257: Random Review

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.

What's up and welcome. To Movie Meltdown, I'm Brian. I'm Dave, the only Dave. That's right, just one this week. I'm Greg.

I'm Beau, there's never. Been another one. Okay, in the world or? On the show. At least not that I know of.

I think you're right on the show, as far as I know. I would think I would be the authority on this thing, but you never know. Speaking of Bo, we are coming to you live via digital recording from Bo's house. So thank you for letting us move on into your area here. Sure.

You won't leave. And break your furniture. Yeah. Thanks for breaking my chair. Break your furniture.

Crack. In that order. I'm pretty sure that someone else broke your. I think somebody probably broke my chair when I was in China, and now I'm just now discovering it. But see, that was the.

I still revealed the break. It's time to start piecing this mystery together. I want you to shoot a whole version of this. Like an Agatha Christie. As you track down who was responsible for breaking that chair over there.

So we are. That actually comes to mind. It was from the Oscar show. It might have been from the Oscar show and just haven't noticed. He's hid it since then.

He jammed it back over here. Also euphemisms. Right. Anyway, so this week we had a lot of open area here and we said, hey, let's talk about, you know, it's the end of the year. We'll just talk about stuff we've seen this year and thoughts on stuff that has come out in general.

So, do we have a starting point on this thing? Are we going chronologically or in reverse? How would you like to go about this? Chronologically would be useless for me because I've seen virtually nothing in theaters. I was going to say, I know what I've seen chronologically because I've got a calendar in front of me that has everything I've written.

I thought you've got a better option. My year started with The Apple. Nice. Did we inspire that is what I'm hoping. No actually remember I came to you and I was like we should do an Apple show and you're like oh we have.

We did. It was apparently three years or something but I was watching it and I was like what a delightful mess this is. It's trying to be Rocky Horror. It's trying to be Phantom of the Paradise and it's trying so hard to be all those things. I can't stop watching it because it's really cool but I don't know what it's supposed to be.

Oh, I don't think he did either when he was making it. But there's times when it, like, in its own little way, kind of one-ups each thing it's trying to be. Like, sometimes it's more amazing to watch than the stuff I think it was trying to mimic. But at the same time, in the end, you're like, what was all that? Because the whole Apple song number in hell, I mean, that's a showstopper.

Yeah, I remember. I might have been. texting brian or something the night i watched it it was like one o'clock in the morning it came on. Weird facebook messaging maybe. Facebook yeah and i was like what am i watching and i'm like this is like i don't know what i'm like two minutes later i was like this is the best thing i've ever seen yeah. And i had already talked to katherine mary stewart about being in that and did i'm like it's of all the stuff of hers i'd seen that was the one that somehow fell through the cracks and i was just like she's starting to talk about it and i'm just like what what are you describing here?

And she's talking about working with that director, who is a crazy person. And, like, then, like, within a few months, I think you ended up seeing it. And I'm like, wait, okay, that's the one she was, so then it's like, okay, now we have to bring all this nonsense together and watch it. And, yeah, it's amazing. Are you familiar with this?

I've just heard of it. Oh, my. It's like American Idol during Blade Runner. Mm-hmm. Mm-hmm.

And it's presented as a musical. It does have that Rocky Horror shock treatment style to it. I really feel like he was trying to make something in that vein. Or Phantom of the Paradise. I feel like basically this was a director where he even maybe watched those movies and loved them and wanted to make something like them, but didn't get... what was successful about them.

It was more of an imitation rather than an homage and it just, it comes off as just very weird because there's like a hippie love message at the end of it where God shows. Up and it's just, in a gold roll. Yeah, God shows up in a gold roll that comes driving down from the sky. From heaven, like it does. When the rapture happens.

And there's a lot of coke. In production, there was a lot of coke. You can tell. Yeah. But it's so, like, the scale of it is amazing.

I'm like, I don't know how he got this to happen. It sounds like watching Zardoz. Yeah. I would say it's analogous. It sounds like something that's a complete, you know, this is what I'm looking for. amazing it's an anachronism in that it's not something you would see made now oh no how did they pull this off yeah.

I mean that's the whole time I'm like aside from the fact that it's a musical and like it's insane but like there's also like there's times when they have these huge like street scenes with all these people I'm like how did you make that happen they've got a weird monorail that they work in I think we pieced together which city they stole that they went there just to shoot the weird monorail thing cause it's the future And then there's other ones, like just the sets that they have. The Hell scene is amazing. It's not the same one from Fahrenheit 451, is it? I don't remember. I think we pinned down what city it was at the time.

It's been a while since I've seen it now. I don't remember. I don't even know where it was made. Was it European or was it American? I don't know. i think it's canadian i think canadian i think they shot some of that i think farrah and i was canadian.

Again the filmmaker made a lot of stuff in like the middle east originally and then like came here and ended up making a lot of american action movies later which is weird i suppose but in the middle he made this like yeah shooting with a lot of canadian actors and like Oh, musical. Yeah, it so doesn't fit anything on either side of his career. How old is the movie? 80. 80.

Okay, so that far back. Yeah. Yeah, now it's coming back to me. I remember hearing about this. It's amazing.

So, if you haven't seen it, go. Watch the Apple. It's one where it's, there's like a list of movies to where they're just a mess and somehow that's what I find entertaining about, like toys I would put on the same level of, as the Apple because it's visually, it's amazing to look at just like Apple. It's amazing to look at. But like toys, I can see where he got that money.

Like he was a huge bankable name at that time and they would have given him a little more license, but this guy was just an insane person. And that's the whole thing. It's kind of weird. It's like you start thinking about some of these movies to where the public just did not get them. And it's, you look and find out, okay, why is it that this was made?

It's like, well, you could see Toys was coming off of Rain Man. It's like he's just, he wanted to make a fun project now that he'd gotten all that renown. Zardoz, it was right after Deliverance. And even like, you know, a lot of people didn't get A Serious Man, but it's like, well, the Coens made it right after No Country for Old Men. It's like, there's always the, you could almost make a list of all these projects that directors made after they got recognition, just because they got the freedom.

Just watching Sorcerer. I don't know how that movie got made, other than he was writing out the last two or three that he made. Like, it's the biggest name in the world at that point, and then he makes this weird movie that's kind of awesome, but at the same time horribly titled, and like, just badly sold to the public, and nobody got it, and only now are people finding it, and yeah, I'm amazed by it, but Not what you expected. I feel like with Tim Burton it was the opposite. After he'd done Batman and all that, he got the freedom to make Ed Wood.

Yeah. He went backwards, yeah. He scaled it backwards. Well, we're working with Disney, and so Disney will allow you to make your vanity project. As much as we loved Ed Wood.

Screwed him over for years, too. So then they hand him projects. Here, do this. And then he had Mars attacks after. There's your mess.

Wow, wait till we get to playing those. Games. That's the nail in his coffin. It has practical effects in it. It has a lot to say.

I mean, Lord, the makeup's amazing. It has two good ape performances. Casting is good. I don't mind that they changed the basic concepts. I mean, why not?

Again, we've already seen the original. But it just adds up to nothing. I prefer doing something different. And Rise of the Planet of the Apes, which had potential, but... I feel like just kind of squandered it.

Still haven't seen it. It's part of my whole boycotting project when it comes to reboots, remakes, good, bad. I don't care anymore. This one at least does its own thing. I mean, it really does take it back and is trying to piece together the before story.

So at least it's not redoing the same thing we've seen at least twice now, if you want to count that other one. I enjoyed the basic premise of it. I just felt like there were so many... If they're trying to give a scientific basis behind what happened, it's like there were way too many flaws. I haven't seen Prometheus, but everybody who cites why they don't like Prometheus, they cite the same things.

It's like there's so many leaps of faith and just plot holes to where if you start picking the story apart, it doesn't work. And that's pretty much Rise of the Planet of the Apes, too. Prometheus is the singular example of a script which hangs on the ability of every character to do the stupidest thing imaginable. to perceive what they're calling a plot. It's just... I'd.

Like to do an entire Prometheus episode. I guess I could count that because I think I finally watched it at the beginning of 2013 on DVD. I just looked at it and was like, oh my God. It had so much... I believe it had so much...

Well, if we're going to have an episode, I'm out of time. I was going to say, I've heard this dialogue so much from so many different people, it's got me curious about it. I'm like, I think it would be interesting, especially I want to hear Fred's take on it. We need to get Fred involved in this. Because I've heard so many people trying to defend it, and I'm like, how can you defend this indefensible movie?

I don't care that it looks great. I don't care. In this sense, it's like, God, everyone is so ignorant. They really are. Looking at my calendar, in the way of musicals that are also visually cool and still a mess that I saw two weeks later, was repo the genetic op oh yeah i didn't.

Hate that i think i expected to dislike it more than i. Did yeah and it's got a lot of cool stuff to it but it just it falls kind of flat yeah at the end and as a. Film i think it does i think as a production on stage i might have enjoyed it more and the only. Other thing that bothered me was just yeah i understand if you're going to do an opera i mean it's everything is singing but i think it would have been more successful had Between the musical numbers, it's just been standard dialogue because I don't think the cast that they had could sell that. Some of them were pretty good.

Paul Sorvino alone, yeah, he's the one that kind of made it for me. Well, Anthony Head, I thought he had some great stuff. It was one of those he did have a singing career that nobody really knew about in this country, so he could back it up. Most of the people who responded strongly to it that I know are younger. So for them, it was fresh.

It was like, wow, this is a real opera. It's a genre film, too. It would build up momentum, and it would just kind of slow down. It would just build it up and slow down. But it did have an interesting story, one that has been taken and done with many, many times now.

But the way they did it was at least an original spin on it, I feel like. Was the movie just something called Repo? It was the same concept? Repo, the Jenna Garber. Well, that one, there was Repo Men, wasn't there?

Repo Men, yeah. Which. It's kind of the same premise, minus the music. I wondered if that was an indirect... I think it.

Was one of those both of them were already in the works. I was talking about the Harry Dean Stanton. There was a science fiction film done about guys who harvested organs. It came and went so fast. As soon as you said it, it was kind.

Of a. Remake. I thought someone had literally tried to just adapt genetic opera into. I think it's one of those that it was that Thing that always happens In Hollywood That like We've got this idea Hey guess what They do over here too Who can get it. Done faster Yeah I remember that coming out.

The Disney wild And the Madagascar thing Yeah Came out immediately Yeah It's one. Of those I'm pretty sure They were both Already in the works But Repo The Genetic Opera Came out like It might have been Like a year before About a year It had a pretty good Head start So I think that's Part. Of why I remember seeing The trailer going Wait a minute. Yeah Because Repo Men was more of a buddy comedy kind of thing, wasn't it? Like a futuristic.

I think it kind of turned into one. Yeah. Maybe it did. Wait, is this only about five years old, Repo Men, that you're talking about? It came out right after the Genetic Opera, yeah.

Okay, then I think I know what you're talking about. I guess it is. It had the bigger budget. It had a bigger. two pretty bankable stars. It should have worked better.

It's completely forgetting who was in it. It was like, they were big names. I remember that, but I don't know who they were. It was like, I'm getting it confused with the. We'll say Mark Wahlberg was one.

It's exactly what I was going to say. I keep going back to the other guys with Will Ferrell and Mark Wahlberg. You know, it's weird you say that because that was one where one of these years I was flipping back through my calendars like, the other guys, what the hell was that movie? And I looked it up online and I was. Like, Oh, yeah.

No wonder I don't remember that. I saw that as like part of a double feature at Georgetown Drive-In. That was the one I had to sit through to get to the one I wanted. You know, speaking of Mark Wahlberg and comedies, for the longest time I wanted. To see Ted.

We're going back to Planet of the Apes? Yeah. I wanted to see Ted because my son has a stuffed bear that has a personality and does all– especially when he was younger, did all the bad stuff. Mm-hmm. It wasn't like it grew on him.

This isn't an electronic device. He just had stories that went. I think I remember you telling us about it. And so when something went wrong, it was always Bear Bear's fault. And, you know, it came naturally to him to say that.

And I feel like it does with a lot of kids. And so many of the stories from the people that would tell me about the movie Ted. And then I would. And then, you know, it was almost like, hey, he wrote this movie. And finally, someone at work was talking about it every day.

He's like, here, he brought it to me and said, watch it. And then, you know, I did. And I was so disappointed. It was, you know. It's one of those things where the concept was good.

And then I saw the little Flash Gordon scene, which I thought was cute. Right. Right. You know, it's just online. Oh, that's funny.

But then it sounds like it doesn't really. Well, that's kind of the way Seth MacFarlane works. He has moments that you're like, that was really funny. That was really clever. That was really good.

But overall, you're just like, oh, really? He drags so much of it back down with dumb stuff or just time-wasting stuff. Well, I know that, but the film, you've got a lot of slapstick, goofy stupidity, but then we still have to have a moral at the end. And that almost feels like you're alienating– The other side of the audience, like, it didn't know what it wanted to be. I mean, it had a lot of fun stuff to it, but, you know, it just didn't hold together as a whole.

It felt like it was a cobbling of ideas. Yeah. Which is the problem with a lot of film these days. Being made by people who've done nothing but watch movies like that their whole lives. You've got to have this.

And on that, but you have a script, and then somebody else takes over, and it keeps some of the original, but then other stuff is changed. Producer notes. Mm-hmm. Mm-hmm. Bo, I prompted you.

I'm trying to go back through my brain of things that I've watched this year. I prompted you to try to watch or at some point watch the Barbarian Sound Studio. Not yet. I just got that recently on recommendations. He's a Foley artist that goes to Italy, doesn't even know what project he's working on.

And the cast and the crew are all. Lecherous assholes. And he's a mild mannered British, uh, Foley artist, you know, nerd. And I'm just going to stop because it's, well, sound wise, it's fantastic. And I think, um, just the look of it, I think you would probably, it looks like something you'd like.

I'd like to shoot. I'd like to shoot that. So I, it, it, It's a fun one. It might even be one, Brian, to check out. It might even be.

One for an episode because it's definitely twisted enough that I think you'd enjoy. It. So, yeah, you can stream it now. I never thought you would be able to stream it. That's a lot of interesting stuff.

That reminded me of something I revisited this year was an older movie, Jesus of Montreal. Has anyone ever seen it? I know of it. I don't remember if I watched it. Yeah, it was a great film.

I played the Vogue. You're talking early, like 1990. Yeah. And then working with Bo on Malvagio and doing all the post-dubbing. It has a hilarious sequence in it where actors come in to dub porno.

And it's very funny where they're all French-Canadian actors and they're just doing this hilarious take where they're watching a porno film and making all the noises. And they're professionals. They're congratulating each other on how well they did that. It's a very funny sequence. Very good movie.

There's a lot of that in this. There's murder scenes and sex scenes and– You don't see what's on the screen. You just see the actors doing it. This was just them sitting at the table. And you see them smashing pumpkins and watermelons to make the sound of brain smashing.

I've got a photo when I was doing all that. I had all sorts of melons and hammers and stuff in my kitchen. What will make this sound? What will make that sound? Yeah.

But yeah, you also mentioned like some of the dubbing. I watched American Movie for the first time this past year. And that's a fun little documentary. We had that at the Baxter back in the late 90s. a couple of guys up in Wisconsin. Yeah.

Yeah. Wisconsin or Michigan. It's like, it's up north. Coven. Coven.

And that's, yeah, exactly. And it's just watching it. It was, it kind of reminds you of anybody. Yeah. It was just odd watching these two characters.

Like, you know, he's, I get the whole being obsessed with trying to make your movie, but, in the way of like thinking that this is going to be like some huge marketable project. I was like, that's just really odd. I don't know. It seems like a lot of people convince themselves of that. I like the way it looks.

I mean, when you finally see the finished product and it's like, it's, it makes no sense. It's like watching, you know, somebody who watched a lot of early Lynch and did a lot of drugs or something would do. Cause you know, shooting it on the high contrast black and white, like I think they're shooting on 16 or no, I think it's super eight that he shoots on. That's why everyone has to dub themselves. I mean, it looks cool, but then it's like, this makes no sense to it's, it's, it's not, it's like in that weird gray area where it's, Not something unique.

It's trying to imitate something else, but it doesn't imitate it successfully. It does not transfer to you. That's a very common thing, that whole insular filmmaker business where they're like, I've got this vision, but no one else is going to understand what you're talking about. Not in a good way. Every artist, I mean, how many bands are thoroughly convinced they're going to make it big?

And you're like, you guys are not even going to be a big hit around here, let alone get you some signed deal. But then they focus so much on that about, okay, this is what it's going to take to get big. It's like you're just going through a series of checklists on what you think is going to be in there. That's almost where I feel like Bennett and I were having this talk today with Tim Burton. We almost feel like his movies have kind of gotten there to where it's He goes through a checklist like, okay, if this is one of my movies.

It really feels like this. This, this, this. It's like that college humor parody piece online. It's accurate. We still have that clown white and we've got a five-gallon bucket.

What have you got? No, no, no, no, no, no, no. It's brilliant. It's exactly how people want that. They want a product.

It's like, you know, it's the reason people go to McDonald's in every city. They know what they're going to get. I think with Tim Burton, they know what they're going to get. He's past that era, you know. The last thing he did I liked was Big Fish.

Yeah. And that's been a long time. That was. Well, after that was Sweeney Todd. And I like Sweeney Todd a lot.

Well, it's an adaptation of something else. Yeah. Which technically Big Fish is too. It was too. It was a novel.

But it's, yeah, it still feels like his piece. And it is like there is a heart to it because it is like his father is how he dedicates it. So it does feel like there was a reason he made that. But in a way of just like him just. Making a project for sheer, like, fun and silliness.

I mean, you know, Ed Wood was some of that. But I feel like Beetlejuice was the first. It was a great movie. Yeah. I mean, his last, like, true one where he just really just got away with whatever he wanted.

Didn't I hear they were considering a sequel? I think they've already. They've been talking about that forever. I think they finally got it. Bring it on.

If it's a chance to go back and do something fun, do it. As long as he can. Go back to his original sensibilities he had when he made the first one, as opposed to making it as he is now. Last I heard, they even had Michael Keaton signed on. So I'm like, if you're going to do it, try to find a way.

Look at how many people wanted the Star Wars prequels. But it's like George Lucas was a different person. It's the same could go here. I've tried my daughter... I introduced her to stuff, and I knew she would enjoy Beetlejuice.

And she loves Beetlejuice. Oh, yeah. And she loves the cartoon series, which was kind of fun. You know, those things. It's just...

I love the cartoon series. They finally brought it all out. Eric Chu did not like the cartoon series. Oh, yeah. He didn't work on it.

After I brought that up, he was like, that show was horrible. No, the show was pretty fun. I thought it was really fun. And I thought they create a pretty good universe. They do.

Like, that. the other world that they live in is pretty amazing. Yeah, neat stuff. Yeah. He did not feel that. But I don't know.

I mean, Burton is weird. He's a weird director because he really did have that vision, and it's like that vision became a rubber stamp at some point. Yeah, well, people drink their own Kool-Aid. Yeah. So this is what works for me, so this is what I have to do.

I'd say even David Lynch has done that. I almost wonder if at one point in time it was just the marketing that came off of– Nightmare Before Christmas. I almost wonder if that was part of it. Which is funny since it's not even one of his. It's not even him.

It's Henry Selick. Right. Yeah. But, I mean, it's pretty much his source material. It's his vision.

Yeah, it's linked to him. And... That's where he hit that goth culture thing. Yeah, that's when he tapped into it. And, like, everything that's been made ever since he sort of tapped into that, for the better part, is exploiting that culture.

It's like, okay, well, if Nightmare sells at, you know, Hot Topic and all this stuff, then when we do... you know, God, what was it? Is it just Alice in Wonderland? Was that what it was called? Yeah. It's like, I have to have stuff that's going to, you know, work in there.

Cause that doesn't even fit that. Cause I remember when they said he was cast as that, I was like, that doesn't even fit his mood at all. Like that's a totally different feel. It's weird. I agree with you, but it's like, it just doesn't fit his aesthetic.

It doesn't fit. And it didn't like I watched it. I'm well, I mean, I just watched the trailer. It's just, it was too much. weird, silly CG. They need to go more of the American McGee.

Well, my whole thing was when I watched the trailer for the first time, you could tell it was like the Johnny Depp show. It's like, oh, let's make the Mad Hatter a major character so we've got a major star playing him. And that's also, too, about the time I was like, Johnny Depp, I'm getting a little old because he always has to have some sort of schtick. Yeah, everything becomes the Johnny Depp show. I think the nail in the coffin for me with him was Willy Wonka.

Oh, yeah. For which one? Both of them? Both of them. I think Wonka has more moments.

But they clearly, it was almost on autopilot. Yeah. Like, oh, we're going to go this way. And you can almost see the vision that they were having. Just like, well, there was no vision.

It was the trail that Burton blazed is now a superhighway, and it's just too easy to stay. On that road. Well, and two, it That was the one where it really was the Johnny Depp show in the sense that the storyline, it really does follow Willy Wonka more. It's not about Charlie. Even though it's called Charlie and the Chocolate Factory.

Yeah. It's all about the pathos to this character where it's like, you know, he's not the central character to the story. And I don't even feel like he plays in one of those. I don't need to know his backstory and all that. I mean, sure, it's fun to see Christopher Lee making another cameo, but it's like, you don't need him.

No. You know, I'm one of the few people, you know, I mean, I like Nightmare. It was fine. Everyone was raving about it when it came out. But when it did come out, I looked at it and I said, you know, this film really has no third act.

It's like suddenly he has a change of heart. He's failed utterly at what he did and suddenly he's singing a song, one song in the graveyard and everything turns around for him. I'm like, this is sloppy. Or I actually thought Corpse Bride was actually a more well-constructed animated film, which not enough people did see, actually. No.

But I enjoyed it. So this kind of turned it around, and it actually works structurally. Nightmare had a lot of appeal, but it was that stamp. It was kind of a failure at the time, wasn't it? Yeah, it didn't do.

I guess it did. You know, thinking all the way back to the old days at Suncoast, I mean, we had all this merchandise that no one bought. We couldn't get any merchandise for Nightmare Before Christmas, but then they were like, oh, we'll make up for it now, and they got all this Corpse Bride stuff that nobody wanted then. We were snapping up some of the Nightmare stuff because it just went on the clearance. And then some guy, some friend of mine tells me, you know that stuff's selling really high?

Yeah. What? He said, that applause stuff. Suddenly those dolls were selling for $ 300 and $ 500 or something. I had to part with him at the, uh, the flea market this weekend.

Uh, there was the little, the little molded plastic piece that we sold as a promo that was exclusive to us. And I remember at the time we had boxes. Oh yeah. The little moon. Yeah.

That little, the shot of him with the weird moon in the background. And yeah, it's like, we, we couldn't give those away at the time. And then later we marked them down and we finally ran through them. And it was like a year or two later, uh, it kicked in. Like, everybody got it on video, everybody started to get that thing, and they all loved it all.

Of a sudden. And they came looking for that stuff. It's like, we gave it away. Like, it was 98 cents for one of those things. I remember some of the small PVC dusting it.

It was so bad. They had the glass display cases that we had. You'd have to take it off and move it and dust it because it'd be there so long. So, yeah. You never really know.

What's going to happen. It's not as, you know, Fashionably bent. Yeah. Weird. As much as we've knocked him, I was surprised how much I liked the new Frankenweenie.

Because I didn't even like him redoing it, but I thought it was pretty solid. My daughter liked it. We dug it. And I felt like they came up with original stuff. That whole final act with the monsters is like new and different and fit.

And I was like, I like it. I honestly think it played better than the original. It has it has an indie like the other one's just like and then you know supercharger and voila yeah yeah so i mean i i did not expect after dark shadows i thought i was done with him and he kind of redeemed himself yeah everybody forgot. I saw it sitting there at uh big lots the other day for five bucks and even then i was like no I can't do this. There's not enough fun in it for five bucks.

There's moments that don't suck, I get. Not really. They're all pretty bad. It's just too much of a violation for me. For people who profess to love the source material, they just branded it to death.

I actually feel like it's gotten to the point just because Burton works so much now. He's got fans that are far more forgiving than Lucas's fans. Oh, yeah. They don't rail on him. I don't think we're just as fans of forgiving anymore.

No. They're all heaving sighs of relief that it's out of his hands. He's done now, yeah. He can't mess up anymore. I have to join that legion.

It's like, well, I think something good could come from this. Something very good could come from this. We'll see. That was my take on it. That was big news for this year, actually.

I'm on board. I've decided. Yeah. I mean, that was what worked well in the first series. Like, I mean, he only directed one of those movies.

Yeah. And then he handed it to a better director the second time around. And they got better. Yeah. I mean, it's arguable if the third one was better, but the second one, he gave it to a better director.

Well, again, the third one is only worse, if you want to use that term, because two is so good. Yeah, that's pretty much it. And he already started ripping himself off from the first movie. I'm like, you only made three movies in this series and you can't come up with original ideas? Buy the third one?

We would not allow it. Yeah. There were plenty of people coming up with stuff all around him, comics and books and everything else. And they were all pretty original, impressive stuff. They were fun.

I remember reading that at the time. But then again, we could do, you know, 30 or 40 shows on that. And probably will continue to. It sneaks back in. I just recently saw Kick-Ass 2.

Have you seen the sequel? I haven't seen Kick-Ass itself. I thought the first one was fun. I think that's part of the problem. It's a sequel, so I have to weigh it against the first one.

It's kind of fun. I didn't dislike it, but I felt like the first one was trying to do something. I felt like the first one was had a general idea, a concept, if nothing else, of like, here's all the other superhero movies and this is what we're trying to do. And it felt like it was trying to make a statement and yet be kind of silly at the same time. It's also poking fun at him more than anything.

Where this one just kind of seems like it took itself, like again, even in that movie, like I feel like it almost betrays itself in that last act. It starts to buy into... The jetpack and the RPG. It buys into its own superhero bullshit. It kind of does.

It doesn't take away from the movie overall. I still think it's a good movie, but this one, the entire movie is that. I feel like none of it has any real... It seems like it should. Again, it's like he has all the pieces of that first one, but it's not Matthew Vaughn, so it's not the same director.

New guy wrote it. New guy directed it. Same guy who kind of misses the mark for me. I think. There's some fun stuff in there.

Chloe Grace Moretz is awesome. She's always amazing. I don't know where she can go. To be as young as she was when she started and to consistently, even in movies that aren't that great, she's always good. So it'll be interesting to see where.

And that was the one thing I was interested in this. Because this is like we have Hit Girl as a teenager at this point, basically. So it's her. trying to deal with growing up, having gone through the trauma that she did and the fact that she can kill whoever the hell she wants. So that's seems like it should be the most interesting part. I think it's mishandled.

I think it could be really interesting and it's kind of not, um, again, it's, it's paced really oddly. The, uh, I don't know. It has a lot of issues. It just doesn't feel. And I think that was at the end.

I was like, it didn't feel like it was, trying to do the same thing that first one was. The first one felt like it had an idea that it was going for, and this just wanted to be a superhero movie. In a series that was meant to make fun of superhero movies, essentially. And this one almost like it drank the Kool-Aid. It was like, this is what we are, yay!

I don't know, I had issues with it. I've never seen It, and I haven't seen Super either, just because. I want to. Do a project kind of like that, but I don't want, like, those to, like, change ideas. But in the way of superhero movies that, going back to the whole theme of, like, I don't know if you can even guess what I'm going to say.

Mystery Men. Yes. One of my favorite superhero movies. It's a mess, but it's fun. Recently, I've heard more people start to reference it.

It's one of those that sometimes it takes 10 or 15 years for it to catch up. Wasn't it the same year as Batman and Robin? Oh, God, maybe it was. It was that year that the... It was 1999, I think.

Okay, that's a couple years after. Because I think that was the year my dad had his heart attack. Because I remember that song on the radio from the movie. We're the mystery men. No, it's...

No, they used the. Crap. What's that band? Not Sugar Ray, but the other one that's a lot like it. They did the Shrek song.

Sure. Oh, God. That should just be what they're called. It's like. Folding back on itself.

Yeah. There's just a CD that says, that one band, that's like Sugar Ray, but not. That's like the one Shrek song. That band. I'm on board with Sugar Ray, but not this.

I can't... I'm sorry. I don't know. I've failed. From bands like Smash Mouth.

She was looking kinda dumb with her finger and her thumb in the shape of an. L on her forehead. Well, the years start coming and they don't stop coming. Packed to the rules so I hit the ground running. Didn't make sense not to live for fun.

Your brain gets smart but your head gets dumb. So much to do, so much to see, so what's wrong with taking the back streets? You'll never know if you don't go, you'll never shine if you don't glow. Hey now, you're an all-star. Get your game on, go play.

Hey now, you're a rock star. Get the show on. Get paid. And all that glitters is gold. Only shooting stars break the mold.

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Cheers. Where is she? The apple is the temptation. The apple is the experience. Take the apple!

The apple is the forbidden fruit. Come and take me and shape me and mold me and make me and fill me up with your fire. Come do anything to me. Your little heart desires. I've never been so high in my life.

Phoebe! Phoebe! Phoebe! Phoebe! Phoebe, I must see you.

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See, there is neither loose nor tight. See, there is neither black nor white. That'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. I said, yeah, what a concept. I could use a little fuel myself and we could all use a little change. You never know if you don't grow. You never shine if you don't grow.

Hey now, you're my star, get your heat on, come on Hey now, you're my star, you're the show on, get ready Oh, that glitter is gold, I'm shooting stars for the moon Oh, that glitter is gold, I'm shooting. Stars All Star, is that the name of the song? Yeah. Sadly, I know who you're talking about. Yeah.

Those guys. Yeah. It came out with that movie. Yeah. And I remember hearing that song on the way to the hospital.

And so now, you know, it's one of those things where I connect the heart attack to the movie. You know, one of those weird things. But yeah, that's why I can pin down the age. So you connect going to the hospital with, hey now, you're an All Star. Yes.

That's odd. Well, because it was playing. Yeah, things happen. But anyway, yeah, no, I really dug the movie. By the way, before we move on, you should see Super.

It's one of the darkest. I was going to come back to that, too. The darkest movies. I've seen it a long time. I mean, it does sort of one-up what Kick-Ass was trying to do, basically.

It does it in a different style, though. I don't think Super is trying to. have that commentary really it's just taking. It dark this is what really. Would happen yeah where kick-ass is trying to make the it's poking fun at superhero movies it's very specifically mimicking like all the ones that came all the origin story again it's kind of making fun of that stupid origin story thing and like it does a very specific version of that super is just this shit's crazy it's gonna get dark and it does it so I mean it kind of is a better movie but I think it's not it's not trying to do the same thing. Yeah We rented it one night, my wife and I, with the Paperboy.

We watched the Paperboy first. Good double feature. And Paperboy is pretty dark, too. Is it based on the Sega game? No.

It's Lee Daniels' second movie. Serial killers and nasty sex. So it's like between the butler and Precious, he did. Yeah. And not crazy, but But, like, sweaty.

I like that. You know what I mean? It was John Cusack. Good review line. Sweaty.

John Cusack, a dirty, greasy, sweaty John Cusack masturbating. That's it. That's what we're looking for. It should be on the back of the DVD. Yes.

Masturbating in front of a high school musical boy. What's his name? Zac Efron. Oh, yeah. That's that movie.

You shouldn't even say Zac Efron at the back of the TV. High school musical boy. Sweaty John Cusack masturbating in front of high school musical boy. The movie. Right.

With Macy Gray. Oh, God. So, anyway. And that one's already kind of disturbing. And then we're like, okay, well, at least we have the upbeat, fun movie at the end.

How'd that go for you? No. It, uh. It was a downer moment for the family. What I always liked about Mystery Men is you can just tell Jeffrey Rush is having fun just chewing up the scenery.

It's the same thing that I enjoyed about the remake of House on Haunted Hill because that's one of the few remakes to where it's... almost a bastardization of the original, but I love it. I mean, it's just, it's, did that, that came out the same year. It was hot for that. Yeah. It was that period.

Because my wife went, because my wife went to see that we were, it was the day, no, it was our rehearsal dinner. She had time to kill and we weren't together. We were doing other things and she went and saw House on Haunted Hill and she doesn't go see movies by herself and she doesn't go see horror movies. It's one of the strangest things. And that's a creepy movie to see by yourself.

I'll give it that, but it's just, You know, that was, you know, I've always liked all Vincent Price stuff. And when I heard they were remaking that, I was like, I don't know. But then when you see Rush and he's kind of going for like. Found the right guy. Yeah.

Yeah. He totally just tapped into what needed to be done. It's like, okay, he's going for like sort of a Price-ian character, but just completely hamming it up. And everyone else seemed to have fun. I never saw like, because that was, it was like William Castle's granddaughter.

His daughter. Her daughter. Yeah. Dark Castle. Dark Castle.

Dark Castle Productions. Yeah, that was their first one. And that was actually somewhat of a hit. Yeah, it was. And then they made 13 Ghosts, which I never saw and I heard was just almost unwatchable.

I would say it's unwatchable, but it's kind of by the numbers. It has some really arresting visual stuff in it. Yeah, it's got some good moments, but overall it feels really dumb. I remember, in a way of like, it's okay but dumb, I remember seeing... Death Ship, I think it was.

Yeah, I did see Death Ship. Oh, yeah. They did do that. Wasn't that Margalise? I can't remember.

All I have, like, a vague memory of seeing that with my brother John at the old showcase, and I feel like we were theater hopping. Like, we went from one movie to the next, and we went into that one, and that kind of taught us a lesson. It's like, okay, well, that's killed our movie fun for the day. Let's go home. They're kicking us out by showing us this.

Yeah. It's really unsatisfying. to theater hop and not find anything worth seeing yeah just settle on that yeah well I think with Mystery Man Mystery Man once again probably a little too far ahead you know a little later might have been a hit yeah a little too soon there's a whole superhero. Which is weird genre hadn't really hadn't really fired up Dillard's like you know his height yeah That was between Zoolander and Meet the Parents. It's before he became completely beaten down into this thing that regurgitates the same movie over and over again. Although I don't really know what to think of this Walter Mitty thing.

A friend of mine that I kind of respect his opinion saw it. He was happy. I was intrigued by the preview it well that that's what's weird is like been waiting for a remake they're looking. Yeah it's one i've heard they've tried to do a couple times it hasn't happened so it's weird that they threw him in the middle of it but then that trailer makes it look so serious i mean it's got its cute moments here and there but it looks like it's almost like are you trying to go for an oscar you're not going to get it. Certainly not for this movie.

But I don't know. It just seemed like it was a weird tone for all of that stuff. Just like, I don't know. I guess I'll watch it at some point. Wake and Fright, which was an Aussie film I've been waiting forever to see.

And Drafthouse Films put it on DVD. It was, I think, also called Outback. It's 72, it's Donald Pleasence, and I can't remember who the main protagonist is. I kind of describe it as like a fear and loathing in Las Vegas, but in the middle of the outback, and not funny. You have this teacher who has his two weeks Christmas vacation.

He's in a very small Australian town. Takes the train to either train or cab, can't remember how he gets there, but he I'm pretty sure he takes a train to this... Basically, it's a train stop. It's a dot-on-the-map town. And he's waiting for his passage the next day.

And it's a town where basically everyone at night just goes to this bar and just gets shit-faced and gambles. And that's it. And so he shows up, and he's just having a drink. And they're all giving him crap because it's like, Oh, you aren't going to drink. Oh, good little T-Shock isn't going to drink.

Oh, you're not going to gamble. Good little T-Shock isn't going to gamble. And so he ends up getting... drunk and gambling and losing all his money and stuck in this town that he just can't get out of. And it's not played for laughs. It's just really dark.

Like, this guy just can't get out of this town. And he starts, and not only that, but he just gets in this vicious cycle to where he just starts drinking and drinking. He ends up with Donald Pleasance's character who's like the doctor of the town, but basically it's just some guy who just decided to call himself a doctor and lives in a shack. And people pay him with beer to take care of their medical problems. And so it's just, By day, Donald Pleas is just sitting around almost naked in this hot shack drinking beer and treating whatever comes in.

They go out on kangaroo hunts at night. It's just so bizarre. It's just this guy's slow descent. Into the bottom of depravity. It sort of has that Fight Club.

Feel to it. Early 70s? 71 or 72. Wow, that's good stuff. So it's a very slick film, very ahead of its time, and it was the first, because I'm trying to remember, there's a documentary that Tarantino produced like two, three years ago, I think it's called Not Quite Hollywood, to where it's about the exploitation boom of the 70s, where you had both the art house stuff, like what Peter Weir was doing with Picking and Hanging Rock and Last Wave and all that, and then you also had you know, the drive-in grindhouse stuff.

And this was the one that was basically seen as, like, the one that first made its way out into the American markets. And then all the other stuff, you know, the Mad Maxes and the rest start coming. That kind of took the foreground, but this was the one that sort of started it all. So it's a really slick film. Lucy, I think, had mentioned she'd seen it and had a lot to talk about.

It's like, well, if they're shooting kangaroos, yeah, I can imagine. That'll do. But, um, It's definitely worth a watch. I mean, I like a lot of the early Aussie stuff. I feel like it would be a good companion to Long Weekend.

Have you seen it? I think you've seen it. I remember Long Weekend, yeah. Long Weekend, you just have this couple that goes on a vacation and just weird stuff starts happening. I always describe it as like, what if Rowan Polanski directed Day of the Animals?

There's another film from, I guess, a little later that a lot of people see. Have you ever seen Road Games? No, but I'm severe enough with. It's weird. It's like Stacy Keach and Jamie Lee Curtis, and it's post-Halloween, and it's this sort of, it's a thriller, and it's sort of a slasher film, but it's a road picture in Australia where he's got a pet dingo.

It turns out not to be a dingo because it barks. But it really captures that feeling if you're ever on a long-distance road trip and you're traveling along the interstate. You kind of see the same people all the time. Everybody stops at the same hotel or campground every night. And they slowly start to realize that someone amongst them is this killer who's beheading people.

And he's driving this black van. And somebody starts pointing fingers. Very clever movie. That came out around 79. It sounds fun.

It's supposed to be a. Pretty clever movie that came out in, like, 09 that I was reading about. I was just looking for, like, offbeat Christmas horror films of just– curious what else was out there apart from like, you know, the traditional black Christmas or stuff like that. And, um, I can't even remember what it was called now. Um, but it's stars Ray wise, you know, from, uh, twin peaks and all that.

And basically they're going to one of their family's houses for holidays and they usually take the same route, but he's like, you know, I was looking on, you know, Google maps or something. He basically thinks there's a shortcut and he takes it and they end up going down like this wrong path to where it's like, I've heard this. I think Marlena saw it at one point. I think I just heard about it this year. And that's what got me intrigued about it.

I hadn't seen it, but didn't know if anyone else had. My new favorite Christmas horror film over Black Christmas is Inside. Has anyone seen that? It's a French film. It came out in 2008.

And it's a very simple premise. It's like good old-fashioned Carpenter films where it's a siege movie. To where this woman, she is pregnant. Her husband was killed in a car wreck. And so she's going to go into induced labor the next day, Christmas Day.

So she's at home on Christmas Eve. And so there's like light police patrols and all this stuff. But she's just at home and this woman just shows up. And basically it's just like, hey, I want your baby. I'm going to come in and I'm going to get it.

You know, cause the first, you know, it's very, from the get go, she's knocking on the door. She's like, Oh, my husband's upstairs asleep. She's like, Oh, come on, Sarah, your husband's dead. Don't even try to play that on me. And she's like, wait, who are you?

And it just, from there it just goes, it's short. It's like an hour and 20 minutes and it never lets up. It's just constantly intense from one moment to the next. Cause you know, 10 minutes in, it's like, well, she's in the house now. And so it's just the cat and mouse.

And it's a very, very gory, very brutal scene. and yeah, very unforgiving towards any of its characters, but it's a very, very good film. Um, if we want to work more recent, uh, I've just finally gotten a chance to see a band called death, which is pretty amazing. Speaking of things that were, uh, ahead of their time, are you familiar with the concept? It's, they were, um, it was three brothers in Detroit in, um, early 70s uh formed a band and listening to it now they're essentially punk in like 71 you know well before even the you know we most of it hits in england but we're still claiming the ramones toured in london and that's why yeah so it's like this predates pretty much everything and uh it it's amazing and it's like they it tells their story and how they Form this band and everybody around like the probably the most fun part is watching them like as they come back to their their neighborhood and the neighbors are like they start reminiscing about them practicing and they're like, oh, God, like they were like the scourge of the neighborhood because it's these three kids playing essentially punk music and like all of their neighbors are like.

Number one, shut up, you're too loud. Number two, it's Detroit. You're three black kids. You should be playing R & B. Like, they were annoyed that they were playing rock music in Detroit.

It's like, this is what we do. You know, it's Motown here. You can't just, what are you playing? And everyone around them was like, why are you playing this white music? And, like, they took a lot of heat for that.

And he was the main, you know, brother that sort of came up with this concept. He's like, no. This is the sound. This is what it's going to be. There's a reason we need to do this.

He also decided they needed to be called Death. And it became the kiss of death for the band. And it was like everybody that heard them, they would go to radio stations and they'd be like, oh, what's the name of your band? And that killed it. They had a deal in the works with a local producer in Detroit.

And he's like, we'll sign you. They gave him a pretty sizable contract. you have to change the name of the band. And the brother was like, no, if you let them change our name, you can just give them everything else. Like this is, this is what we are. This is who we are.

We have to stick to our guns. And like it, it totally kind of kills. I mean, they, they stuck with it all the way up to almost 80. I think they were still trying to make it work and trying to be a band, never catch on. And then you get this, like the one brother goes off and kind of moves away.

And like the other two, form, like, at some point they get into, like, a reggae band, and they're just kind of, they're just a band kind of making it, you know, they still have day jobs, they're just doing their thing. And then it hits, like, going all the way ahead to, like, 2008 or so, when, like, it, like, they made, like, one 45 that they had pressed themselves, and they got it out to their, like, their friends and a couple of radio stations and stuff like that, and, like, they were going for, like, $ 800 on eBay. Yeah. And they were this legendary little herd band. And all of a sudden, all these kids found them now and were like, this is amazing.

And so they got– it gets to the point where their sons are doing a tribute band to them because it's been so long. It sounds familiar. It's amazing. It just shows how much you know social wars change yeah a band called Death you know now if it hit like in you know mid 80s late 80s well I don't know how to excel yeah but early. 70s early 70s nobody would touch.

That you know that's about as punk as it gets is that you're offered money and you're like no you don't do it and you don't fit in you don't even fit into punk when it does that's the best part a black punk band. Yeah it In Detroit in the 70s. It's just, yeah. And I think that's what I responded to the most is how, I mean, because they play a good amount of the music. They went and found the masters in the guy's attic and they're just like this.

I mean, you can listen to it now and I'm like, it does not fit its time period, its location. These guys were really ahead of their time. It's more interesting, I guess, from that aspect of just now knowing the way things have worked out and then to watch this new generation embrace this music because it's finally caught up to them. And, and yeah, I mean, it's, there's a whole little middle part with the main brother who comes up with it and it's, it's interesting. I won't throw that off, but it's, it's kind of interesting to see how they come back and, and are, you know, sort of found by this new generation.

It was, it was really well made. It's interesting you bring that one up because yeah, searching for sugar man one. Yeah. Kind of along those same lines. Yeah, sort of the same lines.

And yeah, that won Best Documentary this year, which I think the main reason it won Best Documentary is it was the only documentary that wasn't depressing as shit. Because, I mean, you had How to Survive a Plague, which was, you know, about the AIDS outbreak. You had Invisible War, which was about raping the military. It was just like, and God, I can't even remember the other two. I think Gasland was one of them, wasn't it?

I think so. Uh, that, or maybe I'm confusing it with the year before, but it's like, it was just nothing but like dreary. Which is usually the kind of stuff that gets nominated by the Academy. It is. But, um, I think that might've been one of the main reasons it won was just because it was so, you know, upbeat and popular and endearing.

And then of course, like as soon as it won, suddenly all these stories start coming out about how it's like, well, no, it, He was huge in Australia. He played live shows in Australia in the 80s and all this stuff. So the fact that this guy is hiding is not the case. But like any documentary, it's how you spin the facts that you got. I think that one was just so many people saw it compared to most documentaries.

I think it is the popularity thing. It probably helped it. I don't know that it ever played Louisville. I don't think it did. But that's just.

It had a huge word amount. That's testimony to how far Louisville has fallen. Yeah. Some years ago, we ran Buena Vista Social Club, which was a big hit everywhere, but we at least got it. It lasted for about a month.

Yeah. It lasted a long time, because I remember that was when I first started. Did anybody happen to watch Europa Report? I heard that was an interesting picture. I've seen the large frontier Europa, but I don't know.

No, this was a science fiction. Yeah, just released. It's fairly low budget. And a group of scientists believe that they've found life, could possibly have found life on Europa. And so they go out to investigate.

You know, it's partially a found footage movie. It's done pretty well. It's almost like it's a report that NASA is doing after the fact. Here's what we have. Here's what we've got.

And it jumps back and forth between that and the actual story. And, I mean, of the science fiction, you know, hard science, kind of science fiction that throw a little bit of fantasy in, it's probably one of the better ones I've seen in a while. It's smart. It plays with the claustrophobia, claustrophobic nature, I guess, of space really well. It doesn't have.

All of the normal. problems that you normally have every space movie has the same five issues um but they still do stupid things you know that has to keep has to mess things up yeah it's it's it's a pretty good movie it's one of those things where you're like well nothing's happened and then all of a sudden you're like oh an hour's passed you know and and you've oh it really was interesting in that amount of time so it it Um, it's, it's slow. It's a lot like how moon was. Kind of, it sounds like moon. Yeah. But, um, yeah, it was, it was pretty good.

Moon. I liked a lot. Oh, then it's like, okay, if this was the scientist that you sent up, he's obviously, and if you've decided to clone him, he's best of the best. Why would the best of the best at no given time, trying to sit down and have a rational conversation with himself, uh, It's like both of them have to be having a meltdown at once. And I kind of get a bit at the same time.

It's like I feel like at some point in time he would really just step back and try to assess things logically. And I don't feel like he ever did that. I'm sure he could try to rationalize, well, maybe he, like his clone, they were both breaking down. I don't think he was supposed to. I think he was supposed to be more of a miner or a caretaker than a scientist.

Yeah. But still, if you're putting him up there by himself, I would think that he would have. Some, you know. I can't imagine that you would just decide to go to the effort to clone somebody who's just, oh, he's just a generic caretaker. Right.

It's like a mechanical operation to a degree. And I did like Mood a lot. Oh, yeah. Which kind of leads to one of the other movies I did see this year, which was the title I've forgotten suddenly. Which one?

Was it Oblivion? Oblivion. Which I still haven't watched yet, but yeah, that's the Tom Cruise one. I've not seen it, but yeah. I was very entertained by it, but its major plot point is the same plot point as Moon.

Now, the whole backstory on Oblivion is that it was an unproduced graphic novel, which I find interesting. Yeah. I can not get it. Well, it literally wasn't even done as a novel. It never got that far.

Yeah. It's like, well, it's going to be a whole lot cheaper to make it into a movie than a. Multi-million dollar movie. It's got a terrific visual sense. It's got a gorgeous soundtrack.

I even liked Cruise in it. He can be really good. But the major plot point is he's a clone and doesn't know it. And it manages to borrow bits and pieces from about six or seven other pretty entertaining science fiction movies. It cobbles them together very well.

But at the same time, it's a highly derivative but entertaining movie. But the major point was Moon and the fact that not many people saw Moon. So they said, well, we'll just take that. And they slipped this in. It's like, well, he's a clone.

And it borrows from everything from The Matrix to Independence Day. I feel like it was somebody. Somebody pretty good. And, you know, I think it did well. And, uh, okay.

Okay. I don't think it made what they expected. I was bored. And I said, I'm going to drop by Baxter. I'm just going to watch this because I just heard from a design point of view, it was really good looking.

It was, and I ended up having a pretty good time for the most part. It's sad when that's all you can say about a movie you like. I confused it with the, what was the other? The Will Smith one? No, the other one that he was in this, this year.

Um, wasn't he in another science fiction movie? I think there's another one coming out. It looks... Well, this is sort of the problem that we were talking about. It's like there's no originality.

They all start blending. That's what this movie, I can say, I give it credit for having a lot of good things, but still it's a conglomeration of several other things I've seen. Well, Elysium was the same thing too, wasn't it? Just a rip-off of a lot of other Not rip-off, but a lot of the same ideas. It's very general ideas.

I was confusing them when I was hearing about them in production. I was confusing the two. Yeah. And then Elysium comes out, and I didn't see it, but a lot of people did see it, said it was just too preachy. It was just too heavy-handed.

Yeah, it is. Like, it's... I've heard a lot of really negative things. I didn't hate it. Like, I think it's...

Yeah. It's entertaining, but it's not... That's the thing. When you're putting it up against his last movie, which was pretty damn good. Well, I mean, you can argue that District 9 is preachy, but it's not overbearing in its message.

It's pretty subtle. Yeah, I mean, it's there. It's there, but you're still kind of... And then it has a ton of fun. Yeah.

It forgets all that, and let's just go have fun for a while. But, yeah, this one... I mean, it has really good stuff in it. Special effects obviously are good because they got a lot more money this time. But even, like, the villain that they work in is vicious.

Like, he's just, he is one of the more formidable villains I've seen in years. And, again, in a movie that a lot of people will kind of have to forget about. But, I mean, it's a shame they couldn't have done more with him. Mm-hmm. I don't know.

I think it still has some interesting stuff in it. It just doesn't hold up to District 9, I think. I think that almost is what suffered a lot with that one, is because so many people went in expecting him to follow it up with another one equally as impressive, and it doesn't quite measure. Up to that. Yeah, so he was trying to deliver the same kind of a picture, but with studio backing this time.

Yeah, and maybe that's part of. That's not easy to do. Yeah, because it is very... There's fashionable. Dark, and then there's really dark.

They don't want that. Yeah. It's very, the heavy-handed part is definitely there. It's very obvious how they break down the haves and the have-nots, and that's pretty much what the whole story becomes about. Didn't I also see Danny Boyle's new movie this year, Trance?

I've seen it sitting there. It's on DVD now, and I've considered it. It lasted like a week in town. I haven't gotten to it. When I was coming back to the States, it was on the little computer thing I could watch.

It was fun. it's one of those movies that the, I didn't realize, I didn't know what, when I saw the poster, it had a really, really slick poster for it. And seeing the name trance, I thought it was almost like going to be about, you know, the club scene or something along that line. But apparently trance pertains to hypnosis. And so it's like watching old boy in the sense that it's like, that's not how hypnosis works. But if I nitpick that that's not really how hypnosis works, then I'm going to be kind of, picking apart the whole movie, so I just kind of have to go with it.

It's pretty much the exact same thing. It's like, you know, it's all about hypnotizing somebody to help with sort of an Ocean's Eleven caper. But, I don't know, I feel like it was just Danny Boyle having fun. And nobody really saw it, and it went back mostly to a British cast. And, um, no, it's not an end-all be-all.

I feel like it's going to be one of those ones that people forget about, but It felt to me more like going back to the days of Trainspotting when I saw it. And James McAvoy is the main protagonist, and he's really solid in it. So, you know, it's fun. It's a short film, too. But, yeah, that's the only thing is once they started saying, okay, this person was hypnotized at this time, and this person was hypnotized at this time, and they didn't know that they're working together when they are, it's like, yeah, I don't know.

High concept, yeah. He's a, I mean, he's one of those directors you can't pin him down as to what he does. Like, he's just, everything is a new project. And that's it. Yeah.

He definitely tries every genre, every. Yeah. It's kind of like Soderbergh. He always. Yeah.

Things like that, too. That's why I think my favorite is still Sunshine and the way that Danny Boyle stuff. And that was a sci-fi film that, like, nobody saw. Yeah. It was great.

I just kept going, how big is this ship? I was like, when they go to the power generator room and it seems like it goes on for 40 miles, how big is this ship? So, yeah, it was... it kind of lost me at the end, I think. Everything else, I. Was like, this is a good killer.

That's one of those movies to where the fourth act is either going to make it or lose you. It's a very divisive film in that sense to where as soon as the crazy original captain comes on and starts killing crew members, it's like. It becomes a different movie in that last movie. There's a lot of people to where that lost them instantly. I think a lot of people that lost them.

It was just the godlike ending that was just. Which we see in a lot of sci-fi movies. It was a little bit too much. I was like, I'll take a killer. Oh, that's fine.

That's pretty neat. But it just, it became too much for me, the supernatural stuff. Yeah. Which actually, in the way of the serial killer in space sort of thing. Freddy in space?

That's what I was curious about. Jason in space or whatever. Is that the only other time that's really occurred? Kind of. I mean, you know, you had Outland back in the 80s with crime.

Yeah. Which is pretty good. I actually liked Outland. But. No, that was High Noon.

Leprechaun went to space. Hellraiser went to space. They all go to space eventually. Give it long enough. Usually movie four.

You go to space. It's the double live album. Tell your kids, it's like, I want to go to this college. You either got to go to hell or you got to go to space. These are your options.

You mentioned Oldboy. And speaking of Oldboy, did anybody see Oldboy? I still haven't seen it yet. I've heard. It's just been a colossal disaster.

I've heard it's not bad, but it's unnecessary. Just financially, no one has bothered to line up to see that at all. I wouldn't have gone. No. I wouldn't have needed to, yeah.

I think Bennett saw it just for the sake of reviewing. He said, you know, it had, some stuff was cool and worked about it, and his main criticism was, he said, that just the villains, It was still a similar motivation, but the person that they had playing the villain couldn't sell it. So the one movie I did see that I forgot I saw was Man of Steel. I just brought that up. I wasn't sure if you talked about that.

Yeah, I've got one from a street vendor. There is no English in it, and that actually makes it entertaining watching it. I decided a while ago that I wasn't going to watch any more Superman. There's something about Russell Crowe being dubbed in a very deep Chinese voice. I mean, it's entertaining, but.

It's just such a weird, meandering movie. I saw it with Rocco, and neither one of us had any expectations. We're like, let's just go deal with this. And I found myself incredibly bored through most of the picture because Once again, it's an origin film. I don't want to know the origin.

I mean, there's hundreds of thousands of comics. Superman Returns wasn't an origin film, and it was equally as good. They made it like a romance film, but it was a romance. Film that lasted like two and a half hours. I'm softer on that than most because it is kind of a legitimate sequel to the others, considering how bad the others were.

I'm like, well, it's okay. But this, you know, the movie was just flat and dead and Actually, I did detect a pulse when Zod and the bad guys showed up and started kicking some ass. Oh, this is kind of like a comic book. Zod's the good part of it. Yeah, he's good, and I liked his motivations.

The fights were good, and I didn't have these fanboy gripes about, oh, the violence and the mass destruction and Superman killing. That didn't matter to me because this is an origin picture again. It still seems sloppy to me. It's sloppy. It's all sacrificed on the altar.

Well, doesn't that look cool? Yeah, which doesn't fit Superman. I did like that little sequence of about 20 minutes or so where Zod shows up and demands Cal to be turned over and the fighting begins. And I'm like, this is like a comic book story. And then it just gets too big.

Well, before I ask this, Greg, do you know what happens at the end? Of Superman? No. I won't see it, so you can go ahead and. Spoil the show.

It's been kind of all over everywhere. I got this from a street vendor a week after it was released. It's a nice package. I know. Look at the packaging.

It's amazing. That's very sweet. I know. It's something we didn't address last week that I kind of want to throw out. Not even specifically for the movie.

More of like overall... general theme of what's going on so spoiler alert if you haven't seen Man of Steel Greg said he doesn't care but for the rest of you guys just I'm gonna the big ending moment here he kills Zod at the end of the movie is that not kind of not the way Superman works like is it sort of betraying everything that Superman's supposed to be like do. That that's like that's like Batman yeah I mean that's. I don't I don't have that issue personally, because once again, it's an origin picture that's treating Superman as an alien. But he's been here for like 33 years. He's been here for 33 years, but he's only been Superman for a short while in this.

But he was trained by Kevin Costner. Zod has, I really, to be honest, I fucking hated Kevin Costner. See, I didn't like those scenes either. I thought Pa Kent's moral stance was just bizarre. Don't do anything is what he told him.

Don't do anything. Let him die. Maybe they're meant to die. Let me die too. Bullshit.

Let me die too. It's like, Well, you don't have to. I didn't like any of that stuff either. A fraction of a second to go over there and grab dad out of the way of that tornado where you could just go and blow it away. Nobody would see you because you're Superman.

This is just a bald plot point. Yeah. And I'm like, stupid. Well, and I kind of. Zod is determined to pretty much wipe out this planet and recreate it in the form, in the image of Krypton, which I thought was a cool idea.

The way he's doing it's dumb. But the fact that he's basically going to disintegrate these people... What the heck? Twist his head. That didn't bother me.

Well, it also seems really. He wasn't carrying that moral baggage that the characters carried for, you know, 60 years or so. But at this point, like, if you make... If you go down that road, like, how is he going to be a good superhero? If he just...

At that point, if he just kills indiscriminately. Then, of course, he goes and, you know... The post scene where he just, you know, knocks the drone out of the sky. I should probably watch it in English. Because they're keeping an eye on him.

He doesn't like that. I might watch it in Chinese. That might be better. You know, it just, like I said, it's still, it's just, for me, it's not the travesty that people make it out to be, but it's also not very interesting. No, I just thought it was boring.

But I just, it's one of those, we didn't mention that last week, and I thought about that. They got theirs wrong. Yeah. It's PG-13. They varied.

Pull it back a few times, really, for as much destruction as they have. They still kind of make sure to keep it that PG-13 level. Well, they're having that big fight, and yes, buildings are getting knocked over and everything, but I'm thinking in the moment, there's not a whole hell of a lot to defend him. There's not a whole hell of a lot he can do. He just seems like he does not care, is the thing.

That's a failure of performance. And they destroy a huge portion of the city in the Avengers, but it feels like every single moment they're doing nothing but trying to save human beings. And Superman doesn't seem like he gives a rat's ass. I just think that's poor writing. Yeah.

He could have easily done some things to try to avoid that. Yeah. They're just going for spectacle. And it's impressive spectacle. It's spectacle.

Still. Chinese, they rated R for strong violence, gruesome accidents, language, drug content, and nudity. Don't remember nudity. Don't remember nudity. I'm guessing they just copied and pasted that.

Maybe they just put that on there because it's going to sell more. Maybe so. Ooh, hot American film. Wait, what was the accident again? Gruesome accident.

Gruesome accident. Well, I guess buildings falling on people is fairly gruesome. I like that. I was bored for moments during The Avengers. Yeah, Vendors was too long for me because that was one where I sort of saw it last year, but I had a little bit too much.

There's a lot of it that's great. I re-watched it and I was like, it's fun, but it doesn't need to be this long. It doesn't need to be like two hours and 45 minutes long. Nothing does, but everything is. And it's just essentially Masters of the Universe.

You kind of get down to the plot. It's not everything like, you know, Dark Knight Rises. It's like, it's essentially just Ernest Ghost's Because he's hated for doing something wrong. There's a period of time where he goes through an accident. He's trapped.

And at the end, both ride off into the sunset with the bomb. Think about it. Think about it. Do I have to? This is the type of things we.

Talk about at the Baxter when we're bored. It's a ripoff. Yeah, I just, it seemed, there was just so much talking. And I know Sam Jackson needs to be in it, but why? I mean, It's like they're cramming in characters because they have to.

I mean, you could have solved the whole thing with Iron Man and the Hulk. You didn't need everybody else. Well, Thor. Thor is a god. Yeah, Thor.

Hey, let's just knock some shit over and we'll destroy everybody. It's just that whole let's impress the fans. To a degree, it's let's impress the fans with who we're pulling in. Yeah, pretty much. And even DC's going down that route with some of the things they're doing.

Well, out of competition now. Let's make an Ant-Man movie. Yeah. Let's make an Ant-Man movie. Avengers, it's just like, got him, got away, got him, got away.

It's cat and mouse that almost seems superfluous to make it as long as they could. You know, I don't know really. Which to this day, you know, and you as a fellow exhibitor understand, I don't know why they make these movies so damn long. They could show it one more time and make more money. In a day, yeah.

They just can't seem to control the direction. With the Transformers movies, I watched The Dark of the Moon again because I was like– Suck. The first time through, I was like, this is the worst plot. I never thought that they could get one. Since the second one?

Right. No, that's exactly what it was. I was like– because the second one, huge holes, especially in time and space, crossing half of– The Middle East in 40 minutes in a car. Well, anyway. That seems fine.

And I thought, you know, if they just show some scantily clad women for a few minutes, show shit blowing up and robots transforming, it would be a hit. We don't need Shia LaBeouf and John Malkovich. Was great in the scene where he played the eccentric, strange boss, but why was– it was like 10 minutes. I'm like, why is this scene going on? Show me a fucking robot.

Yeah, stop trying to legitimize this and show it what people came to see. And they had this whole plot of like, well, the Decepticons planted this here and we're going to infiltrate and we're going to do this. If it was– I'm sorry. But if it was there and they had the thing they wanted, they didn't need the Autobots to discover it to get it. And they didn't need to wait 60 years to fucking get it.

It was like. It's like people don't even pay attention. I like how heated you're getting. God damn it. No, I'm sorry.

I have. It's Transformers. I am a Transformers purist. And I. It's...

I need to look it up. Somebody did an online review of the second Transformers film, and they did it from the point of view that it's the most groundbreaking film ever. Oh, it's neat. But the reason they did it, they said it's like, you know, it's the ultimate art film is what they explained. I know who you're talking about.

I can't remember who did it, but it's hilarious. He's very contrary. Well, all of these different, you know, directors like Lars von Trier has been breaking all these walls. It's like, here's a film to where... they try to not even have a plot. It's not a film to where there are no conventional characters, there's no narrative or anything.

This is a film to where there's seemingly a narrative, but no plot. And not only that, but they pointed out how it's like this great social commentary of American audiences, where it's like, what better way to mock the American audience than by giving them exactly what they want. This is what an American audience wants, nothing but explosions and all this. It's, The way this person breaks it down, making it sound like the most brilliant film ever, it's also sort of a mockery of reading film reviews. You should go back and find who wrote that and where it was.

I'd love to read it. They basically approach it as reviewing the film as if it were an art film and how it's brilliant if you look at it from the point of view of an art film. Well, they tried to make it like Inception or. You know, oceans 11 and like, Oh, there's all these layers. No, it's not.

I don't see. Well, I mean, I haven't seen any of the transformers films. If I, if I were expecting to get something out of it, I would think you just have Decepticons show up. Transformers fight them. It's robots fighting.

Right. Is that not what they are? No, it's no, it's unfortunately bad, bad plot. And they make up all of this backstory that doesn't matter. And doesn't help the plot.

It's that typical Hollywood pissing on something that already works. Yeah. Now, let's conventionalize this. They should have just made like, let's take Armageddon's plot and make it robots. And instead of an asteroid, you make it fucking Decepticons.

And let's have, you know, Aerosmith do a soundtrack. God help us. And blow shit up. And it would be fantastic. Which is kind of what they did with Pacific Rim, thank God.

Well, yeah. And it works. Pacific Rim worked. My kids. loved the explosions they loved you know aliens and robots beating the crap out of each other the only part they didn't like is the whole well um when they're getting into the other world and they're getting no just let them come out of the ocean and let's just they keep they're coming in waves and we think this next one's coming that's it just blow shit up you know if you're going for popcorn go for popcorn. I'll sacrifice a lot on the altar of cool if what they give you is really cool.

And Pacific Rim gave you a lot of really cool stuff. Yeah. I thought the first Transformers had a couple of cool things in it. It did. I love that whole helicopter scene where it rolls in.

They're like, what is this helicopter? Who is this? Very mysterious. And it just unfolds and starts wreaking havoc. I love that.

That was cool. But then, you know, it stopped. It started to try to have a plot. But, you know, once again, Pacific Rim pulled it off. People were saying, oh, this is a Transformers ripoff.

I'm like, no, it's actually, you know, it's done right. It's done right. What I didn't like about Pacific Rim is they had a badass female character that had a backstory. And they proved that she could mentally and physically hold her own without undermining her up to a point. And then immediately...

They have to have the man defend her honor when we already know she can hold her own. And then they take more of her backstory and make another man have to defend her honor. Just like, bam, bam. That's almost being too faithful to source material, which is anime. Right.

And that goes on constantly in anime with the strong females who are not really strong. Right. Right. But they look really hot in that outfit. They look great.

She was a great character until she allowed the man to stand up for her. Because she could have fucked them both over. We already saw that. But other than that, like I said, my kids had. A ball with it.

It was loud. It was too loud. There weren't enough people in the theater. If there would have been more to absorb the sound. I saw it opening day at Baxter.

Came up for a matinee. saw it, just got energized by it because I knew I was going to enjoy it. And I got, I got evangelistic, you know, and that's rare that I get evangelistic about any film anymore. I went home, I downloaded that one cool piece of music they use in the end credits, you know, the part that's a mix of like heavy metal and orchestral piece. And I was playing it in the car. And as soon as like, you know, Allie and Janet were available, I was like, we've got to go back.

And we went back that night and had a good time. And by that time there was a bigger audience, you know, and I was, people were asking me, you like this? I said, twice today and that hasn't happened since like Empire Strikes Back so I enjoyed it it works better on the big screen I have to admit yeah but I haven't seen it it was fun and it gradually eked out a decent showing and they fought it despite their efforts to destroy it. Yeah did you ever see it did you ever actually see it no it came out when I was out of country when I came back we had just lost. It it's fun just pick it up and watch it it's a fun movie turn the stereo up Oh, yeah.

For it. It's got the snappy, cool, you know, editing to it that I just loved. Like I said, it's very... And I don't like Top Gun, but the comparisons were... It was like Top Gun meets, you know, giant robots.

I'm like, it works. It's cool to have these really cocky characters as these robot jocks. And I really... just got into it. The music, everything about. It was fun.

Just fun. And that's rare. A lot of stereotypes. Oh, yeah. That's the source material.

Yeah. In a lot of movies, it doesn't seem like they tried– so much to have something that they're conveying. Sometimes films that's, that should be done for fun, forget to be fun. Like Man of Steel should have been fun. Oh yeah.

That was a huge argument. It's like, it's too, it's burned. It's, it's trying to be bad. That's why I've always liked the Fast and the Furious movies. It's like, they're just stupid fun.

Yeah. They're B movies. I can turn my brain off and thoroughly enjoy them. I didn't see the last one. Um, Fast and Furious, the sixth one.

That's the only one I haven't seen yet, but the other five, I think, are a blast. I grew up loving B-movies, and it's like Hollywood doesn't want to make them anymore. Physically, they'll look like a B-movie, but they'll be an A-movie, which means. Burdened. Don't want to take the property and try to turn it into a movie.

And that's, you know, when it comes to the superhero stuff, that's the classic mistake DC is making that they did when they were publishing comics. You know, Marvel came along and jazzed it up and made it fun back in the 60s. DC remained, you know, sort of this plot thing. They're doing the same thing with their movies. Let's make Batman as serious as we can.

And let's try it with Superman, too, and it just doesn't quite work. Yeah. And that's why I didn't see The Amazing Spider-Man because– both from watching the trailers and then hearing from people, they said that it basically, they're like, oh, it's great because, you know, it's more along the lines of The Dark Knight. I was like, it shouldn't be. It's Spider-Man.

It's supposed to be. Goofy and whimsical. I mean, I haven't seen it, so I can't judge, but Sam Raimi, I really felt like captured that whole essence. That's still my favorite superhero origin picture. Yeah.

Spider-Man's great. Yeah. And Spider-Man 2 is equally as good. Yeah. So, I mean, has anyone here seen Amazing Spider-Man?

I saw it. I didn't like it. It was just like this, to my mind, instant reboot. I know it's been a decade. But it still feels like I just saw it.

The fact that they've been making all these Marvel movies. I mean, the Hulk, they did it. And, of course, they did do a better one. I'm like, wow, they're just turning these things over. Within a couple years.

That one was miserable. The Ang Lee. Yeah. I never saw it. I finally caught some of it on TV and there were little moments I was like, well, he's trying to make a comic book movie, but then it goes off.

Oh, because when they go to the panel screen. Yeah. Yeah, he's trying. Yeah, he had a different idea of what he was wanting to do with it and it just didn't work. It wasn't until everything got under the umbrella of Marvel productions that it all started to line up right.

I got sick of the... him able to just jump all over the place. I was like, what is he, a fucking kangaroo? I mean, he was just jumping from mountain to mountain. I'm like, I don't know. It was silly.

There's still a little bit of that in, like, the Avengers and that, but it's. Well, Hulk did that stuff. I mean, I was reading those comics in the 70s, and he would, you know, jump for miles and things like that. I can accept it. You know, I think, you know, Marvel's transition to film is overall not bad.

Yeah. I mean, they're all fun. They're fun. Yeah, even the lesser ones are fun, usually. I still think the best of all of them is the first Iron Man.

Oh, sure. It's a great origin story, if you have to do one. He plays such an asshole. The character is an asshole. The second one is a mess.

I refuse to see the third one. The third one's pretty good. The second one doesn't take itself seriously. The second one they took so much out of his hands that I don't even blame Favreau. It wasn't his fault, but No, the first one was fun.

I liked Captain America. I really liked it. The majority of people were kind of cold on it. That's kind of one of my favorite ones. He's a solid workman director.

He turns in good stuff. I just like the period piece aspect of it. It makes it a lot of fun. I was a little bit lukewarm on the final ending where it wakes up and it's like, oh, what year is this? Well, yeah.

We knew that was coming. I felt like they did that less for the sake of that individual movie And more to set up the Avengers. Sure. Plus, they're always thinking about the kids. And they're thinking, oh, the kids aren't going to like it because it's, you know.

We can't keep it a period piece, yeah. And they may be right to a degree, but not to the degree they think they are. It's the problem with producers. It's true. I still feel like what the actual ending was could have been the PS.

And so you could have just left off the movie three credits. Just, you know, kind of seeing. Like it was like the shield or whatever it was in the. you know, the Arctic area, but I don't know. Well, we've rounded out at least a, a few options of stuff that we've seen this year. Yeah.

Yeah. That sums up everything I saw. I mentioned the way, way back, which I really liked. Yeah. It was a great coming of age picture, which I don't think too many people saw Steve Carell playing a very different kind of guy, which is unusual.

Yeah. He was terrific. I did see, I saw, um, monsters university in the theater i kept thinking i know i'd only seen two movies and that was and um besides robocop obviously that was amazing well that. Actually i would take yeah that was my favorite theatrical experiences here was the ultra pulverized robocop show yeah. That was well worth my money yeah that was that would have been concert money that you could pay for something like that but yeah no monsters university was um A big disappointment.

I barely laughed. I paid for the village prices. It didn't even last. I think it lasted at the back. It looks like this is kind of the demise of Pixar.

They've been so engulfed by Disney. They're not breaking that ground they did for decades. Everyone's all excited about Incredibles 2. I'm like, I don't really care about a second Incredibles. I don't see the point.

Again, they're just doing sequels now. That was why they were so great. Other than Toy Story, it's like they did individual stories each and every time with new characters and then now it became Cars 2 and Monsters University. Planes 1 through 3. Oh my god.

I couldn't watch any of that. They can't. Not help but pollute what they do. Unfortunately, the DreamWorks is, I think, out pacing them now in quality. That's scary.

I know. The final one I'll at least mention that I really enjoyed just because prior to doing the whole Giallo project over the summer, I was trying to watch as many as I could from previous years. And I hadn't watched really any domestic stuff. I'd just been watching all the Italian things. But everyone kept raving about Brian De Palma's Dressed to Kill.

And I watched it and I was like, this is a shit ton of fun. Yeah. It's like the Giallo purists will dump on it just because it's an American film. But it has all the basic mechanics. I love the whole scene to where the female protagonist early on, it almost does that whole psycho switch to where it's like you're following this character and it's like, no, she's wiped out.

I love it to where she realizes that someone's following her, and you just have the music and just the sound of, like, her heels walking in the art museum for, like, this five-minute sequence. There's no dialogue. It's just the sound of footsteps in this art museum and the music. It's a very cool film. Michael Caine, you can tell, is really enjoying himself on set.

I mean, it's very sweet. Yeah, that was him at the top of his game, I think. Oh. I finally saw Sisters, which I'd never seen. That's one that I've actually had on my queue for a while and keeps getting bumped down.

It's Margot Kidder. Yeah, and I think Margot's really good in it, but I really don't like a lot of the rest of the movie. It just felt really just low rent as far as its execution. It can be fun to watch, but then it gets three quarters of the way through and it's like, wait a minute, just some very ridiculous things start to happen, but I thought she was incredibly appealing. I always wondered what was, I never was a big fan of Margo.

You know, I saw that and I said, oh, she's pretty good at this. She's really kind of interesting. But I did finally see that on one of those late night, you know, TCM things. But yeah, Dressed to Kill, when it came out, was a big, big deal. And I really liked it.

It was probably his, like, it's 80. I thought it was 80, 79 or 80. It's 80. You know. Which, yeah, and then after I saw that, I went ahead and watched Eyes of Lower Mars.

I probably should have watched them in the reverse order. Because, I mean, it's not bad. I mean, it's cool that Carpenter was trying something different, but he just kind of labors under sort of a sluggish pace throughout much of it. I think he says we're done. Yeah.

All right. I guess that's a good way to wrap it up, so. Otherwise, we will return next week. Same geek time, same geek feed. Thanks for listening.

It all depends on me. It's the answer. I make when I'm lost and hungry. Oh, what will scare your heart's beat? Sound your time.

Laugh at my throat. Think what these friends do. I think you want it all I think you want it Oh, he's like. Always so blind. These lights all leave me blind.

I just stay. Is that cat scratching itself? Nah, digging in a box. I'm going to work that in now. Oh, it works.

It works. This episode is a production of Movie Meltdown, produced and edited by the Auditude 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!