Unraveling the Complexity of '16 Blocks': A Profound Cinematic Analysis
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This podcast episode delves into the intricacies of the film "16 Blocks," a work that serves as a compelling tribute to the late Bruce Willis, particularly in light of his recent health challenges. We begin by examining the central theme of the narrative, which revolves around the capacity for personal transformation, a notion that is vividly illustrated through the contrasting arcs of the main characters, Jack Mosley and Eddie Bunker. Throughout our discourse, we analyze the film's structure, identifying key elements such as the ticking clock motif that heightens the tension as the characters endeavor to navigate their perilous journey. As we dissect pivotal scenes, we offer insights into how the film successfully intertwines action and character development, ultimately culminating in a poignant exploration of redemption and self-discovery. Our conversation culminates in a thorough evaluation of the film's merit, offering our recommendations based on its thematic richness and narrative execution.
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The Fellowship Of The Reel reviews 16 BLOCKS
Part Four of a four episode Yippy Kai Yay tribute to the great Mr. Bruce Willis. Join us as we celebrate four of Bruce's films and try and say thank you for years of great movies.
Our thoughts and prayers go out to Mr. Willis and his entire family.
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Snyder's Genres:
MONSTER IN THE HOUSE - MONSTER, HOUSES, SIN
GOLDEN FLEECE - ROAD, TEAM, PRIZE
OUT OF THE BOTTLE - A WISH, A SPELL, A LESSON
DUDE WITH A PROBLEM - AN INNOCENT HERO, A SUDDEN EVENT, A TEST OF SURVIVAL
RITE OF PASSAGE - A LIFE PROBLEM, THE WRONG WAY TO FIX IT, THE SOLUTION TO THE PROBLEM
BUDDY LOVE - AN INCOMPLETE HERO, A COUNTERPART NEEDED TO MAKE THEIR LIFE WHOLE, A COMPLICATION THAT IS KEEPING THEM APART EVEN THOUGH THAT FORCE IS BINDING THEM TOGETHER
WHYDUNNIT? - A DETECTIVE, A SECRET, A DARK TURN
FOOL TRIUMPHANT - A FOOL, AN ESTABLISHMENT, A TRANSMUTATION
INSTITUTIONALIZED - A GROUP, A CHOICE, A SACRIFICE (JOIN, BURN IT DOWN, COMMIT SUICIDE)
SUPERHERO - A POWER, A NEMESIS, A CURSE
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The Snyder Beats:
OPENING IMAGE
THEME STATED
SETUP
CATALYST
DEBATE
BREAK INTO TWO
B STORY
FUN AND GAMES
MIDPOINT (FALSE VICTORY OR DEFEAT BUT OPPOSITE OF THE ALL IS LOST)
BAD GUYS CLOSE IN
ALL IS LOST (OPPOSITE OF THE MIDPOINT, FALSE VICTORY OR DEFEAT)
DARK NIGHT OF THE SOUL
BREAK INTO THREE
gathering the team
executing the plan
high tower surprise
dig deep down
execution of the new plan
FINALE
FINAL IMAGE
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In this episode, the podcast delves into the cinematic landscape of '16 Blocks,' a film that intricately interweaves action with profound themes of redemption and moral complexity. The dialogue commences with a detailed synopsis of the film, highlighting the core premise: Jack Mosley, an aging and alcoholic policeman, is tasked with escorting a witness, Eddie Bunker, across a perilous sixteen blocks. This seemingly straightforward assignment quickly escalates into a high-stakes journey filled with treachery and self-reflection.
The hosts engage in a rich analysis of the characters, particularly focusing on Mosley’s transformation throughout the film. They explore how Mosley embodies the struggle between his corrupt past and the possibility of redemption, emphasizing the narrative's exploration of personal responsibility amidst systemic corruption. The discussion further extends to the film's subtext, drawing parallels between Mosley’s journey and broader societal issues regarding justice and accountability. Each scene is dissected for its thematic significance, with the hosts articulating how the film challenges viewers to reflect on the moral choices of its characters.
Additionally, the episode addresses the film's reception, with the hosts expressing their astonishment at its lukewarm critical response. They argue that the film’s deeper messages are often overshadowed by its action-oriented exterior, urging listeners to reconsider its artistic value. By the conclusion of the episode, the hosts successfully frame '16 Blocks' as not merely an action film, but as a poignant exploration of the human condition, highlighting the intricate dance between duty, morality, and the quest for redemption in a flawed world.
Takeaways:
- The podcast emphasizes the importance of analyzing films at a mechanical level, revealing deeper insights into their structure and themes.
- A tribute to Bruce Willis highlights his significant contributions to cinema, particularly in the context of his recent health struggles.
- The discussion on the film '16 Blocks' illustrates how personal transformation is a central theme in both the narrative and character arcs.
- The conversation reflects on the critical reception of '16 Blocks', noting a disconnect between audience enjoyment and critical reviews.
- The dynamic between the characters Jack and Eddie signifies a profound commentary on redemption and the potential for change in one's life.
- The hosts conclude that the film successfully intertwines action with meaningful character development, elevating it above typical genre expectations.
Companies mentioned in this episode:
- Bruce Willis
- Die Hard
- Richard Donner
- David Morse
- Mos Def
- The Goonies
- Lethal Weapon
- Scrooged
- Conspiracy Theory
- The Italian Job
- Monsters Ball
- The Hitchhiker's Guide to the Galaxy
- Bloodline
- Dexter
Mentioned in this episode:
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Transcript
Are you recording this?
Speaker B:Studying a movie in the mechanical level I think can really bring some revelation.
Speaker C:I believe that no one sets out to make a bad movie with the exception of.
Speaker D:On paper.
Speaker D:This should work.
Speaker B:This should work.
Speaker D:I just don't like it.
Speaker A:That's your own fault if you haven't seen it.
Speaker B:Way over budget.
Speaker B:Start cutting scenes.
Speaker B:Even the actors don't know what that movie is about.
Speaker B:Shit, I wish I wrote that.
Speaker C:Which I love the title, but that movie's trash.
Speaker B:Well, it's oatmeal, man.
Speaker B:It's good for you.
Speaker B:Okay, we are fellowship of the real four friends talking about movies.
Speaker B:This time, the first four episodes, we thought we would do a tribute to Mr.
Speaker B:Bruce Willis.
Speaker B:If you have heard our previous episodes or if you are a movie fan, you may know that he has been diagnosed with a debilitating mental disorder and probably will not be among us or making movies anymore.
Speaker B:So we thought we would start off with a tribute of sorts.
Speaker B:Each of us pick one movie by Bruce Willis.
Speaker B:Most notably, we have not picked Die Hard.
Speaker B:We thought that that deserved a episode all on its own, and it does.
Speaker B:But we did pick four Bruce Willis movies, and this one was my pick.
Speaker B: And it is: Speaker B:We'll start off with the synopsis and box office.
Speaker B:The synopsis reads, an aging alcoholic cop is assigned the task of escorting a witness from police custody to a courthouse 16 blocks away.
Speaker B:There are, however, chaotic forces at work that prevent them from making it in one piece.
Speaker B:Fairly decent summary.
Speaker B:I guess that's essentially what the movie is about.
Speaker B:This is a an action flick.
Speaker B:It had a budget of 52 million and it grossed 65 million.
Speaker B:So it just made its money back.
Speaker B:Nothing astounding.
Speaker B:It didn't bomb at the box office, but just made its money back, which I guess made everybody happy, but not happy enough to really get crazy about because it seems to have had a lackluster reception from both the critics and the audience.
Speaker B:Critics score on Tomatometer is 56%, with the audience being just a little higher at 57%.
Speaker B:To me, that was kind of surprising because I really, really, really like this movie.
Speaker B:And we can get into to why here in a little while as we break it down.
Speaker B:But to me, those scores are not indicative of how good I think this movie is.
Speaker B:Chris may have a different view on this, but I was hard pressed to figure out exactly what kind of genre this movie was in terms of Blake Snyder's genre.
Speaker B:So I have three listed and I'm not entirely sure which one it really is because I can see it being any one of these.
Speaker B:The first one I picked was a Golden Fleece movie, which is a road trip movie, which involves a road, a team and a prize.
Speaker B:Certainly the road is the 16 blocks.
Speaker B:The team is Bruce Willis and Mos Def.
Speaker B:And then the prize, of course, is the culmination of them being able to achieve their goal and so on and so forth.
Speaker B:The other one, and I suspect this may be the one that it really is, is dude with a problem and innocent.
Speaker B:A sudden event and then life or death.
Speaker B:I could see that being put in there.
Speaker B:And then also Buddy Love, an incomplete hero, a counterpart and a complication.
Speaker B:And I suspect that if I was hard pressed, it would either be due to the problem or Buddy Love.
Speaker B:But I sure can see it being a road movie.
Speaker C:Yeah, I think it's.
Speaker C:I think it's.
Speaker C:I probably have to go with Buddy Love because.
Speaker C:Yeah, with the.
Speaker C:The Golden Fleece.
Speaker C:Yeah.
Speaker C:So they.
Speaker C:They go, I guess, 16 blocks on the road a little bit.
Speaker C:But the two of them is not a team, in my opinion.
Speaker C:That's not enough people.
Speaker C:Right.
Speaker B:Yeah.
Speaker C:And then the prize has to be, I think, material.
Speaker B:Like something actually more.
Speaker C:Yeah, like.
Speaker C:Okay, because there's a lot of.
Speaker C:Because they talk about the.
Speaker C:Blake Snyder talks about the sports.
Speaker C:Sports fleece.
Speaker C:Right.
Speaker C:So that's winning the championship title.
Speaker B:All right.
Speaker C:Even in Star wars, it's Golden Fleece, but it's getting the Death Star planes.
Speaker C:It's got to be something you can hold on to.
Speaker B:Okay.
Speaker B:All right.
Speaker C:Not that there's not character growth in those stories, but.
Speaker B:No, no.
Speaker B:Right.
Speaker B:So what are you saying?
Speaker B:A dude with a problem or Buddy love?
Speaker C:I think it's Buddy Love.
Speaker C:Because my issue would do with the problem is it talks about an innocent.
Speaker C:Yeah, he's far from innocent.
Speaker B:No, no.
Speaker B:So we.
Speaker B:We learned quite.
Speaker B:We learned that he is not.
Speaker B:He even says, I am not a good guy.
Speaker C:Eddie is minding his own business.
Speaker C:You could argue that most characters are running their own business when the catalyst.
Speaker C:So I think it's Buddy Love.
Speaker B:Okay, so then we'll go with that because I have that as they also.
Speaker C:Because I think they.
Speaker C:It's a lot of Buddy Loves are two handers.
Speaker C:Like they're each other's B stories and they both change where.
Speaker C:I think that rings true here.
Speaker B:Yeah.
Speaker B:I did find the structure interesting in the sense that the opening.
Speaker B:And this is how I saw it, the opening image is really what I'm calling a midpoint or a false defeat.
Speaker B:It may even be a dark night of the soul or whatever.
Speaker B:When we get to that point, I was confused by.
Speaker C:Know where you're going now?
Speaker B:Yeah.
Speaker B:So the movie opens.
Speaker B:Bruce Willis is on a bus.
Speaker B:This is my last will and testament.
Speaker B:They're going to come to you and they're going to tell you some things.
Speaker B:Audrey.
Speaker B:And what they're telling you is not true.
Speaker B:You know, I just, I was just trying to do a little good or whatever.
Speaker B:So essentially at that point we flash back and so the first half of the movie is essentially almost like a flashback.
Speaker B:Right.
Speaker B:Because we are in the past.
Speaker C:Yeah.
Speaker B:Working our way back to the present.
Speaker B:And then from there on we go into the rest of the story or whatever.
Speaker B:So I, I have it.
Speaker B:I think I.
Speaker B:I think I labeled it as a.
Speaker B:As the midpoint.
Speaker B:But going through it, it could be like bad guys close in or, or whatever.
Speaker C:Yeah, I think I have that moment, as always, lost, like later on when we.
Speaker D:Okay, I.
Speaker D:I'd like to say so since we're kind of getting unstarted just getting started with it.
Speaker D:Obviously this movie stars Bruce Willis in it, but the co star in this, the guy's name is most def.
Speaker C:Yeah, we did skip all of that.
Speaker D:He's.
Speaker D:He's been an actor in a lot of things.
Speaker D:He's also a hip hop artist, so he's been very prevalent.
Speaker D:Some of his first stuff goes back to the late 80s.
Speaker D:So he's been a lot of stuff, I think, here recently.
Speaker D:The movie before this one was Hitchhiker's Guide to the Galaxy.
Speaker B:Yeah.
Speaker B:Okay, I've seen him.
Speaker B:I've seen him.
Speaker D:You know, just his IMDb goes on and on.
Speaker D:Most notably where I first saw him was Chappelle Show.
Speaker D:He's, you know, he was a character actor on those things.
Speaker D:He's been in a lot more stuff than I thought.
Speaker D:The Italian Job, I've seen that too.
Speaker D:Monsters Ball, he's been in a lot of stuff.
Speaker D:So I thought this was his first thing I saw this movie.
Speaker D:But he's been in the game a long time.
Speaker D:He really carries his weight in this movie.
Speaker D:He does a really good job.
Speaker B:No, he is absolutely his motivation.
Speaker D:He's just an innocent guy who saw a thing and he just wants to tell the truth.
Speaker B:Yeah.
Speaker D:And evil forces, if you will, come across to him.
Speaker D:And then you got your Bruce Willis stacked up against the main.
Speaker D:I guess you would call him main antagonist.
Speaker D:Yeah, that guy's played by David Morse.
Speaker B:I like him.
Speaker D:He's been in a lot of great stuff.
Speaker B:I like his attitude and his lines in this movie.
Speaker D:Yeah, there's.
Speaker D:There's just a.
Speaker D:There's a lot of character actors in this.
Speaker D:You know, you've seen their face before, but you don't know what else they're in.
Speaker D:But this guy, Green Mile, hurt locker, contact, 12 monkeys, you know, his disturb you?
Speaker D:Yeah, he's one of these guys where you've seen his face, you may not have heard his name.
Speaker B:Yeah, good character.
Speaker D:Definitely character actor.
Speaker D:So he's a solid villain in this.
Speaker D:Yeah, solid villain.
Speaker B:One of the, One of the Bad Cops was.
Speaker B:He's also on the Netflix show Bloodline.
Speaker B:He plays one of the sheriffs or whatever.
Speaker B:One of the guys.
Speaker B:One of the many guys that Bruce Willis handcuffs to a pole and takes his gun.
Speaker B:But.
Speaker B:Oh, yeah.
Speaker C:From Dexter as well.
Speaker B:Yeah, Yep.
Speaker B:Absolutely.
Speaker B:Yeah.
Speaker B:As soon as you start saying it, I was like, oh, yeah, yeah, yeah, yeah.
Speaker B:I like him a lot.
Speaker C:Yeah.
Speaker B:And those.
Speaker B:And he's sort of a background guy in this.
Speaker B:But.
Speaker B:But, yeah, there's a lot of.
Speaker B:But most definitely like.
Speaker B:Okay.
Speaker B:So as I was looking at this, like, his, his performance got like an award at.
Speaker B:At the Razzies or something for most annoying dialogue or most annoying voice.
Speaker B:But I.
Speaker D:He's got a voice that takes some getting used to.
Speaker B:Yeah.
Speaker B:But I, I.
Speaker C:It annoyed the hell out of me the first time and less this time.
Speaker C:But the first time I saw this movie, like, that's one thing I was dreading when I was like, oh, no, no, I.
Speaker C:16 blacks.
Speaker C:I got to deal with his voice again.
Speaker B:I was totally on board.
Speaker B:I.
Speaker B:I don't know why.
Speaker B:I just, I really like his.
Speaker C:Sorry, I interrupt you.
Speaker B:No, no, I just like his performance in this.
Speaker C:His performance is awesome.
Speaker C:And it's very much.
Speaker C:I guess what annoyed me less this time and again, I guess maybe went into watching it with the intent of analyzing it more than I probably did the first time.
Speaker C:His performance and his character is very Rain man esque.
Speaker B:Sure.
Speaker C:And I didn't pick up on that at all the first time.
Speaker C:So that to me allowed to not be as annoyed as much because he's got kind of some issues or whatever you want to go up.
Speaker C:But his voice still annoyed me.
Speaker B:The.
Speaker C:You know, Jack Mosley is a lot of birthday.
Speaker C:There's a lot of money in birthday.
Speaker D:Cakes, you little Mike Tyson.
Speaker C:Yeah, exactly.
Speaker C:Yeah.
Speaker D:That's the New York they were.
Speaker D:It was set in New York, correct.
Speaker D:I'm.
Speaker B:I think it was set New York people in Toronto or some Canadian city.
Speaker B:I can't remember.
Speaker B:Ontario maybe.
Speaker B:I can't remember.
Speaker B:But I.
Speaker B:It was supposed to be New York, but I don't think it was New York.
Speaker C:Nice.
Speaker D:Okay, well, so obviously this was directed by Richard Donner.
Speaker D:Yes, lots of credits.
Speaker D:If you don't.
Speaker D:If you're listening to this and you're a movie fan, you know Superman, Superman movies.
Speaker D:The originals, The Goonies, Lethal Weapons, Scrooged, Radio Flight.
Speaker D:Just my favorite on here.
Speaker D:Probably the one I've watched the most is probably Conspiracy Theory.
Speaker C:Yeah, that one's very good too.
Speaker B:Yeah, I knew him from some of my favorite movies, but I was not aware that a lot of the movies I like were also Richard Donner.
Speaker B:Yeah.
Speaker D:So, you know, I think.
Speaker D:I don't know if this is one of his top movies.
Speaker D:That's my favorite.
Speaker D:It's definitely a good movie.
Speaker D:I think this one stands out as a little bit different than the other movies.
Speaker D:Just the way the story goes, the acting in it.
Speaker D:I think the.
Speaker D:This stands out as some of his best work, but maybe not his most well known work.
Speaker C:Right.
Speaker D:So I'm definitely a fan of it.
Speaker C:Yeah, we had talked about, you know, I guess I made a comment that I, you know, kind of pre ranked these before we started watching them.
Speaker C:I had seen everything but Blind Date.
Speaker C:And in my head, 16 blocks was going to be the one that I was going to enjoy the least because I'd watched it before and thought, oh, you know, it was all right.
Speaker C:I don't feel like there's a whole lot going on there.
Speaker C:And then, yeah, Blind Date was obviously takes the cake on being the worst.
Speaker C:And then, yeah, there's so much more going on in this movie that I didn't notice.
Speaker B:Oh, yeah.
Speaker B:No, I.
Speaker C:So yeah, when, when a lot of stuff that I didn't see before, first.
Speaker D:Time I watched this, I watched it with my girlfriend.
Speaker D:And you know, you watch movies like, oh, I know how this is gonna go.
Speaker D:And she had mentioned, oh, they get there, everything's happy.
Speaker D:In the end, I'm like, oh, this is a little weird because that's not how it ends.
Speaker B:Yeah.
Speaker B:Yeah.
Speaker D:So her, her going into it with that is just going to be a normal Storm story structure because she doesn't know anything about that stuff.
Speaker D:She just knows how it's gonna go.
Speaker D:And the.
Speaker D:I wouldn't say it's a twist at the ending, but it's an unexpected ending.
Speaker B:Yeah.
Speaker C:Right.
Speaker D:So even she got it wrong.
Speaker D:She was.
Speaker A:I kept bugging him.
Speaker A:I'm just.
Speaker A:Tell me, do they make it to the courthouse?
Speaker A:Just tell me, are they gonna.
Speaker A:Are they.
Speaker A:What's.
Speaker A:Is he really gonna.
Speaker A:I mean, Just on and on the whole movie.
Speaker B:No, she was actually, like, harping on me.
Speaker B:So I.
Speaker B:She was.
Speaker A:I said, please tell me.
Speaker A:He wouldn't tell me.
Speaker B:Yeah, of course not.
Speaker C:This is your first time seeing it when y' all watched it together for this.
Speaker C:Okay.
Speaker D:Yes.
Speaker D:Spoiler alert.
Speaker D:They don't make it.
Speaker B:Well, okay.
Speaker B:There is an alternate ending to this movie.
Speaker B:Okay.
Speaker B:On the disc.
Speaker B:Okay.
Speaker B:So there's the theatrical ending, and this is the ending that was actually written and that they filmed.
Speaker B:But then they went back and thought, well, maybe it should be this way.
Speaker B:And I've watched that alternate ending, and it is garbage.
Speaker B:They have made.
Speaker B:They made the completely correct choice in how they ended this movie.
Speaker D:In the alternate version, how does that end?
Speaker B:Okay, so in the alternate.
Speaker B:His partner Frank or whatever.
Speaker C:David Morse.
Speaker B:David Morse, the big heavy.
Speaker B:Right.
Speaker B:They're pursuing him the whole movie.
Speaker B:Right.
Speaker B:So you still have the scene at the end with him going up in the elevator and this kind of thing going to testify.
Speaker B:And when in the ending, it is now David Morris gets on the intercom and says he's on his way up.
Speaker B:Take him out.
Speaker B:Well, in the alternate ending, they said they wanted to create more empathy.
Speaker B:So David Morris gets on there and says, stand down.
Speaker B:Forget it.
Speaker B:We've lost.
Speaker B:And either someone doesn't get that message or decides they're not gonna do it and kills Bruce Willis.
Speaker B:So Jack Mosley dies.
Speaker B:And the only evidence they have then is that tape recorder.
Speaker B:But they're still able to bust it because he's got his tape recorder.
Speaker B:And the letter that Eddie sends in the cake and everything.
Speaker B:They rewrote that letter.
Speaker B:And it is nowhere near as heart rending and intimate as the letter that is read in the current ending.
Speaker B:Endearing and friendly and interesting.
Speaker B:It is a totally, from the word go, unsatisfying.
Speaker B:And I'm sure it tested audiences that way.
Speaker B:And so they decided not to do it.
Speaker C:Yeah, it sounds like it.
Speaker B:Yeah.
Speaker B:The.
Speaker B:They're just forget that there's an altered ending because it should not exist.
Speaker B:The way they ended that movie is absolutely the correct way that they.
Speaker B:They should have.
Speaker D:Well, cool.
Speaker D:You want to get into it?
Speaker B:Yeah, yeah.
Speaker C:So you have your.
Speaker C:Your opening image actually being the.
Speaker C:The at the bus or whatever, like when he's.
Speaker C:This is my last will and testament.
Speaker C:Because I guess for me, I've.
Speaker C:Since then.
Speaker B:Well, I think it's a prolonged device.
Speaker C:I went ahead and did like his opening image before all that happens.
Speaker B:Yes.
Speaker B:I think that that is the midpoint.
Speaker B:I don't think that's the Opening image.
Speaker C:Okay, so what's your opening image?
Speaker B:My opening image is so.
Speaker B:So it sums him up perfectly.
Speaker B:But there's the, the apartment scene, you know, somebody has to watch Bust.
Speaker B:Yeah, there's a drug bust and somebody has to watch the apartment.
Speaker B:And one of the characters who's actually on Blue Bloods now, Sherry said, oh, that's the.
Speaker B:That's one of the guys on Blue Bloods.
Speaker B:He's older now, but anyway, says, who's downstairs we don't need.
Speaker B:And of course it's Jack.
Speaker D:He comes walking up with a, you know, half full coffee cup.
Speaker B:His opening image is he's an alcoholic man.
Speaker B:And so he pours out his coffee, scans this drug dealer's apartment till he finds a bottle of booze and sits on the couch and pours straight liquor.
Speaker D:Turns on the air conditioner.
Speaker C:Yeah, no, I guess what I wrote down was deadbeat with dead bodies.
Speaker C:Like, this guy is such a deadbeat and so like disconnected and just dead inside and dead with life, that it.
Speaker C:Being around dead bodies doesn't bother him.
Speaker C:He searches through their cabinets, he turns on the ac, he reads their paper.
Speaker C:Like, I very much got the impression this guy's done this once or twice and it doesn't bother him at all.
Speaker C:No, he just wants his booze and reads his paper.
Speaker D:And he was on his way home and they stopped him and said, hey, we got it.
Speaker B:Yeah, later.
Speaker B:In a few minutes.
Speaker B:Yeah, later.
Speaker B:They didn't squawk it.
Speaker C:You want me to sit with some dead people?
Speaker C:Nothing.
Speaker C:None of that.
Speaker C:Just.
Speaker B:Yeah, well, I wrote down something similar.
Speaker B:Jack sitting amongst the dead, waiting.
Speaker B:Essentially the walking dead.
Speaker B:You know, he's just.
Speaker B:I don't.
Speaker B:At some point I became so enamored of this movie that maybe I started seeing things that weren't there.
Speaker B:So you tell me if I'm going off the rails.
Speaker B:His name is Mosley.
Speaker B:And I don't think that means anything except it sounds like Mosi just sort of shuffling through life.
Speaker B:I don't know that.
Speaker B:That.
Speaker B:I don't think that's intentional.
Speaker B:Yeah, Mosi Mosley, I think that's.
Speaker B:That's me reading stuff into it in retrospect.
Speaker B:But Jack Moseley, one of the.
Speaker D:One of the cool little trivia things is to film those.
Speaker D:Bruce Willis would put a pebble in his shoe and walk with that limp.
Speaker C:Oh, nice to go.
Speaker D:He did that.
Speaker D:The whole.
Speaker D:For that character's motivation, I guess, and.
Speaker C:And so keep you from, from forgetting, you know, and.
Speaker C:Hey, Bruce, weren't you limping with the other leg?
Speaker C:Last time.
Speaker B:Yeah.
Speaker C:You know.
Speaker C:Yeah.
Speaker B:Part of the opening image.
Speaker B:I thought it was interesting because there's a scene where.
Speaker B:So after that he's walking back to his office and he's in the hallway.
Speaker B:I didn't notice it the first time, but the second time, like he's that guy.
Speaker B:He, he, he's going to his office and he actually passes his office door because he's just in such a hazy shuffling and he has to turn around and go back to his door because like his doors here and a couple inches down, he goes to another door that's not his and has to go back, but he's walking down the hall and that young, younger or this, this really fit.
Speaker B:And you could tell by his face, this no nonsense fit cop passes him in the hall and Bruce Willis sort of looks up at him or whatever and it's the contrast.
Speaker B:Right.
Speaker B:So this is his opening image.
Speaker B:He is the alcoholic past his prime, down and out cop.
Speaker B:And he's being passed by.
Speaker C:I feel like they even made a face like Bruce Willis smelled like.
Speaker C:You can almost smell the alcohol on him.
Speaker C:Because later on, most deftly has a mos.
Speaker C:Definitely most def.
Speaker C:As a comment.
Speaker C:Hey, man, you don't smell good.
Speaker C:He doesn't smell that good.
Speaker B:He goes to the secretary and the first thing the secretary does, stone pair of pack of Tic Tacs.
Speaker B:Which.
Speaker B:Okay, so we'll talk about.
Speaker B:He shakes it, you know.
Speaker B:Yeah, yeah.
Speaker B:But at the end, hey, be careful.
Speaker B:And he pulls it out and he's tick, tick, tic.
Speaker B:So it's a bookend of the Tic Tacs at the beginning.
Speaker B:Those Tic Tacs are big.
Speaker B:To cover up his breath.
Speaker B:Sure.
Speaker B:To cover up his breath at the end.
Speaker B:But when he's shaking those Tic Tacs at the end of the movie, he's not the same guy that's shaking those Tic Tacs at the beginning.
Speaker B:So I thought that was a nice sort of callback.
Speaker B:There's just all kinds of references of him screwing up his paperwork and he got the lick.
Speaker B:There's like three or four references right off the bat to him getting alcohol.
Speaker C:Right?
Speaker B:Yeah.
Speaker B:So this, this we are without a doubt who this guy is in the setup in the opening image or whatever.
Speaker B:Any other.
Speaker C:Okay, get on set up.
Speaker C:Yep.
Speaker B:I thought the.
Speaker B:The theme stated so.
Speaker B:And then we're introduced to the clicking talk.
Speaker B:Clicking talk, Clicking, ticking, clocking clock.
Speaker B:118 minutes to get 16 blocks.
Speaker B:Right is the initial.
Speaker B:And there are.
Speaker B:I didn't count them, but I wrote them down.
Speaker B:But I Didn't count how many there.
Speaker B:Every several minutes, there's a reference.
Speaker B:Every several scenes, there's a reference to the clock, to how many blocks they've come.
Speaker C:Nice.
Speaker B:So there is a constant reminder of this ticking clock and distance throughout the movie, which I thought was pretty good.
Speaker B:It stayed on it.
Speaker B:The theme stated, I think, came fairly early.
Speaker B:Right.
Speaker B:It's almost mystical.
Speaker B:Right.
Speaker B:Because Eddie will talk about.
Speaker B:There are signs everywhere.
Speaker B:The story he keeps telling is about.
Speaker B:It helps you decide where you are in your life.
Speaker B:Being at the right place at the time you believe that.
Speaker B:You believe in that.
Speaker B:So this whole movie is about being where you're supposed to be.
Speaker B:And Bruce Willis at this time.
Speaker B:Jack Mosley at this time is not where he's supposed to be.
Speaker B:And later he'll say some things that sort of reinforce that.
Speaker B:But, yeah, the theme is, you know, are you where you're supposed to be?
Speaker B:You should be where you're supposed to be.
Speaker B:Things happen for a reason.
Speaker B:And there you could argue that he.
Speaker C:Is where he's supposed to be by.
Speaker B:Saying, I think, yes.
Speaker B:Because he's.
Speaker B:Well, he said initially he's the wrong guy, Jack.
Speaker C:All right.
Speaker B:It's like you make life longer and this kind of thing anyway.
Speaker D:Well, wouldn't you say that the.
Speaker D:The main premise of that movie is him dealing with the sins of his past?
Speaker C:For sure.
Speaker D:And that's why he's miserable and he's in the right place.
Speaker B:Yeah.
Speaker B:He was not at the right place.
Speaker D:Yeah.
Speaker B:Where he should have been as a corrupt cop or whatever.
Speaker D:Because of what he had done previously.
Speaker D:He was one of those cops.
Speaker C:Yeah.
Speaker C:So I had some of that written down.
Speaker C:Similar stuff, but also had people don't change.
Speaker C:Like, he says that at one point.
Speaker C:I think Bruce Willis says that people don't change.
Speaker C:And then, you know, like, that's a bit.
Speaker C:I mean, it's.
Speaker C:Both of them change.
Speaker C:Right.
Speaker C:They're both trying to change their life.
Speaker C:And obviously, most def's closer to being.
Speaker B:He's already on that road.
Speaker C:Yeah.
Speaker C:Already on the road where Bruce Willis has to get on that road.
Speaker B:Yeah.
Speaker C:But like, he even comes back at the.
Speaker C:The bus scene.
Speaker C:You said people don't change.
Speaker C:And, you know, it's.
Speaker C:You're killing me.
Speaker C:But anyhow, you're killing me.
Speaker B:Yeah, yeah, yeah.
Speaker B:Right.
Speaker C:And he gives all these references to.
Speaker C:To the people that Chuck Berry and the other people that changed.
Speaker C:And I like how their names are on the cake at the end.
Speaker B:Yeah.
Speaker B:Well, there's a scene and I didn't catch it the first time.
Speaker B:And again, I think this is intentional.
Speaker B:Okay.
Speaker B:I do believe this is intentional.
Speaker B:And it's not something you might ever notice, but obviously, Jack Mosley is a corrupt cop.
Speaker B:That's part of the problem.
Speaker B:He was with these other cops, fixing cases, whatever, and I noticed that.
Speaker B:So when Jack Mosley is at his office right there at the beginning, and he's throwing the empty in the drawer or whatever.
Speaker B:Well, it's either as he sits down or as he stands up, there's all that bulletin board behind him.
Speaker B:And right.
Speaker B:Right behind Jack is a sign that I'm sure it's about reporting corruption or whatever, you know, in your workplace.
Speaker B:But all you see is the word corruption.
Speaker C:Yeah, nice.
Speaker B:Right behind his head.
Speaker B:And I'm like, that's.
Speaker B:That's intentional.
Speaker B:That's gotta be.
Speaker C:It's cool that it's a sign, too, because there's signs everywhere.
Speaker B:Signs everywhere.
Speaker B:Right?
Speaker B:So these are all.
Speaker B:Especially after watching this movie, I'm like, man, Richard Donner.
Speaker B:Yes, sir.
Speaker C:You know, Right.
Speaker B:I think all this stuff is intentional and there's some more of it.
Speaker B:But, yeah, I noticed that was like.
Speaker B:Yeah.
Speaker B:You know.
Speaker C:Yeah.
Speaker C:Even the.
Speaker C:I guess on the theme of change, like, being reborn and, you know, like, he.
Speaker C:Eddie is interested in making cakes, Specifically birthday cakes.
Speaker B:Birthday cake.
Speaker C:Like, it could have been anything.
Speaker C:It could have been, you know, making donuts or something.
Speaker C:Right.
Speaker C:Or any other profession.
Speaker C:But it's.
Speaker C:It's.
Speaker C:You know, and the whole thing about him not knowing his birthday.
Speaker C:Right.
Speaker C:He didn't know his real birthday was today, really your birthday.
Speaker C:I think today really is his birthday.
Speaker C:Like, I mean, he's being reborn that day.
Speaker C:So is Jack.
Speaker B:Oh, yeah.
Speaker B:Oh, yeah.
Speaker C:All this stuff about, you know, birthday cakes.
Speaker B:Yeah.
Speaker B:Birthdays are.
Speaker B:New beginning.
Speaker B:Yeah, absolutely.
Speaker B:100%.
Speaker B:I thought that was a choice, you know, so there was this.
Speaker B:And again, I don't know.
Speaker B:But it has to be a conscious choice because it kept being brought into frame.
Speaker B:So I think there's these symbols of change, Right.
Speaker B:And I could never decide what kind it was, but two or three times brought into frame is that bird flapping on the dashboard of that bad guy's van with the flapping wings.
Speaker B:Now, I don't know how you want to phrase that, but there's no reason to waste a shot on that unless you're trying to tell us something.
Speaker B:And I think it's a symbol.
Speaker B:I wanted to say it was an albatross for the sake of, you know, you have an albatross around your neck, which is a symbol of something dragging you down.
Speaker B:I don't know.
Speaker C:It's in the bad guys, though, Right.
Speaker C:It's not in his dashboard.
Speaker B:Right.
Speaker C:The guys in the van.
Speaker B:Yes.
Speaker C:At first try to take him out.
Speaker B:Yes.
Speaker B:But it's got flapping wings.
Speaker B:I don't know if that's a symbol of, you know, taking flight or, you know, free as a bird or.
Speaker B:I don't know.
Speaker B:But for some reason, Donner, on two or three different occasions, wanted to bring that bird into frame.
Speaker C:Yeah, maybe.
Speaker C:Yeah.
Speaker C:I mean, to me, I guess I thought when I just saw it, I didn't put, I guess, much stock in what it was.
Speaker B:Yeah.
Speaker C:I thought it was more of just him establishing kind of where we're at, that.
Speaker C:That, okay, the bad guys are in a van.
Speaker C:That was this, you know, but it could have been a bobblehead.
Speaker C:It could have been anything, right?
Speaker C:So.
Speaker B:Yeah, that's what I'm saying.
Speaker C:That's what we're saying.
Speaker C:No, but, yeah, I mean, he didn't make it a bobblehead.
Speaker C:Maybe it is now.
Speaker B:Yeah.
Speaker B:And so I have no way of.
Speaker B:Like I said, I.
Speaker B:I started seeing the signs everywhere, Right.
Speaker B:You know, I don't know.
Speaker B:You know, I did think it was interesting.
Speaker B:And.
Speaker B:And Most Def does this later when Jack Mosley is checking Most Def out, right?
Speaker B:Eddie the Cop is standing there, and there's a boxing match on the television in the background.
Speaker B:A boxing match.
Speaker B:Right.
Speaker B:Later in.
Speaker B:In his sister's apartment when he's getting his gun or whatever, Most Def goes in the bathroom, and I guess he's trying to psych himself up, but he's doing the boxing.
Speaker B:And I'm like, okay, well, see, this is.
Speaker B:This has got to be intentional.
Speaker B:It's.
Speaker B:They're in a fight for their lives.
Speaker B:They're in a boxing match with, you know, evil forces or whatever, you know, so.
Speaker B:So.
Speaker B:So all this sort of like, I'm just like, yeah, you know, if you're gonna film this, take the time and the forethought to put stuff in there that the audience may never see, but that, you know, reinforces your, you know, these nuances.
Speaker B:I just thought it was woven and intricate, and I just.
Speaker B:I thought, you know, this is.
Speaker B:This is great.
Speaker B:You know, I'm seeing stuff, you know, and then, of course, it doesn't help that he says there's signs everywhere.
Speaker B:But I think.
Speaker B:But I think he has to be intentional because.
Speaker B:Because you're framing your set, you're taking the time to put a television in there, finding a clip of a boxing match, probably having to get rights to it.
Speaker B:I Mean, you know, saying so.
Speaker C:Yeah.
Speaker B:You know.
Speaker B:Yeah.
Speaker B:So signs, everywhere signs, sign signs.
Speaker B:He says.
Speaker B:And that's why I said the movie is almost mystical at this point.
Speaker B:Being Rush, being where you're supposed to be.
Speaker B:Do you believe in that?
Speaker B:And then there's this.
Speaker B:So there's lots of symbols, but there's.
Speaker B:Early on, there's a big contrast and callback two or three times almost every time that they reference Mosley's alcohol, they also reference Eddie's cookbook.
Speaker B:Right.
Speaker B:So Eddie's.
Speaker B:Eddie is after that cookbook.
Speaker B:He will not leave without that cookbook.
Speaker B:As much as Jack wants that bottle, you know.
Speaker C:Yeah.
Speaker B:These are their.
Speaker B:What they're clinging to, you know.
Speaker D:Gotcha.
Speaker D:You know, those are the things they need to drag through the movie with them.
Speaker B:Yes.
Speaker B:One needs to cling, you know, cling to it and.
Speaker B:And the other needs to let it go or whatever.
Speaker D:Exactly.
Speaker B:You know.
Speaker C:Yeah.
Speaker C:And also, that was interesting, unless I missed something, when we're introduced to Bruce Willis, like everyone that he encounters is asking something of him.
Speaker C:You know, hey, Jack, we need you to come up here and do this with, you know, babysit these bodies.
Speaker C:We, you know, hey, Zach.
Speaker C:Jack, where's your report?
Speaker C:You know, all that stuff.
Speaker C:They're asking things of him.
Speaker C:The first, when he meets Eddie Bunker.
Speaker C:Right.
Speaker C:Is his name.
Speaker C:When he meets him.
Speaker C:That's the first character that ask him if he's okay.
Speaker C:Instead of asking something of him, they're asking how he is.
Speaker C:Hey, man, are you okay?
Speaker C:You don't look too good.
Speaker C:Like it's, it's very much a contrast to everybody else.
Speaker B:Yeah, that is true.
Speaker B:Yeah.
Speaker B:You look pretty depressed or something.
Speaker B:Most people want to let me, you.
Speaker D:Know, so they get, they get signed out and he's, he's asking, I need my book.
Speaker D:And I was supposed to get a.
Speaker C:Suit in a gray suit, three piece suit, nice buttons.
Speaker C:Yeah.
Speaker B:Yes.
Speaker B:A lot is made of clothes.
Speaker B:Whatever.
Speaker B:He needs a suit because he needs to change.
Speaker C:Correct?
Speaker B:Right, right.
Speaker B:Yeah.
Speaker C:Yeah.
Speaker C:And then I like later on, I mean, when he gets his suit, because in the way he gets the suit is to get out of it.
Speaker C:Bruce Willis comes up with the.
Speaker C:I'm going to disguise you as a host.
Speaker B:Yeah.
Speaker C:Put on this suit.
Speaker C:And the.
Speaker C:Even though he's a nice guy, like he didn't know Jack at the beginning, right.
Speaker C:When he first.
Speaker C:That had happened earlier in the movie, I don't know that he would.
Speaker C:Gone.
Speaker C:Gone back to save Jack.
Speaker C:But he puts it all together.
Speaker C:They're gonna, yeah, I'm free.
Speaker C:But they're gonna kill Jack.
Speaker C:Yeah, right.
Speaker B:Yeah.
Speaker C:So he goes back in his.
Speaker C:In his suit.
Speaker C:Right.
Speaker C:So he has changed.
Speaker C:Once he gets his suit, he's.
Speaker C:He's changed.
Speaker D:And yes, he's the man he was meant to become.
Speaker D:Now he needs to help.
Speaker C:He couldn't get suit earlier on because he hadn't earned it yet.
Speaker B:Right.
Speaker B:And then so must have, you know, any middle of time or whatever when he stops just before the.
Speaker D:Yeah.
Speaker D:He goes in to get alcohol for the 16 block trip.
Speaker C:And the whole time the.
Speaker C:I got something very important I was supposed to do.
Speaker C:I got some very important.
Speaker B:Yeah, yeah, yeah.
Speaker D:He wanted to get to court, do his thing.
Speaker D:And because he's gone.
Speaker B:Because he's got to be at the.
Speaker B:The Port Authority by noon, because he's got the 35 000.
Speaker C:Yeah.
Speaker C:For a long time I thought it was the court appointment, but he had.
Speaker B:To get the 10 and 12 stuff.
Speaker B:Yeah, yeah.
Speaker B:So Jack goes into this liquor store anymore time he goes into.
Speaker B:And he knows the people by name, right?
Speaker C:Yeah.
Speaker C:And he knows the bartender later on by name.
Speaker C:He knows all the stuff, knows them all.
Speaker B: buys the bottle and it's like: Speaker B:Well, apparently he hands him probably a 20 and they say, do you want the change?
Speaker B:No, I don't want the change.
Speaker C:Oh, nice.
Speaker C:I missed.
Speaker B:Maybe I better take the change.
Speaker B:I might need it.
Speaker B:And that's just a throwaway line.
Speaker B:But.
Speaker B:No, it isn't.
Speaker B:I believe it isn't.
Speaker B:Yeah, you know, I didn't catch that one.
Speaker B:Yeah, I don't want the change.
Speaker B:Well, maybe I better take the change.
Speaker B:I might need it.
Speaker C:Right.
Speaker D:You know, at that point in the story too, he's.
Speaker D:He's being forced.
Speaker D:He's at the threshold of the change in the story.
Speaker D:Yeah, no, I don't want the change.
Speaker D:But change is literally in your car.
Speaker C:Yeah.
Speaker D:You're on your way to.
Speaker B:Yeah, because.
Speaker B:Because when.
Speaker B:When he's given the task, he actually says, you got some mutt to do this?
Speaker B:This is how he's viewed as the mutt.
Speaker B:Right.
Speaker B:I don't want the chain.
Speaker B:I just thought.
Speaker B:Well, you could have said anything there.
Speaker B:But you said that you had the character say that.
Speaker B:So I just.
Speaker B:I think that's nuanced.
Speaker B:Right.
Speaker B:I think it's.
Speaker B:I think it's just at all.
Speaker B:If you can have a line that doesn't contribute to theme or a line that does, a good writer director is going to go with the line that does, you know.
Speaker B:Yeah, yeah.
Speaker C:Because they could have had him just buy it.
Speaker C:And you never Even hear the.
Speaker C:About the exchange of money and stuff.
Speaker B:Yeah, right.
Speaker B:He just wanted the alcohol.
Speaker B:He don't care about the change.
Speaker B:But, you know, there it is.
Speaker C:I do like how those guys attack at that moment.
Speaker C:Right.
Speaker C:And try to kill.
Speaker C:Most def ways in there buying his alcohol and everything we've seen up to this point leads us to believe most death's gonna die.
Speaker B:Yes.
Speaker D:Oh, yeah.
Speaker C:This is the wrong guy, this alcohol.
Speaker C:He's more interested in alcohol.
Speaker C:He is not.
Speaker C:And I like the reveal that he shoots him or whatever from behind.
Speaker C:And.
Speaker D:Yeah.
Speaker D:You hear the gunshot.
Speaker D:You're like, oh, he's dead.
Speaker C:Oh, he's dead.
Speaker C:And then his head falls.
Speaker B:Even Sherry was like, yeah, I thought that.
Speaker C:And when I stand there holding Bruce will seem surprised.
Speaker C:His character seems surprised that he did it.
Speaker C:But I like how that's all right.
Speaker C:There's more to this guy than the alcohol.
Speaker B:He was not always think he is.
Speaker D:Yeah, right.
Speaker B:Yeah.
Speaker B:You better give me that change.
Speaker B:I'm gonna need.
Speaker B:I'm gonna need that.
Speaker B:Yes.
Speaker B:He says, you better give me that change.
Speaker B:I'm gonna need that.
Speaker B:I'm like, okay, absolutely.
Speaker B:Yeah.
Speaker B:So.
Speaker D:So now that.
Speaker D:Now the hunt is on, it's.
Speaker D:Why are these guys trying to kill you?
Speaker D:What did you see?
Speaker D:What did you.
Speaker B:Yeah.
Speaker B:What do we do?
Speaker B:I have that as.
Speaker B:As sort of the setup and the catalyst being a hit on Eddie is stopped by Jack.
Speaker B:Right.
Speaker C:That's what I have.
Speaker C:Yeah.
Speaker C:Attack him.
Speaker C:And then the debate is.
Speaker C:Yeah.
Speaker C:Kind of what are they doing when they.
Speaker C:The David Morse and the other cops corner them.
Speaker C:Corner Mosley and Eddie in the bar.
Speaker B:Yes.
Speaker C:And he, you know, more stocks than basically, you know, do what you usually do, Jack.
Speaker B:Do what you always do.
Speaker C:Yeah, do what you always do.
Speaker C:Yeah, that's it.
Speaker C:Yeah.
Speaker C:Yeah.
Speaker C:I feel like that's the debate.
Speaker C:As soon as he shoots the guy that's about to kill.
Speaker C:Execute.
Speaker C:Most def.
Speaker C:That's his breaking the two.
Speaker B:Yeah.
Speaker B:As soon as.
Speaker C:Not gonna look away this time.
Speaker B:And I think it's.
Speaker B:I mean, it's.
Speaker B:To me, it works because everybody knows what it means.
Speaker B:They hand him the bottle and he puts it down.
Speaker B:Right.
Speaker B:When he puts that bottle down, it's on.
Speaker B:Right.
Speaker C:Like you usually do.
Speaker B:Yeah, yeah, yeah.
Speaker B:He's not going to act like.
Speaker B:Yeah.
Speaker B:And so.
Speaker B:Yeah, absolutely.
Speaker B:Debate.
Speaker B:Because.
Speaker B:Because he's watching and he knows that.
Speaker B:That.
Speaker B:That Eddie gets real quiet when those guys come in.
Speaker B:And now Bruce was like, okay, what's going on here?
Speaker B:And as he's learning, he.
Speaker B:You could see him mentally debating.
Speaker C:Yeah.
Speaker C:Like, that was all visual.
Speaker B:Yes.
Speaker B:Taking Frank's offer or not taking Frank's offer.
Speaker B:And you know, of course, he.
Speaker B:He takes Frank's offer.
Speaker B:And I think at that, when he leaves that bar, he's into the second act.
Speaker C:Oh, for sure.
Speaker B:Yeah.
Speaker B:So do you.
Speaker D:Do you think there in that.
Speaker D:Conversations that we're having when Eddie.
Speaker D:Because Eddie's most f.
Speaker D:When he saw his reaction and figured out, oh, he's involved, implicating these guys, did he know I.
Speaker D:I'm part of that too, and what I'm doing, sitting this aside and gonna help him?
Speaker D:Because at that point, he knew Most def.
Speaker D:Was going to be testifying against.
Speaker B:Oh, yeah.
Speaker B:I think.
Speaker B:I think based on his decision at the end, I think this has been eating at him.
Speaker D:Yeah.
Speaker D:The ante is so miserable.
Speaker C:Yeah.
Speaker B:Yeah.
Speaker D:And this is his chance.
Speaker B:And then he's not going to because he.
Speaker B:Later on he'll confess about the guy who.
Speaker B:You stuck his gun in his mouth.
Speaker B:The old man had a heart attack.
Speaker B:He was going to take down our case.
Speaker B:This is a repeat of that.
Speaker B:And he's.
Speaker B:He, he.
Speaker B:In his mind, he can't let that happen again.
Speaker C:Right.
Speaker B:But yes, I think.
Speaker B:And I think at that point, on some level, he is that because.
Speaker B:Because Frank, you know, whatever says, you go out that door, I can't help you.
Speaker B:And to me, it was brilliant.
Speaker B:He says, you go out that door, everything changes.
Speaker B:I said, yeah, because it's the second act.
Speaker B:Everything will change as you.
Speaker B:You.
Speaker C:Another door, too.
Speaker C:You talk about that.
Speaker D:Yeah, another door.
Speaker B:I printed this out, man.
Speaker B:I was blown away by this.
Speaker B:Right, okay.
Speaker B:So the door is physically the second act.
Speaker B:But then I noticed what's on the wall.
Speaker B:It's a Dos Equis beer sign.
Speaker B:Right.
Speaker B:Okay.
Speaker B:So, yeah, so he goes to the door, turning his back on alcohol, and it's 2x's dose.
Speaker B:Second act.
Speaker B:2x's.
Speaker B:This is me reading too much into it.
Speaker B:I'm like, you could add any beer sign.
Speaker B:Right?
Speaker C:Well.
Speaker C:And they also didn't have to corner them in a bar either.
Speaker C:Then that adds to the turning his back on alcohol.
Speaker B:Yes.
Speaker C:Yeah.
Speaker C:It could have been in anything.
Speaker C:It could have been.
Speaker B:But just, Just in that.
Speaker B:Just there.
Speaker B:There are four references to the theme and story.
Speaker B:Right.
Speaker B:The second act.
Speaker B:I circled it.
Speaker B:I was like, I'm.
Speaker B:Best being said.
Speaker B:I.
Speaker B:I don't care who you are.
Speaker B:That's.
Speaker D:That's.
Speaker D:That's right.
Speaker D:That's pretty good.
Speaker B:Yeah.
Speaker B:If you can have a Budweiser sign or a Dos Equis.
Speaker B:And you're saying this is he is accepting the call.
Speaker C:Right.
Speaker B:That.
Speaker B:How can that not be?
Speaker B:I don't know.
Speaker B:I want that to be intentional, man.
Speaker D:You know, it probably is, yeah.
Speaker D:I mean, from what I've learned of YouTube talking about movies, nothing on screen should be accidental.
Speaker D:Everything is placed correctly.
Speaker D:Everything.
Speaker D:Yeah.
Speaker D:So everything you see on film meant to be there.
Speaker B:And especially with somebody like Donner, I would think.
Speaker D:Yeah.
Speaker D:Seasoned veteran.
Speaker D:Really?
Speaker B:Yeah.
Speaker B:So this.
Speaker B:So now I think we're in the Act 2.
Speaker B:Right.
Speaker B:So.
Speaker B:And.
Speaker B:And I think Frank actually says, you know, again, there's constant reminders of the clock, but he actually says at some point the clock is ticking.
Speaker B:Clock's ticking, you know, whatever.
Speaker B:Reminding the audience that this is going to be almost a real time kind of situation where.
Speaker C:Yeah, I wrote a note for fun and games.
Speaker C:You own 16 blocks in New York in 90 minutes.
Speaker C:So.
Speaker C:Yeah, I don't know.
Speaker C:I guess maybe there was a reference to 90 minutes or something somewhere around there when I wrote that, I guess.
Speaker C:Right.
Speaker B:Yes.
Speaker B:Because initially it's 118 minutes.
Speaker B:Then I think at some point, maybe it comes 90.
Speaker B:At some point it becomes seven blocks.
Speaker B:At some point you see a clock that says like nine o' clock.
Speaker B:So, you know, they have an hour.
Speaker B:And then at some point at the very end, and there's probably others.
Speaker B:There's.
Speaker B:You see a clock and it's like 5 till 10 when the jury's gonna get out.
Speaker B:So the.
Speaker B:The clock.
Speaker B:Almost every couple of scenes is brought into.
Speaker B:Into frame or whatever.
Speaker D:So now they've exited the bar.
Speaker B:Yeah.
Speaker B:And I just wrote down all the fun and games.
Speaker B:You know, the, the various shootouts and.
Speaker B:And this kind of thing.
Speaker D:What was the next scene after the bar?
Speaker D:They go.
Speaker B:First off is his sister's apartment.
Speaker B:The ruse that catches Jack and Eddie a fish.
Speaker B:The.
Speaker B:Guess his name is Bob.
Speaker B:This is where they handcuff one of the detectives.
Speaker B:Yes.
Speaker B:Okay.
Speaker B:Kid.
Speaker B:You know, he's in there talking and, you know, and this happened several times that.
Speaker B:Showing that.
Speaker B:That Jack may be a drunk, but at some point he was a very clever investigator and detective because he.
Speaker B:It almost started becoming a running joke almost that everybody who's chasing Jack is going to be handcuffed to a pole and having their gun taken at some point by Jack.
Speaker C:Right.
Speaker B:You know, and even.
Speaker B:Even Frank, the.
Speaker B:The main bad guy at some point gets his.
Speaker B:You know, because it's a great line.
Speaker B:They're coming down after the apartment or whatever, and the bad guy thinks that he's one upped him finally, you know, can't be lucky.
Speaker B:Every Day and then moss def.
Speaker B:Well, yeah, but he could be smart every day, you know?
Speaker C:Right, right.
Speaker B:I was like, yeah.
Speaker B:And that's Jack, right?
Speaker C:Yeah.
Speaker D:You gave him a gun.
Speaker B:Yeah.
Speaker B:You gave him a little gun, you know?
Speaker C:And, I mean, I don't know where it's at, but somewhere in there, the David Morris has a good line about.
Speaker C:Because there's all these references to him doing what he always does.
Speaker B:Right.
Speaker C:And then now he's not doing that.
Speaker B:Yeah.
Speaker C:I remember if he's talking to the.
Speaker C:To the police chief or what.
Speaker C:I think he is.
Speaker C:He says we woke him up.
Speaker B:Yeah, I actually have that written down.
Speaker D:Yeah.
Speaker D:Because it wasn't.
Speaker D:Yeah, it wasn't too long after the.
Speaker D:The bar scene where he loses him and they're talking on the phone.
Speaker D:He's like, just let him go.
Speaker D:Let us find him.
Speaker B:Yeah.
Speaker D:You just go home.
Speaker C:Right.
Speaker D:Like we're trying to give you an out.
Speaker D:And he just will not do it.
Speaker B:Right.
Speaker B:Yeah, yeah, yeah.
Speaker C:Because most of runs away because he thinks he's.
Speaker C:You're the wrong dude.
Speaker C:You're the wrong dude.
Speaker B:And then.
Speaker C:Then he has proved himself.
Speaker C:All right.
Speaker C:I was.
Speaker C:Sorry.
Speaker B:Eddie says, I was starting to think you're not the dude for this.
Speaker B:And then Frank, you know, Frank had said we woke him up.
Speaker B:Hopefully he does what he always does, you know?
Speaker B:Yeah.
Speaker B:I was like, yeah, that's.
Speaker C:Yeah.
Speaker C:He still has hope that he'll.
Speaker B:Yeah, yeah.
Speaker D:Revert back, find a bottle, go crawl into it, disappear.
Speaker C:Yeah.
Speaker B:So.
Speaker B:Okay, so something I started noticing, obviously it's about change.
Speaker B:Right.
Speaker B:So everybody.
Speaker B:People should change.
Speaker B:Everybody needs to change.
Speaker B:Whatever.
Speaker B:There are so many references to going through passageways.
Speaker B:Right.
Speaker B:So the next scene after the apartment is they're back on the street.
Speaker B:Eddie finally discovers him.
Speaker B:But before that, Jack discovers him.
Speaker B:But before that, Eddie is trying to get through the turnstiles and he.
Speaker B:Nobody's given him passage.
Speaker B:Nobody.
Speaker B:And if he can't get through there, he can't do what he has to do.
Speaker B:He can't be where he needs to be.
Speaker C:That's when he ran away.
Speaker C:Yeah.
Speaker B:And somebody.
Speaker B:And a cop waves them through.
Speaker B:Right.
Speaker B:So a passageway through another door to get to the place where he needs to be.
Speaker C:Yeah.
Speaker C:And the cop.
Speaker C:I like how the.
Speaker C:Just that whole scene of the cop watching him at first and he could pass judgment, go, all right, this guy's a loser.
Speaker C:This guy, he's up to no good, but he gives him a second chance kind of thing.
Speaker B:Yeah.
Speaker C:I mean, which is what Eddie's after the whole time.
Speaker C:I mean, because he was A criminal.
Speaker C:He has done some stuff, but he's trying to change his life.
Speaker B:And, you know, and this cop, who could have.
Speaker C:Because you baked a cake in prison, right.
Speaker C:For one of the inmates.
Speaker C:And that's when he realized, you know.
Speaker B:Yeah.
Speaker B:People started want.
Speaker B:And he says, people started looking at me different.
Speaker B:And that's what.
Speaker B:But Eddie Will says, let you know, you know, why you do that.
Speaker B:Cops don't shoot other cops.
Speaker B:Cops don't.
Speaker B:Not for somebody like me.
Speaker B:But it's two cops that have sort of helping him get on his way, Jack.
Speaker B:And then this.
Speaker B:This transit cop.
Speaker B:Yeah.
Speaker B:Who sees these kind of people all the time, rousted him.
Speaker B:But for whatever reason.
Speaker B:And then that's echoed later on when they're on the run in the fun and games and they knock on.
Speaker B:And, you know, it's.
Speaker B:Again knocks on the door of the old man, and the old man creaks through.
Speaker B:I don't open my door.
Speaker B:I never open my door.
Speaker B:Click.
Speaker B:He opens the door.
Speaker B:And of course, Eddie sees this as mystical.
Speaker B:You hear that, Jack?
Speaker B:You hear that?
Speaker B:He never opens the door.
Speaker C:Right.
Speaker B:All that designed to say that something almost mystical is happening here.
Speaker B:You know, this is the right place, the right time, you know, for us, for Jack, you know.
Speaker C:Right.
Speaker B:Yeah.
Speaker B:I thought that was kind of.
Speaker B:And earlier, when they're back on the street, before Jack is really on board with this.
Speaker B:You're a thief, Eddie.
Speaker B:You'll always be a thief.
Speaker B:You know, this kind of thing.
Speaker B:So this play between change, not change, with events lining up to show that, yes, the things are happening, signs everywhere, you know, that people can change and this is your time or whatever.
Speaker C:Yeah.
Speaker C:Even when they're separated by the wall where David Morse is there and Eddie and Bruce Wilson on the other side of it.
Speaker B:Yeah.
Speaker C:And Morse is trying to convince, you know, he says, take a look at him.
Speaker C:Right.
Speaker C:He's a.
Speaker C:He's a criminal or whatever.
Speaker C:Like all that, you know, even that whole scene of him trying to.
Speaker C:We were partners.
Speaker C:I think that's revealed when they were partner, maybe.
Speaker C:So, yeah, it's him.
Speaker C:All this going back and forth about, you know, going back against what, you know, turning against what you were.
Speaker C:Right.
Speaker C:You know, because he's trying to say that Eddie can't change and people can't change kind of thing.
Speaker B:Yeah, no, absolutely.
Speaker B:In the fun and games, when they're pinned down and.
Speaker B:And Frank is having a conversation with Jack, you know, talking about Eddie, you know, he's always going to do what he always did.
Speaker B:That.
Speaker B:That phrasing is an exact Match to hope he does what he always does about.
Speaker B:So all that, I think, you know, obviously intentional or whatever.
Speaker B:They shoot out and escape.
Speaker B:They ride the elevator up to the apartments, knocking on doors, calls the da, Gives the wrong room number.
Speaker B:This is the one with the old man.
Speaker B:Yeah, the joke about Yu Gi.
Speaker B:Oh, you know, whatever.
Speaker B:They have the laugh or what.
Speaker B:Frank wants Eddie to change his clothes and he hands him a shirt.
Speaker B:Why?
Speaker B:He doesn't want that shirt.
Speaker B:And he doesn't want the second Jack.
Speaker B:Jack.
Speaker B:Yes.
Speaker B:Jack hands Eddie.
Speaker B:It's hot.
Speaker B:I don't want that shirt.
Speaker B:How about this one?
Speaker B:No.
Speaker B:Even though man wouldn't wear that one, you know.
Speaker B:How about this one?
Speaker B:Yeah, that was okay.
Speaker B:So all this talking, obviously changing of clothes and stuff, but Frank is giving Eddie some clothes here.
Speaker B:Change this.
Speaker B:Change into this.
Speaker B:Change into this.
Speaker B:The change can't be put on by someone else.
Speaker B:The change has to be.
Speaker B:You want that change.
Speaker B:And I don't know if it's too much, but it was still in there.
Speaker B:Eddie saying, no, I don't want that change.
Speaker B:I don't want that shirt.
Speaker B:I want that shirt.
Speaker B:So choosing the change that he wants, even with the simple idea of a shirt.
Speaker B:Sure.
Speaker B:You know, all these references with that could have gone anyway.
Speaker B:Something with the dressing and change and taking on a different appearance or whatever.
Speaker B:They leave the apartment.
Speaker B:There's that.
Speaker B:Cool.
Speaker B:I can't get lucky.
Speaker B:Can't get lucky all the time.
Speaker B:Yeah, but you could be smart every day, I thought.
Speaker B:And then.
Speaker B:And then Eddie wants to kill that guy.
Speaker B:You know?
Speaker B:You know, how's it feel?
Speaker B:How's it feel?
Speaker B:And Jack being sort of the instrument who wasn't on board with Eddie and probably still isn't, but doesn't want him to kill the guy either.
Speaker B:Calls him the baker.
Speaker B:You're a baker.
Speaker B:You know, all of a sudden he's not the thief.
Speaker B:Eddie, you're always the thief.
Speaker B:All of a sudden he's the baker.
Speaker C:Because if he does kill him, then he is the.
Speaker C:Exactly what Brink said.
Speaker B:He was right.
Speaker B:Yes, absolutely.
Speaker B:And you know.
Speaker B:All right, so back on the street, on the bus headed for the midpoint.
Speaker B:False defeat is what I'm calling it.
Speaker C:That's what.
Speaker C:Yeah.
Speaker C:When the bus crashes and they're trapped with the hostages in the bus.
Speaker C:That's.
Speaker C:Yeah, I have that as a midpoint in a false defeat.
Speaker B:Yeah.
Speaker B:Okay, so do I.
Speaker B:Yeah, absolutely.
Speaker C:And Morris and the SWAT team surround them.
Speaker C:That's a bad guys close in.
Speaker C:There's nowhere for Eddie and Mosley to go.
Speaker B:Yes.
Speaker B:Eddie talking about Cakes.
Speaker B:I thought that was a pretty, pretty poignant scene.
Speaker B:I, I was on board.
Speaker B:Yeah.
Speaker D:The birthday scene.
Speaker D:Asking a little girl about the birthday.
Speaker D:What?
Speaker D:Yeah, that was, that was really good scene.
Speaker B:Yeah, I, I, I like that.
Speaker D:When's your birthday?
Speaker B:Yeah, right.
Speaker C:Yeah, today, actually.
Speaker C:Today is my birthday.
Speaker D:Yeah, it's somebody's birthday every day, I think.
Speaker C:Yeah, that's a good line too.
Speaker B:Yeah.
Speaker B:No, it's, it's every day.
Speaker C:It's somebody's birthday.
Speaker B:Yeah.
Speaker B:Every day.
Speaker B:Yeah.
Speaker B:Right.
Speaker B:Yeah.
Speaker C:There's a lot, a lot of money in birthday cake.
Speaker C:Shit.
Speaker B:Yeah, that's right.
Speaker B:Yeah.
Speaker B:Yeah.
Speaker D:A lot of cake research in prison, I guess.
Speaker B:Yeah.
Speaker B:Well, you know, he wrote, he had all those recipes written there.
Speaker B:You know, put my name first.
Speaker B:I'm doing most of the work.
Speaker C:Yeah, that was good.
Speaker B:Yeah.
Speaker B:So the bad guys, clues.
Speaker B:Then I have as, as a Frank telling the SWAT guy he shot two of us.
Speaker B:Enough said.
Speaker B:Right.
Speaker B:So he's setting up that to take him out another look at the clock.
Speaker B:Eddie is dressed differently.
Speaker B:Jack says, you got your suit.
Speaker B:When Eddie gets off and gone.
Speaker D:Yeah.
Speaker D:They take the suit off of one of the hostages.
Speaker B:Yes.
Speaker D:And it magically fits this smaller guy.
Speaker B:Yeah.
Speaker B:Right.
Speaker D:They exit and he escapes in the crowd, I guess.
Speaker B:Yeah, he's, he, at this point, he's able to, to get away, but he.
Speaker C:Always lost right there.
Speaker C:The false victory because he, he gets, Eddie's getting away.
Speaker C:He's not going to survive.
Speaker B:You have all his losses as, as.
Speaker C:Getting is coming up with a plan of putting Eddie in the suit and allowing him to escape.
Speaker C:It's a false victory, like he's not going to survive himself.
Speaker B:Right, right.
Speaker C:But Eddie's gonna get away and make it to the courthouse in the.
Speaker B:Yeah.
Speaker D:I thought it was, it wasn't courthouse.
Speaker D:It was just go.
Speaker D:It just get out of here.
Speaker C:I thought you're still gonna go and testify.
Speaker D:No.
Speaker B:Well, he says, he says.
Speaker B:Bruce, Bruce Willis says nobody's gonna testify.
Speaker B:We've lost.
Speaker B:Yeah.
Speaker D:Run.
Speaker B:Just get out of here.
Speaker D:You'll never make it to the courthouse.
Speaker B:You'll never make it.
Speaker B:You know, they win, we lose.
Speaker C:Yeah.
Speaker B:Very much admitting defeat.
Speaker B:It's not until Eddie comes back that I think Jack is able to, you know.
Speaker D:Yeah.
Speaker D:People can change.
Speaker B:Yeah.
Speaker D:Look at me.
Speaker C:Yeah.
Speaker C:You said people don't change.
Speaker C:Yeah.
Speaker C:And then he comes back.
Speaker B:You imagine big old what's his name stealing $300 barry white.
Speaker B:Stealing $300 barry white.
Speaker B:You know, he changed.
Speaker B:I thought that, I thought it worked, you know.
Speaker B:Yeah.
Speaker B:All is lost.
Speaker B:Nobody is testifying.
Speaker B:This Was a strange choice for me.
Speaker B:The passengers sort of rat them out.
Speaker B:Like they just sat there and they know.
Speaker B:They can't believe these guys are criminals.
Speaker B:I don't know this.
Speaker B:That you just.
Speaker C:He's in there waving a gun.
Speaker C:Took me against my will.
Speaker B:Yeah, I guess.
Speaker B:I don't know, I just thought it was kind of shitty for the passengers of Red Man.
Speaker B:No, he changed his suit.
Speaker B:No, no, there's not 41 passengers out there.
Speaker B:He's the only one left.
Speaker D:That's.
Speaker D:That's the thing that surprised me when they were on the phone.
Speaker D:How many passengers in here?
Speaker D:Most of counts, everybody.
Speaker D:There's 31, 32.
Speaker D:He goes, there's maybe 40.
Speaker D:Well, Bruce Willis, he was setting that up and I didn't see it coming.
Speaker B:Yeah, was.
Speaker D:Yeah, there's maybe 30.
Speaker D:And then, you know, I'm just gonna open the door and let them go while they're trying to round all these people up.
Speaker D:Maybe 40 people.
Speaker D:That's when he slipped out.
Speaker D:I was like, that is brilliant.
Speaker D:Brilliant move on his part.
Speaker B:Yeah.
Speaker D:Let him know, surprise them because he knew they were coming in to kill him.
Speaker C:Yeah, they knew there were exactly 12 people or something.
Speaker C:They're counting them as it came out.
Speaker D:So when it's maybe 40, get him in a suit, get him out.
Speaker C:Right.
Speaker D:He'll be gone while they kill me.
Speaker D:They'll be figuring this out.
Speaker B:Yeah, yeah.
Speaker B:No, it's again, Mosley is a cunning, sharp cop who has got something eaten at him and he needs to change or whatever.
Speaker B:I thought it was very good.
Speaker B:Dark night of the sword.
Speaker B:So, yeah, as I'm looking at this, I'm thought, well, maybe it's not a midpoint.
Speaker B:Maybe it's a dark knight.
Speaker B:Jack records his last words and will and testament surrounded.
Speaker B:Eddie, thinking, walks away.
Speaker B:So it seems like at this point, this is the darkest moment.
Speaker B:Right.
Speaker B:I mean, he's actually recording his last will and testament.
Speaker C:Yeah, I guess I had a little bit different because I wasn't reading, looking at all my notes on the all is lost.
Speaker C:Like, again, I had it as a false victory because Eddie's going to survive.
Speaker C:He's come up with this plan to put him in a suit and let him slip out with the rest of the hostage.
Speaker C:Yeah, I'm dead, but Eddie will survive or whatever.
Speaker C:I've been trying to save this dude's life the whole time, and then not only does Eddie come back, he kind of ruined that up.
Speaker C:Eddie gets shot when he comes back too.
Speaker C:That's the all was lost to me.
Speaker B:Oh, yeah, yeah.
Speaker C:Eddie Shot.
Speaker C:And here's this guy who came back and risked his life for me when I, you know, to do the right thing.
Speaker C:And I haven't been willing to do that this entire time, you know, and I didn't do that before.
Speaker C:Yeah, that's what Mosley's saying the whole time.
Speaker C:And you know, because in the ambulance ride and all this.
Speaker C:That's why.
Speaker C:I mean that's his breaking at three, his dark knight and all that is because his breaking the three is finally doing the right thing.
Speaker B:Yes.
Speaker B:Yeah.
Speaker D:That's when they escape on the bus.
Speaker D:They.
Speaker C:They get out on the bus and then.
Speaker C:But he got, he got.
Speaker C:He gets shot when they're escaped and.
Speaker D:They find his ex wife ambulance driver.
Speaker B:Yeah.
Speaker D:Gets him patched up and does the old shuffle.
Speaker C:Yeah.
Speaker C:Switch a roof thing.
Speaker C:Which again, back to your point, is him outsmarting them.
Speaker B:Yes.
Speaker B:I guess I had to break into three through another door.
Speaker B:Eddie.
Speaker B:Through the bus door, the door, the bar door.
Speaker B:The second act, the bus door.
Speaker B:The third act.
Speaker B:Examples of people changing reminder to the theme.
Speaker B:I guess I have.
Speaker B:This could be.
Speaker B:Because I wasn't sure.
Speaker B:I guess at this point this could be the dig deep down and preparing for the third act.
Speaker B:In which case they take the bus to the third act.
Speaker B:So the third act, when they're actually.
Speaker B:Because at that point.
Speaker B:You're killing me.
Speaker B:And so Bruce is no longer concerned about necessarily making his last will and testament.
Speaker B:And they actually drive the bus.
Speaker B:Try to drive the bus away.
Speaker B:So I thought maybe that's where the third act would start.
Speaker B:Which leaves about 30 minutes for the third.
Speaker B:For the third act.
Speaker D:I would, I would think, honestly, just looking at it from an outsider point of view, I would think the ambulance doors closing in the old switcheroo would be the start of the third of okay, we missed them.
Speaker D:Boom, the door slams.
Speaker B:Okay.
Speaker D:And the reveal.
Speaker D:That's my uneducated opinion.
Speaker C:Yeah.
Speaker C:I mean, and if you're looking for, I guess visual clues and doorways and stuff like he going with.
Speaker C:I guess the way I broke it down is, you know, going to testify and do the right thing.
Speaker C:Take Eddie's place.
Speaker C:Right.
Speaker C:You know, to take Eddie's place and do the right thing.
Speaker C:Finally he meets.
Speaker C:Runs into David Morse underneath that the bridge or in the parking.
Speaker B:In the parking area.
Speaker C:Right.
Speaker C:But that's.
Speaker C:I mean he's going through the.
Speaker C:The basement to come out.
Speaker C:You know what I mean?
Speaker B:Yeah, yeah, yeah.
Speaker B:I think I have that as like.
Speaker B:Like storming the.
Speaker B:Storming the castle or whatever because I have the, the break into Three.
Speaker B:With the gathering of the team and all of the.
Speaker B:Storming the castle and all this.
Speaker B:So gathering the team.
Speaker B:Eddie has been shot, so he has to call his sister, call the other ambulances.
Speaker B:So this is his team.
Speaker B:Right.
Speaker B:This is the ones that are going to help him get to the castle.
Speaker B:Right.
Speaker B:Take care of Eddie, you know, take Eddie to the Port Authority.
Speaker B:That whole conversation, you know, in the ambulance, then the guy saying, this is as close as I can get you.
Speaker B:The court, the courtroom, is obviously the castle and the confrontation with Frank.
Speaker B:So he's gathered his team, and now he's trying to storm the castle.
Speaker B:Maybe this is the Hightower surprise.
Speaker B:The setback, you know, he's going to go to the castle, but here's Frank.
Speaker C:Yeah.
Speaker B:And he actually takes an elevator up, maybe up to the.
Speaker B:You know, obviously it's not supposed to be viewed as a castle, but taking an elevator up to the tower where he's supposed to be, you know, whatever.
Speaker B:So I have all that is sort of the third act.
Speaker C:Yeah.
Speaker C:I mean, that's what I had, too.
Speaker C:I just had him, I guess, you know, when he tells Eddie, you know, you're not going to testify in the ambulance.
Speaker C:And I'm testifying, like the decision to take Eddie's place.
Speaker C:Right.
Speaker C:Yeah.
Speaker C:I just risked his life for him.
Speaker C:Like, he needs to do the right thing.
Speaker C:Like, that's his.
Speaker C:That was the.
Speaker C:To me, the breaking three beat.
Speaker C:And then.
Speaker B:Yeah.
Speaker C:Everything else you just said is the finale in the storm, the castle.
Speaker D:I would say that the.
Speaker D:The.
Speaker D:The seed of that was planted in the bar when he realized, oh, he's.
Speaker D:He's testifying against us.
Speaker D:Yeah.
Speaker D:I am going to take.
Speaker D:I think that's where that was put in, is I'm going to take his place.
Speaker D:He's going to get out of here scot free.
Speaker D:That's where the movie was for me.
Speaker C:Yeah.
Speaker B:Yeah.
Speaker D:Was the third act.
Speaker B:Yeah.
Speaker B:Because at that point, as soon as he did that, everything changes, Jack.
Speaker B:You know, and everything will, because now you either have to let him testify or you have to testify because you have gone against these cops.
Speaker B:So now something has to happen.
Speaker C:Right.
Speaker C:You know, and then even again with the tape recorder, you know, outsmarting everybody and.
Speaker C:Yeah, I was thinking about that when you were talking about the alternative.
Speaker C:The alternative ending having, I guess, Frank be, you know, more sympathetic.
Speaker C:Like, I really like the.
Speaker C:The way they have it.
Speaker B:Yeah.
Speaker C:You see the.
Speaker C:Almost like the hurt and betrayal on his face, you know, that you recorded that conversation.
Speaker C:That was.
Speaker C:That was private.
Speaker C:That was us just doing our you know, like it's.
Speaker C:I don't know.
Speaker C:He conveyed all that in his face.
Speaker C:David Morse did.
Speaker C:I really like that.
Speaker C:That like even though he's been going against them this entire movie, it's like he still had hope somehow that he's gonna do what he always does.
Speaker B:Well, at some point earlier when they're having that standoff, whatever, you know, I guess we stopped being friends about 8:30 this morning.
Speaker B:He goes, no, no, I don't erase.
Speaker B:You know, because I think on some level, yeah, Frank still wants Jack to be in the fold.
Speaker C:Sure.
Speaker B:But to be in the fold, you have to be a stand up guy and be crooked, you know, and keep, keep your.
Speaker B:And, And Jack says it's, you know, it's, it's not about me ruining anybody's lives.
Speaker B:It's about you crossing lines.
Speaker B:Lines were crossed, you know.
Speaker B:Yeah.
Speaker B:And yeah.
Speaker B:So, yeah, execution, new plan.
Speaker B:Bunker is gone.
Speaker B:Bad guys surround him, try to kill him in a ruse, but he will testify.
Speaker B:And he has the tape recorder, I thought the final image.
Speaker B:And again, they did this really well in the, in the ending.
Speaker B:They have.
Speaker B:The altered ending is terrible.
Speaker B:Two years out from where Eddie started.
Speaker B:Previously out of.
Speaker B:Okay, so previously you see this guy hovering upstairs.
Speaker B:You see him, you know, just looking like death warmed over.
Speaker B:Now he's got a cake with how many candles on it?
Speaker B:And he blows that out in one.
Speaker B:One puff.
Speaker B:Right.
Speaker B:He's got his wind back.
Speaker B:Right.
Speaker B:So he's no longer.
Speaker C:He's also surrounded by living people as opposed to dead people.
Speaker B:Yeah, he's sitting.
Speaker B:That's surrounded by life, a new birth with the birthday.
Speaker C:And then it's literally.
Speaker C:Yeah.
Speaker C:Birthday cake.
Speaker B:Opposed to sitting in a chair.
Speaker B:Yeah, absolutely.
Speaker B:Yeah.
Speaker B:I, yeah.
Speaker B:So that's the theme.
Speaker B:People can change the proposition that is tested.
Speaker B:The movie asked and answered.
Speaker B:Yeah.
Speaker B:So I really thought, I thought they really hammered theme.
Speaker B:And, and, and I, I really.
Speaker B:They wrapped it up.
Speaker B:I thought really, really cool.
Speaker C:Yeah.
Speaker C:No, I even.
Speaker C:I was mad.
Speaker C:I got irritated.
Speaker C:I teared up a little bit.
Speaker C:When you.
Speaker C:Thank you, Jack Mosley.
Speaker C:You saved my life.
Speaker C:In that whole speech I started, I was like, no, this movie.
Speaker B:I don't.
Speaker C:This.
Speaker B:No, I was.
Speaker C:That's not a movie.
Speaker B:You get teary every time, man.
Speaker C:Yeah, it worked.
Speaker C:It hit where you're supposed to.
Speaker B:And no, it was, it was good.
Speaker B:Yeah.
Speaker B:I'd forgotten that he done.
Speaker B:James had mentioned the movies.
Speaker B:I forgotten Donner did this, did all these other movies that I liked.
Speaker B:Yeah.
Speaker B:We talked about what the alternate ending was.
Speaker B:Yeah.
Speaker B:Being at the right place.
Speaker B:At the right time.
Speaker B:I thought, I thought it worked.
Speaker B:I thought they, you know, I thought they, they had good theme.
Speaker B:They.
Speaker B:I thought it was structured.
Speaker B:I think we're right around the same points about these breaks, give or take.
Speaker B:Yeah, but I thought, I thought Donner really.
Speaker B:And the writer to new story and told an action flick and proves that you could tell an action flick and still have themes like.
Speaker B:Or has.
Speaker B:Have things like theme and callbacks and meaningfulness.
Speaker B:And you know, an action flick doesn't just have to be, you know, popcorn or whatever.
Speaker B:Right.
Speaker D:Yeah.
Speaker D:The standout scenes to me weren't the action.
Speaker D:They were the spots in between the action leading up to the action.
Speaker D:That was where the bulk of my interest was.
Speaker C:I would argue that the action changed the week as part of that thing.
Speaker B:Yeah, yeah, yeah, absolutely.
Speaker B:How many.
Speaker B:And that's.
Speaker B:And that's the thing though, right?
Speaker B:A car chase is a car chase is a car chase.
Speaker B:Unless you care about the guy driving or.
Speaker B:Or who they're chasing.
Speaker B:Right, right.
Speaker B:They get us on board with these characters and then we're on board.
Speaker B:Right, right.
Speaker B:You know, I thought that was really done well.
Speaker B:And the writer.
Speaker B:I have to go back and look.
Speaker B:Richard Donner appears in this movie.
Speaker B:It's some character in the back.
Speaker B:I can't remember which.
Speaker B:Also the writer, I think it's that guy in the photograph in his sister's apartment when he.
Speaker B:Because, because make sure you leave the seat up or put the seat down or leave the seat up and the seats already up.
Speaker B:And then you see that picture, I think.
Speaker B:And I have to go back and look, but I think that picture is the writer.
Speaker B:Yeah.
Speaker B:And then Donner is in it as a background character or something.
Speaker B:I can't remember.
Speaker D:Richard Wink is the writer.
Speaker D:He is the ADA's detective.
Speaker B:Okay.
Speaker B:All right.
Speaker D:Well, he's definitely in it.
Speaker B:Yeah.
Speaker B:So maybe that makes sense because he's.
Speaker B:He's.
Speaker B:He's at Jack's party.
Speaker B:Is he a white haired guy?
Speaker D:Yes.
Speaker B:Yeah, I think that's him.
Speaker C:Okay.
Speaker B:He's in the picture.
Speaker B:And.
Speaker C:And he's at the.
Speaker B:He's at the table with the birthday at the end.
Speaker B:Birthday at the end.
Speaker D:Yeah, I don't see Donner in here yet.
Speaker D:Oh, there he is, man holding birthday cake.
Speaker B:There you go.
Speaker B:Okay.
Speaker B:Yeah.
Speaker B:So.
Speaker C:Yeah.
Speaker C:And I don't know, just.
Speaker C:I thought I had was, I guess.
Speaker C:Why, why 16?
Speaker C:Why that number?
Speaker C:You know, why not 20 blocks or 18 blocks?
Speaker C:So I tried to look it up and see if there's anything.
Speaker C:There is such thing as a 16 step program.
Speaker B:Oh really?
Speaker C:Yeah, about alcohol.
Speaker C:So I've always heard of the 12.
Speaker C:Right.
Speaker C:There was a 16 again.
Speaker C:I don't know if that's the reason or not.
Speaker C:I was just.
Speaker C:I was curious why they chose 16.
Speaker B:Yeah.
Speaker C:Because I looked it up and naturally all I could find.
Speaker C:So I didn't.
Speaker B:Signs everywhere.
Speaker C:Definitive.
Speaker D:But that's wild.
Speaker B:Yeah.
Speaker D:I mean it's.
Speaker C:Yeah.
Speaker D:It's a really well made movie.
Speaker D:Like I said at the beginning, it doesn't go where you think it's going to go.
Speaker D:It's a really thoughtful movie.
Speaker D:Every step was very thoughtful plotting, methodical.
Speaker D:I liked it.
Speaker B:I.
Speaker B:I'd seen it and I liked it.
Speaker B:But I guess I wasn't in tune with the theme necessarily as strongly as it was this time.
Speaker B:And then all the references to it with change and.
Speaker C:Right.
Speaker B:But you know, it's.
Speaker B:It's an action movie, but it had me, man.
Speaker D:You know, I think, I think as far as an action movie goes, like if you were to stack this up next to a Die Hard or Lethal Weapon, it would fall short of those.
Speaker D:But I think character wise, almost like a drama.
Speaker B:It's more.
Speaker B:It's almost more character driven piece than some of those.
Speaker C:Yeah.
Speaker B:Like I think Die Hard has.
Speaker B:Has two tracks.
Speaker B:Getting his wife back, stopping the terrorists.
Speaker B:But I think that is straight up adrenaline.
Speaker B:Whereas I don't think you ever get to the point of adrenaline on this.
Speaker B:Although it is pretty tense to through the streets.
Speaker B:Yeah.
Speaker D:It's kind of like a.
Speaker D:How are they going to get out of this?
Speaker B:Yeah.
Speaker C:Yeah.
Speaker C:I think if the.
Speaker B:The ideas of value I thought were there, you know.
Speaker C:Yeah.
Speaker C:If the action scenes have been more.
Speaker C:I guess if they had spent more time on them.
Speaker C:Like if they'd been like.
Speaker C:It could be a perfect movie to me if the action scenes were up par.
Speaker C:You know, on par with a John Wick or a Die Hard addition to the character stuff.
Speaker B:This guy's also a middle aged.
Speaker C:Correct.
Speaker C:So you're not going to have him doing John Wick stuff.
Speaker B:Yeah.
Speaker C:So that's part of it.
Speaker C:Yeah.
Speaker D:It draws a lot of parallels to Die Hard Three of you gotta get through New York City and da da da da da.
Speaker D:He's drunk, he's coming out of a hangover in Die Hard 3.
Speaker D:Same thing.
Speaker B:Yeah.
Speaker D:And that's where I think I came into it looking like, oh, he's.
Speaker D:It's Die Hard 3.
Speaker D:It's Die Hard 3.
Speaker D:Richard Donner style.
Speaker D:And it is not.
Speaker C:Yeah, right.
Speaker D:Is very good movie in a different vein.
Speaker B:Almost a slower burn.
Speaker B:Yeah.
Speaker C:Yeah, yeah.
Speaker C:It's like an like baddie looks, you know.
Speaker B:Oh yeah.
Speaker B:Some scenes he looks absolutely like he's about to die.
Speaker C:Right.
Speaker B:There's some.
Speaker B:Oh, Indiana Jones.
Speaker B:Yeah.
Speaker B:Sit down before you fall down.
Speaker B:You know, there is a movie and I.
Speaker B:I might have remembered it before, but I forgot.
Speaker B:I just remembered again.
Speaker B:I don't.
Speaker B:I'd have to go back and look to see if it's a beat for beat kind of thing.
Speaker B:But there's a Clint Eastwood movie from the 70s called the Gauntlet.
Speaker D:Said this is a remake of it.
Speaker B:Oh, is it?
Speaker B:Okay, there you go.
Speaker B:It's the same situation.
Speaker B:The Clint Eastwood's got to get somebody somewhere and there's a bus.
Speaker B:I can't remember I'd been a law.
Speaker D:This is specifically.
Speaker D:I read that in the trivia.
Speaker D:It is a remake or whatever.
Speaker B:There you go.
Speaker D:Same story.
Speaker D:Yeah, similar story.
Speaker B:That's cool.
Speaker D:But yeah, I would say do you want to do the past recommend or.
Speaker B:I went from a recommend having not seen this in a long time from I would recommend it to.
Speaker B:I mean a consider.
Speaker B:A consider to a hard recommend.
Speaker B:Like I'd seen it and I bought it and it's like, okay, that's a good movies.
Speaker B:Bruce Willis, whatever.
Speaker B:So I would have considered, you know, I considered it and I would have said, yeah, check it out if you want to.
Speaker B:Yeah, definitely, this is a good movie you need to watch or whatever.
Speaker B:Yeah.
Speaker B:So the second viewing definitely made me go from, you know, I consider to a hard recommend.
Speaker D:Yeah, I would say hard recommend as well.
Speaker D:I've in the research for this, I watched it maybe four times, maybe five times, and it just, it had my attention every time when I was in the room watching it.
Speaker D:I watch movies a little different than most people, but it caught my attention.
Speaker D:I would watch it for the time that I was there and then held my attention the whole way.
Speaker D:It was a great movie.
Speaker C:Yeah, yeah.
Speaker C:No, I guess I have a recommend.
Speaker C:Probably went from consider to recommend.
Speaker C:I don't know.
Speaker C:It's interesting.
Speaker C:I guess I'm partially a little bit of both.
Speaker C:I would say most people probably just give it a consider.
Speaker C:But like if you're, I guess, really into movies and mourning and pay attention to stuff that's, you know, looking for a little bit more out of your movies than I would give those people a recommend.
Speaker C:But most people just watch a movie just for the hell of it.
Speaker C:Like, I don't know that they're gonna again, I mean, like we talk about the critics and stuff and then the fans even what they thought of it.
Speaker B:The way it seemed.
Speaker C:I think they missed a lot of that.
Speaker B:Yeah.
Speaker C:But, you know, because they're all.
Speaker C:This doesn't.
Speaker C:I did die Hard, like explosions, you know, and this doesn't.
Speaker D:Right.
Speaker C:So.
Speaker B:Yeah.
Speaker C:Yeah.
Speaker C:It's definitely a really good movie.
Speaker C:More to it than I thought.
Speaker A:Oh, well, I recommend it, too.
Speaker A:I want to watch it again.
Speaker A:That was the first time I'd ever seen it and I want to see it again.
Speaker D:I praise.
Speaker B:She was into it.
Speaker D:High praise.
Speaker D:That's very good.
Speaker B:All right.
Speaker D:I like it.
Speaker D:Yeah.
Speaker D:It's so mostly recommend for you film people who.
Speaker C:Most definitely recommend.
Speaker B:Yeah, most definitely.
Speaker B:All right.
Speaker B:On that, we are out.
Speaker B:Put my name first.
Speaker B:I'm doing most of the work.
Speaker C:Yeah, that was good.
Speaker A:Just tell me, do they make it to the corner?
Speaker B:And I've watched that alternate ending and it is garbage man Richard Dunner.
Speaker B:Yes, sir.
Speaker C:You know, I mean, he's being reborn that day.
Speaker C:So is Jack.
Speaker B:Oh, yeah.
Speaker B:I started seeing the signs everywhere.
Speaker B:Right.
Speaker B:You know, I don't know.
Speaker B:You know.
Speaker B:Do you want the change?
Speaker B:No, I don't want the change.
Speaker C:Oh, nice.
Speaker B:Really?
Speaker B:As you go out that door, everything changes.
Speaker B:I said, yeah, because it's the second act.
Speaker D:Nothing on screen should be accidental.
Speaker B:A car chases a car chases a car chase.
Speaker B:Unless you care about the guy driving.
Speaker D:It doesn't go where you think it's going to go.
Speaker C:There's a lot of money in birthday cake.
Speaker C:Shit.
