Episode 395 - Disappointing Box Office, Tribeca Festival Preview, "Wolfs" & "The Outrun" Trailers

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[00:01:01] in.

[00:01:02] We took it all.

[00:01:09] We brought them to this night, amber hot and icy cold.

[00:01:17] The rage of the earth.

[00:01:19] We made this curse.

[00:01:20] Carved it in the blood on our backs.

[00:01:24] We did not see.

[00:01:26] We could not, but she did.

[00:01:27] And in the end...

[00:01:28] What will I become?

[00:01:29] Senua's Saga, Hellblade 2.

[00:01:34] Play it now with Game Pass.

[00:01:35] And the Oscar goes to...

[00:01:36] Thank you so much!

[00:01:37] This might be the one time I'm speaking.

[00:01:41] This is not a joke.

[00:01:42] Moonlight is one best picture.

[00:01:43] Could you double check the envelope?

[00:01:44] And I can't deny the fact that you like me.

[00:01:45] Thank you life.

[00:01:46] Thank you love.

[00:01:47] You guys are just standing up because you feel bad that I fell and that's really embarrassing,

[00:01:48] but thank you.

[00:01:49] This is nuts.

[00:01:50] It's a top.

[00:01:51] I'm the king of the world!

[00:01:52] I'm the queen of the world!

[00:01:53] I'm the queen of the world!

[00:01:54] I'm the queen of the world!

[00:01:55] I'm the queen of the world!

[00:01:56] I'm the queen of the world!

[00:01:57] I'm the queen of the world!

[00:01:58] I'm the queen of the world!

[00:01:59] And the Oscar goes to...

[00:02:00] And the Oscar goes to...

[00:02:01] And the Oscar goes to...

[00:02:02] Gentlemen, my only objective being here is to try and get at you.

[00:02:03] I just want to go watch lightning.

[00:02:04] I just want to watch you kick right in my ear.

[00:02:05] I could have been somebody.

[00:02:06] They can only kill me with a golden bull.

[00:02:07] What have I done?

[00:02:08] Call me Mr Tibbs.

[00:02:09] I'm gonna make him an offer again.

[00:02:10] A census taker once tried to test me.

[00:02:14] Are you not entertained?

[00:02:15] I ate his liver.

[00:02:16] Are you not entertained?

[00:02:17] With some froth of it.

[00:02:18] For Frodo.

[00:02:19] With a nice clean dip.

[00:02:20] Don't laugh!

[00:02:21] Can you keep your mouth shut?

[00:02:22] I'm not laughing.

[00:02:23] I'm not laughing.

[00:02:24] I'm not laughing.

[00:02:25] I'm not laughing.

[00:02:26] I'm not laughing.

[00:02:27] With some froth of it.

[00:02:28] For Frodo.

[00:02:29] With a nice clean dip.

[00:02:30] Don't laugh!

[00:02:31] I can't stop what's going on.

[00:02:32] This ain't reality TV!

[00:02:33] I will not fall into despair!

[00:02:34] You hate bloggers, you mock Twitter.

[00:02:35] It's time, Robbie!

[00:02:36] It's fast!

[00:02:37] Welcome to the Next Best Picture podcast.

[00:02:38] And may I see Oppenheimer?

[00:02:39] Hello everyone and welcome to episode 395 of the Next Best Picture podcast.

[00:02:40] I am your host Matt Negley.

[00:02:41] of a time of recording is 10.06 AM on June 2nd, 2024.

[00:03:01] Here to join me today for this week's episode I have Giovanni Lago.

[00:03:05] Hello.

[00:03:06] And Dan Baer.

[00:03:07] Good morning everybody.

[00:03:09] My New York boys.

[00:03:13] How fitting since Tribeca is starting this week.

[00:03:18] Also we've got some stuff to talk about with the box office.

[00:03:20] I have called together this emergency meeting.

[00:03:24] The council is coming together to talk about what the hell is going on with the box office

[00:03:29] this summer so far.

[00:03:30] We'll give us some opinions on that.

[00:03:32] We'll also talk about the trailers released this week for Wolves and The Outrun.

[00:03:38] We're going to answer fan questions, go over the polls.

[00:03:41] But before we get to any of that, what have the two of you been watching this past week

[00:03:46] starting off with Giovanni Lago?

[00:03:48] Yeah, well, you know for this week I've been actually very much slacking of what I'm watching.

[00:03:54] It's almost disgusting.

[00:03:56] Maybe it's my mind pre-prompting me for Tribeca and I just know how much I'm going to watch

[00:04:01] then.

[00:04:02] So I only really watched two movies in the past week.

[00:04:06] One film was Ocean Waves, which if you're an avid Studio Ghibli fan maybe you've not

[00:04:13] heard of it.

[00:04:14] It was like a straight to TV Studio Ghibli film that was released.

[00:04:18] It was like in 93 I want to say.

[00:04:22] Never heard of it.

[00:04:23] Apparently it was like massively over budget and they put it on television and it follows

[00:04:27] like this dilemma between these two high schoolers and it's a very quiet, intimate film and it

[00:04:34] looks gorgeous.

[00:04:36] The movie ultimately kind of runs dry, especially with the whole drama between the characters.

[00:04:42] It feels very contrived at times, although genuine for those types of relationships and

[00:04:48] the music's great.

[00:04:49] I was also expecting like way more of a romance between it towards how they set it up at the

[00:04:54] end.

[00:04:55] But it's gorgeous if you want to just stare at it and like disassociate for a little bit

[00:04:59] and be like, wow, Japan, beautiful country.

[00:05:02] Other than that, there's a reason why it's slipped through the cracks of the Ghibli core

[00:05:08] films.

[00:05:09] And then what a dynamic duo of films I'm about to mention because the only other movie I

[00:05:14] saw within the past week was Atlas.

[00:05:16] Wow.

[00:05:17] Which is really, it's really bad.

[00:05:20] I'm a glutton for pain, Matt.

[00:05:22] You know this.

[00:05:23] I sometimes just like subjecting myself to the worst things.

[00:05:26] And speaking of some of the worst things, this film is easily one of the worst movies

[00:05:30] I've seen this year.

[00:05:31] And I don't know how it is not really a front for money laundering.

[00:05:35] It's bad.

[00:05:37] Everyone's phoning it in like JLo and Sterling K. Brown is having a competition of who doesn't

[00:05:41] want to be here the most.

[00:05:43] Mark Strong just pops by in the corner is like, hi, I'm here.

[00:05:47] Sina Liu.

[00:05:51] Every day grows more impossible to realize how great Greta Gerwig is a director and how

[00:05:57] she was able to get anything out of him for Barbie because wow, juiceless performance in

[00:06:01] every way.

[00:06:02] I, the movie looks disgusting.

[00:06:04] It's set up like a universal pre-ride introduction when you're inside the contraption with graphics

[00:06:10] of like and special effects of a PS3 game.

[00:06:14] It's terrible.

[00:06:15] It's a bad movie in every front.

[00:06:18] So yeah, that's how my like movie going has been the past week.

[00:06:20] It's been pretty rough.

[00:06:22] I am very sorry to hear that.

[00:06:23] I avoided Atlas, but at the same time, I, I too have subjected myself to some poor cinema

[00:06:31] in the past, knowing full heartedly that that was going to be the case.

[00:06:36] And I'm sure there will be plenty more to come before the year's end.

[00:06:41] Dan, what about you?

[00:06:42] What did you watch this past week?

[00:06:44] Well, what did I watch this past week?

[00:06:47] Well, you can hear all about what I watched this past week on the next best picture podcast.

[00:06:53] I watched Winter's Bone as part of our 2010 retrospective, which you can hear my thoughts

[00:06:59] on that one on our podcast review of that, our retrospective review.

[00:07:04] I think it holds up fantastically well a decade and a half later.

[00:07:08] Jennifer Lawrence, there is a reason that girl became a star and it is because of that

[00:07:14] performance.

[00:07:14] She's incredible.

[00:07:15] The movie is great.

[00:07:17] Listen to our podcast review.

[00:07:18] It's a really good one.

[00:07:20] And I also saw Young Woman and the Sea, which we similarly just released a podcast review

[00:07:26] of.

[00:07:26] So check that out for my full thoughts on it.

[00:07:29] But I quite enjoyed it.

[00:07:32] And it feels like a style of filmmaking that we see all too rarely these days.

[00:07:38] And it was a really nice throwback in that way.

[00:07:40] Also, something that I realized I completely forgot to mention on that podcast review is

[00:07:46] they actually used pigeons to carry messages.

[00:07:51] And if you want to see people do that, watch this movie.

[00:07:55] It's very cool.

[00:07:57] As someone who is accustomed to seeing ravens carry messages in the world of Westeros,

[00:08:01] this was not a surprise to me.

[00:08:03] But no, but like you keep hearing about carrier pigeons and like people use them,

[00:08:08] but you rarely see it in any sort of movies.

[00:08:11] So I love that little bit of historical accuracy.

[00:08:16] And then yesterday, Matt and I spent a bit of time preparing for the Tribeca Film Festival.

[00:08:22] I don't think that I can talk about most of the films we watched because there are embargoes in

[00:08:26] place.

[00:08:27] But we did watch one that premiered at Berlin to very good reviews called The Devil's Bath,

[00:08:35] which...

[00:08:38] Wow.

[00:08:40] What a depressing film.

[00:08:43] Maybe one of the most depressing movies I've ever seen, to be honest with you.

[00:08:47] Yeah.

[00:08:47] And like granted, that's kind of what it's about is depression.

[00:08:53] But even still, horrific, horrific vision of an incredibly religious rural community in

[00:09:02] 18th century Austria and just like the power that the isolation and religious beliefs can have on

[00:09:12] a young woman just marrying into this community.

[00:09:16] And it's...

[00:09:18] Oh, God, the lead performance is insanely committed.

[00:09:22] She's incredible.

[00:09:23] And the atmospheric filmmaking is just standout element.

[00:09:28] It was a little confusing.

[00:09:30] Matt and I were talking to each other through like half the movie trying to figure out what

[00:09:34] was going on and what was going to happen.

[00:09:36] And we were kind of wrong a little, but I still recommend it to people.

[00:09:44] I had trouble figuring out what was going on and why.

[00:09:48] But once we got to the end, the overall story is so powerful.

[00:09:53] Highly recommend if and when this gets released stateside.

[00:09:58] Oh, it's being released on Shudder later this month.

[00:10:00] Oh, there you go.

[00:10:01] So again, people with Shudder just lucking out in all kinds of ways.

[00:10:07] Yeah, seriously, Shudder one of the most underrated and underappreciated

[00:10:10] streaming services out there.

[00:10:12] Absolutely.

[00:10:13] If you are a horror fan, you definitely get a lot for your buck with Shudder.

[00:10:17] Yes.

[00:10:17] And for the record, Shudder is not sponsoring this podcast.

[00:10:20] I'm genuinely saying this.

[00:10:22] Although if they'd like to.

[00:10:24] Hey, Shudder.

[00:10:28] Shudder's like, horror is not winning any Oscars anytime soon, boys.

[00:10:31] And we're like, but it could and maybe it should.

[00:10:36] All right.

[00:10:37] For myself, I too was going to talk about The Devil's Bath here.

[00:10:40] So Dan, you pretty much expressed all of my thoughts there.

[00:10:43] I got nothing else really to add.

[00:10:45] I did see Ezra, which just came out this past weekend, which is directed by Tony Goldwynn,

[00:10:51] stars Bobby Cannavale, Robert De Niro, Rose Byrne, and this young kid,

[00:10:57] William A. Fitzgerald, who was quite good in the titular role here.

[00:11:03] It's a fine film.

[00:11:04] There's nothing terribly wrong with it necessarily.

[00:11:08] It portrays its main character, who's on the autism spectrum, with I thought a degree of

[00:11:14] sensitivity and respect.

[00:11:17] The storytelling is nothing you haven't seen before.

[00:11:20] It suffers from a very, very, very heavy over-reliance on plot conveniences and has this

[00:11:28] message about how life is messy, but yet for some reason, it wraps itself up so neatly by

[00:11:35] the end of the film, it kind of contradicts that message.

[00:11:38] But it's a likable movie just because the cast is likable.

[00:11:42] That is an insane cast.

[00:11:45] Yeah, I mean, like it's totally middle of the road fine.

[00:11:50] Promising.

[00:11:51] No, wait, sorry.

[00:11:52] I keep getting the title of this movie wrong.

[00:11:54] Young Woman in the Sea.

[00:11:58] There I go again.

[00:11:59] Very, very different movie.

[00:12:02] Very different indeed.

[00:12:04] Young Woman in the Sea Inside.

[00:12:06] No, I'm kidding.

[00:12:08] Young Woman in the Heart of the Sea.

[00:12:11] I was very, very shocked by how much I like this movie.

[00:12:14] If you want to hear more of my thoughts on it, by all means, listen to our podcast review.

[00:12:18] It's playing in limited release before it goes to Disney+.

[00:12:22] One of the surprises of 2024 for me.

[00:12:25] I did not expect to like this movie as much as I ended up and that was pretty much the

[00:12:30] sentiment on our review as well.

[00:12:33] We took it all.

[00:12:35] We brought them to our land.

[00:12:38] An endless night, ember hot and icy cold.

[00:12:43] The rage of the earth.

[00:12:45] We made this curse.

[00:12:49] Carved it in the blood on our backs.

[00:12:51] We did not see.

[00:12:53] We could not, but she did.

[00:12:55] And in the end, what will I become?

[00:12:58] Senua's Saga.

[00:12:59] Hellblade 2.

[00:13:00] Play it now with Game Pass.

[00:13:03] Now.

[00:13:04] Let's talk about what's going on right now in the box office, because this is a very,

[00:13:12] very depressing state.

[00:13:14] I feel like we're in right now.

[00:13:15] Don't you agree?

[00:13:16] I mean, OK, what what are we talking about in terms of the box office?

[00:13:22] Because sometimes I feel like people are blowing these box office totals out of proportion.

[00:13:30] Just a little bit.

[00:13:32] I'm with you to a degree, Dan.

[00:13:34] But for the sake of this conversation, Matt, I'm ready for you to step on that soapbox.

[00:13:40] Super hard out right now.

[00:13:42] So I can understand the arguments for why movies like The Fall Guy and now Furiosa are

[00:13:51] not performing well.

[00:13:53] And to which there are very different reasons for those two movies.

[00:13:57] Exactly.

[00:13:57] And let's face it, too.

[00:13:59] This weekend for the newest releases is not going to be any different.

[00:14:05] Ezra, Young Woman in the Sea are not expected to do well.

[00:14:09] And so you're going to probably have just holdovers from the previous week with Garfield,

[00:14:14] Furiosa, if Kingdom of the Planet of the Apes still holding strong.

[00:14:19] But even still something like Kingdom of the Planet of the Apes, which a lot of people

[00:14:22] have kind of already pointed their finger at and said, oh, this is a success.

[00:14:25] Isn't this doing quite well?

[00:14:27] It's grossed $133 million so far.

[00:14:32] Domestic or total?

[00:14:34] That's domestic.

[00:14:35] OK, and War for the Planet of the Apes did $146 million.

[00:14:40] So it's doing pretty well, all things considered.

[00:14:43] OK, but it's still pacing at this time lower than that film.

[00:14:49] I mean, I'm hoping that maybe another week or two it'll be up to that total.

[00:14:54] But how is it doing internationally?

[00:14:56] Like that has for a long time been where most of these big budget films make most of their money.

[00:15:03] Not much better, only $175 million.

[00:15:05] It's as big by total as $308 million.

[00:15:10] Compare that to War for the Planet of the Apes worldwide in total,

[00:15:14] domestic and worldwide combined $490 million.

[00:15:19] OK, now listen, I understand this is a pre-pandemic title that we're comparing this to.

[00:15:24] But even if I were to take, say, Furiosa and compare that to Mad Max Fury Road, which

[00:15:32] many people still to this day will say this was not a box office success.

[00:15:39] It wasn't.

[00:15:40] This was actually considered a disappointment.

[00:15:42] It was.

[00:15:44] I mean, I think I think it depends on who you ask personally.

[00:15:48] No, no, no, Matt.

[00:15:49] At the time, it was widely considered a box office disappointment.

[00:15:54] Widely.

[00:15:55] That was the story about this movie until it came to the end of the year.

[00:16:01] Critics rallied for it and the Academy followed suit.

[00:16:04] Yeah, I understand that side of it.

[00:16:06] I'm talking more along the lines of it still made money.

[00:16:10] It just didn't make as much money as people wanted it to make.

[00:16:13] Yeah, it made money.

[00:16:14] It didn't make back its budget or anything.

[00:16:16] But no, it eventually did.

[00:16:17] Eventually.

[00:16:18] Yeah.

[00:16:19] Yeah.

[00:16:19] I mean, it just didn't blow it out of the water was all.

[00:16:22] But again, that's because the budget for that movie was like insanely high.

[00:16:27] But Furiosa worldwide total standing at $74 million right now.

[00:16:33] That is atrocious.

[00:16:36] I mean, like the fact that the Memorial Day box office weekend was approaching all time low.

[00:16:43] Yeah.

[00:16:44] What is going on?

[00:16:46] Well, there are a few things.

[00:16:48] I think what the whole issue with it now is for a decade, we've programmed everyone to

[00:16:55] mainly see these Marvel genre flicks.

[00:16:58] And now that is slowly shifting.

[00:17:00] I think last year has kind of started teaching people that after Barbenheimer,

[00:17:06] we should really only go to quote unquote event movies, event situations where like

[00:17:12] the movie seems so big that it's like you'll have to go see it.

[00:17:15] I feel like that's why Dune is still the biggest film of the year in terms of box office,

[00:17:20] because with that entire cast and what the goodwill built up since the first film,

[00:17:25] everyone was like, oh, wow, this is like everyone kept comparing it to like Lord of the Rings and

[00:17:29] all these great films beforehand that everyone's like, oh, this is the sci fi event of our

[00:17:34] generation.

[00:17:35] You're going to make everyone want to go out to a theater and tune in and pay money to go see

[00:17:39] that.

[00:17:40] And now everyone is having that unrealistic expectation for every film that it either has

[00:17:44] to be worth how much money I'm going to put in or this has to be the biggest thing that like

[00:17:49] everyone is talking about.

[00:17:50] So I can be a part of that conversation.

[00:17:53] I think it's important to remember that not every film is going to be a success.

[00:17:57] And I think we all understand that to some degree.

[00:17:59] I think the thing that's hurting right now is the films that we are seeing,

[00:18:04] or at least predicting will be successful this summer, something like Deadpool and Wolverine,

[00:18:10] I think a lot of us are in agreement is going to probably do very well.

[00:18:15] We want to see other movies other than like you said, Gio, the superhero genre do well.

[00:18:22] And right now that's not happening with these other titles that are granted based on pre

[00:18:29] existing IPS, you can't sit here and tell me Furioso or The Fall Guy are quote unquote

[00:18:35] original movies.

[00:18:37] No, but let's make something clear here.

[00:18:41] Like these are not popular IPs.

[00:18:45] The Fall Guy is a 1980s TV show.

[00:18:48] I barely remembered 1980s TV show that ran like what four seasons, I think.

[00:18:54] So that is essentially a completely new movie and because it doesn't even really follow the

[00:18:59] plot of the TV show anyway.

[00:19:02] So it's essentially a completely new movie and Furioso, this should not be a reason for

[00:19:09] this movie flopping.

[00:19:12] But when you combine the fact that Mad Max Fury Road was much more of a hit on film Twitter

[00:19:20] than it was in the general world with the fact that people who did not like that movie

[00:19:27] cited the fact that Furioso was the main character and not Mad Max is one of the reasons

[00:19:32] why I don't know why people were expecting Furioso to be this giant hit.

[00:19:38] Yeah, I've seen a lot of commentary from people who you know are just not afraid to

[00:19:47] come out and blatantly say

[00:19:49] That they're sexist.

[00:19:50] Yeah, exactly.

[00:19:51] It's a story about a woman.

[00:19:52] It's not about Mad Max.

[00:19:53] Why does that the Mad Max name tied to it?

[00:19:55] I don't have any interest in seeing that.

[00:19:58] Yeah, and should that be a reason for a film to flop?

[00:20:00] No, never.

[00:20:02] No films should flop just because of the gender of its leading character.

[00:20:07] But unfortunately, it is a factor.

[00:20:11] And I think that that's mostly a factor that people in this space are just not taking into

[00:20:18] consideration.

[00:20:19] I think it's because we want to believe that it's not true and we want to live in this

[00:20:24] utopia where we're beyond that.

[00:20:26] But the reality is that we're not.

[00:20:29] We're absolutely not.

[00:20:30] Yeah.

[00:20:31] There's a part of me that feels like, you know, these executives who have to make these

[00:20:35] decisions on which projects to greenlight.

[00:20:37] It's like, you know, they want to be seen as doing the right thing, okay, by pushing narratives

[00:20:42] that we haven't seen before from different perspectives.

[00:20:45] But at the same time, you know, it's like they also are probably thinking to themselves,

[00:20:50] well, what has historically worked and given us a return on our investment versus what

[00:20:57] hasn't.

[00:20:58] And I think every situation is different.

[00:21:01] I think that's the most important lesson to kind of take away from all of this is that

[00:21:06] each film is different, has its own unique factors attributed to it.

[00:21:09] And when I do see people going online and saying, hey, the reason why the box office

[00:21:14] is not good post pandemic is because of X, Y and Z.

[00:21:18] Even if you list those three reasons or whatever it is, one reason, two reasons, multiple reasons,

[00:21:23] there's still going to be more reasons.

[00:21:26] You're not going to be able to just summarize this in a very quick social media post or even

[00:21:33] in depth 2000 word article.

[00:21:35] This is a very, very complex situation because each film is different and has its own different

[00:21:44] factors as to why they're not working.

[00:21:46] And you can't just take one example of like we said, for example, like Furiosa

[00:21:51] with a female lead character and then say, well, that applies to everything because look at

[00:21:58] something like Barbie, which was extremely geared towards a female demographic and was the highest

[00:22:03] grossing film of last year.

[00:22:04] Yeah.

[00:22:05] Well, and then even something like Challengers, which is being marketed with Zendaya mostly.

[00:22:11] I mean, that film has done very well, but it's already on VOD what like a month after

[00:22:18] it released in theaters?

[00:22:20] I mean, that's the thing.

[00:22:21] The shortening window for theatrical releases exclusivity is, I think, one of the bigger

[00:22:31] factors in lower box office numbers because especially if you are seeing movies as a couple

[00:22:40] or a family of three or four or more, it is so much cheaper to wait until it's available

[00:22:47] at home than to go to the movie theaters in most places and watch a movie in the theater,

[00:22:53] especially when you consider the degradation of the theatrical experience because people

[00:22:58] can't get off their phones, blah, blah, blah, blah, blah.

[00:23:01] But like, I don't know, I don't blame people in some ways and in other ways I do.

[00:23:09] Some people are absolutely part of the problem.

[00:23:12] I blame them all.

[00:23:14] When you have studios incentivizing people not to go to theater, that's what,

[00:23:18] oh, it didn't do great in the opening weekend.

[00:23:20] I was like, you know, films have legs.

[00:23:22] Like this is the same conversation we had is the same thing we had with something like

[00:23:25] Elemental last year where they were like, this is a bomb.

[00:23:28] And then throughout the summer, it had phenomenal legs and it became a success.

[00:23:34] And then what is Pixar's lesson from that?

[00:23:36] Oh, we're going to double back on IP because they think that's what's going to work.

[00:23:41] And inherently that's not at all what it is.

[00:23:43] No, no, no, no, no, no.

[00:23:43] That's not exactly what they said.

[00:23:45] They said instead that basically they are moving away from stories that they feel are

[00:23:50] personal to their directors and they are going to double down on IP and sequels.

[00:23:56] But the fact that like they're completely ignored in that statement,

[00:24:00] that Elemental ended up grossing way more.

[00:24:04] I don't know how you can point to Lightyear as your example.

[00:24:07] Exactly.

[00:24:08] You want to base your model off of.

[00:24:10] Yeah, I agree.

[00:24:11] It's A, not an original personal story.

[00:24:15] And B, it was incredibly confusing marketing wise.

[00:24:20] Also too in recent years, Finding Dory, Lightyear, Incredibles 2,

[00:24:25] these were like my least favorite Pixar movies.

[00:24:27] My number one, like most favorites are things like

[00:24:32] Soul and Luca and Turning Red.

[00:24:35] And, you know, I know that everyone wants to kind of point to

[00:24:38] these movies as not being successful at the box office because of the time in which they were

[00:24:43] released and dealing with the pandemic and the Disney Plus day and streaming dates and things

[00:24:47] like that.

[00:24:48] But like to use that as an example to create a new model for going forward,

[00:24:54] I think is extremely misguided.

[00:24:57] And they're not like I remember this was like a problem when I saw this being reported during

[00:25:03] Spider-Man No Way Home's box office success.

[00:25:07] People were taking into account like how well that movie was doing and then looking at everything

[00:25:12] else like West Side Story, like they were basically using the same rules and precedent

[00:25:18] pre pandemic to judge these films as either successes or flops.

[00:25:24] Yeah.

[00:25:25] When it's like the whole game has completely changed, the world has changed.

[00:25:29] Yeah.

[00:25:30] And I'm at a point now where I'm starting to wonder how close are we to you think studios

[00:25:38] one day reporting what they have made on the back end and VOD and physical media sales to

[00:25:46] help change perception of a film's perceived, you know, failure or success?

[00:25:52] I mean, that's what happened with something like the Northman, like you quote unquote,

[00:25:55] Northman bomb 90 mil.

[00:25:57] And then it was traditional like 90s film where it's like, yo, this sold so many DVDs that that's

[00:26:03] why they were willing to give another movie to Robert Eggers.

[00:26:07] And they're like, OK, yeah, go ahead and make Nosferatu because that movie was flying off the

[00:26:11] shelves.

[00:26:11] I think that could be something they possibly do.

[00:26:14] But I find that we look at this whole box office conversation with, you know, I joke a lot all

[00:26:20] the time on this podcast and with you, Matt, about the we're so over, we're so back.

[00:26:25] It's over mindset.

[00:26:27] And I think we're not.

[00:26:29] Yeah.

[00:26:29] Like we apply that so well.

[00:26:30] And look, I'm not going to say I'm not concerned about movie going.

[00:26:33] I'm not going to say I'm not concerned with how streaming has altered people

[00:26:37] wanting to go to theaters and how we program like viewers mindsets in terms of the theatrical

[00:26:42] experience.

[00:26:43] That being said, you've had plenty of successes this past year from films that are not big

[00:26:49] budget blockbusters.

[00:26:50] Anyone but you, 25 mil gross, like 250 million worldwide.

[00:26:54] The Beekeeper, say what you want about that movie, like a 50 mil budget grossed 150 million.

[00:26:58] Made Bank.

[00:26:59] Bob Marley, garbage movie.

[00:27:00] That movie grossed over 100 million dollars like it was nothing.

[00:27:03] People went to see Bob Marley.

[00:27:05] Challengers, sure, the Zendaya factor help.

[00:27:07] And if you know it could be doing better if you know you didn't announce VOD, it could

[00:27:11] have legs.

[00:27:12] That movie could possibly get to 100 mil off like a 50 something mil budget.

[00:27:16] Like these mid budgets, do films are doing well.

[00:27:18] People are turning out to theaters.

[00:27:20] They are being more selective, like I mentioned earlier.

[00:27:24] And sure, with Furiosa it's sad, but I love that movie.

[00:27:27] It's great.

[00:27:28] But being said, like I don't know how much mass appeal you're going to get for a movie

[00:27:32] where characters are named fucking Scrotus and Erectus, you know?

[00:27:34] Like, I'm sorry.

[00:27:36] Like, I don't know my grandma is going to be like, wow, piss baby character of the year.

[00:27:40] Yeah.

[00:27:40] Okay, like, I'm sorry.

[00:27:42] It's like the thing is that, like, I know we're talking a lot about, you know, like

[00:27:48] movies, quote unquote, flopping at the box office.

[00:27:52] But like Gio said, like, I feel like we're looking at box office totals through pre-pandemic

[00:27:59] glasses.

[00:28:00] Yeah.

[00:28:00] And we can't do that.

[00:28:03] Like, The Fall Guys opening weekend was really good for a movie like that in this day and

[00:28:10] age.

[00:28:10] And people talked about it like it was an instant flop.

[00:28:13] Yeah.

[00:28:14] It was not.

[00:28:15] Like, for that movie to do as well as, like, to make the money that it did opening weekend,

[00:28:20] that was good.

[00:28:21] And I think that we've always talked about opening weekend as like the end-all be-all

[00:28:26] of box office story for a movie because that's how it used to be.

[00:28:33] That is not how it is anymore.

[00:28:35] We need to start reporting on, like you said, one of you, I forget which one, we need to

[00:28:40] start reporting on, like, VOD numbers, rentals.

[00:28:43] They used to report on rentals and DVD sales, but they don't really do that anymore.

[00:28:50] And I think they need to if they want to, again, like, get a more accurate perception

[00:28:56] of how these films are being treated in the wild.

[00:29:00] Well, my other question is this.

[00:29:02] If they know the answer to this and they are willing to still bankroll certain filmmakers

[00:29:07] and greenlight certain projects based on this information, what is the harm in sharing

[00:29:12] that information with the public?

[00:29:15] Because it's not like they don't know.

[00:29:16] They do know if a film is successful or not outside of what it makes at the box office.

[00:29:22] So my question then just becomes why is that not widely reported?

[00:29:26] Because they got stock bears.

[00:29:28] They got chairmen and people they don't want to disappoint with stocks and business decisions

[00:29:33] and show how much money they're actually losing.

[00:29:36] It's all to keep a nice affront that everything is floating well.

[00:29:39] Like, they can't show that, like, hey, we're really hurting here for certain films and stuff.

[00:29:43] Like, honestly.

[00:29:44] Well, then in that case, what I would say is, you know, maybe don't make it such a precedent

[00:29:48] where you got to report it every single time.

[00:29:50] But I do think for some of these, like, you know, like the Fall Guys, I think is going

[00:29:55] to be a great example over time, you know, especially when it does hit on physical media.

[00:30:02] Because isn't it already on VOD?

[00:30:04] Yeah.

[00:30:06] Unbelievable.

[00:30:08] OK, there's two things.

[00:30:10] One, they need to lengthen the theatrical window to 45 days at a minimum.

[00:30:15] That's number one.

[00:30:16] 60, 60.

[00:30:17] Shit.

[00:30:18] Yeah, 45 or 50 to compromise.

[00:30:20] Two months.

[00:30:21] Challengers basically had a 45 like that.

[00:30:24] Come on.

[00:30:25] Not even by like week three of Challengers being in theater.

[00:30:28] I've already saw tweets like a VOD date when it's coming out this day.

[00:30:31] I'm like, what the hell?

[00:30:32] Like, what is this?

[00:30:33] Like, what are we doing?

[00:30:35] We should need to go back to the 80s or whatever.

[00:30:36] Like, if you did not see the movie, you're going to have to wait until it comes out on

[00:30:40] fucking DVD.

[00:30:41] I'm sorry.

[00:30:42] Like, sorry.

[00:30:43] Because I remember even in the early 2000s when I was a kid and I used to be excited

[00:30:47] about like what DVDs would come out, you would have to wait like months on end for the entire

[00:30:51] theatrical run.

[00:30:52] Yeah, like nine months.

[00:30:54] Yeah, six to nine months.

[00:30:55] Yeah.

[00:30:56] Yeah.

[00:30:56] Do that again.

[00:30:57] Like, what are we doing?

[00:30:58] Like Oppenheimer was in theaters like almost a whole year last year.

[00:31:00] And there's a reason why.

[00:31:02] If you want to make your box office numbers better, then have more theatrical exclusivity.

[00:31:08] And if you decide that no, you're not making enough money to get the box office,

[00:31:14] then report on the numbers that you are making from VOD sales and rentals.

[00:31:20] It's not like this is some new format that you don't know how to track and have never

[00:31:25] reported on before, you know?

[00:31:28] So I say lengthen the window.

[00:31:31] And I think we need to do away with these ballooning budgets.

[00:31:36] I look at a movie like The Fall Guy, costing like $150 million.

[00:31:41] And there's a part of me that just thinks, why could this not have been $90 million?

[00:31:47] Sometimes I look at those budgets and go, yeah, they really could have probably brought

[00:31:52] these down.

[00:31:52] But I don't know.

[00:31:53] Like, inflation is hitting everything these days.

[00:31:57] And prices that shot up due to special pandemic issues have not gone down, even though those

[00:32:06] issues have dissipated.

[00:32:07] So I don't know.

[00:32:08] That just may be what it costs to make a blockbuster these days.

[00:32:13] But...

[00:32:14] I don't think so.

[00:32:14] Yeah.

[00:32:15] And I'm saying this because, you know, Dune Part 2 costs less than $200 million to make.

[00:32:21] And it looks incredible.

[00:32:23] It has a sense of scale to it that is unparalleled.

[00:32:28] And yet, when I see movies that are costing like over $200 million, I think it really

[00:32:34] comes down to two reasons.

[00:32:36] One is incompetence in filmmaking.

[00:32:39] And two, I do think, you know, you got to say it, actors are probably getting overpaid.

[00:32:47] So who got overpaid on Furiosa?

[00:32:49] We let that one slide.

[00:32:50] That was a $300 million budget.

[00:32:52] I'll tell you this much.

[00:32:53] I will be willing to bet you Hemsworth probably made more of an Anya Taylor-Joy.

[00:32:58] Oh, duh.

[00:33:00] And I would definitely bet you, and in fact, I believe this has already been reported,

[00:33:07] production was troubled on this and they went over budget.

[00:33:11] Not saying that George Miller doesn't know what he's doing.

[00:33:13] It's just that is a particularly really, really tough production.

[00:33:18] And also, too, they had COVID delays.

[00:33:22] So that's a factor you had to consider as well.

[00:33:24] But in most cases, a lot of times, budgeting really does come down to directors just not

[00:33:31] knowing how to best capture a scene and relying on, oh, we'll fix it in post later.

[00:33:39] And that actually ends up costing more money than if you did know how to shoot it on the

[00:33:44] day or shoot it in a way that would be smart to limit your budget in post.

[00:33:49] So what you're saying is more directors should go to film school?

[00:33:54] What I'm saying is we as an industry need to stop relying on visual effects,

[00:34:00] which is so expensive, to fix so many problems.

[00:34:05] That would be nice.

[00:34:08] It would also lift the burden on a lot of visual effects artists out there who have to

[00:34:12] turn around these insane deadlines.

[00:34:14] Yeah, here, here to that.

[00:34:15] That's mainly the big I was.

[00:34:16] It's funny you mentioned that because I was reading a thread on Twitter recently,

[00:34:20] like a visual effects artist, like talking about why people are like,

[00:34:24] well, why does Davy Jones in like parts of the Caribbean, you know,

[00:34:28] from back then look so good compared to like some of the stuff you see now?

[00:34:32] And he's just breaking down.

[00:34:33] It's like, you know, we had all these months to work on it,

[00:34:36] like this insane long period.

[00:34:38] Everything was preplanned.

[00:34:39] And like compared to now, you know, a movie like Shang-Chi where they film everything,

[00:34:45] they build a whole set and then they're like, no, we're just going to do the whole final

[00:34:49] sequence and just like green screen gray sludge.

[00:34:52] And then that's you're just throwing down into the artist to meet like unrealistic deadlines.

[00:34:57] And then you wonder why it doesn't look as great as something compared to like from 2006,

[00:35:02] you know?

[00:35:03] Well, I think that's another problem is that there's just an oversaturation of quote unquote

[00:35:07] content now.

[00:35:08] Back in those days, big, heavy visual effects productions were the rarity, not the norm.

[00:35:15] And now because of these streaming services requiring these heavy visual effects budgets

[00:35:20] on top of what you get theatrically, there's just an entire population of visual effects

[00:35:26] artists out there who are being overworked and underpaid and you're getting subpar results.

[00:35:31] Sometimes when you do have production houses that can work on these projects for a prolonged

[00:35:36] period of time, like Avatar, for example, they end up looking great.

[00:35:41] Or you get a filmmaker who knows what they're doing in terms of how to use visual effects

[00:35:47] and how to conceptually like work with their visual effects supervisors on set to best

[00:35:52] capture what they need and what's essential to immerse the audience like a Christopher

[00:35:58] Nolan or a Denis Villeneuve, you know?

[00:36:00] Or even a Luke Aquatic Nino in Challengers.

[00:36:03] Sure.

[00:36:03] You saw that VFX reel about all the hidden shit in that movie.

[00:36:08] David Fincher is another example of this too, you know?

[00:36:12] But I think that there's just so many examples of so many filmmakers who,

[00:36:18] it's like they make one indie film with very minimal to no visual effects and then all

[00:36:22] of a sudden they get the keys to the kingdom by these studios.

[00:36:25] And the studios give them unlimited backing and say, oh, well, if you don't have much

[00:36:30] experience in this realm, don't worry, we have a whole team that will help you.

[00:36:33] And, you know, it's like they're just like pissing cash away in so many cases.

[00:36:38] Anyway, this is like really spider webbing into a whole conversation.

[00:36:45] Why don't we get back on track here with talking about Tribeca now at this point?

[00:36:50] But before we do that, does anybody have any other final thoughts like on this topic?

[00:36:55] Because, you know, my prediction of what I think we're going to see happen is I really

[00:37:00] do think we're going to see a decrease in big budget spectacle films being released.

[00:37:09] I don't think that the industry can afford to keep up the pace pre-pandemic

[00:37:14] with a big budgeted film like every week.

[00:37:17] I mean, Marvel has already announced that they're scaling back.

[00:37:21] Yeah.

[00:37:22] And they were the biggest offenders of that.

[00:37:24] So...

[00:37:25] And Star Wars ended up scaling back theatrically as well and now is putting more of their effort

[00:37:30] into the Disney Plus platform, but...

[00:37:32] Which is smart.

[00:37:33] I do think we're going to see a bit of a surge in mid budget films like Challengers, for example.

[00:37:42] But the only thing that's going to be tough about that is they're going to do this as a way to say,

[00:37:48] OK, but if we make like 100 million on this 35 million dollar movie, great, excellent.

[00:37:53] But the problem with that is something that we said earlier, which is, is this an event film?

[00:38:00] Is that something that people are going to turn out to see for that 100 million?

[00:38:03] Or are they going to stay home and wait because they know they can see it on VOD in

[00:38:07] three weeks, four weeks, whatever it is?

[00:38:09] So I think that my other prediction is I do think we're going to see the theatrical window

[00:38:17] open because...

[00:38:20] Or extend rather.

[00:38:21] Because I just can't see any other way forward for how this business,

[00:38:26] this industry can survive if that doesn't happen.

[00:38:30] I can see one other way forward.

[00:38:34] I love that we're like Paul Atreides in Dune.

[00:38:36] I see a way.

[00:38:37] Yeah, we're a way through.

[00:38:39] We're going, Dave is so wise!

[00:38:41] Lisa's not going to eat.

[00:38:43] Bear with me on this.

[00:38:45] OK.

[00:38:46] But I think we're going to see the big...

[00:38:50] I think we are going to see the A24ification of the big studios.

[00:38:54] I think we're going to see a lot smarter, more niche marketing and really trying to

[00:39:03] make these smaller, more mid-budget movies appealing on the back end for the studios

[00:39:12] in terms of more curated merchandising, let's say.

[00:39:21] I mean, that's how A24 is really making their money.

[00:39:24] They're not spending a lot of money on the movies they're making and making each one

[00:39:29] feel special.

[00:39:31] They're selling branded merchandise based on these things that are like...

[00:39:36] They're basically Etsy quality, but fans will buy them.

[00:39:40] And I think that if the studios are looking for how to make these mid-budget things make

[00:39:47] giant profits, that's how you want to do it.

[00:39:54] I think it's very interesting.

[00:39:55] And I think the two are going to meet each other in the middle because we've already

[00:39:58] seen with Civil War, A24 was able to make over $100 million on that $65 million budgeted

[00:40:05] film, and they're going to release more projects on that scale moving forward.

[00:40:10] And so, yeah, I do think A24 is going to level up a bit.

[00:40:15] And I think the studios need to level down at least two or three notches.

[00:40:20] Not saying they have to get to that same level, but they'll probably meet them somewhere around

[00:40:26] there is my guess.

[00:40:27] Yeah.

[00:40:27] And they also...

[00:40:30] I don't know if we're actually going to get to this point because capitalism, but the

[00:40:37] studios need to be okay with a $50 million profit as opposed to like a $200 million profit

[00:40:45] on a movie.

[00:40:46] Profit is profit, yo.

[00:40:48] Yeah.

[00:40:49] I mean, I'm at the same boat.

[00:40:52] I'm hesitant.

[00:40:53] I'm nervous about how this whole industry as a general, especially with what studios

[00:40:58] are choosing Greenlight.

[00:40:59] Reading recently how Linklater was like, yeah, everyone heard all the praise for Hitman and

[00:41:04] studios love it and they still wouldn't shell out the money.

[00:41:07] To put this in a theater, which is nuts because I don't know how you get that reaction and

[00:41:11] experiencing it firsthand.

[00:41:13] I'm like, yeah, this is a movie that like if this was 2011 or some shit, this would

[00:41:17] be making bank.

[00:41:19] Like it's a great crowd pleaser.

[00:41:20] And now...

[00:41:21] Well, I think it was two things.

[00:41:23] One is I don't think that studios at the time of Hitman's release at Venice, I don't think

[00:41:30] studios knew how bankable Glenn Powell was going to be.

[00:41:34] Or even at TIFF.

[00:41:35] Sure.

[00:41:36] Yeah, because anyone but you was really what kind of cemented him as a bona fide star.

[00:41:41] And that didn't come out until December.

[00:41:44] And then the other thing, too, is I am let's put it this way.

[00:41:50] It's a very, very sad state when you have a movie like Hitman, which is very commercially

[00:41:56] appealing.

[00:41:57] It is a crowd pleaser.

[00:42:00] It's definitely light in terms of Linklater's filmography.

[00:42:06] I mean, he always makes kind of like light, you know, hang out movies anyway.

[00:42:10] But if something like this can't even garner attention from studios to get a theatrical

[00:42:17] release, then it's like no wonder to me why something like Megalopolis, for example, has

[00:42:21] not been able to get distribution.

[00:42:24] It's a very, very sad state of affairs right now within the industry for filmmakers who

[00:42:30] were even attempting to make movies that can fit within this within these parameters that

[00:42:35] we've laid out here to make a profit.

[00:42:39] And, you know, and I do think it's also we also have to remember something, too.

[00:42:42] This is like the thing I'm I think we're all coming to realize now if we haven't already

[00:42:48] known it for a while.

[00:42:50] Social media is an echo echo chamber.

[00:42:53] And it's a very, very tiny bubble.

[00:42:56] We can share screen caps and reactions to movies and say how great they are and tell people

[00:43:03] to go see them at the theaters all day, every day.

[00:43:06] And we get all these, you know, likes and retweets and comments and engagement.

[00:43:11] And we think, oh, this is great.

[00:43:12] Like people are going to go out and see this.

[00:43:15] Even if that only adds up to hypothetically, I'll just say, say, let's say you got like

[00:43:20] 2000 likes on that post.

[00:43:22] That's still just 2000 people.

[00:43:24] And that's not the number that you need in order to make this kind of a profitability

[00:43:31] in this day and age.

[00:43:32] Yeah, the world is so much bigger than Twitter, let alone film Twitter.

[00:43:38] 2000 people at say, I'm being like a $20 ticket that's only $40,000.

[00:43:44] Like, like put that in perspective, you know?

[00:43:46] So yeah, even if you've got a million likes and retweets on your reaction to something

[00:43:54] and you thought, oh, my God, if all those people just go to theater and buy a ticket,

[00:43:58] that's still only $20 million.

[00:44:01] Mm hmm.

[00:44:03] So got to put these things in perspective.

[00:44:06] All right.

[00:44:07] Speaking of putting things in perspective here, we're on the topic of Richard Linklater.

[00:44:10] Let's talk about this week's poll really quick.

[00:44:14] So for this week's poll for the release of Hitman coming to Netflix, we are asking everyone,

[00:44:17] which is your favorite Richard Linklater film?

[00:44:20] So you could choose up to four on this week's poll.

[00:44:24] Giovanni Lago, what are some of your favorite Richard Linklater movies?

[00:44:28] I mean, it's basic, but the before trilogy is

[00:44:31] just some of the greatest shit ever put on film.

[00:44:33] I mean, before Sunset, if I was going to pick one that's my personal favorite,

[00:44:37] it would be before Sunset.

[00:44:39] I just the internal yearner in me just loves that film, that car sequence when

[00:44:44] Julie Delpy's reach her hand out and she pulls it back.

[00:44:47] And Gio, don't make me think about this until early in the morning.

[00:44:52] It's just great.

[00:44:54] And then also like undoubtedly one of the great movie endings of all time.

[00:44:57] Like you're going to miss that plane.

[00:44:58] Yeah, I am going to miss that plane.

[00:45:00] I'm going to stay right here and never leave.

[00:45:03] Totally.

[00:45:04] I think it was just a perfect evolution of what he created in before sunrise.

[00:45:09] And then before midnight's great, too.

[00:45:11] But I think before Sunset is the one that really hits home for me.

[00:45:15] And I think, you know, to be different for the poll, I will pick Boyhood.

[00:45:21] I think that's a film that came out when I was graduating high school or like coming

[00:45:27] to a close and all that thoughts of what happens next in the future and very much started

[00:45:33] probably in my mind and just wouldn't escape.

[00:45:35] And I remember watching that film and just, you know, Linklater being experimental as

[00:45:40] he is.

[00:45:41] And like, yeah, I'm going to make a movie over a decade and seeing that and witnessing

[00:45:45] those characters grow throughout the entire time.

[00:45:47] It's just like amazing performances by Hawke and Patricia Arquette.

[00:45:51] And I was blown away when I first saw that film.

[00:45:53] And it's something that forever stuck with me.

[00:45:55] So Linklater, Linklater is one of the guys, you know, and just I mean, who doesn't love

[00:45:58] days and confused?

[00:46:00] He's just one of the all time chill dudes of cinema.

[00:46:02] Dan?

[00:46:03] Yeah.

[00:46:04] Before Sunset is the crown jewel of Richard Linklater's filmography.

[00:46:10] I think it's a perfect movie.

[00:46:12] The before trilogy is perfect.

[00:46:15] I know it won't, but I kind of hope they come together for a fourth one, too.

[00:46:20] I think that'd be really cool.

[00:46:22] You know, once they get a little older, I would love that.

[00:46:25] Richard Linklater is a more basically.

[00:46:27] Yes.

[00:46:28] Basically, yes.

[00:46:29] Yes.

[00:46:30] I'd be down for it.

[00:46:31] I want it.

[00:46:32] I need it.

[00:46:33] I shocked that no one has tried to remake before Sunrise yet, honestly.

[00:46:40] Can you not put that idea on?

[00:46:42] What the hell?

[00:46:43] No, like with all the other things they've been doing, like it's just I'm sure that it's

[00:46:49] because Richard Linklater, Julia Delpy and Ethan Hawke will not let people do that.

[00:46:54] And good for them.

[00:46:57] But it is kind of shocking.

[00:47:00] But yeah, I after the before trilogy, which is just the best, I loved days and confused.

[00:47:06] I think it's so much fun near perfect.

[00:47:09] But School of Rock is so good.

[00:47:14] Jack Black, just a plus performance.

[00:47:18] I love everything in that movie.

[00:47:21] I love everybody in that movie.

[00:47:23] I love the music in that movie.

[00:47:26] I don't know if this is a controversial opinion, probably not.

[00:47:29] I genuinely believe Jack Black should have been nominated for Best Actor for that movie.

[00:47:33] I'm completely with you, Matt.

[00:47:36] Yeah, I think it's one of the great all time comedic performances.

[00:47:42] Agreed.

[00:47:43] Just the way he works with the kids is so good.

[00:47:47] Yeah.

[00:47:48] And you know what's even crazy, crazier?

[00:47:50] His performance in Bernie, I think is maybe the best work he's ever done, period.

[00:47:57] So good.

[00:47:57] Yeah.

[00:47:58] Yeah, so good.

[00:47:59] Like really should have been nominated for an Oscar.

[00:48:03] Yeah, he's really, really good in that movie.

[00:48:06] And I think Bernie is actually one of the more underappreciated Richard Linklater films.

[00:48:11] I hear people talking about the ones that have already been mentioned,

[00:48:14] but I don't ever really hear people talk about Bernie.

[00:48:16] Oh, yeah.

[00:48:17] You know what?

[00:48:18] I want Richard Linklater to do another stoner comedy,

[00:48:24] but I wanted to star Jack Black and Matthew McConaughey.

[00:48:28] Like middle aged stoners?

[00:48:30] Yes.

[00:48:31] Okay.

[00:48:33] Like they've both worked with him before.

[00:48:35] They've both done some of their best work with him.

[00:48:37] You know, we have to get Merrily We Roll Along finished first, though.

[00:48:41] It's going to take another 17 years.

[00:48:44] He's just filming a couple of scenes of that per year.

[00:48:47] I think it'll be fine.

[00:48:50] He made other films while he was making Boyhood.

[00:48:52] Like, I can't wait for that.

[00:48:54] Yeah.

[00:48:56] For me, Boyhood, I think it's a miracle movie.

[00:49:00] I've never experienced anything quite like it the first time I saw it.

[00:49:03] It was like this unbelievable time capsule of a film that

[00:49:08] also was during a time that I was almost the same age of that leading character

[00:49:14] during those periods of his life, too.

[00:49:16] So that film had such a profound impact on me.

[00:49:21] And then I also would like to shout out, of course, the Before trilogy.

[00:49:25] I like Days of Confused.

[00:49:27] I like it a lot.

[00:49:28] I think Everybody Wants Some is another underappreciated movie that goes hand in hand

[00:49:32] with Days of Confused.

[00:49:33] And you look at the cast of that movie, too, especially.

[00:49:37] Look at where those names are today.

[00:49:39] Insane.

[00:49:40] You know, it's like we don't talk enough about how great that cast is and how fun that movie is.

[00:49:46] And I do hope that it gets talked about on the same level as Days of Confused

[00:49:51] in a few years from now.

[00:49:54] Even in his 60s, Linklater is still, I mean, he's still pushing himself.

[00:50:00] He's still telling stories that feel right in his wheelhouse.

[00:50:02] But yet he's always uncovering new layers for us to appreciate.

[00:50:05] I think he's one of the great American storytellers that we have.

[00:50:09] And I love that he has never really betrayed his indie roots.

[00:50:15] He's a treasure.

[00:50:15] He really, really is.

[00:50:18] So head on over to the polls page, nextbestpicture.com, cast a vote there.

[00:50:21] Let us know what your favorite Richard Linklater film is.

[00:50:24] And definitely check out Hitman if you have the opportunity to do so in a theater,

[00:50:28] because there are scenes in that movie that deserve to be experienced with a crowd.

[00:50:33] But if not, because I know it's not playing everywhere,

[00:50:36] it will be on Netflix pretty soon this weekend, actually.

[00:50:39] And you'll be able to watch it then.

[00:50:42] For last week's poll, with the conclusion of the Cannes Film Festival,

[00:50:48] we asked everyone which film from Cannes they are most looking forward to seeing.

[00:50:53] So Gio, after all the discussion, all the reactions, all the reviews,

[00:50:58] which films from Cannes are you pumped to see the most?

[00:51:01] You know what I'm going to say?

[00:51:03] I want to see Megalopolis.

[00:51:06] I does not change.

[00:51:07] If anything, it's only bolstered me to go and want to see it more and support this movie,

[00:51:12] even if I don't like it.

[00:51:13] The more concerning aspect is how will I watch this movie?

[00:51:17] Because it still does not have a distributor for the US.

[00:51:20] I'll make a prediction right here, Gio.

[00:51:22] I really think Megalopolis is going to come to NYFF.

[00:51:26] Yes, yes, yes.

[00:51:28] I need it.

[00:51:29] I can't wait.

[00:51:30] I'm so excited.

[00:51:31] I will volunteer to be the person who talks to Adam Driver in the scene

[00:51:35] of NYFF if you guys bring it.

[00:51:38] Yes!

[00:51:39] I will do it.

[00:51:40] Onora, of course.

[00:51:42] I love Sean Baker and, you know, hearing that not only winning the Palme d'Or,

[00:51:47] but also that its style is probably the culmination of everything Baker's worked on so far.

[00:51:53] And then the Uncut Gems comparisons is like, come on, like, I need it.

[00:51:56] I would actually argue it's more good time.

[00:52:00] Best Buy with yes.

[00:52:01] Yes, it's a very similar comparison.

[00:52:04] I'll say that it's very Safdie Brothers coded.

[00:52:06] I love that.

[00:52:07] Let's put it that way.

[00:52:08] Great with me.

[00:52:09] And then also I'm still excited for O Canada.

[00:52:12] I am literally about to start with one of my good friends because it's now a criteria on

[00:52:16] the whole Schrader collection.

[00:52:17] We're about to do a whole retrospective of Paul Schrader and just watch everything.

[00:52:22] So I am already in the mindset of being God's loneliest man,

[00:52:26] and I'm ready to see something that is an a bit from what I've heard,

[00:52:29] retrospective and, you know, Richard Gere reuniting with the Paul himself.

[00:52:34] I need it.

[00:52:35] Let's do it.

[00:52:36] God, Paul Schrader's filmography is insane to me.

[00:52:41] Yeah, those earlier films, Blue Collar, American Gigolo, Cat People, Mishima, like awesome.

[00:52:48] And then you get into this absolutely insane period of just like terrible, terrible film.

[00:52:57] Inconsistency, I'll say in the 90s, but definitely the early 2000s leading up into

[00:53:03] until First Reformed is just atrocious.

[00:53:07] So many bad films in there, in my opinion, and Card Counter I've actually appreciated on a

[00:53:12] real I love that movie.

[00:53:13] Yeah, I didn't like it as much as First Reformed, and I still don't.

[00:53:17] But I definitely liked it on a second viewing compared to my first one a bit more.

[00:53:22] I still have not rewatched Master Gardener.

[00:53:24] I don't know if I can bring myself to do it because I really didn't like it the first

[00:53:28] time I saw it.

[00:53:29] And Oh, Canada might fall into a similar situation where I watch it again during the fall film

[00:53:34] fest and maybe I like it more than I did on that first viewing.

[00:53:37] I don't know.

[00:53:38] But Schrader's just all over the place in terms of quality.

[00:53:41] But one thing that you can't take away from him is that he always has something interesting

[00:53:46] to say in his stories.

[00:53:49] You know, like he always has like something or if not interesting to say, he's approaching

[00:53:54] it from an interesting perspective, at least.

[00:53:57] I love the Card Counter so much that movie is one of the coolest movies to happen in

[00:54:01] the last 20 years.

[00:54:02] I'm sorry.

[00:54:03] It's okay.

[00:54:04] We can disagree.

[00:54:08] All right, Dan, what about you?

[00:54:10] So many things right now.

[00:54:13] The one that I'm most excited to see is probably the substance.

[00:54:20] Oh, yeah.

[00:54:21] You should all be excited for that.

[00:54:23] And the other one that I'll say I'm really looking forward to this wasn't in competition,

[00:54:28] but I'm really looking forward to seeing the Count of Monte Cristo, hopefully, because

[00:54:32] I love that story.

[00:54:35] I love that book and any adaptation of that one.

[00:54:39] But yeah, other than that, it's just like all the ones that you'd expect.

[00:54:44] The lower profile ones that I'm really looking forward to are two queer ones, Three Kilometers

[00:54:52] to the End of the World and Vietnam.

[00:54:57] Both very good, in my opinion.

[00:54:59] And also, too, I'll take this opportunity to say happy Pride Month, everybody.

[00:55:03] Happy Pride!

[00:55:05] All right.

[00:55:07] Top 10 from the MVP film community.

[00:55:09] Here we go.

[00:55:11] Number 10 is a movie that I expected Gio to say, but he didn't.

[00:55:15] Horizon, an American saga of Chapter One.

[00:55:18] Well, the truth is I'm going to be there opening day.

[00:55:20] I don't have to defend my costs, man.

[00:55:22] Okay?

[00:55:23] When someone called it Dune Part One for Dads, I'm like, this is the greatest movie to ever

[00:55:27] happen.

[00:55:27] Like Dune Part One for Dads?

[00:55:31] Yeah, that's amazing.

[00:55:33] Yeah, that's great.

[00:55:34] I can't.

[00:55:34] I'm so excited for this.

[00:55:36] Costner, just also that GQ piece they did on him recently.

[00:55:39] Amazing read if you've not checked it out.

[00:55:42] Just ultimately every quote he was just delivering at Cannes.

[00:55:45] He's like, yeah, movies have lives past the opening weekend.

[00:55:48] I'm like, oh my God, this guy, he's cooking on all cylinders.

[00:55:52] Number nine, a movie that does not have US distribution still, Ali Abbasi's The Apprentice.

[00:56:00] I mean, I hope that it gets distribution, but I also hope that if it doesn't, that they just

[00:56:06] release it somehow anyway.

[00:56:08] That Ali Abbasi takes it around like Ty Joe did with Memoria and just books it into random

[00:56:15] theaters across the country.

[00:56:18] I love that Trump immediately slapped it with the lawsuit, a cease and desist thing.

[00:56:25] Like, come on.

[00:56:27] It's hilarious.

[00:56:27] You know what I loved more than that?

[00:56:29] I love that man getting indicted and charged.

[00:56:32] 34 counts.

[00:56:35] Wild.

[00:56:36] Guilty on all counts.

[00:56:39] He could still run for president, but he can't vote.

[00:56:42] Explain that one to me.

[00:56:43] It's truly wild.

[00:56:44] We are living in a wild country.

[00:56:48] Number eight, Andrea Arnold's Bird.

[00:56:52] I'm looking forward to it.

[00:56:54] Which I liked quite a bit, actually.

[00:56:57] I'm excited.

[00:56:58] Definite indie spirit, Gotham Ward contender type film.

[00:57:02] It'll be released by MUBI.

[00:57:03] I think you guys will like it.

[00:57:05] Number seven, one of my favorite films from the festival, Neon has this one,

[00:57:10] Mohamed Rasoulif's The Seed of the Sacred Fig.

[00:57:12] Yes.

[00:57:13] Yeah, I want to see this.

[00:57:15] This was excellent.

[00:57:15] I freaking loved this movie.

[00:57:18] Still shocked that it didn't win one of the actual top three prizes, but...

[00:57:23] Number six, All We Imagine as Light.

[00:57:27] This was Josh Parham's number one favorite film from the festival.

[00:57:30] I cannot wait to see it.

[00:57:33] Number five, Francis Ford Coppola's Megalopolis.

[00:57:36] Yeah, top five, top five.

[00:57:37] If you are a cinephile, how can you not want to see this movie?

[00:57:41] Even if it is bad.

[00:57:43] I think the reactions from Cannes being all over the place with one of the craziest letterbox

[00:57:48] curves I've ever seen, I think that's only heightened people's excitement to want to see

[00:57:53] this film, to be honest with you.

[00:57:55] Because nobody knows now where they're going to fall on this.

[00:57:57] Am I going to love it?

[00:57:58] Am I going to hate it?

[00:57:59] Am I going to be in the middle?

[00:58:01] Yeah.

[00:58:02] Number four.

[00:58:05] I'm telling you, I don't think you guys are ready for this movie.

[00:58:07] Number four is The Substance.

[00:58:09] Yeah, can't wait.

[00:58:10] The Substance feels like one of those movies that is just that sicko's gif.

[00:58:14] It is.

[00:58:16] It really is.

[00:58:17] Number three, Jacques Audillard's Amelia Perez.

[00:58:24] I think this movie actually stands a chance to be bigger than what people were reporting

[00:58:30] out of Cannes.

[00:58:31] Really?

[00:58:32] I do.

[00:58:33] Yeah, I actually have a feeling that this could be a picture director, international,

[00:58:42] I think that an acting player for sure.

[00:58:45] But it has, I think, more working in its favor if the right distributor works with it.

[00:58:50] Because I know they announced that Netflix was circling around or closing in on it.

[00:58:57] Yeah, but they hadn't finalized?

[00:58:58] Yeah, it hasn't officially been announced yet.

[00:59:01] So they might still be working things out for it.

[00:59:03] But if they were to get it, I would say watch out.

[00:59:07] I'm a little shocked to hear that because everything I've heard about this movie makes

[00:59:11] it seem like kind of weird and wild, like in ways that I would like, but also in ways

[00:59:18] that seem like a really tough sell.

[00:59:21] It's got a very interesting premise to say the least.

[00:59:24] And its combination of styles, yeah, definitely I think will be

[00:59:30] a lot for some people to take in.

[00:59:32] But Carlos Sofia Gasol delivers such an incredible performance in this.

[00:59:37] Zoe Saldana has not been this good, and I literally do not know how long.

[00:59:42] Let's fucking go.

[00:59:44] And Selena Gomez is great in it too.

[00:59:45] And I think her name is going to add a couple of eyeballs to it, especially.

[00:59:50] A couple, just a couple.

[00:59:51] Yeah, just a few.

[00:59:54] Number two coming out very, very soon.

[00:59:57] Yorgos Lanthimos' Kinds of Kindness.

[00:59:59] Yeah.

[01:00:00] Dark Lanthimos is back, baby.

[01:00:03] I will say this because people have been asking me like, oh, what would you most compare it to?

[01:00:07] If you guys watched The Curse on Showtime with Emma Stone and Nathan Fielder.

[01:00:13] Yep.

[01:00:13] That's very much the vibe of Kinds of Kindness for me, where it's like you're watching stuff

[01:00:18] unfold and it's awkward, and at times very confusing in terms of what exactly is really

[01:00:26] happening here, you know?

[01:00:29] But when it reveals itself, it's ugly, it's nasty, and it's ever so fascinating.

[01:00:35] And way man.

[01:00:36] Oh, yes.

[01:00:37] Number one, Onora.

[01:00:39] Yeah.

[01:00:39] No surprise there.

[01:00:40] Yeah, not a surprise at all.

[01:00:43] I think it instantly shot up to everyone's list the minute the reactions and reviews

[01:00:47] came out for it.

[01:00:48] Yep.

[01:00:49] And it should, it rightfully should.

[01:00:51] It's one of the best films I've seen this year.

[01:00:52] It was my favorite film of the festival.

[01:00:55] Can't wait for everybody to see it.

[01:00:56] All right.

[01:00:57] So as we are talking about the film festival world now, Tribeca, which I knew we would

[01:01:02] get to at some point.

[01:01:04] The Tribeca Festival is running in New York from June 5th until June 15th, kicks off this

[01:01:13] week here.

[01:01:14] There's a couple of films that are coming over from previous film festivals, and then

[01:01:17] we have a couple of world premieres to look forward to as well.

[01:01:20] So let's go through the list here of, first of all, what are some things that are not

[01:01:25] world premieres that are carrying over that you are looking forward to seeing?

[01:01:28] Dan and I already discussed The Devil's Bath, which is screening here.

[01:01:33] Dan, Gio, do you guys have anything you want to shout out?

[01:01:35] Firebrand.

[01:01:37] Yeah, I was going to say, yeah, Dan's reading my mind perfectly.

[01:01:40] It's been a year.

[01:01:41] I just want to see this.

[01:01:43] Yeah.

[01:01:45] I really liked Firebrand out of Cannes last year.

[01:01:47] This was like really my kind of a movie in terms of palace intrigue, dark undertones,

[01:01:55] Jude Law and Alicia Vikander, especially Jude Law just chewing up scenery left and right.

[01:02:00] It's like this evil, evil monarch.

[01:02:04] I really enjoyed it.

[01:02:05] It's not great, I will freely admit to that, but it's very much my sensibilities in terms

[01:02:10] of what I loved about earlier seasons of Game of Thrones, for example.

[01:02:16] I don't know where you guys are going to fall on it, but we'll see.

[01:02:20] Also, too, I highly recommend a film called Kneecap, which I saw back at Sundance.

[01:02:26] Been dying to see this.

[01:02:28] I did not know this at the time when I saw it.

[01:02:31] So it's basically a biopic about this Irish hip hop trio and takes place in the post troubles

[01:02:41] Belfast where I don't want to reveal too much about this, but Michael Fassbender has

[01:02:48] a supporting role in it.

[01:02:49] The music is awesome.

[01:02:51] The vibes are very reminiscent of early Danny Boyle, like train spotting.

[01:02:56] Let's fucking go.

[01:02:58] Incredible energy to it.

[01:03:00] And I've heard that the group is going to perform at Tribeca.

[01:03:05] I don't know if it's after the screening.

[01:03:07] I assume so.

[01:03:07] But yeah, that should be a lot of fun.

[01:03:10] That's cool.

[01:03:11] What else we got here?

[01:03:12] Oh, Kill.

[01:03:14] Kill is officially part of the festival.

[01:03:16] Kill is officially part of the festival from India coming over from TIFF.

[01:03:20] Awesome.

[01:03:20] Oh, wow.

[01:03:21] Dan, did you see this at TIFF?

[01:03:22] I can't remember.

[01:03:23] No, I didn't see it.

[01:03:24] But you I remember when you came back to the room after that screening going like, dude,

[01:03:30] this movie was awesome.

[01:03:32] Yeah, you were you were very excited by that movie.

[01:03:36] I'm also looking forward to in the summers that won the Sundance jury prize.

[01:03:42] That was OK.

[01:03:43] Yeah, that was fine.

[01:03:44] Yeah, I get I get why it won.

[01:03:48] And I also understand, you know, wanting to be excited for it.

[01:03:51] But I don't know, like that one just didn't.

[01:03:55] That one wasn't great for me, but not as good as the thousand and one.

[01:04:02] Not as good.

[01:04:05] But then there's also Daddy-O, which is coming over from Telluride.

[01:04:09] Is that good?

[01:04:10] Because I remember seeing the trailer before I saw.

[01:04:13] I can't remember what I saw, and I was like, this looks insufferable.

[01:04:16] So it's Dakota Johnson and Sean Penn in a cab the entire movie just talking.

[01:04:22] OK, and I'll say this.

[01:04:24] I was very nervous watching it.

[01:04:26] I was worried about where it was going the whole time.

[01:04:30] But I do want to alleviate maybe some concern by saying where it actually eventually ends

[01:04:36] up is a rather sweet and pretty good place.

[01:04:39] It was it was a movie that I expected to be much, much worse.

[01:04:43] And what I got instead was honestly some of the best work I've seen Sean Penn do in a

[01:04:47] long, long, long time.

[01:04:48] And Dakota Johnson is greatness as she usually is.

[01:04:51] So I'm always here for Dakota Johnson and Sean Penn if he's on fire, I will be seated.

[01:04:59] Yeah, I'm also curious about one of the Berlin films that's playing here between the temples.

[01:05:07] Oh, yeah, yeah, yeah, yeah.

[01:05:09] That was also at Sundance.

[01:05:10] Jason Schwartzman, Carol Kane, Dali DeLeon.

[01:05:14] I mean, it's a premise that could go like a little awkward, not interesting for me.

[01:05:23] But with that cast and I got decent reviews.

[01:05:28] So I hope you like it more than I did.

[01:05:32] I mean, I might because Jewish.

[01:05:34] Sure.

[01:05:36] It's occasionally funny.

[01:05:37] It has its moments.

[01:05:39] I just really could not stand the execution of it.

[01:05:42] I hated how it was shot.

[01:05:44] I hated how it was edited.

[01:05:47] Schwartzman is great, though.

[01:05:49] Yeah, it's a mixed movie for me, unfortunately.

[01:05:53] In terms of new stuff that's having its world premiere there, there's quite a bit.

[01:05:58] I mean, like more than usual, I would argue here.

[01:06:02] Yeah.

[01:06:03] You know, you have a lot of documentaries.

[01:06:05] You've got a lot of smaller films that are going straight to streaming, I'm sure,

[01:06:11] on things like Paramount Plus or Hulu.

[01:06:14] But, you know, they've got some big names tied to them that make you, I guess, somewhat

[01:06:19] interested.

[01:06:20] It all depends on what your expectations are heading into the festival, right?

[01:06:24] So I know a lot of people have already pointed out that they're looking forward to Sacramento,

[01:06:30] which is a new film from Michael and Geronimo with Michael Cera, Kristen Stewart.

[01:06:36] I know that that one's probably going to get quite a big reception here.

[01:06:40] And then Jenna Ortega's got a movie as well.

[01:06:44] I think it's like one of those young...

[01:06:47] Romances.

[01:06:49] Yeah, like YA.

[01:06:49] Yeah, yeah, very much so.

[01:06:52] Yeah, it looks like one of those teen romance movies, but she's a pretty big star.

[01:06:57] She'll definitely get some people interested, I'm sure.

[01:06:59] There's a movie with Naomi Harris and Natalie Dormer.

[01:07:03] Yes, The Wasp!

[01:07:04] Yeah, yeah, that sounds really cool.

[01:07:07] Cannot wait.

[01:07:08] Also, the best title of any movie that has come out since 2020,

[01:07:16] The Shallow Tale of a Writer Who Decided to Write About a Serial Killer.

[01:07:21] Yes.

[01:07:22] John Magaro as a struggling writer who befriends Steve Buscemi's retired serial killer.

[01:07:29] Sold.

[01:07:30] And Rit Lauer too from Severance is also in it, which is great.

[01:07:34] Love seeing her.

[01:07:35] She's also got another movie too called Darkest Miriam, which is also playing there.

[01:07:40] So she's got both of those titles.

[01:07:42] Yes, she does.

[01:07:43] And then there is McVeigh that is starring Alfie Allen from Game of Thrones.

[01:07:50] But also Ashley Benson, Anthony Kerrigan.

[01:07:54] You can guess who he's playing here in this case.

[01:07:59] Timothy McVeigh.

[01:08:00] So I'll just be curious to watch that just for Alfie Allen and see what he does with that.

[01:08:06] I'm also really looking forward to Lake George because it's Shea Whigham and Carrie Coon.

[01:08:11] Oh, yeah.

[01:08:11] Say no more.

[01:08:12] Yes.

[01:08:13] Yeah.

[01:08:14] I don't care what else is going on in that movie.

[01:08:16] Awesome.

[01:08:17] Tim Blake Nelson's got Bang Bang.

[01:08:19] Yes.

[01:08:21] Anything with Tim Blake Nelson in the lead role, I'm usually seated.

[01:08:25] I agree.

[01:08:26] Yep.

[01:08:27] The Damned with Odessa Young, a new actress who well, I don't want to say new.

[01:08:31] I mean, not new, but her choices.

[01:08:34] We were talking about this yesterday.

[01:08:35] Her choices have been so fascinating in her career.

[01:08:40] But like I was going to say, like Tim Blake Nelson, if I see that she's like cast in something,

[01:08:44] I instantly want to see it because she makes great choices, like you said.

[01:08:49] And that sounds like it's going to be like an atmospheric period horror film,

[01:08:53] which I'm usually always excited to check out.

[01:08:58] Anything on the doc side that's standing out to anyone?

[01:09:01] I know one I saw that I highly recommend you guys go watch in a theater if you can,

[01:09:06] is Skywalker's A Love Story.

[01:09:08] Yes, I want to see that.

[01:09:10] Also, Bad Actor, Hollywood Ponzi scheme.

[01:09:14] Yeah.

[01:09:15] That one sounds really interesting.

[01:09:17] Oh, well, obviously for me, I'm very interested in a documentary called Sabbath Queen,

[01:09:25] which is about a 39th generation Orthodox rabbi who doubles as a drag queen.

[01:09:32] Yep.

[01:09:33] Dan coded.

[01:09:34] Very, very Dan coded.

[01:09:36] Also another movie that is very Dan coded that I am really, really upset that I won't be in town

[01:09:43] for the screening is Bratz.

[01:09:45] Yeah, I watched a trailer for this.

[01:09:46] Yeah, it's a big one.

[01:09:47] Yeah.

[01:09:48] Everything about it.

[01:09:49] I want it.

[01:09:50] I need it.

[01:09:52] I really, really upset that I'm not going to be there for the screening because,

[01:09:56] God, they're all going to be there.

[01:09:58] Yeah.

[01:09:59] Yeah, they will.

[01:10:01] I'm still very excited about The Dog Thief, which I feel like I'm the only one who's talked

[01:10:06] to every time we talk about all these movies coming out.

[01:10:08] I'm just constantly like, you know, the dog thief, which the premise is good.

[01:10:12] And it sounds like I'm pretty sure it's from Mexico, I want to say.

[01:10:17] And I'm really excited for that.

[01:10:19] I think Bratz also, I'm always like finicky with documentaries to have to be really into,

[01:10:24] you know, the topic.

[01:10:26] But, you know, hearing about well, and this is before my time, obviously, all these actors

[01:10:31] and like hearing that label slapped on them with a Brad pack and seeing like how it came

[01:10:36] with a lot more attention that they wanted and seeing like them years later, you know,

[01:10:41] talk about how fame at a young age really affected them as individuals, I think is fascinating.

[01:10:46] There's also Following Harry, the film about Harry Belafonte, civil rights leader, occasional

[01:10:52] actor too, you know, if you've seen Spike Lee's Black Klansman, he's also in that film.

[01:10:57] I think that'd be a touching doc and a lot of cool interviews from actors and artists,

[01:11:02] also activists like Jesse Williams appears in it.

[01:11:05] I'm excited for that as well.

[01:11:06] And I also want to mention that Sacramento is another big one, you know, it's like adult

[01:11:12] coming of age film sounds like exactly the type of film I like and also Maya Eskren

[01:11:17] is in it who after Mr. and Mrs. Smith, I'm seeing whatever she's in.

[01:11:22] Yes.

[01:11:23] I saw Lufer Never Too Much at Sundance.

[01:11:25] That was a pretty decent documentary from Don Porter.

[01:11:30] Made in England, the films of Powell and Pressburger, any cinephile would be excited to watch that.

[01:11:35] Yes.

[01:11:36] I really, really hope that either Scorsese or Thomas Goomaker make an appearance in New York

[01:11:41] after its screening for like a Q&A or something that would be really nice.

[01:11:44] Also the Elizabeth Taylor documentary that was at Cannes.

[01:11:49] I missed this one.

[01:11:50] Yeah.

[01:11:50] Yeah, I want to see that.

[01:11:51] And again, very Dan Coded, the documentary about Liza Minnelli.

[01:11:56] A truly terrific, absolutely true story.

[01:12:02] I will mention there's Jazzy, which I'm also excited about.

[01:12:05] Oh yeah.

[01:12:06] You saw the follow up to Unknown Country, Lily Gladstone making an appearance in it.

[01:12:12] Yeah.

[01:12:13] I'm excited for that.

[01:12:14] Yeah.

[01:12:14] There's also the documentary about Linda Perry that should be really cool.

[01:12:19] And the opening night film, obviously Diane von Furstenberg, a woman in charge, which

[01:12:29] was shocked to find out that someone as embedded into New York City as Matt

[01:12:34] is did not know who Diane von Furstenberg was.

[01:12:38] I'm straight, goddammit.

[01:12:40] You think I know anything about the fashion world?

[01:12:42] She is a New York figure, sir.

[01:12:46] In any event.

[01:12:48] Well, there's a lot going on in Tribeca.

[01:12:50] A lot more than usual, I would argue.

[01:12:53] This might be the first time I've been this excited for the festival and

[01:12:56] I don't even know how long if I'm being honest with you.

[01:12:59] Can confirm that is much higher on this lineup than he usually is on Tribeca.

[01:13:07] Well, all three of us will be watching movies over the next couple of days.

[01:13:10] We'll have more to report next week and then the week after.

[01:13:13] So stay tuned for that.

[01:13:14] And speaking of movies to look forward to, we have two trailers to discuss right now.

[01:13:18] First up is Wolves from John Watts.

[01:13:21] No, Wolves, not Wolves.

[01:13:23] Sorry, yes.

[01:13:24] It's driving me crazy.

[01:13:26] I hate it so much.

[01:13:28] No, you and me both.

[01:13:29] You're right.

[01:13:30] I love it.

[01:13:31] Get it guys?

[01:13:32] They're two separate hitmen that have to work together.

[01:13:34] They're Wolves.

[01:13:36] Unless both of their last name is Wolf.

[01:13:39] I'm no.

[01:13:41] Starring George Clooney, Brad Pitt, Amy Ryan.

[01:13:44] Coming to theaters on September 20th.

[01:13:47] Here we go.

[01:13:47] How did you get this number?

[01:13:49] I was told none of they ever needed help to call you.

[01:13:53] You're a man who can fix things.

[01:13:58] I didn't know people like you really existed.

[01:14:00] They don't.

[01:14:01] There's nobody can do what I do.

[01:14:14] Who are you?

[01:14:15] I'm here to take care of your problem.

[01:14:16] Who called you?

[01:14:18] Not gonna lie, this does look kind of fun.

[01:14:20] This is amazing.

[01:14:21] I think the premise is fun.

[01:14:23] I don't think the trailer did a good job of getting me excited to watch it.

[01:14:26] I had sold me on the chemistry between George Clooney and Brad Pitt,

[01:14:29] which is apparently still there.

[01:14:31] It doesn't need to sell you.

[01:14:33] You already know the chemistry is there from their previous collaboration.

[01:14:36] But Matt, Matt, what was the last time you saw George Clooney in a movie?

[01:14:41] What are you talking about?

[01:14:42] George Clooney's in movies like every year.

[01:14:44] Take it to paradise.

[01:14:47] Come on.

[01:14:48] That was a heater.

[01:14:49] Okay, I'll change it.

[01:14:50] What was the last time you saw George Clooney in a good movie?

[01:14:53] Well, that ranges.

[01:14:55] Yeah.

[01:14:56] So like, that's the thing.

[01:14:57] Like, I was worried that it would just kind of feel forced.

[01:15:01] But you think this looks good?

[01:15:03] Yes. Yes, I do.

[01:15:05] I do.

[01:15:06] I don't know if it's going to be good, but I do think that it doesn't look like

[01:15:11] what I feared it was going to look like, which is sort of smug and self-satisfied.

[01:15:17] That's exactly what it looks like to me.

[01:15:19] That's not what it looks like to me.

[01:15:21] Sorry, like a little bit, but not as bad as I was thinking it could be.

[01:15:26] It looks fun.

[01:15:27] It also looks like, and I know people are saying this a lot nowadays.

[01:15:33] I think it's so true here.

[01:15:35] This truly does look like a direct to streaming movie.

[01:15:38] The only reason why it's not is because of it's two stars and it's being distributed by Apple,

[01:15:46] who is going to put it in both theaters and then on Apple TV plus the same way they did

[01:15:51] Killers and Napoleon recently.

[01:15:53] I will say, I can't believe I'm saying this in defense of John Watts.

[01:15:57] You know, OK, say whatever you want about the Spider-Man movies and

[01:16:02] the visual style of this movie is definitely the best you've seen him in a bit.

[01:16:06] Cop car is great.

[01:16:07] If you did not watch The Old Man, the first two episodes of that show, which he directed,

[01:16:13] are phenomenal.

[01:16:14] And the action choreographed and directed is fantastic.

[01:16:17] And if any of that is like translated into this, it's going to be delightful.

[01:16:22] It's like a comedy, though.

[01:16:24] Yeah, it's an action comedy.

[01:16:25] And you know what?

[01:16:26] I'm going to crack like six beers and I'm going to go sit down and watch this.

[01:16:30] And it's going to be like the greatest night of my life on September 20th.

[01:16:33] Like, is this the nice guys?

[01:16:35] No, but it still looks like fun.

[01:16:39] Yeah, I'm excited.

[01:16:40] I'm sorry.

[01:16:41] This is just one of those weird Geo things where it's like, yeah, this is incredibly

[01:16:45] my thing.

[01:16:46] I'm so excited.

[01:16:47] I just think my issue is, obviously, I'm not high on Brad Pitt as I used to be anymore.

[01:16:55] I don't think any of us really are on a personal level, might I add.

[01:17:00] Clooney has been wildly inconsistent.

[01:17:03] There's no directorial style whatsoever in the visual language of this trailer that we

[01:17:09] see.

[01:17:10] This does not look like...

[01:17:13] Like when it says John Watts is a director, it's really coasting off of the Spider-Man

[01:17:17] movies.

[01:17:18] But to me, there's no personality.

[01:17:21] The personality is night time, Matt.

[01:17:24] This is a dark looking movie.

[01:17:29] For a movie that's anything but dark.

[01:17:31] It looks extremely lighthearted and it looks like it's just trying to have fun, which is

[01:17:36] fine.

[01:17:38] I hope it is.

[01:17:39] I really do.

[01:17:41] I don't want to head into this movie, already have my mind made up that it's going to be

[01:17:46] awful.

[01:17:46] There's nothing here that made me anticipate this with excitement.

[01:17:53] To be clear, I don't think this looks great.

[01:17:58] I just think that it doesn't look as bad as I was kind of fearing it would look.

[01:18:03] Did you guys read that Variety piece this past week saying that this might premiere

[01:18:07] out of competition at Venice?

[01:18:09] Yeah.

[01:18:10] Go!

[01:18:11] No, Gio, that's not a good sign.

[01:18:15] Yeah, that's what made me nervous.

[01:18:17] Look, Brad Pitt, George Clooney, Venice red carpet.

[01:18:20] Come on, let's go.

[01:18:21] We win.

[01:18:22] We win regardless.

[01:18:23] No, we don't win.

[01:18:25] There is no winning.

[01:18:27] Is this a we're so bad situation?

[01:18:29] I'm thinking it might be.

[01:18:30] I'll pencil it in as a maybe.

[01:18:31] Gio, we just talked about that.

[01:18:33] Come on.

[01:18:35] We just talked about it's so over.

[01:18:37] Okay, we know we're so bad to balance it out.

[01:18:41] Anyway, our second trailer here is for the Outrun, which had its world premiere at Sundance.

[01:18:47] Still does not have a U.S. distributor at this time.

[01:18:51] It stars Saoirse Ronan in a role that has garnered her quite a lot of critical support.

[01:18:58] No release date at this time for the U.S., like I was saying before, but we do have this

[01:19:02] trailer that was released by Studio Canal.

[01:19:05] Let's take a look and let's give some thoughts.

[01:19:07] Sometimes you can feel a vibration in Orkney,

[01:19:11] a low rumble that takes over the whole island and every part of your body.

[01:19:18] But there is only so much height any wave can sustain before it comes crashing down.

[01:19:34] I'm sorry.

[01:19:35] I can't hear you say that again.

[01:19:37] I wish you a completely different person.

[01:19:40] The urge to drink can come out of nowhere.

[01:19:43] You think you're doing well.

[01:19:45] Suddenly you want nothing more than a drink.

[01:19:47] It's good.

[01:19:48] Hey, that's more like it compared to wolves.

[01:19:52] Yeah.

[01:19:52] Yeah, this looks great.

[01:19:54] I am shocked that this doesn't have U.S. distribution yet, considering how popular

[01:20:01] Saoirse Ronan is and has been over the especially over the past few years.

[01:20:06] She looks like she's doing incredible work here as usual.

[01:20:11] And the reviews that I saw out of Sundance were very, very good.

[01:20:16] So my thing with this movie is I do think that Saoirse Ronan delivers one of her

[01:20:21] best performances in this movie.

[01:20:23] I think she is absolutely incredible here.

[01:20:27] I can't remember the last time I saw her be this raw in a movie.

[01:20:35] But the problem that I had with this was I did feel that it was.

[01:20:41] Overlong, repetitive, and it didn't for me like have much more to say outside of,

[01:20:51] you know, it's a character study of this particular woman and it's a showcase role

[01:20:57] for its leading star.

[01:21:00] I wish that there was a stronger narrative behind it on top of let's have the character

[01:21:06] be this struggling alcoholic.

[01:21:09] But instead, it just seems to be all about that.

[01:21:12] And that for me was, you know, just kind of middling.

[01:21:15] I know some people who love this a lot more than I did, but Ronan definitely is the reason

[01:21:21] to see it for sure.

[01:21:22] Do you have an idea who you think would pick this up?

[01:21:25] Because I'm watching this trailer and I was like, this feels like something bleaker Street.

[01:21:28] It really does.

[01:21:29] Yeah, yeah.

[01:21:30] I mean, bleaker makes a lot of sense for it.

[01:21:32] I think I don't think one of the bigger ones like Searchlight would do it.

[01:21:38] So, yeah, something smaller like a bleaker Street does make sense to me.

[01:21:42] Maybe, maybe SPC if they think they can get Ronan an Oscar nom.

[01:21:49] They have a lot this year, though.

[01:21:51] Yeah, they do.

[01:21:52] So I don't think a 24 or neon is going to do it because if they were going to do it,

[01:21:57] I think they would have already done it by now.

[01:21:59] Same with Netflix.

[01:22:01] Yeah, I'm actually surprised that they didn't do this because quite frankly, you know,

[01:22:05] they did Nora Fingscheidt's previous movie, The Unforgivable.

[01:22:10] So I would have thought that that would have been the route here as is, you know,

[01:22:15] I maybe that's what it is, right?

[01:22:17] Because Netflix ever then to talk about Amelia Perez out of can, you know,

[01:22:22] they don't have as robust of a slate this year as they've had in previous years.

[01:22:27] So they are going to have to acquire some things.

[01:22:30] But then it's just like I said, it's like one of those things where

[01:22:33] what is everyone waiting for when you have Ronan delivering this

[01:22:37] Oscar worthy performance in this movie?

[01:22:39] Why wouldn't anyone want to snatch that?

[01:22:41] And I think the reason why is because everybody's waiting to see what the reception to Blitz is.

[01:22:46] Which also stars her.

[01:22:48] That makes sense.

[01:22:49] And they don't want that taking away any momentum from this.

[01:22:53] But I think almost like in a way how, you know, you get roles like Melissa Leo in Frozen River or

[01:23:02] Jennifer Lawrence in Winter's Bone.

[01:23:03] Like this is a small movie with a performance that very easily could be nominated, I think.

[01:23:10] Well, it also like if you're worried about Blitz,

[01:23:13] pick it up and hold it for a year, get her an Afterglow nomination.

[01:23:18] Maybe.

[01:23:18] Release it in 2025.

[01:23:20] I don't know that that might be a little tough because it's already played at both Sundance and

[01:23:25] Berlin.

[01:23:26] Sure, but like it's not like it had the hugest profile.

[01:23:30] So you'd have to you'd be starting from the bottom in terms of buzz anyway.

[01:23:34] I think what they're going to do is I think they're going to take it to TIFF is my guess.

[01:23:39] And that'll be the last ditch effort.

[01:23:42] That would make sense.

[01:23:43] For them to push to get a distributor.

[01:23:45] It would.

[01:23:46] I mean, that makes sense.

[01:23:47] I mean, if I was I don't know if I could hold it that long in the hopes that Blitz becomes

[01:23:53] like this big thing and you get the Afterglow because I mean, seeing how everything's panning

[01:23:57] out so far this year, I feel like every movie is now potential like, wow, is this gonna

[01:24:03] this is going to live up to expectations and be an actual Oscar prospect or even just good

[01:24:08] in that manner in terms of like the quality?

[01:24:10] Because I know I haven't seen it.

[01:24:11] I think it looks good.

[01:24:13] For all the reactions people had from the movie saying it was like, all right, and Ronan was

[01:24:18] like this so amazing on a visual standpoint, there was a lot more flair than I was expecting.

[01:24:22] I don't know.

[01:24:23] Maybe I was just under sold by that.

[01:24:27] It's a solid trailer.

[01:24:28] I don't know if it's going to be anything new or out of this world in terms of, you know,

[01:24:34] talking about addiction or the very familiar subject matter.

[01:24:37] But I mean, I will see it for the performance.

[01:24:41] It's based on the writer's memoir.

[01:24:43] Like, yeah, like you could very easily know where this is going.

[01:24:47] Yeah.

[01:24:47] All right.

[01:24:48] Let's hear next now from the MBP film community and let's see what questions they had to ask

[01:24:53] us for this week.

[01:24:55] Hello, this is Gary Chahot welcoming you to check out the French History Podcast.

[01:25:00] Our main show covers the history of France from the first humans until present.

[01:25:05] If you like Mike Duncan's The History of Rome and wanted a similar program covering the

[01:25:09] land of beauty, culture and love, we are exactly that.

[01:25:14] We also host world renowned scholars who have delivered guest episodes on their specialties,

[01:25:19] including 18th century pirates, revolutionary booksellers in 20th century Paris, the special

[01:25:26] friendship between the Marquis de Lafayette and Thomas Jefferson, and numerous others.

[01:25:32] Learn what you love and listen to the French History Podcast today.

[01:25:41] Linda Alt Casey, which distributor do you think will get Queer and Maria?

[01:25:48] So Queer is Luca Guagnino's upcoming film with Daniel Craig.

[01:25:51] Maria is the new film from Pablo Lorraine with Angelina Jolie.

[01:25:56] Neon.

[01:25:57] Oh, that's your answer for that?

[01:25:58] Yeah.

[01:25:59] Okay, so you think they'll get Maria and who do you think would get Queer?

[01:26:02] I mean, because Neon did Spencer too, right?

[01:26:04] Yes.

[01:26:05] Yeah, yeah.

[01:26:06] So that would make sense for me.

[01:26:07] Makes sense, yeah.

[01:26:08] Keep it in the wheelhouse of the Lorraine.

[01:26:11] Yeah.

[01:26:12] But also remember too, Jackie was not Neon.

[01:26:16] Jackie was Searchlight.

[01:26:19] Yeah.

[01:26:20] So maybe it could go either way.

[01:26:23] True.

[01:26:23] I was actually thinking Searchlight would potentially do Queer.

[01:26:29] I was thinking A24 was going to do Queer.

[01:26:31] I was about to say the same thing.

[01:26:32] I was thinking about A24, but then looking at the other studios that have distributed

[01:26:39] Luca Guagnino's stuff, again, I could see SBC doing it, but they have a lot on their slate already.

[01:26:46] Which is why I kind of went with Searchlight.

[01:26:48] Yeah.

[01:26:49] I feel like post-Challengers, I feel like there's got to be some type of bidding

[01:26:52] or for it, right?

[01:26:54] Of terms of just how they can sell.

[01:26:56] I'm actually really surprised that because Suspiria, Bones and all and Challengers were all...

[01:27:01] Were all Amazon MGM, yeah.

[01:27:03] Right.

[01:27:04] So you would think.

[01:27:06] Yeah.

[01:27:07] But nope, hasn't happened yet.

[01:27:10] I think A24 is a good guess.

[01:27:11] I mean, and in terms of like award stuff, they've shown they can balance multiple films at once.

[01:27:16] So I mean, that's no problem.

[01:27:18] Well, also too, Parthenope, I don't think got the reaction that they wanted actually.

[01:27:21] Yeah, that one.

[01:27:23] Yeah.

[01:27:24] Matt, isn't it Parthenope?

[01:27:26] Sorry, yes.

[01:27:27] Is that really it?

[01:27:28] Yeah.

[01:27:29] Oh, it is.

[01:27:30] I have to get used to saying it that way.

[01:27:32] Oh, I thought Dan was doing a bit.

[01:27:34] That's real.

[01:27:35] No.

[01:27:37] I don't know.

[01:27:39] I mean, A24's got, you know, quite a bit already with Sing Sing,

[01:27:44] A Different Man with Sebastian Stan.

[01:27:46] And those are both lead actor nominee potential too.

[01:27:50] And also too, I have a very, very strong feeling We Live in a Time from John Crowley could be a thing.

[01:27:57] I would love that, but I've heard negative rumblings.

[01:28:01] Oh, you have?

[01:28:02] I'm guessing.

[01:28:03] Oh.

[01:28:04] Yeah.

[01:28:04] Okay.

[01:28:05] Nevermind then.

[01:28:05] I just thought on paper, given it's two stars and...

[01:28:08] Well, on paper, we said the same thing about Faux.

[01:28:12] That's true.

[01:28:13] Okay.

[01:28:14] Don't remind me about that.

[01:28:15] That was mean.

[01:28:16] Just saying.

[01:28:18] Ooh, Edwin Oroz.

[01:28:20] Okay.

[01:28:21] I don't know if you guys saw this.

[01:28:22] We should have probably mentioned this earlier.

[01:28:24] What do you think about the AI short films that are streaming in Tribeca?

[01:28:29] Hate it.

[01:28:29] Yeah, not a fan.

[01:28:31] Hate it.

[01:28:31] I did not even know that was a thing until I saw that recently.

[01:28:35] And honestly, what the hell?

[01:28:37] Just seriously, what the hell?

[01:28:39] I am morbidly curious, not gonna lie.

[01:28:46] But also, I want to know how much AI and what exactly AI did in the creation of these things.

[01:28:54] I want full transparency on what was done by computers versus what was done by people.

[01:29:01] Like I need this to be not just a screening, but I need this to also then be an in-depth Q&A in

[01:29:08] why is this...

[01:29:10] Okay, so it's not so much, oh, look what we can do.

[01:29:14] I think it needs to be at least centered around, look how we can help with certain things.

[01:29:22] Because if it's not that and it's just, oh, look what AI can do.

[01:29:26] All I'm gonna attribute that to is, well, negativity in terms of what AI is stealing

[01:29:32] away from other creatives and artists out there.

[01:29:35] Not seen as a tool that can be used to enhance and help projects along.

[01:29:39] And that's what I'm afraid in terms of the framing here is how are they going to position

[01:29:44] this?

[01:29:44] Because let's be real and let's be honest.

[01:29:46] None of us like this, but there is an inevitability to

[01:29:51] this is the direction that not just the industry, but the world is moving in.

[01:29:55] And we need to then best figure out how can we make the best of this, honestly.

[01:30:05] Really, I feel like that's where we're at at this point.

[01:30:07] We can't stop it.

[01:30:09] It's gonna happen no matter what we say and no matter what boycotts we put in place and

[01:30:14] how much shit we wanna talk about it.

[01:30:16] It literally does not matter.

[01:30:18] It's not gonna stop.

[01:30:20] So apparently the whole thing, it's created with Sora.

[01:30:25] It's a text to video AI model.

[01:30:27] So apparently it's like five filmmakers just wrote on text and then just let the AI create

[01:30:31] everything.

[01:30:32] So it's a proof of concept, basically.

[01:30:33] Yeah, I guess.

[01:30:35] But inherently what that does is just it's pulling images and stuff from what has already

[01:30:40] existed and what is all available on the Internet and then just making a shit sandwich for your

[01:30:46] eyes and repurposing that.

[01:30:49] I wouldn't even wanna watch this.

[01:30:50] It doesn't sound enjoyable.

[01:30:52] It's gonna just make me depressed.

[01:30:53] That's the thing.

[01:30:55] I'm morbidly curious in it as its own thing, not as cinema.

[01:31:05] I think this is like AI art is its own separate field and I'm interested to see what happens

[01:31:13] with it, but only in its own world.

[01:31:17] I do not think that what it does is at all analogous to what actual artists do when they

[01:31:24] make a film.

[01:31:25] Yeah, I keep hearing all these quotes from all these like studio executives and stuff

[01:31:30] about how they are gonna use AI for various things.

[01:31:33] And it's like the box office conversation.

[01:31:39] It's just a really, really depressing topic in terms of people taking the wrong lessons

[01:31:47] from pretty much every sci-fi story that's ever been told, I feel like.

[01:31:55] Have we not already been warned about this, people?

[01:31:58] And yet here we are indulging in it and fanning the flames anyway.

[01:32:02] And it's like, what, for profit?

[01:32:05] Yeah, probably.

[01:32:06] I mean, that's all this ever is, right, is to find a way to cut on costs and increase

[01:32:11] efficiency.

[01:32:12] So and usually what's the first thing to go when you are trying to do that?

[01:32:18] Labor.

[01:32:19] Yeah, people.

[01:32:21] So don't like it.

[01:32:24] Ben Sears at the movie State, what's your go to theater snack?

[01:32:28] No popcorn.

[01:32:29] I'm basic popcorn with bunch of crunch mixed in.

[01:32:34] I'm drifting back towards popcorn.

[01:32:36] I had a period of time in my life after working in a movie theater for two and a half years

[01:32:41] where I swore off popcorn for the rest of my life and I was like, done with it.

[01:32:46] I've slowly started getting back into it now.

[01:32:49] So I'll say popcorn with a light amount of butter, lots of napkins.

[01:32:53] And yes, I am one of those weird people who will take a candy and put it in the popcorn.

[01:32:58] Bunch of crunch, baby.

[01:32:59] Yes.

[01:33:00] Every time.

[01:33:01] My hot take about I don't put any butter.

[01:33:04] I raw don't eat popcorn.

[01:33:06] I eat it just normal.

[01:33:07] I'm sorry.

[01:33:07] I don't put butter on that.

[01:33:09] Yeah, it's already perfect.

[01:33:11] Yeah, the way they exactly.

[01:33:12] Yeah.

[01:33:13] Wow.

[01:33:13] I feel validated.

[01:33:14] Thank you.

[01:33:16] Austin Daniel, who would be the funniest addition to the Knives Out three casting announcement?

[01:33:21] Ethan Hawke.

[01:33:23] Oh yeah.

[01:33:24] After his bit in Glass Onion, I actually would have originally have said Jeremy Renner.

[01:33:28] Yeah, I already confirmed.

[01:33:29] Already happening.

[01:33:33] Uh.

[01:33:35] I hope we get more Hugh Grant.

[01:33:37] That would be nice.

[01:33:38] Yes.

[01:33:38] That would be cool.

[01:33:40] I'm assuming we will, and they'll just like keep that as a little surprise.

[01:33:45] The thing about Glass Onion is there were so many surprise cameos in that movie.

[01:33:49] I'm kind of like waiting for all those.

[01:33:52] Yeah.

[01:33:54] At cold dude underscore today, Jordan Peele was able to save Monkey Man from being dumped

[01:33:59] onto Netflix and gave it a wide theatrical release.

[01:34:02] Which streaming movie releasing this summer would you give a wider, longer theatrical run to?

[01:34:08] Hitman.

[01:34:09] It's not even close.

[01:34:12] What movie I'm picking?

[01:34:13] It's Hitman by like eons, by like football fields.

[01:34:17] Yeah.

[01:34:18] I mean, are there even any other big streaming only movies coming?

[01:34:25] You know what?

[01:34:25] I will say the fact that I, okay, I didn't even know what was the swimming movie with

[01:34:30] Daisy Ridley?

[01:34:31] The promise.

[01:34:31] Oh, Young Woman in the Sea.

[01:34:33] Not promising Young Woman in the Sea.

[01:34:35] So like, I never even heard what this movie was.

[01:34:39] And then I saw a poster and then you guys saw it and you're like, this is actually

[01:34:44] pretty good.

[01:34:45] And it's a movie that's going to Disney plus after two weeks.

[01:34:49] And by like all these reactions, I feel like this could have been like some shock film of

[01:34:54] the year where like people would have turned out and be like, you know what?

[01:34:56] This is great.

[01:34:57] And older audiences would have seen it.

[01:34:58] It could have made like a little solid money.

[01:35:00] Yeah, I was saying this on the podcast that like it feels like something like they could

[01:35:05] have brought that to TIFF and created a little Oscar buzz around Daisy Ridley around the

[01:35:11] score.

[01:35:12] Like it would have gotten.

[01:35:15] I've got a couple here.

[01:35:16] I'll say Beverly Hills Cop, Axel F, Skywalker is a love story is a documentary that like

[01:35:22] Free Solo should be seen in theaters.

[01:35:25] I would say.

[01:35:25] Wait, has Netflix always had that or did they pick it up?

[01:35:29] They picked it up.

[01:35:30] Okay.

[01:35:31] And you know what?

[01:35:32] The Supremes at Earl's all you can eat.

[01:35:34] That was a shock when that was announced that it's just going straight to Hulu.

[01:35:38] Yeah.

[01:35:40] Josie DeMarco, if neither Night Bitch or A Real Pain hit could kinds of kindness play

[01:35:47] out like the Coens A Serious Man, where despite it not being as well reviewed as No Country

[01:35:52] For Old Men and the field is thin enough for it squeeze in could get in still into the

[01:35:57] Oscar race.

[01:35:58] I'm still gonna say no to that.

[01:36:00] You're the one who's seen it.

[01:36:01] So yeah, two hours and 45 minutes dark, weird, certainly not for the masses.

[01:36:08] I can see how this plays well with the Academy outside of a a screenplay nomination, maybe.

[01:36:16] And that's like it really like if the field is super, super thin and if they category

[01:36:21] fraud Plemons into supporting instead of lead, which would be totally wrong.

[01:36:25] And I don't want to see them do that.

[01:36:26] So yeah, I just I can't see it.

[01:36:30] I do think a real pain will at minimum contend for supporting actor for Culkin and screenplay.

[01:36:39] I have this very, very strong feeling that Night Bitch is going to be bigger than we

[01:36:44] are anticipating.

[01:36:46] Like outside of just Amy Adams an actress, I have this.

[01:36:49] I have this very, very odd feeling about this movie.

[01:36:52] The word that I've heard from people who saw early screenings was not good.

[01:36:58] Oh, no.

[01:36:59] But also that's like early screenings.

[01:37:02] So right.

[01:37:03] Take those with a grain of salt.

[01:37:04] Seriously.

[01:37:04] Yeah, those I don't I don't know.

[01:37:06] But I still like having heard from people who have read the book.

[01:37:12] I guess who have said, like, probably not a big contender, but it's Mariel Heller.

[01:37:19] So who knows?

[01:37:23] I feel like I do.

[01:37:24] She has not made a bad film yet.

[01:37:26] Yeah, I was going to say she has yet to put a foot wrong, but she also has yet to do something

[01:37:32] that is it really big with the Academy?

[01:37:35] Sure.

[01:37:37] Ryan Rabidu wants to know, do you think that Donald Trump's guilty verdict will have any

[01:37:41] impact on The Apprentice getting a distributor?

[01:37:44] No, no.

[01:37:46] I mean, they were afraid of it before the guilty verdict.

[01:37:49] I don't see how the guilty verdict changes that.

[01:37:52] I think they're still afraid of it.

[01:37:54] Yeah, I also don't think that like, if anything, the guilty verdict would have like helped.

[01:38:01] And instead, it just seems like people are feeling about the same.

[01:38:05] Yeah.

[01:38:06] It's a very odd year for distribution.

[01:38:09] This started, I remember at TIFF last year, Dan, remember how many movies we saw at TIFF

[01:38:13] last year?

[01:38:14] And we were like, oh, that's gonna get picked up.

[01:38:15] And they just didn't.

[01:38:16] Yeah.

[01:38:17] Yeah.

[01:38:18] I mean, this continued on with Sundance.

[01:38:20] And it has just happened all throughout the rest of the year now.

[01:38:23] And even coming out of Cannes, I was like, oh, yeah, someone's definitely gonna pick

[01:38:27] up The Apprentice, a Donald Trump biopic with Sebastian Stan and Jeremy Strong delivering

[01:38:32] Oscar caliber performances.

[01:38:33] Somebody will do this.

[01:38:35] Nope.

[01:38:36] And now at this point, I'm like, okay, Angel Studios, what do you guys got going on?

[01:38:42] You know what the funny thing is?

[01:38:45] If Annapurna Pictures was still like a thing.

[01:38:48] Oh, they would have died.

[01:38:49] Totally would have done it.

[01:38:50] They would have done it for sure.

[01:38:52] I agree.

[01:38:53] I don't really know what's going on there, man.

[01:38:55] It's crazy.

[01:38:56] I bet smaller distributors were very interested.

[01:38:59] Like I could see Mubi being interested in it, but probably not being able to put out

[01:39:04] enough money for the filmmakers to make it worth it for them, you know?

[01:39:08] Yeah.

[01:39:10] Peter Rabbit's Awards Buzz.

[01:39:12] I just saw Boy Kills World.

[01:39:14] It's one of those Ben Nair, Dunn-Nap movies that we've seen a thousand times before until

[01:39:19] the twist in the third act, which changed the whole movie into something very interesting

[01:39:24] that shook my mind completely.

[01:39:26] Of all the movies that you guys can remember, what is a so-so movie that had a third act

[01:39:32] twist that instantly raised it up for you?

[01:39:37] You know, it came out recently.

[01:39:39] I still don't think the twist fully sold me on the movie, but Eileen.

[01:39:43] Okay.

[01:39:45] The twist actually brought it down for me.

[01:39:48] Yeah.

[01:39:50] It made me more intrigued, but also I was like, all right.

[01:39:52] But in terms of just a twist that makes you interested in the movie, I was a bit more

[01:39:57] parked up and like, okay, I'm listening, even though it doesn't fully work.

[01:40:02] Yeah.

[01:40:02] That was one where I did love the kind of twist in that one, but then it ends more or

[01:40:08] less like right after that.

[01:40:10] Yeah, yeah.

[01:40:11] So like, yeah.

[01:40:12] That twist needed to happen sooner in the movie for me to appreciate it.

[01:40:16] Yeah.

[01:40:17] I agree.

[01:40:17] Yeah.

[01:40:18] I know that there are ones that I have seen where a late twist of kind of made me rethink

[01:40:25] the rest of them, but I cannot remember off the top of my head what.

[01:40:28] I've got one.

[01:40:29] James Mangold's Identity.

[01:40:32] Okay.

[01:40:32] Yeah.

[01:40:33] That's a fun one.

[01:40:34] Very, very so-so movie that when that twist happened, I was like, okay, all right.

[01:40:38] This just made things a lot more interesting.

[01:40:41] Okay, I will give you that last bit, but I think that movie is fun even before the twist.

[01:40:46] I mean, it's fine.

[01:40:47] I was having a good time with it.

[01:40:48] Don't get me wrong.

[01:40:49] I just didn't think it was...

[01:40:51] Let's put it this way.

[01:40:52] We're still talking about that movie because of its twist.

[01:40:55] Yes, yes.

[01:40:56] That's fair.

[01:40:57] I can see that.

[01:40:58] Kind of hard to think about a movie because most of the time it's always twists that ruin

[01:41:03] it and never really twist that make an average movie for the better.

[01:41:08] Yeah, or always like...

[01:41:10] Usually I'm liking a movie up till the plot twist and the plot twist like

[01:41:14] Yeah.

[01:41:15] makes a good movie better.

[01:41:18] How about this?

[01:41:21] Oh boy.

[01:41:23] But that's another movie that's really good before that twist too.

[01:41:27] But don't you think the twist makes it better?

[01:41:29] Yeah.

[01:41:31] It does.

[01:41:32] Oh.

[01:41:33] Wait, I got one.

[01:41:35] Oh, all right.

[01:41:36] I got a really good one.

[01:41:38] Okay.

[01:41:39] Primal Fear.

[01:41:41] Oh, that's a really good one.

[01:41:42] Oh shit.

[01:41:43] There you go.

[01:41:43] Totally okay average legal thriller and that twist drops and you're like, oh shit.

[01:41:51] Yeah, to preserve the audience right now, we're not going to discuss it.

[01:41:55] But I agree with you completely.

[01:41:58] That's a good one.

[01:41:59] Right. And I do have another one.

[01:42:01] And this is a little controversial.

[01:42:03] I think The Usual Suspect is just okay, except for the twist.

[01:42:08] Oh, see, I think that's a good movie made all-timer excellent by its twist.

[01:42:12] Sure. Yeah.

[01:42:14] I don't think it's just okay.

[01:42:15] Like I was enjoying it.

[01:42:17] But when that twist happened, I think that's the greatest twist ending ever, personally.

[01:42:21] Yeah.

[01:42:22] It's definitely one of them.

[01:42:24] I've never, ever, ever, ever wanted to instantly go back and rewatch a movie as soon as it was

[01:42:30] over like I did with that one.

[01:42:31] Yeah.

[01:42:32] All right.

[01:42:32] Well, that'll do it here for this week.

[01:42:33] Thank you all for sending in your questions as you always do.

[01:42:36] Giovanni Lago, where can I find you on the internet?

[01:42:39] You can find me on Twitter at VGVanilago and on Letterboxd at Gio52.

[01:42:43] Dan Bear?

[01:42:45] You can find me on Twitter at DanSendAnOnFilm, on Letterboxd, and post at DanSendAn.

[01:42:49] And you can find me at Next Best Picture.

[01:42:51] Thank you so much, everyone, for listening to The Next Best Picture podcast episode 395.

[01:42:58] We are proud to be part of the Evergreen Podcast Network.

[01:43:00] And you can subscribe to us anywhere where you subscribe to podcasts.

[01:43:03] Be sure to leave us a review on Apple Podcasts and let us know what you think of the show.

[01:43:07] We really appreciate your feedback and your support, which you can also lend on over at

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[01:43:16] Thank you all so much for listening as always.

[01:43:19] And we will see you all next time.

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