0:08

This is pretty much pop culture podcast. You're

0:10

not quite sure what we're on about, but

0:12

you know it's unpleasant. Likewise is the work

0:15

of director Your Ghost Lot the most, whose

0:17

latest film Poor Things has won some Golden

0:19

Globes and as of this recording has been

0:21

Oscar nominated and eleven categories. I'm auckland to

0:23

my and because I did fall in Love,

0:26

I was not transformed into a Dog Chicken

0:28

As L. Baker poem Sexy Yesterday in the

0:30

most literal sense. Ah, poor things:

0:32

Graphic Sex Corp, Stabbing Digestion

0:35

Aids disfigured faces, brain swapping

0:37

Animal abuse What's not to

0:40

love? This is Lawrence. Were coming

0:42

to you from Oklahoma City in I

0:44

respect. This. Director but I

0:46

fucking hate his films. Or

0:49

strong strong. The Oscars will have

0:51

happened by the time folks hear

0:53

this, but we wanted something oscars

0:56

related and poor things has been

0:58

getting a lot of buzz. I

1:01

didn't really connected with a larger

1:03

corpus until we were considering doing

1:05

this, and I remember finding the

1:08

lobster. Interesting. And quirky, but

1:10

ultimately that kind of unpleasant it. Want

1:12

to watch it again? Very unpleasant. I

1:14

did watch again and I thought it

1:17

was the most likeable. Of,

1:19

you know, and Poor Things is close. It's

1:21

it. You know, If he has the artsy

1:23

style, things are drawn out. And of

1:26

course, we'll talk about the tone and

1:28

the gratuitous violence and. And

1:31

all the growth sex that is

1:33

in for things that particular and

1:35

all his films. but watching dogs,

1:37

youth and then this morning actually

1:39

fit in alps his his film

1:41

after.do which is even sort of

1:44

less pleasant. not more violent, but

1:46

just less enjoyable. Even then. Dogtooth

1:48

yeah, an interesting director, I don't

1:50

know that I can actually say

1:52

I'll like. Any of these

1:54

films, but maybe poor things there were there

1:56

were. Definitely. I'm.

1:59

Sorry your menu the actually yard

2:01

describes pretty well. like saving with

2:03

that was wackiness and such great

2:05

cinematography and insisting performances like this

2:08

is not the sterile. Weirdness.

2:10

Of his his earlier felt now sits on

2:12

is definitely no no longer. Hacker had just

2:14

begun. I'm right now. I'm jumping in right

2:16

now. I need to make my position clear.

2:19

I aren't as I did not want to

2:21

to watch. This is I'd be more Watson.

2:23

right? Absolutely was Sarah Hughes.

2:25

Sarah as weird as who really advocate

2:28

he wouldn't wouldn't miss era when. He

2:31

was you are to get was you

2:33

are catered for as I like horror

2:35

movies guys are some really the place

2:38

things I really enjoy it. I don't

2:40

know what does he is it's was

2:42

like the killing of six. Dear his

2:44

title for a day says. right?

2:46

But I don't know what does he

2:49

is about this project would direct he's

2:51

a really good director has some a

2:53

soccer free is always good is really

2:56

good actors he's really good. it is

2:58

so deeply unpleasant. To. Watch

3:00

this stuff like it bothered me

3:02

to my core. to watch this

3:05

stuff I had to watch dogs.

3:07

and then I was paths which

3:10

is like even more disturbing than

3:12

dogs and spinner busted killing of

3:14

Sacred Dear the favorite was fine,

3:17

I lost her. Poor things disturbed

3:19

me. I am not happy guys.

3:23

Be here Are mathematics you guys making

3:25

me do this. I'm not happy with

3:27

Sara or Mark or Out and will

3:29

ever that. Was said. We have to

3:31

do this I need to make Mother's

3:33

isn't clear. I am not going to

3:36

be happy today. You guys have upset

3:38

me. Thank you for of setting me

3:40

thank you. I don't like harm as

3:42

he is that Athena but I am.

3:44

I love the last. I was. like

3:47

like mark i watch the lobster again

3:49

and i kind of bad i parents

3:51

finity to the thoughts that i loved

3:53

it i think it's my favorite as

3:55

his movies and i think part of

3:58

the point as his directing style and

4:00

for many most of these movies that

4:03

he's directed he's also written and produced

4:05

you know it's the point is to

4:07

be disgusted to be put off I

4:09

think that's part of it and I

4:12

would love to hear why do you

4:14

think he does this in his work

4:16

well I would love to hear Al's take

4:19

first before I hear more from Lawrence

4:22

I've had a really bad day

4:25

because I watched four things

4:27

this afternoon just before we just before we

4:29

came on and I can't remember a movie

4:31

that left me oh no actually because we

4:33

watched made December like a month ago yeah

4:36

also left me with a weird a bit

4:38

uncomfortable maybe it's just there's something about this

4:40

year but the favorite which

4:42

was was that this guy's last movie yeah

4:44

well it's less one is one of my

4:46

favorite recent movies I think it's great I've

4:48

seen it I've seen it a bunch

4:50

I love Olivia Colman in it it's not as bad

4:52

it's not as bad but I was it's

4:54

more weird than it is uncomfortable

4:57

although a lot of what the uncomfortable

4:59

parts of it are

5:01

deeply uncomfortable for the same some of the

5:03

same reasons that poor

5:05

things gets into but oh god

5:07

was poor things hard to watch

5:09

especially the first half and

5:12

I was pretty kind of

5:14

stunned and aghast through most of it I

5:16

watched a good deal that the movie through

5:18

my fingers it's

5:21

great it definitely achieves

5:23

what it set out to do although

5:25

I'm not 100% sure still what

5:27

it set out to do I think I shared

5:30

Sarah's confusion about you Lawrence if like this is

5:32

it felt like a horror movie to me especially

5:35

I'd like some of your take on the on

5:37

the cinematography especially because it seemed to me

5:40

my own expert opinion that a

5:42

lot of the cinematographic choices were

5:44

taking cues from like

5:46

early Gothic movies there's clearly

5:48

a Frankenstein motif running through some of it

5:50

but I couldn't quite pull the pieces together

5:53

like super interesting well-made movie

5:56

and maybe uncomfortable enough that I think it

5:58

was right I have I hope it was

6:00

worth it. I think the movie was saying

6:02

some interesting things, but I'm not quite sure what they are yet.

6:05

This morning, I looked at some interview

6:07

footage with him, and he

6:09

seems like a pretty fun guy. He

6:11

seems like he is not super

6:14

dark in his everyday dealings with

6:16

people. It seems like he gives

6:19

his actors a sort of free reign, and

6:21

that there's a sense of play on the

6:23

set, and things I assume,

6:25

you know, from what I heard in this interview,

6:28

these first three films in Greece were pretty much

6:30

all done just on just

6:32

friends. Just make it just like an

6:35

indie band. Let's just make

6:37

a film. He had already been very competent

6:39

as a maker of commercials for a number

6:41

of years before that. That's what he trained

6:43

to do, music videos, things

6:45

like that. I actually didn't see the

6:47

favorite because, well,

6:49

mostly just for time reasons, but because he didn't

6:52

write the screenplay, he wasn't involved in the writing

6:54

in that. And so I sort of, well, it

6:56

would be interesting to see, well, what does this

6:58

director's style look like applied to someone else's material?

7:01

It seems like it was a little less personal. Maybe it was

7:03

a step up the commercial ladder

7:05

of, here's an opportunity that I was given

7:07

by someone. Is that why, Lawrence,

7:10

that one was acceptable to you? Because it's actually

7:12

not a Jorgos film, really? It might've

7:14

been. I find him

7:16

to be a deeply depraved individual,

7:19

and it makes me wonder what his sex

7:21

life is like, because he

7:24

appears to be really weird,

7:26

man, really into

7:29

some weird stuff. And he's probably

7:31

perfectly fine in normal

7:33

settings, but I wonder what he is like

7:35

behind closed doors. So the

7:38

stuff that it reminds me of really is

7:40

like the Hammer horror films of the 1950s,

7:42

1960s. And

7:45

the Curse of Frankenstein in particular

7:48

is what I picked up on when it came

7:50

to poor things. Because The Curse of Frankenstein is

7:52

a horror, is a Hammer

7:54

horror film that kind of deals

7:56

with similar stuff, but that's kind

7:58

of the vibe. that I got from

8:01

this film. So Al

8:03

I think that's what you're pointing at that there's something going

8:05

on there and that's what I picked up.

8:07

I didn't pick up like the traditional universal

8:09

horror films that he's playing with I

8:11

got the hammer horror films that's kind

8:14

of the vibe that I got. Now

8:16

horror films when you watch Freddy,

8:18

when you watch Jason, when you watch Michael

8:21

Myers, yeah there's death, yeah that's

8:23

gore but there's like a level

8:26

of fun right like there's

8:28

like a little bit of fun cheekiness

8:31

to it right. Halloween

8:33

films cheekiness to it

8:35

even ghost stories like

8:37

you get scared and then you laugh there's

8:39

like some cheekiness to it. I

8:42

think what disturbs me about his films is

8:45

that this guy's just like

8:47

he's horror and he's unsettling and

8:49

there's like it's just it makes

8:51

you so deeply uncomfortable and

8:54

that's what bothers me like I'm not a

8:56

gore guy I don't like a lot of

8:58

gore there's like random

9:00

bits of really weird sex

9:03

and goriness to his films

9:05

maybe I'm a vanilla guy maybe I'm vanilla

9:07

maybe that's what it is and I like

9:09

traditional sex I don't know but I don't

9:12

like his sexual stuff like I don't like

9:14

the sexual stuff that he's bringing into the

9:16

film like it just makes me so deeply

9:18

uncomfortable it makes me so unhappy so uncomfortable

9:21

and it makes me think that

9:23

maybe the Oscars like films

9:26

that are unsettling and

9:28

uncomfortable but then you

9:30

have Oppenheim I don't know I don't

9:32

like these films I don't like them

9:35

I don't I understand why they are

9:37

nominated they're very high

9:39

craftsmanship their favorite is an example

9:41

of him doing really really cool weird stuff

9:43

with someone else material but when he uses

9:45

his own material it's just like weird and

9:48

it's unsettling and it makes me unhappy and

9:50

it makes you come home and hug my

9:52

puppy I am very I'm very unhappy when

9:54

I watch his films by the way he

9:56

did not write poor things it's based

9:59

on a novel a

10:01

1992 novel and then there was also a

10:03

guy helped him write those screenplays.

10:05

So this is not his own

10:07

material either. I disagree

10:10

with you Lawrence. I think that there's

10:12

a lot of humor. He is

10:15

definitely not subtle. He is not

10:17

subtle at all. I guess I don't like

10:19

his brand of humor. I guess it's funny. Right.

10:21

No, I get it. Poor Things

10:23

is supposed to be a sex

10:25

positive feminist. Did you laugh? Absolutely.

10:28

I laughed. Al, did you laugh? Yeah.

10:30

Oh, yeah. Mark,

10:32

you laughed. You laughed Mark. You

10:34

laughed. I shouldn't judge my reaction. Mark,

10:37

did you laugh? Give me an answer, you

10:39

guys. I don't remember. I don't recall. I

10:42

found parts of it delightful. I found it

10:44

very like Candide. I saw him trying to

10:46

be funny and I was so upset and

10:48

disgusted by it that I didn't laugh. I'm

10:50

sorry, guys. You guys have a different sense

10:52

of humor than I do. The shape of

10:54

the film I felt was like Candide. Once

10:57

you got past the initial romping

11:00

around and I just watched

11:02

Dogtooth and things and I was sort of ready

11:04

for there going to be these long camera

11:06

things. The whole beginning of

11:08

the film didn't have talking. I'll

11:11

admit that I was not. I needed to

11:13

be sucked in a little bit, but by

11:15

the time she was actually talking and especially

11:17

when it sort of got a little philosophical,

11:19

I really liked it. I really liked the there

11:21

aren't a lot of films that sort of do

11:23

this philosophy in the loose sense.

11:26

What is my take on what we're supposed

11:28

to be doing on this earth and whether

11:30

we should be nice to each other or

11:32

not? As a travelogue and

11:34

yeah, I don't know. The whole second half

11:36

of the film especially worked very well for

11:38

me. Was

11:41

it laugh out loud funny? I don't know that I

11:43

can say yeah. Poor things? Sometimes,

11:45

yeah. I mean, Mark Ruffalo was

11:47

hilarious. I thought his character was

11:49

just he was so funny. In fact,

11:51

I don't know if I've seen him funnier Elsewhere.

11:54

He was really, really good in this part,

11:56

but I think all of his movies have

11:58

a lot of kind. In fact

12:00

humor about at I mean dog

12:02

choose. There are some parts that

12:05

movie where I was laughing when

12:07

he had the children acting like

12:09

dogs and process things that funnier

12:11

that is funny. you know the

12:13

lobster in certain areas is really

12:15

really sunny and it can be

12:18

funny and really disturbing at the

12:20

same time which is pretty hard

12:22

to do with the seems like

12:24

something that is well within this.

12:26

Directors Wheelhouse. He likes

12:28

to Korea. I mean especially impulses to spoke

12:31

with. That said, the main thing I was

12:33

thinking about services at The Horror Comes From.

12:36

Sex. And power and I think

12:38

maybe that's one of the reasons why

12:40

it's so by so interesting and and

12:42

distinct and also uncomfortable in the particular

12:44

way it is Dozens the in The

12:46

first off for things. have we done

12:48

the plot? You wanna do the plot

12:50

out here and it's as. Discipline

12:53

even matter diplomats as a lot

12:55

because of us into movies about

12:57

a woman who committed suicide and

12:59

them was brought back to life

13:02

by mad scientist not just as

13:04

herself. But. By implementing the brain

13:06

of the still eating seats as

13:08

he was to thing with when

13:11

she died into her brain and

13:13

we follow her lead. development from

13:15

someone with an infant spraying in

13:17

a fully grown person's body. Into.

13:20

Like and an adult woman spring

13:22

in I guess a slightly older

13:24

version of the body that she

13:26

would have had. The movie doesn't

13:28

total sense in oh no. improbably

13:30

sophisticated to us in a matter

13:32

of months. Suggested has thus the

13:34

broad outlines the what it says

13:36

the movie into is a really

13:38

have recently gruesome exploration of feminists

13:40

trucks and that's when I took

13:42

this from because you explicitly said

13:44

this the main character up as

13:46

someone who has the body of

13:48

a grown woman but. The mind of

13:50

a child and most of the action

13:52

of the movie comes from the men

13:54

who surround this woman and how they

13:56

decide they're gonna take advantage other a

13:58

blog is nice. and how she

14:00

goes about crafting a sense of autonomy

14:02

for herself, especially in the second half.

14:05

But in that sense, I think the

14:07

plot is very important because it really

14:09

sets up everything else about the film.

14:11

The intense discomfort in the first half,

14:14

you see her being treated as a sexual

14:17

object by men who know perfectly well that

14:19

she has a six-month-old

14:21

brain into like the

14:23

stuff that Mark was talking about when

14:26

she like she develops, as you

14:28

say, implausibly quickly into a sophisticated intellectual,

14:31

the way that she interacts with different men

14:34

and the women in her life is all

14:36

explored through this prism of

14:38

the fact that she is a literal

14:40

child in the body of

14:43

a sexualized adult. Which is where most

14:45

of the controversy is coming from. I

14:47

didn't realize that it had such quite

14:49

high audience score. I assumed that it

14:51

would, the Rotten Tomatoes would

14:53

be high critical score but

14:56

poor audience score. But it was, yeah,

14:58

79% when I looked up audience score

15:01

that people are enjoying this. But there

15:04

is a lot of gross

15:06

sex in it. And I sort of, in

15:08

being introduced to this film, was like, the poor things

15:11

are Emma Stone having to have gone

15:13

through making this movie. But

15:15

actually, she seems pretty delighted about the whole

15:17

thing. I mean, she's a really good actress

15:20

and she's good in the movie. I was

15:22

kind of shocked that she did some of

15:24

this stuff. I don't know if

15:26

I think she'll win the Oscar for

15:28

it. Like Lily Gladstone is really coming

15:30

on strong. Won the SAG Awards.

15:33

I really think Lily Gladstone is going to win.

15:35

I'm happy about that. She's really good in that

15:37

film. But she's really good in

15:39

the film. She's really good. She does

15:41

a really good performance. It's a brave

15:43

performance. I was kind of

15:45

like, were you guys shocked at all that she was

15:48

doing some of this stuff? Or were you

15:50

guys so jaded that you don't notice

15:52

the stuff anymore? I think Emma Stone got into

15:54

that. I think everyone got into this project knowing

15:57

that they were going to make a weird ass

15:59

film. They clearly just had

16:01

the time of their lives just giving

16:03

themselves over to the director and letting him mess

16:05

with them. She clearly trusts

16:07

this director. She clearly trusts

16:09

this guy. She does. I

16:12

think it's a great exploration of

16:14

what female sexuality is. Even

16:17

though I have to admit it's kind of

16:19

a bummer that this was directed

16:22

by a male, the screenwriter was a

16:24

male, and even the novelist is

16:26

a male. It's a bit of a bummer,

16:29

but I thought that her portrayal

16:31

of Bella Baxter as

16:33

someone who was just absolutely

16:36

devoid of any sort of shame

16:38

was delightful, especially in ...

16:41

It sort of roughly set

16:43

in kind of the Victorian era where

16:46

the sexual mores of the time

16:48

were definitely coded and they were

16:50

constricted and there were hard and

16:52

fast rules for women, especially, and also

16:55

for men. It was really

16:57

fun seeing a character like Bella

17:00

Baxter who just doesn't have any

17:02

shame. She enjoys sex. She

17:05

is absolutely so free in her

17:07

body. It was really

17:09

fun to see that character played up

17:11

against the rules of society,

17:14

the rules of society during that

17:16

time. I thought that was a

17:18

really great juxtaposition and that made

17:20

it for me an enjoyable

17:23

experience. I really, really liked this character,

17:25

but there is no one like this

17:27

character. I mean, there is no

17:30

one else. Even the

17:32

other woman that the Willem Dafoe

17:34

character creates is not

17:36

as sharp as Bella

17:39

Baxter. She doesn't develop as quickly.

17:41

Her brain doesn't develop as quickly

17:43

as Bella Baxter. Bella

17:46

Baxter is a pretty, in my

17:48

view, a really special, special

17:50

character. They don't

17:52

talk in the monotones from

17:54

the previous movies. Except for

17:56

the comedian, Carmichael. He

17:59

does. You know, he's the one on the

18:01

boat. He has

18:03

that weird affective monotone,

18:05

but everybody else has their

18:08

own voice. And that's like a callback to

18:10

his earlier film. But that's like something him like

18:12

just kind of inserting that just let you know,

18:14

this I'm the guy who did this. Yeah, I

18:16

agree. I agree. Especially when they're talking about philosophy.

18:20

And that's how philosophers talk like that

18:22

monotone is boring way. Is that right?

18:24

Oh, okay. Oh, good to know. Philosopher's

18:27

talk. Okay, I'm gonna remember that. Well,

18:30

usually when they're talking in that style in

18:32

the films, it's very mundane things. And

18:34

then until there's a sudden burst of violence or

18:36

weird sex, like that that is the, you know,

18:39

that we're gonna make it so sort

18:41

of realistic in the dialogue and just

18:43

mundane and boring. Realistic is

18:46

probably not the word because these people are

18:48

sort of aggressively boring. You

18:50

know, in dogtooth, I don't even want to give the plot because

18:52

like you have to piece together like, what the hell is going

18:54

on here? Why are these people like this?

18:57

And it sort of only becomes clear like how

19:00

gradually how this is a centrally

19:02

abusive situation for

19:05

these main characters. Yeah. Would

19:08

this have been a film you guys sought

19:10

out if it had not been nominated for an Oscar?

19:13

Like, would you have looked to watch this

19:16

if it had not been pushed upon you,

19:18

thrust upon you by the. Absolutely.

19:21

Really. I was excited to watch.

19:24

I was excited to watch this movie because of the

19:26

favorite because it was the next collaboration from this group

19:28

of people. Yeah,

19:30

me too. Like I said, I love the lobster.

19:32

I loved the favorite as well. And I

19:35

really like poor things, but I did not like killing

19:37

of a sacred deer. I have to

19:39

say that one was my least favorite, I think,

19:41

of the ones that I've watched by him. I've

19:44

seen that story so many times, you know, it's like, oh,

19:46

this is just Cape Fear. You've

19:49

seen that story so many times. That

19:52

particular story? Yeah, it was like Cape Fear. It

19:55

has echoes of Cape Fear. It absolutely does. Cape

19:57

Fear, except that the antagonist.

20:00

will not raise his hand physically

20:02

against you at all because he's

20:04

some sort of sorcerer? You

20:07

know, but an uncompleed unexplained. It's

20:09

still Cape Fear, but with like

20:11

black magic. Yeah, I mean, and that's

20:14

another thing that I like about his movies too,

20:16

is that he just doesn't really, he doesn't have

20:18

to explain everything. I mean, he's

20:20

not subtle, but at the same time, this

20:22

is the world, take it or leave it,

20:24

you know? Alps, I had to actually look

20:27

after I just this morning watched it, was looking

20:29

at the wiki for the plot because

20:31

I didn't understand, just to give you the premise,

20:33

these people are sort of a theater troupe, there's

20:36

four of them, and they

20:38

volunteer and then charge money to

20:40

when they sort of like ambulance

20:42

chasers. So they stalk when somebody

20:44

has died, then they go up

20:46

to the family like, hey, I

20:48

can help ease your grief by

20:50

playing the part of your departed,

20:53

you know, I'll come over to your house

20:55

a few times a week and then after

20:58

four sessions, I'll charge you. And

21:00

so it's about the relationship of

21:02

these people to their roles, which

21:05

are quite underdeveloped. And the thing that I had to

21:07

look up on Wikipedia is because the

21:10

main character, who is also the oldest of

21:12

the children from dogtooth, there are scenes

21:14

of her at her house with her actual

21:16

father, but I didn't know for most

21:19

of the film, maybe you're not supposed to

21:21

know, maybe you're not supposed to know at all, whether

21:24

this is her actual family or this is

21:26

the role she's playing. Oh, wow. That

21:29

sounds like a Nathan Fieldish of. It

21:32

is an incredibly weird, weird, weird

21:34

movie. Like, I watch weird stuff,

21:36

guys, like, I watch a lot

21:39

of stuff. This

21:41

is by far the most unpleasant.

21:44

I really, I genuinely don't know what

21:46

it is because I'm kind of shocked. I thought I

21:48

would have like one person. I thought, I

21:51

thought I can rely on Al to

21:53

come on here and kind of have my kind

21:55

of sentiment. Like, I knew that Sarah was weird.

21:57

We all knew that. I know that Marcus. We

22:00

all know that but I thought how was like normal.

22:02

I thought I would be like with me But

22:05

I am like the only person on here

22:08

who's I really discussed it and really bothered

22:10

by this stuff Then what then

22:12

I would like to know is their

22:14

value in The

22:16

way that he presents. Yes, there is value

22:19

Listen, I'm going to defend an artist right

22:21

to do what they want to do with

22:23

their art and he is provocative and he's

22:25

very skilled He's very good. It's just Can

22:28

we get a normal movie like

22:31

normal like even the favorite even

22:33

the favorite not normal Give

22:38

me a good movie that makes me

22:41

feel good leaving the theater Hey,

22:43

why do I always have to be discussed? Why

22:45

would why would poor poor things does not? I'm

22:47

so disgusted that the happy ending doesn't hit help

22:49

me out guys. Help me out. Help me out

23:01

The thing is it's interesting and the most interesting

23:03

so yeah, the favorite was a slightly more normal

23:05

movie But all the most interesting to all the

23:07

stuff I remember from the favorite is Tonally

23:10

similar to the way

23:12

that poor things is all the way through Especially

23:15

and to bring it up again just the kind

23:17

of tension and drama that he that he gets

23:19

out of awkward power

23:21

dynamics and sexual relationships, so

23:23

in the favorite it's this

23:26

weird relationship between the Queen and

23:30

Made servant her favorite like her court

23:32

favorite. Yeah, and it develops into a

23:34

weird sexual relationship Which is

23:36

definitely abusive But what's interesting about the

23:38

movie is it plays with which party

23:41

is abusing the other and to what extent

23:43

and in and in what? Ways, I really

23:45

think that's just what this guy likes Playing

23:48

with I didn't see Alps and I

23:50

didn't see dog teeth Both of those

23:53

involve like abusive sexual

23:55

relationship like absolutely complicatedly abusive

23:57

sexual relationships, too Yeah,

24:00

yeah, I'm too for sure it is.

24:02

Horribly. I didn't see his first film.

24:05

It would be very surprising to me if

24:07

this was not a theme through his early...

24:10

So, Kineta 2005, my best friend, 2001.

24:12

So, there are two earlier ones that

24:15

I didn't get around to seeing. And I don't know

24:17

that I will seek them out. It's

24:20

unusual... Or actually, I take

24:22

that back. It's not necessarily unusual, but

24:24

he has such a distinctive voice. And

24:27

that is kind of what I

24:29

appreciate about him. Even if

24:32

I don't like everything that

24:34

he's doing... And actually,

24:36

I do like most of the stuff that he's doing. But

24:39

even if he's not to your taste, you

24:41

can't argue that he doesn't have a really,

24:43

really distinctive voice in this

24:45

space. And that

24:48

is really, really valuable, especially when

24:50

we've got Marvel

24:52

movie after Marvel movie. And we

24:55

all love superhero movies and stuff,

24:57

but good grief. Personally, I

24:59

like having a distinctive

25:01

voice in the film space.

25:04

What's going on guys? This is

25:06

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site for details. details. To Lawrence's

27:15

question, the like point about like

27:17

why is this movie winning Oscars

27:19

is because like this guy's clearly

27:22

an unashamedly pretentious filmmaker. He's

27:25

got all this like the chunks of

27:27

the movie are in black and white.

27:29

He's got like these long cinematic pauses.

27:31

There's probably references to two or three

27:33

dozen like classic films in there that

27:35

are in important things that I didn't see. I

27:38

imagine one reason why he's so popular

27:41

with the economy is that he's making

27:43

capital P pretentious films and being very

27:45

unashamed about it. Yeah, the art film thing, it's

27:47

a mode that I can go into, but it's

27:49

always a little bit of an adjustment of you

27:52

just got to surrender and just. We're

27:54

just hanging out with these people. Yeah. For

27:57

a while. It wasn't That

27:59

Stark.. Poor things just because

28:01

that is such a a presentation

28:03

of a fairytale. Basically it's a

28:05

for at some sort of fable

28:08

and so that is not. You

28:10

don't mix that with like a

28:12

five minute. Dinner. Scene where

28:14

nobody talks, rain and snow.

28:16

And as he knew at that such

28:19

a good point mark because in poor

28:21

things you have and maybe it is

28:23

because it was based on a novel

28:25

that it has like that that character

28:27

arc we have. you know it's something

28:29

that you can kind of if not

28:31

predict. He actually kind of you. You

28:33

know where it's going. Whereas he really

28:35

plays with the Our Expectations and all

28:37

of the stuff that he writes like

28:39

dogtooth. I'd no idea where that was

28:41

going. I had no idea. Where the

28:43

lobster was going? Enough for me

28:45

is pretty sad. I I like that

28:47

that with poor things I you know

28:49

I really gotta sense. I thought it

28:52

was too long, but I I got

28:54

a sense of of where this character

28:56

was going which I appreciate it. Even

28:58

with all of his weirdness, he really

29:00

stuck to a specific. Story Structure: Even

29:02

with with different parts you know there's

29:04

apartment in part to you. I'd like

29:06

him. I mean this is the most

29:09

convincing all of his films by far

29:11

was the structure of it's end users

29:13

are right that has arts. Like.

29:15

Seems like an arthouse filmmaker but

29:17

he takes to stuff to the

29:19

it's green. When. It comes to

29:22

the violence or gore's such Well he

29:24

he takes to the says because ourselves

29:26

films do to him to be with

29:29

more freer with the six. Wow these

29:31

be roots. It's to the streets so

29:33

I do appreciate that. I.

29:35

Do really really like.

29:38

That. This particular film is so well

29:40

structured like it is extremely well stresses

29:43

you know the beginning, the middle in

29:45

the ama you understand what he's up

29:47

to. This is so unpleasant and and

29:50

in really was preparing me and

29:52

I'm. Just. not a guy

29:54

who likes that unpleasantness but he

29:56

really wallows in an emergency a

29:58

happy ending as is he in

30:00

that unpleasantness and that's where it really

30:03

turns me off. And so I'm beginning

30:05

to realize that it's just my own

30:07

personal proclivity. There's some things that really

30:10

get to me and he

30:12

for some reason is a artist who

30:14

really likes to hit my

30:16

button. For some people they're

30:18

able to watch that stuff and Al's able

30:20

to watch it through his fingers, but he

30:22

ends up enjoying it. I'm a

30:24

person who watches it through his fingers, but

30:26

it's so unpleasant that it leaves me with

30:28

a bad taste at the end. The marker

30:31

for me of whether a film like this

30:33

is good or not is whether I feel

30:35

like the unpleasantness is worth it, is what

30:37

the movie was trying to do something or

30:39

communicate something or tell some kind of story

30:41

that's worth being made to feel horrible

30:44

for. Like when we

30:46

discussed May-December, it was a similar

30:49

thing there. It was just trying to make sure

30:51

that the movie had enough substance that it was

30:53

worth what it put me through. And

30:55

I think Paws' name does. I

30:57

would feel less good about it if I felt like

30:59

it was just a gross out dark

31:01

comedy. I

31:03

really think it was exploring

31:05

some very under explored areas

31:08

of sexuality and psychology that

31:10

I can't remember other movies

31:12

doing in the same way.

31:14

In all of his movies, he sort of

31:16

goes into like really taboo areas. Like

31:20

animal abuse has been something like

31:22

a constant and child abuse. And

31:25

he's very graphic with that. And

31:28

it's disturbing. I watched that stuff through my

31:30

fingers too. But I

31:32

don't think that it's there just

31:35

to shock you. I think it's

31:37

there to serve a purpose in

31:39

his, you know, thematically in his

31:41

work. And specifically, you

31:43

know, like in Poor Things, you've

31:46

got a character who is really kind

31:48

of fighting against some of

31:50

these social constructs. And you

31:52

have to do that in this movie. At least

31:54

he has to do that in this movie in

31:56

a really graphic, unsubtle,

32:00

way in order to make us

32:02

pay attention to this character. Do

32:05

we think that compassion can

32:07

be discovered out of

32:09

nothing? I think that is sort of what is

32:11

being explored in this movie, that you could start

32:14

with completely amoral and

32:17

that just by doing

32:19

a little reading, I mean, the

32:22

moment at some point she

32:24

goes from completely just self-absorbed and why wouldn't

32:26

I just, oh, you found a frog on

32:28

the ground, kill it for

32:30

my amusement, that kind of childish

32:32

cruelty to, wow, I'm seeing the

32:34

suffering in the world and I'm

32:37

overwhelmed by it and I should

32:39

sacrifice myself to that. And that's just a transitional

32:42

thing to a more mature, oh,

32:45

I realize that, not to

32:47

give away, I don't think this is a very

32:49

central thing, but she discovers a little about what

32:51

her former, her dead mother was

32:53

like and that she

32:56

and her husband were cruel and I'm

32:58

going to make a decision to

33:01

not be that and that that is an open

33:04

question, that is something that the philosopher character that

33:06

we're referring to just says, no,

33:08

everybody is underly cruel, we just think

33:10

of ways to deny that, but

33:13

yet this sort of childlike innocence, we

33:15

get the two sides of it of,

33:17

on the one hand, being a bleeding

33:19

heart and on the other hand being

33:21

thoughtlessly, there is no childlike innocence. The

33:24

childlike state is utter cruelty and that's

33:26

something you have to discover is morality

33:28

and compassion. Well,

33:31

it's also something that the

33:33

Mark Ruffalo character thinks is

33:36

society's job is to make sure that

33:39

we are not all assholes all

33:41

the time, selfish assholes, that

33:43

those rules are put into place for a reason

33:45

and I think that this

33:47

movie is really kind of fighting against that

33:49

idea. That's all really interesting because

33:52

it does speak to the central idea of the

33:54

movie is this main character

33:56

who's defined at all times by, you

33:59

know, what she's expected to

34:01

do by various powerful figures who surround

34:03

her and try and abuse her or

34:05

manipulation or whatever and then her journey

34:07

in the movie is about trying to

34:09

define herself against that. And I was

34:11

thinking about the philosophy of

34:13

the character when you were talking about him

34:16

earlier because I was trying to decide for

34:18

myself whether he was one of the characters

34:20

who was trying to abuse her or whether

34:22

he was like on her side. Like was

34:24

he trying to just inculcate

34:26

her into his way of thinking just

34:28

because she was vulnerable and

34:31

he saw an opportunity to do that or

34:33

was it a genuinely helpful moment and it's

34:35

interesting that she eventually decides to distance herself

34:38

from his viewpoint which is another way that

34:40

she kind of discovers her own autonomy in

34:42

the movie. Everyone

34:44

is trying to control her in

34:47

some way and

34:49

she won't be controlled and that's what

34:53

that was certainly Mark Ruffalo's downfall.

34:56

I mean I guess along with

34:58

the improbable maturation just the okay

35:01

I'm basically a four year old

35:04

and I'm just going to insist

35:06

on going out into the world on my own

35:08

and walking around and

35:10

yet somehow I don't just immediately

35:12

get lost. Like

35:14

oh she finds her way back you know there's

35:16

a reference to this. I was

35:18

concerned from a parental point of view. Right

35:22

her brain is developing at a

35:24

much faster pace than it

35:26

would in real life and wasn't it like

35:28

you could mark you could sort of mark

35:30

her development by the length of her hair.

35:33

So you know her as her hair grew

35:35

and her hair grew really really fast throughout

35:38

the time span of the

35:40

movie and her brain actually

35:42

ends up catching up with

35:44

her biological age of

35:46

her body pretty quickly. So you can

35:48

see her go through like in the

35:51

early stages she goes through the baby

35:53

in the toddler stage like really

35:55

really fast and then she becomes

35:57

that petulant teenager pretty

35:59

quickly. You know, but she's not

36:01

a four-year-old walking around Lisbon,

36:04

you know, she's she was I think at that

36:06

point Late teens early

36:08

20s somewhere around there. She could

36:10

exchange in commerce. For instance I just didn't even

36:13

think at that point like oh you

36:15

can just take things That

36:17

will be her attitude because this is what the movie

36:19

had been telling me before that she's so ignorant of

36:22

Even just fundamental things because she's never been let out

36:24

in the world I never had

36:26

to like deal with anything that wasn't just

36:28

specifically catered to her So X, you know

36:31

being exposed to a society. I don't know what

36:33

my trouble is with this It's just if

36:35

it's supposed to be saying something deep

36:38

about what a stranger in a strange land

36:40

would figure out about You know, it's one

36:42

of these alien movies Resident

36:44

alien I was watching that show and

36:46

there's all this just the the ongoing

36:49

comedy of like what you're not allowed

36:51

to do that And you know, I

36:53

just felt like either they would milk

36:55

that more It just bypassed

36:57

a number of those things and Potential

37:00

comments that could have been made that

37:02

I expected from a movie with a character

37:04

like this I feel like

37:06

the story is much more like like Frankenstein one

37:09

of those things are different and remember the

37:11

novel now and how the the creature in

37:13

Frankenstein is also Very very

37:15

quickly becomes a very very intellectual

37:18

Figure and I can't remember if

37:20

they bother explaining like how or why? That

37:23

that happens just just just that it does

37:25

from running around the woods by himself Yeah,

37:29

have you guys heard the comparison between? Poor

37:32

things like Bella Baxter and Barbie. Have you

37:34

heard of this? There

37:37

are some parallels there I can see

37:40

it I can see it though. This is like a

37:42

more graphic Barbie. Yes It's like a

37:44

more graphic Barbie Yeah,

37:46

but I mean but it is sort of

37:48

taking somebody with the brain of a child

37:50

basically or brain of a toy and thrusting

37:53

them out in the real world and And

37:56

seeing what happens and see how they exposing them

37:58

to the patriarchy and see how exposing them

38:00

to the patriarchy, exactly. The

38:03

question is who's the better Barbie, Margot

38:05

Robbie or Emma Stone? That's the real

38:07

question. I guess in both circumstances I

38:09

find them so constructed, these

38:11

environments, so we're not actually exposing the

38:13

character to the real world. We're exposing

38:16

them to the very

38:18

heavy-handed way that the director, the

38:20

writers want to present this and

38:23

make a particular point. It's

38:25

probably less subtle in Barbie. We're

38:28

actively, patriarchy, patriarchy, making jokes

38:30

about it, whereas poor things

38:32

is less overtly self-aware,

38:34

is less

38:37

post-modern, is more playing with

38:39

a ... Again, I see

38:41

the genre being candid of

38:43

the travelogue of the

38:45

innocent with a sometime philosopher

38:48

companion being shown the world and trying

38:50

to come to terms with how should

38:52

you react in the face of the

38:55

brutishness of people. Read.

38:58

Get reading. Right. The

39:01

final act that I referred to before,

39:03

so this is going to definitely get

39:05

a spoilery where she decides, oh, I

39:07

guess I do want to find out

39:09

who this person was, who my mother

39:11

was essentially, and finds that

39:14

it's more of the same or

39:17

worse that this entirely socially approved

39:19

of form of possessiveness and cruelty,

39:21

that she's just, I'm going to

39:23

have no part of that. You

39:27

can try to shoot me. It's fine. Yeah.

39:30

I mean, how do you feel about

39:32

this movie coming out now, coming

39:35

out at a time when women are losing

39:38

their autonomy once again, that

39:41

we're not allowed to make as many choices

39:43

about our own bodies once again? I

39:46

don't know when he started shooting this movie,

39:48

but it does seem like the

39:51

timing of this is

39:53

also another reason why it's gotten such

39:55

attention. I think

39:58

something this film like it does that. thinking

40:00

again about the favourite is complicating

40:02

the idea that the solution to

40:05

like the patriarchy particularly but like

40:07

sexualized power dynamics in general is

40:10

women's choices. And this is maybe

40:12

an interesting contrast with the Barbie

40:14

movie because when we talked about it, one of

40:16

the things that the Barbie movie

40:19

struggled with was coming up with like what

40:21

its own coherent like feminist philosophy

40:23

was. But between the favourite and

40:25

poor things, it seems like

40:28

one of the things that movies are trying

40:30

to say is that it's the structures that

40:32

these people find themselves living in that

40:35

limit the choices they're able to make, the freedom

40:37

that they have and limit the impact of the

40:39

choices that are able to make. So in poor

40:42

things, for instance, Emma Stone is like, I'm liberated

40:44

now. What are my choices? I can be a

40:46

prostitute. Great. How liberating? To

40:48

appoint Sarah Lynn, I think the

40:50

reason it feels maybe the reason it feels so timely is

40:52

that it like really complicates

40:55

the idea of what it is to be

40:57

free or to be liberated. And like just

40:59

how subtle, nuanced and many

41:01

the challenges are to being able

41:04

to actually be an autonomous person

41:06

given like the world that you

41:08

find yourself in. Yeah. Well,

41:10

the film was filmed from

41:13

August to December of 2021. So

41:15

that's before they overturned

41:18

Roe v. Wade. But I

41:20

do think that this is kind

41:22

of evergreen material. Like it's always

41:25

a threat for women

41:27

to lose their bodily autonomy. It

41:29

just so happens that this is coming out at

41:32

a particularly hot topic in

41:34

America and in a very

41:36

kind of contentious election cycle. But I

41:38

do think it's an evergreen. I think

41:40

it's an evergreen topic. I don't think

41:42

there's ever a bad time to talk

41:44

about this. I just think

41:46

that this is really hitting a really

41:49

hot spot. And though I do

41:51

find it unpleasant, I did not enjoy

41:53

watching it. I do think it's important.

41:56

I think it's worthy of being made.

41:58

I think it's worth it. being

42:00

seen by some people. One

42:03

of the things that really did bother me is

42:05

that the sexuality is so gratuitous. It made me

42:08

concerned that some people might go in there

42:10

with ill intentions to watch this,

42:12

if that makes any sense. Like, I want

42:14

to see her naked and see some weird

42:16

sex. Let me just watch it without...that's always

42:18

just a danger and that worried me. But,

42:20

you know, it's a small worry. But I

42:23

do think that the topic, that the subject

42:25

matter is very, very apropos. It's

42:27

important to talk about this stuff, particularly

42:29

right now. I just wish it was

42:32

made in a way that a little

42:34

bit more approachable because I do worry

42:36

that we will watch the film and

42:38

talk about it. I don't know how

42:40

much everyday regular people...the Academy, yes. But

42:43

regular everyday people just watching this film, they

42:45

need to watch. They need to be confronted

42:47

with these ideas. I'm just not sure that

42:49

they are. I think it's gonna be such

42:52

a turn-off that they're gonna be walking

42:54

out the theater. And many people have walked out the

42:56

theater because it's such a turn-off, the way they

42:58

present it. Do you think that the audience

43:01

for this, that they're just kind of preaching

43:03

to the choir? Like, this is your

43:06

NPR listening. I think so. I do think

43:08

so. Lefty. I do think

43:10

so, yes, absolutely. And the film

43:12

nerds like us, who are really interested

43:14

in the film work and the film

43:17

making and all that kind of stuff, like they'll

43:19

sit through it. But the real people who they

43:21

really do need to reach, because I think that

43:23

the message is relatively...it's pretty important. But the real

43:26

people that they need to reach, they're not gonna

43:28

reach them because they're gonna be turned off by

43:31

a lot of this stuff. And that's just

43:33

the risk that you take when you are a filmmaker

43:36

like this. Well, at least they all went to go

43:38

see Barbie. They definitely went

43:40

to see Barbie. They went to see Barbie. I

43:43

guess I'm not convinced that the message

43:45

itself is intrinsically

43:48

innovative or valuable. I know we've sort

43:50

of talked about when a film gets

43:53

philosophical at all, like, oh, that's cool,

43:55

that's wonderful. But like, judged as philosophy,

43:57

like I don't regard this particularly...

44:00

highly or clearly. It's definitely not innovative

44:03

but I would say it's important but

44:05

innovative no. I mean many

44:07

you know feminist philosophers kind of

44:09

made this point in other areas

44:11

but innovative no important yeah

44:13

I still think it's important. So

44:15

I would say for instance dogtooth

44:17

is a social critique. Alright I'll

44:19

sort of give what the general

44:22

framework is which is that this

44:24

father with grown children

44:26

has decided to infantilize them and

44:28

that he has some weird view of

44:31

him romantic view of

44:33

what the family is and so that

44:36

you know these these adults will

44:38

remain perpetually children they'll never be

44:40

allowed to leave the grounds and

44:43

because the the son in

44:45

particular has sexual needs then

44:47

he like you know brings

44:50

in a woman to satisfy that

44:52

and well when that doesn't work

44:54

out now we're gonna encourage incest

44:57

not just encourage but like make this happen which

44:59

ends up being a breaking point

45:01

and certainly one of the grosser parts

45:03

of this whole thing and these kids

45:05

have been so sheltered that

45:08

when one of them gets her hands

45:10

on some videotapes like so it's Rocky

45:12

4 and Jaws or Jaws 2 or

45:15

something. And flash dance. Yeah yes that

45:18

like those these

45:20

are really hilarious you know

45:22

that you know by presenting this

45:24

extreme situation I think was getting

45:26

at the kind of codependency

45:29

and control and like what

45:31

real patriarchy amounts to because

45:33

it's actually being I'm gonna

45:36

say being subtle in its

45:38

message because the the situation is presenting

45:41

is obviously not a normal situation so

45:43

you could say this is this is

45:45

no relevant but just straight up saying

45:47

oh yeah women all

45:50

every man you'll run into will explicitly say and

45:52

this is you know another Yorgos thing is that

45:54

he just has characters just say

45:56

what they would never actually say right what

45:59

they would Like, if you don't

46:01

do what I want, then I will kill you, repeatedly.

46:05

Is that the message? It seems like the

46:07

problems of patriarchy now are much more subtle

46:09

than that. It's not

46:12

the men standing over you and saying, do

46:14

what I want or I will kill you,

46:16

but it's that you have been conditioned and

46:19

mind fucked into seeing yourself as inferior. These

46:22

much more weird codependencies and things,

46:24

like that's what we need to

46:26

explore and the decolonization,

46:30

as it were, rather than the explicit

46:33

big bad wolf. Even

46:35

though he says the quiet parts out

46:38

loud, that's still the same message. That's

46:41

the same message that women feel.

46:43

That's the same message that you

46:45

still receive, is that if I

46:47

don't control you, you are going

46:50

to be sorry. You're going to be

46:52

hurt or you could even be killed.

46:54

Whereas if the reverse is true, the

46:57

woman says something to the man, his

46:59

feelings are hurt.

47:01

He says that stuff out loud, his characters

47:03

say that stuff out loud, but that is

47:05

absolutely the message anyway that's loud and clear.

47:07

I also think it's probably asking too

47:09

much for movies to be philosophically

47:12

interesting as such.

47:14

It's really hard to make a movie. I

47:17

completely agree. And it's really hard to come

47:19

up with an original philosophical idea. I

47:22

don't expect my philosophical movies to be able to do

47:24

both at once, but if you can explicate

47:27

a philosophical idea in a filmically interesting way,

47:29

then that's like, that's a piece to me.

47:32

And I think that's what poor

47:34

things did. The overall

47:37

political message of the movie maybe

47:39

isn't the most subtle thing in the world,

47:41

but I've never seen it explicated in that

47:43

way. And it's done in

47:45

a way which draws attention to movies.

47:48

I think it presents a critique

47:51

of movies and the way they treat

47:53

certain kinds of women characters in general

47:55

as well. And that is also interesting,

47:58

like over and above the general society. critique.

48:00

So you have these, I kept thinking of

48:02

the fifth element, right, which is a movie that

48:04

I love, but has come rightly under a lot

48:06

of criticism for the way that it handles Leeloo,

48:10

and it's like the version of

48:12

the Born Sexy Yesterday trope

48:14

in like the modern film era. And

48:17

one of the things that I thought was most

48:19

interesting about Poor Things was it seemed to be

48:22

commenting like directly on those

48:24

kinds of characters in movies and

48:26

on like the limits

48:28

of treating those as liberating

48:31

or progressive kinds

48:33

of characters. Anything

48:35

else about any of these movies that

48:37

we wanted to get into before we wrap up here? I

48:39

hated all of them. That's what I thought. I did not

48:42

like any of them. I hated all of them. I hate

48:44

you for making me watch it.

48:46

I so appreciate his voice. I hope

48:48

he continues to make movies and

48:51

I will probably be first in line to

48:53

watch him. Lots of really good films

48:55

recently have been very good at making

48:57

me feel very bad, but not necessarily

48:59

in ways that I feel bad about

49:01

feeling. And I'm interested in that. That's

49:03

good. Do we want to

49:05

see Poor Things too? No. I know

49:09

we often talk about like the two. What's

49:11

next? What's next from the, you know, apparently

49:13

he's already shot another film, so there'll be

49:15

something that's out. Kinds of kindness. Yeah.

49:18

I mean, he's going to get to do like exactly what he

49:20

wants for a while because this movie

49:23

was such a big critical darling, right? We're

49:25

going to get more weird movies from him,

49:27

not less. Love it. You know, what made

49:29

this the most ordinary of them is it

49:31

was more clearly playing with genre stuff. I

49:34

know you guys are saying that

49:37

Killing of a Sacred Deer is playing with

49:39

the Cape Fear genre or, you know, maybe

49:41

one of the videos I was watching about

49:44

it mentioned it as a tragedy and that

49:46

even though while that movie is happening, you

49:48

don't quite know where it's going. When it

49:50

does resolve, you're just like, oh, this was

49:53

entirely where it was aimed the whole time.

49:55

And it's a sort of a classic Greek

49:57

tragedy of the hubris of somebody with some

50:00

funny parts along the way. Alicia Silverstone has

50:02

a great thing.

50:04

She's a great mother for a

50:07

scene. I feel like Dogtooth

50:09

is just such an original concept

50:11

and Alps. Good concept. Though maybe

50:13

not as well as Executed. Terrible

50:15

film. Terrible. Completely

50:17

original concept and I want

50:19

more of those things. If what

50:21

it makes him to make a

50:23

normal film is to play with genres

50:26

more, like I'd sort of rather he

50:28

just spit ball. Because he

50:30

made one. The favorite. The favorite

50:33

is so quirky and weird. It's

50:35

a love triangle. It is not

50:37

normal. Just a standard love

50:39

triangle movie. It is not. We would

50:41

like to see him do, which

50:43

he will not do. A Marvel. I

50:46

want to see an action movie. Let

50:48

me see an action movie. No. Give

50:50

me a Mission Impossible, Dan Reckoning Part

50:52

3 directed by this guy. I will

50:54

probably love it. It's going

50:56

to be some gratuitous violence but I

50:58

will probably love it. He'll do the

51:00

job. Spin off. That sounds great. He

51:03

should do like a buddy cop

51:05

movie. Let's go. Be the weapon

51:07

false. Bad boys 4. Let's do

51:10

something. The audience cannot see me

51:12

but they are so mad at me.

51:14

I am so mad. I want you

51:16

guys, the people cannot see me. I

51:19

am so mad that you guys

51:22

made me watch this stuff and

51:24

made me talk about it. You

51:27

are acting for the buddy cop

51:29

movie where one cop ruthlessly, sexually

51:31

and psychologically brutalizes the other buddy

51:34

cop. It might be like Bad

51:36

Lieutenant Part 3. That's what it would be.

51:40

On that wonderful note, I think we

51:42

have three recommendations to see

51:44

this movie for most people. Not

51:47

for everybody. Not for most people.

51:49

That means that for me. For

51:51

people that got to the end of this discussion. Do not

51:53

watch this movie. I'm sorry. Don't watch it. You're going to

51:56

watch this. You're going to be disgusted. You're going to see

51:58

a whole bunch of graphic nudity in this movie. sexuality

52:00

and you're gonna be very upset

52:02

that you watch this film. Don't

52:04

listen to Mark, don't listen to

52:06

Al, don't listen to Sarah. They

52:09

are petite bourgeois film critics. If

52:11

you want someone who is on

52:13

the ground like you listen to

52:15

me, don't watch this film. Alright

52:17

Mr. Professor, very very

52:19

very relatable. Let's wrap up before we say

52:21

things we were grabbed. We can say it

52:24

in the app talk. Please go to patreon.com/pretty

52:26

much pop and you can hear us talking

52:28

more in a second. Bye guys. Bye

52:30

bye. So long. Bye. This

52:59

is not their driver Tony Brightender

53:02

inviting you to make a

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pit stop at Raising Cane's

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