Episode 102: The Schwarzenegger-Reitman Comedy Trilogy (with Sam Watermeier)

[00:00:00] Speaker A: Foreign hello, everyone. Welcome to Odd Trilogies with Logan and Andy. I'm Logan Sowash. [00:00:23] Speaker B: And I'm Andy Carr. [00:00:24] Speaker A: In Odd Odd Trilogies, we take a trio of films, whether tied by cast and crew, thematic elements or just numerical order, in which and we discuss the good, the bad and the weird surrounding each film. And today we got one hell of a weird trio. We have in the span of a 6 year span, we have a big comedy director teaming up with an action film star to make an icon. Two icons, and then another icon who will pop up in at least two of these films, who ultimately make three films that tie together, I believe, half a billion dollars at the box office. And in case you don't know what we're talking about, we will be discussing the Reitman Schwarzenegger comedy trilogy, which of course is 1988's Twins, 1990s kindergarten cop in 1994's Junior 3 films where I assume that most people know two out of the three off the top of their head, and the other one is Junior, which, don't worry, we will definitely talk about that today. But until we get into the films. Andy, please introduce our guest. We have someone special today. [00:01:38] Speaker B: Yes. Well, our trilogy is a collaboration of icons, so we thought we could stop no short of bringing an icon onto our show. We are grateful to have with us today writer, journalist, co member of the Indiana Film Journalist association, and writer for Midwest Film Journal, Sam Watermeier. Sam, it's good to have you. [00:02:03] Speaker C: Thank you for having me. I wouldn't call myself an icon, but you guys are too kind. I'm a jackass, as the audience will soon find out. But can I just say real quick, I was thrilled that you invited me on for this trilogy because I love Arnold and I love the 90s and this was just perfect for me. So beautiful. I'm honored. Thank you very much. [00:02:33] Speaker B: Well, we're glad you're here. [00:02:34] Speaker A: You're our honorary Odd trilogy's triplet today. They never made triplets. [00:02:39] Speaker C: Very good. [00:02:39] Speaker A: But you'll be our triplet. [00:02:41] Speaker B: We're doing our best to make up for triplet the absence of triplets, but no. Yeah. Sam, when I first reached out to you to ask if you would be interested in this, I didn't even really know your thoughts on the actual films. I hadn't even looked at letterboxd or anything, but I was just like, this is the kind of weird, awesome niche collab that Sam would just. It would just be so up his alley between DeVito and Schwarzenegger and the era of Course, you are the biggest fan of the 90s I know. And this is just a very. These. This trilogy is very. Of its era, unapologetic. [00:03:24] Speaker A: And I love it and hate it for different reasons. More love it. More love it. I think this was. This is one of those trilogies I feel like is why the show is made. Like, this is one of those things where you, you forget that one. This was less than a decade of a span for these three films. But also the fact that these three films probably, for a lot of people forget, even coexisted in a way, shape or form in terms of like, you know, when I think of these three films, Kindergarten Cops, usually the one that pops in my head first, but like, that's only a two year gap from Twins and then Junior is just like. It makes perfect sense why these films exist. But it's absolutely insane when we actually dive into what these films are about. [00:04:07] Speaker B: Yeah, yeah. And before we dive in, Sam, if you wouldn't mind giving us a little bit of like, your relationship with these movies because, like me personally, I remember the trailers being on VHS tapes I had as a kid, but, like, I had not seen these movies beginning to end before this podcast. So I was curious as to your history with them. [00:04:31] Speaker C: Oh, very cool. Well, I'm curious to hear about your. I can't wait to hear about your experience of, you know, seeing them for the first time. For me. [00:04:41] Speaker B: My original experience. [00:04:42] Speaker C: Yes, exactly. For me. For. I'll be like the Danny DeVito to your Arnold, and I will guide you through the life experience of seeing these. But for me, these were staples of my childhood. I think watching Terminator 2 was my earliest memory of watching a movie. [00:05:08] Speaker B: Oh, okay. [00:05:09] Speaker C: I was, I think, four when I first watched that. And you know, also the trailers for Junior and Kindergarten Cop were on a lot of VHS as I watched at the time as a kid. And Arnold was kind of my. My first cinematic hero. And I. I always loved Kindergarten Cop and Junior Twins I discovered later on in life and I enjoyed as well. But the other two were really staples for me. And when I especially watch Junior now in this current climate that we're living in, it's even more bizarre that it was even made. [00:06:02] Speaker A: Oh, yeah. [00:06:03] Speaker C: Like the. I've always thought that the idea of a movie revolving around Arnold Schwarzenegger being pregnant was like, kind of a miracle. Just the fact that, like, someone had that idea and that it was seen to fruition is just incredible. But, like, watching it today is even more surreal, so. And watching this trilogy as a whole is kind of surreal that this even exists. So I can't wait to get into it with you guys. I hope that answered your question. I kind of rambled. [00:06:39] Speaker B: Absolutely. Yeah. No, thank you so much for that. [00:06:42] Speaker C: Yeah. [00:06:44] Speaker A: Gosh, I just. I'm trying to remind, like, we just watched these films so recently, and yet now everything is, like, compacting in my brain in terms of where I want to begin. Well, I guess in terms of the. The listener. If for some reason the name Ivan Reitman hasn't rung a bell yet. Because we're going to be mainly talking about. The three films are all directed by Ivan Reitman, who most people would know for the original Ghostbusters and I believe. Ghostbusters 2. Correct. He did 1 and 2. [00:07:11] Speaker B: Yeah. [00:07:12] Speaker A: And so those, like, his biggest films, I would say he's a comedy director who worked for decades and then unfortunately passed away a few years ago. And these films are just as much his films as they are Schwarzenegger's films. And it's fascinating. I mean, the thing about all these three films that I feel like, even with Junior, because again, Junior is just going to be just a wild conversation in terms of, like, really getting to the meat and potatoes of that film. But to be honest, I think as a whole, it really shows just how I kind of appreciate Schwarzenegger more as an actor watching these three films just because of how you can't. You wouldn't see Stallone do any of these movies. Like, it's like Schwarzenegger in these three films is constantly putting himself in a weird situation that you would never expect a man of his stature at this point in his career, just throwing at a wall to a point where it's like the fact that it works not once, not even twice, technically, a third time, if you depend on, like, the flat, like, the financial aspect of it. Like, it is because Junior still made like $100 million. That's like, worldwide. [00:08:33] Speaker B: Yeah. And it's one thing for an action, big macho action hero to go headfirst into the comedy world, which is kind of something that Schwarzenegger pioneered. And these movies were very much a part of that. And Stallone would make some attempts at that as well, you know, as well as other action stars for years to come, but it's, you know, it's another thing to take on, like, these bizarre high concepts as your dive into comedy. Like, it's not like, you know, obviously he did movies like the Last Action Hero, which I also really enjoy. But, you know, these movies are not like obvious action adjacent Comedy, you know, it's not like Dwayne Johnson doing central intelligence or whatever. You know, it's. [00:09:30] Speaker A: He's. [00:09:31] Speaker B: He's jumping into these bizarre. Obviously, Kindergarten Cop has the cop angle, but Twins just being this kind of goofy, earnest depiction of found family and things like that. And then Junior being the weirdest of the bunch with, you know, him getting pregnant and everything, and all the trappings that come with that. It's just like, it's. I appreciate how bizarre these swings are. And I mean, I enjoyed the movies, but, like, more than anything. I'm just like. Like Sam said earlier, I don't totally understand how all of these happened, but I'm glad that they did. [00:10:12] Speaker A: Yeah. Cause I would say probably for at least you and me, Andy, and you already said it, but, like, the iconography from these films is the posters and the trailers. But for me, it's specifically the posters. [00:10:23] Speaker B: Mm. [00:10:24] Speaker A: Like, I remember Junior vaguely when we were going through these movies, only because of the face that Arnold makes. He basically makes a jingle all the way face. But instead of it being like, ah, my kid just wants this toy. It's, ah, my kid is inside me. [00:10:40] Speaker C: That's amazing. [00:10:41] Speaker A: Like, it has that energy to, like, that. That Junior. That Junior poster is like Emma Thompson and Danny DeVito holding a pregnant Schwarzenegger. And I remember that poster. Kindergarten. [00:10:51] Speaker B: Great poster. [00:10:52] Speaker A: Kindergarten Cop also has, I think, pretty iconic poster of just a giant man being just attacked by children. [00:10:59] Speaker B: Yeah. [00:11:00] Speaker A: And then like, of course, twins has them in their matching suits with Danny, like, leaning on him. And it's like, those were films where anytime says, like, did you know that Schwarzenegger did comedy? It's like, in my back of my head, I'm like, yeah, but have I seen them? Honestly, it was only Kindergarten Cop. And even Andy can attest when we watch Kindergarten Cop and the movie starts with a drug dealer getting shot and killed, immediately I went, I don't know if I remember this movie. I don't know if I remember this movie starting out like a standard Schwarzenegger romp and then turning into Kindergarten Cop. That I remember. [00:11:35] Speaker C: I just want to say about the posters, they all kind of look like posters for fun fake movies. [00:11:41] Speaker A: Yeah, like. [00:11:42] Speaker C: Like the kind of movies you would see in Seinfeld or something like that. [00:11:47] Speaker A: Right, right. Or like in Last Action Hero where they have the stallone version of T2. [00:11:52] Speaker C: Exactly. It's like Kindergarten Cop is like the. The Sack Lunch kind of movie that Elaine would see in Seinfeld. [00:12:02] Speaker A: Yeah, yeah. And what's even funnier, too, they've been starting off with our first of the trio. Like, I would argue that Twins concept is tame in comparison to what actually is happening narratively in the way that is like. Because again, the funniest part about this, about twins, is like, initially, I think when I went into it, I was expecting the conflict being mainly the. The like disappointment of Schwarzenegger realizing that There are not two Schwarzeneggers. There is a Schwarzenegger and DeVito in there. Twins. But that is completely pushed aside because Schwarzenegger's character is like, he's an actual character. Like, he just wants a brother. And so when he finds Dany, he's like, immediately shocked, but is like, willing to immediately, like, accept Danny as his twin brother. And there's no conflict there. All the conflict, weirdly, comes from DeVito. And I did not expect that going into this. [00:13:04] Speaker C: Arnold is kind of like, incredibly progressive and open minded in all of these movies. [00:13:11] Speaker B: Yeah, he is. [00:13:12] Speaker A: Yes. Especially Junior. I would say it's the wildest one of this where it was like, watch. Hearing how he was portraying, like, yeah, him portraying his characters again, it's just like, at this point you are having Schwarzenegger. What is this? Is Twins like a year after Predator or a year before Predator, like, because. [00:13:32] Speaker C: We'Re still like a year after Predator again. [00:13:36] Speaker A: Yeah, like, and it's like, that is insane to think that a year after Predator we have Schwarzenegger in like these, like in jorts, walking around in like a, like a road trip shirt with Danny DeVito, with Kelly Preston, and this whole crew that involves industrial espionage trying to find their mother, who in the flashback, I don't. I don't know if Andy clocked this. He might not know because of. Depends on how Austin Powers is to you, Andy. But like, their mom in the beginning, in the flashback is played by a very young Heather Graham, who is like the sidekick and love interest in Austin Powers 2. And that threw me off because I was like, wait, is she. Is this before she even had speaking roles? [00:14:23] Speaker B: Right, right. [00:14:24] Speaker C: I have seen this before. 4 and I didn't recognize her until this time. And that kind of blew my mind. [00:14:31] Speaker A: Yeah. Because this is like, like almost a decade before Boogie Nights and before Austin Powers Spy who Shagged Me and. Oh, yeah, yeah, it's. And I think maybe License and License to Drive. That's like a Corey Feldman Corey Haim that. I just pulled that right out of my ass. That might not even be true, but that might be like, she did. But it was weird starting out the gate with like, I Have never. I don't think I've ever seen this woman this young. I didn't know she was in films in the late 80s. And then go into the. The. The opening credits, having the twins between the two babies on the table, and then Tony J doing the opening monologue. It is. It is something where, like, when people talk now, because it's. The conversation comes up all the time when it comes to. About studio comedies today. And it's hard not to watch this and be like, there's a reason why these don't exist anymore in terms of the level that they are. But, man, I kind of fucking wish they did. It's insanity. At a certain point in this movie where it is, we'll have a. We'll have a hitman kill two people we've only met once before. And then a hard cut to, like a montage with Danny DeVito and Schwarzenegger in the same film. [00:15:56] Speaker B: Yeah, we have a lot of, like, thankfully, I think we have a lot of filmmakers who are doing really interesting genre blends today, but we don't have, like, this level of almost discordant genre clash within a movie as prominently in big movies as we used to. And I think, you know, yeah, that is. We're missing something with that. [00:16:19] Speaker A: Like, this movie. Is Twins PG or is it PG13? I couldn't remember PG because again, this is a PG film and it's 1988, of course, but, like, there's a whole shot where Schwarzenegger is clearly looking at a naked woman and a playboy front and center, mid shot, mid frame. It's in the center of the frame and it's like, this is a PG movie. How'd you get away with that? Like, what the hell? Just, oh, my Lord. It is doing so many things constantly, but it's never boring. That's what the. I mean, that's the best part about Twins, I would say. It's the most energetic of the three films. It just is constantly moving. [00:17:02] Speaker C: If there's any, like, equivalent today of a movie that kind of, like, mixes genres and, like, has a high concept. Has a high concept. It seems like they're very, like, formulaic, like the. The rocks comedies, for example, like, you can definitely tell that those are kind of made by committee and. And kind of trying to have the perfect mix of, like, action and comedy and, you know, trying to keep him appealing and not look too goofy. But, like, these movies kind of throw that all out the window. Like, Arnold is a total dork in Twins. Like, he's not concerned with Preserving his, you know, cool, macho guy image at all. [00:17:53] Speaker A: He's a virgin. [00:17:55] Speaker C: Exactly. [00:17:56] Speaker A: Say like in the movie, I can't think of Stallone or Lundgren or like, I could even see Carl Weathers doing a film like this and having to outright like, be like, oh, you are canon. You are a virgin. Like, they'd be like, no, no, no, no one would believe that. And Schwarzenegger's like, well, that makes sense. I've been on an island by myself basically, like my whole life. And it's just so funny. It's like this giant Austrian man in jorts who like, no one can fuck with. It's like, by the way, I've never seen a woman naked in real life. It's like, yeah, and he sells it so well. [00:18:32] Speaker B: Right, right, well. And like, not to play armchair psychologists too much, but like, I kind of have to wonder if some element of Arnold's like, willingness to go there with these roles has something to do with like his kind of fish out of water upbringing in the industry. Like, you know, being a foreigner, you know, with, with the, the accent that has stayed with him the whole career. And also being coming from, you know, the bodybuilding world kind of thrust into the acting world. And then the 80s, he kind of blew up if that just kind of gave him that, that perspective of like, well, yeah, I can try this, I can try that. Like, you know, I didn't expect to be an actor, so I'll try whatever. [00:19:21] Speaker A: At this point, he's been Conan, he's been the Terminator, he's a commando. Like, he has become the new staple of the action, the action man, to the point where it's like, even lasted to the 2000 and twenties. And yet it's no surprise that like, I feel like the driving force of these three films in one way, shape or form is Schwarzenegger internally being like, can I sell this? Can I sell this character? Can I do this? Could I do that? Would people even believe that I could pretend to be a good with children in a kindergarten cop or like, like even a junior. He sells, he tries his absolute best to sell a pregnant man in a way that doesn't feel like cheap. The movie has cheap moments, but I don't know if it's necessarily him or script, which we'll get to, but yeah, he mean he is. It is hilarious to think with twins, like, the narrative is just like twisting and turning, but like the, the, the emotional crux being like the relationship between DeVito and Schwarzenegger and ultimately them bonding over Wanting to meet their mother, even though DeVito is kind of iffy about that, but, like, trying to actually find the family that they were told that they don't have, so technically they. They still have it. And finding the way to tie that into the espionage, money laundering, whatever. It's. It's like. Is it a jet engine? It's like a jet engine that has been, like, stolen from a company that's gonna be taken to Dallas. [00:20:54] Speaker B: I think it's a fuel injector, like, for. [00:20:57] Speaker A: Yeah, yeah. [00:20:58] Speaker B: It might be military related, but yeah, it's like some. Some high priority mechanical part. Yeah. [00:21:06] Speaker A: Because again, it's like. Yeah, it's like, it's. It. Hilariously, looking back, it almost feels like it makes perfect sense to a degree in terms of the height of Schwarzenegger and DeVito's powers, where it's like DeVito at this point is just like. I mean, DeVito's only gonna blow up more after this. And Schwarzenegger in ways, is also going to have his, you know, ebbs and flows. Even a last action hero, I think critically was kind of. Kind of iffy. I mean, like, Schwarzenegger, again, still is constantly trying to push himself in unique ways. Well, also, again, having fucking Terminator 2 after this. And so, like, he's gonna have one of the best action films of the 20th century on top of having one of the biggest original comedies, probably the late 80s, like, out of Nowhere. And. And with like. I mean, DeVito at this point is like Taxi, Romancing the Stone. Like, this is before he starts doing directing stuff. And it's hard not to watch him and be like, no one. Neither one of them feel like they either feel like they're, like, insecure about their own abilities in terms of just like. Like, DeVito does a perfect job of just being like. He is very well aware. He is the short, stocky one and he's the wisecracking one, and that's okay. And he just goes to the 11th degree with that. And Arnold Schwarzenegger knows that. He is eight feet tall, built like a ship brick house. And DeVito has probably. DeVito has a better range, I would say, acting wise that he does. [00:22:35] Speaker B: Yeah. [00:22:35] Speaker A: But he's willing to play with his own boundaries and bounce off of DeVito in a way that it's just like. It works perfectly in a way that is like, the movie is not perfect, but I think their dynamic is like. I can see why Reitman and co are trying to kind of fight for this movie, because at a certain point, Universal Was like, I don't know if I'm willing to put, like, enough, like, money into this to, like, make it happen. Which leads to wild stuff. Go ahead. [00:23:02] Speaker C: Oh, sorry. I was. Arnold actually didn't take a salary. [00:23:07] Speaker A: Yeah. [00:23:08] Speaker C: Because of how risky it was thought to be. And he ended up making some deal where he took a share of the profits of the movie, you know, after. After it was released, obviously. But like, him just taking. Not taking a salary and kind of investing in himself, I think kind of ties into Andy's point about, you know, him kind of proving himself as an outsider and, you know, he wanted to invest in himself as a comedic actor. And obviously it paid off big time. I think twins made like 200 some million dollars against like an $18 million budget. [00:23:57] Speaker A: So, yeah, like, it's. It paid off for him. I think the. Him, DeVito and Reitman, I think all took no salary for this and we're just going to take profit. And both DeVito and Schwarzenegger, I think outright said it was like one of the biggest profits they've ever had. One of the biggest pay downs because. Yeah, because it's. [00:24:16] Speaker B: Which is awesome. [00:24:17] Speaker A: Yeah. And it's wild to think too, that, like, it's fun that we. We've already. You've already brought up the Rock. But, like, even though the Rock before he did, like, his central intelligence and kind of like what his current run is, he had. Was it Be Cool? Was he like, he's like, that's one. [00:24:31] Speaker B: Of his first comedic season. [00:24:33] Speaker A: Be Cool, the sequel to Get Shorty and like. But, like, there's a good chance that if Twins is an absolute flop, you don't see the Rock trying to do his run of like a comedy bit or like, pretend pretending to be Danny DeVito. Danny. Actually, it's funny to think that the Rock pretends to be Danny DeVito in the third Jumanji. [00:24:57] Speaker C: Oh, wow, that's amazing. [00:25:00] Speaker A: This wild thing where, like, at the sport, like, I don't think you get that if Twins is a flop. Like, I don't. I don't think you have. Because you probably have a lot of like, ex wrestlers or just big muscular guys who are trying to get into the industry probably would just think I am fodder and that's it. Like, I can't. Can't be funny. And not saying, like, Twins with twins doesn't exist. Buff people aren't going to try to be funny in movies. But I do. [00:25:25] Speaker B: Twins is key to it all. [00:25:27] Speaker A: Yeah. But I think Schwarz, like, you see it putting Schwarzenegger putting chips on himself for a film like this and ultimately Paying out like 200/million dollars on a 15 to 18 million dollars budget is like, well, there you go. It shows. It shows that it could actually be a profitable thing. And shows that even with how crazy of a rollercoaster that film is in terms of narratively, just like, every time the movie jumps to like, these are some money lenders that want to get back from DeVito all this money that DeVito owes them. And there's this hitman that apparently was supposed to get a car that DeVito and Schwarzenegger stole. And there's also the big Dallas guy who offers the $5 million for the car. There's all these, like, secondary characters and they're. And they keep adding secondary characters because when they go on their road trip, they meet the one doctor who was a part of their experiments, who's an asshole to both of specifically Danny. Like, you're a mistake. You shouldn't have been born and be like, whoa, whoa, whoa, this is a comedy. Settle down. And you have the. The. The mother being, you know, like, basically pretending not to be their mother because she thinks they're lying to her. Because what a surprise that a woman wouldn't believe that not only are Danny DeVito and Schwarzenegger not her sons, but twin sons. Yeah, God forbid she has a common sense moment. Just believes these men are trying to say scammer. But it's like all these different moving pieces are going on and on, and it's just like at the end of the day, it ends up just, like, not ticking away from the enjoyment of the movie. Like, the. The movie is still just very fun and silly and keeps the momentum all the way to its end. To the point where it's like just the ending shot of the. The twins having their own set of twins, the whole family shot. And the fact that they both fell in love with sisters, of course. And that just the whole family tree of it all is so all over the place when you think of it like that. And it's just, oh, my gosh. [00:27:41] Speaker C: But there's also a weird family tree at the end of Junior too. And it's like. And it kind of bookends perfectly with Twitter twins. But also you think, like, how the hell did we get here? [00:27:53] Speaker A: Right. Oh, yeah. DeVito comes back for another movie, and it's another fucked up family tree situation. [00:28:00] Speaker B: Yeah. Not discounting Kindergarten Cop at all, but, like, twins and Junior make a pretty fascinating, like, genealogy double feature. Yeah, but no, I mean, Logan, it Is kind of, to your point, kind of amazing that the movie stays as compelling and fun as it is with as many, like, different dynamics going on in different plot beats that kind of don't feel like they need to be there. But I think, like, I think really the glue of it all, the thing that, like, makes it all fun and work is that, like, it's the chemistry between DeVito and Schwarzenegger and both of them just being really game for it, which they clearly were. And also just, I think, the overarching earnestness of the movie. I mean, sure, there are some sideways gags here and there, but the movie overall just feels, when it comes to the brothers, kind of unrelentingly sweet about how they regard each other once they get to know each other. And that just being the kind of domineering note of the movie, I think just makes it all sit really nicely. [00:29:17] Speaker A: Yeah. If this movie was more formulaic, I think there's more of a situation where DeVito is trying to almost Daffy Duck Schwarzenegger's bugs in terms of like constantly putting situations that either embarrass him or put him in trouble. [00:29:36] Speaker B: Right. Or just. Yeah. Exploiting him more. [00:29:39] Speaker A: Yeah, Exploiting him more is the one thing I was surprised about the most because I was expecting him to exploit him constantly. [00:29:45] Speaker B: Yeah. [00:29:46] Speaker A: And he really doesn't. It seems like a lot of the exploitation happens voluntarily from Schwarzenegger. Just because it's his brother, he's going to protect his brother. And at least like, you know, the scene where they hijacked the car and at least the Schwarzenegger not knowing how to drive. Drive. [00:30:02] Speaker B: Right. [00:30:02] Speaker A: And just is like constantly zooming past like red lights and doesn't know how to back up. And it's. Yeah, there's just little things that are all through this movie that are just like, you know, it's hilarious to think that this is a type of film that kind of sets up the formula for. If you want to do like a comedy duo in a sense, you could always go back to this movie and kind of use it as a frame point. But like, for this movie is so wild how it handles its goofy little things narratively. The love interests are like, I would say weirdly progressive in different ways. Where it's like, with DeVito, like initially when DeVito's love interest pops up, I just kind of assume because, like, DeVito is a womanizer from the very get go. [00:30:45] Speaker B: Yeah. [00:30:46] Speaker A: And so I thought he was going to constantly be womanizing the entire film, but he doesn't because his main love interest to his Kelly Preston sister in the film. She like is like at a certain point, like, listen, I'm not asking to get married, but like, maybe we should move in together. Which is like, that's got to be a little bit progressive at the time to be like, you know, like she's, she's like, hey, listen, I love the sex. Doesn't mean you have to put a ring on it. It's like, okay, that's wild. And at the same time you have Kelly Preston who is like, she is the one who instigates the sex between her Schwarzenegger. [00:31:21] Speaker C: And it's like takes Arnold Schwarzenegger's voice. [00:31:24] Speaker A: Card he does and then leads to legendary. The easiest gag in the whole movie. And I'm glad they commit to it, which is her with the cigarette and him with the biggest, cheesiest grin on his face because he's just so gobsmacked by that happening because it's so funny how it's like his whole thing is just that he like. I love how towards that. Again, the little bits Both him and DeVito have, like, I'd say as twins anytime they would have little moments where they decide this is of kind the moment where they're going to do twin, like when they're eating, when they're scratching their hair the same way. Or like the fact that DeVito getting Schwarzenegger late is basically like, like, oh, I think I'm going to hang out with, you know, so and so tonight. And Schwarzenegger is like, oh, I'll just sleep on the floor. I don't need to. And then he leaves and the killy Preston shows up and he's just like, no, I sleep on the floor, it's fine. She has to be the one that gets on the floor with him being like, you're not listening, right? It's really, it's just, it's fun. [00:32:23] Speaker C: It's interesting that you say it's not as mean spirited as it could have been. And that is true. Like these moves, all of these movies are very like wholesome and good hearted and like just the idea of Danny DeVito kind of navigating Arnold through these life milestones, like whether it's teaching him how to dance or like teaching him how to dress or treat women or like, like you said, those are opportunities where he could have easily exploited him, but he doesn't. And it's also a credit to Arnold just being willing to be such a vulnerable character. [00:33:14] Speaker A: Oh yeah. [00:33:15] Speaker C: Like you would think that, you know, in most Movies, he would want to play, like, kind of an assertive, like, confident guy. But in all of these, he's kind of willing to accept help from people. Like even in Kindergarten Cop, like, he's. He takes advice from kids, so he's like, far from the. The macho guy that you would expect him to be. And just the fact that it was so early in his career when he was willing to do this was pretty crazy. [00:33:54] Speaker A: Yeah. I mean, it ultimately leads to, you know, his career being defined by certain aspects from these movies. Like, I again, I'll Be back is his biggest line. And like, you know, do it like, kill me, kill me now. Like, stuff where like Conan everything. But like, I have probably before this trilogy, maybe have seen Kindergarten Cop half. Half the film. Maybe a full time once on like, HBO comedy, like when it was on, like, HBO one day. But I've had my mom and other people say, it's not a tumor. More so than I've heard. I'll be back in like a Terminator. Like. [00:34:36] Speaker B: Yeah. [00:34:37] Speaker A: Because like these three movies, he just is like. He just has that commitment and that stiffness in a way that could be used comedically. And I feel like, you know, that is wonderful to see. To see being like, knowing that his. He is not as versatile comedically as DeVito and is aware of that. But that doesn't mean he can't be funny. He can't get to like, using that stiffness as an advantage. [00:35:02] Speaker B: Yeah, he uses the tools he has really well. And I think honestly in all three of these movies shows some tools that we didn't know he had outside of these movies or before these movies. [00:35:15] Speaker C: Yeah, yeah, he's kind of. Oh, sorry. [00:35:18] Speaker A: No, you go ahead. [00:35:20] Speaker C: Yeah. I think what works so well is that he. Arnold kind of plays it straight. Like he's the straight man to DeVito. And especially in Junior, like, there are moments that could. I mean, they're obviously played for laughs, but it's like he's portraying the character as an actual pregnant mother. Like, he's not winking at all, you know. [00:35:49] Speaker B: Oh, yeah, no, honestly, that we'll get there. But yeah, I was kind of amazed at how, like, serious that movie was about the central topic as it was in certain places. [00:36:03] Speaker A: Oh, yeah, it was. That was the worst Andy and I watched that. He watched it a day after I did. And I just said to him, like, junior is so fucking stupid, you're gonna. I can't wait to hear what you think about it. But yeah, Schwartz, I mean, Schwarzenegger in the best moments of him and Junior are when he commits to the maternal aspects of being a pregnant person. It's, like, wild to see that be that committed to it. And I mean, with twins to finish it off, I just think, like, from the ending on and just like, where it goes, where it's like, you know, the movie is not trying to end as, like, oh, if you like this, twins, two triplets. Like, we were making a joke during when we were watching twins, because another reason why I think twins kind of stayed into the zeitgeist in certain way, shape, or form is that, you know, when Schwarzenegger had a bit of a cut, what started having a comeback in what we say the late 2000s, early 2010s, maybe like the Expendables era, post his Governor of California run. But, like, when he was finally doing more films again, it was the. Begs the question of. Well, in the 2000s, before he became governor, they were talking about for the longest time doing a triplets, possibly with Eddie Murphy. [00:37:31] Speaker B: Yeah. [00:37:31] Speaker A: And it's like, are they gonna do that? And then it seemed like for the longest time they were like, off and on talks to do that all the way up to the point where they just went, okay, we're gonna try Tracy Morgan instead. And then I think Covid happened, and then they just didn't like the script. And then, unfortunately, Reitman passed away. And apparently Reitman's son, who now is currently. You know, I just had Saturday Night come out last year and also did Ghostbusters Afterlife. Thank you for smoking, Juno. But apparently he was the one that was just like, no. No one's. No one's gonna try and pick this up. Like, this is my father's. My thing with you, My father and you guys and just now. [00:38:09] Speaker B: Yeah. [00:38:09] Speaker A: And it's just like. But it's wild to think that when Schwarzenegger kind of has a comeback in the 2010s, it's the Conversation comes back up from. For a return of twins, like, shows just like, compared to, like, you know, we'll talk about a little bit with Kindergarten Cop, but, like, Kindergarten Cop gets a sequel in the 2010s with Dolph Lundgren and it's ass. But, like, at least that happened. [00:38:33] Speaker C: Well, if you acknowledge that it exists. [00:38:36] Speaker A: Yeah, I mean, yeah, it's. That thing's true. But yeah, I mean, twins being as much of a hit as it is. I'm glad that it was. Genuinely. I think this is something where it's like, I had a really fun time with it. I'm glad I'VE finally seen it and just am able to be like, this movie is so insane. Just when it gets to like its narrative stuff. Because in my head, the narrative is at its craziest of these three films and twins. But I think the tonal shifts are at its craziest in our next film with Kindergarten Cop. [00:39:09] Speaker B: Yeah. [00:39:09] Speaker A: Because while I think I might like Kindergarten Cop more, not by much, but I think I had a more of a fun time with Kindergarten Cop, I also have to admit that a lot of that entertainment probably came from the fact that how the movie starts and how the movie ends does not feel at all like how when people talk about this movie, everyone's favorite scenes are not, hey, when the drug dealer gets shot or the final. [00:39:40] Speaker B: Or when Schwarzenegger. Or when, yeah, somebody gets fucking shot in the school locker room. Yeah. [00:39:48] Speaker C: Yeah. [00:39:48] Speaker B: It is wild squibs and everything. [00:39:51] Speaker A: It almost kind of feels like a film that. Definitely. Because it's. I think that's a perfect thing with what you said earlier, Sam, about these movies almost looking like posters in Seinfeld or just fake posters. [00:40:04] Speaker B: Yeah. [00:40:05] Speaker A: Where if you started Last Action Hero with the opening of Kindergarten Cop and had like the opening there and you just said Kindergarten Cops a fake movie, I think most people would be like, that makes sense. Why would you make a film about a cop becoming a kindergarten teacher? And it's just so funny. The. Because, again, the. The premise of. Because all three of these films, I would even say Kindergarten Cop maybe has the most convoluted premise because yes, it's a cop that becomes a kindergarten teacher. But the reason why is because they're trying to find the ex wife of a drug dealer who apparently they have no pictures of, no photo evidence of who this woman is. Even though this man is important and has done some horrible crimes and they clearly have done surveillance on him. [00:40:53] Speaker B: He's like the most elusive drug kingpin of all time. Yeah. [00:40:57] Speaker A: All they know is that a drug dealer found information that his ex wife and his child are in Astoria, Oregon, at this one school. And particularly with his age, must be the kindergarten class. And so the first 30 minutes of this movie is like a police detective procedural. And then it becomes. Because I completely forgot the whole thing about Pamela Reed, who's his partner in this movie, and then ultimately shows up again, a junior as Dane DeVito's ex wife. She's supposed to be the kindergarten teacher. Because even the movie can't. Even. The movie can't even sell you on the idea that Short Stinger is the first choice for this like, it has to be he like, yeah, they have. [00:41:49] Speaker B: To find some weird extenuating circumstance to get him there. [00:41:52] Speaker A: The most ideal situation for him is that he would sit in the car outside of the school and watch and see if anyone showed up that looked like a drug dealer. And to get to a point where Pamela Reed has like the shits and is like, it is constantly vomiting and has to be like, oh, I guess the only person who can do this is Schwarzenegger. And leads to like the middle part of this movie being like genuinely wholesome and sweet in a way that is like this movie could have been like Jack starring Robin Williams level of like, what the fuck is this? Like, this existed at one point and now I wish I knew, didn't know that that existed. [00:42:37] Speaker B: Yeah. [00:42:37] Speaker A: And Kindergarten Cop I think gets away with not getting to that degree because I of how earnest it is when it gets to the point of like Schwarzenegger actually trying to be his best for the children. Like, it is funny to think that like the movie excels, I think, at its best moments when it's just like him trying to be a good teacher and either failing and it's funny or like it's actually working and people are like, God damn it. He gets results. It's like, yeah, he's taking these children through military school basically for police academy. And they love it. They just, oh my gosh. I mean, he like there's a whole little subplot where he thinks one of the kids. Because again, this is where the total shifts come in. Because the whole thing about the film is like, oh, who is the mother, who's the ex wife and who's the child? And it's like hilarious because the very beginning, Andy, I don't know if you clocked it, but like when the first child talks to him and gives him pointers, I win. Well, that's the drug dealers kid. It's the one kid he's like really nice to him that's like he's building a relationship with. Yeah, but the movie really pushes like, geez, it could be anybody, it could be any child in this class. And one of the kids is like, I think the most defiant kid in his class. And they find out that it's because his dad's abusive, Right? And so Schwarzenegger's resolution to this is to beat up the dad a little bit and threaten him. And the principal just goes, I wish I could have done that. And that's like the end of it. Nothing comes from that other than just like, you Get. He gets results. He just gets results. Even if it's like. Because I'm thinking of, like, Imagine if you just saw a teacher just come at another kid's parent in the real world, and no one had repercussions for that. Yeah, it's such a wild movie. And it. But it's. It's cute and it's a fun time. Especially when it gets to, like, you know, the. The. The in between. And then, like. And then every time it reminds you what the film started out as, it just throws me. Yeah, every time, like, his nightmare sequence, when they have nap time. [00:45:05] Speaker C: The bad guy, like, rolls in on a conveyor belt in front of the window. [00:45:10] Speaker A: Can we talk about how that bad guy has one of the worst hairdos I've ever seen? Oh, like a villain have. And it's not even a crazy hairdo. It is just terrible. [00:45:19] Speaker B: Tight pony. [00:45:20] Speaker A: Yeah, tight pony. It just doesn't look real. It's like. It looks like a wig the entire time. [00:45:26] Speaker B: Well, it doesn't help that he's, like. He's super wide, and his 90s blazer makes him even wider, and yet he's got this baby face. So he's this, like, giant brick of a dude with a ponytail and a baby face, and he just doesn't look right. [00:45:40] Speaker A: He's just not. Here's the thing. He's just not threatening. [00:45:44] Speaker B: No. [00:45:45] Speaker A: Like, it's hilarious how I think the. The antagonist, like, the hitman and twins, who looks even more like a normal dude than the guy does in Kindergarten Cop, I would argue is more threatening just because it's like, that guy has a gun and he's a hitman. And Schwarzenegger, yes, he can fight, but he doesn't know how to use a gun. It's twins. He's been on an island for the whole life. And then at Kindergarten Cop, it's like, you're almost like, back in Schwarzenegger action mode, where it's like, if anyone's gonna have, what, a shootout between these guys, it's Schwarzenegger every time. What are you talking about? Like, unless he has a kid as a hostage, which, of course, that's when it becomes like, of course that's what's gonna happen. Well, Sam, it looks like you have something to say. I just don't. [00:46:34] Speaker C: Oh, yeah. I was just the. I want to talk about the opening a little bit because it sort of scarred me as a kid. So the opening seems like it's straight out of Terminator 2. Like, it's Arnold in sunglasses hunting someone In a Southern California mall. Like, it definitely seems like Terminator 2. [00:47:01] Speaker A: And the fakest beard I think I've ever seen that man have. [00:47:05] Speaker C: Oh, yeah. [00:47:06] Speaker A: It's like, the scratchiest looking thing. [00:47:12] Speaker C: And, like, yeah, he's. [00:47:13] Speaker A: He's dirty. He's like. [00:47:15] Speaker C: He's super scary, too. Like, I remember as a kid. [00:47:19] Speaker B: Yeah. [00:47:19] Speaker C: Like, this movie. Scary, scaring me. And I actually thought that the bad guy. Cullen Crisp, which is kind of an awesome villain name. [00:47:30] Speaker A: It's a nat. It's a rad name. If only he didn't look like the way he did. [00:47:33] Speaker C: See, his look, though. Like, scared me as a kid. [00:47:38] Speaker B: He's creepy. [00:47:38] Speaker C: Yeah, he's creepy as shit. And, like, he has that. The weird mother who's also creepy. And their relationship, like, seems like it could be kind of weirdly incestuous. But the. The opening, this movie scared the shit out of me. And I wonder what it was like when parents took their kids to see this in the theater. I actually know my mom took my brother to see it when it came out, and, like, he was scared, and she was, like, upset at how violent it was. [00:48:13] Speaker A: I was gonna say that's a great question for you, because when we were watching this, I think I looked at Andy, and when, like, is this, like, made to be for, like, couples? Is this, like a. You bring your girlfriend where it's like, no, babe, it's not a regular Schwarzenegger film. It's Kindergarten Cop. It's cute. Yeah. Because I can imagine. That's what I was worried about, thinking, like, oh, my God, do they sell this to, like, families going to see this with their kids? [00:48:35] Speaker C: Right? [00:48:36] Speaker A: It's like, the thing that, like, there's a shot where Schwarzenegger goes into, like, a drug den and blows up a shot, like, a couch with a shotgun. And then 30 minutes later is, like, the tumor scene. [00:48:51] Speaker C: It's like, this weird. [00:48:52] Speaker A: Like, I can't believe 30 minutes ago he had to go to a drug den to make sure this girl didn't, like, overdose. And then she ultimately dies off screen. [00:49:03] Speaker C: And, like, yeah, he's, like, kind of a bad cop. Like, I don't think you can just shoot up a drug den. And, like, just kind of like. And the way he follows Cullen Crisp and, like, walks into some store with a huge gun. And, like, the police don't even believe that he's a policeman. [00:49:24] Speaker B: Right? [00:49:24] Speaker C: Like, he's a very crooked cop. [00:49:28] Speaker A: He's dressed like a flasher. He's got, like, a long trench. He's got a scraggly beard. He looks unwashed. Like, it just feels like it's going to be a bad time. [00:49:37] Speaker C: Yeah. [00:49:37] Speaker A: And then he gets annoyed by the fact that people don't trust him, that he's a cop. And it like, it's hilarious how it's like the first part of the film feels like it's Beverly Hills Copish in a way. And then it just becomes Kindergarten Cop halfway and there's like, okay, when's it gonna go back? [00:49:59] Speaker C: Oh, and it goes back pretty hard in the end. [00:50:02] Speaker A: It does. Gosh. When Colin Chris comes to the town and like, there's no establishing, like, his relationship with his son other than the fact that he hasn't seen him for years. So, like, there really isn't a relationship there yet. There's a whole extended scene where Colin Chris really wants this toy for his kid and the last one gets bought and the guy is like, no, I bought this for my kid. I know my kid wants this. Colin Chris just beats his ass outside the store, takes it, goes back into the store and hangs out with his mom while she's getting her pharmacy medication. It's like, what the fuck is going on? [00:50:49] Speaker C: It's bizarre. [00:50:50] Speaker B: Yeah. [00:50:50] Speaker A: It's such a bizarre movie. And it's the thing that this is 1990, this is at the start of the 90s, and we have this movie that's start it all off. It's just wild that in all this, like, tonal shift, it still gets the earnestness done. Right. And also just like the ending. Yeah. When it get. When it goes hard, it goes hard. And you know what? I guess I. I appreciate the commitment towards the end, but even though it ends with him being like, I guess I'm a. I'm a kindergarten teacher now. I'm just gonna stay. [00:51:32] Speaker B: Yeah. Yeah. [00:51:33] Speaker A: Because the love interest in this movie is. Is the ex wife and the. Because he just has a good relationship with the kid, so I guess he just. [00:51:45] Speaker B: I'll. I'll pause you there, Logan, because we're under a minute, so I'll end this call and start a new one. I'll send it in the chat. Cool, cool. Just keep recording. [00:52:20] Speaker A: It. [00:53:08] Speaker B: Do you remember what you were saying, Logan? [00:53:10] Speaker A: Yeah. [00:53:12] Speaker B: Cool. [00:53:12] Speaker A: About the love interest. [00:53:15] Speaker B: Yeah. [00:53:20] Speaker A: All right, we're good to back in. [00:53:22] Speaker B: Yep. Feel free to pick up where you left off. Yeah. [00:53:27] Speaker A: I mean, it's just the fact that the first woman that he has any kind of romantic connection with or just any connection with altogether is not only the woman that's across the hall from him. It's. It also happens to Be the ex wife of the drug dealer he's been trying to find this whole time. And also, on top of all this, instead of trying to be, like, this weird kind of like, Pamela Ree pretending to be like. Because there's a part where I was like, oh, my God, is she gonna pretend to be, like, an ex wife. [00:53:58] Speaker B: Or something like that? [00:53:59] Speaker A: And it's. No. She decides to pretend to be his Austrian sister with, like, a horrible accent. And then, like, the next time she shows up, she can't even. She's like, all right, we gotta drop the facade. I can't do this anymore. We gotta just tell her how this goes. And it's like, you chose this. You chose to do that. [00:54:18] Speaker B: I don't know why you thought that was something I was not prepared for in this movie was the aggressive wingmanning of his partner. Like, how she's just determined to get him laid the entire time. [00:54:31] Speaker A: Not only to be nearly. See her. Her fiance or husband's nut sack in kindergarten. Coffee walks in on them, like, just finished having sex, and her husband is, like, holding pillows, right? Like an American Pie film. Just, like, on his ass crack in his trunk. She just like, yeah. She's constantly like, you got to get in there. And it's like, hold on a second. Like, I thought we were looking for somebody. [00:55:00] Speaker C: But also, like, every mother in the town is, like, lusting him, right? [00:55:05] Speaker A: And I get it. And understandably, with what we see in the film, by that point, in terms of what a story, it's like. I get that. But I also think it's funny how every time a single mom or just, like, a mom who's interested in him has popped up. It is never used as, like, a. Well, is this the ex wife? Is this the ex? Like, it's either like, the one mom who is, like, clearly has, like, the money, and it's like, you know, very much. She's, like, the most femme fatale out of all the single moms that's in Astoria. She's like the very, like, platinum blonde. [00:55:39] Speaker C: Oh, yeah. [00:55:41] Speaker A: They almost start as if she could be one of the potential pivot women to be the ex wife. Then she just says, like, she got a divorce because her husband was gay. It just completely diminishes what that could be. And it's like, oh, maybe it could be a lie. But the movie doesn't present it like that. It presents it like a joke every time after that. The only woman who doesn't get that treatment is the actual ex wife of old Crisp. So it's like the movie just can't even hold a mystery if it tries. Because at a certain point it's just like, isn't it funny how Schwarzenegger is just like scary to these children? But they love him. They ask him silly questions all the time. [00:56:26] Speaker B: Yeah. [00:56:26] Speaker A: Are kids silly? It's like, yeah, I guess you're right. You're not wrong on that. [00:56:33] Speaker B: It is a movie that kind of at a certain point forces the question of like, who is this for? Because like you look at the, the PG13 rating kind of clarifies that in a literal sense. Like, okay, this is a little bit more adult, it's a little racier, but it's like. And it'll have all that, that kind of racy dirty jokes, sex humor and things like that. But then. Yeah, but still sits around in the kind of goofy light hearted kid comedy stuff, which is fun and I like it. Like that's not a complaint by any means. And it's probably my favorite stuff in the movie is all the like the classroom antics. But it's like, it's just kind of an odd blend or odd, you know, thing to be jumping back and forth between this kind of hard edged. Yes, it's comedic, but more, I guess, adult and brutal and crude, you know, cop stuff and sex comedy stuff. And then, you know, the next minute, yeah, Arnold's got monkey kids climbing all over him and you know, making piss. [00:57:40] Speaker A: Jokes, asking about tumors and asking about. Yeah, I mean, yeah. Cause there's also that whole thing where he tries to coerce the kids to tell them who their dad is. And it leads to like some of the darkest jokes where it's just like. [00:57:56] Speaker B: What does he say? Let's play who's your daddy? And what does he do? [00:57:59] Speaker C: Yeah, the best reaction is the kid who says, my dad hasn't been the same after the crash. [00:58:08] Speaker A: Yeah. Is that the really small kid? [00:58:11] Speaker C: Yeah, I don't know. But oh no, this really small kid's dad is a gynecologist. [00:58:18] Speaker A: Yes, yes. Because there's, you know. [00:58:20] Speaker B: Yeah. Because he's obsessed with penis and vagina. [00:58:23] Speaker A: Because there's the kid. There's the one kid where it's like all the kidder. Most the kindergartners in the Schwarzenegger's class are the same size except for the one kid who looks tiny, a foot. [00:58:35] Speaker B: Shorter than he's half the size of everybody else. [00:58:37] Speaker A: Yeah, he looks like a football with legs in terms of like how big he is. Like, it's just kind of ridiculous how small. Yes, he's A cute little kid. And I swear I've seen him in other stuff. Like, out of all the kid actors, I feel like he actually. Actually went on to do other films after this one. [00:58:52] Speaker C: Yeah, he was in Pet Cemetery and. [00:58:56] Speaker A: Oh, he's that kid. [00:58:57] Speaker C: Wes Craven's New Nightmare. Yeah. [00:59:00] Speaker A: Oh, that's right. So that's where I've seen him, because I've seen New Nightmare. [00:59:03] Speaker C: Yeah. Yeah, he had a good run in the 90s. But. But I was also gonna say to Andy's point about, like, kind of who is this movie for? I mean, that's a great point, but for me, like, it was kind of oddly perfect as a. For me, as a. I was so, like, jarringly shifting back and forth from, like, movies like Terminator 2 to, like, kids movies that I should have been watching that were actually appropriate for me. And it always felt, like, kind of weird to, like, go from watching Terminator 2 to, like, watching a family comedy. And the way that this movie just, like, blended them together at. For me as a kid, it was, like, oddly perfect. And it, like, kind of blew my mind that it was even out there. [00:59:59] Speaker B: Right. [01:00:00] Speaker A: I can see this being like a middle schooler age, like, if you're a teen, not a full blown, like, high schooler, but just like, this film seems so innocent from its box art to probably. It's true. And then you see it and then you're like, yeah, this is the type of film. Because again, you're right, Sam. Like, when I was growing up too, I was definitely watching things that was very much the middle of this movie. Consistently all the way through. And then horror or just like full blown action. [01:00:30] Speaker B: Yeah, I mean, yeah, I think. Yeah. To your point, Sam, that is kind of the story of most of us who grew up in, like, the 90s or early 2000s is like finding the you weren't supposed to watch and watching it and loving it just as much as the cartoons that you watch. You know? [01:00:45] Speaker A: Exactly. Out of the three of these movies, this has to be the biggest cable run of all three. Yeah, I feel like I had seen Kindergarten Cop on TV all the time. And this just, like, screams like a movie that, like, either you pop in at the most popular moments or you pop in towards, like, the end and you're like, this. This isn't Commando. Why is he wearing this? Kindergarten Cop. What the fuck? Is this how this ends? Like, you just remind yourself, oh, kindergarten help. It ends with him shooting the kid's dad. But don't worry, he loves the mom. It's like this weird. Like, what the fuck? [01:01:24] Speaker B: Well, and it is interesting to think about how. Cause I mean, I feel like this movie in a lot of ways ends up being kind of a template for a lot of kind of, you know, similar movies to come later, like throughout the 90s and into the 2000s. Like what's the Vin Diesel is the Tooth Fairy Pacifiers. Oh, the pacifier. And the Dwayne Johnson was the Tooth Fairy or something. Yeah. [01:01:53] Speaker A: Talk about the Vin Diesel film. Or there's a subplot where the sun has a swastika arm. [01:01:58] Speaker B: Right. [01:01:58] Speaker A: Because he's in the Sound of Music. [01:02:02] Speaker C: Oh my God. [01:02:03] Speaker A: Yeah, it's like Brad Garrett's like, look what I found in his backpack. It's a swastika armband. It's a Disney movie. [01:02:10] Speaker C: That's crazy. I've actually never seen that. [01:02:13] Speaker A: I mean, I'm not saying the Pacifier is good, I'm just saying. [01:02:16] Speaker B: Sure. But I mean, Kindergarten Cop ends up kind of being like the template for all of those. You know, there weren't a lot of movies, obviously. You know, we just talked about twins kind of. I mean, that kicked off Arnold's comedy career and in turn kind of opened that door for action heroes or, you know, big macho guys in action movies or in comedies. But Kindergarten Cop, more so than Twins, ends up kind of being the blueprint for that specific type of like, yeah, oh, here's the action guy doing a kids movie. He's a tough guy, but in the kids world, you know, which is. But, but it's interesting because this movie is. Is that. And sets that trend kind of. But it's so much more like hard edged. I mean, it's, it, it really is a PG13 movie as opposed to like a lot of those movies that come after it, which like really lean, more kid friendly. Swastikas aside, it's funny that you bring it. [01:03:14] Speaker A: Honestly, the Pacifier might be the best. Like I guess modern day example of that. Or like I have not seen it, but it seems like the, The Dave Batista is at my spy. [01:03:26] Speaker B: Oh yeah. [01:03:27] Speaker A: That was like never got released in theaters for years and years. And then it did. And then it did well enough that prime gave it a sequel. Like it was basically Batista is like a spy and like a child finds out that he's a spy and to keep the secret, he ends up basically being a surrogate father to the child as a secret agent. [01:03:47] Speaker B: Yeah. [01:03:47] Speaker A: And it's like, it's. Yeah, it's funny to think that like with that and like the Pacifier. Yeah. Those have, like, villains and guns and, like, probably explosions, but, like, nothing still. [01:03:59] Speaker B: Feels so much more. Yeah. Sanitary. [01:04:03] Speaker A: No, I don't remember Vin Diesel being bloodied up in. Laying in a shower. [01:04:08] Speaker B: Yeah. Killing people in a school locker room. Yeah. [01:04:12] Speaker A: Or like, the main. The main villain's mom running Pamela Reed over with a car. [01:04:17] Speaker C: You're not so tough without your car. [01:04:21] Speaker A: Pamela Reed is great. I think she's great. [01:04:23] Speaker C: Oh, yes. [01:04:24] Speaker A: And I think she's lovely in Junior. I love her scene with Schwarzenegger and Junior where they're eating all the food together. [01:04:31] Speaker C: Oh, yeah. [01:04:32] Speaker B: Oh, that's great. [01:04:33] Speaker A: Yeah. And she's just like. You eat like a pregnant woman. That scene is actually one of the solid scenes in that movie. Yeah. But out of the three of these, it is funny to think they're like, twins. I think it's an easy sell as to who that film is for. Junior literally is a film made for people that like twins in Kindergarten Cop. And then there's Kindergarten Cop. It's like, you sell this as, like, a. You never thought Schwarzenegger would be in this job profession. Well, guess what? He's still Schwarzenegger. There's gonna be squibs, there's gonna be shotguns. There's gonna be drug dealers. But there's also children and learning. [01:05:13] Speaker B: Yes. [01:05:14] Speaker A: And fire drills. A lot of fire drill stuff. [01:05:19] Speaker C: I remember he. In the early 90s, maybe around the time of this and Terminator 2, he had, like, a fitness camp for kids, and there was a commercial for it on the T2VHS that I vividly remember. And I wanted to go to that camp so badly because, you know, I wanted Arnold to kind of take me in as his own. [01:05:47] Speaker B: Of course. What kid wouldn't want that, honestly? [01:05:51] Speaker A: Yeah, it's so funny because. Yeah, it is. Like, I couldn't help but think of being a parrot and being pissed. Taking their small child to see this movie. But I think a child would, if you weren't scared immediately, would just be like, God, that would just be a cool teacher to have. That would be the raddest teacher in the world. And it's kindergarten. The easiest job is babysitting. I don't have to teach them history. [01:06:17] Speaker C: I love when he, like, kind of breaks down and says something like, the kids are pushing me around. And it's like, it's so serious. But. And that's why it's so funny, because he's, like, genuinely bummed out that he's not performing well as a teacher in. [01:06:35] Speaker A: That moment, because it's the first day. Because I think the first day is when he yells, shut up. Which is another one of the big. [01:06:40] Speaker B: Moments in the movie. [01:06:41] Speaker A: I think every teacher in the world probably is like, yep, that track very valid. And then he even like makes them all cry. It's like the turn of events is he yells, they cry, he runs out of the building, building abandons the children. And then when he finishes the school day, he goes back to the hotel and then, yeah, he falls and he's like, they're going to eat me alive. I'm so not ready for this. It's just, it's, it is, it is genuinely a sweet movie that is like, it's a sweet middle sandwiched between like what you expect Schwarzenegger could do in his sleep. And it's just kind of like funny to see. Of all the films he's ever done in his life. The fact that that's Kindergarten Cop is kind of funny. That it's that one doesn't mean I like this movie enough that I will ever give Kindergarten Cop 2 a try. But I do like this movie enough that I, you know, I respect Schwarzenegger going for this kind of again, testing himself, going from, you know, at least with Twins, if you feel like, if he ever felt like he was not adequate enough in the comedy space, he can have DeVito kind of fill that gap. Doesn't have that in Kindergarten Cop, but I think he does fine enough. Like, I think he has a fun time the whole time through. And you can even know that like, even with DeVito there, sometimes you just can't make it work fully. Because the third film in our trilogy, the one we've been alluding to this entire time, Time is a film where you have genuinely, probably out of all three of these films, the most star studded cast of them all. Also the biggest budget. We should also talk about the fact that Kindergarten Cop had the same budget as Twins or roughly around the same budget. And Junior has three times, four times the budget as both kindergarten coffin twins. Junior apparently had a $60 million budget. [01:08:43] Speaker C: Whoa, that's pretty big at that time. [01:08:46] Speaker B: Yeah. [01:08:47] Speaker A: For a film that is Arnold Schwarzenegger impregnating himself. [01:08:53] Speaker C: The fact that a studio was willing to spend that much on that concept is kind of incredible. [01:08:59] Speaker A: Especially when it doesn't like, yes, Reitman is still involved and Reitman, Schwarzenegger, DeVito, the twins trio is back. Boom, let's go. But the fact that it's not the same writers as like twins in Kindergarten Cop, I feel like should have been like well, this could work. Let's see. Let's see. And ultimately, what we get is a movie that all. On all three of these movies, this was the hardest one to get through. Not saying I didn't get through it, because I think. I don't think this is a hot take. But this is gonna be fun. If it is with the three of us. I would argue that Junior has the best love interests out of all three of these movies. Personally, I love. [01:09:48] Speaker B: Yeah, I can get behind that. [01:09:50] Speaker A: I think Emma Thompson is just a blast. She's a cartoon in this movie that is basically a cartoon. [01:09:56] Speaker B: She's having so much fun. [01:09:57] Speaker A: But Pamela Reed. I also love the fact that Pamela Reed. It's immediately when she shows up and what her dynamic is with DeVito. It's clear from minute 15 what it's gonna be two hours later what the. Their whole thing is gonna be. But Pamela Reed's good, and I like that she's, you know, she's having fun now. The whole Aerosmith of it all. Love to hear how you guys feel about the fact that Aerosmith plays a decent part in the DeVito Pamela Reed dynamic for a little while. [01:10:30] Speaker B: Well, it's such a. It's such a weird, fine detail to add to that, like, relationship. It's like. I guess it's. I mean, it's kind of a funny gag to keep bringing up, but it's just. It's like. Like a lot of things in this movie, which I will say I enjoyed, I think, a lot more than most people do. You know, there's just a lot of things in this movie that are kind of like, why did we go there? Like, why. You know, why did we go to that point? Whether it's an Aerosmith, you know, an Aerosmith pregnancy gag or, you know, Schwarzenegger saying my body, my choice, things like that. [01:11:18] Speaker A: Or anytime Franklin Joela showed up, like, every time he popped up, I was like, oh, that's right. Why are you still here? Like, we don't need you. [01:11:29] Speaker C: He is so, like, aggressively menacing that it's kind of jarring. [01:11:35] Speaker A: It's weirdly. He just wants to fund the thing he knows is happening that shouldn't happen. [01:11:40] Speaker C: Right, right. [01:11:41] Speaker A: And he's like, no, we don't. Like, you don't even. Oh, my gosh. It is. Well, Sam, how do you feel about this movie? Just let's. I want to hear what you feel about this movie. How many times have you seen Junior? [01:11:55] Speaker C: I've seen it quite a few times, honestly. Like, this was a staple for me as A kid. I've revisited it as I've gotten older. I. It just works like shockingly well for me. Like, it goes down pretty easy despite how bizarre it is. [01:12:16] Speaker B: Sure. [01:12:16] Speaker C: I think it's just very funny and, and very sweet. I think it's funny mostly because it plays it so straight. It like it knows that the concept is goofy enough that you don't have to lean into the humor too hard. Like, Arnold is just exhibiting very common symptoms of pregnancy. Like, it doesn't even go that far in terms of like his experiences. Like he gets weird cravings. [01:12:51] Speaker B: He has morning sickness. [01:12:54] Speaker A: Right. [01:12:54] Speaker C: Like he has morning sickness. [01:12:55] Speaker A: Very emotional about everything. [01:12:57] Speaker C: Yeah. There's that great moment where he's like watching an emotional father daughter dance and, and you know, starts crying and. And like even the sequence where he goes to that like woman's retreat or whatever. [01:13:18] Speaker B: Oh yeah. [01:13:19] Speaker C: Impersonates a woman. Like, I'm sure there are plenty of people who find that offensive and like, that's fine. I'm not gonna go into all that. But like that sequence kind of oddly works for me because it like sells the. It like makes it convincing. Like he uses some weird excuse that like he was affected by steroids as a German athlete. And like you kind of buy it. I don't know. It's like when I, whenever I revisit this, I'm just, I'm surprised by how well it works. [01:14:02] Speaker A: It. [01:14:05] Speaker C: I feel like you guys are gonna disagree with me. [01:14:08] Speaker B: No, I'll bridge the gap here because I think I'm probably between you and Logan here. No, no, I'm not shitting on either of you. But I think it's interesting that you mentioned how funny the movie is, but almost entirely in concept because that was something that struck me watching the movie is how like not funny it was, but not, not, not disagreeing with you, but like how not jokey it was. Like there's, there's not a whole lot of like big gags or like goofy one liners or anything. And those that are in there I don't think are all that good. But I think the movies, like, comedic strength is really. Yeah, it's just, it's just the premise and the scenarios that we find, you know, these characters in. And so that was something that while I was watching it, I was like, this is kind of a bizarre experience. This. I mean, not just because it's Arnold Schwarzenegger being pregnant, but like this overt comedy that's really not trying all that hard to be funny. It's just like existing in this Bizarre concept. And the concept is funny and continues to be funny in, in each new scenario that they go through. [01:15:28] Speaker A: We could say again that this film is about Arnold schwarzenegger getting pregnant 100 more times and I would still giggle. [01:15:37] Speaker C: Right? [01:15:37] Speaker A: Because it is just. It is just fucking stupid alone. But here's the funny thing, though, and this is something I think rarely happens when we do episodes. While we were talking about Kindergarten Cop, I think I've kind of came a little bit down when I talked about the total shift stuff of it. But the more I think about Junior, the more I do think about the things in Junior where it's like, no, I actually kind of had fun with this. Like, I honestly think it's. When the movie starts, I think is at its weakest, I think the first 15 to 20 minutes of this movie, I am like, this movie better not drag like this the whole time. Because I argue that, like, Schwarzenegger is at a stiffest at the beginning. Yeah, I think DeVito is at like full DeVito in a way that is like, okay, maybe we should tone it down a little bit for when we get into. Because, like, he is just. He is, he is wisecracking wise guy almost immediately. And he's just a popular gynecologist. Like, he is, he is, he is the go to guy. And Franklin Jilla is also there for like the first. It just like the beginning. I'm like, okay, he's got to get pregnant, but how long is it going to be until he gets pregnant? And it drags its feet when it finally gets to that point. But when it happens and the switch happens where Schwarzenegger starts to feel hormonal and starts to get the morning sickness and starts to like, have the existential crisis of being a pregnant man. Like, I honestly, I think it's when they go. When they're like, oh, my God, please take me to the. Take me to the ball or the dance. I'm sick of being stuck in this house. Oh my God, I don't know what to wear. Even though those are the most basic jokes you could make. The way that Schwarzenegger gives those lines, the way that he's so excited that they're going out to do something. The fact that DeVito is constantly just being like a husband to a man. And it's weird how this movie, like, again, I was expecting so many more gay jokes where it's like DeVito and Schwarzenegger are secretly gay and that's why they're living together in the same house. And like, Literally only happens once. And honestly, it's when they're doing the, I think, probably the gayest thing they've done on the screen the whole time, which is DeVito feeling his stomach when the baby kicks. [01:18:08] Speaker B: Right. [01:18:08] Speaker A: Like, that makes sense when Pamela Reid sees it and goes, hold on a second, I need to clarify something. And then they have to be like, no, wait, wait. [01:18:17] Speaker C: Franklin J. Never even suspects it. Like, his suspicion the whole time is that they're doing exactly what they end up doing. [01:18:25] Speaker B: Yeah, yeah. [01:18:25] Speaker A: But, like, when. When the movie starts to go from, like, Schwarzenegger actually wanting to keep the child to Emma Thompson being genuinely aroused and into a radiant, glowing, emotional Schwarzenegger to DeVito to DeVito being worried that they've gone too far and then being proven right because they have, in fact, gone too far. That is where the movie does take a shift, where it's like, I'm having more fun now. And thankfully, that fun never really goes away. But I do appreciate that the movie still has curveballs to throw, like the women's retreat, which is something. Again, when that happens, I'm like, it's 94. And, you know, I could see this being like, guys, people are gonna fucking roar in the theater when they see this. Like, someone thinks that they've. They have written Shakespeare, but they said Schwarzenegger's gonna dress up like a woman and pretend to be a pregnant woman. Guys, get the Oscars ready. I can see someone being really happy for themselves. [01:19:31] Speaker C: Well, it's funny you say, get the Oscars ready. The song nominated. Yeah, exactly. Yeah. The song in that sequence that's played during the emotional montage, I think was nominated for best original song. [01:19:44] Speaker A: Yeah. Of all three of these films, the Oscar nominated film is the Fucking Pregnant Joints of Acre Line. [01:19:52] Speaker C: But I will admit, when you describe the beginning, I agree. Like, it doesn't do a good job setting up Arnold's character as this kind of unlikable guy who has something to prove. Like. [01:20:09] Speaker B: Yeah. [01:20:10] Speaker C: When Danny DeVito says, you know, don't you want to be a great scientist and all that, I didn't quite buy it. And also, the movie makes it clear that DeVito is really just wanting to keep the experiment going just because he does want to lose the money he's invested in it. [01:20:29] Speaker A: Yeah. [01:20:30] Speaker C: Like, that's kind of a weak reason to impregnate a man. [01:20:35] Speaker B: Yeah. [01:20:36] Speaker C: Like, it just doesn't feel like the stakes would get that high based on, like, DeVito just kind of not wanting to lose money. [01:20:46] Speaker B: Yeah. It's almost like it would have made more sense for, like, the impregnating himself to be Schwarzenegger's idea. Like a desperate, you know, Hail Mary to stay in the project and be able to continue his research. It's weird that it's. That motivation all comes from DeVito trying to convince him because it just doesn't seem like DeVito's character should be that invested. [01:21:12] Speaker C: Right. [01:21:13] Speaker A: And then ultimately his. His driving force ends up becoming like, okay, we're gonna do this for a few weeks. And then when it gets a little too far because we don't want it to get even farther. [01:21:24] Speaker B: Right. [01:21:25] Speaker A: We're going to stop it. And then his new thing becomes. You went too far. I should have. Now he could go to prison. Something bad could have happened. Now we have to keep this a secret. Yeah. DeVito's whole emotional aspect is mainly through the Pamela Reed Aerosmith side story, which. [01:21:43] Speaker B: Yeah, kind of only dovetails into the, you know, Schwarzenegger pregnancy arc right toward the end. [01:21:51] Speaker A: Yeah. But still one of my favorite moments, which is, of course, the Schwarzenegger Pamela Reed. They are craving everything in the kitchen fridge, and they're eating, like, a disgusting amount of food on the table. And. And I mean, it's. Again, this movie just constantly still had some things in its back pocket and. Because again, like, I, for some reason, just never really put, like, oh, is Junior gonna end up being Emma Thompson's egg? I wasn't even thinking about that until it's like, wait a minute. [01:22:26] Speaker B: Yeah. [01:22:27] Speaker A: The fact that Junior is the name of the egg, and then Schwarzenegger makes the name of the baby Junior just because he doesn't know what the sex is. It's just. Oh, my God, it all just. And how freaked out he gets. And Emma Thompson having a man, having him have to tell her that he is impregnated with her child. [01:22:52] Speaker B: Something I thought was kind of funny about that and a little bit, like, clunky, I guess, and maybe not aged the best, but, like, also just bizarre that it. That it ends up as well as it does for the two of them is that, like, she never. Emma Thompson's character never learns, as far as we know, that it wasn't Schwarzenegger who took her egg and, you know, impregnated himself. Like, DeVito stole that egg. [01:23:26] Speaker A: Yeah. [01:23:27] Speaker B: I think he told Schwarzenegger that it was, you know, his. His doctor friend had a couple extras or whatever. [01:23:33] Speaker A: I do think at one point, he. He does try to tell her that he had nothing to do with it, but she doesn't listen and doesn't retain it because basically, I think at one point he says, Look, I'm sorry. DeVito told me it was from, like, one of his. Yeah, like his scientist buddies. [01:23:49] Speaker B: Oh, does he say that? [01:23:50] Speaker A: I think he does at one point. But then Emma Thompson is still like, that's still my. You've been pregnant this whole time. It's like, well, which lie are you going to be mad at the most? Go try and do it. Do it. I feel like DeVito deserves most the smoke. Don't be mad at the pregnant man. He's. He's very emotional right now. [01:24:10] Speaker C: Thompson, like, almost has the, like, stereotypical reaction that men usually have in these movies, which is to, like, blow up with anger when they discover a pregnancy, which is kind of interesting. But then it, like, sort of flips that on its head by kind of poking fun at men, too. Like, I think she says something like, you know, men already have all the cards. You have to take this one, too. Like, right. [01:24:41] Speaker B: Yeah. [01:24:42] Speaker C: You have to go get pregnant. [01:24:44] Speaker A: Because they really. Because at a certain point, the film almost is like. Even Schwarzenegger asks her, you, like, you know, hypothetically speaking, would you test on yourself if you had, like, an experiment thing? Almost as if, like, the film's gonna be like, that's the. That's the thing that's gonna get her being mad at him is the fact that he tested on himself. Except that she goes, no, I've done that plenty of time. So, like, they have to find something for her to get mad at him for. And it ultimately ends up being like, yeah, are you kidding me? You not only did you steal my egg, but you put it in you and. [01:25:18] Speaker B: Right. [01:25:18] Speaker A: It just never. Yeah, it is. It's because, again, her whole thing, for the longest time, she is. Her whole running gag the entire film is that she is clumsy and unlucky in a lot of ways. Like, her best get. The best gag with that is when they cut to her. It's the most genius use of the gag is basically when they cut to their dinner and they don't cut to their table, they cut to their neighboring table with, like, a bunch of random lobster shit on it. And then the waiter picks up that lobster shit and takes it over to the Thompson Schwarzenegger table. And I was like, right. When. That's good, you get five comedy points for that choice. That was. That was good. I didn't need to see that bit. Like, she's constantly, like, the whole thing. She is just like, whoopsie, slipping. Oh, I fell on my ass. Something fell here's this and that. And then when it gets serious, it does feel like, okay, we get a little too mad now at the pregnant man. Like, again, he didn't know it was your kid, didn't know it was your egg. Please. And it's. And it's funny too because you almost seem like she's gonna get like weirdly mad at him for like getting bigger. And then she's like, no, I love portly men. You think she would get mad at. She's immediately like, no, I'm into that. And it's like, okay, then how is she gonna get mad when it's revealed that he's a pregnant man? And it's the most like, it's saying, yeah, it's like the most generic way to get her mad. Which is like any man's version of this. Like if it was inversed. [01:26:53] Speaker B: Yeah. [01:26:54] Speaker A: Oh, my gosh. [01:26:56] Speaker C: So I'm, I'm curious, if you guys don't mind, I want to ask your opinion on the. The whole woman's retreat chapter of the movie. Because I feel like that's kind of like the deal breaker of this movie. Like, you either go with it or it totally ruins the whole movie for you. So I'm kind of. What was your reaction to that whole sequence? [01:27:23] Speaker A: I. It doesn't ruin the movie for me and I do. Again, it's 1994. [01:27:29] Speaker C: Sure. [01:27:30] Speaker A: I. There's. There's an energy to it that it feels like someone is like, yeah, this is the funniest thing I've ever. This is like, this is gonna bang up. I can't believe we're not making Schwarzenegger. [01:27:42] Speaker B: In a maternity gown. Are you kidding me? [01:27:46] Speaker A: What if Schwarzenegger was a woman? Oh my gosh. 94 is gonna light up. Like, it has that energy and. But again, I think, like, I think the silliest in that scene is when the Oscar nominated song pops in because that feels like it's trying to be the most earnest thing possible. But that is also when you have Schwarzenegger in drag basically with a pregnant belly, like trying his. Like, it's. Again, I think Schwarzenegger handles it as earnestly as he can. Like, I don't think he is really taking it in a way that feels gross. Like, I think his interpretation at best, because I think, I think again, like his Schwarzenegger and I feel like this is of all this, his three roles in these films, this is the one that is the hardest for him. And I feel like doesn't hit as easily as the like doesn't hit as well. But still I understand. Like, he is basically playing a man who finally understands what being a woman is like to a degree and is trying to play that subtlety and also have that respect for women in a way that, like, most men couldn't have because most women have never been pregnant with the child. And, like, really trying to take, like, all the hormonal aspects because, like, there's moments where you think he's. Because the very beginning of his pregnancy, he's almost like, oh, my God, I'm becoming a woman. Like, you feel like that's gonna be every time you feel something. But no, like, from that point forward, if he has a hormonal moment or he's very hungry, it is a very sweet. It's a very earnest scene that doesn't feel like he is like, women. Am I right? To be honest, that's devito. Like, devito at his weakness is constantly being like women. You can't even live with them. And now my best friend is also got a baby in him. It's like, that's his. Like, his whole thing when he dropped drives him to the women's retreat is like, women always say, you never understand what it's like having a baby, but then when you finally have a baby, they won't even let you have it. Like, it's like he has this whole Seinfeld esque rant about, like, women not letting a man have a baby. And it's like, devito, please, I know you're trying your best, and you clearly don't have as much of an emotional tie to the story as the other as twins, but please. [01:30:14] Speaker C: Well, this almost starred Andrew Dice Clay. And yeah, yeah, like, the concept was that it was kind of a riff on his sexism and, like, him getting the. The punishment of being a woman. So that would. If it were him, it would probably play into those kind of stereotypes a lot more. [01:30:38] Speaker A: I can already tell you that would have been objectively more offensive if it was Andrew Dice Clay. If it was immediately that. That is. Oh, my God, I can't even imagine. Just like. [01:30:50] Speaker B: Yeah, I think I read that the screenwriters ended up, like, nixing the Clay idea because they didn't want the film to be, like, just schadenfreude, just, like, laughing at someone's misery or like, comeuppance, which. Yeah, you can imagine how a movie about a man getting pregnant being like a revenge comedy would sit well. Or like a karmic comedy. [01:31:17] Speaker A: Yeah, I feel like the women's retreat ends up being Less offensive than it could be. Mainly because Schwarzenegger chooses to keep the baby. Like that moment in the movie, having Schwarzenegger. And again, you could argue that it's like, oh, my gosh, he's so hormonal, he makes a bad decision. If you feel. If you think that, you think that I. Maybe that's what the movie is trying to do, but I just kind of gathered is like the movie giving that character a choice. Meaning from that point forward, this is not like a Men, men. It's like, it's not a revenge against men. Not knowing how this pain is. Now he is willing to do this because he wants to have this baby. Like, the most earnest reason why he keeps doing it. And that alone. I think when it gets to the women's retreat where it's like, it almost feels like, I know this is. This should be. It feels like it should be more problematic than it is, but it honestly feels like, well, what else are you supposed to do with him? You can't just walk in with Schwarzenegger by himself and say, this man is pregnant. [01:32:22] Speaker C: Right. [01:32:23] Speaker A: Like, that would just not have worked. Like, it's one of those things where it's like, I think while the person who probably wrote this thought he wrote Shakespeare, having snigger. Like, having this done, I think it. It handles it as earnestly as a movie with a pregnant Schwarzenegger could do it. [01:32:39] Speaker B: Oh, yes. [01:32:41] Speaker A: Like, I. I think it has one of the. I think funnier jokes too, is when Emma Thompson shows up and she's like, where's your room? Where it's like, well, I'm not going to have a child with a man I've never had sex with. And like that, like, his face is like, absolutely like, okay, that's fun too. Again, Emma Thompson, it's a. It also has this hilarious angle too. And it's like this weirdly for 94 progressive angle. The fact that Emma Thompson is talking to Schwarzenegger in his women's retreat outfit, and it doesn't make him any. Like, she's not weird about it at all. Yeah, she's like, I love you for you and I want to have this baby with you, and I want to have. And he almost feels like at a certain point, she's just like, well, God, now I gotta have my own baby. I didn't know this could be a contest. It's like this. She is so. She's just a nice linchpin in this story that I feel like if she wasn't in it, I would probably hate A lot more of these aspects of this movie. But, like, I think she's a nice levity on top of Schwarzenegger doing his best. DeVito, for the most part, just being DeVito. Franklin Jella being weirdly menacing when he really shouldn't be, just sneaking in, sneaking into other people's rooms when he shouldn't be doing that little freak going into Schwarzenegger's bathroom. [01:34:03] Speaker C: Just one more thing about the. The woman's retreat. I remember when I watched this as a kid, I thought that whole sequence was, like, really serious. And I remember when he takes his wig off as a kid, I thought, like, that's like a. That's like a cancer patient taking off their wig. Like, it felt, like, so dramatic. And I thought it was, like a genuinely dark sequence. And it's really not at all. [01:34:36] Speaker B: No, it's not. I mean, I'll. I'll give my answer to your question. My stance on the women's retreat sequences. I mean, all of the, you know, elements of it that may not have aged all that well or kind of the complaints of. The understandable complaints of the kind of misogynist underpinnings of it. I kind of. I'm forgiving of that because I think a lot of this movie is weirdly so transgressive and kind of progressive for its time and dealing with the subject matter. And it goes in a lot of directions that kind of buck the easy route or the easy joke. And frankly, just from a pure, like, comic standpoint, I think that sequence is kind of the shot in the arm that the movie needs at that point because it, you know, like Logan said, the beginning of the movie, you know, kind of takes a while to get going. And then even when he starts getting pregnant, there's kind of. I don't know, there's a lot of lulls. And then when he goes to the women's retreat, it feels kind of like the. You know, the momentum has really built up and we're really, like, in this weird, zany place where he's got to deal with all these things here and now and he's actively experiencing the, you know, the. The pregnancy process. So I. I really liked the sequence. I thought it was fun, even. Even with all of its kind of weird, dated baggage. [01:36:21] Speaker C: Yeah. [01:36:21] Speaker A: I also think. I think it's funny, too, that. Because I thought at a certain point the women's retreat was where the finale was going to be. But I think it's funny how the women's retreat is not where it ends up like the pregnant like, the birth does not happen there. Like, they. They drive all the way into the middle of what seems like nowhere to take it to this women's retreat, and then they have to pull him back to take him back to DeVito's office. I was like, oh, I literally thought we were just going to end at the women's retreat, and that would have been fine, but I think it's even funnier that they have to be like, all right, take you out of this little intermission for a sec now. Let's get you back into the situation. [01:36:58] Speaker B: Well. And bouncing off your point, Logan, about how you think a lot of. A lot of the reason that it works, and I agree, is that he ends up keeping the baby. It feels less kind of sinister and cynical in that way because the original cut of the film ended on an abortion. [01:37:20] Speaker C: Oh, wow. [01:37:21] Speaker B: What? That. That was how the film was shot and written, and that was the first cut. And they had to, like, go back and do extensive reshoots because the studio was like, no, we're not hour long film. [01:37:34] Speaker A: Like, that's like that. Like, back half of the movie, it's the women's retreat and, like, him trying to hide. [01:37:40] Speaker B: No, I think the original movie did all of that and then ended with an abortion. I don't. [01:37:45] Speaker C: Oh, man. Yeah, he's got to have the baby. [01:37:48] Speaker A: Could you imagine that being Andrew Dice Clay just, like, going through all that? Oh, my God, that is. Thank you. [01:37:55] Speaker B: Honestly, a lot of reshoots. [01:37:57] Speaker A: I can't believe I'm saying this. Thank God for the studio and the reshoots, because, honestly, that would have been so much worse. That would have been so sad. Like. Yeah, it is. It is like, one of those things, because I was worried when we were starting the movie and how stiff it felt to me how the movie was going. I was like, God, are they going to do this? Are they gonna do this pregnancy in this experiment and they're just gonna lose track of time and then he just has to keep it. But, yeah, the fact that he has to make the voluntary decision to keep going with the pregnancy. Yeah. I think is the most interesting thing you could do with Schwarzenegger's side of it. And, yeah, this is. This is a movie where I feel like it takes. It takes some very easy jabs and, you know, at its best, gets little chuckles out of here. And then there's some good. Genuinely. Some good visual gags, some good, you know, actual good jokes. [01:38:48] Speaker B: Yeah. [01:38:49] Speaker A: But I would ultimately say this is my least favorite of three, but I do not Hate this movie. I think I actually like this movie. The more time has passed. Yeah, this is like, weirdly. Weirdly, this was the one where I was kind of dreading, like, I don't know how I'm gonna feel after watching this one. And then honestly, as more days have passed, I've been like, no, I do like that. That was actually kind of funny. I thought that scene was really sweet. God damn it. Do I like Junior? And it's like, honestly, kind of. Yeah. [01:39:19] Speaker B: I mean, I've. I've. I have felt that way just during our conversation and in the. The days since I watched them. About all three of these movies. I mean, I. I liked them all well enough when I watched them, but all of them have kind of, you know, I've warmed up to them in retrospect. [01:39:36] Speaker A: Yeah. And I think a lot of it does because, again, we've been talking mostly about Schwarzenegger, obviously, because he is the star of the show in these three, basically. But, like, I think also a lot of has to do with the fact that Reitman as a director, I don't think goes for the easy melodramatic moments. I think a lot of the emotional moments in the script, in the performances, he gives the brevity that those need at the times that they do. But, like, strangely enough, the Ghostbusters director does give. He does give some good. Like, some good emotional moments that don't feel tacky. Like, I think all three of these films have some solid emotional moments that are, like, expected in places, but also like, like in Junior, the whole scene where they're just like, with Pamela Reed and Schwarzenegger eating food together, like, that is a solid, very natural emotional scene without it feeling like you're gonna, like, get teary eyed or it's just like, this is a sweet moment. This movie needs a sweet moment, and it gets the best version of that. [01:40:35] Speaker B: Well, yeah, and I think all three of these movies, maybe almost increasingly as they go on, have this sort of like, exploratory eccentricity to them where it's like, oh, we're like, actually gonna kind of dig into the weird, goofy minutia of this silly premise and, like you said, go for some of the less easy opportunities. And yeah, I think that's Reitman's idiosyncrasies as a storyteller. And I think it's also probably Reitman and Schwarzenegger like, growing more comfortable with one another as collaborators and building that trust. Because, I mean, to make a movie like Junior, especially for Schwarzenegger, you know, I think you really have to have faith in your director that they're going to be able to make something that's like, you know, worth putting that much of yourself into and putting that much out there. [01:41:40] Speaker A: I just can't get over the fact that you couldn't say Junior without giggle. Because it is, it's just a silly movie. It's just inherently so silly. Even when you're not saying that's a film about pregnant Schwarzenegger, when you say Junior, it's hard not to think of that poster or think of like, or just think of him. I just again, the little moment where like Emma Thompson is just like, God, you're so radiant. Like, it's such a small thing, but it was just like, this is so stupid. I think it's so funny. Yeah, he has the plate with like everything that's from like the, the charcuterie board and like the shrimp and shit all over it. It's just like, oh my gosh, there's. It is. Of all the three films, this has the most low hanging fruit. But man, sometimes when it does it, it's, it still works, it's still funny. And now am I saying that if I showed someone this and they said this movie was dog, I would feel hurt? Not fully, but I'd also would just be like, I can't, I don't feel, I can't feel that way about this movie. I feel like there's more effort and earnestness into this than like other movies in 94 probably would have tried this to be. [01:42:51] Speaker B: Yeah. [01:42:53] Speaker C: What, what's weird about this trilogy is like, I tend to think Schwarzenegger's collaborations with James Cameron kind of define him. But like this trilogy is kind of oddly cooler. Like it's, it's like bolder than his work with Cameron. As much as I love his work with Cameron, like, it's a more interesting. [01:43:25] Speaker B: Showcase of Schwarzenegger's range. Yeah. Yeah. [01:43:30] Speaker A: It's also funny to think that Schwarzenegger works with two different directors where his literally his side character, like, because I, when I devito at his worst moments in Junior, honestly, reminds me of Tom Arnold from True Lies because they both have like this energy of like X. Like men with ex wives that are just like, you can't live with women, they're just gonna kill you. And you have true lives where it clearly feels like Cameron's going through clearly a divorce at the time this is happening. And then you have like Junior, which has like this very earnest, again, very sweet and I would say fairly Progressive. Or maybe it wasn't for 94. But just having DeVito be like, that is not. Like, he says, that is my son. Like, that is not technically his biological sub, but it's like, no, that is my kid. And it's like, that is great. [01:44:24] Speaker C: And what's. [01:44:24] Speaker A: That's a final. Very earnest and very sweet. [01:44:28] Speaker C: Yeah. And what's cool about that moment, too, is that he doesn't say it without consent from Pamela Reed. Like, he doesn't just say, you know, that's my boy. He asks if they can give it another try. And I thought that was cool, too. [01:44:44] Speaker B: Yeah, well. And he has that moment of, like, hesitation where he, like, starts to say, I'm your dad or whatever. And then he looks at her and, you know, you kind of see the mutual. The acceptance in their eyes. And then he's like, yeah, I gotta. [01:45:00] Speaker A: Say, for the last. For the last film of this trilogy, I do love that the Stinger is basically, well, if you want another kid, you can always impregnate DeVito instead. In the most straightforward way. It is like. Now, that's. That's funny. That's funny. Just. Just ends on that. It ends on which song does it ends. But it ends on a cover. [01:45:22] Speaker C: I thought I've got you under my skin. And it's Frank Sinatra and Bono, which I didn't realize until this rewatch. That's crazy. [01:45:33] Speaker A: Yeah. But, yeah, I mean, that's. That's the Reitman Schwarzenegger Trio. Like, it is something that I think, like, we both, Andy and I, at least, were very surprised by how much fun we were having with all three of these. And while, again, I'd say Junior is technically my least favorite, I have a fondness in different ways for all three of these movies now that I've seen them. And I'm honestly glad that you took this trip with us, Sam, even though you've seen all these films a few times. [01:46:02] Speaker C: Well, what's cool is that, like, Twins was, like, almost new to me because I had only seen it one other time and it was later in life, and the other two were, like, staples of my childhood, so. And it's weird that Twins wasn't as big for me because it ties so perfectly with Junior, like, not only in the obvious aspects of them, both starring, you know, Schwarzenegger and DeVito, but, like, it's conceptually. Yeah. And plus, like, DeVito and Arnold having the same bond of, like, DeVito kind of guiding Arnold's character through, like, a major life event in both movies. [01:46:51] Speaker B: Right. [01:46:52] Speaker C: In Twins, he's kind of helping him grow up, in a sense. And. And in Junior, he's, you know, helping him through pregnancy, obviously. It feels ridiculous whenever you describe the plot of that movie. [01:47:05] Speaker A: Yeah. And in Twins, DeVito gets Schwarzenegger laid and Junior DeVito gives Schwarzenegger a baby. [01:47:11] Speaker C: Exactly. [01:47:12] Speaker A: Yeah. Put it like that. [01:47:14] Speaker C: So it was. It was awesome to. To take that journey with you guys. Thank you very much. [01:47:19] Speaker A: Of course. [01:47:20] Speaker B: Of course I was. I'm just glad we had a seasoned old master in this realm to go on the journey with us. [01:47:34] Speaker A: Well, Sam, what is some. What is something that people could look out for you in the future when this, like after this episode? Because this episode's coming out the 24th. Okay, so what. What do you have in the pipeline that you would like people to know about? [01:47:46] Speaker C: Sure. So the next thing I'm going to review for Midwest Film Journal is the new Final Destination. I think I'm going to try to go back through all of the Final Destination movies. [01:48:03] Speaker A: We. [01:48:03] Speaker C: We do a. In an occasional series called Ranked Opinions, where we rank the entries in a film series. And I'm gonna do that for Final Destination. Other than that, you know, just new releases coming up. [01:48:25] Speaker A: And. [01:48:26] Speaker C: Yeah, that's pretty much it. [01:48:28] Speaker A: Yeah, we've got a. By the time this episode will come out, it will be. Andy and I will be caught up on our mission accepted series. [01:48:37] Speaker B: Oh, yes, Very good. [01:48:39] Speaker A: It will be. And probably by the time this episode will come out, be around the time where I will talk about the three hour magnum opus that is. [01:48:46] Speaker B: Yeah, this will come out the. The day after Mission Impossible. Eight releases. [01:48:52] Speaker C: Awesome. [01:48:53] Speaker A: And yeah, nothing gets me more excited than seeing Tom Cruise stand on top of a London theater as they change the Mission Impossible. And it's funny, Sam, hearing that you're re watching all the Final Destinations because literally, as we've been doing this episode, our friend Paige has just told us that she has rewatched all the movies or watched all Final Destination movies to prep for bloodlines. [01:49:17] Speaker C: Very nice. [01:49:17] Speaker A: It's not just gonna be you. [01:49:20] Speaker C: Glad I'm not alone there. [01:49:21] Speaker A: No, I think I might even do it too, because it's been a while since I've seen most of them. I think I've seen all but the fifth one, the last one they played in theaters. So I want to rewatch. [01:49:33] Speaker B: I think I've only seen the first two and then a random one later on, and I don't even remember which one it was. [01:49:41] Speaker A: What's your favorite one, Sam, off the top of your head? [01:49:45] Speaker C: Well, honestly, I'VE only seen the first Final Destination movie. [01:49:49] Speaker A: Oh, no kidding. Yeah. [01:49:50] Speaker B: Oh, wow. [01:49:50] Speaker C: Yeah. [01:49:51] Speaker B: Perfect time to take the journey. [01:49:52] Speaker C: Exactly. Yeah. [01:49:53] Speaker A: I'm. Now I'm definitely gonna have to pick your brain later about that. [01:49:56] Speaker C: Yeah. [01:49:58] Speaker A: Because I love two. I guess two is my favorite. I mean, love is strong. That's like a three. But two, I think it was the most fun re watching. But yeah. Again, Sam, thank you so much for joining us for our Schwarzenegger Reitman comedy trilogy. [01:50:13] Speaker C: Oh, thank you. [01:50:13] Speaker A: And Andy, we're so excited because our next trilogy is going to be just as funny. Right? [01:50:19] Speaker B: Exactly. Just all the laughs. [01:50:22] Speaker A: No, but our next episode, which will be our first June episode, is honestly, again, similar to Schwarzenegger Reitman in terms of it feeling like this is the reason why this show was made in a different sense. This is a trilogy that I think most people would be very well aware of the first film for very specific reasons. [01:50:43] Speaker B: Yeah. [01:50:43] Speaker A: But probably don't know that it is actually a full blown trilogy. So if you are out there and you've heard of a little indie film called the Departed that came out nearly two decades ago, the Martin Scorsese classic, modern classic, I would say that was based off of a Hong Kong film called Infernal Affairs. Now, most people out there probably goes, Logan, I already knew that. [01:51:04] Speaker B: Yeah. That's the number one trivia factoid on IMDb for the time Departed. Yeah. [01:51:08] Speaker A: Well, guess what? Infernal affairs is a part of a trilogy. [01:51:12] Speaker C: What? I actually didn't know that. [01:51:14] Speaker A: It is part of a trilogy. And not only is it part of a trilogy, both two and three came out the same year and they're weirdly prequels. Yeah, prequel. Yeah, it is. [01:51:26] Speaker B: I believe the Departed is really only an adaptation of the first one, but it pulls like a couple elements in from the prequel aspects of the sequels. [01:51:37] Speaker A: Yes. So for June 7, we are covering the Infernal affairs trilogy, which is just Infernal Affairs 1, 2 and 3. A solid 3 all the way through. [01:51:48] Speaker C: That's a hard swing from. That's a. That's a very jarring turn from this trilogy. [01:51:54] Speaker A: Oh, that is. [01:51:55] Speaker B: That is all we do is hard swings anymore. Yeah. [01:51:59] Speaker A: To be honest, it's. It's the shot in the arm. We love talking about movies like the Schwarzenegger Redmond trilogy, but we also just like being like, all right, let's do a hard reset. Let's go into something that we've been wanting to do for a while, because this is. Yeah, this is one, I think, Andy. This was one when we started talking about ideas back in 2020, you were like, I want to get that trilogy. Let's do that trilogy. Which has been on. Been in the pipeline for. [01:52:25] Speaker B: Yeah. And then Evan Dossy gave me the Blu Ray set. [01:52:28] Speaker C: Oh, nice. [01:52:28] Speaker B: I believe that's. [01:52:29] Speaker A: That's scoundrel. [01:52:31] Speaker B: Yeah. But no, yeah. I mean, Sam, our last episode before this one was Charlie Kaufman's Meta cinema trilogy. So like Synecdoche, New York and Adaptation and being John Malovich. So we're just all over the map. [01:52:46] Speaker A: Napoleon Dynamite. We have really just. It's just been. It's the best, in my opinion. That's why we've had so much fun with the show is when we do these, like, ebbs and flows. And we are very excited to talk about Infernal affairs. So tune in June 7 for the infernal affairs trilogy. But as always, I'm Logan. So. [01:53:05] Speaker B: And I'm Andy Carr. [01:53:06] Speaker A: Thank you so much for listening. Bye.