Ep. #422 - Road House (2024)

[0:00] Hey, floppers, this is Elliot talking.

[0:02] Before we get into this episode's classic

[0:04] Flop House shenanigans, I wanted to make sure

[0:06] you knew about some upcoming live events we are very

[0:08] excited about. On April 27th

[0:10] at 7 p.m. Eastern, we are premiering

[0:12] online the professionally shot, professionally

[0:14] edited online video of our

[0:16] Speed 2 live show. Dan,

[0:18] Stuart, and I will be there watching the show

[0:20] with you, text chatting with

[0:22] the audience throughout the entire thing. Can't

[0:24] make it on the 27th? The video will be

[0:26] available to watch at your leisure through

[0:28] May 19th. To see the trailer and buy tickets,

[0:30] go to stagepilot.com

[0:32] slash flop dash house

[0:34] dash speed dash

[0:36] 2. If you want to see us in person, and you

[0:38] live in England, remember that on the 24th

[0:40] of May, we'll be in Oxford doing our

[0:42] first and second ever UK live shows

[0:44] in one night. 7 p.m., we're talking

[0:46] The Avengers. 9 p.m., we're talking

[0:48] Spice World. Two shows, one night.

[0:50] For tickets and more information, go to flophouse

[0:52] podcast.com slash

[0:54] events. Now that's enough live show hype

[0:56] from me, let's get to that patented

[0:58] Flophouse silliness. Take it away

[1:00] peaches. On

[1:02] this episode, we discuss

[1:04] Roadhouse. Oh shit,

[1:06] I love that movie with Patrick Swayze.

[1:08] Uh, no, it's the new one.

[1:10] Not the sequel, Roadhouse 2, that

[1:12] doesn't have Patrick Swayze?

[1:14] Uh, what? There's a movie

[1:16] called Roadhouse 2. Guys, I think

[1:18] I watched Toad House. Is that the same movie?

[1:20] Hey everyone, welcome to the Flophouse, I'm Dan McCoy. Hey Dan McCoy, it's me, Stuart Wellington, your friend. Hi. Hey Dan McCoy, how's it going?

[1:48] Hi, Dan McCoy, Stuart

[1:50] Wellington, a third friend is here.

[1:52] Your friend, Elliot Kalin, who is

[1:54] me, speaking right now. Yeah,

[1:56] that's right, the three friends.

[1:58] Suck it, punk chick, we got one more than you.

[2:00] Um, anyway, uh, so

[2:02] this is a podcast. Uh-huh.

[2:04] Where we talk about

[2:06] a bad movie that we have watched

[2:08] all of us. Or a good movie. Or

[2:10] a good movie. Sometimes it's a good movie.

[2:12] Here's the thing. And sometimes it's

[2:14] neither good nor bad, but just a movie

[2:16] Dan. Yeah. Not everyone's a hero or villain.

[2:18] It's always a movie though, right? We are led

[2:20] to this movie. We sniff it out with our noses

[2:22] like cartoon hobos.

[2:24] The smell of a movie wafts towards

[2:26] us and we fly towards it and it's

[2:28] because either audiences

[2:30] have rejected it, critics have rejected it,

[2:32] or it's just kind of gotten

[2:34] mediocre reviews, but we're sort of interested in

[2:36] talking about it. I love it when they leave

[2:38] a bad movie to cool on their windowsill

[2:40] for us to snatch away.

[2:42] Uh-huh. Sometimes

[2:44] we walk through the neighborhoods and we see

[2:46] the markings that other movie hobos

[2:48] have left that say, a nice lady with movies

[2:50] lives here. Yeah. Or

[2:52] Gerard Butler here.

[2:54] Gerard Butler.

[2:56] Neil Breen inside.

[2:58] Yeah.

[3:00] So this time we watched

[3:02] Roadhouse, which is

[3:04] interesting because it is a remake

[3:06] of a highly beloved movie

[3:08] of the past that was not

[3:10] that got bad reviews

[3:12] and not looked on. I was going to say, highly beloved within

[3:14] certain circles. It's not The Wizard of Oz.

[3:16] Well, this is what I'm saying. I don't want

[3:18] I was trying to avoid calling Roadhouse

[3:20] a great bad

[3:22] movie of the past because I've come

[3:24] around to the idea that Roadhouse is doing

[3:26] exactly what Roadhouse needs to do.

[3:28] It's not necessarily bad,

[3:30] it's just highly silly.

[3:32] It's a highly silly

[3:34] kind of lunk-headed movie that's lovable

[3:36] like a big, dumb, like

[3:38] collie dog or whatever.

[3:40] I don't know. You guys, I'm pretty professional

[3:42] when it comes to being a movie podcaster.

[3:44] So I re-watched the original Roadhouse.

[3:46] What? Yeah, I re-watched it over the weekend.

[3:48] Probably tell me you would have done this anyway.

[3:50] Research Wellington.

[3:52] It's really good.

[3:54] I sacrificed the time I would have spent

[3:56] with anything other than the original Roadhouse

[3:58] and watched the original Roadhouse, a movie I assume you already love?

[4:00] Yeah.

[4:02] Why don't you just make Roadhouse your regular

[4:04] Saturday night thing?

[4:06] I mean, that should be. I feel like that's a

[4:08] great Saturday night.

[4:10] Crack open a couple of brews, maybe

[4:12] order some za with the rents.

[4:14] As long as you don't finish

[4:16] any words, I think it'll be okay.

[4:18] If you're unfamiliar

[4:20] with the original Roadhouse

[4:22] directed by Rowdy

[4:24] Harrington,

[4:26] the owner of the best name in

[4:28] directors,

[4:30] it's about a famous bouncer

[4:32] who is lured from his

[4:34] existing bouncing job

[4:36] down to a harder bouncing

[4:38] job in the middle of nowhere

[4:40] where a Roadhouse is being

[4:42] bedeviled by

[4:44] bad people.

[4:46] Evil land developer Ben Gazzara.

[4:48] Yes. A lot of big names

[4:50] involved. Ben Gazzara, Patrick Swayze,

[4:52] and of course the director Rowdy Harrington, like you mentioned,

[4:54] the director of Gladiator.

[4:56] The 1992 Cuban Junior

[4:58] sports movie. It's a boxing movie.

[5:00] Did Rowdy Harrington,

[5:02] did he also do

[5:04] Was he the electrician on Humanoids from the Deep and Hots?

[5:06] Yes, he was the electrician

[5:08] on Humanoids from the Deep and Hots.

[5:10] Daniel Kramer movie Hots?

[5:12] Was he the grip on Repo Man?

[5:14] Yes, he was.

[5:16] That's where he learned his bona fides.

[5:18] Is he credited as the best boy electric

[5:20] for A Nightmare on Elm Street, the original?

[5:22] No, that was Russell McCay. Yes, he is.

[5:24] Sorry.

[5:26] What else did Rowdy Harrington direct, though?

[5:28] He directed Jack's Back.

[5:30] He directed Roadhouse. He directed Striking Distance.

[5:32] The movie where

[5:34] Jack the Ripper has returned,

[5:36] maybe,

[5:38] and James Spader is involved

[5:40] somehow.

[5:42] He's still alive. His last film was

[5:44] in 2004.

[5:46] It's still around.

[5:48] Let's get him on the show. Rowdy,

[5:50] thanks for joining us.

[5:52] Hey, everybody. It's me, Rowdy

[5:54] Harrington.

[5:56] I'm just so glad that you decided

[5:58] to talk about my magnum opus,

[6:00] Gladiator, starring

[6:02] Cuba Green Jr.

[6:04] No, that was just a passing mention.

[6:06] We're actually talking about Roadhouse,

[6:08] your movie with Patrick Swayze.

[6:10] Not familiar.

[6:12] It's your most famous film, by far.

[6:14] As you can guess, by a man named

[6:16] Rowdy's name, I have been hit in the head

[6:18] many times in the course of my adventures.

[6:20] I don't always remember

[6:22] my films, but I remember one movie,

[6:24] Gladiator, because how do you forget

[6:26] winning Best Picture?

[6:28] Yes, Best Picture winner,

[6:30] Gladiator, starring Cuba Green Jr.

[6:32] Let's just let him have this one.

[6:34] Rowdy, I want to say

[6:36] I appreciate

[6:38] the way you lean back from the microphone

[6:40] every time you get particularly rowdy.

[6:42] I do when you're as loud and rowdy

[6:44] as I am.

[6:46] So you guys see my movie

[6:48] Striking Distance? I'll tell you a funny story

[6:50] about it. Originally, it was just called

[6:52] Distance. And I was like,

[6:54] hey, people are going to wonder what distance

[6:56] this is. And I'm like,

[6:58] is this a distance you could strike at?

[7:00] And the scientists looked at it

[7:02] and they figured they ran the numbers

[7:04] and they said, yes, you could strike at this distance.

[7:06] And I said, let's call it Striking Distance!

[7:08] And that's how the movie got its title.

[7:10] I do have a question about

[7:12] Striking Distance. What was it like working with

[7:14] the dad from Frasier?

[7:16] Well,

[7:18] he has a name. His name is

[7:20] John Mahoney!

[7:22] And I'll tell you, if there's a guy who's

[7:24] better than me, it is the late

[7:26] lamented John Mahoney.

[7:28] What a star! What a rowdy guy!

[7:30] The number of times we tied one on

[7:32] and closed down not just

[7:34] bars, but also Toys R Uses.

[7:36] It was a rowdy time that we had.

[7:38] But that's what I have. I'm Rowdy Arrington,

[7:40] director of the Academy Award winner

[7:42] Gladiator. And also,

[7:44] Jack's back! The story of

[7:46] Jack Nicholson. Okay, well,

[7:48] we've got to record a mini after this one

[7:50] and I'm in charge of it. It might be a little long.

[7:52] We're going to have to say goodbye to you, Rowdy.

[7:54] I don't think so. Rowdy Arrington

[7:56] calls the shots. I'm Rowdy.

[7:58] I don't just do what people tell me.

[8:00] Listen,

[8:02] Daniel, I was the electrician on

[8:04] HOTS, okay? So, you don't tell

[8:06] me what to do. I tell you what to do.

[8:08] You know what? Suddenly I'm more interested.

[8:10] Is the electrician a character

[8:12] or is that his job? Did you know all those women were robots?

[8:14] Wow! They were all robots.

[8:16] The electrician job was very complicated on HOTS.

[8:18] That's why they have that

[8:20] acronym name.

[8:22] It stands for Huranistic

[8:24] Omnidirectional

[8:26] Technological

[8:28] and then the S stands for a word that

[8:30] now is a little sex-not-positive.

[8:32] So we don't say it anymore.

[8:34] But it was 1979. Things were different.

[8:36] Things were a little rowdier. And to tell you,

[8:38] I'm kind of

[8:40] sad that the world's not as rowdy

[8:42] as it once was. Sure, it's better in almost every

[8:44] other way, but it's less rowdy.

[8:46] Yeah, tales of

[8:48] rowdiness past. Now, before I go,

[8:50] if you'd like to hire me

[8:52] for a children's birthday party

[8:54] so I can help things get rowdy,

[8:56] then please

[8:58] hire me. I operate under

[9:00] as a clown who's also named Howdy.

[9:02] Instead of Rowdy Harrington, I'm Rowdy Ha-Ha-ington.

[9:04] And that's my clown name.

[9:06] I thought you were going to say your name was Howdy Rarington

[9:08] and you were a cowboy clown.

[9:10] That's a damn good clown name.

[9:12] That's like a cowboy clown. Yes!

[9:14] New clown name! Gotta go!

[9:16] Rowdy out!

[9:18] Okay. Well, let's talk about...

[9:20] Howdy in?

[9:22] So that was... So, Dan, he didn't direct

[9:24] the one we're talking about today.

[9:26] No, that was Old Roadhouse,

[9:28] a movie that, again...

[9:30] We'll probably reference

[9:32] multiple times over the course of this.

[9:34] I don't see how we don't.

[9:36] Especially when at the very end

[9:38] of the movie, a famous line from

[9:40] the original Roadhouse is...

[9:42] It seemed to be ADR'd in and I wasn't even sure

[9:44] what character was saying it.

[9:46] In the final fight scene, you hear someone

[9:48] suddenly say, Be nice! And I wasn't sure

[9:50] who was saying it or why.

[9:52] But they did say it in the original one.

[9:54] Yeah, you expect

[9:56] Ed Boon to pop up in the corner

[9:58] to show you that

[10:00] the reference, like get the Easter egg.

[10:02] Exactly.

[10:03] Does a little toast to yours.

[10:04] But we're not, we're not talking about the old Roadhouse,

[10:06] we're talking about a new one,

[10:07] directed by Doug Liman of-

[10:10] The only director with the flavor of lemon and lime.

[10:13] Swingers and Mr. and Mrs. Smith,

[10:16] Edge of Tomorrow, probably one of his strongest-

[10:19] I know it as Live, Die, Repeat.

[10:22] Yeah, he's a strong director,

[10:25] maybe not the strongest on this one.

[10:27] Director of previous Flophouse film, Jumper.

[10:29] Yeah, another one of his minor works.

[10:34] So yeah, they remade Roadhouse

[10:37] because there's no IP that can't be exploited these days.

[10:40] And let's get into it, shall we?

[10:43] People are super into famous bouncers, right?

[10:45] So they decided to make a movie about another-

[10:47] I just want to mention, how strange is it that

[10:49] the writer and director of Swingers,

[10:51] a low budget comedy about LA lounge lizards,

[10:55] ended up both becoming like major action directors?

[10:59] That with Doug Liman making mostly action movies these days

[11:02] and Jon Favreau living in these

[11:04] Star Wars and Marvel universes,

[11:05] it's not what I expected when I saw Swingers as a teenager

[11:08] and still being a teenager was like,

[11:10] these are the coolest guys in the world, you know?

[11:12] Yeah, you were like, wow, these guys are so money

[11:15] and they don't even know it.

[11:16] These guys don't even know how money they are.

[11:18] There was like a week where me and my friends

[11:19] called each other money and then we felt so stupid

[11:21] that we stopped doing it.

[11:23] As well you should have.

[11:24] I feel like you should start doing it again.

[11:28] I think you're due.

[11:29] Just like Rowdy Harrington, you're due for another.

[11:31] Do you think the cool guys have now called each other crypto?

[11:34] I don't know, Dan, what do you think?

[11:36] What's your definition of cool here?

[11:39] Well, they wear bowling shirts and sunglasses,

[11:42] so they're pretty cool.

[11:43] Sounds pretty cool.

[11:44] That's actually pretty cool.

[11:45] Yeah.

[11:46] And then Superman's dog is like, me?

[11:48] And they're like, no, not you, crypto.

[11:52] Speaking of bowling shirts,

[11:53] so I'm wearing a sort of a Hawaiian-esque shirt,

[11:58] not like maybe full Hawaiian, but like-

[11:59] Yeah, why don't you give a spin, Dan,

[12:01] so we can show it off?

[12:02] Yeah.

[12:03] Woo!

[12:05] And, you know, as a middle-aged-

[12:06] That's the sound Dan makes when he spins.

[12:07] It's not from his mouth,

[12:08] it's just a sound that his feet make, yeah.

[12:10] I feel like, you know, as a middle-aged man

[12:13] who has grown a little more zaftig over the years-

[12:17] Reuben-esque.

[12:18] The Hawaiian shirt is a choice

[12:23] that I enjoy, I've embraced for some reason,

[12:26] but I also feel like it says a thing about me

[12:31] that I don't necessarily like,

[12:33] not quite sure what that thing is,

[12:34] but it also like makes me feel uncool, so-

[12:37] What it says is you're growing older

[12:41] and you're a little rowdy.

[12:44] Yeah, I've gotten a little rowdy over the years.

[12:46] So this movie-

[12:47] You're on vacation, dude.

[12:49] Yeah, I'm on island time.

[12:50] Permanent vacation.

[12:51] Stars Jake Gyllenhaal as the Dalton,

[12:57] this version, this new Dalton.

[12:59] We'll get into that later.

[13:00] B. Dalton.

[13:01] His name literally is B. Dalton, right?

[13:05] Oh, no, his first name's Elwood, I'm sorry.

[13:06] His first name is- B. Dalton.

[13:08] Elwood Dalton, you know,

[13:10] the previous Roadhouse man, the bouncer,

[13:16] Patrick Swayze was Jake Dalton,

[13:18] meaning this is, of course, Jake and Elwood,

[13:20] a weird Blues Brothers reference.

[13:23] They had to have done that on purpose, right?

[13:25] Oh, 100%.

[13:26] You don't happen upon that.

[13:27] Yeah, you don't name a character Elwood by mistake.

[13:31] That's true.

[13:32] Anyway, we see Jake Gyllenhaal-

[13:33] I don't know what happened, doctor.

[13:35] I drank too much and I blacked out

[13:36] when I woke up, my character's name was Elwood.

[13:39] Jake Gyllenhaal, we see him, he's in a hoodie.

[13:42] He enters an underground MMA tournament.

[13:46] He walks very slowly towards it.

[13:49] Also, also in attendance, Jessica Williams,

[13:51] our former co-worker.

[13:53] What's she doing there?

[13:54] Former Flophouse guest and current neighbor of mine.

[13:57] Really? Yeah.

[13:58] You see her ever?

[13:58] I do, when I'm out taking walks.

[14:00] She's usually out walking, yeah.

[14:02] Tell her I like her on that show she's on.

[14:06] What's it called? Shrinking.

[14:07] She's great in Shrinking, yeah.

[14:08] Very funny.

[14:09] And she's not bad in this.

[14:11] She's great in this.

[14:11] She's good in this.

[14:12] I thought she's really good in it, yeah.

[14:14] One of the most sort of likable presences in the movie,

[14:17] just sort of relaxed, laid back, immediately sympathetic.

[14:21] For an action movie, this is a very laid back movie.

[14:24] And I want to say, I did not have time

[14:25] to watch the old one.

[14:26] Stuart, is the original Roadhouse as laid back as this one?

[14:29] This one kicks into high gear in the third act.

[14:31] But until then, there's a kind of burn notice,

[14:33] kind of laid back, hangout vibe to it, yeah.

[14:36] No, I mean, I feel like this,

[14:38] the original follows that like 80s action movie pace

[14:44] of like constant stuff is happening.

[14:48] You got to get on that ride

[14:50] or else it'll leave you at the station.

[14:54] Okay.

[14:55] Well, so, you know, Jake enters this Octagon area.

[15:02] The man who has previously been beating all comers

[15:05] is too scared to fight.

[15:06] Notorious hard body, Post Malone.

[15:09] Is that who it is?

[15:10] Yeah.

[15:11] Okay.

[15:12] Stu, by all accounts, I'm sure he's a nice fella,

[15:15] but that's part of why I don't quite buy him

[15:18] as like a bare knuckle boxer type.

[15:21] He just seems too nice.

[15:24] Well, we'll get a genuinely bad man

[15:26] as a fighter later on.

[15:29] So Stu, what did you think of the moment

[15:30] when Jake Gyllenhaal comes in to challenge

[15:32] and takes off his hoodie and is ripped?

[15:35] For anyone who saw us on our West Coast tour,

[15:37] Stu had a whole presentation

[15:38] about big, beefy, hard body boys in the movies.

[15:41] Well, that's the thing.

[15:41] Like he's, I mean, he definitely put in the work,

[15:43] but a lot of it's like, he's just so chopped up.

[15:46] Like he's so, his body fat is so low.

[15:48] So he's got those bicep veins popping.

[15:51] He's got his cum gutters nice and deep, right, Dan?

[15:54] I don't like that term.

[15:55] I mean, he, I mean, he, like, he just looks so skinny.

[15:58] Like, like the guy should eat something.

[16:01] It's not like he's an iron claw.

[16:02] Those boys were big boys.

[16:04] Yeah.

[16:05] Those were big, beefy boys.

[16:06] So Gyllenhaal takes it all

[16:09] because it's a winner-take-all competition.

[16:11] Just by walking in, he has gotten 500 bucks or whatever.

[16:15] Because the other fighter recognizes him and says,

[16:17] I'm not going to fight this guy.

[16:18] Yeah.

[16:19] Out in the parking lot afterwards,

[16:20] that guy, angry at losing his payday, stabs Dalton.

[16:26] But he, you know, Dalton's calm and cool.

[16:29] He just sort of like, it's like, do you really want to do this?

[16:31] He's like holding the knife hand

[16:33] and he scares off this guy.

[16:35] How would you describe Gyllenhaal's vibe in this movie?

[16:40] Sort of sedated.

[16:43] He's got like, kind of a-

[16:45] I would call him sensitive, vulnerable, tough guy.

[16:48] Somebody pointed out, somebody,

[16:50] I think it was on Letterboxd,

[16:52] pointed out that it's like,

[16:53] Jake Gyllenhaal has already seen the movie.

[16:56] Yes.

[16:57] And it's just kind of like explaining it to everybody.

[16:59] And that's something that there are times that I,

[17:01] his performance, sometimes I really liked it

[17:03] because I was like,

[17:04] this is a really different way to take this kind of character.

[17:05] He is not intense.

[17:07] He is not, he doesn't seem tough.

[17:08] He seems like he's about to cry at any moment,

[17:11] but he also seems ultra confident

[17:13] in how everything's going to turn out

[17:14] and how no one can defeat him.

[17:16] But also there are times when by the end of the movie,

[17:19] I was like, I wonder if this character

[17:22] is partly on the spectrum

[17:23] because he's in the middle of a fight with somebody

[17:25] and they bump into a piano and he goes,

[17:27] this piano is really out of tune.

[17:28] Like he'll suddenly notice a little detail

[17:30] about the world around him

[17:31] when he should otherwise be fighting.

[17:33] And I was like, I don't know if this is on purpose or not,

[17:37] but he's a character who is like,

[17:38] who is, feels like he is very disconnected

[17:41] to what's going on.

[17:42] And sometimes it worked for me that Jake Gyllenhaal

[17:43] doesn't have that regular tough guy demeanor.

[17:46] But sometimes I was, when he's like,

[17:47] later on when he's like,

[17:48] I'm afraid of what happens when I get angry.

[17:50] I'm like, I don't, I don't really know the deal.

[17:53] I don't see the steely edge

[17:54] beneath the velvet glove here.

[17:56] I don't like the brooding element.

[17:57] Like when he's like, oh, I'm scared of what I'm capable of.

[18:00] I'm not as into that.

[18:01] But like the funnier stuff, I think he does really well.

[18:04] I think he does a good job as a character

[18:06] who is so confident in his own ability to fight anybody

[18:09] that he does not have to throw his weight around otherwise.

[18:12] And he doesn't have to seem worried at all.

[18:14] Or like take the bait when people are talking shit.

[18:17] Yes.

[18:18] He is sort of, yeah, he has this Zen politeness,

[18:21] which is explained later on kind of by his tragic backstory

[18:25] that we'll get to what he's scared, he's capable of.

[18:28] But, and I like it a lot of times.

[18:30] And then sometimes it just seems like

[18:32] there's something wrong with him.

[18:34] Yeah, there are parts where he does like action movie quips,

[18:38] but the way he delivers them,

[18:39] it's as if he's disconnected from the scene.

[18:41] So it's like later on him and the big fighter bad guy,

[18:45] they're in a boat and the guy goes,

[18:47] ah, our very own octagon.

[18:48] And Jake goes, who taught you shapes?

[18:51] And then they start fighting.

[18:52] And it's not like, he doesn't deliver it like banter.

[18:55] He delivers it like, I don't understand why you just said

[18:58] that, I'm asking you a question, now we have to fight.

[19:01] Yeah.

[19:01] So I actually liked those elements of it a lot.

[19:03] Let's get back to the story.

[19:06] While Jake slash Dalton is duct taping up his wound,

[19:11] Jessica Williams introduced us.

[19:12] Not the way you should deal with that wound, by the way.

[19:14] Duct tape is not a great bandage, yeah.

[19:16] And also if you're gonna turn yourself into a mummy,

[19:18] don't use duct tape, unless you're some kind of future mummy.

[19:21] Like if you're a future mummy

[19:22] from like an Iron Maiden album cover or something like that,

[19:25] then yes, use duct tape, mummy of the future.

[19:29] Remember to leave all of the critical holes open

[19:32] on your body.

[19:33] That's just an important tip.

[19:34] That's your role playing porn podcast, right Dan?

[19:36] Critical holes.

[19:39] Yeah.

[19:41] Anyway.

[19:42] Oh God, that already exists, I'm sure.

[19:44] It's got to, it's got to somewhere, yeah.

[19:47] So Jessica introduces herself.

[19:50] Her character's name is not Jessica Williams, it's Frankie.

[19:53] She owns a roadhouse down in the Keys

[19:55] that needs protecting from some bad dudes.

[19:58] What's the name of this roadhouse, Dan?

[20:00] It's named Roadhouse, two words, and

[20:02] later on, I was going to get to this,

[20:05] but let's talk about it now.

[20:07] Later on, there's a bit where Jake

[20:09] Gyllenhaal's like,

[20:11] why is it called Roadhouse when

[20:13] Roadhouse is one word, there's no

[20:15] space in it, and she goes, it's a

[20:17] joke, and I'm like, Movie,

[20:19] you did not need to explain this,

[20:21] especially because in the original

[20:23] Roadhouse, the Roadhouse is called

[20:25] the Double Deuce, so you could have

[20:27] just named the Roadhouse any fucking

[20:29] name, you get Roadhouse, two words,

[20:31] and then have a bit about how,

[20:33] that's not how Roadhouse is spelled.

[20:35] I would say the weakest parts of

[20:37] this script are the moments where

[20:39] they do that, or when they're like,

[20:41] you just wandered into town to try

[20:42] and clean it up, you're just like,

[20:44] the sheriff in a western, I'm like,

[20:46] yeah, no shit, dude, I'm watching

[20:47] the movie.

[20:48] When they're calling out the subtext

[20:50] as text so that the people who came

[20:52] here for punching get it, those are

[20:54] some of the weaker moments, yeah.

[20:56] Yeah, they lampshade a lot of stuff

[20:57] in here that doesn't need to be

[20:59] commented on, but anyway.

[21:01] So later that night, Dalton

[21:02] contemplates killing himself by

[21:04] letting a car hit him on

[21:06] the railroad tracks.

[21:07] A train hit him, Dan, not just a car.

[21:08] A train, sorry, a train.

[21:10] A train hit his car.

[21:12] It was the car of a train,

[21:13] you're right, Dan.

[21:14] Dan, do you think trains are,

[21:15] do you get trains and

[21:16] cars mixed up sometimes?

[21:17] I mean, what are trains but

[21:18] a bunch of cars that run on rails

[21:20] and are hooked up to each other?

[21:22] Actually, he's got you there, yeah.

[21:23] That's a very good point.

[21:24] Anyway, it seems like-

[21:26] Now I'm imagining Dan's like,

[21:28] I have to take the train somewhere,

[21:29] just gets into a stranger's car and

[21:31] drives off.

[21:31] Choo-choo.

[21:32] He puts on a conductor's hat.

[21:36] He's already wearing the overalls.

[21:37] He's the conductor.

[21:38] Yeah, yeah.

[21:39] He changes his mind, however, and

[21:41] originally I was like, well,

[21:42] why did you, if you're going to do

[21:44] this, why bother winning all that

[21:45] money?

[21:46] But it's a good thing he did,

[21:47] because since he doesn't kill

[21:49] himself, his car gets beat up.

[21:50] I'm like, well,

[21:51] you're going to need that money now.

[21:52] But anyway.

[21:52] And the reason he gave earlier for

[21:55] not taking the job was I like my

[21:57] car, yeah.

[21:58] Yeah, so he goes down to the Keys.

[22:03] He makes fast friends with Charlie,

[22:05] a teenage girl who runs a bookstore

[22:07] with her dad, Steven.

[22:08] That bookstore being located right

[22:10] next to a diner called The Double

[22:11] Deuce, a little Easter egg for

[22:13] all the true fans.

[22:14] Now, I do like, of the changes,

[22:16] I think the idea of moving

[22:18] the location of the Roadhouse down

[22:20] to the Florida Keys works for me.

[22:22] Yeah, I think so, too.

[22:23] I feel like Roadhouse already has

[22:25] kind of a Florida energy.

[22:27] I like that, except for what I'm

[22:29] going to say literally next in

[22:31] my notes is that the Roadhouse

[22:33] itself looks less like a seedy

[22:35] Roadhouse, and more like any of

[22:37] the many touristy fish shacks that

[22:39] I've gone to with my parents when

[22:42] they go down to the Keys.

[22:43] Yeah, that's true.

[22:44] Where you get some coconut shrimp

[22:46] and a Bahama Mama.

[22:46] And judging by the fact that they

[22:48] have a different great live band

[22:50] every night, and the client-

[22:52] Except for the band that played

[22:53] a fucking Sublime cover.

[22:54] Get that shit out of here.

[22:55] But they played it better than

[22:57] Sublime, but-

[22:58] Okay, yeah,

[22:59] while damning with faint praise.

[23:00] And also that the clientele,

[23:02] until they start fighting each

[23:04] other, they don't look particularly

[23:07] rowdy or tough.

[23:08] They do look like-

[23:10] Or even that numerous.

[23:12] I mean, we have to assume that it

[23:14] is the great bands that keeps

[23:16] people coming back because every

[23:18] night there's a dangerous fight.

[23:20] Now, re-watching the original

[23:22] Roadhouse, one of my favorite

[23:24] moments in the movie is when

[23:26] Dalton first goes to the Double

[23:28] Deuce, the Roadhouse.

[23:31] And there's a moment where

[23:33] a patron is propositioning other

[23:35] patrons that for $20,

[23:37] they can kiss his girlfriend's

[23:39] breasts.

[23:40] And one guy's reaction is,

[23:43] are you kidding?

[23:45] It has the most like,

[23:47] are we having fun yet energy?

[23:50] It's so great, I love it.

[23:51] So I like Rwanda and

[23:53] watch it three times.

[23:54] So the thing is,

[23:55] this movie doesn't have that.

[23:57] No, this movie is much less sexual

[23:59] than the old Roadhouse.

[24:01] I feel like even in the romance,

[24:02] probably a-

[24:03] Well, that was-

[24:04] Probably a-

[24:04] Roadhouse is what, 89?

[24:05] That's-

[24:06] That was peak.

[24:07] Yeah.

[24:08] As with many of the movies of

[24:09] nowadays, this is a,

[24:11] I'm the millionth and

[24:12] hundredth person to say this.

[24:14] They seem to have replaced

[24:15] the pleasures of physical love

[24:17] with the pleasures of

[24:18] physical violence.

[24:19] And so any energy that might have

[24:21] been put into a real sex scene or

[24:23] something like that has gone into

[24:24] Jake Gyllenhaal hitting guys so

[24:26] hard that you hear a wet smack

[24:27] when his fist reaches their face.

[24:29] Yeah, yeah.

[24:32] So that night, a bunch of

[24:33] immediately aggro bikers start

[24:35] causing trouble and Dalton steps

[24:37] in and just like Dalton Prime,

[24:39] he's nice until it's time to not

[24:41] be nice.

[24:42] Dalton Prime, Dalton Alpha, yeah.

[24:45] Yeah, he's very polite.

[24:46] He lures the guys to the parking

[24:48] lot to reduce the collateral

[24:49] damage.

[24:50] He asks them politely if they have

[24:51] insurance or

[24:52] where the nearest hospital is

[24:53] beforehand.

[24:54] That's a good joke.

[24:56] Yeah, and he slap fights them

[24:57] until they're all busted up.

[24:59] So we get a fight scene and

[25:01] a lot of the fight scenes in this

[25:03] movie are super intense and

[25:04] they're fast moving, but

[25:06] they've clearly been digitally

[25:08] tinkered with so that it, for

[25:10] some reason, it just,

[25:11] it didn't work in my brain.

[25:13] I was like, what is happening?

[25:15] What's going on?

[25:16] And I would love if we could just

[25:18] go to a professional and find out

[25:20] what was happening with the digital

[25:22] effects in this movie.

[25:24] Wait, I think we have a caller on

[25:25] the line, David.

[25:26] Good news, we have Todd Vaziri,

[25:29] our friend, our CGI special effects

[25:33] artist.

[25:34] And maybe CGI too,

[25:35] I don't know what that is.

[25:36] Computer generated really intense?

[25:39] Yeah.

[25:40] Yeah.

[25:41] We asked him to be our special

[25:43] correspondent about these digital

[25:45] fights and

[25:45] let's see what he had to say.

[25:47] Thanks, Peaches.

[25:48] Flophouse Hollywood correspondent

[25:49] Todd Vaziri here reporting from

[25:51] Tinseltown, the Hollywood Dream

[25:52] factory where our imaginations come

[25:54] to life on the silver screen in

[25:55] the darkened theater, or at minimum,

[25:57] folks watching it on their

[25:58] smartphone while riding the bus.

[26:00] Alex, make sure you add some sound

[26:02] effects here to make it seem like

[26:03] I'm on a convention floor or

[26:05] something like that.

[26:06] Anyway, I'm here gathering

[26:07] information about the fight scenes

[26:09] in Roadhouse, the 2024 action movie

[26:11] remake directed by Doug Liman.

[26:12] And I've been hearing a lot of

[26:14] rumblings about people saying

[26:15] there's something about the fight

[26:17] scenes that is a little bit

[26:19] different, it's a little bit

[26:20] off-putting.

[26:21] Some people really enjoy it,

[26:23] some people think it's a little

[26:24] bit different, and

[26:25] this is what I've gathered so far.

[26:27] I, in full disclosure,

[26:29] I did not work on this movie,

[26:31] just hearing whispers.

[26:32] And I'm sure as time goes on,

[26:34] there's going to be more

[26:35] information about how they film

[26:37] these and how they put this

[26:38] together, but

[26:39] this is what I've got so far.

[26:41] The fight scenes were put together

[26:43] in a relatively imaginative way,

[26:46] an innovative way.

[26:49] Because they wanted to have punches

[26:52] land in a way that we haven't

[26:54] really seen before in Hollywood

[26:57] movies.

[26:59] A lot of films are experimenting

[27:01] with techniques of the actors and

[27:03] stunt people actually punching

[27:05] something that is not a face,

[27:06] that you can't actually hurt a face

[27:09] or a stomach.

[27:09] They're filming these fight scenes

[27:12] in multiple takes, multiple passes,

[27:16] one pass of doing it the typical

[27:18] Hollywood way of pulling

[27:20] the punches and proper camera

[27:22] angles so that nobody gets hurt.

[27:25] And then another pass of

[27:27] the aggressor punching a foam

[27:30] piece of prop, so they can actually

[27:34] put their full force and hit

[27:36] something that is not an actor's

[27:40] face.

[27:41] And then another pass of none of

[27:43] the actors, and

[27:44] another pass of the actors,

[27:46] the stunt people doing everything

[27:48] in slow motion.

[27:49] And then all of those passes being

[27:52] put in compositing and

[27:53] digital compositing, put together

[27:56] and picking the best little parts

[27:58] of each section.

[27:59] Not necessarily for every fight,

[28:01] not necessarily for every punch,

[28:03] but some of the more elaborate

[28:05] shots and sequences.

[28:06] This is how I understand it was

[28:08] done.

[28:08] So these are pretty elaborate,

[28:11] not only in terms of on-set

[28:13] choreography, but in terms of

[28:15] visual effects.

[28:16] And it's a little bit different,

[28:19] it's different to look at it and

[28:21] partially by design.

[28:23] Also to add to that,

[28:25] the camera work is supposed to be

[28:27] in concert with the punches.

[28:30] And a lot of action scenes,

[28:32] it seems like the camera work,

[28:34] the best action scenes,

[28:36] you want to stay wide and

[28:38] you want to allow the audience to

[28:42] absorb these fight scenes for

[28:43] what's happening right in front

[28:44] of them.

[28:45] But in this one, the camera work

[28:48] almost seems to know what's going

[28:50] to happen next and is following

[28:53] in more in sync with the punches

[28:54] and with the flow of the action

[28:57] scenes, which can be a little bit

[28:58] off-putting.

[28:59] The closest I can come to

[29:01] a comparison is that wonderful

[29:02] movie Upgrade from a few years

[29:04] back, where the camera knew

[29:05] exactly what the main character

[29:08] was going to do in terms of its

[29:10] physicality, and that was part of

[29:12] the point of those scenes.

[29:15] So there's a lot of reasons,

[29:17] I'm sure we'll learn more.

[29:19] But there definitely was

[29:20] an innovative approach to these

[29:22] fight scenes.

[29:23] That's all I've got right now,

[29:25] we'll return live if we get any

[29:26] more information.

[29:27] Todd Vizzeri, Flophouse,

[29:29] Hollywood Correspondent,

[29:30] signing off.

[29:31] Now back to the peaches in

[29:32] the studio.

[29:34] Thank you, Todd,

[29:35] our special correspondent.

[29:37] Thank you, and thank you genuinely

[29:39] for taking the time to answer

[29:41] our questions.

[29:42] So I think that kind of helps,

[29:44] because this first action

[29:45] sequence is shot in a way that

[29:48] felt a little bit jarring.

[29:49] Not necessarily, again,

[29:50] not necessarily bad,

[29:52] just I didn't quite know what was

[29:53] going on.

[29:54] Well, and especially for a movie

[29:55] that up to this point has had

[29:57] a kind of, it's not realistic.

[30:00] because the Dalton character is a cartoon character in a lot of ways, but it feels very

[30:04] low-level and grounded for the most part. And then once the fights start up, they feel like

[30:09] superhero fights. I do love that you called Dalton a cartoon character because pretty soon,

[30:13] like genuinely, an actual Tasmanian devil shows up and joins the movie.

[30:19] Pretty much, yeah. But I actually, I liked a lot of these fight scenes, but it is jarring at first

[30:23] that it feels so different from what I'm used to seeing from fight scenes in general, but also from

[30:29] what I expected from the movie so far. Knowing that they did a remake of Roadhouse, knowing the

[30:34] way that movies are often remade, I was like, okay, this is probably going to be like a grittier,

[30:38] like more realistic take on this kind of goofy movie. And then to know as the movie went on that

[30:43] the movie was like, no, no, this is going to be a silly movie in a lot of ways. Like this movie's

[30:47] going to get bonkers. I was like, okay, these fight scenes were, until I realized that the

[30:52] fight scenes felt kind of not above peace. But once I knew that, I was like, oh, okay.

[30:57] I can't decide whether it makes me feel old or young that I didn't really notice.

[31:03] I didn't have the same cognitive dissonance that Stewart had, where either my brain is so young

[31:10] that I've gotten used to new digital filmmaking and I don't notice it. No wrinkles, smooth like

[31:14] a baby's brain. Smooth as shit. Or I'm becoming an old person who doesn't notice when motion

[31:21] smoothing is on the television or whatever. I guess we're going to have to come and check

[31:24] your TV to find out for sure. Well, and also this action sequence I think has helped because

[31:28] it is like, it's a little funny. I think adding, they added some comedy actors like Jessica

[31:34] Williams, but also one of the gang members played by, is it Arturo Castro? Yes. Who's really funny

[31:40] and they let him- From Broad City, you might remember him. Yeah, he's really good. Yeah,

[31:43] he does a lot of funny stuff. And like Billy Magnuson shows up later as the bad guy and he's

[31:47] just a solid like punchable face, goofy bad guy. Billy Magnuson is such a, he's a great

[31:53] hateful bad guy. Yeah, hateable bad guy. Yeah. But so he beats up these guys, breaks some bones,

[32:01] whatnot, but he is so nice. He drives them to the hospital while Elliot's favorite song,

[32:06] Kokomo, plays on the radio. You better believe I did not enjoy that. Didn't like it.

[32:12] So in the hospital- I'll take a thousand sublime songs before I'll listen to one Kokomo.

[32:17] Wow. What a horrible hell. Did you ever get that reel that I sent you to work, Elliot?

[32:23] No, I didn't. Yeah. It was just a dumb thing I made where like, I had been watching

[32:29] Night and the City, the Jules Stassen movie. Yeah, yeah. That's a great movie. And there's

[32:34] a part where the guy goes, let me take you somewhere, Bermuda, Jamaica. And I matched

[32:41] it up with, ooh, I want to take you. Oh, I'm going to have to see if I can get it to work,

[32:44] the lengthy assignment. Yeah. Yeah. I've been doing that. I've been annoying my kids with doing

[32:47] a Kokomo version of Strawberry Fields. Won't you take me down to Kokomo, Bermuda, Bahamas?

[32:59] Come on, pretty mama. We'll get there fast and take it slow. Fluffhouse mashup hour.

[33:07] Yeah. Anyway, at the hospital, he is berated by an attractive Dr. Ellie for bringing in

[33:15] all these people he beat up. And she's played by Daniela Melchior, who is Rat Catcher 2 in

[33:21] The Suicide Squad, an actress who is Portuguese in real life. But since this is The Keys, I assume

[33:27] that she's playing Cuban. It's unclear. It's unclear, but they don't really get into it.

[33:33] Yeah. Even though she is angry, she is disarmed by Dalton's zen politeness. And so she properly

[33:41] treats his wounds so he doesn't get sepsis. Yeah. Yeah. He's also very handsome.

[33:48] Yeah. There's a lot of scenes in here. He's a movie star.

[33:51] Yeah. Now, not a lot happens. Back at the roadhouse, there's that conversation about

[33:59] the title Roadhouse. Frankie lets him stay on her old houseboat that she has.

[34:06] Which is called The Boat. Yeah, another hilarious joke,

[34:11] courtesy of that character's dad. And on the houseboat, we get the first taste of his backstory.

[34:17] He has a dream of the past when he was apparently a big UFC fighter. There's some bonding.

[34:24] They shoot these flashbacks. You see the fighting, UFC. What am I thinking?

[34:32] All the UFC stuff was actually shot at an actual UFC event. So you have a huge crowd,

[34:38] and it only makes the crowds at the roadhouse seem smaller by comparison.

[34:42] But I think that's not necessarily against their wishes. They want to show that he's

[34:46] come down in the world. And his personality in those flashbacks is he's not the patient,

[34:52] sensitive young man, or not young man, that he is now as we see him. We're like,

[34:58] wait a minute. This isn't the Dalton I've come to love over the last 30 minutes or so. This is

[35:02] some kind of animalistic bruiser, gauche, rude, crude, with lots of tood. How can you go from

[35:09] that to this? I guess we'll have to find out. I hope we don't encounter a more extreme version

[35:14] of that character later in the movie. Oh, okay. A literalization of his worst fears of himself.

[35:20] Yeah. So around this time, we're introduced to our bad guy. He's out on his yacht on choppy seas.

[35:28] He's getting a straight razor shave. This is such a great movie shorthand for this guy is dumb.

[35:35] The boat is rocking, and he's getting a straight razor shave, and he keeps getting cut.

[35:39] And he's not allowing himself to get mad at the barber. He's getting mad at the captain of the

[35:45] boat, which is the captain can't control the sea. He's not Poseidon. Come on.

[35:49] Yeah, we'll later. Yeah, we do find out that the captain is not Poseidon later.

[35:53] We also later see that when Percy Jackson shows up in the book later in the movie.

[35:58] You're not Poseidon, he says. Yeah. And there's a moment later where we see that on this yacht,

[36:05] he also has a scale model of the resort he wants to build, including a scale model of

[36:11] the roadhouse that he wants to destroy. But he doesn't drop a weight on it like in country.

[36:19] Over and over again. Missed opportunity. So our bad guy, our evil land developer characters

[36:23] played by Billy Magnuson, I think he does an OK job here. I think he's like kind of,

[36:27] you know, like a dumb, like a hateable guy. Yeah, he's not. But the thing is,

[36:31] of course, the original roadhouse has been Gazara, who gives like such an incredible performance.

[36:36] There's this moment where Patrick Swayze is doing his like Tai Chi out by a river wearing just like

[36:43] gray sweatpants. And Ben Gazara pulls up on a four wheeler across the river wearing little

[36:49] riding gloves. And he just like sits and watches his enemy. It's so fucking funny.

[36:54] It kind of makes me wish for a world where they kind of had a similar type of character in mind

[36:58] that they got like Paul Giamatti to do it. I think that's one of the things that I really

[37:03] like Billy Magnuson's performance here because he's playing like a comedy villain.

[37:07] He's like he's like a nepo villain. His dad was the real villain. And now he's inherited.

[37:11] He's not dead in jail. And he exactly he's that nepo villain is a great way to put it.

[37:15] And now he is he is fucking up his dad's business. But it means that there's a lot of Lee. Yeah,

[37:21] there's not a lot of dramatic tension because he's such a screw up that, you know, that he

[37:27] has no chance to get stalled on, especially later when they're fighting fist to fist.

[37:31] And it's like, come on, why are we wasting our time with this? Just get to the other guy.

[37:33] Whereas Ben Gazara was an older gentleman by the time the old roadhouse. But he's a crazy person.

[37:39] Like there's there's something genuinely threatening about him, even though that is

[37:43] also a silly movie, you know? Yeah. Well, anyway, our villain,

[37:47] Brandt, is his name. He's getting a report from his goons who were beat up. Apparently,

[37:53] they weren't just random assholes. They were specifically targeting the roadhouse for reasons

[37:59] as yet unexplained. But as alluded to, it's a land development. I was I was kind of disappointed

[38:04] because everyone is so so closed lipped about what's going on with the roadhouse that I was

[38:09] like, is there pirate gold buried there? Like, what what is the secret? There is the land

[38:14] development thing is the most obvious. It should have been pirate gold. And they're like, we need

[38:18] to return this pirate gold back to these haunted treasure chests. Ghost pirates won't stop

[38:23] bothering. Yes. And Adrian Barbeau is there. Yeah, exactly. I love it. These ghost pirates

[38:29] are messing with my radio broadcasts. It doesn't really make sense, the degree to which like

[38:34] Jessica Williams character is cagey about it. That doesn't make sense. No. She's like, OK,

[38:39] I'll tell you the truth. But there's it doesn't. She might have just said that. I guess I guess

[38:42] she's hidden the fact from him that this is an organized effort, you know, rather than just

[38:47] route regular old rowdiness. But on the other hand, the fog doesn't make that much sense either.

[38:51] Now that we're talking about ghost pirates. So maybe we don't need movies to make sense these

[38:55] days, huh? You know what, Dan? I've got this movie you might like. It's called Stop Making.

[38:59] Have you heard of it? I'm not familiar. Back at the roadhouse, Dalton is building his

[39:06] bouncer army. He encourages one of the workers there, Billy, to just punch a guy when he pulls

[39:13] a knife on him, which is showing a lot of faith in Billy, but he's not going to get his gauge.

[39:17] Lucas Gage playing. He's been a bunch of. Yeah. Yeah. Yeah. And there's another guy who used to

[39:26] be a boxer who gets in to. And meanwhile, bikers lurk ominously outside the next morning.

[39:35] Dalton's eating some cock, the official food of the Florida Keys. He sees shot this in the

[39:42] Dominican Republic. They really he should have been eating that shit. It is a good it is a good

[39:47] job, though, of of Dominican Republic for the keys. It looks like the keys. Yes, that's true.

[39:52] He sees Ellie, the doctor again, and he speaks for the audience when he asked her at one point,

[39:57] why is everyone right here so aggressive?

[40:00] It made me think like there's a, I would love to see kind of like a science fictional version of this where someone has built a roadhouse on a place where there's some kind of natural radiation that makes people angry and then they're drinking and it makes it even worse.

[40:14] And so it's like why don't we just move the business? Like we can't. We have to have it here.

[40:19] There's a part of me that wishes they just took two seconds to be like, yeah, so we have a small town vibe here, but on the weekends it gets crazy because there's all these partiers from the next key over or something.

[40:31] Just make some effort to explain why they have it both ways and that it's a small town but also like a crazy hellscape.

[40:39] And not just a small town. It's like an adorable boutique small town.

[40:42] Like they have a bookstore, which is not something you have in many small towns.

[40:46] There's probably shoppy shops where you can buy regular stuff just marked way up.

[40:52] Yeah, and so to have it both ways where it's like this is Tulum, but it's also Robocop's Detroit.

[40:58] Like it's a hard balance.

[41:00] Oh man, everybody's fucked up on nuke.

[41:02] So we have that Sublime that Stuart mentioned before.

[41:09] There's a different band every single time we're at the roadhouse.

[41:14] It's always a different band and so many of their songs are about drinking.

[41:16] And at a certain point I was like, I know it's a bar.

[41:19] Do they have to sing just songs about whiskey?

[41:21] Like I don't understand.

[41:22] And I do like the commitment to the roadhouse bit where that no matter how much violence is going on, that band is still fucking playing.

[41:29] They never stop.

[41:30] There's a big fight where the roadhouse clears out and then it cuts to a shot of the band still playing to an empty roadhouse.

[41:34] And I like that a lot.

[41:36] I mean and the bands are – it's not all my type of music, but they're good bands.

[41:40] Yeah, that was the band that had the old guy just shaking maracas or something the whole time.

[41:44] Yes, the whole time.

[41:45] You see that guy on the maracas.

[41:47] You know you're going to die in the pit.

[41:49] He's dressed up like one of the Winter Brothers.

[41:51] Not Edgar Winter, but the villain Winter Brothers from the Jonah Hexnob comic books.

[41:57] Like an old man with a white beard dressed as an evil cowboy.

[42:03] Anyway, Dalton is walking home, and he gets run off the road into the water by a truck in a scene that – this one was very digital looking, but it also terrified me.

[42:14] It was a scary scene.

[42:17] The truck backed into him.

[42:19] He had to leap into the bed of the truck at one point, and then he's off the side of the bridge, and the truck comes falling down on top of him.

[42:29] It suffered for me a little bit because it was so CGI-ish, but I also – it was scary.

[42:33] I didn't like – well, you can't outfight a truck.

[42:35] You're not going to be able to break the bones or hit the pressure points of a truck.

[42:38] That's true.

[42:40] Yeah, there's a digital stunt later that was similarly wild that I had to rewind and watch a couple times.

[42:48] Yeah, yeah.

[42:49] Yeah, this was – I think they were going for intensity, and I think it works.

[42:55] Yeah.

[42:56] There's a couple moments like this where it does feel like the movie suddenly jumps up in intensity in a way that – it didn't quite work for me the way that Barbarian will suddenly get very intense suddenly, but it's fine.

[43:09] Yeah, there's that weird part where Jake Gyllenhaal encounters the subhuman underground dweller and gets nursed by it.

[43:17] They're like, well, here at Glass Key, we've got a problem with chuds.

[43:20] They're pretty maternal though, so just let them nurse you, and it will be okay.

[43:24] I mean Jake Gyllenhaal looks like he's half asleep most of these scenes, so go on.

[43:28] Well, no, just back at the houseboat, there's another goon waiting for Dalton with a gun as backup in case the truck scheme didn't work.

[43:36] Is that the same goon – is that the biker from – at a certain point?

[43:39] Yeah, yeah.

[43:40] Okay.

[43:41] That was the main biker from the first fight, and he also was driving the truck.

[43:45] Oh, was he?

[43:46] Okay.

[43:47] Yep.

[43:48] Oh, I thought he was a backup goon.

[43:50] After this scene with this goon where I cannot keep the goons straight except for that one guy who is the funny, nice goon.

[43:56] Well, you should watch – you should listen to The Goon Show, and that will explain all of it, which goons are which.

[44:02] Peter Sellers taking you through the remake of Roadhouse, goon by goon.

[44:06] Yeah, I mean if you really want to keep it all straight, Elliot, just go into your Google search bar and just hit gooning, okay?

[44:12] And you'll probably figure it out.

[44:13] Okay, all right.

[44:14] Let me just see what that is.

[44:15] Okay.

[44:16] Google video tab.

[44:17] Oh, no.

[44:18] This doesn't remind me of the movie at all.

[44:19] Did I miss this part?

[44:20] Hold on.

[44:21] Well, maybe this part with Jake Gyllenhaal taking his shirt off.

[44:24] Go on, Dan.

[44:26] Sorry.

[44:27] It got tossed back to me right when I needed to burp.

[44:29] Dalton disarms this man, throws him in the water, and he's immediately eaten by a huge crocodile.

[44:36] Which they did mention earlier that there was a crocodile.

[44:38] They set it up.

[44:39] Yeah.

[44:40] That's a big old croc.

[44:43] It's a big one.

[44:44] It does feel a little bit like Dalton made a plan with the crocodile earlier in the movie on shot scene.

[44:49] I feel like if this was strictly going for comedy, he would have tossed him overboard, and he would have landed directly in the croc's mouth.

[44:56] But that's okay.

[44:57] It was the next closest thing.

[44:58] Yeah.

[44:59] Next morning, there are police boats around.

[45:03] Jake's sitting there.

[45:04] He's talking to the dockmaster who's like, these goons are probably mixed up in drugs.

[45:09] Nope.

[45:10] But he goes and looks at some maps with Charlie the bookstore kid, and it seems like this is not a place where they could get drugs.

[45:18] I think that's what that scene was about.

[45:19] Yes.

[45:20] It is what I would call unnecessary.

[45:22] It is very unnecessary for a theory about the bad guys to be brought up and then dismissed a scene later when, again, the explanation that he just wants to build a resort there is not interesting enough that it needs to be hidden.

[45:34] Yeah.

[45:35] Outside, he disarms a goon, which is only important because now they know that he's friends with these bookstore people.

[45:42] Frankie is really cagey about what's going on at the roadhouse.

[45:47] Again, unnecessary.

[45:48] And now we are introduced to a legitimately bad human being who should not probably be cast in things because he is a litany of assaults.

[45:57] His name is Conor McGregor, the actor.

[45:59] His character's name is Knox.

[46:03] He's basically Taz, right?

[46:05] He's basically Lono from 100 Bullets.

[46:07] Yes.

[46:08] The character who, like in the comics, starts looking like a normal person, but by the end of the series, he's like some kind of crazy werewolf man.

[46:14] He's like Sabretooth by the end of that series.

[46:16] Yeah.

[46:17] It's kind of great.

[46:18] So Knox is very much – I will say the movie – I got tired of this character.

[46:23] But when he first comes up, leaving aside the fact that Conor McGregor is most likely a monster based on the things that he's been accused and arrested for.

[46:32] I thought they were doing a good job of creating a character who is so – in the world of this movie – is so strong and tough that he just does whatever he wants and is entirely id-driven.

[46:43] And he's literally – it's so – it's very cartoonish that he literally is leaving naked from the apartment of a woman that he just – of a man he just cuckolded with his wife and has no clothes and just walks through the streets naked and then finds a guy who has a shirt he likes and beats him up and takes his shirt.

[46:59] And just the idea of a – someone who is so dangerous because he so refuses to abide by the rules of society and also strong enough that he can get away with it for a little bit.

[47:09] You have to wonder, has no one ever tried to shoot this man?

[47:12] Bullets would bounce off him. I don't understand.

[47:14] Also, there's a bit of funny filmmaking here where within one cut where we sort of cut away to the other side of the phone conversation.

[47:20] He's like – in the first scene, he's admiring this man's clothes.

[47:25] And then the next shot, he's walking away in the clothes and everything is in flames behind him all of a sudden.

[47:30] This whole street market that he was at is on fire.

[47:33] The idea of – if he was – and this guy, when he's not talking, when he is just a physical presence, this – I was really enjoying a lot of those scenes.

[47:43] But I don't – whenever he talks, I'm like this guy is enjoying being bad in a way that feels genuine rather than an actor playing a character who enjoys being bad.

[47:52] Yeah, because I mean his ability to do like a line read isn't good.

[47:58] And as the movie goes on, they give him more quips and the quips are – eventually you're like can you just have – this should have been like maybe a mute character.

[48:07] No, obviously a guy like this with a body that looks like a Dorito that he –

[48:14] Because of the triangular shape you're saying?

[48:17] Yeah, the triangular shape.

[48:18] Not because it's like orange and kind of fried looking.

[48:20] Or it's got dust all over it.

[48:23] Yeah, it's covered in dust.

[48:24] But the thing – like there is something funny about a character like this who is like I do whatever I want whenever I want.

[48:29] And I'm like I don't know.

[48:30] To get a body like that, you have to have extreme discipline.

[48:34] Who knows?

[48:35] He's entered the film because he's getting –

[48:37] One of the things – this is the least of his – least of his crimes.

[48:40] I'm looking up Conrad Greger's Wikipedia right now and there's a subheading under Punching the Miami Heat Mascot.

[48:45] Why – so he was there.

[48:49] That's why they had to film in the Dominican Republic.

[48:52] Yeah, he was at the 2023 NBA finals I guess.

[48:55] He was recording something to promote his pain relief spray in a skit with the Miami Heat's mascot Bernie and just knocked out with a punch.

[49:04] The man wearing the costume in an off-script punch.

[49:07] Why would he do that?

[49:08] Why would you ever do that?

[49:10] Horrible.

[49:11] Most of the crowd in attendance booed McGregor for his actions.

[49:13] Yeah, I hope so.

[49:14] Most.

[49:15] An anger problem and responded to things in the finals.

[49:18] Oh, man.

[49:19] Thanks for qualifying.

[49:20] I mean that seems like he thought it would be funny to do that.

[49:21] That's horrible.

[49:22] I mean he sounds like a horrible person but –

[49:23] Yeah, he's a bad person.

[49:24] In that first – but I will say in not knowing these things when I first watched it, in that first moment when he's just introduced as a ball of destruction that rolls through life, I was like, okay, this could go – I like how they're setting this up, this character.

[49:37] Yeah.

[49:38] Well, he's being introduced because he is being called by the dad of the villain to clean up his son's mess.

[49:48] Why you would call this man to clean up any mess, who knows?

[49:51] He is better at punching.

[49:53] But if you're worried about Jake Gyllenhaal, Dalton interfering, just shoot him from the sky.

[50:00] distance. Don't bring in a loose can. I don't know. I mean, that's why you're like, uh, like,

[50:06] hey, Jason Voorhees, you want to kill teenagers? Just blow up the house, dude. You don't have to

[50:10] use a machete. Yeah, Dan, it's not a plot hole if you're calling human psychology.

[50:15] But it is like in the gray man. It is like in the gray man where they're like,

[50:18] we need to take care of this rogue agent and we need it to be quiet. And Chris Evans is like,

[50:22] you got it. I will have a gun battle in the center of a European city. And it's like,

[50:26] hold on a second. Why would you bring this guy in? I will say this.

[50:30] Doing some more research, Bernie, the Miami Heat mascot, he doesn't seem so innocent himself.

[50:36] In 1994, he was sued by a woman who he basically kind of violently forced to be a part of a bit

[50:43] during an exhibition game in Puerto Rico. Now, here's the thing about this entry. It treats

[50:47] Bernie as if he is a person. And it always says Bernie was sued and Bernie's hijinks.

[50:53] Bernie is a fictional character, I have to assume. So I don't understand how the mascot

[50:59] is legally liable for the actions of the person wearing the costume. I'm going to do some more

[51:03] research on this. Yeah. It also seems like they would use the person's name because whoever,

[51:08] the Heat wouldn't want the mascot's name associated. They want to make it clear like,

[51:13] look, the mascot's cool. It was the guy who was embodying the mascot at the time that was not so

[51:19] cool. So this first lawsuit was in 1994 and it says Bernie's hijinks also led to another lawsuit

[51:24] in March 2015 and March 2017. On both occasions, people were injured by Bernie while he was

[51:28] performing. Again, Bernie is not a person. Bernie is a character. Elliot, once you take on the role

[51:33] of Bernie, you have to legally change your name to Bernie. I guess that's true. It's what happened

[51:36] to Jack Black when he made the movie Bernie also, yeah. I thought you were saying that the character

[51:40] really inhabits you. It takes, you know, sort of an act of possession. It's like playing the role

[51:46] of the Joker. Jack Nicholson warned Heath Ledger. He said, don't get into this Joker role too,

[51:50] too, too much. You know, that, that role, you know, uh, it's high risk, high reward. The risk

[51:55] is that, uh, you'd fall into chaos and insanity. The reward is an Academy Award two out of three

[52:00] times. So I went two out of four times. I forgot about Cesar Romero in the original Batman movie

[52:05] did not win an Academy Award. He wasn't really eligible, I guess for the Batman movie. Yeah.

[52:09] The Batman movie. Yeah. Batman 1966. You're correct. Okay. Which was nominated for best

[52:14] picture. So what about, uh, what about Mark Hamill and mask of the phantasm point, but that's

[52:22] he does the voice of the Joker in the movie. No, I know. But the phantasm is like the main, like

[52:27] bad character. I actually don't remember the movie that well, mask of the phantasm,

[52:31] the phantasm is not a bad guy. The phantasm is technically a competing vigilante that is

[52:37] trying to get revenge. It's been a long time. I just didn't think that there was much Joker

[52:41] content in that one, but, uh, yeah, you got to put a note in the, uh, the video.

[52:48] I know, I know you were, you were distracted by the voice of Dana Delaney, uh, as the character

[52:53] who eventually spoiler is revealed as the phantasm, but no, that is yeah. The Joker's in there.

[52:59] Okay. Well, we all learned something today and, uh, to return to the movie we're talking about

[53:05] just briefly, uh, Ellie shows up, uh, to take Dalton on a boat ride. They go hang out on a

[53:12] sandbar and he gets, uh, weird when she's nice. It looks like a nice place to have a beer latitude.

[53:19] Yeah. It looked, it looked like a real good beer commercial. Yeah. Maybe crack open some land

[53:23] sharks. You drink that down there, but he gets weird when she starts asking questions about his

[53:30] past and he says, you're a nice person. You don't want to know me. It turns out she already does.

[53:34] She Googled him. Uh, she knows whatever his track tragic past is that we haven't seen yet.

[53:39] And it's never, the tragic past is left for us to kind of piece those

[53:43] hints together for the most part. We get it. We get it at the end,

[53:47] but it's not like he sits down and tells the whole story or anything like that. No, no,

[53:50] that's true. We, well, we don't know the answer to the question that is posed to him later. Like

[53:56] why he didn't back off. But anyway, we, but we don't get like a Phoebe Cates talking about her

[54:01] dad in the chimney speech. Yeah. Oh, if only it would have been great if they brought in Phoebe

[54:05] Cates just to explain Dalton's backstory. Phoebe Cates returning to acting for the role of UFC fan

[54:13] who runs a blog or a podcast. It's a UFC podcast. How amazing would it be if at some point someone's

[54:19] listening to a UFC fan podcast and you hear a woman's voice and she's describing this thing.

[54:23] And then the credits you see UFC podcast host, Phoebe Cates, you'd be like, what,

[54:26] how did they get her? That's amazing. Anyway, Mr. John Hall stunts by Kevin Kline. Oh,

[54:32] they both worked on it. I guess the marriage that works together. Yeah.

[54:40] Ellie and Dalton, they smooch a bit. Meanwhile, Knox has arrived in town. He starts eating some

[54:46] sandwiches menacingly just as Ellie. Really the only way to eat a sandwich is menacingly

[54:52] if you're lunch meat. Ellie returns Dalton to his houseboat and just then the cops show up to ask

[54:58] him some questions. They take him to an abandoned dock where the sheriff sort of threatens him and

[55:06] pulls a gun on him. But Ellie shows up, slaps the sheriff. Turns out Jeff's her dad. There's

[55:12] some backstory about how he's corrupt and working for the bad guy like we didn't put that together.

[55:17] That actor's been like in a lot of stuff, right? Yeah. But he's been like, he's like a drug dealer

[55:23] or something. Yeah. Joaquim de Almeida or walking. I don't know. He's another Portuguese American.

[55:29] They may be playing Portuguese characters. There was there's something about this.

[55:33] This sequence where I'm like, oh, yeah, like there's something actually threatening about like,

[55:37] you know, how these corrupt policemen can just like arrest him and kill him.

[55:42] Yeah. Can't do anything about it. Meanwhile, goons approach the bookstore with gasoline.

[55:48] We cut away. Did you know that actor who plays the sheriff in this played Sherlock Holmes?

[55:53] I didn't know that. In 2001, he was in a Brazilian comedy.

[55:56] Oh, Zango de Baker Street, at least in America, as a samba for Sherlock.

[56:02] A samba for Sherlock. I got to see this now. Why can't Sherlock get a samba once in a while?

[56:08] You know, it's a treat. It seems actress Sarah Bernhardt is performing in Rio and she gets her

[56:13] friend Sherlock Holmes to solve a case. Love this. That sounds fun. Back at the

[56:19] roadhouse. Take two, please. Elwood and Ben Brant, the bad guy, finally meet face to face.

[56:28] The bad guy asked him some pretty reasonable questions about why he's willing to go out,

[56:31] go through so much shit for this roadhouse and some people he met like a week ago.

[56:36] Uh, Brant pulls out a YouTube video. We finally see the back story.

[56:41] He pulls out his phone and plays it. It's not like he like, I think that I think that's

[56:46] a window out of his pocket. Yeah, yeah. Important thing. I don't think anyone's

[56:51] mind was blown. Just my phrasing right there. You can never be too careful, Dan.

[56:57] OK, well, I put on like a VR headset on Jake Gyllenhaal.

[57:01] Here, relive the moment. Anyway, we learn what we already suspected that

[57:06] Dalton killed the guy in the ring and killed his friend in the ring, killed his friend.

[57:12] Yeah, they say a friend, you know, I assume in the way that like fighters know one another.

[57:16] Oh, yeah, maybe Brant needles him. He's like, why didn't you stop punching? He was down,

[57:23] you know, like he but Dalton will not answer. Brant leaves, giving the goons full permission

[57:29] to just, you know, burn the place down, take it over, you know, beat everyone up, whatever.

[57:34] Knox comes in. There's a long time of him just like whacking things with a golf club before

[57:40] Dalton does anything. Dalton has been so disheartened by, you know, seeing this video.

[57:47] He's just sitting there with his coffee. He's got a mirror held up to his soul.

[57:50] Yeah. He didn't like what he saw.

[57:52] But I mean, like this is his one job is to bounce people.

[57:56] That's true. They're really, you know, causing a lot of damage before he gets up from the bar.

[58:01] Just entertained by Knox's witty, witty one liners is it when he takes to the golf club

[58:06] and then hits things when he goes, oh, it's been years since I went clubbing.

[58:09] And it's like, oh, like, again, just don't give him any dialogue.

[58:15] Anyway, they have a brutal fight, which ends essentially with not saying we're not so

[58:21] different, you and I, which sends Dalton wandering into the night.

[58:28] And Frankie finds him at the houseboat where he's about to pack up and leave.

[58:31] Yeah, he's like sitting on the edge of a building, staring at his fist in the rain.

[58:36] His hair's grown super long. And she's finally like, okay, maybe I should have told you that

[58:43] Brant wants to buy my land. I'm the only hold up for a big resort. But like,

[58:48] you know, if I can just hold out a while, like he's in deep with some money people,

[58:51] like, you know, like I didn't tell you because it was the most obvious answer.

[58:55] And it was boring. I figured you'd probably guess it already.

[59:00] And she's like, are you going to leave because you're scared? And he's like,

[59:03] yeah, I'm like, I agree. Get out of town, Dalton. But on his way out of town,

[59:09] he sees the smoldering ruins of the bookstore. No, we realize he's not scared of what could

[59:16] happen to him. Yeah. Oh, no, no. What he could do. Yeah, that's right. So getting on the bus,

[59:20] he doesn't want to unleash the beast again. You wouldn't like me when I'm angry. And he turns

[59:24] green and he goes to the house of the bad guys. Yeah. And he's yeah. He says, yeah, I am afraid.

[59:30] I'm afraid of what happens when someone pushes me too far. And he straight up kills the guy.

[59:34] He doesn't say it like that. He says, yeah, I'm afraid. I'm afraid of what happens when someone

[59:38] pushes me too far. Like he says it in the kind of matter of fact, kind of soft way. He's saying

[59:42] everything. I prefer that to him. Like, I don't know, taking a being more dark and going to grim

[59:48] mode. I do like it. But there are times when his actions really have to back up those words

[59:52] because of the way that he delivers it. You know, it's not one of those moments where I'm like,

[59:57] oh, shit. Oh, no. They just unlocked Pandora's

[1:00:00] Instead, I'm like, hmm, I think he's hyping himself a little bit too much, but we'll see,

[1:00:05] okay.

[1:00:06] You want some new metal to start playing in the background.

[1:00:08] Exactly, yeah.

[1:00:09] Although, they do play a lot of Enter Sandman covers, so you should like that shit.

[1:00:12] I did not, and I didn't care for it.

[1:00:15] I have to say, I'm wistful for the days- You didn't like get up and start dancing around

[1:00:18] and enjoying yourself?

[1:00:19] No.

[1:00:20] Aw, that'd be cute.

[1:00:21] I'm wistful.

[1:00:22] Kicking your nails.

[1:00:23] Maybe it's, I'm wistful for the days when Metallica was very careful about licensing

[1:00:27] their stuff to movies, and they almost never did, but it might just be because my kids

[1:00:30] constantly want to listen to Enter Sandman these days, and so I'm like, why couldn't

[1:00:35] they have played another Metallica song?

[1:00:36] Why couldn't it have been Disposable Heroes?

[1:00:38] Why couldn't it have been Damage Incorporated?

[1:00:40] Why couldn't it have been Unforgiven 2?

[1:00:43] Yeah, yeah.

[1:00:44] Why isn't it The Day That Never Comes?

[1:00:47] What are their later songs?

[1:00:50] Lux Aeterna.

[1:00:53] On Dalton's way out with the corpse, the sweet biker that we mentioned before, Arturo Castro,

[1:00:59] is like, hey man, I just like bikes.

[1:01:01] It's hard to not have a thing.

[1:01:03] When the goons are breaking up the bar, and he walks by Dalton and just goes, hey Dalton.

[1:01:08] I love that moment.

[1:01:09] It's funny, yeah.

[1:01:10] But I do like this moment, where he's like, I just like bikes, maybe these are not the

[1:01:14] right guys, and Dalton does not beat him up, because he's such a sweet guy.

[1:01:17] And they don't tell him anything.

[1:01:18] I don't know anything.

[1:01:19] Yeah, they don't tell him anything, except for he does know the location of one meat.

[1:01:24] So Dalton goes to this place.

[1:01:26] One meat?

[1:01:27] What is it?

[1:01:28] Pork?

[1:01:29] Beef?

[1:01:30] Yeah, he knows the one place that pork exists.

[1:01:32] In a pig, Dan, that's the one place that exists, in a pig.

[1:01:36] That interruption was so tasty, Elliot had to chomp his teeth on it.

[1:01:41] To borrow a phrase from your son, Elliot, that joke was deeeelicious.

[1:01:50] He goes to this meeting site, he intercepts a crooked cop, not a cock.

[1:01:54] Whoa, I mean they're all a little crooked, right?

[1:01:57] Right?

[1:01:58] Right bang a little bit.

[1:01:59] Right?

[1:02:00] Well, um, sorry.

[1:02:01] Like at a right angle?

[1:02:02] Like you really got to maneuver yourself to get it?

[1:02:04] Now we got to slap the mature tab on this.

[1:02:07] Yeah, it's like an Allen key.

[1:02:08] No, sorry.

[1:02:09] Exactly.

[1:02:11] A crooked cop.

[1:02:13] Do you have any condoms with right angles in them?

[1:02:16] Yeah, yeah.

[1:02:18] That's like asking where you get those hats that have the bill on the back.

[1:02:22] Yeah.

[1:02:23] It's been a long year.

[1:02:25] Dan, it's April.

[1:02:28] What?

[1:02:29] There's a money drop off.

[1:02:32] He beats up the cop.

[1:02:33] He shoots the corpse several times with the cop's gun and, you know, takes the money.

[1:02:40] Back at the houseboat, Dalton is peacefully taping together some dynamite when the sheriff

[1:02:45] arrives to say that Ellie has been kidnapped because they want this money back.

[1:02:51] I do like this scene because the sheriff's like he, he has such a sinister quality about

[1:02:56] him that like when he's explaining what's happening to him and he's like, my daughter's

[1:03:01] been kidnapped and they're going to kill her.

[1:03:03] And I'm like, I don't believe this in any way.

[1:03:06] Not for a moment.

[1:03:07] Yeah.

[1:03:08] This is the least belief.

[1:03:09] Oh, yeah.

[1:03:10] OK.

[1:03:11] It's clear that Dalton does not believe it either.

[1:03:12] I love it.

[1:03:13] It's really funny.

[1:03:14] They are going through the motions of a ruse that neither one of them thinks is really

[1:03:18] necessary.

[1:03:19] It's funny because the first thing that happens, you know, Dalton steals another cop's motorboat

[1:03:23] to go out to the bad guy's yacht.

[1:03:25] The one Ellie took him out on earlier in the.

[1:03:27] Yeah.

[1:03:28] And sees the he sees the sheriff there on the boat immediately.

[1:03:33] And he's and he's like and the sheriff says something like it's a fake kidnapping, dumbass,

[1:03:38] which seems like weird because Dalton had already been like, oh, you seem pretty comfortable

[1:03:44] for a guy who's like daughter has been kidnapped.

[1:03:47] It's clear that Dalton never believed it, but the sheriff still makes fun of them for

[1:03:52] falling for.

[1:03:53] Yeah.

[1:03:54] If that had been a little bit more pointed, I think that would have been very funny if

[1:03:56] it was that.

[1:03:57] Yeah.

[1:03:58] The moment the bad guy thinking that the good guy has fallen for a trap and not recognizing

[1:04:02] the good guy.

[1:04:03] Yeah.

[1:04:04] Clearly knows what's going on.

[1:04:05] You know.

[1:04:06] Yeah.

[1:04:07] It actually turns out that Brant did kidnap Ellie as a sheriff.

[1:04:10] Yeah.

[1:04:11] Yeah.

[1:04:12] So Dalton blows up his motorboat to set to just distract everyone.

[1:04:16] He rampages through the sinking yacht to rescue Ellie.

[1:04:20] Everyone's fist fighting in the water now, which is pretty funny.

[1:04:22] While not Knox is showing up, Knox shows up.

[1:04:25] He runs Dalton over with a speedboat.

[1:04:28] But Dalton or tries to.

[1:04:29] But Dalton climbs on board and living up to his name.

[1:04:35] Knox gets knocked into the water and drags the boat for a while.

[1:04:38] That's true.

[1:04:39] You have a lot of hard knocks.

[1:04:40] Yeah.

[1:04:41] Ellie.

[1:04:42] Ellie.

[1:04:43] Is this like Ellie gets kidnapped by Brant Dalton?

[1:04:45] This is one of those moments like at the end of speed to for anyone who is going to see

[1:04:50] our Flophouse Sinks Speed to online show.

[1:04:54] You'll have a good synergy.

[1:04:55] Good.

[1:04:56] Thank you.

[1:04:57] Where it's tickets available at.

[1:04:58] Well, I'll tell you about later, but tickets are available at stage pilot dot com slash

[1:05:02] speed premieres April 27th.

[1:05:05] That where the bad guy takes the romantic interest with him when he's escaping.

[1:05:09] And it's like, well, if you didn't do that, you'd probably get away like, yeah, the good

[1:05:13] guy would have less reason to go after you.

[1:05:15] I don't know why you're doing this, why you're taking you.

[1:05:17] What leverage it gives you.

[1:05:19] But Brant is also dumb.

[1:05:21] As we've.

[1:05:22] Yeah.

[1:05:23] Yeah.

[1:05:24] Maybe he just wants a friend.

[1:05:25] Maybe he's not totally comfortable behind the wheel of a speedboat.

[1:05:27] That's true.

[1:05:28] But Dalton is I've been drinking, so I need you with me just in case.

[1:05:33] Dalton collides his boat into the one that has Brant and Ellie in a way that throws him

[1:05:38] into their boat.

[1:05:39] This is like physics.

[1:05:40] I didn't really understand.

[1:05:41] It was wild.

[1:05:42] I like I had to rewind the movie.

[1:05:44] There's a couple of moments starting here where the physics do go out the window.

[1:05:48] Yeah.

[1:05:49] It's like it's like that part in Inception where the fucking hotel room's flipping.

[1:05:53] Yeah.

[1:05:55] There's a fight on the boat as it goes to shore and Dalton and Ellie jump off in time.

[1:05:59] But Brant, however, is flying through the air onto the roof of the roadhouse.

[1:06:04] He's somehow still alive, I guess, because it's got a thatched roof.

[1:06:07] Who knows?

[1:06:08] Yeah.

[1:06:09] Yeah.

[1:06:10] Yeah.

[1:06:11] Meanwhile, Knox has climbed ashore and stolen a truck, which he crashes through the roadhouse.

[1:06:15] There's another big punch fight that ends with Knox stabbing Dalton in the gut.

[1:06:20] And Brant is like, kill him.

[1:06:22] Kill him.

[1:06:23] And Knox has had enough of this jibber jabber and snaps Brant's neck.

[1:06:26] I think this is where we now in the background, we get a little bit of inner Sandman riffing

[1:06:30] and you're like, oh, you just you just hit Jake Gyllenhaal's funny button.

[1:06:35] He's about to start killing the Sandman is about to enter.

[1:06:37] There is we there was a moment where Brant tries to kill Jake Gyllenhaal with a harpoon

[1:06:41] gun and and Dalton goes a fishing spear like he's insulted that that's how he tried to

[1:06:47] kill him.

[1:06:48] And it's one of those moments where he picks up on a little detail that is not that important.

[1:06:51] Yeah.

[1:06:52] Yeah.

[1:06:53] That's pretty.

[1:06:54] Yeah.

[1:06:56] And so Knox killing Brant, you know, just enough time for Dalton to activate his rage

[1:07:00] power and he stabs Knox several times, stopping short of finishing him, really, because he

[1:07:08] doesn't want to be an animal.

[1:07:09] But it is enough to scare Ellie, who has arrived.

[1:07:13] She she she has a look in her eyes being like, maybe this is not a long term commitment for

[1:07:18] me.

[1:07:19] Yeah.

[1:07:20] I was kind of hoping she's going to show and be like, finish him.

[1:07:21] And then he would do one of those cool fatalities.

[1:07:24] Yeah.

[1:07:25] Pull his neck out and all the spine that are like maybe freezes them and like punches them

[1:07:29] in his whole body shatters, just leaving like a skeleton and like a beating heart.

[1:07:33] What if she said friendship and now he's got to give Knox a present?

[1:07:36] Yeah.

[1:07:37] Or like Bay Valley and turns Knox into a baby.

[1:07:40] Yeah.

[1:07:41] I mean, it's a baby.

[1:07:42] Yeah.

[1:07:43] I mean, it's I mean, it's tough because you're not I don't think you're able to do a Bay

[1:07:46] Valley if you've used any blocking during the fight.

[1:07:49] And I'm pretty sure he blocked.

[1:07:51] So he's going to blocks at different points.

[1:07:52] Oh, man.

[1:07:53] It's going to have to be a fatality.

[1:07:54] Yeah.

[1:07:55] And then after the fatality, once he once he kills him, then she's like, oh, no, this

[1:07:58] is the game that Freddy's in.

[1:08:00] Freddy shows up.

[1:08:01] Oh, cool.

[1:08:02] Cool.

[1:08:03] Yeah.

[1:08:04] Yeah.

[1:08:05] And a xenomorph.

[1:08:06] Yeah.

[1:08:07] Oh, we're so close to the sheriff shows up.

[1:08:08] Rambo shows up.

[1:08:09] He's got because he's in that game, too.

[1:08:10] Right.

[1:08:11] No.

[1:08:12] Yeah.

[1:08:13] I think so.

[1:08:14] Yeah.

[1:08:15] No.

[1:08:16] The sheriff arrived.

[1:08:17] Oh, you know, presumably because he's he's grateful to Dalton.

[1:08:18] He feels like, oh, maybe I should have been in bed with somebody who kidnapped my daughter.

[1:08:22] He's like, I'll cover up all this murdering for you.

[1:08:24] Get out.

[1:08:25] It's going to be hard to do that.

[1:08:26] He's like, we'll take care of it.

[1:08:27] It's like there's so many bodies.

[1:08:28] The road has destroyed.

[1:08:29] Yeah.

[1:08:30] Blue up.

[1:08:31] It would be pretty great.

[1:08:32] He's like, we're going to take care of it.

[1:08:33] And he starts, like, tucking in a little bib into his shirt.

[1:08:36] You're like, what the fuck are you doing to take care of his bones at all?

[1:08:39] Oh, yeah.

[1:08:40] Well, he goes, no, we don't.

[1:08:43] We'll take care of this.

[1:08:44] And then the next shot is him putting up a wanted poster for Dalton.

[1:08:49] Here we are.

[1:08:50] Rhoda, Jessica Williams and her team clean up the roadhouse.

[1:08:56] Dalton waits for his bus.

[1:08:58] Charlie, the teen from the bookstore, is out of the hospital.

[1:09:01] She says goodbye with one final reference to how it's like a Western.

[1:09:05] She wants him to stay, but he's got to leave.

[1:09:07] But he's left behind a gift for them.

[1:09:10] All the dirty money he stole.

[1:09:12] Dalton right.

[1:09:13] He left it left a gift.

[1:09:14] Yeah.

[1:09:15] It's like it's like a little kitten rolling around.

[1:09:18] No.

[1:09:19] Yeah.

[1:09:20] It's like a little kitten.

[1:09:21] Sunglasses.

[1:09:22] Go down.

[1:09:23] Wow.

[1:09:24] Dalton rides off to another town to punch and stab other people.

[1:09:28] And we get a mid credit sequence.

[1:09:30] Stewart, did you see?

[1:09:32] Yeah.

[1:09:33] I did.

[1:09:34] OK.

[1:09:35] Knox.

[1:09:36] Knox escapes the hospital.

[1:09:37] You know, nurses behind me like, get that man.

[1:09:40] And he walks off with a bare butt like we were first introduced to him.

[1:09:44] Yeah.

[1:09:45] He entered the world naked.

[1:09:46] And now he leaves the world somewhat naked.

[1:09:47] Yeah.

[1:09:48] I love that film.

[1:09:50] That's Roadhouse, the new version.

[1:09:54] Time for some final judgment.

[1:09:55] Yeah.

[1:09:56] I give some final judgments on this, whether this was a good, bad movie, a bad.

[1:10:00] I'm going to give it a just a hair

[1:10:03] of a margin of a movie I kind of

[1:10:05] liked, I think I would be,

[1:10:08] I don't want to be too hung up on

[1:10:11] this, but I probably would be

[1:10:14] a little more apt to just give it

[1:10:17] a recommendation if they didn't

[1:10:21] have a guy in an employee who

[1:10:23] clearly should not have a support

[1:10:26] system propping him up and

[1:10:28] Yeah, jobs and big movies.

[1:10:30] But for what it is-

[1:10:33] It's possible they didn't know.

[1:10:34] He's only had accusations against

[1:10:38] him since, let's see, 2017?

[1:10:43] Yeah.

[1:10:43] Okay. So it's only seven years,

[1:10:44] at least, of multiple incidents.

[1:10:48] But for what it is, it's-

[1:10:50] Well, I mean, he's just such

[1:10:51] a good actor, Dan.

[1:10:52] You know how I feel about this

[1:10:57] movie, in a weird way, it suffers

[1:10:59] from being too professional.

[1:11:03] Just like how, not like the original

[1:11:05] Roadhouse is not made professionally,

[1:11:08] it's actually kind of beautifully

[1:11:10] made for what it is, but

[1:11:11] there's a ramshackle,

[1:11:13] like, lunkheadedness to it.

[1:11:15] Whereas this movie is like a lot of

[1:11:17] resources put behind it, and people

[1:11:20] are constantly trying to sort of

[1:11:22] explain why, no, really,

[1:11:24] this plot makes sense.

[1:11:27] You shouldn't worry about that in

[1:11:28] Roadhouse, but it's not,

[1:11:30] it kind of does what it needs to do.

[1:11:32] It's like if Wes Anderson did

[1:11:34] the Tango and Cash remake.

[1:11:36] I guess I'll agree with that.

[1:11:38] I mean, I want to see that, yeah.

[1:11:40] What do you think, Stuart?

[1:11:42] Yeah, I think I'm with you.

[1:11:44] I feel like I enjoyed the movie.

[1:11:47] Yeah, I mean, obviously,

[1:11:50] the comments about the selection

[1:11:55] of villain actor are accurate.

[1:11:59] Like, seems like a bad guy.

[1:12:01] I don't want to support him.

[1:12:02] But I do think it's like,

[1:12:03] it's funny and weird, and

[1:12:05] it has some jokes.

[1:12:06] And it doesn't take itself

[1:12:08] too seriously.

[1:12:09] I wish it kind of didn't try and

[1:12:12] make as many ironic jokes as they did.

[1:12:15] But Jill and all's fun, and

[1:12:16] the action sequences are,

[1:12:18] if anything, interesting.

[1:12:20] So yeah, movie I kind of liked.

[1:12:22] Yeah, I'm also gonna call this

[1:12:23] a movie I kind of liked.

[1:12:24] Going into it, again,

[1:12:25] not knowing anything about

[1:12:26] the main villain's personal life or

[1:12:31] actual villainy, I went into it

[1:12:34] being like, why would they bother

[1:12:36] remaking Roadhouse?

[1:12:37] Like, what's the point?

[1:12:39] And it felt to me the whole time

[1:12:40] just kind of like a solid,

[1:12:42] laid back action character movie.

[1:12:46] You know, it's a little too long.

[1:12:47] You know, it's a hair over two hours,

[1:12:49] if you include the credits, I guess.

[1:12:50] Yes, it's too long.

[1:12:51] There were times when I was like,

[1:12:53] I kind of wish this was a TV show,

[1:12:55] so I could watch like an hour of it,

[1:12:57] and then go away, and then,

[1:12:58] because also it's so laid back at

[1:13:00] times that it feels like you're

[1:13:01] watching a padded out, hour-long show.

[1:13:04] And then once the action really gets

[1:13:06] rip-roaring, you're like, what?

[1:13:08] Like, this is, never mind,

[1:13:09] this could never be a TV show.

[1:13:11] But overall, I enjoyed it much more

[1:13:14] than I thought I was going to.

[1:13:15] Maybe that's the soft bigotry of

[1:13:17] low expectations, but

[1:13:19] I thought everyone involved did

[1:13:21] a pretty good job of it.

[1:13:23] You know, I thought it was very entertaining.

[1:13:30] Are you tired of being picked on for

[1:13:31] only wanting to talk about your cat at parties?

[1:13:33] Do you feel as though your friends

[1:13:35] don't understand the depth of love

[1:13:37] you have for your guinea pig?

[1:13:38] When you look around a room of people,

[1:13:40] do you wonder if they know sloths

[1:13:41] only have to eat one leaf a month?

[1:13:43] Have you ever dumped someone for

[1:13:44] saying they're just not an animal person?

[1:13:47] Us too.

[1:13:47] She's Alexis B. Preston.

[1:13:49] She's Ella MacLeod.

[1:13:50] And we host Comfort Creatures,

[1:13:52] the show where you can't talk about

[1:13:53] your pets too much,

[1:13:54] animal trivia is our love language,

[1:13:56] and dragons are just as real as dinosaurs.

[1:13:59] Tune in to Comfort Creatures

[1:14:00] every Thursday on Maximum Fun.

[1:14:05] What is up, people of the world?

[1:14:07] Do you have an argument that you

[1:14:09] keep having with your friends

[1:14:10] and you just can't seem to settle it?

[1:14:12] And you're sitting there arguing about

[1:14:14] whether it's Star Trek or Star Wars,

[1:14:16] or you can't decide what is the best nut,

[1:14:18] or can't agree on what is the best cheese.

[1:14:21] Stop doing that.

[1:14:23] Listen to We Got This with Mark and Hal

[1:14:25] only on Max Fun.

[1:14:26] Your topics asked and answered

[1:14:28] objectively, definitively, for all time.

[1:14:31] So don't worry, everybody.

[1:14:33] We got this.

[1:14:34] We got this.

[1:14:36] Okay, everybody, we talked a lot about Roadhouse.

[1:14:38] Now it's time to talk for a few minutes

[1:14:40] about the Flophouse.

[1:14:41] That's right, this podcast and the things

[1:14:43] that we're going to be doing

[1:14:44] that we hope you help us do

[1:14:46] by taking part of them as an audience member.

[1:14:49] We've got a virtual event coming up.

[1:14:51] We're very excited about our show

[1:14:53] from last year at Vidiots in Los Angeles,

[1:14:55] the Flophouse Sinks Speed 2,

[1:14:57] in which we talked about Speed 2.

[1:14:59] That show is going to be released

[1:15:00] in a beautifully, professionally photographed

[1:15:02] and edited version.

[1:15:04] Thanks to the people at StagePilot.

[1:15:06] That show's gonna premiere Saturday, April 27th,

[1:15:08] and it's gonna be available to stream

[1:15:10] as many times as you want

[1:15:12] through Sunday, May 19th.

[1:15:14] We are going to be in the chat box

[1:15:15] chatting along with the audience

[1:15:17] when it premieres Saturday, April 27th.

[1:15:19] But if you can't make it to that time,

[1:15:21] you've got so many opportunities to watch it.

[1:15:23] You can literally watch it whenever you want to

[1:15:25] until May 19th.

[1:15:26] For those three weeks, yeah.

[1:15:27] For those three weeks that it's available.

[1:15:29] You're gonna see the full show.

[1:15:30] There's behind the scenes,

[1:15:31] kind of funny footage that we shot

[1:15:33] that the people who saw the show in person

[1:15:35] did not get to see.

[1:15:36] Sorry, people who saw the show in person.

[1:15:38] Wow.

[1:15:40] There's all new presentations.

[1:15:42] The rest of the show is new.

[1:15:43] New question and answer stuff.

[1:15:44] It was a really fun show.

[1:15:45] We had a lot of fun doing it.

[1:15:47] Tickets are available along with VIP packages

[1:15:50] where you can talk to us one-on-three

[1:15:51] and also exclusive merchandise for this event

[1:15:54] featuring art of us by beloved comics artist

[1:15:57] Xander Cannon of Kaiju Max and many other great books.

[1:16:00] That's all available at stagepilot.com

[1:16:03] slash speed, stagepilot.com slash speed.

[1:16:08] Or if you like a longer URL,

[1:16:10] you can also go to stagepilot.com

[1:16:12] slash flop dash house dash speed dash two.

[1:16:15] It's probably easier to just go to flop house,

[1:16:18] to go to stagepilot.com slash speed.

[1:16:20] But hey, let's say you're gonna watch us on a computer.

[1:16:24] You're so excited about it,

[1:16:25] but you still wanna see us in person.

[1:16:27] You are in luck.

[1:16:28] You are in luck if you live in England

[1:16:33] or close thereabouts,

[1:16:34] because we're doing two shows, as we mentioned,

[1:16:36] in Oxford, England, our first ever British shows.

[1:16:39] We're super excited about it.

[1:16:40] We're gonna be in Oxford on the night of 24th May, 2024,

[1:16:44] which I think is the way they say it in England.

[1:16:47] They say 24th May.

[1:16:48] They don't say May 24th,

[1:16:49] the way we say it here in the colonies.

[1:16:50] We're gonna be there May 24th.

[1:16:51] We're doing two shows in one night, seven o'clock show.

[1:16:54] The Avengers, the British version,

[1:16:57] the one, well, the American version of the British version.

[1:16:58] The American version of the British TV show.

[1:17:00] Yeah, yeah, yeah.

[1:17:01] From the 90s, starring Sean Connery,

[1:17:04] Ralph Fiennes and Uma Thurman,

[1:17:05] none of whom will be in attendance at the show.

[1:17:07] So we can say whatever we want about it.

[1:17:08] And then at 9 p.m., we're gonna be talking Spice World.

[1:17:12] So for tickets and more information.

[1:17:13] And unfortunately, all the Spice Girls are gonna be there,

[1:17:16] so we can't say a word.

[1:17:17] So we can't say anything bad.

[1:17:18] No, that's not true.

[1:17:19] Oh, man.

[1:17:20] Although, if you wanna show up,

[1:17:21] Jerry, Victoria, the others.

[1:17:26] The two Mels.

[1:17:27] The two Mels.

[1:17:28] Yeah, yeah.

[1:17:30] Sweeney, is that one of them?

[1:17:32] No.

[1:17:33] Gerald.

[1:17:33] Oh, man.

[1:17:34] If Sporty Spice showed up, I'd be so psyched.

[1:17:37] And so for tickets to that,

[1:17:38] it's easy to go to flophousepodcast.com slash events.

[1:17:42] Go to the Flophouse listing

[1:17:43] and then click on the tickets link for individual shows.

[1:17:46] I know there's a number of buttons

[1:17:47] that say get tickets on the site.

[1:17:49] All of those, I'm checking them now,

[1:17:51] just seem to go back to our listing.

[1:17:53] So don't click where it says get tickets.

[1:17:56] Instead, click where you see the links

[1:17:58] for wegottickets.com,

[1:18:00] which is where you can buy tickets to the event.

[1:18:02] Yeah, that's just because the site has,

[1:18:04] it's just not important.

[1:18:05] There's no way of getting rid of that.

[1:18:08] It's just a wonky thing on the site.

[1:18:09] What was Baby Spice's first name?

[1:18:12] That's the one we didn't remember.

[1:18:15] Wittle Baby?

[1:18:15] Emma, Emma Button.

[1:18:17] Yeah, okay.

[1:18:17] Oh, yeah.

[1:18:18] The book is about her, Emma.

[1:18:20] So that's our stage pilot streaming event

[1:18:22] starting April 27th and going until May 19th,

[1:18:25] where you can watch the Flophouse Sync Speed 2.

[1:18:27] Go to stagepilot.com slash speed

[1:18:30] for tickets and merchandise for that.

[1:18:31] And we'll be at the St. Audio Podcast Festival in Oxford.

[1:18:34] Go to flophousepodcast.com slash events

[1:18:38] and go to more info

[1:18:39] and click the individual links for that.

[1:18:41] Or I'll just tell you,

[1:18:43] you can go to wegottickets.com slash event slash 606297

[1:18:48] or wegottickets.com slash event slash 606225.

[1:18:52] But we're super excited about those shows.

[1:18:53] Again, those will be all new shows.

[1:18:55] We've never done a show in England before.

[1:18:56] Can't wait.

[1:18:57] Hope you can join us.

[1:18:58] You know what, Elliot,

[1:18:59] next time I'll make you a tiny URL.

[1:19:01] Thanks, that'd be great.

[1:19:02] That'd be great.

[1:19:03] That'd be a good idea to have that.

[1:19:05] Hey, tiny URL that you can look at

[1:19:07] while you climb into your little acorn bed.

[1:19:11] We're not-

[1:19:11] I have to have a tiny URL

[1:19:12] because I'm just such a wittle guy.

[1:19:14] Yeah.

[1:19:15] Yeah, we're not good at navigating the online space,

[1:19:18] but you know who is?

[1:19:19] Squarespace.

[1:19:21] Because they're the all-in-one website platform

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[1:20:00] You can make checkout seamless for customers with the payment tools that Squarespace offers except credit cards

[1:20:07] Pay credit cards. In fact, maybe not even maybe not credit cars

[1:20:12] Guys, what's happening to my?

[1:20:15] speaking

[1:20:17] Maybe we should get our aphasia as I age. Yeah, maybe we'll get Todd Vaziri to chime in

[1:20:26] With Dan's brain is AI causing the problem maybe anyway

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[1:21:22] Elliot you can stop

[1:21:24] Giggling bemusedly at me because now I'm done

[1:21:28] Talking and I was watching that plane circle the runway for a while

[1:21:36] Watching my children eating a slice of pizza and gesturing with it me just worrying that the cheese is gonna slide onto the floor

[1:21:41] Oh boy

[1:21:45] It's cuz they have that like a New York style speaking right where you use your hands a lot

[1:21:53] Yeah, Audrey talks with her hands a lot and we we have a lot more red wine around the house cuz

[1:22:00] Mom gave us a bunch of it and the the combination of the two has me worried, but we'll see I'll keep you updated

[1:22:06] Yeah, she's got a yeah, she's got a red one one hand but like a butterfly knife and the other

[1:22:14] Okay

[1:22:16] So the flop has also brought to you by microdose gummies now microdose gummies is an easy product for me to pitch because in addition

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[1:23:34] flop and I've got one more last promotional thing to mention if you're listening to this episode on the day of its release then

[1:23:41] Just this past Wednesday

[1:23:43] Hercules number one the first issue of my new series from dynamite comics came out should be in comic stores still still unless it sold

[1:23:50] Out and possibly who knows in which case tell your comic store to order new ones so that you can have it

[1:23:55] Continues the story of the Disney version of Hercules from the Disney movie the same name, but I'm introducing lots of new mythological creatures

[1:24:02] well, I mean they're based on ancient mythological creatures, but there are new versions of them as

[1:24:07] The series starts with a few kind of one-off adventures that all tie together into a much larger

[1:24:13] mystery epic that will unfold over the course of

[1:24:16] 12 issues and so I hope you enjoy it if you liked my Hades series from dynamite

[1:24:20] Then I think you're gonna like this one, too

[1:24:22] And if you're listening to this episode the day it's released or the day after it's released

[1:24:26] Then I will be signing comics on Sunday April 14th the day after this episode is released at Golden Apple Comics in Los Angeles

[1:24:34] Golden Apple Comics not Golden Apple Comics

[1:24:37] Golden Apple Comics from 12 p.m. To 2 p.m. I'm gonna be alongside a bunch of other great comic book writers

[1:24:42] Amy chase Casey Gilley Ryan Katie and of course Jordan Morris our own maximum fun neighbor will be there, too

[1:24:49] We're all signing books that we've written recently and I hope you can come by if you're in the LA area

[1:24:54] So that's Hercules number one in comic stores now from dynamite comics

[1:24:57] I hope you enjoy it and if you're in LA come by Sunday April 14th and get it signed by me at

[1:25:04] Golden Apple Comics and meet Jordan Morris at the same time. He's a great guy. All right back to the show. Let us

[1:25:10] move along into

[1:25:12] The section that we call letters from listeners listeners

[1:25:17] Like you the listeners this first one

[1:25:23] Yeah, I mean, you know, it's a sort of not litters from listeners no, no

[1:25:28] No, we don't want any litter from listeners or from mourners

[1:25:34] This one is from John

[1:25:37] and it says

[1:25:40] Yeah, that's the one

[1:25:42] I was just listening to your sonic 2 episode and when Dan recommended Butcher Baker nightmare maker

[1:25:48] He mentioned how the flatness of the direction ended up being a plus to the film

[1:25:52] I'm always fascinated when elements of a film stand out unintentionally

[1:25:56] But actually helped the film the first time this really struck me was with the movie

[1:26:00] Equinox, which is especially cheap and flat in the early scenes

[1:26:04] Right right up until the heroes find an ancient evil book

[1:26:08] The prop of which clearly received much more loving attention than anything else thus far and so stuck out

[1:26:15] What could have been a jarring reminder of how cheap everything else looked?

[1:26:19] Served to actually bring a level of creepiness to the affair for me as if these bland heroes had found something that truly didn't belong

[1:26:26] in their universe

[1:26:27] Are there any favorite examples of elements of movies that unintentionally stood out to you but serve to improve the experience for you?

[1:26:35] Keep on flopping in the free world

[1:26:37] John I

[1:26:39] Mean go on if you have one, sorry

[1:26:41] Yeah

[1:26:41] I mean

[1:26:42] I feel like I feel like part of the appeal of a lot of like your ghost Lanthimos stuff is the way that

[1:26:46] Everybody delivers their lines if their brain had been taken out of one body and put into their body

[1:26:52] I mean that one movie. I think that's intentional though, right? Like I mean, I guess you're right

[1:26:58] I mean, I feel like I don't know. It's tough for me to dictate intentionality right on things

[1:27:04] But I would say an exam one of my one of my favorite movies from one of my favorite directors is

[1:27:09] the Suspiria remake by Luca Guadagnino and

[1:27:12] In that movie Tilda Swinton plays multiple characters including an old German man

[1:27:17] And when she walks around as an old German man

[1:27:20] She walks around a lot like like when Kurt when you can see Kermit walking around full-bodied and he has like no weight

[1:27:26] There's something very strange about the whole thing

[1:27:29] And while I know for some viewers that the illusion was complete

[1:27:33] I mean for me at no point. Did I think that this was an actual old man?

[1:27:37] and

[1:27:39] Finding and and with that information in hand, I don't think it makes the movie less

[1:27:43] I think it's such an interesting weird choice that it makes me like the movie more in a way

[1:27:49] so I

[1:27:50] Think that answers the question

[1:27:51] They do something very similar in the movie the old dark house where they have a woman playing an ancient old man

[1:27:57] and it does create a kind of like

[1:27:59] You know off offness strangeness about it that works for the movie that makes me feel eerie. Yeah. Yeah

[1:28:05] The the stuff that occurs to me is not as specific as I would like but it's part of the reason why

[1:28:12] You know, I like

[1:28:14] Low budget movies a lot of the time if like the effects look a little janky. There's that be kind rewind effect of like

[1:28:21] You're like, oh they really tried hard, you know

[1:28:24] Like you can see the effort in a way that charms you in the way that like a blockbuster movie that has all the money

[1:28:31] in the world

[1:28:32] You are less forgiving of its failings like instead. I'm like, oh they all you know

[1:28:37] Wanted to put on a show and they did it and similarly like kind of in a similar vein. I

[1:28:43] enjoy how a bunch of

[1:28:46] regional horror in particular kind of serves as a

[1:28:50] Documentary of you know, the people in those areas because like as a low-budget

[1:28:56] movie being made in areas where

[1:28:59] Movies aren't typically made you're seeing something

[1:29:02] Different than like a Hollywood film you're seeing houses that are actually real a lot of the time and how people lived like there's a film

[1:29:10] fiend by Don Dallner that I saw

[1:29:14] Because it was like a bad movie night pick of some friends and it's just sort of shot in this

[1:29:20] cul-de-sac of a housing development and

[1:29:23] You know, I think they're early 80s and I'm like, yeah, I just want to see what this is like

[1:29:30] Yeah in their houses show me their food products and board games exactly

[1:29:37] This isn't I don't know if this exactly is the same thing in along the same lines

[1:29:40] But something what struck me when I was thinking about this question is when I see a movie that is incomplete

[1:29:47] and either because the parts are missing or they were never finished and

[1:29:51] they

[1:29:53] Enhances the idea that I'm just seeing a little bit of a much larger story and it increases the scope of that story

[1:30:00] more than if I was seeing the full thing.

[1:30:01] Like, I've seen a couple of different restorations

[1:30:04] of Metropolis, because it feels like every 10 years

[1:30:06] they discover a reel of film somewhere in a closet

[1:30:09] that is footage of Metropolis that seemed lost.

[1:30:12] But each time I see it, they have to use text

[1:30:14] to explain what scenes you're not seeing.

[1:30:17] And it kind of, for some reason,

[1:30:19] it makes it more exciting to me

[1:30:20] than if I was watching the movie all the way through.

[1:30:22] And each time it goes from text into a scene,

[1:30:24] it's like, oh, I'm diving back into the movie

[1:30:26] after kind of going up for air.

[1:30:28] And I just recently watched a movie

[1:30:29] called On the Silver Globe.

[1:30:31] It's a Polish science fiction movie

[1:30:33] by the same director who made Possession.

[1:30:35] And he started making it and then was forced to stop.

[1:30:39] And the scenes that were made are very elaborate.

[1:30:41] And there's a lot of costuming work

[1:30:43] and a lot of kind of very kinetic camera work

[1:30:47] and things like that.

[1:30:48] But he didn't get to finish it.

[1:30:49] And so later on when he was given the money

[1:30:51] to kind of finish it a little bit,

[1:30:53] there are sections where he's just narrating

[1:30:54] what would have happened over footage of everyday Poland.

[1:30:58] It's just people on escalators

[1:30:59] or walking around the street.

[1:31:00] And there's something about dipping in and out

[1:31:03] of this strange, fantastical science fiction world

[1:31:06] and then back into reality that enhanced the experience

[1:31:09] of how weird those science fiction scenes were.

[1:31:12] But also it's supposed to be taking place in the future.

[1:31:14] And so seeing these scenes

[1:31:15] of just ordinary people walking around,

[1:31:17] it created a continuity between like,

[1:31:19] what you're seeing is fictional,

[1:31:21] but imagine if it's just happening

[1:31:22] in the future history of this time.

[1:31:24] So these people who existed are just as real

[1:31:27] as the characters I'm making and vice versa.

[1:31:29] It made the movie more interesting to me

[1:31:31] than it might have been

[1:31:32] if it was this complete finished science fiction epic.

[1:31:36] So that's what comes to mind to me

[1:31:37] is sometimes a movie is incomplete

[1:31:39] and it makes it more powerful in that way.

[1:31:42] This next letter, the subject line is John F. Adams

[1:31:47] and it's from Jen, last name withheld,

[1:31:50] who writes, hey Peacher, hey Peachers, hey Peaches.

[1:31:55] We're the Peaches.

[1:31:55] The Peaches do to us, the Peaches, you know.

[1:31:58] I guess we're the Peachies.

[1:32:00] Who Peaches the Peachers?

[1:32:04] Neither be a Peacher nor a Peachy bee.

[1:32:08] I'm a listener from Wales

[1:32:10] who is very much looking forward to seeing your live show.

[1:32:12] Who was swallowed by a whale.

[1:32:14] No, no, without the H.

[1:32:15] I'm a listener from Wales

[1:32:17] who is very much looking forward

[1:32:18] to seeing your live show in Oxford.

[1:32:20] Whenever that is,

[1:32:21] I hope that our plug earlier cleared up the timing.

[1:32:25] Yeah.

[1:32:25] May 24th, come see us.

[1:32:27] This morning, my cat woke me at 6 a.m.,

[1:32:30] but I wanted to snooze some more.

[1:32:31] So I thought catching up with the floppers would help.

[1:32:34] I pressed play on the Santa Claus three.

[1:32:38] Stretched out and hoped a lengthy discussion

[1:32:41] of Martin Short's Jack Frost

[1:32:42] would send me off into a blissful slumber.

[1:32:45] And it did until you crept into my dreams.

[1:32:49] I was gripped by the powerful sensation

[1:32:52] that I was with you three and Alonso.

[1:32:54] You were all gabbing away.

[1:32:55] And I had one question I kept repeating over and over

[1:32:58] with increasing urgency.

[1:33:00] It was, who the fuck is John Adams?

[1:33:03] I didn't care about Tim Allen

[1:33:05] or how time must slow for Santa Claus.

[1:33:07] I was begging you to tell me,

[1:33:09] please, who the fuck John Adams is.

[1:33:12] And you were all speaking over me.

[1:33:14] Yes, Peaches, my sleepy brain had forgotten

[1:33:16] what a podcast is.

[1:33:18] My question is this.

[1:33:20] Have you ever been watching a film

[1:33:22] and had a single question you're desperate to ask?

[1:33:25] And for a chaser, who is slash was John Adams?

[1:33:29] Keep flopping in the free world,

[1:33:31] gin lasting withheld.

[1:33:33] I don't remember Santa Claus three.

[1:33:35] I assume that we, well, no, I'm saying,

[1:33:37] I assume we were talking about the president,

[1:33:40] but I don't know

[1:33:42] because I don't remember what we were talking about.

[1:33:44] Well, there's three possible John Adamses.

[1:33:45] There's John Adams.

[1:33:46] You feel this one.

[1:33:47] The second president of the United States.

[1:33:49] There's John Quincy Adams, his son,

[1:33:51] who was also president of the United States.

[1:33:52] And then there's John Adams, the opera writer

[1:33:55] who wrote like Nixon in China.

[1:33:58] And he did another one about, what's it called?

[1:34:01] About Prometheus, I think it is.

[1:34:03] I don't know, something like that.

[1:34:04] About the atomic bomb.

[1:34:05] I presume it was the first one.

[1:34:06] Probably not, but only one of them is still alive.

[1:34:08] So John Adams, the composer, if you are still around

[1:34:13] and you want to feel this about who you are.

[1:34:15] Oh, Dr. Atomic, that's what it was called.

[1:34:16] Yeah, he wrote Dr. Atomic.

[1:34:17] That's right.

[1:34:18] The death of Klinghoffer.

[1:34:20] So if you want to write in

[1:34:21] and elucidate us some more about you, please do.

[1:34:25] But yeah, the other two are,

[1:34:26] I'm probably talking about the president, John Adams.

[1:34:28] Yeah, which I mean, as a person writing from Wales,

[1:34:33] like these are not marquee presidents

[1:34:35] in the way that you're Washington,

[1:34:37] you're Lincoln, you're Roosevelt, you're Jefferson.

[1:34:40] Let me just, yeah, let me just text Giamatti

[1:34:43] and be like, dog.

[1:34:46] Sorry, dog, should have picked a bigger president.

[1:34:48] If you're not absorbing this in school as an American,

[1:34:52] maybe this is one that would.

[1:34:54] It's how me and Giamatti rap, you know.

[1:34:58] Well, what about the other question

[1:34:59] about questions while watching a movie?

[1:35:02] Do you guys have any thoughts on this?

[1:35:05] Well, I mean, the most recent one was,

[1:35:09] over the last couple nights,

[1:35:11] my wife agreed to watch one of my favorite movies

[1:35:13] from a few years ago,

[1:35:14] Decision to Leave, the Park Chan-wook movie.

[1:35:17] And even though I was pretty sure

[1:35:20] this wasn't going to be exactly her thing,

[1:35:22] she wanted to watch it with me.

[1:35:25] And it did take us three different viewings,

[1:35:29] so three nights.

[1:35:30] And of course, each time she fell asleep while watching it,

[1:35:32] I then would finish watching the movie by myself.

[1:35:37] So I watched the movie basically completely three times.

[1:35:40] And you know what?

[1:35:41] Loved it every time, I think it's great.

[1:35:43] Noticing new things each time.

[1:35:45] And one of the things that I looked up

[1:35:47] that I still didn't really get the answer to,

[1:35:50] one of the elements of the movie

[1:35:52] is that there is a language barrier between the two leads.

[1:35:55] He's a Korean detective

[1:35:57] and she is a Chinese woman living in Korea.

[1:35:59] And so, and her,

[1:36:00] admittedly her Korean is not the best

[1:36:03] and she has some difficulty communicating.

[1:36:06] And there's a comment early on

[1:36:07] that leads to an inside joke between the two of them,

[1:36:10] where she describes something as solitary.

[1:36:13] And they find it to be funny

[1:36:15] in a way that I don't quite understand.

[1:36:17] And I don't know if it's part of the translation

[1:36:20] or I'm just like missing an obvious joke.

[1:36:23] So that's something that I would love explained to me

[1:36:26] by somebody who understands what's going on.

[1:36:29] This is tickling something in my brain

[1:36:31] because I feel like I read something

[1:36:32] about how like there's different sort of,

[1:36:36] you know, just as in say French,

[1:36:39] you would use different words

[1:36:40] when you're talking to someone sort of like above you,

[1:36:44] quote unquote, or like at your level,

[1:36:46] like that there are nuances of language in that way.

[1:36:50] Like there's like formal sort of Korean

[1:36:53] versus informal Korean that plays into

[1:36:55] a lot of the nuances of the movie

[1:36:57] that we wouldn't get as English speakers,

[1:37:00] but I don't know.

[1:37:01] Yeah.

[1:37:02] I don't know about that specific thing.

[1:37:03] It reminds me of what, when Oldboy,

[1:37:05] another Park Joon-ho Chan-wook movie came out,

[1:37:08] where there's the part where he slurps up

[1:37:10] a live octopus or squid.

[1:37:12] And I remember everyone who saw it in America was like,

[1:37:14] can you believe that scene where he does that?

[1:37:16] And the Korean audiences were like,

[1:37:17] that was not one of the weirder scenes in it.

[1:37:19] That's the thing that happens.

[1:37:20] Oh, did you see the end of that movie?

[1:37:22] It's like, not everybody does that,

[1:37:23] but that is the thing people do sometimes, you know.

[1:37:27] My answer to this, I apologize, is not quite right

[1:37:33] because I don't think it's like asking people in the movie,

[1:37:35] but, and I also apologize to Stuart

[1:37:38] because I'm about to talk about a Wes Anderson movie

[1:37:40] at some point.

[1:37:41] Oh, oh, I started ripping my hair out by the roots.

[1:37:44] I want to destroy something beautiful.

[1:37:47] But the Life Aquatic, which is, you know,

[1:37:51] a movie that I think baffled people when it came out

[1:37:55] who were sort of, you know, jumping on board

[1:37:58] the Wes Anderson train with Rushmore and World Town Bombs.

[1:38:03] And like this then.

[1:38:04] Now he knows what a train is?

[1:38:06] Okay.

[1:38:07] Is your question, why is this movie so bad?

[1:38:12] So it's a movie that, I'm joking, I'm joking.

[1:38:16] I liked when I first saw it

[1:38:17] and then has only sort of grown for me.

[1:38:19] And I think that now a lot of people

[1:38:22] who like Wes Anderson movies,

[1:38:24] it's one that they particularly love

[1:38:25] and it's one that I love a lot.

[1:38:26] But this is all to say that it's a movie

[1:38:30] that feels very much like a shaggy dog story

[1:38:35] and it's not-

[1:38:38] More like a shaggy DA story.

[1:38:41] It doesn't have like the most propulsive narrative

[1:38:46] through line at any means.

[1:38:47] Like a lot of stuff happens,

[1:38:48] a lot of sort of stuff happens randomly

[1:38:52] in the sense of like a random world,

[1:38:54] not like it's not, you know, meticulously constructed.

[1:38:59] But I guess my question is like, at the end,

[1:39:03] the scene where, you know, Bill Murray,

[1:39:06] the famous scene where they're all in the submarine,

[1:39:10] they see the shark he's been looking for.

[1:39:13] He says, I wonder if it remembers me.

[1:39:15] And like, that makes me cry every time.

[1:39:18] And I know I'm not alone in this,

[1:39:20] like a bunch of people like have this reaction to this.

[1:39:23] And I kind of want to grab Wes Anderson,

[1:39:27] buttonhole him and be like, why?

[1:39:30] Why does this make me break down in tears?

[1:39:33] Because it's an unusual moment in an unconventional film

[1:39:38] and I can't quite put my finger on what's happening there.

[1:39:42] So I need Wes Anderson to explain my psychology back to me.

[1:39:47] See, well, there's technically one question, I guess.

[1:39:50] Yeah.

[1:39:51] I don't really have an answer for this one.

[1:39:53] I feel like there's lots of times I've watched movies

[1:39:54] and I wanted to know either how'd they do that

[1:39:57] or I'd wanted to like spend some more time.

[1:40:00] that. How do you do that? Or I'd wanted to spend some more time with a character and kind of see

[1:40:05] see them existing longer. But I don't feel like I have one where there is just one one movie with

[1:40:09] one deep burning question. You know, maybe I'm just too afraid to make myself vulnerable by

[1:40:14] admitting that I need to ask questions to learn things. You know, yeah, it'd be you never know.

[1:40:19] Explain that to me, Wes Anderson. Ellie, you don't need to know everything. You know,

[1:40:23] you don't have to be the smartest guy in the room all the time. That's true. I neither have to be

[1:40:27] nor can I be. Let's move on to the final segment, which is recommendations,

[1:40:35] movies that we saw recently that we may have enjoyed. Dan's furiously scrolling through

[1:40:42] his letterbox to get to Garbage Pail Kids, the movie. Stuart, why don't why don't you go first

[1:40:50] as I think about something for a moment? OK, I've seen a lot of movies with Dan recently.

[1:40:55] So which one should I should I not which one do you want to talk about what you want to recommend

[1:41:00] and then we'll well, hell yeah, I'm going to recommend a movie I saw at the Nighthawk not

[1:41:03] that long ago. Now, granted, I was a pretty shit face when I watched this thing. It's Rennie

[1:41:09] Harland's movie Prison, not the act, not the actual place in the world prison, but the movie

[1:41:14] prison is what I'm recommending. I do not recommend the prison industrial complex. I know that's good.

[1:41:19] I'm going to go on a limb here, say it's bad. It's bad for humanity. So the movie prison,

[1:41:24] however, is good for humanity because it does star a young Viggo Mortensen. That's right.

[1:41:32] And what's the who's the guy that's who's the warden in that? Oh, geez. I'll look it up.

[1:41:38] It's great. So this is this very much feels like Rennie Harland doing like an audition tape

[1:41:43] to do a Nightmare on Elm Street movie. It's about a haunted prison. It does have Andre De Shields

[1:41:49] doing some amazing monologuing. I remember when I saw the trailer for this, I was like,

[1:41:56] I had never seen this movie before. I'd seen the VHS box. Who am I thinking of?

[1:42:01] Lane Smith. You may remember as the other attorney in My Cousin Vinny, among other things.

[1:42:06] Oh, my God. Lewis and Clark, The New Adventures of Superman.

[1:42:09] He is making a meal out of this role. He is going bonkers. Yeah, he was Perry White.

[1:42:15] So good. So I remember watching when I when I saw the trailer for this,

[1:42:21] Andre De Shields monologue features features lines that were sampled in this skinny puppy song

[1:42:27] off of the album, Brady's. And I was like, I remember hearing that song like 20 plus years

[1:42:31] ago and being like, where the fuck is this from? This stuff sounds awesome.

[1:42:36] And then when I saw the trailer at the Nighthawk, I'm like, I got to see this bitch. And you know

[1:42:39] what? I did. It was great. It's a lot of fun. It does feature a super awesome ending with

[1:42:44] lightning and crap. And it has those like classic old timey special effects. Dan,

[1:42:49] Dan saw prison with me and we man, we were we're hopping in our seats. It was amazing.

[1:42:55] Yeah, let me well, yeah, let me recommend another movie that we

[1:42:58] both saw at the same time. And that is the film that we saw right before our recent Garbage Pail

[1:43:06] Kids the night before a film that Elliot was exasperated by because we were trying to schedule

[1:43:12] something that wasn't going to happen anyway. But we were all like the guys exasperated by was that

[1:43:16] you referred to the screening of this movie as if, of course, I would. We all know about it.

[1:43:20] Of course, we all knew this was happening. We were trying to plan something. And Dan said,

[1:43:24] well, I'm I'm free every night, except, of course, for the Clifford screening.

[1:43:27] And I was like, what the hell is he talking about? So it was just a presumption. Of course,

[1:43:33] I feel like I feel like a brain teaser. Yes. To clarify, I was saying, of course,

[1:43:39] if I said that, I apologize to you, Elliot, for the confusion. I was saying because

[1:43:43] multiple other people on the chain were going to the same thing. There was a 30th anniversary

[1:43:49] screening of the film Clifford at BAM, a film that was not successful at its first run, but has

[1:43:56] grabbed acquired many admirers over the years. And star Martin Short was in attendance.

[1:44:06] The screenwriter, one of the two screenwriters for Clifford who were who were at the time,

[1:44:12] I was going to say credited, but they were not at the time. Clifford sat on the shelf for like

[1:44:17] four years, during which time the writers were like, maybe we'll take our name off this.

[1:44:24] But there was also a friend of the Flophouse, Richard Kine. I was getting to it. I was just

[1:44:29] looking up Steven Kapp Kapp Kampmann, sorry, was the writer and Paul Flaherty, brother to the

[1:44:37] recently sadly departed Joe Flaherty was also there. So there was a probably the best Q&A I've

[1:44:45] ever seen afterwards because Martin Short kept it fleet and funny. Richard Kine also very funny

[1:44:53] anyway. But the movie Clifford is what I'm recommending, not seeing a Q&A that you can

[1:45:00] no longer see. I don't know what you talked about before. Maybe you think everyone has access to

[1:45:04] this at all times. Anyway, it's also not the best one I've ever seen. The best one I've ever seen

[1:45:10] was still Only God Forgives, where Ryan Gosling suggested that he would love to play Freddy

[1:45:14] Krueger. That was a great I remember. I remember watching that with you. That was a great Q&A.

[1:45:18] So someone said, is there any role that you would love to do? And he goes, Freddy Krueger.

[1:45:24] And the crowd went insane. People started ripping the wall of the wall.

[1:45:30] That would be a great. That was that was also the Q&A where a guy gets a young guy gets up and he

[1:45:35] goes to any and Nicholas Wending Rifen was there and he goes, I was wondering if you have any

[1:45:40] advice for a young filmmaker. And the audience started booing. Oh, no. I mean, they were right

[1:45:46] to do so. But also, poor guy. Anyway, so, yeah, what can one say about the movie Clifford?

[1:45:53] Except for in 1994, audiences weren't ready for it. A movie where a 40 year old man played a

[1:46:02] sociopathic child locked in psychological warfare with Charles Grodin, also not playing a particularly

[1:46:09] nice man, but slightly more sympathetic went up against Clifford, the child from hell.

[1:46:15] I think that part of the problem was at the time people were like, what's this? Are we supposed to

[1:46:20] take Clifford seriously as a actual kid? Like, are we supposed to be fooled by this?

[1:46:25] When, you know, I think comedy has caught up with it a little bit where part, you know,

[1:46:32] part of the magic of Clifford, part of the joke of it is like, yeah, of course, it's not a real

[1:46:37] kid like he's utterly committed to it. But there's this distancing effect. That's part of it. That's

[1:46:44] funny and also allows for Charles Grodin to be so much meaner than he would if it was a real child,

[1:46:52] which makes it all the funnier because they're just being like, so horrible to each other while

[1:46:57] having to keep it, you know, for social reasons bottled up under this layer of false cheerfulness

[1:47:04] that makes it all the funnier. I can tell you that, you know, maybe it doesn't work so well

[1:47:10] at home, but with a crowd, Clifford killed. Yeah, it was really fun.

[1:47:16] What do you have to say for yourself, Elliot? I think I'm going to give, I'm going to partly

[1:47:20] recommend the movie I mentioned earlier in the episode on The Silver Globe. I'm going to give

[1:47:24] that a qualified recommendation because it's the kind of movie that I think some people will

[1:47:28] find amazing and other people will not be able to stand at all. It is long. It is a very kind of

[1:47:34] abstract and intensely aggressive science fiction epic that does not have a strictly easy to follow

[1:47:42] plot in many ways. But the things that they do with the camera in it and the way that they stage

[1:47:48] things are often incredibly exciting and very like genuinely visionary. And something that I didn't

[1:47:56] kind of realize until afterwards is that much of the movie is in the beginning is told as if it is

[1:48:00] a message that was recorded by astronauts in a failed attempt to colonize a planet. And it's like,

[1:48:06] is this the earliest kind of found footage type movie that I've seen? I don't know. And it does

[1:48:11] it really well. But then the movie, there are things in it where there are images in it that

[1:48:14] I'm going to be thinking about for a long, long time. And then there are other parts of it that

[1:48:17] are very unpleasant. And it is a grueling and kind of like a demanding movie in a lot of ways.

[1:48:24] So that I'm giving that a qualified recommendation. If you like that sort of thing,

[1:48:27] then go for it on the Silver Globe. But if you want to just sit back and instead just check your

[1:48:32] brain at the door and just watch a really grim kind of nihilistic film noir movie,

[1:48:39] then I'm going to recommend a movie called The Prowler from 1951. I was going to say 1901.

[1:48:43] From 1951, this is a Joseph Losey movie was written by Dalton Trumbo when he was still

[1:48:48] blacklisted. So he's writing it under a pseudonym. And it is about a woman who

[1:48:53] has she is there's a prowler that is peeping on her through her window. She calls the cops.

[1:48:58] And one of the police officers, Van Heflin, becomes kind of obsessed with her and decides to

[1:49:03] seduce her and then kind of steal her away from her husband and maybe kill her husband since it

[1:49:08] seems like he has some money on hand. And things as with film noir movies, things go from bad to

[1:49:14] worse. And they just keep getting the characters keep getting themselves into worse and worse

[1:49:19] trouble. And it's and it was refreshing, though, to see instead of a movie about a man who's kind

[1:49:24] of taken down a dark road by a femme fatale. This is about a woman who at first you are geared up to

[1:49:29] think is going to be a femme fatale. And then it becomes apparent eventually that you're like,

[1:49:34] oh, this guy is bad. I mean, he's pretty bad from the from the get go. But like this guy is he's

[1:49:39] the he's the femme masculine. I don't know what the masculine fatale, you know, I don't know what

[1:49:44] it would be that the home fatale. But it's a it's one of these noir movies where you're like,

[1:49:50] how dark is this movie going to get? Oh, even darker. And so I really enjoyed a lot. And it's

[1:49:55] got that kind of lower budget feel that makes it kind of more.

[1:50:00] rather than less, so it's called The Prowler.

[1:50:03] Yeah, I was talking to Griffin Newman about noirs

[1:50:06] after we saw Love Lies Bleeding,

[1:50:08] and he said something that,

[1:50:09] I don't know if this is something that he came up with,

[1:50:11] but the idea that like, for a noir to be successful,

[1:50:15] you need to have your central characters

[1:50:17] to all be like broken on a central level.

[1:50:20] Like there has to be something missing

[1:50:21] or wrong with this person.

[1:50:23] Yeah.

[1:50:24] And I think that's probably fair.

[1:50:26] Like you want there to be a darkness there.

[1:50:29] You want someone who is broken and knows it,

[1:50:32] or is broken and doesn't know it,

[1:50:34] because they're going to,

[1:50:35] otherwise it's hard on a plot level

[1:50:37] to imagine them making the dumb decisions

[1:50:39] that characters have to make in film noir movies,

[1:50:41] where it's like, everything is telling me this is wrong,

[1:50:44] but I'm gonna do it still.

[1:50:47] Or a movie like Red Rock West,

[1:50:49] where Nicholas Cage is like,

[1:50:51] I could leave this town right now,

[1:50:52] but I think I'll stick around.

[1:50:55] Or like when Jason Voorhees is like,

[1:50:57] I could blow up the house with the kids.

[1:51:00] Yeah.

[1:51:01] He said, I'll do it one by one.

[1:51:03] Yeah.

[1:51:03] Classic noir hero, Jason Voorhees.

[1:51:06] I feel like there kept being reasons

[1:51:09] why Nicholas Cage couldn't leave Red Rock West.

[1:51:11] There are a couple of times he tries to leave and he can't,

[1:51:13] but there's a couple of times early on where he's like,

[1:51:15] you know what?

[1:51:16] I should go back and warn somebody about something.

[1:51:18] And it's like, just get out of there, Nick.

[1:51:19] Just get out of there.

[1:51:21] Hey, this episode is close to a classic link flop house.

[1:51:25] So we should wrap it up fast by saying,

[1:51:28] thank you to our network, maximumfund.org.

[1:51:31] Check out all the other great podcasts over there.

[1:51:34] I'm sure you'll find something that you'll like.

[1:51:37] Thank you to our producer, Alex Smith,

[1:51:40] who goes by the name HowlDotty

[1:51:42] on various socials and such.

[1:51:46] He's also a Twitch streamer

[1:51:47] if you wanna check him out there.

[1:51:50] Speaking of socials, Dan, we're on threads now, right?

[1:51:54] Like, yeah, sure, we're on threads.

[1:51:55] There's a Discord now.

[1:51:57] I believe that at some point,

[1:51:58] there's a message we're gonna read about that,

[1:52:00] but an enterprising fan set up a Discord.

[1:52:04] So if you wanna hang out and talk about flop house

[1:52:07] or related stuff,

[1:52:08] just like with people who enjoy the same things as you,

[1:52:11] you can check out that Discord, search for that.

[1:52:16] Yeah, and if you have the inclination or the time,

[1:52:20] please spread the word.

[1:52:21] Tell someone that this is a show that you like.

[1:52:23] Leave a review on iTunes.

[1:52:25] It helps the algorithm with what it promotes.

[1:52:29] All that stuff, all of it, come on.

[1:52:32] You know what it is.

[1:52:33] You live in this modern world.

[1:52:35] Anyway, thank you for listening.

[1:52:38] For The Flop House, I've been Dan McCoy.

[1:52:40] I've been Stuart Wellington.

[1:52:42] I'm Elliott Roadhouse Kalen.

[1:52:45] Is that just my new nickname I'm trying out?

[1:52:47] Do you think it works?

[1:52:48] Yeah, I love it.

[1:52:49] Okay, great.

[1:52:50] It's rowdy.

[1:52:56] We get to do our hobby as our job.

[1:52:59] And we get to do a hobbit if we're married to one.

[1:53:03] Maybe on your birthday.

[1:53:07] It's your birthday.

[1:53:08] We'll do it Middle Earth style.

[1:53:10] We'll use computers to shrink me down.

[1:53:12] Yeah, yeah, let's take you to Mount Doom, baby.

[1:53:16] That's where my ring in.

[1:53:18] Good ones, come on.

[1:53:19] Can we do more Weird Lord of the Rings sex puns?

[1:53:21] Sure.

[1:53:22] Begin the show.

[1:53:23] I'm feeling Nazgul tonight.

[1:53:26] The eagle should have just taken it.

[1:53:31] I'll just watch the eagle do you.

[1:53:33] Anyway.

[1:53:36] Okay, here we go.

[1:53:38] Wait, Tom Bombadildo.

[1:53:40] Okay, continue.

[1:53:40] Okay, thank you.

[1:53:44] Maximum fun.

[1:53:45] A worker-owned network.

[1:53:46] Of artist-owned shows.

[1:53:48] Supported.

[1:53:49] Directly.

[1:53:50] By you.

Ep. #422 - Road House (2024)

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