Parasite / Eagle Rare 17 Year Bourbon

0:00 In 2019, director Bong Joon Ho and star Song Kang Ho gave the world a beautifully dark inspection into the class warfare going on in Korea. In 2024, we come out of the basement to finish out a flight of five BTAC samples. The film is. Parasite the whiskey is Eagle rare. 17 and we'll review them both. This is the Film and Whiskey podcast.

0:47 Welcome to the Film and Whiskey podcast, where each week we review a classic movie and a glass of whiskey. I'm Bob Book. I'm Brad G. And this week we are jumping back into things. Brad, we took a couple weeks off from recording Shaken off the rust a bit as we revisit for its fifth year anniversary, the 2019 Academy Award-winning film Parasite. Dude I feel like 2019 was just a great year for cinema and it like stands out in my brain 'cause obviously the pandemic happens the next year and we basically lose 2 years of movies in 2020 and 2021 and yet I still feel like the 2019 year of movies was like 2 years ago. Oh, absolutely.

1:35 Like, even saying that it was five years ago is like, OK, yeah. Come on, that, that, that can't be real. And yet, in some ways, it does feel like five years. You know, we recently did a review of Avengers End Game, and it's the fifth year anniversary of that film as well. And I feel like now that the world has cooled on superhero movies slightly, I definitely feel more distance from a movie like End Game than I do from a movie like Parasite. Parasite feels like it just came out, and End Game feels very much of A time that we have since moved on from. Does that? I don't know. Does that make sense? Yes, 100%. Like the ideas of different classes struggling with one another, struggling to understand each other's, struggling to communicate totally is going to make sense in 2024.

2:26 And like, sadly, but honestly, it's probably going to make sense in 203444. Like it's it's taps into something that hits on the human experience, whereas superheroes are literally not the human experience. And that folks, is the hard hitting analysis that you come to us for. So if this is your first time joining us, welcome to Film and Whiskey. We watch movies and we drink whiskey. It's a pretty self-explanatory podcast. This season, what we're doing is we're looking at films from the last 20 years and we're asking the question, does this film deserve to be considered a modern classic?

3:07 Now, how did we settle on the film as we're reviewing this season? They have to be part of IMDb or Letterbox's top 250. They have to have grossed $100 million in the US or been nominated for Best Picture. I am pretty sure Parasite did all of them except gross 100 mil and that's pretty darn impressive, Brad. I mean, who knows why this didn't gross 100 mil in the US, Bob. I know famously, Brad. If there's anything Americans are known for, it is their receptivity to other cultures and languages, willingness to engage in art from beyond our own boundaries. I mean, just the fact that we, you know, the average American knows 3.27 languages. So yeah, it makes it.

3:54 It's flabbergasting to me that this didn't make 100 million. OK, let's kind of start there even before we get into anything else. So this is one of the few films we've done on the show that is a foreign language film. We had a run there for a little bit with Kurosawa, but aside from that, there's only been a handful. And so we're jumping into, I guess one of the more recent examples of an International Film that really made a splash in the US. This was the first film ever in a, in a non-english language to win best picture. And I guess Brad, what I what I'd like to ask you is when you think about this movie winning best picture, obviously through award season, people like latch onto certain narratives and movies that seemed to have no shot at the beginning.

4:44 They just become kind of like a heart warming story. And so people start voting for it. I'm thinking about go ahead. Just like the storyline of Parasite. Well, I'm thinking about, you know, every, Everything Everywhere All at Once really captured people's hearts a couple years ago, the year prior to that, that little movie Coda just kind of went on a run there. When you think about this movie winning Oscars, why do you think it captured the hearts of Oscar voters? Does does it have anything to do with the Academy make up kind of being sent topsy turvy over the last decade? Is it just younger and a more diverse body of voters now? Like, why do you think this became the first foreign language film to win Best Picture? I mean, I, I think it's a combination of things. I'm curious, when does voting for like I know that there's voting for who will be a nominee and then eventually there's voting on the winners.

5:41 Like when does the voting happen? Does it happen before the awards season or can the winning of other awards kind of influence what happens at the Academy? Both And so there's like a a document that the Academy puts out at the end of every year that is just a list of every film that's eligible for awards. So you have like your pool of 400 movies or whatever. A lot of categories if especially if they're like smaller and Guild based, they'll have a short list like hey, the Guild put forth these 15 movies and that's your pool to choose the nominees from. Now it doesn't work like. That what would be like a Guild like that would do that I. Think like original score or cinematography. Don't quote me on those, but like that, that level of award is kind of what you would see there. It's it doesn't work that way with best picture, but voting happens for the nominations in early January. So you want to kind of get your foot in the door and then once you lock in that best picture nomination, it's like off to the races and then awards you, you pick up along the way. Absolutely fuel that campaign.

6:46 OK, yeah. So I would say a parasite probably benefited from a lot of that as it became more well seen by the Oscar body. I would imagine that helped. Honestly, Bob, I think the reason this became the first foreign language film to win Best Picture is because it feels absolutely accessible to an American audience. Like there, there's moments throughout this film, you know, this was my second time watching it where I found myself recognizing like, they're saying something here that isn't totally translating through the subtitles.

7:30 And I'm curious what the deeper meaning is, right? Like, like there's moments throughout any foreign language film where that will be true, but those moments were few and far between. And there was so much of this movie that felt familiar to an American audience. From the cinematography to the lighting to the horror elements of the movie. The musical choices did not feel in any way strange. Like it. It's a lot of classical music. I just think that the way this movie was made, especially being from a director who gave us something like Snowpiercer, which is an American film, right, I think he just knew the right buttons to push to hit the Korean audiences as well as the American audience. 100% couldn't have said it better myself, and I think on that note, it's time for us to get into our first segment of the day, which we call Brad explains. Brad's going to give us the movie plots with only 60 seconds taken on the clock, so let's go ahead and hear your take with this little segment that we call, Brad explains. Brad Explains is the part of the show where Brad breaks down the plot of the film that he has just seen, often for the first time.

8:44 Brad, this is at least your second time seeing Parasite because I know that you went out and bought it on a Criterion Barnes and Noble sale after seeing it the first time, right? I sure did. So is this watch #2 or this more than that? This is watch #2 I hadn't watched it after buying it, partially because I knew that we would get to it eventually on the podcast. So yeah, I just, I waited and I am glad that I did because this is a great movie, Bob. Brad, I'm excited to dive into this one. I have a feeling that you and I are going to diverge on a couple things today, but I also want you to help me parse out why I feel the way I do. So before we get into all that, it's time for you to spoil this movie, folks. If you have not seen Parasite Man, even Brad telling you what happens in the movie does not do justice. You got to just go watch it, experience whatever the hell this is, and then come back and listen to the rest of the episode.

9:42 Brad, you have 60 seconds on the clock and go. Parasite is a film about a poor family. I believe their last name is Kim. They are trying to figure out how to survive in a very stratified world of Korea when one of the son's friends from college comes into back into his life and tells him that he's studying abroad and that he would like for him to take over as a tutor for a high school student of a wealthy family known as the Park family. Once he becomes the tutor, the Kim family slowly takes over all of the house hold positions of driver, tutor to the son in the family, and house maid.

10:32 And they discover lots of secrets along the way. And it gets crazy, Bob. It gets very crazy. I don't know if I want to say any more than that. It gets pretty freaking wild. It does get wild. We will obviously, just in talking about the film, spoil everything that happens, but there are some very specific turns that this movie takes. And I think that's kind of where I want to frame our conversation today, Brad, because I went to see this movie in the theater during award season. How many people were in the theater? It was. Packed. It was like full Brad, really, because they were only showing it at the Cedar Lee in Cleveland.

11:15 OK, so all the Cleveland Northeast Ohio cinephiles were? There it was packed bro and I watched it a couple months before my wife had our second son and so she was very pregnant and I don't know. And you abandoned. Her I I yes, so I'm already feeling guilty about going to this movie, but I knew that it was, you know, she's like, just take the night, go watch this movie. And I don't know if I was just feeling really on edge because the movie was so suspenseful, But I started to get this creeping feeling. This has never happened to me in a movie before. And I was thinking about becoming a father for the second time. And as this movie crept on, I kept getting this overwhelming sense of like, I know Bong Joon Ho.

11:59 I know that his movies can be very up, and I'm really worried that something's going to happen to the small children in this movie, and I don't feel like I can partake in that. And it has never happened to me before. Literally, I walked out of the theater with 15 minutes left in the movie, not realizing what was going to happen at the end. But I couldn't take the risk at that point. I was so like, I felt so conflicted in my soul about like, I think this is going to go down a path of I'm going to see something I can't Unsee and I don't feel like I can be here right now and. Brad, I thought little little Dasong was going. To.

12:39 I thought he was. Yeah, in like a really grizzly way. And I was really worried about that. And so of course I missed the end of the movie. I And then I'm like, oh, I got to know what happens now. So I read what happens at the end of the movie. And then when it finally comes out to a point where I can watch it on video or what, however I watched it, I watched the whole thing again, but the ending was already ruined for me. So this is one of those movies kind of like $1,000,000 baby. I think I told the story about how that was spoiled for me that I don't know. Brad, if I can ever fairly evaluate this movie because it worked incredibly well for me, and then I messed up the way the movie ended in a way that I can never get that back.

13:19 Well, listen, I thought you'd be more sympathetic to this because this is the kind of thing where you, you know, multiple times on the show you've been like, this didn't sit well in my soul. And this is the only time in my life I've really ever had that experience during a movie. Yeah, I mean the Bob, I'll tell you this. There's grace for that too. No matter what. Cinephile. What would it be? Cinephotic sins you commit. We'll we'll forgive you, man. We'll take you back. I as a as a fellow cinephile here, I I have the power of judgement over your soul. How that works?

14:00 I think so the based on what you tell me about letterboxed, I would assume that it's so. So I say all that though to say, even returning to it now, I feel like this film is broken up into three sections for me. And the sections are not really necessarily like what the plot like if you were dividing up the script, but it's kind of like the 1st 2/3 of it. Everything that happens after that woman hits her head on the wall because the movie gets very serious there. And in my theater, that thud was like, you could feel that thud in your seat and everyone in the theater at one time when like. How was everybody when you said the theater was packed?

14:41 I my immediate thought was this would be a hell of a movie to watch in a pack theater. And then the third part is kind of like the last 10 minutes of the movie. So like everything I missed because I do feel like they take really interesting tonal turns and stuff happens in that last little section of the movie, like a narration that doesn't happen at any other part of the movie. So as we kind of progressed today, if you wouldn't mind, let's kind of just take it like section by section, 'cause I think that's that's the best way I can explain the movie. Yeah, I think that's totally fair. I the, I would call the, the opening section of the film like the, it almost feels like a heist.

15:24 Like where like they like, they set up the characters that are going to go on the heist and who they are. And, and this is like the vulgar young teenage hacker girl. And, and this is the dad who like kind of is grizzly and the mom holds them all together and, and the, the son is this young, like he's, he's going to make something of himself. He's going to get to university eventually and and and and then you watch them commit the heist and they slowly get everyone fired from the household. I like where were where are you at on that opening 60 minutes of the movie? I'd. Say, I mean, it's perfect, Brad. It's a perfect movie. And I think that's the thing that that struck me this time around is how funny this movie is. It is so funny and it's funny in such a like a sharp, razor edged mean kind of way.

16:17 It like the way that they employ the classical music in an ironic way is really, really funny. You know, the famous sequence of them putting the Peach fuzz on the housekeeper and then it ending with him squirting like the Sriracha sauce or whatever it is and then holding it up and her face be like, oh, it's it's it's perfection, dude. Dude, the use of slow motion in those. Oh, it's like. The editing of this movie is so freaking like biting and sharp. It's so good, man. Biting is such a good word. And I, I kept thinking of like if I was writing my review of the movie, what, what is this kind of comedy and how do I describe it? And it's like when you read an, a review of a movie that calls something like devilish or like deliciously this or that. Anytime they use delicious like this, that I feel like that's this movie where it's kind of, I don't want to say bitchy. It's not a bitchy movie, but it's like it, it's just mean in a fun way.

17:15 And I think that's what that first 2/3 of this movie does so, so well. Here's the thing about this film, Bob I the only character in this movie that I like don't like is the mom, like she's the only one that I just like. There's moments where I kind of like her, but overall she's the worst. Every single other character in this movie, like they all do horrific things, terrible things, especially the dad, like the the way he carries himself, like he's just a lazy schlub who murders a guy at the end of the movie. And yet I find myself I just really like all of these characters.

18:01 I like, I like the Park family, I like the Kim family. And I don't know how he did that as a director. I like, I don't know how Bong Joon Ho did that because. I you. Shouldn't like any of them. And yet, despite all of the meanness, despite the mean gaze that the camera is towards all of these characters, I still like them all. Yeah, I love that you're you're talking about the mean gaze, 'cause it doesn't feel judgmental as much as it feels like. It's trying to catch them all at their worst. Bitingly observational like it. It is just like an impartial observer on the worst of human tendencies.

18:43 And you are rooting for the Kim family for so much of this movie because, like, they are the conduit for the audience. Like they're trying to break into this world. And you think it's funny as they do it and as they deceive these dumb rich people. And as the movie goes on, like, it takes so many twists and turns that you start saying, like, actually, they're the worst people in the world. And then something happens where you're like, no, the parks are the worst people in the world. Like, how could you behave like that? That's absolutely atrocious. And then, you know, we find a random third family and it's like, I don't even know what to think of these people. But I'm really glad that you liked that first 2/3. And to your point, I think it's a combination of Bong Joon Ho being an incredible director because you have to maintain a very specific tone to make this movie work.

19:30 And he's able to get that tone out of every one of his actors. But then it's also a combination of that and how well constructed this script is. Like everything has a payoff. Everything works like clockwork. I saw this movie compared to Hitchcock a lot. And I actually think I'll, I'll get into this later. I think there's another filmmaker that this is more like, but it is Hitchcockian in that it, A, makes you root for terrible people and become complicit in the narrative, but B, everything fits together with so much kind of like wicked clockwork precision that it does remind you of Hitchcock in that way. Yeah, the, there's, there's something about this film where you feel like an outsider getting sucked into the drama of a family trying to make it in the world.

20:21 And you can't quite decide if you want to be like their college friend who kind of sets them on this adventure and, like, seems to treat them like this, like nice little family that he's fond of. Or if you want to look at them like the old housemaid, once she figures out who they are, the way she treats them is freaking brutal. And like, as the audience, you kind of vacillate between those two extreme positions throughout the whole film. All right, let's dive into the second part of the movie and then I think it'll be time for us to kind of take a break. So the second part of the movie happens when the Kim family is all just hanging out at this big mansion because the parks are out of town. And it starts with a a time crunch scenario where the parks call and say we're going to be home in 8 minutes. And you get this incredible cooking sequence of the mom making this dish called Ramdan.

21:21 And then it ends with them basically discovering that the former housekeeper has been keeping her husband in the in the secret basement of this house, and they've been essentially living there for free, mooching off of the parks for years and years. And that when this housekeeper was fired, like her husband's been down there by himself for weeks. It is this incredibly weird, absurd and then very creepy discovery as these two families then basically get into hand to hand combat to to keep their own secrets from being spilled to the Park family. It's it's such an incredible addition to the movie because by putting this family in here, you realize how much more terrible and evil the Kims are. Like the way in which the, we'll just call it the old housekeepers family, the way in which she and her husband mooch off of them is so much better and more ethical because like she flat out accuses her like you're stealing food from them and she goes no, no, no, no.

22:33 Like the salary they pay me, I use that money to buy the food for my husband and I. Like, like we're just trying to escape some loan sharks and, and like they have the most reasonable way of mooching off the family. Like like I it's such an incredible addition in my mind to put them in there, but then also use the husband that's been living in the basement for, I think they say like four years for him to be the ghost that the child of the Park family does. Song, song. Bro it is. It is simultaneously the scariest thing I've ever seen and also really hilarious. It's so funny when you see his head pop up as this kid's eating cake.

23:21 It's. Incredible. And then they like replay that when he comes out covered in blood and cake, and he like stares into the small child's soul. Oh man. So this sequence basically ends with they've discovered this family in the basement, the parks are coming home, they're having to make food and subdue this other family. So they're tying them up in the basement. And somehow the old housekeeper escapes, starts to run up the stairs. And then the mom kicks her back down the stairs. And as she tumbles down the stairs, she hits her head on like the cement wall and lands quite the thud. Did you think she was dead the first time that happened? 100%, OK.

24:06 Thank you every. Time someone gets hit in the head in this movie, it is a 100% fatality, OK? 'Cause the same thing happens. What? What's the the son's name? Who's the tutor for the the high school girl? Kiwu. Kiwu He. Gets. Freaking knocked in the head twice. And there's no way, no, there's no way he survives that. I'm just, there's no way he's alive. So Eddie, we'll get to that. So this sequence then takes a really dramatic turn. And this is where the movie takes a turn. Like it is still very vicious in its observation of all the characters. But then the stakes have immediately jumped from just are these people going to be discovered to did I just witnessed them commit a murder and having to cover that up now?

24:50 And it turns into an incredibly suspenseful film in that second segment. And I think that I personally, being the guy who likes rooting for people, the first section of the movie is more thoroughly enjoyable. The second section of the movie is no less well directed, though, because I was, you know, to the fact that I walked out of the movie. I was so on the edge of my seat and so enraptured by where this might go that it had me it kind of in its clutches at that point. Yeah, the the people in this movie, The the characters are so well developed that you can't help be sucked into the world that is being developed. I I mean, even thinking about the wealthy socialite mom that like everybody basically says she is a simpleton who is beautiful and that's the only reason she's around, right? Like even she the way that they present her up until the party, they kind of they kind of make her a little worse at the end of the film.

25:59 But the way they present her, she's almost like this cute little like baby dove that you just want to like care for and and you never want to see harmed in any way. And every time she gets upset, you find yourself just like, oh, no, it like it's OK, like we're we're going to help you out, honey. Like it. It feels like Oh honey, from How I Met Your Mother. Let's talk about the parks a little bit. So we've talked about the Kims in, first of all, top to bottom, incredible acting in both families. I mean, just really well done. The Park family is so interesting because you you don't learn a lot about them even throughout the course of the movie.

26:41 You don't learn a lot about them other than they're just like rich and kind of detached from the social hierarchy of the world. And it's not until that really final section that they kind of do despicable things and inadvertently do them because they are just detached and rich. But it's in that second section that I found the most interesting things happening. And in order to get Jessica, the daughter, to take over the role of tutor, art tutor, she basically planted her own panties in the car of the driver so so that they would be found, the driver would be fired and her dad could be hired as the new driver. And you find out in the middle of the movie that these rich people have kept this pair of panties like as evidence.

27:27 But then when they're like by themselves and they're sexually fantasizing to get themselves aroused, what they're fantasizing about is basically being poor people. And that expresses itself for Mr. Park by saying, like, you should put on these cheap panties. It'd be so hot. Like he wants to use his wife the way that he would use somebody from the lower classes. And then she fantasizes about like, go buy me drugs. Like even their their caricatures of what poor people are like are so funny in that moment. But I think it really does kind of lock into focus what the movie is really about. And it doesn't hurt that at the same time, in the context of the movie, the Park family, I'm sorry, the Kim family is literally hiding under their dining room table having to listen to this entire exchange.

28:16 And I, I just, I mean, it's such a brilliant set up on paper, but when you see it executed, it's even more just like, oh, wow, they like the economics of this scene. They put everything out there in a way that has everybody in the same room as each other. And they got it out in as little words as possible. It's that moment where people from different classes wonder what someone says about them when they leave the room and they they Bong Joon Ho just illustrates so perfectly the disgust that the classes have for one another, like the the way in which the Kim family is talking about the Park family when they're like gorging on their food. It's, it's just incredible.

29:04 And I, I think that's what I love about this movie is that it cuts deeply against the poor and the wealthy alike that like there's there's no mercy for anyone in the way that they treat the other class. And I, I think that for me is actually my favorite part of the film because it, I don't know, man, in our day and age, it's so easy to buy into the rich people bad, poor people, good scheme or you know what I mean? And to have a movie basically say, hey, like, yes, these rich people have done bad things. They have a extremely unreal and negative view towards poor people.

29:48 And they're mostly focused on how bad they smell and like, like, it's, it's really unhealthy. But these poor people, there's no excusing their behavior either. Who's the worst poor person? Anyone in the Kim family or Margo Martindale in $1,000,000 baby. And see dude, I think that's another reason why this movie works. I don't know if Bong Joon Ho is like, I don't know if Parasite is the $1,000,000 baby representation of poor people in Korea the way I know it is in $1,000,000 baby.

30:30 Does that make sense? Well, and, and I think that that gets to the point of why the movie is even called Parasite. It's pretty famously documented that Bong Joon Ho had to convince like the marketing team to stick with the name Parasite because they were really concerned that, you know, when we're cutting a trailer for this movie, we're showing it from the point of view of the poor people. And so they're going to think that you're calling them Parasite. And he basically said, like, well, then when they see the movie, they'll understand because when you look at it the other way, who is the parasite in the movie? Who is leeching more off of the other class? And I think that, like, it's just such a simple and brilliant title for this movie because there are so many ways to interpret it, and it is so ambiguous at the end of it. Before we move to Break Brad, I want to keep talking about this little section that we've been talking about, where they're hiding under the table and listening to the words that the rich people are saying about them. Because it's one of the few times in the movie, too, where there is a complete drop of the irony and the sarcasm and the winking and the biting humor.

31:35 And it's the first time that Mister Park talks about the way that Mister Kim smells. It's not the first time it's mentioned in the movie because the little kid mentions it at one point too. But he talks about how overwhelming the smell is and how poor people smell like that. And everyone that rides the subway smells like that. And it's really the first time that you hear them talk in really dismissive tones about poor people. And it's this really kind of gentle piano music as he you watch him under the table, like sniff himself. And I just found that to be really touching, honestly. Like, I I really appreciated that Bong Joon Ho didn't try to do something snarky in that moment because you needed to understand how deeply that cut Mr. Kim.

32:21 Because it really sets the trajectory for the end of the movie. That, that specific action of rich people thinking poor people smell is what gets us to the end of the movie. Yeah, I mean it. It cuts to the core of the human experience. Like whether we know it or not, Like smell is the most powerful and evocative of our senses and to be told that your smell is overpowering is overwhelming and that it crosses the line. Like, I love the way he talks about how there is social etiquette between the classes and how he thinks it ought to be preserved and there's a line and we ought not cross it.

33:09 But there's something about the poor that they can't help but cross the line, like their very essence, their smell crosses the line and they can't do anything about it like that. That is such a brutal thing to say. Like there, there's so much going on here pointing out how humans left to their own devices will inherently stratify the world, will create boundaries and lines that ought not be crossed. And we as humans ought to say, F the lines. You're a human being. I ought to love you and care for you and help you better your life, no matter how you smell. Specifically, no matter how you smell. Yeah, I mean it.

33:57 It's just a reality, Bob. The smells are real. They they. Really are, man. Well, you know, now that you've now that you've kind of cast this vision for what humanity can be like and how we shouldn't stratify ourselves, let's go drink some whiskey that cost $1700. What? What do you say, man? Let's dive back into B.Tech as as all of the common folk do. I'm going to go find a poor person and spit the B tack on them. How about that, Bob? Let's get to it, Brad.

34:38 All right, so today we are checking out Eagle Rare 17 year. We're finally finishing our flight of B Tack bourbons from 2023. For the past four weeks, we've been looking at these and then if you jump back a year in time, you can find our review of Thomas H Handy Sazerac Rye. Brad, we've had quite the history with Eagle Rare and I think it's at least somewhat appropriate that we saved this one for last. Yeah, I'm so excited to drink this today, Bob. This has long been like ever since I started drinking Whiskey. Eagle Rare was maybe like the 4th or 5th whiskey I ever had. I absolutely loved it. There was like 30 bottles on the shelf. They're all $30.

35:23 I was like, wow, how could life get any better? And I, I remember looking it up on Buffalo Trace's website and all I saw I had zero knowledge of the world of B Tack or you know, I like at that point I knew who Buffalo Trace and Woodford Reserve and Wild Turkey. And that's like all I knew. And I saw on Buffalo Trace's website that they had a 17 year version of the regular Eagle rear. And I said to myself, wow, I'd love to drink that someday. A few years later I realized that was a pipe dream, my friend. Well, and not only is the 17 year a pipe dream, but there is at least one above this in the vertical.

36:07 Now they have one called the Double Eagle, very rare, which comes in its own fancy box and costs I believe like $10,000. So yeah, so we think that we're we've reached the pinnacle. And then Buffalo Trace says absolutely not. We need more money out of you. We're coming out with a hyper limited edition version of this. Yeah, they need to keep Bob and Brad in their place, is what they're. Doing exactly so The funny thing about this release, the 2023 Eagle Rare 17 is that Eagle Rare 17 is the actual name of the product. So it's not just like an age stated Eagle Rare. It's it's called legally Eagle Rare 17 year, but they keep releasing older than 17 year versions of this. So they're kind of just treating it like a minimum age statement. This is actually a 19 year old bourbon, Brad, 19 years and three months old at the time of bottling. So it was distilled in spring of 2004. I was in 8th grade.

37:06 Wow, yeah, that that's like wild to think about. Yeah, 100% dude. All right, man, Let's dive into this. So Eagle Rare 17 year, The mash bill on Eagle Rare has always been undisclosed. We've talked about Eagle Rare a couple times on the podcast. This is the same product that is just older. Brad, let's let's do it, man. What are you picking up on the nose? This has some beautiful complexity on the nose, mostly hovering in the like rich sweetness categories. I got some buttercream. There's brown sugar, caramel, vanilla. It's got like a really nice bubble gum thing going on. And then like the longer I sat with it, the more I got really beautiful, like maraschino cherries.

37:52 I, I was a huge fan of this nose It it's got all sorts of richness. There's a little bit of the oakiness, a little bit of pepper coming through. For me, this is a 9 1/2 out of 10 nose. I'm. Going to give it a nine out of 10. I agree with every single one of your tasting notes. I think the only thing is that it's impossible to divorce. Like my knowledge of how expensive this is and how difficult it is to obtain from the actual tasting experience. I'm trying my best, but like as I knows it, I'm like, is this a $1500 whiskey or is this just a really good classic bourbon? And I think it's kind of just that, you know what I mean? Like it is, it is Bob Books Platonic ideal of what bourbon should smell like, but it doesn't smell like a mortgage payment.

38:40 Do you know what I'm saying? Like, I don't know. Man, I I might, I might foreclose on my house for this. Oh, all right. Well, you, you do you, man. I like, I like being housed. So it's just going to be a nine out of 10 for me. And then we're getting around to the taste here, Brad. I'm actually tasting it live. You've already tried it. So while I give it a sip, why don't you give us your notes? This is a cacophony of beauty and wonder. There's bubble gum really prominently for me. It has really nice almond flavors. The vanilla is like a really fresh vanilla bean. It's oaky. It's caramel Y it almost turns into like a caramel fudge combo that I really like. And the longer I sit with it, the longer I the 2nd and 3rd sips I really got like a nice sweet mint flavor that I'm guessing there's a little bit of a rye presence in this whiskey. I I think that this has all of the richness that you want out of a bourbon with a little bit of complexity from those additional flavors.

39:46 I'm not at a 10 out of 10, but I very close. I'm going to stick it a 9.5 here for the palate. Yeah, this is definitely not nearly as sweet on the palate as it let on on the nose. Tons of mint notes here. I think you're right. This really leans black pepper heavy. I actually had to take two sips of it to get a really good sense of what kind of whiskey this is. I think the oak really does take over on the front of the pallet and it's not until you like really go to swallow it that some of that sweetness creeps in. And it does remind me a little bit of like a vanilla buttercream it it has that like super rich, decadent sweetness to it, but kind of at the very back end.

40:29 I like it. I think it has that viscosity that we were that you noticed in the George T Stag that I didn't get, which is really funny because this is a much, much lower proof whiskey than that George T Stag was. I like this. It's not knocking my socks off. I'm going to give it an 8 out of 10. The finish, you get fresh leather. There's almost a bit of like a cedar flavor to me. It brings around the cherries that I got on the nose. There's black pepper. It's continues to stick in that vanilla lane. I once again really, really, really like this whiskey. I'm going to give it a nine out of 10 on the finish. I think that you're tasting notes have been absolutely on point today.

41:15 I don't know. I feel like I'm not bringing anything to the table today because I don't really have much more to offer than you do. I guess what I'm going to say even before I give a score here, Brad, is like you've now tried Eagle Rare at 17 years old, technically 19 years old. The Eagle Rare that you and I used to drink was at one point age stated at 10 years old. So we've tried it at multiple different age points now. Is 17/19 the right age statement for this or has this tipped into something that is, you know, I don't want to say beyond repair, but like, do you know what I'm saying? Like have we reached the point of no return with the oakiness here?

41:55 I I don't think it's over oaked. I like, I think that there is some oakiness to it. It gets a little bit funky throughout the experience, but never in a way that's overwhelming. I actually think, you know, I'll tip into my balance score here. I actually think that for the hyper aged bourbon products and you know, and rye that we get on BTEC, I think this is incredibly well balanced. There's a lot of good flavors. The oakiness isn't overwhelming. I think that it could be a little bit higher in proof point and bring out some more flavor. So that's going to dock it a little bit for me, but I'm going to give it a nine out of 10 on balance. I do think that the finish is the best part of this experience.

42:39 It really does kind of roll back up your tongue with those caramel notes, tons of brown sugar. I do get that pink bubble gum kind of dustiness a little bit as well. I'm going to give it a nine out of 10 on the finish. I'm going to give it an 8.5 on the balance. So even before we get to the value score, I'm at a 34.5 out of 40. A really good whiskey that we now have to consider the price for now. Again, this product used to be released at 90 proof back in 2018. They upped that to 101 proof. So this is not as low in proof as that Sazerac that we tried a couple weeks ago, Brad. However, it is right there with the Sazerac and probably even above that in terms of how much it costs.

43:24 I'm seeing it all over the place online for 1700 dollars, $1500. This is really firmly in that luxury bourbon category. I will say that this ranks a little bit lower among the 5B tax for me that we've had in this lineup, and I would not ever be tempted to spend 4 figures on this whiskey. That said, that's not really what we're asking here. We're asking like, does this justify being a luxury bourbon? And I'd like to hear what you think on that front. I mean, looking back at the other releases that we've drank, the only one that I have given a good score on value is the George T Stag, and I definitely stand by that.

44:11 I think it's incredible. I think that in the world of luxury whiskey, this one comes pretty close to being worth the tag of luxury. I would give it an 8 1/2 on value. I like if you're going to drop big money on AB tack whiskey, I think that between this and the George T Stag, you're going to spend your money well. Yeah. And I'm trying to remember, we tried that Thomas H Handy literally a year ago. Yeah. We did say that it wasn't as good as the prior time that we had had it, which I think was the 2018 or 2019 release. If I had to just rank these off the top of my head by gut feeling, I I think I would go Weller. Weller was fantastic for me.

44:54 Then the Stag and then I'd probably say the Handy, the Eagle Rare, and then the Sazerac Rye. That would be my 5:00. So this, like I said, I'm a little cooler on this one man. This dude, it's so good. Man, well, what's your gut reaction listing of the five? I think I would probably go the Stag the Eagle rare. Oh. Dude this Igor is so good. It's OK, it's. Pretty good. The handy and I don't know. The last two I think are interchangeable. I didn't realize you were that cool on the Weller. OK, So Brad and I have very different like pallets and I think that's what you get here when you're looking at B.Tech. The Stag is definitely the consensus choice. I would say, even though it was a a huge step below Weller for me in particular, we still haven't given it a value score. I think I will stick at my baseline score of five out of 10 for all these.

45:59 The only one that I felt like truly wasn't justified was that Sazerac Rye, which I gave like A32 on value. So if you're in the market for this, you're going to buy it no matter what I say is the value of it. So I think that's where I kind of just say, all right, then it's a 5 and that brings me to a 39.5 out of 50. I am coming in decently higher than you at a 45.5 out of 50. So you have you have surpassed the 90 out of 100 mark. That's right, I'm at a 91 out of 100. Dang, all right, that's taking us to a 42.5 out of 50 or an 85 out of 100 on average. This is a darn good whiskey.

46:44 Like I said, I think it's it's in the bottom tier of the five for me, but it might be among Brad's favorites. Yeah, 100%. I think that Eagle Rare at any level is going to be worth it. Now, the Double Eagle Very Rare, I can't speak to. If the whiskey gods want to bestow some of that juice upon us, then we'll we'll take it. We. We certainly will. Yeah, at this point, I would say Eagle Rare continues to be one of my favorite brands in the world of whiskey. Yeah, and that's how I am with Weller. It's like I I get really mad at Weller and then every time I try a Weller product I'm like damn it. I'm crawling right back. Yeah, it's like it is justified, man. All right, dude, what do you say we get back into talking about? Parasite justified class warfare. Let's get to it, man.

47:40 All right everybody, That was Eagle Rare 17, a 19 year old whiskey that knocked my socks off at the very least. It was good. It was a good whiskey. It was no. William LaRue Weller. As we're recording this, the Ohio Liquor Fall bottle lottery just went off. And they are, what's the word I'm looking for? You have a chance to win a bottle of this. So I am very hopeful. I signed myself up, my wife up. I've got a few of my friends signed up for it. We'll we'll see if we can win some Pappy or B tack. Well good luck with that man.

48:22 I don't think anyone else has ever ever won that before so. Do you think that nobody actually wins it? Like the entire list that they put out is just a giant fabrication. Sham. No, I don't think that. By the park By the park family. Yes, exactly. All right dude, it is time for us to get into our game for the day. It's a game that we call 2 facts and a falsehood. Brad is going to try to stump your ball to our right and what is wrong? 2 facts and a falsehood. 2 Facts and a Falsehood is the part of the show where Brad presents me with three items as fact about the making of this movie, one of which is a complete fabrication and I have to guess which one that is. I have started off the season very strong. Brad.

49:08 I am at 5 and O however. The The Parks of the Film and Whiskey Game. It's one of those things where, like, you know, when a running back is just freaking plowing through a defense and then they pull him for a little while and it's like, dude, you got to feed the hot hand here a little bit. Yeah, I'm a little worried that we took two weeks off from recording and now I'm just going to the bed repeatedly here and two facts and a falsehood. Do you remember Marshawn Lynch just freaking joy sticking everybody out of the way when he played for the Bills? I do and then you remember how they threw it from the one yard line. Yep, yeah, that that was with the Seahawks years, and it might have been the best decision that Pete Carroll has ever made.

49:52 All right, let's get into two facts in a falsehood. Brad, hit me with your list of three. Fact number one to create the intense flood scene in the Kim's semi basement apartment, the production team designed an intricate custom built water system that allowed them to flood the set with precision, controlling the water levels to match the pacing of the scene while keeping the actor safe. Fact #2 Kiwu's job as an at home tutor was specifically chosen by director Bong Joon Ho after you observed that in contemporary South Korea, private tutoring is one of the very few professions where individuals from vastly different social classes can realistically interact. Fact #3 editor Jin MO Yang chose to edit Parasite using Final Cut Pro 7A software that Apple discontinued in 2011. Remarkably, he worked on an old computer that hadn't been updated since 2014.

50:48 Despite the outdated technology, Yang believed that the software's familiarity allowed him to focus more on the film's intricate pacing and tone. And his unconventional choice paid off, leading to a Oscar nomination in the category of editing. That's. Awesome. Now I will, I will say that I have heard that fact before, so I I'm going to assume that's true. I don't know like how I would possibly have heard that if someone else made-up the exact same thing. So I'm going to say 3 is true. One and two both sound very plausible. Like #2 yes, tutoring is a place where social strata are crossed. And then remind me of #1 again. The flood sequence that they they custom built. During the flood sequence this time around, I found myself wondering, like, I wonder how they did this set because they clearly had to make a duplicate of the apartment that they'd used in prior scenes.

51:43 Man, what? What was the drainage system like in this? And like I was really, even though I was engrossed in the movie, I was like, man, that was that had to take a lot of technical know how just. Come out of that toilet, yeah. And you were like, I wonder how the production? Team did that. Is it chocolate? What is it? I will say it's. Really dark, Boo. It's dark, man, I'm going to say. I don't know because see your. Your fact for #1. Was just like, they had to design a very technically precise set. It's like, yeah, that's how sets work. Number #2 yes, that's how tutoring works. So I don't really know.

52:25 I'm just going to say that. I mean, you know, tutoring isn't. Always a socially stratified event, Sure. Now I feel like you're trying to steer me in a different way. I'm going to say. That number? 2 is the falsehood. I think it's probably 1. I think you got me this week, Brad, if you think you got me. Then why? Why would you? I, I feel like that's what I Yeah, it is to your answer. I'll, I'll let you, I'll let you switch if you think it's the wrong one. Nah, I I meant to stick with two. OK, well, you're wrong. Do you do you feel like? Justified. No, I knew I was wrong.

53:08 I took. I took my first L on the season so one is the falsehood. So like I I do. I'm sure they designed a set though, right? Maybe. I have no idea. No, they actually just flooded a whole city. Block and then left. It's a deal with. It poor people. Suck it I. Feel like 1 is actually true. But you just didn't find it in your research. So you're saying you made it up? I did make it up. That's that did happen. All right, man, let's get back into talking. About the movie, and since we've been hinting at poop coming out of a toilet, let's get into this kind of third act. So the second act ends as they escape the house after they've been hiding under the table. It's raining really hard.

53:53 They get back to their sub. What's what's it called? Subterranean. Subterranean life as rat. People and it is flooded up to their necks. In sewage water. And it is just the final kind of, pardon the pun, because it's going to come back later. It's kind of the final twist of the knife in terms of like, man, these people cannot catch a break and they are living in a in a hell of their own making. Partially the shot of the daughter smoking. A cigarette on their. First off, the fact that they have a toilet that you literally have to like, like climb, your head will hit the ceiling because you're climbing up to it is wild.

54:33 I mean, again, talk about visual metaphors like they live lower than the level at which you take a. Oh, and like, do you know what? I mean, I, I, yes, I loved that the transportation from the Park House to the Kim house is just this constant descent into like hell basically. So this is where I want to say. The movie or the filmmaker that Bong Joon Ho in this film reminds me of the most is David Fincher. And it's because of the how precise the use of the camera is. Like if you watch a movie like the Social Network and how even though that movie will have like really fast whip pans, everything is either like pre programmed by a computer or it is like so precise that it you can tell it's made by a madman in Fincher. And I feel like this movie is exactly like that in that first 2/3, the cameras constantly moving. There's a lot of montage in that second third, you get that great kind of like Ki Wu goes and hides under the bed of the girl that he's tutoring.

55:38 And then there's this great shot from the ceiling where the dog is like under like crouched under the bed and finds him and and it like pans over to kind of reveal the dog. And I'm like, oh, that's a Fincher shot right there. Also side note. She gets upset and leaves him safely under the bed because she finds out that whatever meal the mom had made got eaten. That thing that looked freaking delicious. It did. I I want that Ramdan. Yeah, yeah. Oh. Dude, I want some. Of that and the moment that really like. Solidified it for me is as they've gone down this descent into hell, right as they're kind of arriving at the base of this set of stairs, you get this shot that starts.

56:25 It's basically a crane shot and it just lowers itself as they kind of descend these stairs and it's lowering through this kind of twisted web of electrical lines. And it's my favorite, one of all of the visual metaphors in the whole movie because they have really weaved this web of deceit throughout the film. And you're just like, now you're watching as they have to like navigate this web that they've built for themselves. And I'm like just Primo. It's just. Such a good. Shot dude it's it's incredible and I I. Think the thing for me the second time through this movie you you mentioned earlier how every setup has a payoff and like every single moment of this movie feels like a metaphor, which the the sun Ki Woo like says multiple times throughout the movie. He's like whoa, this is so metaphorical bro, but he never says what?

57:24 It's a metaphor. For no, not a single time. And I think that's what I that's, I think this movie teeters on the edge of being ridiculous and, and like in a bad way ridiculous where it's like every single thing is knocking you over the head as multiple characters get knocked over the head in this movie. And it's like, do you get it? They're poor and that, like, for me this time through, it did not teeter off the edge into ridiculousness, but it comes close throughout the entire movie.

58:05 And it is moments like that where it's like an incredible, beautiful shot that points out the tangled web that they have woven. And it's because the director is freaking awesome that I don't mind him hitting us over the head with that. And I think in the hands of a lesser director, this would just be another absolutely never heard of in America foreign film. Let's talk about the end of the movie. Or the third section, quote, UN quote. Now I've already said I don't know if I can evaluate this kind of on its own merits because I had to watch it in a vacuum. Like I, I knowing what, what happened, I had to then go back and watch a movie and say, like, oh, how do I feel about this now? So I'll I'll never be able to experience it for the first time going in blind with a packed theater that. Said I do.

58:56 Think that the birthday party and everything that comes after it is actually the weakest part of the film. And I I say that because they have left you in so much suspense throughout the film. And now you've seen the Kims at their absolute lowest and you're expecting this big operatic outburst of violence at the end of the film. And what it really turns into is a much simpler kind of domestic, you know, in not incoherent but inexplainable outburst of violence that looks like it would belong more on like ATV drama. And I'm not saying like that it looks bad visually, but I think I was like, oh man, this is really going to come to a head. And it does.

59:39 But I was like, oh, OK, you know what I mean? Especially. After watching the. The Peach montage and then that incredibly convoluted juggling of the Ramdan sequence. The end of the movie felt a little bit like, OK, this was a good sequence, but it's like at the at best the third best sequence in this movie. I think that there are a few. Moments in the final sequence that don't quite work, like when the the dad of the Park family is going to get the keys and he like holds his nose at like that is the only part of this film that felt fake to me.

1:00:23 Like every every other element of this film felt honest to the human experience of like this is something that could be done by real humans. That was the only moment for me where I'm like, Oh, yeah, no, like nobody would turn their nose up as they're trying to get the thing that will save their son, or at least in their mind and their heart, it's the thing that will save their son. So like, like that's a little thing that kind of turned me off at the end of the movie. Overall, though, like I love the end of this movie. I I think that the conversation that Mister Kim and Mr. Park have behind the bushes and preparing to.

1:01:07 Where he's basically. Just saying like, oh. You're just like me, like you're just trying to do your best, too. And Mr. Park completely misinterprets it. And throughout the whole movie, he's been saying Mr. Kim's never crossed the line with me. And you can tell in that moment that in his eyes, he crossed the line. And he thinks it's all about money. Like to, to the point of what the rich people are not just fueled by, but their entire lens for looking at how all their relationships are transactional. Like, oh, it's, it's so good. And I think everything leading up to that birthday party is good too. Like you finally get the wife thinking that Mister Kim smells and it's such a such a mean joke because she's sitting in the back seat with her feet up on the passenger seat, like headrest with no shoes on. She has her feet literally in this guy's face. And then she's going to say, you smell too bad to me. I need to roll the window down.

1:02:00 Like it just it continues to ratchet up that like, oh, this guy's going to explode thing. And they do such a good job of intercutting it with the escape of the the former housekeeper's husband from the basement where he goes on a murderous rampage. Like, I just, I was really on board with it. And then I felt like, yes, you get this moment of kind of like chaos, but the denumont that happens after that, I'm like, OK, I, I feel like we could have ended this movie 10 minutes ago. And that's not to say any of it is bad, and it does a great job of underscoring all of the themes of the movie. But for me, especially the, the random choice to start having a narrator 5 minutes before the movie ends was like, oh, I think this is the first time that they, they kind of wrote themselves into a corner a little bit and they don't know how to get themselves out of this without putting a narrator in. And I my.

1:02:56 Curiosity was why don't you just end it knowing that the dad is now hiding in the basement. Like that felt like it would have been an honest, like wrapping up of the story that we've told. Like you have now become the mole, the lowest version of the poor person that you know you are. Like, I don't know, it felt like that would have been the thing. But instead I I'm really curious what you think about the choice to show the son making a plan even though the dad told him never to make a plan.

1:03:38 And they give you the emotional like, ah, he accomplished the plan, but then they show that it didn't really happen and or that it hasn't happened yet. Right. And I think that's even more of a gut punch. I do like that ending because it shows that the movie isn't primarily interested in being clever and ending on like all the dads in the basement. See what we did like a like A twist ending thriller kind of thing. It's more interested in the emotional gut punch of they are right back where they started, if not in a worse spot. Because now there's like they have passed the need to be aspirational and to dream an impossible dream of getting out of poverty on to their kids in a way that that wasn't there before. So it's a really tragic ending and I like that. I like that they stuck with that, but I just feel like to get to that point they have to get through about 5 minutes of really clunky exposition of him waking up and now he's kind of the happy idiot that can't help but laugh at things. And isn't isn't everything so hilarious? And you know, you find out the sister's dead and then he climbs the hill and sees the Morse code. I feel like you could have cut out like 90% of that and just showed him without narration.

1:04:48 Recovering from his injury going up to look at the house, indicating that he still has these aspirations and then seeing the Morse code and then gone into the ending. There was just a couple little clunky movements in that last 15 minutes that honestly took this movie from being like a a potential 10 out of 10 for me down just a little bit. I I think I'm. I'm like in between this is a perfect movie and where you're at like I like, I think that the ending works really well. I except for the part where he would be dead. Like I I think we can all agree that getting hit in the head with that rock multiple times meant the and the amount of blood that was underneath his head and the second one where it hits him in the front.

1:05:36 Of the head and it's thrown from a height of like 7 feet and hurled at his head. Yes, I like very clearly that is a dead man. So if we can set that aside for a moment, I I think that the narration works. I think that it almost feels like an epilogue, like like reading a book or reading a letter and it's like APS like it almost sets it up as like a here's the wrap up of the film. I think my curiosity is like, is the whole point of the movie just to say like the Kims are one step away from becoming the parks and like like. At the end of the.

1:06:20 Movie What does the Sun say? He's like, I'm sure I'll get married, I'm sure I'll have kids. That'll all come come along the way. But I'm going to get some bread. Like that's my goal, so that I can save you, but I'm gonna make money and that's the only thing I'm gonna do. Well, it puts him in a morally lose. Lose situation. Either he does accomplish that dream and he becomes morally bankrupt or he doesn't and his dad dies in a basement somewhere and they're still in squalor. Like it's. Yeah, it's a very tragic ending for sure. Yeah, What? What a brutal. Movie man. Well, on that note, Brad, let's get into our. Final segment of the day, which we call Let's Make it a Double presented by Blackwood Distilling Company. We're near the end of the episode. So thanks, listening to the film and Whiskey show, let's pair another film with this one.

1:07:10 Even if it's struggling. It's the final segment of the day. Now let's make it a double. Let's make it a double. Is the part of the show where we pick a movie to pair up with this one to make the perfect double feature? Brad, I feel like I've been talking a lot today. Would you like to go first, have your moment in the sun before I just bulldoze you with all of my words again? Oh man, I sure I. I think that I'm going to pair this with a film that like stylistically makes zero sense next to Parasite because I feel like Parasite is very economical in a lot of ways. And the movie I'm going to mention is not purposefully. I'm going to pair this with The Wolf of Wall Street, I think.

1:07:55 I think that the reason for me is because of the ending of both films. Like both of the movies end by saying, hey, like you just watched what all of these people in this movie did. What's your take? Like, where are you at as an audience member on what just happened in this movie? And I think that this time through watching Parasite, it just popped into my head. I was like, oh, this kind of reminds me of how The Wolf of Wall Street ends. And, you know, obviously both of them are about classes and wealth versus poverty and what people will do to obtain wealth. And I, I like, I think that there are similar enough themes, but the ending of the film where it like forces the question back on you the viewer.

1:08:45 You know, Parasite like Ki wooed looks directly into the camera through the 4th wall at you the viewer. It feels like a very thematically similar ending to both films. Yeah, I'm kind of along similar lines. I'm going to pick a movie that came out in 2018, one of my favorite movies from the last 10 years. And it's a film called The Favorite. It stars Emma Stone and Olivia Coleman. It's the one that Olivia Coleman wins her Oscar for. It is just like this in that it is really biting kind of vicious humor with ironic use of classical music. It's all about two would be social climbers trying to get into the court of Queen Anne and win her favor. And it is.

1:09:31 I mean, it's just it's hilarious. It's brutal. And I could not be more entertained by that movie. And it it raises the same kind of questions of films like Parasite and The Wolf of Wall Street. So it's the favorite for me, it's Wolf of Wall Street for Brad. And that was let's make it a double presented by Blackwood Distilling Company. No matter which film you choose to pair it up with, you can always make it a double with Blackwood Distilling Co. Yeah, and if you are making. It a cocktail double Bob. I made their rye Rita the other day where I dude dude I I already love margaritas.

1:10:13 There was a Mexican restaurant near the house where I lived with Haley when we first got married in the world famous Barbara in Ohio. Have you ever had El Jalapenos $10? It's probably like 13 or $14.00 now, but they're like signature Margarita. I I have not. I assume it's. Incredible and large, it's beyond. Like beyond belief delicious because they use like actual fresh oranges and limes for everything. It's so good. I did all of that but I made it with Blackwood Rye. Dude, the toasted rye freaking works in this cocktail. The rye, Rita, I think you.

1:10:56 Can find a recipe for it on their website. If not just folks, make your preferred Margarita mix and use Blackwood's toasted Rye. And folks, if you want to try Blackwood for the first time, you can save 5% off of every bottle. If you go to bourbonoutfitter.com/film Whiskey, that's bourbon outfitter slash film whiskey. Use our code film whiskey with an E at checkout and you will save 5% off of a bottle. Go to bourbonoutfitter.com and give Blackwood a try. Brad, it's time for us to give final scores on this movie. I'm going to be at a nine out of 10 on this one. I really, really like this movie. I know I ruined it for myself, and I'm feeling like this movie is hitting the ceiling of where it can be, knowing that I ruined it for myself. But I do feel like that last 15 minutes is just a little bit clunky, and it took it from being a possible 10 down to a nine for me.

1:11:50 Yeah, this movie is not. Perfect. But man, it is so, so close for me. I'm going to give it a nine and a half. I think I gave it like an 8 1/2 after the first time I watched it, but seeing it a second time through, you are right, Bob, The the cinematography in this movie is just incredible. I, I don't know if I've ever seen a movie where the camera felt more impersonal and like we said, biting and yet allowed the characters to be so likable. I like, I was just blown away by that. This time through. It's a nine and a half for me. Now the real question, Bob, is this a modern classic? I think it's a modern classic.

1:12:36 Kind of in spite of me, right? Like it's it is far and away. I think the. Best loved movie of the last 10 years. Oppenheimer notwithstanding, like it is it is in the top. It might be the number one movie on letterboxed. Like, it's really, really high up there and it it has like an average rating of eight point whatever on IMDb. The general public, in addition to critics love this movie. I think that I am I have finally joined their ranks in terms of not just deep appreciation for the movie, but actually enjoying it. I don't think I would have it on like my personal top 20 of of this century or anything. But yes, I think it does deserve to be considered a modern classic.

1:13:21 Where are you falling on this one, Brad? Yeah, I I think this is a modern classic. The further along we get in this season and and talk about the idea of a modern classic, I think for me, there's something about a movie that like advances the world of cinema that's like important and and that it brings something new to the table while still appreciating everything that came before it. I think Parasite really does that well. I I mean, you talked about it a minute ago. I think that Parasite and Oppenheimer are like, for me at the top. We watch Whiplash too, man.

1:14:01 Yeah, I would say those three are like peak examples of what a modern classic should be. Yeah, and I mean not to spoil too much, I think. Next week we might be getting into modern classic territory as well, but in a completely different genre and type of film, because next week we are looking at Sam Mendes's James Bond masterpiece, Question Mark Skyfall. Brad, have you seen Skyfall before? I have I there is a. Season where like every time a new Bond film came out, I had a small group of friends that we would just kind of go see it with the Daniel Craigs. So I saw it when it came out in theaters and I have not seen it since.

1:14:43 Well, you're about to see it again, man. Folks, that is it. For Parasite and we're teasing next week's movie. But before we get there, let us know what you think of this film. You can find us on all of our social media platforms, Facebook, Twitter, Instagram, YouTube and TikTok at Film Whiskey, or you can jump into the conversation on Discord. We. Are on there every single day talking movies, whiskey, and so many other things. If you'd like to join the conversation, there's a link to our Discord at the end of every single one of our show notes. Join us next week for 2012's Skyfall. But until then, I'm Bob Book, I'm Brad G and we'll see you next. Time.