WEBVTT 00:00.031 --> 00:05.676 [SPEAKER_05]: So that's what happened when I watched Ron turn four, and then I went back and watched the first three wrong turn movies. 00:06.116 --> 00:14.624 [SPEAKER_05]: Welcome to Rekatopia, a happy home for Rekatmated movies, TV shows, music, video games, foodstuffs, and more from three people you can definitely trust. 00:15.004 --> 00:17.166 [SPEAKER_05]: Trustability varies by region no guarantees implied. 00:31.698 --> 00:35.300 [SPEAKER_05]: And now here are your hosts, Chris Akinson, Jeremy Scott, and Ian Dyson. 00:35.680 --> 00:38.301 [SPEAKER_01]: You've got five seconds to get off my land. 00:40.482 --> 00:41.442 [SPEAKER_01]: Is it bugger you? 00:42.043 --> 00:44.624 [SPEAKER_01]: One, two, five. 00:46.305 --> 00:46.785 [SPEAKER_03]: You heard her. 00:47.865 --> 00:49.346 [SPEAKER_03]: Five more until I stop missing. 00:49.646 --> 00:50.226 [SPEAKER_01]: One, go, five. 00:56.840 --> 01:01.443 [SPEAKER_03]: Hello everyone, it is episode one hundred seventy two of Rekotopia. 01:01.503 --> 01:02.984 [SPEAKER_03]: My name is Chris Atkinson. 01:03.464 --> 01:04.905 [SPEAKER_03]: Join by Aaron Dyser. 01:04.925 --> 01:07.606 [SPEAKER_00]: I highly hope if at first you don't succeed arena. 01:08.327 --> 01:09.387 [SPEAKER_03]: Yes, that's correct. 01:09.668 --> 01:12.149 [SPEAKER_03]: And also joined by Jeremy Scott. 01:12.349 --> 01:12.989 [SPEAKER_03]: Hello everybody. 01:13.029 --> 01:13.490 [SPEAKER_03]: Hello. 01:14.690 --> 01:19.133 [SPEAKER_03]: We'd also like to welcome chat who've come out here to watch us talk about movies on a Tuesday. 01:19.193 --> 01:20.714 [SPEAKER_03]: We appreciate you coming out. 01:20.914 --> 01:22.115 [SPEAKER_03]: Thank you so much. 01:22.655 --> 01:25.617 [SPEAKER_03]: Let's start off with our small recommends. 01:26.197 --> 01:28.259 [SPEAKER_01]: It's no big deal. 01:28.279 --> 01:29.481 [SPEAKER_01]: It's so small and light. 01:29.601 --> 01:30.121 [SPEAKER_01]: It's small. 01:30.181 --> 01:30.762 [SPEAKER_01]: It's tiny. 01:30.802 --> 01:31.382 [SPEAKER_01]: It's petite. 01:31.402 --> 01:31.923 [SPEAKER_01]: It's weak. 01:32.363 --> 01:33.084 [SPEAKER_01]: Jeremy, what you got? 01:33.685 --> 01:41.533 [SPEAKER_05]: I got a movie that I have seen probably four or five times now and I caught it a week or so ago again and it still holds up. 01:41.613 --> 01:42.574 [SPEAKER_05]: It's from twenty twelve. 01:42.654 --> 01:43.835 [SPEAKER_05]: It's called End of Watch. 01:45.557 --> 01:48.680 [SPEAKER_05]: And this is a David Air movie written and directed 01:50.121 --> 01:55.482 [SPEAKER_05]: David Ayer is probably best known today for the suicide squad moving or bright. 01:57.543 --> 02:00.724 [SPEAKER_05]: Probably prior to both of those. 02:01.144 --> 02:10.326 [SPEAKER_05]: He has a solid history of writing and eventually directing Los Angeles based gritty cop dramas. 02:11.246 --> 02:13.167 [SPEAKER_05]: It's a big enough city. 02:13.187 --> 02:19.048 [SPEAKER_05]: He made several movies in that umbrella and they're all pretty good end of watches. 02:19.748 --> 02:20.689 [SPEAKER_05]: arguably the best. 02:21.149 --> 02:25.771 [SPEAKER_05]: It's Jake Jillon Hall in Michael Paine as partners in the LAPD. 02:26.412 --> 02:31.694 [SPEAKER_05]: The conceit here, if you will, this is a found footage movie. 02:33.215 --> 02:35.456 [SPEAKER_05]: The quotation marks need to be pretty heavy. 02:35.636 --> 02:43.000 [SPEAKER_05]: They should be for every found footage movie, but Jake Jillon Hall's character is a guy that, well, he just likes to film everything. 02:43.540 --> 02:48.903 [SPEAKER_05]: And thank goodness he does because we wouldn't have a movie if he didn't. 02:49.663 --> 02:55.966 [SPEAKER_05]: We also have David Harbour and Frank Grillo, Anna Kendrick, America for Rare. 02:57.266 --> 02:59.347 [SPEAKER_05]: And basically this is kind of a snapshot. 02:59.407 --> 03:01.908 [SPEAKER_05]: I'm not sure how much time passes. 03:02.368 --> 03:04.969 [SPEAKER_05]: We do see him in Anna Kendrick develop a relationship. 03:06.290 --> 03:07.551 [SPEAKER_05]: I think they eventually get married. 03:08.192 --> 03:12.455 [SPEAKER_05]: So we're looking at probably a year or more on the streets with these two guys. 03:12.555 --> 03:20.421 [SPEAKER_05]: And the movie is more concerned with their relationship than it is any specific criminal storyline. 03:21.902 --> 03:45.318 [SPEAKER_05]: And I just think it's really solid if if found footage stuff bothers you maybe stay away otherwise this is really well acted and really well shot and Nice dramatic ending I just really like this moving so that's my small recommend go Yeah, I haven't seen it for ever, but I love it I can second it even though I haven't seen it since it came out 03:45.909 --> 03:46.509 [SPEAKER_00]: Yeah, I'll third it. 03:47.050 --> 03:50.191 [SPEAKER_00]: I've seen it a few times and I love it more each time. 03:50.251 --> 03:55.374 [SPEAKER_00]: I remember when it came out my big thing was this is how you do a found footage movie. 03:55.454 --> 04:01.298 [SPEAKER_00]: And what I mean by that is you don't have to make every single shot found footage. 04:01.698 --> 04:01.858 [SPEAKER_00]: Right. 04:01.898 --> 04:08.882 [SPEAKER_00]: You can you can get the tension and interesting dynamic that comes with the idea that this was shot in universe like the footage or 04:09.402 --> 04:10.683 [SPEAKER_00]: seeing with shot in universe. 04:10.943 --> 04:16.785 [SPEAKER_00]: You can get all that and still make a great movie and use the occasional outside of found footage shots. 04:16.845 --> 04:17.385 [SPEAKER_00]: You know what I mean? 04:18.245 --> 04:21.607 [SPEAKER_00]: But it just seemed like at the time especially when found footage was a craze. 04:21.667 --> 04:23.727 [SPEAKER_00]: It was like, you know, that whole clover field thing. 04:23.747 --> 04:29.670 [SPEAKER_00]: It was just like every single thing you see was found footage, you know, from somebody who shot it while it was happening. 04:29.710 --> 04:30.110 [SPEAKER_00]: And it's like, 04:30.950 --> 04:36.711 [SPEAKER_00]: I know I'm watching a movie like it's okay if you break out of that conceit and still use it. 04:36.771 --> 04:39.151 [SPEAKER_00]: So that's one of the things I love about this movie. 04:39.171 --> 04:43.592 [SPEAKER_00]: I think the performance is a great and the subject matter is intense and interesting. 04:43.672 --> 04:46.393 [SPEAKER_00]: And yeah, and holds up. 04:46.853 --> 04:47.253 [SPEAKER_00]: Interesting. 04:47.353 --> 04:53.874 [SPEAKER_00]: Like, you know, body cams especially for police has been this big, you know, issue and thing and rightfully so. 04:54.234 --> 04:57.315 [SPEAKER_00]: And there's just, there's some interesting commentary in here as well. 04:57.355 --> 04:58.655 [SPEAKER_00]: So yeah, it's good stuff. 05:00.063 --> 05:01.925 [SPEAKER_00]: What do you got Aaron? 05:02.305 --> 05:16.657 [SPEAKER_00]: I worked my way through some nineteen forties movies this weekend checking some stuff off the list Watched eleven movies from the nineteen forties over this weekend because I didn't have anything to do when you can do that because the nineteen forties the movies really ten minutes long 05:16.657 --> 05:17.017 [SPEAKER_00]: That's right. 05:17.597 --> 05:18.317 [SPEAKER_00]: You say that. 05:18.717 --> 05:20.418 [SPEAKER_00]: And, you know, most of them are ninety. 05:20.658 --> 05:22.478 [SPEAKER_00]: This one is just over an hour. 05:22.978 --> 05:24.659 [SPEAKER_00]: It's a movie called Detour. 05:25.299 --> 05:28.559 [SPEAKER_00]: And I really, really liked this. 05:29.420 --> 05:37.601 [SPEAKER_00]: It stars Tom Neal as a hitchhiker who's just trying to get from New York to Los Angeles as one does. 05:38.482 --> 05:42.542 [SPEAKER_00]: And what happens once he gets picked up by somebody. 05:43.323 --> 05:44.323 [SPEAKER_00]: And just kind of, 05:45.363 --> 05:56.292 [SPEAKER_00]: It feels almost night gallery twilight zone like that kind of feel to it with the way things unfold in this. 05:56.352 --> 06:08.681 [SPEAKER_00]: It's not necessarily science fiction, but it does feel like a character study amidst a growing list of occurrences that are happening to him. 06:09.842 --> 06:15.785 [SPEAKER_00]: You know, you're love for the wrong turn movies, probably would play and do enjoying detour. 06:16.886 --> 06:19.428 [SPEAKER_00]: So yeah, and Savage is in this as well. 06:19.528 --> 06:20.328 [SPEAKER_00]: She's incredible. 06:20.388 --> 06:21.409 [SPEAKER_00]: She's really fun. 06:21.909 --> 06:23.430 [SPEAKER_00]: Type of female character. 06:23.470 --> 06:29.854 [SPEAKER_00]: You don't necessarily see a ton of during this area during this era, I mean, but I really loved it. 06:30.014 --> 06:31.134 [SPEAKER_00]: I loved how dark it was. 06:31.154 --> 06:32.375 [SPEAKER_00]: I loved where it ended. 06:32.395 --> 06:35.637 [SPEAKER_00]: Yeah, detour is is is a good watch. 06:35.888 --> 06:40.449 [SPEAKER_03]: This is one of a just small handful of movies that I own that I haven't seen. 06:41.349 --> 06:42.329 [SPEAKER_03]: Just a small handful. 06:42.489 --> 06:44.110 [SPEAKER_03]: Not many. 06:44.290 --> 06:45.870 [SPEAKER_03]: But you know what? 06:46.390 --> 06:50.311 [SPEAKER_03]: I got, I bought this because I think Criterion was having a sale or something. 06:50.391 --> 06:52.332 [SPEAKER_03]: And I was like, oh, that looks interesting. 06:52.392 --> 06:53.932 [SPEAKER_03]: So I will have to watch that now. 06:54.392 --> 06:58.213 [SPEAKER_03]: It's got an intriguing cover on it and everything. 06:58.233 --> 07:00.853 [SPEAKER_03]: So definitely we'll want to watch this at some point. 07:02.014 --> 07:02.394 [SPEAKER_03]: So yeah. 07:03.819 --> 07:09.406 [SPEAKER_03]: The only thing that doesn't, it doesn't have that the wrong turn movie's have is a scantily clad women, right? 07:09.446 --> 07:10.628 [SPEAKER_03]: There's none of that going on. 07:11.068 --> 07:12.990 [SPEAKER_03]: No, none of those. 07:15.634 --> 07:19.018 [SPEAKER_00]: She does, she does get changed at one point, but I think it's in the other room. 07:19.078 --> 07:20.780 [SPEAKER_00]: So yeah, there's, there's none of that. 07:22.681 --> 07:38.647 [SPEAKER_03]: All right, let's see my small recommend is actually something that I've considered to be a big recommend For a while and but I just happened to watch it and I was like, you know what I will relay my love of this movie here and that is nineteen ninety seven's the game. 07:39.027 --> 07:50.971 [SPEAKER_03]: This was David Fincher's follow up seven and It stars Michael Douglas in a in a in a in a character where he is probably I would almost certainly 07:51.932 --> 08:03.886 [SPEAKER_03]: basically playing Gordon Gekko but it's in San Francisco and I feel like there's a lot of comment on Michael Douglas past movies and his past roles with this thing because he's 08:04.445 --> 08:10.289 [SPEAKER_03]: playing exactly the character we've known Michael Douglas to be since Wall Street. 08:10.329 --> 08:12.851 [SPEAKER_03]: Like, that's sort of what he is. 08:13.231 --> 08:15.873 [SPEAKER_03]: What he plays from Wall Street all the way through the nineties. 08:15.893 --> 08:17.134 [SPEAKER_03]: He's this rich guy. 08:17.194 --> 08:19.196 [SPEAKER_03]: He's always unhappy about something. 08:19.636 --> 08:26.401 [SPEAKER_03]: And I think it even throws a little, I mean, it's not as sexually explicit, but even throw some like basic instinct type stuff in there too. 08:26.721 --> 08:29.703 [SPEAKER_03]: The movie being set in San Francisco is not a coincidence at all. 08:31.544 --> 09:00.145 [SPEAKER_03]: the fact so he he plays this this guy who's uh... you know are rich dude he's a business man a ruthless business man he is about to have a birthday his brother played by shonpin gives him this certificate to this game company if some sort and uh... shonpin who has had problems in his past uh... said that this company saved his life and that you should you should go and do whatever game that this game company is set up 09:00.725 --> 09:03.607 [SPEAKER_03]: So basically, Michael Douglas goes to this game company. 09:03.967 --> 09:10.751 [SPEAKER_03]: They do a whole bunch of psychological tests and everything and they sign him up and this is okay. 09:10.891 --> 09:15.273 [SPEAKER_03]: One day your game begins, we're not going to tell you when that is, but this is your end now. 09:18.075 --> 09:42.541 [SPEAKER_03]: and then he goes home and he gets a call from somebody saying sorry you've been rejected for the game don't make this don't think this don't let this feel like you're like this is on you or anything this is nothing wrong with you or something like that of course because this is a movie that's all part of the game to tell him that he didn't you know qualify for the game and sure enough he's he comes home and he sees like a 09:43.542 --> 10:01.940 [SPEAKER_03]: someone who looks like a dead person on his front porch when he gets home from work and it's just a clown and it's got like a key in his mouth and all this other stuff as he continues there's all the stuff that keeps happening it's in it's all this stuff is happening to him in real life it's the game but then it starts he starts thinking 10:03.061 --> 10:05.124 [SPEAKER_03]: This game seems kind of dangerous. 10:05.204 --> 10:09.729 [SPEAKER_03]: There seems to be like real things going on here that I can't control. 10:10.630 --> 10:16.577 [SPEAKER_03]: And then even his brother shows up at one point saying, yeah, man, this is I shouldn't have gotten you into this and everything like that. 10:17.097 --> 10:21.242 [SPEAKER_03]: So there's this really intriguing thing going on here with the game. 10:21.382 --> 10:23.645 [SPEAKER_03]: I don't want to tell you anymore if you've never seen this movie. 10:25.583 --> 10:31.087 [SPEAKER_03]: I will say, though, it is the most ludicrous movie I've ever seen in my life. 10:31.407 --> 10:44.237 [SPEAKER_03]: Once you go back, and this movie starts rolling its credits, and you start thinking back to all the things that happen in this movie, you will realize how fucking impossible it is, all the stuff happens in this movie. 10:44.577 --> 10:45.058 [SPEAKER_03]: However, 10:45.838 --> 10:48.381 [SPEAKER_03]: I can't change one thing about this thing. 10:48.401 --> 10:50.363 [SPEAKER_03]: This is exactly how this movie should be. 10:51.064 --> 10:57.631 [SPEAKER_03]: And so I'm, you know, if you've never seen this movie for a adventure fan and is this one somehow alluded to you? 10:58.933 --> 10:59.974 [SPEAKER_03]: Give this one a watch. 11:00.194 --> 11:00.735 [SPEAKER_03]: It's a good movie. 11:01.987 --> 11:02.587 [SPEAKER_00]: Mm-hmm. 11:02.747 --> 11:03.548 [SPEAKER_00]: Game is so good. 11:04.528 --> 11:04.888 [SPEAKER_00]: Yeah. 11:04.928 --> 11:05.909 [SPEAKER_00]: That's pretty good. 11:06.629 --> 11:06.969 [SPEAKER_00]: Yeah. 11:07.269 --> 11:10.811 [SPEAKER_00]: Well, the game, I think is where I fell in love with Venture. 11:11.171 --> 11:12.292 [SPEAKER_00]: I think it's the game. 11:12.612 --> 11:20.275 [SPEAKER_00]: And it made me reevaluate some of his other movies that I didn't like as much and went back to them and liked them a little bit more. 11:20.335 --> 11:22.156 [SPEAKER_00]: It's interesting how a movie can do that for you. 11:22.416 --> 11:24.177 [SPEAKER_00]: Oh, I'm vibing with you now. 11:24.777 --> 11:31.100 [SPEAKER_00]: Like I found my in-road into kind of the stories you tell and what you try to do with them and then you go back and watch other stuff. 11:31.220 --> 11:40.764 [SPEAKER_05]: happen when I want her to turn four and then I went back and want her three wrong turn moves. 11:40.804 --> 11:41.465 [SPEAKER_03]: That's correct. 11:41.925 --> 11:42.365 [SPEAKER_03]: All right. 11:42.905 --> 11:46.067 [SPEAKER_03]: Let's get on to our big recommend and this one is Jeremy's. 11:46.167 --> 11:47.087 [SPEAKER_03]: It is the movie. 11:47.267 --> 11:48.568 [SPEAKER_03]: Things will be different. 11:49.428 --> 11:50.429 [SPEAKER_03]: Jeremy, take us away. 11:50.449 --> 11:51.249 [SPEAKER_03]: I'm fine. 11:51.289 --> 11:51.689 [SPEAKER_03]: I'm fine. 11:51.709 --> 11:52.490 [SPEAKER_03]: It's just that you're so. 11:53.188 --> 11:53.508 [SPEAKER_01]: Big. 11:53.768 --> 11:55.070 [SPEAKER_01]: It's so huge. 11:55.210 --> 11:57.331 [SPEAKER_01]: It's a good rule, but it's bigger than rules. 11:57.512 --> 11:58.753 [SPEAKER_01]: It's bigger on the inside. 11:59.093 --> 11:59.593 [SPEAKER_01]: Is it? 11:59.713 --> 12:00.334 [SPEAKER_01]: I noticed. 12:00.994 --> 12:02.375 [SPEAKER_05]: All right, things will be different. 12:02.395 --> 12:14.305 [SPEAKER_05]: Was shot in and around my hometown of Angola, Indiana, also shot some stuff in Fremont, Indiana, which is very near to Angola. 12:14.645 --> 12:16.607 [SPEAKER_05]: And I didn't recognize a single thing. 12:17.187 --> 12:17.848 [SPEAKER_05]: But that's okay. 12:18.669 --> 12:20.250 [SPEAKER_05]: Because that's not the point. 12:20.630 --> 12:23.573 [SPEAKER_05]: We open on a black screen as we hear a phone call between a man and a woman. 12:23.933 --> 12:27.135 [SPEAKER_05]: They are Joseph and Sydney and we learn that they've committed a robbery. 12:27.596 --> 12:31.358 [SPEAKER_05]: Nearly got caught by the cops had to split up and that they are brother and sister. 12:31.839 --> 12:35.902 [SPEAKER_05]: They planned meet up at a diner in the morning and Joseph said he's found a place for them to lay low. 12:37.131 --> 12:39.872 [SPEAKER_05]: We next see Sydney enter a diner carrying a rifle. 12:40.413 --> 12:40.993 [SPEAKER_05]: I think it's odd. 12:41.053 --> 12:46.636 [SPEAKER_05]: She's just openly carrying a rifle into a diner, but maybe this is some kind of universe where everybody carries a rifle. 12:46.736 --> 12:50.497 [SPEAKER_05]: I don't know, but that jumped out to me that she wasn't even trying to hide that rifle. 12:51.618 --> 12:57.040 [SPEAKER_05]: Through fairly natural conversation between her and Joseph, we learn more about them, such as Sydney has a sexual daughter. 12:57.261 --> 13:02.043 [SPEAKER_05]: She doesn't like onions, and the fact that they ended up stealing seven instead of five. 13:02.543 --> 13:09.987 [SPEAKER_05]: not sure if they mean million or hundred thousand, but regardless, it's more money than they thought, and now Sidney says she's able to dream a little bit. 13:10.667 --> 13:17.211 [SPEAKER_05]: Just as they begin to joke with one another, seemingly like old times, a police siren is hurt, and they throw a hundred dollar bill on the counter and take off. 13:17.991 --> 13:24.654 [SPEAKER_05]: It's worth pointing out that Joseph got their first and got to eat most of his meal, but Sidney was only in the diner for about two minutes and barely had anything to eat. 13:24.814 --> 13:25.535 [SPEAKER_05]: I don't think that's fair. 13:26.885 --> 13:30.494 [SPEAKER_05]: We then see them in the woods and they discover a campsite and that makes Sydney nervous. 13:31.035 --> 13:34.464 [SPEAKER_05]: But then they continue into a cornfield with their rifle strong. 13:35.532 --> 13:41.735 [SPEAKER_05]: They come to a farmhouse and they find three drunk guys shooting at bottles and the siblings fire upon them and claim the home is theirs. 13:41.895 --> 13:48.398 [SPEAKER_05]: And this strikes me as a super dangerous plan when just staying in the cornfield until those guys leave was sitting right there. 13:49.839 --> 13:54.221 [SPEAKER_05]: They appeared to know that those guys would probably come back after they've run them off when they don't care. 13:54.661 --> 13:57.503 [SPEAKER_05]: They pick up their spent rifle shells and head inside the farmhouse. 13:58.483 --> 14:03.246 [SPEAKER_05]: Inside there's minimal furniture and furnishings as well as a dead dog and random garbage. 14:03.946 --> 14:09.850 [SPEAKER_05]: Another police siren is heard and Sidney suggests doubling back to the diner, but Joe has become entranced by a door. 14:10.350 --> 14:11.071 [SPEAKER_05]: This is it. 14:11.311 --> 14:15.033 [SPEAKER_05]: He says pointing and then tense music begins as they go downstairs. 14:15.714 --> 14:20.957 [SPEAKER_05]: Joe pulls a notebook with apparently instructions and begins winding the large clock backwards. 14:21.837 --> 14:25.880 [SPEAKER_05]: Sidney gets quick instructions and runs to another clock and spins that one style. 14:26.768 --> 14:30.410 [SPEAKER_05]: Then they both head upstairs as Joe plays with the door handle and the sirens approach. 14:31.010 --> 14:32.991 [SPEAKER_05]: They both go into the room and close the door. 14:34.271 --> 14:39.193 [SPEAKER_05]: Next we see an exterior shot of the farm with the police lights and then we go inside the room. 14:39.914 --> 14:43.555 [SPEAKER_05]: It's completely dark, but Joe lights a match and there's a phone. 14:43.996 --> 14:49.918 [SPEAKER_05]: And then Sydney reads instructions from the notebook and dials the phone as we hear police outside checking the other rooms. 14:50.678 --> 14:54.020 [SPEAKER_05]: Sydney says a strange phrase that might be Latin and Joe blows out the match. 14:55.478 --> 15:00.262 [SPEAKER_05]: Next in darkness we hear them breathing before they open the door and step out into a fully furnished room. 15:01.042 --> 15:03.204 [SPEAKER_05]: We see through the window and it's winter time now. 15:03.504 --> 15:06.387 [SPEAKER_05]: They appear to have traveled to the past or maybe to the future. 15:06.787 --> 15:09.890 [SPEAKER_05]: And they check the house room by room just as they did when they arrived. 15:10.810 --> 15:14.173 [SPEAKER_05]: The home is now fully furnished and clearly being lived it. 15:14.753 --> 15:16.935 [SPEAKER_05]: Joe goes back to his clock and winds it forward. 15:17.315 --> 15:20.358 [SPEAKER_05]: He stops when it clicks and Sydney asks, is that it? 15:20.878 --> 15:22.339 [SPEAKER_05]: We're clear here and there. 15:23.184 --> 15:25.647 [SPEAKER_05]: He replies, got to wait for our time to pass in the present. 15:26.167 --> 15:28.190 [SPEAKER_05]: Then we had back make sure we're clear. 15:29.031 --> 15:31.313 [SPEAKER_05]: And one begins to hope this will make sense at some point. 15:32.314 --> 15:36.099 [SPEAKER_05]: They checked the cupboards and find dozens of snacks and meals in plastic containers. 15:36.599 --> 15:38.501 [SPEAKER_05]: Sidney says so two weeks then. 15:39.297 --> 15:48.721 [SPEAKER_05]: and he says two weeks in counting, which grammatically is probably not the correct reply, since it implies a starting number two weeks is going to go up when it's really going to go down, but I digress. 15:49.201 --> 15:54.943 [SPEAKER_05]: Then they laugh and hug, mostly because they know all the things we do not yet know, and also they now believe they are in the clear. 15:55.949 --> 16:02.018 [SPEAKER_05]: We then cycle through there two weeks with little titles in the top right of the screen telling us what day it is as each new day is shown. 16:02.399 --> 16:03.160 [SPEAKER_05]: They walk around. 16:03.481 --> 16:06.025 [SPEAKER_05]: They snoop on the clothes and other items in the house. 16:06.505 --> 16:08.268 [SPEAKER_05]: They try to get in a strange outbuilding. 16:08.849 --> 16:09.190 [SPEAKER_05]: They eat. 16:09.590 --> 16:11.113 [SPEAKER_05]: They drink coffee on the porch and laugh. 16:11.433 --> 16:17.815 [SPEAKER_05]: They count their money, and we see that Sydney has a notebook with a list of names and amounts, and perhaps she's stolen this money to pay people back. 16:18.555 --> 16:23.917 [SPEAKER_05]: They open drawers, they watch movies, they take baths, they drink a lot, they practice shooting, they drink some more. 16:24.637 --> 16:32.579 [SPEAKER_05]: We see them have a conversation about how he feels he owes her brother's sister time, and it's revealed that she got arrested in the past, and he didn't. 16:33.120 --> 16:37.681 [SPEAKER_05]: But she feels like it's set around the right path, even while he feels like he abandoned her. 16:38.321 --> 16:40.522 [SPEAKER_05]: And yes, we do find out she is in massive debt. 16:41.278 --> 16:46.020 [SPEAKER_05]: We also learn this is a magical safe house owned by one of Joe's regular customers from his ball. 16:47.301 --> 16:57.765 [SPEAKER_05]: The two reminisce about their childhood and the music their mother played and listened to, and Sid looks at the bracelet her daughter's stuff made for her and says, get me back to her Joe and leaves the room. 16:58.785 --> 17:00.246 [SPEAKER_05]: We next jump today, fourteen. 17:00.786 --> 17:07.549 [SPEAKER_05]: They put the dishes away, they pack up, throw out the trash, and Joe discovers that the mysterious outbuilding now has its doors open wide. 17:08.079 --> 17:08.439 [SPEAKER_05]: He enters. 17:09.119 --> 17:12.421 [SPEAKER_05]: We cut to sit upstairs at the special door staring in awe. 17:13.281 --> 17:15.322 [SPEAKER_05]: Joe arrives yelling saying, we have to go now. 17:16.042 --> 17:20.304 [SPEAKER_05]: And we see that the door has a carved sign on it that reads, go to the mill. 17:21.064 --> 17:22.685 [SPEAKER_05]: She tries the handle, but it won't open. 17:23.485 --> 17:25.306 [SPEAKER_05]: She runs to the mill and Joe follows. 17:25.686 --> 17:28.947 [SPEAKER_05]: He gives her flashlight and says to stay calm and follow him. 17:30.478 --> 17:35.123 [SPEAKER_05]: They go in and down some stairs and pass the green bomb looking thing. 17:35.323 --> 17:38.105 [SPEAKER_05]: And anyway, they find themselves in a room full of church pews. 17:38.166 --> 17:39.106 [SPEAKER_05]: It might even be a church. 17:39.146 --> 17:40.488 [SPEAKER_05]: Yes, it is a church. 17:41.489 --> 17:45.433 [SPEAKER_05]: At the front, there's a charred human skeleton with an up arrow carved next to it. 17:46.393 --> 17:49.637 [SPEAKER_05]: They slowly approach carved into the pulpit is this message. 17:49.957 --> 17:51.558 [SPEAKER_05]: You are in the grip of the vice. 17:52.359 --> 17:54.641 [SPEAKER_05]: I and the left side and another is the right. 17:55.495 --> 17:59.496 [SPEAKER_05]: Give in or join them, carve here to comply. 17:59.916 --> 18:03.577 [SPEAKER_05]: And look, carving is creepy, but that shit is so time consuming I bet it took hours. 18:03.958 --> 18:09.659 [SPEAKER_05]: Anyway, Sid runs out and runs away until she kills over and starts vomiting blood and it's pretty gross. 18:10.400 --> 18:14.441 [SPEAKER_05]: She panics a little before getting up and returning toward the farmhouse and then collapsing. 18:15.081 --> 18:18.082 [SPEAKER_05]: She wakes up in the farmhouse and Joe is founder and brought her there. 18:18.582 --> 18:20.443 [SPEAKER_05]: She sobbed slightly while she bathes. 18:21.484 --> 18:27.487 [SPEAKER_05]: Joe tells Sid later that the watch on the corpse they saw in the church was the woman's watch who had given him the notebook. 18:27.907 --> 18:29.768 [SPEAKER_05]: He says this isn't her place. 18:30.669 --> 18:33.370 [SPEAKER_05]: Sid asks if they are safe and he says the bar is clean. 18:33.831 --> 18:35.251 [SPEAKER_05]: Everybody thinks I'm in golf shorts. 18:36.512 --> 18:39.634 [SPEAKER_05]: We next see Joe carving an X on the line on the pulpit. 18:40.314 --> 18:42.976 [SPEAKER_05]: Then there's a noise and a sudden safe appears on the floor. 18:43.875 --> 18:48.996 [SPEAKER_05]: Joe pulls out a notebook and uses numbers in there as the combination for the safe and the safe opens. 18:49.797 --> 18:55.478 [SPEAKER_05]: Inside a message says, talk and lock to set a cycle and there's a tape recorder inside. 18:56.298 --> 19:00.119 [SPEAKER_05]: Joe records himself saying, hello, returns the recorder and locks the safe. 19:00.459 --> 19:05.961 [SPEAKER_05]: Immediately, there's a noise behind Sid and she goes to investigate while Joe spins the dial on the safe to open it again. 19:07.146 --> 19:09.831 [SPEAKER_05]: This time the message inside reads, cycle is set. 19:10.251 --> 19:10.892 [SPEAKER_05]: Play to listen. 19:11.253 --> 19:12.054 [SPEAKER_05]: Record to talk. 19:12.475 --> 19:15.761 [SPEAKER_05]: And this is officially the kind of thing that could end up being awesome. 19:16.021 --> 19:20.308 [SPEAKER_05]: And let's set ends up explaining all the mysteries with some kind of flimsy-half explanation like lost. 19:21.212 --> 19:23.754 [SPEAKER_05]: He plays the tape and a voice says you shouldn't be here. 19:24.354 --> 19:27.796 [SPEAKER_05]: He begins a conversation with the voice, which demands to know who he has told. 19:28.636 --> 19:31.378 [SPEAKER_05]: Sid gets impatient, talks on their quarter and it stops working. 19:32.079 --> 19:37.842 [SPEAKER_05]: Joe explains his theory about the past and the future and the vice and it might be right for all I know, but he doesn't really have any basis for it. 19:38.162 --> 19:43.445 [SPEAKER_05]: Anyway, after following Joe's advice and putting the thing back in the thing and taking it back out of the thing, it works again. 19:44.246 --> 19:45.927 [SPEAKER_05]: The voice says it doesn't want their money. 19:46.407 --> 19:47.288 [SPEAKER_05]: It wants to wipe them. 19:48.027 --> 19:55.541 [SPEAKER_05]: and says it's more humane to wipe them than for them to be vomiting up blood at the borders, suggesting there is a limit to the range outside the house. 19:56.542 --> 20:02.863 [SPEAKER_05]: Joe then takes over again and boldly declares that the voice can't kill them because it needs them to make this vice-grip work. 20:03.303 --> 20:07.744 [SPEAKER_05]: Again, I have no idea how he has come to this conclusion and I'm starting to remember the time I watched primary. 20:08.584 --> 20:09.024 [SPEAKER_05]: And guess what? 20:10.265 --> 20:10.985 [SPEAKER_05]: Joe is right. 20:11.525 --> 20:14.785 [SPEAKER_05]: The voice says an unwelcome visitor is coming that they cannot track or stop. 20:15.246 --> 20:22.027 [SPEAKER_05]: It instructs them to stop that person before that person gets to the door and then put their ashes where they currently stand in the church. 20:22.987 --> 20:27.228 [SPEAKER_05]: And then they'll be able to be released at a time that is safe from harm and law. 20:27.908 --> 20:34.830 [SPEAKER_05]: As Joe tries to tell Sid, this is their only option, Sid pours a drink, and then bluntly lays out a plan for them to see anyone coming toward the farmhouse. 20:35.651 --> 20:36.871 [SPEAKER_05]: Then she says some cryptic shit. 20:36.951 --> 20:41.072 [SPEAKER_05]: Like, if we're stuck here and I can't get back to her, we are way past being done. 20:41.492 --> 20:42.092 [SPEAKER_05]: Do you get me? 20:42.773 --> 20:50.835 [SPEAKER_05]: And I think she means that she's going to sever their relationship, but it's going to be difficult to do that with someone you are confined to a couple of acres with for forever. 20:51.817 --> 20:55.980 [SPEAKER_05]: Anyway, Joe downs the rest of her drink and says they'll divide shift when he gets back. 20:56.461 --> 20:58.322 [SPEAKER_05]: And then she pours out the rest of the liquor. 20:58.522 --> 20:59.463 [SPEAKER_05]: Where is Joe going? 20:59.543 --> 21:07.449 [SPEAKER_05]: It's not important because we immediately cut to the pair of them opening the safe together and getting too tiny little sick shooter guns and saying, is this all we get? 21:08.189 --> 21:10.351 [SPEAKER_05]: And I wonder if they forgotten their rifles. 21:11.672 --> 21:19.357 [SPEAKER_05]: Joe hides one of the guns in the church and in a not so subtle bit of symbolism cuts his hand on a protruding nail from a piece of wood. 21:20.158 --> 21:24.081 [SPEAKER_05]: He hides the other gun outside next to the weird chimney thing coming out of the ground. 21:25.001 --> 21:28.884 [SPEAKER_05]: Anywho, why are they hiding tiny guns in weird places and what about their rifles? 21:29.304 --> 21:35.949 [SPEAKER_05]: Why don't they do some random home alone shit inside the house, especially outside that fancy door they're trying to protect? 21:37.148 --> 21:39.670 [SPEAKER_05]: We see Sid stare at a picture on the wall of an old couple. 21:40.150 --> 21:42.932 [SPEAKER_05]: Then we see the two taking turns standing watch. 21:42.992 --> 21:48.076 [SPEAKER_05]: And I wonder if the movie just revealed its ending that they are the old couple in the picture on the wall. 21:48.877 --> 21:49.738 [SPEAKER_05]: Time will tell. 21:50.078 --> 21:50.298 [SPEAKER_05]: Ha! 21:50.538 --> 21:50.979 [SPEAKER_05]: Time! 21:51.479 --> 21:52.460 [SPEAKER_05]: That wasn't on purpose. 21:53.200 --> 21:59.665 [SPEAKER_05]: As we pan around the farm, winter changes to summer, and the fields are full of corn, and then it's winter again, and it's dreary and cold. 21:59.705 --> 22:01.506 [SPEAKER_05]: And I guess they're here for a while. 22:02.308 --> 22:04.909 [SPEAKER_05]: We then cut to day, three hundred fifty two. 22:05.529 --> 22:15.032 [SPEAKER_05]: Sydney's alarm goes off and she exercises, then opens the empty fridge, closes it again, then opens it to find it stocked and makes a pretty terrible looking sandwich before going outside for her watch. 22:15.693 --> 22:20.694 [SPEAKER_05]: We see Joe trimming his beard before she knocks on his door and he slides and empty plate out like he's a prisoner. 22:21.835 --> 22:28.037 [SPEAKER_05]: Next, she practices the using the bull-hook weapon thing they talked about earlier and I really hope she gets to use this thing eventually. 22:28.937 --> 22:31.779 [SPEAKER_05]: Then she overhears Joe laughing and talking into the tape recorder. 22:32.300 --> 22:33.761 [SPEAKER_05]: Then she's sitting by a fire. 22:34.622 --> 22:38.005 [SPEAKER_05]: We then see Joe pull out and break the CD that's playing in the machine. 22:38.545 --> 22:41.328 [SPEAKER_05]: He goes out to talk to Sid, but we don't hear what they say. 22:41.388 --> 22:44.470 [SPEAKER_05]: We just cut to him inside a bedroom with a glass of liquid. 22:45.191 --> 22:46.752 [SPEAKER_05]: He takes a sip and doesn't like it. 22:46.872 --> 22:49.675 [SPEAKER_05]: But Sid says that's fine as is drink it. 22:50.689 --> 22:55.052 [SPEAKER_05]: Then she lays out her theory about the vice from her research, which isn't really a theory per se. 22:55.092 --> 23:07.861 [SPEAKER_05]: She's just learned that no one lived here after nineteen fifty five and that must have been when the vice showed up and the vice used the land to bring people here and wipe them but when the sibling showed up unexpectedly it through the vice for a loop or something. 23:08.682 --> 23:15.027 [SPEAKER_05]: Honestly, the movie is either intentionally obscuring the real answers with this kind of dialogue or it never really went too deep developing its own law. 23:15.767 --> 23:16.708 [SPEAKER_05]: I'm not complaining, really. 23:17.008 --> 23:20.390 [SPEAKER_05]: I just sometimes like to be able to understand the theories the main characters come up with. 23:20.830 --> 23:26.314 [SPEAKER_05]: It seems these two are just going with, there's a vice and it's two people, one in the future and one in the past. 23:26.654 --> 23:27.275 [SPEAKER_05]: And yeah. 23:28.658 --> 23:32.460 [SPEAKER_05]: He actually derides her theory and I'm kind of shocked, but also I'm suddenly team Joe. 23:32.821 --> 23:39.465 [SPEAKER_05]: He jokes about all the crazy theories she's come up with over the last year declaring he believes their situation to be coincidental torture porn. 23:39.825 --> 23:44.308 [SPEAKER_05]: Which honestly might be the most accurate description of my relationship with my college girlfriend I've ever seen. 23:44.908 --> 23:46.149 [SPEAKER_05]: Also a great band name. 23:46.929 --> 23:52.373 [SPEAKER_05]: But he thinks it's two people who don't care about Joe and Sid, but can use them since they've stumbled into this house. 23:53.073 --> 23:58.736 [SPEAKER_05]: Sid then accuses him of working with the vice-ends to fuck her over because she's heard all of his conversations with them. 23:59.136 --> 24:04.118 [SPEAKER_05]: That's honestly a pretty insane take, but after being cooped up in a time-based farmhouse prison for a year and St. 24:04.138 --> 24:05.179 [SPEAKER_05]: takes are probably likely. 24:06.139 --> 24:11.782 [SPEAKER_05]: He screams and rats that he would never fuck her over again and breaks down in tears and then she consoles him. 24:12.622 --> 24:20.566 [SPEAKER_05]: Later, watching TV, he asks about their matching tattoos, and if they would have stayed in touch, if they hadn't gotten those, which is one of the dumbest questions I've ever heard. 24:21.513 --> 24:24.475 [SPEAKER_05]: Later, Sid sees him carrying a box outside, but she does nothing. 24:24.876 --> 24:28.078 [SPEAKER_05]: The box turns out to have a bunch of liquor in it, and he places it in the trash. 24:28.578 --> 24:39.767 [SPEAKER_05]: Then he lights what appears to be a new candle in a room full of candles, and we see that he's basically down in that church begging the voices on the recorder to help him, and there are still forty-five minutes in this movie. 24:40.768 --> 24:50.215 [SPEAKER_05]: We next see Sid on the porch on watch, being viewed by someone with red binoculars in its ominous, but we cut straight to Joe in the church basement looking at his tattoo while playing with a six-shooter. 24:50.907 --> 24:54.150 [SPEAKER_05]: Then in a wide shot outside, the figure in the field approaches the farmhouse. 24:54.710 --> 24:58.293 [SPEAKER_05]: The figure puts down a tiny boom box and lays down with a rifle. 24:59.274 --> 25:04.518 [SPEAKER_05]: Suddenly, Joe yells, sit and points at the gunman just in time for sit to get out of the way of the shot. 25:04.998 --> 25:08.381 [SPEAKER_05]: And just how the fuck did Joe know to come outside from the church at this exact moment? 25:09.635 --> 25:14.985 [SPEAKER_05]: The figure then turns and fires at Joe, who races inside while Sid comes out with her rifle and fires, but misses. 25:15.425 --> 25:16.527 [SPEAKER_05]: They regroup inside. 25:16.988 --> 25:21.496 [SPEAKER_05]: Sid tells Joe to lock the doors and draw them out while she holds the door upstairs. 25:22.463 --> 25:27.225 [SPEAKER_05]: Joe goes outside, creeps around the house and then sees the chimney in the ground where the gun is stashed. 25:27.385 --> 25:36.748 [SPEAKER_05]: When Sid had asked where his rifle was earlier and he said at my post and I'm not sure where that was, but it's apparently far enough away that he decides to run for the sick shooter at the chimney. 25:36.788 --> 25:38.169 [SPEAKER_05]: I'm just going to keep calling that a chimney. 25:38.189 --> 25:39.189 [SPEAKER_05]: I have no idea what it is. 25:39.209 --> 25:40.370 [SPEAKER_05]: It looks like a ground chimney. 25:41.113 --> 25:43.373 [SPEAKER_05]: The intruder fires at him three times and misses. 25:43.834 --> 25:51.035 [SPEAKER_05]: Joe returns to the house, firing all but one of his six bullets to provide cover for himself as he runs because Joe is an idiot. 25:51.735 --> 26:00.917 [SPEAKER_05]: Then in one of the movie's coolest shots, we see Joe from inside the house out on the porch checking his gun as the intruder slowly creeps in from the left behind Joe. 26:01.477 --> 26:06.778 [SPEAKER_05]: But then a floorboard creaks and Joe turns around and fires and we cut immediately to Sydney. 26:07.278 --> 26:10.419 [SPEAKER_05]: Upstairs, whispering, come on, where are you? 26:11.367 --> 26:17.112 [SPEAKER_05]: Then, like an idiot, she goes downstairs because she's afraid for Joe and now the door is unguarded. 26:17.653 --> 26:20.616 [SPEAKER_05]: Even more idiotly, she then goes outside. 26:21.663 --> 26:26.207 [SPEAKER_05]: She hears static, leaves the porch to find the intruder standing over her brother in the snow. 26:26.788 --> 26:29.030 [SPEAKER_05]: They begin firing at each other and Sidney is hit. 26:29.690 --> 26:35.095 [SPEAKER_05]: The intruder holds up the boombox and it's playing a song with lyrics that say, I got you in my crosshairs. 26:35.596 --> 26:41.101 [SPEAKER_05]: And we know this song because it is a song we heard earlier when they were talking about the music, their mother listened to. 26:41.937 --> 26:46.080 [SPEAKER_05]: She goes back inside, locks the door, and starts tending to her bullet graze wound on her shoulder. 26:46.620 --> 26:48.081 [SPEAKER_05]: Then we see her pick up the bull hook. 26:48.541 --> 26:48.742 [SPEAKER_05]: Yes! 26:49.462 --> 26:57.608 [SPEAKER_05]: She goes, she pulls the go to the mill sign off the door with the bull hook, but it is immediately replaced with a new sign that says stop, you will break the door. 26:59.327 --> 27:01.708 [SPEAKER_05]: She laughs and pulls that sign down as well. 27:02.068 --> 27:05.028 [SPEAKER_05]: It is replaced with a sign that says, stop, you will break the door. 27:05.428 --> 27:10.610 [SPEAKER_05]: And then she goes, as she goes to attack the door once more, the safe appears in the room at her feet. 27:11.750 --> 27:15.931 [SPEAKER_05]: We then cut to Joseph waking up on the floor of the church and we hear a safe dial turning. 27:16.631 --> 27:21.012 [SPEAKER_05]: He sees that his wound has been dressed and that the intruder is trying to use the notebook to open the safe. 27:21.892 --> 27:25.693 [SPEAKER_05]: Back in the house, the voice tells Sid that if she breaks the door, she and Joe will die here. 27:26.649 --> 27:30.171 [SPEAKER_05]: Meanwhile, Joe is trying to reach the six shooter he stashed in the church. 27:30.391 --> 27:36.554 [SPEAKER_05]: While the intruder pulls the tape recorder out of the safe, but then catches Joe and stops on his wound and ties him up. 27:37.735 --> 27:42.117 [SPEAKER_05]: Figure rights, hello on a note pad, and then I need you to talk from a Joseph. 27:42.598 --> 27:50.522 [SPEAKER_05]: Joe refuses and gets his leg wounds stomped on again, but also finds a protruding nail behind him in just the right place to help untie his hands. 27:50.702 --> 27:53.844 [SPEAKER_05]: So he finally says, hello into the record. 27:54.864 --> 28:02.906 [SPEAKER_05]: Back in the farmhouse, Sid asks about the song the intruder was playing, and the voice assures her that the intruder is not her mother, but he can't say how he knows that. 28:03.946 --> 28:13.628 [SPEAKER_05]: The voice then offers to meet her in the middle, and asks her to tell it everything she knows so far about the intruder, and in return they can tell her how they know the intruder is not her mother. 28:14.188 --> 28:20.610 [SPEAKER_05]: Honestly, this feels like a bad deal for Sid, but she has mommy issues so she goes for it, saying the voice has to share first. 28:21.405 --> 28:27.908 [SPEAKER_05]: The voice says, we know that, and then there is a clear, clang noise, and the voice stops responding. 28:29.209 --> 28:35.893 [SPEAKER_05]: Back in the church, the intruder brings the recorder back out of the safe, and forces Joe to talk to the vice voice, who asks if the intruder is there. 28:36.433 --> 28:39.635 [SPEAKER_05]: Joe lies and says, no, they ask if the intruder is dead. 28:40.155 --> 28:40.996 [SPEAKER_05]: Joe says yes. 28:41.676 --> 28:45.438 [SPEAKER_05]: Again, he's reading these replies from a notebook that the intruder wrote for him to say. 28:46.718 --> 28:50.201 [SPEAKER_05]: Joseph's the intruder's body still needs to be recovered, but the weather is bad. 28:50.762 --> 28:56.147 [SPEAKER_05]: He also shares that he's hurt and in the church and asks the voice to help him by contacting his sister. 28:56.628 --> 28:58.750 [SPEAKER_05]: The voice says, copy, stand by. 28:59.847 --> 29:02.288 [SPEAKER_05]: We then see the voice telling Sid her brother is alive in the church. 29:02.388 --> 29:05.208 [SPEAKER_05]: She asks if he's alive and the voice says yes. 29:05.808 --> 29:08.509 [SPEAKER_05]: She asks, is it with him and the voice says yes? 29:08.949 --> 29:11.970 [SPEAKER_05]: She says, stay close and then leaves the room. 29:12.690 --> 29:16.771 [SPEAKER_05]: Sid leaves the house wencing as she throws her rifle over her shoulder to remind us of her wound. 29:17.411 --> 29:19.752 [SPEAKER_05]: In the church, Joe asks the intruder why it can't talk. 29:20.452 --> 29:25.053 [SPEAKER_05]: It comes all the way over to him and writes a new message on the note pad, only for it to be 29:26.554 --> 29:29.417 [SPEAKER_05]: Uh, that the question is too big to answer right now. 29:30.758 --> 29:31.959 [SPEAKER_05]: He asks, why are you here? 29:32.039 --> 29:32.679 [SPEAKER_05]: What do you want? 29:32.980 --> 29:38.884 [SPEAKER_05]: The intruder responds with a message we don't get to see because it's, if this movie is good at anything, it's cock teasing. 29:39.705 --> 29:46.231 [SPEAKER_05]: After a few moments with Sid outside the outbuilding, we get to see the reply and it's, I want the man who killed my family. 29:47.432 --> 29:53.397 [SPEAKER_05]: Sid makes a noise outside and the intruder hears it and grabs the rifle and Joe furiously tries to cut his bindings on the straight nail. 29:54.252 --> 29:59.115 [SPEAKER_05]: Just as she's about to turn and shop through the window, the intruder shoots at her, but misses. 29:59.896 --> 30:04.399 [SPEAKER_05]: The gun jams intruder drops it and leaves the church and takes off running through the field. 30:05.100 --> 30:06.480 [SPEAKER_05]: Sid sees them and gives chase. 30:06.821 --> 30:07.361 [SPEAKER_05]: She shoots them. 30:07.941 --> 30:14.266 [SPEAKER_05]: But then either the gun jams or runs out of bullets, so she drops the gun and the two race inside to try and reach the door before the other. 30:14.806 --> 30:19.810 [SPEAKER_05]: They fight in the living room, and yes, Sidney does get to use the bull hook in the fight. 30:20.768 --> 30:27.570 [SPEAKER_05]: She cuts the intruder who stops fighting and sits slowly approaches and tries to pull off the face cover, the intruder recovers and punches her. 30:28.190 --> 30:35.052 [SPEAKER_05]: They wrestle on the ground, taking turns, being in control until Sid removes the covering and finds a girl we've never seen. 30:35.553 --> 30:40.134 [SPEAKER_05]: Sid looks at her wrist and the bracelet her daughter made her and holy shit, it's her daughter. 30:40.634 --> 30:41.975 [SPEAKER_05]: Were you like me? 30:42.315 --> 30:45.156 [SPEAKER_05]: Pretty certainly, intruder was going to be either Sid or Joe? 30:45.516 --> 30:46.116 [SPEAKER_05]: Holy shit. 30:47.218 --> 30:54.622 [SPEAKER_05]: Joe arrives after Sid is briefly overpowered and points the six shooter at the now red face covered refaced covered intruder. 30:55.368 --> 30:56.628 [SPEAKER_05]: Sid yells, no, no, no, no. 30:56.869 --> 30:59.950 [SPEAKER_05]: And we hear a gunshot as the movie cuts to the farmhouse as exterior. 31:00.470 --> 31:03.471 [SPEAKER_05]: We then cut back inside to see Sid fall wounded. 31:03.611 --> 31:05.852 [SPEAKER_05]: Joe has shot his own sister. 31:06.532 --> 31:12.754 [SPEAKER_05]: As she falls to the floor to cover her wound, the intruder runs upstairs and opens the door entering the secret room. 31:13.274 --> 31:13.855 [SPEAKER_05]: We hear thunder. 31:14.275 --> 31:15.715 [SPEAKER_05]: As Joe tells Sid to stay with him. 31:16.375 --> 31:17.456 [SPEAKER_05]: And then Sid dies. 31:18.498 --> 31:21.540 [SPEAKER_05]: Joe hugs her body and sobs and we get another close-up of the bracelet. 31:22.040 --> 31:26.403 [SPEAKER_05]: Joe walks upstairs and finds the door blown to bits pieces of it on the floor. 31:27.283 --> 31:30.445 [SPEAKER_05]: He uses the safe tape recorder to tell the voice it's gone. 31:31.126 --> 31:32.426 [SPEAKER_05]: The voice asks if Joe is hurt. 31:32.486 --> 31:39.030 [SPEAKER_05]: He says yes and they tell him they will send more theme and Joe should take it and go to the wood shed and await further instructions. 31:39.811 --> 31:43.053 [SPEAKER_05]: Joe asks what about my sister but there is no reply that we can hear. 31:43.973 --> 31:46.915 [SPEAKER_05]: We only cut to Joe standing above his sister's grave outside. 31:46.955 --> 31:55.319 [SPEAKER_05]: And if I were sinning this movie, I might remind the viewer that Joe himself earlier said the ground was too frozen to dig, but I'm not sinning it unrecapping it. 31:55.499 --> 31:56.500 [SPEAKER_05]: So let's keep going. 31:57.380 --> 32:07.266 [SPEAKER_05]: Joe carries the bags of money to the shed, the door rumbling behind him, then darkness, then the high pitch noise Joe turns to see a silhouette at man, sitting at a large console. 32:07.486 --> 32:12.069 [SPEAKER_05]: The man embraces a female and they both light cigarettes as she sits on the other side of the console. 32:12.929 --> 32:15.491 [SPEAKER_05]: The female says, turn around and the male says, you can't look at us. 32:16.352 --> 32:17.033 [SPEAKER_05]: Turn around, please. 32:17.873 --> 32:19.715 [SPEAKER_05]: And these are the two vice voices. 32:20.616 --> 32:24.219 [SPEAKER_05]: They informed him that they are going to wipe him because he and his sister failed to carry out the task. 32:24.499 --> 32:28.783 [SPEAKER_05]: They explained that this is all bigger than him and he was just in the wrong place at the wrong time. 32:29.304 --> 32:30.845 [SPEAKER_05]: Joe insists he can get her back. 32:31.385 --> 32:33.667 [SPEAKER_05]: It begins to basically beg for a second chance. 32:34.148 --> 32:35.569 [SPEAKER_05]: He says, things will be different. 32:36.150 --> 32:36.530 [SPEAKER_05]: Trust me. 32:37.010 --> 32:38.351 [SPEAKER_05]: Just give me another chance. 32:39.192 --> 32:47.977 [SPEAKER_05]: The silhouettes hang their heads, then peek around at each other, then the male says, we're assuming that you remember the morning of well and Joe nods. 32:48.557 --> 32:54.440 [SPEAKER_05]: They say leave the bags, remove the redundancy, and slip in when you can see your sister as quickly as you can. 32:55.080 --> 32:58.942 [SPEAKER_05]: The female says, be sure to remove the redundancy, where you and your sister will be wiped. 32:59.863 --> 33:03.745 [SPEAKER_05]: They mother and Latin, and a door opens behind Joe, which makes his eyes go wide. 33:04.571 --> 33:06.752 [SPEAKER_05]: We then cut to a field outside the farmhouse. 33:07.372 --> 33:14.093 [SPEAKER_05]: Joe is outside the outbuilding, walks toward the cornfield but stops fifty feet short, staring at a seaplane flying overhead. 33:15.054 --> 33:21.935 [SPEAKER_05]: He then walks toward the corn and begins to run as best he can, removing his clothing as he goes, tracked through the corn, back toward the diner. 33:22.375 --> 33:28.757 [SPEAKER_05]: We see him in the woods, he pauses to look at the campsite they passed in the beginning of the film that Sid thought was a sign the area wasn't safe. 33:29.701 --> 33:37.526 [SPEAKER_05]: Joe bent over in counting, hiding his money, is then attacked by current Joe, as we learn the original Joe is the aforementioned redundancy. 33:38.407 --> 33:41.649 [SPEAKER_05]: Imagine having to bludgeon yourself to death and then dump your own body in the swamp. 33:42.510 --> 33:44.371 [SPEAKER_05]: Joe then picks up the money and runs through the woods. 33:44.731 --> 33:50.655 [SPEAKER_05]: We see a few Terrence Malak shots of the sunshine through the trees and Joe arrives back at the diner where he can sit first met. 33:51.416 --> 33:53.097 [SPEAKER_05]: He is replacing his original self. 33:53.878 --> 33:58.341 [SPEAKER_05]: The waiter seems alarmed so he slides for a few hundreds and makes the shush gesture. 33:59.060 --> 34:03.584 [SPEAKER_05]: He takes a long drink of coffee as we cut back to the vices and they say, cycle is set. 34:04.425 --> 34:06.546 [SPEAKER_05]: The left asks how the right feels about this one. 34:06.847 --> 34:09.149 [SPEAKER_05]: And she replies with, got a love hope. 34:09.769 --> 34:16.255 [SPEAKER_05]: And with the new lighting, we see that these are Joe and Sid or the very least, the actors who played Joe and Sid. 34:17.113 --> 34:21.296 [SPEAKER_05]: We then cut to sit, rifle over her shoulder, entering the diner, and spotting her brother at the bar. 34:21.356 --> 34:24.057 [SPEAKER_05]: She walks up, but pauses, looking at him strangely. 34:24.718 --> 34:25.278 [SPEAKER_05]: Who are you? 34:25.378 --> 34:25.818 [SPEAKER_05]: She asks. 34:26.099 --> 34:26.619 [SPEAKER_05]: Who are you? 34:26.739 --> 34:27.299 [SPEAKER_05]: She demands. 34:28.020 --> 34:29.100 [SPEAKER_05]: I'm no one he replies. 34:29.781 --> 34:32.182 [SPEAKER_05]: She asks where he got the bags, and he says he stole them. 34:32.563 --> 34:35.384 [SPEAKER_05]: She asks about the man who had them, and he replies long gone. 34:36.185 --> 34:37.886 [SPEAKER_05]: She sits and then asks, did you kill him? 34:38.666 --> 34:40.848 [SPEAKER_05]: He replies, it was to make things right. 34:41.849 --> 34:45.071 [SPEAKER_05]: She asked how that's going, and she points the rifle at him, and he says, not well. 34:45.531 --> 34:45.972 [SPEAKER_05]: I tried. 34:46.032 --> 34:50.535 [SPEAKER_05]: I tried so many times, and then he grabs the barrel of the gun and says, I'm tired. 34:51.055 --> 34:53.417 [SPEAKER_05]: He lifts the gun up, revealing his wrist tattoo. 34:54.078 --> 34:56.559 [SPEAKER_05]: So please, he says, you have to end this. 34:57.120 --> 34:58.100 [SPEAKER_05]: Leave the money and run. 34:58.621 --> 35:01.163 [SPEAKER_05]: Run to stuff before I kill you again. 35:02.010 --> 35:06.036 [SPEAKER_05]: Suddenly he yells kill me and she fires and every one of the diners screams and goes running. 35:06.336 --> 35:07.578 [SPEAKER_05]: Sid runs out of the restaurant. 35:07.858 --> 35:10.923 [SPEAKER_05]: We paned to a painting of the farmhouse on the wall of the diner. 35:11.644 --> 35:14.167 [SPEAKER_05]: And that is things will be different. 35:14.508 --> 35:17.172 [SPEAKER_05]: Gentlemen, how was your experience? 35:17.957 --> 35:25.163 [SPEAKER_03]: Okay, I have, I watched this movie twice because I didn't understand everything the first time. 35:25.423 --> 35:28.666 [SPEAKER_03]: I don't sure, I'm not sure I understand everything the second time. 35:28.706 --> 35:29.967 [SPEAKER_00]: Do you understand anything? 35:29.987 --> 35:31.809 [SPEAKER_00]: Because I have questions. 35:33.710 --> 35:34.851 [SPEAKER_03]: Yeah, this is good. 35:34.911 --> 35:38.274 [SPEAKER_03]: I think the remainder of this show will be questions about this movie. 35:40.296 --> 35:48.304 [SPEAKER_03]: So my first question about this movie is, I understand that they're in the middle of a place where time really isn't moving. 35:48.904 --> 35:50.806 [SPEAKER_03]: Basically, is that what it is? 35:50.846 --> 35:52.167 [SPEAKER_03]: It's moving everywhere else. 35:52.908 --> 35:54.970 [SPEAKER_03]: But in their world it's not moving. 35:55.010 --> 35:58.654 [SPEAKER_03]: There's no planes, no cars, no nothing, whatever. 35:59.095 --> 36:03.419 [SPEAKER_03]: And so they can't move in this time because they'll die. 36:03.479 --> 36:05.101 [SPEAKER_03]: They'll vomit blood apparently. 36:06.923 --> 36:10.747 [SPEAKER_03]: So I got the sense that they were this vise grip that they were in. 36:10.847 --> 36:14.311 [SPEAKER_03]: It's a place where time doesn't really move all that much. 36:15.392 --> 36:27.094 [SPEAKER_03]: I don't understand the two weeks that they have to wait because okay so if the idea is you stole one money and then you got you went here to hide. 36:28.994 --> 36:43.037 [SPEAKER_03]: I don't understand why you couldn't have just gone to the places that they said that they went like I why couldn't he go to golf shores and why couldn't she go to Nevada and just hide the money somewhere and then come back two weeks later I don't understand why you have to go through all of this. 36:43.895 --> 36:44.315 [SPEAKER_03]: to do that. 36:44.576 --> 36:49.000 [SPEAKER_03]: You know what, it's possible the chat is smarter than us on this and they'll have an idea. 36:49.180 --> 36:49.981 [SPEAKER_03]: Please help us. 36:50.021 --> 37:06.298 [SPEAKER_03]: But I personally, that was the first thing that I didn't understand was the two weeks that they had to wait in this, in this vise group to come back because if you come back, are you coming back and they imply that they will have been gone two weeks when they get back? 37:06.858 --> 37:14.762 [SPEAKER_03]: So that means either they're going to be huge suspects in this robbery that they committed. 37:15.662 --> 37:28.689 [SPEAKER_03]: And they just aren't around, which I don't know how, this isn't like Red Dead Redemption where you lose stars after a certain amount of time. 37:28.789 --> 37:33.811 [SPEAKER_03]: So, I don't, is it, or do they have the two weeks 37:35.627 --> 37:40.410 [SPEAKER_03]: so that they can come back and replace themselves as they're doing the robbery. 37:41.070 --> 37:42.531 [SPEAKER_03]: That was a big thing for me. 37:42.631 --> 37:46.233 [SPEAKER_03]: I just kept trying to figure out why they had to be here. 37:46.853 --> 37:47.754 [SPEAKER_03]: What is the point? 37:47.854 --> 37:54.878 [SPEAKER_03]: Unless, I mean, I mean, how are they going to be the big suspects and whatever robbery that they made? 37:54.938 --> 37:57.379 [SPEAKER_03]: What is if they are, then they can't go back. 37:57.779 --> 37:59.320 [SPEAKER_03]: Maybe it's a parallel universe. 37:59.520 --> 37:59.940 [SPEAKER_03]: I don't know. 38:01.021 --> 38:02.202 [SPEAKER_03]: I think, I think, 38:03.268 --> 38:08.797 [SPEAKER_05]: I think and believe me, I greatly enjoyed the experience of watching this movie. 38:08.938 --> 38:11.702 [SPEAKER_05]: Well, I cannot necessarily say that I loved the movie. 38:13.225 --> 38:14.968 [SPEAKER_05]: It does a lot of interesting things. 38:15.689 --> 38:17.031 [SPEAKER_05]: I think it's saying 38:18.148 --> 38:35.981 [SPEAKER_05]: their faces are known and there's sirens everywhere so they can't just go to golf shores like they have to get to this farmhouse and and hide there but the but the movie undercuts itself by having them go to a diner and show their faces and also wait a whole night before they go into 38:37.703 --> 38:40.506 [SPEAKER_05]: Yeah, yeah, and like this is just a normal way. 38:40.526 --> 38:41.547 [SPEAKER_03]: Yeah, this is just a normal thing. 38:41.587 --> 38:42.789 [SPEAKER_03]: This is just a normal thing. 38:42.829 --> 38:46.913 [SPEAKER_03]: You walk in the diner with guns hanging off your back and all this stuff. 38:47.594 --> 38:53.180 [SPEAKER_03]: I still think though that if they if they are if it is sort of a thing where they're like 38:54.413 --> 38:56.535 [SPEAKER_03]: They were trying to get the heat off of them for two weeks. 38:56.935 --> 39:05.982 [SPEAKER_03]: I guarantee you in two weeks, the whoever they stole the money from is still going to be pissed off about seven hundred grand or seven million or whatever the fuck was all. 39:06.242 --> 39:08.244 [SPEAKER_00]: It's got to be seven hundred has to be seven million. 39:08.264 --> 39:11.526 [SPEAKER_03]: I don't know if we have to read the Wikipedia on this. 39:11.566 --> 39:13.127 [SPEAKER_03]: They seem to think it was seven million. 39:13.428 --> 39:15.910 [SPEAKER_00]: In dose two bags are seven million dollars. 39:16.650 --> 39:20.591 [SPEAKER_03]: I mean, once you put them all in hundreds, it's less than you think. 39:23.252 --> 39:30.574 [SPEAKER_03]: But it's just one of those things I couldn't wrap my head around why they had to do this. 39:30.814 --> 39:33.295 [SPEAKER_03]: There was never a spot in there that told me 39:34.315 --> 39:51.568 [SPEAKER_03]: this is what they had to do and then everything will be okay on the other side and I feel like that was something they could have easily explained and they decided not to and I don't know maybe they didn't have a good explanation themselves maybe they just figured you just go for the ride 39:52.558 --> 40:04.327 [SPEAKER_05]: That's the sense that I get is that they had a lot of really cool sci-fi ideas, like the tape recorder thing and, you know, playing to listen and recording. 40:04.347 --> 40:05.568 [SPEAKER_05]: But that's really cool. 40:05.648 --> 40:14.655 [SPEAKER_05]: I've never seen that kind of thing in a movie before, but I don't feel like the movie ever really came up with an underlying explanation for everything. 40:14.916 --> 40:17.077 [SPEAKER_05]: I love just a hot podge of neat ideas. 40:17.117 --> 40:18.799 [SPEAKER_03]: Yeah, I love the recorder thing too. 40:18.859 --> 40:20.460 [SPEAKER_03]: In fact, there was a thing that severance 40:20.560 --> 40:23.441 [SPEAKER_03]: did, and it's past season that reminded me of this. 40:23.761 --> 40:24.282 [SPEAKER_00]: Oh, interesting. 40:24.302 --> 40:25.362 [SPEAKER_03]: It wasn't a tape recorder. 40:25.542 --> 40:27.083 [SPEAKER_00]: I was actually going to mention that. 40:27.183 --> 40:27.903 [SPEAKER_00]: Yeah. 40:28.584 --> 40:32.585 [SPEAKER_00]: I was, I was going to bring that up and say, severance actually did it in a way that made sense. 40:32.705 --> 40:32.846 [SPEAKER_00]: Yeah. 40:32.866 --> 40:34.926 [SPEAKER_00]: Like a follow to severance. 40:34.986 --> 40:37.127 [SPEAKER_00]: And how they did that, this movie does not. 40:37.267 --> 40:37.548 [SPEAKER_00]: None of it. 40:37.888 --> 40:43.290 [SPEAKER_00]: Everything seems to be happening in like succession, even though they're going through time. 40:43.350 --> 40:45.111 [SPEAKER_00]: Nothing needs to happen in succession. 40:45.311 --> 40:49.373 [SPEAKER_00]: They don't need to cut off a conversation with somebody because another conversation is happening. 40:49.393 --> 40:49.613 [SPEAKER_00]: Yes. 40:49.673 --> 41:13.710 [SPEAKER_03]: Yeah, it's my biggest one of one of my I love the tape recorder, but yeah, there were a lot of things about it that I was like Why did you have okay, so this tape recorder is going through time to to another person and the people responding would always respond in a way that was like you have more tape you can you can you can elaborate on that thing that you just said 41:15.323 --> 41:20.567 [SPEAKER_03]: Because there's a point where they say, they'll say something vague and then she goes, what? 41:20.627 --> 41:21.207 [SPEAKER_03]: Yeah. 41:22.668 --> 41:26.071 [SPEAKER_03]: And then it comes back and it's like, you could have said that the first time, broad. 41:26.591 --> 41:35.737 [SPEAKER_03]: So yeah, I had a hard time figuring out what the reasoning behind all this was and why they were doing what they were doing. 41:36.438 --> 41:38.039 [SPEAKER_03]: That was a big issue for me. 41:39.440 --> 41:40.861 [SPEAKER_03]: I like these actors a lot. 41:40.881 --> 41:47.487 [SPEAKER_03]: I don't I feel like I've seen them before, but like Adam David Thompson who plays Joseph. 41:48.207 --> 41:49.228 [SPEAKER_03]: He's been in some things. 41:49.288 --> 41:53.932 [SPEAKER_03]: I know I've seen like glass and Martha Marcy May Marlene. 41:54.292 --> 42:04.401 [SPEAKER_03]: I've seen him, but I don't remember who he played and I think he played one of the guys who was like attracted to Elizabeth Olson and Martha Marcy May. 42:04.441 --> 42:05.462 [SPEAKER_03]: I think that was who that was. 42:06.122 --> 42:10.103 [SPEAKER_03]: But this, this other woman, this, what is her name? 42:11.684 --> 42:15.645 [SPEAKER_03]: Riley Dandy reminded me a lot of Jody Comer, the way she looks. 42:15.705 --> 42:19.427 [SPEAKER_03]: There's some, there's some moments in there that I thought, she looks like Jody Comer. 42:19.947 --> 42:22.548 [SPEAKER_03]: But I really like, I really like these actors. 42:22.588 --> 42:25.369 [SPEAKER_03]: I think that, you know, they do a good job. 42:25.949 --> 42:30.730 [SPEAKER_03]: And then of course, any kind of high concept movie like this, I'm going to be attracted to in some way. 42:31.751 --> 42:34.872 [SPEAKER_03]: Because it's, it's interesting, it's fun, whatever. 42:36.385 --> 42:58.866 [SPEAKER_03]: Sometimes these movies, and you mentioned primer in all of this, sometimes these movies get so far into the, well, let's see if people can figure it out, and you know, there's a puzzle that's there, and maybe they've explained it somehow in here, and you know, you just missed a couple of details, and you just, you know, whatever, but 42:59.366 --> 43:04.988 [SPEAKER_03]: There are a couple of things in here that I think if you had explained it, it doesn't make the movie worse. 43:05.728 --> 43:10.409 [SPEAKER_03]: If you go into a little bit of a deep, even just a couple of things. 43:10.429 --> 43:14.550 [SPEAKER_03]: I don't like she understands how this works. 43:14.650 --> 43:16.351 [SPEAKER_03]: He understands it more than she does. 43:16.971 --> 43:20.633 [SPEAKER_03]: And all he has to do is say, all right, this is going to happen for two weeks. 43:20.913 --> 43:25.916 [SPEAKER_03]: When we come back, you know, our other selves will be robbing the banks or whatever. 43:25.956 --> 43:28.758 [SPEAKER_03]: And then we'll go into this Nether void. 43:29.158 --> 43:34.841 [SPEAKER_03]: And then when we come back, people we like, oh, who was that who stole from the, I don't know who stole from the, what do you know? 43:35.361 --> 43:37.563 [SPEAKER_03]: So it would have been nice to have that kind of explanation. 43:37.603 --> 43:57.078 [SPEAKER_03]: The other thing, I think this movie, really gives short shrift on as at the end because it explains, it's sort of implies that he's done this a million times like it's edge of tomorrow or something like that. 43:58.119 --> 44:04.383 [SPEAKER_03]: And I really didn't like that either because I was sitting there going, why does she not know who this person is? 44:04.443 --> 44:06.005 [SPEAKER_03]: Why does she not know who this person is? 44:06.505 --> 44:08.827 [SPEAKER_03]: And then it turns out that he's old. 44:08.987 --> 44:14.912 [SPEAKER_03]: And I'm like, well, you think you're not who your daughter was, like, who was fifteen years older than she was. 44:15.952 --> 44:25.856 [SPEAKER_03]: So I don't understand how older brother doesn't compute for you, but anyway, or how he's so much older now, but he wasn't the last five times. 44:26.977 --> 44:29.077 [SPEAKER_05]: I think the movie is jumping there. 44:29.238 --> 44:39.662 [SPEAKER_05]: I think when we see him going back through the cornfield and seeing the corn or the campsite, that's the Joe we've been with the whole movie when she walked into the diner. 44:41.309 --> 44:46.633 [SPEAKER_05]: That Joe, we've jumped ahead to a Joe that has gone back in time hundreds and hundreds of times. 44:47.173 --> 44:48.014 [SPEAKER_00]: That's what I'm saying. 44:48.234 --> 44:52.337 [SPEAKER_00]: I'm saying how did she not notice it was old Joe the last five of the hundreds. 44:52.417 --> 44:53.358 [SPEAKER_00]: I signed it. 44:54.138 --> 44:59.002 [SPEAKER_03]: He doesn't look so different now that you can't recognize that that's not a brother. 44:59.902 --> 45:01.844 [SPEAKER_03]: But I feel like that short shift because 45:02.720 --> 45:10.045 [SPEAKER_03]: We have only just now been introduced to the idea that he could do this multiple times. 45:10.565 --> 45:13.307 [SPEAKER_03]: This was considered the last possible time. 45:13.367 --> 45:18.470 [SPEAKER_03]: He was going, now maybe this organization is way more evil than we think they are, whatever. 45:18.490 --> 45:20.652 [SPEAKER_03]: I get the sense that they are in some way. 45:21.772 --> 45:50.145 [SPEAKER_03]: uh... but you know i got the sense that he was only able to do this one time and then if he failed then they were gonna wipe it and then at the very end they introduced this fact that oh he's been doing it a lot of times and then and then how can you fail this project so many times i don't understand that either it's not like edge of tomorrow where you have all these different aliens all over the place and all these different things that can happen to you you have one person 45:50.705 --> 46:14.838 [SPEAKER_03]: you know and and I guess the the other issue is that he know when no he he never knew who it was he never knew that it was her daughter so like so there was there if if he knew that it was maybe I could see him failing a few times because hard to kill you how much her daughter means to her and everything but anyway that was a little short shift thing that I thought at the very end you introduced a concept 46:15.832 --> 46:23.315 [SPEAKER_03]: at the very tail end of the movie that we didn't know about and now we have to mull on that and we don't even understand the rest of the movies. 46:23.335 --> 46:23.475 [SPEAKER_03]: Yeah. 46:23.735 --> 46:26.896 [SPEAKER_03]: Anyway, I kind of liked it. 46:27.996 --> 46:29.197 [SPEAKER_03]: I didn't understand everything. 46:30.382 --> 46:33.844 [SPEAKER_03]: kind of, you know, I didn't hate watching it. 46:33.904 --> 46:34.865 [SPEAKER_03]: I watched it twice. 46:34.885 --> 46:34.965 [SPEAKER_03]: Yeah. 46:35.585 --> 46:38.727 [SPEAKER_03]: So that's where I met on this one. 46:38.787 --> 46:41.389 [SPEAKER_03]: It could be one of those things later on down the line. 46:41.429 --> 46:45.331 [SPEAKER_03]: Somebody explains everything to me and I'm like, oh, yeah, I never considered that. 46:45.591 --> 46:46.372 [SPEAKER_05]: I don't think so. 46:46.612 --> 46:48.353 [SPEAKER_05]: I don't think there is no explanation. 46:48.833 --> 46:54.176 [SPEAKER_05]: I don't, I think it's just like I said earlier, a bunch of cool ideas thrown together without really 46:55.717 --> 47:02.720 [SPEAKER_05]: I mean, I even had the thought that they may have gotten the farmhouse and then decided, let's write a script. 47:03.000 --> 47:05.942 [SPEAKER_05]: We've got this farmhouse we can use for two weeks to film in. 47:06.462 --> 47:07.963 [SPEAKER_00]: That's what I guess I'll just start there. 47:07.983 --> 47:15.886 [SPEAKER_00]: That's, that's my thought is they were like, we're going to have this bubble farmhouse that sits outside of time and that's just going to be the excuse. 47:16.146 --> 47:20.268 [SPEAKER_00]: Whatever cool, whatever, it, it, quote unquote, interesting thing we want to do. 47:20.308 --> 47:21.289 [SPEAKER_00]: We don't have to explain it. 47:21.789 --> 47:23.952 [SPEAKER_00]: It's a bubble outside the time of the farmhouse. 47:23.972 --> 47:24.573 [SPEAKER_00]: That's it. 47:24.693 --> 47:30.840 [SPEAKER_00]: It should be called Rupont, right there. 47:31.461 --> 47:35.226 [SPEAKER_00]: Man, I wish I wish I could have enjoyed this movie. 47:35.466 --> 47:37.248 [SPEAKER_00]: Like it seems you too were able to do. 47:37.669 --> 47:39.891 [SPEAKER_00]: I was frustrated the entire experience. 47:41.253 --> 47:51.678 [SPEAKER_00]: Well, I shouldn't say the entire experience because at the beginning, I'm thinking, oh, okay, let's see how you, you know, formulate this, explain this and it just, it never does. 47:51.778 --> 47:53.219 [SPEAKER_05]: I mean, I mean, it's like the blocks. 47:53.279 --> 47:54.339 [SPEAKER_05]: What the fuck is that about? 47:54.399 --> 48:00.442 [SPEAKER_05]: There are so many places they could have stopped and given us two sentences of explanation and they just didn't. 48:00.682 --> 48:02.243 [SPEAKER_00]: If they had that one thing, they did. 48:02.283 --> 48:05.385 [SPEAKER_00]: Which again, I'm telling you they don't, in my opinion. 48:05.565 --> 48:10.047 [SPEAKER_00]: But I will expound them when you were saying Chris about the ending, which I also found 48:10.527 --> 48:22.972 [SPEAKER_00]: very, very anticlimactic, not just because it introduces the Groundhog Dayification of this journey that he's been on in short trips it, but because it doesn't do anything with the daughter either. 48:22.992 --> 48:26.714 [SPEAKER_00]: It just introduces her and she runs through a door and it means nothing. 48:27.014 --> 48:28.535 [SPEAKER_00]: It means absolutely. 48:28.635 --> 48:38.019 [SPEAKER_05]: I really love that reveal, because I genuinely did the whole time I kept telling myself, well, this intruder's gonna be Joe or Sid, and I went back forth on 48:38.659 --> 48:45.670 [SPEAKER_05]: which one, I even said to myself, they haven't even shown us any other actors like to show us a stranger at this point would be, would be bad. 48:45.910 --> 48:48.134 [SPEAKER_05]: But then I love that reveal. 48:48.514 --> 48:50.498 [SPEAKER_05]: But then like you said, it's completely wasted. 48:50.538 --> 48:51.459 [SPEAKER_05]: It's completely pointless. 48:51.619 --> 48:52.481 [SPEAKER_05]: It means nothing. 48:52.841 --> 48:53.602 [SPEAKER_00]: It means nothing. 48:54.983 --> 48:56.183 [SPEAKER_00]: And that's annoying to me. 48:56.403 --> 48:58.844 [SPEAKER_00]: And so, you know, that was very frustrating. 48:58.884 --> 49:06.425 [SPEAKER_00]: But I just, I feel like there's, I have adapted many times when I talk to people about what we do with CinemaSense. 49:06.465 --> 49:13.967 [SPEAKER_00]: I've adapted the Serenity Prayer for people in this, in this way, it got grant me the Serenity to accept the nitpicks that do not matter. 49:13.987 --> 49:18.268 [SPEAKER_00]: It's a courage to call out the ones that do in the wisdom to know the difference. 49:18.288 --> 49:18.768 [SPEAKER_00]: And I think, 49:19.408 --> 49:23.993 [SPEAKER_00]: That is it play here because for me, these nitpacks nitpacks do matter. 49:24.033 --> 49:36.246 [SPEAKER_00]: They make the movie worse to like have everything not make sense or I should say everything but so many things not make sense or not be explained or you know whatever the case may be that you know 49:36.946 --> 49:57.143 [SPEAKER_00]: I think it's so appropriate that we were talking about the game earlier because that's a movie where the nitpicks don't matter because there is a grounding foundation to what this movie is doing that you can play along with and understand the foundation of it where there's just no foundation here of in a sci-fi kind of way. 49:58.504 --> 50:06.307 [SPEAKER_00]: I think the movie is trying to say something about the cycles that we find ourselves in and our inability to escape them. 50:06.447 --> 50:08.367 [SPEAKER_00]: I think that's what they think. 50:08.907 --> 50:16.550 [SPEAKER_00]: I think the title of the movie, some of the things we're seeing and I just don't think it ever really finds a way to make that 50:17.350 --> 50:38.956 [SPEAKER_03]: grounded into the movie in a way that makes you feel it or makes you understand it especially when he's when the the left of the left shark says says I wonder if he'll be the first to break it and he doesn't think cycle but that that's really does like what he's like what he's 50:39.736 --> 50:54.088 [SPEAKER_05]: Yeah, well, even the fans and hope a wonder the past they had done some kind of crime and he got away and she was caught and now they've done some crime and Yes, I agree I Think it's all there sure I think I must have misheard you in the synopsis. 50:54.228 --> 51:00.013 [SPEAKER_00]: Did you say you thought that the left grip and the the left and right vise grips were the same they were actors 51:00.905 --> 51:02.346 [SPEAKER_00]: No, no, those are two different. 51:02.866 --> 51:05.467 [SPEAKER_00]: I don't think the movie is ever indicating that that's them. 51:05.687 --> 51:07.228 [SPEAKER_00]: No, as the vice groups. 51:07.268 --> 51:08.208 [SPEAKER_03]: Those are completely different. 51:08.228 --> 51:09.509 [SPEAKER_00]: Well, they looked like them to me. 51:09.549 --> 51:10.089 [SPEAKER_00]: Sorry, everybody. 51:11.190 --> 51:12.130 [SPEAKER_00]: No, no, no, no. 51:12.190 --> 51:12.530 [SPEAKER_00]: No worries. 51:12.610 --> 51:14.771 [SPEAKER_00]: I just wanted to clarify those were their factors. 51:14.791 --> 51:15.491 [SPEAKER_03]: So I looked them up. 51:15.551 --> 51:18.973 [SPEAKER_03]: And one of them was in the tutors was one of the big. 51:19.493 --> 51:20.534 [SPEAKER_03]: Yeah. 51:20.874 --> 51:24.035 [SPEAKER_05]: Well, I guess by this point of the movie, I was seeing things. 51:26.096 --> 51:35.228 [SPEAKER_00]: Well, it's, but again, it's the kind of movie that makes you want to find something that, you know, makes sense or that you can start to tie things together with. 51:36.430 --> 51:42.658 [SPEAKER_05]: And I really thought one of us was going to like come away, like really find and something in here and we just didn't. 51:43.118 --> 52:09.046 [SPEAKER_03]: Yeah, that's one you may have interesting gotten into an eighty-one percent that had like five reviews or something like that's possible that's possible I did put in that Latin phrase that they said and it was something like I pray that you have a safe journey I believe is what that is translated from Latin English for me I enter safely or something like that yeah, but yeah, yeah, so my 52:09.926 --> 52:16.107 [SPEAKER_00]: My final thing, I want to finish with the good, which is I do think there's some interesting film making going on. 52:16.227 --> 52:22.269 [SPEAKER_00]: I think there's a beautiful backlit shot of the vice grips that I was just like, oh, that's a cool visual. 52:22.329 --> 52:23.349 [SPEAKER_00]: I like that visual. 52:24.069 --> 52:25.629 [SPEAKER_00]: I think the acting is good. 52:25.769 --> 52:29.830 [SPEAKER_00]: I don't think this is bad acting by any stretch of the imagination. 52:30.651 --> 52:36.932 [SPEAKER_00]: So I think there's a lot of surface technical stuff that I go, okay, and there's also the thing of 52:38.028 --> 52:39.308 [SPEAKER_00]: You made a movie, man. 52:39.348 --> 52:40.168 [SPEAKER_00]: Like, good. 52:40.188 --> 52:48.310 [SPEAKER_00]: Like, you know, these independent kind of films are like a lot of times, feel to me, like, I want to root them on a little bit more because making movies is hard. 52:48.430 --> 52:49.390 [SPEAKER_00]: It's hard to make them. 52:49.550 --> 53:03.493 [SPEAKER_00]: I just, I just wish for my experience, uh, specifically that there was some cohesion to the themes and ideas and the, the sci-fi thinking of these things because it really does just feel like 53:04.213 --> 53:08.238 [SPEAKER_00]: Oh, it's a, you know, it's a house in a bubble and that's just going to explain everything. 53:09.219 --> 53:15.666 [SPEAKER_00]: It wants to deal with with alternate timelines, but in alternate timelines, things don't just appear. 53:16.635 --> 53:20.136 [SPEAKER_00]: That's a different timeline where that safe would have been there the whole time. 53:20.236 --> 53:21.597 [SPEAKER_00]: Like, you know what I mean? 53:21.637 --> 53:25.218 [SPEAKER_00]: And so it's not like you're not doing alternate timelines. 53:25.298 --> 53:28.039 [SPEAKER_00]: You're doing some sort of mystical time change. 53:28.059 --> 53:41.545 [SPEAKER_03]: Yeah, there's a suggestion from Joseph that whatever they do that goes into the future, they can cycle it back to the past somehow, which they don't, of course, explain at all. 53:42.820 --> 53:47.303 [SPEAKER_03]: That's where I'm getting all of the stuff is that it comes back from the path. 53:47.523 --> 53:50.704 [SPEAKER_03]: The stuff is in the past and then it was like it was always there. 53:50.744 --> 53:59.629 [SPEAKER_02]: But yeah, I mean, you know, like you're saying, you know, you have multiple multiple multiple multiple time lines for the app. 53:59.709 --> 53:59.950 [SPEAKER_00]: Yeah. 54:00.230 --> 54:00.430 [SPEAKER_00]: Yeah. 54:00.950 --> 54:16.717 [SPEAKER_00]: And Final Final Thing, I agree that the getting rid of the redundancy things is giving short shift because if he's done this hundreds and hundreds of time and has to kill himself every time, wouldn't it about time twenty you be looking around for the guy that's coming to kill you next time? 54:16.797 --> 54:17.477 [SPEAKER_00]: You know what I mean? 54:17.517 --> 54:23.359 [SPEAKER_00]: Like if you keep failing at this thing at some point, like that's the that's a movie I want to see. 54:23.559 --> 54:28.341 [SPEAKER_00]: Like the last five minutes of this movie made into a movie would be interesting to me. 54:28.582 --> 54:29.482 [SPEAKER_00]: But anyways, there you go. 54:29.642 --> 54:32.625 [SPEAKER_03]: All right, let's get on to our super-secret double feature. 54:34.226 --> 54:35.708 [SPEAKER_01]: Be very, very quiet. 54:35.768 --> 54:36.088 [SPEAKER_01]: She quit. 54:36.288 --> 54:36.809 [SPEAKER_01]: Watch she quit. 54:37.450 --> 54:40.232 [SPEAKER_01]: Are you a little secret to tell you something I've never told anyone? 54:43.175 --> 54:44.196 [SPEAKER_03]: Um, all right, I'll go. 54:44.216 --> 54:49.121 [SPEAKER_03]: Um, I definitely thought of Primer during this. 54:49.161 --> 54:54.626 [SPEAKER_03]: This is not going to be my answer, but Primer was the one because it's Primer's one of those movies that 54:55.758 --> 55:05.913 [SPEAKER_03]: You're either super into and all the things in that the technical time travel jargon in there is what you really love about time travel movies or you hate that movie. 55:05.993 --> 55:11.481 [SPEAKER_03]: I can't see anybody being ambivalent about it, but I really goes along well with this movie, I think. 55:12.302 --> 55:30.100 [SPEAKER_03]: I wanted to come up with something that was a little bit more kind of tone, the tone, this movie sets and everything and it also has time travel at the center of it, but you will be debating whether or not time travel actually exists in this universe. 55:30.140 --> 55:32.543 [SPEAKER_03]: It's a movie called Sound of My Voice. 55:34.384 --> 55:51.910 [SPEAKER_03]: And which two documentary filmmakers go into what they believe is a cult run by someone who claims that they are from the future and they spend a lot of time in this cult trying to infiltrate it and trying to figure out what's going on and everything. 55:53.650 --> 55:57.912 [SPEAKER_03]: That's this is the type of movie that I don't want to explain too much about. 55:57.992 --> 55:58.973 [SPEAKER_03]: So go and watch it. 55:59.013 --> 56:00.174 [SPEAKER_03]: It's really really good. 56:00.214 --> 56:02.595 [SPEAKER_03]: It's only got a six point five on the IMDV. 56:02.655 --> 56:04.136 [SPEAKER_03]: But it's really really really good. 56:04.216 --> 56:07.858 [SPEAKER_03]: So it goes along well with this one as well. 56:09.496 --> 56:12.557 [SPEAKER_00]: For my double feature, I may be breaking a rule. 56:12.737 --> 56:13.217 [SPEAKER_00]: I don't know. 56:13.317 --> 56:22.861 [SPEAKER_00]: It was never told to me as a rule, so we shall see, but I don't think it's ever been done before, but I'm going to talk about a TV mini series as a double feature for this. 56:22.921 --> 56:24.722 [SPEAKER_00]: It's a three episode mini series. 56:25.222 --> 56:36.086 [SPEAKER_00]: Each episode is ninety minutes, so it's like three films basically, but this is called the Lost Room, and this is a mini series where 56:36.846 --> 56:48.113 [SPEAKER_00]: There is a hotel room that is found that has these weird sci-fi properties to it in the items that were in this hotel room whenever the event happened. 56:48.293 --> 56:51.575 [SPEAKER_00]: Now have these mystical powers to them and they're different powers. 56:51.635 --> 56:56.759 [SPEAKER_00]: So like there was a watch in the room and it does this kind of super power mystical thing. 56:57.179 --> 57:00.001 [SPEAKER_00]: And it's kind of about the mystery and discovery of 57:00.721 --> 57:02.362 [SPEAKER_00]: how this happened, what's happening? 57:02.823 --> 57:16.955 [SPEAKER_00]: It also involves looking for a daughter, trying to get back to a daughter, which I found interesting as well, played by L fanning, by the way, very young L fanning in this and it has Kevin Pollock in it, who I always love. 57:17.355 --> 57:20.659 [SPEAKER_00]: I think he's a great Julianne Marglies. 57:21.419 --> 57:22.420 [SPEAKER_00]: So it's got a good cast. 57:22.761 --> 57:25.343 [SPEAKER_00]: It's really interesting and it feels like nobody saw it. 57:25.644 --> 57:31.169 [SPEAKER_00]: Like it feels like it just came in with and nobody knew about it and it was one of my favorite things that year. 57:31.229 --> 57:32.671 [SPEAKER_00]: So it's a three episode mini series. 57:32.871 --> 57:37.556 [SPEAKER_00]: It is available to stream on most free streaming platforms like Plex or 57:38.797 --> 57:42.661 [SPEAKER_00]: You know, fubo or whatever they are, it seems to be on a lot of them to be. 57:43.001 --> 57:47.185 [SPEAKER_03]: So yeah, we don't have any rules for the super secret oil feature. 57:47.325 --> 57:54.111 [SPEAKER_03]: I, I think I had one for the wire the fourth season of the wire on one. 57:54.131 --> 57:55.532 [SPEAKER_03]: There you go. 57:55.572 --> 57:58.695 [SPEAKER_03]: I can't remember what that one was for, but I remember they're being something about 57:58.955 --> 58:01.678 [SPEAKER_03]: Oh, it might have been spotlight or something like that. 58:01.718 --> 58:05.183 [SPEAKER_03]: What was talking about the new spave remixes and everything like that. 58:05.263 --> 58:08.246 [SPEAKER_03]: But yeah, that sounds intriguing. 58:08.286 --> 58:09.388 [SPEAKER_03]: I definitely want to see that. 58:10.068 --> 58:10.349 [SPEAKER_00]: Yeah. 58:10.469 --> 58:11.190 [SPEAKER_00]: I highly recommend it. 58:12.011 --> 58:12.351 [SPEAKER_03]: All right. 58:13.132 --> 58:14.273 [SPEAKER_03]: The homework for next week. 58:14.334 --> 58:15.275 [SPEAKER_03]: It's Aaron's turn. 58:15.315 --> 58:16.036 [SPEAKER_03]: What do you got, Aaron? 58:17.133 --> 58:23.796 [SPEAKER_00]: Oh yeah, so trying is my best to continue the theme of stuff that was filmed where we're at. 58:24.216 --> 58:25.396 [SPEAKER_00]: I couldn't find anything. 58:25.416 --> 58:29.938 [SPEAKER_00]: I don't think there was anything filmed in or near tip city Ohio where I grew up as a child. 58:29.958 --> 58:31.599 [SPEAKER_00]: It is a very small town. 58:32.579 --> 58:40.505 [SPEAKER_00]: And there was one movie that was filmed on the outskirts of Adrienne, Michigan, where I lived when I was going to high school. 58:41.005 --> 58:45.789 [SPEAKER_00]: And that was a Transformer's Dark of the Moon. 58:46.049 --> 58:48.751 [SPEAKER_00]: But that will not go into that. 58:48.791 --> 58:51.653 [SPEAKER_00]: But there was a scene of that that was filmed just outside of town. 58:52.133 --> 58:59.879 [SPEAKER_00]: Instead, I will go with my current residents, the big one around here that was filmed here in the surrounding area was Winters Bone. 59:00.419 --> 59:01.580 [SPEAKER_00]: And it's definitely 59:02.000 --> 59:10.602 [SPEAKER_00]: I think fits the category of Reckertopia, kind of, you know, in the past enough that people have maybe forgotten a little bit about Jennifer Lawrence is big breakout role. 59:10.722 --> 59:14.383 [SPEAKER_00]: So, and it takes place here in the Ozarks. 59:14.463 --> 59:15.743 [SPEAKER_00]: Yes, yes. 59:15.803 --> 59:16.323 [SPEAKER_00]: Winter's Mountain. 59:16.603 --> 59:24.225 [SPEAKER_03]: I had read something about this where she went to an audition and she was turned down because she was, quote, too pretty. 59:25.065 --> 59:31.567 [SPEAKER_03]: And so then I think she got a second audition or whatever and she apparently walked through New York for like, 59:32.668 --> 59:50.763 [SPEAKER_03]: a couple of hours to get to the next audition and she looked all sweaty and like dirty and everything and that's how she ended up getting the role was because apparently nobody can envision you being dirty and whatever if you're too pretty or whatever I don't know I don't know 59:52.163 --> 59:55.244 [SPEAKER_03]: All right, that's going to do it for this week. 59:55.304 --> 59:56.384 [SPEAKER_03]: Thank you, chat, for coming out. 59:56.424 --> 59:57.805 [SPEAKER_03]: We appreciate it so much. 59:58.125 --> 01:00:03.086 [SPEAKER_03]: And you guys had a lot of good super secret double features listed in that in there. 01:00:03.266 --> 01:00:06.327 [SPEAKER_03]: I mean, one of those would have been would have been good. 01:00:07.127 --> 01:00:09.308 [SPEAKER_03]: But anyway, thank you for coming out today. 01:00:09.668 --> 01:00:10.828 [SPEAKER_03]: That's going to do it for this week. 01:00:10.848 --> 01:00:11.628 [SPEAKER_03]: We'll see you next time. 01:00:11.809 --> 01:00:12.109 [SPEAKER_00]: See you. 01:00:12.289 --> 01:00:12.609 [SPEAKER_00]: Bye, guys. 01:00:13.189 --> 01:00:14.409 [SPEAKER_00]: Bye. 01:00:19.248 --> 01:00:25.392 [SPEAKER_03]: Be a part of the live show by being a member of the Synclob at Patreon at patreon.com slash CinemaSense. 01:00:25.852 --> 01:00:32.176 [SPEAKER_03]: Chat with us on the CinemaSense Discord discord.gg slash CinemaSense or CinemaSense Twitter at CinemaSense. 01:00:32.617 --> 01:00:36.899 [SPEAKER_03]: Any mail, any comments or questions to Rectopia at CinemaSense.com. 01:00:36.939 --> 01:00:41.662 [SPEAKER_03]: That's RECOTOPA at CinemaSense.com. 01:00:49.483 --> 01:01:10.227 [SPEAKER_03]: back in the sixties and seventies and things like uh... a uh... and monopoly like ticket master and live night i think live nation is ticket master as well as minutes to see that uh... that kind of monopoly would have been broken up because people were to realize what of what how bad that is for consumers now it's like it's the way things are deal with it 01:01:10.839 --> 01:01:11.019 [SPEAKER_05]: Yeah. 01:01:11.599 --> 01:01:17.703 [SPEAKER_05]: Like, oh, let's just let Disney buy everything cares about monopolies. 01:01:17.783 --> 01:01:18.163 [SPEAKER_03]: Yeah. 01:01:18.623 --> 01:01:20.364 [SPEAKER_03]: We don't, we don't need anybody else. 01:01:20.925 --> 01:01:36.373 [SPEAKER_05]: Um, you know, providing our entertainment and just old enough to remember like them having to break up the bell companies to like Northern Bell, Southern Bell, whatever, because that was a monopoly. 01:01:37.143 --> 01:01:37.343 [SPEAKER_05]: Yeah. 01:01:38.064 --> 01:01:39.224 [SPEAKER_05]: Now where the hell is that company? 01:01:39.925 --> 01:01:40.125 [SPEAKER_03]: Yeah. 01:01:40.745 --> 01:01:48.589 [SPEAKER_00]: Right on the the verge of them allowing more stuff like this was dish network and direct TV. 01:01:48.629 --> 01:01:54.512 [SPEAKER_00]: I remember when they wanted to merge because kind of the writing was on the wall for them that satellite, you know, 01:01:55.913 --> 01:02:24.045 [SPEAKER_00]: was going down or whatever and they wanted to put their things together and be v-satellite company in the government was like nope that's a monopoly and it's like you don't understand it's not just about dish you know providers it's about media providers we are not a media provider monopoly but that basically that basically killed the whole dish satellite you know thing it was getting it I mean people still have it but it was probably gonna die anyway but 01:02:24.285 --> 01:02:34.237 [SPEAKER_00]: I just, I always found that that one interesting because it just seemed so short-sighted to be like, nope, you guys can't merge because that's a dish monopoly. 01:02:34.838 --> 01:02:35.759 [SPEAKER_00]: Yeah, right. 01:02:37.100 --> 01:02:38.242 [SPEAKER_00]: Jeremy, you gonna go see Superman? 01:02:39.835 --> 01:02:41.135 [SPEAKER_00]: Um, I think I'm probably going to wait. 01:02:41.495 --> 01:02:41.835 [SPEAKER_00]: Okay. 01:02:42.256 --> 01:02:43.716 [SPEAKER_00]: I wondered because you seemed excited for it. 01:02:43.756 --> 01:02:45.016 [SPEAKER_00]: So I didn't know if that would. 01:02:45.536 --> 01:02:47.637 [SPEAKER_05]: I really am, especially now that Patrick has seen it. 01:02:48.597 --> 01:02:54.438 [SPEAKER_05]: Um, and has made it seem like something that I will enjoy. 01:02:54.818 --> 01:02:58.539 [SPEAKER_05]: Um, I just don't, I don't like people. 01:02:58.559 --> 01:03:00.359 [SPEAKER_05]: I don't want people to be my experience. 01:03:00.379 --> 01:03:01.519 [SPEAKER_05]: I get people. 01:03:02.119 --> 01:03:02.720 [SPEAKER_05]: I get it. 01:03:05.380 --> 01:03:06.021 [SPEAKER_05]: I'm just old. 01:03:06.081 --> 01:03:07.501 [SPEAKER_05]: I'm that guy now, right? 01:03:07.521 --> 01:03:09.062 [SPEAKER_05]: Yeah, my TV is awesome. 01:03:09.522 --> 01:03:14.505 [SPEAKER_05]: I know in a few weeks I'm going to be able to pay twenty dollars and launch that movie here in the comfort of my own home. 01:03:14.585 --> 01:03:19.187 [SPEAKER_05]: It's not going to negatively impact my experience to not see it on a big screen. 01:03:21.088 --> 01:03:24.690 [SPEAKER_05]: So yeah, I mean, I'm very excited, but I think I'm going to wait. 01:03:26.151 --> 01:03:33.935 [SPEAKER_00]: I wondered, what is there anything you can think of that would get you out to the theater like make you put up with the theater experience and that kind of thing? 01:03:34.473 --> 01:03:45.662 [SPEAKER_05]: twice in since the pandemic twice I've gone out to the aside from like sin week I've gone to the theater for the Batman and then for Furiosa. 01:03:46.903 --> 01:03:49.104 [SPEAKER_05]: But both times I bought 01:03:49.945 --> 01:03:56.230 [SPEAKER_05]: every seat in a tiny auditorium at my local theater, along to like, thirty five, forty seats in there. 01:03:56.451 --> 01:04:00.794 [SPEAKER_05]: And I just invited my friends so that it wouldn't be like strangers making a bunch of noise. 01:04:01.415 --> 01:04:03.256 [SPEAKER_05]: And I just can't do that regularly. 01:04:03.296 --> 01:04:07.500 [SPEAKER_05]: It's not super expensive obviously, but I can't do it every day. 01:04:09.021 --> 01:04:10.242 [SPEAKER_00]: I mean, you could. 01:04:10.642 --> 01:04:11.363 [SPEAKER_00]: Yeah. 01:04:12.204 --> 01:04:13.445 [SPEAKER_00]: Now with that attitude, you can't. 01:04:14.105 --> 01:04:24.051 [SPEAKER_03]: I'm actually surprised that the like near, I don't know, it feels like it's a mostly positive experience people are having watching the movie. 01:04:24.671 --> 01:04:30.835 [SPEAKER_03]: I aside from some humor in the movie that I enjoyed. 01:04:30.855 --> 01:04:37.999 [SPEAKER_03]: I thought it was just like any other superhero movie I've seen in the last ten years that just 01:04:39.563 --> 01:04:47.133 [SPEAKER_03]: You know, there's so much noise on the screen and so much nonsense going on that I just I was like a lot of this boars me. 01:04:47.874 --> 01:04:56.666 [SPEAKER_03]: Um, they're still ending there's enough to like and recommend for me personally, but I'm I'm actually surprised that this is 01:04:57.369 --> 01:05:04.431 [SPEAKER_03]: You know, it's being considered like, oh, finally, you know, Superman is back or whatever with the movie. 01:05:04.851 --> 01:05:05.051 [SPEAKER_05]: Yeah. 01:05:05.351 --> 01:05:08.212 [SPEAKER_05]: It does seem like the general consensus is positive. 01:05:10.033 --> 01:05:10.833 [SPEAKER_00]: Oh, yeah, for sure. 01:05:12.754 --> 01:05:14.934 [SPEAKER_05]: But yeah, I won't really know. 01:05:15.355 --> 01:05:22.377 [SPEAKER_05]: I mean, until I see it myself, I know loosely what what Patrick really liked about it. 01:05:24.285 --> 01:05:29.208 [SPEAKER_05]: But I guess everybody brings their own experience into this. 01:05:29.248 --> 01:05:38.775 [SPEAKER_05]: It sounds like for Patrick, this played very much like a comic book, like a reading a graphic novel, which is something that entertained him greatly. 01:05:38.795 --> 01:05:42.277 [SPEAKER_05]: I hope it plays like that for me. 01:05:43.738 --> 01:05:44.478 [SPEAKER_05]: I want it to be good. 01:05:45.219 --> 01:05:46.820 [SPEAKER_05]: Yeah, well, this freaking head filled thing now. 01:05:48.010 --> 01:05:50.373 [SPEAKER_00]: I love, I loved all the superman stuff in it. 01:05:50.973 --> 01:05:52.415 [SPEAKER_00]: I love to David Cornswett. 01:05:52.555 --> 01:05:54.417 [SPEAKER_00]: I love Rachel Brasnahan. 01:05:54.437 --> 01:05:57.440 [SPEAKER_00]: I love Nicholas Holt. 01:05:58.221 --> 01:06:09.452 [SPEAKER_00]: Like I thought like the core characters for me were in a really great movie and then there was this second movie that was happening where I was like this is 01:06:10.656 --> 01:06:13.777 [SPEAKER_00]: It's not bad necessarily, are those some parts of it. 01:06:13.857 --> 01:06:17.858 [SPEAKER_00]: I didn't enjoy, but it's just so different. 01:06:17.878 --> 01:06:21.540 [SPEAKER_00]: It's so tonally different than the movie I was enjoyed. 01:06:21.760 --> 01:06:27.202 [SPEAKER_00]: Like, I will tell you, after the first fifteen, twenty minutes of this movie, I thought, oh, he made it all timer. 01:06:27.502 --> 01:06:30.963 [SPEAKER_00]: This is the May I was in love with this movie in the first fifteen, twenty minutes. 01:06:31.743 --> 01:06:34.644 [SPEAKER_00]: And then stuff, other stuff just starts happening. 01:06:37.265 --> 01:06:45.753 [SPEAKER_00]: Well, I think what people are really enjoying is the return to the Goli G was optimistic, you know, Superman. 01:06:45.833 --> 01:06:49.356 [SPEAKER_00]: I mean, you know, his, not spoil anything, but his first line in the movie is Goli. 01:06:49.576 --> 01:06:51.778 [SPEAKER_00]: You know, or, or, you know, whatever he says. 01:06:51.858 --> 01:06:58.104 [SPEAKER_00]: So like it's, I think people are enjoying, you know, kind of that pure-hearted thing. 01:06:58.284 --> 01:07:00.386 [SPEAKER_00]: But, yeah, it's weird. 01:07:01.227 --> 01:07:02.988 [SPEAKER_05]: It's weird to be able to see 01:07:03.809 --> 01:07:22.577 [SPEAKER_05]: because I've heard your reactions and few other reactions and I see a lot of headlines and it's just it's weird to process like I saw a headline that said finally a Superman movie that likes Superman and I'm like I thought man still liked Superman and just fine like I didn't feel like the Snyder movie's hated Superman. 01:07:22.617 --> 01:07:24.858 [SPEAKER_05]: I don't know why we're putting that baggage on those movies. 01:07:26.600 --> 01:07:42.822 [SPEAKER_03]: so sometimes I think we invent narratives that over certainly mostly positive throughout manifesto until he breaks and then and then and then in the subsequent chapters you know like of course he's he'd they 01:07:43.523 --> 01:07:45.586 [SPEAKER_03]: Kill him in Batman v Superman. 01:07:45.626 --> 01:07:58.704 [SPEAKER_03]: He does seem like a villain in that movie even though he's not really and then then he dies and then when he comes back he's he's basically a villain when he comes back in justice league and so like 01:07:59.365 --> 01:08:00.986 [SPEAKER_03]: I can see that a little bit. 01:08:01.187 --> 01:08:01.627 [SPEAKER_00]: Yeah, I guess. 01:08:01.687 --> 01:08:08.653 [SPEAKER_03]: Remember from the Snyder ones, him being a bad guy and you know, we don't like this guy and whatever. 01:08:08.793 --> 01:08:10.495 [SPEAKER_03]: Also, the movie sucked, too. 01:08:10.575 --> 01:08:15.679 [SPEAKER_03]: I don't know why, you know, everybody was clamoring for Zack Snyder's version. 01:08:15.739 --> 01:08:21.304 [SPEAKER_03]: I mean, even though I do like his version better than the Joss Weaton version, it's not like, oh, wow. 01:08:22.522 --> 01:08:26.465 [SPEAKER_03]: we knew we now we know we were we were missing there, you know, wasn't like that. 01:08:27.246 --> 01:08:31.530 [SPEAKER_05]: So said the words, just we didn't. 01:08:33.952 --> 01:08:48.425 [SPEAKER_00]: The other thing, the other thing about the movie that kind of baffles me when I listen to some of the responses, a lot of people are giving it a lot of credit for credit or denial, depending on who you are for its social commentary, right? 01:08:49.105 --> 01:08:52.128 [SPEAKER_00]: And I didn't see a movie with much social commentary. 01:08:52.148 --> 01:08:56.873 [SPEAKER_00]: I like what, like, okay, I get the things you're saying are involved here. 01:08:57.553 --> 01:09:03.399 [SPEAKER_00]: The, you know, there's plot lines that, you know, resemble is real Palestine. 01:09:03.459 --> 01:09:11.266 [SPEAKER_00]: There's, you know, plot lines that resemble immigration and what that, you know, does to the country and camps and, you know, all these things. 01:09:11.867 --> 01:09:13.688 [SPEAKER_00]: But nobody says anything about it. 01:09:13.748 --> 01:09:16.330 [SPEAKER_00]: The movie has nothing to say about any of that stuff. 01:09:16.690 --> 01:09:17.091 [SPEAKER_00]: Nothing. 01:09:17.231 --> 01:09:18.151 [SPEAKER_00]: It just presents it. 01:09:18.171 --> 01:09:21.494 [SPEAKER_00]: It just kind of points out and says, again, we're just looking at things that exist. 01:09:22.034 --> 01:09:22.354 [SPEAKER_05]: Yeah. 01:09:22.774 --> 01:09:24.336 [SPEAKER_05]: But that's what we do these days. 01:09:25.396 --> 01:09:26.737 [SPEAKER_05]: We want to talk about a thing. 01:09:26.777 --> 01:09:30.140 [SPEAKER_05]: We look at pop culture and we project our opinion on to that thing. 01:09:30.160 --> 01:09:30.460 [SPEAKER_05]: Yeah. 01:09:32.677 --> 01:09:37.380 [SPEAKER_05]: I saw somebody on somebody saying, you know, Superman is not an immigrant. 01:09:37.800 --> 01:09:38.861 [SPEAKER_05]: He is an orphan. 01:09:39.241 --> 01:09:43.884 [SPEAKER_05]: And I was like, dude, he came from another planet, like literally an alien. 01:09:44.364 --> 01:09:48.647 [SPEAKER_05]: We don't have to make, like we don't have to jump through all these hoops. 01:09:50.888 --> 01:09:57.992 [SPEAKER_03]: Well, and the whole, you know, I know this is not going to go away because it's, because it sells T-shirts and everything. 01:09:58.072 --> 01:09:58.273 [SPEAKER_03]: Yeah. 01:09:58.893 --> 01:10:01.795 [SPEAKER_03]: Go woke and go broke is a stupid phrase. 01:10:01.915 --> 01:10:09.039 [SPEAKER_03]: It's just like that one and this movie and centers prove that's not the truth. 01:10:09.119 --> 01:10:14.282 [SPEAKER_03]: And like we've seen others like Barbie, you know, go, you know, go crazy. 01:10:15.043 --> 01:10:16.243 [SPEAKER_03]: The real phrase should be 01:10:17.645 --> 01:10:37.025 [SPEAKER_03]: you know I don't know what a good catch phrase would be but you know go stupid go dumb go broke go bad movie go broke has the real the real reason a movie fails at the box office isn't because of woke it's because it doesn't look good it's not appealing it's not anything anybody wants to watch 01:10:37.927 --> 01:10:46.906 [SPEAKER_03]: and that is always been the case and people always want to look for some other reason why a movie fails and that's the only reason the star is Jared let out