[Music] Hey folks and welcome to the daily ratings podcast. It's a show where each week we're going to be sitting down the Vincent daily to get his thoughts on the latest movies he's been watching. Both older films and new releases. And don't worry, there's no spoilers. Vince will give a brief review of the movie. Share some thoughts and of course, then write the film. The daily ratings are always fair, honest, and most importantly, they're consistent. On today's show, Vince will be rating and reviewing. We have 1948's The Three Godfathers by John Ford. 1996's Twister by Yawn DeBont. And finally, newly released now in theaters, Twisters. Directed by Lee Isaac Chung. So we're going to get thrown around a little bit. We're going to step back in the old West. Let's see what Vince has to say about it. Stay tuned and enjoy the show. [Music] Vince and Daily, how are we doing brother? Tommy T. How's it going? It's going OK on this side of the table. How was your week of movies, man? Week was pretty good. You know how the week was? You did all the homework this week? I watched all three. Yeah. He's a frown. I did all my homework. [Laughter] Definitely tough to tie these movies together. Even with Twisters being a spiritual sequel to Twister, very different movies, I feel like, you know, they lost the, there's, there's maybe a thread of adventure between all these, you know, a little bit of a journey on all these, but yeah. There's some action that I guess you could say. The real shame is that Three Godfathers wasn't called Three Tornadoes though. [Laughter] That was the only thing I was worried about. I would really shot for, I think there's a lot more connections to Twister and Twisters than other people are saying. OK. I can't wait to talk about those two. Yeah. I almost feel like we're in a minority because we, we saw Twisters together, you had already seen Twister. I went home the next day I watched Twister and that's when I started doing like what are other people saying. Sure. Yeah. What's the buzz? And I've been a little surprised at some things that have been said. Yeah. Absolutely. That being said, Three Godfathers, John Wayne, John Ford, I was pushing for this one. You were. Yeah. You were. I'm going to be excited to talk about it before we get into that. Any opening notes for the week, anything that you feel that you need to touch on beforehand or no? I don't think so. I have some trailer notes between the next, you know, this episode and maybe the next episode. But yeah, I guess we could save that for the end. No. What trailers did you? That trailer was a good trailer. I just, just trailer notes in general. I've been showing up too early to these damn theaters. We happened. That's our biggest mistake lately. Yeah. Have we been going together? I'm like, what are we doing? It used to be 20 minutes. It's half an hour now. Yeah. If you're adult. Easy, easy. Half an hour. I would say, I don't know. Real quick rundown, uh, heretic with, um, uh, why can't I think of his name now? Uh, it's a 24. It's. Oh, yeah. Yeah. He ran. Yes. Things that's interesting because it feels like an a 24 film that might come out like 2015 might be a sign of them kind of shifting a little bit. We had the news that a 24 is, uh, trying to do more quantity over quality, uh, a little bit, especially with the HBO Max contract. Quantity over quality? Uh, quantity. Yes. Really. Uh, pump out more. Yeah. I think that's what the decision was. Well, I think they had an influx of cash. Mm hmm. My, my gathering though, is they also want to get into larger things. Yeah. So they are dipping into TV. Yep. And like civil war was the highest budget, you know, for them. And I feel like when you say 2015, what do you mean by like vibe wise? Yeah. Vibes. Yeah. It's a smaller scale project. It feels like a more boiler plate type of, uh, script. Right. I'm just like, oh yeah, I got to trap some and then it's like, uh, you know, it's like a test for them to get out. It seems like more of the type of projects that a 24 pick up. Yeah. Exactly. Uh, hate to say it, but the metallopolis trailer, I kind of like it. I know I'm, uh, more bitly excited to check out, megalopolis, but I feel like it's fitting into the mess that you and I might defend all a cloud atlas or something like that. Yes. There was another film the other day that I popped up in cloud atlas and I should have thought about it. I forget what that was. You mentioned that. I don't know. I can't remember. Yeah. But there was something that happened that gave cloud atlas. Oh, well, you know what it was? It was, uh, kinds of kindness. Oh, very true, very true. Different stories, actors playing different characters, but then the same. Right. The repeat. Yeah. Absolutely. But there was something else that I felt that we were, um, against the grain a little bit on. And this episode, I think we're going to be against the grain on some things. Yeah. But okay. All right. So that, uh, Afraid from Blumhouse looks to be a new low, even lower bar than my three again, as far as let's use AI as like, uh, you know, capitalizing on fears. So crap. You're expecting crap. Yeah. Just absolute schlock. Despite really hating smile one, I think smile too looks a little bit better. I feel like there's an interesting play there that as a celebrity, getting the curse, there's something to eyes being on you all the time that I feel like plays a little bit more stronger as a sequel. I'm intrigued to that main actress too. Oh, yeah. I'm getting Florence Pugh vibes from her for our style is and like she's talented. Yeah. Yeah. So maybe a silver lining there, but most of all, I've been in love with a trailer. I don't think it's going to be a great movie. Oh, okay. But I think, uh, the second cut of the trap trailer for from, and I chamalan, it's just like a really well cut trailer. It is. It is. I think it's electric. Like as far as editing goes. Even the music. Yeah. Down to the music choice. Yeah. It makes almost me want to go see the film. Right. Right. You know what I mean? Right. Where in actuality that's such a rug pull of every, and like chamalan movie, where it's just like, yeah, looks kind of good. Turns out it's really not. This one is different though. Yeah. Yeah. This one has a little bit of a different thing going on. Like again, it's even intriguing me a little bit where his last one, which was this like night house or something. Oh, no, no, no. Not cabin. Neck of the cabin. Yeah. I had zero interest in the entire time. True, true. But this one seems like it might have something I do feel like the trailer reveals too much. Oh, yeah. Well, that's also like, we couldn't get into it in our original N9 episode, but it feels like if we did another N9 episode, I'd cover the later films exclusively because it feels like he knows people expect the twist. So now he leans into the twist and like the twist is just the content of the film. Oh, that's interesting. I kind of like that theory. And you see that in trap that it's like, oh, they're just kind of giving it away. But that's also it's more so about the ride now. Yeah. Right. Right. So I don't know, not that I'm super excited for another N9 episode. We kind of squeezed the, the rag on everything good from his, Roman's filmography. But, but yeah, that all I'll say is because trap, the first trailer for trap didn't look good at all. I am very cautious about M9 anything, even even his daughter. We didn't cover watchers, but apparently that came out as a bad movie. Right. We didn't cover that. Yeah. That's correct. Yeah. But yeah, just something about that second, second cut of that trailer. I think it's, it's pretty nice. It's good. Yeah. So that's it. Okay. Well, I want to make a comment. I think, because I've been thinking about this a little bit of how off we are, well, again, going against the grain, a little bit of one thinking that this is actually have been an okay movie here. Yeah. Right. I think anybody in this whole critic space completely disagrees and everyone's just talked about 2025. Yeah. Listen to another, another show that like I like the people and I like the hosts and everyone's like shitting on the rest of the year. And I'm thinking there's some stuff to be excited about. Yeah. Absolutely. I mean, no one, things on the top of my head, I am totally concerned, but I'm totally going to go see Gladiator two. Not sure. I've been tensile alone. Of course. One of the things I'm really excited for the war that we're hearing, the the Edgar's film is coming out, Nosferato, and then the one that I've seen in two trailers, I'm right away. I, I, in the theater, I was just like, we're both excited for this even though you don't know this film, which is the movie from the guy who did All Quiet on the Western Front. Yes. Yes. I forget the director's name now. I forget the name of the film. Oh, yeah. Oh, wait. It's a one word film. It's like a November. Oh, man. What is it? But, but a Vatican, but a drama Vatican political kind of film? Absolutely. Yes. Yeah. And by a high class director with high class actors, like no one's talking about it. I like seeing him getting work out of the German space because he directed a lot of German films originally. Right. Before All Quiet. Do you got skill and style? Yeah. This looks like a good, this is going to be the best Vatican film I swear since, oh boy. Yeah, I was the Vatican. The second division code telling you that is a low key. That is a so bad. It's good movie. Oh, angels and demons. It's it's it's scrumptious. We got to do a division. That's what I was actually talking to someone else about this week. Oh, really? But anyway, that director's kicking off. I like that. Beetlejuice too. I'm not even excited about some other people are, but yeah, I mean, I'm excited coming down the pipe just to do in the format of what we do on the podcast cover some Tim Burton stuff. And again, like M night squeeze the good Tim Burton out of that. Right. Right. But yeah, I totally agree. And just circling back. I mean, I don't have to tell you to gush over Lord of the rings, but where the row him, the more I I research into it, it looks like a like I'm almost in disbelief of how a project like that was funded. Like I think it's awesome. My Warner Brothers. But like a major is yeah, I know it's weird and Brian Cox is the main guy in a voice actor. They pulled this big time anime to where it's like, what is Warner Brothers want to get into the anime Lord of the rings that's like, how did this come about? I know, but it did and I love it. And zero people are talking about it. Right. Even in your spaces. What about your spaces? Anime spaces? No, not really. I think mostly because in anime, it's so what's new, what's hot. I don't feel like there's a lot of talk of the director folks for this board of the row here. It comes from ghosts in the shell, both original and the very good salt sack series, a standalone complex series, but like an excellent anime director, right? Not the creator of ghost in the shell, but like tied to all the good ghosts in the shell. Right. He's got chops. He's got. Yeah. Yeah. So yeah, it's it's mind boggling. I feel like we're in the outlier when it comes to our good streak and like March, April that we talked about that it was like, this is a hot year for some indie stuff. Yeah. Yeah. But yeah, I mean, I don't know. I guess people don't see it. I know. I'll tell you about something with you anime, guys. Well, first of all, the war that we're here is the most perfect film for us. Yeah. I mean, it's Lord of the Rings. Right. It's anime you. We're definitely going to go see it together. Yeah. Yeah. But with you anime, guys, I feel like you're all about finding the nuggets or the one that's hidden from mainstream, so I feel like an anime Lord of the Rings will almost be looked down upon from you people because it's too big. It's too show. It's too flashy. It's too high in stream. And you guys are all about finding the not mainstream stuff. You know, that you have to go through like the weird corners of the internet to even find it. Yeah. So true. So true. Well, I think that's where I'm this goes back to probably a review barely anyone listened to. It's a movie called The Dear King. I'm reppin for when animes make it to a feature-length production because so much of the industry is either you go after TV or you don't go after anything. Right. Or you don't go out of Japan or something like that. Exactly. Like you want some American market stuff going on. Yeah. Yeah. So when I see that, I'm like, wow, no one's not someone Warner Brothers is putting significant money towards this. Hell yeah. You know, that's great. Absolutely. So it just will be in the outline as well. Also, talk about a miss opportunity of not saving the Lord of the Rings animated films. The Rankin and Bass ones. Totally worth it. Yeah. It would have been such a perfect slide. Oh, man. Wasn't thinking on that one. Yeah. Yeah. Okay. So we're going to take a jump back to 1948 and total total shift for what we were just talking about. Yeah. Right. So 1948. This is directed by John Ford. This film is called Three Godfathers. Mm. Okay. So it's just at the stage. Oh, yeah. Yeah. Absolutely. Okay. One, I just want to say right off the bat, I think 1948 is not Pete John Wayne, but the best year John Wayne ever had. Really? Wow. So in the 30s, you know, he's doing nine, 10, 11 films a year because they're silent. There's these B movies, you know what I mean? Right, right. Three days, three days or whatever they're called, then in the, and then that's in the early 30s, 30, 90 days stagecoach, which is great. And he's still doing two, three, four, five films a year, a little bit, and even in the mid 40s. And then two to three, it starts, you know, as more popular, those films start to go down a little bit. 1948, he has what we covered last week, which was Red River. Yep. And working with the great director, Howard Hawks. Mm-hmm. Okay. Then he's also working with John Ford and Three Godfathers, which we'll find out. I'll tell you right now. I like the film. And then also in 1948 works with John Ford again. And he starts the Calvary Trilogy with re. Was it Rio something? No, no. Ford Apache, I believe it's called. Okay. And Wayne, the John Ford Trilogy of Calvary, which is a film in '48, '49 and '50. Wow. All pretty well received. Interesting. Interesting. So I think '48 is just a great year for John Wayne. Mm-hmm. I think it's a big entrance as far as just, like, big entrance. Cementing him exactly. Exactly. Exactly. Yeah, absolutely. And I went back and watched, was it a 1947 movie with him called Tycoon, Not a Western? Mm-hmm. I watched another one from 1940. Wow. Loved it. Called The Longest Voyage. Oh, really? Not a Western as well? Not a Western as well, yeah. Interesting. I'm like, I'm 40s, John. Well, now I'm really going on to 40s, John Wayne, favorite John Wayne. And I think then '60s. I think it goes 40s, 60s, 70s, 50s. Interesting. Why 60s? 60s, 50s. He doesn't do too many Westerns, believe it or not. Really? 50s is big time well because it's post-war. Oh, okay. So he's doing a lot of World War II stuff. Oh, of course. Of course. Absolutely. I just watched one called On the Island or Island as something where a plane goes down. He was the pilot and it's like a survival movie and then another crew has to find their crew. Oh, okay. But anyway, a lot of war stuff, right? And then in the '60s, he just goes full bore, for the most part, in Westerns. And he gets some great Westerns, 70s, it gets a little bit, some good Westerns, some bad Westerns, and then we get in a queue, one of personal favorite of Brannigan, you know what I mean? Yeah. You're reffing it for Brannigan. He gets in some other stuff. But I'd say 40s, I'm learning. I would stay away from earlier, John Wayne, because it's like, who wants to watch an older movie? You know what I mean? Right, right. I want something newer looking. Are you sure? Maybe something a little bit better. Absolutely. And now I'm realizing that, no, there's performances here. He does some of his best acting when he's younger. Yeah. When the legend forms, basically. Yeah. He's better at just emotions and things like that. Yeah. He's not this just, I don't know, older guy with his-- The Duke persona. Yes, exactly. That he takes on. So anyway, love in '40s, John Wayne. Love poking around even outside of my experience. Yeah. I think that's great. Also, a tough spot, we're dedicating July to both Westerns and John Wayne thinking they're inseparable. But he probably does have, you know, what would you say, maybe like 30% of his films are-- Yeah, she does another film. That's crazy. Or not Western, so. So that was a lot of that anyway. That was just kind of John Wayne, early John Wayne. I love always hearing about the different movie pursuits that you're going into and just kind of like keeping for yourself too. So much of the podcast is like, I watch it, I make it content. So I kind of respect that. I like to just take notes. John Wayne, I'm into. So I want to take notes. Have you ever come at me in the future? That's right for this. I'm like, yo, three godfathers. It's on the list. It's on the list. This tycoon movie I was interested in because I was getting sorcerer vibes almost. Okay, okay. Because when I see it's about like he's a railroad guy in South America. Oh, South America too. Do a tunnel instead of a bridge and it's dynamite and people are getting hurt. Yeah, it sounds exactly like sorcerer. Yeah, it turns into a love story and stuff like that. Playing for you, John, from 1940 was better. Anyway, 1948, that's called the three godfathers and I'm not done setting things up. Oh, okay. You got it. You've got it. My hands are off the mic. The three godfathers was a book that came out in 1913. Yes. There was a silent film called the three godfathers that came out in 1916. John Ford then came out with the film in 1919, a silent film called Marked Men. This film is a redo of the three godfathers. It's one of the ones that they think is lost then by the way. Yeah, I found this. This 1919 Marked Men, also a kind of cool name for a movie, completely lost to time. It's one of those ones that's like 50 of his films or something like that. Then another film in 1929 came out called Hell's Heroes. Bingo. Okay, that's another film that takes this three godfathers aspect. Then in 1936, a version called Three godfathers with three spelled out came out. Now in 1948, three godfathers, the number three comes out by John Ford and I think this is the last time it's actually tackled. Yes. Yes. Okay. So that's what I have for this film. It's the first time I saw this film was in February of this year. Yes. That's one of the most recent John Waines I've ever seen. Didn't think it was going to be good. Didn't like it. I've seen the film five times now. Wow. Love did. What are five times? Wow. Interesting. I've seen big director John Ford, Vin, why don't you just set it up for us, we'll take it back and forth. Well, definitely. This is my first time watching it and also the first John Waines film that we've covered on the podcast that I haven't seen before as far as the other Waines films that we've covered. It's all been stuff that we've tackled in the past and also a kind of I'm known I've liked as well. What actually made you jump into this for the first time? This was just checking it off the list or going through it. I think what it was. I was going through John Waines stuff and I said, I really need to explore. I went down to how much I watched and I sure I watched, you know, 20-ish, 22 John Waines films. I've seen some of them six, seven, eight times. I said, let's start really chipping away at some other stuff though. And this one had, I think, an overall good Metacritic rating because I can't always trust Rotten Tomatoes. I can't always trust IMDB. Yeah. So Metacritic, I was like, this is a relatively good store. Let's just watch it. And I had heard of this film before. I was like, three godfather. I was like damn comedy. It's going to be cheesy. I mean, 1948, which I just, movies in the 40s, I didn't realize, you know, I just haven't given myself to the 40s yet. Sure. You know what I mean? Right, right, right. So I said screw it. Let's go for it. Yeah. And I'm watching it. At first, not thinking I liked it. It's going back and forth in my head. I'm just like that. I've never seen them. My initial thing is I've never seen a movie like this, watched the second time of third time. And by the time of the fourth time of fifth time, I'm really loved this movie and where it takes you and how it does it. It is very dynamic and I think that's why I was able to appreciate it about it as well. Folks, this is yet another John Ford joint, which I'm glad to get on the site and you really can see the masterful hand at work in a lot of elements here that I'll tune into in just a second. Like Tom gave a wonderful breakdown. The film is a series of multiple adaptations of the same story, which all come from that 1913 novel of the same name. And without reading the source material, you really can see the archetype common among that there. The only one that I will actually technically to, but the only others that I was able to find in the long like basically since a prior or pre 1950, this story was just getting adapted. Crazy. Yeah. It was just like everyone loved it. Only thing I'll add to that is, I gave it like you say this. No, no, no, no. I'm going to let you say the other one. This is absolutely what inspired 2003's Tokyo Godfathers, an anime by the legendary Satoshi Kong and same kind of setup, kind of a riff on three wise men in a different type of setting. In modern day Tokyo at the time? Yeah. Yeah. It's definitely a little bit more fantastical as comes with anime, but Satoshi Kong, you know from paprika. So you know this guy is all very imaginative. Yeah. But Tom, you gave a pitch for this one in the parking lot of twisters that I love and I can't tell you how much I agree. Oh, really? It really is. I think in a good way it represents it. Only really one other film past 1950 that this represents is Fox's hit in 2002's animation hit Ice Age, starring Ray Romano is loosely based on the three Godfathers story. But apparently it's so fantastic. So if any of these, you know, kind of strike your fancy, this is this is one to check out because I feel like something so I don't know, fundamental as like this three wise men set up, but put in a different setting is exactly what I always kind of preach about. Let's make something interesting and do something interesting with our setting. When it comes down to three Godfathers, 1948, that western setting definitely does play a role in how our characters are depicted, how stakes unfold in the actual journey and kind of going from there. I want to just highlight something that you said there. Sure, sure. It's called three Godfathers and you did say once the three wise men. And we should just state, you know, that this is a bit of a Christian allegory of the three wise men. Sure. Not exactly told. And so you're not watching just the telling of the baby Jesus, but it's loosely kind of playing toying with that idea. Absolutely. Some of that is done through allegory. Other aspects just kind of represent in the framework of the story as well in just that it is about individuals may be burdened but also ultimately gifted with this child to take care of. I think spending this with the western and, you know, as far as my kind of curiosity, I'm curious about Hell's Heroes in '29 that basically gave Ford this western spin and I'm definitely curious about 1919's Mark Men because I'll tell you what, we've commented on preservation in the past as far as like these old films. Nothing kind of infuriates me more than just not being able to check out a movie and if anything, I'm now more curious about this. No less from John Ford, so. And there's a lot of them. Yeah. There's a lot of them in that era. It's a shame. I think the statistics also are like 80% of films before like 1930 are lost as well. Oh, yeah. Yeah. Yeah. Definitely a sidebar but for another time but interesting how much this story was electric back then. And even still respected, you know, post 1950. Described as a western take on the three wise men story, three godfather stars John Wayne, Pedro Armin Dariz and Harry Carrey Jr. The story balances many moral themes which lends to a softer tone than you might expect but feels on the cusp of the type of westerns we might get in 1950 where characters matter I feel like a little bit more than just the setting of gunslinging or kind of getting this like western, you know, cowboy fantasy. The challenge or characters face to rise above the extraordinary circumstance that they're put in is the heart of the story. However, it's kind of parable spin isn't clear at first as even John Wayne is acting out of character. These three men beginning a story as outlaws gearing up for a bank heist. Now on the run and running out of resources fast, the crew finds themselves in desperate survival made only worse by giving these selfish criminals a baby they have to care for quickly the story shifts to kind of a heartwarming comedic scramble. Still having these elements found in the earlier part of the story but now as these newly minted three godfathers have to raise a kid kind of pokes fun at the scenario of them not having an ounce of maternal instincts in any of them and also like acting how they would if they were real cow pokes back then like not being able to read and like having like literally no clue about maternal instincts. But don't let that comedic spin turn you off because I feel like you introduced Tom as far as this is a movie that has a lot of depth to it. I feel like genres are being able to be juggled fluidly in this almost like a like a Bongjoo Ho or something that we would talk about more recently in like post modern film being all types of genres this has that quality it that's what shocked me the most because again the first time I'm watching this it's like I don't know if I love this or hate this right and then by the end it wins me over and time and time again when I was watching this through the year I'm realizing it it's constantly it kind of whips you around and then all of a sudden but it does a good job we have we have bitched about it a lot maybe with horror when it tries to juggle a lot of genres we were talking about this just the other day with the fly me to the moon Scarlett Johansson chain and Tatum were absolutely trying to do three genres yeah and it should have stuck to two kind of soured the tone yeah it was right it was trying to do too much and with this one it shouldn't work I mean I'm watching this in the beginning I mean one of the first words out of John Wayne is just like we're not making friends or robbing a bank yeah I was like oh my god I'm in yeah I made this John Wayne in the hunt for evil John Wayne absolutely so and up so you're watching for a bit I'm just like holy shit this is a good Western yeah and there's like there's a chase scene that's like feels fast and raw and pretty good you know 20 minutes later than it's it's just okay is this a comedy is this like a buddy comedy right 20 minutes later you're like is this just it's just an incredible like darker survival story right right it's not like goody two shoes yep and then 20 minutes later I'm just like what is this a feel good movie am I supposed to feel good about this it's whips you around yeah and each individual stage because I really think there's such four defined acts in this film almost that somehow the way they get you through it mm-hmm I'm in for every act and even though we have tonal switches going on mm-hmm by the end and when it's all wrapped up in a bow I walk away saying I want to watch this again yeah did time and time again yeah very impressive how somehow he manages those things because as soon as it turns comedic a little bit mm-hmm or even I think some people would just be like well what is this Christian allegory what it was sure sure kind of an eye roll yeah even the taste really done John Wayne's not even about it at first he doesn't just like get that Bible out of here yeah yeah yeah or no he has a line he's just like I'll do this before I get religion you know it's like yeah it's it's great juggled brilliantly yeah yeah absolutely and I think that adds to a quality of the film that it has good pacing I feel like sitting through some moments where the survival elements are clocked up yeah and they're on the run in the desert I was worried it was gonna drag too much but I feel like through really some solid performances all around yeah always it was able to kind of shake things up in a way that before I knew it the movie was over really so and on that note I think the film is full you know chock full of great performances but my favorite by far was Ward Bond playing a well favorite by far oh yeah playing a Marshall Buck sweet what a name yeah yeah yeah a pearly Buck sweet amazing it really boils down to his introduction of why I love it so much I feel like that is a just like a dynamite scene that you just feel John Ford's mastery at play there's more going on than you're that's really happening absolutely how information unfolds how it goes from fun and light-hearted to oh we're maybe in some deep shit you know when his wife is talking to the crew yes looking at he you can tell he's taking in information yep processing and thinking about it's absolutely yeah absolutely and also just what that what that scene does to give us clues to things that we'll tune into later on in the story pieces of information right whether it's the name of the town or that there's some you know maybe some danger on the trail nearby and whatnot all of it is able to do exposition without being clumsy in the slightest so I just really love that introduction a fantastic introduction that just that just no you just see John Ford knows how to set the stakes of his film even with a softer tone that's going for yeah real quick just because that opening scene is pivotal kind of and then it takes a shift at the very end were you like what is this meeting like what is this meeting Greek no I was in love with that scene right away I think I was still hooked from John Wayne being like this hooten hollering type of outlaw which was just felt like so different from once again and I was I was just kind of chasing that but I just love that element of just how the the scene twists and Ward Bond just plays a great foil to our outlaw yes he does yeah you know him being on their tail also gives us an interesting plot developments to shake things up again moments in this film you think you might be a little bit bored by it just even if the predictability of this kind of three wise men set up how he's able to shake shake things up is a result of him assuming the worse in these criminals which couldn't be further from their newly turned leaf and that that plays as a dynamic factor here between the characters as far as John Wayne goes I feel like he has a pretty decent performance here I feel like the moments that grabbed my interest are when he's wild and crazy which is just like you just don't see it even among his crew he's like the one that's probably gonna mess things up because he's that crazy but those those moments kind of break away after the first 30 minutes I think the the mark is when John has a long kind of monologue about what goes on in the cave that they find the baby there is a long stretch that he has given some room to really act and once again like like not not to parrot what we were saying in in Rev River last week but there's you know son of a bitch can act sometimes yes it's beyond just the Duke persona I like the performance all the way through because we do get different Wayne's in here I don't know it's even like yeah he is raising his voice a little bit more I like the beginning Wayne where it's just like we're just sitting in for the great little western here yeah yeah I like when we're just stuck at this at the coach a little bit at the covered wagon and then you know towards the end not quite the end right we see him you know really going through it yeah actually struggling as a character I freaking love that too so all the stages of this it's a platform for him to act in different ways yeah and it's enjoyable to see because it's not that 70s Wayne you know what I mean he is he's got some range here and it's it's awesome to see I personally think it's one of the best performances for sure sure a little hotter than you but well something I was thinking about is kind of comparing it to Jeff Bridges Jeff Bridges earlier in his career you see him trying a lot of range but then after a while he kinda special into the 2010s yeah he settles into the dude but also settles into whatever accent he was using between the True Grit remake and like I don't know like R.I.P.D. like you trash like that and I just feel like I don't know I I can't say for certain it's exactly what July is going to be about kind of exploring his career but I feel like there's just a moment that not that he's just riding on or sitting on his laurels or just kind of riding the persona he has because frankly an actor working that long has earned that ability but I feel like this still strikes a chord where it's like he's not in that yet I think because it's youth yeah I mean I think he's in his mid 30s here I want to say maybe late 30s and I think just age slows you down a little bit you gain a little bit of weight you have age on you and you get into the that 60s John Wayne that a lot of people think of when you think of this guy absolutely it's been a blast going to the 40s yeah and seeing this young guy and give his inflections a little bit more oomph and things like that absolutely but now through and through I like each individual kind of Wayne that we get in this film a hands down and for sure sure sure beyond that though I really don't have too much to say otherwise in that I feel like it's strengthened characters but maybe the the briefness of my notes it comes from the fact that I did predict a lot of the story just in the sense that everyone knows you know kind of the story of where it goes right I feel really okay I feel like it's it's interesting this movie is interesting and worth the watch ultimately for the fact that how it blends all this together yeah in that it's like you're exactly right like you're almost expecting not to like it but it not that it wins you over but so unique and so novel that it's like okay if anything the three wise men kind of framework the three godfathers framework is you know the rails to keep us on on you know on on for progression story and then we get all these different elements that spice it up a little bit and shake our understanding of that I think you know a perfect example is again right in right in the elevator pitch of this that these three men are outlaws they're not good people so I feel like burdening them with this you know responsibility that requires the most selflessness right is is an interesting development which is why I like the name so when when John Ford did this first time in 1919 that's like marked men maybe didn't connect no I yes but I like it now I like the name now knowing the story the one that was also remade in 1929 hell's heroes yeah totally makes sense because we're dealing with great characters here absolutely and John Ford had a great quote and I can't find it now about what he wanted to happen with these characters and it was beautiful and kind of said a lot sure a couple of the character notes and I'd like that just you kind of there's not much to say because you're long for the ride exactly you do either like the ride or you don't right right I wouldn't say people always shy way or feel weird about the you know three wise men or the Christian aspect to it right it's not delved into super heavy you know what I mean and if anything in John Wayne specifically his character in this is confronted by that he's not right he's he's anti-religion so he's definitely confronted by having to stand more morally when this character is a criminal otherwise right exactly I just wanted to make a couple notes then if you're kind of wrapping up a little on another characters John Wayne's kind of right hand man here is Pedro Armin Dariz yeah Armin Dariz page he plays Pedro Rocco for a day or something yeah Pedro loved him in this yeah him and John Wayne together too he was funny but also he was just great yeah I thought he was just a great pair with John Wayne and he held his own next to this guy and then Harry Carrey Jr. it says in the beginning that this is introducing Harry Carrey okay junior he was already in a few projects like he was in Red River oh some stuff some stuff in the past this is his biggest role he had and then of course even after there's nothing that comes along what I mean as far as like further films that oh Harry Carrey Jr. is in a ton oh yeah yeah this is kind of just I just want to make a point saying it's not introducing him but it is introducing him as far as maybe a big stage sure sure you know a bigger a bigger character role yeah because this was John Ford and his dad Harry Carrey Sr. were best friends and he died the year before so this film is also also dedicated to Harry Carrey that's that's the bit in the beginning where there's actually like a kind of a you know teary eyed line I forget why it says but like maybe the sun never set or something like that yeah it's the brightest star in the western sky yeah so in the beginning yeah it says dedicated to Harry Carrey and then there's a horse riding on top of a hill with the backdrop of a sunset and it says the bright star shining star in the in the western sky yeah and the guy riding the horse was like a famous stuntman oh that really got along with John Ford and Harry Carrey interesting and then when he gets to the top of the hill the way he sits on the horse was the way Harry Carrey would always sit on the horse and so it was like a really like nice trip yeah yeah absolutely no let's just have the sun in the in the production right and then putting junior in there which did he did a fine job but Pedro specifically I thought was a great character yeah I'll be honest at first when I saw how heavy handed some of the the Spanish elements were I was like oh I don't know is this dipping into like you know modern modern artists ago look at it but he once again he wins you over and and there's something genuine about it as well yes there really is it's not just like a token character like someone might poke you know poke a critical yeah yeah exactly and then the only other note there's a judge in this movie oh yeah yeah the judge is phenomenal yeah yeah I love the judge I love that whole scene too cuz it's just like it's in the bar yeah yeah yeah yeah he goes okay like case closed bars open double bourbon bartender yeah yeah he would that was the last movie that the judge ever served him by the way wow got kibby last time he ever act down put him down well yeah I think for me my own enjoyment the most interesting elements were definitely in the first 30 minutes of the film when I kind of didn't know what was happening with it but when the real story kind of takes center stage it's it's something I expected but also not something I can really fault the film for it's just that it's it's telling the story as is I don't think it's a bad movie by any means and pairing it with the western genre really goes for a creative spin because it's an old story that has survival stakes infused with it has big personalities on screen infused with it and whether it's directly kind of telling that three wise men story or not I feel like once again my appreciation of this is coming that the setting is I don't know it's being used in a way that is mindful that the setting actually matters to the spin of the story it's not just for the sake of making a three wise men western right these aspects are playing into how our characters are depicted the stakes survival genres and comes out as a very unique experience with that with that said I don't know how how high can I go to make sure you're not disappointed we're gonna go ahead and give three godfathers 1948 a 68 okay 68 I'll take it okay I can tell by the way you were talking that's where we're gonna end up yeah and I'm happy with that I think so yeah you know I don't know if it's that's gonna be hurt a little bit if anybody goes and watch this knowing where the film goes a little bit that is based on three wise men because you don't really pick up on that until you're in the story a little bit that's good point and it's what they hit me across the head that's true that's true maybe it is a spoiler in that regard that it's I gotta do is read one line you're right it's already said yeah I think for me as well this does fit into a category that it was an interesting watch for the film buffs out there listening that this was a story that was riffed on and adapted again and again and yeah and without seeing the vast amount of them this is definitely one of the best if only by John Ford's mark yeah so excellent okay so 68 percent and I'll tell you right now two shoes and we're gonna lace one of those puppies up I really like this film I am I have fan theory crafting going on about this actual film that I kind of wanted I kind of want to tell you but because I like it but right yeah two shoes one lights I mean yeah I liked it I liked the idea of it too if you kind of like John Wayne or whatever John Wayne adjacent don't let don't sleep on this one this is one that you can add to the list if you're interested absolutely so many people when they talk John Wayne especially even critics today because we're getting decades and decades further and further away from him only go to the classic so the one that you always hear about there's way more there way more there in the arsenal yeah so 68 percent two shoes one lace I love it but can I quick tell you my theory okay okay I think John Wayne interesting interesting we're back we're back okay I like that I like that especially with I'll give maybe one credit his wardrobe chains is very deliberate in that section as well so maybe maybe that adds to the to the credit of your father gonna find him subreddit for 1948 films and then dive in secret Christmas movie obviously yeah absolutely like absolute Christmas film absolutely what I really loved because I'm almost done with putting on the movies on the side I have two more to go on from previous years before podcast okay one of the last ones I put on was hateful eight yeah right if I was three godfathers the next film I watched after was hateful eight and both films silent night is played on the piano sorry for the long review folks and I know it's no I hope people might have been asleep I was really hot on this film yeah I I'm happy to cover it yeah no I think I think it was a very interesting watch and again interesting in the sense of what's going on in the movie interesting what's going outside of the movie as well the story of of its production okay with that let's take a big old jump and get to some fun stuff here we're going to 1996 this is Twister singular no s on the end yes twister starring Helen Hunt and Bill Paxton then let's get into it twister a movie I watched in meteorology class in high school and promptly forgot about rewatching it this time I barely remembered what happened in this film this was directed in the brief time cinematographer Janda Bonne well how'd you pronounce it I think I believe it's John John John De Bonne okay I love it you got it John De Bonne sat down in the black chair and left his mark on blockbuster Hollywood he directed both speed and speed to cruise control what I want title in 1994 in 1997 respectively two movies I actually have been kind of inching to watch just speed one probably yeah to get on the site but what I can kind of assume about them is that their pacing is excellent not only in the obvious runaway bus scenario but rather this film has the same snappy quality to it never hurting its own momentum in the story even when more kind of eye rolling 90s bits come along I feel really the takeaway for Twister one is that the pacing is kind of perfect you know yeah I feel like this just moves at trying to avoid calling it a breeze pun intended but really pun not intended I just call things moving you know I could call things breezy but it really is that that's that's the reason to watch this because it's a snappy film and had me saying wow they just don't make them like they used to really is what you have to say yeah yeah Twister is a romance adventure disaster film and might be one of the biggest of its kind I don't particularly like disaster films as a genre which have countless examples of blockbuster schlock but here this goes beyond just being hot for the summer and then quickly forgotten for all of its faults and dated 90s cheese and this film's earns being called an adventure because of the mix in that description largely it takes place over a breezy 36 hours and keeps us locked into storm chasing action even when we do have to get backstory or romance we're always in tornado alley you know we're never not near a tornado which is kind of just I don't know I feel like I might fault like a Michael Bay to say like hey take a break here there's just such a rhythm about this movie that I really appreciated rewatching yeah yeah I'm right there with you yeah because even when you think it's going to stop for too long or maybe we get into some of the romance stuff for take a break it just it always it's never forgets what the film actually is yeah and it's good very good for that reason absolutely Bill Paxton plays a meteorologist with near magical storm sensing powers which will touch on again for the sequel which oddly enough becomes the thread that really ties these two movies together while initially he meets up with his old storm chasing crew to get his ex to sign divorce papers he ends up going on a big adventure to hook up with his ex played by Helen Hunt and watch out because his shirt buttons folks we lose one every ten minutes packs button up I didn't see that I didn't see that personally but you just saying it it's like wow like excellent excellent it is unreal Helen Hunt gives our kind of emotional center to the film and while we get plenty of eye rolling moments out of me adding this romance to the story is pretty smart to make the story much more about just capturing some data points on the thickest laptop you've ever seen in your life like some of the tech was unreal real point of the on the romance real quick sure exit because it's going to come up for the next film as well yeah I like that the romance isn't set up like a lovey dovey romance we all see where this is going a little bit and even though you might see it's going what happens is it's a it's prickly it's a prickly previous romance yes and so we're getting more budding heads that need to be figured out and that's a lot better than right away starting into some mushy gushy sure they give them they give them the eyes and now we're just waiting until yeah you know they kiss and they hug and then they dance and they get you know I mean it's right right it's I like actually how the romance is staged in this yeah yeah and I'm interesting to I think it's a great point bringing up in context of the second one yeah for the for the new release because it feels like they try that but so much simply fall into what you exactly describe the same old same old as far as going through the motions of that romance and and right and how they set that up where it's just like I don't know the way that this is set up with how they have a pass together and then right away they're just getting into an argument that is a very real argument almost right right I don't know it's very well sold I have to say yeah absolutely while it looks like twister season is coming to a close more and more violent storm activity keeps cropping up and just maybe will give the team a chance to capture the data that makes a difference in the never ending destruction of tornado alley folks there is a jump scare in the first 20 minutes of this film and it is all in that terrible 90's CGI it's like to me it looks like the type of CGI you get an independent stay when that dog is jumping through the fire is real bad yeah but opening title and a very poor shot from space it had me worried about the special effects it goes away thankfully yeah it goes away in a big way I would say big disaster blockbusters like this they are a demo reel of the effects the latest techniques so I feel like I kind of have to understand that with my you know my approach to this genre even though I'm not really a fan but I think for on the positive side luckily the team is pretty smart with the shots they have of the twister on screen and absolutely understand that there's a challenge to presenting these type of VFX in their infantile state yeah for the CGI I'm happy to say the special effects come closer to the lessons learned in Jurassic Park where artists understand it doesn't look awesome and have to overcome it in creative ways many close up shots will be communicating the force of the tornado rather than showing it itself right right classic is nails being pulled up on boards they love lifting cars in this movie it must have had a bunch of cranes just like yeah let's lift as many cars as we can and of course the usual kind of disaster porn that that comes with both of these films and really really much defined by you know don't get me wrong you still get plenty of floating cows which feels like the universal studios ride it was meant to be but more often than not I found myself appreciating the tricks they used to distract rather than relying just on the CGI you know what I mean and absolutely and I think like the twisters in this film the actual tornado themselves look phenomenal yeah and I love almost been you know we're 28 years later and they still look great sure I was really impressed with that now when you get into when it were where falls apart it kind of falls off the screen is the debris around the tornado yep the cows right the cow's the floating debris in the wood and stuff that's where it has definitely aged yeah but the fact that the twisters themselves even if you're dealing with people talking and it's in the background as you're looking through a window the car or something like that I gotta hand it to I mean that still holds up great yeah yeah I was really impressed with it and I think I was just more so than anything impressed to see a film production that kind of understood that might be a weak element in you know even years down the road yeah and created creative ways to either communicate that without showing it directly you know we always talk about the lesson learned in JP one is show the dinosaurs at night show them in rain and they're gonna look timeless basically so here there was some aspects of that the whole film is very 90s kind of falls into what I would call a career fair film or at least a type of scientist driven story that was so common in the wake of you guessed it Jurassic Park in 1993 you can also just feel it so much in the license soundtrack in the score of the film this was done by Mark Manchina who actually comes over from working on speed with the bomb a few years earlier his soft spot for me because I'm an avid fan of any use of Van Halen in any flick I'll reference the Power Rangers movie as a guilty pleasure but he wrote a song for this yeah don't get me started on any Van Halen shredding on these credits that credit songs is called respect the wind yeah need I say more he's he's just like in his studio just just absolutely making that talk guitar cry it is great is great I don't know what do you think about like the soundtrack and whatnot because it definitely felt like super super nice yeah there's parts of it I liked and parts of it I didn't same thing with the soundtrack for the new one as well part of it is just like wow it's nice to be in the 90s again yeah that score is so uplifting right in that other parts is just like well I'm glad we kind of drop this I think what makes this movie stand apart though from honestly the countless copycats especially with what the sequel fails to recapture in my opinion is a is a really really dynamite cast with a surprising variety of faces that you're bound to recognize there are for sure a lot of cheesy moments in the script but it's never without purpose either to charm you by being introduced to a scrappy lovable crew or once again above allows keep the pacing breezy keep us moving on the plot Philip Seymour Hoffman might make the whole movie for me I didn't really expect that you know it's like I commented back on our boogie nights review that he's just like he has no fear about a role making him look like an idiot like he's smart dude and you know he'll do anything you know I mean he leans into these characters so I think while it could be annoying at first I could definitely see someone getting annoyed with with his role and it's like how much screen time they give to this one out of the many characters I feel like he just wins you over by the end and most importantly is a necessary key piece to actually making us like the crew making the crew lovable which is again a factor alongside the pacing that the sequel confusingly fumbles I feel like if there was one thing to get right or two things to get right in this instance it's just this balancing act of what this film is able to achieve with loveability of the crew and just snappy pacing that's the magic of twister one so and it didn't shove we all know within minutes we know exactly who the crew is we know this guy's that guy this guy's that guy sure and it's and it's not shoveled out in such an eye-rally way which which I think the twisters does yes it's like prescribed chemistry in the second one yeah it's just the way it's shoveled out it's like come on yeah let us figure out a little bit but it is something where it's just like oh by the way we don't really have much time to be with them because we're on to the next one here's another twister it's great exactly yeah I could I could just go on and on about this film's pacing it really was the biggest takeaway for me but overall though folks it is extremely 90s and extremely blockbuster but even though that may be a mark of death for the daily ratings goes it surprised me how much it captured a great energy and pacing to the story while still hitting the marks that I thought I would fault it for I thought I would fault this for a romance the romance elements and like I said there were some eye rolls especially in the back story for like held and whatnot it was just kind of like all right right but when reflecting on it's just like all right without that what what would the story be them getting some data points and say hey great job crew so I feel like this has a magic that blockbusters are able to capture that you can fault it for but there's something achieved in the execution of it so like I said apologies for the pun but a very breezy watch and had me walking away saying they really don't make them like this anymore we're gonna go ahead and give twisters I'm sorry twister 1996 a 70 on the dot 70 on the dot a pretty good yeah I think I think we're feeling like this modern day you know absolutely yeah I had a blast going back and it is getting a little bit of renaissance now sure because this new one came out people are going back well let's get another watch yeah yeah I think 70s really good I'm not gonna give it a score but really like this film I go way back with this film go right right old old house we would always be at my that nant not nannies but just the neighborhood babysitter okay got and we would always eat sour sour cream and onion butts chips and turn on twisters towards the end of the day and we get like the twister experience we get like 15 minutes in and then actually we'll fast forward to fast forward because we're on VHS so I just go way back with it it was great returning to it I've seen it in 20 years or sure sure yeah which is which is great and it really does hold up for modern day watch which was excellent to see one quick aspect so something in actually the after writing notes in a little bit of the research of what the chatter is between these two films yeah an aspect that was completely lost on me between both of these is that twister is supposed to be a semi scary movie yeah destruction of it I guess that's a disaster film in essence that was just lost I just wasn't on that wavelength at all with this do you think that this one at least right now is functional in that way yeah I think it works as a darker thriller I think when it came out we didn't really know a lot about storm chasers or this whole world sure it was novel it was news it was when big things happened we would hear about it yeah but even like that I was a discovery channel had that show of actual storm chasers and it was all about what was a vehicle going to look like this year yeah yeah and the wave of those types but it was more in kind of the culture and stuff now with back then in '96 it was it was a little bit more unknown you know some of the production stuff is still great though and that's why it holds up so well I mean just what they did to film some of the shots sure everyone got beat up a little bit even by like flying debris oh really concussion wow kind of crazy stuff like that and it was by the way one of I think it was the first DVD sold in America really yeah or one of the first ones but very interesting yeah excellent excellent it gets lost because the 90s are so good for movies sure gets lost a little bit and Bill Paxton does a great job I think Bill Paxton is like this great goofy guy mm-hmm but he sells his character so Tom Hanks read for the character oh really he picked the wardrobe and everything wow that Bill Paxton ended up taking yeah but that's how far he got in the process wow and then he let go of the role and said hey you should get Bill Paxton for this I think he does a great job yeah I do as well I think it's one of those where like Bill Paxton is always really interesting supporting character wise it's one for him you know yep yep and those buttons that he loses actually been okay so 70% for Twister and real quick I mean I'm not gonna play the music but we're gonna go into producer segment because we do have a producer to thank oh Linda Schiller came in once again oh wow and she donated you gave you a movie ticket and in fact it was about 12 bucks and chains because she did the the the PayPal transfer fee wow that that is always punch appreciate it this is the biggest courtesy but Linda we have to thank you so much the reason I'm not playing the music is because no note this week remember if you want to send us a note tom.vin at the daily ratings.com you can email us there if you have something to say something to ask us Linda a few weeks ago though did write in and produced before a great note as well and maybe this is just maybe this is like a reminder a little it's like hey this one on the ratings yet let's not forget about sign our here but Linda thank you so much for donating and people and we've had a couple donations in and no notes and it's like hey they're actually getting value from the daily ratings and letting us know that and giving value back which is huge so Linda thank you so much for your movie ticket your executive producer of episode 144 you continue to be a producer of the daily ratings folks at home if you want to become a producer of the daily ratings we're going off the value for value model here so we're not gonna have any advertising thrown at you we're not gonna have any paywalls on the site no tier structures like payment tier structures it's not pay to access our content Vin and I have the podcast on the website it's all out there for you everything that we do but the idea is that if you're finding it valuable so are you listening to the podcast are using the website you know we think of it as it's kind of value in your pocket can you send us value back in our pocket and that's through monetary support so you go to the daily ratings.com and you go to the donations tab and everything's laid out right there whether you want to do PayPal or satoshis if you're into that with Bitcoin or even Venmo our link is right there for Venmo any way you would want to donate in it's all there for you and through your monetary support you become a legitimate producer of the daily ratings just like Linda this episode because just like in Hollywood when you financially support a project you become a producer of that project so we want to thank all the producers who have produced in the past like I said Linda episode 144 executive producer if you want to be producer for episode 145 just head on to the daily ratings.com alright folks and with that let's keep things moving VIN we'll go to our now in theaters film the big release this is twisters shattering blowing through box office expectations this first was set to have around 50 million opening okay then I read headlines saying just like twisters it's going to do well there the predictions are being lower to around 35 38 million right then they got raised again to around 50 55 million Wow film ended up making 81 million dollars Wow just busting through expectations there it is there it is the Glen Powell facts and one quick I was reading a report on I think it was variety had it just a real quick before we get into it at one quarter or one third of the people said they bought the ticket for Glen Powell because I want to see what he did as he's writing in fame another really cool thing which why it blew past expectations was known as was expecting was America's home heartland really yeah what we call flyover states it came out in force because it's twisters sure it's done I know exactly yeah typically the best money making cities are New York and then Los Angeles surely the number one market this weekend was Oklahoma City which is awesome I think Knoxville or something like that did really well Dallas did really well and it's like word yeah so yeah I just think it's great I'm glad that's movie is doing well even though but I don't know how hot we are on it yeah yeah with that why don't we jump into event break it down we'll take it back and forth sure sure well I do have to start with taking back my nepo baby comment last week you know the internet is not known for going back on the words so and they're not known for admitting when they're wrong but I do have to admit I was wrong Glenn Powell does not come from any sort of famous parents I was a little hot on the trigger of nepo baby you said you've said it often throughout the week I understand it and I you know you've always had a little Glen Powell hate yeah yeah I'm glad that maybe the tides change you yeah I think where I'm coming from and why I can't stand his stupid face it's just like we saw with Hollywood PR teams pushing city Sweeney down our throats this year Glen Powell isn't too far behind with once again I mean a face that looks closer to a boardwalk drawing than a real person but I'd be lying to say if he was the main problem in this movie because he's far from the main problem and if anything he might be the only thing saving this movie yes so TikTok girly's and everyone interested England bow you can be happy to know that go to the theater and your boys not our boy well I'm excited for next week when he covered the killer then his link later filming just going out right right I'd like to include this in my hot take from our Top Gun Maverick review in the type of legacy sequel this spits out as you know while it might not be an 80s property like I originally predicted it still has the type of revival where original can't be fun is stripped out replaced by trauma dumping melodrama and nostalgia grabs yeah that I think is the formula the Maverick formula and among the many aspects I could highlight critically that excellent pacing is what is lost from the first film exchanging for more of a emotional storyline but without a doubt a plot that gets stuck in the mud more than often twisters is once again the romance disaster film we expected to be but I would exchange that adventure vibe with more sprinklings of mystery that our characters unpack there's this element of mystery I mean I guess it could be an adventure as well we're getting into five long you'll find work long descriptions but it felt like where adventure was a driver mystery was the driver and in a lot of scenes here of unpacking you know characters past what characters angles are and our characters involvement in like the storm chasing environment yeah it's also important to note that this is less of a sequel and more of a successor with no returning characters from the original maybe in that way it kind of separates itself from Top Gun Maverick that it's not overly nostalgic I don't know what did I maybe miss no no no what you're writing that and I think it could have been better had it tied a little bit better to to the first film yeah like what this what's Helen Hunt doing you know I mean oh it would be great to do something with Helen Hunt and then also you could have a very sad moment almost like a Tom Cruise Val Kilmer moment in Maverick right with Helen Hunt and Bill Paxton tragically dying in real life yeah yeah but also tie it in the movie that would like get people going in the theater a little bit yeah for something that's actually happening absolutely Val Kilmer in real life and yeah what's going on with him and stuff 100 being reunited with Tom Cruise I don't I think it's a direct comparison the Maverick to the redo of Twisters I get to I get what you're saying and I think the way you explained it as far as doing melodramatic dumps yeah trying to get new characters in their kind of specifically at the cost of can't be fun yes that you get in the original absolutely you know and so I do agree with that kind of logic behind it and then but there are way more ties of Top Gun 1 to 2 with Twisters I think there's a lot more tethered there that people are not quite picking up on or not talking about there are if you want to call them love letters kind of Easter eggs yeah yeah but there are a little bit more through lines in a few different ways that keeps it attached to Twister a little bit but nothing like Glen Powell is Bill Paxton's son right right yeah characters that that gets removed from yeah so we open up with a group of storm chasers looking to secure a grant led by Daisy Edgar Jones playing Kate and her inheriting Bill Paxton superpower for the last film sensing tornadoes on the wind I mean honestly if there is the biggest hurdle and logic between both of these films it's that they get a rude awakening by an F5 Twister and next thing you know we jump five years into the future to see Kate reluctantly pulled into another tornado outfit right off the bat you can see how the shoots itself own pacing in the foot Kate is emotionally scarred by these events in the past making her involvement to a storm chasing more of a source of pain rather than fun and exciting translated for the character translated to the audience and this new team that she's a part of is an equal stick in the mud when it comes to the energy around this disaster plot they're all like buttoned up scientists and that we need to reintroduce this character into the world of excitement she's getting involved in I think that's a slip but excitement isn't entirely lost as this buttoned up science outfit has to deal with the tornado wranglers a loud and proud social media storm chasing team led by you guessed it Glen Powell sparks fly between Daisy and Glen as a friendly rivalry forms and chasing tornadoes and once again gives this story something beyond just getting some data on the laptop I guess we'll start with VFX um sure go for it just because I think that's pretty positive there I think it's everything looks you know as far as like modern CGI goes no what no that's it right there as far as modern CGI goes sure sure I think it's a it's above the curve I mean it's it's a head of the curve as far as modern CGI goes is that what you were getting it yeah I just think I think it's good but but for some reason it has this tinge this sniff the smell of modern-day CGI yeah and there is something lost in realness a reality to the audience yeah right before the film started I don't even have heard me because it was kind of loud but I was like oh I like that this is shot on film yes yes yeah because it is it's shot on film uh and I think that matters with mixing with CGI yeah and with just the movie looking better and a little bit more realistic yeah like that we're really shooting in Oklahoma and stuff right somewhere you know what I mean clear results in the box office as well and so it is good but there's always gonna be there's an asterisk still yeah uh because that something is still lost sure where I can't even take it as seriously or I'm not as in fear for the character's lives as I am with the original twister hmm interesting interesting I think um I don't know maybe maybe an element there is that they go a little too ham with the particle effects I feel like the amount of what was previously a floating car or one flying cow is now billions of small little particle effects to these twisters certainly looks threatening yeah but I don't know maybe that's that artificial vibe that you're getting into maybe it's good yeah the effects were good I guess I don't want to shit on it this is leagues beyond when we criticize currency GI and that you know it's kind of like rush production right yeah yeah for sure specifically around sound design I feel like that was a highlight here uh and probably is a treat for actual theater watch of this if you're interested the real highlight are just these little touches uh to overcome the effects in the last film these sound design touches I felt were that type of um little addition that made and sold the destruction for us okay so you're talking about actual sound effects not like a wind um directionality of of where the sound is coming from you know it's a good film to go see it in Dolby atmos or hi max or fake i max or something like that it it's definitely helped uh because you're right it it worked pretty well yeah I think that that's that's just as much as a as a point to sell the fantasy of this twister two quick notes too uh I hear I'm not really for this and never experienced this before but this would be the film of 4dx cinemas oh right where you know you can you turn on the water feature the chairs crumble I'm so against that by the way I don't wind I this is I don't want it this is the one yeah yeah I guess so twisters would be the one to be a little bit you know ingrained in a little bit yeah yeah yeah so that's a very good point I don't know what else would make a case for 4dx yeah not too much transformers you smell some oil no no twisters literally disaster films I think it would work for this and they actually did it actually was a very good weekend for 4dx spell interesting interest for theaters and one other note about the sound too uh because I read this for the original twister apparently the sound was really quite good and THX and everything like that because they wanted the sound effects to be loud in there that the amount of bass needed it broke a lot of sound systems and theaters across the country wow the original twisters that's pretty awesome which was pretty good yeah uh this also does feature a lot of drone and handheld phone shots uh as a result of the kind of youtuber vlog lifestyle of the tornado wranglers uh and while it wasn't too big of a fan of them if anything distracting from these moments on film um it at least made sense why it was used in the movie it was a lot more credit than I can give to every mom and pop drone shot that pops up and now and you know an establishing thing establishing shot of your story in like every movie you know I feel like drone shots um um for them I just would like just like my kind of my bugaboos with music I would just like a reason why we're seeing or experiencing this and I would say and also change that to GoPro's as well yeah or the handheld red cameras absolutely there's a disastrous scene in one of the hobbit movies yes we're all of a sudden we're going from like decent good red cameras like digital and then we're doing like GoPro's yeah and it is jarring to see on screen absolutely with this it works because we're dealing with youtubers yeah that story element was enough for be like okay I'm fine even if I don't like the quality of these shots all the time right I'm fine with it for the story it sounds logic yeah exactly so other than that though almost every aspect of this film I was I was bored to tears with I can't lie which is not great for a disaster movie you know I mean I as much as I don't like the genre I wouldn't call them boring per se I would call them sloppy and schlocky and you know a bunch of other things it isn't supposed to be boring at all yeah exactly popcorn movie yeah yeah you know like I said already pacing is much more generic and so much less of an adventurous ride of the first film I'm not saying this has to be the same movie but or even have the breakneck pace of like a day and a half plot line but so much time is spent on emotional garbage and emotional baggage that it just it just means it results in nothing I feel like I got nothing from the the trauma digging up that this film concerned itself with such a high degree you know especially where we see it going yeah and not only do we see it going this way you're taking away from what we're there for like in the beginning that first twisters one because it's on such a clip such a fast pace that we're dealing with like five twisters in one day yeah yeah we don't even have time to even stick with this for too long right here it gives you the runway to kind of open that envelope of the people of the personal stories and it does it drags one great thing about twister is that we get to know the relationships between the people oftentimes in the action yes or right outside the action and with this it's like no no no let's calm things down and give this five-year jump you know right it's just like no no we've done that we don't need 10 minutes 15 minutes between these between twisters or anything like that don't explore in the action yeah and only that because it's a little bit it hits a little bit more too absolutely so much so much of Bill Paxton and Helen Hunt's chemistry comes and we're finding out a lot about them yep it's on the right the action yeah absolutely and even to the point of like it being hard to take serious the radio between the crew always being on so everyone is then filled in on what's happening you know it doesn't mess around doesn't make sense but hey everyone's we're keeping going you know and just by the means on that note I mean I think the random crew characters in this just just suck week as hell yeah and there was even um I'm forgetting your name what's your face from love lies bleeding oh yes yes you wasn't it you know I'm so I'm excited to see specific ones too but I'm sad to say that this counts for both sides of our group um largely the writing fails them here I don't know if it's necessarily like the acting performances but for me the writing was sending it off of like it just feels like forced fakes fake charisma yes or forced group chemistry and oh my gosh yeah I'm not really uh you know an expert when it comes to like that element of anything but when it I don't know how you dissect what worked in the first one and why doesn't work in this one but I know it feels fake you know and in the first one it feels better now the first one it still is a little contrived it is a little shove that shoveled out there absolutely if anything was the way people are dressed yeah and things like that oh yeah yeah with this one it's so heavy handed it's annoying I gotta bring up a pet peeve of mine for movies across the board and I think this is what hurts me and I'll just talk a lot this episode oh it's okay I love it it's great um I just don't do uh this is what happens when you do your homework this this whole crew aspect of any film is a big problem for me what do you mean I think this is my issue with so many sci-fies oh okay when we're dealing with a ship because right away hey this guy's the silly guy oh this guy's the weirdo this guy's the tech guy this guy's the badass this guy's the the thick muscle and you need to define the character so the way it's hamfisted or heavy fisted whatever shoveled out of glance shoveled down our throats makes it feel fake makes it feel forced makes it feel unbelievable Philip Steve by Hoffman although given a very obvious stereotypical role yep was able to do something with it uh with this one it is shoved down with this whole home video camera crap I don't do this I don't just don't do it I just can't do it I can't stand well we got this guy we got this guy we're letting you know this is their characters yeah yeah oh this guy's hungover you know it's just yeah it's so forced it's so eye rolling I can't do it and that's why I can't do these space things like what was the one what was the alien movie with well well I mean you're kind of sending your sights on alien as a franchise because that's every alien alien that's what the alien is rude and uh I just I don't do it I have a stomach for any of it interesting you know I can't say I'm 100% with you but absolutely I understand that I think that's again I don't know what it boils down to of why it feels fake or when it feels forced yeah it's but it's just in that element of just like it's force or to blase you know it's too too quick to say like oh this character is that yes it's throw away lines yeah it's down to their dress even just doesn't feel you know I have a big problem with casting in this film really probably my biggest bugaboo yeah interesting and I just don't think that helps the roles and I think it's a thing of I don't know if it was ever an art but whatever it's being done in modern day Hollywood this whole group aspect and trying to define who the stereotypical characters are it's done poorly yeah it's just done poorly these days absolutely or maybe it's just trying to capture that 90s vibe and it just well I don't know do it through the action yeah it's absolutely go through from a cheesy home video absolutely I love that do it through the action that that's a t-shirt that we're in the daily ratings you know the setup uh swaps the energies of our characters from the original you know our main crew are the sticks in the mud and the wild and fun tornado wranglers are at the end of the story yeah you know this is a huge mistake though because you lose the starting rhythm once again Kate Daisy Edgar Jones character she has to overcome some trauma getting reintroduced to it fine if you want to make it a little bit more emotionally heavy but the reintroduction to the world of storm chasing should be exciting because guess what who needs to be excited by that us as the audience yes you know first one does it great yeah Bill Paxton's just trying to get his divorce paper signed exactly to the point that is you know the the fiance is is our you know our eyes of like wow how crazy is this but she's along for the ride right you know yeah I apologize forget the what what the actress was what her name was but uh you know it just such a such a I don't know how do how do you get something so fundamentally wrong in the approach of like we need to make a sequel 20 you know some years later um and the inclusion of uh this is really when it comes down to casting my problem with the inclusion of Transformers Beast War actor Anthony Ramos uh wasn't a good sign uh and he comes along if anything as an artifact from Transformers with a lot of techno babble here so many meaningless explanations of what weather or tech is doing the amount of stilted lines we get out of nearly everyone but him specifically spewing out uh a type of jargon around either weather or tech or what's going on here it's enough to make my head explode yeah it was just so much garbage uh you know there's a scene where they literally use a program with two input fields and it solves the mystery at some point I love this angle you're taking this yeah yeah yeah I just I just had a problem with uh you know this was a program though so that Glenn Powell uses on the regular and it was just like oh and that's exactly what we need um and and this movie man it's a series where the correct answer is picking up grass and letting the wind blow it in the right direction like understand your own brand a little bit here understand what you're stepping in so it's just like the amount of tech involved in this I get it's a 2024 film they want to maybe you know even funding wise uh demonstrate some some some deals that they have yeah whether it's the cars or something like that uh but just it lost its way in this garbage explanations that do nothing for throwaway stuff yeah I mean my biggest thing I would the techno babble the techno babble the techno babble was very generic yeah so I was feeling that a little bit it's I'd like that you were picking up on those like real nuances yeah my biggest thing especially with this Anthony Romo one he is a very solid third leading character yes into the lot I just think I couldn't stand every single line that he delivered yeah I think some of that's on the writing some of that's on him and I'm sorry yeah and also just these these emotional beats show me emotion through the action and Anthony Momo is trying to be like I don't know heavy with stuff for try to lay down like 20 she's trying to get Daisy Edgar Jones character to like come with it's just it's eye rolling horse crap it's just really not good not good at all yeah and so true in what you're getting at because there are moments where she as a character Kate is dipping into maybe having some fun again via Glen Powell yeah and then he's now this ball and chain on the fun that the movie wants to have yeah and it's just like yeah yeah acting isn't great yeah like I said in the beginning though surprisingly Glen Powell was far from the worst and really might have been the only thing from keeping me from falling asleep in the theater I really like that to say yeah it's sad to say especially when I was like I mean you know Tom I I was gearing up for weeks to shit on Glen Powell you let down in two ways let's talk about the movies I was like oh he's actually a pretty good guy it's like I met him and now I can but you know despite enjoying Daisy Edgar Jones in a few of the films we covered we did Crawdads like yeah yeah yeah not my bag though admittedly and we did Fresh which was you know all right I hate to say it here but she was really the center of everything that just didn't work in this because whether it's in the acting or whether it's just burdened by all these aspects that we've talked about so far she was much more the main center character than previously where you can kind of see the first twister as Helen Hunt and Bill Paxton kind of sharing the the Ford romance right right um with Daisy Edgar Jones it's just like this emotional melodrama the trauma sharing between characters the social awareness spin that just stripped so much enjoyment out of the movie she was the centerpiece of all this and I'm a little bit conflicted because it's just like I don't know if it was her acting or just everything around the film that she's just a focal point okay so this is where I'm at with her yeah I was worried watch first of all this was one of my most anticipated movies of the year right right um but even in the trailers my concern was generic movie and her so I don't I can't say that she outwardly did bad things I mean she's she's a London gal so she's doing like an Oklahoma-ish accent sure sure and I think she's doing an accent pretty well like she didn't break once it seemed like so she's pulling that down fine I think her acting is fine I think it's a terrible miscast I don't think she deserves in this is deserving of this role really and not saying that she's not talented enough she has talent but I don't think she should play this character I the character to maybe another character in the crew but you know yeah I she's not believable to me and I don't know if it's like she's not I don't know if she's too like thin or scrawny but I don't know if I don't like the way the character was written or portrayed and it really a lot comes down to just like her physical acting the way she actually just kind of looks her voice doesn't fit the character where I think Helen Hunt did a very good job at making us believe that she deserved to be portraying this character sure this homegrown storm chase yeah Daisy Ecker Jones does not appear to be some twister chasing Oklahoma gal yeah that's what she needed to be it's not what she is just not selling the character and I don't even I don't think it's her fault yeah I think she's just meant for other roles not this role not this role at all sure and that's also where I'm again kind of conflicted because I don't know if to point the finger to her but she's at the center of all my problems a great example of this is when the romance is kicking off with Glen Powell and and and Daisy Ecker Jones pal takes her to like a good old-fashioned rodeo it's got the music in it it's it's it's trying to be an electric scene uh you know it's supposed to be in screenwriting this fun like oh wow this romance is now showing me that there's maybe something to open me up a little bit there's something to make me enjoy and get past this trauma a little bit how is the scene written he goes have you ever been to one of these she goes yeah I've been here like I was actually born on a farm and it's just like a stop like just I don't know lie just to have fun like I don't know it was it just felt like I love that this was bothering you yeah it's just like it's in the script of it she was always the downer she was what the the forward or the downward momentum to stick in the mud and then all the other stuff was keeping it in the mud you know but but yeah and that's that's I I hate to to dig in so specifically but if anything I don't know if it's entirely there I feel like there's just it's she's the center point yes of a lot of my issues with the film but uh but maybe worst of all folks the end product comes out as a blandly acceptable experience that you'll probably forget by the end of the month no less the end of the summer which is so so the opposite of what twister was originally we're going to go ahead and give twisters say 50 on the dot 50 on the dot chinky score really 50 on the dot I think so I think so because um I respect this I think there there's a watching a viewing of this that you say like oh yeah they're gonna get together eventually and she's gonna get past these things eventually and there's a big twister on screen right and that's it you know I mean that's the experience which is kind of the movie you know it is and I got to say and you know in the beginning of the show I was saying that I think we're against the grain on this yeah because man I'm looking at the people are loving this loving people I have like really I typically kind of lean with when it comes to reviews or thoughts on on movies I'm like against everyone yeah absolutely I cannot believe how much love this is getting and I'm thinking is it meat like what issue do I have with it what what's been and I'm missing but I think there's so much there was one specifically that was just like he called it like great and the best movie you saw in three years I was like it was a bright thing yeah what it doesn't make any sense like I really think like tame expectations a little bit yeah because by the I the trailers were kind of getting me down a little bit but the week of I'm like let's do it yeah sure sure my expectations were being a little low it's like hey surprise me yeah and it just didn't hit a certain way real quick to top gun maverick the end of top gun maverick is electric yeah yeah it's so good and short and real jets yada yada of course the end of this uh take take your lead I was really not not enthralled with it at all yeah I thought the ending it not that it was flat they tried to go slam bam yeah that thing did and went like okay you know there's something visually not not clicking there was just even story wise not clicking again that just the complete how you knew how it was going to go was disappointing and I also think the movie was heard because each twister movie here the whole reason why this film exists or what these scientists are doing is towards a goal something that has to do with the twister itself is why we're analyzing the twister yes yes and the first one wait better than the second one first one like what the goal of the first one is it's very good and makes sense yep the second one it's like are you kidding me this is what you're doing yeah almost superhero just drumfuls of you know baby diaper powder okay I'll leave it at that um it's just no thank you yeah I think I think that's where I was tuning out the techno babble because there's that included into it because now is like all right you know so uh 50 percent I think that's totally fine I think this might be the last I'm gonna maybe break the rule oh every time we see a movie I think we're right between the john wings of me seeing more movies it's too much I don't want to flood the two shoes sure yeah something that should be a little bit less right I'm gonna give it with this time and we'll see how if we continue to see these many movies together yeah maybe I'll let's own it down a little bit but twisters gets one shoe so on the new scale because it's really the new zero shoe flip-flop one shoe two shoe one lays two shoe two lays so this is essentially two stars yeah yeah yeah just we'll just one shoe just because it's it we we walked out disappointed yeah it didn't ruin the breakfast that we had afterwards great breakfast um but it was lackluster and I think 50 is good because out of there's something some people are really enjoying this some people are really loving this film yeah surprises the hell out of me absolutely and I hope you do see it by the way I like if we're gonna have a movie that we kind of find schlocky do well I'm glad it's this film really and I'm glad it's not a classic marvel or it's something else interesting because there's elements of this and where it's at like same reason why I love that the leading city for money is Oklahoma City you know it is a somewhat different kind of movie sure this is not marvel esque schlock it is trying to be its own thing it's shot on film which no other you know what I mean it usually wouldn't be done that way right right there's elements of it I appreciate it I'm glad it's doing well but it's just not that great of a movie yeah and that's 50 percent right there and again boring on a disaster film I feel like is you know it's a killies heel it's the yeah that's yeah we were given each other looks on the theater yeah unreal um okay all right so as always hey if you if you want to disagree with us here you can't you got some other enlightened thought that we're missing here would love to hear it donate tornado alley collectively donated but okay then before we finish up here any finishing notes things for next week or real credit well next week of course is the three deadpool slot we won't be doing a john wane just because a little press for time but mainly I mean the media circuit around Deadpool has been massive months long months long but also like scaling I feel like it's been ramping up even more so I mean the best thing I'll have to say is that I'm I'm rooting for Marvel's approach in having one MCU film a year yes that feels very refreshing yeah like very refreshing but in some of the pre-work that I've done I think I was definitely looking back with rose tinted glasses on the deadpool so I'll be I'll be a contrarian as usual but that's about it all right excellent vin vin thank you so long episode long episode three movies hope people enjoyed it we sure did so uh folks said home thank thank you vin for watching these thank for stopping by tonight and we'll run it down one more time we have three godfathers with 68 percent and a two shoes and a lace we have twister with a 70 percent and twisters with a 50 percent and a one shoe so folks thank you so much for listening here and we'll see you next time on the daily ratings podcast hey if you enjoyed the podcast if you would give us a good rating or get the word out until friend about us and just a reminder that the daily ratings is completely producer supported we want to stay away from advertising and we don't want to have any paywalls or tier structures or subscriptions it's all just value for value so are you finding value in any of the things that we're doing here at the daily ratings then become a producer and donate whatever amount of value that is just go to the donations tab on the daily ratings.com and while you're there be sure to check out the massive amount of films that vin has rated so thanks so much everybody we'll see you next week on the daily ratings podcast you
