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We reach the end of season 3 and have a great bonus episode. We focus on 3 movies from Jordan Peele – Us, Get Out, and Nope. And they all deal with culture clash, so it fit right in.
We don’t do a scene by scene like usual, but instead, discuss the movies overall. There is plenty of social implications brought out in the movie. They are interesting and different, which are two of the big criteria we look for.
GET OUT: https://www.imdb.com/title/tt5052448
GET OUT: https://amzn.to/3MbCfUC
All right. So season three bonus episode, which wow.
Crazy. We got season four coming up. Whole new slew of movies getting ready. Yes. And it, this is an interesting bonus because it’s. It fits with our theme, but it’s a little different. And it was a brilliant idea that you had.
Rhys: It’s funny cuz the only reason I really had the idea, we were talking about our house and at one point in time Jordan Peele came up in conversation and you were so excited about talking about Get Out.
And I thought, wow, Steve really likes this movie. Let’s make this a bonus episode. But let’s not just do that movie because he’s a, I don’t wanna say he’s a younger director because he’s eight years younger than us, but. He’s early in his career, he is only directed three films, right? And so we could actually do an entire Jordan Peel retrospective.
And it wouldn’t, cause us to lose weeks of our life.
Stephen: No. And what fit though, was the three movies that we’re gonna do us get out and note our culture clash movies which he focuses on yeah. So that’s kinda his thing. So they fit really well. And I did all three of ’em.
I liked to get out the first time I saw it not quite as much second time. And us, I liked the first time and I appreciated it more the second. I, I don’t know where you wanna start. We’ll just kick off. We’ll just start talking about stuff and we can both change and move on and whatever it sounds.
Rhys: You and I are very much on the same page with these so far. Just from talking to just from hearing you talk. Jordan Peele was born in 79. In New York City, when he was seven year old, seven years old, his father left and he was raised in Manhattan by his mother. Then his father died in 99, but Jordan hadn’t seen him that entire time since he left when he was seven.
He had gone to the Calhoun School in Manhattan’s Upper West Side, which is a private school for kids. And he secured a scholarship to go to Sarah Lawrence College. But after two years he left. So he didn’t actually finish his degree. He did a lot of work at Second City, which seems to be like a great launching place for comedians.
Yeah, to say especially comedians. Comedians who do a lot of improv. But he started there and he got a gig on Mad TV and the gig from Mad TV led to Key and Peel. And then he did a few, typical kind of guest spots on, like C S I and that kind of thing. Not c s I, but those kind of shows where he’d pop in for an episode and then pop back out.
And then he decided he wanted to try directing movies and his first one was Get Out.
Stephen: Okay. I thought US was first, but, okay. I guess that makes sense. Get
Rhys: Out was first he got 360 award nominations from that movie. And of those three hundred sixty, a hundred fifty one were wins. And he is one of only six horror movies in history who have been nominated for Best
And well deserved. I think it, it definitely takes you, it’s where do you really start talking about the movie? It is classified as horror, but it is not horror. Like most people are very used to. There’s not a really a lot of jump scares. That’s not the focus, the story overall.
It’s not even atmosphere. It’s a modern, almost, literary movie. Until you get, yeah, about halfway through, there’s a, all three of ’em share very common elements. They have things in them. It’s, I likened it to a good murder mystery like Agatha Christie or something that if you read it, there’s clues sprinkled throughout, but you don’t know their clues until later.
And right then you think about it and all three of these movies are when you’re done. It’s oh, that was good. I love that. It’s. Okay, now I have to process this movie. I have to think about it. And then when you see it, it’s oh my gosh, there’s a clue that’s a clue. This. And that’s why I was so excited about Get Out because it was so different.
It’s a little bit of mystery, little bit of gothic horror. Cuz the story and the happenings are the horror part. There’s not there. And the monsters aren’t monsters always. Yeah. In this case, the monsters are the people except for the last one for kinda Oh
Rhys: yeah. I was
Stephen: still, I was just thinking Yeah.
Just on Get Out. Yes, definitely Get Out and us. Yeah.
Rhys: There is a history of successful African American horror movies and one of the first ones that people point to is neither The Living Dead, which Romero did not intend originally for that to be a movie about race. And when they were doing the casting, the guy who, the African American guy who tried out, he was like, you’re perfect.
And he cast him for it. And then as the movie went on, he’s wow, this movie takes on an entirely different meaning with this guy here. And so it’s often frequently pointed to, as a very early example of an African American horror film because you had this African American guy who was in a cabin with a bunch of rednecks, basically in the middle of rural Pennsylvania during a zombie apocalypse, which, yeah, that sounds pretty frightening to me too.
Stephen: And I love the fact that people read into these creative endeavors, whether it’s books, movies, music, whatever, what they want in them. And I, and that’s, how it. And I love the fact that so many times when you talk to the creator of it and say, oh, you know this, that, and the other thing, they’re like, yeah, no, I just thought it’d be a good scene, a good piece of, they don’t always think, and I love the fact that to Romero, it wasn’t, oh, I have to get a black guy in here.
And I know I, I could get ripped apart for this, but that’s where our world’s at right now. Not for Ill or bad, but people are pointing out look, even, 30, 40 years, 50 years ago for Living Dead, it was done without even thought. And it became something that wasn’t meant to be, but in a good way.
But we’re still having the struggle with that, and they’re having to now beat it over your heads. It’s and that’s what peel he, he makes a point of that. That’s part of the underlying tone to the movies is these are awesome movies. They’re great movies. And the fact that it’s pretty much the heroes are the all black cast parts of it.
That he is making a point with that. But to me as the movie watcher, I, I don’t care. White, black or everything though, I do like that he’s able to get that out and be that successful in today’s world. We need to get past the racism part of this and just enjoy it for what it is. And I also made a point that pretty much in all three of ’em, the white people in the movie are usually claudes and pretty stupid.
And they’re getting the black people are definitely showing him up on every level. Hey I’m not arguing it. I thought they were great movies. And if he’s using that to make his political statement all the more power to ’em.
Rhys: Yeah. There’s a few more just to throw out there in case people are listening to this, haven’t actually delved into African American horror movies, Gaja and Hess from the early seventies is again, Kind of a vampire movie that I actually enjoyed.
It’s a really good
Stephen: film. What country is that from? Is that American? Yeah, it’s an American film. Really? Cause just cause of the names and the title. That’s interesting.
Rhys: Yeah. The Zombies of Sugar Hill is another good one. Tales from the Hood. I watched Tales from the Hood too as well, and I found that really heavy handed, but the
Stephen: first one I thought was pretty good.
Is that okay it horror movie, not Monsters or anything? Is it? What type of genre?
Rhys: Tales From the Hood is an anthology. Okay, so it’s like for three or no, it’s probably four or five different shorts. And it’s everything from Haun. I, now I’m just thinking of the second one where it was like a haunted whipping post kind of thing and things like that in a museum and how people interact with it and stuff
Stephen: like that.
Cause I’ve never seen that one. I didn’t realize it was a horror anthology. Okay. Yeah,
Rhys: The first one I thought was good. The second one. Yeah. I, you could take or leave it. Candyman, of course. Amazing. The first one was amazing. I have yet to see the remake. I haven’t seen it either.
I heard it got panned a little bit, on these days I’ll take a look and see,
Stephen: but honestly, can you really name very much that doesn’t get panned today. That’s all people focus on. Yeah.
Rhys: And you could make the case that attacked the block, even though it’s not American, it’s British.
But there’s still a marginalized society in England, in London. You could argue not necessarily it’s the poor people and Yeah, that’s true, but the majority of the poor people who are crammed into those yeah. Those living, those housing towers are of African
Stephen: descent. And again, it’s the, the white people are getting eaten, whereas the black kids the hoods, the whatever, ghetto, gangsters, whatever you wanna call the kids in the movie, they’re the ones keep their heads and get everything.
Yeah. So District nine arguably could be too, that was at Kenya or something back in the day. It’s sci-fi, but it’s got some, it must be South Africa. Yeah.
Rhys: Which makes it even more prescient with its history of apartheid. Yes. And the apartheid that’s being performed on the
Yes. Yeah. I think that was partially the point. And I remember that was huge movie when it came out too. Yeah. But get out
Rhys: really brought in a new renaissance to it. When it came out recently, because again, attack the block was a very small, small release. If you wanna go back and, not talking about like the Spike Lees of the world, if you’re talking in the horror movie region, you’ve gotta go back like the Candyman to find this new format and get out, brought us up to the present.
Stephen: Nice. Yeah. Overall these are like it. Now when I see, oh, Jordan Peel has a new movie, I’m gonna go see it. Overall, that’s exactly what it is. Even though Nope. Is a little more disappointed in than the other two I just hope he is, doesn’t turn out like M Night where it’s wow, I had a really couple good ones and now I’m kinda like, it’s hit and miss.
Rhys: So we can do that now actually. Like I saw. Get out as a study in racism. Yes. And it’s not just a study in the racism that’s happening on screen. It’s a study of institutional racism and it’s brought to bear and spelled out in the screen.
Stephen: Yes. And it could have been al almost could have been a, like a historical timepiece, it could have been set in the 19 hundreds.
Sure. And early, and been right after, somewhere after, right after the Civil War. And these, they’re keeping this tradition and everything going, but I think it’s even more disturbing to bring it in the modern, and they’re just so accepting of. And, the, there’s a lot of points, like when they’re talking about, oh, with your framework and your genetic heritage, you could do this.
And it’s some misconceptions, some falsehoods, and I think that’s what movies, horror we’ve talked about before, bring that stuff to light. You can bring these things out and hit people over the head better than you could a non whore movie. And sci-fi does the same thing quite often.
Rhys: honestly, the first time I watched Get Out It, I loved it. The second time I watched it, knowing what you know about it is you go into it. It started to feel heavy handed to me. It started to feel a little bit preachy. And I realized as I was watching it that I was an audience for it, but I wasn’t the audience for it.
Yeah. Now, us on the other hand, I see as a movie about fear of the other and Okay. Everyone at some point in time can relate to that. Yes. So I found it a much more universal theme. The fact that the main stars were African American was almost incidental. It didn’t really make that much difference to the overall tone of the story.
And the concept there being, there’s this secret underlying thing that has been oppressed for a very long time. So we should be scared of it, even though we don’t really understand what its intentions are or what it’s gone through. And then when you get to the end, it turns out that it’s been with us the whole
Rhys: So I thought US was much more successful as a movie to reach a broader audience than get Out was.
Stephen: And I can definitely see that us when the theme, the overall story I feel is nature versus nurture. Which is the which succeeds and doesn’t make a difference. Because when you find out the twist, and he loves that too.
There’s always that twist. You’re not always expecting, but it’s all planned out and you see it right there and it’s oh man, really done. And what you’re saying about watching it again, It has elements of a murder mystery because once you’ve seen it and you know who killed ’em, the next time you watch the movie, it’s just not as interesting.
These are the same way. Once you know all the little things to look for and especially get out when all the rich white people are talking and then you understand what they’re really talking about and all the reasons they act the way they do it makes it a little more disturbing but also not as engaging.
Yeah. But yes, us it, I also see it as a statement of we have these oppressed people that have been under your boot heels your whole life and you didn’t realize it, and now they’re rising up and it’s destroying the world. And I don’t think peel’s trying to say we’re gonna destroy the world or anything, but it changes the world if nothing else.
Rhys: But that’s the funny thing is that if you look at what they were trying to accomplish in us and how it would actually affect people, They were trying to do the Hands Across America thing, it wouldn’t actually do anything if we’d have just let it happen. So it’s one of those kind of things where this fear of the other makes you terrified.
So even if they move, you freak out. Which actually turns out worse for you than if you just would’ve let things go on
Stephen: about their business. That’s true. And with the Twist and anyone that hasn’t seen it, sorry, you’re just getting spoilers. We’ve never tried to hold that back. But with the Twist, knowing that the mastermind of the whole thing was originally a top side girl and that she planned all of this to come up and change things, and the one that was leading the normal life was originally an underside girl and she fought back.
It’s one thinking of the dynamics between those two and. I’d also like to point out the only person that talked was her, the one that was top side. And that’s where I started thinking nature versus nurture, because nobody else talked, especially the guys. They were ugh. And I was like there’s this kind of statement too, the strong women in the show, as opposed to the stupid guys that follow ’em.
I’m like if that’s a statement or not take it as you will. It’s your interpretation.
Rhys: And then you take a look at nope and nope. At first I’m watching it, then I’m like, this is actually a movie about being afraid of not living up to the status of your past. Yes. But then it morphed and it just became this catchall.
It was like he was just, Everything at the screen.
Stephen: Yeah, I think that was part of it. My, because I was the least impressed with Nope. The first time watching it. And I think because he was trying something new with what, and I did that he changed that alien supernatural aspect. It’s that, hey, this could be creatures and this is how they would react.
And one of the things I picked up the second time, I didn’t really pick up on Glen from Walking Dead his character, I forget his name. Yeah. He was involved in the TV show with the chimpanzee that went crazy and he was trying to work with the alien, but he still didn’t know how and he screwed things up.
Whereas the people that really knew how to work with animals understood what was going on with the alien. And, there’s a couple little messages there, but like you’ve said, It wasn’t as strong of a statement it wasn’t a bad horror movie, but after the last two, it, this one felt a little disappointing.
Rhys: I, it, the kind of theme of it was like, like the meme f around and find out, like the whole thing with the chimpanzee, you’re not supposed to make direct con eye contact with the chimpanzee. They see it as aggressive and, so it freaks out and kills everybody. The same thing with the giant saucer creature.
You’re not supposed to acknowledge it’s presence and if you do, you’re gonna take it off. And then you have to take advantage of that if you’re gonna survive. But honestly, if you just wouldn’t have paid any attention to it in the first place, you’d have been fine.
Stephen: And Colin, his assessment when he first saw it, was that he liked it better than Get Out in us.
He thought that Get Out in US were too, I guess easy to figure out what was going on, which get out, I was. Clued in. I was like, okay I’m getting an idea. It wasn’t I thought it was just slaves or something. still hadn’t put everything together with altering people. Whereas us especially cuz trying to figure out what the damn rabbits were for.
Yeah. Yeah. That one had me confused until it all came out. And I was the opposite. I thought us and get out were better the first time I saw him than nope. Was. So again, that could be also a thing, he’s able to do movies that appeal to different people too. That, that he changes. He is trying to improve.
Does he hit, always hit the mark, whoever does. But I would still say Get Out is better than a lot of other movies that have been out in the last couple years. Oh gosh.
Rhys: Yeah. And it also might be like a generational thing too. Yeah. Because I know like my kids will be sitting. In the living room watching something on the screen here, watching something on their laptop and their phone while they’re doing their homework.
And so maybe if you have a movie where you’re throwing tons of stuff in, it plays their, the a d nature of, today’s society, right? Where you have to have just a million things to look at all the time as opposed to us, more so than get out. It was much more of a nuanced kind of thing.
There’s like this very subtle, there was a, there was action in it, but like the overall story was very subtle and quiet. You had to tease it out of the action that was happening
Stephen: around it. Yeah. Yeah. Yep. And the thing I said earlier about, all the white people were basically stupid and falling into whatever for the movies that one using Stephen Young, his character now you got Asian too, so you know, hey, if not, if you’re gonna get offended, he’s at least spreading it around.
So there you go.
Rhys: Let’s break these down a little bit. We’ll start with get Out. It, the cast in this movie were amazing. Yeah. Daniel Kalu, you know him from Dr. Who Black Mirror, kick Ass two, black Panther. Honestly, his his character in Black Panther is probably the least that I liked of all the other characters that he has on his cv.
Allison Williams played Rose. She was in the Mindy Project. The perfection. If you haven’t seen the perfection we should put that on a list too. That’s okay. The first time I saw previews for it, I was like, yeah, they’re trying too hard. And then I watched the movie and I was like, no, you know what?
That was actually pretty good. So she’s, no, she’s no stranger to this kind of horror genre. Bradley Whitford. I’ve always been a fan of Bradley Whitford. He plays does such a good job. He plays Dean in this movie. He does such a good job of playing the earnest, sincere person. Yes.
Stephen: All the time. He was one of my favorite characters out of all three of the movies.
Rhys: Daniel Kalu had been in 47 movies. Alison Williams been in 15. Bradley Whitford had been in 133. Woo. Yeah. He’s the veteran on set and, everybody knows him from West Wing, but he was on Tales from the Dark side. Oh, wow. He was on episodes of the X-Files. He was in Cabin of the Woods Godzilla, king of Monsters.
He’s no stranger to the horror genre. But then he’s everything else. Felicity, er, Frazier, Malcolm in the middle parks and Rec, the West Wing Monk, he’s been in a billion different things. Wow. Catherine Keener plays Misty. She is also not an stranger to horror movie. She had been in 85 films and it’s really interesting to me because she’s one of those people that you can look at and say, I recognize her, but
Stephen: you’re not sure what from.
We’ve had a lot of those. We get that a lot with what we. But she was an eight millimeter. Oh, okay. Wow.
Rhys: Which I was like, holy cow. There’s a movie I haven’t thought about in a long
Stephen: time. I was just thinking that. But it’s one, you remember you, you re it, it sticks with you. Yeah.
Rhys: She was also in Sakari O Day, the Sol Soldado.
And she was in brand new cherry flavor. Oh. Netflix, yeah. Caleb Landry Jones played Jeremy. He’s been in 35 different films. He was in No Country for Old Men, breaking Bad, both of which seemed to fit his character type in get Out. He was also in the last exorcism, which is not a bad horror found footage horror flick.
And he was in Byzantium from season. Wow. Really? Huh? He was the kid who had the cough. He was the one who had bleeding from
Stephen: lungs. Oh wow, okay. Didn’t
Rhys: even click. And then the daughter takes him off to become a vampire.
Stephen: Yeah. Wow. Okay. Yep. Nice.
Rhys: Marcus Henderson plays Walter a great character.
He was also an insidious, the last key, so he’s also not a stranger to horror films. 34 films titles. Also, Jengo Unchained is the next probably largest title on there, which
Stephen: is another movie to point out since we’re talking about these. Cause Jengo was interesting back in the sixties and they’ve redone that there cuz he was a black cowboy, a black bounty hunter he was a badass.
And that’s another nod to, something of the past that started and now we’ve got all these with Jordan Peel and others. So there’s another one to Yeah. Look at. If you step
Rhys: outside of the horror realm, it’s a lot more prevalent Yeah. Than when you’re talking about horror movies because you have, every movie Samuel L.
Jackson is in is like a nod de shaft, right? Yeah.
Stephen: Including his reading shaft.
Rhys: Yeah. Yeah. Betty Gabriel plays Georgina. She’s been in 23 different films, and that’s not a whole lot, but it includes like the purge election year, unfriended computer internet, horror film dark web internet horror film.
She was in Westworld, she was in the Twilight Zone. So she’s been in a lot of high tension kind. She’s
Stephen: a scream queen, basically. I guess
Rhys: so. Yeah. Laki Stanfield played Andre Logan King. He was in the Purged Anarchy. He’s been in 44 other films, which included Straight Outta Compton uncut Gems, knives Out and BoJack Horseman.
We only got two more Stephen Root. The guy is just gonna end up typecast as a blind guy and he can see, which is just weird because everybody knows him from O Brother. Were Art Thou, right? As the blind radio station owner. Then he’s blind in this one. He was in some episodes of Buffy the Vampire Slayer.
He was in a movie. Rendering of the lottery. And I first saw him in News radio. He was the station manager in News Radio, but he’s been in a billion, he’s been in 268
Stephen: films and a lot of, and tv. I’ve seen him on several different shows. Lots of tv. Yeah.
Rhys: Lil Ray, Howie plays Rod Williams, and he was also in Bird Box.
So of the 52 movies that he has he’s got another horror
Stephen: movie on his resume as well. That one’s on my list to watch, which I haven’t gotten to unfortunately. Oh, bird Box. Yeah. The title
Rhys: for this movie was Inspired by Eddie Murphy’s. Bit on Delirious.
Stephen: We were just talking about Eddie Murphy yesterday.
That’s funny. I’m not gonna,
Rhys: because at one point in time I could recite it word for word and I don’t think I have that in me anymore. But the basic gist of it was, He didn’t understand why white people would go into a haunted house, see it’s haunted, and then not leave. Because if it was African American people in the house, as soon as somebody said Get out, they’d be like, we’re gone.
Yeah. And so that was where he got the idea for the title. And he said when he was writing it, first he didn’t think this movie would ever be made. Wow. But he always pictured it being watched in a theater with lots of people around you yelling at the screen. So that was the environment that he pictured people seeing this movie in after Get Out, came out.
It was so acclaimed. UCLA actually had a class on, on the. And so Peel went to the movie and went to the class in disguise and sat in the back and nobody noticed. And then the professor asked what they thought the director meant about some specific scene, and some people threw out some ideas.
And then he raised his hand and said something, and then everyone’s oh my gosh. And he like spent the next two and a half hours hanging out with the
Stephen: class talking about the movie. Yeah. That’s pretty cool. Yeah I’m pretty sure.
Rhys: Yeah, I’m pretty sure I know what he was thinking there. It was filmed in Fairhope and Mobile, Alabama mostly because of taxes and budget.
Shannon and I just recently went to Fairhope. It’s absolutely stunning little town right at the bay where the river comes out. And we had a great time while we were down there. I would’ve never recognized it, but it was supposed to have been shot in la. He, the whole movie was shot in 23 days.
Wow. Yeah. Wow. They were moving at a good
Stephen: clip. Yeah. I’ll just, throw out my soapbox for a moment. We get these movies that are like months of filming and pros production and stuff sometimes, whereas years, here’s one with very little special effects. And it’s also a very strong story.
And look how acclaimed in everything it is. Sometimes we forget the basis of the movies, I think, but my soapbox for the moment.
Rhys: No, and I agree with it, and that’s one of the things that I’ve been chewing on lately. It’s if you’re going to make a movie, make sure that the story’s good.
And then the movie supports the story, right? So you’re actually just telling a story, you’re just doing it through the medium of a movie. But if you’re going to adapt someone else’s story, a book, a comic book series or whatever that’s been around for a long time, you need to make sure the budget is there to bring it up to the level of what the people remember from seeing
Stephen: it on the page.
Uh, Yes, very much
Rhys: and I think sometimes that gets in the way of filmmakers when they’re making these movies. A
Stephen: agreed. And one of the things he does so well in all of these movies is the characters and their job, and some of the offshoot people, because like the friend that works for the t s.
When do you ever see a goofball friend working for the tsa and like he brings it up, he talks to the cops. We get training too. Dude, you work at the airport patting people down, he is very, but he’s the only one that believes his friend and he puts himself out there and goes and saves him.
Saves the day. Yeah. And the Stephen Young in Nope. He runs a carnival show out west, essentially. Yeah. Side show kind of thing. Yeah. There’s just interesting settings, locations and people in these movies in lots of ways you don’t see very often and hear about.
Rhys: opening scene this, when I watched it the second time, this really stood out to me because this was the second time I’d watched it, but it was after you and I have had convers. And so I was watching it and he had originally wanted it to start, so the neighborhood looked like the neighborhood in Halloween and he did a good job.
If you think about the opening of Halloween, yeah, it had that same feel. And in Halloween there are no black people in Halloween. The movie is very white. It was made in 1976. It makes a little more sense when you look at it historically, but that’s, he wanted it to look like that.
My problem with it was as soon as it started, I’m like, this is an absolutely a hundred percent typical American made horror movie because it’s gonna start off with some crazy act in the first five minutes, and you’re gonna have this guy who is overexplaining stuff for the entire time he’s walking down the street.
I get that you’re nervous, you’re in a white neighborhood at night. You don’t have to sit there and be narrating it as you’re walking along about how nervous you are. That’s just you playing to the camera thinking that your audience isn’t smart enough to make that leap.
So you have that, you have the car, you have the brother come out, you have him choke him out and throw him in the car, and he takes off. And then, the movie starts from there. But when I saw it, I was just like, this is such an American made horror movie
Stephen: right here. Being his first, he probably didn’t wanna push too far, but that’s really the only point after that there in all three of the movies, they, he, you better keep up and you better be thinking about everything he’s shown you cause oh yeah.
It’s, but again, all three of ’em too, they start out that opening se. You’re mostly going, what the heck is going on? What is this gotta do with the movie? And then you forget about it until later, and then you’re like, oh my gosh, the, I see how it all clicks. And so he does that very well.
Rhys: It’s true. It in fact, get out, the opening was so much more of a letdown for me because when you watch us, the opening to us, there is this undercurrent of, I don’t know what the hell’s going on here. It felt like a Stephen King novel probably because it was the carnival set on the side of the ocean and you had kids walking around the fun houses kind of thing.
But the entire thing goes through, and when the opening’s done, you’re left with more questions than you have answers for. Absolutely. As opposed to the opening of Get Out, which is, oh, this black guy’s in a white neighborhood, someone’s gonna choke him out and throw him in his car. That tracks cuz that actually happens.
Stephen: You know what I mean?
Rhys: That’s, as horrific as that is, you can actually make a case for that in real world. But whatever happened to that girl in the Funhouse,
Stephen: which arguably with get out the beginning it, and I again don’t wanna make this sound like oh we’re used to that or Oh we expect it, but in a lot of ways making it so people understand it and it are very comfortable with that in that bad situation.
Cuz we’ve seen it in movies so it doesn’t upset people. It makes the rest of it even more disturbing. It does cause it’s not typical
Rhys: and once you see what actually happened to the guy who got captured, it
Stephen: makes it even. And and someone even brings this up about, oh her methods of getting people here seem a little better than his methods.
And you, when you get down to it, you’re like, wow, I’m not really sure if her methods are any better, because he was really Yeah. Pretty messed up.
Rhys: Yeah. We’ll jump to the cast. We’ll just do the cast for all three movies. Okay. In us Luo Ngo was in it. She played Adelaide. She’s an amazing actor.
She’s been in 27 different things, 12 Years of Slave. The Force Awakens the Jungle Book, the Last Jedi Black Panther, rise in the Skywalker, black Panther, Wakanda forever. Not necessarily a big horror pedigree there. But she proved that she didn’t need to have one in this
Stephen: movie, a and she was so super fantastic.
All of them were because they had to play two parts, and especially her and the daughter were fantastic playing the two parts. A as completely different from each other the way they acted. I, watching it was very impressive.
Rhys: Winston Duke plays Gabe Adelaide’s husband, and he’s been with her in movies before.
Yeah, because he was also in Black Panther and Wakanda forever. Infinity War and Game. He’s only been in 12 other films total. He’s only been in 12 films total. If you look at his resume for only being in 12 films, if you’re gonna pick 12
Stephen: films he could probably retire at this point already.
Rhys: Yeah. Three of ’em as. As Marvel Films and then a Jordan Peel film. Elizabeth Moss, she’s been in 89 films. She’s been in a lot. She plays Kitty. She was in Girl Interrupted the Missing West Wing, the Attic Madman. Chuck The Invisible Man. She is the Handmade in the Handmades Tale. She is so Fred.
Okay Tim Heer plays Josh. He’s been in 106 movies. He is the heavy hitter in this one. But most of the stuff he’s been in is, he was in Bridesmaids. He was in the eastbound and down. Fantastic Four. And I don’t think it was the good one. Okay. He was an ant man in Wasp and a lot of people from
Stephen: Marvel showing up on this list.
Rhys: Now I’m looking at it. Jihadi Wright Joseph played Zora and she did a great job. She’d only been in six movies. And one of them was, I think it was the Live Action of the Lion King. Oh, okay. So she had a role in there. Evan Alex played Jason the brother. He’s been in 23 different things.
Wow. Including voiceover for Baby Avengers and on Sesame Street. Oh. Which is cool. Figure
Stephen: out on your resume. Yeah. If I, we ever meet him, I’d love to talk to him about Sesame Street, what that’s like. Yeah.
Rhys: Yeah. Hey, Abdul played Russell. He’s been on Baywatch Handmaid’s Tale.
He was in Aquaman Black Mirror Watchman Candyman the remake and the Matrix Resurrections. Oh. He’s been in 18 total films. Anna Diop plays Rain. She was in 24 Legacy and she’s in Titans, the live action H b O
Stephen: series. Okay. Oh, is she Starfire? She’s Starfire, yeah. Okay. Yeah. Yeah. And,
Rhys: We could do a whole episode just on that show cuz I, I loved I loved the comics, I loved the animated movie and I saw this thing coming out and I’m like, that’s not really the Titans.
And I kinda. I just wish they’d have called it something else. Yeah, it’s like the Shining right Kubrick’s movie. It’s great. But you should have just called it something about a hotel. Crazy
Stephen: hotel. Yeah. My, again, my take a quick offshoot on comics versus the movies that are coming out.
I consider two different worlds. We talk multiverse in Dcn Marvel so much in how there’s changes and differences. It’s just two different worlds. They’re just very close parallel. So I just take it as it is and try and enjoy ’em for what I get. And honestly, I think I would enjoy ’em less if it was like frame for frame remake of comic stories or whatever, yeah. And
Rhys: sometimes if they try and do it frame by frame sin. Yeah. Them trying to do it frame by frame was actually distracting from the rest of the movie. A little bit. So the last two people from us that we’re gonna talk about are Callie, Sheldon and Noel Sheldon. They have a bit part, they play the twins.
Okay. Becca and Lindsay, they both played Emma Geller Green from friends. They were their actual twins that they used to play as the baby. The baby when they were filming friends. And whenever one of ’em would be tired, the other one would go out on stage and the other one would be down. So I thought that was cool.
Yeah. Callie’s been an eight different things and Noelle’s been in 11. So they’re still working. They’re not working a lot. I thought that was
Stephen: Cool. Honestly, I also, that’d be rough growing up in the, actor industry very Oh, with the twin? Yeah. Yeah.
Rhys: Oh my gosh. Cuz there’d always be that whole competition thing, right?
Yeah. Yeah. I don’t know. I also love how when US starts, monkey Paw Productions, which is the name of Jordan Peel’s production thing has a logo now. It didn’t back when they Oh, I didn’t notice. Didn’t get out. So the logo is this monkeys paw during a coffee cup, just like the mother does. And get out.
I was like, that’s really
Stephen: nice. I was wondering if the monkeys paw of this old story is what inspired him to do some horror movies, cause he is been a comedian and all of a sudden he is doing horror. Maybe it’s what he is always wanted to do. Yeah.
Rhys: Then the cast for, Nope.
Daniel Kahlua’s in this again, he plays oj. We know what he’s been in. Kiki Palmer plays Emerald. She does a great job there. She’s been in a, she’s been in a hundred different mo a hundred different films, which floored me. Wow. And then I started thinking maybe I shouldn’t be so surprised because it’s like Barbershop two, which is not a series I watch as a middle-aged white guy.
She was in Madea s family
Stephen: reunion which I do like the Madea movies. They cracked me up for the most part.
Rhys: She also does voiceover from like Ice Age and stuff, which I never, tied in with her. She was on Key and Peel’s Show and she was on Scream Queens, so there’s a little horror pedigree for her.
Yeah. Steven Yuen plays Jupe. He’s been in 47 things, including The Walking Dead, which is all the more horror pedigree you need
Stephen: really. He got his brains bashed in with a bat. Come on.
Rhys: Brandon Peria plays Angel. He was on one episode of Doom Patrol. Speaking of H B O series, I’ve enjoyed the Doom Patrol.
Stephen: I haven’t watched it, but I hear hi. Good things about it.
Rhys: Michael Wincott plays antlers. He’s been in 66 films going back away, like born on the 4th of July. Back aways. Yeah. The Doors, Robinhood Prince of Thieves, he was in the Crow. Yep.
Stephen: That’s the two I remember him from.
Rhys: Yeah. Yep. Dead Man, alien, resurrection Westworld Ren Schmidt plays Amber.
She’s been in 26 films projects. The Americans is probably the one, the title you’d probably recognize her most from Devon Gray Plays writer. He was on American Horror Story. The Flash, Terry Notary Plays Gordy. Terry Notary was also in Cabin in the Woods. And Barbie Ferrera plays Nessie who she was also in euphoria.
But for me, the star of the movie who dies in the first five movie minutes has to be Keith. David. Yeah,
Rhys: Keith, David’s been in 347 films. Wow. Yeah. Projects, it’s not just movies. He started in 1979 with a movie called the Disco Godfather. Nice. He was in the Yeah, he was in the original thing.
Yeah. He was on Mr. Rogers neighborhood. Oh. Oh my
Stephen: gosh. I think I remember him on there. Yeah. Now that you say it. Wow. Yep. Okay.
Rhys: He was in Platoon Roadhouse, Armageddon. There’s something about Mary Spawn the TV series, pitch Black.
Stephen: Love that movie. Oh yeah. He was right.
Rhys: And the Chronicles of Riddick barbershop, er Smiley, which is a slasher, a goofy slasher film community Tales from the Hood, part two, and the voiceover work.
This guy does. You can’t even, you can’t even start
Stephen: to list it. I think he was at a con that Colin went to and he was very excited because of so many of the characters he likes that Keith, David had done so,
Rhys: and I appreciated the opening to, nope. Better than I did the opening to get out. Okay. Because it was, it left you with this giant mystery, right?
Where, it’s raining pennies and nails and stuff. You’re like, what in the hell? And the fact that it kills Keith, David at the start, sad to see him go, but an interesting way to go out,
Stephen: And it also from the supernatural world. Oh, we explained it because some plane going over must have just dropped this stuff.
Really? What plane has all of these A watch and keys and a nickel and stuff that they’re just losing out, was there luggage? Did you find anything more? Was there an actual plane? What said something? Yeah. So it’s and this is what, when Colin was involved with that all the time, people like, oh, that was just this.
And really that doesn’t explain everything, it just puts your mind at ease. So that was, I liked that he did that. Cuz it showed, he really got into understanding what would make this a good alien, supernatural type movie. Yeah.
Rhys: The general gist of the movies if you don’t know, you should have watched it by now cuz we’re gonna be spoiling it anyways,
Stephen: Yeah, we got about 30 minutes, so it’ll be quick overviews.
Rhys: Exactly. So in Get Out, you have an African American guy and his white girlfriend, and they’re going to her families and they get there. And one of the things that I really appreciate about this, but I appreciate how he did it better in us, is how everyday stuff that happens, he can make it seem creepy.
Yes. So you can have the the maid, for lack of a better word, the housekeeper just standing at her window, looking out at night, and just the amount of time the camera lingers on her is enough to be like, what the hell’s going on? It make, it makes you feel unsettled.
Stephen: Yeah. And wait, you can, sorry,
Rhys: go ahead.
I was just gonna say, you can have the groundskeeper come running out of the darkness straight at you and then just veer off to the side, not say a word,
Stephen: just take off. And he is so good at that, ev it’s, again, every little thing it’s very dense and loaded, but even the little things will come back and mean something.
And, they mentioned the Jesse Owens thing, and then you see the guy running and then when you find out what he really is, it makes it, it just keeps ratcheting up and, and he is very good at that in the storytelling aspect. Yeah.
Rhys: The worst character probably, actually the worst point to get out for me was the brother because he is so two dimensional.
Yeah. He’s just like absolutely nothing but a stereotypical bro. And there’s nothing else to him. All the other characters have some depth. Like the daughter, she’s the honey pot, she’s the the Wickerman trap. Yes.
But she still plays like the ingenue, she plays the innocent all the way through.
And then there’s this underlaying part tour and Bradley Coo Bradley Cooper, no Rocket appears. Yeah. Bradley Woodford, wi Will Woodford. Yeah. He does such a great job as being like your typical. Guy who doesn’t even realize how offensive he’s being.
Stephen: A typical jam type stuff. Yeah. Oh, I would’ve voted for Brock again and Oh, it just, yeah, the things he says, it, yeah it made me like, oh, dude, what are you saying?
Rhys: Look at my collection of all these things that have taken from all around the world of all these cultures that I appreciated. That’s great, but you just stole from them. You know what I’m saying? It’s it’s one of those kind of things where he does such a great job of being like, and this isn’t even like his character’s underside, right?
This is on the surface. He’s oh, I’m your friend. I’m your ally. You’re actually doing a lot of damage,
Stephen: But then as you’re doing it, you find out. That’s all his act. That’s all a play. Yeah. And he’s doing it to cover up. So is he acting like the clueless dad that’s o over wanting to, be friendly to cover it up?
Or is he really that way? But he’s kinda screw you and haha, it, there’s duality to it. That again, makes it uncomfortable. And all three of these movies, Jordan Peele movies, they’re good discussion pieces. It’s okay, we’re gonna watch Jordan Peele and then let’s get some pie and some coffee.
Cause we’ll probably need to talk about it afterwards. Yeah.
Rhys: The only problem I had with the mother was that I felt like he jumped in with her too fast. It wa it felt like she went from zero to uber, bad guy like that. Yeah. There wasn’t a, there wasn’t enough kind of character development for me.
I would’ve appreciated it if, and all of these are long movies. But I would’ve appreciated it if, there was a little maybe more motherly side that we saw before
Stephen: for everything going. Yeah, for everything going on. She really was the alpha in the relationship. She, and like when the grandmother who is the maid has that little blurb because the process wasn’t perfect.
She’s why don’t you go lay down? And she took control and took charge and she kept the husband under check at times. So even though it was showing, a male dominated thing, she really was the alpha when you look at it and who was doing what and the daughter got the.
People for them to use in that. I get in some ways that explains the brother then too. The movies, us is like that. Also, the men in the family are not the strong and smart ones. They’re not the ones that really take care of business. Yeah. I think maybe because she was
Rhys: such a, she was, like you were saying she was such a driving force in the process.
That’s why I wish that her character would’ve been a little more developed, yeah. And I think he’s I don’t know. Peel has said that the sunken place was meant to represent how native African Americans are marginalized. Because no matter how hard they scream, the system silences us.
And it, you can see that in the imagery that he used. It’s just like you’re sinking. It reminded me a lot of Beneath the, under the Skin with Scarlet Johansen, the whole thing where she’s taking these guys into the house, the house, they’re being consumed and they sink below the floor and they’re just like sitting there looking up.
But there’s no traction, there’s nothing to get ahold of. You’re just stuck there. You can’t
Stephen: get out. Ah,
Rhys: good one.
And again, Stephen Root does a great job. He plays a great blind guy for someone who’s not blind. There is this scene where Kalu goes upstairs and the entire party is going on, and when he goes upstairs, everything stops. Yes. And it really felt like a nod to Rosemary’s. If you’ve seen the original Roman Polanski, Rosemary’s baby, there’s this whole thing where everybody in the entire apartment building is there with some sort of secret plan.
And, they’re acting completely normal when she’s around, but as soon as she leaves the room, they’re all like whispering to each other and stuff.
Stephen: The, oh, maybe I was gonna say the other thing, he uses the silence and sound a lot because when they’re doing the bingo auction, it’s all quiet and silent.
And in note that it starts off, they hear the screams of the people, but you don’t quite know what it is. So he does incorporate sound into the mystery and what he’s doing at times. Yeah.
Rhys: He actually cites Rosemary’s Baby and Knight of the Living Dead, his influences on this film. Nice. I
it, I actually get out, feels like not unlike mid-summer as a variation on a wicker man.
Stephen: Yes, absolutely. Yes.
Rhys: The whole thing turns and this is, it’s always a beef for me. Why is it gotta be some kind of artist, so Kalu has gotta be a photographer, because there’s no other professions in the world that we can make movies about except artists and musicians for some reason.
Oh, and writers. Yeah. We can make movies
Stephen: about writers. And that’s mostly Stephen King.
Rhys: Yeah. Yeah. It’s cuz he’s so prolific. So at first I was annoyed by it, but then he does this thing where he takes a picture of Walter and it like triggers. Coming back to himself. And so it actually had a plot device. It made sense.
Cause he needed to get the camera there, he needed the flash to go off. Again, just with the whole art thing, I don’t know it, a lot of the movie at times, especially after seeing it a second time, did seem a little heavy handed to me. Like the auction thing. Yeah. That just felt like a direct parallel to the slave trade and I get it.
But surely there were a million other subtler ways that they could have done that besides getting all together in their Sunday best and raising their, because what happens if for some reason the guy comes back
Stephen: through, that was, that was the daughter’s job. Keep ’em away, and she was very good at her job, obviously.
I suppose. And I, and once he got captured the si the first time I watched it, it was a little on edge watching it, what was really gonna happen. But you figured he had to get out get away. But the second time I watched it, once it hit that point, the rest of the movie felt like a more typical horror movie.
Cuz you kinda I know he’s gonna Oh yeah. Get free and I know what’s gonna happen. Pretty much so it, that for me didn’t hold up as well the second time though. Yeah. Though, finding out that for sure that, that was the grandmother as the old maid that was like, oh man, now I see, that, that was a nice little twist there.
Rhys: And I agree by the time you’re watching it the second time when it kicks on, it’s just a matter of when the scene opens up, picking which item in the room is he’s gonna use to kill somebody with. Oh, he is gonna use the antlers here. He is gonna,
Stephen: And the thing with the deer and the antlers, cuz they had the deer at the beginning and then that suit of armor on the car thing, those are, there’s two scenes that he cut out.
And that’s why they focused a lot on that. But then it was like, eh, not much with it. Same with the suit of armor. But I applaud him as the movie maker storyteller cuz so many times we either don’t get all the little things to build up and we wonder why’d they do that. And I’ll point to Star Wars as a bunch of that going on in later movies.
Or we get the thing where they leave it in and it, it wears down the movie. So good to him to de decide I’m gonna take these out to make the overall movie stronger. So yeah, sometimes so it does
Rhys: just make me a little sad cuz like in the first Avengers movie there’s that whole thing with the waitress.
Yes. And they cut it all out and they did it in such a way that she appears once or twice. She still hasn’t seen her two. But like the whole romance thing with Steve, you know this kind of Yeah. Oh you’re America’s ass kind of thing. That all just disappeared. Yeah. And it’s too bad because it was a nice little subtext to the story that they could have thrown in there.
Stephen: stronger was the one they cut out in Thor, cuz he is, he’s in there and he says, bring me another and breaks the cup. A scene they cut out was, once he starts learning about how to treat people and humility, he goes and buys a mug and takes it back to the place to give it to them as a, I’m sorry, and replace it.
And it’s 12 seconds long. But they cut that and I. My biggest complaint with the Thor movie was that he redeemed himself too quickly and they didn’t show anything that he did. Yeah, they didn’t show any of the growth. Yeah. That one 12 second scene would’ve fixed all that. So I did appreciate the fact that he cut it because it didn’t necessarily add to what he was trying to say.
It was an addendum and he didn’t necessarily need it, though I wouldn’t mind an extended cut. Now that I’ve seen it and I get it,
Rhys: that would be awesome if they would actually do that. My fear is that they’ve moved on Yeah. Past it so far. Yeah. It’ll have to be like a 25th anniversary thing or something like that.
They out all the old
Stephen: stuff. Yeah. Yeah. Cause I heard planes, trains, and automobiles. They have. 40th anniversary deluxe edition, and it has 80 minutes of cut scenes that they didn’t put into the movie. Wow. They have it as a bonus. They didn’t add it back in, but it was just John Candy and Steve Martin acting up or Steve around saying stuff and adding things and things.
Chris Columbus, likes to film and then pick and choose what got filmed and put it together into the movie. So they always have three days of filming and then they use two hours. So yeah.
Rhys: I do love at the end of Get Out that whole thing with his friend, that whole section Yeah. Was like, you have all of this tension building up and then you have this just comedy section thrown in.
Yeah. It’s the perfect relief before you go back
Stephen: into it. Yeah. Dude, I told you not to go into the house.
Stephen: And we’re tsa we handle it. Yeah, that’s right.
Rhys: It’s a movie that deals a lot with racial relations between Africans and white African Americans and whites, both historically and currently with the advent of allies and people who profit from allies and the dynamics of race.
So it definitely has a lot to say. And again, one of the things after watching it a couple times was I felt like I was watching a very well-made film, but not unlike Sauna. When we’re watching Sauna, there’s this disconnect because Sauna was made for finished people, yes. You can sit there and you can appreciate it and you can really just love the hell out of the film, but you’re not going to get everything out of it that you would if you were finished.
And I think Get Out is the same way you and I aren’t gonna get as much out of it. Seeing us how we’re not African American. I agree. Because it’s gonna speak to them a whole lot more. Agreed. As opposed to us. And I realize US has a lot of racial undertones to it, but they’re very subtle. Yeah. So subtle to the point that you could actually say that you could substitute other stuff in there.
Yes. It doesn’t have to be African-American. It could just be the impoverished Yes.
Stephen: Lower classes. And I think that’s a good statement from him that’s look, we got this cast, we’re focusing on this story. It’s African-American. Could have been white, could have been Chinese, could have been Eskimo.
It didn’t really matter. It could have, we could have redone this and had it Native American and, yeah. But it, what it shows is look how successful this was and the story went well and you don’t notice and care if it’s white, black, or yellow or whatever. And here’s the statement, it works.
You don’t have to have the executives going I don’t know if we’ll make money on this movie if we do that casting choice. Yeah there you go.
Rhys: Yeah. And it’s like I said, it’s because anybody can understand fear of the other. Everyone at some point in time has been scared of either being, being the other, being the lone person who no one else gets, or being with people and seeing the other coming.
The whole thing with immigrants right now, Yeah. People coming up to the border they’re all carrying drugs. No, most of them are starving women,
Rhys: Everyone just takes a step back. It’s gonna be okay. It’s one of those kind of deals where you have this other thing and as long as you keep it as an other, it’s okay to be scared of it.
It’s okay to beat its head in with. With a golf club, that’s fine. As long as it’s the other. And then when you get to the end of the movie and it turns around that the mother who’s been with them this whole time is the other, all of a sudden it’s oh wait a second. So all of those people and all the horrible things that just happened didn’t really need to happen because look right, and you can come from the other and be one
And you could also say it, it shows, like you said the other, the fear of the other, the people that control the other control you. Cuz that’s was the point they were created to control the people up top. And that’s even scarier. What happened to the people that started all this, the ones that were controlling it.
Where’d they go? What happened to them? So that’s, yeah. Disturbing. Yeah, I
Rhys: saw a really interesting, and just in case. I realize it’s not like they showed in the movie. It’s not there’s gonna be working escalators and stuff down there in well lit pilot. Yeah. Things
Way to hell. But I saw this documentary where they were following people who lived in the subways in New York, and they would spend most of their day above ground like scavenging, salvaging stuff and like cashing in recyclables and things to buy things they need. And then at night they would go down into the subways and they had these little nooks and crannies just carved out.
You couldn’t see them from standing down by the tracks or anything, but if you knew they were there, you could go up, there’s a little blanket hanging over it. You’d go in, it was lit. There was like a, hot pad. It wasn’t luxurious living by any stretch of the imagination, but it was just this reminder that, hey, there’s like life going on down here that you don’t even know is here.
And most of the time, even if you see it, you turn your head away cuz you don’t really want
Stephen: to think about it. And I think that was part of the Hands Across America thing was to hey look at us, we’re here. And bring that up. Again, these are pretty dense movies. There is a lot you could probably pull out of it and different people can interpret different things their own way.
So they do deserve a good watch and sometimes maybe a second watch.
Rhys: Oh yeah. And there’s this really, for instance, there’s this really cool little subtle thing that happens Addie from the start of the movie, she’s wearing like light colored clothing. And from the minute that the people from underground who pop up wearing these orangeish red jumpers, when she starts fighting them, her shirt becomes more and more reddish orange.
Yeah. Just to, it’s like this little hint, at the start that, hey, you know what, she’s actually one of them kind of deals. It’s a very well-built thing, and it’s very
Stephen: subtle. I also like, again, like I said earlier, he chooses interesting what you don’t expect. They’re all carrying scissors, not guns, not knives.
It’s scissors. They destroy the world with scissors, that’s something you wouldn’t expect. But it’s also I don’t even know what to really think about that. That was a big marketing part of the movie.
Rhys: And if you think about it though, a good pair of scissors, like a good pair, like upholster or scissors, far more useful than just
Stephen: the knife.
True. And then they were talking about, did you use it? They were cut, cutting the, the tether kinda adipose or whoever does that with the, yeah.
Rhys: Same thing with rabbits. Rabbits makes tons of sense cuz they breed super easy. They’ll live anywhere as long as you give them something to eat. What a great way to feed an entire colony of people living
Yes. But I also took the rabbits as that’s what they were using to for, because the old thing was using rabbits to check if you were pregnant from pregnancy. I was u I was, I thought the rabbits were being initially used as part of this genetic breeding process. So again, there’s no real answer in the movie.
Rhys: Yeah. And I think it’s very appropriate cuz we’re really rapidly running out of time. Yeah. That we now talk about. Nope.
Rhys: Because honestly nope. Really, in my mind, has the least oomph of all three of these movies.
Stephen: Agreed. I think I’m betting it was much bigger budget. He had the money to do his stuff, which, and I’m not saying ruined it, but maybe it was actually he had too much budget.
That’s probably a discussion. It’s over two hours long too. Yeah. Two
Rhys: 10. Uh, Yeah. So it, it’s one of those kind of things where, I don’t know, less would’ve been more Get Out was an hour 45, and I thought that felt just the hair long. I thought they could have made a few cuts, bring it down, maybe 10 minutes.
It had been perfect, length-wise. I thought US was a good length of time, but Nope. Was just, it was like, it’s like a rush song where they’re playing and they’re playing and you’re like, oh, they should end it here. Nope. They’re gonna keep playing and playing. Nope. We’re they should end it here.
Nope. They’re gonna just
Stephen: keep playing kinda thing. Yeah. And I think. I would’ve liked Nope. Better if it had been shortened and cut just a little bit. I think it was a little too long getting things out there compared to the other two. Yeah
Rhys: and I think that’s really the problem with nope.
Is that we can sit here and have a discussion about the good and the bad parts of Get Out and we can sit here and have a discussion about the good and the bad parts of us and with Nope, it’s I don’t even know if there’s bad parts. It just, it was parts. Yeah. Yeah. I don’t wanna say that they were good.
I don’t wanna say they were bad. They were just, they were there
Stephen: And maybe it’s because the alien and a creature, which is a unique concept for a lot of people, that it wasn’t disturbing. The other two had, it was disturbed, so it stuck with you a lot more. That was, to me, wasn’t really disturbing.
But I’ve been involved in that community a little more. Yeah. And thought about that type of stuff, so I understand. Yes. UFOs could be creatures. Yeah.
Rhys: Hey, I just, I think get Out had a theme and us had a theme and nope. Seemed to have two, maybe three, and they weren’t interconnected, they weren’t necessarily themes that were woven together.
They just were all happening there at the same time and it made it a disjointed ride
Stephen: for me. Yeah. Yeah. I could see that and agree with that. Definitely. Yeah. I must say though, the sister had some great lines, just like the friend had some great lines, so
Rhys: The acting was phenomenal.
It was just, I think it was, this one falls on peel, I think. Cause everybody did a great performance. Yeah, absolutely. It absolutely, it was just a matter of the actual substance of the film I thought missed.
Stephen: Yeah. Maybe that’ll be his title of his next one. Mist. Mist.
Rhys: They have two smart ass white boys sitting here
Stephen: talking about it.
He, it’s gonna be a podcast reviewing movies and they’re gonna get shot or something. We just piss peel off, so we’ll never be able to talk to them. I don’t know. But, I don’t think we would’ve they were all three great movies,
Rhys: Yeah. I, all, all three of them were better than a lot of movies I’ve seen for sure.
Stephen: and not to dis any movies that are bad, cuz I purposefully like the Bee Campy movies on, at times there’s a good point to some of those that I enjoy too. But honestly, I. For the most part we’ve done what now? 33? All the 35 ish movies in time. Yeah.
They’re all extremely high quality for one reason or another. Even the ones that aren’t the best. Take that. Take that. Yeah. Bam. Am All right. So at a good discussion on that. And honestly, we probably could have sat for a very long time getting into details on these three movies cuz they are work for all the meetings we have.
Yeah. If we didn’t have a life, yeah. All right, so there’s our bonus. And we’ll be getting on to season four here pretty soon. Season three is getting trickled out. We had a whole hiatus during the holidays. I’m the only one that’s heavily into watching Christmas horror and I True.
We are too busy for some of this stuff. I didn’t wanna kill myself. We’ll get back on a schedule and we’ll get this stuff out. We got 10. What is season four again? The topic
Rhys: season four of the topic is the same reason why we have to cut this short jobs, employment. That’s
Stephen: right, Joe.
Rarely you work? Yes. Yeah. All right, man, so I’ll talk to you later.
Rhys: All right. Take it easy.