3: I had never seen the movie before, and I was like, Okay,

1193
00:59:16,120 --> 00:59:19,600
Speaker 3: Anthony Hopkins is the person who needs the Stavez body.

1194
00:59:19,840 --> 00:59:22,200
Speaker 2: Okay. See, I couldn't remember if like the trailer spoiled

1195
00:59:22,240 --> 00:59:25,080
Speaker 2: it for me or marketing material back in the early nineties,

1196
00:59:25,160 --> 00:59:27,000
Speaker 2: but I feel like I always knew, like there was

1197
00:59:27,120 --> 00:59:28,680
Speaker 2: never a twist here for me.

1198
00:59:28,960 --> 00:59:40,600
Speaker 3: Yeah, it's it's it's a thousand percent obvious. So then

1199
00:59:40,640 --> 00:59:43,080
Speaker 3: you're back to Brad and Alex walking around. They're trying

1200
00:59:43,120 --> 00:59:46,040
Speaker 3: to find Renee Russo. Brad's trying to help him find

1201
00:59:46,120 --> 00:59:48,480
Speaker 3: her because it's like, oh, once you know she sees you,

1202
00:59:48,600 --> 00:59:52,080
Speaker 3: she'll she'll help you. And so Brad takes Alex to

1203
00:59:52,360 --> 00:59:56,560
Speaker 3: a diner where for some reason, people start pointing guns

1204
00:59:56,600 --> 01:00:00,439
Speaker 3: at each other. And then you find I know it's

1205
01:00:00,440 --> 01:00:03,920
Speaker 3: a double cross because Brad told told Alex that he

1206
01:00:04,000 --> 01:00:05,640
Speaker 3: was going to help him fire the Renee Russo, but

1207
01:00:05,720 --> 01:00:08,000
Speaker 3: instead he just calls up the police to collect the

1208
01:00:08,080 --> 01:00:09,200
Speaker 3: bounty on his old friend.

1209
01:00:09,880 --> 01:00:11,880
Speaker 2: Yeah, and again, this is a whole section of the

1210
01:00:11,960 --> 01:00:13,680
Speaker 2: movie that takes way longer than it needs to.

1211
01:00:13,880 --> 01:00:17,080
Speaker 3: Yes, and this turns into a car chase. Amelio Estevez

1212
01:00:17,160 --> 01:00:21,120
Speaker 3: driving a police motorcycle around, driving through restaurant kitchens. I

1213
01:00:21,240 --> 01:00:24,880
Speaker 3: see some familiar Atlanta streets in the scene, and eventually

1214
01:00:24,920 --> 01:00:28,560
Speaker 3: Alex like crashes through a checkpoint and we get to

1215
01:00:28,600 --> 01:00:31,000
Speaker 3: see some of the roads and stuff. But he's going

1216
01:00:31,160 --> 01:00:33,280
Speaker 3: to Renee Russo's apartment.

1217
01:00:33,760 --> 01:00:35,640
Speaker 2: I have to say, I like they have a mix,

1218
01:00:35,960 --> 01:00:39,160
Speaker 2: an appropriate mix of some old looking conventional cars, but

1219
01:00:39,240 --> 01:00:42,600
Speaker 2: then also some snazzy future cars. Not flying cars, road

1220
01:00:42,640 --> 01:00:44,560
Speaker 2: based cars, but futuristic in appearance.

1221
01:00:44,680 --> 01:00:47,080
Speaker 3: Most of the cars, or at least the nice looking

1222
01:00:47,160 --> 01:00:49,040
Speaker 3: cars in the future, are covered by some kind of

1223
01:00:49,200 --> 01:00:51,480
Speaker 3: single piece fiberglass carapace.

1224
01:00:52,120 --> 01:00:54,960
Speaker 2: Yeah, which seems like a good solution. You know, you

1225
01:00:55,040 --> 01:00:58,160
Speaker 2: don't have to completely redesign your space cars from the

1226
01:00:58,240 --> 01:01:00,720
Speaker 2: ground up. Just get some sort of sleep body to

1227
01:01:00,800 --> 01:01:03,120
Speaker 2: put on top of it, and you know, it ends

1228
01:01:03,200 --> 01:01:03,920
Speaker 2: up looking pretty good.

1229
01:01:04,000 --> 01:01:06,240
Speaker 3: It's just a Honda Civic with a big one piece

1230
01:01:06,480 --> 01:01:07,360
Speaker 3: top on it. Yeah.

1231
01:01:07,440 --> 01:01:09,200
Speaker 2: Yeah, they're essentially parade floats, right.

1232
01:01:09,920 --> 01:01:12,520
Speaker 3: Also, the horses and carriages in the future, there's lots

1233
01:01:12,520 --> 01:01:14,160
Speaker 3: of horses and carriages all over the place.

1234
01:01:14,520 --> 01:01:16,160
Speaker 2: Huh okay, yeah, I forgot about that.

1235
01:01:17,120 --> 01:01:20,480
Speaker 3: But Alex goes to Julie's apartment, Julia's renee russo he

1236
01:01:20,560 --> 01:01:23,320
Speaker 3: breaks in. He's like, hey, I'm here. I got bone jacked,

1237
01:01:23,360 --> 01:01:25,640
Speaker 3: you know, but now I'm a free jack. And they argue, let's.

1238
01:01:25,480 --> 01:01:26,720
Speaker 2: Pick up exactly where we left.

1239
01:01:27,080 --> 01:01:30,640
Speaker 3: Yeah. Yeah. So, I don't know, seventeen years or something

1240
01:01:30,680 --> 01:01:33,240
Speaker 3: have passed for her. It's been I haven't done the math,

1241
01:01:33,320 --> 01:01:35,960
Speaker 3: right whatever. Some number of years have passed and he's

1242
01:01:36,080 --> 01:01:37,880
Speaker 3: just like, hey, you know, how are things? And she

1243
01:01:38,400 --> 01:01:41,520
Speaker 3: freaks out. She doesn't think it's really him. She thinks

1244
01:01:41,600 --> 01:01:44,640
Speaker 3: that somebody else has bonejacked his body and is now

1245
01:01:44,720 --> 01:01:45,560
Speaker 3: trying to trick her.

1246
01:01:46,360 --> 01:01:49,280
Speaker 2: I want to see a remake where the Renee Russo

1247
01:01:49,480 --> 01:01:51,880
Speaker 2: character is totally not into this. And she's like talking

1248
01:01:51,920 --> 01:01:55,080
Speaker 2: to her husband or partner and she's like, yeah, God,

1249
01:01:55,160 --> 01:01:58,960
Speaker 2: my ex boyfriend from seventeen years ago turns out he's

1250
01:01:59,000 --> 01:02:02,280
Speaker 2: a free jack. Won't lead me alone. I've told him

1251
01:02:02,360 --> 01:02:05,240
Speaker 2: like that was seventeen years ago. Like, life moves on.

1252
01:02:05,360 --> 01:02:08,160
Speaker 2: I'm sorry you went through this, but I cannot help you. Right,

1253
01:02:08,360 --> 01:02:11,640
Speaker 2: I've got the end of it. I'm an executive at McCandleis.

1254
01:02:11,720 --> 01:02:12,560
Speaker 3: I don't have time for this.

1255
01:02:13,200 --> 01:02:16,360
Speaker 2: Yeah like you, yeah, you were a mistake seventeen years ago,

1256
01:02:16,440 --> 01:02:17,920
Speaker 2: and I really I'm not about to pick that same

1257
01:02:17,960 --> 01:02:20,280
Speaker 2: mistake up and run through the streets with it.

1258
01:02:20,520 --> 01:02:21,960
Speaker 3: That would have been an amazing direction.

1259
01:02:22,080 --> 01:02:22,280
Speaker 1: But no.

1260
01:02:22,400 --> 01:02:25,520
Speaker 3: Instead, she's just like single and at first she's skeptical,

1261
01:02:25,560 --> 01:02:26,640
Speaker 3: but you know what's going to happen?

1262
01:02:26,760 --> 01:02:26,960
Speaker 4: Come on?

1263
01:02:27,200 --> 01:02:30,080
Speaker 3: Yeah, and then this turns into a car chase. Mick

1264
01:02:30,200 --> 01:02:33,880
Speaker 3: Jagger like finds Emilia Estevez at her apartment and then

1265
01:02:34,480 --> 01:02:37,720
Speaker 3: he starts chasing him down in this red land boat

1266
01:02:37,840 --> 01:02:41,880
Speaker 3: that is just hilarious. But Alex hijacks a truck full

1267
01:02:42,040 --> 01:02:44,720
Speaker 3: I think it's like a wine bottle delivery truck. It's

1268
01:02:44,720 --> 01:02:48,000
Speaker 3: full of these neon green bottles of wine. So they

1269
01:02:48,080 --> 01:02:50,440
Speaker 3: do a car chase around, we see a Marta station

1270
01:02:51,240 --> 01:02:53,120
Speaker 3: and then there's one of my favorite parts of the

1271
01:02:53,160 --> 01:02:55,040
Speaker 3: movie that was really funny was when.

1272
01:02:56,200 --> 01:02:57,760
Speaker 2: I have to say, real quick though, I have to

1273
01:02:57,760 --> 01:03:01,880
Speaker 2: say about that wine vehicle. Yeah, watching it this time,

1274
01:03:02,320 --> 01:03:07,560
Speaker 2: I instantly thought of Amy Sedaris's regional wine lady Ronnie

1275
01:03:07,640 --> 01:03:11,080
Speaker 2: Vino from her television series At Home with Amy Siderius.

1276
01:03:11,080 --> 01:03:13,680
Speaker 2: And I don't know what she drives. Oh yeah, she's

1277
01:03:13,720 --> 01:03:16,600
Speaker 2: this hilarious character that goes door to door selling lines.

1278
01:03:17,280 --> 01:03:20,640
Speaker 2: But like, this has to be Ronnie Vino's vehicle that

1279
01:03:21,040 --> 01:03:21,640
Speaker 2: is stolen here.

1280
01:03:21,760 --> 01:03:24,400
Speaker 3: Well, I have to check that out. But anyway, I

1281
01:03:24,480 --> 01:03:26,880
Speaker 3: thought the scene was funny for multiple reasons. Number one

1282
01:03:26,960 --> 01:03:30,160
Speaker 3: is that, yeah, I understand Alex forlong. Our protagonist is

1283
01:03:30,200 --> 01:03:32,439
Speaker 3: supposed to be a race car driver, so it makes

1284
01:03:32,440 --> 01:03:35,840
Speaker 3: sense that he would have some skills at evading these mercenaries.

1285
01:03:36,400 --> 01:03:39,280
Speaker 3: No matter what he was driving, but still it seems implausible.

1286
01:03:39,320 --> 01:03:44,720
Speaker 3: He's just fully outmaneuvering a fleet of police interceptor vehicles

1287
01:03:44,760 --> 01:03:48,280
Speaker 3: and these like mercenary motorcycles and stuff in a delivery

1288
01:03:48,400 --> 01:03:51,520
Speaker 3: truck for like full of you know, Neon Green Pole

1289
01:03:51,640 --> 01:03:52,040
Speaker 3: mass On.

1290
01:03:52,600 --> 01:03:52,800
Speaker 2: Yeah.

1291
01:03:53,400 --> 01:03:56,280
Speaker 3: And oh and it's got a laptop inside the cab

1292
01:03:56,440 --> 01:03:59,680
Speaker 3: where he's driving that Mick Jagger keeps coming on like

1293
01:03:59,720 --> 01:04:02,480
Speaker 3: pop up on the screen on the laptop and harassing

1294
01:04:02,600 --> 01:04:04,880
Speaker 3: him while he's driving and saying like, you can't get

1295
01:04:05,000 --> 01:04:07,480
Speaker 3: rid of me that easily, And he'll try to close

1296
01:04:07,600 --> 01:04:10,720
Speaker 3: the laptop and then it'll just open up automatically and

1297
01:04:11,120 --> 01:04:13,280
Speaker 3: Mick Jagger and jaggers and laughing at him.

1298
01:04:13,320 --> 01:04:16,040
Speaker 2: Yeah again he suddenly his character is suddenly the Riddler

1299
01:04:16,240 --> 01:04:16,680
Speaker 2: or something.

1300
01:04:16,760 --> 01:04:16,880
Speaker 4: You know.

1301
01:04:17,000 --> 01:04:19,280
Speaker 2: It's like a complete shift from what it was earlier.

1302
01:04:19,520 --> 01:04:21,720
Speaker 3: And the mercenaries who worked for Mick Jagger, they're all

1303
01:04:21,840 --> 01:04:26,080
Speaker 3: dressed like spaceballs once again. Eventually, Furlong escapes this scene

1304
01:04:26,120 --> 01:04:28,680
Speaker 3: by jumping off of a bridge into water from a

1305
01:04:28,720 --> 01:04:31,680
Speaker 3: height that would absolutely have killed him. He drifts down

1306
01:04:31,720 --> 01:04:33,960
Speaker 3: the river, I guess, and he ends up he ends

1307
01:04:34,040 --> 01:04:36,720
Speaker 3: up washing up on a dock somewhere and he meets

1308
01:04:36,800 --> 01:04:40,360
Speaker 3: Frankie Faison, who we mentioned earlier, who's just hanging out

1309
01:04:40,400 --> 01:04:43,040
Speaker 3: at a dock next to all this toxic water and

1310
01:04:43,240 --> 01:04:46,120
Speaker 3: he's eating something. He tries to share his food, I think,

1311
01:04:46,240 --> 01:04:48,600
Speaker 3: but he's like, yeah, this is a sauteed river rat.

1312
01:04:49,160 --> 01:04:51,680
Speaker 3: And then they have a fantastic conversation about the best

1313
01:04:51,680 --> 01:04:54,400
Speaker 3: way to cook river rats. And then this goes into

1314
01:04:54,480 --> 01:04:58,040
Speaker 3: this monologue about an eagle that really doesn't make any sense,

1315
01:04:58,120 --> 01:05:00,120
Speaker 3: but I would say acting prize for the movie. He

1316
01:05:00,200 --> 01:05:01,640
Speaker 3: goes to Frankie Faison.

1317
01:05:01,760 --> 01:05:04,480
Speaker 2: Well, and it works too because the kind of monologue

1318
01:05:04,560 --> 01:05:07,840
Speaker 2: you'd expect to get from like a crazy person, you know,

1319
01:05:07,920 --> 01:05:11,160
Speaker 2: that lives under a bridge in the in a dystopian future,

1320
01:05:11,520 --> 01:05:14,560
Speaker 2: Like it shouldn't make sense. It should it should have

1321
01:05:14,680 --> 01:05:16,800
Speaker 2: this sort of raw energy to it that's kind of

1322
01:05:16,920 --> 01:05:21,320
Speaker 2: muddled by strange thinking, and it totally shines through. It's

1323
01:05:21,400 --> 01:05:23,000
Speaker 2: it is the best scene in the whole picture.

1324
01:05:23,080 --> 01:05:25,960
Speaker 3: It's like simultaneously incoherent and wise.

1325
01:05:26,520 --> 01:05:29,480
Speaker 2: Yes. Yeah, and in that very sagely you're like, I

1326
01:05:29,520 --> 01:05:31,720
Speaker 2: don't know what he just said, but I think it

1327
01:05:31,880 --> 01:05:34,680
Speaker 2: was really important, and I will I will buy him.

1328
01:05:34,680 --> 01:05:37,320
Speaker 2: It's the same trick that shaman throughout history have used

1329
01:05:37,720 --> 01:05:39,320
Speaker 2: and Eagle Guy has no exception.

1330
01:05:39,480 --> 01:05:43,280
Speaker 3: Yeah, but anyway, so we come back to Renee Russo

1331
01:05:43,400 --> 01:05:47,880
Speaker 3: and her colleague Boone, who again this is Grandel Bush.

1332
01:05:48,280 --> 01:05:52,080
Speaker 3: They go looking for Alex and the slums and they

1333
01:05:52,160 --> 01:05:54,160
Speaker 3: sort of make up, right, Renee Russo is like, if

1334
01:05:54,200 --> 01:05:57,680
Speaker 3: I'd known it was really you, and so they're they're

1335
01:05:57,880 --> 01:06:01,200
Speaker 3: happy now again together. She believes it's really him and

1336
01:06:01,320 --> 01:06:03,600
Speaker 3: she's going to help him free Jack. She's going to

1337
01:06:03,640 --> 01:06:07,240
Speaker 3: help him escape somehow, and her plan is, oh, and

1338
01:06:07,360 --> 01:06:10,520
Speaker 3: they see a digital billboard that's like, oh, the bounty

1339
01:06:10,600 --> 01:06:14,720
Speaker 3: on him is now ten million dollars. But the plan

1340
01:06:15,040 --> 01:06:16,720
Speaker 3: is that she's going to meet up with a fancy

1341
01:06:16,800 --> 01:06:20,080
Speaker 3: friend of hers named Morgan at the most Icely canteena

1342
01:06:20,120 --> 01:06:22,720
Speaker 3: of two thousand and nine New York. It's like, you

1343
01:06:22,800 --> 01:06:25,439
Speaker 3: know very much. New York's hottest club is free Jack.

1344
01:06:26,120 --> 01:06:28,280
Speaker 3: And so they go there and she's going to go

1345
01:06:28,400 --> 01:06:31,439
Speaker 3: meet her friend who apparently helps people escape. I don't

1346
01:06:31,480 --> 01:06:33,520
Speaker 3: know why she knows a guy who just helps Free

1347
01:06:33,600 --> 01:06:38,080
Speaker 3: Jack's escape, but she does. And meanwhile, Emilio Estevez is

1348
01:06:38,120 --> 01:06:40,720
Speaker 3: just sitting by himself at the bar. He drinks something

1349
01:06:40,800 --> 01:06:43,400
Speaker 3: that the bartender gives him and this like messes up

1350
01:06:43,440 --> 01:06:47,640
Speaker 3: his brain. And then Mick Jagger's real life wife at

1351
01:06:47,720 --> 01:06:49,760
Speaker 3: the time of this film, or at least his partner,

1352
01:06:50,120 --> 01:06:53,200
Speaker 3: I think their marriage was later annulled. Her name's Jerry Hall.

1353
01:06:53,960 --> 01:06:56,440
Speaker 3: She is also in the movie, and she shows up

1354
01:06:56,720 --> 01:06:59,920
Speaker 3: as a TV interviewer who like walks up to a

1355
01:07:00,000 --> 01:07:03,160
Speaker 3: Emelio Estevez and is like, Hey, what's going on? And

1356
01:07:03,240 --> 01:07:05,760
Speaker 3: then they realize like, oh, this is that free jack

1357
01:07:05,840 --> 01:07:08,160
Speaker 3: everybody's looking for, and they put him on live TV

1358
01:07:08,360 --> 01:07:11,680
Speaker 3: and he starts quoting Arnold Schwarzenegger from The Terminator.

1359
01:07:12,080 --> 01:07:15,000
Speaker 2: Yeah, it's actually pretty great, you know, because they just

1360
01:07:15,080 --> 01:07:19,560
Speaker 2: went ahead and had the Furlong character just get totally wasted,

1361
01:07:19,680 --> 01:07:22,440
Speaker 2: like he's a kind of a dumb dumb and this

1362
01:07:22,800 --> 01:07:24,840
Speaker 2: this expresses it. You know. He just he drinks too

1363
01:07:24,880 --> 01:07:26,760
Speaker 2: much of this bar. He's out of it, and he's

1364
01:07:26,800 --> 01:07:29,440
Speaker 2: just starts gabbing to the to the journalists here, and

1365
01:07:29,480 --> 01:07:32,400
Speaker 2: she's like, roll it, We're gonna get the ratings tonight.

1366
01:07:33,120 --> 01:07:34,760
Speaker 2: So I actually kind of like this scene.

1367
01:07:35,200 --> 01:07:38,200
Speaker 3: A weird connection is that. So she was I think

1368
01:07:38,280 --> 01:07:40,760
Speaker 3: married to Mick Jagger at the time, but Jerry Hall

1369
01:07:41,280 --> 01:07:45,080
Speaker 3: is now married to Rupert Murdoch, Yes, that Murdock.

1370
01:07:45,680 --> 01:07:49,600
Speaker 2: Wasn't she also in Batman? Wasn't she the model character

1371
01:07:49,760 --> 01:07:53,040
Speaker 2: that Jack Nicholson's Joker scars with Acid?

1372
01:07:53,080 --> 01:07:54,640
Speaker 3: And I think she was, Oh I don't remember that.

1373
01:07:54,960 --> 01:07:56,800
Speaker 2: Yeah, I think she popped up in a number of

1374
01:07:56,840 --> 01:07:59,400
Speaker 2: films during that period. All Right, So from here we

1375
01:07:59,520 --> 01:08:02,760
Speaker 2: go to to Morgan's apartment, which and once again once

1376
01:08:02,840 --> 01:08:04,880
Speaker 2: again some great interior decorating.

1377
01:08:05,040 --> 01:08:08,040
Speaker 3: Yes, giant foot art. He just has these like twenty

1378
01:08:08,120 --> 01:08:13,120
Speaker 3: foot tall feet sculptures in his house. Yeah, very cool.

1379
01:08:13,480 --> 01:08:16,200
Speaker 2: Yeah, and I really think we should credit where credits due.

1380
01:08:16,320 --> 01:08:19,360
Speaker 2: First of all for mc jagger's coat. Lisa Jensen was

1381
01:08:19,400 --> 01:08:22,200
Speaker 2: costume designer on this film, and then art direction for

1382
01:08:22,280 --> 01:08:26,040
Speaker 2: the film was James A. Taylor, Set direction by Bruce A. Gibson.

1383
01:08:26,200 --> 01:08:29,320
Speaker 2: So really, without this bunch, I'm not sure what we

1384
01:08:29,320 --> 01:08:30,599
Speaker 2: would be looking at in these scenes.

1385
01:08:30,880 --> 01:08:33,720
Speaker 3: I agree. So I think they're just negotiating like that

1386
01:08:33,760 --> 01:08:35,880
Speaker 3: they're gonna get him out of there, like Morgan's gonna

1387
01:08:35,920 --> 01:08:39,200
Speaker 3: arrange for him to escape somewhere. And then and then

1388
01:08:39,240 --> 01:08:42,280
Speaker 3: there's a love scene. Of course, Emilio Estevez and Renee

1389
01:08:42,320 --> 01:08:45,599
Speaker 3: Russo they they're you know, they slip into something more

1390
01:08:45,680 --> 01:08:48,760
Speaker 3: comfortable and there's some saxophone playing in the background and

1391
01:08:48,840 --> 01:08:49,320
Speaker 3: you get all that.

1392
01:08:49,760 --> 01:08:52,840
Speaker 2: Yeah, but again more just wasted space in this film,

1393
01:08:52,960 --> 01:08:55,760
Speaker 2: Like this is again previous scene wasted space. Then there's

1394
01:08:55,840 --> 01:08:57,439
Speaker 2: this and yeah, I could.

1395
01:08:57,280 --> 01:09:00,880
Speaker 3: Really trim this down. Yeah, there is some that's utterly

1396
01:09:01,000 --> 01:09:03,280
Speaker 3: inconsequential to the rest of the film. But a good

1397
01:09:03,360 --> 01:09:06,400
Speaker 3: B plot scene where Amanda Plumber just kicks Jonathan Banks

1398
01:09:06,439 --> 01:09:09,160
Speaker 3: in the testes. Yeah, and they really milk it, like

1399
01:09:09,200 --> 01:09:11,519
Speaker 3: he does the classic sinking to the floor moaning with

1400
01:09:11,640 --> 01:09:13,120
Speaker 3: his eyes rolling back kind of thing.

1401
01:09:13,760 --> 01:09:16,519
Speaker 2: Yeah. It accomplishes nothing though for the plot or for

1402
01:09:16,600 --> 01:09:19,960
Speaker 2: these characters, Like, I don't really know why we bothered

1403
01:09:20,000 --> 01:09:20,160
Speaker 2: with this.

1404
01:09:21,439 --> 01:09:24,360
Speaker 3: So Emilio Estevez is getting ready to escape. He's going

1405
01:09:24,439 --> 01:09:28,679
Speaker 3: to a boat and he's going with Boone I remember

1406
01:09:28,760 --> 01:09:32,120
Speaker 3: Grandel Marsha And they're walking together and Boone is explaining

1407
01:09:32,200 --> 01:09:34,360
Speaker 3: that he has become a people to the city, like

1408
01:09:34,479 --> 01:09:37,120
Speaker 3: he inspires everyone because he has a free jack and

1409
01:09:37,200 --> 01:09:40,000
Speaker 3: the people are like, wow, I guess if he could

1410
01:09:40,000 --> 01:09:41,799
Speaker 3: be free, I could be free too or something.

1411
01:09:42,520 --> 01:09:45,240
Speaker 2: Yeah, it's a little flimsy. Clearly, they had to establish

1412
01:09:45,360 --> 01:09:48,080
Speaker 2: why Boone would help him, Yeah, if there's ten million,

1413
01:09:48,240 --> 01:09:50,120
Speaker 2: and I think it's supposedly more. At this point, it

1414
01:09:50,200 --> 01:09:52,320
Speaker 2: keeps going up, like there's a tremendous amount of money

1415
01:09:52,760 --> 01:09:55,160
Speaker 2: on the table for this guy. Why are you helping him?

1416
01:09:55,439 --> 01:09:57,080
Speaker 2: And he says, well, you inspire my grandma.

1417
01:09:57,200 --> 01:09:57,800
Speaker 3: Yeah, that's all right.

1418
01:09:57,960 --> 01:10:01,160
Speaker 2: Yeah, and I'm like, okay, I'll buy I'm not happy if.

1419
01:10:01,960 --> 01:10:03,000
Speaker 3: My grandma loves you.

1420
01:10:03,720 --> 01:10:03,920
Speaker 2: Yeah.

1421
01:10:05,000 --> 01:10:06,600
Speaker 3: So they're supposed to go get on a boat, but

1422
01:10:06,720 --> 01:10:10,400
Speaker 3: then bam boat explodes. It's a Jagger ambush, and then

1423
01:10:10,479 --> 01:10:13,320
Speaker 3: it's a double double cross because Jagger is trying to

1424
01:10:13,400 --> 01:10:16,640
Speaker 3: capture Furlong alive. But then these other dudes show up

1425
01:10:16,640 --> 01:10:19,839
Speaker 3: and start shooting at Mick Jagger and shooting at Emilio Estevez,

1426
01:10:20,479 --> 01:10:23,839
Speaker 3: and I think Boone is like, those aren't bone jackers.

1427
01:10:23,920 --> 01:10:27,360
Speaker 3: There's someone else in the area, and so they're all

1428
01:10:27,520 --> 01:10:29,720
Speaker 3: they're all running around. You find out Boone has a

1429
01:10:29,800 --> 01:10:33,160
Speaker 3: katana and he's like a total badass and he fights people.

1430
01:10:33,600 --> 01:10:36,360
Speaker 2: Yeah. I mean, basically, you have Jagger's bunch wants to

1431
01:10:36,479 --> 01:10:40,000
Speaker 2: finish the bone jacking contract, and then Jonathan Banks's bunch

1432
01:10:40,320 --> 01:10:42,960
Speaker 2: they don't want the bone jacking to take place because

1433
01:10:42,960 --> 01:10:44,679
Speaker 2: they don't want Anthony Hopkins to get his new body

1434
01:10:44,680 --> 01:10:46,240
Speaker 2: because then he's still in charge of the company if

1435
01:10:46,280 --> 01:10:48,400
Speaker 2: that happens. Yeah, we don't really learn that till later.

1436
01:10:48,479 --> 01:10:50,040
Speaker 2: But that's why we're building up too, That's right.

1437
01:10:50,160 --> 01:10:52,000
Speaker 3: We find that out from Jonathan Banks and a big

1438
01:10:52,040 --> 01:10:56,200
Speaker 3: another exposition dumb scene. But everybody's running around, chasing, shooting

1439
01:10:56,240 --> 01:10:58,839
Speaker 3: at each other. There's a big fight scene between Emilio

1440
01:10:58,960 --> 01:11:02,360
Speaker 3: Estevez and a large, strong bone jacker who gets electrocuted.

1441
01:11:03,160 --> 01:11:05,800
Speaker 3: During this whole sequence, Mick Jagger is creeping around in

1442
01:11:05,880 --> 01:11:10,879
Speaker 3: a hilarious helmet. But then there's a scene where Furlong

1443
01:11:11,120 --> 01:11:13,759
Speaker 3: has a chance to kill Mick Jagger, but he doesn't.

1444
01:11:14,160 --> 01:11:17,320
Speaker 3: He lets him live. He spares his life, and for

1445
01:11:17,600 --> 01:11:21,479
Speaker 3: this Mick Jagger, Mick Jagger gives him a head start.

1446
01:11:21,560 --> 01:11:23,519
Speaker 3: He's like, I'll let you escape because I'm a man

1447
01:11:23,600 --> 01:11:26,200
Speaker 3: of honor. You're a man of honor. And he starts counting,

1448
01:11:26,400 --> 01:11:30,240
Speaker 3: and Mick Jagger says, one Mississippi, two Mississippi.

1449
01:11:32,439 --> 01:11:35,400
Speaker 2: I mean this ridiculous. Yeah, that's just ridiculous. It's way

1450
01:11:35,400 --> 01:11:37,479
Speaker 2: too much of a lead too, Like why you just

1451
01:11:37,560 --> 01:11:40,360
Speaker 2: spend like they established, it's gonna take costs, like millions

1452
01:11:40,400 --> 01:11:43,200
Speaker 2: and millions of dollars to catch this guy again. You've

1453
01:11:43,240 --> 01:11:45,400
Speaker 2: got him, but you're like, no, I'm a man of

1454
01:11:45,479 --> 01:11:47,680
Speaker 2: my honor. I'm gonna let you get away again.

1455
01:11:48,000 --> 01:11:51,120
Speaker 3: Right, So they eventually they go back to McCandless headquarters.

1456
01:11:52,320 --> 01:11:54,439
Speaker 3: He meets back up with Renee Russo. They go to

1457
01:11:54,680 --> 01:11:58,839
Speaker 3: McCandless headquarters to meet with Jonathan Banks and have Jonathan

1458
01:11:58,920 --> 01:12:02,280
Speaker 3: Banks explain the whole lot yep, and Renee Russo and

1459
01:12:02,360 --> 01:12:05,840
Speaker 3: Emilio Estevez end up end up going up to the

1460
01:12:05,880 --> 01:12:09,680
Speaker 3: Spiritual Switchboard to find you know, there's a number of

1461
01:12:09,720 --> 01:12:12,120
Speaker 3: double crosses yet again, and people trying to kill each other.

1462
01:12:12,240 --> 01:12:14,880
Speaker 3: So they end up a the Spiritual Switchboard, which looks

1463
01:12:14,920 --> 01:12:17,800
Speaker 3: like a smoother version of the Satan powered hyperdrive in

1464
01:12:17,840 --> 01:12:18,679
Speaker 3: Event Horizon.

1465
01:12:19,720 --> 01:12:22,439
Speaker 2: Yeah, it's you know, clearly, whatever is happening here, it

1466
01:12:22,520 --> 01:12:24,400
Speaker 2: can only take place at the top of a high

1467
01:12:24,479 --> 01:12:30,479
Speaker 2: rise in Manhattan aka Atlanta. And yeah, it raises a

1468
01:12:30,520 --> 01:12:32,320
Speaker 2: lot of questions, like, I guess the big one is

1469
01:12:32,800 --> 01:12:35,880
Speaker 2: what if we are actually dealing with spirit Like what

1470
01:12:36,000 --> 01:12:42,400
Speaker 2: if this film is presenting a future in which which

1471
01:12:42,479 --> 01:12:44,920
Speaker 2: there is a spiritual reality to the individual and that's

1472
01:12:44,920 --> 01:12:46,840
Speaker 2: why you have some sort of crazy contraption because there's

1473
01:12:46,880 --> 01:12:49,840
Speaker 2: like an actual ghost soul, you know, like there's an

1474
01:12:49,840 --> 01:12:53,960
Speaker 2: Anthony Hopkins poltergeist trapped in this thing and they have

1475
01:12:54,120 --> 01:12:56,439
Speaker 2: to eventually try and slam it into some new meat.

1476
01:12:56,840 --> 01:13:02,200
Speaker 3: Yeah, it really does explore some cartesian territory. I think

1477
01:13:02,240 --> 01:13:06,519
Speaker 3: you can give it it's philosophical credit, especially because so

1478
01:13:06,640 --> 01:13:08,880
Speaker 3: they go up to the Spiritual Switchboard and they meet

1479
01:13:10,360 --> 01:13:14,080
Speaker 3: McCandleis that's Anthony Hopkins, and he's full on lawnmower Man

1480
01:13:14,200 --> 01:13:17,519
Speaker 3: beyond cyberspace. He's just hanging out in digital worlds with

1481
01:13:17,680 --> 01:13:21,679
Speaker 3: digital diamonds. Our heroes are transported to a giant VR

1482
01:13:21,880 --> 01:13:25,639
Speaker 3: castle inside what looks like a Utah desert, and Anthony

1483
01:13:25,720 --> 01:13:30,240
Speaker 3: Hopkins says, welcome to my mind. And Anthony Hopkins has

1484
01:13:30,320 --> 01:13:34,760
Speaker 3: been faking being alive through video simulation the whole time.

1485
01:13:34,880 --> 01:13:37,080
Speaker 3: We find out that he's in love with Renee Russo

1486
01:13:37,439 --> 01:13:40,719
Speaker 3: and he wants Amelio Estevez's body so that she would

1487
01:13:40,760 --> 01:13:44,240
Speaker 3: love him in return. And so they're trying to do

1488
01:13:44,360 --> 01:13:47,240
Speaker 3: the mind transfer on this big thing that looks exactly

1489
01:13:47,360 --> 01:13:49,679
Speaker 3: like a jack, like it's a spike with these balls

1490
01:13:49,720 --> 01:13:51,800
Speaker 3: coming out of the middle of it, and the Jack

1491
01:13:51,920 --> 01:13:54,680
Speaker 3: opens up and there's a big crystal inside it, so

1492
01:13:54,800 --> 01:13:56,639
Speaker 3: it's literally crystal energy.

1493
01:13:57,439 --> 01:14:00,240
Speaker 2: Now the film does get very briefly and just into

1494
01:14:00,320 --> 01:14:03,600
Speaker 2: this the philosophy or another philosophy really, I guess you

1495
01:14:03,640 --> 01:14:07,960
Speaker 2: would say the ethics of bone jacking, which is kind

1496
01:14:08,000 --> 01:14:10,400
Speaker 2: of interesting because you know, he's like they bring up

1497
01:14:10,439 --> 01:14:13,080
Speaker 2: the point which I mostly agree with here, like he

1498
01:14:13,160 --> 01:14:15,320
Speaker 2: was gonna in Ilio west Vesz's character was going to die.

1499
01:14:15,800 --> 01:14:18,879
Speaker 2: That was going to happen, and they can't really interfere

1500
01:14:18,960 --> 01:14:21,360
Speaker 2: with that, like that would be that would really mess up,

1501
01:14:22,560 --> 01:14:25,160
Speaker 2: you know, the entire time stream. All they can do

1502
01:14:25,439 --> 01:14:28,080
Speaker 2: is steal his body and then do something with it,

1503
01:14:28,439 --> 01:14:30,680
Speaker 2: and it's just an accident that he got free and

1504
01:14:30,760 --> 01:14:35,559
Speaker 2: that he's escaped. So to a certain extent, bone jacking

1505
01:14:35,640 --> 01:14:36,920
Speaker 2: is a is a victimist crime.

1506
01:14:37,400 --> 01:14:40,160
Speaker 3: Oh you think so, huh, you're a pro bone jacking,

1507
01:14:40,240 --> 01:14:40,439
Speaker 3: are you?

1508
01:14:41,240 --> 01:14:44,960
Speaker 2: Well, I'm I'm not in I guess I'm not entirely

1509
01:14:45,040 --> 01:14:47,519
Speaker 2: pro bone jacking. I mean it does symbolize, you know,

1510
01:14:47,640 --> 01:14:51,400
Speaker 2: the a great deal of unbalanced privilege in the future

1511
01:14:51,800 --> 01:14:55,080
Speaker 2: for the few individuals who can afford immortality, which you know,

1512
01:14:55,160 --> 01:14:57,160
Speaker 2: we still see plenty of science fiction that deals with that,

1513
01:14:57,240 --> 01:15:00,479
Speaker 2: because that's ultimately a that's a reality we're potential facing.

1514
01:15:00,520 --> 01:15:05,320
Speaker 2: You know, these longevity science improves, you know, who's going

1515
01:15:05,360 --> 01:15:07,560
Speaker 2: to be able to afford it? Who gets to have

1516
01:15:07,720 --> 01:15:10,639
Speaker 2: their life span extended? Who gets to live forever?

1517
01:15:10,800 --> 01:15:10,920
Speaker 4: You know?

1518
01:15:11,040 --> 01:15:13,320
Speaker 2: Sure, So it gets into some of that territory and

1519
01:15:13,400 --> 01:15:16,280
Speaker 2: that is that is some rich sci fi territory to explore,

1520
01:15:16,320 --> 01:15:17,760
Speaker 2: and they briefly do it.

1521
01:15:18,200 --> 01:15:21,479
Speaker 3: Yeah, as sort of they kind of half address it.

1522
01:15:21,720 --> 01:15:26,639
Speaker 3: There is a line where Amelia Estevez says to Anthony Hopkins,

1523
01:15:26,720 --> 01:15:29,360
Speaker 3: you don't need a new body, you need a new soul.

1524
01:15:31,360 --> 01:15:35,520
Speaker 2: Yeah, and he's like, yeah, whatever, meat, prepare.

1525
01:15:35,240 --> 01:15:38,680
Speaker 3: To have me in your meat. And then there's a

1526
01:15:38,720 --> 01:15:43,280
Speaker 3: psychedelic mind transfer scene, but it doesn't complete because Jonathan

1527
01:15:43,360 --> 01:15:46,120
Speaker 3: Banks shows up to kill everybody. I guess because oh,

1528
01:15:46,120 --> 01:15:48,800
Speaker 3: because he just wants Anthony Hopkins to die so that

1529
01:15:48,880 --> 01:15:50,080
Speaker 3: he can take over the business.

1530
01:15:50,560 --> 01:15:52,720
Speaker 2: Right. He needs this to fail, and he's been trying

1531
01:15:52,760 --> 01:15:54,600
Speaker 2: to make it fail the whole time. And then the

1532
01:15:54,680 --> 01:15:56,639
Speaker 2: last thing he's going to try is just shooting the crystal,

1533
01:15:56,720 --> 01:15:58,639
Speaker 2: which he does, but then he shot himself.

1534
01:15:58,680 --> 01:16:00,920
Speaker 3: No, I think Renee Russo shoots yeah, Chris, she shoots.

1535
01:16:01,320 --> 01:16:02,120
Speaker 2: Why does she have a gun?

1536
01:16:02,479 --> 01:16:05,000
Speaker 3: She gets a gun something, she shoots the crystal stops

1537
01:16:05,040 --> 01:16:08,799
Speaker 3: the transfer, and then there's a question. So Emilio Estevez

1538
01:16:08,880 --> 01:16:11,360
Speaker 3: is there and it's like, uh, is Anthony Hopkins mind

1539
01:16:11,439 --> 01:16:13,599
Speaker 3: in him or is it still his mind? And there's

1540
01:16:13,640 --> 01:16:16,240
Speaker 3: a standoff with Mick Jagger and Jonathan Banks with their

1541
01:16:16,240 --> 01:16:18,600
Speaker 3: all point and guns at each other, and they're all

1542
01:16:18,640 --> 01:16:21,320
Speaker 3: trying to figure out is that really Anthony Hopkins or not?

1543
01:16:21,400 --> 01:16:24,000
Speaker 3: And they're gonna kill him if it's if it's still

1544
01:16:24,080 --> 01:16:27,160
Speaker 3: Amelio Estevez, but Jagger's gonna let him live if it's

1545
01:16:27,200 --> 01:16:30,519
Speaker 3: Anthony Hopkins. And uh so they do a trick. They're like,

1546
01:16:30,600 --> 01:16:34,400
Speaker 3: what's your personal identification number? And Emilio Estevez starts saying

1547
01:16:34,520 --> 01:16:38,360
Speaker 3: numbers and Mick Jagger's like that's right, and so they

1548
01:16:38,760 --> 01:16:41,760
Speaker 3: they shoot Jonathan Banks. But then you find out there's

1549
01:16:41,800 --> 01:16:44,160
Speaker 3: a very sweet ending where for a moment you are

1550
01:16:44,240 --> 01:16:47,160
Speaker 3: supposed to think, oh, maybe it did complete and the

1551
01:16:47,240 --> 01:16:50,479
Speaker 3: bad guy won. Anthony Hopkins is now in the meat.

1552
01:16:51,160 --> 01:16:54,000
Speaker 3: But there is a sweet ending where Renee Russo and

1553
01:16:54,560 --> 01:16:57,920
Speaker 3: Emilio Estevez are driving off and Mick Jagger comes up

1554
01:16:57,960 --> 01:16:59,880
Speaker 3: to them and like leans into the car window and

1555
01:17:00,120 --> 01:17:02,160
Speaker 3: is like, hey, you know, I know that number you

1556
01:17:02,280 --> 01:17:04,439
Speaker 3: gave was wrong, but I decided to let you live

1557
01:17:05,200 --> 01:17:07,040
Speaker 3: because you're a stand up guy or something.

1558
01:17:07,320 --> 01:17:11,000
Speaker 2: Yeah, it's I mean, it's not a bad ending. I

1559
01:17:11,240 --> 01:17:13,280
Speaker 2: like the whole mystery of it, like did it work?

1560
01:17:13,320 --> 01:17:14,880
Speaker 2: Did it not work? And it's like a kind of

1561
01:17:14,880 --> 01:17:17,760
Speaker 2: a fun double cross ultimately a face turn for Mick

1562
01:17:17,840 --> 01:17:21,720
Speaker 2: Jagger's character. But it does take a long time to

1563
01:17:21,760 --> 01:17:22,880
Speaker 2: get to this point in the picture.

1564
01:17:23,000 --> 01:17:24,920
Speaker 3: It does, and it strikes me as like that would

1565
01:17:24,920 --> 01:17:26,400
Speaker 3: be a cool thing in the future, if there's some

1566
01:17:26,640 --> 01:17:29,360
Speaker 3: kind of like a prestige attached to the idea of

1567
01:17:29,479 --> 01:17:31,960
Speaker 3: being original meat. You say like, no, no, no, my

1568
01:17:32,120 --> 01:17:34,160
Speaker 3: mind is still in the meat that it was originally

1569
01:17:34,240 --> 01:17:35,400
Speaker 3: and this is not new meat.

1570
01:17:35,760 --> 01:17:38,360
Speaker 2: Well, you know, I mentioned the nineties Outer Limits series earlier.

1571
01:17:38,760 --> 01:17:41,920
Speaker 2: This whole film would have made a really solid forty

1572
01:17:42,000 --> 01:17:46,519
Speaker 2: five minute nineties Outer Limit episode. Yes, Instead, it's like

1573
01:17:46,680 --> 01:17:50,040
Speaker 2: twice that length, and I think that's the one of

1574
01:17:50,080 --> 01:17:50,840
Speaker 2: the problems here.

1575
01:17:51,200 --> 01:17:54,320
Speaker 3: There is a really funny rock song that plays over

1576
01:17:54,400 --> 01:17:57,000
Speaker 3: the end credits. I had to look this up. It's

1577
01:17:57,040 --> 01:18:00,280
Speaker 3: by The Scorpions and it's called Solid. It's called hit

1578
01:18:00,439 --> 01:18:03,679
Speaker 3: between the eyes, and the lyrics include lines like late

1579
01:18:03,720 --> 01:18:06,400
Speaker 3: at night, when you're all alone, take a ride to

1580
01:18:06,520 --> 01:18:07,479
Speaker 3: the danger zone.

1581
01:18:10,280 --> 01:18:11,400
Speaker 2: Yeah, but that's it.

1582
01:18:11,720 --> 01:18:14,320
Speaker 3: As we've been saying, I think this movie's pretty awful.

1583
01:18:14,560 --> 01:18:17,519
Speaker 3: It has some real pleasures in terms of ridiculous dialog

1584
01:18:17,720 --> 01:18:21,400
Speaker 3: and shots of Mick Jagger looking really funny in certain costumes.

1585
01:18:21,840 --> 01:18:23,640
Speaker 3: I think it would be better if it was like

1586
01:18:23,880 --> 01:18:27,880
Speaker 3: thirty to forty minutes Shorter leaned harder into the absurdity.

1587
01:18:28,080 --> 01:18:31,280
Speaker 3: It could sort of veer into camp classic if it

1588
01:18:31,320 --> 01:18:33,400
Speaker 3: were like that. As it is, it's kind of an

1589
01:18:33,439 --> 01:18:34,120
Speaker 3: uncut gem.

1590
01:18:34,800 --> 01:18:37,160
Speaker 2: It would have been nate if the first time Emilio's

1591
01:18:37,240 --> 01:18:39,080
Speaker 2: character jumps off the bridge and you say, oh, that

1592
01:18:39,080 --> 01:18:41,800
Speaker 2: would have killed the normal person. What if he does

1593
01:18:41,960 --> 01:18:44,160
Speaker 2: die and he's immediately bonejacked again.

1594
01:18:44,439 --> 01:18:47,679
Speaker 3: Bone jack to a second future. This time it's twenty twenty.

1595
01:18:48,240 --> 01:18:49,240
Speaker 3: Things are even worse.

1596
01:18:49,680 --> 01:18:55,519
Speaker 2: Yeah, yeah, I agree with all your points there. Oh,

1597
01:18:55,600 --> 01:18:59,719
Speaker 2: here's my casting workaround. Okay, that could have improved things. Okay.

1598
01:19:00,120 --> 01:19:03,040
Speaker 2: Grand Al Bush plays our hero Alex Furlong.

1599
01:19:03,120 --> 01:19:04,360
Speaker 3: Oh, okay, yeah.

1600
01:19:05,080 --> 01:19:08,440
Speaker 2: Amanda Plumber plays Julie Redland, the love interests.

1601
01:19:08,160 --> 01:19:11,960
Speaker 3: Okay, nice, Yeah, she's exec at McCandless. Yeah.

1602
01:19:12,200 --> 01:19:16,040
Speaker 2: Yeah, Jonathan Banks and Mick Jagger switch role, so Banks

1603
01:19:16,080 --> 01:19:18,920
Speaker 2: as the Sindeck and Jagger as Michellette.

1604
01:19:18,680 --> 01:19:20,639
Speaker 3: The corporate guy with Faberge eggs.

1605
01:19:21,040 --> 01:19:25,240
Speaker 2: Yeah, Frankie still plays the Eagle guy, but in a

1606
01:19:25,760 --> 01:19:27,960
Speaker 2: far expanded role. I don't know how they just get

1607
01:19:28,000 --> 01:19:29,200
Speaker 2: more screen time for that character.

1608
01:19:29,240 --> 01:19:30,800
Speaker 3: He should be come like the full on obi wan

1609
01:19:30,920 --> 01:19:33,400
Speaker 3: kenobi of the movie. He's just like throughout the whole

1610
01:19:33,479 --> 01:19:35,519
Speaker 3: thing is like this sort of the guy character.

1611
01:19:36,040 --> 01:19:40,160
Speaker 2: Yeah, Anthony Hopkins remains mccandle's because he's fine in that,

1612
01:19:40,560 --> 01:19:42,360
Speaker 2: and then the rest just fill in is needed. I

1613
01:19:42,360 --> 01:19:46,479
Speaker 2: don't know. Emilio can play somebody, yeah, Buster Poindexer can

1614
01:19:46,560 --> 01:19:50,040
Speaker 2: do whatever. But I feel like, get the weirder actors,

1615
01:19:50,080 --> 01:19:52,240
Speaker 2: the more interesting actors up towards the top. Yeah, that's

1616
01:19:52,280 --> 01:19:55,559
Speaker 2: what I want, and Cass McJagger more appropriately.

1617
01:19:55,240 --> 01:19:56,080
Speaker 3: Get the mate.

1618
01:19:58,640 --> 01:20:00,439
Speaker 2: All right, Well, if you want to get the meat.

1619
01:20:01,479 --> 01:20:03,960
Speaker 2: Lucky for you. Again, this was a thirty million dollar picture,

1620
01:20:04,320 --> 01:20:06,760
Speaker 2: so you can rent it or buy it everywhere. It's

1621
01:20:06,880 --> 01:20:09,679
Speaker 2: it's not as like streamable as part of a service

1622
01:20:09,720 --> 01:20:11,240
Speaker 2: as you might expect, you know, in terms of like

1623
01:20:11,320 --> 01:20:14,280
Speaker 2: Netflix and Amazon Prime and all but you can absolutely

1624
01:20:14,600 --> 01:20:16,519
Speaker 2: buy it or rent it anywhere. It's even available on

1625
01:20:16,640 --> 01:20:18,120
Speaker 2: Blu Ray for crying out loud.

1626
01:20:18,280 --> 01:20:20,320
Speaker 3: I wonder if the Blu Ray has the same menus.

1627
01:20:20,880 --> 01:20:24,240
Speaker 3: My god, Blu Ray made in like twenty fourteen or

1628
01:20:24,320 --> 01:20:26,760
Speaker 3: something still has the page just for the url of

1629
01:20:26,880 --> 01:20:27,599
Speaker 3: Morgan Creek.

1630
01:20:28,320 --> 01:20:32,200
Speaker 2: I bet it has like just a loveless, like film

1631
01:20:32,200 --> 01:20:35,800
Speaker 2: studio template, Like whatever everything else had that came out

1632
01:20:35,840 --> 01:20:38,080
Speaker 2: that wasn't didn't have like a cult following or you know,

1633
01:20:38,240 --> 01:20:40,200
Speaker 2: wasn't a huge hit. It just gets the same treatment

1634
01:20:40,240 --> 01:20:40,880
Speaker 2: as everything else.

1635
01:20:40,960 --> 01:20:45,240
Speaker 3: Hey, everybody right in about your favorite DVD menus. What's

1636
01:20:45,320 --> 01:20:49,120
Speaker 3: the worst DVD menu you've ever found. What's the most

1637
01:20:49,200 --> 01:20:54,000
Speaker 3: absurd dedication of an entire menu option you've ever found?

1638
01:20:54,720 --> 01:20:58,760
Speaker 2: Yeah, the most over ambitious animation from switching from one

1639
01:20:58,800 --> 01:21:01,360
Speaker 2: page to the next. Yeah, I'd love to hear about it.

1640
01:21:01,520 --> 01:21:03,519
Speaker 2: Or oh god, some of these, especially some of the

1641
01:21:03,640 --> 01:21:06,479
Speaker 2: kids DVDs from back in the day, they would have

1642
01:21:06,600 --> 01:21:10,400
Speaker 2: games like really oh god, like really rough attempts to

1643
01:21:10,439 --> 01:21:12,920
Speaker 2: have some sort of a click based game on the DVD.

1644
01:21:13,080 --> 01:21:13,960
Speaker 2: It was rough.

1645
01:21:14,040 --> 01:21:16,560
Speaker 3: Sometimes they got Easter eggs, you remember those, where like

1646
01:21:16,720 --> 01:21:18,560
Speaker 3: you'd move the cursor around to a thing that you

1647
01:21:18,600 --> 01:21:20,519
Speaker 3: didn't realize you could move it to and then it

1648
01:21:20,520 --> 01:21:22,160
Speaker 3: would play a hidden scene or something.

1649
01:21:22,840 --> 01:21:23,080
Speaker 4: Yeah.

1650
01:21:23,320 --> 01:21:25,559
Speaker 2: Oh man, I hope there's still I do love hidden

1651
01:21:25,600 --> 01:21:27,760
Speaker 2: tracks and Easter eggs and stuff, and I hope some

1652
01:21:27,880 --> 01:21:30,960
Speaker 2: of that's still going on. All right, Well, we're gonna

1653
01:21:30,960 --> 01:21:34,120
Speaker 2: go ahead and close it out here. But yeah, this

1654
01:21:34,320 --> 01:21:38,640
Speaker 2: was free Jack. We hope you enjoyed it. Again. There

1655
01:21:38,720 --> 01:21:40,960
Speaker 2: was a little bit of weirdness in this one, maybe

1656
01:21:41,000 --> 01:21:42,479
Speaker 2: not as weird as some of the other pictures, but

1657
01:21:42,560 --> 01:21:44,360
Speaker 2: still was a lot of fun to talk about, and

1658
01:21:44,880 --> 01:21:47,360
Speaker 2: I think it is important to to talk about sometimes

1659
01:21:47,439 --> 01:21:50,719
Speaker 2: these big budget films which can sometimes turn out pretty

1660
01:21:50,760 --> 01:21:55,040
Speaker 2: weird but also can just really fail to set the

1661
01:21:55,080 --> 01:21:57,680
Speaker 2: world on fire. All right, Well, if you want to

1662
01:21:57,760 --> 01:22:00,559
Speaker 2: watch more episodes of Weird House Cinema, you can catch

1663
01:22:00,600 --> 01:22:03,519
Speaker 2: it every Friday in the Stuff to Blow your Mind

1664
01:22:03,560 --> 01:22:06,120
Speaker 2: podcast feed, and you can find that podcast feed wherever

1665
01:22:06,240 --> 01:22:09,439
Speaker 2: you get your podcasts, wherever that happens to be. Just rate, review,

1666
01:22:09,479 --> 01:22:11,280
Speaker 2: and subscribe if you have the ability to do so.

1667
01:22:11,640 --> 01:22:14,360
Speaker 3: Huge thanks as always to our excellent audio producer Seth

1668
01:22:14,439 --> 01:22:16,760
Speaker 3: Nicholas Johnson. If you would like to get in touch

1669
01:22:16,800 --> 01:22:18,920
Speaker 3: with us with feedback on this episode or any other,

1670
01:22:19,040 --> 01:22:21,400
Speaker 3: to suggest a topic for the future, just to say hello.

1671
01:22:21,520 --> 01:22:24,360
Speaker 3: You can email us at contact at stuff to Blow

1672
01:22:24,400 --> 01:22:25,400
Speaker 3: your Mind dot com.

1673
01:22:32,680 --> 01:22:35,600
Speaker 1: Stuff to Blow Your Mind is production of iHeartRadio. For

1674
01:22:35,720 --> 01:22:38,479
Speaker 1: more podcasts from my heart Radio, visit the iHeartRadio app,

1675
01:22:38,680 --> 01:22:41,400
Speaker 1: Apple Podcasts, or wherever you listen to your favorite shows.