The Duality of Identity in 'The Long Kiss Goodnight'
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This podcast episode delves into the cinematic work "The Long Kiss Goodnight," examining its thematic elements and character development, particularly the duality of its protagonist, Samantha Kane, portrayed by Geena Davis. The discussion reveals that the film encapsulates the journey of a woman rediscovering her identity as a government assassin after a bout of amnesia. We explore the contrasting aspects of her character, as she oscillates between the roles of a devoted mother and a lethal operative, a dynamic that enriches the narrative and engages the audience. The dialogue further highlights the film's action sequences and the performances of the cast, notably Samuel L. Jackson as Mitch Hennessy, whose character serves as a foil to Kane. Ultimately, we conclude that while the film may not epitomize Shane Black's finest work, it remains a noteworthy entry in the action genre, inviting viewers to reflect on the complexities of identity and the intertwining of personal and professional lives.
The Fellowship Of The Reel reviews: THE LONG KISS GOODNIGHT
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Takeaways:
- Engaging in the mechanical study of film can yield profound insights into cinematic narratives.
- The film highlights the duality of identity, showcasing the protagonist's struggle between her past and present.
- The theme of reconciliation between one's violent past and domestic life is central to the narrative's progression.
- Humor interspersed with action sequences serves to enhance character development and viewer engagement.
- The relationship dynamics between characters reflect deeper themes of trust and betrayal in high-stakes situations.
- The movie's portrayal of a female action hero challenges traditional gender roles in the action genre.
Companies mentioned in this episode:
- Shane Black
- Samuel L. Jackson
- Gina Davis
- Jerry
- Chris
- Philip
- Robert Downey Jr
- Albert Finney
- Brian Cox
- David Morse
- Mitch Hennessy
- Samantha Crane
- Charlie Baltimore
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 says that 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:I wish I wrote that.
Speaker D:Which.
Speaker C:I love the title, but that movie's trash.
Speaker B:Well, don't you, man.
Speaker B:It's good for you.
Speaker B:This picks was Sherry's long kiss Good night.
Speaker B:Jerry, you got your.
Speaker A:Yes.
Speaker A:Let me read the synopsis.
Speaker B:Synopsis.
Speaker A:Okay.
Speaker A:School teacher and single mother, Samantha Crane, played by Gina Davis, lives an average suburban life until she begins having strange memories of unexplained violence and discovers that she has physical skills that she never imagined.
Speaker A:Hiring private detective Mitch Hennessy, played by Samuel L.
Speaker A:Jackson, to probe into her past, Samantha discovers that she's a well trained government assassin who went missing after suffering a bout of amnesia and that her former handlers want her back in their employ.
Speaker B:Yeah, again, that's more of a synopsis.
Speaker B:Which is better than the blurb I found, which, you know, tends to be surface level at best or whatever.
Speaker D:Maybe we should just start writing our own.
Speaker B:Yeah, we couldn't do worse than some of these blurbs or whatever.
Speaker B:But that's pretty good.
Speaker D:Say that like I actually do homework.
Speaker D:I just watch the movies three, four times and come in here and go off the top of my head.
Speaker B:No.
Speaker B:Well, that's cool.
Speaker C:So going forward, James will be writing the blurbs.
Speaker C:Awesome.
Speaker A:Okay.
Speaker A:Yes, I picked this one and I wanted to say I did not watch this one in the theater when it came out, which was.
Speaker A:What was it?
Speaker C:96.
Speaker A:However, I do remember seeing the trailer, especially when they're jumping out of the window shooting the ground.
Speaker A:Yeah, and I.
Speaker A:I do remember that.
Speaker A:But I think we rented it on vhs.
Speaker B:Yeah.
Speaker A:And saw it.
Speaker D:Vhs?
Speaker D:What is that?
Speaker A:Yeah, that's how long ago.
Speaker A:But ever since I watched it, it's been one of my favorites.
Speaker A:It's my favorite too.
Speaker A:Or one of the.
Speaker A:The most.
Speaker A:You know, if you're wanting to see an action movie, I will recommend it to people who've never seen it.
Speaker A:I've already said my recommend at the beginning.
Speaker B:No, no.
Speaker D:Well, when you picked it, we kind of think.
Speaker B:You sure?
Speaker B:Well, we all have movies that are our favorites for whatever reason.
Speaker B:And you all say what you want.
Speaker B:Okay.
Speaker B:Just like in the aliens view when I started treading in The Dangerous Water by, you know, saying some things that maybe weren't ultimately positive.
Speaker B:Chris was clamping that shit down fast.
Speaker B:Sherry, Sherry loves this movie.
Speaker B:Ok, I like it, but she loves it.
Speaker D:I honestly think it's one of Shane Black's.
Speaker D:The writer.
Speaker D:Shane Black.
Speaker D:I think it's one of his.
Speaker D:Okay.
Speaker D:My favorite of his.
Speaker D:Yeah, I'll say that.
Speaker D:I don't.
Speaker D:I won't say it's one of his best.
Speaker D:I think there are better.
Speaker D:But it's one of my favorite of his.
Speaker C:Oh, that's interesting that you can separate the two.
Speaker C:You think there's.
Speaker C:You think he's written better movies but you like this one more.
Speaker C:That's.
Speaker C:I guess for me, I think I would have a hard time doing that.
Speaker D:In or in our Unbreakable episode.
Speaker D:I remember talking about Sam Jackson just not scratching my itch when it comes into.
Speaker D:Does this look like a comic book store?
Speaker D:You know, that's what you should say.
Speaker D:This movie.
Speaker D:He hits it.
Speaker B:Sure.
Speaker D:Every.
Speaker D:He's sc.
Speaker D:Oh yes, he's great.
Speaker D:Yeah, it's great.
Speaker B:Well, yeah, you.
Speaker B:Did you find some trivia about Jackson, what he said about this, this role or whatever, do you?
Speaker B:No, maybe.
Speaker B:Maybe I found it or whatever.
Speaker B:I thought you had found it.
Speaker B:Anyway, in interviews, Sam Jackson has gone on record as saying that of all his roles, Mitch is his favorite.
Speaker B:Which really.
Speaker B:Yeah.
Speaker B:Which kind of blew my mind that he would have picked that some of.
Speaker D:The lines in this movie, you know, I just smoked a pack of Newport and drank three vodka.
Speaker B:Yeah.
Speaker B:I'm a Morbunders.
Speaker B:Yeah.
Speaker D:No, yeah, these are Shane Black writing for Sam Jackson, man.
Speaker D:Well, good.
Speaker B:Other reviewers, critics have called this one of Shane Black's, you know, weaker outings.
Speaker B:And I tend to agree that of Shane Black's projects, I think this is one of his weaker ones.
Speaker B:That being said, I will take a Shane Black weak project over a strong project by other people almost all the time.
Speaker B:Shane Black is one of my favorite writers, I think obviously of Lethal Weapon fame.
Speaker B:But yeah, he.
Speaker B:It maybe is his weakest project.
Speaker B:But a weak Shane Black project is still a Shane Black project.
Speaker B:He wrote a movie that still breaks my heart that didn't take off better.
Speaker B:Was it Nice guys?
Speaker C:Nice guys?
Speaker D:Yes, guys, absolutely.
Speaker B:That critics loved.
Speaker B:I absolutely love.
Speaker B:But it didn't do great.
Speaker B:And so there's not going to be a Nice guys too.
Speaker B:But that.
Speaker B:That movie, he does buddy movies.
Speaker B:That's his bread and butter.
Speaker B:And I think he.
Speaker B:He does pretty good job here with Charlie Baltimore and Mitch Hennessy and Hennessy Yeah, yeah.
Speaker D:The Shane Black.
Speaker D:I guess I kind of go into it and everybody's not ashamed.
Speaker D:Black nerd as maybe we are.
Speaker D:So to kind of give you an idea of his other movies, Lethal Weapon was his first one written by Monster Squad, which is.
Speaker D:We might have to review Monster Squad eventually.
Speaker C:I love Monster Squad.
Speaker D:Oh, absolutely.
Speaker D:Last Boy Scout man has nards.
Speaker D:Last action hero.
Speaker D:Lus.
Speaker D:Good night, obviously.
Speaker D:And then Robert Downey Jr's before Iron man came out.
Speaker D:Kiss Kiss, Bang Bang.
Speaker D:I love this big one.
Speaker D:Which Kiss Kiss Bang Bang.
Speaker D:And the Nice guys.
Speaker D:I would watch those back.
Speaker D:They're totally enjoyable.
Speaker B:Absolutely.
Speaker D:Same vein.
Speaker D:So Shane Black, awesome writer.
Speaker D:Awesome writer.
Speaker D:And then obviously in Predator, he was.
Speaker D:What character was Hawkins.
Speaker D:Hawkins.
Speaker C:Hawkins.
Speaker D:So, you know, he's been in the business since the 80s.
Speaker D:He's just a good action writer.
Speaker C:He also wrote Iron Man 3.
Speaker D:3.
Speaker C:Like, yeah, some people don't, you know, I guess more the.
Speaker C:The comics, like I said, played, you know, loosely with, I guess, defining what the Mandarin is.
Speaker C:Yeah, but.
Speaker C:But as far as a movie, and there's particularly a Shane Black movie that's.
Speaker C:That's very, very good.
Speaker C:Again, I guess you guys talked about Samuel Jackson reading Shane Black's lines.
Speaker C:Robert Downey Jr delivering Shane Black's lines is top notch.
Speaker D:And then, you know, kind of also an Easter egg and not.
Speaker D:So it's very apparent.
Speaker D:Most of his stuff takes place in Christmas.
Speaker C:Yep.
Speaker D:Yeah, it's excellent Christmas movies.
Speaker B:Yeah, sure.
Speaker A:When.
Speaker A:When we were talking about Lethal Weapon, I'm like, wait a minute, this is at Christmas too.
Speaker B:If five of his movies start off at Christmas.
Speaker D:And this one, Nice guys, Iron Man 3, kiss kiss, bang Bang, Lethal Weapon, Long Kiss, Good Night.
Speaker D:All those are around Christmas.
Speaker B:Yeah, we did forget to mention the box office, but it made its money.
Speaker B:Like it had a.
Speaker B:A budget of.
Speaker C:I don't know if I wrote like 65 million, but.
Speaker B:65 million.
Speaker B:Yeah.
Speaker B:Yeah, that's a big fucking letters right there.
Speaker C:I couldn't see the paper.
Speaker D:I just for the listeners out there, a little peek behind the curtain.
Speaker D:Philip has printed.
Speaker B:Yeah, we don't print the Internet.
Speaker B:Right.
Speaker D:Yeah, well, I have everything pulled up on my device.
Speaker D:Well, pulled up on his device.
Speaker C:Yeah.
Speaker C:I printed last week.
Speaker C:To be fair, I printed last week.
Speaker C:This week I'm going with the, you know.
Speaker C:Yeah, I'm writing everything device.
Speaker B:Yeah.
Speaker C:But, you know, all my notes were written by hand, though.
Speaker D:Pen and pen and paper.
Speaker D:You never have to recharge a pen and paper.
Speaker D:You never have to have cell signal.
Speaker D:I will give you that.
Speaker B:65 million budget.
Speaker B:Now, now we talk about this, right?
Speaker B:Because we reviewed Aliens, We've had a.
Speaker C:18 and a half.
Speaker B:Yeah.
Speaker B:Now several years previous, I don't know if 18 million translates into a decade.
Speaker B:Yeah.
Speaker B:So I don't know if 18 million and 86 translates to 65 and 96, but aliens, 18 million.
Speaker B:Kiss kiss bang bang Here, a more traditional action movie.
Speaker B:65 million.
Speaker B:Long Kiss goodnight.
Speaker B:Yes, we just talked about that.
Speaker B:Kiss something.
Speaker B:Anyway, domestic 33 million, international 56 for a, you know, a win of 80, 89 million against 65 million.
Speaker B:But that is not enough apparently to get people excited in the, in the studios to make a sequel or.
Speaker D:I had a kind of a thought.
Speaker D:I don't know where I got this ide idea from, but usually the budget for the movie and the marketing budget are two different things.
Speaker D:And usually the marketing budget is just as much as the movie filming budget.
Speaker D:So I imagine.
Speaker D:Okay, it's 65.
Speaker D:Estimated budget for the movie.
Speaker D:Maybe add 65 for marketing, which I don't.
Speaker D:According to Sam Jackson, they didn't market this movie correctly.
Speaker D:Yeah, that's why it was a miss.
Speaker D:So imagine producers were probably all in 100, 120 million.
Speaker B:Yeah, maybe so.
Speaker D:And this made 89.
Speaker D:So maybe not financial sense to make another one.
Speaker C:Right.
Speaker D:So the numbers are always a little misleading, but that might be why there wasn't a sequel.
Speaker B:Yeah.
Speaker B:Sherry had said something about 80% of people loved it.
Speaker B:That.
Speaker B:That may be true.
Speaker B:The scores on tomato are 68 critics and 70 fans, which.
Speaker B:Which is still pretty good.
Speaker C:Where'd you get your 80% cherry?
Speaker A:Did I.
Speaker C:You just pulled 10 friends and eight of them liked it or.
Speaker B:Right.
Speaker B:Four out of five dentists, maybe.
Speaker A:Did I say that earlier?
Speaker C:I didn't mean to put you on the spot.
Speaker C:I just, I was curious what the.
Speaker A:Eight on rotten tomatoes and it was on voodoo.
Speaker A:4.4 out of five.
Speaker B:Okay.
Speaker B:All right, well.
Speaker A:And then 6.8 out of 10 on im.
Speaker B:Yeah, IMDb so I don't know, that's still pretty good numbers.
Speaker B:You know, two thirds to three fourths of the people, critics and fans like it.
Speaker B:And I think it's a solid movie and we'll get into, you know, some of the things.
Speaker B:But Shane Black, he has this as a, as a problem because he doesn't write bad stuff.
Speaker B:Nice guys, Top to Bottom is a great movie, but it didn't land and so we're not going to get any more of those guys.
Speaker B:It's interesting.
Speaker B:Like, so one of the things I found when Shane Black wrote Lethal Weapon.
Speaker B:He received a record of like a.
Speaker B:Like a million dollars for that.
Speaker B:At the time, I guess was a record or first time screenwriter or whatever.
Speaker C:Right.
Speaker B:He was paid 7 million for long Kiss Good Night and set another record with being paid for a script.
Speaker C:I think he got a lot for Last Boy Scout too.
Speaker C:I was.
Speaker C:I had five in my head.
Speaker C:I don't know if that's right.
Speaker C:I'd have to look that up.
Speaker C:But maybe it was three, four or five.
Speaker C:But definitely his.
Speaker C:His worth and paychecks are going up.
Speaker D:According to the sources that I read, Shane Black did make a big payday for Long Kiss Goodnight.
Speaker D:But as far as his writers circle, the circle in Hollywood, they looked at him as a sellout.
Speaker D:So he didn't make another big movie after this one until Kiss Kiss Bang Bang, I believe, because it was, you know, you're making big money, you're selling out.
Speaker D:Which was 7 million back then.
Speaker D:No writers were making that kind of money.
Speaker D:So that's why he took a little break after this one.
Speaker D:It wasn't super successful for whatever reason.
Speaker D:Maybe.
Speaker D:Who knows?
Speaker D:Hollywood's a weird game.
Speaker B:Yeah.
Speaker B:But I mean, as soon as I saw Nice Guys, I went out and bought it on Blu Ray.
Speaker B:As soon as it came out.
Speaker B:Right.
Speaker B:I think it's a great character.
Speaker D:Didn't we see that in the theater together?
Speaker D:Those are.
Speaker D:My brother yelled it.
Speaker B:Oh, yes.
Speaker C:Yeah.
Speaker C:And your brother yelled at that guy.
Speaker D:Yeah, brother.
Speaker D:It was a girl.
Speaker B:Yeah, it was a girl.
Speaker D:Yeah.
Speaker D:It was a teenager on her phone or something on her cell phone.
Speaker D:And my brother reached across in his cop voice.
Speaker D:Can you put that away, please?
Speaker B:Yeah.
Speaker D:She got up and left.
Speaker B:Well, you know, they tell you right at the beginning, right?
Speaker C:I mean.
Speaker D:Yeah.
Speaker D:He was not messing around.
Speaker C:Yeah, no, I'm with you.
Speaker C:I love Nice Guys.
Speaker C:That's one of my favorite movies.
Speaker D:Yeah.
Speaker B:I thought.
Speaker B:I think that could have one of the famous lines.
Speaker B:I don't know if it's famous.
Speaker B:I will use this line every chance I get.
Speaker B:Somebody asked Ryan Gosling, I can't remember his name right now, but you know, how you doing?
Speaker B:And he goes about this good all the time.
Speaker B:I just love that, you know.
Speaker A:Okay.
Speaker A:And I do.
Speaker A:I will say this about Nice Guys because I pulled.
Speaker A:I couldn't remember who was in it.
Speaker A:It's.
Speaker A:Is that Russell Crowe?
Speaker B:Russell Crowe and Ryan Gosling.
Speaker B:Yeah.
Speaker A:I'm not a fan of either one of those, but I did enjoy that movie.
Speaker B:Yeah.
Speaker B:And critics love.
Speaker A:That's why I didn't at first want to see it when I Heard y' all were going.
Speaker A:I was like, yeah, go.
Speaker A:You know, I can.
Speaker A:I love watch it later.
Speaker A:But when I saw it.
Speaker A:Yes, I enjoyed that movie.
Speaker D:I'm always a sucker for a Raymond Chandler style detective story.
Speaker D:Always.
Speaker D:Big Lebowski.
Speaker B:Yeah.
Speaker D:Kiss Kiss.
Speaker D:Bang Bang.
Speaker D:I just.
Speaker D:Yeah, I love it.
Speaker D:Shane Black does it very well.
Speaker B:Yes.
Speaker B:Okay.
Speaker B:So that's money.
Speaker B:Critics, fans, we're moving now into the breakdown of this movie.
Speaker B:He became very hot at that point, so I guess people were probably throwing money at him.
Speaker C:Yeah.
Speaker C:Give us the next, you know, like you said buddy cops type stuff, right?
Speaker B:Yeah.
Speaker C:With an edge too.
Speaker C:It's not just like.
Speaker C:Yeah, yeah.
Speaker C:His stuff has an edge.
Speaker C:It's not just a.
Speaker C:There's tons of buddy cop stuff in the 80s, in the early 90s.
Speaker C:But the character Blacks has an edge.
Speaker C:There's a little bit of, I guess, moral, morally gray characters.
Speaker B:Yes.
Speaker B:And I think he does character stories very well.
Speaker D:Well, like you were talking about in the.
Speaker D:In the previous episodes of kind of the anti Hero.
Speaker D:They have a little grease to them.
Speaker D:They're not exactly.
Speaker B:Yeah, they're not always great people, you know.
Speaker C:Right.
Speaker B:Yeah.
Speaker B:So I think this is probably a no brainer.
Speaker B:Aliens as a monster in the house was a no brainer.
Speaker B:I.
Speaker B:I'm picking this as buddy Love, Chris.
Speaker B:Is that what you.
Speaker B:Yeah.
Speaker C:So I actually have it as do with the problem.
Speaker C:I thought about that, but I'm not 100% sold on that.
Speaker C:I could be convinced.
Speaker C:My instinct was buddy love.
Speaker C:And then I was like, well, I think maybe this is due with the problem.
Speaker B:Okay.
Speaker B:I.
Speaker B:I tend to think that buddy love is Shane Black's wheelhouse.
Speaker B:Right.
Speaker B:Lethal Weapon.
Speaker B:Nice, guys.
Speaker C:Yes.
Speaker B:As a reminder, Buddy love requires an incomplete hero, a counterpart who helps the hero get complete and a complication that.
Speaker D:Sounds like this movie and go.
Speaker C:You have do with a problem pulled up by any chance?
Speaker B:I don't.
Speaker B:You don't.
Speaker B:An innocent.
Speaker B:I know requires an innocent.
Speaker B:And then I can't remember the other two.
Speaker D:What are some of the examples of dude with a problem?
Speaker C:Die Hard.
Speaker B:Yeah.
Speaker B:A guy going along, minding his business and someone.
Speaker B:Someone throws a rock in his pool.
Speaker C:Breakdown with Kurt Russell.
Speaker B:Yeah.
Speaker B:They're just innocent going along when something completely disrupts their life.
Speaker D:I would say Long kiss Good night would be more buddy love in my opinion.
Speaker B:It's usually he'll call it a two hander because they help each other, I think.
Speaker B:I think Mitch definitely helps Samantha or Bill or Charlie Baltimore.
Speaker B:Her two personalities reconcile.
Speaker B:But Mitch also starts off in a deficit.
Speaker B:He's There's a scene with his kid.
Speaker B:Obviously, he is estranged.
Speaker B:He's almost a hustler.
Speaker B:Right.
Speaker B:Because he's running scams.
Speaker D:Private detective.
Speaker B:Yeah.
Speaker B:Yes, he's a private detective, but he's.
Speaker B:He's running scams on, you know, guys.
Speaker D:He's slimy.
Speaker B:He's slimy.
Speaker B:Yes.
Speaker B:And it's not a good.
Speaker B:Not a good husband.
Speaker B:Wife don't want anything to do with him.
Speaker B:Won't even let.
Speaker B:Like his son says, you know, I can't keep that.
Speaker B:Right.
Speaker B:When he gives him a gift.
Speaker B:So the son can't even take the gift from him.
Speaker C:Right.
Speaker B:And you can tell that he's being kept at a distance.
Speaker B:So he's got a deficit.
Speaker B:And I think by the end of the movie, they've helped each other.
Speaker B:And we will get to that, obviously.
Speaker A:Well, he was a cop and he was called.
Speaker B:Yeah, yeah.
Speaker B:So he was a cop writing.
Speaker B:And.
Speaker D:And, well, they.
Speaker D:They cut out a bit of it.
Speaker D:I'm kind of glad they did.
Speaker D:But in the backstory of Sam Jackson's character, he got caught stealing, went to jail.
Speaker D:The thing they cut was he was assaulted in jail.
Speaker B:Oh, really?
Speaker D:Like raped.
Speaker B:Oh.
Speaker D:And when he got out, his ex wife didn't want to have anything to do with him due to all those circumstances.
Speaker B:Really.
Speaker D:So I'm glad they cut it out because that just muddies the whole water.
Speaker B:That would have been a really uncomfortable, dark turn.
Speaker D:Exactly.
Speaker D:And with this movie, this character, Sam Jackson playing it, removing it was the.
Speaker C:Yeah.
Speaker C:That might kind of explain.
Speaker C:So I always thought it was weird.
Speaker C:And this is our.
Speaker C:We're going to have to change the podcast to.
Speaker C:We're going to get to this.
Speaker C:But.
Speaker B:Yeah.
Speaker B:He's being held captive.
Speaker B:Right.
Speaker B:Yeah.
Speaker C:And he's naked in there.
Speaker C:Like.
Speaker C:And I thought that was weird.
Speaker C:Yeah, I thought that was weird.
Speaker C:But maybe that explains that a little bit, you know, with backstory.
Speaker C:Because I was like, whoa, what?
Speaker C:What were they doing in this Poor man?
Speaker B:But it pulled me out a little bit.
Speaker C:Not out of the movie, but just question.
Speaker B:Yeah.
Speaker C:Notice.
Speaker C:Yeah.
Speaker D:What's going on there in the way that the ex wife interacts with him when he's there on the porch with his son.
Speaker D:You're.
Speaker D:If you don't know that backstory, you're like, man, that's kind of harsh, isn't it?
Speaker C:Like, well, I just assume she knew what a deadbeat he was.
Speaker D:Well, exactly.
Speaker D:But you're not knowing anything.
Speaker D:And then that's, well, surprising.
Speaker B:That whole sequence reminded me very much of Armageddon with the guy who was estranged from his wife and he wants to see the kid and she, you know you're not supposed to come around here.
Speaker C:Right.
Speaker B:And he leaves on the shuttle.
Speaker C:Yeah.
Speaker C:You don't have to tell him who it's from.
Speaker B:Right, right.
Speaker B:Yeah.
Speaker B:And at the end they see him on the news and all of a sudden.
Speaker B:And here we have them at the end, he's on Larry King and.
Speaker B:And his family suit.
Speaker D:His suit was lovely.
Speaker B:His wife and kid are watching him on Larry King and all of a sudden like, oh, that's dad.
Speaker B:And maybe you want to believe that.
Speaker B:I think in Armageddon they actually do reunite with him.
Speaker B:Right.
Speaker B:Yeah.
Speaker B:But you want to believe that his family is going to come back and.
Speaker B:Yeah, I think that's part of the closing image which get to.
Speaker B:As we go.
Speaker B:But yeah, yeah.
Speaker C:So I did find to go back a little bit.
Speaker C:I did find do with a problem.
Speaker C:It's just.
Speaker C:It's an innocent hero who's dragged into a mess without asking for it or even aware of how he got involved.
Speaker C:A sudden event that thrusts our innocence into the world of hurt and it comes without warning.
Speaker C:And then three, a life or death battle is at stake and the continuous existence of an individual, family, group or society is in question.
Speaker B:Yeah.
Speaker C:So, yeah, I guess it just.
Speaker C:And again, I'm not sold on it, but.
Speaker B:Well, I think you might have mentioned it one of the other episodes or.
Speaker C:Whatever, that she's far from innocent.
Speaker B:Well, yeah, but almost any.
Speaker B:Almost any movie could be a dude with a problem.
Speaker C:Yeah.
Speaker B:But some of the parameters don't always fall in line because I guess I.
Speaker C:Feel like Samantha Kane is very much innocent, you know, minding her own business when this stuff happens.
Speaker D:Right.
Speaker C:Now, granted, she's got a past because of, you know, her amnesia, but with the amnesia factor, it's almost like she's two people.
Speaker C:Right.
Speaker C:I mean, Stacey watched it with me and she made several comments about how she's like, you know, almost like a split personality type thing.
Speaker B:Yes.
Speaker C:Like the two Charlie and Samantha are two completely.
Speaker C:Right.
Speaker C:Which obviously that was intentional, but they're completely different characters.
Speaker B:Yeah.
Speaker B:So the setup, I guess the.
Speaker B:The opening image, again, going back to a single image is complete homemaker.
Speaker B:Right.
Speaker B:The first time we see or she is Mrs.
Speaker B:Homemaker.
Speaker B:Mrs.
Speaker B:Family time in the parade.
Speaker B:Christmas parade.
Speaker B:Right.
Speaker C:Yeah.
Speaker C:I had a school teacher.
Speaker C:I had a hard time narrowing it down to just a single image because.
Speaker C:Yeah, it was very much the setup was Susie Homemaker stuff.
Speaker C:Right.
Speaker C:So I saw that.
Speaker C:And that's her ordinary world.
Speaker C:But Yeah, I mean, the first time we see her, she's in the parade.
Speaker C:Now, one thing I did think was interesting is she's pretending to be an elf.
Speaker C:Right.
Speaker C:In the parade.
Speaker B:Right.
Speaker C:She dressed up as an elf or whatever.
Speaker D:Or Mrs.
Speaker D:Claus.
Speaker C:I apologize, Mrs.
Speaker C:Claus.
Speaker B:The guy in the crowd says, oh, Mrs.
Speaker B:Claus is hot.
Speaker B:And, you know, not flips them up, but chews him away or whatever.
Speaker C:Yeah, all right.
Speaker C:So sorry.
Speaker C:She's pretending to be Mrs.
Speaker C:Claus.
Speaker C:So she's pretending to be something she's not.
Speaker B:Oh, I didn't get that.
Speaker C:And then Mitch is also pretending to be something he's not.
Speaker C:First time we see him.
Speaker C:Like he's a private detective, but he's pretending to be a full blown detective.
Speaker C:And these other two bums are detectives.
Speaker D:Actual bums.
Speaker C:Yeah, they're actual bums.
Speaker C:That's what I mean.
Speaker B:Yeah.
Speaker C:I just thought that was interesting because in a movie about finding out who.
Speaker B:You are, I didn't.
Speaker C:That's.
Speaker B:That's that.
Speaker B:I like that because that fits right in there.
Speaker B:I didn't pick up on that.
Speaker B:That's very good.
Speaker B:Now, obviously, I don't know how you make a trailer and hide the fact that she is this super spy.
Speaker B:Right.
Speaker B:Like you don't.
Speaker B:How do you advertise the movie but hide the fact?
Speaker B:Because in the opening sequences, credits, you.
Speaker B:You get the idea that she is Charlie Baltimore.
Speaker C:Yeah, I kind of didn't like that.
Speaker B:I didn't.
Speaker D:Signatures.
Speaker C:Yeah, the signature signatures and all this.
Speaker B:Stuff and see negative images of central intelligence and her pointing guns and so.
Speaker C:Yeah, it was like you're all the reveal early.
Speaker C:I was just.
Speaker B:The audience knows more than Charlie does.
Speaker C:Or Samantha, which can lead to your audience being bored.
Speaker B:Yes.
Speaker B:Now we're waiting for Samantha to catch up.
Speaker C:Catch up.
Speaker B:So.
Speaker B:But.
Speaker B:But I don't know how you advertise the movie without revealing that.
Speaker B:Yeah, I don't know.
Speaker B:Maybe others have done it and maybe I can't think of a I'd like to.
Speaker D:This movie came out before the Bourne Identity.
Speaker D:This was, I think, based off the same kind of source material, spy books and all that.
Speaker B:Yeah.
Speaker B:Yeah.
Speaker D:So that was part of the problem Sam Jackson had of talking to the producers.
Speaker D:How are we going?
Speaker D:You guys should.
Speaker D:You guys should advertise this in the middle of the day in soap operas, because this is a action movie for women.
Speaker B:Sure.
Speaker B:Yeah.
Speaker D:And they didn't do that.
Speaker D:So it kind of fell on its head, I think it didn't kind of hit its stride until the Born Identity on where they knew how to.
Speaker B:Yeah.
Speaker D:Write it, express it.
Speaker D:Because I.
Speaker D:I think Born Identity compared to this one is a bit smoother.
Speaker D:Yeah, it's much.
Speaker B:And he wakes up in water.
Speaker B:Like she wakes up on a beach.
Speaker B:He wakes up in the water being risked.
Speaker B:Yeah.
Speaker B:Yeah.
Speaker B:That's actually an excellent point.
Speaker B:Because Born Identity, you're along for the ride.
Speaker C:Yeah.
Speaker B:You suspect something, but you're learning it.
Speaker C:With him, I think.
Speaker C:And it's been a while since I've seen it, but this movie remind me of History of Violence, which was made after.
Speaker B:It's a similar.
Speaker C:Similar idea.
Speaker C:Right.
Speaker C:He's.
Speaker C:Because he's not Susie Hellmaker, but he's, you know, regular Joe at a coffee.
Speaker C:Serving coffee and stuff at a diner.
Speaker B:Yeah.
Speaker C:And then I think when the guys come in to attack it or rob it or whatever, like, he defends it.
Speaker C:And so that's how his awakening happens.
Speaker C:But again, I don't think they were.
Speaker C:I think you're along for the ride.
Speaker C:I don't think they tell you before that.
Speaker B:Yeah.
Speaker C:And then there's a newer one with the guy from better call Saul, Mr.
Speaker C:Nobody or something.
Speaker C:Or isn't in a similar idea where he's a regular guy but has skills.
Speaker B:Yeah.
Speaker C:Maybe they don't hide.
Speaker C:I don't know that he has amnesia or anything, but I don't know the story.
Speaker B:In the trailer, you see him being badass.
Speaker C:Yeah, I know.
Speaker C:I'm saying, like, he.
Speaker C:But he sort of presents himself as a regular guy.
Speaker B:Yeah.
Speaker C:Like, again, I haven't seen it, but I don't know.
Speaker C:Like, is he, like, retired.
Speaker C:Right.
Speaker C:And done being a badass and trying to live a normal life and then, you know, obviously that still works, though.
Speaker B:Because you're along for the ride as he is drawn back into that correct world.
Speaker B:Here you're told she's.
Speaker C:Yeah.
Speaker C:It seems lazy to me.
Speaker B:Yeah.
Speaker C:Awesome.
Speaker C:As Shane Black is.
Speaker C:And maybe that was a producer note.
Speaker C:Who knows?
Speaker D:The other movies, kind of using as an example.
Speaker D:Example Born Identity, they.
Speaker D:I think they did it the correct way.
Speaker B:Yeah.
Speaker D:Like you were along for the journey.
Speaker D:Like you were saying, bring it back to this, where you know more than Gina Davis's character.
Speaker D:And you're gonna.
Speaker D:You're like, okay, when is she gonna catch up to me?
Speaker D:Because I know all this.
Speaker B:How is she gonna.
Speaker D:Yeah, that draws me.
Speaker C:That's part of the fun, you mean?
Speaker C:Or draws you out of it?
Speaker D:That draws me out because I'm.
Speaker D:I know.
Speaker D:I know she's a super spy.
Speaker D:I'm just waiting for her to figure it out.
Speaker C:I'm gonna go get more popcorn and go to the bathroom.
Speaker D:Because she pretty much.
Speaker C:Come on.
Speaker D:It could have been better, but, hey, I still enjoy it.
Speaker B:No, no.
Speaker B:Yeah.
Speaker B:I think once you get over that, I think the movie becomes.
Speaker B:It's really a fun movie.
Speaker B:Yeah.
Speaker B:She talked about focal amnesia.
Speaker B:I couldn't nail down a theme.
Speaker B:Her husband or boyfriend or whatever at the party says, or somebody says, may the best of your past be the worst of your future.
Speaker B:And maybe that's as close as I could get to.
Speaker C:That's what I had.
Speaker C:I actually have that same.
Speaker B:Yeah, yeah.
Speaker C:That's the best I could find.
Speaker B:For me, I would like to have seen more emphasis on the duality of people, you know, your.
Speaker B:Your domestic side versus your violent side.
Speaker B:This is the uniting of.
Speaker B:Of two halves into a whole person kind of thing.
Speaker B:But it is an action movie, and so you sometimes can't ask a lot of that.
Speaker B:But I still think maybe that could have.
Speaker B:In terms of a theme that could have been something they might have explored or whatever.
Speaker B:You know, when this movie opens.
Speaker B:She's been so the catalyst and all of that.
Speaker B:I thought maybe was a little weak because she's been doing this for a while, hiring detectives, trying to figure out.
Speaker C:Yeah.
Speaker C:She can only remember for, like, eight years.
Speaker C:She's been.
Speaker C:Yeah.
Speaker C:And she.
Speaker C:Because she has a.
Speaker C:I think another thing, like they always say in screenwriting rules to don't have a voiceover.
Speaker C:Like, they say that they frown upon that and that it's lazy writing and all these different things.
Speaker C:But I feel like Shane Black uses it a lot, and he's one of the few guys that can do it well.
Speaker C:So he's like.
Speaker C:It felt like he, you know, throws dirt in the face of that role.
Speaker C:It says, I'll do what I want.
Speaker B:Right.
Speaker C:Well, make $7 million.
Speaker C:But anyhow, he does it well.
Speaker C:And she has a line in the voiceover about, yeah, I'm doing this for eight years.
Speaker C:I used to be on the expensive ones.
Speaker C:Now I'm on the cheap guys.
Speaker B:Right.
Speaker C:Which sets up Sam Jackson.
Speaker B:Yeah.
Speaker B:Who is hiring bums and homeless people to play parts.
Speaker B:A landlord who had rented Samantha Kane an apartment years ago still has some of her things.
Speaker B:A credit card with Samantha Kane on it.
Speaker B:This is a clue that gets Mitch back on the case.
Speaker B:First thing he says is, call Samantha.
Speaker B:We need more money to pursue this.
Speaker B:You know, he wants money.
Speaker C:Calls her amnesia chick.
Speaker B:Yes.
Speaker C:Yeah, get amnesia chick on the phone.
Speaker B:Yeah.
Speaker B:Tell her we need more money.
Speaker B:So she already.
Speaker B:She doesn't know that she's a assassin.
Speaker B:We do So I was looking for a catalyst as to what would spur her onto the adventure.
Speaker B:But it seems like she's been trying to get spurred on for a while because she's been hiring people.
Speaker C:Well, I just.
Speaker C:I think she wants to know who she is.
Speaker C:Right.
Speaker C:Anyone who wakes up with amnesia, I think would be curious about who you were.
Speaker C:And.
Speaker C:Yeah, she doesn't really have a clue that you know, who you know.
Speaker C:Like we talked about, she didn't know that she was a CIA assassin.
Speaker B:Right.
Speaker C:So I guess for me, what I had down as a catalyst initially was the car wreck.
Speaker B:Yep, that's what I got because, yeah.
Speaker C:She'S taking a drunk neighbor home after a party and ends up getting hit in a deer, gets in a wreck and he dies and she's thrown from the vehicle.
Speaker C:And then I guess starts to have flashes of, you know, of her previous violent life.
Speaker C:But even then, like.
Speaker C:So is it like a double bump?
Speaker C:Because later on the.
Speaker C:The One Eyed Jack guy or whatever sees her on the TV in the prison, escapes, comes to her house and attacks her.
Speaker C:And so I feel like that's like a major catalyst because nothing really happens after the wreck.
Speaker C:Sure.
Speaker C:She starts cutting up carrots and.
Speaker C:Oh, shit, hey, I could have been a chef.
Speaker C:Look at these cool skills.
Speaker C:And then she's kind of has a personality split with the daughter on the, on the ice.
Speaker B:Yes.
Speaker C:She breaks her arm and she's super shitty to her.
Speaker B:Talking about bumps.
Speaker B:Okay, so double bump.
Speaker B:I actually wrote down with a question mark.
Speaker B:Like I have down bump four.
Speaker B:Like, is this a four bump?
Speaker B:Yeah, because all the things you mentioned, the car wreck, the daughter, the tomato, you know, or whatever, all these things trying to spur her on are like bumps to get her going.
Speaker B:And I thought there was like four of them.
Speaker B:Right.
Speaker D:Yeah, that makes sense.
Speaker D:Yeah, there would be four because you got One Eyed Jack, the tomato scene, the ice scene, the car wrecks.
Speaker C:Yeah, I think One Eyed Jack being the strongest.
Speaker C:I mean, the car wreck could have been, but like, there's no scenes of, I think her even.
Speaker C:Unless I don't remember right.
Speaker C:Of her at the hospital or in the husband going, are you okay?
Speaker C:They just move on.
Speaker B:Well, there is a scene where she's unconscious in the.
Speaker B:In the bed.
Speaker B:The husband.
Speaker C:No, you're right.
Speaker C:Yeah, you're right, you're right.
Speaker B:But she's not awake, I don't think.
Speaker C:Yeah.
Speaker C:And no funeral for poor drunk, handsy neighbor.
Speaker C:Yeah, well, yeah, it just.
Speaker C:It was kind of weird, like the, like, I don't know, like, to me to make it Tighter.
Speaker C:Right.
Speaker C:Because I guess he needed her to get a knock on the head to jar some of this stuff loose.
Speaker C:Right.
Speaker C:Why not have her get her head and hit when One Eyed Jack shows up to attack the.
Speaker C:The house?
Speaker B:Yeah.
Speaker C:No, why have a Couric?
Speaker B:I felt like there were bump one, bump two, bump three and bump four.
Speaker C:Yeah.
Speaker B:I think three out of four of the bumps are triggered by blood.
Speaker B:The car, the knife, and when One Eyed Jack shows up are all triggered by blood.
Speaker C:Yeah.
Speaker B:Someone is bleeding and she has these memories.
Speaker B:The skating, I think is just triggered by her impatience at the child being timid or whatever.
Speaker B:So first I thought, well, blood.
Speaker B:But then bump three didn't have that.
Speaker B:But most of them are triggered by some kind of, you know, appearance of blood.
Speaker B:There is the cool line, chefs do that.
Speaker B:She says it playfully one time.
Speaker B:And then when One Eyed Jack comes.
Speaker C:Along and she kills them.
Speaker C:Yeah, Chefs do that.
Speaker B:There was these like scary creepy sequences of Charlie coming back one time cutting her throat.
Speaker B:And then like the horror scene on the cliff in the mirror.
Speaker B:So that, you know, almost gothic horror.
Speaker C:Yeah, it was weird.
Speaker C:I didn't, it was, it didn't match with the rest of the movie.
Speaker B:To me, tonally, it was, it seemed a little strange or whatever.
Speaker B:She can't, like when, when, when her daughter breaks her wrist.
Speaker B:She feels bad about it as Samantha later and can't remember that she said those things.
Speaker C:Yeah, right.
Speaker C:Yeah.
Speaker C:Again, it's almost.
Speaker C:Stacy had talked about like split where, you know, different personalities in that movie, they call it taking the light.
Speaker B:Yeah.
Speaker C:So they like you're, you know, I guess if you can't.
Speaker C:Not aware of what the other one's doing kind of thing.
Speaker C:Yeah, that's what it seemed like whenever Charlie would come out.
Speaker C:There's a good line in there.
Speaker C:She's, you know, feels guilty about the broken arm and not realizing she's hiding in the treehouse.
Speaker C:And when the, the boyfriend shows up, he goes, I think you're looking for a doghouse.
Speaker C:This is a tree.
Speaker B:Oh, yeah.
Speaker C:I don't know.
Speaker C:I like that one.
Speaker B:Right.
Speaker B:Sam shows up and the two of them set off to find some answers, which I'm.
Speaker B:I'm pegging as sort of the break into two.
Speaker C:Yeah, that is my break into two as well.
Speaker C:There's not much of a debate now because I guess to your point, she's already.
Speaker C:Yeah, she's been doing this kind of debating, I guess.
Speaker C:Yeah.
Speaker C:Like one synopsis I read, which I don't feel like I, I got this from the movie at all.
Speaker C:Was she goes on this adventure to find out who she is because she's worried about bringing harm to her family.
Speaker C:You know, to her family, to her daughter and to her boyfriend.
Speaker C:How.
Speaker C:But I don't feel like the movie set that up at all unless I just missed it.
Speaker B:Yeah.
Speaker B:Because her boyfriend says something like, you.
Speaker C:Know, no matter who you are, I'll love you.
Speaker B:I will love you.
Speaker B:I won't be scared, you know.
Speaker B:Yeah.
Speaker C:As opposed to a good callous.
Speaker C:Could have been.
Speaker C:We always get in the danger of rewriting these things.
Speaker B:Yeah, but.
Speaker C:But if he was, you know, after that seeing her.
Speaker C:He's not unnerved by seeing her kill this dude.
Speaker C:You know, throw the daughter into the treehouse through the.
Speaker C:Through a hole in the house.
Speaker B:Right.
Speaker B:Yeah.
Speaker C:Like he's.
Speaker C:You know, have him on.
Speaker C:Unnerved by that and threaten to leave or whatever.
Speaker B:Right.
Speaker C:You know, until you figure this out, I don't think we can be together.
Speaker C:Charlie, like, Charlie, Samantha, you know, I don't know.
Speaker C:That might have been a stronger catalyst, the whole.
Speaker B:Reconciliation.
Speaker B:Reconciliation.
Speaker B:Reconciliation of who she is.
Speaker B:Like she's a fractured person and.
Speaker C:Yeah.
Speaker B:Yeah.
Speaker C:Have CPS show up, take the kid away.
Speaker B:A B story.
Speaker B:I wrote down who.
Speaker B:Who is leading her to change her daughter to be domestic or others to be lethal.
Speaker B:So she was being pulled in seemingly two different directions.
Speaker B:Right.
Speaker B:Like.
Speaker C:Right.
Speaker B:Her daughter was wanting her to be a mother to her.
Speaker B:But then you have these others who.
Speaker C:So the daughters, the B story.
Speaker B:Well, I don't.
Speaker B:I really couldn't nail it down.
Speaker B:Right.
Speaker C:Because I think that's where I had trouble with it.
Speaker C:Choosing it as buddy love.
Speaker C:Because buddy love it have to be.
Speaker B:Mitch Waldman later says, forget all that.
Speaker B:That's not who you are.
Speaker B:Like.
Speaker C:Right.
Speaker B:Pulling her to be Charlie.
Speaker B:You know, so she's being pulled in two different directions and she needs to reconcile.
Speaker B:So I think if there's a theme, maybe it leads that way, you know, like reconciling your light and darkness.
Speaker B:You know, like we all have a.
Speaker C:Sure.
Speaker B:You know, so.
Speaker C:Yeah.
Speaker C:She didn't finish the mission.
Speaker C:Right.
Speaker C:These bad guys are still out there.
Speaker C:She can't be at peace and be safe with.
Speaker B:Yeah.
Speaker C:Her own.
Speaker C:Her daughter, until these bad guys are taken care of.
Speaker B:Yeah.
Speaker C:But Samantha can't do that.
Speaker C:Charlie has to.
Speaker C:Or a blending of the two.
Speaker B:Sure.
Speaker B:I found it funny because.
Speaker B:And this is just an historical note.
Speaker B:This is way before, you know, cell phones in the Internet.
Speaker B:But like, they.
Speaker B:Like.
Speaker B:She calls it my portable phone.
Speaker C:Yeah.
Speaker C:I may not.
Speaker B:About all these awkward phone.
Speaker B:All these Awkward names for, you know.
Speaker C:Right.
Speaker A:Again.
Speaker A:I saw this on vhs.
Speaker B:Yeah.
Speaker A:It's old.
Speaker B:A lot of setups.
Speaker B:And the writing of the number on the cast.
Speaker B:I mean, I knew as soon as she wrote I couldn't.
Speaker B:It's been a while since I've seen it.
Speaker B:But as soon as she wrote that number, like.
Speaker B:Well, that's going to come up later.
Speaker C:Right, right.
Speaker B:So right about 25 minutes, I'm pegging the break into two, which is about.
Speaker B:Right.
Speaker B:Almost.
Speaker B:Almost textbook.
Speaker B:Right?
Speaker B:Really, if you think about it.
Speaker B:But that's what I'm picking it around the 25 minute mark.
Speaker B:Well, I call them Sam and Samantha because Sam Jackson and Samantha.
Speaker B:But it's.
Speaker B:Yeah.
Speaker B:Mitch and Samantha drive into the second act.
Speaker B:So she decides.
Speaker B:And they go off in the car and then I guess they're on the.
Speaker D:And they're going to the apartment.
Speaker B:Yeah.
Speaker B:On the way to the landlords is what I have.
Speaker B:Right, right.
Speaker D:To investigate the lead that he had.
Speaker B:Yeah.
Speaker D:He wanted to go with him.
Speaker D:Got it.
Speaker B:Yeah, yeah.
Speaker A:And gets the, the.
Speaker A:The belongings that were left.
Speaker B:Yeah, yeah.
Speaker C:That's where they find the suitcase.
Speaker C:Right.
Speaker C:That has clues and stuff.
Speaker B:Yeah.
Speaker B:The book that has a clue to Waldman.
Speaker B:Now again, this is.
Speaker B:There's a lot of fun moments which really have nothing to do with the story.
Speaker B:I guess they're character.
Speaker B:They are a character.
Speaker B:So they do have something to do.
Speaker B:But they're driving along and.
Speaker B:And Mitch sees the jogger.
Speaker B:I thought there was a really great line.
Speaker B:You saw her tits.
Speaker B:So neat.
Speaker B:It's so neat.
Speaker B:You know, it's like she's totally disparaging.
Speaker C:Him and is your neck okay?
Speaker C:Because he runs him off the road.
Speaker B:It's so neat.
Speaker D:And he was just like, what are you talking about?
Speaker B:Right.
Speaker B:Yeah.
Speaker B:It's a guy thing or whatever.
Speaker B:And you got her.
Speaker B:You.
Speaker B:You got her beat from the neck up, you know.
Speaker C:Right.
Speaker B:Yeah.
Speaker B:I just.
Speaker B:I've really had a good time with.
Speaker B:With their, their exchanges.
Speaker C:Wait, wait, I didn't go woo, woo, woo.
Speaker B:I wrote down snappy exchanges between Samantha and Mitch about the jogger.
Speaker B:You saw her did.
Speaker B:So neat.
Speaker B:Yeah.
Speaker B:The clue in the book that leads them to.
Speaker B:To Waldman.
Speaker C:There's a bit about the.
Speaker C:Him getting the song wrong too, which is.
Speaker C:That was.
Speaker B:Yes.
Speaker B:Yeah.
Speaker B:It's not, it's not, it's not the linen.
Speaker C:Not the linen.
Speaker C:Yeah.
Speaker B:About.
Speaker C:It's about moving in.
Speaker B:Yeah, yeah, yeah.
Speaker B:And that's.
Speaker B:And that's good fun writing.
Speaker B:And that's saying.
Speaker B:And that's.
Speaker B:That's Shane Black's Bread and butter.
Speaker B:Like he's going to give you a two hander with just two great characters.
Speaker B:You know, he does that.
Speaker B:Lethal Weapon and Nice Guys are amazing.
Speaker A:You know how I come to see the movie the first time I had a supervisor who asked me, have you seen it?
Speaker A:I said no.
Speaker A:And all she could do was done that.
Speaker A:And then she said she would just bust out laughing and go, yeah, for.
Speaker B:The keys in my pocket.
Speaker B:Yeah.
Speaker B:You know, it's, and I found it like I enjoy these characters, but.
Speaker B:And I just find it, you know, not amazing, but shocking that Sam Jackson like this character the best because, you know.
Speaker B:Yeah.
Speaker B:I wouldn't have guessed that.
Speaker B:A clue in the book.
Speaker B:Waldman the dog.
Speaker B:Oh, yeah.
Speaker B:Again, great exchanges at the, at the dinner table where you could have had just a regular scene when you entered.
Speaker B:When we're meeting Waldman.
Speaker C:Right.
Speaker B:But here we got this.
Speaker B:The dog licking his scene.
Speaker C:Yeah.
Speaker D:Yes.
Speaker C:Been licking his ass for 30 minutes.
Speaker B:Yeah.
Speaker B:I, I, I, I propose to you.
Speaker C:That whatever's, whatever's either they gone for good or there to stay.
Speaker C:Yeah.
Speaker C:Good stuff.
Speaker B:Yeah.
Speaker C:So, so and all, I mean, a lot of actors could deliver it, but Brian Cox does a great job of delivering that kind of line.
Speaker B:Yes.
Speaker D:This and, and kind of in a timeline sequence.
Speaker D:This is Brian Cox's first iteration of that type of character.
Speaker D:After this movie, he was hired to.
Speaker C:Play that kind of guy.
Speaker B:He was in Bourne, wasn't he?
Speaker B:Yeah, yeah, yeah, yeah.
Speaker C:Oh, interesting.
Speaker A:I knew I had seen him somewhere.
Speaker B:Yeah, yeah, yeah.
Speaker C:If they didn't have a line in there where somebody says I remember you to Brian Cox, they're missing out.
Speaker C:You know, they mess that up with these two amnesia movies.
Speaker C:You know, nobody would get it.
Speaker C:But.
Speaker B:Well, now you say Brian Cox, for some reason, Albert Finney looks a lot like him in my.
Speaker B:Because.
Speaker C:Yeah.
Speaker C:I think he plays, played similar roles at times.
Speaker C:Yeah, I mean he could have done it too.
Speaker C:He just.
Speaker B:I was thinking Albert Finney, but it's not.
Speaker B:Yeah.
Speaker B:No.
Speaker B:Okay.
Speaker C:All right.
Speaker B:Samantha reaches out to Walden from the car.
Speaker B:This is the next clue.
Speaker B:They stop at the motel, writing her name, talking to daughter Mitch, singing his song.
Speaker B:And then he's, he's talking about, well, you know, you sure curse a lot.
Speaker B:Before it was all dang, all fooly, I burned the dang muffins.
Speaker B:Muffins or whatever.
Speaker B:And then she discovers the gun in the secret compartment of her suitcase.
Speaker B:Muscle memory allows her to assemble it.
Speaker B:Charlie is closer to the surface.
Speaker B:And then you have that jump scare of Charlie cutting Samantha's throat.
Speaker B:Which I think worked on some level.
Speaker C:Where it's Charlie killing the one identity.
Speaker B:Yes.
Speaker B:Coming to the surface and wanting to kill for her to survive.
Speaker B:Samantha has to die kind of thing.
Speaker B:I thought that kind of worked.
Speaker D:Yeah.
Speaker D:That's one thing that brought me out of the story just a little bit, was how can you transport a rifle of that size?
Speaker B:And wait.
Speaker B:Yeah.
Speaker D:You're gonna notice that suitcase is heavy.
Speaker B:Yeah, it's in here.
Speaker D:There's clothes in here.
Speaker B:Yeah, I can get one pair of socks in here.
Speaker B:Why is that?
Speaker B:Oh, well, there's this.3.
Speaker D:It's a 50 caliber.
Speaker B:And this puts Mitch right out here.
Speaker B:Take your money.
Speaker B:Take it.
Speaker B:I'm out.
Speaker B:You know, or whatever.
Speaker C:Well, because she almost shoots him.
Speaker B:Yeah.
Speaker B:Oh, yeah, yeah, yeah, yeah.
Speaker D:She puts it together and then moves around and shoots.
Speaker D:Shoots the frame, shoots the door frame.
Speaker B:Now this, this goes to what James was saying, because there is some reference to him going.
Speaker B:Because he says, I'm not going back to prison when he wants to get out.
Speaker C:Well, they explained the backstory that he was a crooked cop and went to jail for that.
Speaker C:They just, I guess, cut out all the.
Speaker B:Yeah, yeah.
Speaker B:But now we know why he really doesn't want to go back to prison.
Speaker D:You know, definitely not a day camp.
Speaker C:Right.
Speaker C:Because.
Speaker C:Yeah, I guess no one had to hire his line earlier.
Speaker C:No one had to hire ass fuckers for him.
Speaker B:Right.
Speaker C:The backstory, I guess.
Speaker B:Right.
Speaker C:And then what he says earlier, I will personally, you know, if there's not guys in prison that want to ask, fuck you, I will hire an ass fucker.
Speaker C:And traditional as to what you're talking about.
Speaker C:James.
Speaker B:Oh, yeah, yeah, yeah, yeah.
Speaker C:He's Sam Jackson doing his thing.
Speaker B:He's.
Speaker B:Yeah, right.
Speaker B:But he's dealing with these memories because that.
Speaker B:That line now means more than just a cool line.
Speaker B:Right.
Speaker C:I mean, man.
Speaker B:And so I think here's where it becomes more of a.
Speaker B:A two hander, where they're helping each other achieve because he has this line that he.
Speaker B:I never did one thing right in my life.
Speaker B:The setup that.
Speaker B:That he's sort of at a deficit also.
Speaker B:Right.
Speaker C:Yeah.
Speaker B:That helps him.
Speaker B:They're going to help each other.
Speaker B:Mitch is back on the job.
Speaker B:The train station.
Speaker B:They're now going to meet Waldman and you have the shootout.
Speaker B:And again, another throwaway line or whatever.
Speaker B:But, you know, Mitch says, you know, he sticks the gun in his pants.
Speaker B:I'm afraid I'm going to shoot my dick off.
Speaker B:And now.
Speaker B:Oh, now you're a sharpshooter.
Speaker C:Right?
Speaker B:So this is there's a lot of fun here, you know.
Speaker C:On that note, Shane Black, I guess he has a.
Speaker C:Like a running theme of putting.
Speaker C:Hiding a gun while you're by your balls or whatever in his movies.
Speaker C:Yeah.
Speaker C:So there's a reference to that.
Speaker C:You know, he doesn't put it in there because he doesn't want to shoot his dick off.
Speaker C:Waldman, you know, talk about all the different guns he's carrying and says, I've got one.
Speaker C:I don't remember his.
Speaker C:His phrase, but he references one down there and that's the one that Charlie or Samantha uses to, you know, shoot Luke later on.
Speaker C:And then in Kiss Kiss Bang Bang, they get out of a scenario because Val Kilmer's character has a small gun and he's.
Speaker C:Yeah, keep it down there by my balls.
Speaker B:Oh, yeah.
Speaker D:So, yeah, good old gay Perry.
Speaker C:Yeah, Gay Perry.
Speaker D:Love that character.
Speaker C:Still gay.
Speaker C:No, I mean, knee deep in pussy.
Speaker C:I just like the name so much, I'm keeping it.
Speaker B:Yeah.
Speaker B:So, I mean, it's funny that and I guess I don't know if all writers do this, but you have these things that you go for is that, you know, these things you reach for, as, you know.
Speaker B:That's funny because the Christmas thing.
Speaker B:Absolutely.
Speaker B:He does that on purpose for some reason.
Speaker C:I don't know, you know, really likes Christmas, man.
Speaker D:I.
Speaker D:I guess, you know, it's Christmas, Theo.
Speaker D:It's time for miracles.
Speaker C:Yeah.
Speaker B:Yes.
Speaker B:And then they.
Speaker B:Sorry, no, they.
Speaker C:The gun.
Speaker B:I guess the henchmen Daedalus is the bad guy.
Speaker B:That was her target.
Speaker B:And this other guy who we've met torturing a guy earlier, we skipped over him, I guess, a little bit.
Speaker B:But he's.
Speaker C:Timothy.
Speaker B:Yeah.
Speaker B:Timothy.
Speaker B:Yes.
Speaker B:I can always tell when someone is lying.
Speaker B:That line shows up again.
Speaker B:He's telling the guy he tortured that he's there.
Speaker B:And he confirms sort of in his mind that she doesn't know who he is, doesn't remember.
Speaker C:Right.
Speaker B:Doesn't stop him from giving the word to take him out.
Speaker B:But he's.
Speaker B:He's sort of feeling her out.
Speaker B:You don't know me, do you?
Speaker B:Yeah.
Speaker B:Then there's this action scene where they're trying to take her out.
Speaker C:Well, yeah, well, there's a bit of a.
Speaker C:Kind of a yes, no type of thing.
Speaker C:Like they get to the farm, they meet Luke because they decide they don't believe Waldman.
Speaker C:Right.
Speaker C:And so they.
Speaker C:They attack him and then take off.
Speaker B:Yes.
Speaker C:Find her long lost lover, Luke, on this farm, and she knows all.
Speaker C:And memories start coming back.
Speaker C:I guess she knows all this Stuff knows he sits down to pee, all these different things.
Speaker C:And then turns out that he seems like a nice guy, but he's, you know, ultimately not.
Speaker B:Yeah, he's.
Speaker B:He's.
Speaker C:He's.
Speaker C:Yeah, it was her.
Speaker B:Yeah.
Speaker C:Yeah.
Speaker C:It was her last target.
Speaker C:Yeah.
Speaker D:When she got an amnesia.
Speaker C:Yeah.
Speaker C:Like when there's a bit where Sam Jackson, when they first meet, and Sam Jackson trust him and he's got the gun on him, and he's like.
Speaker C:I said, don't move.
Speaker C:He's like, sorry, I had an itch.
Speaker C:Like, just.
Speaker C:That's.
Speaker C:To me, classic, you know, Shane Black, right.
Speaker B:Right before.
Speaker B:Before they actually get away from Waldman, we are given some of her backstory.
Speaker B:Like, Waldman.
Speaker B:Waldman trained her, I guess.
Speaker B:Her father, he says, was a Royal Irish Ranger.
Speaker B:And he died.
Speaker B:And his friend Perkins recruited her to the Black Bag mission, which I guess failed and went dark in 88.
Speaker B:Eight years later, her target, Daedalus, still alive, wants to take her out now because they're all working with the CIA or the Black Bag operation.
Speaker B:So enemies have now become partners.
Speaker C:Right.
Speaker B:And she is threatening this operation, so has to go or whatever.
Speaker B:But like you said, they don't trust Walt and they steal his car and flee.
Speaker B:Again, this guy who was also in 16 blocks.
Speaker B:So we've watched a couple movies now with crossovers, right?
Speaker B:Because we got this guy from 16 blocks.
Speaker B:We got Sam Jackson from Breakable, Unbreakable, you know.
Speaker B:Oh, yeah, there's this whole sequence about.
Speaker B:Sherry likes this.
Speaker B:I think it works.
Speaker B:Mitch thinks he's a bad motherfucker.
Speaker B:You know, he's got this song, right?
Speaker B:And Waldman gets the drop on him.
Speaker C:While he's sitting there with his gun, singing the song.
Speaker B:Yeah, yeah, yeah.
Speaker B:They capture her and Mitch, which we have this weird scene, I guess, that we understand now because of the scenes cut, that of his prison experience.
Speaker C:Well, yeah, it's interesting because there's no other.
Speaker C:Like, they just take him away.
Speaker C:And next time we see him is when she rescues him.
Speaker C:And he's.
Speaker C:Yeah, he's, like, cowering on the ground naked.
Speaker C:Maybe even a little beat up.
Speaker C:And, like, even zoom in on his face.
Speaker B:Like he's terrified.
Speaker C:Yeah.
Speaker C:Like, I feel like some of this backstory that James mentioned, maybe they even filmed some of that and then decided to cut it.
Speaker C:I don't know, because it's.
Speaker C:It's just possibly because you could just have him tied up in a chair or something, you know, like they do later on.
Speaker C:I just.
Speaker C:It's weird.
Speaker C:Like.
Speaker C:Yeah, it was definitely like, why was this poor guy naked.
Speaker C:Why isn't he on a torture wheel, too?
Speaker C:I don't.
Speaker C:You know.
Speaker B:Yeah.
Speaker B:No.
Speaker B:Yeah.
Speaker B:They just have him.
Speaker B:You know, I guess they need to.
Speaker B:They need to know what she knows or whatever.
Speaker C:I get that.
Speaker C:I just, you know, without the backstory, it was weird to me.
Speaker B:Yeah.
Speaker A:I don't.
Speaker A:I don't know.
Speaker A:I just thought that, okay, he's supposed to be protecting her when they get to the farm, and then she ends up saving.
Speaker B:Oh, yeah.
Speaker B:Yeah.
Speaker B:Charlie is fully.
Speaker C:Yeah.
Speaker C:Reversal roles.
Speaker C:Yeah.
Speaker C:Yeah.
Speaker C:And maybe I didn't think about that, but maybe it's typical to have the.
Speaker C:The female being cowering and even strip naked and all this stuff.
Speaker C:Yeah.
Speaker B:Well, and then he had said, I never done one thing right in my life.
Speaker B:Like, he.
Speaker B:He's just a poor guy.
Speaker B:Everything he touches seems to.
Speaker C:Right.
Speaker C:You know, even has the gun and has a good position and I'm a badass.
Speaker C:And then he gets several guns.
Speaker B:Yeah.
Speaker A:He has the rifle, too, or.
Speaker C:Right.
Speaker C:My rifle.
Speaker B:No, just what to do.
Speaker B:Yes.
Speaker B:You know, but that.
Speaker A:When she's on that wheel, though, that's one of my favorite scenes.
Speaker B:Yeah.
Speaker A:Is she.
Speaker C:You.
Speaker A:You just see her go from Switch.
Speaker C:Yeah.
Speaker A:Yeah.
Speaker A:She's scared and she's cold, and then all of a sudden she's like.
Speaker C:And then obviously emerging from the water, you know, this being born again.
Speaker B:Yeah.
Speaker B:So I don't know what you have as the midpoint.
Speaker B:I guess I'm still in fun and games up to the wheel from the water.
Speaker B:She rises now, Charlie.
Speaker B:So she's.
Speaker B:She may be Samantha before she goes in the.
Speaker B:In the water.
Speaker B:And then we have the setup of Waldman with his gun down there.
Speaker B:And so.
Speaker B:But when she rises, she's fully.
Speaker C:Yeah, that is.
Speaker C:My midpoint is her.
Speaker C:Is a false victory.
Speaker C:Her finding out who she was and becoming.
Speaker C:Yes, Charlie.
Speaker C:Because, I mean, what that means as far as, you know, bad guys close in is.
Speaker C:Well, if she's Charlie, then that means that how.
Speaker C:And the daughter don't mean as much to her.
Speaker B:Yeah.
Speaker C:And then, of course, you got all these bad guys that want to kill her if she is Charlie.
Speaker C:Because the whole thing was, if Charlie was still dead, then, you know, she could go back to her life or whatever.
Speaker B:Right.
Speaker B:Because.
Speaker B:Yeah.
Speaker B:So I have this false victory also.
Speaker B:She gets.
Speaker B:She gets everything she thinks she wants because you see the picture of her family and she's torn out of it.
Speaker B:Right.
Speaker B:So I thought this was a very cool sequence, that the song.
Speaker B:She's not There.
Speaker B:I thought.
Speaker B:I thought tonally and everything that scene was very cool.
Speaker B:Her putting on the makeup and becoming.
Speaker C:Finishing the transformation.
Speaker C:Yeah.
Speaker C:Dyeing her hair and cutting it and.
Speaker C:Yeah.
Speaker B:Yes.
Speaker C:She reminded me of.
Speaker C:I was gonna say this earlier, even though it was done way later.
Speaker C:I don't know if there was.
Speaker C:I know that was based on source material and I guess this is an original by Shane Black.
Speaker C:But her character Charlie with the blonde hair and being a CIA assassin reminded me a lot of Atomic Blonde with Charlize Theron.
Speaker C:Yeah, I don't just those type of.
Speaker C:Yeah, they're both blonde, they're both lethal.
Speaker C:They were both in the.
Speaker C:In the 80s and worked for the CIA.
Speaker C:Like.
Speaker C:I don't know, like maybe may just be a coincidence, but.
Speaker C:Yeah, I should see Atomic Blonde if you haven't.
Speaker B:Okay.
Speaker B:Anyways.
Speaker B:Yeah.
Speaker B:So this Mitch.
Speaker B:So there's two sequences.
Speaker B:Mitch is gearing up.
Speaker B:He's got his own song.
Speaker B:Yeah.
Speaker B:So.
Speaker B:So I thought that.
Speaker B:I thought that worked.
Speaker B:Mitch.
Speaker B:Mitch again, talking about the duality of personality.
Speaker B:So Mitch is offering that to Charlie Baltimore that Samantha had to come from somewhere because Charlie is trying to seduce Mitch again, trying to really put to death Samantha.
Speaker C:Right.
Speaker B:This is something Samantha wouldn't do.
Speaker B:Homemaker now, you know.
Speaker B:But Mitch is declining.
Speaker B:Right.
Speaker B:And I guess almost the B story at this point for her saying that Samantha had to come from somewhere that is part of you.
Speaker B:And Charlie Baltimore wants to reject that.
Speaker C:Right.
Speaker C:You know, he even tells her.
Speaker C:Didn't he tell her to call Caitlyn, Call your daughter?
Speaker B:Yes.
Speaker B:Yeah, yeah, yeah.
Speaker B:Which I guess now I meant the bad guys.
Speaker B:Clues in her handlers decide to take her out.
Speaker B:But Charlie is.
Speaker B:Is playing them.
Speaker B:I'd forgotten.
Speaker B:I was a little shocked.
Speaker B:She actually throws Mitch right out of the car and he just lays there smoking on the ground like.
Speaker B:And this is Mitch, like, okay, well, this is my life, you know, can't do one thing right.
Speaker B:And here I am on the street.
Speaker B:That figures.
Speaker B:You know.
Speaker C:Right.
Speaker C:So what you're saying is you don't need me.
Speaker C:You know what?
Speaker C:You're right.
Speaker C:Get out.
Speaker C:Shoves him out.
Speaker B:Yeah, yeah.
Speaker B:I actually forgotten about that and that.
Speaker C:But yeah, I mean, as I was watching that, because I.
Speaker C:It's been a while since I've seen it too.
Speaker C:So he's sitting there laying the, you know, smoking, laying there on the ground, just.
Speaker C:I'm not even going to get up.
Speaker B:Yeah.
Speaker C:Cigarette.
Speaker B:What is the point?
Speaker C:So that's.
Speaker C:That's how I took it at first.
Speaker C:But then like very shortly, she comes back around and stops and says, get in.
Speaker C:So did like, did he know that she's going to figure out in a minute that she does need me.
Speaker C:I'm just going to smoke my cigarette while I'm waiting on her to figure it out.
Speaker B:I.
Speaker B:I think he's like, this is this.
Speaker C:She's not surprised when she comes back.
Speaker B:Well, I.
Speaker B:I don't.
Speaker B:At this point, I don't think.
Speaker C:I think there's so much and nothing's.
Speaker B:This is my life, you know.
Speaker B:Okay, I'll get in.
Speaker B:Okay.
Speaker B:You know?
Speaker B:Yeah.
Speaker B:I think he is just, this is my life, you know?
Speaker B:Yeah.
Speaker C:Because all he says is, like, found a use for me after all and gets up and gets in and off you go.
Speaker B:Right, right.
Speaker B:Yeah.
Speaker B:So she gets home and there was this setup with the kid about smoking.
Speaker B:And I thought this could have been handled a little better, but there was this setup.
Speaker B:If I catch you smoking again, they'll never find the body or whatever.
Speaker B:And now it's Charlie, she takes a cigarette and smokes and hands it back.
Speaker B:I don't know that that's a good payoff for that setup.
Speaker B:Yeah.
Speaker C:Because now it's.
Speaker C:If you tell anybody you saw me, I'll blow your fucking head off.
Speaker B:Yeah, yeah, yeah.
Speaker C:Like, I think the.
Speaker C:A better setup and payoff would have been like, I guess that's.
Speaker C:There's hints of her.
Speaker C:Charlie coming through at the beginning right from the body.
Speaker C:Like, that's not something Samantha would say, even though it is Samantha, that, like, if it had been more of a Samantha type of thing.
Speaker C:I'll tell your parents or I don't know, whatever.
Speaker C:Right.
Speaker C:Something definitely way more tame.
Speaker C:And then, you know what I mean, have that with I'll blow your fucking head off.
Speaker C:Or have Samantha.
Speaker C:I mean, Charlie, have the.
Speaker C:They'll never find the body, you know.
Speaker B:Yeah, yeah, yeah, yeah, yeah.
Speaker B:I have down here because I'm watching this and, and it's.
Speaker B:It had been a while, but I.
Speaker B:As I'm going through this, I.
Speaker B:I mean, I think Geena Davis was very persuasive.
Speaker B:I.
Speaker B:I was on board with.
Speaker B:With her as an action star.
Speaker B:You know, sometimes you watch these things in their.
Speaker B:Oh, they're trying to shake things up by having a female action star or whatever.
Speaker B:But I think.
Speaker B:I think Geena Davis, like, I enjoyed the second half of this movie almost more than sure.
Speaker B:The first half.
Speaker D:Yeah, I'd agree to that.
Speaker D:And that's.
Speaker D:It kind of puts it back into the category of Geena Davis, Sigourney Weaver being just badass women.
Speaker B:Yeah.
Speaker D:Heroes.
Speaker C:Yeah.
Speaker C:The only thing I didn't like the bug me.
Speaker C:Because.
Speaker C:Yeah.
Speaker C:As far as the physicality of it.
Speaker C:It's fine.
Speaker C:And the look and all that, it just.
Speaker C:It seemed like at times like her, the way she would change her voice.
Speaker C:And there's certain, like, male.
Speaker C:It's not a female thing.
Speaker C:Male actors have done it too.
Speaker C:It's their.
Speaker C:You know, when they're trying to be tough, all sudden they put on a tough guy voice.
Speaker C:And I feel like that's what she did when she was Charlie a lot.
Speaker C:And it annoyed me because it came off as a.
Speaker C:Oh, it's a tough girl voice.
Speaker C:Got it.
Speaker B:Yeah.
Speaker C:Okay.
Speaker C:As opposed to just being tough.
Speaker D:But, like, that May had something to do with the director.
Speaker C:Yeah, right.
Speaker C:Yeah, right.
Speaker C:No, can you do it more?
Speaker D:They were married at the time.
Speaker D:Gina Davis.
Speaker C:Oh, that's true.
Speaker C:Yeah.
Speaker C:Because they'd done Cutthroat island before, right?
Speaker B:Yeah, well, that was.
Speaker B:Yeah, that was the thing, like.
Speaker B:Because Cutthroat island was not a success, right?
Speaker C:No.
Speaker C:Right.
Speaker B:And then this was not a knockout of the park.
Speaker B:So.
Speaker C:Sure, he'd.
Speaker C:I guess three years prior, he did Cliffhanger with Stallone, which.
Speaker C:And Die Hard 2 before that.
Speaker C:So he had a record of being.
Speaker C:Making good action movies and hits.
Speaker C:And then I guess I had something misses.
Speaker C:Yeah.
Speaker C:Because I think he did Driven with Stallone way later.
Speaker C:And that was also a mission.
Speaker B:Yeah.
Speaker D:Yeah.
Speaker C:I don't know what the guy's doing now.
Speaker D:I just, you know, going back to the kind of funny little things in the movie.
Speaker D:I would attribute it to more of the directors than.
Speaker D:But, hell, what do I know?
Speaker B:Yeah.
Speaker D:Producer.
Speaker B:So I guess we're learning about Operation Honeymoon, which is their.
Speaker B:Their plan that she's threatening to undo.
Speaker B:They want to.
Speaker B:I guess that all comes down to lack of.
Speaker B:So again, Aliens was greed money.
Speaker B:Here it's almost a similar situation because the counterintelligence community is.
Speaker B:Their funding has been cut, so they want to stage this thing, kill a bunch of people so that Congress will.
Speaker C:Manifest a terrorist act.
Speaker C:So they can get money.
Speaker C:Yeah.
Speaker B:And get money.
Speaker B:And.
Speaker D:Yeah, this was pre.
Speaker D:All the.
Speaker D:All the big conspiracy theories.
Speaker D:So this one, when I watched that, I was like, holy crap.
Speaker B:Yeah.
Speaker B:Whoa.
Speaker C:The Simpsons being ahead of its time.
Speaker D:Yeah.
Speaker B:Yeah.
Speaker D:It was right on.
Speaker B:She.
Speaker B:There had been a setup about when she was leaving, you know, because this will.
Speaker B:Again, setups and payoffs worked.
Speaker B:I think generally they were believable.
Speaker B:At least the candle in the window so I can find my way home sets up this escape scene because again, it had to be done.
Speaker B:But they give the one of the bad guys gives the daughter a doll.
Speaker B:You know, you're giving her a doll?
Speaker B:Well, you know, it's Christmas.
Speaker B:I'm not a complete ogre.
Speaker B:They're gonna kill this girl.
Speaker B:Right.
Speaker B:But.
Speaker B:But he gives her a doll.
Speaker B:And in my mind I'm thinking, it's been a while since I've seen it, but I knew.
Speaker B:Okay, that comes into play somewhere.
Speaker B:And.
Speaker B:And then I think the candle in the window set up the fact that she had matches in her cast.
Speaker B:Charlie.
Speaker B:And we'll get to that in a second.
Speaker C:Even the breaking of the arm so she can hide said matches.
Speaker B:Sure.
Speaker B:Oh, yeah.
Speaker B:I didn't even think about that.
Speaker B:But yeah.
Speaker B:Yeah.
Speaker B:Which.
Speaker B:Which I think is okay.
Speaker B:Like if.
Speaker B:If.
Speaker B:If you want to do that as a writer.
Speaker B:Just set it up.
Speaker C:Yep.
Speaker B:Maybe it seems a little forced, maybe not, but I think it works.
Speaker B:I mean, I think.
Speaker C:I think it's all about hiding it well too.
Speaker C:Yeah.
Speaker C:Don't call attention to itself.
Speaker B:Right.
Speaker B:Instead of.
Speaker B:It just needs to.
Speaker B:Needs to happen.
Speaker B:You know, this.
Speaker B:So I have a.
Speaker B:As the all is lost.
Speaker B:We had pegged it as a false fisher.
Speaker B:This has to be a false defeat.
Speaker B:Yes.
Speaker B:Mitch and Charlie are captured, but not before she thinks about the doll and the gas.
Speaker B:So she sees the dripping gas.
Speaker B:The kid has the doll.
Speaker B:And you can see Charlie putting something together.
Speaker B:She didn't know that she was gonna need that gas.
Speaker B:But.
Speaker C:Yeah.
Speaker C:Just in case.
Speaker C:I mean, this is what I got.
Speaker B:Let me fill up a doll with gas.
Speaker B:Okay.
Speaker B:Yeah.
Speaker C:Cause she tries other things.
Speaker C:Yeah.
Speaker C:They get put in the freezer.
Speaker C:She.
Speaker C:She even tells Timothy, you know, look into her eyes.
Speaker C:This is your daughter trying to, you know, get some sympathy out of him.
Speaker C:To not kill them and not.
Speaker C:And to let her go.
Speaker C:And that doesn't work.
Speaker C:And so then they're stuck in the freezer.
Speaker C:So she.
Speaker C:MacGyver's this.
Speaker C:This doll and this gas thing.
Speaker C:And then even then, like, I mean, talking about your payoff.
Speaker C:She can't get a spark.
Speaker C:She can't get the gas to light.
Speaker B:Yeah.
Speaker C:And actually breaks down, you know, and crying like.
Speaker C:So here's this tough woman who's, you know, at her.
Speaker C:At her wits end.
Speaker C:And now she's going to die, and her daughter's going to die.
Speaker C:And then Mitch, who's definitely can't do anything.
Speaker C:Right.
Speaker C:It's going to die because she can't go save his ass.
Speaker C:And the daughter reveals.
Speaker C:Oh, hey, Mom, I got matches.
Speaker B:Yeah, right, Right.
Speaker C:So yeah, that's definitely all is lost at that as well.
Speaker D:Well, yeah.
Speaker D:Because as they were wheeling Sam Jackson away, he was like, I'll be sitting up there waiting for you to come see.
Speaker B:Yeah.
Speaker C:He has a line.
Speaker B:Just be a minute.
Speaker B:Yeah, I thought that was a good line.
Speaker C:Yeah, I'll just be a minute.
Speaker B:Just be a minute.
Speaker B:Yeah.
Speaker B:And she learns that at this point, she learns that her handlers and the bad guys are now working together.
Speaker C:Right.
Speaker C:Perkins and Timothy are together.
Speaker B:Yeah.
Speaker B:And.
Speaker B:And she actually says.
Speaker B:I think she says alone we stood a chance.
Speaker B:Like, at this point, she's beginning maybe to despair a little bit.
Speaker C:Right.
Speaker B:Yeah.
Speaker B:So the false deficiencies captured.
Speaker B:Yeah.
Speaker C:Because they storm in there to get her and it doesn't go well.
Speaker C:And that's how they end up getting captured.
Speaker B:Yes.
Speaker B:Yes.
Speaker B:She calls it a fundraiser operation.
Speaker B:So you're staging a fundraiser.
Speaker C:Her bomb literally explodes the doors off the third act, like.
Speaker B:Oh, yeah.
Speaker C:Into the third act.
Speaker C:You know, she blows the door open.
Speaker B:Yeah.
Speaker B:I didn't actually have that written down, but that's.
Speaker B:That's good.
Speaker B:That's.
Speaker C:And blows Mitch out the window.
Speaker C:But I mean, he survives, I guess.
Speaker B:Yeah.
Speaker C:He's about to get killed.
Speaker C:Right?
Speaker C:That's a bit much.
Speaker C:But, yeah.
Speaker D:He gets blown out the window through a sign.
Speaker C:You're right.
Speaker C:Through sign into a tree and then down on the ground.
Speaker C:Yeah.
Speaker D:Bit much, but What a bad day.
Speaker C:What a bad day.
Speaker B:They said a ticking clock.
Speaker B:Again, the bomb timer.
Speaker B:Almost.
Speaker B:I looked at the.
Speaker B:How much time was left in the movie at this point?
Speaker B:I think the bomb timer was set for like 30 minutes, which is almost exactly how much was left in the movie.
Speaker B:And then you have the guess and that.
Speaker B:I'll pay off.
Speaker B:Charlie's at her wit's end, but the daughter has the matches for the candle in her cast.
Speaker B:Samantha makes.
Speaker B:I have down here.
Speaker B:Samantha makes an appearance or a motherly Charlie.
Speaker B:I thought this was very.
Speaker B:This line worked.
Speaker B:Are we going to die?
Speaker B:No, honey, they are.
Speaker C:Yeah.
Speaker C:That's good.
Speaker B:You know.
Speaker C:You know, I think.
Speaker C:Sure.
Speaker C:And I think it.
Speaker C:What you're saying earlier about duality, like, I wish it had done.
Speaker C:Been done better.
Speaker B:Yeah.
Speaker C:And the blending of the.
Speaker C:Of the two personalities, because.
Speaker C:Yeah.
Speaker C:I feel like it's.
Speaker C:It's not Charlie or Samantha.
Speaker C:It's got to be both of these.
Speaker C:The end.
Speaker C:But her.
Speaker C:This is a while back, but her putting on the ice skates is.
Speaker C:Is.
Speaker C:Is a blending of those personalities because their mom's ice skating later on.
Speaker C:I feel like it visually.
Speaker C:Right.
Speaker B:Yeah.
Speaker C:She puts on the ice skates and then does this, you know, awesome stuff where she takes out the bad guys on the ice.
Speaker C:But, you know, it's.
Speaker C:So, yeah, I think it's Charlie and Samantha having a moment with the daughter.
Speaker B:Yeah.
Speaker B:The daughter gets away and hides in the bomb truck.
Speaker C:Yeah.
Speaker C:Bad choice, kid.
Speaker B:An unfortunate place to hide.
Speaker B:Yeah.
Speaker B:So I guess now we're in the third act, storming the castle.
Speaker B:So we got 20 minutes.
Speaker B:Somebody says, we got 20 minutes tops.
Speaker B:Which, again, is just about how much time left in the movie.
Speaker B:So they're.
Speaker B:The tension is being increased.
Speaker B:The movie's coming to an end, and so is the bomb.
Speaker B:Again, Mitch, I think, says, just do one thing right.
Speaker B:Pay off from the line.
Speaker B:I haven't done anything right in my whole life.
Speaker B:So there is that callback as Mitch is, I guess, trying to rescue them.
Speaker B:And then Charlie's acting as.
Speaker B:I thought that was a pretty cool action scene.
Speaker C:No.
Speaker C:Yeah.
Speaker C:Where he's shooting what he can, but.
Speaker C:And she's helping him out with rifle from a distance.
Speaker C:Yeah.
Speaker B:The Hightower surprise.
Speaker B:Mitch is shot.
Speaker B:Charlie steals a car from the bad guy.
Speaker B:I thought all that.
Speaker B:And as I'm watching that, that action sequence was pretty elaborate.
Speaker B:There's a lot going on and some pretty serious explosions in that.
Speaker C:Yeah, for sure.
Speaker C:You know, and then the chase in the truck and when she crashes it through the wall and there, you know, turns on its side and starts sliding.
Speaker C:I mean.
Speaker C:Yeah, there's a lot going on there, I guess.
Speaker B:The brake line.
Speaker C:Yeah, in the truck.
Speaker B:Yeah.
Speaker B:I thought that was a little convenient.
Speaker B:I.
Speaker B:I did.
Speaker C:I thought that was part of the staging of the.
Speaker C:Because they put the.
Speaker C:The Middle Eastern guy is supposed to be their.
Speaker C:Their patsy.
Speaker C:He's dead because he was in the freezer and you see him.
Speaker B:Yeah, but what do they need to cut the brake line for?
Speaker B:Like, I don't know.
Speaker C:I just thought it was part of it.
Speaker C:Maybe it's not.
Speaker B:I don't know.
Speaker B:Anyway, the trucks are wrecked.
Speaker B:The bomb is ticking.
Speaker B:The daughter is trapped.
Speaker B:Bad guys are still kicking the shit out of Charlie.
Speaker B:So the.
Speaker B:The action scenes I thought worked.
Speaker B:She had set it up with, you're gonna die screaming and.
Speaker B:Yeah, I think he does.
Speaker C:He does.
Speaker C:But, like, he.
Speaker C:He falls into the water or whatever at one point when they're fighting and he.
Speaker C:He screams.
Speaker C:He's like.
Speaker C:He has a.
Speaker C:You think he's dead and he comes back kind of thing.
Speaker B:Yeah, yeah, yeah.
Speaker C:So, yeah, he screams.
Speaker C:Both times.
Speaker C:He screams when you think he's going to die, and then he actually screams when he's.
Speaker C:You know.
Speaker B:Right.
Speaker C:She screams when he actually dies.
Speaker B:Charlie says goodbye to the daughter.
Speaker B:Like, Charlie thinks she's out, like, is gonna die.
Speaker C:Yeah.
Speaker B:She tells her to run back, thinking death is imminent.
Speaker B:And then her daughter returns and sort of takes on the role of Charlie Baltimore.
Speaker B:Here you get up, you know.
Speaker C:Yeah.
Speaker C:No, it's a nice callback to the.
Speaker C:I don't remember the exact phrasing, but it's the same line that she said to her earlier.
Speaker B:Yeah.
Speaker C:On the ice when she was being weak.
Speaker B:Yeah.
Speaker B:Daughter echoes Charlie's words on the ice.
Speaker B:Yeah.
Speaker C:Yeah.
Speaker C:Which is cool.
Speaker B:Mitch, I have.
Speaker B:Mitch makes a play.
Speaker B:Helicopter on the bridge.
Speaker B:Mitch is.
Speaker B:Mitch is as bad as he thinks he is at this point.
Speaker B:As you know that he was singing earlier.
Speaker B:Now, Charlie sacrifices herself for the daughter.
Speaker B:Right.
Speaker B:So this is not something that Charlie would have done.
Speaker B:So we're.
Speaker C:We're learning the two.
Speaker B:Yeah, we're reuniting the two.
Speaker C:That would have been a good callback.
Speaker C:I just not thought about that.
Speaker C:If he's sitting there behind the wheel and he starts singing the song again, that would have been good.
Speaker B:Right.
Speaker C:But it works out this time.
Speaker C:Yeah.
Speaker B:Yeah.
Speaker C:He's probably too beat up for that.
Speaker B:I'm not singing now.
Speaker B:I forgot to mention there was a scene.
Speaker B:Is it before, I guess, when Mitch is captured.
Speaker B:Isn't he, like, hiding with a gun or whatever and.
Speaker C:Yes.
Speaker B:The bad guy comes up behind him.
Speaker C:Yeah, he's.
Speaker C:Yeah, he's out there with the.
Speaker C:With the gun from a distance.
Speaker C:And then.
Speaker C:Yeah, he's watching her.
Speaker C:And then a guy comes up from.
Speaker C:Just like in Lethal Weapon.
Speaker B:I was about to say, it's.
Speaker B:It was very.
Speaker B:Yeah.
Speaker C:It's like they're written by the same guy.
Speaker B:Again, these.
Speaker B:These things that he reaches for.
Speaker B:Right.
Speaker B:You know?
Speaker B:Yeah.
Speaker B:Okay.
Speaker C:It wouldn't make sense with.
Speaker C:With here or whatever, because he doesn't ever do anything.
Speaker C:Right.
Speaker C:But I like that scene, Lethal Weapon very much because the bad guy has a cool line.
Speaker C:He tells Martin Riggs, don't try it, kid.
Speaker C:You're not that fast.
Speaker C:Like he was gonna try to get one more shot off.
Speaker B:Yeah.
Speaker C:It's just kind of cool.
Speaker B:Yeah.
Speaker B:Yeah.
Speaker B:And again, you're in Lethal Weapon.
Speaker B:They're trying to rescue the daughter.
Speaker B:Right?
Speaker B:Yeah.
Speaker B:Here.
Speaker B:They're trying to rescue the daughter.
Speaker B:Yeah.
Speaker B:So, yeah, he's got his toolbox.
Speaker B:Right.
Speaker B:I guess at this point, you know, he's.
Speaker B:Now the final image is.
Speaker B:I have this as.
Speaker B:Again, almost reminiscent of Armageddon, where the deadbeat dad is the hero and the family sees him.
Speaker B:And Mitch makes this joke, which only he thinks is funny, apparently.
Speaker B:And In Chicago, I'm Fritz and Ernest.
Speaker C:Well, she takes out Timothy in a, in a particularly cool way.
Speaker C:Like I thought Shane Black had, you know, ideas of value.
Speaker C:Like he's got the guns on her.
Speaker C:She doesn't have a gun anything.
Speaker C:And she sees the, the dead guard, you know, henchmen or whatever, hanging there on fire, upside down and with the, by the Christmas light.
Speaker C:So she grabs the Christmas lights and pulls on it.
Speaker B:Yeah.
Speaker C:And as she's going up, you know, in the, the flaming bodies coming down, she grabs the gun off the dead guy.
Speaker B:Yeah, yeah.
Speaker C:Takes out Timothy.
Speaker C:Is pretty cool.
Speaker B:No, No.
Speaker B:I thought the action sequence puts her.
Speaker C:Feet, her feet together as she slides down and takes out all the lights.
Speaker C:I thought it was.
Speaker B:Yeah.
Speaker D:Very cool.
Speaker C:Very cool.
Speaker C:Cool.
Speaker C:Way to kill the back guy.
Speaker C:Told you.
Speaker C:You die screaming.
Speaker C:Yeah, right.
Speaker B:Yes.
Speaker B:So, so at the end, both these characters have been, have been Their, their deficit has been made up.
Speaker B:So they helped each other.
Speaker B:You get the idea that Mitch's family is going to come back to him and that his life maybe, maybe he will be able to start doing stuff right now, you know, so that could.
Speaker C:Have been stronger to me.
Speaker B:But yeah, yeah, agreed.
Speaker C:Because they have this like, horrid look on their face and, you know, this the family.
Speaker C:Yeah, to me.
Speaker C:And then he makes that terrible joke and I'm like, yeah, she ain't, she ain't taking that guy back.
Speaker B:Yeah.
Speaker C:Like, I feel like he messes it up.
Speaker C:He gets in his own way too much.
Speaker D:I might let him see the kid once every month, but open up to that.
Speaker B:Maybe you can.
Speaker B:Yeah.
Speaker B:Yeah.
Speaker B:The two will become one.
Speaker B:Charlie, Samantha, happy, domestic.
Speaker C:Yeah, well, happy and domestic, but still didn't lose the skills.
Speaker B:Right.
Speaker C:She acquired like she throws a knife.
Speaker C:So I guess to me that was like, you know, still there in case trouble shows up.
Speaker C:She can.
Speaker B:Right.
Speaker B:She's a good one to have around, but, but she's reconciled.
Speaker D:That's the one thing that I noticed at the very end of the movie.
Speaker D:I just said to myself, that relationship is not gonna last at all.
Speaker B:Charlie's are.
Speaker D:Charlie's.
Speaker B:Yeah.
Speaker D:With the boyfriend.
Speaker D:Like, she is too.
Speaker D:He's like, she is a different person than what that boyfriend.
Speaker C:Oh, for sure.
Speaker C:Yeah, I, I, I was signed up for.
Speaker B:I did not, I was not impressed with him at, I didn't think he was funny at the Christmas party as he thought he was.
Speaker B:I, I don't know.
Speaker B:I thought he was probably the weakest.
Speaker D:Character in the, There was something kind of, I guess a fan fiction review or whatever that they wanted to see Charlie and Mitch have an off child, a love child, 20 years later.
Speaker D:And now the child goes into the CIA or something like.
Speaker D:Yeah, that I could see Mitch and her being.
Speaker D:Had a good chemistry more than the boyfriend, but whatever.
Speaker B:Yeah, so.
Speaker B:So I think.
Speaker B:I think that's what happens.
Speaker B:I just wrote down.
Speaker B:I always look at the credits, so there wasn't anything astounding.
Speaker B:But two of my favorite credits are man in Bed and Burnout one and two.
Speaker B:So some.
Speaker B:Two guys got to play Burnout.
Speaker C:Probably the bums at the beginning.
Speaker B:Yeah, yeah, yeah, yeah.
Speaker B:That man in bed, he's an.
Speaker B:I've seen him before in other movies.
Speaker D:Rex Lynn, Correct.
Speaker C:Yep, it's Rex Lynn.
Speaker B:Okay.
Speaker C:Yeah.
Speaker C:He was in Cliffhanger.
Speaker C:I don't know how many other.
Speaker C:If he's, like, in a lot of Earp.
Speaker D:He was a McLaury.
Speaker B:Yep, yep, yep, yep.
Speaker C:He's the.
Speaker B:And that's where it was.
Speaker C:There's a narration for Million Ways to Die in the west because he has, like.
Speaker C:He has like, just those good voices.
Speaker C:And, like, I think it works perfectly because, like, at the beginning, it starts off like a.
Speaker C:Almost like a documentary of a.
Speaker C:Of, you know, the old West.
Speaker C:And he's showing the picture of this lady who's not very attractive, and he's like.
Speaker C: I mean, back in: Speaker C:This was a Miss America.
Speaker C:I mean, shit, look at her just.
Speaker C:It works.
Speaker C:I probably butchered that, but it's sets the tone for them.
Speaker C:I love that movie, but it sets the tone for that whole movie.
Speaker D:And he was also in one of my favorite just stupid movies.
Speaker D:Zombie verse.
Speaker C:Zombie.
Speaker B:I tried watching that.
Speaker C:I've never seen it.
Speaker D:The dialogue between Bill Burr and John Mayer in the truck.
Speaker B:I need to watch it again.
Speaker B:I started watching it, and I'm like, oh, my God, it's.
Speaker B:I'm gonna have to tell people I watch Zombies.
Speaker D:It's so good.
Speaker B:Okay.
Speaker D:Anyway.
Speaker D:Yeah, we're getting off.
Speaker D:Good enough.
Speaker B:Anything else?
Speaker D:Let me see this.
Speaker D:Any intro?
Speaker D:Oh, Brian Cox obviously was in it, but David Morse, you had kind of mentioned 16 blocks.
Speaker D:David Morse is who we're talking about on that one.
Speaker B:Yeah, yeah, yeah, yeah, yeah.
Speaker C:He plays Luke.
Speaker D:Yeah.
Speaker C:They're dataless.
Speaker B:Right, Right.
Speaker D:That's.
Speaker D:That's all I got, though.
Speaker B:All right.
Speaker B:Yeah.
Speaker B:It's funny.
Speaker B:We've had crossover with, you know, just picking these things.
Speaker B:Random almost, but it seems like we had crossover.
Speaker B:Any other thoughts or anything?
Speaker B:Sherry?
Speaker B:This was your pick.
Speaker B:You.
Speaker D:No, obviously she thought it was okay.
Speaker A:Yeah.
Speaker A:I enjoyed watching it.
Speaker A:Again.
Speaker B:Yeah.
Speaker A:And laughed and.
Speaker B:Yeah, I, I, I was, I won't say I was reluctant, but I knew this was kind of like one of his weaker movies, and so I wasn't necessarily thrilled about watching it, but as, you know, a second viewing there was a lot to enjoy about this movie.
Speaker B:I, you know, like I said, I'll take his weakest stuff over other people's strong stuff almost any day.
Speaker D:All right, so now we need to recommend.
Speaker C:Yep.
Speaker B:Yes.
Speaker A:No, I did.
Speaker A:I did want to mention, I know we've seen now two movies with Samuel L.
Speaker A:Jackson, and I think now we understand, you know, he, he got that Academy Award this year for.
Speaker A:It's an honorary award.
Speaker B:Oh, yeah.
Speaker A:And yeah.
Speaker D:For lifetime achievement type of thing.
Speaker A:Awarded for extraordinary distinction and lifetime achievement.
Speaker B:Yes.
Speaker B:Awesome.
Speaker B:Yeah.
Speaker B:Sam Jackson always delivers.
Speaker A:Yes.
Speaker B:So cool.
Speaker C:Yeah.
Speaker C:I mean, he's one of those actors that it doesn't ever seem like he's phoning it in and he's been in, I don't know, 200 movies or whatever it is.
Speaker C:Like, whether it's a small budget movie or a big, you know, big budget movie.
Speaker C:Seems like he's there to do his job and he's not gonna, you know, phone it in.
Speaker D:Well, I think a lot of that has to do with.
Speaker D:He didn't get super famous and into movies until he was later in life.
Speaker C:Yeah.
Speaker D:So he, you know, he knows I would say if I was in his place, I would know what I had.
Speaker C:Sure.
Speaker D:I'm gonna give it a minute.
Speaker D:This beats it.
Speaker D:They're gonna pay me a ton of money.
Speaker D:All I gotta do is come pretend, Right?
Speaker D:Sam Jackson's one of the top ones.
Speaker D:I love it.
Speaker B:Yeah, he got on my radar.
Speaker B:Probably with, with Pulp Fiction, right?
Speaker B:Yeah, yeah, yeah.
Speaker C:And then Die Hard With a Vengeance was around the same time, was he.
Speaker B:Was a Jackie Brown.
Speaker D:Yeah.
Speaker B:Did he.
Speaker D:Oh, yeah, yeah.
Speaker B:Play the guy with the car, the guy in the trunk or whatever.
Speaker A:Anyway, I just wanted to add that since he did win that.
Speaker B:Yeah, I guess I'd forgotten that.
Speaker B:I didn't know that.
Speaker B:That's cool.
Speaker C:And then A Time to Kill is around the same time frame that we were just talking about, like, all those years.
Speaker C:Like, that's probably what.
Speaker C:After that, everyone knew who Samuel Jackson was because he was in Coming to America back in 88.
Speaker C:Nobody knew who he was.
Speaker B:I don't.
Speaker B:Yeah.
Speaker C:He's the guy that goes in and robs the place, gets tripped by the mop.
Speaker C:Yeah.
Speaker B:Yeah.
Speaker B:I'd seen Coming to America.
Speaker B:I didn't even know he was in it.
Speaker B:That's cool.
Speaker D:Yeah, he's.
Speaker C:He's classic in that too.
Speaker C:Yeah.
Speaker B:Yeah.
Speaker C:Please refrain from pointing your gun at any more of these people.
Speaker C:What?
Speaker C:Yeah, just.
Speaker C:He's good.
Speaker B:Jerry, we know what you think.
Speaker A:Highly recommend.
Speaker B:Highly recommend.
Speaker A:Watch it again.
Speaker B:I.
Speaker B:I'm torn between recommended.
Speaker B:Consider.
Speaker B:I definitely think it's worth considering and I probably would recommend it because I think it is a lot of fun.
Speaker D:You know, so my turn, I guess I go.
Speaker D:I would give it a.
Speaker D:I'm done.
Speaker D:Like you.
Speaker D:I'm torn between consider and recommend.
Speaker D:I'm just a big Shane Black fan.
Speaker D:I like everything he does.
Speaker D:But if somebody was coming into it not knowing anything about Shane Black style, I think knowing his back catalog, I enjoyed this movie better because I enjoy his other catalog.
Speaker B:Yeah.
Speaker D:Come into this with fresh eyes.
Speaker D:Maybe I wouldn't have enjoyed it as much, so I would definitely recommend it.
Speaker D:But give it a.
Speaker D:Give it a consider at least.
Speaker B:Yes, I'm looking at it with Shane Black, if you are looking.
Speaker B:If you want to see a really classic Shane Black movie, I might turn you on to the.
Speaker B:To the Nice guys or Kiss.
Speaker B:Kiss.
Speaker B:Certainly Lethal Weapon.
Speaker D:Yes.
Speaker B:Might not be my first choice for a Shane Black movie because I do appreciate it because it is Shane Black, like you were saying, you know.
Speaker C:Yeah, same here.
Speaker C:I mean, I guess I'm gonna be a consider.
Speaker B:Yeah.
Speaker C:If you're Shane Black fan, then yeah, definitely.
Speaker C:And you haven't seen it.
Speaker C:Give.
Speaker C:Give it a.
Speaker C:Give it a go.
Speaker C:But yeah, it's.
Speaker C:It's a fun action movie.
Speaker C:It did feel very dated to me.
Speaker C:And yeah, there's.
Speaker C:There's better shame like movies.
Speaker C:There's better action movies, but it's not.
Speaker C:I'm not going to pass.
Speaker C:Not terrible, but yeah.
Speaker C:I mean, it's just considered to me, if it's your cup of tea, you know, that a 90s action movie or you want to check out Shane Black's catalog, then give it a go.
Speaker B:Yeah.
Speaker B:Yeah.
Speaker D:Very cool.
Speaker B:All right.
Speaker B:Sounds good.
Speaker B:Till next time.
Speaker A:I said no.
Speaker A:And all she could do was.
Speaker A:But I think we rented it on vhs.
Speaker B:Yes.
Speaker A:And saw it.
Speaker D:Vhs?
Speaker D:What is that?
Speaker A:Yeah, that's how long ago I just.
Speaker D:Said to myself that relationship is not gonna last.
Speaker B:Yeah, okay.
Speaker B:Can't do one thing right, and here I'm on the street.
Speaker B:That figures.
Speaker C:Why isn't he on a torture wheel too?
Speaker C:I don't know.
Speaker C:Gone for good or there to stay.
Speaker C:Yeah, good stuff.
Speaker B:He's gonna give you a two hander with just two great characters, you know?
Speaker C:Wait, wait.
Speaker C:I didn't go, woo, woo, woo.
