Prisoners with Comedian Nick Goulooze
With Special Guest: Nashville Comedian Nick Galuzzo
For our Thanksgiving episode, we decided to really set the mood… with one of the bleakest, most soul-shredding thrillers ever made. Nothing says “pass the stuffing” like Denis Villeneuve’s Prisoners — a movie that starts on Thanksgiving and then immediately descends into pure moral chaos.
Kyle, Seth, and Nashville comedian Nick Goulooze break down everything this film does to you emotionally — the raw performances, the brutal moral questions, the lighting choices, the behind-the-scenes production history, the alternate casting that almost happened, and the reason this film still scars first-time viewers.
We get into Hugh Jackman’s most feral performance, Jake Gyllenhaal’s twitch-coded detective work, Paul Dano’s unsettling fragility, and why Villeneuve’s commitment to natural lighting and unrelenting dread makes this one of the greatest thrillers of the last decade.
This one’s loaded — heavy themes, gut-punch storytelling, hysterical side-tangents, and a breakdown of why this film technically qualifies as a “Thanksgiving movie.” Enjoy your turkey… and your existential crisis.
🔥 Episode Summary (In Your Voice)
In this Thanksgiving special, we dive headfirst into Denis Villeneuve’s Prisoners — the movie that tests your moral compass from frame one. We break down Jackman’s terrifying dad-rage, Gyllenhaal’s career-level performance, Paul Dano’s traumatized innocence, and the way Villeneuve weaponizes natural lighting to make every scene feel cold, damp, and hopeless.
We also walk through the wild production history, the nightmare alternate castings, and the six-year development hell that somehow produced a modern classic.
📌 Show Notes
🎥 Movie Breakdown
- Why Prisoners is both a thriller and a full-blown morality test
- How Denis Villeneuve uses subtle visual cues and “theater of the mind”
- The whistle as the best callback ending of Villeneuve’s career
- How the film keeps you in the “moral driver’s seat” the entire time
💥 Time Markers
0:00 — Thanksgiving intro + rusty after a break
3:00 — Why Prisoners scars you
7:00 — Acting breakdown: Jackman, Gyllenhaal, Dano
12:00 — Villeneuve’s natural lighting mastery
16:00 — Production hell + insane alternate castings
22:00 — The NC-17 version that almost happened
27:00 — Keller Dover: Hero or villain?
33:00 — The whistle ending and why it works
38:00 — Law Abiding Citizen vs Prisoners
44:00 — Trauma, rage, and parental panic
52:00 — Comedy tangents and Paul Dano appreciation
- 1:02:00 — Final thoughts + scorecard (War Zone)
Transcript
Foreign.
Speaker B:Ladies and gentlemen, welcome back to the Movie wars podcast.
Speaker B:Doing a little bit of a Thanksgiving episode.
Speaker B:We're a little rusty because we took a little bit of a break and Thanksgiving.
Speaker B:Yeah.
Speaker B:I'm Kyle.
Speaker A:I'm Seth.
Speaker B:And we have an amazing guest here, local Nashville comedian, funny man, Mr. Nick Galuz, ladies and gentlemen.
Speaker B:How you doing, buddy?
Speaker B:Hey, guys.
Speaker C:Doing great.
Speaker B:As a quick reminder to the audience, the way the show works is we do a little bit of film history and then we go into randos, which are the most interesting things we uncovered during research.
Speaker B:We rounded out with the questions, which are interesting questions or funny questions we use to generate banter.
Speaker B:And then at the end of the show, we do a rapid, rapid fire scorecard to figure out if we can recommend or not recommend the film, AKA the War Zone.
Speaker B:So in an effort to be more holiday, more algorithmic on this show, we've been, as you know, we've been doing stuff.
Speaker B:We did Prey last time with Peter Murphy.
Speaker B:When the new Predator movie came out, I guess Seth said, hey, for Thanksgiving, let's do prisoners.
Speaker A:Hey, I looked up on Wikipedia the top Thanksgiving movies ever made, and this one showed up at the top of every list.
Speaker A:So technically it starts on Thanksgiving.
Speaker B:Yeah, well, when.
Speaker B:The first, the first time I saw it, I quickly forgot that this whole saga kicked off on Thanksgiving because of the things that ensued.
Speaker A:Yeah.
Speaker B:You know, and this is one of those movies, man.
Speaker B:You know, kind of like American Psycho.
Speaker B:Like whenever you get into the movie podcasting space and you're doing social media, this is one of those movies that gets clipped, gets shared.
Speaker B:The performances are everywhere, you know, and rightfully so.
Speaker B:It's, it's, it's got some tremendous performances in it, you know, and for me, I, I have never.
Speaker B:I'm not like anti Hugh Jackman.
Speaker B:He's just never been a guy that I.
Speaker B:If you asked me who my top five were or who Jack.
Speaker B:Hugh Jackman wouldn't have made that list.
Speaker B:But then I watched this and I was like, I think that might be a mistake.
Speaker A:I mean, this was kind of during his, like actual heyday because he'd really solidified his Wolverine performance and then had just recently come off of working on the Prestige with Christopher Nolan and then kind of had just a role on some.
Speaker A:Some mid range action movies and dramas that came out between then and this movie.
Speaker A:And I think he just kind of nailed it with this.
Speaker A:This is this.
Speaker A:I feel like stretched him so far in his range of being both incredibly calm and subtle to just over the top anger and emotion.
Speaker A:All at once.
Speaker B:Yeah.
Speaker B:Nick, what do you think?
Speaker C:Same dude?
Speaker C:Yeah.
Speaker A:Like.
Speaker C:Well, I watched this movie like, a year ago, like, around this time, actually.
Speaker C:It was on Netflix, and it just, you know, looked interesting to me.
Speaker C:Didn't realize how old it was.
Speaker C: Yeah, it was made in, like,: Speaker C:It just sparked my interest on Netflix, and it, like, kind of scarred me.
Speaker C:One watch.
Speaker C:And, you know, like, when Seth texted me to, like, be the guest on today's show, he was like, we're doing the movie Prisoners.
Speaker C:Make sure to watch or review the movie.
Speaker C:And I immediately respond with, dude, can we do another movie?
Speaker C:No lie.
Speaker C:Because that movie just, like, scarred me.
Speaker C:Yeah, I mean, I guess in good ways, you know, because it was a really.
Speaker C:Just raw depiction of what, like, a child abduction case can really be, like, for the family, you know?
Speaker C:Yeah, it wasn't, like, slapsticky at all.
Speaker C:It was, like, super, like.
Speaker C:It was just, like, super raw.
Speaker C:And I feel, like, realistic, you know, and it easily.
Speaker A:The story could have easily lent itself to some really over the top moments.
Speaker A:And.
Speaker A: Dune movies and Blade Runner: Speaker A:Like, Paul Dano absolutely murdered this role.
Speaker A:Terrence Howard, I've got my thoughts on him as an actor.
Speaker A:He's pretty hit or miss for me, but this is probably his biggest hit for me that I've ever seen.
Speaker A:Same with Davis.
Speaker A:Same, like, every single person that showed up.
Speaker C:I mean, Jake Gyllenhaal, dude, my God.
Speaker A:He was so good.
Speaker B:He was great.
Speaker B:Yeah, he's great.
Speaker A:I've come around where he's driving her to the hospital and is, like, trying to keep her awake.
Speaker A:I just.
Speaker A:You felt every moment of it.
Speaker B:Yeah.
Speaker B:And I think the biggest thing outside of the performances, and honestly, I mean, we'll have a whole category for this, but I. I try to find a performance here to critique.
Speaker B:And, yeah, literally top to bottom, I could not.
Speaker B:I could not find one.
Speaker B:Even the kids.
Speaker A:Yeah.
Speaker B:But outside.
Speaker B:Outside of those performances, what this movie does.
Speaker B:And Seth, you've been doing this with me long enough to know that this is one of my favorite things, is this movie puts you in the moral driver's seat.
Speaker A:Yeah.
Speaker B:You're.
Speaker B:You're constant from the very beginning.
Speaker B:The moment that you first see that he's captured Alex, you are in that Moment.
Speaker B:Having to make decisions moving forward about what you think about these characters who are bad, who are bad guys, who are.
Speaker B:Who are good guys.
Speaker B:And then, you know, obviously, spoiler alert if you haven't seen this movie, but then you find out Alex is Barry.
Speaker B:And then, like, you've been taking this moral drive, these curves.
Speaker B:Right.
Speaker B:And then all of a sudden, when you see that newspaper heading, that Alex was actually the first kid to ever get abducted, it was Barry.
Speaker B:Your stomach.
Speaker B:I don't know about you, but my stomach fell out of my body.
Speaker A:Yep.
Speaker A:Yep.
Speaker A:This is one of the first times in years, probably since the first Knives out movie, that I've actually just been gripped the entire way through a mystery like this.
Speaker A:Like, every puzzle piece, I knew, like, everything you're seeing was going to matter in some way.
Speaker A:But the way that they were able to pull in, like, the dead guy in the priest basement with the medallion on and how they pulled that little symbol back in, but made it so you just didn't.
Speaker A:And the red herring of the creepy guy who was drawing all the mazes and stuff, like.
Speaker B:Oh, Bob.
Speaker B:Yeah, Bob Taylor.
Speaker A:Masterful.
Speaker A:So well done.
Speaker B:Yeah, yeah.
Speaker B:And it was a kick in the teeth.
Speaker B:And.
Speaker B:And whenever you find out he was Barry, like.
Speaker B:Like, at that point, all the moral decisions I thought, all the moral high grounds that I felt like I had taken were completely gone.
Speaker A:Yeah.
Speaker B:Completely shattered my beliefs.
Speaker B:But a little bit about the history of the film.
Speaker B:It's got a really interesting history, too.
Speaker B:So it was written by Aaron Guzikowski.
Speaker B: y written as a short story in: Speaker A:Oh.
Speaker B:Which is interesting.
Speaker B:There's some actual, like, cut and paste stuff in the end of this movie.
Speaker B:Kind of cut and paste out of that.
Speaker B:That story by Poe.
Speaker A:Yeah.
Speaker B: nded into a feature script in: Speaker B:They call it the Hollywood Blacklist, which means it was one of the best unproduced screenplays.
Speaker B:And so because it was voted one of the best unproduced screenplays, it started catching a lot of attention.
Speaker B:That's when ALCON Entertainment came in, put it on for fast track development.
Speaker B:But fast track kind of halted pretty quickly.
Speaker B:It went into.
Speaker B:Into six years of development.
Speaker B:Hell passed between a lot of studios, directors started.
Speaker B:How many movies have we done that were great, but went through and it's got.
Speaker B:You're going to laugh about this too, because, Seth.
Speaker B:Because there's a lot of the same players in this that went through development hell.
Speaker B:Or were, like.
Speaker B:Were from Training Day, and that also went through development hell.
Speaker B:So this one had a very similar path.
Speaker B:Brian Singer was the first director attached.
Speaker B:And get this, the first.
Speaker B:The first duo that was going to lead this was Christian Bale and Mark Wahlberg.
Speaker B:So obviously we saw them do it.
Speaker B:Yeah, yeah, we obviously saw that.
Speaker A:Which.
Speaker A:Who would have been who?
Speaker B:I believe that Christian Bale was going to be Hugh Jackman's character.
Speaker B:He was going to be.
Speaker B:Yep.
Speaker C:That could have been pretty good.
Speaker A:I feel like Mark Wahlberg could have actually played that cop really well.
Speaker B:A really good Loki.
Speaker A:Okay.
Speaker A:This is one of the few alternate things that I'm actually kind of on board with.
Speaker B:I am, too.
Speaker B:And we saw them do a great job together in the Fighter.
Speaker A:Yeah.
Speaker B:What are we going to say?
Speaker A:Absolutely.
Speaker C:I don't know.
Speaker C:I just can't picture Mark Wahlberg being like what Jake Gyllenhaal did, I guess.
Speaker A:Oh, it would have been very different.
Speaker A:No, no, it would have been very.
Speaker C:Different because Mark Wahlberg's, like, in the other guys.
Speaker C:He's, like a goofy dude, and a.
Speaker A:Lot of his comedy.
Speaker A:Have you seen the Fighter?
Speaker C:I don't know if I have.
Speaker A:It's him.
Speaker A:Christian Bale, Amy Adams, David O. Russell directed it.
Speaker A:It is actually one of Mark Wahlberg's, like, best roles.
Speaker A:He's completely dramatic in it.
Speaker A:It's.
Speaker A:I don't know.
Speaker A:It's incredible.
Speaker A:And, yes, it would have been very different from Jake Gyllenhaal's performance, and I think Jake Gyllenhaal nailed it.
Speaker A:I think ultimately this was the right decision, But I can see a world where Mark Wahlberg could have played this police officer convincingly.
Speaker B:Yeah.
Speaker B:And if you watch the Departed, even though I'm a giant, Scorsese is my favorite director, but I think the Departed is one of his worst films.
Speaker B:But I think Mark Wahlberg.
Speaker B:I think Mark Wahlberg.
Speaker B:Yeah, I.
Speaker B:But I think Mark Wahlberg.
Speaker B:No, no, not Scorsese lifers.
Speaker B:Not, Not.
Speaker B:Not a bunch of Scorsese lifers, man.
Speaker B:It's.
Speaker B:If we.
Speaker A:Actually.
Speaker B:There's a lot of them.
Speaker B:But I do think Wahlberg.
Speaker B:Two things about that that would have given you a little bit of a preview into what it may have looked like, because he was a detective there, and he had.
Speaker B:He had smarmy, funny, but serious, vindictive.
Speaker B:He had everything.
Speaker B:But also, he was the best part of the Departed.
Speaker B:I thought if we could have expanded him and even Alec Baldwin, those two together, like, that would have made the Departed better If there was more of that.
Speaker A:Yeah.
Speaker B:But I do think it gives you a preview into what he would have looked like as Loki.
Speaker B:And I like it.
Speaker A:Yeah, okay.
Speaker B:But there.
Speaker B:But it didn't stop there.
Speaker B:So get the singer drops out.
Speaker B:Then I talked about Training Day lapse with another, you know, movie that we talked about that had production hell.
Speaker B:Antoine Fuqua, director of Training Day, was then brought in.
Speaker B:He's the one that brought in Hugh Jackman.
Speaker B:But then Fuqua exited, so then Jackman exited.
Speaker B:So then again, they didn't have any lead actors.
Speaker B:Leonardo DiCaprio expressed interest.
Speaker B:He wanted to do it depending on the director, but that never materialized because he just never drive.
Speaker B:Because this was Dennis Villanue.
Speaker B:Is it Villeneuve?
Speaker A:I believe so.
Speaker B:Villeneuve.
Speaker B:Villeneuve's first English film.
Speaker B:Yeah.
Speaker B:Because all of his films before this had been in.
Speaker B:Yeah.
Speaker B:Had been French films.
Speaker B:But then once they signed him, he convinced Hugh Jackman to return.
Speaker B:But Loki's role was still not determined yet.
Speaker B:So they had.
Speaker B:They had a lot of people, including Chalamet came through to see who else?
Speaker B:Leo.
Speaker B:And they had a bunch of other actors, but they ultimately decided on Gyllenhaal.
Speaker B:Oh, and Michael Fassbender.
Speaker A:Oh, see, he also could have done an interesting.
Speaker A:Wouldn't have been anywhere near the same, but it would have been interesting to see that.
Speaker B:Yeah, yeah, it's.
Speaker B:It's incredible.
Speaker B:It's incredible.
Speaker B:This movie actually got made.
Speaker B:I mean, they just went through directors and they went through a bunch of great directors.
Speaker A:Yeah, I mean, it's kind of like you said, similar to Trading Day, similar to Dallas Buyers Club.
Speaker A:Like, for whatever reason, the movies that go through absolute hell to get made almost always turn out to be some of the best movies.
Speaker B:Yeah, probably because, like, this is a Thanksgiving movie.
Speaker B:Oh, Rando.
Speaker A:Randos.
Speaker B:This is incredible.
Speaker B:So this was originally going to be NC17, which is the death knell for a lot of movies these days.
Speaker B:Like, if it comes out, like, it's really hard to get attendance to.
Speaker B:It was because of one scene that they removed.
Speaker B:And apparently.
Speaker B:And I didn't.
Speaker B:I didn't really feel like going on a duck hunt for this, but apparently there was a scene that alluded to some form of pedophilia and.
Speaker A:Yeah, I mean, yeah, the whole movie kind of lent itself towards that idea.
Speaker B:Yeah.
Speaker B:And so that was in there.
Speaker B:And so I guess there was a scene that was a bit too on the nose and they said, if you didn't take that out, it's going to be NC17.
Speaker B:So they removed it and that's what got it down to an R fair.
Speaker B:Yeah.
Speaker B:Yeah.
Speaker A:So this movie's budget was 46 million opening weekend, made 20 million in the US and Canada and worldwide grossed 122 million.
Speaker B:Wow.
Speaker A:So after, after cost and.
Speaker A:Well after cost and marketing, the studio probably made a solid 20 to 40 million off of it, which for an indie movie is a solid return.
Speaker B:Yeah, yeah.
Speaker B:So the original storyline was really interesting.
Speaker B:So originally.
Speaker B:So Gizikowski made a few changes later on, but the original version was that a father's son is killed in a hit and run accident.
Speaker B:He hunts down the guy that ran him over and buries him in a well in his backyard.
Speaker C:Huh.
Speaker B:That was the original unique, unique plot line right there.
Speaker B:Yeah.
Speaker B:Which I'd see that too.
Speaker A:Yeah, absolutely.
Speaker A:That, that almost kind of would remind me of like law abiding citizen with just the.
Speaker A:The.
Speaker A:His dead wife and he goes and hunts the people down, everyone responsible for it.
Speaker A:Like I could, I could see that have turning into something that's a plot.
Speaker C:Isn't that the plot of like 40% of movies though?
Speaker C:I feel.
Speaker A:Yeah.
Speaker B:Proxy the dog.
Speaker B:Yeah.
Speaker B:John Wicken.
Speaker B:Yeah.
Speaker C:So I'm wondering if they, if they made that plot just out of like individuality, you know?
Speaker B:Yeah, yeah.
Speaker B:I don't know.
Speaker B:Or maybe they met Paul Dano and were like, man, you can be really creepy.
Speaker B:We need to use that.
Speaker A:And then somehow found an equally creepy dude to be the semi related creepy dude in the movie.
Speaker B:I know, I know.
Speaker B:So much creepiness.
Speaker B:Just dread all around.
Speaker A:Nick and I were talking and, and earlier and he was talking about like, man, like Paul Dano got so in this movie and it was like, yeah, it's no wonder he became the Riddler in the Batman.
Speaker A:These two take place in the same universe.
Speaker B:I've actually got a question about it too.
Speaker B:About Paul Dano specifically.
Speaker B:So this is really interesting.
Speaker B:I actually wondered this like, because I was watching this as a father, because I actually, I've seen this a couple of times.
Speaker B:I never saw it single, you know, I never saw it without kids.
Speaker A:This was my first time.
Speaker B:Yeah.
Speaker B:So it's interesting you saw it without kids.
Speaker B:I never saw it without kids.
Speaker B:But the writer Gazikowski said that he wrote this before he had kids and he said that after having them and re watching it that he doesn't know if he ever could have written it or been a part of the film.
Speaker B:They said it was too.
Speaker B:It would be too personal and too painful for him.
Speaker A:I'm not surprised.
Speaker A:Yeah.
Speaker A:There's a certain level of Darkness you can go to when you don't have a genuine connection to it.
Speaker A:Just kind of a.
Speaker A:A tertiary mental connection to it.
Speaker A:So, yeah, I can imagine that would be hellacious to try to put yourself in that position and live through all of that to get something this well written out.
Speaker C:Cinematography and acting sounds like horribly stressful and emotional, emotionally taxing on you.
Speaker C:You know, like every people aspire to be these big time celebrities and walk the red carpet and win that Oscar.
Speaker C:You know, everybody looks up to Bradley Cooper and whoever else, you know, who the biggest people are in the industry these days.
Speaker C:But to like, for like what Hugh Jackman did or whatever in that movie, to be able to get into that character, there's got to be a lot of that that, that doesn't, you know, just not stick with you, you know.
Speaker A:I mean, Florence, you, after doing Midsommar, said that it took her six months to realize how horribly depressed she was from that experience and like, had to go to therapy because she was like this with me so hard.
Speaker C:Yeah, yeah, dude.
Speaker C:And like, yeah, like, as an actor, like, man, that, that sounds like a terrible job to be a good, A really good actor, you know.
Speaker B:Yeah, some are really detached.
Speaker B:Some are really like, you know, like there's the ddl, there's Dana Day Lewis who completely lives and breathes as the character for the amount of time they film and he prepares.
Speaker B:And then you have other people who literally just can turn it on and then they turn it off and they go to the craft service table and drink coffee and they don't feel a thing.
Speaker B:And then the camera comes on and hey.
Speaker B:And then it's like, oh, you know, it's just crazy.
Speaker B:Like.
Speaker B:Yeah, I think Ben Affleck was kind of like that.
Speaker B:I think Ben Affleck's the guy that's kind of like, yeah, turn it on.
Speaker C:I want to be like him, you know?
Speaker A:Yeah.
Speaker A:Well, Russell Crowe was just on Rogan and he was talking about the new movie Nuremberg that he just put out.
Speaker A:And he was, because he's playing like the number two or three Nazi in existence, like in this movie.
Speaker A:And they had a whole conversation about how it is an exercise in and of itself to be able to, at the end of the day, shut off the darkness of who that character is and like have to at 5:00 or 6:00 clock or wherever, go home and be home with your family after you've literally just played a monster the whole day.
Speaker B:That's.
Speaker B:That's gonna be wild.
Speaker B:Like in the.
Speaker B:I love the Leo Story from Django when he was so, like, Leo was so afraid to say the N word.
Speaker B:And Jeff or Jamie Foxx was just.
Speaker A:Like, oh, yeah, Jamie Foxx.
Speaker B:He was rousing him the whole time.
Speaker B:Like, just say it.
Speaker B:Just say it.
Speaker B:And he, like, he had to, like, push him and piss him off enough until he was able to say it.
Speaker B:But I would have been like, Leo.
Speaker B:I was like, I don't want to say that.
Speaker A:Yeah.
Speaker B:You know?
Speaker A:Yeah.
Speaker B:So you'll love this, Seth, as a filmmaker.
Speaker B:So the last rando.
Speaker B:So light was a big deal on this.
Speaker B:They wanted most of it to be natural lighting.
Speaker B:Like, specifically the scene in the gas station.
Speaker B:The first time they find the RV that is lit by a gas station, like, that's actual lighting.
Speaker A:I'm not surprised.
Speaker B:But because they wanted to keep it dreary, sunlight was outlawed.
Speaker B:So anytime it was too nice outside, they would.
Speaker B:That day they would switch to indoor filming.
Speaker B:So I like that.
Speaker B:Like, oh, the sun's out.
Speaker B:We got to do indoors filming today because we're not going to have any.
Speaker B:We're not gonna.
Speaker B:And you can tell, like, especially the beginning, like, the first 15 minutes when they're outside a lot.
Speaker B:Like, it's just like the sky is green the whole time.
Speaker A:I'm glad you brought up lighting, because my favorite sequence in the whole film, Paul Dano is in the shower enclosure, and he's already been soaked.
Speaker A:He's in so much pain.
Speaker A:And Hugh Jackman's right next to him.
Speaker A:And the cuts to inside of the shower where Paul Dano is.
Speaker A:And the only thing you can see is what is lit by this little hole in the wall.
Speaker A:And it so subtly moves to his eyes.
Speaker A:And then when he says something, he moves his mouth right up next to it, and that's all that's lit.
Speaker A:And then it's back to his eyes as you're watching, just his eyeballs react to everything that Hugh Jackman saying to him.
Speaker A:It's so subtle, but just.
Speaker A:It spoke the.
Speaker A:The.
Speaker A:The largest amount, I think, of any scene in the whole movie.
Speaker B:And his eyes bloodshot and.
Speaker C:And Dano never noticed that.
Speaker C:Yeah, that's.
Speaker C:It's really, you know, getting deep with that one there, Seth.
Speaker A:Yeah, education, baby.
Speaker C:Yeah.
Speaker B:We should start a movie podcast.
Speaker A:It's almost.
Speaker A:Yeah, yeah.
Speaker B:Well, and on that, I'm glad you.
Speaker C:Pay attention to his pupil and what it's doing during this exact second.
Speaker C:Yeah, it goes up a half a millimeter.
Speaker B:No, dude, he communicates a lot.
Speaker B:He communicates a lot through that.
Speaker B:He does.
Speaker B:Like, his is, like, because it's.
Speaker B:They go to it a couple of times and like, his eye.
Speaker B:Like his.
Speaker B:The way he's, like moving his face.
Speaker B:Like you can tell, like he's.
Speaker B:He's in a lot of pain.
Speaker B:Like, I loved it.
Speaker C:But why doesn't he communicate with his mouth, though?
Speaker B:Because he's like, he's been dosed with drugs so hard that he's.
Speaker B:He's.
Speaker B:He's not even actually.
Speaker B:You find out later he's not actually even mentally disabled.
Speaker B:Like he became that way.
Speaker B:But they.
Speaker B:They dosed him with ketamine and.
Speaker B:And LSD so hard.
Speaker B:Really?
Speaker B:That's what they did?
Speaker B:Yeah.
Speaker B:That's what they do to all the.
Speaker B:All the kids they abduct is they dose them that.
Speaker B:The brown soda bottles they have that are filled with brown liquid.
Speaker B:It's.
Speaker B:It's ketamine and.
Speaker B:And acid and they dose all the.
Speaker A:And on top of that, Hugh Jack.
Speaker C:I haven't Not.
Speaker C:I didn't realize any of this.
Speaker C:I was like, oh, you know, it was just the crazy ant at the end.
Speaker C:She was the one.
Speaker C:Sorry.
Speaker B:They love Dr. Pepper.
Speaker C:Yeah, right.
Speaker A:Big Soda is the villain.
Speaker B:How much sugar is in that?
Speaker C:Yeah.
Speaker C:Sound bad guy.
Speaker B:Yeah.
Speaker B:These kids weren't drug.
Speaker B:They were just.
Speaker B:They just crashing off Mountain Dew.
Speaker A:Yeah.
Speaker B:That's the whole premise of the movie.
Speaker A:They use old school Coca Cola with actual cocaine.
Speaker B:Yeah.
Speaker B:The question.
Speaker C:I'm gonna fast forward.
Speaker C:I'm gonna fast forward through the torture scenes next time.
Speaker B:Yeah, those are hard.
Speaker B:Those are hard.
Speaker A:When he turns the hot water on in the shower, just.
Speaker A:Just hearing it, you don't see and you hear everything.
Speaker A:And it's even worse than.
Speaker A:I think if you'd watched it.
Speaker B:It's off screen.
Speaker A:Kind of lends it to what we were talking about with Nightmare on Elm street, back with Mariana was like.
Speaker A:There were times where the effects in that, as great as they were for the time because they were so featured in that movie, there were some times where.
Speaker A:Yeah, some things felt a little cheap or things felt a little out of place or just a little over the top.
Speaker A:Denny did such a good job in this by making sure that.
Speaker A:Yeah.
Speaker A:What needed to be in your face, like, literally Paul Dano's swollen face, that was such a shocking visual to see.
Speaker A:But if you were focused in on Hugh Jackman while he was punching his face in, I don't think that moment would have had the same impact.
Speaker A:Like, he uses theater of the mind so perfectly right up until he needs you to see the actual results of what the actions have been.
Speaker B:Yeah.
Speaker B:He's almost getting your buy in completely, and then he purposely throws you out of the boat.
Speaker A:Yeah, because if you think about it, we didn't see Paul Dano.
Speaker A:And even after the scene where he's put in the shower, because all we hear is Jake Gyllenhaal finding him.
Speaker A:We don't watch him, pull him out.
Speaker A:We don't see what he looks like at that point.
Speaker A:I don't think we needed to.
Speaker A:I think we already have a crazy mental image of what it would be and I think it'd be cheapened if you actually saw it.
Speaker B:Yeah, good point.
Speaker A:Thank you.
Speaker C:Did you guys.
Speaker C:Did you guys watch that movie Dumb Money with Paul Dano?
Speaker A:No, but I heard about it.
Speaker A:Was it good?
Speaker C:Yeah, I really enjoyed it.
Speaker A:Okay, good.
Speaker C:Not like it's.
Speaker C:It's not really rated high on IMDb or anything, but it has to do with the whole GameStop thing that happened several years ago.
Speaker C:It's the story behind that.
Speaker C:And it's like all I heard about it was what I heard on the news about the GameStop thing, you know, but I didn't really get.
Speaker C:I didn't really understand the whole story behind it.
Speaker C:And that movie gets into it and it's pretty fascinating.
Speaker C:Paul Daniel plays the.
Speaker C:The protagonist in it, so the main guy that tells people to invest in GameStop, essentially.
Speaker B:You know, I'm a huge Paul Dano fan.
Speaker A:He's had such a rise.
Speaker C:He's married to Charlene Woodley in the movie and he's like a kind of a kept guy in the movie.
Speaker C:Very smart, obviously.
Speaker C:And I was like.
Speaker C:And I watched it after I watched Prisoners and I was like, oh, my gosh, it's the guy from Prisoners that got a.
Speaker C:His face pummeled in.
Speaker B:Yeah.
Speaker C:By Hugh Jackman.
Speaker A:Yeah.
Speaker C:That's crazy.
Speaker C:You know, like, I don't know, it was just weird to see him in that light.
Speaker A:Oh, yeah, he had some incredible guest star roles in that.
Speaker A:Like, really just like a two, three year span.
Speaker A: Because this, I think was: Speaker A: as in True Grit and Looper in: Speaker A:And then just has slowly built himself up to where he's actually like a solid, not quite like full leading role, but as we saw in, in the Batman, like, he is an absolutely fantastic villain in that.
Speaker A:Arguably the best part of that movie for me.
Speaker B:Well, There Will Be Blood's a masterpiece.
Speaker B:And a lot of that has to do with Paul Dano.
Speaker B:I mean, he, you know, he went toe to toe.
Speaker B:He wasn't Even the original guy that was cast to be Eli, and he went toe to toe with Daniel Day, and he carries just as much water in that movie, in my opinion, as.
Speaker B:As Daniel Day Lewis does.
Speaker B:And, you know, I think of him first before I think of Daniel Plainview because of those high screeching voices and, you know.
Speaker B:But, yeah, that's actually a good segue to my first question.
Speaker A:Oh, the questions, the questions.
Speaker B:All right.
Speaker B:As a reminder, these are questions that we write to generate fun, comedic.
Speaker B:Because we're comedians.
Speaker B:Comedic banter discussion.
Speaker B:We'll go.
Speaker B:We'll go to my Paul Dano question.
Speaker B:Listen, Paul Dano's done quite a few different roles, but when it comes to his big screen, like his big time, like his AAA big movie.
Speaker B:Is he on the verge of being typecasted?
Speaker A:Who?
Speaker A:That is a good question because, yeah, he kind of has been a little shoehorned into the creepy vill villain kind of dude, which actually McKenna was watching it with me last night, and.
Speaker A:And we actually thought about this with the other creepy guy, the red herring guy.
Speaker A:Like, he just has one of those faces where every single movie he's in, they're just like, yeah, you need a creepy guy.
Speaker A:You call Joe.
Speaker A:Like, Joe's the creepy guy.
Speaker A:And unfortunately, I do think Paul Dano got a little bit typecasted in that because, like, you look at his career, how he started out.
Speaker A:He started out in, like, a little sunshine and, like, darling indie movies, and then, yeah, slowly and I mean, I guess as an actor, if you're getting the work when you're typ cast, like, as long as it's paying the bills.
Speaker A:Yeah, I don't.
Speaker A:I don't know what his career goals are.
Speaker A:If he wants to play a ton of really diverse characters, if he's found his thing, then, like, more power to him.
Speaker A:But yeah, he.
Speaker A:I just didn't even think about that until you said it.
Speaker A:But, yeah, he kind of really has leaned into just the.
Speaker A:The quirky, weird guy.
Speaker B:Yeah.
Speaker B:What do you think, Nick?
Speaker C:I haven't seen enough of his movies to give it a good judge, to be honest.
Speaker C:I've saw, you know, obviously, Prisoners and then Dumb Money, which was very good.
Speaker A:Oh, I forgot he's in Cowboys and Aliens, which.
Speaker A:I love that movie.
Speaker C:I've seen True Grit, but I don't remember seeing him in the movie.
Speaker A:He's in.
Speaker A:He's in the scene where they're in the cabin.
Speaker A:He ends up.
Speaker A:He ends up getting shot.
Speaker C:Okay.
Speaker B:Yeah, yeah, yeah.
Speaker B:Did you see There Will Be Blood or the Batman Never Saw it.
Speaker C:Never saw the Batman.
Speaker C:I know.
Speaker C:I'm the worst person on this.
Speaker B:No, you're a comedian, and this is hilarious.
Speaker B:No, I love it.
Speaker B:No, it's great.
Speaker C:Number one.
Speaker C:Just be funny, man.
Speaker C:You know, Just be funny.
Speaker A:Dude, he was in the Sopranos.
Speaker B:Yep.
Speaker A:I forgot about that.
Speaker B:Yeah, he just shows up.
Speaker C:He was in the Sound of Music.
Speaker B:Yeah, yeah, yeah, he was.
Speaker B:He has the music.
Speaker B:He was the music.
Speaker B:He was an eighth note, actually.
Speaker A:Sound of the Music.
Speaker B:Yeah, he was the treble clef.
Speaker B:Here's what I.
Speaker B:Why I wrote this question.
Speaker B:I wrote this question down because I think it's.
Speaker B:I think you could say his three biggest.
Speaker C:Sorry.
Speaker B:I think you could say.
Speaker B:Love it.
Speaker A:You're welcome.
Speaker B:Go ahead.
Speaker B:Yeah.
Speaker B:Express yourself, baby.
Speaker B:I would say that his three probably biggest roles are this, the Batman, and There Will Be Blood.
Speaker B:And when you compare.
Speaker B:And they're all great, but you.
Speaker B:When I'm watching this, I'm hearing notes of Eli.
Speaker B:I'm hearing notes of the Riddler.
Speaker B:And when I was watching the Riddler, I was thinking about some of the gestures and the sounds he would make and kind of the incel thing.
Speaker B:Like, you know, it's.
Speaker B:There were notes of that in this.
Speaker B:And then all that was wrapped up in Eli.
Speaker B:Like, I was just thinking of those three roles.
Speaker B:And like I said, typecast is a negative.
Speaker B:It sounds negative.
Speaker B:It's.
Speaker B:He just does it really well.
Speaker B:And I know he has more range than this.
Speaker B:It just seems like when this kind of role comes up, he's probably the first person right now people think of.
Speaker A:Yeah.
Speaker B:Because he does it so well.
Speaker B:So I'm not saying it in a way that takes away from his acting ability because I've seen him do other things, but it just feels like for big films with bigger budgets, it's like we have kind of an incel.
Speaker B:Weird, you know, creep guy.
Speaker B:What's Paul Dano doing right now?
Speaker B:You know?
Speaker A:Yeah, because it's funny because his role in Cowboys and Aliens and Looper are both kind of like a bro y asshole in their respective settings.
Speaker A:Like, he's the son of the.
Speaker A:The biggest rancher in the area in Cowboys and Aliens, so he's like.
Speaker A:He gets arrested because he accidentally shoots someone while he's drunkenly shooting up the town.
Speaker A:Or like, in Looper, he is.
Speaker A:Is friends with Joseph Gordon Levitt, and they're both like, druggies together.
Speaker A:Like, they both take the.
Speaker A:Like, the eye acid together.
Speaker A:So he kind of.
Speaker A:But in the same way, like.
Speaker A:Yeah, it's weird because it's like he'll play those roles and they're fine.
Speaker A:But yeah, for whatever reason, the more creepy he leans, it seems just like it gets amplified and amplified.
Speaker B:Here's a Super bowl question for you.
Speaker B:This is, this is, this question hit me like a ton of bricks when.
Speaker C:I wrote it down.
Speaker B:Keller Dover, hero or villain?
Speaker C:That's a loaded question, man.
Speaker C:Yeah.
Speaker C:Because technically Paul Dano's character is innocent.
Speaker C:He is innocent, you know.
Speaker B:And he was abducted.
Speaker B:He was an abducted child himself.
Speaker C:Yeah, I know.
Speaker C:So it's like, you know, it like almost snowballed and Hugh Jackman was twofold catalyst.
Speaker C:Yeah, yeah.
Speaker C:Hugh Jackman's character reminded me of that scary dad.
Speaker C:We all knew that kind of scary dad in elementary school.
Speaker C:Yeah, you know, you're, you're, you'd have, you had, you had a friend and you'd see their dad and be like, yeah, that guy's scary.
Speaker C:Like, yeah, Hugh Jackman like brought me back to elementary school as the scary dad.
Speaker B:Yeah, we don't go to Daryl's house anymore.
Speaker C:No, exactly.
Speaker C:Like, you know, we all, as kids saw that, you know, a lot of the innocent dads, but then there was like one or two kind of scary looking dads that would stand out, you know, when you.
Speaker A:I don't know why, but the ones I can think of from middle school and high school were both Italian.
Speaker A:I don't know if that says something.
Speaker C:Yeah, well, fun fact.
Speaker C:Hugh Jackman's character in this movie's original last name was supposed to be moreover.
Speaker A:Hello.
Speaker C:Yeah, exactly.
Speaker B:Papa John.
Speaker A:I think.
Speaker B:Wow.
Speaker A:Nick, it's, it's a crazy.
Speaker A:Obviously it's a big moral question and that's the whole point of the movie.
Speaker A:Because, like, on one side.
Speaker A:Well, on one side you're, you're sympathetic to him because, yes, his daughter has, has been abducted.
Speaker A:He's freaking out.
Speaker A:And it's, you think it's going to be that story of the father who will do anything to get his daughter home, but then you realize the story is about the blindness of rage and how if, if you, you can put all of your emotion into the task of I want to bring my daughter home.
Speaker A:But if you're not looking at it with any type of objectivity, you're just going to make a mistake.
Speaker A:And unfortunately, his was, was kidnapping a completely innocent man who was also a victim of the actual bad guys and had that, that narrative built up in his mind that he couldn't let go of.
Speaker A:And so I think ultimately he, he's the most well meaning Victor villain that I've ever Seen in film where.
Speaker A:Where you completely empathize with why he's doing what he's doing.
Speaker A:But to quote Andy Samberg in.
Speaker A:In Brooklyn.
Speaker A:Nine.
Speaker A:Nine.
Speaker B:Cool.
Speaker A:Motive.
Speaker A:Still murder.
Speaker A:So it's like.
Speaker A:Yeah, it's like it doesn't matter if you're.
Speaker A:How right you are, how righteous your anger is.
Speaker A:You're being a idiot.
Speaker B:Damn.
Speaker B:I don't know if I can follow up.
Speaker B:You just basically said that.
Speaker B:Perfect, Timothy.
Speaker B:I'm not trying to butter you up, but that was a hell of a response.
Speaker A:It happens every now and then.
Speaker B:Every now and again.
Speaker B:You pull one out of the stocking.
Speaker B:You know, I'll come at this as a father.
Speaker B:I agree with everything.
Speaker B:I agree with you.
Speaker B:Everything you said.
Speaker B:Because I do.
Speaker B:I found myself angry at him because I was like.
Speaker B:Maybe because this was my, like, third rewatch, and I.
Speaker B:Because I knew he was Barry already.
Speaker B:I was just so angry at him.
Speaker B:This time around, it was really hard to shed the fact that it seemed.
Speaker B:I was like, he's.
Speaker B:He's not only innocent, he's effective.
Speaker A:You know, it's just like.
Speaker B:And he's just abusing him, just.
Speaker B:And I was so angry at him.
Speaker B:I actually.
Speaker B:I lacked a lot of sympathy.
Speaker B:But then I had to remember, like, as a father, like, I'll give you a quick story.
Speaker B:Like, my wife was pregnant with our third child, and she was driving, and a woman was texting and driving and T boned my wife off the road.
Speaker B:And it turned out this woman not only was texting and driving, but she.
Speaker B:She had been drinking, she had a suspended license, and she had taken someone else's rental car without permission.
Speaker B:She wasn't supposed to be on the road.
Speaker B:My wife had a bruise just all around.
Speaker B:So we.
Speaker B:We spent, like, the rest of that day waiting to find out if we still had a child in there or not.
Speaker A:Yeah.
Speaker B:And I. Seth, you've worked with me long enough to know I am not a confrontational person.
Speaker B:Never been in a fight.
Speaker B:I don't like confrontation.
Speaker B:But she was over there just texting, kind of like.
Speaker B:Kind of like this position.
Speaker A:She was on ketamine and acid, too.
Speaker C:Okay.
Speaker A:It might have been recreational, but she was also Barry.
Speaker B:All of a sudden, I am marching toward her, screaming the F word at her, and cops are pulling me back by my arms, telling me, if you do that again, I'm putting you in the car and you're going to jail.
Speaker A:Why were you calling her gay?
Speaker C:Holy smokes.
Speaker A:Yeah.
Speaker B:I was blind.
Speaker B:I was.
Speaker C:So this is the plot of prisoners, too?
Speaker B:Yeah.
Speaker B:My Kids.
Speaker B:My kids were bleeding.
Speaker B:One of my kids.
Speaker A:Revenge.
Speaker C:Yeah.
Speaker B:One of my kids was bleeding from their head.
Speaker B:My wife was sobbing, purple pregnant belly, thinking, maybe the kid's gone.
Speaker B:This girl just kind of.
Speaker B:And so all of a sudden, I. I didn't know I was doing it.
Speaker B:Never been in a fight.
Speaker C:Never.
Speaker B:Never been in a public argument with a person.
Speaker B:All of a sudden, I'm like, you don't give a fuck.
Speaker B:And I started screaming.
Speaker B:And then the cops were, like, pulling me back my arms.
Speaker B:I was like, whoa, whoa.
Speaker B:All that to say I was angry at him this time around because it was a rewatch and I knew the truth.
Speaker B:But at the same time, this was very much.
Speaker B:If you're a father.
Speaker B:I was like, I get it.
Speaker A:Yeah, I get it.
Speaker B:It happened to me in a very.
Speaker A:I get it.
Speaker A:But again, still the worst thing you could be doing.
Speaker C:Yep.
Speaker A:For sure.
Speaker B:Yep.
Speaker A:Howard is the voice of reason.
Speaker A:You knew something has gone totally wrong.
Speaker B:Well, and.
Speaker B:And I don't know if Seth, if you guys picked up on this, but do you remember this part?
Speaker B:Actually, I didn't pick up on this the first two rewatches, but this shocked me this time.
Speaker B:At the end when she brings her daughter in to thank Loki, she said.
Speaker B:You know when she says she wants to thank her hero?
Speaker B:And she's like, he's gonna go to jail, isn't he?
Speaker B:And he's like, yeah.
Speaker B:And she's like, well, I'm just so glad that he did everything he could to bring our daughter home.
Speaker B:And this is after the knowledge that really hurt me this time.
Speaker B:I was like, I get what you're saying, but you know what he did?
Speaker B:Now you know everything he did.
Speaker B:It's on the news, it's in the papers.
Speaker B:Like, yeah, he got your daughter home, but he did some brutal shit to an innocent abducted victim.
Speaker B:Like, yeah.
Speaker B:And it kind of played onto this whole.
Speaker B:You know how people, like, when they tell you should have gratitude for something?
Speaker B:It's like, you.
Speaker B:You could, you know, lose your sight today.
Speaker B:It's like, why are you on blind people?
Speaker B:Like, are you just saying because the person's blind.
Speaker B:They don't.
Speaker B:They don't still have.
Speaker B:They can't have a good life.
Speaker B:Like, they can't be happier than I am just based on their own volition, not just me dunking on them because I can see and they can't.
Speaker B:Like, that's the worst.
Speaker B:That's the worst thing we do as a society.
Speaker B:It's kind of the same thing.
Speaker B:It's like, well, he just did Whatever he could.
Speaker B:Yeah, he did whatever he could.
Speaker B:He did some horrible shit to an innocent person.
Speaker C:Yeah.
Speaker B:And it was like, I don't know why, but when she said that this time it triggered me, man.
Speaker B:I was like, whoa, whoa.
Speaker A:Now because again, it's that same thing where it's like you put the blinders on, you accept the things that you're willing to accept.
Speaker A:But it's like my daughter's home.
Speaker A:That's all, that's all I can say about it.
Speaker B:Which everything else be damned.
Speaker A:Your questions have now inspired a question from me.
Speaker A:Okay, but before I ask this question, Nick, have you seen Law Abiding Citizen?
Speaker A:Gerard Butler and Jamie Foxx.
Speaker A:God damn it.
Speaker A:Because my question was going to be unhing revenge movie.
Speaker A:Which one's better, this one or Law abiding Citizen?
Speaker A:His law abiding citizen is fucking brutal as well.
Speaker A:The whole scene where he's got the dude strapped to the medical table and he's got him ball gagged and he's explaining everything he's about to do to him, but he's like, but I've got caffeine and adrenaline already hooked into you, so you're not going to pass out during this whole thing.
Speaker A:But I'm going to cut your eyelids off, then I'm gonna cut your tongue out.
Speaker A:Then I'm gonna cut every fingernail off of you, then your fingers like, just goes down the list of basically like the death by a thousand cuts that he's about to do on this guy.
Speaker A:It felt like the, the, the vibe.
Speaker C:Of inspiring me to watch it now.
Speaker A:It's a great movie.
Speaker A:He doesn't actually do.
Speaker A:You don't watch him do any of those things.
Speaker A:You just hear him tell him what he's going through.
Speaker C:That was gonna be my next question.
Speaker A:Yeah, you just hear him tell him what he's going to do and then it cuts away and you kind of see a silhouette of the aftermath later.
Speaker A:But it's like, it's, it's again that, that theater of the mind.
Speaker A:So you've seen it, right, Kyle?
Speaker B:Yeah, and I think it's great.
Speaker B:I think it's great and I think it's in the same stratosphere.
Speaker B:The only reason I give a slight edge to prisoners is because I think the actions felt organic to the people, to the characters, like the characters that we were introduced to.
Speaker B:Like, he's a survivalist.
Speaker B:He's a, he's a blue collar laborer, you know, like all these things, they live in a pretty.
Speaker B:Like I get the ins like that town it's in Pennsylvania, but it reminds me of all these, these poor Michigan towns.
Speaker B:I used, my band used to tour in like these during the recession and kind of these.
Speaker C:Take it easy.
Speaker B:Yeah.
Speaker B:Hey, man, I toured in a lot of recession.
Speaker B:Nailed cities in Michigan back in the day and like old houses, bro.
Speaker B:Yeah, that's right.
Speaker B:I used to tour there.
Speaker B:I used to tour, you know, there's like these little blue collar towns outside, you know, and you could just tell that like, you know, that's the kind of people that, that were our characters and, and I felt like the actions were very organic and it wasn't, it wasn't methodical.
Speaker B:Like he remembered the hammer, you know, he remembered all of a sudden that he knows how to rig the water, you know, and he's, he's using his mind organically.
Speaker B:Whereas I think with Law Abiding Citizen, it's really good.
Speaker B:It's just a more.
Speaker B:It's.
Speaker B:I would say it's more surgical.
Speaker B:It's more like.
Speaker B:I feel like it's more plotted, so I give it a slight edge.
Speaker B:But I recommend anybody go watch Law.
Speaker A:Abiding Citizen to that point.
Speaker A:I think that makes sense though because in Law Abiding Citizen, he had years to think out his revenge.
Speaker A:This Hugh Jackman is thinking about what he's going to do in the moment.
Speaker A:So I think where I land on this is, I think objectively Prisoners is the better movie, but I would rewatch Law Abiding Citizen more often.
Speaker A:Yes, it's significantly less gut pulling to watch.
Speaker C:Okay.
Speaker B:And Jamie Foxx doing Jamie Foxx things, you know, he always finds, like, even in Collateral, that's a very serious film, but he finds a way to add levity, you know, and he can.
Speaker C:Another great movie, by the way.
Speaker A:Yeah, I've seen that one.
Speaker C:I've seen Collateral.
Speaker C:Yeah, you guys did an episode on that, right?
Speaker A:We did.
Speaker A:And I hadn't seen it before.
Speaker B:He's like, I love the scene where they do the ketamine and the LSD out of the soda bottle.
Speaker B:Love that.
Speaker C:Nick.
Speaker B:Nick, you're a legend with your, your ST Brown jersey.
Speaker B:I love it.
Speaker C:Yeah, dude.
Speaker C:Yeah, it's kind of a.
Speaker C:It's three nothing.
Speaker C:We're down three nothing right now.
Speaker C:So not a bit.
Speaker C:A bit of a defensive battle, but yay, sports.
Speaker B:Death is thrilled.
Speaker A:Thrilled.
Speaker B:Next question.
Speaker B:So the original ending of this movie was different.
Speaker B:So.
Speaker B:And I'm not even talking about the script, I just mean like they filmed an alternate ending that they chose not to go with.
Speaker B:And the alternate ending, Loki goes Down.
Speaker B:You did know this.
Speaker C:I did know this.
Speaker A:I watched.
Speaker A:Yes.
Speaker B:Yeah, he pulled.
Speaker B:He pulls Keller out.
Speaker B:He finds Keller after the whistle and actually pulls him out at the end.
Speaker B:So it's not ambiguous.
Speaker B:But they.
Speaker B:He.
Speaker B:He wanted.
Speaker B:The director wanted to opt for ambiguity.
Speaker B:Leave you wondering what do you think would have been better for him to pull him out?
Speaker B:Or do you like the whistle and the ambiguity?
Speaker C:Or 100.
Speaker A:Yeah, I got enough of the information just from hearing the whistle and seeing Jake Gyllenhaal's face, because, I mean, yeah, you can leave it up to be ambiguous, but clearly.
Speaker A:And now knowing that the scene was filmed that way originally, it's pretty obvious to me that he went and pulled him out.
Speaker B:Yeah.
Speaker B:Yeah.
Speaker B:You say you're the same, Nick.
Speaker C:Yeah, I would agree.
Speaker C:I mean, Jake Gyllenhaal's character is just too smart and sharp in it to where there's no way he wouldn't have eventually, I think, made that connection.
Speaker A:Yeah.
Speaker C:You know, I think he wanted to.
Speaker A:Convict him of everything he did to Paul Dano's character.
Speaker B:Yeah.
Speaker B:I'm just a sucker for a brilliant callback.
Speaker B:And to.
Speaker B:To put that whistle silhouette in there that it's the daughter's whistle.
Speaker B:And.
Speaker B:And they talk about it when they're.
Speaker C:She was, like, trying to look for in the beginning.
Speaker C:Correct.
Speaker B:Yeah.
Speaker C:Yeah.
Speaker B:And it kind of.
Speaker B:It kind of hurt me.
Speaker B:I was just like, oh, I just.
Speaker B:The movie never lets you.
Speaker B:The movie never gives you a pass.
Speaker B:Like, you're never.
Speaker B:There's never a moment like, oh, finally we can take a breather.
Speaker B:Yeah.
Speaker B:You know, like, you are holding your.
Speaker A:Breath from the moment one until that last little whistle blow.
Speaker A:And then done.
Speaker B:Yes.
Speaker B:You just nailed it again, man.
Speaker B:You're a poet today.
Speaker B:I love it.
Speaker B:I. Dude, like, finally, I'm like.
Speaker B:I'm like.
Speaker B:I'm like, finally, it's almost over.
Speaker B:And then the whistle and I actually forgot that it goes to black.
Speaker B:I forgot that he doesn't pull him out.
Speaker B:And then, like, it goes to black.
Speaker B:And the creds.
Speaker B:I'm like, oh, shit.
Speaker B:I forgot.
Speaker B:I forgot that we don't know.
Speaker B:I was like, damn you.
Speaker B:And.
Speaker B:But I like it.
Speaker B:I like it too.
Speaker B:And I love.
Speaker B:I love ambiguous and I love totems.
Speaker B:I love, like, callbacks.
Speaker B:Not just callbacks, but callbacks that are, like items like, specific that are, like, object based.
Speaker B:And, like, that's something Nolan does so well to, like a small totem, a small thing.
Speaker B:And I thought that was what I.
Speaker A:Love with a mystery movie.
Speaker A:And I.
Speaker A:You could Call this thriller, you can call this whatever, but ultimately, at its core, this is a mystery movie.
Speaker A:You spend the whole movie trying to figure out what the mystery is.
Speaker A:And, yeah, there's the other stuff that go on, but ultimately it's a mystery movie.
Speaker A:The thing that I especially love is it's good enough where when I go back now, I can see the breadcrumbs that were dropped.
Speaker A:Because when you watch it the first time, you never know what is actually a clue and what's just there, either just because it's there or to distract you.
Speaker A:And in a lot of ways, it's kind of similar to just when you're watching a Kubrick movie where you're just trying to see what.
Speaker A:What little thing in the background did Kubrick do to try to, like, throw you off the scent or whatever.
Speaker A:With this movie, I feel like when I do eventually re watch it, the one thing I am going to enjoy, which is hard to say in any way about this movie, but I will enjoy the process of finding those early breadcrumbs because clearly, within the first 20 minutes, it kind of told you how it was going to end without telling you how it's going to end.
Speaker B:Right.
Speaker A:So I'm excited.
Speaker A:Well, like, bringing up the whistle, first off, that's the very first breadcrumb in the whole movie is the whistle is actually going to be important, but it's kind of thrown out as just a little bit of.
Speaker A:Of a MacGuffin almost, in that it sets off the inciting incident because that's why they go away from the family, is to go find the whistle.
Speaker A:But I don't think.
Speaker A:And I definitely didn't.
Speaker A:I don't.
Speaker A:Can't speak for you guys, but I didn't think from the beginning that the whistle was going to be as important to the very end as.
Speaker A:As it ended up being.
Speaker A:I thought it was going to be a part of the story.
Speaker A:But nothing as crazy as this is.
Speaker A:The end of the movie is why the whistle was so important, because without the whistle, he's dead no matter what.
Speaker A:Like, there is no chance of him being saved.
Speaker A:So they're little and same thing with, like, the medallion on the body in the basement of the priest's house.
Speaker A:Like, I knew that was going to be utilized somehow, but I just had no clue what the connection was going to be.
Speaker A:And I'm sure there's a few other little breadcrumbs throughout it that I'll be able to notice next time.
Speaker B:Yeah, I was the same because I was way too absorbed.
Speaker B:I Was so absorbed into the setting and learning.
Speaker B:Like, I was actually super curious even the third time around watching it.
Speaker B:I was super invested in understanding these characters.
Speaker B:And I love, you know, this.
Speaker B:I love it when movies do this.
Speaker B:And I was just so like, I want to know more about these people.
Speaker B:I want to know their psyches, you know?
Speaker B:And so I didn't know either because I was kind of just like, waiting for the.
Speaker B:The bad thing to happen, but also just, like, studying these characters.
Speaker A:Exactly.
Speaker C:So the guy that was a suspect that had, like, the.
Speaker C:The clothes and stuff, was he just, like a diversion or did he have any involvement in it?
Speaker C:Again, you know, I'm talking about who shows up.
Speaker C:Oh, really?
Speaker A:He was.
Speaker A:He was an abductee and through.
Speaker C:He got away or something.
Speaker A:He got away, but it traumatized him to the point that whenever stuff like this happened, especially in the area, he would go to the victim's houses and take their clothes because that was his way of coping with it somehow.
Speaker B:Yeah.
Speaker B:And that's why the sock.
Speaker B:The sock thing became such a big clue.
Speaker A:Because he found the other sock in his yard.
Speaker A:Yeah.
Speaker A:Because, remember, he comes into both of the houses.
Speaker C:Okay.
Speaker A:Because the.
Speaker A:Everyone's gone.
Speaker A:And then the mom wakes up and hears him, and he goes out of her bedroom window.
Speaker A:The teenage daughter is in.
Speaker A:Terrence Howard's daughter and Viola Davis's daughter is in the bathtub.
Speaker A:And she doesn't hear him, but they see that stuff is clearly not right because someone's been there.
Speaker A:And so that was him going.
Speaker A:Taking their clothes to then soak in the pig's blood and put in those boxes.
Speaker A:And they.
Speaker C:I fully realized, coping mechanism for him.
Speaker A:Yeah.
Speaker A:Apparently.
Speaker A:I forget exactly how.
Speaker A:How the doctor described it, but.
Speaker A:Yeah, that was.
Speaker A:That whole thing was just because his brain broke during that experience, that that's the only way he could get through life was when that happens, it's like he's taking control of it again.
Speaker C:Yeah.
Speaker C:Yeah.
Speaker C:And what was the significance of the.
Speaker C:Did he kill the priest or.
Speaker A:No, no, no, no, no.
Speaker A:He.
Speaker A:He legitimately.
Speaker A:Yeah.
Speaker A:He had nothing to do with the actual crimes.
Speaker B:That was kind of a red.
Speaker A:His crime was being creepy, really.
Speaker A:And breaking it.
Speaker A:Okay.
Speaker B:And he was another Alex.
Speaker B:He was another guy that.
Speaker B:That they thought they could pin it on.
Speaker B:You know, another guy that could be guilty because in some ways, he was even more off putting than.
Speaker B:Than Alex was.
Speaker B:His personality and he was.
Speaker B:Yeah.
Speaker B:So.
Speaker B:All right, let's do our closer question.
Speaker B:So what we do for this, Nick, every time we finish up the questions, it's who.
Speaker B:Who or what won the movie for you?
Speaker B:Or who or what lost the movie for you?
Speaker B:We do both of those.
Speaker B:Seth, you want to kick us off?
Speaker A:Yeah.
Speaker A:I think what honestly ultimately won this for me was a combination of the direction and the acting, because I think this is one of those movies you would not have gotten those performances if you hadn't had the right director.
Speaker A:But at the same time, I don't think that Denny could have directed anyone else in this way.
Speaker A:Like, again, I.
Speaker A:With what we were talking about earlier, certain other people could have landed in the role, and I think they would have done a good job in their own way.
Speaker A:But this is an example where there's such a strong collaboration between the director and the actors that not.
Speaker A:There was not a single miss.
Speaker A:This was the same intensity level as any Christopher Nolan movie, any David Fincher movie, and any Darren Aronofsky movie to that same degree of where it's like the director and the actors are almost intertwined, and you can really see both the collaboration come through.
Speaker A:So ultimately, that's what won it for me, and I think what lost the movie for me.
Speaker A:And this is not even a negative, but it's just, like, coming out of this.
Speaker A:I don't have any inkling to rewatch this movie anytime soon.
Speaker A:And there's a special category of movies in my brain where it's like, flawless movies have no interest in seeing anytime soon.
Speaker A:Hereditary is one of those.
Speaker A:Hereditary is, in my opinion, probably the most flawless horror movie that has ever been made.
Speaker A:I have no desire to ever watch that movie again.
Speaker A:This kind of falls in the same level where there's not a single shot at a place.
Speaker A:The lighting is perfect, the acting is perfect.
Speaker A:The music was just perfect to the point that it never.
Speaker A:It never overshadowed, but it also really helped convey the emotion of everything.
Speaker A:But it's so dark and so disturbing and so stressful for me to get to.
Speaker A:I don't see myself rewatching this, like I said, unless someone else I care about is, like, I want to watch this movie.
Speaker B:Well said.
Speaker B:What about you, Nick?
Speaker C:Yeah, I would kind of piggybacking off of that.
Speaker C:Like, I can't think of anybody or, like, if you're that person, then please let me know.
Speaker C:That would be like, yeah, this week we're going to watch Prisoners again.
Speaker A:You know, top 10 movies.
Speaker A:Let's do it.
Speaker C:I've seen it eight times.
Speaker C:You know, I'm going for a ninth.
Speaker A:Yeah.
Speaker B:And then followed up with Requiem for a Dream, just for the double.
Speaker B:The double feature, dude.
Speaker C:Yeah, you got to be a little cuckoo.
Speaker C:I feel like in order to watch this movie on the reg, you know.
Speaker A:Yeah.
Speaker C:But at the same time, like, it's like emotionally jarring as it is.
Speaker C:I didn't want it to end.
Speaker C:Yeah, it's one of those didn't want it to end ones to where, like at the very, you know, when, when the, the screen cuts black at the end, you hear that whistle.
Speaker C:Jake Gyllenhaal perks up a little bit thinking he hears something and you're like, ah, like I want something else to happen now too.
Speaker C:Because it's just like so like well laid out and so like just it, it's a good little like kind of disconnect from reality.
Speaker C:Watching this almost because you're so captivated by the story, you know, I think.
Speaker A:That reason of wanting more is the perfect explanation of why showing Hugh Jackman come out of the hole would have been detrimental to the movie.
Speaker A:Because I'd rather want.
Speaker A:I would rather want that scene than then get that scene and it ruin everything.
Speaker C:Yeah.
Speaker C:I think alludes to the whole suspense behind the entire movie too, man.
Speaker C:Like the movie was raw from the get go.
Speaker C:And so to end it with, oh, he, he magically they reunite with one another and he rescues him and everybody lives happily ever after.
Speaker C:No way.
Speaker C:That's not, that was not the intention of what they were trying to go for this, you know.
Speaker B:Did you say okay?
Speaker C:No, I didn't.
Speaker C:But I don't really have an answer for that one.
Speaker A:You can do either.
Speaker C:Or kind of like, kind of like Seth's answer, honestly.
Speaker C:Like, it's not like it's not in the rotation by any means.
Speaker A:Yeah.
Speaker C:But it's not a comfort movie.
Speaker C:It's fascinating nonetheless.
Speaker C:Yeah.
Speaker C:And if you appreciate just good acting, like I, I can't think of anything better that I've watched in a long.
Speaker B:Time, you know, how about the blatant misuse of.
Speaker B:Of soda bottles for such evil.
Speaker B:Don't treat Dr. Pepper like that.
Speaker A:This movie so anti big soda.
Speaker A:Yeah.
Speaker B:Such a.
Speaker B:It's such subliminal messaging.
Speaker C:And then like also like little side note, like the mom too.
Speaker C:She did really well.
Speaker A:Yeah.
Speaker B:Yeah.
Speaker C:When she was in the bedroom and all she wanted to do was take her medication and sleep and not do anything.
Speaker C:That was like such a.
Speaker C:Another very raw depiction of the toll that it can take on a parent, you know, literally.
Speaker C:Yeah, it was crazy.
Speaker C:Like there was nothing, there was nothing candy coated about, about how I think parents would react to this type of situation.
Speaker B:So what was it?
Speaker B:For me was I watched this thinking, like, again, I don't downplay Hugh Jackman as an actor.
Speaker B:I just.
Speaker B:Someone he's not.
Speaker B:Someone I reference often in terms of, like, when you ask me, my favorite actors are.
Speaker B:But I watch this and I'm like, for the third time, I'm like, why?
Speaker B:Like, this is.
Speaker B:There's so much range here.
Speaker B:His eyes, his facial expressions.
Speaker B:There's so much he's doing here that just absolutely blow my mind away.
Speaker B:And also, I just.
Speaker B:There are very few films that have put me in the moral driver's seat.
Speaker B:Like this movie has, where it forces you.
Speaker B:Some movies, they present you with moral ideas and you can say yes or no or decide your own point of view.
Speaker B:This one forces you because of the emotion, the emotionally charged subject matter.
Speaker B:Especially as a parent, like, I have.
Speaker B:I was forced at gunpoint to.
Speaker B:To figure out where I stake my claim in the moral.
Speaker B:You know, in the moral stratosphere of this movie.
Speaker B:And.
Speaker B:And it was uncomfortable.
Speaker A:Tell some crazy story about growing up, how you were actually held at some point by one of your parents.
Speaker B:Yeah, yeah, yeah, exactly.
Speaker B:Right?
Speaker B:I mean, that wouldn't be weird.
Speaker B:It wouldn't be weird for my childhood.
Speaker B:It actually, that would have been.
Speaker B:That probably would have fit right in exactly.
Speaker A:A couple.
Speaker B:A couple things that I. I thought lost it in a very.
Speaker B:In a near perfect movie.
Speaker B:I'm gonna say that I think it's a near.
Speaker B:I don't think it is perfect, but it is a near perfect movie.
Speaker B:This actually happened to me on my third rewatch.
Speaker B:The first couple times, I didn't question this, but the aunt is a.
Speaker B:Is written a little odd, I would say.
Speaker B:I. I like the first half of it with her, but I.
Speaker B:This time was the first time I said, man, I like.
Speaker B:They're asking me to really buy into that.
Speaker B:She loses her son to cancer, and this is.
Speaker B:This is her reaction.
Speaker B:It feels like a big.
Speaker B:A big leap.
Speaker B:And it feels like a big leap because it's a movie where actually it's pretty grounded.
Speaker B:I. I mean, there's not a lot about this movie that's mythical or.
Speaker B:I mean, I.
Speaker B:It's.
Speaker B:You could probably.
Speaker B:I mean, hell, I don't know if you guys have seen the clip, but, I mean, there was a guy that.
Speaker B:His daughter was a.
Speaker B:This really happened.
Speaker B:His daughter was abducted.
Speaker B:I can't remember his name, but, like, a lot of people talk about him.
Speaker B:His daughter was abducted and sexually abused.
Speaker B:And when they're hauling him out of the airport or whatever, I can't remember what oh, there's a courthouse and he was hiding behind a payphone, the dad, and he, when they had him in cuffs and he ran up and shot him in the back of the head.
Speaker A:Yeah.
Speaker B:And killed him.
Speaker B:Like, this is something that has happened in some form or fashion.
Speaker B:But her, her leap to say, my son died of cancer.
Speaker B:So it's, this is my, what does she say?
Speaker B:Like, this is.
Speaker A:We punish the war we wage on God.
Speaker B:Yeah, I, it was the only thing in the movie that kind of stuck out like a sore thumb.
Speaker B:I was just like, I get it.
Speaker B:It's a big jump.
Speaker A:I can see that.
Speaker A:On.
Speaker A:I would have to reevaluate on a rewatch because at this point, this being the only time I've seen it, it, I bought it.
Speaker A:Honestly, I very much bought.
Speaker A:Because I, not to that degree, but I have seen post, you know, traumatic event depression, like, really with some people.
Speaker A:And so I, I get what you're saying and don't necessarily disagree with it.
Speaker A:I would have to reevaluate soon.
Speaker B:Yeah, yeah.
Speaker B:No, and I, that's fair because I, I, I'm more asking out loud because I'm like, really?
Speaker B:And I guess here's the thing.
Speaker B:She's, she's messed up.
Speaker B:She's a messed up person.
Speaker B:So I guess maybe there's a breadcrumb there that doesn't feel satisfied that, like, well, what was really wrong with her before?
Speaker A:Well, we don't know anything about her husband.
Speaker A:He's dead by the time the movie starts, so we don't know what influence he had on her.
Speaker A:All we have is that half of the story of her.
Speaker A:So it, I mean, it's, it's almost like you can kind of.
Speaker A:And maybe, maybe they thought of this when he wrote it, but maybe like it's just left a little open.
Speaker A:It's like, well, obviously her husband was the one who was killing all these kids, like, straight up.
Speaker A:Like, is he the one who, who convinced her of this?
Speaker A:Like, was, was he the reason everything got so fucked?
Speaker A:Or did she just like hook, line and sinker by this, this, this belief from the beginning?
Speaker A:Like.
Speaker A:Right, I, I see what you're saying, but at the same time, I do think it lends itself at least to some discussion.
Speaker B:And yeah, there's thought behind it.
Speaker B:Yeah.
Speaker B:And it's part of the issue, is part of the moral quandary of this movie.
Speaker B:It's just part, it's just another big question.
Speaker B:And I just know people personally have lost children to disease or, you know, I know that's anecdotal but just none of them.
Speaker B:None of them have gone to the next stage of abducting and killing other people's children.
Speaker B:You know, it's like, this is such a leap, but it's a very small.
Speaker B:It wasn't enough.
Speaker B:I was still very much enraptured by the film.
Speaker A:So still a turnover for you.
Speaker B:Yes, yes.
Speaker B:Yeah, absolutely.
Speaker B:A mega.
Speaker B:It was a mega.
Speaker A:We're about to teach you our ranking scale here.
Speaker B:Yes.
Speaker C:Didn't like Jake Gyllenhaal's tattoos.
Speaker C:Didn't those have some meaning too, or something?
Speaker B:You know, I think his name being Loki.
Speaker B:And the tattoos, I think are supposed to be, you know, probably in line with Loki's Nordic.
Speaker B:You know, the mythical tale of Loki, God of mischief.
Speaker B:Yeah.
Speaker C:Shout out.
Speaker C:Shout out.
Speaker C:God of war.
Speaker B:Yeah.
Speaker B:God of war.
Speaker B:Oh, yeah.
Speaker B:Yeah, yeah, yeah.
Speaker B:So the way we do this is we have four categories.
Speaker B:We, yes or no.
Speaker B:Them, it's acting, writing, directing, and something we call film composition.
Speaker B:Film compositions, stunts, choreography, lighting.
Speaker B:It's all the technicalities that are outside the whole thing.
Speaker B:Seth, you want to show us how it's done?
Speaker B:What do you think?
Speaker A:Let's enter the war zone, y'.
Speaker C:All.
Speaker B:War zone acting.
Speaker A:I think we've.
Speaker A:All.
Speaker A:We've.
Speaker A:We've gone over this.
Speaker A:This whole podcast.
Speaker A:The acting was flawless.
Speaker A:Not a single person, even down to the youngest kids.
Speaker A:Like, the kids were so good.
Speaker A:I thought that they were 10 and 12, not 7 and 8.
Speaker A:Like, I thought they were significantly older than they were.
Speaker A:They were just that good.
Speaker A:So acting, obviously, it's a yes for me, 100%.
Speaker A:Everyone brought 110% of themselves to these roles, and they fucking crushed it.
Speaker A:Writing.
Speaker A:I can.
Speaker A:I could see.
Speaker A:I could see some questions within the writing, especially your.
Speaker A:Your question there about.
Speaker A:About the ant.
Speaker A:But even with any nitpicks I have, there's nothing that's going to make me say no on this.
Speaker A:I think this is one of the most expertly unraveled mysteries I have ever seen.
Speaker A:So writing is an absolute yes for me.
Speaker A:I think this being Denis first English film really, really speaks to what he was going to be doing after this.
Speaker A:And I still haven't seen Arrival, but I've seen Blade Runner and I've seen his Dune movies.
Speaker A:I could see inklings in his approach to how, like, how his approach to filmmaking would evolve over the next decade in this movie.
Speaker A:I think it was absolutely masterful.
Speaker A:And then once again, with film composition, again, it's a yes for me because, again, I can't think of anything.
Speaker A:Nothing Stuck out as bad.
Speaker A:This is not one of those movies where musically you need like memorable themes or memorable musical moments.
Speaker A:You need the music to convey the emotion of the moment.
Speaker A:And that's all it needs to do.
Speaker A:And I think it does it expertly.
Speaker A:The lighting, as we said, with it being as natural as it possibly could be, was absolutely flawless.
Speaker A:Every aspect of the world we were in, every house felt perfectly lived in.
Speaker A:Every yard, like all of it, just an absolute yes for me.
Speaker A:So those four yeses, I mean, I.
Speaker C:Think, I think we established that from the get go.
Speaker C:You know, this is one thing that this is.
Speaker C:You know, I've watched a lot of stuff, you know, like I'm.
Speaker C:I'm a movie slash TV buff.
Speaker A:Just not Law Abiding Citizen.
Speaker C:A ton.
Speaker C:Just not Law Abiding Citizen.
Speaker C:Hey, I have.
Speaker A:Or anything else Paul Dano's been.
Speaker C:Or anything else.
Speaker C:Yeah, except Dumb Money.
Speaker A:Yes.
Speaker A:Which is great.
Speaker C:You should watch that.
Speaker A:I will.
Speaker A:Honestly, you're the first person I've heard talk about it, so I'm actually curious now.
Speaker C:It's fantastic.
Speaker C:You know, Pete Davidson's in it too, you know, all star cast.
Speaker C:All star cast.
Speaker A:You could have stopped Paul Dano, But.
Speaker C:No, it's kind of like one of those.
Speaker C:It's kind of one of those cemented movies that you watch once.
Speaker C:When you watch it one time, it's going to cement itself in you as far as like, okay, like this, this kind of stands out.
Speaker C:This, this movie's in a category of its own, you know, like, it's very, like, it's such a simple plot, but it's so unique in the way that the story is unraveled, you know, and again, like small town, like it, it's kind of relatable, you know, because it could happen anywhere.
Speaker C:Happens in a pretty mild mannered neighborhood that we all, you know, have seen or maybe grew up in or whatever.
Speaker C:You know, everything that happens kind of makes you think, okay, this could be a real life story, you know, but as captivating and gripping as it is, you know, it's.
Speaker C:It's crazy that it just doesn't seem unrealistic too, you know, and so I guess that's.
Speaker C:That's.
Speaker C:That everything about it seems.
Speaker C:Seems like it could be reality.
Speaker C:You know, the way that the actors react and the way that, you know, Hugh Jackman's character reacts, the mom reacts, the detective is everybody, you know, there's nothing like, oh, that's phony, you know, and so I guess that's why it was like, so like, okay, like this is like.
Speaker C: lmost feels like I'm watching: Speaker A:You know, a good Dateline episode.
Speaker B:Sounds like a clean drink to me.
Speaker A:Yeah.
Speaker C:Yeah.
Speaker B:But, yeah, it sounds like.
Speaker B:It sounds like a bunch of yeses, I would say.
Speaker C:A bunch of yeses.
Speaker C:Yeah.
Speaker C:Is it.
Speaker C:Is it in my top 10 of, you know, like, again, let's re watch it.
Speaker C:No, absolutely not.
Speaker C:But sure.
Speaker C:If you appreciate.
Speaker C:If you appreciate child abduction.
Speaker C:Captivating.
Speaker C:So.
Speaker A:I mean, storytelling.
Speaker A:No, it's a master class storytelling.
Speaker A:So, yeah, for sure.
Speaker A:Like.
Speaker A:Like we both said, it's incredible.
Speaker A:Probably won't watch anytime soon.
Speaker B:Yeah.
Speaker C:But would I watch again?
Speaker A:Yeah.
Speaker C:And, yeah, I need a little more therapy first.
Speaker A:Yeah.
Speaker B:Have the whole family watch it on Thanksgiving.
Speaker C:Yeah, exactly.
Speaker C:It's the Thanksgiving.
Speaker C:It's the Thanksgiving watch.
Speaker A:This is the follow up to the Macy's Parade.
Speaker C:Yeah, Right.
Speaker A:What if it was just a Macy's float that was a recreation of this movie?
Speaker A:Just Hugh Jackman hammering a sink for 10 minutes, right?
Speaker C:Yeah.
Speaker A:Yeah.
Speaker C:There he is up there.
Speaker B:That's incredible.
Speaker B:Yeah, I'll do mine.
Speaker B:Acting, dude.
Speaker B:I don't know what else to say.
Speaker B:I mean, there's not a bad performance here.
Speaker B:I mean, I. I think it shows Hugh Jackman just insane range.
Speaker B:And Jake Gyllenhaal is kind of similar to me.
Speaker B:Like, he's a guy that I don't dislike.
Speaker B:It's just.
Speaker B:I don't reference him often when I talk to other people about actors I love.
Speaker B:But every time I see him, like Nightcrawler, just.
Speaker B:There's so many.
Speaker B:He's just done or.
Speaker B:What is it after watch.
Speaker B:Oh, yeah.
Speaker B:End of watch.
Speaker B:Sorry.
Speaker B:Yeah.
Speaker B:End of watching.
Speaker A:Source Code are two of his most underrated movies.
Speaker C:He just.
Speaker B:He just always knocks it out of the park, man.
Speaker B:As far as writing goes, I mean, it's a.
Speaker B:It's a.
Speaker B:It's just spot on, I think.
Speaker B:I always love it when the dialogue and the character development.
Speaker B:Like, I feel like these characters grew out of the ground in the setting.
Speaker B:Like, the setting they're in, it feels.
Speaker B:They feel so natural.
Speaker B:They feel so organic.
Speaker B:The place feels lived in.
Speaker B:And I feel like the way the characters are written and developed, it just feels very natural.
Speaker B:Like, even though I was so mad at him for.
Speaker B:For having, you know, abused this kid who was abducted because he decided to be a vigilante, it made sense.
Speaker B:It made sense.
Speaker B:And it made sense as a father.
Speaker B:It made sense based on his career and what he did and where he lived and who he was.
Speaker B:Everything just.
Speaker B:Just felt so organic.
Speaker B:I Love that directing.
Speaker B:Just absolutely nailed it.
Speaker B:I love the decisions that were made that.
Speaker B:Because, you know, it was the director's decision with lighting.
Speaker B:The way this film.
Speaker B:I said organic earlier.
Speaker B:It looks organic.
Speaker B:And I think a lot of those decisions came from him.
Speaker B:And I just.
Speaker B:I just think there's.
Speaker B:There's also nothing I would take out.
Speaker B:There's just.
Speaker B:I'm trying to think, like, would I.
Speaker B:Would I cut anything out of this movie?
Speaker B:Do.
Speaker B:Was it too long or was it because this 2 and A.
Speaker B:It's 2 hours and 32 minutes.
Speaker A:Yeah, it's a long one.
Speaker B:Yeah.
Speaker B:And the original was.
Speaker B:Yeah.
Speaker B:And the original cut was three hours, but it never felt that way.
Speaker B:It did feel like a drudge, but that's just because of the subject matter.
Speaker B:It didn't feel like I was like, oh, I could have done without that.
Speaker B:There's not a.
Speaker B:There's no wasted space here.
Speaker B:And that's rare.
Speaker B:That's very rare.
Speaker B:As far as film composition goes, it looks stunning.
Speaker B:I think, even though it's a dark, dreary thing, the way it is filmed, the lighting, the editing, there's so much about it that's.
Speaker B:That's just fantastic.
Speaker B:The sound.
Speaker B:I love the weather, and most of the weather was added in post.
Speaker B:A lot of that is the.
Speaker B:The only visual effects they really used in this movie where it was for the.
Speaker B:The lighting?
Speaker B:Yeah.
Speaker B:So they added rain and they added all that, but it just.
Speaker B:It just looks great.
Speaker B:I love how the.
Speaker B:The condo looks.
Speaker B:You know, I like the condo that he keeps Alex in.
Speaker B:I just love that it's under construction.
Speaker B:The sets are fantastic.
Speaker B:So this is a big, big mega yes for to everything.
Speaker B:Well, Nick, it was a blast to have you on the show, man.
Speaker B:We just did a clean sweep.
Speaker B:All three of us gave it four yeses.
Speaker B:We talked at a deep level, man.
Speaker B:Thank you for joining.
Speaker B:So we're going to air this the week before Thanksgiving.
Speaker B:We do have a big Nashville audience.
Speaker B:We have people all over.
Speaker B:But for people that would want to go see you do a show or do some comedy, where can they see.
Speaker C:You and when you know, just follow me.
Speaker C:My Instagram is at Nick Glues, and that's everything that you need to know.
Speaker C:Well, that will that display on here, Kyle, when you post it or can you like it?
Speaker B:Sure will.
Speaker A:Cool.
Speaker B:Yep.
Speaker B:It'll be right under the video shoot.
Speaker C:Me a follow everything you need to know about my comedy shows.
Speaker C:Or maybe I might be DJing downtown too, because I do a little.
Speaker C:I do a little DJing as well, but I do a lot of local stuff.
Speaker C:Feel free to check me out.
Speaker C:I try to post goofy stuff here and there.
Speaker C:Would love a like and follow and I'll follow you back.
Speaker B:Yeah, bro.
Speaker B:We'll get ready for the tsunami wave of movie wars fans.
Speaker C:I'm excited.
Speaker B:Yeah.
Speaker B:Awesome, man.
Speaker B:You were great.
Speaker B:Thank you so much for hopping on everyone.
Speaker B:Have a great night and have a good Thanksgiving.
