The Frighteners 1996 Review

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[SPEAKER_05]: And hello movie lovers, welcome to show.

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[SPEAKER_05]: With me, I'm a good friend Bob with me from static radio.

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[SPEAKER_05]: I said to have him back here again, less than we do this was like the worst movie endings of all time.

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[SPEAKER_05]: So now we're talking about the right there.

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[SPEAKER_05]: As a pull hook, we don't know.

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[SPEAKER_05]: We're gonna have to decide that later on after we do the scene by seeing breakdown.

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[SPEAKER_05]: So let's go ahead, let's do this, guys.

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[SPEAKER_05]: And hey Bob, welcome back.

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[SPEAKER_05]: Great man, let's go to have you back here again.

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[SPEAKER_05]: It's been a minute, but it's always proved good to have you.

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[SPEAKER_05]: Thank you.

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[SPEAKER_05]: That's actually one of my other favorite hard movies.

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[SPEAKER_00]: Yeah, it's a good one.

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[SPEAKER_05]: Yeah, it's cheesy, but it's good, right?

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[SPEAKER_00]: It's good.

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[SPEAKER_05]: Well, let's, you know, James Woods is in it.

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[SPEAKER_05]: You also have one of the guys from Sansbury and Arkey and that movie as well in Alec Baldwin.

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[SPEAKER_05]: So it's a good movie.

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[SPEAKER_05]: It's one of my favorites.

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[SPEAKER_00]: And it's a carpenter movie as well, right?

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[SPEAKER_00]: John carpenter, yeah.

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[SPEAKER_00]: John carpenter, yeah.

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[SPEAKER_00]: Love John carpenter.

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[SPEAKER_05]: Me too as well.

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[SPEAKER_00]: Yeah.

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[SPEAKER_05]: But yeah, I ended up doing a review on one of, well, actually, a couple of his films, actually, I've done the thing.

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[SPEAKER_05]: I've also done that one, Roddy Piper in it.

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[SPEAKER_05]: I'm sorry, yeah.

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[SPEAKER_05]: Maybe they live.

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[SPEAKER_05]: Yep, they live.

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[SPEAKER_00]: So yeah, I thought a lot of John Carpenter stuff and even the whole thing probably being I would say almost a penultimate Carpenter movie Perhaps definitely Yeah, but man, let's talk about this.

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[SPEAKER_00]: So This is Jackson now with our Peter Jackson stuff.

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[SPEAKER_05]: Yeah, now we're talking here to ask and here's a thing

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[SPEAKER_05]: We're not looking at this.

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[SPEAKER_05]: I'm thinking about the guy who made Lord of the Rings.

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[SPEAKER_05]: I'm thinking of the guy who gave us a great trilogy with that.

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[SPEAKER_05]: And looking back at this, it's a completely different Peter Jackson than what we knew back in 2000.

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[SPEAKER_05]: Oh, yeah.

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[SPEAKER_05]: Yeah.

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[SPEAKER_05]: It's just amazing on the development of the stuff that he's done and we'll get into it later on about how I think this film feels a little different than any other Peter Jackson movie that I've actually watched.

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[SPEAKER_05]: Yeah, one where the girl goes missing.

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[SPEAKER_00]: Older one I'm trying to think here came out in 2012 thing.

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[SPEAKER_00]: Oh, 2012.

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[SPEAKER_00]: So that's a newer one then.

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[SPEAKER_00]: Yeah, I don't it's not it's got Mark Wahlberg.

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[SPEAKER_00]: Oh gosh.

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[SPEAKER_00]: By 2012 was work Wahlberg.

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[SPEAKER_00]: He lately's just been doing the Beatles movies.

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[SPEAKER_00]: Right.

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[SPEAKER_00]: Okay.

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[SPEAKER_00]: That's a nine.

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[SPEAKER_00]: That's a nine.

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[SPEAKER_00]: Love the bones.

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[SPEAKER_00]: Yep.

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[SPEAKER_00]: That's it.

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[SPEAKER_00]: Yeah.

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[SPEAKER_00]: So that was, yeah.

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[SPEAKER_00]: And the weird piece of trivia on that is that Ryan Gosling was supposed to be the lead.

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[SPEAKER_00]: And he gained he wasn't gained a bunch of weight I think was for this one and he was too fat.

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[SPEAKER_00]: That's a weird story.

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[SPEAKER_00]: Right.

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[SPEAKER_00]: I think that was this, I think that was this movie.

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[SPEAKER_00]: The frighteners.

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[SPEAKER_00]: Yeah.

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[SPEAKER_00]: No, a lovely bones.

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[SPEAKER_00]: Okay.

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[SPEAKER_00]: Gotcha.

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[SPEAKER_00]: Yeah.

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[SPEAKER_00]: It was a weird Ryan guys like kind of overdid it overshot it.

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[SPEAKER_00]: I think so too.

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[SPEAKER_00]: And on that one, and then they run in Walberg.

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[SPEAKER_00]: So, but yeah, I know that he has a lot of

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[SPEAKER_00]: The first movie, everybody knows from the Hobbit, right?

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[SPEAKER_00]: So, if you'd like to follow the ring, yeah, or not the Hobbit, you'd blow to the ring stuff and all that Tolkien stuff.

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[SPEAKER_00]: But he, he's got a very diverse catalog.

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[SPEAKER_00]: The weird thing is the first movie I saw of his, was called Heavenly Creatures.

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[SPEAKER_00]: Okay, you haven't seen that one.

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[SPEAKER_00]: It is a really good, really good movie that it is about two girls who commit murder.

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[SPEAKER_00]: Anyway, watch it.

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[SPEAKER_00]: Okay, when's lit and Lee and Kate once lit was in it when she was really young and who's the other person.

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[SPEAKER_00]: Melanie Linsky, Melanie Linsky was the other one.

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[SPEAKER_00]: And so they both obviously can't wait for us to go on the, you know that name, Melanie Linsky is actually still acting now, but they were both really young when they made that movie.

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[SPEAKER_05]: So, let's get on to this one.

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[SPEAKER_05]: Yeah, let's talk about this.

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[SPEAKER_05]: Okay.

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[SPEAKER_05]: So my question for you, though, as far as this dowry goes for the writers, how did you find out about the writers and movies you're a first initial thoughts as a young Bob watching it.

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[SPEAKER_00]: Yeah.

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[SPEAKER_00]: I remember what it was at the movies actually.

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[SPEAKER_00]: Yeah.

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[SPEAKER_00]: And but you know what, I don't, I cannot recall that I went to see it.

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[SPEAKER_00]: because I think at 96 is the year that this came out.

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[SPEAKER_00]: And in 96, what was I to it?

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[SPEAKER_00]: Oh, I was, it was, it was in my end of my career as it were, as a career.

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[SPEAKER_00]: And so yeah, it wasn't going out to the movies as much.

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[SPEAKER_00]: And so I, I, uh,

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[SPEAKER_00]: I didn't see this one at the movies.

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[SPEAKER_00]: I actually, as far as I know, I've only seen this one within the last like two years for the first time, believe it or not.

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[SPEAKER_00]: Oh nice.

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[SPEAKER_00]: So yeah, so I didn't see it back in the 90s and then I have been wanting to see it and then I watched it.

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[SPEAKER_00]: on the stream mean not too long ago and then it popped up whenever you know we connected and like yeah I thought that would be one that I would talk about so yeah and then you know brushed up on it for tonight, but yeah I hadn't seen it back in the 90s but

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[SPEAKER_00]: I wanted to, and for whatever reason, you know, you go through that phase especially during the rental days, right?

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[SPEAKER_00]: So after things have been moving, they come onto the at the time of the video store or rentals and what have you.

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[SPEAKER_00]: And I guess I couldn't ever convince my wife to watch it because usually whenever you, whenever you're doing, during those days, for the most part, you had to agree upon it, you know, and I don't think it was her speed and so I skipped over back then.

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[SPEAKER_05]: I was actually, I was in Boston and revere.

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[SPEAKER_05]: And I got a chance to see this in the movie there as a kid.

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[SPEAKER_05]: Also, too, I was kind of intrigued with the poster because of the fact it doesn't give anything a way as to what this movie is, and you don't have a clue at what it is.

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[SPEAKER_05]: And I didn't know who was in it or anything like that up until I seen the trailers for it as a kid.

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[SPEAKER_05]: I knew it was Michael J.

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[SPEAKER_05]: Fox.

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[SPEAKER_05]: I love Michael J.

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[SPEAKER_05]: Fox.

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[SPEAKER_05]: I was ecstatic for this.

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[SPEAKER_05]: I was stuff in popcorn on my face.

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[SPEAKER_05]: I love ghosts.

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[SPEAKER_05]: I love everything within the realm of horror, comedy, and stuff like that.

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[SPEAKER_05]: So I thought this was a perfect blend for me to go out and see this.

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[SPEAKER_05]: And my parents took me out to go see it.

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[SPEAKER_00]: I think they, I think they could have

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[SPEAKER_00]: I mean, in hindsight, just thinking back, I think they've loved a little bit on the marketing because they really didn't put Michael J.

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[SPEAKER_00]: Fox front in center, right?

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[SPEAKER_00]: They, he was kind of tucked into things, right?

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[SPEAKER_00]: You knew about it because you saw the trailer, you saw some stuff, but it really didn't come across in the print, you know, the posters, so forth, like it was of gonna be a comedy, or a Michael J.

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[SPEAKER_00]: Fox movie, it really kind of scary,

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[SPEAKER_00]: a very medicine looking poster.

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[SPEAKER_05]: Exactly.

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[SPEAKER_05]: It doesn't give too much a way or anything like that.

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[SPEAKER_05]: It has that mystery element of what I feel like that they need to do a poster today.

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[SPEAKER_05]: It makes us curious enough to actually see it.

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[SPEAKER_05]: I think clockers is also another movie.

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[SPEAKER_05]: That's a really good film.

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[SPEAKER_05]: And that poster

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[SPEAKER_05]: was an mystery element to that movie.

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[SPEAKER_05]: This as this is also a mystery element.

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[SPEAKER_05]: If you haven't seen this movie already, who have any of your singing for the poster for the very first time, you're like, wondering, okay, Peter Jackson, never heard that director before.

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[SPEAKER_05]: And that's all it says, Peter Jackson on the top.

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[SPEAKER_05]: Nothing about Michael J.

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[SPEAKER_05]: Fox, I can mention.

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[SPEAKER_05]: He's in pretty much Michael J.

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[SPEAKER_05]: Fox is like in the background.

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[SPEAKER_05]: If you think about it, they're pretty much hiding the fact that Michael J.

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[SPEAKER_05]: Fox has attached.

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[SPEAKER_05]: to this film.

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[SPEAKER_05]: And I think they're going off of the fact of, let's look, let's look at the mystery element of the poster.

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[SPEAKER_05]: I'm like, that's solid.

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[SPEAKER_05]: First before we just show you guys who's starring in this movie.

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[SPEAKER_00]: Right.

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[SPEAKER_00]: Yeah.

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[SPEAKER_00]: And I think Peter Jackson really, this is, you know, I wouldn't say super early in his career, but early.

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[SPEAKER_00]: So I mentioned having the creatures was 90 for the worst kind of is that was kind of his first introduction into the American market.

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[SPEAKER_00]: He had another movie called bad taste, which I haven't actually watched from the late 80s, which I haven't my cue to watch.

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[SPEAKER_00]: because it's a Peter Jackson movie, but yeah, Heavenly creatures kind of brought him forward and the frighteners is kind of, I would say probably his first big, you know, Hollywood-style movie that he made.

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[SPEAKER_05]: Right, I can definitely see that because he also made dead or alive in 92 and then two years later comes out with heavenly creatures and then after that year later forgotten silver, which is a TV movie.

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[SPEAKER_05]: Right, and then Lord of course, we have the 2001 to 2003 with Lord of the Rings, and then you have King Kong then lovely bones.

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[SPEAKER_05]: So pretty much I've seen every single thing of his filmography.

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[SPEAKER_00]: Yeah, most of my haven't seen this super early ones, so I'm trying to get back to that.

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[SPEAKER_05]: Yeah, I mean, I actually see the von Souver heavily creatures in debt a lot.

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[SPEAKER_00]: Yeah.

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[SPEAKER_05]: I mean, the feebles.

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[SPEAKER_00]: Yep.

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[SPEAKER_00]: I think I, have I seen the feebles?

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[SPEAKER_00]: I don't think I have.

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[SPEAKER_00]: It brings a bell, but I can't remember now.

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[SPEAKER_00]: No, I haven't.

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[SPEAKER_00]: I'm looking at stuff here.

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[SPEAKER_00]: I haven't seen it.

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[SPEAKER_00]: So that'll be my list now, too.

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[SPEAKER_05]: Okay.

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[SPEAKER_05]: Well, we might actually have to do like a Peter Jackson kind of filmography review for his early works.

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[SPEAKER_00]: Yeah, the pre pre Peter Jackson before Lord of the Rings.

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[SPEAKER_00]: Exactly.

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[SPEAKER_05]: But if I had to get this in this.

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[SPEAKER_05]: I was rating for me.

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[SPEAKER_05]: I would have to at least get this like maybe an 7.5 out of 10 just because of the fact that you have Michael J.

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[SPEAKER_05]: Fox in this movie, the energy of his levels is really up there.

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[SPEAKER_05]: and then him being this hustler who tries to make money off of other people because of he's a psych, psychache who also investigates paranormal activity and stuff like that too.

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[SPEAKER_05]: So I definitely like that.

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[SPEAKER_05]: So I'm feeding off of that.

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[SPEAKER_05]: I'm not feeding off the Peter Jackson director, because I didn't know his work for that time.

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[SPEAKER_05]: And also too, a couple of years back, and I know I did this review solo by myself.

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[SPEAKER_05]: and stuff before, but I wanted to redo this with somebody else, so I can geek out over that.

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[SPEAKER_05]: But the thing that I found interesting was Danny Elfman did the scoring, and I had no idea at that time that Danny did the scoring.

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[SPEAKER_05]: Unlike so, I'm growing up with Danny all through the 80s, 90s, 2000s.

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[SPEAKER_05]: This is crazy.

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[SPEAKER_00]: Yeah, and this was early, his

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[SPEAKER_00]: This is when he, you know, because he was part of, uh, Ongo Bongo, right?

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[SPEAKER_00]: So he was doing Ongo Bongo and so forth.

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[SPEAKER_00]: And he was in, um, he was in back to school.

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[SPEAKER_00]: Because Ongo Bongo played in the movie.

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[SPEAKER_00]: And so forth.

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[SPEAKER_00]: And then I think it wasn't too long after that.

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[SPEAKER_00]: That then he started popping up.

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[SPEAKER_00]: Well, Batman, right?

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[SPEAKER_00]: Right.

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[SPEAKER_05]: He also did wear science.

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[SPEAKER_00]: Yeah.

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[SPEAKER_00]: Yeah.

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[SPEAKER_00]: Pop into things more.

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[SPEAKER_05]: Yeah.

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[SPEAKER_05]: He has like little sparkles here and there of Danny Flavor, if you will.

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[SPEAKER_00]: And then of course after that, you know, you can almost do an Elfman-esque for the music, right?

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[SPEAKER_00]: Music is a very Elfman-esque.

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[SPEAKER_05]: But we'll talk about that in a few minutes, though, too when we do this, just being by scene.

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[SPEAKER_05]: But are you going to do like an NA for your nostalgia score?

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[SPEAKER_05]: Are you just going to do?

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[SPEAKER_00]: Well, I would say the interesting thing is because I did not see it at the time it came out, but I really wanted to, but for whatever reason, it just never came together, right?

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[SPEAKER_00]: And actually, I don't think that this movie performed super well at the box office.

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[SPEAKER_00]: Right.

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[SPEAKER_00]: It wasn't a big hit or anything for Peter Jackson or Michael J.

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[SPEAKER_00]: Fox in that regard.

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[SPEAKER_00]: And so I think it kind of came and went fairly quickly.

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[SPEAKER_00]: And that may have been part of the reason to the weird thing is when it was on, you know, the list of things we were going to talk about.

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[SPEAKER_00]: I was like, I've always wanted to see this right.

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[SPEAKER_00]: So I think in the South you would be pretty high.

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[SPEAKER_00]: because I really wanted to at the time and then I just never did.

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[SPEAKER_00]: So, because I would be like, wow, that was something that I was trying to get to, but I could never, I never made it.

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[SPEAKER_00]: You know what I mean?

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[SPEAKER_00]: It's something that I had to wait all these years later to catch it, which is kind of a weird thing to say, I suppose.

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[SPEAKER_00]: But,

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[SPEAKER_00]: So I have very fond fond thoughts of it from whenever it came out and so I think that kind of you know gives me that that weird vibe and also this is before you know this is probably what maybe at the very cusp or the beginning of Michael J.

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[SPEAKER_00]: Fox's health issues

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[SPEAKER_05]: Yeah, this is actually when Reeve has started to have Parkinson's.

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[SPEAKER_00]: Yeah, it's not the very started.

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[SPEAKER_00]: I watched his documentary, you know, the, I can't remember the name of it.

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[SPEAKER_00]: I'll tell my head here, but his documentary, and I think this was, because then that's why he did start doing spin city.

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[SPEAKER_00]: After this is because I think he felt, you know, he needed to be a little bit more stable and not he, he was this was all shot in New Zealand and he didn't he couldn't be traveling around the world when he started, you know, things started getting weird.

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[SPEAKER_00]: Right, I can totally understand that.

14:11.548 --> 14:13.471
[SPEAKER_00]: Yeah.

14:13.491 --> 14:15.013
[SPEAKER_00]: So if I had to give a score, I'd give it eight.

14:15.274 --> 14:15.554
[SPEAKER_00]: Sorry.

14:15.734 --> 14:16.195
[SPEAKER_00]: Okay.

14:16.395 --> 14:18.659
[SPEAKER_00]: I don't know what's cool.

14:19.120 --> 14:20.642
[SPEAKER_00]: I built them down and say it.

14:21.820 --> 14:22.942
[SPEAKER_05]: And it's all good man.

14:22.962 --> 14:25.046
[SPEAKER_05]: So you're going with a Nate.

14:25.146 --> 14:26.608
[SPEAKER_05]: I'm going to go with a 7.5.

14:26.649 --> 14:27.610
[SPEAKER_05]: So we're kind of in there.

14:27.650 --> 14:30.255
[SPEAKER_05]: We're kind of like in the middle a little bit right.

14:30.375 --> 14:30.616
[SPEAKER_00]: Yeah.

14:31.036 --> 14:34.603
[SPEAKER_00]: Well, because I know he's, you know, I knew Peter Jackson from the earlier thing.

14:35.143 --> 14:44.520
[SPEAKER_00]: Michael DeFox obviously was in very known quantity at that point because he was just, you know, a superstar at that at this point, you know, so.

14:45.698 --> 14:50.388
[SPEAKER_05]: So I'm going to go in with a little bit of trivia and then we'll go into this invite me for you down.

14:51.270 --> 15:00.248
[SPEAKER_05]: So this movie, actually, you're right, though, this this had a budget of 26 million, it only made 29.3 million didn't make as money back.

15:02.252 --> 15:03.555
[SPEAKER_05]: So there's that.

15:04.413 --> 15:13.617
[SPEAKER_05]: The development Peter Jackson and co-writer fan wash conceived the idea of the writers in 1992 through the script writing phase of heavily creatures together.

15:13.657 --> 15:19.452
[SPEAKER_05]: They wrote at three page film treatment and sent it to their talent agent in Hollywood.

15:19.432 --> 15:28.991
[SPEAKER_05]: Robert as the Mac is view their treatment with the intention of directing the frighteners as a spin-off-down on the television series tilt from the crypt, which he helped produce.

15:29.011 --> 15:34.281
[SPEAKER_05]: The Mac is higher jacks and involves to turn their treatment into a full-length screenplay in January 1993.

15:34.422 --> 15:38.149
[SPEAKER_05]: The husband and wife do a completed the first draft.

15:38.129 --> 15:43.555
[SPEAKER_05]: For the fighters in early January 1994, Samakis was so impressed for their script.

15:43.575 --> 15:58.653
[SPEAKER_05]: He decided the fighters would work better directed by Jackson executive produced by Samakis and funded distributed by Universal Pictures, Universal Green Lab, funded the film to Congress pre-production on a 26 million dollar budget in April 1994.

15:59.334 --> 16:06.482
[SPEAKER_05]: The studio also granted Jackson and Samakis' total artistic control in the right of final cut privilege.

16:06.462 --> 16:13.217
[SPEAKER_05]: All right, Bob, grab your ghost detector and maybe a vacuum cleaner because tonight bear hunting the dead again.

16:14.840 --> 16:17.666
[SPEAKER_03]: Oh, this could be a worst case ever since.

16:17.686 --> 16:21.014
[SPEAKER_03]: Oh, this is bad.

16:21.034 --> 16:24.842
[SPEAKER_03]: Okay, well, folks, I can do a clearance, but it's not going to be cheap.

16:25.683 --> 16:33.135
[SPEAKER_05]: That's right, we're talking to Freightner, the 1996 hard company that asked, what if your local con artist could actually talk to ghosts?

16:33.756 --> 16:35.579
[SPEAKER_05]: And they were his co-workers?

16:36.360 --> 16:39.726
[SPEAKER_05]: Peter Jackson made his one before middle earth.

16:39.746 --> 16:45.936
[SPEAKER_05]: In a set of orcs, we got murderous spirits, those buddies, in a body count that would make Beetlejuice call HR.

16:46.473 --> 16:52.244
[SPEAKER_05]: Once a strap in, because we're going full ghost mode, it find out and the frighteners still deserves.

16:52.925 --> 16:59.177
[SPEAKER_05]: The sold deliveries, chills, laughs, and nondies charm, or if it's just haunting our nostalgia.

16:59.197 --> 17:03.705
[SPEAKER_05]: In 1990, architect Frank Bannister's life, Deborah dies in my heart.

17:03.685 --> 17:08.310
[SPEAKER_05]: for Ben, Ben is his profession and his unfinished dream house.

17:08.850 --> 17:22.405
[SPEAKER_05]: So it's incomplete, following the accident, Frank gained the power to see ghost in he friends three, 1970 street gangster Cyrus, 1950s nerds doard in the judge, a gunslinger from the old west.

17:22.645 --> 17:32.275
[SPEAKER_05]: The ghost hunt houses, so Frank can then exercise them

17:32.255 --> 17:40.908
[SPEAKER_05]: So before we get into that, let's talk about the titles and stuff and things like that too, because like I said, this doesn't feel like a Peter Jackson movie.

17:40.928 --> 17:48.779
[SPEAKER_05]: It feels more like a tin Barton movie, especially when you look at it, it reminds me of Beetlejuice.

17:48.799 --> 17:54.808
[SPEAKER_00]: A lot of this was, you know, pre-stuff to go into Lord of the Rings as well, the effects shots and every.

17:54.828 --> 18:01.738
[SPEAKER_00]: This is the super effects lady movie.

18:01.718 --> 18:08.344
[SPEAKER_00]: You're pulled into this and I think Danny Elfman kind of pulls it into Burton Territory because they're so synonymous, right?

18:09.165 --> 18:11.107
[SPEAKER_00]: And with the music and so forth.

18:11.948 --> 18:13.889
[SPEAKER_00]: And yeah, pulls you right?

18:13.930 --> 18:19.875
[SPEAKER_00]: And I mean, to me it's like a slam dunk scenario for Michael J.

18:19.935 --> 18:30.325
[SPEAKER_00]: Fox, you know, kind of a

18:30.305 --> 18:40.522
[SPEAKER_00]: So everything is good, but yeah, the titles are really good and the, but you're right, it was much more what do you want to say.

18:40.542 --> 18:43.046
[SPEAKER_00]: I'm trying to thank you.

18:43.326 --> 18:49.036
[SPEAKER_00]: It's kind of quirky a little more, a little more Hollywoody.

18:49.356 --> 18:51.199
[SPEAKER_00]: I think the most of Jackson's stuff.

18:52.462 --> 18:55.345
[SPEAKER_05]: I can see that because this is a 26 million dollar budget.

18:55.505 --> 18:59.370
[SPEAKER_05]: So this is actually the biggest budget that he probably had going into it.

18:59.410 --> 19:03.454
[SPEAKER_05]: We have to find out later on if that's true or not once we actually reviewed the other films.

19:04.735 --> 19:09.781
[SPEAKER_05]: Like, you know, I think that now that he has a little bit of money in his pocket, he's like, okay, I'm going to go all out.

19:09.801 --> 19:11.563
[SPEAKER_05]: We're going to go ahead and get any health men in this.

19:11.583 --> 19:12.604
[SPEAKER_05]: We're going to be scoring.

19:13.345 --> 19:13.725
[SPEAKER_05]: He's done.

19:13.865 --> 19:14.987
[SPEAKER_05]: He has a good track record.

19:15.147 --> 19:16.849
[SPEAKER_05]: So let's go ahead and get him involved.

19:18.190 --> 19:20.933
[SPEAKER_05]: And I think that they knock it out with

19:20.980 --> 19:48.675
[SPEAKER_05]: With the scoring because it does have that airy kind of feel to it and has that beetle juice kind of flavor to it the title itself has that has the light the neon glow to the titles just as beetles use also has those titles as well so I definitely like how they bring it that the tail but also to when we have that the shot of going into the house and then you see this goes chasing down this one we don't know who this will be there.

19:49.111 --> 19:49.391
[SPEAKER_05]: Right.

19:49.411 --> 19:50.914
[SPEAKER_05]: You have no idea who she is.

19:51.354 --> 20:00.648
[SPEAKER_05]: All we know is there's a ghost being attacking her through the walls and following them through this house in a storming it's raining of course, it's not 90s flavor.

20:01.689 --> 20:01.809
[SPEAKER_01]: Right.

20:01.829 --> 20:02.651
[SPEAKER_05]: Of a hard movie.

20:03.372 --> 20:04.233
[SPEAKER_05]: Yeah.

20:04.253 --> 20:09.340
[SPEAKER_05]: So I like how the special effects to me still work for this scene.

20:09.881 --> 20:18.173
[SPEAKER_05]: I didn't really feel like the special effects was that bad compared when you look at other 90s movies.

20:18.608 --> 20:18.968
[SPEAKER_00]: Right.

20:19.088 --> 20:29.980
[SPEAKER_00]: No, it was, and this was, you know, the beginnings of, of what a, right, which with the, you know, Lord of the Rings was what it was built on Lord of the Rings and vice versa.

20:30.700 --> 20:32.082
[SPEAKER_00]: And so this is the beginnings of that.

20:32.162 --> 20:45.055
[SPEAKER_00]: So I think this was like, in a way, a little bit of experimentation to see what how far they could push things as that, because like you read there earlier,

20:45.035 --> 20:58.653
[SPEAKER_00]: or the rings was next up in the lineup here, so they're looking towards doing things and they didn't have you know, there was nothing in New Zealand before they created it as far as special effects houses and so forth.

20:59.234 --> 21:02.057
[SPEAKER_00]: And it all comes out of Peter Jackson's movies, which is kind of wild.

21:02.157 --> 21:04.460
[SPEAKER_00]: So this is just one of the steps to get there.

21:05.722 --> 21:14.113
[SPEAKER_05]: But you think of the chasing though, did you feel what did you

21:15.325 --> 21:17.732
[SPEAKER_05]: onster or this ghost in the walls.

21:17.832 --> 21:21.684
[SPEAKER_05]: And this has a nightmare and arm street kind of failed to win see right in behind the wall.

21:22.526 --> 21:22.667
[SPEAKER_00]: Right.

21:23.148 --> 21:27.782
[SPEAKER_00]: Well, I thought it was really cool, but the weird thing is that it's very

21:28.724 --> 21:33.651
[SPEAKER_00]: The tone was much more scary that I think the movie ended up being, right?

21:33.691 --> 21:45.487
[SPEAKER_00]: So you started out in kind of a really dark place and then they, you know, through the first part of the movie, they pulled you in to it was, you know, somewhat comical after a little while.

21:45.548 --> 21:53.078
[SPEAKER_00]: So this was really quite, you know, dark and scary compared to what the rest of the movie is going to be.

21:53.412 --> 22:21.462
[SPEAKER_05]: Right, and at first, I'm like, do they know what the identity of this movie of what this movie is supposed to be, because of the fact that it pulls you in, thinking this is a full-blown harm movie, see the mother, well, we don't know that that's from mother, right, but you see the mother talking to the daughter and we also see that there's a bunch of spooky stuff happening, but we have no context of who these two characters are yet, but

22:21.627 --> 22:22.309
[SPEAKER_05]: There's thing.

22:22.870 --> 22:34.764
[SPEAKER_05]: I feel like at the very beginning, a new way to want it to be, and then all of the sudden just becomes a comedy horror movie versus it being a full-blown psychological horror thriller movie.

22:35.265 --> 22:35.606
[SPEAKER_00]: Right.

22:35.927 --> 22:36.649
[SPEAKER_05]: Yeah.

22:36.629 --> 22:38.031
[SPEAKER_00]: Yeah, I don't know.

22:38.091 --> 22:44.602
[SPEAKER_00]: Maybe I, there is a, I think a making of or something like that.

22:45.364 --> 22:46.445
[SPEAKER_00]: That's in his filmography.

22:46.505 --> 22:47.587
[SPEAKER_00]: I have not watched that.

22:47.627 --> 22:48.188
[SPEAKER_00]: There is a thing.

22:48.208 --> 22:49.330
[SPEAKER_00]: Yeah, the making of the frighteners.

22:50.332 --> 22:52.275
[SPEAKER_00]: And maybe they, you know,

22:53.690 --> 22:56.254
[SPEAKER_00]: maybe they started out wanting to go in that direction.

22:56.354 --> 23:03.825
[SPEAKER_00]: I don't know if this was shot at the beginning or the end because everything's at a sequence normally, but I think Michael J.

23:03.865 --> 23:18.786
[SPEAKER_00]: Fox is, you know, sensibilities into an actor kind of tend toward being more comedic than being, you know, overly dark and brooding and so forth, which is what you kind of got from the beginning.

23:18.766 --> 23:35.442
[SPEAKER_00]: Or maybe that was this the to set you up right to pull you in and then it's a little switch of room, but maybe I don't know, maybe they didn't pull that off quite as good as they had hoped they were going to because it did feel like this was a little bit separated from what happens later.

23:36.417 --> 23:36.938
[SPEAKER_05]: Exactly.

23:37.058 --> 23:39.442
[SPEAKER_05]: It does have a little bit of a separation from it.

23:39.462 --> 23:39.783
[SPEAKER_05]: We don't.

23:40.805 --> 23:43.269
[SPEAKER_05]: And we're thinking we're going to get one thing instead of getting another thing.

23:43.289 --> 23:47.576
[SPEAKER_05]: So it was kind of just controlling it when are you going to think of it on that kind of context?

23:48.478 --> 23:54.308
[SPEAKER_05]: But it still pulls on my attention of wanting to see if try to figure this out on why this

23:54.288 --> 23:56.392
[SPEAKER_05]: being is haunting this girl.

23:56.873 --> 24:03.267
[SPEAKER_05]: So it pulls you in at this cold opening and then it goes in to this other thing now, too.

24:03.728 --> 24:04.810
[SPEAKER_05]: And this is what I want to talk about.

24:04.830 --> 24:09.560
[SPEAKER_05]: There's something that I really liked and I wish they would have actually done more of, but we don't get it.

24:11.705 --> 24:13.849
[SPEAKER_05]: So I'd like to stop with the tabloids.

24:14.538 --> 24:14.919
[SPEAKER_05]: with this.

24:15.019 --> 24:19.446
[SPEAKER_05]: I like what they're doing with it where the characters are giving us context into this town.

24:19.486 --> 24:39.938
[SPEAKER_05]: This town is terrified by something mysterious, something dark, something that they don't understand or can't see and it's like death is taking taking up people's lives and the woman who says,

24:40.542 --> 25:07.545
[SPEAKER_05]: I wish it would have actually played with that a little bit more is and then also to it also gives you context of like this town is terrified right up being killed and I talked yeah stock by the green reaper but at the same time though, and this is the same thing with what I said about shocker, okay, I didn't feel like

25:08.082 --> 25:09.544
[SPEAKER_01]: Right.

25:09.564 --> 25:09.705
[SPEAKER_05]: Yeah.

25:09.745 --> 25:16.355
[SPEAKER_05]: And we see a funeral when we first get introduced to Michael Zafox's character, and they're in the rain, of course.

25:16.496 --> 25:20.843
[SPEAKER_05]: But you don't really get to see the context of this town being scared.

25:21.223 --> 25:25.750
[SPEAKER_05]: And even in shock, we only seen one girl who was actually terrified of course, Pinker.

25:26.251 --> 25:28.094
[SPEAKER_05]: But we don't see the whole town.

25:28.675 --> 25:33.583
[SPEAKER_05]: It just says this, we don't feel that whole town, the yellow people feeling scared.

25:33.867 --> 25:34.308
[SPEAKER_00]: Right.

25:34.428 --> 25:34.728
[SPEAKER_00]: Yeah.

25:35.269 --> 25:35.449
[SPEAKER_00]: Yeah.

25:35.730 --> 25:36.130
[SPEAKER_00]: Exactly.

25:36.170 --> 25:41.638
[SPEAKER_00]: You do the setup, but then they don't reinforce it with any, anything after that.

25:41.658 --> 25:43.200
[SPEAKER_00]: And that could be that it was shot.

25:43.961 --> 25:52.073
[SPEAKER_00]: And, you know, obviously if you if Peter Jackson's work tells you that he, way, he shoot, he way overshoots.

25:52.594 --> 25:57.441
[SPEAKER_00]: So, you know, this movie probably was three hours, four hours long whenever he first made it.

25:57.961 --> 26:01.326
[SPEAKER_00]: And they're like, you know, we can't put

26:01.306 --> 26:08.455
[SPEAKER_05]: I don't think anybody's wanting a four hour cut of the frighteners because not cinema at this time.

26:09.816 --> 26:12.459
[SPEAKER_00]: But you know, that is his M.O.

26:12.499 --> 26:12.760
[SPEAKER_00]: right?

26:12.880 --> 26:17.225
[SPEAKER_00]: So even now, I mean, it actually would be going to the Beatles stuff.

26:17.265 --> 26:20.129
[SPEAKER_00]: It's even, it goes, there's longer, right?

26:20.229 --> 26:26.656
[SPEAKER_00]: So, but yeah, he's kind of notorious for long format.

26:26.716 --> 26:29.760
[SPEAKER_00]: And then to my guess is some of that probably just got cut out.

26:29.740 --> 26:46.446
[SPEAKER_00]: And so they're trimmed and trimmed and so as you're watching it, you're like, shouldn't we have a little bit of something here and, you know, probably got trimmed for time, just like you see on whatever you're watching old movies, this movie's been edited for time.

26:46.506 --> 26:48.329
[SPEAKER_05]: Exactly.

26:48.349 --> 26:49.992
[SPEAKER_05]: And it's been format to our screens.

26:50.873 --> 26:52.896
[SPEAKER_02]: Right.

26:52.876 --> 26:55.383
[SPEAKER_05]: But I just wanted a little bit more flavor.

26:56.004 --> 26:58.712
[SPEAKER_05]: Yeah, really make me scared for these people.

26:58.932 --> 27:03.184
[SPEAKER_05]: Because I believe that more in-screen, you know what I'm saying?

27:03.665 --> 27:07.375
[SPEAKER_05]: But this, I didn't really feel that.

27:08.468 --> 27:08.949
[SPEAKER_05]: here.

27:09.009 --> 27:19.444
[SPEAKER_05]: There's also the fact that we're introduced to Frank for the very first time at this funeral and he's introducing himself to other people and he gives him the car.

27:19.504 --> 27:23.489
[SPEAKER_05]: He goes to go and back to his car and then of course we see it.

27:23.569 --> 27:29.217
[SPEAKER_00]: I don't know why he had such a cool car in this one but you see that's another thing that has that beetles who's flavor to it.

27:29.298 --> 27:30.639
[SPEAKER_05]: That little small tiny car.

27:31.140 --> 27:33.544
[SPEAKER_00]: Yeah and it's so weird.

27:33.624 --> 27:38.070
[SPEAKER_00]: It's so it's so way out of place yet exactly appropriate.

27:38.708 --> 27:39.349
[SPEAKER_05]: It definitely is.

27:39.429 --> 27:50.261
[SPEAKER_05]: It actually, I feel like the character, I feel like the car is just as character as Michael Dave Foxes, because it's there to describe the brokenness of this character and how run down he is.

27:50.301 --> 27:53.104
[SPEAKER_05]: And we don't understand why he is the way he is.

27:53.144 --> 28:00.472
[SPEAKER_05]: All we know is that he's out, he's basically trying to hustle a lot people, but we don't understand the context of who we is.

28:00.913 --> 28:06.539
[SPEAKER_05]: But I like that, I like the fact that the car represents who he is and a little bit of a categorization of who Frank is.

28:06.579 --> 28:08.361
[SPEAKER_05]: So that's what I like about

28:08.341 --> 28:28.712
[SPEAKER_05]: But then we have him, uh, if the car, then he winds up hitting the fence, hitting someone's fence because he almost got killed by an 18-wheeler because it was running into the other person's like because he was right going into somebody else's lane and he winds up hitting some, what's that?

28:29.333 --> 28:34.443
[SPEAKER_00]: No, I was right, he didn't pay attention while he's driving.

28:34.503 --> 28:36.006
[SPEAKER_00]: It seems like he's just all over the place.

28:36.648 --> 28:43.261
[SPEAKER_05]: Right, but you know, he wants up running into race fence and he's like, you hit my fence.

28:43.441 --> 28:47.950
[SPEAKER_05]: How do you hit my fence and for Ray?

28:48.335 --> 28:50.679
[SPEAKER_05]: Yeah, and he looks, look, it's okay.

28:50.879 --> 28:54.224
[SPEAKER_05]: Here, here's my card, and he was a ripping his card.

28:54.264 --> 29:03.418
[SPEAKER_05]: I'm like, dude, so now you're pissed off because you're friends, but now you don't have a way of contacting him for his information now.

29:03.878 --> 29:04.038
[SPEAKER_00]: Right.

29:04.880 --> 29:07.744
[SPEAKER_00]: Yeah, unfortunately, the great character was,

29:09.378 --> 29:09.919
[SPEAKER_00]: I don't know.

29:10.460 --> 29:12.383
[SPEAKER_00]: He's a little overplayed perhaps.

29:13.605 --> 29:21.800
[SPEAKER_05]: I was going to ask you, do you feel like he was like up to a up to a hundred and to find up to that much way over the top?

29:21.820 --> 29:23.142
[SPEAKER_00]: Yeah, he was a little over the top.

29:23.763 --> 29:30.475
[SPEAKER_00]: He was a little, he was a little, the funny thing is out of all the characters in this movie, which are

29:30.455 --> 29:47.459
[SPEAKER_00]: over the top, he seemed more over the top to me and his character, even though you have ghosts and and you know, the grim reaper and all these things that are obviously way beyond reality, that guy didn't seem real to me at all.

29:47.499 --> 29:49.982
[SPEAKER_00]: He just seemed like a caricature, you know?

29:49.962 --> 29:58.619
[SPEAKER_05]: Right, and you know what's funny though, there was actually somebody that commented saying that the black ghost was the one who felt like he was over the top.

29:58.719 --> 30:00.323
[SPEAKER_05]: I don't really feel like he was over the top.

30:00.643 --> 30:03.609
[SPEAKER_00]: No, even though I think I mean, he had it.

30:03.830 --> 30:09.000
[SPEAKER_00]: He was obviously he was a ghost and so he was, you know, beam.

30:08.980 --> 30:15.690
[SPEAKER_05]: I was like, basically it was emulating what he knew from back in his past.

30:16.031 --> 30:16.211
[SPEAKER_00]: Right.

30:16.411 --> 30:18.935
[SPEAKER_00]: He was a character of his time period.

30:18.955 --> 30:20.317
[SPEAKER_00]: Because everybody was in different time period.

30:20.337 --> 30:20.998
[SPEAKER_00]: That was the other thing.

30:21.059 --> 30:21.419
[SPEAKER_00]: Right.

30:21.960 --> 30:22.721
[SPEAKER_00]: And we'll get to that.

30:22.801 --> 30:26.567
[SPEAKER_00]: But time, McBride, who played as Cyrus, was the guy's name.

30:26.547 --> 30:28.891
[SPEAKER_00]: Um, I thought he did a good job.

30:28.931 --> 30:39.190
[SPEAKER_00]: I mean, I think the, one of the issues is he was playing kind of a 70s character in the 90s when this came out, right?

30:39.230 --> 30:49.669
[SPEAKER_00]: And now when you watch it later, he's he's a 70s character in the, you know, 20 20s and it doesn't play as well, right?

30:49.649 --> 30:53.653
[SPEAKER_00]: So everybody, you know, is like, you know, what is that, right?

30:53.713 --> 30:55.655
[SPEAKER_00]: That's just what's the way over the top, but anything.

30:56.016 --> 31:07.548
[SPEAKER_00]: But if you were to, if you were to look at it back in the 90s, he was not, you know, out of line with the time period for the 70s or the 90s at that point.

31:08.229 --> 31:08.749
[SPEAKER_00]: Exactly.

31:10.151 --> 31:18.019
[SPEAKER_05]: So, so after that happens, he winds up getting

31:18.151 --> 31:37.273
[SPEAKER_05]: Basically, do a poker dice hustle off of Ray and Lucy, right, which I thought was hilarious thing to do because Lucy's also trying to figure out who this woman is, because remember, she also gets a pause call from from Patricia's mother.

31:38.637 --> 31:46.105
[SPEAKER_05]: And so have us to be that something wanted to have having to or hand, just come on, we can go to the hospital, no, we're not going to the hospital or anything.

31:46.125 --> 31:47.046
[SPEAKER_05]: We're not going to do that.

31:47.887 --> 31:53.413
[SPEAKER_05]: And then she went up, going back over to her house, and then we get the origin story of Patricia.

31:53.433 --> 32:03.385
[SPEAKER_05]: And the stuff that she went through and following him love with the serial killer, and watching a tape on a cycle path is actually a psychiatrist.

32:03.405 --> 32:05.607
[SPEAKER_05]: And they just moved in there about six months ago.

32:06.042 --> 32:08.874
[SPEAKER_05]: My question for you is, like, did you like the character of Lucy?

32:08.914 --> 32:10.139
[SPEAKER_05]: They've worked with her to her.

32:10.601 --> 32:13.011
[SPEAKER_05]: What was your thoughts on this scene?

32:13.112 --> 32:14.196
[SPEAKER_05]: How does this work for you?

32:14.986 --> 32:16.708
[SPEAKER_00]: Um, I thought it was okay.

32:16.868 --> 32:20.192
[SPEAKER_00]: I mean, Patricia, uh, I would loosey.

32:20.272 --> 32:25.558
[SPEAKER_00]: So the interesting thing is, and I was, um, looking this over before we got on.

32:26.179 --> 32:32.106
[SPEAKER_00]: And I was like, I really liked her as an actress and how she portrayed the character and so forth.

32:32.126 --> 32:36.872
[SPEAKER_00]: And I was like, wondering, why haven't I seen her in more stuff since then, right?

32:36.992 --> 32:39.795
[SPEAKER_00]: I don't remember this actress.

32:39.775 --> 33:05.226
[SPEAKER_00]: And so I think, you know, whenever you compare her with Ray, I mean, it's like night and day as far as the acting goes he was just, you know, over the top wild and she was very grounded and believable even in an unbelievable situation and it really, I was like really trying to find I'm like, why haven't I seen this person and I looked up on her thing and

33:05.206 --> 33:12.417
[SPEAKER_00]: And she has done other things, but not of anything that I think that I've really watched to be honest with you since then.

33:12.938 --> 33:15.762
[SPEAKER_00]: I mean, she's like on order and stuff like that, but anyway.

33:15.902 --> 33:16.984
[SPEAKER_00]: Oh, some TV stuff.

33:17.184 --> 33:19.147
[SPEAKER_00]: Yeah, a lot more TV stuff and so forth.

33:19.708 --> 33:22.492
[SPEAKER_00]: But no, I think that they set it up good with her character.

33:22.532 --> 33:28.902
[SPEAKER_00]: And she seemed, you know, very, very tolerant of Ray.

33:28.882 --> 33:35.415
[SPEAKER_05]: Definitely you have to have a lot of two-squared rain because I think okay I'm just gonna put this out there.

33:35.455 --> 33:44.173
[SPEAKER_05]: I think that dude is jacked up on steroids Yeah, something's going on like he's a workout haul he works out 24 seven

33:44.542 --> 33:54.602
[SPEAKER_00]: Yeah, as a temporary issue, and he's like, I don't think I've ever said that there did they didn't say that and they didn't reveal that at all in the story.

33:54.622 --> 34:02.618
[SPEAKER_05]: Oh, no, but I was just being perceived to how I'm viewing him as someone that works out and he's all over the place.

34:02.868 --> 34:04.029
[SPEAKER_00]: Mm-hmm.

34:04.090 --> 34:06.533
[SPEAKER_00]: Well, he's kind of a kind of a lung head, right?

34:06.593 --> 34:09.056
[SPEAKER_00]: So he's kind of a dumb character in a way.

34:09.076 --> 34:10.297
[SPEAKER_00]: Yeah, a job.

34:10.718 --> 34:22.813
[SPEAKER_00]: Yeah, and, you know, and so, I mean, I guess he did good at that, but I think I spent some time thinking, well, why is she with him?

34:22.873 --> 34:29.922
[SPEAKER_00]: Because she seems like such a good, you know, there's kind of like a step there, right?

34:29.902 --> 34:46.459
[SPEAKER_05]: you know how to how to just how to just happen right you know between those two because okay let's go different I have an idea maybe there's a high school sweetheart maybe I'm making up an orange and story now maybe there are high school sweetheart's

34:46.692 --> 34:51.162
[SPEAKER_05]: that got married and she's the center and he was also sports job.

34:51.583 --> 34:51.703
[SPEAKER_03]: Right.

34:51.723 --> 34:56.914
[SPEAKER_05]: And he's trying to keep up with his male figure out being in high school.

34:56.934 --> 34:57.095
[SPEAKER_00]: Right.

34:57.115 --> 35:02.727
[SPEAKER_00]: You can't get over the fact of, you know, the best days were in high school when he's trying to relieve him constantly.

35:03.027 --> 35:04.949
[SPEAKER_05]: Exactly, and he never made the NFL team.

35:04.969 --> 35:06.111
[SPEAKER_05]: So he's all A's angry.

35:06.131 --> 35:09.755
[SPEAKER_00]: Yeah, and she's moved on and there's a beam of the doll.

35:10.496 --> 35:10.756
[SPEAKER_00]: Right.

35:11.577 --> 35:12.679
[SPEAKER_05]: And go right though.

35:12.719 --> 35:16.643
[SPEAKER_05]: She's calmed relax very centered and also too there.

35:16.743 --> 35:19.867
[SPEAKER_05]: And then when she's watching this.

35:20.268 --> 35:32.983
[SPEAKER_05]: This documentary.

35:33.537 --> 35:36.721
[SPEAKER_05]: but Johnny Charles Barlett was going to be executed.

35:37.241 --> 35:41.886
[SPEAKER_05]: And there was actually a number of 17 on that electric chair.

35:43.488 --> 35:46.852
[SPEAKER_05]: When it was flashing, did you notice that or not?

35:47.092 --> 35:48.494
[SPEAKER_00]: I didn't notice that honestly.

35:48.674 --> 35:52.438
[SPEAKER_05]: Like I had a positive for a minute and I'm like, wait, I paused it.

35:52.538 --> 35:56.963
[SPEAKER_05]: I'm like, I never noticed the number 17 being on the electric chair.

35:58.394 --> 36:06.767
[SPEAKER_05]: So I mean like does death actually was so my question is this so was death also marking him just as he marks his victims.

36:07.169 --> 36:19.761
[SPEAKER_05]: I don't know could be so that was something that I was just thinking about playing with in my head as far as that goes because I thought I've rewanted it and I went back and I'm like no that looks like 17.

36:19.841 --> 36:21.543
[SPEAKER_05]: I made sure I did a double take on it.

36:22.083 --> 36:36.197
[SPEAKER_00]: Yeah, I mean you know it could be part of it because you know Jackson has you had a lot of depth in things and and all kinds of little Easter eggs and and things like that

36:36.616 --> 36:43.172
[SPEAKER_05]: And then you have Ray, who's on the go Tigers, Tigers wanting some now.

36:44.735 --> 36:48.384
[SPEAKER_05]: Now, don't go to Lucy, there's Tigers hungry.

36:48.524 --> 36:50.068
[SPEAKER_05]: I'm like, what the fuck?

36:52.310 --> 36:57.078
[SPEAKER_05]: Are you doing it's look like a version that netry's married.

36:57.098 --> 36:59.782
[SPEAKER_05]: I doesn't know what to do because I'm there for him.

36:59.843 --> 37:10.781
[SPEAKER_05]: Like it's supposed to be cute and adorable, but he comes up as cringy and I understand maybe that's what he's going for, but it's like you're not know how to kiss your wife.

37:10.901 --> 37:12.544
[SPEAKER_05]: Like I guess my wife found her forehead.

37:12.944 --> 37:17.592
[SPEAKER_05]: I don't go over the extravagant of like, hey, look, he has lips.

37:18.432 --> 37:25.905
[SPEAKER_00]: Yeah, I guess I mean, maybe I'm assuming at this point that he got direction to do things.

37:26.205 --> 37:26.466
[SPEAKER_00]: Right.

37:26.646 --> 37:27.347
[SPEAKER_00]: So right.

37:27.527 --> 37:29.631
[SPEAKER_00]: And somebody had to say, yeah, that was great.

37:29.971 --> 37:34.539
[SPEAKER_00]: Let's move on, but I think he just didn't hit the mark.

37:34.599 --> 37:38.586
[SPEAKER_00]: You know, I mean, and it just was, yeah, I was weird.

37:38.626 --> 37:40.930
[SPEAKER_00]: It was, but maybe that's what he was supposed to be.

37:41.190 --> 37:44.035
[SPEAKER_00]: Maybe he was supposed to be, you know,

37:45.398 --> 37:50.589
[SPEAKER_00]: We had an abnormal and dumb and kind of a lung head kind of thing.

37:50.609 --> 37:54.578
[SPEAKER_00]: And then I thought you said you seem to fit with everything, yeah.

37:54.598 --> 37:57.805
[SPEAKER_05]: No, we didn't, but then after that all happens.

37:58.983 --> 38:02.749
[SPEAKER_05]: The bed starts left, levitating, and shaking.

38:02.829 --> 38:08.038
[SPEAKER_05]: Plates are going all over the place in the kitchen while Ray and Lucy are talking.

38:08.058 --> 38:10.422
[SPEAKER_05]: And he's like, well, I got to talk.

38:10.482 --> 38:14.188
[SPEAKER_05]: And then you see where the car is laid out or hard to pick it up.

38:14.869 --> 38:17.874
[SPEAKER_05]: Oh, I got to call, we need to call Frank.

38:17.894 --> 38:18.615
[SPEAKER_05]: Right, call Frank.

38:18.676 --> 38:20.198
[SPEAKER_00]: No.

38:20.954 --> 38:22.757
[SPEAKER_05]: Because no, we're not calling that jerk off.

38:22.978 --> 38:24.701
[SPEAKER_05]: He ended up hitting my fence.

38:24.741 --> 38:26.604
[SPEAKER_05]: I'm like, what do you mean, your fence?

38:26.664 --> 38:27.686
[SPEAKER_05]: You doesn't married, right?

38:28.087 --> 38:28.908
[SPEAKER_05]: Yes, you go.

38:28.928 --> 38:30.411
[SPEAKER_05]: That's right.

38:30.431 --> 38:33.135
[SPEAKER_00]: Well, that first part is my, the cheese mill, right?

38:33.256 --> 38:34.959
[SPEAKER_00]: Everything is much so moat.

38:35.299 --> 38:36.481
[SPEAKER_00]: Yeah.

38:36.501 --> 38:37.323
[SPEAKER_00]: That's my fence.

38:37.343 --> 38:38.625
[SPEAKER_00]: That's mine.

38:38.605 --> 38:54.828
[SPEAKER_00]: Yeah, well, and I think they were trying, he's a hypergelus person, and so, you know, even jealous of the guy that hit his fence, he doesn't want anybody to come over near his wife or anything.

38:54.888 --> 38:58.133
[SPEAKER_00]: But yeah, it was, and I think that was, you know,

38:58.113 --> 39:27.748
[SPEAKER_00]: to start out that was a little over the top two with everything because you know they could have been a little more subtle but that I think that's where this you know you talking to early we talked about how it was kind of scary and dark and then it's kind of light and and then you have this more over the top you know you think they would have paced it out a little bit to have the the happenings be a little less overtly outlandish to begin with and then work their way that direction.

39:27.728 --> 39:28.396
[SPEAKER_00]: You know what I mean?

39:28.801 --> 39:29.348
[SPEAKER_00]: Exactly.

39:29.692 --> 39:30.583
[SPEAKER_00]: So yeah.

39:31.289 --> 39:36.497
[SPEAKER_00]: Yeah, so, unfortunately, you're bringing me down off my nostalgia number now.

39:37.639 --> 39:40.043
[SPEAKER_05]: Well, that's the whole point of doing slip in the way of this thousand.

39:41.164 --> 39:47.795
[SPEAKER_05]: But, you know, though, then we have Frank, he gets a phone call.

39:48.396 --> 39:49.497
[SPEAKER_05]: You're okay, I'm on my way.

39:49.537 --> 39:55.066
[SPEAKER_05]: Then he has to fence again, I'm like, wait, you just got mad because you hate your friends.

39:55.366 --> 39:57.510
[SPEAKER_05]: How fast did you build that fence back?

39:57.690 --> 39:59.052
[SPEAKER_05]: All right.

39:59.521 --> 40:01.152
[SPEAKER_05]: Just for him to knock it back down again.

40:01.514 --> 40:03.366
[SPEAKER_00]: Well, that's kind of a gaggy thing, I think.

40:03.447 --> 40:05.802
[SPEAKER_00]: Well, I think he's such a terrible driver.

40:06.305 --> 40:31.215
[SPEAKER_05]: Right, I get it and I understand Friggs and a panic and a specific for laughter and I'm laughing, but I have to say now I'm questioning this, I'll fastage you actually build this fence so you can complain again just to have that dialogue between Ray and Lucy again, well, I'm going to have to charge you for the labor, the band also the equipment and then.

40:31.195 --> 40:34.599
[SPEAKER_05]: but you know what though we can do it just kind of we can just forget about the fence.

40:34.659 --> 40:35.641
[SPEAKER_05]: Look at what the fence is.

40:35.661 --> 40:36.782
[SPEAKER_05]: Yeah.

40:36.802 --> 40:41.428
[SPEAKER_05]: So the fence thing he was supposed to forget about is the accident and he just happened to happen again.

40:41.848 --> 40:42.289
[SPEAKER_05]: Right.

40:42.309 --> 40:46.934
[SPEAKER_05]: So only one day it seemed like it didn't tell us then again.

40:46.955 --> 40:48.216
[SPEAKER_00]: You're a lot of time passage.

40:48.236 --> 41:00.291
[SPEAKER_00]: Although as far as we know Ray has hopped up on steroids and cocaine and probably put that thing right back together quickly.

41:00.271 --> 41:12.496
[SPEAKER_05]: But yeah, that's like a little nitpicky thing, but it still makes me laugh because he bane into the fence, but I also like how he's going to, oh yeah, and just looking around, right?

41:12.576 --> 41:18.648
[SPEAKER_05]: Did your toilet bowl of lids, you know, slide up and down, then it bing up and down?

41:19.069 --> 41:21.013
[SPEAKER_05]: No, we didn't have no that happened.

41:21.263 --> 41:23.806
[SPEAKER_05]: Oh, oh, you guys on the bad here.

41:24.186 --> 41:24.947
[SPEAKER_05]: You guys on the bad.

41:26.268 --> 41:30.212
[SPEAKER_05]: So once I've taken this thing out that looks like something that you would make white noise with.

41:30.232 --> 41:30.533
[SPEAKER_05]: Right.

41:31.193 --> 41:34.056
[SPEAKER_05]: I'm like, so that's the equipment and some rubber gloves.

41:34.557 --> 41:35.938
[SPEAKER_05]: That would do that.

41:35.958 --> 41:36.459
[SPEAKER_05]: $300.

41:39.342 --> 41:40.303
[SPEAKER_00]: Yeah, so yeah.

41:40.323 --> 41:43.026
[SPEAKER_00]: Another big stuff looked really overtly.

41:43.546 --> 41:45.408
[SPEAKER_00]: You know, neither like Ghostbusters or anything.

41:45.608 --> 41:46.409
[SPEAKER_00]: I didn't even try.

41:46.830 --> 41:47.170
[SPEAKER_00]: So.

41:48.095 --> 41:50.778
[SPEAKER_05]: Well, I think it was also believable enough.

41:50.898 --> 41:54.302
[SPEAKER_05]: Hey, he's already got the go so already working for him.

41:54.642 --> 41:54.963
[SPEAKER_00]: Right.

41:54.983 --> 41:55.443
[SPEAKER_00]: Yeah.

41:55.463 --> 41:55.844
[SPEAKER_05]: Yeah.

41:55.864 --> 41:59.708
[SPEAKER_00]: So, you know, barely put any effort into it.

42:00.649 --> 42:01.089
[SPEAKER_05]: Exactly.

42:01.149 --> 42:01.810
[SPEAKER_05]: It's like, you know what?

42:01.850 --> 42:04.233
[SPEAKER_05]: Why do I need to throw some effort into this?

42:04.653 --> 42:09.218
[SPEAKER_05]: When it's not normal for a bed to levitate up, it's not normal for dishes to go everywhere.

42:09.999 --> 42:12.502
[SPEAKER_05]: No, I have, so I have my proof that I need.

42:13.022 --> 42:13.263
[SPEAKER_00]: Right.

42:13.583 --> 42:13.743
[SPEAKER_00]: Yeah.

42:14.144 --> 42:14.965
[SPEAKER_00]: I don't have to look bad.

42:14.985 --> 42:15.385
[SPEAKER_00]: Good.

42:15.550 --> 42:17.473
[SPEAKER_05]: But no, I thought this thing actually works out good.

42:17.513 --> 42:19.456
[SPEAKER_05]: I like how fast-paced Michael J.

42:19.496 --> 42:21.398
[SPEAKER_05]: Fox is in this scene.

42:23.101 --> 42:32.975
[SPEAKER_05]: Because I never seen him do this before, where he's actually working this thing out of hustling somebody and just how quick he's coming up with it.

42:33.496 --> 42:34.317
[SPEAKER_00]: Yeah, no, no.

42:34.357 --> 42:34.737
[SPEAKER_00]: He did it.

42:34.798 --> 42:42.148
[SPEAKER_00]: He, I think he did well with the character and being you know.

42:42.128 --> 42:43.991
[SPEAKER_00]: a con man as it were.

42:44.491 --> 42:48.077
[SPEAKER_00]: And really moving it along and so forth.

42:48.097 --> 42:50.580
[SPEAKER_00]: And you could see the wheels turn in, right?

42:50.801 --> 42:52.443
[SPEAKER_00]: So he, oh, does it do that?

42:52.664 --> 42:53.184
[SPEAKER_00]: Oh, no.

42:53.365 --> 42:53.625
[SPEAKER_00]: Okay.

42:53.645 --> 42:57.070
[SPEAKER_00]: Well, that's about, you know, that's, so he's making it all up along the way.

42:57.110 --> 43:00.415
[SPEAKER_00]: And you believe him doing this in the scene, right?

43:01.076 --> 43:10.650
[SPEAKER_00]: That he's just kind of going, he's throwing things out there and seeing what, you know, what's going to stick.

43:10.833 --> 43:15.381
[SPEAKER_05]: Then we find out that he does have two ghosts following that's with him.

43:16.323 --> 43:19.709
[SPEAKER_05]: And Ronnie goes, you guys, I'm garrisoning me, you guys are an embarrassment.

43:20.611 --> 43:24.197
[SPEAKER_05]: You guys were supposed to make the toilet bowl of bowl lid up and down.

43:24.237 --> 43:25.720
[SPEAKER_05]: It didn't there was none of that.

43:27.100 --> 43:28.642
[SPEAKER_05]: You make me look bad, right?

43:28.722 --> 43:30.805
[SPEAKER_00]: You're off script, you're off script.

43:31.005 --> 43:31.666
[SPEAKER_05]: What's wrong with you?

43:34.349 --> 43:34.690
[SPEAKER_00]: Right.

43:35.431 --> 43:39.776
[SPEAKER_00]: And yeah, and so then that obviously takes another term.

43:39.796 --> 43:46.365
[SPEAKER_00]: We're well into the fantastic here with all this at this point.

43:46.786 --> 43:51.792
[SPEAKER_00]: You know, with him, you know, kind of,

43:51.772 --> 43:52.673
[SPEAKER_00]: What do you want to call it?

43:52.814 --> 43:54.857
[SPEAKER_00]: He's in with the ghosts, right?

43:54.917 --> 43:57.821
[SPEAKER_00]: And they're working together on this.

43:58.382 --> 44:02.028
[SPEAKER_00]: I was trying to remember what the, what are the ghosts get out of this?

44:02.749 --> 44:04.031
[SPEAKER_00]: I'm not saying it's something to do.

44:04.291 --> 44:06.935
[SPEAKER_00]: I don't know, nothing else to do.

44:07.356 --> 44:12.023
[SPEAKER_00]: Yeah, I'm just thinking that there's like any, you know, to give a mech to a plasm or something.

44:12.103 --> 44:18.994
[SPEAKER_00]: I mean, I don't remember any exchange for why they're helping him other than it's something fun to do, you know?

44:19.413 --> 44:20.735
[SPEAKER_05]: Like, well, I don't have shit else to do.

44:21.496 --> 44:22.177
[SPEAKER_05]: I've already did.

44:23.118 --> 44:23.719
[SPEAKER_00]: Marty did.

44:24.019 --> 44:25.001
[SPEAKER_00]: Yeah, help you out.

44:25.742 --> 44:34.814
[SPEAKER_00]: And so, yeah, I'm like, they probably, I mean, honestly, they should have given some kind of return.

44:34.834 --> 44:39.680
[SPEAKER_00]: I mean, because they can do this on their own without him, they don't need him.

44:39.701 --> 44:40.622
[SPEAKER_05]: No.

44:41.142 --> 44:44.888
[SPEAKER_05]: But it's also the fact, too, that Frank is also lonely.

44:46.129 --> 44:48.913
[SPEAKER_05]: He doesn't have anybody just as they don't have anybody

44:48.995 --> 44:49.596
[SPEAKER_00]: That's true.

44:49.616 --> 44:51.177
[SPEAKER_00]: I guess they're like just buddies.

44:51.197 --> 44:53.099
[SPEAKER_00]: It just goes right.

44:53.800 --> 45:01.448
[SPEAKER_05]: So, you know, it's just frank inside this little arc of this unfinished house that was supposed to be for him in his life that never got made.

45:02.109 --> 45:13.281
[SPEAKER_05]: So it's and then also like how he said, well, we need money to so I can go ahead and build build his house back up again and I like how the gunsling because you're never going to get it done you're never going to get it finished.

45:13.750 --> 45:14.191
[SPEAKER_00]: Right.

45:15.092 --> 45:15.332
[SPEAKER_00]: Yeah.

45:15.352 --> 45:18.196
[SPEAKER_00]: Well, because that essentially, that was the excuse, right?

45:18.497 --> 45:26.308
[SPEAKER_00]: So, right, because he's he's he's he's depressed and that's always the, what do you want to call it.

45:26.328 --> 45:28.751
[SPEAKER_00]: That's always the goal, but it's the goal he'll never reach.

45:30.454 --> 45:32.356
[SPEAKER_00]: Because he really is not working towards that goal.

45:32.937 --> 45:34.940
[SPEAKER_05]: No, he's not he's still depressed.

45:35.401 --> 45:35.681
[SPEAKER_05]: Right.

45:36.262 --> 45:42.711
[SPEAKER_05]: He's just trying to hell himself that so he can have something to do just as he's trying to hustle somebody else on a money for something.

45:42.995 --> 45:43.458
[SPEAKER_05]: Right.

45:43.840 --> 45:46.215
[SPEAKER_05]: But I do like the chemistry between the ghost and him.

45:46.336 --> 45:49.073
[SPEAKER_05]: I think that all three of the ghost works.

45:50.791 --> 45:51.552
[SPEAKER_00]: They worked well.

45:51.712 --> 46:01.243
[SPEAKER_00]: Yeah, actually, the funny thing is that we're thinking that they work better than like Ray, you know, I mean, we're much better than Ray.

46:01.263 --> 46:08.952
[SPEAKER_00]: And I think we'll get a little bit later on on the line here, but with Jake Vucy and so forth.

46:10.193 --> 46:14.638
[SPEAKER_00]: I don't know that that totally, you know, worked fully either.

46:14.618 --> 46:32.458
[SPEAKER_05]: No, because I'm not that's one of the pep peeps I have about this would be that element, but I'll talk to you a minute about that, but then I'll just I don't know it's fine because I like talking about that too because I also agree with you on that because I feel like that's also losing this stuff identity and with this movie.

46:33.299 --> 46:34.921
[SPEAKER_02]: Hmm.

46:34.941 --> 46:46.493
[SPEAKER_05]: And I'll get into that in a few minutes because it's where the mirror scene happens and stuff like that inside that restaurant where Lucy and raise having that meeting, right.

46:46.514 --> 46:57.906
[SPEAKER_05]: But now all of a sudden, you see.

46:59.573 --> 47:06.346
[SPEAKER_00]: I don't think no, because that was one of those things where again, it was a sudden thing, right?

47:06.446 --> 47:13.840
[SPEAKER_00]: So all of a sudden, you know, Ray is dealing with the fact that he's not a lot, he doesn't understand it, right?

47:13.900 --> 47:15.844
[SPEAKER_00]: Because he's like low on kid.

47:15.824 --> 47:19.170
[SPEAKER_00]: And yeah, I think that I don't remember that happening on screen.

47:19.190 --> 47:23.217
[SPEAKER_00]: I think that just it happened off screen and then he's there.

47:23.277 --> 47:26.101
[SPEAKER_00]: And so it was a little bit confusing to me when I first watched it.

47:26.743 --> 47:28.906
[SPEAKER_00]: And I was like, well, wait a minute, what happened?

47:29.087 --> 47:36.379
[SPEAKER_00]: And then you slowly realize that he is, you know, it becomes obvious that he's a ghost, but he doesn't have any clue.

47:37.381 --> 47:37.601
[SPEAKER_05]: Right.

47:37.621 --> 47:39.324
[SPEAKER_00]: And I like how he didn't have a clue before.

47:39.364 --> 47:39.925
[SPEAKER_00]: So.

47:40.040 --> 47:41.302
[SPEAKER_05]: No, he has no clue now.

47:41.342 --> 47:47.711
[SPEAKER_05]: This is he did and when he was living, but I do like how he knocks Frank over.

47:47.751 --> 47:52.859
[SPEAKER_05]: And the guys are some guys on the streets like, whoa, you okay, man?

47:52.919 --> 47:55.843
[SPEAKER_05]: Because yeah, I'm fine, I fell and then they take it.

47:55.863 --> 47:57.426
[SPEAKER_05]: It was, what happened?

47:58.307 --> 47:59.489
[SPEAKER_05]: And he goes, I just don't understand.

47:59.929 --> 48:00.931
[SPEAKER_05]: I've worked out all the time.

48:01.412 --> 48:02.373
[SPEAKER_05]: I do this all the time.

48:03.094 --> 48:04.076
[SPEAKER_05]: And I'm dead.

48:04.596 --> 48:05.397
[SPEAKER_05]: I was that possible.

48:05.818 --> 48:09.844
[SPEAKER_00]: Right, right.

48:10.229 --> 48:15.471
[SPEAKER_00]: Yeah, I mean, it certainly was funny, but yeah, but he still was over the top.

48:15.592 --> 48:17.801
[SPEAKER_00]: So yeah, another ghost.

48:18.544 --> 48:20.593
[SPEAKER_05]: And then this is also.

48:22.092 --> 48:27.437
[SPEAKER_05]: Great is of a heart attack, Frank discovers that there is an entity appearing as the Grim Reaper killing people.

48:27.557 --> 48:33.322
[SPEAKER_05]: First, making the numbers on their foreheads, then only Frank sees Deborah had a similar number when she was found.

48:33.863 --> 48:48.977
[SPEAKER_05]: So, how he finds out the fact that there's a Grim Reaper is the fact that when he goes over to this other person's house that the two go Cyrus and the other ghosts.

48:49.582 --> 48:58.420
[SPEAKER_05]: do or are both haunting this other, uh, this mom can't remember because, okay kid, what we're going to do is we're going to get the daylights out of your mom.

48:58.861 --> 49:02.588
[SPEAKER_05]: With that, the kid is smiling at the kid is always good with this.

49:02.969 --> 49:04.873
[SPEAKER_05]: Right.

49:04.853 --> 49:08.998
[SPEAKER_05]: He makes the kid out of the little rotten automatic rocking our bouncy thing.

49:09.418 --> 49:12.302
[SPEAKER_05]: He makes the kid float and also the water float.

49:13.383 --> 49:18.449
[SPEAKER_05]: And of course, they talk call Frank's number up.

49:20.151 --> 49:23.956
[SPEAKER_05]: And that's when they discover that there's a number.

49:24.056 --> 49:26.018
[SPEAKER_05]: I think either it was a racehead.

49:28.040 --> 49:50.841
[SPEAKER_05]: I forgot when did he I think it was a great when they first get introduced to Ray right there was a number in the head just and how did you do that number thing we didn't do that number thing Oh, okay, just shrugs it off So we think you would remember because there's one as wife, but yeah, but I think it's the fact that you when some trauma happens like that you block stuff out of your mind

49:51.209 --> 49:57.018
[SPEAKER_05]: You don't really fully remember now he's still in con man mode.

49:57.079 --> 50:01.245
[SPEAKER_00]: He's just like, right, you know, what's going, we're moving on to the next thing, right.

50:01.265 --> 50:02.207
[SPEAKER_00]: This is the next victim.

50:02.247 --> 50:08.117
[SPEAKER_05]: Right, so then I see now with the tabloid woman winds up telling.

50:09.960 --> 50:14.567
[SPEAKER_05]: winds up turning him in or being a fraud.

50:15.374 --> 50:23.142
[SPEAKER_05]: and he's pissed off at her because now he just lost his business and because I don't tell you how to write your paper on what you do or anything.

50:23.722 --> 50:26.044
[SPEAKER_05]: Yeah, you're going to go ahead and come at me for this.

50:26.625 --> 50:26.965
[SPEAKER_00]: Right.

50:27.446 --> 50:27.806
[SPEAKER_00]: Yeah.

50:28.066 --> 50:39.698
[SPEAKER_00]: So well, but you can also again, we're wavering on, believe it, you know, obviously an unbelievable story, but he had to be called a fraud before because of the line of business.

50:39.918 --> 50:45.263
[SPEAKER_00]: Everybody who would be anybody who's a psychic has been called a

50:47.048 --> 50:47.549
[SPEAKER_00]: That's right.

50:47.970 --> 50:49.552
[SPEAKER_00]: I mean, that's just the way it goes.

50:49.712 --> 50:53.439
[SPEAKER_00]: And so, you know, this can't be the first time it's happened.

50:55.402 --> 50:55.783
[SPEAKER_05]: Exactly.

50:55.823 --> 51:01.252
[SPEAKER_05]: Because as a small town, even the sheriff knows that he is a carn artist.

51:01.512 --> 51:01.773
[SPEAKER_00]: Right.

51:02.013 --> 51:02.293
[SPEAKER_00]: Yeah.

51:03.255 --> 51:07.122
[SPEAKER_00]: But he's, you know, it's small town quirkiness, right?

51:07.222 --> 51:09.225
[SPEAKER_00]: Well, right.

51:09.245 --> 51:10.407
[SPEAKER_00]: That needs a bad driver, too.

51:12.277 --> 51:24.460
[SPEAKER_05]: But then there's also this other thing, too, where Ray's wife Lucy's tells Ray that he believes that he can see dead people.

51:26.243 --> 51:28.027
[SPEAKER_05]: I'm like, and he's good at what he does.

51:28.287 --> 51:29.570
[SPEAKER_05]: What do see him do?

51:29.930 --> 51:32.375
[SPEAKER_05]: That defined the fact that he's good at what he does.

51:33.938 --> 51:35.601
[SPEAKER_05]: Good at seeing things, I don't know.

51:35.767 --> 51:59.445
[SPEAKER_05]: Because all your bag is like levitated, who didn't see him do anything, he took out, I could actually took out a tin, um, you know, a lunch box and use that as a way to actually catch ghosts, right, for example, right, but it just makes me laugh at that, right, yeah, yeah, you're right, he's not, I mean, I guess.

52:01.130 --> 52:09.787
[SPEAKER_00]: You know, I suppose you could say he was good at conning people because he did get people to call him and he did get him to pay apparently that's true.

52:11.831 --> 52:22.311
[SPEAKER_05]: So now we're getting into Frank's ability to hotel with okay, so with the whole thing with Deborah at a similar number on her head we find out through the sheriff.

52:22.747 --> 52:42.148
[SPEAKER_05]: about what really happened with Frank, it's sad to see him go through that where, you know, they're enjoying their days, then some stuff goes awry, and then he gets thrown out of the car, and then you see that his wife is unconscious and someone that's over there killing him, killing him is wife.

52:42.548 --> 52:45.852
[SPEAKER_00]: Right, yeah, that was really spooky too.

52:46.861 --> 52:49.143
[SPEAKER_00]: And it's really dark, right?

52:49.244 --> 52:55.370
[SPEAKER_00]: That scene in and of itself was a very scary, weird creepy scene.

52:57.112 --> 52:57.452
[SPEAKER_00]: Right?

52:57.673 --> 52:57.953
[SPEAKER_00]: So.

52:58.033 --> 52:58.514
[SPEAKER_00]: Exactly.

52:59.515 --> 53:11.608
[SPEAKER_00]: And yeah, he's witnessing this and, and you know, again, not lighthearted and funny, you know, ghost hijinks kind of stuff, more, you know, creepy.

53:12.268 --> 53:12.649
[SPEAKER_05]: Exactly.

53:12.669 --> 53:16.513
[SPEAKER_05]: And now we're

53:17.573 --> 53:22.343
[SPEAKER_05]: And this movie is very fast pace though, too, even though it's an hour 52 minutes.

53:22.585 --> 53:24.175
[SPEAKER_05]: I feel like it's very fast pace.

53:24.560 --> 53:26.943
[SPEAKER_05]: And how everything is quickly together.

53:27.263 --> 53:29.687
[SPEAKER_00]: Yeah, I'm joking.

53:29.707 --> 53:30.708
[SPEAKER_05]: This is probably what happened though.

53:30.828 --> 53:31.709
[SPEAKER_05]: I won't be surprised.

53:31.990 --> 53:33.111
[SPEAKER_05]: Yeah.

53:33.131 --> 53:41.362
[SPEAKER_05]: But, you know, then I like how Lucy's actually asking Frank, because, so, it's right here with us now.

53:41.502 --> 53:43.364
[SPEAKER_05]: Because, yeah, he's here with us now.

53:44.145 --> 53:46.468
[SPEAKER_05]: Because, does he have any money put away?

53:47.469 --> 53:47.610
[SPEAKER_05]: Yeah.

53:47.630 --> 53:49.572
[SPEAKER_05]: I blew the $4,000.

53:49.552 --> 53:55.401
[SPEAKER_05]: Because, well, he had someone he put aside for you, but he blew the $4,000.

53:55.421 --> 53:55.581
[SPEAKER_05]: Yeah.

53:57.264 --> 53:59.768
[SPEAKER_05]: And, you weren't supposed to tell that, right?

53:59.808 --> 54:06.839
[SPEAKER_05]: And then he's over there trying to hold Lucy's hand, and he's bitching about that.

54:06.899 --> 54:12.087
[SPEAKER_05]: And it's very ghost-like with Patrick Swazie at this moment.

54:12.107 --> 54:12.287
[SPEAKER_00]: Right.

54:12.828 --> 54:16.774
[SPEAKER_00]: Well, and you think that Lucy would be a little more upset that there has been dropped in.

54:17.969 --> 54:21.786
[SPEAKER_00]: Right, but no, no, I'm just going to go to dinner with Frank.

54:22.289 --> 54:24.632
[SPEAKER_05]: I'm just going to go to dinner for Frank no big deal.

54:24.692 --> 54:36.207
[SPEAKER_05]: I'm just going to talk about my dead husband and find out if he can't give me any money right if he left me anything because I could use a little cash right now, but you know what though she's a psychiatrist.

54:36.327 --> 54:48.162
[SPEAKER_05]: She should be bringing him more money than raised right, it's small, what do you look, he said he has some business ventures and he got and he had some money that he lost money on.

54:49.103 --> 54:54.089
[SPEAKER_05]: What was it, Jim, that you never went to that closed down?

54:54.510 --> 54:57.474
[SPEAKER_00]: Right, I don't know.

54:57.494 --> 55:03.041
[SPEAKER_00]: But yeah, he didn't seem like that he was not portraying himself as a tighten of industry.

55:03.862 --> 55:06.104
[SPEAKER_00]: No, definitely not.

55:06.124 --> 55:12.132
[SPEAKER_05]: So then we have that scene play out where Frank is now in the bathroom and he sees his other guy.

55:12.192 --> 55:13.033
[SPEAKER_05]: He's looking at the guy.

55:13.133 --> 55:16.157
[SPEAKER_05]: Of course, there's a number on the guy's head.

55:16.407 --> 55:28.324
[SPEAKER_05]: And, you know, he's just looking at him really weird and then you see him die of a heart attack because you see the great Reaper thing and I love how they did the mirror.

55:28.439 --> 55:29.921
[SPEAKER_05]: seeing the bathroom.

55:29.941 --> 55:31.343
[SPEAKER_05]: It looks that looks good.

55:32.565 --> 55:33.366
[SPEAKER_05]: Um, and stuff.

55:33.426 --> 55:34.327
[SPEAKER_05]: I really love that.

55:34.347 --> 55:39.374
[SPEAKER_05]: A whole entire idea of something coming at you in the mirror when you're just using the bathroom.

55:39.774 --> 55:40.956
[SPEAKER_05]: Right.

55:40.976 --> 55:41.857
[SPEAKER_05]: I thought it was really cool.

55:41.897 --> 55:42.658
[SPEAKER_05]: It was like liquid.

55:43.900 --> 55:44.160
[SPEAKER_00]: Yeah.

55:45.082 --> 55:47.605
[SPEAKER_00]: And that was again, a really good effect.

55:47.725 --> 55:52.252
[SPEAKER_00]: And, uh, and the green Reaper was a good effect.

55:52.492 --> 55:54.835
[SPEAKER_00]: So I mean, they could have, I mean,

55:56.485 --> 56:07.661
[SPEAKER_00]: at this time in, you know, movie history and so forth, 96, you know, all the movies don't really hold up with their effects back in this era, right?

56:08.662 --> 56:15.051
[SPEAKER_00]: And so this one though, I think does really, really well with a lot of the effects that they pulled off.

56:15.031 --> 56:29.856
[SPEAKER_00]: Even today, you watch it doesn't look, you know, super cheesy or, you know, super bad or overly pixelated or, you know, everybody always gives an example of Scorpion King, right, the rock.

56:30.758 --> 56:33.282
[SPEAKER_00]: Oh, yeah, that was horrible.

56:33.302 --> 56:34.845
[SPEAKER_00]: That was horrible when it came out.

56:34.825 --> 56:38.311
[SPEAKER_00]: believe it or not folks, but I agree with one person.

56:38.812 --> 56:40.375
[SPEAKER_05]: I didn't go out to the theater to see that.

56:40.395 --> 56:41.998
[SPEAKER_05]: I don't want my friends head out on DVD.

56:42.058 --> 56:43.281
[SPEAKER_05]: I'm like, you actually on this.

56:44.463 --> 56:46.126
[SPEAKER_00]: Yeah, it's just, and I can't, what year was that?

56:46.186 --> 56:47.869
[SPEAKER_00]: That was in the 90s too, so.

56:48.049 --> 56:51.456
[SPEAKER_00]: No, no, Scorpion Kings was like, and it was, it was a really that way.

56:51.496 --> 56:52.818
[SPEAKER_00]: One thought it's after this.

56:52.838 --> 56:53.479
[SPEAKER_00]: Oh my god.

56:53.499 --> 56:55.483
[SPEAKER_05]: Yeah, because I want to say,

56:58.298 --> 56:58.759
[SPEAKER_00]: horrible.

56:59.741 --> 57:01.225
[SPEAKER_05]: I want to say it was, yeah, 2002.

57:02.047 --> 57:03.410
[SPEAKER_00]: Oh, my, that's even worse.

57:03.470 --> 57:05.334
[SPEAKER_00]: I really realized it was that much later.

57:05.394 --> 57:07.439
[SPEAKER_00]: I thought it was like, yeah, it was somewhere closer.

57:08.040 --> 57:10.546
[SPEAKER_00]: Because it was like that effects for the time.

57:10.566 --> 57:11.849
[SPEAKER_00]: This has been fantastic.

57:12.190 --> 57:12.831
[SPEAKER_05]: And this is 96.

57:13.092 --> 57:14.856
[SPEAKER_05]: It's not even 2002.

57:15.545 --> 57:28.062
[SPEAKER_05]: Yeah, the scorpion king was like the epitome of lousy, you know, big budget effects, but even the mummy returns, which also has a scorpion king in it too and that's they didn't him wrong on that too.

57:28.082 --> 57:35.832
[SPEAKER_00]: That was like, so this was really great then this is even better than.

57:36.976 --> 57:37.857
[SPEAKER_05]: I think so too.

57:37.917 --> 57:41.803
[SPEAKER_05]: I feel like this was better effects than what we got in the early 2000s.

57:42.304 --> 57:43.005
[SPEAKER_05]: Yeah.

57:43.025 --> 57:47.792
[SPEAKER_05]: That might be something that I feel that's kind of awkward and chunky on some of the effects towards the end.

57:49.054 --> 57:53.822
[SPEAKER_00]: But I mean, they had like 400 some effects shots in this movie.

57:54.683 --> 57:54.943
[SPEAKER_00]: Right.

57:55.044 --> 57:57.607
[SPEAKER_00]: Which at the time was like an enormous amount.

57:59.771 --> 58:02.595
[SPEAKER_00]: I mean, not now, but for the time period, yes.

58:03.740 --> 58:14.441
[SPEAKER_05]: And then finally we have this other thing that plays out to where now Frank's in the bathroom he's why the he's widened pay all the police bring them in for questioning.

58:15.523 --> 58:25.343
[SPEAKER_05]: And then you have this whole entire thing where Frank's ability to fortale the murders put some under suspicion with the police in the FBI agent Milton dammers.

58:25.762 --> 58:38.938
[SPEAKER_05]: uh, who is convicted, Frank is responsible, Frank is arrested for killing a newspaper editor, which, another thing that happens, um, made a raise Jones, who had attacked him in the press.

58:39.599 --> 58:46.127
[SPEAKER_05]: That's, it was actually the grim reaper who killed, uh, raised Jones despite Frank's attempt to prevent it.

58:46.628 --> 58:47.789
[SPEAKER_05]: So let's talk about this.

58:47.890 --> 58:50.753
[SPEAKER_05]: So now we go from that.

58:51.154 --> 58:54.638
[SPEAKER_05]: And then, then we go into the museum,

58:54.618 --> 58:55.200
[SPEAKER_05]: Remember that.

58:57.389 --> 59:05.742
[SPEAKER_05]: And nobody believes that this guy can see ghosts, but you see the gunslinger had to have sex with.

59:06.397 --> 59:09.343
[SPEAKER_05]: Now, that's what I have to say doesn't hold up.

59:11.046 --> 59:11.347
[SPEAKER_00]: Right.

59:11.387 --> 59:12.028
[SPEAKER_00]: Yeah.

59:12.128 --> 59:13.411
[SPEAKER_00]: That effect was not that great.

59:13.691 --> 59:13.952
[SPEAKER_00]: No.

59:14.393 --> 59:14.693
[SPEAKER_00]: Yeah.

59:17.298 --> 59:21.066
[SPEAKER_05]: But you see the sarcophagus going around by themselves.

59:21.487 --> 59:21.607
[SPEAKER_00]: Right.

59:21.627 --> 59:24.793
[SPEAKER_05]: You mean to tell me that you don't believe this guy can see ghosts?

59:24.824 --> 59:36.579
[SPEAKER_00]: Right, right, yeah, again, it's, it's off, you know, a little bit off the mark as far as the script goes because it's not, it's not what you want to say.

59:36.599 --> 59:38.782
[SPEAKER_00]: It's not staying between the lines where it should be.

59:38.822 --> 59:40.224
[SPEAKER_00]: It's only goes to a certain point.

59:40.544 --> 59:43.768
[SPEAKER_00]: And then ease off in order to keep it believable.

59:43.948 --> 59:50.697
[SPEAKER_00]: So our, our suspension of disbelief gets a little bit stretched in in these situations.

59:50.677 --> 59:51.058
[SPEAKER_03]: Right.

59:52.100 --> 59:52.240
[SPEAKER_00]: Yeah.

59:52.261 --> 59:57.091
[SPEAKER_00]: So Jeff for the you mentioned the FBI guy, Jeffrey or Milton dammers.

59:57.713 --> 01:00:06.352
[SPEAKER_00]: It's played by Jeffrey Combs who is kind of a B movie star earlier, right, with reanimator.

01:00:06.552 --> 01:00:08.096
[SPEAKER_00]: You ever seen any reanimator ones?

01:00:08.456 --> 01:00:09.158
[SPEAKER_05]: Yeah, haven't seen it.

01:00:09.661 --> 01:00:29.475
[SPEAKER_00]: Okay, so it definitely comes as is in a lot of 80s B movies, the Reanimator series, and I'm trying to remember the other one, but he was, you know, quite prolific.

01:00:29.455 --> 01:00:31.960
[SPEAKER_00]: And those kind of movies, he's an creep show.

01:00:31.980 --> 01:00:35.526
[SPEAKER_00]: He was a weird thing called holiday hell.

01:00:36.388 --> 01:00:39.814
[SPEAKER_00]: And then he's done all the kind of voiceover stuff now.

01:00:39.934 --> 01:00:52.898
[SPEAKER_00]: But what he got his start in B movies, and reanimator was kind of his biggest, and that was what 85.

01:00:52.878 --> 01:01:01.392
[SPEAKER_00]: And so he'd been around for quite some time and he's kind of a weird in this when he really plays kind of a creepy real person, right?

01:01:02.013 --> 01:01:02.654
[SPEAKER_00]: Yeah.

01:01:02.975 --> 01:01:04.658
[SPEAKER_00]: And it's really kind of creepy.

01:01:05.199 --> 01:01:10.728
[SPEAKER_00]: The guy, the guy or the whole other thing, anyway, bright of reanimator, he's in all these kind of things.

01:01:11.008 --> 01:01:11.549
[SPEAKER_00]: Okay.

01:01:11.569 --> 01:01:17.299
[SPEAKER_00]: But yeah, you should check him out for his filmography out for some really weird,

01:01:18.123 --> 01:01:35.284
[SPEAKER_05]: We have to check them out because this is actually one of those things where he's supposed to be a psychological FBI agent that investigates the paranormal and you still want to target Frank as if he was the suspect still.

01:01:35.304 --> 01:01:36.105
[SPEAKER_00]: Right, right.

01:01:36.545 --> 01:01:36.645
[SPEAKER_00]: Yeah.

01:01:36.665 --> 01:01:42.072
[SPEAKER_00]: Even though he isn't going to be the paranormal aspect, he's like, oh, it's got to be this guy.

01:01:42.524 --> 01:01:45.289
[SPEAKER_05]: But what do you think of the whole entire thing at the museum though, too?

01:01:45.850 --> 01:01:47.453
[SPEAKER_05]: Well, you have the Grim Reaper coming down.

01:01:47.513 --> 01:01:55.868
[SPEAKER_05]: Then you have Frank, who was a punching, punching the newspaper, woman to get up and tries to save her.

01:01:56.409 --> 01:01:57.090
[SPEAKER_00]: Right, yeah.

01:01:58.201 --> 01:02:03.108
[SPEAKER_05]: And then, you know, the Grim Reaper winds up killing her.

01:02:03.168 --> 01:02:03.969
[SPEAKER_05]: Yeah.

01:02:03.989 --> 01:02:07.654
[SPEAKER_00]: And then it's all chaos, right?

01:02:09.396 --> 01:02:14.362
[SPEAKER_05]: But then the Gunslinger's also dead because the Grim Reaper also killing kill goes too.

01:02:14.382 --> 01:02:17.066
[SPEAKER_05]: So not only does he kill him in the afterlife.

01:02:17.406 --> 01:02:20.651
[SPEAKER_05]: I mean, in the living, but he can kill him again in the afterlife.

01:02:21.131 --> 01:02:21.472
[SPEAKER_01]: Right.

01:02:22.433 --> 01:02:22.533
[SPEAKER_01]: Yeah.

01:02:23.034 --> 01:02:26.098
[SPEAKER_05]: But I also like how the name of the sole collector.

01:02:27.226 --> 01:02:29.890
[SPEAKER_05]: They should have went with that element for the town.

01:02:30.371 --> 01:02:34.899
[SPEAKER_05]: Like the sole collector is haunting our town.

01:02:36.682 --> 01:02:37.403
[SPEAKER_05]: I would have loved that.

01:02:37.884 --> 01:02:40.308
[SPEAKER_00]: Yeah, too many things happening, right?

01:02:40.408 --> 01:02:42.532
[SPEAKER_00]: And not necessarily mixing up well.

01:02:43.453 --> 01:02:49.403
[SPEAKER_00]: Too many things going on where they could have kind of streamlined things quite a bit, but they decided not to.

01:02:51.172 --> 01:02:54.040
[SPEAKER_05]: But going up the FBI agent though, he's very creepy.

01:02:54.642 --> 01:02:55.946
[SPEAKER_05]: He also suspects Frank.

01:02:56.447 --> 01:03:05.653
[SPEAKER_05]: He's also telling Lucy everything about him because she's only been in this town for six months, but yet she's somehow attached to Frank.

01:03:06.005 --> 01:03:32.097
[SPEAKER_05]: And believing everything Frank is telling her is well, and this is the flashback scene that we were talking about with Deborah wife in the grim reaper and this is also him telling you and to this day Frank had no one could find Frank's box cutter he actually had like seven seven blades that day I'm like bouquet.

01:03:33.342 --> 01:03:36.651
[SPEAKER_05]: Well, that comes in a pack to you like right.

01:03:36.711 --> 01:03:37.413
[SPEAKER_05]: That's what you get.

01:03:37.453 --> 01:03:43.268
[SPEAKER_00]: Right, one with the cutter and then you give it sick pack of blades.

01:03:45.256 --> 01:03:47.018
[SPEAKER_05]: But he's also mumbling himself.

01:03:47.098 --> 01:03:50.162
[SPEAKER_05]: He's not like the best FBI agent that you can actually get.

01:03:52.044 --> 01:03:53.205
[SPEAKER_05]: And who actually do this?

01:03:53.325 --> 01:03:56.489
[SPEAKER_05]: This is actually one of those things like look if this guy came in a nice ball town.

01:03:56.850 --> 01:04:01.735
[SPEAKER_05]: I understand the FBI has to take over ball town sheriff's offices.

01:04:01.775 --> 01:04:05.320
[SPEAKER_05]: I would be pissed if this guy came into my office.

01:04:05.340 --> 01:04:07.903
[SPEAKER_05]: But yeah, it's just as weird as Frank.

01:04:08.003 --> 01:04:10.406
[SPEAKER_05]: Because they also don't believe Frank's not so it's okay.

01:04:10.806 --> 01:04:14.250
[SPEAKER_05]: So now you're having just someone and it's just as weird as Frank is now.

01:04:15.209 --> 01:04:17.712
[SPEAKER_00]: But I do think that he did a good job with his character too.

01:04:18.013 --> 01:04:18.313
[SPEAKER_00]: Yeah.

01:04:19.855 --> 01:04:21.057
[SPEAKER_00]: He played it up just right.

01:04:21.217 --> 01:04:24.202
[SPEAKER_00]: He was in the zone, I guess, for this movie.

01:04:25.864 --> 01:04:26.845
[SPEAKER_05]: I definitely agree with that.

01:04:26.885 --> 01:04:31.031
[SPEAKER_05]: Like, he has his perfect way about the train that character.

01:04:31.131 --> 01:04:33.114
[SPEAKER_05]: I think that he portrays the character very well.

01:04:34.115 --> 01:04:35.277
[SPEAKER_02]: You know?

01:04:36.050 --> 01:04:41.258
[SPEAKER_05]: So now we're getting into where Lucy investigates the murderers and becomes a target of the Grim Reaper.

01:04:41.678 --> 01:04:49.730
[SPEAKER_05]: She's attacked while visiting Franken's jail, but they escape, but they have a Cyrus and Stewart who are both dissolved in the process, which makes me cry.

01:04:49.770 --> 01:04:52.635
[SPEAKER_05]: Frank wants to commit suicide to stop the Grim Reaper.

01:04:52.715 --> 01:05:03.070
[SPEAKER_05]: Lucy helps Frank have a near death experience like putting him into hypothermia and using her rates to stop his heart.

01:05:03.050 --> 01:05:09.758
[SPEAKER_05]: Damers of Ducks Lucy revealing that he had been a victim of Charles Manson and his family in 1969.

01:05:09.778 --> 01:05:11.761
[SPEAKER_05]: Yeah, we are.

01:05:14.424 --> 01:05:15.926
[SPEAKER_05]: So a lot's happening here.

01:05:16.066 --> 01:05:30.103
[SPEAKER_05]: So I like the, once again, the Grim Reaper stuff works and she's also investigating this thing, because she goes back over to where Patricia and her mother is at.

01:05:31.552 --> 01:05:39.815
[SPEAKER_05]: And she winds up telling her, look, I got attached to Gary Bucy's son and it was all him.

01:05:39.855 --> 01:05:46.894
[SPEAKER_05]: I had no influence on anything I would felt trapped basically because of this whole entire situation.

01:05:48.292 --> 01:05:57.142
[SPEAKER_05]: And then you see where, then you see where the green reapers also following Lucy now because now she's hot on the trail.

01:05:58.023 --> 01:06:10.097
[SPEAKER_05]: Then you have Lucy house Frank way okay, so I like the whole entire deal of them doing the comments to decide to stop the green reaper and then Lucy helps Frank I like the fact that you have to stop death.

01:06:10.077 --> 01:06:11.783
[SPEAKER_05]: In order to stop death, you have to die.

01:06:11.803 --> 01:06:18.889
[SPEAKER_05]: So I'm going to kill myself to help and protect Lucy, the protect the ones I love in death.

01:06:19.409 --> 01:06:41.704
[SPEAKER_00]: Yeah, no, interesting way to go about it, it's just a, I think it's like, you know, just too many elements all of a sudden again, you know, having all this other stuff come into it, they could have easily just ran with the con artist thing and kind of played that out fully without having to have all of these other elements and it's still would have been a pretty fun movie.

01:06:41.684 --> 01:06:55.407
[SPEAKER_00]: But yeah, it is interesting that in order to, you know, be of some help, he has the die and so that he has different abilities in death than in life.

01:06:57.057 --> 01:07:03.787
[SPEAKER_05]: That's, I like the rules that they play with, too, like they can touch another non-living thing.

01:07:04.307 --> 01:07:05.869
[SPEAKER_05]: You can also interact.

01:07:05.890 --> 01:07:09.855
[SPEAKER_05]: I like this whole entire interaction with the difference between living and the debt.

01:07:10.095 --> 01:07:13.340
[SPEAKER_05]: I like the rules that they have established within the movie itself.

01:07:13.941 --> 01:07:15.904
[SPEAKER_05]: So I think it establishes the rules really good.

01:07:15.924 --> 01:07:17.145
[SPEAKER_05]: It comes to that.

01:07:17.406 --> 01:07:26.018
[SPEAKER_05]: I really didn't want to see

01:07:26.588 --> 01:07:35.758
[SPEAKER_05]: But I'm glad that they killed them off because now it leaves them a chance to focus on losing in Frank versus it being a four person dole right.

01:07:35.818 --> 01:07:37.039
[SPEAKER_00]: Yeah.

01:07:37.059 --> 01:07:39.602
[SPEAKER_00]: Had to thin the herd a little bit here to make characters.

01:07:41.063 --> 01:07:41.284
[SPEAKER_00]: Right.

01:07:41.324 --> 01:07:44.787
[SPEAKER_00]: So they have to kill up the two ghosts, but I'm fine with that to go.

01:07:46.349 --> 01:07:49.632
[SPEAKER_00]: Exactly, but at least it's different, I guess normally you don't think about that.

01:07:49.652 --> 01:07:51.514
[SPEAKER_00]: They just kind of trail off.

01:07:51.574 --> 01:07:53.136
[SPEAKER_00]: I'm going to go hunt someplace else.

01:07:54.719 --> 01:08:00.089
[SPEAKER_05]: But do you think about damners of ducting loose to reveal that he had been a victim of Charles Manson in his family?

01:08:00.109 --> 01:08:04.578
[SPEAKER_05]: I'm like, I thought to myself, you know, you could at least sometimes an email or facts me.

01:08:05.801 --> 01:08:09.267
[SPEAKER_05]: It didn't have to go in any duct me into believing you.

01:08:09.748 --> 01:08:13.876
[SPEAKER_00]: Right, yeah, a little weird, but he's been this creepy character the whole time.

01:08:13.976 --> 01:08:16.862
[SPEAKER_00]: So I guess maybe that fits the character a little bit better.

01:08:16.842 --> 01:08:30.335
[SPEAKER_00]: because he's got, so there's this overarching thing of trauma, right, Frank's been traumatized, right, all these characters, even the ghosts have been traumatized.

01:08:30.355 --> 01:08:44.368
[SPEAKER_00]: And they're playing off of all these people's trauma, and so that was the FBI guy's trauma was what he revealed, right, and so the funny thing is I suppose,

01:08:44.348 --> 01:08:57.842
[SPEAKER_00]: I'm just thinking there, Lucy, I guess her husband died, so that's a trauma for her, but she didn't, hers doesn't seem to be as affecting hers much as everybody else because Frank is essentially stopped living, right?

01:08:58.763 --> 01:09:09.073
[SPEAKER_00]: He was at architect and he's, you know, not finishing the house because, you know, he can't finish the house because all of their death experience, that too.

01:09:09.053 --> 01:09:10.594
[SPEAKER_00]: Yeah, I guess so.

01:09:11.815 --> 01:09:22.425
[SPEAKER_00]: But that seems to be kind of an overarching thing though, in all this is the fact that most of these people have some type of severe trauma in their life.

01:09:23.086 --> 01:09:39.060
[SPEAKER_05]: Right, because I think that's the, I think everybody has some kind of trauma to even the ghost has trauma, even the ghost in the cemetery have trauma.

01:09:39.040 --> 01:09:47.289
[SPEAKER_05]: Let's see here, and it is ghostly form of form, Frank controls the Grim Reaper and discovers that he is the ghost of Johnny Barlett.

01:09:47.749 --> 01:09:54.717
[SPEAKER_05]: It's like a psychiatric hospital orally who killed well people in 1964 before being captured convicted and executed.

01:09:55.297 --> 01:10:01.584
[SPEAKER_05]: His family reports revealed that his latest desire was to become the most prolific serial killer ever.

01:10:02.024 --> 01:10:04.407
[SPEAKER_05]: Showing the pride at killing more than

01:10:04.387 --> 01:10:10.532
[SPEAKER_05]: on commentators like Charles Starkweather, Patricia Bradley.

01:10:10.647 --> 01:10:20.717
[SPEAKER_05]: then at a teenager was accused as is a complist, complist, although she escaped the death in penalty due to the underage status.

01:10:20.777 --> 01:10:26.143
[SPEAKER_05]: Lucy, associates, Frank, and then visits Patricia unknown to them.

01:10:26.263 --> 01:10:30.967
[SPEAKER_05]: Patricia is still in love with Barlaid, and on friendly homicidal terms with Barlaid's ghost.

01:10:31.588 --> 01:10:40.637
[SPEAKER_05]: And then she kills her own mother, who had been trying to modern her daughter's behavior.

01:10:40.617 --> 01:10:43.821
[SPEAKER_05]: was the bad person, and she was the innocent person.

01:10:43.881 --> 01:10:46.845
[SPEAKER_00]: So I saved her daughter from this weirdo.

01:10:47.587 --> 01:10:47.887
[SPEAKER_05]: Right.

01:10:48.608 --> 01:11:03.809
[SPEAKER_05]: And Lucy and Frank, wrap our last spirit in, is you're not, you're, you're in, which Patricia has kept their, uh, the pair make for the chapel of the now abandoned psychiatric hospital, hoping to send Barlic goes to hell.

01:11:04.470 --> 01:11:08.515
[SPEAKER_05]: So, the thing that I, this is the thing that I don't like.

01:11:08.967 --> 01:11:14.995
[SPEAKER_05]: Okay, I don't like, I don't like the fact that it's Charlie Barley I don't like it.

01:11:15.115 --> 01:11:15.696
[SPEAKER_05]: I don't like it.

01:11:15.716 --> 01:11:16.677
[SPEAKER_05]: I don't like it.

01:11:16.977 --> 01:11:17.538
[SPEAKER_05]: I don't like it.

01:11:17.658 --> 01:11:18.159
[SPEAKER_05]: I don't like it.

01:11:18.660 --> 01:11:19.661
[SPEAKER_05]: I don't like that it's him.

01:11:20.542 --> 01:11:35.361
[SPEAKER_05]: I'd rather repeat that grim Reaper or some ghost that's doing this and in order to stop that stop this legend that's part of this town is to try and take it out while Frank is comatose or something.

01:11:35.902 --> 01:11:36.763
[SPEAKER_05]: But no.

01:11:37.132 --> 01:11:53.031
[SPEAKER_05]: He is just a serial killer that died in help us to have and so it was me for for has his ashes, which is also causing her love, I guess her love for him is what's causing his ashes to be around still.

01:11:53.264 --> 01:11:54.566
[SPEAKER_05]: They don't really explain it.

01:11:55.207 --> 01:12:00.674
[SPEAKER_00]: No, I think, well, I think the ashes and earnance of fourth are just the McGuffin, right?

01:12:00.754 --> 01:12:01.636
[SPEAKER_00]: This is right.

01:12:01.656 --> 01:12:03.478
[SPEAKER_00]: I have to have a reason for him to be here.

01:12:04.359 --> 01:12:09.907
[SPEAKER_00]: And obviously, then, you know, she was very young when they met.

01:12:10.107 --> 01:12:13.652
[SPEAKER_00]: And he kind of seduced her or whatever you want to say, right?

01:12:13.632 --> 01:12:26.538
[SPEAKER_00]: And so that she's just been following him ever since because she's, you know, kind of a, he's kind of a sphingale with her and has her under control even in the afterlife.

01:12:27.620 --> 01:12:27.961
[SPEAKER_00]: Right.

01:12:28.181 --> 01:12:28.361
[SPEAKER_00]: And.

01:12:28.602 --> 01:12:29.143
[SPEAKER_00]: Right.

01:12:29.123 --> 01:12:46.322
[SPEAKER_00]: And so yeah, so again, go back to trauma because she's traumatized as young girl by Johnny and then even though he moves on to the afterlife still has a bit of a hold over her and, you know,

01:12:46.302 --> 01:12:52.519
[SPEAKER_00]: It's like moving forward, but I mean, they didn't have to do, they didn't have to do have all that story, you know what I mean?

01:12:52.560 --> 01:12:53.683
[SPEAKER_00]: Right.

01:12:53.984 --> 01:13:01.324
[SPEAKER_00]: It's, it's Vic convoluted, um, there at the, it was all that going on and, and, and,

01:13:01.304 --> 01:13:21.169
[SPEAKER_00]: It wasn't necessary, I don't know, again, that's why I think this movie was a lot longer to tie all these things together better and basically we have, you know, the movie became the highlights, right, because the connecting tissue is all cut away to make it fit time.

01:13:21.149 --> 01:13:30.220
[SPEAKER_00]: You know, the probably could have been two full movies in this and the, you know, you could, you could go from the beginning.

01:13:30.240 --> 01:13:37.428
[SPEAKER_00]: If they put it all back together to the point before they reveal the Johnny thing with the grim reaver.

01:13:37.489 --> 01:13:39.631
[SPEAKER_00]: And then the grim after that's the second movie.

01:13:40.492 --> 01:13:40.853
[SPEAKER_05]: Right.

01:13:40.973 --> 01:13:43.816
[SPEAKER_05]: There's something else that Frank has to probably investigate.

01:13:44.136 --> 01:13:46.279
[SPEAKER_05]: It has to be this psychiatric hospital.

01:13:46.259 --> 01:13:46.699
[SPEAKER_00]: Right.

01:13:46.780 --> 01:13:49.682
[SPEAKER_00]: It's part two and that'll be more interesting.

01:13:49.702 --> 01:13:54.807
[SPEAKER_05]: I'll be sold on a frighteners two where Frank investigating a psychiatric hospital.

01:13:55.428 --> 01:13:55.708
[SPEAKER_00]: Right.

01:13:55.788 --> 01:13:57.290
[SPEAKER_05]: Versus it being this.

01:13:58.771 --> 01:14:08.501
[SPEAKER_00]: And so it's kind of two movies in one, but they kind of just smooshed them together and and it lost something in the in it's interpretation.

01:14:09.262 --> 01:14:09.522
[SPEAKER_05]: Right.

01:14:09.902 --> 01:14:13.586
[SPEAKER_05]: Even though I don't really care for this, but I do like the flashbacks.

01:14:13.986 --> 01:14:15.608
[SPEAKER_05]: I do

01:14:15.993 --> 01:14:18.738
[SPEAKER_05]: That is something that I do feel like it works.

01:14:18.798 --> 01:14:29.355
[SPEAKER_05]: Every single time when there's a like a shotgun blast inside the psychographic place and then you actually see this scenes being played out with Patricia and also the boyfriend too.

01:14:29.716 --> 01:14:30.938
[SPEAKER_05]: I really liked that.

01:14:30.958 --> 01:14:37.529
[SPEAKER_05]: That was moments that especially when Jake Michael Bay Fox is hiding underneath the bed and you're seeing everything being played out like that.

01:14:38.090 --> 01:14:39.011
[SPEAKER_05]: So I do like that.

01:14:40.133 --> 01:14:41.736
[SPEAKER_05]: I just don't like the initial set up.

01:14:42.457 --> 01:14:42.557
[SPEAKER_00]: Yeah.

01:14:43.313 --> 01:14:43.974
[SPEAKER_00]: Oh, definitely.

01:14:44.615 --> 01:14:48.079
[SPEAKER_05]: So then there's still love a part.

01:14:48.319 --> 01:14:49.521
[SPEAKER_05]: And this is another thing though, too.

01:14:49.601 --> 01:14:54.727
[SPEAKER_05]: Lucy is just sitting there watching her just play with Johnny's cheek.

01:14:55.608 --> 01:14:56.349
[SPEAKER_05]: Right.

01:14:56.369 --> 01:15:00.434
[SPEAKER_05]: And the air, I'm like, you're dude, she's giving herself a way.

01:15:00.975 --> 01:15:02.317
[SPEAKER_05]: Right.

01:15:02.337 --> 01:15:04.159
[SPEAKER_05]: And you're not supposed to be noted.

01:15:04.179 --> 01:15:04.660
[SPEAKER_05]: Here's the thing.

01:15:05.340 --> 01:15:08.224
[SPEAKER_05]: If you're this, this is another thing.

01:15:08.558 --> 01:15:16.107
[SPEAKER_05]: You're not supposed to be giving yourself a way to know that there's another being inside there, but you are because you're loved for him.

01:15:16.147 --> 01:15:25.498
[SPEAKER_05]: But also too, I wanted me to go back on one of something you said though, Bob, where you said there was some trauma and stuff that I was with Patricia.

01:15:26.479 --> 01:15:31.305
[SPEAKER_05]: And it's one thing to leave somebody and have scars.

01:15:32.226 --> 01:15:35.089
[SPEAKER_05]: But emotionally, you're not,

01:15:35.778 --> 01:15:40.131
[SPEAKER_05]: emotionally, and stuff, this person's living in your head, meant for it.

01:15:40.653 --> 01:15:40.914
[SPEAKER_01]: Yeah.

01:15:41.616 --> 01:15:45.568
[SPEAKER_05]: So that, and this person's haunting her inner own head.

01:15:46.510 --> 01:15:53.297
[SPEAKER_05]: So but yeah, and then the whole chapel thing feels like nightmare and I'm street part five to me.

01:15:53.337 --> 01:16:16.180
[SPEAKER_05]: You don't talk about oh yeah, and he doesn't even and here's another thing he gets shot by the FBI agent Frank does and by with an oozy right over the top and then just this one thing I got to tell you

01:16:16.733 --> 01:16:19.296
[SPEAKER_05]: He winds up not going into the chapel.

01:16:19.556 --> 01:16:20.697
[SPEAKER_05]: They actually get spread.

01:16:21.237 --> 01:16:23.079
[SPEAKER_05]: Then you see this whole entire thing now.

01:16:23.159 --> 01:16:25.722
[SPEAKER_05]: We're now barled now, like, let loose.

01:16:27.424 --> 01:16:29.426
[SPEAKER_05]: And he just looks at the API agent.

01:16:29.466 --> 01:16:30.927
[SPEAKER_05]: He goes, you know what you just did.

01:16:32.308 --> 01:16:37.293
[SPEAKER_05]: And he's followed them, but then also two, he decides he's going to fall through the floor, Frank is.

01:16:37.954 --> 01:16:46.082
[SPEAKER_05]: And I like how Patricia winds up shooting the API agents head off.

01:16:46.501 --> 01:16:46.902
[SPEAKER_05]: Right.

01:16:48.524 --> 01:16:50.406
[SPEAKER_05]: Yeah, wild.

01:16:51.889 --> 01:16:53.230
[SPEAKER_05]: Yeah, Damer source.

01:16:53.250 --> 01:16:54.372
[SPEAKER_05]: Yes, it's a way of releasing barley.

01:16:54.392 --> 01:16:56.675
[SPEAKER_05]: Let's go search for the kills damage.

01:16:56.735 --> 01:16:59.880
[SPEAKER_05]: Browlets go send hunt down Frank and Lucy.

01:16:59.980 --> 01:17:01.582
[SPEAKER_05]: Frank realizes that barley is ghost.

01:17:02.183 --> 01:17:04.707
[SPEAKER_05]: Or with Patricia's help was responsible for his wife's death.

01:17:05.107 --> 01:17:14.280
[SPEAKER_05]: And the number of her, uh, Rauh, and that he is still trying to add on his body count on him for, uh, and farmer for memory, even after his death.

01:17:14.716 --> 01:17:15.819
[SPEAKER_05]: I didn't like the plot twist.

01:17:15.859 --> 01:17:19.930
[SPEAKER_05]: I didn't like the plot twist of, you know, then to work together.

01:17:19.950 --> 01:17:21.615
[SPEAKER_05]: I didn't like that.

01:17:21.695 --> 01:17:23.199
[SPEAKER_05]: Like you said, everyone would have been part two.

01:17:23.219 --> 01:17:24.743
[SPEAKER_05]: I would have been more sold on there.

01:17:25.245 --> 01:17:26.869
[SPEAKER_05]: But I just didn't care for that.

01:17:27.035 --> 01:17:35.268
[SPEAKER_05]: Uh, so now we have out of bullets, Patricia strangles Frank the death by Frank and spirit, uh, form rips Patricia spirit.

01:17:35.408 --> 01:17:36.029
[SPEAKER_05]: I don't know for body.

01:17:36.089 --> 01:17:36.931
[SPEAKER_05]: I love this.

01:17:37.291 --> 01:17:37.592
[SPEAKER_04]: Right.

01:17:37.612 --> 01:17:38.793
[SPEAKER_05]: It wasn't all of the fall of that.

01:17:39.615 --> 01:17:49.971
[SPEAKER_05]: And that's another thing too that we never talked about was the whole entire, um, out of body thing where you actually see someone going up into heaven, what I thought was pretty cool to actually see that happen.

01:17:50.474 --> 01:17:50.835
[SPEAKER_00]: Right.

01:17:50.855 --> 01:17:51.175
[SPEAKER_00]: Yeah.

01:17:51.295 --> 01:17:52.538
[SPEAKER_00]: And a great effect.

01:17:52.678 --> 01:17:56.004
[SPEAKER_00]: And yeah, it just they really sold it.

01:17:56.064 --> 01:17:59.570
[SPEAKER_00]: I mean, it really was fantastic to watch.

01:17:59.810 --> 01:18:01.053
[SPEAKER_00]: And you're like, oh, there they go.

01:18:01.173 --> 01:18:04.198
[SPEAKER_00]: And again, that was a simple visual.

01:18:04.238 --> 01:18:07.905
[SPEAKER_00]: Everybody knows what everybody knows what it meant, right?

01:18:08.165 --> 01:18:09.467
[SPEAKER_00]: Not no confusion at all.

01:18:10.529 --> 01:18:10.930
[SPEAKER_00]: Exactly.

01:18:12.142 --> 01:18:13.464
[SPEAKER_05]: So I like that.

01:18:14.606 --> 01:18:29.874
[SPEAKER_05]: I do like how they how Frank is going up to heaven is this is going up to have and you see Barlett and Patricia trying to go up to heaven but then all of a sudden they get stopped and it turns red and you already know that they're going to hell.

01:18:30.536 --> 01:18:34.082
[SPEAKER_05]: But all of a sudden turns into like a scene where I'm from Tim Burton.

01:18:35.294 --> 01:18:42.610
[SPEAKER_05]: I'm like, okay, this feels like Tim Burton again, right, but I like how how they did that.

01:18:42.650 --> 01:18:43.592
[SPEAKER_05]: I thought that was a cool thing.

01:18:44.053 --> 01:18:48.723
[SPEAKER_05]: And then finally, we see Cyrus and we also see Stewart up there.

01:18:48.784 --> 01:18:51.750
[SPEAKER_05]: And Deborah and

01:18:51.730 --> 01:19:03.588
[SPEAKER_05]: She has, and then, uh, pictures spares claimed that they will, uh, and how go back to play in more lies, but the portal to have an quickly changes to a demonic looking appearance, and they are both dragged to help.

01:19:03.909 --> 01:19:13.924
[SPEAKER_05]: By giant worm like creature, Frank learns, lea, uh, learns that is not yet his time and sent back to it to his body as Deborah spirit tells him to be happy.

01:19:14.140 --> 01:19:14.521
[SPEAKER_01]: Right.

01:19:15.141 --> 01:19:20.209
[SPEAKER_05]: And I like how Cyrus is telling up, telling him how to do it.

01:19:20.229 --> 01:19:22.051
[SPEAKER_05]: He goes, look, Stewart's a ladies man up here.

01:19:22.091 --> 01:19:24.434
[SPEAKER_05]: Look, I got a cigars now, I'm good.

01:19:25.836 --> 01:19:29.001
[SPEAKER_00]: Yeah, he's not the nerd anymore.

01:19:29.602 --> 01:19:29.882
[SPEAKER_05]: Right.

01:19:29.922 --> 01:19:34.368
[SPEAKER_05]: And I like this closure for Frank where it's like, be happy.

01:19:34.809 --> 01:19:35.430
[SPEAKER_05]: Live your life.

01:19:35.510 --> 01:19:37.353
[SPEAKER_05]: Don't look back on me or anything.

01:19:37.413 --> 01:19:38.074
[SPEAKER_05]: Live your life.

01:19:38.995 --> 01:19:40.277
[SPEAKER_05]: I was a B, it's what raised life.

01:19:40.417 --> 01:19:41.278
[SPEAKER_05]: But you know,

01:19:41.765 --> 01:19:44.388
[SPEAKER_05]: Um, Frank and Lucy fall in love.

01:19:44.949 --> 01:19:46.991
[SPEAKER_05]: Lucy is now able to see ghosts as well.

01:19:47.231 --> 01:19:51.857
[SPEAKER_05]: Wrink later begins demolishing the unfinished streamhouse and building a life with Lucy.

01:19:52.277 --> 01:19:58.724
[SPEAKER_05]: Well, the morose looking ghosts of dimmers is riding around in the sheriff's vaults, Harry's car.

01:19:59.105 --> 01:20:07.054
[SPEAKER_05]: The sheriff who was also Frank's friend, approached him in at reveals that the police discovered a huge collection of Ouija boards in Patricia's room.

01:20:07.715 --> 01:20:10.658
[SPEAKER_05]: This causes Frank to realize how Johnny managed to come back.

01:20:10.638 --> 01:20:11.840
[SPEAKER_05]: to the world of the living.

01:20:12.241 --> 01:20:19.513
[SPEAKER_05]: Okay, so it's not the ashes, it's actually the Ouija boards.

01:20:19.533 --> 01:20:20.795
[SPEAKER_05]: Yeah, weird.

01:20:20.815 --> 01:20:26.545
[SPEAKER_05]: So I had to go back into my notes and look at that again, but still even with the Ouija boards.

01:20:26.565 --> 01:20:26.986
[SPEAKER_05]: It's tough.

01:20:27.306 --> 01:20:29.490
[SPEAKER_05]: You could actually get rid of the ashes.

01:20:30.989 --> 01:20:35.798
[SPEAKER_05]: Even though that's what's get contouring them up, but you're contouring up a spirit.

01:20:36.760 --> 01:20:38.944
[SPEAKER_05]: I don't know, I'm thinking way too hard on this.

01:20:40.247 --> 01:20:42.852
[SPEAKER_00]: Yeah, I guess it doesn't flow, right?

01:20:42.952 --> 01:20:47.040
[SPEAKER_00]: So then there's no reason to even have the Ouija board thing.

01:20:47.476 --> 01:20:55.303
[SPEAKER_00]: We were all focused on the ashes and maybe, you know, as a Catholic, trying to have to, I don't think so.

01:20:55.343 --> 01:21:02.289
[SPEAKER_00]: Trying to have twists and so forth, you know, and so they're just throw another twist in there.

01:21:02.389 --> 01:21:12.759
[SPEAKER_00]: Again, maybe it played into it more because you would think if you had that, you would have it represented earlier, right?

01:21:13.459 --> 01:21:17.483
[SPEAKER_00]: So that would be a callback at the end.

01:21:17.463 --> 01:21:19.965
[SPEAKER_00]: All right, but we don't have that point though.

01:21:20.025 --> 01:21:21.206
[SPEAKER_05]: You're wrapped up.

01:21:21.226 --> 01:21:28.853
[SPEAKER_05]: That should have been at the point where we have Lucy trying to investigate the house and she sees that there's a bunch of wiki boards.

01:21:29.134 --> 01:21:35.880
[SPEAKER_05]: She didn't discover anything by Frank's blade and also the ashes, and that's it.

01:21:36.000 --> 01:21:37.221
[SPEAKER_05]: She didn't discover anything.

01:21:37.621 --> 01:21:37.962
[SPEAKER_00]: Right.

01:21:37.982 --> 01:21:38.282
[SPEAKER_00]: Yeah.

01:21:39.163 --> 01:21:42.606
[SPEAKER_00]: Yeah, it just feels like it's tacked on or there's an element.

01:21:42.866 --> 01:21:44.027
[SPEAKER_03]: It's just a attachment.

01:21:44.628 --> 01:21:44.888
[SPEAKER_03]: Right.

01:21:46.235 --> 01:21:52.326
[SPEAKER_00]: Something that they should have been a thread in there that brought you to that, which we didn't get now.

01:21:52.346 --> 01:21:55.892
[SPEAKER_05]: This causes Frank to realize how Johnny managed to come back to the world of living.

01:21:56.353 --> 01:21:59.799
[SPEAKER_05]: That's pretty good to use the Ouija board to bring him back from hell.

01:21:59.819 --> 01:22:09.036
[SPEAKER_05]: Frank and Lucy then enjoy their picnic by hearing the hell out of Frank by gotting herself as the Graham Reaper.

01:22:09.404 --> 01:22:16.807
[SPEAKER_05]: But also, too, when Frank looks at her, is that she's looking at, oh, she just, man, the Amherst looks pissed.

01:22:17.710 --> 01:22:20.258
[SPEAKER_05]: Just, and then Frank just looks at her like, what the hell?

01:22:21.250 --> 01:22:27.519
[SPEAKER_05]: And just, oh, well, when you have a traumatic experience, just be a smart out like with him.

01:22:27.959 --> 01:22:29.121
[SPEAKER_05]: Right.

01:22:29.141 --> 01:22:36.592
[SPEAKER_05]: To be fair, though, she did have a she did definitely have a Chromatic experience with everything that she was faced with.

01:22:37.092 --> 01:22:38.615
[SPEAKER_05]: So that does make sense.

01:22:39.115 --> 01:22:40.918
[SPEAKER_05]: Of course, we also forgot to mention, too.

01:22:40.958 --> 01:22:45.865
[SPEAKER_05]: We also do have to see where the grim Reaper tour Ray apart and then lands on Lucy's cheap.

01:22:47.387 --> 01:22:47.727
[SPEAKER_01]: Right.

01:22:47.747 --> 01:22:48.048
[SPEAKER_01]: Yeah.

01:22:48.929 --> 01:22:49.570
[SPEAKER_01]: But yeah.

01:22:50.427 --> 01:22:59.259
[SPEAKER_05]: Okay, so now that we stripped the way in the style, so now that we reviewed this and now, so what do you get would now where do you stand as far as your score.

01:23:00.361 --> 01:23:04.306
[SPEAKER_00]: With the drops because boy, we really hammered the thing.

01:23:04.326 --> 01:23:07.451
[SPEAKER_05]: I don't mean that hate on this because I'm not hating on the movie.

01:23:07.631 --> 01:23:11.997
[SPEAKER_05]: I just just make sense on a standpoint of something I.

01:23:13.748 --> 01:23:22.160
[SPEAKER_05]: That thing in me, I like it, but will I go back and watch this again, maybe for background noise, but yeah, I don't have a lot of noise.

01:23:22.220 --> 01:23:25.412
[SPEAKER_00]: Anyway, it's the ghost movie everybody forgot about just like you said.

01:23:26.337 --> 01:23:28.359
[SPEAKER_00]: Yeah, at 6.5, I think.

01:23:29.020 --> 01:23:56.091
[SPEAKER_00]: Honestly, I mean, there is elements that is a, it's a super well made movie as far as the visuals go, even for even to for today, right, still holds up quite a bit and very well made and a lot of the elements are really fun to watch, but it's kind of a mess with the story.

01:23:57.995 --> 01:24:05.882
[SPEAKER_05]: I'm going to give this a five, just a point out five, I like elements of it.

01:24:06.482 --> 01:24:26.500
[SPEAKER_05]: I don't really care for it that much, um, just don't have the love for it, like I used to back when I was a kid, right, because of everything I've noticed, and even five years ago I want to write and review the film, I was not doing a scene by seeing breakdown, I was just going based off in this stasia, right, of what I liked.

01:24:27.593 --> 01:24:30.637
[SPEAKER_05]: But now I'm gonna, I'm so sad to give it like a five.

01:24:31.579 --> 01:24:34.443
[SPEAKER_05]: I just don't, now I know why I bond.

01:24:36.365 --> 01:24:36.485
[UNKNOWN]: Right.

01:24:36.505 --> 01:24:36.606
[SPEAKER_00]: Yeah.

01:24:36.626 --> 01:24:48.002
[SPEAKER_00]: Well, the funny thing is you would think this movie and it didn't being in 96 and everything would have played on like cable television, you know, all the way into the streaming era, right?

01:24:48.622 --> 01:24:48.823
[SPEAKER_00]: Right.

01:24:49.103 --> 01:24:50.445
[SPEAKER_00]: It is,

01:24:50.425 --> 01:25:00.760
[SPEAKER_00]: It has all the elements to be one of those movies that played on TBS or TNT or USA constantly, but it wasn't.

01:25:01.161 --> 01:25:01.862
[SPEAKER_00]: It never was.

01:25:02.944 --> 01:25:04.526
[SPEAKER_00]: Now, and maybe that's why.

01:25:04.546 --> 01:25:12.398
[SPEAKER_00]: The other thing is, I just realized is we had Arly Irmy, who was a sergeant, right?

01:25:12.458 --> 01:25:13.279
[SPEAKER_00]: The military.

01:25:13.459 --> 01:25:13.600
[SPEAKER_00]: Right.

01:25:14.281 --> 01:25:19.909
[SPEAKER_05]: Totally underutilized, totally.

01:25:19.889 --> 01:25:36.497
[SPEAKER_00]: Yeah, yeah, I mean, he does, and he obviously was his, essentially he was his character from full metal jacket in this movie, but they didn't really utilize him very well at all, so kind of wasted.

01:25:37.051 --> 01:25:39.815
[SPEAKER_00]: And character because we didn't even mention it.

01:25:39.855 --> 01:25:40.897
[SPEAKER_00]: I just was thinking about it.

01:25:40.917 --> 01:25:43.160
[SPEAKER_00]: I'm like, what are we didn't even talk about the sergeant?

01:25:43.300 --> 01:25:44.482
[SPEAKER_00]: I don't know.

01:25:44.722 --> 01:25:54.537
[SPEAKER_05]: Yeah, we only talked about the graveyard goes, but I forgot to mention about the sergeant because I think the sergeant is actually one of my other favorite characters in this movie that gives a friend a hard time.

01:25:54.517 --> 01:25:54.958
[SPEAKER_00]: Right.

01:25:54.998 --> 01:25:55.178
[SPEAKER_00]: Yeah.

01:25:55.198 --> 01:25:58.922
[SPEAKER_00]: He's kind of getting them to trying to get him to do something.

01:26:00.023 --> 01:26:00.324
[SPEAKER_00]: Right.

01:26:00.724 --> 01:26:09.314
[SPEAKER_00]: And, and, well, I'm really a pep talk, but kind of like the army, an army pep talk, right, which has to break it down a bit.

01:26:09.354 --> 01:26:11.597
[SPEAKER_00]: And I told him to make a style.

01:26:12.057 --> 01:26:13.138
[SPEAKER_00]: Yeah, exactly.

01:26:13.178 --> 01:26:17.443
[SPEAKER_00]: And, you know, he, he does, he is that character.

01:26:17.523 --> 01:26:20.407
[SPEAKER_00]: I mean, the actor is very much that character.

01:26:20.467 --> 01:26:21.588
[SPEAKER_00]: So he does a great job.

01:26:21.648 --> 01:26:22.549
[SPEAKER_00]: It's just,

01:26:22.529 --> 01:26:24.193
[SPEAKER_00]: totally underutilized in the movie.

01:26:24.213 --> 01:26:25.757
[SPEAKER_00]: They could have done so much more with him.

01:26:26.359 --> 01:26:28.164
[SPEAKER_00]: He would just seem stuck on again.

01:26:28.184 --> 01:26:30.670
[SPEAKER_00]: He just, oh, we need some more graveyard characters.

01:26:30.730 --> 01:26:32.335
[SPEAKER_00]: Let's, you know, that's a good one.

01:26:33.097 --> 01:26:33.357
[SPEAKER_05]: Right.

01:26:33.498 --> 01:26:33.979
[SPEAKER_05]: And that's it.

01:26:34.019 --> 01:26:35.222
[SPEAKER_05]: Didn't really do anything with him.

01:26:35.262 --> 01:26:37.308
[SPEAKER_05]: I wish they would have, but right.

01:26:37.328 --> 01:26:39.373
[SPEAKER_00]: He could have, you know, done something.

01:26:40.822 --> 01:26:48.775
[SPEAKER_05]: So that's everything that uh, as far as the show goes, but you want to do anything you want to announce, do you have anything going on?

01:26:48.795 --> 01:26:52.341
[SPEAKER_00]: Oh, as far as that kind of stuff now, not really.

01:26:52.381 --> 01:26:53.343
[SPEAKER_00]: John, it'd be honest with you.

01:26:54.124 --> 01:26:55.326
[SPEAKER_00]: Okay.

01:26:55.346 --> 01:26:59.553
[SPEAKER_00]: I mean, you can listen to my show whatever you feel like it's not a radio.com or not.

01:26:59.913 --> 01:27:01.135
[SPEAKER_00]: It's okay, either way.

01:27:01.436 --> 01:27:02.798
[SPEAKER_00]: I'm just happy to.

01:27:02.818 --> 01:27:04.721
[SPEAKER_00]: He's going through, you're going through some probbing yourself.

01:27:04.902 --> 01:27:05.783
[SPEAKER_00]: I got it.

01:27:05.763 --> 01:27:08.887
[SPEAKER_00]: I'm just happy to be here and then talk about movies with you.

01:27:09.007 --> 01:27:23.105
[SPEAKER_00]: It's always such a treat that, you know, because you're so, you're so prepared and so, you know, into it and it's great to be able to talk with you because because of that, right?

01:27:23.145 --> 01:27:35.601
[SPEAKER_00]: Because it's such an interest for you and you're such a good job that it's good to be here and share and share, you know, thoughts about these things.

01:27:35.581 --> 01:27:48.530
[SPEAKER_00]: we end up agreeing a lot on some things, you know, for these things, but it really is enlightening to me to hear how, you know, what your thoughts are on the movies that we've talked about.

01:27:48.631 --> 01:27:50.334
[SPEAKER_00]: So thank you, Kudos.

01:27:51.978 --> 01:27:52.780
[SPEAKER_00]: You appreciate that.

01:27:53.114 --> 01:28:05.115
[SPEAKER_05]: I do thank you so much for joining me and guys, go on ahead, follow me on Spotify, follow me on Apple podcast, leave me a five for review if you feel it Deemable, I'll read all of online and everything too.

01:28:05.516 --> 01:28:15.173
[SPEAKER_05]: You got what you were talking with you email me at www.gmail.com And if you want to donate to the page, just go ahead and go to buymeacoffee.com And always, I'm talking to you guys

01:28:19.270 --> 01:28:26.496
[UNKNOWN]: Thank you.