WEBVTT - Weirdhouse Cinema: Freejack

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<v Speaker 1>Welcome to Stuff to Blow your Mind, a production of iHeartRadio.

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<v Speaker 2>Hey, welcome to Weird House Cinema. This is Rob.

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

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<v Speaker 3>a treat for you today, one that has been a

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<v Speaker 3>long time coming for me personally, because we're going to

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<v Speaker 3>be talking about a nineteen ninety Oh I've already forgotten

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<v Speaker 3>the year. Was it ninety one or ninety two?

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<v Speaker 2>I believe it came out in ninety.

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<v Speaker 3>Two, Okay, a nineteen ninety two science fiction film called

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<v Speaker 3>Free Jack. And I have a personal history with this movie,

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<v Speaker 3>which is that I have owned this DVD for approximately

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<v Speaker 3>fifteen years, and until this weekend, I had never watched it.

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<v Speaker 3>I remember buying it for three dollars and ninety five

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<v Speaker 3>cents at an East Tennessee used bookstore sometime when I

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<v Speaker 3>was in college. Because on the cover of the DVD

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<v Speaker 3>case it has a picture of Emilio Estevez holding some

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<v Speaker 3>kind of futuristic looking gun, and then a bunch of

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<v Speaker 3>very very foggy future corridors, and then Mick Jagger looking

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<v Speaker 3>very stern like he's going to dole out some punishment.

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<v Speaker 3>Anthony Hopkins holding his fingers in front of his face

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<v Speaker 3>like he's going to smoke a cigar or something, and

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<v Speaker 3>Renee Russo wearing like an mc escher pattern.

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<v Speaker 2>Yeah. I remember the VHS box art for this. I

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<v Speaker 2>remember the the you know, the covers. I remember the trailer.

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<v Speaker 2>It looks like it's going to be tremendous fun. It

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<v Speaker 2>looks really badass. In fact, I have a very strong

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<v Speaker 2>memories of when this came out, because I was fourteen,

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<v Speaker 2>and you know, I don't even remember what my favorite

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<v Speaker 2>films were at that point. You know, I guess that's

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<v Speaker 2>post Batman, so I guess Batman was still in the mix.

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<v Speaker 2>But I was, you know, exploring some more sci fi,

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<v Speaker 2>getting into that reading sci fi, and then I saw

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<v Speaker 2>the trailer for free Jack, and I was just convinced

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<v Speaker 2>that this was going to be a great film. I

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<v Speaker 2>got so excited about it. I'm like look through copies

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<v Speaker 2>of Newsweek to try and follow the coverage of free Jack,

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<v Speaker 2>and that was a little just pointed when it was there.

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<v Speaker 3>You're like making a scrap book.

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<v Speaker 2>I would do that with other films, like, yeah, I

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<v Speaker 2>had done that with Batman. When it came out, I

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<v Speaker 2>was like cutting out all these pictures on me, like

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<v Speaker 2>scrapbook pages of it. I was so excited about it.

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<v Speaker 2>I did that with Dick Tracy.

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<v Speaker 3>That's fandom.

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<v Speaker 2>Yeah, And and then this came and I'm like, let's

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<v Speaker 2>do it. I'm down. This is the next one. This

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

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<v Speaker 2>And then it hit theaters and I remember I was

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<v Speaker 2>I was calling my local theater in the small Tennessee

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<v Speaker 2>town that I lived in, and I was like, when

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<v Speaker 2>are you all getting free Jack? When's free Jack coming?

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<v Speaker 2>And they they didn't have an answer for that, because

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<v Speaker 2>of course the answer was free Jack was not coming

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<v Speaker 2>to a small town.

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<v Speaker 3>Is mister Jagger going to be here for the premiere?

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<v Speaker 3>Can I get him to sign my poster?

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<v Speaker 2>Yeah? Well, I just thought it was going to be

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<v Speaker 2>this huge thing that everybody was going to be obsessed with.

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<v Speaker 2>Turns out people weren't obsessed with it. Turns out this

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<v Speaker 2>was what a January release. This was a film that

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<v Speaker 2>had experienced troubles, that was pretty much known, I think,

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<v Speaker 2>to not be that good, and was just dumped unceremoniously

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<v Speaker 2>in the January release window of nineteen ninety two.

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<v Speaker 3>Yeah. FLOPAGEXT season, Yeah, so there's a lot of good

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<v Speaker 3>movies get released in the winter, though, Oh yeah, a

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<v Speaker 3>lot of this is something that I think often happens

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<v Speaker 3>with horror movies that should be released in October. But

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<v Speaker 3>there's just a sign of utter disrespect by the studios

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

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<v Speaker 3>the studio is playing into it in this case, but

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<v Speaker 3>like when The Witch came out, I think it was

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<v Speaker 3>released in February or something just utterly inexplicable. Why not

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<v Speaker 3>in October?

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<v Speaker 2>Yeah, I don't know. I you know, as much as

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<v Speaker 2>I love movies and I love charting all this stuff, yeah,

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<v Speaker 2>I don't have as good a head for other aspects

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<v Speaker 2>of movie production, and you know, and certainly the calendar

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<v Speaker 2>of putting them out another thing I don't usually have

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<v Speaker 2>a good head for. I usually don't get obsessed with

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<v Speaker 2>the budget some things, but sometimes it's notable, and I

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<v Speaker 2>was checking this one out, I did notice that this

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<v Speaker 2>was a thirty million dollar picture, which my understanding is

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<v Speaker 2>that that was still quite a chunk of change for

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<v Speaker 2>a film in nineteen ninety one, nineteen ninety two, So

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<v Speaker 2>this was a this was a big budget affair, and

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<v Speaker 2>certainly when we start getting into the connections. A lot

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<v Speaker 2>of names were involved in this picture. Oh yeah, so

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<v Speaker 2>this may be the most expensive film that we've yet

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<v Speaker 2>covered on Weird House Cinema. This was this was a

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<v Speaker 2>mainstream shot. This was something that was born to be

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<v Speaker 2>a blockbuster, but it just didn't happen.

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<v Speaker 3>This is a parade of heavy hitters, both in terms

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<v Speaker 3>of a list stars. You had Emilio Estevez, who was,

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<v Speaker 3>you know, a big deal in the early nineties. He

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<v Speaker 3>had Renee Russo, Anthony Hopkins, Mick Jagger of the Rolling Stones.

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<v Speaker 3>But then also it's just filled out with a ton

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<v Speaker 3>of great character actors in the in the mid level roles.

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

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<v Speaker 2>Right by the end of this episode, I will recast

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<v Speaker 2>the picture in way that I think will work better

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<v Speaker 2>or would have worked better. But yeah, it's it's still

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<v Speaker 2>a very fun picture to discuss, has a lot of

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<v Speaker 2>cool elements in it, just everything didn't come together like

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<v Speaker 2>it should.

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<v Speaker 3>No see this one's I think it's gonna be a

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

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<v Speaker 3>a little disappointing to actually watch and one of the

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<v Speaker 3>main reasons is the weirdness and the absurdity is not

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<v Speaker 3>concentrated enough. This the movie goes on too long. It's

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<v Speaker 3>stretched out too much. But we'll try to press it

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<v Speaker 3>down into a diamond for you. The listener.

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<v Speaker 2>All right, well, let's let's go ahead and have that

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<v Speaker 2>elevator pitch.

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<v Speaker 3>Joe, Okay, So the pitch is in the early nineties,

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<v Speaker 3>Formula one racer Alex Furlong is about to die in

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<v Speaker 3>a fiery crash when he is suddenly time warped into

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<v Speaker 3>the dystopian hell of the year two thousand and nine

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<v Speaker 3>by mercenaries under the command of Mick Jagger a guy

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<v Speaker 3>named Visindak, and they want to sell his body to

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<v Speaker 3>a rich dead man who's currently living inside a computer

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<v Speaker 3>and needs a new meat vehicle so that he can

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<v Speaker 3>live forever and achieve his dreams. But before the transfer

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<v Speaker 3>to the new meat vehicle can take place, for long

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<v Speaker 3>escapes and now he is what is referred to in

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<v Speaker 3>the future as a free jack, and he spends the

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<v Speaker 3>rest of the movie running around, being chased by Mick

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<v Speaker 3>Jagger and trying to put the pieces together.

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<v Speaker 2>Yep.

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<v Speaker 3>Now, before we get into the contents of the film, itself.

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<v Speaker 3>This movie really does have something that I love, which

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<v Speaker 3>is a good, crappy, early two thousands DVD menu experience.

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<v Speaker 2>Oh yeah.

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<v Speaker 3>Yeah. In fact, I was just talking to Seth before

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<v Speaker 3>we started recording about how someday, someday, I almost want

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<v Speaker 3>to do a whole exploration just of the genre of

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<v Speaker 3>early DVD menus that tried to do too much and

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<v Speaker 3>were really esthetically repulsive and had strange sort of CGI animations.

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<v Speaker 3>One of my favorites is the DVD menu for the

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<v Speaker 3>movie Leviathan, which has exactly one animation, and it's just

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<v Speaker 3>like a guy in a diving suit who sort of

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<v Speaker 3>like does a half turned step and then pivots back

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<v Speaker 3>to his original position and then does that over and

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<v Speaker 3>over forever.

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<v Speaker 2>Oh wow. Yeah, I mean even the ones that were

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<v Speaker 2>really well done, Like I think one of the first

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<v Speaker 2>DVDs I bought, and I wasn't an early adopter on

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<v Speaker 2>that technology, but I picked up this double DVD special

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<v Speaker 2>edition of Big Trouble and Little China, the John Conner film,

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<v Speaker 2>and yeah, it was. They really put a lot of

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<v Speaker 2>effort into it. You know, it's like so many different

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<v Speaker 2>extra features, a lot of cool extra features. But then

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<v Speaker 2>at times you're just kind of waiting for the graphics

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<v Speaker 2>to stop doing things so you can actually push play

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<v Speaker 2>on the movie.

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<v Speaker 3>Yeah. Yeah, so this one, it has these crappy CGI menus.

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<v Speaker 3>One of the features it has is a rotating CGI

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<v Speaker 3>jack like in the Game of Jacks. And I was

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<v Speaker 3>confused at first, because again I despite owning the CVD

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<v Speaker 3>for like fifteen years or something, I had never seen

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<v Speaker 3>it until this weekend. So I was like, wait a minute,

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<v Speaker 3>does the title free Jack refer to some kind of

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<v Speaker 3>jack like in Jack's.

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<v Speaker 2>Oh this is this? This would be the what's it

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<v Speaker 2>called the spiritual Uh? Yeah, god? What they call it?

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<v Speaker 3>The spiritual the spiritual switchboard? Spiritual switchboard? Yes, yes, yes,

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<v Speaker 3>So it's a piece of technology that actually shows up

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<v Speaker 3>at the end of the movie and looks exactly like

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<v Speaker 3>a Jack from a Game of Jacks.

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<v Speaker 2>Oh man, I just realized as a Jack. Was that

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<v Speaker 2>on purpose?

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

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

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<v Speaker 3>DVD that was just cavir on my tongue. It was

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<v Speaker 3>a menu option called Experience our Website, which when you

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<v Speaker 3>click it, all it does is it takes you to

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<v Speaker 3>a screen that shows you the URL of Morgan Creek

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<v Speaker 3>Motion Pictures, which is www dot morgan Creek dot com.

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<v Speaker 3>And then you have the option to go back to

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<v Speaker 3>the main menu.

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<v Speaker 2>So you you would have to like write it down

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<v Speaker 2>on the set to pay take it to your computer. Wow,

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<v Speaker 2>so good.

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<v Speaker 3>Anyway, let's hit some trailer audio.

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<v Speaker 4>Alex Furlong is about to die and enter the year

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<v Speaker 4>two thousand and nine, where immortality is only a heartbeat away,

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<v Speaker 4>where money can buy anything.

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<v Speaker 2>Shouldn't you consider an alternative body?

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<v Speaker 4>Sorry to deceive you, including life itself, lose your mind

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<v Speaker 4>and you can live forever.

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<v Speaker 3>Free Jack.

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<v Speaker 2>See sounds exciting, sounds great, sounds like it's gonna be

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<v Speaker 2>one heck of a movie.

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<v Speaker 3>Right. If you'd been a kid at the time, you'd

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<v Speaker 3>be writing your local theaters saying, make the free Jack

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<v Speaker 3>World premiere happen here. But so, there are some key

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<v Speaker 3>concepts in the film that we're going to have to

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<v Speaker 3>explain now, I think for this discussion to make any sense,

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<v Speaker 3>And one of the distinctions that is most important is

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<v Speaker 3>that between the bone jack and the bone Jacker and

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<v Speaker 3>the free Jack. Right.

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<v Speaker 2>So essentially, again, the whole idea here is people who

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<v Speaker 2>died in horrific accidents in the past. A lot of

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<v Speaker 2>times you know exactly when they died, where they died,

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<v Speaker 2>and you know that there's like a catastrophic event like

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<v Speaker 2>in this case a car wreck, a race car wreck,

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<v Speaker 2>so you know exactly where in time and space to

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<v Speaker 2>reach back and steal their body, in other words, jack

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

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<v Speaker 2>do it are bone jackers.

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

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<v Speaker 3>bone jacked from the past to the future to become

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<v Speaker 3>somebody's meat vehicle, that person is the bone bone jack.

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<v Speaker 2>Okay did they call them that? I thought maybe they

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<v Speaker 2>were just jacks, but they're called bone jacks.

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<v Speaker 3>I think they're called bone jacks. So the victim is

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<v Speaker 3>the bone jack. The verb would be to bone jack someone.

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<v Speaker 3>And then if you're one of these mercenaries who does

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<v Speaker 3>the bone jacking, you're a bone jacker.

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<v Speaker 2>Okay.

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<v Speaker 3>But then if a bone jack gets loose, then all

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

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<v Speaker 3>like being a free agent.

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<v Speaker 2>So then they have to try and either jack the

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<v Speaker 2>free jack or bone jack the free jack in order

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<v Speaker 2>to get them back, right.

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

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<v Speaker 3>I was thinking about, Okay, so the people who who

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<v Speaker 3>are the prime candidates for bone jacking in the premise

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<v Speaker 3>of this film are It's basically going to be anyone

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<v Speaker 3>who died on videotape with like a precise time code

0:11:46.960 --> 0:11:49.200
<v Speaker 3>and so you know the time and place where they died,

0:11:49.559 --> 0:11:52.640
<v Speaker 3>and that's well recorded and survives into the future. So

0:11:52.679 --> 0:11:55.960
<v Speaker 3>I realized, like, oh, probably all of the people who

0:11:56.000 --> 0:11:58.920
<v Speaker 3>are who are first in line to get bone jacked

0:11:59.000 --> 0:12:02.599
<v Speaker 3>are the people from the faces of death videos.

0:12:03.920 --> 0:12:06.320
<v Speaker 2>Sometimes they don't actually die, right, Sometimes that stuff's fake.

0:12:06.440 --> 0:12:09.120
<v Speaker 3>Right. Oh really, I've never actually watched one. I just

0:12:09.160 --> 0:12:10.640
<v Speaker 3>remember that was the thing when I was in high

0:12:10.640 --> 0:12:13.520
<v Speaker 3>school or whatever this is if you don't remember, these

0:12:13.520 --> 0:12:16.760
<v Speaker 3>were like morbid video cassettes of just like footage of

0:12:16.800 --> 0:12:18.840
<v Speaker 3>people dying in various ways.

0:12:19.559 --> 0:12:22.080
<v Speaker 2>Yeah, I mean, I guess it does help if it

0:12:22.120 --> 0:12:24.560
<v Speaker 2>is a case where something blows up, because then there's more,

0:12:24.880 --> 0:12:27.320
<v Speaker 2>it's less mystery of the body suddenly vanishes, you know,

0:12:28.040 --> 0:12:29.200
<v Speaker 2>right before they would die.

0:12:29.320 --> 0:12:31.040
<v Speaker 3>I mean, I think there'd still be a mystery. They

0:12:31.120 --> 0:12:33.120
<v Speaker 3>establish in this movie that there's a mystery.

0:12:33.440 --> 0:12:36.040
<v Speaker 2>Yeah, but there's a difference between Okay, there was a

0:12:36.040 --> 0:12:38.600
<v Speaker 2>car wreck and we never found the body to somebody

0:12:38.640 --> 0:12:41.440
<v Speaker 2>fired a bullet at JFK and then he vanished, you know,

0:12:41.880 --> 0:12:44.960
<v Speaker 2>and then it turns out he was bonejacked and now

0:12:45.320 --> 0:12:48.000
<v Speaker 2>is a body for some like super rich dude in

0:12:48.040 --> 0:12:50.000
<v Speaker 2>the future. Like that just doesn't make any sense. That

0:12:50.040 --> 0:12:51.160
<v Speaker 2>would be a huge incident.

0:12:51.480 --> 0:12:54.680
<v Speaker 3>Okay. So the film was directed by a guy named

0:12:54.760 --> 0:12:57.800
<v Speaker 3>Jeff Murphy who is a New Zealand film director who

0:12:57.840 --> 0:13:01.040
<v Speaker 3>passed away in twenty eighteen. His breakout film seems to

0:13:01.080 --> 0:13:03.559
<v Speaker 3>have been a New Zealand road trip movie that I've

0:13:03.559 --> 0:13:06.880
<v Speaker 3>never seen, called Goodbye pork Pie. But he had a

0:13:06.920 --> 0:13:10.280
<v Speaker 3>Hollywood period in which he directed films like Young Guns two,

0:13:10.640 --> 0:13:13.120
<v Speaker 3>which I didn't check, but I'm pretty sure that does

0:13:13.160 --> 0:13:14.440
<v Speaker 3>star Emelio Estevez.

0:13:14.520 --> 0:13:16.319
<v Speaker 2>It is yeah, it is ail.

0:13:16.559 --> 0:13:19.200
<v Speaker 3>Yeah, So connection there, Young Guns two in nineteen ninety

0:13:19.280 --> 0:13:21.880
<v Speaker 3>Free Jack in ninety two, so you can see the

0:13:21.920 --> 0:13:26.000
<v Speaker 3>connection there. But then he also directed a prestige period

0:13:26.080 --> 0:13:28.560
<v Speaker 3>drama I think about the Regency period known as Under

0:13:28.640 --> 0:13:31.400
<v Speaker 3>Siege two, Dark Territory in nineteen ninety five.

0:13:32.160 --> 0:13:36.760
<v Speaker 2>I've seen that one. That one has a terrible lead,

0:13:37.040 --> 0:13:39.960
<v Speaker 2>but has has some really talented people in it, because

0:13:40.160 --> 0:13:43.720
<v Speaker 2>Eric Bogosian plays the main villain. And then I want

0:13:43.720 --> 0:13:44.400
<v Speaker 2>to say, you have.

0:13:44.679 --> 0:13:46.440
<v Speaker 3>Who's Eric Bogosian? I've heard that name.

0:13:46.800 --> 0:13:49.839
<v Speaker 2>Oh, Eric Bogosian. He's been in a ton of stuff.

0:13:49.840 --> 0:13:53.120
<v Speaker 2>You've definitely seen him in things. I think he was in, well,

0:13:53.120 --> 0:13:55.959
<v Speaker 2>most recently he was in Uncut Gems. But he's been

0:13:55.960 --> 0:13:56.720
<v Speaker 2>in a ton of stuff.

0:13:57.520 --> 0:13:57.640
<v Speaker 4>Uh.

0:13:57.720 --> 0:14:01.160
<v Speaker 3>Yeah, he was in another Regency or a drama, Charlie's

0:14:01.160 --> 0:14:04.440
<v Speaker 3>Angels full Throttle, and he was a voice. I just

0:14:04.480 --> 0:14:06.240
<v Speaker 3>looked this up. He was a voice in Beavis and

0:14:06.240 --> 0:14:07.280
<v Speaker 3>butthead Do America.

0:14:07.960 --> 0:14:11.040
<v Speaker 2>Well, yeah, there you go. He's an impressive actor, I

0:14:11.040 --> 0:14:13.520
<v Speaker 2>would say. But yeah, so I saw that movie. It

0:14:13.559 --> 0:14:15.520
<v Speaker 2>also had Steven Seagal on it, of course, but yeah,

0:14:15.559 --> 0:14:16.160
<v Speaker 2>what can you do?

0:14:17.080 --> 0:14:19.720
<v Speaker 3>But Jeff Murphy was also a second unit director for

0:14:19.840 --> 0:14:23.160
<v Speaker 3>some big, you know, mainstream films, like like Peter Jackson's

0:14:23.200 --> 0:14:26.040
<v Speaker 3>Lord of the Rings trilogy. He did second unit stuff.

0:14:26.080 --> 0:14:29.560
<v Speaker 3>He did Dante's Peak, Triple X, State of the Union.

0:14:31.600 --> 0:14:36.120
<v Speaker 2>All right, So yeah, he had a pretty solid career. Now,

0:14:36.120 --> 0:14:37.800
<v Speaker 2>one thing about this film, this is something I didn't

0:14:37.840 --> 0:14:39.920
<v Speaker 2>realize back in the day when I originally watched it

0:14:40.160 --> 0:14:42.360
<v Speaker 2>and it was just kind of a creeping realization as

0:14:42.400 --> 0:14:45.320
<v Speaker 2>I was watching it just the other day, and it

0:14:45.440 --> 0:14:49.120
<v Speaker 2>is that this was filmed I think, entirely in Atlanta, Georgia,

0:14:49.200 --> 0:14:52.080
<v Speaker 2>in the city in which we live, the city that

0:14:52.080 --> 0:14:53.760
<v Speaker 2>we're recording this episode.

0:14:53.400 --> 0:14:55.640
<v Speaker 3>In and around. Like you saw Peachtree in it, didn't

0:14:55.680 --> 0:14:58.440
<v Speaker 3>you do you recognize suddenly when they're downtown and they're like,

0:14:58.480 --> 0:14:59.840
<v Speaker 3>there's Morta stations and.

0:15:00.160 --> 0:15:01.600
<v Speaker 2>Well, by that point I had looked it up. But

0:15:01.720 --> 0:15:03.760
<v Speaker 2>early on in the film, there's just a lot of

0:15:03.800 --> 0:15:05.800
<v Speaker 2>like you're in two thousand and nine, it's in the future,

0:15:06.080 --> 0:15:08.960
<v Speaker 2>and everything's like kind of gritty and industrial in a

0:15:09.000 --> 0:15:12.440
<v Speaker 2>way that plenty of parts of Atlanta still are. So

0:15:12.480 --> 0:15:13.600
<v Speaker 2>I was kind of thinking it was like, you know,

0:15:13.640 --> 0:15:15.880
<v Speaker 2>it's kind of an Atlanta feel to it, and then

0:15:15.880 --> 0:15:18.520
<v Speaker 2>I'm like, wait, I should look this up, and sure enough,

0:15:18.760 --> 0:15:22.400
<v Speaker 2>filmed in Atlanta. Of course, nowadays everything's filmed in Atlanta

0:15:22.480 --> 0:15:24.920
<v Speaker 2>or filmed in Georgia, so it doesn't really mean anything.

0:15:24.960 --> 0:15:27.720
<v Speaker 2>But you know, back in the day, there weren't that

0:15:27.720 --> 0:15:30.800
<v Speaker 2>many films filming in Atlanta, so it's kind of notable.

0:15:30.640 --> 0:15:33.840
<v Speaker 3>This one has some of the exact same locations and

0:15:33.920 --> 0:15:37.360
<v Speaker 3>streets featured in Baby Driver. Yeah, like you could. You

0:15:37.360 --> 0:15:39.640
<v Speaker 3>could compare Free Jack and Baby Driver and do some

0:15:39.720 --> 0:15:40.840
<v Speaker 3>side by sides.

0:15:40.600 --> 0:15:42.400
<v Speaker 2>Like they went to film Baby Driver and they're like, look,

0:15:42.400 --> 0:15:43.960
<v Speaker 2>we'll give you the free Jack package. This is what

0:15:44.000 --> 0:15:44.600
<v Speaker 2>it consists of.

0:15:46.560 --> 0:15:49.640
<v Speaker 3>You know, another dystopian future movie that uses Morta stations.

0:15:49.680 --> 0:15:53.080
<v Speaker 3>There were cut scenes from Escape from New York that

0:15:53.120 --> 0:15:55.040
<v Speaker 3>were filmed in Morta stations in Atlanta.

0:15:55.480 --> 0:15:58.160
<v Speaker 2>Yeah. Yeah. Of course the High Museum here in Atlanta

0:15:58.440 --> 0:16:02.880
<v Speaker 2>is famously where doctor Hannah Lecter was housed in Manhunter,

0:16:04.360 --> 0:16:06.720
<v Speaker 2>the original adaptation of Red Dragon.

0:16:06.840 --> 0:16:10.000
<v Speaker 3>M h Yeah, so played by Brian Cox.

0:16:10.200 --> 0:16:13.000
<v Speaker 2>Yeah. Yeah, a tremendous role. That was a really really

0:16:13.000 --> 0:16:15.560
<v Speaker 2>fun film, as I recall. But of course nowadays everything

0:16:15.640 --> 0:16:19.280
<v Speaker 2>is filmed around Atlanta, so it's it can be excruciating

0:16:19.320 --> 0:16:21.960
<v Speaker 2>at times. I find like I'm watching Cobra Kai and

0:16:22.000 --> 0:16:24.200
<v Speaker 2>they film like all of it in Atlanta, like everywhere,

0:16:24.200 --> 0:16:27.560
<v Speaker 2>Like I expect to see myself see out of my

0:16:27.640 --> 0:16:30.480
<v Speaker 2>own house and take out the garbage in the background

0:16:30.480 --> 0:16:32.880
<v Speaker 2>in a scene, you know, so I don't know, it

0:16:33.200 --> 0:16:35.440
<v Speaker 2>kind of takes me out of the experience sometimes these days.

0:16:35.440 --> 0:16:37.360
<v Speaker 2>But it's fun with these older films for some reason.

0:16:37.640 --> 0:16:40.680
<v Speaker 3>Yeah, so this was actually based on a novel, I think,

0:16:40.720 --> 0:16:42.200
<v Speaker 3>but maybe loosely based.

0:16:42.800 --> 0:16:45.520
<v Speaker 2>Yes, the novel very loosely based on a novel by

0:16:45.760 --> 0:16:49.520
<v Speaker 2>Robert Sheckley. He lived nineteen twenty eight through two thousand

0:16:49.520 --> 0:16:51.840
<v Speaker 2>and five, and it was quite successful. The book in

0:16:51.920 --> 0:16:56.520
<v Speaker 2>question was nineteen fifty eight Immortality, Inc. And originally I

0:16:56.600 --> 0:16:59.080
<v Speaker 2>didn't have time to read any of this book. But

0:16:59.160 --> 0:17:03.200
<v Speaker 2>originally the trans is from nineteen fifty eight to the

0:17:03.280 --> 0:17:07.280
<v Speaker 2>year twenty one to ten, so much further in the

0:17:07.320 --> 0:17:08.040
<v Speaker 2>into the future.

0:17:09.040 --> 0:17:11.840
<v Speaker 3>But anyway, Yeah, by shortening that length though, that that

0:17:11.920 --> 0:17:14.760
<v Speaker 3>dramatically changes what's possible with the plot in terms of

0:17:15.320 --> 0:17:18.959
<v Speaker 3>meeting people who you previously knew and not appearing to

0:17:18.960 --> 0:17:20.600
<v Speaker 3>have aged a single day in between.

0:17:21.119 --> 0:17:24.280
<v Speaker 2>Yeah. So it's supposedly a good book. I'd love to

0:17:24.280 --> 0:17:26.920
<v Speaker 2>hear from anyone out there who's read it. I read

0:17:26.920 --> 0:17:30.040
<v Speaker 2>that it, you know, it doesn't again, doesn't have much

0:17:30.080 --> 0:17:31.400
<v Speaker 2>to do with this movie. I don't think the terms

0:17:31.400 --> 0:17:34.560
<v Speaker 2>free jacker, bonejacker used it all in the book, and

0:17:35.520 --> 0:17:37.639
<v Speaker 2>I think there's supposedly a sequence in it where a

0:17:37.680 --> 0:17:39.919
<v Speaker 2>guy the main character, gets in line for something and

0:17:39.920 --> 0:17:42.440
<v Speaker 2>then finds out it's a suicide booth, which of course

0:17:42.520 --> 0:17:46.080
<v Speaker 2>is a gag in Futurama in the first episode of that, right,

0:17:47.119 --> 0:17:51.600
<v Speaker 2>but yeah, so very loosely based on a novel. Also,

0:17:52.119 --> 0:17:54.399
<v Speaker 2>there are a number of people that are credited on

0:17:54.440 --> 0:17:56.960
<v Speaker 2>the screenplay for this, and we'll get back to one

0:17:57.000 --> 0:17:59.959
<v Speaker 2>in a bit, but one of the people is Ronald Shuse,

0:18:00.160 --> 0:18:03.960
<v Speaker 2>who worked with Dan O'Bannon on Alien and Total Recall.

0:18:03.760 --> 0:18:05.600
<v Speaker 3>Ah, two great sci fi scripts.

0:18:05.840 --> 0:18:08.560
<v Speaker 2>Yeah, all right, now we've got our lead. Our star,

0:18:08.720 --> 0:18:14.040
<v Speaker 2>Emilio Estevez plays the character Alex Furlong. Now, Estevez is,

0:18:14.080 --> 0:18:17.240
<v Speaker 2>of course the nephew of noted B movie icon Joe Stevez.

0:18:18.080 --> 0:18:19.439
<v Speaker 3>And do you lead with that?

0:18:19.760 --> 0:18:22.439
<v Speaker 2>Yeah? Yeah, I mean he's also the son of acting

0:18:22.520 --> 0:18:26.160
<v Speaker 2>legend Martin Sheen, whose, of course real name is Ramon Estevez.

0:18:26.240 --> 0:18:28.040
<v Speaker 2>So if you weren't aware of that, like Martin Sheen,

0:18:28.160 --> 0:18:30.600
<v Speaker 2>that's his Hollywood name, his real name is Estevez. H

0:18:32.160 --> 0:18:35.080
<v Speaker 2>And yeah, so you know Martin Sheen from stuff like

0:18:35.119 --> 0:18:38.320
<v Speaker 2>Apocalypse Now or Spawn. He's been in everything.

0:18:38.440 --> 0:18:40.280
<v Speaker 3>I was just thinking how funny it was that you

0:18:40.320 --> 0:18:42.200
<v Speaker 3>don't you don't often put it together in your brain,

0:18:42.280 --> 0:18:44.640
<v Speaker 3>or at least I don't that like Martin Sheen, who

0:18:44.680 --> 0:18:48.400
<v Speaker 3>played the President on the West Wing, who's this kind

0:18:48.400 --> 0:18:53.560
<v Speaker 3>of like grumpy but kind, irascible fatherly figure he's presented

0:18:53.600 --> 0:18:57.480
<v Speaker 3>as this lovable nerd. Is also the main character from

0:18:57.480 --> 0:19:00.120
<v Speaker 3>Apocalypse Now and the villain from Spawn.

0:19:00.440 --> 0:19:03.480
<v Speaker 2>Yeah. I mean, he's been in so many different types

0:19:03.520 --> 0:19:05.760
<v Speaker 2>of films. He's been in some crap, you know, not

0:19:06.000 --> 0:19:08.560
<v Speaker 2>as much as Joe Estevez, but you know, but he

0:19:08.880 --> 0:19:11.240
<v Speaker 2>was in some really great films, especially early in his career.

0:19:11.400 --> 0:19:15.679
<v Speaker 2>Nineteen seventy Three's bad Lands by Terrence Malick, wonderful picture.

0:19:16.000 --> 0:19:18.720
<v Speaker 3>Emilia Estevez was was, I guess, pretty young at the

0:19:18.760 --> 0:19:20.720
<v Speaker 3>time this was filmed. I don't know exactly how he

0:19:20.760 --> 0:19:22.360
<v Speaker 3>was in his twenties, I guess.

0:19:23.119 --> 0:19:24.679
<v Speaker 2>Yeah, I'm not sure, but he was. Certainly he was

0:19:24.760 --> 0:19:27.240
<v Speaker 2>chugging right along. I mean, he'd been in the Breakfast Club,

0:19:27.880 --> 0:19:32.919
<v Speaker 2>the Young Guns, films, Repoman, a true cult classic, the

0:19:33.040 --> 0:19:36.399
<v Speaker 2>Mighty Ducks that came later, I guess, and then of

0:19:36.400 --> 0:19:39.440
<v Speaker 2>course he was in Maximum Overdrive, So you know, he's

0:19:39.520 --> 0:19:42.119
<v Speaker 2>been I think this was a movie that came out

0:19:42.200 --> 0:19:44.200
<v Speaker 2>at a time when he was very much the sort

0:19:44.200 --> 0:19:46.520
<v Speaker 2>of name you would put ahead of Mick Jagger on

0:19:46.560 --> 0:19:47.320
<v Speaker 2>a film.

0:19:47.520 --> 0:19:50.840
<v Speaker 3>That's pretty weird. So, of course, the thing that mainly

0:19:50.960 --> 0:19:53.560
<v Speaker 3>drew me into this when I picked it up at

0:19:53.560 --> 0:19:57.119
<v Speaker 3>the used bookstore was that it stars Mick Jagger, and

0:19:57.520 --> 0:19:59.600
<v Speaker 3>I had no idea Mick Jagger had ever been in

0:19:59.640 --> 0:20:01.720
<v Speaker 3>a movie at this time. Of course, Mick Jagger the

0:20:01.800 --> 0:20:05.280
<v Speaker 3>lead singer of the Rolling Stones. I was so my

0:20:05.760 --> 0:20:09.359
<v Speaker 3>mind was so rendered by the idea of him being

0:20:09.400 --> 0:20:11.160
<v Speaker 3>in a movie at all. I wonder if that sort

0:20:11.200 --> 0:20:13.920
<v Speaker 3>of prevented me from watching it in the years in between,

0:20:14.240 --> 0:20:16.480
<v Speaker 3>because I was almost kind of scared to find out

0:20:16.520 --> 0:20:19.320
<v Speaker 3>what it was like.

0:20:18.200 --> 0:20:20.080
<v Speaker 2>Like, you were afraid that his performance would just be

0:20:20.119 --> 0:20:22.440
<v Speaker 2>so good that it would change you on a fundamental level.

0:20:22.480 --> 0:20:26.960
<v Speaker 3>Yeah, how can you really make informed decisions about transformative change?

0:20:27.640 --> 0:20:32.720
<v Speaker 2>Yeah, it's so. Yeah, Mick Jagger's presence in this film

0:20:32.800 --> 0:20:36.359
<v Speaker 2>is interesting. Mick Jagger is I think you would call

0:20:36.440 --> 0:20:39.520
<v Speaker 2>him an intermittent actor at best. You look him up

0:20:39.520 --> 0:20:43.240
<v Speaker 2>on IMDb, and most of his film credits are himself

0:20:43.359 --> 0:20:47.440
<v Speaker 2>in concert footage. Yeah, but when he does act, when

0:20:47.480 --> 0:20:49.760
<v Speaker 2>he has acted, it's been all over the place. So

0:20:49.800 --> 0:20:52.920
<v Speaker 2>his first screen role was the lead in nineteen seventies

0:20:52.960 --> 0:20:56.000
<v Speaker 2>Ned Kelly, which I haven't seen it, but it does

0:20:56.040 --> 0:20:58.359
<v Speaker 2>seem very much like, Hey, we got this young fella here.

0:20:58.400 --> 0:21:01.600
<v Speaker 2>He's the front man of this popular band. Let's put

0:21:01.640 --> 0:21:05.399
<v Speaker 2>him in a movie. And then in nineteen eighty six

0:21:05.480 --> 0:21:07.600
<v Speaker 2>he was in a film called Laughter in the Dark,

0:21:08.840 --> 0:21:11.720
<v Speaker 2>based on a book by Navakov that I haven't read.

0:21:11.800 --> 0:21:12.800
<v Speaker 2>Are you familiar with this one?

0:21:13.520 --> 0:21:15.679
<v Speaker 3>I think I've heard of it, but I've never read it, Okay.

0:21:16.160 --> 0:21:18.600
<v Speaker 2>And then in nineteen ninety seven he was in an

0:21:18.600 --> 0:21:22.639
<v Speaker 2>adaptation of Bent, which based on the play by Martin Sherman.

0:21:22.720 --> 0:21:26.160
<v Speaker 2>This is about the persecution of homosexuals doing the Third Reich,

0:21:26.800 --> 0:21:30.840
<v Speaker 2>you know, very very serious, very stirring piece of drama.

0:21:31.400 --> 0:21:34.240
<v Speaker 2>And then he'll still occasionally act in things seemingly when

0:21:34.280 --> 0:21:36.879
<v Speaker 2>the mood hits him. But I think this is this

0:21:36.960 --> 0:21:38.800
<v Speaker 2>may be free Jack maybe one of the few, like

0:21:38.920 --> 0:21:42.200
<v Speaker 2>really like big budget kind of action films that he

0:21:42.280 --> 0:21:45.080
<v Speaker 2>pops up in. And I don't think he really has

0:21:45.119 --> 0:21:46.920
<v Speaker 2>another appearance in his career like.

0:21:46.880 --> 0:21:50.040
<v Speaker 3>This, well, because one was enough, clearly. I mean, his

0:21:50.200 --> 0:21:53.520
<v Speaker 3>role in this film changed him, It changed the world,

0:21:54.560 --> 0:21:56.639
<v Speaker 3>I would say, probably my Well, I don't know. There

0:21:56.640 --> 0:21:58.639
<v Speaker 3>are a couple of things I really did love about

0:21:58.640 --> 0:22:02.320
<v Speaker 3>free Jack. One was a just a spectacular scene with

0:22:03.000 --> 0:22:05.840
<v Speaker 3>Frankie Faison that we'll get to in a minute. But

0:22:06.280 --> 0:22:10.560
<v Speaker 3>Mick Jagger also, he really rules this movie, especially when

0:22:10.560 --> 0:22:11.960
<v Speaker 3>he's not talking.

0:22:12.119 --> 0:22:14.080
<v Speaker 2>Like he's best when he's not talking.

0:22:14.560 --> 0:22:19.040
<v Speaker 3>Yes, just reaction shots where he's wearing a spaceball's helmet

0:22:19.240 --> 0:22:21.480
<v Speaker 3>or a shot that suddenly cuts to him and we

0:22:21.520 --> 0:22:23.919
<v Speaker 3>get to see him in a coat with like gigantic

0:22:24.280 --> 0:22:28.680
<v Speaker 3>shoulder pads and you know, ankle link dragging. It's his costume.

0:22:28.760 --> 0:22:32.639
<v Speaker 3>Is Mick Jagger's costumes, Mick Jagger's reaction shots and occasionally

0:22:32.680 --> 0:22:35.960
<v Speaker 3>when Mick Jagger laughs at something that this movie really

0:22:36.040 --> 0:22:36.960
<v Speaker 3>kicks into high gear.

0:22:37.280 --> 0:22:39.679
<v Speaker 2>He has absolutely has a great coat in this His

0:22:39.800 --> 0:22:43.280
<v Speaker 2>costuming is is phenomenal. But but yeah, I guess it's

0:22:43.280 --> 0:22:45.720
<v Speaker 2>one of those things you can't help. But compare Mick

0:22:45.800 --> 0:22:48.439
<v Speaker 2>Jagger the actor to David Bowie the actor, And with

0:22:48.560 --> 0:22:51.560
<v Speaker 2>David Bowie you were able to in I think most,

0:22:51.680 --> 0:22:54.439
<v Speaker 2>if not all, of his film roles, the mystique of

0:22:54.520 --> 0:22:58.919
<v Speaker 2>David Bowie the musical performer translated to the film roles

0:22:58.960 --> 0:23:02.520
<v Speaker 2>that he took on and made them work marvelously. Like

0:23:02.600 --> 0:23:05.520
<v Speaker 2>David Bowie was great and everything he was in I

0:23:05.520 --> 0:23:07.400
<v Speaker 2>can't think of anything I've seen David Bowie in where

0:23:07.440 --> 0:23:10.840
<v Speaker 2>I'm like that was disappointing. But mc jagger, the you know,

0:23:10.880 --> 0:23:15.360
<v Speaker 2>the calculus didn't work there, The transit was not successful.

0:23:16.040 --> 0:23:19.280
<v Speaker 3>David Bowie's visual presence in a film is the equivalent

0:23:19.440 --> 0:23:23.320
<v Speaker 3>of the creaky lore theme from the soundtrack to The

0:23:23.359 --> 0:23:27.119
<v Speaker 3>Lord of the Rings. You know the d like it

0:23:27.240 --> 0:23:30.560
<v Speaker 3>really it conjures up the same kind of fog of

0:23:30.600 --> 0:23:31.280
<v Speaker 3>the ancients.

0:23:31.760 --> 0:23:34.760
<v Speaker 2>Yeah, absolutely so. We'll have more to say about Mick

0:23:34.840 --> 0:23:38.119
<v Speaker 2>Jagger's performance in this film as we proceed, but we should.

0:23:38.119 --> 0:23:40.440
<v Speaker 2>We should also hit on the fact that Renee Russo's

0:23:40.440 --> 0:23:43.840
<v Speaker 2>in this she plays Julie Redland, the love interest in

0:23:43.880 --> 0:23:46.520
<v Speaker 2>the past that is also the love interest in the future.

0:23:47.040 --> 0:23:49.440
<v Speaker 2>And say what you will about this movie or Russo's

0:23:49.560 --> 0:23:52.920
<v Speaker 2>I think, you know, perfectly fine but probably forgettable for performance.

0:23:53.000 --> 0:23:55.960
<v Speaker 2>But she met her husband on this film. One of

0:23:56.000 --> 0:23:59.879
<v Speaker 2>its mini screenwriters was Dan Gilroy, who also went on

0:24:00.040 --> 0:24:04.080
<v Speaker 2>to write and direct twenty fourteen's Nightcrawler. Oh wow, Yeah,

0:24:04.760 --> 0:24:07.800
<v Speaker 2>so say so. No matter what you think of the picture,

0:24:07.880 --> 0:24:09.000
<v Speaker 2>some good stuff came out of it.

0:24:10.040 --> 0:24:16.480
<v Speaker 3>Anthony Hopkins has an excellent check collecting scene in this film. Yeah,

0:24:16.560 --> 0:24:20.240
<v Speaker 3>Anthony Hopkins is a fabulous actor, but this is I

0:24:20.240 --> 0:24:23.239
<v Speaker 3>would say you could show this his scene in this

0:24:23.320 --> 0:24:27.879
<v Speaker 3>movie as like the classroom textbook example of phoning it

0:24:27.920 --> 0:24:30.520
<v Speaker 3>in if you were trying to explain that concept.

0:24:30.680 --> 0:24:33.560
<v Speaker 2>Yeah. I mean he's not asked to do much. No,

0:24:34.160 --> 0:24:36.960
<v Speaker 2>his character from the get go is dead and it

0:24:37.040 --> 0:24:40.160
<v Speaker 2>is just a like brain waves and a giant jack

0:24:40.200 --> 0:24:44.240
<v Speaker 2>in the sky. Yeah, but still he's Anthony Hopkins, so

0:24:44.280 --> 0:24:46.760
<v Speaker 2>he classes up every scene he's in and makes you

0:24:46.800 --> 0:24:50.239
<v Speaker 2>believe it on a level that just Emilio Westevez is

0:24:50.280 --> 0:24:51.320
<v Speaker 2>not capable of doing it.

0:24:51.920 --> 0:24:54.840
<v Speaker 3>Yeah, it's a little rough. I guarantee you that when

0:24:54.840 --> 0:24:59.000
<v Speaker 3>Anthony Hopkins delivered his lines in the single takes of

0:24:59.040 --> 0:25:01.000
<v Speaker 3>the scenes that we saw that made it into the

0:25:01.000 --> 0:25:03.000
<v Speaker 3>final version of the movie, that was the first time

0:25:03.040 --> 0:25:03.720
<v Speaker 3>he had read them.

0:25:06.119 --> 0:25:10.800
<v Speaker 2>Yeah, I would not doubt it. Now, another actor that

0:25:10.840 --> 0:25:14.200
<v Speaker 2>I think everybody will will pretty much recognize now that

0:25:14.200 --> 0:25:16.879
<v Speaker 2>that is in it is Jonathan Banks, who plays his

0:25:17.000 --> 0:25:19.320
<v Speaker 2>character Michelette Miicolette.

0:25:19.440 --> 0:25:24.800
<v Speaker 3>Michelette Michelette. He's like, he's like a creepy he's a

0:25:24.840 --> 0:25:27.240
<v Speaker 3>business executive, he's a suit Yeah.

0:25:27.880 --> 0:25:31.040
<v Speaker 2>So uh yeah. Banks was born in forty seven. He's

0:25:31.040 --> 0:25:33.879
<v Speaker 2>had a whole career of playing heavies with eyes you

0:25:33.920 --> 0:25:37.000
<v Speaker 2>can't trust. He's got these Yeah, he's got these these eyes.

0:25:37.040 --> 0:25:38.480
<v Speaker 2>You just look at him and you're like that, that

0:25:38.520 --> 0:25:41.280
<v Speaker 2>guy's bad back, a lion. Yeah, he's he was made

0:25:41.359 --> 0:25:45.920
<v Speaker 2>to play like mercenaries and dirty cops and you know thugs.

0:25:45.960 --> 0:25:47.160
<v Speaker 2>You know, that's like his whole thing.

0:25:48.080 --> 0:25:51.600
<v Speaker 3>He looks like somebody whose hobby is shoplifting golf equipment.

0:25:52.320 --> 0:25:57.000
<v Speaker 2>Yeah. Now, everybody now definitely knows him as Mike, first

0:25:57.040 --> 0:26:00.760
<v Speaker 2>from Breaking Bad and then from The Fabulous Equal Better

0:26:00.800 --> 0:26:04.000
<v Speaker 2>Call Saul, And he's tremendous on those shows because it

0:26:04.000 --> 0:26:06.000
<v Speaker 2>gives him a chance to be this cold, heavy but

0:26:06.080 --> 0:26:09.280
<v Speaker 2>also play this aging, emotional human being with you know,

0:26:09.840 --> 0:26:13.080
<v Speaker 2>with human connections in his life. That was not always

0:26:13.080 --> 0:26:15.200
<v Speaker 2>the case with the kind of roles that Banks would

0:26:15.240 --> 0:26:17.440
<v Speaker 2>have because he's he's been in so many things he

0:26:17.480 --> 0:26:21.200
<v Speaker 2>often plays again like cops and heavies. He was Deputy

0:26:21.200 --> 0:26:24.520
<v Speaker 2>Brent in Grimlins in eighty four. Let's see. He was

0:26:24.560 --> 0:26:26.439
<v Speaker 2>in a few episodes of Tales. He was in one

0:26:26.440 --> 0:26:27.960
<v Speaker 2>episode of Tales from the Crypt. He was in an

0:26:27.960 --> 0:26:30.960
<v Speaker 2>episode of Highlander, the TV series. He was in Deep

0:26:31.040 --> 0:26:34.040
<v Speaker 2>Space nine. He was a show regular slash lead on

0:26:34.119 --> 0:26:36.760
<v Speaker 2>Wise Guy from eighty seven through ninety. He was in

0:26:36.880 --> 0:26:40.760
<v Speaker 2>Murder She wrote, he was on airplane. Just so much stuff.

0:26:41.520 --> 0:26:44.800
<v Speaker 2>But his first screen role is a nineteen seventy four

0:26:44.920 --> 0:26:48.880
<v Speaker 2>education short from the Los Angeles Public Library titled Linda's

0:26:48.920 --> 0:26:52.760
<v Speaker 2>Film on Menstruation. Oh so it's worth looking up.

0:26:53.080 --> 0:26:53.240
<v Speaker 4>You know.

0:26:53.240 --> 0:26:56.840
<v Speaker 2>It's just an educational short film and it's on YouTube,

0:26:57.119 --> 0:26:59.680
<v Speaker 2>and you get to see baby Jonathan Banks in there

0:26:59.720 --> 0:27:03.560
<v Speaker 2>playing like this gruff guy who doesn't understand menstruation.

0:27:03.880 --> 0:27:06.160
<v Speaker 3>Oh, he's like a don't do what Donnie don't does.

0:27:06.760 --> 0:27:08.560
<v Speaker 2>Yeah, Like he's sitting on the couch and he's like,

0:27:08.640 --> 0:27:12.080
<v Speaker 2>I don't understand menstruation. So that the woman in the

0:27:12.119 --> 0:27:14.880
<v Speaker 2>room turns on the TV and there's an animation. There's

0:27:14.880 --> 0:27:16.320
<v Speaker 2>a cartoon that explains it all.

0:27:16.359 --> 0:27:17.120
<v Speaker 3>So oh I see.

0:27:17.200 --> 0:27:17.640
<v Speaker 4>Yeah.

0:27:17.680 --> 0:27:20.440
<v Speaker 3>So he's he's ready to learn. He's not somebody who's

0:27:20.520 --> 0:27:21.960
<v Speaker 3>just like just doesn't get it.

0:27:22.680 --> 0:27:25.399
<v Speaker 2>Yeah. But his face he has that. One of the

0:27:25.400 --> 0:27:27.679
<v Speaker 2>great things about Jonathan Banks. He has a great, like

0:27:27.920 --> 0:27:31.800
<v Speaker 2>smoldering look like he's great at at just expressing that

0:27:32.080 --> 0:27:34.040
<v Speaker 2>I don't I don't really care what's going on here

0:27:34.119 --> 0:27:36.159
<v Speaker 2>with my with my you know, just my eyes and

0:27:36.240 --> 0:27:39.119
<v Speaker 2>kind of like the melting features of my face. So

0:27:39.240 --> 0:27:40.959
<v Speaker 2>he has that going on in that scene. You can

0:27:41.000 --> 0:27:44.520
<v Speaker 2>definitely see it's it forecast everything to come in his career, Like,

0:27:44.560 --> 0:27:46.360
<v Speaker 2>this is a guy that's gonna play a lot of heavies,

0:27:46.480 --> 0:27:49.679
<v Speaker 2>fair enough, all right, So he's essentially your one of

0:27:49.680 --> 0:27:53.400
<v Speaker 2>your sub villains here, one of your top three anyway.

0:27:53.680 --> 0:27:55.800
<v Speaker 2>But then you have a whole host of additional players

0:27:55.800 --> 0:27:56.800
<v Speaker 2>in this film as well.

0:27:56.920 --> 0:27:58.440
<v Speaker 3>God, the cast is huge.

0:27:58.840 --> 0:28:01.120
<v Speaker 2>Yeah. For instance, you have this character named Brad who

0:28:01.119 --> 0:28:03.760
<v Speaker 2>shows up in the past and the future, played by

0:28:04.119 --> 0:28:07.240
<v Speaker 2>David Johansson, which if you like me and you, I

0:28:07.280 --> 0:28:09.000
<v Speaker 2>don't know, you grew up watching the right era of

0:28:09.080 --> 0:28:12.360
<v Speaker 2>MTV or the right reruns of Saturday Night Live, then

0:28:12.400 --> 0:28:14.760
<v Speaker 2>you probably will recognize him as Buster Poindexter.

0:28:15.000 --> 0:28:18.400
<v Speaker 3>Oh no, I know him as New York Dolls and Scrooged.

0:28:18.840 --> 0:28:21.359
<v Speaker 2>Oh yeah, yeah. That was one of his big screen roles,

0:28:21.440 --> 0:28:24.560
<v Speaker 2>is Scrooge. There's another great one, and that's Tales from

0:28:24.560 --> 0:28:27.240
<v Speaker 2>the Dark Side, the movie in which he plays an

0:28:27.280 --> 0:28:30.320
<v Speaker 2>assassin in the cat from Hell segment, which is based

0:28:30.359 --> 0:28:31.719
<v Speaker 2>on a Stephen King short story.

0:28:32.160 --> 0:28:33.239
<v Speaker 3>Oh Yeah, I remember that.

0:28:33.359 --> 0:28:35.359
<v Speaker 2>I remember the cat like goes down his throat and

0:28:35.440 --> 0:28:36.320
<v Speaker 2>jumps out his stomach.

0:28:36.400 --> 0:28:36.640
<v Speaker 3>Yeah.

0:28:36.680 --> 0:28:39.840
<v Speaker 2>Great, yep, yeah.

0:28:40.080 --> 0:28:41.640
<v Speaker 3>Oh, but he's great in this.

0:28:42.160 --> 0:28:44.840
<v Speaker 2>Yeah. Yeah, he's great. He's like, what is pit boss

0:28:44.920 --> 0:28:47.520
<v Speaker 2>or something? He's somebody knows in the past, and then

0:28:47.560 --> 0:28:49.920
<v Speaker 2>in the future he looks him up, and of course

0:28:49.960 --> 0:28:52.120
<v Speaker 2>now he's in the Hell City of two thousand and

0:28:52.200 --> 0:28:56.560
<v Speaker 2>nine America. This character Brad is just a low life

0:28:57.240 --> 0:29:00.000
<v Speaker 2>who instantly betrays him and gets shot.

0:29:00.440 --> 0:29:02.960
<v Speaker 3>Yeah. Amanda Plumbers in this.

0:29:03.600 --> 0:29:06.520
<v Speaker 2>Yeah, the daughter of the late great Christopher Plumber, best

0:29:06.560 --> 0:29:08.760
<v Speaker 2>known for She's probably best known for stuff like pulp

0:29:08.760 --> 0:29:11.800
<v Speaker 2>fiction and The Fisher King. She often plays characters with

0:29:11.840 --> 0:29:15.880
<v Speaker 2>a really fantastic, frantic energy's She's a wonderful character actor.

0:29:15.880 --> 0:29:20.080
<v Speaker 2>I would say, a wonderful weird character actor. She's also

0:29:20.240 --> 0:29:23.240
<v Speaker 2>in an excellent episode of the nineties Outer Limits series

0:29:23.240 --> 0:29:26.600
<v Speaker 2>that I recently watched, titled A Stitch in Time, where

0:29:26.600 --> 0:29:30.640
<v Speaker 2>she plays the time traveling doctor Thereesa Gibvens, who, like Go,

0:29:30.880 --> 0:29:35.200
<v Speaker 2>uses her time machine to kill sexual predators in the past.

0:29:35.400 --> 0:29:35.880
<v Speaker 3>Who.

0:29:36.160 --> 0:29:39.000
<v Speaker 2>Yeah, so she actually won an Emmy for that. She's

0:29:39.000 --> 0:29:39.480
<v Speaker 2>great in it.

0:29:39.720 --> 0:29:40.040
<v Speaker 3>Wow.

0:29:40.720 --> 0:29:42.400
<v Speaker 2>In this, she plays a nun with a shotgun.

0:29:42.720 --> 0:29:46.320
<v Speaker 3>That's right. I kept calling her sister Shotgun when.

0:29:46.400 --> 0:29:48.440
<v Speaker 2>I think that's her name. I can't remember what else

0:29:48.480 --> 0:29:52.960
<v Speaker 2>it could be. I think she's just none. Actually I

0:29:52.960 --> 0:29:55.760
<v Speaker 2>think what she's credited as. Oh, let's see who else

0:29:55.840 --> 0:29:59.680
<v Speaker 2>we have. Okay, we have grand l Bush places character Boone,

0:29:59.680 --> 0:30:02.520
<v Speaker 2>who's sort of a corpo samurai, like right out of

0:30:02.560 --> 0:30:06.120
<v Speaker 2>the Cyberpunk role playing game and video game franchise.

0:30:06.320 --> 0:30:09.960
<v Speaker 3>Yes, he's like a he's like a corporate executive slash

0:30:10.400 --> 0:30:15.120
<v Speaker 3>bodyguard or like mercenary type guy. Who. So he's he's

0:30:15.600 --> 0:30:18.360
<v Speaker 3>in the corporate world, but he's skilled. He's got a

0:30:18.400 --> 0:30:19.640
<v Speaker 3>katana and stuff.

0:30:19.840 --> 0:30:23.400
<v Speaker 2>Yeah, he's always carrying around this short samurai sword and

0:30:23.640 --> 0:30:26.360
<v Speaker 2>has a gun. He's wearing a big suit. Yeah. So

0:30:26.440 --> 0:30:28.720
<v Speaker 2>he's Yeah, like I say, right out out of Cyberpunk.

0:30:29.080 --> 0:30:32.360
<v Speaker 3>So I knew this guys from die Hard, in which

0:30:32.360 --> 0:30:35.200
<v Speaker 3>he's one of the the two FBI agents who come in.

0:30:35.240 --> 0:30:39.080
<v Speaker 3>He's Special Agent Johnson. It's him and Robert dove Who

0:30:39.120 --> 0:30:40.640
<v Speaker 3>are the two FBI guys?

0:30:41.120 --> 0:30:45.480
<v Speaker 2>Oh okay, yeah those are some some Dovey's definitely heavy.

0:30:46.720 --> 0:30:49.320
<v Speaker 2>I think I probably knew Bush best from playing ball

0:30:49.440 --> 0:30:52.040
<v Speaker 2>Rock and Street Fighter too. No street Fighter, it's not

0:30:52.080 --> 0:30:54.880
<v Speaker 2>street Fighter too. It's just street Fighter. Yeah, the Jean

0:30:54.960 --> 0:30:58.479
<v Speaker 2>Claude van Dam version of that. But yeah, he's been

0:30:58.520 --> 0:31:00.000
<v Speaker 2>in a bunch of So. He was an Exorcist three,

0:31:00.200 --> 0:31:02.600
<v Speaker 2>he was in License to Kill. I think I remember

0:31:02.680 --> 0:31:05.680
<v Speaker 2>him from that. Basically, he did a bunch of nineties action.

0:31:05.840 --> 0:31:09.280
<v Speaker 2>He was in Demolition Man. But make no mistake about

0:31:09.320 --> 0:31:11.760
<v Speaker 2>Grandell Bush. He was a highly trained actor who did

0:31:11.760 --> 0:31:15.680
<v Speaker 2>everything from Shakespeare and to like seventy stage musicals, like

0:31:15.800 --> 0:31:16.560
<v Speaker 2>rock musicals.

0:31:16.600 --> 0:31:18.560
<v Speaker 3>Oh, he was in Hair. Yeah, he was in Hair.

0:31:18.680 --> 0:31:21.640
<v Speaker 2>He did a lot of TV work. He did Roots,

0:31:21.880 --> 0:31:24.880
<v Speaker 2>he was in the color purple. And again, this is

0:31:24.960 --> 0:31:26.880
<v Speaker 2>one of the weird things about free Jack is that

0:31:27.240 --> 0:31:30.760
<v Speaker 2>it brings people together because he like so, yeah, he

0:31:30.920 --> 0:31:33.840
<v Speaker 2>also met his wife, his wife of twenty six years

0:31:33.880 --> 0:31:35.240
<v Speaker 2>in counting on this picture.

0:31:35.400 --> 0:31:36.360
<v Speaker 3>What okay?

0:31:36.920 --> 0:31:40.760
<v Speaker 2>So his wife, she was a journalist for Beet and

0:31:40.800 --> 0:31:43.520
<v Speaker 2>she was on set to interview him about his role

0:31:43.560 --> 0:31:47.520
<v Speaker 2>in this film, and magic happened. The magic of Freejack

0:31:47.560 --> 0:31:48.320
<v Speaker 2>brought them together.

0:31:49.840 --> 0:31:51.520
<v Speaker 3>Free Jack, I mean it just gets people in a

0:31:51.520 --> 0:31:53.120
<v Speaker 3>place where they're ready to commit, you know.

0:31:54.920 --> 0:31:57.640
<v Speaker 2>All right. Up next, this is another bit player in it.

0:31:57.800 --> 0:32:00.520
<v Speaker 2>He just has one maybe two crazy.

0:32:00.440 --> 0:32:02.720
<v Speaker 3>I think, just one scene, but he's great in it.

0:32:03.400 --> 0:32:06.720
<v Speaker 3>This is Frankie Faison, yeah, who you might know best

0:32:06.760 --> 0:32:10.280
<v Speaker 3>from playing Burrell in The Wire, but he's also Barney

0:32:10.280 --> 0:32:14.320
<v Speaker 3>in the Hannibal Lecture movies. He's a great actor. He's

0:32:14.560 --> 0:32:16.960
<v Speaker 3>very good at having like a kind of a calming presence,

0:32:17.160 --> 0:32:21.040
<v Speaker 3>soft voice, but in this he's exactly the opposite. And

0:32:21.120 --> 0:32:24.440
<v Speaker 3>this he's electric as this guy who gives in my view,

0:32:24.800 --> 0:32:28.800
<v Speaker 3>an oscar worthy monologue about rat based cuisine and then

0:32:28.800 --> 0:32:31.160
<v Speaker 3>a sort of Hamlet style to be or not to

0:32:31.200 --> 0:32:34.200
<v Speaker 3>be soliloquy, except it's about an eagle who's trying to

0:32:34.240 --> 0:32:35.800
<v Speaker 3>decide whether to commit suicide.

0:32:36.120 --> 0:32:38.960
<v Speaker 2>Yeah. Yeah, and his character is listed as Eagleman.

0:32:39.280 --> 0:32:41.400
<v Speaker 3>Yeah, that's his whole eagle monologue.

0:32:41.440 --> 0:32:45.360
<v Speaker 2>Yeah yeah, it's a yeah, this is the weirdest thing

0:32:45.360 --> 0:32:47.120
<v Speaker 2>in the whole picture at this scene, Like this is

0:32:47.520 --> 0:32:51.320
<v Speaker 2>Frankie's keeping it weird for us with this one. But yeah, yeah,

0:32:51.360 --> 0:32:52.960
<v Speaker 2>He's been in a ton of things over the years.

0:32:52.960 --> 0:32:55.520
<v Speaker 2>He was a landlord in eighty eight Is Coming to America.

0:32:56.400 --> 0:32:58.440
<v Speaker 2>But then in terms of sort of horror and sci

0:32:58.480 --> 0:33:01.200
<v Speaker 2>fi stuff, he was in Chud, he was in Cat people.

0:33:01.720 --> 0:33:04.040
<v Speaker 2>He was in Maximum Overdrive with Emilio.

0:33:05.320 --> 0:33:08.480
<v Speaker 3>Don't we have several Maximum Overdrive people in this movie? Yeah?

0:33:08.600 --> 0:33:10.800
<v Speaker 2>I guess we do. Yeah. And then for another Stephen

0:33:10.880 --> 0:33:13.800
<v Speaker 2>King connection, the Langoliers. He was in that as well,

0:33:13.920 --> 0:33:14.960
<v Speaker 2>that TV adaptation.

0:33:15.440 --> 0:33:17.760
<v Speaker 3>Oh maybe we should talk about that on Weird House

0:33:17.800 --> 0:33:20.040
<v Speaker 3>if we ever want to watch a four hour movie.

0:33:20.480 --> 0:33:22.440
<v Speaker 2>Oh man, I never saw it. I just I read

0:33:22.440 --> 0:33:24.920
<v Speaker 2>though it's novella. It's based on In Love the novella.

0:33:25.000 --> 0:33:28.040
<v Speaker 3>But it is awful. It is, you know, made for

0:33:28.120 --> 0:33:31.360
<v Speaker 3>TV Stephen King stuff, late nineties, early two thousands, whenever

0:33:31.360 --> 0:33:35.440
<v Speaker 3>it was that came out. It has unbelievably bad CGI

0:33:35.560 --> 0:33:37.760
<v Speaker 3>monsters in it. They just run around eating up the

0:33:37.840 --> 0:33:39.440
<v Speaker 3>screen like the screen itself.

0:33:39.560 --> 0:33:42.040
<v Speaker 2>They're supposed to be like the Critters, like they're basically

0:33:42.120 --> 0:33:46.920
<v Speaker 2>Stephen King wrote The Critters as time munching kremlin monsters.

0:33:47.000 --> 0:33:49.040
<v Speaker 3>Yeah. My memory about it is that it's about a

0:33:49.120 --> 0:33:51.800
<v Speaker 3>cast of people on an airplane who all have their

0:33:51.840 --> 0:33:55.120
<v Speaker 3>own demons that get explored in flashbacks. And then also

0:33:55.200 --> 0:33:56.720
<v Speaker 3>there are monsters that eat time.

0:33:57.200 --> 0:33:59.360
<v Speaker 2>Oh yeah, I mainly remember the monsters that eat Time

0:34:00.080 --> 0:34:03.360
<v Speaker 2>from the again from the novella. Okay, one more bit

0:34:03.440 --> 0:34:05.640
<v Speaker 2>player just to mention, and that's this guy John Shay,

0:34:05.720 --> 0:34:08.479
<v Speaker 2>who plays his character Morgan. I don't know much about

0:34:08.480 --> 0:34:11.360
<v Speaker 2>this guy, but his IMDb headshot looks so much like

0:34:11.440 --> 0:34:14.960
<v Speaker 2>Jeffrey Epstein. I feel like he's destined for some for

0:34:15.000 --> 0:34:18.800
<v Speaker 2>a biopick there. He also played Lex Luthor on Lewis

0:34:18.800 --> 0:34:20.719
<v Speaker 2>and Clark, you know that venture as a Superman.

0:34:21.120 --> 0:34:30.279
<v Speaker 3>Yeah.

0:34:30.360 --> 0:34:33.319
<v Speaker 2>Music wise, the score didn't really do anything for me,

0:34:33.640 --> 0:34:36.680
<v Speaker 2>I have to admit, but it's by Trevor Jones, who

0:34:36.760 --> 0:34:39.120
<v Speaker 2>scored a lot of eighties films that I love, such

0:34:39.160 --> 0:34:43.520
<v Speaker 2>as The Dark Crystal, Labyrinth, Time Bandits. In the nineties

0:34:43.560 --> 0:34:47.160
<v Speaker 2>he did Dark City. So again, nothing in this picture

0:34:47.239 --> 0:34:50.160
<v Speaker 2>really blew me away, but I think his was, particularly

0:34:50.239 --> 0:34:52.640
<v Speaker 2>his work in those hints in films, was really really good.

0:34:52.800 --> 0:34:54.400
<v Speaker 3>Oh I like it. I like his score on The

0:34:54.440 --> 0:34:57.800
<v Speaker 3>Dark Crystal. Yeah, that's really a great score, that driving

0:34:57.880 --> 0:35:00.440
<v Speaker 3>pace in the film. In fact, that that actually come

0:35:00.480 --> 0:35:02.560
<v Speaker 3>down to someday I want to, I don't know, have

0:35:02.960 --> 0:35:05.200
<v Speaker 3>a good argument with somebody about which of the Dark

0:35:05.239 --> 0:35:08.560
<v Speaker 3>City cuts is better, because did I say Dark Crystal

0:35:08.640 --> 0:35:10.320
<v Speaker 3>or Dark City earlier? For you?

0:35:10.520 --> 0:35:12.279
<v Speaker 2>I think you said Dark Crystal earlier. Then you said

0:35:12.360 --> 0:35:14.360
<v Speaker 2>Dark City, which got me excited because I had no

0:35:14.360 --> 0:35:15.759
<v Speaker 2>idea there were different cuts.

0:35:15.680 --> 0:35:18.560
<v Speaker 3>Of Dark City of Dark City, Yeah, that's what. So

0:35:18.719 --> 0:35:23.080
<v Speaker 3>there's one cut that is maybe artistically superior because it

0:35:23.160 --> 0:35:26.360
<v Speaker 3>cuts out some kind of bad voiceover narration at the

0:35:26.360 --> 0:35:28.720
<v Speaker 3>beginning and a few other things. But the original cut

0:35:29.000 --> 0:35:33.239
<v Speaker 3>has such great pacing, like it just drives and drives. H.

0:35:34.080 --> 0:35:36.320
<v Speaker 3>I don't know, we'll explore it someday.

0:35:36.600 --> 0:35:38.200
<v Speaker 2>Yeah. Yeah, that's a fun one.

0:35:38.600 --> 0:35:40.080
<v Speaker 3>But one of the things that I thought was funny

0:35:40.120 --> 0:35:42.640
<v Speaker 3>about the music by Trevor Jones. So when you get

0:35:42.640 --> 0:35:45.279
<v Speaker 3>to the opening credits of the movie, it is just

0:35:45.920 --> 0:35:50.120
<v Speaker 3>CGI shards flying around the screen like an after dark screensaver,

0:35:50.560 --> 0:35:54.400
<v Speaker 3>while you've got saxophone music playing a tune that sounds

0:35:54.520 --> 0:35:57.239
<v Speaker 3>a little bit like the melody of the rains of

0:35:57.320 --> 0:36:00.440
<v Speaker 3>CASTI Mirror. It's like a cross between the reins of

0:36:00.520 --> 0:36:04.240
<v Speaker 3>cast Mirror and then Evangelists and then Baker Street. Okay,

0:36:04.640 --> 0:36:07.399
<v Speaker 3>And of course the shards become the title free Jack

0:36:08.000 --> 0:36:11.800
<v Speaker 3>uh and and then we immediately cut to swirling fog

0:36:11.960 --> 0:36:15.319
<v Speaker 3>and silhouettes of trucks and jeeps cutting through this dark

0:36:15.400 --> 0:36:18.640
<v Speaker 3>landscape with their high beams. And then in one of

0:36:18.680 --> 0:36:20.759
<v Speaker 3>the greatest transitions in the movie. So you got that,

0:36:20.840 --> 0:36:23.000
<v Speaker 3>you got the the music playing and the and the

0:36:23.120 --> 0:36:27.040
<v Speaker 3>dark trucks over the horizon, and then immediately estevez butt.

0:36:27.239 --> 0:36:30.800
<v Speaker 3>You're just Joe Estevez's butt in like his alarm clock's

0:36:30.840 --> 0:36:32.399
<v Speaker 3>going off. He's laying in bed.

0:36:32.719 --> 0:36:33.560
<v Speaker 2>Whoa, it's not not.

0:36:35.080 --> 0:36:37.680
<v Speaker 3>What did I say? Sorry?

0:36:38.960 --> 0:36:39.280
<v Speaker 2>Different?

0:36:39.960 --> 0:36:42.759
<v Speaker 3>Better? No, this is ameliaest of Az. You just like

0:36:42.840 --> 0:36:45.440
<v Speaker 3>see his butt and he's wearing like green underwear and

0:36:45.480 --> 0:36:48.279
<v Speaker 3>he's his alarm clock's going off, and he's like, you know,

0:36:48.360 --> 0:36:50.640
<v Speaker 3>and his sheets are tossed all over the place.

0:36:51.200 --> 0:36:51.319
<v Speaker 2>Uh.

0:36:51.520 --> 0:36:53.840
<v Speaker 3>And I don't know why. I didn't know at first

0:36:53.880 --> 0:36:57.040
<v Speaker 3>why they made that choice to begin with his butt,

0:36:57.040 --> 0:36:59.280
<v Speaker 3>but I think it's explained later on once you finally

0:36:59.280 --> 0:37:00.680
<v Speaker 3>get all the premise wheeled out.

0:37:01.040 --> 0:37:04.440
<v Speaker 2>Okay, I don't remember the explanation, but yeah, I'll roll

0:37:04.480 --> 0:37:07.360
<v Speaker 2>with it. Like the whole opening segment of this section

0:37:07.440 --> 0:37:11.160
<v Speaker 2>of this movie, I understand most of the choices they made,

0:37:11.360 --> 0:37:13.839
<v Speaker 2>you know, like they want to establish who he is

0:37:13.960 --> 0:37:15.960
<v Speaker 2>and what his connections are with people in the past,

0:37:16.360 --> 0:37:20.040
<v Speaker 2>and we want we want to have a bone jacking

0:37:20.280 --> 0:37:26.399
<v Speaker 2>scenario that is susceptible to disruption. So it but still

0:37:26.400 --> 0:37:27.960
<v Speaker 2>you're watching it and you're like, I would just wish

0:37:27.960 --> 0:37:29.680
<v Speaker 2>they would go ahead and bone jack this guy so

0:37:29.719 --> 0:37:31.600
<v Speaker 2>we can get to the future. It seems like we

0:37:31.640 --> 0:37:33.920
<v Speaker 2>spend a lot of time getting to that point.

0:37:34.239 --> 0:37:34.439
<v Speaker 4>Yeah.

0:37:34.480 --> 0:37:37.319
<v Speaker 3>It starts off with Renee Russo and Emilio Estevez just

0:37:37.360 --> 0:37:41.560
<v Speaker 3>flirting a lot. It's it's almost overwhelmingly Sacharin. They're just

0:37:41.600 --> 0:37:43.719
<v Speaker 3>like telling each other how much they love each other,

0:37:43.840 --> 0:37:47.000
<v Speaker 3>and he's like, I'll win that race, honey, you just

0:37:47.080 --> 0:37:51.000
<v Speaker 3>watch again. He's a race car driver and they're talking

0:37:51.000 --> 0:37:53.640
<v Speaker 3>about like what will the other driver's wives be wearing?

0:37:53.760 --> 0:37:59.000
<v Speaker 3>And so I think they're engaged again. Emilio Estevez playing

0:37:59.040 --> 0:38:02.120
<v Speaker 3>this guy Alex for Long, that's his name, for Long.

0:38:02.160 --> 0:38:06.680
<v Speaker 3>He's his Formula one racer, and and so we're watching

0:38:06.719 --> 0:38:09.960
<v Speaker 3>all this sweety sweety time stuff where they're, you know,

0:38:10.000 --> 0:38:12.520
<v Speaker 3>they're racing around a track in the daytime, or Emilia

0:38:12.560 --> 0:38:15.920
<v Speaker 3>Westevez is he's doing like training laps or something. And

0:38:15.960 --> 0:38:18.920
<v Speaker 3>then we're cutting back and forth between that and him

0:38:18.960 --> 0:38:22.879
<v Speaker 3>flirting with Renee Russo, and then Mick Jagger and an

0:38:23.000 --> 0:38:27.520
<v Speaker 3>army of helmeted Apocalypse goons driving their heavy machinery through

0:38:27.560 --> 0:38:31.160
<v Speaker 3>the dark and Mick Jagger is using this futuristic digital

0:38:31.280 --> 0:38:34.600
<v Speaker 3>map to navigate to a precise point in New York.

0:38:35.280 --> 0:38:38.120
<v Speaker 3>And then we get Rene Russo and Emilia Westavez banter.

0:38:39.560 --> 0:38:43.040
<v Speaker 3>She's like critiquing his driving for some reason, and he's like,

0:38:43.160 --> 0:38:46.040
<v Speaker 3>you drive your typewriter, I'll drive my car. And then

0:38:46.080 --> 0:38:47.440
<v Speaker 3>she says it's a computer.

0:38:50.200 --> 0:38:51.279
<v Speaker 2>Uh and oh.

0:38:51.360 --> 0:38:53.880
<v Speaker 3>And then very importantly because it comes up later in

0:38:53.960 --> 0:38:57.120
<v Speaker 3>the movie, Emilio says he won't race unless Renee Russo

0:38:57.239 --> 0:38:59.719
<v Speaker 3>nibbles his ear in public, and they they kind of

0:38:59.800 --> 0:39:01.680
<v Speaker 3>him and haw about that, and then she does, and

0:39:01.800 --> 0:39:04.160
<v Speaker 3>then they say how much they love each other. So

0:39:04.520 --> 0:39:07.480
<v Speaker 3>all is well in the Kingdom of nineteen ninety one.

0:39:07.640 --> 0:39:10.120
<v Speaker 3>Everybody's happy and in love and things are great.

0:39:10.520 --> 0:39:12.719
<v Speaker 2>Little do they know, though, there is about to be

0:39:12.880 --> 0:39:16.000
<v Speaker 2>a catastrophic car wreck. And then that's when the bone

0:39:16.080 --> 0:39:17.240
<v Speaker 2>jacking will actually begin.

0:39:17.280 --> 0:39:18.520
<v Speaker 3>Right, the bonejacking will begin.

0:39:18.600 --> 0:39:18.719
<v Speaker 4>Oh.

0:39:18.880 --> 0:39:21.640
<v Speaker 3>But we also we meet Brad the manager. Remember this

0:39:21.760 --> 0:39:24.600
<v Speaker 3>is the guy from the New York Dolls. Brad seems

0:39:24.680 --> 0:39:28.480
<v Speaker 3>to manage Emilio Estevez and some other racers, and he

0:39:28.560 --> 0:39:31.120
<v Speaker 3>says things like, you do the driving, I'll do the jiving.

0:39:31.239 --> 0:39:34.279
<v Speaker 3>And so he's going out schmoozing with potential sponsors. I

0:39:34.320 --> 0:39:37.279
<v Speaker 3>think there's this guy who introduces himself with the name

0:39:37.320 --> 0:39:40.040
<v Speaker 3>of the company. He says like Champion Spark Plugs, and

0:39:40.200 --> 0:39:43.480
<v Speaker 3>then Emilio is disrespectful to him and says like, hi,

0:39:43.640 --> 0:39:48.319
<v Speaker 3>mister Plugs. And so meanwhile in the dark world, Mick

0:39:48.400 --> 0:39:50.920
<v Speaker 3>Jagger and his goons are like rousting a bunch of

0:39:51.760 --> 0:39:56.960
<v Speaker 3>post apocalyptic future people out of their hovels and setting

0:39:57.000 --> 0:39:59.160
<v Speaker 3>up a bunch of equipment to do something in this

0:39:59.320 --> 0:40:02.839
<v Speaker 3>blasted few your hell zone. And then we get mixed

0:40:02.920 --> 0:40:06.200
<v Speaker 3>first line, which is just okay, let's do it.

0:40:06.960 --> 0:40:09.880
<v Speaker 2>Yeah. It sets the tone for the rest of the picture.

0:40:10.600 --> 0:40:15.520
<v Speaker 2>It instantly dissolves the magic of him just looking just

0:40:15.760 --> 0:40:17.480
<v Speaker 2>you know, being there, grim faced and all in the

0:40:17.520 --> 0:40:18.000
<v Speaker 2>cool coat.

0:40:18.320 --> 0:40:22.640
<v Speaker 3>Right. So then Emelio's racing, Alex is driving along, and

0:40:22.719 --> 0:40:24.960
<v Speaker 3>Mick Jagger has a bunch of guys getting ready to

0:40:25.040 --> 0:40:29.000
<v Speaker 3>do something. They're like guys wearing these reflective foil suits.

0:40:29.040 --> 0:40:31.520
<v Speaker 3>And then there's a hacker guy who of course is

0:40:31.560 --> 0:40:35.240
<v Speaker 3>wearing sunglasses inside while he's operating a computer. The hacker

0:40:35.280 --> 0:40:37.760
<v Speaker 3>guy is named Ripper, and he's got these cool scars

0:40:37.840 --> 0:40:41.600
<v Speaker 3>on his face and they're locking onto a CGI version

0:40:41.800 --> 0:40:45.880
<v Speaker 3>of Alex, and then Alex's car flies off course in

0:40:45.960 --> 0:40:48.160
<v Speaker 3>the past and it's about to explode in a fireball,

0:40:48.200 --> 0:40:51.880
<v Speaker 3>and then zap. Just as the car explodes, Emilio is

0:40:52.040 --> 0:40:54.960
<v Speaker 3>time warped into the future and he appears on an

0:40:55.000 --> 0:40:57.840
<v Speaker 3>operating table. He's surrounded by the doctors in all the

0:40:57.920 --> 0:41:01.560
<v Speaker 3>shiny tin foil body suits, and it seems to be

0:41:01.640 --> 0:41:05.120
<v Speaker 3>it's like some kind of mobile surgical center that's inside

0:41:05.200 --> 0:41:08.000
<v Speaker 3>a giant truck, which just seems like a bad idea,

0:41:08.200 --> 0:41:10.160
<v Speaker 3>like would you be trying to do surgery and like

0:41:10.239 --> 0:41:12.760
<v Speaker 3>a truck that's you know, like an all terrain vehicle,

0:41:12.760 --> 0:41:15.520
<v Speaker 3>it's bouncing around all over the place. But anyway, well,

0:41:15.560 --> 0:41:16.000
<v Speaker 3>I will.

0:41:15.920 --> 0:41:17.719
<v Speaker 2>I will come to the picture's defense here and say

0:41:17.800 --> 0:41:22.160
<v Speaker 2>that this would make sense in the sense you're jacking

0:41:22.239 --> 0:41:25.960
<v Speaker 2>somebody's bones out of such a delicate moment in time. Okay,

0:41:26.239 --> 0:41:28.520
<v Speaker 2>the timing could be a little off, And what do

0:41:28.600 --> 0:41:30.480
<v Speaker 2>you do if they come through and they have like

0:41:30.560 --> 0:41:32.880
<v Speaker 2>a head wound or or some sort of a laceration,

0:41:33.040 --> 0:41:35.080
<v Speaker 2>like you didn't get them quite in time. You need

0:41:35.120 --> 0:41:40.920
<v Speaker 2>to be able to treat them immediately. So that's my excuse.

0:41:40.680 --> 0:41:43.040
<v Speaker 3>Okay, I buy it. Yeah, I mean it would be necessary,

0:41:43.080 --> 0:41:45.160
<v Speaker 3>even though it's not ideal. It's just something you gotta

0:41:45.239 --> 0:41:47.040
<v Speaker 3>do if you're going to be bone jacking people. It's

0:41:47.080 --> 0:41:50.719
<v Speaker 3>the price of bone jacking, right. And so the doctors do.

0:41:50.920 --> 0:41:53.239
<v Speaker 3>They're trying to stabilize them. They're pumping into you know,

0:41:53.360 --> 0:41:55.839
<v Speaker 3>doing the CPR and stuff. They get his heart beating again,

0:41:55.920 --> 0:41:59.319
<v Speaker 3>but then they realize, oh no, Emilio Estevez still has

0:41:59.400 --> 0:42:01.920
<v Speaker 3>brain functions. This is bad because he's not supposed to.

0:42:02.440 --> 0:42:06.320
<v Speaker 3>So they're like, grab the lobottomizer, yeah, which is a blue,

0:42:06.480 --> 0:42:09.799
<v Speaker 3>glowing electric and noodle that's flopping around all over the place.

0:42:09.840 --> 0:42:11.200
<v Speaker 3>And I think what it's supposed to do is go

0:42:11.360 --> 0:42:13.759
<v Speaker 3>up his nose and then dig around a bit and

0:42:13.880 --> 0:42:16.759
<v Speaker 3>then give him an electric shock to the brain that

0:42:16.920 --> 0:42:20.160
<v Speaker 3>will make him complacent or wipe his brain or something.

0:42:20.520 --> 0:42:23.360
<v Speaker 2>Yeah, it makes no sense at all because he just

0:42:23.560 --> 0:42:25.880
<v Speaker 2>have something called like a mind wiper, you know, and

0:42:26.080 --> 0:42:27.759
<v Speaker 2>just use that. Because once you bring in the idea

0:42:27.800 --> 0:42:30.800
<v Speaker 2>of lobotomizing, it makes it seem like this brain's not

0:42:30.880 --> 0:42:34.160
<v Speaker 2>going to be worth putting somebody else's mind. If you're

0:42:34.160 --> 0:42:36.360
<v Speaker 2>gonna if you're gonna screw with it and lobottomize it.

0:42:36.480 --> 0:42:37.760
<v Speaker 2>But yeah, it's confusing.

0:42:37.880 --> 0:42:40.600
<v Speaker 3>Good point. But just when they're about to jab his brain,

0:42:40.719 --> 0:42:44.000
<v Speaker 3>the Jagger convoy is attacked to people with guns pop

0:42:44.120 --> 0:42:46.600
<v Speaker 3>up on rooftops all around. They start blowing stuff up.

0:42:46.960 --> 0:42:50.440
<v Speaker 3>This knocks everybody over and Emilio gets loose, and this

0:42:50.560 --> 0:42:53.800
<v Speaker 3>is apparently very bad because immediately the doctor's and the

0:42:53.840 --> 0:42:57.719
<v Speaker 3>tinfoil suits start screaming, free Jack, free Jack, grab him

0:42:58.440 --> 0:43:01.640
<v Speaker 3>and this leads to a big fight scene that involves

0:43:01.719 --> 0:43:04.480
<v Speaker 3>the lobottomizer where Emilio has to like fight them off

0:43:04.640 --> 0:43:07.200
<v Speaker 3>using the lobotomizer and he zaps them with it, and

0:43:07.360 --> 0:43:09.840
<v Speaker 3>eventually he gets out of the medical truck, but like

0:43:09.960 --> 0:43:12.479
<v Speaker 3>as soon as he's trying to escape, he turns back

0:43:12.600 --> 0:43:15.799
<v Speaker 3>and then he locks eyes with Mick Jagger, and Mick

0:43:15.880 --> 0:43:18.040
<v Speaker 3>Jagger just says, get the mate.

0:43:19.480 --> 0:43:22.320
<v Speaker 2>Yeah. He tells them, yeah, stunners only don't want them damaged.

0:43:22.719 --> 0:43:26.400
<v Speaker 2>And I have to say, there are two things in

0:43:26.480 --> 0:43:29.879
<v Speaker 2>this movie that I think absolutely three things. Eagleman absolutely works,

0:43:30.000 --> 0:43:33.520
<v Speaker 2>Mick Jagger's coat works, and then the Stunners are pretty great.

0:43:33.560 --> 0:43:36.920
<v Speaker 2>So these are the rifles, these space age looking rifles

0:43:37.080 --> 0:43:41.320
<v Speaker 2>that the Bonejacker Squad has that seem to shoot like

0:43:41.560 --> 0:43:44.920
<v Speaker 2>electro plasma pulses and it looks really cool. Like this

0:43:45.080 --> 0:43:47.279
<v Speaker 2>is definitely one of the things in the original in

0:43:47.320 --> 0:43:50.520
<v Speaker 2>the trailer and in the original promotional footage that I

0:43:50.640 --> 0:43:53.359
<v Speaker 2>bought into when I was younger, Like those guns look

0:43:53.440 --> 0:43:56.080
<v Speaker 2>cool and that looks neat they're shooting all these like

0:43:56.160 --> 0:44:00.320
<v Speaker 2>blue beams and all. Because even though this film films

0:44:00.400 --> 0:44:04.440
<v Speaker 2>essentially cyberpunk, you know, or or cyberpunk made from cyberpunk

0:44:04.480 --> 0:44:07.000
<v Speaker 2>derivatives or something, but one of the things you see

0:44:07.040 --> 0:44:10.840
<v Speaker 2>in so many visions of the future from this period,

0:44:10.920 --> 0:44:13.920
<v Speaker 2>from like the nineties, is that everybody's just shooting hard ammo.

0:44:14.040 --> 0:44:19.400
<v Speaker 2>It's just a ballistic you know, worship gone wild. And

0:44:19.880 --> 0:44:21.719
<v Speaker 2>at times I watch that stuff and I'm like, I

0:44:22.160 --> 0:44:24.080
<v Speaker 2>just I just want to see some laser beams and

0:44:24.200 --> 0:44:27.399
<v Speaker 2>some some some phasers and stuff, you know, Like that's

0:44:27.680 --> 0:44:31.359
<v Speaker 2>I like sci fi guns that shoot of fancy light

0:44:31.440 --> 0:44:34.200
<v Speaker 2>beams at things. And so this film at least really

0:44:34.239 --> 0:44:35.920
<v Speaker 2>delivers in that category.

0:44:36.120 --> 0:44:39.200
<v Speaker 3>Well, it has both because it's the Bonejackers use the

0:44:39.480 --> 0:44:42.560
<v Speaker 3>light based weapons because they don't want to damage his body.

0:44:42.680 --> 0:44:44.759
<v Speaker 3>They just want to immobilize him. So he can be

0:44:44.880 --> 0:44:48.239
<v Speaker 3>taken to the what the psychic switchboard or whatever it's

0:44:48.280 --> 0:44:52.920
<v Speaker 3>called spiritual switch spiritual switchboard, but the but the but

0:44:53.080 --> 0:44:55.160
<v Speaker 3>other bad guys who just want to kill people. They

0:44:55.280 --> 0:44:56.720
<v Speaker 3>use like ballistic weapons.

0:44:57.200 --> 0:45:00.279
<v Speaker 2>Yeah, they don't care about keeping the meat neat right.

0:45:00.680 --> 0:45:02.560
<v Speaker 3>But so here we get a big chase scene. He's

0:45:02.640 --> 0:45:04.319
<v Speaker 3>running all over the place. At one point he gets

0:45:04.360 --> 0:45:06.560
<v Speaker 3>in a taxi and then gets kicked out of it,

0:45:07.239 --> 0:45:10.320
<v Speaker 3>and so Alex is running all over the place, like

0:45:10.400 --> 0:45:12.640
<v Speaker 3>he tries to go to Renee Russo's apartment. He's trying

0:45:12.680 --> 0:45:15.279
<v Speaker 3>to find people that he used to know because he

0:45:15.480 --> 0:45:18.080
<v Speaker 3>somehow doesn't realize that he's in the future. I think

0:45:18.160 --> 0:45:22.440
<v Speaker 3>this is a pretty standard accidental time travel or unwitting

0:45:22.520 --> 0:45:25.240
<v Speaker 3>time travel trope where the person's like they just won't

0:45:25.280 --> 0:45:27.600
<v Speaker 3>accept that the year is different. So they're running around

0:45:27.640 --> 0:45:30.120
<v Speaker 3>trying to find things they know where person or a

0:45:30.160 --> 0:45:32.120
<v Speaker 3>thing should be there, but it's not, and it's like what.

0:45:32.760 --> 0:45:35.120
<v Speaker 2>Yeah, yeah, pretty by the books. There's a lot of

0:45:35.120 --> 0:45:38.359
<v Speaker 2>stuff in this film that is just by the books, right,

0:45:38.520 --> 0:45:39.320
<v Speaker 2>this sort of picture.

0:45:39.640 --> 0:45:42.399
<v Speaker 3>But everywhere he goes, people are like, oh my god,

0:45:42.520 --> 0:45:45.080
<v Speaker 3>he's a free jack. So everybody knows what this is.

0:45:45.400 --> 0:45:47.359
<v Speaker 3>This is it must be on the news every night.

0:45:47.400 --> 0:45:51.279
<v Speaker 3>It's like, you know, today three free jacks were apprehended.

0:45:52.160 --> 0:45:54.560
<v Speaker 2>And hell yeah, how often does this happen? It's enough

0:45:54.640 --> 0:45:57.200
<v Speaker 2>that there is a slang for it. Yeah, and everybody's

0:45:57.239 --> 0:45:59.680
<v Speaker 2>on the lookout for it. Like I feel like if

0:45:59.719 --> 0:46:02.760
<v Speaker 2>this is on the bonejackers for just being kind of sloppy.

0:46:02.640 --> 0:46:05.960
<v Speaker 3>The bonejackers are really they are screwing up a lot.

0:46:06.080 --> 0:46:10.000
<v Speaker 3>It sounds like yeah, and there's this dystopian pa, you know,

0:46:10.080 --> 0:46:13.560
<v Speaker 3>like the future totalitarian society has pas everywhere that just

0:46:13.640 --> 0:46:16.560
<v Speaker 3>blair stuff at people. So it's going like everybody off

0:46:16.600 --> 0:46:19.000
<v Speaker 3>the street, there's a free jacket large. Anyone on the

0:46:19.000 --> 0:46:22.279
<v Speaker 3>street will be fired upon. And then of course we

0:46:22.360 --> 0:46:25.200
<v Speaker 3>see the truest sign of dystopia, which is a giant

0:46:25.280 --> 0:46:29.680
<v Speaker 3>digital billboard and says welcome to New York Thursday, November

0:46:29.760 --> 0:46:33.799
<v Speaker 3>twenty third, two thousand and nine. And then Amelio looks

0:46:33.840 --> 0:46:36.120
<v Speaker 3>at it and he's like what. And then there's this

0:46:36.320 --> 0:46:39.600
<v Speaker 3>great moment where he pulls out his like race ticket

0:46:39.800 --> 0:46:42.600
<v Speaker 3>from his I don't know, from driving earlier that day

0:46:42.880 --> 0:46:45.640
<v Speaker 3>to see the date and it says nineteen ninety one,

0:46:46.200 --> 0:46:48.480
<v Speaker 3>and it's like, it's as if the movie is suggesting

0:46:48.560 --> 0:46:50.800
<v Speaker 3>that he was actually thinking, wait, was it two thousand

0:46:50.800 --> 0:46:52.680
<v Speaker 3>and nine earlier today? Better check?

0:46:53.640 --> 0:46:57.279
<v Speaker 2>Well, the movie implies, and at times expressly states that

0:46:58.320 --> 0:47:02.359
<v Speaker 2>Emilio Westavez's character is not the sharpest knife in the drawer, right.

0:47:03.000 --> 0:47:05.160
<v Speaker 2>I think Anthony Hopkins character refers to him as a

0:47:05.239 --> 0:47:09.160
<v Speaker 2>dullard at one point. So, yes, yeah, he's uh yeah,

0:47:09.880 --> 0:47:11.560
<v Speaker 2>he needs to check. He has to double check to

0:47:12.080 --> 0:47:14.279
<v Speaker 2>see what year it actually was earlier today.

0:47:15.160 --> 0:47:18.320
<v Speaker 3>Uh So, later we meet some corporate creeps. They're like

0:47:18.360 --> 0:47:21.400
<v Speaker 3>in a giant elevator that's going up millions of floors,

0:47:21.480 --> 0:47:24.560
<v Speaker 3>in a skyscraper that reaches up to the clouds. There

0:47:24.600 --> 0:47:27.960
<v Speaker 3>they're in this weird skyscraper that looks like a combination

0:47:28.160 --> 0:47:30.960
<v Speaker 3>of an office and a church. It's like the Cathedral

0:47:31.040 --> 0:47:34.320
<v Speaker 3>of Business, you know, the Basilica of Saint Dick Fold

0:47:35.920 --> 0:47:39.439
<v Speaker 3>And uh so, one of the suits is Jonathan Banks. Again,

0:47:39.520 --> 0:47:41.640
<v Speaker 3>that's Mike Irman Trout from Breaking Bad, who we were

0:47:41.680 --> 0:47:43.840
<v Speaker 3>talking about earlier. And here we get a bit of

0:47:43.880 --> 0:47:47.600
<v Speaker 3>exposition dump. They start explaining that they're they're trying to

0:47:47.640 --> 0:47:51.319
<v Speaker 3>break the bad news about the bone jack getting loose

0:47:51.400 --> 0:47:54.440
<v Speaker 3>and becoming a free Jack to a guy who is

0:47:54.640 --> 0:47:58.200
<v Speaker 3>wearing a Ghost of Christmas Yet to come Hood and

0:47:58.400 --> 0:48:01.640
<v Speaker 3>they're like, sorry, Gramps, your bone jack got away. And

0:48:01.800 --> 0:48:04.719
<v Speaker 3>then they're they're explaining, actually, we've got even worse news.

0:48:05.080 --> 0:48:08.160
<v Speaker 3>The spiritual switchboard can only hold you for another thirty

0:48:08.200 --> 0:48:12.000
<v Speaker 3>six hours. Shouldn't you consider an alternative body? And the

0:48:12.080 --> 0:48:15.000
<v Speaker 3>guy in the Ghost of Christmas Yet to come Hood

0:48:15.080 --> 0:48:17.520
<v Speaker 3>is like, I don't want an alternative body. I want

0:48:17.719 --> 0:48:20.719
<v Speaker 3>this one. And then there's a reveal and it's hologram

0:48:21.000 --> 0:48:24.759
<v Speaker 3>Emilio Estavez. And here I think it starts to make

0:48:24.800 --> 0:48:26.479
<v Speaker 3>sense that the first thing we see in the movie

0:48:26.640 --> 0:48:29.800
<v Speaker 3>is Emelio Estavez's butt, because it seems like the quality

0:48:30.000 --> 0:48:33.640
<v Speaker 3>of his body in particular, I guess, including his butt

0:48:34.040 --> 0:48:37.279
<v Speaker 3>compared to other future bodies and butts, seems to be

0:48:37.400 --> 0:48:40.000
<v Speaker 3>relevant to the plot, Like only that butt will do

0:48:41.080 --> 0:48:41.479
<v Speaker 3>I guess.

0:48:41.760 --> 0:48:44.080
<v Speaker 2>I wonder what if the other free Jack on hold

0:48:44.120 --> 0:48:46.840
<v Speaker 2>they had Joe Estevez. Yeah, and they're they're like, come on,

0:48:46.920 --> 0:48:50.000
<v Speaker 2>we got Joe as ready to go. Yeah, Emilio, it

0:48:50.080 --> 0:48:52.399
<v Speaker 2>has to be Emilio. I don't want Joe, I don't

0:48:52.440 --> 0:48:55.000
<v Speaker 2>want Charlie, I don't want Martin it's got to be

0:48:55.080 --> 0:48:55.920
<v Speaker 2>Emilia and.

0:48:55.960 --> 0:48:58.319
<v Speaker 3>There's actually another reason for that that we'll get to later.

0:48:59.040 --> 0:48:59.160
<v Speaker 4>Oh.

0:48:59.239 --> 0:49:01.520
<v Speaker 3>But then we get a scene that's a meeting between

0:49:01.640 --> 0:49:04.600
<v Speaker 3>Mick Jagger again, he's playing this this mercenary named Victor

0:49:04.960 --> 0:49:08.239
<v Speaker 3>Visindek with with Jonathan Banks. They like meet up to

0:49:08.480 --> 0:49:09.240
<v Speaker 3>scheme together.

0:49:09.880 --> 0:49:11.879
<v Speaker 2>Yeah. So two things about this scene. First of all,

0:49:12.200 --> 0:49:14.879
<v Speaker 2>the office set is incredible in this This is one

0:49:14.920 --> 0:49:18.279
<v Speaker 2>of several interior sets that are in this movie that

0:49:18.360 --> 0:49:20.560
<v Speaker 2>are really cool. Like they just like they went crazy

0:49:20.680 --> 0:49:23.320
<v Speaker 2>with art decorating it and like this one has like

0:49:23.400 --> 0:49:27.920
<v Speaker 2>this crazy fractured redstone wall behind them, which is really good.

0:49:27.960 --> 0:49:31.600
<v Speaker 2>I appreciate that. But then the actual scene, the actual

0:49:32.280 --> 0:49:35.760
<v Speaker 2>energy between Mick Jagger and Jonathan Banks, it's just weird,

0:49:36.320 --> 0:49:39.040
<v Speaker 2>like and it seems like the casting is so off.

0:49:39.080 --> 0:49:41.720
<v Speaker 2>So Jonathan Banks here is playing like the sleazy boss

0:49:41.840 --> 0:49:46.480
<v Speaker 2>who owns Faberge eggs. Yeah, and Jagger is playing like

0:49:46.600 --> 0:49:49.200
<v Speaker 2>the you know, the the badass warrior with a code,

0:49:49.520 --> 0:49:51.719
<v Speaker 2>and it just feels like it should be reverse, Like

0:49:51.840 --> 0:49:55.640
<v Speaker 2>Mick Jagger is the type of guy who owns Faberge eggs.

0:49:55.960 --> 0:49:59.719
<v Speaker 2>Jonathan Banks is your mercenary, you know, Jonathan Banks is

0:49:59.719 --> 0:50:03.120
<v Speaker 2>great in this anyway, and like Banks totally delivers. He

0:50:03.200 --> 0:50:05.239
<v Speaker 2>knows what he's doing, so he's yeah, he's perfectly fine

0:50:05.239 --> 0:50:07.960
<v Speaker 2>in this role. But it feels like you could just

0:50:08.000 --> 0:50:09.719
<v Speaker 2>swap these two and you would have been a better place.

0:50:10.080 --> 0:50:12.120
<v Speaker 3>I kind of agree with you there, Yeah, except that

0:50:12.120 --> 0:50:14.800
<v Speaker 3>would have given us fewer chances to see Mick Jagger

0:50:14.840 --> 0:50:16.160
<v Speaker 3>wearing the Spaceball's helmet.

0:50:16.520 --> 0:50:19.080
<v Speaker 2>True, true, And I don't think it would have saved

0:50:19.080 --> 0:50:21.720
<v Speaker 2>the picture in any way. But but yeah, this scene

0:50:21.760 --> 0:50:24.560
<v Speaker 2>is pretty great in a dumb way. You got like

0:50:25.200 --> 0:50:27.279
<v Speaker 2>basically saying like you were supposed to bone jack that guy,

0:50:27.320 --> 0:50:28.960
<v Speaker 2>and it's like I tried. Now he's a free jack.

0:50:29.200 --> 0:50:31.040
<v Speaker 2>You're off the case. No, I'm still going to bone

0:50:31.120 --> 0:50:35.080
<v Speaker 2>jack that guy. I always bone my jack basically.

0:50:35.960 --> 0:50:38.279
<v Speaker 3>Yep, that's pretty much it. He tries to fire him,

0:50:38.840 --> 0:50:43.399
<v Speaker 3>and Mick Jagger's like, no, you can't fire me, you know, yeah,

0:50:43.920 --> 0:50:48.080
<v Speaker 3>I'll get that meat. A funny thing, Rachel was watching

0:50:48.160 --> 0:50:50.040
<v Speaker 3>parts of this with me, and she pointed out that

0:50:50.160 --> 0:50:53.520
<v Speaker 3>Mick Jagger's delivery in these scenes is very late season

0:50:53.680 --> 0:50:55.080
<v Speaker 3>Sir c lanister.

0:50:55.280 --> 0:50:56.120
<v Speaker 2>Oh, what what do you mean?

0:50:56.440 --> 0:50:59.320
<v Speaker 3>Just the kind of like vindictive cold frown and a

0:50:59.400 --> 0:51:01.800
<v Speaker 3>similar to Livery and I don't know. I mean I

0:51:01.840 --> 0:51:02.800
<v Speaker 3>saw it when she said it.

0:51:03.200 --> 0:51:07.239
<v Speaker 2>No, no, no, I could I could get that. Yeah, yeah, yeah,

0:51:07.640 --> 0:51:10.000
<v Speaker 2>but this is gonna be one of the ultimate like

0:51:10.120 --> 0:51:13.719
<v Speaker 2>weird things about Jagger's performance is that what he gives

0:51:13.800 --> 0:51:16.000
<v Speaker 2>us here in this scene is not what we get

0:51:16.080 --> 0:51:19.520
<v Speaker 2>later on. Like his his performance is just all over

0:51:19.600 --> 0:51:22.480
<v Speaker 2>the place, like he's a cold professional in one scene

0:51:22.560 --> 0:51:24.560
<v Speaker 2>and then he'll be something completely different in another.

0:51:24.840 --> 0:51:26.520
<v Speaker 3>Yeah, I can't wait to talk about the scene where

0:51:26.520 --> 0:51:29.239
<v Speaker 3>he's like doing hacker tricks on a car on a

0:51:29.400 --> 0:51:30.479
<v Speaker 3>wine delivery truck.

0:51:30.840 --> 0:51:33.239
<v Speaker 2>Yeah, he becomes the Riddler out of the later on.

0:51:33.480 --> 0:51:38.160
<v Speaker 3>Yeah. Anyway, Alex ends up taking refuge in a church,

0:51:38.360 --> 0:51:40.200
<v Speaker 3>sleeps on the floor in front of the altar, is

0:51:40.280 --> 0:51:43.440
<v Speaker 3>ambushed by Amanda Plumber in the form of Sister Shotgun.

0:51:43.560 --> 0:51:47.200
<v Speaker 3>She pulls a shotgun on him and they meet. They

0:51:47.239 --> 0:51:49.399
<v Speaker 3>talk about things. She is shocked to learn that he's

0:51:49.400 --> 0:51:53.080
<v Speaker 3>a free jack. They argue about this, like she yeah,

0:51:53.160 --> 0:51:55.520
<v Speaker 3>she seems skeptical that he's a free jack, and then

0:51:55.600 --> 0:51:58.640
<v Speaker 3>he explains things to her and she eventually ends up

0:51:58.680 --> 0:52:01.640
<v Speaker 3>trying to help him like she's She explains the whole

0:52:01.719 --> 0:52:04.879
<v Speaker 3>bone jacking premise. We also get like more exposition dump

0:52:05.000 --> 0:52:08.439
<v Speaker 3>from her and he's like, what, so they were gonna

0:52:08.440 --> 0:52:10.840
<v Speaker 3>do a brain transplant on me? And she goes, no,

0:52:11.280 --> 0:52:15.200
<v Speaker 3>a mind transplant, So this movie is firmly dualistic.

0:52:15.600 --> 0:52:15.799
<v Speaker 2>Yep.

0:52:16.200 --> 0:52:19.000
<v Speaker 3>And then she helps him find the address of somebody

0:52:19.080 --> 0:52:21.320
<v Speaker 3>who knows, so she sends she arms him with a

0:52:21.360 --> 0:52:24.719
<v Speaker 3>gun and sends him off to meet somebody. But then

0:52:24.920 --> 0:52:27.120
<v Speaker 3>we should cut back to the whole time. We're also

0:52:27.280 --> 0:52:30.279
<v Speaker 3>cutting between Emilio Estevez and Mick Jagger, and there's like

0:52:30.360 --> 0:52:32.800
<v Speaker 3>a great scene with Mick Jagger hanging out at his

0:52:32.920 --> 0:52:34.440
<v Speaker 3>apartment with his buddy.

0:52:35.000 --> 0:52:37.959
<v Speaker 2>Yeah, yeah, his buddy Ripper. And this is another great

0:52:38.040 --> 0:52:42.280
<v Speaker 2>interior set with like really strange art on the walls

0:52:42.360 --> 0:52:45.439
<v Speaker 2>and it looks lived in, like it was really well done.

0:52:45.600 --> 0:52:49.720
<v Speaker 3>Yeah, there's a red couch backlit white walls with masks

0:52:49.800 --> 0:52:54.240
<v Speaker 3>all over them, like a strange rectangular clock, a mounted revolver,

0:52:54.440 --> 0:52:56.400
<v Speaker 3>and cutouts from pin up magazines.

0:52:56.800 --> 0:52:59.840
<v Speaker 2>Yeah, you know, it's strange. I didn't know how to

0:53:00.239 --> 0:53:03.080
<v Speaker 2>And I also couldn't tell if like Ripper and Jagger's

0:53:03.160 --> 0:53:05.080
<v Speaker 2>character was supposed to be, like, like are they do

0:53:05.160 --> 0:53:06.120
<v Speaker 2>they live together here?

0:53:06.360 --> 0:53:06.520
<v Speaker 1>You know?

0:53:06.719 --> 0:53:10.120
<v Speaker 2>Like I was expecting like some more development there and

0:53:10.200 --> 0:53:11.600
<v Speaker 2>then we didn't get it. So I guess maybe they

0:53:11.640 --> 0:53:14.279
<v Speaker 2>don't they just work together, but because then they just

0:53:14.320 --> 0:53:16.239
<v Speaker 2>talk about the business of bone jacking.

0:53:16.080 --> 0:53:19.399
<v Speaker 3>Right exactly. Ripper is played by Issi Morales Junior, who

0:53:19.520 --> 0:53:22.400
<v Speaker 3>and he's the hacker who was wearing sunglasses inside earlier.

0:53:23.600 --> 0:53:25.759
<v Speaker 3>Oh and we find out Mick Jagger has a lie

0:53:25.840 --> 0:53:29.000
<v Speaker 3>detector computer that he tests out on Ripper. And then

0:53:29.160 --> 0:53:31.640
<v Speaker 3>I don't recall this ever being used in the film again,

0:53:31.719 --> 0:53:34.359
<v Speaker 3>it's being set up as if it's like Chekhov's lie

0:53:34.440 --> 0:53:38.320
<v Speaker 3>detector machine. Did you did this ever come up again? No?

0:53:38.760 --> 0:53:41.080
<v Speaker 2>I don't think it did. Another case of kind of

0:53:41.160 --> 0:53:42.120
<v Speaker 2>wasted space.

0:53:41.960 --> 0:53:45.600
<v Speaker 3>Totally pointless. Yeah. Yeah, But then the next thing is

0:53:45.680 --> 0:53:49.120
<v Speaker 3>really while while Amelia Estevez is traveling to meet his

0:53:49.239 --> 0:53:53.800
<v Speaker 3>old manager, Brad the New York Dolls guy, he wanders

0:53:53.880 --> 0:53:56.160
<v Speaker 3>through two thousand and nine New York City and this

0:53:56.320 --> 0:53:57.680
<v Speaker 3>is this is trying to give us some of the

0:53:57.800 --> 0:53:58.960
<v Speaker 3>texture of the future.

0:53:59.520 --> 0:54:02.239
<v Speaker 2>Yeah, it's just your basic eighties Hell City take on

0:54:02.320 --> 0:54:05.040
<v Speaker 2>New York City with the sex clubs. Is a weird

0:54:05.120 --> 0:54:07.680
<v Speaker 2>future car transporting chicken cages across town.

0:54:07.719 --> 0:54:10.840
<v Speaker 3>Oh yeah, I like that, but it's also like cheesy

0:54:11.000 --> 0:54:13.680
<v Speaker 3>medieval movies, like you know, Braveheart or something in that

0:54:13.840 --> 0:54:16.920
<v Speaker 3>anybody who's not a CEO just has dirt smeared on

0:54:16.960 --> 0:54:17.440
<v Speaker 3>their face.

0:54:17.960 --> 0:54:20.480
<v Speaker 2>Yep. Yeah. And then of course we get a street gang,

0:54:20.640 --> 0:54:24.960
<v Speaker 2>like a Warrior's Escape from from New York s Street Gang,

0:54:25.040 --> 0:54:29.080
<v Speaker 2>and it's it's super confusing too, because the gang we

0:54:29.200 --> 0:54:32.880
<v Speaker 2>see like, there's this this this African American gentleman, and

0:54:32.960 --> 0:54:36.080
<v Speaker 2>he has a helmet on that has both a Confederate

0:54:36.160 --> 0:54:40.400
<v Speaker 2>flag and a swastika. They just like threw everything at

0:54:40.440 --> 0:54:43.680
<v Speaker 2>the helmet and I have no idea what these guys are,

0:54:43.800 --> 0:54:45.600
<v Speaker 2>what their deal is, except they like to shoot guns

0:54:45.600 --> 0:54:46.000
<v Speaker 2>in the street.

0:54:46.120 --> 0:54:48.000
<v Speaker 3>I don't think it makes any sense. It's sort of

0:54:48.000 --> 0:54:51.320
<v Speaker 3>an unspoken convention of dystopian hell city sci fi that

0:54:51.719 --> 0:54:54.640
<v Speaker 3>the people of the future use the political symbols of

0:54:54.680 --> 0:54:57.960
<v Speaker 3>the past with no particular meaning or coherence, which, in

0:54:58.040 --> 0:55:01.799
<v Speaker 3>a way to think about it, I think kind of true.

0:55:01.880 --> 0:55:04.480
<v Speaker 3>Over time, people just use symbols of the past with

0:55:04.719 --> 0:55:06.960
<v Speaker 3>clearly without understanding what they mean at all.

0:55:08.239 --> 0:55:11.880
<v Speaker 2>But ultimately this is just action. He's moving through anyway

0:55:11.920 --> 0:55:13.080
<v Speaker 2>to get from point A to point B.

0:55:13.480 --> 0:55:16.959
<v Speaker 3>Right, So Alex meets up with Brad and Brad's like, oh, wow,

0:55:17.120 --> 0:55:19.400
<v Speaker 3>you're a bone jack or I mean, you're a free jacket.

0:55:19.640 --> 0:55:22.719
<v Speaker 3>So they're hanging out, and I love how they're in

0:55:22.880 --> 0:55:26.320
<v Speaker 3>Brad's apartment and people. You just hear people constantly getting

0:55:26.400 --> 0:55:30.000
<v Speaker 3>shot and screaming outside the window. It sounds like the future.

0:55:30.200 --> 0:55:33.960
<v Speaker 3>The wars out in the streets never stop. Yeah, And

0:55:34.080 --> 0:55:36.800
<v Speaker 3>Emilio Estevez is like, well, why me, Why why do

0:55:36.880 --> 0:55:39.319
<v Speaker 3>they need my bones? Why am I the bone jack?

0:55:39.360 --> 0:55:41.320
<v Speaker 3>Why can't they just take somebody else's body?

0:55:41.840 --> 0:55:44.440
<v Speaker 2>And oh yeah, because that's a great point that you

0:55:44.520 --> 0:55:46.680
<v Speaker 2>don't think about until this point exactly.

0:55:47.640 --> 0:55:51.120
<v Speaker 3>And Brad's like, well, the answer is obvious. You're clean.

0:55:51.320 --> 0:55:54.200
<v Speaker 3>You're from the past, so you haven't been exposed to

0:55:54.320 --> 0:55:57.080
<v Speaker 3>all of the pollution and drugs that have ruined everybody

0:55:57.120 --> 0:56:00.680
<v Speaker 3>else's body in the future. Plus everybody who alive today

0:56:00.719 --> 0:56:02.960
<v Speaker 3>has been living for years without an ozone.

0:56:02.640 --> 0:56:05.080
<v Speaker 2>Layer, So yeah, the ozone layer is gone. So this

0:56:05.200 --> 0:56:07.360
<v Speaker 2>makes me wonder is this part of the pre Highlander

0:56:07.400 --> 0:56:10.520
<v Speaker 2>two chronology? Oh yeah, because it's set in what twenty

0:56:10.680 --> 0:56:13.080
<v Speaker 2>twenty four, So I think you could line up.

0:56:13.160 --> 0:56:15.359
<v Speaker 3>This movie has a lot in common with Highlander two.

0:56:15.480 --> 0:56:18.800
<v Speaker 2>Actually, yeah, not as good, not as good as that is.

0:56:18.880 --> 0:56:23.440
<v Speaker 3>Good. Well, I would say, actually it's better than Highlander two,

0:56:23.520 --> 0:56:25.160
<v Speaker 3>but Highlander two is better to watch.

0:56:25.719 --> 0:56:28.000
<v Speaker 2>Yeah, well, I don't know. I think I would say

0:56:28.040 --> 0:56:29.600
<v Speaker 2>it's better than Highlander.

0:56:29.200 --> 0:56:31.680
<v Speaker 3>Two, but I mean you'll say Highlander two is better.

0:56:31.880 --> 0:56:34.440
<v Speaker 2>Highlander two is a better film, okay, and also a

0:56:34.520 --> 0:56:40.640
<v Speaker 2>better viewing experience. But then anyway, it's still fun. It's so. Yeah,

0:56:40.680 --> 0:56:43.600
<v Speaker 2>we continue moving through the city here, even more dystopia

0:56:43.840 --> 0:56:47.480
<v Speaker 2>cyberpunk tropes are rolled out. You know, big business controls everything.

0:56:47.840 --> 0:56:53.520
<v Speaker 2>Japanese businesses have this superiority, environmental disaster, future drugs, bodies

0:56:53.560 --> 0:56:56.680
<v Speaker 2>for sale, immortality for the rich. It's just checking off

0:56:56.680 --> 0:56:57.240
<v Speaker 2>all the boxes.

0:56:57.360 --> 0:57:00.480
<v Speaker 3>It's all there. Yeah, And like every other sci fi

0:57:00.600 --> 0:57:03.040
<v Speaker 3>movie from the late eighties and early nineties, it assumes

0:57:03.080 --> 0:57:06.160
<v Speaker 3>that Japanese corporations are soon to take over the United States.

0:57:06.480 --> 0:57:07.120
<v Speaker 2>Yeah everything.

0:57:07.239 --> 0:57:11.680
<v Speaker 3>Yeah, and so the Japanese business panic is which actually

0:57:11.800 --> 0:57:12.840
<v Speaker 3>was in Diehard.

0:57:12.560 --> 0:57:14.360
<v Speaker 2>Too, I seen, oh yeah, was it? Okay.

0:57:14.640 --> 0:57:17.400
<v Speaker 3>It's a pervasive assumption of the movies of the time.

0:57:17.960 --> 0:57:21.360
<v Speaker 2>You know, speaking of cyberpunk, I've been playing the Cyberpunk

0:57:21.400 --> 0:57:24.760
<v Speaker 2>twenty seventy seven game. Oh really, yeah, And that's one

0:57:24.800 --> 0:57:27.560
<v Speaker 2>of the interesting things to engage in with it is

0:57:27.640 --> 0:57:30.760
<v Speaker 2>to think about, like, this is a very it's a

0:57:30.880 --> 0:57:34.200
<v Speaker 2>very nineteen eighties vision of the future that really doesn't

0:57:34.240 --> 0:57:36.960
<v Speaker 2>match up in many ways with sort of modern sensibilities

0:57:37.000 --> 0:57:38.840
<v Speaker 2>and all. And yeah, you have all that stuff like

0:57:38.920 --> 0:57:41.640
<v Speaker 2>the like Japanese business panic that are a part of it,

0:57:41.800 --> 0:57:44.480
<v Speaker 2>and yeah, it's it's it's weird to think about.

0:57:44.680 --> 0:57:47.160
<v Speaker 3>Well, that panic plays into the first scene where we

0:57:47.280 --> 0:57:49.440
<v Speaker 3>meet Renee Russo of two thousand and nine, who I

0:57:49.480 --> 0:57:52.600
<v Speaker 3>will say looks exactly the same as she did in

0:57:52.720 --> 0:57:54.840
<v Speaker 3>nineteen ninety one. She literally does not look like she

0:57:54.920 --> 0:57:57.280
<v Speaker 3>has aged a day, So I guess maybe she has

0:57:57.360 --> 0:58:00.080
<v Speaker 3>not been exposed to the sky without ozone or or

0:58:00.120 --> 0:58:03.560
<v Speaker 3>something that's ruined everybody else's his body in the future.

0:58:04.080 --> 0:58:06.880
<v Speaker 3>But she is now a high powered executive at this

0:58:07.080 --> 0:58:10.960
<v Speaker 3>corporation called McCandless, which is the biggest, most powerful corporation

0:58:11.080 --> 0:58:15.160
<v Speaker 3>in the world, and she is colleagues with Jonathan Banks,

0:58:15.200 --> 0:58:18.280
<v Speaker 3>with this guy Michellet, and Renee Russo is doing some

0:58:18.400 --> 0:58:22.760
<v Speaker 3>top level negotiation in Japanese with these representatives from a

0:58:22.840 --> 0:58:26.600
<v Speaker 3>Japanese corporation and the executives across the table eventually after

0:58:26.680 --> 0:58:32.840
<v Speaker 3>they negotiate their like the mineral rights are yours? And

0:58:32.960 --> 0:58:37.200
<v Speaker 3>the CEO of the McCandless Corporation is Ian McCandless played

0:58:37.240 --> 0:58:40.920
<v Speaker 3>by Anthony Hopkins, and he video calls Renee russo he's like,

0:58:41.000 --> 0:58:44.520
<v Speaker 3>congratulations on business. Now do more business now.

0:58:44.760 --> 0:58:48.160
<v Speaker 2>I don't recall, do we know McCandless is actually dead

0:58:48.200 --> 0:58:51.600
<v Speaker 2>and that he's the patron looking to get inside this

0:58:51.680 --> 0:58:52.400
<v Speaker 2>bone Jack body.

0:58:52.520 --> 0:58:55.720
<v Speaker 3>So technically no, that is a real spoiler that is

0:58:55.800 --> 0:58:58.480
<v Speaker 3>revealed at the end of the movie that the person

0:58:58.640 --> 0:59:03.680
<v Speaker 3>looking for Emilistevez's bone Jack body is actually Anthony Hopkins.

0:59:03.800 --> 0:59:06.640
<v Speaker 3>But you are not supposed to know it at this point.

0:59:06.680 --> 0:59:09.480
<v Speaker 3>You're supposed to think he's still alive and just communicating

0:59:09.520 --> 0:59:13.160
<v Speaker 3>with her through video phone calls. But no, it's absolutely obvious.

0:59:13.240 --> 0:59:15.800
<v Speaker 3>I had never seen the movie before, and I was like, Okay,

0:59:16.120 --> 0:59:19.600
<v Speaker 3>Anthony Hopkins is the person who needs the Stavez body.

0:59:19.840 --> 0:59:22.200
<v Speaker 2>Okay. See, I couldn't remember if like the trailer spoiled

0:59:22.240 --> 0:59:25.080
<v Speaker 2>it for me or marketing material back in the early nineties,

0:59:25.160 --> 0:59:27.000
<v Speaker 2>but I feel like I always knew, like there was

0:59:27.120 --> 0:59:28.680
<v Speaker 2>never a twist here for me.

0:59:28.960 --> 0:59:40.600
<v Speaker 3>Yeah, it's it's it's a thousand percent obvious. So then

0:59:40.640 --> 0:59:43.080
<v Speaker 3>you're back to Brad and Alex walking around. They're trying

0:59:43.120 --> 0:59:46.040
<v Speaker 3>to find Renee Russo. Brad's trying to help him find

0:59:46.120 --> 0:59:48.480
<v Speaker 3>her because it's like, oh, once you know she sees you,

0:59:48.600 --> 0:59:52.080
<v Speaker 3>she'll she'll help you. And so Brad takes Alex to

0:59:52.360 --> 0:59:56.560
<v Speaker 3>a diner where for some reason, people start pointing guns

0:59:56.600 --> 1:00:00.439
<v Speaker 3>at each other. And then you find I know it's

1:00:00.440 --> 1:00:03.920
<v Speaker 3>a double cross because Brad told told Alex that he

1:00:04.000 --> 1:00:05.640
<v Speaker 3>was going to help him fire the Renee Russo, but

1:00:05.720 --> 1:00:08.000
<v Speaker 3>instead he just calls up the police to collect the

1:00:08.080 --> 1:00:09.200
<v Speaker 3>bounty on his old friend.

1:00:09.880 --> 1:00:11.880
<v Speaker 2>Yeah, and again, this is a whole section of the

1:00:11.960 --> 1:00:13.680
<v Speaker 2>movie that takes way longer than it needs to.

1:00:13.880 --> 1:00:17.080
<v Speaker 3>Yes, and this turns into a car chase. Amelio Estevez

1:00:17.160 --> 1:00:21.120
<v Speaker 3>driving a police motorcycle around, driving through restaurant kitchens. I

1:00:21.240 --> 1:00:24.880
<v Speaker 3>see some familiar Atlanta streets in the scene, and eventually

1:00:24.920 --> 1:00:28.560
<v Speaker 3>Alex like crashes through a checkpoint and we get to

1:00:28.600 --> 1:00:31.000
<v Speaker 3>see some of the roads and stuff. But he's going

1:00:31.160 --> 1:00:33.280
<v Speaker 3>to Renee Russo's apartment.

1:00:33.760 --> 1:00:35.640
<v Speaker 2>I have to say, I like they have a mix,

1:00:35.960 --> 1:00:39.160
<v Speaker 2>an appropriate mix of some old looking conventional cars, but

1:00:39.240 --> 1:00:42.600
<v Speaker 2>then also some snazzy future cars. Not flying cars, road

1:00:42.640 --> 1:00:44.560
<v Speaker 2>based cars, but futuristic in appearance.

1:00:44.680 --> 1:00:47.080
<v Speaker 3>Most of the cars, or at least the nice looking

1:00:47.160 --> 1:00:49.040
<v Speaker 3>cars in the future, are covered by some kind of

1:00:49.200 --> 1:00:51.480
<v Speaker 3>single piece fiberglass carapace.

1:00:52.120 --> 1:00:54.960
<v Speaker 2>Yeah, which seems like a good solution. You know, you

1:00:55.040 --> 1:00:58.160
<v Speaker 2>don't have to completely redesign your space cars from the

1:00:58.240 --> 1:01:00.720
<v Speaker 2>ground up. Just get some sort of sleep body to

1:01:00.800 --> 1:01:03.120
<v Speaker 2>put on top of it, and you know, it ends

1:01:03.200 --> 1:01:03.920
<v Speaker 2>up looking pretty good.

1:01:04.000 --> 1:01:06.240
<v Speaker 3>It's just a Honda Civic with a big one piece

1:01:06.480 --> 1:01:07.360
<v Speaker 3>top on it. Yeah.

1:01:07.440 --> 1:01:09.200
<v Speaker 2>Yeah, they're essentially parade floats, right.

1:01:09.920 --> 1:01:12.520
<v Speaker 3>Also, the horses and carriages in the future, there's lots

1:01:12.520 --> 1:01:14.160
<v Speaker 3>of horses and carriages all over the place.

1:01:14.520 --> 1:01:16.160
<v Speaker 2>Huh okay, yeah, I forgot about that.

1:01:17.120 --> 1:01:20.480
<v Speaker 3>But Alex goes to Julie's apartment, Julia's renee russo he

1:01:20.560 --> 1:01:23.320
<v Speaker 3>breaks in. He's like, hey, I'm here. I got bone jacked,

1:01:23.360 --> 1:01:25.640
<v Speaker 3>you know, but now I'm a free jack. And they argue, let's.

1:01:25.480 --> 1:01:26.720
<v Speaker 2>Pick up exactly where we left.

1:01:27.080 --> 1:01:30.640
<v Speaker 3>Yeah. Yeah. So, I don't know, seventeen years or something

1:01:30.680 --> 1:01:33.240
<v Speaker 3>have passed for her. It's been I haven't done the math,

1:01:33.320 --> 1:01:35.960
<v Speaker 3>right whatever. Some number of years have passed and he's

1:01:36.080 --> 1:01:37.880
<v Speaker 3>just like, hey, you know, how are things? And she

1:01:38.400 --> 1:01:41.520
<v Speaker 3>freaks out. She doesn't think it's really him. She thinks

1:01:41.600 --> 1:01:44.640
<v Speaker 3>that somebody else has bonejacked his body and is now

1:01:44.720 --> 1:01:45.560
<v Speaker 3>trying to trick her.

1:01:46.360 --> 1:01:49.280
<v Speaker 2>I want to see a remake where the Renee Russo

1:01:49.480 --> 1:01:51.880
<v Speaker 2>character is totally not into this. And she's like talking

1:01:51.920 --> 1:01:55.080
<v Speaker 2>to her husband or partner and she's like, yeah, God,

1:01:55.160 --> 1:01:58.960
<v Speaker 2>my ex boyfriend from seventeen years ago turns out he's

1:01:59.000 --> 1:02:02.280
<v Speaker 2>a free jack. Won't lead me alone. I've told him

1:02:02.360 --> 1:02:05.240
<v Speaker 2>like that was seventeen years ago. Like, life moves on.

1:02:05.360 --> 1:02:08.160
<v Speaker 2>I'm sorry you went through this, but I cannot help you. Right,

1:02:08.360 --> 1:02:11.640
<v Speaker 2>I've got the end of it. I'm an executive at McCandleis.

1:02:11.720 --> 1:02:12.560
<v Speaker 3>I don't have time for this.

1:02:13.200 --> 1:02:16.360
<v Speaker 2>Yeah like you, yeah, you were a mistake seventeen years ago,

1:02:16.440 --> 1:02:17.920
<v Speaker 2>and I really I'm not about to pick that same

1:02:17.960 --> 1:02:20.280
<v Speaker 2>mistake up and run through the streets with it.

1:02:20.520 --> 1:02:21.960
<v Speaker 3>That would have been an amazing direction.

1:02:22.080 --> 1:02:22.280
<v Speaker 1>But no.

1:02:22.400 --> 1:02:25.520
<v Speaker 3>Instead, she's just like single and at first she's skeptical,

1:02:25.560 --> 1:02:26.640
<v Speaker 3>but you know what's going to happen?

1:02:26.760 --> 1:02:26.960
<v Speaker 4>Come on?

1:02:27.200 --> 1:02:30.080
<v Speaker 3>Yeah, and then this turns into a car chase. Mick

1:02:30.200 --> 1:02:33.880
<v Speaker 3>Jagger like finds Emilia Estevez at her apartment and then

1:02:34.480 --> 1:02:37.720
<v Speaker 3>he starts chasing him down in this red land boat

1:02:37.840 --> 1:02:41.880
<v Speaker 3>that is just hilarious. But Alex hijacks a truck full

1:02:42.040 --> 1:02:44.720
<v Speaker 3>I think it's like a wine bottle delivery truck. It's

1:02:44.720 --> 1:02:48.000
<v Speaker 3>full of these neon green bottles of wine. So they

1:02:48.080 --> 1:02:50.440
<v Speaker 3>do a car chase around, we see a Marta station

1:02:51.240 --> 1:02:53.120
<v Speaker 3>and then there's one of my favorite parts of the

1:02:53.160 --> 1:02:55.040
<v Speaker 3>movie that was really funny was when.

1:02:56.200 --> 1:02:57.760
<v Speaker 2>I have to say, real quick though, I have to

1:02:57.760 --> 1:03:01.880
<v Speaker 2>say about that wine vehicle. Yeah, watching it this time,

1:03:02.320 --> 1:03:07.560
<v Speaker 2>I instantly thought of Amy Sedaris's regional wine lady Ronnie

1:03:07.640 --> 1:03:11.080
<v Speaker 2>Vino from her television series At Home with Amy Siderius.

1:03:11.080 --> 1:03:13.680
<v Speaker 2>And I don't know what she drives. Oh yeah, she's

1:03:13.720 --> 1:03:16.600
<v Speaker 2>this hilarious character that goes door to door selling lines.

1:03:17.280 --> 1:03:20.640
<v Speaker 2>But like, this has to be Ronnie Vino's vehicle that

1:03:21.040 --> 1:03:21.640
<v Speaker 2>is stolen here.

1:03:21.760 --> 1:03:24.400
<v Speaker 3>Well, I have to check that out. But anyway, I

1:03:24.480 --> 1:03:26.880
<v Speaker 3>thought the scene was funny for multiple reasons. Number one

1:03:26.960 --> 1:03:30.160
<v Speaker 3>is that, yeah, I understand Alex forlong. Our protagonist is

1:03:30.200 --> 1:03:32.439
<v Speaker 3>supposed to be a race car driver, so it makes

1:03:32.440 --> 1:03:35.840
<v Speaker 3>sense that he would have some skills at evading these mercenaries.

1:03:36.400 --> 1:03:39.280
<v Speaker 3>No matter what he was driving, but still it seems implausible.

1:03:39.320 --> 1:03:44.720
<v Speaker 3>He's just fully outmaneuvering a fleet of police interceptor vehicles

1:03:44.760 --> 1:03:48.280
<v Speaker 3>and these like mercenary motorcycles and stuff in a delivery

1:03:48.400 --> 1:03:51.520
<v Speaker 3>truck for like full of you know, Neon Green Pole

1:03:51.640 --> 1:03:52.040
<v Speaker 3>mass On.

1:03:52.600 --> 1:03:52.800
<v Speaker 2>Yeah.

1:03:53.400 --> 1:03:56.280
<v Speaker 3>And oh and it's got a laptop inside the cab

1:03:56.440 --> 1:03:59.680
<v Speaker 3>where he's driving that Mick Jagger keeps coming on like

1:03:59.720 --> 1:04:02.480
<v Speaker 3>pop up on the screen on the laptop and harassing

1:04:02.600 --> 1:04:04.880
<v Speaker 3>him while he's driving and saying like, you can't get

1:04:05.000 --> 1:04:07.480
<v Speaker 3>rid of me that easily, And he'll try to close

1:04:07.600 --> 1:04:10.720
<v Speaker 3>the laptop and then it'll just open up automatically and

1:04:11.120 --> 1:04:13.280
<v Speaker 3>Mick Jagger and jaggers and laughing at him.

1:04:13.320 --> 1:04:16.040
<v Speaker 2>Yeah again he suddenly his character is suddenly the Riddler

1:04:16.240 --> 1:04:16.680
<v Speaker 2>or something.

1:04:16.760 --> 1:04:16.880
<v Speaker 4>You know.

1:04:17.000 --> 1:04:19.280
<v Speaker 2>It's like a complete shift from what it was earlier.

1:04:19.520 --> 1:04:21.720
<v Speaker 3>And the mercenaries who worked for Mick Jagger, they're all

1:04:21.840 --> 1:04:26.080
<v Speaker 3>dressed like spaceballs once again. Eventually, Furlong escapes this scene

1:04:26.120 --> 1:04:28.680
<v Speaker 3>by jumping off of a bridge into water from a

1:04:28.720 --> 1:04:31.680
<v Speaker 3>height that would absolutely have killed him. He drifts down

1:04:31.720 --> 1:04:33.960
<v Speaker 3>the river, I guess, and he ends up he ends

1:04:34.040 --> 1:04:36.720
<v Speaker 3>up washing up on a dock somewhere and he meets

1:04:36.800 --> 1:04:40.360
<v Speaker 3>Frankie Faison, who we mentioned earlier, who's just hanging out

1:04:40.400 --> 1:04:43.040
<v Speaker 3>at a dock next to all this toxic water and

1:04:43.240 --> 1:04:46.120
<v Speaker 3>he's eating something. He tries to share his food, I think,

1:04:46.240 --> 1:04:48.600
<v Speaker 3>but he's like, yeah, this is a sauteed river rat.

1:04:49.160 --> 1:04:51.680
<v Speaker 3>And then they have a fantastic conversation about the best

1:04:51.680 --> 1:04:54.400
<v Speaker 3>way to cook river rats. And then this goes into

1:04:54.480 --> 1:04:58.040
<v Speaker 3>this monologue about an eagle that really doesn't make any sense,

1:04:58.120 --> 1:05:00.120
<v Speaker 3>but I would say acting prize for the movie. He

1:05:00.200 --> 1:05:01.640
<v Speaker 3>goes to Frankie Faison.

1:05:01.760 --> 1:05:04.480
<v Speaker 2>Well, and it works too because the kind of monologue

1:05:04.560 --> 1:05:07.840
<v Speaker 2>you'd expect to get from like a crazy person, you know,

1:05:07.920 --> 1:05:11.160
<v Speaker 2>that lives under a bridge in the in a dystopian future,

1:05:11.520 --> 1:05:14.560
<v Speaker 2>Like it shouldn't make sense. It should it should have

1:05:14.680 --> 1:05:16.800
<v Speaker 2>this sort of raw energy to it that's kind of

1:05:16.920 --> 1:05:21.320
<v Speaker 2>muddled by strange thinking, and it totally shines through. It's

1:05:21.400 --> 1:05:23.000
<v Speaker 2>it is the best scene in the whole picture.

1:05:23.080 --> 1:05:25.960
<v Speaker 3>It's like simultaneously incoherent and wise.

1:05:26.520 --> 1:05:29.480
<v Speaker 2>Yes. Yeah, and in that very sagely you're like, I

1:05:29.520 --> 1:05:31.720
<v Speaker 2>don't know what he just said, but I think it

1:05:31.880 --> 1:05:34.680
<v Speaker 2>was really important, and I will I will buy him.

1:05:34.680 --> 1:05:37.320
<v Speaker 2>It's the same trick that shaman throughout history have used

1:05:37.720 --> 1:05:39.320
<v Speaker 2>and Eagle Guy has no exception.

1:05:39.480 --> 1:05:43.280
<v Speaker 3>Yeah, but anyway, so we come back to Renee Russo

1:05:43.400 --> 1:05:47.880
<v Speaker 3>and her colleague Boone, who again this is Grandel Bush.

1:05:48.280 --> 1:05:52.080
<v Speaker 3>They go looking for Alex and the slums and they

1:05:52.160 --> 1:05:54.160
<v Speaker 3>sort of make up, right, Renee Russo is like, if

1:05:54.200 --> 1:05:57.680
<v Speaker 3>I'd known it was really you, and so they're they're

1:05:57.880 --> 1:06:01.200
<v Speaker 3>happy now again together. She believes it's really him and

1:06:01.320 --> 1:06:03.600
<v Speaker 3>she's going to help him free Jack. She's going to

1:06:03.640 --> 1:06:07.240
<v Speaker 3>help him escape somehow, and her plan is, oh, and

1:06:07.360 --> 1:06:10.520
<v Speaker 3>they see a digital billboard that's like, oh, the bounty

1:06:10.600 --> 1:06:14.720
<v Speaker 3>on him is now ten million dollars. But the plan

1:06:15.040 --> 1:06:16.720
<v Speaker 3>is that she's going to meet up with a fancy

1:06:16.800 --> 1:06:20.080
<v Speaker 3>friend of hers named Morgan at the most Icely canteena

1:06:20.120 --> 1:06:22.720
<v Speaker 3>of two thousand and nine New York. It's like, you

1:06:22.800 --> 1:06:25.439
<v Speaker 3>know very much. New York's hottest club is free Jack.

1:06:26.120 --> 1:06:28.280
<v Speaker 3>And so they go there and she's going to go

1:06:28.400 --> 1:06:31.439
<v Speaker 3>meet her friend who apparently helps people escape. I don't

1:06:31.480 --> 1:06:33.520
<v Speaker 3>know why she knows a guy who just helps Free

1:06:33.600 --> 1:06:38.080
<v Speaker 3>Jack's escape, but she does. And meanwhile, Emilio Estevez is

1:06:38.120 --> 1:06:40.720
<v Speaker 3>just sitting by himself at the bar. He drinks something

1:06:40.800 --> 1:06:43.400
<v Speaker 3>that the bartender gives him and this like messes up

1:06:43.440 --> 1:06:47.640
<v Speaker 3>his brain. And then Mick Jagger's real life wife at

1:06:47.720 --> 1:06:49.760
<v Speaker 3>the time of this film, or at least his partner,

1:06:50.120 --> 1:06:53.200
<v Speaker 3>I think their marriage was later annulled. Her name's Jerry Hall.

1:06:53.960 --> 1:06:56.440
<v Speaker 3>She is also in the movie, and she shows up

1:06:56.720 --> 1:06:59.920
<v Speaker 3>as a TV interviewer who like walks up to a

1:07:00.000 --> 1:07:03.160
<v Speaker 3>Emelio Estevez and is like, Hey, what's going on? And

1:07:03.240 --> 1:07:05.760
<v Speaker 3>then they realize like, oh, this is that free jack

1:07:05.840 --> 1:07:08.160
<v Speaker 3>everybody's looking for, and they put him on live TV

1:07:08.360 --> 1:07:11.680
<v Speaker 3>and he starts quoting Arnold Schwarzenegger from The Terminator.

1:07:12.080 --> 1:07:15.000
<v Speaker 2>Yeah, it's actually pretty great, you know, because they just

1:07:15.080 --> 1:07:19.560
<v Speaker 2>went ahead and had the Furlong character just get totally wasted,

1:07:19.680 --> 1:07:22.440
<v Speaker 2>like he's a kind of a dumb dumb and this

1:07:22.800 --> 1:07:24.840
<v Speaker 2>this expresses it. You know. He just he drinks too

1:07:24.880 --> 1:07:26.760
<v Speaker 2>much of this bar. He's out of it, and he's

1:07:26.800 --> 1:07:29.440
<v Speaker 2>just starts gabbing to the to the journalists here, and

1:07:29.480 --> 1:07:32.400
<v Speaker 2>she's like, roll it, We're gonna get the ratings tonight.

1:07:33.120 --> 1:07:34.760
<v Speaker 2>So I actually kind of like this scene.

1:07:35.200 --> 1:07:38.200
<v Speaker 3>A weird connection is that. So she was I think

1:07:38.280 --> 1:07:40.760
<v Speaker 3>married to Mick Jagger at the time, but Jerry Hall

1:07:41.280 --> 1:07:45.080
<v Speaker 3>is now married to Rupert Murdoch, Yes, that Murdock.

1:07:45.680 --> 1:07:49.600
<v Speaker 2>Wasn't she also in Batman? Wasn't she the model character

1:07:49.760 --> 1:07:53.040
<v Speaker 2>that Jack Nicholson's Joker scars with Acid?

1:07:53.080 --> 1:07:54.640
<v Speaker 3>And I think she was, Oh I don't remember that.

1:07:54.960 --> 1:07:56.800
<v Speaker 2>Yeah, I think she popped up in a number of

1:07:56.840 --> 1:07:59.400
<v Speaker 2>films during that period. All Right, So from here we

1:07:59.520 --> 1:08:02.760
<v Speaker 2>go to to Morgan's apartment, which and once again once

1:08:02.840 --> 1:08:04.880
<v Speaker 2>again some great interior decorating.

1:08:05.040 --> 1:08:08.040
<v Speaker 3>Yes, giant foot art. He just has these like twenty

1:08:08.120 --> 1:08:13.120
<v Speaker 3>foot tall feet sculptures in his house. Yeah, very cool.

1:08:13.480 --> 1:08:16.200
<v Speaker 2>Yeah, and I really think we should credit where credits due.

1:08:16.320 --> 1:08:19.360
<v Speaker 2>First of all for mc jagger's coat. Lisa Jensen was

1:08:19.400 --> 1:08:22.200
<v Speaker 2>costume designer on this film, and then art direction for

1:08:22.280 --> 1:08:26.040
<v Speaker 2>the film was James A. Taylor, Set direction by Bruce A. Gibson.

1:08:26.200 --> 1:08:29.320
<v Speaker 2>So really, without this bunch, I'm not sure what we

1:08:29.320 --> 1:08:30.599
<v Speaker 2>would be looking at in these scenes.

1:08:30.880 --> 1:08:33.720
<v Speaker 3>I agree. So I think they're just negotiating like that

1:08:33.760 --> 1:08:35.880
<v Speaker 3>they're gonna get him out of there, like Morgan's gonna

1:08:35.920 --> 1:08:39.200
<v Speaker 3>arrange for him to escape somewhere. And then and then

1:08:39.240 --> 1:08:42.280
<v Speaker 3>there's a love scene. Of course, Emilio Estevez and Renee

1:08:42.320 --> 1:08:45.599
<v Speaker 3>Russo they they're you know, they slip into something more

1:08:45.680 --> 1:08:48.760
<v Speaker 3>comfortable and there's some saxophone playing in the background and

1:08:48.840 --> 1:08:49.320
<v Speaker 3>you get all that.

1:08:49.760 --> 1:08:52.840
<v Speaker 2>Yeah, but again more just wasted space in this film,

1:08:52.960 --> 1:08:55.760
<v Speaker 2>Like this is again previous scene wasted space. Then there's

1:08:55.840 --> 1:08:57.439
<v Speaker 2>this and yeah, I could.

1:08:57.280 --> 1:09:00.880
<v Speaker 3>Really trim this down. Yeah, there is some that's utterly

1:09:01.000 --> 1:09:03.280
<v Speaker 3>inconsequential to the rest of the film. But a good

1:09:03.360 --> 1:09:06.400
<v Speaker 3>B plot scene where Amanda Plumber just kicks Jonathan Banks

1:09:06.439 --> 1:09:09.160
<v Speaker 3>in the testes. Yeah, and they really milk it, like

1:09:09.200 --> 1:09:11.519
<v Speaker 3>he does the classic sinking to the floor moaning with

1:09:11.640 --> 1:09:13.120
<v Speaker 3>his eyes rolling back kind of thing.

1:09:13.760 --> 1:09:16.519
<v Speaker 2>Yeah. It accomplishes nothing though for the plot or for

1:09:16.600 --> 1:09:19.960
<v Speaker 2>these characters, Like, I don't really know why we bothered

1:09:20.000 --> 1:09:20.160
<v Speaker 2>with this.

1:09:21.439 --> 1:09:24.360
<v Speaker 3>So Emilio Estevez is getting ready to escape. He's going

1:09:24.439 --> 1:09:28.679
<v Speaker 3>to a boat and he's going with Boone I remember

1:09:28.760 --> 1:09:32.120
<v Speaker 3>Grandel Marsha And they're walking together and Boone is explaining

1:09:32.200 --> 1:09:34.360
<v Speaker 3>that he has become a people to the city, like

1:09:34.479 --> 1:09:37.120
<v Speaker 3>he inspires everyone because he has a free jack and

1:09:37.200 --> 1:09:40.000
<v Speaker 3>the people are like, wow, I guess if he could

1:09:40.000 --> 1:09:41.799
<v Speaker 3>be free, I could be free too or something.

1:09:42.520 --> 1:09:45.240
<v Speaker 2>Yeah, it's a little flimsy. Clearly, they had to establish

1:09:45.360 --> 1:09:48.080
<v Speaker 2>why Boone would help him, Yeah, if there's ten million,

1:09:48.240 --> 1:09:50.120
<v Speaker 2>and I think it's supposedly more. At this point, it

1:09:50.200 --> 1:09:52.320
<v Speaker 2>keeps going up, like there's a tremendous amount of money

1:09:52.760 --> 1:09:55.160
<v Speaker 2>on the table for this guy. Why are you helping him?

1:09:55.439 --> 1:09:57.080
<v Speaker 2>And he says, well, you inspire my grandma.

1:09:57.200 --> 1:09:57.800
<v Speaker 3>Yeah, that's all right.

1:09:57.960 --> 1:10:01.160
<v Speaker 2>Yeah, and I'm like, okay, I'll buy I'm not happy if.

1:10:01.960 --> 1:10:03.000
<v Speaker 3>My grandma loves you.

1:10:03.720 --> 1:10:03.920
<v Speaker 2>Yeah.

1:10:05.000 --> 1:10:06.600
<v Speaker 3>So they're supposed to go get on a boat, but

1:10:06.720 --> 1:10:10.400
<v Speaker 3>then bam boat explodes. It's a Jagger ambush, and then

1:10:10.479 --> 1:10:13.320
<v Speaker 3>it's a double double cross because Jagger is trying to

1:10:13.400 --> 1:10:16.640
<v Speaker 3>capture Furlong alive. But then these other dudes show up

1:10:16.640 --> 1:10:19.839
<v Speaker 3>and start shooting at Mick Jagger and shooting at Emilio Estevez,

1:10:20.479 --> 1:10:23.839
<v Speaker 3>and I think Boone is like, those aren't bone jackers.

1:10:23.920 --> 1:10:27.360
<v Speaker 3>There's someone else in the area, and so they're all

1:10:27.520 --> 1:10:29.720
<v Speaker 3>they're all running around. You find out Boone has a

1:10:29.800 --> 1:10:33.160
<v Speaker 3>katana and he's like a total badass and he fights people.

1:10:33.600 --> 1:10:36.360
<v Speaker 2>Yeah. I mean, basically, you have Jagger's bunch wants to

1:10:36.479 --> 1:10:40.000
<v Speaker 2>finish the bone jacking contract, and then Jonathan Banks's bunch

1:10:40.320 --> 1:10:42.960
<v Speaker 2>they don't want the bone jacking to take place because

1:10:42.960 --> 1:10:44.679
<v Speaker 2>they don't want Anthony Hopkins to get his new body

1:10:44.680 --> 1:10:46.240
<v Speaker 2>because then he's still in charge of the company if

1:10:46.280 --> 1:10:48.400
<v Speaker 2>that happens. Yeah, we don't really learn that till later.

1:10:48.479 --> 1:10:50.040
<v Speaker 2>But that's why we're building up too, That's right.

1:10:50.160 --> 1:10:52.000
<v Speaker 3>We find that out from Jonathan Banks and a big

1:10:52.040 --> 1:10:56.200
<v Speaker 3>another exposition dumb scene. But everybody's running around, chasing, shooting

1:10:56.240 --> 1:10:58.839
<v Speaker 3>at each other. There's a big fight scene between Emilio

1:10:58.960 --> 1:11:02.360
<v Speaker 3>Estevez and a large, strong bone jacker who gets electrocuted.

1:11:03.160 --> 1:11:05.800
<v Speaker 3>During this whole sequence, Mick Jagger is creeping around in

1:11:05.880 --> 1:11:10.879
<v Speaker 3>a hilarious helmet. But then there's a scene where Furlong

1:11:11.120 --> 1:11:13.759
<v Speaker 3>has a chance to kill Mick Jagger, but he doesn't.

1:11:14.160 --> 1:11:17.320
<v Speaker 3>He lets him live. He spares his life, and for

1:11:17.600 --> 1:11:21.479
<v Speaker 3>this Mick Jagger, Mick Jagger gives him a head start.

1:11:21.560 --> 1:11:23.519
<v Speaker 3>He's like, I'll let you escape because I'm a man

1:11:23.600 --> 1:11:26.200
<v Speaker 3>of honor. You're a man of honor. And he starts counting,

1:11:26.400 --> 1:11:30.240
<v Speaker 3>and Mick Jagger says, one Mississippi, two Mississippi.

1:11:32.439 --> 1:11:35.400
<v Speaker 2>I mean this ridiculous. Yeah, that's just ridiculous. It's way

1:11:35.400 --> 1:11:37.479
<v Speaker 2>too much of a lead too, Like why you just

1:11:37.560 --> 1:11:40.360
<v Speaker 2>spend like they established, it's gonna take costs, like millions

1:11:40.400 --> 1:11:43.200
<v Speaker 2>and millions of dollars to catch this guy again. You've

1:11:43.240 --> 1:11:45.400
<v Speaker 2>got him, but you're like, no, I'm a man of

1:11:45.479 --> 1:11:47.680
<v Speaker 2>my honor. I'm gonna let you get away again.

1:11:48.000 --> 1:11:51.120
<v Speaker 3>Right, So they eventually they go back to McCandless headquarters.

1:11:52.320 --> 1:11:54.439
<v Speaker 3>He meets back up with Renee Russo. They go to

1:11:54.680 --> 1:11:58.839
<v Speaker 3>McCandless headquarters to meet with Jonathan Banks and have Jonathan

1:11:58.920 --> 1:12:02.280
<v Speaker 3>Banks explain the whole lot yep, and Renee Russo and

1:12:02.360 --> 1:12:05.840
<v Speaker 3>Emilio Estevez end up end up going up to the

1:12:05.880 --> 1:12:09.680
<v Speaker 3>Spiritual Switchboard to find you know, there's a number of

1:12:09.720 --> 1:12:12.120
<v Speaker 3>double crosses yet again, and people trying to kill each other.

1:12:12.240 --> 1:12:14.880
<v Speaker 3>So they end up a the Spiritual Switchboard, which looks

1:12:14.920 --> 1:12:17.800
<v Speaker 3>like a smoother version of the Satan powered hyperdrive in

1:12:17.840 --> 1:12:18.679
<v Speaker 3>Event Horizon.

1:12:19.720 --> 1:12:22.439
<v Speaker 2>Yeah, it's you know, clearly, whatever is happening here, it

1:12:22.520 --> 1:12:24.400
<v Speaker 2>can only take place at the top of a high

1:12:24.479 --> 1:12:30.479
<v Speaker 2>rise in Manhattan aka Atlanta. And yeah, it raises a

1:12:30.520 --> 1:12:32.320
<v Speaker 2>lot of questions, like, I guess the big one is

1:12:32.800 --> 1:12:35.880
<v Speaker 2>what if we are actually dealing with spirit Like what

1:12:36.000 --> 1:12:42.400
<v Speaker 2>if this film is presenting a future in which which

1:12:42.479 --> 1:12:44.920
<v Speaker 2>there is a spiritual reality to the individual and that's

1:12:44.920 --> 1:12:46.840
<v Speaker 2>why you have some sort of crazy contraption because there's

1:12:46.880 --> 1:12:49.840
<v Speaker 2>like an actual ghost soul, you know, like there's an

1:12:49.840 --> 1:12:53.960
<v Speaker 2>Anthony Hopkins poltergeist trapped in this thing and they have

1:12:54.120 --> 1:12:56.439
<v Speaker 2>to eventually try and slam it into some new meat.

1:12:56.840 --> 1:13:02.200
<v Speaker 3>Yeah, it really does explore some cartesian territory. I think

1:13:02.240 --> 1:13:06.519
<v Speaker 3>you can give it it's philosophical credit, especially because so

1:13:06.640 --> 1:13:08.880
<v Speaker 3>they go up to the Spiritual Switchboard and they meet

1:13:10.360 --> 1:13:14.080
<v Speaker 3>McCandleis that's Anthony Hopkins, and he's full on lawnmower Man

1:13:14.200 --> 1:13:17.519
<v Speaker 3>beyond cyberspace. He's just hanging out in digital worlds with

1:13:17.680 --> 1:13:21.679
<v Speaker 3>digital diamonds. Our heroes are transported to a giant VR

1:13:21.880 --> 1:13:25.639
<v Speaker 3>castle inside what looks like a Utah desert, and Anthony

1:13:25.720 --> 1:13:30.240
<v Speaker 3>Hopkins says, welcome to my mind. And Anthony Hopkins has

1:13:30.320 --> 1:13:34.760
<v Speaker 3>been faking being alive through video simulation the whole time.

1:13:34.880 --> 1:13:37.080
<v Speaker 3>We find out that he's in love with Renee Russo

1:13:37.439 --> 1:13:40.719
<v Speaker 3>and he wants Amelio Estevez's body so that she would

1:13:40.760 --> 1:13:44.240
<v Speaker 3>love him in return. And so they're trying to do

1:13:44.360 --> 1:13:47.240
<v Speaker 3>the mind transfer on this big thing that looks exactly

1:13:47.360 --> 1:13:49.679
<v Speaker 3>like a jack, like it's a spike with these balls

1:13:49.720 --> 1:13:51.800
<v Speaker 3>coming out of the middle of it, and the Jack

1:13:51.920 --> 1:13:54.680
<v Speaker 3>opens up and there's a big crystal inside it, so

1:13:54.800 --> 1:13:56.639
<v Speaker 3>it's literally crystal energy.

1:13:57.439 --> 1:14:00.240
<v Speaker 2>Now the film does get very briefly and just into

1:14:00.320 --> 1:14:03.600
<v Speaker 2>this the philosophy or another philosophy really, I guess you

1:14:03.640 --> 1:14:07.960
<v Speaker 2>would say the ethics of bone jacking, which is kind

1:14:08.000 --> 1:14:10.400
<v Speaker 2>of interesting because you know, he's like they bring up

1:14:10.439 --> 1:14:13.080
<v Speaker 2>the point which I mostly agree with here, like he

1:14:13.160 --> 1:14:15.320
<v Speaker 2>was gonna in Ilio west Vesz's character was going to die.

1:14:15.800 --> 1:14:18.879
<v Speaker 2>That was going to happen, and they can't really interfere

1:14:18.960 --> 1:14:21.360
<v Speaker 2>with that, like that would be that would really mess up,

1:14:22.560 --> 1:14:25.160
<v Speaker 2>you know, the entire time stream. All they can do

1:14:25.439 --> 1:14:28.080
<v Speaker 2>is steal his body and then do something with it,

1:14:28.439 --> 1:14:30.680
<v Speaker 2>and it's just an accident that he got free and

1:14:30.760 --> 1:14:35.559
<v Speaker 2>that he's escaped. So to a certain extent, bone jacking

1:14:35.640 --> 1:14:36.920
<v Speaker 2>is a is a victimist crime.

1:14:37.400 --> 1:14:40.160
<v Speaker 3>Oh you think so, huh, you're a pro bone jacking,

1:14:40.240 --> 1:14:40.439
<v Speaker 3>are you?

1:14:41.240 --> 1:14:44.960
<v Speaker 2>Well, I'm I'm not in I guess I'm not entirely

1:14:45.040 --> 1:14:47.519
<v Speaker 2>pro bone jacking. I mean it does symbolize, you know,

1:14:47.640 --> 1:14:51.400
<v Speaker 2>the a great deal of unbalanced privilege in the future

1:14:51.800 --> 1:14:55.080
<v Speaker 2>for the few individuals who can afford immortality, which you know,

1:14:55.160 --> 1:14:57.160
<v Speaker 2>we still see plenty of science fiction that deals with that,

1:14:57.240 --> 1:15:00.479
<v Speaker 2>because that's ultimately a that's a reality we're potential facing.

1:15:00.520 --> 1:15:05.320
<v Speaker 2>You know, these longevity science improves, you know, who's going

1:15:05.360 --> 1:15:07.560
<v Speaker 2>to be able to afford it? Who gets to have

1:15:07.720 --> 1:15:10.639
<v Speaker 2>their life span extended? Who gets to live forever?

1:15:10.800 --> 1:15:10.920
<v Speaker 4>You know?

1:15:11.040 --> 1:15:13.320
<v Speaker 2>Sure, So it gets into some of that territory and

1:15:13.400 --> 1:15:16.280
<v Speaker 2>that is that is some rich sci fi territory to explore,

1:15:16.320 --> 1:15:17.760
<v Speaker 2>and they briefly do it.

1:15:18.200 --> 1:15:21.479
<v Speaker 3>Yeah, as sort of they kind of half address it.

1:15:21.720 --> 1:15:26.639
<v Speaker 3>There is a line where Amelia Estevez says to Anthony Hopkins,

1:15:26.720 --> 1:15:29.360
<v Speaker 3>you don't need a new body, you need a new soul.

1:15:31.360 --> 1:15:35.520
<v Speaker 2>Yeah, and he's like, yeah, whatever, meat, prepare.

1:15:35.240 --> 1:15:38.680
<v Speaker 3>To have me in your meat. And then there's a

1:15:38.720 --> 1:15:43.280
<v Speaker 3>psychedelic mind transfer scene, but it doesn't complete because Jonathan

1:15:43.360 --> 1:15:46.120
<v Speaker 3>Banks shows up to kill everybody. I guess because oh,

1:15:46.120 --> 1:15:48.800
<v Speaker 3>because he just wants Anthony Hopkins to die so that

1:15:48.880 --> 1:15:50.080
<v Speaker 3>he can take over the business.

1:15:50.560 --> 1:15:52.720
<v Speaker 2>Right. He needs this to fail, and he's been trying

1:15:52.760 --> 1:15:54.600
<v Speaker 2>to make it fail the whole time. And then the

1:15:54.680 --> 1:15:56.639
<v Speaker 2>last thing he's going to try is just shooting the crystal,

1:15:56.720 --> 1:15:58.639
<v Speaker 2>which he does, but then he shot himself.

1:15:58.680 --> 1:16:00.920
<v Speaker 3>No, I think Renee Russo shoots yeah, Chris, she shoots.

1:16:01.320 --> 1:16:02.120
<v Speaker 2>Why does she have a gun?

1:16:02.479 --> 1:16:05.000
<v Speaker 3>She gets a gun something, she shoots the crystal stops

1:16:05.040 --> 1:16:08.799
<v Speaker 3>the transfer, and then there's a question. So Emilio Estevez

1:16:08.880 --> 1:16:11.360
<v Speaker 3>is there and it's like, uh, is Anthony Hopkins mind

1:16:11.439 --> 1:16:13.599
<v Speaker 3>in him or is it still his mind? And there's

1:16:13.640 --> 1:16:16.240
<v Speaker 3>a standoff with Mick Jagger and Jonathan Banks with their

1:16:16.240 --> 1:16:18.600
<v Speaker 3>all point and guns at each other, and they're all

1:16:18.640 --> 1:16:21.320
<v Speaker 3>trying to figure out is that really Anthony Hopkins or not?

1:16:21.400 --> 1:16:24.000
<v Speaker 3>And they're gonna kill him if it's if it's still

1:16:24.080 --> 1:16:27.160
<v Speaker 3>Amelio Estevez, but Jagger's gonna let him live if it's

1:16:27.200 --> 1:16:30.519
<v Speaker 3>Anthony Hopkins. And uh so they do a trick. They're like,

1:16:30.600 --> 1:16:34.400
<v Speaker 3>what's your personal identification number? And Emilio Estevez starts saying

1:16:34.520 --> 1:16:38.360
<v Speaker 3>numbers and Mick Jagger's like that's right, and so they

1:16:38.760 --> 1:16:41.760
<v Speaker 3>they shoot Jonathan Banks. But then you find out there's

1:16:41.800 --> 1:16:44.160
<v Speaker 3>a very sweet ending where for a moment you are

1:16:44.240 --> 1:16:47.160
<v Speaker 3>supposed to think, oh, maybe it did complete and the

1:16:47.240 --> 1:16:50.479
<v Speaker 3>bad guy won. Anthony Hopkins is now in the meat.

1:16:51.160 --> 1:16:54.000
<v Speaker 3>But there is a sweet ending where Renee Russo and

1:16:54.560 --> 1:16:57.920
<v Speaker 3>Emilio Estevez are driving off and Mick Jagger comes up

1:16:57.960 --> 1:16:59.880
<v Speaker 3>to them and like leans into the car window and

1:17:00.120 --> 1:17:02.160
<v Speaker 3>is like, hey, you know, I know that number you

1:17:02.280 --> 1:17:04.439
<v Speaker 3>gave was wrong, but I decided to let you live

1:17:05.200 --> 1:17:07.040
<v Speaker 3>because you're a stand up guy or something.

1:17:07.320 --> 1:17:11.000
<v Speaker 2>Yeah, it's I mean, it's not a bad ending. I

1:17:11.240 --> 1:17:13.280
<v Speaker 2>like the whole mystery of it, like did it work?

1:17:13.320 --> 1:17:14.880
<v Speaker 2>Did it not work? And it's like a kind of

1:17:14.880 --> 1:17:17.760
<v Speaker 2>a fun double cross ultimately a face turn for Mick

1:17:17.840 --> 1:17:21.720
<v Speaker 2>Jagger's character. But it does take a long time to

1:17:21.760 --> 1:17:22.880
<v Speaker 2>get to this point in the picture.

1:17:23.000 --> 1:17:24.920
<v Speaker 3>It does, and it strikes me as like that would

1:17:24.920 --> 1:17:26.400
<v Speaker 3>be a cool thing in the future, if there's some

1:17:26.640 --> 1:17:29.360
<v Speaker 3>kind of like a prestige attached to the idea of

1:17:29.479 --> 1:17:31.960
<v Speaker 3>being original meat. You say like, no, no, no, my

1:17:32.120 --> 1:17:34.160
<v Speaker 3>mind is still in the meat that it was originally

1:17:34.240 --> 1:17:35.400
<v Speaker 3>and this is not new meat.

1:17:35.760 --> 1:17:38.360
<v Speaker 2>Well, you know, I mentioned the nineties Outer Limits series earlier.

1:17:38.760 --> 1:17:41.920
<v Speaker 2>This whole film would have made a really solid forty

1:17:42.000 --> 1:17:46.519
<v Speaker 2>five minute nineties Outer Limit episode. Yes, Instead, it's like

1:17:46.680 --> 1:17:50.040
<v Speaker 2>twice that length, and I think that's the one of

1:17:50.080 --> 1:17:50.840
<v Speaker 2>the problems here.

1:17:51.200 --> 1:17:54.320
<v Speaker 3>There is a really funny rock song that plays over

1:17:54.400 --> 1:17:57.000
<v Speaker 3>the end credits. I had to look this up. It's

1:17:57.040 --> 1:18:00.280
<v Speaker 3>by The Scorpions and it's called Solid. It's called hit

1:18:00.439 --> 1:18:03.679
<v Speaker 3>between the eyes, and the lyrics include lines like late

1:18:03.720 --> 1:18:06.400
<v Speaker 3>at night, when you're all alone, take a ride to

1:18:06.520 --> 1:18:07.479
<v Speaker 3>the danger zone.

1:18:10.280 --> 1:18:11.400
<v Speaker 2>Yeah, but that's it.

1:18:11.720 --> 1:18:14.320
<v Speaker 3>As we've been saying, I think this movie's pretty awful.

1:18:14.560 --> 1:18:17.519
<v Speaker 3>It has some real pleasures in terms of ridiculous dialog

1:18:17.720 --> 1:18:21.400
<v Speaker 3>and shots of Mick Jagger looking really funny in certain costumes.

1:18:21.840 --> 1:18:23.640
<v Speaker 3>I think it would be better if it was like

1:18:23.880 --> 1:18:27.880
<v Speaker 3>thirty to forty minutes Shorter leaned harder into the absurdity.

1:18:28.080 --> 1:18:31.280
<v Speaker 3>It could sort of veer into camp classic if it

1:18:31.320 --> 1:18:33.400
<v Speaker 3>were like that. As it is, it's kind of an

1:18:33.439 --> 1:18:34.120
<v Speaker 3>uncut gem.

1:18:34.800 --> 1:18:37.160
<v Speaker 2>It would have been nate if the first time Emilio's

1:18:37.240 --> 1:18:39.080
<v Speaker 2>character jumps off the bridge and you say, oh, that

1:18:39.080 --> 1:18:41.800
<v Speaker 2>would have killed the normal person. What if he does

1:18:41.960 --> 1:18:44.160
<v Speaker 2>die and he's immediately bonejacked again.

1:18:44.439 --> 1:18:47.679
<v Speaker 3>Bone jack to a second future. This time it's twenty twenty.

1:18:48.240 --> 1:18:49.240
<v Speaker 3>Things are even worse.

1:18:49.680 --> 1:18:55.519
<v Speaker 2>Yeah, yeah, I agree with all your points there. Oh,

1:18:55.600 --> 1:18:59.719
<v Speaker 2>here's my casting workaround. Okay, that could have improved things. Okay.

1:19:00.120 --> 1:19:03.040
<v Speaker 2>Grand Al Bush plays our hero Alex Furlong.

1:19:03.120 --> 1:19:04.360
<v Speaker 3>Oh, okay, yeah.

1:19:05.080 --> 1:19:08.440
<v Speaker 2>Amanda Plumber plays Julie Redland, the love interests.

1:19:08.160 --> 1:19:11.960
<v Speaker 3>Okay, nice, Yeah, she's exec at McCandless. Yeah.

1:19:12.200 --> 1:19:16.040
<v Speaker 2>Yeah, Jonathan Banks and Mick Jagger switch role, so Banks

1:19:16.080 --> 1:19:18.920
<v Speaker 2>as the Sindeck and Jagger as Michellette.

1:19:18.680 --> 1:19:20.639
<v Speaker 3>The corporate guy with Faberge eggs.

1:19:21.040 --> 1:19:25.240
<v Speaker 2>Yeah, Frankie still plays the Eagle guy, but in a

1:19:25.760 --> 1:19:27.960
<v Speaker 2>far expanded role. I don't know how they just get

1:19:28.000 --> 1:19:29.200
<v Speaker 2>more screen time for that character.

1:19:29.240 --> 1:19:30.800
<v Speaker 3>He should be come like the full on obi wan

1:19:30.920 --> 1:19:33.400
<v Speaker 3>kenobi of the movie. He's just like throughout the whole

1:19:33.479 --> 1:19:35.519
<v Speaker 3>thing is like this sort of the guy character.

1:19:36.040 --> 1:19:40.160
<v Speaker 2>Yeah, Anthony Hopkins remains mccandle's because he's fine in that,

1:19:40.560 --> 1:19:42.360
<v Speaker 2>and then the rest just fill in is needed. I

1:19:42.360 --> 1:19:46.479
<v Speaker 2>don't know. Emilio can play somebody, yeah, Buster Poindexer can

1:19:46.560 --> 1:19:50.040
<v Speaker 2>do whatever. But I feel like, get the weirder actors,

1:19:50.080 --> 1:19:52.240
<v Speaker 2>the more interesting actors up towards the top. Yeah, that's

1:19:52.280 --> 1:19:55.559
<v Speaker 2>what I want, and Cass McJagger more appropriately.

1:19:55.240 --> 1:19:56.080
<v Speaker 3>Get the mate.

1:19:58.640 --> 1:20:00.439
<v Speaker 2>All right, Well, if you want to get the meat.

1:20:01.479 --> 1:20:03.960
<v Speaker 2>Lucky for you. Again, this was a thirty million dollar picture,

1:20:04.320 --> 1:20:06.760
<v Speaker 2>so you can rent it or buy it everywhere. It's

1:20:06.880 --> 1:20:09.679
<v Speaker 2>it's not as like streamable as part of a service

1:20:09.720 --> 1:20:11.240
<v Speaker 2>as you might expect, you know, in terms of like

1:20:11.320 --> 1:20:14.280
<v Speaker 2>Netflix and Amazon Prime and all but you can absolutely

1:20:14.600 --> 1:20:16.519
<v Speaker 2>buy it or rent it anywhere. It's even available on

1:20:16.640 --> 1:20:18.120
<v Speaker 2>Blu Ray for crying out loud.

1:20:18.280 --> 1:20:20.320
<v Speaker 3>I wonder if the Blu Ray has the same menus.

1:20:20.880 --> 1:20:24.240
<v Speaker 3>My god, Blu Ray made in like twenty fourteen or

1:20:24.320 --> 1:20:26.760
<v Speaker 3>something still has the page just for the url of

1:20:26.880 --> 1:20:27.599
<v Speaker 3>Morgan Creek.

1:20:28.320 --> 1:20:32.200
<v Speaker 2>I bet it has like just a loveless, like film

1:20:32.200 --> 1:20:35.800
<v Speaker 2>studio template, Like whatever everything else had that came out

1:20:35.840 --> 1:20:38.080
<v Speaker 2>that wasn't didn't have like a cult following or you know,

1:20:38.240 --> 1:20:40.200
<v Speaker 2>wasn't a huge hit. It just gets the same treatment

1:20:40.240 --> 1:20:40.880
<v Speaker 2>as everything else.

1:20:40.960 --> 1:20:45.240
<v Speaker 3>Hey, everybody right in about your favorite DVD menus. What's

1:20:45.320 --> 1:20:49.120
<v Speaker 3>the worst DVD menu you've ever found. What's the most

1:20:49.200 --> 1:20:54.000
<v Speaker 3>absurd dedication of an entire menu option you've ever found?

1:20:54.720 --> 1:20:58.760
<v Speaker 2>Yeah, the most over ambitious animation from switching from one

1:20:58.800 --> 1:21:01.360
<v Speaker 2>page to the next. Yeah, I'd love to hear about it.

1:21:01.520 --> 1:21:03.519
<v Speaker 2>Or oh god, some of these, especially some of the

1:21:03.640 --> 1:21:06.479
<v Speaker 2>kids DVDs from back in the day, they would have

1:21:06.600 --> 1:21:10.400
<v Speaker 2>games like really oh god, like really rough attempts to

1:21:10.439 --> 1:21:12.920
<v Speaker 2>have some sort of a click based game on the DVD.

1:21:13.080 --> 1:21:13.960
<v Speaker 2>It was rough.

1:21:14.040 --> 1:21:16.560
<v Speaker 3>Sometimes they got Easter eggs, you remember those, where like

1:21:16.720 --> 1:21:18.560
<v Speaker 3>you'd move the cursor around to a thing that you

1:21:18.600 --> 1:21:20.519
<v Speaker 3>didn't realize you could move it to and then it

1:21:20.520 --> 1:21:22.160
<v Speaker 3>would play a hidden scene or something.

1:21:22.840 --> 1:21:23.080
<v Speaker 4>Yeah.

1:21:23.320 --> 1:21:25.559
<v Speaker 2>Oh man, I hope there's still I do love hidden

1:21:25.600 --> 1:21:27.760
<v Speaker 2>tracks and Easter eggs and stuff, and I hope some

1:21:27.880 --> 1:21:30.960
<v Speaker 2>of that's still going on. All right, Well, we're gonna

1:21:30.960 --> 1:21:34.120
<v Speaker 2>go ahead and close it out here. But yeah, this

1:21:34.320 --> 1:21:38.640
<v Speaker 2>was free Jack. We hope you enjoyed it. Again. There

1:21:38.720 --> 1:21:40.960
<v Speaker 2>was a little bit of weirdness in this one, maybe

1:21:41.000 --> 1:21:42.479
<v Speaker 2>not as weird as some of the other pictures, but

1:21:42.560 --> 1:21:44.360
<v Speaker 2>still was a lot of fun to talk about, and

1:21:44.880 --> 1:21:47.360
<v Speaker 2>I think it is important to to talk about sometimes

1:21:47.439 --> 1:21:50.719
<v Speaker 2>these big budget films which can sometimes turn out pretty

1:21:50.760 --> 1:21:55.040
<v Speaker 2>weird but also can just really fail to set the

1:21:55.080 --> 1:21:57.680
<v Speaker 2>world on fire. All right, Well, if you want to

1:21:57.760 --> 1:22:00.559
<v Speaker 2>watch more episodes of Weird House Cinema, you can catch

1:22:00.600 --> 1:22:03.519
<v Speaker 2>it every Friday in the Stuff to Blow your Mind

1:22:03.560 --> 1:22:06.120
<v Speaker 2>podcast feed, and you can find that podcast feed wherever

1:22:06.240 --> 1:22:09.439
<v Speaker 2>you get your podcasts, wherever that happens to be. Just rate, review,

1:22:09.479 --> 1:22:11.280
<v Speaker 2>and subscribe if you have the ability to do so.

1:22:11.640 --> 1:22:14.360
<v Speaker 3>Huge thanks as always to our excellent audio producer Seth

1:22:14.439 --> 1:22:16.760
<v Speaker 3>Nicholas Johnson. If you would like to get in touch

1:22:16.800 --> 1:22:18.920
<v Speaker 3>with us with feedback on this episode or any other,

1:22:19.040 --> 1:22:21.400
<v Speaker 3>to suggest a topic for the future, just to say hello.

1:22:21.520 --> 1:22:24.360
<v Speaker 3>You can email us at contact at stuff to Blow

1:22:24.400 --> 1:22:25.400
<v Speaker 3>your Mind dot com.

1:22:32.680 --> 1:22:35.600
<v Speaker 1>Stuff to Blow Your Mind is production of iHeartRadio. For

1:22:35.720 --> 1:22:38.479
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1:22:38.680 --> 1:22:41.400
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