3000 Miles To Graceland - The Duality of Costner and Russell: A Study in Contrasts
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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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This podcast episode endeavors to elucidate the cinematic attributes and thematic undercurrents of the film "3,000 Miles to Graceland." We expound upon the film's juxtaposition of humor and darkness, exploring how its narrative is undermined by tonal inconsistencies resulting from conflicting directorial visions. The episode further engages in a discourse on the performances of its ensemble cast, particularly focusing on the character dynamics between Kurt Russell and Kevin Costner, which exemplify the film's struggles with character development and plot cohesion. Additionally, we delve into the implications of the film's title and its relevance to the story's arc, while contemplating its reception among audiences and critics alike. Ultimately, we conclude that while the film possesses moments of entertainment, it falls short of achieving a cohesive and compelling narrative experience.
Takeaways:
- The podcast discusses the challenges faced during the production of the film, highlighting conflicting creative visions between the lead actors.
- Listeners are encouraged to explore the podcast's previous episodes as they work towards releasing new content in the near future.
- The hosts reflect on the mixed reception of the film, noting that while it garnered a cult following, it struggled at the box office upon release.
- There is an exploration of character dynamics, particularly focusing on themes of trust and betrayal within the narrative of the film.
- The conversation includes a detailed analysis of the film's structure, touching upon key plot points and character motivations that contribute to its overall themes.
- Finally, the hosts conclude that despite its flaws, the film offers moments of entertainment and showcases strong performances from its cast.
Mentioned in this episode:
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Transcript
Do a shout out to buddy Michael. He. He said, basically, inform me I'm caught up is what he said. So, like, we're caught up.
Speaker B:Where are the new episodes?
Speaker A:Where are the new episodes? I'm like, we're working on it.
Speaker C:Yeah.
Speaker A:So. But, yeah, he's.
Speaker C:But he's listening.
Speaker A:But anyways, listen to all of them.
Speaker C:Because we haven't released 13th Warrior and stuff yet. That's correct.
Speaker A:Yeah. I was like, hold on. I was like, yeah. I was getting confused. I was like, no, no. So you've done 13 warrior. Done whatever.
The other one we did, I couldn't remember. He goes, no. I'm like, okay, yeah, those aren't out yet. So then he got on there and looked. But, yeah, so one. Thank you for listening to all of them.
And then, yeah, he was prompting and poking. Hey, where are the rest? I'm like, they're coming.
Speaker D:And we're getting more, apparently more views on Facebook because it keeps popping up. You've had so many.
Speaker A:Oh, that's cool.
Speaker B:Nice.
Speaker D:But I haven't posted anything.
Speaker C:28 May and June 11 are the next two episodes.
Speaker A:So very nice.
Speaker C:Banderas, Bears and battles.
Speaker A:So it's 13th Warrior and what was the other one? I can't remember.
Speaker C:Road to Perdition.
Speaker A:That's right. That's right. My pick. And I couldn't remember it.
Speaker B:Damn.
Speaker C:I had.
Speaker B:I remember doing Road to Perdition at all. That was a good movie.
Speaker C:It was a good movie. I think this. I think this series has gone off the rails on more than one occasion.
Speaker A:I felt like all the exposition was very, very tight and well done.
Speaker B:Does William Shatner know that? Not a captain of a starship.
Speaker D:That's like Ricky Bobby. He's covering his base.
Speaker C:Yeah. Same with Tom Cruise, you know?
Speaker A:Yeah, go ahead and say it, Phil.
Speaker B:Put it in the trailer.
Speaker D:It's like, once you started, it's like, okay, I gotta see where this is going.
Speaker A:Yeah, I like the. The setup of the movie a lot.
Speaker C:That was the weakest part of that scene.
Speaker A:Sure.
Speaker B:That's a. That's an emotional swing for 24, 48 hours.
Speaker C:Okay. Fellowship of the Real. We are doing 3,000 miles to Graceland this time. But before we get started, Sherry has her. What do we call it?
Notable, notable, quotable. It's been a little while.
Speaker B:Sherry's queries.
Speaker C:Sherry's queries. Notable, notable, quotables. All right, so get started with that real quick. All right, Sherry?
Speaker D:Okay. I know it seems like we were picking movies that. That we liked but didn't seem to do well at the box office or something with.
That's why I picked this one.
Speaker C:Was that it? Because we did.
Speaker A:I think it was, like, underrated films, like, ones that we liked.
Speaker C:Yeah, yeah, yeah, yeah.
Speaker A:That. That we feel like they deserve.
Speaker C:Yes. All right.
Speaker D:Okay. So we're doing 3,000 miles, right?
Speaker C:Yes, that's. Yeah, we're doing that.
Speaker D:So for that one, I decided to. I found a list of Kevin Costner's best movies and shows ranked by. Is it Tomatometer?
Speaker C:Yeah, that's what we usually use thermometer to meter.
Speaker B:It's not a speedometer.
Speaker C:No, that is true.
Speaker D:Okay, well, that's like Tomato meter. Yeah, for odometer. I call it odometer. So anyway. Yeah, I know what you mean.
Speaker C:Okay.
Speaker D:All right. So. So y'all always talk about the Postman.
Speaker C:Yes.
Speaker D:And I can't understand what I wrote because it's been a while, but I said something about. It's the second, second lowest movie, I guess, of his. It says at number 46 with 14%. So I assume that was the 14%.
Speaker C:It might been critics.
Speaker D:Yeah. Okay. And is there something called Dragonfly?
Speaker A:Yes.
Speaker D:Okay. Because that I have. Dragonfly has it at 7%, but right above the postman is 3,000 miles to Graceland with 15%.
Speaker C:Yeah.
Speaker D:Oh, it's. Yeah. Okay. But anyway, in looking up all that, I says, can y'all guess the top five movies based on Tomato Meter of not. Yeah.
Speaker A:Like. Like, in order. Like, what's. Like, what's number one? What's number two? That kind of thing.
Speaker D:Those rankings of Kevin Costner's movies. Can y'all guess?
Speaker B:So top five Kevin Costner movies on the tomato.
Speaker C:Yeah.
Speaker B:Tomato Meter.
Speaker D:Yeah.
Speaker B:Dances With Wolves.
Speaker C:Yes.
Speaker D:That's number five with.
Speaker C:Really?
Speaker D:With 87.
Speaker C:There's something above Dances With Wolves.
Speaker D:There's four above it.
Speaker A:Dreams. Yeah.
Speaker D:That's number four with 88.
Speaker A:The Bodyguard. No, no, no. Wow.
Speaker C:Lighter? Probably not. Wider? No, probably not. There's three that are the Not Water World. Probably that was raped.
Speaker A:Robin Hood.
Speaker D:Nope.
Speaker A:What?
Speaker D:Nope. I'll. I'll give you number three. Number three.
Speaker C:Oh, no, don't give. The Untouchables. Is that on there?
Speaker D:No.
Speaker C:Damn it.
Speaker B:This is hard.
Speaker A:Bull Durham.
Speaker D:Number one.
Speaker C:Really?
Speaker D:97. Yep. Number one.
Speaker A:I like the movie, but it's not gonna be number one.
Speaker C:No. So we go, what, two? Two and three.
Speaker D:Two and three.
Speaker A:Ten cups on up there, is it? No, no. I like that better than Bulgernum.
Speaker D:One of them I have brought up. I had a line for it and Chris guessed it. I think it was Chris that gets.
Speaker C:Perfect World isn't on there, is it?
Speaker D:No.
Speaker C:Damn it. That's a great movie. We need to do that.
Speaker B:Perfect World is a really good.
Speaker A:Silverado wouldn't be up there.
Speaker D:No.
Speaker A:Because he had a smaller role. Yeah.
Speaker D:Number three. I just don't get why it's up there.
Speaker C:But what is that movie where he plays, like, a spot out of touch or. What is it? No. Where he's a Navy.
Speaker D:Huh.
Speaker C:What's the name of that?
Speaker A:No Way Out.
Speaker C:No Way Out.
Speaker D:Yep, that's in there. Number three.
Speaker C:That's ridiculous.
Speaker A:The twist at the end, I bet, is why it's up there.
Speaker D:Yeah. Because he was a. He ended up being the person this.
Speaker C:Okay, there's number two. That's right.
Speaker A:Yeah. You think he's the. The guy. The good guy the whole time? Yeah.
Speaker D:Number two. We. We talked about it before.
Speaker A:Wouldn't think it'd be the Guardian.
Speaker D:No.
Speaker A:Yeah.
Speaker D:It's women.
Speaker C:Women.
Speaker B:Jfk.
Speaker D:It's not necessarily because of Kevin Costner being the hidden figures. Yes.
Speaker A:Yeah.
Speaker D:That's the number two with 93.
Speaker A:Interesting.
Speaker C:Yeah. Okay. Hidden figures. I can agree with some of those other choices.
Speaker D:So number one was Bull Durham. Two Hidden figures. Three, no Way out. Four, Field of Dreams and five, Dances with Wolves, which it does surprise me that.
Speaker B:Yeah, that's with Bodyguard and. Yeah, yeah. The Untouchables.
Speaker C:Yeah.
Speaker B:He was Elliot Ness in this.
Speaker D:But that's. I mean, that's. Movies that he's been in that has the highest ranking on. On this ranking system. So it might not be the.
Speaker A:Yeah, it's not necessarily Kevin Costner. Like, they're not ranked that way because of Kevin Costner. Like, it's rated. His movies alone. Like, these are what these movies scored.
When I do all movies.
Speaker D:When I put in a list of Kevin Costner's best movies and shows ranked by Tomatometer, this is how it came up.
Speaker B:Well, we can make our own right here, right now.
Speaker D:Yes, we can.
Speaker B:Fellowship of the Real best Kevin Costner movies. They'll go jfk.
Speaker C:Yeah. Death With Wolves for sure.
Speaker B:Dances with Wolves. Number one.
Speaker C:Yeah.
Speaker A:Phillip Dreams got to be up there.
Speaker C:Yeah. I'd say that's number two. And then want to say Perfect World, maybe three.
Speaker A:I disagree.
Speaker B:I think Robin Hood, he was iconic in that, I think.
Speaker A:Yeah.
Speaker B:Fandango. He was great.
Speaker C:Fandango. Yeah. Oh, yeah. That's going to be like number three or four.
Speaker A:So I know I'm odd man out. Well, I mean, Phil, you like it, but, like, Postman's like One of my favorite.
Speaker C:Yeah, yeah. No, postman. Have to be like number five.
Speaker A:I know. Like, nobody liked it, but, like, you have to review it.
Speaker C:Water World, though, is good too. I. I really dig.
Speaker D:Oh, yeah.
Speaker A:Better than Water World.
Speaker B:He was in Wyatt Earp. I was.
Speaker C:Yeah.
Speaker A:That's a fan.
Speaker B:I mean, even though it was outshined by Tombstone. Same story.
Speaker C:Yeah.
Speaker B:But, yeah, Wyatt Earp was.
Speaker C:Well, it was a whole. It was a whole. The whole life story of White Herp when he was.
Speaker B:Yeah, it was more substance. Gene Hackman was in that as his father and he was great.
Speaker C:Yeah. Yeah.
Speaker D:Oh, Gene Hackman, wasn't he? He was in no Way Out. Also correct. Was he with Kevin Costner?
Speaker C:Okay, cool. Was that your whole deal?
Speaker D:That's it.
Speaker C:Okay.
Speaker D:Sorry.
Speaker B:I like that one. That was a nice change up. That was good.
Speaker A:Is that. That all you had? Jeez, that's all.
Speaker C:No, I would usually. Okay.
Speaker D:Well, the reason I did it that way was because of 3,000 miles to Graceland. You have all. Every.
Speaker C:I have some information.
Speaker D:It lost money. Is that correct?
Speaker C:Yeah, yeah, we can get. And.
Speaker D:And even though it was ranked low and it lost money, my gosh, look at the cast. I. I thoroughly enjoyed it. It was a ride. And that whole storyline of who's Ken to Elvis?
Speaker C:Yeah, sure. We'll. We'll get into that. And I'll. I'll bring it up. If you aren't aware of it already.
I'll bring it up immediately because it'll set everything else in play as to what I think this movie. What's going on in this movie anyway? All right, so you're good. Pray for money. Critics. Fans then.
Speaker D:Yes.
Speaker C:All right. All right. Sherry had talked about some of this. The movie costs 47.4 million. That was its budget, which is not insane. It's not insane.
Speaker B:Mostly salaries of that probably.
Speaker C:Right. It grossed 15 million domestically, 18 million worldwide, which includes the domestic.
Worldwide, it grossed 2 million for a total of 18 million on a $47 million budget. So right away, it's a stinker as far as the box office.
Speaker B:Yeah, it's a swing and a mess.
Speaker C:Yeah. And Rotten Tomatoes is not any kinder. Rotten Tomatoes, the Critic store is 15% based on 96 reviews.
Only 15% of the critics gave this movie any kind of praise.
Speaker A:Did you guys see it in the theater?
Speaker B:No.
Speaker C:No, I don't think so.
Speaker D:I don't remember.
Speaker B:Yeah, I was going to ask when everybody saw it for the first time.
Speaker A:I saw it in the theater.
Speaker B:You did?
Speaker A:Yeah, my dad.
Speaker B:Oh, man. I Remember seeing this on home media at a friend's house? Didn't even watch it. Just kind of saw, oh, man, that's Kevin Costner.
And, yeah, you know, they're all Elvis. And then I left and I. This was my first viewing of this movie. Well, I've never seen it before.
Speaker C:Interesting surface level. It's, it's, it's. It's got everything going for it. Surface level. But we'll get into that in a second. So it basically a 3.4 out of 10 rating.
The fan score, slightly better. 45% gave it, what, three and a half stars or above based on 25,000 ratings. So 15% critics, 45% fans, which is not great. So it didn't make money.
And it wasn't necessarily a critic or audience favorite, which I think it had a lot of potential and all the ingredients. I don't know if in researching you guys came across this. What you have are Kurt Russell and Kevin Costner, very alpha male writers.
And they argued on the set almost through the entire filming of this movie about the tone for this movie, to the point that the director and the studio said, okay, fine. You, Kurt Russell, go off and edit your cut of the movie based on how you think it should be.
Costner, you go off and edit the cut of the movie the way you think it should be. Kurt Russell wanted a light, funny, crime adventure romp. Costner wanted dark undertones and, you know, menacing characters and this kind of thing.
So they edited the movie that way.
Speaker A:And then the director go fuck himself, I guess.
Speaker C:Sure. And the studio when it. When it all went. So when they presented their cuts, rather than pick one, they took both and mashed them together.
Speaker A:Yeah, that makes a lot of sense.
Speaker B:So that makes a lot of sense.
Speaker C:This movie is a Frankenstein movie.
Speaker A:Yeah. The tone's all over the place.
Speaker C:Yes.
Speaker A:I didn't know why. Okay. Yeah, that explains it.
Speaker C:When you. When you try to please everybody, you please no one.
Speaker A:Yep.
Speaker C:Okay. Now, is this a fun movie to watch yet? But this is probably.
Of all the movies we've reviewed so far, I want to say that this is the most fluff popcorn movie yet, because you can watch it, but you've got to detach and just. Just enjoy it because it is all over the place. And the tone is. And even doing the beats, you know? Okay. It was difficult.
Speaker B:It looked cool. It was like you can just look at the screen at any moment and be like, oh, that's Kurt Russell looking cool.
Speaker C:Yeah. Yes.
Speaker B:Oh, that's Kevin Costner looking cool.
Speaker C:Yes.
Speaker D:And am I wrong? I like to watch Kevin Costner play the bad guy.
Speaker C:Sure. Yeah.
Speaker A:Because I think refreshing. Because he plays against type. Right. Most. I mean, it's Kevin Cousins we were talking about. He's Robin Hood. He was Elliot Ness. Right.
This guy typically plays a hero, so. Yeah. Him playing. Yeah. Playing a bad guy. And you can tell, at least he was having fun doing it. Yeah. He chews up all the. The scenery. Right.
When he's in the. Doing the scenes. But. Yeah. I mean, I don't know. I guess you're right, James. Some of it looked cool, some of it did not, in my opinion.
Speaker C:Yeah.
Speaker A:Remember those CGI scorpions being way cooler the first time?
Speaker B:Yeah.
Speaker C:Yeah.
Speaker A:That happens a lot with cgi. Right. Like it doesn't age well.
Speaker C:Right. The technology becomes so much. So much better. Anyhow, anyway, so that's what I. That's the problem with this movie. That's why it's hard to.
To find the beats. Because you're dealing with two movies that were just basically mashed together.
Speaker D:I did not know that.
Speaker C:Yeah.
Speaker B:Well, it was good. It's good to hear that because I watched this movie. Totally. I guess. Dry. I didn't look up any facts while I was watching.
I just watched the movie itself. So now it makes total sense on why it felt like it was gear shifting in the middle.
Speaker C:Yes.
Speaker B:Of the movie. It's like, okay, it's dark. Dark. Kevin Costner's really psychotic.
Speaker C:Yeah.
Speaker B:And then the rest of the movie's just light and kind of.
Speaker C:Yes. That's. Yeah. Kurt Russell wanted, you know, a tango and Cash and Costner wanted, you know, more Perfect World. I guess. I don't know. Because he's a.
He's a menacing, dark character in Perfect World. You know, you're not friendly. You're not friendly at all. You know, Anyway, we need to do that movie. But. But entirely sympathetic at the end, I think.
Speaker A:Yeah. But I feel like he's more sympathetic in Perfect World than he was on this.
Speaker C:Yes. Yeah. I would love to talk about Perfect World, but we'll wait to redo it. All right. So that's. That's how this movie.
And I think that's probably why it didn't do so good with critics and maybe even the fans, because I think the fans walked out. Like, what did I just watch?
Speaker A:Right.
Speaker C:Yeah. Anyway. Any other thoughts on any of that? It's fairly straightforward. It didn't make year.
Speaker A: it again that it came out one: Speaker B:2001, I think.
Speaker C:Was it? Yeah.
Speaker A:Okay.
Speaker C:Yeah. That Makes sense. I, I didn't look that up.
Speaker B:Yeah. Because it felt like it was the last. I don't, I won't say, like dying breath, but of those 90s, mid-90s and late 90s, like Quentin Tarantino.
Speaker C:Yeah.
Speaker B:Type of thing. This felt like it was trying to be one of those movies or fit in with that kind of hip, cool thing.
Speaker C:Yeah.
Speaker A:That era is Two Days in the Valley type thing. Like everything that came out after Pulp Fiction that was trying to.
Speaker C:I really. We should do that.
Speaker A:Yeah. I didn't mean they're like.
Speaker C:No, no, no. But it's like, that's like a Tarantino light movie.
Speaker A:Yeah. To catch the tone. Yeah. It was talking about. Make sure that's what he was talking.
Speaker B: t seven years or so. This was: Speaker C:Well.
Speaker A:Right.
Speaker C:This should have been like. What is the Ocean's Eleven? Ocean's Eleven, Yeah. You know, meets Tarantino. That's what it should have been like.
Speaker B:Yeah.
Speaker C:And I think they really could have done it because they, the cast was. I mean, there's no weak guy in this cast, you know.
Speaker A:Yeah. No. Yeah.
Speaker C:I feel like even the kid, the little kid stole scenes. I thought he was amazing.
Speaker B:Yep.
Speaker C:I enjoyed every scene that little kid was in. He's, you know, swagger. Anyway. But they, they just. And maybe, you know, because Kurt Russell's very strong willed about his movies. I mean, Tombstone.
Right. I mean, and, and Kasser, you know, he gets his teeth and something. You might as well, you know.
So they were, they, they, they argued throughout the movie and then the director or the studio finally said, look, go cut your version. And I can't remember. They tested it. I thought they tested it with audiences, but I didn't.
I can't remember whether the audience preferred one or the other. Anyway, anyway, they mashed them together and this is what we got.
Speaker B:So I wonder being on the set with somebody like Kurt Russell, if a director is shaking in his boots a little bit. Like, oh, if I don't know what I'm doing, Kurt Russell is going to take over my movie and direct Costner.
I mean, so you're in a movie with both of these.
Speaker C:Yeah.
Speaker B:So how would that director feel? Was he.
Speaker C:I, I don't. Yeah.
Speaker B:What did he go on to do? Did he just. He's like, oh, they're taking my movie from me.
Speaker D:Yeah.
Speaker A:Right. I mean, how many times did he say, yeah, okay, Ms. Costner. Okay, yeah, Mr. Russell.
And then like, he Contributed to the tone because he gave them both what they wanted.
Speaker B:As a producer, you're like, I got Costner, I got Russell, I'm getting a movie. Yeah, yeah. As a director, you're like, well, yeah.
Speaker A:Because the director was also part of the writing team.
Speaker C:Was it? Yeah, yeah, yeah.
Speaker B:Oh, so too many chefs in the kitchen is probably.
Speaker C:Oh, yeah, yeah.
Speaker A:Like, I'm sure he did not get the movie he wanted, you know?
Speaker C:Right.
And, and, and so you, you didn't have one guy saying, okay, you know, in the interest of story, we can't have a Frankenstein, so I'll surrender my creative and we'll try to make the best version of. None of that apparently happened.
Speaker B:You know, See, you can do. I'm jumping ahead, but you can do like a movie with strong personalities like Falling Down. You got Joel Schumacher, you got Michael Douglas.
Those guys can crank out some movies.
Speaker C:Yeah.
Speaker B:And, and they produce something like that.
Speaker A:Yeah.
Speaker B:So it's possible.
Speaker A:Yeah. It's got to be people. Yeah. And think how many movies would have like, you know, ensemble cast that work out.
So people have to agree and be on the same page, I guess, is all, you know.
Speaker C:Yeah. What? Who played Pendergrass? I can't remember his name all of a sudden.
Speaker A:Robert Duvall.
Speaker C:Robert Duvall, yes. God, I had a brain fart about. I could not remember because, you know, he's. He's consummate. Right. I mean, he's.
Anyway, we'll get into it when we get that to that. But I, I don't want to give away too much, but Falling down to me is right up there with Breakfast Club. Almost a perfect movie.
But we'll, we'll get into that when we get into it. All right, so any other shaking her head already?
Speaker D:That's because he picked it. No, it's a perfect movie because.
Speaker C:Okay, so I watched it. I thought shots fired. Well, I thought that I'm getting off easy. Right.
Because, you know, we watched the movies and then there was this lag because James wasn't feeling well. So I don't, you know, I've seen the movies. Okay, we're good to go. But then I started thinking about falling Down. I'm like, no, no, no.
Those opening four minutes, like there's something there. And so I kept putting off watching it again. Yeah, but. But I kept nagging at me. No, no, because there's that and then there's.
So like, essentially I watched it yesterday. It took me like six hours because, like I Literally six hours to watch a two hour movie. Okay. And that's not a lie.
Speaker A:That's positive. To make your notes.
Speaker C:Yes. Anyway, but we'll get into that. That being said, I did not do that with 3,000 miles to Graceland.
Speaker A:You fast forwarded, did you?
Speaker C:No, I didn't watch it again and I got some notes, but I have. Now it's, it's not. I'm going to go through them as briefly as I can, but I have essentially about 15 pages of notes for Falling down.
And I have about three pages of.
Speaker B:Notes for double spaced and margin. Yes, your big typeface.
Speaker C:Yeah.
Speaker A:All right, so we're getting into the. The beats on 3,000.
Speaker C:Yeah, yeah, those, these are my initial notes for Falling down, which are only three pages. And that's why I was like, no, they're. That, that doesn't justify. I can't let that go away. So I threw those out and anyway. Yeah.
All right, so let's do the beach. Right? Is that we're doing next? Yeah, yeah. All right. Chris had already mentioned it. This, this CGI thing obviously is.
One is a white scorpion, one is a black scorpion. This is the struggle between Costner and. And I guess Michael Zane. Kurt Russell, that's his name.
Speaker A:Sure. Was that.
Speaker C:Okay, so the film opens with a stylized CGI sequence of two scorpions battling in the desert. Followed by a shot of Michael Zayn, Kurt Russell driving a beat up car toward a dusty motel.
This sets the violent, gritty and rebellious tone, introducing Michael as a lone figure in a harsh unforgiving world. His before state as an ex con seeking redemption or a fresh start.
Speaker A:Yeah. And the name of the hotel is Last Chance.
Speaker C:Is it? Yeah, I said I didn't. Now Falling Down. Dude, there are things that. Anyway, this is not following. I know.
Okay, so the Last Chance, that's actually, that's actually pretty good. Yeah.
Speaker A:You know, we gotta give it props. Where they're due and.
Speaker C:No, no, no, listen.
Speaker A:We have negative things to say. We have negative things to say. It's fair shake down here.
Speaker C:Okay, But I don't, I don't dislike three though. I like 3,000 mile. I like, I like everybody in this movie. Even the two cops.
Speaker D:What's the Thomas Hayden Church?
Speaker C:Thomas Hayden Church. And then.
Speaker A:Oh yeah. Kevin Pollock.
Speaker C:Kevin Pollock. I. I love those guys.
Speaker A:They were in it until just now.
Speaker C:Yeah, yeah. I even like them scenes. There's those scenes.
Speaker A:Yeah.
Speaker C:So I enjoyed this movie. But don't look too close, you know?
Speaker A:Sure.
Speaker C:If you're dating this girl, keep the lights down low, you know? I'm saying. Anyway, that's a little harsh. Yeah. So any thoughts on the opening image? I mean, it sets up Kurt Russell.
We get this idea that there's going to be a struggle between these two characters.
Speaker B:I mean, it was a pretty cool opening. Probably the best of the, you know.
Speaker C:Yeah.
Speaker B:Best part of the movie, just how it opened.
Speaker C:Well, it is highly stylized, the movie, you know.
Speaker A:You mean it goes down from there for you?
Speaker B:For me, yeah.
Speaker A:Okay.
Speaker B:I had high hopes after that opening.
Speaker A:We'Re talking about with the Scorpions.
Speaker B:Yeah.
Speaker C:All right.
Speaker B:Just like, oh, this is going to be kind of fun. And. Yeah, back and forth.
Speaker A:All right. It's interesting. I'm sure. I thought that, like, the first time I saw it, but then when I watched it again, I was like, oh, that looks like.
Yeah, all right. It didn't look like no freakingness for me on it. Even though it's. You know what I mean?
Like I said, there's movies I've enjoyed more that have CGI that, you know, just did not hold up. Well, you know.
Speaker C:Sure. But anyhow, I did think it was cool, like, you know, because CGI almost match. Cuts to the kid picking up the scorpion.
Speaker A:Yeah. All right.
Speaker C:Yeah.
Speaker A:I don't know. I guess just. What?
Speaker C:It's a black scorpion he picks up. Right. Is it what's in the jar? I think so. I don't remember there being a white scorpion he puts in the jar. Almost would have to be the black one.
Speaker A:Yeah.
Speaker C:I don't know if that's somebody. I mean, because Black Scorpion is Costner, and Coster's character is gonna cause some trouble for them.
Speaker D:Well, that little kid's trouble, too.
Speaker C:That little kid. Boy, he was. He was straight up Billy the Kid, man.
Speaker B:Yeah.
Speaker C:That'S what I'm saying. There's no weak performances.
Speaker A:Yeah.
Speaker C:There's just weak story.
Speaker A:Yeah.
Speaker C:You know, and the premise is actually very cool, but it should have been more like, you know, Ocean's Eleven or something. Anyway, theme stated. Okay, so we're gonna struggle with this, but at the motel, Michael meets single mother Sybil Courtney Cox and her son, Jesse.
Jesse James. I don't know. When Sybil casually remarks to Michael, you don't look like a guy who's afraid of anything.
It hints at the film's theme, courage versus betrayal. Now, this was. This is not me. That's Grok, because I couldn't nail it down. So I said, grok. What is the theme of 3,000 miles of Graceland?
And that's what it picked. So I don't even know if I want to Trust that. What do you guys think? I'm not sure I could really nail a theme down.
Speaker A:Yeah, My notes are blank. I wrote theme stated, and it's blank, so I could not nail him down.
Speaker C:Yeah, it says. It hints at the. The film's theme. Courage versus betrayal.
Michael's journey will test whether he can trust others and overcome the treachery around him.
Speaker A:Yeah, I was gonna say there's definitely lots of trust issues going on there. Even Costner, like, is questioning. I know we're talking about Mike's, I guess, order, but, like, Costner questions Mike. I remember. Right.
And Kurt Russell about. Hey, you know that kid, like, right off the bat.
Speaker C:Yeah, yeah, yeah. And. And. And there are serious scenes where he really almost abandons Sybil Shepherd. Sybil. Sybil, yeah, Sybil. Because he can't trust her.
He says, I can't trust you or whatever.
Speaker A:Right.
Speaker C:All right.
Speaker A:So, I mean, she does also untrustworthy things.
Speaker C:Sure. Absolutely.
Speaker B:Yeah. It seemed to me like her and the boy were just con artists living out of this hotel.
Speaker C:Well, they were straight up opportunists, for sure.
Speaker B:Yeah.
Speaker A:Yeah.
Speaker B:So they were, you know, kind of doing what they do. She was flashing her lady. Yes.
Speaker C:Her assets.
Speaker B:And the sun would rob people.
Speaker C:Well, yeah, sure. And. And when. When this. When the kid, like, stuck the money or whatever was up in the.
In the attic, she laughs it off and knows exactly where it is, but doesn't, you know, seem like she's gonna take a strong disciplinary hand?
Speaker A:Right, right.
Speaker C:This is par for the course. Had. Had he not mentioned it, she'd have been perfectly fine keeping it. Keeping it. Yeah. So maybe, you know, maybe there's something there.
Any other thoughts on theme or whatever? Like I said, once you get to a story like this, it's kind of hard to.
Speaker A:No, I did not.
Speaker C:Okay. Jerry, any thoughts about anything so far?
Speaker D:No.
Speaker C:Okay. Sherry likes this movie, and that's enough. I liked. I love this movie, but like I said, I like.
Speaker D:I like the storyline of the Elvises. Yeah, the Elvises. The. You know, they do the. They all try to find out who's the Elvis's.
Speaker C:Yes.
Speaker D:And legitimate.
Speaker C:I think at the end of the movie, there is some indication that those two. Yeah, yeah, yeah. Now there's just the eye candy of Kurt Russell playing Elvis because he really does a great job.
Speaker A:Right.
Speaker B:He played ELVIS earlier in the 80s, 70s, something.
Speaker C:Yeah. He actually played Elvis in a movie. Yes.
Speaker B:And there was something saying. I don't know if it was a rumor, but he did the voice over in Forrest Gump. As.
Speaker C:Oh, yeah, yeah.
Speaker A:No, I've heard that. Yes.
Speaker C:Yeah.
Speaker A:Because he and Zemecka's had worked together before. I can't remember what movie of now in a blank now, but. Yeah, like that makes sense. Show me that walk again there, kid. Yeah.
Speaker B:Andy worked with Elvis when he was a little kid.
Speaker C:Yeah, I'm about to say that.
Speaker A:There you go.
Speaker C:There's a scene. I don't know if I think it was the scene in the movie or maybe There's a photograph definitely of him as a little kid kicking Elvis in the shin.
Speaker B:He's in the movie.
Speaker C:He was in the movie. Okay.
Speaker B:Yeah.
Speaker C:So. Yeah, he was.
Speaker D:And then didn't you say something about this kid kicks?
Speaker A:Does he kick Kurt Russell machine? Yes, he does.
Speaker C:Yeah. Yeah, yeah, yeah. So that's straight up homage to.
Speaker A:Nice.
Speaker C:Okay, that's cool.
Speaker D:Well, you're the one who brought it to my attention.
Speaker C:Did I?
Speaker D:Yeah.
Speaker C:Okay. Well, it's like I said, it's been a little while since I've seen it and I felt kind of bad for not watching it again, but.
Speaker D:And then while we're talking about Elvis, we had the discussion too, about the title. What is 3,000 miles? Is the 3,000 miles to Graceland the home or to the boat?
Speaker C:Is the boat staying Graceland?
Speaker D:Yes, but I don't think it's 3,000 miles from.
Speaker C:Well, don't.
Speaker A:They're Vegas. And then where was the boat at? It was.
Speaker D:The boat was up in seattle. That's not 3,000 miles.
Speaker C:No.
Speaker D:So why did they say 3,000?
Speaker C:I thought there was a line either from Pollock or Hayden Church when they're looking at a map that he actually says 3,000 miles. I don't know.
Speaker D:To Graceland, the home, I guess.
Speaker C: ddle of the country. It's not: Speaker D:No, it's 3,000. It's. Yeah.
Speaker C:3,000 miles from coast to coast.
Speaker D:Yes.
Speaker C:Graceland's in Memphis. Middle of the country. Mississippi.
Speaker D:Yes.
Speaker C: So it can't be more than: Speaker A:Yeah. And it's only. You said from Vegas to Oregon.
Speaker D:No, Seattle. I think it's above sea somewhere up in. Unless it's Alaska.
Speaker A:You're right. Yeah. It's not gonna be that much if it's Alaska.
Speaker D:I don't know.
Speaker A: It's only: Speaker C:So in some version of the script, were they.
Speaker A:You're right, though. Where were they going? Like 3,000. That's a lot.
Speaker C:It doesn't matter where you are in the country. It's not going to be 3,000 miles to Graceland.
Speaker A:That's because you go around twice. You know, I don't.
Speaker C:That is bizarre.
Speaker D:Unless it's.
Speaker A:There's not a reference to any of his songs or anything symbolic to being 3,000 miles.
Speaker D:Where was he in prison? I. I don't know.
Speaker C:Doesn't matter if Graceland is in the middle of the country.
Speaker A:Yeah.
Speaker C:It could not be physically possible to be 3,000 miles from Graceland anyway. Well, about to look that up, maybe.
Speaker B:Yeah, I'm. I'm trying to look to see if there's any kind of reference. Maybe it's a quote or a saying or something. Or maybe 3,000 miles to Graceland. References.
Speaker C:Yeah.
Speaker B:Thing. I don't know. I'm looking.
Speaker C:Yeah. No, that's. Yeah. We'll have to. Maybe in some version of the scripture.
Speaker A: Wanted to be: Speaker C:Put them together, that's 3,000.
Speaker B:There's nothing on IMDb yeah.
Speaker C:All right, the setup. We're introduced to Michael's world. A parolee fresh out of prison stopping at a CD motel. He flirts with civil.
Who pickpockets his wallet, revealing her own shady nature. Soon, Murphy, that's Kevin Kossler, arrives in a flashy car recruiting Michael for a heist.
The six things that need fixing, Michael's lack of trust, his criminal past, his isolation, Sybil's dishonesty, and the looming threat of Murphy's volatile personality.
Speaker A:Yeah. So his name is Murphy.
Speaker C:Right.
Speaker A:So Murphy's Law, like, do you. You know, what. What. What will go wrong or what? If anything go wrong, will go wrong. Right.
Speaker C:Worst possible moment. Yeah. Yeah.
Speaker A:And a lot of shit happens. I mean, I don't know. I may be reaching, but, I mean, they did.
Speaker C:Murphy.
Speaker A:You don't talk about this before, right? And of course, I always like it when I read a book or experience, you know, a movie or stories where you can tell the names mean something.
You're like, okay. The writers like. My respect for the writer immediately goes up. It's like, all right. They're thinking here where it's.
You know, so there's a lot of times there's movies and they're sorry stories period, where they just fucking named them, whatever, and it didn't mean anything. You don't talk about this. You gotta name a character something, so why not have it mean something?
Speaker C:Yes.
Speaker A:And I'm not. I don't know if that's what they did here or not.
Speaker C:But yeah. Yeah. I don't know.
Speaker A:Cuz like Mike Zayn doesn't. Right. That doesn't.
Speaker C:Yeah. Michael Zane.
Speaker A:That doesn't appear to mean anything. Unless I'm missing something.
Speaker C:No.
Speaker B: Back, back and forth. So it's: Speaker C:If you go back and forth, back.
Speaker B:And forth, that's 3,000 miles. Roughly.
Speaker C:Because they. In the movie, are they aware that they may have been children of Elvis?
Speaker D:No, I don't. Well.
Speaker C:Or is that.
Speaker D:No, that's the. The. The little guy they. He knocks in the nose when they're going through the casino.
Speaker C:Yeah.
Speaker D:He's the one I think that was talking about how they met. Because the, the guy who was black.
Speaker C:Yeah.
Speaker D:Went to have DNA test if he was Elvis's son.
Speaker A:Yeah. All right. But I guess if that's where they're from. Right. And then they're now in the story. Most of the story took place in Vegas.
They're trying to get back.
Speaker D:Oh, yeah. Okay. So maybe.
Speaker C:All right, maybe.
Speaker A:Yeah, that's could have explained that one in the movie, folks.
Speaker C:Yeah.
Speaker B:I guess when you're leaving Graceland, you're now 3,000 miles to Graceland. If you're just leaving Graceland and coming back. Coming back.
Speaker A:Yeah.
Speaker C:Okay. Yeah.
Speaker B:That was a long way around.
Speaker C:Oh boy. Falling down does not have that.
Speaker D: I guess: Speaker C: What is it? Yeah.: Speaker A:1500 sounds fine. Like it? You know, I mean, like it.
Speaker C:Yeah. But they never actually go to Graceland.
Speaker D:But they go to the boat they're.
Speaker A:In back again and Elvis bastard story, you know.
Speaker D:Well, is it 3,000 miles from Graceland to Graceland? From Graceland, the home to Graceland, the boat.
Speaker A:No, I still don't think.
Speaker C: Yeah,: Speaker A:Well, I did Vegas to Seattle, but yeah, if she's saying from. But even with. I'm with you, like in the middle of the country up to Seattle, it can't be right. It'd be half maybe.
Speaker D:Unless you do like we did. We went across and then up.
Speaker C:Okay, this is the problem.
Speaker A:All right? One legged man take twice as many steps.
Speaker C:Yeah. All right, that's the setup. We get these characters.
Catalyst Murphy pitches the heist robbed the Riviera casino during an Elvis impersonator convention. This is the inciting infinite incident that disrupts Michael's aimless post prison existence. Offering a chance at Big money.
But pulling him back into crime. Now, I thought this was weak because he's there to meet Murphy, right?
Speaker B:Yeah, yeah. This is where they're meeting.
Speaker C:So it's not like he's out of prison with no plan and Murphy's trying to pull him back into the crime.
Speaker A:Yeah, we like, we missed all that. He's already committed. Yeah, yeah, yeah.
Speaker B:He's driving there to meet him fresh out of prison.
Speaker C:Yeah.
Speaker A:So it makes him do it. Yeah, we're always guilty of this and trying to rewrite the stories, but yeah, if you show him trying to do a regular job, trying to be the.
Do the right thing out of prison and it doesn't fucking work, then now he gets presented with this, then you're on board with him. Okay, I get it. You know what I mean?
Speaker C:Well, it's a debate at that point.
Speaker A:This makes the character more sympathetic and you identify with it because they got problems in it. Yeah, yeah.
Speaker C:I mean, there's a bunch of movies that do this, but for some reason, the first one that came to mind was Blues Brothers. When we're getting the band back together and they go to the diner with the.
Speaker A:Right.
Speaker C:The Franklin. Aretha Franklin and her husband are working at the diner.
Speaker A:Well, even I was just thinking they're.
Speaker C:Trying to pull him back into the band. And she's like, no. And there's this big musical number. But yeah, there's this debate about, no, no, no, you're out of that.
And so there is a real debate.
Speaker A:What rans my mind was heat. The cook and heat. Sure, they did it better. And he wasn't even the main guy. Yeah, he was a driver.
But you see, there's five minutes or whatever in the movie of him being a short order cook. And yes, you know what, that life sucks. You know what I mean? So he's. Yeah, fuck this shit. I'm gonna go make some money.
Speaker C:Yeah. So here is where we see maybe one of the stitch lines on. On our Frankenstein. Because. Yeah, there's just. It's not.
Speaker A:Yeah, one of the stitch lines.
Speaker C:Now debate. Michael hesitates. Can he trust Murphy and the crew? Hanson, Gus Franklin should have returned to a life of crime after prison.
The debate is internal, but reflected in his cautious interactions with Murphy and bonding with civil. See, I don't buy that. That's. That's because I. Because he's there already to meet Murphy like this. This has been agreed to. So I.
Yeah, that's definitely a stitch line. I don't. Were you able to nail anything for a debate? I Don't know how you debate when you've already agreed to do it, you know.
Speaker A:Oh yeah, mine's way later.
Speaker C:Okay. What is, what is your, what is your debate? What?
Speaker A:Oh, never mind. Sorry. It's out of order. Yeah. I have Murph kills Hanson, shoots Curtain David and leaves them for. For dead.
Speaker C:Yeah.
Speaker A:I have the cattle. Franklin dying is like the, the catalyst. Right. So. Yeah, so that's way later. Yeah. Like I don't have him.
Like there's no him offering him the, the job and all that. So I guess since he was already committed, I don't have that as a catalyst.
Speaker C:Okay. Yeah.
Speaker A:Where you did. Right. Because he's out of jail and needs to do.
Speaker C:Yeah, yeah.
Speaker A:Murphy shows and then debate. So you have him.
Speaker C:Okay, whatever. It's a good movie. Just don't look too close. All right.
Speaker D:It's got good music.
Speaker C:It does have good music. Break into two. The crew dressed as office impersonator storms the casino in a chaotic bullet ridden heist.
They grab the cash and escape via helicopter, fully entering the upside down world of high stakes crime and pursuit.
Speaker A:So in your, in your beats, they fly into the.
Speaker C:I guess so.
Speaker A:No, no, the helicopters after, they don't fly. They enter the second act as Elvis's Yes.
Speaker C:Yeah, yeah.
Speaker A:No, I guess I had all that being part of the this is ordinary world. Right. And then it goes sideways.
Speaker C:It would almost. Because you want to believe that. Because there is no like his ordinary world is doing this because he shows up ready to go.
Speaker A:Yeah. He did not seem like any qualms about I don't want to go back to jail and all this bullshit. Yeah. Trying to live the straight narrow. Yeah.
None of that is said. So.
Speaker D:For who, Kurt Russell? Well, he definitely doesn't want to kill anyone.
Speaker C:Yeah.
Speaker A:But I feel like that's a common thing in like bank robbery movies. Right. Because you like, you know, they want to steal the money. They want to like kill people.
Speaker C:You know, it's different. It's better. It's better to. Even if you're going to rob a bank, don't have a gun because it immediately exact on robbery or whatever. Yeah. Now.
Yeah, now you're, you're up in your charges.
Speaker B:Don't rob banks. None of this advice is, well, if.
Speaker A:You'Re going to rob a bank, don't.
Speaker C:Use a gun because they'll give you the money. You don't need a gun.
Speaker B:We are not lawyers with a note.
Speaker C:Right.
Speaker D:I have no comment.
Speaker A:We're not lawyers.
Speaker C:Right, but. But killing somebody in a robbery is the difference between supermax general population and, you know, five to 10 in minimum.
You know, medium security or whatever, depending on the state.
Speaker A:Why'd you do it? That fellowship with the real place. I told me to do it.
Speaker D:No.
Speaker C:It's not the first time we've talked about this. So you could piece together some episodes.
Speaker D:Nope.
Speaker C:And come up with a. It's like I've always said, for every hour. Hour you plan the robbery.
Speaker D:No, I know what you're saying. Nope.
Speaker C:Anyway, see us just watch Body Heat.
Speaker A:Particularly the bit about the. All the mistakes you can make.
Speaker C:That's right. All right, so they break into two and they're Elvis. That. We decided. Elvis costumes.
Speaker A:Yeah.
Speaker C:All right.
Speaker A:Costume. Thought that was cool, the different colors and stuff.
Speaker D:No, no, listen, that to me is the only way you would probably be able to do that in a casino. You. There's already chaos and you can't identify. Oh, it was the Elvis that.
Speaker C:Yeah. The witnesses are going to say he's just like Elvis. He looked like Elvis, you know. You know, so.
Speaker B:Yeah. Put everybody in a lineup. Who are you going to pick now?
Speaker C:The. The. It wasn't exactly the same, but a movie that did this pretty well was the Bill Murray movie where he robs a bank.
Speaker A:Change.
Speaker C:Quick. Change.
Speaker A:Where he's a clown.
Speaker C:Yeah. Yeah. And then. And then leaves as a. A customer without the clown. Clown. I thought that's actually pretty clever. That might be a movie we should.
Speaker A:Yeah, I like that one. I'll do like I hadn't seen a long time.
Speaker C:I Neither. The B story. I'm defaulting to Sybil and Jesse.
Speaker A:Yep. I got Sybil.
Speaker C:Yeah. Explores trust and potential redemption through their relationship. Because Murphy does not change in this movie. But. But Zayn does.
So he's essentially the guy that we're riding along with.
Speaker A:Right.
Speaker C:You know? Yeah. So now as B stories, they're not noble agents of change having, you know, criminal problems of their own.
Speaker B:Right.
Speaker C:But I think they help each other change, you know, by the end of the movie.
Speaker A:Yeah. I mean, if he's got trust issues by the end he decides that she is trustworthy and helps her.
Speaker C:Yes. And I.
Speaker A:And her little terror kid.
Speaker C:Right. Which I think at this point, one would hope that their scams and. And stuff have come to an end. They've got each other now.
They've got some kind of independence, you know.
Speaker A:Yeah.
Speaker C:Anyway. All right. Fun and games. I think this movie is mostly fun and games. It is fun. A wild action pack stretch showcasing the heist aftermath.
The crew bickers over the loot, which I thought was a pretty good scene with, you know, the tension between Christian Slater and.
Speaker A:I didn't understand Costner's point of view. Like, I didn't agree with him. I guess I agreed with him about.
Speaker C:The dead guy's loot.
Speaker A:Yeah. What the are you gonna do with it? Why not split it? He died. That sucks. Let's still divide it up evenly amongst the survivors. That's the.
The fairest way.
Speaker C:Sure.
Speaker A:You. I'm keeping it. What are you doing with. You gonna give it to his. Does he have, like, a widow that needs the money like that? And if he had said that.
Okay, maybe I'm on Costner's sure. Boat now, but. No, just. I just don't. You know, I mean, I don't think he ever said he was gonna keep it. Like, he seems like asshole. That would.
But that's not. He didn't say that. That I remember.
Speaker C:If he's going to keep it, why does he get to keep it? Right.
Speaker A:Yeah. I just didn't understand.
Speaker D:Well, I do have a question about all that.
Speaker C:Yeah.
Speaker D:So what do y'all think when. When the. The guy who gets shot and they kick him out of the helicopter. You know, I'm talking.
Speaker C:Yeah.
Speaker D:If he had not been shot, do you think Kevin Costner was going to kill everyone or was he going to just go along with the whole thing? That's what I don't understand why he was so upset that this guy dies and they kick him out of the helicopter, but then he wants all of it.
Speaker A:Maybe it was there. Maybe the two were gonna survive, like. And they were gonna kill everybody else. Maybe. I mean, I don't. I'm reaching now, and we don't get any.
You're right. Why was he so upset and. Yeah, I don't know. He does seem like the asshole. Like James said. It's just. He was gonna kill them all the whole time anyway.
Speaker B:Big score. He was done.
Speaker A:Which again, I guess that's why, you know, wanted to keep the money. But. Yeah, I don't know, because he did get mad and decided to kill people real quick. Yeah, but I don't.
Speaker D:I didn't understand that part.
Speaker C:But. Yeah, well, I think. I think something got lost in all the mishmash, you know?
Speaker A:Yeah. Maybe there's the explanation laying on the cutting floor somewhere. Yeah. And they wasted Christian Slater, in my opinion.
Speaker B:Yeah.
Speaker C:Right.
Speaker D:Yeah.
Speaker A:Always like that guy.
Speaker D:Oh, yeah.
Speaker C:The crew bickers over the loot. Murphy betrays them, killing Hanson, Gus, and Franklin in a brutal shootout at A desert hideout.
Michael survives, takes the money, and flees with Sybil and Jesse, leading to car chase shootouts and double crosses. Yes.
Speaker D:Thank you. To the wolf for coyote that ran in front of the car to delay that. To give him time to go back and get.
Because if he hadn't, Kevin Costner would have been back there getting the money.
Speaker C:Yeah, okay. Yeah.
Speaker A:Yeah. And coyotes are like bad omens.
Speaker C:Are they?
Speaker D:Oh, are they?
Speaker A:So, all right, again, writer's working a little bit there.
Speaker C:No, I'm sure there was a script that was decent. You can't. You can't have two edits and have it together. Mash them together and have it go well, so there must have been some.
Speaker A:See the two different versions of Payback. Imagine they'd mash those together.
Speaker C:Oh, God.
Speaker B:Yeah.
Speaker C:I can't even understand how that's the same movie, to be honest.
Speaker A:Same. Yeah. I mean, that's.
Speaker C:It is just.
Speaker A:Yeah.
Speaker C:Midpoint. I have a false victory.
Speaker A:I have some. Okay. I have some notes here, but I guess it's been so long since I watched this, I don't know what these notes mean. So maybe leave it alone.
Speaker C:No, that's.
Speaker A:They're funny because it says roadhead and I guess.
Speaker C:Oh, that's. That's when what's her name is going down on Coster.
Speaker A:Okay. All right. All right.
Speaker C:After they blow up the gas station and kill.
Speaker A:Yeah. Because that wrote.
Speaker C:Yeah.
Speaker A:Murph kills gas station. Oh, that's right. He takes the. The girl that's in the. Yeah.
Speaker C:Well, she's willing to go. She's a little.
Speaker A:Yeah. He didn't kidnap her, but she.
Speaker C:But she was probably being.
Speaker A:Yeah.
Speaker C:Used and abused by that creepy.
Speaker A:Right.
Speaker C:So, you know.
Speaker A:Yeah. Did not feel bad for the gas station owner.
Speaker C:And.
Speaker A:That's right. Yeah. The girl goes along, gives him.
Speaker C:Right, Right, right.
Speaker B:And he passes her off.
Speaker C:Yeah.
Speaker B:Motorcycle gang.
Speaker A:Yeah.
Speaker C:If they're going somewhere and he says, you want to go to wherever, and.
Speaker A:Right.
Speaker D:Grab your bubble gum.
Speaker C:Yeah. Grab your bubble gum. Now that. That's. That's. That's the way the movie would have gone if Koster alone had, like that tone, you know, that kind of.
Speaker B:Yeah.
Speaker C:Just. Just. He's a bad guy, you know.
Speaker A:Right.
Speaker C:And nobody. And. And lots of unclean people. You know, nobody's clean.
Speaker D:And. And of course, my thought was they. He only blew that thing up to make it look cool in the movie because why would you leave a trail?
You're sending out smoke signals to the. The cops to say trail of destruction. There's a dead person Here. But. And they blew him. You know, they might not have found the dead guy for a while.
Speaker C:No. Who's gonna look for that guy?
Speaker D:I'm sorry, I just.
Speaker A:Right. Yeah.
Speaker D:Why did you blow the boat up?
Speaker C:Because it was cool.
Speaker D:Hey, it's like.
Speaker C:Yeah.
Speaker D:You know.
Speaker C:All right. I have a midpoint. False victories. Michael, Sibby, Sybil and Jesse seem to escape with the money holding up in a new hideout.
They've outsmarted Murphy for now. And Michael bonds with Jesse, suggesting a new family. But the stakes rise as Murphy tracks them down. So they get away, I guess. Is that.
That's what I'm saying.
Speaker A:I have false defeat. Civil stills, money and car. Was that before or after what you're saying?
Speaker C:I don't know.
Speaker A:Okay.
Speaker C:Well, I guess I have that as far as the bad guys. Because Murphy, now relentless force, hunts Michael, killing anyone in his path.
Sybil's loyalty waivers as she considers taking the money for herself.
Speaker A:Okay.
Speaker C:The cops also close in, complicating Michael's escape. Tension mounts as his allies dwindle and his options shrink. So Black Elvis knew Murphy. Sybil takes the money. Murphy chases. Is my bad guy.
So I guess I have that as my bad guys. You have that as a midpoint false defeat.
Speaker A:Yeah, because I guess it for me, it. So that's false feet. All false victory when he finds Sybil in the money. So she takes the money and runs.
And then later on, he finds her and the money. But then Murph kidnaps Jesse. I guess that's what I have.
Speaker C:Yeah.
Speaker A:Yeah, I agree with you. Trying to identify these.
Speaker C:Yeah, no, it's squishy. Because like you said, because what you're doing is trying to find a single set of beats for two separate movies, essentially, because CER and.
Speaker A:Yeah, right. So if you hit, they Frankenstein it together. Like, how do we know they didn't end up with. Yeah, two bad guys? You know, double beats.
Speaker C:You know, this is Costner's dark knight, but Murphy. But.
Speaker A:Right.
Speaker C:You know. Yeah, yeah. All right, so all is lost. Sybil is taken by Murphy. Michael is cornered in a warehouse.
Sybil betrays him, taking the money, leaving with Jesse. Murphy arrives with a shootout ensues, leaving Michael wounded and seemingly defeated. I have the whiff of death is the death of.
And again, here's a note, and I'm not entirely certain. Whiff of death. Death of the cleaner. Is that like ice teas?
Speaker A:No, that's John. John Lovitz.
Speaker C:Oh, the cleaner. Yeah, yeah, yeah, yeah.
Speaker A:And he was fun.
Speaker C:And the woman. Yes, yes, yes. Yes. That. That's what I have, is the whiff of death.
Speaker B:It's really strange. I'm gonna go on a John Lovitz rant here.
Speaker C:Yeah.
Speaker B:Here. Lately, I've been realizing that he is freaking hilarious.
Speaker C:Yeah.
Speaker B:John Lovett's is amazing. And I. Look.
Speaker A:What you didn't before, like, when you saw him, like. Like in the 90s or whatever.
Speaker C:Yeah.
Speaker B:I didn't realize how much stuff he was in that I liked.
Speaker C:Yeah.
Speaker B:And then I'm like, oh, yeah, he is fantastic. And then I saw him in this movie. I'm like, God, I miss him. He's still around.
Speaker C:Yeah.
Speaker A:Yeah. But. Right. But it's not.
Speaker C:Well, he almost played a straight dramatic character a little bit, which I thought was a. Yeah, yeah.
Speaker A:He did link of their own. He was the agent or whatever. He was funny.
Speaker C:Yeah, yeah.
Speaker A:And then even the. The small bit he has in Wedding Singer, like, as the rival.
Speaker C:Right.
Speaker A:Yeah. Really funny in that. Yeah.
Speaker C:I mean, that's the thing. There are no weak performances, like, quote.
Speaker A:That all the time he's losing his mind, and I'm reaping all the benefits.
Speaker D:And then I've listened to him on Conan and he's. Yeah, he's hilarious.
Speaker A:Well, I like Conan's podcast better than, like, his show. Like, it just. Yeah. Amazing.
Speaker C:But there are no weak. Like, even Lovett sends in a. I mean, there's no weak performances in this movie. Like, everybody really pulls their weight. I just.
Speaker A:I wonder how much that is the directors and how much does all these guys know what they're doing? And they just. They were like, all right, I know how to shut up. Just point.
Speaker C:Sure.
Speaker A:But I'm gonna say my life. You know what I mean? They know what to do. Yeah.
Speaker C:Yeah. So all these guys turned in great performances. Everybody was a heavy hitter.
Speaker A:But then you still got a mishmash and you. It up.
Speaker C:But it up. Yeah.
Speaker B:I wonder how many people on this movie watched the final product and was like, what?
Speaker C:We made.
Speaker B:Like, what? We shot a totally different movie.
Speaker C:Yes.
Speaker A:Well, it was fun. You go get a beer, because that ain't gonna work.
Speaker C:Yeah, go ahead.
Speaker D:Well, it's not till the end.
Speaker C:That's fine.
Speaker D:But I'll just. The. The craziest scene to me and the one that really makes me mad every time is. Is it iced tea that he comes.
Speaker A:Out spinning upside down?
Speaker C:Yeah. Yeah.
Speaker D:I'm like, why? You're going to die.
Speaker C:Yeah. When you run out of bullets, what's your plan? Hang in there by your feet like that explosion. Yeah.
Speaker D:Is this Just because they were doing stuff to make the movie. Look.
Speaker C:Yes.
Speaker B:There might have been more for that scene.
Speaker C:Yeah.
Speaker A:Yeah, that's true.
Speaker D:Anyway, that was way jumping ahead.
Speaker C:No, no.
Speaker A:He does die like that too, right? Hanging out.
Speaker D:Yeah.
Speaker C:Yes. Anyway.
Speaker A:I forgot he was in it, so, you know, watch it again. This time I was like, oh, yeah.
Speaker C:Yes.
Speaker B:I forgot he was in it till I looked it up on IMDb just now.
Speaker C:Yeah. Dark Knight of the City.
Speaker A:Long was the other guy.
Speaker C:Yeah, yeah, yeah, yeah, yeah.
Speaker A:So Firestorm and Break. Broken Arrow and. Is that it? I don't know what else. How long was in.
Speaker B:He was in that thing you do the extended cut. He was.
Speaker A:No, he was.
Speaker B:Boyfriend. Yeah.
Speaker A:Tom Hanks's boyfriend.
Speaker B:Hank's boyfriend. Tom Hanks, the character.
Speaker A:His character was gay in the extent.
Speaker C:I don't. It's not a vert, but.
Speaker B:No, it's in the extended version. It's over.
Speaker C:Oh, is it?
Speaker B:Okay. Tom Hanks's character can't go to a wonder event.
Speaker A:Interesting.
Speaker B:Because he was going on a date and he walks out and how. He longs out there and his.
Speaker C:I guess I haven't seen the direct.
Speaker A:You felt like you. He got hints that he was gay, like in the. Like, I guess. You seen the. The regular version?
Speaker C:I had heard that.
Speaker A:I had never thought about it.
Speaker C:I don't think you get overt hints in the.
Speaker A:In the regular. He removed it all.
Speaker B:The theatrical version of that thing you do is way far superior to the extended cut. The extended cut is a different feeling movie because those things are left in. You're like, I don't really need to.
Speaker A:But Hanks directed it. Right.
Speaker B:I know he wrote it.
Speaker C:He wrote the songs.
Speaker A:Oh, I thought he directed. Okay.
Speaker B:I don't think he directed it, but I could be wrong.
Speaker C:Yeah.
Speaker A:Because I like the movie, but I. Yeah. I guess I never heard of the director's cut and didn't realize it was an extended cut.
Speaker B:You're like, this just feels different.
Speaker A:Movie feel.
Speaker B:It's fun.
Speaker A:Okay.
Speaker C:Yeah. Probably didn't test well as well.
Speaker A:Sure. Anyway, it's one of those things, too. Like, I guess one of that was 97, 96, maybe late 90s. So if you do it now with that stuff, would it.
You know what I mean?
Speaker C:Yeah.
Speaker A:Like, I feel like people are less sensitive, that kind of thing now. Of course.
Speaker C:So, yes. Dark night of the soul. I have. The kid knows that his mom is in real danger now. Now, this is interesting, because when I first.
Speaker A:Real danger. Because he's with Murph.
Speaker C:Yes.
Speaker A:Okay.
Speaker C:Dark Night of the Soul. Okay, so now this is interesting because I had to go back and redo my notes. The stuff in black is.
Speaker A:Your notes look like this movie.
Speaker B:Yes.
Speaker C:Because now here's. We talked about Grok and AI. You cannot. This. I. I still don't have an explanation for this because I asked it and it. It said. Oh, sorry, I was just.
Anyway, I'll explain this to you. The stuff that here, that's. That's printed out. Not my black writing.
Speaker A:That's Gronk.
Speaker C:Grok.
Speaker A:Okay?
Speaker C:So I asked it to. I just analyze the beats for 3,000 miles Graceland according to Catboy for me. And so it did it.
And I printed it out, and I'm like, okay, you know, I've just cheated. I look at how smart I am and I'm reading them and I'm like, that's not how the movie ended. That didn't happen. And so I asked Rock about it.
Speaker A:I said, hey, Grock, where'd you get this fucking ending? Did I say make up one?
Speaker C:It did. It made up an ending.
Speaker A:You said that. And it said.
Speaker C:I said, oh, I was sorry.
Speaker A:My robot voice is always like, you know.
Speaker C:No, no, it typed out, I'm sorry, Phil.
Speaker A:I made it up.
Speaker C:No, it said, you're correct. This is how the movie ends. I was just extrapolating based on Michael's character of Although being.
You know, because it had Michael sailing away on the boat.
Speaker A:Should have ended. It wrote it itself.
Speaker C:Sure.
Speaker A:It had.
Speaker C:It had Michael sailing away alone, leaving Sybil and the kid, not still not trusting them. I'm like, that didn't happen. And I asked about it.
Speaker A:That's interesting. I like that. That.
Speaker D:Okay, so the. Then we need to have everyone watch Terminator and do not trust the machines.
Speaker C:Right, Right. So. So I had to go back and make my notes about how the movie actually ended.
Speaker A:Yeah, that's what you do next, Phil. Have it outline Terminator and see if it rewrites that fucking.
Speaker C:Yeah.
Speaker B:The machines win and all is well.
Speaker C:Yeah. Because.
Speaker A:So how did it. It will.
Speaker C:Because. Because this is where. This is where it started going off the rails a little bit. Here's what it says. And I.
And correct me if any of this is right, but I didn't necessarily remember this. It says, dark night of the soul bleeding out. Michael reflects on his choices. He's lost Sybil the money and has shot at a new life.
The moment of despair is brief but palpable as he faces mortality and abandonment forces Michael to confront his flaws, trusting the wrong people and Surrender to fate. And I'm like, when did he get.
Speaker A:Shot and bleed out?
Speaker C:When is he bleeding out?
Speaker A:That's one of my biggest issues with it is for the big shootout. He shot right away and removed entirely from like the big showdown.
Speaker C:Yes.
Speaker A:I was really upset with it. That seems dumb. Take your main character out of the showdown. What? But. Yeah, but I don't. He's hauled away like an ambulance.
There's no shots of him laying there.
Speaker C:No. No debating.
Speaker A:Should I. Yeah. Do something.
Speaker C:But Grok says that should have been in there. That should have been in there.
Speaker A:But there's no differentiation on the. Like. It's not written in italics versus, like regular.
Speaker C:No, it's not. It rewrote the movie and. And I caught it and it said, oh, I'm sorry.
Speaker D:Okay, let me present this to you. I've been listening to a lot of stories about parallel universes.
Speaker C:Yeah.
Speaker D:Do you think this AI keeps going back and forth from different universe where the movie actually was that way and that we're interesting or just.
Speaker B:Or it could be wrong and full of it was.
Speaker C:It admitted it was wrong. It said the reason I did it was because.
Speaker A:Based on version and. Nope.
Speaker B:Grock was like, oh, I'm sorry. I didn't think you'd read this far.
Speaker C:It extrapolated based on the character.
Speaker A:Right. You didn't even want to watch the movie. You had me tell you what happened. So.
Speaker C:That was the first one.
Speaker A:Imagine if you had it set on Unhinged.
Speaker C:You stupid.
Speaker B:You lazy bastard. You watched this movie and forgot.
Speaker C:Yeah. Break into three. Okay, we'll cover this because.
Speaker A:Oh, you're right. I forgot.
Speaker C:Yeah. Break into three. Michael says he will get the mom back and you know, get. Get Sybil back, you know. Now his goal is to. To.
To get rescue civil and promises the kid will get her back. But Grok has to break it in three. Michael Rally's finding a hidden reserve of strength.
He patches himself up and tracks down Sybil and Murphy, determined to reclaim the money and protect Jesse. This is. This is his last best idea to turn the tides. I mean, some of that's true, but a lot of that I didn't remember.
And I think the break into three is Michael trying to get Sybil and back with the kid. Right. I mean, what do you have as a break into three? It's been a while.
Speaker A:I have the. Where she goes to the boat and begs him for help. Right. That's the Dark Knight.
And when he decides to help her and finally trust her, that's him breaking into three.
Speaker C:Yeah, yeah.
Speaker A:Which I think is later than what you're talking about. Right. Because this is him helping her to go get Jesse. Yeah, yeah, yeah, not so much.
Speaker C:Well, right. Or the kid knows his mom is real in danger, I guess. And Michael says he will get. Get. Get his. Get his mom back.
Speaker A:Yeah. That's him helping Jesse. Right. This is him. I wrote him helping Sybil to get Jesse back.
Speaker C:Okay.
Speaker A:Because I guess when I was going through it, I thought that was breaking the three. But then basically he goes, yeah, I hope you get Jesse. And then he goes and gets shot and does nothing.
Speaker C:Yeah.
Speaker A:I mean, I don't mean to be.
Speaker C:No, no.
Speaker A:You know, but what. Sybil gets Michael because he wasn't there.
Speaker C:Yeah. Okay. Because Michael Rally's finding hidden reserve strength patches. Michael's transformation sets up the final confrontation. And I wrote.
Well, Sybil gets Michael, who agrees to help. So that's what you're talking about, right. As the breaking of three.
Speaker A:Oh, you know what? I just thought about some. I've been ragging on it, and it just. It just occurred to me. So I was looking at the notes for the finale.
Speaker C:Yeah.
Speaker A:So I got, you know, mix a trade, get shot, misses, epic shootout. Right.
Speaker C:Yeah.
Speaker A:But then also have mirth dies by the toilet. Right. And we get into that. But he.
Speaker C:Yeah, yeah, yeah.
Speaker A:Like Elvis, right? Yes, but also. And maybe this is what they're getting at. I still think it's. I don't know, maybe a poor choice, but they think he's dead.
Fakes his death, and then lives happily ever after.
Speaker C:Yeah.
Speaker A:Also be an Elvis reference.
Speaker C:Sure.
Speaker A:So, yeah, yeah, yeah. I mean, no, I think he didn't fake it. Like, he could shot and gets knocked out.
Like, if for that to work, I guess he would have to, like, actively pretend to be dead kind of thing. Yeah.
Speaker C:You talk about Murph.
Speaker A:He.
Speaker C:Yeah, no, Michael.
Speaker A:Yeah. Michael.
Speaker C:Yeah.
Speaker A:Because he gets shot, then he's out of the thing forever, but they thought he was dead, and then he lives happily. You know what I mean? I thought that might be Elvis reference. To me, it would work better if he didn't just get shot and, like, get knocked out.
If he actually, like, pretended to be dead and truly fake.
Speaker C:Right, right, right.
Speaker A:Anyhow, sorry.
Speaker C:No, that's. This is grock. At a climactic showdown at a boat dock, Michael faces Murphy in a brutal shootout.
Sybil returns conflicted and ultimately helps Michael kill Murphy. See, that's not. That didn't happen.
Speaker D:What the fuck?
Speaker C:Yeah. Sybil returns conflicted and ultimately helps Michael Kill Murphy.
The cops arrive, but Michael escapes on a boat with the money, leaving Sybil and Jesse behind with a cut. He's a changed man. Still a criminal, but free.
Speaker D:He tried to. He tried to leave them behind.
Speaker C:Yeah, but not on the boat.
Speaker D:No, not on the boat. No, he tried. They drove away in taxi or whatever.
Speaker C:Yeah, so that's where I, you know, she gave him.
Speaker D:Didn't she give him the money back?
Speaker B:Yeah, yeah.
Speaker D:I don't know.
Speaker C:Yeah, well. Yeah. So my finale is shootout the cops, Sybil, death of Murphy, and they rescue Michael. Right. So this is, you know, the. The finale. The. This.
All right, so this is. This is where it really perplexed me because Grok ended the movie different.
Michael sails off into the sunset alone on the boat with the loot, a stark contrast to the opening's dusty isolation. He's beaten the odds, but remains a solitary figure and anti hero who survived but not reformed. And that did not happen.
And so then I asked, I said, well, was there an alternate cut of this movie? Nope, there is no alternate cut to this. I said, well, what are you doing?
Speaker A:Only in my mind, Phil.
Speaker C:Yeah.
Speaker A:He said, what are you doing? What did it say?
Speaker C:It said. It said, I'm sorry, you're right. I said, the movie didn't end that way. And she's. It said, yeah, that's right. I. I was. I can't remember the exact.
I could probably look it up. It's all the history is there. But it said something like. I was extrapolating based on Michael's character and this kind of.
So it essentially now is that you've.
Speaker A:Been using it to help with outlines. It was making a fucking outline. Yeah, yeah.
Speaker C:But it ended the movie different, which, you know, that took me back. And then it admitted its mistake. And anyway, too weird. It is final image, new family sales off which.
Which is sort of a good closing image to the opening image, I guess. Solitary figure, you know.
Speaker A:Yeah. Because he runs off with them, right?
Speaker C:Yes.
Speaker A:Yeah.
Speaker C:Yes.
Speaker A:Not alone. Grok.
Speaker C:Yes. And it always gives a summary, analysis and observation strengths. See, when Grok wrote it, changing the ending, I think it did make a little.
I mean, that, that is. That would be at least a little cohesive anyway.
3,000 miles to Graceland adheres well to Snyder's beats, particularly in the fun and game sections where it delivers the heist movie goods. Shootouts, betrayals. The debate beat is understated, the theme of Curtis. So Grok gave the summary, but I don't. I. I don't.
Structurally, I don't think it is. Well, right versed. And I think maybe Grok sense that and said, this is up. I gotta fix this, you know?
Speaker A:Yeah.
Speaker B:This doesn't make sense. We have to end it like this.
Speaker C:Yeah. So anyway. So, I mean, But. But that. But going back to our talk about AI. I mean, don't turn your back on it, I guess is. Is the lesson. I mean.
Speaker A:Yeah.
Speaker C:Okay. Yeah. It's gonna always be. And it'll even say, you know, Grok makes mistakes, always double check or whatever. But I'm reading that.
I'm like, that didn't happen. And. And then it. Yeah, no, I changed it. Okay.
Speaker B:Yeah. So it's a tool.
Speaker C:Yeah.
Speaker B:Double. Double verify your measurements.
Speaker C:Yes.
Speaker B:Measure twice, cut once. Those type of things.
Speaker C: ght. Any other thoughts about: Speaker D:You know, my favorite scene.
Speaker C:Yeah.
Speaker D:Is the credits when they're showing them dancing.
Speaker C:Yeah. I like that. In the version of the Elvis song, you know, What a Night I'd like.
Speaker D:Yeah. What a night. And then, of course, Russell, Kevin Costner cutting up at the end. He says something about going back to the future, man.
Speaker C:Oh, yeah, Yeah. I liked. I like my.
One of my favorite scenes was Kurt Russell in the elevator when, you know, the girls want his autograph or whatever and he's playing it up.
Speaker B:Apparently that the thing that he signs in the elevator is the soundtrack to the movie that Kurt Russell was in with Elvis.
Speaker D:Oh.
Speaker C:Oh, really?
Speaker B:It happened at a county fair, I think is what it's called.
Speaker C:Yeah, yeah, yeah, yeah. Because it's at a fair setting where he's kicking him in the shin or something.
Speaker B:So Kurt Russell playing Elvis signs an Elvis record that Kurt Russell was in.
Speaker C:That's cool.
Speaker A:No, I think I like the slug bug scene.
Speaker C:Yeah. It hurts, don't it?
Speaker A:Well, you don't play no more.
Speaker C:Yeah, no, no. Coster. You know, and then there's a. There's more of that in. In Perfect World. Like, in Perfect World, he does not like fathers that abuse their kids.
Speaker A:Right.
Speaker C:And there's that scene where the. You know. Anyway, that.
Speaker A:So y'all mentioned earlier, and I guess I feel like maybe I missed it. So it seems like Costner is the related Elvis that's his illegitimate kid. But y'all thought Kurt Russell was too. That's how y'all came out of it.
Speaker D:They were.
Speaker A:I guess I missed the part with Kurt Russell was too.
Speaker D:There were people invited, I guess. To do DNA testing or something. And it said that they came down to two possible matches.
Speaker A:This is the movie. This is movie.
Speaker C:Yeah, movie. Pollock and Church are talking about this.
Speaker A:Yeah.
Speaker D:And I think the two matches were Kevin Costner and Kurt Russell. Kurt Russell, because Kurt Russell actually gets the boat.
Speaker A:I.
Speaker D:Wasn't that Elvis. That was from his estate or something that his. In. Was that his inheritance? For some reason, I. I thought that was his inheritance from the estate.
Speaker B:I think that's what it was implied, like. Yeah, he might be.
Speaker C:I would have liked to have read the original script before they got their hands on it, because I think there was. There was probably a lot of cleverness and could be.
Speaker B:I mean, all those guys signed on for a reason.
Speaker C:Yeah, yeah, yeah.
Speaker B:And it was before the movie was made.
Speaker C:Yeah, yeah.
Speaker B:Usually you have a script and then.
Speaker C:They get into it and they're like, no, I think it should be this way.
Speaker B:Yeah.
Speaker D:But. But that. That lead. I mean, you know, that means that they were half brothers.
Speaker C:Yeah, yeah, yeah, yeah. Yes, that's true.
Speaker A:Yeah.
Speaker C:All right.
Speaker B:Well, it could have been a much, much cooler movie.
Speaker C:Yes.
Speaker B:Ocean's Eleven proved that. I think you said that earlier.
Speaker A:Yeah, yeah. There's a lot of superior movies out there.
Speaker C:I. And I love Kurt Russell and. And, you know, Kevin Costner, but I think ego got in the way. Could be control and.
Speaker D:Yeah.
Speaker A:And also maybe.
I mean, I see what you're saying about the script, but maybe they both knew the script wasn't up to par, so then they tried to both try to make it better in their own way. And it. But directions. Right.
Speaker C:I think either version alone would have been a good movie, too. I think a darker version would have been good. I think a romp would have been good. But you can't mix them. Mix them.
Because then you got the seesaw tone.
Speaker B:Yeah, exactly.
Speaker C:And. And now you're trying to splice scenes together that weren't naturally together.
Speaker A:Yeah.
Speaker B:You know, Kevin Costner played it so damn dark that it was hard to overcome Kurt Russell's playfulness in those scenes.
Speaker C:Yes.
Speaker B:Because most of it is the playful side of it. The. But Kurt Russell on his own, you're like, damn, he's really, really dark. Like, too dark, almost.
Speaker C:Yes. Yeah. Yeah. No, I think that's right.
Speaker B:Anyway, could have been better.
Speaker C:Yes. It's. It's like. Yeah, it's fun to watch, but don't expect, you know, to. To have cohesion or whatever are better.
Speaker B:Kurt Russell and Kevin costume, unfortunately, they're not together.
Speaker C:Right. Like, yeah, if you want A. If you want a darker Costner, I, I, I. Perfect world is, you know, Mr. Brooks, too. Yeah. Oh, God. Oh, geez.
Done his daughter kill him. That move at the end or something?
Speaker A:I don't remember. I just remember he had like, he's.
Speaker C:The murderer, but then.
Speaker A:Yeah, he's got like split personality or something. Right. And one of those personalities is a.
Speaker C:Murder, and then his daughter genetically inherits that and kills him. I think.
Speaker A:I couldn't remember.
Speaker C:I think at the end of the movie.
Speaker D:Now, wait a minute. There was some movie that takes place in the South.
Speaker C:Well, Mr. Brooks, he plays a serial killer.
Speaker A:Oh, you had mentioned Dragonfly earlier. And I feel like that's the movie that you guys watched. And I remember you're. I'll never forget this.
You said, and it may not be Dragonfly, but you said Costner must have owns. Owed somebody a favor or something. I don't know why he was in that movie. And I feel like. But it made me a different movie. But you were not impressed.
Speaker C:What was Dragonfly about? I don't know. Whatever.
Speaker A:Like, that was maybe the south one you're talking about.
Speaker C:It might have been.
Speaker A:Yeah, he's on a farm or something.
Speaker D:Yeah, it's something. It was a weird movie. Yeah, it was some kind of mound or so. It was. Was that the one?
Speaker A:I don't think I've seen it.
Speaker D:I thought, Mr. Brooks does that. Have.
Speaker C:He wears the glasses.
Speaker D:No, that. I'm thinking about the one with. What's the Goodwill hunting guy.
Speaker A:Talented Mr. Ripley.
Speaker D:Yeah, that's the one.
Speaker C:I was.
Speaker D:Yeah, no, that's what's.
Speaker C:Yeah. All right. Any final thoughts before we get to pass consider? No. Okay. Do past consider. All right, Cherry, this is your movie. We'll start with you.
Speaker D:Yeah, I don't know. I don't know why I picked it. No, I do.
Speaker C:It is. It's a good movie.
Speaker D:I remember liking it. Yes, it's good. And I. I like this. The Kurt Russell and Kevin Costner. And I will probably watch anything with Kevin.
Speaker C:Sure.
Speaker A:Did you like it less this time or.
Speaker D:No, not really.
Speaker A:Okay, same. All right.
Speaker D:No, but I. I mean, after hearing y'all talk, I see all the, the problems with it, but no, I still like.
Speaker C:You got to ignore those and enjoy it for what it is. Which there's. Yeah, it's a lot of cool scenes.
Speaker D:Because, like, the whole ride you're sitting there going, oh, oh, there's John Lovett's. Oh, you know, and then, oh, there's Thomas. Thomas Hayden. You know, it's Just like every time you turn around, it's.
Speaker C:I think you got to enjoy it for the performance and not the story almost. Because I enjoy all the scenes. It's just the story together with all the scenes is the problem. Individual scenes are pretty cool.
Speaker B:When you hit play, it gets terrible.
Speaker C:Yeah. Just go to the chapter screen and just watch a chapter at a time.
Speaker D:No, I mean, I know I liked it and I mean, I would.
Speaker C:It's a vignette of.
Speaker D:I would recommend it at least once for someone to watch.
Speaker C:All right.
Speaker D:Because I liked it.
Speaker A:So it's a recommend for you.
Speaker D:Yeah.
Speaker C:All right.
Speaker B:I've been told that before. It's. I thought it was good until I watched it with you and noticed there was problems. My wife says that all the time.
She's like, I used to like this movie until. But this. This one, I'm gonna have to pass.
Speaker C:Yeah.
Speaker B:There are better movies that this was trying to capitalize on, like Pulp Fiction, True Romance. Oh, yeah, those type of things.
Speaker C:Great.
Speaker B:But. So this one's just a pass. But it, you know, it's Costner.
Speaker C:Yeah.
Speaker B:It's Kurt Russell. It's all the cool people. It's not unpleasant to watch.
Speaker C:Right.
Speaker B:But there's better stuff.
Speaker C:Sure.
Speaker A:Yeah. I'm kind of. Same boys. James. Yeah, it's a pass for me. Yeah, it was better. You said earlier, better. Costner's better, Kurt Russell's.
Yeah, there's parts that are enjoyable. I've seen worse movies by far.
Speaker C:Yeah.
Speaker A:I remember the reason I asked Sherry about enjoying it less because I'm. I enjoyed it less this time than I did when I saw it before.
But I guess I probably back my mind knew there'd been a reason why I hadn't seen it in a while either. Right. Movies you. You like, you tend to watch over and over. So.
Speaker C:Yeah.
Speaker A:I think I even owned it at one point. And I think we didn't own it anymore. But yeah, so I watched it and I was like, oh, yeah, this didn't hold up for me.
Speaker C:Yeah. But I really can't recommend it, but I don't want to pass on it. I think.
Speaker D:Consider.
Speaker C:Definitely consider. You know, I think you will have some fun moments if you watch this, but just don't think about it.
Speaker B:Yeah.
Speaker C:Which is unfortunate, I guess, but you don't always go to a movie to think about stuff, you know, But a lot of cool scenes and good soundtrack and everybody pulls their weight. A lot of good performances, but just cohesively it's not great. So. Yeah, consider for me. All right. So that's 3,000 miles. Make of it what you will.
There is some fun to be had.
Speaker A:But 3,000 miles, AI to Graceland.
Speaker C:That's right. All right, that's 3,000 miles. And we are out.
Speaker A:Well, it was fun. You wanna go get a beer? Because that ain't gonna work.
Speaker B:Just look at the screen at any moment, be like, oh, it's Kurt Russell. Looking cool.
Speaker C:Yeah. Yes. Yeah.
Speaker A:Yeah.
Speaker B:As a director, you're like, well, you're.
Speaker D:The one who brought it to my attention.
Speaker C:Did I?
Speaker D:Yeah.
Speaker A:Yeah. My. My notes are blank. I wrote theme stated, and it's blank.
Speaker C:So, yeah. So I. Here is where we see maybe one of the stitch lines on. On our Frankenstein.
Speaker D:I'm like, why? You're gonna die.
Speaker C:Yeah. When you run out of bullets. What's your plan? Yes.
Speaker B:I forgot he was in it until I looked it up on IMDb just now. When you hit play, it gets terrible.
Speaker C:Yeah. If you're dating this girl, keep the lights down low. You know what I'm saying? Anyway, yeah, that's a little harsh.
