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<v Speaker 1>You're listening to Later with Mo Kelly on demand from

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<v Speaker 1>KFI A M six forty Nature with.

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<v Speaker 2>Mark talks about pontificates about pop culture.

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<v Speaker 3>Run and Report with Mark Ronner k.

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<v Speaker 4>IF I AM six forty is Later with Mo Kelly.

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<v Speaker 4>We're live on YouTube and also iHeartRadio Mark Runner with

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<v Speaker 4>the Runner Report.

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<v Speaker 5>All Right, I'm not gonna make you wait for it.

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<v Speaker 5>Sinners is my favorite movie so far this year. It's

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<v Speaker 5>only April, but this one's gonna be a tough one

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<v Speaker 5>to beat. It's a terrific movie. It's a terrific vampire movie.

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<v Speaker 5>It's a terrific period movie, and it's a terrific black movie.

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<v Speaker 5>Here's a good bed at the trailer right here. It's long,

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<v Speaker 5>but it's good.

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<v Speaker 4>We've been going a long time.

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<v Speaker 6>Be back man, you twins, now we cousins.

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<v Speaker 4>There are legends of people with the gift of making

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<v Speaker 4>music so true, making conscious spirits from the past and

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<v Speaker 4>the future. This gift can bring fame and fortune.

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<v Speaker 6>Will somebody tag me?

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<v Speaker 2>But it also can piece the veil between life and dance.

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<v Speaker 3>Listen here, this ain't no house party.

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<v Speaker 6>Awesome you keep dancing with the devil. Careful boy, You're

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<v Speaker 6>gonna bite off logan.

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<v Speaker 5>You can too.

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<v Speaker 6>One day it's going to follow you home because it's

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<v Speaker 6>a problem.

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<v Speaker 7>Now the hell going on?

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<v Speaker 4>Oh we heard tale of a party.

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<v Speaker 6>This world already left you for dead. I can save

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<v Speaker 6>you from your faith. You don't need no saying yes

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<v Speaker 6>you do and you are.

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<v Speaker 4>I am your way out.

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<v Speaker 7>Don't care.

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<v Speaker 6>It's all better now, just.

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<v Speaker 5>A lit.

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<v Speaker 6>I don't believe you imagine.

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<v Speaker 7>Ghosts do.

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<v Speaker 6>Just powers? Somebody please take me who We're you gonna

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<v Speaker 6>kill every laze? What are you?

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<v Speaker 4>Now?

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<v Speaker 5>Did I miss a bleep there?

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<v Speaker 7>If?

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<v Speaker 5>So? Lucky you if you're watching on the live stream.

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<v Speaker 5>Sinners stars Michael B. Jordan and is directed and written

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<v Speaker 5>by his frequent partner Ryan Kugler. And right out of

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<v Speaker 5>the gate, there's a gimmick that could have ground the

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<v Speaker 5>whole thing to a shrieking halt and turn it into

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<v Speaker 5>a joke. Jordan is playing twin brothers, and I kept

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<v Speaker 5>waiting for that to get ridiculous, but it's played straight,

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<v Speaker 5>and it's seamless enough that eventually you just settle into

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<v Speaker 5>it and stop looking for bloopers. It's the nineteen thirties

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<v Speaker 5>and the brothers are some sort of former gangsters returning

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<v Speaker 5>from Chicago to their really imposed impoverished hometown in Mississippi,

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<v Speaker 5>where a lot of their friends are still picking cotton,

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<v Speaker 5>and the Blues is their transcendent form of entertainment if

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<v Speaker 5>they're not in church, and I mean transcendent in ways

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<v Speaker 5>that I'm not going to spoil. The brothers are well dressed,

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<v Speaker 5>they're flush with cash and weapons, and they want to

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<v Speaker 5>open their own juke joint. And it's lucky. This is

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<v Speaker 5>decades before a Yelp, but also really extremely unlucky as well,

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<v Speaker 5>vampire unlucky. They take their time getting there. The story's

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<v Speaker 5>immersive in a way that reminded me of Black Panther,

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<v Speaker 5>which is also a Kugler deal. The brothers have to

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<v Speaker 5>assemble a team first, just like in a western or

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<v Speaker 5>a superhero movie, and it's a great cast that includes

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<v Speaker 5>some familiar faces and some new ones. The vampires are creepy,

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<v Speaker 5>and they're led by a kind of a charismatic musical

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<v Speaker 5>redneck who you heard in the trailer. It's also an

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<v Speaker 5>R rated movie with some grown up content, and by

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<v Speaker 5>that I mean dirty sex, which is refreshing. I keep

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<v Speaker 5>wondering why American movies have gotten so puritanical, yet they

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<v Speaker 5>show violence and gore that would gross out a corner

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<v Speaker 5>with no problem about the only things I wasn't crazy

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<v Speaker 5>about with Sinners. The dialogue was hard to understand pretty

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<v Speaker 5>often due to what I guess was some sort of

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<v Speaker 5>period authentic mumbling and slang. I'm gonna be one of

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<v Speaker 5>the geezers who watches it with the subtitles on when

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<v Speaker 5>it's available at home, and I am going to watch

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<v Speaker 5>it again, and it almost overstays. It's welcome. It's a

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<v Speaker 5>good two hours and seventeen minutes, and I think I

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<v Speaker 5>could have trimmed that seventeen pretty easily. But if you're

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<v Speaker 5>going into this, you're gonna leave feeling satisfied. And I

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<v Speaker 5>think a little move too, especially by an epilogue. You

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<v Speaker 5>want to make sure that you stay for or when

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<v Speaker 5>the credits start rolling. I'm trying not to tell you

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<v Speaker 5>too much. In fact, I would avoid the trailers for

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<v Speaker 5>Sinners too, because some of them give too much away.

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<v Speaker 5>Now I want to bring too waala into this twiler.

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<v Speaker 1>There.

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<v Speaker 5>Did you like Sinners as much as I did?

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<v Speaker 2>I think I loved it more. I loved every single

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<v Speaker 2>thing about this film from the beginning This film is

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<v Speaker 2>set in a point of time and in the South

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<v Speaker 2>when my grandmother, not my great grandmother, my grandmother was

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<v Speaker 2>ten years old in that same period in Texas. My

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<v Speaker 2>grandmother used to tell me stories about my great grandmother

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<v Speaker 2>and sharecropping and farming and all that. So watching this film,

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<v Speaker 2>it took me immediately to a place of stories that

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<v Speaker 2>I grew up listening to and hearing my grandmother talk about.

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<v Speaker 2>I know you and Fush couldn't see it, but there

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<v Speaker 2>was the point of time when the film came to

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<v Speaker 2>an end and I did everything I could to hide

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<v Speaker 2>my face in my sweater and cry. I went to

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<v Speaker 2>my car and cried for a good twenty minutes after

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<v Speaker 2>because of how deeply this film touched me. This film

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<v Speaker 2>is transcendent on a whole bunch of different levels. Beyond

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<v Speaker 2>the good acting, beyond the good storyline, beyond the good action,

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<v Speaker 2>the jump effects, you know, jump scares. When it needs me,

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<v Speaker 2>this film took me to a place that I didn't

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<v Speaker 2>think it was actually going to. I didn't think the

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<v Speaker 2>film was going to go that deep into this storyline

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<v Speaker 2>and into this this level of storytelling, and wow, it did,

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<v Speaker 2>and it's haunting. It's very very haunting in what it

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<v Speaker 2>did for me. And you missed the second end credit scene,

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<v Speaker 2>which is actually even more of a rewarding ending when

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<v Speaker 2>you get to that second end credits.

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<v Speaker 1>Yeah.

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<v Speaker 2>Wow, Yeah, there's a second end credit scene.

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<v Speaker 5>Okay, you got to tell me about that. Off the air,

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<v Speaker 5>I moved by it as well. In fact, I think

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<v Speaker 5>it's kind of an instant classic. That's the first thing

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<v Speaker 5>I thought when I left there. It's also a great

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<v Speaker 5>looking movie, and I mentioned that it was good on

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<v Speaker 5>all sorts of fronts as a period movie and also

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<v Speaker 5>as a black movie. But it also did not feel

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<v Speaker 5>like a lecture. Ever, it was entertaining from start to finish.

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<v Speaker 5>What do you think about that?

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<v Speaker 2>No, absolutely, there were several messages that I know were

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<v Speaker 2>directly and pointedly for the African American artists, without saying message,

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<v Speaker 2>without trying to preach. There was a side of the

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<v Speaker 2>South that they were trying to show. There's a side

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<v Speaker 2>of the South that they were highlighting that I think

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<v Speaker 2>more filmmakers when they tell these stories, when they go

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<v Speaker 2>into stories about the past involving African Americans, there is

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<v Speaker 2>a type of story that Moe and I do not

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<v Speaker 2>go and see. We do not participate with, we do

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<v Speaker 2>not support, and those are inward. You can't do that

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<v Speaker 2>moviees And it is when you have a movie about

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<v Speaker 2>I don't care a team of basketball players who are

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<v Speaker 2>from a certain part of the town and could never

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<v Speaker 2>play basketball, but they all come together and in the

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<v Speaker 2>end they beat that team, and it's like, oh, I

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<v Speaker 2>guess you in words can do that. Be it pilots,

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<v Speaker 2>be it debaters, be it swimmers, you name it. There

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<v Speaker 2>are too many films that come out where they tell

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<v Speaker 2>these stories and it starts with us being this thing,

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<v Speaker 2>this pejorative, and in the end it's like, I guess

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<v Speaker 2>we had you pejoratives all wrong.

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<v Speaker 5>Yeah, yeah, I use the term. When you and I

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<v Speaker 5>were just talking off the air the other day, we're

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<v Speaker 5>talking about black movies and I mentioned that I wasn't

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<v Speaker 5>crazy about the kind that I think are just suffering porn.

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<v Speaker 5>Does that make sense to you?

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<v Speaker 4>Yes?

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<v Speaker 2>Yes, too many of those that just absolutely suck. This

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<v Speaker 2>film instant classic. I mean, this is one I will

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<v Speaker 2>watch again and again and again. It's got that level

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<v Speaker 2>of talent behind it. It's gonna be hard to beat

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<v Speaker 2>that film this year.

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<v Speaker 5>Now. I haven't said fruit Vale Station but of all

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<v Speaker 5>the Coogler movies that I have seen, I think this

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<v Speaker 5>is the best. I think he's really come into his

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<v Speaker 5>own as a filmmaker. And even the stuff that I

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<v Speaker 5>wasn't crazy about, I wouldn't take out of the movie

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<v Speaker 5>because that's his vision.

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<v Speaker 2>Yes, yes, yes, I took it all and say, you

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<v Speaker 2>know what, he wanted to put this in for a minute.

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<v Speaker 2>He wanted to stretch the scene out for a minute,

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<v Speaker 2>which is why I need to go back and see

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<v Speaker 2>it again. I understood all the dialogue, and I think

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<v Speaker 2>it's maybe just because I'm more used to hearing that

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<v Speaker 2>level of dialogue. I was like, and then my mom

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<v Speaker 2>thinking of myself, I wonder if everyone else knows what

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<v Speaker 2>they're saying, because I know what they're saying.

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<v Speaker 5>Yeah, if I had a time machine and I was

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<v Speaker 5>transported back to then I would have been the guy

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<v Speaker 5>going huh it was a vernacular line?

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<v Speaker 4>Was it vernacular?

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<v Speaker 1>It was that?

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<v Speaker 5>And the delivery as well. Yes, yeah, well we both

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<v Speaker 5>loved it. Foush. I don't think you loved it quite

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<v Speaker 5>as much, but it was good. It's just I think

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<v Speaker 5>I guess the wave was sold to me.

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<v Speaker 7>I thought it was a little bit more like action,

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<v Speaker 7>you know, filled a little bit, but I mean, yeah,

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<v Speaker 7>you guys hid everything on the mark, especially the especially

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<v Speaker 7>the having trouble understanding them for a decent amount of

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<v Speaker 7>the film. It was kind of hard.

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<v Speaker 6>Yeah.

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<v Speaker 5>They immerse you in the world so that when the

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<v Speaker 5>action finally does happen, it feels very earned to me,

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<v Speaker 5>if that makes sense to you. Yeah, all right, Well

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<v Speaker 5>there's your report. Moe.

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<v Speaker 4>You got to see this. You should have been there.

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<v Speaker 4>I should have been there, but life was life and

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<v Speaker 4>then gotten away. Well, I'll try to see it this weekend.

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<v Speaker 4>K if I AM six forty live everywhere i heeartradio

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<v Speaker 4>app and on YouTube at mister mo Kelly.

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<v Speaker 1>You're listening to Later with Moe Kelly on demand from

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<v Speaker 1>KFI AM six forty
