The Reel Rejects - UNFORGIVEN (1992) MOVIE REVIEW!! FIRST TIME WATCHING!!

Episode Date: August 27, 2024

ONE OF THE BEST WESTERNS OF THE '90s!! Unforgiven Movie Reaction Watch Along:  https://www.patreon.com/thereelrejects   It's Drama & Historical Tuesday once again & today Coy Jandreau and John Humphrey saddle up for a '90s Western Noir story Starring, Produced, & Directed by Clint Eastwood (The Good, Tha Bad, and the Ugly, Gran Torino) as Retired Old West gunslinger, Will Munny, who reluctantly takes on one last job to avenge an injustice with the help of his old partner played by Morgan Freeman (The Shawshank Redemption, Se7en) and a newer outlaw known simply as The Schofield Kid (Jaimz Woolvett). The film also features the great Gene Hackman (Enemy of the State, The Royal Tenenbaums) as a dubious & charismatic sheriff + Richard Harris (The Count of Monte Cristo, Harry Potter), Beverley Elliott (The Sisterhood of the Traveling Pants), Saul Rubinek (True Romance), Anna Thomson (The Crow), Anthony James (In the Heat of the Night), & More! Coy & John REACT to all the Best Scenes & Most striking moments including The Only Friend I Got, Little Bill Meets William Munny, I'm Here to Kill You, I'll See You in Hell, The Duck of Death, English Bob, & Beyond! Follow Coy Jandreau:  Tik Tok: https://www.tiktok.com/@coyjandreau?l... Instagram: https://www.instagram.com/coyjandreau/?hl=en Twitter:  https://twitter.com/CoyJandreau YouTube: https://www.youtube.com/channel/UCwYH2szDTuU9ImFZ9gBRH8w Support The Channel By Getting Some REEL REJECTS Apparel! https://www.rejectnationshop.com/ Music Used In Manscaped Ad:  Hat the Jazz by Twin Musicom is licensed under a Creative Commons Attribution 4.0 license. https://creativecommons.org/licenses/by/4.0/ POWERED BY @GFUEL Visit https://gfuel.ly/3wD5Ygo and use code REJECTNATION for 20% off select tubs!! Head Editor: https://www.instagram.com/praperhq/?hl=en Co-Editor: Greg Alba Co-Editor: John Humphrey Music In Video: Airport Lounge - Disco Ultralounge by Kevin MacLeod is licensed under a Creative Commons Attribution 4.0 license. https://creativecommons.org/licenses/by/4.0/ Ask Us A QUESTION On CAMEO: https://www.cameo.com/thereelrejects Follow TheReelRejects On FACEBOOK, TWITTER, & INSTAGRAM:  FB:  https://www.facebook.com/TheReelRejects/ INSTAGRAM:  https://www.instagram.com/reelrejects/ TWITTER:  https://twitter.com/thereelrejects Follow GREG ON INSTAGRAM & TWITTER: INSTAGRAM:  https://www.instagram.com/thegregalba/ TWITTER:  https://twitter.com/thegregalba Learn more about your ad choices. Visit megaphone.fm/adchoices

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that was that was real good i'm not i'm not very well versed in in westerns this and earlier sure uh like i said at the top like true grit and i guess the neo western are kind of more my my wheel ass because i i consider tomahawk tombstone i consider one of the best like tombstone is a fantastic piece of the best movies one of the best movies but that's kind of like the earliest and i think that's around this era whereas i don't know a lot of cleanieswood this makes me want to watch a lot more Clint Eastwood. I, you know, I haven't, I've seen a handful of Clint Eastwood joints. There are probably some, you know, that are very notable that I still have yet to see.

But I got to say, as a... Profound. Yeah, I mean, obviously the actor Clint Eastwood, but when he's directing and when he's crafting movies, like the man knows cinema. And how quickly he directs. Like, he's legendary for just setting up a shot filming and the expression is like, Francis Fisher, I think, was the madam. Okay, all right, all right.

And who is the woman we both recognize but couldn't place? The expression is that he's done filming before the sets are even dry. Sure, sure, sure. I mean, and what he makes out of it, what an incredible piece of cinema. And I love when they let the credits roll

just over an image or, you know. With the score just singing in the background. Actually, I think this is the thing that Clint must like to do because Grant Tarino also ended on a long, just shot Just, yeah, landscape as the credits roll. That was overwhelming.

I love the way they built up the villain. I love how exhausted I am. I'm so impressed by how much you kept finding new ways to hate Gene Hackman. Like, he was so unlikable in the opening five minutes. And they opened the film so violently and you hated the Cowboys so much. It was really interesting how you weren't fueled by liking the good guys. You were fueled by hating everyone more. Yes.

Like, Clint Eastwood stayed so stoic that I think the first actually redeeming. Not like he was bad guy and you're reluctant to like him. It's just like the things about him were, used to be a piece of crap, got better. Used to be a piece of crap. I love my kids. They did the bare minimum of like, he loves his kids. That's redeeming. He has friends.

That's something. But there was never a moment where you got to connect because he was so stoic. So instead of writing around him, it was like they wrote everyone. else awful and then they gave you that scene with him and the woman of their cut face and they sprinkled in moments of redemption but like it's fascinating they never really gave you a tether to him except for what you heard about him and like little moments yeah well and they do that in a way where when they first introduced yeah like he's got some kind of past that he's put long behind him and he's reformed from and i feel like that's you know obviously that's a trope and

what is revealed about him isn't necessarily the most revolutionary thing, but at the same time, it does really feel like, oh, you know, you can fill in the blank with, I think, what you're, I don't know, not the stereotypical idea, but something that's a little less grim and like, oh, you're responsible for like massacring several women and children and, et cetera, for doing like the worst, most heinous things. Like, usually I feel like oftentimes there's, you know, the dark backstory, the checkered past is, you know, morally dubious in some way or you know like

ah but he maybe had a good reason whereas this is just like no I was a terrible guy killed women and children dynamite a town like you find out it gets worse yeah but you hate everyone else even more yeah and it's interesting having seen grand terrina because granterino is about an ex a Korean

war veteran who came back and who had a wife who helped him become more of a human and give him a reason to live and you know before the events of the movie or that movie opens up on her funeral this movie opens up on him burying her

and then not that it's about avenging her or anything but there is that like looming presence like it's interesting to now see certain like threads and through lines of how he sees the world like Clinties put himself yeah yeah so how quick those credits were that's how that's how few

like it's just crazy to compare film then and now of like obviously not everyone gets credited but dedicated to Sergio and dawn the end of the Western era and dedication at the end there, but just like the amount of names as compared to film today, like obviously never one, not everyone gets credit in films today or then, but it is interesting to just compare the sheer volume of credits today. Yeah. Because that film was shot in

Technicolor, Panavision, and like, he produced, directed, and like, it's crazy what he accomplished. Yeah. Yeah. No, I've ever seen the good, the bad of me either. Or a fist full of dollars. Oh, I mean. If you guys like this, leave a comment. Maybe we'll do a Clintathon, which, have you seen both of those? It's, those would be movies that for me, would be great rewatches because I know I've seen at least one to maybe two-ish of the three dollars films or whatever. Okay. Because it's crazy how much, like, Hugh Jackman looks like him now and looking at that photo, that could be young Hugh Jackman. Yeah, I would love to revisit those movies. I mean,

there are a whole other flavor. I mean, obviously, I think Westerns often come with a deliberate pacing and a deliberate this one's pacing didn't um no like this was really nicely I feel like in the middle like something like good the bad and the ugly or fistful of dollars is a lot more like spread out as I recall it and has a lot more of just like man you're just out in the heat

whereas this uh certainly like had a really I think nice not it was it wasn't like moving like rip snorting super fast but it also wasn't yeah it wasn't slow either like yeah this had a really nice sort of effortless pace and the way Francis Fisher Francis Fisher was the main madam who's in everything Titanic

Big 60 seconds Lincoln lawyer She's the one I recognize most didn't mean interrupts you It was just driving me insane Yeah yeah yeah and now I need to see who was that woman Yeah, what was her name? Oh my God, it's oh I should We just watched it Yeah it wasn't silky it wasn't strawberry

Samela? Yes I think Maybe Delilah looks like that now. But what would be a true romance? Was that? No, that's Patricia Arquette. Who reminded me of her at times?

Sure, sure, sure. Who was that woman? I definitely feel like I know her. You got to track her down because it's going to drive me crazy too. Okay, you continue talking. I'm listening. I'm going to find out what her name was. Yeah, no, I mean, just because obviously,

I mean, you know, Clint has done a number of genres as a director, as a star, et cetera. But to see his take on a way, western here and with at least a little bit of that context from the the dollars trilogy in particular uh yeah i just thought this played really nicely on your image of him and where he's at in life because he is like older in the 90s i mean you know he's not like ancient as he is now but certainly older than when you think of his most you know um just like the pinnacle of the heyday of his doing spaghetti westerns and stuff like that like obviously this is playing on

fact that he's an older man now and he's got history behind him and yeah it's like the way the plot unfolded and the way the story went was really i thought smartly conceived and it felt like we were watching something a little bit more like a book or something like where obviously there is a plot and there is a direction things are headed there's this situation with uh yeah with the girl with you know everything that goes down in the prolog in the brothel and then you know that sets the story in motion, but there's so many great little like interludes and vignettes and characters that, yeah, go ways you wouldn't necessarily expect. And I loved like having the trio of them with Morgan Freeman. And even when he decides to leave, like, there's not even a full like

explanation. You just know what he's feeling. And, and I thought the movie nicely balanced obviously the writing, the dialogue. There are a lot of really great memorable lines, but there's also a lot that's left up to observation and to the visual language of the movie. So much mood and atmosphere. Anna Thomason. Anna Thomason. Is Delilah. All right.

She's got 80-some credits. Okay. Many of which are hard to track what she played in it because they're of this era. Sure, sure. But there is a specific movie that is 100% why we both know her,

soft-spoken, innocent person that gets persecuted and has to deal with the ramifications. Very similar role in a movie. I know you and I both like, Oh. Can you guess? Ooh.

I'll give you another hint. It's a huge inspiration for the dark night. Heat? Nope, but as a huge inspiration for the Dark Night, think more comicky. We both love it, has a great soundtrack, is getting a remake this year. I've never seen a sequel to it.

The Crow? It's Darla. She's in the Crow! She's Darla with the heroin arm, the woman, the mother. Darla, the young mom of the girl, very similar role. Wow.

And that's why we were both like, why is she so familiar with every dialogue because we've grown up watching The Crow. That's Darla. Dang. Because I kept looking at her credits and I was like, I know her for something that is like near and dear to me.

Yeah. And all the credits are like, yeah, of course she's in fatal traction Wall Street. And like, but I don't, like I don't have a connection.

But I can't see her faith. Yeah, yeah, yeah, yeah, yeah. Sorry, I completely, no, I had to focus on. I don't want to go on the crow again. That was so much.

I was like, I feel like two hours of my life. I've been trying to figure out who this woman is. Sure. Darla. Damn. Oh, God. I agree with what you're saying about.

I literally, I was going to go and say. And it was even worse because I looked at her credits and I was like, this isn't speaking, like nothing is jumping out as to why I'm like, and then I found the crow

and I was like, oh, thank. That, I agree with what you're saying about clean news, but I was multitasking. And I think that what this did really well was he's such an icon for a certain type of role

in this type of film. And I really liked that in some films, for example, we'll use what we cover a lot of which is superhero film, which I consider the modern Western, which is something that completely took over the zeitgeist

that will inevitably, at some point slow down, people thought it already had and then Deadpool made a billion dollars. But the superhero franchise has tropes. Like every genre has its tropes. What I loved about this is a lot

like superhero films can now make movies that are out of expectation turning left when you think they'd turn right. I love that Kleeney's would made what I would consider the classic Western that he, as a expectation, did all the left turns.

Like I really like that he made something that wasn't a vanity piece. that he made something, and this is coming from something that doesn't know a lot of his work as an actor. So forgive me if he's always against type. But from what I would have expected, having not seen Fistful of Dollars

and the Good, Bad and the Ugly, is a movie that's like, what a badass. And instead, they have you, you know, he's getting the crap kicked out of him. And then the only thing I accurately predicted was like big whiskey, little bill, and then he takes whiskey and he becomes a bad ass.

Like, I love that, though, because it earned it. Yeah, and that guy is locked away in there. Like, you believe the progress. is made, but also there's that lyricality of like, but it's always a part of you and given the right push, the right motivation, you can still tap into that.

And there's so many great little details because, yeah, like, you do get to have your cake and eat it too in that he does eventually have the badass interlude. But even in that moment, yeah, he is the stoic, like he's dropping

cool lines and stuff like that. Not cheesy, cool, but you know. But the rest the time, I appreciated that that didn't contrast too harsh. He didn't harshly contrast into like, oh, now he's just some kind of war machine. Yeah. And the rest of the time, you know, he does feel like just a guy.

And I like that the kid's arc is the arc. Yeah. Like, there is no, he is unforgiven. Like, what he has done is unforgivable. Yeah. The kid killed a guy and went, no, no, no, no, no, like, and was out. And that kid was a punked the whole film. And at the end, like, that kid

drove me insane. I know that was the goal. It But I love that hand of the eye. I can't kill me. And what he has that, but that was such a beautiful scene by the tree. Take my gun. I won't need it. Yeah, he's talking himself up and he's like, yeah, no, I did it. I got what I wanted.

And it's slowly setting in on him as he's continuing to drink like the reality. And he's like a totally changed reformed man in that moment. And even the bits where they're taking out the guys aren't the most necessarily pronounced. Like they're distinct. But it's not like, oh, man, blaze of glory. It's like the first guy who he clips in the little canyon there. It's like it's drawn out. We weren't even sure.

And I liked that we weren't sure because it was like, did he get him? Yeah. Because I don't know if he, like, I don't think he was confident at any point until it was done. Yeah. And that guy's just going to lay there and bleed out and like plead for his friends. And it's like harsh and tragic. And then the other guy gets killed on the crapper, you know, like just out of. Nothing glamorous.

No, not at all. And then even, you know, with Little Bill is the closest, I think you get to some kind of. of like righteous like ah you know vacation but even that is you know dark and dreary and rainy and I and I love too the the playing with like we were constantly

pointing out and touching on like legend and your reputation or your myth preceding you exactly and a kid trying to build his own which is very of that era like you think about like Jesse James like the reason he was iconic because he made himself iconic like there was a reputation

around these larger than life characters that were people but like even the writer at the end like you took out five guys and that that is legend's going to grow like will you money's legend and I love that it played with myth using tropes like the thunderstorm and like you know the the dueling elements but it never felt too much like it walked a very precarious line yeah it had all yeah it had like all the western stuff but it and this is the 90s so I feel like this was a decade in cinema too where we were dusting off a lot of tried and true genres and really kind of putting a new spin or take or you know shine onto them ever seen the quick in the dead of you no same ramey's western

that's yeah that's definitely that's a real stylized one i've seen like 30 seconds of it and it's literally like dutch angle touch angle wrap it and it's like yeah yeah so i'd be fascinated to see what now that i've seen this because my exposure to westerns is probably 10 movies like mine's very small see this to me like again my my uh lexicon for westerns is not the most broad either i feel like i've seen a fair handful throughout the generation. So I've seen some old black and white westerns.

You know, I've seen some of the spaghetti stuff from the 70s. I've seen some more recent westerns as well, enough to get sort of an overview of the genre itself. And I thought this, like,

was a beautiful kind of example of all the things that Clint has taken in over time because this definitely had elements that feel sort of like a spaghetti Western, but it's definitely not only doing that. And, you know,

there are like 70s westerns too i forget there's one that's been on tv don turner classics a lot lately called like mccabe and misses something or other and even even certain aspects of this about how you can really feel the elements and everything uh kind of felt like yeah they were borrowing from multiple eras of you know what the language of westerns has been over time and yeah i liked that you had this you had so many great little arcs and so many great little leads and misleads and so you've got this motif of the guy, you know, who shows up, who's telling the stories and who is, like, you know, terrified in the face of the true grit that he's often writing about. And then he's, like, brought in, and he's just, like, kept on hand. And he's been ingratiated in the town.

Yeah. And he's pretty much just like a full-on citizen, it feels like in a certain point. And he's kind of, like, this through line of, like, he's the scribe going from writing, you know, tall tales to probably accounting firsthand, you know, a pretty grim and harsh. you know, reality, and the way he's like questioning him for details. And the whole introduction with him and English Bob or whatever his name, like that was fantastic.

Richard Harris was so good for the scenes he was in. Richard Harris, A. Treasure. Always. Love to see him. And I love too that he comes in kind of like the more suave, more British version of... To build everyone else's legacy, their myth. Like everything is to build on myth. And he's the kind of character who, in a different movie, you would

expect, well, this would be the Clint East would type rolling into town he knows what he's doing he's cool you know he's calm he's got style he's got swag and then the movie proceeds to yeah like just due to him being outnumbered and them have the rules that they have and whatever else none of that stuff actually matters and he gets his ass handed to him and he gets carted off out of town and you don't ever see him again i love that i love that he didn't come back i love that his arc was to build a myth of another guy to get taken out yeah and there's so many great as like i really admire a script like this that can do that, they can have

lyrical things that can have characters enter and exit and because obviously Richard Harris, you know, by this point you know, as a veteran actor is a hugely well-known name. So I have to imagine if you were watching this in the 90s, it would be like, oh shit, he's going to be a huge player in this movie. Only to soon discover

surprise. Yeah, and Gene Hackman I mean, such a great, he's been so great in so many things and he has just this unique, like no one is quite like Gene Hackman, whether he's playing a benevolent role or a malevolent role like that little smile the edge the humor like and everyone's presence this movie i mean it's clennies with morgan freeman jean hackman and richard harris

like it's everyone's got this weight when they come into a room and i and i really think that helps the myth element of the film and westerns i think to me i missed out on like you were just mentioning turner classic movies i never grew up watching those because my parents are so young and my family didn't grow up watching like my grandparents' movies and it would have been my great grandparents that would have been Western folk. So like I just never got exposure to it

and I think that's a good thing because I don't think I would have liked this pacing in my teens and younger and I think that's when I would have been exposed but now that I'm in my 30s finding these movies like I know this page it's so funny how half the comments are like

oh I guess these movie experts have never seen movies but there's seven of us notice that not all of us are on every movie movie. And so, yeah, that's what I always find funny is, like, people are always mad that people miss certain things, but I feel like I haven't missed a lot of movies since

95. Sure. I would have been exposed to movies from the last three decades more than people that grew up with older parents. And I love that I'm discovering a mature Western, and I want to watch more now, but I think if I'd seen them younger, I'd been like, I don't like Westerns. And that would have sullied

my... This is a great... You having seen Tombstone which I love and I didn't watch until I was like 2930 I didn't see tombstone until like five years ago okay so I was ready yeah but I think if I had been exposed to stuff because I know a lot of people that think Westerns are boring if I'd been exposed younger and my little ADD brain I don't think I would have dug it no that's the thing yeah and and I feel like using something like seeing a tombstone recently seeing something like this I feel like these are actually pretty great fulcrum points for the Western because obviously there are much more neo-Westerns we've had since I think the first western I saw was true grit in theaters and that was modern enough that it made me like oh I will give this genre a chance but again I'm glad I didn't wait until

I never saw the original because I was afraid I wouldn't like it so now I think I'm ready but just to preemptively everyone in the comments we all look at different movies because some of us have seen like when you hadn't seen Fight Club flabbergasting but different exposure

like I saw that in theaters shouldn't have but that was just the way I was raised as far as like the movie theater was the home slash babysitting. Yeah. Yeah. So that would have been movies from the 90s. So this was great because I was four and I'm glad I didn't see it until now.

But I also now want to see what Westerns are. But I can still acknowledge like pre-60s, probably not like a couple of deep. Like I'm just not made for a certain pacing. Different feeling, different vibe. Yeah. But this is the kind of, I think this is a great era to break that ice through

because I think something like this sets you up at least. and like a tombstone says... It's good, Rosetta Stone. So translate the language of it. You can go ahead and be... You can go forward and back on the timeline of Western cinema and, yeah, find things that you might appreciate

kind of anywhere if you can appreciate something like this. Tell me in the comments what other Westerns that you think are like this. Oh, yeah, 100%. Yeah, and I mean, I'm sure there's... God, what's the one with... There's another one I keep trying to conjure the name up and I can't even remember the act.

Robert Duvall is in one that I think is supposed to be, like, pretty prolific. But, yeah, like, I would love to, obviously, please recommend more notable westerns because, you know, I mean, it's a genre that I, it's not necessarily like the number one kind of movie I crave, but it is something where when I see a good one, I'm like, God damn, there's no. Yeah, like, I enjoyed this two and a half hours. Yeah, like, you know, at 2.10 was riveted. Yeah. Riveted for the entire time. And yeah, it's such a well done, again, I think we've trod in all the ground. It's like, it's such a nicely shaped kind of, it's got enough poetry, but it's also got enough of the straight ahead, sort of stoic, just trappings of the genre, the time and place.

And, too, all of the performers, like, Gene Hackman is the most kind of, he's the most in line with what you associate with a Gene Hackman, and not in a bad way in any stretch. He's perfectly cast, but, like, you know, Clint Eastwood is playing a little. bit off type and Morgan Freeman even is is I felt kind of super off type in that he's pretty stoic and like he's a comforting presence you know you like having him on the journey you feel but usually hire him to speak yeah and and like he's he's that voice pretty laconic he's got a little bit of an accent and he again leaves part way through it dies tragically and it's the starkness of things like that and I love the two bookends the whole idea of like he buried his wife

this person who meant so much and who turned his life around and then comes back and I didn't expect him to live to the end of the movie I thought he was dead yeah that's another thing I thought he was dead halfway

certainly yeah I was so in that I was like does he die and he's unforgiving because I thought the title I was like is he not redeeming Is someone gonna pick up his mantle and like redeem him posthumously because there were so many things about myths

I was like does the kid take on his mantle yeah like does he become William money like I would have been dumb I would not have liked that. Like, by this young man. But I didn't know what was going to happen. Yeah, and that's the thing is that, you know,

in the earlier history of Westerns, you're under the Hays Code for a lot of that. So he would have had to die. Yeah. And so this is like, he can go on kind of, like, doing what he does here doesn't necessarily, like, tip the scales back to balance. But he does something, like, on behalf of these martialized women in town

who are seemingly in, like, the most terrible position possible. Because it's just like the whole town against them, and they also have to perform their business in town with all these people. And, yeah, so, like, there is a certain kind of use of his, again, darker

inclinations and his traumatic past for some kind of justice. But even that, it really feels like the kind of movie where he would die. But the way they orchestrated him not dying, yeah, was plot, like, the only thing that

for me kind of teetered, and I, And I think they managed to sell it pretty well, was how he managed to cook all those dudes. But he also took out one by itself and then took out Gene Hackman. So it was like taking out three. And also him not going to show it was a little much. But then you pointed out the dark. That was the closest to me as well.

And I was like, that's okay. And they have that thing early on in the movie where Gene Hackman gives the speech about like a bunch of people like rushing to shoot. And he stays calm. And there's that whole scene about Gene Hackman talking about. It's more about the calm. The scene with Gene Hackman talking about it's not about the speed.

It's about the calm redeemed the end for me. Because Gene Hackman described. how Gene Hackman's going to get killed later. Yeah. And I love that poetry. Yeah. And then he gets home at the end. He lives.

He gets to reunite with his kids. We don't, we don't see that. And we know that he'll always have to live with the atrocities of his past. But I do love that too, that little like bittersweet, like his wife's mother, his dead wife's mother comes back and has no explanation as to why she married this monster. Yeah. Kids aren't there. And is none the wiser of the fact that she was like the saving grace of his.

entire existence and like these kids are going to have a dad and have a life probably largely because of her apparently loosely loosely loosely based on our true person really well that's what my phone just said the description how loosely we talk we talk about it's like i'm sure it's like a guy's name killed a lot of people the movie like yeah brave heart's totally a biopic it's that's real life oh man watching that movie we we were sitting there in the movie going wow i wonder what was changed or what was altered like this is crazy that we we read the facts afterwards and they're like most everything about this is completely fabricated i want clean eastwood's legacy to live on well that's the other thing i too yeah i mean you know not the same obviously

clen eastwood is certainly a less problematic figure but i am fascinated too because like i don't always agree with just regular life clean eastwood out here we don't always you know in in his public you don't spend your time you on the chairs not always no and not to boil i've seen him do it not to believe john i've seen him argue with a chair not to boil the man down to one political maneuver. But his most hilarious moment. It is a pretty iconic moment. But he makes these movies

that are so like, they're dark and pulpy in ways, but they're also, like, really compassionate and observant. And, like, there's a lot of humanity in the Clinise Wood movies I've seen. So I'm always really fascinated by, like, him, the author, as much as I am,

him, the presence on screen. We gave him lots of love the topic. We're not undermining it now. It is just interesting the dichotomy between some of his views and some of his other views. It's just, humans are contained multitudes. Yeah. And I think of Clint Eastwood more as guy yelling at chair and I would

love to see more of his work so I don't. See, I'm on that, I'm on that side where I'm like, yeah, I wouldn't want to have a drink with Mel Gibson. I would want to have a drink with Cleesewood. That's interesting. I'd want to not think about anything Mel Gibson's ever done in real life and just think about all of his incredible directing and Martin Riggs.

But he's another guy. I'm the other way where I'm Like, please don't think of anything in the last 20 years. Mel, like, to a much greater degree, Mel also has that thing where you're like, I know the person that you at least partially are. Somewhere deep down, you're right, some really kind characters. But also, like, you make these movies with these great, you know, aspirational characters and these themes that are so sweeping and universal and, like, ah. Dude, Kanye's first three albums.

The intermingling of Art and Life, Vultures 2 is out, Coy. Oh, God. Listening party, you and me. I tried so hard. Reaction. Boy, oh, boy. It's great. It sure is a thing that's been released.

It's mixed and mastered. I'll tell you that. It's on Spotify. It's professional music. Sure is released. Boy, oh, boy. I found out Arkellie's victims get his royalties because of the way the court thing went out. So I have put certain songs back on my playlist because I don't do it.

That is probably what you should do. Speaking of redemption. Not that I want to listen to R. Kelly. What a journey we've got. The remix to ignite. What a weird... Come and fresh up the kitchen? Mama rolling that body?

All right, all right. Fair enough. I'm gonna get demonetized. But, uh, yeah, I, I'm a trapped in the closet guy by so. Oh, I'm an honest. I think I shoot it on myself. Anyway, I love the leap from Unforgivin, uh, OG pulpy Western leaping to R.

Kelly with only a few steps. Uh, that is our experience of Unforgiven. Uh, as always, John and I find a way to make it about music. I got to share this. Yeah, that was a journey. fans if honestly if this video does well there's probably the most westerns as far as like

classic films like it's probably my weakest point so if you guys want us to watch more like this leave a comment below we finish spectacular Spider-Man we are currently without a genre we need spectacular gun man yeah spectacular old west man

there's an old man Logan for that but yes that's the crossover but let us know in the comments below what else you'd like us to dive into if you enjoyed this Please leave a like. If you want more of this, please let us know and maybe we'll make some more. But either way, thank you for watching. Much appreciate it.

We'll see you soon. Flev Doris. Look, this shoutout's going out on Dramatic Tuesday. We don't know what it is yesterday. We don't have something that's thematically linked. But I'd like to think that you have a lot of drama in your life. So we chose you for this one. We know you are a poof.

Oh, Flev, how good you've got to toughen up, all right? You got to make sure you sense for them. If it is. This is going up on unforgiven. There are ways to make this work in the shadow. Oh, really? Okay, then maybe we're going to do unforgiving because, you know what, man, I can't forgive you. For all the times, you hurt my feelings.

For all the people you've shot on the toilet, is that happening in the movie? I think someone says it's on a toilet at some point. I saw when I was like five years old. It's a really good movie. So, yeah, dude, I think... Don't get shot in an house. Don't shoot anybody in the house. I know you've done some terribly dark things to other people, and you should not be forgiven for your

You shouldn't. No redemption arc is good enough. We all know you are a horrible person at your core. Yeah, that's why you project such a friendly, upbeat personality. This is all a mask. All this patron dollars you can contribute our way. Enthusiasm and positive feedback. It's a goddamn lie to hide behind it.

It's like when mafia people hide behind charities. That's what you're doing. It's like when assholes build public parks. We'll take your pay. Of course. But we will play on the swing. We know it's a little dirty. But we know that you're just doing this to make your legacy more appealing to the public.

While your crime acts go on and while you're shooting people on toilets, this money stays with us. Justice for killing Elvis, you son of a bitch. Flev killed Elvis. Confirmed here. Banana Flev. First and foremost, he killed a banana. He did it. He shot. He killed a minion.

He can't believe how horrible. He pulverized some peanuts. and spread their remains over a piece of bread. You're sick, son of a bitch. Oh, you know who also gave bread to? Judas. Judas. Judas was the one who dipped the bread.

You were the one. You're the Judas of our Patreon page. Don't make it. Shot Lenin. Jude shot Lenin for shooting Clef. Why? I don't know why you did all these terrible things to historical and fictional people. Why did you hurt all of our favorite people?

Damn you. I hate you, Flev. Keep sending that blood money. Keep sending the blood money, buddy.