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The blast from our past network. Hi, this is Brian USno, I'm the director of Return to the Living Dead, Part three and a down and dirty horror fan.
I like podcasting after dark because it goes where I like to go.
Lock your doors, close your windows, turn out your lights for chills and thrills await you. It's time for Podcasting After Dark with your host Corey Stephenson and Zach Shafer. Stay with a friend. Say your prayers as grisly ghouls close in to seal your doom.
Tonight's episode, Wes Craven's The People Under the Stairs, starring Brendan Quinten Adams, Everett McGill and Wendy Roby.
Going to give you a podcast. What's up, everybody? It's your old pal Corey here, a.k.a. Sleezy C.. Joined with me, as always, is our pal Zach, a.k.a. Tinie, a.k.a. Zach the snack. What's up, buddy? Angel food.
Yeah, there you go. How did you like my man impression.
Oh, your man impression was was great. I think I grew some chest hair after you said that.
I hope everyone out there grows some just er. Yeah, everyone. Everyone, everyone.
Well this week we are reviewing Wes Craven's The People Under the Stairs. This movie came out in 1991 and I will all kind of lead us into this. Luke and I saw it in the theater back back at only nine cinemas, which is interesting because Sean Whalan probably went to only nine cinemas at one point too.
But we'll get to that in a second.
And Luke and I re watching this movie I was watching with my wife and no shit during the entire film. I'm like Luke.
And I used to say that Luke and I used to say that anything, almost anything that man says in this movie, I was like Luke.
And I used to say that it was just so many memories came back and I realized that I watched the shit out of this movie in the 90s and I haven't seen it since. And I'm just going to say it up front. I fell in love with this movie.
So the people under the stairs, baby, coming back into my life, going to burn in hell.
There's going to be a lot of those tonight.
Oh, well, Zach, what what is your connection to the people under the stairs? And while you're at it, can you burn in hell for us? Thank you. Yeah, I can. I burning in hell.
I'm going to have oh this is going to be welcome to ancestral feud.
Didn't turn into where your kids are really not your kids.
But you think they are.
Because I told them I, I watch this, I am going to do my bad Ozzy Osbourne impression.
I, I, I saw this movie when it came out as well at the Sunnyvale Town Center.
Shout out to this room where I seen many a classic like Wes Craven Shocking and and Vanilla Ice as cool as Ice drop that zero get with the hero. I saw so many movies there and yes, Wes Craven's People Under the stairs, I believe I probably saw with my brother Eric and his buddies.
Yeah. And I'm going to I'm going to drop a bombshell.
I did not like this movie when it came out.
In fact, I was I was I was kind of like perplexed by it. I don't think I understood the tone or expected it to be the way it was when it first when I first saw it subsequently. I watched it a few times over the years and it grew on me.
I said, oh, now I'm getting the context and the subtext and the added to that. And now watching it with you this time around, my initial feelings were like, oh, this was the one I didn't like when I was a kid. And that is as the movie is going on, I'm like, oh, whoa, whoa, whoa, whoa.
I'm really liking this so much. Oh, I love this.
Oh, I love this. I love this. I love this. I don't like that so much, but I love this and I love this and I love that.
And there's so to for me is like overall Brokeback, great nostalgic feels. And I was a huge fan of Everett McGill.
And then when I saw him in that gimp outfit, I was like, no, man, why you got to go all give for me? Well, it's interesting.
You speak of tone with this film and it is weirdly on paper. It's all over the place. Everett McGill is is acting really weird in one moment, but in the next moment he's very sinister.
Yet for some reason, I think it all works into creating this. What you know, I'm sure you know, I've said it before and about Chud and stuff like that, this is like an urban fantasy.
It's not quite. A horror movie, it has horror elements, but it also kind of like returning the living dead part to it also has like kid adventure elements to it and stuff. It's it's a hodgepodge of genres that I think, you know, Wes Craven masterfully put all together into a beautiful stew that like you, even though I very much enjoyed this when I was a kid, I probably latched on to different aspects of it as a kid. But like you, I've appreciate this movie.
Now more for what it's really trying to say. And this movie is really saying a lot. And it's also saying things that are so very applicable in twenty twenty one.
Yeah. Way more applicable now for me, because back when we in 1991 we were teenagers. So I don't think we had the, the scope of knowledge of what was going on society wise nowadays.
We obviously do. I don't know whether you want to call that being WOAK or not and who gives a shit. But yeah, no that tonal shifts throughout this. And there are moments where you feel like a lot of stuff was probably left on the editing room floor.
Wes Craven, to be honest with you, I don't think out of the top horror film directors. And when I say top horror film directors, I say John Carpenter, I say Toby Hooper. Dare I say Joe Dante can throw him in there. I would put Wes Craven below those guys, to be honest with you. I think his movies are I thoroughly enjoy all his movies that he's done, not all but most.
But I think as a filmmaker, he does not execute the same way those guys do. I feel like he's a little sloppier, Don. Really, I would put above him as well. Honestly, that's my own personal opinion.
That being said, I still think he makes original fantastic flicks. You know, we talked about the Warriors and Walter Hill being a true original with his style of films. I think Wes Craven is this is in that same boat like he he makes very original type movies. When I think of originality, like Serpent in the Rainbow.
Yeah. I was hoping you'd mentioned Serpent in the Rainbow, you know, and shocker.
I love I really I love Shucker. And that's a hit or miss movie for many people. The hills have eyes. The original the original one is very hit or miss. To be honest with you, there are moments where it's kind of boring swamp thing. It has its moments to that. Nightmare on Elm Street is obviously a classic new nightmare I thought was really, really well done.
But yeah, I think there's moments in this room like you that fell a little flat. But that being said, it doesn't take away from the highs. And this movie has so many highs and lows and I love that about it.
And that was, I think one of the things that really helps it is story wise, like what this movie's saying and like what this movie's about.
There ain't nothing else like it out there. So, you know, any kind of like occasional technical difficulties that the movie has, you're like and, you know, I'll let it slide because there's this is such a unique film experience from beginning to end.
Yeah, I totally agree. It's it's way different than anything I've ever seen before. You know, oftentimes and I don't necessarily like to use the word like urban films, but let's but but it is an urban film with a white director. But I think he captures the essence overall, the message that he's trying to get across. You know, I just finished watching the Netflix series The Night Stalker, and which is which is really good. But I remember that time and there's a couple of scenes in this movie that reminded me of that in a way, and just what was going on.
In the late 80s, early 90s, as far as our hour and still to this day, like you said, you know, closing our doors to people and not necessarily wanting to know the truth about situations and and also white privilege, this is a perfect example of white privilege. Oh, yeah. The way the way with. Yeah.
The way the cops deal with them with man and woman and everything. Yeah. Yeah, totally. Yeah. I agree dude. And it's interesting that you know, you brought up earlier, you know, you saw it up in Sunnyvale when when you were a teenager and I saw and only when I was a teenager. But now we're reviewing it, having both lived in Los Angeles. So I feel like I like the fact that we're reviewing it now versus back then because I feel like we have a new perspective on things on this film and everything.
And, you know, speaking of the film, Man and Woman's House, the real house that they filmed in is in South Central. So and I think that's where it was also supposed to be in the movie as well, which obviously now knowing Los Angeles, knowing South Central, it kind of made ever made the movie make more sense to me now that I'm watching it and everything. And, yeah, it's it's really cool. But you already rattled off some Wes Craven stuff, so we'll just keep going into the cast and the crew and everything.
I know Wes Craven wrote this movie, but he based it on an actual news story about two burglars who I guess somehow they got into a house, the police were chasing them or something for something that I don't think they ever found the burglars. But then they found in the house the family was like keeping all the kids, like in the basement. So basically, like, it opened the doors into this horrific thing. Yeah, like, yeah, reading a story like that would definitely I can see how it sparked a creative impulse in Wes Craven.
I don't take that. I don't mean this the way it sounds, but I'm just going to say it the way it's kind of I'm the way I'm thinking it. I love captive movies where people are being held captive. And it's it's so disturbing to me. It's so creepy to me. If I mentioned it on a watch list years ago, a while back, that, you know, the fact that I was almost kidnapped three times. And so I've had creepers around me my entire life and and I've you know, we've been exposed as as many other people in this in the United States to like bizarre stories of people being held, you know, in basements and cellars.
And, you know, of the lambs Buffalo Bills character is based on fact. So, you know, it's these these kind of ideas of like, you see someone one way. The way they present themselves, you don't really know that person, even though, you know, we know our friends, we know our loved ones, but also we don't in a way, there's always a double side to everybody that everybody has something about them.
You know, it's fortunately none of our friends. Hopefully it doesn't go that dark.
But but, you know, you go out in the world and you see people on the street, you don't know what's going on. Their life will be totally normal. Person on the outside and the inside, they got a whole torture device set up in their house.
So, yeah, it's creepy shit.
It is. It is creepy shit. And the stuff that they do later, like when they're talking to the police and it's like it's like you're always like you're so close police officers, you're so close, just open that door or go in there, you know. I know what you mean because you do you sort of get excited and everything. But at the same time, it's also intriguing to watch the snake slither. You know, at the same time you're like, what's happening?
B, I'm with you, dude. It brings up just like gross feelings. But it's also you don't want to look away either.
Yeah, I mean, that's a whole point. Wes Craven's great at that is he is he's one of the masters of getting you to want to watch, even though the most horrific things. All right.
You want to dig into the cast.
Yeah. Yeah. Playing playing fool or Poindexter. I don't know what's worse. Poindexter or Fool a.k.a. Dexter.
Yeah, exactly. Is Brandon. Quinten Adams. And this is this kid.
This kid. He's an adult now. I mean, he's in the sandlot sandlots, a movie I never saw.
And I'm not either, you know, I'm just I was well, I think you I think you and I were too old for it. I think that is more of the 90's kids generation. Yes. We're eighties kids. Yeah.
Yeah. I never saw the sandlot. I'm sure he will someday when he gets older and if he gets into baseball, the mighty Ducks, he was in the Mighty Ducks never saw that either.
Now, Miller and the funny thing is, like I am, I don't get annoyed by kid actors, but honestly, I don't really like seeing kids in movies like trying to act. I don't think they're great.
That being said, four was fantastic in this movie that he acted his ass off. I never in the fact that he's like actually kid, because we've seen so many movies where, like a thirty year old is playing a, you know, sixteen year old and you're like, no, this is actually a kid playing his his correct age, these characters correct age.
And I thought he was fantastic, you know, I mean not perfect, but he's damn good.
Yeah. No, he's, he's, he's really good at what he was supposed to do.
Yeah. A couple of lines of dialogue. I was like, oh west, come on. That's not his fault.
That's the script. Yeah. But no, he, he was good man like and kind of like home alone.
Kevin McCallister took that role. Yeah. And so that's he's the lead in the movie. The Lead Villain Man is played by Everett McGill, who I will always know as the priest from Silver Bullet, the priest from Silver Bullet.
He's also in Heartbreak Ridge. He's a he's a he's an asshole major in Heartbreak Ridge, one of the best lines in that movie, Heartbreak Ridge, Clint Eastwood's movie ever. McGillis It's been a dick to all the Marines and this one Marine in training collapses. And then Clint walks over to him and whisper something in his ear after Everett McGill's character, like, berates him. And the guy gets up and he keeps on hustling in March and he's like, you know, you know, gung ho or whatever.
He yells out a scream and he starts running down the the fields, like trying to stay, like, up when he could have just fallen.
And Everett McGill says, would you say to that man? And Clint Eastwood says, I said, hey, Clint Eastwood goes.
I said, don't give the prick the satisfaction, sir, because that ever McGill's a great asshole.
He's also, dare I say, the best part of Under Siege Part two. He's an awesome villain in that with Eric Bogosian as a villain.
So weird underseas part two, actually guilty pleasure.
I like that movie because I think I've seen it once. Maybe he's on a train. I'm yeah, I think so. Yeah.
I'm pretty sure my dad rented it. Yeah, yeah, yeah. And then he was in Twin Peaks.
I was going to say when I bring that up is it connects with the other actor that I'm about to bring up.
Right. Which is Wendy Roby. She plays a woman, the other female. She's the female protagonist or antagonist. Sorry.
And the cool thing is apparently she got cast first and then when they cast her, they were like, hey, can you get can you get in touch with Everett McGillis for us? I'm sorry, Everett McGill for us. And, you know, because we think it'd be fun if maybe since, like, Twin Peaks was very big at this moment in time and they were playing this kind of iconic, crazy couple.
So they're like, hey, let's get to Everett McGill over here and we'll to. Some fun with it, and so sure enough, I think she was instrumental with getting him on on board. Oh, that's so cool. Yeah, I mean, they are the the main couple in this quarry will divulge later their secrets, but that's a great little connection. I didn't know that that she was on Twin Peaks. I didn't really watch Twin Peaks back in the day.
And now I feel like I want to.
I know I did watch it back in the day and I didn't understand it at all and I didn't like it. But now I'm like, I think I should see it because I think I would like it now. Yeah.
I'm not a huge David Lynch guy. You're not actually my favorite. David Lynch movie is a dramatic it's called The Straight Story that Everett McGill is in also.
But yeah, I'm not a huge Dave Lynch fan, but Everett McGill fan, I sure as hell am. Wendy Roby, I didn't know were outside of this movie, to be honest with you.
A.J. Langer plays Alice and AJ was on my so called Life, which was a 90s, you know, teenage drama party of five kind of type show on ABC.
She was huge on that show that that show was a big deal when it came out. Yeah, I remember that. This is pretty much the other the biggest thing she had done around that time.
Actually, this, I think, was her first role. And then she did add that afterwards. That's right. Yeah. Yeah, she does. Yeah. Because she's a little bit older and my so-called life. Yeah.
Ving Rhames plays Leroy. I mean Ving, this is one of things first movies he ever did. I'm not I don't need to tell you who Ving Rhames is living rooms and he's great in this too.
Like he does have a huge role, but he's memorable and he's very good in it. Agreed. I mean, like what I was thinking. Is there anything more I need to add to that?
No, he's great at it and it shows that he had potential to be so much have a huge career afterwards.
Then we're again, get to your boy, Sean Whalen. He plays Roache. Roach is, to me, is the the best character in the movie Hands Down and best antagonist or protagonist. Sorry, and Sean Whalen.
I mean, most people I think will recognize him and know him from the Got Milk commercial where he is supposed to answer the million dollar question, who shot Alexander Hamilton?
And he says, erm, Bruce, who would like you reprises that voice for this movie?
If you think about it, he doesn't have peanut butter in his mouth, got something else lacking in his mouth.
And it's funny because when, when Hamilton you know, I mean it's Hamilton is still big, but like when it first popped that commercial kind of got circulated around because like everyone else, everyone was like, hey, this commercial is the only reason I know anything about Alexander Hamilton anyway. So it kind of like it kind of got big again. But for me, Sean Whalen will always have a special place in my heart because he is from the same town as I am only Maryland.
And he went to the same high school as I did. Or I should say I went to see my school. She did because he was about, I think about 12 years in front of me.
But we so we you know, when we saw this movie, we already knew, like, sort of who he was and everything. So so it was a big deal for us to be like, holy crap like that. Somebody, you know, not only somebody, just even if they were just from Maryland, it would have been exciting to us. But the fact that they from our town and went to our high school, we were like, holy crap.
So hopefully we're trying to reach out to him.
Hopefully we get a chance to talk to him on the show.
Yeah, that'd be great, because we are big fans of his work. He has been in a ton of stuff. He's one of those guys that just shows up in every every big blockbuster twister, many black, never been kissed, you know, a little bit of everything.
And like, he's constantly working to constantly working. And like you said, from being from the same hometown, he wears that on on his sleeve. Because if you go on his IMDB that's in the first paragraph, talks about that he's from Aulnay. So that's pretty dope.
Bill Cobbs plays Grandpa Booker. He's got two scenes in the movie at the end of the movie. Bill Cobbs, big fans of Bill Cobbs. We are big fans from Demolition Man. You know, he was in Dominic and Eugene.
If you guys don't know Dominic and Eugene, if you want like a really sweet slice of Americana life just deals with two brothers. Dominic and Eugene is your movie. It's Ray Liotta and Tom Hulce and Tom Hulce.
I don't know if he's playing someone with Down syndrome, but he's got he's he's I don't know. I don't know what the specific term is, but special needs. OK, I know. And Jamie Lee Curtis is in it. It's a really sweet movie and one worth checking out. And Bill Cobbs plays the garbage man in it and he's just great.
He's in everything.
That guy is in everything, even in like his whopping, you know, ten minutes of screen time he has here. He's fantastic in it. And but for me, he'll always be, you know, in Demolition Man. That's kind of like where I sort of noticed him first.
You know, his character is great in that movie to one of his biggest roles, I think. Yeah. He had a lot of screen time in that one.
Yeah. And then Fool Sister is played by Kelly Jo Minter. And you may not know that name, but you definitely if you love the 80s, you'll know her from summer school and Nightmare on Elm Street. Part four are no sorry. A nightmare scenario.
A Nightmare on Elm Street, Part five. Yeah, with Dream Child, which my wife and I kind of just saw a couple of months ago because we were doing We're doing a Nightmare on Elm Street and Friday 13th sort of in tandem, and we got to the Dream Child. And I was like, OK, what a great movie. But, you know, when we're doing this movie, I'm like, hey, that's her from Dream Child, which I just saw.
So yeah, yeah, yeah. She she's been a shit.
She was in the principal. I love the principal that James Belushi. Yeah. You got to let me some principal and apparently she was in the Lost Boys.
I don't I'm trying to remember that she was in the Lost Boys. She had been seen.
I had to have been something. I have no I saw that too. And I was like, I do not remember her. And she's like plays a character named Maria. Not I'm not quite sure. I do not remember. Yeah.
Because I know the Lost Boys really damn well. It's actually one of my favorite horror films of all time and I don't remember her in that.
No. I mean she kind of blink and you miss it anyways. She was in that. Rounding out a couple more notables, Jeremy Roberts plays Spencer and Jerry Roberts. Yeah, that guy's been.
He's been everything from. Jim Carrey's The Mask, Star Trek six, Herbie Fully Loaded, a very cool thriller called The 13TH Floor, kind of underrated in my opinion. He's just he's a character actor. When you see him immediately recognize and you're like, oh, I know that dude.
And that's that's the bulk of the main cast of this movie.
Like you said, Wes Craven wrote and directed it. Obviously, it was produced by a live films, which was John Carpenter's production company that was going to say, I recognize that.
That's from Prince of Darkness. Right. And wasn't that a lot of films?
Yeah. And so Shep Gordon Shep Gordon is one of the main producers of this movie. He produced a lot of Carpenter films. They live Prince of Darkness, Village of the Damned. So there you go. That's that's the connection, which I I think is awesome. I'm just I was like I was floored. The minute I heard that, I was like, oh, hell, yeah. Yes. A lot of films.
I've forgotten that they produced this movie. Oh.
And I'll just mention the composer, John Peake. He did The Hills Have Eyes as well. Yeah, oh, sorry.
He was the guitarist for the Everly Brothers, which is kind of a big deal, actually, if you think about it, in the was that love and free Leonard woo their love. But he didn't sing that.
He just played guitar, wasn't that was in Top Gun, right?
Well, isn't that what they sing, doesn't it? Yeah.
Now in every douche bag, every college douche bag, frat boy at a karaoke bar would sing that song thinking they would be Tom Cruise. And then and I dated a girl, a bartender, and none of them ever were now.
And she's like, he's such a douche bag. And I got T-shirts because that's my boyfriend and like. Yeah, makes sense, but then you want to hang out with me all the time, which is really weird. Save that for another project. We're going to, well, unpack that one later, buddy. Anyways, yeah, then that rounds out people under the stairs and OK, goddamn, let's get into this mofo.
Yeah. Let me just I really quick just want to throw out that the budget for this film was six million. It made thirty one million. So very much a success. And it was being developed for a sci fi channel series before Wes Craven passed away. It I don't I don't think it's going anywhere now with it. But there were talks at the time of either doing a TV series or like rebooting it as a movie or whatever. I don't know if that was ever would have been.
I don't think that's necessary, man. Again, you know, spoiler alert. I think the movie holds up just fine in twenty, twenty one. So I don't even know if it would need a reboot or even a TV series.
I don't see how this could be a TV series, but a miniseries maybe.
I mean I would take a TV series if if Everett McGill was in it, but if it's not him then it's going to be a pale, pale comparison of someone playing.
Man, I, I don't know. I don't see it. I don't see it. I'm really thinking about him processing it. It doesn't know. I think this is a good standalone. Yeah, I agree.
I agree with you. I do agree with you. I think this is just fine as it is. So you want to get into the people under the stairs. Let's do this.
In every neighborhood, there is one house. That adults whisper about. And children across the street to avoid. Now, Wes Craven, creator of A Nightmare on Elm Street, takes you inside. Some things I. We got to get out of here, Levoy, all sorts of rumors about what goes on in that house. The police never took it seriously. She's been feeding that thing in between the walls. They get very, very tense about this.
There must be another way out. You can't get out. No one ever has what goes on in this house is just seen. This one single mother, you know, actually in love is one sick mother, too.
But what goes on under the stage is a nightmare, and it's time to clean house. Wes Craven's The People Under the Stairs. Hey, we have a really cool title card right out of the gate, right? Oh, man. So good. So good. And like we always say, better than split second. I love it. That's our barometer for title cards now. Yeah.
So bad movies, cyborg, bad tarot cards. Split second. There you go. We yes. We have two barometer's now. The movie opens on a shot of tarot cards. Someone is is basically drawing a deck and doing a tarot card card reading. You know, at first you don't really know. But we know now it's Ruby is talking to Fool. She's doing a reading for his 13th birthday once. Once Ruby pulls the full card, the camera kind of zooms in and sort of lingers on it.
Then we have this this really long monologue sort of dialogue sort of and the whole thing. It pertains to the entire film. I didn't know how to paraphrase it. So honestly, I just transcribed it and I'm just going to read it for your listening pleasure. So let me get into it. All right. So Ruby says now here's your card full. I'm going to do the raspy voice, too.
That's how I know. That's where I got your nickname is like fools.
Like, don't remind me. Here you go. Thirteen to date, the golden hair birthday boy is setting off on life's big adventure. All I'm going off to seventh grade. You're the fool when you can't escape that. That ain't bad. Ain't the stupid kind of fool, only the ignorant kind, because you're just starting out. But look here. He's already got a problem. See one step in front. The drop off fool says, What about the dog?
That's Fool's companion. See his spirit barking fool. Don't go marching off that cliff. Do the smart thing. Do the high thing.
So what are you going to do if you ain't going to go off the cliff? Why are you going to do what you have to for? Turn around and walk the other way right through the fire of the sun. He'll get burned up. If you do that, just the boy part get burned up, the rest come out the other side, a man and no one call him fool again. That's pretty cool. It was pretty cool.
If my boy part got burned out, I don't think I'd come out the other end. Man.
Now I love a sleazy sleazy over there to fight each side.
No side, no body was on the phone with his friend the other day and he's like, can I, can I say something inappropriate?
And I said, What do you want to say? Yes.
Yes. Wolfman's got nards. I said, Yeah, and his friend goes, What are nades because it's your private area and she goes, What private area? He goes in the front, the front boy private area.
And I go and she goes the FrontPoint private area.
And I'm like, now we're going to end this conversation.
I cut because my parents are probably like, what the fuck are you talking about?
Nope, we're done. Cut. Boy, private area. The point guards come out the other end burned off.
Son, I did not expect this conversation to go in that. Oh, I did. Yeah, I did. I waited for it all day. I wrote it down. I wrote it down like you boy.
Parts come out. Wait, what. Oh that. Yeah. Thank you man. Thank you. Eunick Like a nice pirates', right.
Yes. Yeah exactly. Like a nice pirates'.
I'm glad that I get to see the look on your face when I said that. Rowing's songs. All right. So the camera pans down from the Fourcade, but now it's kind of like on a bookshelf behind fall. And he's sitting there reading a book. We hear a woman coughing in the other room and kind of Ruby's comforting her fool sort of quietly walks over to the bedroom door. He sees a sick woman in bed. We know that it's his mom.
She's reading an eviction papers saying, I didn't think the landlords would do it, not now. Ruby kind of gets up and tells people to go back to, you know, go back to reading and closes the door.
And Fool goes out into the apartment building hallway and finds Leroy sitting there smoking in the hallway. We find out they have a little introduction and introduces himself. As you know, Leroy knows that he's Ruby's younger brother. I introduced himself as Ford, but his real name is Poindexter, which is like Zack said, it's a which name is worse right there. But it's like at least Poindexter has Dexter, right?
Yeah. Yeah. And then, like, look, that turned one dude into a serial killer. So not saying much. There you go.
Fool asks Leroy why his mom's crying. Leroy says that they have been evicted. They have to be out by tomorrow at midnight.
Fool's mom has three days to Fu's mom is three days late on the payments and there's a fine print in the lease that says if you're late, you have to pay triple or get out. I imagine in this day and age that would be illegal, right? Like there's there's renter's laws now to kind of prevent this sort of thing.
Yeah, I was thinking the same thing because I think part of me was like twenty, twenty one brain was going, whoa, whoa, whoa. A couple of times throughout this thing in the 1991 brain was like, yeah, but we were kind of just shutting our eyes to a lot of shit back then that were, you know, we still got a lot of issues going on in this country, but we're definitely trying to fix those things.
And they were not back then.
I think you could just kick people out on the street or if you couldn't, I think they were probably banking on the fact that the people that they were evicting couldn't afford to have a higher lawyer anyway. So you know what? It ultimately they're not going to be affected. I mean, the landlords are ultimately, I should say, they're going to get what they want, you know?
Yeah. I feel like in some ways this movie sped up some points that might have taken longer to explain. But they're like, look, the audience is going to get it. I kind of like that, though, to be honest with you. There's times when I'm like I oh, I overlook things like that. They don't bug me that much because I'm like, yeah, I get it. I get I get what's going on. I get the gist.
Let's just get to the action.
Well it's nice because, you know, it's packaged here so that we can have this and, you know, enjoyable movie around it. But we're also, you know, technically hopefully growing. You know, we're experiencing something. We're witnessing something that we should be made aware of. And even Wendy Rowby mentioned in a documentary on the Blu ray, by the way, we use the the Shell Factory version to, you know, review the movie Great Transfer, as always.
Highly recommend it. But she mentioned that like she was after the movie came out for like, I think like two weeks or something. She was looking in some sort of New Yorker or something. And there was a satirical cartoon that was using George W. Bush as kind of like walking down the stairs and the people under the stairs were all the disenfranchised people in there. It was clearly an homage to this movie. So and then she saw it and then Wes Craven saw it.
She showed it to him. He was like, they get it. They understand what the movie's about, you know? And so it's nice that, you know, so many of these movies that we talk about kind of don't get the recognition until much later. So it's kind of nice that right when this movie came out, people understood what what Wes Craven was actually trying to say.
Oh, yeah, for sure. For sure. I mean, I got that through this this viewing, that's for damn sure.
And mentioning earlier what the landlords want.
The landlords want to tear down the building and turn it into like a high rise condominium and Fools family is the last one in that building, but it looks like a building from hardware.
Yeah, yeah. No, it's it is terrible and totally scary. Literally, though, he does know how to make some money and asks Fool if he's game cut to a scene of a very startling cut to a very startling scene of a man who we know is man and woman is in the scene as well as Alice, but man is eating and eating a giant rib cage in front of a blazing fire mouth full of meat. Disgusting eating a I hate watching people eat.
I think it's disgusting.
But he's Everet is clearly doing it grossly on purpose. You know, we have he's in the giant rack of ribs is huge. You know, obviously at first we think it's probably an animal, but we do figure out that it's it's a human rib cage. There is a woman is by the sewing machine talking about the one last family in the Lenox Avenue building. Then it's clear to tear down. So right away, we know these are the landlords.
Once they tear it down, they can build a nice condominium and get, quote unquote, clean people in there. You know what? I think they do a great job with the dialogue here of making them super racist without dropping a ton of like in words and stuff like that, like, you know. But I mean, you obviously you can tell that they are massively racist. Yeah. Totally, totally know it. It's apparent and and in the setup's good, like the what do you call it the the dichotomy between the two or the juxtaposition between the two.
Because we're technically we're starting on two families and, you know, the the lower income family looks to be more loving and sweet. And then the family that is clearly has more money looks disgusting and horrible.
Yeah, exactly. A woman is, like I said, make an address for Alice. Alice is there. She asks what will happen to the people? And then, you know, just woman just kind of lays into her about, you know, girls, good girls should be seen and not heard. And I wasn't speaking to you just you know, she's real, just real mean to her, you know. But the scene ends with a fuckin man taking, like, just eating a big mouthful of meat and then just spits out this pellet metal pellet and says, damn buckshot.
And even as a kid, I was like, damn, that's like this whole scene was crazy.
It's brutal. Yeah. And woman is very, very reminiscent of Piper Laurie's character in Carrie. Yeah. That Mommie Dearest also. Yeah.
Like Mommy Dearest kind of character, which is I mean, watching the documentary with with her, she seems literally the way she talks like the sweetest person in the entire world. But apparently this movie, like she was she was more of a stage actor and then she got the she got the, you know, the Twin Peaks thing.
But then that got her this. And then after this, it was like just a slew of horror movies. She was like even my friends called me that crazy bitch. He he she like sounds like this old not old, but she sounds like such a sweet person. And it's it's just funny how, like the nicest people like Mark Raulston play like the most horrible characters. So very well.
Yeah. Sometimes the best villains are the sweetest people in real life. Yeah, exactly. The next day we see full kind of going into a downtown L.A. apartment complex. At first I didn't put it together, you know, right away that this was his home. But he's he's going just chock full of homeless people and, you know, people shooting up. And it's just, my God, imagining a kid having to go through that gauntlet every day that you want to leave your house.
You know, that is just that's horrible.
Yeah. It's the new Jack City building. Yeah. The crack infested building. Yeah. But in downtown L.A.. Yeah.
And you can see downtown L.A. from over there. So that looked like it was. Yeah. Probably South Central or somewhere probably near USC. Somewhere around down there.
I would imagine we probably could have looked it up because they said the Linux Street building so we didn't. But you guys can say hey, welcome to the Internet. Um, here he goes into his apartment. Leroy and Ruby are in the kitchen arguing about whether or not to kind of involve fall in this scheme. Leroy wants to show for the real world. And Ruby says that fool wants to be a doctor. But, you know, obviously, Leroy, throw some hard truth and he's like, how can you afford medical school if you can't pay for rent?
It's it's interesting, too. And I didn't write it down, but there was also she Ruby's like, what about this person? What about that person? And you that person in jail. And Leroy is like he's in jail because he was trying to put food on his table. It. Doesn't go too in-depth, but I like the fact that that Wes Craven's writing is consistent with Leroy. He's not the worst person in the world, you know what I mean?
Like, I think he's a realist and I think he's not trying to to go out of his way to help fool. But I think he does believe that, like, come on, fool, let me show you an actual, like, how to survive in the ghetto sort of thing, you know?
And I do think that he's he's he's not we've seen so many villains in movies, and I don't even want to call him a villain where they're like they're just doing chaos for chaos as things he he's like, I'm stealing because I want to put food on my table type of thing.
I think this came out around the same time trespass came out. Walter Hill trespass. And they're just simply anti-heroes.
There are people that are that are.
I have, you know. Unspeakable means, and they have to do the the best with the situation they got. Mm hmm. No, that's killing anybody who's. You know, robbing from the rich to give to the poor. No, I think you're 100 percent correct. I think we can categorize Leroy as an anti-hero here for says it isn't right to steal. But Leroy says that, you know, force mom has a cancer that any doctor can take out, but she can't afford it.
She looked a little bit further, gone to me. But OK, I get the setup. No big deal. That's fine, you know.
Yeah, I was a little and Annie Doctor sure know, especially, you know, currently having my father dealing with cancer. It's not that easy. I kind of wish that they would have maybe given her a different illness. You know, I feel like Wes Craven could have been a little bit smarter, but he probably landed on something that, like everyone can understand, everyone's affected by cancer. He he's just trying to have his connect to fall as easily and quickly as possible.
So I'm not going to begrudge him, but it looks like she's a little bit further gone than any doctor could save her.
I think that's kind of my my point I was trying to make earlier is that he kind of speeds along some of the plot points and it just kind of like, I don't want to say lazy way, but he can't take the easy way out. Using cancer is such a kind of like easy go to, you know, it could have been he said, like, I don't know, I don't know, give you something else. Give me, you know, whatever pneumonia or something like that.
I think you're 100 percent correct. I think he was just like, look, I'm everyone's been probably been touched by cancer. Everyone knows someone. So I'm just going to use this as a as a as a crutch or an anchor point for our audience to kind of sympathize with with, you know, fool.
But I would have had Leroy say maybe something else other than like she could just be cured. No problem.
You know, look, your mom's got spinal meningitis. You know, eight out of ten doctors can cure that. The other two are dead motherfuckers.
Why do I sound like Sling Blade working? I'll get a good run for run you should run for.
I've seen Sling Blade forever. I saw that movie.
I walked out of the theater, walked right back into it because I loved it so much.
Give it back. Give your baby, come back to people to the stairs, pull fool gets mad at Leroy and kind of kicks Leroy in the shin literally sort of slams them up against the fridge and says, Now this is the big one and someone deserves to be robbed. You know what? I'm gonna try this. No, I'm not allowed to.
Driving Rain James impression.
I grew up in Chicago, sort of like Buffalo Bill. That's probably how I was going to do it. And here. And you do it. I'm glad I didn't. So this is the big one.
And someone deserves to be robbed. Someone who don't care about families or the neighborhood. He just wants to bring the wrecking ball in so he can line his pockets. And then Ruby's like, what are you talking about? And then so Leroy says the landlord, that's who basically he found a treasure map. And again, so this is when it goes right into my history. I know. I mean, seriously, like, he doesn't even like like lead into it.
He's like, I got a treasure map. It's like put on really, which is great.
It's great because this is where I think it becomes like an urban fantasy film like it is. Of course it's like The Goonies. Of course there's a treasure map that's so fucking cool.
Like I broke a penis off a statue and I went upstairs and there was a treasure map in happiness.
You doing like a Mission Impossible reference.
Now I'm doing a Goonies reference, the broken penis off the statue. Oh, shit.
I try to fix it and it goes upside down. What is the trunk say? Oh, that's my best my favorite part or something like I don't know, Sean Slater. Sean Athene's character.
That's my mom's favorite word. Yes, I know.
But it is at first a treasure map and it's like a piece of paper. It looks like, you know, looks like a Xerox piece. And so, again, it is a suspension of disbelief.
Oh, well, I think yeah. So it's funny because in the same dialogue you, Wes Craven, does the cancer thing, which we're all like, OK, that's a little bit easy, way out.
But then he goes through great lengths to explain how Leroy connects the dots of, you know, the he finds a letter the so apparently the treasure map was in an envelope that is is I guess it was return address or sent to the owners. And it's the same name as the company that's on the the eviction notice. We piece it together.
I honestly, I was like, Leroy, you're a fucking genius, man. I wouldn't have fucking put that shit together. So it's funny because Wes Craven does such a great job with that, but yet not with the cancer thing.
Yeah, because like cancer. Cancer. Let's get to the good cancer. Spencer, how about that treasure map? Oh, shit. All right, so do you know what links I had to do to get to this treasure map? I had to build a mousetrap with a man jumping off a diving board into a cup.
You mean the board game? Yes. Yes, it's impossible.
Well, I played that with my nephew for the first time in my entire life. I played it for real for the first time, even though I've owned Mouse Trap for my entire life and I just built it and would do it. I never actually played it. And, you know, it's kind of a fun game when you play it for real.
Yeah, it looks fun. You know. You know, Stratego is a fun game, too.
Yeah, I do like Stratego.
Not going to be another for Arabsat guys in this episode brought to you by Milton Bradley, brought to you by Milton Bradley and the people under the stairs.
BoardGame right. There you go. Roach is the spokesperson for If You Lose, Get Your Tongue Cut Off.
Uh, Ruby says to leave them alone.
She's heard bad things about them. Leroy asks if if she's heard about the gold. The letter is referencing that from the company is basically a company that wants to buy the gold. So now Leroy also knows that the land lords have a bunch of gold coins that they collected. This is when Ruby asks to leave full out of it. But Leroy says he needs food for the plan. He goes, You don't want your family eating beans on the street, do you?
And you know, Leroy says that to force you know, he's going to agree. Food kind of goes to see his mom in the next room and she tells him to take care of the kids and that he's the man of the house. Just kind of further sort of giving you his motivation for Ford to do his thing.
I mean, as a kid, you got to figure out, like what he's going to do in this movie is extreme. You got to set up his motivations. His back is against the wall, basically.
Yeah, totally. Because because because he was a good kid and he wants to do the right thing and he's got no other choice. Mm hmm.
And. Another like earlier, where there's this juxtaposition cutting back and forth, but, you know, as fools talking to his mom, we cut to a woman in Alice's room. Alice is sitting at a small table. She's eating like food very, very properly. Woman makes Alice stand up and try the dress on. She's working on earlier and she kind of brushes her hair very violently. I was like, man, that that looks painful.
And Alice is like she's like a zombie. Like she doesn't even wince, you know, because she's we don't even want to speak about what's probably been done to her. Well, we can speak. She's been raped. Probably.
Yeah, no, it's it's it's implied later. I mean, beaten. You almost see that. I mean it's kind of off screen, but it's implied later that she's also sexually abused too. And I don't think any of us had to stretch our imaginations that far to kind of, you know, figure that was happening. But woman kind of takes the food tray and everything from her and she's leaving the room and she realizes the fork is missing.
Alice, you know, all of a sudden her eyes wide open and she comes alive on like, you know, you said she looks like a zombie earlier. Now she comes alive with fear and she's like, oh, it must be on the floor somewhere. You know, she's searching around everything on the floor. Obviously, woman knows that, you know, something is amiss. But as Alice is searching on the floor over by her bed, there's this event in the wall, opens up a hand, comes out and gives her the fork back.
We'll know that that's, you know, Roach later. But right now, you know, when you're watching this movie for the first time, you're like, what the fuck is happening here? You know, and honestly, Jesus, I wish I saw this movie for the first time, having never seen the previews, because, you know, back in the 90s, this is when previews pretty much started, like just showing a shit ton of stuff.
And, you know, we knew what was happening. But, man, the setup for this movie is very intriguing, very intriguing.
And I was like, is that. Is that the thing from The Addams Family? Yeah, because it's just a hand, yeah, a pale hanta man walks in at this point and he says he's very tense. The liquor store got robbed and he's like, oh, I got one them headaches again. And then Woman's woman says, Alice has been feeding that thing between the walls again. Alice says she hasn't. But then we we kind of hear faint wailing coming from the walls.
And basically, man takes off as Belton's is bad girls burn in hell. And this begins, which I find infinitely amusing, that their only curse words are burn in hell.
And they say it's sometimes so excitedly and sometimes so nonchalantly, like paycheck burn in hell. Yeah, sure. Burn in. OK, I'll burn in hell. Yeah.
You know I presby I love how easily they throw around burn in hell in this movie.
And we could devote a whole episode to why I am not a fan of organized religion.
That this is a perfect example of why. Yes. Yeah.
Oh yeah. No this is would look at. Oh my God. Look at.
People believing in a book will do to you cause you to have ancestral family monsters or something that Richard Dawson would not want to kiss either of them on the mouth.
You know, you don't think he'd plant one on woman? I mean, he was a perv, but he wasn't that much of a perv. He he was a perv. But he had standards. He did have standards. He always would go with that.
Oh, I did. I loved Richard Dawson. I love you, too. People need to relax. That's why it's funny, man. You see, he made he made sleazy. Classy. He sure did with that sweet Caesar cut.
Mm hmm. Yeah. And then Ray Combs came along and was like the perfect guy to, like, put people down without them, even with a big smile on their face.
People like you, I like to shift your face.
And then you're like, oh, thank you. What did he just say? He just made fun of your mom and. Oh, thank you.
And for the record, Family Feud was my favorite game show as a kid and probably still is.
I'm not a huge game show fan, but I love the feud is the only one that had the wrestlers on their family feud like wrestlers versus good guys versus bad guys. It was amazing. Yeah. WSW shit.
I love that feud, baby. Rest in peace where I comb's yelp. Cut to the cut to the outside suburban street, which is the street that they're on and we know is in south central, so the house, the people under the stairs house just went up for sale, I think, like a couple of weeks before we started recording this movie, which is kind of kismet.
And so I was like, oh, let me go check it out to check out the article. And they actually listed the address. So, yeah, it's right in South Central. And I was like, yeah, that makes sense. That's what it looks like.
But when I first when when I first watched it this time around 30 years later, which is crazy, I thought it was Pasadena for some reason, like because a lot of homes in Pasadena look like that home, but a lot of homes in south central, the older homes do look like that home, too.
It's a very I don't know what that style is, but it's very unique to Southern California.
Well, I mean, just to kind of solidify what you're saying at the time, I know it was cut to a Pasadena or Glendale suburb street. So I'm with you. I thought it was Pasadena or Glendale as well for every reason you just said.
But knowing that and now, you know, because we saw Prince of Darkness and that house is kind of similar, what's at the beginning that he was sort of standing on, looking out at the moon, you know, at the beginning of the movie. And it's all of that area. It's it's the same area as this is.
Yeah. Just dawned on me. So I took a I took a sociology class in college. And my professor was a former police sergeant for San Carlos PD in Northern California. And he talked about systemic racism in the police force and systemic racism all the way down to the planning commissions in East L.A. and Los Angeles. And he showed maps planning maps of ghettos, South Central Crenshaw, Watts, and he circled he had all these circles on there and it looked like a barbed wire fence.
And he goes, all these circles are liquor stores and billboards. And all of these billboards are owned by tobacco companies and alcohol companies.
And they surrounded each of South Central Watts, Crenshaw, Boyle Heights, almost like you were like imprisoned and imprisoned and just being bombarded with advertisement and liquor stores.
Yeah, liquor stores on every single corner.
And he's like, if this doesn't scream to you that they were trying to hold people in and down, I don't know what does like and he spoke about he had a lot of experience being on the police force and and seeing both sides of it. Faith Hill cops, totally true to the to the badge and then other guys who just like used it as an opportunity to crack skulls. And yeah, it's disturbing.
Like, this movie really captures that, you know, on a on a on a on a on a horror fantasy level, which is kind of perfect because, you know, good science fiction can kind of teach a lesson that you can't teach otherwise because you can put people in a scene in a situation that allows you to look at that, you know, idea differently because it's in a sci fi setting and your horror doesn't.
It does. You know, it's not known for doing those things as much. But this movie proves that I think you can create a movie, make a genre film like a horror movie, and just embed a very important, you know, piece of information in there for people. And I think it will hit the audience that it needs to hit.
Totally agree. Totally agree. And and to kind of button that up, I think that is what is best about one of our favorite mediums film are mediums, I should say film. And like that is when film is the best is when it's entertaining and you're you're learning something even better if you don't even know that you're learning and changing on the inside.
Hey, everybody, Corey here, I just want to let you know that we'll be right back after these short messages. Come and join me, your host, Deadly Debbie, as we go through my creepy files and listen to real life, strange but true stories from people on. World explore the weird and wonderful in my weekly podcast with Deadly Debi's Creepy. And now back to the show. So cut to our Pasadena or Glendale, but Southcentral Street, Leroy and Spencer are driving in a van while fool and dressed up as a Boy Scout, goes up to the house and cases the joint he knocks at the front door, but no answer.
You kind of see the the mail slot open and then close and they hear something scuffling upstairs. But he goes back around the backyard area. It's one of those houses where there's the driveway kind of goes all the way up past the house and then sort of keeps going into the back. The backyard is very unkempt, but there is a pond back there like a pond pool or something. But it's so overgrown, you kind of can't see where, you know, the barrier is anymore.
Woman comes out and sees her. She sees fall and fall, says you selling candy for charity. But woman kind of like, you know, shoos him away.
She goes, Hey, kid, what are you doing? But you doing nothing. Just just just make sure it stays that way. Kid, kid.
That's like biblical. I now love our belikov. Go listen to our Friday night episode two.
Now we go back to Falls in the van with Leroy and Spencer.
You know, one of those movies where Spencer's in this movie for all of like five minutes.
And I really enjoyed that actor the entire time.
Yeah, he's good. He's good. He's a good character actor. Yeah. He always stands out in every movie. He's and I think I think that's a testimony to to a good director when you have like just tiny roles that actually are good and have a care and have an actor actually stand out in that role.
Yeah. And honestly, too, again, with Ving, you see Ving and you're like, this guy is going to be huge someday.
You watch this movie and he kind of he dies in the first like like quarter of it. But yet in my head, I think he's in the movie more than he is.
And I think it's because his presence was just so big and just in a good way. He just he absorbed every bit of energy in every scene that he was in. And you just you wanted to just keep watching him and everything. And this is like we said, this is one of his earlier roles. But like, wow, like he's not in the movie that much, but yet he makes such an impression.
Yeah. He has only one moment in the movie where he kind of fails and you're like, OK, well, that's why you're going to come to the demise you come to.
But in a moment. But in that moment at least he he was thinking about fall in the end, which I kind of liked. But we'll get to that when we get when we get there. Spencer wants to go inside to take a look at the security system. Oh, fool does tell them that there are bars on the windows and then padlocks on the outside. Again, that's that was a little so is as much as we kind of think the writing sometimes is a little wonky with with, you know, with Wes Craven want to hurry up to things.
He also does a great job though of the house. Feels like they understand how it works. Right. The house kind of never breaks its logic of how it works. And and from the get go, like they layer in these awesome little things that you kind of missed the first time.
You watch it like padlocks being on the outside, like, that's odd. Why would they be on the outside?
Why would they be on the outside unless they want to keep something in bom bom bom bom turn.
Spencer wants to go look at the security system because Fool didn't get a chance to. He doesn't want his scheme to like, you know, so basically they're going to go rob the place on Sunday. But he doesn't want to do it without knowing what kind of security system they're they're facing. He doesn't want to take the chance, basically. So he has a gas company costume that he puts on, goes walks up to the house, goes, talks to a woman, answers the back door.
He asks you and he's like, I'm with the power company. You know, she's like, oh, you passed the meters on the way up about to dismiss him. He says, Oh, but there's one there's one meter inside that. I'm pretty sure you don't you know, you don't know about no one ever really knows about. But, you know, knowing what we know about the house woman instantly is like, oh, well, you're full of shit, obviously, you know, but Spencer does say, hey, you know, we don't like to do it, but it is the law for us to come in and check.
I'll have to call the police if you don't like me. And she's like, oh, no worries. And as he's pulling out his I.D. that she requests, she sees a skull ring on his finger.
And it is for me I know I was like again. Now, going back to the little bit of a silly writing, like, OK, maybe back in the nineties, if you have had a skull ring on your hand, you would be like, OK, it's a little wonky. But nowadays, like, I would fully expect that meter guy to have, like, tattoos on his face and, you know, like all kinds of rings and you know it.
Your jewelry and your tattoo are not an Indian. Hater of your character, unless you can let your tattoo says, you know, fuck everyone, I'll kill you all, there probably is an indicator of your character. I mean, they don't anymore.
Yeah, but we were so judgmental back then, so judgmental and to the point where, I mean, I was I was embarrassed to show that I had any piercings in my ears when I would go back to Michigan to visit my family or if I had long hair to be like, what are you, a girl?
I'm like, yeah, I'm a girl, you know, like, what the fuck is wrong with people, man?
I mean, if it isn't already the case, I mean, I'm sure within the next ten years we'll see like our first senator or congressperson with like full sleeves, you know, full sleeve tattoos or something like arget. The generation will get into office and pretty soon tattoos will be like in government.
Well, I mean, isn't it a sad fact that we apparently find it more acceptable that a person who barely got their GED can be a senator, yet people with tattoos are still judged inappropriately? I mean, give me a fucking break, like, you know that so this family can burn in hell.
It's like, oh, no, seriously, that that is some fucked up shit. And that that's not even fantasy. That's not Western fantasy. That's a fact. That person is the senator with barely got her GED.
Yeah, no, no. That is a fact. But but I do think tattoos are getting a lot more people are OK with them type of thing.
You know, I think they are now. I think they are now. And I think sports actually had a big part in that.
Yeah, I skull tattoo. I was like, that's that nowadays. But that shit is a hot topic.
Well, he probably did buy that skull ring on a hot topic. Hot topic was cool. I know it became a Spenser's whatever there.
Spencer, Spencer, Spencer, Spencer.
Whoa, whoa, whoa. Oh Bobcat Babcock. Ah we got there.
So woman she's like OK she's she lets him in and then as she's closing the door she does like one last peek out the door which was great. I guarantee you that was either improved or like, you know, just on the spot. It was so it was perfect. It was hilarious. I loved it.
And she's so disturbing, looking like her makeup gets progressively worse. And actually, that is one moment in the movie where you're like, wait, did they just totally redo her makeup out of the blue, which they did?
It is a little jarring, but like her eyebrows are like penciled on and makeup caked on. And she looks very creepy. She's so creepy looking.
She is in man looks pretty normal. He well yeah.
Well except for like his 1950s hairstyle and like his, his, you know, his pants that come up to his navel, you know, without a dresses like a grandpa, but yet he's like, you know, young and in shape. Sort of yeah.
Everett McGill carries himself in an old man kind of way. He does. He's always kind of like, yeah, even when he's younger, he like he walks and acts like an old man.
He does well, you know, to where it's from. He's from the south. So come. I don't know. Mm hmm. And I'm just I'm going to let you Morphet, into a sling blade. I'm just I'm just going to sit here and watch my name flashing Jambi out in the van.
Phoolan Leroy think Spencer is taking the coins for himself and then they spot woman leaving in her car. I guess I guess man was in the car, too. But you don't really know. You don't really see that at the time. Leroy says they got to go in and find Spencer before he takes all the good stuff for himself. And so he drives the van into the back driveway. I think they should have just left it on the street.
And that was that was weird. You just kind of pull up in their driveway. Maybe that's why Spencer's the brain of this outfit. And but no, but Leroy is super smart. He put together the fucking treasure map like, come on, Leroy, you're smarter than this.
I think it's a little bit of W.S. being like we got to no one's going to care and no one's going to care.
It's for what happens with the cops later, too. And it sets up that that final thing where they find where a woman finds the Boy Scout costume.
So I get that it has to be there. But I think they could have parked it in a less conspicuous place and still got to the same conclusion, you know what I mean?
They could have parked it in front of the house, right? Exactly.
That would have been a lot less conspicuous. They go around back and they ring the bell, but there's no response, really breaks the glass to the back room. He kind of goes in. It's kind of like so the first room that they go into is kind of like a mud room. It's just like a little I, I think that's actually the technical term for it.
As Mud room. It is.
I didn't know that. I think a mud mud room is like a is the East Coast thing. Yeah. They don't have them on the West Coast, but yeah you're right, it's like a mud room. It's like the prayer room.
Yeah. Because it's not even. Yeah.
You still have there's still another room next and then and then the main area it's a take your shoes off before you come in the house room which people didn't do back then, which I highly recommend people do because you don't know what's on fucking bottom of your shoes.
Oh no, you're speaking to the choir. But you and I both are a shoes off household, and I highly respect that because, yes, we've all been in you know, we've all gone to concerts and gone to the bathroom and had our feet in piss.
And, yeah, I'm not walking into my house or anyone else's house, for that matter. Don't take a blue light to your carpet after you walk in with your shoes on. That's all I'm going to say. That's right, baby. So they're in the mud room. Fool kind of sees a handmade doll on the ground stuck in a mousetrap. Kind of picks it up, looks at it, you know, puts it back down. Leroy tries to get past the next door into the house for says they got to stop.
You know, it's his 13th birthday and it could be unlucky. I like. But Leroy says here he goes, 13th all I can do it. I can do it. 30 birthdate and it 30th birthday is on lacunae. Way too old to get to to your attitude is you're fucked. Either way. It got better. It got better as I went along. Pretty good. He breaks down the door. Good remembering you're going to get young to get it working American.
You've got either way but you're old enough good daters and all of them don't give me that doll, that captain in that mousetrap.
Our antihero Leroy breaks the door to the next room, which is kind of like now an old funeral parlor. So and it's still not like the main part of the house. This house is huge.
It is Winchester mystery house. For those that are not familiar with Winchester Mystery House. I think a shitty movie came out with Helen.
Yeah, but it's a real house in San Jose and it is a mansion of a house. This is not that size, but I think it's the same idea where it just there's all these hidden rooms.
The architecture goes on and on for days.
Check out Winchester Mystery House. Yeah, yeah, yeah, I mean, we do that all night and you will yeah, I think they even mentioned that when they first see the house outside there, it goes on for days. But then so they get through the into the you know, they're in that funeral parlor area, which is also cool because that'll sort of come back later. Only just it's mentioned. And I think it's kind of neat that they actually lay the groundwork for that here.
But to get into the main house, we see and a huge metal door. And now and it's cool because did you notice that there was even marks on the door as if people had tried to pry it open before this?
Yeah, metal doors. This takes me back to Texas Chainsaw Massacre when the guy walks up and gets hit over the head by Leatherface. It that to me is the most terrifying scene in Texas Chainsaw Massacre. And he just shuts that steel door there. Do I?
I love that scene. I love that. Yeah. Just thinking about it gives me chills.
But it reminded me of that, that the steel doors are so creepy because it's like, you know, some bullshit's going on there, especially steel doors that have clearly been tried to be pried open before.
Yes. With scratch marks and. Oh, yeah, but but Leroy seems to be unfazed by this. So he you know, he gets started on it and ah. Actually was already working on it when I did that little awesome impression.
I just did that was that was really good. But he, he pops it open this time and when it when it opens the shutters also go up as well. So I mean right away you're like, well that's that's kind of weird, you know. But we do get an awesome line where Leroy says, done, busted this house, cherry. It's opened right up now.
Right. It's getting worse as we go by.
And now this is cool. Leroy is about to walk into the kitchen with a big ass fucking Rottweiler, just jumps out at him. And this is kind of like the the Texas Chainsaw Massacre scenario. And I wouldn't even be surprised if Wes Craven was like this was a little bit of like an homage to that fool's kind of yelling at the dog. It's attacking Leroy on his arm and everything. And I like this a lot because Fool kind of like, hey, well, it's kind of silly.
Like your mom sleeps with cats in the dog, kind of runs after after four but four jumps up into the doorframe and grabs it and the dog runs under his legs. Honestly, I will say this fool is infinitely smarter than me throughout this entire movie because everything he does is the right thing to do. And I wouldn't have done any of it. I would have died right here. That dog would have just gone right on my nuts and I would have gone down right here before.
He's smarter than me. Yeah.
So fools on on a D and scale, fool's agility is like a ten. Yeah. It's like a ten fools lines line.
Delivery is like a is like a three because he calls it like a fuzzball or something like because like if I saw a cuz Joe Manchin me down I wouldn't be hey fuzzball you and I and I think that's where, that's why this movie like why, why Kujo feels more like a horror movie.
This feels more like an adventure movie with some horror elements because of stuff like this. I never kind you know, I never feel that anyone's ever in danger by the dog. And I think it's also, too, because of the way they sometimes portray the dog being a little bit silly in this movie.
But again, like we said at the beginning, this movie has some interesting tonal shifts, but they kind of all work because they keep you on your feet, the entire movie. You're like, what's going to be coming at me next?
Essentially, I don't have a problem with the tonal shifts. There are three dramatic tonal shifts in this film, in my opinion. I'm totally OK with them. I'm totally OK with them because this movie overall is good. If it if it hadn't if it if it would have fallen flat on its it, it builds, it ultimately builds to a peak. Yeah. Versus flatlining or dipping. It never dips. It never dips.
No, no I honestly it doesn't. You're right. I mean the passion, the pacing on this movie is very fast and very fun.
Yeah. Yeah. Yeah I would I yeah. The runtime is like one hundred minutes. Yeah. It's kind of a perfect runtime for this movie.
Agreed. Agreed. I wouldn't want it to be any longer and it couldn't be any shorter because like you said at the beginning, there are some things they clearly cut. And you know, I think, you know, a two hour movie of this ilk would have been a little bit too much to take. I think you're right. I think, like, one hundred minutes is just perfect for this.
Yeah. So so fule as the dog runs through his legs, you know, four jumps down. They close that door, but the dogs going to easily get through that door, so they kind of go through the metal door and then slam that shut and I like and so now they're in the kitchen and the kitchen has a window where you can sort of look into that funeral parlor. And I like that. You know, I like the fact that they look through the window and they're in.
Wes Craven doesn't do a jump scare of having the dog jump up and bite the, like, bite at the window. Totally expecting that. But no, like, the dog behaved normal, like like LaRue's like he's just sitting there, like waiting for us, like he's trained. That's like I like that. That was that was smart to not have the dog being like that just all of a sudden like a jump scare.
Yeah. I totally agree.
And you know, bring up the problems you have with the tonal shifts, you know, as they as they come at us. And we'll see if we can, you know, figure them out and everything. So now you know, Leroy, I said Leroy in four in the kitchen, foop looking around, he sees a statue of see no evil, hear no evil, speak no evil, one of those, you know, statues. And then they they realize that the cabinets are all locked and these all these little things that are just kind of weird.
Even Leroy's like, why are the, you know, the cabinets locked?
You know, where our cameras are. Why is so I'm doing Buffalo Bill.
You're doing you're doing like Lou Ferrigno. And then we were all over the place.
You know, once man comes into the situation, I will just be doing man, cause you're good, man.
I'll just keep doing the raking. You're going to burn in hell. I'll burn.
And there are each one who wants to leave. Billy Ray wants to find Spenser here walking upstairs. So Leroy thinks that Spencer, they kind of walk deeper into the House floor, doesn't want to go upstairs, but he's got to get Kosma you know girl you know give him shit you know. But I tells him to stay downstairs, keep an eye out you know. So Leroy goes upstairs forceful, hears noise from the basement, kind of goes to investigate.
He sees Spencer's clipboard on the basement stairs and goes down fool then kind of hears someone running in the basement and freaks out but ultimately decides to kind of go back and investigate. When he gets to the bottom of the stairs, a string is pulled and the and the door kind of closes behind him. You actually see the string getting pulled. And then we hear that whisper, some whisper. I was like, oh, that's kind of cool.
Yeah, yeah. A couple of things when in this scene. So so initially when he sees the clipboard, I'm like, no, don't go down into the basement.
That's so cliche.
But then like, wait, it's 1991.
Cliches haven't really been tackled just yet because, you know, again, Wes Craven did scream, which is a classic too, you know, where he made fun of those cliches. So he goes, yeah, he goes down. Right. He does this thing. And I like when he says, like, he's about to run back up and he but then he even, like, catches himself, like, you know. Basically, I'm paraphrasing, he says, when he says what really kind of made fun of them for type of thing.
Yeah, yeah. And I like that because he that answers that question of like, well, wait, why is he staying? Well, because he doesn't want to be perceived as a wimp.
I get that totally makes sense then.
So that erases the at that point. Now the cliche has been erased for me. Makes sense. And then I love that the stairs collapse because you're like oh shit.
Oh not yet, not we will get to that. But this is only with the door being closed. So yeah, the stairs will collapse, which is a really cool sort of thing.
But you're right, the roach pulls the string and a hand pulls the string on the door to close the door.
And I love that because they're like, oh shit, OK, that was unexpected.
So I go and this is kind of how I felt in the first half of the movie.
I go back and forth where I'm like, I'm not am I in my into this?
Just hit it my like am I buying this? And because Ving Rhames character. Like Leroy seems very like loving towards full at first, and then when he makes fun of them and and then they're like, well then he's now he's being just a straight up dick to him. So I'm teetering back for the weather, whether I'm like into it or not, but then moments like this happen to go, OK, you know, that that just erased how I felt about that scene, right.
That just erased how I felt about this scene. Like that's that's good filmmaking, you know.
And to your point, the the the first time I watched this, you know, I was kind of like in the moment and I was like, you know, feeling scared for for for fall and stuff. But when you go through the whole movie and then you watch it again, you realize that Roach is trying to save him the whole time that like that you're scared of Roach, but you don't realize it or it's just a fool is kind of scared of roach.
You don't realize it. Roach is trying to actually protect him the whole time.
And I think that's kind of cool. Yes.
Yeah, because because it's one of those things were like repeat viewings informs you and you get a deeper layer of what's going on. Yeah.
And I think I went through weird phase with especially with critics in the late 80s, early 90s with stuff like this, because I was reading way too many reviews on movies and critics always tore up horror films always.
And I always appreciated there was a guy, Peter Travers from The Rolling Stone. He still writes reviews. I always felt like he was the most balanced when it came to understanding the genre and that these movies were made to be watched more than once. Yeah, because in the second time you got more out of it. Think about how many times you've watched the thing and how much you get out of it every single time you watch it. And actually, by the time you listen to Thomas Waite's interview and Tom Waits interview and you'll watch it again with a new understanding now and knowing something that I never knew, you know.
So I guess like this genre bears repeat viewings versus other genres that you watch it once and you're never going to watch it again. And the reason why you watch it again is because you get a certain level of context each time.
I didn't I never even thought of that. I just assumed that we watched these multiple times because we enjoyed them and we do. But you're right, by design, this genre begs to be watched multiple times. And a good filmmaker like Wes Craven will, you know, utilize that in like, you know, just because it's like, all right, people are just going to watch horror movies multiple times.
So, like, let me at least add some layers and some depth to it. And you watch this whole first act of this movie. And, you know, I'll cite some things later. Even Ving Rhames falls.
You know, he falls because, you know, he gets scared by Roach, who's trying to protect him the whole time. You know, the first time I saw this movie, you don't realize it the whole time. Roach is trying to protect them. And that's really cool. My biggest hang up is later when when Fool gets thrown into the den with them. I was unsure whether they were actually going to eat him then or, you know, that at that point.
But I do think Roach, for throughout the entire film, was trying to help Fule and Leroy to some extent as well, you know, just because he's probably just doesn't want to see someone else getting killed by by these by these horrible man and woman.
Although I will say, you know, fool walking into the basement here, I mean, he is a Braverman than me. There's like chains everywhere. You know, he's looking for Spencer. It's it's a very ominous basement. There's a big furnace there.
And then even like fool sees people running in the shadows. But he kind of like and he he's like Spencer, but really quick.
He knows it's not Spencer. And he kind of doesn't have a problem like inhabiting this space with other people down there. Do you know what I mean?
Like, I would have been like the moment I knew that there was another person in there, let alone multiple people, I would have just screamed with my hands in the air running through the house, basically, you know.
Yeah. But but I guess but I guess this is where we're supposed to lean back into the motivation that that Wes Craven has set up from the beginning, where, I mean, fools entire family, it's on his shoulders or like, you know, he thinks it's on his shoulders to save his entire family.
So, you know, I think this is where especially the scene this first time in the basement where Fool has to kind of go forward without knowing what's going on. I think you have to understand his motivation going forward. And I think Wes Craven knew that his motivation had to be strong for us to buy the level of danger that he's in to do this. Great. OK, so he keeps investigating.
He's like walking around. He he's kind of like calling out for Spencer. Finally, he sees a TV sort of high up on on a platform and it's kind of facing into the other room. You know, it's kind of like locked in everything. And you don't really know how deep the basement goes, but you can tell it is divided and so sees this TV it's on. It's like it's it's playing through a graded fence type of thing into the darkened room.
He kind of pulls the TV away to look into the room. He's kind of like, you know, squinting, looking into the room. And all of a sudden he kind of gets hit in the face with like a blast of of blown dust.
I guess if someone was sort of like sort of standing right in front of them and they just kind of blew, like, you know, all that that dust and crap into his face, you know, and he kind of runs sort of walk runs backwards and he trips over Spencer's body on the ground. He looks down and Spencer is ghost white. This is one of the problems I had in the movie. I was like, really? I never even back in nineteen ninety one.
I never buy people dying from fright in movies, you know, like it just it's just something I just I find it hokey and I don't see how it happens. I guess it's happened before, but like knowing what this movie is, what could really have scared Spencer to turn him white like that, unless I guess maybe he saw one of that. You know, that main kid, the pale kid, that kid was pretty zombified. But I didn't like that Spencer died from fright.
Not when you have the confidence to lie your way into someone's house, correct?
You're right. So you got to figure Spencer's a guy from the streets. He's seen shit. I think he can handle himself.
I guess what I think Wes Craven is doing here is taking the culpability off of the kids under the stairs, like Spencer, still dead, but they technically didn't kill him, thus maintaining their innocence basically, even though they were gnawing on his hand.
I would have rather have seen him be bludgeoned from the back of the head.
Yeah, you know, yeah, I easily could have been done. Don't don't give me the scare. Too scared to death.
Yeah, that that's honestly, it's one of my least favorite things of the entire movie is having Spencer like being scared to death. Yeah.
But he does have a gold coin in his hand and his other hand is kind of like it's under an opening in the next room, even though I just said it was being eaten on. We don't really know that yet. You know, we hear Roache kind of moaning noises and moving around. Then Spencer's body starts to move and sort of get dragged in through the opening. Fool pulls them back and sees that Spencer's hand is kind of chewed up and he turns around to see a hand pull the the TV back into place.
And this is my biggest jump scare. Just then, Roach fucking tackles fall like out of midair. It's like, oh, shit. I even the second time I watched it, having already just seen it the day before, I still jumped on that one. So yeah. Me too. Good. Good job on that one. They kind of do a little bit of a tussle for breaks free. It runs for the basement, stairs and door all of a sudden is going up the stairs.
They, they collapse and he slides down, sending fullback back down to the basement.
Roach gets back up and this is freaky, like when the light is kind of behind Roach and he's making all of his noises and everything. And it's clearly it's shot where you're supposed to think that Roach is attacking fall and going to kill him and everything.
But I love the fact because he can't communicate, he's just trying to do whatever he can to fucking rescue this kid. And that's awesome to me.
Yeah, no, I totally agree. I didn't pick up on that when I was younger. I picked up on that now. Same as you, buddy.
I mean, obviously, after, like multiple viewings, we knew that Roach was the good guy, but I didn't pick up on on this whole scene is supposed to be him trying to rescue the fool. And I love it because, yeah, he can't talk, so he can't communicate this.
Right. And he's just in a bad situation also. Obviously, also, Roach knows that the clock is ticking. You know, man and woman will be coming back. I got to help this kid now. It's. It's really it's really awesome, to be honest with you. It's like I said, Roach gets back up and it looks scary and he kind of going for fool and chases fool up the sliding stairs. And as he's kind of running up the stairs, Alice opens the door and they kind of like Fool and Alice lock eyes for a second and Alice runs off and then foregoes to the door and slams it on Roache behind him.
And then four locks the basement door back on the main floor for here's a car pull up. He goes out and looks through the window. He sees man and woman and their dog outside by Leroy's van for runs upstairs to see Leroy lying on the ground with his head in the vent. OK, first off, Leroy, come on, buddy.
You look like you're I mean, you just look like a sack of shit laying there and full even whispers to him, like, you know, Leroy, he doesn't respond. He doesn't respond well.
And in here is a weird bit of dialogue as well. So full touches them. Leroy screams they both scream. It's a little bit funny. And it feels like I thought you were dead in Leroy is like just because a man is lying on the ground doesn't mean he's dead. And it's such a weirdly, like, specifically written line that I thought maybe it was some kind of a foreshadowing to later. But it's not it's just weird little dialogue.
But it goes your mind lying on the ground or. No, no, no.
That hurts. How do you do that? That hurt my throat. Never did I know. I don't know. I reckon I've been doing it for a long time now.
I had to drink beer to make it better, not drink beer and make me feel much better here. Makes everything better. The journey is the cause of and solution to all our problems.
And dieters daters love me.
Dieters paper under stairs full says that the lady in the van or back outside, he also found Spencer dead. He says, Are you sure he's dead? He's like, You thought he was white before. You know, it's a little funny lines here and there. Yes, I will.
And I'm sorry. I don't mean I'm just to cut you off really quick. I think that's that's what allowed me to not roll my eyes and go, oh, come on.
Because it is funny, like some of the scenes that are just kind of preposterous. You just the dialogue is really funny. Yeah. And that's what makes a good otherwise, if it wasn't funny, you would have been like, that's stupid. And it's also the way the delivery is really good to a yes.
And then there is clearly obvious chemistry between Ving Rhames and the guy playing Fool. I forgot his name and the the young kid playing Fool is great delivering his lines. So and I think it also works, too, because here, you know, Leroy says, oh, you know, I thought I heard some in the walls. He's like, why don't you go in and check it out? And I love how it feels like, man, I came up here to fucking save your ass and, you know, and you want me to fucking go in the in the walls for you.
Like, I like that. I like he's like, do those here to fucking save you, dude?
And I think this is this this to me was the first jarring tonal shift. So it goes from being pretty dark and creepy and like desperate to suddenly kind of wacky and a little kooky up until this point. That was the moment.
That was the moment for me is when the dialogue, when they're kind of talking shit back and forth to each other where you're like you guys are, you do realize shit's going to hit the fan earlier when they meet the dog for the first time, the tone was still really dark and desperate. Yeah.
And then suddenly now it's getting a little more silly and it is like tonguing not silly, but tongue in cheek and and and and there's some there's a lot of tongue in cheek humor throughout this.
That's very subtle from this point on, I think. Yeah.
In like you said, like the right now, you know, he says like something like, yeah, I found Spencer used white as it goes or something like that. And he was like, you sure he's dead? He's like, if you thought he was white before. And yeah, it was a very this movie sometimes even a weirdly weirdly this movie feels very contemporary in twenty, twenty one.
But there are some dialogue tropes in this movie that feel very much of the early 90s time frame.
Yeah, but I'm OK with that, like I'm OK with that tonal shift. Now back in 1991 I don't think I was back in 91, I was like.
Wait, no, no, this is supposed to be a straight up dark, like the movie that we saw at the theater a couple of years ago where the guy was blind and, oh, in Detroit, don't breathe, don't breathe, don't breathe.
That tone throughout the whole movie doesn't change. Yeah, right. It isn't. It is overwhelmingly dark and bleak.
I love that movie, by the way. I remember we saw that and we liked it. Yeah, we all loved it. Yeah. We were like, holy shit, this is intense. But that's the difference between that's 2000 20.
This is 1991, 1991, which were like, well, we got to have these light moments, otherwise it's too intense. Yeah, yeah.
Because back in 90s they were like, we can't have an entire movie have be peak intensity. But because of escalation, like just as a species, we just need things to escalate, you know, in order for us to get our jollies to. Yeah. Now we're in twenty, twenty one where you can have an entire movie just be peak horribleness the entire time with no reprieve at all. I mean, look at like something like hereditary. There's like there is no reprieve in that movie.
None. The only movie I can think of, the only movies I can think of that have done that recently are like your next guest where they have these moments where you're like, oh, but overall, most movies are pretty dark and bleak nowadays.
And in the 90s were like, yeah, but we get it. We don't make it too dark. And I think it's because they wanted they want the audience a more accessible audience.
They want to reach more people. Yeah. Yeah. So anyways, I just popped in my head. I'm like, oh yeah, don't breathe, don't breathe. Is actually would be a nice companion to this.
Yeah. Yeah. Actually you could probably maybe even say a sort of a spiritual successor to this.
Yeah. Like that. Yeah. A dude you don't breathe a great fucking movie. I only saw that one time with you, same as the Evil Dead remake. And I like that remake. Me too. And just like just within the last couple of months I've been just really dying to watch that Evil Dead remake again.
But, you know, I'm not going to, like, throw a third. Don't breathe on there as well. I would definitely watch that.
Also, they're making a sequel to Don't Breathe Nice. That's cool. That's really cool. As in whoever the fuck they are right now. But they the movie here they are, Leroy and Fool, and they run they run downstairs and see man woman at the back door, obviously man and woman, no shit's going wrong.
They go for the front door and as soon as he grabs the door and there is he gets electrocuted back like two fucking feet.
I love that Leroy doesn't even fucking flinch. Leroy goes right for the windows to try to break them. But there there's shatterproof like that's hilarious. I thought that was funny.
Man is kind of trying to pry the door open just enough for the dog to get through. Of course. Woman's yard. Second Prince. The dog's name is Prince, by the way. Leroy tells Fool to kind of stand as bait for the dog so that he can kind of smack the dog, hit the dog.
Right. Here's the thing. Leroy hides behind a couch that's behind Fool.
I would have if I really I would have stood right at that doorway area, the entrance half full. So the dog just walks right up and sees Fool right there. Then you hit the dog. But you OK, Leroy? Not he's not good at thinking on his feet, I don't think, but so dog runs around the corner, sees fool.
There are the dogs. Like you're not the one I want you, not the one I'm going for.
He just looks at him and even feels like, oh, what do we do now? And literally pops his head up, see what's going on in the dog. Just kind of springs right on him and he's going right for his arm doing that whole thing. And our our boy genius, our full genius, he gets the bright idea of as Leroy is getting fucking just mauled by this dog to drag fucking Leroy and the dog over to the door.
And then so Fool puts his hand on the doorknob and electrocute all three of them. Again, Corey at that age would not have thought to do that at all. But it's it's great fucking they all go flying, even the dog goes flying. This is one of those tonal shifts thing because when the dog lands it like gurgles it's the dog is very funny in this movie. Yeah.
It's a really silly, silly scene. It's like almost home alone as it is.
It's it's a dark home alone right here. Yeah. And and you just you have to laugh because it's so absurd. Yeah.
So and and there's a moment where for like Hopp. So over the table before this happened. Yeah, yeah, and, um, like when he could've just walked around the table, but he proposed the table, make sure that that was the right choice right there.
That was like a good old boy to hazard slide lights.
It was impressive. Did I should I do remember they should have mentioned it, but yeah, he's got some moves, got some moves.
It's really cool the way he shimmies up a chimney later on in the movies or down the chimney when it's when it's sped up Mad Max footage and you can see the wire holding them.
It's great. I don't care. I love this movie. So no fooling. We were back on their feet. They're running for the second floor, man. Kind of breaks through the door in the kitchen. Phoolan Leroy, try to get out the second floor, second story window. But there are also shatterproof. All of them are shatterproof. They run back into the hallway and look at the stairs. They see, man, it's kind of like loading his big ass pistol.
Leroy's like, you should go see those little holes. Those things will punch you the over. You know, he's like he's basically saying, we're fucked with that guy's gun right there. Leroy runs into a closet and then fall kind of tries to follow him. Leroy pushes him out. Not enough room for both of them. You know, that's the moment.
That's the moment to me where I'm like, oh, OK, now you're going to die because, yeah, you just fucked yourself.
You know, earlier you did it because you wanted to take out the dog, but now you're just straight up selfish. That to me was that was kind of weak like.
Well, and it's interesting because in the second we're going to find out, you know, he tells Phil to run when he gets gunned down, which I thought was nice, you know what I mean? And maybe that's his redeeming moment in his dying breath. But right here, you're like, oh, man, Leroy, don't be a dick. But, hey, you know what? He's you know, he's a character. Obviously, he's a written character.
He's fake, but he's supposed to be human and he's flawed and he's scared and he's maybe not the best, you know, fucking maybe he's not the best father figure in the world. But, you know. Yeah, I'm with you, dude. I'm with you. I almost I kind of wish that Leroy didn't have this moment.
Me too. Me too. I wouldn't have done it. I would I would have been like. And I think it's because we like Ving Rhames so much, you know, we want to we want to like we want to like Leroy perfectly, you know what I mean? We want to like him all the way. Where is the way he is? You're kind of like you sort of like him. You should, like, see that he's a dick, you know.
Yeah. Even if he like even if he went in the closet and he says, you know, you go down further and when he jumps out, I'll I'll go from behind and grab him, you know, kind of thing like that would have made more sense. And then he never got a chance to do that. You know, like that to me would have been a better choice. But I didn't make the movie. So by the moment.
But no, you're right. I actually like your scenario better. And it would. It would. It would. Yeah. I like your scenario better, but yeah. But here the dialogue is not enough room and he pushes out of room there.
My bed is too big as Lee really pushes full out into the hallway.
We see man hits the switch on on this. Like what. A control panel. Yeah. There you go. That's right. Word a control panel. We'll see more of it later. It's basically it's what runs. It's a security control panel for the entire house and man hits a switch. All the doors, all of them close automatically and lock, I believe shutters go down to and stuff like that. It's just like the whole house basically becomes a fortress and fule is stuck out in the open in the hallway.
The lights also go out. Man runs upstairs with his pistol in full, kind of hides around the corner. But it's kind of like a dead end. It looks like it could go to like another hallway, but it just it just ends. And there's kind of like only about two feet of room, just enough for four to sort of sit there with his legs sort of pulled up, you know, in the closet.
We see, like, Leroy is kind of like hear something from behind and all of a sudden the like the back of the closet just opens up and then Roache just comes out, like reaching for him, you know, totally scaring the shit out of Leroy. And again, you know, we're still supposed to think that, you know, that Roach is probably a bad guy or whatever. But, you know, watching the movie, Roach was trying to actually save him, which is sad that what happens.
And so Learoyd scared as shit runs out of the closet.
I love the fact that Leroy actually closed the closet, but man is there. Man's right there. She runs out of the closet kind of behind man. Man turns around, everything is dark and man's got a light on his gun and he kind of aims it right at Leroy and just starts plugging him, you know. And this is when as he's getting like, you know, shot, this is when Leroy yells out, you know, run for and then his body kind of hits the ground and sort of like rolls rolls down the stairs, you know, and.
Man's terms, like dancing and everything, and, you know, with his with with his wife, with a woman, and he goes, you hear what he called me? And she's like, he called you a fool. So now we know that that they they man didn't realize that Leroy was talking to another person. He was he thought he was talking to him. You're right. Because, like, who's going to name their kid for. Right.
Like, why would another person's be named fool? But it's a little bit of dialogue to tell us that man and woman don't know that Poindexter is actually still in the house. Yeah, I like that. That was smart. Yeah.
And that's also something I didn't I actually that's something I didn't quite pick up on until I watched it with subtitles.
Oh really. Yeah. Thank God for subtitles by the way. Thank God for signs. God bless subtitles. So Fule is kind of looking at man and woman downstairs as they're dancing over for Leroy's dead body and he kind of goes back into the hallway. And when he does, he sees another homemade doll on the ground. The doll has a string attached to the back of it and it's also holding a lit candle. When Fule gets up to the doll, it starts getting dragged away and through a vent, fool follows the doll into the walls of the house.
It kind of goes through the vent and discovers like, right when he goes in there, he she's like a full on human rib cage on the ground and does not freak out as much as I would if I had seen that. Probably.
Yeah, his his reaction is a little underwhelming.
But then again, he did just see leverage get gunned down. He's probably in shock at this point.
Yeah, that makes sense. He probably saw that rib cage. It was like, you know what? We're going to file that one for the psychologist later. I'm not even going to worry about it right now.
I got my cherry busted when I was 14, when I saw everybody around me get gunned down.
How did we get to Sling Blade? Just out of curiosity, I don't know. But I love it.
I love any opportunity for me to add a voice. Director once say, you know, that you're never going to be able to use that anywhere. I'm like, man, I'll find a way to use it somehow. You proved him wrong, buddy.
I reckon you can shove it up your ass. I reckon you can burn in hell. Yeah, yeah. Go along with that rib cage. I got a Jimmy Jonge.
All right. So after the rib cage, he sees Alice on the other side of the wall kind of pulling the doll through. But she's not in the wall. She's kind of in another room, kind of on the other side. Fool follows her further into the wall. Man sticks his head and his arm through the through the the vent.
And, you know, he's kind of yelling, see, all the dogs start shooting and everything. And he just doesn't give a shit before exits from the from the wall into the hallway on the other side, he's kind of running full, kind of run around trying to, you know, all the doors are locked and everything.
He finally gets to a door that's that goes to the bathroom. He opens it up and just Alice is sort of standing there with her doll. Full introduces himself to her. He asks he asks her if she's seen are basically he's like he's like, you know, you're going outside, kind of has this whole conversation with her. And he's like, you never see a brother before. And she's like, I don't have any brother. He's like a black dude before in the neighborhood.
And you find out that, like through this dialogue, that she's never even been outside the house. And she's like, well, that's out there and this is in here. So, yeah, that was like it.
And it's well, it's it's cool because it's one of the things where she's like she doesn't say I've never stepped foot out of the house.
It's just through the dialogue. You realize that she hasn't.
Yeah, yeah, yeah. And it just dawned on me a couple of things. So, yeah, she she talks about how she'd never been out of the house, but.
One update, if they ever did, heaven forbid, remake this film, man would have silencers on all his weapons and that would that would be makes so much sense.
Yeah, so much sense. That would be a great. Add on to this movie. I like that, buddy, I like that like especially with the shotgun having a silencer on it and everything.
Yeah. Yeah. That be cool. Yeah, you're right. Because because I'm sorry. Like, I don't care how fucking insulated their houses. You're still going to hear those loud blasting.
Yeah. Yeah. Because yeah. I mean at this point I think we're assuming that the house is completely soundproof. In a few minutes we'll, we'll actually see that when, when police arrive. But how soundproof can house be with a shotgun fire. And it's like you're going home for that. Yeah.
Yeah I know I'm with you. I think that that would be a really cool thing to really think about what his arsenal would be in the house. And also to we only see that one trap later that he puts up with the blades. I would like to have seen more of of his traps versus, you know, roaches trap, you know.
Yeah, I agree. And those traps were not silenced either.
But no, no, no, no, not at all before says he's getting out, even though she's never been out there. Al says people have tried. He's like, you mean the people in the cellar? Alice says that mommy and daddy looked a long time for the perfect boy child, but each one turned out bad.
Some some saw things they weren't supposed to. Others hurt too much. Others talked back. Daddy cut out the bad parts and put them in the cellar. Full wonders why, you know, she hasn't been put in the cellar. And it's because she doesn't hear, speak or see evil. It's the only way to survive. We hear Roache kind of yelling in the walls. Alice says that's Roache and Daddy hates Roache because he got out of the basement and into the walls.
I like that. Yeah. All of a sudden, man walks out of a hidden passage because I sure like hearing this wailing and everything. And then the camera's kind of like like in the hallway dollying forward and man just kind of like walks out of this hidden package passage and he's like wearing his full gimp outfit and he has a shotgun and he starts yelling and firing at the walls and just kind of hunting and everything. Now, this is the first time we're seeing the gimp costume.
What is your take on it?
Oh, man, I like initially I wanted him to look cool and then I'm like, now this is so it's so S.A.M., it's so gimpy, it's so like.
When I see that outfit, I think of the gimp from Pulp Fiction, like little bitch being in a cage, you know, I don't look it. It's intimidating. It's scary. It's creepy as fuck. He's clearly into, like, some, you know, S.A.M. shit. It's not it's not intimidating to me, it's more like. You can get your ass handed to you later. Interesting, because that's my take, I think it's kind of cool.
I never I never liked all the hooks on it because I thought I thought that. Ah. So I look at it from a practical standpoint.
Leather won't rip and won't tear. So he can maybe move through the walls and kind of hunt with, you know, Hunt Roach. It provides a bit of protection, but clearly it's a sexual thing.
And if you were going to go with like it being protection and for you to move through the walls or something, you wouldn't want all those hooks because then they would get hooked on something.
So I think it's I always thought it was an interesting design choice in my head. I compartmentalized it by saying that it was like sort of armor, you know, but at the end of the day, it probably because I just I love the man character so much. I love to hate him, you know, like, I don't love him, but you know what I mean? But at the end of the day, yeah, I mean, I think it's he's probably getting aroused by what's happening right now.
And I think it's probably 42 year old me realizes it's much more sexual than, you know, like 12 year old 13 year old Corey thought it was more armor. I realize now it's probably more of an erotic thing for him.
And I think and I I think I knew that it was sexual when I saw it in 91 and I didn't want it to be, you know, I want to know what this I don't want anything sexual right here.
Like, look, I got my brother already exposed me to things that I don't want to see. Come on.
Can I just have one movie where I don't have to be exposed that exposed to something like just like crazy sexual like something you neither you nor I should be contemplating at that age. Yeah.
And I think probably my brother was like, you know what that is?
And like, I don't want to know what that is. Please let me maintain my innocence for just a little bit longer.
Can I go home and play with my children now, please, Mom. But yeah, so man is kind of like at this point, clearly, he doesn't give a shit about about his house, like he will just shoot the shit out of it, you know, while it's blasting the shit out of his house.
And I'm like, come on now.
You don't give a shit. No. Is he wants to kill Roach? Alex, Alex. Alex tells Fule they have to go into the walls via a hidden and hidden passage in the cupboard. Of course, Fool doesn't want to to do that.
And, you know, but I like how Alice says, you know, he's like, I want to get out of here. And Alice is sometimes you have to go in to get out. And I like that was kind of a cool thing. And and again, it partings I think it pertains to his his tarot card reading where he has to basically walk through fire in order to get out of there. But right now, he doesn't want to do that.
You'd come out with your main part and you leave you leave your boy Parg behind and come out with no penis for I'm against circumcision, by the way.
OK, and so this this episode is going in directions that I never thought possible.
A fool kind of tries to, you know, run into the hallway while man's in another room, but he kind of jumps back out and then has to kind of go back into the bathroom and then in the bathroom. Alice is gone and full. Can't kind of find how to open the secret door. And when man is about to open the bathroom door to get to fool room starts taunting him through the walls. So, you know, obviously had probably eyes on on man.
It was like, oh shit, he's about to go for fools. He kind of starts taunting them downstairs. A woman is feeding the dog Spencer's hand when the cops show up and start checking the Leroy's van outside. Real quick bit of trivia apparently was what's your name? Wendy Robie. The dog was chewing on that during the scene and she noticed that, I guess I guess it was maybe in the hand or something, but there was a piece of wire that had gotten a hold of and he was starting to chew on the wire.
And without like while the scene probably while that take was still happening or whatever, she just immediately just reached into the dog's mouth and just grabbed it out of there. Everyone was like, oh, shit, what do you do in a given? Wes Craven was like, oh, my God. You know, she I think she literally saved that dog's life, probably because it was about to eat that metal wire.
I'm I'm the sweetest, creepy woman on the hunt. Yeah, well, I know it's so weird. She plays such a crazy, crazy bitch. Oh, Miss Roby.
Oh, we talked to her one day.
That'd be really cool. Could happen. It could. It could definitely. Good woman gets on that. There's an intercom system also attached to that security system and she's like, Daddy, police are back.
And at this point, at this point, we just have to buy the fact that the house is completely soundproof, just it's fully soundproof. So, you know, obviously, Wes Craven doesn't go in to show you how it's done, but we just have to buy it as an audience suspension of disbelief.
I yeah, and that's exactly it. Suspension of disbelief throughout this whole thing.
And I like when when a man is like, oh, crap. And he's like he's kind of like slinks off, you know, and he's like, oh, you know.
Well, he he reminds me of the guy that's like jerking off or and it's about to get caught and he laughs lengths away like, oh, I'm not doing I'm doing the walk where you're like trying to cover your private parts.
Well, yeah, it's funny.
You're still on the second floor and, you know, the cops are clearly not there, but he's so startled by it. And it's funny to see him in that outfit being as silly as that is. So, yeah, totally. Yeah.
So man stops shooting in full looks, looks out the window, he sees the cops, he starts banging on the windows like, hey, you know, I'm up here. But then they, we see we see a camera angle from outside and you know, you hear that there's just no sound. Woman goes to greet the cops, they ask if it's her van and the man comes out to woman says the van was there when they got home. And the police say it was used in a liquor store robbery the other night.
That kind of clues man and woman into something the cops, you know, kind of like, OK, we'll leave you to it. We're going to go check the neighborhood, keep all the windows locked. You know, there's even a part where they're like, you want us to check inside? And she's like, oh, no, we checked under all the beds and everything, you know? So, you know, and of course, it's just because, you know, it's the cops are so easily dismissed because man and woman are white.
That's that's the point Wes Craven is making here. The it's white privilege, you know.
Totally. Yeah. And he he he hammers it home. It's very obvious the follow up later on in the movie is even worse. But yeah, it just shows you what you can get away with based on the color of your skin.
And I love how the. When they drive off, man says, I hope you catch them, catch them in hell.
I love it a little bit, but this is interesting. Woman finds the Boy Scout uniform and knows someone else is in the house. Did you notice that man sniffs the pants of the Boy Scout uniform?
Yeah, I noticed that. Yeah. Like a real big whiff of it is like I mean, Everett McGill is just awesome as Hughes is chewing up the scenery.
It just he is just destroying the scenery, dude. But he takes a big ol whiff of that now. But now they know now they know that someone's in there. Woman says he's in there with our little angel.
And it's cool because right when she says that there's a shot of just fuelers now just running through the hallway towards the the hole in the wall that he came kind of came through earlier, he gets halfway in and sees the dog on the other side coming at him. This is probably when you were like they might have cut something because it kind of just does jump right now to the chase, right?
Yeah. Yeah, OK. And there were no deleted scenes on the Blu ray, right?
No, no. Not that I stopped that I saw and not that I could really even. Yeah, I wouldn't even be surprised if this is how it was written. I think I think Wes Craven just probably just cut to the chase on a lot of this shit.
Makes sense. Yeah. He sees the dog coming at him and he he kind of like. Goes back through the hole and then the dog tries to come back through that vent for sort of delays and by kind of stopping them, you know, come through. But the dog is pretty strong. There's only so long that he can actually do that. So he kind of lets go of trying to stopping the dog and the vet runs back to the towards the bathroom with the dog on his tail.
And I love how he goes to the door. The dog's like trying to go through the door with the fucking full punch. Is the dog right in the face. And I love that. I love it. But we've got a couple of punches that are that are great. He does.
He does. Because for food, he is the audience in this movie. And he he gives the audience what we want in this movie. He ain't no fool. He ain't no fool. Baby Man is not in his is gimp outfit, but he's just sort of in his regular clothes, you know. But he's outside the door. He shoots through it with his shotgun and falls on the other side. We see him pick up the lid of the toilet as man sticks his head through, he looks up and sees fall just brings the thing right down in his head.
And this pretty much kicks off the abuse that man gets throughout this entire film. But it's it's so good, dude. Like, when do you ever see a villain get this abused throughout the entire film, essentially in a horror film?
Yeah, it's home alone.
And the fact that that man gets this abused in the film and yet you still find him to be scary, you know what I mean? It's just it's like it's man, this could have gone just so wrong as far as like like tone like like Wes Craven could have completely lost control of this film totally. And it could have just turned into something silly, you know.
Oh, I totally, absolutely agree. I did.
This just triggered a memory in me, one one being the movie The Collector, which which was more on the the the protagonist was the one who's getting tortured throughout the film eventually escapes. I love it, but then I love that movie.
But I actually love the sequel more. The collection. Yeah. Where it's the roles are reversed and and the good guy is like getting his revenge in a way, you know. And I love the collection. And this reminded me a little bit of that where. You know, the bad the bad guys getting his ass handed to him, he's not getting away with everything.
He's still devious and he and man is still able to get away with some pretty ruthless shit. But there are moments like this where you're like, yeah, yeah.
And they pepper him in, you know? And I think that I think the fact that there are so many moments where where full really gets the upper hand on man is why I kind of lean towards this being like almost almost in the same category as return the living dead part to a little like a kid adventure film with real threats. You know, like there is a real threat. You know, the kid can die. But ultimately, you know, obviously he's not going to, you know.
Yeah, totally. Mm hmm. I was waiting for it to work. And I reckon the golden good would that go to date back to the same game.
A surely man gets back up and comes through the door. But right when, you know, man gets through the door, bursts open this like fake medicine Qabbani type of thing, like a secret compartment, he just burst open. You see you kind of see Roach for the first time in all of his glory. He grabs Fool and kind of sucks him into the the, you know, into the walls and closes on man man, like kind of like goes up to the secret compartment and he's trying to figure out how the fuck to open it because he then he opens the door, the medicine cabinet.
And, you know, behind it is just the wall. So he's like, well, fire is going crazy.
So he just decides to shoot through through the the walls, you know, basically blow it open. And this is one of my literally one of my favorite scenes in the entire fucking movie.
Man sticks his head through there and the camera's kind of like in the walls looking at him and he yells, Kirikou.
And then fuckin Roach pops out with a slingshot, hits him in the head, and he goes like fucking grunts and like falls down again.
It is very funny, my favorite scene, but for some reason it never takes away from man. I love scene man, get fucked up. And maybe it's because Everett McGill is just I mean, I know he plays a lot of bad guys in a lot of weirdoes, but he can actually be pretty funny and do some funny shit man, that maybe he missed his calling or something. I don't know. But I like him when he's silly in this movie.
Oh, it's great.
So wacky. It's like.
Yes. And he boy does he get abused. But then of course Mansons since prints into the wall after Roach, Roach and Fool Roach is kind of like leading fool through the maze. And by the way, real quick, I meant to say it. And dialogue wise, Alice mentions that Daddy man, you know, Everett McGill, he won't go into the walls because he's afraid of what's in there. So that that's just why, you know, like why he never physically goes in there himself, but he sends the dog in basically, basically after them.
But now soroche is kind of like leading fool through the maze because they can't go side by side. It's only enough room for them to go sort of in front to back and forth in the front. And then Roach is kind of like pushing him, leading them through. And you kind of actually see Roach's room for a quick second. There's some like lights in there and stuff like that room looks kind of cozy. Would have been a really cool hideout.
The kid, you know, not not as much room, but as a hideout.
That would have been pretty fucking rad hideout where you're avoiding someone who wants to sodomize you. Yeah, yeah, yeah, yeah. Wait, wait, wait. Take my fun fantasy and make it horrible. Thank you. You're welcome.
So Roach finally kind of leads for to the spot and drops the the doll on the ground. You can tell there's something on the ground. You're just not sure what it is. They kind of stand there waiting for Prince to come. The dog the dog stops on this little platform to kind of bite or take the the doll and roach pulls a lever and the dog goes sliding down like a ramp.
And I love how, like, woman and man can hear the dog through the like the walls and he eventually comes out in the kitchen. Basically, this slide goes into the back of a Tupperware cabinet on the ground. Right. And then a dog burst through. It's really funny because he's just sitting there and, you know, he has his little dog or a moment.
But I love just the look of just shock and awe on man and woman's face when they.
It's great. Yeah. It's a very it's another comical moment. It's a very raw, you know, type of moment, you know, but it's cool. I do, I do like it. And then that's when the woman's woman's like the boys got. Alice Roach in full exit the vent in Alice's room. If I were them, I would not have gone into Alice's room because I would have assumed that would be the first place someone would come looking for me.
Yep. Yeah, that was not smart.
Now, Fool tells Roach, thanks. Alice says Roach can't talk because man cut out his tongue. And then we see that I did it. Did it when Roach was trying to call for help.
It's a cool it's a cool moment because you could see like a special effects moment. The tongue is disgusting looking.
Y'all got nothing. But, you know, he's happy about it. He's got a big smile on his face.
Does. Yeah, he's talking to somebody actually.
His teeth get cleaner as the movie goes on to believe it or not, there is one pet peeve that I have very later.
My pet peeve is when you give somebody like zombie makeup, but then you cut their shirt up and then you see their stomach or something and you see there's no makeup on their stomach and, you know, their body is just fully normal skin tone. You know, there's a couple of those moments later with the kids when they when they finally break out and everything. Yeah.
And I think, you know, honestly, like, if you look back at Wes, Craven has had pretty. I guess you would consider this a semih low budget film, but come on, man, like, you know, continuity and continuity is always an issue for me even. You can have a low budget movie, super low budget and still have perfect continuity.
You know, have someone on set. Yeah. Like making sure. Yeah.
Well, I although I do think that that is coincides with the budget. I mean everything, everything trickles down, you know, how much time you have for hair and makeup, how much time you have for set up to the shots, how many takes you can take. I mean for six million dollars. This is a very ambitious movie. Like there's a lot of stuff in this film now. I'm sure obviously a lot of it was shot on sets on the inside.
That's easy. You know, fairly easy to do. But I mean, six million dollars, like, that's not a lot of money.
No, that's impressive. Yeah.
You know, unlike Cyborg, Cyborg, Burnell, cyborg, bird.
You know, cyborg, you. You. All these all these screaming to make my throat about you, but we're done with this, you're going to end just like me. I'm not even going to be able to try it.
It's going to happen if you want an online and like all grades Lingley voice, or they're going to be like, why would seriously believe the whole thing? And I usually blame Bush.
Well, if you're one if you fall into the category of the latter, I'm with you. But I love it, so it's both categories. Sorry.
Oh, don't don't be sorry, buddy. Don't be sorry. You know what?
I always respect somebody who commit to the bit, commit and commit to the bit where you go.
A fool finds Alice's homemade dolls and she says one is for all the burglars that have died there. And not just burglars like maintenance people who've checked on the house, just people who saw too much.
And of course, you saw a lot of a lot of dolls.
So you know that a lot of people have died there, which is a cool effect, like it was a good way of showing it without having to show it, you know, and then completely expected man burst through the door with the shotgun.
I'm like, even back then, I was like, come on, guys.
Well, two things. One, I'm like, how the hell do you whip up a costume or a doll of Leroy that fast? Yeah, that was pretty impressive. And yeah. And two, with the shotgun bursting through, I'm like, whoa, okay. Come on. Yeah. Yeah.
Because I think the very first doll was Spencer on, on the the trap and I think it was supposed to be Spencer and yeah. That's another thing.
It's like she so she fucking made that doll in like five minutes essentially and gave it to Roach and the roach took it downstairs, you know what I mean.
Get her on Project Runway, huh.
Designers, we've got someone over here who's been inside a house her entire life.
Tim Gunn. Tim Gunn. No, I got it.
Trust me, designers, she her parents molested her designers. This episode is all over the place.
Do designers, you know, you're like make it work and you're like many faces trying to figure out which one to land on?
Yeah, one is Sling Blade. One is Zach, one is Tim Gunn. It was Tim Gunn or James Gunn.
Tim Gunn is Tim got to make it work, man.
I'm going to kill you.
Oh, the man members of the shotgunned fool tries to fight it while Roach goes back into the wall. But man kind of shoots through the wall and we see that it kind of hits Roach. You tell that he survives that, though, and kind of moves further into the walls. But, you know, he got hit woman now runs in and says it's time for spring cleaning for Clay and Jesus. I know it's crazy.
Is this the moment when her makeup totally changed? I you know, I think I think I wouldn't be surprised if if they do it on purpose over time and make her makeup, like, more and more crazy just to kind of have it, you know, be representational of what's going on in her head.
I think it was. Yeah, yeah, yeah. She was deranged looking and, you know, watching her without all that makeup, like her features aren't as sharp as I think the makeup kind of tries to make her cheekbones and the drawing she's got to she's got very strikingly sharp features. She's very unique looking and she looks much softer. You know, I think in person, I mean, I'm sure all that makeup was done to accentuate the crazy and everything we cut to now, like man makes fool help him carry Leroy into the basement while woman is making Alice clean up the blood in her new dress.
That when when Alice is like when she's leaving Alice down the stairs and she slips on that blood dude, that stunt lady. Because it's not Alice, because you can tell that she never the that camera shot. You never see the actress. But that stunt lady who looks like she fucking clocked her head on the ground when she slipped and fell.
Yeah, that looked painful. That really looked fucking painful.
Of course, woman is going crazy. And this is where I feel like this is, like I said earlier, how even though this movie feels contemporary in twenty twenty, there's some dialogue that just feels very of the time.
And right here and woman's like you, children will be the death of me.
And then she does that like looking off into the distance that death of me.
And it's just like you're like, OK, ok, that's I mean that is like literally foreshadowing 101, like looking off in the distance saying, yeah, it's just like, OK, that's that's the kind of stuff I was like and I don't like that right there.
Hey, everybody, Corey here, I just want to let you know that we'll be right back after these short messages. Hello, everybody, I'm Adam.
I'm John, and every week we are giving you a blast from our past, we are the podcast that brings you full on movie breakdowns, TV show reviews, our reviews top tens and more, all from the things of our nostalgic past.
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And now back to the show in the basement, man is carving up an eating Leroy so we can extrapolate outwards the rib cage.
At the beginning, the movie was disgusting. It was disgusting. It was a it was a human human rib cage. And it's weird because I first off, I do remember this movie in Fangoria, like I know Luke and I saw this because of Fangoria and they showed off all the, you know, the kids and of course, Leroy's body and stuff.
And there isn't as much gruesome stuff in this movie as I think Fangoria led me to believe. But the gruesome effects that are in this movie are pretty fucking gruesome.
Yeah, I think the Vango cover was the the main cellar dweller. Like his face peeking through. Yes, and I noticed you, you know, rightfully so because it's very cool looking, but yeah, I feel like. It's Taim. The Gore nowadays, it would have been so much you think about how much gourrier shit is now walking dead on AMC like, you know, on television, how gory that is compared to this.
Yeah, and that's like TV. I know it's TVM or whatever the fuck that means nowadays, but like an R rated movie back in 91 with so much tamer than what we consider now.
Yeah, yeah. He's remade now. This would've been this would have been you know, you would have seen Fule like getting his hand caught on a piece of wood and like the wood ripping through his flesh or something like that, you know, or I don't know. You know, you're right.
We do live in a time where I think and probably Evil Dead had something to do with this. But we yeah, we do live in a time where, like our we're also we can be used to our our protagonists. Getting really fucked up in a movie meant evil, that Evil Dead remake.
Oh, I was shocked that that was rated R because that that tongue spoiler alert, that tongue cutting scene where the character cuts its fucking tongue off and they like show the whole thing.
That is brutal man.
I remember fucking loving dude. I need to. I know, I know that part you're talking about. Remember one that one girl that cuts her arm off with like the electric like knife or something.
All the all the gore in that movie was fan fucking domestic and then that don't breathe movie where they where they make the villain drink his own cum, you know. Spoiler alert. I mean, like who the fuck. Like you wouldn't never be able to go there in the fucking 90s.
You know, in the 90s it was like, oh that that scene where Spencer's arm has been chewed, it's it's it's supposed to be shocking. Shocking. Yeah. By today's standards, you're like.
There's not really any shock and awe in this oh, so like, you know, you weren't like with him hanging Leroy up in, like, Parvanova up and eating them, you weren't you were unfazed by that.
I really wasn't. It's weird. I wasn't. I wasn't. Yeah. I mean, it was I was like, whoa, that's intense. But I wasn't shocked by it. Yeah, well, we've seen way too much at this point.
I think all of us are probably so full fools also hanging on like chains.
When man is carving up Leroy, he kind of throws, you know, a piece of chunk of meat into the for the kids under the stairs upstairs. Woman makes Alice take a scalding hot bath because she got blood on her dress.
Yeah, that that is shocking. That's hard for me to watch.
So the interesting thing is this scene right here was the very first scene that AJ Lanre and Wendy Rowby film together. And so the interesting thing is apparently they bonded really hard over this movie, like they still communicate. And she kind of became, I think, a little bit of a mentor for AJ Langer, but it was the scene and she said, look, look, I'm you know, we're going here's how we're going to do this. I'm going to I'm going to just scrub against the side of the tub and you can tell that's what she's doing.
And she's like, this will make like a like a great sound and you'll be splashing in this and that. And she said, like, her and A.J. Langa were like in it and, you know, yelling or screaming. She's like, I don't remember what I said. But it was something about like, you know, you know, all the things she's yelling and she's like, all this stuff's happening. They're screaming this. And then as they're like slowing down, they're hearing like, cut, cut.
You know, like Wes Craven was like yelling, cut. Well, after all that, but like, they got the shot, like on one take essentially.
And that was that was it. But they went they basically overshot the shot. And Wes Craven was like trying to yell, cut while it happening. It's a it's an intense scene. And both of them, both actors are very much into it.
Yeah. So my mom once was married to a guy who is paraplegic and and he turned the water on in the tub, wants to take a bath and hadn't realized that he turned on. We had a malfunction with our plumbing and the only hot water was coming out. So scolding hot water and he put his feet in the water. He did not and he didn't know he could feel it. And then he looked down at his feet and he saw the skin just bubbling and starting to lift off his feet.
And I remember it was like it had to be late at night, 10:00 or something, and I was eight and having to go to the hospital with him. And I remember seeing his feet just like they looked like remember that weird stuff as a kid. It was like blow, blow plastic bubbles. You could blow up when you look like that all over his feet bubbling and like the skin was just falling off his feet and he couldn't feel it.
And so the scene, I'm just like any time I see scalding water, I think of that moment with with Gary, my my former stepdad, you know, like, died because he couldn't feel the like the flesh.
Oh, dude. Like, that is brutal. So I remember hearing, you know, I think I think it was pretty big time news like I did like five, six, seven years ago.
There was like this family they were trying to figure out because no one in the family could feel pain. It was something hereditary. And you're like, oh, that must be cool.
But it's actually a really bad thing because, yeah, they would they would you wouldn't know if you broke a bone or did something. And and yeah, I think they all just kind of eventually die off these from these small things that that you just don't know. And, you know, you realize that there's a reason we feel pain, obviously. You know what I mean? It's yeah, it's a warning. And if you don't feel pain, there is a drawback to that.
It's kind of like it's kind of like a cool, like, superhero thing, like, OK, I can't feel pain. But then you're like, well, but then there's all kinds of problems with that as being a superpower.
Yeah. Yeah. Like, like the consequence to having such a great ability. Yeah. Yeah.
It's interesting. So but yeah I, I'm taking scans but yes.
That scene I'm with you dude. That the scene though here, it's a it's an intense scene. The bath, the bathtub scene is intense. Real. Yeah. In the basement man throws Leroy's body into this like pit, this like water pit in Yosses. You Spenser's you know bodies down in there and he throws Fule into the room with the people under the stairs. They kind of like start circling him. Now we're at this point later on, they become good.
But at this point, were they? They were going to eat for like, were they going to do it or do you think or or are we seen from Fuller's point of view, like seen thinking that they're bad? What was your take on that?
Yeah, I mean, I think initially you think, oh, they're going to eat them, but knowing what we know about them, they weren't going to do that. They were only eating the flesh that they were eating whatever they were given. Right. That was already dead. They weren't eating live people. Yeah, but you're seeing it from I think you nailed it. OK, so the perspective. OK. OK, yeah. All right.
But so ultimately though, if they got their hands on them, they probably wouldn't have killed them. I don't think so.
I mean, I don't know what they would have done with them, but I don't think they would have because they didn't do that. They didn't even eat the woman.
They didn't even, like, eat woman. They didn't eat anybody when they got out.
Yeah. They were zombies, you know. Yeah. No, you're right. So I think knowing how they're going to behave sort of at the end, I think again and this is why this is why this movie works really well with repeat viewing, because I think I think that they weren't going to attack him. But you were just seeing it from four's point of view. So they looked menacing at that point.
Yeah, yeah. Yeah, pretty much.
OK, as they start searching around for they hear a moaning coming from the pit and then Leroy's dead body rises up and scares the kids away. It's Roach again.
Roach has been shot and it's probably not good for him to be in down that pit with all that disease and stuff. Maybe this is what kills Roach. Maybe it wasn't the the buckshot. Maybe it was like an infection from that pit and everything down. Probably. Yeah. And how and how Roach can, like, lift up that dead weight, you know, is, is, is beyond me but up being stuck in a house and not being able to work out.
Yeah. Yeah, yeah, he's probably been he might have pretty good upper body strength, to be honest with you. Crawling around and yeah, I guess he probably got no fucking fat on his bones either, so that's for sure. Yeah. You know, Mansons, the dog into the basement, but Roache Infl hide in the furnace. Fool sees that Roach has been shot and he says we got to get to the hospital. But Roache grabs a bag from kind of like this compartment above the furnace and shows it to fall.
And it has all these gold coins in it, like a handful, like seven or something. And then Roach writes the name Alice in the ash that's kind of on the back of the furnace and then has kind of like a you know, as far as movie deaths go.
I thought this one was kind of sad, like well done.
Like I thought the actor did a good job of just kind of like dying. And it was even even meyerrose. Like I always she's like, I hated this part. Like, it really made her sad. Now I didn't want to die. Now he's the best part of the movie.
And when, you know, when he dies, the movie dies. No, I'm kidding. But no, when he dies, it's a huge bummer. I would have made his teeth look a little more unkept.
They're very nice. He's all gum in. The guns are clean. I'm like Cuidad guys and brushed his teeth in years.
You tell me he's got these nice, beautiful pink gums.
You know, he's got the gingivitis, baby. Come on, he's got you. Go get him gingivitis like he's just taken a chicken skin from the KFC and put it in the mashed potatoes. And I just take the skin right off and I put it into mashed titers.
That's delicious. Are we ever going to review Sling Blade now?
Hell no, because that movie, that movie that was a classic, that movie got robbed, that movie and Pulp Fiction got motherfucking robbed by Forrest Gump. Yeah.
And Shawshank Redemption, too. I'm not I'm not a big fan of Forrest Gump. Yeah.
Perfect example of movies that do not require repeated viewing. No offense to those who like it because it's all subjective. Movies are all subjective, man. Like it's that meme. It's like that's just your opinion. Man from Big Lebowski that sums up the fucking movie world, period.
But that being said, Forrest Gump sucks. It's overrated.
Robert Zemeckis. I will say, give me Frighteners and back to the future any day over are actually Peter Jackson. Yes, of course I did.
He produced records, produced it, I think. Yeah. Yeah. I was going to say I do feel like Zemeckis had something on that, but OK, he produced it.
Yeah. Yeah. Anyway, I think he did. I think so anyway.
Continue full use of the furnace to climb out of the basement to the second floor. The dog kind of like following him all the way up in Alice's room. Man is is like roughing Rob telling her that, that he killed Roach and he killed her black friend too.
This is great. The dog is barking at Alice's door. Man opens the door and just looks at the dog and he's like, shut the fuck up, Terry fucking slams the door right on the dog's face, turns around and fool runs full steam and punches him right in the dick.
Fucking drops that motherfucker to his knees again. Everett McGill, fucking fantastic.
His facial expressions are great. Yes. He kind of recovers himself, but the fucking fool fucking drops a fucking drops a fucking layup on his head, knocks them out there to. It's just. It's great, dude. I love it, man. It's I love it. But in the heat so full kind of escapes into the wall with Alice.
So now they're moving to the wall and and as as Alice in full crawl through the vents man goes downstairs to kind of burn Roach's body. Another fucking really cool scene where, where the camera's right on Everett McGill and he's like burn in hell for getting free and burn in hell for showing the world. I was like, that's so cool.
And he's just shooting that scene out, bro.
It's pretty simple. If you think about it like he doesn't he doesn't do much other than shoot and spout lines of dialogue like that.
But it's so good. And he dances, though, of his dance in a little bit of a jig. I love his jig in a little bit.
It's fantastic. He grabs his shotgun, goes back upstairs. Alice Fool kind of get out of the vents and into the wall. They're walking through the walls and fool kind of like, you know, he's going to sneeze.
And of course, he sneezes. And because of that man, here's where they are and start shooting through the walls. They're like moving around in. But they kind of trigger a trap that kind of goes it sends out like a wheelchair with, like swords through the wall or something right there where the swords kind of puncture the wall. Like we said earlier, I wish we saw more of those traps, traps that man created to to fight Roach is.
So now we've seen one roach trap in one man trap.
You know, you saw those in the movie The Collector. Yeah.
What was it? The girl. The first one when the girl gets, like, flung up on the wall or something like that. Yeah. Yeah.
That was really fucking cool. And in the razor blades or something. Yeah. And she's just kind of like standing there. Yeah.
Oh God. Yeah. I love that movie. That's fucking awesome guys, if you have it. Well sorry for ruining shit, but if you haven't seen the the collector and the collection, they are a great like you know, you talk about trilogies but sometimes movies are just a one two punch that are just fantastic. That being said, it further, they're making it part three. But as it stands now, it's a great fucking just one two combo.
When you say alien and aliens is the one to come, yeah, it can stop right there and just it should stop. Right. And honestly, but, you know, between you, me and all of our listeners, for for me, the cannon goes alien aliens and then the dark horse comics and not Alien three, etc. But that's something that Zach and I plan on exploring in the future.
Oh, we're Bashkim or somebody like Rob Herrick's show me like a pitching game sometimes. How do you do that voice?
Dude, it kills me every single time I try to do it.
If somebody said that to me once in an acting class, they're like, you can't do that. You can't sustain that voice. And I'm like, yeah, I can. I've been doing it all my life.
You must you must have some very calloused vocal cords. My vocal cords look like Scott Glenn's scrotum sack.
Hey, happy birthday to Scott Glenn today.
By the way, the guy, 82, that that dude is eighty two in two thousand twenty one. So if you're hearing this in the year 2041, he's now one hundred and twenty.
Two, and he's still alive, probably I you know what, I think he probably is because he was taken. So he has to be. Yeah, he's gleeman the purple eyes, so.
But they don't get hit by the trap.
Obviously, they dodge it, you know, it doesn't hit them. It's cool. Trapped it.
It is a cool trap, though. It's a yeah. I agree with you. It's like a half a second trap. They show for half a second that's done. Yeah.
I wish, I wish there were more that's all. Yeah. Mansons the dog again since prints into the wall and starts chasing them. But this time feels like, you know, fuck this, I'm going to stand my ground which I like that I'm like, yeah Fulda. It stands his ground fucking just starts wrestle in that motherfucking dog man sort of follows the sound of the struggle you know, and starts stabbing through the wall with this bayonet that he has on the end of his shotgun and fool kind of pushes the dog up against the wall as the dog's still.
I just, you know, trying to bite him and shit.
And the man just stabs right to the wall, thinks that he hits four because he pulls his blade out and it's all like bloody and everything. And it's it's, you know, some good dog acting because the dog goes right.
You know, kind of like slumps a little bit, you know.
Yeah. There's a there's a good there's a couple scenes where they they use a fake dog and it's very obvious. Yeah, there is. There is. It's fine, though, because I think at this point, like, you know, as an audience, they can't use a real dog for that.
And I like when he does puncture the dog, fool lets out a groan like, oh, yeah.
You know, almost like he did it on purpose, thinking, you know, given given man the the illusion that he killed him.
I and I think he did because he knew to push the dog up against the wall. So I think right when it happened he did it. Yeah. And I think that's I always thought that was kind of a cool idea of yeah.
I agree for Ford to do that. Fools no fool full fool is no fucking fool. Corey would have been a fool and dead as as we said way earlier on in the movie. But a full analysis, some light coming from the ceiling. So they kind of know to kind of go up to the attic downstairs. Another one of my favorite scenes man, kind of like doing this jigsaw doesn't look like jig thing. And I love that shit. I don't know.
It's fucking funny, man, ever. It is fucking great.
It's like redneck ed grimly like we see we got him, you see. I see. I used to love that cartoon, by the way. I fucking love Ed grimly. Dude, the meteor man. I'm not I'm not going to lie to you. I love me some fucking Martin Short not going to Ed Grimley and Ernest.
Give me that any day, dude. I'm with you buddy. I am with you. But woman's like prove it and just totally like, you know, shit's on me back upstairs, man. Kind of like is like opening up the wall where we stab through and fucking just prints flops out like gurgling dead. And I love the fact that like, you know, woman is behind man and they're both kind of facing the camera so you can only see know.
So she wouldn't be able to see man's face. I love Everett, Everett McGill's face.
He's like, oh, shit.
You know, it's great. It's great before Dallas make it to the attic and they find an open window for kind of calls for help. And man hears that. Forces says they'll have to jump to the pond below in the backyard and out. But Alex is too scared. Man burst through the door and she kind of like starts shooting fogeys through the window and into the pond full, gets out of the pond, you know, somehow swimming out of the pond and man, all of a sudden it's just down there.
He's like autumn, like stink on a monkey comes out the back door and starts shooting pool, kind of like runs away, hops the fence and then woman yells at man for shooting his gun. And that's the end of the movie, guys. We're done with people under the stairs. It's the end. The end. What do you think of the movie credits roll.
Yep. Shitty song at the end. Do the right thing.
No. So structurally I always as a kid thought this was a little bit weird because you have a little bit of like an anticlimax fool kind of gets out, but he has to, he's going to have to go back. And you know, as much as I always, you know, love movies for doing something different, we're all so used to the three act structure. We're all so used to that rigid structure that when you break it, it does kind of feel a little weird.
You know, it is weird, but I can tell you, I've had many a nightmare or bad dream where I've escaped something in my dream. And probably this is the movie that. This memory, I escaped something in my dream, I woke up and I went back into the dream to kind of fix it, like I left something behind. And so there's this idea of like it's a metaphor. I think it's a on a deeper level, it's probably a metaphor.
You know, you can you can you can continue to move forward in your life, but you can also. But you're going to leave some things behind, some regrets. Yeah. And like, let's have no regrets. Have no regrets in your life. No regrets.
And a 13 year old little piece of gold, the fool little fool's gold, if you will. Fool's gold ain't going to have no regrets in life.
No, I'm saying now, dude, no. And he's he's honorable. He's honorable, as we'll find out very, very soon, no doubt. Back home, foolish showing the gold coins that Roach gave them to Grandpa Booker, who we mentioned was played by Bill Cobbs, who we fucking love.
Ruby is also there to Booker says they have enough money to pay for the operation for his mama and to pay rent until the year 2000. Now that we're watching this movie in twenty twenty one, doesn't seem like a lot of money to last till the year 2000. I'm like, oh, we're way past that next point. Booker tells Fool to be careful with those two. He says there those are brother and sister and they're evil. They started the family started out as like they're running a funeral home, you know, selling cheap caskets.
And they got into real estate. And basically, as they got richer and more greedier, they also became crazier and like inbred in everything. And and even Wendy Roby said that she tackled the character thinking that, you know, like her, she was probably like AJ Languor. Her character is probably like AJ Languor when they were younger. She even thinks that that her and Everett McGill killed their parents and then became their parents. Like, that's what that's the story that she was going in her head.
And honestly, that sounds good enough to me that they probably killed their parents and then just became their parents.
So like I said earlier in the the show, I had watched the Night Stalker documentary on Netflix, which is really good, by the way. And, you know, we've all watched a million serial killer documentaries and murder documentaries.
We all know that for the most part, these people come from. Abuse, right, Richard Ramirez was like horribly abused by his dad. He was tied to a crucifix in a cemetery for being punished by his dad when he was a kid. You know, shit like that. He saw like an uncle murdered or an aunt murdered in front of his eyes, you know, horrible shit.
And you think about like, yeah, they were probably they carried down this lineage of, you know, but about about a.
So it goes. But then it flips into the mindset of Will Graham from Manhunter where he's like as a child, I feel terrible for these people for being abused. But as an adult, I want them dead. Yeah. You know, so so I have sympathy for their characters because they were probably abused. But now as adults, you want to see them get their ass handed to them. Yeah, all lot. Tom and Jerry style in there.
Tom and Jerry is going to go up to Mass and we and it happens. And it's great because you don't go Chicho. Mm.
No, don't go willingly to Joe and I just can't keep up with the sling blade voice that's all. I can go all night long. I it Lionel Richie said all night long and all night long.
Oh my God.
I got to karaoke that I got to karaoke someday. Sling blade.
You should forgive that fucking choice kills Caroline. Good times. Never felt so good. So good. So good. I'm moved to isolate this and put it out there. All right. All right, so. Ruby asks Fule if everything is OK, while he's sort of like by his mom's side, he said he made a promise to Alice and he has to keep it for walks out out of the apartment complex and goes to the payphone outside and calls the police to report child abuse.
First of all, I love that.
I love that. So smart. Yeah, because because when he did that, I've forgotten about the scene. Yeah.
You're like like, you know, don't go back, call the cops like that. Before he even did that, I will call the cops and then he calls cops and I'm like, oh, that's smart.
You know, what I think I like about this movie is that Wes Craven has the kid character actually do logical things. I think that's what kind of makes it awesome. Yeah.
Back at the house, a ton of squad cars are outside like so many. So many. There is like eight cop cars out front.
There's an entire police force there for for a white family.
Again, that's a commentary probably, right? Yeah, I think so. Well, maybe not. I don't know.
Maybe for a white family to be one cop car, they probably they probably wouldn't even take the call seriously, to be honest with you.
But they're like, oh, well, the Mickelson's. Yeah, they never do anything wrong.
Inside the house, a woman is serving coffee and man is all cleaned up. Sort of. I like there's one part where he's got a hat on covering the like a bloody spot where he got hit with the fucking top of the toilet. Right. And he kind of takes Haddaway to kind of dad. The blood puts it back on perfectly. It's a it's like a well blocked out shot.
It's one of those shots where you're like everyone had to hit their mark for it to work, you know?
Well, and also he's cleaning up is like that's everywhere at this point.
But he does have, like, these cool little compartments in the wall and shit with, like, his guns and whatnot.
And on one hand you're like, oh, that's so cool. And on the other hand, you're like, that's so creepy. Because there are people who who there are people like that in this. Yeah. Yeah.
Oh, man. It gives me shivers. No, I know that's that. I mean that's why this movie is so fucking awesome is because yeah. It's like you see like what's supposed to be a normal couple and then they're inbred brother and sisters and they're fucking dressing up like gimps. Hutton you know, kids in the walls. I mean, it's fucking crazy. The cops, of course, are totally buying the the song and dance. That man and woman are giving.
Giving. At one point, they even find Alice's room, but, you know, woman does the whole thing like, oh, that was our daughter's room, she passed away and yadda, yadda, yadda, we didn't, you know, didn't change it. It was silly of us. And of course, the cops were like, oh, we're so sorry.
And of course, like I think the commentary obviously is if they were a different nationality, a different race, they would have been treated completely differently by the police. You know, I think that's what Wes Craven's trying to say with this.
As much as the police are, as much as the police, you know, overall, I would say do excellent job. They are they also do some inept, stupid things, too. Yeah. You mean in real life? Yeah. Yeah.
So like this reminded me literally. I just watched this episode of The Night Stalker where they didn't finish the Night Stalker on Netflix.
Night Stalker, Netflix. Fantastic. And you know, the Night Stalker, one point he he had a bad tooth. So he went to a dentist, right?
Yes. It's fucking fucking halitosis. Yeah. Yeah.
So so the the detectives were like, OK, we're going to put guys on the on the on the on the dentist dental office 24/7. And then they said, oh well let's put an alarm system in there and in between switching over the alarm system and the cops, that's when Richard Ramirez came in there. The dentist was pushing the button to activate the alarm. The alarm didn't work. He ended up killing like two or three more people after that.
Jesus Christ. So there you go. There you go. There you go.
God, why am I suddenly, like, from Chicago? I have no fucking clue. Why do I sound like Bill Burr?
Fucking the focus, the big talking over here find through space. What's up with that? I do love how he always calls fucking Chewbacca Bigfoot. Yeah, I love Bill, man.
I love him and I love him in Mandalorian. Actually, he's like his character in the Mandalorian is like one of my new favorite Star Wars characters.
I think he's fucking awesome. Yeah, I would buy his figure if they made one fucking fucking Hasbro or Ken or whoever the fucking fucking Hasbro, they're going to burn in hell.
I mean, I've missed I should have written them down. I missed so many fucking burning house at this point.
God, it I think you covered him so far. You got it. He's getting up to my favorite or most disturbing moment, OK?
Oh, I'm grabbing a pass one body, which one that is. But hey, that can do me a favor and burn in hell. Thank you very much.
And take a blade with you straight out because don't go to jail and the cops leave and man opens the basement back up.
I like this part. We see that the basement door was hidden, was like a hidden pantry. And I was like, that's cool. That's really neat. And as man and woman are going upstairs, woman says the police left the back door open so much she couldn't actually watch it the whole time. And this is really cool because as she's saying that the camera pans over and fule climbs out of the kitchen cabinet for walks over to the fireplace and gets the fire poker.
I kind of forgot this was his plan. Just a straight up bludgeon them to death. He goes upstairs and he can kind of here man, woman talking from their bedroom. So he kind of like is, you know, advancing sort of slowly on them. He's sneaking around the corner and he sees that it's actually a tape recorder playing the dialogue on the bed, the battery or whatever. Yeah, yeah. They're doing some kind of creepy. Yeah.
Now I lay me down to sleep, which was supposed to be an homage to a Nightmare on Elm Street, because it was kind of like, you know, now I lay me down to sleep type of thing, at least according to the trivia.
One, two, Freddy's coming for you three or four showing you that you're no good.
One good one dead man just bursts out of the opposite side of the the other room. He's like in his jumpsuit and just grabs full and kind of picks him up in the air. But then four fucking digs his fingers in a man's eyes moments. I did see. I love this. The woman comes running out screaming full fucking just hits her right in the shin with the poker I buy. My note is she goes down and then fucking fool breaks the poker over man's back again.
Like I've never seen an antagonist who still has like viability of being scared, get this, abused throughout the entire film. I mean. Totally agree man gets fucked up like a tool by a 13 year old.
This entire movie, I will say, though, most pokers are iron.
I know. And that they're not. I know that you're saying this one that out, but I will say this.
You can use the poker as a weapon in the Friday 13th game and you can break it over, Jason. So according to the people under the stairs and according to Friday 13th, the video game pokers can break over people's backs and then according to reality, they're made out of iron.
But in reality, it may be your reality. Burn in hell.
Why would you ever have a wood poker for a fire?
Oh, I don't think it's wood. I think I mean, I think it was it was supposed to be like you broke the metal poker over his back.
The only time I ever seen. Now, that was Bo Jackson when you met. I'm Bo Jackson.
Yeah, it is badass. That was that was pretty fucking bad. Did not come back. And I'm not like I'm not like a baseball like I'm not like even a sports guy in baseball is like one of my least favorite things. But I do remember that. And that was fucking bad ass knocking Bo Jackson a stud does that.
So Fool runs downstairs and unlocks the downstairs door on the switch, they think, and then they kind of go after him. Man thinks that fool went out back, but he's really going up the fireplace chimney, which is kind of smart. Again, something I wouldn't have thought of doing. And he's going to where Alex is basically up to the attic area for to show Alex, like in the attic with their arms up. So she's kind of like hanging off of, you know, just kind of like hanging there and fool.
So she's kind of against the chimney, right? The chimney bricks and falls able to move out a one brick just perfectly that one perfect brick. That's right next to Alice's head. It's a total movie moment, but, you know, whatever suspension of disbelief.
And Alice is major. I know. I know. And Alice says that, you know, the spike is holding her chain up.
So Fall kind of hits the spike from the inside, knocking it down where the ball loosens the bolt and basically she's free. But man comes back upstairs to check on Alice and she pretends to sort of still being hanging there. Man gets closer to Alice. And this is when he kind of grabs his crotch. This is probably the most overt sexual act. Now, we know that he he abuses or sexually as well. But when he's doing it again, it's like weirdly, Wes Craven uses this as a as a comedy moment, which is interesting.
But as he's grabbing his crotch, woman yells, Daddy, come help me to bed.
And he's like, he's startled in everything, which it's weird because it's still it's both scary and funny, like, you know, like I don't want to make fun of child abuse, but Wes Craven fucking pulled it off somehow.
He did. I just wrote down I wrote down therapy. You know, his character is going to need all these characters are going to need therapy and moisturizers.
Lots of moisturizer. Oh, Jesus.
Yeah. And I mean, oh, my God.
Do you think you know, it just we live in an age where like that the the family. The kids that were in that cellar in Cleveland. Yeah. Right now we're in there four years and one of them like gave birth to the to the captors child or something like that.
You just think about it's it's so gross, you know, that this, this sick fuck was like and you just want to see them get their comeuppance.
But but then we as a society turn it into a very funny show called the Unbreakable Kimmy Schmidt.
Yeah. Yeah, dude, it's a disturbing I remember watch, I think I watched the first season and then Kristen had known from Frenches, as we like to call her, didn't know it was. I said, you know, this is based on a true story.
And she's like, it is like, oh, yeah. Oh, yeah. And she goes, I can't watch this now because it's just like I can't make fun of this.
I go, yeah, I, I mean I kind of feel you on that, like it's really messed up, you know, it's like when they made that comedy movie with Danny McBride about the in real life for that guy had that bomb attached to the neck, his neck and had to like Rob, you know, rob a bank and then his head got blown off. Then they turn that concept into a comedy movie. I'm like, yeah, it's the same thing is Unbreakable Kimmy Schmidt.
Like, it's this weird thing where we take these. Horrible real life scenarios and make them into very funny comedies, I don't know why.
Yeah, because let's be honest, you know, we may be if we're not directly affected by it, we may need we may be able to laugh at it because like Unbreakable Kimmy Schmidt was is funny.
But then you think about the people that were affected directly by it and you're like, is it funny to them? Probably not.
But I mean, they're only like three or four people. The rest of us are enjoying it. Yeah.
So come back 30 minutes or less, 30 minutes or less, so you can't get through obviously the small hole. But he does climb up through the chimney and then kind of back and kind of goes a roundabout way into the back through the window. Essentially the the attic window man and woman have already left full, tells Alice that they aren't her real parents. They stole it. They stole her when she was a baby. He's all he's trying to do is just get Alice out of there.
But Alice is they can't escape the same way, man, drain the pond and put broken glass in it. Which kind of reminds me of Way of the Gun, which is a movie that I very, very much enjoyed, but had the worst marketing I had ever seen in my life because in the trailer and the shoot out at the end in the trailer with Ryan Phillipi, like dives into a fountain for cover, you know, there's broken glass in there.
And then he kind of screams. And it's funny, it's weirdly played as a joke in the trailer. But then in the actual movie, you it's not a joke because he has glass sticking out of his arm. And I'm just like, wow, you guys, that was like one of the first times where I was like I realized that, you know, when a studio doesn't know what to like, what this movie is and how to market it, they inevitably always market it wrong.
Always they always market a movie wrong. Yep. Yep. It's fucking Hollywood.
Yeah. Most of the time they don't know what they're talking about. This is this is the third tonal shift for me in the movie.
And now it's turned into a a fucking back sort of thing.
Yeah. A full on kid adventure like you were saying, you know, it's a kid adventure and this is when it becomes a full on kid adventure because it's like he comes back for revenge.
Yeah, it's the third for me. It's like, OK, this is it makes kind of sense that there's three acts and this is the third and final act.
And in each act has almost. Yeah. That maybe and I wouldn't be surprised if each act had a deliberate tone to it, you know.
Yeah, totally. Yeah. And I, and I do like where this goes.
I think it's fun, but I think I'm not complaining. I would hazard a guess and say you and I are both fans of like the Hills have eyes senario the the and I'm referring more so to the the remake, but like where some group or family or person gets just so brutalized. But then you spend the next like thirty minutes of the last thirty minutes of the movie watching that person get all the comeuppance, you know, get all the fuck backs.
I love those kind of movies so much.
Did me too. Hence the collection. Yep. Yep.
People, people don't get their shit fucked back. So Kara-Murza. Bertsch right. Oh man. Now we're going to be leading. Oh before we get there though so fool tries to go to this great on the ground.
Kind of unclear how this where this great sort of led to. But you see it's trapped with dynamite and setting up basically what's going to happen in the climax. But Alice has the whole place is trapped full, grabs a brick and says they're going to the roof, which will lead to like literally one of my favorite moments in the entire movie on the roof of the house fall and Alice are walking over to the chimney.
They can hear man and woman fighting in the the bedroom below. Man, man kind of sees dust falling down the chimney.
Seems like I'm going to check this out. And kind of like he's in his gimp costume, by the way. He looks he kind of sticks his head into the chimney, looks up and fires his shotgun. And, you know, he thinks he got them.
And then fucking fool drops the brick right on his fucking head.
Man, it's fucking great dead.
I mean, he's twitching fucking woman like is screaming. It's really effective and hilarious. You know, it's both it's satisfying that. I think that's the main thing. It's very satisfying, very satisfying.
Woman grabs the gun and kind of looks up. But Phoolan Alice are kind of making their way down the chimney. And this is when they do some real Mad Max sped up footage. Shit.
You know, I you know, I will say, McRory, a personal pet peeve of mine is Mad Max. Add up footage, I have always I never like it, to be truthful with you, it doesn't take anything away from the movie, of course, here, but it is silly. And it's also like, OK, first off, there's Mad Max fed up footage and you can see the wire holding them. I'm like, come on, give us one of the dare, you know?
Yeah. Or at least slap a Benny Hill theme song on their head.
Something like, well, especially since they land on woman and like fucking like just start going crazy on like that. SPED up when they do that. Yeah.
That would take that would be perfect for the Benny Hill song as well. But I, but I do love the fact that fucking fool sticks his fingers up her nose. It's like screaming, you know, I was like, man, it's great.
And Wendy McRobbie, Wendy Roby, she says she said that, like, she remembers fondly that scene with with her and the actor that played for and she was the one that taught him how to fake stick his fingers up her up her nose by bending her fingers type of thing, because she was like he was like kind of freaked out about it, you know, because I think he was just kind of scared of putting his hands up her nose.
But again, I think I I everything that I've heard on the behind the scenes, this movie was a complete fun joy for everyone to make, which is weird because it's such a twisted concept.
But apparently everyone had just a great time on it. On the set.
Oh, yeah. Yeah. Even though it's it's dark, it doesn't feel as dark as it could be.
It doesn't feel as dark as what it really should be like of what the subject matter they're dealing with. Oh yeah. And that's probably Wes Craven like, you know, and the subject matter we're dealing with is already so fucking dark. We need to like, just just smooth the waters out a little bit with some humor. You know, anything anything works. It works. And at the end, they just drop a big like, let's make a deal, everybody.
We'll get there. We'll get there. We'll get there.
So, yes, so so they're kind of like on top of woman, if I can force got his fingers right up her nose and, you know, they're attacking her and everything. She drops the gun, kind of slides down further into the chimney and then full analysis kind of go down with it while woman kind of walks away from the chimney. She's all fucked up with, like soot and everything.
And she proclaims Kakkar, Zach's favorite word.
My favorite. PGT, curse word, this koka. I love Koca and, you know, I mean, like, yeah, I never paid attention to Koka until you and I started doing this. So when I was watching this with Meira and she yelled Koka, I smirked because I was like, oh, well, we're going to be talking about that on the podcast.
My favorite my favorite comedian is this guy named Pablo Francisco. And if you look up if you look up Pablo Francisco and Koka on YouTube, he did the whole bit on Koka. He's like, Corcos is such a funny word, you know.
Did she go Kakha like this kind of shift like she does. I mean it is a good word.
Dude, I'm not gonna lie to you, but it is fun and delivery in front of by Windom in Prince of Darkness. Is this Koca and then her.
Hers is more like Kakkar and then Pablo Francisco is Gocha and then Sling Blade is more like I just like my pants and the thing I'm wearing to Panj. Did he wear depends on the movie.
No Alisson Fool kind of separate in the chimney for keeps going down into the basement to get the the shotgun and free the kids while Alice heads for the back door in the basement full comes out of the first with the shotgun. The boys are yelling for fall but he kind of brushes them. I like this now. They're kind of like, you know, they're on the same, they're on the same side.
Back upstairs, Alice gets jumped by woman. You know, she comes running at her. But I love how fucking Alice just stomps on woman's foot and gets away. As man comes downstairs, woman tells man to kill them both. And this is kind of like, yeah, there's kind of like this thing going back and forth where man wants to kill Alice, but, you know, woman is kind of stopping him from doing it. Now, she gives him full permission to go and kill them both.
You know, man and woman run into the kitchen. But Alice is gone. And, you know, the woman's like she doesn't have a key.
She's still in here. Man and woman are searching the cabinets. But what they fail to see is that Alice went up the opening above the stove, back into the walls. That was something I didn't really mentioned earlier when when Leroy was in there and everything and they saw something moving through there. He was like, it's nice to see, you know, rich folk got rats to this little, like stove thing. Wes Craven does a good job of peppering in all these things that are just going to come back later.
And you just first viewing, you don't know what they are. Again, like both of us said, this movie demands multiple viewings. Yeah, totally.
They hear commotion coming from the basement and know that falls down there. Man runs opens the basement door before standing there with a shotgun on the stairs. Man Kind of like waiting for a second. And then he dives for the switch and the stairs turn into the slide and unfortunately, full goes down. Man picks up the shotgun and is about to shoot fool. When there is a knock on the front door, woman tells man to be quiet, then turns off the off the house security and answers the door.
It's Ruby. She's standing there and she says she's part of a of a coalition, a group of tenants that were forced out, forced out by and forced out and fucked over by man and woman. And she's basically, you know, being like, you know, you fucked us. Answer for that type of thing. Woman slams the door and Ruby's face and then goes back to tell man to kill for one of the kids, shines his flashlight in man's face and buys for some time to escape.
And there's another knock on the door. This time it's the police. Just kidding. It's Grandpa Booker.
It's illegal to impersonate a police officer, but he does that to get her to open the door. And she's like, I love it at this point. At this point, woman is just like she's not even trying to hide, like, how fucked up she looks and everything. She's got the gun behind her back and everything. And Grandpa Booker's like, we just want to say our piece, you know, type of thing. But then woman's like, fuck you all pulls out the gun bout to shoot them and a whole group of people kind of show up behind them.
These are all the people that, you know, we're fucked over by by man and woman. And then she kind of doesn't really give a shit.
And to shoot Ruby Ruby right there, when fucking Alice falls from the ceiling on top, a woman fucking lands on her end. And even better, like while she's on top, her fucking slams her head in the ground and knock her out. Now, the effect of all this.
Not the best because, A, it sped up Mad Max footage of Alice falling out of the ceiling, B, you can see the cord holding the Alice stunt double. But ultimately, it's so much fun because the shock on the people's faces does seem like a white girl fall out of the ceiling, land on this crazy bitch. And then while this crazy bitch is on the ground, she picks that fucking bitches head up and slams it against the ground again.
Everything that happens to man and woman in this movie is so satisfying. You just kind of you're like, yeah, OK, it's nineteen ninety one. What are you going to do? There's no CGI guys. Like, what are you going to do.
Isn't that when when Ruby doesn't she say you knocked that bitch out cold.
Yes. It's not like that. Yeah I love that. It's, it is pretty fucking great. I'm not going to lie.
Oh I loved it too. I was hoping, expecting like the people to. Charge the house, though, at this point, yeah, the door suddenly slams shut and you know, that's not happening.
Yeah, when they get you. Yeah, you know, I'm just like, wait, but wouldn't you be breaking this shit down because she knows her brother's there?
Or will they in the end in the movies defense, when that does happen, they do bang on the doors and the windows and stuff. So we know that it's shatterproof at that point.
Yes, but we'll get there very soon. Back in the basement, man is kind of chasing for sort of hominum fools. Back is against the loosely made sort of wall. That's it's like a it's like a fence, right? Yeah. That's dividing the two sides of the base, basically like a rickety wooden fence.
So a hands grab fool and they start dragging fule to the door. Right. And so, so man, it's kind of got his gun on them. And right when he's about to shoot the hands drop for the buckshot hits the the lock breaks that the the main people, the main kid, the main people on the stairs kid grabs fool and sucks them like kind of pulls them back in. So I mean at this point they are fully aligned, the kids are working with fall and everything.
But I thought that was kind of a cool little, you know, just a cool setup, basically. Yeah.
Man, here's Booker and Ruby. Call for four at the basement door. Kind of go running up. I like I love it. Like he's he's coming at them. He's got a shock and everything. But I love the fact that, like, I think Booker or somebody has a gun, but like they're so shocked by the image of a man running at them. Booker just fucking close the door. But it's perfect. It hits man right in the head, sends him back down again.
He just gets abused by everyone. This entire fucking movie man falls back down the stairs. It's obviously a stunt double. You can tell it's not. MacGill forced to fool tells one of the boys that the door is unlocked and can and they can escape to the sun, to the birds and the women.
I mean, you know, and then and then they they show the one guy's face and he's just like, you know, I know I now I'm like I but I love that love feels like in the women hashtag priorities.
In exchange, the boy kind of shows for where the vault is, but it's booby trapped and it's a nice little callback to Leroy and feels like, oh, I, you know, I know how to take care of this because I was like you said something like I was trained by the best or something like that. I was like I like that is look back to the Leroy, although for all he does is rip out the wires. Not very subtle, but OK, disabling the trap.
He's about to do something a little bit that I'm like, whoa, you know, a lot of time to be doing what he did.
Yes, I am 100 percent with you there. We will call that out when we get there. But I am with you and I know what you're talking about, or at least I think I do feel goes into the vault and we see, like, all this money.
I mean, it's just piles of money and everything. And this line didn't mean as much to me when I was younger as it does now.
Before says, no wonder there's no money in the ghetto and it's like shit like that, it's yeah, this movie that we kind of like, yeah we're we're picking apart Wes Craven's faults here and there with the script and stuff.
But yeah. Where the movie needs to to be good. It is, you know what I mean. Totally.
Totally. And again and it doesn't take away from the overall film. No. But again and also we are 100 percent honest on our podcast. We're not going to glaze the donut and just be like, oh, man.
Yes. You know, but we also are honest in a positive way.
Like, yeah, we always point out the shit that we love. And as a as a personal favor to me, can you do sling blade anglaise the donut?
No, we don't. We don't. Digitalized anybody doughnut. Mm. We get we get that doughnut glazed and it's good. We put it in our mouth and get glazed all over a mile each entire doughnut.
If I just sit here just keep going. Right. Yeah I will. OK, ok.
Upstairs from your shop or upstairs Ruby and Alice hear the door close and they think like woman went outside out the front. Ruby goes outside and she's like, you know, asking around where would that bitch go? You know, did you see her come out here? And the fucking door closes right behind her.
Now, I will say I will say I did you hear in the crowd somebody said she's still inside. I like that. That was fucking cool. That was cool. Yeah.
Alice is still in the house, though. Unfortunately, Alice tries to use the security system, but it's been overwritten now. I do. I am amused by the fact that there is like a a computer voice saying, you know, something like an over like who the fuck put that in there?
You know what I mean?
The same person that gave basically gave them all that unlimited cash in the basement.
I guess that's true. Then you know what? When you have that much cash, you can hire somebody to record anything you you want them to say.
So because the thing is, clearly that fucking security system is like proprietary. It's not like it's something they probably had to build themselves. It wasn't like to hired somebody to do, you know.
Yeah, there there are some there are some smart inbred morphos.
They are. They are. So now, you know, the security system doesn't work. It's been overridden. Alex walks in, Alice walks into the kitchen and finds a woman with a knife.
And I mean, just a great shot of like she's like, I see you. And the woman's like, I see you two. And then pulls the knife total. What is it, Mommie Dearest type of scenario.
Just screams with the knife, right? Yeah. She her hair is crazy. Her makeup is crazy. Everything. And she starts chasing Alice. She kind of stabs the door. Alice Alice goes for the stairs. Woman kind of tackles her on the stairs and the wrestling they're about to fight and all of a sudden boom, a hand breaks three breaks through the stairs and grabs a woman's hand, you know, with the knife and then just starts biting.
It's the main guy. It's the main people in the stair kid. You know, he kind of comes out of the stairs. Woman is sort of like running around the house. And as she's running around the house, just kids are breaking out all over the place. It's really fucking cool. And she just gets kind of getting attacked and everything. This is the one time where she's on the ground like struggling and trying to get away. And we're like one of the kids, you know, shirt gets lifted up and even though their hands are all pale, their body was like perfectly tanned.
And I was like, oh, you're an actor. You're you're going to go back to your trailer after this.
But but it's cool.
It's fun. I don't again, I don't give a shit. It's fine.
But as she's running away and everything, she finally she runs into the kitchen and basically runs right into Alice's knife, like Alice has her knife, like, sort of sticking out, you know, and she says, But I'm your mother. And this is when Alice is like, you're not my mother. And the woman kind of pulls the knife out of her, out of her stomach, screams to attack Alice. But the kids, like, kind of grab her and surround her and everything.
As she's screaming downstairs in the basement, man yells, Mommy, you know? And then fucking woman's dead body gets rolled down the stairs with all the kids are there and everything you can see, they're fucking throat is like all torn out and stuff. It's really cool. I like that. Back in the vault for finds a box of dynamite, it kind of moves the topic. Coins fall off lurks man man turns around, goes back in there, a bus into the vault and he hears coins falling.
He's kind of following the sound and he's like, Oh, I know what you're doing. You're counting the. Coins, I've done that, I've done that a thousand times, I'll do a thousand times more, and when he rounds the corner, he sees that the coins have been stuck into a three candles. And as the candle is melting down, the coins are releasing and falling. But the problem is a. When did you have time to do this?
Have you ever tried to jam coins into, like, solid wax and see like the like the wax isn't going to melt that fast to get to the ones in the bottom, you know? Yeah, even as a kid, when I was watching it, I was like, it's a clever idea. I get what you're trying to do. I totally understand it. But no way, shape or form would fool have the time to concoct such an elaborate trap.
Also to you'll find in a second, he also like restrung the dynamite and liveried wire that it's like. Yeah, and I think to your point that you made at this point two hours ago about how like in like the time that we live in now, not only. Like, not only our movies can be a bit more brutal and they don't have to, like, have this unwritten rule of inserting comedy to trying to break the tension, but at the same time, I feel like movies nowadays try to be much more realistic.
Back in the day, this kind of shit flew. We were like, yeah, no problem. I don't think a setup like this would fly today.
No, no, it yeah, it you let it go because you're like, OK. We're going to get to the pay off, but it's so implausible, so implausible, and I get it, I get it, the whole thing is make believe and it's in its fantasy, its twisted fantasy.
But come on, like this is we're talking a matter of not minutes, but more seconds of him coming down and discovering this.
This is really over the top. You get to really suspend your disbelief. I'm OK. I like it. I like it. You can be wrong. But again, it's more just like but don't stroke me and be like, oh my God, it's so fucking good.
Like, no, it's awesome the idea, but the real the realistic side of it is way off.
I mean, if we're going to fucking talk about people intercessors for four fucking hours, we can't let this shit slide.
And the thing is, like, my thing was like, why bother putting them all the way at the bottom? Like the three candles had like a total of twenty coins, like just put like four in there, you know what I mean?
Like I, it just it was too much, too much.
It would have made more sense if he had. I'll give it, I'll give you this. It would have made more sense if he, if he had the dynamite wired.
OK, but then he's throwing coins. Yeah. He's in the corner throwing the coins you know, and then he's hearing the coins clink clinging and whatever. He walks over that and boom.
But but as we said, the very beginning, this podcast, there's some things that Wes Craven doesn't care about and there's some things that he does care about. And you know what? In his defense, he made the more interesting choice. He made the more fun choice. And, you know, I think he did spend more of his energy trying to, like, impart the moral like this. This shit wasn't as important to him as like imparting the moral of this movie onto the audience probably was totally, totally, of course, false.
Kind of like outside of the of the vault and yells, Hey, man, spins around with the gun. But Fool is holding the two wires, the booby trap wires really close together, you know, implying that, like, if he shoots, you know, blow us all up specifically. That's what he says.
But Fool tells him to drop the gun. But man, kind of like there's like this back and forth.
He's like, I don't want you. I don't mind killing you. You know, I don't really like you much either, which I enjoyed. But man tries to make his move and full of clicks, the wires together, dives out of the way, blows the whole fucking thing, sends man flying through the air and into the fucking pit in the basement. It sets off the explosion, sets off a chain reaction of the other pieces of dynamite in the house.
First of all, I thought that that trap blew up all the dynamite. It was this viewing, my very last viewing that I noticed that the explosion rattles the the the the door that's in the attic that we saw the dynamite on.
So, like, I like that the explosion rattles it, triggering it, I don't think. Yes. Well, like, was trying to do that much damage, but I never noticed that the first time I thought they were just all like linked together. And then this is like, why like why did Wes Craven take the time to show that, you know, like, why did he make that work so well?
But yet the coins falling thing we had to like, really, really just like, you know. But. Oh, well. We have a shot of like man, kind of like holding on to the pit and kind of slumps slumps into and just kind of falls into it for gets up and Alliss rushes down to help him outside. Everyone is kind of picking up the money because the top blew off the building and like, you know, raining down money and noticed nobody notices the the zombie looking kids kind of going out into the night because they're so, you know, they're so into their money.
But like, yeah, the kids, they just I like how they just go off into the world.
We don't know what's going to happen to them. The kids go off into the world. You don't see. Fools family searched for him and find him. But you do see everybody picking up the money and going nuts for the money. So on one hand, I understand the idea of like we're poor and we want money.
But it's also a little this wouldn't fly nowadays, in my opinion, because this shows this shows a side, a cliched side of people in the inner city, people who are deprived, like all they care about is money, you know, like versus like the reality of what I would have liked to have seen a resolution with his with his with his sister and his grandpa. I would like to seen that personally.
And I I am completely with you. I, I dare say this ending almost it doesn't, but it almost undercuts the entire movie.
And I think in 1990, in 1991 it worked like it wasn't a problem. But now in 20, 21, I'm like, well why aren't they like I wish the message that that Wes Craven was putting forward was that money doesn't solve everything and that, you know, like there are is more important things than money. But at the end, yeah, they're all just grabbing the money. And you're like, huh? Well, then like I think at the time he was trying to like, say, hey, let's give the money back to the people that need it.
Right? Yeah. Yeah. But now it plays a little bit differently, you know, like it does just. It really does. Yeah.
But I'm OK. I'm OK with that. Like I understand, you know. And the track that's playing at the end, it's the song called Do the Right Thing and it's like, well, you're not doing the right know that track.
I wish that track was not on the movie at all. No, no. It's bad because because you actually end it.
I guess there's four tonal shifts because at the end it's suddenly like a dead end and then it becomes like a house party with kid and play or something.
Yeah. Or the end of Monster Squad, you know, or the monster rap is playing. And that fit for that movie because that movie is a comedy horror comedy. This this is more like horror parody in a way. You know, twisted horror. Yeah. Yeah. It doesn't take away at all. No.
Overall for me but I think but I think it's very much a product of its time.
Yeah. Totally. Yeah. Yeah. And and it does feel dated in that sense. Just that. Yeah.
Which is weird because there are a lot of moments in the moment. There are a lot of moments in the movie where I was like this is like a 1991 movie, you know what I mean. Like it had some very progressive ideas. And then I just felt like you had that at the very end. Just again, it doesn't, but it almost literally derails the entire message the movie's trying to send.
Yeah, yeah. But overall, I got to say, I know for a fact that I enjoyed this movie when I was younger, more than you did. And and I it was a movie that I found to be very fun. And Luke and I quoted a lot, but I realized when I was watching this with my wife because she was like, oh, I love this movie as a kid. Oh, she was like, oh, I know what's coming.
And she was like into it. She loved it, but she watched it a lot more than I did. I realized I hadn't seen this movie probably since like 1997 or 1998 or something. And all I've been saying for the past few days, this viewing had me made me really fall in love with this movie. I can't even begin to tell you all of it, even with all of its faults.
How so? Just tickled. I am with this film, how much I enjoy, just how much I enjoy hating Everett McGill in this movie, how much I enjoy hating Wendy Roby in this movie Man and Woman. They're such a they're just such great characters to hate.
And I feel like you don't hear people talking about this movie a lot, although in the circles that we run in on online and everything, whenever it does pop up, people are always like, oh, I love that movie, but it's not one that pops up a lot.
And and while I'm watching these, you know, a few viewings here before we review it, I don't ever hear anyone talk about Everett McGill, you know, as a villain and stuff.
And I'm like watching this movie. I'm like, he should be up there with, like, just some of the great movie villains of all time. He's so much fucking fun to watch in this movie. But maybe it's because of the humor. Maybe it's because of his character is abused so much.
But I still think he was still effective, even though he was funny.
But I think, you know, with all of that, it was probably. It was there to service, you know, full it was there to to make for the hero that we want them to be and ultimately as the anchor for the film, I think he's fucking fantastic. I love that actor in that role. Like you, I've never seen Mighty Ducks like you. I've never seen the sandlot. I know it has something to do with a big dog or something.
I don't know. In baseball. Baseball. Yeah, yeah, yeah.
But man, he's fucking great. Dude, he is a kid actor in this role. He doesn't fucking make this movie worse. Right. Like like he doesn't bring this movie down at all in AJ Langer's great fucking Sean Whalen's. Great. I think everyone's fucking great in this movie. It is a fun, unique film that just there's nothing like it out there at all.
Yeah. Totally agree. Totally agree. It's it's a it's fun. It's unique.
It's it's, you know, a little dated in some respects, but overall, I think it's super enjoyable.
And, you know, ironically, it's the 30th anniversary. Yeah.
Yeah. Twenty, twenty one. So there you go. It's kind of perfect timing wise to air this movie. And and it's a good snapshot as to what Wes Craven was doing in the nineties, you know, because he took a little bit of a hiatus and then he came back with new nightmare and then ultimately scream where he quote unquote, reinvented the genre. He didn't. But he definitely, you know, changed it up enough to to to give it a little boost.
Again, you know, Wes Craven is he he's he's a horror icon. And this is this is a good example of his originality. And I loved it more this time than I did back when I saw it back in the day, I probably seen it three times and definitely the third time was the charm.
Oh, that's cool, dude. I'm I'm glad I'm glad that that, like this time was was the time that it kind of connected with you. Yeah.
I just I don't know overall, you know, fortunately with this podcast, we we dig deeper in our analyzation of a movie and, you know, whether what works and what doesn't. And overall it works. So I, you know, give it to. Severed thumbs up to sling blades. Up next, Yamashita's movie Immigration Didas and Habesha over Diet Coke to watch the calories that go into my body, make sure I watch people under the stairs and see if I could recognize a cousin or two that had been underground.
I do want to point out there is one really quick one. When he killed his dog, when he killed Prince and he goes in that room, there's pictures all over the walls of all his.
And it's such a it's a really short scene, but there's pictures all over the walls of all the people that have been there. It's like he took photos of all the people he's killed and kidnapped over the years.
Oh, I didn't I didn't notice that. If you pause it, if you pause it, you can see just like snapshots of people on the wall. That's cool. That's cool. Again, I wish they would have gone a little more into that, but yeah.
Well, maybe that's what Wes Craven wanted to do on the TV show or something. It's very interesting how how how some some parts of this movie, Wes Craven, really focus in on. And in some parts he's like, yeah, that doesn't really matter. We'll just we'll just slide past that real quick.
Yeah. You know, if you're going to remake Black Christmas two times within a 10 year span, which is a joke. Like what? A waste of money, in my opinion. What a waste of money they remade that it's been. Black Christmas has been remade twice in the span of ten years or less less than that even, which is ridiculous. Then remake this, but give, you know, the director of your next what is it, Adam Wingerter, I think.
Oh, yeah, I think so. He did the guest and yeah. You're next. Yeah.
And I think he's doing super. I think he's doing a superhero movie coming up. No, no, no sorry. I think he's doing the Godzilla Kong movie I think.
Oh is that oh is that him. OK, but by the way, I just watched that trailer today. Looks fucking bananas.
Yeah. That looks dalek's fun. You know, I'm not going to risk covid to go.
No, no, no. I have it. We have HBO, Max. I'll just watch it on my fucking TV. I got no problem with that. I can be I as fuck when I watch that movie.
Yeah. First of all, Adam Winger's directing that, OK, Weingard is the fucking man. I think he's, you know, next to Steven because Dansky he's, you know, one of the best young filmmakers out there today. Yeah. You know, your next guest VHS, you know, come on.
And by the way, we've said it multiple times, but we absolutely, positively will be reviewing the guest on this podcast. Zach and I both adore that film. We both have the Cavity Colors T-shirt. We're just massive fans of the guest. Honestly, I love your next as well. I mean, if this if this show goes even further, then we'll probably get to that one as well, because that movie's fantastic.
Yeah, I want to cover all those. I would love to cover it follows. I know he didn't direct that, but, you know, that movie's brilliant. Yeah, but but yeah, if he was to do a remake of this, I would be totally down for that.
Yeah. With with knowing today's, you know, with what tonally shift would shift today.
Yeah. Like go you're doing dark humor. Do your today. Yeah. Yeah. Do it today to try to the today.
And you know what you should do today.
Check out to Dorothy Doodler late for years and Eddie podcast that Jack Shafer does while they talk about 80s movies and they interviewed ladies actors. Hmm.
And in fact, do you think Dustin, do you think, Dustin, what you plug into real life in Sling Blade Voice, are they gay?
We really appreciate your concern.
And, you know, we we were 80s throwback, just like Billy Bob said there. We got an interview with Gabe Jarret, who played Mitch in Real Genius. This guy really doesn't do a whole lot of interviews.
It's for me, it was a huge get you down. Yeah, I did track him down.
There's a long story about how I got him on there. We got an upcoming interview by the time this airs with Keith Coogan. We're actually doing a fun episode. We always kind of connect the interview to an episode with the interview. That makes sense. Right.
And so we've got an upcoming interview with Keith Coogan from Don't Tell Mom the babysitter's dead.
This done man, you're dead, man, and adventures in babysitting and toy soldiers. And he actually spends most of the interview talking about his his grandfather, Jackie Coogan, who was Uncle Fester on The Addams Family. And he talks about more of obscure of some of the obscure movies that he did. It's a great interview that'll be upcoming.
But to coincide with that interview, we're actually doing a fun. Concept and the concept is this is an exclusive, it's our top five Keith movies.
OK, and so our favorite Keith actors, actors that either start with the name Keith or end within else and are not going to spoil any more than that.
I'm just going to say it's going to be a fun top five and that'll be our upcoming one.
But yeah, check out two dollars later.
We go to our Instagram page, give us a follow up, give us a like all that good stuff. Yeah.
You know, we try to keep it light, keep it positive, just like we do on this one. There's enough negativity in the world. We need more bright spots.
Yeah. You guys aren't snarky, snarky at all? No, dude, because, I mean, we know a shit ton about movies. I'm not going to I'm not going to lie. You and I both. Yeah. And Dustin and I both.
We know a lot about movies. Do we know everything about movies. No. But do we have a good time. Yeah. Do we need more good times in the world. Yeah. Yeah.
In fact you know something else that is a good time in the world is talking about Seinfeld, talking about Seinfeld.
And Corey, don't you do a podcast about Seinfeld?
Yeah, well, there was something called Cartwright Seinfeld podcast. Don't make your voice.
You know, like you can't do it.
But I did so.
Yeah. Me and Adam made our pal Adam talking about fucking Seinfeld every single week. We just just wrapped season five. So by the time you're listening to this episode, we will have, I think, our Season five wrap up show will we'll be coming out this week. Then we are going to be on the season six and we are actually going to be starting something a little different. But anyways, go check that show up. You'll enjoy it.
Seinfeld, it's good times.
But Zach, we got a shit ton of stuff going on over here at Podcast's after dark rampage. We got some interviews coming up. We got some in the can. By the time you listen to this, I think our Thomas G. Waits interview will probably be dropping very soon by the end of the month for sure. And next month, it's already in the can. So we can say it. We got Scott Valentine. You guys know him as Nick Moore from Family Ties, which was just he.
All right. Look, guys and gals, everyone we've talked to has been awesome, right? But Scott Valentine was like a next level nice guy. Like he was so incredibly nice to talk to. He was so fucking cool. You just it was so easy. It was so fucking easy. Seriously.
So that's going to be coming out next month. I think you guys are going to really enjoy that. We have a another interview lined up that Zach and I are going to be recording. I think this weekend or this weekend will reveal who it is very soon.
We don't like to say until it's actually in the can cause.
But but because we're professionals like like Hicks says, we don't get angry. We're professionals. But I have a hard target reference for you. But it's going to be a fun one and I think you guys are going to like it.
It's actually has a connection to Wes Craven. A big connection, a big, very big connection, so, yeah, so we have some good shit coming. We have, you know, check our Patreon page out. We got so many interviews at this point. When you subscribe at the at the interviews after dark level, you already have instant access to incredible interviews like Tom Matthews, Stephen Kust Dansky, Diane Franklin, Zach Ward, Richard Band, fucking Jonathan Stark, Steven Jefferys, Tony Timpone.
My God, we have we have over a year's worth of interviews over there.
It's an incredible value for five dollars a month.
Yeah. Become a patron after dark.
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