0:00

Hi. I'm Jeffrey Krayner, and my friend,

0:02

CECL Baldwin Laws, horror movies,

0:04

and he's helping make this genre more approachable

0:06

for me and hopefully for you too.

0:08

One film at a time. In a random

0:10

order. Are you squeamish about horror

0:13

movies? Don't worry. We will tell you what

0:15

happens. Ador horror movies, well, great.

0:17

Watch along with us each week.

0:19

And as always, check the show notes

0:21

for content warnings about this week's episode

0:23

discussion and film. Oh, Also

0:26

this week, we're gonna have another livestream

0:28

this Sunday December eighteenth at three

0:30

o'clock Eastern. This month, we're watching

0:32

the two thousand six claustrophobic monster

0:35

thriller The Descent. So watch along

0:37

with us or don't either way, just come and

0:39

join us for our conversation on Sunday.

0:41

Our live shows are only five bucks and by being

0:43

a Patreon member, you get to help us pick movies

0:46

we watch each month. We, of course, do a random

0:48

draw of all nominated films. So

0:50

join us this Sunday, December eighteenth

0:52

at three PM eastern at patreon

0:55

dot com slash random horror

0:57

nine. But that's later, let's talk

0:59

about today's episode. This

1:01

week, we randomly rolled a one

1:03

for ghost story and a two

1:06

for what the fuck here is

1:08

episode one thirty five. Dog

1:11

now group. She ain't no rescrew.

1:17

This

1:23

week on random number generator

1:25

or podcast number 9, the

1:28

Beyond nineteen eighty one.

1:30

Warning, spoilers

1:33

ahead.

1:38

I used to have this truck.

1:40

It was a twenty five or so year old

1:42

Ford. I was using it as

1:44

a plow truck for a time. It was rusted

1:47

and clunky, but in that beautiful old

1:49

car kind of way, it had a lot

1:51

of personality. So I named

1:53

the truck and Richard's after the former

1:55

Texas governor and my favorite politician growing

1:58

up. And by the way, famously said

2:00

about George h w Bush. Poor

2:02

George, he can't help it, he was born

2:04

with a silver foot in his mouth. Anyway,

2:07

Anne Richards, the Ford truck, was

2:09

so full of personality that she didn't always

2:11

like to start in the usual

2:13

fashion. Sometimes her wheels didn't

2:15

engage because the four wheel drive toggles would

2:17

loosen and then freeze. Starting the

2:19

engine required the following. Take

2:22

it out of park, turn the key, put

2:24

it back in park, turn the key. If

2:26

it doesn't start, gently hold

2:28

the gas pedal as you crank the key,

2:30

keep the key engaged until the engine

2:32

fully turns over and even

2:34

then keep your foot gently on the gas.

2:37

Once she's up and running, you should be good.

2:39

Also make sure the heater is off when you operate

2:41

the plow. The battery can't handle running both

2:43

at once. You could replace the battery, but

2:45

this has been tried a couple of times with no improvement.

2:48

That's sounds like a lot, but it only took a few

2:50

times to get that process down. I

2:52

figured it out just through trial and error,

2:54

through feel. It honestly wasn't

2:56

that hard to figure out. You try a thing.

2:58

It doesn't work. You try another thing.

3:00

It does. Let's do that other

3:02

thing from now on. had a similar

3:05

intro to this show back in episode one

3:07

9 when we covered zombie,

3:09

also known as zombie two. That

3:11

intro was about how it should only

3:13

take you a couple of times to figure out

3:16

that zombies don't die when you shoot them

3:18

in the chest or the shoulder or the thigh

3:20

but they fucking do when you shoot them in

3:22

the head. Both the zombie

3:24

and this week's film, the beyond, are directed

3:26

by Lucio Folci and both prominently

3:29

feature characters or one

3:31

character who just can't seem

3:33

to be able to answer the question, how

3:35

do zombie work? HiSeq

3:37

Hi, Jeffrey. Did you have a favorite politician

3:40

when you were a kid? No,

3:42

I did not have a favorite politician growing

3:44

up, but I did have a car

3:46

filled with personality. Yeah.

3:48

I had a car. I think the last car that

3:50

I owned before my twenty year hiatus

3:53

from owning a car the the speedometer

3:55

didn't work. Mhmm. So I just sort of

3:58

knew how fast I was going based

3:59

on the tachometer. But

4:02

if I really needed to know how fast I

4:04

was going, I could hit the dashboard

4:07

twice in a very specific spot

4:09

and the speedometer would click into it.

4:11

And then tell me and then peter out again.

4:13

So I'd be like, 00I am going fifty five.

4:16

Great. It's super funny how we just sort of

4:18

naturally figure things out

4:20

over time. Most of

4:22

us are not, doctor John McCabe.

4:24

We know how to

4:26

assess the situation correctly. So

4:29

CECL, we did not get a guest for this

4:31

week's show. We got something oh so much better.

4:33

We got a novelist, a poet, an

4:35

oracle, and the official WTO

4:37

Laureate of Random horror nine. We

4:40

got Sarah Griffin. Hi, Sarah.

4:41

Oh, hi, Sarah. Very nice, CECL. Thank

4:44

you so much for having me back.

4:45

I'm so excited. I

4:47

had not seen this movie yet before asking

4:50

you if you'd like to come on. I just

4:52

knew it was gonna be bonkers because we

4:54

had seen zombie by Luchio Folci

4:56

before. And I think we

4:58

got bonkers. And,

5:00

Sarah, you texted me last night. I don't have

5:02

it. Fully up yet, but

5:04

you said you proper you love this

5:06

movie like proper love this film. I watched

5:07

it at the unwholesome horror movie

5:10

hour of ten AM

5:12

in the morning. 000

5:13

Wow.

5:15

Which is

5:15

it really leaves a kind of a residue

5:17

on your day, you know. On your

5:19

foot though, like it shifts things up a little

5:21

bit, especially a film like this.

5:23

It sort of changes the texture of everything

5:25

around you. And immediately

5:28

after, like, the first ten minutes, I was just

5:30

like, This is incredible.

5:31

This is this

5:34

is very specifically the kind

5:36

of thing that I'm signed up for. It's got

5:38

it all. It's full

5:40

of the most delightful and exquisite practical

5:42

effects I've seen since shallarizer.

5:44

It is hard to make eye contact

5:46

with.

5:47

Also, occasionally, very beautiful.

5:49

And occasionally, right? Yeah. Yeah.

5:52

It's funny, like, coming off of, like, watching a couple

5:54

of Argento movies for the show and

5:56

then watch a couple of LuciaFolci

5:58

movies for the show that I think

6:00

both fall into Gianalo because

6:02

Italian -- Mhmm. -- and of the same

6:04

era. And there's definitely

6:06

a lot of Jialo elements to the show.

6:08

Like, it's it's beautiful. It's very stylistic,

6:11

but our ginto, the

6:13

two movies we cover for this show

6:15

with Daré Argento were

6:17

both like, the blood

6:19

is always elegant. It is

6:21

always like bright red on

6:23

crisp white or something like that.

6:25

It's always it's not unique. Beautiful

6:28

model women. Sure. So

6:30

much of them. Yeah. I Yeah. And

6:34

Folci just loves to be

6:36

gross, weird, and

6:39

I love him for it. Gloppey.

6:41

Gloppey. Gloppey.

6:42

Yeah. There's a lot of, like, wSarah, you

6:45

know, I feel as though it's as though bodies

6:47

have taps turned on inside them to

6:48

release the blood. Do you know? Like, there's a

6:51

real

6:51

force of life leaving

6:53

these people to various therapists'

6:55

I counted four removed

6:58

eyeballs.

6:58

Oh, wow. Yeah. I can't I can't

7:01

think of two at least. Oh,

7:02

there's a couple in the latter half creep up

7:04

on here, you know, little subtle

7:05

ones towards the end, like and,

7:09

yeah, there is a sort of an explosive quality

7:11

to it and a delight in it. Like,

7:14

I wouldn't go so far as to describe it

7:16

as camp, but it is thrilling and

7:18

it's surprising. And I'm like, it's

7:20

playful. It's like, get

7:22

bleeding again. You know, there's a

7:24

and the walls bleeding now don't

7:26

look twice, you know. And

7:28

there's I really I admire that. I

7:30

think it's a lot

7:30

of fun. Also, what are bodies made

7:32

of? Because according to this film,

7:35

they're made of like Latex, pasta

7:37

seed. Baking soda. Baking soda.

7:41

Baking powder. What is it? You add vinegar

7:43

to baking soda or baking powder. And

7:45

that is what happens.

7:46

If there's a sort of a sure busty kind of

7:48

texture of it nearly, you know. Yeah. Like, it's

7:52

I I had a very visceral reaction

7:54

initially to it, but then I was like, oh, it's just,

7:56

like, lusch bath bath bombs. It's just,

7:58

like, what is a lusch bath

7:59

bath bomb? Put your whole

8:02

body. And you're

8:04

the basketball. You're the bath bomb.

8:06

And when I was very small You bring

8:08

your own bath bomb.

8:10

We when I was very

8:12

small, I watched him. One of my first experiences

8:14

of being frightened and biopharma was

8:16

ghostbusters. To --

8:17

Oh, yeah. -- which features

8:19

if I'm remembering. Right? Because I have not revisited

8:21

it since due to being terrified by it.

8:24

There was a sort of a pink phone that

8:26

comes out of the drains and into bath

8:28

tubs and it has a sort of a sentence to it. don't

8:30

really remember the story because of the upsetting. And I

8:32

became very

8:34

rightened by this film and the idea that anything

8:37

could be this film or this film

8:39

could arrive from any place

8:41

at any time and my grandmother started at

8:42

my grandmother at the time and Her

8:44

stairs were pink carpet. And I

8:46

have very sharp

8:48

memories of being maybe five or six years old. Some

8:50

of my earliest memories standing at the foot of the

8:52

stairs and thinking of that film and

8:54

the similarities between the pink carpet and

8:56

the foam. That's like my earliest experience,

8:59

body horror. And this morning, watching this

9:01

film, I'm watching all of the

9:03

bath bombery of people's bodies coming

9:05

apart. I was like, oh, this would

9:07

have absolutely destroyed me

9:09

at a certain point.

9:10

Well, that hit

9:12

something in testing there. That's

9:15

oh, it's an old discomfort. It's

9:16

great. Yeah. I mean, like,

9:19

like, you might have even been, like, the same

9:21

age as the girl in the

9:23

mortuary, like, during that night's

9:25

step back. Through the

9:26

sun, she just turned a little black shoes

9:28

decking away from the bathroom.

9:30

The mortuary is a great set, and then we get

9:32

to go to it a good few times as the story

9:35

goes. But

9:36

There's a sound direction I

9:38

should say I should say my sound direction

9:40

remarks, but I did love the moat area a lot. It

9:42

was a really strange place where some bad

9:44

things happen. It's a great

9:47

set.

9:47

So let's start at

9:50

the beginning, which

9:52

is Louisiana nineteen

9:54

twenty seven, out on the

9:56

Bayou, classic classic

9:58

Italian film. Yep. And we've

10:00

he does this all in

10:02

see a tone here, so we know that it is historic.

10:04

It's in the last, and we have

10:06

a bunch of a bunch of

10:08

angry men in boats. On this

10:10

Bayou, torches. This is

10:12

a a classic lunch mob, and they are

10:14

headed to the seven doors hotel

10:17

in Nola. In side

10:19

the hotel in room thirty six,

10:21

which I did have a brief moment.

10:23

Yes. You also feel like how

10:25

many damn rooms are in this hotel? Because it

10:27

looks like there's six. I

10:30

had the exact question. It's gonna be a big So

10:33

keep thirty six groups. Thirty

10:35

six for Emily. So third

10:37

floor sixth room still doesn't make sense.

10:40

I also was like, before knowing what

10:42

seven doors meant, I was like, what

10:44

why if it only has seven doors? Do we

10:46

have room thirty six what's happened

10:48

here. So

10:51

inside room thirty six, we

10:53

have the wizard warlock

10:55

whatever he is. I don't know some gatekeeper

10:57

of hell, Schwike. And

10:59

he's also Well, he also has an Etsy

11:02

page. Because he's he's an artist. A

11:04

crafter, you know. He's an artist. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. I

11:06

don't know. He's like a slash. You know,

11:08

he's like an artist slash

11:10

warlock. Or, like, I don't know which he

11:12

just got married. Yeah. I

11:14

think he's just going through one of those,

11:16

like, COVID, like, early COVID

11:18

boredom phases where he's doing pink

11:20

by number. Wraps on his phone,

11:22

basically. He's in there painting

11:24

this picture, and suddenly

11:26

all these guys burst in. And they

11:29

scream you ungodly warlock and they

11:31

slash his face open with a chain.

11:33

Yeah. Now I have a question for the

11:35

panel. Did you all find

11:37

the the violence of this fur

11:39

the the violence of the makeup effects

11:41

especially of the first, you know,

11:43

ten minutes of this movie more

11:47

or less brutal

11:49

because of the CPA tone. I

11:50

would say the CPA tone did

11:53

unfair things to the

11:55

practical effects designer's efforts because

11:57

there was a juncture at where I was like, is that

11:59

water coming out of his face? Is he

12:01

like Is he like a

12:04

person? Is he just like a you know, I I

12:06

feel as though the lack of

12:08

color really showed what we were dealing

12:10

with, which is corn syrup.

12:13

So I I

12:15

mean, it

12:15

does set you up for the world of hurt

12:17

that we're ready to go into. It's there's a

12:20

prolonged crucifixion.

12:21

Oh my god. No. Yeah.

12:23

That

12:23

was kind and early, but I

12:26

found it This

12:27

c p is such an interesting choice rather than

12:29

black and white as well. So, yeah, I thought I'd kinda

12:31

undermine some of the gore and it

12:34

was quite dodgeily, so I found it at

12:36

times. This could have been the bright morning light

12:38

of ten AM under undercutting

12:40

me as well. But I found it a

12:42

little hard to track. Wasn't that effective for

12:44

me, you know. Okay. What

12:46

about UC. So I I actually kinda

12:48

thought it, like, amped it up a

12:50

little. Okay. Because it

12:52

took it took out the, like,

12:54

the Technicolor aspect

12:56

of it, you know, which is that that sort of, like,

12:58

glossy, bright candy

13:00

apple redness. Mhmm. And

13:02

I and maybe it was also just,

13:04

like, like, you are you are

13:07

thrust into this movie

13:09

within, like, two minutes.

13:11

You're, like, oh, brutal. And

13:13

I think because it was Cepheidone, it was

13:16

like my imagination cook

13:18

over and somehow seemed worse.

13:20

I sort of yeah. I'm kind of in between both

13:22

y'all. I I think I think it made the

13:24

blood look really liquidy. It looked

13:26

a little bit fascity, but it made

13:28

me concentrate a lot more on, like, the

13:30

skin tearing -- Yeah. -- the

13:32

cutting open of his flesh on when

13:34

they his chest and arms

13:36

and face and everything. It just made

13:38

me concentrate more on that

13:40

because it didn't have the bright red of the

13:42

blood to kind of overtake the

13:44

image. Yeah. They they

13:46

go all fucking in. They crucify

13:48

him against the shower wall.

13:50

Mhmm. Yeah. They drive spikes in

13:52

his wrist where you've got the Moan faucet

13:54

behind him like sports and stuff.

13:56

Everywhere. And then they're

13:58

like, well, it's not enough

14:00

to lash him with chains and

14:02

to crucify

14:04

him to his shower curtain. Let

14:06

us also throw acid

14:08

on him as part of our science fair.

14:10

Or Yeah. And what? Because

14:13

I was like, okay. The the camera

14:15

is lingering on white

14:18

paint that is bubbling. Is he

14:20

boiling his paint? Is

14:22

is this how you make hell paint? What

14:24

the

14:24

Friday, the painting

14:27

makes its first appearance in this scene as well,

14:29

which by the end of the film, I I'm

14:32

obsessed with this the use of this painting as a

14:34

narrative device, go off, unbelievable.

14:36

Because you think oh, because again, you

14:38

just think, oh, you just have on a little

14:40

distance having a little painting, a

14:42

weird, little, empty abstract landscape

14:44

that really make what this is seems

14:46

innocuous and all. If it's not like he's painting

14:48

and, like, perfectly

14:49

articulated image of, like,

14:51

looser, you know,

14:53

hanging upside down over pinnacle

14:55

or anything. Do you know what I mean? It's a

14:57

very strange painting and that's what

14:59

caught my eye and sold me was

15:01

that's a weird choice and

15:04

turns out a brilliant one. But

15:06

yeah, the boiling of the paint just

15:09

casually acquired some acid in nineteen. Did

15:11

we say twenty seven?

15:12

Twenty seven. Twenty seven. Yeah. That's

15:14

not gonna not, like, not gonna range. You

15:16

know, like, interesting choice. Gross.

15:19

Like, how this painting

15:20

gravyard on the moon. Gravyard

15:23

distance. We see the image

15:25

late at the end of the movie. They're

15:27

inside the painting. Basically, of

15:29

just, like, bodies lying in, like,

15:31

gray dust in a gray sky. And

15:33

I'm, like, oh, we're on the moon now. And

15:35

I'm on the graveyard. I called it dust

15:37

bunny antarctic sica. Mhmm.

15:39

Does it just look like Like,

15:43

just But I

15:44

feel like it had a kind of a nice emptiness to

15:46

it, you know, and the body's where I feel -- Yeah. --

15:48

who represented in quite a tasteful manner,

15:50

quite minimal. And if you were to blow that

15:52

pattern it and repeat it, I feel as though it would

15:54

make very elegant wallpaper. Because, you know,

15:56

the the the way that the landscape

15:58

is presented is kind of almost like

16:00

waves, you know. I I

16:02

found that I I enjoy it as an image as

16:04

these

16:04

things go. There's also in these

16:06

CPA tone flashback scenes, we

16:08

see a lady who we will

16:10

learn to the is is named

16:12

Emily. And she has found

16:14

this book and it says

16:17

Avon on the front. She

16:19

pronounces it Avon, is it I've always said

16:21

Avon because this is Lovecraft right? Isn't

16:23

isn't this Ivan come from

16:25

Lovecraft? Is it Avon? Dinged

16:27

on. Avon calling?

16:29

Avon. Was

16:32

as far as I got, and then that was all I

16:34

could think of for the rest of the film. Yvonne.

16:38

Yvonne. So she's

16:40

got this book and she's reading through it, and

16:42

she's voicing this over being, like, all

16:44

the prophecy, all the prophecies

16:46

of avon over four

16:48

thousand years. You get your pin

16:50

that you learned when you reach door six, you get

16:52

your pink Cadillac. Yeah.

16:54

That's right. That's right. When you

16:57

top seller gets to open a gateway to hell.

16:59

That's basically.

17:00

Every girl's dream I swear,

17:02

like, that's the

17:03

life. And we learned that there seven

17:05

gateways to hell in this seven doors

17:07

hotel, and then this is where

17:09

evil will invade the world. And

17:11

then credits. She's got

17:13

some real groovy, Jesus Christ,

17:16

superstar vibes to it. God, this

17:18

sound I saw some music. Playing. That

17:20

does sound track. It's

17:21

real Jack Wayne's war in the world. It's

17:23

so sympathy. It's so big.

17:25

I loved the the soundtrack

17:27

through and through. It's it's

17:29

I think it added something really special of the situation

17:31

that we're dealing with. It's really good. They

17:33

had this one sound that I

17:35

can only describe as like, you know,

17:38

in labyrinth when the clocks are,

17:40

like, winding down, it's that like

17:42

-- Wow. -- dying clock

17:44

noise. So everything is going wrong.

17:46

Yeah. What is it? I was like, this

17:48

is straight out of labyrinth, isn't it?

17:50

Universal signal for Weir, looked,

17:53

no, lads. Is the bad love

17:55

sound. I loved it. And they kept Like,

17:56

time is unwind. Oh, we're

17:59

at the

17:59

end of the world.

17:59

Something else which is happening. They were very

18:02

liberal with those kind of big, strange

18:04

sound effects. Like, I just oh, that's

18:06

great. And do we see it about I

18:08

can't remember quite now, but do we see at

18:10

this point early on Emily's spooky

18:12

milky eye? Oh,

18:13

yeah. Yeah. Oh, yeah. We're going to

18:16

in in a second, like, after the credits. After

18:18

the credits, we feed spooky guys. Okay. So we

18:21

after the credits. We see Louisiana in nineteen eighty 9. And

18:23

here we have I

18:25

would arguably, our main character,

18:28

although gonna tell you the main character of this film to

18:30

me is doctor John McCabe. Oh,

18:32

yeah. Liza is our main

18:34

character. I mean, Liza Minas Nellie.

18:36

Her name is

18:36

Liza Mellie. When I opened It's

18:38

Liza Mellie. Liza Mellie.

18:40

It's Liza Mellie. It's Liza Mellie. It's Liza Mellie. It's Liza Mellie. It's Liza Mellie.

18:43

Longer. Essentially,

18:43

this is Merrill. I that's me

18:45

reading things wrong. I opened I opened up

18:47

the Wikipedia before I started watching it.

18:50

My glance was Oh my god, of

18:52

course, I brought me up.

18:53

Of course, every movie. Might have been oh my

18:55

god. Can you imagine if Liza Manelli had

18:57

played herself in this

19:00

movie? Under the

19:01

impression that that

19:04

character's name was Lysmanelli.

19:05

Like and just thinking that

19:07

it was just a strange joke on somebody's

19:09

part No lies Merrill.

19:11

It's not true like doctor John McCabe

19:13

was doctor John McCain. I was like, okay.

19:15

John McCain. Yeah. So he advised

19:18

himinelli and John McCain. That's staring as themselves Oh,

19:20

no. -- in Louisiana trying to open an

19:23

Airbnb from hell. So

19:26

so Liza has been living in New

19:28

York City trying to make it in the

19:30

in the big apple. Yep. But she's had to

19:32

move back to the big easy because

19:34

she inherited from whom I

19:36

don't know inherited this hotel. Her

19:38

witch on goal. Her uncle? Is that the deal? Okay. No.

19:40

She's got this hotel and she's decided,

19:42

well, I didn't really make it in New

19:44

York. also I'm saddled with this thing I might

19:46

as well. Nola's cool.

19:49

Right. Let's revamp this hotel,

19:51

start a start a business. So her

19:53

and her architect Mark or

19:55

kind of walking around the place.

19:57

Checking this shit out. Fuck it.

19:59

And they've got people doing painting

20:01

and they've got whatever people working on

20:03

this place. One of the painters,

20:06

while up on the scaffolding,

20:08

looks in the window and sees

20:10

the white eyed Emily woman,

20:13

and he screams, and this is going to be the

20:15

first of twice that this

20:17

happens, wherein if you see

20:19

something frightening, and you're up on a high should

20:21

hold your two arms out and fall

20:23

straight back. Free fall. Just a

20:25

free fall. Hold hold to the bigger. Trust

20:27

fall. That poor guy I that

20:29

poor guy, like like, he's

20:32

the first dead. Well, no, he's the second death, to

20:34

be honest. But he's he's

20:36

our first in color death of

20:38

the story. Yeah. This

20:40

poor guy, it's like, she's like, hey, up

20:42

there, Bill, and he's like, do

20:44

it alright. Man, this should be done by tonight

20:46

and then dead.

20:48

I also got to Hannah

20:49

to Martin the architect as well who was walking

20:51

around looking like he's made births

20:53

interiors. He is a

20:55

stressed out person. That is a

20:57

he has a tangibly upset vibe

21:00

about him. No.

21:00

He does. That's He is

21:03

he needs a

21:03

flash on the face. Like,

21:06

he's not enjoying this hotel

21:08

experience

21:08

at all. Well,

21:11

I mean, let's look at Liza Manelli's,

21:14

like, manner of unpacking this

21:16

hotel. She is doing this

21:18

ass backwards. I have never

21:20

renovated a single thing in my entire

21:22

life. But I'm like, don't you have to clear the

21:24

furniture out before, like,

21:26

plumbing? Yeah. Cut and then but you've

21:28

got painters. You

21:28

haven't even opened the door to any of these rooms.

21:31

Yes? What? I

21:32

know. Yeah. She hasn't even

21:34

been in room thirty six yet.

21:36

And The thing about having an architect

21:38

is going to suggest to me that they're going to

21:40

do some work on the footprint of

21:42

the building, which means

21:45

You might also be doing some work on the

21:47

siding, which means maybe

21:49

painting will come last

21:51

after renovations. So this poor

21:54

man died for nothing. They're like,

21:56

we're gonna fix up the outside, and then we're

21:58

gonna gut the entire thing from the inside while

22:00

keeping it perfectly wiped flatboard

22:03

house exterior, and then

22:05

send in creepy maid, do

22:07

the creepy maid, woefully

22:10

underused. In this film. Listen, if you're gonna have me

22:12

describe my dream girl, it is

22:14

Martha from this film. Oh, Martha. Oh,

22:16

Martha. That bitch. This is a

22:18

woman who will get it

22:21

done. Yeah. Yeah. Yeah. She

22:23

is goth and she

22:25

is unfazed. Yeah. And those are the two hardest

22:27

things you can be.

22:30

In the face of object

22:32

horror keeping it completely

22:34

together. Water queen.

22:36

Yeah. And they're like, yay, super

22:38

natural. Is she just weird? We

22:40

don't know. I don't know. But any woman

22:42

that will like reach her

22:45

naked arm into black

22:48

water bathtub and just fucking

22:50

root around just fucking

22:51

root around in there. See what's going on.

22:53

What hell bath bomb can I get my

22:55

pause on? Not just leave up in

22:57

she goes. You know? Like, having a

23:00

cow doesn't give a shit. Unbelievable. Like,

23:02

she's

23:02

no wasting her shit. Like,

23:04

this is, like, the field is

23:06

gonna get it done. Her

23:10

sidekick, the the

23:12

sort of sweaty sweaty

23:15

Yes. Somebody Arthur.

23:17

Somebody Arthur. Maybe not so much,

23:19

but still they're a package deal. But

23:20

he does look afraid in a way that I feel as

23:22

though nobody

23:23

else quite manages he feels to me as sort of

23:25

this voice of reason. Like, the

23:27

object carried us over walking into a place

23:29

and being like, this is fucking very hot and I feel

23:31

very upset and I can't keep together.

23:34

Like,

23:34

that's authentic to me. You know? Yeah. For every

23:36

mark that

23:36

you need a carriage, you know?

23:38

Yeah. Okay. So we've got the painter.

23:41

He's not dead yet. The He

23:43

is. The severely severely

23:45

fucked up. And he yeah. He keeps

23:47

saying, yeah. He's her eyes. Her eyes were white.

23:49

They were with her eyes. And

23:53

doctor John McCabe shows up.

23:55

Just a quick unordered John

23:57

McCabe

23:58

John McCabe is not

23:59

acting in Luchy a full Chiefs beyond.

24:02

John McCabe is well ahead of his time

24:04

and he is acting in

24:06

Garth Marangi's dark place. Oh, which

24:08

oh, so true. The note, the note.

24:11

Show true. He

24:13

is. He is a proto matthew

24:15

wholeness. He is

24:17

in this film that every

24:20

his physicality, his way of

24:22

talking, his eyes, the way he

24:24

lowers his head to talk to

24:26

her, the the ridiculous, like,

24:28

sexism in every line that he

24:30

has is so garth marrying his dark place.

24:32

So I have everything about it. It has a dark

24:34

shadow. You can like a match

24:36

off that man's face. The

24:39

note

24:39

that I made about

24:42

him

24:42

was he's

24:43

like because his shirt becomes progressively

24:46

more and more in Diana

24:47

Jones and unbuttoned as the story goes on.

24:49

So the

24:49

note that I wrote down about him

24:51

was I like doctor gets progressively more Indiana Jones

24:54

and the Temple of moldy

24:55

corpses. So he kind of

24:58

he's he's

24:58

selling it. You know, he's selling hard

25:01

up, like, clavicle action happening. You know?

25:03

Let's

25:03

talk about Joe the plumber. Oh,

25:05

Joe. Oh, Joe. Joe.

25:08

Okay. So as awesome as Martha is, why

25:10

is Joe the plumber in like thirty five

25:12

percent of this movie? When he should

25:14

have been in like six?

25:17

Percent He's

25:17

chief zombie. Right? He's sort of

25:19

chief -- Yeah. -- chief

25:20

bad guy. I think, like, Schweig

25:23

seems to be

25:25

the cobra commander, and this guy is kind of the death

25:27

row. Right. Like, he's kind of an action guy.

25:29

Yeah. He's the he's the face of

25:31

it all, whereas, you know, Shwai

25:33

is the the looming presence. Yeah.

25:36

Oh, Shwike is God. He's Jesus. Right?

25:38

He's the members doing the actions.

25:40

Right? Yeah. The the emissary.

25:43

Mhmm. Yeah. He's the emissary, but, yeah, the oh,

25:45

but Joe Joe that that

25:48

admittedly, after a strike,

25:50

Joe has some of the best prosthetics

25:53

that we get in this film as

25:55

it He's proportionate to

25:56

his real body, so he has enormous

25:59

prospectics, I would say. Like,

25:59

in norm and very

26:02

strangely colored. I thought a sort

26:03

of a max headroom headroom sort of eye

26:05

openerly, you know? Yeah. Like,

26:07

just a lot of stuff up up

26:09

there. Yeah. All of which is disgusting. All of

26:11

which is disgusting. That's correct.

26:15

This is where we meet Martha too. Because, like, Liza

26:17

walks showdown to the basement that's flooded. And

26:20

then suddenly, this Goth

26:23

lady comes out of

26:25

the darkness. They seem

26:27

I'm faced by it, and she just goes, I

26:29

made this little pathway to the

26:32

far end. Just for Joe.

26:34

And I was like, when they're like, okay.

26:36

Do you all know each other?

26:37

What's going on? I mean, presumably, you

26:40

all live here. So you

26:41

probably just for what's going on. Oh,

26:43

the intrigue, this movie could be

26:46

so not good

26:48

because good is a subjective word.

26:50

But this they had actually, like, I don't know, given some of

26:52

these characters, like real characters Yeah. I

26:54

would watch Brian

26:55

I would watch Brian Fuller's the beyond.

26:58

Right. know, I would

27:00

watch a if it when I say

27:02

an American horror story, I don't mean

27:04

American horror story in the way that that

27:06

exists. Right? That I can watch -- Yeah. Yeah. -- American

27:08

star her storyification of

27:10

the beyond -- Yeah. -- because there is

27:12

so much interlink in all

27:14

of the residents and people who work in this

27:16

terrible building, which just happens to be a hell

27:18

month. You know?

27:20

Well, Joe manages

27:23

to immediately upon getting to

27:25

work, open the hell mouth, of

27:28

course. What have you admittedly write off

27:30

statements because if take some

27:31

fucking ages to do it, guys.

27:33

Thanks. I'm watching really

27:35

real time. I am watching

27:36

a gentleman with a beard just getting

27:38

real closely acquainted with

27:41

wall for a while. Like, I I

27:43

can't remember what you did, man. He's just

27:45

kinda giving it a little rope, and then it starts coming

27:47

apart. You're like, oh, fuck mine. This

27:49

is bad. And I just eats

27:51

out of the wall and just gets right

27:53

eyeball. Yeah. So how about He's

27:54

yeah. Definitely eyeball death.

27:57

Pops

27:57

it out just right in behind eyeball, not

27:59

not a

27:59

minute of hesitation. It goes

28:02

from textural sort of

28:04

object,

28:04

fizzy,

28:06

harbor, the that that texture that we see again and again, that's

28:09

what the bath bomb texture to

28:11

Shakespeare -- Oh.

28:12

-- and dinkle popper. Yeah.

28:14

There you go. And this is

28:16

also and also where I think they then they

28:19

discover Schleic's body as well,

28:21

like sort of like rises from

28:23

the Merck. Yeah. Because

28:25

Martha comes down later and she finds

28:27

Joe's body. This is where I get She is

28:29

Martha. She's like fuck

28:31

this path. I'm just gonna go clump it's it's

28:33

water. What it's it's Louisiana's

28:35

swamp water. What's the worst that could happen? I was like,

28:37

girl, you are You

28:39

are tough as nails. She

28:42

finds Joe's body

28:44

with his eyeballs gouged out.

28:46

When she turns it over, his

28:48

mouth falls open and just like

28:50

the pissiest bloodiest

28:54

goo pours out of this fucking

28:56

mall. And she just kinda

28:58

stares at it and I just wrote Martha is

29:00

fucking unfazed. And

29:04

I was like, yes. Yes.

29:06

Marry me. This is

29:08

this is awesome. And then she sees

29:10

the decomposed body of Shrike. And

29:12

she kind of like winses, but,

29:14

like, you know, like, who left

29:16

that hair type of face, not in a

29:18

This is this is awful. So it's more like

29:21

One more thing I gotta add to the

29:23

list. Yes. Accidentally

29:23

forgotten something in the microwave. Oh,

29:25

yeah. I know you've gone away in holiday, and

29:27

you

29:27

come come home, and it's like a little small

29:29

sparkle rock organization that's mold.

29:32

That's what he kinda looks like. He looks like he can't

29:34

give you the bowl a pass through to Vanessa and the microwave

29:36

for two weeks while Lior and INAPA, and

29:38

she treats him with that same regard.

29:41

No.

29:41

Like finding it's like finding the sack of potatoes

29:44

underneath the dark cabinet. And I'm

29:46

moving around the wrong will, but this point caused the

29:48

shoots and all over. I

29:51

think my favorite just legitimately

29:53

favorite scene in the movie is this next one

29:55

with Liza meeting Emily because she's

29:57

on a Bayou Bridge. Mhmm. And we've

29:59

never been to Yeah. If you've never been to

30:01

South Louisiana, this is

30:04

a big part of your highway driving experience,

30:06

which is to being on a long

30:08

fucking bridge over

30:11

just water. Not ocean, but just

30:13

endless swamp. And

30:15

I'm very familiar with these highways, and

30:17

I I love them and hate them and she is

30:19

on one of it. It's These

30:21

bridges really don't have much of a shoulder and

30:23

there is no place to, like, pull off the road

30:25

because you're just immediately in the water. And

30:27

standing in the middle of this eight

30:29

mile long bridge is just

30:31

this tall block woman

30:33

and her giant German

30:35

shepherd. She's standing there. And

30:37

I'm like, drive around.

30:40

Do not stop. I don't care how

30:43

pretty this lady is in her dog. You do not stop

30:45

for hitchhiker. She's

30:45

trying to watch out. Second, I get a whiff of a dog

30:48

in our film. I'm just like, how long is this

30:50

dog gone, man? Oh, he's gone back.

30:51

He's gonna focus

30:52

on for his dog. And I have a big soft software German

30:54

Shepherd. Because my dog's best friend does German Shepherd stand.

30:56

I mean, so Yeah.

30:58

Is a giant poppy of

31:00

a of a of a seventy eight kilo dogs. You

31:02

know what I mean? So I was looking at this. I was like, that

31:04

is an interesting choice of a guide dog

31:07

one. Until we've got a ticking clock

31:09

for how long things start to

31:10

go very wrong with this dog. It's

31:13

it's the kick the dog. It's the kick the dog

31:15

trope of like, you know a villain truly

31:17

a villain if they go after the dog. The

31:19

dog. And he also, you know,

31:20

horror movies, horror movie, and the dog dies. And, yeah,

31:22

we

31:23

does the dog die in this

31:25

movie? Is it count as an animal death No.

31:27

It's a black. I feel like he becomes an

31:29

orphan myth and, you know,

31:32

things speak definitely becomes an oven mitt. Yeah.

31:34

Why am I talking about you dog?

31:36

Things change for him a little

31:38

bit later, but I'm always a bit

31:40

spooth on a different level when I see

31:43

a a dog on our film. Now, I wanna talk

31:45

about the stud the stylistic the

31:47

stylistic moment because we've

31:49

been, like, shortcuts, like,

31:51

very, you know, pau pau pau pau pau pau

31:53

for, like, the first twenty minutes of this movie,

31:55

especially with the Cepheidoned tension.

31:58

And all this house renovation bullshit. And

32:00

then all of a sudden, it is like

32:03

bright, white, clear, symmetrical,

32:07

like it it goes

32:09

painterly. Like, it gets

32:11

real stilever -- Yes. -- for just

32:13

a moment. And I was like, Yes,

32:15

please. Like, this this moment is one

32:17

of the one of the many moments where I

32:20

think a lot of like horror nerds and

32:22

film nerds hold this movie up

32:24

as like something

32:26

that sort of transcends its loopy

32:28

globiness -- Mhmm. -- because

32:30

it's, like, in the middle of this

32:33

dumb ass weak plotted

32:35

horror movie, you have this kind

32:37

of beautiful minimalism?

32:40

Mhmm. Uh-huh. That just takes

32:42

you by surprise. I would

32:43

say that the morgue holds out that holds

32:45

out energy also. Like, that there is

32:47

this real again, super

32:50

angry about real juxtaposition of

32:52

space because you have this

32:54

real gross textured

32:58

playful body harbor. And then

33:00

you also have these alien,

33:02

empty, paint early environments. Like,

33:04

the Morgues are really fucking weird. The

33:06

Morgues start of enterprise. So

33:08

there are really interesting

33:11

environments that aren't many. Is that they're they're

33:13

not in a lot of places throughout, you

33:15

know, but I do think that that

33:17

juxtaposition really gives it a bump. It

33:19

changes it from one kind of

33:19

film to another. And then and then, you know,

33:22

like, and then you kind of cut from

33:24

that to especially the I'm gonna say

33:26

the garden for the

33:28

Crossway House or whatever

33:30

that Mishigas nonsense

33:32

is, but that sort of

33:34

closter phobic, almost, you know,

33:36

like, Victorian Palm House kind

33:38

of effect, which if you've been to New Orleans, I was

33:40

like, this is actually the most

33:42

sort of New Orleans, but

33:44

the like, you know, like, you're sort of

33:46

like having to brush things out of your face

33:48

to see just like five feet in front

33:51

of you. I remember my mom grew up in Brooklyn, New

33:53

York near the botanical

33:55

gardens, and she always said that those

33:57

Palm houses when

33:59

she was a little girl was some of the

34:01

most scariest things because

34:03

being a city kid that

34:05

much nature that is like Like,

34:07

it's like going to the Amazon jungle, like, it's so

34:10

claustrophobic. So to compare

34:12

those two of this, like, wide open, like,

34:14

blue sky,

34:16

white road, and then this, you

34:18

know, kind of happened to, like, push your way through palm fronds.

34:20

I kinda love this.

34:22

Yeah. Yeah.

34:25

Yeah. Outside of Emily's house of, like, going into her

34:28

old manner, her old

34:30

mansion or what have you, just wear

34:32

Emily and her dog

34:34

Dickey of Welcome in

34:36

Liza, and Emily plays the

34:38

most annoying -- Wow. -- song of the

34:40

piano. This side of knuckles on the black

34:42

keys. And she basically

34:44

tells Liza, you have

34:46

to get out of that hotel, leave town,

34:49

never come back. The end. There's only one room

34:51

for one tiny blonde engineer in

34:54

this town. No.

34:56

That's right. They're, like,

34:58

weird little doppelgangers of each other.

35:00

Yeah. Because even that weird moment

35:02

where she's, like, something happens, and then

35:04

Emily just has to, like, run away.

35:07

And then it's like footsteps. Footsteps

35:09

running. Footsteps

35:12

running at the lysa. I

35:13

was watching a footstep saying, and it was your feet didn't

35:15

make any noise on the ground. Yeah. Yeah.

35:17

Yeah. Yeah. And it was causing to, like, clunky, I

35:19

think mine

35:19

were in architect footsteps, but

35:21

Liza made no

35:24

and dog made no noise on the ground. I was like, all they're in toning, the Jesus

35:26

spooky ghost. Yes. She's a

35:27

spooky ghost. But Liza doesn't get

35:30

to that She doesn't

35:32

reach that point just yet. She's like, I made a

35:34

new friend. This is a new line lady.

35:36

Yeah. Okay. So let's go to

35:38

doctor John. At the

35:40

hospital where he's overseeing

35:42

these two corpses that Martha

35:44

found of plumber Joe

35:46

and the body of the sixty

35:49

year old decomposed body of joy

35:51

warlock spike. Yes. My

35:54

joy warlock. That

35:57

he, for whatever reason, has

36:00

Schweig's sixty year old

36:02

corpse, which is in full

36:05

state of decomposition, he has

36:08

this thing hooked up to an

36:10

EKG.

36:11

What? Meli my note here

36:13

says, meldi dead body with a heartbeat.

36:15

Question mark. And also, like, a heart of the

36:17

book cut off from

36:20

his brain. Yeah. And it's also not even

36:22

doctor John. It's Doctor John is

36:24

like, dope, dope, dope, dope, dope, dope, dope, just

36:26

stitching up stitching

36:28

up plumber Joe who's got, like, a lovely furry chest. I was

36:30

like, oh, you know So yeah. It's so

36:32

seventies. You know what I mean? He's fabulous. Yeah.

36:34

Girl up with I curl up with that.

36:37

But winter zombie boyfriend. Yeah. No. Right.

36:39

It's cutting season. We're hitting all of our types in

36:41

this film. Right? So I've got,

36:42

like, Indiana John. You've got Martha to

36:44

God. You've

36:45

got Joe at the moment. Verify

36:47

it. Right. And then ginger doctor. Doctor ginger

36:49

doctor -- Uh-huh. -- is like, hey,

36:51

I got this new machine

36:54

that I and even know what it

36:56

does, but let's just hook it up to this -- Plug

36:58

them in. -- like sixty year

37:00

old, loopy, floppy body that we

37:02

found. Yeah. And

37:03

then just

37:04

and then doctor John McCain is like, you know what, I'm just gonna piece

37:06

out for an unknown

37:09

amount of time And

37:11

when I come back, I'm gonna do an autopsy. So you do

37:13

whatever you need to do in this room. I'm

37:15

going out for a cigarette. She's like, there

37:17

you go. Thank you. Right?

37:19

We arrive back. And I was like, what

37:21

is happening in this town? I wanna talk about

37:24

plumber Joe's

37:24

wife and daughter. Oh,

37:28

Lord. The plot

37:30

the plot that didn't. Yeah. So his wife

37:32

shows up at the hospital.

37:34

She's going into the morgue to see her

37:36

husband. There's a lot here, so

37:38

she tells Jill

37:40

to wait for her in the waiting

37:42

area. I take that back. That's not what she says.

37:44

She says, wait here for

37:46

me Jill. I

37:48

won't belong my

37:49

god. And then she

37:51

goes inside and then

37:54

we see her take out a

37:55

piece of white fabric. Some

37:59

shears and she starts cutting it.

37:59

It cuts away to Jill in the

38:02

waiting area. And

38:04

then back to missus Joe

38:06

the plumber. And she has

38:08

fully tailored him a

38:10

suit. That's that's that's

38:12

how it works. And put it

38:14

on him. In the morgue. In the

38:16

morgue. Yeah. There's little like trickles of

38:18

blood coming us like, I don't

38:20

know if we might be

38:22

I think that's like not if that's,

38:24

like, later. That's, like, on Sunday. Oh, you're making somebody else's job

38:26

more

38:26

tired or low if they're only going to go in

38:29

and do it again. Yeah. People are, like, what

38:31

are you doing? And also, I

38:34

would like to encourage missus The Plummer

38:36

to maybe just see a

38:38

therapist because a a talk therapist can really

38:40

help you talk about your feelings --

38:43

Yeah. because she apparently has none

38:46

or she has them and she has

38:48

fully locked them safe away

38:50

deep in her gut because

38:52

she shows no emotion towards seeing

38:54

her mutilated deadness in his

38:56

body on a kearney. Yeah. And also, I

38:58

feel like this is the

38:59

first time I noticed it, but The

39:02

sandscape in the morgue is really interesting because we flash occasion

39:05

outside to gel girdle and

39:07

there is a squeaky Rolly,

39:10

which is good hospital staff. But the the sound

39:12

the soundscape that we receive over and

39:14

over again, and I don't know if you noticed this because it

39:16

it made me a bit insane. I appreciate

39:18

it, but it was like, hearing with

39:21

crickets. What?

39:21

Oh. You know, it's, like,

39:24

nighttime

39:24

crickety noise -- Yeah. -- where there's,

39:26

like, chirping of crickets, like, right side,

39:29

you know, in the mark. Nowhere

39:30

else, but in the mark.

39:32

And every time it happened, I was like

39:34

crickets. Crickets. What are the crickets

39:36

in the mark? Well, yeah. So

39:39

the soundtrack to this weird vignette of

39:42

Joe's wife who is very intent

39:44

on sending him off and is Sunday best

39:46

is the choping of crickets as well as the

39:48

thipping of the

39:49

property machine. I had a similar note that we'll get

39:51

to later, which was a question I have

39:53

in about a page more down in my notes,

39:55

which is why do these spiders

39:57

sound like piglets. Oh,

39:59

wow. It looks

40:02

good. Okay.

40:04

No. No. Wait a lot to say Save the door. Wait. Wait a

40:07

little babies. Let's stay on track. Stay on

40:09

track here. Stay on track. Okay.

40:12

So then But she's then moved by her

40:14

dead husband, but she turns around and

40:17

and scream. Money

40:20

murderer. Over

40:21

a jar of water

40:23

that is slow motion jiggling

40:26

-- Yeah. -- and then

40:28

thumping -- Mhmm. Lady, you

40:30

have time to move. You coulda you coulda It's

40:32

just like you lost the room. It's

40:34

like, auto bookshelves. There's a little

40:36

bit of movie magic happening there

40:38

about the exact juncture where she goes from

40:40

having a scream to Lush

40:42

bath bomb.

40:43

And, of course, Now

40:46

run away from it. She's not

40:47

trying to make it stop. She's surrendering.

40:49

She's surrendering to that.

40:51

She's she's gone under. She's gone

40:53

under. Yeah. Yeah. We don't

40:56

get to see it until little

40:58

chill. Oh, it's like, oh, I hear mom

41:00

screaming. God, what a

41:02

fucking day. So she goes

41:04

in and then we see what Jill

41:06

sees, which is mom

41:08

fully lying on

41:09

the ground just

41:11

for for twenty minutes

41:12

-- Yeah. -- just for twenty minutes having

41:15

acid poured on her face. A solid vignette.

41:16

She changes color a couple of

41:19

times. Like the different layers of the Godstopper

41:21

peeling wSarah. poor royal

41:24

jail is just standing there as that

41:26

sinister ghost buster y

41:28

looking pink foam, crawls across the tiles

41:30

towards her shoes. That is brilliant because the

41:32

color is great. It is very spooky aside

41:34

from being kind of It

41:36

is. Various. And I think her

41:38

scream cuts and that something

41:40

lovely happens.

41:41

I really pre sated this hand. We're reshaping

41:43

she screamed and then it

41:45

cuts to the noise of a trumpet in a jazz bar. Is

41:47

that what happens? Yes. It's And it's like the same note

41:49

of her scream goes straight. There's like a bait in.

41:52

I

41:52

was like, oh, nice hand there.

41:55

Yes. -- editing -- Yes. --

41:57

the editing is his happening.

42:00

Yeah. Yeah. Well, the money that

42:02

they're gonna save on missus The Plumbers therapy they can spend

42:04

on Jill's therapy. Yeah. Or did

42:06

they're walking you.

42:10

they cut from the scream to the Trump at

42:12

most preservation hall jazz

42:14

band. I'm assuming -- Yep. -- and we've

42:16

got doctor John

42:18

and Liza haven't hurricanes. Oh, my goodness. Which I

42:20

was like, come on. Y'all are like, I

42:22

don't you know, it's so interesting

42:24

these these, like,

42:26

seventies, movie, early eighty seventy's

42:28

movies that have, like, you can tell they have no

42:30

film permits. Or if they do, they're

42:32

so limited, they're so stretched on a

42:34

budget. That's

42:36

like, you have all of New Orleans as your backdrop and you don't

42:38

show us any of it.

42:40

However, I did appreciate

42:42

when they're like ring ring ring

42:45

and then Donna Summer

42:48

appears out of nowhere and

42:50

goes, doctor John, the phone is for you. I was

42:52

like, is that fucking

42:54

Donna Summer? Like, circa

42:56

bad girls,

42:58

Donna's, like and then

43:00

she just disappears. Wanna walk

43:01

on. Wanna walk on. You know,

43:03

like, like, you know, Italian movies

43:05

and their their relation to

43:08

race is not great. So

43:10

don't don't do any deep digging there if you

43:12

don't wanna be really pissed off. But

43:14

I was like, for having, like, I don't know, three

43:16

people have covered in this film, I was like,

43:18

it's Donna Summer in this

43:20

movie. It's not on the the the

43:22

makeup, it is shockingly

43:24

like the Badgirl's album cover.

43:27

This is where we learned she really can't get out of the hotel

43:30

for reasons, mostly financial.

43:32

We also learned that sweaty Arthur

43:34

and and Goth Martha came

43:38

with the hotel, so it feels like

43:40

part of the lore that maybe they

43:42

are also spooky ghost. No. And my guys, the

43:44

Barbie

43:44

screen is forgot. Like it comes in to

43:45

people. Yeah. Yeah.

43:48

And she was like They're

43:50

more of

43:51

a hindrance than a help. I'm

43:53

like, that's Arthur. Martha is

43:55

way more of a help than a hindrance.

43:57

But yeah. But she

43:59

can't fire

43:59

them.

44:00

But doctor John can't be fucked

44:02

with this because he's got a phone call apparently, some lady

44:05

got bath bombed in the morning. So My

44:07

one remark on Liza Minale's delivery

44:09

here is that I

44:11

was like, alright. I'm trying to get behind you

44:13

here because you're our screen like

44:14

you're our final girl.

44:16

She

44:16

my note on her was she sure is

44:18

just saying words here. There's

44:22

not a lot of

44:24

oh, you know, like, acting. I think the word is, you

44:26

know, where you don't really get a kind of 9 sense of

44:28

I've

44:28

heard of that. Like, you know, a

44:30

sense of her feelings about it or that she's

44:32

worried. It's it's a lot of weird,

44:34

little funny, disjointed sentences. Was

44:37

like, what I noticed about it. I was like, this is such a if you are not

44:39

making any choices or just making it particularly weird ones, which is

44:41

a bonus because you wanna

44:43

get

44:43

behind her. It's like their aunt is

44:46

the weirdest blind date

44:48

ever. Like, she's trying to, like, make

44:50

chatty casual you know, like, she even

44:52

attempts at a joke or two -- Uh-huh. -- that doctor

44:54

John is, like, one phase by, of course

44:56

-- Mhmm. -- because he's too busy being in,

44:58

like, coJack

45:00

or you know Finding another shirt set, but not a shirt set.

45:02

Yeah. You know? Yeah. So

45:04

back at the hotel well,

45:07

there's a brief interval where we

45:09

see the funeral for Jill's parents. Okay.

45:12

Okay. So we do have some exterior to

45:14

be in her building. Yeah. Yeah. We

45:16

see lights come to Canada, but she

45:18

never won looks Jill in the eyes because

45:20

the end of the scene after she hugs

45:23

Jill, Liza walks away, and Jill looks

45:25

right down the barrel of the camera with

45:27

her one white cataracts her crazy fucking

45:29

blind eyes. What's convenient wafers

45:31

in the eyeball? Like, they're unique

45:33

to her. Yeah. Or a tree like -- Yeah.

45:35

-- or like rice cakes They're

45:37

like, oh, there's no text. Yeah. Yeah. Yeah. Well,

45:39

I would I would like to, Robert, in, you know, in kind of

45:41

in this film, it's it's

45:44

almost like It's almost more of, like, a pandemic sort of Like,

45:46

you know, like, the after life

45:48

is catching. Yeah. And then after

45:52

life. With a

45:53

glimpse in the eyes. Yeah. My note on graveyard shots, because it is

45:55

that really weird. Those little lumps little

45:58

houses that they put graves in is a proper word for

46:00

that sitting

46:02

there. I within the background, you can kinda just

46:04

see, like, what looks like a high rise car

46:06

park. So there's a real

46:08

the the the graveyard scene that

46:11

we see isn't it doesn't have a lot of atmosphere compared

46:13

to say the bridge scene, which is really spooky. I think

46:15

they kind of missed an opportunity here to do proper

46:18

scary graveyard

46:20

vibes. It's

46:21

yeah. The

46:22

the the note I have is that it

46:24

has a real back of the supermarket energy, but

46:26

it's the only other place that we kinda

46:28

go to, and that's when we

46:30

see the the eyeballs. I think someone gets her a

46:31

hug. Is it and she looks down the barrel of a

46:33

camera while she's jealous receiving the hug, and we

46:36

got the rice

46:38

cake, guys.

46:38

And it's and it's so weird. If you've ever been to

46:41

New Orleans, you've ever been to, like, those old

46:43

New Orleans cemeteries, they are claustrophobic.

46:45

Yeah. This tightness to us. Yeah. Like,

46:47

it's really, you know, it's that kind of around

46:49

any corner spoofing things could

46:52

happen on us. Yeah. But we sort of get

46:54

dead. Yeah. There's things that we never get

46:56

through their feel. Yeah. So

46:58

we're at the hotel that night

47:00

and Emily shows up to talk to Liza

47:02

and it's basically like, listen,

47:05

Liza Manelli. Missus

47:07

Manelli, I I asked you to leave

47:09

and you didn't. And now that's a bummer

47:11

for me because now I have to tell you

47:13

the whole fuck story. And I'm gonna make it fucking weird.

47:15

Let's go. And my thoughts While still playing while still

47:18

playing the one song

47:20

she knows. She

47:24

to

47:24

be fair to Liza, Emily, you

47:26

could

47:26

have told me the story the first time --

47:28

True. -- because even if I didn't believe

47:31

you, I would have been like, you know what? I

47:33

can't I can't be here anymore. These

47:35

crazy people. So sixty

47:38

years ago, everyone in this hotel disappeared. There was Shrek in room

47:40

thirty six who found a key to the

47:42

seven gateways of hell. I don't know why we

47:44

needed seven.

47:46

We just Ultimately, it's just

47:48

one gateway to health. It's all we really get in

47:50

this movie. But Well, here's my thing. Well,

47:52

here's my thing. In in my mind,

47:54

there's always because I'm always

47:56

remaking these, like, delightfully terrible

47:58

old films into modern day CECL

48:00

Baldwin Masterpieces in my brain, which

48:04

are usually forty minute short films that are part of a

48:06

larger series. So this

48:08

movie, much like the like the mother of tears,

48:10

mother of size,

48:12

mother of you know, kind of thing. Yeah. This is the, like, I

48:14

imagine, what are the other

48:16

six gateways to

48:18

hell? Yeah. See, we need to pitch

48:20

this as an anthology series. This is the

48:22

Yeah. This is where you go. We're coming for you

48:24

American horror story. One of the other six

48:26

gateways. Hotels are

48:27

great spaces for that as well, you know, like hotels have this

48:29

sort of liminology in this -- Yeah. -- even

48:31

in the nicest hotels, bad vibes

48:32

because too many people have come through

48:35

it. Yeah. And I think that

48:37

Theater theatres. So, like, there's too many emotions that have

48:39

happened in theaters over the years, good and

48:41

healthy in every theater. There are

48:42

spaces like that that just

48:45

invoke a kind of like, AAA

48:47

weakness in reality or something. Yep. So even if this is

48:49

just one portal instead of seven, it's still yeah.

48:52

They don't

48:54

really eat then I hit and

48:56

you know what? I fucking appreciate that there isn't if that was made today, somebody would sit down for seven and a half minutes

48:58

and give you a

49:02

anatomical description of the hotel and how it functions as a portal because

49:04

people would be grumpy that they didn't know all the facts. It's

49:06

just like, yeah, it's kind of a struggle. Is it devin? I don't

49:08

fucking know. It's on pain or drugs. Is it one? Is

49:10

seven or Yeah.

49:12

Make up yourself, and that's what

49:14

I appreciate. Okay.

49:16

Sort of opaque

49:17

nature of this. Yeah. I

49:19

don't tell me. I love mysteries. I don't care. Like, it's just a

49:21

bad place. Is it seven? Yes. Is

49:24

it one also? Yes. Keep

49:25

on the key. What key

49:27

the key to wear?

49:29

Mhmm. Make it up. Make it up. You're

49:31

gonna be fine. You figured out, you know? And

49:33

it's Herriot. It sounds like it's in the Avon.

49:35

It's in the Avon handbook. I chose to

49:37

you as a

49:37

viewer. I trust you as a viewer to make your own

49:39

judgment

49:39

regarding this episode. Sorry. Thank

49:42

you. So

49:44

one thing Emily tells her before her hands start bleeding by

49:46

touching the painting -- Well, running off without

49:48

talking about -- sounds an art critic,

49:51

you know. Before before the

49:53

painting gives her a a sharp case

49:55

of Stigmata. She I

49:58

don't stick

49:59

On

50:02

a Tuesday afternoon. You know yourself?

50:04

It's hard times. Perfect. Her

50:07

piece three is what that's

50:08

called. So she Emily says

50:10

to Liza, whatever

50:14

you do, Don't go thirty

50:16

six. So cut to the next

50:18

scene where Liza's like, I'm going in

50:20

room thirty six. So

50:22

she finds the Avon book

50:25

And then she finds Shweig's corpse

50:28

nailed to the shower wall. That is

50:30

a great image because because Shweig

50:32

is such a he's so gloopy, gloopy,

50:35

but he becomes like non human.

50:37

The problem with like all the other zombie

50:39

is quote unquote, which apparently were sort of

50:41

tacked on by the German

50:43

producers because Luchier she had a reputation from making zombies.

50:45

He didn't even want zombies in this movie. Scribe

50:48

is supposed to be the, like, main attraction.

50:50

Yeah. You can fucking tell he doesn't want zombies

50:51

in this movie because

50:54

they're allowed walk around with the charcoal powder on their faces and their head till to be

50:56

inside. They're not like I came to

50:57

the point where I was like, did you just run

50:59

out of baking soda? Of

51:02

service. I was like, this is, like, my family

51:04

waking up for Christmas morning. Yeah.

51:06

Just to show up there. This is, like, this

51:08

is kind of, like, kind of just, like,

51:12

sleeping. Very

51:12

benevolent, sleepy boys moving through the hospital.

51:14

So strike is really the only

51:18

kind of prone

51:19

and burgundy and fucking, like,

51:21

Melody Santa Bites kind of thing. You know,

51:23

he's real bad

51:23

on the wall there. It's not nice. But that

51:26

image is So, like, I mean, it's such a loaded image of the

51:28

crucifixion, and I think this is where the sort

51:30

of Italian Catholicism --

51:32

Mhmm. -- we don't

51:34

really, like, We don't process it, but we gotta remember it's

51:36

there. Oh, look, I baking as an

51:38

Irish

51:38

person. I just fucking love to see

51:40

it. stick weird,

51:42

Mary, a little bit of stick mass unless

51:44

somebody in a Christ

51:45

publicly. You're singing my song.

51:47

That is Yeah. I

51:49

love to see it. I love to see it. And we're

51:51

entitled to that imagery. If anybody has to be dragged up

51:53

to the Catholic church, you are

51:54

allowed to take its pornography, you're

51:56

allowed to use it back. And you see

51:58

the crucifixion at the beginning, but

51:59

you feel it harder here when it's

52:01

discovered. You know, it's a real they

52:04

left in there, you

52:06

know. That's scary.

52:07

They rolled them in

52:09

or something. She screams, of course,

52:11

upon seeing these things, and then runs

52:13

out. And then at the

52:15

front door, there's doctor

52:18

John and she shows him back

52:20

into that room and there is no body

52:22

although the spikes are still on the

52:24

wall and Avon manual

52:26

is gone. And John

52:28

is like Okay, hon. Yeah. I don't

52:30

believe this. Okay. Whatever crazy

52:32

lady. Oh, my guy only deal

52:34

in fact. Because I'm a doctor. What

52:37

is their relationship? I

52:39

definitely

52:39

don't really have a lot of chemistry,

52:41

which is kind of a

52:41

shit. A lot, you know.

52:44

And also, there is Mary a single police

52:46

officer that has investigated

52:48

any of the murders. Or

52:52

or or deaths and they're not really murders,

52:54

but the deaths, the violent

52:56

deaths that have happened at this

52:58

seven Gates Hotel No.

53:00

Is it like is is like deputy

53:02

dog? Like, what? Sounds

53:05

cop. It's a copless environment.

53:07

It's a copless environment. the

53:10

the the doctor is really because I what

53:12

is that what is that seventies? Like,

53:14

is he's, like, playing seventies cop?

53:17

A TV show. Yeah. He

53:18

has cop energy, but what are the options? It's

53:20

not cups of the body. So, like, he's

53:22

got the that kind of mix about him.

53:24

He's doing both jobs. You could have double teamed it. You

53:26

could have had a doctor and a cop in the story

53:29

really, really easily. So he's sort

53:31

of carrying

53:31

the energy of both of those.

53:33

Yeah. Uh-huh. Like, what like, how like, in the

53:35

in the remake of this? Like, what if, you know, cup had

53:37

been, like, mister, like, I'm mister

53:40

sensitive, and she has to,

53:42

like, kind of Jeez. You're talking to them. Oh my god. There you go. That's how you

53:44

do your forty minute special. That's how you do. Yeah.

53:46

But then they both end up getting, like, all

53:48

three of them get sucked into hellscape.

53:52

You know,

53:56

the antaractactactactactactactactactactactactactactactactactactactactactactactactactactactactactactactactactactactactactactactactactactactactactactactactactactactactactactactactactactactactactactactactactactactactactactactactactactactactactactactactactactactactactactactactactactactactactactactactactactactactactactactactactactactactactactactactactactactactactactactactactactactactactactactactactactactactactactactactactactactactactactact

53:59

have jobs. Taking notes and taking

54:02

notes. I want to

54:04

celebrate more of doctor John in

54:05

the scene because not only does

54:07

he not believe lies about

54:10

what she saw in this bathroom, but

54:12

she mentions Emily. And he's like,

54:14

who's Emily? And she says, the blind woman 9

54:16

went to her I met her on the road. I told

54:18

you about her and he was like, what he

54:20

tells her, I'm gonna paraphrase. I didn't write the

54:22

exact quote, but what he tells her is There's

54:25

no blind woman here. I

54:27

know everyone in town. And

54:29

I'm like, did you

54:31

live in New Orleans who I

54:33

looked up and the population of New Orleans, Louisiana

54:35

in nineteen eighty was five hundred and

54:37

fifty seven thousand people. You

54:40

do not

54:42

know everyone in town. He's sir. He's a local doctor.

54:45

It's it's like all creatures great

54:47

and small. It's like all creatures great and

54:49

small. But for Norrance.

54:52

No cops.

54:52

One doctor, I mean, it's a village. Really, real deep

54:54

village, you know? I think we're supposed

54:57

to get the idea that maybe

54:59

the seven gates is

55:01

not in New Orleans. It's in, like, a

55:04

parish or, like, it's

55:06

it's like out. Suburb. Even

55:08

if he said, even if this was in Metrie,

55:11

I would still be like, sir, you

55:13

do not know everyone in

55:16

town. So

55:16

she's on

55:18

the hot look for a copy of Avon. Oh, my gosh. You

55:20

can just shop in. I love

55:22

I love these sequences. There is

55:26

nothing better than a

55:28

completely unnamed character,

55:30

especially a shopkeeper, a waiter,

55:32

a bartender that took us What?

55:41

And that is their entire

55:44

character. It's like if the

55:44

Blair Witch, the kind of cast of the

55:46

the spooky locals of the Blair Witch

55:49

project were just cartoon

55:51

fight. You know?

55:53

I laughed at the scene because

55:55

it's great as the bookstore owner is giggling

55:57

as she's coming and think she saw

55:59

a copy of Avon, but it wasn't there. But

56:01

I just sort of presume because he's hunched over

56:03

his desk and you can't really see where his hands

56:05

are and I thought, think he's just watching

56:07

TikTok. Yeah. He's on the He's just lit up with scrunny

56:10

baby videos.

56:12

Scroll. Scroll. Maybe

56:14

the finest scene

56:15

-- Oh, here we go. -- we have

56:17

ever had -- Talk about a -- or

56:19

the setback. A setback.

56:22

At peace. Listen, we argue

56:24

top or top two because if we're gonna

56:26

argue for a better scene than this, it's probably sharp

56:28

versus zombie, which is also a

56:31

Lugeo full two film. But

56:33

Martin versus the

56:36

latter, that's

56:36

the undercard. Or what okay.

56:39

So a a factoid the other

56:41

factoid that I have that is actually

56:43

leachy of fullchi as the guy who's like, you know, we

56:45

have this Yodlee thing. That means I

56:48

gotta go eat tuna sandwich right

56:50

about now.

56:52

And I'll lock these doors. So you'll see Goodbye. Love

56:56

that.

56:57

Martin climbs this

57:00

tall ass metal

57:02

ladder to find the records

57:03

of the house in the

57:05

city hall record

57:08

stacks. Any binds the seven

57:10

doors hotel. He opens it up. He sees

57:12

something in the plan that's very shocking to

57:14

him. The sun is

57:14

beautiful. Yeah. Yeah. It's all these

57:17

little nature fixes of illustrations. Mhmm. It's not lovely

57:19

art and again. Yeah. And there's a huge void in

57:21

the middle of us. And then

57:23

he goes,

57:24

oh my and then

57:26

lightning. And then, of course, he's gotta fall off this ladder.

57:28

So arms straight out backwards

57:30

onto the marble

57:31

He's like doing

57:32

the cactus yoga move. Just

57:35

like just full on goal posts. Some yeah.

57:38

And then we

57:41

hear piglet

57:42

squealing.

57:44

But they're not piglets.

57:46

They are spiders.

57:48

More specifically, they are tarant

57:50

more specifically, they

57:53

are two tarantulas and

57:55

about two dozen plastic

57:57

spiders on sticks. On,

57:59

like, oh, They

58:00

are the sweetest little piglets

58:03

of tarantches. And then the note that I

58:05

have here is they are so quickly

58:08

on four I'm so sorry to be a Malgoth about it.

58:10

They're so gentle. They're just like

58:12

There's such little sweethearts coming

58:14

a little wander over to them.

58:17

They're the least intimidating spider you could

58:19

imagine. They look like again, they look

58:21

like glove puppets. Like, if you stick your hand

58:23

in a little stripey globe with a couple of googly eyes

58:25

on it and walk it across the work might be

58:27

more impactful than these very sweet

58:29

little animals. Yeah. They have and the two

58:31

live ones have, like, they're they have, like because

58:33

listen, we linger here for a moment.

58:35

Yeah. This is the long machine in any horror

58:37

movie that we've ever seen. More sensitive. It

58:39

doesn't go to slightly fifteen

58:42

minutes. But it's like the there's the main

58:44

like, what I like to think of

58:46

is the lead spy, the lead tarantula, which is adorable because

58:48

they're just little hydraulic cats.

58:51

They're just like, you know, they're just like little

58:53

hydraulic kitty cats. And then there's the sort

58:55

of like like secondary

58:58

tarantula, which is a little splotchy, but you know if

59:00

that's fine. But the splotchy one is trying to like

59:02

catch up to the big one and you can

59:04

see that they're trying

59:06

to interact but then they immediately

59:08

cut away because they're like, no. No. No. We are going to fully take

59:11

a shanky clay

59:14

spider and

59:16

just like just a good go.

59:17

Like, are, like, across

59:20

this oh my god. Like,

59:21

why why Into the

59:23

mouth and back goes the cheek.

59:25

Like, they are just taking the brush. Into lip? Yeah. Yeah. That's

59:28

how I wanted to go, you know. Oh, I want to

59:30

and then they

59:33

they bite the tongue out -- Yeah.

59:34

-- is nibbled to death quite

59:37

dentsy

59:37

and snuggled to death.

59:40

Yeah. Jeffrey, Merch.

59:41

Merch. Yep. I I wanna t shirt

59:43

that says nimble today. With a cup of a

59:45

little tarantula

59:46

piglets on it. You know? With a

59:47

cute, big

59:50

adorable eye. Us. Going back to Cameron Espacito talking about

59:52

horror films are the scare of the

59:54

horror film is not in the

59:56

visual, but

59:58

in the in the sound, in the audio. So if

1:00:00

your horror movie squeamish, turn

1:00:02

off the sound and just watch

1:00:04

the movie. And this

1:00:08

they clearly are like we have to up the scares here because the

1:00:10

only thing that makes the

1:00:12

scene scary is

1:00:13

if you're

1:00:14

like me and you arachnophobia,

1:00:16

because you're seeing pictures of spiders. You're like, you don't want to

1:00:18

look. Or if you are just grossed

1:00:21

out by, like, practical effect,

1:00:23

choppy, floppy blood, or

1:00:25

something your face, which I have a little bit of

1:00:28

that. I'm just like, oh, not no.

1:00:30

Please. Not in the but

1:00:32

what

1:00:32

they added here is

1:00:34

the sound of basically It sounds

1:00:36

like piglets

1:00:36

eating from a trough is just like

1:00:39

a cock cock cock cock. Spiders

1:00:43

famously do not have teeth or mouths

1:00:45

that work this way. I know enough about

1:00:47

spiders to know that they use their venom

1:00:49

to basically turn you into

1:00:52

a lick inside of a web, and then

1:00:54

they essentially stick the

1:00:56

Capri sun straw into

1:00:58

you and

1:01:00

suck you out. Over a long period of time, it's a liquid

1:01:02

it's a liquid diet that those fuckers are

1:01:04

on. And On a

1:01:06

keto diet. They do not No.

1:01:09

They're just jumping down.

1:01:12

Yeah. My walls out. With their,

1:01:14

like, little furry mandibles, Like

1:01:16

a little bit. So just kinda like

1:01:18

like, it's it's it's the

1:01:20

impact that

1:01:21

it has is completely the country of what it

1:01:23

should be. I found it

1:01:25

kind of do. Playful. Like

1:01:26

and you just can't you can't undo that. I don't know if we're if we're

1:01:29

on the Jeff Rain Sand Track portion of Desiators or

1:01:31

if that's the next scene, but I

1:01:33

feel like I

1:01:35

I found

1:01:35

it. I found it very charming and

1:01:38

silly. Like, it should have been so

1:01:40

scary, but it was really silly. Like This

1:01:42

is one of

1:01:42

those moments in which I kind of

1:01:45

wish that I had that I was in graduate

1:01:47

school for film or or, like, you know, art,

1:01:49

and I could just, like, dick around

1:01:51

all day. And to take this, like, seven

1:01:53

minutes of film sequence and then just

1:01:55

put different kinds of sound

1:01:57

or music

1:01:59

underneath it. And show

1:02:01

it to people and be like, what did you

1:02:03

see? Yeah. It's unbelievable.

1:02:06

The scene is tremendous bravo

1:02:10

I was very happy here even if I did a lot of it between

1:02:13

two fingers, because just close a lot of it

1:02:15

by Real tarantulas. Yeah. Okay.

1:02:18

Doctor John

1:02:20

has gone into Emily's abandoned house. And it's

1:02:22

all overgrown. Like, it's clearly no one

1:02:24

has lived there in almost sixty and

1:02:27

he bursts in and he finds a cop finds

1:02:29

a copy of Avon manual.

1:02:32

Yes. Finally, they did some

1:02:34

answers. He reads the whole

1:02:36

book. He actually it goes to the

1:02:38

morgue where a burp on he sees the

1:02:40

weird moon marking on

1:02:42

the corpse, which I was like, is that just

1:02:44

like the the sign for Jupiter or

1:02:46

I think it's super generic. I think so. Yeah. It's like, I'm not I'm not, like, you know, I

1:02:48

I speak a little bit of taro and I

1:02:51

speak even less astrology. But

1:02:53

I was like, I

1:02:55

think that's just stupid. But it's also the only sigil that

1:02:57

we kind of see. Again, they don't invoke

1:02:59

a lot of satanic imagery in this film for

1:03:01

a film about a

1:03:04

helmet. Which I think is a good

1:03:06

choice because they're so esoteric than thinking. Right? Yeah. It's more esoteric,

1:03:08

more vague,

1:03:08

and I think that if they had

1:03:11

kind of hung a bunch of siggles

1:03:13

around it would have

1:03:16

undermined Annie of this

1:03:18

bookiness. So it would be interesting

1:03:20

to see Annie sort of

1:03:22

a sigil because we don't really deal with them again. I don't think. Yeah. And

1:03:24

the way that it's curved into his arm is a little

1:03:26

bit like if you took a sharpie and pushed into

1:03:28

the styrofoam, particularly

1:03:30

gross sequence of bodily effects as

1:03:32

well. Not, like, scary, just kinda like

1:03:34

it. What just like he's saying?

1:03:36

He's this book. I love it. It's

1:03:38

like simplest thing. He's like, you know, doing that, like, look back and forth. And he's

1:03:40

like checking all the buttons. I was like, that man

1:03:42

is made entirely a Play Doo. You

1:03:45

are not gonna find Oh,

1:03:47

wow, wow, you did. Okay. Well, here it is. My future wife

1:03:49

is going to meet her end in this next

1:03:51

scene where Mark that goes

1:03:53

to first, she goes into room

1:03:55

thirty six, there is a bathtub full of

1:03:58

black sludge. She's like,

1:04:00

well, gotta do my fucking job. Nothing

1:04:02

is more attractive than a person good at their job. And she just reaches her

1:04:04

full on hand in there, pulls out

1:04:06

a wad of

1:04:08

just hair cat vomit,

1:04:10

hair -- Yeah. -- hair

1:04:12

ball. -- the thing starts to drain and

1:04:14

there is

1:04:16

zombie Joe lion in this A

1:04:18

slash, you

1:04:18

know. Why? So You're a CECL

1:04:20

Baldwin to explain exactly why.

1:04:24

Once. Why

1:04:26

is it he'll

1:04:29

be more put thin, but

1:04:31

listen. I don't Mhmm. Here's

1:04:33

the thing though. Regard I don't care

1:04:35

why it's the This where get of that awesome Italian.

1:04:38

This is like why we're watching a Lucia

1:04:40

Folci movie besides the

1:04:42

weird esoteric you

1:04:44

know, like, spaces, is this nail through

1:04:46

the back of a head sequence. Mhmm.

1:04:49

Because if this this

1:04:52

is what It's like so, like, you

1:04:54

tease out something that

1:04:56

in actuality would take, I don't know, point

1:05:00

five seconds. But you do like these weird interesting camera

1:05:02

tricks where it's like the

1:05:04

hand over the lens and then

1:05:06

they're focused just on his

1:05:08

goopy floppy eyeball

1:05:10

this putty face. But

1:05:12

then it's like that long like

1:05:14

almost from the point of view

1:05:17

of the nail. It's self, you

1:05:19

find this stolen, like, this kind

1:05:21

of thing stolen so many times

1:05:23

in modern day horror films. I've got

1:05:25

it. I've watched something the other

1:05:27

day that was super modern. And I was

1:05:30

like, boom, Italian eighty seven,

1:05:32

Italian eighties. It's

1:05:32

like watching a filetney or something.

1:05:34

You can see these details on part of

1:05:37

a stylized generation of work. And they

1:05:39

only happened for a moment in front of

1:05:41

you, but then you realized that they're

1:05:43

so effective in what they do that they

1:05:46

inform so much of

1:05:47

what goes ahead, you know. It's

1:05:49

not about the act of violence. It's

1:05:51

about the lead up. That

1:05:54

is the horror. That is

1:05:56

the the the scariness.

1:05:58

Knowing what's going to happen -- Mhmm.

1:06:00

-- and then

1:06:02

seeing it happen in slow motion is really terrible. No fade

1:06:03

black here. We're gonna see

1:06:06

everything else. Us

1:06:06

being powerless to stop it.

1:06:10

Yep. That's That's the real deal. We've seen a lot of especially

1:06:12

in this era when you think about, like, the popularity

1:06:14

of a bombed movie or whatever were, like, bombed

1:06:18

this tide to some giant, like, lumber mill,

1:06:20

huge saw thing about to be cut in

1:06:22

half. And then, you

1:06:24

know, at the

1:06:26

last possible and he unties the ropes and breaks free. And here's a movie where

1:06:28

we're playing at that same tension. We're like,

1:06:30

nope. There comes the spike through the back of

1:06:32

her head and here comes her

1:06:34

eyeball. Right on there. Her eyeball

1:06:36

number two? Yeah. I think so. Or

1:06:38

three? Yeah. Well, yeah. The

1:06:40

spider popped one out Well, that's like

1:06:42

Okay. Yeah. Great. The the

1:06:44

the shrimp cocktail hand from beetlejuice at

1:06:46

the beginning popped, you know, if it shows

1:06:48

out. Out. Oh, wow. We don't come up all

1:06:50

in Brazil to say, yeah. We're we're -- Three or four years.

1:06:53

-- five all motif continues

1:06:56

here. Yeah. And now we're gonna

1:06:58

immediately follow this up with the end of Emily. So

1:07:00

she's in her home.

1:07:02

Is she or the hotel

1:07:06

don't know. I can't tell the difference between her home and the hotel. It's like fully

1:07:08

halfway through this film. Like at one point somebody

1:07:10

knocks on her door and they're like, are

1:07:12

you there? And I was like,

1:07:14

Where are you? I shouted to my television screen. Where

1:07:17

just tell me where you

1:07:19

are. Make a noise, and I'll

1:07:21

come get you.

1:07:24

Okay. So we know from the scene,

1:07:27

she starts screaming. Don't touch me. Stay

1:07:30

back.

1:07:30

they back I don't back.

1:07:32

Now I wanna unpack those three those three

1:07:35

lines. Please, don't touch me.

1:07:37

No one is touching you

1:07:39

girl. Uh-huh. You made

1:07:40

a vapor. You're fired. You made a vapor. Don't make flue, you

1:07:44

know. Shoot. But no there's,

1:07:46

like, She's like, I know you're there. I

1:07:48

because we I think she, like, runs into Shweig. And then

1:07:50

she's like, oh my gosh. I know you're there. Don't

1:07:52

touch me. No one is

1:07:55

touching you. Two, stay

1:07:57

back.

1:07:58

They are.

1:07:59

live Literally, they are

1:08:02

immobile because we know as

1:08:04

the audience like, there's, like, 9 literally every dead

1:08:06

person. Like, we get all the major players here,

1:08:08

which I kind of like a rogue's

1:08:10

gallery of,

1:08:12

like, like remember how that person died. Remember how that person died

1:08:14

because it's like Martha, it's sweaty John or John the plumber,

1:08:18

everybody everybody. I

1:08:20

don't wanna go back, which is kind

1:08:23

of fascinating to me that she's this, like, she's, like, this sentinel psychopath that,

1:08:27

like, broke free from dusty hell as

1:08:30

the harbinger of death

1:08:33

for

1:08:34

the world but now

1:08:35

she just doesn't wanna go back to hell even though she

1:08:37

knows hell. I'm like The

1:08:39

gates are open.

1:08:40

I think I think you need that

1:08:42

does you read that from the book? I haven't written down here that when the gates to hatter

1:08:44

open, the dead will walk to earth and do that as the

1:08:46

juncture at which this kind of becomes a zombie

1:08:49

movie. Like, that's the indication

1:08:51

of all these creatures trying to reclaim her. You

1:08:53

know? Because maybe she's an independent soul. You know? She's like, no. And I could up here

1:08:55

with my dog. Like

1:08:57

Like, she's she's

1:09:00

the protect this to this film

1:09:02

then.

1:09:02

It's it's her story. And she and she does have more charisma feel than poor nice and finale. I

1:09:04

think of her

1:09:07

two screen frames I think that she has

1:09:09

a little bit more so for the one to

1:09:11

a better fit. She does. Like she's a little more compelling. Yeah.

1:09:15

She's acting, you know. And she's she's putting in letters.

1:09:17

And I use that word again. So

1:09:20

Yeah. That's a big one.

1:09:22

Isn't

1:09:22

it? A big complicated one. But

1:09:24

yeah, I I'm rooting for her now. I kind

1:09:27

of want to, like, I I feel for her end is seen as well on the poor

1:09:28

fucking dog. Jesus

1:09:30

Christ.

1:09:30

I'm rooting for her

1:09:33

for Dicky, is she gets surrounded

1:09:35

by these solvents? And basically, Dicky

1:09:37

goes from, like, crouching and whimpering

1:09:40

being sad. He goes from

1:09:42

zero to sixty in point one seconds because she goes attack Dicke and he goes full on

1:09:44

German shepherd on

1:09:47

these motherfuckers. And

1:09:50

then And I love it. He comes back in, like, snuggles with

1:09:52

her, but he's got, like, jello on his

1:09:54

face. And I was like, look at

1:09:57

that dog that needs a bear. Oh, and he loves her so much.

1:09:59

And

1:09:59

there's absolutely no transition between

1:10:02

even in, like, normal dog.

1:10:04

You're not even seeing any you're

1:10:06

to see no grumpy dog behavior. This

1:10:09

all goes from straight neutral neutral to its

1:10:11

dinner time. My teether -- Yeah. -- in your

1:10:14

yeah in your

1:10:15

neck. Or or he

1:10:17

goes from neutral to I'm a hand puppet now to I'm

1:10:19

a I'm a little loving

1:10:22

glove, mittens the dog.

1:10:25

And it's almost like the way the spiders go from being somebody's, you know, rented

1:10:27

a tarantula for the day

1:10:30

to little spiders on sticks.

1:10:34

It -- Uh-huh. -- is straight Build A

1:10:36

Bear, like, in two seconds, you know. But it

1:10:38

is sad and it is slow and it

1:10:40

is drawn out and there's a lot of

1:10:42

blood and,

1:10:43

like What a Tariffs are

1:10:45

a year off. Yeah. Like, the projects. Are

1:10:47

kinda quick. That year

1:10:50

looked shaky. I was like, Like,

1:10:52

it looks like a gummy ear. Mhmm. Gummy. Gummy is the

1:10:54

word that I would use to describe a lot of the fluids that

1:10:56

we're dealing with here. You

1:10:58

know, this is a viscous city

1:11:01

to them, you know. I thought he

1:11:03

was chewing her brains out when he was tugging her ear off. It was so gloopy -- Mhmm.

1:11:06

-- and, like, pink

1:11:08

and Yeah. It

1:11:10

took me a minute to figure out that was

1:11:12

just her ear and not like somehow he had pulled the tubing of her brains out through

1:11:14

the side of her head. I almost weirdly expected the dog to let

1:11:19

at the end of all this carnage just like look straight down the barrel

1:11:21

of the camera and also have the white

1:11:24

contact lenses.

1:11:26

Yes. Yes.

1:11:26

Yes. The hellhound. The one head

1:11:29

of Cerberus. I would have gotten behind

1:11:31

Porel. Like, I really would have gotten behind him,

1:11:33

but we that's where we leave him. That's where we

1:11:35

leave our That's it.

1:11:36

Now, admittedly, this is and

1:11:38

I think this is the fulcrum in which this movie goes from oh, no. This

1:11:40

this hapless woman has

1:11:42

inherited a hell mouth to

1:11:46

The hell

1:11:46

mouth is open. Yeah. Yeah. Yeah.

1:11:49

Yeah. Yeah. Party time. We're in we're

1:11:51

in it now. Yeah.

1:11:53

I love that everyone

1:11:55

is fully accepting that the hell mouth

1:11:57

is open except for doctor John except

1:11:59

for doctor Bob, doctor. Just can't I'll

1:12:01

leave his own fucking eyes, Kenny. Okay.

1:12:03

Again, Liza goes down to the basement.

1:12:06

She gets attacked by zombie sweaty

1:12:08

arthur. Yep.

1:12:10

She goes running. She is Which Did we ever see did

1:12:12

we ever see Arthur die? No.

1:12:14

That's fine. No. We see him in

1:12:16

the basement at one point, but I don't

1:12:18

think anything happens to him. So whatever

1:12:21

her off screen zombie death and she

1:12:23

goes running through the house, she's screaming, she gets

1:12:24

grabbed, she's screaming

1:12:27

more, turns out Dr.

1:12:30

John, he goes, Eliza, stop it. I'm sick of hearing all these stories and I'm like,

1:12:32

my man. Sir.

1:12:34

This woman is in

1:12:36

distress So

1:12:39

let's start with just assuaging the

1:12:41

feelings before we get

1:12:44

into, I'm sick of

1:12:46

your yelling all the time young lady You could have given

1:12:48

if we're meant to be believe if we're meant

1:12:50

to have any sort of romantic tension in them,

1:12:52

like, at all, could you not have just given her a

1:12:54

little bit of, like, calming ocean noises, a little you

1:12:57

know, like, a small bit of tenderness for

1:12:59

this deeply frightened woman before you tell her

1:13:01

that

1:13:01

she's a superior patient. She needs

1:13:03

to believe in science. I would I would like

1:13:05

to know why he's in her fucking house. Yeah. What are you

1:13:07

here, sir? I can Because now we're

1:13:10

gonna go through this dance

1:13:12

again. Of apparently, there's

1:13:14

only they're the last two people on the face of the earth, but this whole, like, he was right

1:13:19

here. I swear. That shit, like, just like the

1:13:21

bathroom upstairs. Now, we're gonna go downstairs. She's like, look at what's right here. And he's like,

1:13:23

well, I don't know if

1:13:26

you can believe your own

1:13:28

eyes or ears little lady. He is

1:13:30

like, I found that book you mentioned at Emily's abandoned home. It's

1:13:32

been abandoned for

1:13:35

fifty years. Also, According

1:13:37

to the book, this hotel is one

1:13:39

of the seven gateways to hell, but I don't believe a

1:13:42

minute of it. And then there is a thunderstorm of blood.

1:13:44

Yeah. In

1:13:47

the basement. Yeah. Listen. There is

1:13:49

lightning. There is blood flying

1:13:51

everywhere, and he's like, still

1:13:53

don't believe this. I am facts only.

1:13:56

That gulf weather, that gulf of

1:13:58

Mexico weather, it will trick you

1:14:00

up Uh-huh.

1:14:01

It's tricky. So to shame their plumber has gone

1:14:02

missing, you might have been able to help there with home language. The liquid fiasco

1:14:05

they seem to be

1:14:07

dealing

1:14:07

with, you know, understand.

1:14:09

9 think I've really what was going in that basement there? Did know Not

1:14:11

to mention fact like, houses in

1:14:14

Louisiana famously do not have

1:14:19

basements because they are literally built on a

1:14:21

fly plane. Yeah. Like -- Yeah.

1:14:23

-- that's the whole thing.

1:14:25

That's why they have the

1:14:27

high rise graves because you can't

1:14:29

put things in the ground because things in the ground have its densities to flood

1:14:31

and come up again. Gross. And the water

1:14:34

table is very high there

1:14:36

or rather

1:14:38

the land is very low. It's not

1:14:40

just If there was a

1:14:42

consideration of extending it in New Orleans beyond

1:14:44

just sort

1:14:45

of, you know,

1:14:46

glamour of setting it in an American city like that. And I think that there something fun

1:14:49

about the untrusted or

1:14:51

the architecture and melting and

1:14:55

the idea that the helmet is in this soft, swampy place rather

1:14:57

than, you know, the it's

1:14:59

not explored and it's not lingered

1:15:01

on because especially at this point,

1:15:04

we are trying towards the end. And

1:15:06

I think that the distrust

1:15:07

or untrustworthy architecture is

1:15:08

something they don't

1:15:11

lean hard towards really

1:15:12

in this, that their place, rooms are different,

1:15:14

things are shifting, teams are changing. Tank Christ, they

1:15:17

don't. No. They probably

1:15:19

will do it day. They would turn it into

1:15:21

some psychological torment on Liza's part and be like surprise. The hell mount. The hell mount is women's mental

1:15:24

illness. But if

1:15:26

you don't go that dress

1:15:28

option necessarily. Like, I'm always waiting for it into,

1:15:30

you know, Babadook, you know. But, like -- Yeah. -- I think that

1:15:34

the something there is something again,

1:15:36

if I were to do a forty minute

1:15:38

special, I would be like, this hotel is a body. This hotel is

1:15:40

an on moving body

1:15:42

with a pit in its barely. It shouldn't

1:15:44

be built on this wet old land. Yeah. That wet old land

1:15:46

is a soft place where things come through, and that's what that basement is.

1:15:51

You know? And doctor Indiana Jones' denial of

1:15:53

this. Up until a really rich he

1:15:55

is really in

1:15:58

denial

1:15:58

up until it's a very late stage in the

1:15:59

game. They get a

1:16:00

they drive off to the hospital. And as

1:16:02

they're like, after seeing all of this,

1:16:05

they're, like, storming into his office.

1:16:07

He looks still pissed off

1:16:10

and he's like, no, Liza. I'm a doctor and I won't accept irrational explanations. I'm gonna

1:16:12

call the FBI and

1:16:14

then he just pulls a

1:16:18

handgun out of his desk drawer, a

1:16:21

sick shooter like a

1:16:23

three fifty seven, zombies crashed

1:16:25

through the glass The rap

1:16:27

liveiest, but the sleepiest zombies.

1:16:29

Oh, these zombies are, like,

1:16:31

seventh grade boys at their first

1:16:33

slowdowns. Yeah. That's how they move.

1:16:35

It is so awkward and slow and

1:16:38

noncommittal. People. Yeah. Shambling. I think that was that

1:16:40

was One

1:16:43

menacing shamble. Yeah. Yeah. He

1:16:45

is more of a threat to Liza

1:16:47

in the scenes where the zombies are because without moving, he

1:16:49

is, like, shooting

1:16:52

past her face into the zombie shoulders

1:16:54

and hands. And I'm like, my dude, you're you are gonna blow

1:16:56

her head off

1:16:59

-- Yeah. -- because as we

1:17:01

will learn soon, you're a bad shot. I am surprised

1:17:03

you did not kill her in this moment. It's also the way

1:17:05

he's like move. I'm

1:17:07

like, what what Like,

1:17:10

she'll, like, like, they burst of the because they're

1:17:12

it's a lot of indoors out of doors.

1:17:14

There's only, you know, one exit to

1:17:16

this fucking hotel and it's blocked by zombies so

1:17:18

they have to keep going back into the

1:17:21

mortuary. But he's like out

1:17:23

of the way and I'm

1:17:25

like, Like, it's

1:17:26

not her fault that she held my head with them.

1:17:28

And they

1:17:32

they're all grabbing her, she can't move.

1:17:34

And also, like, okay, shot in the chest. And also, I love it when they

1:17:38

do that like, they like Like, don't shoot a

1:17:40

gun by holding it, and then you pull your

1:17:42

little trigger finger. Right? You don't, like, like,

1:17:44

it's not a pool cue.

1:17:46

Yes. He's he's jabbing it. Yeah.

1:17:49

But he jabs the gun like

1:17:51

it's a knife every time he shoots it. Yeah. But it's arm, chest,

1:17:56

leg, head, then goes down. And

1:17:58

we're like, ah, shot him in the chest, didn't work, shot him in the arm, shot him in the leg, didn't work,

1:18:00

shot him

1:18:02

in the head, that Zombie

1:18:04

just fell over. Yeah. And they

1:18:06

kinda step over him. Yeah. Yeah. And considering you have a sick shooter,

1:18:08

you

1:18:08

better you better, you

1:18:11

know, take take heed. Because

1:18:13

there's like thirty zombies on this floor alone. He's awful at

1:18:15

this and hilariously bad. This the

1:18:17

way he's holding the gun, the way

1:18:20

he doesn't perceive

1:18:23

anything. He's in CoJack. He's he's he's

1:18:25

on like a seventies TV show,

1:18:27

cop show. No. Because

1:18:29

those guys could hold a gun. They

1:18:31

they studied how you shoot a gun. He is

1:18:33

in Garth Marang, he's starting to look at it.

1:18:36

He is doing calm. And everyone else

1:18:38

is doing a horror film. This man is amazing and I want them to

1:18:40

retroactively give him an

1:18:43

Oscar for this film. I

1:18:46

was I was so pleased with this performance. We also

1:18:48

find Jill in here somewhere in the

1:18:51

week. We we have

1:18:52

Jill's last dance. Yeah. And we

1:18:54

have our

1:18:55

last eyeball experience. Yeah. A half an eyeball. And

1:18:57

my eyeball came to us,

1:18:58

like, do I count? This is half an eyeball

1:19:01

or is it full eyes? All. I believe three

1:19:03

point five. A thirteen year old girl, she

1:19:05

spent a lot of time in a

1:19:07

morgue, which is fine.

1:19:09

But There

1:19:10

is a moment where LaS

1:19:12

Male is like, oh, no, this

1:19:14

poor misfortune is recently orphaned teen

1:19:16

girl. Isn't this more no. I'm going to

1:19:18

give her a big hug, which is what you should do

1:19:21

with her distress doctors.

1:19:23

Mhmm. And Jill take

1:19:25

this opportunity to go show

1:19:27

us her, communicate, and try

1:19:29

and get a thumb into

1:19:31

Liza's eye.

1:19:32

And there's sort of a flash where the doctor shoots

1:19:34

her in the head. Yeah. Get a good look at it as well. Like, he doesn't deliver

1:19:36

the

1:19:37

recruiter in the

1:19:39

head. He, like, Lowe's half ride off. It's

1:19:41

funny because every other zombie he shot in the head, like, a little tiny, like,

1:19:43

silver dollar sized -- Yeah. --

1:19:46

blockage of his disappears in their

1:19:48

forehead. When he gets

1:19:50

this girl in the head, it is like a Gallagher show -- Yeah. -- getting watermelon,

1:19:52

getting smacked out of the

1:19:54

sledgehammer. Yeah. Like, it is her

1:19:58

head goes kaboom. We know the

1:20:01

texture of a watermelon also. Yeah. That's

1:20:03

a very solid comparison. Yeah. Yeah.

1:20:05

There's also I would point out, do

1:20:07

it. There's a mo so as he and Liza

1:20:09

get out of this first group of

1:20:11

zombies, he's wasted all of his

1:20:13

bullets in his sick shooter. So as they're running, he starts

1:20:16

to shoot at the zombies. He just click click

1:20:18

click click click click click. Then they get separated.

1:20:20

She has to run

1:20:22

into the elevator. She's gone Now he's

1:20:24

trapped with all these zombies and no

1:20:26

bullets. He runs and hides in this closet and he finds doctor ginger doctor --

1:20:29

Yes. -- in the closet.

1:20:31

Who's holding a knot life

1:20:34

and he's also scared and not zombified. There's a moment where they're like, we gotta get out of

1:20:36

here, but then glass shatters

1:20:38

on this door. Glass shard fly

1:20:43

into doctor Ginger, doctor's face killing him somehow at

1:20:45

the at the speed of of

1:20:47

sound itself. Yep. And

1:20:51

then doctor John is like, alright, I gotta get out of here.

1:20:53

You know how I'm gonna do? I'm a shoot my

1:20:55

way out. Where

1:20:57

did you get the bullets? Also, where are you

1:21:00

going? What floor are you on? Why

1:21:02

are we still in this building? What

1:21:04

is happening

1:21:06

here? But they're also very sad zombies.

1:21:08

But somehow, he ends up meeting Liza

1:21:11

Minie again. And this is

1:21:13

where I'm like, this whole movie

1:21:15

more of this, please, in which they're like, let's go down to

1:21:17

this weird spiral staircase. And for a moment,

1:21:19

you're just like, I

1:21:21

have been to hospitals before. There are no

1:21:23

pitch black spiral staircases, looking into the basement. And for

1:21:25

this for the first time, maybe in

1:21:28

this entire film,

1:21:31

we, the audience, and the characters are on

1:21:33

the same page. Yeah. All of us go, what the fuck? Uh-huh. That

1:21:36

is the first

1:21:38

real moment of, like, honest

1:21:40

to god's psychological filmmaking. It's an incredible ending. It's

1:21:42

an incredible, incredible set of final scenes. But

1:21:45

as we do see

1:21:47

the painting to write film.

1:21:49

We see the painting in the early stages

1:21:51

when the architect and I smell it here, like, in the hallway and appeared in some dust spider

1:21:55

webs. Mhmm. And we we check-in with the

1:21:57

painting a few times after that initial

1:22:00

Zapier sequence.

1:22:03

And We're in the basement again. that lovely architectural

1:22:05

horror, eldritch feeling of

1:22:07

reality falling apart. There,

1:22:10

I would say, the only cues of reality following part we

1:22:13

see aside from the doctor being like, that was

1:22:15

not a real woman. That house

1:22:17

was empty all along and sort of sort of I would

1:22:19

compare this moment to the moment on the bridge where

1:22:21

everything is white suddenly. Yeah. Yeah. Yeah.

1:22:23

A real

1:22:23

cinematic feeling

1:22:26

of oh, fuck. You know, and then the

1:22:28

basement of the hospital becomes the basement of the

1:22:30

hotel and suddenly they're caught in a loop

1:22:33

from which they cannot escape. And it becomes

1:22:35

very beautiful, very quickly, I would say. It it

1:22:38

reminded me a

1:22:38

lot this ending reminded me of

1:22:41

Jinkoku. That that that the sixties

1:22:44

Japanese Hell movie, which we discovered

1:22:46

through this and it's the same

1:22:48

kind of like like, not Catholic

1:22:50

hell, but a very, like like like minimalist hell. Yeah. It's Burn.

1:22:53

Yeah. Yeah. It's like

1:22:55

a bleak excess dentalist,

1:22:58

how almost like hell is actually just eternity

1:23:00

-- Yeah. -- and rot -- Mhmm.

1:23:03

-- and that's it. Like, it's

1:23:05

not punishment. The punch is there. Just is.

1:23:07

Yeah. And we know that these two these two fuckers, they just gotta walk

1:23:09

around, and they do that whole

1:23:11

thing where they, like, turn

1:23:14

and it's the same view and then they turn

1:23:16

around and it's the same view. Yeah. And

1:23:18

I was like, girl, Jean Paul Sartre

1:23:20

was coming to get you. Yeah. Yeah. Yeah.

1:23:22

It's beautifully yeah. It's beautifully absurd. This

1:23:24

ending is really great. And, yeah, here

1:23:27

on the graveyard of the moon

1:23:29

or what was the other title?

1:23:31

It's Cesar. Dustin Antarctica? Dustin Antarctica.

1:23:33

It's it's gorgeous. And then I love this

1:23:35

final moment where they they both looked

1:23:37

on the barrel of the camera and

1:23:39

they both have cataract,

1:23:43

blind eyes, and their mouths

1:23:45

are open, and their mouths

1:23:47

are open, and then we see

1:23:49

a wide shot and they just

1:23:52

vanish from the shot

1:23:54

like they just disappear.

1:23:56

Credits. Yeah.

1:23:56

If

1:23:57

we get creepy

1:23:58

piano song played but

1:24:00

performed by a children's choir. And also

1:24:02

and also and also a narrator that

1:24:04

says, you know, oh, yeah. That

1:24:06

is like never introduced. I was like,

1:24:08

who is talking? He says

1:24:09

and he will face the sea of

1:24:12

darkness and all they're

1:24:14

in that may be explored. Which is is

1:24:16

so gorgeous. Like, that

1:24:17

is incredible. To staying

1:24:18

in our radar in at the

1:24:21

end where you're observing this empty landscape and this disappearingness

1:24:24

and the moment where the film still becomes

1:24:26

the painting and you can see the way

1:24:29

the bodies are laid in that lovely lightness

1:24:31

of hand in a film in which there is no lightness of hand.

1:24:33

Yeah. Everything is laid on with a

1:24:35

travel. Okay.

1:24:37

Not that the Yeah.

1:24:39

Literally. I think that that was while

1:24:41

it was, like, oh, there's someone talking now, it

1:24:43

was just a single line.

1:24:47

And you will face the sea of darkness

1:24:48

in all their end that may be explored, sounds

1:24:50

like a book or winning novel. Doesn't it? Yeah.

1:24:52

No. What a what a lovely

1:24:54

use of language to leave us up.

1:24:57

Like, I think I think

1:24:59

all this movie is missing is

1:25:01

a professor character, like some sort

1:25:04

of connection We drove the ad

1:25:06

gone book. So that way, that narrator voice had been present throughout, like, she had

1:25:09

gone and actually

1:25:12

met some you know, like, creaky

1:25:14

old doorsteps. Shop owner. It's the bike shop owner. Instead of the

1:25:15

bike shop owner being a novice.

1:25:19

Yeah. You know, we need to be

1:25:21

a human in the film. Like, we need to kind of maybe knows a

1:25:23

little too much about the history

1:25:26

of the seven gates. Now that

1:25:28

you say that I piecing together kind of one of

1:25:30

the problems I had with Emily's death by dog. I mean,

1:25:32

that was a great death

1:25:35

dog. Mind you. But I loved

1:25:37

that death. It was so just nibble to Curtis

1:25:39

as well. Nibble to death. All of that

1:25:43

said, I The thing I wanted Emily to be is more of an or Like,

1:25:45

I wanted her to be kind of a I

1:25:47

wanted her to be that

1:25:50

character. Now that you spelled it out in that way. So like Civil

1:25:52

and slash Cassandra character. Because my

1:25:54

thought was, oh, she escaped. She

1:25:58

she figured a way out of the portal and

1:26:00

she is the harbinger, not the oracle.

1:26:02

I meant to say harbinger. Yeah. But, like, in

1:26:04

my in my way, like, she can

1:26:06

only tell people what's happening. She can't actually because she has she

1:26:09

has an

1:26:12

incredible light this of being.

1:26:14

Yeah. She cannot actually tangibly touch. She can't touch the floor. You can't And actually, like, you could just be, like,

1:26:16

bad shit's coming. The

1:26:19

fact that her dog could

1:26:22

just rip her throat out, make her so, like, instantly mortal. And if we had

1:26:27

her voice there, to be

1:26:29

caught up. That's her in the beginning. That's her in the beginning. Yes. That's her in

1:26:31

the CPI with the book originally. She literally

1:26:33

witnesses the death of the

1:26:35

warlock

1:26:35

even though she's line,

1:26:38

but she is present for the death of the Warlock. Her

1:26:40

eyes are closed, though. And, yeah, she can be prepared to

1:26:42

find out No. No. No. No. She's always

1:26:45

line from the get go. Okay. Never

1:26:47

mind. I think. But she's she is

1:26:50

she has the unbearable curse of knowing the story. So,

1:26:52

yeah, if she had

1:26:53

been drawn more to the

1:26:55

center of us, and

1:27:00

treated as an narrator figure, we would have

1:27:02

had a more clearer understanding of what

1:27:04

exactly the focus is that is

1:27:06

going on. But it's not overexplicated. You'd have to

1:27:08

if you were to do, you'd have to do it from the very light

1:27:10

hand. You'd have to do a candy man style. Do

1:27:12

you know what I mean? You That's what

1:27:15

we're saying. Short films in our TV series.

1:27:17

You need, like, like, a short film or forty minute, like, leave

1:27:19

them wanting more short story form. You

1:27:23

know, don't fill in all the blanks. Fill in

1:27:25

two thirds of the blanks.

1:27:27

Shall we rate this

1:27:30

film? Yes. Let's how approachable is this movie if

1:27:32

you are horror film averse. Well, on a scale

1:27:34

of one to ten with one being, do

1:27:36

not go near this at

1:27:39

ten being totally fine. Let's

1:27:41

give the beyond one rare devil book out of ten. Like, one

1:27:43

Avon manual out of ten. Lake, it

1:27:48

is Yeah. If you're at

1:27:50

all horse squamous, this is

1:27:52

not for you. It's fucking gross.

1:27:54

It is fucking violent. Yeah. It

1:27:57

I can't tell we've watched a

1:27:59

lot of these gross out movies lately. Blood quantum

1:28:02

and reanimator, and this are all really violent movies. And

1:28:04

in almost

1:28:07

feels like each one has outdone the other as

1:28:09

far as like sheer grossness. I

1:28:11

don't think this movie

1:28:14

is that scary. Like, if you're just if you're

1:28:16

like gore is fine, I just don't like

1:28:18

jump scares. I don't think this movie's

1:28:21

scary. I think it's tense. I think

1:28:23

it's gross. But I think it's also kind of silly and fun. So if

1:28:25

you're into blood and

1:28:28

gore and not

1:28:30

scarce, this would be fine, but listen,

1:28:32

I think most people who say I'm there's

1:28:34

horror squeamish are going off of blood and

1:28:36

gore. So Yeah. One out of ten. Maybe

1:28:38

not this movie, not quite yet. CECL, what do you think? Oh, man. In the in the horror film

1:28:44

canon, this is a good one because

1:28:46

it's such a there's such a weird dichotomy going on of, like, gloopy, gloopy

1:28:49

bath bomb, body

1:28:52

art, that is literally

1:28:54

like like putty. It's it's putty and and foam and

1:28:56

a blood spray,

1:28:59

but then also these strange

1:29:04

psychological environments that are very present

1:29:06

throughout the, like, hidden throughout

1:29:08

this film and you don't

1:29:10

even realize that they're there until you start picking them

1:29:13

apart. So for that reason, I'm

1:29:15

gonna give this seven

1:29:21

psychiatric tarantulas? Tarantulas on sticks.

1:29:23

Tarantulas on

1:29:23

sticks. Yeah.

1:29:24

What

1:29:29

about you, Is there a

1:29:31

rating you would like to give this film? For approachability? I don't see anything.

1:29:34

Exactly.

1:29:36

No

1:29:36

wigs, mercifully, no No wigs? I would say,

1:29:38

my general if I were to

1:29:42

tell people about film, I would say. Imagine if holidays just wasn't

1:29:44

horny. If you can tolerate if you

1:29:47

can, like, tolerate, like, the

1:29:50

gore and bodies and bits

1:29:52

and pieces coming off of people of

1:29:54

Kronenberg, then you can tolerate this. I would say

1:29:57

this is not

1:30:00

or, yeah, say this is less than that

1:30:02

and without that sort of bodies, without the bodies, if you know what I mean. It's body horror

1:30:04

without that sort of

1:30:07

sexual undercurrent that, like, that

1:30:09

stuff can have. It's quite new to it in some other ways. So I would give it a

1:30:12