Speaker 1: Oh, gist, it's showtime.
Speaker 2: People say, good money to see this movie.
Speaker 3: When they go out to a theater, they want cold sodas,
Speaker 3: hot popcorn, and no monsters in the protection booth.
Speaker 1: Everyone pretend podcasting isn't boring.
Speaker 4: Don it off?
Speaker 5: Can anybody help me? Please? I didn't want this. I
Speaker 5: didn't want any of this.
Speaker 6: Please help.
Speaker 4: Help for what happened?
Speaker 6: You had an accident, an accident.
Speaker 5: We dug you up, then we brought you back to life.
Speaker 7: Get on the.
Speaker 5: Stage and I call her that sasname.
Speaker 6: What do you want with a girl?
Speaker 2: I'm the same, born from the dead. I am a monster.
Speaker 1: Yeah, so am I?
Speaker 8: That's what is that?
Speaker 5: Black?
Speaker 9: Oh?
Speaker 5: The corrupt going to see?
Speaker 1: Life is here and it's coming to you from the monsters.
Speaker 10: Yes, yes, please don't me please, I'm sorry?
Speaker 7: Are you sorry for?
Speaker 5: Did you do something wrong?
Speaker 6: You thought you might get away with.
Speaker 5: The dad? I've got something to say.
Speaker 11: And I'm saying it.
Speaker 6: The bride, the Frankenstine, No, just the bride scared.
Speaker 2: Welcome to the Projection Booth. I'm your host, Mike White
Speaker 2: joined me once again, is mister Chris Tashue.
Speaker 11: I'm here, Mike.
Speaker 1: I'm ready to talk about films with you, new films,
Speaker 1: films that have come out this year. Have we talked
Speaker 1: about anything else this year?
Speaker 2: New The Bride has brought us back from the grave.
Speaker 11: Good God in Heaven, it sure has.
Speaker 2: On this special episode, we are looking at Maggie Jillen
Speaker 2: Hall's twenty twenty six The Bride, and yes, I said
Speaker 2: that with an exclamation point. Inspired by Mary Shelley's eighteen
Speaker 2: eighteen book and James Wales's nineteen thirty five film, The
Speaker 2: film stars Jesse Buckley as Aida and Mary Shelley herself.
Speaker 2: You can also call her Penelope, or you can call
Speaker 2: her the Bride, or you can call her Hell. You
Speaker 2: can call her Staycey, Mary, Jo, Lisa, but that's not
Speaker 2: her name. You could call her Tourets too if you
Speaker 2: wanted to call her that as well. Anyway, we are
Speaker 2: definitely delving into identity and the ports to a woman
Speaker 2: to own her own name and image, especially in an
Speaker 2: era where there's an act in Congress, the Safeguard American
Speaker 2: Voter Elegibility Act, which threatens todition franchise any woman voter
Speaker 2: who has ever taken another name in her life. And
Speaker 2: there I go getting political again.
Speaker 1: Already, Mike, how could you? We've been at this for
Speaker 1: less than five minutes.
Speaker 2: Also along for the ride or the dances Christian Bale
Speaker 2: as Frank aka Frankenstein's Monster aka Dietrich. Though that one
Speaker 2: might be a joke. I don't know. It's tough to
Speaker 2: tell to tell jokes from non jokes in this one.
Speaker 2: The film is brimming with ideas and we will be
Speaker 2: sharing some of those and spoiling the film as we
Speaker 2: go along. So if you don't want anything to ruin,
Speaker 2: please turn out the podcast and come back after you've
Speaker 2: seen the movie, and if you wait for a couple
Speaker 2: of days. I have a feeling it's going to be
Speaker 2: streaming pretty soon. Chris, what were your initial impressions of
Speaker 2: The Bride?
Speaker 11: Wow?
Speaker 1: That was brutal, Mike, that'll be on streaming.
Speaker 11: It's a much office bob Jinx.
Speaker 9: You owe me.
Speaker 11: That'll be between me and you.
Speaker 2: Mike.
Speaker 1: What did I think of a movie that feels intentionally polarizing?
Speaker 1: One could say this is Maggie Gillenholmes. She's an auditeur
Speaker 1: and she's doing her own thing, and this is written
Speaker 1: and directed by someone who has a clear vision for things,
Speaker 1: has an idea for what they want, knows how to
Speaker 1: achieve what they want, and has gone about it in
Speaker 1: a way where look, Maggie Jillenhall, this is her second
Speaker 1: film that she's directed. She directed a short film in
Speaker 1: two thousand and seven, a short film in twenty sixteen twice,
Speaker 1: and then twenty twenty one The Lost Daughter, and then
Speaker 1: this is her again second directorial film. But in a
Speaker 1: lot of ways, I would say most people this would
Speaker 1: be their first directed and written Maggie Jill whole film
Speaker 1: they're ever seeing. It is a movie unlike a lot
Speaker 1: of other movies I've ever seen, both good and bad.
Speaker 1: I think it has some interesting things going on. I
Speaker 1: think it has some interesting ideas. I'm not sure how
Speaker 1: well executed it is. I don't know if it's I
Speaker 1: don't think it's really.
Speaker 11: To say.
Speaker 1: I don't think it's Maggie Jillenhall. I think is to
Speaker 1: not be truthful, because I think if you're willing to
Speaker 1: put directed and written by on the movie, and you're
Speaker 1: willing to be as forthright as the promotion materials are
Speaker 1: for this movie, here comes the motherfucking Bride. Like, all right, guys,
Speaker 1: this is pride of Frankenstein movie. I'm not gonna say
Speaker 1: it's cringe, but it is cringe like it is. I think,
Speaker 1: on the face of it, the movie is a tad cringey,
Speaker 1: but that's it reminds me in a lot of ways
Speaker 1: of when we talked about Joker, Mike, Like, it's trying
Speaker 1: to be a thing, and it's trying really hard to
Speaker 1: be that thing. And I'm not saying it doesn't achieve
Speaker 1: that thing. I think there will be people who dress
Speaker 1: up like this character for years to come, and hot
Speaker 1: topic will be replete with bride stuff at some point
Speaker 1: when people reapprise this movie. Because this movie's not a
Speaker 1: bad movie by any stretch of the imagination. I just
Speaker 1: think it's totally the movie Maggie Gillenhall wanted to make
Speaker 1: for good and for bad, and when that's the case,
Speaker 1: just like Joker, just so many other writer director films,
Speaker 1: you take the good with the bad, and sometimes there's
Speaker 1: more good than bad. I think this movie treads about
Speaker 1: sixty forty maybe fifty five forty five, but it's I
Speaker 1: could definitely see, especially with Jesse Buckley's performance, how this
Speaker 1: movie would be immediately polarizing for literally anyone and you
Speaker 1: either get on board with the movie from the moment
Speaker 1: it opens, or you don't, and if you don't, the
Speaker 1: movie's really not concerned with getting you back on board
Speaker 1: at any point. There's nothing wrong with that. I do
Speaker 1: applaud that as a kind of point of matter, which
Speaker 1: is a director has made a film that they believe
Speaker 1: in and a film that they clearly wanted to make.
Speaker 1: But there are parts of this movie that don't resonate
Speaker 1: with me, and clearly there are parts of this movie
Speaker 1: that don't resonate with other people. I will say the
Speaker 1: most unfortunate think about this movie is the budget was
Speaker 1: ninety million dollars. Did you really think a movie like
Speaker 1: this was gonna make that budget back?
Speaker 11: For real?
Speaker 1: This is a over budgeted art house film in a
Speaker 1: lot of ways, or an over budgeted vanity project like
Speaker 1: this reminds me of toys. It's look at all this
Speaker 1: crazy stuff we can do. But that doesn't translate to
Speaker 1: people coming to see the movie unfortunately. I think it's
Speaker 1: an interesting experiment, and I think it's an interesting film,
Speaker 1: but I don't ultimately think it's the kind of movie
Speaker 1: that is going to be initially popular. But I do
Speaker 1: see this movie becoming popular over time, genuinely, and I'm
Speaker 1: sure you would agree, like I think this movie's gonna
Speaker 1: find its audience in the law long run, for good
Speaker 1: and for bad. But I do think it will find it.
Speaker 2: I think the movie has definitely already started to find
Speaker 2: its audience. And it's a real shame when it comes
Speaker 2: to anything directed by a woman. It's like twofold. There's
Speaker 2: the bros on the one side that are just like,
Speaker 2: see a woman can't direct a film, Look at how
Speaker 2: badly this is doing, YadA YadA, YadA. And then there's
Speaker 2: the women on the other side that are just like,
Speaker 2: all you people are just coming to shut down women
Speaker 2: directed movies, and just you come at this and you go, see,
Speaker 2: it never works, and that's why we don't get money,
Speaker 2: and that's why we can't do this, and that's why
Speaker 2: we can't take big swings.
Speaker 12: And all this.
Speaker 2: And it's all right, I'm somewhere in the middle, like
Speaker 2: I already. Like on YouTube, you look at the YouTube
Speaker 2: reviews and ninety percent of them are thumbnails of confused
Speaker 2: men with their hands up going it sucks or it
Speaker 2: didn't work, or what a failure, box office bomb, all
Speaker 2: these kind of things. We're angry about things, and then
Speaker 2: you've also got reviewers who are shutting down discourse about
Speaker 2: the film. There's an article that I'm going to quote
Speaker 2: from by bj Colangelo. The Bride was never going to
Speaker 2: be a box office smash. It was always going to
Speaker 2: be your new favorite movie on slash film. And she
Speaker 2: said the Bride flop because and this is a quote
Speaker 2: from the article, The Bride flop because misogyny is alive
Speaker 2: and well. And we've seen time and again with films
Speaker 2: like Heather's Jawbreaker, Josie and the Pussycats, Jennifer's Body, and
Speaker 2: Lisa Frankenstein. And I'm surprised she didn't put the Charlie's
Speaker 2: Angels movie in there too. Movies about ungovernable women that
Speaker 2: embrace being the most are never rewarded at the box office,
Speaker 2: yet have the power to completely change the brain chemistry
Speaker 2: of those who resonate with them. Jennifer's Body, I know
Speaker 2: people always go back and they're just like, Jennifer's Body
Speaker 2: is so fucking great. And if Sam and Dean Winchester
Speaker 2: or moulderin Scully had shown up in that movie, then
Speaker 2: maybe it would have been somewhat entertaining it had no
Speaker 2: engine to that movie, and it was just like such
Speaker 2: a I don't know, just that disappointed.
Speaker 1: Twenty sixteen Ghostbusters didn't get mentioned like.
Speaker 2: That was directed by a man though we're just talking
Speaker 2: about female directed movies, I think. So she posts this,
Speaker 2: Bja posts this on the Blue Sky with the Texas
Speaker 2: said The Bride was always going to become a barometer
Speaker 2: film that people used to make judgment calls about someone,
Speaker 2: rather than actually engaging to learn why they feel the
Speaker 2: way they do. As such, I know that I should
Speaker 2: explain myself further, but I would prefer not to. So
Speaker 2: then I shared it and I was just like, Okay,
Speaker 2: you were talking about this film becoming a barometer that
Speaker 2: people used to make judgment calls about someone. So I
Speaker 2: played along with that, and I was just like, I
Speaker 2: guess I'm an asshole because I didn't like this movie.
Speaker 2: So then she wrote back and said, piggybacking off in
Speaker 2: our article about women's anger and the way our industry
Speaker 2: doesn't finance women filmmakers to make big swings or allow
Speaker 2: a runway to try and then judge our views on
Speaker 2: films as a barometer of our character instead of engaging
Speaker 2: with us is to say, guess, I'm an asshole is
Speaker 2: certainly in choice, and I'm like, what, yeah, you talking
Speaker 2: about it being a baroma like. It was the strangest
Speaker 2: interaction I got. Maybe she didn't know where it's coming from,
Speaker 2: but I was already like, okay, you're just shutting down
Speaker 2: any sort of discussion about this stuff.
Speaker 1: So I'm like, it's okay. There was a point where
Speaker 1: bj Colangelo was disenfranchising bisexual people on Twitter and saying
Speaker 1: we didn't exist, which was super great. So I think
Speaker 1: both you and I probably have lost any opportunity to
Speaker 1: do any sort of work with some DVD extra work.
Speaker 1: But that's okay, you know what they say. I tend
Speaker 1: to rather have an open discourse about things, and not
Speaker 1: liking a piece of media does not discount an argument
Speaker 1: or a conversation to be had. There are much bigger
Speaker 1: issues right now. Then I didn't like a movie. That's
Speaker 1: a reason for me to just roast you on the internet.
Speaker 1: Wait a second here, do you hear yourself?
Speaker 11: I guess? Is my point.
Speaker 1: It does remind me of Ghostbusters twenty sixteen, because we
Speaker 1: come back to this idea of if you didn't like
Speaker 1: this thing, then you're a certain way, and it's like
Speaker 1: and look.
Speaker 11: We're all guilty of it.
Speaker 1: I you know, like Mike, like you and I. Even
Speaker 1: just because someone is X does not make them why.
Speaker 1: And it is very hard in this day and age
Speaker 1: to get around that, because there are certain things that
Speaker 1: if you are X, then you know why is the case?
Speaker 1: There are certain things that are almost hard to get
Speaker 1: around that not being the case. If X is the
Speaker 1: way that it is for someone. A movie that comes
Speaker 1: out that cost hundreds of millions of dollars to make
Speaker 1: and produce, that doesn't make any money because they didn't
Speaker 1: know how to promote it or any number of reasons,
Speaker 1: is not a thing that is a barometer for anything
Speaker 1: other than, frankly, the si cess or failure of the
Speaker 1: studio who released the fucking movie. Thank you very much
Speaker 1: for coming to my ted talk good night. I don't
Speaker 1: know why it's anything else. It doesn't even matter, because
Speaker 1: there is no other reason to call this anything other
Speaker 1: than a movie that got made that they did not
Speaker 1: understand what they were making, and they did not read
Speaker 1: the room about the kinds of people that go see
Speaker 1: movies like this. People that watch this kind of movie
Speaker 1: are gonna watch it after it comes out on VOD
Speaker 1: and other places, not in the fucking theaters. And that
Speaker 1: has willed out once again here. And I'm sorry that
Speaker 1: it's all it's women director. It's saying women directors. This
Speaker 1: is look fucking Greta Gerwig mit Barbie, and she made
Speaker 1: hundreds of millions of dollars. So still it's not And
Speaker 1: this is a property, for God's sakes, This is not
Speaker 1: just Metropolis, for fuck's sake. This is a movie that
Speaker 1: is based on a pre existing property from eighteen eighteen
Speaker 1: at the earliest and nineteen thirty five at what some
Speaker 1: people would consider the latest.
Speaker 2: I just thought that all the quef jokes could have
Speaker 2: been paired back to half as many. Maybe I don't know.
Speaker 1: I really enjoyed all the wanton soup jokes that they
Speaker 1: just kept throwing at us, over and over and over again.
Speaker 1: I guess I'm sorry that that's not something that I
Speaker 1: came to see Ghostbusters for. And it wasn't to see
Speaker 1: men fighting ghosts. I came to see something funny and engaging,
Speaker 1: and it wasn't. I'm not saying because you liked it,
Speaker 1: you're a certain way, but because I didn't like it.
Speaker 1: I must be a certain way. How is that remotely
Speaker 1: an okay thing for anyone to get to at this
Speaker 1: point in criticism? And like you said, all this does
Speaker 1: is just shut down criticism more or less completely. I
Speaker 1: don't know how else to describe it. But my god,
Speaker 1: if you're gonna do this, people can't have a discourse
Speaker 1: about anything. I guess we should just close up shop
Speaker 1: on the podcast and leave.
Speaker 2: It reminds me of when Jeffrey Jones as the Emperor
Speaker 2: listened to that song by Tom Holse A's Aamdais and
Speaker 2: he just really liked it.
Speaker 11: Sire, Well, of course I did.
Speaker 2: It's very good, of course now and then just just
Speaker 2: now and then it.
Speaker 6: Seemed a touch.
Speaker 2: Oh, how should want to say too many notes? You'll
Speaker 2: magest exactly very well. Put too many notes, my dear
Speaker 2: young man.
Speaker 11: Don't take it too hard.
Speaker 2: Your work is ingenious, it's quality work, and there are
Speaker 2: simply too many notes.
Speaker 11: That's all. Just quit a few and it'll be perfect.
Speaker 2: I would honestly be okay with them getting rid of
Speaker 2: some of the notes in here in some of it.
Speaker 2: Some of this movie just hits me very hard in
Speaker 2: the face with just how pretentious. It is as far
Speaker 2: as we're going to name all these characters after these
Speaker 2: things try and figure out. And there's certain things where
Speaker 2: I'm just like, is this supposed to be a reference.
Speaker 2: Like the mob boss who we meet right up front,
Speaker 2: who apparently has no friends, who's just kind of sitting
Speaker 2: there at the bar rather than being with all of
Speaker 2: his boys and the women and everything. His last name's Lupino,
Speaker 2: and I'm like, Okay, is this side a Lupino? Are
Speaker 2: we doing that? And then of course his whole thing,
Speaker 2: Lupino's whole thing is he loves to cut out I
Speaker 2: would say people's tongues, but I think it's exclusively women.
Speaker 2: I think he loves to cut off women's tongues. And
Speaker 2: that is just so heavy handed when it comes to
Speaker 2: the oh see, he's silencing women. He is literally silencing
Speaker 2: women by cutting out their tongues. And it's just so
Speaker 2: many of these things are so heavy handed. I'm like,
Speaker 2: the movie is very much a fairy tale, so I
Speaker 2: can't jump to any sort of logic. As far as oh,
Speaker 2: Frank talks doctor Euphronius into helping him out pretty easily,
Speaker 2: there's not a whole lot of discussion here not a
Speaker 2: lot of moral quandary when it comes to this, don't
Speaker 2: you mean doctor Euphonium, who obviously is based off of
Speaker 2: doctor Pretorius, who is in Brida Frankenstein, the incre credibly
Speaker 2: gay actor that played him. And I kept thinking that
Speaker 2: there was like a relationship between an At Bennings character
Speaker 2: Euphronius and her maid, but then later on she was.
Speaker 8: I had the romance of the century. It was the
Speaker 8: last century. George, my George. He was astonishing. No one
Speaker 8: would touch the work we were doing. So we experimented
Speaker 8: on each other relativity and simultaneity, time dilation, gripples, inture
Speaker 8: of space time.
Speaker 6: But it didn't work. Maybe we went too far the
Speaker 6: hair's breadth and he was gone. So I brought him back.
Speaker 6: I knew how to and I did it.
Speaker 10: It was extraordinary.
Speaker 1: No, he didn't remember me.
Speaker 11: He was off.
Speaker 6: He was a little off.
Speaker 8: He couldn't find his mind, Brocus heart, so.
Speaker 11: I had to put him down.
Speaker 2: That sounds really fascinating. I almost would like to watch
Speaker 2: that movie instead.
Speaker 1: I will give Maggagillincole a lot of credit for creating
Speaker 1: a very interesting world that I think is very distinct
Speaker 1: and unique. The successes that this movie has, I think
Speaker 1: are balanced directly with the failures that it has, because
Speaker 1: in a lot of ways, the successes that the film
Speaker 1: has are the set design and I think just the
Speaker 1: framework and the idea of Okay, we have Mary Shelley
Speaker 1: essentially as a demon or a demonic entity or a
Speaker 1: possessive entity who is possessing this woman's body and again
Speaker 1: externalizing as tarets in the most I think if you
Speaker 1: were to talk about it in modern day terms.
Speaker 2: And happening two weeks after the BAFTO Awards, the disastrous
Speaker 2: BAFTO Awards. I know I've seen this type of character before.
Speaker 2: I know, obviously Ed Norton in Motherless Brooklyn had Tourette's,
Speaker 2: but there are other characters where when they're losing their mind,
Speaker 2: they just start spouting off these things. And I think
Speaker 2: Father Malone on Midnight Viewing compared her to a really
Speaker 2: coked up Robin Williams, which I can totally see.
Speaker 1: Yeah, I heard him say that, and I would agree,
Speaker 1: Oh yes, beautiful thing. Oh yes, franka'zis mom's are oh yes,
Speaker 1: beautiful thing. Like it's just weird when she gets into
Speaker 1: these fits because they have to I want to hear
Speaker 1: what your thoughts are on Jesse Buckley's performance, because I
Speaker 1: feel like the film lives and dies by how you
Speaker 1: respond to this. This is not like a oh. From
Speaker 1: the moment she's on screen, she's like this. Now you
Speaker 1: get about five minutes of her not and you get
Speaker 1: this I think very tried, true and frankly lazy character.
Speaker 1: She's a sex worker and she's going to get one
Speaker 1: over on the big mob boss. But you can't do
Speaker 1: it without the demonic, possessive entity that is Mary Shelley.
Speaker 1: Like Maggie chillin'hol I think is it as an eye
Speaker 1: for things, has an interesting voice and a place that
Speaker 1: she's coming from. But Maggie Chillenhole needs to learn some
Speaker 1: subtlety because my god, like it's like a like like
Speaker 1: someone's first draft of something like han Solo because you're
Speaker 1: by yourself.
Speaker 11: Like we don't.
Speaker 1: You don't have to hang a lantern on every single
Speaker 1: thing because it doesn't do a whole lot. And this movie,
Speaker 1: just because it lacks subtlety, every single kind of Hurrah
Speaker 1: Women thing it does just comes off very forced and icky.
Speaker 1: It reminds me a lot of that moment when Hillary
Speaker 1: Clinton pulled the hot sauce out of her bag. Come on,
Speaker 1: I get what you're doing, but nobody's gonna see this
Speaker 1: and not think you're trying really hard. This movie doesn't
Speaker 1: need to try that hard because Maggie Jillenholl clearly knows
Speaker 1: what she's doing.
Speaker 2: I love Jesse Buckley. Every time I year and stuff,
Speaker 2: I'm just captivated. And she was so good in that
Speaker 2: season of Fargo. She was probably the best thing in
Speaker 2: that season of Fargo for me every time I would
Speaker 2: see her otherwise. And she's one of these actresses. Even
Speaker 2: though she's got a very distinct look. When she's not acting,
Speaker 2: she can transform pretty well and turn herself into other people.
Speaker 2: Even when she leaves a wit style. I would see
Speaker 2: even when she's Mary Shelley, she doesn't look like Jesse
Speaker 2: Buckley very at all. Different though when she speaks as
Speaker 2: Mary Shelley, she reminds me of Patsy from ab Fab
Speaker 2: Patsy with Tourette's she just had.
Speaker 12: A little bit of it's not botox, it's parallox.
Speaker 10: You look like a zombie.
Speaker 12: She still has emotions, you know, she just doesn't have
Speaker 12: to pay for them and wrinkles.
Speaker 4: I'm happy about that.
Speaker 1: Can you tell no money well spent it?
Speaker 2: She seems drunk more than she seems angry, And this,
Speaker 2: I guess the whole metaphor is this is the angry
Speaker 2: voice that lives inside of every woman that a man
Speaker 2: like me is trying to silence or whatever. She's found
Speaker 2: her power and this takes over. And yes, she's able
Speaker 2: to insult the mob boss on all these things and
Speaker 2: start off this stuff. It's so weird that she isn't
Speaker 2: even really murdered at the beginning of the film.
Speaker 1: It's a slip and fall accident, just went to slip
Speaker 1: and fall school.
Speaker 2: And then of course after she gets reinvigorated by doctor
Speaker 2: Euphronius and Frank, she's got a severe case of CMA
Speaker 2: Convenient movie amnesia, where it's just oh, tell me who
Speaker 2: I am, remake me in your image.
Speaker 11: Guys, and get it.
Speaker 1: Get it. Like someone like poking you at the movie.
Speaker 1: You're like, get it, get it. See See it's very
Speaker 1: Nolan esque. You're not being that clever. And I'm not
Speaker 1: saying I'm that clever, but you're not that clever, Like
Speaker 1: just you need to cool it.
Speaker 2: And how obvious is it that Frank is an insult.
Speaker 2: In an interview Christian Bay, Oh yeah, he's like a stalker.
Speaker 2: And I'm like, no, no, He's totally like an insult.
Speaker 2: This whole like the male loneliness epidemic. It's I know,
Speaker 2: he's like he's been alone for what over one hundred years,
Speaker 2: and that's what he goes through. Euphronius with doctor there
Speaker 2: is a whole garden of pleasures which I have not
Speaker 2: yet had the owner of experience.
Speaker 8: Are you referring to cardinal pleasures among other things?
Speaker 2: The monster quote unquote from Mary Shelley's Frankenstein is one
Speaker 2: of the most sympathetic people, characters, creatures ever.
Speaker 11: And period period.
Speaker 2: Yeah, and this whole like I'm rejected by everybody. I
Speaker 2: just no one understands me. I'm trying to learn how
Speaker 2: to read, and i want to connect with this family
Speaker 2: and I want this and I want this bride. And
Speaker 2: then Frankenstein fucking aborts his own creature and kills the
Speaker 2: bride before she can even live. You feel so much
Speaker 2: for this guy. He just he does seem like an insult.
Speaker 2: He seems like a weirdo. And when he gets the bride,
Speaker 2: he just lives to her and gaslights her the entire time,
Speaker 2: which is really uncomfortable. Oh, very very It gives her
Speaker 2: a new name, gets a tattoo of her name on him,
Speaker 2: and very twenty twenty six when it comes to explaining
Speaker 2: the dynamics of these relationships, where.
Speaker 1: It's very Night's Tale, right. It's so anachronistic because this
Speaker 1: movie is taking place in nineteen thirties Chicago, but not
Speaker 1: real nineteen thirty Chicago, where human beings can be reinvigorated
Speaker 1: or reanimated per the film's language, and.
Speaker 2: Everybody seems to know about Frankenstein.
Speaker 1: Well, Frankenstein exists in this world. This is also slightly meta.
Speaker 1: We've already commented. Jesse Buckley plays Mary Shelley, so you
Speaker 1: have Mary Shelley going, hey, by the way, I wrote
Speaker 1: the story Franken's dine on a Dare, and then I
Speaker 1: would have written something else if I hadn't died. Is
Speaker 1: essentially what she says.
Speaker 11: This is what that is.
Speaker 9: The publishers did not see that My purpose was to
Speaker 9: write a model lesson the punishment that the fell immortal
Speaker 9: men who dared to emulate God.
Speaker 1: What a fucking babe, ruth shot call, pointing to the
Speaker 1: fucking outfield that you're doing here, Maggiet jillan Al. Frankenstein
Speaker 1: is taught in schools, children and adults and everyone in
Speaker 1: between as a story, like you said, Mike, about a
Speaker 1: lot of things, and one of them is again like
Speaker 1: the sympathetic nature of the creature at the center of
Speaker 1: the story. It's almost like in an X Men as
Speaker 1: an x Men Apocalypse, where they're walking out of Return
Speaker 1: of the Jedi, and they're like, the third Ones always suck,
Speaker 1: and it's so as the movie just essentially hanging lantern,
Speaker 1: the fact that it knows that this movie sucks. This
Speaker 1: is that situation where I'm like, I don't think there's
Speaker 1: any universe where this is going to exceed or even
Speaker 1: be of the same caliber of Frankenstein written by Mary Shelley.
Speaker 1: But you are calling a shot here that I would
Speaker 1: not be taking. It's a little bit of hubris, but
Speaker 1: a lot of Frankly and I just I don't maybe
Speaker 1: I'm taking to the wrong way, but it's off putting
Speaker 1: regardless of who's doing it, man or woman, it's just
Speaker 1: it's very off putting.
Speaker 2: It is nineteen thirties Chicago, though she speaks with I
Speaker 2: would say more of a new York accent, not like
Speaker 2: a flappery thing. Yeah, Frankly, she sounds a lot like
Speaker 2: Harley Quinn to me a lot of times.
Speaker 1: That's the performance that this reminds me of. Was like
Speaker 1: a Margot Robbie at her suicide squad, the first one worst.
Speaker 1: That's this just like manic horseshit.
Speaker 2: Sometimes that's interesting because she talks like Margot Robbie's Harley Quinn,
Speaker 2: but she looks like Lady Gaga's Harley Quinn, like when
Speaker 2: she's got her hair all up and she's got the
Speaker 2: ink on her face and everything. God gos Harley Quinn.
Speaker 11: Oh my god, I forgot about that, remember it?
Speaker 2: But I forgot about A Joker too.
Speaker 1: I forgot. I forgot. But at the same time, I
Speaker 1: enjoy that movie, but I forgot it was Lady Gaga
Speaker 1: the other musical.
Speaker 2: Joker, because this movie reminds me of Batman so much.
Speaker 2: You've got Batman as Frankenstein here.
Speaker 1: Yeah, it reminds me of Joker a while, like and
Speaker 1: which is you know again Batman and Jason. It feels
Speaker 1: very and look it's directed by Maggie Jillenhole. What was
Speaker 1: Maggie Jillenhole doing at one point a fucking Batman movie,
Speaker 1: like she replaced Katie Holmes in a Batman movie with
Speaker 1: Christian Bale, like you said in that movie.
Speaker 2: I think it was that movie. It was either that
Speaker 2: win or Dark Knight Rises, because I know we just
Speaker 2: talked about that one where you've got the sons of
Speaker 2: Batman and that whole.
Speaker 11: We're trying to help you.
Speaker 2: I don't need help, not my diagnosis.
Speaker 5: What gives you the right?
Speaker 11: What's the difference between you and me?
Speaker 2: A love words?
Speaker 11: That's rises, okay?
Speaker 2: And it's like that. The whole thing is to me,
Speaker 2: this movement, Oh, we're gonna imitate Batman. We're gonna put
Speaker 2: on the suit and everything. We're gonna go out, We're
Speaker 2: gonna fight crime. Or it's like the Ladies and Gentlemen,
Speaker 2: the Fabulous Stains where everybody dresses up like our main
Speaker 2: character the third degree burns. To me, this movement that
Speaker 2: she creates is so unearned. What have they done? They
Speaker 2: killed a cop, they did dance number, but otherwise, like
Speaker 2: why she this folk hero?
Speaker 1: Is it?
Speaker 11: Several cops?
Speaker 6: Mike?
Speaker 1: They killed several cops, including a cop played by Lewis
Speaker 1: can Sell me And I kid you not the character's
Speaker 1: name is Officer good Man, just subtle whiffs of we
Speaker 1: get it. If you were trying to be deep, you
Speaker 1: missed it and you ended up just feeling like that
Speaker 1: guy who gets high at a college frat party, and
Speaker 1: it's just you just don't understand Zack Snyder's The Justice League.
Speaker 1: You're right, I don't, and I'm not here too understand
Speaker 1: it because there's nothing to understand. I'm not saying this
Speaker 1: movie is not trying, but I just think you're missing
Speaker 1: the point kind of over and over and over again,
Speaker 1: and you keep really trying to make a lot of points,
Speaker 1: and I'm not sure it does any of them very well.
Speaker 1: I think it tries really hard, though, and sometimes trying
Speaker 1: really hard instead of being something where you're like, yeah,
Speaker 1: good for you, it kind of seems like you're flailing,
Speaker 1: and flailing is not something you want to be feeling
Speaker 1: when you're watching a two hour long Frankenstide.
Speaker 2: Movie nineteen thirties. I was trying to figure out exactly
Speaker 2: what date it would have been. I think it probably
Speaker 2: is around thirty five thirty six, just from some of
Speaker 2: the things that are around that time period, because there
Speaker 2: are some interesting things where It's like Putting on the
Speaker 2: Ritz was from twenty seven, but it was probably still
Speaker 2: on the charts. You know, different people doing versions of
Speaker 2: it long before Taco did his, probably the Nail in
Speaker 2: the Coffin version, and of course major oddly young Frankenstein reference.
Speaker 2: I'm like, what, so it's nineteen thirtyes Chicago, But I
Speaker 2: don't know why it's not Weymar Germany because when they
Speaker 2: have the whole thing that takes place in the alleyway,
Speaker 2: there are posters up behind them that say, Weymar, that's
Speaker 2: ay Dada, that's a Bauhaus, And it's like, why did
Speaker 2: you not just set that over there? And that also
Speaker 2: calls to mind like you mentioned Metropolis, which is also
Speaker 2: the city that Superman is from. But with Metropolis, it's
Speaker 2: like she is basically Maria, especially with the blonde hair
Speaker 2: and the dancing and all that kind of stuff. And
Speaker 2: Maria was also this automaton who was brought to life,
Speaker 2: which was like also an early right of Frankenstein type story.
Speaker 2: So we're doing this, but we're not doing that at
Speaker 2: the same time. And I guess it's also in nineteen
Speaker 2: thirties because of Bonnie and Clyde basically they become Bonnie
Speaker 2: and Clyde.
Speaker 11: Get it, Like, oh my god, moving, yeah, we get it.
Speaker 1: I like the idea where this movie went. I like
Speaker 1: the idea of, okay, we have these two people on
Speaker 1: the run again. It's misunderstood what happened, Like it's a
Speaker 1: misunderstanding in a way like it was an accident. And
Speaker 1: then they kind of traffic in that from the original
Speaker 1: story of Frankenstein. But I guess I have a hard
Speaker 1: time seeing them as equals because it doesn't really feel
Speaker 1: like she has any agency as a character. And that's
Speaker 1: a thing that the character of Bonnie has in Bonnie
Speaker 1: and Clyde is she has agency, and Jesse Buckley's bride
Speaker 1: doesn't have any agency until plus five minutes of the movie.
Speaker 2: She's about to get raped on the side of the
Speaker 2: road by that my officer good man. Yeah, and frank
Speaker 2: finally decides to shoot the guy. I'm like, how long
Speaker 2: were you going to wait? How long were you watching
Speaker 2: this new weird creep who.
Speaker 1: By the way, Bail looks very similar to the Frankenstein
Speaker 1: from Van Helsing.
Speaker 11: He's got like the head and everything.
Speaker 2: Yeah, yeah, I like when he wears the scarfrow Worth's
Speaker 2: face very dark man. I know father alone mentioned the shadow.
Speaker 2: For me, it reminded me of the Lodger the Actually,
Speaker 2: I think that was from nineteen twenty seven, maybe the
Speaker 2: Hitchcock film, which was retelling of the Jack the Ripper story.
Speaker 11: Go one step further. It's very invisible. Man.
Speaker 2: Oh yeah, I can definitely see that.
Speaker 1: What did you think of Christian Bale as Frankenstein Because
Speaker 1: we've mentioned that he's in this movie, we've talked about
Speaker 1: his character a little bit, But what did you think
Speaker 1: of him in this movie? Because I honestly feel like
Speaker 1: he gets lost in this movie. The performance is almost
Speaker 1: like he has to get out of the way, which
Speaker 1: is to me very hilarious because Christian Bale not an
Speaker 1: actor known for getting out of the way, not in
Speaker 1: terms of because he's some big personality who can't share
Speaker 1: the screen with people. But he tends to make big
Speaker 1: choices too, and so when he is opposite someone who
Speaker 1: I would say is making a rather big, bold choice,
Speaker 1: it's surprising to me. I don't think you needed Christian
Speaker 1: Bale in this movie because they don't do anything with him.
Speaker 1: It's interesting that it's Christian Bale playing Frankenstein. Sure, but
Speaker 1: the novelty of that wears off rather quickly.
Speaker 2: So I didn't watch any trailers me either know anything
Speaker 2: about this movie coming in. I didn't know Christian Bale
Speaker 2: was in it until I see him in the movie
Speaker 2: or maybe in the credits. I was very surprised, and
Speaker 2: then yeah, I was thinking, for whatever reason, I'm like, oh, okay,
Speaker 2: he's playing Frankenstein. He's going to have to die pretty
Speaker 2: early in the movie, because you don't cast an actor
Speaker 2: of this caliber to just play second banana. It's really
Speaker 2: because he's not it's not a buddy cop movie. It's not.
Speaker 2: When I say Bonnie and Clyde is basically Bonnie. She's
Speaker 2: the one that gets killed in the hail of bullets.
Speaker 2: He gets an unceremonious headshot. So yeah, it's it's very
Speaker 2: much just the Bonnie Barrow story. Like the amount of
Speaker 2: time and Benning is on screen, I felt would have
Speaker 2: been appropriate for the amount of time that Christian Bale
Speaker 2: should have been on screen. But yeah, he's just there
Speaker 2: all the time. And then his whole thing of the
Speaker 2: whole movie is about movies. Really, even the thing that
Speaker 2: brings her back to life, that gives her the spark
Speaker 2: of life. I believe those are two tungsten rods, which
Speaker 2: is what used to light the projector back in the
Speaker 2: old day, and that's why fire would break out the
Speaker 2: projection booth quite a bit. We see him multiple times
Speaker 2: at the movies, even when a net Benning's like fixing
Speaker 2: her leg and everything. She kicks him out, and he
Speaker 2: goes to the movies and sees this Ronnie Reid and
Speaker 2: then there's another leg thing in there because Ronnie Reid's
Speaker 2: got one leg shorter than the other. I really am
Speaker 2: fascinated by the Ronnie Reid character. But before we talk
Speaker 2: about that, yeah, just him. He disappears into the movies
Speaker 2: like literally will appear in the movies many times as
Speaker 2: a background dancer, and then the second time we see him,
Speaker 2: he is the main. He takes over for Ronnie Reid
Speaker 2: and becomes the main person on screen, which gives Bail
Speaker 2: some things to do. I've never really seen Bail being
Speaker 2: a song and dance man, but it wasn't Newsi's that's true.
Speaker 2: It's been a while I remember that in a while.
Speaker 1: Christian Bale is an actor who I have a lot
Speaker 1: of respect for because I enjoy a lot of the
Speaker 1: things that he's done, and I think he's a really
Speaker 1: interesting actor who makes interesting choices. He's also been in
Speaker 1: a lot of things I really don't resonate with. I
Speaker 1: was told recently that I excoriated The Dark Knight Rises
Speaker 1: on your show, which I don't know if I excoriated it.
Speaker 1: But Christian Bale's Batman is not a character I'm a
Speaker 1: super big fan of, and his version of Frankenstein. If
Speaker 1: it wasn't being dressed up with the trappings of Frankenstein,
Speaker 1: it could literally just be anything. It's unfortunate that he's
Speaker 1: not allowed to make bigger choices. It's not a frank
Speaker 1: I'm not saying I wouldn't want to see it Jesse
Speaker 1: Buckley story, just don't have him in it this long
Speaker 1: because he doesn't need to be there and does get
Speaker 1: in the way of her character having any agency. It's
Speaker 1: like the movie gets to the point where it should
Speaker 1: have gotten at the end of the movie. It should
Speaker 1: have gone to that point in the first half hour.
Speaker 1: It's a fucking two hour movie, and you get to
Speaker 1: the point where Frankenstein dies in the last ten minutes.
Speaker 1: What she's still dragging his bleeding corpse into that room
Speaker 1: at the end of the movie, which means he just died.
Speaker 1: It was shocking to me how late into the film
Speaker 1: Christian Bale is He's in the entire god damn movie.
Speaker 1: I was shocked because I expected this to be a
Speaker 1: movie that's a Jesse Buckley movie, not because I watched
Speaker 1: a bunch of trailers, but because it's called The Bride
Speaker 1: and she becomes the Bride at the end of the movie.
Speaker 1: And look, this movie's not getting a sequel, so why
Speaker 1: didn't you just make this that movie. Look, this is
Speaker 1: gonna sound dismissive and it's not meant to be. But
Speaker 1: more I think speaking to how it should have been
Speaker 1: approached in terms of the way it could have resonated
Speaker 1: with people, This should have been the women's answer to Joker,
Speaker 1: and that's what it was attempting to be. And it
Speaker 1: failed like miserably, because even Joker had some subtlety, didn't
Speaker 1: have much, but it had a little bit more than this.
Speaker 2: Probably more in the first movie than the second movie.
Speaker 2: I would think.
Speaker 1: I like the second movie for different reasons. The second
Speaker 1: movie is a tacit rejection of the first movie completely.
Speaker 2: I don't even think it's a tacit, but that's what
Speaker 2: I like about it. Yeah, it is weird how much
Speaker 2: this is tangled up in that DC universe with Joker,
Speaker 2: with Harley Quinn. There are moments of this film that
Speaker 2: reminded me of the fantabulous emancipation of Harley Quinn as well,
Speaker 2: and I'm just like, again, what about Kruella. Yeah, I
Speaker 2: guess there was some Kruell And especially with the hair, I.
Speaker 1: Mean the white and the black and the yeah, and
Speaker 1: like the again not to say like raw rah feminism,
Speaker 1: but again like if you're not gonna have something interesting
Speaker 1: to say, it does just kind of come.
Speaker 11: Up as raw, raw feminism.
Speaker 2: Well, and it was weird that the antagonists in that
Speaker 2: movie was Another Woman, where I'm just like, why didn't
Speaker 2: you make the antagonist male? Make it a little interesting?
Speaker 11: I don't know.
Speaker 2: And then there are parts of this movie that really
Speaker 2: reminded me of Four Things, especially when in the scene
Speaker 2: after she's brought back to life and drops the coffee
Speaker 2: cup and all those things. I just was thinking of
Speaker 2: poor Things, and I was thinking, even though overall I
Speaker 2: don't think I liked Four Things that much, I felt
Speaker 2: that one was too long in the tooth I still
Speaker 2: felt it was a little bit more interesting, and I
Speaker 2: really felt that Bella had a lot more agency than
Speaker 2: this character does, because yeah, she's just acted upon, she's
Speaker 2: given these new names. She finally takes her own name
Speaker 2: at the end, but yeah, the whole thing is just
Speaker 2: manipulating her.
Speaker 1: If you go and read like the Wikipedia synopsis for
Speaker 1: the film, which plenty of people will go and read,
Speaker 1: he doesn't mention at any point any of the back
Speaker 1: and forth about her name, the fact that she gets
Speaker 1: called anything else. They call her the Bride throughout the
Speaker 1: entire synopsis. That is not her name. Like this is
Speaker 1: in a lot of ways like an origin story, the
Speaker 1: Bride origin story. There ain't gonna be a sequel to
Speaker 1: this movie. We're not getting the Bride too. That is
Speaker 1: not happening. Like ever, this movie is a bomb, and
Speaker 1: there is no amount of going to watch it that's
Speaker 1: going to turn that around. Now again, it will find
Speaker 1: its audience once it is on physical media, once it
Speaker 1: is on Blu ray and four K and all those
Speaker 1: other things, it will find its audience. That's just not
Speaker 1: right now, because people aren't paying to see this kind
Speaker 1: of movie in theaters. Because I'm not even sure they
Speaker 1: know what this kind of movie is, because I don't
Speaker 1: think this movie knows what it is. It's just kind
Speaker 1: of a bunch of things thrown into a blender and
Speaker 1: turned onto high. And the fact that it's spitting really
Speaker 1: fast is meant to dissuade from the fact that you're
Speaker 1: not really saying anything or doing anything that's someone else
Speaker 1: hasn't done already in a much more interesting way. Even
Speaker 1: if I don't resonate with those movies, at least those
Speaker 1: movies have something to say. This movie doesn't really feel
Speaker 1: like it has anything even to say. Christ, do you
Speaker 1: honestly think that if this movie made three hundred million
Speaker 1: dollars that they would make a sequel to it?
Speaker 6: Yeah?
Speaker 1: Really?
Speaker 11: Yeah? I just don't know way this equation works.
Speaker 1: More money equals let's do another one.
Speaker 2: I can't see this ever being a sequel. This feels
Speaker 2: like such a just statement in and of itself that
Speaker 2: it would never have anything else to say.
Speaker 11: Yet, joker, I fucking exists.
Speaker 6: Money.
Speaker 11: Yeah, that movie did not need a sequel, and yet
Speaker 11: it got a sequel.
Speaker 1: I bet if they had said, oh, Maggie Gillenhall, how
Speaker 1: much money does this movie make? Six hundred million dollars
Speaker 1: half a billion. This is a runaway success. People the
Speaker 1: Bride Manias, run a wild Maggie. Will you come to
Speaker 1: another one that? Yeah, fucking and I will. You know,
Speaker 1: I'm right, It's unfortunate, and I don't think there's anything like.
Speaker 1: The problem is this movie didn't really do much with
Speaker 1: the time that it was given two hours, and so
Speaker 1: I can't imagine what another movie would say other than
Speaker 1: what this movie has already said, which is not much.
Speaker 1: There's a lot of posturing and not a lot of
Speaker 1: substance behind it.
Speaker 2: There's a lot of stuff in here that I just
Speaker 2: wish they would have explored more, which is weird to
Speaker 2: say when we're talking about a two hour movie. Her
Speaker 2: broken neck seems to be healed by the reinvigorating process,
Speaker 2: her broken leg does not.
Speaker 1: That's the representation of the Frankenstein biomechanical, right, That's the
Speaker 1: way I interpreted it. It was like the very like
Speaker 1: lazy way of introducing that.
Speaker 2: I guess so. But there's also this whole thing. She
Speaker 2: doesn't know that she's dead for the longest time in
Speaker 2: this movie, and when she does find out that she's
Speaker 2: been brought back to life, she does talk about the
Speaker 2: dead do this, the dead do that? And I was
Speaker 2: just like, what does Frankenstein feel about being dead? That
Speaker 2: famous line from the end of the Bride of Frankenstein,
Speaker 2: We belong Dead. It's like he is a dead person
Speaker 2: brought back to life. She is as well. What is
Speaker 2: their feeling of being around these humans basically these living beings,
Speaker 2: the ones who are born with souls?
Speaker 11: Do they heal?
Speaker 2: If they fuck? Could she get pregnant? I'm curious, Like,
Speaker 2: he pulls out some staples at one point, He's got
Speaker 2: some open wounds on him, and I'm just like, do
Speaker 2: these things ever heal? Is there a way for that
Speaker 2: to happen? Or are you just stuck the way you are?
Speaker 9: Like?
Speaker 2: If he cut himself shaving in eighteen eighty seven, would
Speaker 2: he still have an open wound for that today? Does
Speaker 2: he have a beard? Does that grow? Does he have
Speaker 2: to get haircuts? Because his hair looks awful? I would
Speaker 2: definitely sue the barber. His hair looks great. The character
Speaker 2: who I really wanted to know more about it's such
Speaker 2: a weird entrance and exit, is Ronnie. I want to
Speaker 2: know more about this Ronnie guy, this Ronnie actor who
Speaker 2: obviously he's played by the director's brother. It'd be incredibly
Speaker 2: talented Jay Jillenhall. So he was sick when he was young.
Speaker 2: He has one leg that's shorter than the other. But
Speaker 2: yet he becomes a song and dance man, you know,
Speaker 2: big triumph. They meet him in person, which was kind
Speaker 2: of a surprise in New York City after they get
Speaker 2: chased out of a movie which was not originally as
Speaker 2: far as I know, released in three D. By everybody's
Speaker 2: wearing three D glasses and you see them up on screen,
Speaker 2: this whole thing of them. You know, at first it's
Speaker 2: just Frank is up on screen, but pretty soon it's
Speaker 2: Frank and the bride can like are represented in the
Speaker 2: movies and everything. But with this song dance man, it's
Speaker 2: nineteen seventeen.
Speaker 6: You smiled, litty, you were radiant. I still have the ticket. Well,
Speaker 6: thank you, you you You'll be glad to know I'm
Speaker 6: not alone anymore. Thank you. I'm sorry. I credit you.
Speaker 6: And you were alone with my survivor.
Speaker 2: Ruper Pumpkin coming up to Jerry in the movie. There's
Speaker 2: a little bit of uncomfortable laughter and all this, and
Speaker 2: you're like, okay, So Jillian Hall is just a jerk.
Speaker 2: He's just a dickhead movie guy.
Speaker 1: Like I was hoping that Robert and Joker. Yeah, I
Speaker 1: was hoping there would be way more stuff.
Speaker 2: I wanted to hear the Ronnie story. I wanted to
Speaker 2: know was he a child actor? Did he survive child acting?
Speaker 2: Because we are also talking about a director and her
Speaker 2: brother who were child actors as well, So it's like,
Speaker 2: what was his experience? Is he a jerk? Is he
Speaker 2: a nice guy? Is he just embarrassed by this weirdo
Speaker 2: that's coming over to him. I just wanted to know
Speaker 2: a little bit more about him, and instead I got
Speaker 2: the whole subplot with mister Jill and Hall, Peter Sar's
Speaker 2: guard and Penelope Cruz. It was Myrna Maloy for some reason,
Speaker 2: I kept reading all these interviews that called her mRNA
Speaker 2: Malau and I'm like, was that in the press notes?
Speaker 2: I don't know where you're getting this name from. Yeah, Hellow,
Speaker 2: my friend like, okay, so is that a reference to
Speaker 2: Myrna Loy who is in The Thin Man? Where it
Speaker 2: was Eventually the movie series was basically named after William Powell,
Speaker 2: even though he wasn't The Thin Man, but she was
Speaker 2: really the brains of the operation. I don't need these characters,
Speaker 2: and they just feel so superfluous, and it's this whole
Speaker 2: like I got it in five seconds in the silence
Speaker 2: of the Lamps, right when Jack Crawford goes over and
Speaker 2: starts talking to all the detectives and leaves Clarice there
Speaker 2: to actually do the detecting work. We'll get the exact
Speaker 2: same scene in this movie.
Speaker 1: And I liked it there better because again it's done
Speaker 1: with some subtlety. Lack of subtlety in everything that's done. Yeah,
Speaker 1: Jesus Christ. Peter Sarsgard, my lord, his character.
Speaker 11: What was his character?
Speaker 1: What limp wristed character was he being asked to play.
Speaker 1: It's the most strange performance. I'm not gonna feel bad
Speaker 1: for this guy, and I don't understand how the movie's
Speaker 1: trying to get me to because he is a crooked
Speaker 1: cop who got this woman killed and now he's wanting sympathy,
Speaker 1: and he also slept with her. By the way write,
Speaker 1: this character is someone who needs to have come up,
Speaker 1: and it's not someone who just disappears from the movie
Speaker 1: halfway through, which is literally what happens. It's I have
Speaker 1: to go now, my Planet Needs Me, Like he poochied
Speaker 1: himself out of the movie, kind of like Jake Gillenhaal,
Speaker 1: Jake Jillenhall's character should have had his head split open
Speaker 1: by Frankenstein. That's what I was expecting to happen. Yeah,
Speaker 1: I was expecting Frankenstein to just go full Frankenstein's Monster
Speaker 1: and kill him. Nope, he just starts dancing like an idiot,
Speaker 1: and it's intentionally uncomfortable, and I understand that, and I
Speaker 1: appreciate that it succeeds in that regard. But you had
Speaker 1: this opportunity to do something interesting and you just kind
Speaker 1: of didn't. You chose not to, You didn't want to.
Speaker 2: When people see Frankenstein, Like when Doctor Euphronius's made sees Frankenstein,
Speaker 2: she screams, and that's kind of like the only time
Speaker 2: you get that reaction from people. And there are a
Speaker 2: lot of times during this movie where I'm like, how
Speaker 2: do people see him? Are they not seeing what the
Speaker 2: maid saw? He's very obvious when it comes to him
Speaker 2: approaching Jillenhall in this and being like, oh, you be
Speaker 2: a biggest fan all this kind of stuff, and I'm like,
Speaker 2: nobody else is reacting. Look at this fucking monster that
Speaker 2: just walked up.
Speaker 1: Look at this stitched up human being who was also gigantic.
Speaker 2: When Frank starts to dance and do the whole putting
Speaker 2: on the ritz thing, and then everybody joins in because
Speaker 2: I'm just like, is this just him? Is this all
Speaker 2: in his head? Is he just the one that's doing this?
Speaker 2: And then everybody jumps in, and I'm waiting for a
Speaker 2: hard cut at the end of this dance number to
Speaker 2: just show him and her, Frank in the bride just
Speaker 2: standing there, everybody else's mouth open, aghast at what's happened.
Speaker 2: But instead I guess that's the reality. And again, I
Speaker 2: know this, how many days?
Speaker 11: Why did you see this movie?
Speaker 2: This was Saturday?
Speaker 1: You're still waiting, Huh.
Speaker 2: I'm so waiting to find out, waiting to.
Speaker 1: Find out because yeah, that was one of those scenes
Speaker 1: in this movie was like, what am I expected to
Speaker 1: believe is going on? Here?
Speaker 6: Do you know?
Speaker 2: You brought up The Ghostbusters twenty sixteen. They also have
Speaker 2: a forced musical number in that where everybody's possessed by
Speaker 2: the ghost and I think it's Chris Hemsworth leads the
Speaker 2: whole dance.
Speaker 11: That was cut out of the original version of the movie.
Speaker 11: Don't forget that was in the director's cut.
Speaker 1: Too funny for the audience, too funny for mainstream audiences.
Speaker 1: It is a forced musical number, and forced in terms
Speaker 1: of it's forced into this movie. It doesn't serve a
Speaker 1: purpose because it's not given any context whatsoever. And like
Speaker 1: you said, is it in Frankenstein's head?
Speaker 5: Is it not?
Speaker 11: What is happening here?
Speaker 1: Please explain because you can't just do this in this
Speaker 1: kind of movie without explaining it, because this is not
Speaker 1: a musical. If this is a musical, then I assume
Speaker 1: that the logic is kind of suspended in these moments
Speaker 1: and we don't need to restrain ourselves to reality because
Speaker 1: it's a musical number. From to this point, that's not
Speaker 1: been the case in this movie. You have not established
Speaker 1: any of this, So why do you think you could
Speaker 1: just do this? It's just tonally makes no sense against
Speaker 1: what I have seen up unto this point in.
Speaker 2: The movie, it has been a musical of sorts because
Speaker 2: it's the Ronnie Reid stuff. Is the musical stuff.
Speaker 1: Which is almost diegetic.
Speaker 2: Oh yeah, one hundred percent diagetic. It's every time they
Speaker 2: go into the because they go to the movies at.
Speaker 1: Least like five times in that that ends up being
Speaker 1: like a framing device of like where are they going exactly?
Speaker 2: Yeah, because Penelope Cruz's character, Myrna Malloy, she's the only
Speaker 2: one that's smart enough to put two and two together
Speaker 2: after she finds the clipping, the Ronnie Reed clipping to say, oh,
Speaker 2: they are going to all of these locations from these movies,
Speaker 2: which means that she must be a huge movie fan
Speaker 2: because you can't check them out from the video store
Speaker 2: in nineteen thirty, so she must know all of these
Speaker 2: movies as well. So her detective work is good. It's
Speaker 2: not great basically she puts two and two together when
Speaker 2: it comes to that, but it's definitely way better than
Speaker 2: Peter Sarsguard.
Speaker 6: Yeah.
Speaker 1: Peter Sarsguard's character completely unnecessary, written out of the movie
Speaker 1: halfway through.
Speaker 11: It does not need to be there.
Speaker 2: It goes back at the end.
Speaker 1: Oh you're right, I'm sorry for two seconds.
Speaker 2: I guess he's now helping these women get their revenge
Speaker 2: on Lupino.
Speaker 1: Great had the post credit scene glad I stuck around.
Speaker 1: Remember when Sam Jackson coming out was actually a thing
Speaker 1: that mattered as opposed to whatever again. Peter Sarsguard coming
Speaker 1: back at the end of the movie proves my point.
Speaker 1: There's no point to any of this. His character serves
Speaker 1: no purpose. Ultimately, if you wanted to make a movie
Speaker 1: about Jesse Buckley as a bride, just do that. Don't
Speaker 1: do anything else, don't have Frankenstein, don't meet it. It's
Speaker 1: not necessary.
Speaker 2: Go ahead and embrace this whole split personality thing. Do
Speaker 2: all of me was Steve Martin and Lily Tomlin something,
Speaker 2: you know, because it's just basically a plot device. It
Speaker 2: just comes up at the most inopportune times, like when
Speaker 2: they're hiding on the train as she just starts screaming
Speaker 2: her head off with this and it's like I have.
Speaker 7: Tourette's syndrome and it causes me to have these uncontrollable outbursts.
Speaker 5: It's not so bad. Yeah, it's okay. I mean, you
Speaker 5: get used to it. Balls what.
Speaker 6: Right now?
Speaker 2: You know you're gonna get pinched because of this, and
Speaker 2: that leads to another person's death, that leads to her
Speaker 2: killing somebody.
Speaker 1: I don't think the Jesse Buckley performance leaves enough room
Speaker 1: on screen for anybody else to do anything else. That's
Speaker 1: the intention, and there's nothing wrong with that, but don't
Speaker 1: have Christian Bale in your movie. Don't write yourself into
Speaker 1: a corner where the character is supposed to have agency,
Speaker 1: has no agency throughout the entire film, no agency whatsoever
Speaker 1: throughout the entire film. And again, when you have all
Speaker 1: these other interesting characters that you could see Jesse Buckley
Speaker 1: interacting with, you didn't even mention the most abhorrent thing
Speaker 1: about Jake Gillenhall being in this movie. Jesse Buckley doesn't
Speaker 1: even interact with him. He interacts with him essentially for
Speaker 1: two seconds. And that's it, like literally two seconds in
Speaker 1: that one scene, Like, why are we even doing this?
Speaker 1: I don't understand why they didn't just do the thing
Speaker 1: that they wanted to do, because there's no one stopping
Speaker 1: them from doing that. They instead they made a story
Speaker 1: about getting to that point. You're not gonna get to
Speaker 1: go any further. This was never gonna be that kind
Speaker 1: of movie, So why not just don't pull your punches,
Speaker 1: don't put Christian Bale in your movie. As Frank it Stein,
Speaker 1: just do Jesse Buckley.
Speaker 11: She can carry the movie.
Speaker 1: Trust us, she can carry the movie.
Speaker 2: I would be very welcome to watch her just completely
Speaker 2: carry this movie. I mean, some of the fat would
Speaker 2: not be a bad thing, and I could consider Frank
Speaker 2: to be fat.
Speaker 1: A Christian Bale performance is fat in a movie.
Speaker 11: Take that in for a second.
Speaker 2: Frank Scartguard is Jake Wiles, Penelope Cruise is Murda Malloy.
Speaker 2: All of that stuff could just go by the wayside.
Speaker 2: It really doesn't need to be there. And it's just
Speaker 2: basically to have this on the lamb stuff, to have
Speaker 2: more corruption and things.
Speaker 1: It's just and what are they doing while they're on
Speaker 1: the lamb? Is it ever really explained? Do they They're
Speaker 1: just on the lamb? Yeah, they don't need to really
Speaker 1: steal food.
Speaker 2: Maybe again, do they eight? I don't. I guess we
Speaker 2: see them at a restaurant. I guess they process human food.
Speaker 2: I don't know, Actually I don't. I take it back.
Speaker 2: I don't think we see them at the restaurant. I
Speaker 2: think we just see Jake and Murder at the restaurant.
Speaker 2: They need money because he goes into the fountain and
Speaker 2: takes all those coins. There's also so there's that water theme.
Speaker 2: There's also the water theme of them living in this
Speaker 2: pool with no water in it, the pool from Annihilation.
Speaker 2: What they leave that place, they go to another place,
Speaker 2: and I'm trying to remember where their other hideout is
Speaker 2: before they end up in the car and going all
Speaker 2: the way that to Niagara Falls.
Speaker 11: Slowly, I turn, Hey, they're.
Speaker 1: Going to the most romantic place in the country, Mike,
Speaker 1: Niagara Falls. It's wild to me that a character that
Speaker 1: is as instrumental to a lot of what is going
Speaker 1: on in this movie from more or less the onset
Speaker 1: of the learning about and meeting Christian Bale's character ultimately
Speaker 1: does not factor into anything and could have been excised
Speaker 1: completely from the movie without the movie suffering. The movie
Speaker 1: suffers because he's in the movie and takes away from
Speaker 1: Jesse Buckley's performance. As opposed to us getting more of her,
Speaker 1: we just get Jake Gillenhall.
Speaker 2: I kind of would have liked to have known what
Speaker 2: these brides were up to other than just sticking out
Speaker 2: their tongues.
Speaker 1: Reminds me of Kuella. They did that in Kuella too.
Speaker 2: Oh yeah, I totally forgot about that. They just wint
Speaker 2: guns in the air and they shout and they scream,
Speaker 2: and they take their shoes off and throw on the cars.
Speaker 2: I don't know what they're doing the one woman looks
Speaker 2: like she's doing a re enactment of the counselor by
Speaker 2: rubber or kooch against some of the guys front windshield.
Speaker 2: But I'm not getting it. But you said Kruella, and
Speaker 2: I forgot about that black and white fur coat that
Speaker 2: she just happens to find in the back of the car,
Speaker 2: and that becomes part of her outfit too. So when
Speaker 2: you are doing your couple's costumes at Halloween, you're gonna
Speaker 2: have to get the black draping, the sunglasses of course,
Speaker 2: the makeup, the white fright wig, and then now also
Speaker 2: this red dress with the black and white fur, so
Speaker 2: that's very important to make sure. And then I don't know, guys,
Speaker 2: how you're going to do the whole inside out jacket
Speaker 2: thing that frank is doing, but I'm sure that's going
Speaker 2: to be the choice.
Speaker 1: But if you want to dance poorly, which most men
Speaker 1: dance poorly, you've got it made because Frankenstein dances pretty poorly,
Speaker 1: as one might expect. Frankenstein, would you mentioned the black
Speaker 1: on the lips of the bride? Can we talk about
Speaker 1: that for a second, because this is the moment where
Speaker 1: I want to ask you about the reinterpretation of the
Speaker 1: character of the Bride of Frankenstein, or the motherfucking Ride,
Speaker 1: as the movie likes to so aptly put it. What
Speaker 1: did you think of the redesign of the character for
Speaker 1: Jesse Buckley's version of the Bride? Because we talked about
Speaker 1: Bail and what he looked like, and I think his
Speaker 1: flesh toned Frankenstein is fine. It's a little off putting,
Speaker 1: but it's fine, I guess. But what did you think
Speaker 1: of what they were doing with her?
Speaker 2: You did mention Kruella. She does have that type of look.
Speaker 2: I mentioned Lady Gaga. She's got that going on.
Speaker 1: You also mentioned Harley Quinn, very Harley.
Speaker 2: Quinn, and I'm trying to think of which era of
Speaker 2: Harley Quinn. Maybe the Suicide Squad era well.
Speaker 1: And also like the versions of her that are in
Speaker 1: like arkham Night or the video game, like the Batman
Speaker 1: video games, like a certain stylized of Harley Quinn of
Speaker 1: a certain kind, and the comic book is very much
Speaker 1: like that and has been like that for a while.
Speaker 1: She is not a court gesture anymore, folks. She looks
Speaker 1: more like Margot Robbie than she ever has because it's
Speaker 1: not really else. Nobody else has really played that character, like,
Speaker 1: not in any sort of substantive way.
Speaker 2: But yeah, as far as the stains on the lips
Speaker 2: and that go down around her arms and everything, and
Speaker 2: her fingers all black, I kind of like it. That's
Speaker 2: a very distinct look. Yeah, it's an interesting character. Add
Speaker 2: I guess it's just as distinct as the kind of
Speaker 2: lightning bolts through the hair that Elsa Lancaster had. So yeah,
Speaker 2: you need something to set her apart as being not
Speaker 2: of this world, and I think that works pretty well.
Speaker 1: The art designed and set direction are one of the
Speaker 1: more successful things about the film, and I think the
Speaker 1: choice to have her look the way that she does
Speaker 1: is a successful choice that they made. I think she
Speaker 1: looks interesting. She doesn't look like any other version of
Speaker 1: the character I've seen. I'm glad they didn't give her
Speaker 1: the kind of big hair as it were. I'm glad
Speaker 1: they just gave her a kind of I would say,
Speaker 1: in between kind of stylized hair, but not so distracting
Speaker 1: that you'd be like.
Speaker 11: Come on, this looks a little wonky.
Speaker 1: No, I think she looks great.
Speaker 2: I'm kind of wondering if Penelope Cruise's look is supposed
Speaker 2: to be reminiscent of Leave Her to Heaven. Just kind
Speaker 2: of reminded me of the main character from that with
Speaker 2: the sunglasses and the kind of bob haircut, who is
Speaker 2: a Gene Tierney. In that there's this whole thing of
Speaker 2: how she would have to overcome sexism to become the
Speaker 2: detective and become known as that role because the cops
Speaker 2: just don't accept her as the detective. I'm like, but
Speaker 2: you also have all of the racism too. She's a
Speaker 2: Latina woman with a very strong accent. I can see
Speaker 2: people rejecting that even more than her being a woman.
Speaker 1: Yeah, they don't even make mention of it. It's like, oh,
Speaker 1: by the way, we're not even going to acknowledge the
Speaker 1: fact that she's clearly Hispanic.
Speaker 2: Which I guess fits well with Chicago and the multiculturalism
Speaker 2: of Chicago. But again, when they're out in the world
Speaker 2: and taking their road trip, I'm surprised she's not having
Speaker 2: to put up with rednecks and jerks on the road too.
Speaker 1: I mean, if we're just gonna throw more stuff into
Speaker 1: the blender, why not a little green book. This movie
Speaker 1: has some original ideas, but a lot of this is
Speaker 1: us talking about other movies that this movie clearly cops
Speaker 1: from or is very much influenced or inspired by. Not
Speaker 1: to say that that's a bad thing, but like it's
Speaker 1: not really hiding its influences.
Speaker 2: A lot of times I love a good reference to things,
Speaker 2: but this one, Frankly, I guess it's because I got
Speaker 2: pretty bored while I was watching it. It's like around
Speaker 2: the one hour twenty mark, it really slows down to
Speaker 2: a crawl, like after their big thing in New York,
Speaker 2: and when they start to go on the Lamb and
Speaker 2: then we rejoin the cops, it's just okay, yeah, what
Speaker 2: else is going to happen? Because, like you said, once
Speaker 2: they go on the lamb, there is no thing to
Speaker 2: do other than I guess, go around to different locations
Speaker 2: from the movies. And even then they don't really spend
Speaker 2: any time with that. It's not like he's Frank's going,
Speaker 2: oh this is I think he does it once, right,
Speaker 2: whereas this is a spot where this happened or something.
Speaker 2: But it's a weird flex man.
Speaker 1: When you have the bail character of Frankenstein being so
Speaker 1: front and center and the more interesting character is being
Speaker 1: played by the person who's not being given any time
Speaker 1: as much as he is or any agency. I, like
Speaker 1: you said, in the second act of the movie, I
Speaker 1: just started getting extremely bored. I was like, what are
Speaker 1: we doing here? What are they doing here? Because I'm
Speaker 1: not sure that the movie is even clear as to
Speaker 1: what it's doing. It kind of feels like it's spinning
Speaker 1: its wheels. And look, it's a very pretty movie, but
Speaker 1: that's not going to get you very far. And I
Speaker 1: think the advertising for this movie is kind of indicative
Speaker 1: of what this movie is, which is a very I
Speaker 1: think messy movie. It's a movie almost without a plot,
Speaker 1: and I would almost say maybe it revels in that
Speaker 1: fact that it doesn't have a plot. And I'm not
Speaker 1: saying that you can't do a vibe movie, but this
Speaker 1: movie's not successful in that regard either. It could have been,
Speaker 1: but it isn't even in that regard.
Speaker 2: I didn't look up. One of the few things I
Speaker 2: didn't look up is when driving movie theaters came a thing.
Speaker 2: I'm sure that they are around since pretty much the
Speaker 2: invention of cars, but having the one of the climaxes
Speaker 2: of this movie, one of one of take place at
Speaker 2: the drive in movie theater and then of course you've
Speaker 2: got her up on screen. I'm just like, Okay, this
Speaker 2: is somewhat interesting. And I was actually a little surprised
Speaker 2: by him getting shot in the head. But yeah, but
Speaker 2: then it's okay if you like that. There's another twenty
Speaker 2: minutes of this movie to go, and I really was
Speaker 2: feeling it. I don't tend to get bored at movies
Speaker 2: that often, but I was definitely just like, how much longer.
Speaker 5: Do we have to go with this?
Speaker 6: Wow?
Speaker 11: I don't get bored either with a lot of things.
Speaker 1: This is you know, going to the movies is something that,
Speaker 1: especially if you're going to pay thirty dollars because I
Speaker 1: went with another person, and I went with Ryan actually,
Speaker 1: and I paid for his ticket. You know, it's not cheap,
Speaker 1: and you know, you want to get your money's worth,
Speaker 1: and you want to feel like the movie's been entertaining throughout,
Speaker 1: and for it to kind of drag in the second
Speaker 1: and definitely end the third act, it's like, hey, I
Speaker 1: kind of maybe only enjoyed the first thirty minutes of
Speaker 1: this two hour movie, maybe the first forty five minutes
Speaker 1: if that, which it's a shame because for me, I
Speaker 1: acknowledge as you do. Jesse Buckley is a great actor.
Speaker 1: It's hard to see someone who's so talented be it
Speaker 1: a movie that is attempting to utilize her talents in
Speaker 1: an interesting way. But I think ultimately just misses the
Speaker 1: mark pretty spectacularly, which is too bad because to you know,
Speaker 1: most people's points, they don't back one hundred million dollars
Speaker 1: up to somebody's house every day to make a movie
Speaker 1: like this. I know why they did as well as
Speaker 1: you did, because Maggie Jillenhall is a known quantity. She's
Speaker 1: a good actor, she is a good director, she is
Speaker 1: a good writer. I just don't think this is her
Speaker 1: best effort. But I think it's an interesting effort. It
Speaker 1: didn't have to be the best effort for it to
Speaker 1: be interesting. Things are failures more or less all the time.
Speaker 1: You know, it doesn't have to be successfu to be interesting,
Speaker 1: but it definitely has to have something about it that's
Speaker 1: worth coming back to to be interesting. At least, this
Speaker 1: movie is not boring throughout at least, it's not just
Speaker 1: making no interesting choices at all, but it's not really
Speaker 1: living up to even what I think it wants to,
Speaker 1: which is this kind of feminist rallying cry, and it doesn't.
Speaker 11: It's not that.
Speaker 2: And again it's so obvious, like when Buckley screaming me
Speaker 2: to me too, and I'm just like, okay, yeah, we
Speaker 2: got this fifteen minutes into this movie. If that late,
Speaker 2: you really don't have to bash me over the head
Speaker 2: with this. And I understand that by me saying that
Speaker 2: makes me sound like I'm this callow asshole, but I'm
Speaker 2: just like, I understand the reference. I get the reference,
Speaker 2: and I get why it's important. I just felt so amphisted,
Speaker 2: you know, felt like there could have been no subtlety whatsoever,
Speaker 2: way more subtlety. Lupino could have easily been turned into
Speaker 2: some sort of slimy Hollywood producer a La Weinstein, and
Speaker 2: we could have gone down that route. That probably would
Speaker 2: have been way too obvious as well having her screen
Speaker 2: me Too. I'm just surprised you didn't say hashtag me too,
Speaker 2: hashtag me too.
Speaker 11: Like this takes place in nineteen thirty six.
Speaker 2: You know when the Monster Mash came out, it wasn't
Speaker 2: nineteen thirty six. Mike John was on the floor with that.
Speaker 1: One, started fucking laughing so hard. I was like, holy fuck,
Speaker 1: in a ninety million dollar movie. They were working in
Speaker 1: the lab Mike late one night.
Speaker 2: I grew up with Goofy Gold, this ktel collection of
Speaker 2: nollity songs, So as soon as I heard the chains rattling,
Speaker 2: I'm like, no, same, same, Yeah, I'm like, oh, well
Speaker 2: the works goddamn monster. Yeah, Boris Peckett and the crypt
Speaker 2: Keeper five.
Speaker 1: I'm more of a fan of were wolf bar Mitzvah.
Speaker 1: Spooky scary boys becoming men, men becoming wolves. That's much
Speaker 1: more mice Bee. I am not shocked that they close
Speaker 1: the movie with monster mash, but it's you didn't earn that,
Speaker 1: and there is a universe where they earned that, and
Speaker 1: you and I both know that. That's the funny part,
Speaker 1: Like you could have earned that, and I would have
Speaker 1: been on board with it. It's just this movie takes
Speaker 1: itself a little too seriously for that, which is funny
Speaker 1: because I don't think this movie really wants to be
Speaker 1: taken seriously, but like someone who does what they can
Speaker 1: to be taken seriously, but when you start taking them seriously,
Speaker 1: they're like, why you're taking me seriously?
Speaker 11: I'm like, wait a second, is that what you want it?
Speaker 1: And that's how I feel about this movie. I'm like,
Speaker 1: I think you want to be taken seriously, but yet
Speaker 1: you close your movie with monster mash.
Speaker 11: These things are incongruous with one another.
Speaker 1: So get me to understand this, because otherwise I really don't.
Speaker 2: At the end of the day, I see a lot
Speaker 2: of people loving this movie, but some of some folks
Speaker 2: I think are just gonna love it just for the
Speaker 2: spite and be like, right, hey, love it. He got
Speaker 2: this movie before. I'm the one that gets this movie.
Speaker 2: I understand this. They'll probably go through and do the
Speaker 2: exact same game of spot the reference that I was
Speaker 2: doing while I was watching this movie.
Speaker 6: And just.
Speaker 2: If more people watch Lever to Heaven or Bonnie and
Speaker 2: Clyde or any of these kind of thing, great, that's
Speaker 2: terrific return of the zombie the movie that they're watching
Speaker 2: at the movie theater. And again I'm curious, like, what
Speaker 2: do these two dead people think of watching a zombie movie?
Speaker 2: That would have been interesting, you know, and it's the
Speaker 2: only time they go to see something that isn't a
Speaker 2: Ronnie Reid musical. Anyway. Sorry, I'm asking all these questions,
Speaker 2: and I'm.
Speaker 1: Just asking of a two hour movie. I don't think
Speaker 1: it's improper to be asking those things.
Speaker 2: It's so stuffed with stuff. And to your point from earlier,
Speaker 2: yeain like another revision or two and just refinement of
Speaker 2: these ideas and maybe again making them a little more subtle.
Speaker 2: This is as subtle as the rape scene and the
Speaker 2: brutalist You know.
Speaker 1: It's hard for me to watch movies like this and
Speaker 1: do anything other than go I get that you want
Speaker 1: me to take you seriously, and I want to take
Speaker 1: you seriously, but I'm not sure that you're going about
Speaker 1: it the right way and not going about it the
Speaker 1: right way. You just turn me off completely and don't
Speaker 1: make me want to engage with you in a substantive way.
Speaker 1: And this movie doesn't get me all the way there.
Speaker 1: But it's like there's part of this where I'm just like,
Speaker 1: you're just You're kind of like that loud person screaming
Speaker 1: for attention in the corner, and I don't want to
Speaker 1: give it to you, not because you don't deserve it,
Speaker 1: but because you're going about it the wrong way. It
Speaker 1: will find its audience. We are not necessarily not its audience.
Speaker 1: I think if I rewatch it a couple times, I
Speaker 1: may enjoy it more than the first time I watched it,
Speaker 1: as I'm sure you will. But at the same time,
Speaker 1: I can't understand giving this movie so much money and
Speaker 1: then expecting it to make a lot of money, and
Speaker 1: it doesn't make a lot of money, and that's anyone's fault,
Speaker 1: but the studio executives. It's not Maggie Gillenhole's fault. If
Speaker 1: I were her, fucking run with it. They gave you
Speaker 1: one hundred million dollars to make this movie. Hell, yeah,
Speaker 1: good for you, seriously awesome. That kicks ass. However, it
Speaker 1: doesn't make the money that they wanted it to, So
Speaker 1: I don't know if you're going to get another one
Speaker 1: of these opportunities for a while, which is unfortunate because
Speaker 1: that shouldn't be the case, but it's going to be
Speaker 1: because that's the way this system works. And I don't
Speaker 1: think this movie is that big of a failure, but
Speaker 1: based on the numbers, it will be seen as such.
Speaker 1: And that's unfortunate because Maggie Gillenholl has an eye and
Speaker 1: I think it's a unique one, and I think with
Speaker 1: some refinement, and I think a second or third pass
Speaker 1: on things, I think she could really have even more
Speaker 1: interesting things to say. In a more subtle and nuanced
Speaker 1: way than she did here.
Speaker 2: I don't disagree with any of that, And yeah, more
Speaker 2: power to you if you love this movie, that's great.
Speaker 2: But just realize that if people don't like a movie,
Speaker 2: it's not that they're coming for you and your values.
Speaker 1: Like, why are we having to tell that?
Speaker 11: What the fuck universe are we in?
Speaker 1: What darkest timeline did you and I fall into where
Speaker 1: people would accuse us of doing that when we've spent
Speaker 1: more or less our entire time doing this trying to
Speaker 1: stop people from doing that.
Speaker 2: Yeah, just shutting down discourse and not properly looking at stuff.
Speaker 1: Look, Mike, if you don't like Ghostbusters twenty sixteen, it's
Speaker 1: because you're a misogynistic man.
Speaker 2: Okay, that makes total sense.
Speaker 1: Yeah, one singular thing discounts your entire being just because Okay,
Speaker 1: how dare we ever do anything like that to anyone else?
Speaker 9: Right?
Speaker 2: Reminds me when I walked out of a movie and
Speaker 2: was told that I have no right to write about it,
Speaker 2: and I was like, I think I do like pretty
Speaker 2: much me writing or review saying I walked out of
Speaker 2: this movie should be enough.
Speaker 1: No, no, no, you don't understand because you didn't watch
Speaker 1: the whole film because you left because it didn't resonate
Speaker 1: with you, or you were in some way wanting to leave.
Speaker 11: Your opinion is invalid. Okay.
Speaker 1: Do people not hear the way that they sound when
Speaker 1: they say these kinds of things, realizing that they would
Speaker 1: not want that done to them, but yet they have
Speaker 1: absolutely no problem doing it to other people, primarily because Lol,
Speaker 1: gotcha Internet Culture BJ works for Slash Film. Come on,
Speaker 1: I've actually interviewed BJ at one point.
Speaker 11: You're better than that.
Speaker 1: Like, your point is valid, Like you cannot label someone
Speaker 1: something just because of one thing, and that is unfortunate
Speaker 1: that we are now living in this society. But at
Speaker 1: the same time, like I guess if everyone else is
Speaker 1: gonna do it, we can't be surprised when people who
Speaker 1: are kind of in our same sphere of things are
Speaker 1: doing it anyways. So cool.
Speaker 2: I guess if you don't like the greasy Sprangler, I
Speaker 2: don't like you never seen it. You know it's because
Speaker 2: you're bullshit artist.
Speaker 11: We all know that.
Speaker 2: I want to thank my co host Chris for joining
Speaker 2: me on this discussion of the Bride. So, Chris, what
Speaker 2: have you been up to lately?
Speaker 6: Sir?
Speaker 1: There's been bullshit artists from day one.
Speaker 7: Over at patreon dot com slash Culturecast, where you can
Speaker 7: find my patreon where I talk about James Bond movies
Speaker 7: with you once a month and sometimes post bonus episodes,
Speaker 7: and then everything else can be found over at Weirdingwaymedia
Speaker 7: dot com.
Speaker 1: See I didn't reverse this time, where all the other
Speaker 1: things that aren't on my patreon can be found. So yeah,
Speaker 1: go over there and do that.
Speaker 11: What about you, Mike White?
Speaker 5: Uh?
Speaker 2: Yeah, Everything I do is over at weirdingwaymedia dot com
Speaker 2: except for the stuff that we do on Patreon. If
Speaker 2: you want to join the Patreon community, visit patreon dot
Speaker 2: com slash Projection Booth or Chris's at patreon dot com
Speaker 2: slash Culturecast. Every donation that we get helps the Projection
Speaker 2: Booth and the Culturecast take over the world.
Speaker 6: I am the pride.
Speaker 4: Of Frank and Stein.
Speaker 5: My hair shot through it.
Speaker 4: That crazy line, eyes wide in mouthcrying better to be
Speaker 4: dead than dying. But that wasn't my own thought first,
Speaker 4: It just kept me from my own herd. We are monsters,
Speaker 4: a perfect pair. You make me crazy, I make you scared.
Speaker 9: Is it the city?
Speaker 13: Is it the things we chose.
Speaker 1: Was it the plague?
Speaker 5: The whole world rose? How do we change?
Speaker 2: How do we become real?
Speaker 13: Reanimation is a rotten deal.
Speaker 5: Once I was someone now.
Speaker 4: My veryal friend.
Speaker 2: I had so much fun.
Speaker 5: We never had to pretend.
Speaker 4: I was better than I was not.
Speaker 13: I was was happy without a thought. I was blessing,
Speaker 13: blood born. My life was a unicorn.
Speaker 5: Once I was out, a real catch, and sid I
Speaker 5: gave you a made you want to be call my contest,
Speaker 5: my desire to you, winter of my see grass hounded
Speaker 5: everything all. Always tried to keep right, Always try to
Speaker 5: say person of wor win.
Speaker 14: My memorys made and interrupted gra I made it up
Speaker 14: and and made me up. But real grown up shouldn't
Speaker 14: be SERI. You couldn't under say maditude. And then I
Speaker 14: disappeared through.
Speaker 4: A person shaped hold, like a cookie cut out from.
Speaker 6: A life that I stole.
Speaker 5: In a walk. Quit my news with that idea is
Speaker 5: this note. I couldn't bad of the.
Speaker 9: Stressed thing, for I thought I was color. So you
Speaker 9: lost your color. You lost your life.
Speaker 11: Like a person sweat.
Speaker 5: Nor breath to come.
Speaker 14: You were drowning in yours.
Speaker 5: But you couldn't share, and I couldn't buy you.
Speaker 14: So I felt like to ware so many times.
Speaker 5: I cry hide your bad my frame side by your
Speaker 5: side man a frame side.
Speaker 6: She's a lion, a lion.
Speaker 5: I am the right of package stuff.
Speaker 12: Oh, I'm the bride of Franks Stuff. I am the
Speaker 12: brother of freaking stun freaking science Massa's wife.
Speaker 1: You kill my body, but my soul's divide.
Speaker 3: That's my Creatsi pre check is loved. I'm the bride
Speaker 3: of Rackins side cracking side Monster's wife.
Speaker 11: You bet my body by my soul's.
Speaker 5: Divine God, my creator.
Speaker 3: I rejected this hif you saw my death from me,
Speaker 3: you rule my destiny.
Speaker 5: I see my face, say the mere whose hands are
Speaker 5: this heart belongs to a strange er?
Speaker 3: This bis deceave. You stole my death from me. You
Speaker 3: rule my destiny.
Speaker 5: You don't know what it's like to die. You haven't
Speaker 5: been on the other side.
Speaker 3: You think you brought me back to life when you die.
Speaker 5: You more a life.
Speaker 12: Rather act me from the rive just a time to
Speaker 12: a slide by the bride of bragainst.
Speaker 5: I think you can give my hand away. All your
Speaker 5: plans are child's play.
Speaker 6: You play god with someone else's so.
Speaker 5: You're going.
Speaker 6: Maybe been long day.
Speaker 3: The monster is a step ahead when he says we
Speaker 3: all be off dead.
Speaker 5: The monster's head, it's on the level.
Speaker 2: You have a dog, big, a bead like clam, a
Speaker 11: Warm di