WEBVTT 00:00.031 --> 00:10.022 [SPEAKER_03]: I think what it's saying is that everyone has a grappling hook, and that's what I mean. 00:10.042 --> 00:18.592 [SPEAKER_03]: Welcome to Rectopia, a happy home for recommended movies, TV shows, music, video games, foodstuffs, and more from three people you can definitely trust. 00:18.952 --> 00:27.962 [SPEAKER_03]: Trustability varies by region no guarantees implied. 00:35.536 --> 01:03.501 [SPEAKER_02]: And now here are your hosts, Chris Akinson, Jeremy Scott, and Erin Dyson. 01:03.481 --> 01:04.542 [SPEAKER_02]: That's right. 01:04.662 --> 01:05.082 [SPEAKER_02]: That's right. 01:05.122 --> 01:12.949 [SPEAKER_02]: We'd also like to welcome chat who have come out here to watch us talk about movies on a Tuesday a little bit late Because yes, Comcast is the thing. 01:13.109 --> 01:19.135 [SPEAKER_02]: Comcast is the sin for reason But welcome chat for coming out here. 01:19.175 --> 01:19.995 [SPEAKER_02]: Thank you for coming out. 01:20.055 --> 01:29.323 [SPEAKER_02]: We appreciate you Let's get on to our small recommend Don't beat you It's so small and light it's small. 01:29.384 --> 01:29.964 [SPEAKER_00]: It's tiny. 01:30.004 --> 01:30.585 [SPEAKER_00]: It's petite. 01:30.605 --> 01:33.387 [SPEAKER_00]: It's we and Aaron what do you got? 01:33.620 --> 01:37.645 [SPEAKER_05]: Ah, boy, oh, boy did I love Predator Badlands. 01:38.305 --> 01:43.952 [SPEAKER_05]: Oh, I have to say, I try to admit my biases where I can. 01:43.992 --> 01:46.835 [SPEAKER_05]: Dantracked in Burgers an absolute bias for me. 01:46.935 --> 01:51.160 [SPEAKER_05]: I have been following him well before he was a known director. 01:51.280 --> 01:59.610 [SPEAKER_05]: He was a part of a show called The Totally Rad Show that was right on the cusp of like when the internet started giving us podcasts and video podcasts and 01:59.590 --> 02:08.527 [SPEAKER_05]: was one of the first video podcasts I ever watched and it was just three guys talking about movies. 02:08.748 --> 02:15.962 [SPEAKER_05]: I mean, you know, now every podcast is three guys talking about movies, but including this one. 02:15.942 --> 02:32.938 [SPEAKER_05]: uh... but uh... but man do i love dandracked inburg and even in those days it was clear he fought deeply about how to make movies and it's no surprise to me that he is now making really good movies um... so onto the movie itself uh... it is 02:33.948 --> 02:38.196 [SPEAKER_05]: it is so much more Spielbergian than I expected it to be. 02:38.396 --> 02:40.720 [SPEAKER_05]: It doesn't feel like the first predator. 02:40.981 --> 02:42.944 [SPEAKER_05]: Like that could be seen in the rating. 02:42.964 --> 02:47.673 [SPEAKER_05]: I think it's PG-13, not R, you know, that doesn't mean it's not violent. 02:48.054 --> 02:53.483 [SPEAKER_05]: You can put a lot of violence in a PG-13 movie and there certainly is a predatory violence or predator violence. 02:53.503 --> 02:55.467 [SPEAKER_05]: I should say in this movie. 02:55.447 --> 03:24.120 [SPEAKER_05]: um... but it is also so focused on the character work of the predator uh... himself that i was just i was blown away uh... this movie is tight it's fast it's fun uh... there's action there's humor uh... and uh... alfanning brings uh... a lot of it to life uh... i won't i don't want to spoil a lot because there are some surprises in some fun through the 03:24.100 --> 03:32.051 [SPEAKER_05]: Predator goes to, you know, the Australia of planets and tries to bring home a prize. 03:32.151 --> 03:33.933 [SPEAKER_05]: So yeah, this is good stuff. 03:33.953 --> 03:34.914 [SPEAKER_02]: I want to see this. 03:34.934 --> 03:38.659 [SPEAKER_02]: I'm way way behind on everything after prey. 03:38.719 --> 03:46.750 [SPEAKER_02]: I know that's just two movies, but I'm still, I haven't still haven't seen that animated one that came out earlier this year either. 03:46.730 --> 03:48.632 [SPEAKER_02]: Need to see that and then see this. 03:48.912 --> 03:53.057 [SPEAKER_02]: I guess I don't think you need to see the animated one to completely related one, right? 03:53.277 --> 03:56.560 [SPEAKER_05]: Yeah, there's not even like a winker and odd to it, honestly. 03:56.881 --> 04:03.628 [SPEAKER_02]: Yeah, so I figured that was kind of a sort of a tangential thing, but yeah, this has been on my less for a while. 04:03.688 --> 04:12.417 [SPEAKER_02]: I've seen trailers for like the whole year it feels like, so yeah, I'm definitely going to get a, uh, make some time to watch this. 04:12.397 --> 04:26.813 [SPEAKER_03]: I'm both excited and nervous about the merging of the wail and like alien stuff with like it excites me, but we've done it before and it was bad, it was so bad. 04:27.233 --> 04:35.683 [SPEAKER_03]: But this time we have somebody in Fettiovarez and somebody over here in Tractionburg controlling both franchises and doing a good job. 04:37.424 --> 04:38.826 [SPEAKER_03]: But I know like 04:38.806 --> 04:44.575 [SPEAKER_03]: I know there's a lot of supposed to be a lot of links to like wailing corporation in this movie. 04:45.096 --> 04:46.679 [SPEAKER_03]: I'm not both excited to meet end. 04:47.420 --> 04:51.106 [SPEAKER_03]: Makes me nervous for the future, but I have heard mostly good things about bad lands. 04:51.126 --> 04:51.546 [SPEAKER_03]: I'm excited. 04:53.369 --> 04:57.135 [SPEAKER_02]: You don't want any more AVP rec way on the movies. 04:57.296 --> 04:58.357 [SPEAKER_02]: That's what you don't want. 04:58.377 --> 05:01.122 [SPEAKER_03]: And honestly, I don't think we're going to get that. 05:01.202 --> 05:04.948 [SPEAKER_03]: If they do merge them again, I think it will be a much higher quality film. 05:05.114 --> 05:09.640 [SPEAKER_05]: Well, you know, I wasn't necessarily going to mention, because I didn't know that going in. 05:09.660 --> 05:11.982 [SPEAKER_05]: And it was a huge surprise to me, and I was worried. 05:12.022 --> 05:13.144 [SPEAKER_05]: But no, no, no, it's good. 05:13.504 --> 05:16.528 [SPEAKER_05]: I think, again, I don't know what people are usually know. 05:16.588 --> 05:18.450 [SPEAKER_05]: It might be in the trailers for all I know. 05:18.510 --> 05:19.592 [SPEAKER_05]: It's absolutely in the trailers. 05:19.612 --> 05:23.817 [SPEAKER_05]: OK, so yeah, I wouldn't consider that a spoiler than for most people. 05:24.918 --> 05:30.805 [SPEAKER_05]: But I will say that this movie handles it as just an acceptance that they're in the same universe. 05:30.885 --> 05:34.750 [SPEAKER_05]: It's not making a big deal of, you know, 05:34.730 --> 05:36.593 [SPEAKER_05]: what that is. 05:36.653 --> 05:42.082 [SPEAKER_05]: It's just, oh, yeah, these, these two things exist in the same universe and they intersect here in this way. 05:42.342 --> 05:47.009 [SPEAKER_05]: And I think that's how it'll be going forward, whereas Alien versus Predator was like Jason versus Freddy. 05:47.029 --> 05:54.742 [SPEAKER_05]: It was just like, we're gonna force both these things into a battle with each other, you know, like, and yeah, so I think it's a little bit different now. 05:55.763 --> 06:00.130 [SPEAKER_05]: It'll be interesting to see how that world building continues. 06:00.110 --> 06:04.477 [SPEAKER_02]: Yeah, I did huge box office over the week. 06:04.557 --> 06:08.983 [SPEAKER_02]: Yeah, I was a big huge surprise to be a big hit too. 06:09.124 --> 06:11.908 [SPEAKER_02]: Sometimes something didn't use box office. 06:11.928 --> 06:15.573 [SPEAKER_02]: Yeah, that's well, they were bracing themselves for that after August. 06:15.674 --> 06:18.938 [SPEAKER_02]: They were already saying, well, we don't have anything good coming out. 06:18.979 --> 06:21.783 [SPEAKER_02]: Let's come out with a bunch of old stuff and hope people will come see it. 06:21.943 --> 06:27.231 [SPEAKER_02]: You know, they started doing that re-release strategy for the last two months. 06:27.734 --> 06:36.492 [SPEAKER_02]: I think they expected a couple of other things to kind of hit along the way, but the conjuring really, the conjuring three or four or whatever did well. 06:36.713 --> 06:39.639 [SPEAKER_02]: I think that was the last thing that really, really did well. 06:41.062 --> 06:42.705 [SPEAKER_02]: But that was like in September. 06:43.259 --> 06:44.321 [SPEAKER_03]: Jeremy, what do you got? 06:45.082 --> 06:58.962 [SPEAKER_03]: I happened to see a couple of days ago that I had not seen since it was first released that I did not enjoy it the first time because I'm guessing I was just not in the right frame of mind. 06:59.082 --> 07:02.287 [SPEAKER_03]: I can't remember why. 07:02.367 --> 07:06.734 [SPEAKER_03]: I just remember that I shared a negative opinion about it on a previous podcast. 07:06.834 --> 07:09.638 [SPEAKER_03]: But it's American made a 2017 Doug Lyman film. 07:09.618 --> 07:26.323 [SPEAKER_03]: No, it's a Tom Cruise, the lesser known Doug Lime and Tom Cruise collaboration, but this is based on a true story about a TWA pilot who was recruited by the CIA to be a career to Noriega. 07:26.343 --> 07:27.745 [SPEAKER_03]: I think it's Noriega. 07:27.725 --> 07:49.079 [SPEAKER_03]: Now I'm talking out of my ass, hang on, all right, and then on one of these trips with this secret plane, he gets captured by the cartel and they're like, hey dude, why don't you take some cocaine back to America for us and he's like, okay, I got a hole in the bottom of my plane. 07:49.099 --> 07:51.623 [SPEAKER_03]: I'll just drop it in the bio and you can have your people pick it up. 07:51.890 --> 07:54.774 [SPEAKER_03]: Uh, I know Aaron you like competency porn movies. 07:54.834 --> 08:00.703 [SPEAKER_03]: This movie is hustle competency porn because Tom Cruz just gets stuff thrown at him left and right. 08:00.723 --> 08:08.314 [SPEAKER_03]: The CIA is like, why don't you take some guns down to these uh, countries and he takes some guns to the contras, but it's quickly realizes they don't want these guns. 08:08.374 --> 08:09.176 [SPEAKER_03]: They just want money. 08:09.456 --> 08:14.363 [SPEAKER_03]: So he starts selling the guns to the cartel and it's just every punch that he takes. 08:14.443 --> 08:14.944 [SPEAKER_03]: He's 08:14.924 --> 08:19.690 [SPEAKER_03]: It's been a way for himself to not only get out of it, but find a new hustle. 08:20.291 --> 08:24.196 [SPEAKER_03]: And it's a film that has a lot of surprising humor. 08:24.877 --> 08:29.723 [SPEAKER_03]: Tom Cruise is always magnetic and carries a movie. 08:29.763 --> 08:34.569 [SPEAKER_03]: Donald Gleeson is the CIA operative who recruits him and his name is Schaefer. 08:34.890 --> 08:44.222 [SPEAKER_03]: And there's a scene about two thirds of the way through the movie where he's just dropped this bomb on Tom Cruise's character and he starts walking away and Tom Cruise goes Schaefer. 08:44.422 --> 08:47.146 [SPEAKER_03]: safer, and Donald Wilson just goes, who the fuck is Shaver? 08:47.206 --> 08:50.270 [SPEAKER_03]: As he's walking away, it's just a great line delivery. 08:51.271 --> 08:52.333 [SPEAKER_03]: I really, really enjoyed it. 08:52.353 --> 08:56.919 [SPEAKER_03]: I wish I could go back eight years and ask myself what it was that I didn't enjoy. 08:56.959 --> 09:01.205 [SPEAKER_03]: And I'll never be able to, but there you go. 09:01.426 --> 09:07.594 [SPEAKER_03]: So, American Mate, I want to, on one of the movie channels, but it's on, it's on to be right now if you want to watch it for free. 09:07.574 --> 09:18.810 [SPEAKER_01]: You know, that happened sometimes you just, you do watch a movie the first time and then come back and revisit it and it's like whoa I must have just been in a bad mood that day or something. 09:18.830 --> 09:25.720 [SPEAKER_05]: Yeah, it's it's one of the reasons I started the few years ago Doing like one or two sentences about every movie. 09:25.980 --> 09:33.531 [SPEAKER_05]: I watch on letterbox, you know, that kind of thing just so it's been so enlightening sometimes to go back and be like 09:33.511 --> 09:47.352 [SPEAKER_05]: Wow, that's not how I feel anymore, you know, like it's, it really shows in your face like the human tendency towards narrative and, you know, just believing what, you know, you see through the experience you have in the moment. 09:47.872 --> 09:48.393 [SPEAKER_05]: Yeah. 09:48.413 --> 09:50.656 [SPEAKER_05]: I also didn't much care for this. 09:51.718 --> 10:00.070 [SPEAKER_05]: When it came out, I think Tom Cruise is always fun and I thought the movie was kind of fun, but it just kind of, you know, came and went in my mind. 10:00.111 --> 10:01.813 [SPEAKER_05]: So I might have to go revisit it. 10:01.793 --> 10:13.088 [SPEAKER_02]: I revisited a documentary, the best Oscar for Best Documentary in 1996, it's when we were kings. 10:14.970 --> 10:26.485 [SPEAKER_02]: The Muhammad Ali, George Warman, rumble in the jungle and all the lead up to the fight, including showing part of the fight itself. 10:26.465 --> 10:29.508 [SPEAKER_02]: We simply don't have any athletes like Muhammad Ali anymore. 10:29.609 --> 10:41.842 [SPEAKER_02]: If we do, I guess they're suppressed because I don't think we would tolerate this kind of like a braggadoscious type of stuff anymore. 10:42.263 --> 10:54.717 [SPEAKER_02]: On full display in this documentary as they lead up to this fight is Muhammad Ali talking all the trash and doing all the self praise that one can do. 10:54.697 --> 11:01.409 [SPEAKER_02]: Um, this is a fight that takes place in Zair, which is now Democratic Republic of Congo. 11:01.429 --> 11:07.760 [SPEAKER_02]: Uh, but, uh, it's, uh, it tells us the story of how this fight came about. 11:07.800 --> 11:18.679 [SPEAKER_02]: This is, I think just after or shortly after he's been in jail for not going to Vietnam and he's changed his name from Cassius Clay and all of that. 11:18.659 --> 11:34.052 [SPEAKER_02]: And he and George Foreman is an absolute fearsome fighter who has demolished two boxers and right now can't remember who Muhammad Ali thought but had trouble. 11:34.032 --> 11:39.342 [SPEAKER_02]: with those two guys and and form and did just demolish to them. 11:39.582 --> 11:45.834 [SPEAKER_02]: And so like there's this idea that Muhammad Ali is walking into a fight that he cannot possibly win. 11:45.894 --> 11:51.805 [SPEAKER_02]: No matter how much he brags about, you know, how good he is and whatever, but 11:52.257 --> 11:57.704 [SPEAKER_02]: The movie does a really good job of not only setting that up, but setting up the political situation in the country. 11:57.744 --> 12:14.265 [SPEAKER_02]: They're going to, and then there's the delay that happens because Foreman gets cut during a sparring session that leads to even more of fun discussion about Foreman, trying to duck this fight and all of the other type of stuff. 12:14.583 --> 12:26.426 [SPEAKER_02]: But anyway, I love how this sets up the culture and sets up, it's got a lot of great interviews in it from Spike Lee, Norman Mailer, shows up George Clinton. 12:26.466 --> 12:35.443 [SPEAKER_02]: They all have like, you know, a great insight into this fight and what it meant. 12:35.423 --> 12:47.942 [SPEAKER_02]: And I just love also how they break down what Ali does in the ring, what's the strategy going to be? 12:48.143 --> 12:50.947 [SPEAKER_02]: And what is everybody planning on him to do? 12:51.047 --> 12:55.474 [SPEAKER_02]: And I would say if you don't know what happens in this fight, 12:55.454 --> 13:19.437 [SPEAKER_02]: Don't don't don't don't don't look it up because it's one of those things where you I was I had forgotten because I Lee certainly lost a sheer fights and he won a lot of them of course and whatever So I was just kind of looking at this going oh, wow, okay, well, let's see kind of do what is it what's what's this fight going to be like and all that and so So that was that was sort of my my 13:19.417 --> 13:23.966 [SPEAKER_02]: what I, how I went into this and everything, but this is a great documentary. 13:23.986 --> 13:31.581 [SPEAKER_02]: It was very well deserved Oscar, I think, and just endlessly entertaining, and it's an hour and a half. 13:31.821 --> 13:36.210 [SPEAKER_02]: So just just a really good movie overall. 13:36.190 --> 13:37.732 [SPEAKER_05]: It is on my list of shame. 13:38.133 --> 13:38.673 [SPEAKER_05]: It is one. 13:38.693 --> 13:39.915 [SPEAKER_05]: I am ashamed to haven't seen. 13:40.316 --> 13:45.603 [SPEAKER_05]: I know it's really good and I hope to pop it on sometimes soon. 13:45.643 --> 13:52.792 [SPEAKER_03]: Don't feature it with Ali because that movie spends a lot of time on the time and Africa for this fight. 13:52.812 --> 14:06.130 [SPEAKER_05]: Yeah, yeah, during the same time, I just saw Christy, the Sydney Swini box, you know, real-life box movie, and as I was watching, I actually thought of Ali 14:06.110 --> 14:31.442 [SPEAKER_05]: that whole thing you're talking like boxing became synonymous with brakido show with you know all these kind of in it the entertainment of you know i'm going to kill you take you down you know uh kind of stuff uh and it's that christie uh character the real-life person was also like that in her matches her fights um so yeah i thought of all the a lot while watching that movie so yeah i i really i really want to see this 14:31.827 --> 14:40.280 [SPEAKER_02]: Alright, let's get on to our big recommend, which is elevator to the gallows, and this was Aaron's pick, so Aaron, take it away. 14:40.740 --> 14:43.404 [SPEAKER_00]: I'm fine, I'm fine, it's just that you're so big. 14:43.645 --> 14:44.947 [SPEAKER_00]: It's so huge. 14:45.087 --> 14:47.210 [SPEAKER_00]: It's a good rule, but it's bigger than rules. 14:47.390 --> 14:49.013 [SPEAKER_05]: It's bigger on the inside. 14:49.033 --> 14:49.473 [SPEAKER_05]: Is it? 14:49.594 --> 14:50.595 [SPEAKER_05]: I know this. 14:50.575 --> 14:59.021 [SPEAKER_05]: Elevator to the gallows is a 1958 French noir and the directorial debut of 24-year-old Louis Mall. 14:59.582 --> 15:03.775 [SPEAKER_05]: So clearly if you haven't made a masterpiece yet and you're over 24, I'm sorry to say it's over for you. 15:03.957 --> 15:13.546 [SPEAKER_05]: The movie starts with the zoomed in closed eyes of Florence, played by the then mostly unknown Jean Monroe, talking to Julian about how much she loves him. 15:13.686 --> 15:24.796 [SPEAKER_05]: We think maybe this is pillow talk, and they're in bed together, but as we zoom out, it's revealed she's talking to him on the phone, from a pay phone, in fact, about how daring he is for this unknown thing he is about to do. 15:25.436 --> 15:33.964 [SPEAKER_05]: The credits then roll as she and Julian continue their conversation in a slow fade, 15:33.944 --> 15:40.774 [SPEAKER_05]: As we get back to the conversation, it's clear that he has a job to do, and she will meet him after it's done at a local cafe. 15:41.355 --> 15:55.237 [SPEAKER_05]: Julie, and then make sure that the office operator will be sticking around, and that no one will be disturbing him in his office, which Winnie goes back into his office, puts on some gloves, and takes out a report, a gun, and a rope with a grapple hook on it. 15:55.437 --> 16:02.668 [SPEAKER_05]: Also, grapple has a silent and in it, like it should be grapple hook, and that's just infuriating. 16:02.733 --> 16:03.755 [SPEAKER_05]: Sorry, I had to say that. 16:04.015 --> 16:12.668 [SPEAKER_05]: Anyways, he walks around this office floor and then one shots a perfect grapple toss to climb to the floor above. 16:13.148 --> 16:22.202 [SPEAKER_05]: Once there he sneaks in a window, he must have left unlocked earlier to the upstairs lobby and buzzes to enter a very nice office which apparently belongs to his boss. 16:22.783 --> 16:31.255 [SPEAKER_05]: He hands him the report about project pipeline but as he finishes reading the report, 16:31.235 --> 16:34.159 [SPEAKER_05]: We find out that it is the boss's gun, in fact. 16:34.660 --> 16:39.447 [SPEAKER_05]: And one strategic cut to a pencil being sharpened later, the deed is done. 16:39.948 --> 16:44.014 [SPEAKER_05]: Surprisingly, bloodless, but done, nonetheless. 16:44.034 --> 16:51.806 [SPEAKER_05]: Julian takes the report back, makes sure the door locks behind him and heads back down to the office outside, where his phone is ringing. 16:51.846 --> 16:58.035 [SPEAKER_05]: He gets there just in time to answer the phone, and the perfect murder has been completed. 16:58.015 --> 16:59.317 [SPEAKER_05]: or has it? 16:59.337 --> 17:06.431 [SPEAKER_05]: Turns out, oh no, he left the grappling hook in place, but honestly, how was he going to get that down anyway? 17:06.511 --> 17:09.577 [SPEAKER_05]: I can't quite wrap my reminder on how that was going to happen. 17:10.198 --> 17:20.277 [SPEAKER_05]: As he's leaving a young couple below, see him and talk about wanting his life, he starts his car and it's just about to leave when he notices his mistakes still hanging on the railing. 17:20.257 --> 17:25.542 [SPEAKER_05]: No worries, just a quick trip up there and the elevator should take care of everything, so he runs back inside. 17:26.122 --> 17:33.589 [SPEAKER_05]: But before the elevator can reach its destination, the building's electricity is shut off by security, which is apparently a thing they used to do. 17:34.409 --> 17:39.194 [SPEAKER_05]: Julian is now trapped in the elevator and begins the process of figuring out what to do next. 17:39.834 --> 17:49.943 [SPEAKER_05]: Meanwhile, the youngsters named Louis and Veronica decide to take Julian's running vehicle for a joy ride, since he's clearly been held up in the building. 17:50.041 --> 17:57.593 [SPEAKER_05]: They just happened to drive by the waiting Florence, who now thinks that Julian didn't have the guts to pull the trigger and that he is running away with the flower girl. 17:57.913 --> 17:58.654 [SPEAKER_05]: As one does. 17:59.455 --> 18:08.910 [SPEAKER_05]: Luis and Veronica, meanwhile, find a revolver in a spy camera in the glove box and start to wonder exactly what kind of shady stuff this Julian has been up to. 18:08.890 --> 18:18.166 [SPEAKER_05]: back in his tiny prison, Julian continues to try to find a way out, using his lighter, he finds some screws and begins to dismantle the side paneling. 18:18.547 --> 18:20.991 [SPEAKER_05]: He's able to see that he stuck just below the door. 18:21.372 --> 18:26.140 [SPEAKER_05]: He finds the release for the door above him, but there's simply isn't enough room for him to escape that way. 18:26.581 --> 18:31.810 [SPEAKER_05]: And since he doesn't quite have the reach to release the door below him, he is stuck. 18:31.790 --> 18:33.833 [SPEAKER_05]: Florence is also trying to figure things out. 18:34.073 --> 18:36.396 [SPEAKER_05]: She goes to the office, but it's gated. 18:36.817 --> 18:40.342 [SPEAKER_05]: She asks around at Julian's places and no one has seen him. 18:40.862 --> 18:45.949 [SPEAKER_05]: She's confused and hurt and hey, is that an old school pinball machine? 18:45.969 --> 18:48.573 [SPEAKER_05]: I want that old school pinball machine. 18:48.613 --> 18:50.956 [SPEAKER_05]: Sorry, I drifted away there for a second. 18:50.996 --> 18:59.147 [SPEAKER_05]: No worry, I'm sure when I come back Florence will still be moping around the city while Miles Davis and his trumpet improvise the score for all the sometime. 18:59.212 --> 19:07.565 [SPEAKER_05]: As night falls, Lisa and Veronica are still cruising the highway and happened to spot a sexy BMW they tail for a while. 19:08.006 --> 19:18.182 [SPEAKER_05]: They followed all the way to a turnoff that leads to a motel where they rear end the gorgeous car and the German man driving gets out and has whatever the opposite of road ranges. 19:18.482 --> 19:23.530 [SPEAKER_05]: Maybe street smiles, lane laughter, maybe a garage giggles? 19:23.871 --> 19:24.612 [SPEAKER_05]: I don't know. 19:24.592 --> 19:35.105 [SPEAKER_05]: Anyhow, the grand Julian Trevene, even though he is still actually stuck in the elevator, and she is probably still stuck walking around to bars looking for Lauren. 19:35.706 --> 19:43.556 [SPEAKER_05]: The imposter shares some drinks with the German couple except not Louise, he'd rather talk about war campaigns than drink warmsham pains. 19:44.297 --> 19:48.102 [SPEAKER_05]: The ladies discuss the spy camera and notice it has three photos left. 19:48.082 --> 19:49.725 [SPEAKER_05]: So why not take some photos? 19:49.845 --> 19:50.366 [SPEAKER_05]: Who knows? 19:50.607 --> 19:51.990 [SPEAKER_05]: The movie might need them later. 19:52.651 --> 20:00.246 [SPEAKER_05]: Yeah, back in the elevator, Julian is smoking a cigarette in a small enclosed space and doodling what looks to be a letter from the zodiac killer. 20:00.947 --> 20:10.005 [SPEAKER_05]: After leaving the photos to be developed, the girls meet back up with the fellas and the jovial German lets them know he's on to them, but he's not mad, he finds it all amusing. 20:10.238 --> 20:18.872 [SPEAKER_05]: Back in the somehow not smoke-filled elevator, Julien finds and opens the elevator's bottom hatch and lights something on fire to see what we already knew. 20:18.892 --> 20:21.316 [SPEAKER_05]: It's a long way down. 20:22.498 --> 20:28.828 [SPEAKER_05]: He daringly decides to use the dangling elevator cable as a rope and tries to reach the lower door release again. 20:29.289 --> 20:34.217 [SPEAKER_05]: And just as we think that he's about to do a Peter Pan right down this elevator shaft right here. 20:35.038 --> 20:36.921 [SPEAKER_03]: Can I help yourself? 20:36.901 --> 20:42.410 [SPEAKER_03]: I'm gonna try this piece. 20:42.430 --> 20:52.446 [SPEAKER_05]: Then to make sure he's got all his keys back, he switches on the electricity and the dangling Julian is now lowering down to an impending date at the Raspberry Pancake factory. 20:52.426 --> 20:58.201 [SPEAKER_05]: But the night guard saves his bacon by turning the electricity off again just in time. 20:58.783 --> 21:08.629 [SPEAKER_05]: In just in case you were wondering the movie makes sure we know that Florence is still wondering around the streets, desperately monologuing to herself and checking her forehead length and random mirrors. 21:08.609 --> 21:16.506 [SPEAKER_05]: Back at the motel, Luis and Veronica decide to escape the motel at night, but Luis doesn't want to take Julian's car anymore. 21:16.846 --> 21:20.233 [SPEAKER_05]: He wants to sneak off with the sexy PC rear end of the night before. 21:20.795 --> 21:27.208 [SPEAKER_05]: Unfortunately for him, he's terrible with the clutch and it wakes the cackling crowd who then pulls a gun on him. 21:27.188 --> 21:33.194 [SPEAKER_05]: Luis then pulls Julian's revolver and shoots him and his wife six times and drives off with the car. 21:33.714 --> 21:44.184 [SPEAKER_05]: They park at somewhere supposedly in conspicuous and walk back to Veronica's apartment where they converse about their escape as tragic lovers, and whether the police will eventually get them. 21:44.725 --> 21:53.213 [SPEAKER_05]: Eventually they decide death is the only option so they put on some wax and Veronica grabs her suicide kit that she's been saving for just this situation. 21:53.767 --> 21:58.574 [SPEAKER_05]: Florence is now made her way to the police station, likely arrested for playing pinball, I'm guessing. 21:59.095 --> 22:04.482 [SPEAKER_05]: While there, the police let her know that homicide is, uh, that the homicide department is looking for Julian. 22:04.743 --> 22:15.538 [SPEAKER_05]: She certainly thinks it might be for killing her husband, so she says she saw I'm in a car with a young woman, which confirms what the police actually wanted to hear as they have him killing the German couple at 4am. 22:15.518 --> 22:20.003 [SPEAKER_05]: Will the elevator to the gallows now be an elevator to an alibi? 22:20.023 --> 22:22.005 [SPEAKER_05]: Stay tuned. 22:22.025 --> 22:27.531 [SPEAKER_05]: Jonathan, you can insert an ad break here for me on Deez or something, you know. 22:27.551 --> 22:29.153 [SPEAKER_05]: Okay, back to it. 22:29.173 --> 22:39.484 [SPEAKER_05]: The police are collecting evidence and trying to get a firm ID, but the eyewitnesses are having a rare case of avoiding confirmation bias, and aren't sure that's the guy. 22:39.464 --> 22:47.513 [SPEAKER_05]: but with all the other evidence the detective goes full-poirrow and declares with certainty that Julian did it so that the papers can have this info for the morning addition. 22:48.114 --> 22:58.966 [SPEAKER_05]: Julian of course is still in the elevator at work, but the next morning when the police come by he's able to sneak out, not realizing they're here about a crime he didn't commit, not the one that he did. 22:59.467 --> 23:05.033 [SPEAKER_05]: He leaves the building and his car is missing and he wrongly assumes the cops took it for evidence. 23:05.013 --> 23:13.345 [SPEAKER_05]: Eventually, Mr. Carlara's body is found, and the police now have discovered an apparent suicide while investigating the apparent homicide. 23:13.545 --> 23:21.436 [SPEAKER_05]: Fully entries the cloth Florence, and then orders a buttload of quassons, not realizing he's a front-page suspect for a double murder. 23:21.997 --> 23:24.540 [SPEAKER_05]: The police are called, and he is shortly arrested. 23:24.689 --> 23:32.102 [SPEAKER_05]: During the following interrogation, Julian struggles to put together how the truth sees telling or somehow lies now, and the lies he's telling or somehow truths now. 23:32.603 --> 23:44.824 [SPEAKER_05]: He finds out that his secret affair with the boss's wife isn't known, but also that she somehow identified him, and when he was in the elevator, he decides to come clean about being in the elevator, but no one will believe him. 23:44.804 --> 23:49.891 [SPEAKER_05]: After Florence finds out Julian has been arrested, she decides she's going to attempt to save him. 23:50.332 --> 23:55.460 [SPEAKER_05]: She finds out where Veronica lives, uh, from the flower shop, and goes to check on her. 23:56.080 --> 24:00.006 [SPEAKER_05]: Uh, Viro's door is open, thankfully, and she walks in to see her lying in the bed. 24:00.427 --> 24:07.117 [SPEAKER_05]: Louise returns from the bathroom, hence the door being cracked, and she realizes the truth that they stole the car and killed the Germans. 24:07.557 --> 24:10.862 [SPEAKER_05]: She locks them in their own room and goes to tell the police. 24:11.467 --> 24:27.653 [SPEAKER_05]: Unfortunately, she leaves the newspaper behind, so that Louise will now realize that he's not on the hook anymore, but the photos, Veronica still has the ticket to get them, so Louise takes it and uses the spare key that they have in the room to leave and go and get them. 24:28.291 --> 24:33.866 [SPEAKER_05]: Florence who is calling the police from nearby payphone sees him take off and decides to follow him. 24:34.648 --> 24:44.173 [SPEAKER_05]: At the motel, when Luis gets there, he realizes, oh, this was a sting and the photos were already developed in the police already know he was the killer. 24:44.153 --> 24:53.892 [SPEAKER_05]: Florence follows him, and just when we think maybe she and Julian will be safe, the detective shows her the other photos that were on the role, proving that she and Julian were canoeedling. 24:54.413 --> 25:02.989 [SPEAKER_05]: And the same photo role that exonerated the man she loved of one crime has all of the sudden convicted him of the other crime of killing her husband. 25:03.239 --> 25:29.736 [SPEAKER_05]: As the detective explains that he'll only likely get 10 years for the murder, but that she'll likely get much more as the accomplice, she seems kind of okay with it, knowing that at least they will be in it together, because he's no longer working for the boss man, working for the company, and she says girl like an open book to read between the lines, and they will indeed be living it up while they are going down for this, because nothing is stronger than love and an elevator. 25:29.767 --> 25:31.732 [SPEAKER_05]: And that is Elevator to the gallows. 25:32.354 --> 25:46.290 [SPEAKER_02]: Yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, 25:46.270 --> 26:02.659 [SPEAKER_02]: No one is innocent in this movie this is one of those movies where it's that it's basically movie justice like I don't I'm not saying here I am advocating for vigilante justice or anything like that, but 26:02.639 --> 26:17.661 [SPEAKER_02]: This movie has got these people must pay on its mind and the first person who dies in this is an absolute monster from what I can tell behind the scenes. 26:17.641 --> 26:26.976 [SPEAKER_02]: is an arms dealer, is a war profiteer, he's really excited about the fact that France is getting in all these wars. 26:27.718 --> 26:35.931 [SPEAKER_02]: And so, yes, in the eyes of the law or whatever, he's innocent, but not in the eyes of this movie, he's not. 26:36.692 --> 26:43.243 [SPEAKER_02]: And France, the Algerian war gets sort of 26:43.223 --> 26:47.727 [SPEAKER_02]: It's, there's no, uh, getting away from it during this period of time. 26:47.768 --> 26:55.836 [SPEAKER_02]: The, the, that war went on for my think 1954 to 1962, which means they're right in the middle of it during the time this movie comes out. 26:56.857 --> 27:07.047 [SPEAKER_02]: Um, so there's a lot going on here that, that, that war became very unpopular, uh, after a while that was, uh, uh, Algerians fighting for their independence. 27:07.087 --> 27:09.349 [SPEAKER_02]: It was a decolonization thing. 27:09.329 --> 27:20.537 [SPEAKER_02]: And so I do believe that the first victim in this is one that the movie just deems as a monster and probably should be killed But the person who does the killing 27:20.635 --> 27:24.060 [SPEAKER_02]: It also doesn't get, doesn't get off-scat free. 27:24.080 --> 27:27.264 [SPEAKER_02]: You don't get to just kill people and get away with it. 27:27.405 --> 27:31.911 [SPEAKER_02]: And a lot of the time this movie makes it a point that you're never going to get away with it. 27:32.752 --> 27:39.522 [SPEAKER_02]: In fact, the entire thing about him being stuck in the elevator to me. 27:39.502 --> 27:45.298 [SPEAKER_02]: has has a sort of an over-broad symbolism of what's going on in the movie itself. 27:45.418 --> 27:50.473 [SPEAKER_02]: No matter how many times he thinks he's gotten a skate, he doesn't have an escape. 27:50.874 --> 27:53.882 [SPEAKER_02]: You can escape from your crimes is what it's saying. 27:53.963 --> 28:16.630 [SPEAKER_02]: and so like just think about how many times it doesn't matter at what point in time he gets out of the elevator he would have gotten away with all of this because if he gets out before four o'clock and he meets his girl and they're like why don't know where the car is but let's get the hell out of here they have an alibi but they but he stays in there the entire night 28:16.610 --> 28:21.596 [SPEAKER_02]: and then all these other crimes happen in his name while he's in the elevator. 28:23.518 --> 28:32.710 [SPEAKER_02]: Of course, the young couple are not innocent of crimes, and they would be fine too if it wasn't for the fact that they had to go and try to steal this guy's Mercedes. 28:33.771 --> 28:46.026 [SPEAKER_02]: And that's the one that I sat there and I tried to figure out for a while, and I don't know if this is what the movie is saying, 28:46.495 --> 28:56.449 [SPEAKER_02]: The Germans in this movie are driving Mercedes, and Mercedes was very clearly helping Hitler out in World War II. 28:56.990 --> 29:04.100 [SPEAKER_02]: They're one of those big sort of like, you know, German car brands that were helping the war effort and everything. 29:04.200 --> 29:10.309 [SPEAKER_02]: And even the French company that were in no car that's also a part of this, that are in no. 29:10.289 --> 29:29.175 [SPEAKER_02]: uh auto manufacturer was a part of the war war two effort for Germany as well so a lot of this to me sort of like there's a very specific reason why these brands of cars are in here we don't hear what the German couple did now for all I know they are just happy German tourists 29:29.155 --> 29:45.257 [SPEAKER_02]: But you also have to sit here and wonder what they may have done in their lives for for a guy to be able to go and try to steal a car and he'd be so excited or jovial about it when he comes out and sees this kid stealing his car and everything. 29:45.237 --> 30:01.457 [SPEAKER_02]: Um, so I feel like almost everybody who dies or gets punished in this has done something and, uh, and, and, and, and, and so that's what the movie is saying you could, you have to pay for whatever you've done and I, and that's just one of those, the things that just kept. 30:01.437 --> 30:03.399 [SPEAKER_02]: going through. 30:03.439 --> 30:28.930 [SPEAKER_02]: I've watched this movie twice over the weekend and and the first time I watched it I was just I was just enjoying the little plot threads of it where you know just the tiniest of things happen that bring this plot 30:28.910 --> 30:39.027 [SPEAKER_02]: Yeah, what was the plan so like when he climbed when he climbs down he's gonna have to climb up a little bit I think and then jump down or something. 30:39.107 --> 30:40.169 [SPEAKER_02]: I don't know how it works. 30:40.289 --> 30:48.623 [SPEAKER_02]: So That that's always going to be a problem for him in this in this plot 30:48.603 --> 30:54.694 [SPEAKER_02]: But that said he sees the hook from, you know, from down below. 30:54.714 --> 30:57.178 [SPEAKER_02]: He doesn't remember it because the phone rings. 30:57.218 --> 30:58.580 [SPEAKER_02]: I think that's what they're trying to say. 30:58.640 --> 31:00.404 [SPEAKER_02]: The phone rings and he's distracted. 31:00.524 --> 31:08.738 [SPEAKER_02]: So he goes to answer the phone when normally he'd be doing whatever it was he was supposed to do to get that grappling hook off. 31:08.718 --> 31:11.385 [SPEAKER_02]: Um, but he turns on his car. 31:11.505 --> 31:14.272 [SPEAKER_02]: I talk about hubris man. 31:14.312 --> 31:23.875 [SPEAKER_02]: This guy's parked illegally, he turns on the car and he just leaves it running and just goes that goes in there to try to get that hook back. 31:23.855 --> 31:49.176 [SPEAKER_02]: And then, of course, you've got a guy who wants to impress his girl, the girl is sitting there talking about, well look at this trivetanier, he's so smart, he's so handsome, look at him, look at that car, look at all that money he makes now, all that stuff, and so now it's like I can just make that car mine, the guy did turn the key or whatever, push the button, whatever he did, he turned the car on and takes it on a joyride. 31:49.236 --> 31:50.959 [SPEAKER_02]: And, um, 31:50.939 --> 32:02.158 [SPEAKER_02]: And then of course, you know, the, the, the lover sees the car drive away like a very great Gatsby and type of thing sees the car associates it with the man. 32:02.278 --> 32:05.544 [SPEAKER_02]: Thanks, there's, you know, thanks, that's the person that she's in love with. 32:05.684 --> 32:06.265 [SPEAKER_02]: So, 32:06.245 --> 32:21.242 [SPEAKER_02]: Um, so yeah, that was one thing that I got into, but then, uh, there's, uh, then the second time around watching this, just, uh, I, I felt like there was a lot of, uh, things where people are just answering for what they've been doing throughout the whole thing. 32:21.282 --> 32:32.455 [SPEAKER_02]: There's a very good reason why the characters are what they are and this, the, you know, the, the, the, the, the warlord and, and, you know, all these different things that are going on. 32:32.435 --> 32:42.506 [SPEAKER_02]: That was an interesting trip, watching it the second time and sort of seeing how everything fit into that hypothesis that I made for it. 32:42.967 --> 32:47.432 [SPEAKER_02]: But overall, this is such a stunningly good movie. 32:47.572 --> 32:50.375 [SPEAKER_02]: Hour and a half does everything it needs to. 32:50.435 --> 32:59.185 [SPEAKER_02]: There's even parts that you could say or somewhat like go on too long a couple of times in this, even though it's an hour and a half. 32:59.165 --> 33:01.669 [SPEAKER_02]: for the most part, pretty tight overall. 33:02.090 --> 33:09.781 [SPEAKER_02]: I do love the part where genre was walking and not caring about anything. 33:09.922 --> 33:12.365 [SPEAKER_02]: Doesn't care about the rain, doesn't care about the traffic. 33:12.866 --> 33:20.498 [SPEAKER_02]: At one point, I thought the movie was making a point about how she literally stops traffic that she's so beautiful and whatever. 33:20.478 --> 33:35.871 [SPEAKER_02]: but it really is just the fact that she doesn't care whether or not she's hit or not or she she doesn't she doesn't she thinks so lowly of everybody else how dare you run over me there's not nobody's gonna have but she's just singularly 33:35.851 --> 33:37.794 [SPEAKER_02]: focused on finding this guy. 33:37.875 --> 33:42.062 [SPEAKER_02]: She doesn't care what happens during the entire time that she's walking through this town. 33:43.304 --> 33:49.855 [SPEAKER_02]: It's kind of mesmerizing watching her in her quest, trying to find find the guy. 33:50.556 --> 33:53.882 [SPEAKER_02]: So yeah, I love this movie. 33:53.902 --> 34:00.694 [SPEAKER_02]: I've seen it now four times and it's definitely like an all-time reformer at this point. 34:00.674 --> 34:08.828 [SPEAKER_03]: She's so good in the movie and it's, I think, most often, 34:10.360 --> 34:19.171 [SPEAKER_03]: when she's not even speaking like that walking scene, but then there's that scene where the police say the name of her lover. 34:20.112 --> 34:31.566 [SPEAKER_03]: And the way the actress plays that moment to where we can tell she's twitched, but the police officer can't, it's so perfect. 34:31.766 --> 34:35.331 [SPEAKER_03]: I think very few people could pull that off in that beat. 34:35.451 --> 34:37.153 [SPEAKER_03]: I re-rounded and walked it again. 34:37.193 --> 34:40.317 [SPEAKER_03]: I was impressed with that moment. 34:40.297 --> 34:46.669 [SPEAKER_03]: Yeah, I think what you were saying about, you know, you can't escape, you can't escape your crimes. 34:47.571 --> 34:56.247 [SPEAKER_03]: I was thinking more, you can't escape your past, but I think they're really the same kind of message, same kind of team that your actions, um, 34:56.227 --> 34:58.650 [SPEAKER_03]: will have consequences go to war bad. 34:59.692 --> 35:18.837 [SPEAKER_03]: I was, I went into this movie expecting 90% of it would be in the elevator, like that Ryan Reynolds movie in the very, and so there was a moment early on and I was like, why are we spending so much time listening to this flower girl, talk to her boyfriend? 35:18.858 --> 35:22.943 [SPEAKER_03]: Of course, they are important characters in the story and the elevators 35:22.923 --> 35:27.289 [SPEAKER_03]: 90% of the film, which is, I think, ultimately better. 35:28.952 --> 35:33.198 [SPEAKER_03]: I think everybody in the movie needs to stop touching other people's cars. 35:34.821 --> 35:37.324 [SPEAKER_03]: Dude steals Julian's car. 35:39.227 --> 35:42.532 [SPEAKER_03]: What's the woman actress or the main actress's name? 35:42.632 --> 35:43.233 [SPEAKER_02]: Jean-Maro. 35:43.714 --> 35:44.214 [SPEAKER_03]: Jean-Maro. 35:44.935 --> 35:52.086 [SPEAKER_03]: She's touching cars along the street when she's looking in herself in the mirror and reflection 35:52.066 --> 36:00.742 [SPEAKER_03]: I love a movie that has minimal dialogue and seems to actively choose to avoid dialogue wherever we can. 36:01.584 --> 36:03.828 [SPEAKER_03]: And this felt like that kind of movie to me. 36:03.929 --> 36:05.772 [SPEAKER_03]: I can just sit and steep. 36:05.887 --> 36:06.548 [SPEAKER_03]: in that kind of. 36:06.568 --> 36:15.805 [SPEAKER_03]: Now, if you got Miles Davis giving me, you know, legendary one take more score, that's going to help. 36:17.048 --> 36:28.148 [SPEAKER_03]: But I love how Sparse, the dialogue was here for us to understand what's happening, all we really had to do in most cases was look. 36:28.128 --> 36:31.534 [SPEAKER_03]: I can't believe that dude actually opened up the bottom of the elevator and climbed down there. 36:31.554 --> 36:35.240 [SPEAKER_03]: That is one of the most insane things I've ever seen in my life. 36:35.520 --> 36:38.445 [SPEAKER_03]: I don't care if I'm facing prison forever. 36:38.465 --> 36:42.251 [SPEAKER_03]: I am not dangling out of the bottom of that freaking elevator. 36:42.291 --> 36:47.660 [SPEAKER_02]: Do we think, by the way, do we think that he may be able to get out of the elevator? 36:47.860 --> 36:53.950 [SPEAKER_02]: If he's in the elevator, when the guy turns the power back on, do you think, do we think that it's so? 36:53.930 --> 37:07.869 [SPEAKER_02]: So it's one of those things that again, the movie keeps doing where it's like, if only you had just done this one thing, or if you had had the foresight of this one thing, you would have been out of this situation or whatever, but anyway. 37:08.832 --> 37:08.952 [SPEAKER_03]: Right. 37:08.932 --> 37:15.501 [SPEAKER_03]: Um, that German guy went through three bottles of champagne basically on his own and then I'm not even mad. 37:15.581 --> 37:16.302 [SPEAKER_03]: That's impressive. 37:16.983 --> 37:20.307 [SPEAKER_03]: Um, he didn't have a gun right when there's still in his car. 37:20.347 --> 37:22.530 [SPEAKER_03]: No, they're not a better gun. 37:23.191 --> 37:26.956 [SPEAKER_03]: I don't know why he's holding it like it's a gun, but that's why he's dead. 37:27.717 --> 37:33.505 [SPEAKER_03]: Um, if he just had hands and nothing in them, I don't think that kid gets terrified and shoots him. 37:33.485 --> 37:47.601 [SPEAKER_02]: I think it's like a cigarette or a cigar or something like that and he makes the kid so nervous that he thinks it is a gun or he's already nervous as it is and I just think I thought it was a gun. 37:47.841 --> 37:49.403 [SPEAKER_02]: I guess I didn't look closely. 37:49.423 --> 37:54.648 [SPEAKER_02]: He's holding it very weird like there's no handle underneath like the way he's done. 37:54.668 --> 38:00.775 [SPEAKER_02]: It just looks like a little tube and I don't know maybe there is a gun 38:00.755 --> 38:08.836 [SPEAKER_02]: considering the gun that he has, the kid has, I don't know, it's very clearly a gun. 38:08.897 --> 38:12.947 [SPEAKER_02]: So it's not like it was a, they didn't have the money to get the gun for the other guy. 38:12.987 --> 38:13.830 [SPEAKER_02]: Right. 38:13.850 --> 38:15.755 [SPEAKER_02]: So yeah. 38:15.775 --> 38:15.895 [SPEAKER_03]: Right. 38:15.875 --> 38:31.740 [SPEAKER_03]: I also felt like I'm always not felt like I was reminded of the ASAP's fable with the crow that has something in its beak and sees its reflection and drops something to try and get the other thing because these people have stolen a car and joyride at all night got drunk with 38:31.720 --> 38:33.863 [SPEAKER_03]: Joveal Germans and they're good. 38:34.324 --> 38:35.125 [SPEAKER_03]: They can just go. 38:35.285 --> 38:37.168 [SPEAKER_03]: Just go drop the car off somewhere. 38:37.228 --> 38:37.609 [SPEAKER_03]: Go home. 38:37.649 --> 38:54.555 [SPEAKER_03]: You're Scott free, but they couldn't resist grabbing that extra thing and cost him everything I also wrote this movie is like the criminal murder version of gift to the maga But everybody keeps fucking up everybody else's shit even when they're trying to be helpful 38:54.535 --> 38:56.438 [SPEAKER_03]: and I love that it ends with everybody losing. 38:56.518 --> 39:01.205 [SPEAKER_03]: I love that there's no winner and I don't think there deserves to be any winner in this movie. 39:02.427 --> 39:08.216 [SPEAKER_03]: Like you said, they're they're all bad people and they all probably deserve some measure of what they got. 39:10.539 --> 39:17.590 [SPEAKER_02]: One thing I do wonder about her at the end is that yeah, they caught her in the lie that 39:17.570 --> 39:25.486 [SPEAKER_02]: you know, she didn't know Julian, but she could have simply just been lying because she didn't want the affair to be found out. 39:25.647 --> 39:29.755 [SPEAKER_02]: I don't know how they know about her involvement in the killing. 39:30.176 --> 39:33.222 [SPEAKER_03]: My um, suspicion that was my only thing. 39:33.243 --> 39:35.427 [SPEAKER_03]: Do they get fingerprints off that grappling hook? 39:36.892 --> 39:40.317 [SPEAKER_05]: But she would, I guess that's just all off off camera. 39:40.638 --> 39:43.482 [SPEAKER_05]: I did, we're just supposed to be and the police figured it out. 39:43.502 --> 39:47.408 [SPEAKER_05]: You know, like, there's, we aren't given the, I didn't see the proof in the movie. 39:47.909 --> 39:50.673 [SPEAKER_05]: I think it's just, it, it's a strong ending, I think. 39:50.713 --> 39:52.195 [SPEAKER_05]: Yeah, you know, it'll have to be. 39:52.216 --> 39:54.038 [SPEAKER_02]: Yeah, they can find a whole bunch of stuff. 39:54.058 --> 39:59.727 [SPEAKER_02]: But for her, I'm not sure unless there's written things on, you know, then that says, 39:59.707 --> 40:02.612 [SPEAKER_02]: you know, hey, we're plotting to kill our kill my husband. 40:02.692 --> 40:04.675 [SPEAKER_02]: Here's, you know, number one. 40:04.715 --> 40:05.476 [SPEAKER_02]: This is what we do. 40:05.957 --> 40:08.221 [SPEAKER_03]: Why does he get a longer prison sentence than he does? 40:09.803 --> 40:20.921 [SPEAKER_05]: Well, he intimates that it's because the jury will be harder on her as a woman, you know, teasing him, tempting him to do this thing than they will be on the actual amount. 40:20.941 --> 40:25.849 [SPEAKER_05]: So I think there's some misogyny 40:25.829 --> 40:27.531 [SPEAKER_02]: he pulled the trigger for. 40:27.711 --> 40:30.974 [SPEAKER_02]: Yeah, exactly. 40:31.014 --> 40:53.457 [SPEAKER_02]: That was definitely a big question I had at the end was like all the the the justus being meaded out at the end of this movie like that's I mean that that's that's a different take on how people solve crimes than I'm used to but maybe there was something different in the 60s maybe it's different because it's France or 50s actually at this point. 40:53.437 --> 41:00.308 [SPEAKER_02]: And maybe it's because it's different because it's France, because after all, after watching, you know, what's the fall movie? 41:01.670 --> 41:05.877 [SPEAKER_02]: What's that movie that came out a couple of years ago about the fall, where we don't know anything. 41:06.317 --> 41:09.302 [SPEAKER_02]: We don't know how it happened when everybody's got a different story. 41:09.282 --> 41:16.571 [SPEAKER_02]: Anatomy of all They the the court system in that movie is completely different from anything. 41:16.631 --> 41:22.518 [SPEAKER_02]: We're used to in in the state So maybe it is different, but maybe it's just movie. 41:22.718 --> 41:34.092 [SPEAKER_02]: It's just a it answers movie to the You know, there's like you get a harsher sentence for some reason because movie So there you go 41:34.072 --> 41:38.156 [SPEAKER_05]: Man, did I love this time through again? 41:38.216 --> 41:39.458 [SPEAKER_05]: I was picking up new things. 41:40.299 --> 41:50.930 [SPEAKER_05]: The main thematic thing I picked up this time, that I just saw as a surface thing the first time, was the idea the movie has about how desperate love is. 41:51.470 --> 41:55.214 [SPEAKER_05]: Like this idea, it paints, she is our protagonist. 41:55.455 --> 41:57.717 [SPEAKER_05]: Like we start with her, 41:57.697 --> 41:58.598 [SPEAKER_05]: we end with her. 41:58.718 --> 42:03.524 [SPEAKER_05]: Like she, you know, Julian does a lot of the work, but the movie I think is about her. 42:03.564 --> 42:13.956 [SPEAKER_05]: And her, at the beginning, the way she's talking to him, she says something, I wrote it down, without your voice, I'd be lost in a land of silence. 42:14.516 --> 42:20.243 [SPEAKER_05]: And then when she thinks that he has abandoned her, she's lost in a land of silence. 42:20.263 --> 42:27.231 [SPEAKER_05]: Like it sets that up and I think there are so 42:28.122 --> 42:36.873 [SPEAKER_05]: to be about her, I'm gonna use the word codependency, but the idea that she has loves him so much that she would do anything. 42:37.154 --> 42:53.034 [SPEAKER_05]: And that's how the movie ends, basically with her saying, I love him so much that I'm okay getting twice as many years as he does, that the truth of us being together is worth whatever the consequences are, or what it, you know, forget the exact quotes that she use there. 42:53.134 --> 42:57.960 [SPEAKER_05]: But so the movie really seems to be not only about everybody getting their just desserts, 42:57.940 --> 43:12.857 [SPEAKER_05]: but also about how compelling this human need for companionship and love is and how it drives us and so I was a more aware of that stuff through this time. 43:13.497 --> 43:14.158 [SPEAKER_03]: That's interesting. 43:14.178 --> 43:27.373 [SPEAKER_03]: I interpreted that phone call in the beginning as more of like that honeymoon phase like loss. 43:27.353 --> 43:34.182 [SPEAKER_05]: True love, but then the end of the movie comes around and yes, I'm actually using love as a stand-in for the Infatuation like films. 43:34.202 --> 43:35.643 [SPEAKER_05]: They come along for it. 43:35.904 --> 43:36.264 [SPEAKER_05]: Yeah. 43:36.284 --> 43:36.384 [SPEAKER_05]: Yeah. 43:36.404 --> 43:37.045 [SPEAKER_05]: Come along with it. 43:38.647 --> 43:50.162 [SPEAKER_05]: So yeah, the other thing That I love about this is very hitchcocky and with the perfect murder stuff and I love movies that are like Okay, we're gonna do the perfect murder and then you just watch it fall apart. 43:50.182 --> 43:56.770 [SPEAKER_05]: In fact, I think there was a movie called perfect murder Eventually that 43:56.750 --> 44:10.306 [SPEAKER_02]: Which is Hitchcock's ultimate example of this see that was a thing where you say something Aaron and I didn't know if you were just joking or not Was that movie with that perfect murder in it had a perfect murder? 44:10.726 --> 44:16.994 [SPEAKER_00]: I can't remember, but I'm a perfect murder in it The murder in it. 44:17.014 --> 44:18.876 [SPEAKER_00]: I feel like was proud right 44:18.856 --> 44:27.869 [SPEAKER_02]: Right, but it's the bus of speed can't go over 50 and then, you know, then the bus of speed must always stay there. 44:27.889 --> 44:31.454 [SPEAKER_02]: I think it was called the little bus that couldn't slow down. 44:34.238 --> 44:44.252 [SPEAKER_05]: But I love that stuff and it's one of the reasons I love Hitchcock is he was fascinated with this idea that there will always be an unseen detail that will be missed. 44:44.473 --> 44:47.597 [SPEAKER_05]: Something will go wrong that they're, you know, 44:47.577 --> 45:02.700 [SPEAKER_05]: there is not a perfect murder and in this case it's a little more obvious than, you know, most of these kind of move, you know, the grappling hooker, whatever, you know, feels pretty blatant, but but I still loved a lot of that stuff. 45:02.933 --> 45:18.900 [SPEAKER_05]: there's a couple things I wanted to discuss one was the black cat which is a very clear purposeful insert shot as he's doing the perfect you know murder and I think we're just supposed to think you know okay now it's all gonna go bad 45:18.880 --> 45:36.402 [SPEAKER_05]: But is the movie it all suggesting something mystical there or, you know, like, what is this black cat doing that high up on the building or is it, is it just meant like I think so I think I think in this era of French filmmaking, I don't think they're being all that subtle about it. 45:36.542 --> 45:42.550 [SPEAKER_02]: I think it's, I think it's pretty much like, you know, like, yeah, this is, this is a bad luck thing. 45:42.590 --> 45:46.795 [SPEAKER_02]: This is a bad luck symbol show you the bad luck symbol, you know, 45:47.804 --> 45:58.760 [SPEAKER_05]: Yeah, uh, then the other thing, I, I could have just missed what was going on, but I'm confused about the scene where she goes to the gate to the office and is interrupted by a little girl. 45:59.721 --> 46:06.471 [SPEAKER_05]: And I think the little girl takes a grappling hook has a grappling hook when she leaves. 46:06.451 --> 46:07.593 [SPEAKER_02]: know about that. 46:07.614 --> 46:13.306 [SPEAKER_02]: Okay, if you guys don't know that, maybe I made it out of the little girl, but I don't remember anything else about that. 46:13.466 --> 46:23.127 [SPEAKER_05]: I could, like, I, I, I'm going to go back and rewatch them because, uh, I was like, what, wait, is the movie saying somehow that fell down and now, you know, 46:23.107 --> 46:26.391 [SPEAKER_05]: That piece of evidence isn't there, or, you know, what? 46:26.511 --> 46:31.997 [SPEAKER_02]: But if it had fallen down, that's a huge, let's send this movie right now. 46:35.281 --> 46:40.046 [SPEAKER_05]: I, I'm going to go back and, and see, because it feels like she was holding something. 46:40.427 --> 46:43.310 [SPEAKER_05]: And if not, what, what is the girl's purpose there? 46:43.370 --> 46:45.152 [SPEAKER_05]: I just, that scene confused me a little bit. 46:45.192 --> 46:51.139 [SPEAKER_05]: So I kind of want to go back and watch it and kind of, uh, assess out what I feel like the purpose of that meeting is with that little girl. 46:51.507 --> 47:08.284 [SPEAKER_02]: Yeah, yeah, I don't know either and and it's not like if it's not like if she doesn't show up then then she's able to just go into the building and find Julian or anything like that right now it's not like 47:08.264 --> 47:33.900 [SPEAKER_02]: it's not like an interruption that prevents her from doing what she's trying to do so yeah I don't I don't know maybe it is maybe I just completely lift on that and she was holding a grappling hook and you know like it did somehow fall down in the rain or something like that the thunder storm or whatever but uh now yeah I mean watch it again if you'd like but the internet says that the little girl is definitely carrying that grappling hook 47:33.880 --> 47:35.362 [SPEAKER_02]: Oh, all right. 47:35.723 --> 47:37.906 [SPEAKER_02]: Okay, now I let's the truth. 47:37.926 --> 47:40.149 [SPEAKER_02]: I don't know how that happens. 47:40.250 --> 47:44.436 [SPEAKER_02]: I don't know how the hook just comes on what it means Yeah, or what it means to the movie. 47:44.476 --> 47:47.080 [SPEAKER_05]: It doesn't seem to mean it doesn't really mean much. 47:47.220 --> 47:57.956 [SPEAKER_02]: Yeah, yeah I'm just kind of confused by that other than if you had just not noticed it then it would have fallen on its own and You would have been able to get away with it. 47:58.137 --> 47:59.078 [SPEAKER_02]: I don't know 47:59.058 --> 48:06.024 [SPEAKER_02]: That's the only thing I can kind of really come up with, or maybe it's just a fun in joke for really eagle-eyed viewers or something. 48:06.685 --> 48:09.507 [SPEAKER_02]: So yeah, yeah, interesting. 48:10.088 --> 48:23.579 [SPEAKER_05]: Yeah, there is an element to the movie where the, you know, that happens in these kind of movies where the person is responding to something that wouldn't necessarily be a problem and thereby creating all these new problems. 48:23.639 --> 48:27.883 [SPEAKER_05]: That is a, you know, a trope that does happen in these kind of movies. 48:27.863 --> 48:29.965 [SPEAKER_05]: Um, yeah, that's that's interesting. 48:29.985 --> 48:30.987 [SPEAKER_05]: It said the dominoes. 48:31.047 --> 48:33.970 [SPEAKER_02]: See now, you know, I was just watching this movie twice. 48:34.070 --> 48:40.978 [SPEAKER_02]: And now there's this thing that I'm going to have to pop this movie back in for to like, as if she is holding that grappling hook. 48:40.998 --> 48:48.747 [SPEAKER_02]: That's going to change a lot of, well, not a lot of things, but it's going to make me look at this movie in another different light that I was not expecting. 48:48.787 --> 48:57.837 [SPEAKER_03]: I think what it's saying is that everyone has a grappling hook. 48:58.508 --> 48:59.870 [SPEAKER_05]: They're really the grappling hooks. 48:59.890 --> 49:02.813 [SPEAKER_05]: They're the friends we made a lot of lights that went through. 49:03.254 --> 49:03.874 [SPEAKER_02]: It's so true. 49:03.894 --> 49:19.012 [SPEAKER_02]: Oh my goodness All right Let's get on to our super secret double feature Be very very quiet Be very little secret. 49:19.113 --> 49:19.813 [SPEAKER_04]: I'll tell you something. 49:19.833 --> 49:21.175 [SPEAKER_04]: I've never told anyone 49:23.247 --> 49:29.994 [SPEAKER_02]: I went with, actually, I had two movies in mind that we have done, as big recommends. 49:31.536 --> 49:33.358 [SPEAKER_02]: The one I decided on was ruthless people. 49:35.581 --> 49:50.537 [SPEAKER_02]: Mainly because information that characters don't have throughout the entire movie forms the plot for the movie and little things lead to even bigger things all the way through it. 49:50.517 --> 49:56.653 [SPEAKER_02]: And so, um, you know, that one, to me was a, was a pretty good one for this one. 49:56.713 --> 50:02.287 [SPEAKER_02]: So that's what I ended up on, uh, I'll tell you with the other one I had after Jeremy is done with his. 50:02.307 --> 50:07.480 [SPEAKER_03]: I also had two, but my main one I settled on was, 50:07.460 --> 50:19.726 [SPEAKER_03]: It's pretty close to hitting the nail on the head in terms of maybe too close, but this is a lesser scene, lesser known movie, and so I thought I'd expose more people to it. 50:20.027 --> 50:22.272 [SPEAKER_03]: Even though it's not great, I just think it's good. 50:22.392 --> 50:26.481 [SPEAKER_03]: But that's 23's inside with Willem to foe. 50:26.461 --> 50:47.659 [SPEAKER_03]: plays an art thief who breaks into a high-end condo to steal some paintings and when he tries to leave, he sets off the security and it locks him in the penthouse and the owner is not coming back for months and thermostat breaks and so it's either burning hot or freezing cold 50:47.639 --> 50:50.884 [SPEAKER_03]: and other things as he tries to escape. 50:51.645 --> 50:53.248 [SPEAKER_03]: And he's in there in the whole movie. 50:53.388 --> 50:54.710 [SPEAKER_03]: It's not the same. 50:55.111 --> 51:00.139 [SPEAKER_03]: It is what I expected Elevator to call us to be 90% of it in being stuck in the Elevator. 51:00.800 --> 51:11.557 [SPEAKER_03]: But, yeah, I think that's thematically similar enough that crime could go wrong, probably will, and you're gonna have to pay for it. 51:12.919 --> 51:15.283 [SPEAKER_03]: So yeah, I don't even know where that's, 51:15.263 --> 51:15.985 [SPEAKER_03]: watchable. 51:16.026 --> 51:17.210 [SPEAKER_03]: I saw it more than a year ago. 51:17.230 --> 51:17.471 [SPEAKER_03]: Pick up. 51:17.531 --> 51:18.153 [SPEAKER_03]: It's on peacock. 51:18.233 --> 51:19.196 [SPEAKER_03]: Excellent. 51:19.216 --> 51:21.725 [SPEAKER_03]: Um, so yeah, uh, inside. 51:21.785 --> 51:27.906 [SPEAKER_03]: Twenty, twenty-three from a director named Vasily's Cat Supsus. 51:28.139 --> 51:31.343 [SPEAKER_02]: Oh, yes, of course, how's the name? 51:31.964 --> 51:32.905 [SPEAKER_02]: What was the other one that you had? 51:33.826 --> 51:35.248 [SPEAKER_02]: Oh, panic room, just for vibes. 51:36.229 --> 51:36.830 [SPEAKER_02]: Oh, for vibes. 51:36.850 --> 51:37.090 [SPEAKER_02]: Yeah. 51:37.611 --> 51:37.791 [SPEAKER_02]: Yeah. 51:38.813 --> 51:45.101 [SPEAKER_02]: Um, the other one that I had was election because of the same, uh, sort of deals going on in election. 51:45.141 --> 51:54.973 [SPEAKER_02]: A lot of really small things, uh, decisions that people make end up becoming huge by the end of the movie. 51:54.953 --> 52:16.759 [SPEAKER_02]: uh... and uh... just like you know everything in that everything in that movie is like if somebody just does one other thing by the end of it then Matthew broader isn't in trouble i mean in the very beginning of the movie when he that he makes that janitor clean up makes it clear clean up that crap and then that's the reason he's 52:16.739 --> 52:19.124 [SPEAKER_02]: Yeah, exactly. 52:19.304 --> 52:33.651 [SPEAKER_02]: So there was another one that I thought of as a kind of like maybe not to toneally ruthless people or election would go along with this, but as far as plotting is concerned, we're the small things matter so much. 52:33.631 --> 52:36.856 [SPEAKER_02]: I thought about those movies a lot. 52:36.896 --> 52:39.521 [SPEAKER_02]: There is one in the chat too, another one that crossed my mind. 52:39.541 --> 52:43.848 [SPEAKER_02]: No one said La Samurai, which is another great film. 52:44.369 --> 52:48.336 [SPEAKER_02]: If you've never seen that before, I suggest you immediately watch it. 52:48.877 --> 52:50.399 [SPEAKER_02]: Put everything down and watch it. 52:51.140 --> 52:57.411 [SPEAKER_02]: That was one I actually thought of too, but ended up on the other ones, but it's another great one for sure. 52:57.391 --> 53:01.599 [SPEAKER_02]: Um, all right, uh, next week. 53:01.619 --> 53:02.541 [SPEAKER_02]: Next week's homework. 53:02.621 --> 53:04.064 [SPEAKER_02]: It is my turn to pick. 53:04.966 --> 53:19.213 [SPEAKER_02]: I have, I know I am picking a movie that I know I think all three of us enjoy and and maybe doesn't fit what I think of when I think of this podcast trying to find movies that maybe you haven't seen before or whatever, but still. 53:19.193 --> 53:33.060 [SPEAKER_02]: Um, I think it's a, I think it's a very enjoyable one and I'd like to go over it in this format and it's dirty rotten scoundrels, um, and I know that this is a favorite of Jeremy's, I don't know about you Aaron, I know that you love it. 53:33.501 --> 53:37.388 [SPEAKER_02]: Uh, I think I know you love it, but I didn't know I'm doing the thing I've ever heard you talk about it, but 53:37.368 --> 53:46.556 [SPEAKER_02]: Steve Martin, Michael Caine, Glenn Hedley, and this is just, this is comedy gold. 53:46.636 --> 53:49.838 [SPEAKER_02]: I don't, you know, talk about, they don't make them like that anymore. 53:49.878 --> 53:53.842 [SPEAKER_02]: This is just, I mean, this is entertaining and funny throughout. 53:53.862 --> 53:56.244 [SPEAKER_02]: I don't, you just don't see these kind of movies. 53:56.504 --> 54:07.273 [SPEAKER_03]: I'm not certain if my parents had ever watched this all the way through that this would have been a movie I was permitted to watch, because I was 13 when this movie came out. 54:07.253 --> 54:17.726 [SPEAKER_03]: And I saw it several times in high school, but yeah, this is one of those movies from my childhood growing up years that I watched over and over and over again. 54:17.826 --> 54:23.714 [SPEAKER_03]: I can't wait to wreck a topy of this thing and dissect it in a new way. 54:24.335 --> 54:24.635 [SPEAKER_05]: Yeah. 54:24.935 --> 54:27.739 [SPEAKER_05]: Rupert, do you want the genital cuff? 54:29.341 --> 54:30.823 [SPEAKER_05]: There's similar level lines. 54:31.404 --> 54:36.450 [SPEAKER_02]: Yeah, it really, it's like the whole movie is just just quotable lines. 54:36.430 --> 54:48.354 [SPEAKER_02]: I think technically this was a remake of something that came out 20 something years before maybe, but I don't think that movie was like this, really, but it's got the same kind of, I don't know, I need to see that. 54:49.035 --> 54:53.925 [SPEAKER_02]: I need to see the movie that came out before this one and see how it compares. 54:53.945 --> 54:56.430 [SPEAKER_03]: You don't need to see the one that came out after this one with an end of the 54:56.613 --> 55:04.081 [SPEAKER_02]: Oh no, I don't need to see that one, not for sure, but yeah, um, uh, can't wait to get into that one. 55:04.703 --> 55:07.433 [SPEAKER_02]: Um, all right, that's going to do it for this week. 55:07.801 --> 55:08.162 [SPEAKER_02]: chat. 55:08.382 --> 55:10.126 [SPEAKER_02]: Once again, thank you so much for coming out. 55:10.146 --> 55:10.948 [SPEAKER_02]: We appreciate it. 55:11.088 --> 55:17.562 [SPEAKER_02]: It was, you know, later than usual today and, you know, internet problems, man, what are you going to do? 55:17.682 --> 55:18.624 [SPEAKER_02]: How do they work? 55:18.644 --> 55:19.105 [SPEAKER_02]: Magnets? 55:19.145 --> 55:19.767 [SPEAKER_02]: How do they work? 55:20.668 --> 55:23.976 [SPEAKER_02]: Um, and so, um, appreciate you guys coming out today. 55:24.396 --> 55:25.579 [SPEAKER_02]: That's going to do it for this week. 55:25.599 --> 55:26.361 [SPEAKER_02]: We'll see you next time. 55:26.581 --> 55:26.902 [SPEAKER_01]: See you. 55:27.683 --> 55:28.425 [SPEAKER_01]: Bye, guys. 55:33.856 --> 55:40.242 [SPEAKER_02]: Be a part of the live show by being a member of the Synclob at Patreon at patreon.com slash cinemasens. 55:40.703 --> 55:46.989 [SPEAKER_02]: Chat with us on the cinemasens discord.gg slash cinemasens or cinemasens twitter at cinemasens. 55:47.450 --> 55:58.581 [SPEAKER_02]: Any mail any comments or questions to recatopia at cinemasens.com that's r-e-c-o-t-o-p-i-a at cinemasens.com 56:03.286 --> 56:09.473 [SPEAKER_03]: in a world where I'm startled every single week. 56:09.493 --> 56:16.441 [SPEAKER_03]: I went to Kroga this morning because they had a Starbucks and I go with their most days to get a tea and then I went to get a gatorade. 56:16.461 --> 56:18.604 [SPEAKER_03]: Not the skaterade, but a gatorade like this gatorade. 56:19.785 --> 56:22.248 [SPEAKER_05]: I was wondering if it was that exact gatorade. 56:22.729 --> 56:25.131 [SPEAKER_05]: I went to check out what kind of tea you were getting. 56:25.352 --> 56:30.778 [SPEAKER_03]: You know, if it was 56:30.758 --> 56:36.513 [SPEAKER_03]: There were approximately 15 people in each of the three lanes that had a light on. 56:37.154 --> 56:38.658 [SPEAKER_03]: And I was like, what is going on? 56:38.678 --> 56:39.922 [SPEAKER_03]: Do they have a mask all out? 56:39.982 --> 56:44.834 [SPEAKER_03]: And I go and I get in line, just like 10 people in front of me. 56:44.854 --> 56:46.759 [SPEAKER_03]: I'm not even exaggerating. 56:46.739 --> 56:48.865 [SPEAKER_03]: and then I see this cashier of the front go. 56:49.466 --> 56:50.710 [SPEAKER_03]: Nothing's working. 56:51.211 --> 56:54.299 [SPEAKER_03]: All of them are broken right now and I was like, no, okay. 56:55.021 --> 56:56.806 [SPEAKER_03]: So like that day for that person. 56:56.826 --> 57:00.917 [SPEAKER_03]: I drove a mile down the road to publics and bought this gatorade. 57:02.028 --> 57:03.190 [SPEAKER_03]: I've never seen that happen. 57:03.210 --> 57:05.734 [SPEAKER_03]: I worked at Kroger for six months. 57:05.754 --> 57:10.101 [SPEAKER_03]: 12 months and I've never never saw all the cash registers go down. 57:10.221 --> 57:14.148 [SPEAKER_02]: It may be Comcast is working in their area too. 57:14.168 --> 57:15.831 [SPEAKER_02]: Oh, that's the only three miles away. 57:15.871 --> 57:16.732 [SPEAKER_02]: That's totally plausible. 57:17.233 --> 57:19.176 [SPEAKER_02]: Yeah, maybe Comcast call back. 57:19.595 --> 57:34.789 [SPEAKER_02]: I've gotten to the point, by the way, I just, I don't need the person, like, when I go to a doctor's office or something like that, and they're doing something on the computer, I've gotten to the point now that I don't need the whole, uh, computers are slow today, I don't need that anymore. 57:36.430 --> 57:36.530 [SPEAKER_02]: Yeah. 57:36.550 --> 57:37.511 [SPEAKER_02]: Yeah. 57:37.531 --> 57:38.832 [SPEAKER_02]: I, you know, I'm not going to sit there. 57:38.932 --> 57:42.936 [SPEAKER_02]: I'm sure that they get people who are like, why is this taking so long? 57:42.996 --> 57:49.602 [SPEAKER_02]: And that's why they need to preempt 57:49.582 --> 57:50.884 [SPEAKER_02]: They're slow all the time. 57:51.024 --> 57:52.326 [SPEAKER_02]: They're not slow today. 57:52.406 --> 57:53.627 [SPEAKER_02]: They're slow all the time. 57:53.748 --> 57:54.849 [SPEAKER_02]: Don't give me that shit. 57:57.833 --> 58:01.558 [SPEAKER_05]: What you mean to say is I'm sorry I'm sorry you're having to wait a few seconds longer. 58:01.598 --> 58:04.722 [SPEAKER_05]: That's what you're trying to say, but you're trying to put it all in yourself. 58:05.843 --> 58:11.171 [SPEAKER_02]: And for me, and when I go to the doctor, I'm sorry I'm not sitting there going, well, I need to get in and out. 58:11.291 --> 58:14.034 [SPEAKER_02]: You know, I'm not doing that type of thing. 58:14.134 --> 58:15.336 [SPEAKER_02]: I mean, it's great, 58:15.316 --> 58:16.679 [SPEAKER_02]: I can I get it. 58:16.919 --> 58:33.291 [SPEAKER_02]: I get that there's stuff that's hard to find and it's hard to upload or whatever on these things and they probably have ancient computers that use you know that are like the first IBM's ever made or something You know, it's one of those type of things 58:33.271 --> 58:35.053 [SPEAKER_03]: I love going to my dentist's office, man. 58:35.093 --> 58:35.994 [SPEAKER_03]: I don't know what they're doing. 58:36.354 --> 58:39.638 [SPEAKER_03]: If it's facial recognition or what, but I don't have to sign in. 58:39.658 --> 58:40.619 [SPEAKER_03]: I don't have to check in. 58:40.639 --> 58:41.800 [SPEAKER_03]: I walk in. 58:41.880 --> 58:44.043 [SPEAKER_03]: I wave at the receptionist in five minutes later. 58:44.103 --> 58:46.405 [SPEAKER_03]: My dental hygienist walks out and calls my name. 58:46.886 --> 58:48.648 [SPEAKER_03]: When I'm done, I just walk out. 58:49.048 --> 58:50.830 [SPEAKER_03]: They've got whatever they need on file. 58:50.870 --> 58:52.993 [SPEAKER_03]: I don't have to do any insurance or whatever. 58:53.633 --> 58:55.876 [SPEAKER_03]: And it's efficient. 58:56.096 --> 58:56.697 [SPEAKER_03]: And I like that. 58:56.717 --> 58:57.398 [SPEAKER_03]: That's what they play. 58:57.498 --> 59:00.561 [SPEAKER_03]: Frazier on the TV in the waiting room, which is a plus. 59:00.541 --> 59:01.482 [SPEAKER_02]: Oh, that's awesome. 59:01.702 --> 59:17.440 [SPEAKER_02]: I usually I usually have some sort of like news magazine thing on screen wherever I go or like it'll be random things like a bananas of you know I don't watch anything while I'm getting my teeth cleaned. 59:17.620 --> 59:26.410 [SPEAKER_05]: They don't they don't have any any TVs in the really in the room Yeah, yeah, they just do the old thing where they try to talk to you while you're getting your teeth That's always fun. 59:26.430 --> 59:27.451 [SPEAKER_05]: What are we doing right here? 59:28.052 --> 59:29.333 [SPEAKER_02]: I get you 59:29.313 --> 59:31.998 [SPEAKER_02]: This always happens to me at the dentist. 59:32.398 --> 59:33.380 [SPEAKER_02]: It's okay. 59:33.400 --> 59:43.698 [SPEAKER_02]: Like I'm sitting there like an agony hoping to put in the little fucking thing that Takes a little water out and everything and it seems to never Show up finally. 59:43.758 --> 59:44.379 [SPEAKER_02]: I'm like all right. 59:44.400 --> 59:52.654 [SPEAKER_02]: I guess I'm just gonna have to like dry swallow or something like that That's when they immediately go over and get like they get the thing 59:52.634 --> 59:54.378 [SPEAKER_02]: or it's too soon. 59:54.438 --> 01:00:02.497 [SPEAKER_02]: So it's like there's nothing going on and they're like all right I'm going to put in the the little wash and the little sucker thing or whatever I'm going to do all that. 01:00:02.978 --> 01:00:08.972 [SPEAKER_02]: I always miss time when they're going to do it and it never can get it at the right time. 01:00:08.952 --> 01:00:14.218 [SPEAKER_05]: There's clearly a missing course in dentistry school on saliva removal timing. 01:00:14.799 --> 01:00:25.312 [SPEAKER_05]: Like, because that I have to have it all the time, where I'm like drowning, you can feel like the saliva creeping up on your sinus cavities, and you're just like, please, yes, please. 01:00:25.492 --> 01:00:33.662 [SPEAKER_03]: My God, I'll always say, after she brushes my teeth, we're like, all right, I'm gonna give you some water, you can switch it around, and then she'll give me like three drops of water. 01:00:34.202 --> 01:00:38.908 [SPEAKER_02]: I don't know. 01:00:39.530 --> 01:00:48.008 [SPEAKER_05]: Jeremy's frozen. 01:00:48.028 --> 01:00:48.610 [SPEAKER_02]: Sorry. 01:00:48.631 --> 01:00:55.260 [SPEAKER_02]: On the... CASTY!