1 00:00:00,120 --> 00:00:02,680 Speaker 1: Hello, and welcome back to movie Mike's movie podcast. I 2 00:00:02,720 --> 00:00:04,360 Speaker 1: am your host Movie Mike, and today I want to 3 00:00:04,360 --> 00:00:07,440 Speaker 1: share with you seven times that composer Hans Zimmer went 4 00:00:07,560 --> 00:00:10,959 Speaker 1: way too hard on a movie score. I'm gonna let 5 00:00:11,000 --> 00:00:14,080 Speaker 1: you know why he is my favorite movie composer of 6 00:00:14,200 --> 00:00:16,799 Speaker 1: all time. In the movie review, we'll be talking about 7 00:00:16,800 --> 00:00:20,080 Speaker 1: a haunting in Venice. Was it scary? Was it entertaining? 8 00:00:20,400 --> 00:00:22,000 Speaker 1: Was it worth my time to go see this movie 9 00:00:22,040 --> 00:00:24,200 Speaker 1: in theaters because I was on the fence about it? 10 00:00:24,280 --> 00:00:26,120 Speaker 1: And in the trailer park we have a new movie 11 00:00:26,120 --> 00:00:29,120 Speaker 1: with Uma Thurman and Samuel L. Jackson, who have reunited 12 00:00:29,160 --> 00:00:31,240 Speaker 1: for the first time since the nineties since they did 13 00:00:31,280 --> 00:00:34,280 Speaker 1: pulp fiction together. We'll talk about the kill Room. Thank 14 00:00:34,280 --> 00:00:36,280 Speaker 1: you for being here, Thank you for being subscribed and 15 00:00:36,320 --> 00:00:38,920 Speaker 1: listening every single week. Shout out to the Monday Morning 16 00:00:38,960 --> 00:00:41,720 Speaker 1: Movie crew. And now let's talk movies. 17 00:00:42,120 --> 00:00:45,320 Speaker 2: In a world where everyone and their mother has a podcast, 18 00:00:45,840 --> 00:00:49,720 Speaker 2: one man stands to infiltrate the ears of listeners like 19 00:00:49,840 --> 00:00:53,760 Speaker 2: never before in a movie podcast, A man with so 20 00:00:53,920 --> 00:00:59,240 Speaker 2: much movie knowledge, he's basically like a walking IMTB with glasses. 21 00:00:59,680 --> 00:01:05,120 Speaker 1: From Nashville Podcast Network. This is Movie Mike movie podcast. 22 00:01:05,880 --> 00:01:10,520 Speaker 1: I often think that movie scores get overlooked on how 23 00:01:10,600 --> 00:01:14,319 Speaker 1: important they are to all of our favorite films. A 24 00:01:14,360 --> 00:01:17,720 Speaker 1: great movie score can take an eight film and make 25 00:01:17,800 --> 00:01:21,319 Speaker 1: it a ten. And it is the foundation of setting 26 00:01:21,360 --> 00:01:25,400 Speaker 1: the scene, setting the tone, evoking emotion, and it's always 27 00:01:25,440 --> 00:01:29,120 Speaker 1: just there. It's the glue that holds all these scenes together. 28 00:01:29,560 --> 00:01:32,880 Speaker 1: And sometimes when it's so good, we just take it 29 00:01:32,920 --> 00:01:35,800 Speaker 1: for granted. It is there, it is existing. But sometimes 30 00:01:35,840 --> 00:01:38,679 Speaker 1: you don't take time to think about how impactful the 31 00:01:38,720 --> 00:01:42,160 Speaker 1: movie score can be on one scene or making an 32 00:01:42,400 --> 00:01:46,440 Speaker 1: entire movie, and Hans Zimmer is one of the best 33 00:01:46,480 --> 00:01:49,440 Speaker 1: to do it. He recently celebrated his sixty sixth birthday 34 00:01:49,720 --> 00:01:52,280 Speaker 1: and I have been so obsessed with movie scores lately. 35 00:01:52,320 --> 00:01:55,040 Speaker 1: I decided to dive into the life of Hans Zimmer 36 00:01:55,120 --> 00:01:58,880 Speaker 1: and realize how impactful his work has been over the years. 37 00:01:59,160 --> 00:02:01,440 Speaker 1: So on this episode, we're going to take a look 38 00:02:01,440 --> 00:02:03,440 Speaker 1: at his career and the seven times I think he 39 00:02:03,480 --> 00:02:06,760 Speaker 1: went way too hard on a movie score. So looking 40 00:02:06,800 --> 00:02:08,560 Speaker 1: into the life of Hans Zimmer. He was born on 41 00:02:08,639 --> 00:02:13,040 Speaker 1: September twelfth, nineteen fifty seven, in Frankfurt, Germany. He started 42 00:02:13,040 --> 00:02:15,680 Speaker 1: playing music as a kid learned how to play the piano, 43 00:02:15,760 --> 00:02:18,040 Speaker 1: and his breakthrough intil the film industry came in the 44 00:02:18,080 --> 00:02:21,320 Speaker 1: nineteen eighties when he did the score for rain Man. 45 00:02:21,760 --> 00:02:25,440 Speaker 1: That's when he developed a relationship with director Brian Leavenson 46 00:02:25,760 --> 00:02:28,600 Speaker 1: and started to get known in Hollywood as being able 47 00:02:28,639 --> 00:02:31,960 Speaker 1: to create some memorable film scores. One of his most 48 00:02:32,240 --> 00:02:36,359 Speaker 1: iconic breakthrough works came in nineteen ninety four with none 49 00:02:36,400 --> 00:02:39,560 Speaker 1: other than Disney's The Lion King, which earned him the 50 00:02:39,680 --> 00:02:42,440 Speaker 1: Oscar for Best Original Score. I think one of the 51 00:02:42,440 --> 00:02:46,720 Speaker 1: most impressive things about Hans Zimmer is his versatility and 52 00:02:46,800 --> 00:02:49,560 Speaker 1: his range when it comes to creating film scores, because 53 00:02:49,560 --> 00:02:52,280 Speaker 1: not only did he do animated movies like The Lion King, 54 00:02:52,320 --> 00:02:54,840 Speaker 1: he also went on to do movies like Gladiator, The 55 00:02:54,960 --> 00:02:58,960 Speaker 1: Dark Knight Trilogy and create these really iconic moments through 56 00:02:59,040 --> 00:03:01,840 Speaker 1: his music and through compositions. And I think what really 57 00:03:01,840 --> 00:03:05,280 Speaker 1: sets his work apart from other composers is I feel like, 58 00:03:05,360 --> 00:03:07,960 Speaker 1: at his core, he is just a great musician and 59 00:03:08,080 --> 00:03:11,200 Speaker 1: knows how to blend a lot of different types of instruments. 60 00:03:11,280 --> 00:03:13,680 Speaker 1: Sometimes when you think about movie scores, you maybe think 61 00:03:13,680 --> 00:03:16,240 Speaker 1: more of somebody like a John Williams who creates these 62 00:03:16,360 --> 00:03:19,079 Speaker 1: very epic sounding, but more of what you would hear 63 00:03:19,160 --> 00:03:22,720 Speaker 1: like from an orchestra, which hans Zimmer also uses those 64 00:03:22,760 --> 00:03:26,720 Speaker 1: same orchestral elements, but he also blends things like electronic 65 00:03:26,800 --> 00:03:30,079 Speaker 1: instruments and really has a unique sound that you can 66 00:03:30,160 --> 00:03:32,800 Speaker 1: tell what it is a Hans Zimmer composition. And I 67 00:03:32,840 --> 00:03:35,680 Speaker 1: think that's why so many directors go to him, because 68 00:03:35,720 --> 00:03:38,280 Speaker 1: they know, you're really gonna step up my film with 69 00:03:38,320 --> 00:03:40,600 Speaker 1: your work, and I think that is what he does. 70 00:03:40,800 --> 00:03:43,200 Speaker 1: It's like getting the Beatles to do the score for 71 00:03:43,320 --> 00:03:45,920 Speaker 1: your movie. You know it's gonna be a hit if 72 00:03:45,960 --> 00:03:48,600 Speaker 1: Hans Zimmer is a part of it. And in addition 73 00:03:48,680 --> 00:03:51,960 Speaker 1: to his work in film, he has also collaborated with 74 00:03:52,000 --> 00:03:55,240 Speaker 1: a lot of artists like Elton John, Pharrell Williams, so 75 00:03:55,360 --> 00:03:58,520 Speaker 1: he has done music outside of the film industry, which 76 00:03:58,600 --> 00:04:00,920 Speaker 1: is another thing that I feel set to him. Apart 77 00:04:01,040 --> 00:04:03,320 Speaker 1: and just by the numbers alone, he has one hundred 78 00:04:03,320 --> 00:04:07,839 Speaker 1: and fifty film scores to his name, countless countless awards 79 00:04:08,120 --> 00:04:10,960 Speaker 1: so as two Academy Awards for Best Original Score came 80 00:04:11,000 --> 00:04:12,920 Speaker 1: in nineteen ninety four with The Lion King, which I 81 00:04:12,920 --> 00:04:17,280 Speaker 1: mentioned earlier, and then again in twenty twenty one with Dune. 82 00:04:17,480 --> 00:04:19,679 Speaker 1: So now that we know a little bit about Hans Zimmer, 83 00:04:19,800 --> 00:04:23,280 Speaker 1: let's get into the list. I have seven different compositions 84 00:04:23,279 --> 00:04:25,960 Speaker 1: from his movies that I picked not because they are 85 00:04:26,000 --> 00:04:28,680 Speaker 1: only from some of my favorite movies, but also because 86 00:04:28,720 --> 00:04:31,520 Speaker 1: I feel that they show his range and because hearing 87 00:04:31,560 --> 00:04:34,560 Speaker 1: these compositions, even on their own, make me want to 88 00:04:34,600 --> 00:04:38,120 Speaker 1: lose my mind. So at number seven from nineteen ninety 89 00:04:38,160 --> 00:04:42,480 Speaker 1: three's True Romance, the track is called You're So Cool. 90 00:04:47,920 --> 00:04:50,840 Speaker 1: I feel like this one is a little bit of 91 00:04:50,880 --> 00:04:57,440 Speaker 1: a non traditional pick, and going hard doesn't mean it 92 00:04:57,440 --> 00:04:59,279 Speaker 1: has to come right out of the gate and punch 93 00:04:59,279 --> 00:05:01,720 Speaker 1: you in the face. I just think the sound of 94 00:05:01,760 --> 00:05:08,960 Speaker 1: this one is so unique. Listen to it, and the 95 00:05:09,040 --> 00:05:11,719 Speaker 1: part I love where I feel like, okay, it really 96 00:05:11,760 --> 00:05:15,080 Speaker 1: goes to another level and goes way too hard is 97 00:05:15,120 --> 00:05:31,880 Speaker 1: once the percussion kicks in. And this one is going 98 00:05:31,920 --> 00:05:34,360 Speaker 1: to be much different than the rest on this list, 99 00:05:34,600 --> 00:05:36,960 Speaker 1: but I wanted to show you his range, and in 100 00:05:37,000 --> 00:05:39,440 Speaker 1: a movie that I wouldn't even classify as one of 101 00:05:39,440 --> 00:05:42,680 Speaker 1: my favorites from the nineties. I remember this song and 102 00:05:42,720 --> 00:05:46,039 Speaker 1: it's so distinct and so memorable and uses so many 103 00:05:46,120 --> 00:05:49,120 Speaker 1: different types of instruments that I feel like in that 104 00:05:49,160 --> 00:05:52,320 Speaker 1: one his creativity just went too hard. So at number seven, 105 00:05:52,720 --> 00:05:56,360 Speaker 1: I have You're So Cool from True Romance. At number 106 00:05:56,520 --> 00:05:59,839 Speaker 1: six from twenty seventeen, the movie is Dunkirk and the 107 00:05:59,800 --> 00:06:04,200 Speaker 1: tree track is called super Marine. I love this movie. 108 00:06:04,320 --> 00:06:07,279 Speaker 1: We're looking now at the work of Hans Zimmer and 109 00:06:07,400 --> 00:06:10,279 Speaker 1: Christopher Nolan, a match made in heaven. They are peanut, 110 00:06:10,320 --> 00:06:13,880 Speaker 1: butter and jelly. They will make more appearances on this list. 111 00:06:14,160 --> 00:06:17,000 Speaker 1: But what I loved about Dunkirk and the score and 112 00:06:17,080 --> 00:06:20,920 Speaker 1: this track specifically, is it really elevates all the action 113 00:06:21,080 --> 00:06:24,680 Speaker 1: because that movie is not only visually stunning, but it 114 00:06:24,800 --> 00:06:28,440 Speaker 1: requires a score like this to really bring home that 115 00:06:28,560 --> 00:06:32,160 Speaker 1: emotion and to show you the tenacity of everything on 116 00:06:32,200 --> 00:06:34,960 Speaker 1: the line in that movie and show you war from 117 00:06:34,960 --> 00:06:38,599 Speaker 1: an entirely different perspective. And in that movie, it's very 118 00:06:38,640 --> 00:06:42,600 Speaker 1: bright and colorful, but also very dark and gritty at 119 00:06:42,600 --> 00:06:45,560 Speaker 1: the same time, a lot of emphasis on the blues 120 00:06:45,640 --> 00:06:47,720 Speaker 1: in the green. But it just has like this dirty 121 00:06:47,720 --> 00:06:50,840 Speaker 1: filter to put you into the perspective of these soldiers. 122 00:06:50,920 --> 00:06:53,839 Speaker 1: And underneath that, the glue that holds it all together 123 00:06:54,360 --> 00:06:57,479 Speaker 1: is Hans Zimmer's score to really bring home that emotion 124 00:06:57,800 --> 00:07:00,680 Speaker 1: and I think he went way too hard on this track. Specifically, 125 00:07:02,520 --> 00:07:07,839 Speaker 1: I love his build ups, like this, building that tension, 126 00:07:09,960 --> 00:07:12,960 Speaker 1: letting you know that something not good is about to happen. 127 00:07:17,400 --> 00:07:20,160 Speaker 1: But my favorite thing in the work of Hans Zimmer 128 00:07:20,360 --> 00:07:33,040 Speaker 1: are the drops, and this one is so delicious. Oh 129 00:07:33,080 --> 00:07:38,239 Speaker 1: I could feel it. Listen to all those different types 130 00:07:38,280 --> 00:07:47,840 Speaker 1: of instruments and the percussion. It sounds like madness. And 131 00:07:47,880 --> 00:07:49,760 Speaker 1: I want to know what is going on in his 132 00:07:49,880 --> 00:07:53,840 Speaker 1: brain while composing something like this, And then you pair 133 00:07:53,920 --> 00:08:01,040 Speaker 1: that with this movie. Oh, it is beautiful. So at 134 00:08:01,120 --> 00:08:05,760 Speaker 1: number six we have Dunkirk. Moving on to number five 135 00:08:06,200 --> 00:08:10,000 Speaker 1: is a movie from twenty ten. It's called Inception, and 136 00:08:10,040 --> 00:08:14,120 Speaker 1: this track specifically is called Dream Is Collapsing. There are 137 00:08:14,160 --> 00:08:17,720 Speaker 1: so many great scenes and Inception that are made just 138 00:08:17,800 --> 00:08:20,600 Speaker 1: that much better with the work of Hans Zimmer, and 139 00:08:20,680 --> 00:08:23,640 Speaker 1: I think the music in this movie was so influential 140 00:08:23,680 --> 00:08:26,240 Speaker 1: to the twenty tens. I feel like after this movie, 141 00:08:26,320 --> 00:08:29,600 Speaker 1: everybody wanted the style of Inception when it came to 142 00:08:29,640 --> 00:08:32,640 Speaker 1: the visuals, but also when it came to the sound, 143 00:08:32,760 --> 00:08:36,480 Speaker 1: specifically the drone sound, which I feel ran rampant in 144 00:08:36,520 --> 00:08:39,400 Speaker 1: the twenty tens, and it was all because of Inception. 145 00:08:39,640 --> 00:08:43,080 Speaker 1: It's that horn drone effect that ended up being in 146 00:08:43,240 --> 00:08:45,760 Speaker 1: every single movie trailer in the twenty tens. This one 147 00:08:45,880 --> 00:08:50,480 Speaker 1: r here that was in every single trailer, and it 148 00:08:50,520 --> 00:08:53,800 Speaker 1: was all because of Inception. But along with those sound effects, 149 00:08:53,880 --> 00:08:57,040 Speaker 1: it was the score from Inception. And this one just 150 00:08:57,080 --> 00:09:17,839 Speaker 1: went way too hard that charging. 151 00:09:22,280 --> 00:09:22,520 Speaker 3: See. 152 00:09:22,559 --> 00:09:25,800 Speaker 1: I love the fact that it has that big orchestra sound, 153 00:09:28,240 --> 00:09:32,080 Speaker 1: but then you also get that charging, almost electronic sound, 154 00:09:35,120 --> 00:09:38,720 Speaker 1: and I feel like you could almost put anything on 155 00:09:38,800 --> 00:09:41,280 Speaker 1: the screen and this be epic. I could just put 156 00:09:41,360 --> 00:09:44,840 Speaker 1: this song on my Instagram story and it would be epic. 157 00:09:45,000 --> 00:09:48,200 Speaker 1: It could just be me eating a piece of like 158 00:09:48,440 --> 00:09:55,160 Speaker 1: I don't know, raw tofu, and it's still epic. But 159 00:09:55,360 --> 00:09:59,200 Speaker 1: also I love the scene wherever it is showing the 160 00:09:59,240 --> 00:10:04,000 Speaker 1: relationship between Leonardo DiCaprio and his wife, and it's so 161 00:10:04,000 --> 00:10:07,319 Speaker 1: soft and emotional, and I feel like this is going 162 00:10:07,400 --> 00:10:10,640 Speaker 1: hard in a different way because it's not so much 163 00:10:10,800 --> 00:10:14,199 Speaker 1: on the big, epic sound of Hans Zimmer, but it's 164 00:10:14,240 --> 00:10:18,720 Speaker 1: that sweet, delicate sound and knowing that sometimes less is more, 165 00:10:19,040 --> 00:10:22,000 Speaker 1: and I think that is also a very important quality 166 00:10:22,280 --> 00:10:30,240 Speaker 1: to creating a memorable score, stripping away all the things 167 00:10:30,960 --> 00:10:36,280 Speaker 1: and just focusing on the emotion because there's no dialogue. 168 00:10:35,720 --> 00:10:36,440 Speaker 3: In this scene. 169 00:10:37,480 --> 00:10:40,520 Speaker 1: It's all held together through the performances of the actors 170 00:10:41,720 --> 00:10:46,560 Speaker 1: in this song. So essentially the music is a character 171 00:10:46,640 --> 00:10:56,000 Speaker 1: in itself. So he went too hard on this entire soundtrack. 172 00:10:56,200 --> 00:10:59,920 Speaker 1: A number five it is Inception and number four is 173 00:11:00,080 --> 00:11:03,800 Speaker 1: an animated movie from nineteen ninety four that we mentioned earlier, 174 00:11:04,240 --> 00:11:07,760 Speaker 1: the one he won the Academy Award for Best Score. 175 00:11:08,040 --> 00:11:10,440 Speaker 1: It is The Lion King. The song is to Die 176 00:11:10,520 --> 00:11:13,360 Speaker 1: for slash What have You Done? It's the scene in 177 00:11:13,400 --> 00:11:17,200 Speaker 1: the movie after mufasadize and then Scar comes up to 178 00:11:17,200 --> 00:11:19,920 Speaker 1: Simba and tells him what have you done? You killed 179 00:11:19,960 --> 00:11:22,200 Speaker 1: your father? And then he tells him to run before 180 00:11:22,240 --> 00:11:25,319 Speaker 1: he gets chased by the hyaenas a really memorable scene 181 00:11:25,360 --> 00:11:27,960 Speaker 1: that comes after a depressing moment because it's right after 182 00:11:28,000 --> 00:11:30,760 Speaker 1: the sad moment of him losing his dad and now 183 00:11:30,800 --> 00:11:33,800 Speaker 1: having to run for his life. And then Hans Zimmert 184 00:11:33,840 --> 00:11:40,080 Speaker 1: just went way too hard on the composition for the scene, 185 00:11:41,440 --> 00:11:56,240 Speaker 1: like like, how insane that is? This track sounds so expensive, 186 00:11:56,920 --> 00:12:01,080 Speaker 1: Like listen to all those instruments and the vocals on this, 187 00:12:08,559 --> 00:12:10,760 Speaker 1: Like Disney was probably just like, hey, we just needed 188 00:12:10,760 --> 00:12:15,200 Speaker 1: some music to show that Simba is being chased. Hans Zimmer, 189 00:12:15,920 --> 00:12:23,440 Speaker 1: He's all right, hold this, I got you. It is epic, 190 00:12:23,640 --> 00:12:27,079 Speaker 1: it is memorable. It is at number four Hans Zimmer's 191 00:12:27,080 --> 00:12:30,880 Speaker 1: work on The Lion King moving on to number three 192 00:12:31,360 --> 00:12:34,319 Speaker 1: from twenty twenty one. It is Dune and it's the 193 00:12:34,320 --> 00:12:37,240 Speaker 1: theme song. And I am a big fan of all 194 00:12:37,320 --> 00:12:41,480 Speaker 1: the cinematic qualities of Doune. I didn't entirely love the movie. 195 00:12:41,600 --> 00:12:45,520 Speaker 1: I'm more anticipated for the sequel because that is what 196 00:12:45,600 --> 00:12:48,520 Speaker 1: I'm being told and reading that that's where all the 197 00:12:48,600 --> 00:12:52,559 Speaker 1: action is. I thought Dune looked great and sounded great, 198 00:12:52,679 --> 00:12:55,720 Speaker 1: but the overall story and character development in that movie 199 00:12:55,920 --> 00:12:58,760 Speaker 1: wasn't really for me. But it does feel very epic 200 00:12:58,800 --> 00:13:01,840 Speaker 1: and looks amazing on green. But what I can't deny 201 00:13:02,160 --> 00:13:06,079 Speaker 1: is the theme song to Dune and how unnecessarily hard 202 00:13:06,160 --> 00:13:09,040 Speaker 1: it goes, starting out from the very opening of the track, 203 00:13:12,200 --> 00:13:19,240 Speaker 1: Like the instrumentation there, the building of the tension, oh, 204 00:13:19,320 --> 00:13:22,800 Speaker 1: and the vocal comes in like that is memorable right there, 205 00:13:27,920 --> 00:13:29,959 Speaker 1: Maybe channeling a little bit of The Lion King from 206 00:13:30,000 --> 00:13:35,400 Speaker 1: his work earlier, but that is something unique, and that 207 00:13:35,520 --> 00:13:38,000 Speaker 1: is something that is really gonna set your film apart. 208 00:13:38,720 --> 00:13:41,040 Speaker 1: That is why you paid millions of dollars to do 209 00:13:41,120 --> 00:13:44,360 Speaker 1: the score. But then, of course it also has the 210 00:13:44,440 --> 00:13:52,720 Speaker 1: patented Hans Zimmer drop takes it to an entirely different level. 211 00:14:00,200 --> 00:14:01,880 Speaker 1: This one makes me want to run through a wall. 212 00:14:01,880 --> 00:14:07,360 Speaker 1: I'm gonna run through a wall right now, and that 213 00:14:07,520 --> 00:14:11,520 Speaker 1: is why it is at number three. The soundtrack to 214 00:14:11,640 --> 00:14:17,440 Speaker 1: Dune at number two is from twenty fourteen. The film 215 00:14:17,640 --> 00:14:21,640 Speaker 1: is Interstellar, and it's another theme song. This one is 216 00:14:21,680 --> 00:14:24,200 Speaker 1: a little bit more delicate, but like I was saying earlier, 217 00:14:24,320 --> 00:14:28,120 Speaker 1: sometimes less is more. And this score is so intricate 218 00:14:28,240 --> 00:14:31,640 Speaker 1: and so memorable and so gentle and beautiful that he 219 00:14:31,760 --> 00:14:35,920 Speaker 1: went unnecessarily hard to make us all cry with the 220 00:14:36,000 --> 00:14:40,040 Speaker 1: score to Inception because paired with Matthew McConaughey's performance and 221 00:14:40,080 --> 00:14:43,720 Speaker 1: the emotional ferocity of this movie, Oh my gosh, he 222 00:14:43,760 --> 00:14:45,840 Speaker 1: gets me emotional just thinking about it. But listen to 223 00:14:45,840 --> 00:14:51,400 Speaker 1: the score, Like that first note, just that first note 224 00:14:51,520 --> 00:14:53,920 Speaker 1: makes me want to ball my eyes out like Matthew 225 00:14:54,000 --> 00:15:06,320 Speaker 1: McConaughey in that one scene. We all know. There's some 226 00:15:06,400 --> 00:15:10,760 Speaker 1: other great moments in this soundtrack as well. Again, just 227 00:15:10,800 --> 00:15:18,120 Speaker 1: so delicate, so beautiful. It's like he's creating these memorable 228 00:15:18,240 --> 00:15:21,760 Speaker 1: scores that don't even need the movie to exist. They're 229 00:15:21,760 --> 00:15:24,000 Speaker 1: just great music on their own. Like this is one 230 00:15:24,080 --> 00:15:27,400 Speaker 1: soundtrack that if I just needed to mellow out and 231 00:15:27,440 --> 00:15:29,480 Speaker 1: listen to some music to have on in the background, 232 00:15:29,880 --> 00:15:32,200 Speaker 1: this is what I would put on. And of course 233 00:15:32,240 --> 00:15:39,240 Speaker 1: you get the Hans Zimmer drop the building. I think 234 00:15:39,280 --> 00:15:44,960 Speaker 1: on this performance specifically, he's playing guitar, just going on 235 00:15:45,000 --> 00:15:48,400 Speaker 1: those notes, and I think that at the core of it, 236 00:15:48,520 --> 00:15:52,720 Speaker 1: he is a musician who just loves performing too, and 237 00:15:52,800 --> 00:15:58,640 Speaker 1: this score just really shows that. Don't do it to 238 00:15:58,760 --> 00:16:05,240 Speaker 1: his Hans Like, I feel like at his core he 239 00:16:05,400 --> 00:16:07,440 Speaker 1: just wants to rock out. Maybe he wanted to be 240 00:16:07,480 --> 00:16:14,680 Speaker 1: a rock star. You really hear it there. But maybe, 241 00:16:14,760 --> 00:16:16,320 Speaker 1: like me, he is too much of a nerd to 242 00:16:16,360 --> 00:16:19,160 Speaker 1: be a rock star, so I'll just create these epic 243 00:16:19,240 --> 00:16:28,040 Speaker 1: scores to films instead. But at number two we have Inception. 244 00:16:28,240 --> 00:16:30,760 Speaker 1: Before we get to number one, I do have some 245 00:16:30,840 --> 00:16:33,560 Speaker 1: honorable mentions. The Last Samurai is also some of his 246 00:16:33,600 --> 00:16:40,400 Speaker 1: best work. This is a way of Life from the 247 00:16:40,440 --> 00:16:45,760 Speaker 1: Last Samurai. You also have now we are Free from 248 00:16:45,800 --> 00:16:54,600 Speaker 1: Gladiator and one of my favorites. Another one of his 249 00:16:54,760 --> 00:17:00,160 Speaker 1: delicate tracks twenty forty nine from Blade Runner twenty forty nine, 250 00:17:04,160 --> 00:17:06,840 Speaker 1: I guess what is so experimental? It almost made my 251 00:17:06,960 --> 00:17:20,719 Speaker 1: number seven slot, like how epic is that? And another 252 00:17:20,760 --> 00:17:23,640 Speaker 1: one that almost made the list, but it's not one 253 00:17:23,680 --> 00:17:27,200 Speaker 1: of his official credits because although he did write this theme, 254 00:17:27,320 --> 00:17:30,600 Speaker 1: it did have a different composer. But from two thousand 255 00:17:30,640 --> 00:17:33,199 Speaker 1: and three Pirates of the Caribbean and the Curse of 256 00:17:33,200 --> 00:17:37,600 Speaker 1: the Black Pearl, this one goes so hard, but it's 257 00:17:37,640 --> 00:17:47,520 Speaker 1: just not one of his official credits. We have made 258 00:17:47,560 --> 00:17:51,199 Speaker 1: it to number one. The best example of Hans hi 259 00:17:51,240 --> 00:17:54,479 Speaker 1: Mier going way too hard is from two thousand and 260 00:17:54,600 --> 00:17:57,840 Speaker 1: eight The Dark Knight. The track is why so Serious 261 00:17:58,119 --> 00:18:01,159 Speaker 1: goes into like a dog chasing car. What he did 262 00:18:01,240 --> 00:18:04,439 Speaker 1: with the entire Dark Knight trilogy was amazing, and I 263 00:18:04,480 --> 00:18:08,560 Speaker 1: think specifically in The Dark Knight because anytime the Joker 264 00:18:08,760 --> 00:18:11,080 Speaker 1: was on screen you knew it because of the music. 265 00:18:11,160 --> 00:18:13,080 Speaker 1: It got a little bit more intense, it got a 266 00:18:13,160 --> 00:18:16,160 Speaker 1: little bit more violent. It sounded like there was more 267 00:18:16,240 --> 00:18:19,240 Speaker 1: on the line every time the Joker was on screen, 268 00:18:19,440 --> 00:18:22,000 Speaker 1: So not only was it seeing Heath Ledger, but it 269 00:18:22,040 --> 00:18:25,199 Speaker 1: was also hearing the music that invoked that emotion In 270 00:18:25,240 --> 00:18:28,280 Speaker 1: all of us, whether you realize it or not, the 271 00:18:28,400 --> 00:18:32,240 Speaker 1: music was so essential to creating that gritty tone of 272 00:18:32,359 --> 00:18:35,520 Speaker 1: Gotham and really setting that movie apart from all the 273 00:18:35,560 --> 00:18:38,919 Speaker 1: other Batman movies where you had, you know, epic tracks 274 00:18:38,920 --> 00:18:41,639 Speaker 1: too from Danny Elfman. But it takes it up on 275 00:18:41,680 --> 00:18:45,160 Speaker 1: an entirely different level when it's a little bit more sophisticated, 276 00:18:45,240 --> 00:18:47,920 Speaker 1: a little bit more of an orchestra sound, but also 277 00:18:48,040 --> 00:18:51,840 Speaker 1: this very driving, pounding sound. To me, it's like orchestra 278 00:18:51,920 --> 00:18:54,480 Speaker 1: punk rock. I don't know if that's a genre specifically, 279 00:18:54,800 --> 00:18:56,879 Speaker 1: because that is the only way I can think of 280 00:18:56,920 --> 00:19:19,119 Speaker 1: describing the score in The Dark Knight. That is it. 281 00:19:20,359 --> 00:19:23,480 Speaker 1: That is seven times that Hans Zimmer went way too hard. 282 00:19:24,200 --> 00:19:27,159 Speaker 1: What is your favorite Hans Zimmer's score? I mean, for 283 00:19:27,240 --> 00:19:29,080 Speaker 1: me is the one we just heard The Dark Knight. 284 00:19:29,119 --> 00:19:31,920 Speaker 1: There's so many elements going on there, it's so memorable. 285 00:19:32,400 --> 00:19:34,639 Speaker 1: I love it all. Well, come back, I'll give you 286 00:19:34,680 --> 00:19:37,199 Speaker 1: my movie review of a Haunting in Venice, and then 287 00:19:37,240 --> 00:19:39,360 Speaker 1: at the trailer park we'll be talking about the kill 288 00:19:39,440 --> 00:19:47,520 Speaker 1: room after this. Let's get into a spoiler free movie 289 00:19:47,560 --> 00:19:51,000 Speaker 1: review now. Talking about a hunting in Venice. It's part 290 00:19:51,040 --> 00:19:54,000 Speaker 1: of a franchise that has had some odd success, even 291 00:19:54,080 --> 00:19:57,080 Speaker 1: though really I've only liked one of the films so far. 292 00:19:57,520 --> 00:20:00,800 Speaker 1: So it's a part of the franchise that include Murder 293 00:20:00,840 --> 00:20:03,520 Speaker 1: on the Orient, Express, Death on the Nile, and now 294 00:20:03,560 --> 00:20:06,320 Speaker 1: we have a haunting in Venice. It's supposed to be 295 00:20:06,400 --> 00:20:08,920 Speaker 1: the spooky one now that we're getting into spooky season. 296 00:20:09,000 --> 00:20:11,919 Speaker 1: At the movies, they wanted to cash in on what 297 00:20:12,040 --> 00:20:14,359 Speaker 1: if we do the same kind of murder mystery, but 298 00:20:14,480 --> 00:20:20,000 Speaker 1: now with a bit of a supernatural horror esque. It's 299 00:20:20,040 --> 00:20:23,080 Speaker 1: really like diet horror. Oh not even close to that. 300 00:20:23,200 --> 00:20:26,000 Speaker 1: It's like horror adjacent. Because you have Kenneth Braina who 301 00:20:26,040 --> 00:20:28,520 Speaker 1: also directs and stars in these movies. He plays the 302 00:20:28,560 --> 00:20:32,080 Speaker 1: detective who is the same detective throughout all of the films. 303 00:20:32,400 --> 00:20:35,680 Speaker 1: This story takes place in nineteen forty seven. He is retired, 304 00:20:35,800 --> 00:20:38,399 Speaker 1: he is done being a detective, but somebody pulls them 305 00:20:38,480 --> 00:20:41,359 Speaker 1: back in. You have Tina Fay's character who is trying 306 00:20:41,400 --> 00:20:44,520 Speaker 1: to write a new book after having three failed books. 307 00:20:44,600 --> 00:20:47,000 Speaker 1: She heard this story about a woman whose daughter died 308 00:20:47,040 --> 00:20:49,320 Speaker 1: from suicide and they want to go check it out 309 00:20:49,359 --> 00:20:51,280 Speaker 1: and get the details. So they go to a seance 310 00:20:51,520 --> 00:20:54,679 Speaker 1: where they try to communicate with the daughter who passed away, 311 00:20:55,080 --> 00:20:57,400 Speaker 1: and then everything hits the fan, and then everything gets 312 00:20:57,400 --> 00:21:00,000 Speaker 1: scary because they are in this building that is supposedly 313 00:21:00,200 --> 00:21:04,480 Speaker 1: haunted by children who want to kill again. Now, I 314 00:21:04,600 --> 00:21:07,040 Speaker 1: enjoyed Death on the Nile because I went into it 315 00:21:07,080 --> 00:21:10,439 Speaker 1: with very low expectations. On the surface level of these movies, 316 00:21:10,480 --> 00:21:13,919 Speaker 1: there really isn't anything spectacular, nothing to really write home about, 317 00:21:14,200 --> 00:21:18,000 Speaker 1: but they are pretty entertaining. What's different about these movies, 318 00:21:18,040 --> 00:21:19,919 Speaker 1: and the reason you could keep making these with the 319 00:21:19,960 --> 00:21:23,600 Speaker 1: revolving cast of characters is because you don't go to 320 00:21:23,680 --> 00:21:26,359 Speaker 1: this movie for the A list star. The format of 321 00:21:26,440 --> 00:21:29,320 Speaker 1: this movie is the star. It's the who done it scenario, 322 00:21:29,920 --> 00:21:34,000 Speaker 1: same formula as the two previous movies. He goes somebody dies, 323 00:21:34,040 --> 00:21:35,919 Speaker 1: he has to figure out how that person dies, and 324 00:21:35,960 --> 00:21:38,920 Speaker 1: then goes through all this investigation of asking all these 325 00:21:38,960 --> 00:21:42,600 Speaker 1: people different questions finding out where they were, just like 326 00:21:42,640 --> 00:21:44,680 Speaker 1: you would in the game of clue. So this is 327 00:21:44,760 --> 00:21:48,040 Speaker 1: kind of reintroducing what they already did with these movies 328 00:21:48,040 --> 00:21:50,600 Speaker 1: back in the day to a whole new generation, and 329 00:21:50,680 --> 00:21:53,480 Speaker 1: I think it works. But I think it's really for 330 00:21:53,640 --> 00:21:58,920 Speaker 1: people who are so into murder dramas and investigations. This 331 00:21:59,000 --> 00:22:01,800 Speaker 1: movie is kind of like Cis because the action isn't 332 00:22:01,840 --> 00:22:06,440 Speaker 1: really hardcore. The horror it really isn't scary whatsoever. There 333 00:22:06,480 --> 00:22:09,119 Speaker 1: are some jump scare moments because really loud noises come 334 00:22:09,119 --> 00:22:11,520 Speaker 1: out of nowhere, so that will get you. But as 335 00:22:11,560 --> 00:22:16,280 Speaker 1: far as creepy visuals or any blood and death, it's 336 00:22:16,600 --> 00:22:20,639 Speaker 1: very PG. Thirteen, So you wouldn't have any worry of 337 00:22:20,680 --> 00:22:23,840 Speaker 1: going to see this movie and having nightmares afterwards unless 338 00:22:23,880 --> 00:22:28,320 Speaker 1: you just really don't do well whatsoever with any horror elements. 339 00:22:28,520 --> 00:22:30,040 Speaker 1: But I feel like an eight year old could watch 340 00:22:30,040 --> 00:22:32,560 Speaker 1: this movie and have no problem falling asleep at night. 341 00:22:32,680 --> 00:22:34,760 Speaker 1: I went into this movie differently than I did Death 342 00:22:34,800 --> 00:22:36,640 Speaker 1: on the Nile. Death on the Nile I had really 343 00:22:36,640 --> 00:22:40,119 Speaker 1: low expectations and ended up enjoying it pretty well. This one, 344 00:22:40,600 --> 00:22:43,000 Speaker 1: since I like that one, I had a little bit 345 00:22:43,160 --> 00:22:46,200 Speaker 1: higher expectations because I knew what the format was going 346 00:22:46,240 --> 00:22:48,280 Speaker 1: to be. I just knew that it was going to 347 00:22:48,320 --> 00:22:51,840 Speaker 1: be naturally engaging because you're trying to figure it out, 348 00:22:51,960 --> 00:22:53,960 Speaker 1: just like the detective is in this movie, and there's 349 00:22:53,960 --> 00:22:56,879 Speaker 1: some fun element to that. It becomes a game to 350 00:22:57,000 --> 00:22:59,320 Speaker 1: try and figure it out and put all the pieces together. 351 00:22:59,640 --> 00:23:03,320 Speaker 1: But I have to say in this one really lack creativity, 352 00:23:03,440 --> 00:23:06,560 Speaker 1: really lacked a lot of imagination. It was so focused 353 00:23:06,600 --> 00:23:09,880 Speaker 1: on making it scary and never really got there that 354 00:23:10,080 --> 00:23:13,560 Speaker 1: it took away from the plot developing and making you 355 00:23:13,640 --> 00:23:16,560 Speaker 1: question different things going on in the movie, and at 356 00:23:16,600 --> 00:23:21,560 Speaker 1: times it just felt really boring. That I'm always invested 357 00:23:21,600 --> 00:23:23,359 Speaker 1: in a movie like this because I want to figure 358 00:23:23,359 --> 00:23:25,680 Speaker 1: out who did it and I want to be right 359 00:23:26,119 --> 00:23:28,360 Speaker 1: that is it. I watched these movies and I want 360 00:23:28,359 --> 00:23:30,679 Speaker 1: to have it right within the first twenty minutes because 361 00:23:31,040 --> 00:23:33,080 Speaker 1: that is just how I am. I feel like this 362 00:23:33,240 --> 00:23:35,800 Speaker 1: was the most predictable out of all these movies because 363 00:23:35,800 --> 00:23:38,720 Speaker 1: they were so focused on making it scary, they've left 364 00:23:38,760 --> 00:23:41,960 Speaker 1: out making it engaging and making it entertaining. So I 365 00:23:42,000 --> 00:23:44,920 Speaker 1: really struggled just to want to pay attention and want 366 00:23:44,960 --> 00:23:47,240 Speaker 1: to see the results of this movie because it was 367 00:23:47,400 --> 00:23:51,119 Speaker 1: just lackluster. And the other problem with the format of 368 00:23:51,160 --> 00:23:54,320 Speaker 1: the movie being the star is it's really hard for 369 00:23:54,440 --> 00:23:56,639 Speaker 1: any of the actors to shine because I feel like 370 00:23:56,640 --> 00:23:59,960 Speaker 1: they are so restricted that nobody really gets a chack 371 00:24:00,040 --> 00:24:02,480 Speaker 1: chants to shine and show off what greade of an 372 00:24:02,520 --> 00:24:05,159 Speaker 1: actor they are because you have Michelle Yao in this 373 00:24:05,200 --> 00:24:08,080 Speaker 1: who is probably the most standout performance. But then you 374 00:24:08,119 --> 00:24:10,800 Speaker 1: have Tina Fey, who I was excited to see, and 375 00:24:10,880 --> 00:24:14,119 Speaker 1: her performance really wasn't great whatsoever, But I think it 376 00:24:14,200 --> 00:24:16,560 Speaker 1: was because she was trying to play this character in 377 00:24:16,640 --> 00:24:20,040 Speaker 1: nineteen forty seven, but the entire time period fell off, 378 00:24:20,160 --> 00:24:23,840 Speaker 1: so her entire character I felt was a little bit wasted. 379 00:24:24,080 --> 00:24:26,600 Speaker 1: And then you have Kenneth Brano who is starring in 380 00:24:26,640 --> 00:24:29,000 Speaker 1: this movie and also directing it, and I have to 381 00:24:29,080 --> 00:24:31,800 Speaker 1: say it really shows in this movie because there's not 382 00:24:31,840 --> 00:24:33,840 Speaker 1: a whole lot of great direction with all the cast, 383 00:24:34,160 --> 00:24:36,560 Speaker 1: and there's also not a really great performance for him him, 384 00:24:36,920 --> 00:24:38,880 Speaker 1: which he is so good in all the other movies. 385 00:24:39,080 --> 00:24:42,200 Speaker 1: And I couldn't help but compare it to Knives Out 386 00:24:42,240 --> 00:24:45,040 Speaker 1: and Knives Out Glass Onion, because Daniel Craig does a 387 00:24:45,040 --> 00:24:47,280 Speaker 1: great job at playing such a great lead in that 388 00:24:47,280 --> 00:24:50,760 Speaker 1: that I feel like the star of that movie is him, 389 00:24:50,840 --> 00:24:52,679 Speaker 1: and it's not just the format of that, because I 390 00:24:52,680 --> 00:24:55,520 Speaker 1: would just watch it for his character, the way he talks, 391 00:24:55,560 --> 00:24:57,439 Speaker 1: the way he figures things out, and the way his 392 00:24:57,560 --> 00:25:01,359 Speaker 1: mind works. In this movie, Kenneth brand really didn't do 393 00:25:01,440 --> 00:25:04,479 Speaker 1: that whatsoever, So I would say, after the first twenty 394 00:25:04,560 --> 00:25:07,679 Speaker 1: maybe twenty five minutes of this movie, it really started 395 00:25:07,720 --> 00:25:10,359 Speaker 1: to go downhill. It did start out with a little 396 00:25:10,359 --> 00:25:15,120 Speaker 1: bit of promise with Michelle Yao's character organizing the seance 397 00:25:15,280 --> 00:25:17,080 Speaker 1: and some of the things that happened early on in 398 00:25:17,080 --> 00:25:20,640 Speaker 1: the film, but everything throughout never really got back there. 399 00:25:20,960 --> 00:25:23,639 Speaker 1: The entire movie just had a really weird tone and 400 00:25:23,680 --> 00:25:26,040 Speaker 1: even a lack of music, because there were scenes that 401 00:25:26,080 --> 00:25:28,800 Speaker 1: were trying to let breathe and let you live in 402 00:25:28,840 --> 00:25:32,200 Speaker 1: that creepiness of the house, but it was just silent 403 00:25:32,240 --> 00:25:34,320 Speaker 1: to the point where it was boring. I needed a 404 00:25:34,359 --> 00:25:36,720 Speaker 1: score there, I needed some music. I needed some more 405 00:25:36,760 --> 00:25:39,080 Speaker 1: things happening in this movie to make me want to 406 00:25:39,119 --> 00:25:43,920 Speaker 1: get to the finale. Surprisingly, this movie is doing pretty 407 00:25:43,920 --> 00:25:47,200 Speaker 1: well given that it had a sixty million dollar budget. 408 00:25:47,240 --> 00:25:49,040 Speaker 1: We went to see this on a Friday night and 409 00:25:49,080 --> 00:25:52,880 Speaker 1: it was surprisingly packed, primarily an older audience, which again 410 00:25:53,000 --> 00:25:54,800 Speaker 1: it goes back to me thinking that people who love 411 00:25:54,920 --> 00:25:58,320 Speaker 1: NCIS also love movies like this, and I don't want 412 00:25:58,320 --> 00:26:00,560 Speaker 1: to hate anybody for enjoying this movie. I think the 413 00:26:00,560 --> 00:26:02,600 Speaker 1: format of it is fine. This one just didn't really 414 00:26:02,600 --> 00:26:05,840 Speaker 1: win me over, but I could see them definitely making 415 00:26:06,160 --> 00:26:09,600 Speaker 1: a fourth movie, and they've even said if Kenneth Branna 416 00:26:09,720 --> 00:26:12,040 Speaker 1: is down to do another one, if there's another story 417 00:26:12,080 --> 00:26:15,240 Speaker 1: to be told, there will be a fourth installment inside 418 00:26:15,240 --> 00:26:18,320 Speaker 1: of this franchise. I hope they get away completely from 419 00:26:18,440 --> 00:26:21,560 Speaker 1: making anything creepy and go back to something like Death 420 00:26:21,560 --> 00:26:23,639 Speaker 1: on the Nile where there's more that goes on in 421 00:26:23,680 --> 00:26:25,960 Speaker 1: the location, because I think that's really what ended up 422 00:26:26,000 --> 00:26:28,199 Speaker 1: hurting this movie in the end, because Death on the 423 00:26:28,280 --> 00:26:30,879 Speaker 1: Nile they're on the boat, but they also had several 424 00:26:30,880 --> 00:26:33,880 Speaker 1: stops along the way for more things to happen. This 425 00:26:33,920 --> 00:26:36,159 Speaker 1: one just felt so boring. It felt like a bottle 426 00:26:36,200 --> 00:26:38,639 Speaker 1: episode from TV where they didn't want to spend a 427 00:26:38,680 --> 00:26:41,560 Speaker 1: whole lot on a lot of different locations. They just 428 00:26:41,560 --> 00:26:43,800 Speaker 1: stay in this place the entire time, and it just 429 00:26:43,840 --> 00:26:46,760 Speaker 1: feels kind of boring and empty and shallow. So at 430 00:26:46,760 --> 00:26:49,520 Speaker 1: the moment of recording this, the movie has made seventy 431 00:26:49,560 --> 00:26:53,480 Speaker 1: one million dollars worldwide. It may continue to rise going 432 00:26:53,520 --> 00:26:57,200 Speaker 1: into October and people wanting to watch something somewhat scary 433 00:26:57,320 --> 00:27:00,159 Speaker 1: or creepy at least. So I would say go to 434 00:27:00,200 --> 00:27:03,560 Speaker 1: see this movie if you just love murder Who Done It? Movies, 435 00:27:03,960 --> 00:27:06,040 Speaker 1: or if you have somebody in your life who doesn't 436 00:27:06,119 --> 00:27:08,880 Speaker 1: like scary movies whatsoever, and you just kind of want 437 00:27:08,920 --> 00:27:12,639 Speaker 1: to waigh them into those waters of maybe possibly getting 438 00:27:12,680 --> 00:27:15,239 Speaker 1: to take them to see The Exorcist later on. I 439 00:27:15,280 --> 00:27:17,960 Speaker 1: don't really think there's anything worth it in this movie 440 00:27:18,000 --> 00:27:21,119 Speaker 1: to have to see it in theaters. Definitely wait for 441 00:27:21,200 --> 00:27:23,280 Speaker 1: it to come on to streaming services because I think 442 00:27:23,320 --> 00:27:26,280 Speaker 1: it's worthy of a stream especially if you haven't seen 443 00:27:26,320 --> 00:27:28,960 Speaker 1: all the other movies inside of the franchise. Maybe just 444 00:27:29,000 --> 00:27:31,879 Speaker 1: knock them out in a weekend. Otherwise you can definitely 445 00:27:31,960 --> 00:27:36,000 Speaker 1: wait for this one. So for a Hunting in Venice, 446 00:27:36,600 --> 00:27:39,680 Speaker 1: I wanted to give it like a three. My expectations 447 00:27:39,680 --> 00:27:42,919 Speaker 1: were not met whatsoever, so I am gonna give it 448 00:27:43,200 --> 00:27:46,000 Speaker 1: two out of five seances. 449 00:27:49,080 --> 00:27:52,720 Speaker 2: It's time to head down to movie Mike Trey Lar Paul. 450 00:27:53,520 --> 00:27:55,679 Speaker 1: Two of my favorite actors are teaming up for the 451 00:27:55,720 --> 00:27:59,199 Speaker 1: first time in thirty years. Talking about Uma Thurman and 452 00:27:59,240 --> 00:28:02,879 Speaker 1: Samuel L. Jackson, who both starred in the movie from 453 00:28:02,960 --> 00:28:06,840 Speaker 1: nineteen ninety four, Pulp Fiction. They are back in a 454 00:28:06,880 --> 00:28:09,640 Speaker 1: movie called The Kill Room, which is a dark comedy 455 00:28:10,280 --> 00:28:14,480 Speaker 1: slash crime thriller movie and one that's kind of going 456 00:28:14,560 --> 00:28:17,080 Speaker 1: under the Radar right now. It's already coming out in 457 00:28:17,119 --> 00:28:20,080 Speaker 1: theaters this Friday, depending on when you're listening to this 458 00:28:20,119 --> 00:28:23,280 Speaker 1: episode September twenty ninth. And it just reminds me that 459 00:28:23,359 --> 00:28:25,359 Speaker 1: so many things are out of whack right now with 460 00:28:25,400 --> 00:28:28,000 Speaker 1: the writer's strike and people not being able to promote 461 00:28:28,040 --> 00:28:30,960 Speaker 1: their projects. We have to get that thing figured out, 462 00:28:31,000 --> 00:28:33,160 Speaker 1: and we have to get those people paid. We were 463 00:28:33,200 --> 00:28:35,840 Speaker 1: on such a great trajectory of movies doing so well 464 00:28:35,880 --> 00:28:39,000 Speaker 1: after the pandemic that this is really starting to halt things. 465 00:28:39,280 --> 00:28:42,600 Speaker 1: So get our writers paid, get our actors paid, Get 466 00:28:42,720 --> 00:28:45,080 Speaker 1: everybody who is out of work right now because of 467 00:28:45,120 --> 00:28:47,400 Speaker 1: the strike paid. Because I want to see more movies 468 00:28:47,400 --> 00:28:50,600 Speaker 1: like this succeed. Because the premise of this movie is great. 469 00:28:50,640 --> 00:28:53,040 Speaker 1: It has an awesome cast, because not only do you 470 00:28:53,080 --> 00:28:55,680 Speaker 1: have two of my favorite actors back together again, but 471 00:28:55,720 --> 00:28:58,520 Speaker 1: you also have Uma Thurman and her daughter Maya Hawk 472 00:28:58,880 --> 00:29:01,800 Speaker 1: starring in their very film together. So mother and daughter 473 00:29:02,280 --> 00:29:06,040 Speaker 1: on Streen together. This is a great moment in cinematic history. 474 00:29:06,360 --> 00:29:08,880 Speaker 1: The movie is about Uma Thurman's character, who is an 475 00:29:09,000 --> 00:29:12,160 Speaker 1: art gallery owner and she's struggling a little bit, and 476 00:29:12,200 --> 00:29:15,320 Speaker 1: then she gets involved with this money laundering scheme with 477 00:29:15,360 --> 00:29:18,720 Speaker 1: this mob to try and help her struggling business. And 478 00:29:18,760 --> 00:29:20,400 Speaker 1: it looks like there's gonna be a little bit of 479 00:29:20,440 --> 00:29:23,360 Speaker 1: a twist, just what I'm taking away from this trailer. 480 00:29:23,840 --> 00:29:26,520 Speaker 1: But before I get into more details, here's a little 481 00:29:26,520 --> 00:29:28,080 Speaker 1: bit of the kill Room trailer. 482 00:29:28,640 --> 00:29:32,240 Speaker 3: So from now on there's a contract. Though sure I 483 00:29:32,360 --> 00:29:35,720 Speaker 3: suggest they buy art art. 484 00:29:36,280 --> 00:29:38,760 Speaker 1: What the frig do you know about art? 485 00:29:39,480 --> 00:29:43,760 Speaker 3: This classy art gallery run by this young lady will 486 00:29:43,800 --> 00:29:47,960 Speaker 3: take a reasonable cut for herself and cut us a 487 00:29:48,160 --> 00:29:53,280 Speaker 3: nice clean check. This thing that looks like a smurf 488 00:29:53,360 --> 00:29:56,840 Speaker 3: wood diarrhea can sell for a million bucks and the 489 00:29:57,000 --> 00:29:59,160 Speaker 3: irs Wooden bat An I. 490 00:30:00,000 --> 00:30:03,520 Speaker 1: Samuel L. Jackson plays this mob boss, and he has 491 00:30:03,560 --> 00:30:06,640 Speaker 1: this assassin that he is working with, and they need 492 00:30:06,680 --> 00:30:09,560 Speaker 1: to find a way to clean their money because they're 493 00:30:09,560 --> 00:30:12,640 Speaker 1: taking payment for these people he is killing. But they 494 00:30:12,680 --> 00:30:15,280 Speaker 1: can't use that money because the IRS can track it 495 00:30:15,360 --> 00:30:18,880 Speaker 1: back to them. So they find Uma Thurman's character, who 496 00:30:18,920 --> 00:30:23,480 Speaker 1: has this struggling art gallery, and the assassin starts making 497 00:30:23,520 --> 00:30:27,240 Speaker 1: these really awful paintings, giving them to her to sell, 498 00:30:27,320 --> 00:30:29,720 Speaker 1: and she takes a cut of the profits. But then 499 00:30:29,760 --> 00:30:32,920 Speaker 1: what happens. It seems like his art starts to become popular. 500 00:30:33,080 --> 00:30:36,480 Speaker 1: He creates this artist nickname that he goes by, kind 501 00:30:36,480 --> 00:30:38,280 Speaker 1: of like a Banksy character, which is kind of the 502 00:30:38,280 --> 00:30:40,600 Speaker 1: situation you have going on in this movie. And I 503 00:30:40,600 --> 00:30:43,000 Speaker 1: feel like it's a bit of a commentary and maybe 504 00:30:43,080 --> 00:30:46,320 Speaker 1: even in reflection of what actually happens in real life. 505 00:30:46,320 --> 00:30:49,640 Speaker 1: And I guess I've had this suspicion. Call it a 506 00:30:49,680 --> 00:30:53,040 Speaker 1: conspiracy theory, if you will, but I've always kind of 507 00:30:53,120 --> 00:30:55,800 Speaker 1: thought that as much as I love art and can 508 00:30:55,840 --> 00:30:59,360 Speaker 1: appreciate it, sometimes I see some artwork and I can't 509 00:30:59,400 --> 00:31:02,840 Speaker 1: believe how much it sells for. So in the back 510 00:31:02,880 --> 00:31:05,280 Speaker 1: of my mind, I'm always just looking at art or 511 00:31:05,280 --> 00:31:07,680 Speaker 1: really any kind of business, like how do they operate? 512 00:31:07,720 --> 00:31:10,040 Speaker 1: How did they stay open? I drive by a lamp 513 00:31:10,040 --> 00:31:12,040 Speaker 1: store every day on my way home, and I think, 514 00:31:12,120 --> 00:31:14,920 Speaker 1: who's going in there and buying lamps to keep the 515 00:31:15,000 --> 00:31:17,800 Speaker 1: lights on in this facility. I feel the same way 516 00:31:17,880 --> 00:31:21,160 Speaker 1: sometimes about art, of how can you sell this painting 517 00:31:21,240 --> 00:31:24,440 Speaker 1: that to me looks like just a normal painting, but 518 00:31:24,520 --> 00:31:27,880 Speaker 1: it's worth one to two million dollars. Now, I feel 519 00:31:27,960 --> 00:31:31,000 Speaker 1: a lot of this is based on the artist and 520 00:31:31,080 --> 00:31:33,800 Speaker 1: based on the story behind it. So if there is 521 00:31:33,840 --> 00:31:36,560 Speaker 1: a demand for it, you can create this buzz and 522 00:31:36,640 --> 00:31:40,240 Speaker 1: create this price that somebody is willing to pay that amount, 523 00:31:40,520 --> 00:31:42,720 Speaker 1: because it seems like in the movie, they get a 524 00:31:42,760 --> 00:31:45,080 Speaker 1: client and instead of paying them for the hit, they 525 00:31:45,120 --> 00:31:48,440 Speaker 1: buy this artwork from the gallery from this assassin, and 526 00:31:48,560 --> 00:31:51,360 Speaker 1: then it looks like it's a clean, done deal. But 527 00:31:51,400 --> 00:31:54,360 Speaker 1: what they don't expect is his artwork to actually get 528 00:31:54,400 --> 00:31:58,120 Speaker 1: popular and people who have no idea about this operation 529 00:31:58,360 --> 00:32:01,160 Speaker 1: just start buying the art because there's a buzz around it. 530 00:32:01,440 --> 00:32:03,960 Speaker 1: It also kind of reminds me of what happened just 531 00:32:04,200 --> 00:32:06,960 Speaker 1: a couple of years ago with NFTs going on sale 532 00:32:07,000 --> 00:32:10,360 Speaker 1: and everybody was buying these really expensive NFTs and trying 533 00:32:10,400 --> 00:32:13,920 Speaker 1: to classify and explain to us exactly what made them 534 00:32:13,960 --> 00:32:17,600 Speaker 1: so valuable and how there was a limited space in 535 00:32:17,640 --> 00:32:20,120 Speaker 1: the digital world too, so these things were going to 536 00:32:20,160 --> 00:32:22,760 Speaker 1: hold their value. And I just read this study that 537 00:32:23,080 --> 00:32:27,560 Speaker 1: examined over seventy three thousand NFT collections and found that 538 00:32:27,760 --> 00:32:31,760 Speaker 1: ninety five percent of them may now be worthless. So 539 00:32:31,800 --> 00:32:34,400 Speaker 1: it's just odd timing that this movie is coming out 540 00:32:34,520 --> 00:32:37,160 Speaker 1: right now. I'm just excited to see Uma Thurman and 541 00:32:37,200 --> 00:32:40,840 Speaker 1: Maya Hank on screen together. I think that dynamic is interesting. 542 00:32:41,320 --> 00:32:44,600 Speaker 1: Some people may issue a nepotism alert, and yes, you 543 00:32:44,640 --> 00:32:48,400 Speaker 1: have two really talented and well connected parents with Uma 544 00:32:48,480 --> 00:32:51,120 Speaker 1: Thurman and Ethan Hank, But I also think Maya Hank 545 00:32:51,240 --> 00:32:54,080 Speaker 1: has a lot of talent. I loved her and Stranger Things. 546 00:32:54,160 --> 00:32:57,200 Speaker 1: I also loved her and Netflix's Due Revenge, so I 547 00:32:57,240 --> 00:32:59,680 Speaker 1: think there is a lot there that I'm not screaming 548 00:32:59,680 --> 00:33:02,560 Speaker 1: NEPAI if we actually get somebody who is worth the 549 00:33:02,600 --> 00:33:04,880 Speaker 1: crap right now. I also just love the fact that 550 00:33:04,920 --> 00:33:08,240 Speaker 1: Samuel L. Jackson is still just cranking out movies. He 551 00:33:08,280 --> 00:33:11,680 Speaker 1: has been in over one hundred and seventy films. I 552 00:33:11,720 --> 00:33:13,440 Speaker 1: feel like if he is in it, it just takes 553 00:33:13,440 --> 00:33:16,520 Speaker 1: it up to a different level. Minus Secret Invasion, that 554 00:33:16,680 --> 00:33:19,160 Speaker 1: was not a great Marvel show. So if I had 555 00:33:19,200 --> 00:33:26,080 Speaker 1: to share my excitement level after watching this trailer, let's see, 556 00:33:27,240 --> 00:33:30,840 Speaker 1: on a scale of one through five, I'm about a 557 00:33:30,920 --> 00:33:34,080 Speaker 1: four for this movie, mainly because prior to sitting down 558 00:33:34,160 --> 00:33:36,520 Speaker 1: and watch this trailer, I didn't really hear or know 559 00:33:36,640 --> 00:33:39,000 Speaker 1: much about the plot, and right after I finished it, 560 00:33:39,080 --> 00:33:41,280 Speaker 1: I thought, I gotta see this movie now. Oh it 561 00:33:41,360 --> 00:33:44,000 Speaker 1: just happens to be coming out on Friday, perfect timing, 562 00:33:44,160 --> 00:33:46,640 Speaker 1: So I'm about a four out of five. I'm also 563 00:33:46,720 --> 00:33:48,920 Speaker 1: just holding on to hope that Uma Thurman bust out 564 00:33:48,920 --> 00:33:51,080 Speaker 1: some of her kill Bill moves. The movie is called 565 00:33:51,120 --> 00:33:53,440 Speaker 1: The Kill Room and it comes out this Friday, September 566 00:33:53,480 --> 00:33:54,120 Speaker 1: twenty ninth. 567 00:33:54,720 --> 00:33:57,680 Speaker 2: Had that was this week's edition of Movie by. 568 00:33:58,120 --> 00:34:00,560 Speaker 1: Trailer Bar, and that's gonna do it. So for another 569 00:34:00,560 --> 00:34:03,240 Speaker 1: episode here of the podcast. Before I go, I got 570 00:34:03,240 --> 00:34:06,280 Speaker 1: to give my listeners shout out of the week. This week, 571 00:34:06,360 --> 00:34:08,719 Speaker 1: I'm going over to my TikTok, which I just had 572 00:34:08,760 --> 00:34:11,680 Speaker 1: one kind of pop off out of nowhere. So if 573 00:34:11,680 --> 00:34:14,080 Speaker 1: you don't follow me on TikTok, what are you doing? 574 00:34:14,160 --> 00:34:17,360 Speaker 1: I'm there at Mike Distro on every social media platform 575 00:34:17,440 --> 00:34:20,480 Speaker 1: as Mike Distro. This week, I am shouting out Rene Namos, 576 00:34:20,520 --> 00:34:23,520 Speaker 1: who commented on my none to review and said your 577 00:34:23,600 --> 00:34:27,000 Speaker 1: voice is growing, brother, keep up the great work. Thank you, Renee. 578 00:34:27,000 --> 00:34:30,200 Speaker 1: Thank you for listening and watching my review. I feel 579 00:34:30,239 --> 00:34:33,879 Speaker 1: like over time, I've just gotten more dialed into who 580 00:34:33,960 --> 00:34:35,680 Speaker 1: I am and who I want to be, and what 581 00:34:35,719 --> 00:34:37,160 Speaker 1: I want to say and how I want to do 582 00:34:37,239 --> 00:34:40,960 Speaker 1: my reviews. I will honestly tell you right now, Early on, 583 00:34:41,880 --> 00:34:44,239 Speaker 1: I was so concerned with what people were going to 584 00:34:44,280 --> 00:34:47,120 Speaker 1: think of my opinions, and I wanted to be like 585 00:34:47,200 --> 00:34:50,200 Speaker 1: a well renowned critic, and sometimes I felt like I 586 00:34:50,239 --> 00:34:54,719 Speaker 1: needed to have a certain view to be seen as legitimate. 587 00:34:55,080 --> 00:34:57,960 Speaker 1: And I realized, after the years of doing this podcast, 588 00:34:58,080 --> 00:35:00,399 Speaker 1: I just have to say how I feel and say 589 00:35:00,400 --> 00:35:02,399 Speaker 1: it the way I want to say it, even if 590 00:35:02,400 --> 00:35:04,560 Speaker 1: it makes me look or sound dumb, because there's just 591 00:35:04,640 --> 00:35:07,520 Speaker 1: genuine to me and genuine to my emotions. So I 592 00:35:07,520 --> 00:35:10,440 Speaker 1: feel like, oddly I've backed my way into finding this 593 00:35:10,520 --> 00:35:14,440 Speaker 1: newfound confidence. So thank you RENEV for realizing and shouting 594 00:35:14,440 --> 00:35:16,840 Speaker 1: that out. So you shout me out, I shout you 595 00:35:16,920 --> 00:35:19,920 Speaker 1: out back. Thank you for listening. Hope you're subscribed at 596 00:35:19,920 --> 00:35:22,120 Speaker 1: this point. If you're not, what are you doing. If 597 00:35:22,120 --> 00:35:24,040 Speaker 1: you haven't told a friend about this podcast who also 598 00:35:24,080 --> 00:35:27,080 Speaker 1: loves movies, what are you doing? Get on that. Thank 599 00:35:27,120 --> 00:35:30,040 Speaker 1: you to the movie crew. Until next time, go out 600 00:35:30,080 --> 00:35:33,480 Speaker 1: and watch good movies and I will talk to you later.