We Hate Movies - S16 Ep853: Joy Ride (2001, W❤️M, with Matt Bettinelli-Olpin and Tyler Gillett from Radio Silence)

Episode Date: March 18, 2026

“Rusty Nail is clearly a fan of Looney Tunes” - SteveOn a very special We ❤️ Movies, the gang welcomes Matt Bettinelli-Olpin and Tyler Gillett from Radio Silence to chat about the great John Dahl highway thriller, Joy Ride!How awesome is all the neon lighting in this movie? How great is the cast here, including a never-better Paul Walker? Can we find a theater to book-in a short series on “motel movies”? How great is it to have so many killer car stunts in this? And remember when we could have eerie, ambiguous movie endings without assuming they were just cash-grab sequel setups? PLUS: Be sure to catch Matt & Tyler’s latest film, the super-fun, super-bloody Ready or Not 2: Here I Come, which is a must-see in theaters, y’all! Out everywhere wide on Friday, with early shows starting Thursday night.Joy Ride stars Steve Zahn, Paul Walker, Leelee Sobieski, Jessica Bowman, and the great Ted Levine as the voice of Rusty Nail; directed by John Dahl.This is a very special W❤️M we wanted to release on the main feed. You can snag commercial-free episode of WHM, W❤️M and more over on our Patreon. Click through here to sign up now!Be sure to catch us on the road in Minneapolis on 3/20 and Chicago on 3/22 where we’ll be talking Conan the Barbarian and Big respectively. Tickets on sale now! Visit the WHM Merch shop over on Dashery and check out all the latest show-related designs you can slap on t-shirts, hats, coffee mugs, stickers, whatever! Make your friends jealous by flaunting some WHM merch today! Original cover art by Felipe Sobreiro.

The Bell Air Direct app includes crash assist, which detects an accident the moment it happens, and even offers you emergency assistance at the tap of a button. Okay, but what if I don't have an accident? Well, just keep on, keeping on. Bell Air Direct, insurance, simplified. Conditions apply. On this very special, WLM, we're talking about the highway tale of two brothers who fucked around and found out. It's Joyride.

I'm Andrew Juppen. Stephen Sadek. Eric Siska. Chris Cabin. Matt Met Nellie Alpin. And Tyler Jalette. And we. Love movies.

Hello everyone. Welcome to this very special We Love Movies. Thank you for tuning into the fine program as always. That's right. You read right. We're talking about Joyride,

John Doll's 2001 Trucker Thriller. And we are very pleased to be joined by two dudes to help us talk through this one. Matt and Tyler from Radio Silence. What's going on, dudes? Hey, hey. It's an honor to be here and it's an honor to be talking about this movie. Oh, yeah.

Oh, yeah. So, we'll get into it in two seconds. Of course, you're here. we got the new ready or not coming out Ready or not Here I Come We saw it last night Badass flick you guys You really top the first one

IMO I'll just put that out there Yes If you enjoyed some body explosions You're gonna enjoy some body explosion That effect never gets old I'll tell you right now I can watch Charmin commercials Where the bear just explodes

And I'd be like awesome The bears do that off screen usually I think But no, the movie's great. It's so well-paced. I had so much fun watching it. And I love that I'm not going to say anything else about it. I don't want to spoil anything. But I had such a good time with it last night. Oh, yeah. Thanks, dudes. Thanks, dude. Thank you. Yeah. Seeing David Kronerberg in that way just makes me all warm in my chest. I was like, oh, he's there. Oh, he's still here. Thank God. It doesn't feel like something that happened, man. Yeah. It feels like something we dreamed. It's nuts.

We got to meet him and work with him. Truly, just such a legend. Were you guys like super excited? It took a little bit for the, you know, it's been a little bit of layoff between one and two. Was it like, were you just super excited to come back? Or were like you were waiting for the right time? Like, what was that like?

It was, you know, we started getting into it like right after the first one kind of found a little bit of an audience and they started talking to us about it. And then we sort of dipped out maybe three or four years ago. And then it came back around about a, you know, 14, 15 months ago. And they were like, hey, there's a way to do this now in this window you guys interested in. I mean, we jumped at it. And the big tweak was, we had worked with Catherine on Abigail and Samara and Catherine, just in our brains, we were like, oh my God, the two of them and something together would just be so magic. They're similarly weird. both of them. They feel like they have a very similar vibe, similar energy.

Yeah. Extremely weird. It's Primo. Primo sister casting, though. Absolutely. Uh, job well done on that. And the whole cast, too. Like, it's cool seeing like people you've worked with before, like Kevin Duran coming in. Love that. Dude. That guy's a maniac and everything. It's awesome. He's such a maniac. He's so wonderful. He's incredible. Yeah. Just so total delight. I mean, you did everything it's supposed to do. It's supposed to expand. It's supposed to be bigger, you know, more badass, whatever. It's everything. you know, folks would want in a sequel.

So fucking well done, absolutely. And also my wife and myself would be remiss about it and ask how cool with Sarah Michelle Geller? Is she awesome? Just the absolute coolest, man. We have had the experience of like getting to meet our heroes and can say that all of them exceed expectation in every way. And Sarah's at the top of the heat, man. She's just like, next level, next level talented and just like the sweetest, warmest. and just loves, like loves making shit.

Like loves and horror stuff specifically. Loves getting like down and dirty. Love the nests here, the better. She's just, she's just truly, truly wonderful. Who's at the bottom of the heat? We're going to rank them now. Yeah, let's go. Here we go.

No episode. Let's do it. Don't say Henry Zerney or get the fuck out of here, man. Don't do that thing. Fuck that guy. No, we love Henry. Oh, man. So this is going to drop on the 18th So you can do Thursday, early shows tomorrow, y'all

Or it opens up in full on Friday. Don't fuck around. See it in the theater. Don't fuck around with it. Yeah, yeah, yeah, here, here. Worth it. So, but you guys pick Joyride to talk about for a little bit today. Very stoked about this.

I had not revisited this since theaters. But what are y'all's history with this movie? When did you stumble upon it? I saw it, it's like, it's one of those theatrical experiences. I just remember so well because I saw it my friend Lauren and my friend Todd at a theater. up on Hollywood Boulevard that's no longer there

it's like by where the knitting factory used to be I wish I can remember the name of it but it was right after 9-11 and I remember it was like you know we hadn't been doing a lot and I remember we went to see it we were the only three people in the theater and we just had the best time

I think we went into it just being like let's just go hang out and do something and see a movie and we're really kind of blown away with how much we were laughing and enjoying it and you know it's really good when it's tense and it's really good when the humor there and the characters are great. It was one of those things

that just like really, really blew away our expectations. I think we went in with almost none and then walked out just like, you know, electric. Like, oh my God. And then it became really quickly just like a go-to comfort movie where me and Lauren especially would just

watch it all the time. Like every time we hung out, it would be like, let's throw on joyride. And it just became that really quickly and it remained that for me. Same, Tyler, you're similar, right? Yeah, yeah. I mean, I saw it, I mean, I was new to college. I, you know, graduated high school in 2000. So was a sophomore, freshman, sophomore in college when I saw it.

And it just like, it hit the sweet spot for me because I just related like so, so specifically to the story of like, I've got to leave school and drive home. And I grew up in Arizona where if you drove, you know, if you drive for 30 minutes outside of any town, you're just on the open road with a bunch of truckers. and I often made the drive from the University of Arizona back to Flagstaff. And so it was, and usually had a friend of mine, you know, in the passenger seat. So there was something about it that just felt so relatable. Like the premise, the setup of it. And yeah, I mean, I think that it was one of the, in the Venn diagram of the shit that Matt and I both love, it's like square in the middle.

And so much of it is just the tone, right? the balance of like those two brothers together and the comedy of it and and when it goes really hard it like isn't afraid to like really go there and so it's a mix of those things is something that I think we you know if you've seen any of our work you you probably see that we're chasing you know we're chasing that that mix in in everything we do and not for nothing I also just think like being a kid of the child of the 80s and 90s like the prank call thing was like such a like an integral part of like social life, you know, picking up the landline and calling the pizza place and fucking around. And the idea that there could be real consequences, you know, to that I think was is also

just something that's so, that's so relatable. As you said, Andrew, fuck around and find out. And this is just like the perfect genre-fied version of that. So, Tyler, on those Arizona drives, did you ever mess around with the CB radio at all? No, but we were talking, Matt and I were talking because he has, you know, road trip in his blood. as well. But, you know, just like, I mean, the, you know, the arm gesture to get the truckers to honk their horns, like, all that shit. It was,

it was just part of, it was like the fabric of growing up for us was being on the road with the, no CDs in my life. No, CBs in my life. No, no, no. Radio silence. Dude, at one point, Eric, last night

did you fucking write that? Oh, I wrote it when Tyler was talking about the road trip. It's early, early on the Pod to peak, man. Come on. We got plenty of time left. I'm out of here. Good night, everyone.

Eric has his Pepe Sylvia map all over in his room, just lines across. It's like, with silence and radio. Where does it go? Come on now. It's pretty direct, yeah.

What I think this movie does really well, like it is like being on the road, you know, and like the whole like, you know, uh, driving cross country thing. And then like, the idea of encountering any truck is terrifying

when you're fucking driving a car. Like, it's just like, here is this fucking ATST monster just on the road with you and your small car and try and steer clear of it kind of a thing. You know, this movie actually reminded me a lot of Spielberg's duel. Yeah. Which is also a huge touchstone for us. Yeah, great movie.

I'd be curious. It's inspired by. Yeah. I mean, it's such an interesting movie that duel because it's not, and not that these folks in this movie are heroes or anything like that. But, like, that movie, the protagonist, it's just a dude who's legitimately like shitting his pants the whole time and like totally scared about this and there's no instances of heroics at all it's just the guy being scared for like 80 some minutes and it's fantastic that it's because that would be me on the road right if i was in a similar situation there'd be no quips no one liners no nothing it would just be pants shitting white knuckle terror just you shitting yourself not cinematic just screaming constantly i What I really like about this is that they do take the moral underbed of it very seriously. Like, to me, it reminded me a lot of like Sam Rame Me, like, drag me to hell kind of stuff.

Totally. Where you have, you really do have this moral and they take it to, like, what would you do? And if you do it wrong, there's real consequences to that. And I mean, also, to me, is a perfect jump off for John Dahl, who I've loved forever. Oh, yeah. Red Rock West. Right. I mean, rounders, like, rounders is like next.

level, great. Yeah, yeah. No, and I think that, I think one of the things you're, like, you feel, you feel your heart breaks a little bit for Rusty Nail. Like, I mean, he's a villain, but like, they fuck with him. And like, you know, there's a, there's a real sense of, like, loneliness and sadness in that character. And, and, I mean, for as obviously, it's, like, taken to, to the wildest, wildest extreme. But there, there is something, they, they fuck up. Like, they make a mistake and they make it with the wrong, with the wrong dude. Absolutely. Yeah, yeah, yeah. And the folks, by the way, making these mistakes,

we should say the great Steve's on as Fuller, which I just like to believe this is the grown-up Kieran Culkin character from Home Alone. This dude's still pissing the bed in jail. I mean, how often do you come across a dude named Fuller in a movie? Very rarely.

Such a unique name. And then you got the late great Paul Walker as Lewis. I think he's fantastic in this movie, actually. This is probably my favorite Paul Walker performance. Yeah, same. It's like the sort of like the Fuller. Walker performance. Like he's doing a lot there. He's asked to lift a lot of the movie. And I think he has such great chemistry with Zahn too. Like half of the scenes when he's laughing at

what Steve Zon's doing, you just know that's Paul Walker laughing. Oh, 100%. What Steve Zon is doing. Exactly. And they have a real like, you as the viewer, like, oh man, Fuller's such an asshole. Like, why is this guy even putting up with him? Because he's fun. He's his brother. He's funny. You know what I mean? Like every time Lewis gets on board with Fuller, you get on board with Fuller kind of with it. Fuller also has those, every interaction he has with, like, a side character who's only in one scene, he's so nice to them and he feels like he's really bonding with them. And you're like, oh my God, I love this guy.

He bonds with everybody. It's like a masterful. Zon is like, yeah, to be a lovable asshole, that's a really, it's a really hard, hard tightrope to walk. And he walks it better than anybody in this movie. He really does. And that, like, that whole notion of like he's being really nice to this guy and he's very easy talker, a charmer, dude, very smooth. Those powers can be used for evil also.

So it's like that great thing where it's like, what is he doing? What is he talking up this guy about? Oh, he just kind of like got him a deal on this radio or whatever. Like that's what he uses powers for. But like he could bilk an old woman out of her life savings very easily, probably. It's that kind of a character. And then you got Lili Sobieski, who's good in this, but it's kind of just kidnap bait. She's not in it for a ton.

I sort of timed it like 50 minutes till we get. her back in the movie after the initial phone call, which I remember being in this way more than she actually is. It surprised me every time I watch it. I'm like, oh, she's not as much a character as you think. And then, like, Charlotte who shows up for literally, like, one scene and also is a kidnap mate. Yeah, and it's like the midpoint of that movie, right, is their first, like, big interaction

with Rusty Nail. And, I mean, it really is sort of split in two in such an interesting way. But it's funny, like the pacing, it doesn't slow down. Even though she enters the movie late, it feels like it's really charging along by the time she gets in the car. Charlotte, when she, like, honks her way into the movie, she should just hand them a ransom note. Like, you'll just need this later. See you guys. Woman in jeopardy.

So Charlotte. It is really hilarious when you, like, when Lili realizes what's going on. Like, she just hears her friend go, mm-mm-mm. And she goes, oh, my God, Charlotte. Those is some Very powerful ears Why does she know those sounds? Why does she know those Charlotte sounds?

Exactly. The boyfriend's over late at night. We're not sure what they're into. Yeah. Right, yeah, they could be, you know, tying up. Oh, dude. We got to talk for a second about the alpha move That fucking Paul Walker's doing

This roommate in the beginning of the movie. Like, shit roommate. You use headphones. I'm like, you know what, dude, you're not even her boyfriend. So, fuck off, right? It's three in the morning. He's on the phone with this girl. And then it's like, hey, man, I got a final tomorrow. Oh, yeah? I'll throw my disc man at you.

You're breaking a thousand one type of thing to do. You are breaking the disc man. The disc is also broke. I don't want to know what kind of battery situation you got in there. It's probably dead at this point. But I do, I feel very, I have a tender spot about calling, like having those long conversations with your girlfriend on the phone in college. I, I, but I do. I feel very, I feel very, I have a tender spot about calling, like, having those long conversations with your girlfriend on the phone in college. I immediately zapped back and I was like, oh my God, oh no. Yeah, man. Yeah. That whole scene was like, watching

it recently, it was like, oh, shit, this is such a time capsule and it made me feel really old because I was like, oh, this wasn't a time capsule when it came out. And now I remember those conversations, booking flights with the phone, having a disc man, all that shit. Yeah, checking the check-ins, you know,

along the drive that he's calling her from pay phones like having a day out. And I mean, all of that, it's so, it's such an artifact. The blue California license plate. Oh. And then of course you got, just to mention him now, we'll talk about them more later, obviously, but the voice only of the great Ted Levine is Rusty Nail. Hey Candy Cade. Like, I mean, Roger L. Jackson, his ghost face is like maybe the only other comp in terms of like how memorable just a character vocally can be. What an unbelievable performance. It's so

scary and incredible. I do think like Ted Levine gets hung up on quicker than Roger Jackson. What's your favorite? No way, man. I don't even want you to finish that fucking sentence, Ted Levine. You're totally right.

Do you ever see the first Halloween? No, I did not. I don't care about anything you're about to say, fucking creep ass. No, thank you. I don't know. I don't know the trivia. Was he always meant to be a part of to do the voice? I mean, I imagine that he recorded it all in post, but I'm curious

if that was always the intention or there was two other dudes that I've read about that were supposedly in contention if you believe a damn word of the IMDB but it's kind of great because it's fucking Sly Stallone and Eric Roberts is who are listening

Two very disparate vocal performances I want the Sylvester Stallone version just once so badly Candy Cade, man. What's going on, Cain? I get you pink champagne, man. Yeah, man.

Hey, I can't understand a word you're saying, Rusty, Dale. Could you speak up? Well, yeah, I'm going to get trouble now. Like, what? You're breaking up, buddy. I heard trouble. I heard trouble now. It feels dangerous.

Oh, hey, on the other side of that, though, you got Eric Roberts kind of doing his weird voice. Oh, hey, K&DK. That actually sounds way worse. That's the creepitude. Bring it up the phone in half a second. Yeah, yeah, yeah. That's the guy you got to be worried about. Yeah, because Ted Levine, he might have a rugged, you know,

handsomeness to him with that voice. You never know. It's true. It's true. They do cast Vincent Donofrio from Men in Black as the actual Rusty Nail at the end. Like that dude is, it's interesting. Yeah. I always sort of forget, because in your brain, I mean, you, that voice does really give you a sense

of visually who Rusty nail might be. And I'm always surprised when you finally see him at the end. By the way, like crazy to withhold that for so long. And I mean, it's so successful. Yeah, yeah, absolutely. The thing about that dude, too, though, there is the moment when he's got Paul Walker through the bathroom window there at the end. And you hear the guy's actual voice. And it's just like, hey, why don't you watch this?

It's going to be pretty cool. It's funny or whatever he says. And you're just like, well, that's not the voice from the radio at all. The CB adds 10 pounds of creepy. So does podcasting. So just FYI. Yeah, yeah, exactly. A little apologies.

So Lili Sofiaski's got a weird thing here where she's like, oh, you know, I'm just so burned out. I don't want to go back home right away. I wish I could take a road trip in a car that I don't have. And Paul Walker, you know, due to horniness is like, all right, I'll exchange my plane ticket. use that money to buy a car and then drive from Berkeley to fucking Boulder with a stop in SLC along the way

what a road trip for this I don't think that car is making it's an insane setup too like how much was that plane ticket what was the refund how much was the car exactly and it's such an ask for someone you're not dating like I get it again you want to date them you want to get down

and whatnot but I feel like this is a commitment after the fact otherwise it's just too much time on the road. The car could have been on sale because it was used in the events of the evil dead breakout. That's actually I was wondering if that was the same car. It's not the same model, but it looks a lot like it, I thought.

Doesn't it? Yeah. I think they're hiding a little bit that he's a little rich boy though, or that they're both a little rich boy. Because whenever they have a problem, they just go to the garage and get it fixed. He does use that master card quite a bit, does he? It comes out out of his pocket multiple times.

And you bet your ass he is signing in triplicate. Holy shit. That took me back too. College boy. It's only through half of the movie because Paul Walker's got that like deep Southern South California accent and then Steve Zon's got the Midwest thing and they're like, yeah, we're going to New Jersey. I'm like, new what? What part of the Jersey are you from? Yeah, you know, that part of New Jersey where we all talk like this for some reason.

Trenton. Yeah, it would be Trenton, I assume. Yeah. Trenton. That's what I'm from. But yeah, that stop along the way in SLCs to indeed bail Fuller, Steve Zahn, out of jail for, I think it's like drunk, drunk and disorderly conduct or something. Paying the bill with MasterCard also, or the bail rather, pretty great. What's sad about the Fuller name is that knowing John Dole and knowing where he comes from and what he really loves, I know the name is a reference to Sam Fuller and I'm just screaming inside. I imagine the meeting between Sam Fuller and Steve Zon's character, and I'm sure a gun gets involved at some point.

I just know it. In my head, I just know it. They have a third brother named Peck and Paw somewhere. Yes, of course. So, yeah, Fuller is the one who gets the CB installed, and I'm like, I don't know, man. How about bringing a book of CDs along for the ride, Paul Walker? How about that, man?

I don't know. And, like, Steve Zon knows all this, like, hip trucker lingo. out of nowhere, which is very impressive because I can't speak the radio. I know, that run is insane, right? Sitting in the rocking chair. Yeah. Yeah. That's all from like Smokey and the Bandit

or something, right? Right. Yeah, totally. And I was expecting it to be like total bullshit. And then like the other trucker comes back over the CB and he's like, oh yeah, man, no cops for 50 miles or whatever it is. It's like, oh, wow, he actually knows what he's talking about. He wasn't just full of shit making fun of these people. Maybe the only thing in his little Salt Lake City apartment was a copy of

convoy on VHS. You never know. No idea. Hell yeah, dude. appreciates the classics. He does. That maybe is a classic. God damn. How did he end up in Salt Lake City? It's a very odd place for Fuller to for Fuller to land, right? To build a life.

Fuller, like, drifter prequel or something. I'm sure he was scamming someone, you know? Very like on the road vibes with Fuller of just sort of like just finding my way out west and just drinking yourself half to death kind of a deal. Highlander, just town to town. totally.

So they come up with the idea to pass the time we're going to start maybe messing with people and Zahn convinces Paul Walker to use a girl's voice as he says to prank these truckers and this is a great line. It's like a prehistoric internet we've fucked with people in chat rooms

right and I was like oh man these guys are menaces no matter what fucking medium they're on here. I cannot speak CB but I can speak chat room ASL over over you know you didn't have to type over over over in the chat room, by the way. Oh, no, we're having cyber.

I want her to bend over. Why does it say breaker, breaker so many times in this? I thought we're getting sexy. It is sort of like, and I think the movie plays with it too, like the weird psychosexual, your older brother, like, no, dude, just be a girl for a bit. Like, it's just a very bizarre choice. Like, even like Paul Walker's like, like, I was like nine when we did that last time. Yeah.

My balls have dropped. I sound like Paul Walker now. It's not going to work. He's like, no, just do it, man. It's funny. It's like, yikes. Dude, it is like him doing this voice is like he's just in like a bad, mad TV sketch.

Like, ooh, hello. On candy cane. I guess it's, you know, honestly, it's on rusty nails for, like, falling for it. Come on, man. Oh, I mean, he's definitely desperate. I mean, if you hear this voice, I'd be like, you're just a guy. You're just a guy. You're a lone layout on the road.

Yeah. Well, like I said, it is. is the sort of, like a chat room, the second, like, a woman appears, everyone is just swarming towards like, oh my God, there might actually be a gal here. Well, but that's the, that's the weird thing, right? Is they basically start like CB cybering right here because, you know, Paul Walker's saying, like, you know, I'm taking my top off or whatever, and he's like, oh, geez, you know, I've never done this before.

And I was like, what, have fake sex on a radio where anyone can hear you? Like, anyone can jump in because it's just CB radio? Just pull over, jerk off into your piss bottle. and toss it out the window. And, you know, come, it's not going to end well. Come on. No, it's not.

But they do set up this whole thing of, you know, oh, me, is at the Lone Star Motel or whatever? There's a whole gag about bring pink champagne. They get a big laugh out of that. Well, they just sort of like ice him. When they, when they see the guy fucking around in the motel, that Steve's on second good idea of like, oh, let's get him again.

And it's like, this is, because it'd be funny enough to be like, oh, go to this random motel that we're never going to see you. That'd be funny just to know that we screwed with somebody. This is too close for comfort prank-wise. I don't know about Matt and Tyler. If you're prank like next door, like I ain't doing that, man.

No, too close. Too close. Way too close. But I like how they make, they take such pains to be like, this guy's a fucking dick. Like, you want that guy to die. Yeah. You don't feel too bad about it. But I love that Fuller, does it?

mention like the racist tirade you know at the reception he's like the guy body checked me on his way out like that was the line that gets cross that's the one problem I mean the guy hadn't slept in two days me you know let's let him sleep he's also upset about towels

for some reason it's a very towel centric raid I don't know this whole like get the cleaning staff to stop knocking on my door and it's like put the fucking sign up dude I don't you know you're a sleaze bag motel it's only going to get so good and it's all excuses I'm telling you, this guy has been blowing rails.

This guy has... Oh, definitely. This has just been out and doing it. He's like in a suit, too, right? Like, he's not... It doesn't look like he is in any way, shape, or form settling down for the night. Also, this prank is stupid in the sense that, like, this is a run-down nothing motel. There's, like, two cars in this parking lot.

So when Rusty Nail gets there, oh, would you look at that? There's one with a big stupid CB radio antenna on the back of it. You can't hide that shit, man. It's like seven feet the air. That's why you don't shit where you eat. Just say, go to the fucking Best Western across town. And then you and your brother laugh and watch, you know, like, I don't know what's good times or something. Like, whatever.

Whatever's on your, you know, TV in your shitty hotel room, I guess. God, the motel's in this movie, dude. It's like, talk about characters. I mean, how many are there towards the end where they're knocking on all the doors? But, like, what a, again, just what a, what a, just. It feels like it's such a tone sether that roadside motel. You could totally have a thing where it's

in a lesser production, it would be like, and they would make an excuse maybe, right? Like, well, it's supposed to invoke the feeling of repetitiveness. That's why we didn't change any of the bedding whenever they get to a different motel or something like that. But every motel room is drastically different. It's designed different.

The furniture's laid out differently. They really did think about it. And I love this first one. I mean, all the lighting in this is fantastic. All the ways. They use like neon lighting to pour through these windows of all these like motel rooms and whatever. And this shot of like so when this is going down, right? And like rusty nail gets there and he's got his pink champagne and he's knocking on the door.

And this coaked out racist is getting pissed off that he's getting bothered. And the two of them have their ears up against the wall. And it's awesome. That too shot. That's slow down. Yeah. Just going in and the painting of the ship like in the harbor. And the lightning, the real life lightning that makes the painting feel a lot. every time. You're like, oh, there's like a weird magic happening here that has nothing to do with this.

This is not a pirate movie, but all of a sudden it's like a Goonies moment. And it's so awesome. Crazy turn if the paintings came to life or something. That'd be a different film, yeah. That scene, when it kind of goes bad and they're like, let's do this. And they're sitting in the car, the body check scene. And all of a sudden, it's all that neon light on their faces. And you're like, oh, I'm in a totally different movie now.

Because the movie's not scary. The first 20 fucking minutes of the movie, 25. minutes, it's not a horror movie in any way. It's like, it's got those seven, you know, post seven credits that kind of tell you this will get there. Yes, yeah. Great call on the post credits, yeah, post seven credits. Dang, totally right. Yep.

I was, I mean, you were just talking about how this movie looks. This was shot by Jeffrey Juror. And I, guys, I don't know if you were as familiar as my three colleagues are. This is a guy who shot not only a hider in the house. Get the fuck out of here. So live live wire. Oh my God.

Live wire. I did not know that. No. I love this guy. That's awesome. They look amazing. It is kind of cool. Like I'm this whole like Americana like motel motif that plays throughout this movie.

Like I'm a sucker for a motel movie. Last year, did anyone see a desert that came out, which is also another like. Oh, you can't tell me to see that. Yeah. No. Yeah. It's by Joshua Erkman. Like again, like I'm just a sucker for any like.

It's a motel. That movie Vacancy is really cool. Yeah, man. I love vacancy. Oh, yes. It's a whole subgenre that the roadside motel. Yes. Which you can top that whole thing off with like Psycho. That's like a good starting place for motel horror and it just sort of goes from there.

And now I'm like programming a whole series in my head. Also, poor Rusty Neal. Like it's like nine o'clock at night. He gets this sexual invite. And now he's got to find fucking pink shamans. campaign. Not just regular. He must have gone to like three liquor distribution. So you don't, you don't have the pink stuff. Only, only, uh, Prosecco, which he's not going to want for sec. It must be pink. Non-negotiable.

Sir, do you mean rosé? No, I mean pink, actually. Yeah, he killed 50 liquor clerks before he got to the hotel. No, sir, we only have Andre. I'm sorry, we only have Andre. Well, here's the brute to go with that Andre. Me, I'm the brute. I'm rusty now. So it's, you know, they think they hear something there and they call the motel desk and the guy says, well, I called and the guy said there's nothing up. So that's all I'm going to do about this. And they kind of just like. I also love the restraint though that you don't, it doesn't say what you hear behind that wall isn't like, you know, some dude getting eviscerated. Like that there's real, there's real withholding still of all of the horror. Right. It's like just stepping you right towards the line. It's so and it's so much scarier because there's mystery in. Well, what's happening on the other side of this wall? Well, and you still think that rusty nails getting killed at that point. You know, that's the thing that it's hard every time I kind of remind myself. I'm like, oh, right, the first time I saw this, I thought that dude killed the trucker, not vice versa.

Oh, yeah, yeah. Yeah, they make a point of mentioning how big the guy, you know, reception is. Yeah, the next day with the cop, there's the moment of like, which, by the way, shout out to that cop. That cop character the next day is like doing one. level. And C's on reaction to him. Oh, my fucking God. The toothpick.

He's got the toothpick. He's one of James Cromwell's guys in LA Confidential. He's one of the turncoat guys who are really, I love this guy. He's so good. The way that, I mean, I want to just speak to what you were talking about, like, going into the painting and the way they, they don't even, John Dahl doesn't even put the music up. It's all just you hearing the bland things and then leading. us into, well, we got to go to the hospital to see what happened to the guy. Dude, yeah, this jaw rip, this fucking mortal combat move that this guy did.

Holy shit, Rusty nail, you work out, man? He must. And the slow-mo, right, that slow them walking towards camera. And you just, again, restraint. Just like stretching, stretching that moment so well. Could he used another Jim Beaver scene, to be quite honest. For sure, dude. as this like fucking annoyed sheriff who's like you it is kind of great though like

like great mustache yeah yeah again number one on the call sheet the mustache he is abdicating any and all like uh cop work here because like you would be like no you you guys can't leave town because when i catch this guy i need you to corroborate this no just get out of here it's like no way every time i watch it i have this moment where i go like this dude is doing so much heavy lifting for the movie to keep it on the rails or you're just like, fuck the cop shit, I'm annoyed, get out of town. And it's so convincing that you're like, yeah, I don't care at all. Yeah.

Oh, man. Yeah, but he has this great line. He's like, it's just like a Western. I want you out of Wyoming before the sun goes down. That's like, that's badass, man. That's a badass line. We're out here in the desert like this. It's a John Doll movie.

So I'm thinking about Red Rock West the whole time anyway. I think that's why the sheriff kicks them out because he wants to say that line. Yeah. It's bad police work, but it's such a good fucking line. Exactly. My favorite line of that whole thing is always that you got out of jail, what, yesterday? Yes. Yeah. As a matter of fact, that's exactly right.

I did. Skitch, how'd you guess? I was missing the boys. I wanted to get back in there. Yeah, sure. So Paul Walker's like driving that night and this week at Candy Caney, and or a rusty nail here. Hey, black sheep, you know where I can find

candy cane. I'm like, I don't know, man, you sound a lot like Buffalo Bill. I'm going to turn the radio off now. No. And he does, this is when like he's just, they come clean and like instead of apologizing, which, you know, good guy Lewis, like, let's just apologize, man, get this over with.

It's the other sin. The other cardinal sin is not apologizing. Yeah. I think about that Steve's online. Yeah, when he's like, I have a. you know, not your psychosis. I can't remember the line, but when he turns down the volume knob,

he's like, I got a volume knob, blah, blah. I think about that line all the time and the fact that it, like, leads to them almost getting killed. But for me, it's like Twitter. It's the noise we live with now where you're like, yeah, I can just turn the shit off. I don't need to pay attention to it.

I could mute you and then go about my day and that would be a great way to live, you know? Exactly. Except the taillights out. Yes, exactly. Zahn also says you're a walkie-talkie freak show motherfucker. A walkie-talkie-talkie-fereater. Yes.

The deep thing. We do get, aside from the Beltrami score, which is also great, there's our, we are at a post-screen universe, which the, your tail light is,

is a, a, like, you want to know who I'm looking at. It's the same. Yeah. It's the same. So good.

But it works. Always works. Yes, it always works. It always works. Those moments, they never, yeah.

yeah so their whole thing now is like shit we got to get to the next town oh I think I just saw a sign for whatever the hell but oh it's 73 miles and wouldn't you know it they're running on empty so this is where we oh this is the we go to the gas station here they pull off and this is the ice truck driver this guy

kind of kind of has a little bit of like a John Carpenter vibe going on this dude another great mustache I guess this is a great one great hair too It's some nice raggy hair and a club, which we later find out as a tire thumper. Yeah, is that like, can I go to like an automotive store and, you know, one tire thumper please? Is that a real tool?

That feels like a prank. Your buddy send you into an auto zone. Yeah, exactly. And you get your ass laugh at. To obtain this weapon, you need to go to Demolition Man and get whatever they, those like weird batons they have in that movie. Like, this is super baton. I don't know what we're talking about. That scene at the gas station has one of my favorite Paul, Paul Walker moments to the walk out.

Yes. He's just like stiff as a board and you feel the fear of like this dude is right behind me. That walk and that like long, slow pan to get him back, you know, back into the car is just such a, it's such a great moment. You like genuinely feel the fear of the situation in them. It does a really good job of the like I'm shitting my pants walk. I'm so terrified. It's really good. Also paying for this gas with that MasterCard.

Signing triplicate and you're on the way. Yes, when I first saw this movie, I always couldn't wait to grow up to sign up for MasterCard. I have one now. The dream came true. Look at that, man. That's one. You got one done.

Yes. Next step. Next step visa. I've seen that in things. But then I mean, this MasterCard commercial continues. It's basically like don't leave the truck stop without it because the guy's chasing

him down the road. They think that this is rusty nail and they get, you know, sort of stopped by this gate that's in the middle of a desert road. And the dude just gets out of the car and they're like ready to accept their fate at this moment. He's like, hey, don't leave him without your master card. He runs him off the road. You think he's going to be killed.

This guy over a credit card, I don't think I'd be chasing some car off the road. He's being aggressively helpful. Leave it with the gas station attendee. That's the person you leave it with. When they go off road and they clearly think you're going to kill them, I would say stop. You turn back. Protect your ice.

You need it. This guy is great too because he can see they're scared and he's like, oh, it wasn't my mustache, was it? Well, Seizond's reaction to that. No, it wasn't the mustache. Yeah. My wife's a little character. Yep. It's so good.

And then this is the part of the movie where we started introducing. There's going to be some wild stunts in the. this like highway horror movie because this goddamn Mac truck just breaks right through this ice truck and like the ice cubes are going everywhere. Oh my God. It's so awesome. It's incredible. It's almost like an old toy commercial when like things would just like, you know what I mean?

Like a bunch of blocks would fall on an action figure or whatever. It's like so insane that this happens in real life. I've seen this movie a few times and that it still surprises me to see that ice truck be just annihilated by another truck. This whole sequence, it's saying. So many little things are stacking one on top of another to like build to build it out. I forget all of the moves of it. It's one of the reasons why this movie is so rewatchable is it's just absolutely jam-packed full of these great little

character moments and you know something, the tension of like, fuck, I know something bad's happening. Why are we still out in the middle of the desert? Why have they not gotten in the car to drive off? And I mean, it's all just so, so well orchestrated. And it's a quick and dirty 97 minutes too. Like I could watch us tomorrow and be totally fine. you know what I mean? Oh yeah, yeah, yeah.

Now, kids, after you see Joy Ride in theaters, remember to get your rusty nail action figure with your truck and your exploding ice truck going boom. Honestly, dude, if this movie came out today, Chris, I think you're totally right. You could go to an AMC, get a big ass rusty nail tractor trailer, popcorn container, you know. I've got the fucking airstream trailer from the accountant too right here behind me.

Get your, get your looom. and Fuller figure with free jawbone on the side. Go to Dairy Queen for a C.B. Blizzard. Get a a Jew, a Jim Beaver Sheriff with a shrugging motion action.

Get out of town. Get out of town. Oh yeah, you pull the cord. It says, get out of town. Exactly. But this is a really cool action sequence. I love the ending of this of just like, because it's a great way of like, there's still 45

minutes left of this movie and like to just to end it. Yeah, it's so far ahead of you in that moment. Exactly. It doesn't take the air out of the balloon. It gets really scary. Are we going to like just watch these dudes die and there's we're going to go full psycho and we're going to see somebody else. Yeah, there's a new character driving down the road.

Oh, here's my fucking friend Charlotte or whatever. No, but just the crushing is such a cool moment. The teaboning up against this tree is really spectacular. But it does that thing that's like, I mean, I love it every time a movie does it where you you just go, okay, I literally, I do not know what could possibly happen next. Because that thing that I thought would be the end of the movie has now happened 50, you know, 45, 50 minutes in.

It's so satisfying when movies do that. So they break out that master card. We don't see it, but you know they're breaking it out because we're getting this car completely overhauled. Yes. I mean, I don't know what we're supposed to like think the timetable is here. but like these dudes have to be at this place the entire day at the very least.

They're gonna have to turn around to drive back to school any day now. Breaks over, man. Sorry, this road trip did not work out. Venna. But very importantly, they apologize to rest of you nails. Like, well, I was just missing around and drives away, which is kind of awesome.

But yes, but yes, getting this brand, this thing overhauled, and then getting back on the road. And it turns back into a fun college movie for a little while. A little while, it definitely does. Steve Zon, very important. Certainly, Fuller throws the CB radio out the window as they drive off. Like, enough of our fun game, skitch.

We got to get out of here. But yes, we roll up at this school. And here's Lili Sobieski back in the movie. And I feel like this is around where we start. You sort of can start sensing, like, we're doing some reshoots and we kind of had some editing stuff here. Because right here, it starts planning to see that he also has the hots for this character. And I feel like there's cuts of this where that went. maybe a little farther than what you see in this movie.

But I think it's kind of right that they pull it back because it sort of just makes this otherwise kind of likable dummy character a way bigger scumbag. Like, I'm trying to bang my brother's lady friend here. Yeah. Apparently there was four editors and a ton of different like versions of this. Endings and shit. Yeah. Apparently, Lili Sobieski filmed two love scenes, one with each brother that was kind of like

test screen. Yeah, there's a lot of scenes on the cutter room floor for this one. There's a whole second half of the movie that was on the DVD. Like it was like an alternative, like last 40 minutes. I mean, I only watched it once. It wasn't something I read. Yeah, there's another card crash and like they end up in another, a different police station together.

Yeah, there's a lot. That's wild. You know, they should have done what the, you know, Clude did, just like put them all in a row. Totally. Or maybe this happened. Yeah, I do. Matt, you said it, though.

This is such a, like, 2001. Like, even with the early credits, the post seven, credits. It's such a DVD movie. Like, this is like Joyride on DVD. Like, totally. It was a warm bath just watching that like skitchy, twitchy credit in the beginning. I'm like, yes. Yeah. I wish I had. It also is such an early 2000s movie the way Lili Sobieski walks out with the camera around her shoulder. I mean, like every college girl that you had a crush on. The camera. And then you see, too, she's got these like, like, the turn of the century, like wedge shoes that are like seven inch heels

like she's shot up like a foot in this movie it's pretty crazy looking back at all this this this TRL era fashion we'll call it we meet the wonderful Charlotte who is very important yeah she is very important it's really key to it's on

hitting on this woman too instantly in love yes so yeah so yeah Vena's just like oh you know this is the this pickups the nicest thing anyone's ever done for me We kind of have like an almost making out moment right here that Steve Zon ruins very comically.

That's what he does. And they just kind of go on a fun little road trip until they're at this bar. And we are just, like, this is a lot of liquor, man. Some beer chasers would be appreciated, even. You see like that one, there's the one beer pitcher that's like three quarters of the way done. But there's not, you don't see them sipping a lot of beer. You do see them pounding these shots, though, repeatedly. I just can't drink like that anymore personally.

I don't know. But good God, man. And we're only a couple years out from Conner. So I'm like, get out of the situation. Get out of the situation. Now somebody's going to get killed. This is going to be bad. You're going to punch somebody in the parking lot.

Yeah, exactly. But it doesn't exactly go that way. They just get fuller acts like a maniac. It's like, oh, this is my woman. I got to take you out of here. Let's go slam. These guys start harassing her. And it's just like, what's your name,

sweetheart she won't answer i'm gonna call you peaches you like that you know and then like oh is this your bitch that campus boy look at me campus boy look at me campus boy it's fucking great dude i gotta love it was that ever a really cutting insult to be called college boy or campus boy how fucking dare you further your education ha ha nailed him yeah it's it's very stupid but i do so like again though we've got some like flirtatious shit here we're doing the whole like well i can tie a cherry stem with my tongue all right we're we're getting that done and i had to say paul walker goes to the bathroom at one point while it's like when i think she's starting to get in trouble here or whatever he's taken this drunk piss with his arm up against the wall and guys i felt that in my bones i was like

he's so relaxed it's so great it's like he was holding it in for longer and like maybe venna was telling some cool story and he wanted to see him interested in the whole time he was like, I got to take a drunk piss, I got to take a drunk piss. I already broke the fucking seal. Oh my God. And that's as good as you're going to feel all day long is that moment. The only thing, the only thing that's incorrect about that to me is you don't hear the groan from outside. You don't hear like, oh. Yeah, you're not very realistic. You're no, I was waiting for it. They drop Veda off. Like Steve Zon's trying to do like a hey, let's go inside thing.

Scumb bag move, man. They go inside. Paul Walker passes out. Steve Zon just puts on porn. Your brother's in the next bed. This is a... I don't approve of this. Let's watch kindergarten cop instead, kind of a deal.

Great idea. Can we talk, though, about when they walk into that room, about him dividing the room and choosing a bed? It's always one of the highlights for me because it's that weird Steve Zon shit where you're like, I love this. There's no place in the movie, but it's so perfect. Yes, exactly.

And it's so brothers. It's like, these guys have split everything. Yeah. Is this the same one where, because he does have a good line in one of the rooms they come in and he's like, oh, I'll take the one with the orange comforter and they look exactly the same. I do like him testing both beds. Again, that's not the script. That's so like Steve Zon, Steve's on, like, especially like this run of like early Aughts, Steve's on and comedies is so much fun to watch. Did you notice Steve and anybody else jump in, but Steve Zon, to find out that they have porno at this motel, he picks.

up a laminated pornography schedule? Look at all this pornography we can be watching. I just, we're doing that, I guess they're printing it every day and having it laminated. They're going and kickos for the porno cards. That's seems like a money loss

for the hotel. Man. Here comes Phil from the owl motel again. You know what he's making copies of their porno schedule. Lonely planet's going to be here to review the motels in the area. We better have freshly laminated porno schedule. but he's watching Steve Zanz

watching porno, Paul Walker's passed out and he does the ultimate scumbag move of going over to Lily Sobieski's room and like it is kind of this, I think she's really good in this movie, she does have limited stuff to do but like her affect of being like kind of nervous about this guy but also like oh we're kind of he's the brother, he's the fun one

like you can just sort of see all of that play out in her performance as she lets him in and he's making some sort of cocktail. I don't know what and how he's going. convincing her that he's the bartender. Yeah. I also love this movie does such a good job of setting up all these little moments where, you know, you know a character shouldn't make the choice that the movie has them make.

And this is just another one of those tiny things that it's just so much more interesting if she lets him in. Even though it's the wrong thing to do, the movie does that so many times in so many interesting ways. it feels like that kind of like starts in the beginning, right? It's like this whole thing where they're constantly sort of creating their own problems. Right. Yeah, yeah, yeah, yeah. They are their own rusty nail, as it were. There is a great joke. I love whenever you can make a joke with editing.

And there's one right here. And it's actually funny because it's a funny moment that immediately then kicks off the terror. But Lili Sobieski has some line about like, oh, well, isn't what's Paul Walker doing or whatever? Is he all right? doesn't drink that much. And it's a great Steve's on. Oh, yeah, he's fine. And it cuts to Paul it's a smash cut and he's just passed out like hilariously. I fucking love that. But then that's right when, right when a rusty nail calls back and he's like, I thought you said there was no girl. Then what's she doing in the other room with your brother? Which is another your broken tail light,

but for whatever reason, the movie makes it work again. You get the same effect from the same kind of line delivery reveal. And I think so much of that is like you don't know how he's going to reenter or why he's going to reenter the story. And it's this the idea that, oh, he thinks they've lied to him. I mean, obviously, he knows that they have. He's just fucking with him. He's not done yet. He's not done.

Pay back. I just want to see him like, yeah, hi, our motel. You got three hot people staying with you right now. It likely be two guys in one room and one. I just need those room numbers. boy and his brother. Yeah, exactly. They're all like really good, like exceptionally good looking, each one of them.

You got a campus boy. You got another fellow there played rhythm guitar and the wonders. They've no business being there. You know the kids that walked in there that look like they're from the magazines. Which ones are there? But yeah, Paul Walker freaks out and he goes into, and it is sort of a thing. I think this is probably an editing thing. Like there's one moment where Paul Walker is like, he,

He knows you're in this room and why is that? And then that just kind of gets dropped because we don't learn how he's getting these phone numbers and it's fine. Yeah, it becomes just like a texture in their relationship. Yes, exactly. Yeah.

So, yeah, they have to come clean to Venet here. She's got a great line. How scared am I supposed to be? Which is pretty nice. I'd say a lot. I'd go with a lot at this point. Yeah. Well, because we, this is where we're introduced. We see like the commitment that Rusty Nail has

to this revenge plot because he's preemptively spray painted all of these signs along the way. Like he knows which way they're going to go. And it's, you know, look in the trunk, Lewis, which is really, really awesome. And she calls it out. Yeah. When they get out, she's like, that's pretty elaborate. What did you do to this guy? This is really thought out.

This is the suspension of disbelief. Yes. But this lets you know early out of this movie that this guy is terrifying. and it's very important, he likes looney tunes. Like, this is a very looney tunes. We're driving past the signs, and later, clearly, this dude has seen some looney tunes. He's going to paint a tunnel on the wall, yeah. But also, like, isn't he supposed to be hauling something, dude?

Like, don't you have somewhere to be? Shouldn't you get in somewhere? What is the destination, man? What, you know, you're shipping beer, you got fruit back there? What's going on? Who's not getting the shit? Oh, they address some of that. Oh, fuck, yeah.

was one of you guys had seen because there's two sequels, right? Joy Ride, two and three. I've not seen those. But Rusty Nail is still involved. Is that correct? Yeah. He's like the, he's what they are.

My memory. I've watched them both once. Oh, yeah. But I'm, I kind of want to dig into those now. I think I'm going to watch them. Oh, no, please don't. I need to see if Rusty Nail gets that

Coors Banquet beer to Tampa, Florida, or not. Exactly. He's got to transfer to, what's the thing? 400 gallons of New England clam chowder across the country in seven days So he starts fucking

This is when they hear Charlotte And like they know that like He's got them on the hook For this other woman That he might kill kind of thing He's telling them right there Because this is the great She opens the trunk

And this is all this amazing red That they're just like Yes Fucking bathing in This looks so cool And this he's put the CB radio Or ACB radio because I think the other one's like destroyed,

puts it in the trunk, he's put it in the trunk. And then when they get in contact with him, it's like this really terrifying, like, you know when a corpse can't be identified? Yes. They cut off their 10 fingers in their jaw and put it in a jar.

Oh, man. I wonder if that was the audition, the audition monologue for the rest of the male boy. The choice to have the CB in the trunk, too, of all the things that could have been in that trunk. It's so scary that it's just like, No, the game is going to continue. Continues, exactly.

This ain't over. You're expecting, you're expecting Charlotte in there looking like Oz Perkins from the monkey just like chopped up nice and well. But like, no, yeah, I love this and just turn like this. I was waiting for someone to be like, well, he didn't put the calm or the period on the, on the thing on the Lewis after that. I mean, it should be come on. Come on.

I mean, let's let's be on. Look, this guy just doesn't know how to write. I would appreciate if you're already breaking into my car, why don't you just install the CB radio. Now you're giving me work to do. Yeah. He's got signs to paint, dude. He doesn't have that much time. He rushed it at the end. Ah, look at the truck. Yeah, he originally actually intended to like nicely paint the signs, you know, but he said, do you spray paint really quickly? I love the idea of just a quick little omniscient pop to like, oh, God. And Rusty was super stressed about getting it all done in time. You're fucking it up, Rusty. You're fucking it up, man. You're

fucking it up. What if they wake up early? What if they wake up early? What if they wake up leave early, but they're stopping for a few hours. Get it done. Get it done. Get it done, Rusty. So this is, I think, my favorite sequence of this movie when Rusty Nail decides it is prank time. It's not so much terror time, but it is prank time.

Get naked and go into this diner and order six cheeseburgers apiece. And we get some legit Zon Walker butt cheek action right here. Not too shabby. Yeah, looking good. Although it's disgusting

I don't know if you guys noticed this they start the little walk across the parking lot be hilarious like cover your face as children is going on to get back in the van and you got you got fucking Zahn and he's got like Timberland work boots on

or something Paul Walker I don't know if it was like the California in him or what barefoot walking through this gas station parking lot and he like I was noticed like his foot just misses a gross puddle and I was like no It's so nasty.

But she's still in the car while they go in and there's this great like, okay, it's a campus prank. You got to, you know, I'm not calling the cops, you got to leave, but she hawks the horn. You know, I would think this was pretty funny if it wasn't my restaurant. Okay. Yeah. Yeah, I think the response to this would be very different in 2026 than it is. Yeah. Big time.

Oh, you're not putting in an order for a burger. It's not getting that far. No, you're getting tackled. before you get inside. Yeah, your fucking balls and taint are not sitting on that stool, dude. You're not getting into a seated position in that place in this day and age.

Oh, but it is just so great. I do love to, they order the burgers or whatever. And then this waitress, just looking at two naked dudes is like, you boys want fries with that. Yeah, fucking funny man. Yeah, never afraid of like still stick into the tone, like still landing those moments, those bits.

It's a nice variation on the gas station. scene from the vanishing, I gotta say. Really a little flip there. But they wind up, he's in the car, and he's like telling them to go. They wind up with that cornfield sequence.

Yeah, yeah, yeah. Which is also an awesome, really good looking cornfield, you know, it's really great. I'll say this too. It's in the middle of the night. It's, you know, so dark is out. And I will say this also about

ready or not too, fellas. There's a lot of dark in that movie. You can fucking see everything. the whole time. There's a trend of like, let's make shit darker so it's like more realistic. And then I can't see your fucking movie. Like I was just, I'm watching this and I'm like,

yeah, they're just running through cornfields. There's no like natural light around. But they understand, you know, John Dole understands we're making a movie here, man. You got to be able to see this movie. It's a visual medium. Yes. Gotta see shit.

Man, I feel the stress of shooting that sequence. That is it. That has got to be the trickiest. thing to shoot in the movie. I mean, Cornfield, Knights, like, I mean, blocking, getting a camera cars in there. It just, the amount of, I'd be so curious

just to learn about the making of that sequence specifically. It's really just, like, so, so well done. You got all that going on and a Mac truck is, like, chasing people on top of it all. Legit. And it wasn't hard enough. Yeah. It's like, they're really driving that thing through,

yeah, through that set. It's incredible. That poor corn. Oh, poor corn. Isn't it a summer vacation? There's so much corn for middle of the summer. Yeah. They've been on the road so long. Now it's November.

They've had the car fixed multiple times. There's like a paranormal twist to the movie. That would be awesome, right? It's like, oh my God, it's been seven months since we've been on the road. It feels like a week and some sort of weird time paradox thing happened like that. Maybe that's in like part three or something. Possibly. Part four.

They started running out of ideas. Candy can you. You drove through the Tom vortex. They died when they were teaboned against the tree. Yes, there it is. Oh, there it is. Fuck yeah. Going home for Thanksgiving to have a turduckin, are you?

Well, quack, quack, I'm coming with. At some point in this cornfield chase, Rusty gets out of his truck here and grabs Vena. And then this isn't great. This dude just sets this fucking car on fire and drives on. awesome. I was saying it turns on to music. You're going to set the atmosphere for this cornfield chase. Yes.

And before, I think before it explodes, they do get the CB radio call of like, I'll meet you at a hotel in room 17. Bring the pink chair. Oh, it's like, and if you have time for a pink champagne, you know. Yeah. Which is kind of cool because it just rushes to the end of the movie in this way. You know what I mean?

Like, it's like, this is happening now. And that's it. And this whole, like, final sequence at this last motel is really great. like from the from the jump of it right like how are we going to get there it's seven miles away we don't have a car the hilarious hot wiring scene oh the drunk guy like doesn't know what they're doing oh you're gonna flood it you just what you want to do is turn that key off and then initial tension of like is this guy it's his car he's going to kill them but no they uh the they wonders why i drive a Chevy you know tell me about it

Which is great because this movie, it was 2001, so it was Fast and Furious. It's two movies in the same year where Paul Walker's talking about cars in detail. Yeah. That's his big thing. And now it becomes the great, the motel search for Lone Star Motel, Bright Star Motel, White Star Motel. Which one has them. Where are they? Dude, yeah, going to all these different rooms and people being like,

the fuck are you banging on my door for it, which is very funny. all this is happening while you're seeing what Rusty Neal is doing to Lily Sobieski, which is taping her up and he's got this, again, this is total loony tunes. I was going to say. It's a total loony tunes. The root-gold the nature of this. Which I do, and I wonder if any of the cuts has somebody just getting annihilated. Obviously, Lili Sobieski would be a very bold choice. We're not going there.

Somebody should be like, hey, what's going on? Yeah, exactly. Or a cop. Yeah, something. Yeah. What's going on? in here, blammo. I feel like, yeah, there's

not enough shotgun annihilations in cinema in general. Yeah. It's like the shotgun triggers tied to the door, so if anyone opens it, Lee Lee Sobiesk's face will be gone. Blamo, yeah. And I do love Rusty Nail right here

because he thinks his plan is going to come off without a hint. She calls the cops, yeah, I'd like to report some dead bodies. And he just hangs up. Yes. He makes his own prank phone. call. Maybe at least say the motel that you're at or something. It's going to take them a long time to trace where this came from otherwise. And this also got to point it out right here. We talked about a lot of the reshoots and this, that, and the other thing. From here on out, Steve Zon is wearing the blondeest wig. Yeah. I've ever seen and he's not blonde for the other 75 minutes of the movie. Andrew, maybe he's scared whites, you know? Oh, shit.

It's this traumatic event. It's doing it. I don't do it. It is very funny. This fucking wig, though. It should have its own character credit at the end. It's great. Mustache and wig.

I think I caught this on cable. I can't imagine Matt and Tyler seeing this in the theater and being like, where the fuck is this thing going? You know what I mean? Because like, once this happens and like there's three characters and a shotgun, you're like, holy shit. Full stop. It was, it's that whole thing. of like the movie, it's so funny how it, when it's going,

it goes so fucking hard. And then it's weird because I feel like this is not a common structure. You know, usually movies that go hard, like, we do this a lot, Tyler. They just kind of keep going. And you're like, how can we keep the pedal down? But this movie has like, off-ramps where it's like, let's take time. And now we're going to go

show with the characters and we're going to do like rom-com road trip for 20 minutes. But the end of it is fucking relentless. Yep. Yes. Yeah. Yeah. Yeah. Just those gear switches, it's such a gamble too, because that's really hard, I feel, to keep the audience engaged when you're doing that. Because it is this like, you have to love the characters. You have to be willing to, like, be in those quiet little pockets with people you love.

I would sit through like two hour cuts of those. Yes. Yeah. Because it's like you don't know how to feel, right? So if you dislike these characters and on top of that, you don't know how you're feeling about the movie or where the story is going, I think it's like it's instant checkout. I don't like this whiplash of tone and I don't like these people, whatever. So you're right, you absolutely have to have good characters

which this movie has up and down the board. So it totally works. And then yeah, this is, Paul Walker's trying to like see what's going on in the room here. And then Steve Zahn, I think, goes around to the back and he looks through the window or something. And this is where Rusty like jumps out.

It's a real Jason Vore. He's like right through the guy. It's a full on jump scare. Like, yeah. It rocks, man. And then so he has this whole fight. He winds. up getting like, it's very

like leather face like propped up on a fence and there's like a fucking pole through his leg. On that screen like his, he sells the pain and the terror of that moment so well like that is, that is how you I think scare an audience you put them in the pain of what a character is experiencing

and it becomes like a full on like Texas Chainsaw Massacre level like there's a little sort of sub-scene in that fight where I mean it gets really brutal and torturous for a minute. And when you're doing your movie morality math. You're like, yeah, this is right. He should get it. You know what I mean? Like, this is all

fuller. This is what, this is what you hath wrought, dude. Let's just see what happened. He started the whole thing. He tried to fuck his brother's lady friend. This guy's, he's wearing a blonde wig for some reason. This guy's got to go. That relatable pain thing, though, is interesting, right? Because you

can, like, not, you don't have to have had the same injury happen to you, but like, it's a simple enough injury where you kind of get it. And I was actually thinking, in the first ready or not when she comes up from the the little boy knocks her down into

whatever to the fucking the hole in her hand through the man and I was like it's like that never happened to me but like you can imagine a similar yeah it's so fucking well done well it's so key I think especially around this time because John Dahl's a smart director

and isn't like let's go full like hostile sadist let's make it real let's have the panic in Zizant let's have the blood of that one moment. And it's really, it's, again, when you were talking about restraint. Like, it's not going full on like, oh, please help me. Oh, please help me. Constantly and screaming for the cruelty of it. It's not that. And I really appreciate that. No, I agree with that. And also, meanwhile, the cops are banging on every door. And you know that they're going to get to that door. And, you know, Daffy Duck shotgun is about to go off.

Yes. Yes. It's really great. And they do a good job like, you know what room she's in. And there's so many shots to, it's just like straight on Lili tied to the chair and you hear the cops being like room 20 clear room 19 clear and she knows like they're getting closer to him or to her it's so good I love how they're so good kicking in every single

door like without exception fuck all these door knobs who gives they knock one down and you see a guy like in his boxers or something being dragged out of the room I was like fellas let's dial it back a little bit here let's not break any fucking you know Fourth Amendment rights here come on now

but yeah if they kick it in they'll shoot her and there's that whole tension there. And there's also what Paul Walker is like, he eventually finds the room, he starts turning it and Zahn has to yell not to. Yes, yeah, which is that's a good moment. And then so like he, Paul Walker goes around and he's trying to help Steve Zon off the fence.

And then this is rusty just lining this huge truck up in the night to ram them, which is so, it's like a fucking Biff Tannen move. Like, I'm going to ram him. Like it's just like, it kind of feel at this point like this dude, you know, he had that plan, right?

He was painting those street signs or the road signs. Like he was very masterful getting the friend kidnapped, getting the CB in the car. And now it's devolved to, well, I guess I'm just going to have to ram him. It's all over now, baby blue. I do love that it's like it comes back, though. They bring the truck back as like his future weapon. I think that that's such a fun. I think what you're saying is right to, Gavin, that this, the idea of like,

and we talk about it all the time in our work, that the movie, we try to like be, gross and we try to do hard things but we try we we try to not be too mean or too cruel you know you like just on this on the right side of the line of that so it doesn't feel like the movie is is turning on the audience but that it still is willing to like go hard and that's just all about restraint you know and knowing knowing how to get people right to the edge without pushing yeah without pushing them over and yeah and i think it comes from this movie has when both radio or not. And other stuff,

you guys have done well-drawn characters. Like, I care about these people and when they are in peril, even if it's super gross or if it's not super gross, like,

I do, I at least know who they are as people. Even like, fuller, I'm like, oh man, this guy kind of deserves it, but I'm like,

not fuller in the same moment. Yeah. That whole thing. Yeah. And he does a great thing, right? I mean, and all the little ticking clocks in that sequence, the shotgun,

the cops, you know, saving your brother, leaving your girl, like all that. stuff is just it's why you're watching it. It's actually what's interesting about it, not Fuller getting stabbed a bunch of times. Exactly.

Exactly. Major L.O.L. to these like seven cops coming around the corner to the fence and like drawing guns on the two of them like, don't move motherfucker. What do you do? And like not noticing the huge truck coming at like 50 miles an hour, 20 feet away from them. And then the kid they're trying to apprehend, shoot the truck. And then everyone's like, we will shoot the truck.

Okay. Yes, sir. Good idea. suspect excellent and this stunt shot here I mean this whole thing of the truck driving into and through the motel you just don't expect this much action

in a movie like this and I am fucking here for it man it's so good and it's all practical too like this is a truck going into a structure how to demolish it computer to be found man got to say yeah did we demolish the ice truck why not demolish the hotel

Exactly. Yeah. We love blowing shit up in this movie. Matt, what's the stunt situation in the other two? Are we dialing that back due to direct-to-d-d-d-d-D-D, you think? Memory. A little creaky hand.

I feel like they're more slashery, right? It's a lot more like, you know, hostile Texas chainsaw adjacent, where it's like people like hanging in barns and shit, and it's like really gross. I remember feeling really, and this isn't like a dig in anyway. I just remember feeling really gross, like by design, you're supposed to. It's like, as opposed to like what you're saying earlier, this one has a lot more restraint where it gives you that feeling, but it doesn't show you it quite as much.

Right, right, right. Kind of prefer it this way, me personally anyway. And this just lets you know, like, so they're shooting at the truck and, you know, the truck finally stops. And there is a dead body in the truck. And it's the ice truck guy. And this just lets, it's a moral lesson. like do not chase people

if you find someone's credit card just give it back you know what I mean? It is not your response. Don't get involved. It becomes a master's commercial again at the end. Finally. Rusty nail stopped and got that guy's body is the idea? I guess so.

Collecting corpses. Yes. And this is one of how many endings? Aren't there like three or four alternate endings to this movie? Some of them I think involve like Charlotte action. dying, I think is one of the things I read. But Rusty Nail dies in all of the alternate endings.

I think this is the only ending where he survives, right? He just, he dies in, like, various ways. I think Lili Sobieski shoots him in one and he gets smashed under his truck and another. I remember, I think it was, I don't know if they were on the DVD, but I remember very specifically seeing the one where Paul Walker, like, drives the truck into him and like smash this. Oh, that's pretty tough. Yeah.

See, none of those dudes should be behind the wheel of the truck. I feel like that sort of, that breaks the magic. Yeah, I wouldn't even have shifted into gear. Yeah. But in this ending, yeah, he gets away. They find Charlotte there. And then he has like a Travis Bickle line on the radio afterwards. Yeah.

Looking forward to the storm that it washes everything clean. Yeah. Sometimes I wipe up the blood. Sometimes I wake up the calm. It watches everything clean in the rain. Moonlighting. I could have used it as, as a cruel movie guy, like Charlotte could be dead, you know what I mean, in another world,

like get that body count up for the fan go fans out there. Well, because it's not a character, so who cares? Yeah, exactly. But I do like the, it's not a sequel set up, it's just creepier that he's still out there. You know what I mean? That's what I like about this. We're not leaving the door open for a sequel. We're just literally doing the ghost story thing of like, and he could be on the road right now,

which is a good way. Exactly, dude. It ends on a total, like, urban legend vibe. And that's like right. where you want it to be. God, that does piss you off, though, that it used to be, like, the big question used to be,

are you going to leave the, is the monster back in the box or not? Have you done that or not? And, like, now you just know because of the way, like, that so many of these are made that, it's like, oh, that just means sequel ending. It doesn't have that same pull to it

that used to have where I used to be like, oh, that is really eerie, but now they're just like, no, that just means sequel and that's it. And I'm like, well, no, that's storytelling. There's something to that in storytelling that really should work. You're totally right. That's sort of that way to kind of coolly end the story. I feel like we're too cynical now to actually believe it. You know what I mean? I think you're absolutely right. Yeah, yeah. But the feeling of like leaving the theater reintering the real world with a new fear, right? Like getting on the open road, like is rusty nail out there? That's, that's, yeah, it doesn't really exist anymore.

Yeah. But that is the end of the movie, y'all. We'll go around the horn here for some final thoughts and maybe some additional thoughts. And maybe some. additional recommendations. And Matt and Tyler will obviously start with you guys. I mean, for me, this movie is like so special. I think the thing that we could dive into for another 30 seconds if we want would be the Steve Zon-isms that are throughout. I think they're like in a lot of ways, the like magic that makes this movie more than just like a straight down the middle thriller is that and and we kind of gone in and out

of this, but like leaving room for those scenes and having those scenes where, where it's like, oh, I don't even know what the plot. They got away from the bad guy. Like, what are we doing? Like, this is great. And I'm into it. Oh, and also, you know what else? The fucking needle drops.

Like these like 90 songs that you only know from this movie. I've never heard them in real life anywhere else. But they come on like full blast, sometimes like three in a scene. And it just gives it, it's that late 90s, early 2000s vibe of like, you know, teen comedy. Yes. That's also now in a thriller.

You only got those songs in this movie. And if you were shopping at an aeropostel between 1999 and 2002, I think. Yes, sir. Exactly. Tyler, what about you, man? Yeah, man. I just would echo, I think that it does every bit of what it does it does confidently. You know, it's one of those movies that I think almost has no business being as good as it is.

And I think it just comes down to the craft across the board. Like the writing is incredible. I mean, JJ, obviously, Abrams, one of the writers. And it's shot beautifully. It's every, you know, the directing is just impeccable. And when the stunt work is, it's the best stunt shit you've ever seen. Like, those big moments are chosen so well. And also just the challenge of shooting any kind of car thing.

We've done it multiple times. It is like such a feat to pull off car work. And in that first half of the movie, where even those just the sort of quiet vista shots of this car driving down the road, that shit's really hard to achieve now. Harder, even harder to achieve then. But I think that it's the craft of this movie is just A-A-A-A-plus.

And it's why it holds up so well. I mean, it just, everything about it is done confidently and earnestly. Even the comedy stuff is done really earnestly. And it's just a really, really wonderful movie. And honestly, I think it's so much of what we try to do. Like, we're just chasing, you know, the muscle memory of the way movies like this made us feel when we saw them for the first time. Yeah, it's never, it never feels like it's trying to be a comedy, and yet it's one of the most quotable funny movies I've ever seen. And it's not

because it's like not, not laughing at the movie. Like, it's a lot of the Steve John stuff. It's so grounded. It's so grounded. And again, it's like Hall of Fame for all of the characters that are only in one scene. They're all so memorable in the story. And then also the little kind of electricity that they all bring to those parts. Absolutely. Absolutely. Steve Saneck, man. How are you feeling? Yeah, I do want to underline Matt. That's a great point. The humor is never at the expense of the movie. It's never at the like, we're never like, oh man. Not trying to make you last. Exactly. How did this guy find us on the CB radio again?

Like any joke like that, which would absolutely destroy the reality, which I love. I'm so glad I haven't watched this movie in so long. I'm so glad you guys picked it because like a couple of weeks ago is at a bar and this was on mute. in the background and I kind of kept looking over there. I kind of got to watch joyriding again. Exactly. And it holds up. It's got that a cool motel, Americana thing that I just love.

Like again, I would say, if you can't seek out a desert from last year, it was a really cool, like, trippy, David Lynchy kind of movie. But if you're looking for more, more of that kind of stuff.

But again, it's Walker's, it's my favorite Walker. It's a really good Lily Sobieski, great Ted Levine. And like Steve Zon's home run. I like saving, Silverman a lot. I don't know if that holds up.

There might be some stuff in that movie. I should say that I like. Yeah, exactly. But I remember laughing my ass off at saving silver and way back when. Yeah, I'm sure it's a minefield today. Chris Cabin, how are you feeling? Oh, yeah. I love this movie. And it is of a particular

movie that, like, I feel like John Dolls specialized in these. We were talking about Last Seduction. I'm at Red Rock West. I mean, even like his trasher movie is like unforgettable are so well directed. Oh, the Ray Leota movie? Oh, my God. Love the unforgettable.

Also, another good one is Kill Me Again, which is Val Kilmer. Val Kilmer. Versus Michael Madsen. And it's Southwest-based. It's very neo-n noir. It's John Dole. That's another good time, too. That's smoky.

What he does so well is my memory of it. Gets like the emptiness of the world from the road. Like so much of this is just like, oh, my God. Like, I call him interstate noir. Like, it's all about how. lonely you are out there. Yeah, man. And I just, I'm struck by how, like, efficient this is.

We don't make good noir's and good, like, B movies like this. And John Dahl was just very specialized as I wish we got more of them these days. It's how we don't. The only thing I will say, the only person, the movie I watched recently where I was like, the humor of this is so perfectly placed is us, Jordan Peel's us. Yeah. Yeah. I think about humor in that movie so many times and how.

agree does not pull you out at all in a movie that is bouncing so many different tones at once and i'm just as impressed with the movie like this that is really just trying to make that all smaller get the story done make it work and i i coming back this was so much fun thanks for picking it guys seriously uh eric ciscus some final thoughts yeah i'm not going to add anything more i think you guys all summed it up it's a really good time uh but chris you know interstate noir's more illegal when a noir crosses the state line. Then the FBI has to get involved.

Exactly. Exactly. Good movie. Good time. You know, it's almost surprising. You think of 2001, Paul Walker, Steve Zahn. You're like, what is this going to be? But it is a great movie. Yeah, man. I'm not going to add anything additional. I will say, because I think we talked about him for two seconds, but the guy playing his roommate at the beginning of the movie

is this actor, Stuart Stone, who was, I think Eric, you just like said Donnie Darko. But he's, yeah, he's, the buddy in Donnie Darko who's involved in this Smurfette fucking conversation. Oh, wow. Oh, shit. He's a fun actor from Canada that I was like, that guy looks really familiar. And then Eric, when you said that, I was like, oh, yep, he's that guy. But Matt, Tyler, this was so much fucking fun, you guys.

Such an honor, dudes. You know, so the movie's out this week. And yeah, it's been really cool. I've been, you know, loving your guys stuff since Southbound. So this is a real, gosh, darn treat. that's for sure. Amazing. It's so awesome. You guys are fucking incredible. Thank you.

Incredible. Thank you. But that is going to do it for this very special episode, but of course we'd be remiss if we did not tell you what was going on around the WHM Clubhouse. But yeah, if you want more stuff like this commercial free, head over to the Patreon. Patreon. Patreon.com slash we hate movies where you can get episodes like We Hate Movies and all that stuff just without the commercials. It's pretty great. And yeah, this March, it is listener request month. sure is.

Which is, you know, it can be treacherous, but it's been a fun one so far. I'm pulling up the ye old calendar. Yeah, so a couple weeks ago, we had our WLM on Clerks come out. That was a lot of fun. Chris Cabin, we had a double dose of Melrose Place last week. Oh, my God. It's really heat enough. I mean, we finally, we have a baby napping seems to be done for a bit.

It seems like we are, this was the end of baby napping, it seems like. but there's plenty of stuff to look forward to. The name of the episode is they shoot Mamas, don't they? Yes, they do. They absolutely do. They absolutely do. Right in the back. So you can get that now.

And then actually, just this Thursday, Steve Sadek, the listener requested animation damnation is coming out. Oh, God. What is it called? It's the, it's dungeon trouble or something. Delicious in dungeon or something? Delicious in dungeon. I think you're correct.

It's a show we've never seen. This is the joy of, we haven't watched it yet as a time of this recording. That's what's so much fun about listener requests month. We have no idea what we're going to get into, but I'm sure it's going to be a fun conversation. Absolutely. And this Friday, Eric Siska,

a patron-selected gleepe glossary is dropping. That's right. We will be talking about 10 Garnete. He was the Death Star Gunner, the Trigger Man on Alderon. Oh, curious. I haven't, we haven't recorded that just yet, but I'm curious to see what this guy's

gotten up to. And then next week, we do have a listener requested nexus that's coming out. We got a great DS9 and a great TNG on that sucker as well. So stay tuned for that. And next Tuesday, listener request month continues with one that I feel is a long time coming, Steve Sadegh.

The Boundack Sates. Oh, man. It's teasing this for like whatever, whenever we did Boundaq Sates part two way back when this is the the er text of it all, the Tarrantino knock off the bad fucking sunglasses and jackets, etc.

It's all there, baby. I'm dreading it. Slurs and all. I am dreading. But by the way, you shouldn't be dreading coming to our live show in Minneapolis in what, two days from now, March 20th at the varsity theater we'll be talking about. Conan the Barbarian from 1982. And then just two short days later, March 22nd in Chicago, Illinois at the Den Theater.

We'll be talking big. 1988's big. Midwest come out. and see us have some fun. That's right. WHM Podcast.com slash tour for all ticket information. Come on out.

That is right. So until next week with Boondock Saints. I've been Andrew Jupin. Steven Sade. Eric Siska. Chris Cabin. Matt Metinnelly Alpin. Tyler Gillette.

Take it easy.