156: The Funny Games Coffee Drinking Game

Hey kids, this is going to be a very special episode. An interactive episode. You should make it a drinking game. But we here at Movie Meltdown would never be one to encourage irresponsible drinking. So it's a coffee drinking game.

So get yourself a big mug of coffee. Ask mom or dad to help you so you don't burn yourself. Then you'll be sitting there with coffee, just like we are in this episode, for the full, realistic experience. Then, every time someone mentions the name Henikei, Take a big swig of your coffee. Here, let's do a test run.

I've been super into Henneke lately. I mean, to just get on with funny games, there's like, he's a genius. And if you hear him talk, if you listen to his commentaries, I mean, when you hear me talk later, I'm going to be like, well, Henneke said this about the movie and Henneke said that about the movie. See, it's that easy and delicious. There's nothing a growing kid needs more than coffee.

Now sit back and enjoy this episode of Movie Meltdown. The following program is a proud member of the Palover family of podcasts. Check out all the shows over at palover.com. That's P-A-L-A-V-E-R dot com. The following feature has been rated R by the Motion Picture Association of America.

It is intended for mature audiences and parental discretion is advised. It's showtime, folks. Enjoy the show. Our nuclear reactor pumping out one. Million kilowatts of power.

To provide more cooling in the containment chambers. To your sentinels, we have a movie meltdown. Oh my god, that is funny! Way down among Brazilians, coffee beans grow by the billions, so they've got to find those. Extra cups to fill.

They got an awful lot of coffee in Brazil. What's up, and welcome to Movie Meltdown. I'm Brian. I'm Fred. I'm Marlena.

And once again this week we have Jess back with us. Hello. Yeah, I'm assuming you were here last week. If not, go back and let's do it because it was awesome and we heard many, many geeky things about Jess. But it is time once again for another edition of the Caffeinated Movie Geek.

Cappuccino my butt. I still drink coffee. The last fucking thing you need is another cup of coffee. It's time for the Caffeinated Movie Geek. We're coming to you live, sort of, digital recording-wise, from Nancy's Bagel Grounds, where we will get together, drink coffee, borrow eggs, and go far, far in-depth into film, whether we.

Like it or not. Was borrowing eggs a play on the whole Funny Games thing? Yeah. Is that what you're doing? Okay.

That's what I was going for. I was about to be like, oh. A little too subtle, I suppose. Funny enough. I was just going nut cheese with it.

Guys, that was so ten minutes ago. Or a week ago. A week ago. Or in the future. In some time and space continuum.

All right. So, once again, being the coffee geeks that we are, Jess, I ask you, what coffee are we drinking? We are still drinking the same cup of coffee, quite literally the exact same cup of coffee that we were drinking a few minutes ago slash a week ago. Pacific. Blacktail.

Yeah, team effort. I don't think we had a tag team. Wow, that was great. That's pretty awesome. I blanked out too.

Like, oh my god. Spotlight freeze. Make it away, Tony Smothers. And now, Conway Quinn, that's all you get for your four years. All right, so before we get sidetracked on nut cheese, we're going to take a quick break and be back with this week's movie.

She's ghetto living in San Francisco and she makes a living helping out the homeless. She's got an opinion, so you better listen. Can you guess who I'm talking about? They call her nut cheese. She's not a vegan.

She eats peanut butter and bacon sandwiches. Her name alone will make you giggle. Nut cheese, nut cheese, nut cheese. They call her nut cheese. At our refreshment stand, your wish is our command.

So the coffee we serve there is pure perfection. It rests on 13 acres of earth over the very center of hell. The last house on the left. Here is the first motion picture to offer to the daring a look into the final maddening space between life and death. The last house on the left.

Caution. To avoid fainting, keep repeating. It's only a movie. Only a movie. Only a movie.

Sights and sounds far beyond anything you've tested. The Last House on the left. Offered by Sean Cunningham Films Limited in color. Caution. To avoid fainting, keep repeating.

It's only a movie. Only a movie. Only a movie. Only a movie. Take as much as you can.

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Creeped Audio. Sounds better. Hi, this is famous Hollywood producer Robert Evans. You know, I've made a lot of powerful enemies during my time in Hollywood. Like the time I.

Pushed Steve McQueen in front of a moving car on the set of The Getaway because he was macking on my lady, Allie McGraw. But I've made one great friend, a boffo friend if you will. Since I retired. It's called Show Show, and it's the best fucking movie podcast ever. It's even better than cocaine, which I would know a lot about.

Visit Show Show at showshow.podomatic.com or search Show Show, all one word, in the iTunes store. Still plenty of time to come and be served at the refreshment center before showtime. They called him Machete. Machete. This is Danny Trello, a.k.a.

Machete. And you're checking out Movie Meltdown. You better keep checking it out or. I'll come looking for you. And I got machetes.

I soon realized they just fucked with the wrong Mexican. Machete. Machete. It's part of your problem, you know, you haven't seen enough movies. All of life's riddles are answered in the movies.

And now, on with the show. It's time for Sofa Theater. Sofa Theater. Venga, cuidado, no le rompas sus huevos. Chau.

All right, welcome back to Movie Meltdown's Sofa Theater. This week's Sofa Theater feature is Funny Games. The year is 1997, although there were different numbers. It was 97 or 98, depending on where you looked it up. But most of this is IMDb, so we'll go with 97.

The director, do you want to give the proper pronunciation, Jess? You're his best friend now. I wish. I think it's Michael Heneke. I think Heneke.

You're not even doing it Austrian-like. Michael Heneke. Haneke. Haneke. Yeah.

Haneke. But yeah, I was specifically listening to them call him Mikel. I'm like, we're American. We'll be lucky if you don't call him Mikey all night. Mike Henneke.

Okay. Enough with that. If so, call her up. Give her a job. I'm sure she'd consider it.

The plot, according to IMDb, which is usually questionable, but here we go. Two psychotic young men take a mother, father, and son hostage in their vacation cabin and force them to play sadistic games with one another for their own amusement. I guess that's sort of, kind of. With that spoiler alert, because we're going to totally ruin most of what goes on in this movie, so by now you should have gone to watch it. Truthfully, it's on Netflix right now, so please go watch it.

It's free. So, I guess, where would you like to begin with Funny Games? Well, I guess the first funny game is they're trying to guess opera. Yeah. And they're driving out to the country.

Speaking of geek activities, that was one for you. Guessing opera. Guessing opera. They're doing pretty good, but they keep raising the stakes. Yeah, but what?

Obviously. Moron. Sure, it's handled, but. But yeah, immediately you get that vibe that something's going to go wrong because it's a happy family driving out into the country and that's what happens. It's like a movie somebody was watching last week and actress gets on a bike and goes riding up somewhere.

How do you know she's going to get hit by a truck? Well, I feel like that's actually a big... I'm going to totally geek out on this one because I have way watched the Henneke commentary. and I think he's such a brilliant genius, that the movie is so precisely constructed to follow the genres. And if this were a movie, that's the sign that something really bad is. Going to happen.

No, it's just the cat running out. That was the fake-out first. To totally Henneke quote, whatever, he took the genre and very intentionally constructed it so that we always are following what these movies do. Like, oh, it's this simple family driving to a cabin. Like, every single section of it is playing you into the game of a horror film or of a torture film.

Well, I think what it. I thought it did really interestingly right off the bat is you get this very serene music and you get the calm, you know, landscape going. By, and then we immediately... kicks in with that music, which is very different. I think right off the bat you get that sense of... Oh, and it shifts to the thrash punk.

Yeah, it's like we're sort of luring you in with this very serene little situation, and then things are going to be very different than what you expect. I thought that was kind of interesting, just titles. By the time you hit the title screen, you're already like, whoa, wait, what just happened? You kind of know right away this is not going to go well. Well, and it's not going to be... a normal, standard, kind of, again, most, most, even like, psychological thrillers, probably wouldn't open like that, you know, it's, it's, it just seems like.

It's sort of, But where you really know how bad it's going to be, is when she's in the kitchen, making, like, getting out food, And the pattern on her dress and the pattern of that wall hanging. This is exactly what a designer would tell you not to do. This for you is the moment you're like, they are not trying to make me comfortable. Yeah. They're trying to make me very uncomfortable.

It's like they're similar patterns, similar scale, but they're different. They're clashing in this way. It's like being uncomfortably tickled. For too long and. I'm so smart i don't like this pattern but that's the thing because then i watched the remake.

Just like oh they don't really do that really well they have a hanging and they have a dress but no they're not really clashing they're not don't have that much of a relationship but in the first one it's like i i can just see interior designers out there going oh God, no! Turn it off! Did you? It was killing me. It was almost like...

I like that that's what made you uncomfortable. It's the little things. Yeah. But that was, I mean, that was a big... That was a nightmare.

Everything else was fine. Yeah, everything else was cool. That was easy, but... That wall hanging, I don't know. So...

Okay, I guess, I don't know, where do we want to approach it from? I sort of want to just put out there, right from the bat, something very interesting. That Haneke said in his commentary, is that. He was like, if this film is a success, it will be very questionable as to if it's a success for the right reasons. Because the film is intended to be an analysis of violence in film and media because you're watching the analysis as the movie goes along and the viewer is made an accomplice to the killing because the killers are talking to the viewer quite literally into the camera at you and you at one point are asked to pick sides and bet on who you think is going to win.

So it is interesting since, I mean, you hadn't seen it, but the film has... has gotten i think much larger than he imagined and i wonder that also makes it questionable to me why he remade it since it was already bigger than he thought it was going to. Be and especially since he didn't change it accordingly like i mean the world had changed a lot in those 10 years and had become especially with where media is concerned i mean because again you're making that little comment in the in the first one about like him flipping through the tv channels and you know That was your main window. But now you open up what the Internet has become just in that 10-year period. Your world is, like, you know, flooded with horrible images now and violence that you probably wouldn't have ever even had any, you know.

I mean, we're getting people taking footage of horrible things going on on the other side of the world on their cell phone, uploading it immediately onto the Internet. So, I mean, to me, it almost could have been updated a little bit. I mean, the quick nature that everything changes, specifically where the technology is concerned... seems like it almost could have been updated a little bit, and he really doesn't. Like, that remake is damn near shot for shot. It is frighteningly close.

Yeah, he had to admit that they would have both had cell phones. Yeah, that's the deal with that. And going in, I'm like, so I guess it's going to be a cell phone instead. Of a cordless. And the TVs were kind of like old-school TVs, like people might, instead of getting rid of the old TV, put it out at the lake house.

So, I mean, I don't know. I thought that was... It was almost interesting that you would almost get, you know, in trouble with a lot of movies for changing it because they would want you, oh, I can't believe you changed this. But with that, because he's making such a commentary from, you know, the get-go, from the first one, it's interesting, again, that it's the same director and that he didn't decide to do more with it. I always thought it was weird for him to try to remake his own.

To me, that almost seems really boring, doesn't it? I mean... A shot for shot remake? I mean, I understand the desire to revitalize it since it has become more, what was the word we said, resonant as violence has become more prevalent. In the media.

Resonance? But you seem unhappy with prevalent. But now I think it's working. I'm going to get out my vocab book. Hold on.

The question of remaking it is, I don't understand totally, but I love how smart the movie is regardless. I do think it could have been remade because it was so shocking for being in 1997, but I wonder if one of the questions is why isn't this movie as shocking now since. That's the other thing I thought was weird is I had heard about this version. I think I totally forgot. about the American remake. And it was one of those, I'm like, well, if he did it to open it up to a wider, mostly American audience, I'm like, it didn't work.

Like, I don't remember it getting any big, you know, release. I don't remember people paying attention. And if ever there was a movie you think they would really, you know, take notice of, love it or hate it, it would get some attention. But I don't really remember it. I kind of, once I saw the poster again, I went, oh yeah, that's actually a really cool one sheet that they did for it.

But I don't remember it getting any attention when it came out. So if Maybe it's back to his original thinking, maybe, because it wasn't that successful. It worked? Is that how that goes? Well, I still think it became more successful than he thought when he made it.

But almost the first one. Like, I really don't know of that many people that, at least talking to people, I haven't heard anybody bring up the remake at all. Oh, everybody just talks about the first one? Yeah, I think so. Fascinating.

Which is unusual. Because of that wall hanging and the pattern on the dress. Yeah, it's slightly more disturbing. Yes. And because it's placed in the right time period, it's more disturbing for that time.

I think mostly just for you. Anyway. So, the rules of this game are Georgie Sr. Is counted out. Okay?

He's up next. There's nothing to be done about it unless... you want to jump in for him, do you? Do you? Beavis is not going to mind. Right, Tubby?

Don't call me Tubby. See, he doesn't mind. Just get on with it. This is enough. Enough?

You really think it's enough? What about you, Ann? Do you think it's enough? Or do you want to keep playing? Don't ask me.

Don't do what they want. It'll be over faster. Oh, come on. Stop being such a coward. Do you think it's enough?

I mean, you want a real ending, right? With plausible plot development. Don't you? I don't know. I was going to have everybody address what they thought of the talking to the camera.

If that, I don't know that because that's a very specific thing. And a few movies have tried it and sometimes it works and sometimes it goes horribly wrong. I found it unconvincing. In a way, I mean, I recognize that it's a very good movie. It's very well done.

There are a lot of things that make it effective and interesting, but I just felt like at that. Point we're seeing a little bit of the ego. Yeah. Oh, I didn't agree at all. We'll talk.

I think so because, I mean, it's not a choice throughout the movie. It's just here and there. And it seems like it's supposed to, like, startle me, but I'm not really shocked. I'm not really startled. I just think. yeah, this is really good, but I'm just not really convinced.

My version was I almost wanted more or less. Like, it's right in the middle area. It's like if they really decided that's what we're going to do with this movie, that's going to be sort of the gimmick is we're going to talk to the audience and have them really be involved. But it's almost just those touches where I'm like, you can almost pull those little clips out and you wouldn't even notice it. I think that was his intention.

I mean, I think his intention throughout was to make this unsettling and to keep people off their guard and guessing so they couldn't put this in a genre. They couldn't say, I know what's going to happen and then. Yeah. You know, because as you're going along, you think you know what's going to happen because you kind of know very early on they're going to all die. Like, what are the chances that they're going to get out?

I thought it was going to be a happy ending. I thought at least one would get unloved. But he says even like the first time he has the guy just turn around and wink, that he wants the audience, he wanted the audience to be confused as to if he was winking at them or if the other character was behind the camera and he was winking. And it worked that first time. But he wanted there to be degrees of alienation because then the next time he kind of just, have you ever written down some work?

I think the next time, then he kind of just asks the viewer in the middle, like, oh, what side are you on? Let's talk about this. Then really making them an accomplice. Like, now we're having a dialogue about it, a conversation, not just a wink. And then the next time, is that when the rewind is?

That's a little later. That one almost crosses the line. And I don't know what purpose it was serving. I understand the talking to part, but... That almost seems like it crossed into a whole different territory.

Totally. That one, he said that he put it in there because when you're watching a horror movie or any of these torture movies, there's that moment where the hero rises up. And even in like the first screen, in every screening or the first screenings, the audience is like, they start clapping. I even found myself when that moment happened to be like, oh yes, like somebody did something. And then he stops and rewinds it just to say like, no, you don't get that.

You are being, you know, watching these movies because you're not watching a torture movie where you get the joy of the shock and the different things. You're watching an analysis of these movies to say like, look at the reaction you just had. That's somebody killing somebody because you're rooting for the hero. But what if what these movies are really about are the killings? So they're going to die no matter what.

The bad guys are going to win. And that's the part of it that you're kind of getting sucked into watching, is the torture. So he rewinds it and says, no, they're going to lose. That's what this movie is. It's about torture.

It's about, you know. It's an interesting way to look at it, yeah. I mean, I think... it almost would have made it more grim without that, because you still kind of have that moment. You being the, again, especially watching it, America, you're like, hey, finally, you know, we're going to have some bloodshed from our side. And it makes you acutely aware that you're watching a movie, that this is about these movies.

It's not about the story of somebody breaking into a house, of people breaking into houses. It's about the films about this. Yeah, and even at the end, they have this discussion in the boat about You know, when it's in the world of reality versus fantasy, what are the rules? Yeah, I was trying to decide how much of what they were saying was specifically the movie. Like, if everything they were saying was just them sort of talking about the premise of what's going on throughout the entire movie.

Yeah. The talking to the camera thing reminds me of Man Bites Dog. Yeah. It's basically a documentary follows a serial killer. And they're trying to be objective and just follow him, but they wind up holding things for him.

Yeah. Oh, really? Yeah. It's a good movie. It's a great movie.

Yeah, it's well done. I wonder if that's like a new genre, because that story of Leslie. That one's been a while, though. The story of Leslie, what's his face? Oh, yeah.

Yeah. Well, you know, what was the one that Oliver Stone did? I felt like he was ripping off. It's very over the top. At the time, I remember kind of liking what he was trying to.

Do, but I'm not a big fan of Oliver Stone. It's Oliver Stone. And the idea of him commenting on the media is just ludicrous to me. It's definitely not a subtle movie. I think it plays into the entertainment value a lot.

And it's a great, I think, I adore that movie, but it's definitely going in the other direction of being like, well, this is entertaining. Violence is fascinating. But one of the first things you notice about the guys when you can tell things are going to start to go wrong is just how effete they are to be like the scary guys in a movie. Like the one guy, Paul, at least in the Austrian one, he's like. The fat one?

No. The talky one. The talky one, yeah. Yeah, his impression to me was kind of like, a less macho Jimmy Fallon. Well, if you can make sure that...

It's those short white shorts that are... It's the white shorts and the white gloves. It's amazing. It's very scary. But it only gets worse in the American remake because then...

When those two guys come in, I felt like they were being held hostage by two of the three kids from Home Improvement. Yeah. Have you seen them? Yeah, but I remember Michael Pitt from Bully. He was the guy.

Wiping the knife blade, and they're like, is he dead yet? He's getting there. They do a better job than I expected, but that initial look that they had, I was just like, I don't know if I'm buying this from them. Well, it's easy. To kink out again.

Michael Hanna-case, yeah. That he wanted them to play as archetypes, and they never actually have names. They play, what is it? Tom and Jerry. Tom and Jerry.

Peter and Paul. Peter and Paul, yeah. And it's the typical white clown and comic clown that comes from, like, the earliest tag team combo. There's the serious one. Yeah.

And then the stupid fat one. You know? Pinky and the brain. I mean, it's all. Laurel and Hardy.

And he wanted them to be archetypes, so he never gave them names. And he told the actors, he told the killers, play this movie like it's a comedy, which is why they're always so flippant and whatever. And he told the victims, play this movie like it's a tragedy. Well, when I was watching it, I'm sort of wondering what the intention is. But one of the things that occurs to me is that it kind of could be mocking not God, but like a polite church mouse idea of God.

Because the question always is, or often is in literature, how do such horrible things happen if there is a God? And then if you're not talking about God, but just like, The Flanders, Ned Flanders God. How does Ned Flanders. God let such awful things happen? Or even if it's not from a religious point of view, if it was from the point of view of nature.

Because they're going out into nature and there's. Always, I don't know. I think that's why horror movies do that is because it taps into a neurotic fear that all the rules of civilization are going to be called off and you never know when and you're not prepared. For people to just suddenly. It's like one of those fears like even though you know the thing is unplugged, you still tap it to be sure the electricity isn't in there.

It's true. People do that too, even around here. Sometimes the veneer of civilization is so thin that you just get a snowstorm or a heavy rain and there are people out driving around I'm not stopping at stop signs. Civilization is called off. We've got bad weather.

I don't know. But I think that's what it taps into. That's why they always go out to a natural setting and. Things get weird. Well, it's funny you brought in the religious question.

I did see online somebody equated it to the book of Job. We've got God and the devil sort of playing this game of, okay, let's put this guy through everything and just kind of see what happens. And there's this sort of experimentation of it. I mean, it really feels that way once you get to where they leave them. That's almost just like they're doing a science experiment.

Be like, all right, well, see what they do when we leave them alone for a minute. They're like rats in a cage at that point. They're like, let's see what happens. At this point, if we're not even involved, what do they do? It's totally all in that experimental game realm.

Because they are so casual. Like, even when the little boy runs away to the other house, and like, he could get a gun, he could do whatever. But it's like, I almost wonder if it's like the killers know that they're in a movie, and the filmmaker is going to rewind if the victim. This is where I start to suspect the filmmaker a little bit of being a little. a little... I don't know.

I think there is, to go on both points, I think the talking to the camera almost does make it a little too cute sometimes. I think it almost could be a very, you could still have that. Even for 97? Even for when it was made? Because there hadn't been that many commentaries on it.

I mean, just in general. I think it makes it feel like that. I think it was new and different from the time. I think just the way that it reads. Not even comparing it to anything.

I think any time someone tries to do something that's meta, they can easily fall into a big, ridiculous hole with it. But I mean, I think it's just kind of hard. To do something like that. It is. And hit the nail on the head perfectly the entire time.

But I like where he was going with it. I mean, I get it. I think it worked in this movie. I mean, if every movie did that. It would be ridiculous.

Yeah. It kind of does at points, but I think I fall on both sides of the fence on that one. But then on the what the killers decide to do, like, they do seem very, like, nonchalant about everything. Even when, like, they let her go and she takes off. And, like, had she stopped that first car, she would have gotten away.

So, I mean, like, you don't... you know, why did they let that happen? She could have, you know, there's so many points when it's like, well, if this would have happened differently, it all would have been screwed up. They wouldn't have gotten away with it or they wouldn't have gotten to kill her. And I think by the end, the more I thought about it, it's like, I think they just don't care. And I think that's the overall thing is that's how they enter this situation and that's what makes them so frightening and that's why it's this weird experiment is they have no morals, they could care less what happens to the people, but they also don't seem to really care what happens to them.

Like, They don't have any stakes in it. They're just like, it's fun. I want to do this. Let's, you know, go there. But I think even if they got killed along the way, I don't think they care about that either.

It did seem very careless. I think that something about them being archetypes, to me, dehumanized them, A, in a killer way, but B, in a way where it did feel more to me like the funny game was the director playing the funny game with the audience. I think that's definitely part of it. And the director was playing that funny game of, like, oh, they could get away at this moment. Like, there's so many chances to maybe be out, even at the end.

Like, oh, there's a knife in the boat, maybe she could get free. Oh, she's running down the street, there's a car, maybe one of them. And these are these moments that you have in all of these movies, which are spaced out. You can see it as a critique of a movie. Well, definitely, because they set that knife up at the beginning of the movie, and they make that point, like every psychological thriller does, of look, here's the knife, and they didn't see it, but they saw it, and They set that up like so many traditional thrillers do, and then totally, like, throw it out.

Like, literally throw it out. It means nothing. And I think that's, by the end of it, nothing really means anything to any, and maybe that is the game the director's playing, is that, you know, these characters didn't matter, the killers didn't matter. I mean, the whole thing is an experiment on you more than anybody else. That's what I like about the movie, because that's just, like, most movies don't involve you that much.

It's just, like, And are you going to get excited when Knife's in the Boat, even though you know now that the killers will win no matter what? Because you know that the movie will be rewound if they don't. But don't you still have that moment? She's over there by the knife. You're still playing the game.

You're almost trained to do that by watching every other movie the rest of your life. Yeah. It's interesting. It's a funny movie to compare it to. It's so compelling in such a... sort of primal way but it's like uh spielberg's first movie the duel yeah it's just a guy's on a business trip and a truck driver starts messing with him and it's just evil for no apparent reason.

It's i mean he always equated that because he followed that up with jaws it's basically jaws on land it's just the evil force that's just constantly following you all it wants to do is destroy you it's faceless it's just a truck that wants to kill this guy and he's It. Was sort of an experiment in minimalism. It is. What do you have to have to make a story? You don't have to have that much.

I mean, there's really only one character. That's almost my fault with it. It's kind of a really long... Like, it probably would work. As an hour-long thing, and they tried to make it a full-length movie, which, again, it just shows him being young and learning, because that next thing out is Jaws, which is paced perfectly.

So he sort of learned what he needed to learn doing that. But still, it's worth watching. It's an interesting movie, too. You know, one thing that's funny about the banter that the two guys have, I remember reading somewhere, I think it was one of the people who review movies for The New Yorker. Had said that there was, yeah, like David Denby or Anthony Lane, but they said there was no equivalent in German.

Hey, I caught that. Took me a second too long, but I caught it. But he said there was no equivalent in German for the American idiom of tough talk, like gangster talk, like you see, I don't know, among mafia guys. And I remembered that because I thought it was such a strange thing. Like in translating gangster movies, there was no equivalent.

But I couldn't really quite figure it out because it's not really a slang idiom or anything. It's really just veiled menace. It's like trying to talk like, instead of saying, we're going to break your legs, you say, this is a really nice place you have here. It would be a shame if something happened to you. That's really what the tough talk is.

It's non-tough talk. It works so well. Yeah, and Harold Pinter, I think, Does that. I really... Oh, yeah.

Yeah. There's... I wound up thinking of Pinter dialogue at places because it's just so non-confrontational. Well, I think he wanted to play on the polite, the idea that these guys walk into this house in the middle of the day with no weapons, and the only reason that they win is because... The victims are playing by polite society rules for too long.

They don't react when their instincts tell them they should because they're trying to be polite. And that. Sorry, go on. No, that's funny because I was thinking about that. They mentioned that in, like, Girl with the Dragon Tattoo.

I watched that movie. I watched Funny Games Today and watched that last night. And he said, he's like. I asked you back. Into my house, and you knew something was wrong, but you didn't want to be impolite, and you put yourself in danger.

Your fear of being impolite outweighs your fear of pain. Which I think is interesting. That societal demand. If you think about that, that's a theme in every movie. That guy walks in, he looks like a polite guy, but there's something wrong with him.

He has white gloves on. That's very strange. That's a strike. It was very strange. He's behaving very weirdly.

And she surprised me because at first, like from the get-go, she was kind of like, there's something wrong here. But the husband was just like, I don't know what's wrong with my wife. Like, The husband is a tool in the movie. I mean, we should girl out for one second and say that guy sucked. We should never marry somebody like that guy.

You had a broken leg. You could crawl across the floor and do something badass to throw badass into our dialogue. What that reminded me of was the story Good Man is Hard to Find when they meet up with the misfit, and he's this killer, and he's going to kill the. And they know. By this point, they know.

But they just go quietly and walk off. I mean, there's so much of this that that's why it's so frustrating, that you're just like... At any moment, they could have done so many things... Because most of the time, they still don't have a weapon. Like, the most they have is a golf club.

They have the same weapons in the house as the killings. They're all just using what's in the house. They've got a whole kitchen full of knives sitting there. The first time I watched it, like, when the guys left, I'm like, get hold of that gun. Get hold of anything you can get.

Anything. No room. They say they might come back. Later, I thought, well, maybe in the second one, I noticed the guy has the shells. Yeah.

And I'm like, Maybe they just didn't have shells. But no, they would... There's something. I mean, you can pick up that rifle and beat him over the head with it. You don't even need, like, anything... could have been done along the way, and they just don't.

You could get all home alone with it. And I feel like I could get in there and see those moving around in the windows. Raise the banister. Yeah. That would be a very different movie.

It's funny that I'm about. that I watched two versions of this... In between planning to watch the remake of Straw Dogs. Oh, I haven't seen the remake. I only saw the old one. I've got it at home, so I'm looking forward to that.

Oh, you haven't seen it yet. I haven't seen it yet. I was getting ready to, but it's like, no, I should watch both versions. It kind of was that same thing. I remember it sort of got a lot of people going, oh, you don't want to remake that.

And then when it came out, nobody really cared. It didn't make anything at the box office, and now it's coming out on DVD, and I still didn't really hear much about it. Yeah. I don't know. I mean, they keep doing these remakes, and I don't know if people care.

I think anybody who had an interest would just be there for the first one anyway, so it's always questionable. I don't know. It's these young kids coming up. They don't care about all our old stuff. This character's older, though, the remade Straw Dogs.

He's a pretty good director. Like something like this one, though, where he doesn't change anything either, though. I mean, I understand when they're like, oh, we've got to update it for the kids, but when they don't even change anything. I would do it, like I would take movies and I would just move one thing that bothers me. Just fix it.

You're like, God, this movie would have been perfect if. When I get the digital skills, I'm going to go back and I'm going to fix some movies. Okay, thanks, George Lucas. Yeah, that's the problem. Why wasn't Taxi Driver in 3D?

Come on! They're releasing Titanic in 3D. No surprise there. Beauty and the Beast. Every movie that's ever been made is being re-released in 3D.

I did not know they were re-releasing Titanic in 3D. Cameron has been, like, the last two years working on it. Oh, of course. Some kid, my boy knows, thinks it's a sequel. What?

Well, they did a sequel. Aren't they just redoing it in 3D? No, it's Titanic 2, man. They did one of those. Straight to DVD.

Really? Yeah. I saw the trailer for it. It looks like a nightmare. What happened?

The boat resurfaced? No, no. Okay, get this. They build another boat that big, rename it Titanic, and you're like, oh, gee, I wonder what's going to happen to this one. Oh, that's beautiful.

I can't even. I am so excited to hear that there were that many, that enough people got on board with this to actually make the movie. Now that is real. That is real horrible. That's like, who was the kid, oh, Harmony Corrine kept saying he was going to make, he wanted to make a sequel to The Diary of Anne Frank.

Huh. God. Do it. I don't think he ever got around to it. Starring Hilary Duff?

Yeah. Hilary Duff? Hilary Duff's a good actress. That's all I'm saying. What are you talking about?

She was in that movie. What was the movie where she had that condition where she was furry? What? Did you see that movie? Condition where she's furry?

What are we talking about now? It was a movie. This poor teenage girl, she started growing body hair. How did we get here? It's that guy, Charlie Kaufman.

It's a Charlie Kaufman movie. It's a real movie. I'm not making it up. It's a Charlie Kaufman movie. See, these tangents were on I'm pretty sure.

I am pretty sure. You are IMDB on that question. I would love for you to show me up right now. I'm trying to. Oh, God.

Now, it's possible I have Hilary Duff confused with somebody, but I don't think so. I don't think so. No, I mean, she's not the main character all the way through it. It's that other actress. What's her name?

Meryl Streep? No. No. No, Human Nature is the name of the movie. Human Nature?

Human Nature, Charlie Kaufman. Really? Yes. Oh, my God, you are showing me up. Patricia Arquette was the main actress when she's grown up.

But when she's a kid, at the beginning of the movie... Stop it. When was this made? It's Huey Duff. When was this made?

When did this movie come out? Um. Let's see here. What is that picture? 2001.

That's a nice poster, too. 2001. Human nature. When was this in his line of movies? I think it was his first.

Oh. He didn't direct this, right? He just wrote it? Directed by Michael Gondry. Oh, God.

Really? What is that? Gondry? Wow. So I know what we're watching next time.

It was screened out of competition at Cannes. Wow. Hilary Duff. Next time. Young Lyra Toot.

She's furry. Covered with body hair. I cannot wait. Yeah. I cannot wait.

Oh, God. The things you love her. Yeah. Anyway. Everybody does something like crazy.

Well, we normally do that. So, Henneke is a genius. What did he say about furry girls? He probably has a lot to say about them. Probably does, actually.

I do have one more geeky thing to say. on Henneke's behalf. He said this is the only film he's ever made that was intended to provoke. People say that his other films were made to be provocative because they are very provocative, but their intention was based in human nature and human circumstances and dealing with feelings of guilt and all these things, but not to provoke the audience. He intended with this one to provoke The audience. Yeah.

In general, there was one I found that he says, the ideal scene should force the spectator to look away because he cannot stand it. You get a lot of that here, where it's just so... And almost out of pure frustration, not out of horror, but out of... No, I don't look away. Well, again...

I never do that. You never look away. I'm just saying more the, you know, the uncomfortableness of it becomes, you know, comes from that kind of stuff, not the horror of it, because, again, it's arguable whether this is even a horror movie, but... Yeah, I think it's just the uncomfortableness of the situation and the fact that you want to be doing things that your characters aren't. I think that's part of that experiment, is that you're sitting there going, no, why aren't you...

Yeah, so I think that's the frustration with it. And you have to sort of keep asking yourself why you're watching it once you. No. No? You're only doing that?

I'm still watching it. I'm still watching it. The other thing I was going to go into, I mean, we were going into what, why the... killers succeed when the other people have the same situation at hand, they have the same weapons. I think it also is back to that point I made before of them not caring. I think it just gives you power when you have not only no conscience, but no fear of anything.

They don't care if they get killed, they don't care if they go to prison. There's this very... And I've heard this described as a very nihilistic movie, and I can see that. It's like that nothing matters, no matter what. And once you put those characters in that mindset, they do have complete power because there's nothing that can hurt them if you don't care about anything.

You know what is really interesting? This is, like, semi-related. A couple of months ago, I saw the movie Drive. Yeah. You know, it was described as a nihilistic movie, and he had no name in the movie as well.

Yeah. So it's just almost like, these characters have no names, so it's a nihilistic movie, but it is. But I mean, it's interesting that they do that. This one definitely feels like it. It's so nihilistic.

We don't even have a name for the characters. Well, our spiritual leader, Steven Seagal, I think, had a moment in the movie where he has to choose one way he's going to slam his hand on a knife, the other way he's going to mess, and he has to choose. And He does it, and somebody asks him, well, what's the trick? How do you know? He said, the trick is not caring.

You don't know. Again, I don't want to side with Steven Seagal, but he's got a point there. He also has an energy drink, so we can't go by what he said. I keep bringing this up, but the killers in Fargo are such an interesting pair of ways of looking at evil. And it kind of reminds me of this because the one guy, he's so slow moving, but he always catches up.

It reminded me more of. They're the archetypal fairy, too. Yeah, definitely. They are. But it was funny that, I mean, the only mainstream reference you always get of nihilism is the Big Lebowski characters.

And I'm like, they aren't that because that's why they're so, like, bumbling and they, you know, get themselves in trouble along the way is because they're selling that bullshit and then they don't follow through with it. They don't really believe that. It's just their stupid thing that they say. Where these guys, you get the sense that they do not care. And maybe, again, because they're just a tool in this game and really it's all sort of a game.

I think that's the whole key of it. That's probably more. Is that in. This movie specifically, they are. Yeah.

And they know that they're tools inside of the game and they're out there placing bets with the audience. But it also. gives you that perspective that if ever there was a character that really just did not care one way or the other, that I'm going to murder this woman because I'm hungry now. I mean, by the end, I was just like, wow, there's just, there is no, not even like, you know, feeling towards it, let alone remorse. There's not even joy. It's just, eh, I'm tired of murdering.

I think there is joy in this. A little, but. I think he did want, because the movie that precedes this, this is part of, I'm about to geek out. For another second. This is part of a trilogy that Henneke created.

Yeah. To discuss violence in film media. And the first one, I think it was the first one, was Benny's video, which is all about this kid who sees a video of, I'm about to hit on your most scary topic, a pig. She is a fear of pigs. Anybody out there who knows her, put a pig in her face.

I think I'm over my pig fear, almost. A small one. I just like those instructions. Put a pig in this girl's face. Remember when the Nihilists order a pig in a blanket at Denny's?

Just for some reason. But a pig in her face. A pig in a blanket. Really? Yeah.

Anyway, so in Denny's video. A pig is slaughtered at the beginning of the film because this kid's parents own a slaughterhouse, and Benny takes a recording of the pig being slaughtered and, like, plays it in slow-mo. And that there's something, and he's... Henneke was studying youth who had become... who were murderers. Youth that were murderers that didn't do it for money, they didn't do it for revenge, and where nobody could pinpoint why these kids who came from like, almost like curiosity, it's total curiosity that they, that they watched, that there was some detachment of watching violence in film or in media and being young enough that they like just see it as this odd separation from themselves.

And then they say, when they ask, why did you do this thing? And they're like, I wanted to know what it was like. Like I kept seeing it. And then I, Like a curiosity killed the cat. They wanted to know what it was like.

And there's this detached quality to it from seeing it outside of themselves so many times. Curiosity made the cat kill the other cat. Yes. Yes. I think that's where it could have been.

Like, again, with the Internet the way it is now and with it totally overrun. I mean, if you want to find horribly violent images, they're out there. So I think that would have been something that could have been thrown into the remake, is this updating of how much new violence is accessible. I kind of personally agree with you. I'm only going to go against Seneca on this one thing.

That's it. Since I think he's a genius, is that I would have appreciated an updated remake. Again, because how often do you get to readdress your own material? And I think if you're going to do that, I mean, there's only been a few people that have tried, but you look at somebody like Hitchcock who did it, and did it like 30 or 40 years later, and does an entirely different movie, really. So it's like, if you look at it from that perspective, it would be kind of cool to go back after, again, it'd only been 10 years, but to just sort of look at the way things have changed and be like, well, here's the point I was trying to make.

How do I make it in today's society? How do I make it with the things that have changed in the last 10 years? I think that would have been more interesting than just a straight shot for shot. We don't want to remake. Yeah, that would be what it is.

The point in the movie, the aristocrats, when the writers for The Onion were trying to figure out what they would have to do to offend their. Audience with the joke. And one of the writers. Thought about it for a minute, and he said, I think one of the aristocrats would have to take some of the shit and put on blackface to offend that. They would have to do race baiting.

Before their audience would even take any notice of the joke. There's two lines that have been uncrossed at this point. Yeah. But I don't know. It's odd.

I have trouble understanding how he could remake the thing and not have that urge to. Yeah, to do something else. We have to watch this commentary, guys. We have got to watch the Henneken commentary on Disc 2. I think the thing I'm saying, you know, if he says it's his one movie where he's trying to provoke, okay, but maybe my problem with it is just that.

Probably, that you feel manipulated and the director's thumb is on it. Yeah, and it just doesn't affect me that much. I don't know if I'm just jaded or what. I'm not emotionless or something. They're all pretty jaded, but...

But, I mean, did you, like, did you feel it when the kid. We're past spoiling it, but we know they are. When the kid dies, did that, like, impact you? Because I was curiously unaffected by it. Only mildly.

I feel like it's... The movie is very intellectual. Yeah, that's the way I felt it. And he even... I'm such a nerd.

Henneke even said that this is an intellectual, like, constructed. It's an intellectual thriller. It's an intellectual thriller. It's constructed in a very specific way. It's the movie that you can feel and see his decision-making inside of.

Because his other ones are pretty.... More visceral. Visceral, yeah. There's a lot of space for experience. They're more prevalent.

More resonating and prevalent. I think that moment reminds me, even aside from the... I mean, it is sort of a horrible moment. I think what elevates it is more the way that it's shot. And that's what I wanted to give credit for, was that decision to stay in the kitchen when everything happens is way...

I mean, you could show whatever horrific thing is going on in there, but that moment in the kitchen is. Are you going to have a nerd fit? Nerd points for raising the hand. Here, go on, and then come back around to me. Go on.

I'm calling on you. Go ahead. So in Vinny's video... The movie before it discusses the same topic. He does the same thing where essentially most of the violence happens off screen because Henneke said that it is much more effective to hear violence than to see it.

Because when you see it, you can say, oh, I know what's happening. That's happening. I'm dealing with it. That's happening. But when you hear it, there's something like it just keeps your imagination active in a way it doesn't have to be if you watch it.

So your imagination goes into overdrive when you're listening to something. That's why. And again, Hitchcock did a lot of that. A lot of the leading you down that path but not showing you the final second and leaving that up to your imagination. I think what is so good about that scene is, yeah, we could have seen the special effects of this kid getting his head blown off, but I think it's so much more horrific staying in the kitchen, watching this guy try to make a sandwich or whatever he's doing, While you're hearing all that going on, it's such an interesting shot.

There were a couple of those where, even when the killers make her strip, and we just zoom in on her head and stay right there. I was really thankful for that. That's such an interesting way to play it. Because I'm not rubbing against nudity in the film. But it's so conventional to do it the other way.

But that kind of... In that context. Yeah. That. I was glad they didn't do that.

At any other point in the movie, she can be as naked as she wants. But in that situation. It's just so cruel and designed to be humiliating. And sort of run-of-the-mill, too. That's why I was so afraid he was going to cut away.

I was just like, nope, stay. And yeah, he stays on that shot the whole time, which is really well done. It's interesting that he expected the audience to maybe take it one of two ways. Because the The other person who sort of did that a lot was Bernard Shaw. He would write these plays that had this sort of implicit romantic ending, and the audience would go for it, then he'd deny it.

I think at the end of Pygmalion, he even wrote that, no, Eliza and Higgins don't get together. That never happens. What would happen is this, and he wrote this whole epilogue to it. No, she would get together with that guy, and she'd wind up running a little bookshop, and she becomes a big fan of H.G. Wells and all this crazy stuff.

But whenever people play the play, the audience goes, oh, we don't see them get together, but. You get that feeling. And, of course, in My Fair Lady, you know, it becomes more explicit. Playing games with your audience. Yeah.

That's... Again, what sort of the overall arc of this seems to be. I can't remember off the top of my head, but one of his other plays he does almost the exact same thing where he doesn't give you like the romantic happy ending, but he gets right up to it where the audience assumes it. And then he goes, no, I didn't intend that at all. Like, if Woody.

And Pink had ended with, instead of her, like, getting picked up. By Jake, like, Ducky comes, like, walking down the subway. That's a bad idea, too. That was the original. Ending for the movie.

Really? Yes. Wow. Fascinating. But then, like, they test-screened it, and everyone liked it.

I don't like either. Yeah. But I mean, you want her to be single for you. It's a lot, doesn't it? In the original ending of Invasion of the Body Snatchers, the guy just falls in love with a pot, and they live happily ever after.

Really? That almost makes the point of it. You have the kind of voice where I. cannot tell. It's here on wiki. You're blaming me.

But when he wikied up that natural Hillary Duff was a human matriarch. Yeah, now I'm like, this guy's for reals, and I should listen. Actually, I know. I wrote that just minutes before. You created the little.

Poster and turned it around for me to be like, huh. That's my big thing, is I just make up stuff on the. Internet, and then I turn my computer around and I'm like, see? He's been working on that for weeks. And then I'm off repeating.

It in all kinds of circles. Yeah. Yeah, the original title of War and Peace. It was war. What does it go for?

What is that from? Absolutely nothing. Say it again. Yeah, he told that to Elaine, and then she goes around repeating it to this Russian author. It's horrible.

So, is there anything we haven't addressed on Funny Games? There's many other tangents we have. Well, this is just kind of something that I was thinking of when I first started watching the movie. Remember, I think it was, like, California, there were these two, like, trust fund kids that, like, went on this murderous rampage. They were, like, super clean cut.

Yeah. The two guys in the film remind me of them. Yeah. Yeah. What, do you remember when it was at the right time period?

I was going to say, there's several. I mean, there was whatever those kids were that killed their own parents. Well, there were the kids who killed their parents. Yeah. Those guys.

They were well-to-do, trust fund kids. Yeah. That's what those guys reminded me of. I didn't know if that was intentional or if. Well, they kind of seem a little like droogies, too, for some reason.

Yeah. You get a little clockwork orange vibe from them. It is sort of that, like, politeness up until the point where we kick you in the face. You know, it's very. And they sort of insist on manners.

And then I had that idea, like, maybe it's mocking, like, a polite idea of nature. Or, like, people, you know, it's natural. But, you know, natural stuff is hideous. I thought it might be doing that in a way. Well, it also fits that with, like, the way that they operate.

I mean, you know, the Druids have that little society, and, like, there's one that's in charge, and they almost have rules. Where these guys specifically, it's like, is Lionel out? And, you know, they have their little rules between the two of them. Yeah. That does still sort of feel like that.

I agree. Yeah. And then I remember, like, one of the most freaky, violent things in film was, like, when they cut to a cartoon in Fuckwork Orange. That just horrified me. I think it was when he, like, Ashtoreth.

Yeah. And then they cut to a cartoon. Yeah. Oh. Yikes.

Yeah. Yeah, I, if there's, like, there's no, obviously, like, moral to the story on anything, but I would just give a shout out to, like, hey, kids, trust your instincts. No need to be polite. Trust your instincts. It reminds me, too, of just how people get uncomfortable in situations, but they just keep pretending.

A lot of manners is acting. Isn't that what Brando said in. The court trial? It's just what we use to get through the day with people. But Yeah, Adriana dying in The Sopranos.

She knows she's being driven out to be killed, but she just keeps pretending up until the last second. We're going to. See Tony in the hospital. It's so human, but, you know, she should be, like, clawing from the start, but it's not until they drive out into the woods, then she starts sort of moaning. It's so awful.

You know what I think. Is interesting about this movie, and I don't know if this was intentional or not, but it's just like, it almost is kind of like an attack on how shallow humans are in general. You don't feel guilty about being impolite to someone who looks dirty or a hobo or someone who doesn't look well-to-do. These were very clean-cut guys. If they just looked like bums, you would have no problem with them.

The hell out of my house he would have come in and immediately kicked them out but. Like these people like look so polite you want to believe them it's almost like this weird halo effect like you think they're going to be nice guys they look nice they're clean they don't smell bad you know like what harm can they do but it's just it's interesting how like your outward appearance kind of affects people's opinion of you. So much yeah yeah it does seem like the husband was. A Wasn't he awful? I'm not going to get on him for being a wimp.

He was a wimp. But when strangers come to your house, well, I mean, he was a wimp, but still. And they get into something with your spouse. You kind of back this up. You don't say, I don't have all the facts.

I can't be an arbiter. You choose sides. You take somebody's side. I don't have to explain. We'll just get them out.

Yes. I don't know. That's weird. Let's just say he's a wimp. Yeah, okay.

He's a wimp. The other thing I really don't believe in the movie, I have to admit, I just, I mean, there are things I question. There are things like, I'm not sure about that. And there are the things where it just seems like, too logical as though it were perfectly planned because they're tools of the director. But the one thing I don't believe is they push her out of the boat and she flips backward like, you know.

I don't think that can happen. Maybe she did a lot of scuba diving. I think she would sink. I think she would sink. But I don't think she would just flip back.

It's just against human nature to go rigid and flip back like a puzzle piece or something. I don't know that she saw it coming. At that point, I wasn't prepared for it. It just didn't seem like he had enough force. You're a details man.

You are a details kind of guy. That really would happen in that way. I don't know. I just didn't feel it viscerally that she would flip back overboard. Interesting.

Count faster, please. I mean, how primitive do you think we are? It's not a bet if there's nothing at stake. Right, Captain? I mean, even you need a chance.

The wind blows where it wants to. That's why sailing is fun. Right? Isn't it? Now, don't make the same mistake twice.

It's not the person counted out. It's the one left over. Wait a minute. I see a new toy. I think we have the lady to thank for this.

Merci, madame. This is going to make things a little bit more interesting. It's boring when mutes suffer. We want to entertain our audience, right? Show them what we can do.

The only thing I was going to say to wrap up, I thought it was interesting working Tim Roth in the remake, and then the immediate thought I came to when I saw the cast list was like, Oh, my God, had they done this originally? Like, I can so picture in, like, a 90s era, like, the Reservoir Dogs, Tim Roth being the mouthy one of the two. Oh, yeah. That would have been, I mean, yeah, if you could go retrocast that, like that. He would have been brilliant.

Yeah, it's interesting now to make him the wussy husband when, you know, it's a few years later. But I'm like, oh, we missed the chance. If you were going to make an American version, If you could have done it in, like, early 90s and gotten Tim Roth as that character, oh, yeah, he would have been so good. I think Michael Pitt is a great actor, but Tim Roth is definitely... Yeah, especially him being able to pull that off.

A master in so many. Yeah. Okay, not to sound like an idiot, I meant to look this up, like, I know he's on Birdwalk Empire. Is he related to Brad Pitt at all? Like, I feel really retarded for even asking that, but, like, really?

Is he? I don't know. I don't think so. Why would you. Because it's like.

Oh, Michael Pitt. Oh, I thought you were talking about Tim Roth. I was like, what? I don't know who he is. Is he?

No. Tim Roth. Tim Roth and Brad Pitt are related? No. No, I think that Brad Pitt.

I don't think so. Michael Pitt has a fascinating mouth. Yeah. If it makes you feel better, we can pretend like it is. Yeah.

We can start that rumor, too. I mean, I feel. They both have big eyes. Yeah, I feel silly for even, like, asking, but I, like, wondered that, and I forgot to. Look it up.

They're married. He's one of Brad Pitt's adopted children. That could be true. You lose track after a while. Yeah, after like the night kid.

There's got to be one boring white kid in the middle of their song. Come on now. Otherwise, I guess that wraps up this week's movie. If nothing else, I guess we wanted to send out a big thanks to Jess here. Thanks for being here.

Thank you for having me. Teach me how to make cheese. I will. I'm going to send you a cashew recipe. Normally, I give everybody the chance to plug themselves on the internet, but are you still...

Do you not want to... How should people find you, or should they just go look for your movies? I would love for people to see my movies. I would love for people to see my movies. for them to do that. Yeah.

The Lie will be coming out on Netflix soon. Oh, really? Please put it on your Netflix list. I would love for you to see it. I'm also a co-writer on that movie.

Really? There are lots of us that are co-writers on it. I just got done writing my first thing that I just wrote by myself. Yeah. Hopefully someday I will direct that.

Nice. That's sort of my. Moving in the future. Someday. Yeah.

Well, Hemingway's there. Basically, I'm just going to remake all of Hank's movies because. I love him. Yeah, I think we know where you're drawing from. But yeah, any other new projects?

That you want people to look for after that one? The Law is the only one coming out anytime soon. I have something called Somebody Up There Likes Me and a movie called Lumpy. They should be in the mix soonish. But how soonish?

I don't know. Film time, so that means nothing in the real world. Well, if nothing else, before you go, we know You've sat here with us and thrown down plenty of coffee, so you're obviously a coffee geek. So, I'm going to give you one of the official... Yes!

Mickey Meltdown caffeinating movie geek coffee mugs. Badass! With a hyphen. Badass! Hyphenated.

Hyphenated one word? Who cares? This mug is the bomb. So, thus making you an honorary member of the Movie Meltdown gang. You guys who cannot see this and can only hear me describe it.

It's on the website. If they want to order one, they won't, but, you know. You hung in there with us for two episodes now, so you earned one. Who's this cartoon of? Is this you?

No, no. I wish I was Steve Buscemi, but. Oh, that's super funny. That's, you know, my first thought was, you know, from Reservoir Dogs. Last fucking thing to eat is another cup of coffee.

This is awesome. All right. Otherwise, that about does it. We'll return next week. Same geek time, same geek feed.

Thanks for listening. Thank you. Like the first temptation. And the last one to. Inadvertently restore is the fiction of our youth.

The fiction of our youth. Every time a blinker tastes a sample. Sip upon your. Kisses that show. There's another minor item that we might discuss another time.

I won't tell. You what, you're not persuasive enough to make me change my mind. I don't wanna have that dream again. I'm gonna make the same mistake. Again Asking the word, same line.

Every time I blink and taste the sun Super for your kisses in my first day time Wanna feel your. Breath This episode. Is a production of Movie Meltdown, produced and edited by the Oddity Studios. with opening music performed by the Empires. For more on how to sponsor or support the show, email producer at moviemeltdown.com. Talk hard!