Freakquel #10: Rebel Moon

[00:00:19] Speaker A: Hello, everyone. Welcome to Odd trilogies with Logan and Andy. I'm Logan Somash. [00:00:23] Speaker B: And I'm Andy Carr. [00:00:24] Speaker A: In our trilogies with Logan and Andy, we usually take a trio of films tied by cast and crew, thematic elements, numerical order, etcetera. And we take each film and discuss the good, the bad, and the weird surrounding them. But that's not today. Today we have yet another freequel for you because of this year, of course, we had a bunch of films that had a new entry in some way, shape, or form, whether thematic, or in the kung fu panda, Godzilla versus Kong situation, just the next entry. And so we thought to, you know, initially think it was going to be fun, aka maybe just be a glutton for punishment for everyone to listen to. We decided that to, you know, as our possible last frequel. I think it's at least the only one we planned for the rest of the year, or maybe just for a long time. [00:01:16] Speaker B: Yeah, I think this is our last. [00:01:18] Speaker A: One as of now. [00:01:19] Speaker B: Yeah. [00:01:20] Speaker A: I mean. Cause there's. I think there might be one or two more this year that we could have done it for, but maybe we can just wait and see. [00:01:26] Speaker B: We'll have to see. [00:01:28] Speaker A: But today we just decided, since we have literally covered every single film in this man's career. [00:01:35] Speaker B: Yeah. [00:01:36] Speaker A: And, you know, it just wouldn't feel right. [00:01:39] Speaker B: We're in too deep. We're in too deep. [00:01:40] Speaker A: We are way. We are way too fucking deep when it comes to this, man. So because of that, today we are doing a bit of a twofer for this frequent. We are talking about the entirety of Netflix's rebel moon, Zack Snyder's Sci-Fi epic. [00:01:57] Speaker B: Opus, another opus from Zack Snyder. [00:02:00] Speaker A: His second attempt possibly could succeed, but we don't know yet. It's too early on. But it's his second attempt to make a franchise for Netflix. [00:02:11] Speaker B: Right. [00:02:12] Speaker A: His first one was the last time we talked about him, which was army of the dead in 2021, or was it 2022? [00:02:19] Speaker B: I don't care. [00:02:20] Speaker A: I think just look up army of the dead. Zack Snyder. You can see the date there. But. So because of that, we are now talking today about Rebel Moon, part one, a child of fire, which came out late November, early December last year, and the recently released by Netflix, Rebel Moon, part two, the scar giver. [00:02:43] Speaker B: Hmm. [00:02:44] Speaker A: Now, you may be wondering, Logan Andy, this could be a really fun glutton for punishment if you just made two separate episodes about these films. [00:02:53] Speaker B: Right? [00:02:53] Speaker A: Why did you decide to do one together? Well, that is because this was originally supposed to be just a big Sci-Fi epic single film. [00:03:03] Speaker B: Yes. [00:03:03] Speaker A: That I think about halfway into at least when they started doing press for. Initially for Rebel Moon. [00:03:10] Speaker B: Yeah. [00:03:11] Speaker A: They decided to reveal. Oh wait, it's actually a twofer. [00:03:16] Speaker B: Yeah. [00:03:16] Speaker A: You actually get a film. You get basically four and a half hours of what ultimately would have could. Honestly, I don't actually think it would have been any better just to have it together in one film. But at the same time, it doesn't make it any worse. So it wouldn't have really just depends. [00:03:33] Speaker B: Yeah. I think condensing this into one movie still would have left you with a horrible waste of time. [00:03:44] Speaker A: Yeah. [00:03:45] Speaker B: But it would be like 2 hours less wasted time. I don't think you really gain anything by making it one movie, but you sure as hell don't gain anything by making it two. [00:03:58] Speaker A: Here's the thing about Snyder that I think has been, you know, I mean, the reason why. And we even felt like. Cause I kind of said we should do this. I believe around the time you were about to see the first film in an early screening or afterwards. Yeah, I basically said it because one again, we've covered pretty much all of his films, but at the same time, Snyder is one of. Honestly, he was kind of like one of our first trilogies we ever did. [00:04:26] Speaker B: Yeah, he's kind of baked into our DNA on the God. [00:04:29] Speaker A: He was the first rise of director trilogy we ever did. So in case you don't know this man's career, it's an easy run. He was a commercial music video director in the early two thousands who got his directorial debut in 2000 four's dawn of the Dead remake. Right. Then after that, his 2000 seven's 300, then 2000 nine's Watchmen, which I would argue is probably his second best film. [00:04:53] Speaker B: Yeah. [00:04:53] Speaker A: And then 20 10, 20 eleven's legend of the Guardians, the Owls of Cahul, which I would argue is his best film, his only animated, his only animated film, and honestly, his most inner and probably best film. And then his next film after that is a absolute dumpster fire, but nonetheless interesting. Which is sucker punch. [00:05:13] Speaker B: Right. Which is kind of his. I guess that was his first original film. [00:05:17] Speaker A: That was his first original film. Because initially we did the rise of Snyder, which was dawn of the Dead 300 and Watchmen. And then we did two separate frequels pertaining to Snyder's only animated film at the time, which was ghoul, and then his only at the time original idea, which was sucker punch. Not saying the man doesn't have original ideas, I'm just saying in terms of. [00:05:38] Speaker B: Putting it on the IP in terms. [00:05:40] Speaker A: IP, yes. And then after that, of course, the reason, the real reason why we wanted to also talk about Snyder is because at the time, the Snyder cut was going to be a thing. So we did his DCEU trilogy, which was man of Steel, Batman V, Superman, dawn of Justice, and then, of course, his cut of the Justice League, which is most notably known as the Snyder Cut. But it's Zack Snyder's the Justice League. [00:06:04] Speaker B: Yeah, yeah. [00:06:06] Speaker A: And. [00:06:07] Speaker B: Yeah. And then he, he got his deal with Netflix. We developed a relationship with Netflix, and that's how we got army of the Dead, which was kind of meant to be spun off into a multimedia franchise, including, like, video games and comics. [00:06:23] Speaker A: And I do want. Yeah. Shorts, because we didn't talk about this. I think we talked about it a little bit. When that prequel came out, I felt like, it feels like 87 years since we talked about this film. But at the time, I think we did that episode, it was announced that not only was there going to be a prequel series, right, that was animated. [00:06:40] Speaker B: Right. [00:06:40] Speaker A: That was going to have the same cast, just really pertaining to the early years of the zombie apocalypse. Not only was it going to have that, it was also supposed to have a straightforward, standard sequel. It was also going to have a spinoff pertaining to the swedish safecracker, who basically, I believe, directed that film as well. And the reason why I'm bringing this up is because the animated series is canceled. The sequel is not happening. But the spin off with the swedish safecracker actually did fucking happen. [00:07:14] Speaker B: They made it. [00:07:15] Speaker A: They made it. It's on Netflix. It is called army of Thieves. [00:07:19] Speaker B: Oh, yeah, yeah. [00:07:20] Speaker A: It has, it has, you know, Game of Thrones alums. It. I mean, it's wild to see a Zack Snyder credit only because it's based off of the characters of army of the dead, technically. [00:07:31] Speaker B: Yeah. [00:07:32] Speaker A: But that film came out. [00:07:33] Speaker B: Yeah, I forgot. Yeah. Recognizing it now that I see it, I got this happen. [00:07:37] Speaker A: I mean, it's also. It's not a. It's not a proper Snyder film. So talk about. But it's just fascinating to think that all the things that could have just been cut initially, for some reason, the spin off just existed. [00:07:50] Speaker B: Yeah. Yeah. [00:07:52] Speaker A: So, yeah. So from that point on, Netflix already has a deal with Snyder. There are rumors about. There is like a failed, aka old Star wars. [00:08:04] Speaker B: Yeah. Those rumors had been circulating for several years, I want to say, since, like, maybe shortly after Rogue one or something, I feel like I started hearing about this Zack Snyder Star wars movie idea. [00:08:16] Speaker A: Yeah. Because around the time rogue one comes out at that point is when we probably still have two, three different film ideas that involve, like, I think at that point it's like, you know, the tranq Boba Fett film, the Kenobi, the rumors of a Kenobi film, as well as another rumor of, like, doing something that's rogue one esque in terms of like, taking a group of people from a different event. Like there's, at that point they're just throwing anything at the wall. And to have a Snyder as Star wars film, regardless if it's like, actually Lucasfilm was interested in that or if another company was doing it, clearly that would have gotten a lot of buzz once it did that. [00:08:53] Speaker B: Yeah. [00:08:54] Speaker A: Oh, also solo, which is like, out of all the spin off ones, is probably the one I like the most. But sure, that's what it is. But yeah, it is. It was a rumor going around that Snyder was practically going to make his own Star wars in some way, shape or form based off of an idea that could have been a Star wars at this point. [00:09:13] Speaker B: Again, well, that was like, supposedly pitched to Disney and rejected or something, which. [00:09:21] Speaker A: Lines which that I kind of would. If that is, of all the things that is described about the script, if everything was false except for that, yeah, I would fucking love to see that pitch. Not because I think Disney would, like, tear down Snyder for the idea, but I want to see Zack Snyder look a bunch of Disney execs and Lucasfilm execs in the eyes and say, guys, I'm going to do something really wild and different for a Sci-Fi thing. I'm going to do seven samurai in space. [00:09:54] Speaker B: Right? [00:09:55] Speaker A: And then you have probably a Lucasfilm exec being like, does he fucking know that? [00:09:59] Speaker B: Like, at least Dave Filoni's head just falls on the table. [00:10:02] Speaker A: Like, it's like we have like a show in development that's gonna have a fucking seven samurai. And also, like, the Clone wars animated series has a seven samurai episode. Like, of all the Kurosawa he could fucking rip off, he's gonna rip off the thing that Star wars has already done, I think a little too much. So, yeah, in case you were like me when we came into, like, watching these films. Cause basically what piqued my interest around November December was not only because, you know, we've done all of his films. Let's do it. You know, fuck it. When the second one comes out, we'll rip the Band aid off. The real reason why I wanted to watch this is because the adverse reaction that Andy had when he saw it, the screening, because of all the bad films we've watched, or we're going to watch for the podcast. I have never seen this man. Just automatically go, Logan. This is one of the worst things I think I might have ever seen, at least in recent memory. This has nothing of value to it. It might be the worst film I've seen this year. [00:11:00] Speaker B: Yeah. [00:11:01] Speaker A: I'll still do the episode, but I just wanted to let you know. [00:11:05] Speaker B: Yeah. [00:11:05] Speaker A: And unsurprisingly, in my mind, that only piqued my curiosity more in terms of what it is, because again, when you hear something like that. And then you went with our friend Austin, who, unfortunately, you know, was on the monkey Bone episode. That is the last episode that is just in purgatory. And I will hope one day, maybe in rebel. Rebel Moon times, I can find the technology to fix that episode and put it back out. But you went with our friend Austin. [00:11:33] Speaker B: Yeah. [00:11:34] Speaker A: And I will not repeat what he said, but I will say it was one of the meanest things I think I've ever heard anyone say about a film and its director. [00:11:41] Speaker B: Yeah. [00:11:42] Speaker A: Which, again, also piqued my interest, because. Holy shit. [00:11:46] Speaker B: Yeah. [00:11:46] Speaker A: It's a very strong reaction. So cut to April, where we already have this planned out. We know we're gonna do this. And so I'm go, okay, fuck it. I'm gonna watch Rebel Moon one night, and then the next night we watch Scargiver together. But I'm gonna watch Rebel Moon one by myself because I do not want to subject you to watching one again. Also, I know that I could not convince you to watch one again. [00:12:09] Speaker B: Yeah. [00:12:09] Speaker A: So I feel like maybe as an experience, I am just going to watch a child of fire, which is the first part, and then just live message. Live text you and Austin as we went. And initially, when I said I was going to live text them, I thought it was just going to be intermittent. Every 1520 minutes, maybe I'll just like, you know, I'm fucking texting them. I think each text is at least two to three minutes at a between. Yeah, I am losing my fucking mind because when the film starts, my brain clicks in a way that makes me go, oh, no, Andy, Austin, is this really just going to be seven samurai, but before the fun stuff happens and you both go, yeah. And I go, fuck. [00:12:55] Speaker B: Pretty much it. [00:12:56] Speaker A: And that's the crazy thing about Rebel Moon, is that Rebel Moon not only doesn't really offer much of anything, I think, in either one of these. In either one. [00:13:06] Speaker B: Yeah. [00:13:07] Speaker A: It just weirdly, it. It just feels so un snyder in a way, because again, this man's career is basically been built off of making wild, batshit decisions that are interesting in a foundational level. Never really that good, but at least show some creativity in a way where this man clearly thought this was a good idea and is probably surprised that it flopped the way that it did. [00:13:34] Speaker B: Yeah. [00:13:35] Speaker A: And so we're now at a point where we're watching Rebel Moon and neither one of these films have any of that. There's no interesting, like no big swings. There's no big swings. Like, that's the weird thing too, is like this man has clearly a hundred percent control. [00:13:51] Speaker B: Yeah. This is the blankest blank check I think he's ever been written. [00:13:55] Speaker A: It is. It is the, yeah, it is insane to watch this and be like, you had everything in your power to just make the weirdest un Star Wars y Star wars film that you could ever make. And what you make is like genuinely, and I mean, this, it's gonna sound hyperbolic, but it's genuinely true. This is the type of Sci-Fi that makes you look at the Sci-Fi epics that have failed in the past, in the last 15 years, maybe even 20 years, and make you go, you know what? We were too hard on that, right? We were too hard on John Carter. We were too hard on cloud, Cloud Atlas, Jupiter ascending, fucking tomorrowland. Anything that is Sci-Fi that was supposed to start a franchise or be big budget, that didn't work and we were mean to. Even if it did deserve any of kind of the haters and the criticism, it still is. Just automatically when you put it up against Rebel Moon, it just looks better. Astounding. [00:14:58] Speaker B: It sets a new floor. It lowers the floor. [00:15:01] Speaker A: Really does. [00:15:01] Speaker B: Yeah. [00:15:02] Speaker A: And it shows that the floor, unfortunately, is not always going to be just like swing and a miss. You're always trying to hit home runs. Like, this feels like a film where you're like, Snyder's just budding. Like he's just trying to fill bases and slowly just get to base as with as many people as he can before people just like get him out. [00:15:22] Speaker B: Yeah. [00:15:22] Speaker A: Like, he's not swinging for the fences. There's no Martha to this. There's no fucking, like doomsday gonna shove this in. There's no emails of the fucking Justice League as the way they introduced the Justice League. There's no four hour cut of fucking justice league. [00:15:39] Speaker B: Yeah, there's, there. It's just, there's nothing most banal, un creative, unexciting, uninspired stroll through familiar Sci-Fi and adventure beats that you've ever seen. Like, it's just. [00:15:57] Speaker A: It is. Yeah. [00:15:58] Speaker B: It's amazing how the, like, like we said, this is kind of the blankest check Snyder's ever been written, the most free reign, the most uninhibited he's ever been, and what does he do? He makes the least interesting, least original work he's ever produced and decides to. [00:16:21] Speaker A: Be his own director of photography. Well, that's we need to fucking talk about as well, because, again, with army of the dead, it kind of makes sense. I think I remember the behind the scenes stuff with army of the dead about how just in terms of the groundedness of a zombie apocalypse, how silly that premise is in terms of, like, we're gonna go to Vegas and we're gonna steal a bunch of money, which was like an epitome of just, like, hellish landscape during the zombie apocalypse. That's silly as shit. But, you know, if you really want to ground it, make it feel like you're just on the ground with them as, like, a news team, even though it's clear there's no news team with them, clearly just kind of get that energy. [00:17:02] Speaker B: Yeah. [00:17:03] Speaker A: And so in Snyder's head, especially, like, in the, you know, still COVID times, of course he's just gonna be like, yeah, I know what I want in my head. It's just easier for me to be my own DP. Yeah, makes sense. Guys, it's 2023 when this first film comes out. 2024. Now he has clearly enough money to fucking hire a director of photography. [00:17:25] Speaker B: Yeah. [00:17:25] Speaker A: Because Jesus Christ is this film. It just feels so flat in every way. [00:17:31] Speaker B: I mean, I think he just likes being the guy behind the camera, which I get so, like, fucking maybe, you know, proof your stuff against another opinion. [00:17:43] Speaker A: Not even saying, like, yeah, it's not even asking, like, you should get an award winning, like, no, there's no fucking deacons in this situation. Like, I'm just saying, like, this is the type where it's like, Snyder is the kind of creator we're clearly, like, if he liked a director of photography that could just be in this. He could have fucking asked for it and got it. [00:18:01] Speaker B: Yeah. [00:18:01] Speaker A: So it just is shocking to see him do it himself again and just see, you know, when it comes to, you know, the colors, the. Just how flat everything is and just the fact that, like, oh, my gosh, the special effects, again, are not inherently. They're not awful. No, I mean, anyway, the money is clearly there. That's where the money went, is the special effects and, you know what? Good for them. However, the designs to which the special effects are trying to build off of where it's like, weapons, backgrounds, it is the coolest effect, I think, in the first film, actually, the coolest effect in both films is anthony Hopkins robot. [00:18:46] Speaker B: Sure. [00:18:46] Speaker A: Which is basically just like C what a C three Po was like, it's cool. And killed people or fought people. [00:18:52] Speaker B: Yeah. But it's like mystic Shaman Kso. [00:18:57] Speaker A: Yeah. And he clearly is like, it's clearly a physical body there. And they're c gene over just like, the joints and the head and adding Anthony Hopkins's voice afterwards. But, like, in terms of, like, the color coding, in terms of, like, the lighting aspects of it, it looks very realistic compared to everything else that's in the film. And it's the best looking effects. But at the same time, it makes it even funnier to think that because of that, it's always funny when he shows up for 5 seconds and then leaves for long periods of time. [00:19:34] Speaker B: Yeah. [00:19:34] Speaker A: He is in the first film for maybe a total of 15 minutes. [00:19:39] Speaker B: At best. Yeah. [00:19:40] Speaker A: At best, he shows up. He has nothing really going on. He has one scene with a girl that kind of looks like the slain princess of the story. [00:19:49] Speaker B: Yeah. [00:19:50] Speaker A: He kills a guy, and then he's gone until the very end of the first film. [00:19:55] Speaker B: Yeah. [00:19:55] Speaker A: And then the second film is just him being like, I don't want to be a part of this fight. And then he's just a part of the fight. [00:20:01] Speaker B: He shows up. [00:20:02] Speaker A: Yeah, it doesn't matter. Then he basically says the end, like, oh, by the way, I have this really important piece of information that I just, you know, didn't say. [00:20:11] Speaker B: Right. [00:20:11] Speaker A: And it's like, God damn it. Like, why the fuck? Why would you do that? Why is that? Why is the best stuff like. I mean, I don't know. It just is. [00:20:21] Speaker B: Yeah. [00:20:22] Speaker A: I'm Bo. I'm just mine. I'm flabbergasted by these fucking films again. [00:20:27] Speaker B: Yeah. Just by the lack of intrigue and inspiration to them. There's just nothing here. [00:20:35] Speaker A: There just is. It's. Why? Oh, my God. [00:20:38] Speaker B: It's. Yeah, I mean, it's like, I think it's interesting because it's like watching. It's like when you put a movie like a, you know, six out of ten movie on in the background and you're not paying attention to it, and it's just kind of going by. That's what actively engaging with this movie feels like. [00:20:59] Speaker A: I just spilled alcohol all over myself. I'm a wreck. Right now I can't handle it. Like, that's what this movie's doing to me. [00:21:05] Speaker B: Trying to engage with this movie is impossible because there's just, like, a wall there and there's no characters that are remotely intriguing. There are no world building concepts that are unique or interesting or anything you haven't seen a thousand times before. [00:21:22] Speaker A: This is actually a good segue because we're just gonna go down the rabbit hole every time we talk about just it as a. As a whole. Let's just talk about the characters. [00:21:32] Speaker B: Yeah. [00:21:33] Speaker A: We'll start with just like, one by one. The lead in this is Sofia Boutella. [00:21:37] Speaker B: Yeah. Her name's Cora in the movie. [00:21:40] Speaker A: It's Cora. Yes, she is. She's ex imperium, basically. [00:21:47] Speaker B: Yes. [00:21:47] Speaker A: Empire. And she clearly has a past that in the first film. You can go, I think I know exactly what you did. And guess what? You can guess. Right. Because in the part two, they basically tell you exactly what you think happened and did. She is given pretty much nothing, and all she really has in the second film is a haircut and a love interest. [00:22:11] Speaker B: Mm hmm. [00:22:11] Speaker A: And both are uninteresting in their own way, including with the love interest. Say his name again because you were practicing it off. [00:22:21] Speaker B: Oh, Mikhail Hussman. [00:22:24] Speaker A: Yes. Steve from Haunting of Hill House. [00:22:26] Speaker B: Yes. [00:22:26] Speaker A: Also, he was in Game of Thrones. [00:22:30] Speaker B: He was the second casting for. [00:22:33] Speaker A: His name is Danny's. Danny's, like, mercenary fuck buddy towards the end of season six, which is funny because that same character, Dario Daario. That's right. He is Daario. He's the second casting of Daario and the first casting of Dario. Ed Skrein, Ed screen is actually our villain. He's our villain. He's a John noble. [00:22:56] Speaker B: Atticus. [00:22:57] Speaker A: Atticus noble. Sorry. I think John Halo hit my brain as I said it. [00:23:00] Speaker B: So John Rebel Moon, that's Sophia Vitala's character's name. [00:23:05] Speaker A: John rebel Moon, Ed screen, who is noble. And he is probably one of the only actors that feels like he is giving his role any kind of sauce, but not because there's anything there, but just because he is. He is just evil nazi man. [00:23:21] Speaker B: Yeah. And he, I mean, he gets to. He gets the opportunity to chew scenery. [00:23:26] Speaker A: He really does. And he is just evil for the sake of evil. Jaime Hanso plays an old general that is basically stuck in, like, a colosseum gladiator esque scenario. [00:23:40] Speaker B: Well, yeah, basically. Everybody else that we're going to name here, Korra, winds up on this moon with this little farming village and finds out that the imperium is gonna come and pillage the village for all their grain. [00:23:58] Speaker A: For their grain. [00:23:59] Speaker B: Because for some reason, this all powerful fascist government with star destroyers and interstellar travel needs this one moon's grain because they can't produce that on their own. [00:24:12] Speaker A: It wouldn't even be enough. [00:24:15] Speaker B: Yeah, right. It's enough grain for one village. And for some reason, the imperium needs it. So anyway, Cora basically thinks to herself and is like, oh, yeah, I know some people I could go talk to and basically goes about setting up a team to protect this village, which it's the plot of seven samurai. [00:24:37] Speaker A: It's even sillier than that, though, Andy, because she goes, hey, I think I might know someone who can lead me to people that'd be interested. And then that guy goes, hey, I think I might know some people who are interested in this kind of fight. [00:24:53] Speaker B: Yeah. [00:24:54] Speaker A: And then the rest of the movie, as in 80% of the movie, is just them finding other people to join the crew, watching them do their thing. And you go, how do they, how do they meet these people? How does Charlie hunt him? Who is the one that basically leads them to hot solo. Yeah. With a very odd accent for a man that can do accents. Yeah, he basically is like this. He is the Rick flag from David Ayer suicide squad. But not as fun. Yeah, you don't. I mean, I honestly think Rebel Moon would have maybe gotten a half star more for me if it just had Joel Kinnaman explaining to me who each person was and what their backstory is. You get that in the first film. [00:25:41] Speaker B: But this is nemesis, Cyborg swordmaster. She slice you in too? [00:25:47] Speaker A: You don't want to mess with her. [00:25:49] Speaker B: Don't touch her blades. [00:25:50] Speaker A: Yeah. Her kids are dead. [00:25:52] Speaker B: Yeah. Her blades will suck you into a black hole like it's. [00:25:55] Speaker A: Again, it is. They go to. The first person they run into is, oh, my God. He's the one, that hand he handles, the hippogriff Griffin guy. You know who I'm talking about? [00:26:10] Speaker B: No. Yeah. Tarak. Tarek. [00:26:13] Speaker A: Tarek. Tarak. He. They show up there. Yeah. The. The guy goes, actually, he's under my indentured servitude. [00:26:22] Speaker B: Yeah. He's basically a slave. [00:26:23] Speaker A: Yeah, I'll let him go if he can tame this Griffin, basically. And so leads to a prolonged scene of a griffin being tamed. They come back, he tells the griffin, I guess, via mind contact in terms of just like, you know, knowing the animal to kill the slaver. [00:26:41] Speaker B: Yeah. [00:26:42] Speaker A: Which he does as they're leaving the ship or leaving the planet. The next person is nemesis, I believe. Sure. And nemesis, they just. Again, they find her, they go down an elevator, and they just watch her fight a spider woman. Like a genuine. [00:27:00] Speaker B: Like a upper body of a woman, lower body of a spider. [00:27:03] Speaker A: Played by Jenna Malone. [00:27:05] Speaker B: Yeah. [00:27:05] Speaker A: An actual actress that I really enjoy. And I love it when she gets weird. And this time I was like, cool, you're getting weird. But how the fuck did you get these guys to come down with you and not do anything? Because core doesn't do anything in this stuff. Charlie Hunnam's character doesn't really do anything. The love interest jumps in to save a kid once because apparently the Spider queen or the Spider woman is just eating kids or killing kids because she lost her own children. [00:27:31] Speaker B: Yeah. [00:27:32] Speaker A: And then nemesis goes, I used to have children too. I get it. But you can't do that. And then you have fights are with. They're not lightsabers. [00:27:40] Speaker B: Yeah. [00:27:40] Speaker A: They're like stupid super heated obsidian steel or something like that. It doesn't fucking matter. They're worse. Lightsabers. Yeah, they have weird, like, they leave. [00:27:51] Speaker B: Like, light trails and. [00:27:52] Speaker A: Yeah, it's like dry ice. Like kind of. [00:27:55] Speaker B: It was like a. Yeah, a vapor effect. [00:27:58] Speaker A: Yeah. And the first time they're shown, it's like a imperium soldier slashes a woman in the back. So you don't fully see the sword. They don't. They don't make it any kind of fanfare when that shows up. But there's nemesis, there's Tarak. There is also. There's Jaime Hansu, who's the gladiator, who's like an ex general who lost his men because he just didn't want to do what the imperium wanted to do. Because I know if you know this, but the imperium bad. They'll make that pretty clear initially. And they'll keep reminding you, as if. Yeah, the nazi uniforms don't make it pretty clear. [00:28:33] Speaker B: Literal 1940s nazi uniforms aren't clear enough. [00:28:37] Speaker A: Which is the biggest fucking thing that's weird about this film is that the. [00:28:40] Speaker B: Design is so, like, early 20th century coded. [00:28:44] Speaker A: The fact that, like, the fucking village that the. That Cora is based at, Korra and her love interest who Andy referred to in the second film as the cream giver. [00:28:54] Speaker B: Yeah. Well, they have sex. [00:28:56] Speaker A: Honestly, it's better than, I think, whatever his. Cause I'm just gonna probably call him Sam or Seth because it just feels like. [00:29:02] Speaker B: Gunner. [00:29:03] Speaker A: Gunner. Yeah, that's not any better. I just think in this. But where Gunner and Korra are from, like their whole village is built like, it's like a set from the northmen, except they all have sliding doors. [00:29:16] Speaker B: Yeah. [00:29:16] Speaker A: And it doesn't make any sense. [00:29:19] Speaker B: Yeah, it's the super primitive. Like early 20th century, late 19th century village. Everybody's wearing like, you know, old newsboy hats and corduroy overalls and shit like that. And then they've got, yeah, automatic sliding doors on their wood shacks. [00:29:38] Speaker A: And they don't have horses, but they have like these weird, clearly horses with masks on that are just like these weird. Just like, I can't even remember how to describe it because every time I looked at it, I was like, it's just a horse. Yeah, just be a fucking horse at this point. Why are you pretending that they don't. [00:29:57] Speaker B: Commit hard enough to make it look like not a horse? No, it's literally just a horse in a mask. [00:30:03] Speaker A: Yeah. And it's. It just doesn't. It's. It's such weird design across the board. It seems like. Because again, like Star wars. Not saying that Star wars did that. [00:30:14] Speaker B: But they did that in 1977. [00:30:16] Speaker A: Yeah, but they also did it even more interesting though, because at least it's like, why is there like an igloo type thing in this desert? [00:30:22] Speaker B: Sure was like, it's so foreign that it's like, okay, I don't even know what this technology is. [00:30:27] Speaker A: This. Yeah, well, as rebel, this is just. [00:30:29] Speaker B: Like an actual 18th century european shack with an automatic Walmart door on it. Like, I don't understand. [00:30:37] Speaker A: Like Rebel Moon has this whole. [00:30:39] Speaker B: These people don't have any technology or any electricity and. [00:30:43] Speaker A: But when they do, it's like out of nowhere. [00:30:44] Speaker B: Yeah, it just. [00:30:45] Speaker A: Cuz it just like they then have electricity, they have laser guns. [00:30:48] Speaker B: They're still using like windmills. [00:30:50] Speaker A: I know. Like why fucking makes sense. [00:30:53] Speaker B: Yeah, they're churning their own butter. [00:30:55] Speaker A: Like literally there's a whole long extended sequence at the end of one where it ultimately leads to. This could have just been a Skype call where the. Where Ed Screen's character, John Hancock, rebel Moon Noble, basically tells the head the emperor, the new. He's not the emperor, but he basically. They killed the emperor and the queen. And then this guy took over saying, oh, God, it sucks, whoever killed the queen and emperor. Well, I'll fill that spot. Yeah, for a second. And that guy, who really is not intimidating, nor is he in the film in any way. No, he's not a bad actor either. Again, that guy is from Hawkeye. He's like the one guy in the russian tracksuit mafia that is, like, kind of, you know, has some depth other than comedic relief. And it just is fascinating just to see all these, like, tubes and liquid of different colors go into, like, this little sack to basically put end screen into a mind meld that could have just been a fucking hologram, because that's all it should have been. At a certain point, it's clear a lot of the design choices are basically, we don't want to do what Star wars would have done in this scenario, or we don't want this to look like a Star wars world, but at the same fucking time, gonna be honest, just because a cantina just looks like a wild west saloon doesn't mean I'm not gonna look at it and look at weird aliens inside of it and be like, this is the cantina scene from a new Hope. This is the part where this happens. And. Oh, my God. Is that Ray Fisher? That's Ray Fisher. He's. He's Bloodaxe. [00:32:39] Speaker B: Yeah. [00:32:40] Speaker A: First name? I don't remember. [00:32:41] Speaker B: Darian. [00:32:42] Speaker A: Dariax? [00:32:43] Speaker B: Darius. [00:32:44] Speaker A: Is it Dariax blood axe? [00:32:46] Speaker B: I don't think it's fucking Darian. Yeah. [00:32:51] Speaker A: Darian blood axe. Because in this film. [00:32:53] Speaker B: And his sister Deborah, Devra. [00:32:55] Speaker A: And Darian. Because in this film, the rebellion is the blood axes. [00:33:00] Speaker B: Yeah. They have already begun a rebellion. [00:33:03] Speaker A: Yeah. And it's pretty fucking big. But they're also not great at hiding, I will. I will probably say, because they know where they're. Seems like they know where they're, like, trail leads most times, but basically Korra and Gunner are like, ah, we. Well, Gunner, I think at one point goes like, yeah, I've worked with the blood axes before. Maybe we could find them. And then Hunnam goes, hold on, we still got 45 minutes until you should maybe find them. Let's go find other fun little goodies, little fun little goof guys to just hang out with. And that leads to the rest of the fucking team, because if it's gonna be seven samurai, you gotta have seven people. [00:33:37] Speaker B: Yeah. [00:33:38] Speaker A: And guess what? They. They certainly end on seven people being like, yep, that is probably going to be the seven that fight in this fight. Cool. And that's about it. Like, it's. It's. Again, it is. We talk it. We say this all the time, but, you know, when we. When we talk about episodes, we're like, how long? We're going to be able to talk about this for, like, over an hour. And nine times out of ten, it's usually when we say that, that it becomes some of our longer episodes. Case in point. God's not dead was nearly 2 hours. Yeah, we were not expecting that we'd. [00:34:10] Speaker B: Be struggling to fill time on that one. [00:34:12] Speaker A: And here we are, pretty much done explaining the first film and talking about its characters, except for, you know, Charlie Hunnam betrays the team. [00:34:22] Speaker B: Yeah. He has his little traitor arc and then gets a pneumatic hammer through the head. [00:34:27] Speaker A: Yes. Which is. Which is fun to a degree, I guess. Doesn't mean. [00:34:31] Speaker B: I'm sure it'll be more fun in the. The director's cut because in this one, it just. We cut around all the violence because this is the contractually obligated PG 13 cut. Stay tuned, I guess, for the. The Snyder cut later this year. [00:34:49] Speaker A: Yeah, we got fuck it. Let's talk galaxy. Talk about it is the. The other thing that really kills the fucking vibe of these two films and why we would recommend, even if it wasn't for the fact that both these films are dog shit and useless and you really shouldn't give them a time of day. Even if you still were kind of interested in watching these films, we still would not recommend you try it until at least August because it pretty much sounds like that what these two films are. Are inferior versions of what Snyder was basically like. Snyder was basically told by Netflix, we would like you to have, like, a director's cut. Yeah. In your contract. Need you to have, like. [00:35:29] Speaker B: Because clearly, I'm sure on Netflix's side, it was, you know, it's this kind of manufactured attempt to recreate the Snyder Cut Justice League hype. And Netflix is like, oh, people love when Snyder gets to, you know, release a director's cut. And Snyder loves when he gets to release a director's cut. So, hey, guess what, Snyder, before you even start shooting this movie, plan to shoot for a PG 13 version and your unrated version. So Snyder actually shot this movie with the intent, like, knowing, okay, I'm gonna basically make two versions of this movie. [00:36:09] Speaker A: Yeah. Because all the trailers for Rebel Moon just scream like, yeah, this isn't your daddy. Star wars. People can say fuck in this universe. [00:36:16] Speaker B: That is the whole appeal, as far as I can tell of these movies, at least in concept, is, yeah, it's. It's Star wars, but it's more violent, more vulgar, more horny, more quote unquote adult. You know, if that's something you've always wanted from Star wars, then God help you, but this is what that's gonna be. And then you watch these versions of it, and it's 100% not that, because it's totally kneecapped and neutered. [00:36:44] Speaker A: It's as adults. As like a skinny, scantily clad woman in like a viking being spray painted on the side of a van. Like, there's just like, oh, wow, that guy's very muscular and that very little. Oh my God. [00:36:57] Speaker B: She has a look in her eyes. [00:36:59] Speaker A: Oh, my lord. [00:37:00] Speaker B: Like, do they even say fuck in either of these? [00:37:03] Speaker A: No, cuz it's PG 13. [00:37:04] Speaker B: Well, yeah, but you get one. [00:37:06] Speaker A: I don't even think he commits to that. I think at a certain point, and if anyone said it, it was Corey stole. And I don't remember if he said. [00:37:14] Speaker B: Corey stole the character who's around for like ten minutes and then dies in. [00:37:18] Speaker A: The first, which was shocking. I was, I was like, wow, you got to, you got to sell Corey Stahl in a roll and you just waste him. You waiter stole. [00:37:28] Speaker B: Just be the most charismatic man in Hollywood. He appreciate work with because the names he gets to do nothing in this movie or these movies. Incredible. [00:37:40] Speaker A: I wish they still. I think it was an old college humor bit. College doesn't exist anymore. And that's totally fine because dropout fucking roles. But there was a one bit where it was like, you know, this actors, the perspective of this actor's agent and I think there's like a Nicolas Cage. I really, if that was still around today, I would love a Ray Fisher agent episode, man. Because, my God, I think Ray Fisher is very charismatic as a person. I think it's fun to listen to him talk about the projects he in, especially when he's invested in likes. Like, he likes Snyder. And also like, watching the Snyder cut, it was clear of like, yeah, there's something that this guy has in this role of cyborg that like, I would like to actually see him in a good movie as something. [00:38:27] Speaker B: Yeah. [00:38:27] Speaker A: And to watch Rebel Moon yet again, give Ray Fisher a chance to shine and they give him nothing. And then they just. They fucking kill him. [00:38:38] Speaker B: Yeah. And, yeah, and, and, you know, Snyderites, Snyder Lings, Snyder Chads, whatever you are. You know, we are aware of Snyder's claims that his version, his director's cut is a wildly different experience. I think he basically said it's pretty much a whole different movie. So we will see how those promises, you know, are fulfilled. [00:39:12] Speaker A: But as of right now, as of. [00:39:13] Speaker B: Right now, he knew he was making two cuts and he still turned out this. And also, it's not like Netflix took this movie from him like Justice League, you know, it's not like he, you know, had to make a bunch of compromises. In post, he knew this was happening. [00:39:31] Speaker A: Yeah. [00:39:31] Speaker B: He made this movie. [00:39:32] Speaker A: Yeah. [00:39:33] Speaker B: This may not be his idealized version, but he made this movie. [00:39:37] Speaker A: I. It's like. It feels like this film. Both these films are a bit of a challenge from Netflix to him in terms of, like, listen. [00:39:44] Speaker B: Yeah. [00:39:45] Speaker A: You know, we. You can make it however you want it to do, but I. We think that, like, you know, we would like you to make a more, quote unquote sanitized or more approachable version. But we'd also like you to not hold back so that if you have enough and you want to go for an unrated, you can do it, but not outright say. Because they want the Snyder cut praise. [00:40:06] Speaker B: Yeah. [00:40:06] Speaker A: Because, to be honest, if you want. If you want the Snyder cut praise, wait until July to say that Zack Snyder has been kicked out and Joss Whedon's doing the new cut. [00:40:13] Speaker B: Yeah. Well. [00:40:14] Speaker A: And I bring back Joss Whedon into a fucking Snyder project that would get really people. [00:40:19] Speaker B: Yeah. I'm sure Netflix also, though, is covering their bases with this because they wrote Snyder a blank check with army of the dead. They told him, hey, we'll franchise this shit. We'll make it massive. Comes out. Nobody really cares about it. It doesn't. It's not critically successful. [00:40:39] Speaker A: No. [00:40:40] Speaker B: Nobody particularly likes it. And they're like, you know, they're probably a little burned by that. So they're like, okay, Snyder, your next thing. Sure, you can have free reign, but you're also gonna, you know, make a slightly more appealing version. [00:40:54] Speaker A: The biggest issue with making films that are directly only for streaming is the fact that, like, when you're making a film for the theater, you have to have the mindset of people sitting in the theater being like, this is gonna be the point where, like, if they're even thinking about doing a bathroom break, this moment's gonna keep them on their seat. You want to keep people in their fucking seat. While, as with most streaming films, you have the ability to pause at any time. [00:41:21] Speaker B: Yeah. [00:41:22] Speaker A: They don't care about, like, financially, how to get the money back because it counts on views. [00:41:28] Speaker B: Yeah. [00:41:28] Speaker A: And even how that even pertains doesn't even matter to us because we never fully get the information in terms of what Netflix considers, you know, such and such that everything's a success to Netflix. The way they talk about all the stuff they have. [00:41:40] Speaker B: Yeah. [00:41:40] Speaker A: So it is. It's. It's fascinating to watch a director who clearly, like, excelled, in a way, in the mindset of, like, this is gonna look cool on the big screen in front of, like, a lot of, you know, people in the theater to a point where it's, like, both army and the dead. And these two films just don't have the energy of, like, yeah, this is gonna be the moment where people go fucking nuts. Like, rebel technically has more of attempts at that, but even then, they just feel so moot in comparison to, like, even the most lackluster of Sci-Fi films that were made for theaters. [00:42:17] Speaker B: Yeah. [00:42:17] Speaker A: Like, there's just. There's just no intention there. That. There's a different intention there compared to, like, if it was theatrical only. [00:42:24] Speaker B: Yeah. And I don't know how much, you know, I can't really speak to how much Snyder would actually be keeping in mind, like, how people are gonna be watching this movie as he's making it. But, you know, there is something to be said for, you know, when you're making a movie for the theatrical audience, you know, the. The audience is kind of your instrument, and they're your orchestra and you're playing them. [00:42:51] Speaker A: Yeah. [00:42:51] Speaker B: You know, your movie is. You're making them laugh in this moment and then gasp and then shriek and cry and, like, you know, you're kind of. You're trying to time all these reactions in a way that creates an interesting experience for the audience. And like you said, with streaming, you don't have that obligation, because half the stuff on streaming. That's generous. Way more than half the stuff on streaming is just there to, like, be played mindlessly in the background of whatever else you're doing or something you can half pay attention to while you scroll on your phone or make dinner or entertain your kids. [00:43:27] Speaker A: Yeah. Cause most conversations about what is big on a streaming service usually is. Netflix goes, this was watched by 2075, 100 million households. Not this fucking thing. But, like, in general, like, they're bigger stuff. [00:43:42] Speaker B: Yeah. [00:43:43] Speaker A: And then someone goes, okay, how does that mean, like, retention wise, that 20. [00:43:49] Speaker B: Million, if they watched the whole thing. [00:43:50] Speaker A: Like, 100 million households watched all of it. Or, like, you know, if it's a tv series, is there, like, can you see a cutoff point? And then that's the point where Netflix goes really silent. [00:43:59] Speaker B: Yeah. [00:44:00] Speaker A: And goes, well, at least it was there. A hundred thousand minutes were shown. Like, 100,000 minutes were watching this show. [00:44:06] Speaker B: And it's like, when I think, timely enough, I think it was just in the last couple weeks, Netflix announced they would not be revealing any, like, watch data anymore because it's, again, subscriber data. [00:44:19] Speaker A: Which is understandable, because subscriber data, they. [00:44:21] Speaker B: Don'T really stand to gain anything. [00:44:23] Speaker A: No, because they're gonna lose, like, because most streaming services, when there's usually a bump, there's usually right after a big drop, and it kind of goes. Ebbs and flows, especially with big releases and also with watch data. It's because everyone's had the same question about, like, yeah, but, like, why is this? At what point do you go, oh, yeah, this person, like, the rock has had this many minutes watched on Netflix. Let's give them a $60 million film or $100 million, like, with Chris Evans or some shit, and it's like, what? How do you even engage that this is even gonna make its money back? [00:44:58] Speaker B: Yeah, I can't even begin to, like, wrap my head around how you define success in an environment like Netflix. Because, I mean, you know, if. If there is, Netflix is, like, the streaming service that, you know, everybody has. That, or Disney plus, like, if there's one streaming service that almost everybody who'd stream stuff has, it's Netflix or Disney. Netflix has been around longer, and Disney. [00:45:26] Speaker A: Plus has nostalgia as it's backing, as. [00:45:28] Speaker B: Well as when you are some of. [00:45:30] Speaker A: The best deals in the streaming, like, package wise. [00:45:33] Speaker B: And so when you're Netflix, who is rooted, you know, you are kind of the foundational platform of streaming. Everybody already has Netflix. I don't really understand. You're no longer probably judging on, like, how much a new movie increases your subscriber count. [00:45:51] Speaker A: Yeah. [00:45:51] Speaker B: Because most people already have Netflix. You know, like, in my head, I don't understand how you define, you know, in views doesn't really matter because you don't make money on views. You already have those people's money because they have Netflix. Yeah. [00:46:08] Speaker A: You can't even tell. It's like, it genuinely is, like, in my head, if you can't even guess, like, if you. If the financials are not, like, the point you push the most standard thing, then after that is hype, critical acclaim, and then awards recognition. Because I, then I think, like, the fact that Netflix as a company, you know, again, the reason why they've existed for so long is they literally release so much shit every month for completely different genres, for completely different demographics. [00:46:37] Speaker B: They cater to everyone. [00:46:38] Speaker A: Cater to everyone. And they cater to no one at the same time. And that's why they've existed for as long as they have and why they're still the king of what they do or queen, whatever. You see Netflix as an entity. More like a Hydra Specter esque. Yes. And arguably, like, in my head, I think of the fact that it's kind of fucking insane that it's like you could put the gray man, both rebel moons fucking all these, like, all these different Netflix films, and then put all quite on the western front, which was, like, the best winner for, like, foreign language film last year. And that was one of my favorite films of last year. And that is a Netflix original, technically. Yeah. And it was like. And it won awards, it had acclaim, but it only led to that, I think. Now if you look at on quiet, the western front, it now just has basically the equivalent of a plaque on its, like, you know, descriptor. That's all it really gets. [00:47:37] Speaker B: Yeah. And like, that's some boring dystopia shit. It is interesting how they are kind of. Yeah. Playing both fields like they are. You know, they're absolutely built for the masses shoveling out reality shows and kind of, you know, run of the mill rom coms and stuff like that. And then. Yeah, then, like, the last two David Fincher films are Netflix originals. [00:48:04] Speaker A: Fucking Coen brothers. [00:48:05] Speaker B: Coen brothers. Noah Baumbach, like Beasts of no nation. [00:48:08] Speaker A: Which was an interesting Cary Fukunaga. [00:48:11] Speaker B: Like, that was all these awards, darling, auteur driven things. And it's like. I mean, you know, that's the thing I am most, I guess, grateful for Netflix for, is for being a reliable platform for those voices. [00:48:29] Speaker A: No, for sure. [00:48:30] Speaker B: Cause, you know, a lot of even big name auteur directors have spoken out recently about feeling like, yeah, I don't feel like I have a guarantee that my movie can get made anymore. Like it used to be. [00:48:43] Speaker A: I mean, fucking Richard Linklater. Like, he's made, you know, phenomenal films in his past. He's actually. He's. I mean, fucking made the before trilogy. [00:48:51] Speaker B: Which is like School of Rock, too. [00:48:52] Speaker A: Yeah, school of Rock. And one of my favorite films of all time, dazed, confused. Like that man, clearly, like, he's got a new film coming on Netflix, and it's clear it's because, like, nobody else. [00:49:03] Speaker B: Wants it, I guess, else is gonna give him the money he needs to make. [00:49:06] Speaker A: Again, it just. [00:49:07] Speaker B: Score says he made a Netflix film. [00:49:09] Speaker A: Yeah, let's fucking talk about that. The fact that even score says he has to either go to Netflix or to Apple. [00:49:15] Speaker B: Yeah. [00:49:15] Speaker A: Get his films produced. This is what the Rebel Moon episode has become. Because there's nothing. Yeah, because Rebel Moon is just the. Is the epitome of what you think a streaming blockbuster, quote, unquote, would be, where it's like when you are not. Because, again, a blockbuster had that name because it literally had people around the block basically tiring out spots. [00:49:43] Speaker B: Yeah, it was a blockbuster because people were excited for it. [00:49:46] Speaker A: And when it comes to now, when you think of what a streaming, like a quote unquote streaming blockbuster is, none of those films feel like they could even do a quarter of the fucking lines that the old school film, even. [00:50:00] Speaker B: Calling it a streaming blockbuster, just speaks to exactly what this film feels like. It's literally not a blockbuster. It's just an amalgamation of moments and character tropes and plot devices that you associate with blockbusters. It's. It's like kind of the closest thing that a human being, a human auteur could make to an AI film. [00:50:25] Speaker A: It's like blockbusters for dummies. [00:50:27] Speaker B: Yeah. [00:50:27] Speaker A: Like, it really is just taking like, the chapter sets and also. Yeah, again, it just fucking shows because it's weird to see it. Honestly, it's just so baffling to see Rebel Moon wanted to come out the way that it has and then at the same time, a month ago, fucking watch Dune part two and see an auteur just like, really risk it with a fucking company that right now it's not making a lot of great decisions with their own kind of properties, but still made a risk that has ultimately worked in his favor because he's made one of the best. Literally, in the span of a month, we have gotten one of the best modern Sci-Fi epics in one of the worst modern Sci-Fi epics. And it is just fascinating to see that one of them works because it's a director who knows that the theater experience really does add to hype, critical acclaim, financials. Like, it clearly works if you really commit to the theater experience. Even in a time where, like, there are still people who are like, I get it. The theater experience is not the best for everybody. That's totally fine. And I think the appeal of Netflix still decades, like a decade plus later, makes perfect sense. I love how available streaming is. [00:51:38] Speaker B: Yeah. [00:51:39] Speaker A: That being said, there is some films and even smaller films. They're just films in general, where it's just like, you gotta see this in theaters because when you don't have your own distractions and you're not sitting in the most comfortable setting, but you're still, like, you're sitting in comfy seats, but you're not your house. [00:51:57] Speaker B: Yeah. [00:51:58] Speaker A: When you're almost kind of feeling relaxed, it feels like an event in some way, shape or form, whether. Yeah, and. And it doesn't feel like a fucking event when you watch rebel move one or no. [00:52:09] Speaker B: And I don't think. I mean, I, you know, I got to see the first rebel moon in the theater. [00:52:15] Speaker A: Yes. [00:52:15] Speaker B: Because they screened it for us. They did not screen part two. [00:52:19] Speaker A: What a shocker. [00:52:20] Speaker B: In fact, I think, like, altogether, the marketing push for part two was basically non existent compared to how hard they were pushing part one. I think that probably speaks to how. [00:52:32] Speaker A: Part one performed, because Snyder talks about, like, I think when part one's coming out, they're like, yeah, I want to make six films. [00:52:38] Speaker B: Oh, yeah. And now, yeah, they did a whole press tour. There's tons of trailers out. I saw it all over the place. Theatrical screenings for press. And then part two just kind of appears. [00:52:49] Speaker A: They go, we're so happy to release some comics in the next few weeks. Yeah, Terek's back. [00:52:54] Speaker B: At this point, I fully. I fully expect the Snyder cuts when those to come out to just be like, surprise drops. Like, no fanfare, no announcement, just like, at this point, they're out. [00:53:05] Speaker A: I mean, yeah, I think that's another thing, too, that I think really hurts. What really hurts? The hype and the excitement about anything on a streaming service. Especially when a Netflix situation, that Netflix's schedule, its release schedule just moves shit around and doesn't tell anybody. Yeah, like, again, you know, another film that came out this year that was, I think, literally supposed to come out last year and was announced a year and a half printed prior to that was fucking damsel, the Millie Bobby Brown fantasy film, where, like, there was I. Because every year, Netflix early on the year releases, like, a sizzle reel of all that's coming out. [00:53:45] Speaker B: Right? [00:53:45] Speaker A: And they just show a sizzle reel of, like, you know, they show a single shot of, like, millie Bobby Brown. [00:53:51] Speaker B: Mm hmm. [00:53:52] Speaker A: But it's clearly not eleven. So it's like, okay, cool. There's a fucking film with her and it's fancy. Cool. Then you hear nothing, right? And then it. Then if you're interested in or you're just curious about this film, you look up and then you find articles that came out four months prior being like, yeah, it's supposed to come out this time. And then you look at the schedule and you go, that's like, two days from now. Yeah, like, what the fuck? Like, again, one of my favorite films of last year that didn't make my top ten that I really, really enjoyed was they cloned Tyrone, which was another situation where that's a Netflix original that was supposed to come out in 2022 initially, and then there was no fanfare until 2023 when it got a new trailer and they didn't even acknowledge the fact that it's been, like, nine months in between. They just keep moving shit around. And they did that with Rebel Moon. It literally was. Zack Snyder's rebel moon will come out this time. [00:54:44] Speaker B: Yeah. [00:54:44] Speaker A: Two months before it was that Zack Snyder's Rebel Moon part one will come out this time. Part two will come out five months from now. And then people just go like, well, what the fuck you talking about? Wait, it's two films now. One's called scar giver. What the fuck does that even. Wait. And it's. Hold on. What? What? And then the films. Yeah, and then, like, it just. It's just shocking. It always. It's like, again, it makes it fun, I guess, to a degree, because you're like, you never know what Netflix is gonna put its interest into. But at the same time, it's like, I should never. I don't think any Netflix exec or any kind of person should be surprised when people go like, that's out. [00:55:24] Speaker B: Oh, that came out. [00:55:25] Speaker A: That's out. Like, okay. Like, I mean, again, it's. It just is so fucking fascinating to just, like, think about the context surrounding these two films. And then you watch these two films, and they are the blandest fucking things you could even ever see in a Sci-Fi scenario. Genuinely. [00:55:42] Speaker B: Yeah. [00:55:43] Speaker A: There is nothing that Star wars has done post bought out by Disney that is this fucking bad. In fact, I still. [00:55:51] Speaker B: I mean, honestly, you know, say everything you want about Disney, you know, being woke and catering to the, you know, the masses or whatever. Like, there is nothing this uncreative in Disney. Star wars. [00:56:07] Speaker A: Yeah. [00:56:07] Speaker B: Cause everything they've made has more heart, more creative flair, more originality to it than this does. [00:56:17] Speaker A: And you were. And that is coming from people, again. [00:56:21] Speaker B: Greatly disliked, several who are not yet Star wars. [00:56:25] Speaker A: We become less fans of Rise of Skywalker, and we're not really fans to begin with of that film, but less interested in that film on a rewatch as time goes on. We both don't really like the Kenobi show. [00:56:36] Speaker B: Oh, yeah. Or Boba Fett. [00:56:38] Speaker A: Again, I was so disappointed with Boba Fett. The fact that that show. I enjoyed how that show started. And then when it basically just shits the bed and the bad batch, you know, is a. Is a show that exists. It just finished its run. And it's so sad that it only got six episodes in one season. Just kidding. I know it got three seasons, but most people don't talk about it because it's just a show that exists. Like, again, as someone who is, like, genuinely was like, when Andor came out, had a come to Jesus moment and be like, oh, finally, something that I like from this, that it, like, is beyond, like a seven out of ten to a degree. I will say I would take all of that, all of my issues with, like, Disney Star wars shit. And I would take that any day over. Whatever the strengths of Rebel Moon, part one and part two are. [00:57:30] Speaker B: What are those strengths? [00:57:31] Speaker A: The strengths, I guess, is the fact that, like, the actors, like, I guess certain actors in both films usually screen or hanso, like, the actors that clearly are just like, we're just gonna have fun with this. Yeah, there's not really much here. [00:57:47] Speaker B: Like, the fun doesn't translate. [00:57:49] Speaker A: No. [00:57:49] Speaker B: Like, I think the attempt, not infectious when I say. [00:57:52] Speaker A: I mean, the attempt is like, what translates where it's like, jimin clearly, just like, when he shows up, he is just, he's like, has a beer belly for, like, one scene and then he gets fit and then he teaches, he does the classic seven samurai. Here's some stuff sticks. [00:58:07] Speaker B: Yeah. [00:58:08] Speaker A: Let's, like, let's like, make sure we have some traps. [00:58:11] Speaker B: Yeah, these star destroyers. [00:58:12] Speaker A: Yeah. And, like, there's all this shit. There's also, like, one scene where noble goes on a wild little massacre. [00:58:19] Speaker B: Yeah. [00:58:19] Speaker A: And it's like, okay. And then also Anthony Hopkins robot does some shit in the second film where. [00:58:24] Speaker B: It'S like, cool action. [00:58:27] Speaker A: Like, yeah, and again, he has antlers on and that kind of is cool. But, like, again, that is the all. [00:58:33] Speaker B: Like, the only remotely good things about this are all superficial. [00:58:37] Speaker A: Yeah. [00:58:37] Speaker B: They're all cosmetic or aesthetic. [00:58:41] Speaker A: It really says a lot when I, when I hear. Because again, it's always, like, the most curious thing you could do, especially when it comes to a Snyder film, is go, like, I want to know what Reddit is saying because Reddit could go either way. And, like, Scar Giver was fascinating because Scargiver was the film that most people who were disappointed with Child of Fire were just saying, oh, this is what I wanted Child of Fire to be. Oh, more action. Yeah, more action. But even then, like, it barely is anymore. [00:59:10] Speaker B: It's still a whole hour of characters re explaining their backstory. That's what the first hour of this movie is. They sit around a table. They sit around a table and go, what's your origin? [00:59:21] Speaker A: There's more fucking action in bug's life. That's a better seven samurai adaptation than this fucking thing is. [00:59:26] Speaker B: Yeah. [00:59:27] Speaker A: And again, you know what's great about seven Samurai? If none of someone out there hasn't watched seven samurai. Spoiler alert. Fucking rules. But at the same time, it's a three hour film where guess what the stakes are. It is literally seven dudes that are good at what they do in a town of people that don't know what they're doing and you are slowly watching these fucking guys die because guess what? There's seven dudes with villagers. [00:59:50] Speaker B: That army. [00:59:52] Speaker A: Yeah. And guess who fucking dies in Rebel Moon of the seven samurai. Fucking nemesis, the one actress by Doona who we both have loved in other things, aka the host from the rise of bog episode. Like, she's fucking great in that film. She's also great in the first of that trilogy as well. Barking dogs never lie. Yeah, never bite. Like, she's great in that too. But like, she has very little to do in this film. She clearly is pushing in both films. She's clearly pushing a tragic, you know, but, you know, sad angle, but in a way that it's not off putting. Like, clearly she is just like, loves kids and loves. Loved being a mother but lost her fucking kids. So, like, there's a tragic angle to that, but she fucking dies in the most just, eh, way possible. And the fact that no one else dies where it's like, I look, you just look at the sea of people that's still alive and I'm like, I'm sick that every one of you are still fucking standing. Yeah, even you. It's like, tarek, you should have fucking died. 20 minutes. [01:00:53] Speaker B: Well, cream giver dies. [01:00:55] Speaker A: Cream giver dies. But he dies in the dumbest way too. Yeah, he dies after a star Destroyer. Sorry, not star Destroyer. Has already flipped around this way and that way. All this wild shit has happened. It's like internal damage to a degree. It is just is. Their romance is nothing. If the sex scene is fucking 20 minutes long, that still doesn't make improvement. It probably is just because it's just like, well, at least Zach is trying something. Even. It's not working at all. [01:01:26] Speaker B: Like, again, at least we're delivering on the idea of something you wouldn't see in a Star wars movie. [01:01:30] Speaker A: No, I mean, he apparently, like, again, Snyder is just like, I think he's. If he's unfazed by, like, the reception both, like, critically and viewership wise, that doesn't surprise me because the way he talks about these directors cuts are like, yeah, these were always going to happen. These are gonna happen later this year. And also he seems more excited to talk about, like, how this death is more graphic and goes more detail like this or like, yeah, he talks about the sex scene. That is, there's no sex scene in two, but clearly it's like, there's a. [01:02:02] Speaker B: Like, cut to after the sex scene. [01:02:04] Speaker A: Which is, again, fine, but it's also like, you know, in Snyder, it's like, again, this is the man that, like, had a whole dark shadows. You see Gerard Butler's ass cheeks and Lena Eddie naked. Like, this sex scene in 300. Like, this guy clearly was like, there's got to be something in the fucking director's cut. And it's like, yeah. Then at some point he's like, yeah, I think I shot stuff where, like, gunner is teaching her how to be more intimate. And I'm like, oh, my fucking God. That's what you're gonna. That's what we're gonna fucking watch? Yeah, it is just. It is just fascinating to see that this, I think both films put together is like $150 million total. [01:02:43] Speaker B: Cool. [01:02:43] Speaker A: I think it's like 80, 75 each maybe around that time, which again, you know, I guess is less than, like, what a Star wars film would cost. But even fucking then. But even then, like, it shows, like, you can see that where the money is going. And it's not in the. [01:03:00] Speaker B: Most of the guns look like. Like nerf guns that they spray paint fucking. [01:03:04] Speaker A: There's like a bounty hunter like crew that's like. They look like dog creature pig things. They just look like Joel Edgerton orc from fucking bright. Another Netflix quote, unquote blockbuster that just fucking did nothing. Yeah, because, well, that film has a lot of fucking issues. [01:03:24] Speaker B: Well, and that was even. That was another auteurs Star wars. That was supposed to be Max Landis. [01:03:32] Speaker A: Star wars and David Ayer post suicide squad. Fairy lives don't matter today. [01:03:38] Speaker B: Right. [01:03:39] Speaker A: That has the fact that Will Smith says that in that film. And now just post. Just post slap anything going back to Will Smith and that again, I bet. I wonder how many of you out there, they're listening to this. When we said bright just had a manchurian candidate, like, oh, yeah, God, that movie came out. Yeah, that movie was also a Netflix original. They just. The thing that is the benefit of Netflix is the fact that they are churning things out so fast. And it clearly seems they're not making a huge loss that they can just, like, push it away. They can keep going. And when it comes to, like, their big hits, they can put them up on a pedestal for a few months and then take it down. Like, I mean, like, right now, it's like people talking like, Rebel Moon one and two have been out there together, you can watch the whole story as of right now, the beginning of the story. And most people want to fucking talk about baby reindeer, the fucking series that is, like, from the guys at the end of the fucking world. That is, like, the stalker show that's based off a true story. Like, I have heard more people talk about that. [01:04:43] Speaker B: Yeah. [01:04:44] Speaker A: Then, like, even remotely thinking about. [01:04:46] Speaker B: Yeah. Barely any fanfare over scargiver. [01:04:48] Speaker A: Yeah. And it's understandable as cream giver. Yeah. Well, it's understandable. Why? Because, again, it's like, at least it was really cool when the few years back we did the fear street trilogy. [01:04:59] Speaker B: Yeah. [01:04:59] Speaker A: How they did that, like, every month or just like, every two weeks, they had a new film, and it was like. [01:05:05] Speaker B: And like, again, was that Netflix? [01:05:07] Speaker A: Yes, that was Netflix. Because what originally it was supposed to be, but even then, it shows that the. Originally it was supposed to be, I believe, the trilogy, it was technically a Netflix original because they bought the rights, but it wasn't built as such. The original thing was going to be. There was supposed to be theatrical releases with three months in between each release. [01:05:25] Speaker B: Okay. Yeah. [01:05:26] Speaker A: And then instead of that, Netflix, I believe, did two weeks between each release. [01:05:31] Speaker B: Yeah. It was definitely less than a month. [01:05:32] Speaker A: And clearly, like, it was still. The films were still a lot of fun. I. We both really enjoyed going through the Fear street trilogy, especially. Just, like, with the watch through was just a really fun time. But even then, it's like, yeah, the retention rate on, like, each film goes down really fast, especially when initially, because it's like, you give two people only two weeks to really find out about this film. [01:05:53] Speaker B: Yeah. [01:05:54] Speaker A: And then the next one's out. [01:05:55] Speaker B: It's. [01:05:55] Speaker A: And, yeah, I mean, it's. There's a reason why the fucking Kevin Costner two part epic is, like, got three months in between. [01:06:02] Speaker B: American saga. [01:06:04] Speaker A: American saga. Like, it's. There is. There is a benefit. And again, for streaming services, clearly they understand the benefit of having time in between stuff because there's some streaming services that still do weekly episodes instead of full season drops. But even then, it's like, they still just don't commit to the fact that, like, maybe it's best if we don't do it like this or that. Honest to God, I think the closest Netflix has done that, or it's going to be. Is that, like, the final season, it literally. Today, as we're recording, I know we always record live, quote, unquote. But as. As of today, when we're recording, they announced, like, the last season of the fucking karate kid. Cobra Kai show. [01:06:45] Speaker B: Yeah. [01:06:45] Speaker A: And they're putting, like, three months in between. They're saying it's 15 episodes. They're doing three, five episode drops, and it's gonna be like, late summer, late fall. And then 2025 is the finale, the series finale of the show. And it's like the first time I think I've ever seen them fucking do that. [01:07:06] Speaker B: Interesting. [01:07:07] Speaker A: Netflix is also doing live content, which is also just fucking wild. [01:07:11] Speaker B: They're all over. [01:07:12] Speaker A: They're all over the place. But that's why they're so popular, because it's like someone at least gravitates to it well. [01:07:18] Speaker B: And I imagine what we were talking about with, like, how do you pin down success? I imagine they're kind of in this stage of, like, throwing everything at the wall and seeing what sticks. Like, they're trying all these different release formats. All these different kinds. Content formats. [01:07:36] Speaker A: Yeah. [01:07:36] Speaker B: And genres, whatever. [01:07:38] Speaker A: And before we forget, because we definitely will if we keep going on this conversation, the Scargiver, as a plot is basically the finale of seven samurai. It's basically the finale. The first film should have been, which is basically the imperium against our crew on the ship. Yeah. The first hour is literally just prep. That is really just kind of, like, you know, useless to a degree. And then the second hour is just the actual fight itself, and then it ends on a cliffhanger that is just baffling. [01:08:09] Speaker B: Yeah. Imagine if seven samurai ends with. With, you know, one remaining samurai being like, but the real fight hasn't even started yet. We're gonna take on the shogunate. [01:08:25] Speaker A: It's even lazier than, like, the Pacific rim uprising or, like, the Independence Day two. Like, we're gonna take the fight to. It's even way Lazier than that. [01:08:34] Speaker B: Well, because, I mean, it's. There's no real sense of closure. Like, the only thing that gets closed off is they kill the guy that they killed in the first movie. [01:08:45] Speaker A: Yeah. [01:08:46] Speaker B: They kill John Hitler or whatever his name is. [01:08:51] Speaker A: I like how you said his name and you even forgot. Yeah, it's gone with this house devolved. [01:08:55] Speaker B: Yeah, they kill him, but there's no real sense of completion of that because we already did that. Yeah, killed him last time. [01:09:03] Speaker A: And also the reason why the ending is so much more baffling than, like, you know, a failed sequel tie or, like, kind of, like, tease is the fact that the film ends on a cliffhanger twist that anyone and their fucking grandmother could have caught, where basically the end of the first film pretty much implies that the princess of the imperium. Before the imperium was bad, even though the. The imperium didn't seem that great when the fucking Cary Elway's emperor was still around. Kerry Ellis Emperor was still around that they had a princess that had the ability to give life to things, aka the life giver. [01:09:40] Speaker B: Right? [01:09:41] Speaker A: And so when the life giver, the seed bear. Good God. When the life giver gets shot in the second film, it is implied that there's no way she could have survived from that. And then the film ends on, guess what? You didn't really kill her. Come on. She's the life giver, right? And that's how they fucking end. The second film is like, there's no way you're getting a three if you fucking get a three. Wow. Like, props to you. But also, like, jesus Christ. Like, of course she's not dead. You can figure that out from the get go as soon as she gets introduced in the first film. Like, it's so. It's also lazy. [01:10:19] Speaker B: It's the first film spends so much time, like, setting up this kind of greater world conflict with the imperium and the, you know, Korra's history with them and the shit she did with them. And then this film is so focused on just kind of doing the seven samurai finale, it doesn't even address any of that until the very end. So it's like, yeah, yeah. We don't really get any sense of closure in this overblown third act of the first movie. [01:10:50] Speaker A: Like, it's so fucking lazy that even when it's core reveals, hey, guess what? I. I am the scar giver. I'm the one that shot the life giver most. The crew goes, yeah, we kind of caught on to that last film. Like, it's not really that surprising, which is, like, so fucking lazy. That's so lazy. Because also, I think it's Jimin, or I think it's fucking, um. It's Anthony Hopkins robot. One of the two of them. And I hope I'm saying his name right. Jamon Hansu. I just know that for years, I never knew how to say his name. [01:11:20] Speaker B: Digimon. [01:11:21] Speaker A: That was the. I wish I knew how to say his name, but. Because he's a phenomenal actor and I love it. And I usually love it when he's in most things. [01:11:29] Speaker B: You're right. It's Jimin. [01:11:30] Speaker A: Okay, Jimin. Okay, good. Cause Jimin is a great actor and deserves all the love and fucking all the work he can get. And it's just a bummer when he's put into this. And he literally is just like, yeah, not only do I know that you're the scar giver and that you shot the life giver, I also, for some reason, know that the life giver isn't dead. And I'm not going to elaborate on that. Stick in for stick for the part three, the life givers piss. I don't know what it's called, but, yeah, it just is. I. I don't. It just is kind of. It's. It's tiring. I think it is because I think genuinely, it's tiring because it's like, Snyder is an auteur. The man is like, it's. It's. We can't even deny that because the man has a specific style. He's been around for long enough. The man gets fucking projects off the ground that you would never expect to get off the ground. And also a bit of a spoiler. [01:12:23] Speaker B: Massive project. [01:12:24] Speaker A: And also, spoiler alert. I don't even know if Andy knows this. This isn't even the last Snyder Netflix production we're getting this year that isn't the director's cut. Because a week or two ago, it was announced there's going to be a norse mythology animated series that Netflix is producing with Snyder's name on it. And it also has a fucking good cast attached to it. That's fucking Raul Coley, Hollywood's bad boy himself. [01:12:52] Speaker B: He's finding his way back to animation. [01:12:54] Speaker A: That's the only thing that gives me excitement is the fact that this is his first animated project, in a way, sense. Cahul. And it's like Gahoole had. So you could see a lot of what Snyder sensibilities as a, you know, as a. As a blocker in terms of, like, scenes, in terms of, like, your camera and it just, like this shot composition, you could see it so much better in animation, which it makes no surprise that, like, some of his best shots in his entire career are when there's less people on screen. [01:13:24] Speaker B: Yeah. [01:13:25] Speaker A: And it's just. It says a lot. And when you watch this film or, like, when we finish the scar giver, and then my brain just goes like, gosh, sucker Punch is better. I can't fucking lie. Like, sucker Punch is a better fucking film. And Sucker Punch is an absolute mess that completely misses its girl power film to a toxic degree. And yet it's still more interesting, creative, fun to watch than fucking anything in this $150 million double feature that is not worth watching at this moment. Nor will it make, I don't know, if it's even like, again, I don't know if it's gonna be called space is gray or whatever the fuck they're gonna call the directors because it's gonna. [01:14:11] Speaker B: Be the Snyder's gray. [01:14:12] Speaker A: Yeah, rebellion is gray. [01:14:14] Speaker B: Like moon. [01:14:15] Speaker A: But it's just like. It just sucks that it's, you know. Cause if any other fucking auteur went, hey, guess what? Honestly, the only other auteur that could do that, it's fucking Ridley Scott. Because he literally has a career of just being like, by the way, my kingdom in heaven was shot that, like, was cut to shit. Here's the three hour cut. That's better. And literally with Napoleon, the fact that people were dunking on Napoleon, and the man said like, yeah, there's a four hour cut. That's better. That's all he fucking does. Like, he doesn't give a fuck. At a certain point, he's, like, the only other guy that does that. But, like, in that moment, it doesn't seem like Scott is contractually obligated to make the four hour cut. No, it's just more like. I'm just saying, like, I've seen other cuts and they're better. While Snyder is like, no, I'm. Those cuts are going to get made because studios know what I produce, and that is just hype surrounding things that even if they're not good, they're just hype or just, like, they're just more product. Yeah, more slop for the. For the trough. And what we ultimately get with both these films is in a frequel episode where we have more interest in talking about the logistics and the statistics and the mindset of a Netflix blockbuster than you actually do breaking down these two films, because there's really not much to break down. It is just shockingly empty across the board. And while I would maybe say Scargiver is more. Is a better film because it's shorter. And also, I guess you're to watch. Yeah, to a degree. Yeah. But even then, like, the lot of. Yeah, a lot of the sensibilities that make the first one bad are still very much there and. Yeah, and anything. And there is no emotional resonance or commitment to any fucking character. It's the type of films where things will just get thrown out left and right, and you will just sit there like fucking Homelander in the theater, just, like, really taking. Just, like, showing no emotion as twists or, like, you know, lore gets dropped. Like, Tarek's a fucking prince on a different planet. They dropped that in the first film randomly, and then he gets backstory in two where like, they live in like a twenties New York Brooklyn esque, like, fucking world. [01:16:33] Speaker B: Yeah. [01:16:34] Speaker A: And it literally leads to nothing. Like, it's like, oh, there's like a bioshock infinite world. I don't care. Why the fuck would I care? [01:16:42] Speaker B: What does that have to do with anything? [01:16:44] Speaker A: Oh, yeah. This looks vastly different than everything else. Why is. Why. Okay, whatever. [01:16:49] Speaker B: It's, it's just whatever. Senseless, meaningless filmmaking. It really utterly worthless. [01:16:58] Speaker A: It is more interesting to just like. [01:17:02] Speaker B: Talk about the fact how uninteresting it is. [01:17:05] Speaker A: Yeah. And also it's just more interesting to be like, gosh, just imagine if there was an alternate reality where like someone from Rebel Moon did something weird or bad and they tignitaro'd the film. That is more objectively interesting than what we actually get here where it's like they had to cg someone into the fucking shot that wasn't there before. No, what Snyder wanted, Snyder got, and he's still releasing more of it. And we're definitely gonna get more of it later on. And if we don't, it'll really tell how poorly both these films did. But yeah, there it is. That's Rebel Moon, part one and part two. Child of fire, the scar giver. There it is. We, we want to get to fun trilogies again. I want to go back to fun conversations about fun movies. [01:17:53] Speaker B: You know, I, out of curiosity, I pulled up the norse series that Snyder's working on, Twilight. Twilight of the gods. The first headline I see when I google it is Zack Snyder promises, quote, lots of sex in his new animated series. Great. Cool, thank you. [01:18:13] Speaker A: Because that is even, that doesn't even unpack. We could spend another hour talking about the fact that Netflix and animation as a relationship is also just so weird and complicated and kind of toxic. So the fact that it's like, while all this is happening, Snyder, it sounds like Snyder was basically given the reins to make like a blood of Zeus slash castlevania version of norse mythology. Right. It's just like, of course they're just gonna give him the fucking money. [01:18:40] Speaker B: Yeah, but, yeah, he's already fucking got an office. Just give him a, give him a budget. [01:18:46] Speaker A: And again, we're not going to talk about Twilight the gods because that is a series. Maybe we'll talk about it in offhand. Yeah, I mean, maybe if we talk about it offhand on like an episode, but, like, we're not going to give it its own thing because that's a series. But yeah, unfortunately, we wish rebel Moon one and two were bad in the way of like, a Bvs or like, you know, a sucker punch where it's. [01:19:09] Speaker B: Just like, oh, my gosh, what do I. Fascinatingly atrocious. [01:19:12] Speaker A: This just devoids. [01:19:15] Speaker B: Empty. [01:19:16] Speaker A: Empty and devoid of anything. Fascinating. [01:19:18] Speaker B: A husk. [01:19:19] Speaker A: Yeah. Don't even watch it. Ironically, there's no point to it. [01:19:23] Speaker B: It's not so bad. It's good. It's just fucking. [01:19:26] Speaker A: Yeah. As you know, we will do sometimes when we're just watching something bad, but we're so many hours in and maybe a few beers in. Bad movie. [01:19:36] Speaker B: Bad movies. [01:19:38] Speaker A: Bad movies. [01:19:38] Speaker B: That just becomes our commentary sometimes at a certain point. Bad movies. [01:19:42] Speaker A: I still think about when. When we watched the Snyder cut and we were like an hour three, maybe like three and a half hours of four. And Adam had just, like, had been talking about how much he disliked the film to the point where he's just laying his head back on the chair going, bad movie. Like, he was so tired at that point. They're like, ah, yeah. But speaking of our friend Adam. [01:20:06] Speaker B: Oh, I thought you were gonna say speaking of bad movies. [01:20:08] Speaker A: No, no, no. Because thankfully we were fucking nice enough to ourselves. And also the release schedule was nice enough to ourselves. There is actually a film coming out on May 10 that ties into our next trilogy, which will come out May 18. On May 10, Kingdom of the planet the apes will come out. [01:20:29] Speaker B: Yeah. [01:20:29] Speaker A: A film I am very excited for. May has a lot of good open. Like, you know, big movies coming out and kingdom feels like it's gonna start it off. [01:20:37] Speaker B: Yes. Technically, it's yet kind of a. Kind of a new chapter extrapolating on the world set about by the last movie. [01:20:48] Speaker A: Yes. Which is why our next full blown trilogy episode is going to be about those films. We are going to be talking about Andy Serkis's Plaint of the Apes trilogy with our friend Adam Leclair, past and future guest. Yes, past, present and future guest who is on the Hobbit trilogy episode as well as the Bionicle trilogy episode. We will be talking about 20 eleven's rise of the planet the Apes, 20 fourteen's dawn of the planet the Apes in 20 seventeen's war for the planet the Apes and preparation for this year's kingdom of the planet the Apes. That's a lot of the planet of the Apes. [01:21:28] Speaker B: I mean, that's the whole series in a nutshell, really is blank of the planet. [01:21:33] Speaker A: Oh, don't worry. We're gonna have a fun conversation about naming conventions for a plan of the apes film. Because even though both Andy and I really enjoy this trilogy. It. There are so much fascination surrounding it. What is happening with the plan of the apes, you know, franchise before this. [01:21:50] Speaker B: Starts, innovations and the technology necessary to. [01:21:53] Speaker A: Make it happen and the improvements between films, as well as what the fuck happens in terms of, like, plan of the apes media between war and kingdom, which we can talk about a little bit because it's also fascinating because it's weirdly a drought for most of it, except for, like, a weird thing here and there. [01:22:12] Speaker B: Yeah. [01:22:13] Speaker A: And it's gonna be a lot of fun, honestly. We, at this point in the recording, we have started our watch through and cannot wait. [01:22:20] Speaker B: We can guarantee at least one pantheon hoot from Adam, I think. [01:22:24] Speaker A: Absolutely. I think we will all make monkey sounds. At least a few. We. I think I could make an easy prediction that Adam will clip the mic a few times. [01:22:35] Speaker B: Oh, yeah. Yeah. [01:22:36] Speaker A: And I think what you and I. [01:22:37] Speaker B: Will get Hoot will all clip. Yeah. [01:22:40] Speaker A: Yeah. If it's a coordinated chip event, I think we're really. [01:22:42] Speaker B: It is a coordinated chip event already, and everyone's invited. [01:22:45] Speaker A: And it's nearly invited. Yes. So, dear listeners, so tune in on May 18 when we talk about Andy Serkis's planet the Apes trilogy. But until then, I'm logan so much. [01:22:58] Speaker B: And I'm Andy Carr. [01:22:59] Speaker A: Thank you so much for listening. Bye.