"Road House"

[00:00:00] Reces peanut butter cups are the greatest, but let me play devil's advocate here. Let's

[00:00:04] see so no that's a good thing. That's definitely not a problem. Reces you did it! You stumped

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[00:01:12] Do you like to fight? You ever win? No one ever wins a fight.

[00:01:26] The Saint-Thawada Dan Powell. I am a former.

[00:01:30] Friend of mine suggested I come talk to you. I own a roadhouse out in the Florida Keys.

[00:01:35] Lately it's been a track in the wrong clientele. I can pay you good money.

[00:01:41] Judge him by your car. You need that. Well, I like my car. Think about it.

[00:01:45] All right everybody you were just listening to the trailer for Roadhouse and the story is as follows.

[00:01:51] A former UFC middleweight fighter ends up working at a roadhouse in the Florida Keys where things are

[00:01:57] not as they seem. The film is starring Jake Gyllenhaal, Daniela Melclar, Billy Magnuson, Jessica Williams

[00:02:04] or King Day Elmadea. Austin Post and Connor McGregor is directed by Doug Lyman and written by Anthony,

[00:02:12] Bagarazi and Charles Mondry. Here to join me today for this podcast review I have Brendan Hodges.

[00:02:20] Hello hello. Giovanni Lago. No one ever wins a fight. Josh Parm? Hello hello. And Dan Bear.

[00:02:30] It happens only here. It always happens on a beautiful day.

[00:02:35] Okay so Roadhouse had its world premiere at the South by Southwest Film Festival just a couple of days

[00:02:45] ago. It is considered a reimagining of the 1989 film of the same name made famous of course by

[00:02:53] the presence of Patrick Swayze. It has gone on to develop a cult like following despite getting

[00:03:01] some pretty poor reviews at the time of its release. Definitely is one of those films that I think

[00:03:06] people look back on fondly, especially considering the star power of Swayze both then and now.

[00:03:12] But here we've got Jake Gyllenhaal stepping into the role of Dalton, this former fighter who much

[00:03:19] like as the film of course needs to point out for its audience acts as a western of the reluctant

[00:03:26] heroes stepping into protect the town's folk from the greedy business man and all these tropes

[00:03:33] and fighting and this and that and everything else in between. This movie was originally supposed

[00:03:38] to come out theatrically. Doug Lyman of course expressed disapproval when Amazon MGM Studios announced

[00:03:43] that it would be going straight to prime video which is where you can all watch it right now.

[00:03:48] How does it compare to the 1989 film? What did we think of it and you know of course what did

[00:03:54] we all think of Conor McGregor's bear ass. These are the questions that we are going to answer on

[00:03:59] today's review starting off first with the man who saw it at its world premiere Dan Bear you were

[00:04:05] at that opening night film for South by Southwest. What did you think of this? Yeah I was and now

[00:04:13] after last night I can say that I have seen the film in this setting in both of the settings which

[00:04:21] it is probably meant to play best. The Paramount Theatre at a South by Southwest premiere and at home

[00:04:30] alone with a six pack of beer and a 12 pack of wings so in neither of those cases when I argue

[00:04:38] that this is a good movie and those are the most ideal situations in which to watch it.

[00:04:46] However I do think that similar to the 80s movie it is a fun movie to watch. I don't think this

[00:04:58] is in any way as compulsively watchable as the 80s movie. I mean it's

[00:05:07] but ugly for one thing that like slate gray filter over everything just I don't think Florida has

[00:05:15] ever looked uglier on film or more overcast. Yeah it's it's not good like the one thing shooting

[00:05:24] in the key should give you is like freaking gorgeous views and this is just like yeah I know it's

[00:05:30] beautiful but look elsewhere which is you know fair when you have Jake Gyllenhaal looking like that

[00:05:37] but come on. At age 43 my die ad 43. The man has not an a single ounce of fat on his body and look

[00:05:49] I can definitely appreciate that but this movie to the extent that it works it only works because

[00:05:58] of Jake Gyllenhaal's charm in the lead role there is there are so many lens of dialogue that

[00:06:05] just should not work. There are lots of dialogues that only work because he adopts a certain cadence

[00:06:13] with his line reading that just turns it into something I don't even know something charismatic

[00:06:21] something that something watchable he really single handedly saves the movie because there's a lot

[00:06:27] of else going on here that is just it's messy sometimes it's messy in a fun way but mostly it's

[00:06:35] just played messy and then I'm really excited to hear from everyone else who did not

[00:06:42] see this with an audience because like in a strange twist of fate I really do think that it plays

[00:06:48] better with an audience than without like this would have been better served in a theatrical release

[00:06:56] than a home video one. Well let's test that theory out shall we because Giovanni Lago you were with me

[00:07:04] at the New York premiere with the stars present in a theater setting and maybe not as rowdy as

[00:07:11] the South by Southwest audience but if there's any audience that is going to be receptive towards this

[00:07:16] movie it would be a premiere with everyone present who worked on the movie am I right so I don't know

[00:07:23] do you agree with Dan? It looks like they dug it I thought it was horrendous I hate it. I had a horrible

[00:07:31] time I think is an incredibly visually repugnant thing to look at I agree with Dan and just how do

[00:07:38] you as someone who lived in Florida? How do you go to the Florida Keys and make it look that disgusting

[00:07:45] trying not to be outwardly negative to this film although it's going to be here to that so I will say

[00:07:51] in the film's defense I do think the idea of moving from like the backwards of Missouri

[00:07:59] to the Florida Keys offers a lot in terms of the people who inhabit the city you know the townsfolk

[00:08:07] that Dalton could potentially interact with and follow up with the antagonist he beats up you go

[00:08:13] from the white trash of Kansas City to like I don't know you get methods and stuff like that

[00:08:18] crocodile and all that and all of that is never either fully realized or done to his max potential

[00:08:25] and I think that's the most infuriating because Roadhouse is a film that I think should never be made

[00:08:30] I think it's a perfect B-film classic and also just something that's etched itself in American culture

[00:08:37] deeply as this hyper masculine hyper violent film that really conflicts with like its lead character

[00:08:43] who is just and this one more so called the Mr. Rogers but I think Dalton you know with Swayzey there's

[00:08:50] this mysterious coolness and a lure to him that he has a calmness to him but that doesn't really

[00:08:56] always necessarily say to like kindness so and so Jill and Hall he tries like you said we went

[00:09:03] to the premiere man you can tell he's really passionate about it like he he seems to be having a blast

[00:09:09] you can tell in the performance he's having fun I feel bad for him because I think none of the film

[00:09:16] supports him like at all whether it's the terrible scret unnecessary urge to give Dalton a

[00:09:23] background which is UFC sequences not not great in this I can't wait to talk about it the fight

[00:09:29] scenes are disgusting whether you know they're just terribly stitched together or appear to be shot

[00:09:36] to make it look like a winner but then again like the editing clearly is saying no it's not we're

[00:09:41] just crammy shit together it just did not feel kinetic and I felt like the fights in the original

[00:09:47] movie were like far more intense and visceral I'm gonna be shockingly defending Connor McGregor

[00:09:54] because as a performance I think it's bad but I think the one thing he understands compared to

[00:10:00] mostly everyone else in this movie is just the material itself and at least he brings a certain

[00:10:05] shlocky energy to it that is entertaining and fun to watch despite that I think it's one of the

[00:10:12] worst movies I've seen this year all right let's see if Brendan Hodges is going to beat it up as

[00:10:19] bad as Geo Brendan I actually saw you were rewatching the original film recently on your social media

[00:10:25] so I imagine there are comparisons to be made here yeah I did a Roadhouse double feature

[00:10:33] oh boy yesterday which ones you watch first I watched the original which I realized I had never seen

[00:10:39] all the way through until last night I had seen big chunks of it before on TV but I realized

[00:10:46] I had never watched it you know front to back so I'll say that I will be a little bit more charitable

[00:10:52] to Doug Lyman than Dan and Geo I agree it's not a good movie I'm not gonna come out very positive

[00:10:59] on it overall but I thought it was an interesting project if the original Roadhouse is this kind of

[00:11:07] post Miami Vice kind of a pathiosis of 80s tropes visual tropes and how things should look the fashion

[00:11:17] of how characters should dress I you know the unapologetic violence and sort of a sleaziness of it

[00:11:27] the the kink element to it there's all these elements that take so many of the things running

[00:11:34] through the 1980s and it puts them on screen in one movie the new Roadhouse sort of tries to do

[00:11:40] that with the recent trends of you know the late 2010s and 2020s in terms of how movies should look

[00:11:48] how movies should feel so when a lot of people have been talking about how ugly the movie is

[00:11:53] and some of it is pretty ugly to me where we need to look at is why is Lyman doing it this particular

[00:12:01] way the whole movie almost looks like it was shot with a handful of like iPhone cameras by actual

[00:12:10] people in those spaces like actual characters that were then edited together in post almost

[00:12:16] the cameras have this sort of drifty quality to them like they're all not just handheld but they're

[00:12:22] very reactive the way that someone in real life might film something in front of them a lot of it

[00:12:27] is these like wide lenses like it's the point five mode on your iPhone's camera yeah the point five

[00:12:34] lens uh so it has this really weird digital look to it that I love this swing I don't think he pulls

[00:12:42] it off but I get what he was trying to do and that goes into why the fights look the way they do so

[00:12:49] just to clarify like geo was saying the fight scenes in Lyman's roadhouse they use it we don't

[00:12:56] have to get into into too much detail now but they use this new technique to develop the fight scenes by

[00:13:02] using the multiple passes of the same fight scene using kind of digital trickery so you could

[00:13:09] allegedly see the hits better and right now the technology they use does not it's not there

[00:13:17] it looks super hokey I made a joke that you know the movie has the action scenes have more stitches

[00:13:24] than like somebody who's had open heart surgery you know it's so uncanny it's not untrue honestly

[00:13:32] like it's bad yeah and it's not just that look a lot of action scenes we like have visible stitches

[00:13:39] but it's trying to make them like hyper real and super grounded and almost it doesn't work

[00:13:46] but I liked the attempt the last thing I'll say before I end my intro the thing about

[00:13:54] the new roadhouse that I think makes the movie fundamentally not work is that the original takes

[00:14:01] kind of like what you was saying a straight man right Patrick Swayze Dalton he's you know

[00:14:08] understated cool this background and mystery and then over the course of the movie

[00:14:13] we discover more about this sort of insane past that he had and he goes kind of all like pure five

[00:14:20] fingers of death by the end but for most of the movie the world around him has gone mad

[00:14:26] and he is this center of zen calm he practices Tai Chi and all this the new roadhouse

[00:14:33] doesn't really work I think because the world around Jake Jellin Hall's character

[00:14:40] is not that much crazier or whatever than he is he's not the straight man in this story

[00:14:47] he is kind of not uh how do I put this this version of Dalton Jake Jellin Hall's performance

[00:14:55] which I think is generally pretty good he has that bit of a dark crazy edge to him because

[00:15:00] the movie is ultimately sort of a metaphor for like masculine anger issues like it's a movie

[00:15:06] that was taking place in like 2002 or something and because of this like he's not able to

[00:15:12] ground the insanity around him so Connor McGregor is sort of zany over the top performance doesn't

[00:15:20] have anything to bounce against the crazy camera stuff has nothing it could bounce against there's

[00:15:25] no contrast so there's no tonal friction like the original that made it so compulsively

[00:15:31] watchable like was already said this doesn't have those things so it's just sort of an over the top

[00:15:37] action movie that doesn't quite work yeah I remember the Jake Jellin Hall saying that like they

[00:15:43] just wanted to make a fun movie they just wanted to be fun and I kept hearing this game said

[00:15:49] over and over and over again to the point that I started thinking myself you know it's one thing

[00:15:55] to try and attempt to make your movie quote unquote fun it's another thing to actually put some

[00:16:02] thought into that into what it is that you're actually doing from a storytelling standpoint

[00:16:07] because I do feel to your point Brandon like so much of this is you know I can see that there are

[00:16:13] attempts to trying different things and trying to make this as accessible to an audience

[00:16:19] as humanly possible henceway I get Doug Lyman's frustration with this not going to theaters

[00:16:25] but at the same time you got to you got to put some thought into the decisions that you're making here

[00:16:32] yeah 100% and I do again get why Lyman's doing what he's doing I get why he cares so much about

[00:16:40] a theatrical run for the movie but and I look I do think it probably plays better in a movie theater

[00:16:47] than it did in my apartment the audience can go ooh and oh when people get hit there's a look

[00:16:52] and there's some bits of the choreography that are really good there's some hits that are really

[00:16:57] enjoyable to watch but for me was kind of a missed opportunity because I was surprised that how

[00:17:04] interesting some of what I was trying to do actually was it just didn't pull it off okay

[00:17:11] Josh Parm what did you think buddy so I am very aware that when it comes to certain kinds of

[00:17:22] low-grade schlocky movies I can have an appreciation for them but I will say that this particular

[00:17:28] genre of like the sort of 80 style action hero has not always been in my wheelhouse like I haven't

[00:17:36] enjoyed those movies but they haven't usually been the ones that I've really really indulged with

[00:17:42] so roadhouses just as a property itself has always been something that's like yeah it's fine

[00:17:48] but it's never been one of my favorites out there and I certainly was not excited about a new

[00:17:55] interpretation of this story and I found this one to be a pretty tedious experience to get through

[00:18:02] I'm not going to lie I think that while it does definitely have a genuine enthusiasm for what

[00:18:10] it's presenting with a lot of its fight sequences I was not a fan of the way that they captured it

[00:18:15] I do think that as we have mentioned the the kind of digital manipulation that you get in these scenes

[00:18:21] just to me breaks the the immersion of really actually wanting to be in this carnage it doesn't

[00:18:29] feel like it actually lands with the impact you know as it should and I found that to be very

[00:18:35] distracting and I really really resented it I just thought that the entire aesthetic of this movie

[00:18:41] was just very very off-putting and then also extended to most of these characters that I wasn't

[00:18:47] expecting any of them to be like well developed but I also felt that they've just weren't that

[00:18:52] interesting to watch either and you get Connor McGregor yeah I just add a loss as to whatever the

[00:19:02] hell he is doing in this movie I get that he is going for it and I get that he's just having fun

[00:19:07] but he is so unbelievably terrible that it's sort of hard to cross that divide for me to get into

[00:19:13] like really enjoying him and I just found this movie to be relentless but not in any way

[00:19:22] that I found engaging it was just a very tiresome experience to get through and I did not really care

[00:19:28] for the movie at all so this is a movie that in my opinion believes that pitting two ripped shirtless

[00:19:40] sweaty men in a fight to the death in a rundown bar in Florida Keys can compensate for a very

[00:19:49] lackluster script a lack of character development like you said Josh and they're almost right

[00:19:58] I got to admit there was some level of be level

[00:20:04] cheesiness to this that I was enjoying at times because it did seem like some people knew what

[00:20:12] movie they were in it did seem like some other people knew and others didn't

[00:20:18] it was a film that was so so close to I think achieving what it was setting out to achieve

[00:20:23] and I agree with what Brandon said earlier and I talked about this with Geo offline when we saw

[00:20:28] it at the premiere in New York we disagreed on this but I personally don't like the style of the

[00:20:36] fights either but I admire the swing I do admire the ambition behind it I admire that they were

[00:20:42] trying to do something different you know at this point we've seen so many fights and movies

[00:20:48] done a multitude of different ways whether it's done practically in camera with stuntmen

[00:20:55] shot in wide shot in close-ups edited to death to the point that you can't even tell what's

[00:20:59] happening or done as a winner or now what we're seeing here with these almost fisheye all

[00:21:07] definitely wide that's for sure these are very very wide lenses and I agree with what Brandon

[00:21:12] said earlier too about it almost feeling like it was meant to be done through the POV of somebody's

[00:21:16] cell phone capturing this at a bar itself then you've got like these POV shots you've got the

[00:21:22] camera swooping around in ways that I was like wait how the hell did they even do that is that even

[00:21:27] possible you know there was a lot of stuff going on there of that I kept thinking okay like this

[00:21:32] at least feels different I'm not sure if I like it but there's a feeling of like an attempt to

[00:21:40] at least try and make it different than other action films out there so I admire it from that

[00:21:46] standpoint Jake Gyllenhaal to me is I think like he's one of my writer die actors where I'll see

[00:21:53] the guy in anything and even when he is not working for the material or the materials not working for

[00:22:00] him he's always still very interesting to watch as an actor I love his commitment that he puts into

[00:22:07] his characters and I love when he goes over to top and he gets bug-eyed crazy I love when he can

[00:22:13] be vulnerable and show very interesting character work like I pretty much love everything that man does

[00:22:19] this is one of those cases where I do think that he is not not so much better than the movie

[00:22:25] that he's in but just ever so slightly you know like his portrayal this like passive yet deadly

[00:22:31] bouncer is occasionally amusing as he clearly is aware of what he's capable of while others are not

[00:22:39] and you know when all is done it's about as effective at elevating this silly brainless remake as

[00:22:47] putting a bandaid on a gaping flesh wound which that's the level of pain that this guy is

[00:22:54] willing to endure he just like it's stabbed and it's like oh yeah no problem like I'm just gonna

[00:22:59] rip the knife out here put a bandaid on and go about my business it's not even a bandaid a piece

[00:23:04] of duct tape yeah yeah it's ridiculous it's a very silly dumb movie I have so many written down

[00:23:12] examples because I watched this a second time I don't know why but I did and I wrote down so many

[00:23:17] instances where I was like why what huh like it just I could not believe like some of the things that

[00:23:23] this screenplay was doing just for sheer convenience or because maybe they just simply were making

[00:23:31] these decisions deliberately because that's just a type of movie that it is you know I just like

[00:23:35] I said I keep coming back to what Jill and Hall was saying in his introduction for us at our

[00:23:40] premiere I don't know Dan if they had the same thing at your premiere in South by but they just

[00:23:44] kept saying they wanted to make a fun movie that was it they just want to make a fun movie and I guess

[00:23:48] their definition of fun is brainless silly nonsensical but like hyper masculine it just oh man I

[00:24:00] just wish some more thought was put into this story I wish more thought was put into how events

[00:24:06] unfold because at a certain point you just lose me as an audience member when you're expecting me to

[00:24:13] like like like Josh said I like we know that Josh loves terrible like disaster films okay but

[00:24:23] there isn't enjoyment to be found in that that's true there is Reese's peanut butter cups are

[00:24:29] the greatest but let me play devil's advocate here let's see so no that's a good thing

[00:24:35] uh that's definitely not a problem Reese's you did it you stumped this charming devil

[00:24:42] look word we're Josh said that like this specific brand of B movie cheese was not always his

[00:24:48] thing it was mine like I loved the sort of like last action hero genre I guess is what you could

[00:24:56] call it sure really like part of my you know like they were just always on on the TV when I got

[00:25:03] home from school and I would put it on and watch sort of thing and and I loved the the cheesiness of it

[00:25:09] but I think that part of the cheesiness of the 80s version comes from the fact that the Suesys

[00:25:16] character is presented as this like warrior poet like he has a degree in philosophy and he does

[00:25:25] Tai Chi and he's like you know trying to better himself in this way and in this roadhouse

[00:25:35] he's just a warrior and he's trying to outrun a dark pass and they honestly they make it

[00:25:40] way too serious for the kind of material that it is way too serious and also like

[00:25:47] weirdly out of proportion with everything else like they kind of explain what happens but they

[00:25:55] don't really in a way that just makes me like why didn't you just go all the way and like do it

[00:26:03] like if you're going to have that kind of tragic backstory like make it a full on tragedy

[00:26:09] like go into this relationship with this dude or whatever you know like and they don't really

[00:26:15] and there's a lot of that throughout the movie where I feel like they just like

[00:26:19] they didn't quite go as far as they should or could have like like we said like there are so many

[00:26:29] scenes where it just like begging like crying out to be a winner and they just couldn't do it for whatever reason

[00:26:36] like they're just obvious stitches and cuts where you're like oh like but why did it like there is this

[00:26:43] when he arrives at the roadhouse which they should have just stuck to naming it the double deuce

[00:26:50] I don't know why they decided to call it a roadhouse but like they they just like they think

[00:26:57] they want to embrace the 80s cheese but not that much it's I don't know but there is this drone shot

[00:27:03] that like flies in over the ocean towards the back of the roadhouse and it cuts like right when

[00:27:11] it's like getting to where you can see the figures like walking in and I'm like it just like that shot

[00:27:18] was clearly meant to like whether or not it was actually designed that way but it's meant to continue

[00:27:25] on to like land on Jake Jalen Hall as he walks in and they don't do it. I mean I felt that way too

[00:27:34] with some of the fight scenes where yeah there were times where I could see that the camera was

[00:27:38] placed in a position and the blocking was made so that my brain would think oh this is going to be

[00:27:44] an extended one or yeah but instead it would make an edit somewhere and all of a sudden you could

[00:27:49] see the difference between oh this just switched over to an entirely different camera system

[00:27:56] because the frame rates a little bit different the way that this is just looking visually looks

[00:28:00] a little different and I would take to myself like why are you like kind of not committing to what

[00:28:07] you're setting up here and I feel that that like these are examples of what the movie ultimately is

[00:28:13] where you know it's a lot of setup to lead you to believe that it's going to be one way

[00:28:17] and then they kind of pivot and try to go a number way in terms of its tone and how they present

[00:28:24] its story and I just man you know I gotta say this movie truly genuinely is I think lots of fun

[00:28:34] when it really is just Conor McGregor and Jake Joel and Hall being the shit out of each other

[00:28:39] I mean what more could you want out of a movie I mean I want a little bit more don't get me wrong

[00:28:44] but you're right so we're also like the fights that clearly have the most attention to the choreography

[00:28:51] needs like the rest of them just feel kind of just thrown together a bit for me but when you see

[00:28:56] McGregor and Joel and Hall fight it's clearly like these were the ones they took the most time

[00:29:01] attempting to choreograph attempting to block and like also the only ones that especially the

[00:29:05] final fight between them really uses like his UFC fighting I feel like for a guy who's apparently

[00:29:11] UFC fighter for most of the movie he just I don't know maybe it's just because he's fighting random

[00:29:15] schmucks I guess is the logic does not really use any of like USC style fighting but then when he's

[00:29:21] fighting McGregor of course it's like okay we gotta start doing like it's cool it's that alleged

[00:29:28] idea in the movie that Dalton is holding back because he does he's scared of what happens when he

[00:29:36] goes full fighter mode right he says this literally out loud yeah so there's there's

[00:29:41] that element of it and I agree so much with what Dan and Matt are saying there's this awkward thing

[00:29:48] it's this kind of non ideal non optimal middle ground between seriousness and camp it should be

[00:29:56] more serious or way more campy yes it doesn't work yeah as the way that it is right now and the

[00:30:03] original Dalton is almost like a prelude to like a cliff booth character from lots of fun and

[00:30:09] how you would right yeah this kind like warrior poet but has this like heart of violence kind

[00:30:16] of festering within themselves it's this kind of fun dynamic where the original which by no means is

[00:30:22] you know necessarily masterpiece but it's a cult classic it's a great movie I think it's

[00:30:26] excellent overall the thing about it is it takes simple ideas that are fun contrasts and plays with

[00:30:34] them in really compelling ways and this just as we have been talking about it just doesn't do that

[00:30:41] so it sort of just becomes this I don't know not the compelling experiences the results of that all

[00:30:48] the kind of tones bleed together in a way that's not dynamic not compelling not of that interesting

[00:30:55] and the other part of it like to go with what Matt was saying the cameras are very interesting how

[00:31:02] they're used here but there's some shots that you know play with ISO in an interesting way there's

[00:31:08] some shots though that look like they were shot on much inferior cameras and have been wildly

[00:31:15] over sharpened and there's like a lot of digital noise present and not in a good way like I'm

[00:31:21] someone for anybody who has listened to me on the show before we're seeing me on Twitter I'm a huge

[00:31:26] fan of Michael man's later Miami Vice I love that I love what filmmakers play with the digital

[00:31:32] medium in interesting ways so doberg has been on a run of playing with digital cameras the digital

[00:31:36] cinema kind of an interesting way where they take the qualities of digital that are maybe different

[00:31:41] from what film could do and they amp it up in a way that maybe isn't what we think movie should

[00:31:46] look like so theoretically the visuals of this movie should be right at my alley they're not

[00:31:52] but it's interesting to me that like I'm wondering what happened or what the methods were on the set

[00:31:59] and in pre-production that led them to make these choices why is it that some shots are so

[00:32:04] obviously over sharpened and look kind of gross was it you know a problem in post was it just the

[00:32:10] cameras they chose to use did they do it on purpose there's a lot of those decisions I just can't

[00:32:15] quite wrap my head around but you as we have been talking about you do see the ambition but it also

[00:32:20] represents shot to shot why it's not coming together there's also this sense like the scene where

[00:32:29] Dalton meets the sheriff for the first time big dick there to yeah big dick who they deliberately

[00:32:39] obscure his face for like 90% of that scene like it is a when he steps out of the car to like

[00:32:50] beat him up is the first time we see his face and I'm like there is no reason for them to do that

[00:32:59] like it's not like the character is someone that we've met before and will be surprised that they're

[00:33:04] the sheriff and it's also not like the actor is some like big name that we go oh my god it's

[00:33:11] that guy he is a classic classic example of uh oh that guy character yeah but like not in a way

[00:33:18] where you're like gonna cheer when his face is fine revealed you know I know I listen I think

[00:33:24] Joaquin Day Omada is an okay actor but like in no way am I seeing him on screen and going oh my god

[00:33:31] it's him it's so weird also as soon as he pops up and there's a reveal I don't know if we're talking

[00:33:37] spoilers I mean it's literally almost verbatim the same plan as it a movie from like over 30 years

[00:33:43] ago so I mean I'm gonna say this I think anybody who is listening to this probably has already

[00:33:49] watched it on prime it's readily accessible go off to you spoilerer away yeah so the reveal obviously

[00:33:56] that is horribly done that the sheriff is related to Danielle Melanchor's character the nurse that

[00:34:02] Dalton you know has a romantic interest in uh it's like oh yeah that's my dad right as he's about

[00:34:08] to like execute Dalton it's I remember matley no where to me he's like oh brother and I was like

[00:34:15] it's it's practically a worse version of the original one where when Dalton falls in love with

[00:34:20] the nurse she realizes that she's related to the uncle of the guy who's ruining the town so they

[00:34:26] switch it up a bit and make him more like the henchman but it's telegraphs so easily because you

[00:34:32] know the only two people with an accent in Florida for some reason you know in the keys

[00:34:38] it's like oh I mean that has to be like her dad like I mean it's just you know the Florida

[00:34:43] keys you know the varying degree of like Latinos and like methods and all these different demographics

[00:34:49] that they don't really get into is with my big issue it's just telegraphs so easily there

[00:34:54] in so many other moments the scene where she's in the car with him Ellie and she is explaining

[00:35:02] that her father is the head cop the sheriff and she's going into all this exposition

[00:35:07] is some of the most awful line readings of dialogue like I've heard in a movie in some time

[00:35:14] that scene my god it is so bad at like I who that scene was like literally I'm like oh you just

[00:35:22] straight up lifted this out of an 80s B movie like that is such 80s B movie expository dialogue

[00:35:30] and Daniel and Melchior she is insanely charismatic most of this cast is insanely charismatic

[00:35:38] but like she has this thing where because she is so charismatic and interesting to watch

[00:35:45] that sort of bleeds into the character and can make these characters that she's playing even if

[00:35:52] there is nothing to that character on the page it can make them feel like more just by having her

[00:35:58] in this role but not even she can make that dialogue sound like anything but an exposition dumb

[00:36:06] I would I would agree also especially with Jessica Williams who if you've seen oh my god

[00:36:11] talked about in this podcast like um Kajillion Times is one of the most naturally charismatic

[00:36:16] and funny people can make anyone in an ensemble like saying it is the most stale one note

[00:36:24] just delivery of horrendous dialogue that you're like I don't care like every time anyone else

[00:36:30] besides Donald's on screen I just don't give a shit like the family with the books

[00:36:35] the dogs every time they talk it's so like I get what they're trying to do because in the original

[00:36:38] one Dalton starts interacting with the talents people like I'm linking on characters names but

[00:36:43] like the guy who loans him the the farm he gets to stay on or the guy owns the car shop that gets

[00:36:48] destroyed by the monster stuff like that you know it's it's building that rapport so that way like

[00:36:53] he falls in love with the town and like is like once that happens and then of course spoiler for

[00:36:58] your original roadhouse after Sam Elliott you know gets killed it's just like the full till to like

[00:37:05] okay yeah I'm kicking everyone's ass I'm going on a town and in this movie it's practically just

[00:37:11] yeah I'm leaving I got my ass kicked all right and then he sees the bookstore burn down he's

[00:37:15] like all right that's it I'm angry I'm raging I'm mad I couldn't understand that scene in the

[00:37:21] movie where he's fighting McGregor and all these goons and they get outside of the roadhouse

[00:37:28] and he's staring them down and he just walks away and I was like wait a minute did McGregor just

[00:37:35] let him walk away like what what what is going on here and then they explain later oh I'm just

[00:37:40] afraid of what happens with somebody pushes me too far and you know because I know what happens next

[00:37:45] and it's like okay I understand you're trying to not deliberately like go into full straight on

[00:37:51] rage murder mode but at the same time I thought that was such a cop out cheap way to end that

[00:37:59] particular scene and that like I could not believe that he walked away and be McGregor let him walk

[00:38:07] away it was so ridiculous always had a finale to get to that's why we got to say yeah energy for

[00:38:12] the end and that's thing so much of this movie it like is scripted due to just sheer convenience

[00:38:19] things just have to happen because and that is because there's a formula that they have to follow

[00:38:27] it is so close to a one of the like Susan Sontag definitions of camp which is where

[00:38:35] it becomes the thing in quotes which is a difficult sometimes to like person figure out what that is

[00:38:43] but it's like it is taking all the the beats and elements of these 80s b movies but it does not know

[00:38:52] what to do with them so they're all there but they just kind of sit there as like the outline version

[00:39:02] of this movie it's all of the details that are supposed to be filled into make it entertaining and

[00:39:12] pulsably watchable like the 80s version don't exist it's like they forgot to write the script

[00:39:21] and just filmed it from the outline a random guy in the bar just screams bar fight and everybody

[00:39:28] starts hitting each other why so dobergrigger knows to drive the truck into the roadhouse and hit

[00:39:35] Dalton when he can't see him in his field of view how like there's so much stuff that happens

[00:39:41] in this movie where I'm like this is so stupid and like not well thought out so one thing I should

[00:39:47] say is that the original roadhouse is dumb as a pile of bricks but so to your point Matt a lot

[00:39:56] of dumb stuff in this movie I think the difference of why we hold the original a bit higher and

[00:40:03] obviously when that came out like it came out to kind of mixed reviews razzy nominations yeah like

[00:40:09] it's so bad it's good as the thing I actually don't agree with that at all I don't think it's so

[00:40:12] bad it's good I think it's just good but the reason I say this is because movies get away with a lot

[00:40:18] when it's vibes driven when there's a cool atmosphere when there's a cool energy whether that's

[00:40:25] the swagger of the characters the visuals you have fun personalities you like watching

[00:40:31] Rob up against each other it the original roadhouse almost takes place in this like fever dream version

[00:40:38] of that that setting and the new one doesn't have that vibey energy that allows us to more so

[00:40:47] suspend our disbelief so when characters are just dumb they're not operating within this weird

[00:40:53] western noir heightened pinky sexy violent dream space of the original they're just dumb

[00:41:01] also too I don't need the characters to tell me this movie is a western I can figure that out

[00:41:06] for my fucking self but it's like a western mag you get it the guy strolls up into town he's gonna

[00:41:11] clean it up shut the hell up I don't need that so much all I could think of while I was watching

[00:41:20] that was oh man I wonder what Josh parm thinks of this I look that was the thing we're like

[00:41:25] the original just it was content to just nod to being taking some western tropes and letting

[00:41:32] the audience figure it out the fact that this one needed to spell it out says everything about

[00:41:40] audiences today and what nope not they would think that they like yes that part it's the lack of

[00:41:48] respect for the intelligence of the audience something that filmmakers like Nolan or Villanue have

[00:41:54] been able to translate in their action driven filmmaking or Christopher McCory various examples where

[00:42:03] if you can show the audience a simple a simple bit of appreciation for their intelligence

[00:42:11] you don't even have to go full tilt with it but just even a little bit that's when to Brandon's

[00:42:15] point I think they're willing to give you a lot of runway with some more of the heightened

[00:42:22] or exaggerated elements because the benefit of the doubt is now there and they go hold up hold up

[00:42:27] let him cook let him let us wait and see what they're what they're doing here you know um and in

[00:42:33] this movie like the um serious backstory for Dalton where he murders the guy in the octagon I turn

[00:42:41] to geo and we both look at each other we're like there's no way that this could ever happen in real

[00:42:47] life I'm glad you brought that up because it ties into the whole like need to have to give Dalton this

[00:42:53] overly detailed backstory which the lore is swaisy you know it's just like what is it what you don't

[00:42:58] know there's a mysterious aura to it and sometimes less is more you don't need to overexplain everything

[00:43:05] I don't know what it is with just either the backstory or just themes like because we've done

[00:43:10] down shits look how cool someone like the driver and drive is because we don't really know much

[00:43:15] about him or the man with no name played by Clint Eastwood yeah so like you know see what's

[00:43:21] not fine went down cuz like I have okay so I remember watching that stuff live when it happened

[00:43:25] because I have friends who are like really into UFC and we would watch UFC but like when I just

[00:43:29] visited we watch UFC so when the jellin all stuff was filming and everything I'm like okay you know

[00:43:34] and he's just I'm really cut in this movie also I just want to mention I think of fun aspect of

[00:43:40] swaisy's character in original is constantly how they're always like well you're smaller than I

[00:43:45] thought you know because he really isn't that huge and everyone he's the rule is never underestimate

[00:43:50] your opponent silent but deadly yeah and this one Jill and Hall is just a fucking tank you know

[00:43:56] like he's massive when he's cut open he's like full is breathing along with his abs so

[00:44:01] when the UFC fights happening okay I'm curious to see how it plays out and he just straight up

[00:44:07] just turns that head dudes head into like a punching bag which like again Matt said and I immediately

[00:44:13] turned to each other in a million years especially with how the rules are set for UFC and

[00:44:20] officiating everything now that would never happen like I know there's dumb shit and I know there's like

[00:44:25] letting shit slide right but that was just beyond the belief of like impositability where like

[00:44:31] that would never happen like that would he would go to jail like he would straight up be in prison

[00:44:36] like that would not happen and that just takes it out of me and one aspect that was like semi-curious

[00:44:42] about into the film ends up being like one of my least favorite aspects of the whole movie yeah but

[00:44:47] you know what I would find that most of this stuff would at least be tolerable if I could get into

[00:44:54] the action set pieces because like I'm I have a very good skill of you know excuse a bad character

[00:45:01] stuff if you could at least give me good set pieces you know I'm there truly miraculous I don't

[00:45:05] know how you do oh yeah oh yes but this movie just I think very much fails at delivering that

[00:45:12] spectacle I think that the way that it chooses to capture these sequences it feels weird that

[00:45:18] the intentionality seems to be a sense of immersion because the minute any one of these fights started

[00:45:25] to happen I could just see the digital manipulation and that took me out of it I didn't feel like I was

[00:45:30] watching something like right up close to the action and I could feel it you know happening right

[00:45:35] in front of me it I could immediately sense this remove from all these set pieces and so the the

[00:45:41] element that should bring me back in when all else fails I thought was so poorly executed and did

[00:45:47] the opposite effect of what it was intended to and when that's the major source of supposed

[00:45:53] engagement with this material I was just like baffled as to how you could mess that up so badly and

[00:45:58] then there's like unnecessary uses of CGI just within the hand-to-hand fight scenes but like

[00:46:04] there's boat fighting in this movie there's the scene where he gets like there's attempted

[00:46:09] murder with a truck where I'm thinking to myself man you know how much like better if this could have

[00:46:15] been if it was done practically and I get it like I understand safety is a huge concern for a lot of

[00:46:23] people in the industry nowadays but this movie hasn't come out yet but Dan I know you saw this movie too

[00:46:29] we would watch the fall guy a few days later and granted that movie also has its fair share of CGI

[00:46:36] I will I will not say it's 100% practical but there is so much practical hand-to-hand fight work

[00:46:43] and actual like physical stunts and any see guys like Keanu Reeves and Tom Cruise doing stuff in

[00:46:49] camera and I just I don't understand why filmmakers feel the need to have to rely so much on CGI

[00:46:59] you know how much cooler the final scene in the movie would have been if Billy Magnuson's boat

[00:47:05] actually really did go off the beach and into a practical set and shot like like Christopher Nolan

[00:47:13] like flying a jet into an airport like that would have been awesome and we've seen stuff like that too

[00:47:19] in a different era of filmmaking but here it's just so unbelievably cheesy that requires effort Matt

[00:47:25] and they clearly don't want to do that or like commit to doing any visual chaos with the tangibility

[00:47:30] in it and I don't understand why because they've got Amazon money back in this thing they've clearly

[00:47:35] got the money for it you compare this to the original where like you know you mentioned CGI

[00:47:40] boasters of the scene where they're fighting in the bar when there's like a boat dangling above

[00:47:44] them and it's clearly CG and they're trying to go bad okay they're trying to convey chaos

[00:47:48] happening in this bar which never feels like it's that bad like when Jill and all shows up

[00:47:53] and he's hired to fix everything it never feels as outlandish or bad as the original or like

[00:47:59] Dalton shows up swanese in the original and it is pure chaos but at least it's all for the most

[00:48:04] it's all practical and it's all blocked really well and it uses the amount of space on screen perfectly

[00:48:10] so you do have a sense of like Jill or uh uh Swazie has a lot to clean up Dalton has a lot

[00:48:15] to work to do compared to this one it's like a fight here and there and then like that whole fight

[00:48:19] with the boat dangling everything they're trying to be like bar fire and show that craziness

[00:48:23] and they don't even convey that really well also too if I was a local in this area and this was

[00:48:28] like my local bar I would never go back to this bar ever again with the amount of shit that happens

[00:48:33] here it's so unbelievable to me that they are still able to even book live gig bands here

[00:48:38] the most ridiculous part of this movie and there's a lot of ridiculous parts of this movie

[00:48:43] but when Jessica Williams is like to Dalton I can pay you five thousand a week

[00:48:50] to bounce at my bar and like then you see the devastation that happens in there on a like

[00:48:56] how does this woman in this particular bar can afford to pay the bouncer five thousand a week

[00:49:06] all the people that work there and buy like a completely new set of bar glasses every fucking day

[00:49:16] every night it is just not it is not possible and I don't know why they it's

[00:49:22] her uncle Martin Louver King Jr. must have left her a lot of money throughout the entire movie

[00:49:27] I'm like how much money is this chick sitting on like she has to be sitting on like a million

[00:49:34] hours fortune I do not understand this is not possible I'm convinced that she must have a lot of

[00:49:39] money and she's just modestly like keeping this place open because of family legacy but then she

[00:49:44] gets very serious about like she wants to be worthy of her grandfather's legacy or whatever and I'm

[00:49:49] like I okay whatever when you know what it also is Dan you know what it also is to it is sheer commitment

[00:49:55] to make money because at the end of this movie when the place is a fucking wreck and the guys come

[00:50:01] in and say are you guys open today first of all what you would ask that question looking at the

[00:50:06] place the way it is and then she goes yeah we're always open what okay fine that's how you're

[00:50:11] that's how you're making money I guess yeah to go back for a second to what you're talking about

[00:50:16] with the action scenes because like they really throw everything at the wall to see what sticks

[00:50:24] like there I'm talking like there is GoPro there's visual effect there's practical effects there's

[00:50:31] this sweeping camera moves fast at its long takes they do absolutely yeah they throw everything and

[00:50:39] every single one of these action sequences and I think because like I used to that you know

[00:50:45] they kept talking about how they wanted to make something just fun they wanted to make a fun

[00:50:49] movie a year's the impression that I got from the South by premiere was that like they wanted

[00:50:55] an adrenaline rush in these fight sequences and yes obviously like you're going to have

[00:51:03] frenetic camera movements and stuff like that it's going to build on just energy up and get

[00:51:11] the adrenaline flowing I got that but also when you combine it with the like just nauseating color

[00:51:19] creating of this movie that spiders I view camera like I guess it's cool that we now know what

[00:51:30] it looks like to get punched in the face by Connor McRigger but it's just really just made me

[00:51:39] ill and it doesn't work the way that they think it does none of it does well and Dan I think

[00:51:48] the bar doesn't have the sense of menace or danger in the remake that the original does

[00:51:56] it's sort of conventionally rowdy you know it's not like this pit of despair where you know

[00:52:04] half the characters are you know having sex when they shouldn't be they're selling drugs

[00:52:09] they're dancing on the tables there there's blood on the floor every night right they say that

[00:52:14] live in the original and we don't really see that here and what's really happening in the new one

[00:52:19] is that you have a handful of characters basically hazing the new bar right that's basically what's

[00:52:27] happening which is not as interesting because that what what that does it it gives the

[00:52:33] uh Dalton a specific crew of characters to fight whereas in the original he has to clean up the whole

[00:52:40] place and we see how he tries to do that it creates just a different dynamic and the original is like

[00:52:46] sexed up as I keep saying to keep part of what's happening everything is amplified that sex and the

[00:52:53] violence go hand in hand and even if you don't want to lean into the sex aspect of this

[00:52:59] the violence here is weirdly played down and often feels very low stakes to me it feels like they

[00:53:06] had were mandated to get a PG 13 that's not that's what it feels like

[00:53:10] the bonds that they have in this story it's PG 13 they said that for a long no there's no way yeah

[00:53:16] no I can't I can't believe that not even first that's what it feels like with the violence though

[00:53:20] because I mean there are some like pretty gnarly hits but they're far between and yeah the thing is

[00:53:28] is that like most of the violence to me it not only is it low stakes because the violence itself

[00:53:35] feels sanitized due to the digital stuff right we the intention was for us to feel the hits more

[00:53:40] because we could see them more from this new method where basically what they would do is they

[00:53:45] would have an actor hit a pillow in camera and then the pillow would be replaced by another take

[00:53:53] of the actor with the exact same choreography hitting them in the face or they'd be getting hit

[00:53:58] in the face and then they stitch it together those two or three or four shots depending what it is

[00:54:03] so the action itself often felt low stakes to me because I could just tell something was off

[00:54:08] the action felt low stakes because some of the hits were just pure CGI one of the key shots of

[00:54:13] when Connor McGregor I think he kicks Jake Gyllenhaal it's clearly CGI it's a CGI kick so

[00:54:21] when you notice that that lessons it takes but just situationally this stakes aren't as interesting

[00:54:26] the original balances the fact that it's just a CD bar the clients at the bar are all uh this kind

[00:54:34] of threat of violence looms over the general patronage you might say against the fact there's this sort

[00:54:41] of lunatic who is uh kind of owning this town the new one the stakes are that you have some really

[00:54:50] annoying guy's kid or so I'm really annoying guy who's the kid of some kingpin or whatever and his

[00:54:56] whole character personality Billy McNeese was carried he's just annoying that's his whole

[00:55:02] personality rich asshole that's it yeah he's just an asshole so it's a very generic setup where

[00:55:08] you just have to fight this kind of generically bothersome guy and to go back to what I said at

[00:55:14] the opening about how the new roadhouse is almost trying to take a lot of the recent tropes

[00:55:20] I feel like that's a very common trope we've been seeing in action movies where the main villain

[00:55:25] is I don't know what else to call it like kind of like a cry baby like there's there

[00:55:30] weirdly a feminine in some way sometimes or like designed to be they sort of complain a lot

[00:55:36] we've seen a lot of these types of characters well it's also the whole eat the rich thing too

[00:55:42] yeah exactly hitting poor people against this ultra wealthy real estate magnet hype

[00:55:48] exactly and which is interesting because in the original Dalton is wealthy he drives them

[00:55:53] her ladies he made a good living doing what he's the coolest so weird yeah they literally make it

[00:56:00] so bad he Dalton in this movie doesn't even have a car he just walks everywhere that's the thing

[00:56:05] like Brendan was saying like the vibes of the 80s movie are just so probably it is everything

[00:56:13] that was considered quote-unquote cool in the 80s found its way into roadhouse somehow and this one

[00:56:21] just like it feels like they were trying to do that with the current decade but like it doesn't

[00:56:30] really work like it doesn't feel cool well I'll tell you one thing that they were able to put into

[00:56:37] this movie from the current decade that they thought was cool sequel baiting who actually plays

[00:56:48] Ben's father in this movie we never see him do we something to reveal maybe in the future

[00:56:55] the hero rides off into the sunset will he return we don't know kind of McGregor should be

[00:57:01] fucking dead yeah I'm the end of this move we're walking out and but I look at the screen I'm like oh

[00:57:08] what there's an anchor there's a credits scene I'm like mad look up like McGregor's

[00:57:12] the same thing happened to me itself by at that point I was like nope don't care and I just kept

[00:57:17] walking and I just like walked out of the theater because I I was so mad that they were even doing it

[00:57:22] I oh man it's very very frustrating because at the end of the day too I God got help me because I

[00:57:30] have a feeling this is gonna do good numbers on Amazon Prime that might convince them to come

[00:57:36] back to this but if they do it's like I just yeah like I don't see the reason for doing it I don't

[00:57:43] understand like why they even had to do it here you know it's much like the purpose for remaking

[00:57:50] the movie in the first place it's like you can make the argument that it's completely unnecessary

[00:57:55] and I would believe you but if you did want to turn around and say to me well Matt you know

[00:58:00] the original is not necessarily considered a quote-unquote masterpiece and there is room to

[00:58:06] reimagine this in a way that is more relevant at the times I could also understand that argument as

[00:58:11] well too an argument that I cannot understand is why in God's name would this ever need a fucking

[00:58:17] sequel yeah so yeah but like I understand that like last scene with McGregor it's kind of a

[00:58:27] fun note to end with that character but my God he's just so unbelievably fucking terrible in this movie

[00:58:33] he is you know when he eats the sandwiches in this movie Josh I kept saying to myself are they

[00:58:38] gonna reveal that that's a ham and cheese sandwich because that's what his performance it's not even

[00:58:44] a performance he's not giving a performance in this movie he's just being himself no he's just having

[00:58:49] the time of his fucking life yeah going around being people up it's just no one has set to listen

[00:58:55] then he was also clearly fucking terrible the first couple scenes his dialogue sounds like ADR

[00:59:04] and it is not just that's his voice I will say kind of like the entire cast I might think he's the

[00:59:12] second best thing since I'm chill at all like I'm sorry like at least like that was one the few

[00:59:19] moments where I saw the crowd that they got into it also you know I think it's a bit by ice because

[00:59:24] the Gregor was fucking there in person you know watching it with us but like he does have an energy

[00:59:30] he brings to it and like I'm not saying like his performance is good like clearly he the way he reads

[00:59:34] dialogue is bad but watching him walk in peacocking out his chest like a muscle hamster like clear like

[00:59:43] where is everyone yeah what is on if you fight like it's what is that walk it's great it's

[00:59:50] easy does he does he think that that walk is intimidating it's like he's like a he's like the

[00:59:55] Tasmanian devil okay and you know what like there's an odd charm to it that slot start working for

[01:00:03] me and then he opens his mouth and I'm like you need to stop but when he's throwing punches and

[01:00:07] he's doing his stupid little smile I'm like you know what it's fun that being said I want a

[01:00:14] preference I don't think it's necessarily a good performance is just a performance you're right

[01:00:19] that is like actually not a performance who's just being himself but it is it reminded me so much

[01:00:27] of all those bad 80s action movies where they would get some like wrestling star or bodybuilder

[01:00:36] or some like just random karate champion who just had a face for the movies but could not act

[01:00:43] for shit as the main villain and like it doesn't those performances are not good but the best of

[01:00:50] them are watchable because the person is just insanely charismatic and very good at the fighting

[01:00:56] that they have to do on screen in the film and that is the exact same thing with Conor McRigger here

[01:01:02] like I would argue that that is the one element of the 80s beam movie formula that they got

[01:01:08] unquestionably right was cast in Conor McRigger in this role it doesn't I agree it's not good

[01:01:16] but if you're going for that 80s beam movie quality that is exactly that kind of vision as they

[01:01:22] quad that you would find in those movies I feel like that is true in theory yes I agree with that

[01:01:29] but in practice with McRigger the problem is that like yes he's not a good actor and yeah there have

[01:01:36] been times in the past where you've gotten those kind of figures not because of their acting

[01:01:40] abilities just because of the screen presence that they give you but I feel like in a lot of those

[01:01:44] situations either they are genuinely charismatic on screen or they're pretty silent like they don't

[01:01:51] give them a lot to say it's just show up and throw punches and that's not exactly what McRigger is

[01:01:58] to do here he is asked to do more to contribute more to this story and he is so terrible that I

[01:02:06] can't ever real it's even harder me to take him seriously as a threat because it's so like

[01:02:12] comical how bad he is that the intimidating presence that he's supposed to bring is just completely

[01:02:19] it just completely dissipates and you can also tell that clearly there's a hike difference between

[01:02:23] him and John Hall and really to make it seem like they're on his little footing so that's another

[01:02:28] problem that I have with them going at each other and actually they had just maybe embrace that more

[01:02:33] it would have been a more engaging dynamic but everything that McRigger brings to this story

[01:02:39] like I get what he's going for I get that they're trying to just be like so over the top and let loose

[01:02:45] you're not supposed to take it seriously but I still have to kind of take it seriously at least

[01:02:49] within the framework of the movie and he just so much sticks out that I couldn't even buy into

[01:02:55] the initial premise of what this character is because it's so so bad if the rest of the performances

[01:03:03] in this movie particularly Jill and Halls had been worse than I think his performance would have

[01:03:09] fit in more but because everyone else is like kind of like actual movie star because they're actually

[01:03:18] actors yeah because they're actually actors yeah and they're like actually trying to make this good

[01:03:24] instead of embracing how bad it is well that's good too as I kept wondering myself

[01:03:30] I like Jake Jillinhall as I said at the top of the show here and I do think he is

[01:03:35] the one element of this movie strongest of all that is trying his best to elevate this to some degree

[01:03:43] even I was questioning throughout man I wonder if this was like the right choice for how to play

[01:03:50] the version of this character that they wanted to present here because I get that there are certain

[01:03:56] moments where like he is being so zen and passive about everything that it can come across as

[01:04:06] amusing you know especially the scenes where he's like fighting the goons who clearly stand out

[01:04:11] chance and he's just letting them all know what are the double cross moment double cross oh another

[01:04:17] double cross or like I'll tell them it was you okay yeah that's so funny I mean it is funny

[01:04:26] well to Josh's point like in theory but then like to see a play out here it confuses me because

[01:04:32] it confuses me with this contrast of do you want me to take this seriously with this guy's backstory

[01:04:39] and how you're presenting this story for a modern audience or do you want me to have fun with

[01:04:45] it and do like I really do wish that everybody Billy Magnuson Jake Jillinhall I really wish just

[01:04:52] everybody had their performances at the 12 13 whatever beyond 11 that Connor McGregor has his at

[01:05:01] I think part of the problem is that they just

[01:05:06] Dalton's backstory is both too much and not enough they mentioned at one point too that it's like

[01:05:12] oh he was your friend right yeah they don't go into that yeah but at that point at that point

[01:05:18] you need to just come out and say what the fuck happened because it doesn't make sense that like

[01:05:23] he just lost his temper in the ring like there has to be more backstory but it does not give you it

[01:05:30] and they're like it's so annoying because they clearly like didn't want him to be a complete mystery

[01:05:36] but they also didn't want to spell everything out either and the level that they chose to do that at

[01:05:41] just does not satisfy anything and then in order to like like I'm sorry but like it's really

[01:05:51] really cheap what they do with the bookstore and that little girl and trying to bring him back

[01:05:59] because he thinks that she's dead like it just like come on like of course you put the cute

[01:06:06] child in danger and now he's gonna stay like it's so ridiculous it's convenience for

[01:06:12] to say good convenience because the story has to get from point this to point that to point whatever

[01:06:18] and it's something that we can all see through it's something that we're all scrutinizing because by

[01:06:24] this point the movie has completely lost us I would argue the movie actually had me in the first

[01:06:31] you know senior two because we saw you know the fights being presented a certain way that was

[01:06:38] like we mentioned earlier hey you may not like it but at least it's different he is presented as

[01:06:43] this mysterious character he has that parking lot brawl like have you thought this all the way through

[01:06:49] getting stabbed with the knife we're introduced to the Florida Keys but then it's like from

[01:06:53] there on as more characters are introduced and the story just keeps going there is so much to pick

[01:06:59] a part here and for the life of me I do not understand why this movie had to be also I know it's

[01:07:05] like just barely over the two hour mark but it feels longer than that to me the pacing in this movie

[01:07:12] ungodly awful like nox condominium character does not appear until the halfway point and at that

[01:07:21] point that he's seen like we go right from there to the first real like romance scene in the plot

[01:07:29] between Dalton and Danielle and Melc yours character which it is the most unconvincing romance I've

[01:07:35] seen in a movie in quite some time she's only into him because he's hot Dan it's pretty pretty

[01:07:42] clear but like they were supposed to buy it from him too and it just I don't and you know what's

[01:07:50] even worse about that whole thing with them the worst thing of all to me is she basically says

[01:07:57] I looked you up on the internet I know who you are what you did and I don't care and then

[01:08:01] they make out on the little patch of land in the beach and then at the end of the movie when he's

[01:08:06] standing over two dead bodies the film has the audacity to present it like she has now all the sudden

[01:08:13] a moral conflict with what he's done and I'm like wait a minute didn't you just say earlier but

[01:08:19] you didn't care that he straight up killed somebody earlier and these are two people that also

[01:08:24] are bad guys clearly why are you presenting her this way and he says to her at that point like

[01:08:30] you're a nice person you don't want to know me which the way he says it that is such a like

[01:08:38] romance novel line and performance that I could feel people's hearts melting around me when

[01:08:45] he says that like that is such a I can fix him line coming from a guy that looks like that

[01:08:52] and it works kind of doesn't work in the moment for like it works as a reason why like you see her

[01:08:59] being into him but there's no real reason for him after he does so much protesting and you don't

[01:09:08] want to know me and I'm bad and this is a bad thing like for him to just also just be into it but they

[01:09:15] also don't fully sleep together it's it never goes as far in any direction as it needs to in order

[01:09:23] to work to have that sort of sleazy B movie romance and quotation marks. Stan they did it for one

[01:09:33] reason one reason only and that was to try and up the stakes of the third act by putting her in

[01:09:39] harms way and it does not work no because we don't care it doesn't work but I will admit that I

[01:09:47] think that like boat chase at the end is that only set piece that actually sort of worked for me

[01:09:54] and I don't really know why maybe just because the digital trickery out in that area that's more

[01:10:00] open just maybe didn't bother me quite as much and it felt like that was the one piece that actually

[01:10:05] was like okay I'm like kind of getting into it it's also very silly and overly stylized but in a

[01:10:11] way that maybe just fits better with us that sense of immersion that I was missing throughout the other

[01:10:17] parts of the movie even though I don't really understand what Billy Magnus said was trying to do

[01:10:22] driving his boat towards the roadhouse because he says I'll just do it myself but like what was his

[01:10:26] plan like I don't know what he was about to do just destroy it I guess yeah I think he didn't

[01:10:30] know what Jake knew earlier with like their the the the coral outside there so like they can't

[01:10:37] really drive up to the roadhouse and I think that's what he was trying to do is like I don't

[01:10:43] there is something but it does not make sense but also but also like I just love in that movie

[01:10:50] at the end of that scene when he does crash it into the roadhouse you see CGI Billy Magnus and go

[01:10:57] like flying 50 feet at least away from the roadhouse like in the opposite direction completely

[01:11:05] and then it shows him just like lying on the roof I thought for sure that that was it I was like

[01:11:11] oh that's the way to fill his character okay yeah there's no way a human being could survive this

[01:11:15] nope and nope he's just lying on the roof and he falls down there and he's able to almost kill

[01:11:20] Jake Jolene Hall with a fish arpune and then he's still not dead because Connor McRigger has to

[01:11:27] kill him which that is another just so like 80s villain moment where he like just why what does it

[01:11:37] take to shut you up snap his neck we get the blurry vision from Jake Jolene Hall's respect if he's

[01:11:44] like this monster looming over him and then that guitar riff ramps up in the background and I'm

[01:11:51] like this is heterosexual camp well I mean it's it's so stupid because like they're trying to

[01:11:57] clearly make it like oh I've unleashed this monster just Frankenstein's monster and now I'm

[01:12:01] gonna be killed by my own creation Billy magazine doesn't even he's not able to one that calls

[01:12:07] knocks in the movie so it's very very ridiculous and yes the answer the enter Sam Man Metallica

[01:12:14] guitar riff I just I okay listen final thoughts um I can't oh he says we're made

[01:12:24] it judge parm final thoughts on roadhouse this episode is brought to you by Paramount Plus

[01:12:33] you and McRigger stars as Count Alexander Rustoff in a gentleman in Moscow the new limited series

[01:12:39] based on the best selling novel stream it on March 29th with the Paramount Plus with Showtime

[01:12:43] plan visit Paramount Plus dot com to try it free

[01:12:47] you know what I am actually going to say that Billy Magnuson was one of my favorite parts

[01:12:57] this movie he is like everybody saddled with just a terrible character but I think that

[01:13:03] that character though for me felt like it was embodying some cheesy 80s tropes that did kind of

[01:13:09] work you know he is the the the rich guy who's very annoying yes he's involved in a real estate

[01:13:17] plot which you know very 1980s and I don't know like I felt like even though he wasn't really

[01:13:23] being that over the top or bringing that much more to the material there was something where it

[01:13:28] it seemed like the calibration that he was using for that character was good enough for this

[01:13:34] particular film and I was kind of I was kind of into him more so than whatever McRigger was doing

[01:13:40] like I hated McRigger so much and even though he has more of the attention I get that

[01:13:45] and the showy or part I think Magnuson actually played it in a better register for me that I could

[01:13:50] be more on on the wavelength of what that villain was servicing for this story so I actually do

[01:13:55] think that he was pretty good in this film I think that was the case where the typecasting really

[01:14:01] worked because you know how in 80s movies like the rich jock always like pop to their collars

[01:14:08] Billy Magnuson is that even though he does not pop his collar in this movie you can see him

[01:14:14] popping his collar I've said this before about Billy Magnuson and I mean this as a compliment every

[01:14:20] time I say it I'm going to say it again he has the most punchable face in Hollywood it's true though

[01:14:26] he just looks like an asshole privileged asshole absolutely and you know what I say typecast him

[01:14:33] forever yeah he's very good at it and yeah he has like he is just the face of yeah rich white

[01:14:42] asshole that shaving scene is absolutely ridiculous I like but at the same time it was so perfect

[01:14:50] for what they were going for with him yeah that was like a ridiculous in a good way though like it

[01:14:55] was ridiculous in the way that I found to be funny and entertaining and I wish more of the movie

[01:15:01] had captured that and it just seems like so much of this film wants to harken back to those types

[01:15:07] of movies but it doesn't really do the work to make it good also like sure a lot of those movies

[01:15:15] can also be bad too and it's you don't want to indulge in all of the worst tropes of those films as

[01:15:20] well and this one as I have said already the main big failure is that it's set pieces that are

[01:15:27] supposed to be the thing that you put the most attention and effort into they just never create

[01:15:33] that sense of like not even realism but just like basic engagement of just being fun because they

[01:15:40] just look so artificial and like when we talked about the boat crashing I was thinking my mind like

[01:15:46] in addition to it being real if they had been like a dummy Billy Magnus said that just flew off and

[01:15:51] I don't care if it looked incredibly fake as a dummy at least that would have gotten back to the

[01:15:55] energy of those types of movies and I just feel this this movie's missing a soul to me and it has

[01:16:02] all the elements to make it work but the execution is just really really off and apart from a couple

[01:16:08] sequences here or there and maybe some performances here or there I just did not find myself

[01:16:14] connecting to this material which is a shame because I think there's potential here but nobody

[01:16:18] is living up to it at all all right Brendan Hodges over to you sir final thoughts are on roadhouse

[01:16:26] yeah I actually think that talking about Billy Magnus' performance is interesting because

[01:16:33] I like a lot of what he and other actors are trying to do with the material they're given

[01:16:40] but it's a really good way to kind of show that even if I enjoy some of the performances individually or

[01:16:47] what they're going for I don't think they work in the context of the movie one key thing I keep

[01:16:55] talking about is how the movie doesn't have stakes and if it doesn't have stakes the action even

[01:17:00] if it's halfway okay at times which it often isn't but when it is we can't really engage with

[01:17:07] it that much because we were never given much of a reason to care it's that classic Hong Kong cinema

[01:17:12] thing where all you really need to do to enjoy a great action movie is really terrific choreography

[01:17:18] know how to film it and give us a simple but clear enough goal to invest in this gives us none of

[01:17:25] those things and I wish it did because it's kind of a missed opportunity in terms of exactly what

[01:17:33] it was trying to achieve I mean it's no ambulance which is my favorite recent Jake Jolunhal performance

[01:17:42] it has an unhinged energy I think this movie was trying to capture at times it didn't really have

[01:17:50] that and you know I wanted to bring up one of the classically absurd lines from the original

[01:17:57] which is I used to fuck guys like you in prison it's incredible and truly the reason I say this is not

[01:18:07] because I necessarily wanted the new movie to have that particular line but because this movie would

[01:18:14] never be able to have a line that over the top and be able to sell it which is the broader problem

[01:18:20] it doesn't have that sense of fun about itself it is too serious when it doesn't need to be and then

[01:18:27] it's too campy when it doesn't need to be but it's never kind of campy enough to give itself

[01:18:33] its sense of mischief and entertainment value they were clearly going for like Matt open with

[01:18:39] you know they wanted to give the movie this sense of fun and it is true I wasn't bored watching

[01:18:45] the movie and I have a feeling that my buddies who are in MMA and my buddies who are in martial arts

[01:18:52] in general they might have a good time with this you know I think to be honest there's a lot of

[01:18:59] audience members out there who might connect with this movie more than any of us did just because

[01:19:03] it might appeal more to their interests but for me it was a miss and I love Jake Jolunhal's run of

[01:19:11] performances recently I think he's okay here I just wish this came together so much better than it

[01:19:17] did all right Giovanni Lago over to you I will say some things I mentioned that the movie tries

[01:19:24] to be funny at times and I think if Jolunhal is involved in the bit it's terribly unfunny one moment

[01:19:30] that I genuinely got a laugh at is he's asking the goons he's about a fight at the beginning

[01:19:35] about like the nearest hospital and the guy's just like yeah I was like 20 minutes away and then it

[01:19:39] cuts after he kicks her ass to them driving them to the hospital in the tight little car and the

[01:19:45] Toko Moe's playing and I was like all right I got a laugh yeah that was funny but besides that

[01:19:49] I just painfully dull movie I like also to touch on what Brendan said about the movie you know

[01:19:56] for like the original roadhouse felt so much more like violence and edgy or an into a degree

[01:20:01] I think that also just correlates to how we make movies now and the slow progressing of

[01:20:08] more prudent filmmaking and how we tone down sex and violence and how you know every time

[01:20:14] there's a sex scene there's a complaint about I think that's just more so in a bodyman of this film

[01:20:20] and I think Doug Lyman watched the original roadhouse and just really didn't grasp what made

[01:20:26] the original film so cool such a vibe because you know again like we've constantly said you know

[01:20:32] maybe not like the greatest reviewed movie of the time and everything you watched out of the movie

[01:20:36] now I recently rewatched it before I saw the new one it's awesome I think it's like one of the

[01:20:41] most like American movies ever it's so cool and it's purely a vibe and I just don't think this

[01:20:48] movie ever catches that wavelength also want to mention the drone shots in this movie are disgusting

[01:20:52] I hate them they're like Russo brother levels drone shots intended to be bad and not like Michael

[01:20:59] Bay drone shots which are good and speaking of fun and Brendan mentioned that if I wanted to watch

[01:21:05] a movie where Jake Jill and Hall is a borderline psycho and there's drone shots and I wanted to have

[01:21:10] fun at watch ambulance which is a million times better and very very good I did not like this movie

[01:21:16] I will probably never think about this movie unless we bring it up yeah it's sad but here we are

[01:21:23] Alrighty Dan Bayer funnel thoughts one of the things that really bothered me about this movie

[01:21:29] is that the cast of characters who like work at the roadhouse are really charming and fun to be

[01:21:38] around but they are gone from the back half of the movie like completely gone do not exist

[01:21:48] and so like want to shut out BK Cannon and Lucas Cage and Dominique Columbus because they're so

[01:21:57] charming to watch on screen and I feel like giving them more screen time would have built up that idea

[01:22:07] that Brendan was talking about of where there are actual stakes to Dalton's job at the roadhouse

[01:22:15] and you know like this is a really like fun community of people and why is everyone else on this

[01:22:21] key seem to be assholes there is something there that the movie just does not engage with because

[01:22:28] it's so concerned about this kind of mystery-esque plot that just does not make sense and

[01:22:38] there's no mystery to it I don't know why they needed to add that level of it there's no reason

[01:22:45] or just Gouliam's character to not be upfront with Dalton about what's going on there's no reason

[01:22:53] it's just for to have this mystery plot and very frustrating if they could

[01:23:01] tar the score in this movie the music cues in this movie are just

[01:23:06] another level that scene where he gets stabbed right at the beginning this guitar under that scene

[01:23:16] is just so like oh oh like it's this parody of like badassery and this movie it almost gets to

[01:23:29] this like camp level and then pulls away from it like it's scared of it the yellow filter during

[01:23:39] the night scenes especially in the beginning literally made me sick soderburg did the same filter

[01:23:47] pretty much on magic mic and that movie looks fucking great and this movie looks fucking terrible

[01:23:53] I don't understand how they got things so wrong I really liked the line with the some of the like

[01:24:03] bad guy henchmen with the guys whittling this stick and the other guy asks him so what's it going to be

[01:24:11] he says a smaller stick a stupid stupid useless piece of dialogue that made me chuckle

[01:24:20] um oh the scene at the bar when brand finally introduces himself to Dalton there's some really

[01:24:28] nice sound work in the transition from like Dalton being accosted with the video of what happened

[01:24:38] at the that USC fight to him like getting transitioning from that headspace back into the bar

[01:24:46] that I thought was really nice and really effective and subtle in a way that the rest of the movie

[01:24:54] could have maybe used more of i think i'm leaning more towards i wish the movie was

[01:25:02] less subtle than more subtle in terms of a lot of things i agree but in terms of like

[01:25:08] the craft undisplay like it could have used a less visceral camera work during the fight scenes

[01:25:15] i think and been just as fun if not better i mean if anything just like it is what i was saying

[01:25:23] earlier like kind of just go back to basics with how like if you want to pay like homage to the original

[01:25:30] film why not shoot it like they would have shot it back in the 80s as far as the action goes yeah

[01:25:37] yeah yeah just fight in a long take that two of them fighting each other i would have loved to see

[01:25:42] just a long take of Jake jill and ho on Connor McRigger going at each other across that fucking

[01:25:48] stone and concrete floors the bar Connor McRigger smashing that car into the coconut tree

[01:25:58] really made me laugh now what really made me laugh was the reveal that he was eating all those

[01:26:03] coconuts in the front seat that was also good but then like to end that moment with him smashing

[01:26:09] the car into the coconut tree having them fall on the car that was just like shes kiss perfect

[01:26:14] like that is the kind of camp and entertainment value that the movie should have had more of

[01:26:20] it's so obvious and so dumb i speak in which i have to take issue with something that you said

[01:26:24] to me dan after you saw the movie itself by southwest what you said something to the effect of

[01:26:32] conomer greger has the single best entrance that a that a character has had in a movie and quite

[01:26:39] sometimes yes he does no yes he does stop it come on cool else enters into a movie first like that

[01:26:51] you know what i would have agreed with you if he had agreed to do full frontal i mean

[01:26:57] bear that would have definitely taken it up a notch but that is one of those scenes where i'm like

[01:27:02] this movie was clearly meant to be watched in a theater with an audience because the the

[01:27:09] lat scene is they really did turn everything up to like 12 and then he puts on the ridiculous Italian

[01:27:17] shirt and no pants but the shirt is so like big and he's big that it just like barely covers him

[01:27:23] below i mean he's wearing the short shorts he's got like this barrel chest where his arms are

[01:27:29] always out but when he walks they don't move it's very very odd he looks like a walking tea

[01:27:35] yeah she's got a tea he's got that shit shooting grin on his face all the time

[01:27:39] he is a cartoon character and it is a cartoon character introduction and i fucking loved it

[01:27:46] and i wish the movie had again had more of that kind of energy where it is

[01:27:54] balzy and like the hyper masculine and all that stuff but it's not also assaulting your senses

[01:28:03] uh i don't know i i could make the argument that it was at times but i guess that will depend on how

[01:28:10] you feel about the action uh fight scenes yeah i just like i feel like more of that sort of

[01:28:16] long-take energy would have gone a long way to making the fight scenes less nauseating

[01:28:23] anything else that's it from me okay uh my final thoughts here

[01:28:31] what was the original line from the uh from the first film because i know jill and hall says

[01:28:37] a variation of it at some point he says like she asks them all do you ever win in a fight and he

[01:28:42] just goes no one ever wins in a fight what was the original line again that's that's the same line

[01:28:48] Bradford great it is the same exact line yeah that's why as soon as he asked her that i i said it

[01:28:52] out loud thanks to you what had happened because i was like i wonder if they're gonna reference

[01:28:57] the old movie anyways and then soon as she said does anyone ever win in a fight i just in my

[01:29:01] swasie was like no one ever wins in a fight because i remember it from the original but i didn't

[01:29:06] get a chance to rewatch the original before uh uh seeing this and you know i just thought to myself man

[01:29:14] there were so many opportunities i thought to pay whole mage in a way that could have like i

[01:29:20] almost wish that this was a straight-up remake as opposed to a reimagining as they're calling it

[01:29:25] i honestly think that you know there would be some outdated elements sure but i i think that they

[01:29:31] went too far with trying to make this a more quote-unquote updated version uh because something that

[01:29:39] is just so evidently clear at branding it expressed this earlier too was that just today's

[01:29:45] modern sensibilities of what filmmakers think audiences want to see and the tools that we have

[01:29:51] you know some of them are better but a lot of them are not and i think that finds its way through here

[01:29:59] in very questionable ways at times like i said that that's that scene where they attempt to run him

[01:30:05] over with the car and it's just so clearly a CGI car it really takes me out of the danger of

[01:30:14] a scene like that but yet when there are scenes where there are no when there is no CGI like when he

[01:30:20] breaks the one goons uh index in middle finger so he can't fire the gun stuff like that is great

[01:30:27] it's fantastic that's the kind of stuff that you want to see

[01:30:31] i don't really feel like there's a need to overthink this stuff and inject it with

[01:30:36] we got to do this crazy stuff with the camera that no one's ever seen before

[01:30:41] we have to use CGI in a way to enhance this to make it more exciting and visceral now just go back

[01:30:48] to basics man we're in an era now where that's what people want people want to see tactile dynamic

[01:30:55] filmmaking that actually feels real and immersive not something that they can then point to and say

[01:31:02] that doesn't feel right that doesn't know something's not right about this because that is what's

[01:31:06] breaking the illusion for audiences nowadays that's why they're shitting all over everything yeah

[01:31:11] and i just also want to make it clear that i know that even in the action movies that do things

[01:31:18] practically a lot that there's still visual effects and CGI work happening like i am i do understand

[01:31:23] that yes but there's a difference between using that as a way to help build out your sequence to

[01:31:29] still keep that that grounded nature that you're going for and then just using it for trickery

[01:31:36] that ends up breaking that illusion as you said and bringing that illusion so i don't really

[01:31:43] think that the method of this movie works for the set pieces that they are creating i understand

[01:31:49] the the reasoning behind it but i think the the way that it is delivered in this film just does not

[01:31:56] work for it at all should have been more supporting visual effects yes making the visual effect

[01:32:03] the whole reason for existing yeah just to deliver a punch i should not see a visual effect

[01:32:09] yeah exactly yeah uh speaking of which though there's one part where one of the henchmen like

[01:32:16] punches jill and hall in the face and it does absolutely nothing to him and like the sound effect that

[01:32:23] his fist makes hitting his skin i don't know i just thought that was probably my favorite and

[01:32:28] the way jill and hall smiles right after that is so good too i take i take that back my favorite

[01:32:34] comedy bit actually is uh the one henchmen uh play my art or our true cast row yes yeah so good

[01:32:41] so hey man nice seeing you again oh i think the hospital is like 20 or 25 minutes

[01:32:47] actually i double back the one comedy band that i actually thought was genuinely funny was

[01:32:52] when the one henchmen on the beach and he mocks him with this like mock like oh really that's

[01:32:56] so and then he's like don't worry i'm gonna hit you because the brain had a short-term memory

[01:33:00] yeah and then he hits them and then it really did i see the guy comes over he's like

[01:33:04] yeah you know you remember in every day you went on a whole random about like short-term

[01:33:07] about short-term memory and he was like oh shit oh yeah i thought that was genuinely funny

[01:33:13] i did like that jay jill and hall pulled the whole oh hey what's that over there and then he just

[01:33:16] whacked him in the back of the head i mentioned this earlier so many hits and blows and these

[01:33:21] fight scenes would kill an ordinary man but they got to make conmer Gregor and jay jill and hall

[01:33:26] into fucking superheroes in this and uh there there is definitely a pleasurable aspect i know i

[01:33:32] was joking a lot offline with you guys about man i just want to see two meaty men just slapping

[01:33:37] and beating the shit out of each other like that's what we go in movies for but it's done in a way

[01:33:43] that wasn't as cool as it seemed to be on paper oh my god and in my my my last thing here um

[01:33:53] when the sheriff says to him at the end of the film it's time for you to go Dalton you were never

[01:33:57] here i've got you covered i was like how how do you have this covered freaking screenplay for

[01:34:05] convenient sake just has an answer for everything because we were too lazy to figure it all out

[01:34:13] everything dealing with that cop character at least father is absolutely like beyond

[01:34:20] just beyond for me i can't i can't and i'm not going to all right now for a grade i know it sounds

[01:34:27] like i'm shitting all over this movie a lot and i am but i will admit jill and hall goes a very

[01:34:34] long way from me um i did still admire that the fight scenes were trying to do something different even

[01:34:41] if i think the result was mixed at best i think when this movie is fun it can be fun it's over long

[01:34:49] it's silly it's dumb it's lazy at times as evidenced by the use of the cgi as opposed to trying to

[01:34:56] do things more practically oh man i'm tearing between two grades but i'm in a good mood today

[01:35:03] i'm gonna go for four out of ten it's still a bad movie to me but it's got enough there that

[01:35:10] you know i think you could do a whole hell of a lot worse right now with something that you were

[01:35:14] going to um press play on amazon prime four bryndon what about you i'm actually right there with you

[01:35:21] with the four um i don't think it's a good movie but it some it occasionally gets you that adrenaline

[01:35:27] rush that they want not often as we would hope but once in a while and again i applaud and respect

[01:35:35] all of the visual big swings even if i don't think most of them work i wish more filmmakers

[01:35:41] that commanded this level of budget uh used it to experiment and play around like

[01:35:47] seven sotarburg is on smaller budgeted projects and i'm curious how so-called quote unquote like

[01:35:55] normies not a pejorative just you know not super big film fans what they'll walk away thinking

[01:36:01] about the movie with how it looked because it's so garishly in your face it's kind of hard to miss

[01:36:06] it was filmed in this unusual way and they might you know walk away thinking wow that was interesting

[01:36:11] to look that way wonder why that is and now they're thinking about style and camera in a way they

[01:36:16] might not have normally done and that's kind of an interesting thing to think about one everything

[01:36:20] i forgot to mention before there's that one scene where he attacks the guys uh throw

[01:36:27] and cuts off his ability to breathe but man did i want to see jake chill and hall rip somebody's

[01:36:32] thrown out in this movie and i didn't get it and that is very disappointing i should knock down my

[01:36:36] grade to a three just for that alone honestly but i digress jive vanny what about you yeah no

[01:36:43] mullets no throat ripping what are we doing here i thought about as a four originally you know

[01:36:50] but like the more he's tied going on the more i'm just i'm like disdain for this movie girl so i'm

[01:36:55] gonna give it a three Josh you know i'm gonna echo a very similar sentiment with geo i

[01:37:02] the minute the movie was done i was sort of out of four it's like that wasn't good but i guess

[01:37:07] it's not like offensively bad but the more i've thought about it the more i just come to the

[01:37:12] conclusion that when you can't get your main source of entertainment right like if all else fails

[01:37:18] you need to at least have good action sequences and if those aren't done correctly then

[01:37:23] you really don't have anything that's really worth celebrating so i am gonna land at a three out

[01:37:28] of ten for this one damn bear so as you can see from my review that is on the website

[01:37:35] after seeing it with an audience i was at a six i didn't think it was great but i at least had

[01:37:43] a good time watching it which was enough to kick it up into positive territory i also want

[01:37:50] to add to this is why a lot of times in the uh in the industry PR and studio reps will tell us hey

[01:37:57] you need to go see this in a theater yeah watching it on screen or at home because there is

[01:38:02] something to be said for being in a certain type of atmosphere when you're watching a flip a film

[01:38:08] like this and i will say like an i feel for Doug Lehmann because i think this is a movie that plays

[01:38:14] much better in a theatrical setting than it does at home i mean maybe was the fact that it was

[01:38:19] my second time viewing but it just did not have the same impact for me watching it at home alone

[01:38:27] on prime video i was at much more of a four where like the entertaining bits just did not

[01:38:35] add up to something that i could call good given how much bad is there so from my final grade

[01:38:44] i'm gonna average the two and say that i'm out of five straight down the middle depending on your

[01:38:51] the definition of like a your mileage may vary movie you may find that the stuff that is

[01:38:57] you know we think is bad is entertaining enough for you and you may find that the film stuff

[01:39:03] that is good does not line up with how much entertainment they hoped you got out of it

[01:39:09] do you guys think this has razzie potential not even going towards Oscar potential i just want to

[01:39:13] know do you guys think the granger is getting a razzie nomination oh i'm thinking he's gonna win

[01:39:20] like it's come on like that group would absolutely give him the award

[01:39:26] yeah he's the most likely contender for the razzies it's always like because he's not an actor

[01:39:34] and he's you know a very flamboyant public figure so that's like prime razzie bait right there

[01:39:40] the only thing that would guarantee it is if the role was a woman then they would always be

[01:39:44] all of them so but yeah he's very very likely to get a nomination there i would say

[01:39:50] yep and that's all i have to say for the film's awards potential um

[01:39:54] yeah god what that said damn bear tell everyone it's listening where to confine you on the internet

[01:39:59] you can come first with me over the leads of this movie on twitter at dancin dan on film

[01:40:05] i'm also at letterboxed and post at dancin dan

[01:40:08] g of any log up you can find me on twitter at the g of any log up

[01:40:12] Brendan Hodges find me on twitter and letterboxed at mettaplex movies or to search for

[01:40:18] and in Hodges and Josh parm you can find me on twitter and letterboxed at jr parm

[01:40:24] and you can find me a next best picture thank you so much everyone for listening to the next

[01:40:28] best picture podcast we are proud to be part of the evergreen podcast network

[01:40:32] and you can subscribe to us anywhere where you subscribe to podcasts be sure to leave a

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[01:40:42] feedback and your support which you can also lend on over at patreon for one dollar minimum

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[01:40:53] always we will see you all next time

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