Speaker 1: We're terrible, Lorenzo, and this is the Bitter Kitten Movie Club.
Speaker 1: Hello Kitten's welcome back to another edition of the b
Speaker 1: k MC, A supplemental edition of the PSO where we
Speaker 1: take a look at one film and give all our
Speaker 1: thoughts on it. I think that is the smoothest I
Speaker 1: know b k M c intro I have ever done.
Speaker 2: Like your hair right now?
Speaker 3: Your hair?
Speaker 2: Your hair.
Speaker 3: Okay, that's a little weird.
Speaker 1: Anyway, this week's film is Little Miss Sunshine, and we
Speaker 1: before we flipped on the mics, I said to Lorenzo,
Speaker 1: I was like, I think this might be the shortest
Speaker 1: one we've ever done, the shortest b k MC podcast
Speaker 1: we've ever done. I picked this film for the lineup
Speaker 1: for this month. You know, we try and mix it
Speaker 1: up a little bit. Genres, styles, eras, that sort of thing.
Speaker 2: So I'm not going to.
Speaker 1: Really get into anything older than the nineteen eighties on
Speaker 1: this in this project for now at least, because it's
Speaker 1: very difficult to get people to watch old old films
Speaker 1: any and I don't want to going for a more
Speaker 1: popular right.
Speaker 2: We don't want to fall into the same cliche of
Speaker 2: like old movies, classicals and stuff. Like that, at least
Speaker 2: not for now.
Speaker 1: I never forgot a bitchy queen who was a friend
Speaker 1: of mine but it's no longer who said when our
Speaker 1: blog first launched. He was like, it's nice, but it's
Speaker 1: all like the obsessions of middle aged gay men.
Speaker 2: And I was like, fuck that queen said that. You
Speaker 2: know who I'm talking about, right, but New York queen
Speaker 2: that we don't talk about any well, of course, of
Speaker 2: course the New York queen, but anyway, that's another subject.
Speaker 3: Yeah.
Speaker 1: So the reason I picked this this film is again,
Speaker 1: you know, I wanted to a range of styles and everything,
Speaker 1: but also I had seen this film once, probably around
Speaker 1: the time it came out. It came out in two
Speaker 1: thousand and six, and I really really didn't like it.
Speaker 1: And it was critically acclaimed.
Speaker 3: I mean it was.
Speaker 1: It was nominated for Best Picture, it won Alan Arkin
Speaker 1: won Best Supporting Actor for his performance in it, and
Speaker 1: that was a deserved win.
Speaker 2: But the thing is that I respect critics, I mean,
Speaker 2: believe me, I do. That's what they do, their professionists,
Speaker 2: But sometimes they get too much.
Speaker 1: Well in love with some especially around this time when
Speaker 1: it came to indie films, and this was kind of
Speaker 1: what set me off back then. It just if I
Speaker 1: I and Okay, I look at it. I looked at
Speaker 1: it in two thousand and six, I looked at it
Speaker 1: in twenty twenty six, and I had largely the same reaction,
Speaker 1: which was, this feels like a checklist of indie film markers.
Speaker 1: Like you have adorably quirky little girl, you have the
Speaker 1: teenager who does not speak that's sort of god, teenager
Speaker 1: who doesn't speak their grandfather, the grandfather who's inappropriate. Everything
Speaker 1: about it felt checked off a list and felt like
Speaker 1: something I had seen before.
Speaker 2: Everything the fat having trouble with its job, you know,
Speaker 2: it's like everything it.
Speaker 3: Just you know what.
Speaker 1: I don't want to get too deep into the weeds
Speaker 1: of my critiques yet, I want to talk about first
Speaker 1: what I liked about the film, because this is what
Speaker 1: I'm trying to get at is I picked the film
Speaker 1: to see if I could reassess it two decades later,
Speaker 1: like maybe I was wrong about it, Maybe I you know,
Speaker 1: et cetera, et cetera. So and I admit that a
Speaker 1: lot of the stuff that I didn't like about the
Speaker 1: film immediately popped up in the first twenty minutes, and
Speaker 1: I was like, shit, it's exactly what I remembered it as.
Speaker 1: But I have to say I will unpack a few
Speaker 1: things about the story as it goes along, But when
Speaker 1: it gets to the end, I was like, all right,
Speaker 1: this is worthy. This was worth my time. It was
Speaker 1: worth it spending it with these people.
Speaker 3: The cast is just the castle.
Speaker 1: I mean, come on, that cast is stacked and nobody
Speaker 1: gives a bad performance. I do think Steve Carrell's Sad
Speaker 1: Gay is a bit of a It was a cliche
Speaker 1: top to bottom.
Speaker 2: It was a weird take.
Speaker 1: It was a weird take, but honestly, he was an
Speaker 1: up and coming comic actor at that time. Okay, see
Speaker 1: what it was a little and in two thousand and
Speaker 1: six it was still kind of a big deal when
Speaker 1: a straight actor played gay, So it was kind of
Speaker 1: a brave creative choice for him to make to play
Speaker 1: that character. I just didn't think he added any I mean,
Speaker 1: but it's really well acted. Everybody's great in it.
Speaker 3: I actually.
Speaker 1: It made me go to IMDb and check out Greg
Speaker 1: kinnear because I was like, what happened to him? He
Speaker 1: doesn't seem to you know, but he actually has been working.
Speaker 1: I just haven't been paying attention to what he's been.
Speaker 2: Well, that's what I like about watching these movies is
Speaker 2: that you forget about these people were there.
Speaker 1: She was in everything, Yeah, for like fifteen years there.
Speaker 1: I mean he, like I said, he's still working. He
Speaker 1: he was in Marco's Got Money's Troubles.
Speaker 2: Or they're so young, you know, Like I'm like, oh
Speaker 2: my god, they're so young. Yeah, like what's his name,
Speaker 2: Poet Pole? You know, my god, he's a child.
Speaker 1: Well he's I mean I looked it up. He was
Speaker 1: like in his twenties, but he was playing a fifteen
Speaker 1: year you look like a.
Speaker 2: Fifty look like a teenager. Yeah.
Speaker 1: And Abigail Breslin adorable, and Tony Kolett. Man, it just
Speaker 1: never goes wrong. If you want a harried mother, she's
Speaker 1: your gal. She is the one to play.
Speaker 2: And she does American so well, like America does America
Speaker 2: really very well. I love her since day one. Yeah,
Speaker 2: she's she's been incredible.
Speaker 1: So uh, I think it's a perfectly enjoyable film.
Speaker 3: I really do.
Speaker 1: I think it's I really don't have I'm not going
Speaker 1: to rail against it, but I will talk about what
Speaker 1: I didn't like about why it sets me off. Let
Speaker 1: me just say before I get into that, I want
Speaker 1: to talk about the story itself, which.
Speaker 2: We need to explain that. Yeah, well no, I mean
Speaker 2: if you watched it, if you're listening, watch a summary.
Speaker 3: No, I'm not giving a summary.
Speaker 2: Sorry. What I mean is, ah, he's laughing, but he
Speaker 2: wants to kill me. I know that laugh mister. No,
Speaker 2: I'm not going to sum it up.
Speaker 1: I mean, the whole point here is that we're we've
Speaker 1: all watched it, and now we're talking about it. My
Speaker 1: issue with the script, with the story is that there
Speaker 1: are times when I feel like it just didn't feel
Speaker 1: very believable. And you know, that's not the most salient
Speaker 1: critique in the world, because it doesn't necessarily have to
Speaker 1: be a believable film. But for instance, like when you
Speaker 1: get to her act at the end, her dance act,
Speaker 1: which is I mean, it's a really funny paloff.
Speaker 2: I thought it was some some other member.
Speaker 1: They all danced anyway, right, but I'm talking about her act.
Speaker 1: When you get to that, it's a great payoff. It's
Speaker 1: really funny. But you have to sit there and think
Speaker 1: they went on this entire trip and none of them
Speaker 1: knew what she was going to do when she got up.
Speaker 3: There like that. The whole film hinges on that, and
Speaker 3: the whole time I'm watching that scene, I'm.
Speaker 2: Like, I don't know. Considering the family, I get that
Speaker 2: they are completely checked out on a lot of things,
Speaker 2: but I don't know that really it hinged on on
Speaker 2: something that I first out left it because it caught
Speaker 2: me completely off. It is really funny, it is really,
Speaker 2: and I give them credit for going into the joke,
Speaker 2: but not the joke never goes somewhere uncomfortable, like they
Speaker 2: never made Abigail Breslin do something where I was like, Okay,
Speaker 2: that's okay, that's al too much.
Speaker 1: It's it's relatively innocent all around. It's just you know, inappropriate.
Speaker 2: That's song. It's a song.
Speaker 1: She's slapping her ass while she's dancing and everything. I mean,
Speaker 1: it's really, really funny, and it's a shame because it's
Speaker 1: the funniest part of the film and it's the most
Speaker 1: memorable part of the film.
Speaker 3: So I just kept waiting for it.
Speaker 2: But what I love about that scene is the hypocrisy,
Speaker 2: you know, the whole hypocritical attitude of the other ones,
Speaker 2: because I mean, all these girls look like adults with
Speaker 2: all that makeup and hair and everything, and they sexualize
Speaker 2: these girls. So to react the way they reacted with
Speaker 2: what she did, it's a little too much. I mean
Speaker 2: it is. It is a little too much, but coming
Speaker 2: from where you guys come from, like dressing these little
Speaker 2: girls like like adult.
Speaker 1: So similarly, and again I guess this goes to how
Speaker 1: checked out the family is. They know the grandfather's doing Heroin,
Speaker 1: I know, so they're like, you're rooming with Grandpa Intel
Speaker 1: tonight with the little six year old girl. I'm like,
Speaker 1: what it just it helps the story if she has
Speaker 1: to go and wake them up the next morning and
Speaker 1: say Grandpa won't wake up. Yeah, everything, and sometimes those
Speaker 1: things they were really hard against the characters, because yes,
Speaker 1: they are checked out. They are not Their marriage isn't great,
Speaker 1: their family structure isn't great. They're not emotionally supportive of
Speaker 1: each other throughout most of the film. But that's a
Speaker 1: level of irresponsibility where you're just getting it and it's
Speaker 1: actually it's the same thing with Greg Kinnear's character in
Speaker 1: that scene where he berates her for eating ice cream.
Speaker 1: I'm like, all right, we're getting into full on. He's
Speaker 1: a villain here. Right, And the best way to end
Speaker 1: this story is to have her his wife walk out
Speaker 1: on him because he is literally abusing his daughter. We're
Speaker 1: watching him do that, but.
Speaker 3: It's quirky, and we forgive him.
Speaker 1: And I'm like, I do think the film sometimes loses
Speaker 1: sight of how people act in real situations because it's
Speaker 1: so caught up in it's quirkiness, in its little twists
Speaker 1: and turns and everything.
Speaker 2: Guy, I hate when a script has milestones to be reached,
Speaker 2: you know, and and they use the characters for it,
Speaker 2: you know what I mean, Like instead of developing the
Speaker 2: what do you mean by that? Like like when okay,
Speaker 2: you write a script and you're like, all right, we
Speaker 2: need to do this, We need to make this point,
Speaker 2: we need to write, you know, like you establish what
Speaker 2: you need to cover.
Speaker 3: And then and then fill in the blank.
Speaker 2: Yeah, you sort of like use the characters for it
Speaker 2: instead of having the characters being characters, right, you know,
Speaker 2: you know what I mean. I mean it's hard to
Speaker 2: explain what I'm science say, but instead of having characters
Speaker 2: being real people quote unquote real people and have them
Speaker 2: act like real people, you create a script that Okay,
Speaker 2: well they need to do this. The grandfather needs to
Speaker 2: die now, and then she needs to do and then
Speaker 2: something's gonna happen with the kid, you know what I mean, like, uh, instead.
Speaker 3: Of thing's gonna happen to make Paul Dano speak.
Speaker 2: Right right, And that was a bit of a I
Speaker 2: do like some of the stories I do.
Speaker 1: And like Steve Carrell they're in a gas station when
Speaker 1: he runs into his old boy what stuff like that,
Speaker 1: where it's like, Okay, I get it. It's a quirky
Speaker 1: little tail. It doesn't have to be realistic, but you
Speaker 1: are taking me out of it. I think sometimes.
Speaker 2: Yeah, I mean I was like, how they be there?
Speaker 1: The same coincidence of that is just a little bit
Speaker 1: too much for me to take that.
Speaker 2: Stuff like that was a little too much. The whole
Speaker 2: cop thing finding the porn and just letting them go
Speaker 2: and keeping the porn. Come on, it's again, it's a comedy.
Speaker 2: It doesn't have to be realistic. But I think tonally,
Speaker 2: sometimes the film doesn't know where it is where you
Speaker 2: know where it lands. Are we doing an unrealistic comedy,
Speaker 2: like a broad sort of comedy, or are we doing
Speaker 2: a quirky indie film about family dynamics? And I think
Speaker 2: sometimes it tries to do both and it doesn't work.
Speaker 2: And that cop scene is perfect example of that, where
Speaker 2: I was like, all right, you're taking out of this.
Speaker 2: I mean, if this was some goofy dumb and dumber
Speaker 2: style in my film, then fine, that scene works. But
Speaker 2: within the context of this one, right, it just I
Speaker 2: don't know. I have a loved hate thing with road movies,
Speaker 2: like you know, road Trip, I agree with. I love
Speaker 2: them in a way, I mean, but they are cliches.
Speaker 2: Those are my favorite when it comes to in the
Speaker 2: national movies, because first of all, you get to see
Speaker 2: those beautiful scenes in landscape and all that, and the
Speaker 2: characters sometimes they're rech but its.
Speaker 1: Characters also go on a journey. It feels very cliche.
Speaker 2: But it's the same. Everybody hates everybody to get on a.
Speaker 1: Car, and then by the end they all learned a
Speaker 1: pall love each other.
Speaker 3: Yeah, all right, let's.
Speaker 1: Take a quick break and we'll come back with some
Speaker 1: more critiques. We'll be right back. We're back talking about
Speaker 1: Little Miss Sunshine. And when Lorenzo started talking about road
Speaker 1: movies and everything, I just said to them with the
Speaker 1: MIC's off, I was like, I know, you want to
Speaker 1: mention Central Station. Well, there's Central Station is one of Lorenzo's. Well,
Speaker 1: we'll have to put them on the list. We are
Speaker 1: one of Lorenzo's favorite films. And it is a Brazilian
Speaker 1: movie from like nineteen ninety six, I think, And it's.
Speaker 2: A yeah, I think too.
Speaker 1: Yeah, it's a road movie. It's about a woman and
Speaker 1: a boy who travel across Brazil. And it's not a comedy, no,
Speaker 1: absolutely not. That is an example of how to do
Speaker 1: a movie like that correctly and not lapse into cliche
Speaker 1: the way I don't want to.
Speaker 2: I urge everyone to watch it. So I'm not gonna
Speaker 2: we'll put it on the list for next month. I'm
Speaker 2: not gonna give it away how it ends, especially, and
Speaker 2: I love that movie because of that. You know, it's
Speaker 2: it's it's a journey. That one is a journey.
Speaker 3: It is, and it feels like an epic one.
Speaker 2: Right. So it's a beautiful movie. The scenery and the traveling,
Speaker 2: it's just incredible. It's a beautiful story. It's definitely one
Speaker 2: of my favorite movies of all time anyway. But so
Speaker 2: I do like those movies. There's so many international movies
Speaker 2: like that where people get on a car and they travel.
Speaker 1: So many American movies, yeah, and they tend to all
Speaker 1: be focused on the American West because you have all
Speaker 1: those wide open spaces. So this was Albuquerque in California,
Speaker 1: and it was all very much And that's fine, But
Speaker 1: like I said it, it feels like a cliche of
Speaker 1: indie films around two thousand and six. It feels like
Speaker 1: the exact kind of film that critics went crazy for
Speaker 1: twenty years ago. Because it checked off all of these boxes.
Speaker 1: That doesn't make it a bad film, but I don't
Speaker 1: think it's a great film.
Speaker 2: I think it's a perfectly enjoyabah. It's funny because I
Speaker 2: rewatch it. It was my second time watching it, and
Speaker 2: I have to say Paul Dana's character is my favorite.
Speaker 1: I think he's great, and I do think Steve Correll
Speaker 1: is good. I do, and I did like their scenes together,
Speaker 1: but I was like, there's something very dated about the sad,
Speaker 1: tragic gay figure played by a straight actor. I'm just
Speaker 1: not impressed by it anymore. We act too much of
Speaker 1: like a zombie to me. You know, well, he's post suicide.
Speaker 2: I get all that, but I didn't get much emotion
Speaker 2: from him. But the lines are dead on. I really
Speaker 2: like the script, the stuff he says and related to
Speaker 2: the family and all that. Yeah, yeah, yeah, I do
Speaker 2: like that, but he's acting. I don't know, it's just
Speaker 2: fell off a little bit.
Speaker 1: I want to talk about what my because I haven't
Speaker 1: really talked about what pisses me without this film and
Speaker 1: what originally pissed me off about this film and it's
Speaker 1: and the reason I put it at the back end
Speaker 1: of this is because I don't want to over emphasize
Speaker 1: this critique. It affected my viewing of the film, but
Speaker 1: it is ultimately an easy one for you as a
Speaker 1: viewer to dismiss. This is my thing, whether you agree
Speaker 1: or not. We should mention that this was directed by
Speaker 1: Jonathan Dayton and Valerie Faris, a couple who have directed
Speaker 1: a bunch of music videos and a bunch of other films,
Speaker 1: and it was written by Michael Aren't. And I'm bringing
Speaker 1: this up because I'm kind of taking those three people
Speaker 1: to test.
Speaker 3: Here's an example. Michael Aren't, the screenwriter.
Speaker 1: He said he chose the iconic YELLOWVW bus for them
Speaker 1: to drive in and for it to constantly break down
Speaker 1: because that was the bus his family. It was like
Speaker 1: thirty five year old bus at the time of two
Speaker 1: thousand and six. And this is my issue with the
Speaker 1: film is that the aesthetic of the film is completely off.
Speaker 1: And I said this to you last night, well while
Speaker 1: you were watching it, we watched it separately.
Speaker 3: I said that family would not have that. He would
Speaker 3: not have that van. He's such a striver and he's
Speaker 3: so image obsessed and success obsessed. He would, you know,
Speaker 3: mortgage his house to have a fancy car. He would
Speaker 3: not have a thirty five year old van like that.
Speaker 2: And especially the van falling apart, you know.
Speaker 1: Yeah, I mean, I know they don't have money. I
Speaker 1: get that, But this is my issue with the film
Speaker 1: is the clichde way they indicate that this family doesn't
Speaker 1: have money.
Speaker 2: And it's very clear that they don't have money right now.
Speaker 2: But look at the house. I mean, look, well, that's my.
Speaker 3: Problem with the house is.
Speaker 1: And this was my problem back then. I was like,
Speaker 1: that's not what poor people look like. I'm sorry that
Speaker 1: not in two thousand and six. Let me just say
Speaker 1: in two thousand and six, that was about when we
Speaker 1: were furnishing our home. I mean, we were ten years
Speaker 1: into our relationship at that point, but we were in
Speaker 1: that mode where we were decorating and that sort of thing.
Speaker 1: And we live in a section of the Philadelphia Old City,
Speaker 1: which at the time it had a lot of chic
Speaker 1: vintage stores. In fact, the last Sheikh vintage store just
Speaker 1: left our neighborhood, oh last year, and we furnished our
Speaker 1: place with a lot of stuff from those places. And
Speaker 1: when you walked into a vintage store in two thousand
Speaker 1: and six, a high end vintage store where everything was
Speaker 1: well curated and expensive, it looked like their house. Right,
Speaker 1: That's not what the Salvation Army looks like. That's not
Speaker 1: what like, That's not what Porpi. That was an extremely
Speaker 1: well curated house of vintage mid century Brady Bunch, you
Speaker 1: know esthetic, and it absolutely was wrong for our family
Speaker 1: in two thousand and six. I think I might have
Speaker 1: mentioned this before for some reason. I remember talking about
Speaker 1: this on this podcast. It's you know, we've been doing
Speaker 1: this a long time. But I once compared the a
Speaker 1: set of this film to do you ever see I
Speaker 1: know you've seen it the Lord video for Royal Yeah, Yeah, Yeah,
Speaker 1: which depicts poverty, modern poverty in the way I talk
Speaker 1: about this because I have in my life, in my upbringing.
Speaker 1: I have been part of a poor family. I have
Speaker 1: been part of a poor working family. I know what
Speaker 1: it looks like and it doesn't look like that quirky
Speaker 1: art directed house. And I bring up royal because it
Speaker 1: shows them living and they don't have anything, like they
Speaker 1: just literally don't have anything because they're poor, and poor
Speaker 1: people don't have quirky, curated mid century stuff. They have
Speaker 1: plastic shit that they bought, you know, or they have
Speaker 1: really old, broken down shit. That's what the house of
Speaker 1: a poor person looks like, not this curated. And that
Speaker 1: bothered me right from the beginning. And honestly, the film
Speaker 1: is there's only one scene or maybe two scenes set
Speaker 1: in the house and the rest of the film is
Speaker 1: set out of the house. But it really turned me
Speaker 1: off right And then when I read that about the van,
Speaker 1: like that was the van from my child. Well, that's
Speaker 1: the problem here. You're you're depicting poor people in nineteen
Speaker 1: seventy five and this is two thousand and six, so
Speaker 1: it doesn't feel correct to me.
Speaker 2: It goes back to what I said, it's it's just
Speaker 2: because you have to do something, so you just throw
Speaker 2: these characters, you know, into and it looks good some
Speaker 2: sort of situation. Yeah, the fact that, okay, we really
Speaker 2: need them all in a van, so they can't afford
Speaker 2: ticket airline tickets, you know, like right flight, they can't.
Speaker 1: It be interesting to have them in some nineteen ninety
Speaker 1: five you know, Ford aerostar. No, we have to put
Speaker 1: them in a quirky thirty five year old gen X
Speaker 1: signifier because you know, it looks good on film. That
Speaker 1: was my issue with the film, and it remains my
Speaker 1: issue with the film is that it is overly quirky.
Speaker 1: It has an interesting story, great cast, but the aesthetic
Speaker 1: and that the sort of indie quirkiness, it sort of
Speaker 1: overwhelmed me.
Speaker 2: Like, yeah, I mean it gets into a lot of cliches,
Speaker 2: but I you kind of enjoyed it every now and then,
Speaker 2: you know, the dialogue and the situation. I agree, I
Speaker 2: don't want to trust us now. Abigail's adore She is adorable.
Speaker 2: I mean her face when you look at her face, yeah,
Speaker 2: she conveys all.
Speaker 3: And she's not allous or anything like that.
Speaker 1: No, she's literally everybody and it's good. I don't know
Speaker 1: that Alan Orkan deserved an oscar for that performance, but
Speaker 1: he's always watchable and they probably handed it to him
Speaker 1: because you know, it was a lifetime achievement.
Speaker 2: Thing, right. But she's adorable. I love her. H the
Speaker 2: Abigail again, she's just Adora. But when she's on the
Speaker 2: van and she's asking, like at the table, when she's
Speaker 2: asking all those questions, I mean, it's just it's just nice.
Speaker 2: I agree, it's a nice performance.
Speaker 1: And just to go back to my think about the aesthetic,
Speaker 1: the reason that sets me off, as I indicated, I
Speaker 1: grew up in a family that struggled, you know, a
Speaker 1: low income, working class family, and it didn't look like that.
Speaker 1: And the other thing I want to say about the
Speaker 1: film is that I really don't know the backgrounds of
Speaker 1: the people involved, the directors and the screenwriter, but to me,
Speaker 1: it felt like this was an image of blowing come
Speaker 1: working class people produced by people who don't actually respect
Speaker 1: the lives that they're living. I felt that the movie
Speaker 1: was sometimes a little cruel in the its assessment of
Speaker 1: those people. Here's an example, A really good example is
Speaker 1: Roseanne the TV show, where a the house looked like
Speaker 1: a poor person's, a poor working class house. It was
Speaker 1: shitty furniture and things were broken down. It wasn't this
Speaker 1: quirky Brady Bunch House and be that show. I haven't
Speaker 1: seen the Connors, but that show back in the day.
Speaker 1: It respected that what the struggles of what these people
Speaker 1: were going through. It respected the perspective of what it's
Speaker 1: like to worry about your bills.
Speaker 2: They weren't making fun of this, They weren't making fun
Speaker 2: of them. They were laughing with them exactly.
Speaker 1: And I do feel like this film sometimes is making
Speaker 1: fun of it's low income, working class people, and I
Speaker 1: it just set it. I was like, I don't like,
Speaker 1: there's something very smug about that's the word. There's something
Speaker 1: very smug about this film, and that's what I kind
Speaker 1: of It's a well made film. If these things don't
Speaker 1: bother you, it's worth your time. But for me, it
Speaker 1: was like this, I think it's.
Speaker 2: A lovely movie. I actually enjoyed watching again. The only
Speaker 2: thing that I don't like is that they make such
Speaker 2: a big deal about her winning and how important that
Speaker 2: is for everybody, for her, for her grandfather, and they
Speaker 2: kind of dropped that conversation towards end and.
Speaker 1: We never see her reaction. I mean, she should have
Speaker 1: been a little devastated by how that played out.
Speaker 2: I missed that conversation. Where's she at least she says,
Speaker 2: you know, it doesn't matter, grandfather, grandpa whatever, blah blah blah.
Speaker 2: I mean I needed that, some kind of dialogue, some
Speaker 2: sort of like conversation about and they just show them
Speaker 2: dancing and the movie ends.
Speaker 3: I agree, I missed that part. I agree. It's cute.
Speaker 3: It's a cute film.
Speaker 2: It is a cute feel.
Speaker 1: Everybody is doing good work in the film. But ultimately,
Speaker 1: for me, the perspective of the film seems a little
Speaker 1: smug and removed from the people it's depicting, and that
Speaker 1: is my That has always been my issue with it,
Speaker 1: along with the aesthetic of it, which just that is
Speaker 1: not what poor people look like in two thousand and six.
Speaker 3: It's just not it's it's it.
Speaker 2: Sometimes it's just little things like the grandfather dies and
Speaker 2: they had everything planned back where they're from, you know,
Speaker 2: for the funeral and everything, but the grandfather died, and
Speaker 2: all of a sudden he has money to ship the
Speaker 2: grandfather and all that, and it just I mean, call
Speaker 2: someone to exactly, it's just all right, where is this
Speaker 2: money coming from? Yeah, it doesn't. It goes in and out.
Speaker 2: Their money problems.
Speaker 1: It's like it just goes in or out, like they
Speaker 1: have money problems until the film needs to do something,
Speaker 1: and then they don't have money problems anymore.
Speaker 2: I mean, like, yes, we only order something that you know,
Speaker 2: up to four dollars, you know at the dynas exactly,
Speaker 2: you're going to go to that level, and then they did. Yeah,
Speaker 2: it just doesn't or you're getting three hotel rooms like that.
Speaker 2: I was like, you know, my parents did not get
Speaker 2: three hotel rooms. They piled us all into one. Oh
Speaker 2: my god. All right, so I think that's it. Yeah,
Speaker 2: all right, So I enjoyed it. I enjoyed watching it again,
Speaker 2: A right did too.
Speaker 3: And maybe you did.
Speaker 2: Two. Would love to hear your thoughts on it, especially
Speaker 2: your thoughts on like the class depiction and whether or
Speaker 2: not I'm out of line for thinking the film was
Speaker 2: a little smug.
Speaker 3: We'll be back next week with Blue Moon, which I'm
Speaker 3: actually looking forward to because I haven't seen it.
Speaker 2: The great movie.
Speaker 3: And uh, until then, take care of yourself, love you
Speaker 3: mean it. Bye bye bye