Sardonicast - Sardonicast 220: Supergirl, Evil Dead Burn, Misericordia

Episode Date: July 20, 2026

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two one three you know we haven't been formally introduced hi I'm the bitch who's dog you shot yeah so I don't cost oh it's weird that was really good you didn't even do the three to one oh shit yeah that's your thing now when I heard something three two one okay okay well because I thought when I was saying you do the intro that you would also do the three two one oh I can do it now you can put it back if you want or if that's too much work we'll leave that up to the editor yeah it's an out of order podcast it's good Christopher Nolan

podcast we've done it before we have it's more and more it's just becoming avant-garde two one three oh okay well experimental episode whatever the fuck I don't care anymore hello this is Adam from your movie sex

yeah there's a podcast there's a podcast yeah has your Supergo quote Sorry? Yeah, where is it? Oh, what am I?

Some kind of Supergirl? That's good. I'm Jake from Mancarey Thing, and the hierarchy of the Disney remake universe is about to change. Gee, nice. Nice. I guess I'm not sure my idea. I don't think I said that.

All right. So these two Denghis's went and watched Supergirl, because apparently it's a movie that is important to talk about or something, or important to see. right as long as you guys enjoy did you call us dingus is I did say dingus we're bringing back dingus

are we bringing back dingus for real I mean yeah this film does make a dingus of you it's a nincom poop kind of film nincompoop ass film the first nincompoop type film is it that bad though that's what I want to know is it really that I think people are being too kind of do it of anything

like I gave this not to spoil my rating like a pretty pretty low score but upon reading the comic that is based on which I finished today. Oh nice. I'm even more upset about this situation we're in because like the it's like the opposite of Superman last year which I really enjoyed on a first watch but only grew as I was more time and like moments from it settled in my head and I kind of love that film now and I think

it's like a really great flick like a great summer movie a great superhero movie and of course the tease, one of the teasers at the end of that movie is Supergirl showing up. It's like, we're doing her next. Kind of a risky play. Like, that's what they were going to do to follow it up. Yeah. Yeah, it's a big risk. It's insane. No one really, I mean, even in like the comics plays people don't care about this character, really. Like, she's not that popular. She doesn't really sell. And especially in cinema, like we talked about the 80s one like years ago. And that's kind of the stink she has on the cinema landscape. So there was a lot to do, I guess, like optically for this character. And not only that, it was supposed to be like the second

film in this like DCU because everything's got to be a universe. So it's like, cool, this is, I guess the this is the Incredible Hulk equivalent to the Iron Man, if Superman is Ironman and whatever. Yeah, I thought this was awful. I thought this was like unbearably bad, incompetent at points like I don't know we just past this I just feel like we're so past this at this point and audiences feel the same way and for how expensive it was it was it was like so really well that good will you built up a Superman and now you're like following up with this I don't know I don't get the strategy I don't get like it's just untenable to be in the situation where it's like I guess the only way for these films to be good is for James Gunn to just do all of them like he has to do

everything all the time in which case it's like just have a few supermen movies, just do a Superman trilogy with him and just go from that. You know, like, this, I just don't think there's the hunger in the same way, especially with like Batman is like, he's put on ice because he's like, oh, he can't be in this universe because we got the Matt Reeves stuff going on and that's taking forever for various reasons. So here we are where we get this. What even is this? I kind of forgot that they're trying to do Matt Reeves simultaneously.

That's kind of funny, actually. Yeah, because they're floating that. idea of like yeah we'll have two batmans at once wow it's not gonna it's not gonna the last batman was before the first this recent Superman right yeah that's so funny and obviously they yeah i guess they don't want to incorporate them because it would just be odd tonally different the opposite actually yeah i i don't know there's just something kind of busted at a ground level about like it's already been done like the whole like the the the the marvel big building up to that endgame thing. It's been done now. You can't really copy that formula again.

They can't even do it again, let alone someone trying to copy it years later. So what are we doing here? The answer would be, just make a good movie. And it pisses me off so much when you have a run, like Supergirl Woman of Tomorrow. It's like an eight issue comic from a few years ago. It just bugs me so much. It's like, you've got a blueprint there. You literally have a visual blueprint, a writing blueprint. It's all there. Everything is set up for you. how could you fuck it up this bad? There's not one thing I like about this movie. Oh, damn.

Please. I'm serious. I think it's a wash. You don't like super and you don't like girl either. Yeah, I'm afraid so. Am I being too harsh, Jake? What do you reckon? I feel like you're being a little too harsh,

but I do feel like it's totally justified in a sense because I understand your perspective of like, yeah, this is, they should have known better and this should have done much better. it's kind of baffling that it is at the state it is. And already the second movie into what's supposed to be this new fresh thing. And I agree with you. Superman offered, you know, whatever you think of it, it offered like a new kind of direction

and something that was a little fresh from what we had before. And this feels like it belongs exactly in the world of Blue Beetle and Craven the Hunter. You know, like it's not quite as bad as Craven the Hunter, but it's just extremely bland and predictable. And it comes down to just like the screenplay level. I mean, it's ironic and weird that James Gunn is like, the reason why we're doing Supergirl next, because that's the one where the script was locked in. Yeah. I don't know what it is anymore.

We're just looking at the writing in the scripts, guys. That's what we're doing. And I think that they just, it is a combination of people are getting tired of this formula and Hollywood. I mean, look at Moana too. Like, everyone is just kind of, Hollywood's two steps behind always. So they're just kind of trying to follow up and you would feel like they would have learned their lesson with the superhero stuff with Black Adam failing and Shazam.

And I mean, it's just been a crash and burn for so long at DC Studios. And now I'm also wondering, are they just kind of like trying to vamp before the merger, you know? Like, who knows how long gun is going to have a job here doing this? How much are they just trying to keep the product going and keep the, you know, the value of the IP going for us? for as long as possible. I mean, I don't know. The Superman sequel might be good. But there was an interesting Hollywood Reporter thing that came out, I think a couple weeks after Supergirl tanked to the box office, that was kind of like a bunch of pointing fingers at what went wrong. You know, like a lot of sources being like, no, actually this is what went wrong. It was a vote.

I'll read most of the current theory. Well, so this right here is from the Hollywood reporter thing. Gunnan Gillespie had creative Degovirond, had creative differences over the direction of the movie. Numerous sources tell the Hollywood reporter. The film never found its footing in the post-production process. The test scores, which are counted

on a scale of out of 100 points, never escaped the 60s, according to multiple insiders. Another insider said the movie's top score was 70. So at the very best, other insiders disputed this characterization, blah, blah, blah, whatever. We don't care about that. We want the juicy details.

But basically, they're, is reporting that there were multiple cuts that the studio wanted to do because it never came out of like pretty bad test scores. So the studio did a cut and I think Gillespie did a cut and they both basically came out the same but the studio cut was like only two points higher. So they're like, I guess we're going in that direction. So it's kind of like the best case scenario wasn't good. And whatever they were doing, tinkering with the music and all of that stuff, like Gunn was very much involved and people are saying that maybe other auteur directors aren't going to be wanting to get involved because gun is super hands-on in the process. I mean, who knows? It just is like a really

bad look. And I think that a lot of the issue is trying to tie in all this other stuff like Lobo, you know, even though Lobo was one of the better parts of the movie and all these scenes with Superman in the movie, it's like all the stuff outside of the Supergirl story is the most interesting stuff. Like, every time Superman is on screen, you're like, oh, yeah, this guy's fun. This is fun. This is a nice dynamic. But like, it's rock. Well, yeah, I'm just sexist. I'm like, yeah, it's a guy. Even then what's kind of interesting whenever Caronswear would show up was like, oh, oh, yeah, that James Gunn's Superman movie kind of looked like a movie at points. And you can see the budget on screen. The way this was shot, like the direction. I'm sorry, it's, it's like atrocious for like an action film. These

action scenes like in the, you need like a certain level of spatial awareness, I feel, when you're making like vibrant action scenes with a lot of like movement. And that was like particularly egregious in this film where, you know, at least in like the worst Marvel movies, it just feels more like bland and corporate, right? You can usually tell what's going on. They're just like teleporting around. It's like just, it's genuinely like unwatchable. It gets especially bad.

Like the first half hour, I feel like was fine visually. then, like, once they get to the muddy planets that just look the same, like, they were trying to do Mad Max, and it just was a bland knockoff. Like, it just was really boring. And the character dynamics, because, like, Kara as Supergirl is, she's just playing kind of like a cynical, drunk, like, whatever, like, I'm over this, you know, I'm too good. This is, like, boring to me kind of character. And that only works if it's paired with someone who's a little more, like, proactive.

And I know that, and you can tell me, Alex, I think that. was sort of based on true grit, right? Yeah. Yeah, it was. It's true grit in space. Okay. And you could kind of feel that with this movie, and I feel like one of the best parts of true grit is that Rooster Cogburn sucks. Like, he's not good.

He's old. He's bad at his job. He's incompetent. And part of what's fun is saying this little girl kind of push him around and make him be tough and good again, you know. And this movie doesn't really have that because the girl, Ruthie, who is like basically pulling Kara into this plot is just tailing along and not doing anything and they have no interesting dynamic.

She's just like a stoic, boring girl who wants revenge. And there's, Kara is super competent the whole time and just kicks everyone's ass always. It's really a very boring dynamic. Yeah, there isn't like in the comics really a rooster kind of equivalent character. I guess you could have made Lobo, something like that, because Loba's not in the original story here, whereas the Ruthie character is.

And she's so much better in the comic. She's kind of like an unreliable narrator. It's like the framing of that story. Like an older version of her telling this fable about her adventure with Supergirl, basically. And, yeah, they're supposed to be like echoes of each other. Like she's introduced to the story with this Krem villain coming in and killing her family. And she's going on this revenge mission. and they're supposed to, you know, mirror each other with this trauma.

Basically, they're both trying to work through or figure out a way to overcome in some way. And it's supposed to be, you know, supergirl going on this mission with her and learning something about herself through this younger girl. Cool idea. Cool story in the comic. The Crem villain is a cool villain in the comic, too. I don't know what they were going for here. Yeah.

This guy was so boring. Oh, yeah, he sucks in this film. He's just kind of like an evil Robin Hood. Like in the comic, he's just like the shirtless guy with like a bow and arrow. He doesn't have all this like crazy stuff all over his face and he's not like eating chicken and every scene or whatever was happening with this guy and like picking up tanks. I don't even know what they were doing with that villain. He's not characterized at all. Apparently that was one of the cuts.

Like it added like 10 minutes of runtime to like flesh him out a little bit. But I don't think that would have really added much to be honest. I don't think there's much that could have been done with this with the state that it was already in. but it just has no focus or personality. Like Superman had a really strong personality because James Gunn is able to work through that studio system and embody what he makes with his kind of mood or feeling. And this kind of feels like it's been tinkled with to a degree

and it's like trying to be a James Gun movie, but it's obviously not. So you have like the needle drops that are effective in James Gunn movies. But here it's like, oh my God, you fucking serious with some of the like song choices? and like just how it kind of flashes and takes you out of the scene instead of like pulling you into it. I don't know what it is about like all these.

It seems like the superhero space is so self-conscious about like how few strong like female characters they have that they like overcompensate like in these films and try and make them so like, like Captain Marvel with like some of the songs they were dropping in that movie and stuff like that where it just feels like just have them be characters and flesh them out like you would any other character like you don't need to embody it this way. It just seems so like corny and over the top and like just out of time. You have to be like she's a badass. Like she's such a badass.

And it's like yeah, we get it. But also like let her just be like a character too. Yeah, like yeah, exactly. Like where's the equivalent scene of her just like in Superman when there's like a building falling down, he catches it, saves a woman and then emerges from the ash and the rubble with like the score playing. And it's like it's kind of as simple as that. Just like have some moments of them like doing something, not like making silly quips necessarily. You can have that in there now and again, in which case, God, the comedy too.

Man, it is rough. Was there comedy in this? I think it's trying to do that kind of like, she's a little bit snarky. She's kind of a nihilistic and apathetic at the beginning at least. But again, it just doesn't really work. There's no angle here. There's really nothing to it. And that's also frustrating after reading the comic is that,

The thing, the two kind of major things you'll take away is how creative it is at certain points and how colorful it is. Like the art is amazing. It is so colorful and vibrant and they're going from planet to planet. And it's, yeah, there's so much like personality to each one. And every page like pops in a different way. But this is like a bland, ugly, dull looking film that somehow tears all that personality out of it. Like there's, um, not to like spoil too much of the comic, but there's like a point where she defeats like a magic ball that's like trying to

teleport her to like a dinosaur planet by basically outrunning it on like a magic horse that flies out of the comic and that goes like black and white. And it's like it's like really cool and weird and like, I don't know, there was something to it. They could have adapted here. But I don't know. It just doesn't make sense with what they did here. It's too bad. I mean, yeah, it sounds like the comic is, I mean, and everyone says that the comic's great,

and this is one of the better ones to adapt. And it sounds like if they had just done a more faithful version of the comic, but also, like, the thing is with Gunn, like, if Gunn is doing it, he knows how to, like, balance the line and make it feel authentic, which can feel super cheesy and try hard in other instances. And the problem is that ever since, Guardians with the Galaxy in 2014, every superhero movie has been trying to be James Gunn. So every single one is having the needle drops and all of these characters who are

like cynical and don't really are kind of over it and thinking about their trauma, you know, like it's been done to death. What made Superman special is that it was gun kind of doing something a little more old school, you know. And leading into the cheese of like comic books as they should be. Totally. If you don't do that, I don't really get what the point is unless, I know, I say this so often, but just make it animated. Like, that's the most obvious way to translate it.

And this was a $170 million budget here. Nice. Jesus Christ. They're going to have to make them cheaper. I mean, ultimately, like, if audiences aren't coming out to see them consistently anymore, they're going to have to either make them cheaper or just stop making them, which seems like they're starting to do. I mean, Marvel has just been releasing way fewer movies the past few years. I agree with the stop making them.

All right. It can be good. I think they should just call it quits after this one for Supergirl and just be like, okay, we're doing another DC universe. Like, this one didn't work. I think they should just quit while they're ahead. It should just quit while they're ahead. I mean, it might, yeah.

It's good to get out of the slot machine. while you're up, grandma. Are they up? I feel like they've been down for like 15 years or more. If you include the other Superman or whatever, like they're up on this run. Right, right. You're not up total, right? But you've recouped some of your losses a bit.

Like, get out of their grandma, please. You're destroying my inheritance money. Of course, we say all this about the death of superhero movies. And then in a couple weeks, Spider-Man is going to come out. going to make $2 billion, you know. No, I don't think. But that's Spider-Man, you know, he's always been like that. Some characters are immortal to Batman and Spider-Man. People will always go and see. They're almost like a thing by themselves, you know. Yeah. Yeah. True. Yeah. People always see those.

Yeah, even if it's bad, I guess. And also, you make money on the merchandising and there's so much merchandising. Like, those characters are just having merch sell whether or not there's a movie. Yeah, they're so ingrained into like pop culture. Yeah. And I guess the difference is with characters like that, yeah, there are so many examples of good and bad. So people are just more willing. Whereas when it's something new, you kind of have to prove yourself more. And this doesn't really do that, obviously.

Even on like a tonal level, there was some choices that were like, why did you include this? It's about like human trafficking. Like the villain is like a human trafficker. which just really clashes hard against like the kind of pulpy tone is going for. That's not like an element of the comics. Like there's stakes to it. It's like serious. But tweaking the story for that to be part of it and having like this 13 year old girl being like dragged along by his supergirl and like just putting her in constant danger for these villains who are looking to like capture her.

It's just like what a what a strange decision to do that. That was really odd. Yeah, it's very odd. And it's weird to have Lobo just like ride in and just have absolutely no point in the story. And then just kind of like save the day at the end. It's really random. And the whole story is about revenge. And this, I don't think this is really a spoiler, but the movie does kind of chastise the audience for wanting revenge against a character who, again, Alex, you're saying it's like a sex trafficker, evil monster with no redeeming.

qualities. And the movie's just like, no, guys, this is, it's bad. Revenge is not good. And it's like, come on, come on. You're doing a revenge story. Like, let's be real here, guys. This is so annoying. And that's, that's another element of the comic that has handled very gracefully and it has a super cool, like, kind of ending. I won't spoil here, because I think people should just read that instead of seeing this film. The way it handles the whole dog being poisoned thing as well as the way it wraps up with the revenge ankle. It's like, oh, that's what it was going from. That's clever. This is just like,

like, yeah, well, I genuinely don't even really know. The dog thing pissed me off because it was just like, okay, there's the ticking clock for the movie, you know. It was just such a, it felt so unnecessary. Did you like the literal ticking clock, the like Superman watch once? Oh, yeah, that was so fun. And definitely didn't feel like, yeah.

It's just three days. There we go. Yeah. It's urgent. Remember, guys. Did you notice how much of the dialogue was kind of illegible? Because I didn't have subtitles on my screening. Unintelligible?

Yeah, that's what I meant. Yeah, there's an ongoing gag with Lobo who's like calling her dits, Supergirl. And his last line is see-a-later dits, but it really sounds like you're saying see-a-later-tits. Nice. Like it really sounds like it. Like it stood out like, what the? That was a weird line. for that like character to end on.

Okay. No, that's great. Yeah, that's kind of the level where I, and like, I guess if I had to find something that I liked, there were a bunch of like puppet glup shittos everywhere and like creatures just cantina key jangling. Just tons of canteen scenes. Yeah, they do kind of feel like the offshoots of like Star Wars movies of like, you know, they design hundreds of characters and they're like, oh, we won't use these ones.

It feels like they've grabbed all those and they're like filling the screen with them. And like, a Seth Rogen, like, CG little glup. like appears for like a scene. It's like, cool. Okay. There was no charm to it. There's no cohesion. No.

There is, and there's no like personal style to each location. It really just feels like the same place over and over and over again. It makes the galaxy and this whole universe feel really small and uninteresting. Yeah. I mean, and also like the whole thing with Ruthie just constantly telling Kara like, hey, I need to kill this guy because he's still doing bad things.

And she's like, don't do it. Don't do it. And then he keeps doing bad things. It's just like, it's just so narratively just like pointless and annoying. And yeah, we've seen it all before. That's what I think. Yeah. I mean, on the budget thing, maybe like, because the next DC movie, I guess, is Clayface.

Like a horror movie about Clayface without Batman. I assume. When your whole cinematic universe is writing on Clayface, I don't know. I feel like maybe the plan he used to be rethought. Recalibrate. But I guess like that probably has more chance of like at least making his money back. Something went wrong. It's not going to be a $170 million clay face maybe, right?

I could be wrong. Let's know. No, I mean, it looks interesting. Yeah. I'll watch it. Yeah, maybe that would be more of a solution. I don't know. Go smaller when it makes sense.

I don't know. I just don't think this is even what should be being attempted at this point. It probably should just be make good. movies and go from there. Make a Batman trilogy, Matt Reeves, people like that first one. Make James Gunn trilogy. You know how they get them to make good movies? How?

You don't buy a ticket for the bad ones. I don't know. I feel like this one's fucked. What if I want to talk about it? What if I want to talk about the bad movies for people's entertainment? What about that? I know, I know. I'm just every every for every supergirl we're not talking about the new cleaner palmasin film the love that remains because that's my perspective I'm just

like there's so many so many other interesting things this is bombing anyway you know exactly anything else you liked about it Jake like because I really struggled to find anything I like um no I'm good was it worth it for asking Yeah, you know. I'm glad I saw it. You know, Nadia really enjoyed it. That made me happy that she had a good time. Good, nice.

Then it is worth it. Yeah. The real good movie was the friends we made along the way. Exactly. Exactly. The Lobos we met along the way. Yeah. Cool.

And I guess it's kind of screwed this character now, like, for another generation. I don't think you're going to see this again anytime soon. No. No, it's bad in a way that's sort of. forgetful, like, at least for me, it was just very forgettable. Like, I wasn't pissed or anything. It was just like, okay, yeah, great. And I don't know of those. So what was your rating in the end? Oh, I think I gave it a four out of ten maybe. Yeah. Okay, yeah. Yeah, I thought this is very, this was brutal. I did give it a one star on my first watch, but I'm actually lowering it to

half star. I think this is. Whoa. I'm just, yeah, I just, it's just, it's just, just unacceptable at this point, you know. If this came out in like 2007 or something, sure, you know, then I'd be there with everyone else saying, like, whatever, it's just forget, well, it's nothing. But it's not. Like, we've had, like, we must be getting close to, like, a hundred of these

shits at this point. It's just not, we just can't be doing this anymore. Like to this level. And the director choice and just everything about it, like, some people just want to go back to 2007, you know, I get it. Yeah, they do. Yeah. Back to just before the housing crisis.

Yeah. By Bitcoin. Obama is running, yeah. Yeah, you could get a Bitcoin. Get some few stocks in there. And I'm giving this one an eight out of ten. Nice. Closer to a nine.

That was a twist. That's, yeah. Well, that's, I'm still talking about the love that remains by Heleneer Palmerston. Tell us about the love that remains. What is, what's going on there? It's a great film that's new that you should check out. It got picked up by, what, Janus contemporaries, so you can buy a, on Criterion. I think it's on Crayterian. Janus. Janus. I know Janus. But it just looks

the word anus is in there. So it's difficult for me. Incredible Icelandic director. I think you both would really enjoy it actually. Is it on Criterion Channel? Because I'm a proud I think it is. Well, actually, I don't. Okay. I think it's got some of his shorts. It's got Godland, which I I'd be curious to hear what you think about that one. I've heard of Godland, yeah. I think love that remains is one that both of you would enjoy. Awesome. I hear they got Niagara on Criterion Channel.

You know that? What is that? I don't know. It's just they always have Niagara on the Criterion Channel. What is it? It's an old, it's just an old movie from the 50s. Yeah, well, the filmmakers are probably dead now. Oh yeah, no doubt.

Probably, yeah. We got to support the new ones so that they can get things made. New filmmakers on the rise like James Gunn and Craig Gillespie. Yeah. No, Leander Palmerston is fucking sick. I think I think Leinner needs... What happened? Needs an Oscar into Palm Door.

Is what he needs. All right. Well, we can talk about Evil Dead Burn. I'll say first off. I forgot we were going to talk about evil deadburn. Very nice. I'm sorry. It's okay.

But I went to the theater because I thought I was just going to review it alone on our second channel and I was going to watch it. And I sat there for the first, I'd say 30 minutes. And then I did something I never ever do. I walked out. And I can talk about why maybe, but I just kind of felt like I don't need to, I'm not going to talk about this. the second channel, so I'm just going to go. Sure. No, that's valid.

It was really late. And I was like, I'm not enjoying this at all. And I just, I'm just going to go sleep, you know? Yeah. I deserve that. I gave that to myself. That is perfectly valid. And you're sharing the experience that you had with the film.

Yeah. Is that you walked out. Yeah. I walked out. 30 minutes is a good amount of time to give something to decide that you're not into it, I feel. Yeah. Yeah, I do the exact same thing. I knew in the first five, I was like, oh, shit.

Yeah. No. And then you humor it a bit. And then it reaffirms your initial suspicion. Talk about a movie that felt like it was from 2007. Kind of. Kind of. Kind of.

Yeah. What did you think about it, Alex? Yeah, I've been a little bit of an evil, dead binge the last few years. I've seen them all now. I'd only not seen Army of Darkness. Oh, shit. It had been a long time since I'd seen the original and I would have two. I love the original trilogy.

And I've just been mulling over, I guess, there have been three since the Sam Ramey stuff, right? The 2013 remake, Evil Dead Rise in 2023 and now Evendale Burn. And I kind of think they all have a similar issue to them where they're all kind of too self-serious in a way. Like, none of them really lean into the comedy anymore. If anything defines Evil Dead. It's the comedy for me, as well as the gore. And it seems like these new movies only really care about the gore. And they fill in that comedy gap with, like, dramatic elements that just don't really connect with me.

And they're, like, far too kind of self-serious and way too long for what they are. Something that's so brilliant about the original three is that they're just so short. They know exactly what they are in and out done. All of these newer ones are too long, stick around beyond what they're welcome. And yeah, there are qualities, I guess, to this movie. There are some shots I really liked. There is loads of great gore in it. But I just feel like they tonally are kind of, as Jake said, out of time, especially when we're surrounded by like, we've been saying it again and again recently because there's been so much good horror.

Backroom's obsession, Burn Temple. even Ramey making send help. I know you didn't like it, Adam, but I thought that was like how you do comedy horror. It's, you know, it's rare to like do it at all and then actually get it right as well. So I guess, yeah, there's something about like a legacy sequel. And it was also getting me thinking of like the Final Destination Bloodlines,

which again, I know you didn't like, but I thought that worked and was a rare example of recent comedy horror. True. Yeah. But I guess it's the inverse situation right where like final destination's never been like really good. So like one coming along is like oh this is this is fun and like they're really leaning into like silly and done this is and getting creative with these like kills. That was funny. But this is the inverse where it's like you're constantly in the shadow of the Ramey trilogy and they just don't really know how to work that out.

How like what to do with it. Can I share a theory? I have a theory of that. The reason why they lean into the more brutal horror aspect of it is because it's just infinitely harder to do horror comedy. And people kind of unanimously agree that Evil Dead 2 is like the best movie of the series. And that's such a funny, goofy movie. And I think that filmmakers are scared to even try to attempt or go anywhere near that tone because it could just come across really poorly. and I think it's just way easier to just go into the extreme like original evil dead.

I know there's some comedy in the original evil dead, but it's a lot more just like straight to the bone brutal horror. So I think that's part of it. It was making Army of Darkness funnier for me, like the idea that like burn and rise are taking it like so seriously as opposed to be in some kind of like mythology together. It's like, come on. It was like never really intended for this.

I probably would enjoy. With this more if it wasn't called evil dead, but then it doesn't, it wouldn't even exist. You know, and there's just something arbitrary about it. Well, it's called evil dead and not the evil dead. That's what separates it, is the the, the, so they can make them infinitely. Did you guys like Evil Dead rise? Were you guys a fan of that? Yeah.

With criticisms, but I think it's, I think it's the best out of this newest trilogy if we want to call it a trilogy. Yeah, I really enjoyed it. Yeah. It's definitely the best. And gets better as it goes along, unlike this movie, which kind of peaks in the middle. There's like not spoil anything about Rise, but in the last section, there's so a cool creature. Yeah, the creature was awesome. Nice.

Yeah. That was really cool and memorable. True. Whereas the equivalent kind of crescendo in Byrne is like, oh, man, this is like kind of rough. Oh, yeah. Yeah, yeah. I know what I'm talking about. I would still

Okay so I weirdly I'm well Maybe not weirdly I do feel like the most positive on this movie I still think Rises the best out of the new trilogy But I would say that this is better than the Evil Dead 2013 Soap reboot for me It was kind of bad Yeah yeah that one kind of sucked

Because I would say that one is the most egregious out of All three of these for not Not leaning into the comedy. Like, that movie was pretty serious and also pretty stupid. That's the only one I've never seen. I never saw the 2013 remake. Yeah. That one tried to be like, you know, epic, hardcore, but still just as dumb, but, you know, like, it wasn't, the gore was hitting levels of absurdity for sure, but like, I just don't remember much about it that really leaned into anything comedic. I feel like this film, the comedy is surely a lot more subtle, like less explicit

than, you know, the original trilogy or something like Send Help for sure, like any Sam Ramey horror comedy. But it is there. It's just kind of like a different, some of it's explicit, like the grandma Alzheimer's being played for laughs or whatever. But other parts of it, I think that this film does understand the absurdity and ridiculousness of what it's showing, even with the soundtrack kind of like not really signaling that. It's almost kind of like an ironic, epic soundtrack. It kind of, it does both, depending on which scene, but, you know, something like the dishwasher, you know, like that scene. I think that that knows how ridiculous it is. I I think that there's much about this film that knows that it's going for more than just like fear,

that it's also going for some kind of like absurd, wacky, outrageous, you know, like a combination of emotions, if that makes sense. Yeah. No, I got that too. It's just I don't think there's enough there to maintain an hour 50 long movie with that. Um, because like, you know, it's, it's going for something with this main character who's, it's about like abusive relationships. Um, yeah. And the way that's explored is kind of interesting, but also just like, I don't know. It's not really why I watch evil dead for that sort of thing. Yeah. No, I appreciate that in concept, but in execution it wasn't. Yeah, exactly. Delivered that well. It's kind of cringe honestly. Yeah. Yeah. It doesn't really work. It doesn't connect. And I am just kind of there for the absurd, like, cartoonish gore. Like you mentioned that. dishwasher scene there's a really incredible shot in a bathroom, which I went spoil, which I thought was really well done. Yeah, there was the odd flash here and there, but it just, the pacing was way off, the writing wasn't quite there. I quite like the dad character. I feel like that's the performance that kind of understood that self-awareness the best. I really liked how over the top that was for me. Sure. But yeah, there's just not much to it, and it's not really much too much

to anything in this movie, especially in context of all this horror around it that I just mentioned. We were really spoiled at the moment. So something like this coming out, and it is like, as Jake said, a reminder of like, oh, yeah. Yeah, we've seen this like a million times. Some good stuff in there. I don't know.

I think it's better. So this, like, yes, this is like evocative of older things. I would say in almost kind of like a survivorship selection bias. sort of way. Because I feel like the landscape of horror movies today, although yes, much better as like whole films and stories and art pieces than this film, I feel like this is tapping into something that I've been like kind of starved for in terms of its extreme nature of what it's willing to show and the gore and just being kind of like unrelenting in terms of how

fucking just like borderline NC17 rated it is or not doing things in a way where they're concerned about the comfort of audience members. Yes, vicious. We could get into spoiler talk if we want. I don't mind.

Sure if that would be easier. Yeah, yeah. So like... I wait a real quick, I just want to say yeah, you've got totally fine to spoil and everything. Yeah, I don't mind. But the thing is,

for me, I was reading stuff about how it's kind of drawing from French extremism. It felt like it, yeah. Okay, cool. So I wanted to see it. And I know I just saw the first 30 minutes, but the biggest issue I had right away was the feeling like a sense of insecurity about we aren't really sure this is, we're selling this well. It had such a fast pace and kind of wall-to-wall sound that it reminded me of Lee Cronin's the Mummy in that sense. And even the opening set piece, it just felt a sense of like, we can't even wait a second to build up the suspense. It's just like, all right, we're showing you like the gruesome stuff and then we're moving on.

You know what I mean? So yeah, I guess if anything, that's because I just want to explain like why I was just kind of like pushed away from the movie. It wasn't really because of the extremism of the violence or anything like that. Like none of that bugged me. I was just kind of bored by the like, I guess the cinematic craft that was on display. You just felt very, you know, just not very intricate or anything. I think that's a good thing to talk about before we officially go into spoiler talk then, because I completely agree the opening of this film is just so fucking weak.

Yeah, why is it even that? From like every perspective, like not just the opening death, but like everything leading up to where like the action actually takes off. Like the first like 40 minutes, I was like Rett Row, you know, like, you like, it's a lot of really, really close shots that were like 90% of the shots in this film if not more

were just like super tight face shots and that's it and you could barely get any fucking comprehension or feeling for the space like any place that characters were in even in like the club scene you know like the the editing was just like

so many quick cuts that felt very low budget yeah yeah no it was it was a very odd presentation um and it's so weird because like you know when the guy's car flips over or whatever that that's a sequence where you sort of expect and anticipate in like any normal film or whatever to have a bunch of quick cuts but it wasn't any quicker than just characters talking to each other also right There was such a lack of variety of framing and just it felt not very inspired and very kind of thrown together in the editing room, which was really unfortunate for like so much of the movie. But yeah, I felt like it found itself as it went along and got much better even if that was a consistent problem, like the main problem with the style throughout for sure. Yeah, the middle chunk is the best visual. I should have given it more of a shot.

Maybe one of these days I'll rewatch it. But okay, go ahead, guys. I want to know what happens. Yeah, I mean, like, if you enjoy like Evil Dead as like a series, then I think you might get something out of this for sure. I wouldn't, I would say it's valid to just pick up from where you left off and not watch the first 30 minutes again. It's not like that complicated of a story or anything.

so um no yeah so spoiler talk officially now um that dog that fucking died like a very sad and like yeah that was like oh wow you just like you just kill that dog and it was like really sad and i and i it was so super go yeah yeah it was early enough in the movie that i'm like damn i i kind of like that they're risking people just like walking out uh because you don't see that much. Although the dog gets to become a zombo dog, a demon doggy, which was cool. Yeah. I feel like they should have used it more. Yeah, definitely. Yeah, the more creative and wacky, if it just leaned into that to the absolute extreme, then sure, I would be there with it. Because, like, I was teasing the whole end

section with the CG Monster Man. I was kind of getting excited when they were teasing that, like, her ex-husband's going to come back in some form and I'm just thinking like a flashback in my head of all the crazy stop mission and insane visuals from the original trilogy but then when you get to it it's just like this really lame taking itself super seriously just monster man walking around didn't enjoy that

it was just a bad creative choice and if they wanted to yeah treat it a little bit more serious then rise and that weird multi-limb thing would have been a better example of a way to do something like that because that just yeah I get what they're going for um but on that yeah the opening you you could kind of just slice all of that out you could butcher this movie like yeah characters like you could just take you could like start on the funeral basically like why do why did you need

anything before yeah you know and then it would be that would fix my kind of pacing issue with it as well because it's just it's egregiously long for what it is um it's just there's not enough to it yeah it has like the structure of gaspar noe's climax without being interoper resting in the buildup. That's a funny comparison. I was not expecting that movie. I mean, like, when things get going, they get going and they don't stop. And that's kind of what I love about this movie is that it's like, oh, we're not, we're

not doing like a little tease of, we're not doing like a mini action scene and then getting back to the bullshit and then waiting patiently like a fucking, like any action movie, like even John Wick. I know people love John Wick, but like, you know, most of the movies, for the first three movies, most of the movie is just like shit dialogue. I'm sorry. Um, this, if you, if you just make it past the, the, the, the hump of like the first 30 minutes or whatever, then you're good. Then you're kind of like coasting on the, oh, like, it's, it's, it's visceral enough.

It's, it's gory enough. It's entertaining enough. It's wacky enough. It's sort of thing. I guess just like recently, I feel like I've kind of had that what you're saying about, that hunger for wanting the vicious, umrelenting horror movies. I feel like a bone temple that was pretty like a vicious film bring her back had like some that was like cards as well like that was yeah no no no yeah in terms of like

the where the level went on the dial the number that they hit is similar but the amount of it the consistency of it when I want something that's like unrelenting where it's like you don't even get a chance

to like calm down and breathe. I think that that's fun for a type of horror, like anxiety film. Because I was reminded of like French extremism. Like I know martyrs is French Canadian, but you know, that's inspired by the same thing. You know, like high tension by Alexander Aja. Like there are things about this that I respect from a level of just what it's willing to show me and how it's not willing to like or or or that it doesn't care about uh holding the audience's hand to make sure that they get through okay sort of thing like i like that yeah i like that too like marters is a good comparison i guess as to how to make that work for me because i guess

that film has psychological elements too yeah like it has something underneath where this is just like we've got to find the dife we've got to find the the the dive that can solve the issue Yeah, the writing was kind of shit in this one. Yeah, I didn't need the McGuffin stuff, like, outside of the Necronomacom. Yeah. And then she didn't, I like the character who gets the pen at the beginning. And then in one scene, you see him, like, take it out of his pocket, look at it and put it back in. I'm like, you know, I saw the beginning of the movie, too.

We didn't need that. I could remember this very distinct pen you did a close-up of. Like, come on. Over-explanning. Yeah. Yeah. Yeah. What it was getting at, like, thematically, if it was just handled by a more intelligent

writer or someone making a smarter script, like, that could have been cool. But instead, it's kind of like clunky in a weird way where it's like, okay, I get what you were going for and I respect that, but it kind of feels dumb just based, just how you're presenting it. And the acting was good. Like the main actress, like, there wasn't like a, there wasn't like a, terrible performance. I would say the weakest was probably like the grandma, but she was played for laughs. So I guess that, you know, it's like fairly excusable. I do wish she was better,

but it was difficult to take her seriously, even at points where she was supposed to be scary. Yeah, I agree. I don't really blame the actors here. Yeah, it's its backbone. That's the issue. Yeah. It doesn't really have one. But here's another aspect of this that just, you know, is a part of the equation that eventually won me over with this film, even though it had a very weak start. I like that this franchise is something that not only gets to deliver in terms of providing me with some really interesting, weird, squeamish gore, something that I've probably never seen before,

but at the very least feels like a bar above, like the average horror movie that I could watch. But also, more importantly, even, that each of these new films gets to have a distinct voice that doesn't seem to have a lot of like top down has to be presented this way, story has to be told this way sort of thing.

And I'm sure there are notes. You know, Bruce Campbell produced it, Sam Ramey produced it, et cetera, et cetera. But like, even with its warts, even with its blemishes, even with the fact that I like really don't gel with the overall visual style of this film. I like that I'm getting, I like that I'm able to watch this and just be like,

oh, this is like a different flavor of something, you know, and not have it just be like, oh, we're trying to do the exact same thing again. You know, it's enough of the voices of what we want,

but like I love that it's able to experiment. And I think that's, you know, just going back to this ongoing theme, of like the budget is being reasonable, 20 million budget here. Rise was 12 million. Like, that's how you do it.

Perfect. Like, I think, yeah, like, it's pretty much made that back in a weekend. I'm sure it's going to be fine. There's already another one of these, I think, on the cards for 28, I think. Maybe even sooner. Yeah, Evil Dead Wrath. Yeah, and that's supposed to be like a prequel. From the director of, um,

uh, last stop in Yuma County, I think is the name of the movie? That's an awesome movie. I think you guys would love that too. Okay. So I'm actually pretty excited for this new one because I really loved his last movie. Yeah, the last stop in Yuma County. And Jim Cummings is in it. Okay.

Yeah, that was a great little indie movie. Yeah, I just couldn't get past the comparison game in my head with its contemporaries, especially with like the way like obsession is so huge right now. And it does have some thematic similarities going on with the kind of abusive relationship kind of thing being explored. But the way it handles it in that film is so clever and unique. And we haven't really seen something like that. And that's like the conversation even. Exactly.

Yeah. It's become one of those movies. That's what keeps people talking about it. Yeah. Yeah. It's like everyone wants to give their take on it. You know, whereas I don't think that's really what this is going for necessarily. But that's kind of the issue with it where it just doesn't really pick a lane.

Like there probably is something Yeah If you just, yeah Chopped it down a bit And yeah I hear what you're saying There's some really cool stuff in here Like

The the shot I was getting out earlier In the bathroom With the mother character And she like Drags her In that continuous shot From each side of the wall Until she's upside down

And hanging That was like really cool I thought Yeah The standout probably shot Yeah no And it's so odd To have those shots in there

Because This is almost like I don't know if this isn't like an accusation or a conspiracy but it kind of like reminds me sometimes of like you know how in something like cocaine bear where you can tell there's like a very clear like shift from where the credited director is directing and then when the like visual effects supervised like director is doing it's like so. such a night and day, like, okay, now that the bear's in the shot, it looks like an entirely different voice filming the movie sort of thing. And that's true with a lot of special effects

films. This felt like that, but I don't believe that that's what's happening. Because when they eye directors for this franchise, like, it's because of their previous works. Like, Sam Ramey was impressed by, I still haven't seen it, but the film infested that this director made before that. Like, there's something about their voice where they were able to showcase something that Sam Ramey loved and Sam Ramey's obviously like a very visually conscious director. Yeah. So I'm willing to believe that like, yeah, so this was Sebastian doing those shots.

But it's so fascinating to me because it's like when he's trying, like when it matters, there's some really lovely looking shit in this movie. It's just scattered throughout and in a way where like, I want more of it. And it's not like every single shot has to be this like beautiful, like impressive, coordinated oneer or anything. But I wish that there was like a bit more consideration for like the, the normal scenes in the film.

Because when it gets that tight framing and the quick editing, it's not like it ever feels like like an intentional claustrophobic choice, like a fucking good time or uncut gems or anything like that. It doesn't feel that intentional. It doesn't feel that motivated in that sense. It just feels like kind of sloppy.

And so yeah, I wish that there was somewhere in between for like the bulk of this film. Because even the dinner table scene, you know, like that was shot exactly like the club scene. Like it's just one fucking

room and I'm just begging to to like get a feel for where characters are in the room, right? Like what what the space looks like. When someone looks a direction, I want to know where they're looking and who, you know, some of it just felt clunky. Like, I'm trying to remember. There was like someone like uncorked a wine bottle or something. And then you see immediate from that close shot just a cut to the tiny bit of red splattering

somewhere. And it's like, okay, yeah, you did a close-up of the splatter. What is that on? Is that on the tablecloth directly underneath him? Did it go somewhere else in the room? Like, I want to know that. And because of the presentation and how you're showing it, I'm still confused, and I don't know these things. And I don't feel like it's intentional. It doesn't help me as the viewer, right? Yeah, it's frustrating, but also fascinating. If there weren't those really impressive and beautiful shots scattered throughout the film, then I would just be like, this guy's a bad director. But they do exist.

And not only do they exist, there's enough of them that it's totally not a fluke. There's obvious inspiration and motivation there. He just needs to figure out a way to do that for non-action shots. Yeah. Yeah. Yeah. I agree. It's not that I would call this bad, because I feel like I've been critical during this.

discussion for this movie. It's uneven. And it's just trapped in this like, yeah, this way too long film where there's, yeah, there is a middle chunk that's really entertaining and it makes your skin crawl. And it does commit to the violence. But yeah, it's just like everything around that. Like, how did you feel about the way it wraps up with the monster man and the way that looked and the execution of that?

That scene was off for me. where it just kind of like it reminded me too much of like we're just in a CG room thing like it was it felt indistinguishable from like a bunch of other kind of bad movies that would like but it was like a recent Silent Hill movie or something

you know yeah like which yeah which again was interesting because the I mean there were a good amount of impressive practical effects in that middle chunk before that. So it's almost like setting you up to like, oh, this is like escalating to something. Are they going to show it all there? But it's like more contained in that middle section.

Yeah. The climax was definitely not strong, but I was having such a blast, like in the hour leading up to the climax, that it was like, okay. I was like, it didn't feel like it ruined the movie or like took it down a point or anything. It was just like, okay.

Yeah, we're like, Peter yet and we're close to the end or whatever. But I was I was satisfied with what I was shown. Like there's shots in this movie that are still like visually in my head, which is great. That's exactly what I want out of like visual filmmaking is just for me to be able to remember it because it left an impression on me. Like when they're like chasing her on the rooftop, that was such a short scene. I wish that existed for longer. I wish there was more of the demon dog. and they used it more. Like the,

there's a couple shots that were like promoted in the marketing. They were either in the trailer or posted as clips online before the film. One of them was the scene where you get those like

quick whip pivot kind of pans or whatever where they're like just arriving home before the reveal of the fucking car seat head rests through the you know, Shann as she walks in.

Just the visual style of that was like, oh, oh, you're doing something and it's not just this like only close up shots of face. You figure it out boring editing. Like, oh, you're doing something.

And then at the moment where I was like, wishing for some sort of like longer take. I was like, you know, there's some interesting shots in here. I just wish that there were some longer takes. And then it did the oneer. And I was like,

okay. You've, prove that you can do it. You've proved that you can do something interesting. Fuck, I, maybe it's a budget thing, um, because obviously those require more coordination. Maybe it's a time thing. Because, you know, if this was $20 million and it's almost two hour long movie and there's tons of, you know, both practical and, in CG effects and everything, you know, not everything. CG wise, especially looks the best. But like, there's a lot going on in this movie. So I'm willing to believe that like had there been double the time and resources that we

probably would see more frequent, uh, impressive coordinated shots. Um, yeah, but I, I like that they're there and, uh, yeah, I was overall satisfied despite a very rough, annoying start. Yeah, I'd watch another movie from this director. And this is also another, now you mentioned that oneer, That's another funny comparison point with Supergirl. They try and do the exact same style scene, where it's locked to a character in this case, and even if there's a bunch of stuff kind of going on in the background. They try and do a similar thing in Supergirl with the 13-year-old. And it's like so badly kind of like blocked out.

But this is more how you do it. I love like the dad like floating in the background and like all the kind of creepy stuff. Yeah. So like chaotic and crazy. That's like, yeah, that's what I'm there for. That's why I enjoy about this universe, even if it's a bit too serious. I don't know.

I would like to see someone lean into the comedy a bit more because I feel like that is the gap. If that's kind of the gap in the market with this stuff. Like you get like the monkey or death of a unicorn, but I kind of hated them both. I didn't think they work. You do get comedy from people who are not funny. Sure.

Yeah. anti-humor but I just want to see like if they I must see some stop-motion creatures or something like please like I'm so sick to see something like that I would love that I would love that get boots Riley evil dead yeah like why not like I think that might be the answer in some way why not because he's a communist that's why true blocked what would you guys say is your favorite or is the most like extreme relentless horror movie you've ever seen. Martyrs is up there in 2008.

That's one that like you can't help but think of when asked that question. Because that is a, in terms of what it's like visually showing, there's like the squeamish element, there's the sad depressing. Like I'm not going to spoil anything, but like it's a movie that like right out the gate is like, oh, you're willing to go there. This is sad. okay, you're willing to go there. This is fucked up, the topics.

And then like, it's something that develops in a way where it's like, oh, this isn't just a squeamish horror. This is an existential horror. Like, this is a terrifying brain fuck you up horror sort of thing. So I think that that's not a bad answer. Yeah, martyrs, make sure if you're going to watch it, do not watch the remake. It's shit.

Watch the original French-Canadian movie from, 2007 or 2008. Please. Yeah, I never saw the remake one, but I think that would also be my answer. I think that is the one. I think it's like the perfect balance of those two things. You know,

it's gnarly, but has that. Yeah. It just sticks with you. It's horrifying. Like to think about kind of in the way, like, you know,

obsession, I was talking about that with the psychological element, where that's kind of where that film shines. There's a bit of violence in there, but it's kind of mostly psychological. the implication of it, whereas Martyrs has both. Yeah, and it feels like it, it manages that in a very, um, how do I describe this? It's not going for pure shock value like something like human centipede or, um, like a

Serbian film or something. It doesn't exist just so that people say like, oh, it was so. extreme and that's it. Like, it is extreme. It's, yeah, it's, it's, it's got like a mystery element. I don't think anyone would disagree with, with calling it the most, like, extreme fucked up kind of like horror movie as a horror movie in the same way that, like, dear Zachary is like a sad movie, you know? Like, no one would disagree with you by describing it in that way. like anybody who was like

it wasn't that extreme is lying yeah no while you was talking I've just like been scrolling through a list of like some of the best horror movies and yeah that's the one for

what we're talking about in this conversation anyway there are other movies other types of horror of course but for this kind of conversation that that would be the answer I think wow well that's one I need to watch yeah you do I mean I can't believe I've seen

all the human centipede films. You chose it. You chose to do that. Yeah. Yeah, that's true. I haven't seen Carlito's way, but I've seen all the human centipede films. Oh.

Mm-hmm. I mean, we could say that about any number of things. Exactly. Cool. Well, I'm glad that you guys, I like hearing what you guys had to say about this film. I'll see it. Yeah.

Well, so here's a question then, Jake. Are you going to watch the rest of this? Because there's one more spoiler that I won't say if you are planning to watch it. Because if you're not, I'll say it. But I mean... I'm probably not. I mean, who knows, maybe one day. Well, I think that you'll probably be okay with this spoiler then because it's...

I think you'd like this information. Alex, did you watch to the end of the post credits? No, I didn't. Oh, so you don't even know this. Okay, so the... No, let me know. Yeah, so the... Spoilers for the post-post credits,

like end of the credits scene. They... There's a scene where there's, like, a little girl and there's, like, a bunch of, like, urns in, like, I guess... I don't know if this is, like, outside the crematorium or whatever. And she's like, how can there's so many people on the wall or whatever? And this other woman's like, oh, that's because there are people.

whose family forgot and didn't pick them up, so we just leave them here for a couple months or whatever, and then she looks at a couple of them. And I wrote down the names, and I forgot to look it up after the fact, but I think they're relevant to the franchise. One name on the urn was Christopher Leroy, and the other was Ellie Dixler or something.

I couldn't... It was dark in the theater, so my writing's a little messy. Bixler, maybe a B. Anyway, the little girl immediately a character shows up and it's the fucking mom from Evil Dead Rise

and she like shows up in the background and then like kills the little girl on screen just like snaps her neck and then I think she says something like I'm back bitch I don't remember but like very clear like I don't know if she said that but it was a very clear to the audience

It's like, we're bringing back the one character in performance that everybody was raving about from Evil Dead Rise. So I don't know if that's going to show up in the Francis Gillespie, the evil Galupi, Evil Dead Wrath. I don't know if that's the one that it's going to be in. Maybe it would be kind of weird if they didn't address it in the next movie. I thought that was supposed to be like a prequel thing. I don't know. see. I'm, you know, I'm fine without anything lining up in any way whatsoever. Sure.

This series has never been, you know, an MCU gathering things together, although it would be nice to see that actress again. She's great in that role, but yeah. I just, I don't, I don't, I'm fine with everything just being a one-off, you know, stylistic display of brutality and fun. You know, that's what these movies are for. Like, if they're going to be turning it into in, like, MCU making all the timelines line up like I'm good no thanks I'll be done with these movies that is valid I don't think the only option is MCU in terms of that comparison because I would like every franchise to turn into saw is what I would like I would like that kind of connection and retconning and rewriting and flashbacks for most of the film that would be my ideal for any

horror franchise that I'm not really particularly invested in the story in any way. Is that what MCU is doing? Because that sounds funny, but it doesn't sound like I'd like it. It's about as messy as where stories at this point. Okay, okay. Just not as fun. Yeah, no, I enjoyed this movie overall. Yeah, I got what I wanted to out of it and...

I'm giving it a six out of ten. Yeah, it's, I don't know. I'm really torn on a kind of a high, two and a half star or a really low, three star. I just feel like there are moments from it that I'd revisit, but I don't know if I'd want to revisit the whole thing. Whereas with, with the rise, I'd happily watch that again, partially because it is just so much shorter in this movie. about of like the pantheon of these evil dead movies it's one of the weaker ones to me it's not as bad as the 2013 one but um i'm not i don't think i'm really going to be thinking about or remembering this movie when it comes to like assessing 2026 especially with as i've

been saying again again the uh horror competition and recent kind of examples we have that are just so memorable and excellent what i would uh what what i'm just realizing right now is that the amount of movies in the franchise that I enjoy is quite a bit. Like, it's only one that I would just don't, that I don't really feel excited about returning to. And I feel like if these other ones weren't things that I enjoy, that I never would. But now I'm like, I'll probably do a marathon in the future. I'll probably watch through all of them in the future, which means I would have to rewatch the 2013 one, which makes me sad. Yeah.

It does kind of stand out as being like that. Because that one was just like a remake. It wasn't even really doing anything much new. At least Burn and Riz are takes, you know? Exactly. Yeah. Way to go, Sam Ramey. I love this thing that you've created.

And it's so weird that you'd almost expect it not to be something that would be consistently successful. No. Yeah. I don't know if the average audience member gets, the same thing that I get out of these movies or, you know, experiences them in the same way. But I'm glad that it's connecting with people in some fashion, enough that they continue to make more. So it seems to be like a pretty guaranteed success. In this new string of them, just give me one that's like ridiculous, please.

Because like having not seen Army of Darkness still literally today, I didn't, I wasn't expecting it to be literally a live action like cartoon. like with the sound effects and everything. That was so fun. I love that. So yeah, yeah, maybe a little bit less self-serious time that dial a little bit. Well, I mean, if you watch Last Stop in Yuma County, that's a pretty comedic film at point. Yeah, maybe this will be the one.

Let's see what Francis's take is going to be because I wouldn't be surprised if he was the one to kind of lean into more. comedic stuff. Oh my god, 40 million worldwide opening for Evil Bed Burn. Nice. Is that what is? Do I trust iHorror.com? What is this? I'm seeing 25 on IMDB, but maybe it's not paid. Yeah, well mine's from two hours ago. Well, there you go. But maybe it's a clickbait. I don't know what this is. Whatever. Box office mojo. Let's try that. Burn. Oh yeah, here's another thing I didn't like about the movie. I hated how many of the fucking kills were like, well, they're getting burned in a different way. I'm like, the thematic title. Like, it shouldn't be the method of violence because then I'm just anticipating it. Like, you know, then I'm just like, oh, how are they going to get burned in this scene? Yeah, then they can do evil dead ice. Evil dead acid. Yeah. I should be surprised by the deaths. You know.

Uh-huh. All right. Well, yeah, box office modis is 20. Well, we'll see. We'll see what the numbers are. Maybe that website lied to me.

I mean, horror just continues to be like the most consistently profitable genre. Yeah. You know, you can do a small budget and have a huge return on investment. I mean, it's just horror is never going away and seems like it's stronger than ever. Hell yeah.

I'm here for it. Which is good. It does kind of suck, though, that it feels like for young, new filmmakers to break into Hollywood, they have to do it through horror because there's no like indie dramas, you know, that are breaking through or anything like that. It's usually horror. Hmm.

Yeah. I mean, yeah. Depends in which circuits they break through. But yeah, I would say more often it's horror, especially nowadays. This past year was insane for that. That's definitely the trend for sure. Yeah. Yeah, not a lot of whiplashes out there.

No, true. Oh, here's a question for you, actually. Did you watch the Ash versus Evil Dead show? I've seen a lot of that. No. I was looking at it, saying that Sam Ramey directed, at least some of it or something? I'm curious to check it out. It's got for sure the exact same, like, spirit and cheese as the original trilogy.

and there's like three seasons of it. So I think you would, I think you would dig it. Like the whole thing is good. What I saw of it, yeah. I mean, like, it's something, it's a television show format. The only reason I didn't finish it is just because I don't know. It's the type of thing where I would kind of like want to watch socially with someone rather than by myself. And it's like one of those like, it'll still be there waiting for me whenever I feel like checking it back.

So, you know. It's fun. It's definitely a TV show though. Yeah. And Ramey, I think he directs like the first couple episodes. So if you want like a feel of what it is, I would watch like the first few episodes. Yeah. The rest of it is just kind of becomes, you know, it's more standard TV stuff.

Okay. Yeah, I might check that out. I don't know if I would call it. Well, a good chunk of it is yes. But yeah, still has the same feel as a lot of the other evil dead stuff. I'm there if I get more Bruce. Exactly. Bruce.

He's so good. Okay, time to talk about the movie recommendation. What sick movie did you make us with? What do you mean by sick? No. There's nothing problematic about anything in this movie. You know, go ahead, present. What do we watch this week?

Okay, we watched a movie called Miserycordia? Yeah. I don't even know if that's how I pronounce it really, but, you know, some kind of made-up word. It's from director Alain Guiraudi, and I should have looked up how to pronounce it, but I would have butchered it either way. So, sorry, apologies to the country of France once again. I have failed you. This is a movie. where something about it. And I had not seen the trailer,

but something about the poster and the fact that, like, you know, is picked up by, I guess not criterion, but maybe Janus contemporaries. Janus, Janus, Janus. I keep saying Janus, I'm sorry, but I'll continue that. The metascore versus, like, user rating.

Like, it all just fit in, like, this perfect, this perfect pattern of familiar. familiarity where I'm like, you know what, there's a lot of other movies that I've loved that have these same specs. And so something beckoned me to check it out when it was on digital because I wasn't aware of it when I was at TIF. Wish I could have seen it at Tiff. And I fucking loved it immediately. It was something where I was just so happy to just, you know, do a good blind watch from something in my watch list and just was very, very, very, ecstatic about my experience overall. I guess to give a brief synopsis, I'll just read the fucking ImbB one. Returning to St. Marshall for his late boss's funeral, Jeremy's stay with widow Martin becomes entangled in a disappearance, a threatening neighbor, and an abbot's shady

intentions, which is, you know, pretty vague but accurate. What do you think? Go ahead, Alex. Yeah, I wasn't sure what to expect with this movie. Because you were making sure kind of like not to read much about it. Yes. So I didn't. I went in completely blind, which is definitely the way to do it with this movie. And for the first like half an hour, I was kind of like, okay, what is, it's not like this is bad or anything.

I'm just like, what is the shape of this? Where is this going? It was intriguing. It's interesting. And it does kind of get better as it goes along. making me think of that thing we brought up at the concept of having almost how much more important it is to have like an incredible third act over a first because there there comes a point in the third act I think it was where it kind of all clicked together for me and it just kind

of like thematically was making sense and the the dialogue just kind of like really ramped up and it became like really intellectually stimulating for me so I'm glad I stuck through it to that point and yeah it definitely gets more and more intriguing especially once. an event happens. You're like, okay, where is it going to go from here? How are we going to explore this? And it is, it doesn't really go the obvious direction. It's way more kind of intriguing the places it does go.

And this small little town of characters are all pretty well fleshed out. And I feel like I really liked the different perspective. Each one of them would bring and the performances and the conversations they would have. It's a very conversation-based movie. It's a lot of just people sitting around talking, but the complexity kind of comes from how just kind of reserved it is with that. It's actually kind of more of a flex to be so intriguing and interesting with how reserved it is. Like there's loads of great dinner scenes and a lot of pastis being drunk throughout the film.

Maybe you really want to get a bottle of that and try it. I've never heard of it. I was Googling it. It looks kind of interesting. But yeah, there is something kind of quaint and quirky and dark about it. And I loved the kind of small town vibe and the use of like this mushroom picking thing. And the kind of subtle sound design of this, the woodlands. Great sound design.

Yeah, it's definitely got a strong personality and a very odd main character. that like takes you through it. Yeah. I thought it was very very intriguing to watch. What about you, Jake? Yeah, I mean, what the fuck? This is such a weird movie.

I really enjoyed it. It's so funny and weird and it gets so much goofier as it goes along. You know, like you're saying, Alex, you know, at the beginning, you're like, okay, where is this heading? What is this going to be?

And of course, I love all of the, know, like the genre crime elements that goes into it. I love this type of story. And it's just, but it also has this kind of like lynchian aspect of like something is off. You don't really know what's going on. I love that the entire town consists of like five people and that they are all just constantly running into each other. It used, what starts to feel like a normal movie becomes like you're in a kind of like a prison or in some kind of purgatory with all these characters. And I was thinking the only way this character makes sense in a logical fashion or this story makes sense logically is if right before the movie started, this guy did a one-wish willow into wishing that everyone in the world was sexually attracted to him. Because it's just like the funniest thing, this guy who looks like Yorma Tocone from the Lonely Island.

He's just watching around and everyone is just horny for him. It's so funny and so. it's just so interesting and cleverer. You're always wondering, like, what are the relationship dynamics going on? And anytime, like, the story gets into a pickle or, like, the plot gets into a pickle, it's just like, well, actually, they want to have sex with them. Yeah. It's going to work out.

Like, every twist is like, yep, so does that person. So does that person. I mean, not to get, I don't think that's really spoilers. But it's such a unique kind of dreamlike. a crime film in a sense that I really loved. It was constantly surprising and I wouldn't say it like, I don't think it landed in like a super revelatory fashion or anything or that it really, you know, was one of my favorites or anything, but it was definitely a great time and I'm happy, happy that we watched it.

Yeah, no, this is a, this is a movie where for the first like 30, 45 minutes, I mean, let's just get into fucking spoiler talk. What are we doing? Yeah, you kind of have to. This is the reason why I wanted to not have anybody look up anything and just go and blind is because it's just like the core of the movie is almost kind of like a spoiler, you know, like the experience of it.

So everybody watch it. We all seem to enjoy it. Spoilers. Yeah, the first 30, 40 minutes or whatever it felt like a movie that was very like dark and depressing still good, but also kind of like familiar, but just with a different goal.

You know, there's certain directors that would just ride that tone throughout the entirety of the film and still produce a good movie that I would enjoy, but just not something that like I would be so ecstatic about revisiting and sharing with other people. And I love that that seriousness that it takes itself with for the first however much the movie is not only something that is that is you know kind of risk taking because if what you're eventually selling is like a comedy you don't want people who are looking for a comedy to just leave right there's so many people that would want something funny but not something that kind of like dreary and depressing and dark um so it is a it is a bit risk taking but i feel like the overall

experience of the movie is made better because of it like the humor in the film is more hilarious because of how seriously it initially took itself. And it's not as if even when it gets to the comedic elements, it's not as if those are played for laughs in a way where they're like winking and nudging at the camera or that things get like, you know, super fucking slapsticky or exaggerated or unrealistic. No, it's done in a way where the story is just so ridiculous and the scenario. and the scenario and the characters are so ridiculous, but it's still played so straight,

and it's still played so, you know, professionally, that that blend is like this perfect, it causes you to believe that it's something that could be real or is really happening and just makes it that much funnier. Yeah, it's dry as a desert. It's so dry, like that execution of it. That sort of gives it that kind of unique tone.

And you're saying the main guy, kind of looks like the dude from a lonely island. But I couldn't, I couldn't escape the feeling that you kind of look like Emma Stone as a French guy. Nice. That's why they wanted to fuck him. Yeah. And the kind of sexual element is really kind of what is most interesting about it, I think.

And where that goes. Because everyone wants to fuck him, but he also wants to fuck one of the characters. And that's a great scene. Yeah. One of my favorite characters, I think. Oh, he's great. Yeah, you couldn't really predict any direction it was going to go. No.

And like, even on a comedic level, I wasn't really like laughing that much. I was just kind of like, what the fuck is like going on? Like, I can't stop watching. Like, I'm like so engaged in what is happening. Maybe I'd find it funnier on a rewatch. And apparently this film is other films or film. I don't know how many they've made. I'm not familiar.

I kind of have a similar thing going on. But there is just something so odd about it. I love when a movie like goes off the rails and it like this movie starts out as one thing in particular. I really thought it's like, you know, this guy comes back to this old town where he has all these relationships and there's this drama. And I thought he was like, you know, sexually abused by the guy, the dad, you know, who died, his mentor or whatever. You know, which still may have been the case. It's not really explained. I thought that was the implication too, yeah.

I thought that was the implication. But then, you know, the brother, the old friend, I'm like, oh, they were fucking, they were, there's some relationship there. And then, but the brother's worried that he's going to have sex with the mom. Hold on. And then the priest is wanting to have sex with him. And then the old friend, he's trying to have sex with the old. So it's just like, and I love the repetitions of like the framing. It's almost like comical where it's like day night, day and night.

He's walking around going to the woods, looking for mushrooms. He's walking to some other house. He's walking around everywhere. It's almost like got comical to a point, especially those shots in his bedroom where it's the same framing of him lying down so you can see the clock and see exactly what time. And it's like, you know when the brother goes to work so you know he's going to show up there. And I just lost it when near the end of the movie, all the characters just keep breaking into his room to try to extract information from him while he's sleeping.

Oh, yeah. No, that's so funny. The cops are doing it too. Trying to get a confession from sleep talking. But again, like Alex is saying, like, it is so sincere. Like, that's to me one element that is, like, special about David Lynch to it. That I feel it somewhat here is that there are absurd situations, but it's played totally straight. And like the relationship between the priest and this guy, it is very, like, sincere.

And like the confession scene when he tells him that he's in love with him, it is so, like, heartfelt and sincere that. sincere that you're just kind of like, yeah, go for it. It's beautiful. Yeah. Yeah, the priest's character probably has the best dialogue. Yeah. For sure. I've learned to love without return.

Don't underestimate the face of desire. That whole kind of speech where he's going to go into like the morality and like this kind of weird philosophy about like the killing on the, I really adored that, that cliff face scene. Yeah. That was like when it really was like, oh, there's something really. special here and I just was not expecting any of that. You get to,

I know down when you see the main character showering and they don't shy away from just showing it's like naked dick there. Mm-hmm. It's just like, cool. Like you go, France. Let's do this. Yay. And then you get an erect one later.

But that was such a good punchline to the scene. Yeah. Yeah. It was a really funny punchline. Like the priest is just like so excited. Or, or he's, he's so. good at controlling his boner that he did it in a way to convince the officers. Yeah.

But he is in love with him, so probably, probably both. And they need proof. They got to see. They got to make sure. Yeah. They're like, we got to pull off the blanket to make sure that you're actually aroused. Yeah.

I love the implication that like in order to keep up his lie, he's kind of forced to pretend to be in love with this priest. It's like, is this going to be your day-to-day routine? Just like, how many times are you going to need to get in bed with him? that's the kind of like deal right it ends in a really interesting place too because he like goes back to the mom and then you know is wanting to cuddle up with her and she's like no not maybe eventually he's like can I hold your hand she's like yeah and just seeing that like you know lit enough so that you can see their hands um and that just being the final shot of the movie it's like really intriguing it's an interesting place to end it for sure it's yeah just the sense of the character being like so aimless is what is so unique to me where it's like you're spending the first like half the movie just being like what does he want like what even is his motivation like

he mentions the the girlfriend situation which is like was even telling the truth about that like is like what is going on in this guy's head is kind of what was keeping me like locked into what was happening he's kind of just like a leech and a really bad liar and an idiot like he's he is so fucking dumb. And I think he just acts really impulsively. In a way where, Leah, like,

he appears to be relatively, like, reserved in many aspects. But then you see, you know, like not only the murder, but also him just kind of like taking off his shirt and going for it to, a guy that just like wasn't reciprocating,

you know, like that, a very bold thing to do, especially, in the circumstance, like, you're there because a guy died, right? Like, this is a weird thing to be doing right now. What, you're just horny? And then playing it off later as if it was...

Yeah. And then later, just playing it off, like, telling the guy like, oh, no, it was a drunken gaff. It was a joke. Like, no, it wasn't. You're a terrible liar. But people just kind of believe him. People just, like, take his word and they're so naive and, you know, wanting to give him

the benefit of the doubt in any situation that he just wanted to, you know, just winds up, you know, continuing to be an idiot and a monster and, like, just getting away with everything. It's so ridiculous. Yeah. And you mentioned the cop breaking into, like, try and they establish that he talks in his sleep. So they're trying to get a confession out of him while he's sleeping. I wonder how that would hold up in court. Yeah, but through the execution of that, I was like, this is so dreamlike and weird. I was like, did this actually happen? Or is this like, actually going this direction now where we don't actually know what reality is. I think it is kind of answered. But at that point, I was like, was that even, did that just happen? Like, what the

fuck is going on? I mean, what do you guys think is like the ultimate, like, I won't say message, but like, what is, what is this all about? What is the point of this story besides, like, don't trust the unemployed bisexual in your town or whatever, you know? Like, what is the point? I think it's when the priest said that there's no ethical consumption under capitalism so you might as well just like murder people and that's basically what he said yeah just different words and the fact it's coming from a priest is so good yeah yeah this weird like nihilistic like take he has to justify his his love for this guy it's like wow that's hardcore especially coming from a priest I mean, I like that I don't feel whatever, like, clear, thematic point and intention from it that I'm kind of like, you know, there's a few different ideas playing at once here.

There's a few different goals for the film narratively and thematically, you know. I like that it gets me to be thinking about multiple different things without a clear, like, beat you over the head. This is what it wants you to believe sort of thing. Yeah. Yeah. No, that's, it's mysterious. and it's it's evoking a feeling. Mm-hmm.

Not trying to tell you anything. And with how kind of weirdly believable it is, it's kind of like absurdist is putting out the comedy and the chaos of everything. Like I can believe this like happening. Exactly. You read like Wikipedia pages of like weird murders and just instances in human history. And it's like, I guess, like this isn't, I guess, that crazy considering. There's way weirder shit going on.

Yeah. Like every day. Mm-hmm. Have either of you seen Stranger by the Lake? What is his other film? Yeah. So that's one where I apparently tried watching it in like 2013 and was kind of like and didn't finish it.

And I, you know, watching this, this is so great that it makes me want to like maybe give it a second chance. But I don't know. It's one of those things where I've also talked to like other people that have seen his filmography and they're like, yeah, I'm not really into his other films either. like Mizori Cordia seems to be pretty unique, but maybe this will be the start of him creating like consistently great things. He's got great reviews for the other films, but they just don't appear to be as like out there

and unique and, you know, not the same kind of feel, that's for sure. Okay. All right, yeah. I mean, I do want to, I'm just intrigued to be good to see like what his deal is with his other films. I know, right? Yeah, I hope he makes more like kind of fucking awkward, uncomfortable. weird, bizarre, crazy, cringe things like this because I was just having a blast from the first time I watched it.

Just basically just, I was just yelling at the guy because he's such a bad liar. And not only is a bad liar, he's like so stupid that he has all this time to like walk back to every location knowing the characters that are there. Like he even sees the fucking police car outside when they're pulled up. And every single time he goes into a scene, And like he didn't really have an alibi in his head beforehand.

He's just making things up the moment that somebody asks a qualifying question just like, well, but why did you do that if you said this? And he has like a different answer. And it's a bad answer. But it's like enough that like they'll just accept it or whatever or maybe they'll ask another one. I'm like, you should have thought about this a little bit harder. You should have just thought about this a little bit. It doesn't seem like he thinks like at all about anything. No.

And he'll like rewrite things too. He'll be like, I didn't say that. Like, fuck. And he just, it's, it's so funny, just the incompetence of everyone around him, like, not really following through and doing their due diligence to solve this crime and, like, properly interrogated. And he's just, yeah, he's being so old that the cops are just kind of like, when the priest covers for him, I'm like, well, that was, yeah, what we're expecting anyway, so

that makes sense. Well, we saw your boner. Sure. They're just like, yeah, we've seen, we've seen crazy. Yeah, like, whatever. Good luck to you both. happy, you know. They're like, hey, it's 2025. The fact that he's constantly going back to the forest often enough to collect these like morel mushrooms and people are like, oh, they never grow this

time of year and they're like only growing on his body. He's doing it often enough that the cops pointed out. They're like, oh, you just seem to spend all of your time in this forest while you're under investigation for a murder. Hmm, suspicious. The things that I like about the movie could also be like things that could not be, you know, it's one of those things that's hard to criticize because it's like, yeah, it feels repetitive. And at certain points, I was starting to get a little bored maybe in the midway section. But that also feels like an intentional quality that it has this like these cycles of repetition of we're just going to the same locations over and over the same five characters.

Because it builds to this just absurd level where by the end of it, you're just like, this is great. to me it never felt repetitive in in terms of like just seeing the same thing over and over again without there being like additional buildup or added context before seeing it. To me, the repetitive visual nature was something that was actually really helpful and really impressive for me because as I mentioned with like, you know, Evil Dead Burn. The way that it was shot really prevented me from like properly feeling the space. of any environment.

Whereas this is a film that by the end of it, like you could probably like just map out where the houses are that he keeps returning to, where the forest is. Like you feel like you get a great sense for the town. And there's a level of consistency with how it's showing things visually, like the room being lit entirely blue

by that alarm clock time. And how even though, you know, within the course of a scene, where the brother comes into his room initially, or the son, I mean. And he's like telling him not to fuck his mom. You can see that there's consistency with the time on the clock, which is a nice little detail.

They anticipated that, even though there's cuts in the shot. But also something like the eavesdropping outside of the house. showing it once almost feels like there's a potential for it to be interpreted in kind of like a, oh, that's convenient that he's able to hear that from outside there. But then later in the film, it happens again and in the exact same spot. So it's almost like there's more believability to it because you can imagine like, oh, it's just that particular location.

There's something about the way that the building is designed or maybe like an open window or something that makes it really easy to hear people's conversations in there. It's like reincorporation of scenarios and events and visuals that really give it a like a sense of like grounded consistency and helps you to more easily believe in the world that it's creating. Like it gives it a solid structure and foundation to be like a real place. Yeah, because you mentioned the continuity and I was noticing that during the many drinking scenes where like the

levels of their drink and everything were always like very consistent and like kind of meticulously maintained. I thought that was very cool. The wound on his face too like it heals over the course of however many days and it's really well done. And the actual the kill scene I thought the injury on the head and the practical effect that looked really good and convincing.

It's horrifying. I got to mention the sound design in this film not just the you know like background kind of setting mood ambient sounds of the forest, which were all incredibly well done, really super, super well done and atmospheric. But also, this is a film where, you know, there's technically action in it.

There's like a couple quote-unquote fight scenes. Like that's what's happening. But because of its grounded nature and the fact that it's trying to present itself in a way that feels authentic, not only is the fighting bad like these aren't professional fighters

that just kind of like shittily wailing at each other in a very sloppy way but the sound design when it comes to the impact sounds for the fight and especially like the rock on the back of the head like it's not indulging in this

this like hyper exaggerated or loud or unrealistic impact sound that you would see in nearly any other movie. It's not overindulging in that, but it still retains the level of impact when you hear it. It's just enough that it's like probably not a real life one-to-one sound. Like they probably boosted the audio a little bit of those impacts. But the Foley was really, really well done. feel, there's a part of our brain that understands when something appears to be realistic and authentic.

And for something like that moment with The Rock, it makes it all the more shocking that it wasn't handled in such a... Yeah, and no score, no music really until the end credits, which just emphasizes all of that kind of the realism aspect. Yeah. And there's scenes where it almost feels like there's a score because there'll be like a low hum of the car, like, as they're driving up. Something like that, you know, is a feeling that scores try to replicate often,

but it's purely just sound design, like atmospheric sound design, taking the role of the score in a weird way. Like, it's really well. No, the soundscape was awesome. Like the petapata of the rain drops, like in the woods or the wind moving the leaves on the trees, Like that really stood out to me. Yeah. Yeah.

Hell yeah. No, it was great. Yeah, the way the sunlight moves across and the clouds moving across the mountains. Yeah, it's very beautiful. The framing, yeah, is just, and everything that it's capturing, the autumn setting, you know, the landscapes, like every time it returns to the forest, even though there's some familiar locations, you still get. these new like wide shots that showcase the landscape

in ways that are just really really well framed and things often appear to be like paintings in this film. Like it's just absolutely beautiful. It's and it's fun to have a film that can be so

well made and meticulous and beautiful and professionally presented but still be so fucking ridiculous. and feel stupid because it gives it that believability of not just the universe, but also the trust in the filmmaker that they know what they're doing and what they're showing is intentional. But it's not just thrown together. And I guess what kind of counted for that repetition that you were getting at Jake was I just felt like at a really quick pace. Like a lot of very short scenes. It didn't really linger and will get dull to me.

on that front, especially once the murder occurs. And it's like, well, okay, well, now I have to know what's going to happen here. But yeah, a good pace here. It's not along with you. No, no, yeah, it went down easy. I mean, yeah, it was definitely not too much of a pacing issue for me, especially again, yeah, once the murder happens. I mean, once a murder happens, then you're just like, okay, well, how is he going to wiggle his way out of this one? and it just gets even more insane and ridiculous in a very fun way.

I don't think there's any extras or any characters walking around besides these characters. That's why it feels like purgatory. Like this town is dead. It's literally just the same like three locations that they walk to everywhere. Yeah, maybe he died at the beginning. Maybe that was his funeral. Maybe he died. I mean, I think maybe that's just kind of like that's what it feels like to return to

or maybe not forever to return to your hometown or where you grew up, you know. It's just, it's purgatory, you know. Yeah, maybe. You never know. I have no idea. I do like that they acknowledge, like literally near the end of the movie. He's saying, like, I don't know. The police just kind of like just show up in every room.

Like they have a skeleton key or something. Like they just literally acknowledge that out loud. Like it's a fun comedic self-awareness that I just. It's very, very admirable. The scenarios that it was presenting with just how fucking awful he is at lying and just before the priest comes to save him when the police are, you know, interrogating him like pretty much right over the dead body in the forest that you can see just in the performance, just how nervous and like at the end of his ropes he is.

Like it almost felt like in a different. film you would see something as as exaggerated as like that Jordan Peel sweating giff, you know, like it felt like on that plane of ridiculousness that this was just some sort of really long but professionally presented sketch comedy segment. Really? Yeah. No, I wondered if there was any Patricia Highsmith influence here because the movie reminded me in some ways of the talented Mr. Ripley. I don't know if you guys. have seen the movie or read the... No, I'm aware of it, but I haven't seen it yet.

Ripley is a very queer-coated character and is basically becomes obsessed with the character and ends up killing him and trying to impersonate him and take his place and tries to live off all of his money acting like he is that character. So that reminded me in some ways of this character, kind of becoming the... You know, he's living in the bedroom of this Vincent,

you know, before he ends up killing him and, you know, his, the mom clearly likes him more. You know, everyone seems to like him more. So I felt a bit of that kind of like impersonator coming in to be like a little Tom Ripley a little bit. So that may have, I wonder if that had some influence here in the writing. Mayhaps. Mayhaps.

And honestly, I'm thinking about it, like on the believability aspect, just the general casting, I feel like, very, just kind of like non-glossy. Like the shout out to Walter, the like bigger dude with the gun. He's great. He's one of my favorites outside of the priest and just the, you know, he's got like a fun, expressive face and like a really good line delivery. Yeah, he steals the scene every time.

Yeah, exactly. But during that scene, I was like, is he going to like fold? Is the main character like, like, I was so curious where that was going to go. And the apology scene is like so weird. and like everyone's so kind of like open and blunt with the way they communicate about these really awkward like interactions. Oh, it's so good. Yeah.

Yeah, the performances. I mean, the fact that Emma Stone transitioned to play this part is incredible. It is uncanny in some shots. That's funny. It's fucking weird. No, it was a great, it's a great recommendation. Thank you. I'm glad you both enjoyed it.

Yeah. Yeah, it was awesome. It was something that I just felt, I felt I needed to do. It was my late Pride Month recommendation. Well, Pride Month is over now. Now I have to recommend the straightest movie. No, I'm just kidding. Myd month is over.

Now it's MC Ride Month. Takyan. I guess going back to what the film might be about, the name, is Latin for mercy or compassionate pity. Yeah, right. That's kind of what it's going for. Yeah, I mean, like the priest does kind of, you can, you can understand where he's coming from, even though we as human beings would obviously want the main character punished, right? Like, we always have some sort of idea in our heads, an emotional propensity towards the concept of retribution or revenge.

it is funny how he justifies it like it's it's an interesting philosophical argument that you know is valid even though we would probably not agree with it is like yeah you know you're making an interesting point i guess is he a danger to society still is it going to bring him back like no i don't getting super existential with it you know the death is no bad thing can end at any moment we need unexpected deaths we need accidents we need murder he's like he's like turning it around to being like this good thing. And I'm kind of comparing it to like, man,

we're just constantly surrounded by pain and misery, but we still enjoy cinema and football matches. So like, it's okay, you've done this. It's really funny. Because like, I think using priests as like a,

to explore something in a script is, I always like that, even though I'm not a religious person. I find it, um, really intriguing, like a first reformed or there will be blurred or silence or something. Um,

I, I really like, it. I think this is a unique spin on that with just how it's the inverse of what you'd expect to kind of priest to do or say. Yeah. Yeah, exactly. And especially with how he like, he's basically aware of this from like the get-go and is just like helping him to traverse this in that direction and leaning him into understanding things without explicitly saying it. Like the whole confessional scene is just so funny and great. Just him basically saying like, yeah, I know you did it.

But what if I want to have sex with you? The one last desire to give you the urge to continue is how he like phrases it. Yeah. And now he's kind of stuck in the town, you know? He's like he's in a relationship now. Yeah. He should just be Polly with everyone there. That's exactly.

Oh my God, that would be such a good ending. that might be a little overboard the way that confessional scene was shot they kept the priest's door open I don't know if he's technically a priest whatever he is but yeah his door was open

while the door of the main character was closed and there's one shot where you can kind of see the split down the middle and the main character because his door was closed not only is it darker with a lot of really interesting lighting kind of covering parts of his face coming down at an angle.

But also it appears as though, because of like the air holes, the slits or whatever, through the confessional side that is closed, it looks like he is like imprisoned. Like it's evocative of like being in a cage sort of thing. I thought that that was a really cool, thematically interesting shot. Yeah, love this movie. It's a very, very good little gem here. that I just wanted more people to see it. First watch was an eight.

I bumped it up to a nine on my second. Nine out of ten. Oh, yeah. Yeah, I had a bit of a feeling this might be better on a rewatch, especially after this discussion. And, yeah, I'd kind of breaking it down and thinking about it. It'd be like a strong, four-star for me. Loads of great dinner scenes, drinking scenes,

just loads of great dialogue. And just appreciate some weirdness, you know, good weird. Hell yeah. Mm-hmm. Yeah, I think I'm going to go eight out of ten as well. Lovely. Glad you both enjoyed it. Good film.

Hell yeah. French. French, yes. Said it like it's a surprise, man. Who knew? Yeah, let's do some questions then from this Dona curse community. Head over to the suggestion thread over on the subreddit. If you want to leave questions for future episodes.

Let's start with this one from Head Ad. 8780. For Adam and Alex, which of Jake's man-carrying thing channel skits are your personal favorites? For Jake, which are your skits are you most proud of or have had the most fun making? Wait, what? They're asking me what my favorites were? Well, first, we've got to say, I guess, our favorite ones. Oh, please don't. This is too. No, no, no, no. Don't. I can't. You're scared of us saying our favorite skit?

No, no, no, no. You just, this is too modest. No, no, no. They're all. They're all, they're all bad. No, he protests. They're all equally bad. This is, yeah, this is so weird to hear, like, you're just scared. I don't understand where this is coming.

It was the most upvoted question. Really? Oh, my Lord. Which isn't a guarantee that you're going to be picked, by the way, just to be clear. Sometimes they try and force bullshit through. I don't know. I like when you do the, like, when you do the, like, YouTube commentary stuff like the um the the when YouTube is overused stock footage I thought

that was like a funny clever observation thank you yeah anything like that is cool or the a more recent one the um how the government thought we'd react to the Epstein letter one I thought that was a good win that was a good one thank you thank you so to me it's hard to pick a favorite because they're like pretty consistent. Yeah. Wow. There's a lot of there. True.

There's a lot of good ones on different topics. I like the ones that are that try to imagine a character of like someone like the median voter or like. Yeah. Like a type of person thinking politically that we don't understand but is kind of acknowledging that sometimes people don't make sense. I mean, the sketches are often barely sketches. It's usually just me disguising my feelings and gripes about something. Exactly.

And just putting it out there in a 60 second format. Yeah, yeah, no. I do like the ones where I'm able to, like, find a way to, like, tap into, yeah, People who, just like an inconsistency, like a logical inconsistency, people who just cannot like, like I'm working right now on, this is going to come out later today, a video about, inspired by some of our conversations here. Nice. About people obsessed with the IMAX formats, you know, and 70-millimeter. That'll be fun. Yeah.

Yeah, you know, they are, I make so many. I have, they are gone outside of my brain as soon as I make them. Yeah, they would be for me too. There's so many. That's the short form. Yeah, exactly. Video tweets. All right, moving on.

We're moving on. Thank you, guys. That's so funny. I got to do this one from Gal Gumbo. As of July 13th, Sam Neal has sadly passed away. What were, in your opinions, his best performance. Yeah, I really love Sam Neal. I was really sad to see that because it was only a few months ago.

I watched an interview with him talking about, like, you had cats. cancer and he was going through chemo and apparently that's not what got him in the end. But he kind of looked like perpetually 50. I didn't realize how old he was actually. It was like nearly 80. Yeah, he aged gracefully. But as far as best performance, there's a few good ones to choose from, apart from the obvious Jurassic Park. He's great in possession.

That would have been mine, yeah. Yeah, that's like a real standout. But there's some, like, weird stuff in the mouth of madness, hunt for the world of people. Do you guys have any that jump out to you? In the mouth of madness, for sure. Yeah. I love, you know, that's a fun, such a fun movie. And he was really doing, like, lots of horror in the 90s there.

Yeah. And I don't know. He just, and I think he was in, even if it wasn't, like, great. I usually enjoyed him being in it, his performance in it. I thought he had a real charm to him and all these, like, stories. and coming out about him. Now it's like no one has a bad word to say about him. No, yeah.

Yeah, no, everybody loved him. Yeah, he seemed like an awesome guy. A good Kiwi guy. Good life, good legacy. Not in the Epstein files. It was like nine and day. It was like Lindsay Graham dead and then Sam Neal dead and a big change of tone. That's all I'll say between their two characters.

Yeah. And just reading about like he lives in like a small town in New Zealand and like all the locals loved him and he he believed that like every town should have a cinema and like either you just seem like one of the good ones you know so shout out Sam Neal rest of peace rest and peace

yeah oh here's something a bit more sardonic Po Po Poe Poe says to all what are the moral implications of Jake watching the Moana remake in the theater I think it's starting us down a trajectory similar to Harambe getting shot.

Everything went to shit after that, yeah. I think people are going to look at that moment as the point where things got somehow even worse. You know, I look at it as, you know, like the priest says in Misericordia, that's just like, you know what? What's murder, whatever. You know, it happens.

I watch Moana, whatever. It's like the same sort of thing. Yeah, true. There's no ethical conception anyway. Yeah. Yeah. I mean, yeah. I'm a regal crown member.

So I get to see as many movies as I want per month. So I don't, you know, it's not like I'm specifically paying. You know, whatever. Fuck you guys. I watched Moana. I'm proud of it. Whoa. Whoa.

Yeah. My new favorite movie. Okay. Like, it seems so there is a greater conversation here because it seems as though frequently enough on this podcast, there are. films that are in theaters that, yeah, I don't know, like to me at least, kind of seems like everybody should know that they're going to be bad and like not worth time anyway that get covered. And although I do, you know, I do rag on you guys because I do, you know, want to

support other films that exist that I feel could use some more support, you know, the smaller things that I feel like should get some more attention. I'm still able to do that by kind of like meaming on it in a way where, you know, I've mentioned the love that remains by Helena Palmerston in the past few episodes. So hopefully if I just continue doing that until we eventually watch it, that'll get a good amount of people to see it. Did it with castration movie. It depends on what a person wants and what they're going to get out of not just the movie,

but, you know, what their job is. You know, are they making content about the movie? my biggest gripes I guess are more with audience members saying things like you know why are they keep making this but it's like you bought a ticket they're making it because you saw it it's kind of why I feel like it's important for people to like

push back through critique so then like people don't want to see them anymore like people are clown in this Moana remake and it's like I don't think there's really much in it with like the Lion King remake, which at the time when that came out, people were kind of into it and it made a billion dollars. And it was like, what the fuck? What is happening? How is this acceptable?

That was funny. You know? And like the tide is turning now for that. And that's where I feel like the value of it is. Like kind of demanding better from this, this slop vest of because it's getting like more and more egregious with these fucking remakes. Like they make horror movies, snow whites. and then, you know, like, Moana's like 10 years old, you know? You don't even have that excuse of like a new generation.

This is also true, but I mean, like, we've seen it this year very particularly with the breakout of obsession and backrooms, right? Like, people in the industry are doing immediate shifts and immediate green lighting of, like, other projects that they feel are at least going to tap into something similar. Whether or not they're learning the right lessons from this will be learned as time goes on. But that's like an immediate cause and effect when something so successful that breaks out in a way, especially like obsession that wasn't made with, you know, like this whole studio backing, we're dumping $100 million into this thing, like, you know, proving that lower budget things

can be successful and that people outside of the studio system might know a thing or two about art. Yeah, yeah, that wasn't cynical. And I guess, seeing as you mentioned that, I'll bring this question up from Bleach shots. It was recently announced that Warner Bros won a multi-million dollar bidding. war for the rights to sirenhead. They're planning to have Zach Craiglin, director of Barbarian and Weapons, and Brian Duffield to the writer-director of no one who will save you.

Co-write the film, sorry, I can't speak. What do you guys' thoughts on this upcoming horror movie? Do you like the direction that horror seems to be headed in with more films adapting concepts and stories that originated from the internet? I don't have an inherent problem with it. I think, as you were just saying, like these trends kind of come and go, you know, like Tim Burton does an Alice in Wonderland legacy sequel live action bullshit it starts this whole makes a billion dollars starts this endless nonsense and yeah we're seeing like the backrooms

especially it's fucking huge and I think there is actually a lot of kind of cool stuff to mine with like some internet horror there's some corny stuff for sure but hopefully it would give you maybe more freedom than being rooted in the other option which is just like legacy sequels which was kind of my complaint with the evil dead thing, where it's like, you're just like living in the shadow of something constantly. And it's a weird kind of workaround of playing almost in an IP space, which is like what?

It's like the only way to get something made or like greenlit. It's like, oh, that's a recognizable thing. But at least with the internet stuff, I guess you maybe have a bit more freedom. It's not like as rigid perhaps. Like what does a sirenhead film even look like? Like, I've only ever seen like the picture. There must be like,

lore or something. Hopefully they just... I'm sure. Yeah. Like, I feel like Zach Greger has freedom with that. Probably more than Resident Evil. I don't think any of it's going to really matter, like, in terms of finding the trend of like, oh, now we're doing like creepy posters. Okay, great. Like, I don't think that's going to matter whatsoever.

Because to me, it seems like audiences, especially in like the digital age and younger audiences and Gen Z, which is like driving a lot of the momentum to cinemas, it's that they're way more discerning about what's good and bad. You can find out easily and see who's recommending it based on, you know, your favorite YouTube creators or whatever on Instagram, you know, whatever. You can figure out what you want to see. And people are drawn to like movies that have authentic hype and interest around it. Like it's so much easier to tell and figure out. So I think even if they're like, like the impulse in Hollywood was like, okay, what is the new trend?

What is the next wave of things people are talking about? And it's, I think it's just changing completely. Like people were into backrooms because it had, you know, Kane Parsons and Bill. up this ground hype for for a long long time you know and and with obsession like that was just super word of mouth mouth type of thing so yeah it's it's just going to be like people want like we're always people want good movies just make a good original movie and I think people will um you know put some money behind marketing it and these are concepts that are those two in particular are concepts that kind of speak to younger audiences too right like they're this they're scary on like

different levels, like the backrooms being this kind of, this isolation, this liminal kind of feeling that especially like post-COVID, I feel like a lot of people are kind of like just trapped in and obsession with this like relationship dynamic and everyone can relate to that in some way. So yeah. They're going to, they should make a Mallow movie. Mallow. SCP 1471. It's just the, it's just a person in a pursuit, basically. okay but SEP is there's

loads to mine there loads of them suck but loads of them are awesome too like that kind of I can remember but the game

is um just like loosely based on it um is it control something like that um

it's yeah it's a cool idea and I feel like that would connect if done with uh sincerity and it's like

I don't know the big the people of the money green lighting it I don't know if they how rigid can they be with like these internet concepts it's not really like okay you're making a star wars movie we have the star was bible

you can't go out of these bounds or we're gonna shut it down like what can they do with like SCP or something like who even owns this stuff it's kind of like who owns the backrooms is that like owned by any but like feels like different but it's still recognizable it's like I think it's kind of a fun cool new space to explore to be honest

Yeah, I mean, so much of human creativity and conversation is now kind of like a group effort in a weird way. Yeah, no, back rooms, it was like a four-chang creation, right? That's where it comes from. Yeah, so nobody owns that so anyone can kind of have an interpretation on it if you're like creative enough. Yeah, you own your own interpretation of it. Yeah, exactly. I think that's cool. Yeah, I mean, the good thing is that, you know, I think,

Sardonicast as a horror concept is adaptable by anybody. I mean, it's just kind of like open. I mean, when that becomes a horror film, it's probably going to do very well, I imagine. Yeah. What's the, what would happen in it? Oh, I don't know. Well, it's time to get creative.

No, I'm good. Next question. All right. fucking dip it out of all these questions as soon as the going gets tough you hit you hit the next button yeah next uh well andy is the next one i feel like andy Alex what are your thoughts on count bin face if the rest of the gang isn't aware of him please provide your insight as i'd love to hear their thoughts as well as an american currently living in the UK i find the Americanization of the UK politics to be both entertaining and worrying you guys heard of this count bin face no and I'm

looking it up and shocked that it's a real thing and not just a jar. It's like the best thing to happen in UK politics in a bit in a while. Have you seen anything about this joke? No, what is it called? Count Binface. Count Binface? Yeah. He's like a,

he's like a politically viable person now. It's kind of awesome because like... Novelty candidate. Yeah. He's actually like polling better than, well, I can give you some background because it's kind of insane to be honest like yeah do you both know who Nigel Farage is yes yeah yeah he's been this he's been this he's been this tick on Britain for like he's just been this fucking rash that won't go away um and yeah he's leader of uh reform UK he pulled this political

stunt where he resigned to to deliberately trigger a by-election um but no other party has taken it seriously which is what he was banking on kind of like running again and doing this whole showmanship thing to try and get the eyes off this recent drama where a crypto billionaire gave him five million pounds. Oh, yeah. No, I saw him being interviewed about that. Yeah. It's like, it's none of your business what I deal with that money. And he's been like a scammer, grifter asshole for like a long time.

But for some reason, this one is stuck. Nice. This one's like really stuck and it's awesome. So now he's re-running in this. election and the only like viable candidate he's running up against is his count bin face who's come out hell yeah the woodwork he used to be known as lord buckethead i think um he's he's this oxford educated like comedy comedian like right he wrote on like the thick of it which i think you've seen adam like uh the i think so and on like mock the week and stuff like that he's like he's really

witty and clever um and he's kind of just like making a mockery out of this this whole party and it's fucking beautiful to watch. It's so good. I'd really recommend watching like clips of him being interviewed and it's, it's wild. I think it's awesome. That sounds great.

I can see it as Americanization though, personally this. This is the most British thing. No, it doesn't seem like it. There's been novelty candidates that have run in other countries as well. I'm trying to remember exactly which ones, but yeah, some would basically run as

like, oh, I don't. don't remember. Vermin Supreme. That's one. Yeah. So that's an American one. But there's also been ones that have like run as like clowns and one where it's like the point is is that they're making a commentary on the state of like the other political candidates

and the options that people have. You kind of poking at something real, which is like general political fatigue. Right? That's what caused shit like Brexit too is because people are just fed up with the existing systems that they kind of just want to tear it down. Oops. I'm looking at Count Binface, a picture of him standing in front of the Parliament building, and, you know, it just looks natural to me.

Like, I don't know. This just seems like normal. Like, I don't mean to have stereotypes about England, but this just looks like, yeah, this is about right. To me, I don't know. Doesn't seem too out of my expectations. I mean, yeah, it's a clown show. And I guess what Andy was getting at. getting out with the Americanization like Farage kind of is a he's like obsessed with Trump

he's he's playing that whole like playbook of he like idolizes him um fanboys him it's really pathetic um so hopefully the son does him in one way another I think that's awesome and funny how many um who is your current prime minister right now uh still kirstama he hasn't like okay he has he has resigned but it's not like changed over yet it's going to be andy burn them. Yeah. I think it would be fun if it was just nobody for like a good amount. I mean, why not at this point?

My personal take is that like nothing's going to change until we address like media. Exactly. Which is kind of what the Calvin Face thing is getting at where it's like, we're just all in different universes. Like what the fuck are we supposed to achieve if like, you know, like we just kind of agree on anything. Like there's no. And there's so much like foreign influence.

It's like so insane. I don't know what can happen. Yeah. Yeah. Every, what do we do about this? Like, what do you even fucking do? I don't know. You've got to like clamp down on social media companies, really.

They're the other ones that fucked it up to this degree. You know, I think that it's, I think that like we'll figure it out as long as we just like don't have black and trans people in the Odyssey. That's the problem, yeah. People are already like, it's just forgetting that. They're like salivating over the movie already in my previews. That's going to die immediately. This stuff like lasts like one week or less, you know, these little like mini-drumers. It's so weird.

I mean, I think a lot of it has to do with Twitter becoming a cesspool. Like that was a huge deal. Like it still is a huge deal that we haven't really captured like, wow, that really changed a lot. There isn't really like a central hub for like, I don't know. discourse like Twitter I don't know how on Twitter you guys are I try to be as on it as little as humanly possible but um not much it's so awful so awful I know that's why I'm not yeah it's genuinely atrocious but that's also that's all the social media platforms all of them are are just getting worse and worse but it is like it lines up directly to Trump winning to

um Tommy Robinson in the UK becoming like a huge platform like that is not like a coincidence, you know, this shit. No, it's interesting. James James came back and like Nick Flentes. They're huge now in ways that they never were. It's not a fucking coincidence. Yeah. How much of it is fucking, like, real people is the question.

Yeah, that's another thing too. And even out of the percentage of real people, like how many are just literally, just inauthentically just saying things? Everything about it is dodgy. The weird monetization of it. the how it was paid for originally. Verified users. Yeah, verified users, like the

richest man in the world, like, owning it? Yeah. That's okay. Cool. Bit of a red flag. We're just going to make this a private company now, so we don't have to, like, declare any real data about it. Yeah.

It's really fucking weird. I know how anyone is okay with that. We can point out all of these problems. What's the solution? Like, that's the thing I keep getting stumped on. It's like, do you just, like, nationalize all the media, then it's like, okay, that brings its own set of risks and problems, right? And what do you do? What do you do about any of this? Just fucking throw Elon in jail?

Like, he's not the only one. Yeah, I don't know. Yeah, because I agree with that because there's still what, like, before the internet, there was like the Rupert Murdoch problem and everything. But it's just so accentuated now. I think everyone should just chill out and listen to their favorite podcast, Sardonicat. Yeah. Yeah. Hell yeah. I think that's what they should do.

And that's the start of the horror movie script. There it is. What could possibly go wrong? Yeah. Man. I got a funny one. We can do. Funny one.

H. is greed, though. We all know that, wait, we all know the hooligan would beat the perennial ill horse and the hipster dad in a fight. day of the week and twice on Sunday. I don't know why they're calling me a hooligan on Sundays. But who would win in a cookoff? Not me. Actually, well, I don't know how you guys cook.

You can bake a loaf, a fresh loaf of sardony bread. Yeah, but like, am I allowed, I guess I would be allowed to use my bread machine. What are we cooking? Yeah. Anything? I'm going to learn how to make gumbo in the next three months. Right. You should learn how to make like ramen. I've been getting into that recently. Like from scratch. Yeah. Like making the stock and everything. Like it's really not tough like once you know. And it's like so delicious, so good for you. I live in Vancouver. It's not going to compare it. I'm still going to make things. I'm like I'm just going to be that. Why didn't I go to Don? You can still learn and make. If anything, like there must be some incredible like Asian supermarkets in. Yes. Vancouver. Yeah, tons. So you'd be able to get like all the best base ingredients.

That's, that is true. Jake, what are you, what's your cooking ability? What's your cooking like? You know, I can cook something quickly and very basically like, I don't know. It just depends on what my kid will eat. It's like he likes tofu. He really likes tofu. But I cook it for him and he doesn't even want it.

He just wants like warmed up plain tofu. Oh. So yeah, that's what I make. And rice and, you know. Well, maybe I might win the cook off. Yeah, it's not great. I like to cook. I used to cook more like proper dishes, but it's just like there's no time in the day anymore.

So, yeah. If I'm allowed to use my gadgets like bread machine air friar instant pot. type things that yeah I could do some simple shit that would probably be not too bad but it wouldn't like it wouldn't be presented nice or anything well see yeah if it was a competition I would take it seriously enough that I would like be practicing and shit my child is at an age where it is like it is kind of like a horror movie every meal time it is it is it is like trying to figure out what he will eat and would want to eat it is you know it is an insane process and then it ultimately ends with you deciding, okay, we're just going to order Thai food now.

Yeah. Once again. Yeah. But I'm definitely cooking. You guys have got it. I mean, you'll make the sardana bread and gumbo and all that good stuff. I mean, you know what would be fun doing like a proper sardinicast meal time where we have, you know, hot toddy and a loaf of bread and...

Just the amalgamation of our... What's that crazy gomster? What's that crazy... Gunster, yeah. Oh, Gunster. Goster, yeah. Next time we do a live stream, we've got to get out of the old classics. Sure.

Gons, I don't know if I want to drink Gonstr. I mean, it tasted not bad, but it is an energy drink and alcohol. Yeah. You know? Best drinks. There's two things. I'm like trying to get healthier, not the opposite. Oh, yeah.

No, I have one a year, I think. There you go. One ghost or years. Yeah, for the Oscars. Yeah. I have a question for you guys. This is a bit unrelated, but I wanted to ask your opinion. Criterion announced 4K box set, Stanley Kubrick, all the films.

What do you think? I love that it exists, and I hope they continue printing it so that I can buy it eventually because there's no way in hell I'm thinking about it right now, because it's very expensive, and I've got a lot of other things on my plate. Yeah, have you what price of that? I believe it's like $600. Like US. 600 US.

It'll be in the sale or something. And it'll go down to like 400. I'm glad it exists though. But I mean, like it looks like a fucking kick-ass set, you know? Yeah, no, I think it's cool. It's great. I mean, it is a specialty item that, yeah, I mean, one of these days maybe I'll get it.

Yeah, I would love it eventually. My kid doesn't need to go to college. But I did want to ask, I'm putting this out to the viewers of this, because when is this episode going to come out next week? Yeah, so it'll be public for everyone on Monday the 20th. Okay, question for viewers. They're doing the criterion sale right now, Barnes & Noble. I'm getting back a little bit, a little bit.

back into the dirty habit of getting criterions. Are there any, like, essential criteriaons that I need to pick up? Not talking about quality of film-wise, you know, I'm sure most of them are great films. In terms of, like, a release that is unique and special to criterion, that's, like, the great supplements, box, whatever. That's just like, yeah, you got to pick this up. Let me know. Let me know.

In the comments. Please. Brazil is a pretty good. release? Brazil. I have the old DVD. Maybe I need to. I don't love that movie enough to buy an upgrade.

I don't know. I used to love that movie. I used to love Brazil. So if I log into my criterion and just look at my wish list here, let's see. The World of Wangar Wai. That's like a big box set that I would like. That's a good one. At some point.

Ooh, they got the Chantal Ackerman masterpieces complete with Jean Dillement. Wait, is that? Yeah, that's on the Jean-Dermont. Hell yeah. You know what? I got that last year. I got that last year. I need to watch more of the films on there.

I watched one of the short films. Jake, are you aware of Satya Jit Ray and the Hibhu trilogy? Okay. Have you seen them? Oh, my God, yeah. I've seen them multiple times. I love. Okay, I've been meaning to check those out.

Yeah, those are great movies. Pather Panchali, the first one especially is, oh, my God. Yeah. Just gorgeous, beautiful. movies, yeah. I'm looking forward to this. Yeah, what sucks about criterion for me right now is, like, the most, like, got to have it, like, contemporary films that I'm, like, hyped about have all just been, like,

Janus contemporaries and, like, really bare bones, special features, like, technically not an official criterion title. Like, and it keeps consistently happening to me, and I don't know why. Mm-hmm. That's where they put all the cool shit now. Well, you have, you know, you're more into the more contemporary art house stuff, I guess. You got to wait. You got to wait until they're classics for it to get a real release.

A few decades. Oh, the Wes Anderson box set. That could be cool. Oh, that's another one. How much does that say you back? On sale, it's like $2.50, I think, maybe. Okay. Yeah.

They've got Sorcerer. Nice. I, you know, I think I might have to do after hours. That was one I was really looking forward to. And I still haven't picked that up. I got The Killers of the Flower Moon. I was really excited. Nice.

It's one of those things where it's like, okay, do I build up my Tarkovsky collection, you know, because I only have like Andre Rublev in an old DVD, you know what I mean? I would assume they'll have a Bucson eventually. You think, yeah, that's true. Tarkovsky is one of those directors where it's like, they're guaranteed to have a box set at some point, right? Okay. Yeah, I'm surprised they haven't already done it, I suppose.

I assume they would have. Over time, I'm sure they will. I feel like some of the rights are wrapped up with, like, his later, like nostalgia and the sacrifice, maybe, those two. Yeah, no, no. That's why I'm also waiting for David Lynch. I haven't, like, picked up the criterion for Lynch yet. I don't know.

Again, it's like, at a point you're like, okay, I have blue velvet on Blu-ray, on an old Blu-ray, do I really need to get, you know, the 4K? No, I don't think so. I just, it's one of those things. Just one of those things. One of those things. Always a search for more physical media that you don't need. Especially, especially now that we're seeing more and more examples of, you know,

digital media just being taken away from people. No, exactly. Exactly. Anything's terrible. Sony decided to take away all the movies that they, the license rights expired to. So things that people paid for just disappeared from their accounts, is what happened.

Like tons of titles. Like, this is a bad thing. This is a bad thing that only happens because our elected representatives aren't passing easy legislation about it. they're not they're not looking at that and going oh that's a problem let's make it illegal that's the only reason why it's happening yeah it needs to be done like the EU like stepped in when apple was being bullshit with their bespoke cables you know yeah like they're just like no you can't do

this anymore so then they broadly just accepted like okay you just adopt USBC then fine that's crazy they got to yeah that is insane they got to do something similar it's crazy to me because like my government has has been you know saying things like hey you we might do the can requirement for a certain percentage of the content to be Canadian on some, you know, internet entertainment websites or whatever. It's like, that's not, that shouldn't be the priority here. We're getting scammed. We're getting scammed and your voters are going through, you know, financial hardships that you're aware of and people are voting for wanting like lower grocery prices and shit. Like, you can't make it a bit easier to just like stop some of the scams that are

happening all the time. Go fuck yourself. Everything sucks. It's like a slow erosion of your rights. So, so infeering. I love how positive and happy I feel after every time I record the podcast. Do another funny one. Do another funny one to close it up. Fuck. Let's end on this one from Dry Administration 30. Who would win? Another fight one. Alex, the lion shaped Alex, a horse-sized Adam or a woman carrying man carrying a thing. If I'm just horse-sized, I still have all of my health problems and it dislocated me in bad wrists. I'm already horse-sized, whatever. And the horse is like, if they get a leg injury, it's not good for them.

Yeah, I have very horse-coated health problems. So not me. If the thing, the thing, the woman-carrying, man-carrying thing is a gun, I guess. Man-carrying gun. Yeah. Good channel. One of these days I'm just going to reveal, like, this is what I was carrying the whole time. It's just like a AK-47.

We're getting a good script for the Sardonicast horror movie. It's building. It's building it. It's going to happen. Yeah. That's the twist. I was carrying a gun the whole time. That was the thing I was carrying.

Mm-hmm. What was that noise? It was an anime reaction image sound. Okay. I feel like the lion wins, right? Unless you have gun. I think gun beats lion No, lion wins

I'm a bad shot I'm a bad shot Just throwing that out there I don't know how to aim And it's not It's Alex the lion shaped Alex So it's like me like morphed Into the exact same like silhouette

Of Alex the line Just just hair that grows out To make the silhouette Otherwise just you normal Like the weird dream works proportions That's disturbing. I don't fucking know. I would lose because I don't want to fight because I'm a good person and I love my friends.

That's so sweet. Oh, that's a nice place to end it. And that will be the death of me. And that's why you will lose. It's the story of my life. All right, we got a recommendation. Thanks for the questions, everybody. Damn, yeah.

That was crazy. Thanks, everyone. Yes, recommendation time. So I, man, I was vacillating. I was thinking a lot about different ones I could do. I realize, I have never seen any jackass movies. So I thought it could be fun to recommend that. But then Sam Neal passed away.

And I thought I would recommend a Sam Neal film in his honor. So I'm recommending. Which one? From the year 1990. Hold on. I just pulled this up. Anticipation. Wait, guess which one do you think I'm recommending?

Not possession because we did that. in episode 100 surely. No. No, I'm not recommending that. Is it science fiction? Is it fucking... It is not science fiction. Okay. And it's not hunt for the wilder people. No, it's from

1993. Jurassic Park. And it is directed by Jane Campion. It is the piano. Oh, shit. Okay. That's on my watch list. Nice. You guys haven't seen it. Neither of you? I don't, I haven't seen this one there. No, I haven't seen it and I enjoyed... That's Power of the Dog

director, right? Jane Campion. Yeah. That's great. I've only seen this once. It was a while ago, and I loved it. And now I have an excuse to buy it. There you go. Awesome. Perfect. Yeah, no, I've been wanting to check this out for a while, actually.

Perfect. 1993, Sam Neal, that is not Jurassic Park directed by Jane Campion. If you want to watch this and not get it spoiled before the next episode, just watch it before you listen to the next episode. These episodes come out every two weeks. You can listen to them early by going to sardonicast.com. Sign up for premium. It's only a few bucks a month or Patreon.com slash sardonicast or

members join below on YouTube or whatever. Yep. And there's things that you can do that are good and give us money. Links in the description. There are things that you can do that are good and give us money. See, that's a quote for the agent. That's how you outro. Yeah, that's how you outro podcast. Thank you.

That's what I was thinking, too. That's exactly why I did it. Have a happy piano. Have a happy, happy gun. Have a happy carrying gun. Happy piano teacher. Thanks, everybody. Bye-bye.

Bye-bye.