Judge Dredd (1995)
In this discourse, Seth and Kyle are joined by the esteemed Joshua Lewis, a venerable figure in the Nashville comedy landscape, to delve into the cinematic adaptation of Judge Dredd featuring Sylvester Stallone. The salient point of our conversation revolves around the intricate interplay between the film's narrative shortcomings and the expectations set forth by its comic book origins. We engage in a critical examination of the movie's tonal inconsistencies, particularly its attempts at humor juxtaposed with the dark themes inherent in the source material. The dialogue further explores the implications of star power on creative decisions, particularly focusing on Stallone's influence over the film's direction and script. As we navigate through the various elements of production, we ultimately arrive at a consensus regarding the film's failure to resonate with both audiences and critics alike, thereby underscoring the challenges faced by adaptations of beloved comic properties.
Seth and Kyle, accompanied by Joshua Lewis, engage in a profound examination of the 1995 film "Judge Dredd," a cinematic endeavor marked by its ambitious yet flawed execution. The episode encapsulates the essence of the film, reflecting on Stallone's portrayal of the titular character and the societal implications it presents in a dystopian future. Joshua, drawing from his extensive experience in the comedy landscape, offers a unique perspective on the film’s comedic undertones and the absurdity that permeates its narrative. The hosts dissect the intricate relationship between the film's marketing and its content, scrutinizing how the desire for commercial success may have compromised the film's artistic vision. They explore the ramifications of such compromises, suggesting that the film's identity suffers as a result of conflicting creative directions. As the discourse unfolds, it becomes evident that while "Judge Dredd" possesses moments of visual flair and ambition, it ultimately fails to deliver a compelling story that honors its source material. The episode culminates in a reflective critique of the film's legacy, prompting listeners to consider the broader implications of Hollywood's ever-present tension between creativity and market demands.
Takeaways:
- In this episode, we explore the complexities of Sylvester Stallone's portrayal of Judge Dredd, a character that contrasts sharply with the original comic's depiction.
- Joshua Lewis shares fascinating insights about the evolution of the Nashville comedy scene and its influence on contemporary comedic narratives.
- The conversation delves into the challenges faced during the production of Judge Dredd, highlighting how creative differences can impact the final product.
- We dissect the film's failure to establish a cohesive narrative while attempting to balance humor and action, ultimately leading to mixed critical reception.
- The discussion touches upon the significance of world-building in dystopian narratives, emphasizing how Judge Dredd missed opportunities to enrich its universe.
- We reflect on how the film's costume designs, influenced by high-fashion designers, contributed to its unique aesthetic amidst its narrative shortcomings.
Transcript
Foreign.
Speaker A:Ladies and gentlemen, welcome back to the Movie wars podcast.
Speaker A:I'm Kyle.
Speaker B:I'm Seth.
Speaker A:And we got.
Speaker A:Go ahead.
Speaker B:I'm Josh.
Speaker A:Josh Lewis, ladies and gentlemen.
Speaker C:I'm Josh.
Speaker A:I'm Josh.
Speaker A:One of the most.
Speaker A:I'm trying to describe you, man.
Speaker B:Like, you stand with an enigma.
Speaker A:He's.
Speaker A:He's the longest.
Speaker A:One of the longest standing.
Speaker A:That's funny.
Speaker A:One of the longest standing Nashville comedians, and you were here when I started, like, 12 years ago.
Speaker C:I am a testament why you should move from Nashville.
Speaker C:If you want success, get out.
Speaker A:Yeah.
Speaker B:He put me on my first open mic.
Speaker B:Really?
Speaker B:Yeah.
Speaker B:Very first open mic I ever did was at the East Room, and I was dead.
Speaker B:Dead last.
Speaker A:Yeah.
Speaker B:Good times.
Speaker C:How was it?
Speaker B:I got, like, two chuckles, maybe three, and, like, one actual laugh.
Speaker B:And then I told you afterwards, I was like, hey, thanks.
Speaker B:This is my first time ever.
Speaker B:And you were like, oh, you should have told everyone.
Speaker B:You would have killed.
Speaker B:That was great.
Speaker C:Yeah, that's what you should always do.
Speaker C:You should always milk that.
Speaker C:Oh, it's my first time for, like, four open mics.
Speaker B:Yeah.
Speaker A:Yeah.
Speaker C:I never did either.
Speaker C:And I saw other people do it, and people instantly loved them.
Speaker C:And I was like, I have made a horrible mistake coming up here.
Speaker C:Oh, I'm a pro.
Speaker C:And you just.
Speaker C:Real bad.
Speaker C:Then you have to be like, I'm not really a pro.
Speaker C:And everybody's like, yeah, we know.
Speaker B:What good time, though.
Speaker A:I think one of the things that most people would say about you is, like, when you're first starting comedy Nashville, you're one of the kindest, most welcoming people.
Speaker A:I always remember, like, first meeting, and you're just like, hey, what's up?
Speaker A:You know?
Speaker A:And that's not the case if you don't do stand up.
Speaker A:That's not all comedians, so thank you for that.
Speaker C:Hey, no problem, man.
Speaker C:Whenever you get washed to the bottom, only thing you could do is just be like, hey, guys, just keep trying.
Speaker C:Yeah, that's all you gotta do.
Speaker B:One of you might make it.
Speaker C:What do y'all.
Speaker C:Might make it.
Speaker C:Remember me or forgive.
Speaker C:I don't care.
Speaker C:Either way, I'm stuck.
Speaker A:Well.
Speaker A:Well, it sounds like Seth reached out to you about Judge Dread and Dread, and you were in.
Speaker C:Totally in.
Speaker C:Totally in.
Speaker C:I watched these movies.
Speaker C:I probably watched the first one.
Speaker C:I'm old enough that the first one.
Speaker C:I remember watching it on illegal cable.
Speaker A:Which I grew up with.
Speaker B:Nice.
Speaker C:And watching it and just being like, yeah, okay.
Speaker A:Yeah.
Speaker B: years old when it came out in: Speaker C:I was 57.
Speaker A:I just got back.
Speaker B:No, he's 130.
Speaker B:He looks great for his age.
Speaker C:I got bit by Brad Pitt back in the 90s.
Speaker A:Just got back from Korea.
Speaker C:I'm just over here like jamming to the boogie, Boogie boy or whatever.
Speaker B:There you go.
Speaker A:We didn't call PTSD back then.
Speaker A:We called it Sylvester Stallone.
Speaker C:We call it get over it on it.
Speaker A:Yeah, yeah, yeah.
Speaker A:I know, man.
Speaker A:And how did you first encounter.
Speaker A:Oh, you just watched.
Speaker B:This is the first time I've ever seen it.
Speaker B:I've known it existed, but I watched the remake before I watched this one like when it came out.
Speaker B:And 18 year old Seth was definitely like very freaked out by how hyper violent the remake was.
Speaker B:So seeing, seeing the PG13 Sylvester Stallone version was kind of very whiplashy for me.
Speaker A:Yeah, this was very weird.
Speaker B:The only way I can describe this movie is like the director couldn't let go of the 80s, but also found out about computer animation.
Speaker B:Yeah, like this was just stylistically format like down to just the way the script ended up getting written was just 80s action B movie to a TV.
Speaker B:But again somehow there's like actually okay.
Speaker B: Animation for: Speaker A:Yeah.
Speaker C:Oh, I think it had great animation for 95.
Speaker B:Yeah, it's quite good.
Speaker B:It definitely obviously now looking back on it, it's very easy to tell for like 90% of it.
Speaker B:Like.
Speaker B:Oh yeah, okay.
Speaker B:And like a lot of the falling over the green screen like kind of looked like shit.
Speaker B:But I was, I was genuinely impressed by how good it looked for 95.
Speaker A:Yeah, yeah.
Speaker A:This by far, this is a weird experience for me because old Movie wars fans will know that.
Speaker A:That my idols growing up were Arnold and Sly.
Speaker B:Yeah.
Speaker A:Worship those guys.
Speaker A:Commando, Terminator, Rambo, like those that like 80s action is my favorite genre and it's not even close.
Speaker A:And it's what I grew up on.
Speaker A:Watched it way too young, like a lot of us did.
Speaker A:You know, it's like my dad's like, well, it kind of looks like an American hero.
Speaker A:I'll just put him on there and.
Speaker A:But it was painful to watch this.
Speaker A:And there's a lot of reasons for what you said about stuck in the 80s.
Speaker A:It wasn't actually the director.
Speaker A:It was the fact that Sylvester Stallone kind of hanging on to the last rung, you know, and for those that don't know, like, and, and this worked in the 80s because Sly was such a huge deal and him and Arnold had that battle.
Speaker A:They literally were battling and they.
Speaker A:Yeah, they would talk to each other when one would make more money he's like, I gotta make more money and oh, he killed more people.
Speaker A:There was literally this conversation they had about the fact that Sly used a bigger knife in Rando and Rambo.
Speaker A:And so Arnold's like, I gotta get a bigger knife in a movie.
Speaker A:Like there was this petty bullshit.
Speaker A:And Sly, you know, he, he would rewrite and basically backseat direct movies a lot in the 80s.
Speaker A:And one of my favorite movies of all time is Cobra.
Speaker A:And.
Speaker A:And he totally pissed off the director so much that when Sly would leave the set surrounded by bodyguards, like, he literally wouldn't even talk to the other actors.
Speaker A:And he had bodyguards at all time.
Speaker A:The, the real director would scream at people, but like he was trying to take the movie back and Sly would come back, he'd be like, he would straighten up.
Speaker A:And so Sly would do this continually and he did it on this movie.
Speaker A:But the problem is, it's.
Speaker A:That brand of action is starting to die off.
Speaker B:Oh yeah.
Speaker A:We're entering the Michael Bay era, which I think, I think three.
Speaker A:There are three or four factors that really shifted away from the, the oily muscle, star centered action.
Speaker A:And that was adrenaline infused, constant action, which is like the Michael Bay, the rock Point break with Keanu Reeves.
Speaker A:And we're also seeing new action stars that are, yes, attractive, kind of jacked, but more of an everyman compared to Arnold and Sly, who are more Herculean.
Speaker A:We've got Keanu Reeves, Bruce Willis with Die Hard, starting to change the way we view action.
Speaker A: And then it's: Speaker A: We had Last Action Hero in: Speaker A:And Arnold still hates it, but really.
Speaker A:Yeah, Arnold is not.
Speaker A:Does not like that.
Speaker C:I need to rewatch that movie because I thought it was phenomenal.
Speaker A:Oh, yeah.
Speaker C:Made fun of action movies.
Speaker B:I love probably why he didn't like it.
Speaker A:Yeah.
Speaker B:Yeah.
Speaker C:But I mean, he had to at least had somebody read the script right before he took it, be like, oh, this is making fun action movies.
Speaker B:You would think, you would think, but sometimes that just slips through the cracks.
Speaker C:Yeah, well, I mean, I guess if you just start waving big fat dollars.
Speaker B:Yeah.
Speaker B:Especially if you're used to, as an action hero, getting picked for a role and then basically having the script written around you.
Speaker A:Yeah.
Speaker B:Because that was kind of the format of the late 70s through the 80s was they would be like, we need to make an action movie.
Speaker B:Who's going to star in it?
Speaker B:Okay, Arnold.
Speaker B:Okay, we've got, we'll make it like this.
Speaker B:Like that's how that would happen a lot.
Speaker B:So what?
Speaker B:Not be surprised if he was just like the last action hero.
Speaker B:That sounds like a badass role.
Speaker B:I'll do it.
Speaker A:Yeah.
Speaker C:Yeah, I guess so.
Speaker C:I mean, maybe.
Speaker C:I guess whenever I think of Arnold Schwarzenegger, it's like his.
Speaker C:His roles were always, to me, the best because, I mean, you bring him out, it's like he was like Hercules or whatever at the beginning.
Speaker B:Conan the Barbarian.
Speaker C:Well, no, he was Hercules in New York.
Speaker B:Was he also Hercules?
Speaker A:That was his very first role.
Speaker A:He didn't even speak English.
Speaker C:Yeah.
Speaker C:It was like overdub.
Speaker C:And then next thing you move on to, like, Conan and stuff, which I think Conan and the Terminator are the roles that he didn't even know were written for him.
Speaker C:I think the people that were writing them.
Speaker C:Did he.
Speaker C:Yeah, of course.
Speaker C:I think Conan was a comic book before it was.
Speaker B:Yeah, yeah.
Speaker C:Just like these dread movies and.
Speaker B:But again, those are what set him up as the action hero of the late 70s through the 80s.
Speaker B:So it's like they up.
Speaker C:Can I say?
Speaker A:Yeah, yeah.
Speaker A:All day long.
Speaker C:They fucked up majorly whenever they just started making him.
Speaker C:Not an unstoppable killing.
Speaker C:Except for Predator.
Speaker C:Predator.
Speaker C:You got to give him a little lines here and there and stuff.
Speaker C:But Terminator and Terminator 2, obviously phenomenal.
Speaker C:And what did he do?
Speaker C:He just walked around like a menace.
Speaker B:Yeah.
Speaker B:Literally.
Speaker C:Conan the Barbarian, which I rewatched probably four or five months ago for the first time in.
Speaker C:Well, since I was drunk as hell during, like, the whole pandemic.
Speaker C:I know.
Speaker C:I'm pretty sure I watched it during.
Speaker C:Yeah, but it's just whenever you just give him, like, hey, you're just gonna walk around and be big and menacing.
Speaker B:Yeah.
Speaker C:Let somebody else do the heavy lifting for the acting part.
Speaker C:You're just gonna act like Conan the Barbarian, whatever you think that is.
Speaker B:Yeah.
Speaker C:And he's like, okay.
Speaker C:And he just stands.
Speaker B:Yeah, yeah.
Speaker C:He swings a sword.
Speaker B:And the weird thing, like, comparing him to.
Speaker B:To Sly is like, Rocky is such a compelling drama.
Speaker B:A lot of people say it's a boxing movie.
Speaker B:It's a sports movie.
Speaker B:Rocky 1 is not a sports movie.
Speaker C:Right.
Speaker B:Because there's barely any sport in that movie.
Speaker B:It is a character driven emotional drama.
Speaker B:And even though he was kind of playing a caricaturized version of himself in the way that he wrote Rocky, the acting is still incredibly powerful.
Speaker B:He's a solid actor.
Speaker B:It's just, for whatever reason, as he got deeper into the action roles, it's like he just got lazy and stopped trying because this is it just me or was he having a stroke every time he spoke in this movie?
Speaker B:Well, it was so bad.
Speaker A:Well, that's his thing.
Speaker A:And, and kind of going back to the story of this movie, like he was doing that again where he was rewriting, interfering.
Speaker A:He was basically backseat directing this movie.
Speaker A:Yeah, this actually.
Speaker A:And I have a rando about this.
Speaker A:When this movie first was finalized, it was rated NC17.
Speaker B:Oh God, it was.
Speaker A:But Sly was not only.
Speaker A:Not only making him write funny lines, he wanted to do his one liners which is something that was dying off from the.
Speaker A:This old breed of comedy we.
Speaker A:Or this old breed of action we were talking about.
Speaker B:Yeah.
Speaker A:But they also.
Speaker A:And the problem is too is the studio was always on Sly side.
Speaker B:Yeah, of course.
Speaker B:Cuz he's the star, he's an atm.
Speaker A:Yeah.
Speaker A:And the director didn't stand a chance.
Speaker A:So when Sly and the.
Speaker A:They wanted it to be PG13, they wanted to be funny, they wanted to be more accessible, they wanted to make more money.
Speaker A:So they made all these changes because of that.
Speaker A:And that is how we actually got it.
Speaker A:Apparently it was much more violent.
Speaker A:There's a lot of stuff on the cutting room floor that's much darker.
Speaker A: wanted to do what happened in: Speaker B:Yeah.
Speaker A:Dread, that actually was his vision.
Speaker A:But he basically didn't stand a chance in when he got slide.
Speaker B:I mean he.
Speaker B:Yeah, he would have been way ahead of its time.
Speaker B:I don't think the 90s would have been ready for that level of like hyper violence in the way that.
Speaker B:That they would have done it.
Speaker C:See, I think completely different.
Speaker C:The 90s 94 had Pulp Fiction which a lot of people are like, oh my God.
Speaker B:That was an outlier though.
Speaker C:But I mean, but it opened up a whole genre of those indie films.
Speaker B:It's true.
Speaker C:Always kind of a heist film or somebody getting in a bad situation that can only end in violence.
Speaker B:That is true.
Speaker C:And people flock to that.
Speaker C:And I think that's another reason why a comic book like Judge Dread where it's just an ultra violent person.
Speaker B:Yeah.
Speaker C:You know, going around doing semi lawful things.
Speaker C:It's basically the Punisher.
Speaker B:Yeah.
Speaker C:Is all he is.
Speaker C:But I think, I think people saw that and just went, okay, this is how we get your Gen X 20 somethings to come back to the theater for a popcorn movie.
Speaker B:Yeah.
Speaker C:And we're gonna do this, but how are we gonna do it?
Speaker C:And then I feel like the first movie just had so many smudges and fingerprints.
Speaker C:Oh yeah.
Speaker C:Of big wigs sitting around the table being like, well, how do we sell the Happy meal part at McDonald's?
Speaker B:Yeah.
Speaker C:How do we sell these toys and Toys R Us?
Speaker C:How do we do this?
Speaker C:We gotta have, like.
Speaker C:You were saying earlier, maybe it was you.
Speaker C:I can't remember.
Speaker A:We said.
Speaker C:Said we gotta have some one liners.
Speaker C:And in there we gotta have, like, somebody to be funny because this balance is too much.
Speaker B:Yeah.
Speaker C:And then you're gonna bring in Rob Schneider, which was just, what, the worst.
Speaker C:The worst part of the whole movie.
Speaker A:And I like Rob Schneider.
Speaker C:Yeah, that's what I'm saying.
Speaker C:And the absolute worst part of the movie.
Speaker C:But on the.
Speaker C:On the other side, I don't know if we can jump into the other movie.
Speaker C:Just.
Speaker B:We can talk about it, but.
Speaker B:Yeah, we'll do a.
Speaker B:We'll do.
Speaker B:We'll do a whole episode on that one, too.
Speaker C:Okay.
Speaker C:Just in the compare and contrast of the two.
Speaker B:Yeah.
Speaker C: Is that almost: Speaker B:Well, yeah, it was.
Speaker C:It's almost where I was like, you know, it wouldn't be bad to have just a joke.
Speaker C:Yeah, okay.
Speaker B:That was.
Speaker B:The thing was, like, I rewatched it last night and.
Speaker B:And I was.
Speaker B:Every now and then it would have a nod back to the original movie in that Carl Urban would have one of those little one liners or Anderson would have one of the one liners.
Speaker B:And it happened just enough because I was talking to the person I was watching with and I was like, this happens maybe 10% of the amount of times it happens in the 95 movie.
Speaker B:And this was like, just enough that I still felt the tension of the situation.
Speaker B:They're into the movie, but I wasn't, like, rolling my eyes with the dumb, like, oh, I've got you kind of one liners that, like, Sly was doing the whole movie.
Speaker B:Yeah, it was.
Speaker B:Every other line of his was just like, I'm gonna say something clever.
Speaker A:Yeah.
Speaker C:I think it's less clever and more.
Speaker C:They were looking for that.
Speaker C:I'll be back or.
Speaker B:Oh, sure.
Speaker B:But the problem was there wasn't one consistent one.
Speaker B:It was like every other time he would.
Speaker B:It was another.
Speaker B:And he might call back to one every now and then.
Speaker B:But it's like they kept just trying to throw them on the wall, and instead of picking the one that stuck, they just used all of them.
Speaker B:Yeah.
Speaker B:And it was so weird.
Speaker C:It was a hodgepodge.
Speaker C:It was.
Speaker B:I feel like if this movie had come out 10 years prior, I could look on it a little more favorably.
Speaker B:But knowing, like, what was being made right before and right after it just, it sticks out like such a sore thumb.
Speaker A:How 10 years before it would have been considered prophetic.
Speaker B:I mean, probably.
Speaker A:Yeah, like Total Recall was, was that.
Speaker A:I mean, Total Recall was, was one of those rare instances where Arnold was, he basically saved the movie because the, the production company went bankrupt.
Speaker A:And so they basically said, I want to star in it.
Speaker A:Carol Company, the movie.
Speaker A:The company that did RoboCop and all the Rambos were like, we'll put money into it if Arnold can star.
Speaker A:But like, in a lot of ways that movie was also very prophetic.
Speaker A:And that came out in like, what, 92, I think, I think 91 or 92.
Speaker A:And so that was actually pretty close.
Speaker A:But they managed to be more serious with that because they, they.
Speaker A:Because Verhoeven was directing it and so.
Speaker A:But literally three or four years later, this one.
Speaker B:Yeah, it's cartoonish, almost very cartoonish.
Speaker B:And as you said, like, it doesn't, it, it, it, it's supposed to have a serious tone.
Speaker B:And, and I want to, I do want to talk about this in a little bit how I actually think the plot, the, the basic structure of the, of the movie was a very good story buried in this heap of, of, of Sly.
Speaker B:Just being a weirdo.
Speaker A:Yeah.
Speaker B:Is actually a really solid story.
Speaker B:The execution was just the whole way.
Speaker A:Yeah.
Speaker B:But it's, it's like.
Speaker B:Yeah.
Speaker B:I don't know.
Speaker B:I, it's weird how much old was in it for when it came out?
Speaker B:It just, yeah.
Speaker B:It felt so strange.
Speaker C:It's once again Hollywood for years.
Speaker C:And I know this from watching horror movies and stuff is ran by 50 year olds.
Speaker B:Yeah.
Speaker A:Yeah.
Speaker C:I, it may be still that way, I don't know.
Speaker C:But back then, definitely 50 year olds.
Speaker B:Yeah.
Speaker C:So they're coming in and being like, oh, this is what the kids want to see.
Speaker C:Because that's what they wanted to see 20 to 30 years ago.
Speaker B:Yeah.
Speaker A:Yeah.
Speaker C:And then you just have that.
Speaker C:So whatever pure intention that a script writer or a filmmaker has though, I'm preaching to the choir.
Speaker C:You bring it in, you sit it down, and then somebody else goes, oh, well, I'll give it at a million dollars if.
Speaker C:Yeah, it has this.
Speaker B:Yeah.
Speaker B:Which.
Speaker C:Well, I mean, it's in a weird city, so we have to show flying cars and shit.
Speaker B:Right.
Speaker C:Did anybody ever think about that for one minute the whole world has collapsed.
Speaker B:Yeah.
Speaker C:And it's.
Speaker C:The cities have had to blend together.
Speaker C:Everything's a slum, everything's dirty, everything's violent and polluted and nasty.
Speaker C:And for some odd reason, Scientists said, you know what we need to do?
Speaker B:Make cars fly and the bike sometimes.
Speaker A:And the guns are voice activated.
Speaker C:Guns are voice acted.
Speaker B:Which was the only part of this.
Speaker B:Liked as far as like the technology and the lore was.
Speaker B:And, and I, I do love how it carried through with the way they did it in the Carl Urban one.
Speaker B:Because it like it took that good idea and just perfected it.
Speaker A:Yes.
Speaker C:Yeah.
Speaker B:And like I said, there was a lot of good that I could pull out of this movie.
Speaker B:I texted Kyle about this.
Speaker B:I genuinely think if this plot had been the third movie in a trilogy or a series, it would have been way better.
Speaker B: the story and how simple the: Speaker B:Because in the first movie he's pretty much unrelenting as far as like, this is the law.
Speaker B:We follow the law in the things that we do.
Speaker B:But at the very end is when you see him start to break those kind of morals.
Speaker B:If that was the first one, you had something where he starts breaking the morals a little more in the second one.
Speaker B:And then the third one is when the entire world is now questioning whether or not he can do his job even though he's been framed.
Speaker B:I think that would have made a very compelling like, trilogy or at least first three movies of a series.
Speaker C:Well, you got to face it, these movies aren't made to be, I don't even think entertaining.
Speaker C:A lot of times they're made to sell toys.
Speaker C:Sure, sure, shit like that.
Speaker C:And I think that's what they were going for.
Speaker C:They were just like, slap a bunch of shit together.
Speaker B:Oh, yeah.
Speaker C:I, I personally, I don't totally agree with what you said about the story of this first movie.
Speaker C:I think that they, it felt like they just took a bunch of good ideas from other movies and scenes for that matter, and just mush that together.
Speaker B:Oh, I don't disagree.
Speaker C:Works.
Speaker B:I don't disagree.
Speaker C:Let's go with it.
Speaker C:And I'm not saying it was that bad.
Speaker C:I'm not saying that I watched him this movie, but I just kept on.
Speaker C:Well, I probably did say, fuck this movie.
Speaker B:There was quite a few times Rob.
Speaker C:Schneider kind of made me say, fuck this movie.
Speaker C:Ye.
Speaker C:Of course.
Speaker C:They had to have like hillbillies out in the desert.
Speaker B:Yeah.
Speaker C:Like you had to have your horror movie.
Speaker C:People know it.
Speaker C:You had to have your Hills Thunderdome.
Speaker B:Yeah, Hills have eyes.
Speaker B:A little bit of Mad Max.
Speaker B:Kind of feel shit like that.
Speaker C:Where I'm just like.
Speaker C:I feel like that's so unnecessary.
Speaker B:Yeah.
Speaker C:Because I hadn't watched it since it came out.
Speaker B:Yeah.
Speaker C:And whenever they were flying Dread to the penal colony, which they kept calling it, I was like, just called a prison.
Speaker B:Yeah.
Speaker A:Yeah.
Speaker C:Like, this is for.
Speaker C:We have to say penalty and say it straight faced.
Speaker B:Harvey Weinstein walked in and was like, you should say penal.
Speaker C:Mine doesn't work.
Speaker C:It does, but I just.
Speaker C:I don't know.
Speaker C:I feel like him fighting his way out of prison.
Speaker B:Yeah.
Speaker C:To prove his innocence would have been so much better.
Speaker B:Oh, definitely.
Speaker B:So that's where I say the plot.
Speaker B:The.
Speaker B:The basic plot of he's accused of a crime he didn't commit and he has to solve what happened.
Speaker B:That is where I think they obviously is where they started.
Speaker B:And that's where I think the good ideas probably ended.
Speaker B:It was like once they had their basic story in line and they started populating it with other ideas, that's where everything just kind of sucked.
Speaker C:Yeah.
Speaker C:I got a game that I like to play since the.
Speaker C:The final season of Game of Thrones.
Speaker B:Yeah.
Speaker C:Where I go.
Speaker C:I can't about something unless I have the ideas to make it better.
Speaker B:Yeah.
Speaker C:And if I can't do that, then I have to walk away.
Speaker B:Yeah.
Speaker C:And in this one, this is how I would do it.
Speaker B:Okay.
Speaker C:Judge Dredd gets framed.
Speaker B:Yeah.
Speaker C:I don't know how that's going to get there.
Speaker B:Sure.
Speaker C:Because I didn't particularly care the way they did it in this one.
Speaker B:Yeah.
Speaker C:But he gets framed.
Speaker C:He gets sent to the prison.
Speaker C:He fights his way through the prison.
Speaker C:At this point, you got to keep Rob Schneider.
Speaker B:Yeah.
Speaker C:You keep him through there.
Speaker C:He's using him as cannon fodder.
Speaker C:Everything else to kind of get through till they somehow get out.
Speaker C:And then that next part of the movie, your middle of the movie is them walking through the desert while people on Dread's side.
Speaker C:What's her name?
Speaker C:Diane Lane.
Speaker B:Yeah.
Speaker B:Yeah.
Speaker C:Diane Lane is over there.
Speaker C:She's doing like the detective work.
Speaker B:Yeah.
Speaker C:So that gives her character actually something to do.
Speaker A:Yeah.
Speaker C:Other than just be a lawyer at one point.
Speaker C:Like, other than that, I don't know really what she did.
Speaker C:She was just the damsel in distress.
Speaker B:Basically.
Speaker B:Basically like the love halfway partner.
Speaker B:Yeah.
Speaker B:Yeah.
Speaker B:The kiss at the end was so out of place.
Speaker B:It was so.
Speaker C:Because there was never like any sexual tension.
Speaker B:No.
Speaker C:Barely at all that.
Speaker C:And then it's like, okay, I love you now.
Speaker C:And he's like, I got go back.
Speaker A:I judged.
Speaker A:I judged him.
Speaker A:I mean.
Speaker C:And then you Know, then you have like a bit of a fight between the bad guys.
Speaker C:Because all those old movies have to have a boss fight.
Speaker B:Absolutely.
Speaker C:Which I'm fine with.
Speaker B:Yeah.
Speaker C:And then you have that.
Speaker C:And then you, you know, then he rides off in the sunset.
Speaker B:I agree with all of that.
Speaker C:I can't do anything but love.
Speaker B:That's a ten times better movie.
Speaker B:Like 100%.
Speaker B:No.
Speaker B:See?
Speaker B:Yeah.
Speaker B:And again, you.
Speaker B:In my opinion, that's the same basic plot of just like, what kind of film is this?
Speaker B:It's a framed revenge film.
Speaker B:But that story wise is way better.
Speaker B:100%.
Speaker B:I would do that.
Speaker B:And that's where I think, especially once you've established the world and the characters with one or two other movies, that's especially where this kind of story would have had a better place.
Speaker B:Instead of being the introduction to this character.
Speaker B:It's kind of the conclusion of what's happened in a grander sense.
Speaker C:Yeah.
Speaker C:And they didn't even really set it up for a sequel.
Speaker C:I expected that at the end.
Speaker C:I expected some sort of.
Speaker A:I'm late to work.
Speaker B:Yeah, that's it.
Speaker C:I expected something like the.
Speaker C:What's his name?
Speaker C:Rico.
Speaker B:Yeah.
Speaker C:Expected him to somehow come back.
Speaker C:Or maybe the DNA that he started.
Speaker C:All those clones with, like, it shows like one towards the end, like crawling toward, you know, just something.
Speaker B:Yeah.
Speaker C:But they were like, nah, I think they were just like, we're just, we're done here.
Speaker B:Yeah.
Speaker B:I think everybody kind of knew by the time that movie got edited that it was not.
Speaker B:Not going to have a sequel.
Speaker A:Speaking of having a sequel, maybe you're sitting inside of a mega complex in a dystopian slum in a cyberpunk setting and you haven't shared Movie Wars.
Speaker A:So I'm going to judge you.
Speaker A:Yeah, we're going to judge.
Speaker A:Well, I don't want to say I'm going to execute you.
Speaker A:That's really dark.
Speaker A:But that's what happens in the movie.
Speaker B:It's true.
Speaker A:So kind of a subtle threat.
Speaker A:That's what happens in the movie.
Speaker B:You will seriously be in dread of us coming to get you.
Speaker A:I dread the fact that maybe you didn't share Movie wars with your grandmother.
Speaker A:She's not going to be here forever.
Speaker A:In fact, I'd call her now and check.
Speaker B:Yeah.
Speaker A:All right.
Speaker A:Love y'all.
Speaker B:Like and subscribe.
Speaker B:We love you.
Speaker A:Yes.
Speaker A:The question.
Speaker B:The questions.
Speaker A:So everything we just said, the.
Speaker A:The PG13 nature, the cartoonishness, but then all of a sudden we got cannibals out in the desert.
Speaker A:Like, that drives me Insane.
Speaker A:Like to me, like there are a few subject matters in movies that like, once you put them in there, it's, it just, it takes it there.
Speaker A:And Cannibals is one of those things like the imagery and if you're like someone that, you know, for God forbid, watched Hannibal, Cannibal Holocaust or, or Green Infer.
Speaker A:Inferno.
Speaker B:I love that movie.
Speaker B:Yeah.
Speaker C:Green Inferno.
Speaker C:Oh yeah, yeah.
Speaker C:It's a Disney movie compared to Cannibal.
Speaker A:Yeah.
Speaker A:Oh yeah.
Speaker B:Oh yeah.
Speaker A:And it's like once you like put them in a setting and I have, I have.
Speaker A:And I know this because I have 10 minutes in my, in my set about cannibals.
Speaker A:I have a lot of cannibal material.
Speaker A:I don't know why.
Speaker A:It just.
Speaker A:Yeah, exactly.
Speaker A:Right.
Speaker A:It just.
Speaker A:People just are a little weird about cannibals.
Speaker A:I mean, let's be real.
Speaker A:It's kind of like you're having a nice party.
Speaker A:We'll call Dread because up until now it's been kind of a stroll in the park.
Speaker A:Yeah, it's.
Speaker A:It's dark, but it's kind of just feels like a walk in the park is like they're cannibals.
Speaker A:It's like, whoa, there are cannibals in this world.
Speaker A:Like, how did we get there?
Speaker B:I just, I mean, again, if, if this had been even the second or third movie in a series, you could go there pretty easily.
Speaker B:You could, you could have set up the universe and you could go into a quick side thing.
Speaker B:Oh, guess what?
Speaker B:Yeah.
Speaker B:There's this one group out here that's doing fucked up shit.
Speaker B:I think last of us did it really well.
Speaker B:Yeah, that one group that.
Speaker B:But again, you.
Speaker A:That's the world.
Speaker B:Well, you're.
Speaker B:Yeah.
Speaker B:And you're talking about a nine hour TV show and a 20 or 60, 16 hour game versus an hour and a half long movie.
Speaker A:I agree.
Speaker B:There's just too much stuff packed into this movie for it to make sense.
Speaker A:And they've done nothing here to build up to the cannibals.
Speaker A:I was like, yes, it's dark.
Speaker A:Like you said, it's polluted.
Speaker A:But the thing that.
Speaker A:And again, I don't want to over talk about Dread until we do the Dread episode.
Speaker A:But it's like this didn't really give us a lot of insights into what living in this world's like.
Speaker A:We see the people and stuff, but it's like we've, you know.
Speaker B:Well, some of them.
Speaker B:It doesn't seem that bad.
Speaker B:Yeah, it kind of just seems like normal life just got put into a big City.
Speaker B:Like, that's.
Speaker C:Yeah, that's it.
Speaker B:Sure.
Speaker B:It's.
Speaker B:Everything's.
Speaker B:Everyone's a little poorer, but everyone seems to be at least surviving.
Speaker A:But there's cannibals.
Speaker B:Yes.
Speaker A:It's just like, holy shit.
Speaker B:That was one group of people who are revolutionaries and are shooting shit up.
Speaker B:Like, yeah, okay.
Speaker A:It's not like the Road like the.
Speaker A:The Viggo Mortensen based on Cor McCarthy.
Speaker B:It's like, to see that.
Speaker A:It's like that.
Speaker A:I've read it and watch it.
Speaker A:It's like, now that makes sense.
Speaker B:Yeah.
Speaker A:They've done a good job illustrating the world we're in, but here it's kind of like.
Speaker A:That was a bit of a leap.
Speaker C:Whenever you go to watch the Road, just make sure you don't have anything else to do the rest of the day.
Speaker A:Yeah, you're gonna have a bad day.
Speaker C:You're gonna be weird around people.
Speaker A:Yeah.
Speaker C:Did you.
Speaker A:Did you read it?
Speaker C:I didn't read it.
Speaker A:Oh, my God.
Speaker A:It took me.
Speaker A:It took me.
Speaker A:It took me like, three weeks to finally finish it.
Speaker A:And I.
Speaker A:I remember, like, just living in it for three weeks.
Speaker A:I was like, oh, my God.
Speaker B:Yeah.
Speaker C:But you could also look at the roads, since this is the Road podcast now.
Speaker C:You could also look at the road as hope, because there is a certain thing that happens at the ending that we can't tell that is supposed to symbolize some sort of hope.
Speaker A:Yeah.
Speaker C:Even though I didn't get that much hope from it.
Speaker B:Sure.
Speaker A:It's Cormac McCarthy's version of hope.
Speaker C:Yes.
Speaker B:In the distance of the vast night.
Speaker A:When you don't have any legs anymore and your whole family's dead and you're eating soil and worms.
Speaker B:Yeah.
Speaker C:Hope.
Speaker C:There's still hope.
Speaker C:The sun has its shine and you're.
Speaker B:Literally consuming your own to survive.
Speaker A:And there are cannibals.
Speaker A:Yes, there is hope.
Speaker A:That killed me, dude.
Speaker A:Well, that was the Road podcast.
Speaker C:Thank you.
Speaker A:Yeah.
Speaker C:Like, review, subscribe.
Speaker C:Hey, guys, let's.
Speaker A:Next question.
Speaker A:We.
Speaker A:We talked about how it was going to be NC17, and I have a random for that, but let's pretend we didn't know that.
Speaker B:Okay.
Speaker A:Was the blood and gore budget for this movie $14?
Speaker B:I think so.
Speaker A:Oh, my God.
Speaker A:We got.
Speaker A:Did you notice that?
Speaker A:Like, there's so many.
Speaker A:I'm not saying it needed to be Texas Chainsaw Massacre or.
Speaker A:Or even the New Dread or even robocop.
Speaker B:Yeah.
Speaker A:Or even.
Speaker A:Oh, yeah, God forbid.
Speaker A:But this, like, there are, like, future laser bullets.
Speaker A:Like, I don't even know how to Describe them going through people like crazy.
Speaker A:And it's just like, maybe I saw blood three, four times.
Speaker A:We got cannibals.
Speaker A:Like there's no blood, no gore anywhere.
Speaker B:Well, see, this is, this is what I was saying because, because technically I wouldn't, I wouldn't classify this as an indie film.
Speaker B:Pulp Fiction, Reservoir Dogs, both very independent films.
Speaker B:And you can get a lot away with a lot more hyper violence in animated or independent films than you can when you're trying to do a big budget kind of action movie.
Speaker B:And so that's where I'm like, I feel like general audiences wouldn't have been ready for even an R rated cut of that movie.
Speaker B:Because when you compare it to what was going on in the 80s, everything was kind of independent.
Speaker B:You had a few of the big budget kind of stuff, but most things people were seeing in theaters were going to be lower budget independent sci fi films.
Speaker B:And I would even consider RoboCop to be in that genre of like independent level sci fi.
Speaker A:Oh yeah, it was rated X.
Speaker A:It took him 10, it took him 10 resubmissions to the NPAA to get it down to R.
Speaker A:Exactly.
Speaker B:And that was kind of a thing for indie film, especially in the 70s and 80s, was like experimenting and pushing the boundaries of that kind of hyper violent.
Speaker C:See, I don't think that this was supposed to be an action movie at all.
Speaker C:Like I said earlier, I think this was supposed to sell toys.
Speaker A:Yeah.
Speaker C:This was supposed to open up like whoever bought.
Speaker C:I.
Speaker C:I don't even know what Judge Drag came out on as far as comic book publishers.
Speaker C:Yeah.
Speaker B:I have no clue.
Speaker C:Yeah.
Speaker C:I, I don't know much about the comic books.
Speaker A:I used to be British based.
Speaker A:It's a uk.
Speaker B:Okay.
Speaker C:Okay.
Speaker C:I remember seeing it in comic shops whenever I was a teenager.
Speaker B:Yeah.
Speaker C:But you know, it was nothing more than me looking at how cool the COVID was, maybe flipping through it.
Speaker A:Yeah.
Speaker C:And that was about it.
Speaker C:So whoever bought that ip, I believe, just went, yeah, this will be the next toy that we sell.
Speaker C:Because RoboCop, you guys are too young to remember.
Speaker C:RoboCop was marketed to little kids.
Speaker B:Oh, yeah.
Speaker B:I'm sure.
Speaker B:Even though it was like crazy R.
Speaker B:Yeah.
Speaker C:Whenever I watched it, I was like, I don't even know what is going on.
Speaker C:Yes.
Speaker C:Because this is insane.
Speaker C: aganda that we're in a like a: Speaker A:Yeah.
Speaker C:And I was just like, how's this for kids?
Speaker C:And then they made a cartoon.
Speaker A:Yeah.
Speaker A:And it's good, by the way.
Speaker C:The cartoon's not bad.
Speaker A:I had.
Speaker C:I remember having an action figure where you put like caps, like for a cap gun in the back and you just pull the trigger and RoboCop just shot.
Speaker C:Yeah.
Speaker C:And it just smelled bad.
Speaker A:I had like 20 action figures of RoboCop.
Speaker A:I still have.
Speaker A:I have figurines on my.
Speaker A:As part of my decoration in my office.
Speaker A:I have RoboCop Pop figurines.
Speaker C:Yeah.
Speaker B:Hell yeah.
Speaker C:And I honestly think that that's what they were.
Speaker C:They were pushing for.
Speaker C:It's just like we don't care about the rest.
Speaker B:Yeah.
Speaker C:We just want to sell popcorn.
Speaker C:We want to make money.
Speaker C:Just puts us out out there.
Speaker C:Like, because it was not cohesive, they didn't set it up for a sequel.
Speaker C:They thought this would just explode because a.
Speaker C:They had Diane Lane coming off winning an Oscar, I think like a year or two previous.
Speaker A:Oh, yeah.
Speaker C:For Faithful.
Speaker A:Yeah.
Speaker C:So she's won an Oscar.
Speaker C:She is always known for being a great actress.
Speaker B:Yeah.
Speaker C:Then you have.
Speaker B:Fucking terrible in this.
Speaker C:Well, yeah, everybody.
Speaker A:Yeah.
Speaker C:Nobody's really.
Speaker B:I will say I thought the villain actually, Rico, I actually really enjoyed his performance.
Speaker B:Like there was.
Speaker B:Obviously the whole movie was cartoony and he definitely played into that.
Speaker B:But I think he just.
Speaker B:I've noticed this.
Speaker B:Even when they're in bad movies, when people get a villain role, they still tend to take it as seriously as they can.
Speaker B:Pedro Pascal in Wonder Woman 84.
Speaker A:Yeah.
Speaker B:God awful dog shit of a movie.
Speaker B:God damn.
Speaker B:Did he put 150% of himself into that role?
Speaker B:Yeah, he just went all for it.
Speaker B:And I feel like Rico did the same here where he was like, fuck it.
Speaker B:I might be saying stupid words, but I'm going to put everything I can behind him.
Speaker B:I'm going to bring some sort of weight to this shit.
Speaker C:He went for it.
Speaker A:Rando.
Speaker B:Randos.
Speaker A:This was kind of wild.
Speaker A:This film budget was between 85, 90 million.
Speaker B:I was gonna ask.
Speaker B:Okay, that's a ton of money from the 90s.
Speaker B:Yeah.
Speaker A:And that's.
Speaker A:And you can thank Sly for that.
Speaker A:I think they would have gotten more than less than half of that if it wasn't Sly.
Speaker B:Yeah.
Speaker A:But they only made 34,7.
Speaker A:34 million domestically and they made 78 million everywhere else, so it totaled 113.
Speaker B:But I'm sure they lost probably 50 million in marketing.
Speaker A:Yeah.
Speaker A:And they did have the toys too.
Speaker A:I remember the toys.
Speaker C:They had huge toy push.
Speaker A:Yeah.
Speaker A:Big toy Toys R Us up in here.
Speaker B:Oh, my God.
Speaker A:This is my favorite part of the Research here.
Speaker A:So what's funny?
Speaker A:And I'll get to this.
Speaker A:In the categories, the, the director and the writers here wrote and directed some prolific stuff.
Speaker A:I mean, we're not messing around with like it would suck if you only knew this movie.
Speaker A:And like you would think this is Danny Cannon's only movie is like, ah, Danny Cannon sucks later.
Speaker A:Or the writer.
Speaker A:I can't remember their names.
Speaker A:I got it documented.
Speaker A:But you'll be like, oh my God, they suck.
Speaker A:But then you see what else they wrote.
Speaker A:Like, what the happened here?
Speaker A:How did this happen?
Speaker A:But anyway, this was when it was submitted.
Speaker A:It was NC17 between Stallone and the studio.
Speaker A:They cut it all the way down to PG 13.
Speaker A:Then they started doing research to get or reshoots.
Speaker A:To get more comedy.
Speaker A:Yeah, to get more one liners in it.
Speaker A: e him and the writers had the: Speaker A:That's what they wanted.
Speaker A:They loved the comics.
Speaker A:He said, he was quoted saying he'll never work with a big name actor again because of the way.
Speaker B:Yeah, I would love to see the NC17 cut.
Speaker B:I would love to see what that was originally going to look like.
Speaker C:What else did Danny Cannon do?
Speaker A:We have.
Speaker A:We can get it to it later.
Speaker A:But okay, so I know it's good.
Speaker A:No, I love this question.
Speaker A:He did Pennyworth, Gotham, Nikita.
Speaker A:I still know what you did last summer.
Speaker A:And he also did like three seasons of csi.
Speaker B:Oh, so he jumped into TV after that.
Speaker B:Yeah, he did a couple more movies than jumped into tv.
Speaker B:Okay.
Speaker A:I haven't seen him, but Gotham and Pennyworth have gotten a lot of love.
Speaker B:Yeah, no, I've heard a lot of good things about both of them.
Speaker B:That of sense, because it's unfortunate to say, and I think it's kind of shifting now because there's been a lot of blending between TV and film.
Speaker B:But back in the day, you went to TV when you couldn't do film.
Speaker B:Yeah, like that was kind of the situation.
Speaker A:Yeah.
Speaker A:And maybe this experience is what drove them there.
Speaker B:It's possible.
Speaker B:I mean, I mean literally, the League of Extraordinary Gentlemen is what made Sean Connery retire from acting.
Speaker B:Yeah.
Speaker B:Like literally.
Speaker B:Because the whole thing was he passed on Gandalf, he passed on another big role because he didn't understand Dumbledore.
Speaker B:I think he actually passed Dumbledore too.
Speaker B:And he was like, I just didn't understand the script.
Speaker B:And then his agent was like, you've literally passed up $400 million basically in the last like four years.
Speaker B:Do something big even if you don't get it.
Speaker B:So he did leave Extraordinary Gentlemen and it was so bad that he just quit acting altogether.
Speaker A:Oh my gosh.
Speaker B:Yeah.
Speaker B:And so I could definitely see like one horrific experience.
Speaker B:Just like, nope, never doing that again.
Speaker B:I'm going to go somewhere else, man.
Speaker A:The agent must either suck or Sean Connery is just hard headed because it's.
Speaker B:Like, it's, it's definitely, it was definitely a little bit of both.
Speaker A:It's like, listen, you can keep saying no.
Speaker B:Yeah.
Speaker A:To this, but you're going to do it.
Speaker B:He would have fucked Gandalf so bad.
Speaker B:It would have been horrible.
Speaker C:Could you just imagine being in your 60s and somebody's like, here's the deal.
Speaker C:There's a little boy.
Speaker C:It's a wizard.
Speaker B:Yeah.
Speaker C:And there's other wizards.
Speaker C:There's broomstick around.
Speaker C:He's like, does that make him a witch?
Speaker C:No, no, no, no, no.
Speaker C:So, and then all this is going to happen.
Speaker C:It's going to be like nine movies and this.
Speaker C:And the only people like it are little kids and like kind of middle aged weirdos.
Speaker B:Yeah.
Speaker C:So you're going to get real big with this.
Speaker C:And he.
Speaker C:And it just be like, all right, did Highlander.
Speaker B:Yeah.
Speaker C:So I'm good.
Speaker B:You would Lord of the Rings, though, like up until that point, like Tolkien had such a gravitas.
Speaker B:Like literally every actor of, of the older generation who worked on that movie had, had read the books tons of times.
Speaker C:Yeah.
Speaker B:Like Christopher Lee was the only one who actually met Tolkien and asked him questions.
Speaker B:And like literally every year would rewatch or reread Lord of the Rings just because that's what he loved doing.
Speaker B:So it's like, I don't know if it was just him being a little bit of a prissy asshole.
Speaker B:Just like, oh, I don't get it.
Speaker C:I mean, it is James Bond.
Speaker A:Yeah.
Speaker B:Yeah.
Speaker C:I mean, you know, James Bond just walks out and he's like, you want me to do what?
Speaker C:Yeah, I gotta wear a dress and a big pointy hat.
Speaker C:For how long?
Speaker B:Keep it secret, safe.
Speaker A:I don't.
Speaker A:And there's, I'm trying to remember.
Speaker A:I.
Speaker A:It was within the proximity of this.
Speaker A:But then you have that interview with Barbara Walters floating around where he talks about 20 minutes only, like when it's okay to slap a woman.
Speaker A:Like, I watched that because someone posted it recently and I got curious.
Speaker A:They posted like two minutes.
Speaker A:I was like, you know, I've never seen that interview.
Speaker A:It's like 15 minutes.
Speaker B:Yeah.
Speaker A:And Barbara Walters asked him.
Speaker A:She's like, so when is it okay for a woman to slap you?
Speaker A:Goes, well, that's a whole different story.
Speaker A:And I'm like, dude, you got 15 minutes of material on slapping women.
Speaker B:Yeah.
Speaker A:And so, I mean, maybe he's just not a good decision maker.
Speaker A:Or was it Pat?
Speaker A:Rest in peace.
Speaker B:Yeah.
Speaker A:Rest in power guy.
Speaker A:Man slapper.
Speaker B:Yeah.
Speaker B:Don't.
Speaker B:Don't slap.
Speaker A:Don't slap women.
Speaker B:Yeah.
Speaker C:Don't do that.
Speaker C:But also at the same time, whenever somebody dies, at least let their body get cold before you're like, you know what?
Speaker C:He was a pretty big.
Speaker A:Yeah.
Speaker C:But you.
Speaker C:We all loved him for a while.
Speaker B:Yeah.
Speaker B:He did some fun stuff.
Speaker C:Let's celebrate this for a week.
Speaker C:Let him get chucked in the ground and be like.
Speaker C:And he also would be like, yeah, I'll slap a bitch.
Speaker C:Yeah, I'll tell Barbara Walters to her fucking face.
Speaker C:I'll slap her.
Speaker A:We're gonna go 20 minutes on this material.
Speaker A:I mean, yeah, it's.
Speaker A:It's.
Speaker A:At a certain point, you got to set an expedition.
Speaker A:Expedition or expiration date on a friendship.
Speaker A:You just be like, you know what?
Speaker A:We'll get.
Speaker A:We'll get a side tech thread going.
Speaker A:Like, I don't think we can talk to Sean anymore.
Speaker A:Yeah.
Speaker A:He just keeps talking about those women.
Speaker A:I've never seen him slap a woman, but he talks about it all the time.
Speaker B:I don't know if it's a joke or if it's just his life, but.
Speaker C:But he's also.
Speaker C:How bad is Judge Dredd that we're talking about Sean Connor?
Speaker B:Literally, though.
Speaker A:And then someone else comes into the text there, but he's James Bond.
Speaker A:Like, shut up, Jimmy.
Speaker B:Third text, dread.
Speaker B:I think Jimmy might be out, too.
Speaker A:Jimmy sure loves Sean Connery a lot.
Speaker C:Did you guys care for the opening of Judge Dredd?
Speaker C:That was the best part of the whole film.
Speaker C:Personally.
Speaker B:I mean, yes, I agree.
Speaker B:But no, I still didn't care for it.
Speaker C:Well, the whole comic book scroll through the pages.
Speaker C:Marvel would later steal that.
Speaker B:Yeah.
Speaker C:And that would be the opening of every one of their films.
Speaker C:And because, as I was noticing, I was like, oh, yeah, that's just Marvel.
Speaker B:It just.
Speaker B:It didn't hit it for me.
Speaker C:It didn't even.
Speaker C:Like the beginning where the scroll with James Earl Jones talking.
Speaker C:I mean.
Speaker B:I mean, it was cool to hear James Earl Jones, but then he never fucking shows up and doesn't even do the ending narration, if there is any.
Speaker B:So I'm like, what the fuck?
Speaker C:Isn't any.
Speaker B:Yeah, like, it was.
Speaker B:It was just another excuse to pay 100 grand to get someone to record 30 seconds.
Speaker A:Yeah.
Speaker C:It's just throwing more spaghetti at the wall of pop cult culture to be like, this will get people in.
Speaker B:You know, it'll get people into it.
Speaker B:Darth Vader.
Speaker B:How much cocaine were they on when they were, like, putting this movie together?
Speaker A:Oh, man.
Speaker A:Not enough.
Speaker C:Not absolutely not enough.
Speaker C:Have you ever watched Maximum Overdrive?
Speaker B:No.
Speaker A:Oh, yeah, dude.
Speaker C:That's a whole cocaine movie.
Speaker A:Yeah.
Speaker C:Stephen King wrote it and directed it.
Speaker A:His only director.
Speaker A:Director.
Speaker A:Yeah.
Speaker C:He said that he was so blasted on blow that he doesn't remember doing it.
Speaker C:Yeah, he's like, there's large chunks here.
Speaker B:Yeah.
Speaker B:He doesn't remember riding Cujo either.
Speaker C:That makes sense.
Speaker B:Yeah.
Speaker C:Yeah.
Speaker C:Whenever you just.
Speaker C:Hey, the.
Speaker C:We got a dog outside.
Speaker B:Yeah.
Speaker C:And we're in a car.
Speaker A:Is it kind of weird that I liked Maximum Overdrive?
Speaker A:I mean, it's not.
Speaker A:The whole soundtrack.
Speaker A:It's got.
Speaker A:It's got like a zero percent, but the whole soundtrack is AC dc.
Speaker A:And there are some cool death scenes.
Speaker A:The.
Speaker A:The rolling.
Speaker A:What is the cement roller that runs over the guy?
Speaker C:Holy steamroller goes over.
Speaker C:Dude.
Speaker B:Yeah.
Speaker B:Did you cover that in the previous.
Speaker A:No.
Speaker B:We should do it.
Speaker A:We should.
Speaker C:We should tackle the bat.
Speaker A:You want to come?
Speaker C:Yeah, I've watched a million times.
Speaker C:I mean, I didn't watch it without TBS commercial breaks till probably 10, 15 years.
Speaker A:Yeah.
Speaker B:Wow.
Speaker C:And, man, I can go through the greatest hits of that.
Speaker C:Steamroller kills somebody.
Speaker C:Sony Walkman kills.
Speaker B:Yes.
Speaker A:A vending machine.
Speaker C:Vending machine hits a man in nuts with Coca Cola.
Speaker A:Yeah.
Speaker C:And then bashes his brains out.
Speaker B:It sounds like a cocaine movie.
Speaker A:It's actually very.
Speaker A:Emilio Estevez is really good in Italy.
Speaker C:Estevez does a bang up job.
Speaker A:Yes.
Speaker C:And it also has the voice of Lisa Sampson.
Speaker C:It has one other person.
Speaker A:I can't remember.
Speaker A:Yes.
Speaker A:We should definitely cover it.
Speaker A:We should tackle some movies that are.
Speaker A:That are considered bad.
Speaker C:That'd be really funny.
Speaker A:Yeah.
Speaker A:Last rando.
Speaker A:So not only did they not really deliver, you know, in terms of the movie, but they also pissed off the.
Speaker A:The Die Hard Dread fans.
Speaker A:The way they did that was.
Speaker A:And again, I haven't read them now I'm really curious now to read them, but apparently in the comics, he never takes his helmet off.
Speaker A:Ever.
Speaker A:And when he does, the very few times he does, it's always obscured.
Speaker B:Yeah.
Speaker A:So his face, like.
Speaker A:I think I did a lot of research.
Speaker A:I could never find a definite number, but like three times, I think in the comics it says he took his helmet off.
Speaker A:But it's either A shadow or something's blocked.
Speaker A:You never see.
Speaker B:Well, that was the very beginning of.
Speaker B:Of dread, was his helmet is off, but he's completely in shadow.
Speaker A:Yeah.
Speaker A:And then he doesn't take it off again.
Speaker A:And the fans, it totally pissed off the Die Hards.
Speaker B:Yeah.
Speaker A:So they couldn't.
Speaker A:They couldn't wow the new audience, they pissed off the.
Speaker A:The.
Speaker A:The loyal fans, so they just missed the mark.
Speaker B:All cause Sly wanted people to see his ugly face.
Speaker A:Yes.
Speaker A:And that was a big part of it.
Speaker A:It was like, well, we got Sly here.
Speaker A:We're going to show his face.
Speaker B:Yeah.
Speaker C:I mean, I guess it does make sense in a way.
Speaker B:Oh, yeah.
Speaker B:Because don't adapt something if you're not going to follow it.
Speaker C:Yeah.
Speaker C:Well, that's everything.
Speaker C:Yeah, that's every single thing.
Speaker A:Shall we execute judge?
Speaker A:And what does he say?
Speaker B:Judge, jury, execution.
Speaker A:Shall we judge, jury and executioner.
Speaker A:Shall we voice activate the gun?
Speaker B:I do have to say real quick, technically, and yes, I'm gonna throw shade at you again, technically, according to your metric on previous movies, this actually is a good movie because it doesn't follow the.
Speaker B:The source.
Speaker B:Oh, my God.
Speaker A:You try to hold me to everything I say.
Speaker B:Absolutely will.
Speaker B:He shits on my favorite movies because he's just like, oh, this sucked.
Speaker B:And I'm like, it followed the source material pretty greatly, and everyone who loved the source material loved it.
Speaker B:Like, I don't give a fuck material.
Speaker A:When I'm not a fan of the source material.
Speaker B:You don't know the source material.
Speaker A:But I don't have to.
Speaker A:That's my point.
Speaker C:On both sides of this.
Speaker B:What.
Speaker C:Give me an example of the movies that you might be talking about.
Speaker B:He hated the Adventures of Tin Tin, which I don't know if you ever saw.
Speaker C:Watched it, so I can't really.
Speaker B:And he hated all the Zack Snyder movies.
Speaker B:Superman.
Speaker A:Yeah, I.
Speaker A:I liked a lot of parts of the Snyder cut.
Speaker A:I liked a lot of parts, but not.
Speaker C:Oh, I didn't.
Speaker C:It just was too long.
Speaker C:Personally.
Speaker C:I watched, what was it, the Justice League movie or whatever in the theater and just went, oh, yeah, we did.
Speaker B:A whole episode on that one.
Speaker B:It's fucking terrible.
Speaker C:Yeah, it's really bad.
Speaker C:But I mean, when the Snyder cut came out, it's just like, okay, we took all the bad parts and spread them out and then put more shit in between.
Speaker C:And I'm like, okay, it's still bad now.
Speaker C:It's just.
Speaker C:Just long and bad.
Speaker A:Yeah.
Speaker C:And some of it's in black and white, but I get.
Speaker C:I get.
Speaker B:Anywho, I was just throwing shade at.
Speaker A:Him like, it's funny.
Speaker C:But if I may.
Speaker A:Oh, yeah.
Speaker C:There is a crossroads of source material and actually making a movie, and I think we all know that you can't put.
Speaker C:You can't just put straight page to movie because there's so much that you can't.
Speaker B:That's why the second Hunger Games pissed me off so much, because it ended exactly like the book, where it ends on a cliffhanger instead of doing what Peter Jackson did with Lord of the Rings and moving things around so that the end of each movie felt like a conclusion.
Speaker B:Didn't feel like a cliffhanger, even though it was more so.
Speaker B:No, I completely agree.
Speaker B:You have to make some sacrifices when.
Speaker B:But he makes these sweeping, definitive statements every now and then, and I love finding moments where I can just throw it back at him.
Speaker A:Yeah, well.
Speaker A:And I.
Speaker A:I have been hypocritical, and here's how I've been hypocritical.
Speaker A:I do love to read, and so I do love source material, and I do.
Speaker A:I do when I.
Speaker A:When I'm not familiar with it, though.
Speaker A:And I'll be honest.
Speaker A:When I'm not familiar.
Speaker A:Like, I haven't read the Superman comics.
Speaker B:Yeah.
Speaker A:I still want to like the movie, and I want to feel like the movie was made in a way, like, sure, enjoy your source material, but I don't know it.
Speaker A:So make me a movie I still want to watch.
Speaker C:That makes sense.
Speaker A:And that's kind of where.
Speaker A:That's what I really mean, because I've read all.
Speaker A:So I've read 50 Stephen King books, and, like, when I watch those, I am evaluating his source material.
Speaker A:But most people, especially now, don't read.
Speaker B:Your wife, like, 10.
Speaker B:10.
Speaker B:So I'm right.
Speaker A:Yeah.
Speaker A:She.
Speaker A:Ye.
Speaker A:Yeah.
Speaker A:Yeah.
Speaker C:Two on one.
Speaker C:I don't like this.
Speaker C:I don't like this.
Speaker A:There's a fourth person in the room you don't even know about.
Speaker A:So for the scores, if yes.
Speaker A:Affirm.
Speaker A:Affirmative.
Speaker A:Dig it.
Speaker A:I love it.
Speaker A:I am the law.
Speaker B:Hell, yeah.
Speaker A:And I, I, I went a little off script here.
Speaker A:If you don't like it.
Speaker A:No, don't be judgy.
Speaker A:Don't be judgy.
Speaker A:All right.
Speaker B:Something you should live by.
Speaker C:Don't be judgy.
Speaker A:So top Bill cast and I, this is.
Speaker A:Didn't make it to my randos, but you.
Speaker A:We were all talking about Rob Schneider.
Speaker A:You know who was first off for that role?
Speaker A:Joe Pesci.
Speaker A:And he turned it down.
Speaker B:I wonder why.
Speaker A:He was gonna be.
Speaker A:Forget my third favorite actor of all Time.
Speaker A:Joe Pesci.
Speaker C:I'm jumping in on this Joe Pesci thing.
Speaker A:Dude, Joe Pesci would have changed the whole movie.
Speaker C:He would have been great.
Speaker B:But I, I could understand why he.
Speaker A:Would have been like, look at him at home alone.
Speaker B:Yeah.
Speaker A:He does comedy.
Speaker A:And my cousin Vinnie, like, when you put him in a comedic role, he's great.
Speaker B:I wonder if he was on the Arnold side of things and didn't want to work with Sly.
Speaker A:He may have.
Speaker A:And, well, and if, you know, we read the scripts.
Speaker A:Yeah.
Speaker B:Again, the script was different when they first shot it.
Speaker C:That's true.
Speaker B:That's like they, they shot a drama.
Speaker B:It's like an action drama and turned it like reshot it into an action comedy.
Speaker A:Yeah.
Speaker B:It sounds like what happened with, with Suicide Squad.
Speaker B:Like, he, he put like, edited a full out Snyder cut BVs, like toned drama and they reshot it without him and it got turned into a Guardians of the Galaxy rip off cartoon.
Speaker B:Yeah.
Speaker A:Yeah.
Speaker A:And if you know anything about Joe Pesci is my third favorite actor of all time.
Speaker A:And when you read about, like, he is not the kind of guy that would put up with that.
Speaker B:Yeah.
Speaker A:He's just not like, he's.
Speaker B:That's why I wonder if, like, he, he did not like Sly and just wouldn't work with him.
Speaker B:Because that would happen a lot back then.
Speaker A:Yeah.
Speaker B:You would try to get another major actor somewhere and they just be like, I can't work with that guy.
Speaker A:Yeah.
Speaker A:Like, literally, when, when he got cast in Raging Bull, he had given up on acting.
Speaker A:He was managing an Italian restaurant.
Speaker A:Robert De Niro begged Scorsese to put patient, but Pesci had given up on acting.
Speaker A:And so now, like, when you watch his Oscar speech, he has the shortest Oscar speech of all time.
Speaker A:He says like three words.
Speaker B:Oh, wow.
Speaker A:He's like, thank you.
Speaker A:He just does not.
Speaker A:I can't imagine him on stage with slide.
Speaker A:Be like, you fucking.
Speaker A:You care about this way too much.
Speaker B:Yeah.
Speaker B:But so we got Sly.
Speaker B:We got Rob Schneider.
Speaker A:Sly.
Speaker A:And Armand Desante as Rico.
Speaker B:Okay.
Speaker B:Diane Lane's not considered top build.
Speaker A:She's not interesting.
Speaker B:Okay.
Speaker A:She's in the supporting.
Speaker C:Is that two Oscar winners in this movie?
Speaker A:Yeah, yeah.
Speaker A:Rob Schneider for the water boy.
Speaker C:Come on.
Speaker B:Yeah, I gotta go.
Speaker B:Don't be judgy.
Speaker B:I think the.
Speaker B:What was the villain's name?
Speaker C:Rico.
Speaker B:No, not the, not the character, the actor.
Speaker A:Oh, Armand Assante.
Speaker B:Yeah.
Speaker B:I thought he did a very good job, but he could not save that movie and everything that Sly and Rob Schneider did on screen.
Speaker B:Was just abysmal.
Speaker A:Yes.
Speaker B:I gotta give it a don't be judgy.
Speaker C:A ditto.
Speaker C:It's.
Speaker C:It just feels like it had the moving parts to make a fun action movie.
Speaker B:Yeah.
Speaker C:And I mean, at points it was fun.
Speaker B:There were good moments.
Speaker C:Cool.
Speaker C:Seeing the city.
Speaker C:I thought they did great on that.
Speaker C:Yeah.
Speaker C:The lack of.
Speaker C:For some odd reason, the lack of violence.
Speaker C:I'm like, yeah, come on, give me a little blood.
Speaker B:Yeah.
Speaker C:Just something also, I.
Speaker C:Once again, it's dinosaurs making material for young people.
Speaker B:Yeah.
Speaker A:Yeah.
Speaker C:And then they just have like, you know, we're a bad gang and we're.
Speaker B:In this and we eat people.
Speaker C:Yeah.
Speaker C:Well, I was thinking at the beginning when Rob Schneider goes, well, I guess this is my new apartment that they just give you after you get out of prison.
Speaker B:Yeah.
Speaker C:And he just goes up there and they're just like, hey, we're a whole gang.
Speaker B:Yeah.
Speaker C:And he's like, oh.
Speaker B:And then he hides in the spaghetti machine.
Speaker C:Yeah.
Speaker C:He hides in a spaghetti robot.
Speaker B:Yeah.
Speaker C:And.
Speaker C:But I'm just saying that that whole gang was even like, yeah, we're going to get these coppers.
Speaker C:You don't even understand.
Speaker C:And I'm like, okay, come here.
Speaker C:See, like so from the rip, it's.
Speaker C:It doesn't make sense.
Speaker B:Yeah.
Speaker C:Like they could have just.
Speaker C:My personal opinion.
Speaker C:Rob Schneider could have just been like a low level street informant.
Speaker C:That.
Speaker C:And that's where Joe Pesci, I think would have fucking killed in this.
Speaker A:Yeah.
Speaker A:He would have brought some gravitas.
Speaker C:Yeah.
Speaker C:Just being like, change that script around.
Speaker C:He's low level.
Speaker C:Don't be judgy.
Speaker C:That's where going.
Speaker C:It's like, I'm just going to sit here and just be like, let's keep rewriting the movie.
Speaker C:It ain't going to change anything.
Speaker C:It's a 30 year old movie.
Speaker B:Also, how hard of a pivot is it to go from Joe Pesi to goddamn Rob Schneider?
Speaker A:And I love you, Rob Schneider.
Speaker C:You're hilarious.
Speaker A:I think your standup is great.
Speaker A:You have played so many great comedic roles with Adam Sandler, but you up here.
Speaker A:But this was horrible.
Speaker C:This was all a cash grab.
Speaker C:It had to be, right?
Speaker B:Oh, yeah.
Speaker C:Just everybody's like, I want to know.
Speaker B:What he got paid.
Speaker A:You just made a point that I didn't even think about.
Speaker A:You just blew my mind.
Speaker A:The there was.
Speaker A:If you're looking at the speed on a car.
Speaker B:Yeah.
Speaker A:Or look, let's look at cars.
Speaker A:Ferraris, Honda Civics.
Speaker A:Fucking between the Toyota Corolla, Rob Schneider and the fucking Ferrari that is Joe Pesci.
Speaker A:There was no.
Speaker A:No Lexus.
Speaker B:No.
Speaker A:Or no.
Speaker A:Really?
Speaker B:Give me an Audi.
Speaker A:There was no dependable family car in the middle.
Speaker B:Give me a low level Mercedes Benz.
Speaker B:Like, come on.
Speaker A:Yeah.
Speaker A:Even we talked about Michael Madsen.
Speaker B:Yeah.
Speaker A:And he's in everything.
Speaker A:He's had almost a thousand roles.
Speaker A:Like, he probably was around.
Speaker A:Like there was no Michael.
Speaker A:Matt.
Speaker A:Like just nobody that could maybe be in the middle.
Speaker B:Yeah.
Speaker A:Between fucking Rob Schneider and Joe Pesci.
Speaker B:Hell, Chevy Chase would have done better.
Speaker B:Yes.
Speaker C:Had Rob Schneider done anything at this point?
Speaker C:I mean, other than snl, Home Alone.
Speaker B:Sure, he had done some.
Speaker A:I think he had done Home Alone 2.
Speaker A:Yeah.
Speaker B:That was.
Speaker A:Which he's really funny in.
Speaker A:That's a Rob.
Speaker A:That's a great Rob Schneider role.
Speaker C:Well, I'm just trying to think of like, you know, sometimes you just.
Speaker C:You see that star, it's just like catching fire.
Speaker A:Yeah.
Speaker C:And then they're just on everything.
Speaker C:Like we were just saying, like my.
Speaker C:Well, maybe not Michael Madsen.
Speaker C:I think that he just will take whatever role.
Speaker C:He doesn't worry about money.
Speaker A:He's got a retirement account somewhere.
Speaker C:Absolutely.
Speaker A:And it's blowing up.
Speaker C:I was thinking he worries less about money because it's just like kind of like you're a gig worker.
Speaker C:You're out here driving for UberEats, and then it pops up McDonald's and you're like, take it.
Speaker C:Yeah.
Speaker C:Next one pops up like a five star restaurant.
Speaker A:You're like Tarantino, CSI Miami, whatever the.
Speaker C:Whatever you want to give me.
Speaker C:It's all money.
Speaker C:I work.
Speaker A:Yeah.
Speaker B:So he had done Home Alone 2.
Speaker B:He had done Surf Ninjas.
Speaker A:Oh, I love surf Ninjas.
Speaker A:It's so bad, but it's so fun.
Speaker B:Demolition man, the Beverly Hill.
Speaker A:Another Sylvester Stallone movie.
Speaker B:Yeah.
Speaker C:It all makes sense now.
Speaker A:Yeah.
Speaker C:That's why he's in this.
Speaker B:Yeah.
Speaker B:Then he did the Beverly Hillbillies was on.
Speaker B:He was really on Saturday Night Live that whole time.
Speaker B:And then quit Saturday Night Live and then did Judge Dread.
Speaker A:Wow.
Speaker A:Dude.
Speaker A:That.
Speaker C:This was his big jump into movies, I bet.
Speaker B:Yeah.
Speaker C:He's like, this is a big popcorn movie.
Speaker B:Yeah.
Speaker A:Yeah.
Speaker C:I'm gone.
Speaker C:This is my second big popcorn movie.
Speaker C:Because.
Speaker B:Yeah.
Speaker C:I mean, I haven't watched Demolition.
Speaker C:It's good a long time.
Speaker C:But I would often get it confused with Judge.
Speaker A:Same.
Speaker A:Same.
Speaker C:So.
Speaker A:So during the 90s, I always mix these two movies up.
Speaker A:They both had action figures.
Speaker A:Slies in both of them.
Speaker A:Yeah.
Speaker A:So they're both dystopian.
Speaker A:Ish.
Speaker A:Yep.
Speaker A:I also go, don't Be judgy.
Speaker A:And here's.
Speaker A:I hate this because this.
Speaker A:This is the first time in Movie wars history I've gone against Sylvester Stallone.
Speaker A:I really.
Speaker A:You guys don't.
Speaker B:I'm sure we can find some other ones that you would.
Speaker A:Yes, you could.
Speaker A:But.
Speaker A:Yeah.
Speaker B:Go watch his old pornos or.
Speaker A:Or Stop where my mom will shoot.
Speaker A:Or Oscar.
Speaker A:I mean, you can.
Speaker A:You can find a bunch, but when it comes to Rambo, when it comes to Rocky, COBRA is top 50.
Speaker A:I've seen Cobra over 100 times.
Speaker B:Yeah.
Speaker A:I literally.
Speaker A:You guys don't get it.
Speaker A:When I grew up, I worshiped Slide.
Speaker A:Or, like, they were my heroes.
Speaker A:They were my heroes.
Speaker A:That's why I didn't.
Speaker A:I liked Batman, but I didn't like superheroes because Arnold and Sly.
Speaker B:Yeah.
Speaker A:Were my superheroes.
Speaker C:Yeah.
Speaker A:Fucking.
Speaker A:What is this thing?
Speaker A:Sly, what did you do?
Speaker A:I can't talk to my friends about this.
Speaker A:You know, it's.
Speaker A:It fudgeing.
Speaker A:And here's the thing.
Speaker A:There are glimpses where.
Speaker A:Where he would deliver a line that's a little more Judge Dreddish.
Speaker B:Yeah.
Speaker A:And I think that would have worked.
Speaker A:Like, there are.
Speaker A:Sylvester Stallone could have worked in this role if the helmet thing.
Speaker A:If they would have maybe stuck to the source material here.
Speaker A:I know, I know.
Speaker A:But if they actually would have stuck to it and if he would have.
Speaker B:Just adapted it correctly.
Speaker A:Yeah.
Speaker A:And if he just would have backed up and just said, I didn't write this, and direct it.
Speaker A:But he can't do that.
Speaker A:And it was fine with Cobra, but not here.
Speaker B:Yeah.
Speaker C:Yeah.
Speaker C:They were basically just making, like, RoboCop lot.
Speaker B:Yeah.
Speaker C:He even moved like RoboCop.
Speaker C:I wrote this all down in my phone.
Speaker C:Yeah.
Speaker C:Where I was like, here's a scene that I know.
Speaker C:Stolen Rico at the super prison as Hannibal Lector.
Speaker A:Yep, Yep.
Speaker C:Exactly like Hannibal.
Speaker C:His back was turned.
Speaker C:With his hands behind his back, he turns around like, oh, hello.
Speaker B:Oh, yeah.
Speaker C:And all that.
Speaker C:But Sylvester Stallone moves like robocop.
Speaker C:He moves like an unoiled machine.
Speaker B:Yeah, yeah.
Speaker C:And then.
Speaker C:Then you have.
Speaker C:When did a Fifth Element come out?
Speaker B:The 80s.
Speaker A:No, right.
Speaker A:Bruce Willis.
Speaker A:No, I think 95.
Speaker C:Somewhere in there.
Speaker A:Hold on.
Speaker C:But it had elements of the fifth element.
Speaker A:97.
Speaker C:Okay.
Speaker C:So it came out late 90s, so I was totally wrong about that.
Speaker C:But it felt like the Fifth Element at points.
Speaker A:Yeah.
Speaker A:Yeah.
Speaker B:I think of what you were thinking.
Speaker A:Of the Third Element.
Speaker B:Oh, maybe I can.
Speaker C:Yeah.
Speaker A:Gary Oldman is in that.
Speaker A:And that was Mila Jokovich's Yeah.
Speaker A:Debut.
Speaker B:Okay.
Speaker A:Yeah, great.
Speaker B:That was end of the 80s.
Speaker A:For some reason, we are not being judgy.
Speaker A:It is 0 to 1.
Speaker A:Here we go.
Speaker A:Sly, you.
Speaker A:You abandoned your boy.
Speaker A:Yes, you did.
Speaker A:Supporting cast.
Speaker A:You like in Ponchow as Judge Griffin.
Speaker A:I hate when I have to say fancy names because I'm from Arkansas.
Speaker A:Judge Fargo, played by Max Von Sedo.
Speaker A:Diane Lane is Judge Hershey.
Speaker A:And I think that's pretty much all we need to say.
Speaker A:There's a bunch of other ones.
Speaker C:Bonsa Doe was on a bunch of stuff, right?
Speaker C:Like, he was almost like an accomplished actor.
Speaker A:Yeah, he was like, I think seven, like 60 or 70 in this, right?
Speaker A:Yeah, he was pretty old already.
Speaker A:Yeah.
Speaker C:And also, I mean, just the go back on Sly Stallone.
Speaker C:He started out with Rocky.
Speaker B:Yeah, yeah.
Speaker C:An Oscar winning film.
Speaker B:Yeah.
Speaker C:Mistake.
Speaker A:Yeah.
Speaker C:And everybody was like, wow, who's this guy that used to be in gay porn?
Speaker A:Yeah, yeah.
Speaker C:And then he goes on the Rambo, which First Blood.
Speaker B:Yeah.
Speaker C:It's amazing.
Speaker C:Action drama.
Speaker A:One of the best movies ever.
Speaker B:Acts.
Speaker B:He actually acts in it.
Speaker B:That's the thing.
Speaker B:Comparing him to.
Speaker B:To Arnold.
Speaker B:I don't care what you say.
Speaker B:Arnold cannot act if he has any line.
Speaker B:That is just who he is.
Speaker A:But you hire Arnold to be Arnold.
Speaker B:Exactly.
Speaker B:A menacing motherfucker.
Speaker A:Yeah.
Speaker C:Kindergarten Cop might be his best.
Speaker A:And I mean, amazing.
Speaker C:Wholeheartedly.
Speaker A:Not a tumor.
Speaker C:Yeah.
Speaker C:Him just dealing with the kids.
Speaker B:Yeah.
Speaker C:You know, it's.
Speaker B:But then you have Sly, who, despite his.
Speaker B:His over the top Italian accent at times, he is a very good actor.
Speaker B:So it's always shocking for me when I see something like this where it's like, yeah, I know you tried, but you, you're just terrible.
Speaker B:Like what the happened in Copland he.
Speaker A:Held down with Harvey Keitel and Robert De Niro and Robert Pat.
Speaker A:He held that shit down.
Speaker A:Half that cast were supporting cast in the Sopranos.
Speaker C:Yeah.
Speaker A:He fucking held that shit down.
Speaker B:Yeah.
Speaker C:Everything you read about after Copland came out was, oh, my God, Sylvester Stallone can act.
Speaker C:I was like, yeah, I guess we forgot after First Blood, that's possibly the last real acting role he ever did was first blood.
Speaker B:I mean, two is still good.
Speaker B:Like, I haven't ever saw Rambo 3, but first blood 2 was really good.
Speaker B:Others other than rocky 5, I thought he does a great job as Rocky every time he's played him.
Speaker A:Yeah.
Speaker C:Yeah.
Speaker B:Like, even.
Speaker B:Even if three and four got a little more hokey in the story, at least he still brought the emotion to the role.
Speaker C:Balboa, just.
Speaker C:Maybe it's just this.
Speaker B:Yeah.
Speaker C:What he sucks at.
Speaker B:I Guess I don't know.
Speaker C:This is the movie like we're keep on going like.
Speaker C:Well even, you know, Rambo 3.
Speaker C:I mean it is nothing but, you know, a big dick.
Speaker A:Fucking awesome.
Speaker C:It is fucking awesome.
Speaker C:He's out there helping the Taliban take down the Russians.
Speaker A:Yeah.
Speaker C:And then Rambo or Well, or Rambo4 if you guys have never seen.
Speaker A:All the Rambos are great.
Speaker B:Yeah.
Speaker C:Yes.
Speaker C:Every single one.
Speaker C:I didn't care much for Last Blood, but it was okay.
Speaker B:Oh, they did make a fifth one.
Speaker A:It was a fun, brutal death.
Speaker A:Yeah, I wish they were fun and brutal towards a supported cast.
Speaker B:I even.
Speaker B:Sorry, one last thing.
Speaker B:I didn't hate him in the Expendables.
Speaker B:Oh well, he did fine.
Speaker B:And that's the same genre as far as like big action movie.
Speaker B:Like he still can do that.
Speaker A:So.
Speaker B:Yeah, it's a.
Speaker B:It's.
Speaker B:It's.
Speaker B:Don't be judgy on the.
Speaker B:On the.
Speaker B:Everyone fucking sucked.
Speaker A:Yeah, I'm sorry.
Speaker C:Will not watch it.
Speaker C:Will not watch the Expendables.
Speaker C:I'm sorry.
Speaker C:If you're going to give me a thoughtless action movie, I would rather watch Judge Dread than expensive.
Speaker A:Oh, he says he just laid it.
Speaker C:Down because they at least are trying to make the movie that the Expendables are making fun of.
Speaker C:So I am sick of irony.
Speaker B:I'm sick of people's was making fun of.
Speaker C:Actually I thought it was the whole time.
Speaker B:I didn't.
Speaker B:I don't know.
Speaker B:I feel like I haven't watched it in a while.
Speaker C:Yeah, me either.
Speaker C:But this is what.
Speaker C:I probably didn't finish it, to be honest, because I watched all.
Speaker B:I watched all three of them.
Speaker C:Holy.
Speaker C:I didn't even know there was three.
Speaker B:Yeah, no, I.
Speaker B:I thoroughly enjoyed them.
Speaker A:Josh found them to be Expendable.
Speaker B:Yes.
Speaker B:Trash.
Speaker A:Anywho, are they as expendable as a supporting cast?
Speaker C:I like the supporting cast probably better than I like the.
Speaker C:The top Bill.
Speaker B:I agree with this deal.
Speaker B:I don't know if I was going.
Speaker C:To make a movie I would have the old judge guy.
Speaker C:Van whatever.
Speaker C:Vaughn, whatever.
Speaker C:Diane Lane and who else?
Speaker C:Somebody else.
Speaker A:Jurgen Pranchow as Judge Griffin.
Speaker A:No.
Speaker A:Yeah.
Speaker A:Rico was a.
Speaker A:Was top bill.
Speaker C:Oh, he's not Bill.
Speaker B:I do take it back.
Speaker B:I.
Speaker B:I still go.
Speaker B:Don't be judgy.
Speaker B:But I did like the old guy Judge.
Speaker B:Yeah, he did.
Speaker C:He did a great job.
Speaker B:He was great.
Speaker A:But he was a total.
Speaker A:He seemed like like guy like in the 60s and 50s was one of the dependable actors of the kind of like Knight and Caddyshack.
Speaker A:He was just like the.
Speaker A:Everyone else is horrible.
Speaker A:He's got.
Speaker A:He's like the consummate.
Speaker A:I've been doing this for 80 years.
Speaker A:I'm just gonna be a professional and pretend like nothing matters and do my job.
Speaker B:The script is he'll make it sound fine.
Speaker A:Those old actors do that a lot.
Speaker A:Like, they'll just show up like, this movie sucks, but that dude's still just a professional over here.
Speaker C:It's like going to see like regional or local professional wrestling.
Speaker C:And you just see that guy comes out.
Speaker C:He's got a little bit of a belly, but he's still got the gun, still got the tits.
Speaker A:Yeah.
Speaker C:You know, his hair's wet for no reason.
Speaker C:And he gets out there and he does all his moves and everything like that.
Speaker C:And you're like, good on you, dude.
Speaker C:You're 55 years old and gets home.
Speaker A:And puts his kids to bed.
Speaker C:Gets home, yeah.
Speaker C:He's like, I gotta get out of here.
Speaker C:He wraps his head up where he had to cut it a couple times with a razor blade.
Speaker C:Exactly.
Speaker C:And kisses his 20 year old son good night.
Speaker C:I love that.
Speaker A:That's a really good comparison.
Speaker C:Yeah, I love those actors.
Speaker C:So I'm gonna say, what was the.
Speaker C:The good one?
Speaker A:The good one is I am the law.
Speaker C:I am the law for the supporting.
Speaker C:And I think it's just because Diane Lane's in it.
Speaker C:She's a good actress.
Speaker C:Yeah, it's not good.
Speaker B:She's not good at this at all.
Speaker C:She could be.
Speaker A:I'm.
Speaker A:Yeah, I'm trying so hard to like what.
Speaker A:But I, you know, and that's funny because we always make fun of me on Snyder, but how complimentary of Diane Lane was I?
Speaker A:Every episode I.
Speaker A:Absolutely everything she did, I loved.
Speaker A:She was my favorite part.
Speaker A:Part in a lot of the movie besides the Batman stuff.
Speaker A:But I loved her.
Speaker A:And then I'm watching her here.
Speaker A:I'm like, what the.
Speaker A:You're younger here.
Speaker A:You're supposed to be spunky here where you won an Oscar, like, what are you doing?
Speaker C:And this is her cash grab too.
Speaker C:All of them were just like, hey, I can go into indie films or whatever I want to after I make.
Speaker B:This amount for $90 million for this movie.
Speaker B:Yeah, a lot of it had to because it.
Speaker B:Yeah, a lot of it had to go to the cast and.
Speaker B:And maybe the animation.
Speaker B:But it did not seem like a lot went into anything else.
Speaker C:I mean, from the looks of the animation that had to go.
Speaker C:It was like Sylvester Stallone animation.
Speaker A:Yeah, yeah.
Speaker A:$80 million to Sylvester and royalties.
Speaker A:Knowing him, he probably still getting royalties, too.
Speaker B:Yeah.
Speaker C:I'll do it for 75, you know, five points.
Speaker A:I'll nail down the acting.
Speaker A:My thoughts, like Armando Sante agree with you.
Speaker A:Like, in the top, Bill did great.
Speaker A:I don't think Rob Schneider knew how to act.
Speaker A:So I don't necessarily.
Speaker A:I think he showed up as Rob Schneider to be Rob Schneider.
Speaker A:I don't blame him.
Speaker A:But still, it's horrible.
Speaker A:And then I get to supporting.
Speaker A:I'm.
Speaker A:I'm like, I love what you said.
Speaker A:Like, I love some of these older, like, consistent.
Speaker A:Been.
Speaker A:Been in the industry, professional actors.
Speaker A:But it wasn't enough to overcome the fact.
Speaker A:I'm like Diane Lane.
Speaker A:I've seen you do so much.
Speaker B:Yeah.
Speaker A:And then.
Speaker A:Yeah.
Speaker A:So I give it a.
Speaker A:Don't be judgy.
Speaker B:I'm at the point with a movie like this, I want to know what the acting looked like or sounded like before the adr.
Speaker B:I want to know what the performance sounded like on set.
Speaker B:Because something I've noticed, and this is coming from having done ADR before, it is.
Speaker B:You have to be a very skilled actor and a very skilled director to be able to get a great performance out of ADR.
Speaker A:Yeah.
Speaker B:Because if it does not even 100% match the tone on the face, if it's at 99, it's still.
Speaker B:Something feels off.
Speaker C:What's ADR?
Speaker B:ADR is.
Speaker B:Is.
Speaker B:It's got a bunch of different names.
Speaker B:It's mostly known as automatic dialogue replacement.
Speaker B:It's where you wipe out all the sound of the movie.
Speaker B:They come in, record their voiceovers, and then eventually you send it to the other guy to do Foley, Sergio Leon.
Speaker C:Spaghetti Western stuff, if you guys are familiar with those.
Speaker C:They just take out all the dialogue and then make it sound so weird.
Speaker B:Yeah.
Speaker C:And.
Speaker C:But for some odd reason, those movies are so good.
Speaker B:Yeah.
Speaker C:Yeah.
Speaker A:Even Clint's overdubbing himself.
Speaker B:Yeah.
Speaker B:And back in the day, it was especially needed because film reels on the cameras were so loud that half the time the audio from set was unusable.
Speaker B:You just had it as a reference for when you went and recorded the.
Speaker A:Now it's a filter on.
Speaker A:On an audio interface.
Speaker B:Well, also, cameras are silent, so it doesn't even matter.
Speaker B:Like, you can.
Speaker B:You can use.
Speaker B:That's why sound mixing became a category at the Oscars for a little while was because it used to just be best sound.
Speaker B:Now it's back to best sound.
Speaker B:But they had editing and mixing because mixing was on set.
Speaker B:Editing was posting sound.
Speaker B:So that's like, once cameras got quieter, you were actually able to use your onset sound more often.
Speaker C:Yeah.
Speaker C:So you could use a boom mic that actually.
Speaker B:Yeah, yeah.
Speaker C:That picks up something other than.
Speaker B:Yeah, exactly.
Speaker A:I kind of missed the sound of that old film.
Speaker B:Yeah.
Speaker A:Zero to two, less G.
Speaker A:Be judged.
Speaker B:Here we go.
Speaker A:All right, Writing.
Speaker A:And this is where I couldn't get the.
Speaker A:Wait to get to.
Speaker A:So obviously, you have the people that created the characters.
Speaker A:You have Josh.
Speaker A:John Wagner.
Speaker A:Not Josh Wagner.
Speaker A:Carlos Esquera.
Speaker A:And then.
Speaker A:But this is crazy.
Speaker A:William Wisher was one of the screenplay writers.
Speaker A:He wrote you're going to die.
Speaker A:When I tell you what he wrote.
Speaker A:He wrote T1, T2.
Speaker B:Nice.
Speaker A:With James Cameron.
Speaker A:And then Stephen.
Speaker C:Oh, I know.
Speaker B:Okay.
Speaker A:And Stephen E.
Speaker A:D.
Speaker A:Souza wrote Die Hard and Commando.
Speaker A:All four of those movies are in my top 50.
Speaker A:And he wrote.
Speaker C:They wrote.
Speaker A:I'm telling you, you got all these people that have done some good.
Speaker A:What happened?
Speaker B:This.
Speaker C:Once again, this has to be executives.
Speaker B:Well, yeah, because I was about to say, I want to know what the script looked like for the NC17 version.
Speaker A:Yeah.
Speaker B:Because whenever there's reshoots, that comes with rewrites.
Speaker B:And a lot of times you won't bring on the original screenwriters to do that.
Speaker B:It'll be executives going through and even Sly probably going through and redoing the rewrites, but they are still legally obligated to be credited as the writers and.
Speaker C:Probably treated the original script as a treatment.
Speaker C:Be like, yeah, this is a good.
Speaker B:Well, they shot it.
Speaker B:That's the other thing is they shot it like somewhere that.
Speaker B:That cut exists somewhere.
Speaker C:No, it doesn't.
Speaker C:Somebody threw that in a garbage.
Speaker B:I mean, it's possible, but I'm saying a lot of times they'll.
Speaker B:They'll keep them in the vault.
Speaker B:Like, they'll have the first cut of it just to keep it for.
Speaker B:For archive sake.
Speaker B:But it's like somewhere, allegedly this exists.
Speaker B:And I would love to see what it looked like before all the re.
Speaker B:The.
Speaker B:The re.
Speaker B:Shoots, rewrites, because there could have been a really good script in here.
Speaker C:You guys understand money at all?
Speaker B:Oh, yeah.
Speaker C:Okay.
Speaker C:Well, I.
Speaker C:I guess I don't, because I would say you have a generation or maybe generations of people that just consume content.
Speaker B:Yeah.
Speaker C:Just like that thing that was like eating the universe in one of those Guardians of Galaxy movies or whatever.
Speaker A:Lingelier.
Speaker C:Is that what it was?
Speaker A:I know the link.
Speaker A:Lears by Stephen King.
Speaker C:We have to get on a plane and it has to.
Speaker C:To go at this certain.
Speaker C:Just to outrun the time Eating.
Speaker C:But we, we as a public now, that's what we do.
Speaker C:We just consume.
Speaker C:We just munch constantly.
Speaker C:We're just big fat slobs just munching, munching, munching.
Speaker A:Yeah.
Speaker C:And you in a vault, you own a vault that just so happens to have the original cut of Judge Dread.
Speaker C:I don't know what, you have it.
Speaker B:Yeah.
Speaker C:And you're like, what should I do with this?
Speaker C:And then you look at it and then you put it back in a vault and then you lock it with an old set of keys.
Speaker B:Yeah.
Speaker C:And then you set those keys somewhere else where you can't find them.
Speaker C:And right there is at least bare minimum $5 million.
Speaker B:Yeah.
Speaker C:Why don't you release that?
Speaker C:I, you know, you could go to Vinegar syndrome.
Speaker C:Are you guys familiar?
Speaker C:Vinegar Syndrome, that like puts out all the DVD re releases of like, old schlocky movies, horror movies and shit like this.
Speaker C:You could go to them and be like, here's what you're going to do.
Speaker C:You're going to sell this as the uncut, original NC17 version.
Speaker C:You're going to give me 75%.
Speaker C:You keep 25.
Speaker B:Yeah.
Speaker C:And then.
Speaker C:Well, whenever we cross a certain barrier, we'll renegotiate if we even get to it.
Speaker C:And I guarantee everybody will make money.
Speaker B:Oh, yeah.
Speaker C:Because people.
Speaker C:The Snyder cut that I did not care for.
Speaker B:Yeah.
Speaker C:People fucking jacked hard to it.
Speaker B:Oh, yeah.
Speaker B:It was the number one HBO viewed thing ever at the time.
Speaker C:Exactly.
Speaker B:Yeah.
Speaker C:After saying that original cut was garbage.
Speaker B:Yeah.
Speaker C:And then you bring out a much more extended cut that I don't think was a whole lot better.
Speaker C:It was somewhat better.
Speaker C:It was definitely better.
Speaker B:Yeah.
Speaker C:But.
Speaker C:And people ate that up.
Speaker B:Oh, yeah.
Speaker C:And you know, HBO made some money off that.
Speaker C:Everybody got to, you know, make some money.
Speaker C:So here's in the business of making money.
Speaker C:Why not just fucking make it?
Speaker C:So show us the thing we want to fucking see.
Speaker B:Here's my thought.
Speaker B:It's a.
Speaker B:It's on film reels.
Speaker B:It's not digitally saved.
Speaker B:So it's going to be much more difficult to go back, find it, make sure the film's in good shape.
Speaker B:Like, make sure.
Speaker B:And then on top of that, you have to rescan the film.
Speaker B:You have to go through and make sure that the color correction is good.
Speaker B:Like it would cost them easily a solid $20 million to put out the film.
Speaker C:How many billionaires are in America?
Speaker B:So many.
Speaker A:Four.
Speaker C:We need.
Speaker C:Even if there's only four.
Speaker B:Yeah.
Speaker C:Can't you just go to one of these crazy people if one of them.
Speaker B:Cared, then I'm sure maybe like it really just comes down to like a.
Speaker B:Who holds the copyrights, how many companies hold the copyrights.
Speaker B:Can you get them all together to agree to release this other version?
Speaker B:Can you get.
Speaker B:Make sure that you have permission from everyone who was in it in the original version?
Speaker B:There's so many contracts.
Speaker B:I agree with you.
Speaker B:It seems like a no brainer, but I also know easily could cost 20, $25 million just to put out a cut that already exists.
Speaker B:Probably because it cost them another, I think $50 million to make the Snyder cut.
Speaker B:Even though it was already like edited together and they only had to reshoot or shoot one additional scene.
Speaker B:Like it just, it gets expensive.
Speaker B:So I don't blame them because it probably would only make 5 million and that's a 20 million dollar loss.
Speaker C:Yeah, maybe so.
Speaker B:Yeah.
Speaker A:But do you blame the writers?
Speaker C:Oh, I.
Speaker C:Oh, yeah, yeah, sorry.
Speaker A:No, no, I love it, I love it.
Speaker A:But I also, you know, but I love it.
Speaker A:I'm not trying to be addict.
Speaker C:No, no, no, no.
Speaker C:It's so really you.
Speaker C:Somebody has to keep me on track.
Speaker C:I love it.
Speaker B:Everything you're saying is amazing based on what came out.
Speaker B:Unfortunately, I got to give them a Don't be judgy again.
Speaker B:That's where I'm like, I would love to see the original cut and the original script because it's, it's, it's when I know how much studio interference comes into it.
Speaker B:I can't fully blame the screenwriters, but yeah, the product that was placed before us, all that we're able to see, I can't give it a good one.
Speaker B:So it's a.
Speaker B:Don't be judging.
Speaker A:Don't be judging.
Speaker C:Ditto.
Speaker C:Ditto.
Speaker C:I mean, it might have, it's, it's like saying you have a girlfriend that goes to the other high school.
Speaker B:Yeah.
Speaker C:Oh, she's so hot.
Speaker C:What can I say?
Speaker A:She's gonna be a doctor.
Speaker C:She's locked in a vault somewhere.
Speaker C:It'll cost $50 million to get her out.
Speaker C:So, I mean, you'd hear, here's the girl that I'm seeing now.
Speaker C:It's like, well, she is covered in.
Speaker A:Warts and toothless, but she has big tits.
Speaker C:That's the, the hottest part about her is the lack of tape.
Speaker A:Yeah.
Speaker A:Very shiny gums.
Speaker A:They're not meth gums, they're just shiny gums.
Speaker C:Yeah, just like a turtle.
Speaker B:Very smooth blow jobs.
Speaker A:I do the same, man.
Speaker A:I, I hate it because I'm just like looking for something to like, sink my teeth into.
Speaker A:And knowing what these writers have done, I feel bad for them because now that I know, again, like you said, I can't give it a.
Speaker A:Can't give it positive because of that.
Speaker A:Like, it's.
Speaker A:It is what it is.
Speaker A:But yeah, knowing that between those four movies I mentioned that are all in my top 50, like, there was a great script out there at one point.
Speaker A:You know it.
Speaker B:Yeah.
Speaker A:I mean, these guys.
Speaker A:I mean, James Cameron is ruthless on scripts.
Speaker B:Yeah.
Speaker A:Ruthless.
Speaker A:And like, there's no way that these guys were hacks hanging out with James Cameron.
Speaker A:Right.
Speaker A:In Terminator and, you know, so anyway.
Speaker A:Yeah.
Speaker A:So don't be judging directing.
Speaker A:Danny Cannon, same thing.
Speaker B:I don't know what he originally directed and I don't know if he considers himself to have actually directed the final product.
Speaker A:Yeah.
Speaker B:Because David Ayer does not consider himself the director of Suicide Squad by the.
Speaker B:By the time the.
Speaker B:The.
Speaker B:The recuts were done.
Speaker B:So.
Speaker B:But again, same thing.
Speaker B:It's what's in front of us.
Speaker B:He's the one who's credited with it.
Speaker B:And unfortunately, I gotta give it.
Speaker B:Gotta give it a.
Speaker B:Don't be judgy.
Speaker B:It just wasn't good.
Speaker B:There were moments, like we've all said, there were tiny moments here and there where I'm like, I could see there.
Speaker A:Might have been something before a movie in there somewhere.
Speaker B:It was kind of like with.
Speaker B:With City of Angels, with the Crow.
Speaker B:City of Angels, where it's like every now and then there's like.
Speaker B:I could see someone tried.
Speaker B:Someone gave a there.
Speaker B:But it's just not enough to have made this a.
Speaker B:A good movie or even an okay movie.
Speaker B:So.
Speaker B:Yeah, love it.
Speaker C:I wanna.
Speaker C:I wanna be a contrarian and just be like, nah, you.
Speaker A:It was really good.
Speaker C:Yeah.
Speaker A:But.
Speaker B:Top five movies ever made.
Speaker C:It might be one of the first comic book movies outside Dolph Lundgren's the Punisher, that did want to make a.
Speaker C:A movie that looked like a comic book.
Speaker C:I don't know if you guys have watched off Lundgren's punishment.
Speaker A:Yeah, yeah, I have not.
Speaker B:And they've seen the original clips and videos.
Speaker A:The original flash from the 80s.
Speaker A:There was an old Captain America from the 80s.
Speaker B:Yeah.
Speaker A:It was not prevalent.
Speaker A:You're right.
Speaker A:Swamp Thing.
Speaker A:Wes Craven made Swamp Thing.
Speaker C:Swamp Thing was kind of comic bookish.
Speaker B:Literally, it was Batman and Superman and then the Hulk because of the TV show.
Speaker A:Yeah, but it was kind of it.
Speaker A:But it's not like today.
Speaker B:Yeah.
Speaker C:No, So, I mean, I want to lock it because of that.
Speaker C:Because you could tell the way was setting up the camera and stuff.
Speaker C:They kind of wanted to be torn from the pages of a comic book, at least in my mind a little bit.
Speaker B:It started that way, but as it went on, I just kept noticing how it fell into old ways of shooting.
Speaker C:Yeah.
Speaker B:The film, like, it just.
Speaker B:There was so much better technology in the 90s than we even had in the 80s.
Speaker B:I mean, the Steadicam was invented in the 70s.
Speaker B:They should have used it.
Speaker B:So they could have used it so much in this.
Speaker B:But it was all stationary or weird zooms and, like, the look into the distance and.
Speaker B:Oh, like, I don't know.
Speaker A: Which is a drastic change for: Speaker A:We don't have to get into it, but the night, Night and day.
Speaker B:Yeah.
Speaker C:Yeah.
Speaker C:So I, I didn't, like, don't be judging.
Speaker A:I want to be a contrarian, but I can't.
Speaker C:Yeah, I'm trying my best.
Speaker A:Yeah.
Speaker A:I, I.
Speaker A:One thing that you mentioned earlier, Josh, that really struck a chord with me was you were talking about how you were seeing.
Speaker A:Seeing, like, scenes from other movies being so heavily infused.
Speaker A:And I.
Speaker A:There's a total.
Speaker A:We've talked about this a lot, Seth.
Speaker A:But there's a difference between, like, the stuff you subconsciously learn as a filmmaker and you put in and then grafting ripoffs.
Speaker A:And I literally hate it.
Speaker A:And what's funny is this is why I also hated Thunderdome.
Speaker A:This.
Speaker A:This did this to Thunderdome, where halfway through, all of a sudden, it's like Thunderdome when they go to the desert.
Speaker A:But Thunderdome halfway through was.
Speaker A:All of a sudden, it was like Peter Pan.
Speaker A:Like, I.
Speaker A:And that's why I hated that one, because I'm such a Die Hard Road Warrior fan.
Speaker A:But yes, I'm like.
Speaker A:And again, I'm not gonna blame Danny Cannon.
Speaker A:This isn't me saying he's a bad director.
Speaker A:But this final product was not guided.
Speaker B:Again, it's one of those things where it's like.
Speaker B:I don't know how much he had to do with the reshoots, but because he's listed as director, that's just the.
Speaker C:Way I gotta go.
Speaker A:Yep, it's the way we gotta go.
Speaker A:And the way it's going is 0 to 4, we're judging the out of this thing.
Speaker A:We're about to execute it.
Speaker B:Judge, jury, executioner.
Speaker A:What's in front of a cinematography, production design, sound, costumes, editing.
Speaker B:You know, this is probably the one positive thing I can say about this movie overall is I do think the costumes were good.
Speaker B:Mm.
Speaker A:Yeah.
Speaker B:The cinematography was very outdated.
Speaker B:But again, if this had come out 10 years prior, it would have been revolutionary.
Speaker C:Absolutely.
Speaker B:So I can't say that it's bad.
Speaker B:It just wasn't.
Speaker B:It didn't fit with where things had been going.
Speaker B:Sound design was fine.
Speaker B:Like, nothing was overly distracting other than just the performance between what was going on on set and what happened in the ADR booth.
Speaker B:So I'm gonna give this a squeak over 5.1.
Speaker B:I am the law.
Speaker A:You know why you may have liked the suits.
Speaker A:I forgot about this rando.
Speaker A:I don't know why didn't John, you know who designed the suits?
Speaker B:Who?
Speaker A:Versus Achie.
Speaker A:Oh, Shit himself.
Speaker B:Okay.
Speaker A:Yeah.
Speaker C:I thought you're gonna say, like, Hugo Boss.
Speaker A:Night.
Speaker C:I mean, it was almost like that.
Speaker C:I mean, that's.
Speaker C:I think that's what they were going for, to be like, oh, yeah, this is kind of rss.
Speaker B:I mean, once Star wars happened, everyone wanted the villains to look like Nazis, so.
Speaker C:Yeah.
Speaker A:Yeah.
Speaker C:Nazis wearing samurai helmets.
Speaker B:Yeah.
Speaker C:Let's just blend all the Axis powers together.
Speaker C:But leave the Italians out.
Speaker B:Yes.
Speaker A:Yeah.
Speaker C:I don't know.
Speaker A:No.
Speaker A:Mussolini.
Speaker C:I love to just bring that up anytime somebody brings up Nazis to be like, you know, like, the Italians.
Speaker A:Yeah.
Speaker C:And they're like, no.
Speaker C:I was like, oh, sorry.
Speaker B:Yeah.
Speaker C:They were just the fascists.
Speaker C:So anyway, let's talk about Imperial Japan, though, I would say.
Speaker C:I mean, it was fine.
Speaker C:Yeah.
Speaker C:I don't know If I'd go 5.1, I think, because it's.
Speaker C:It's a bit of a slog whenever you watch the movie where you're just kind of, like.
Speaker C:It starts out kind of cool, and you're like, all right.
Speaker B:Yeah.
Speaker C:And then it kind of goes.
Speaker C:And then, you know, I mean, I kind of like the way that the.
Speaker C:The clones look.
Speaker B:Yeah.
Speaker C:But also, if you're gonna make a clone and that has to, like.
Speaker C:It had its guts and everything for him, but no mouth.
Speaker C:It's just weird.
Speaker B:Yeah.
Speaker C:They all just looked like, you know, some sort of evil demon monster zombie.
Speaker B:Yeah.
Speaker C:Where I was just like.
Speaker C:They could have just basically had, like, literally a naked dude.
Speaker C:Yeah, that's what I was thinking.
Speaker B:Just had Arnold naked from.
Speaker B:From Terminator or Bone.
Speaker A:Tomahawk style.
Speaker C:Yeah.
Speaker A:Oh, absolutely.
Speaker C:I love that filmmaker.
Speaker C:But you said 5.1.
Speaker B:Yeah, that's my definition of a squeak over.
Speaker B:As far as I can give it a positive.
Speaker C:I guess I can.
Speaker C:I'll say all 5.12.
Speaker C:But, I mean, it was basically.
Speaker C:They nailed the helmet to the most.
Speaker C:For the most part.
Speaker B:Yeah.
Speaker C:Given Sly Stallone elevator boots was a Good idea to make him look taller.
Speaker C:Maybe the reason why he walked like robocops, maybe.
Speaker A:Yeah.
Speaker C:I mean, everything else.
Speaker C:I mean, I love a dystopian future where the clothes on the poor people are like futuristic.
Speaker B:Yeah.
Speaker C:Does that make sense?
Speaker B:Yeah.
Speaker C:I just feel like a dystopian future in a mega city.
Speaker C:We would still be kind of dressed the same, just dirty.
Speaker B:Yeah.
Speaker A:Yeah.
Speaker C:So just.
Speaker C:Why not go with that?
Speaker C:But everybody's got to be like, oh, I'm wearing a jacket with plastic stuff.
Speaker C:You know what I mean?
Speaker C:Yeah, I just.
Speaker C:I don't know.
Speaker C:Yeah, but that takes it down a notch.
Speaker C:But I mean, as far as, like the judges themselves, they look cool.
Speaker C:I think that the.
Speaker C:The big motorcycle.
Speaker C:I like the motorcycles in this movie more than the newer movie.
Speaker A:Interesting.
Speaker C:That's a newer movie and we'll talk about that.
Speaker C:It just looked like somebody took a motorcycle and they just hooked a thing.
Speaker C:Just start driving.
Speaker C:Everybody else is driving a Volkswagen Beetle.
Speaker C:It's weird.
Speaker A:Well, now you guys have painted me in the corner as the most negative guy on a sly movie.
Speaker A:I don't like being in this position, but I do like what you said, and I agree.
Speaker A:There are moments where I love the voice activated gun as a prop.
Speaker A:Like, that was super cool.
Speaker A:I love how it became useful.
Speaker A:And the callback of that was really cool.
Speaker A:I did like the uniforms that they were.
Speaker A:It's kind of interesting that Versace designed them.
Speaker A:That's really crazy.
Speaker B:Yeah.
Speaker C:But another money suck on this movie.
Speaker C:Yeah, that's millions of dollars.
Speaker A:Yes, that's.
Speaker A:That's a good point.
Speaker A:And also, they didn't hire costume designers.
Speaker A:They must have hired like, he had them in there.
Speaker A:God, that would.
Speaker A:Must have been absorbing.
Speaker B:Yeah.
Speaker A:But yeah, I.
Speaker A:Whenever the acting is bad and the.
Speaker A:The story's not going well, I'm like, well, I'm gonna look to the camera work and like, there's nothing unique standing out in the camera work.
Speaker A:There's nothing unique in the editing.
Speaker A:It just was very.
Speaker A:I think that might have been, maybe even one of the biggest problems with this movie was, aside from that stuff, is the way it captured and presented, it wasn't interesting.
Speaker A:Yeah, nothing unique, nothing stands out.
Speaker A:So I, I went, don't be judging.
Speaker B:Hey, it's fair.
Speaker B:Because I mean, like I said, there were only a couple of things that made it tolerable for me.
Speaker B:If, if the costumes had been even a step below where they were, I probably would have gone.
Speaker B:Gone full bad on it.
Speaker B:Like, it just.
Speaker B:Yeah.
Speaker A:It's now one to four.
Speaker A:Maybe the law Exists afterward.
Speaker A:Maybe it does actually exist.
Speaker A:And I pulled out.
Speaker A:I pulled out an old category for this one.
Speaker A:How good are these bad guys, huh?
Speaker B:Not good.
Speaker A:Yeah.
Speaker B:Other than the one main villain, everyone else was just kind of.
Speaker A:Yeah.
Speaker B:Even the cannibals were just annoying.
Speaker A:Yeah.
Speaker A:It's like, eat me already.
Speaker B:Yeah.
Speaker C:Herschel from the Walking Dead living out there in the desert.
Speaker B:Yeah.
Speaker B:I go, don't be judgy.
Speaker B:It was not good.
Speaker C:Yeah, it's.
Speaker C:It's okay.
Speaker C:So I watch a Batman movie.
Speaker C:This is something that about me that was weird to kids whenever I was a kid.
Speaker B:Yeah.
Speaker C:Is that.
Speaker B:Oh, I thought you were going to say, like, just when you hang out with kids.
Speaker C:Just whenever I go, hey, teens.
Speaker B:Yeah.
Speaker C:Sit on the stoop.
Speaker C:Huh?
Speaker A:This is a.
Speaker A:Josh.
Speaker A:At the preschool.
Speaker B:I was your fellow students.
Speaker C:But whenever I was a kid and I would talk about, like, Batman stuff, everybody else was like, batman whooped this guy's ass.
Speaker C:And I would always kind of be like, well, the villain was.
Speaker C:That's what you go for.
Speaker B:Yeah.
Speaker C:You go to see him fight the villain.
Speaker C:Unless the villains good.
Speaker C:Then Batman's not good.
Speaker C:Then the whole thing's a wash.
Speaker C:Yeah.
Speaker C:And I feel like that's probably what hurt this movie too, is that you have one pretty good villain.
Speaker B:Yeah.
Speaker C:And then you just kind of started peppering other villains.
Speaker C:Like that street gang that's just hanging out an apartment.
Speaker B:Yeah.
Speaker C:Whatever that means.
Speaker C:And then you have, you know, have Rico or whatever trying to be kind of Hannibal Lecter.
Speaker B:Yeah.
Speaker C:You have the guy on the.
Speaker C:The judge council that's obviously a Nazi.
Speaker A:Yeah.
Speaker C:He's speaking with a German accent.
Speaker C:And he helps the other guy so they can like, you know, eradicate people.
Speaker B:Yeah.
Speaker C:And all this shit.
Speaker C:And do you think just saying that on paper, street gang hanging out in apartment Nazis.
Speaker C:Hannibal Lecter.
Speaker B:Yeah.
Speaker C:All together against Sylvester Stallone.
Speaker C:So that's great.
Speaker C:It just wasn't.
Speaker B:Didn't execute it well.
Speaker C:But I will say this.
Speaker C:I don't know if I should save this for the Dread episode.
Speaker C:Whenever I watch Judge Dread, I liked it more than the first time I watched it.
Speaker C:And whenever I watch Dread, I feel like I liked it a little bit less than interesting.
Speaker B:On.
Speaker A:Yeah.
Speaker C:Maybe I just kind of knew what was coming and I was looking for the positives in the bad and looking for the negatives in the good.
Speaker C:But it's.
Speaker C:It's definitely.
Speaker C:Both were in.
Speaker C:So fucking indicative of their time.
Speaker B:Yeah, yeah, yeah.
Speaker C:And I won't get into the dread part.
Speaker C:Why.
Speaker C:Hopefully I'll remember that whenever we do it.
Speaker C:But it's just weird to me.
Speaker C:What, was I supposed to be bad before I went out on there?
Speaker B:Yeah.
Speaker C:Bad guys sucked.
Speaker B:Yeah.
Speaker C:They never failed.
Speaker C:In danger.
Speaker C:Nobody was ever in danger.
Speaker B:No.
Speaker A:Yeah.
Speaker A:Nothing.
Speaker A:Nothing remotely interesting to me.
Speaker A:I didn't even like the brother.
Speaker A:I didn't even like the RICO story.
Speaker A:I didn't.
Speaker C:It was okay.
Speaker C:Like you say, if it wasn't for his acting, it would have been completely terrible.
Speaker A:In a city where crime.
Speaker A:To me.
Speaker A:And this also links back to the writing in a city where, like, it's judges, poor people and criminals.
Speaker A:That's it.
Speaker A:There's no.
Speaker A:There's no, like, hey, I work for H and R Block.
Speaker A:You know, it's like.
Speaker A:It's like you couldn't.
Speaker A:You had you.
Speaker A:This is the storyline.
Speaker A:It had to be his brother.
Speaker A:You're telling me, like, out there and like, where everyone else is poor and a criminal, you couldn't find a mama type?
Speaker A:It's like, yeah, like, that would have been more interesting.
Speaker A:But like, why is this so encapsulated?
Speaker A:Like, why does he have to be, like, related to the judge?
Speaker A:Like, you had plenty of options.
Speaker A:So it just didn't interest me at all.
Speaker C:Star Wars.
Speaker C:Star wars prequels all over.
Speaker C:Everybody has to be related.
Speaker C:Everybody has to have their fingers in the.
Speaker C:Well, in each other.
Speaker A:Yeah.
Speaker A:Yeah.
Speaker A:In a city crawling with crime, we're still gonna have a brother.
Speaker B:And again, if this had been the third movie in a series, like, yeah, I could justified it because other stuff up.
Speaker B:It would have been a great reveal.
Speaker B:But to put all of this, like, third movie in the first movie just now.
Speaker A:Yeah.
Speaker B:No, too much.
Speaker B:Too much.
Speaker B:You tried to do too much.
Speaker A:It's one to six and we.
Speaker A:We are.
Speaker B:We're just one to six.
Speaker A:One to six or one to five?
Speaker A:Sorry, me in the math.
Speaker B:I thought we had one more.
Speaker A:Math has been hard for me lately.
Speaker A:I used to use an Excel file.
Speaker A:Now I just use a doc.
Speaker A:And it's been rough.
Speaker A:Movie wars problems.
Speaker A:I actually, this is a brand new category.
Speaker A:We have one for dystopian.
Speaker A:Right.
Speaker A:Like this dystopian track.
Speaker A:But this.
Speaker A:This was dystopian.
Speaker A:But to me, it was more cyberpunk.
Speaker B:Yeah.
Speaker A:Than it is anything.
Speaker A:So your move, punk.
Speaker A:To.
Speaker A:To quote Clint Eastwood from Dirty Harry, but your move, punk.
Speaker A:How do we feel about this as a cyberpunk film?
Speaker A:Because this.
Speaker A:When I watched this one thing I did say, and when I watched Dread, I was like, I was thinking about the cyberpunk video game.
Speaker B:Yeah.
Speaker A:I was thinking about a lot of the cyberpunk aesthetic and things like that.
Speaker A:How is it as a cyberpunk film?
Speaker B:I think it was fine because it had good source material to pull off of.
Speaker B:And.
Speaker B:And since they didn't just say fuck the source material like Kyle wants people to, they.
Speaker B:They pulled some good stuff out of it.
Speaker B:But I can't say it represents it well, in my opinion.
Speaker B:So I am going to go.
Speaker B:Don't be judgy.
Speaker B:Because while it's just.
Speaker B:Okay.
Speaker B:It, even for the 90s, was nothing.
Speaker B:Nothing new.
Speaker A:Right.
Speaker B:So, yeah, it just.
Speaker B:It just felt like rehashed 80s tired tropes that tried to fit into the 90s landscape of filming.
Speaker A:Yeah.
Speaker B:And just didn't work for me.
Speaker C:Yeah, yeah, you said everything I was gonna say.
Speaker C:I could make that one quick.
Speaker C:It just.
Speaker C:Yeah, it just feels like everything was big and clunky and I feel like in like, you know, like the cyberpunk video game or like, like even steampunk stuff.
Speaker B:Yeah.
Speaker C:Everything is a little bit smoother at points.
Speaker B:Yeah.
Speaker C:And this wasn't.
Speaker C:It was just like, they literally just went, just make the gun big.
Speaker B:Yeah.
Speaker C:So it made a gun big.
Speaker C:You know, make the.
Speaker B:Even the robot wasn't cool.
Speaker A:No.
Speaker C:The robot was the most pathetic thing in the whole thing.
Speaker B:Yeah.
Speaker C:Because it had armor, but everything that controlled it was exposed.
Speaker B:Yeah.
Speaker A:So even Rob Schneider.
Speaker A:Fucking.
Speaker B:Yeah.
Speaker A:Was able to get that thing down.
Speaker C:Like he chewed through it like a rat.
Speaker B:Yeah.
Speaker C:And that's.
Speaker C:I mean, that's why even bring that big of a menacing beast out.
Speaker C:And at least if you're gonna do it that way, do it like Indiana Jones.
Speaker C:Whenever the big giant Nazi was coming over to fight him and he just pulled his gun and shot him.
Speaker A:Yeah.
Speaker C:I was like, do something like that where at least you're like, oh, God, here comes a fight.
Speaker C:Oh, that wasn't a fight at all.
Speaker A:Yeah.
Speaker B:Yeah.
Speaker A:Instead, the letting all the comedy rest on Sly's rewritten one liners.
Speaker A:Like there's no embedded comedy.
Speaker A:No.
Speaker A:Yeah.
Speaker B:Yeah.
Speaker A:Did anybody else think.
Speaker A:Because I.
Speaker A:I mean, I love Rob Schneider and snl.
Speaker A:Whenever he, like, fought the robot afterwards, I was thinking, he going to go making cuppies.
Speaker A:Just like, Mike, just do it, man.
Speaker A:This movie sucks.
Speaker A:Just do one of your SNL things.
Speaker C:Not only that, that one liner would have worked great considering they were making clones and there he just making guppy.
Speaker A:Opportunity.
Speaker B:Yeah.
Speaker A:I forgot about the clones.
Speaker A:That would have been huge.
Speaker A:That would have made this movie.
Speaker A:This would be seven to zero.
Speaker C:Yeah.
Speaker A:Every category redefined.
Speaker A:If he says making copies.
Speaker C:Oh, it'd be like, what do you think about.
Speaker C:What do you think about the costume design?
Speaker C:Well, I mean, that one joke.
Speaker A:Making copies.
Speaker C:Yeah.
Speaker A:I mean, oh, I'm gonna watch them old SNL now.
Speaker B:There you go.
Speaker A:So you're.
Speaker A:You said don't be judgy.
Speaker C:Is that what you meant?
Speaker A:Yeah.
Speaker A: Cop, but it's so funny how in: Speaker A:They nailed so many.
Speaker A:And.
Speaker A:And the reason they did it, it was.
Speaker A:And they didn't even put that much emphasis on the world.
Speaker A:The world building wasn't huge, but they just did little things to kind of show you what kind of world it was.
Speaker A:Like the.
Speaker A:The.
Speaker A:I would.
Speaker A:I'd buy that for a dollar TV show that kind of like, runs through it.
Speaker A:I think about when he goes to look at his old house and it's got the real estate robot.
Speaker A:It's not a realtor, but it's a robot realtor.
Speaker A:Like.
Speaker A:Like, there's just little things they speckled in there.
Speaker C:The.
Speaker A:The interviews with citizens.
Speaker A:Like, after the massive cop, like acts of violence.
Speaker A:They interview the hippie goes like, oh, you know, man.
Speaker A:I mean, like, they just sprinkled in so many things to help you, like, feel like you're in a world.
Speaker B:Yeah.
Speaker A:And to me, this world's completely unexplored in Judge Dread.
Speaker B:I mean, you know, they tried to do too much.
Speaker A:Yeah.
Speaker B:There's like, too much explanation of the world and not enough at the same time.
Speaker A:Not.
Speaker A:They're.
Speaker A:They're.
Speaker A:This is what I learned writing my book with my agent.
Speaker A:It was like, you're showing too much or you're telling too much.
Speaker A:You're not showing enough.
Speaker A:Like, the difference between show and tell.
Speaker B:Yeah.
Speaker A:Is so huge.
Speaker A:And especially now I watch movies that way.
Speaker A:Like.
Speaker A:Like, you're right.
Speaker A:They told us a lot of things, but it would have been so much more visceral if they would have showed us.
Speaker C:Yeah.
Speaker C:Yeah.
Speaker A:Kind of like RoboCop does, you know, so.
Speaker A:Yeah.
Speaker A:Don't be judgy.
Speaker C:I mean, if they're going to steal something, I mean.
Speaker C:Yeah.
Speaker C:If you're making a movie like that still from RoboCop.
Speaker A:Yeah.
Speaker A:Yeah.
Speaker A:One of the greatest films of all time.
Speaker C:Yeah.
Speaker A:And my favorite film of all time.
Speaker A:Time.
Speaker B:Yeah.
Speaker A:If you guys didn't know.
Speaker C:Box Office Flop, I feel like it was.
Speaker A:Yeah.
Speaker A:It bear.
Speaker A:I think it barely broke even.
Speaker C:Yeah.
Speaker A:Yeah.
Speaker C:And then just got huge.
Speaker C:I wonder how much money this movie made on the rental shelves.
Speaker A:Oh, it probably made a ton.
Speaker B:Yeah.
Speaker C:Well, sometimes I Believe that's the reason why big fun, or at least smaller budget fun movies don't exist anymore.
Speaker C:Because you don't make a whole lot of movie movies.
Speaker C:You don't make a lot of money off of streaming.
Speaker C:And I think that's the reason why during the writers strike and the.
Speaker C:The actors strike, the reason why, like Netflix and Hulu and all that was like, we're not opening up our books.
Speaker B:Yeah.
Speaker C:Because they make all their money off stock shares.
Speaker C:And if they open their books and be like, hey, we're operating at a major loss.
Speaker B:Yeah.
Speaker C:Then people panic, sell their stock.
Speaker B:Oh, yeah.
Speaker C:Then we don't have Netflix or HBO Max anymore.
Speaker B:Anymore.
Speaker B:Yeah.
Speaker C:And I couldn't help but think some of these actors and filmmakers had to know this.
Speaker B:Oh, yeah.
Speaker C:Because since we taken away like the rentals, the VHS, the DVDs, all that, that means there is no second stream of revenue.
Speaker C:You take, you make your movie, you put it in a theater, and if it doesn't make money, then it goes to streaming and it really doesn't make money.
Speaker B:Yeah.
Speaker B:You just hope Netflix will pay you a decent amount of money to stream it.
Speaker C:And that's the reason why there's so many judge dreads.
Speaker C:Like, basically on streaming now, like, anytime you watch an action movie now and you get done and you just go, okay.
Speaker B:Yeah.
Speaker C:And like, there's no meat with them taters.
Speaker C:It's all starch, no protein.
Speaker A:Yeah.
Speaker C:And it just sucks.
Speaker C:Now, if there was a way to figure that out, please let me know.
Speaker C:I've already said open up a vault, bring out an old film canister, and you'll make a $20 million.
Speaker C:And you're like, no, you would lose at least five.
Speaker C:Yeah.
Speaker C:So I have no idea how to fix this because I want crazy movies to come back.
Speaker C: Like, yeah, Dread in: Speaker C:Pretty crazy movie.
Speaker B:Yeah.
Speaker C:And I guess it did a theatrical run and probably went into the, you know, the last, you know, the death rattle of blockbuster and probably made some.
Speaker B:Money back when Netflix was still really shipping DVDs.
Speaker C:Exactly.
Speaker C:And just stuff like that where, you know, I mean, there was a couple of movies that I've watched in the past year or so.
Speaker C:The substance was definitely like a crazy movie that, you know, five years ago wouldn't have been made, or six or seven years.
Speaker B:I just.
Speaker B:The monkey.
Speaker B:And that was amazing.
Speaker C:Not bad.
Speaker C:Really bad.
Speaker B:I've thoroughly enjoyed it.
Speaker C:I do have a hatred of horror comedy because they'll go heavy on the comedy just like this.
Speaker C:They went heavy on comedy and not action.
Speaker B:Yeah.
Speaker C:Like the action that they did give you were kind of like, that's fine.
Speaker B:Yeah.
Speaker C:And then they were like, well, here.
Speaker C:Here's 75 more jokes in between.
Speaker C:I'm like, well, I don't believe there's any danger, so I don't believe any of the action.
Speaker B:Yeah.
Speaker C:And that's what I do with horror comedy.
Speaker C:Even though the monkey was pretty fun.
Speaker B:Yeah.
Speaker C:There was.
Speaker C:At one point, I was sitting with my girl, and I was just like, hey, I wish they would just stop making jokes.
Speaker C:Just tear somebody's head off already and shut up about it.
Speaker A:I want to see an esophagus right now.
Speaker C:I want to see parts of the lower intestine.
Speaker B:Yeah.
Speaker C:Not all together, just bits and pieces.
Speaker A:I want to see what he had for breakfast Still.
Speaker A:Still tucked in the intestine.
Speaker C:I don't want it digested.
Speaker A:Well, we tried not to, but we were very judgy of Judge Dredd and.
Speaker A:And Sly, you're still my hero.
Speaker B:I still love you, but you up.
Speaker A:But what.
Speaker A:What did you do?
Speaker A:What did you do?
Speaker A:And if I.
Speaker A:I would hate it if I tell people I'm a fan of Sly and they think of this movie.
Speaker A:First one.
Speaker B:That.
Speaker A:Yeah, that.
Speaker A:But, you know, we're gonna do Dread next, and it's gonna be interesting to see.
Speaker A:You know, you can call it a remake or reboot, but it's based completely on different source material.
Speaker A:It's.
Speaker A:It's almost a completely different movie, so it'll be interesting to see how that one goes.
Speaker A:But until then, I'm Kyle.
Speaker B:I'm Steph.
Speaker C:And I'm still Josh.
Speaker A:That's still Josh.
Speaker A:Love, y'all.
