We Hate Movies - S16: On-Screen Live: The 63rd New York Film Festival (feat. films starring George Clooney, Adam Sandler, Josh O'Connor, Alana Haim, Julia Roberts, Ayo Edebiri, Willem Dafoe, Greta Lee & more!

Episode Date: October 1, 2025

Originally live-streamed Monday, September 29, 2025 On this On-Screen Live special, Andrew, Chris & Eric are reporting back from their time spent at the 63rd New York Film Festival! They're sharing their thoughts on some of the films coming down the pike for the end of the year/early next, including new ones from: Kelly Reichardt (The Mastermind, starring Josh O'Connor, Alana Haim, John Magaro, Bill Camp, Gabby Hoffman & Amanda Plummer), Kent Jones (Late Fame, starring Willem Dafoe and Greta Lee), Noah Baumbach (Jay Kelly, starring George Clooney, Adam Sandler, Laura Dern, Billy Crudup, Riley Keough, Patrick Wilson, Stacy Keach, Jim Broadbent and Alba Rohrwacher), Luca Guadagnino (After the Hunt, starring Julia Roberts, Ayo Edebiri, Andrew Garfield, Michael Stuhlbarg & Chloë Sevigny) & more! On-Screen Live will return Monday, October 6th with our thoughts on One Battle After Another and more! Be sure to pick up our digital show on Terminator: Dark Fate, available now in our Patreon shop! Don’t sleep on snagging your tickets to our 15th Anniversary show this December where we’re talking all things Arnold in Total Recall! It’s gonna be a gas and we wanna see you there! Click through for tickets now! Throughout 2025, we’ll be donating 100% of our earnings from our merch shop to the Center for Reproductive Rights. So head over and check out all these masterful designs and see what tickles your fancy! Shirts? Phone cases? Canvas prints? We got all that and more! Check it out and kick in for a good cause! Original cover art by Felipe Sobreiro.

Whoa, whoa, welcome one and all to on-screen live on-screen live. It is just afternoon on Monday, September the 29th. My name is Andrew Jupin, and I'm here alongside two other ass-numbed dudes who have been sitting at the Walter Reed Theater for the last few weeks, watching movies. We have, of course, Mr. Eric Siska. My Tushy is too squishy now. I've been sitting down too much. Speaking of squishy Tushies, of course, and Chris Cabin is also with us. It's just been too much talking of Tushies over the last couple days on this while we are going through. I know it's cute, and I like the word as well, but still, guys.

What would you prefer? the word pushy coming butthole or asshole would be better yes so you still want the posterior i thought you might you i thought you were trying to get us to turn around to the front no no no i was not talking i don't want your cox and balls how would you sit on your cock and balls i can show you oh my god ask who you got to ask about that mr belvedere you can ask that guy look at this you don't even have to be interested in the new york film festival to get so much out of these broadcast that's right speaking of the broadcast thank you all for tuning in of course uh pete roblis foolish Chuligan, Adam Wilson, Chase, Colfetti, Alicia Oliver, Brian S,

who's Cyrus 87, Dakota, Mason, I'm so, Rachel, Andrew Clang, what's going on, y'all? Thanks for tuning in live. And if you're getting the audio replay after the fact, hey, how are you doing? Yeah, how are you going? Hey, audio, people. This is a live stream we do on Mondays at noon, on Eastern Standard, whatever time on YouTube.com slash we ate movies. right you might hear some audio issues some clicks or stuff that's because of all the tushies that we've had to edit out of this because eric will not stop he just loves it yes also on twitch simulcast for all you know that's right oh that's right twitchy twitchers out there yes of course we're talking ass numbery because like in some situations we're seeing like three four movies a day because we are at or have been at the new york film festival the 63rd annual this is the ramel ross what is this poster this is this is this is the product of tushy is that what i'm looking oh no this is ramel ross made the poster for this year's festival um it's fine

no it's fine it's fine it's all good i think it's good it's you know it's definitely different i it's different i appreciate them changing it up um yeah it's it's fine uh but yeah so it started uh the festival uh last friday of course was opening night it's going on right now so a lot of the things we're talking about, head over to filmlink.org, see if there's tickets available for some of this stuff. I have as much release info as was available last night

when I put the pre-show together. So when applicable, we're going to tell you when you'll be able to see these movies and potentially where. But dudes, I think we should just kind of get into it unless there's anything else. I'll say, oh, congratulations to the New York Giants.

Finally won a fucking football game yesterday. Get that out of the way. The O'N3 Johnson. The clients beat the 3-0 Chargers, so each shit. Also, L-O-L to all the Cowboys fans crying about that tie from last night. All right. All right. Let's get in some movies here.

No, Steve's not here. I had to do a little bit of sports talk, but now it's out of the way. Yeah, is that the first tie in history? I mean, that's a new rule, right? It's because they revamped overtime rules, so now you can have ties. And some people are upset about it. Well, you know, soon enough, they're going to, and this is going to be for the best of everyone.

They're going to, they're going to change the rules over and over and over again and make it different. It'll just be soccer eventually and that'll be fun. And then you can have ties, you can have zero zeros. It'll be great. All right. Let's get into it talking about speaking of great, a great filmmaker, had his new one at the festival.

I'm sure you might find tickets for this. It's the new one from Christian Petzolt. Uh, it is called mirrors number three. Um, and yeah, I, I'll get into this one. I really like this dude. I think he's a guy that even in a lesser movie from this dude from Christian PetSalt, it's still kind of head and shoulders great above a lot of other, a lot of other folks. And I think this one, it's grown on me more since we've seen it, but, uh, I think it is kind

of on that lower towards the bottom, but it's still great. You still have Paula Beer in this movie who I think, uh, here's her in the, frame grab again. Chris Cabin, you want to do a quick just recap of what this movie's about in a not show? I mean, you would probably have it better because it's a state of your mind. I didn't like this as much as you did. Oh, okay. Well, let's not give it away either. There's sort of a twist, but there's

hidden things in this movie. Yeah, there's an accident. How about that? Yeah, okay. You could, we could say that. It's the setup. Okay, so this woman is going to have a miserable boat ride with her fiance. Oh, my God. And, like, his, like, music producer and that guy's girlfriend, it looks like you're gearing up for, like, you're hoping the boat sinks. I mean, real, not wanting to be on the trip. She's miserable about it. They get into an auto accident. It's in Europe. It's set in Europe. So it's not a car crash. It is an auto accident. And then, and then she decides to stay in the countryside near the crash site and starts being integrated into this trouble.

mysterious family's life and I did find it engrossing and I really enjoyed this one as well. Yeah, yeah. I think for me it was just, it's a little slight for him and I think it was mostly

because one of my, I think his last one, the last one was a fire correct? Which is maybe my favorite. Like it is that movie like knocked me completely sideways because I was mostly a hit and miss guy on pets sold before this. But

Like you, Andrew, I kind of think just because of his style, what he's built so far, he has this language, visual language, that's just much more interesting than most other filmmakers are just because he knows this. This just, I, the whole time I was like, and when the twist happens, I kind of thought like it was all leading up to the twist. So like everything that happened before it, I kind of was like, oh, well, all right, I don't really. Yeah.

I don't want to do with this. Because I think the problem is it's like, you're watching this way. This is what happened to me. And I always say, if I'm able. to sort of telegraph where the movie's going either you didn't cover something up well enough

or you didn't need to cover it up at all and I think in this instance you didn't need to cover it up at all because the movie is treating this twist like it's this big twist but you kind of if you're like if you know this guy's movies I guess one that's sort of a

sort of upper hand I guess but like you get the vibe immediately like oh this is probably what's going on and then the movie kind of takes longer to confirm it then I think the audience takes to confirm it. So when it does confirm it, you're kind of like, well, yeah, totally.

So let's, you know, let's keep this going. You can definitely pick up where it's going. If, you know, and it's a short movie as well. And you know, by the way, this movie and we're going to talk about Rosen, Nevada in a minute. Both of those, this and Rose Nevada, I feel like 1990s indie cinema is back. This feels just like something that would have come out through like the IFC. in like 1999. Complementary, by the way.

No, no, no, that's a total compliment. And it's a thing where, like, we stopped making those movies in America, but in other places of the world, they kind of kept making them. And I think that's why I like Petzold. So Christian Petzold, if you are unfamiliar with his filmography,

he had big, you know, American audience hits. With Tom Hanks? No, no, no, sorry. Big hits with things like transit. Phoenix was his biggest one. That was an IFC film. Undine, which

Undine was the one where I was like, oh, see, that's funny though. So when I was like saying even like his lesser works are still great, I think undine for me was like eh, but still like better in comparison. Jarrett Chausen also was another big movie of his Barbara. So this dude's like been around. He has

this nice little filmography and I feel what's kind of interesting is not a lot of folks are hip to the guy's work unless you are like a person who's monitoring international art house releases. So like this is a guy, his films are readily available and you can see them. And you will be able to see this one too. It's a new company putting this one out of the distributors called One Two Special.

Literally I've never heard of them. I think they actually have like doing a lot with these festivals. They have two or three movies in the festival. Yeah, pretty crazy. But seemingly newish enough company. And yeah, they have this movie. Hopefully we'll get some sort of a limited release with, you know, nothing, nothing on the docket just yet.

But keep your eyes peeled for it. And in the meantime, yeah, go back. Check out the work of Christian Pet Salty's a. Really interesting filmmaker from Germany. And he does collaborate quite a bit with Paula Beer, who is, or Beer or Beers, I can't remember. But she's amazing. And she...

Yes, she is. A German collaborator, she was saying. She is indeed his German collaborator. Her favorite kind of collaborators. Yeah. Classic stuff. This was, it was the first movie that we saw at the festival, so it was a great way to kick it off.

I've seen other Christian Petzel films at the New York Film Festival. I think most of us saw a fire there when it played. So it's a good one, folks. Keep your eyes peeled for it for sure. Next one, just I saw. So we'll do what they call a little capsule review because it's just me. The new one for Mr. Kent Jones himself. It's called Late Fame.

And yes, you're looking at it correctly, folks. It does star Mr. Willem Defoe. Also, Greta Lee, in a pretty great theatrical kind of performance. But basically, in a nutshell, what this movie is, is DeFoe plays a guy who works at the post office, who back in the late 70s came to New York and was getting sort of into the poetry scene. And he wrote one book of poetry, and it didn't really work out.

And he kind of just got into civil service. and lives his life and, you know, has buddies down at the bar that he hangs out in and the West Village. And that's sort of his life until this little sort of like 20-year-old kid comes up to him and says, hey, are you so-and-so? Oh, my God, me and my sort of creative circle are big fans of your work. Would you like to come hang out with us one time? And so it's this story of Defoe getting this, yeah, titular late fame, so to speak.

And he gets wrapped up with these youngens. these young kids and sort of it's Jones kind of doing this critique of like who gets to be in the arts now. So it's this whole like, you know, DeFo's just this guy that's been working at the post office and all these kids are like, you know, trust fund kids that never had to work a day in the life, have no life experience yet they want to be these creatives. And it's this whole idea of like, is that okay. Jones, I think is very critical of that. he's definitely wearing himself on his sleeve with this movie but I mean you want to talk about

slight like it's a beautifully shot movie I love all the ways that he captures like Soho and the West Village in this movie especially like cold times like there's a lot of autumn and winter in the movie so that's great my favorite time of year in this town but like

the little kid the little kids the 20 somethings that are in this creative circle and they're like poets playwrights actors etc and Greta Lee is kind of like their ringleaders so to speak they're all just like two dimensional nothings and like

I guess maybe you could look at it as like that's part of Jones critique here in the script is like they are just two dimensional no idea kids but you need more than that for a movie so you know I guess see it for Defoe

I think it's a really really great performance but the rest of the film kind of like doesn't live up to what DeFoe is putting down but I think it's tough because that's just the nature of you asked the great Willem Defoe to be in your movie

and you know so that's there's not a lot here I guess is what I'm saying Where were you on Jones's other Did you see Diane? I forget Diane is a better movie than this I like I like Diane quite a bit This just didn't speak to me when I read about

I was like oh that doesn't sound like my kind of thing but I mean when it's when it's available I will see it for defoe no no distributor no release date of any kind but it is a good defoe performance that's why like I don't want this movie to fall in the dustbin of history even though like it didn't particularly work for me outside of defoe like but I'm interested though like it sounds I like defoe as an older guy working at the post office poetry gives me Bukowski vibe do those kids do like tic-tock poetry tic-tok is that something no that They, I mean, I mean, maybe they do. I don't know about that.

But in this movie, they do seem at least like semi-sincere, but, you know, the movie just cast them as like aloof, rich kids who, you know, don't actually know how to do what they're doing. The whole thing revolves around them wanting to put on like a night of poetry readings and performances and stuff. Okay, here we go. We all saw this one, one of the best of the festival, one of the best of the year. The new one of Kelly Rydgart, the master.

with Josh O'Connor as the titular mastermind. And I think you may be, is that her in the background there of this frame? Alana Haim as the put-upon wife dealing with his hijinks. Eric Siska, what's this movie about, buddy? This is a great. This is great. I wasn't a big fan of showing up, but I really like this one a lot. This is about a guy that likes to casually steal stuff from the art museum in town.

it's a period piece right it's like the 60s in massachusetts um and it's sort of like you know it's about an art heist but it's like an anti art heist movie it's it's really good there's so much that that is going for this just those like sad kind of twist and turns that are almost cohen brothers ask in a way i i really loved it also shout out to the score i thought that really kept the movie really really pumping absolutely I mean, to tone, to get the tone of this film, it's not so much the mastermind as, all right, the mastermind. Okay. Yeah. The head of it. Okay. Yeah, yeah, yeah. Great. Yeah. Big brain on that guy over there. You could have called it Albert Einstein, if you know what I mean. Exactly. Like, it's, it's, it's much more interesting that way, especially when you start learning, like, who the guy is, who his family is. And like, you realize that, like, a lot of what is going on. And this is just like, like, him like having no aim whatsoever and being like this character who's trying to search for his own like place in the world by way a lot of haem she only gets a couple uh scenes in this she's

really fucking good good year for her this in uh one battle after another fantastic work yeah yeah no she's she's really great yeah i love he is just playing this like speaking of aloof he is this aloof eastern mass you know like framing ham dumbass uh who yeah like when you learn a little bit about him, dude definitely has had an upper hand, you know, in life. And yeah, Eric,

I love the Cohen Brothers connection because, like, it is what they always, you know, do really well with dumb people doing crimes. Exactly. And he's just, he's a dummy.

He's a total dummy family man, uh, who thinks that this heist is going to be like his big ticket to getting his family out of whatever perceived rut they're in. even though it's a pretty decent existence minus him being in the family. It's pretty good. He's got it pretty good. He learns that he doesn't by the end.

Well, he doesn't by the end. But it's fucking great. Go see it. And I love, you know, this is what's always so great about Kelly Reichard. I mean, like, Kelly, something like showing up, which I really vibed with, you know, that is, I feel like the traditional Kelly Reichart mode is that. But when she takes those skills and her. own, you know, sort of cinematic predilections and puts them through the filter of an already

established subgenre. I think sometimes that's when she shines the brightest. And frankly, like, I think audiences have responded that way also in the case of First Cow, which I think was one of her bigger, more well-received films. That's phenomenal movie. Kelly Reichart doing a Western, you know what I mean? A movie of hers with, I believe, Jesse Eisenberg, that was really great that the distributor, and this is, you want to talk about I've fallen through the distributor literally just like crumbled and this movie like disappeared for a long time because of it but night moves that's her doing like a thriller um and so yeah this is her doing a heist movie art specifically and um it's just interesting to see how she takes such a well-worn

you know uh genre and kind of flips the script a little bit and like makes it her own thing it's fucking great it's funny that this is how because like it the fact that it is an art heist movie, but it's about like, it's kind of skewering it, it's kind of taking it a different angle. Very similar to movie we didn't actually get to talk about at Tiff, but the New Soderberg, the Christopher's is also weirdly a kind

of art forgery, art heist kind of movie, but taken in a different angle. I like it when these directors that are, you know, have proven themselves, they can transcend whatever they need, to do the personal, can do the genre stuff, and they just go ahead and have fun with something. And like, this is what, this is to me, her most fun

movie. I haven't had just enjoy the movie purely like showing up to me is like a masterpiece. Like it's an emotional movie. I was like destroyed by the end of that movie. But like I do I love that movie. You know, I like how. Very similar first cow.

First cow I love first cow and maybe Tanger's point I like this more genre e playground for her. But the like showing up I grew up in a sort of an artist community and I felt like it rang kind of false to me. But then again, that they're West Coast. So maybe it's the East versus West, you know, like the rap rivalries and, um, sure, that has something.

Yeah, the, uh, yeah, the art school is pseudo hippie commune philosophies of East Coast West goes very disparate. It was nails on a chalkboard for me with that movie just because of the audience as well. People were hysterically laughing throughout the entire thing. Every single moment of that film in the press screening for showing up. And it's like the pigeon and I'm just like, God damn. I just, it, it, it, it, it kind of. It's a well-made movie.

It just didn't work for me. Having rewatched it recently, I think I've mentioned this before, but I'm going to keep singing its praises. I don't give a shit. This is our show. We can do whatever we want. That fucking A24 4K disc with a Dolby Atmos track

and a vision video file, it shouldn't exist. And I love that it does. So props to A24 for doing that. For sure, I forget where I was kind of going with it, relation to the mastermind, the home video. Oh, I, I, the stuff about the laughing, um, having rewatch showing up. It is a movie that I think is very funny at parts, but it elicits

a laughter that's like, but I, I remember the screening. And I feel like what happens. It was like stepbrothers was on the screen, the way that people were laughing at that movie. Well, it's a competitive thing, I think, in some cases, right? Subconscious, you know, unconsciously or not, you're like, I want to express that I'm enjoying this more to the person next to me than the person in front. And how do I do that with this movie and this screening right now? Well, laughing harder. You know, the harder I'm laughing, the

more I'm enjoying it kind of a deal. I can't take it with these, the press, all these letterboxed hogs they let into these things. And they're just causing problems. We'll get to, I'll address another audience issue I had coming up. When we get to the last movie, yeah,

it might be surprised to find out, Eric has been aggrieved. This might, I shock everybody in the check, but Eric has been agreed. Yes, I have. When we get to the last movie we're going to discuss, I'm going to talk about a classic character that decided to rear his head this year's P&I's once again. I've talked about him before.

But in the meantime, we've got another capsule review coming up here. We miss this at TIF except for Chris, but it's in this festival where I will be seeing it later this week after our NYFF broadcast of course but Chris Cabin capsule it up it's the new one from the Iranian master Jafar Panahi

his new one it was just an accident it's a very different movie for people who have been following this guy this is a he's a he's not in it this is Panahi is usually in his own movies these movies are about his experience

I think this is echoing his experiences with the Iranian government and a lot of the shutdowns and imprisonments he's had to go through over the last couple years of his life but he's been to jail quite a way the whole making and the actual

like every kind of jail they have he's been in it the movie this is not a film is about his home arrest really worth seeing if you can but this is a narrative this is pure narrative there's no poking holes in it to show like real like this is pure

beginning to end a thriller. And it nails it. It's why I completely understand why this is the one that got him, his nod at Cannes. I totally get it. Because this is one that a normal viewer could walk into like, oh, what you were saying, Eric, earlier about like 90s era foreign film. This feels like that.

This feels like one of those movies that you would, like, people would be like, oh, this is the foreign film of the year because it's very much like what you want. want from a quote unquote normal movie but it's it's by this guy who's been doing these very strange experimentations and doc hybrid with narrative kind of stuff

all of which is great No Barris is his most recent movie before this also phenomenal we're seeing out I think it's on the Janis um criteria channel their content their contemporary line oh Janus contemporaries disc release yes yes I think you're

but the general note is that a man thinks he recognizes somebody from his past and he kidnaps him without really knowing the truth about the situation at least in its entirety and he brings some other people in on it and it causes a lot of problems I don't want to give anything away

this thing is taught this thing will keep you your asshole clenched from beginning to end it's not even a question I love a good asshole clincher shut that Cyclops right down. Let me ask you this. Beautiful brown eye though. Yeah. Oh my God. Make a toilet beg for the brown. It's not going to say, oh, at Toronto,

you know, the classic, you're waiting on a line for something. You're being herded like cattle, you know, through these lines. So you pick up things here and there. I heard a woman at Tiff trying to describe how it feels to watch this movie with somebody. And they use the H word that you always got to be wearing. of Hitchcockian. Is that applicable here, do you think? No.

No, no, no, no, no, no, no, no, no, no, no, no, no, no, no. Okay. I mean, I mean, I guess because it's tense. If that's what you mean, then yes. But I don't think that's really what you mean. When you say Hitchcockian, I think you mean in a very specific kind of, you know, a way, a shot follows a shot kind of way. And I don't think that's exactly what's going on here.

It's not a movie really about shots of little detail. the details like usually with a Hitchcock you would notice a hand doing something you know right yeah those kind of things on the fucking telephone for some reason but now he likes bigger shots he likes to take everything in and he likes you to be searching for the details within that

frame that's why I often find him so intoxicating because you are you are like looking and like searching through this frame for anything I'll give you information for where you're at in the movie because you are in such a dire situation usually in his movies one way or the other but this one the whole

time. You are just, you are trying to figure out for people fans of a much more controversial director and probably much more worth, he deserves the controversy much more. If anybody's seen Polanski's Death and the

Maiden, it has a very similar narrative. Which one is that? That is Sigourney Weaver with Ben Kingsley and she kidnaps him. And again, I don't want to give it because it's a really again uh if you don't i would understand if you don't watch

his movies at all but if you do it really worth your time that's 1994 release okay yes um it's interesting what you said about this movie being kind of his most accessible and uh you know he's winning some prizes for he hasn't won prizes for his films before he hasn't won the specific prize you're talking about but um i think that also speaks to who's putting this out right so this is coming out limited from Neon on 1015. This is his biggest distributor yet. I just looked it up No Bears. No Bears was Janice

and Side Show. He's worked, a lot of his movies have come from Kino Lorber. That's what I'm trying to say. Not to knock those other companies, but just, neon is a company with more money, a larger footprint, so it's interesting that now he is now in the class of people like Bong Joon Ho

as far as like bigger distributors putting international titles out for a release in America. neon is who you want to be tagged with. A Jafar Panahi movie is going to play at like multiplexes. That's the fucking craziest thing I ever heard in my life. That's like fucking insane. Yeah. I mean, those really big multiplexes that have too many

screens that, you know, then they know what to do with. And that's why the Lincoln Square, this will play in the basement of the Lincoln Square. 16-18ers, you're going to get this. And that's that's fucking crazy. Also, the thing I forgot about with Mastermind and since I just mentioned it here with just as it was just an accident

Mastermind is coming out from Mooby 1017 Limited it's going to open at film in Lincoln Center so keep your eyes peeled for whatever kind of

rollout movie might be giving it I don't know how many screens or anything like that so keep an eye out your local art house near where you are if you're fortunate enough to have one near you um okay eric siska yes it's me prick up years my friend me and you caught this one at tiff but we're

going to talk about it here as well you mentioned it a second ago but we were both really into this movie uh if i remember correctly that is rose of nevada yes there's a lot to like here i do think that the premise is uh where's a little thin just because it would have made an incredible short film um yes it's 114 minutes if it was 90 I think it would be kind of perfect. It's, it's just, it's a little slow, but I like, I like the slowness about it. It was also shot on 16 millimeter and it looks gorgeous. It looks incredible.

This is what made me start thinking about those 90s indie movies again because it's kind of, you know, not that it's low stakes or low concept. They're just, they're getting a lot, they're shooting for the start. They're getting there with, with not with, with, with a low budget is what I mean. it's kind of a high concept idea with a low budget and they're pulling it off very well and just those gorgeous shots of the water of everything

because you've shot on film and you don't see that much anymore totally and this is of course directed by Mark Jenkins who also did Innesman which was at the festival whatever that was two years ago and he also did bait from a while back so

this movie to the quick little thing it is this tiny fishing village somewhere I believe in the south of England like Cornwall area I think you're supposed to believe yes it is I have the wiki open shot on location in Cornwall

all right and so the whole deal is these two sort of down on their luck young fellows one is George McKee who you know I think is a really interesting actor that kind of had his lunch sort of eaten by

like the Harris Dickensons that kind of came up a few years after he did but McKee I think is a really interesting guy and then Callum Turner is the other guy and I don't I'm looking up I wasn't sure what all we've seen he was in that Masters of Air show which I don't know if anybody watched he was in that Emma from a few years ago boys in the boat which nobody saw but he's in green room apparently I didn't remember that yeah he does he dies early on it's uh it's the two of them and uh yeah they down on these luck dudes in this town they get a job uh helping a third guy on this fishing boat the rose of nevada who has the boat has eerily come back into port after supposedly been being missing for all this time um so they take this job and it's

this third guy this old fucking sea hound salty dude which i loved this guy's performance amazing yeah uh and i don't want to give anything away but basically they go out they fish for a few days. It's a big you know, a commercial net hauling fishing, you know, not like casual fishing. So we're out there for a few days and then we come back and when they come back to the town,

uh-oh, something's not like it used to be. And I'm just going to kind of leave it at that. And the movie really does kind of like go a bunch of different places. I recommend going in knowing as little about it as possible. Really don't read up on it because on top

of the turns and everything, it is also like Eric said, it's very slow. So if it's slow and you know where it's going, I don't think you're going to enjoy the drive getting there, basically. Right. I will say that the title, I think, could have been different just because I went in knowing absolutely nothing. It's, oh, it's a movie shot on 16 called Rose Nevada. Oh, right. Let me get my seat. You know, I'm thinking it's going to be a Western picture. Not a hotel in Las Vegas. No. Yeah, but like, is there a Nevada in England that I'm not aware of. I just, I just find it to be an odd title. I know it's the title. It's the name of a boat and you can name your boat whatever the hell you want. But I felt like something to indicate more

that I was about to see a bunch of British people would have been. But then again, did you need trigger winning? And you wouldn't have seen it. We know your thing. I would have seen it. I would have seen it. I just think that, I don't know. I just think the title could have been, uh, the name of the boat, rethink it. But other than that, it's a pretty. solid movie and you should check it out uh yeah no u.s distribution on this sucker uh if it comes it'll be somebody small and confident that they can help people get turned on to that movie and i wish them the best of luck because it's a it's a little bit of a hard sell and you are right man it is a little bit of a long guy this is a 90 minute idea uh at at at at best um if grass

if grasshopper is still alive come on guys come through for me. Grasshopper film. Yeah. Good call. Come on. Come on, guys. I haven't heard about them folding up shops. I think they might be still... I mean, I haven't heard of them putting something out, but I also haven't heard about them closing.

So I don't know, but you are right. That is kind of the perfect people to sell that film to theaters. So, it's a check it out if you ever can kind of a deal. Take a little break here really quickly. Got to plug some stuff.

You know, did you guys know? I don't know if you knew this. We have a new Patreon tier that's live like right now. We do? What is this? Why don't you explain it to me like I'm hearing it for the first time? Excellent. It's a new tier, y'all.

It's called The Craven. It's our top tier. It is a video-centric tier. So if you sign up for it, you do indeed get all of the audio shows that we put out every month, no problem there. But you also get additional video content. So every month we are going to be hosting a live show once a month. that is indeed called After Dark.

And this is a show where we kind of just do a little like AMA style thing, hang out, vibe and vibe, kind of like those old moment show after party things. But now it just happens every month, once a month. Patrons get to come on in, ask questions either in advance or there's a chat just like this. We did the last one, the first one rather, earlier this month. It was fun as hell, guys. It was very fun. You know, people ask questions, a little bit show lore that you might not know about.

music discussions also movies like we talked about some stuff there that we might not have talked elsewhere so definitely tune into those broadcasts video or audio that's right they do come out in both although we encourage you to watch because you know there's visual things and we like talk about things that we're looking at you know and then when someone sometimes this will even happen with OSL and someone's listening and they're like oh well I can't figure out what you're talking about And it's like, well, the audio is kind of like courtesy. We want you to watch these things. Speaking of things we want you to watch, just a few days from now, we are going to be

filming something that we'll release at the end of October. We're very excited about it. It's the first episode of our new quarterly show, which is a show all about modern horror. So horror movies released last week all the way up to 10 years ago, but no further. It's a show called Scarity Cats, the first episode up, Chris Cabin. We're talking about what huge hit? We're talking about Zach Craigers. Barbarian, not weapons.

I know that's, you know, the recent one. No, the first Craigor joined Barbarian, which is a fantastic movie. I can't wait to talk about it more with you about it. I'm sure there'll be a little weapon talk in that as well. It's going to be hard not to, I think. But yeah, it's going to be great. It's a show not live.

It is a pre-recorded show that we're going to do. And we're just going to talk about the way. It's going to be a normal episode where we go through the whole thing, but with some visual cues and whatnot. But yes, just like after dark, we will, of course, be releasing a podcast version of it. So you can take it on the go if you don't want to, you know, listen at home or watch at home, rather.

So that will be there as well. Patreon.com slash we hate movies. And really quickly there, just this little guy in the corner, scan that QR code will take you right to the Patreon. You don't got to worry about nothing. We'll leave that up for a little bit. Oh, nice. Yeah.

And another thing coming to the Patreon, also at the end of the month, That last week, like the lead up to Halloween is going to be wild. It's going to be a wild-ass time to be a WHM supporter over on that patron because not only are we releasing, I mean, all throughout the month, the sputacular WHMs are dropping. I'm going to tell you about what our We Love movies is coming out later this week. As a matter of fact, to kick off the Spuctacular. Because by the way, it's already pretty much October, which is nuts. Yeah.

You can't tell. It's 80 degrees here in New York still. No shit. 80 fucking degrees. Sliting all the day. It's awful. Yes. It's awful. But hopefully by the time our Q3, 2025 commentary comes out, we'll be wearing hoodies and

it'll be a dark and stormy night when you check out. Please, pumpkin spice my ass already. Pumpkin spice it up, dude. As you hear us talk over and watch with us if you'd like to. Friday the 13th Part 2. That's right. The Friday of the 13th Mentary Part 2. is coming out

and this will be releasing October 30th, I believe. That's what I put there. Nice. Justin time for Halloween. We did that a couple weeks ago. It was great. You know,

the return to Crazy Ralph, the debut of Monster Jason Voorhees and his potato sack. Yes, the baghead Jason, which is a lot of fun. G.B. in the chat says

their favorite Friday the 13th, hands down. That's crazy, but I encourage you. Yeah. uh someone in the chat says their boyfriend blocked us on blue sky because they keep quoting us oh okay well sounds like a dud about that we are controversial figures i guess so uh leisha oliver says it's like 90 in texas hot and spooky season well you're you're at tejas leisha isn't that

just like normal weather that's just around the clock right and but to our point it still sucks it still sucks to be hot i mean it sucks that it's 90 degrees out i'm sure but yes end of this month not only uh scaredy cats coming out also we haven't announced the date yet but there will of course be an october edition of after dark so that that is still to come uh don't think about that oh buciras here you go way to fucking make me madman 60 in the pnw look at this guy shut up just flaughting it busyrus just your amazing weather i don't need to hear these things you know although yes yes 60 degrees but you also have to deal with the national guard when you go outside so right oh that's right i heard you're

towns like the the headquarters of Adipa. Yeah, that's right. Oh man, fuck my life. Anyway, let's get back to the movies, gang. Let's get back to the movies. All that other stuff, uh, hit this guy. There we go. There you go. Look at that. Do you know where the weight room is?

Uh, yeah. My podcasting with, uh, Hulk Kogan whatever his name was. Rest and piss and all that. Yes. Yeah. Chris Cabin, we got another capsule from you here. This one I'm very much looking forward to. I've missed it now at two fucking film festivals,

but I will see it when it gets a theatrical dang release later this year. But tell us all about Richard Linklater's new one, Blue Moon. I mean, this is a little bit different from what I expect from Linklater, which I kind of was excited about. It's a way more contained movie. This is a very play-like movie. It's only one setting, really. It's a bar and it's like a, I guess,

entertaining room that's aside it. Like, you can go upstairs and there's a bigger room where you can actually have food and stuff like this. But most of it is at a bar with Bobby Cannavali as the bartender. And Ethan Hawke, as you saw in the picture right there, he is playing Lorenz part of Rogers and Hart, who did The Ladies of Tramp, Blue Moon, a Broadway songwriting

duo split up after I think it's Rogers goes with God is it Hammers I forget the guy in his name yeah who did Oklahoma together and that is it's the opening night of Oklahoma is where this takes place

and it's Lorenz's heart as a crippling alcoholic dealing with what looks like the big split up of his career watching Rogers and Hammerstein having a beautiful this is the best play that's ever fucking been written

in Oklahoma and him just getting drunk with Bobby Count of Ali and talking about his life with Blue Moon. There's a guy playing the piano who does all his songs. It's honestly

it transcends a lot of the issues I usually have with these movies through A, a Hawks performance, he's fantastic. And Lawrence Hart was like notoriously really short and the way that they get around like Hawk actually makes him look really

small. Oh really? Oh, that's cool. Yeah, I saw the trailer. The trailer, yeah, he does look like he's maybe on his knees or something. Oh, wow, that's interesting. It doesn't, but it doesn't, it doesn't distract you. Like, I was expecting that to be a distracting element. It's not,

uh, Margaret Quali comes in as a muse of sorts, uh, but it is really Hawks Joe. Uh, and, uh, Andrew is Andrew Scott from all those movies Skyfall what was his big

the Andrew Hay movie he did two years ago? Yes, all the strangers or something like that. All those strange, all those strangers, whatever that one was. Moriarty from the Sherlock shows. He is Rogers and he has a lot of good scenes when he shows up. But like I said, it is Hawks show. I wouldn't surprise

if he gets nominated for this, he's really fucking good. And I honestly was just entertaining. The thing with Linklater is he just makes it all look so easy, but it's clearly not and he clearly gets a lot of emotion out of stuff that you wouldn't think he would. And it just it all lands very well. It's not

you know as big and sprawling as a lot of his more like recent triumphs have been that everybody wants some boyhood of course, you know, stuff like that. But as far as like this kind of movie, I think this is about as good as it gets. it uh one so should say the the bar and restaurant that is it's it's sardy is very famous

um they go through the community right i will also have to interrupt and say no this is not as as good as it gets that was a jack nicholson gregg canier movie oh you got confused uh i'm sorry james l brooks directed that yes i i just said that helen but uh this um what the way you're describing it it definitely sounds like it's got the vibes of when Linklater did, which I think is a very underrated Linklater movie. Me and Orson Wells. Yeah. Good movie. I like that. I like that. It would be quite good.

Like limited limited location, showbiz involved kind of vibes. Definitely seek that movie out if you haven't seen it. Another case of the fucking distributor vanished overnight and nobody can find that movie for a while. But the rad

thing with this, limited on 1017 from Sony Pictures Classics, 1024 wide. Ooh, they are just like, ooh, they know how to scratch my release strategy itch. Just right. That is that nice platform release, baby. You fucking New York, L.A. that movie for a week. See what the response is and figure out accordingly how you want to expand.

Oh, yeah. Get that word and mouth going. I love that we're back to this traditional strategy because it worked for a really long time before people stopped going to the movies. So I think them experimenting with this kind of platform release again, I think very cool, very old school. It's Sony classics putting out like a link later movie. Eric, you're saying things about we've got movies at this festival that feel like they were made in like the late 90s.

There's like some weird, you know, we're subconsciously wishing for the film culture of the late 90s in some respects. Please. Please, I need to be back online for Phantom Menace. We've been doing that for a while now. This next one, not only is it one of the best, beautiful movies you will see later this year or I guess potentially early next. It's also just one big head scratcher. It's the new one Chinese filmmaker by gone. It's called resurrection. You will get to see it on screens, at least in some capacity, because while release date is TBD, this sucker's coming out via Janus and Chris Cabin. I dare you to try to explain what

this movie's about. Well, I mean, it's a, I tried, I tried to see this. I, I fell asleep. So I was the guy sleeping in the press. That's terrible. I, I, I apologize for my behavior and I excused myself because I woke up and I was like, what the hell is happening? I was going to say, you know what, though?

At least you, you had the, like, the decency to be like, you know what? I flubbed the start of this. I'll give it a shot another time. And you left the audit. Exactly. So sorry to interrupt, Chris, just letting people know, I try, my best. He did. And we've been missing our friend the snoring man. So Eric came in in the clutch and was like, hey, I will be the snoring man for this just to just to give people what

they want. I think the snore is dead by the way. I think that guy died. I think he's fucking dead. Because I've seen him at that festival every year since like 2013. And now all of a sudden he's not here after he came back from the pandemic years and everything too. I don't know. best of luck to his long his fucking New York Islanders jacket that he wears yeah I'm sure it's in the casket with him now but you know it's a movie about

dreaming being illegal and I was like I dared to dream I showed that I'll show you what's up I mean it's it is about the background of it is this story of like dreaming being illegal and this

you know fight to find the dreamers out there but that I mean only comes up in like swath that it makes where that is like a thing that you have to pay attention to this is really a travel log between like a dream of the last I don't know, 100 years of movies

Century Cinema baby essentially and like it begins with a silent experimental kind of looking movie very reminiscent of like late Kyrostami late Ruiz but also it's using silent techniques so it is going back to the beginning

like German expressionist shadow I mean the visuals of this movie are fantastic and that's all I gleamed because it does it goes from there to like a Melville slash Tarkovsky wartime thing with spies

but like the actual narrative engine of the thing is difficult to explain in the extreme as you started talking about it now let me see if I can do it so yes it's a world and where like dreams are sort of outlawed and there's certain kinds of people that they

refuse to stop dreaming but they've discovered that dreaming actually disrupts the timeline stay with me folks I think I almost got it so they have these certain people that are they dedicate themselves to eliminating these dreamers

in order to protect the timeline from being destabilized so this this one person who's this I'm going to kill these dreamers lady gets this guy and instead of killing him outright. She's like, I'm going to let him have a couple more chances to dream. So then like these four segments that you watch that are connected by the same two actors being

in all of them are like different moments of dreaming that this character is having. And each segment corresponds to a different era and style of filmmaking. Yes. That's that's about right. So yes, you've got a silent thing. You've got a noir. the samurai kind of deal you've got a boy and the man like yeah there's that one which is family drama type thing

family drama kind of thing and then like a Wongar Y in the mood for love like fourth segment that is like if you're familiar with the work of by gone he doesn't have a ton of movies but this dude loves like 30 minute oners and this movie this entire fourth segment

is the runner and it's frigging mind blowing ladies and gentlemen if you see this thing get executed like it's really impressive that this is pulled off it's like it's one of those movies I don't know you just you watch it you let it just pour over you try not to like

analyze it too much in the moment which is what I was like starting to do and then I realized I was getting lost with the film overall so I had to stop and just like yeah let it happen you know as you described it and as if somebody heard that from like you would that sounds like a chase right

that sounds like someone's shit but that's not really the feeling in the movie. You don't feel like you are in this epic chase through alleyways. Only in little blips, in little tiny sections do you feel that? Mostly it's about the time, and it's about

the disruption. And that's, I mean, that makes it very hard to calibrate, very hard to follow in some bits, but as I say, it's incredible. It's an immense work. I mean, I think it's got everything you're looking for. If you like these kinds of movies, I

love them. So, I'm sure you've heard folks in home I'm sure you've heard people use the expression slow cinema like that's that's what's going on here but it is beautiful I mean this is like film as art it's also one of those situations where like you know

it's non-traditional in the sense that like yeah a lot of this is like a sort of sensory experience and not so much a dig through and find all the things wrong with the plot like kind of movie like a lot of that is irrelevant and it's like just the experience of watching it i mean this dude loves movies uh he loves just cinema top to bottom and this movie is sort of the greatest expression of that uh his previous film long days journey and midnight is also a massive expression of that uh love and this guy he's

just interesting he's an epic interesting guy that loves movies unlike uh unlike a i'm like a Guillermo del Toro level like loves movies and it's just it's beautiful so keep your eyes peeled for resurrection in the meantime yes go try to find both long days journey into night

another film you did Cayley Blues yes both beautiful beautiful movies I was turned on to this guy with Cayley Blues Jonathan Demi loved that movie and brought it to us to screen one time and I was hooked from there

so I will see anything this does, was glad I caught this, Janice Films, I mean, the fucking cinema saviors for putting something like this out, no doubt about it. A film that's not going to save cinema that

I was the only one to catch, so I'll do a little capsule here, and also to say, like, I know I started out, like, knocking it right away, I don't think it's terrible. I don't hate it. I just think it's a movie that does not work really at all. It's the new one from

Luca Guadonino that was the opening night of the New York Film Festival this year and it's called After the Hunt here we are there's Julia Roberts who is indeed the lead protagonist and best part of the movie

this is some of the best work Jules has done it's an amazing performance in a movie with not much else going for it. Michael Stoolbarg great he kind of actually functions almost exactly like he does and call me by your name specifically like coming in in the third act to give

this great speech that sort of like wraps everything up in a really nice way which so I found that kind of weird but also like throughout the movie he's a total scene stealer and Chloe Sevenier also really great in the movie and you know then you got I.O. Edibri and Andrew Garfield who were fine

you know totally fine but it's just it's so it's a me too on a college campus movie just to give you the the short elevator pitch here and this isn't a spoiler this is what the movie is you can see it all in the trailer there it's all like in academia

we're in this philosophy department at Yale and IEO is assaulted by Andrew Garfield's character and comes to Julia Roberts with that information and Jules her character does not act the way that IEO hoped she would and it kind of

goes from there and so I'm seeing all this stuff about like oh yeah Luca, not afraid to press all these buttons. But like, aside from just like presenting the material, I don't really know what buttons were actually pressed. There's a lot of like uncomfortable argumentative scenes that go on. But ultimately, I wasn't kind of like, wow, this dude's really going for it. He's really saying something with all this.

Like there's stuff that's being said, but it's stuff that's said before. So I don't understand. I mean, the whole thing kind of just feels like it was written seven years ago or something and not really, like, updated. But it is kind of saved by things like really great production design. Again, a lot of the performance is fantastic. I am a sucker for a, you know, academia set on a college campus kind of story, anything from like Wonder Boys to Adrian Barbose segment and creep show.

Like, you want to set it on a college campus with academics having troubles of some kind. I will find it at least kind of interesting. again, I think it's another great Resner Ross score that's going to ask how's the music? It's good music

that doesn't fit the movie a lot of the times and I know I sort of said this about Challenges before but looking back on it now like the music and challengers works way better than the music does here

to sort of like exemplify that there are a lot of like really weird just moments of like you know noise you know industrial kinds of things which you'd expect right There's a moment where Julie Roberts' character is, like, getting a bin out of, like, a storage cabinet or something like that. And she bends down to get this thing out.

And the score is sort of synced up to where she bends down. It just goes like, it just makes, like, a weird horn sounding noise for a second. And the fucking theater just started laughing. And I was like, of course, because you just made a fart joke accidentally in this movie. So there's weird stuff like that that's going on. I will say it's a present set movie more or less. So Andrew's pettiness about anachronistic music like I had with queer, not the case here. So yeah, you know, there are okay things about it, but I think overall it just does not work.

I'd be curious to see when other people start seeing it. But, you know, folks I've been talking to that were in the screening more on my side than not. and I will say more to the extreme of a negative response, I've yet to see a really positive response about this movie, not to say that that would be wrong or it hasn't happened yet, but I have not encountered one of those in the wild. Even people who usually defend him to the hill don't seem to be interested in really going to bat for this one.

And I mean, just the subject matter, I'm like, these things are always like, the point of it is to make people uncomfortable and like it to me that's not enough like you have to actually get to the questions that actually get to the core of why these things happen and why and usually you don't want to talk about that because it's incredibly depressing serious stuff that you to make energetic and snappy and actually keep the emotions it takes a lot it's a very difficult thing to do and I just don't think like he is just too snout he he's too much on the entertainment spectrum he likes to entertain people and a lot of things that I've

had issues with when I've not liked his movies has been because he's been trying to balance those two things and it doesn't work. It always just feels like a crash out. Like Challenger's has teeth to it. This movie does not. And this is the kind of material where like you need you need something. There needs to be something that makes this stick out from that. And it just isn't here. And I have to say, funny enough, so I went to see one battle after another. yesterday and one of the trailers was this which I had not seen yet so I only saw it after I saw the film

and Neth in the comments here brings up shame trailer sold it pretty well I agree actually I have to say whoever cut the trailer for after the hunt did a magnificent job because it's using the score from the film

to make it feel like it is this twisty turny really zero to 60 we're doing something and then when you watch it it's just like a little balloon and you let it go and it's the air is flying out of it it's going all over the room get whoever edited that trailer to re-edit the movie it sounds like yeah so yeah this one 10 10 limited uh from amazon mgm so they can get their qualifier in and then it'll be wide on 10 17 right 10 10 release date you're not giving

it 10 out of 10 just oh no October the 10 it gets a limited presumably New York, L.A. Maybe some larger markets like that. And then 10-17, it will be wide. So people will get a chance to check it out and see for themselves. I was already at, again, with last battle yesterday, there were one battle. I went to Lincoln Square. They've got the big banner up for the movie, like the whole thing.

So like it's Amazon. They're putting money into a campaign, hoping to win some awards. And frankly, if it was like a Jewel's lead performance nominations and Stoolbarge supporting nominations, I can get behind that stuff. I wish Chloe Sevin'A was in the movie more because she's never bad in anything and just kind of not there. So, you know, not on any worst of lists

or anything like that. Just kind of straight up did not really, did not really work at all. All right, we got a few more here before we wrap up, up at the top of the hour here. But Chris Cabman got another capsule one from you. I wanted to get this one in

because this was at TIF also. A lot of our Toronto buds up there, liked it as well. And again, this is a limited release 1114 from Neon. It's called Surratt from Oliver Lacks is the filmmaker.

If you are familiar, he's had a couple of movies out, Mimosas, and you are all captains. These are also very good movies. They do not at all prepare you for what this fucking movie is. This movie will destroy you.

Wow, prepare. This, like, this movie really did just knock me out. Like, I, I like movies like this where they're just, he just clearly is fucking with you at a certain point. But not, like, not making a big deal of that, not celebrating that fact, but like, he knows how to trick you. And he knows how to put in big moments that are going to shock you. And he works it to the bone. Like, just in a similar way, it was just an accident is much more grounded. it's not you know

its surprises are more like emotional and they hurt like there's a lot of pain to that movie this movie it's just more like what the fuck is happening like there are elements of wages of fear there are elements of like lost in the desert movies

a little bit of Jerry but not that sounds makes it sound slow it's not slow at all the thing moves it's essentially about a group of ravers who are encountered by a father and a son who are looking for his daughter and his sister who apparently went out into the raves

and they have these raves out in this huge desert landscape. They don't really make a point of telling you where this is. It is just in the desert. And you don't really get a full sense of it, but very early on there is a sense that there is a major international incident happening. there are people like the army in the area has been deployed

they come in and break up a rave at one point but they're also you see like them from afar these huge like a Navy and Air Force kind of things happening where you can tell that some horrible incident is happening around them but they are all focused on this thing like finding the daughter

finding they were out of the desert it is like I really cannot explain anymore the things it does with that stuff mixing that and not letting you get too obsessed with the narrative elements of it and just kind of letting you experience this like horror show

it's something it's it really is something unique um this is yeah it's interesting I love uh John brothers here the chat fuck me up fam exactly it's just that it is that thing do it um yeah no what you basically said was what uh you know Josh and Jamie of Slezoid sort of react the same way of just like, why the fuck?

What the fuck? Which is great. I love when a movie can do that, man. The communal, did anybody get it? Like, you know, I think that's exciting. That's very cool.

And again, man, neon just rocking and rolling, limited 1114 for that guy. Well, because for a while at Cannes, this was the one everybody thought was going to walk away with the prize. and then accident ended up beating it at the end. For a long time, this was the favorite.

And I can certainly see why. You'll be seeing this. It's kind of funny because Neon's going to be like competing with themselves in some ways, possibly because they have the Park Chen Wook film, which I believe is Korea's entry for international stuff, Oscar stuff. And this is Spain's entry for Best International Film. feature. So Neon's got at least two of these possible contenders

at least on the short list. So we'll see that'll be kind of interesting. But I'm very excited to see this. Again, I missed this movie at two separate fucking film festivals now, man. It's unfair. Something we did not miss. We all saw this to cap off

our download of stuff we've seen at the festival so far. It's the new one from Noah Baumack, of course. It is the inspiration for my little avatar name, but yes, this is Jay Kelly releasing Limited on 1114,

which, you know, I guess means the Paris in New York and the Egyptian in Los Angeles. Yeah. And then 12.5 on the Netflix platform proper. Sometimes you never know. With these like Oscar bait ones, they will try to like, you know,

do indie theaters the favor of like, yeah, sure, you can play it for two weeks. Sure. Why not? Yeah, have a George Gouldy movie as a treat. There you go. There you go, guys. Exactly.

So this is interesting. As the, I think maybe one of the only people in the world that like Noah Baumbach's white noise adaptation, I was excited to see what he does next. And this is a movie that I feel is like totally fine. It's, it's fine. Totally fine. It's all right. That is exactly it.

Yes. It is all right. Yeah, I've been kind of saying it's kind of like him doing eight and a half where you replace a film director with like this Hollywood megastar but he's still having the same like going back over his entire life through fantasy sequences in a way

Clooney of course is the titular Jay Kelly he is a very Clooney-esque kind of figure right that you can't get any more famous he's playing a movie star that's right yes and he's a dude that is that we meet him

like making the last scene of a movie and he keeps saying like it's going to be his last movie but the sandman Adam Sandler as his manager reminds him he's actually due for a costume fitting fitting for his next movie in a few days but he decides he's having this end of life or you know later in life crisis he's going to go off and follow his daughter secretly at first on a road trip that she's doing in France because that will definitely go well for you I'm sure Jay Kelly and then also he's accepting a lifetime achievement award from some festival in Italy. So off we go to Europe. So this is

in the grand tradition of both George Clooney and Adam Sandler making movies where you just want to like take your family on vacation. Yeah. Here we go. Trains through Europe, Italy, beautiful, gorgeous, the whole thing. There's some interesting stuff here. I mean, I think the performances are pretty good. Billy Cruttup plays a yes, a former friend of his that had a falling out with him. So there's some good stuff here, but at the end of the day, it sort of just unravels to become

a introspective navel-gazing family is the most important thing in the world. Jay Kelly, I know you're fictional, but listen to me. It's not your fault, okay? It's not my fault. Some people just have bad families and that's okay. Well, that's kind of my, I think that's the issue. With something like this, you want it to come to some

conclusion, right? And the conclusion this movie comes to is, well, what are you going to do? Like, finally, like, well, what are you going to do? And like, I'm like, well, that is true of life, but it's not an interesting way to end your movie about. And like, Sandler puts a point on it. He's like, you are the last of a particular kind of movie star. We're never going to have again. And that to me is like, you are George. J. Kelly is George Clooney. If there was any doubt at that moment, I was like, oh, no, that's just him. And like, to me, you want to cut a little deeper than like, okay, my daughter doesn't like me. All right, cool. Like, that to me is not a great, like, oh my God, how did you get over this? How are you going to deal with this? I get it. It's dramatic, but it's not new. It's not something where, and whatever, the thing that it turns out she's pissed about with him is not something that like cuts particularly. deep to me. Maybe it does to some rich guy who has gone through what Jay Kelly

has gone through and maybe that is who this movie is for. But like to me, as I told you guys, my problem is is that, and maybe this is on purpose, I am so much more indebted and in love with the Sandler storyline than I am with

Jay Kelly's storyline. It's just so much more interesting. And he is fantastic in the movie too, yes. No, you're right, because it's just like it's sort of like what are like, what am I going to get for the guy that's got everything oh well well you know he's got the one thing he's missing is like you know his when his daughter was growing up it wasn't perfect i mean well welcome to the real world i mean everyone in the audience has a worst relationship than you

because the whole thing that's more like why i think the sandman's story arc is more interesting is because he's realizing due to his uh association with working for j kelly for so many years that he is inheriting the same kind of life as Jay Kelly. He's seeing himself go down the road that Jay Kelly has already gone down. And that's like a cautionary tale, right? And so we as the audience kind of hang on to Sandler as the person we sort of relate to. But the problem is it's a movie called Jay Kelly. And the movie is sticking with Jay Kelly.

So anytime there's interesting stuff going on with the Sandman, we're able to kind of relate to that. more because he's like the working stiff guy in the movie and then as soon as you like get kind of comfortable with that it sort of goes back to jay kelly because again title of the film so it is this sort of weird tug of war back and forth between like whose movie is this and ultimately the less interesting but you know snazzier sexier kind of story wins out and you get to see you know stacey keach called george cluny a piece of shit and spill fucking spaghetti sauce all over himself yes i do like that stacey keach is here it's nice to see him back as j kelly's father but you know like the movie does have fun elements they i think people will ultimately like it

i think it's nice to see george cluny schmooze it up you know that's kind of fun but at the same time it's a bit of it's a little bit of a let down at the same time yeah um and you know it's funny because like it's written by bomb back so like that cynicism is going to be there because that's it's cynicism is kind of baked into a lot of what he's writes and directs which is fine but it is just so weird to leave it on that note

of like nah what are you going to do? And I've seen people actually say like that decision actually worked for them but for me watching the movie like something had to happen. Somebody needs to make a decision of some kind about anything. I don't want to like give it away or anything but I have a theory on that of what it's trying to say

well I mean I can sort of dance around it perhaps his relationship with people like Adam Sandler that is important still and that is a kind of family at the end of the day. Yeah, yeah, for sure. So, you know, there's definitely been more ill-received bomb-back films, that's for sure. See, White Noise, again,

pretty sure I'm one of the few people on the planet that liked it. But yeah, you know, it was a nice way to cap off like our first day at the festival was seeing this. And I'll watch Bombback, Sandler, and Clooney, most of the time I'll watch anything that they do. So, you know, there's definitely worse ways to spend your time. And I'm sure there are worse ways to spend your time over the last 70-ish minutes or so than hanging with us. So we thank you for hanging with us. Yes, we know you have your choice of podcasts and live streams. And we thank you for choosing WHM. We hope you enjoy the rest

of your day. Wherever you're going today, if you're making a connection to another live stream or this is your final destination. Baggage collection in your mind where all the trauma is stored, of course. Let the commenters who are going to a connecting flight go first. They got to get out of here first. Connecting stream. But this week here in all things, WHM is just getting started, of course. Be sure to check out tomorrow. Our final episode of September, which I can't even believe I'm saying that.

It feels like we just started season Sweet 16, but hello, Tron. Yes. Hell yes. We are talking about 1982's Tron on the main pod tomorrow and of course you can get that guy wherever podcasts or downloadable including commercial free

on that Patreon. Bit of a WLM. We all had a fun and we engaged with the material and we enjoyed Tron quite a bit. Oh, absolutely. Absolutely. And I'm going to debut it right here.

Going to let you know right now what's going on. So that's Tuesday. Wednesday the audio for this will come out very exciting but then Thursday holy moly it's October 2nd which means we are in the sputacular season which also means we love movies all about the OG the one that kicked it off the 1974 Texas chainsaw massacre oh you guys yes it's a good one great great episode you know we're we're goofing on it and we're just gushing over it at the same time. You're making me hungry with this

Texas chainsaw massacre talk. Hell yeah, do go get some people sausage, some walking sausage like Franklin. Yes, but all that's going on wherever pods are available and over on patreon.com slash we hate movies, but that's going to do it, y'all, for this

edition of Onscreen Live, very special New York Film Festival centric edition. And we should say, onscreen live will return next Monday with our thoughts on one battle after another. Yes. Go see that movie, by the way. We all loved it. We all saw it. We loved it. We all saw it. We loved it. We encourage you to go see that movie. That's right. We wanted to talk about it proper once Steve is back on the broadcast. So next week we'll be talking about that. I don't know. Maybe we're getting a little secret movie. Maybe play a little catch up about other stuff we may have been seeing in general release. Maybe some mustard too. Also some mustering. You're just really hungry. It's past lunchtime. We're going to go. As always, thanks a lot for tuning in. I forgot something. I forgot something. I teased this at the start.

Thank God. You want to relish a moment. Come back everyone. Come back everyone. There's a quick story. I forgot Jay Kelly. There was a bad audience member who next to me at the film festival in the press and industry screening took out olives and started eating olives next to me. And we're asses to ankles. This guy's mouth is right here and he's eating olives. Dude. And I don't like olives.

It must have been the fucking the food festival screening because at Jay, Kelly, just two rows in front of me, man. He struck again, soup guy. Soup guy was there. The second those lights went down. He's got the Netflix logos on for Jay Kelly. We're getting the bum bum. He's getting the yum, yum, eating his fucking soup.

It was like a minestrone. It smelled like shit. This guy's just eating a quart of soup in a theater. I don't like to say that people are animals, but people who work in film, quote, unquote, people who have letterboxed accounts and somehow got access. to these screenings. Those are two things you have, by the way. I'm one of the good ones.

Sure. Okay. Okay. I don't care. Listen, I don't care while you're there. I'm just asking two things. No hot food in the theater and take a fucking shower. Yes. Yeah, that's not bad.

That's not hard. I follow those rules. I think, you know, I'm known for being quite a fun, eccentric character on this program. But you guys know me in real life. It's more of a Clark. situation. I become normal in public. That's right. That's right.

Normal and public. The name of your autobiography, I think, is the idea. Yeah, anyway, soup guy, olive guy. I'm sorry, you're theater terrorists. There's no other way to qualify you. It's inappropriate and you're bothering people. Stop it. You should be sit tight and thrown in the back of that.

All right. All right. All right. All right. Just eat lunch later. That's all I'm saying. Just eat lunch later. All right. That's it. We're going to go. Big week of shows. Enjoy it all, folks. Thanks for tuned. Until next time, I've been Andrew Jupin. Eric Siska. The pause was for Steve. I always do that. In memoriam. Yes. RIP. All right. Have a good week, y'all. Bye-bye.

I don't know.