Three Scene Heroes
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Three Scene Heroes
Weapons & Freakier Friday
Zack Cregger's follow-up to Barbarian delivers a masterful horror experience that subverts expectations at every turn. This intricately structured film about 17 missing children builds suspense through overlapping perspectives, creating a mystery that grows increasingly terrifying as it unfolds. We also see Disney's latest Freaquel - Freakier Friday starring Jamie Lee Curtis & Lindsay Lohan.
• Josh Brolin and Julia Garner deliver standout performances as deeply flawed but compelling characters
• The non-linear structure brilliantly reveals information in layers, similar to Pulp Fiction and Magnolia
• Several scenes stand out as masterclasses in horror filmmaking, particularly the basement sequence and car scene
• The film uses minimal music, relying instead on silence to build genuine dread
• Krieger blends genres confidently, starting as a procedural before shifting into supernatural territory
• The film joins Hereditary and Blair Witch Project as horror experiences that create visceral, physical reactions
• Despite its supernatural elements, the film maintains an emotional core that resonates beyond the scares
• The confident filmmaking showcases what happens when directors trust their vision completely
See Weapons in theaters now - go in completely blind for the full experience. Don't watch trailers, don't read reviews, just experience this original horror masterpiece as it was intended.
Welcome back to 3 Scene. Heroes everyone how we doing Good. We're all weaponised.
Speaker 2:Yeah, actualised, actualised.
Speaker 1:Weaponised, radicalised.
Speaker 2:Radicalised.
Speaker 1:Radicalised is a fucking. It's probably the word.
Speaker 2:For me it's probably the word yeah. Yeah, look, I guess there's. This is a real kind of before and after film, because it's so kind of mystery box and hyped and things like that kind of before and after film, because it's so kind of mystery box and hyped and things like that.
Speaker 1:For the record for the listeners out there, we are talking about Zach Krieger's latest follow-up to Barbarian, called Weapons, weapons. Out today as we record, on the 7th of August.
Speaker 2:And had a massive hashtag on the cinema screen saying you know, no spoilers, and also doing this kind of, and I like it.
Speaker 1:So we will proceed to spoil everything about this film. Are we going full spoilers? I think the good structure for this would be to let's have it out first without spoiler-free and talk about our feelings, and then, if we want to get into the nitty-gritty of it, then we can give people the opportunity to click off. Okay, I think that'll be good.
Speaker 2:This film, more than any in recent memory, has had me really actively thinking about spoilers. Can I just pause you there for a?
Speaker 1:second, can I ask you a question Absolutely About the viability of playing the security footage of the kids running out of the houses as everyone's walking into the screening. What did you think of that? Because I walked in and I immediately let out a very loud oh get fucked.
Speaker 2:I thought I thought it was a cinematic baller move and I thought this is by someone who's taking their craft very seriously here and they're understanding that this is a uh you know our engagement with this art is huge it's not it's not just sitting down and watching a movie. You've been thinking about this and also your mind is racing to try and figure out this mystery, and this film is a mystery film.
Speaker 2:And also it's such a bonkers fascinating mystery film as in like, unless you've got some I don't know condition, you can't guess where the fuck this is going, which is beautiful. I love that because it is so startlingly original in a lot of ways, like it borrows, obviously, from Pulp Fiction and Rashomon and stuff like that, but this film yeah. So seeing that disembodied footage is creep factor thousand.
Speaker 1:Yeah, yeah it's cool?
Speaker 3:Yeah, alistair, probably don't ask me, because I was in seventh heaven with my freakier Friday popcorn bucket. You sent us a message on the group chat, did not pay attention.
Speaker 1:You sent a message on the group chat being like what's the ethics of bringing in someone else's merchandise another movie's merchandise?
Speaker 2:into this screen. I missed a massive opportunity not to turn around and say are you not going to play the Avatar trailer?
Speaker 1:Oh God they did. What a letdown.
Speaker 2:For listeners. We did not get a single trailer. Last night we got basically what is the home footage, the security cam footage of the children disappearing that you? Would have seen in the trailers.
Speaker 1:But playing over and over again and then rewinding and it had like the audio of the tape playing in the trailers but playing over and over again and then rewinding, and it had the audio of the tape playing in the background, which was just, I was like fucking hell and because, yeah, my headphones were cranked.
Speaker 3:I was too busy explaining to Nick how the popcorn bucket worked.
Speaker 2:Thank, you, Nick, for indulging me.
Speaker 1:Thank you, Nick Kazakis.
Speaker 2:There's something really fascinating about the marketing of this film is that it does show. It shows quite. You know these really violent spikes in certain moments, but they're given without context, even though they are technically kind of spoilers, without any framework. You don't know where they're sitting or what you're actually seeing at all.
Speaker 2:And so those disembodied violent shots in the trailer didn't spoil anything for me and my brain wasn't racing to them in a way. Um, like, I want to have a relatively robust conversation about spoilers today. Uh, if you'll indulge me, but there, oh, we will get there, don't you worry about that.
Speaker 2:But there was a secondary clip trailer released by warner brothers and it shows one of the characters after like, running towards another one, right, and I'm like why the fuck have you released this? I'm like this looks like a pivotal moment when it was happening. And the most peculiar thing happened where, when I was watching the film last night, I'm like this isn't the same footage, it's edited differently, and why would they release something like that if it's not even in the final cut? And then I was like, oh, because we're going to see it twice from a different perspective and I'm like oh this is a very smart movie did it did it?
Speaker 2:obviously it changed your perspective of of how you viewed it, because it was like meshing both of the same moments together, that clip I have a slightly autistic thing that I'm sure that both of you kind of have, that you, when you watch certain films, you know the k, you know the rhythm of them instinctively if someone was to show you your favourite film and just add one shot in of a building you'd go.
Speaker 2:That doesn't belong here, that's not in there, and I cannot sometimes remember family members first names but the 17 children are hey brown haired dude and then I'm like Cap never picked his shield up in this scene.
Speaker 1:You know what are you talking about. But so I guess having that kind of obsession Fuck okay.
Speaker 2:Yeah, I can relate to that, yeah, but I think this obsession so what kind of fascinated me with me is that I wanted to know everything about this film except what was actually in this film, and so I had a pretty broad flirtation with it. I even had the script.
Speaker 2:yeah, the script, yeah, you mentioned that you read half of it only because I was really interested in its acquirement and the money that it was sold for. And I and I read up to a certain chapter part and then I put it away and I'm like, no, I really want to go into this pure. And this film made me think too as well. Uh, and just for the record, yeah, I'll make some enemies by saying this, but I'm I'm really and look, and I'll take culpability of this as well, I'm really spoiler adverse. I fucking hate spoilers and critics that straight up just spoil films, especially when they don't like them, I think are cunts, uh, and I we know if you're whoa you know and um, and because I think that you go look, this wasn't my jam.
Speaker 2:now, look, of course the hypocrisy warning is going off now, because now and then I what I'll do is I'll say the reason why I jumped off on this film is because I found this plot twist to be egregious, and then I will discuss that element. Right, but I think that going to see a film that you've actively got distaste for and then saying to fans you know that this character dies, right, I'm like that's so I get so angry when people do that to me and it's so condescending, like you know and you just go.
Speaker 3:I haven't seen it, so how would I know how?
Speaker 2:would you know. And then I used to be a like card carrying member of websites that used to have articles that would come up with special banners on them and would say like spoiler alert, and I would you know, hover on them and I'd want to click and. But I've realized what it is. It is bone deep, deep immaturity. That's all it is. It is a lack of being able to sit in suspense. It's a lack of being able to be unknown and going. I'm not comfortable unless I know this thing. And if you were to transport this to any other medium where you go into a comedy show and go tell me your punchlines I want to know the punchlines before I hear the jokes and someone goes, it doesn't actually affect your set. This is just for me and my boundaries. You are so full of shit. You're just a giant child that cannot for a moment respect someone's process and have a pure experience with anything. Drew McQueenie.
Speaker 1:Drew McQueenie of Ain't it Cool, well, formerly of Ain't it Cool. He's a good writer on his own terms. Brilliant writer on his own terms, don own terms. Um, brilliant writer on his own terms. Um, don't want to associate him too much with that anymore. Um, for obvious reasons. Um, he said something in back in 2016 where he was like getting spoiled for a film or searching for spoilers is basically like opening your christmas day, your christmas presents in july and I I.
Speaker 1:The culture of spoilers and leaks and stuff now has become so pervasive online that people go oh well, people aren't going to the movies anymore. And why is everyone so negative about everything? It's just because we are actively in an environment where we are searching these things out voluntarily, for whatever reason for negativity. They want to know something's bad prior to entering the theatre. It's just like, but you are actively reducing your possible enjoyment of a film for the sake of cushioning your own negative outlook. Ego Totally.
Speaker 2:And the more and more I think about it. There is no articulate intelligent counter. I think about it. There is no Articulate Intelligent Counter. Argument, there's just not. And it's stunning the amount of people that are academically Accomplished and they'll say Spoilers aren't a thing. And I'm like, no, you've just, you've honestly Backed yourself Into such. Really? I Really yeah, I've encountered it multiple times. Did you hit them after? Look, I had my own private assessment that these people were very immature in ways.
Speaker 2:And now it's curdled into something a bit more aggressive where I think it's disrespectful and I think, look, and now and then I misspeak because I really want to talk about a topic of something, but I'm assuming someone might have seen it. Talk about a topic of something, but I'm assuming someone might have seen it, but I think it was amplified during, uh, television shows like game of thrones and stuff like that, where it's like I know something you don't know so I'm smarter than you, and and all it is is that you've had exposure, you've managed to go through a door before someone else has, and now you want to use that to leverage superiority over someone.
Speaker 2:If you cared about their experience, you go, dude, you are in for a treat you know, and I think that this job is about putting in people in contact with excellent experiences. So even and I understand the complexity of discussing something like this like to just identify how much of a fucking hypocrite I am the other week when we were talking about eddington right, and I've had a flirt. I've been. I think ari does really fascinating work. I do want to see it, but for whatever reason, I did that juvenile thing where I said to you, tell me everything that happens in it.
Speaker 1:Yeah, but you, you said that it because I hated myself afterwards did you? Yep, I, honestly I went.
Speaker 2:I had a lot, I had a long shower and I went because what you said was so interesting and I really like ari's work and I thought you, toddler, why did you do that To?
Speaker 1:be fair, though I like. Yes, it was a spoiler, but also you were wanting to, because I had very, very strong feelings about those last 30 minutes of the film. And I wanted to know what they were, and you wanted to know what they were. Because I elicited such a strong response?
Speaker 2:It wasn't like fucking.
Speaker 1:you know. It's not like a comic book, film or something like that where you're just like, oh, such and such shows up. I had a very strong reaction based on my own political and philosophical leanings, yes, and you were intrigued by that point of view. So for me it was fine for me to be like X, Y and Z happens, because I didn't feel like necessarily that I was going to spoil something for you so much as explain my own feelings and where my emotions were coming from about it.
Speaker 2:I think you know the things that are Basically. I'm trying to say you should be a little bit nicer to yourself, Adam, no, no, no, look, I mean, but just more in terms of but I stripped myself of the opportunity to have a genuine discovery with that film, right, and so the counter-argument that people have they go look the film is going to. It's not changing the outcome of the film and this and that, but it is radically changing your genuine experience with it.
Speaker 2:There's no sense of discovery right and look and to as well. You know we have got a and I praise the gods for the experiences that we get, because we see things early and sometimes and I have done this there are films that cannot be spoiled because no one's seen it. So, we're about to walk in and I'm like I feel uncomfortable and I'm like, yeah, that's called anticipation, Adam, that's cool and so with this movie last night, it's not all over the internet what the twists are or where this movie goes yet right.
Speaker 2:But I do think that this film is going to stir up an enormous conversation about spoilers, because even if you bring up what Weapons really is because it is a very kind of opaque marketing campaign when someone tells you people go, that's not true. That's not what this film really is, because it's so bonkers right, yeah, yeah. And then people will go. I now need to go online to see this verified.
Speaker 2:And then even when you read the article, you go this is a bunk article. This doesn't the third act of this film, isn't really that?
Speaker 1:Yeah, you know like Sorry, I just had to flash back to one scene.
Speaker 2:Yeah, go on. Yeah, I mean because I think for a lot I was thinking is this a prisoners type film? Is this an aster allegorical school shooting film? Like what is this?
Speaker 1:actual genre.
Speaker 2:And the movie plays like a pulp fiction procedural for a lot of the time right and I think that it is uncommonly engaging only because it's so well shot and the stacking of scenes is genuinely. It layers it. It starts building more and more suspense, because I think that's something as film viewers, what we and look, we're fucking critics you go I know everything, and so watching this and seeing little surprises, you go oh, I'm actually on, I'm on the back foot here.
Speaker 1:I did have those moments last night where I was, there was that moment in the car. She's sleeping, Yep, oh my God.
Speaker 1:That was fucking terrifying, yeah, yeah yeah, that sequence, and I remember being like, very specifically, I remember thinking, okay, this is going to happen, and then the thing that I thought was going to happen didn't happen. Yes, and then it just kept on ramping up that tension, yep. And you know, you hear certain things and you know doors close and all this sort of stuff, and I was like, oh okay, no, this is completely subverting any expectations that I could possibly have.
Speaker 2:Look, and I was just about to say, I don't know if this is just me, but I love playing a personal game where I go is this film smarter than I am right, or is this film smarter than I am, or is this more clever than I am? So now and then you're playing that little game in your mind and you go. I know what's coming, but when the trapdoor falls out and you don't know, they're my favourite experiences.
Speaker 1:I go.
Speaker 2:Oh man this movie's way smarter than.
Speaker 1:I am.
Speaker 2:And they're my favourite cinematic experiences for the year. When it goes so left field, I go oh wait what? And I call them smart movies for dumb people. There are movies that have got really telegraphed twists and then someone will look at you and they go he had a brother and you're like, oh my God right, like you know like this movie has been spoon feeding you this twist. The entire movie right, but I mean but it elicits the biggest response from audiences.
Speaker 2:I mean, would you even say that Weapons even has a twist? Because it's not so much even a twist. It doesn't have a twist, it just subverts your expectations. It's just such a strange story.
Speaker 1:It's a strange story and it goes in a direction that you don't think it will go, because it is building on the foundation of. So the premise of it is 17 kids run out of their homes at 2.17 am and they're all in the same class and they never came back. And they never came back and no one knows where they went, and all the parents and all this. So it's building on this idea of child kidnapping.
Speaker 2:Some people have been asking me if this is a true story and they're being serious.
Speaker 3:No, yes, no, yes, no. I hope they're not listening.
Speaker 1:No, I'm sorry. No, are you serious? Fucking social media has cooked people's brain man For this year.
Speaker 2:it's the second funniest argument since when people asked me if Gladiator 2 was woke and when I told them why weren't we recording when that movie came out and then I told them Fuck, I was there. I told them that Lucius was trance and they go really.
Speaker 3:And I said no you fucking idiot.
Speaker 1:But I mean, but like with Lucius announced himself with his pronouns in the arena.
Speaker 2:But I mean, but people saying Like this movie. Well, to what end do you think that Zack is doing this thing with the campfire voiceover going? This is a true story.
Speaker 1:I think he's trying to play with the idea of like the creepy kid the creepy kid trope, but then also again, everything in this film subverts expectations.
Speaker 2:It is a very weirdly structured film in the way that whose perspective are we really even listening to?
Speaker 1:Because we never see this kid. No, it's a disembodied voiceover.
Speaker 2:And we don't know which one of the children is speaking.
Speaker 2:The variety review was actually really interesting because they said the kid is a disembodied voice and the kid probably doesn't even know of the gorier details exactly so as well because when you say, when you say, something is a truth, let's just say, right, that you had had a really nasty fall and you did believe that this was a true story, right? There like so at what point of seeing certain elements that are so extreme in this film, do you go, really? And you're like, well, they. A. Those things have never been in recorded human history. B. So instead of solving the case, they went to Hollywood and made this film.
Speaker 1:I can see a world where someone can believe this only because. And then if you were to say right, you know, these kids like this actually happened. Right, but don't give them the third act, I can see how people would absolutely believe this. These kids like this actually happened. Right, but don't give them the third act yeah, I can see how people would absolutely believe this, because there's been a lot of like. People love urban, legends, urban myth yeah. They love things that, like for them, are unexplainable. It's for them you know.
Speaker 3:And to add to that, like the marketing has said, from the studio they bought you the Conjuring and the. Conjuring is a true story, so you would be remiss if you didn't know you would just follow along and go.
Speaker 2:Oh, yeah, yeah, but even with the Conjuring true story thing, which ended up being a billion dollar lawsuit, because it's all bullshit right. And so then they go, and when they say, but based Adam. No, it's not, then they go. It's based, but then you go, but based on the Warrens account. I'm like the Warrens were smoking some serious wacky back.
Speaker 1:The Warrens, unknown con people yeah.
Speaker 2:And you know, I mean, it makes you know for great.
Speaker 1:Allegedly, allegedly.
Speaker 2:We don't want to be part of this lawsuit, but people would come into my video store and back in the day and they'd say, like Blair Witch Project, they go. This is real right yeah, and I go, oh my god, and, but I would say I was one of those people but then I said and I go then why did we get a sequel and one that's got a soundtrack with queens of stone age?
Speaker 2:so like, and then they go what and I go. So you just let's entertain this thought there's a sequel with actors that have got imdb pages and they go. Not still real I still.
Speaker 3:you know, what's funny is, when I was thinking about this movie last night, the reaction I had like wasn't, I think, because you were like, yeah, yeah, I loved it, and I was like, yeah, like I didn't. I wasn't like oh my God, five stars, best movie ever.
Speaker 1:I came to that conclusion this morning.
Speaker 2:Yes, sure, sure.
Speaker 3:But last night and I distinctly remember there's been three movies that I've had this reaction to Blair Witch Project and I literally walked home from the cinema because I had to deal with what. I was processing.
Speaker 1:Sure yeah.
Speaker 3:And Hereditary.
Speaker 2:Yeah, sure, jeez. And now this. Yeah, three very pivotal horror movies, horror masterpieces, yeah.
Speaker 3:And this will is masterpiece. I think it is Territory. Yeah that, and this will is Masterpiece.
Speaker 2:I think it is Territory yeah 100%.
Speaker 3:Yeah, and same thing. I literally walked home from the casino last night and then the whole time I'm just like processing. What did I see? There were parts that I'm not okay with which we'll get to. In Spoiler Territory, sure, yeah, but like it didn't make me go, yeah, five stars, best movie ever yeah, and I almost like that. Oh, very, look, because I'm struggling with it For growing on a show. Oh my God Absolutely.
Speaker 2:Look, you know, because you can have an instinctual feeling. And I love those things, but that has to be so finely calibrated to your anticipation and taste.
Speaker 2:But like an actual appreciation of a piece of art with a bit of distance. I had nightmares and then I woke up this morning and the number one thing that I was trying to reconcile in my brain I'm like not only is this a fantastic formal film in the way that it's shot and realised, but it's a great movie. I could feel the audience last night was in to this movie. They were leaning in For a critic screening. I've never heard people that vocal yes and for um, and I couldn't hear that I couldn't hear him because I had my headphones on and I was fucking terrified without the crusties yelling out
Speaker 2:be quiet, shut up, and a movie that, um you know, and I'll qualify this statement that effectively operates on zero star power, right like I mean all these actors are fantastic, but I don't really believe people are going just to the movies to see Julia Garner at this point, even though she's having a phenomenal career and she's great. She's just so effective. She's the character, she's Justine in this movie, and even Josh comes across as not. He looks like Brolin, of course, but you go, oh, he's Archer.
Speaker 3:There's deep character work. Do you know who it was supposed to be in this fucking film? Oh my god. And the directors been saying I had to reschedule my whole, fucking me, because of that guy yeah, and they lost some Brian Terry Henry.
Speaker 2:He was gonna play Benedict long's character.
Speaker 1:I'm fucking weird man like, although I'm kind of happy it was Benedict.
Speaker 3:Wong.
Speaker 2:He's amazing, I'm not going to lie.
Speaker 3:I'm actually really happy it was Benedict Wong.
Speaker 1:He was really good. I think everyone is enormous. He was phenomenal.
Speaker 2:I think that's the biggest takeaway that people have about this film is, once the dust settles, it's just how confident Craig has become as a director.
Speaker 1:Can you imagine the conversation we would be having if Pedro was in Weapons after Fantastic Four, after Eddington, last of our Jesus Christ?
Speaker 2:Do you think? I think, because Pedro is a great emotional performer, I think that this film would be sadder if he played Archer Legit. I found this film to be quite upsetting and I thought and it was kind of weirdly hopeful and optimistic because, I don't know, it did this weird thing I cried at the end of this and I don't know whether it was just, I was overwhelmed. But there's a single shot I won't spoil. But I just went oh wait, I care about this and I was like I do Because I felt so much nervous tension.
Speaker 1:And I was like, holy shit, this is actually cathartic. Yeah, I felt like the fucking dad feelings in me kick up quite a bit there's a couple of specific scenes where your, like innate parental instincts kick into gear, um, in a way that I haven't felt in a film for a while. Yeah, um, yeah, it was. Yeah, I can see the hopeful part, definitely. I can see what you, but I I can actually see that? No for sure. Um, because it it do. You know what's interesting? I walked away last night.
Speaker 1:Being like this is what I kind of wanted long legs to be, because you and I because you and I had very similar reactions to long legs, because we were like really, because everyone's just like, because, yeah, because there's no two ways about it, they reactions to Long Legs. Because we were like, really, because everyone's just like Such a good point.
Speaker 2:There's no two ways about it.
Speaker 1:The closest film to this film is this is what I wanted Long Legs to be, because I walked away from Long Legs being like I don't. I understand it to a degree and it bathes itself so deeply in its own atmosphere that it kind of for me I'm like, oh, this is really kind of just all atmosphere and Nick Cage and fucking makeup. Yeah, yeah, just trying to be Trying to be like they're just trying to amp the-.
Speaker 2:Daddy, yeah, yeah, yeah.
Speaker 1:They're just trying to amp the atmosphere and the weirdness of it, whereas this actually went into places where I was like, okay, no, this is a much better mystery. Yeah, this is a much better like. This is a much better told story from that perspective, wrapped up in this kind of, as you said, mystery box, and I was like this was like the payoff that I wanted from Long Legs.
Speaker 2:There's a really fascinating audience resistance to jump genres in the way that, like this film plays the first half as a pretty hard-boiled procedural and with Long Legs is the same where, even though it's got this atmosphere, you're going oh man, the DNA of this film is Seven and Silence of the Lambs and it's really interesting with Long Legs. If you talk to someone they go dude. I love satanic horror films and I love Silence of the Lambs, but putting them together I don't like Long Legs. So a lot of people said to me when it started going truly demonic, in Long Legs they're like oh man, I'm out of this film, I don't like it.
Speaker 2:And I found that interesting because I thought if you're reading Bloody Disgusting every second day aren't you kind of into all these things, but maybe there are certain types of fusion. Cinematically that is like a weird cuisine where someone's like dude, I don't want you know, like pizza tacos.
Speaker 1:I'm not about that. Yeah, I see what you're saying. I think also it's because, like it plays like Longlegs obviously delved very deeply into the supernatural, whereas this does, but kind of brushes up against it. Yeah, not as, not as hectic as what Long Legs was, and so you still had that. There's a lot of things that are left kind of unexplained in the film by the end of this. Yes, Whereas. Long Legs is just like you know. Yeah, this is.
Speaker 2:This is what it is, and this.
Speaker 1:This is why blah, blah, blah, but there's there's a lot of like un unexplored lore in this film. That is best left unexplored, because you're sorry, I wanted. No, I don't give it to me honestly, I don't want to know anything about it, because this film does something this film does something incredible like I don't know if this is a spoiler, but we'll get into it it introduces a villain over an hour into the film.
Speaker 2:Oh, two hours into the film.
Speaker 3:Two. Yeah, it was like.
Speaker 2:No, no, no.
Speaker 1:I checked my watch and it was like an hour in. We were an hour in and we got introduced.
Speaker 3:Is that the first appearance or the appearance where you know they're a villain? The first appearance? Okay, all right.
Speaker 1:Yeah, yeah. So that's where I'm like throwing that one. So like you're, like you know.
Speaker 2:Sorry, I think you know the bit I'm talking about Totally See and even and this is the flirtation that I like as an anticipating audience member Even us having this conversation you go wait. Weapons has us having this conversation, you go wait. Weapons has got a villain and weapons has got a serious villain. Yeah, so you know, and I'm like and so that's fantastic, like for me. My brain goes oh my god, I need to know, right, yeah. But my brain would be like is it josh brolin?
Speaker 3:you know like I mean yeah start flipping out speculating in my mind, and so yeah I don't want to derail this conversation, but did anyone else think brolin looks too old to have a five-year-old?
Speaker 2:No.
Speaker 3:Oh. No, I don't know why I thought he was giving off big dad energy so I didn't think about that.
Speaker 2:Maybe it's his third wife. Like real life.
Speaker 1:The kid's nine.
Speaker 3:Oh okay, why did I think they were that young?
Speaker 1:I don't know. I don't know. If you don't have kids, you don't Fuckers. All look the same. I've heard it.
Speaker 2:It's not a complaint, but some people have said, because this movie opens with the mystery of already occurred, that we don't really feel it in our bones because we didn't get to know these kids.
Speaker 3:No, I disagree, I disagree. Same. There's something elemental about them. No, no, no, no.
Speaker 2:There's something about them.
Speaker 3:Can you imagine they tacked on half an hour of trying to get to know all these kids or like maybe picking three and trying to get us to attach, and then they'd go into a storyline of the three trying to escape and nah.
Speaker 1:Yeah, like it moves, it shifts perspective to the kids.
Speaker 2:I don't want to talk about any no spoilers, but what I was fascinated with was the behaviour of Josh Brolin's kid.
Speaker 1:Yeah, yeah, matthew.
Speaker 2:Yeah yeah, yeah, Anyway so when we did see the children at a point in this film.
Speaker 3:Is that? At the very end.
Speaker 2:Oh no.
Speaker 1:No, it's when we shift perspective to the final chapter and we see Matthew and Blake, yeah, no, no, it's when we shift the perspective to the final chapter and we see Matthew and like.
Speaker 3:Yeah, yeah, but he's only in one scene.
Speaker 1:Yeah, I know, but he's.
Speaker 3:He cried.
Speaker 1:No, no, no.
Speaker 3:Do I not remember this right? Probably not.
Speaker 1:Anyway, I don't Sorry.
Speaker 2:So do we think that talking about the way the film is chopped up is a spoiler or not?
Speaker 1:No, I don't say it's a spoiler. It's very Magnolia-esque.
Speaker 2:Very.
Speaker 3:It's in every review, including mine.
Speaker 2:It's very Pulp Fiction, very Magnolia yeah. You don't know exactly where you are in the timeline, but it's satisfying when you see the overlap, it really works.
Speaker 3:Especially there's one that starts and a character is running to a service station and everyone's like what is going on and it doesn't click until it hits what's happening and then it just shifts like that normally would really piss me off.
Speaker 2:It's amazing that this whole city is under, but it just kept.
Speaker 3:It was just like slowly building, and then at the end of each chapter it was like bang, now we're going back to something else.
Speaker 1:And it just like reset your anxiety and it introduced just enough insanity, where you were like it wasn't too overwhelming what the fuck is going on, and you're like the mystery is so enthralling on it in on its own, in and itself, and then introducing that element of a running person. Um, if no one knows what I'm talking about, there's a clip out, don't watch it. Um, it like just introduces just enough insanity. Where you're like, oh, I need to fucking know what happens to the end of this.
Speaker 2:You know because there's a shot. There's a shot in the trailer of someone getting hit by a car right yeah and you go and and then because you know that image, and then when you're watching the chaos that is happening in this city simultaneously and we've getting these different vantage points, you're like who's going to be that person, kind of thing like there's a there's a certain point in time where you go, oh, no one is kind of safe in this, um, and if the sense of escalation is really interesting, I think I'm really cool, because at first I was like, oh man, you know, people are just sitting in bars or they're going to work or they're doing this.
Speaker 2:Like, shouldn't this be this film be more dynamic? And by the time it gets really dynamic, um, I think really particularly, uh, the major cra Craig. One of the major things he does is there's a certain chapter here with an unfortunate drug addict and that whole sequence you go, oh man like the tonal shift, the suspense, the shock of what is in that sequence. I'm like this is fucking this movie's great.
Speaker 1:I think my even sorry. My favourite moment in that entire chapter was him walking by the cars and checking to see which one's unlocked everyone in the audience. It's such a really good detail of, just like, while he's on the phone, his sister saying I need shoes I need yeah, I need money. We've all seen it.
Speaker 2:Yeah, we all that that, and him um being a big fan of willow. There was such oh so good yeah, but I just yeah, there's, he's getting that tightrope. Balancing of audience. You know engagement, so right that people were laughing last minute like they were shocked at how into the film that they were but even thinking back to Barbarian, were either of you at that screening?
Speaker 2:yeah, similar vibes yeah, totally like total similar vibes I mean, I think they're similar, not cinema he's such a, he's such a good uh, horror technician in being able to extract suspense and so when he's just doing shots of doorknobs and shit. You're like, oh no, you know like, and he he did a lot of work on companion too yeah, this year I really liked him and like, and I'm like those three, like yeah, Barbarian Companion this. Oh my God, Do you know what it is Resident?
Speaker 1:Evil Resident, fucking evil. I walked out and I was like boys, we're going to get a good Resident.
Speaker 3:Evil movie. I remember hearing about that going we don't need another fucking one. And then, nick, this morning Nick Labarro sorry, different Nick sent me a message going you realise, next year Resident Evil, same director. And I was like fuck.
Speaker 2:I messaged him last night.
Speaker 1:I messaged him last night and I said the first thing I thought was coming out of the cinema was we're going to get a good Resident Evil movie.
Speaker 2:Look, I think he'll be able to do incredible stuff.
Speaker 3:It'll erase any memory that anyone has of that horrible TV show.
Speaker 1:Or the fucking movie series itself. Hey, hey, hey, dog shit films mate hey dogs. No, sorry, I can't. I cannot, as a fan of the games dog shit films, enjoy them for what they are dog shit films. I'm sorry.
Speaker 2:I watched the first one twice to make sure that I wasn't hallucinating. I'm like oh, it was one of those situations.
Speaker 1:Do you know what? I rate the most recent Resident Evil, raccoon City, higher than those, was that the show?
Speaker 3:No, no it was like an anime movie.
Speaker 1:No, it wasn't an anime. No, everyone's forgotten about this. It's Welcome to Raccoon City.
Speaker 3:Oh, do you remember that Stephen Amell's brother?
Speaker 1:Stephen Amell's brother.
Speaker 3:What the fuck's his name Robbie Amell.
Speaker 1:Robbie Amell playing and I'm like that plays better than all of the other fucking poor WS Anderson bullshit films that are out there Disagree Hard, disagree, yeah, okay.
Speaker 2:We'll do an episode on Residue.
Speaker 3:Yeah, I'm sure that's coming In the lead up to Zach Krieger's Masterpiece Before we jump into spoilers. I just want to say, if you are thinking about seeing this movie, yeah, we're about to start spoiling, but do what I did Do not watch any trailers. Do not read a thing, I went in completely dry.
Speaker 2:Pause this episode, go to your local cinema, see the film and then come back so that you can have the discussion point that we want to have, because it's a film that invites enormous discussion and that's what we're doing here, and I would say don't even watch the trailer.
Speaker 3:Yeah, and I'm just saying I loved knowing nothing.
Speaker 2:I'm saying respectfully, even though you'll be tempted, you, just as I said before, you're just hurting yourself go and see the film and then come back, and then this can be an enjoyable part to hear us all now geek out about. Yeah, what you can go and discover on your own.
Speaker 1:Yeah, and three, two, one spoilers Fuck.
Speaker 2:So it's a fucking witch, actual witch. But what is so fascinating?
Speaker 3:God, I loved it I know, yeah, Look it's fucking awesome, such a good twist.
Speaker 2:And the thing is, is that you and when you're, if you are fucking still listening, you cheeky little? That you go. Oh, so it's julia garner and no, no so and you go, she's got witch on her car and you're like okay and you know what's over.
Speaker 3:It was right fucking there in our faces. Yeah, at the beginning of the film, written on a fucking car I was so mad I had heard it's so genius though, yeah, I'm like how did I not even consider this? Because I didn't consider it at all.
Speaker 1:Zach Krieger just needs to pull his dick out and swing it in front of everyone.
Speaker 2:just given how fucking Look, I mean the film tips its hand very fucking early. That it's supernatural, I mean because when you think about it, what did these kids all ingest some kind of hallucinogen and then run off? Something is Drawing these children.
Speaker 3:I thought it was like a hypnotherapy thing, which it kind of is. It is but a supernatural one.
Speaker 2:But I thought it might have and I thought for a little bit that it might have been her Just really quickly on this one point why do you think that Brolin sees the machine gun above the house? Thank, you.
Speaker 3:I was so confused, so there's a dream sequence of him chasing after Matthew.
Speaker 1:Or was it Alex is he chasing after? I can't remember.
Speaker 3:No, it was his kid. Is it actually Okay? Yeah?
Speaker 1:So and then the kid runs into the house and he, just above the house, is a giant M16 with 217 and big.
Speaker 3:Like an alarm clock.
Speaker 2:Yeah, like an alarm clock, because that threw me, it threw you, and I was like oh, I thought we were going into real Ariasa territory then and I thought this is going to be an inverted school shooting narrative like allegorical horror thing. And it's never referenced ever again. Really, and even though the film is playing on.
Speaker 2:you know communal trauma of a massive thing, so the parents' behaviour evokes that of a school shooting, but it's not really preoccupied with that. I mean, what it is preoccupied with is a really, I think, an all-timer in a way, a very, very nasty individual that seems to go from town to town and fucks everything up for people effectively with some arcane. You know like there's rituals and things going. You don't even know what she really wants.
Speaker 3:No, and it's never that part frustrated me more so last night I was really like what the fuck did she want? What was her game plan? She said they were about to leave, so where were they going to go?
Speaker 1:I feel like that that's kind of the smartest. It was its smartest move in that it lets the audience fill in the gaps and so like when I was walking out I could hear everybody's like theories about what she? Wanted and what. Why she needed the children two questions.
Speaker 2:Do you think that she was spiritually sick or physically sick, or both, both? Both? And she needed needed their essence to stay alive and she thought she could get it from the parents but it didn't work so she needed something younger. And if she got that many, then it might. Physically she still looked very unattractive the way that she's styled in this, but she was more limber afterwards.
Speaker 3:Her running through people's yards with the kids chasing is so terrifyingly hilarious.
Speaker 2:And hilarious yeah.
Speaker 3:Like I can't wait to see it again that one tracking shot where it's following one of the kids as they're barreling through fucking obstacles.
Speaker 1:I said to Nick yesterday, to LeBaro, I was like that is for me an all-timeer shot.
Speaker 3:Yeah, yeah.
Speaker 1:So good, but this okay, I need to say this does something that I love in horror, like it's one of my all-time favorite things in horror, which is the tormentor becomes the tormented. Yes, yeah, I love that. I fucking froth that when they do that, because finally we have like, and they did this in it too.
Speaker 1:The first part one where where it's like these people have been terrorised for fucking two hours and now she's actually about to get her comeuppance and it's that moment of like. He snaps the twig and you hear this rumbling from the fucking basement it's just his fucking kids just barreling out of there.
Speaker 3:I thought he was doing it for his parents, so yeah, stop attacking him.
Speaker 1:No, I knew he was as soon as you'd start.
Speaker 2:I'm like oh I thought he's gonna do it for all of, for all of the like people that were under the spell what I I love the movie logic thing too as well that, uh, when they're in this fugue state that they can live on the sustenance of just soup, there's something inherently cinematic about it. You go how does this work? So when the father, who is completely fucking catatonic, is in the cop shop, it's kind of darkly humorous. You're like didn't any of these fucking detectives realise this guy's under?
Speaker 1:Because she's like oh, he's recently had a stroke.
Speaker 3:Yeah, Well, what was it? Exposure no consumption.
Speaker 1:Consumption that's it.
Speaker 3:I was like what.
Speaker 1:And even Wong was like I don't think I know what that is.
Speaker 2:Don't you think that implies that she's ancient?
Speaker 1:Yes, yes. It was such a hint and I didn't pick up on it.
Speaker 2:Yeah, and there's something darkly humorous about going look, if you're going to try and navigate the modern world, maybe don't fucking look like that. It's such a shocking visage, yeah.
Speaker 1:There's up there with long legs. She's lost touch with reality and what she's meant to look like.
Speaker 2:Because she's desperate, yeah, so she doesn't care, she just she's meant to look like because she's desperate yeah, so she doesn't care she just needs that, so she doesn't care what she has to do to get it. I think too, as well.
Speaker 2:The fact that she is emboldened by these supernatural powers makes her such a kind of terrifying villain, because her physicality can be dismissed but, there's this kind of like her confidence and she can do, and you know, and that line when she says like I can make them eat each other, yeah, oh, that was I think my favorite part of it is that she's not chewing scenery.
Speaker 1:Yeah, she's incredibly calm and she's incredibly just like affable, but not in a way where she's, you know, trying to, I guess, you know, make. Uh, you know, because sometimes you get villains where it's just like, oh, that's a cool villain, but she is just kind of like being as normal as she possibly can be she can.
Speaker 2:She's just got a really distinct like lack of empathy yeah, it's kind of interesting, because at first you go, look, she's suffering and that's why this is happening, and then you're like, oh no, you're just a fucking awful person yeah, you know, um, and and I think craig is almost saying awful people will find awful things, like she's almost like being a witch.
Speaker 2:didn't make her this way. Being this way made her a witch, and that she uses people and like the way she terrifies this boy. You know, she knows how, and she's like to your room, you don't get dinner.
Speaker 2:Like she's a nasty bit of work, and I guess that is the classic trope of the witch. You know the wicked witch thing. So having her steely, cruel look in her eye when she's saying certain things like oh, this is a really unnerving feeling In similar comparison, that kid is so calm and doesn't give the appearance of being terrified or frightened until the end, oh, okay, or in the previous scenes, but like at, the oh in the previous scenes.
Speaker 3:Yeah, like after the forking scene.
Speaker 1:Oh yeah.
Speaker 3:After that scene he's pretty calm.
Speaker 1:Do you know what I thought?
Speaker 3:Even like he'll just go to the bedroom and just open her door and I'm like what are you doing? What are you doing? Don't open the fucking door. And he just stands there and looks at her. I agree with you. And she's like come in, come over here, and he just walks on him. I'm like dude.
Speaker 1:I read that more, as this is a kid who's just like. He's like. Who is this fucking person in my house?
Speaker 3:Yeah.
Speaker 1:And what have you done to my parents?
Speaker 3:Right, I saw the kid as, yes, scared, but also determined to try and fix the situation yeah, because it's that thing of like kids don't fully understand the danger that they're in mmm and I don't think he fully.
Speaker 1:I think I don't know like he does when they okay at during the moment where they're stabbing themselves in the face 100%, but after that he's like he's processing, he's processing it, but he's also like this is something fantastical. Therefore, I feel like the fantastical layer for him is what allows him to walk through this world, being like okay, this is a witch, there's something going on here, and he's a victim of school bullying and he's a victim of school bullying too.
Speaker 2:Can we talk about the spoilers now? About that, yeah.
Speaker 1:So the school bully is and he's a victim of school bullying too.
Speaker 2:Can we talk about the spoilers now? About that? Yeah, yeah. So the school bully is Brolin's kid. So that surprised me, because the voice, the name you hear the most is Matthew, matthew, and then you're like Matthew's a little shit. And I thought that what the film was going to when it turns and I thought, as a school shooting allegory, I thought the kid was going to team up with the witch to take all the kids out that have been bullying him.
Speaker 1:That's what I thought right, well, that's where I thought it was going.
Speaker 2:I thought it's going to say that this kid, instead of using an ar-14, is using witchcraft and I thought that's, and that's what he's done that's what I thought too.
Speaker 1:That's what I thought I thought it was going.
Speaker 2:Yeah, but I actually think it's more I. I think Craig is doing something much weirder by saying like this travelling fucking witch has come into town, really ruined Donna's life.
Speaker 3:You know, I mean Just a bit.
Speaker 2:You know? I mean, isn't that another fascinating thing, that Craig has got really big scares in this. But a woman in a bottle shop being trailed is terrifying.
Speaker 1:Yes, and.
Speaker 2:I was like, oh shit, he's got. You know, he's really got tonality there quite wild. And because I was like is this the villain? And I'm like, no, this is an angry love rival.
Speaker 1:This is an angry yeah love rival.
Speaker 3:So what's hilarious and this is we'll get into this later so that actress freakier friday, which I saw the night before complete polar opposite character right that was as soon as I saw her, I was like wait, is that no?
Speaker 2:what like, and then with paul, like the cop you know I mean even like him getting stuck with the needle, you know like yeah oh, my god, everyone in the theater just went, when he, when he puts his hand in the pocket and he gets it, everyone's like oh and what. And I and craig does something very interesting here because you know Everyone in the theatre just went. When he puts his hand in the pocket and he gets it, everyone just went oh and what?
Speaker 3:and Craig, it does something very interesting here. Because you know, I mean we will talk about insensitivities in a moment.
Speaker 2:But I think I know what you're going to say and that also made me mad and I was kind of thinking and I thought, as someone who's, you know, pretty big on kind of decriminalisation, and understanding addiction.
Speaker 1:This character is funny right.
Speaker 2:Yeah, I thought, oh, this cop's fucking chasing him, he beats him, but then you can. Simultaneously, you can understand both these characters. One is in recovery, he's got a really bad hangover and he's just fucked someone he shouldn't have. And then the other guy doesn't give a fuck about anyone but his crackpot you know, and so you're like. These two people should never have met. Like they're not. They're both having a very bad day.
Speaker 1:I think what's interesting about it for me is that the film is absurd on a lot of levels.
Speaker 2:Yes, yeah.
Speaker 1:But it's also highlighting the absurdity of normal life.
Speaker 3:Yeah To a degree.
Speaker 2:Like suburban, Suburban life.
Speaker 1:So like Paul being Paul and not, you know, like his day job being absurd, but then also like the absurdity of a junkie's morning routine of walking around trying to find unlocked cars.
Speaker 2:For a kid's iPad For a kid's iPad that he can't get to five bucks for.
Speaker 1:Like he's trying to like. That is you, you know.
Speaker 2:So it's like it's highlighting, you know, like the premise of a witch stealing 17 kids to like feed on their life forces is is absurd in itself, but like normal real life is absurd yeah as is, don't you think it's really interesting that that first scene with justin, when she's drinking at the bar and paul comes in and he kind of he goes, you know work's been okay and you kind of go, this is a he's a kind of he goes, you know work's been okay and you kind of go, this is a he's a kind of boring character.
Speaker 1:Like is his life really? Is that like?
Speaker 2:and then when you find out what happened to him early in the day, like holy shit, dude.
Speaker 1:Like you have had-. Why is your finger bandaged?
Speaker 2:I could have stuck on something, Because I thought that was you know, and we all love playing that game of the poor Paul can't get them in the face as well? Oh man, that sequence. And so I was looking for clues. And when he goes, oh, it's just a workplace injury I'm like oh, what if he's infected with something? And I'm like, well, maybe he is.
Speaker 3:But you don't know and you were thinking that's where it was going to go to.
Speaker 2:Well, yeah, I thought maybe there's a contaminant in the water, I don't fucking know. But when to him you go, oh man, this is wild.
Speaker 1:like this is really I would not have been able to did you feel like the third act kind of shifted down a gear?
Speaker 2:uh, in terms of what in?
Speaker 1:terms of like it reaches a point where it's like, okay, now we have to peel back the layers of the mystery here. Do you feel like it got to a point where it was like it didn't lose steam? I not. This is not. This is not a criticism, this is. I'm just sort of curious. The energy shifted.
Speaker 2:I think that you are so embroiled in the mystery. At one point he goes I'm going to have to show my cards.
Speaker 1:Yeah.
Speaker 2:You know, because you go like he has strung you along for a really long period of time in this movie. And he's doing it so well that you go. I am so into this, but come on like, give me some satisfaction, I guess.
Speaker 3:So when it does come I think he does for me got the balance of like we were interested in these characters outside of what was happening supernaturally yes, yeah and like you know that whole, I don't know where you were sitting where you were. But like everyone was like on the edge, like during that police chase, yeah, and when he was going through the cars and trying to find stuff to porn, like that, you were invested in those stories.
Speaker 1:Yes.
Speaker 3:Even you know, with like Justine and Archer, and that like you're wanting to see more about them, so it did shift. You cared about them, but it shifted towards hey, here's the twist and here's how we make it up.
Speaker 1:I found it interesting. I think one of the things I really really admired about it was the fact that there's like a good five to seven minutes of the film where it's just Paul and Justine having a conversation, yeah, and you're sitting here just trying to like. Okay, he's not just like outlining, like the lives of these people really but, he's also like laying the foundations of their flaws to everyone.
Speaker 2:Paul can't help himself with Justine.
Speaker 1:And Justine is, for all of how good a teacher she actually is and how much she cares. Is she, though? I think she is.
Speaker 3:Is she a good teacher? I think she cares a little bit too much. Is she a good role model you want for your children? Probably not.
Speaker 1:I think she's like, but she's incredibly flawed. She's like you know, and he lays it out on her. He's like you know. This is what happens. This is the pity party. You get too much into the alcohol and now here comes the woe.
Speaker 2:Is me, craig is doing a very interesting thing. These are not good people. No, but they're very identifiable, Like when she finds out that Paul's relationship's not working she smiles, she's happy 100%.
Speaker 1:She's so fucking glad.
Speaker 2:There's a nastiness in there and even like I love that line delivery with Brolin, when he goes like you know he's like no one's attacking you. You're like dude, you are literally attacking her. You were driving and you spotted her and you went fucking target.
Speaker 1:You went target and quiet and you spotted her and you went fucking target. You went target-acquired, yeah, and you've confronted her.
Speaker 2:You are a weapon in itself, and we'll get into this segment in a second. One of the most reasonable characters in this entire film is Benedict Wong right, and him just trying to get people to stick to the fucking rules makes him be a tragic figure in this movie Him trying to he's ostensibly the biggest arsehole. But he's going. Can you just do the right thing by procedure here?
Speaker 1:Exactly. No one will do it right. Yeah, exactly Exactly. And then, like it's at one point, it's like it's his partner that allows Gladys into the. Is it Gladys? Is that?
Speaker 2:in it. Yeah, that's Gladys.
Speaker 1:It's his partner that insists that Gladys come inside. Well, that's why I guess, and he's, just like it's clear that his instincts are correct.
Speaker 2:Do you want to talk about the problematic scene?
Speaker 1:Yes.
Speaker 3:Well, there's two for me. Okay, sure, so that was probably the first one is oh yeah, we're in spoilers, so it's okay when Andrew spoiler, so it's okay when andrew is, you know, controlled by gladys and literally like looking back it is kind of funny how it's done um, literally destroyed, like kills harry just by headbutting him sorry, so anyway, but he finally headbutts this character death yeah in the most violent sequence in the entire film and I think, and it's also like right after the reveal of who you know gladys is and what she's doing, yeah, so it is quite shocking very shocking um, and probably like similar to you with the kid stuff, for me this was like oh, guess who dies first?
Speaker 3:the gay couple? Great, um, because shortly after andrew also loses his life. So it's like, okay, cool, well, great, once again we're in trope territory. And then, probably 10 minutes later, paul's his car saying have you got aids and just like, oh for fuck's sake, really yeah, yeah, I mean like, like is it 1993 like? Why are we back here?
Speaker 2:Yeah, Look, I mean I was interested with the needle stick part because I'm like, well, this is.
Speaker 3:Even though I understand and look, I probably it's playing on a fear and look in a character like Paul.
Speaker 2:that would be his instinct, but I think it would be anyone's instinct. Is they think their brain goes?
Speaker 1:what is the worst thing that's happening to my like? What's the worst thing that can happen to a parent losing their kid? You know what I mean. So they're, they're all sort of experiencing what's the worst thing scenarios on different levels and I thought, I thought that zach probably would, and I think, if you, are.
Speaker 3:That's a good perspective.
Speaker 2:I think what he would say is well, he go, and also pa. Also Paul doesn't really care about fucking anything. That moves too as well. So he's a hypocrite, you know, like he's not really he's, I mean not that we had to see unprotected sex, but it's implied that he is.
Speaker 1:You know he's a fucking lunatic in that regard. Yeah, yeah, so you know like I do find it.
Speaker 2:Yeah, it's funny the way that it's played when he goes like kind of not that I know of you know like you know. Yeah, I do like the response like he's not doing his due diligence hepatitis, I don't know yeah but um, I yeah, I guess even saying that word in a certain context is provocative, I do think. What I'd be interested to hear zach say is that I think he's making a contrast of domestic bliss and he chose for inclusion, to have it be this gay couple yeah like I think their snack pack is so cute.
Speaker 3:I love I was gonna say the gay couple eating hot dogs lol I did laugh at that, you know I mean, but anyone that?
Speaker 1:mickey. The mickey and minnie mouse shirt.
Speaker 2:Yeah, but I think you know yeah, people would be lying if they said I haven't lived in a relationship where we do have our own little secret snacks and we make these little things and you're like you look at someone you're like do you want that?
Speaker 1:I saw that moment as this beautiful little ritual that they had together.
Speaker 2:It's the same, yeah, where they sit down and they watch. You know you're right.
Speaker 1:They sit down and they watch Animal Kingdom or whatever it is that they're watching on TV at the time.
Speaker 3:Oh yeah, it was about the cordyceps. Yeah, yeah, I was like okay interesting.
Speaker 1:Yeah, and I'm like oh okay, can you imagine if fucking Pedro was in this movie and that came up on TV?
Speaker 2:If you want a spoiler from the script. When it's described what's on the TV, it says it goes. Idiots doing stupid fucking things. Oh really, that's what Zach says, he says everyone watching TV is watching mindless shit on television in his film.
Speaker 1:He doesn't identify.
Speaker 2:So when they're all looking at that string at the start, going wow on. Shark. Tank yeah the script has got contempt for the people on television.
Speaker 3:Oh really, but weren't they? No, no, no, never mind, yeah, oh good, I watched something else after this last night that had?
Speaker 2:Did you have the same issue with? Is it Halloween Kills? When they had their gay couple in that, that got yes, and it chapter 2.
Speaker 3:I'm like it's just the same thing, like fuck's sake, leave my people alone.
Speaker 1:Who hasn't wanted to punch Xavier Dolan in the face?
Speaker 3:it's not about the actor, it's about what it represents. I, no, no, no, queer people.
Speaker 1:I totally, I totally understand, but no, I get where you're coming from and it'd be the same if it was, you know, a black couple. Yeah, it would be exactly the same. Like ugh, Like the whole trope of like the black guy dying first, Like he's playing into that trope again.
Speaker 3:Yeah, Okay sure, so that kind of annoyed me so with.
Speaker 2:I guess, like you know, I can see a surface-level reading of a lot of horror saying this is misogyn. Academics talk about, you know, final girl elements and this and that. So, I guess so if these characters were in this film, in this representation, and they didn't have the fates before them that did, obviously you'd have a different feeling about it.
Speaker 3:I think it was the couple. Okay, I think if it was just the principal character and he'd been, you know, killed after what he was doing in the service station, probably would have been okay, because we wouldn't have known.
Speaker 2:Do you think also that with this film very specifically, that because the sequence is so cutesy and such a break from how ominous and fucking downbeat the film has been?
Speaker 2:that when we see this yeah, it probably is more shocking we see all that cute thing, and also this is the first time we're really seeing what's going on, right, and then you go. So wait, we've got this hyper camp villain now, like being really fucking strange. We've got these giant hot dogs and now this character gets, you know, bludgeoned to death in the most awful way.
Speaker 1:Because when that scene started I'm like oh, I fucking love her Like whoever you are my god yep, I'm in.
Speaker 3:And then I was like, no, I hate you yeah oh yeah and then I actually hate you and it doesn't stop, like you.
Speaker 1:Just you can't help but you can't help but hate her, and krieger doesn't give you any opportunity to feel anything but hatred towards her.
Speaker 3:Yeah, and that's why I don't think it goes into gay icon territory yeah because there's no, it's not like a megan yeah, or a chucky where there's some sort of comedic there's not a twist to it or yeah, and it's not like jason, where you're like, yeah, stab me, daddy. Um, it's like a completely different.
Speaker 2:I love the movie Logic 2 as well, where she's trying containment and she's like why don't I send a weaponised Benedict Wong flying down the fucking street? And it cuts to all these shots of his feet going.
Speaker 3:And people are just like the eyes, oh my God. And people are just going. What the fuck?
Speaker 2:Because I thought Like running past people like oh, my God.
Speaker 3:And people are just going. What the fuck? Yeah, Because I thought Like running past people, like dining out for a story at a cafe, yeah, just going, holy fuck. It's just like what? Yeah, the bath salts.
Speaker 1:People having incredibly like normal reactions to a guy just fucking hurtling down a street.
Speaker 3:Like identical to you know. Walking down Elizabeth Street on a Saturday morning at 10 am he's tapping into something a little bit there too.
Speaker 2:Yeah, it is. It's really. I love that thing too as well, like he's come from fucking ages too as well. Yeah, like he wasn't even that close and like there's this radar, this demonic radar firing. He just knows where she is.
Speaker 1:The funniest thing not the funniest actually, but like I remember watching the clip just being like what makes his fucking eyes bulge out like that. And then I realize it's, and then you find out that it's like blunt force trauma, packed with the the blood pressure of hurtling down a street at, like you know, sprinting down a street at usain bolt levels, you know, in a body that's probably not meant to be running that fast for that long I do think very that, very true.
Speaker 2:Yeah, what's kind of fascinating is that there's the Eggers' obsession with, like all these ritualistic things and he'd be like, well, these are actual runes, right, you know, I don't know if he sounds like that, but Craig is kind of going like he does not. But between having like the bell ringing and the salt and exactly like the bile, like kind of, you know.
Speaker 1:Oh, yeah, yeah, that got the biggest reaction.
Speaker 3:That reminded me a lot of Barbarian, those moments and even the bowl of water.
Speaker 2:That was kind of you know that kind of is interesting. Like would you say this is a proclivity that I have picked up.
Speaker 3:Yeah, I don't even explain it anymore, I just go with it. It I'm like oh, I love you.
Speaker 1:Yeah, until you do not I have a question do you think that gladys was actually a real auntie or do you think that it's an auntie?
Speaker 3:thank you, replaced the like the actual auntie legit, yeah, legit, and she may have put like a because they only spoke to her on the phone yes, and maybe they only met her once or twice yes, growing up, because it's like I she didn't realize what she looks like.
Speaker 1:She didn't realize what she looks like. She didn't show up to her wedding.
Speaker 3:We haven't seen her in 15 years, yeah, so you would have no idea what she looked like and you would just be like oh yeah, this is my auntie, so probably not even related exactly why that and why those.
Speaker 2:But yeah, it's like she's a parasite.
Speaker 1:She is a parasite, and I think that that's kind of where the cordyceps things comes from. She comes in it's like um it's like cuckoo in that you know. It's like it's just coming in love that I know. But she's coming in and and kind of do again doing the thing that I thought that I wanted long legs to do. Yeah, right, because that talks about family annihilators as well. Yeah, and she's essentially a family annihilator on a pretty hectic scale yeah. Yeah, yeah, I thought that that was awesome.
Speaker 2:It's so good Because, if you take it at face value, there must be some internal push-pull here of her familiar belongings to these people. But there's not.
Speaker 3:No, and that's why I think you're right?
Speaker 2:No, I think you're definitely right.
Speaker 3:It's total replacement. I think she's a replacement.
Speaker 1:I don't think she's actually the auntie, I think she's just this ancient fucking being, yeah, who goes from town to town, looks for these like estranged relationships and, you know, essentially leeches her way in even like you know, potential like body inhabitation, like it could be, yes body yeah
Speaker 3:could be because when you see her when she's like got the wig on and all made up, she looks very different to when she's on the ground in an actual form with two strands of hair hanging down. It's a very different look, so you would know.
Speaker 1:One of the things that I really really like about this and I'm comparing it to Sinners in that it does something with the symbolism and iconography of, like witches and witchcraft, in the same way that sinners did with vampires in that it does this thing of like um, so sinners did that thing with it creates an incredible amount of tension with the not being invited in right which I thought was like a really really cool like story point.
Speaker 1:Yeah, um, and they make it like a huge sort of like sort of sense, make it a sort of centerpiece of the film. This does the same thing in that, like you know, the cutting of the hair and the sort of like blood ritual where it's like you know just, and there's enough that you know about the minutiae of how this works, but it creates so much tension around it as well yeah that I thought was really interesting do you?
Speaker 2:I heard an audible squeal and, like the bit, maybe the best shot like in this entire film the basements, when they're scanning in the basement oh yeah, and then oh yeah, and she pops out again, nick, I'm so sorry.
Speaker 3:I was nearly in his lap. I was that freaked that got the biggest.
Speaker 1:That's an incredible horror image.
Speaker 3:Yeah, it's like and it's Blair Witch, like it. Reminded me of that final shot, yeah, of him standing in the corner.
Speaker 2:I think that there's something very talented to go dude. How many misdirect like slow pan shots, jump outs have you seen and you go? Not one like this, like to kind of go I'm gonna give you one of the all-timer ones, yeah, yeah, even like similar to.
Speaker 3:I don't know if you remember in hereditary when they're inside and she's up on the corner and yeah, it was just like yeah, and he does.
Speaker 1:He does the same thing similarly here, where he plays with dark corners, in a way yeah, you're just like so good, you know, and he's like I am there is At some point. I wonder if they had discussions about with his editor where they were like we have to fucking chop this shot of the door opening and then nothing coming out for like a good five minutes.
Speaker 1:I love that and I was but I, I, my asshole was clenched so fucking hard during that moment where, like the door, like she's asleep in the car and then it's played for a lot and no, no, no, I think you have a different door scene oh, this is a couple, but like the one where the one where the mum walks out, yeah, yeah and, and with the fucking scissors. Was it the mum or?
Speaker 3:was it the mum? No, it's the mum. Walks out, yeah, yeah, and with the fucking scissors. Was it the mum or was it?
Speaker 1:the witch. No, it's the mum. A mum. No, it's the mum Okay.
Speaker 2:Yeah, but that door I don't know how she controls them, but-.
Speaker 3:And that's what. I don't know too, but see I yeah.
Speaker 2:Well, she says at the dinner she can just because you see them get actualized when I with the salt, like that's a trigger and then they go, and they go, and they go.
Speaker 1:Hyper feral and defensive, it's the steps one foot over and they just go.
Speaker 3:Wow, you're like wow I thought you were talking about Remember when the cop's at the door and he does that. It's so stupid but so freaky. And he's just like how did that not even trigger in their brains To go hey, that's a bit weird.
Speaker 2:Are you going to look at a potato peeler the same way? Never, I literally.
Speaker 3:Again, apologies to Nick. I could not deal with that scene.
Speaker 2:It's very interesting in such a gore-soaked era Like this year, we've had Bring Her Back 28 years, sinners and something like an innocuous kitchen gadget can still make people like the whole cinema gag last night.
Speaker 3:I covered my eyes. I didn't want to see it, because I want to use it here again.
Speaker 1:It's funny that you bring her back, because I feel like there are quite a bit of similarities between those two, in that this is like the happier version of that film.
Speaker 2:It's interesting because I think that a lot of end of year film conversation will be about a lot of those films being the best films of the year. End of year film conversation will be about a lot of those films being the best films of the year.
Speaker 1:Funnily enough, the one that's got the tone- it's been a good fucking year Bang of horror films, man.
Speaker 2:But the film that's got the most singular tonality is Bring Her Back, and that's the one that's getting talked about the least.
Speaker 3:Yeah, it's so. I feel like it came and went.
Speaker 2:Yeah.
Speaker 3:And it also didn't make a splash in America, which I think really affected it, whereas Talk to Me was like huge.
Speaker 2:Huge, I know, isn't it interesting?
Speaker 3:And look, I'll be fair. I think Talk to Me is better than Bring Her Back.
Speaker 1:Talk to Me has more kinetic energy than Bring.
Speaker 2:Her Back does.
Speaker 1:Bring Her Back is just like a sad study on grief.
Speaker 2:Just like different vibes.
Speaker 1:I think Incredibly different vibes.
Speaker 2:But incredibly well made. But I think it's kind of fascinating that all three of the films that we've talked about so much like 28 Sinners and this. It's the wild tonal shifts that someone might have said in a pre-production meeting don't do that.
Speaker 1:That have made these films really memorable and iconic.
Speaker 2:Where someone's going really and you go, yeah, dude, and you're like I'm going to genre jump and it's made these films probably become. It's really early, but I think maybe indelible.
Speaker 1:Yeah, I agree, 100%.
Speaker 2:And it's weird watching. I mean, I watched 28 twice on the weekend but the tonal shifts the first time were not as jarring. Watching it again, and same with Sinners, and I think when we watch this again it already feels like a deep hole of a film. It's very all-encompassing, but I think that watching it a second time you'll get more of a cathartic kick. Probably that's why the rant about spoilers. At the first time, this film does something that you'll only ever get once.
Speaker 1:You can only ever lose your virginity once. Honestly it's it's is that is that what that ring symbolises. Born again yes it nine times this week. Do you know what? Do you know what I think is the common denominator between all of those films?
Speaker 2:it's confidence yes, these films very confident films. I would actually put Superman in there as well.
Speaker 1:Yeah, same confident fucking films that really went for it and went. Yes, these are very confident films.
Speaker 2:I would actually put Superman in there as well. Yeah, same.
Speaker 1:Confident fucking films that really went for it and went. You know what, fuck what you guys think we're doing? This, this is what we're doing.
Speaker 2:And they're not apologizing, not apologizing for it.
Speaker 1:They're not making excuses for it, they're not putting in a little teehee, ha-ha. It's something that the audience can be like. Oh no, it's okay. Yeah no, these are confident fucking swings, and they work more or less they all work, wildly work, I think, incredibly like even something like 28 years later, especially with those last five minutes with the jimmies king jimmy and the online discourse, too, as well.
Speaker 2:I've seen people and they're like you know, I hated that and people like you didn't fucking get it, like it's really stirred people up.
Speaker 1:It has Really, it really has. It really has stirred people up. I mean, it's interesting and I think this is going to stir people up as well. This is going to stir people up.
Speaker 2:I can hear an argument. I don't subscribe to it.
Speaker 3:That third act, then it would be better.
Speaker 2:I don't know, I don't think so. I don't agree with you. I think you would lose everyone if you did that, because you need that consistent tone. I think that he's doing something more playful and energetic and original here that should be commended. Um, I think that staying in your lane, genre wise, is safe, and he's not playing safe.
Speaker 1:That's why the film's special 100, and I think that this should like be an example to any screenwriter or director or any creative to just be like trust your instincts, trust your gut, bro, just fucking go for it. And who gives a damn what other people think? Fuck the box office, fuck you know. You know general like this is people want. You know people talk online about, we want original stuff yeah, you're getting it you're getting it.
Speaker 1:You're getting it. Just fucking go for it. Just be confident with what you're saying. And I think that I've said that Ryan Coogler is I've said this in my review that Ryan Coogler directs with his whole chest, and I think that Zach Craig is another one. Yeah, totally, where he's just like fuck it, I'm just going to go for it. And I'm going to put all of my weird little sensibilities and peccadilloes into this.
Speaker 2:And if it connects good.
Speaker 1:If it doesn't, who gives a fuck?
Speaker 2:Yeah, and there'll be like some beret-wearing motherfucker that would say they'll go like oh, but you know we got from Dusk Till Dawn, or you know, 28 Years, is actually a sequel and you're like shut the fuck up or they could go. Oh man, this movie was just Like you are.
Speaker 1:Long legs is fucking long legs with kids. What are you talking about?
Speaker 2:This is what I mean Like there are some people that are still.
Speaker 3:That's a reach, If they say that that's such a reach.
Speaker 2:It's fascinating how some people will fucking cross their arms and lean back and go. I'm not impressed and I'm like cool dude. Just go and find what resonates for you. But I mean, I think that we are like we're in an enormous, like a great year for film, yeah.
Speaker 1:Unexpectedly.
Speaker 2:Unexpectedly and like last night I thought was a genuinely, you know a fast like awesome theatrical experience, yeah, and I think that that's worth its weight in gold. You know people go to the movies to have these kind of experiences where you go holy shit.
Speaker 3:Yeah.
Speaker 1:Like horror movies are so good at doing that communally. Yeah, communal like this, yeah, the screening was fucking into it last night. It speaks and it speaks to krieger's background in comedy, where there is a straight line between comedy and horror, where you need the laughs that follow the scares, and krieger does that in a way where it's like the laughs come from the absurdity of life and people's reactions to what's happening, and the horror just comes from his deepest, darkest. Whatever the fuck his fascination is. And Jordan Peele is very similar.
Speaker 2:Yeah, very Jordan Peele is Jordan wanted this, didn't he want this?
Speaker 1:Yeah, and he fired his development team because they didn't get it.
Speaker 2:Insane. This is such a Jordan film. I think he would be seething with jealousy because I think this is better than anything that Jordan's made actually so.
Speaker 1:Final thoughts, final thoughts on weapons, obviously aside from please go see it as soon as humanly possible for everybody, alistair out of five.
Speaker 3:Out of five. And look, this is also what I struggled with this morning so on my official review. I gave it four and a half, but I know it's a five, like there's nothing. There is actually nothing wrong with this at all there's nothing I would change, there's nothing I would fix, there's nothing I would alter or say didn't work. So I think it definitely is a five, and it'll definitely leave you thinking long. Well, it's only been what 12 hours.
Speaker 3:But still, I'm still like, I'm planning of when I can fit this screening in somehow during MIF I was thinking that too, because I need to see it again.
Speaker 1:I need to watch this again.
Speaker 3:Watch it at nighttime with a packed audience.
Speaker 1:I was like I need to watch this again when I'm not completely, like absolutely tense out of my fucking scone. Yeah, trying to, like you know, not be worried about all the jump scares of, of which there aren't a huge amount.
Speaker 2:You can. I think that you can just hear the cadence, like the passion, this interest you know, and even us going like let's talk in hushed tones about this movie for a while, and then let's go ballistic about it?
Speaker 1:What did you think of his lack of music in the film?
Speaker 2:Do you know what?
Speaker 1:He plays with a lot of silence.
Speaker 2:Actually this is interesting. I only realise this now that you're saying it, because when the needle drop happened at the start, only I. When the needle drop happened at the start only because I'm working on my own writing at the moment and I've got a soundboard and I put on things and I'll go how much of a needle drop is a telegraph to the audience of, thematically, what you're doing? So when I was watching it and the you know and the George Harrison track is, you know, it's kind of groovy. It like you can modulate like a film. So much through that thing.
Speaker 2:You can have an ironic, you know. I mean I keep thinking about the Superman, iggy Pop thing a lot more.
Speaker 1:Yeah.
Speaker 2:But I'm like what a you know what a kind of swing. Do you know what? I honestly didn't realize this. What is so? There's huge stretches without any music.
Speaker 1:Yeah, yeah.
Speaker 2:Are there horror cues? Very few, because I felt so scared and engrossed I wasn't looking for an audio manipulation.
Speaker 1:Yeah.
Speaker 2:And it probably wasn't there.
Speaker 1:No, it wasn't, and fuck. I had my headphones on a few times and I was like I can feel the silence and every so often I would take off the headphones just to see if there was any like musical cues, and there wasn't. He was just really, really with because the silence of it all?
Speaker 2:because, like no country for old men, has no score either no and then there was another film recently that I was thinking that um, there was something else that used very limited yeah, recently I can't remember what it was but yeah so no, it's like it's. It does play with a lot of its silence, you know I think that's even a deeper testament to how engrossing this film is without any soundtrack.
Speaker 1:So what are your final thoughts on it, Adam?
Speaker 2:Look, I think everyone on God's green earth is fucking whinging about original experiences. You just got a big fat one in your face.
Speaker 1:Huge, massive fat one.
Speaker 2:Look, I totally agree with Alyssa. This wasn't the film that maybe I anticipated, but it was the film that I needed. I think, so, like for me, it's a five-star film, one not of pure instinct at the start, but of a deep appreciation afterwards. And look, if someone wants to go out there and spend two years of their life making something like this for me, I'm happy to gobble it up.
Speaker 1:Yeah.
Speaker 2:Had to put a fantastic four-joke, of course you did.
Speaker 1:What about you? I walked out thinking it was a four and a half last night, but I want to have another. You know what?
Speaker 1:My next watch is probably going to be five. I think there was something about it where I was like, like you, adam, it wasn't what I was expecting it to be. In the same way that 28 years later kind of caught me off guard because I was expecting a much bleaker film out of that Same. I was expecting an incredibly bleak film and not a film about, you know, a son coming to terms with the loss of his mother in a world where everyone's dying. And I sort of felt the same way, not obviously not with those themes, but like very differently. But I sort of walked out just being like I really love that I. But there was something, but it it's on my own expectations, like the film caught me off guard with my own expectations I think too as well.
Speaker 2:Sometimes people go like this film has got to be uh, enmeshed and like stamped with this certain feeling and even if it's, there's just one moment of like compassion or empathy that surprises you underneath it, like, I mean, I was surprised that this movie was heartfelt at the end points and I was like, oh wait, I'm carrying it. Like how weird and same with 28, when you know when spike does the bone temple bit. I was like, oh man, I'm crying about this.
Speaker 1:Yeah.
Speaker 2:And I was like that was. I love that fluctuation of emotion if handled well, cool, cool.
Speaker 1:And speaking of witches, freakier Friday. Oh yeah, what does that mean? Am I allowed to say that they're not witches, they're not witches, they're not witches, but anyway. But there is a supernatural element to that as well, isn't it?
Speaker 2:morning. Happy wedding week. You have a lot on your plate. Let us know how we can help. Maybe someone could help me write my wedding vows.
Speaker 3:How about this? I, anna, take you eric, a man whose daughter is a little demon thing with an obnoxious accent. Look when you're talking about, like you know, films that are confident. Um, and a surprise, this will go in that are they as surprising as manny jacinto's fucking biceps? Like just yeah, wow sith on me daddy jesus christ, like me, is wow I'm about to show.
Speaker 2:Adam doesn't know what I'm talking about. Daddy Jesus Christ.
Speaker 3:Like fuck, do I need to Google this?
Speaker 1:He is wow, I'm about to show. I'm about to show. Adam doesn't know what I'm talking about.
Speaker 3:Distractingly gorgeous, but all I could think of is his character in the Good Place.
Speaker 1:Right.
Speaker 3:But I still just go, marry me Right. And he puts on a British accent Does? He, and it's just so fucking hot, anyway, fucking hot, anyway, you can have that video yeah what does he look like?
Speaker 2:has he got a face? Does he got a face?
Speaker 1:does he need one just showing him the uh, the shots of the acolyte good place, acolyte good place, yeah yeah, so tell us okay.
Speaker 3:So look, you guys didn't come to the screening. I'm not surprised, probably glad you didn't, because to the screening. I'm not surprised, probably glad you didn't, because it was bare bones, because Disney paid In my defense.
Speaker 1:MIF is starting this week and I did want to spend some time with my wife.
Speaker 3:It's for me too, buddy.
Speaker 1:I know, but you don't have a wife, wow.
Speaker 3:Did I just get shamed A little bit For not being married?
Speaker 1:No.
Speaker 2:No it for not being married? No, no, we just you and I have very different lives. We do.
Speaker 3:Yeah, I did wear this because you had to go in your 2003 pop culture right, fair enough, but this movie, look, I was expecting dog shit, because you can't take this classic film, make a sequel this late and say it's going to be good. How wrong was I? The director is Nisha I'm so sorry for butchering the name Nisha Ganatra, who directed Late Night. I don't know if either of you saw that.
Speaker 2:Oh, with Tina right Late Night. What am I thinking of?
Speaker 1:Mindy.
Speaker 2:Kaling.
Speaker 3:Thank you, yeah, and I nearly said Helen Mirren.
Speaker 1:No, no, no, it is not. No, no, no, emma Thompson. Emma Thompson Thank you the Amazon show, the Amazon movie, wasn't it?
Speaker 2:What am I thinking of?
Speaker 3:Yeah, sure, it came out through Studio Canal here, but yeah, it went pretty darn quick yeah, and it's fucking good Cool.
Speaker 1:Like, so Does it play, like you know, because we do have a lot of discussions about, like you know, nostalgia baiting and all that sort of stuff. Does it really go? How does it handle? Like the nostalgia aspect of it.
Speaker 3:So look in the original film. I don't know if you guys have seen it. No, you are way straighter than I thought.
Speaker 2:I'm incredibly straight. I've seen the first film a couple of times.
Speaker 3:Okay, Check that.
Speaker 2:Check that checks. There's a betting tool on my sexuality.
Speaker 1:That checks.
Speaker 3:That answers the question. So look, in the original film Lindsay and Jamie Lee swap bodies and it's a whole allegory around. You know, getting to know I've just lost everyone in the room.
Speaker 1:No, I'm just.
Speaker 3:Someone's on their phone, someone's playing with their jacket.
Speaker 2:No, no, no, I'm bringing it up on IMDb for myself so that I can just play with myself.
Speaker 1:I'm bringing it up on IMDb for myself so that I can just play with myself.
Speaker 3:It plays into the whole. Like you know, walking in someone else's shoes to understand them, yep, how to work. You know, together as a family when you've gone through grief and loss, with their dad dying and then Jamie Lee trying to remarry another guy, and you know this was like the start of Lindsay's big era in her career. This was the first film where she sang and it was like this. Then her album came out the year after, and then Mean Girls the year after that, so this was like the start what was the album?
Speaker 2:I forgot the album um, don't speak, oh.
Speaker 3:No, speak, sorry. And when was it her being fully loaded as well? When was that? What was the album? I forgot the album. Don't Speak, oh no Speak.
Speaker 2:Sorry, Was it Herbie Fully Loaded as well? When was that? That's a different era of her career.
Speaker 3:Yeah, she was much younger in Herbie Fully.
Speaker 1:Loaded oh, yeah, yeah, yeah, she was. So. She was in Parent Trap when she was a child.
Speaker 3:And then Herbie, fully Loaded.
Speaker 2:I remember I was working at the video store during her ascent, but by the time Mean Girls came she was the biggest emerging actress on the planet. Yeah, 100%, and she's still a fixture of a lot of media attention.
Speaker 3:Oh legit.
Speaker 2:How is she in this?
Speaker 3:Amazing, and I think it's a lot to do with her chemistry with Jamie Lee, and they don't. So in this movie, instead of them switching bodies again, lindsay has a 15 year old daughter and she's about to marry hardy mccart, who also has a daughter.
Speaker 1:Chad michael mario jacinto no um manny jacinto biceps oh, yeah, yeah yeah, thank you.
Speaker 3:Um, so all four of them switch bodies, so they're not just repeating what they did before. Right, it's a four-way switch and stop it.
Speaker 2:The two young girls. So it is a gay film Essentially. Oh, it's a very gay film. Okay, it's very gay.
Speaker 3:Yeah, the two gay Fuck. Fuck. The two young girls go into Jamieie lee and lindsey's body and they kissed friday and they go the the older two go into the younger bodies. So there's just, it's just funny and I haven't heard people laugh in a cinema consistently, yeah, in a very long time, and I was even thinking I don't even think I've seen a comedy that feels like, oh yeah, this is definitely a streaming movie were there any cut jokes of freak offs?
Speaker 3:I'm sure there was actually with this director. I wouldn't be surprised. This was the working title and they're like god damn it diddy, you know even like going back to the original, like that was pretty, like you wouldn't show young children freaky friday because of the do I? Level of adult humor and they really lean into surprisingly lean into that. Here too, you're surprisingly from like a disney film.
Speaker 2:Well, yeah, yeah, like you know, I I feel like the Freaky Friday cover is really iconic for some reason. Someone was like to just go like if I was to see those colours. It's that green, yeah, the green and the purple. You know what? It is Straight away Freaky.
Speaker 3:Friday yeah, and look it is. You know about getting those two back together because they've had a friendship since that movie, very publicly. So you're along for that ride since that movie, very publicly. So you're along for that ride. You know they're friends, so you know they're having fun. Yep, while they're filming this, um chad michael murray, who doesn't look like he's aged a fucking day.
Speaker 1:Hate that man um, but you love him.
Speaker 3:Oh, totally of course um is used smartly, it's not just brought back for no reason. They're all actively involved in each other's lives. Who they were in the original film is who they are in this film. So, um, because lindsey's had a baby, she's no longer in pink slip the band, she's now a manager and she's managing um, a pop star, probably on the level of Ariana Grande.
Speaker 1:Yeah, so it's really sort of like it taking those characters and expanding out who they originally were without losing the integrity of the character.
Speaker 3:And Jamie Lee is still a therapist, but she does because of her age. She does a podcast and online therapy now and that just brings a whole nother level of senior people trying to operate a road desk can you um? Can you feel?
Speaker 2:from behind the scenes what the major driving force of this film being made is like. Do you because jamie lee obviously just won an oscar and stuff like that do you think that it's someone?
Speaker 3:going let's capitalise on that, no because this was made a while ago.
Speaker 2:Oh really.
Speaker 3:So they were saying in the junket, jamie Lee was saying that, you know, because it is shot in Los Angeles, and they used the houses from the original film and then new houses in that area, in the Palisades, those houses no longer exist.
Speaker 1:Oh shit, they've burnt down, Fuck.
Speaker 3:So she's like so happy that they because that was part of their contract is that they film at the original locations and don't try and do it in a studio, and she's like we are so glad that we did, because all of these houses you see in the film, all these schools and locations are not there anymore, which is mind-boggling to think when you watch it okay, um, and you know, there's a few times where they're like you know la, so beautiful.
Speaker 3:I'm like, okay, you're hammering at home a little bit too much now, but it's just I think, and I I saw you liked it, you didn't thanks, um, okay, in my review saying that it continues that theme of cinematic positivity and joy.
Speaker 1:You and I are going to have a fucking conversation after this.
Speaker 2:I thought Carlo would be laying in bed going what fucking Freaky Friday review.
Speaker 1:I like all your posts, fuck you.
Speaker 3:Not that one.
Speaker 2:This is the be real. This is what happens behind the scenes.
Speaker 3:Too late it was the story. It's gone, so it just like fits in that. Like Superman, fantastic Four, like walking out grinning ear to ear being ridiculously happy going A. They didn't fuck it up, they made it funny. Um, and like everyone that I've spoken to so far who was there and has seen it, even grumpy old nick labarro gave it fucking four stars yeah, he was up there with top movie of the year for him and I'm like are you body swapped with Peter Grey right now?
Speaker 1:Because I'm confused. He was real warm on it. I saw his review. Yeah, yeah, yeah, yeah, yeah.
Speaker 3:So that also makes me feel like wow, if you thought that, then my gay brain is like Was this meant for streaming originally? Yeah, so it was meant to be Disney+, and then Bob.
Speaker 1:Vargas come back and he's just like no, we're fucking releasing this bitch out in the wild.
Speaker 3:Same with Lilo and Stitch. Only films make a billion dollars this year and they were going to shove it on streaming.
Speaker 1:Moana 2 was supposed to be streaming as well. Made a point something billion dollars as well.
Speaker 3:I think they're learning what should go on streaming and what should go on Disney+?
Speaker 1:It's interesting that Llo and stitch is coming out on disney plus sooner than thunderbolts.
Speaker 3:thunderbolts doesn't have a release on disney plus yet, wow, okay yeah which says to me they're like oh no, we have to retrain the audience, but but like, yeah, like freakier friday is like for me to see this at my age which, which I will not reveal like I saw the original in the cinema with my brother, so I think that's a good thing. The soundtrack is great. The new song sucks but they re-ash all the old songs. It's a semi-musical I'll say semi Like similar to the first one was sort of.
Speaker 2:A soft musical.
Speaker 3:Yeah, it's not a musical in. They don't sing narrative but there's just songs by the band placed in for.
Speaker 1:How does this? Because Mean Girls came out. Mean Girls the musical came out not that long ago. How does this compare to that in that?
Speaker 3:Oh, this shit's all over it.
Speaker 1:Yeah, because that wasn't very well received, was it?
Speaker 3:Look personally, I over it. Yeah, because that wasn't very well received, was it? Look, personally, I liked it, yeah, but For a speak. But like probably 90% of it was because of Renee Rapp. Otherwise, dog shit.
Speaker 1:Yeah, okay, yeah Right, but this stands on its own merits.
Speaker 3:Yeah, definitely yeah, and I think it's probably that general sentiment of everyone thinks it's not going to be as funny or not as interesting. The premise won't hold. It does, and it's probably. I didn't say this in my review, but I've read a lot of other people's thoughts saying that they think it's better than the first one.
Speaker 3:I think it's on par with the first one right which I think you can say about a lot of sequels no, no, you can't like. The only one I can really think of off the top of my head is t2 like you don't want to start this conversation and megan too, you know what I'll give megan to that two that so much better than the first one. So yeah, loved it. Go see it.
Speaker 1:Four stars from me yay, nice, that's awesome anyway, and that's it for now. Alright, till next time. Till next time, bye, bye.
