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

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

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Speaker 1: is Rob Lamb and I'm Annie Reese. That's right. Can

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Speaker 1: I just jump in? Yeah? Yeah, that's that's that's perfectly,

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Speaker 1: perfectly fine. That's the way to do it. Yes, everyone,

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Speaker 1: it's Annie Reese of Stuff Mom Never told You and

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Speaker 1: Safer Um. She is going to join me as my

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Speaker 1: guest co host today as Joe is still very much

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Speaker 1: on parental leave. Uh. And we kind of had a

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Speaker 1: back and forth about what to discuss here, and eventually

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Speaker 1: there was just no denying the appeal of Congo. I

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Speaker 1: think it was my first option, and I'm very sorry

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Speaker 1: if I overwhelmed you, because I do love movies. I

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Speaker 1: do love bad slash weird. I don't want to put

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Speaker 1: them in the same category, but I do love movies

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Speaker 1: that kind of make you raise your eyebrow like huh um.

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Speaker 1: So when you asked, I was super excited and immediately

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Speaker 1: sent you I think like fifteen suggestionss what Congo was

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Speaker 1: the first one. And I hope Joe is not mad

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Speaker 1: that we're doing it without him, because I've talked about

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Speaker 1: Congo with him um, but it is just something that

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Speaker 1: is hard to explain. In fact, last night I was

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Speaker 1: going over some of your notes and I was laughing

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Speaker 1: aloud at your notes because it's just a strange film.

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Speaker 1: So much of it is hard to describe, and I

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Speaker 1: kind of love that about it. I'm kind of endeared

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Speaker 1: by how strange it is, if that makes sense. Yeah,

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Speaker 1: It's one of those films where, on one hand, I

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Speaker 1: can't imagine Congo is anyone's favorite movie. No, and yet

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Speaker 1: it's hard not to love. And if not parts of

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Speaker 1: the film or the whole film itself, you you've still

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Speaker 1: got to admire sort of the the guts to try

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Speaker 1: and put together something like this like this was. It's

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Speaker 1: it's like a throwback to older jungle adventure movies, but

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Speaker 1: with the high tech Michael Crichton edge to it. And

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Speaker 1: I'm not sure ultimately anybody was really clamoring for this,

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Speaker 1: but it's it's hard to argue with the fun results here. Yes, yes,

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Speaker 1: I think that's It's such a It's a movie that

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Speaker 1: continually is asking you, like, well, don't ask too many questions.

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Speaker 1: Just come along with this journey. We don't have to

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Speaker 1: explain this. It's just gonna be fun, and it's it's

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Speaker 1: it does end up being very fun, even though at

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Speaker 1: the end you're like, but wait, and it just like

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Speaker 1: switches genres a million times. It's never entirely clear like

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Speaker 1: what it's trying to be. It's very obviously in the

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Speaker 1: shadow of Jurassic Park, because they had come out in

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Speaker 1: the wake of Jurassic Park. Um, but there's something about

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Speaker 1: about so much of the acting in it that is

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Speaker 1: just full hearted despite what is going on around, like

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Speaker 1: maybe even because of what is going on in the

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Speaker 1: script that is just hard not to kind of it

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Speaker 1: just kind of wind you over. You're like, oh, yeah, sure,

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Speaker 1: let's go on this journey it has. It has a

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Speaker 1: lot of energy, and it has some great performers in it,

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Speaker 1: who many of which really decided to chew the scenery,

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Speaker 1: which I think is the right impulse for a film

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Speaker 1: like this. And then the genre I wouldn't I won't

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Speaker 1: say it's necessarily genre confusion, but you there are elements

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Speaker 1: of this movie that are kind of monster film and

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Speaker 1: and perhaps even seem like they might venture into horror.

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Speaker 1: But there's also plenty of stuff that's just kind of

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Speaker 1: this old fashioned essentially like a jungle cruise kind of adventure.

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Speaker 1: And and if if you go in just hungry for

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Speaker 1: the killer drillas, you get a little bit at the beginning,

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Speaker 1: but then you gotta wait a long time before you

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Speaker 1: get back to them. I think I read I read

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Speaker 1: an article that said, if you're for a movie that

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Speaker 1: was like promising killer guerrillas, you only really get them

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Speaker 1: at the one hundred minute mark, just constantly like but

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Speaker 1: wait where okay, but then they and then the ultimately guessyeah,

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Speaker 1: they're not on screen a lot, but there are a

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Speaker 1: lot of gorillas on screen when they are on screen,

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Speaker 1: so you do get to see a lot of really

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Speaker 1: amazing guerrilla costumes. And I'm I'm a sucker. I'm a

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Speaker 1: sucker for a bad gorilla costume much and you bring

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Speaker 1: a great gorilla costume, and I'm totally on board. Yes,

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Speaker 1: and I if you would allow me, I would love

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Speaker 1: to tell the very complicated story of how I saw congo.

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Speaker 1: Oh let's hear it. Yes, okay, okay, um, so come

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Speaker 1: along with this journey like this is oh so I

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Speaker 1: One of the first movies I ever saw in theaters

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Speaker 1: was Jurassic Park. I snuck into the theater. I was

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Speaker 1: like three or four. I should not have been there,

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Speaker 1: and I had a nightmare about raptors that I and

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Speaker 1: I couldn't hide that I had seen this movie because

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Speaker 1: it became very clear. So I got very big trouble

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Speaker 1: for it. But I loved the movie, and after that

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Speaker 1: I became Once I got older, I read a lot

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Speaker 1: of Michael Crichton. I really liked Spear. I think my

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Speaker 1: interest was sort of um reignited in the two thousand's

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Speaker 1: Um after Lost, because there's a big lost theory about

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Speaker 1: the book prey Um. Yeah, So I started reading it

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Speaker 1: again and somehow Congo never entered this year. I did

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Speaker 1: not know it was written by Michael Crichton. I because

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Speaker 1: I'm kind of gullible and sometimes terrible at deciphering sarcasm,

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Speaker 1: had been told that Congo was an Oscar winning movie

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Speaker 1: and like best film level, okay, so I I thought

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Speaker 1: it was going to be this really dramatic, sad take

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Speaker 1: on I don't know, diamonds and or guerrillas in Africa, which,

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Speaker 1: by the way, that is one thing that does not

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Speaker 1: age well me. Um. So I was preparing it for

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Speaker 1: it to be a really emotional, sad film and because

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Speaker 1: of that I had put it off. I'd put off

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Speaker 1: seeing it for years and years and years, still not

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Speaker 1: knowing it's Michael Criton. And so at the beginning of

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Speaker 1: the pandemic um when it's like, oh gosh, I'm just

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Speaker 1: gonna have to start, I'm gonna stream everything because that's

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Speaker 1: what I that's what I have the only left to

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Speaker 1: me to do. I was with a friend of mine,

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Speaker 1: a very very good friend of mine, and I was like,

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Speaker 1: you know what to nice to night, I'm gonna I'm

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Speaker 1: gonna do Congo. I'm gonna stream it. I'm gonna be

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Speaker 1: sad and it's going to be great and I So

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Speaker 1: we kept putting it off even into the night, and

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Speaker 1: so it was like two am, and I was kind

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Speaker 1: of tipsy, and I started watching it, and she went,

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Speaker 1: she went to lay down into a room next to

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Speaker 1: me so she could still hear me, but she wasn't

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Speaker 1: watching it. So what follows was me desperately trying to

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Speaker 1: make sense in my head about how this could be

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Speaker 1: a best Picture Oscar movie, and me shouting at Katie like,

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Speaker 1: oh my god, Tim Curry showed up and he's got

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Speaker 1: some accents I can't explain, and her being like what

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Speaker 1: and me being like, oh my gosh, there's a there's

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Speaker 1: a talking griprilla and like smartinis what's going on? And

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Speaker 1: just like my brain desperately trying to make this make sense.

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Speaker 1: And I think it's a real testament to like what

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Speaker 1: you think a movie is when you go into it,

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Speaker 1: of how hard I was trying to well there's I mean,

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Speaker 1: surely it's something. I'm maybe I'm missing something or and

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Speaker 1: so I it wasn't until the lasers laser ring of

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Speaker 1: the gorillas at the end that I was finally like,

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Speaker 1: I'm not sure this movie one any Oscars. Then with

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Speaker 1: the escape apen the hot air balloon, I was like, okay,

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Speaker 1: there in a hot air balloon. I don't think I

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Speaker 1: don't think this was an award winning movie at all.

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Speaker 1: And so then I desperately like go online and I

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Speaker 1: searched what is this movie? And to my delight, I

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Speaker 1: found several several articles about it that were like exactly that,

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Speaker 1: what is this movie? Um? And I read them all

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Speaker 1: and then I said, we are watching this again, and

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Speaker 1: I need you to witness what I just saw. So

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Speaker 1: it was like only a couple of years ago I

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Speaker 1: saw it, and I just It's still left such a

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Speaker 1: mark on me because I was the whole time, what

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Speaker 1: is going on here? Oh wow, that's so Yeah. If

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Speaker 1: you go into into into the film Congo expecting one

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Speaker 1: of these, and then they were I believe, several like

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Speaker 1: serious films that came out and at least in the

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Speaker 1: decade that followed, dealing with like serious dramatic scenarios in Africa. Uh,

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Speaker 1: this is this is not one of them, though, but

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Speaker 1: I can imagine that. Yeah, you're surprised when these various

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Speaker 1: speculative and fantastic elements begin to pop up. Oh my gosh,

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Speaker 1: the hot air ballue. It's the funniest part to me

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Speaker 1: is that I made it all the way to that

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Speaker 1: part before I was finally like, something's off here. I

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Speaker 1: think I've been told a lie about what it is

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Speaker 1: that is that's amazing to the second viewing you had,

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Speaker 1: that was the one where you went in having full

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Speaker 1: knowledge of what Congo was and what you're going to

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Speaker 1: get out of it. Yes, and now I've seen it

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Speaker 1: several several times and it's kind of a tradition, a

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Speaker 1: tradition with me and some friends that we watch it

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Speaker 1: and mostly we just are like, look, at what Tim

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Speaker 1: Curry is doing, because he's really, like you said, a

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Speaker 1: lot of the actors are chewing up the scenery. Him

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Speaker 1: and Ernie Hudson are just it feels like they're having

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Speaker 1: a good time. And yeah, I hope so because they

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Speaker 1: it's it's shining through and it's so fun to just

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Speaker 1: watch them have that fun. Yeah. Yeah, I'm I'm looking

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Speaker 1: forward to talking more about about Ernie Hudson in a

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Speaker 1: bit because it is it is a great Ernie Hudson roll. Uh,

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Speaker 1: perhaps his best roll. It's it's amazing. Now my history

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Speaker 1: with Congo, Uh, it's very much connected to Jurassic Park,

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Speaker 1: you know, because Jurassic Park comes out in theaters. I

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Speaker 1: think I was fourteen at that point, and like a

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Speaker 1: lot of kids of that of that age in that

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Speaker 1: time period, like instantly you're you're in on Michael Crichton books.

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Speaker 1: You pick up a copy of Jurassic Park, you read

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Speaker 1: that and uh, and they both provide a very similar

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Speaker 1: but slightly differing experiences. And I remember my my dad

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Speaker 1: had read and was reading some Michael Crichton at the time,

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Speaker 1: so we kind of had that to bond over, and

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Speaker 1: I read I read a series of them at the time,

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Speaker 1: I think I read Sphere, which I think I've mostly forgotten,

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Speaker 1: Eaters of the Dead, which I enjoyed a lot, and

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Speaker 1: then the novel Congo, which of course is the basis

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Speaker 1: for this film. Um So, looking back on it, I

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Speaker 1: think I was drawn in more to the more fantastic

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Speaker 1: of the Michael Crichton books, the ones that involved dinosaurs

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Speaker 1: coming back from the dead, uh, cannibal caveman attacking vikings,

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Speaker 1: and of course this wonderful tale of of strange lost

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Speaker 1: guerrillas and lost cities in the jungle and superpowered lasers

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Speaker 1: of course, and diamonds that somehow, you know, that's one

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Speaker 1: of my other favorite parts of this movie. And I

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Speaker 1: am a big sucker for this period of technology where

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Speaker 1: I experienced it. I grew up with it, but it

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Speaker 1: feels so outdated and kind of like wonky now, and

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Speaker 1: it's clear that, like the understanding wasn't entirely there. So

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Speaker 1: I love the plot line of just like, don't ask

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Speaker 1: too many questions, but this diamond is how we're going

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Speaker 1: to revolutionize communications technology and it is necessary for satellites. Yeah.

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Speaker 1: The techno aspect of the film is it's one of

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Speaker 1: the aspects of Michael Crichton's work that I think tended

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Speaker 1: to set a lot of his stuff apart, especially from

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Speaker 1: this period of his writing, because you had he had

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Speaker 1: a real knack for like adventure and thriller stories, but

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Speaker 1: then would would bring in this level of technology and

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Speaker 1: technological uh speculation, and yeah, it made things feel more

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Speaker 1: alive at the time. Some of it maybe it has

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Speaker 1: not aged as well, just because that's how that's how

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Speaker 1: cutting edge sci fi works. As you eventually reached the

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Speaker 1: period where you you read Neuromancer again and you're like, whoa,

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Speaker 1: they're sending faxes. Um, that doesn't feel very cyberpunk, but

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Speaker 1: but it's just how it goes. Yeah, and I do

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Speaker 1: love it. I mean, there's so many parts of this

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Speaker 1: movie where it is very fun, which again I'll use

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Speaker 1: that word a lot because I do think Congo is

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Speaker 1: a very fun movie. Um to look back at the

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Speaker 1: technology and just smile to yourself and be like, well,

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Speaker 1: it was a different time and they were trying. Yeah,

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Speaker 1: it's I mean, this is a pretty pricey film. I

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Speaker 1: don't think it's the most expensive film that we've watched

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Speaker 1: on on Weird House, but it's Um, it's it's up there.

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Speaker 1: It was a big summer blockbuster, and the weird thing

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Speaker 1: is that it was successful. I understand it. It maybe

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Speaker 1: not critically, but it made money at the box I was.

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Speaker 1: People went out and saw it and they enjoyed it.

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Speaker 1: And yet it is it is the right level of

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Speaker 1: blockbuster where it's sort of culturally forgotten by a lot

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Speaker 1: of people, which allows someone like you to come around

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Speaker 1: later and go into it not knowing exactly what you're

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Speaker 1: going to get out of it. Yeah. Such a lot

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Speaker 1: of the articles I read before this, a lot of

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Speaker 1: people said that, like people are rediscovering Congo and asking

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Speaker 1: the same questions I did after watching it. And it

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Speaker 1: is interesting because, as you said, people saw it and

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Speaker 1: it had a huge marketing push, huge marketing push. From

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Speaker 1: what I understand, I think there was a quote from

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Speaker 1: one of the somebody higher up involved in the film

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Speaker 1: that he basically said, anybody who doesn't see Congo is

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Speaker 1: a terrible person or something. But they have a real

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Speaker 1: really hyping this and I'm surprised that. Yeah, it just

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Speaker 1: I guess people were like, sure there was this talking gorilla,

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Speaker 1: let's move on to another thing. But now people are

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Speaker 1: rediscovering it. And it is. It's just a ride. I'm

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Speaker 1: excited for any listeners who haven't seen it to just

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Speaker 1: just describing the plot. That was one of the most

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Speaker 1: fun things that night when I was watching it the

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Speaker 1: first time and just shouting these random phrases to my

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Speaker 1: friend in the other boom, like I had to share

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Speaker 1: it with her because this is so bizarre to explain

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Speaker 1: to someone. Yeah, it's it's the story behind it is

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Speaker 1: kind of bizarre to um. I was reading a little

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Speaker 1: bit about this. Like, one thing we have to keep

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Speaker 1: in mind is that coming back to the period that

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Speaker 1: the book comes out, So by the late seventies, Michael

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Speaker 1: Crichton was already a big name, both with books but

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Speaker 1: also with movies. We'll get into of that in a bit,

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Speaker 1: but the story goes that he had this idea to

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Speaker 1: do a modern King Solomon's Minds type movie, a modern

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Speaker 1: jungle adventure but updated for modern audiences, with lots of

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Speaker 1: you know, Michael Crichton technos stuff in it. And twentieth

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Speaker 1: Century Fox loved it. In fact, they loved it so

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Speaker 1: much that they signed him to a contract to write

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Speaker 1: the novel, the screenplay, and direct it before there was

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Speaker 1: even a book Uh, he signed, but then he got

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Speaker 1: massive writer's block and had to use an isolation tank

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Speaker 1: to overcome it. And that is where Congo comes from.

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Speaker 1: It emerges from the isolation tank. That makes sense. That

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Speaker 1: makes sense. And he had some really this original take

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Speaker 1: on the film that he was going to do. It

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Speaker 1: sounds like it was going to be extremely different, uh,

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Speaker 1: and also kind of gave me the vibes of like,

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Speaker 1: how is this going to get made? How are we

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Speaker 1: going to translate the story to a movie? Yeah, and

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Speaker 1: I think there were there were some some issues early on,

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Speaker 1: just like how would you create like the guerrillas. And

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Speaker 1: I think one of the reasons they ended up making it,

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Speaker 1: they're like, well, we've done Jurassic Park, now we can

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Speaker 1: do anything. Let's make c g I guerrillas. And I

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Speaker 1: think it didn't take them long to realize that that

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Speaker 1: a that wasn't really achievable, mainly because of the fur issue,

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Speaker 1: but then also I think they encountered something that that

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Speaker 1: the filmmakers have have sort of have to rekeep reminding them,

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Speaker 1: and that is guerilla suits absolutely work. Guerrilla suits are great.

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Speaker 1: You get a good physical actor in there who can

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Speaker 1: move around properly. And and it's amazing. It totally in fact,

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Speaker 1: it works so well. You know, you you will encounter

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Speaker 1: films like say, hell Boy. I remember seeing some behind

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Speaker 1: the scenes stuff with Giama do Toro. We was talking

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Speaker 1: about creating these um like secondary demon monsters that held

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Speaker 1: boy battles, and he was like, well, basically we said,

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Speaker 1: let's start with the guerilla suit and let's just monster

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Speaker 1: it up. Make it not a guerrilla but ad men,

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Speaker 1: but performance wise, it's essentially a guerrilla suit because that

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Speaker 1: absolutely works. Yeah. Yeah, that's really interesting because I do

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Speaker 1: think um and I just watched documentary about this the

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Speaker 1: other day about special effects, and I do think it's

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Speaker 1: interesting that like Jurassic Park was such this like touchstone

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Speaker 1: in terms of technology what we can do, and it

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Speaker 1: was a lot in a lot of ways, like they

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Speaker 1: had so many practical things, but they also had c

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Speaker 1: g I and so I think there was a lot

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Speaker 1: of like, well maybe c g I sounds cooler, like

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Speaker 1: this technology is newrous what much must be better? And

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Speaker 1: I think that we have seen and have talked about

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Speaker 1: like c g I is obviously gotten a lot better

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Speaker 1: since then, but in those early days especially, there was

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Speaker 1: something better. It worked better to have these guerrilla suits

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Speaker 1: as opposed to trying to do something with c g I.

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Speaker 1: Like there Stan Winston who was behind it, like he

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Speaker 1: he created these, and I don't think I think it

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Speaker 1: would have been much worse if they had trying to

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Speaker 1: go a different route, especially because as we're going to

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Speaker 1: talk about there, I can't say it enough that this

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Speaker 1: guerrilla like drink some martini, like we can't. I think

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Speaker 1: if they had tried to c g I some of

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Speaker 1: this stuff, or gone a different way than guerrilla suits,

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Speaker 1: then it would be funnier in a way that they

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Speaker 1: absolutely didn't intend. There are certain scenes in this movie

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Speaker 1: where I'm like, I can't tell if you meant for

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Speaker 1: this to be funny or not. But if they had

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Speaker 1: gone c g I guerrillas, it would be an entirely

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Speaker 1: different piece. Because there's plenty of stuff about this film

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Speaker 1: that does feel dated, be at this sort of high

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Speaker 1: tech stuff or the general like sheen that is over everything,

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Speaker 1: and and like the film doesn't have like a visual

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Speaker 1: um vision. I guess that really supersedes that ninety five

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Speaker 1: nous of the whole picture. But the gorilla suits, amy

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Speaker 1: that they all look very real. You still buy them

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Speaker 1: like they hold up, even if there are other aspects

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Speaker 1: of filmed it down. It's true. It's true. So but

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Speaker 1: before we we go move on to the trailer, and

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Speaker 1: I'll one more thing I want to add is that, Yeah,

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Speaker 1: I very much remember enjoying the book. I did read

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Speaker 1: the book first. On this one. It's full of a

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Speaker 1: lot of traditional jungle adventure story elements, but with the

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Speaker 1: added laser technology that's very much in there. It does

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Speaker 1: get progressively weirder as you end up learning more about

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Speaker 1: these mysterious gray apes in this lost city. And I

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Speaker 1: think a lot of this ties into some elements of

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Speaker 1: essentially what was kind of darwin exploitation fiction of yesteryear. Uh.

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Speaker 1: We see this in um in the works of of

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Speaker 1: HP lovecrafts uh of acts concerning the late author German

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Speaker 1: um J. E. R. M. Y And but also Sir

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Speaker 1: Arthur Cunnan Doyle. Uh he had he had one of

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Speaker 1: the Sherlock Home adventures called the Adventure of the Crooked

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Speaker 1: Man and uh. And then there's also it's also worth

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Speaker 1: noting that the Lovecraft tail in question kind of links

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Speaker 1: back to an Edgar Rice Burrow story from nineteen sixteen

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Speaker 1: titled Tarzan and the Jewels of Opar, which also seems

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Speaker 1: very It seems like it was probably a primary inspiration

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Speaker 1: on Michael Crichton here because it concerns a lost city

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Speaker 1: and it also concerns a group of human ape hybrids

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Speaker 1: that protected and all of these films, I mean, all

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Speaker 1: these stories that I just mentioned, Uh, they all have

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Speaker 1: elements of human ape hybrid city and strange things, strange

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Speaker 1: apes and sort of evolution tinged danger. Yeah. Yeah, that's

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00:20:51,320 --> 00:20:53,240
Speaker 1: a good point. And I do have a quote I

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Speaker 1: want to read at the end, but somebody was reviewing

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Speaker 1: it and was just asking, like the monstrous gray apes

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Speaker 1: and this, if you dig too deep into why they exist,

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Speaker 1: it doesn't really make sense. Um. No, no, it doesn't

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Speaker 1: really make sense at all. But that's true. Yeah, that

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Speaker 1: kind of um, evolution gone wrong or maybe like even

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Speaker 1: our fears around evolution and even some of those past

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Speaker 1: perhaps scare stories and sometimes not scary stories of experiments

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Speaker 1: done with humans and apes and like the Soviet Union

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Speaker 1: and stuff like that, But then you always had kind

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Speaker 1: of the comedic tinge of you know, hearing the Henderson's,

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Speaker 1: Like there was a lot going on in that genre

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Speaker 1: activity or in that kind of specific idea. Uh so

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Speaker 1: that's interesting, all right, Well it is again a jungle

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Speaker 1: adventure movie, but with satellites and lasers. Let's go ahead

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Speaker 1: and hear that fabulous mid nineties trailer audio to activate

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Speaker 1: the remote in the race for the world's most advanced

378
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Speaker 1: communications technology, are shocking discovery has been made. Lock your

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00:22:14,320 --> 00:22:20,960
Speaker 1: remote giving a thermal reading result to six six. It

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Speaker 1: will take two long scientists into the heart of the

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Speaker 1: African jungle. There a secret hidden for two thousand years

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Speaker 1: owns the gay to the future. This is Karen Ross

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Speaker 1: eight one five to Houston. Do you read you used

384
00:22:37,800 --> 00:22:41,440
Speaker 1: to work and now you're trapical. Some will come to

385
00:22:41,560 --> 00:22:45,480
Speaker 1: it for science, the big deals. This is a big five,

386
00:22:45,920 --> 00:22:51,119
Speaker 1: some for fortune, an island line of incredible bounty, and

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00:22:51,320 --> 00:22:54,640
Speaker 1: some to return home. She doesn't really belong anywhere? Does

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00:22:54,680 --> 00:22:59,320
Speaker 1: she know she belongs here? Together they will search. My

389
00:22:59,520 --> 00:23:01,360
Speaker 1: boss thought I wasn't going to make it. He set

390
00:23:01,400 --> 00:23:06,879
Speaker 1: another expedition, drawn deep into a mystery camp destroid people

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00:23:06,960 --> 00:23:11,200
Speaker 1: dead and greg gorillas. I saw one. And the more

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00:23:11,320 --> 00:23:16,040
Speaker 1: they discover the same eer glyphics over and over, the

393
00:23:16,119 --> 00:23:20,720
Speaker 1: greater the danger. What did they say, we are watching?

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00:23:20,800 --> 00:23:39,640
Speaker 1: You saw an animal move like that. How intelligent are

395
00:23:39,640 --> 00:23:45,560
Speaker 1: the too damn spots we're getting out of here? What

396
00:23:45,600 --> 00:23:49,040
Speaker 1: about put him on the iner species lift from the

397
00:23:49,080 --> 00:23:54,760
Speaker 1: best selling novel by the author of Jurassic Artu of

398
00:23:54,840 --> 00:24:05,360
Speaker 1: the Villa Ape is true. Yea Congo where you are

399
00:24:05,400 --> 00:24:14,760
Speaker 1: the endangered species? See it sounds like it's going to

400
00:24:14,800 --> 00:24:16,800
Speaker 1: be an adventure. It sounds like something that you're gonna

401
00:24:16,880 --> 00:24:19,040
Speaker 1: You're gonna buy a lot of popcorn and cold before

402
00:24:19,600 --> 00:24:22,920
Speaker 1: and you're just just try not to pee the entire time.

403
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Speaker 1: There's a part of me that wishes I had seen

404
00:24:26,200 --> 00:24:27,719
Speaker 1: I think if I had seen the trailer and had

405
00:24:27,760 --> 00:24:32,080
Speaker 1: no idea about the movie, I wish I am jealous

406
00:24:32,080 --> 00:24:36,159
Speaker 1: I didn't get to have that experience. I suppose um,

407
00:24:36,160 --> 00:24:40,240
Speaker 1: because it's actually having seen it, it's a pretty accurate trailer.

408
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Speaker 1: I was expecting something cheesier, to be honest, but it

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Speaker 1: could be because I've seen Congo a lot by now. UM,

410
00:24:49,200 --> 00:24:53,520
Speaker 1: so it didn't have exactly the as much of the

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00:24:53,680 --> 00:24:56,639
Speaker 1: strangeness and dated vibe that I thought it would. And

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00:24:56,640 --> 00:24:58,040
Speaker 1: it does feel very much like, Yeah, this is a

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Speaker 1: popcorn movie. Um, come out and enjoy your popcorn, have fun,

414
00:25:04,240 --> 00:25:07,520
Speaker 1: and then go and home and forget about it. I guess, yeah,

415
00:25:08,080 --> 00:25:10,080
Speaker 1: I don't know that much of the film really stuck

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Speaker 1: with me. In fact, there are elements of the film

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Speaker 1: that I remembered as being different because of the book.

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Speaker 1: Like I just ended up assuming that the parts of

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Speaker 1: the book were, uh, we're accurately depicted in the film,

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Speaker 1: and so I just remembered the film is having those details,

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Speaker 1: and uh, well, we'll come back to what those are

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00:25:28,680 --> 00:25:31,320
Speaker 1: in a bit. But if you are looking to have

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Speaker 1: your first Congo experience, or your first Congo experience in decades, well,

424
00:25:36,440 --> 00:25:39,320
Speaker 1: lucky for you, Congo is widely available, well even if

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00:25:39,400 --> 00:25:42,600
Speaker 1: if it's partially forgotten as much as a blockbuster can

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Speaker 1: be forgotten. I watched it on a very old feeling

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Speaker 1: DVD that I rented from Video Drum here in Atlanta. Uh,

428
00:25:49,720 --> 00:25:53,000
Speaker 1: there is a Blu ray from and then there in

429
00:25:53,040 --> 00:25:57,080
Speaker 1: their HD digital copies you can rent or purchase online.

430
00:25:57,520 --> 00:25:59,800
Speaker 1: But I don't think it's received a full blown special

431
00:25:59,800 --> 00:26:03,120
Speaker 1: a ship. So there are no like real Congo extras

432
00:26:03,160 --> 00:26:06,359
Speaker 1: out there floating around, which seems weird, it does. I

433
00:26:06,400 --> 00:26:11,840
Speaker 1: couldn't really get a good grasp on that I own

434
00:26:11,960 --> 00:26:16,720
Speaker 1: the TVD because I never wanted to be without it

435
00:26:16,760 --> 00:26:20,280
Speaker 1: after that first time watching it. Um. But it is

436
00:26:20,320 --> 00:26:24,560
Speaker 1: one of those things where I honestly feel like most

437
00:26:24,600 --> 00:26:30,119
Speaker 1: of the cast gave it there all they really did. Um.

438
00:26:30,160 --> 00:26:32,840
Speaker 1: But it's it's also got the vibe of like, Okay,

439
00:26:32,840 --> 00:26:37,000
Speaker 1: we did that, let's not talk about it anymore. I

440
00:26:37,080 --> 00:26:41,480
Speaker 1: do know Ernie Hudson has said he would reprise his

441
00:26:41,680 --> 00:26:47,240
Speaker 1: role as Monroe. I know, but I'm not sure, like

442
00:26:47,320 --> 00:26:50,199
Speaker 1: if there's any talk at all about the sequel. I

443
00:26:50,280 --> 00:26:54,360
Speaker 1: just know he said that he would do that. Um.

444
00:26:54,400 --> 00:26:56,240
Speaker 1: But yeah, and like you said, it was it was

445
00:26:56,320 --> 00:27:02,119
Speaker 1: financially successful, but I think it wasn't because of the

446
00:27:02,160 --> 00:27:05,760
Speaker 1: critical review, which was not good. If we didn't make

447
00:27:05,800 --> 00:27:07,560
Speaker 1: clearer but I think we did, but it was not

448
00:27:07,600 --> 00:27:11,239
Speaker 1: good um because of that. And I don't think it

449
00:27:11,280 --> 00:27:13,680
Speaker 1: did as well as they wanted, even though it did

450
00:27:13,720 --> 00:27:18,119
Speaker 1: way better than it should have. Given the reviews, UM,

451
00:27:18,160 --> 00:27:21,400
Speaker 1: I think they've just sort of, yeah, put that one

452
00:27:21,480 --> 00:27:25,360
Speaker 1: up on the shelf. Uh, let's just forget that that happened.

453
00:27:27,600 --> 00:27:31,000
Speaker 1: It is. Speaking of reviews, UM, I had to revisit

454
00:27:31,560 --> 00:27:34,520
Speaker 1: Roger Ebert's review for the film because it's a pretty

455
00:27:34,520 --> 00:27:36,639
Speaker 1: fun review. It's a three star review to be clear,

456
00:27:36,680 --> 00:27:39,240
Speaker 1: So he didn't he didn't go beyond three stars on it.

457
00:27:39,240 --> 00:27:41,879
Speaker 1: But it's also kind of a glowing review of the film,

458
00:27:41,960 --> 00:27:43,680
Speaker 1: like he has a he has a lot of very

459
00:27:43,760 --> 00:27:46,400
Speaker 1: nice things to say about it and some of the performances.

460
00:27:47,119 --> 00:27:50,000
Speaker 1: So I'll call back to that review a couple of

461
00:27:50,000 --> 00:27:52,639
Speaker 1: times in a bit. Yeah, I read that to you,

462
00:27:52,680 --> 00:27:55,760
Speaker 1: and I was amused by it because I was expecting

463
00:27:55,800 --> 00:27:57,920
Speaker 1: it to be negative. But he kind of seemed to

464
00:27:59,280 --> 00:28:02,760
Speaker 1: hesitate to say get it because I mean, he kind

465
00:28:02,800 --> 00:28:04,439
Speaker 1: of seemed to be like, you know, this is just

466
00:28:05,040 --> 00:28:10,000
Speaker 1: it's a fun movie. It's got its issues, but I

467
00:28:10,040 --> 00:28:13,520
Speaker 1: had a good time watching it. Yeah, Ebert. Ebert would

468
00:28:13,600 --> 00:28:18,840
Speaker 1: would definitely fall on on that line for various film reviews.

469
00:28:18,880 --> 00:28:20,760
Speaker 1: If it was just the top of the right type

470
00:28:20,800 --> 00:28:24,240
Speaker 1: of kind of weird film or pulpy film, like he

471
00:28:24,240 --> 00:28:27,720
Speaker 1: he would he would view it favorably. Um So, yeah,

472
00:28:27,760 --> 00:28:31,240
Speaker 1: I find myself agreeing with Ebert a lot on uncertain films.

473
00:28:33,160 --> 00:28:35,760
Speaker 1: All right, well, let's get into some We've discussed some

474
00:28:35,800 --> 00:28:38,880
Speaker 1: of the people already, but just to go through the list,

475
00:28:39,000 --> 00:28:41,959
Speaker 1: and I think some of these will especially behind the scenes,

476
00:28:42,560 --> 00:28:45,000
Speaker 1: uh names will help us sort of make sense of

477
00:28:45,080 --> 00:28:48,200
Speaker 1: like what Congo is, and I think, uh, you know,

478
00:28:48,240 --> 00:28:53,040
Speaker 1: pointing out that that Frank Marshall Born is both the

479
00:28:53,080 --> 00:28:56,320
Speaker 1: director and the executive producer. This feels kind of key

480
00:28:56,960 --> 00:29:01,160
Speaker 1: because Marshall primarily known as a may your Hollywood producer,

481
00:29:01,440 --> 00:29:03,800
Speaker 1: and while he's not involved in the current Star Wars

482
00:29:03,800 --> 00:29:05,960
Speaker 1: stuff with his wife, he's still very much a part

483
00:29:05,960 --> 00:29:09,280
Speaker 1: of the Indiana Jones franchise, the Jurassic Park franchise, which

484
00:29:09,320 --> 00:29:12,720
Speaker 1: of course keeps coming back to life and and emerging

485
00:29:12,800 --> 00:29:17,080
Speaker 1: from eggs various other film and TV projects. His direct

486
00:29:17,160 --> 00:29:21,720
Speaker 1: as a director's output has been far smaller, but I

487
00:29:21,760 --> 00:29:24,200
Speaker 1: think this is perhaps key, Like it's like if we

488
00:29:24,240 --> 00:29:27,040
Speaker 1: think of the blockbuster as as not just a film,

489
00:29:27,120 --> 00:29:29,200
Speaker 1: not just like a piece of art, but this sort

490
00:29:29,200 --> 00:29:32,960
Speaker 1: of colossal business project. Congo I think does kind of

491
00:29:32,960 --> 00:29:35,440
Speaker 1: feel like that, Like like, can you fault the fact

492
00:29:35,520 --> 00:29:38,760
Speaker 1: that the Congo exists as a finished film and made

493
00:29:38,760 --> 00:29:40,680
Speaker 1: more money than than it costs? You know, it seems

494
00:29:40,680 --> 00:29:44,720
Speaker 1: to have been a financial success. It checks off all

495
00:29:44,760 --> 00:29:47,160
Speaker 1: the boxes. You can't really fault it for that. You

496
00:29:47,240 --> 00:29:51,640
Speaker 1: might fault it for vision, You might say, well, you know,

497
00:29:51,680 --> 00:29:53,240
Speaker 1: it has this kind I've seen people point out what

498
00:29:53,280 --> 00:29:56,080
Speaker 1: has kind of like a TV almost looked to it.

499
00:29:56,080 --> 00:30:01,960
Speaker 1: It doesn't feel suitably cinematic enough, etcetera. But there's no

500
00:30:02,040 --> 00:30:04,880
Speaker 1: fault in it from a business perspective. Yeah, yeah, I

501
00:30:04,920 --> 00:30:07,360
Speaker 1: mean it had all the ingredients there. And I do

502
00:30:07,520 --> 00:30:11,120
Speaker 1: think the timing of this is important to keep in

503
00:30:11,160 --> 00:30:14,640
Speaker 1: mind too, because again, it was a time when technology

504
00:30:14,720 --> 00:30:17,040
Speaker 1: was shifting, when what people had access to in terms

505
00:30:17,080 --> 00:30:19,800
Speaker 1: of technology was shifting, When what people could do in

506
00:30:19,880 --> 00:30:24,040
Speaker 1: terms of creating things with technology was shifting. UM. So

507
00:30:24,160 --> 00:30:28,480
Speaker 1: I think it very much was a product of its

508
00:30:28,600 --> 00:30:31,840
Speaker 1: time in that in that way where you know, the

509
00:30:31,880 --> 00:30:35,560
Speaker 1: idea of the blockbuster had been around since the seventies,

510
00:30:35,600 --> 00:30:38,800
Speaker 1: but it had kind of become a here's how you

511
00:30:38,840 --> 00:30:41,640
Speaker 1: do it by that point. But it also had these

512
00:30:41,920 --> 00:30:46,360
Speaker 1: pieces that were changing, um in terms of the technology especially,

513
00:30:46,400 --> 00:30:48,640
Speaker 1: so it is interesting to me that they did stick

514
00:30:48,720 --> 00:30:55,720
Speaker 1: with the guerrillas and suits, um, but also having these

515
00:30:55,760 --> 00:30:58,720
Speaker 1: people that had been involved in one way or another

516
00:30:59,080 --> 00:31:01,760
Speaker 1: in this type of bockbuster business, as you say, because

517
00:31:01,760 --> 00:31:07,160
Speaker 1: they did very much a business. UM. It's it's seeing

518
00:31:07,200 --> 00:31:10,760
Speaker 1: what came out of that, um. Because there are pieces

519
00:31:10,920 --> 00:31:12,320
Speaker 1: I feel like this is one of the things about

520
00:31:12,360 --> 00:31:15,400
Speaker 1: Congo is there. It's all there, but it's almost like

521
00:31:17,400 --> 00:31:20,920
Speaker 1: they weren't matched or they were like leaning in too

522
00:31:20,960 --> 00:31:23,560
Speaker 1: hard at in this comedic way at one point too

523
00:31:23,600 --> 00:31:25,200
Speaker 1: hard in this way. Like it was kind of like

524
00:31:25,480 --> 00:31:30,760
Speaker 1: a blockbuster, but not one that was uniform, if that

525
00:31:30,800 --> 00:31:34,720
Speaker 1: makes sense. Like there was a lot going on where

526
00:31:34,840 --> 00:31:36,560
Speaker 1: they're like, oh, let's try this, let's try this, let's

527
00:31:36,560 --> 00:31:38,640
Speaker 1: try this, which all can work in a blockbuster, but

528
00:31:38,680 --> 00:31:40,920
Speaker 1: they did it from almost like three or four different

529
00:31:40,920 --> 00:31:45,560
Speaker 1: blockbusters and kind of trying to jam it together. Um yeah,

530
00:31:45,600 --> 00:31:47,680
Speaker 1: and I can see you might might chalk that up

531
00:31:47,720 --> 00:31:51,560
Speaker 1: to to Marshal and like like what's the director's vision

532
00:31:51,600 --> 00:31:53,280
Speaker 1: for it, and how much of what works in the

533
00:31:53,320 --> 00:31:56,760
Speaker 1: film is ultimately coming from all of the people who

534
00:31:57,120 --> 00:31:59,120
Speaker 1: who give it their all for this performance of this

535
00:31:59,520 --> 00:32:01,520
Speaker 1: bit of the of the special effects. But still at

536
00:32:01,560 --> 00:32:03,200
Speaker 1: the end of the day, like Marshall is the one

537
00:32:03,600 --> 00:32:05,560
Speaker 1: he's landing the plane here, he's the one bringing the

538
00:32:05,600 --> 00:32:10,600
Speaker 1: ship to port. So, um yeah, it's a it's certainly

539
00:32:10,600 --> 00:32:13,560
Speaker 1: have to give him credit to all right, Um well,

540
00:32:13,600 --> 00:32:16,120
Speaker 1: Michael Crichton, we already mentioned him a bit already, but

541
00:32:16,560 --> 00:32:18,760
Speaker 1: live through two thousand and eight, probably one of the

542
00:32:18,800 --> 00:32:22,360
Speaker 1: best known novelists of the late twentieth century, and his

543
00:32:22,440 --> 00:32:25,280
Speaker 1: work continues to resonate, at least with some of the

544
00:32:25,320 --> 00:32:30,280
Speaker 1: franchises that he helped establish, particularly Drastic Park in Westworld. Yes, um,

545
00:32:30,480 --> 00:32:32,560
Speaker 1: I and I loved, I love Drassic Park, and I've

546
00:32:32,560 --> 00:32:35,880
Speaker 1: read all of those books. Um, and it is very

547
00:32:36,640 --> 00:32:39,800
Speaker 1: because I've seen the movie first and reading Durassic Park

548
00:32:39,800 --> 00:32:41,520
Speaker 1: after you've seen the movie, and Lost World after you've

549
00:32:41,520 --> 00:32:45,680
Speaker 1: seen the movie. Um, it is a lot more. There's

550
00:32:45,680 --> 00:32:48,760
Speaker 1: a lot more attention to detail, a lot more technology,

551
00:32:49,200 --> 00:32:53,080
Speaker 1: a lot more science. Um, which I guess that makes

552
00:32:53,080 --> 00:32:56,000
Speaker 1: sense in terms of what can translate to film, especially

553
00:32:56,000 --> 00:32:58,560
Speaker 1: a blackbuster film, and what can be in a book.

554
00:32:59,160 --> 00:33:00,880
Speaker 1: But that that was something that was interesting to me

555
00:33:00,880 --> 00:33:04,040
Speaker 1: when I went back and read those books, was Wow,

556
00:33:04,080 --> 00:33:06,960
Speaker 1: this is a lot more detailed in terms of how

557
00:33:07,080 --> 00:33:13,120
Speaker 1: this would actually work. Yeah. Um. As a novelist, he

558
00:33:13,160 --> 00:33:16,200
Speaker 1: wrote several novels underpen names in the late nineteen sixties,

559
00:33:16,240 --> 00:33:18,960
Speaker 1: but then he published The Andromeda Strain that came out

560
00:33:19,000 --> 00:33:22,320
Speaker 1: in nine under his own name, and this prop propelled

561
00:33:22,440 --> 00:33:26,440
Speaker 1: him into bestseller status. Uh've very listed some of his

562
00:33:26,440 --> 00:33:28,960
Speaker 1: his big novels, but he also entered into the film

563
00:33:28,960 --> 00:33:34,479
Speaker 1: world pretty early, directing and writing five films between four

564
00:33:34,840 --> 00:33:39,440
Speaker 1: West World um Coma, The Great Train Robbery based on

565
00:33:39,520 --> 00:33:44,120
Speaker 1: his book Looker, and Oh are you familiar with Runaway?

566
00:33:44,720 --> 00:33:50,320
Speaker 1: I'm not Runaway is this stupendous film that stars Tom

567
00:33:50,400 --> 00:33:54,400
Speaker 1: Selleck as like a cop who specialty is hunting down

568
00:33:54,520 --> 00:33:59,160
Speaker 1: killer robots that are the work of the diabolical roboticist

569
00:33:59,360 --> 00:34:03,800
Speaker 1: played by Bean Simmons of Kiss. And I mean that's

570
00:34:03,840 --> 00:34:06,280
Speaker 1: already enough. You've got a that's a lot just going

571
00:34:06,280 --> 00:34:09,280
Speaker 1: on visually with these two actors, but the tiny robots

572
00:34:09,280 --> 00:34:14,280
Speaker 1: in question, So don't don't think um like black Mirror

573
00:34:14,320 --> 00:34:18,239
Speaker 1: asks scary killer robot. These things look like something you

574
00:34:18,280 --> 00:34:22,200
Speaker 1: would see in the nineteen eighties special about the Future

575
00:34:22,280 --> 00:34:24,880
Speaker 1: of robots. You know, these are about as scary as

576
00:34:24,960 --> 00:34:28,320
Speaker 1: the little robot that came with the original Nintendo system

577
00:34:28,400 --> 00:34:32,000
Speaker 1: that puts the spinning disks on the controller. Wow, you

578
00:34:32,040 --> 00:34:36,359
Speaker 1: have told me so, It's it's worth It's worth coming

579
00:34:36,400 --> 00:34:39,880
Speaker 1: back to. But he also he also wrote nineteen seventy

580
00:34:39,920 --> 00:34:43,400
Speaker 1: three Extreme Close Up. He directed the eight Burt Reynald's

581
00:34:43,440 --> 00:34:46,200
Speaker 1: movie Physical Evidence. He didn't write that one, but that

582
00:34:46,280 --> 00:34:50,880
Speaker 1: was his final directing credit, and yeah, Michael Crichton again,

583
00:34:51,480 --> 00:34:54,240
Speaker 1: I feel like, uh, you know, some of his works

584
00:34:54,239 --> 00:34:57,040
Speaker 1: may feel a bit dated tech wise now, but a

585
00:34:57,080 --> 00:34:59,160
Speaker 1: lot of it still holds up and it's still very enjoyable.

586
00:35:00,200 --> 00:35:03,439
Speaker 1: But he did not write the screenplay. Screenplay credit goes

587
00:35:03,480 --> 00:35:08,120
Speaker 1: to John Patrick Shanley and this this. I don't know

588
00:35:08,120 --> 00:35:10,799
Speaker 1: if this actually played into your expectations of being a

589
00:35:10,840 --> 00:35:13,560
Speaker 1: serious minded film, but I could see where it might

590
00:35:13,640 --> 00:35:17,680
Speaker 1: have because this is a big name. I don't I'm

591
00:35:17,719 --> 00:35:24,400
Speaker 1: not familiar with it, with his name. I'm glad to

592
00:35:24,440 --> 00:35:27,239
Speaker 1: know that there could have been a legitimate reason other

593
00:35:27,280 --> 00:35:30,720
Speaker 1: than me misunderstanding what I think was just a sarcastic joke.

594
00:35:31,760 --> 00:35:34,319
Speaker 1: So I will take that lifeline that you're throwing me,

595
00:35:34,400 --> 00:35:38,640
Speaker 1: but please tell me more. Well, just think of it

596
00:35:38,640 --> 00:35:42,000
Speaker 1: this way. You're going into Congo, and you well, especially

597
00:35:42,000 --> 00:35:44,080
Speaker 1: as a modern viewer of Congo or a recent viewer

598
00:35:44,080 --> 00:35:45,960
Speaker 1: of Congo, you might well go into it and think, well,

599
00:35:46,239 --> 00:35:49,400
Speaker 1: this is written by the guy who won an Academy

600
00:35:49,440 --> 00:35:53,520
Speaker 1: Award for for writing Seven Moons Truck. This is the

601
00:35:53,560 --> 00:35:56,759
Speaker 1: guy who won both a Pulitzer Prize for Drama and

602
00:35:56,800 --> 00:35:59,719
Speaker 1: a Tony Award for Best Play in two thousand and

603
00:35:59,719 --> 00:36:03,239
Speaker 1: five for Doubt, a parable um he and he also

604
00:36:03,239 --> 00:36:08,359
Speaker 1: wrote Joe Versus the Volcano Alive UH and animated film

605
00:36:08,400 --> 00:36:11,880
Speaker 1: We're Back a Dinosaur Story. But still a number of

606
00:36:11,880 --> 00:36:15,560
Speaker 1: big films there that, especially when you're when you're looking

607
00:36:15,600 --> 00:36:18,040
Speaker 1: at the credentials here, I could and if if this

608
00:36:18,120 --> 00:36:20,279
Speaker 1: is the only name you recognize going into the film,

609
00:36:20,320 --> 00:36:22,120
Speaker 1: you might think it's going to be more of a

610
00:36:22,640 --> 00:36:25,520
Speaker 1: more of a drama. I wonder if they all have

611
00:36:25,560 --> 00:36:27,560
Speaker 1: to go back and look. I wonder if they include that,

612
00:36:27,719 --> 00:36:30,120
Speaker 1: you know how, sometimes they'll be like, and coming from

613
00:36:30,160 --> 00:36:34,440
Speaker 1: this award winning UH writer, maybe they did include that,

614
00:36:34,440 --> 00:36:37,960
Speaker 1: And I was like, ah, that proof. I think I've

615
00:36:37,960 --> 00:36:40,400
Speaker 1: seen his name, and I've watched several of the trailers,

616
00:36:40,400 --> 00:36:42,440
Speaker 1: and I'm not exactly sure which one of them we

617
00:36:42,520 --> 00:36:45,200
Speaker 1: ended up sourcing here in the episode, but at least

618
00:36:45,200 --> 00:36:46,880
Speaker 1: some of the trailers mentioned him by name, so I

619
00:36:46,880 --> 00:36:49,719
Speaker 1: think they were very much like, Hey, you liked Moonstruck, Well,

620
00:36:49,760 --> 00:36:52,719
Speaker 1: I hope you like Killer Apes because Congo is coming

621
00:36:52,760 --> 00:36:56,840
Speaker 1: to theaters, but only for a couple like twenty minutes.

622
00:36:57,760 --> 00:37:00,840
Speaker 1: You have to wait get a taste in the beginning,

623
00:37:00,880 --> 00:37:13,240
Speaker 1: but otherwise, well, well, let's get into the cast here, because,

624
00:37:13,719 --> 00:37:16,680
Speaker 1: as we mentioned earlier, our lead here, our leading, our

625
00:37:16,800 --> 00:37:20,719
Speaker 1: lead um star as well as the lead character is

626
00:37:20,880 --> 00:37:25,680
Speaker 1: Dr Karen Ross, played by the fabulous Laura Lenney. Yes, uh,

627
00:37:26,200 --> 00:37:30,279
Speaker 1: who I love and probably uh And this might be

628
00:37:30,320 --> 00:37:32,000
Speaker 1: saying something about me. I don't know, but I know

629
00:37:32,080 --> 00:37:38,040
Speaker 1: her best from the Mothman prophecies that movie, which I

630
00:37:38,080 --> 00:37:41,080
Speaker 1: know is not. She is a great actor and has

631
00:37:41,200 --> 00:37:44,040
Speaker 1: done like amazing award winning work, and she did reach

632
00:37:44,080 --> 00:37:45,719
Speaker 1: out in that movie. But that is the thing. When

633
00:37:45,760 --> 00:37:47,480
Speaker 1: I was a kid, I love that movie. I would

634
00:37:47,480 --> 00:37:51,800
Speaker 1: watch it all the time. I remember very little that

635
00:37:51,880 --> 00:37:53,040
Speaker 1: I think. That's one that was kind of on in

636
00:37:53,080 --> 00:37:55,600
Speaker 1: the background for me. So I just remember scenes of

637
00:37:55,680 --> 00:38:00,319
Speaker 1: Richard Gear, like standing in the in the dark and

638
00:38:00,360 --> 00:38:03,080
Speaker 1: there was a bridge, and there maybe being not as

639
00:38:03,160 --> 00:38:05,719
Speaker 1: much Mothman as I thought there would be. There is

640
00:38:05,880 --> 00:38:09,960
Speaker 1: very little Mothman. This is true. I am somebody who

641
00:38:10,040 --> 00:38:12,560
Speaker 1: does enjoy as much as I as I've been making

642
00:38:12,600 --> 00:38:16,759
Speaker 1: fun of Congo, actually do really enjoy like kind of

643
00:38:16,800 --> 00:38:20,759
Speaker 1: like mystery. They would do like flashes of Mothman if

644
00:38:20,760 --> 00:38:22,759
Speaker 1: you like paused at the right time, you'd be like

645
00:38:22,800 --> 00:38:25,960
Speaker 1: there is like I liked that kind of stuff a lot,

646
00:38:26,400 --> 00:38:27,960
Speaker 1: so I think it worked for me, and it did

647
00:38:28,000 --> 00:38:32,400
Speaker 1: really scare me. Um. I'm a very imaginative, still am person,

648
00:38:32,520 --> 00:38:34,799
Speaker 1: so I think I got I got all up in

649
00:38:34,840 --> 00:38:38,080
Speaker 1: my head about Mothman. There's a screeching owl outside my window,

650
00:38:38,120 --> 00:38:41,480
Speaker 1: and I was convinced it was math Man like um.

651
00:38:41,560 --> 00:38:43,640
Speaker 1: And yet I do like scary movies, so I would

652
00:38:43,640 --> 00:38:45,520
Speaker 1: watch it over and over again, even though it did

653
00:38:45,520 --> 00:38:49,239
Speaker 1: scare me well. At the time that this movie came out,

654
00:38:49,320 --> 00:38:52,040
Speaker 1: Laura Linney, I think, was best known for Tales of

655
00:38:52,040 --> 00:38:56,000
Speaker 1: the City and also some smaller roles in various films.

656
00:38:56,440 --> 00:38:58,080
Speaker 1: But of course she's gone on too. I mean, I

657
00:38:58,120 --> 00:39:00,200
Speaker 1: think a lot of people now know her for tell

658
00:39:00,200 --> 00:39:05,040
Speaker 1: her performances in series like Ozark, John Adams, the movie

659
00:39:05,120 --> 00:39:08,040
Speaker 1: Kinzie and many more. Like you said, she's she's she's

660
00:39:08,040 --> 00:39:11,040
Speaker 1: a terrific actor. She's only gotten better. Uh As, of

661
00:39:11,080 --> 00:39:13,040
Speaker 1: course she's gotten better roles because I guess when you

662
00:39:13,040 --> 00:39:17,240
Speaker 1: come down to it, even though this is the lead character,

663
00:39:17,400 --> 00:39:19,279
Speaker 1: this is the she's got the starring role here, and

664
00:39:19,320 --> 00:39:20,680
Speaker 1: she does get a lot to do a lot of

665
00:39:20,719 --> 00:39:23,759
Speaker 1: heroic stuff. But she's a she's a tech expert, she's

666
00:39:23,760 --> 00:39:27,640
Speaker 1: a CIA operative there you know, she's looking essentially for

667
00:39:27,880 --> 00:39:31,080
Speaker 1: well not a lost love but a former love who

668
00:39:31,239 --> 00:39:34,319
Speaker 1: is now lost in the jungle and possibly dead. So

669
00:39:34,360 --> 00:39:38,440
Speaker 1: it's not like there's no you know, dramatic material to

670
00:39:38,440 --> 00:39:40,560
Speaker 1: to sink her teeth into here, but also like how

671
00:39:40,640 --> 00:39:45,200
Speaker 1: much room does Congo really give her to do that? Yes? Um,

672
00:39:45,280 --> 00:39:50,240
Speaker 1: But like I said, I feel that these actors really

673
00:39:50,320 --> 00:39:53,960
Speaker 1: did give it there all and she did. And I

674
00:39:54,000 --> 00:40:00,239
Speaker 1: watching it um as uh modern viewer who didn't really

675
00:40:00,239 --> 00:40:02,200
Speaker 1: know what this was, but I knew it was from

676
00:40:04,480 --> 00:40:05,719
Speaker 1: uh And I know we're going to talk about this

677
00:40:05,719 --> 00:40:07,040
Speaker 1: in the plot because I have a lot of thoughts

678
00:40:07,040 --> 00:40:08,960
Speaker 1: about it. But I did find it really fascinating that

679
00:40:09,040 --> 00:40:13,759
Speaker 1: she was a woman who was an ex CIA operative.

680
00:40:14,280 --> 00:40:18,680
Speaker 1: She was badass, Um. She had they like try to

681
00:40:18,880 --> 00:40:22,200
Speaker 1: make this romance between her and the other like main

682
00:40:22,280 --> 00:40:24,720
Speaker 1: male character that's not Ernie Hudson we're gonna talk about,

683
00:40:25,160 --> 00:40:29,399
Speaker 1: but they never tried too hard, which I find really interesting. Um,

684
00:40:30,360 --> 00:40:34,760
Speaker 1: and I do. I really do enjoy that her Bruce

685
00:40:34,880 --> 00:40:38,440
Speaker 1: Campbell very brief cameo who was her ex fiance. It

686
00:40:38,520 --> 00:40:40,400
Speaker 1: seems like they still care about each other even though

687
00:40:40,440 --> 00:40:42,920
Speaker 1: they're exes, like there's just a lot of interesting stuff

688
00:40:42,960 --> 00:40:48,040
Speaker 1: that women unfortunately in general, don't get. Um, especially in

689
00:40:48,040 --> 00:40:51,759
Speaker 1: the kind of these blockbuster action roles like that. I

690
00:40:51,880 --> 00:40:55,440
Speaker 1: did really enjoy h and I really love her and

691
00:40:55,600 --> 00:40:58,560
Speaker 1: Ernie Hudson together being kind of like we're running this

692
00:40:58,680 --> 00:41:02,560
Speaker 1: whole thing. Like I that's one of my very favorite parts. So,

693
00:41:03,600 --> 00:41:07,080
Speaker 1: uh yeah, the role didn't give her like she can

694
00:41:07,200 --> 00:41:08,920
Speaker 1: do so much more than that, and it was pretty

695
00:41:09,000 --> 00:41:12,120
Speaker 1: limited in terms of what she could do. But I

696
00:41:12,280 --> 00:41:15,480
Speaker 1: did like that she had these pieces, but again, are

697
00:41:15,520 --> 00:41:18,920
Speaker 1: unfortunately pretty rare for a woman in a role like that,

698
00:41:19,080 --> 00:41:21,879
Speaker 1: especially at this time. Now, she does have at least

699
00:41:22,200 --> 00:41:25,880
Speaker 1: one really nice scene with uh. The the the the

700
00:41:26,000 --> 00:41:29,280
Speaker 1: top build male actor in the film, and that's Dylan

701
00:41:29,280 --> 00:41:33,160
Speaker 1: Walsh playing Dr. Peter Elliott. He's our primatologist who works

702
00:41:33,200 --> 00:41:36,600
Speaker 1: with Amy the Talking Gorilla for nineteen sixty three. Um.

703
00:41:37,040 --> 00:41:39,239
Speaker 1: He They do at least have one really nice scene

704
00:41:39,280 --> 00:41:41,759
Speaker 1: together on the airplane where we were sort of we

705
00:41:41,920 --> 00:41:47,920
Speaker 1: see uh Dr Elliott's whole deal with Amy, and now

706
00:41:48,040 --> 00:41:50,960
Speaker 1: she's on board and Amy is um is like jealous

707
00:41:51,040 --> 00:41:53,759
Speaker 1: of her presence, and so there's kind of a spat

708
00:41:53,880 --> 00:41:57,600
Speaker 1: back and forth about not only like how we uh

709
00:41:57,760 --> 00:41:59,560
Speaker 1: sort of like how we treat the natural world and

710
00:42:00,080 --> 00:42:02,239
Speaker 1: and animals, but also like what is the purpose of

711
00:42:02,320 --> 00:42:04,480
Speaker 1: this mission? And it's just a nice little scene on

712
00:42:04,560 --> 00:42:08,480
Speaker 1: the airplane. There's nothing really action based going on. Yeah, yeah,

713
00:42:08,680 --> 00:42:12,040
Speaker 1: I do love the Oh gosh, I can't wait to

714
00:42:12,040 --> 00:42:14,480
Speaker 1: talk about Amy, but I do love this kind of

715
00:42:15,880 --> 00:42:20,920
Speaker 1: jealousy she has around uh Laura Lenny's character Dr Ross

716
00:42:21,280 --> 00:42:32,319
Speaker 1: and just parsing that it's a fun thought exercise. Now, now,

717
00:42:32,400 --> 00:42:35,120
Speaker 1: Dylan Walsh, he's fine in this, so I'm not going

718
00:42:35,160 --> 00:42:37,200
Speaker 1: to knock his performance at all. And in fact, it's

719
00:42:37,239 --> 00:42:39,920
Speaker 1: kind of nice that it's a performance that allows this

720
00:42:40,040 --> 00:42:42,160
Speaker 1: character to fade into the background a bed and not

721
00:42:43,080 --> 00:42:46,920
Speaker 1: not not feel like he's an action hero that just

722
00:42:47,040 --> 00:42:48,959
Speaker 1: just kind of pushed to the background by the plot.

723
00:42:49,120 --> 00:42:52,680
Speaker 1: Like his role is there. As as as Amy's kind

724
00:42:52,680 --> 00:42:55,800
Speaker 1: of like father figure and um and he phils, he

725
00:42:55,840 --> 00:42:59,160
Speaker 1: fulfills that really well. This is an actor mostly of television,

726
00:42:59,600 --> 00:43:02,000
Speaker 1: include in the Hearts and Minds episode of the nineties

727
00:43:02,040 --> 00:43:04,960
Speaker 1: Outer Limits, which I'm not sure I've seen but but

728
00:43:05,080 --> 00:43:08,400
Speaker 1: looks rather good. He also appeared in such films as

729
00:43:08,400 --> 00:43:11,080
Speaker 1: The two thousand nine reboot of the Stepfather and two

730
00:43:11,120 --> 00:43:14,920
Speaker 1: thousands sixes of The lake House. Again perfectly likable in

731
00:43:14,960 --> 00:43:19,040
Speaker 1: this film. Um, yeah, no complaints, I agree it. I

732
00:43:19,160 --> 00:43:24,520
Speaker 1: also think it's I like, when we give the so

733
00:43:24,719 --> 00:43:27,960
Speaker 1: called heroes of something where they don't have to be

734
00:43:29,640 --> 00:43:33,720
Speaker 1: physical or like they're they're here, heroism isn't that aspect?

735
00:43:33,760 --> 00:43:35,680
Speaker 1: So I actually, do you really enjoy that? He has

736
00:43:35,760 --> 00:43:38,000
Speaker 1: some lines where he delivers them so well and they're

737
00:43:38,080 --> 00:43:41,799
Speaker 1: terrible lines, Like at one point he says, um, I'm

738
00:43:41,840 --> 00:43:45,399
Speaker 1: a primatologist, not a pound of sugar, Like there's only

739
00:43:45,480 --> 00:43:47,200
Speaker 1: so much he could have done as well, And I

740
00:43:47,680 --> 00:43:49,840
Speaker 1: love that line. It is is very funny to me.

741
00:43:50,160 --> 00:43:53,360
Speaker 1: But I'm sure as an actor you read that and

742
00:43:53,400 --> 00:44:00,759
Speaker 1: you're like, Okay, yeah, it's guess it's kind of a

743
00:44:00,840 --> 00:44:03,120
Speaker 1: thankless job in some respects, like just to have an

744
00:44:03,120 --> 00:44:06,520
Speaker 1: actualized who your role is to is do at times

745
00:44:06,640 --> 00:44:11,320
Speaker 1: make U challenging lines believable, make this character believable, but

746
00:44:11,400 --> 00:44:13,600
Speaker 1: in doing so, he's inevitably going to fade into the

747
00:44:13,680 --> 00:44:17,959
Speaker 1: background compared to the more outrageous character such as Ernie

748
00:44:18,040 --> 00:44:22,760
Speaker 1: Hudson's Captain Monroe Kelly. Oh. This this character, this performance

749
00:44:22,840 --> 00:44:26,920
Speaker 1: just absolutely rules. He delivers every line where you're like,

750
00:44:27,000 --> 00:44:30,000
Speaker 1: I just want I just want you, I just want

751
00:44:30,040 --> 00:44:33,960
Speaker 1: this whole movie to beet you does it so well.

752
00:44:34,040 --> 00:44:38,960
Speaker 1: He's so like charming and confident and and just like

753
00:44:39,640 --> 00:44:43,520
Speaker 1: overall unflustered even when he is flustered. Like one of

754
00:44:43,640 --> 00:44:47,480
Speaker 1: his favorite lines for me is when he says so

755
00:44:48,080 --> 00:44:53,000
Speaker 1: to me, hilariously, I run away because he runs away

756
00:44:53,040 --> 00:44:55,800
Speaker 1: from a charging guerrilla, and I just love that. I

757
00:44:55,880 --> 00:44:58,359
Speaker 1: love that he kind of embraces even after he told

758
00:44:58,440 --> 00:45:01,239
Speaker 1: Dylan Watching's character like, you don't run a way, but

759
00:45:01,400 --> 00:45:03,680
Speaker 1: he did it. I don't know that. There was a

760
00:45:03,719 --> 00:45:06,200
Speaker 1: lot of subversions with him that I very much enjoyed,

761
00:45:06,280 --> 00:45:09,680
Speaker 1: And just the way he seemed to be having the

762
00:45:09,840 --> 00:45:14,359
Speaker 1: time of his life with his character, um, it made

763
00:45:14,400 --> 00:45:18,239
Speaker 1: it very enjoyable to watch this performance. Yeah, this is

764
00:45:18,280 --> 00:45:21,200
Speaker 1: one of those performances where every little thing he does

765
00:45:21,640 --> 00:45:23,920
Speaker 1: is so entertaining. Like there's a there's a scene in

766
00:45:24,000 --> 00:45:26,520
Speaker 1: the movie where they're just handing out little air conditioning

767
00:45:27,000 --> 00:45:30,480
Speaker 1: units for the tents and he accepts one, and it's

768
00:45:30,600 --> 00:45:33,760
Speaker 1: it's it's great, Like nothing happening in the scene except

769
00:45:34,120 --> 00:45:37,759
Speaker 1: Captain Monroe Kelly accepted an air conditioning unit and it

770
00:45:37,920 --> 00:45:41,840
Speaker 1: was it was so charming. Yes, yes, So much of

771
00:45:43,000 --> 00:45:47,680
Speaker 1: what he did he clearly like made the as an actor,

772
00:45:47,800 --> 00:45:51,080
Speaker 1: went through and made the like fun decision or the decision,

773
00:45:51,120 --> 00:45:53,719
Speaker 1: and like he thought about his character. And so there's

774
00:45:54,160 --> 00:45:56,960
Speaker 1: a lot of times things are you just are like, oh,

775
00:45:57,000 --> 00:45:58,719
Speaker 1: I pick up this air conditioning unit, but he like

776
00:45:58,920 --> 00:46:01,680
Speaker 1: thought about it and acted it and made it fun

777
00:46:01,880 --> 00:46:04,960
Speaker 1: and memorable. Like so much of his character is that.

778
00:46:05,120 --> 00:46:08,160
Speaker 1: And there's so many lines he he has that he

779
00:46:08,320 --> 00:46:13,160
Speaker 1: delivers in a way that is I mean, he just

780
00:46:13,280 --> 00:46:18,080
Speaker 1: immediately makes you blanko Like it's just like, oh, so

781
00:46:19,120 --> 00:46:23,280
Speaker 1: interesting and cool. And I love when Dylan Washing's Washing's

782
00:46:23,320 --> 00:46:26,400
Speaker 1: character has a leech, you know, which I'm sure we're

783
00:46:26,400 --> 00:46:29,839
Speaker 1: going to talk about, but he's just captain and Roe

784
00:46:29,920 --> 00:46:32,399
Speaker 1: Kelly is just like, you deal with it. It's your leech,

785
00:46:34,680 --> 00:46:39,240
Speaker 1: passes him the lit cigar cigarette. Yes, when he sees Amy,

786
00:46:39,440 --> 00:46:43,040
Speaker 1: he just immediately was like, sure, this gorilla wants something

787
00:46:43,160 --> 00:46:46,759
Speaker 1: to smoke. Okay, he puts like pills in her, but

788
00:46:47,080 --> 00:46:50,560
Speaker 1: there's just something about and that rolls with the punches, yeah,

789
00:46:51,280 --> 00:46:54,200
Speaker 1: and does it in a way that looks very cool

790
00:46:54,280 --> 00:46:57,960
Speaker 1: and it's very charming. Very cool, very charming, and in

791
00:46:58,040 --> 00:47:00,840
Speaker 1: Ebert's review, he did he seemed to really love this

792
00:47:00,960 --> 00:47:03,239
Speaker 1: performance as well, and he points out that, like, there's

793
00:47:03,239 --> 00:47:06,000
Speaker 1: a little bit Clark Gable to this performance, there's a

794
00:47:06,040 --> 00:47:09,880
Speaker 1: little bit Stuart Granger. It's a droll performance, and the

795
00:47:10,000 --> 00:47:14,040
Speaker 1: character has both sardonic detachment but also heroic courage. So

796
00:47:14,200 --> 00:47:18,160
Speaker 1: he's you know, he's he's, uh, he's kind of right

797
00:47:18,200 --> 00:47:20,360
Speaker 1: there in the middle. He's he's he's kind of a

798
00:47:20,480 --> 00:47:22,400
Speaker 1: road but not not to the point where you're like,

799
00:47:22,520 --> 00:47:25,000
Speaker 1: can we trust Captain Monroe Kelly. They're not playing that

800
00:47:25,440 --> 00:47:29,480
Speaker 1: game with this character. And uh, um, yeah, he has

801
00:47:29,520 --> 00:47:32,759
Speaker 1: his he has his flaws, but they're not tragic flaws. Uh.

802
00:47:32,960 --> 00:47:35,759
Speaker 1: He's just a delight to watch on screen the whole time. Yeah,

803
00:47:35,920 --> 00:47:38,560
Speaker 1: And that is one thing that Congo did that I

804
00:47:38,719 --> 00:47:42,440
Speaker 1: can't really get a grasp on if they did intentionally

805
00:47:42,760 --> 00:47:45,920
Speaker 1: all the time, but they did subvert a lot of

806
00:47:46,120 --> 00:47:50,080
Speaker 1: like action movie tropes in particular. Um, I mean, they

807
00:47:50,160 --> 00:47:51,440
Speaker 1: leaned into a lot of it, but a lot of

808
00:47:51,520 --> 00:47:53,440
Speaker 1: it they did. They took things in a way I

809
00:47:53,520 --> 00:47:57,839
Speaker 1: wasn't expecting. So there's a scene towards the end where, um,

810
00:47:58,840 --> 00:48:01,200
Speaker 1: very reminiscent of Drastic Park, where dr Ross is like,

811
00:48:01,200 --> 00:48:03,840
Speaker 1: I'm going in this temple. I'm going in. Give me

812
00:48:03,880 --> 00:48:07,280
Speaker 1: a gun, give me a radio. I'm going and Monroe

813
00:48:07,400 --> 00:48:10,080
Speaker 1: Kelly has it. He's like, no, no, no, it's not safe,

814
00:48:10,760 --> 00:48:12,960
Speaker 1: you know, implied like for a woman, I'll do it,

815
00:48:13,560 --> 00:48:15,600
Speaker 1: and then he pauses for like a little second and

816
00:48:15,680 --> 00:48:19,440
Speaker 1: it's like, but I'm also scared. He keeps the gun

817
00:48:19,640 --> 00:48:22,160
Speaker 1: and just the radio and they going together like I'm

818
00:48:22,160 --> 00:48:23,759
Speaker 1: not going to look like. They have so many fun

819
00:48:23,880 --> 00:48:27,560
Speaker 1: moments like that where you're expecting it to go one way,

820
00:48:28,560 --> 00:48:31,880
Speaker 1: um and it doesn't. And I think for this character

821
00:48:32,080 --> 00:48:35,400
Speaker 1: where it is there's a little bit of confusion about

822
00:48:35,440 --> 00:48:38,959
Speaker 1: who's supposed to be the traditional hero, and he sort

823
00:48:38,960 --> 00:48:41,880
Speaker 1: of emerges as more of the like strong leader that

824
00:48:42,040 --> 00:48:46,000
Speaker 1: we are typically align with hero. I like that it's

825
00:48:46,000 --> 00:48:48,840
Speaker 1: sort of more spread out with this these characters, that

826
00:48:48,960 --> 00:48:51,680
Speaker 1: it's not just one um. But he does have those

827
00:48:51,760 --> 00:48:54,160
Speaker 1: kind of moments where he's not like he's like, no,

828
00:48:54,280 --> 00:48:56,640
Speaker 1: you're coming with me, I'm afraid to go in there too.

829
00:48:56,760 --> 00:49:00,920
Speaker 1: Like I like it that he just acknowledges that, um,

830
00:49:02,120 --> 00:49:05,080
Speaker 1: I don't know. It is a very fun performance to

831
00:49:05,120 --> 00:49:08,360
Speaker 1: watch for sure. Now. Ernie Hudson has been in just

832
00:49:08,480 --> 00:49:10,880
Speaker 1: so many things since I think the mid nineties seventies,

833
00:49:10,880 --> 00:49:13,600
Speaker 1: but of course he's probably most famous as being Winston

834
00:49:13,719 --> 00:49:17,160
Speaker 1: z More from the Ghostbusters franchise. He was in The Crow,

835
00:49:17,680 --> 00:49:19,840
Speaker 1: he was in such TV series as Oz and The

836
00:49:19,960 --> 00:49:23,560
Speaker 1: Family Business. But I've yeah, I've seen him point out

837
00:49:23,600 --> 00:49:25,680
Speaker 1: that this was one of his favorite performances, if if

838
00:49:25,760 --> 00:49:30,799
Speaker 1: not his favorite performance that he got to give. All right,

839
00:49:30,880 --> 00:49:33,719
Speaker 1: now we've already mentioned him, but we also have Tim

840
00:49:33,840 --> 00:49:39,960
Speaker 1: Curry in this role, playing um Herkimer Homolka. Oh man.

841
00:49:40,080 --> 00:49:42,520
Speaker 1: This is this is the role that Ebert described as

842
00:49:42,800 --> 00:49:45,680
Speaker 1: the Peter laure role, and I think that's I think

843
00:49:45,719 --> 00:49:47,640
Speaker 1: it's pretty accurate. This is the kind of role Peter

844
00:49:47,760 --> 00:49:50,600
Speaker 1: Laurie would have played in a jungle adventure movie like this,

845
00:49:50,800 --> 00:49:55,680
Speaker 1: the mysterious European figure with suspicious morals and aims. And

846
00:49:56,239 --> 00:49:59,320
Speaker 1: Curry the legend that Tim Curry is. Of course, he

847
00:49:59,440 --> 00:50:03,759
Speaker 1: just breathe so much life into this scoundrel. Yes, oh

848
00:50:03,920 --> 00:50:06,799
Speaker 1: my gosh, I think I have. I have done at

849
00:50:06,880 --> 00:50:09,480
Speaker 1: least one viewing where I just watched Tim Curry the

850
00:50:09,719 --> 00:50:15,280
Speaker 1: entire time, and he is like in the background, acting

851
00:50:15,440 --> 00:50:18,799
Speaker 1: his ass off, like they're like the scene where they

852
00:50:18,880 --> 00:50:24,160
Speaker 1: first get to Africa and Eddie Ventrou I'll talk about

853
00:50:25,160 --> 00:50:27,160
Speaker 1: like is talking about how much Amy is worth. He

854
00:50:27,520 --> 00:50:32,280
Speaker 1: lowers his glasses and has the most like star struck

855
00:50:32,840 --> 00:50:35,880
Speaker 1: shocked look. I mean he's not even the focus of

856
00:50:35,960 --> 00:50:38,839
Speaker 1: the scene, like he's just back there doing his thing.

857
00:50:39,320 --> 00:50:44,400
Speaker 1: He's got the most unexplainable accent that he just leans

858
00:50:44,480 --> 00:50:47,000
Speaker 1: into so hard. And he has some of my favorite

859
00:50:47,040 --> 00:50:50,360
Speaker 1: lines where he's like that gorilla knows where the Lost

860
00:50:50,360 --> 00:50:55,920
Speaker 1: City of Zinges, Like he just, oh, there's something about

861
00:50:56,000 --> 00:51:01,480
Speaker 1: it that he elevator did a thing like he was like,

862
00:51:01,719 --> 00:51:03,640
Speaker 1: you know what, I'm going to really lean into this

863
00:51:05,080 --> 00:51:09,359
Speaker 1: suspicious Romanian philanthropists going around the world and doing good.

864
00:51:09,960 --> 00:51:12,000
Speaker 1: Who really wants to find this law city of Zinge?

865
00:51:12,120 --> 00:51:18,600
Speaker 1: Like it's beautiful? Oh yeah, he um the accent, Yes,

866
00:51:18,680 --> 00:51:21,080
Speaker 1: he's quite a mouthful. That's that's definitely worth noting. But

867
00:51:21,600 --> 00:51:23,600
Speaker 1: but yeah, there's so many little moments, but then he

868
00:51:23,760 --> 00:51:25,680
Speaker 1: he gets those big moments too, like when they finally

869
00:51:25,840 --> 00:51:27,960
Speaker 1: enter the Lost City of Zinge and he gets to

870
00:51:28,080 --> 00:51:31,560
Speaker 1: just be star eyed and wonder at all. And I

871
00:51:31,600 --> 00:51:33,360
Speaker 1: think he has a line like the myth of the

872
00:51:33,480 --> 00:51:36,040
Speaker 1: killer of the guerrilla is true, you know, and it's

873
00:51:36,280 --> 00:51:40,279
Speaker 1: it's it's so wonderful. Yes, oh my gosh. And I

874
00:51:40,360 --> 00:51:45,279
Speaker 1: do love about him, like he's the villain absolutely, um.

875
00:51:46,440 --> 00:51:50,840
Speaker 1: But he's also kind of the like bumbling, wide I

876
00:51:51,040 --> 00:51:55,120
Speaker 1: confused villain in a way you don't see too often. Yeah,

877
00:51:55,280 --> 00:51:57,319
Speaker 1: Like he's in way over his head, I think, as

878
00:51:57,360 --> 00:52:00,719
Speaker 1: well as the key aspects of it. He's instantly kind

879
00:52:00,760 --> 00:52:07,200
Speaker 1: of like wide eyed and confused and concerned his money

880
00:52:07,280 --> 00:52:10,640
Speaker 1: flow is always getting interrupted, which I very much enjoyed. Um.

881
00:52:11,280 --> 00:52:14,239
Speaker 1: There's just something that feels kind of unique about his

882
00:52:14,480 --> 00:52:20,520
Speaker 1: take on this very stereotypical, mysterious European villain that is

883
00:52:20,680 --> 00:52:25,279
Speaker 1: pretty funny. Um. It's funny to see him out of

884
00:52:25,400 --> 00:52:28,200
Speaker 1: his out of his depth, out of his league. And

885
00:52:28,280 --> 00:52:31,040
Speaker 1: I love how everybody knows who he is. Everybody's like, oh,

886
00:52:32,239 --> 00:52:34,799
Speaker 1: this guy, don't trust him. You can't trust this guy

887
00:52:34,840 --> 00:52:39,480
Speaker 1: what's doing because everyone who encounters especially once they they

888
00:52:39,560 --> 00:52:43,200
Speaker 1: get to Africa, everyone there is familiar with him, and

889
00:52:43,280 --> 00:52:48,000
Speaker 1: he does not have a good reputation. No U. Now

890
00:52:48,040 --> 00:52:49,880
Speaker 1: that What can we say about Tim Curry? I mean,

891
00:52:49,920 --> 00:52:54,120
Speaker 1: obviously a legend. Bor six is probably one of his

892
00:52:54,200 --> 00:52:56,480
Speaker 1: most famous roles is of course Dr frankenfurt Or from

893
00:52:56,480 --> 00:53:00,040
Speaker 1: the Rocky Hart Picture Show Back in he was the

894
00:53:00,040 --> 00:53:03,120
Speaker 1: original stage version as well, he was Wadsworth and eighty

895
00:53:03,160 --> 00:53:08,120
Speaker 1: five Clue he was the demon Darkness Legend. Other memorable

896
00:53:08,200 --> 00:53:12,960
Speaker 1: films include Annie adaptation of It, of Course, in which

897
00:53:13,000 --> 00:53:16,160
Speaker 1: he played Pennywise, the dancing clown. And he's also done

898
00:53:16,160 --> 00:53:18,320
Speaker 1: a lot of great voice work over the years, including

899
00:53:18,320 --> 00:53:21,279
Speaker 1: the Pirates of dark Water and season five and six

900
00:53:21,560 --> 00:53:24,040
Speaker 1: of Star Wars The Clone Wars, in which he took

901
00:53:24,080 --> 00:53:27,960
Speaker 1: over the role of Palpatine slash Darth Sidious after the

902
00:53:28,040 --> 00:53:31,840
Speaker 1: passing of Ian Ambercrombie. Amber Ambercrombie was pretty terrific in

903
00:53:31,920 --> 00:53:33,960
Speaker 1: that role, but Curry he also brought his own like

904
00:53:34,160 --> 00:53:37,520
Speaker 1: level of greatness to that voice role as well. Yeah. Yeah,

905
00:53:38,040 --> 00:53:40,920
Speaker 1: I think he's really really great at imbuing so much

906
00:53:41,040 --> 00:53:45,239
Speaker 1: character with so with like one line, he can do it.

907
00:53:45,320 --> 00:53:47,520
Speaker 1: So I often joke like, if somebody could win an

908
00:53:47,560 --> 00:53:49,680
Speaker 1: Oscar for one line, I would give it to Tim

909
00:53:49,760 --> 00:53:53,280
Speaker 1: Curry from Home alone too, for how he says pizza

910
00:53:54,040 --> 00:53:56,960
Speaker 1: like he's never pronounced that word before, because he's that's

911
00:53:57,000 --> 00:53:59,800
Speaker 1: two below him. Like he does so much of that stuff.

912
00:53:59,800 --> 00:54:03,400
Speaker 1: For he expresses so much with his voice and how

913
00:54:03,480 --> 00:54:06,239
Speaker 1: he delivers lines. Um, what what is he doing in

914
00:54:06,600 --> 00:54:13,440
Speaker 1: hum alone? Too? I don't remember he's the Conciers. He

915
00:54:13,520 --> 00:54:15,320
Speaker 1: should have wanted an Oscar for that role. I I

916
00:54:15,800 --> 00:54:19,040
Speaker 1: like only half kidding, um, but he does that. He

917
00:54:19,080 --> 00:54:21,319
Speaker 1: does that so well where he that was a minor role,

918
00:54:21,840 --> 00:54:24,200
Speaker 1: but to me, like, I remember so much of how

919
00:54:24,320 --> 00:54:27,799
Speaker 1: he delivered that line, that one word, and it communicated

920
00:54:27,920 --> 00:54:32,520
Speaker 1: so much about that character. Um. And I also I

921
00:54:32,640 --> 00:54:34,800
Speaker 1: loved him and these are this is a reflection of

922
00:54:34,880 --> 00:54:37,040
Speaker 1: my childhood. I loved him in a Muppet Treedsure Island

923
00:54:38,719 --> 00:54:43,480
Speaker 1: and Wild Thornberries. He was a voice in the Wild Thornberries. Yeah.

924
00:54:43,560 --> 00:54:45,800
Speaker 1: So he's done a lot, a lot of stuff like that,

925
00:54:45,840 --> 00:54:49,759
Speaker 1: and I just yeah, there's so many Like if I

926
00:54:50,000 --> 00:54:52,480
Speaker 1: if we wanted this episode to be basically just as

927
00:54:52,560 --> 00:54:53,960
Speaker 1: quoting the movie, so much of it would just be

928
00:54:54,080 --> 00:55:00,560
Speaker 1: me like loving Tim Curry's delivery of these often very hilarious.

929
00:55:03,480 --> 00:55:05,640
Speaker 1: I love it. I love it. Those are some of

930
00:55:05,680 --> 00:55:07,799
Speaker 1: the main actors involved here, But we're gonna roll through

931
00:55:07,840 --> 00:55:09,160
Speaker 1: some of the other ones. Maybe it maybe a little

932
00:55:09,200 --> 00:55:11,920
Speaker 1: quicker on some of these because there's less to say

933
00:55:11,960 --> 00:55:14,399
Speaker 1: about them. But I thought I was gonna skip over

934
00:55:14,480 --> 00:55:17,360
Speaker 1: this one. But Richard, the secondary primatologist, is played by

935
00:55:17,440 --> 00:55:20,759
Speaker 1: Grant has Love born nine three. He's done a lot

936
00:55:20,840 --> 00:55:23,360
Speaker 1: acting over the years, but he's primarily known as a producer.

937
00:55:23,760 --> 00:55:27,560
Speaker 1: He's a longtime collaborator with George Clooney and he's finding

938
00:55:27,640 --> 00:55:30,880
Speaker 1: this no problems there. I think he's co by Gorilla eventually,

939
00:55:31,160 --> 00:55:35,239
Speaker 1: like most Moss in the film. Oh and then we

940
00:55:35,360 --> 00:55:38,960
Speaker 1: have we have Jodan Baker in the film. Jodan Baker

941
00:55:39,040 --> 00:55:43,680
Speaker 1: born six plays r B. Travis Baker, of course, loud

942
00:55:43,800 --> 00:55:47,799
Speaker 1: Texan actor who is perfect in this as the enraged,

943
00:55:48,160 --> 00:55:53,360
Speaker 1: just comedically greedy head of a massive media corporation to

944
00:55:53,600 --> 00:55:56,520
Speaker 1: his his son. Right, this is like Bruce Campbell's character

945
00:55:56,719 --> 00:56:01,560
Speaker 1: is his son who is suddenly missing, presumed murdered by

946
00:56:01,600 --> 00:56:06,239
Speaker 1: guerrillas in the in the jungle, and all he can

947
00:56:06,280 --> 00:56:08,319
Speaker 1: think about is those diamonds. We've got to get those

948
00:56:08,360 --> 00:56:11,640
Speaker 1: diamonds and and I mean, that's that's all. And he

949
00:56:11,760 --> 00:56:14,239
Speaker 1: just rages the whole He's not on the screen a lot,

950
00:56:14,360 --> 00:56:17,800
Speaker 1: but when he's there, he's swinging golf clubs at computer screens.

951
00:56:17,840 --> 00:56:22,200
Speaker 1: He's yelling at Laura Lenney. Just a completely hateable character. Yes,

952
00:56:22,640 --> 00:56:25,520
Speaker 1: he also has many lines that I'm like, I'm impressed

953
00:56:25,600 --> 00:56:27,560
Speaker 1: with how much you gave this because it's not that

954
00:56:27,640 --> 00:56:29,239
Speaker 1: great of a line. But one of my favorites is

955
00:56:29,719 --> 00:56:35,600
Speaker 1: I could be human later. Yeah yeah, yeah, yeah, just

956
00:56:35,800 --> 00:56:39,799
Speaker 1: just a caricature of of of like a media corporation head.

957
00:56:39,920 --> 00:56:44,920
Speaker 1: But as a characterature caricature, it's very well done. Um Baker,

958
00:56:45,000 --> 00:56:47,080
Speaker 1: of course, has an impressive filmography going all the way

959
00:56:47,080 --> 00:56:49,040
Speaker 1: back to the mid sixties. He did a lot of

960
00:56:49,120 --> 00:56:51,000
Speaker 1: TV work, but he hit a big time in nineteen

961
00:56:51,040 --> 00:56:54,439
Speaker 1: seventy threes Walking Tall. Some of his more memorable films

962
00:56:54,480 --> 00:57:00,799
Speaker 1: include Mitchell, Final Justice, Fletch. Oh, then we get into

963
00:57:00,800 --> 00:57:03,319
Speaker 1: the James Bond era he's in. He's one of those

964
00:57:03,360 --> 00:57:07,239
Speaker 1: guys that has the has the honors of playing two

965
00:57:07,320 --> 00:57:11,080
Speaker 1: different characters in different Bond films. So he was seven

966
00:57:11,239 --> 00:57:14,440
Speaker 1: The Living Daylights, where I think he's a villain, But

967
00:57:14,520 --> 00:57:17,120
Speaker 1: then he's also in both Gold and I and Tomorrow

968
00:57:17,240 --> 00:57:20,520
Speaker 1: Never Dies, playing a different character who's on the good

969
00:57:20,560 --> 00:57:25,520
Speaker 1: guy side of things. Yeah, good for him, Jodan Baker. Okay,

970
00:57:25,560 --> 00:57:27,880
Speaker 1: now we've mentioned Amy the Talking Guerrilla, who is just

971
00:57:28,360 --> 00:57:32,440
Speaker 1: one of the greatest characters certainly in this film, and

972
00:57:32,520 --> 00:57:39,080
Speaker 1: maybe you could make a role for like Cinema as all. Now,

973
00:57:39,200 --> 00:57:41,440
Speaker 1: this is a role that again, like all the gorillas

974
00:57:41,480 --> 00:57:44,240
Speaker 1: in the in this film, they're brought to life via

975
00:57:44,720 --> 00:57:50,720
Speaker 1: fabulous guerrilla costumes, but also tremendous physical performances within the costume.

976
00:57:51,200 --> 00:57:54,400
Speaker 1: And I believe there are two different individuals credited. One

977
00:57:55,000 --> 00:58:00,200
Speaker 1: is um Lola No. Two credited is playing Amy Um,

978
00:58:00,400 --> 00:58:03,600
Speaker 1: the first of two short statued actors credited with the role.

979
00:58:04,120 --> 00:58:06,880
Speaker 1: I think she's been more active as a producer Um.

980
00:58:07,200 --> 00:58:12,200
Speaker 1: But the other is Misty Roses three and uh Rosis

981
00:58:12,240 --> 00:58:15,880
Speaker 1: is a wonderful performer responsible for bringing a live such

982
00:58:16,040 --> 00:58:19,840
Speaker 1: characters as cool Is it cool? I can't remember this

983
00:58:19,960 --> 00:58:24,840
Speaker 1: character's name. How we said quil quel quill Okay, the

984
00:58:25,400 --> 00:58:27,280
Speaker 1: the Let's see what does he keep saying in the

985
00:58:27,320 --> 00:58:32,640
Speaker 1: Mandalorian He's like, I have spoken, but I have spoken, Yes,

986
00:58:32,720 --> 00:58:35,560
Speaker 1: So she is the physical performer. Nick Nulty did the voice,

987
00:58:35,600 --> 00:58:38,120
Speaker 1: of course, but she's the physical performer of that character.

988
00:58:38,440 --> 00:58:41,160
Speaker 1: She was also the physical performer of the frog Lady

989
00:58:41,760 --> 00:58:46,240
Speaker 1: in what the second season That's awesome. So there there

990
00:58:46,280 --> 00:58:50,400
Speaker 1: are a number of Star Wars Connections to Congre. Alright,

991
00:58:50,480 --> 00:58:52,560
Speaker 1: this one's a blink and miss it role here, but

992
00:58:52,760 --> 00:58:56,040
Speaker 1: Peter Jason plays a character named Mr. Janis is just

993
00:58:56,080 --> 00:58:58,360
Speaker 1: one of the individuals at the airport before they leave

994
00:58:58,600 --> 00:59:03,080
Speaker 1: for Africa, Borneo memorable face from various films over the decade.

995
00:59:03,440 --> 00:59:07,080
Speaker 1: He's popped up in things like Alien Nation, Prince of Darkness, Dreamscape,

996
00:59:07,240 --> 00:59:11,480
Speaker 1: They Live, Mortal Kombat, and Escape from l A And

997
00:59:11,600 --> 00:59:14,320
Speaker 1: another one you might blink and miss is Jimmy Buffett

998
00:59:14,360 --> 00:59:17,200
Speaker 1: shows up in this movie. He plays the pilot of

999
00:59:17,240 --> 00:59:21,000
Speaker 1: the Seven seven that they that they board to travel

1000
00:59:21,080 --> 00:59:23,760
Speaker 1: to Africa. So yeah, for some reason, the High parrot

1001
00:59:23,840 --> 00:59:27,080
Speaker 1: Head himself is presence in Congo, and I guess has

1002
00:59:27,320 --> 00:59:29,920
Speaker 1: has blessed Congo. Yes, in that way, I mean it

1003
00:59:30,000 --> 00:59:32,480
Speaker 1: feels right for some reason, of course he's there. I

1004
00:59:32,520 --> 00:59:45,600
Speaker 1: don't know, now real we mentioned Bruce Campbell's in this, Yes,

1005
00:59:45,720 --> 00:59:51,120
Speaker 1: Bruce Campbell's in this for a hot minute. He's at

1006
00:59:51,160 --> 00:59:54,480
Speaker 1: the very beginning of the film and then he this

1007
00:59:54,640 --> 00:59:57,080
Speaker 1: is kind of a spoiler, he is assaulted by some

1008
00:59:57,160 --> 01:00:00,200
Speaker 1: sort of Killer eight and the movie keeps the hope

1009
01:00:00,200 --> 01:00:03,400
Speaker 1: alive that he will come back. And I remember by

1010
01:00:03,440 --> 01:00:06,520
Speaker 1: the time I saw this movie. I had already seen

1011
01:00:07,040 --> 01:00:09,400
Speaker 1: maybe Army of Darkness, so it's familiar with his work,

1012
01:00:10,200 --> 01:00:12,320
Speaker 1: even if I hadn't seen the Evil Dead movies yet.

1013
01:00:12,640 --> 01:00:15,560
Speaker 1: So I was I was excited that he was in here,

1014
01:00:15,880 --> 01:00:18,760
Speaker 1: and then I was disappointed that he was gone. But

1015
01:00:18,880 --> 01:00:20,840
Speaker 1: the movie kept the hope alive that we would find

1016
01:00:20,920 --> 01:00:23,680
Speaker 1: him again and he would help fight the guerrillas and uh,

1017
01:00:23,760 --> 01:00:25,320
Speaker 1: and of course we find out at the end he's

1018
01:00:25,360 --> 01:00:28,200
Speaker 1: just he's been dead the whole time. He's really dead. Um.

1019
01:00:28,800 --> 01:00:31,080
Speaker 1: But in a way this in the film it ended

1020
01:00:31,120 --> 01:00:33,960
Speaker 1: up kind of subverting expectations as well, because, especially as

1021
01:00:34,000 --> 01:00:36,400
Speaker 1: a kid, not knowing maybe how structures of these things

1022
01:00:36,440 --> 01:00:39,240
Speaker 1: for likely will work. You think, well, Bruce Campbell's in this, well,

1023
01:00:39,280 --> 01:00:40,840
Speaker 1: he's going to show up at the end and he's

1024
01:00:40,840 --> 01:00:44,360
Speaker 1: gonna change saw some apes. But that's not happened. Now

1025
01:00:44,440 --> 01:00:48,040
Speaker 1: we get lasers instead. Um. And I will say a

1026
01:00:48,160 --> 01:00:50,600
Speaker 1: lot of the reviews I read from this time, it

1027
01:00:50,760 --> 01:00:53,200
Speaker 1: was people seem to that was one of the big

1028
01:00:53,240 --> 01:00:57,760
Speaker 1: critiques people had was I guess they felt tricked that

1029
01:00:57,920 --> 01:01:00,520
Speaker 1: he was in it and then just never he's in

1030
01:01:00,640 --> 01:01:03,640
Speaker 1: it for like I said, maybe a minute, maybe a

1031
01:01:03,680 --> 01:01:07,080
Speaker 1: little more, but then he doesn't come back, and people

1032
01:01:07,120 --> 01:01:12,439
Speaker 1: were like, this is criminally this is a criminally short cameo. Um. Yeah,

1033
01:01:12,920 --> 01:01:16,120
Speaker 1: because Army of Darkness came out ninety two, so it

1034
01:01:16,280 --> 01:01:19,280
Speaker 1: had had time to of course not only hit theaters,

1035
01:01:19,360 --> 01:01:22,440
Speaker 1: but to really dig into the VHS market, in the

1036
01:01:22,480 --> 01:01:25,480
Speaker 1: home rental market. So again this is me my my

1037
01:01:25,600 --> 01:01:29,800
Speaker 1: sort of childhood memory of this, but or junior high

1038
01:01:29,840 --> 01:01:33,000
Speaker 1: memory of this or whatever. I remember feeling like the

1039
01:01:33,080 --> 01:01:37,600
Speaker 1: world was hot for more Bruce Campbell action and maybe

1040
01:01:37,720 --> 01:01:40,760
Speaker 1: maybe they weren't, or maybe the studio system that had

1041
01:01:40,840 --> 01:01:45,800
Speaker 1: not really caught wind of the hunger yet. Yeah, I

1042
01:01:45,880 --> 01:01:47,520
Speaker 1: think you were. I think you were picking it up.

1043
01:01:47,520 --> 01:01:49,800
Speaker 1: I think people wanted Bruce Campbell, but you know, this

1044
01:01:49,920 --> 01:01:55,960
Speaker 1: is what we got. We also have ottawally akanaway in

1045
01:01:56,120 --> 01:01:58,960
Speaker 1: this uh he he just plays uh. I think there's

1046
01:01:58,960 --> 01:02:01,400
Speaker 1: one of the many soldier characters that sort of populates

1047
01:02:01,440 --> 01:02:04,800
Speaker 1: the background of the film. But this is of course

1048
01:02:04,880 --> 01:02:09,040
Speaker 1: English fashion model turned actor born seven, who had pretty

1049
01:02:09,040 --> 01:02:12,680
Speaker 1: big roles on TV's OZ and also Lost, which you

1050
01:02:12,760 --> 01:02:15,680
Speaker 1: mentioned earlier, but this was one of his first screen roles.

1051
01:02:15,880 --> 01:02:17,640
Speaker 1: He's gonna to act in a number of big pictures,

1052
01:02:17,720 --> 01:02:20,600
Speaker 1: including the Mummy Returns, The Born Identity, the remake of

1053
01:02:20,640 --> 01:02:24,880
Speaker 1: The Thing, the Second Thor Movie, and Suicide Squad. So

1054
01:02:25,400 --> 01:02:27,200
Speaker 1: he's been in quite a few things. He also writes

1055
01:02:27,240 --> 01:02:32,480
Speaker 1: and directs now To getting into two surprisingly uncredited performances

1056
01:02:32,520 --> 01:02:35,680
Speaker 1: in this. The first we have Delroy Lindo pop up

1057
01:02:35,720 --> 01:02:39,760
Speaker 1: in this playing Captain Wanta. This is one of This

1058
01:02:39,880 --> 01:02:42,800
Speaker 1: is a corrupt military official that they encounter again on

1059
01:02:42,960 --> 01:02:46,120
Speaker 1: the way to the Lost City, and he like hits

1060
01:02:46,160 --> 01:02:49,920
Speaker 1: him up for a bribe and also just talks about

1061
01:02:50,160 --> 01:02:54,200
Speaker 1: how much he hates Tim Curry's character. He's really really

1062
01:02:54,320 --> 01:02:57,560
Speaker 1: hard on on Homolka here, even telling him that he

1063
01:02:57,600 --> 01:03:02,840
Speaker 1: has to stop eating the sesame cake in Hotel twice.

1064
01:03:05,920 --> 01:03:07,880
Speaker 1: One of my favorite articles. When I was the next

1065
01:03:07,960 --> 01:03:09,160
Speaker 1: day after I watched this and I was like, what

1066
01:03:09,280 --> 01:03:13,280
Speaker 1: did I just watch? Somebody wrote imagine a script that

1067
01:03:13,360 --> 01:03:16,760
Speaker 1: went through rewrites and still had to stop eating my

1068
01:03:16,840 --> 01:03:23,720
Speaker 1: sesame cake in there, not once but twice. But Linda

1069
01:03:23,800 --> 01:03:26,160
Speaker 1: makes you believe it. It's a yes, a small but

1070
01:03:26,520 --> 01:03:31,200
Speaker 1: but memorable little performance here, Linda. Of course, some of

1071
01:03:31,280 --> 01:03:34,360
Speaker 1: his biggest films have included Malcolm X, Get Shorty to

1072
01:03:34,520 --> 01:03:37,840
Speaker 1: Five Bloods, and The Core. He's also slated to have

1073
01:03:37,920 --> 01:03:39,920
Speaker 1: a major role in the Blade reboot if they ever

1074
01:03:40,000 --> 01:03:43,160
Speaker 1: actually make that movie. I don't know what he's going

1075
01:03:43,200 --> 01:03:46,160
Speaker 1: to play in that, but I kind of have I'm

1076
01:03:46,200 --> 01:03:48,320
Speaker 1: wondering if he's gonna play a whistler character, if he's

1077
01:03:48,520 --> 01:03:51,840
Speaker 1: gonna be like the mentor to Blade. But we'll see.

1078
01:03:52,440 --> 01:03:54,520
Speaker 1: And then you you mentioned this one already, but we

1079
01:03:54,560 --> 01:03:57,000
Speaker 1: have this character Eddie Ventro who shows up and this

1080
01:03:57,160 --> 01:04:01,320
Speaker 1: is an uncredited performance by Joe Pantolian though. Yes, and

1081
01:04:01,400 --> 01:04:05,840
Speaker 1: I was a huge Matrix fan. I had an extremely

1082
01:04:05,960 --> 01:04:10,360
Speaker 1: embarrassing email address which you unfortunately i've seen, um, which

1083
01:04:10,360 --> 01:04:14,280
Speaker 1: I've told that story before, but anyway, um, because I

1084
01:04:14,320 --> 01:04:16,920
Speaker 1: had a huge crush on Neo Keanu Reeves from The Matrix,

1085
01:04:17,160 --> 01:04:18,400
Speaker 1: but I didn't know he was going to be in

1086
01:04:18,440 --> 01:04:21,760
Speaker 1: this movie. And uh when he showed up, that was

1087
01:04:21,800 --> 01:04:23,440
Speaker 1: one of the things I shouted to the other room,

1088
01:04:23,560 --> 01:04:28,680
Speaker 1: was like, it's joey pants, it's Cipher. Who's here. My

1089
01:04:28,800 --> 01:04:32,720
Speaker 1: friend was like, what are you talking about? Yeah, it's

1090
01:04:32,760 --> 01:04:36,400
Speaker 1: a It's a great, slimy little role that he plays

1091
01:04:36,840 --> 01:04:38,320
Speaker 1: like that. I think one of the first things that

1092
01:04:38,400 --> 01:04:41,080
Speaker 1: he does is he offers to buy Amy the Gorilla. Yes,

1093
01:04:41,800 --> 01:04:50,720
Speaker 1: like immediately immediately yeah, so um yeah. Joe Pantoliano here

1094
01:04:50,760 --> 01:04:55,000
Speaker 1: probably have best known for playing Cipher the Matrix Caesar

1095
01:04:55,080 --> 01:04:58,360
Speaker 1: in Is Bound, and he played the character Teddy in

1096
01:04:58,440 --> 01:05:02,880
Speaker 1: two thousands of Memento. So yeah. Talented character actor that

1097
01:05:03,040 --> 01:05:07,480
Speaker 1: often plays kind of slimy, sleazy characters, morally ambiguous and past.

1098
01:05:08,600 --> 01:05:09,840
Speaker 1: I think he was also in a couple of Tales

1099
01:05:09,880 --> 01:05:12,640
Speaker 1: from the Crypt episodes, which of course perfect place to

1100
01:05:12,760 --> 01:05:16,240
Speaker 1: stick somebody with these talents. Yes, yes, I do love.

1101
01:05:16,320 --> 01:05:19,080
Speaker 1: He has a scene where, like the he re emerges

1102
01:05:19,120 --> 01:05:21,880
Speaker 1: after I assumed we would never see him again, um,

1103
01:05:22,680 --> 01:05:24,600
Speaker 1: and he's getting off the plane and he has like

1104
01:05:24,640 --> 01:05:27,120
Speaker 1: a head injury and he makes the like the funniest

1105
01:05:27,160 --> 01:05:30,160
Speaker 1: sound to me where it's like, oh, I don't know,

1106
01:05:30,240 --> 01:05:32,000
Speaker 1: there's just something about how he did that that cracks

1107
01:05:32,040 --> 01:05:34,080
Speaker 1: me up every time I watched this. Um in case

1108
01:05:34,120 --> 01:05:36,560
Speaker 1: I forget it for later. What happens to his character

1109
01:05:36,640 --> 01:05:38,680
Speaker 1: in this film? Do we see him killed by Gorilla

1110
01:05:38,760 --> 01:05:40,520
Speaker 1: or something? Because at some point later in the film,

1111
01:05:40,560 --> 01:05:43,360
Speaker 1: I'm like, where did he go? He kind of just

1112
01:05:43,560 --> 01:05:47,880
Speaker 1: wanders He's like, here's your equipment. Have fun? He doesn't,

1113
01:05:47,920 --> 01:05:50,520
Speaker 1: he says he doesn't like to leave the airport, so

1114
01:05:50,840 --> 01:05:56,600
Speaker 1: I assume he just haunts the airport. Okay, well, let's

1115
01:05:56,600 --> 01:05:58,960
Speaker 1: get into the plot a bit. Yes, Oh gosh, I'm

1116
01:05:59,000 --> 01:06:04,320
Speaker 1: so excited. So we opened in sub Saharan Africa, presumably

1117
01:06:04,400 --> 01:06:06,960
Speaker 1: the Congo given the name of the film. We have

1118
01:06:07,040 --> 01:06:10,160
Speaker 1: Bruce Campbell's character Charlie leading a team into the wild

1119
01:06:10,320 --> 01:06:15,240
Speaker 1: surrounding mountain Mukino. We're told here some sort of volcanic mountain,

1120
01:06:15,840 --> 01:06:18,280
Speaker 1: and almost right away we see he's packing heat like

1121
01:06:18,400 --> 01:06:22,440
Speaker 1: we see him like holding the pistol there. And I

1122
01:06:22,520 --> 01:06:24,880
Speaker 1: guess this is all kind of nice abversion because they

1123
01:06:24,960 --> 01:06:27,840
Speaker 1: really kind of present him as like, this is our star, right,

1124
01:06:27,880 --> 01:06:30,160
Speaker 1: this is the action hero. This is the guy who's

1125
01:06:30,160 --> 01:06:32,040
Speaker 1: going to take us through the movie, right, And I

1126
01:06:32,120 --> 01:06:34,880
Speaker 1: do want to before we move on again. I love

1127
01:06:36,200 --> 01:06:37,680
Speaker 1: when you can watch a movie and be like, oh,

1128
01:06:37,800 --> 01:06:42,600
Speaker 1: this is the nineties or whatever. The Congo title is

1129
01:06:42,880 --> 01:06:47,560
Speaker 1: done in the most glorious like gold World word art

1130
01:06:47,600 --> 01:06:50,040
Speaker 1: if you remember what that was. Um So it's like

1131
01:06:50,080 --> 01:06:52,120
Speaker 1: a fading of gold to orange and then it has

1132
01:06:52,240 --> 01:06:57,240
Speaker 1: a blue drop shadow glow and that's like nineties. Oh

1133
01:06:57,320 --> 01:07:00,680
Speaker 1: my gosh. So I'm I'm a sucker for that kind

1134
01:07:00,720 --> 01:07:03,440
Speaker 1: of stuff. But yeah, I do think you know, if

1135
01:07:03,480 --> 01:07:08,000
Speaker 1: you have started watching this and you're you're like, I

1136
01:07:08,080 --> 01:07:09,960
Speaker 1: guess this is our hero, and then it doesn't really

1137
01:07:10,000 --> 01:07:11,880
Speaker 1: turn out to be what you think it's going to

1138
01:07:12,000 --> 01:07:14,320
Speaker 1: be at all. Right, Well, for one thing, it's like

1139
01:07:14,360 --> 01:07:17,080
Speaker 1: we're very much in sort of Indiana Jones territory. And

1140
01:07:17,160 --> 01:07:19,960
Speaker 1: then we cut to space. We're in orbits and we

1141
01:07:20,080 --> 01:07:22,520
Speaker 1: see this satellite, which this is one of the moments

1142
01:07:22,600 --> 01:07:25,840
Speaker 1: where the effects feel rather dated because it it's like

1143
01:07:25,920 --> 01:07:29,400
Speaker 1: a very dated c G I satellite orbiting the Earth.

1144
01:07:29,880 --> 01:07:32,360
Speaker 1: And uh uh, this of course is going to be

1145
01:07:32,400 --> 01:07:34,280
Speaker 1: an important part of the plot. This is what is

1146
01:07:34,400 --> 01:07:38,720
Speaker 1: enabling him to communicate, uh without any lag at all,

1147
01:07:39,080 --> 01:07:41,640
Speaker 1: with a Houston Control center. That's where we go to next,

1148
01:07:41,920 --> 01:07:45,520
Speaker 1: and here we meet Laura Lenney as our our former

1149
01:07:45,640 --> 01:07:49,760
Speaker 1: CI agent Dr Karen Ross, and there they initiate a

1150
01:07:49,800 --> 01:07:54,080
Speaker 1: satellite call to Bruce Campbell's team around the volcano and

1151
01:07:54,120 --> 01:07:57,760
Speaker 1: they start talking about blue diamonds. Yes, And as much

1152
01:07:57,800 --> 01:07:59,400
Speaker 1: as I make fun of the script, and I do,

1153
01:07:59,480 --> 01:08:02,040
Speaker 1: I will say they accomplish a lot pretty quickly. So

1154
01:08:02,080 --> 01:08:04,480
Speaker 1: when you first see Laura Lenny, she's walking in with

1155
01:08:04,560 --> 01:08:06,840
Speaker 1: a colleague of hers who has a very hilarious like

1156
01:08:07,040 --> 01:08:10,400
Speaker 1: password which is just his name, Rudy, Rudy Rudy Um

1157
01:08:11,200 --> 01:08:15,600
Speaker 1: to get in. But it like immediately establishes that the

1158
01:08:15,720 --> 01:08:19,559
Speaker 1: character we're about to meet, who is Bruce Campbell's father, Um, Travis,

1159
01:08:20,560 --> 01:08:26,400
Speaker 1: is paranoid. He's very very paranoid, and he doesn't trust people. Um.

1160
01:08:27,640 --> 01:08:31,000
Speaker 1: But yeah, I love too how quickly there's so much

1161
01:08:31,080 --> 01:08:33,840
Speaker 1: whiplash in this movie where you're like, oh, diamonds, oh,

1162
01:08:34,000 --> 01:08:39,160
Speaker 1: but for satellites. And of course Bruce Campbell's character has

1163
01:08:39,240 --> 01:08:42,840
Speaker 1: brought a functional laser gun into the wild with him

1164
01:08:42,960 --> 01:08:46,000
Speaker 1: and immediately loads up one of these blue diamonds and

1165
01:08:46,240 --> 01:08:49,200
Speaker 1: test fires that's starting a small fire behind him, and

1166
01:08:49,280 --> 01:08:52,519
Speaker 1: we're like, Okay, I'm not completely clear on how all

1167
01:08:52,600 --> 01:08:57,280
Speaker 1: this works, but blue diamond apparently works. Blue diamond lasers

1168
01:08:57,320 --> 01:09:00,840
Speaker 1: are important and uh and it back in Houston, they're

1169
01:09:00,920 --> 01:09:04,679
Speaker 1: very pleased with how this is all shaping up. Yes, yes,

1170
01:09:04,960 --> 01:09:07,680
Speaker 1: I love how they don't bother to explain it. I like,

1171
01:09:07,880 --> 01:09:09,760
Speaker 1: legitimately love that when movies are like, you know what,

1172
01:09:09,840 --> 01:09:12,160
Speaker 1: we're not really about this part of it so I

1173
01:09:12,200 --> 01:09:15,559
Speaker 1: can explain it. Um, but he even makes a mention

1174
01:09:15,640 --> 01:09:18,200
Speaker 1: of like, if this isn't a good enough diamond, essentially

1175
01:09:18,240 --> 01:09:21,759
Speaker 1: like we need a better diamond and then will really

1176
01:09:21,840 --> 01:09:25,800
Speaker 1: be in business. So at this point, one of the

1177
01:09:25,840 --> 01:09:29,920
Speaker 1: other members of of Bruce Campbell's characters, Charlie's team, calls

1178
01:09:30,000 --> 01:09:32,040
Speaker 1: him over and says, hey, I found something. Jump into

1179
01:09:32,120 --> 01:09:34,040
Speaker 1: this water here and swim under these ruins with me,

1180
01:09:34,560 --> 01:09:37,640
Speaker 1: and he's like, okay, I'll do that, and so they

1181
01:09:37,800 --> 01:09:40,920
Speaker 1: jump in and lo and behold. They discover a lost

1182
01:09:40,960 --> 01:09:45,160
Speaker 1: city hidden beneath the jungle canopy, and the other guy,

1183
01:09:45,479 --> 01:09:48,040
Speaker 1: the character that will not be around for long, but

1184
01:09:48,120 --> 01:09:50,200
Speaker 1: we find out he'll be back actually, but then not

1185
01:09:50,320 --> 01:09:53,000
Speaker 1: be around for long. A guy named Jeffrey stresses that

1186
01:09:53,160 --> 01:09:55,800
Speaker 1: this is a big fine, this is amazing, and he's

1187
01:09:55,800 --> 01:09:58,400
Speaker 1: telling him all this in they're standing in front of

1188
01:09:58,479 --> 01:10:03,280
Speaker 1: this ominous stone rella statue, their sinister music playing. We

1189
01:10:03,320 --> 01:10:06,040
Speaker 1: can already tell nothing good it's going to happen here. Yeah,

1190
01:10:06,240 --> 01:10:08,800
Speaker 1: it really ramps up pretty quickly. You're like, oh wow,

1191
01:10:09,040 --> 01:10:14,519
Speaker 1: something is just about to go wrong, and uh. This

1192
01:10:14,640 --> 01:10:18,360
Speaker 1: has one of my very favorite like horror elements where

1193
01:10:18,920 --> 01:10:22,160
Speaker 1: one of them goes missing. Jeffrey goes missing, Bruce Campbell's

1194
01:10:22,240 --> 01:10:25,280
Speaker 1: kind of staring off in the distance, maybe getting you know, wind,

1195
01:10:25,439 --> 01:10:32,000
Speaker 1: something's not right. Calls from his friend eyeball just out

1196
01:10:32,040 --> 01:10:36,840
Speaker 1: of nowhere. Here's a human eyeball uh in front of him. Yeah,

1197
01:10:36,920 --> 01:10:38,560
Speaker 1: and then we get we cut to the monster p

1198
01:10:38,720 --> 01:10:41,000
Speaker 1: o V. There's this growl and then we get the

1199
01:10:41,520 --> 01:10:45,880
Speaker 1: shot of Bruce Campbell screaming, and it's it's kind of

1200
01:10:45,960 --> 01:10:48,320
Speaker 1: interesting to think like that, you try to put yourself

1201
01:10:48,360 --> 01:10:50,639
Speaker 1: in the mind of the monster here. So the grey gorilla,

1202
01:10:51,040 --> 01:10:55,759
Speaker 1: after brutally murdering the other guy, pauses to pluck eyeballs

1203
01:10:55,800 --> 01:10:58,800
Speaker 1: out and then sort of mess with Charlie here, like

1204
01:10:59,040 --> 01:11:01,559
Speaker 1: just chunk a few eyeballs at him, get his attention,

1205
01:11:01,680 --> 01:11:04,280
Speaker 1: and then kill him. So they're very twisted on the

1206
01:11:04,320 --> 01:11:09,760
Speaker 1: part of our our our ap adversaries here. So back

1207
01:11:09,800 --> 01:11:12,800
Speaker 1: in Houston, they try and call back on the video chat.

1208
01:11:12,880 --> 01:11:15,960
Speaker 1: They see everyone is dead, something is running around, and

1209
01:11:16,080 --> 01:11:18,479
Speaker 1: ap attacks the camera. They get kind of this freeze

1210
01:11:18,520 --> 01:11:20,439
Speaker 1: frame that they're going to have to figure out later.

1211
01:11:20,560 --> 01:11:23,040
Speaker 1: So things get a little bit event horizon here. They've

1212
01:11:23,080 --> 01:11:25,599
Speaker 1: got some footage that they're going to have to tinker

1213
01:11:25,680 --> 01:11:27,840
Speaker 1: with later. Uh. It seems like there was a This

1214
01:11:28,000 --> 01:11:31,120
Speaker 1: was a thing for a while in there's always a

1215
01:11:31,160 --> 01:11:34,280
Speaker 1: situation where you have some strange footage and there's something

1216
01:11:34,360 --> 01:11:36,720
Speaker 1: computery you could do to it and you could get

1217
01:11:36,800 --> 01:11:41,120
Speaker 1: everything enhanced and figured out later on. Yes, Yes, and

1218
01:11:41,240 --> 01:11:42,920
Speaker 1: there's a lot to there's a lot that I love

1219
01:11:42,960 --> 01:11:45,479
Speaker 1: about this part number one. This was such a trope

1220
01:11:45,479 --> 01:11:47,160
Speaker 1: in the nineties. I don't know if you ever saw

1221
01:11:47,240 --> 01:11:51,280
Speaker 1: the Mary Kate Nashley movie it takes two, but there

1222
01:11:51,400 --> 01:11:53,880
Speaker 1: was such a trope in the nineties that like, if

1223
01:11:53,960 --> 01:11:59,160
Speaker 1: you could control communications like cell phones or new technology,

1224
01:11:59,240 --> 01:12:01,160
Speaker 1: you you could cant well everything, and it was such

1225
01:12:01,200 --> 01:12:04,799
Speaker 1: like a evil villain trope. And I love how Travis

1226
01:12:04,880 --> 01:12:08,040
Speaker 1: immediately when you meet this character, who's like, yeah, the

1227
01:12:08,160 --> 01:12:12,240
Speaker 1: most over the top evil business, corrupt capitalist guy. Is

1228
01:12:12,320 --> 01:12:15,839
Speaker 1: it like that he's going to dominate the communications industry

1229
01:12:15,880 --> 01:12:19,360
Speaker 1: with this diamond um and all of this is interspersed

1230
01:12:19,400 --> 01:12:22,799
Speaker 1: with like the most nineties graphics and the most nineties

1231
01:12:22,840 --> 01:12:25,080
Speaker 1: sound effects to that like camera that they're looking in

1232
01:12:25,200 --> 01:12:29,080
Speaker 1: on the camp site with it is just there's something

1233
01:12:29,120 --> 01:12:32,000
Speaker 1: about it that feels so from that time that it's

1234
01:12:32,000 --> 01:12:34,720
Speaker 1: it's like a whole a full body experience for me.

1235
01:12:34,760 --> 01:12:37,680
Speaker 1: I'm like, oh, yes, this is nineties. Um. Yeah, I

1236
01:12:37,720 --> 01:12:40,640
Speaker 1: think Tomorrow Never Dies, one of the Bond film we

1237
01:12:40,720 --> 01:12:43,200
Speaker 1: referenced earlier. I think that the villain in that one,

1238
01:12:43,240 --> 01:12:45,640
Speaker 1: played by Jonathan Price, is also some sort of a

1239
01:12:45,720 --> 01:12:49,439
Speaker 1: media mole type character. Yeah, it was such a thing, um.

1240
01:12:50,760 --> 01:12:52,880
Speaker 1: And I do love that he This is when his

1241
01:12:53,000 --> 01:12:55,200
Speaker 1: line I mentioned earlier like I can be human later

1242
01:12:55,360 --> 01:13:00,240
Speaker 1: comes up like he's like immediately an overtop caricature. I

1243
01:13:00,360 --> 01:13:03,559
Speaker 1: love how laure Lennie's character Literally she says to him,

1244
01:13:03,600 --> 01:13:07,120
Speaker 1: are you for real? And she's in the most nineties

1245
01:13:07,200 --> 01:13:11,360
Speaker 1: Khakis invest too, by the way. Um, And this is

1246
01:13:11,360 --> 01:13:13,800
Speaker 1: when you kind of find out like she was dating

1247
01:13:13,880 --> 01:13:15,960
Speaker 1: Bruce Campbell. They were going to get married and then

1248
01:13:16,000 --> 01:13:18,080
Speaker 1: they broke up for whatever reason, but she still obviously

1249
01:13:18,120 --> 01:13:20,720
Speaker 1: cares about him. And she has this confrontation with Havis like,

1250
01:13:21,000 --> 01:13:23,120
Speaker 1: I'm not going in there unless you promised me you're

1251
01:13:23,160 --> 01:13:25,679
Speaker 1: doing it for your son. If you're doing it for Charlie,

1252
01:13:26,360 --> 01:13:29,519
Speaker 1: I'll go. But if I get one hint that this

1253
01:13:29,720 --> 01:13:34,880
Speaker 1: isn't for him, I'm gonna make you sorry. She says, Yeah,

1254
01:13:35,040 --> 01:13:37,000
Speaker 1: I love that he He does calm down a little

1255
01:13:37,040 --> 01:13:39,120
Speaker 1: bit and he's like like, yeah, I'm doing it for him.

1256
01:13:39,400 --> 01:13:42,640
Speaker 1: I did not find it very believable, but it's good

1257
01:13:42,760 --> 01:13:46,320
Speaker 1: enough for her. She's like, Okay, all right, Yes, I

1258
01:13:46,439 --> 01:13:49,320
Speaker 1: believe you enough to go out and try and find

1259
01:13:49,400 --> 01:13:52,760
Speaker 1: him in the wild. Yes. And I also love one

1260
01:13:52,800 --> 01:13:55,840
Speaker 1: of my favorite parts, which like right before it he

1261
01:13:55,920 --> 01:13:57,880
Speaker 1: said something pretty offensive, which was like maybe it was

1262
01:13:57,920 --> 01:14:02,360
Speaker 1: the locals. Um. Then he's like or a rival company,

1263
01:14:04,000 --> 01:14:08,960
Speaker 1: Like there's just something about him that's so he's so paranoid.

1264
01:14:09,280 --> 01:14:14,479
Speaker 1: He's so so paranoid. Um. I also agree that she

1265
01:14:14,680 --> 01:14:16,640
Speaker 1: perhaps believed him too readily, but I also think she

1266
01:14:16,760 --> 01:14:22,439
Speaker 1: wanted to go, Like she she does still care about Charlie. Um.

1267
01:14:23,160 --> 01:14:25,519
Speaker 1: But yeah, he's not very believable at all. But maybe

1268
01:14:25,560 --> 01:14:29,759
Speaker 1: that's just his constant vibe is just this level of anger.

1269
01:14:30,280 --> 01:14:32,439
Speaker 1: So yeah, and I think I think you're right. I

1270
01:14:32,520 --> 01:14:34,800
Speaker 1: think like she she wanted to go. She wants to

1271
01:14:35,560 --> 01:14:37,880
Speaker 1: to try and find Charlie. And so it's not that

1272
01:14:38,000 --> 01:14:41,040
Speaker 1: she's saying I'm not going unless like she's not really

1273
01:14:41,120 --> 01:14:44,640
Speaker 1: looking for an affirmation from him. She's just trying to

1274
01:14:44,920 --> 01:14:47,760
Speaker 1: encourage the human side of him, like like, Okay, I'll

1275
01:14:47,760 --> 01:14:49,240
Speaker 1: do this, but I want to see it like some

1276
01:14:49,439 --> 01:14:52,559
Speaker 1: acknowledgement that part of this is because you love your

1277
01:14:52,600 --> 01:14:58,120
Speaker 1: son right exactly and uh not you know, not sending

1278
01:14:58,200 --> 01:15:00,920
Speaker 1: me off to get kittled to get well that. Yeah,

1279
01:15:11,160 --> 01:15:12,640
Speaker 1: but this is one of my This is when I

1280
01:15:12,760 --> 01:15:17,120
Speaker 1: was watching the movie, this cut that happens now, Oh whoa,

1281
01:15:18,000 --> 01:15:21,680
Speaker 1: this is what am I watching right now? And this

1282
01:15:21,800 --> 01:15:24,600
Speaker 1: is when we get introduced to Amy. That's right, we

1283
01:15:24,800 --> 01:15:27,960
Speaker 1: we cut to our gorilla expert. Um. This is we

1284
01:15:28,040 --> 01:15:32,160
Speaker 1: meet our our primatologist characters, and we meet Amy the gorilla,

1285
01:15:32,640 --> 01:15:35,479
Speaker 1: and Amy is doing art, Amy is is making things.

1286
01:15:35,560 --> 01:15:38,479
Speaker 1: But also we quickly learned that well, I guess we

1287
01:15:38,560 --> 01:15:40,160
Speaker 1: we kind of build up to this, right because we

1288
01:15:40,439 --> 01:15:43,320
Speaker 1: meet Amy and she's great and she's totally believable as

1289
01:15:43,360 --> 01:15:46,960
Speaker 1: a as a as a younger female gorilla. I guess

1290
01:15:47,040 --> 01:15:49,080
Speaker 1: I don't know. I went back and forth on how

1291
01:15:49,160 --> 01:15:52,479
Speaker 1: old Amy is because early on there is very much

1292
01:15:52,520 --> 01:15:54,960
Speaker 1: like a childlike aspect to Amy that we latch onto.

1293
01:15:55,479 --> 01:15:58,400
Speaker 1: But she's also she drinks, she's drinking martini, she's smoking

1294
01:15:58,479 --> 01:16:01,679
Speaker 1: cigars and spoiler, but at the end of the movie

1295
01:16:01,760 --> 01:16:04,320
Speaker 1: she goes off and marries a silver bag, so she's

1296
01:16:04,320 --> 01:16:07,400
Speaker 1: like she's a an adult woman guerrilla too, and we

1297
01:16:07,439 --> 01:16:10,080
Speaker 1: should we shouldn't take that away from her. No, absolutely not.

1298
01:16:10,240 --> 01:16:12,679
Speaker 1: I mean those are some of our favorite parts of Amy.

1299
01:16:12,760 --> 01:16:19,240
Speaker 1: Amy is multifaceted. Um And I think I just I

1300
01:16:19,360 --> 01:16:21,160
Speaker 1: need people to watch this if they haven't seen it,

1301
01:16:21,280 --> 01:16:24,719
Speaker 1: because you're watching it and you're like, oh, here's this gorilla.

1302
01:16:24,960 --> 01:16:28,479
Speaker 1: This gorilla is drawing all these pictures that look very similar. Um.

1303
01:16:29,640 --> 01:16:32,519
Speaker 1: And I believe this is what they introduced, the stuffed

1304
01:16:32,520 --> 01:16:36,040
Speaker 1: animal named love e. Oh yes she shed because yeah,

1305
01:16:36,040 --> 01:16:37,800
Speaker 1: and this is another thing that builds up the sort

1306
01:16:37,800 --> 01:16:40,599
Speaker 1: of childlike nature because she has her loves, she has

1307
01:16:40,720 --> 01:16:43,920
Speaker 1: the little stuffed animal that she's carrying around. Right, So

1308
01:16:44,000 --> 01:16:47,560
Speaker 1: they're very much prompting you to believe, yeah, she's this,

1309
01:16:48,240 --> 01:16:52,479
Speaker 1: you know, more childlike gorilla and those other things which

1310
01:16:52,520 --> 01:16:54,479
Speaker 1: I can't wait to talk about more detail at the

1311
01:16:54,520 --> 01:16:59,120
Speaker 1: Martini and whatnot come later. But right in the beginning, okay,

1312
01:17:00,400 --> 01:17:05,800
Speaker 1: it seems like a young, sweet gorilla. Yes, but but

1313
01:17:05,920 --> 01:17:08,040
Speaker 1: of course we keep talking about Amy the talking gorilla,

1314
01:17:08,320 --> 01:17:11,519
Speaker 1: and to get there together the movie it really doesn't

1315
01:17:11,560 --> 01:17:13,799
Speaker 1: waste a lot of time. We like cut to essentially

1316
01:17:13,880 --> 01:17:16,559
Speaker 1: like a ted talk thing that Dr Elliott's doing at Berkeley.

1317
01:17:16,920 --> 01:17:19,280
Speaker 1: He's talking about language, he's talking about sign language, he's

1318
01:17:19,280 --> 01:17:22,479
Speaker 1: talking about virtual reality technology, and then he cuts to

1319
01:17:22,560 --> 01:17:25,200
Speaker 1: the real meat of everything. They have created a real

1320
01:17:25,280 --> 01:17:30,120
Speaker 1: time sign language audible translator with power glove that allows

1321
01:17:30,800 --> 01:17:35,400
Speaker 1: sign language literate animals like Amy allow them to to

1322
01:17:35,560 --> 01:17:37,960
Speaker 1: actually speak out loud. She wears a little power glove,

1323
01:17:38,240 --> 01:17:41,719
Speaker 1: she does the signs, and this enables her to speak

1324
01:17:41,840 --> 01:17:44,960
Speaker 1: and say things like Amy good, gorilla. And this is

1325
01:17:45,040 --> 01:17:48,160
Speaker 1: one of my very favorite parts, because I mean, this

1326
01:17:48,479 --> 01:17:51,599
Speaker 1: is when it in one way really goes off the rails,

1327
01:17:51,720 --> 01:17:54,680
Speaker 1: at least when I was watching it. Um, but it

1328
01:17:54,840 --> 01:17:59,360
Speaker 1: has the funniest see it's like the funniest cut to

1329
01:17:59,439 --> 01:18:02,479
Speaker 1: the audience seeing I've ever I think I've ever witnessed,

1330
01:18:02,720 --> 01:18:05,080
Speaker 1: because people are watching. He's talking. Yeah, he's talking about

1331
01:18:05,120 --> 01:18:07,439
Speaker 1: virtual reality. He's talking about all of this, like really

1332
01:18:07,520 --> 01:18:12,880
Speaker 1: high tech stuff. And then he calls out Amy, and people,

1333
01:18:13,040 --> 01:18:16,240
Speaker 1: you know, turn and gasp and they see this gorilla

1334
01:18:16,400 --> 01:18:18,880
Speaker 1: coming down the aisle. It's just like you know, where

1335
01:18:18,880 --> 01:18:20,400
Speaker 1: you would go to see a talk out of college

1336
01:18:20,479 --> 01:18:24,040
Speaker 1: or something. And Amy comes up and there's this guy

1337
01:18:24,120 --> 01:18:25,880
Speaker 1: and I don't know the actor's name, but he's kind

1338
01:18:25,880 --> 01:18:29,599
Speaker 1: of like bored flipping through the pamphlet and he looks

1339
01:18:29,720 --> 01:18:33,040
Speaker 1: up and then Amy says, yeah, you know, Amy good, Gorilla,

1340
01:18:33,200 --> 01:18:37,560
Speaker 1: Amy good, gorilla um and he kind of like is

1341
01:18:37,720 --> 01:18:41,800
Speaker 1: staring ahead in horror and an awe, and he says

1342
01:18:42,120 --> 01:18:47,960
Speaker 1: that gorilla he's talking. It's so funny. It's such a

1343
01:18:48,040 --> 01:18:50,280
Speaker 1: great stand in for the audience, Like it really is

1344
01:18:50,360 --> 01:18:54,040
Speaker 1: because you're like having a similar reaction. But I love

1345
01:18:54,200 --> 01:18:58,879
Speaker 1: the cut back to him of what this grillast talking?

1346
01:19:00,439 --> 01:19:03,600
Speaker 1: And then we also cut to Homolka there played by

1347
01:19:03,720 --> 01:19:07,160
Speaker 1: jun Ury. He's in the audience and he's watching creepily

1348
01:19:07,320 --> 01:19:09,960
Speaker 1: and he has a ring with this kind of like

1349
01:19:10,120 --> 01:19:13,519
Speaker 1: eye on it, and we suddenly get this very mid

1350
01:19:13,680 --> 01:19:18,439
Speaker 1: nineties flash. Then of suddenly there's like scenes from Amy's dreams,

1351
01:19:18,600 --> 01:19:21,120
Speaker 1: something with a jungle and a flash of a gray

1352
01:19:21,240 --> 01:19:24,800
Speaker 1: monster a jumping across it, and uh, we're kind of left.

1353
01:19:25,280 --> 01:19:27,519
Speaker 1: I was left wondering like, well, what what happened? Where

1354
01:19:27,560 --> 01:19:29,920
Speaker 1: did this come from? Did that happen? Because I looked

1355
01:19:29,960 --> 01:19:35,200
Speaker 1: into the ring? Is was that in in yeah that

1356
01:19:35,320 --> 01:19:37,720
Speaker 1: I'm not cursed? Is that in his mind? Where is

1357
01:19:37,760 --> 01:19:41,400
Speaker 1: this Amy's dreams? But then we we we cut we

1358
01:19:41,479 --> 01:19:44,439
Speaker 1: cut ahead and we basically find out that well, she

1359
01:19:44,600 --> 01:19:47,240
Speaker 1: she doesn't seem to be sleeping. Well, Peter is worried

1360
01:19:47,280 --> 01:19:50,240
Speaker 1: that she's deteriorating mentally because she's not in the jungle.

1361
01:19:50,320 --> 01:19:52,360
Speaker 1: She needs to be in the jungle. He meets with

1362
01:19:52,439 --> 01:19:55,240
Speaker 1: the Dane and he's like, we need to raise a

1363
01:19:55,280 --> 01:19:58,000
Speaker 1: bunch of money to send our star talking gorilla back

1364
01:19:58,000 --> 01:20:00,600
Speaker 1: to the jungle. And the Dean's like, nobody's going to

1365
01:20:00,640 --> 01:20:02,840
Speaker 1: pay for that. Yes, which I am of two minds about.

1366
01:20:03,000 --> 01:20:06,120
Speaker 1: I think I can see. But you know, also these

1367
01:20:06,280 --> 01:20:08,360
Speaker 1: he believes these paintings are from the jungle, Like, this

1368
01:20:08,479 --> 01:20:14,959
Speaker 1: is what she's been doing, but inter Herkima Harmolka former Romanian,

1369
01:20:15,080 --> 01:20:17,920
Speaker 1: traveling around the world and doing good. And guess what,

1370
01:20:18,040 --> 01:20:19,280
Speaker 1: I've got a lot of money, and I want to

1371
01:20:19,360 --> 01:20:23,960
Speaker 1: fund your trip to take this guerrilla back to the jungle. Yeah,

1372
01:20:24,000 --> 01:20:26,560
Speaker 1: He's like, I have no alter your motive. I just

1373
01:20:26,680 --> 01:20:30,840
Speaker 1: want to see Amy return to jungle. Yes, just sounds

1374
01:20:30,880 --> 01:20:35,839
Speaker 1: like really likely. He's basically doing a Abella Lagosi Dracula

1375
01:20:36,160 --> 01:20:41,240
Speaker 1: character here. It's even more that than it is. Peter lore. Yes,

1376
01:20:41,439 --> 01:20:45,320
Speaker 1: and the accent is so immediately you can't think of

1377
01:20:45,360 --> 01:20:50,000
Speaker 1: anything else. Um, and I love like for the audience,

1378
01:20:50,000 --> 01:20:51,880
Speaker 1: at least you've gotten all these hints that he's up

1379
01:20:51,880 --> 01:20:53,720
Speaker 1: to no good or he's got an ulterior amotive, as

1380
01:20:53,720 --> 01:20:57,120
Speaker 1: you said. But it cuts to immediately from that scene

1381
01:20:58,040 --> 01:21:01,960
Speaker 1: to Dr Elliott being like, yes, his name's herker Mohamolka,

1382
01:21:02,000 --> 01:21:07,679
Speaker 1: I don't see the problem. He's gonna fund I trust everyone. Yeah, yes,

1383
01:21:08,040 --> 01:21:10,200
Speaker 1: I love it. I love it. He's just like, yeah,

1384
01:21:10,280 --> 01:21:12,920
Speaker 1: I don't see any reason why we need to wonder

1385
01:21:13,040 --> 01:21:17,000
Speaker 1: about this anymore. And of course Amy's on board. Yes,

1386
01:21:17,160 --> 01:21:19,640
Speaker 1: we get Amy into three D glasses. Yeah, yeah, a

1387
01:21:19,720 --> 01:21:22,160
Speaker 1: sweet scene where they're they were in their three D

1388
01:21:22,200 --> 01:21:24,400
Speaker 1: glasses looking at a book. So another scene with a

1389
01:21:24,439 --> 01:21:27,080
Speaker 1: lot of childlike wonder for Amy. M hmm. This is

1390
01:21:27,120 --> 01:21:30,280
Speaker 1: when she asked to be tickled the first time. I think, oh, yes, yes.

1391
01:21:32,360 --> 01:21:33,960
Speaker 1: And so at this point it seems like, okay, the

1392
01:21:34,040 --> 01:21:36,520
Speaker 1: expedition is ready to go. They get to the airport,

1393
01:21:36,680 --> 01:21:39,960
Speaker 1: Kumulka is like, everything seems good. That seems like they're

1394
01:21:40,000 --> 01:21:42,719
Speaker 1: loading the plane. But then oh they're unloading the plane.

1395
01:21:43,280 --> 01:21:46,600
Speaker 1: Uh and uh, so there's a scene out there on

1396
01:21:46,680 --> 01:21:50,679
Speaker 1: the tarmac on the the the crates. Everyone's a little stressed.

1397
01:21:50,720 --> 01:21:52,439
Speaker 1: Amy just wants to be tickled. She doesn't know what's

1398
01:21:52,479 --> 01:21:56,240
Speaker 1: going on. But then Dr Ross walks up and she's like, hey,

1399
01:21:56,520 --> 01:21:58,800
Speaker 1: let let my company pay for some of your trip

1400
01:21:59,080 --> 01:22:01,639
Speaker 1: and just let me bring my team along. Yeah. Basically

1401
01:22:01,720 --> 01:22:05,439
Speaker 1: they need like she needs almost like a visa. She

1402
01:22:05,520 --> 01:22:07,519
Speaker 1: needs a reason why she's going. She has to join

1403
01:22:07,600 --> 01:22:11,720
Speaker 1: their expedition um to get in because I guess if

1404
01:22:11,800 --> 01:22:14,320
Speaker 1: they report what's happened like that, they're not going to

1405
01:22:14,400 --> 01:22:18,160
Speaker 1: be able to get across the border to investigate what happened. Um.

1406
01:22:18,200 --> 01:22:20,760
Speaker 1: So she's trying very very hard, has been for a

1407
01:22:20,840 --> 01:22:23,600
Speaker 1: long time. This is where I get my line that

1408
01:22:23,600 --> 01:22:26,439
Speaker 1: I said earlier. I'm a prematologist, not a pound of sugar.

1409
01:22:27,200 --> 01:22:32,120
Speaker 1: Uh uh. We also see the beginnings of Amy being

1410
01:22:32,240 --> 01:22:37,200
Speaker 1: jealous of Dr Russ because Peter Um, it's like, oh,

1411
01:22:37,439 --> 01:22:40,839
Speaker 1: it's not me, it's Amy. You can't come because Amy

1412
01:22:40,920 --> 01:22:44,840
Speaker 1: doesn't like you. But yeah, they start unloading stuff off

1413
01:22:44,880 --> 01:22:49,400
Speaker 1: the plane and her malcha, I love this. He's he's

1414
01:22:49,479 --> 01:22:52,040
Speaker 1: what does he say? There's been an interruption in my

1415
01:22:52,240 --> 01:22:57,240
Speaker 1: cash flow or something? And then Dr Ross knows like, oh,

1416
01:22:57,439 --> 01:23:00,080
Speaker 1: I got you, you need me. He can't pay for

1417
01:23:00,120 --> 01:23:02,760
Speaker 1: the fuel for the plane, but her company certainly can.

1418
01:23:03,280 --> 01:23:05,880
Speaker 1: And so basically we cut to everyone's on board the

1419
01:23:05,960 --> 01:23:08,840
Speaker 1: plane flying to Africa, and this is where we have

1420
01:23:08,920 --> 01:23:12,360
Speaker 1: that wonderful scene where we get some some some scenes

1421
01:23:12,400 --> 01:23:15,840
Speaker 1: where Amy is upset with Karen and Um and the

1422
01:23:15,880 --> 01:23:18,519
Speaker 1: primatologist and Karen have a nice back and forth about

1423
01:23:18,600 --> 01:23:20,800
Speaker 1: like why what is the trip is about? And what

1424
01:23:21,040 --> 01:23:23,400
Speaker 1: is what? What is the human relationship to animals and

1425
01:23:23,479 --> 01:23:25,960
Speaker 1: so forth. Yeah, because she's very curious and can't quite

1426
01:23:26,320 --> 01:23:28,960
Speaker 1: pin down why he did it, and he kind of

1427
01:23:29,040 --> 01:23:32,360
Speaker 1: gives like why did he train Amy to be able

1428
01:23:32,400 --> 01:23:36,800
Speaker 1: to speak essentially? Um? And he he says some he

1429
01:23:36,840 --> 01:23:38,760
Speaker 1: gives her some quotes about you know, the face of

1430
01:23:38,800 --> 01:23:41,080
Speaker 1: the teacher and like why not and all this kind

1431
01:23:41,120 --> 01:23:43,280
Speaker 1: of stuff. But this is also when we get the

1432
01:23:43,320 --> 01:23:46,400
Speaker 1: infamous and I dare you to find any review who

1433
01:23:46,400 --> 01:23:51,840
Speaker 1: doesn't mention it. Um seen where Amy is a nervous flyer. Yeah,

1434
01:23:52,040 --> 01:23:55,479
Speaker 1: she wants her rain drop juice. Yes, And it turns

1435
01:23:55,560 --> 01:24:00,639
Speaker 1: out that rain drop juice is a martini. Yeah. Yes,

1436
01:24:01,240 --> 01:24:05,720
Speaker 1: so we get a scene in a film or a

1437
01:24:05,880 --> 01:24:10,639
Speaker 1: gorilla is drinking a martini and looks very happy about it. Yeah,

1438
01:24:10,760 --> 01:24:14,080
Speaker 1: and a totally totally believable scene too. I mean that's

1439
01:24:14,080 --> 01:24:17,120
Speaker 1: wide from the ridiculousness of it, Like you buy Amy

1440
01:24:17,360 --> 01:24:21,040
Speaker 1: the talking gorilla as a real individual who just likes

1441
01:24:21,080 --> 01:24:25,639
Speaker 1: a nice drink to take the edge off during a flight. Well, yeah,

1442
01:24:25,720 --> 01:24:28,720
Speaker 1: of course. And I mean she she had been tent

1443
01:24:28,840 --> 01:24:32,120
Speaker 1: because she had also just thrown an egg at Karen.

1444
01:24:34,240 --> 01:24:36,599
Speaker 1: She's and you called her an ugly woman, and yeah,

1445
01:24:36,800 --> 01:24:38,479
Speaker 1: an egg at her. So then things are off to

1446
01:24:38,520 --> 01:24:41,320
Speaker 1: a rocky start between Karen and Amy. Yes, and this

1447
01:24:41,479 --> 01:24:44,080
Speaker 1: is also when like that they have a discussion around

1448
01:24:44,080 --> 01:24:46,439
Speaker 1: the myth of the killer ape and like King Kong

1449
01:24:47,240 --> 01:24:50,840
Speaker 1: all of that stuff. Um so kind of you can

1450
01:24:50,880 --> 01:24:55,839
Speaker 1: see Hermolka starting to show his hand that he's interested

1451
01:24:55,920 --> 01:24:59,320
Speaker 1: in this, like he's got he's got more than he's

1452
01:24:59,360 --> 01:25:02,599
Speaker 1: letting on, uh, and what he wants to get out

1453
01:25:02,640 --> 01:25:05,360
Speaker 1: of this trip. Now I'm gonna, I guess try and

1454
01:25:05,880 --> 01:25:08,519
Speaker 1: skip some of what happened. Like basically, they land in

1455
01:25:08,760 --> 01:25:11,519
Speaker 1: in Africa, they land in one country, they need to

1456
01:25:11,560 --> 01:25:14,880
Speaker 1: go into another country, but already things are in a

1457
01:25:15,120 --> 01:25:20,840
Speaker 1: destabilized state. Here we meet Joe Pantoliano's character Eddie Ventro.

1458
01:25:21,040 --> 01:25:23,720
Speaker 1: He's immediately like, hey, can I buy that ape off

1459
01:25:23,800 --> 01:25:27,400
Speaker 1: you and their soldiers running around. Something blows up on

1460
01:25:27,439 --> 01:25:30,080
Speaker 1: the airfield in the back in the in the background,

1461
01:25:30,600 --> 01:25:33,320
Speaker 1: and and Elliot's like asking around for the guy that

1462
01:25:33,400 --> 01:25:35,479
Speaker 1: they hired, but that guy is nowhere to be seen

1463
01:25:35,720 --> 01:25:38,519
Speaker 1: because no, it looks like Big Media has paid for

1464
01:25:38,800 --> 01:25:42,599
Speaker 1: the best guide available, and that is Captain Monroe Kelly.

1465
01:25:42,960 --> 01:25:45,920
Speaker 1: And he's up and he's you know, he's suave. Uh.

1466
01:25:46,320 --> 01:25:48,519
Speaker 1: You know, he's very laid back about everything, but he

1467
01:25:48,640 --> 01:25:51,479
Speaker 1: basically saves all of them and he's working on getting

1468
01:25:51,479 --> 01:25:53,679
Speaker 1: them where he needs to go. He's he's all action

1469
01:25:53,760 --> 01:25:56,000
Speaker 1: and solutions. He piles everybody in the back of a

1470
01:25:56,080 --> 01:25:59,280
Speaker 1: military truck and they're on their way out. Yes. Um.

1471
01:26:00,200 --> 01:26:02,479
Speaker 1: And one of my favorite things about this scene is

1472
01:26:02,560 --> 01:26:04,760
Speaker 1: we get two instances of seeing people being I guess

1473
01:26:04,800 --> 01:26:07,360
Speaker 1: totally on board and completely okay with the talking gorilla.

1474
01:26:07,439 --> 01:26:12,840
Speaker 1: But when Amy talks, uh, Captain Monroe is just like, yeah, sure,

1475
01:26:13,439 --> 01:26:16,519
Speaker 1: here's a smoke. Amy, like, I guess that's what you want.

1476
01:26:17,160 --> 01:26:20,479
Speaker 1: But he immediately takes control of the situation and it

1477
01:26:20,479 --> 01:26:25,000
Speaker 1: seems to immediately clock like one Hermolka is no good.

1478
01:26:25,439 --> 01:26:27,720
Speaker 1: He's one of the characters that's like, oh, I remember you,

1479
01:26:28,320 --> 01:26:31,519
Speaker 1: And then two that Karen is very competent and like

1480
01:26:31,640 --> 01:26:34,960
Speaker 1: that they will beat working together to kind of lead

1481
01:26:35,080 --> 01:26:38,479
Speaker 1: this expedition. But also I guess three that everybody's in

1482
01:26:38,520 --> 01:26:41,920
Speaker 1: there for a different reason, and nobody's being completely honest

1483
01:26:42,080 --> 01:26:46,559
Speaker 1: except for maybe Peter, right, like even um, even Captain

1484
01:26:46,640 --> 01:26:49,479
Speaker 1: Kelly here is is being uh, he's kind of it's

1485
01:26:49,479 --> 01:26:51,840
Speaker 1: he's a little uncertain as well, like you don't distrust him,

1486
01:26:51,840 --> 01:26:54,120
Speaker 1: but there's that part. Well, one of the characters ask him,

1487
01:26:54,160 --> 01:26:55,760
Speaker 1: are you some kind of criminal? And he just says,

1488
01:26:55,800 --> 01:26:59,559
Speaker 1: aren't we all? And it's just another great Captain Monroe

1489
01:26:59,640 --> 01:27:04,080
Speaker 1: Kelly moment that we get some It sounds like Kelly

1490
01:27:04,200 --> 01:27:07,479
Speaker 1: is perhaps also an armstealer. We're not entirely sure I

1491
01:27:07,520 --> 01:27:10,880
Speaker 1: guess what he's he's involved in, but it also seems

1492
01:27:10,920 --> 01:27:13,560
Speaker 1: like he's the best, most expensive hope for them. He

1493
01:27:13,640 --> 01:27:17,000
Speaker 1: was hired by the tech company. But they don't get

1494
01:27:17,080 --> 01:27:19,400
Speaker 1: very far before the military stops them and like arrest

1495
01:27:19,560 --> 01:27:22,280
Speaker 1: everybody and says, look, nobody can go to zi Ere,

1496
01:27:22,680 --> 01:27:24,560
Speaker 1: So you're all stuck in this hotel here. And this

1497
01:27:24,680 --> 01:27:27,880
Speaker 1: is where we get Captain Wanta played by Delroy Lindo

1498
01:27:28,000 --> 01:27:32,160
Speaker 1: show he shows up and people were interrogated, and he

1499
01:27:32,320 --> 01:27:34,919
Speaker 1: does not seem to have good intentions and almost immediately

1500
01:27:35,000 --> 01:27:39,320
Speaker 1: hits them up for a massive bribe. Yes, and he

1501
01:27:39,560 --> 01:27:42,519
Speaker 1: receives it. Uh. And this is when we get the

1502
01:27:42,640 --> 01:27:48,080
Speaker 1: infamous stop eating my sesame cake line twice because Tim

1503
01:27:48,160 --> 01:27:53,240
Speaker 1: Curry is back there kind of nervously nibbling the sesame

1504
01:27:53,439 --> 01:27:56,400
Speaker 1: cake and when he sees the money, like his mouth

1505
01:27:56,640 --> 01:27:59,200
Speaker 1: drops open. Like his expressions during this whole scene, he

1506
01:27:59,400 --> 01:28:03,360
Speaker 1: was just like a befuddled, terrified, out of his league

1507
01:28:04,000 --> 01:28:09,680
Speaker 1: villain who gets called out by del Roy Lindo was like, oh,

1508
01:28:10,560 --> 01:28:12,920
Speaker 1: this piece of trash, Like we don't work with him.

1509
01:28:12,960 --> 01:28:17,920
Speaker 1: He's terrible. Um. And it's just one of those things

1510
01:28:18,040 --> 01:28:20,200
Speaker 1: where you're watching it, you're like, wow, I mean, these

1511
01:28:20,240 --> 01:28:22,439
Speaker 1: performances are amazing, but how in the world that this

1512
01:28:22,560 --> 01:28:29,080
Speaker 1: get makes? So Captain Wantons up for this bribe and um,

1513
01:28:29,200 --> 01:28:31,680
Speaker 1: and Karen pays it like she basically has just an

1514
01:28:31,800 --> 01:28:34,360
Speaker 1: enormous amount of cash on her. There's this nice scene

1515
01:28:34,360 --> 01:28:38,240
Speaker 1: where Captain Wantas and stapling the brown sack that he

1516
01:28:38,320 --> 01:28:41,120
Speaker 1: put the money into shut and he tells them that

1517
01:28:41,240 --> 01:28:42,880
Speaker 1: it's the gorilla that's going to get them across the

1518
01:28:42,920 --> 01:28:46,040
Speaker 1: border because no one wants to be seen in Western

1519
01:28:46,160 --> 01:28:49,320
Speaker 1: media being cruel to the gorilla. And so it looks

1520
01:28:49,320 --> 01:28:52,160
Speaker 1: like they're going to get to continue. Yes, yes, yes,

1521
01:28:52,320 --> 01:28:56,680
Speaker 1: so this is this brings us to like another plane trip. UM.

1522
01:28:57,400 --> 01:29:00,800
Speaker 1: A lot of jokes about Dr Elliot and Amy being

1523
01:29:01,320 --> 01:29:03,120
Speaker 1: a husband and wife, which I think we've already had

1524
01:29:03,160 --> 01:29:06,720
Speaker 1: some of those two but people witnessing their interactions um.

1525
01:29:08,200 --> 01:29:13,800
Speaker 1: And some of the funniest, least believable parts of the

1526
01:29:13,840 --> 01:29:18,799
Speaker 1: movie I think take place in this section. UM, because

1527
01:29:19,080 --> 01:29:21,120
Speaker 1: they get shot at while they're in a plane. In

1528
01:29:21,200 --> 01:29:25,800
Speaker 1: this plane after Amy has been fed some kind of

1529
01:29:25,920 --> 01:29:28,960
Speaker 1: drug in a banana uh to calm her down, by

1530
01:29:29,000 --> 01:29:34,120
Speaker 1: the way, and Laura, Lenny badass that she is, gets

1531
01:29:34,160 --> 01:29:39,080
Speaker 1: a flare gun, kicks open the door to the airplane

1532
01:29:39,640 --> 01:29:44,240
Speaker 1: and uses the flairgun too, I guess, distract to send

1533
01:29:44,280 --> 01:29:46,720
Speaker 1: the heat seeking missiles that way, which I don't think

1534
01:29:46,840 --> 01:29:53,559
Speaker 1: is how it works. But it's quickly joined by Monroe.

1535
01:29:53,640 --> 01:29:55,400
Speaker 1: Kelly is like, yeah, this is a good idea. We're

1536
01:29:55,439 --> 01:29:58,240
Speaker 1: gonna help you. It's a really cool, like bad sn

1537
01:29:58,320 --> 01:30:03,639
Speaker 1: I just questioned to see that's how it works. Yeah,

1538
01:30:03,720 --> 01:30:06,559
Speaker 1: so they yeah, they fire off these flares. They're able

1539
01:30:06,640 --> 01:30:10,439
Speaker 1: to redirect the heat seeking ground to hair missiles that

1540
01:30:10,479 --> 01:30:13,760
Speaker 1: are being fired at them by the military. But it

1541
01:30:13,840 --> 01:30:15,519
Speaker 1: looks like the plane has been hit. Everyone's gonna have

1542
01:30:15,520 --> 01:30:18,960
Speaker 1: to parachute anyway. Uh. So we get some shenanigans here

1543
01:30:19,040 --> 01:30:21,840
Speaker 1: where um Homolka of course is cowardly and has to

1544
01:30:21,880 --> 01:30:25,360
Speaker 1: be booted out of the plane. Um Monroe Kelly, he

1545
01:30:25,640 --> 01:30:28,439
Speaker 1: grabs a drug. Damy Amy has been given the I

1546
01:30:28,479 --> 01:30:30,280
Speaker 1: think they later refer to it as the banana with

1547
01:30:30,320 --> 01:30:32,920
Speaker 1: the dope in it, so she has she's already had

1548
01:30:32,920 --> 01:30:36,040
Speaker 1: her dope banana. So he scoops her up and jumps out.

1549
01:30:36,520 --> 01:30:39,840
Speaker 1: Gear is being dropped as well, and uh yeah. Then

1550
01:30:39,960 --> 01:30:43,000
Speaker 1: we're in the jungle proper at this point, and I

1551
01:30:43,080 --> 01:30:45,240
Speaker 1: think this is when we start getting answers about what

1552
01:30:45,439 --> 01:30:47,599
Speaker 1: some of the characters are up to. So we're here

1553
01:30:47,600 --> 01:30:51,040
Speaker 1: a little bit about you know, the city of Solomon,

1554
01:30:51,080 --> 01:30:54,760
Speaker 1: the ls city of Zinge. Monroe Kelly reveals he has

1555
01:30:54,800 --> 01:30:57,960
Speaker 1: a past history of a terrible expedition that went wrong

1556
01:30:58,040 --> 01:31:01,720
Speaker 1: with hermoca uh and ing about at the jungle. Um.

1557
01:31:01,800 --> 01:31:05,559
Speaker 1: We also learn a bit more about Laura Lenny's character

1558
01:31:06,320 --> 01:31:08,439
Speaker 1: Um and what she's looking for because she has this

1559
01:31:08,560 --> 01:31:11,920
Speaker 1: what she says, is a gadget that has features um,

1560
01:31:13,000 --> 01:31:16,120
Speaker 1: like you know her x CIA passed has kind of

1561
01:31:16,240 --> 01:31:19,360
Speaker 1: talked about. So we're getting at some of these answers,

1562
01:31:19,479 --> 01:31:24,320
Speaker 1: these character answers about what people are looking into. And also,

1563
01:31:24,960 --> 01:31:26,720
Speaker 1: I would like to point out this is when I

1564
01:31:26,880 --> 01:31:29,680
Speaker 1: was like, oh, this is a volcano as well, Um,

1565
01:31:30,240 --> 01:31:34,840
Speaker 1: good to know. Yeah, and it's it's like what you

1566
01:31:34,880 --> 01:31:37,000
Speaker 1: bring a cannon on stage, right, you bring a volcano

1567
01:31:37,280 --> 01:31:40,040
Speaker 1: on into the picture. You know that volcanoes erupting at

1568
01:31:40,080 --> 01:31:42,640
Speaker 1: the end of the film. Yes, so, but we'll get

1569
01:31:42,720 --> 01:31:44,760
Speaker 1: we'll get to that part. So and they right, yeah,

1570
01:31:44,760 --> 01:31:47,720
Speaker 1: they set up camp. The tents are gray, the a

1571
01:31:47,880 --> 01:31:50,240
Speaker 1: C units are passed out. We already talked about that.

1572
01:31:50,520 --> 01:31:53,920
Speaker 1: We we get more, uh, they spill more details about

1573
01:31:53,960 --> 01:31:56,960
Speaker 1: the lost city of zinge U. Karen gets satellite gear

1574
01:31:57,000 --> 01:31:59,439
Speaker 1: set up, she checks in with Texas. They senter the

1575
01:31:59,479 --> 01:32:01,720
Speaker 1: creature in Elysis. They're like, we've we've done some some

1576
01:32:01,840 --> 01:32:04,559
Speaker 1: work on the footage. It is gerrilla like but maybe

1577
01:32:04,600 --> 01:32:06,880
Speaker 1: not a gorilla. And oh, by the way, that volcano

1578
01:32:06,920 --> 01:32:09,800
Speaker 1: is probably gonna blow up. And she's like, all right, fine,

1579
01:32:10,160 --> 01:32:13,040
Speaker 1: U we can we can handle it. But they're they're

1580
01:32:13,040 --> 01:32:15,559
Speaker 1: not even able to finish the call because then Amy

1581
01:32:16,520 --> 01:32:19,720
Speaker 1: and Elliott come racing through the camp like children. They

1582
01:32:19,800 --> 01:32:22,960
Speaker 1: knock over the satellite gear and destroy it like it's

1583
01:32:23,000 --> 01:32:28,599
Speaker 1: no longer functional. Yep, uh, just destroy her equipment. Um.

1584
01:32:30,000 --> 01:32:32,200
Speaker 1: And this is also when the scene you mentioned when

1585
01:32:32,240 --> 01:32:35,200
Speaker 1: we see kind of this gear kind of overkill perhaps

1586
01:32:35,360 --> 01:32:38,679
Speaker 1: that Karen bought with the a C in the tents

1587
01:32:39,720 --> 01:32:42,880
Speaker 1: um setting up with that. But yeah, now so now

1588
01:32:43,680 --> 01:32:49,080
Speaker 1: there cut off from that, uh, and they've got to

1589
01:32:49,400 --> 01:32:51,719
Speaker 1: check through the jungle and they've got this volcano threat

1590
01:32:52,280 --> 01:32:56,080
Speaker 1: looming over them and a mysterious creature that is not

1591
01:32:56,280 --> 01:32:59,880
Speaker 1: a gorilla but close. Yeah, so we we we get

1592
01:32:59,920 --> 01:33:01,880
Speaker 1: a a fun scene at night where there are all

1593
01:33:01,920 --> 01:33:05,439
Speaker 1: these monkey sounds in the in the forest and everyone's

1594
01:33:05,439 --> 01:33:08,200
Speaker 1: a little wigged out except for Captain Monroe Kelly U

1595
01:33:08,360 --> 01:33:10,360
Speaker 1: and he has some some fun lines there. But then

1596
01:33:10,400 --> 01:33:13,599
Speaker 1: it rains, it mud slides. There's a ridiculous scene where

1597
01:33:13,640 --> 01:33:16,240
Speaker 1: somebody sees a snake and their scary music and they

1598
01:33:16,320 --> 01:33:19,040
Speaker 1: chopped the snake with a machete, a scene that serves

1599
01:33:19,080 --> 01:33:21,559
Speaker 1: no purpose in the film, just to say that, like, oh,

1600
01:33:21,640 --> 01:33:24,200
Speaker 1: when they're also snakes, but don't worry, they don't factor

1601
01:33:24,240 --> 01:33:26,600
Speaker 1: into the plot, right. And this is also where we

1602
01:33:26,720 --> 01:33:31,200
Speaker 1: get um the leach. The leach scene on the penis.

1603
01:33:31,920 --> 01:33:34,040
Speaker 1: This is kind of like a montage of all of

1604
01:33:34,080 --> 01:33:37,960
Speaker 1: the stuff, the terrain and environment they're having to deal with.

1605
01:33:38,560 --> 01:33:43,240
Speaker 1: Um inexplicable singing scene where they all start singing is

1606
01:33:43,240 --> 01:33:47,479
Speaker 1: also in this kind of section well, California Dreaming. Also

1607
01:33:48,520 --> 01:33:51,920
Speaker 1: we also get members of a native tribe show up,

1608
01:33:52,080 --> 01:33:55,280
Speaker 1: the Ghost tribe they described them as, and they're like, hey,

1609
01:33:55,760 --> 01:33:59,840
Speaker 1: they they're Dr Monroquell, Captain Monroe. Kelly can speak there,

1610
01:34:00,040 --> 01:34:01,880
Speaker 1: which so he speaks with them and he's like, hey,

1611
01:34:02,000 --> 01:34:04,320
Speaker 1: they have a they have a dead man or a

1612
01:34:04,439 --> 01:34:07,519
Speaker 1: nearly dead man, uh, and they want us to see

1613
01:34:07,640 --> 01:34:10,280
Speaker 1: him they have he has this TC symbol on his clothing.

1614
01:34:10,800 --> 01:34:13,560
Speaker 1: Karen quickly realizes, well, that's my company. We need to

1615
01:34:13,600 --> 01:34:16,920
Speaker 1: see what this is all about. And they check in

1616
01:34:17,040 --> 01:34:19,760
Speaker 1: on this kind of like a tribal ceremony that's some

1617
01:34:19,840 --> 01:34:22,559
Speaker 1: sort of a funeral ride. Uh. It seems like it's

1618
01:34:22,600 --> 01:34:25,840
Speaker 1: maybe patterned after a scene from Baraka. I'm not sure

1619
01:34:25,920 --> 01:34:28,320
Speaker 1: on that, but it's a it's it's impressive to watch

1620
01:34:28,560 --> 01:34:30,640
Speaker 1: and then they realize, Okay, is this man Charles, No,

1621
01:34:30,800 --> 01:34:33,560
Speaker 1: it's not. It's Bob someone else from that group. He

1622
01:34:33,680 --> 01:34:37,280
Speaker 1: wakes up, he sees Amy the gorilla and immediately just

1623
01:34:37,400 --> 01:34:40,840
Speaker 1: freaks out to death, which is classic classic scene if

1624
01:34:40,880 --> 01:34:42,920
Speaker 1: you know, being scared to death of something. I do

1625
01:34:43,080 --> 01:34:45,759
Speaker 1: think this is one scene um that did a disservice

1626
01:34:45,880 --> 01:34:48,560
Speaker 1: to the like payoff. And I know they wanted the

1627
01:34:48,640 --> 01:34:51,000
Speaker 1: final product to be really scary, but they just weren't

1628
01:34:51,080 --> 01:34:53,759
Speaker 1: that scary. So like the fact that he sees aiming,

1629
01:34:53,800 --> 01:34:56,760
Speaker 1: it's like it just really it was like it built

1630
01:34:56,800 --> 01:34:58,439
Speaker 1: it up and you're like, oh my gosh, this must

1631
01:34:58,439 --> 01:35:01,840
Speaker 1: be terrifying. It killed him, scared him to dive. Um,

1632
01:35:02,560 --> 01:35:05,479
Speaker 1: I mean it was really it was effective. It served

1633
01:35:05,479 --> 01:35:10,120
Speaker 1: a lot in terms of building your fear and anxiety

1634
01:35:10,200 --> 01:35:13,600
Speaker 1: around whatever it is they're going to eventually face, so

1635
01:35:13,680 --> 01:35:15,400
Speaker 1: they keep going. They're not going to be deterred by this.

1636
01:35:15,680 --> 01:35:20,280
Speaker 1: They're more zind revelations, King Solomon's legendary Diamond Mind and

1637
01:35:20,360 --> 01:35:23,439
Speaker 1: the congo others have saught it. None have come back,

1638
01:35:23,960 --> 01:35:27,560
Speaker 1: and Homolka insisted Amy knows where the city is the

1639
01:35:27,720 --> 01:35:30,559
Speaker 1: open eye symbol. She saw it in her dream. Um.

1640
01:35:30,960 --> 01:35:34,240
Speaker 1: So they keep going and eventually they're traveling by boat

1641
01:35:34,280 --> 01:35:38,200
Speaker 1: at night and this is like straight up Disney Jungle

1642
01:35:38,280 --> 01:35:42,400
Speaker 1: cruise adventure here, but we get a terrifying hippo attack

1643
01:35:42,439 --> 01:35:45,280
Speaker 1: where the hippos are attacking the boat and then a

1644
01:35:45,360 --> 01:35:48,559
Speaker 1: plane is shot down in the night. It crashes, uh,

1645
01:35:48,600 --> 01:35:50,760
Speaker 1: and they're like, well, I don't know what that's about.

1646
01:35:50,880 --> 01:35:54,400
Speaker 1: That's that's bad. They reached the volcano. Uh, the two

1647
01:35:54,520 --> 01:35:58,040
Speaker 1: porters of Runaway. Amy wants her glove and at this

1648
01:35:58,080 --> 01:36:01,799
Speaker 1: point navigation is becoming difficult, like her little multipurpose device

1649
01:36:01,880 --> 01:36:05,040
Speaker 1: isn't really working, and Homolka says, well, we should let

1650
01:36:05,280 --> 01:36:09,240
Speaker 1: Amy lead us. Let Amy leave the the expedition, and

1651
01:36:09,320 --> 01:36:11,720
Speaker 1: everyone's like, you know, he's right, we should let Amy leave.

1652
01:36:12,920 --> 01:36:16,000
Speaker 1: That's gorilla knows where it is. I love that line

1653
01:36:16,040 --> 01:36:19,400
Speaker 1: so much. Uh yeah, so they're all like, yeah, let's follow,

1654
01:36:19,920 --> 01:36:23,479
Speaker 1: let's follow Amy. Um. And this leads us to another

1655
01:36:23,520 --> 01:36:25,479
Speaker 1: one of my very favorite scenes. This is when they

1656
01:36:25,600 --> 01:36:29,519
Speaker 1: meet a big silverback gorilla. Uh. And this is after

1657
01:36:29,600 --> 01:36:31,840
Speaker 1: they kind of transverse what seems to be straight up

1658
01:36:31,880 --> 01:36:34,160
Speaker 1: a volcano. I don't know that their path makes a

1659
01:36:34,200 --> 01:36:38,280
Speaker 1: lot of sense, but anyway, they meet this big silverback gorilla. Uh.

1660
01:36:38,640 --> 01:36:42,360
Speaker 1: Monroe tells Peter like, don't run. Gorilla sees it as

1661
01:36:42,400 --> 01:36:45,960
Speaker 1: a challenge, um, and then yes, he doesn't run. The

1662
01:36:46,000 --> 01:36:49,479
Speaker 1: gorilla backs away, and that's when Monroe realized, like, oh

1663
01:36:49,640 --> 01:36:53,040
Speaker 1: he did run away, And then I love this. Amy

1664
01:36:53,080 --> 01:36:55,360
Speaker 1: tries to communicate with the gorillas and they look at

1665
01:36:55,400 --> 01:36:59,120
Speaker 1: her and they're like nah, and they walk away. But

1666
01:36:59,280 --> 01:37:02,040
Speaker 1: it's sad. You watch it, You're like, oh, he was

1667
01:37:02,160 --> 01:37:05,120
Speaker 1: trying to communicate with realis and she can't because she's

1668
01:37:05,160 --> 01:37:08,160
Speaker 1: been drained in this new system and it's it's um,

1669
01:37:08,439 --> 01:37:10,920
Speaker 1: it's sad. So we're holding out hope. We feel if

1670
01:37:10,960 --> 01:37:12,760
Speaker 1: you feel like, she'll probably get another shot at this.

1671
01:37:23,479 --> 01:37:26,759
Speaker 1: So they press on and she comes. As no surprise,

1672
01:37:26,880 --> 01:37:29,320
Speaker 1: they do find the lost city of Zinge. We see

1673
01:37:29,360 --> 01:37:33,519
Speaker 1: this fabulous looking, ruinous lost city with a big We

1674
01:37:33,840 --> 01:37:37,280
Speaker 1: see this like this head statue with these big eyes,

1675
01:37:37,680 --> 01:37:40,880
Speaker 1: and Homolka is just in tears. Uh. The eye on

1676
01:37:41,000 --> 01:37:44,720
Speaker 1: his ring matches the great statue, these amber eyes, and

1677
01:37:44,840 --> 01:37:48,000
Speaker 1: we get some just wonderful scene showing by Tim Curry here. Yeah,

1678
01:37:48,000 --> 01:37:50,439
Speaker 1: because even he really does have an emotional moment and

1679
01:37:50,560 --> 01:37:54,000
Speaker 1: for all the cowardice he has um and I'm this

1680
01:37:54,400 --> 01:37:56,640
Speaker 1: is very telling of his character because he's still a

1681
01:37:56,720 --> 01:38:00,840
Speaker 1: huge coward. But he says I must go because he

1682
01:38:00,880 --> 01:38:02,719
Speaker 1: wants to go in. He wants to find these diamonds.

1683
01:38:03,040 --> 01:38:07,120
Speaker 1: Um And Uh, it's just like the culmination of everything

1684
01:38:07,160 --> 01:38:10,120
Speaker 1: he's been talking about. And he does have a line

1685
01:38:10,120 --> 01:38:11,840
Speaker 1: where I'm kind of like, I don't believe this at all,

1686
01:38:11,880 --> 01:38:14,920
Speaker 1: but he says, uh, he we can all share, we

1687
01:38:15,000 --> 01:38:17,760
Speaker 1: can all share the loops of the diamonds if we

1688
01:38:17,880 --> 01:38:22,880
Speaker 1: go in. So at this point we are here in

1689
01:38:22,920 --> 01:38:25,800
Speaker 1: the last city of Zinj. Obviously we have reached the

1690
01:38:26,200 --> 01:38:29,559
Speaker 1: final portion of the film, last thirty minutes of the film. Uh,

1691
01:38:30,040 --> 01:38:33,240
Speaker 1: and everything is about to just get really wild. Uh.

1692
01:38:33,800 --> 01:38:36,320
Speaker 1: So for starters, the guns are out now. Kelling his

1693
01:38:36,439 --> 01:38:40,120
Speaker 1: team are inspecting everything. They're they're wisely on guard because

1694
01:38:40,280 --> 01:38:43,160
Speaker 1: they realize some serious violence has gone down around here

1695
01:38:43,560 --> 01:38:47,200
Speaker 1: and they don't entirely know what's behind it. And Homolka

1696
01:38:47,600 --> 01:38:52,160
Speaker 1: tells them this story about the establishment of Solomon's mine

1697
01:38:52,360 --> 01:38:55,720
Speaker 1: here and the city around it, about how the savageness

1698
01:38:55,760 --> 01:38:57,880
Speaker 1: of the guards was famous, and then about how this

1699
01:38:58,320 --> 01:39:01,000
Speaker 1: it fell into ruin. But they perhap pressed and they're like, well,

1700
01:39:01,000 --> 01:39:03,680
Speaker 1: why did it fall into ruin? He's like, nobody knows. Uh.

1701
01:39:04,080 --> 01:39:06,200
Speaker 1: But they're like, okay, let's go in and explore. So

1702
01:39:06,280 --> 01:39:10,080
Speaker 1: we're in full blown Ruin exploration mode. And some of

1703
01:39:10,160 --> 01:39:14,400
Speaker 1: these scenes are effectively creepy, like the lighting is just right. Uh.

1704
01:39:14,720 --> 01:39:16,599
Speaker 1: You know, it's the typical shots you have in films

1705
01:39:16,640 --> 01:39:21,280
Speaker 1: like this, people pointing their flashlights at at hieroglyphics and

1706
01:39:21,720 --> 01:39:25,880
Speaker 1: checking out hallways and uh. And you're just expecting something

1707
01:39:25,920 --> 01:39:29,160
Speaker 1: to jump out at any moment. Yes, And it's that's

1708
01:39:29,240 --> 01:39:32,040
Speaker 1: built by the fact that Amy was not feeling it.

1709
01:39:32,680 --> 01:39:35,320
Speaker 1: She did not want to come in. Uh, So some

1710
01:39:35,479 --> 01:39:38,679
Speaker 1: of them, some of the members of the group stayed outside.

1711
01:39:38,720 --> 01:39:44,360
Speaker 1: Amy stayed outside. Um. And then there are these hieroglyphics

1712
01:39:44,439 --> 01:39:50,160
Speaker 1: on the wall that Dr Elliott translates, and again it

1713
01:39:50,240 --> 01:39:55,519
Speaker 1: basically boils down to they trained these guerrillas to guard

1714
01:39:55,640 --> 01:40:00,120
Speaker 1: the minds on a volcano whose activity is getting were

1715
01:40:00,120 --> 01:40:03,519
Speaker 1: intense by the way, uh, to guard the diamonds. And

1716
01:40:03,600 --> 01:40:06,880
Speaker 1: then the gorillas turned on the people there. And I

1717
01:40:06,920 --> 01:40:11,000
Speaker 1: guess I've just been living there guarding the diamonds, getting

1718
01:40:11,960 --> 01:40:17,080
Speaker 1: more and more violent. Yeah, and perhaps uh, like in

1719
01:40:17,280 --> 01:40:20,439
Speaker 1: bread like it's a very small population. Every time we

1720
01:40:20,560 --> 01:40:24,160
Speaker 1: see the great gorillas like they do look diseased. And

1721
01:40:24,280 --> 01:40:26,719
Speaker 1: I don't know how much of this is like seriously

1722
01:40:26,800 --> 01:40:28,719
Speaker 1: trying to figure out, like what is the like genetic

1723
01:40:28,800 --> 01:40:32,360
Speaker 1: decline of a small population of primates gonna look like?

1724
01:40:32,640 --> 01:40:35,400
Speaker 1: And then how much of it is like notes coming

1725
01:40:35,479 --> 01:40:38,040
Speaker 1: back or the or from the stiff from the studio

1726
01:40:38,320 --> 01:40:40,639
Speaker 1: or just the effects team looking at it, like, well,

1727
01:40:40,680 --> 01:40:43,800
Speaker 1: how scary can we make these guerrillas? Uh? And you

1728
01:40:43,880 --> 01:40:45,400
Speaker 1: look at when you look at them, like the sort

1729
01:40:45,400 --> 01:40:47,960
Speaker 1: of freeze frame of the of the grays that they look.

1730
01:40:48,040 --> 01:40:50,120
Speaker 1: They look very frightening. They did a great job making

1731
01:40:50,240 --> 01:40:54,240
Speaker 1: monsters guerrillas. It's just when it comes to actually seeing

1732
01:40:54,400 --> 01:40:57,679
Speaker 1: them moving around, I don't know. I think it probably

1733
01:40:57,680 --> 01:40:59,439
Speaker 1: does come back to the lighting and just some of

1734
01:40:59,560 --> 01:41:03,760
Speaker 1: the um you know that perhaps you can imagine these

1735
01:41:03,840 --> 01:41:08,479
Speaker 1: costumes being better utilized. I don't know, Yes, absolutely, And

1736
01:41:08,520 --> 01:41:10,559
Speaker 1: then and there they were trying to do a lot

1737
01:41:10,640 --> 01:41:14,760
Speaker 1: of things, um I will say in this movie with

1738
01:41:15,120 --> 01:41:19,360
Speaker 1: special effects and technology. And one of the most bizarre

1739
01:41:19,800 --> 01:41:24,679
Speaker 1: and jarring ones is in this section. Because so Richard

1740
01:41:24,760 --> 01:41:28,560
Speaker 1: had stayed outside with Amy and then he runs in

1741
01:41:28,720 --> 01:41:39,000
Speaker 1: screaming ah, and is killed by this big, angry killer gorilla. UM,

1742
01:41:39,840 --> 01:41:44,320
Speaker 1: and the group you know, tries to shoot at this

1743
01:41:44,400 --> 01:41:50,920
Speaker 1: gorilla and it's like inexplicable stop motion camera work, like

1744
01:41:51,120 --> 01:41:54,200
Speaker 1: it's out of nowhere. They don't do it again. Um.

1745
01:41:55,160 --> 01:41:57,560
Speaker 1: It just felt like, oh, let's let's experiment with this,

1746
01:41:58,200 --> 01:42:00,240
Speaker 1: and I do again. I go. That makes me wonder

1747
01:42:00,320 --> 01:42:02,439
Speaker 1: how much of it was, Oh, this is a new

1748
01:42:02,600 --> 01:42:04,240
Speaker 1: technology we can try, but also how much of it

1749
01:42:04,439 --> 01:42:07,880
Speaker 1: was Uh, these costumes aren't working out like we thought

1750
01:42:08,080 --> 01:42:10,760
Speaker 1: or like maybe or at least the resulting footage was

1751
01:42:10,880 --> 01:42:13,120
Speaker 1: not as scary as we thought it might be. What

1752
01:42:13,280 --> 01:42:15,360
Speaker 1: can we do, Let's tinker with it until we have

1753
01:42:15,560 --> 01:42:20,200
Speaker 1: something that that creates more of an emotional response. Yes, absolutely,

1754
01:42:20,400 --> 01:42:22,640
Speaker 1: I feel like that's another thing every review mentions is

1755
01:42:22,720 --> 01:42:26,960
Speaker 1: that like where did that come from? Yeah? But at

1756
01:42:27,000 --> 01:42:29,479
Speaker 1: this point, like everybody's basically in the mode of like, Okay,

1757
01:42:29,479 --> 01:42:30,960
Speaker 1: I guess we need to get out of here because

1758
01:42:31,000 --> 01:42:33,559
Speaker 1: gorillas are attacking us. Amy shows up for a nice

1759
01:42:33,600 --> 01:42:37,200
Speaker 1: jump scare. Um, one great gorilla has been taken down,

1760
01:42:37,280 --> 01:42:39,720
Speaker 1: but there are more. They leave the ruins, they find

1761
01:42:39,800 --> 01:42:44,120
Speaker 1: more bodies. Um. Homolka thinks this is why the minds

1762
01:42:44,200 --> 01:42:47,000
Speaker 1: had to close down in ancient times. I guess makes sense.

1763
01:42:47,080 --> 01:42:50,240
Speaker 1: Killer guerrillas. So they go back to camp and it's

1764
01:42:50,280 --> 01:42:53,400
Speaker 1: tech time because Amy gloves up and start talking about

1765
01:42:53,400 --> 01:42:56,080
Speaker 1: the bad guerrillas. And then in one of the I

1766
01:42:56,320 --> 01:42:58,320
Speaker 1: can't even honestly remember if this was in the book

1767
01:42:58,400 --> 01:43:00,360
Speaker 1: or not. I think it might have been, but at

1768
01:43:00,400 --> 01:43:04,160
Speaker 1: this point, the team, uh, Karen and or the team remember,

1769
01:43:04,200 --> 01:43:07,120
Speaker 1: oh yeah, amid the gear that we have, we have

1770
01:43:07,360 --> 01:43:10,880
Speaker 1: automated machine gun drones that we can set up. They

1771
01:43:11,040 --> 01:43:14,439
Speaker 1: use lasers to detect movement and we'll fire at anything.

1772
01:43:15,439 --> 01:43:18,400
Speaker 1: And they set this up around the perimeter of the camp.

1773
01:43:18,880 --> 01:43:23,240
Speaker 1: And I I remember loving this in the film and

1774
01:43:23,320 --> 01:43:25,120
Speaker 1: perhaps in the book if it was in the book

1775
01:43:25,640 --> 01:43:28,080
Speaker 1: when I was younger, but especially now, you like, this

1776
01:43:28,240 --> 01:43:31,479
Speaker 1: is just so ridiculous. This is just ludicrous that they

1777
01:43:31,600 --> 01:43:35,840
Speaker 1: brought automated machine gun Like what was the original like

1778
01:43:36,040 --> 01:43:38,640
Speaker 1: rationale behind this was it just rilla killer gorillas may

1779
01:43:38,680 --> 01:43:41,160
Speaker 1: show up in the hundreds, we will need machine gun

1780
01:43:41,280 --> 01:43:44,400
Speaker 1: drones because otherwise it's, like you were, these are like

1781
01:43:44,479 --> 01:43:48,479
Speaker 1: weapons of war you're bringing into this other country, right,

1782
01:43:48,560 --> 01:43:52,280
Speaker 1: and people could have shown up like anything that happened. Um,

1783
01:43:53,439 --> 01:43:56,519
Speaker 1: and they also have so Laura Lenny as cool as

1784
01:43:56,560 --> 01:43:58,920
Speaker 1: a cucumber during this part, by the way, and they

1785
01:43:59,000 --> 01:44:02,120
Speaker 1: set up a uptop an old laptop and she can

1786
01:44:02,200 --> 01:44:04,720
Speaker 1: like see their shapes on it, like see where they

1787
01:44:04,760 --> 01:44:07,000
Speaker 1: are and how many of them are. But it I

1788
01:44:07,080 --> 01:44:11,080
Speaker 1: mean again, I think the lighting didn't really work in

1789
01:44:11,120 --> 01:44:13,439
Speaker 1: the scene. But it could have been really scary because

1790
01:44:13,560 --> 01:44:16,160
Speaker 1: you you would just see like the guns turn shoot

1791
01:44:16,200 --> 01:44:19,280
Speaker 1: at something. The lasers were kind of goofy, but like

1792
01:44:19,400 --> 01:44:22,320
Speaker 1: the seeing that this turn and you couldn't really necessarily

1793
01:44:22,880 --> 01:44:26,160
Speaker 1: see where the the gorillas were, but they were all around.

1794
01:44:26,400 --> 01:44:31,479
Speaker 1: Like it ended up feeling very um humorous and over

1795
01:44:31,560 --> 01:44:33,799
Speaker 1: the top where I think it could have been scary.

1796
01:44:34,200 --> 01:44:37,599
Speaker 1: I'm not sure that this movie ever succeeds really at

1797
01:44:37,640 --> 01:44:41,080
Speaker 1: being scary. I think it's much more fun action romps.

1798
01:44:41,120 --> 01:44:43,000
Speaker 1: So I don't know that it would have worked anyway

1799
01:44:43,920 --> 01:44:48,639
Speaker 1: given the rest of what we've seen already. But um, yeah,

1800
01:44:48,720 --> 01:44:53,280
Speaker 1: it's like fireworks and lasers, guns and killer apes. It

1801
01:44:53,400 --> 01:44:55,559
Speaker 1: feels kind of like like this is Congo the ride,

1802
01:44:56,680 --> 01:44:58,760
Speaker 1: which isn't too much of a knock because what is

1803
01:44:58,800 --> 01:45:01,000
Speaker 1: a blockbuster film? Like, it's kind of like the approach

1804
01:45:01,080 --> 01:45:04,679
Speaker 1: to a big like Disneyland ride or a Blockbuster film.

1805
01:45:04,720 --> 01:45:06,920
Speaker 1: It's kind of the same energy, so I guess it's

1806
01:45:06,960 --> 01:45:09,840
Speaker 1: fine that they feel it feels much the same here. Yes,

1807
01:45:09,920 --> 01:45:14,280
Speaker 1: and then it's buttoned with Hermolka saying I've translated this

1808
01:45:14,479 --> 01:45:18,360
Speaker 1: phrase and it says we are watching you. So it's

1809
01:45:18,400 --> 01:45:21,639
Speaker 1: kind of just like goofy action set piece and then

1810
01:45:22,439 --> 01:45:29,240
Speaker 1: oh wait, go back to scary stuff. Yeah. So the

1811
01:45:29,360 --> 01:45:33,559
Speaker 1: next morning, people are missing, including Amy and Homolka. Amy's

1812
01:45:33,600 --> 01:45:37,160
Speaker 1: out wandering. She encounters the other guerrillas again. They acknowledge

1813
01:45:37,160 --> 01:45:40,320
Speaker 1: her this time, but they're they're standoffish, so it seems

1814
01:45:40,360 --> 01:45:46,839
Speaker 1: like some progress is being made in in Amy guerilla relations. Meanwhile,

1815
01:45:46,880 --> 01:45:48,880
Speaker 1: the team heads back into the ruins and they had

1816
01:45:48,920 --> 01:45:50,640
Speaker 1: just armed to the teeth. They had just they're just

1817
01:45:50,680 --> 01:45:54,599
Speaker 1: bringing all the guns this time, and they find evidence

1818
01:45:54,680 --> 01:45:57,360
Speaker 1: on the walls. They find more not higher glyphics this time,

1819
01:45:57,400 --> 01:46:00,519
Speaker 1: but more like actual um uh image is that are

1820
01:46:00,760 --> 01:46:04,280
Speaker 1: like sequential art, and it seems that they the guerrillas

1821
01:46:04,320 --> 01:46:09,160
Speaker 1: were bred using guerrillas and humans apparently uh and to

1822
01:46:09,240 --> 01:46:11,960
Speaker 1: serve as guardians for the minds, but they eventually turned

1823
01:46:11,960 --> 01:46:14,639
Speaker 1: on their masters and they find the bones of normal

1824
01:46:14,760 --> 01:46:19,840
Speaker 1: guerrillas with crushed skulls. Yes, quite a few. Um. And

1825
01:46:19,920 --> 01:46:24,000
Speaker 1: this is when we see Amy, who's like the volcano.

1826
01:46:24,280 --> 01:46:27,160
Speaker 1: It's shaking, it's about to go off. Um. Some of

1827
01:46:27,200 --> 01:46:30,559
Speaker 1: the building collapses. So Amy is determined to help our

1828
01:46:30,640 --> 01:46:34,600
Speaker 1: human friends to fight these bad gorillas, grabs her a

1829
01:46:34,800 --> 01:46:38,479
Speaker 1: s L gear and makes her way to the to

1830
01:46:38,600 --> 01:46:41,320
Speaker 1: the temple, to the building, and so here we are

1831
01:46:41,439 --> 01:46:44,120
Speaker 1: the team. Eventually they have some trouble. It seems like

1832
01:46:44,200 --> 01:46:46,600
Speaker 1: they're the minds may be closed off, and then of

1833
01:46:46,640 --> 01:46:49,439
Speaker 1: course their seismic activity and their cave ins, and so

1834
01:46:49,560 --> 01:46:51,960
Speaker 1: they just keep going, you know, very very dungeons and

1835
01:46:52,040 --> 01:46:54,080
Speaker 1: dragon z at this point like okay, we gotta we

1836
01:46:54,120 --> 01:46:56,679
Speaker 1: gotta keep the party moving deeper into the dungeon here,

1837
01:46:57,080 --> 01:47:02,240
Speaker 1: and then they emerge into well into dungeons and dragons. Wise,

1838
01:47:02,280 --> 01:47:04,080
Speaker 1: this would be when the dungeon minister would pull out

1839
01:47:04,160 --> 01:47:06,680
Speaker 1: the feature map where the big battle is going to

1840
01:47:06,800 --> 01:47:09,880
Speaker 1: take place. It's this is apparently the mine. It's kind

1841
01:47:09,920 --> 01:47:12,720
Speaker 1: of this little valley with the stream going through it.

1842
01:47:13,520 --> 01:47:17,120
Speaker 1: They're all these like alcoves or cave openings in the

1843
01:47:17,240 --> 01:47:21,719
Speaker 1: walls and the ground is just filthy with blue diamonds,

1844
01:47:21,760 --> 01:47:23,720
Speaker 1: like they're just poking up out of the ground, like

1845
01:47:24,320 --> 01:47:27,320
Speaker 1: like big diamond baseballs. Yeah, you're right, that is very

1846
01:47:27,400 --> 01:47:30,240
Speaker 1: d and d like look at these shiny things. I

1847
01:47:30,320 --> 01:47:34,719
Speaker 1: know you want them. Um, no problem here and hermoca

1848
01:47:34,920 --> 01:47:38,719
Speaker 1: he can't resist. He's like immediately just shoving these diamonds

1849
01:47:38,760 --> 01:47:43,559
Speaker 1: into his bag. Yes, oh yeah, he kisses one of them.

1850
01:47:44,280 --> 01:47:47,240
Speaker 1: And meanwhile, the great gorillas are starting to file out there.

1851
01:47:47,920 --> 01:47:49,439
Speaker 1: It is kind of creepy at first because they are

1852
01:47:49,479 --> 01:47:52,080
Speaker 1: in the shadows a bit, but then they're they're they're

1853
01:47:52,080 --> 01:47:55,400
Speaker 1: actively coming out. They're like, okay, guys, were on, this

1854
01:47:55,560 --> 01:47:58,080
Speaker 1: is what we were trained for. Uh, we did kill

1855
01:47:58,120 --> 01:48:00,360
Speaker 1: all of our trainers, but but this is Whine we

1856
01:48:00,439 --> 01:48:04,280
Speaker 1: live here. And so yeah, great shots of grey grillas

1857
01:48:04,360 --> 01:48:06,559
Speaker 1: creeping in the dark. We see some flashes of their

1858
01:48:06,600 --> 01:48:10,760
Speaker 1: monster faces and uh, now Homolka has gone too far.

1859
01:48:10,840 --> 01:48:13,320
Speaker 1: He realized it is too late, that he was too

1860
01:48:13,360 --> 01:48:16,400
Speaker 1: concerned with scooping up diamonds and that death is all

1861
01:48:16,479 --> 01:48:20,479
Speaker 1: around him now. Yeah, and he does have probably the

1862
01:48:20,680 --> 01:48:23,439
Speaker 1: most one of the most violent does we see on

1863
01:48:23,600 --> 01:48:29,240
Speaker 1: the screen. Um, because no, the the killer guerrillas are

1864
01:48:29,280 --> 01:48:33,880
Speaker 1: not happy about this. Uh, and they they kill him

1865
01:48:34,080 --> 01:48:37,560
Speaker 1: quite virarently, and this is when the rest of the

1866
01:48:37,600 --> 01:48:40,280
Speaker 1: party is like, oh wow, um, there are a lot

1867
01:48:40,400 --> 01:48:43,960
Speaker 1: of these killer gorillas. They're going to kill us all. Um,

1868
01:48:45,200 --> 01:48:48,519
Speaker 1: So they all start getting out their weapons. Um, they

1869
01:48:48,600 --> 01:48:53,160
Speaker 1: discover a geode, a giant diamond. H and they also

1870
01:48:53,320 --> 01:48:55,160
Speaker 1: as they're kind of running away trying to find a

1871
01:48:55,240 --> 01:48:59,000
Speaker 1: way out, Uh, they find Karen's ex Charlie, amongst a

1872
01:48:59,040 --> 01:49:02,240
Speaker 1: bunch of like other bones and stuff, and she takes

1873
01:49:02,280 --> 01:49:06,800
Speaker 1: his satellite gun thing, puts a diamond in it. She

1874
01:49:06,960 --> 01:49:10,360
Speaker 1: has a laser gun. And now she has a laser gun. Yeah,

1875
01:49:10,600 --> 01:49:14,280
Speaker 1: so the battle the battle continues to rage. Here it's

1876
01:49:14,600 --> 01:49:18,640
Speaker 1: soldiers and party members versus killer greg Rilla's looks like

1877
01:49:18,680 --> 01:49:22,280
Speaker 1: their deaths on both sides, and um, you know, we

1878
01:49:22,400 --> 01:49:25,680
Speaker 1: found Charlie, and it seems like the gorillas are are

1879
01:49:25,840 --> 01:49:28,800
Speaker 1: gaining ground. They're they're killing left and right, and it

1880
01:49:28,880 --> 01:49:32,320
Speaker 1: looks like they're moving in to kill Elliott. And then

1881
01:49:32,400 --> 01:49:35,760
Speaker 1: Amy jumps into the rescue and she says, ugly gorillas,

1882
01:49:35,880 --> 01:49:38,880
Speaker 1: ugly go away. And this is a nice moment because

1883
01:49:38,920 --> 01:49:42,519
Speaker 1: you kind of expect when this happens, You're like, oh no, Amy,

1884
01:49:42,600 --> 01:49:44,639
Speaker 1: they don't know what you're saying. They're not gonna listen

1885
01:49:44,680 --> 01:49:47,160
Speaker 1: to you. But the greg Grillas are thrown off on this.

1886
01:49:47,240 --> 01:49:49,360
Speaker 1: They're like, whoa wait, this is a gorilla, guys, We've

1887
01:49:49,360 --> 01:49:51,000
Speaker 1: got to at least hit here out, or they're at

1888
01:49:51,040 --> 01:49:53,040
Speaker 1: least confused by it. And I think that's what I

1889
01:49:53,080 --> 01:49:54,720
Speaker 1: think it's when Roe says like, they don't know what

1890
01:49:54,840 --> 01:49:58,480
Speaker 1: to make. They don't know what to make. They're just confused.

1891
01:49:59,080 --> 01:50:02,479
Speaker 1: And here in comes one of the best lines because

1892
01:50:03,280 --> 01:50:05,920
Speaker 1: laure Lenny Dr Karen Raw shows up with this laser

1893
01:50:05,960 --> 01:50:10,479
Speaker 1: gun and she says of the like great killer apes,

1894
01:50:10,880 --> 01:50:14,120
Speaker 1: put them on the endangered species list, and then starts

1895
01:50:14,240 --> 01:50:17,639
Speaker 1: shooting them with a beam of blue laser, just like arms,

1896
01:50:17,760 --> 01:50:23,040
Speaker 1: flying bodies getting cut in the half um and when

1897
01:50:23,360 --> 01:50:26,240
Speaker 1: asked what she's using, she calls it the latest thing

1898
01:50:26,320 --> 01:50:33,840
Speaker 1: in communication. It's just wild and ludicrous an absurd. Uh.

1899
01:50:34,400 --> 01:50:41,080
Speaker 1: Just this killer gorilla is getting just decimated by a laser. Yeah,

1900
01:50:41,240 --> 01:50:43,680
Speaker 1: just straight up cut in half by this thing. And

1901
01:50:43,760 --> 01:50:47,000
Speaker 1: then we cut to the outside and the volcano is erupting,

1902
01:50:47,400 --> 01:50:50,200
Speaker 1: and it's it's I I think I laughed at this

1903
01:50:50,320 --> 01:50:54,600
Speaker 1: point because the footage or the or the sequence that

1904
01:50:54,680 --> 01:50:57,600
Speaker 1: we see from afar of the volcano erupting is so

1905
01:50:57,800 --> 01:51:00,200
Speaker 1: intense that I felt like there's no way every one

1906
01:51:00,240 --> 01:51:02,640
Speaker 1: would just be killed instantly by this thing. They're like

1907
01:51:02,720 --> 01:51:06,479
Speaker 1: inside this volcano or inside the mountain when this level

1908
01:51:06,560 --> 01:51:09,400
Speaker 1: of a volcanic event is taking place. But it's a

1909
01:51:09,439 --> 01:51:11,519
Speaker 1: movie volcano, so the rules are a little different, like

1910
01:51:11,600 --> 01:51:14,439
Speaker 1: lava is not actually hot unless you're in it, uh,

1911
01:51:14,520 --> 01:51:17,360
Speaker 1: and other rules like that apply. Yes, and I do

1912
01:51:17,560 --> 01:51:22,400
Speaker 1: think it is a rule uh in these action adventure movies,

1913
01:51:22,400 --> 01:51:24,360
Speaker 1: you've gotta have your classic Like the set is falling

1914
01:51:24,400 --> 01:51:27,840
Speaker 1: apart at the end, like everything is collapsing and you've

1915
01:51:27,880 --> 01:51:29,840
Speaker 1: got to get out. And so that's what this scene is.

1916
01:51:29,960 --> 01:51:32,800
Speaker 1: Is very much like you know, ground, the ground is

1917
01:51:32,920 --> 01:51:38,479
Speaker 1: falling pieces of like stone, all of these structures are falling. Um.

1918
01:51:38,680 --> 01:51:42,960
Speaker 1: We get to see another odd scene of like gorillas

1919
01:51:43,080 --> 01:51:46,160
Speaker 1: jumping in the lava, the killer gorillas jumping in to

1920
01:51:46,280 --> 01:51:48,400
Speaker 1: the lava and dying. But yeah, this is very much that,

1921
01:51:48,520 --> 01:51:52,679
Speaker 1: like we're in the end game now the entire set

1922
01:51:53,479 --> 01:51:57,320
Speaker 1: is collapsing. Yep. We also get to see they make

1923
01:51:57,360 --> 01:51:59,719
Speaker 1: it out of the mountain and of course the ground

1924
01:52:00,000 --> 01:52:02,519
Speaker 1: opens up. This is huge chasm that opens in the

1925
01:52:02,600 --> 01:52:05,479
Speaker 1: earth and so Karen whips out that laser gun again

1926
01:52:05,600 --> 01:52:07,720
Speaker 1: use it to cut down a tree to make a

1927
01:52:07,800 --> 01:52:10,840
Speaker 1: bridge that they all escape over. And meanwhile the city

1928
01:52:10,880 --> 01:52:17,040
Speaker 1: of zinj is just crumbling into ruin behind them. Yes,

1929
01:52:17,120 --> 01:52:18,640
Speaker 1: and this brings us to one of my very very

1930
01:52:18,680 --> 01:52:21,840
Speaker 1: favorite things, because I can't stress enough. They escape via

1931
01:52:21,960 --> 01:52:26,920
Speaker 1: hot air balloon. Um yeah, and on my uh rewatch

1932
01:52:27,600 --> 01:52:30,320
Speaker 1: one too many rewatches, they do hint at this hot

1933
01:52:30,360 --> 01:52:34,840
Speaker 1: air balloon throughout because earlier on they kind of joked

1934
01:52:34,920 --> 01:52:36,920
Speaker 1: with Dr Ross like, do you really need a hot

1935
01:52:36,960 --> 01:52:41,960
Speaker 1: air balloon and she said no, Um, well here they are.

1936
01:52:44,120 --> 01:52:46,320
Speaker 1: And but but before that happens, though, she does check

1937
01:52:46,400 --> 01:52:48,960
Speaker 1: back in with Houston though. Remember she she gets some

1938
01:52:49,040 --> 01:52:52,040
Speaker 1: gear off of that crash that second plane, She fixes

1939
01:52:52,040 --> 01:52:55,600
Speaker 1: her satellite system, calls back and uh, this is a

1940
01:52:55,640 --> 01:52:58,719
Speaker 1: nice little sequence where she she touches base with Travis

1941
01:52:59,320 --> 01:53:03,720
Speaker 1: and tells him about his son. She's like, yeah, Charles's dad,

1942
01:53:03,880 --> 01:53:07,519
Speaker 1: I have to confirm this. And of course does Travis

1943
01:53:07,600 --> 01:53:09,760
Speaker 1: say and take a moment to reflect on this, No,

1944
01:53:09,960 --> 01:53:12,200
Speaker 1: He's like, tell me about those diamonds. I want those

1945
01:53:12,240 --> 01:53:16,920
Speaker 1: blue diamonds. Yes, And I mean he doesn't even ask

1946
01:53:16,960 --> 01:53:18,960
Speaker 1: about the crew, because everybody on that plane was working

1947
01:53:19,040 --> 01:53:23,200
Speaker 1: for him. There's a line earlier where laure Lenni is like,

1948
01:53:23,280 --> 01:53:25,240
Speaker 1: this is such a needless loss of life. But yeah,

1949
01:53:25,280 --> 01:53:28,280
Speaker 1: he's IMMANI like, did you get the diamond? And she,

1950
01:53:28,560 --> 01:53:32,639
Speaker 1: laure Lenny, She's got a good, cold, like calculated face,

1951
01:53:33,120 --> 01:53:36,640
Speaker 1: is realizing this and she says, you remember what I

1952
01:53:36,800 --> 01:53:38,800
Speaker 1: told you. If I ever got the hint that you

1953
01:53:38,920 --> 01:53:40,840
Speaker 1: sent me out here for anything other than Charlie, I

1954
01:53:40,840 --> 01:53:42,599
Speaker 1: would make you sorry. And then she does a bunch

1955
01:53:42,600 --> 01:53:44,839
Speaker 1: of techno babble that doesn't make any sense. I'm convinced,

1956
01:53:45,280 --> 01:53:48,280
Speaker 1: but she puts it in the coordinates of the satellite

1957
01:53:48,320 --> 01:53:53,200
Speaker 1: into this diamond laser gun and then Presto blows up

1958
01:53:53,600 --> 01:53:58,000
Speaker 1: his very fancy satellite. He blows up a satellite. Yeah,

1959
01:53:58,400 --> 01:54:04,160
Speaker 1: yeah this yeah, And then she's like yeah in transmission

1960
01:54:04,200 --> 01:54:06,800
Speaker 1: obviously and uh and and moves on for then maybe

1961
01:54:06,840 --> 01:54:09,200
Speaker 1: I bust out the balloon. They get in the balloon

1962
01:54:09,240 --> 01:54:12,480
Speaker 1: at this point, yeah, it's just what it's Ross Elliott

1963
01:54:12,800 --> 01:54:14,920
Speaker 1: and Kelly. Oh. But before that, Amy goes off into

1964
01:54:14,960 --> 01:54:18,400
Speaker 1: the wild. We finally gets the third try. Will the

1965
01:54:18,520 --> 01:54:22,800
Speaker 1: gorillas accept me? Will the silverback gorilla potentially marry me

1966
01:54:23,479 --> 01:54:26,280
Speaker 1: and uh, yeah, she goes. They say yeah, come on,

1967
01:54:26,479 --> 01:54:28,559
Speaker 1: and so she moves on to be with the Silverback

1968
01:54:28,600 --> 01:54:31,320
Speaker 1: Gorilla and his like three other wives. Yes, it was

1969
01:54:31,320 --> 01:54:34,000
Speaker 1: a very touch and good vibe between Peter, doctor Elliott,

1970
01:54:34,000 --> 01:54:36,480
Speaker 1: and Amy, who he had been adamant throughout, like this

1971
01:54:36,600 --> 01:54:38,600
Speaker 1: is where she belongs, even though she'd had these clear

1972
01:54:39,400 --> 01:54:41,600
Speaker 1: signs that it was gonna be difficult for her to adapt,

1973
01:54:41,640 --> 01:54:44,400
Speaker 1: and even her moca was like this is not gonna work. Um,

1974
01:54:45,720 --> 01:54:49,680
Speaker 1: but he they have this fond farewell. Uh. This is

1975
01:54:49,720 --> 01:54:51,640
Speaker 1: also a very funny part to me where suddenly his

1976
01:54:51,720 --> 01:54:55,760
Speaker 1: shirt is like wide open and like you were trying.

1977
01:54:55,840 --> 01:54:59,880
Speaker 1: You guys were really trying, very very nineties. But yeah,

1978
01:55:00,200 --> 01:55:04,720
Speaker 1: now it's the three. It's Karen, Monroe and Peter in

1979
01:55:04,840 --> 01:55:08,360
Speaker 1: this hot air balloon floating off. Karen asked Peter to

1980
01:55:08,480 --> 01:55:12,440
Speaker 1: throw away the diamond h which he does on row

1981
01:55:12,560 --> 01:55:15,760
Speaker 1: is not happy about that. Um. I did find it

1982
01:55:15,840 --> 01:55:18,400
Speaker 1: interesting that they kind of have this like lovely escape

1983
01:55:18,400 --> 01:55:20,240
Speaker 1: in a hot air balloon, but like their plane had

1984
01:55:20,280 --> 01:55:22,720
Speaker 1: been shot down, like two planes have been shut down.

1985
01:55:23,120 --> 01:55:26,760
Speaker 1: I don't know, maybe these are not questions I should

1986
01:55:26,800 --> 01:55:31,800
Speaker 1: be asking, but yeah, that's I mean, the hot air

1987
01:55:31,880 --> 01:55:34,560
Speaker 1: balloon was what really got me. I was not anticipating that.

1988
01:55:35,320 --> 01:55:36,840
Speaker 1: There's a lot of things. There was a lot of

1989
01:55:36,840 --> 01:55:39,080
Speaker 1: build up of like, oh, wow, there's a talking gorilla. Wow,

1990
01:55:39,160 --> 01:55:40,760
Speaker 1: she drinks partina. There's a lot of things I could

1991
01:55:40,800 --> 01:55:42,840
Speaker 1: never have anticipated, to be honest, But that was the

1992
01:55:42,880 --> 01:55:45,360
Speaker 1: final thing where I was like, Wow, they are escaping

1993
01:55:45,480 --> 01:55:49,400
Speaker 1: the hot air balloon. Yeah. Yeah, they take off and

1994
01:55:49,520 --> 01:55:52,240
Speaker 1: they they look at the diamond one last time and

1995
01:55:52,320 --> 01:55:55,640
Speaker 1: then they throw it over the other side. Yes, and

1996
01:55:55,680 --> 01:55:57,560
Speaker 1: I think we get another we get one more shot

1997
01:55:57,640 --> 01:56:01,880
Speaker 1: of Amy who looks happy her new her new crew.

1998
01:56:02,160 --> 01:56:03,800
Speaker 1: She looks like she's going to live a good life.

1999
01:56:04,120 --> 01:56:07,080
Speaker 1: And that's the end of the movie. That's Congo. What

2000
01:56:07,280 --> 01:56:12,880
Speaker 1: a ride? All right? All right, well well Annie, thanks

2001
01:56:12,920 --> 01:56:15,280
Speaker 1: for joining me here on this episode of Weird House. Uh.

2002
01:56:15,520 --> 01:56:18,920
Speaker 1: This was a lot of fun rewatching um Congo and

2003
01:56:19,000 --> 01:56:21,640
Speaker 1: then discussing it with you here. Yes, thank you, thank you,

2004
01:56:21,720 --> 01:56:25,440
Speaker 1: Thank you so much for having me so fun. Absolutely

2005
01:56:26,360 --> 01:56:30,120
Speaker 1: so again. Your your your podcasts are stuff Mom never

2006
01:56:30,240 --> 01:56:33,120
Speaker 1: told you and savor people can find those wherever you

2007
01:56:33,200 --> 01:56:35,960
Speaker 1: get your podcasts. Have have you done any movie related

2008
01:56:36,000 --> 01:56:38,960
Speaker 1: episodes of either of the shows, recently. Uh, well, we

2009
01:56:39,040 --> 01:56:41,520
Speaker 1: do once a month. We do Feminist Movie Friday and

2010
01:56:41,560 --> 01:56:45,000
Speaker 1: sometimes Wild Saturdays on UH stuff I've never told you.

2011
01:56:45,120 --> 01:56:48,440
Speaker 1: We just did for Savior, we just did Pans Labyrinth.

2012
01:56:48,920 --> 01:56:52,040
Speaker 1: It's kind of like Halloween because it's her savor. We

2013
01:56:52,120 --> 01:56:56,440
Speaker 1: do like foods in fictional properties. Um, so I would

2014
01:56:56,440 --> 01:57:00,520
Speaker 1: recommend that for sure. Excellent. Al Right, well, um yeah,

2015
01:57:00,640 --> 01:57:03,760
Speaker 1: you can find those shows wherever you get your podcast everyone.

2016
01:57:03,840 --> 01:57:07,160
Speaker 1: And just a reminder that Weird House Cinema UH is

2017
01:57:07,320 --> 01:57:09,360
Speaker 1: a show on Fridays and the Stuff to Blow your

2018
01:57:09,360 --> 01:57:11,840
Speaker 1: Mind podcast feed were primarily a science podcast, but on

2019
01:57:12,080 --> 01:57:14,360
Speaker 1: Friday's we set aside most serious concerns to just talk

2020
01:57:14,360 --> 01:57:17,560
Speaker 1: about a weird film. If you want to follow the

2021
01:57:17,640 --> 01:57:19,960
Speaker 1: films that we've covered here, I blog about them at

2022
01:57:20,000 --> 01:57:23,160
Speaker 1: SMUTA music dot com. But also we have a letterboxed

2023
01:57:23,160 --> 01:57:25,400
Speaker 1: account that's l E T T E R B o

2024
01:57:25,680 --> 01:57:27,800
Speaker 1: x D dot com. You can look us up. Our

2025
01:57:27,840 --> 01:57:30,760
Speaker 1: user name is weird House and there's a list there

2026
01:57:30,760 --> 01:57:32,720
Speaker 1: and you can see all the films we've done uh

2027
01:57:32,840 --> 01:57:35,640
Speaker 1: in order, and also include links to where you can

2028
01:57:35,680 --> 01:57:37,960
Speaker 1: listen to them, and also all sometimes go ahead and

2029
01:57:38,040 --> 01:57:40,640
Speaker 1: give you a preview of what's coming up next Banks.

2030
01:57:40,680 --> 01:57:44,040
Speaker 1: As always to Seth Nicholas Johnson for producing the show

2031
01:57:44,160 --> 01:57:46,880
Speaker 1: here and stitching everything together and if you would like

2032
01:57:46,960 --> 01:57:49,240
Speaker 1: to reach out uh and if you have anything to

2033
01:57:49,320 --> 01:57:52,280
Speaker 1: say about Congo, if you have suggestions for the future,

2034
01:57:52,640 --> 01:57:55,160
Speaker 1: well you can email us at contact at stuff to

2035
01:57:55,200 --> 01:58:04,720
Speaker 1: Blow your Mind dot com. Stuff to Blow Your Mind

2036
01:58:04,840 --> 01:58:07,520
Speaker 1: is production of I Heart Radio. For more podcasts for

2037
01:58:07,560 --> 01:58:10,600
Speaker 1: my heart Radio, visit the i Heart Radio app, Apple Podcasts,

2038
01:58:10,680 --> 01:58:12,480
Speaker 1: or wherever you listen to your favorite shows.