The Flop House: Episode #29 - Step Up 2: The Streets

Dan McCoy

[0:00] In this episode, we discuss the dance film Step Up 2, The Streets.

[0:30] Hey everyone, welcome back to the Flophouse.

[0:34] And I say back because we've been gone for two weeks.

[0:38] Yeah.

[0:38] How you doing? Stuart's here. Stuart Wellington.

[0:41] Hey, what's up? This is me, Stuart.

[0:42] Elliot Kalin.

Elliott Kalan

[0:43] There's a lot of Elliot Kalin in your ear right now.

Dan McCoy

[0:46] And me, Dan McCoy.

Elliott Kalan

[0:47] And is this the first Flophouse of 2009 AD?

Dan McCoy

[0:50] Yeah, it is.

[0:51] You know, we took two weeks off, and I know that you over at The Daily Show also took two weeks off.

[0:56] We took three weeks off.

[0:57] And you can get away with that, being a popular, beloved program.

[1:02] Yes.

Elliott Kalan

[1:03] Do you think that we can get away with that?

[1:05] It's possible our fans have forgotten we exist.

[1:07] All right.

Stuart Wellington

[1:07] What's The Daily Show I've Forgotten?

Elliott Kalan

[1:11] Well, it's hosted by golfer John Daly.

[1:13] Okay.

[1:14] And as all of my dad and mom's friends think when they ask me about it.

[1:18] Sounds good.

Dan McCoy

[1:20] Yeah.

[1:20] They're like, how's your golf game these days?

Elliott Kalan

[1:22] No, they go, how's The John Daly Show?

Dan McCoy

[1:24] Gone down to par?

[1:26] Gone down to par.

[1:27] I'm assuming that you're currently above par.

[1:30] Far above par.

[1:31] Yeah.

Elliott Kalan

[1:32] Par is a dream.

[1:34] Yeah.

Stuart Wellington

[1:35] Like on a mini golf course or?

Elliott Kalan

[1:37] Any kind.

[1:38] Mini golf, maxi golf.

[1:39] Mini golf isn't that hard.

[1:40] Regular golf.

[1:41] Okay.

[1:42] Mario golf.

Stuart Wellington

[1:42] Sure.

[1:43] Wii golf.

[1:44] Wii golf.

[1:45] That's what it's called, Wii golf.

Elliott Kalan

[1:46] Nintendo Wii golf and also WEE golf, which is smaller than mini golf.

Stuart Wellington

[1:50] Okay.

[1:51] I don't know that existed.

Elliott Kalan

[1:51] Well, it doesn't yet, but I'm patenting it.

[1:54] Okay.

Dan McCoy

[1:55] But we didn't watch a golfing movie.

[1:57] No, sir.

[1:58] We watched a much more active pastime.

[2:01] Okay.

[2:01] That's dance.

[2:02] The world of dance.

[2:03] The magic of dance.

[2:04] Absolutely.

Elliott Kalan

[2:05] We watched American Primitive, the Martha Graham story.

Dan McCoy

[2:08] We watched The Catherine Wheel, directed by Twyla Tharp.

[2:12] No.

Elliott Kalan

[2:13] The Company, directed by Robert Altman.

Dan McCoy

[2:15] We watched Step Up to the Streets.

[2:19] That's Step Up to the Digit 2.

[2:22] The number two.

[2:23] Yeah, yeah, yeah.

Elliott Kalan

[2:23] The Streets.

[2:24] It's like they were, it was called Untitled Dance Project, and then they text, like the

[2:29] writer texted the title to one of the producers, assuming they'd know that it wouldn't be the

[2:34] number two in real life.

[2:35] He texted on his sidekick.

[2:35] Yeah, exactly, on his sidekick.

[2:37] And they were like, oh, okay, Step Up, number two, The Streets.

Dan McCoy

[2:41] Yeah, well, I mean, you may, yeah, you may think that Prince named the movie, but it's

[2:46] actually a sequel.

[2:47] It's a sequel, as I gather, to the film Step Up.

Stuart Wellington

[2:51] So wait, this screenplay wasn't like kicking around Hollywood for years and years?

Elliott Kalan

[2:54] No, it's not like the Unforgiven screenplay, where it took 20 years to make it.

[2:58] Well, you know, it may have been, because...

[3:00] This is an old Robert Towne screenplay from the beginning of his career.

[3:03] Paul Schrader took a pass on it, but...

Dan McCoy

[3:05] As far as I'm able to gather via IMDb, none of the characters from the original Step Up

[3:10] are, you know, reprised in this film.

[3:13] They don't reappear.

[3:15] I was really disappointed by that.

[3:16] Yeah, it has the same, maybe it's in this breakdancing tradition with breaking,

[3:21] and breaking two, Electric Boogaloo, where there's no carryover.

[3:25] It means no homage.

[3:27] It's like carry and carry two.

[3:28] The rage carry two.

[3:29] Sorry, yeah, the rage carry two.

[3:31] But that's more of like, the rage carry two is more like Evil Dead 2, where they're just

[3:36] like, you know what, let's make a sequel, but let's just remake it.

Elliott Kalan

[3:38] Yeah, I guess so.

[3:39] But where would you place this movie on the dance meter?

[3:42] Zero meaning no dancing, and ten meaning too much dancing.

Dan McCoy

[3:46] So it's just the amount of dancing we're talking, not the quality of dancing.

[3:49] So what are you saying?

[3:50] I would put this like at 8.5.

Stuart Wellington

[3:52] Yeah, wait, on your scale, ten actually exceeds how much you'd actually want to have.

[3:57] Yeah, you'd want to see like a nine.

Elliott Kalan

[3:59] Oh, okay.

[3:59] Ten is like a little bit too much.

[4:01] Like, nine is like a big good dinner, and ten is like, uh-oh, I ate too much.

Stuart Wellington

[4:05] It's like you get an A+, thus you're irritating.

[4:08] That's what it is.

[4:08] Exactly.

[4:09] Okay, that makes sense.

Elliott Kalan

[4:10] As opposed to an A-, the coolest of the grades.

[4:13] Sure.

[4:13] Yeah.

[4:14] Because it's like, I'm good, but I'm not so good that I can't relate to you still.

[4:17] Yeah.

[4:18] Or maybe I don't need to try too hard.

[4:19] Yeah, that's the other one.

[4:20] I'm okay with passing by.

[4:22] Yeah.

[4:23] In the top level, but not the top, top level.

Stuart Wellington

[4:25] So you think that Step Up To The Streets is an eight out of a ten meter dancing.

[4:33] Yeah, right there.

[4:34] So it wasn't irritating, it was almost perfect.

Dan McCoy

[4:37] In terms of amount of dancing.

[4:39] Just the amount of dancing.

Stuart Wellington

[4:40] Just amount.

[4:40] We're not talking about quality yet.

Dan McCoy

[4:42] Yeah, in terms of amount of dancing, that's actually about the number of dances and length

[4:47] of dances I would expect out of a dance film.

Stuart Wellington

[4:49] Can you compare it to another movie that features, I would imagine, a lot of dancing so that our

[4:54] listeners can understand?

Elliott Kalan

[4:57] Like a Moulin Rouge sort of thing?

[5:00] That Chicago thing?

[5:01] Yeah, it's kind of Chicago-y.

[5:03] Not as much dancing as Chicago, where there's almost every scene as a dance scene, it feels

[5:07] like.

[5:07] Okay.

[5:08] If I'm remembering it correctly.

[5:09] I'm not.

Dan McCoy

[5:09] In amount of dancing, and only in amount of dancing, I would say that this ranks above

[5:17] Singing in the Rain, because Singing in the Rain ends with a huge long ballet dance that

[5:23] I don't want to see.

[5:24] It doesn't end with it.

[5:25] All right.

Elliott Kalan

[5:26] That's a chunk.

[5:26] You're thinking of an American in Paris.

Dan McCoy

[5:28] Yeah, that's right.

[5:28] There's a big chunk in the middle.

Stuart Wellington

[5:30] Is it like the end of the Takeshi Kitano Zatoichi movie, where all of a sudden everybody

[5:36] breaks into a dance?

[5:37] That's just one dance.

Elliott Kalan

[5:37] That's just one dance scene.

[5:38] Okay.

[5:38] But it's more dancing than Singing in the Rain, but less dancing than Invitation to the

[5:43] Dance, the all-dance movie that Gene Kelly did.

[5:45] I haven't seen those movies.

[5:47] Well, you haven't seen Singing in the Rain?

[5:50] Not that I can remember.

[5:51] Oh, okay.

[5:51] What am I missing?

[5:53] Like fun.

[5:54] Like pure fun.

[5:55] But anyway, should we talk about what was in this movie?

Dan McCoy

[5:57] Let's please talk about the plot, because Elliot has been informed by friends that we do

[6:01] not clarify the plot enough up top.

Elliott Kalan

[6:03] People are too...

[6:04] They think it's too much of a mystery, what we're talking about when we talk about...

[6:08] What we talk about when we talk about love.

[6:09] ...27 dresses.

[6:10] Oh, I didn't understand what was going on in the movie, what with all the dresses and

[6:13] everything.

[6:14] You didn't cover it well enough.

[6:15] So who wants to summarize?

[6:17] I'll do it.

Stuart Wellington

[6:17] Okay, so there's this girl who is...

[6:20] Her name's Andy.

Dan McCoy

[6:21] Yeah, and she's part of a...

[6:22] It is?

[6:23] I never caught that once.

[6:24] Yeah, yeah, yeah.

[6:25] Her name's Andy.

Elliott Kalan

[6:25] An hour and 40 minutes.

[6:26] But her friends call her Dee.

[6:28] Dee.

[6:28] Okay.

[6:28] She's the only girlfriend's nickname.

Stuart Wellington

[6:30] So she's part of a dance crew in inner city Baltimore, and they do all kinds of wacky

[6:35] dance stunts.

Elliott Kalan

[6:37] Her...

[6:37] Yeah, the movie opens with them prank dancing on a subway car, where member after member of

[6:43] this dance crew takes off their everyday person costume and does annoying dancing that irritates

[6:49] people who are trying to get home from a hard day at work.

Stuart Wellington

[6:52] Mainly people just seem surprised.

[6:53] It's not like when people are dancing on the subway when I'm on the subway, and I just try

[6:57] and like...

[6:57] I lift up my book or magazine and try and read it.

[7:00] You can't see them.

Dan McCoy

[7:01] We're already defeating the purpose of summarizing up top.

Elliott Kalan

[7:04] Well, no, we're explaining this scene.

Stuart Wellington

[7:07] So she's part of this dance crew, right?

[7:08] And apparently they are like public enemies number one because of the fucking news has

[7:15] like a story.

[7:16] Oh, yeah, they do it.

[7:17] A wave of dance crime.

Elliott Kalan

[7:18] That never really got picked up again, that dance crime storyline.

[7:21] Yeah, it's okay.

Stuart Wellington

[7:22] So, and her mom...

[7:24] No, her mom's dead, so...

[7:26] So this is her mom's best friend.

[7:28] Yeah, it's like...

[7:28] It's her guardian.

[7:28] Yeah, it's her guardian.

[7:29] And she's like, well, if you don't shave up, I'm going to make you move to Texas, which

[7:34] obviously...

[7:35] Where there's no dancing.

[7:35] Yeah, there's no dancing at all.

Elliott Kalan

[7:37] Except for the boot scootin' boogie, and she does not want to do that.

Stuart Wellington

[7:39] Yeah, she made that pretty clear early on in the film.

[7:42] So one of her friends is like, yo, if I beat you in a dance battle, then you're going to

[7:47] have to go to the Maryland School of Arts.

[7:48] And she's like, F that, dog.

Dan McCoy

[7:51] That's what tough dancers are always trying to get people to do.

[7:54] They're like, I'm going to trick you into higher education.

Stuart Wellington

[7:57] You got served.

[7:59] Matriculate.

[7:59] Yep.

[7:59] So after a few servings, she goes to the...

[8:04] She ends up enrolled in the Maryland School of Arts, where, you know, of course, the teachers

[8:09] frown upon her street styles.

[8:12] And then somehow she gets kicked out of her old dance crew.

[8:14] She forms a new dance crew with the nerdy kids at her school, including some of the rich

[8:19] white kids at her school.

[8:20] Who are all amazing dancers.

[8:21] Who are all amazing dancers in their own kind of special way.

[8:25] And then when they try to enter the world of underground street dancing, they get frowned

[8:30] upon and they get served pretty hardcore.

[8:33] Yeah.

[8:33] And then they end up breaking up because she gets kicked out of school.

[8:38] And then somehow they all come back together for the big final dance off and then win the

[8:41] day.

[8:42] And then there's making out.

Elliott Kalan

[8:43] Yeah.

[8:43] And they convince the head of the school who stops by and watches them dance in the rain

[8:47] to, for a crowd of thousands.

[8:49] Yeah.

[8:50] It seems that she should be let back into the school.

Stuart Wellington

[8:52] Yeah.

[8:53] And, well, and he originally goes to the dance competition to like break it, to put a stop

[8:58] to this.

[8:58] Yes.

[8:59] Which, of course, he doesn't.

[9:00] Instead, he finds.

[9:01] It's a dangerous dance competition.

Elliott Kalan

[9:02] He is maybe the whitest character I've ever seen in a film.

Stuart Wellington

[9:05] Yeah.

[9:05] He finds, you know, he finds a spot in his heart for street dancing.

[9:08] And, once again, just in time for all the characters to pretty much start making out in

[9:13] the rain.

[9:14] Yeah.

[9:14] Which is just how I like all movies to end.

Dan McCoy

[9:16] Well, there are two strands of modern dance movies.

[9:19] And I honestly think that every dance movie made post-1980 is either one or the other

[9:26] plot.

[9:27] And they haven't discovered how to work dancing into other plots.

[9:30] And that's the Footloose plot, where dancing is not allowed, but some rebel just has to

[9:36] dance.

[9:37] And often this rebel has been sent there from someplace where there is a lot of dancing.

[9:42] Sure.

[9:43] And so they want to continue their dancing ways.

[9:45] Danceylvania, if you will.

[9:46] And, you know, this movie starts out, you think it's going to be that one, because

[9:49] there's talk of her being sent to, you know, to Texas.

[9:53] That's a red herring, though.

[9:54] And then there's the flash dance school, where someone uses their street dancing or unconventional

[10:01] dance skills to shake up the stuffy world of dance.

[10:04] And that's definitely what this film is.

Elliott Kalan

[10:06] Okay.

[10:07] What I'm glad about is that they're finally showing that breakdancing can be culturally

[10:13] acceptable dancing, too.

[10:15] A mere 20 years after that case had been made to the general public already.

[10:19] Sure.

[10:19] Right.

Stuart Wellington

[10:19] What I like is that it shows that...

Elliott Kalan

[10:21] It's like a movie where, like, a rock star proves to a classical music conductor that

[10:26] rock music can be music, too.

[10:28] And it's like, oh, okay.

[10:29] I mean, I thought that was established, like, 35 years ago.

Stuart Wellington

[10:32] It's not just that it's also music or also an acceptable art form, but in many ways, it's

[10:36] better.

Elliott Kalan

[10:37] Yeah.

[10:38] Well, that's the unspoken assumption that I hate in these movies, where it's like, old

[10:42] culture, boring.

[10:44] This is the new stuff, and therefore, it has evolved into this.

[10:47] Yeah.

Dan McCoy

[10:48] Well, and you know what?

[10:48] In this sort of, like, strain of dance film, there's usually that thing where, oh, I can

[10:53] use ballet in my breakdancing.

[10:56] Yeah.

[10:56] And that will improve it.

[10:57] That's like, that's their, like, sop to that idea that other arts are valid.

Elliott Kalan

[11:02] Maybe the entirety of human history until this point isn't completely useless.

[11:06] Yeah.

[11:06] If it can help me in my breakdancing.

Dan McCoy

[11:08] And this film, breakdancing, trumps it all.

[11:10] Mm-hmm.

Stuart Wellington

[11:10] It reminds me a lot of the movie Flatliners, where the...

[11:14] I can't wait to hear this parallel.

[11:16] Where the med students decide to figure out a way to, you know, beat death using their

[11:22] own brand of new science.

[11:25] And how old science is bad.

[11:27] Because old science is the only reason why people die.

[11:30] Kevin Bacon was about to be kicked out of school.

Elliott Kalan

[11:32] That movie stops being interesting about halfway through it, because it's like,

[11:36] we're going to stop our hearts and then start them up again.

[11:39] Like, that's kind of an interesting to see what happens.

[11:41] But the ghosts of the people you wronged in the past come and get you is not really a logical

[11:46] problem.

[11:46] Well, but also, it's one of those horror movies.

[11:47] In a really boring way, too.

Dan McCoy

[11:49] In a really boring way, yeah.

[11:50] It's one of those horror movies where the antagonist ultimately is shown to be trying to help.

[11:56] Like, this is my least favorite type of horror movie.

Elliott Kalan

[11:58] It's like, oh, I shouldn't have been scared all along.

[12:01] That's my problem with the sixth sense is, wait a minute.

Stuart Wellington

[12:04] There was no danger ever at any point ever.

[12:08] That ghost was just trying to show me the giant hoard of treasure under the house.

Elliott Kalan

[12:13] We're rich.

[12:14] Yay!

[12:15] Thanks, ghost.

[12:15] Now I can finally fund my unrealistic business idea.

[12:18] Time to build a ghost mansion.

[12:21] Like a Beetlejuice or something.

[12:23] Wait a minute.

[12:23] This ghost just wanted to be famous.

[12:26] Let's invite other people to our ghost house.

[12:28] Yay!

Dan McCoy

[12:29] That sounds great.

[12:30] That's the story of the haunted mansion.

Stuart Wellington

[12:32] And so that's kind of what I learned about, that's kind of what I learned from watching

[12:35] Step Up 2, The Streets, was that new dancing is way better than old, fuddy-duddy ballet

[12:43] dancing.

[12:44] Ho-hum.

Dan McCoy

[12:45] Well, now that we've given the...

[12:46] As the kids would say, ho-hum.

[12:49] Now that we've given the overview, I feel like we can circle back and get into a little more

[12:52] detail.

[12:53] And certainly it's a very strange, as we said, beginning where the guy serves the girl

[13:00] into the Maryland School of the Arts.

[13:04] I'm just impressed they're in it.

[13:04] And he disappears from the film.

[13:06] He pulls his hood on his hoodie back up over his head and walks away like a dance angel.

[13:10] His work was done.

[13:11] What I like...

[13:12] It's like Paul Hogan, not quite an angel.

Elliott Kalan

[13:15] We haven't talked about the main location of this movie, which is a club called The Streets,

[13:18] which represents the streets.

[13:20] If I was doing the play sets for this film, there would be three of them.

[13:24] There would be Andy's house, where she argues with her mom.

[13:27] Mom and sister figure come with that set.

Dan McCoy

[13:30] Who, by the way, is played by Kima, or the actress who played Kima in The Wire, which is

[13:34] funny because this movie takes place in Baltimore.

[13:37] Sunny Baltimore.

[13:37] So I like to think that Kima's job is still a cop.

Elliott Kalan

[13:42] Charm City.

[13:43] Then the second setting would, of course, be the school, school play set, which would

[13:48] come with ballet accessories.

[13:49] And the third would be this club, The Streets.

[13:51] And what's amazing about it is they had the foresight to have a floor with removable panels,

[13:55] and underneath are trampolines for double awesome dance moves.

[14:00] And I know what you're thinking at home, too.

Dan McCoy

[14:02] You're like, a dance with trampolines?

[14:05] That sounds awesome.

[14:06] I'm going to run out and rent, step out to, step up to the streets, step out to the streets.

[14:11] Step out to dinner.

[14:13] Step out to a show.

[14:15] Why don't we step out to the streets tonight?

[14:18] Let's step it out to the streets.

Elliott Kalan

[14:21] Let's step out to the streets.

[14:23] Hey, Billy, where you going?

[14:25] I hear the streets is pretty good.

Stuart Wellington

[14:26] You know, the thing about that trampoline dance is that it could have been accomplished

[14:31] if they just put mattresses on the floor.

[14:33] It's not like they did.

[14:33] No, it's not an exciting dance at all.

[14:35] It wasn't really interesting.

Elliott Kalan

[14:36] And it kind of would have been cooler with mattresses because it would have been like,

[14:39] there would have been a homemade aspect to it.

[14:41] Sure.

[14:41] Like, oh, okay, they brought these old mattresses that they found to this warehouse site,

[14:45] and that's the club.

Stuart Wellington

[14:46] Yeah, it's like a junk band that plays like an old washboard.

Elliott Kalan

[14:50] Exactly.

[14:50] It's like a junkyard band where the base is just a string on a broomstick attached to a bucket.

Dan McCoy

[14:56] What you don't realize is that they actually built the club on an abandoned trampoline.

[15:02] And so they discovered, they were tearing up the floor.

[15:04] They were like, oh, man, there's a trampoline out there.

[15:06] We should just leave it in.

Elliott Kalan

[15:07] There's an ancient Indian moonwalk bounce graveyard.

[15:11] An ancient Indian trampoline.

Stuart Wellington

[15:12] Those trampolines are actually dream catchers.

[15:15] Dream bouncers.

[15:16] Yep, dream bouncers.

[15:17] I don't like this dream.

[15:18] Send it away.

[15:19] Boing.

[15:20] And then they use hip-hop music to take the dream up into the stars where the angels create them.

Elliott Kalan

[15:26] Now, the plot itself of this movie is pretty pro forma.

[15:30] I think what it comes down to is the dancing.

[15:32] That's why you watch this thing.

[15:34] A lot of classic musicals, you're Sarah Rogers, you're Gene Kelly.

[15:37] Like, the reason you go see them is the dancing in a lot of ways more than the movie.

[15:42] Like, if the movie around the dancing is good, it's kind of a bonus.

[15:45] It's like a martial arts film.

[15:46] Exactly, or a martial arts film.

Dan McCoy

[15:47] You go for the fighting.

[15:48] Or a Marx Brothers movie where you don't care about the romantic leads.

Elliott Kalan

[15:52] Well, I would say that's a little different.

Dan McCoy

[15:54] What?

[15:55] You're going there for the Marx Brothers, and then there are all these scenes of...

Elliott Kalan

[15:58] But in theory, that movie is mostly Marx Brothers.

[16:02] In theory.

[16:03] Like, the romantic leads are an addition.

[16:05] They're not...

Stuart Wellington

[16:05] Yeah, I think what we're talking about is this movie is like a martial arts movie in that

[16:09] every scene, you can imagine the screenwriter's like,

[16:12] okay, how can I get everybody to start dancing?

Elliott Kalan

[16:17] Exactly.

[16:18] I know, a dance challenge.

[16:21] The dancing is the chocolate inside of the candy shell,

[16:24] but the candy shell here doesn't matter.

Stuart Wellington

[16:26] It's what I'm guessing the high school musical movies are like,

[16:29] but I haven't watched those yet.

Dan McCoy

[16:30] High school musical movies are actually much more like a classic musical.

[16:35] I saw the first one, because I was like...

[16:37] Sarah, my wife, and I were curious.

[16:39] We're like, huh, what is this high school musical that's sweeping the nation?

[16:44] And tweens, I don't get it.

[16:46] All you tween listeners to the Flophouse, write in and explain high school musical.

[16:51] Sure, if there are any.

[16:52] And also explain...

[16:53] Write in and make us feel weird about having tween listeners.

Elliott Kalan

[16:55] Why in Hannah Montana is Miley Cyrus, the alter ego of Hannah Montana,

[17:00] rock and roll superstar, but her dad is Billy Ray Cyrus, country music superstar?

[17:05] Why does she have to hide her identity?

[17:07] Yep.

[17:08] And Twilight.

[17:10] What's the deal?

Stuart Wellington

[17:11] Yeah, why...

[17:12] Wait, are they of age?

[17:15] They're high school students.

[17:17] They're high school students, so they are not leading.

Elliott Kalan

[17:18] Last time I checked vampires, it was better when they had sex with people.

[17:22] Yeah.

[17:22] Let me just tell you that.

[17:24] Yeah.

[17:24] Enough said.

[17:25] Can you imagine the movie The Hunger with no sex in it?

[17:29] I can't.

[17:30] Or, uh...

[17:31] Marvel bullpen.

[17:32] The Vampire.

[17:32] Embrace the Vampire.

[17:33] Or Embrace...

[17:34] Wait, Embrace the Vampire.

[17:35] Yeah.

[17:36] Embrace with Alyssa Milano, you're saying?

[17:38] And, uh, Jennifer Tilly.

[17:39] For a second I thought you meant, uh, Shadow of the Vampire.

[17:42] With, uh...

[17:43] There's a lot of sex in it.

[17:43] There's no sex in it.

[17:45] Just...

[17:46] It's applied.

[17:47] Oh, I gotta see that.

[17:48] That's a movie I haven't seen in a long time.

[17:49] I should see.

[17:50] That's pretty good.

[17:50] But anyway, step up to the dance.

Dan McCoy

[17:50] But I think that what you were trying to get at was that the dancing in this was not that exciting.

Elliott Kalan

[17:54] It is very subpar.

[17:56] Like my golfing should be if I practiced more.

Dan McCoy

[17:59] Now, uh, one might think through Elliot's, uh, you know, name-checking of, uh, Gene Kelly and, uh, Astaire and Rogers.

[18:07] That he is...

[18:08] Ruby Keeler.

[18:08] He is simply an old-before-his-time, uh, crank.

[18:12] And you'd be right.

[18:13] You'd be 80% right.

[18:15] But as someone who, uh, with his wife, watches and unironically enjoys, um, So You Think You Can Dance.

[18:23] Only partly because it has a lot of hot women in tights.

[18:27] This is not good dancing.

[18:28] You could see better dancing on any episode of the aforementioned show than you would in the movie.

[18:33] Or America's Next.

[18:34] In any episode of The Wire, you would see better dancing on this show.

Stuart Wellington

[18:37] McMulty popping and locking all over the place.

[18:40] Crumping.

[18:41] That's the type of dancing, I think.

Elliott Kalan

[18:43] Here's the, the, the problem with, with a lot of the dancing in, uh, Jump Up to the Streets second edition.

[18:48] Sure.

[18:48] Is, uh, it's like, it doesn't...

[18:51] You actually got the title wrong there.

[18:52] Oh, wow.

[18:52] Did I?

[18:53] Don't worry about it.

[18:54] Just keep going.

[18:55] Don't break the moment.

[18:56] Oh, crap.

[18:57] This is, now everyone knows I'm not a professional.

[18:58] Just keep going.

[18:59] Okay.

[18:59] No one will notice.

[19:00] The, is that the dance, like, the dancing is not, enjoy, it's like almost not enjoyable to watch.

[19:05] It's not very fluid.

[19:07] It's a, and that might be just this style of dancing.

[19:09] Workmanlike.

[19:10] Yeah, workmanlike, or it seems like you're watching stop motion animation that, like, not a lot of care was put into.

[19:16] You know?

Dan McCoy

[19:16] I mean, it is that style of dancing.

Elliott Kalan

[19:18] It's, it's, it's, the style of dancing, the purpose of it is to show that you can, show how much control you have over each individual part of your body as opposed to, like, losing yourself.

Dan McCoy

[19:26] I mean, that can be actually amazing, but, like, they don't really give it time to, like, be like, oh, man, my breath is being taken away, but what the human body can do.

[19:35] Yeah.

Stuart Wellington

[19:36] I actually cannot, cannot apply any kind of judgment to the quality of the dancing, other than it was awesome.

Elliott Kalan

[19:45] The other thing, of course, about this dancing, the reason that she gets kicked out of her dance crew is because she keeps missing rehearsals and things like that.

[19:52] And at a certain point, you're like, wow, these young kids are putting a lot of work into their dancing.

[19:58] Yeah, really organized.

[19:59] Like, it's really organized and really strict, and it doesn't seem, like, fun.

[20:02] It just, it's like a movie about, like, a young kid where, like, sports is the only way he's going to get out of the inner city, so every day he's out there playing even when he doesn't want to.

[20:11] Like, that's how it feels about dance.

Dan McCoy

[20:12] Right, but it doesn't seem to be building towards any goal.

[20:15] No.

Elliott Kalan

[20:15] They're not trying to get work as dancers, you know, or.

Stuart Wellington

[20:18] Well, it's not, and, like, her, and her stepmom or whatever is like, I'm going to send you to Texas.

[20:22] It's not like she's been, like, sitting around in her sweatpants, like, smoking weed or something.

Elliott Kalan

[20:26] No, she's been practicing dancing day and night.

Stuart Wellington

[20:28] She dances all the time.

[20:30] Like, it's.

Dan McCoy

[20:30] A dance is going to get you into trouble someday.

Stuart Wellington

[20:32] Exactly.

[20:32] That's the thing.

[20:33] It's a gateway drug to other movements.

[20:34] She's going to dance her way into the prison or something.

Dan McCoy

[20:37] But it feels like.

[20:38] Once you dance your way into prison, the guards close the door.

[20:41] There's one scene.

Elliott Kalan

[20:41] You can't get back out.

[20:42] There's one scene where one of the music school kids is beaten up by the old dance crew.

[20:48] And if it wasn't for that scene, you'd think this movie took place in a universe where violence was entirely through dance.

[20:55] Like, people only fought and killed each other in dancing and gangs were all dance gangs.

[20:59] In Baltimore, no less.

[20:59] In Baltimore.

[21:00] The murder capital of America.

Stuart Wellington

[21:03] But it seems like.

[21:03] Even them beating him up felt a little bit like they were dancing.

[21:06] Like, there was a little too much, like, hopping around before they punched.

[21:09] They snuck a little dancing into that.

Dan McCoy

[21:11] Well, but also, without the beating up scene, you'd be kind of like, huh, this is a strange formula for a movie where we're asked to cheer on the snobs from the rich art school versus the street dancers.

Elliott Kalan

[21:22] Yeah, the message was very much that art school students are oppressed as opposed to minorities who, I guess, their only outlet is dance.

[21:30] Right.

[21:30] I mean, the only way that they made that.

Dan McCoy

[21:32] Or selling heroin on the street.

[21:33] The only way they made that work.

[21:34] I don't know if that's really an outlet.

[21:35] But, you know.

[21:36] Is to have, like, the leader of the dance crew just be a total dick.

[21:40] Like, he's like, what?

[21:42] You've been going to the Maryland School of the Arts behind our back?

[21:45] You're out of the crew.

[21:46] And then he's just a jerk every time he shows up in the movies.

Elliott Kalan

[21:49] It's amazing how uncongratulatory her friends were about her getting into a prestigious academy and maybe making a career out of her, you know, her one talent.

[22:00] Well, you know, they're big.

[22:01] Because it wasn't acting.

Stuart Wellington

[22:02] Oh, ah, knee, ooh, meh, and so forth.

[22:07] Other comedy sound effects.

[22:09] Et cetera.

[22:11] Hey, what was that movie with Eminem in it?

[22:14] Eight Mile?

[22:15] Yeah, that's what this movie was a lot like.

[22:17] But it was a dance version.

Dan McCoy

[22:18] Except for Eight Mile was directed by Curtis Hanson, so it was a lot better than it had to be.

Elliott Kalan

[22:23] Yeah, director of Payback.

Stuart Wellington

[22:25] He didn't direct Payback.

[22:26] Somebody else directed Payback.

Elliott Kalan

[22:28] Who directed Payback?

[22:29] Oh, jeez.

Stuart Wellington

[22:29] I don't remember his name, but I just watched the director's cut of that.

[22:32] Brian Haglund, I think.

[22:34] Oh, Brian Haglund.

[22:34] That's what I'm thinking of.

[22:35] I watched the director's cut of that, and it was really crappy.

[22:40] So earn on you, Brian Haglund.

[22:42] Mel Gibson made a better movie.

Dan McCoy

[22:44] Yeah.

[22:45] Writer of L.A. Confidential.

Elliott Kalan

[22:47] Oh, that's why I got them mixed up, because of the L.A. Confidential version.

[22:50] Yeah, right, right, right, right, right, right, right, right, right, right.

[22:52] But Eight Mile is like a rap version of this.

[22:55] Yeah, that's what I was trying to say, right?

[22:57] And just like Heat, they're always working on their dance moves on the subway.

[23:00] You said just like Heat?

[23:01] He's always working on his rhymes on the bus.

[23:02] What?

[23:02] Just like Heat?

[23:03] No, I didn't say that.

[23:04] Oh, okay.

[23:04] I said just like there, always.

[23:06] Oh, okay, that makes more sense.

[23:07] I don't know how Heat came.

[23:08] It is a lot like Heat, though.

[23:09] I was maybe...

[23:10] Because the scene where they finally, the two teams finally meet up is just like when Al Pacino

[23:14] and Robert De Niro finally sit down together.

Dan McCoy

[23:15] Yeah, and then there's that big automatic weapon bank robbery in the middle of this movie.

Elliott Kalan

[23:20] That was surprising.

[23:21] Yeah.

Dan McCoy

[23:22] Most entertaining part of it, though.

Stuart Wellington

[23:24] And it was like 30 minutes long or something?

[23:27] 40 minutes?

[23:28] Exciting.

[23:29] Electric.

[23:30] So, yeah, there weren't nearly enough montages in this movie.

[23:33] I was expecting there to be one.

[23:33] I think there were only about three.

[23:35] I was really disappointed that there wasn't when the rival, you know, the actual inner

[23:40] city dance crew shows up and as payback for...

[23:44] There's payback again.

[23:45] Oh, weird.

[23:46] As payback for the art students, the art school students, like burn on them by like putting

[23:52] an old fish in that one guy's apartment.

[23:55] They try to get back at the art school students by just like fucking up their dance studio.

[24:00] Yeah, they spray paint everywhere.

[24:02] Nothing's over.

[24:03] I was really, really hoping there was going to be a montage.

[24:06] A cleaning up montage?

[24:07] Yeah, because they had like...

[24:08] Because their teacher's like, I expect you guys all to clean this up.

[24:11] Yeah.

Dan McCoy

[24:12] Like, that's weird.

[24:13] And that's when everyone from the neighborhood should pitch in.

[24:15] Yeah.

[24:16] Yeah, absolutely.

[24:16] Just like in Sister Act.

Stuart Wellington

[24:18] Yeah.

[24:19] Or that one, the main character's one inner city friend who doesn't really go to the school,

[24:23] but she seems to hang out with him a lot.

[24:25] I think she's auditing classes there.

[24:26] Yeah, she should be there too and helping.

Elliott Kalan

[24:28] Yeah, she is part of the problem.

Dan McCoy

[24:29] Now, Stuart mentioned some dead fish a moment ago.

[24:32] This bears circling back and explaining.

[24:36] Oh, okay.

[24:36] After they get served...

[24:37] I thought I did a pretty good job, actually.

[24:39] After...

[24:39] No.

[24:41] You didn't explain it at all, actually.

[24:43] After the...

[24:44] The rich kids get served.

[24:45] The good guys get served.

[24:47] They learn that the only way to, say, challenge these guys to another dance to get their rep

[24:55] back is to prank them.

[24:57] On video.

[24:58] And by putting it on the internet, where it will, of course, immediately get back to...

[25:02] Spread like wildfire.

[25:03] Yeah.

[25:04] I think his name was Tuck.

[25:05] The biggest viral videos are the dance viral videos.

[25:09] It's the ones I always look at on the internet.

[25:11] Yeah.

[25:11] And they immediately...

[25:13] It appeared to get back to them within the afternoon, once they posted it.

Elliott Kalan

[25:17] Well, it was probably on the dance message board.

[25:20] Yeah.

[25:21] But what happened is...

Stuart Wellington

[25:21] The video clip was right next to the one where the monkey pees in its own mouth.

Elliott Kalan

[25:25] You know, shit like that.

[25:26] The hamster eating popcorn on the piano.

[25:28] Sneezing panda.

[25:30] But...

[25:31] And it was called, OMG, check out this prank dance.

[25:34] Yeah.

[25:34] The prank was spelled P-R-N-K.

Dan McCoy

[25:36] And the prank was done by putting on odd costumes and dancing behind the guy.

[25:41] While he obliviously went about his business.

[25:43] Yeah.

[25:43] And then they broke into his house and just put a couple fish in...

[25:48] I think just one fish.

[25:49] In the air duct.

[25:50] A couple, I think, is...

[25:51] That's hyperbole, dude.

[25:52] Yeah.

[25:52] There were two of them.

[25:53] I think there was just one.

[25:54] Yeah.

[25:55] Maybe your glasses were on.

[25:56] Maybe they double edited it.

Elliott Kalan

[25:57] You might be confused by the fact that fish is both singular and plural.

[26:01] Yeah.

[26:02] That's it.

[26:03] I was reading the movie.

[26:04] It was the problem.

Stuart Wellington

[26:05] They also danced a bunch in this guy's apartment.

[26:08] In his house?

[26:09] Apartment?

[26:09] Yeah.

[26:10] It's really...

[26:10] It's one of those Baltimore row houses.

[26:12] They really seemed comfortable in the space.

[26:14] Yeah.

[26:14] They must have really planned this one out.

[26:16] Yeah.

Dan McCoy

[26:16] As soon as the guy saw the video, he angrily overturned his computer, smashing it, and

[26:22] then went over to the air duct to confirm that there were, in fact, fish in it.

[26:25] He didn't smell the fish at that point.

[26:27] No, he walks in...

Stuart Wellington

[26:28] When he walks into his apartment, he says, this place smells terrible.

[26:31] I believe he says it smells like Funyuns and armpits or something.

[26:35] Something like that.

[26:35] Or fungus.

[26:36] Something like that.

[26:36] I think he said Funyuns.

[26:37] I'm going to imagine he said Funyuns.

Elliott Kalan

[26:39] In my opinion, the real hero of this movie...

[26:41] You're going to lose us our Funyun sponsorship.

[26:43] I love Funyuns.

[26:45] The real hero of this movie is the director of the Academy, who seems to be about 30 years

[26:50] old, and yet is the director of an arts academy and a dance professor.

[26:54] Maybe he's just the director of the dance program.

[26:57] And his family, I guess, founded the school.

[26:59] Sure, yeah.

[27:00] But just the fact that he fought his way to that position at such a young age, I find

[27:03] really impressive.

[27:04] Even if he is the stern, you know, ultra-white.

Dan McCoy

[27:07] And he's like the brother of our romantic lead.

Elliott Kalan

[27:09] Yeah, and it's so lonely at that point.

[27:11] You know, like, he has nobody in his life.

[27:13] Exactly.

[27:13] He spends all his time at the school.

[27:15] He gives it his everything.

[27:16] Exactly.

[27:17] His whole life.

[27:18] And he's going to die alone, and they're going to just put a bust of him up in the hallway

[27:21] or something.

Dan McCoy

[27:22] He has some sort of indeterminate European accent, too.

[27:26] I think it's just snoot.

Elliott Kalan

[27:27] Which, uh...

[27:28] He has a snootish accent.

[27:28] Well, but his brother doesn't have it.

[27:30] Yeah, because his brother is of the people.

[27:31] I see.

[27:32] They're separated at birth, I guess.

[27:33] Oh.

[27:34] Sure.

[27:34] It's like Double Impact.

[27:35] It's like the prince in the popper.

[27:37] Yeah.

[27:38] Well, Double Impact is basically the Van Damme prince in the popper, so yeah.

[27:43] I think that just told us a lot about both of you right there.

[27:46] What your minds went to right away.

Stuart Wellington

[27:49] So yes, Double Impact, the dance version, features the one brother who's of the people

[27:54] of the streets, and then the other brother who's kind of snooty.

[27:58] He would be the FBI agent character.

[28:00] He'd be the...

[28:01] He'd be Tango.

Elliott Kalan

[28:02] He'd be Ray Tango.

[28:02] Absolutely.

[28:03] Thank you for vocalizing that for me.

[28:06] I knew it's what you were thinking almost immediately.

[28:08] He would be Sylvester Stallone in Tango and Cash.

Stuart Wellington

[28:11] I'm so transparent, yeah.

[28:12] So yeah, and he's got nothing.

[28:13] Like, you mentioned a bust of him.

[28:15] Like, if he does die, like if he dies, going to a street dancing competition, gets stabbed.

Elliott Kalan

[28:20] There's going to be a portrait of him in the hallway.

[28:23] It'll be like...

[28:24] Trivializing.

Stuart Wellington

[28:24] Like the bust of Jon Voight's character in the Bratz film.

Elliott Kalan

[28:28] Well, see, that was a symbol of his own vanity.

[28:30] That was unearned.

[28:31] That's why I was smashed.

[28:32] Yeah, and smashed.

[28:33] Maybe I'm wrong then.

[28:34] That's why it was so easy to smash, because they were trying to tell us that all vanity is hollow.

[28:38] Yeah.

[28:38] And to live is to live for others and not for oneself.

[28:41] I'm sorry.

[28:41] That was the motto of the Bratz movie.

Stuart Wellington

[28:44] I shouldn't have brought up the Bratz movie.

[28:46] It's derailing everything.

Elliott Kalan

[28:47] I was trying to explain to somebody recently why the Bratz movie is on the top of our scale, and I couldn't quite get it across in a way that they understood.

[28:55] Oh, there are two things I wanted to bring up.

[28:58] One was our main character, heroine.

[29:01] She rallies the other people at the streets warehouse to her side with an inspiring speech.

[29:06] Sure.

[29:07] About how dance is about bringing together all of what you got and coming together with other people, which seems the exact opposite.

[29:14] The point of dance in the movie seemed to be to show off and make other people impressed at your talents.

Dan McCoy

[29:19] And I know that it's a movie cliche, so I shouldn't harp on it too much, but she does manage to turn the audience from jeering loudly at her to applauding for her in the space of 20 seconds.

Elliott Kalan

[29:31] And following her into the rain outside to watch her dance.

[29:35] Yeah, she says that...

[29:36] I think you're looking for an excuse, frankly.

Dan McCoy

[29:38] She says...

[29:39] It's really hot in there.

[29:40] Oh, if they're not going to let us dance in here, we're going to go outside and dance in the rain.

[29:45] But by that time, she's won over the entire crowd, so they really could have stayed inside.

[29:49] Yeah.

[29:50] I think that was really calculated.

Stuart Wellington

[29:52] A puppet master rests.

[29:54] Yeah.

[29:55] A puppet mistress?

[29:56] I knew that wet shirts could only help their cause.

Elliott Kalan

[29:59] Yeah.

[29:59] Wet half shirts.

[30:01] Yeah.

[30:01] She never wore a full shirt.

[30:02] The answer is yes, it did, actually.

[30:03] The shirts she was wearing, to a certain extent, would shrink.

[30:07] It was like the top and the bottom were going in and trying to meet each other in the middle.

[30:11] It's almost like a set of eyebrows.

Stuart Wellington

[30:13] Like, the more serious she is, the smaller that top is, that tube top she has.

Elliott Kalan

[30:19] A lot of cleavage and a lot of belly.

Stuart Wellington

[30:21] Yeah, and by cleavage, I mean, she's a dancer, so...

[30:24] No, she had a fair amount of...

[30:26] I think a lot of that was CGI or something.

[30:29] All right, let's not linger on our leading ladies.

[30:32] But the other thing was...

[30:33] But that's the movie poster, dude.

[30:34] I'm not lying.

Elliott Kalan

[30:36] The movie poster is just a close-up of her cleavage.

[30:39] Yeah, covered in water.

[30:40] It's called National Lampoon Step Up to the Streets.

[30:43] And the other thing was, there's one...

[30:46] Like, looking back on it, the one scene that seemed like it could have been in a much better movie

[30:50] was they go to...

[30:52] The girl who's...

[30:53] Her friend who's in the old dance crew and comes and helps them out is Hispanic.

[30:58] And they go to her family's house for a barbecue.

[31:00] And it's just them kind of interacting.

[31:02] There's very little dialogue.

[31:04] There's them just interacting with her family in the backyard of this barbecue.

[31:08] And that was the one scene where I was like, I'd like to see an actual version of this scene

[31:13] that isn't just dancing.

[31:15] Where it's them meeting people from...

Dan McCoy

[31:17] Little fish-out-of-water elements.

Elliott Kalan

[31:19] Exactly.

[31:19] But also, maybe they're wary of each other at first.

[31:23] The snooty kids have never eaten spicy food, maybe.

[31:26] And then, you know...

[31:27] And then the mom dances with this other...

[31:29] Like, for ale?

[31:29] Spice.

Stuart Wellington

[31:29] Pork dish.

[31:31] Spice, so ethnic.

[31:33] Yeah, this isn't bland.

[31:34] What are you serving?

[31:35] Jane, you brought this up while we were watching the movie.

[31:37] But I think what's funny about it, and I think a little bit telling about this movie,

[31:40] is that the most sympathetic character, and the character that I like the most clearly,

[31:45] is the ex-girlfriend of the romantic lead, the ex-girlfriend...

[31:50] Who's set up to be a bitch at first.

[31:52] Yeah, who's set up to be a bitch, but nothing she does in the entire movie

[31:55] is anything other than, like, totally normal and, like, understandable.

Elliott Kalan

[32:00] If she wasn't supposed to be the bitch because she's the ex-girlfriend,

[32:03] she would come across as the outsider girl who's trying to be supportive and make new friends.

[32:08] Yeah.

[32:09] And, like, tags along and ultimately gets into the group, you know?

Stuart Wellington

[32:12] The nice girl who's pretty that, you know, isn't very good,

[32:15] in social situations, but, you know, she's up for it.

[32:18] Yeah, exactly.

[32:18] Yeah.

[32:19] And she ends up making out with the dork.

[32:21] First of all, she ends up making out with the dork before the two romantic, like,

[32:25] leaves end up kissing, which I think is interesting as well.

[32:28] Like, normally they do, like, you know, your hero and heroine kiss,

[32:31] and then they're like, hey, let's get a laugh from the dork and some other chick,

[32:35] like the dork and the hot girl kissing.

Elliott Kalan

[32:36] Well, I think, I assume the hero and heroine were always supposed to kiss

[32:39] as the final beat in the movie.

[32:40] Okay.

[32:40] Like, the screenwriter laid out his three-act outline, and he's like,

[32:44] Act 1, we gotta see them dancing on a subway car,

[32:47] and somewhere in the middle of Act 2, she gets kicked out of school,

[32:50] and then in Act 3 at the end, they kiss.

[32:51] And I'll just fill in the rest, man.

[32:53] With dance.

[32:53] And that's what he did.

[32:54] With dance.

[32:55] I want to see the script, because I imagine it just says,

[32:57] insert dance scene.

[32:59] Or, like, they dance their different...

[33:01] It's four pages long.

Dan McCoy

[33:03] So, for Step Up 3, that girl and the dork.

[33:06] Step Up 3, the streets.

Elliott Kalan

[33:08] I would think it'd be something else.

[33:10] Step Up 3, the affinus.

[33:11] It doesn't scan.

[33:13] There's no pun there.

[33:14] No.

[33:15] Step Up 3 to be you and me.

[33:17] Okay.

Stuart Wellington

[33:18] Sure.

[33:19] Step Up 3, the secret of the ewes.

[33:22] Step Up 3, man and a baby.

Elliott Kalan

[33:24] That was TMNT 2, also.

[33:25] That wasn't even...

[33:26] 3 was Turtles in Time.

[33:27] My mistake.

[33:29] Notice how easy it came to me that I said TMNT,

[33:32] instead of saying the full title out loud.

[33:34] It's a little uncomfortable.

Dan McCoy

[33:35] You're like, oh, those movies ruined Eastman and Laird's original vision.

Elliott Kalan

[33:40] Well, they'd already been bastardized by the cartoon and the Archie comic, you know.

[33:43] Sure.

[33:44] Their vision of getting rich quickly off of characters they created.

Dan McCoy

[33:48] It's a noble goal.

[33:50] So let's just go ahead and give this movie our final judgment and move on.

[33:55] Yeah, what is it?

[33:55] Final judgment.

Stuart Wellington

[33:59] My current affair sound effect.

Dan McCoy

[34:01] I'm working on that.

[34:04] I think it's approved over the vacation.

Stuart Wellington

[34:06] Thanks.

[34:06] So what are our categories again?

Dan McCoy

[34:08] Is this a movie that is a bad, bad movie?

[34:12] There's no merit.

[34:13] A good, bad movie.

[34:14] You enjoy it because it's humorously bad.

[34:17] Or a movie that you like in some way.

[34:20] Stuart, I'm going to turn to you.

Stuart Wellington

[34:22] Yeah, this is a bad, bad movie.

[34:24] There's really nothing very exciting about it.

[34:26] The dancing was subpar.

[34:29] Yeah, it wasn't that great, no.

Dan McCoy

[34:31] Yeah, I was on the verge of giving it a good, bad just because it sort of moves along at a good clip.

[34:36] That's true.

[34:37] Like your dance movies do.

[34:38] I mean, even though the dancing isn't good, there's a lot more energy in it.

[34:42] So it sort of, I don't know, it makes the cliched elements more enjoyable.

[34:47] But a really good, bad dance film is Break into Electric Boogaloo.

[34:52] Yeah, I was going to say, it's no Break into.

[34:53] That's the gold standard.

Elliott Kalan

[34:54] When they bring a man back to life in the hospital through dance.

[34:57] Yeah.

Dan McCoy

[34:58] If you haven't seen Break into and only know it through thousands of Electric Boogaloo jokes, you know.

[35:04] Do yourself a favor and see it.

[35:06] Go out and rent that.

[35:08] So that's my recommendation.

Elliott Kalan

[35:09] Is that a Golan Globus film?

[35:12] A what?

[35:13] Is that from the Golan Globus company?

[35:15] Oh, I don't know.

[35:16] Oh, if it is, it's the best movie they ever made.

[35:18] Except for Jim Cotta.

[35:19] Yeah, I think I'm going to agree with you guys.

[35:20] I kind of want to give it a better grade because it means well and it didn't take up too much of our time.

[35:26] But it is a bad, there are better versions of it.

[35:28] So I have to say it's a bad, bad movie.

Stuart Wellington

[35:31] There wasn't anything that is going to live past this moment of us talking about it.

Elliott Kalan

[35:36] No, yeah, I will not remember it.

[35:39] On the other hand.

Dan McCoy

[35:39] When historians write the story.

Elliott Kalan

[35:41] Of the Flophouse.

[35:42] Of the Flophouse.

[35:43] When we do the oral history of the Flophouse.

Stuart Wellington

[35:44] They'll be like, we have not been able to find any record of this movie existing.

[35:47] When James Lipton mentions this episode to us.

[35:49] Perhaps they made it up.

[35:50] We won't.

[35:51] When far in the post-apocalyptic future where scalds sit around the fire singing tales of the Flophouse to the younglings.

[35:59] Wait, skulls sit around the fire?

[36:01] Skalds.

[36:01] The skulls.

[36:02] Like the northern, the Norse tale tales.

[36:04] I was imagining skulls.

[36:06] When animated robot skulls sit around the fire.

[36:09] For some reason in the future we'll all be skulls.

[36:11] Trash can fire.

Elliott Kalan

[36:13] When the movie The Skulls sits around the fire and Joshua Jackson tells stories of the Flophouse.

[36:19] And Craig T. Nelson shows up to be a bad guy again.

[36:23] Oh, what a career Craig T. Nelson's had from Action Jackson to Flesh Gordon to Coach to The Skulls.

[36:29] To Turner and Hooch.

[36:30] To Turner and Hooch.

[36:31] And to the Pixar films.

[36:33] Yeah.

Dan McCoy

[36:34] Talented.

[36:35] So before we get on to our recommendations.

[36:37] Started as a voice actor, ended as a voice actor.

[36:39] Well, our special, this episode, recommendations segment.

[36:44] Our New Year's recommendations.

[36:46] We'll get to that.

[36:47] I have some emails that I'd like to read.

Elliott Kalan

[36:51] We get letters.

[36:52] We get lots and lots of letters.

[36:54] Are they all complaints again?

[36:55] Are you going to get sued by Paul Schaefer again?

[36:56] No.

Dan McCoy

[36:57] You jerk.

[36:59] The first one, actually, is completely just waxing our own car.

[37:05] This is from Alex's last name withheld.

[37:09] Is he related to what's your name?

Elliott Kalan

[37:10] We're helping to keep it safe from water damage.

Dan McCoy

[37:13] It says, just wanted to say thanks for all your work on the podcast.

[37:16] I absolutely love the show and look forward to every episode.

[37:19] Ziggy Link brought me in.

[37:21] A Ziggy Link.

Elliott Kalan

[37:22] Oh.

[37:23] Which Ziggy Link, huh?

[37:25] Like, we've done so many Ziggy things.

[37:27] We've been typecast already as the Ziggy podcast.

[37:29] Yeah.

[37:30] I'm getting so angry at someone who wrote a nice letter to us.

[37:34] I think you're more mad at Dan.

Dan McCoy

[37:36] Zcast.

[37:37] And I've never left.

[37:38] I'll try to keep spreading the word, voting on Podcast Alley, etc.

[37:41] Thanks again and please keep it up.

[37:43] This show is really the best hour of comedy out there, not including The View.

[37:47] Those bitches.

[37:48] Nice.

[37:48] What do we have to do to take them down?

[37:50] So is there a...

Elliott Kalan

[37:51] That was a...

[37:51] We need a sassy black lady.

Stuart Wellington

[37:52] Is there a...

[37:53] Is there like a Ziggy fan page or something?

[37:56] I hope so.

[37:57] And I want to find it.

[37:58] That we got links from?

Elliott Kalan

[37:59] We got a...

[37:59] Well, we were...

[38:00] We were on Docker.

[38:02] We were a brief zig-sation.

Dan McCoy

[38:03] Yeah, Elliot was a zig-sation.

[38:05] Well, but...

[38:05] Wait, what?

[38:07] He took the world by the storm.

[38:09] Zig-storm.

[38:10] Yeah.

[38:11] Okay, I don't remember this.

Elliott Kalan

[38:12] Let's move on.

[38:12] I want to say they mentioned all the work you do.

[38:15] I want to briefly make sure the audience knows that Dan does basically all of the work.

[38:20] When it comes to making this.

[38:21] He owns the recording equipment.

[38:22] He picks...

[38:23] He gets the movies for us to watch and he edits this and uploads it.

Stuart Wellington

[38:27] And sometimes he throws away my empty beer cans.

[38:29] Yeah, that you leave.

Elliott Kalan

[38:30] And Stuart just brings kind of like his wit and I bring kind of the spark and the publicity

[38:35] value that brings people to us through Ziggy Links.

[38:37] But...

[38:38] Yeah, I think wit is what I bring.

[38:40] And his mustache.

[38:42] Sure.

Dan McCoy

[38:42] He also has an inexplicable charm that the ladies like.

Stuart Wellington

[38:48] I think inexplicable is the best thing.

[38:51] Cannot be explicated.

Dan McCoy

[38:52] All of the female fan mail seems to center around Stuart.

[38:56] Got it.

Stuart Wellington

[38:56] Well, what about that girl who likes Elliot?

[38:58] Oh, wait.

[38:58] That wasn't related to this.

[38:59] No, that was...

Elliott Kalan

[39:00] That was because...

[39:01] We'll talk about that later.

[39:01] Oh, we won't talk about that here.

[39:03] We will not.

[39:06] Um...

[39:06] That was completely unrelated to this.

[39:08] Thanks, Lorax.

[39:11] I am the Lorax.

[39:13] I keep my secrets from the public.

Dan McCoy

[39:16] So, from Matt, last name withheld.

[39:18] Hey, did you guys ever think about doing a live show where you comment on a movie MST3K style?

[39:24] I'd see it.

[39:25] So, that's one audience member we'd have.

[39:27] Maybe he can rent us a theater.

[39:28] Sure.

[39:29] If he wants to produce that show, then...

[39:31] And publicize it.

[39:32] And pay any, you know, copyright...

Elliott Kalan

[39:36] Well, all we have to do is say...

[39:38] We have to do what Eric did and call it a class instead of a show.

[39:42] And then people pay tuition and then it's okay.

Dan McCoy

[39:45] Really?

[39:45] Was that the reason why that happened?

Elliott Kalan

[39:47] We shouldn't be talking about this on...

[39:49] No, not on the air.

[39:51] But that's why he called it that.

[39:52] I think what actually happened was it was so small scale that it was not worth the, you know, trouble.

Dan McCoy

[39:55] Yeah, we are referring to a show that a friend of ours used to produce.

[40:00] That was fun.

[40:01] That was along the same lines.

[40:03] A live theater show.

[40:05] But no one came to that.

[40:06] So, I doubt you'll see a live Flophouse anytime soon.

[40:09] Probably not.

Elliott Kalan

[40:09] Well, but it would be...

[40:10] But thanks for the suggestion.

[40:12] Gotta be positive.

Dan McCoy

[40:13] Jameson, last name withheld, said,

[40:15] I had to go to Germany for work and they had the same in-flight movies on my departing and returning flights.

[40:21] That's the story of why I watched Meet Dave starring Eddie Murphy.

[40:24] Ouch.

[40:25] It would be perfect for review on some future episode of the Flophouse.

[40:28] I swear 75% of the film is shot on a set that looks like a bad mouthwash slash toothpaste ad.

[40:34] This movie is a real gem and a mind blower.

Elliott Kalan

[40:36] We might have to do that one then.

[40:38] It's an Eddie Murphy movie though.

[40:40] I don't know.

[40:41] I think I'm going to put that on my list with...

Dan McCoy

[40:43] Well, we managed to skip Norbit, so we may have to do Meet Dave.

[40:46] Okay.

Elliott Kalan

[40:46] I'm putting it on my list with Seven Pounds and Underworld Rise of the Lichens.

[40:51] Not a must-do list.

[40:54] I don't want to think about this one.

Dan McCoy

[40:55] And the spirit when it comes to Unity.

[40:56] Oh, and the spirit, certainly.

[40:58] So this is actually from my sister-in-law and sort of my brother.

[41:04] Marina and John, last name withheld.

[41:05] I think you can probably guess the last name.

Elliott Kalan

[41:08] The way you said that, it was as if she was your sister-in-law and kind of your brother.

[41:13] The same person.

Dan McCoy

[41:15] She wrote the email.

[41:17] I don't know that my brother actually had any hand in the writing of the email.

[41:21] But it says, Dear Floppers, you asked for a gift for the holidays, and since your gift

[41:26] to us is free, so is ours to you.

[41:28] Now, she's going to make a correction in this email, but then she makes an error shortly thereafter.

[41:33] So let's see if you can pick up on the error that she makes.

[41:36] And you at home, you'll play this game too.

[41:38] Elliot mentioned in last week's podcast that Hans Conrad was a star in Casablanca.

[41:43] Of course, I imagine that Elliot meant Paul Henry.

Elliott Kalan

[41:47] Ah, that is what I meant.

[41:48] Not Hans Conrad.

[41:49] Conrad Veidt is also in that film.

[41:50] That's why I got it mixed up.

Dan McCoy

[41:52] Idiot.

[41:52] However, it got us thinking that Hans Conrad, perhaps best known for playing Captain Hook's

[41:56] voice in Disney's Peter Pan and narrating the Grinch movie, might have been an excellent

[42:00] choice in the film as Laszlo or even Rick.

[42:03] And here she does a little playlet that I won't read because it would require me to do

[42:08] the voice of Hans Conrad, which I don't know if I can do.

[42:11] But that's her little correction.

[42:12] Now, did you get the error that she made?

Stuart Wellington

[42:15] I totally didn't.

[42:17] But I wasn't paying attention.

Elliott Kalan

[42:18] That's right.

[42:19] I was busy flagellating myself for getting the names mixed up.

Dan McCoy

[42:22] That's right.

[42:23] Boris Karloff was the narrator for How the Grinch Stole Christmas.

[42:28] Now, it's possible she was talking about Halloween is Grinch Night, which was narrated by Hans

[42:34] Conrad.

[42:35] Let me read that email.

[42:36] Well, she says the Grinch movie.

[42:39] Now, she may be referring to the Ron Howard movie, but I don't believe that that had a narrator

[42:43] and I don't believe it was Hans Conrad.

[42:45] Maybe.

Stuart Wellington

[42:46] Was Jim Carrey in that?

Dan McCoy

[42:49] So, thanks for the correction.

[42:50] However, we can turn it right back on you and say that you were thinking of Boris Karloff.

Elliott Kalan

[42:56] And he won a Grammy for that.

[42:57] Yeah.

[42:58] And I apologize to everybody.

[43:00] I've been getting a lot of names wrong.

[43:01] Yeah.

[43:02] This one I got too.

[43:03] I need more sleep.

[43:04] Or less.

[43:04] You gotta pull together, dude.

[43:07] This turns into a flop prevention.

[43:10] You're making us look like shit.

[43:11] Okay.

[43:12] Sorry.

[43:13] Well, thank you for knowing the difference between Hans Conrad and Paul Hanreid.

[43:16] Yeah.

[43:17] Well, Conrad Veid is in that movie.

Stuart Wellington

[43:19] Let's just move on.

[43:20] Yeah.

[43:20] Let's gloss over Elliot's shame.

Dan McCoy

[43:22] Wow.

[43:23] His glaring shortcomings.

[43:25] Sure.

[43:25] We're going to do, instead of our usual recommendations, because it is a new year, we're going to

[43:31] talk about our five favorite movies we saw that came out in the past year.

[43:37] And before we get into it, I just want to give the caveat that we're not professional

[43:42] critics, and so we have not seen by any stretch all of the major films that were released this

[43:48] year.

Elliott Kalan

[43:49] Let alone the minor films.

Dan McCoy

[43:50] So, these lists are basically worthless.

[43:54] Yeah.

Elliott Kalan

[43:54] They're worth what we put into them.

[43:56] Yeah.

Stuart Wellington

[43:56] It's not a lot.

[43:57] They're a picture into our worlds.

Dan McCoy

[43:59] Yeah.

[43:59] Exactly.

[44:00] A window, if you know.

[44:01] So, of the films that we did see.

[44:02] As sad or great as they might be.

[44:04] These are the ones we liked.

[44:05] Does anyone want to step up to the streets?

[44:08] And be the first to...

Elliott Kalan

[44:09] Well, what a segue.

[44:10] And no.

Stuart Wellington

[44:12] Conveniently, after this movie, I had to amend my list.

[44:15] Yeah.

[44:15] To add step up to the streets at it.

[44:17] Yeah, that's true.

[44:17] At number one.

[44:19] Wait.

[44:19] I'll go...

[44:19] Okay.

[44:20] I'll go first.

[44:20] You guys are looking at me.

[44:21] Yeah.

[44:22] As Dan said, I have not actually seen that many movies.

[44:24] So, if there's something that I forget, don't slap your forehead and go,

[44:29] Oh, God, he forgot that.

[44:31] Because I probably just haven't seen it.

[44:32] These are in no particular order.

[44:36] So, I put WALL-E on there.

[44:38] Because it's great.

[44:40] Yeah.

[44:40] I don't think I have to explain why WALL-E is really good.

[44:43] I put The Dark Knight on there.

[44:45] Dark Knight is really good.

[44:47] Once again.

[44:48] Well thought out.

[44:49] It's too descriptive.

Dan McCoy

[44:50] I mean, I don't...

[44:51] It's one of those things where I thought it was kind of a no-brainer.

[44:54] I didn't really have to go into...

[44:55] Yeah.

[44:55] Sure.

[44:55] It was the most popular film of the year.

[44:58] Yeah.

[44:58] And the second highest grossing film ever.

[45:00] Now I'm getting into...

[45:01] What's the first highest grossing?

[45:02] Spider-Man 3?

[45:03] It's still Titanic.

[45:05] Really?

[45:05] It's the highest grossing.

[45:06] Yeah.

Stuart Wellington

[45:07] It's a disappointment.

[45:08] I want it to change every year.

[45:10] Yeah.

[45:11] So, maybe we should do something about that.

[45:14] Let's go see Dark Knight a million times.

[45:17] Well, that's past that.

[45:19] Oh.

[45:20] Because it's a new year, right?

[45:21] Although it's being re-released in IMAX.

Dan McCoy

[45:24] No, I'm saying the total.

[45:25] The highest grossing overall.

[45:26] Oh, okay.

[45:27] Let's go see that shit in IMAX.

[45:29] It'll blow our minds.

[45:30] If you really wanted to roll up another $12 on that, you could.

Elliott Kalan

[45:35] Or $12 million.

[45:37] Yeah, we're going to have to see it a million times.

[45:39] $12 million is not going to change that record.

[45:41] We're going to have to see it 20 million times each.

[45:44] Okay.

[45:44] And that might not even do it.

[45:47] Jesus.

[45:47] I don't know if I have enough time to do that.

Stuart Wellington

[45:49] You better make time.

[45:50] Okay.

[45:51] Do you care about this?

[45:52] Or maybe I could run out the entire IMAX movie theater a million times.

Dan McCoy

[45:57] That would be a time-saving measure.

[45:59] Yeah.

Stuart Wellington

[45:59] Yeah.

[45:59] And it would also be fun because I could run around.

Elliott Kalan

[46:02] It'd be like a Toys R Us shopping spree.

[46:05] Yeah.

Stuart Wellington

[46:05] Like when Nickelodeon used to do that?

[46:07] Yeah, absolutely.

[46:08] Okay.

[46:08] So, okay guys.

[46:10] Stop interrupting.

[46:13] Now, actually, the next couple probably need a little bit of explanation.

[46:16] The next one is Funny Games, the remake of the German original.

[46:21] I mainly put that on there because I really enjoyed it.

[46:24] And because I watched a lot of movies this year like Them and The Strangers and a couple others that I thought were very similar.

[46:34] But Funny Games managed to accomplish like a creepiness and also a voyeurism feel that I think the others weren't really capable of.

[46:43] So, Funny Games, great.

[46:44] I picked Let the Right One In.

[46:45] I picked Let the Right One In, which has got a little bit of buzz nowadays.

[46:52] It's a great genre movie.

[46:54] And, you know, I just really love vampires.

[46:56] So, I picked that one.

[46:58] And finally, I'll just say number one movie of the year for me was Pineapple Express.

[47:05] Maybe it's because I heart Seth Rogen or something.

[47:09] But it was goofy and action movie enough.

[47:14] Yeah, I just really liked it.

[47:16] I still haven't seen it yet.

[47:17] It's really good.

[47:18] It just came out on DVD today and I haven't bought it yet.

[47:21] Oh, wait.

[47:21] I just dated our podcast.

Elliott Kalan

[47:22] Yeah, when people listen to this in 20 years, they won't be able to get over that.

[47:27] We've been thinking about posterity a lot in this podcast.

[47:29] I know.

Dan McCoy

[47:31] So, yeah, I have a top five that is basically, I would say, a three-way tie for first and then a couple other movies I like.

[47:41] And so, the other movies I liked were...

[47:44] Are you going backwards?

[47:45] Yes.

Stuart Wellington

[47:46] You start at the bottom and work your way out.

Dan McCoy

[47:47] Oh, I didn't do that.

[47:48] Okay.

Stuart Wellington

[47:48] It's okay.

[47:48] You can do it however you want.

[47:50] Forgetting Sarah Marshall.

Dan McCoy

[47:51] I thought that that was a very...

[47:53] It did pretty well at the box office, but it was sort of overlooked, I felt like, at the time.

[47:58] It sort of felt like an also-ran comedy.

Elliott Kalan

[48:00] I think people were kind of apatowed out.

[48:03] Yeah.

Dan McCoy

[48:04] But I think it's actually one of the better ones.

[48:07] There's certainly more penis in it.

[48:08] Sure.

[48:10] McCoy, stamp of approval.

[48:12] If you've got a thing for doughy, tall guys' penises.

[48:16] Ease up, dude.

[48:17] Doughy?

Stuart Wellington

[48:18] Like, he probably works out more than me.

[48:21] I can guarantee that.

Dan McCoy

[48:23] He's a doughy guy.

[48:25] He's also much more successful than me, so I think he'll take that.

[48:28] Okay.

[48:29] Burn after reading.

[48:30] Again, a film that I thought people sort of just dismissed, but I really laughed at that movie a lot.

Elliott Kalan

[48:38] That, I think, will find its audience someday.

Dan McCoy

[48:40] That hasn't yet.

[48:41] And then the three-way tie for first.

[48:45] WALL-E, A Dark Knight, and Rachel Getting Married.

[48:49] You know, not really surprising.

[48:51] All films have got a fair amount of critical acclaim.

[48:54] You know, obviously, two were blockbusters.

[48:56] But if you haven't seen Rachel Getting Married.

Elliott Kalan

[48:57] Yeah, Rachel Getting Married is, well, like the second highest grossing movie of all time now.

[49:02] After Titanic.

[49:03] Yeah.

[49:04] We're going to have to rent out an IMAX theater.

[49:06] Get that over the top.

[49:07] 20 zillion IMAX theaters.

Dan McCoy

[49:09] Rosemary DeWitt is now America's biggest star.

[49:13] But I also just wanted to, like, quickly run down, not saying anything about them, you know, a bunch of sort of honorable mentions.

[49:19] Also rands.

[49:20] And that's Teeth, Embrugge, Be Kind Rewind, The Signal, The Bank Job, Doomsday, Iron Man, Red Belt, Pineapple Express, Tropic Thunder, Slumdog Millionaire, Quantum of Solace, and Milk.

Elliott Kalan

[49:37] So you're just making a mockery of the entire idea of a top five list.

[49:40] I didn't say anything about it.

[49:41] No, it's just a list of, like, movies you liked as well.

Dan McCoy

[49:43] I'm running down on some movies.

[49:44] I would have made a much more extensive list then.

[49:46] Oh, he says the guy who has actually six in his top five.

Elliott Kalan

[49:50] Well.

[49:50] Not to spoil anything.

[49:51] Watch out.

[49:52] Yeah, that's true.

[49:53] I'm going to go from the top down.

Stuart Wellington

[49:55] Starting with number one.

Elliott Kalan

[49:57] Yeah, although these are not.

[49:58] Elliot has no conception of suspense.

[50:00] These are not really in any particular order per se.

[50:03] The ones at the bottom are really more the ones that are in a specific order.

[50:06] So that's what I want to go.

[50:06] Okay.

[50:07] So drop an honest.

[50:08] A couple of these are movies that I've mentioned on the podcast before.

[50:12] The Fall, which I watched more times than any other movie this year and really loved it.

[50:17] And I've talked about it in other podcasts, so I won't go on about it again.

[50:21] Synecdoche, New York, which was one of the few movies I saw this year that really felt like it was a personal vision that was put on screen.

[50:30] And I thought there were some very funny moments in it and some very good scenes in it.

[50:33] And it was a movie where after when I left the theater, everyone else was depressed and I felt great, which is an awesome feeling.

[50:43] Then WALL-E, in no particular order, because as you guys implied, it's basically perfect.

[50:50] There's almost nothing you can complain about about WALL-E until the end credits roll and that Peter Gabriel song starts.

[50:55] And then it becomes the worst movie ever made.

[50:58] But until that moment, it's like utter pressure.

[51:02] And even the short that comes with it, which is called what?

[51:05] I think it's my favorite of their short.

[51:07] Presto is fantastic.

[51:08] And it's such an improvement over Boundin, the short before The Incredibles, which is terrible.

[51:14] Wait, I didn't watch the short.

[51:16] I gotta watch it.

[51:16] Oh, the short Presto about the rabbit and the hat.

[51:19] It's really good.

Stuart Wellington

[51:19] The thing about that Peter Gabriel credits sequence is that it made me think of the aborigine children in Beyond Thunderdome.

[51:30] Like the stories of them telling about Max the Wanderer.

Elliott Kalan

[51:33] That makes sense.

[51:34] But Pixar seems to be the only people in Hollywood who know how to do solid story structure and characters develop through action instead of exposition.

[51:43] I wish they could hold a seminar for everyone in Hollywood to go to.

[51:46] Yeah, you would think, right?

Stuart Wellington

[51:47] I would imagine in Hollywood a bunch of dudes should be calling them and saying, hey, how do you actually make a movie?

[51:53] Yeah.

[51:53] I don't know.

Elliott Kalan

[51:54] And Disney is like, they made that thing where they're like, Pixar is always successful.

[51:59] It must be because kids don't want to see 2D animation no more.

[52:02] And it's like, no, it's because they tell the best stories in the world.

Dan McCoy

[52:05] Yeah.

[52:06] Disney was also run by the little rascals.

[52:09] Yeah.

[52:10] It was the Bowery Boys.

Elliott Kalan

[52:11] Hey, guys, we gotta get more like Pixar.

[52:14] Oh, boy.

[52:15] Some guys could live like this.

[52:17] Number four here, I have a tie between Milk and The Dark Knight.

[52:23] They were both –

[52:24] So similar.

[52:25] Well, they're both movies that were really well done and really well made and kind of embody this art, somewhat timeless, but also embody this kind of political moment in some ways.

[52:36] And they both have their flaws in structure and length, but they have one amazing performance that kind of ties them together.

[52:45] And Milk – there's two, actually.

[52:46] There's Sean Penn as Harvey Milk, who matures so believably throughout the film.

[52:51] And Josh Brolin as Dan White.

[52:59] And – so complicated and – so complicated and so rich when they could have very easily made him like a very cardboard, crazy guy bigot.

[53:07] And it's really, to the movie's credit, makes it a better movie.

[53:10] And The Dark Knight, of course, is Heath Ledger, who when he died, people were like, he played the Joker and it made him crazy.

[53:16] And it was like, I don't think so.

[53:18] And then I saw his performance and I was like, yeah, that's exactly what happened, is he played the Joker and he went crazy and took drugs to go to sleep and died.

[53:24] It's just such a fantastic performance and I like it a lot.

[53:28] And my fifth final one is Guy Madden's movie My Winnipeg, which came out this year and is a very small-scale movie, even for him, who makes movies in warehouses basically.

[53:40] And it starts off being this kind of like – almost like a John Hodgman movie, like the form of fact but entirely made up with tiny bits of reality tied with like these made – like these huge jokes and like bizarre situations.

[53:55] And it takes a strange turn into a very personal kind of attack on the NHL, which Guy Madden seems to see as responsible in some ways, symbolically at least, for the relegation of Winnipeg to like a boondock city and kind of the end of his father's career in hockey as the manager of the local Winnipeg Maroons.

[54:16] And it becomes – it gets very emotional from that point and I like it a lot.

[54:19] So Guy Madden is accused a lot of too many levels of irony between himself and the work and here I think he – you can't really accuse him of that.

[54:28] So those are my five and a half favorites because I had six on there.

Dan McCoy

[54:32] Nice.

[54:33] All right.

[54:33] Well, we've all had a good laugh tonight.

[54:36] But every delightful episode of A Flophouse must sometime come to an end.

Stuart Wellington

[54:42] Like now.

Dan McCoy

[54:43] Yeah.

[54:44] It abruptly cuts off.

[54:45] Sure.

[54:46] Yeah.

Elliott Kalan

[54:47] Yeah.

[54:47] Do-do-do-do-do-do.

Stuart Wellington

[54:48] Yeah.

[54:49] So, yeah.

[54:51] I've been Stuart Wellington.

[54:52] I've been Dan McCoy.

[54:54] And I will always be Elliot Kalin.

[54:56] Good night, fools.

[54:57] Thanks.

[54:58] Thanks.

Dan McCoy

[55:07] You know, Charles S. Dutton.

Elliott Kalan

[55:08] Charles S. Dutton with no hair as he always never had.

[55:11] But that's – but even that –

[55:12] Wait, what about when he was rock?

[55:13] But I still don't love Alien 3.

[55:14] He had no hair.

[55:16] I am also talking about things.

Stuart Wellington

[55:17] You know he got arrested for manslaughter?

Elliott Kalan

[55:20] Well, that's where he became an actor after he spent time in jail for manslaughter.

Stuart Wellington

[55:24] I wonder what type of person he had to slaughter.

Elliott Kalan

[55:26] Well, it sounded like it – from what I've read of it, it sounds like it was like a drunk

[55:30] fight that went wrong.

[55:32] And he accidentally killed someone.

[55:33] I mean, that's why his manslaughter was an accident.

[55:35] And that's why he – as punishment, he had to star in Mimic with Miros Orvino.

Stuart Wellington

[55:39] A Guillermo del Toro movie?

Elliott Kalan

[55:41] Yeah.

[55:41] Actually, it's not as bad as you're making it sound.

[55:42] I think Guillermo del Toro had to direct him for community service for something.

The Flop House: Episode #29 - Step Up 2: The Streets

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