(upbeat music) - Welcome to Rise Smile Films, the film review podcast that mixes cinema with fine spirits. Journey with us as we encounter new, old, and strange films with the occasional dabble into sports and music. Proceed with caution as these podcasts feature spoilers and some mature language. This is Matt, and this is Jesse. - Today on TAP, we have Lethal Weapon, starring Mel Gibson, Danny Glover, Gary Busy, Mitchell Ryan, and Tom Atkins, written by Shane Black and directed by Richard Donner. Welcome back to Rise Smile Films. It's time to continue on with our buddy cop cast, been a fun two weeks, spending time with Axel Foley. But now it's time to talk about the film that I think popularized what a buddy cop film is, even the ones that had taken place before and everything after Lethal Weapon from 1987. One of the perennial action movies, franchises of the '80s into the '90s, a film we've talked about a lot. You know, we've done other Shane Black movies, but not Lethal Weapon. We've done the last Boy Scout. Obviously we've done Predator, but he's in it. He ghost wrote some of the stuff on the background, but I'm excited. This is a big one. I think for me and you in the space we like to play in. Yeah. Lethal Weapon, was this a, I always love asking you, 'cause like just seeing how you grew up, was this an in-theater watch? Was this a rental? Was this HBO? Like, where was this? In-theater and then a lot on HBO. Okay. So by the time it got to HBO, it was probably '87 or '88. And at that point, the reins were off as far as what Matt could watch. There you go. Are rated otherwise, so heavy, heavy rotation. I bet you I've seen this film 35 times. Yeah. Yeah, I'm pretty high up too. Although there are times when I can confuse scenes and sequences from this film, and I'm like, "Oh no, that's Lethal Weapon too." Like the toilet bomber. Right. Him relocating his dislocated shoulder. I'm like, "Is that Lethal Weapon one?" And I was like, "No, that's the second one." Man, you gotta talk about the year 1987, because you have a film like The Untouchables, another film I really like, Mr. De Palma, right? Lethal Weapon, Predator, Robocop. Get out of here. What a great year. And I don't know if that's all summer. That's probably, I think Predator was like a December/November release, which is weird. I think The Untouchables was a fall release too. Still, those are some heavy-hitting films and some good genre stuff that I'm very fond of most of that. I mean, really showcasing with those four films that you mentioned, The Space, that was successful for the 1980s. And really the latter half of the 1980s. This action space is clicking. And, you know, if Hollywood is a copycat industry, which it is, you can get to a place where it just becomes reheated and played out. And I have to say, I don't think that the action bits, and especially the four films you just mentioned, And The Untouchables is a bit more drama than action, but there's still some action in there too, was ever played out or tired. - Oh, yeah. - Compare that to, let's say, the mid-90s and the procedural thriller inspired by Seven, Kiss the Girls, that got to be pretty tired. - Really tired. - Yeah, the John Grisham effect of thrillers and whatnot. But there's a lot of, but this, not these. - But you want to talk about action in the '90s? It's still pretty good, speed. Last Boy Scout. - Oh, yeah. - That all led to like the Matrix. I mean, there's a lot of winners in there. But today, before we get started, we'll talk more about action. It's placed in the 1980s in this film, some more of the black end, The Metallica Whiskey, right? Do you like this? - I do, and so, cheers. We're in some, I'm tasting a little different to me. I don't know if it's the glass, 'cause this one's supposed to be more aromatic for the palette and the senses. - It tastes sweeter, but smoother, but not an overpowering sweetness. At the very, very, very back end, do you get that surge of spice through your sinuses that I get? - Yeah. - I like that. - Yeah, that'll open you up there. Do you know what, do you know? So you said this in The Telecom on the bottle here. It's kind of a wave form of a song. Do you know what song that is? Is it an original? Is it a classic? - I could find out for you. I'm a little too lazy to look in it, but I'll find out for you. - We'll look it up. - What do you want it to be? - Red fan? - No. - Master Puppets? - I don't know. - Yeah, man. Let's just be classic, right? - It might be. - Yeah. - Okay. - I really like one. - I was gonna say one. - One's great. One was fun to play on guitar hero 'cause it was like a seven minute long (grunts) and so your fingers were like robbed by the end of that song. - Yeah. - But before we get started today, a little bit of an appetizer before the flight. - Yes. - Here's the flight flight. - Yeah, here's a charcuterie board for us to dive into. - Yeah. - Big announcement yesterday. - You and me are real geeky. - We know. - Yeah, yeah. We love comic book stuff. We love talking Marvel. It's one of our favorite things to do. So it creeps up from time to time, but Comic Con's going on right now. Marvel had their haulage presentation last night. They hadn't been at Comic Con in about three or four years. So they really wanted to come with some big stuff. - Boy, didn't they? - And they did, yeah. So we'll save a lot for next week, wink, wink. But two Avengers films were announced. I think we did know Secret Wars is going to be one of them. Then other ones been retitled Dooms Day. I think that one was the Age of Kang. What the hell was that movie called? - Yeah. - The King Dynasty. - The King Dynasty. - Yeah, so that's off the book. So it's Dooms, So Doom, and it's green. I was like, oh, who is that? Superman's Dooms Day. The Russo brothers who, you know, last we saw them with Endgame and Infinity War have decided to come back. So, you know, at least they know how to make these bigger films. I kind of wanted to see Raimi step into one of those chairs. I also heard Sean Levy did Deadpool was kind of, you know, floated around as another name. - Why never any mention of Doug Lyman? - I don't know. It was less, he had something recently. Oh, the Roadhouse remake. Well, maybe that's why. (laughing) He's on Prime right now. But the biggest announcement, and we'll just kind of do a little thing here, but, you know, they brought all these Dooms bots. Did you see the video? - Yeah, the video was pretty cool. - It was. - All these Dooms bots, and then like a guy, and like, only one person in the universe could play this character. An Alwaxxis actor, green suit, pulls a mask off. It's none other than Robert Downey Jr. himself. Kind of a cool reveal, a rumor that I think I told you a little while back that I had heard rumblings about. He might come back to play this character. Obviously a fan favorite in the MCU. But it raises a lot of questions, and we've already discussed some of them off mic. Is this Tony, a version of Stark playing Victor Von Doom, or is it RDJ playing a new character Victor Von Doom? I don't know, we can debate that, and it's all rumor and hearsay. The one thing I'll say, and then I want your take is, I don't know if it's a good idea yet, but if one person can pull it off, it's him. - Okay, fair. - I mean, we saw a brilliant villainous performance in Oppenheimer that got him his first Oscar. - Yeah. - Doom needs the acting chops. - No, no, no, no, no shame to Jillian. - Yeah, that guy. - Yeah, from Nip Tuck, right? - Yeah. - You need an actor actor in that role. He's so theatrical, it's acting through that mask, and it's very, my favorite, one of my favorite, I'm not gonna say D, 'cause I think Magneto still beats him in terms of my villain department, but top three, four, five Marvel villains of all time, and he's never been done justice on screen, so if anyone's gonna do it, I'll put my faith in, Mr. Robert Downey Jr. - Yeah, again, a lot of this we'll get into next week, just like you said, a little sneak preview, this is gonna be heavy in the flight next week with some more stuff that gets announced, and so we're a bit more informed. - Yeah. - We weren't the only fanboys that were clamoring for this after Thanos was done away with. Going back all the way to in-game, you and I said, well, they have to be moving to Doom, and Doom is obvious, and Doom is obvious, and Doom, Doom, Doom, Doom, Doom, Doom, Doom. We finally got what we wanted, basically, with a pivot to disassociate themselves from Jonathan Majors for his domestic issues. That's a mess if you followed what's going on in low-key season two, and I would recommend people see that just to sort of stay abreast of what's going on, and possibly even seeing that before you go in to do Wolverine Deadpool, it's not a deal breaker, but it does provide a bit more information. Nonetheless, we got what we wanted, and the selection of Downie, I think, presents some really positive possibilities, and it presents some negative consequences, which have nothing to do with his ability to play the part. He's gonna slay it. He is, and him as villain, if you wanna take the Oppenheimer route that you did, and maybe even to a little lesser degree at a much younger version, sort of villainous, or at least debaucherous, and less than zero. He's got it, he could do it. - Oh yeah. - And he's gonna have to, 'cause that is a big, big character. I might argue the acting prowess required to pull off Doom is even greater than what it would take to pull off Cap or Thanos, possibly Thor's in the discussion with the way that's done so regally, and Kenneth Branagh's not around to help. - Yeah. - He can do it, it's just, it presents some interesting scenarios that I think Marvel has to work through. Feige stopped short of saying, we are moving away from Kang because of the problem that Jonathan Majors left us with legally, and what that does to the brand of Marvel. - Well, when you re-tidal your whole movie, yeah, you've moved on from the guy, and the character. - Yeah, I mean, the conversation right that everyone's known is what did you tell Majors? - Yeah. - And the answer to stay on brand and protect the franchise, and it is, like, it's still Disney, even though it's Marvel, it's Disney, and there's plenty of debauchery behind the scenes at Disney too, they're not gonna put it out front and center for everyone. That's something that is a big reveal as Comic Con is. So, yeah, we'll see. Fantastic Four's gonna take place in the 1960s, Harrison Ford as Daddeus Ross. That was announced prior to the Marvel haulage symposium last night. How's some interesting things happening? - I'll say one more thing, yeah. - Just one more. Just gonna make for a short show this week. - There you go. One of the other reasonings behind bringing Downey back in my opinion is because Marvel was so in the dumps right now in terms of fan morale and excitement, but when you bring back the linchpin of the entire universe, I mean, think back to when you-- - What started it? - Yeah, think back to when you all saw Avengers Endgame and they had the curtain call autograph in Downey was last. Rockish cheers for him more than anyone else. I mean, they love this guy. Yeah, you wanna get this guy back to get in the good graces with the fans again. Yeah, let me give you someone you love. Let's see him do something a little different. I just wanted to step on the toes of everything else we've pre-established, right? Stark left such a great and endearing legacy as a movie character and on Downey's career. Let's not muddle that up with, oh, it's a Stark this and it's a this and I'm trying to keep track of five different timelines. Just give me doom, put 'em in doom and let's just move on, right? Yeah, so I think you're leading into what we're probably gonna have a pretty robust conversation in next week, but I will say this if Downey started it with Iron Man. Way back when and you have found your franchise today in a bit of a trouble and so much trouble in fact that what seems to be most likely, a fringy entry into the MCU that made a fortune on opening weekend, that's Wolverine Deadpool. Yeah. And beat the last Marvel theatrical release, which was the Marvel's, on opening night, 87 versus 84 for the Marvel's or something, like a couple million dollars that beat it. Then you're admitting like maybe we're in trouble, so let's go back to what worked, which you should, when things break down, you go back to your roots, whether that's sports or romance or whatever, as you go back to what you know, go back to what you know. Exactly. I don't have no problem with that. We'll see what happens. Yeah, rest for next week. There you go. So until then, let's get going with our flight question. ♪ Chingle bell, chingle bell rock ♪ ♪ Chingle bell, chime, chingle bell, chime ♪ ♪ Dancing in the faucet, chingle bell, chime ♪ ♪ In the foster years ♪ (somber music) - I'm an ass. You know what I really like, I'll talk about Michael Caiman real quick, 'cause he's got some collaborations with Eric Clapton on the soundtrack of this film, David Sanborn's Mr. Saxman in here. We'll talk about the music later, but it came in an interesting choice for me, 'cause the music, you have this, and then he does die hard the next year. The music in Lethal Weapon sounds nearly identical to what's in Die Hard and a lot of that. ♪ Doo doo doo doo doo ♪ - Yeah. - And then the following year in '89, he would do License to Kill with Timothy Dalton, the Bond film, and you get a little bit of that, but with the Bond themes in there. - Three pretty good soundtracks, in my opinion. Mr. Michael Caiman, he also did not to get X-Men with it again, but he did the score for the very first X-Men film, and I think sadly passed away a little after that. - Before I get into this, I want to ask you a question about, I brought up in his Bond themes. Is that Horns or Strings for you? - Ooh, Horns. - I think so, too. - I think so, absolutely. By a lot? No, it's close. - I think so. - I like when they're integrated really well together. - That's what we really liked the Sam Smith, the writings on the Wall, 'cause it was a song that integrated both Horns, Strings, and it really sounded big and loud, but of course I love my gold finger, gold finger. - So do I. - Yeah, like that feels classic Bond to me. And it's what the incredible sounds like, too. Incredibles is a lot of bombastic horns and like kind of like melodic jazz. They took a lot of that from Bond, yeah. - Beautiful. All right, Mr. Central Casting, here's your flight question for today. - Okay. - Staying in the buddy cop film, I'm gonna rattle off a list of a bunch of names. And from this list of names, I'm going to have you craft three buddy cop teams. Now I'm gonna rattle them off and then I'll give you the list so you can look at it, but can I give you the names of your choices first? - Yeah. - Your guy, Mr. Glenpell. Mr. Michael B. Jordan. Maybe you've heard of this dude, Ryan Gosling. Maybe this one, Keanu Reeves. Margarabi, Dwayne "The Rock" Johnson. Chris Hemsworth, Denzel Washington. Brad Pitt, and Leonardo DiCaprio. From that list, I need you to craft me three, and I'll weigh into three different pairings. And let's do the guy that I know you're gonna pick first. So let's start with the guy who started the list. Mr. Glenpell. - Mr. Glenpell, the man of the hour. - What do you like with Mr. Glenpell? You can't go Gosling, right? 'Cause that's the same guy. - That's too much, and the women of America wouldn't be able to handle that movie. (laughs) Let me pose one to you. - Okay. - Does Glenpell and Pitt feel more like possibility or more like once upon a time in Hollywood disaster? - No, no, what struck me about that one was kinda youth versus age. - Yep. - And a kind of a very similar build, heartthrob. You know, Pitt was once a heartthrob and is now and once was. - Yeah, but still a great actor, right? I mean, you can still, you know, really turn out some good performances. 'Cause there's another one that's on there that to me is really interesting. And we've seen sort of a version of this. Will Smith and Margot Robbie kind of played in the space, but if you take the beauty of Powell and Robbie and put them together, then is the superpower that the mold or scaldy cell phone ability had in the X-Files, the disarming of someone through the aesthetic. That's my thought, I'll let you run with it. - Okay. - And whoever you want. - Okay, yeah, I gotta pick Powell first. I think I'm gonna go up first there. Michael B. Jordan. - I like that too. - I think that's an interesting, you know, young, yeah, young kind of interesting energy that they both bring to the roles that they pick. But yeah, if you gave me like, fuck, if you wanna reboot Lethal Weapon and put those two guys in, you're not playing on age, you're playing, you know, just on like the youth of the guys. But I think they would work really well together. That'd be kind of an exciting action movie or remake Miami Vice with those two guys. Oh, Jesse, that could be, that could be fun. So I'm gonna pick those two. - So Glen Powell and Michael B. Jordan are off the table. - Yeah. - Got a lot of choices we can pick, or you can pick from those guys, but I can't. - No, no, like we got a two more parents and I'll give you that. - Okay, now Glen Powell and Michael B. Jordan are gone. - Okay. - Okay, so we have to in this group use Margot Robbie because I wanna play in a space that has male/female because I'm gonna talk a lot about this today and that's the black/white issue. And non-descriptly how that's not the route that Donner chose to go or Shane Black. And it is actually, I think, a very smart decision. It worked good and seven also worked in Training Day for the most part. Let's play with Margot Robbie. Okay. - Where do you wanna go? I mean, the obvious one here is Gosling. - Of course, yeah, great chemistry already, but been there, done that, seen that. - Okay, he's out. - I wanna see something new. I'm gonna go Margot Robbie, Keanu Reeves. - Oh, love that. - Yeah. And especially if we're making a John Wicky type of buddy cop film, maybe there's some, you know, corruption at the city level. We could portray Robbie as kind of the youthful Scully and maybe he breathes as the kind of veteran, David DeCovany, who's been there seeing it just waiting to get out. Maybe a little like Morgan Freeman and Seven, but then we really let their acting chops or an action chop show throughout the film. That could be a lot of fun. - So let me throw you a curveball on that one real quick. If I had put, 'cause there's only nine on here and I'm pretty sure you need to have an even number. So if I am-- - You make the rules, man. - My list, yeah, if you, or if I added one more name on this, would you replace Robbie with this particular film? And that's Charlize Theron. Would you like to see Atomic Blonde meets with John Wick and we go kick some exes? - Well, of course I would, yeah. But would we, no, 'cause I think Atomic Blonde is John Wick, you know, side quest. It's a really great action film. I'm gonna stick with Robbie here. I think she's a great dynamic presence, one of the great actors working today. And Reeves doesn't really get a chance to, you know, act opposite a lot of, you know, like females. And you could make, I don't know if you wanna do a romance subplot, maybe not. I don't know what, you know, if the film needs that. But, you know, Reeves is usually solo in a lot of his films. You know, the John, he had Helly Berry in part three, but it was, you know, one scene. - Yeah. - I'm gonna go those two. I like that, I like that pairing. - Here, here's who's left. - Okay. - Gosling, the Rock, Hemsworth, Denzel, Pitt and DiCaprio. I knew this, this is the first one that popped up. But we went Glen Powell first, which is good. - Of course we did. - I'm gonna go Brad Pitt and Denzel Washington. - Ooh, yep, me too. - Two classics from the '90s. You know, amazing acting chops, award-winning actors, right? Now we get to make a buddy cop movie where they're both at their ages end, at their wits end, and they're both looking to get out. But maybe these two guys have been partners for years, and now 30 years later, they just can't stand each other anymore. - Oh, look at that. And so whatever conflict or whatever kind of plot we wanna thrust them into is gonna really have to like bring them together or like on the same ground one last time. - Because you're on fire this morning. - Yeah. - I'm gonna give you one more to think with that. So the frayed relationship between two guys that are at the end of their rope, which how could it not be? What is the police work that we're doing, is it detective, is it homicide, is it drug? What do you, is it satanic cult? What do you want those two guys with the frayed relationship to pursue, to endeavor, to bring to justice? - Well, you said satanic cult, I instantly thought true detective. - Yeah. - And now we're getting into a little bit more of a thriller territory, which is okay, right? I mean, seven did it really well. - True detective does it really well. - Am I trying to make this in the seven again? - Yeah, maybe. - Yeah. - But it would work? - Has. - It would work really well. - So maybe the like religious route? - I don't know. I kind of want to see maybe just like an NYPD blue, like, you know, one last drug bust that just spirals into a huge thing. - Yeah. - Think like Beverly Hills Cop. Like maybe like a plot like that and just like, oh man, that has so many players and so many layers or of like, you know, art smuggling and then we're bringing shipments in. I mean, kind of this movie today too. I mean, we're just bringing drugs in. (laughs) That might be a good one. - And just to see the two of them together 'cause they haven't made a movie together, have they? - No. - Yeah, that seems like a must before they're, they both hang it up. - So I'm gonna throw you one sort of honorable mention curveball. - Okay. - Here, this is who's left. The Rock, Hemsworth, Washington. - No, we just burned Hemsworth. - The Rock, Hemsworth, Decaprio. - And Gosling. - And Gosling now. - With Zac Efron. - I have to pick Efron. - You have to. - Okay. - Efron and. - The Rock, is that comedy? That sounds like Baywatch. - They did do Baywatch, so yeah. - I might go Decaprio on that one. - The Beauty and the Talent? - Yeah, yeah. - Yeah, yeah. Let's see who, if the method doesn't scare Efron too much and Decaprio fully invests himself into whatever character and accent he's gonna do, but I think that could be fun. That could be an interesting pairing. And I got a lot more good graces with Efron after Iron Claw, right? - Sure. - So if, whether we do drama, we're not gonna do comedy. A serial killer one might fit them really well. - Who like that? - Yeah. Maybe we're looking after something like Zodiac-esque. Let's set that one in like the 70s. - Okay, final one, I promise, then we're getting into the show. Let's take Captain Method, Captain Contankress himself, Christian Bale. Who do you not want to put him with on this list? What's a disaster on set, just for fun? - Probably The Rock. - I think so too. - Yeah, that's two very different-- - The ego on that, my God. - Yeah, that's too very-- - And let's have David O. Russell direct it. - Oh yeah, gikes. That's two very different thoughts of acting. But if you wanted to give me Bale and pair him up with one of these people here-- - Oh, in a good way? - Msworth? - I don't know. And Christian Bale and Brad Pitt would be pretty good. - Yeah, I think so too, yeah. - Him and DiCaprio would be pretty good. - Somebody who's a little more fun-- - Oh no, and he was with Margot Robbie in that Amsterdam movie, Speaking of Mr. O. Russell, I didn't see that, I heard it was awful. - Yeah, no one saw that. - Great choice, there's a lot of interesting pairings and combos, but it all boils down to chemistry, right? - Absolutely. - And I think we're gonna talk about that today because Richard Donner and the creative forces that be figured out the chemistry of these two actors really early on where it was like, no, this works, and let's build and work with that, so. - Yeah. - It's a great question. - Wait 'til my cup. - There you go. Good job, Mr. Kiss Central Casting. Thank you, thank you. Excellent, well, let's get right into our review breakdown of "Letal Weapon." - Hey man, hey, come on, shut up man, I'm losing count. - $93.95, $96. - Forget it, you dumb shit, $100,000, $100,000. - Did you hear what he said? - $100,000, I'm sorry, I can't afford that none on my salary. But look, I'll tell you what, I've got a better idea. - Yeah. - Now let me say I take the whole stash off your hands for free. - You assholes can go to jail, what do you say about that? - Now I can read you guys her rights, but now you guys already know what your rights are, don't you? - It's bad, Jane, real. You ain't real. - No, you sure aren't a crazy son of a bitch. - You think I'm crazy? - Yeah. - How do you call him a crazy, you think I'm crazy? - Yeah, you wanna see a crazy old kid? - Now that's a real badge, I'm a real cop, and this is a real fucking gun. - Okay, pal. - Hey, no, this is in the dirt ass hole. - Excellent, well, let's start with Lethal Weapon right at the beginning, how Mr. Shane Black likes to start all of his movies, which is Christmas time. - Yeah. - Jingle Bell Rock in Los Angeles, December 1987. - Looks like August. - Yeah. Warm, warm Christmases, warm-ish Christmases. It's a little cold, but not like frigid. And we meet Amanda Hunsacher, right? This is drugged out woman, we're gonna find out, you know, she's into a lot of nefarious activities making pornography, she's involved in some interesting drug trade. And then like Jenny and Forrest Gump, I mean, gets on the railing here, and then just jumps. And it's just a wild way to start the film, something I learned, this actress that plays her, actually performed the jump herself I read. - Really? - Whew, wow. I wouldn't do that, but if this is our opening scene of the film, we're making a cop film, a detective film of sorts, this is gonna be the linchpin of the mystery that's gonna start the entire film, this woman that just falls on this thing, dead as a doornail. Who is she, why did she do that? What's the bigger mystery at hand here? That's what we're gonna find out over the next hour in 40 minutes and how it involves some nefarious drug traffickers, maybe they're involved in some sex trafficking too. - Yeah. - Mr. Joshua. I think it's a pretty great opening scene. I never confuse how lethal weapon one opens, Matt. I might confuse some other scenes for the sequel. I know this film starts with this swan dive. I don't know how they show this movie on TV 'cause she's just bare-chested. They had to do some pan and skin zoom-ins to her face, but she's not right, she's not well. And their dad's not well either, right? - Yeah, to the sound editor and to Shane Black's credit because this is before Shane Black is gonna go all in a character of himself and become the Shane Black that was pretending to be Shane Black. Are you listening, Mr. Quentin Tarantino? What an opening. Let's do Christmas and LA, which looks like any other day, which I think is really important. Can we talk about the setting for a minute? This movie is different if it's Seattle or if it's Chicago or if it's New York or if it's Dallas. LA is glitz, man, and glitz is gloss. So if you're gonna have, dare I say, non-descript, sunny, then you don't get the benefit, writing-wise, of a setting that becomes a character. Let's take seven, which essentially isn't Seattle, but might as well be Seattle. - Yeah, the unnamed city. - The rain and the moisture there play a role in that film, whether that's cleansing or difficulties with vision. The rain plays a huge role in that film. If you set it in Chicago, then you're playing in a mafia space. If you set it in New York, you're playing with a edgy, friendless, probably dirty cop space and some of that might show up here. But if you set it in LA, what it gives you is space for I think one of the things that you sort of hinted at a minute ago, is this vaudevillian relationship that we're gonna see between Glover and Gibson, which is the straight man and the jokester. For all of the space, and dare I say this now, but I guess I'll just lay it out, Mel Gibson is an absolute rocket in this movie. Give me, and I don't know what your relationship is with Gibson now, I am still good with him. - I don't know. - I'm good with him, but I'm fine with it. Everybody's allowed moments of problems in their life and where do we start and stop with that with Mr. Robert Downey Jr. Because if it's not for Gibson, we don't have Robert Downey Jr. So let's not get too sidetracked with that. Like maybe I'll give you a minute to respond in just a second on that. Mel Gibson is an absolute rocket, rock star, movie star and he is beautiful and clever and Mel Gibson is a shooting firework that the 4th of July would be jealous to watch. He is killing it at this time. - Yeah. - So if you set these two guys in LA, then they get to showcase what their characters are and we're not having to play second fiddle to the setting that it takes place in credit to shame black. That being said, when we open up on Christmas day in glitzy high rise, 70,000 feet above the ground to a topless girl, Shane Black is throwing his nuts on the table and saying buckle up and to Richard Donner's credit. - Yeah, he's the glue of this whole thing. - Joe Silver too. - Yeah. - Silver's company led by Richard Donner. Can we have a better pairing for this film? - Yeah. You should let me read some of Silver's, I'll do that at the end of the episode, some of his producing credits. - Wow. - They're impressive. - Well Donner too. - Yeah. - We are with two masters here. - The Donner knows how to direct movies. I mean, go listen to our five hours of Superman one and two. - Yeah, yeah. But, or the Omen. - Yeah. - Richard Donner's amazing. - Oh yeah. - Probably has not, to Richard Donner. Let's go ahead and do it now. - RIP. - RIP, RIP. - That's your opening, Jesse. That's your first six minutes is and then what's odd about this is she does a bump. - Yeah. - You know, that's 'cause I'm so streety with my drug knowledge. I can call it a bump, whatever, right? - No more bumps, Shao. - Yeah, exactly. - So she does one and it takes on the effect of a hallucinogen or a psychedelic. - Yeah. - An odd, odd space because the drugs that are going to be the linchpin for Neferia in this film are in fact opiates heroin. - heroin, yeah. - So she does a line that's we're gonna find out later probably is laced in a hallucinogenic state to not be the drug that we're going to chase down the film. - All of that creates the mystery that makes Glover's character so important and that is the detective uncovering piece of procedural copdom that Gibson or Riggs, as we're gonna have Murtan Riggs, is so opposed to seeing through with Fidelity. - Yeah. - Great opening. - Absolutely. - I'll save my Gibson retort for when we will introduce him here in a second. - Yeah. - He's an interesting one for me. - Yeah, terrific opening. Yeah, and Forrest come totally cribbed this scene for Jenny, but she didn't leap, right? But it's that same hallucinatory, I'm gonna do it, I'm gonna do it. And it's the way the music's playing here. I mean, you went from the jingle bell rock to Michael Cayman's ominous score and it's like, yeah, this is kind of serious. This isn't as happy. What a way to start Christmas. I mean, with the suicide, but then we cut to that. Let's go establish Glover, Mr. Roger Murtaugh. His 50th birthday. He's just trying to take a bath, get his day started. Here comes the family, all the kids in here in the bathroom, the cake. I mean, he doesn't want any part of this. Maybe he doesn't want to admit his age yet. But I love how they establish him, that he's a family man, he's domesticated. His family means a lot to him. They give him a lot of stress. His wife's the worst cook ever, it seems like. His daughter, late high school is, you know. - Growing up real fast. - Yeah, I'm about to give him a heart attack. - Yeah. - Then he's like, I'm 50, fuck. I gotta shave this beard. So, I mean, let me try to look a little youthful to start out the movie here. I don't know if we've done Danny Glover on the podcast before, but I mean, we're talking about one of his big roles here. I mean, we haven't done Predator 2 yet. Maybe one day we'll do Predator 2, Matt, but this is-- - A lot of films to cover. - I'm sure you wanna do that one. - Sure, I got a lot of films to choose from, Jesse. - Predator 2 could be a fun, in a weird way. - My shirt's for Predator 2, come to speak of it. Wow, that's weird. - Wow, that's weird. - Speaking of Mr. Gary Bucey's in that movie too, mm-hmm. - I love how they establish him. And his house is in a weird state of disarray and refurbishment. - Yeah. - And then the next movie, they're just gonna blow with clean up. It's a build Roger Murta in his family, a new house. But there's a lot of great roots here. And it's established really early on. I mean, you wanna talk about seven and the isolation of Somerset. Lonely Man, done with the job. I need a metronome to go to sleep to drown out the noise of the city. You have the exact opposite here. There's, you know, he welcomes the comfort of his family, even though, you know, it's driving him to go into the office and it's almost like he doesn't wanna be there at times either, especially when he's gonna be saddled with this new partner. - I love Danny Glover in this movie. He's the great straight man to the wild lethal weapon that is rigged. - You make choices when you create the script and what you wanna manifest and what you wanna associate, you do, if it's handled well, and Shane Black at this point is handling it quite well, this is spec by the way. This had to have been at the time the highest grossing spec of all time. - 250,000? - It has to be number one, spec wise. - It could have been, what, ET maybe beat it? - I don't know what they sold scripts for that day, but I know he's gonna-- - I mean, gross, like returned in the theater, right? - Oh, for sure. - Had to have been. - He's gonna, I think yeah, it was a last boy scout, I think, or long kiss, good night, set the record for spec, highest sold spec, which is, they're both black. - Shane Black. - I think it's Shane Black. - Mid 85, so this is 87, mid 85. He was still at UCLA when he was churning this thing out. - Yeah, you know, to Shane Black, like, Brother, find it again, please, find it again. Anyway. - Yeah, the last thing he did speaking of a predator was the predator, which was a huge miss for me. Huge miss. - Well. - It's an interesting choice that the writing and directorial process is take on this because in this one decision that he makes to not make a Murtaugh modest. - Yeah, you create a stronger tie, familial-wise, within this unit. And it is-- - And a genius writing. - And it works 'cause they'll play into the story much later. - It's the whole, it's the final act of the film. - And it's a great juxtaposition 'cause you go from that, kisses everyone, goodbye, leaves for the day. You first goes, hey, baby, what's the stain on my tie? - Yeah. - It's an ugly stain. - Yeah. - Thank you. - And then, but yeah, before he goes and investigates Amanda Hunsecker's swandive, we cut to Martin Riggs on the beach. - Quite the opposite, in an RV. - Also naked to begin. - Yeah. - Is Jim Harbaugh living out here with him too? - I hope so, good charges. - Oh my God, that guy. - But all right, so I love that you brought that up. His opening is the mirror image of broken. He doesn't have anyone completely different to see him in the bath because the one person that he would have which would have taken the child with her had it been, had she still been alive? - Yeah. - We see, instead of the comfort with it, his best friend is a dog and we find out a gun. - Yeah, I was really taken aback. I was like, 'cause we see him waking up, he's already lit up a cigarette. And he's got like the ashtray on the bed next to him. I mean, this guy's just like, you know, wakes up, I'm right, I gotta puff, devil be damned. - And then goes to the fridge, get some Gibson buns here. (laughing) - Hey, it's selling point, man. - Exactly, yeah, he was the heart-throb-ish. - Jesse, he's beautiful. - Yeah, he does 87 beautiful. - I don't know if his hair's beautiful. - I think it comes, do you see him with like a well-coffed, like high and tight? - Well, in Lethal Weapon 4, they finally gave him the short due, but I could maybe go for what his hair looks like in the road warrior, the second Mad Max would kind of be a nice even. - Okay. - 'Cause this is like a step away from William Wallace in Braveheart. It's a total nitpick. - Okay. - Goes and gets a coarse banquet beer, and then goes to take a piss. I'm like, dude, what a start to this morning. And he's nursing the hangover with Siggs and another beer. - And regret of his dead wife. - Yeah. - And the picture that he's looking at crying over. - Woo, so we established two very different types of waking up and starting the day out. So let's see two different types of policing and procedural. - Yeah. - We see it with Gibson, Martin Riggs, and that opening scene there, which I love. It's his reference to the Three Stooges. He's a massive Three Stooges fan, by the way. - In real life? - Yeah. - Has long been trying to do a Three Stooges movie. Like, so that little kind of slap in the eye poke and like the curliest isms to show. I'll show you nuts. - When we get nuts, let's get nuts. This guy's unhinged and you know, what's crazy about him is he's not afraid to die in the line of duty. And when that guy's got the gun, he's like, shoot this, shoot this prick, shoot this prick, shoot me. Kill me and this guy, he doesn't care. And then when he's face to face with the guy, and he's like, yeah, yeah, yeah, yeah. And he's like, dude, this guy is crazy. Even though at the end of the week, he's like, I'm not crazy, Raj. It was like any more. - Yeah, any more, yeah. Because we've squashed and quashed some beef. - He's nuts here. This is, you don't want this guy on the police payroll here. I was like, this guy's gonna cause some problems for internal affairs. He's just a wild cannon. I mean, think about, yeah, exactly. And think about if he's that wild cannon, what does that look like when you pair the way he looks? I think that's why his hair works for me. And his, although awesome boots, don't go with anything that he's wearing with Mr. Sweater Vest, tie underneath, button down, Sergeant Roger Murtow. - Yeah. - They don't fit opposites attract. - Yeah. Which you mentioned the boots. That's my favorite part of his costume. - Yeah, so they're awesome. - It's very cowboy-esque, Wild West, Riggs. - Quick on the draw. - Yeah. No, Gibson's, this is a great performance to remember. I'm with you, like he's all in and I'm a movie star. I'm willing to see it. Yeah, capital M, capital S, movie star. And maybe something then, you know, as a kid, you know, this is where I'm coming to my Gibson barometer. 'Cause I don't know if I'm in the good graces with him now. I mean, that's primarily because I'm not really watching a lot of stuff with like direct to DVD Gibson or whatever. But you know, all his incidents, you know, where that all came to a head, you can go listen to all that craziness. And we ripped on that in a character we were at one time. - Yeah, I did, yeah. Gibson was playing a Joel Osteen televangelist, which was amazing, right? To see that Uber Christian play a guy that we wrote. We'd love to see that. But as a kid, I always kind of thought like, this guy Gibson, he's got his stuff together. He's the dad and signs in Braveheart. He's really good. But I just recently re-watched all the Mad Max movies in May. So between that, this Braveheart, I'll throw signs in there. Some, for every young, I mean, Gibson has a touch of insanity in all of those movies. He always seems a twitch outside of the, a fringe outside of the norm, right? Like he's like, he's ready to like snap at any second. You see that from his very first movie, Mad Max One. - Oh yeah. - You see it there. You see in the road warrior, Thunderdome. - Well, isn't he unmuteing you in the bounty too? - Yeah. - I think he's crazy in that also. - Yeah, the four lethal weapon movies. And then sign it, there's one of my favorite scenes in science is when the family's having their last supper and he just starts eating everyone's food and he's like, oh no, no one wants to eat. I'll eat all your everyone's food. And they'll start crying and it breaks my heart. But I think he always had that touch in him. So him snapping and kind of losing his mind personally, I mean, you can see how that would happen. I don't believe in anything that he said to any of those parties. I mean, that's just, those are Gibson's things, whatever. But the guy's got a furious intensity in his acting. I mean, you go back and watch Mad Max One. He's movie star from the word go there. He has the charisma and the chops to pull it off. And I might give the edge to that particular character, but Martin Riggs is really close for me. He's really terrific as William Wallace too. Yeah, great actor, yeah, had his moment. Pretty good director too, right? He doesn't say not only that, but behind the camera as well. Yeah, we have written, directed, doing the whole shebang. Have you seen his new one, the one where he is the Colin radio host? No, it's just not on my radar anymore. He doesn't get me into seats like, you know, Harrison Ford still will, right? And it's just a lot of it's, you know, the projects he picks. But if he got in something that was a little more high profile, absolutely, I would check it out. Okay. Well, you're right. Well, this is high profile. You're right. And everyone's also, everyone's deserving of a second chance. He just do is apologize much like Robert Downey Jr. Like you said, I think you danced around it, but you know, R.D.J. was a very staunch advocate of like give Gibson a second chance because you guys gave me a second chance. There's a whole speech he gives on that. When Downey gets clean, he brings Gibson on stage and whatever award he will. The Golden Globes, I remember it. And it's a beautiful speech. What's the movie they did, Air America? Yeah. Yeah. I mean, if you're going to knock a guy or gal for their mistakes, then it's really disingenuous to not extol their virtues as well. And, you know, Deb was lucky because he was able to pin it on herd. But what Deb did is no worse than what Gibson did. They're the same thing. Yeah. And these guys, Amber Heard, took the became the fall guy and fuck her. But these guys are in a different category to like the Kevin Spacey's of it all, right? That's a whole different version of debauchery. Yeah, sure. Absolutely. But fortunately, David Hasselhoff couldn't find the same lackey that Johnny Depted different level of acting. But no, he's terrific here. It's a fantastic introduction to him. And then we cut back to Glover investigating this swan dive. And he's really shaken up about it because he got a call from the dad. Oh, I haven't talked to him since 20 years. Old war, buddy. Oh, his daughter's the one that died. That is that why he was calling me? Wants me to figure this out, set it straight. And he's really troubled by it. Probably because it reminds him a lot of his daughters. I go off. I don't figure this out. Am I setting my oldest daughter up for failure? I mean, she's about to be ready to, you know, become a woman on her own. I don't want her to end up the same fate as Amanda Hunsacker. I love that name, by the way. They say it's so much in this movie, too. So I see why he is willing to see this through to the end. It's really simple and clear to me. Well, you like this because it's akin to vertigo. Yeah. And this is you owe me and Scottie, you're my buddy. And in a similar fashion, it's not quite as set up as Scottie Ferguson falls into in vertigo, but it's not far from it. I don't for a second believe that Mr. Hunsacker doesn't know why his daughter was killed. He tells them later, because there's that kind of terrible exposition dump that we're going to get to later, where we find out what's really happening here. I don't that seems great in its own way, but that I wish that was a bit more detective driven than it was just exposition, but that's fine. And I just tell you what I'm doing. Yeah, which OK, that's we're gonna nitpicky. You owe me, buddy. So I need you to figure out what happened. And here's enough story about where she was. To where my call to you was in hopes that you could rescue her. Man, you must owe somebody pretty pretty big time and we come to find out that he does owe him big time because he took a bayonet for Riggs. Hunsacker took a bayonet for Murtaugh. I'm sorry for Murtaugh. Yeah. What's important about that is that starts to create a seed or the growth of relationship in what is a strained pairing between Murtaugh and Riggs upon first encounter. They have a fistfight kind of. And then when we start to tell people about what happened in our past or why we were why we are where we are, vulnerability leads to friendship. And this is the first clink in the armor of button-down straight-laced perfect cop, the antithesis of Riggs that maybe he's not quite as perfect as he wants or as he perceives or as I perceive him to be because this dude had to save him. And the other thing too, I think that's really important. This is going to play out. If I pair myself with this guy who is so far from the street and the grit that probably being a detective in Shane Black's version of crime, laden, L.A. would need would require, he's got to have Riggs. Yeah, because he needs the lack of a better term. He needs the muscle to be able to carry out his missions. You got some sound great. Some serious shit you care. You might guess it. Nine millimeter burretta takes 15 in a mag, one of the pipe, wide ejection port, no feed chance. What you got in there? Four inch snip. Six shooter, huh? A lot of old timers carry those. If I'll also say it, you're heavy into martial arts, tai chi, and all that killer stuff. I suppose we have to register you as a lethal weapon. Hey, look friend, let's just cut the shit. Now we both know why I was transferred. Everybody thinks I'm suicidal, in which case I'm fucked and nobody wants to work with me, or they think I'm faking a draw, psycho pension, in which case I'm fucked and nobody wants to work with me. Basically, I'm fucked. Guess what? What? I don't want to work with you. Hey, don't ain't got no choice. Looks like we both are fucked. Terrific. Yeah, we're getting started really well, right? First, he body slams him on the ground. And now, oh, that's your new partner. You got to work with him and they're just like, look, I don't want to do this. You don't want to do this. Let's just make it work. If I take a bullet in the line of fire, then it solves everyone's problems. Right. Right. And so that loose cannon that I think Merta is just trying to kind of like guide a little bit is just crazy. It's just with rigs, especially in this first film, because he is on the fringe. He's suicidal. I mean, we jumped over the scene where he is going to kill himself and acted really well by by Mel Gibson. He's got the bullet here. He's going to do it here. He's got to put it in the mouth and I'm like, yeah, it's this guy. And he's like really selling it. And he's got the picture of his wife on his lap there. One thing I really like about the movie, I don't think you ever really know what happened to her. No, probably cancer or if it's something in the line of duty, if it was something that caused, I mean, that we're never told that that's not important. What's important is that she's gone and so it's a huge void in his life. But yeah, this guy could go at any second, but then they use it for an action. But it is another scene I've always really loved from this movie. Here, you want to, want to say a red? Come on, let's talk, okay. Come on, take it. Yeah, I'm going to take our time in both the eye cancer. Oh, my dear. Edgy, leave her out. Edgy, leave her out. Oh, no. What are you doing? Save this key. Bye-bye. You're crazy. Now, you can jump if you want to, but you'll be taking me with you and that makes you a murderer. Okay, come on, let's go back in. You bastard! Yeah, you'll be killing a cop. That's why I'm so-- Yeah, I'll be killing a psycho, not a-- Yeah, a psycho, but I'm still a cop. You coming in? Come on, I'm going in. Fuck you, I'm jumping. Do you really want to jump? Do you want to? Well, then that's fine with me. Come on, let's do it now. So, let's do it. I want to do it. What do you mean? Let me go talk this guy out the-- Let me-- let's send the suicidal guy up to talk this guy out the ledge. Yeah. And I think, you know, has a good plan there. It's like, yeah, let me handcuff him. He's not going to jump with me. Handcuffed to him. All right, let me go. And this guy's like, oh, I'm still good. Oh, you want to do it. Let's do it then. Just end this guy's like, wait a minute. Pump the brakes here. Time out. Luckily, there was a splash bag down there, right? You know, an inflatable for that to catch them. But this guy's willing to do it. And just don't push him. Don't push him too close to the edge. Because he's going to go and he doesn't care. In back-to-back scenes, we're going to test the resolve of Martin Riggs when it comes to mortality or suicide. And we come to find out that he is not just trying to get a pension. Yeah. Or some disability. He is all in about finishing this. And when he puts the handcuffs on that guy and says, you want to fucking do it? Come on, asshole. He gets to that place that you were referencing earlier. Which is unhinged. Yeah. Naturally. Yeah. Comforably. Yeah, that's the part that's more clear to me. Yeah, he just gets into there so easily. Again, to Shane Black's credit, I'm going to give it to you in a really well shot, highly dramatized bit. And then I'm going to back it up because when they get off the splash bag, Glover, you got the sound on this one too? Well, here we go. Look at you. Hey, oh, okay. No bullshit. You want to kill yourself? Oh, for Christ. Shut up. Yes or no. You want to die? Yes or no? I got the job done. What the hell do you want? What the hell did you get there? Did you press down? Oh, what do you want to hear, man? Do you want to hear that sometimes I think about eating a bullet? Huh? Well, I do. I do. I even got a special one for the occasion with a hollow point. Look, make sure it blows the back of my goddamn head out. Do the job right. Every single day I wake up and I think of a reason not to do it every single day. But you know why I don't do it? This is going to make you laugh. You know why I don't do it? The job. Do it. The job. Now that's the reason. You want to die. I don't know. I'm not afraid of it. I ain't afraid of it. Take my gun. Don't never want to barrel pull a chicken. Go ahead, pal. He might just go ahead of you furious. You shouldn't tempt me, man. Put it in your mouth. Pull it might go through your ear and not kill you. Yeah, under the chins there. Yeah, yeah, yeah, yeah, yeah. Ow! You're not trying to draw a psycho pigeon. You really are crazy. And what I think is Danny Glover's best scene in the film. Maybe until the middle part of the third act. What we're doing in a creative way is establishing a relationship between these two characters. What Murtaugh does is calls his bluff and then saves him because Riggs calls Murtaugh's bluff. Yeah. So in this moment, who's more reliant on who? Because I would argue right now, Riggs is more reliant on Murtaugh. I don't know if Riggs needs to supersede that to become having taken a superior position in the reliance, but those scales need to be balanced and they are still not. What's at stake here is Riggs's life and he cares so little about it when pushed. Yeah, he'll end it. He'll finish it. That's your partner. That's who you're relying on. That who in the line of fire has your back. And what's going to come to be is that's all and the only one that has your back. And you're going to need him in about 45 minutes, about an hour from this point. I kind of looked at the time closely on this. We're about 33 minutes at this point. And in about 133, the action beat really hits the fan. I watched that scene four times this morning. Yeah. We got a little bit of that here in the next moment. So they kind of get on some more even ground. He's like, you see a psycho with this and that. And he's like, OK, I'll lighten up a little bit. Does Murtaugh need the assurance that Riggs is just not in it for a psychopension to believe that Riggs is all the way in. Oh, no, I think he's seen enough, right? Yeah, because my take on Murtaugh at this point in the film is he is so straight laced. And by the books, he's almost rendered himself useless. Because he, whether it's continued involvement with dirty cops or just the day to day grind, if there's always another criminal or if it's the agedness of now I'm 50 and I rather would be home with the family that plays a little bit more in two than it does number one. What Riggs is offering Murtaugh is a starker version of the younger, more ambitious Murtaugh that would allow him to ascend to detective. So even though I think they're similar in age, I mean, Gibson's got to be 40 here. Yeah, 30 in the movie. He's 30 in when he filmed it, he was 30, too. And then maybe that shoots that down a little bit. Which is wild because he looks 40 in this movie, right? Well, if you're going to go 50/30, then you have to play father figure and ingenue or pupil. I also think too, it plays a little into, you know, you've established such an interesting domestic life for Danny Glover. Yeah, I don't want this guy to be the reason I don't come home either, right? I mean, if he goes skitzo, he has nothing to lose. I have everything to lose. Exactly. So I got to get this guy on some sort of, you know, you know, decent foundation. And they find that in this next scene, you know, Riggs, you know, kind of comes around and he's like, I didn't know today it was your birthday is like, they have a little bit of apology in the car before they go up to this house on Beverly Hills, right? I'd give you a gift, you know, because you've been so kind to me up to this point. Yeah, which is not true. And we get a little action bit here. I mean, they're slinging drugs at this, at this house here. I don't know if this one's the shame black mansion or if it's the one later. It's this one. And this is where we see him really, you know, guys are shooting at them. They take them out, but then, you know, Mertel's like, okay, let's not kill him. He's our only lead. But then this guy pulls a gun and is about to kill Danny Glover. So then Riggs just shoots him into the pool. So in a way, he's starting to have his back, right? He's not going to let his partner get blown away. Even though he said, don't kill this guy. It was the only thing to do in the moment, right? It was just like, I got to put him out or he's going to put you down. And like, unbreakable. This guy falls into the tarp, right? They're trying to get this guy out and make sure he's alive. But this guy was dead the second he had the water, right? Yeah. But we're making progress here. This buddy cop, this friendship started, the day started out really poorly. But the day ends, like, hey, come meet my wife. It's, I don't know if it's, you know, customary, you know, come meet, you know, your partner's family. That way maybe give him a little slice of this is what I have to lose, Mr. Riggs, right? Exactly. They come in. He's very cordial. You know, this is where we're going to get the little back and forth. Like this wife's like the worst cook ever. Like, what are we eating tonight? Whatnot. And then the girl has eyes for Riggs, right? We're going to find out later. She's got a thing for older men because she's got some sort of thing with Mr. Joshua on the side. I don't know, man. I don't know what she sees of that guy. But I like the scene too. It's establishing more of the domestic qualities here. We got to really build this friendship because once we get into the next, I mean, we're kind of, we're ready to go. And we're going to go fast here in this film. But let's talk about a few of the other people in the film. You have Gary Busey as Mr. Joshua. We've often joked about this character, his name in the episodes past. But I love the name, Mr. Joshua. There's something weirdly ominous about it, especially when we're introduced to him, as like the heavy for Mitchell Ryan's General McAllister, generally. We're going to see Mitchell Ryan again in October this year. So just that's a little tease for you. Mitchell Ryan had a nice little run on Dark Shadows in the early episodes of the show. Oh, really? The up until like the 200s. He was like, oh, staple on the show. Did you do every single episode in there? I haven't. It's like 1200 episodes of television. I've watched a lot. It's really enjoyable. But yeah, I know Mitchell Ryan from that show here. But he played a few of these roles in the 80s. But the way we're introduced to Mr. Joshua's, hold your hand out. I'm going to burn your forearm, and this guy's not going to wince at all. I mean, he's like biting his tongue, but like I'd be crying. I mean, this would hurt so bad. I think it's a nice establishing the muscle of General McAllister. Like, yeah, you don't want to mess around with this, Mr. Joshua. This guy's crazy. And he's played by Gary Busey. Double crazy, right? But Busey also seems to have it kind of wrangled in a little bit. Like this is in Silver Bullet Busey, or I won't even call it Point Break Busey. This guy's controlled. And that somehow scares me more than out of control, Gary Busey. I've always been really troubled by Mr. Joshua. And I almost feel like the film doesn't do enough with him. I mean, because like they're established here at this nightclub scene. You don't see him again for like another 50 minutes, when then till they're in the when he shoots him in the middle of the street, right? Or in the helicopter, yeah, the helicopter street, then desert. I don't want a little bit more, but their finale is awesome. It's really cool. I think a pretty formidable opponent, I mean, and I think him and Riggs, I don't know if it's established that they knew each other, but they came from the same cut from the same cloth. Exactly, militaristically. Military department, special forces group, right? Understanding who you can fight and make me believe is important. Shane Black's got that figured out too. If Riggs is the muscle and Murtaugh is the intellect, then you have to have opposing muscle v muscle and opposing intellect v intellect. And that doesn't mean there can't be a little crossover in there or some, but watching, let's say like Riggs take on the general, I don't know, Riggs didn't kick his ass. Yeah. Watching Murtaugh take on Mr. Joshua. Yeah, it's going to be out-strategized, and it's not going to happen, because he'll be three steps ahead of him. So they understand they being Shane Black and Richard Donner understand what each of these two characters brings to the relationship, and then do a good job of devising a villain that is formidable to their skill set, what we get away from here, and we've talked about it a lot, but just this is the absolute opposite of Dooms day versus Batman. No, for sure. This is the opposite, because if you don't do right, that's what it ends up looking like. Yeah. I'm going to hit you with the battering and swing from this. Yeah. Okay. Yeah. So good job. Yeah. It's interesting. And then, but when you break it down, I mean, their villain plot is essentially- It's like the Beverly Hills cop plot, right? I mean, we're just bringing drugs into LA. It's a big shipment coming in. We don't want LAPD getting involved in her, and you guys are like mucking it up for us. And essentially, Amanda Hunsacker was in on the drugs, doing some nefarious activities with some jokers of this group, right? And just got pitched off the thing. Maybe given a bad batch? I don't know. If she was hallucinating, I did do- Poisoned is what they say later, earlier in the film. Yeah, that's not entirely clear to me. But she's the linchpin that gets this whole thing over. This is the reason we're investigating and find our way to these people in the first place. I think what we're supposed to take from the Hunsacker, we're "suicide" at the beginning, is it is a message sent to Mr. Hunsacker that there's no way out, and you are all in, you're not leaving. Mr. Tom Atkins, one of my other favorites. I love the choice in drugs. That sounds weird, doesn't it? Yeah. In 1987, the obvious on the nose is cocaine, but cocaine creates a different kind of feeling than heroin does. And so there's two things that, for me, really, really were great decisions because it was such low hanging fruit, and by choosing not to pick it and climb a little higher in the tree, they got a more ripe harvest, like how I just built that. The two obvious ones are heroin versus cocaine, and even today versus 1987, there's a difference in the level of evil that goes with that. The second choice, and kudos to that, because although it could have worked, they being black and donner choose not to play on the black versus white on the nose, obvious in front of you. And that's been really done really well on training day, also in seven. That can work, and it works in Beverly Hills Cop quite well. But the fact that they didn't do that creates a broader depth of character, because now you have to get into the brass tacks of family and life, instead of the immediate aesthetic of color difference. And I think that that is, to Shane Black's credit, a really unique and committed purpose in delivering the characters in the story, which makes this work because as much as the word thin is thrown around, and so far as the detective piece between Mertand Riggs, the dirty cop ex-cop importation of drugs under the cover of military, political, that actually, that is a bit thin. We've seen that a million times. And in 1987, we've seen it, that's all the way back to the French connection. Yeah, those are most film action movies from the '70s and '80s or that. There's always a bad cop, that's the untouchables. That's always the bad cops bringing the drugs in. Bringing something in, yeah. That's a bit thin, so you have to build up the pieces around it. Yeah, and the character stuff's really well thought out. It's the movie, right? They're able to see each other as human beings versus anything else outside of that. And I think that's why the relationship is so strong, right? At no point, yeah, they don't play the race card against one another, you know what I mean? And it makes the film stronger. Or find some in this movie's not, there's maybe one little lefty moment in the whole thing, but there's humor there, and self-deprecating humor, and it like, Beverly Hillscope did it, excellently. It can work. I don't know if Shane Black writes in a comedic space, like Shane Black comedy, who wants to see that? Dark comedy, maybe. Kiss, Kiss, Bang, Bang has its funny moments. Yeah, yeah, so I can see it. Do you like that film? I do. Okay, yeah. That's an issue, and that might be one that we want to do someday, because I don't like that film. That, I think, does what we've talked about a lot in this. That's you spend minutes to tens of minutes to create a feeling for the audience. And if you don't handle it right, the payoff or the ascension of conflict in those moments undoes everything that you've built in horror. The scream is the payoff or the jump scare or the is the payoff to the buildup of that. In this movie, if the payoff to the conflict that is either domestic or police or drug is relieved with a laugh, then you have Beverly Hillscope and Shane Black and no Eddie Murphy. No way. Yeah, no way. So I'm saying there was some humor that they probably could have got there, and it works. That works. It's easy to tell jokes about that, especially in 1987 before. So cautious about everything we say, and people didn't have it as thin of skin as they might now. Nope, not this one. Yeah. I love that. I love that about this film. Yeah, because it's still there. You can't help but look at it and see it. Yeah. You and I are both seeing that, and the film, I think, does have its funny moments. They're very tongue-in-cheek. They end a scene, but we're not yucking it up. We were the last two weeks, where everything's kind of like a punchline. There's no surge here. I mean, this franchise is going to get Leo Gets later. They're going to add that element in here to inject some here. I think it comes in two. Is he shopping too? Yeah, yeah. Two and three. Chris Rock shows up by the time that fourth movie rolls around. But no, this dynamic just works really well, and it's because they cast the two best actors to play these characters, regardless of what else was on the page and the chemistry. That's the linchpin, is finding two guys that play well off of each other. Intensity meets uber intensity, but then heart that also meets muted heart with Gibson's character. The casting thing is also one more point, and then we'll go back to the story. After this smash success, we see two divergent paths and their filmographies. This is Danny Glover's pinnacle moment. Yeah. This is it. And this is not Mel Gibson's. I would argue Braveheart. Sure. What happened? That gave Danny Glover, and I don't want to say predator to a predator. That didn't that didn't undo him. Yeah. That's not what that's. I mean, that's that movie's fine in the realm of what it was. Danny Glover never got there. You know, a movie I really love Danny Glover and he's in the first saw movie. He's really good. Yeah, he is. Kind of like a crazy yeah. He's kind of doing a buddy cop thing in that movie. And you know, spoiler alert, his partner gets blown away and it's kind of made him crazy to a point where, man, we got to do the first saw movie one of these days because I know you have sure interesting. Yes, I do because I know you love it. What's great about it? You know, fantastic reveal at the end, but the film is essentially a who done it. I mean, we know who done it now because they made 10 of them, but the first film plays out as a who done it kind of seven esque murder mystery single location with Kerry Elway. I mean, there's some brilliant things about that movie. But Danny Glover is one of the brilliant things about it. He's really good as I care to the point where you think, is this guy the jigsaw killer? He might be. He's that far off the fringe now. I don't know what happened. I mean, he's been. Did you think it's an odd trajectory? Do you see that as odd as I do? Oh, absolutely. Not differently. But it takes nothing away from his acting talent and his career. I mean, there's a lot of really great films he has in there. Color Purple. I really like Angels in the outfield. It's a film from my childhood. They'll eat the weapons stuff. Yeah, I, yeah, it's great actor. I'm going to post something to you. You said capital M capital S movie star and I would agree with you. Yep. There are certain characters Grant, Kerry, Gosling, Ford. That are able to get on screen with people and whether it's chemistry or talent or some combination of both highlight the best parts of their costars minimizing their limitations while at the same time, not purposefully upstaging them to be able to do that is a rare talent indeed. It does. Mel Gibson have that. Yes, he does. How about that? Listen to that praise. It's, I've talked about this on the podcast before and I can pick it out with certain actors and actresses and it's untiegable. It's you either got it or you don't. It's a natural charisma that when you're in front of a camera, you know how to make the camera work for you and therefore you make the people around you more infectious with creativity and they kind of feed off of that. And it seems effortless for these people. You mentioned, you mentioned Kerry Grant. I would say James Stewart had a lot of that too. Absolutely. You mentioned Ford's my big one. Ford might be number one on my ranking. Oh, really? I do not know that. Because as Han Solo, I mean, that's a great character, but it's great because Harrison Ford's playing him. He makes it even better. He makes Indiana Jones even better. He just, he's got it. You mentioned Gosling and then the man in the hour right now, Glenn Powell, he's got it. You put him in any different interesting scenario. They're going to elevate the material, whatever it is. So I feel like Reeves kind of has that, but in a very different kind of way. But Gibson, absolutely. Like I said, my viewing of the Mad Max franchise was very clear and evident to me from 1980. It's the first one, '79 or it's '81. You can see it. I mean, they made that movie for next to nothing. And Gibson's presence on screen you see is like, this is someone to watch. I don't know if that's a genuine piece or a learned trait, but it does seem to be selfless. I have to make room on this screen for the other pieces around me. Not because I want to be a star and make this work, but because my character and their characters, if written well, play better in that space. And I don't know if that's understanding of story. I don't know if that's well-trained. I don't know if that's just gentle kindness that God blessed them with. But if Gibson did have that, and maybe at some point lost pieces of it because he drank too much, we can see pieces. This is Matt's voting for Mel Gibson is good guy in this episode, by the way. That's fine. With the lengths that he went to with Downey and the charitable work that has been forgotten because of some poorly, poorly televised and wickedly infused with alcohol moments. He's an interesting, interesting character. You fight your own demons, right? Until the day you die. And in Nollywood, I mean, the demons are magnified. You add a lot of money and a lot of drugs and availability of debauchery. Yeah, you think? Absolutely. Yeah. And a lot of people go very, very different paths. But are you telling me right now on this podcast that Hollywood might not be the most morally sound place we've ever ventured into? What? Stop the press. Maybe not. While we're on that subject of just those actors that I think got it, a couple of newer ones, I think Zendaya is another one that kind of, it was that kind of natural charisma. And then Mr. Timotay Shalomay. And I think that's why Dune works so well is he got a lot of young, talented, awesome butlers, you know, really well, Florence Pugh. But those two in particular, I mean, they just, they just got this, they got this natural acting gift. And it's just, you don't go to school for it. It's not taught to you. It's just when you're there, you know how to work with the material, the script, the words on the page, you know how to craft a character. Yeah, Mr. Shalomay is one of the other ones. I keep an eye out. Yeah, I'll for you. Okay, good. But Harrison Ford's number one. Yeah, and you know what I got? And I think I mentioned this when we did our Temple of Doom episode three years ago, that last viewing I had a Temple of Doom, it was super evident to me that this was a movie where Harrison Ford had spent some time in the gym, looked great, knew the character a second time out, and was like, I got this. And just everything around him, it's just like that is Indiana Jones. Man, that is a character that's a movie star. And he's the only star in a film with mostly unknowns, Kate Capshaw. Yeah, Ford makes it work, which is interesting too, because you know, we've heard a lot about, you know, his kind of social phobias and anxieties and doesn't like interviewing and doing like a lot of public stuff, because it's that ain't his gig. So he knows how to turn it off too. Yeah, how about that? Go fly a plane or, you know, do whatever he wants to do in his spare time. But we're getting to one of my favorite scenes of the film. One of my favorite, just in terms of how they pulled it off and crafted it. So Gibson comes to Danny Glover's house the next morning. You're like, hey, Raj, I got a tip. You know, you're talking about this, and you almost can't even figure out what he's talking about, because you're like, wow, this is weird. He's so jovial this morning, he's got a cup of coffee. He's laying in his bed, because I think Martel went to bed with a pretty significant hangover that night, because they were drinking out in the boat. What if we went and talked to the sex worker that, you know, Dixie, that was, I mean, there might be a lead there to lead us to like where they're getting stuff from. Let's find that. Let's find. Let's follow the breadcrumbs. So they go to the street, this, you know, kind of derelict neighborhood here. Got a bunch of kids playing. They think they're about to be arrested, those poor little boys. They're like, no, Dixie, she lives over there. And they're like, you're in trouble, Dixie. You're going to get you. And these two guys walk up to this house. And I don't know how they timed this, but like, dude, this is Donner. There's a plane like about to land at LAX crossing like the horizon. And then this house explodes in front of these two guys. Had to have been stun actors because if I'm either of them, I'm like, I'm not going to be in front of the house that explodes, right? Right. But a terrific piece just in one shot, plane, house, explosion, like right in these guys' faces. Dixie's gone, the lead's gone. But what a terrific explosion. One of my favorite movie explosions. Yeah, it's great. There's a great moment that's sort of subtle in that. And you don't really see it, but Riggs catches on fire. His jacket catches on fire. And you see after the explosion, Murtaugh climbs on top of him, and he starts smothering him with his jacket to put out the flames. You would only do that. And that's thinking about your partner almost as quickly as you're thinking about yourself, if you're starting to develop a close tie with whom you're working with. It's moments like that in this film, the quiet moments in between the action bits. Where you start to see that this actually is a workable partnership. Okay, now tell me what it looks like. Was he black? Was he white? He's white. Okay. Was he tall? Tall like me? What color was hair? Was it brown? Black? Blonde. Blonde. His hair was blonde. What did he have on? Jeans, he have jeans on? It was paint. Paint? Paint? Paint. I don't know. Paint. But paint it. Paint it, tattoo. Tattoo? Like a puppet. Like a puppet. A tattoo like a puppet. Oh, not like a puppet. It was that. Like that. Exactly like that. With me, I saw it good. This is it. I remember. Are you sure? Yeah, nice even. Roger, that's his special forces tattoo. Really? Yeah. The special forces tattoo. Mercury switches. What the hell have we got near to here? I love that last line. Because it's almost like Rig's real. And talk about elevating the stakes of the film. Mercury switches Rig and a bomb. We're getting this house to blow. This guy's wearing a special forces tattoo. This is a bad dude. And Rig's is like maybe there's an opening in the LA fire department. He's not going to give up. But in that moment shows some vulnerability of. Do I want to go down this road? This isn't someone we want to mess with. Yes, it's serious. If I know him or not, this is. I love that. It's very subtle. The music changes. The mood changes. Like Popeye. And then like it's fun. And like we're kind of interrogating this kid. He's giving cute answers. But then it turns dark. There's the power of Mr. Joshua. This is a guy who's on the outskirts waiting to come back into the film and really mess things up here. And the first person in the crossfire is Tom Atkins. Mr. Hudsacker. On the bluff. So I always thought this was the Shane Black mansion. This is another kind of they're doing a funeral for the daughter out here. And it turns into a mass shooting. But now the hunt is on. And now Mr. Joshua and Colonel McAllister. No, oh, these two cops are meddling in our affairs. Now it's getting a little close and personal. They blow rigs away on the street. This seems like an obvious kind of setup. Because he's wearing bulletproof. So they think he's dead. But then it turns south real quickly here where they realize that Mark was able to kind of piece together this guy that his daughter's been seeing. It's the description of Mr. Joshua. This guy in the helicopter. The guy that just shot him on the street. This kind of blonde, you know, tall guy. Yeah, it can't be the same guy. But I need to go make sure it isn't the same guy. And oh shit, it's the same guy. Because there's just a note waiting for him at the door. We got your daughter. So now it becomes personal. Did you see what that note really said? If I'm not mistaken, it said you have a very pretty daughter naked. I think is what that the final word on that is. Yeah, I'll pull it up here if you want to just kind of talk about this moment here real quick. So there is a bit of a troubling part here. And it's maybe one of the few issues I have with the film and it's minor. After Dixie is blown to kingdom come. Yep. Your daughter looks really pretty naked. What? Yeah. Okay, and then there's a picture. He's looking at a picture. I don't think we see what's on the picture. It's her naked. I know, right? So yeah, and we already know that there got some sort of pornography ring, right? Because he's seen the tapes. Which seems to lead into drugs and all this other things. Yep. Hunsaker explains this black ops government funded organization that had ties to Laos of all places which was referenced earlier in the film by Riggs and what his one talent is which has gotten somebody down from a thousand meters in Laos or something along those lines. It's his one talent as he claims which that's not true, but he thinks it is. Hunsaker just spills the beans to Murta and basically says after all of the black ops work that we did, I can't get out because my involvement is essentially using my bank to launder the money from the Asian ties that we made back in Vietnam when we busted the Vietcong and the drug running, blah, blah, blah. And you're just like, fuck, what? I'm out. Now we're getting a little bit sticky and I don't know if it had to be that complex. Yeah, it doesn't. It could just be something as simple as the guys that I'm working with that are still running drugs from the Far East won't let me get out because my bank is where they run the money through and we skip all of that and that two and a half minutes is 25 seconds and the same thing still happens because the end result either is Mr. Hunsaker is going to be shot to pieces by Mr. Joshua because we have to have that happen in that like white cable knit sweater. He's wearing kind of awesome though, isn't it? Just got done watching a polo match and I'm going to go kill this guy. Seriously, yeah, because then the next thing is, oh my God, my family and I'm nowhere near them. Now I think you make a really great point because I tune out that scene. I had to watch it three times this morning to really wrap my knowledge around. I'm glad you did because I barely any time I watch it, I'm like, I know where this is going, right? They're going to kidnap her. I know they're bringing drugs in. That's all I need, right? I mean, I don't need this, you know, why we all this crazy explanation of why. I mean, that's not to go back two weeks, but it's kind of what I appreciate about Beverly Hills Copper was like, that film didn't get in the weeds with like, oh, this like, he's some like ex German terrorist guy and he's got a vendetta against the chief of the LAPD pulley. That film doesn't go there at all. It's just like, these are bad dudes, they're bringing bad stuff in. Let's just see them stop them. And that's, you know what, in the 80s, as great. And then we're doing good stuff with the characters. That's all I need, right? Even Die Hard doesn't really get into too much on Hans Gruber's background. It's like, yeah, he's working for these terrorist guys, but it's not. We're not getting into like the nitty gritty with these guys. Like, and then I think that's what made the villains good is they're, they're complex yet simple, right? Yeah, like they're complicated in like how their plan is uber thought out, really well orchestrated. And you know, this guy's a villain at the end of the day, but like, sometimes you don't need to get into the to the, because that's where the plot gets really messy. It's the brilliance of Die Hard and this scene here where I'm just like, I'm kind of out. Yeah, I mean, the action bit's great. And we're not, we're not trying to humanize Mr. Joshua. So we're not even going that route, which we really like, which was, let's humanize the villain. So we see things on his level, Magneto, right? You know, you know, it could happen is even it, we know that they're bringing drugs in that Mr. Joshua is the front or the heavy for the drugs, like the right-hand man. If they go to visit Hunsecker and as they get there, so Dixie gets blown to kingdom come, and then Hunsecker in his high rise, that gets blown to kingdom come. We can skip that shoot out with Gibson because it doesn't mean anything. And then we're like, we better get back to what matters to us. And that's my family. Now you're talking about one of my favorite scenes in the second one, which was all these cops closely associated with our case, we're just going to start blowing them up. And there's that great montage of like the cops getting, getting killed. I don't even remember. You don't? I need to see the second one. It's pretty good because there's a great one where like this one of the woman cops jumps off her diving board in her pool. And when she jumps, it explodes. It was rigged to blow. It's like in the dark night when the Joker starts killing like the police commission. It's kind of like that. Did Black direct to number two? No. Is it Richard Donner again? Donner did all four. Well, I'm with you though. Yeah, this is could have used just some simplicity. It's just we didn't need to get go here. I mean, the villains have barely been in the movie up to this scene. Now why are we dumping just a bunch of information? I love that. But I do love that Atkins is drinking eggnog from the carton. Yeah, gross in the middle of like 85 degree December. There's a moment that preceded this that I think is an opportunity. It's not wasted in the film and something really cool happens in there. But there's a moment I think where the exposition piece could be elevated. So they're at the shooting range and we see what a pretty good shot Murtaugh is. And then what an expert shot Riggs is in between the firing of the guns in kind of a sloppy way because it's so loud and difficult to hear. Yeah, they're also dumping info. They start talking about how thin the explanation is for what they've come up with or what this death of Amanda Hunsacher seems to look like. And we find out in that moment that Murtaugh's middle name is thin admitting I'm not one to really want to dive into this all that deep. I'm not sure that's the right path to take with him. If Riggs is this unhinged muscle ex-special ops, take the fisticuffs part of this, then we really do need, I think, to take that opportunity with Murtaugh and showcase his ability to say, you know, Riggs, I've been thinking about this. And why would blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah? We still get to Dixie. We still get to Hunsacher. And I think we take a bit of a different route with Murtaugh. Like it still works. But if Murtaugh was Somerset in seven, I believe I'm not digging into this because I'm out of here in a week. Literally, I'm done in seven days, but he's not yet. It's coming, but he's not in the later film. It's he's not yet. Yeah, he exhausts all his resources in that movie. Right. And why not? Because there's he has nowhere to go forward, but until the end of the film, and he's got to keep going. But in this film, Murtaugh's not going to retire in a week. And something has elevated him to detective. It's not a failure of the film. It doesn't ruin it. I think it just removes this very heavy exposition scene from Hunsacher's loft or whatever the hell that is. Because all Murtaugh has to do is dig up the financials. of Hunsacher and see some random or not random some anomalies. Yeah, consistent deposit from some. Company or some Asian. You know, cartel and they can put the pieces together for us. Yeah, instead of talk it, we can see it. Doesn't he tell him something when he's dying there? He's like, you got, did he tell him he got off easy for how he died versus how his daughter died? Yeah. Yeah, I think would you care if we didn't see Hunsacher died? I wouldn't care. No, I think it's yeah, I think it might have been a better twist to. I mean, if he was like. Uber in on it, right? And I'm saying that word a lot this week. Everything's Uber. But if he was like kind of like in more in leagues and cahoots with the general, and they're working as a tandem and Josh was the muscle. But that doesn't matter. I mean, they blow him away, you know, but they see, you know, who did this. Kidnap the daughter. So now the stakes are raised even more by this bad guy that's been established by this bombing earlier. So let's get to the desert here. Yeah, I love this scene so much because it looks like we're setting up for the finale of the movie. Like we're going to have some crazy finale. Jezert Chase, like I'm on board and this whole thing kind of goes, goes tits up like right away. Look at the firepower. You're grounded. Ricks is gone. Put the pin back in the grenade. Yeah, if you come closer and we all die. No, I don't think so. Come on, honey. Come on, honey. This is Spoker. Bingo. Where the hell is it? Damn it, it's Ricks. It's terrific. There's a line earlier in the film where Gibson talks about his time in Vietnam, where he was a sharpshooter and shot someone, I don't know, 800 yards away in high wind, right between the eyes. And he's like, there was like maybe eight to 10 people on the planet that could have made that shot. So we know this guy can use a gun. And I love this khaki outfit that they put him in here. khaki pants, khaki shirt. He's the sharpshooter here. And I kind of don't know what their end game is. I know what their end game is. They got to get her back. Yeah. But I also think Danny Glover is kind of willing to die in this scene just to save his daughter because two guys against this army of Mr. Joshua's men, the odds are stacked against them. And yeah, Ricks is able to kind of take out several of them, right? But there was a part of me watching yesterday when I was like, I think Rital was ready to if his daughter got away safely and he died there, he would have been okay and was willing to see that through. But man, this all goes to hell. He gets, they take him captive Ricks. They find Ricks on the hill shooting. Rianne gets taken over by this helicopter. Great, great shot too, right? Helicopter on top of helicopter on top of car. And now they're all screwed now. So it's like, oh, yeah, the reversal recognition of it all. We got to make it take the scenario and we got to make it even worse for our characters, right? So let's torture them a little bit. Since we have merch off, we don't really need it, but I believe in being thorough. Yeah, I've heard that about you. Well, our problem, and yours too, is we have a shipment of merchandise to deliver. Why don't you guys just call it heroin? It's rather large, a shipment. It would be unfortunate, however, if we showed up to deliver our heroin, and we're surrounded by picky cops. That would be too bad. Yes, it would be. So it's essential for us to find out all the cops know. Hey, we don't know shit you did on sector before you could say no, no. I wish I could believe you, but unfortunately I don't. Now if you were kind to tell me everything you know, I promise you I'll kill you all. I told you everything I know. I'll tell you what it is. It's all electric shock treatment. I guess we're in for a long night, because I don't know shit. No, son of a bitch. Hit him again. I got to shut up this guy doing the shocking Mr. L. Leong. He was Mr. Staple like baddie, because he's in he plays Genghis Khan and Bill and Ted's excellent adventure. Big trouble. He's in big trouble with China. He's in die hard. He's one of the groupers men in die hard. It's like this guy was just like on all the baddie teams. Actually, he's in Danny trail. Yeah. Yeah, exactly. So yeah, if you've seen an 80s action movie, he's in it. You've seen this guy. What if he's an escape from New York? He's an escape from L.A. actually, not New York, but L.A. for sure. He a John Carpenter guy, right? This is a brutal scene. This is something I've always remembered about lethal weapon, which was Gibson tied up like this, just getting shocked by this sponge, you know, water weapon. Oh, man, this sounds awful. Yeah. And he's just taking it. And then in the other room, they're beating Danny Glover to a pulp. And it's just like, how are we going to get out of this one? But, you know, luckily, you know, Gibson knows Tai Chi and can like contour himself into a different position. He kills this guy. He snaps his neck with his legs. And now the chase is on. We're going to get out of here. We're going to get everyone out alive. And we're going to kill these guys, too, because now they've heard us big time, right? That line that Riggs Giver gives when he's being doused with water and shock to pieces. I'm going to fucking kill you both, boy. Talk about delivery. Actually, believe that those dudes better watch out because he really is going to kill them. Man, he comes through and spades in this. If he somehow gets out of this, you guys are in trouble. Interesting bit of slang that Murtol uses pound sand, kick rocks, get bent. I've never heard ghost spit. Have you? All those other three, I, all the time, but sounds like I even use those other ones. Yeah, those are like, those are staples of your vocabulary. But yeah, go spit. Can't do better than that. Geez, ghost spit. Oh, hey, buddy. Keep it G-rated slightly concussed. I'll give him the benefit of the doubt. Yeah. Yeah. Yeah. Yeah. That even, that sounds like something that you would put if this movie was edited for television where he was like, go shit. And they would, TNT wouldn't change it to ghost spit. But no, that's what, that's the movie. I don't know. Pound sand. That one's my favorite. I love that one. I use that one all the time. You taught me that. But the chase is on, the escapes on, and they escape through this nightclub here. And we got to get, we got to get Joshua, right? I mean, he's trying to get out of here. He's shooting everyone in his path. And Mitchell Ryan, the general, he's trying to escape as well. And I love, I love, with the capital L, love this foot chase that Gibson gives Mr. Joshua in car. I mean, he's got little pennies on running his ass off. And these are scenes where I try to like, okay, Jesse, this is you. You're running down, Mr. Joshua. Can you give chase the way Gibson is chasing him down? The answer is no. I don't think I'm, especially after I've been electrocuted for 20 minutes. Yeah. I'm not running this fast and like, giving it hell. This seems awesome. I love this through the streets. And you think the movie is going to end here, but Mr. Joshua gets away because some taxi hits rigs and like, gives him just enough of a chance. Luckily, no bystanders were hit with all this gunfire. And then we cut to Marta and he gives a nice gunshot to the driver on Mitchell Ryan's car. This guy goes careening down the street. The grenades go up and this guy's done so, right? I guess if you're going to use Gibson at that time in his life, you might as well showcase what he naturally comes with. And in the scene in the desert, there's that great bit when he jumps out of Danny Glover's station and he's running to runs his ass off to some non-descript kind of hillside desert side. And then again, here, the one question I have for you is this and I actually always thought it was until I watched this time. I've seen this movie a lot. I always thought he was barefoot. He does have like a pair of kids on or something with Chuck Taylor's. Do you want him to be barefoot? Does it create? I mean, I know that's done really well in die hard. Sure. But does it? What do you thoughts? Do you care? I don't know if I care either. Yeah. He's still running fast either. Oh, he's hauling ass. He's fleet of foot, isn't he? Yeah. Actually, I was like, I want to see like an Olympic sprinting match between movie characters to see like, is Ethan Hunt running faster than Martin Riggs? I don't think so. Oh, wow. I don't think he is. Battle of the silver screen stars. Yeah. I want to see a battle of the running scenes and see who's running fastest here, who's giving me the best 40 time. This sounds so silly and so petty to say this, but you can tell when athletes are cast in athletic roles and have never done anything athletic. You can tell. Yeah. Kurt Russell. You can also tell with Tim Robbins is Ebby Nuke Calvin Lulu, who has no idea what it looks like to pitch ball players, right? Yeah. Mel Gibson, at some point in his life and being from Australia, probably was Australian rules or rugby or cricket or something. Team handball, maybe has some athletic background because you do not run like that. I could move, man. Unless you know how to run. Yeah. Right? Yeah. Beautiful. Good job. I'm going to give it my all here. Yeah. Yeah. Mr. Joshua gets away and it's like that's some of a bitch knows where I live. Like, we got to, we got to beat him to my house because he's going to come annihilate the rest of the family, right? Yeah. But they beat him to the punch. There's a note waiting for him. Very reminiscent of Die Hard. Ho, ho, ho, the cops are the only ones here. They drive a cop car through the living room. And then in a scene, I just absolutely love because they get to jump on Joshua Riggs. Give me that gun. He's like, do you, do you want a chance at the bell? I can't remember what he says. You want a chance at the title? The chance at the title. These two guys are going to fight in the front lawn here and the LAPD is just going to like, let it happen. I love this scene. This would never happen in reality because we're, we're arresting this guy. He has, he's not armed. So 10 of us could take this guy, five of us could take this guy down and put handcuffs on him. But we're going to let these guys duke it out first with the spotlight of the helicopter. Oh, don't forget the water main that's been broken, the spring and the Christmas lights in the background. It's so theatrical. I'm here for every second of it. Me too. And you know what the crowning moment or the cherry on this Sunday is is as we go into one of the nondescript cop cars that's showing up. Please stand down. Captain Murtaugh is in charge here. We heard on the radio. So we don't have to worry about why any cops wouldn't jump in and south this because they've given explicit orders from dispatch to let these two samurais have at it. I love it. I love it. We're not in Christmas lights, water, shirtless. Oh my God. Let's fucking go. It's the best. It's a wild finale. It's just, yeah, it's crazy. And you think Gibson is unhinged. He's been the entire film. He's going to kill this guy. I mean, this guy just electrocuted him for 20 minutes. But like something comes over him. No, I'm turning over a new leaf. I'm not that guy anymore. We're going to arrest you so we can maybe arrest some other people tied to this ring. And it's kind of a big moment. But then as they're arresting him, he pulls a gun on one of the other officers. And he's going to like very much like diehard, right? There's a lot of diehard parallel. There's a lot of actors from diehard in this film, though. One of the women at the police station is the newscaster. That's right. You're right. And she's a psychologist, I think. God, I can't remember her name because but she's a blonde one. Yeah. And she's in the goony. She plays the mom in the goonies, another Richard Donner film. I guess I couldn't get D Wallace Stone. Yeah. And then the guy, though, that plays other special agent, Johnson. Oh, yeah. Not Robert. Robert. Yeah. Black guy. The other guy. Yeah. He's in this is one of the other police officers, too. Oh, yeah. So there's some diehard. Is that the one who goes and gets the kids ice cream? Yes. Yeah. Oh, wow. Yeah. There's some diehardisms in here. And then especially with this worry, I'm going to shoot this guy unless we shoot him first. And I love the slow motion. They just gun this guy down. I mean, we're not interviewing him or interrogating him after this. Mr. Gary Busey. Mr. Joshua is done. Alexander Goodenoff and Gary Busey share a similar space. But you know what's interesting? Even though this film is at times taking and maybe that's the Joel Silver effect on diehard. You got it. Diehard somehow does. And this is no knock against lethal weapon. I'm going to give this film a very high rating. Diehard's still a better movie. It's just like it. Diehard does all the things a little bit better, a little more refined character-wise. It's shot a little bit better, in my opinion. That's no knock against Donner in this team because they made a great film here. Interesting. But it's almost like they took the lessons of lethal weapon and amplified them tenfold. Okay. Because that's still my top action film ever. Ever. Ever. Yeah. Had a vegan predator. Wow. It's diehard. Yeah. The character stuff is better. The single location really helps that film, right? Ahead of aliens? Uh, no. But it's up there. It's up there. It's ahead of lethal weapon. Yeah. Aliens is a science fiction film, action film hybrid. I like how you just did that, you politician. Yeah. Pure action. Action. Okay. Action. Diehard's number one. I'm not going to argue with without snow to good. I think I'm not going to tell you that. Yeah. Huh. Interesting. Okay. But, uh, I mean, that's a cap. I mean, Riggs goes to visit his wife, marry Christmas, honey, and then Christmas dinner at Rogers, Rogers plays. He's bringing the dog with him. The dog and cat get into his face. Yeah. I want to see that scene and just like this dog's chasing this cat around this house destroying what's already been destroyed in the house. What's even better than that is, not better, but what also I think would be we'd be remiss not to mention is the gift that Riggs gives Murtau, which wasn't his birthday gift, but his Christmas present via the daughter, is the bullet that he's going to use and has saved a hollow point bullet to do himself in with the big red bow around it. And he gives it to the daughter. And there is that moment where we've had some sort of questionable interactions with his daughter. And so far as what's going to go down between her and Riggs. Yeah. That's all quelled now. And we've put it to bed. And what ends up happening is the adoption of the guy who really internally was struggling with isolation has been fully accepted into the family knowing full well that if he goes in and has Christmas dinner, it's going to be pissed. But secondarily that they would like Christmas is a sacred time. Yeah. And you bring your Thanksgiving Christmas, you bring your loved ones in for that. Yeah. And the fact that Murtau doesn't let Riggs drive off to, I'm assuming what is just by himself and his RV is beachside property. And brings him and says, if you think I'm meeting this copy Turkey ham that my wife made by myself, you're crazy. Let's go get in here, brother. Yeah. No, it's not. It might as well be. The love that. Yeah. I do too. The almost miss that would make this even better was if that's the first time that Roger lets him inside. But I mean, it doesn't hurt the, I mean, that's just making like that moment more powerful, right? The anti searchers eat the Nedwards moment, right? I can, I can come in the door now because we've beat the bad guy, saved your daughter. I can welcome you through this threshold. But the film doesn't have a lot of time to get into all those weeds. And I love those scenes when he's eating dinner earlier. So I'm not taking that back. It's a slight sour mash, but it doesn't really mean anything. But that's a cap or you get some Christmas music. This is a Christmas movie, ladies and gentlemen, this one should be getting some heavy rotation around the December months. What are we doing? What are we doing? Watching die hard. Yeah, I'm watching die hard to man. I love die or do as well. I don't know what to tell you. And we talked about Shane Black, how this film got Bruce Willis slightly considered for the role of modern rigs. How do you like that? It's would have been fine. But yeah, Gibson's better. Yeah, you the right people got the right roles. I mean, Willis plays hard boiled better than Riggs would play hard boiled and Riggs or and Gibson plays crazy better than Willis would play. I was like to see Bruce Willis let loose a little bit to just to see what that would have looked like. But I'm I'm not uncasting Bruce Willis as John McLean. There's just no universe. There's no sacred timeline where I'm doing that, man. Don't prune that. And then how do you like this for a little piece of trivia here? Mel Gibson turned down roles in the fly and the untouchables to take this part. Good choices, buddy. So that would have been Seth Brundel and LES, right? He made the right choice. Jeff Goldblum can only be Seth Brundel. Sure. I I like costner of but Gibson is Ness. I can I can kind of see it. Oh, I can see it too. But I think they all three naturally fell in a better position. Oh, sure. Yeah. Yeah. Can you see? Can you see Goldblum as Riggs? No. No way. Can you see Goldblum as Ness? No. Right. It worked out. Of course it did. Yeah. Hey, we've done two of those three movies on the podcast. Maybe we should do the fly. Wait, wait, no, no, we've done the untouchables. Yeah. That would be a fantastic combo. One of these days, we'll put that. Brian DePaul will put that one in the hopper, right? Yeah. But let me do this real quick because this is worth mentioning, you know, the $15 million budget, $120 million gross. It's not Beverly Hills cop money, but it's still some good money, right? For a spec screen play. Yeah. And a lot of creative forces firing on all fronts here. But what's your favorite tasting or favorite tasting moment scene sequence of Lethal Weapon? Riggs is torture scene. God, he's so good. Bucey's so good. That other guy's so good. And the hell that they are putting him through. Man, I believe every shock that goes through them. And there's a little subtle moment that Bucey pulls off in there. And that's when Riggs gets close enough as he's swaying about to almost touch him. And he kind of reaches out and you can see him shake his hands like, Oh, fuck, like I can feel that too. Yep. That's a really nice moment for Gary Bucey to make me believe like, man, that current is flowing through that poor bastard. Yeah, there's something to be said about. I'm going to talk about that here in just a second, but there's something to be said about 80s movie, like bad guy hideouts. I don't know where we're at here or in the back recesses of this nightclub. Yeah, strip club, I think. But it looks like a boiler room. Like, where are we here? Like, this is like a scene at a robo cop. It just seems very foreign for like, what's been established is not glammy. No, like the rest of Lethal Weapon. But I buy it. I buy that these weird, crazy people would have a base of operations here. My favorite is that explosion scene. I love it. It's just it's a great moment. It's a great a great. Yeah, for Dixie, a great one shot of we're going to do it in one take. And if we botch it, I mean, everyone has to hit. And then I think they just they just lucked out that that how that that plane was flying by at the same time. Like, I don't know. Action. Oh, wow. Production value. We lucked out and it looks great. It's and to those stuntmen. I mean, talk about the timing of a stunt because if you if your explosions too big, you're killing two guys right there, right? So that everything had to just be very meticulous. I got a credit Donner with, you know, a lot of that. Well, because that's a one shot take. You get to do that one time. Yeah, we're not reblowing up building the house. I mean, we're doing it one time. We got to get it right. I mean, I'm sure you have cameras in multiple areas in case it goes south, you at least still have the footage and you can, you know, work the camera to show. But yeah, if I fall down wrong, the takes ruined. We have to cut away from it. So I'm sure they shot it from above and then from behind and from the side. And I'm sure there's at least one camera that didn't have rigs and murtaugh in frame just in case. But they get well done. One of my favorite movie explosions of all time. Yeah, good. What's the moment of lethal weapon? Gonna tell you something about me that you didn't know. And one of my greatest fears is to die by drowning. I struggle watching people succumb that way. Maybe it's partly has to do with why I like unbreakable so much. But when that gentleman bad guy fodder gets shot at the pool outside the spec script story of Shane Black in the mansion that I'm going to buy when I sell this house, which I maybe it says so maybe it's the other one ever. And then that clear pool cover wraps around him. Yeah. Oh, it strikes a core deep inside of me of fear that is more primal than it is theatrically. I'd struggle with that. I have a hard time watching people drowned. Yeah. My oh my god is your favorite tasting note, which is that torture scenes to me, they always stick out whether it's Alex Murphy getting blown away. It's Johnny five and short circuit to get blown up or Raphael and Ninja Turtles getting beat up on the roof about your balls getting obliterated in a wicker chair. That's a good one. Yeah, I'm really troubled by those scenes. So when they do it and it feels so real and visceral and man Gibson sells it and part of me is like if I was hanging up there, I'm like, man, my this shoulder would be popping out of socket. I would be a fucking mess. Really, really well acted. Yeah, that's going to be my oh my god. Honorable mention swan dive at the beginning is just a hell of a way to start your movie. Yeah. The thing too, we haven't spoken about as far as honorable mentions in that. The dual tandem stuntman dive off the skyscraper into the splash mat. Yeah. It's also pretty good because if one gets too far ahead of the other, we're pulling on each other and that's twisting you. That guy takes are you going to do on that? That guy's going to land on top of me. That doesn't sound great. Yeah. Yeah, that's a good one. Yeah. Who's the master distiller on lethal weapon? Lot to choose from here. You want to go first and then I'll take what's left? Okay. There's a lot. I got to take Richard Donner. I mean, we've talked about the brilliance of black screenplay. I think that's fantastic. The chemistry, the acting is awesome. Gibson's great. Danny Glover's fantastic. I like Gary Busey in this movie a lot. But man, Donner is in complete control of making all of that into a delicious stew. I mean, and I hadn't thought about it until you just, we did a nice honorable cheers to him. But what a fantastic director. His body of work speaks for himself and he's a director that knows what he's doing. And to all the Marvel, I mean, this is a perfect piggyback into next week and the Marvel MCU machine. Kevin Feige got his start interning at Richard Donner's company. That's how he ended up on the first X-Men, which Laura Schuler Donner was a producer on that film. So Donner kind of is important in the orchestration of the superhero machine going forward. And he made the first superhero film and arguably one of the best. I'm telling you people, go back and listen to it. We did two and a half on Superman one, two and a half hours on Superman two. That's five hours of Superman content. Richard Donner is a big reason because of that. I mean, and people don't talk. He's not he's well thought of, but like, I never hear his name in like the Spielberg camp or like Scorsese or like the big director's Cameron. And I honestly, he deserves to be in that conversation. He's fallen into that category for you and me on the show that has another participant in there. And that's we don't recognize the genius of Billy Wilder enough. Yeah. And I think we have number two in that forgotten hall of excellence. Great. Yeah. Good choice. Richard Donner was certainly in play. I'm so torn between these two. I'm going to give it to one because we have spent a lot of time in the last two weeks talking about star power, but it's just because of that that preface. To me, it's Gibson. And he's so good in this. And it's absolutely and unquestionably his vehicle. With many, many capable other co pilots in there, but Mel Gibson kicks so much ass action wise, acting wise in this film. Physically, it's Mel Gibson and obviously Shane Black is is somebody that you and I both at this time is like probably holding a pretty sacred place being with our time that we spent, you know, behind the cubes. But yeah, it's Gibson honorable mention for both of us to Shane Black to all three of them. Yeah. Gibson's fantastic here. This is one of his best acting performances, one of his best characters. Yeah, he's all in. I was going to say, yeah, I almost want to give it to Glover to give it to the soundtrack as well. I mean, we haven't spoken. I alluded a little bit to the musical play a little bit more here in a bit, but the soundtrack, I mean, feels lethal weapon. I mean, the guitar claptons guitar and David Sanburn's sax. I mean, it's this movie. I mean, when I hear like, I'm like, oh, I'll leave the weapons on, right? I mean, you can't mistake it for another film franchise. It feels that's unique in of itself. So in some magical reality, you and I get to sit down and have dinner with Hitchcock Ford and Donner, Richard Donner, we just all share a bite to eat, break some bread together. Hey, Jesse, what you call John Ford's going to drink us out of house. Yeah, can I can I can also do this because I want to recognize some of Joel Silver's contribution. Sure. 48 hours streets of fire, weird science, commando, lethal weapon, predator, diehard, roadhouse, lethal weapon to diehard to predator to ricochet. I love ricochet. Let's go in Washington. Yep. Last Boy Scout, demolition man, assassins of executive decision, the Matrix, swordfish, ghost ship, the Matrix, reloaded revolutions, house of wax, kiss, kiss, bang, bang, the invasion of film. I really like Speed Racer, Orphan, Sherlock Holmes, the book of Eli. Man, huge silver company. Yeah, a huge filmography of very different types of action jobs. We had them at the conference several times. Do you remember that? Yeah, I do. Yeah, they were such a good rep. Absolutely. Especially around that time too, like early atts. Yep. But one more question. How are you going to rate and grade lethal weapon? We have Rock Gut, well, call single barrel and top shelf. Where are you going for lethal weapon? Not perfect. Couple of little nit picky moments, but this is top shelf for me. This might be top 25 all time for me. This is my favorite action film. I love it. You know, I used to teach this in film class at school. I'm so many viewings into it. I think I might have said 35 earlier. It might only be 25, but it is a lot. It's not perfect, but goddamn is it good. I love it. I can watch it every time it comes on. It's well acted. This story is kind of in that space we talked about with a little reheated. I don't care what it makes up for. And the action is delivered in spades. It's handled expertly by Richard Donner. And even though Shane Black is going to become what he became, there are probably still, which is difficult. There are probably inklings of that early on. The hubris to put in a screenplay like the kind I'm going to buy when I sell the scripts speaks to you talk about putting your balls on the coffee table. And what makes it work and but also needs to be rained in. Yes. This is top shelf with the bullet. This for me really honestly top 25 ever, ever. Excellent. Great choice. I think I'm going single barrel this week. It's it feels entirely unique to me because there's not a lot of really well oiled buddy cop films like this one where everything is just like really clicking. But everything that does click is like in top notch form. Yeah, this is I've seen this film many times, maybe not as many as you. But really rewatchable. I think it's a cool like hour and 50 minutes hour and 48 minutes. It's really it's perfect runtime for a film of this sort. Efficient. Love the characters love the villains love the music. Yeah, it's a fun vibe in 80 70s. You almost kind of feel like, you know, the blockbuster films are shifting a little bit at this time. And then Batman 89 is going to completely change the game for a lot of people. But yeah, this this would be a fun film to go see in July or June whenever it came out. Yeah, single barrel. I really like lethal weapon. I really like lethal weapon too. Three and four, I'm kind of I'm kind of out on on the series kind of keeps going. But two has got a lot of really great scenes and moments and characters. It's just been revoked. I mean, the diplomatic immunity line, there's a lot of great action bids. It's got the toilet bomb in that. So if you're high on lethal weapon one, you've never seen you got to watch two at least and then see where you want to go from there. But yeah, single barrel for me. One question for you and then we'll wrap up with our nightcap. But if they ever decided and I think there are rumblings and rumors about wanting to do a lethal weapon five, what do you think? Do you want I mean clever? It's got to be what 78 80 years old. I mean, he's getting pretty long in the tooth there. Gibson to me doesn't have the same energy as he did with this rigs. Do we want a legacy sequel of lethal weapon or do we want to take this concept and give it some new blood? I kind of want some new blood. I mean, I thought Glen Powell and maybe you know, Denzel Washington, that could be pretty good. I think I would lean more towards that versus I don't know if I need another adventure with these with these guys. No, I'll take these two, but I think you have to change it and that really has to be more procedural and detective than it is physical. So either one would be good. You know, did you ever give much try to the series, the television, Damon Waynes and whoever the hell it was made it three seasons. So there was something there. Yeah, not for me, television wise. But yeah, I mean, I'd be on board. I don't want Joe Pesci anywhere near that. I thought that series and again, I need to go back and watch too, because it's been a long time. But I don't think that comedic element plays and I don't want that in my film. But your question is a perfect Jesse perfect lead into our nightcap. Can I lay it on you? Let's let's let me let me give you some when we give you some food music, music, music. So what I'm going to give you are four different pairings and cop buddy films that I've come up with each themed. And I'll tell you who is and I'll give you what the theme of that buddy pairing is. And then I'm going to give you the selection of a couple villains to oppose them in it. Okay. So the first one is what we're going to call the resurrection pairing. So we're resurrecting once promising otherwise forgotten careers in Hollywood. And this pairing is Dane DeHaan and Joel Kenneman. The villains that you have to choose from in that pairing are Mel Gibson, Ben Kingsley and Christoph Waltz. Who do you want the Mr. Kenneman to Mr. Han to take on Jesse? Give me Christoph Waltz. Of course I'm gonna take Christoph Waltz. Yeah, he'll bring a little something extra, a little something fun. I mean, I didn't love his betrayal as Blofeld in the latter Bond films, but I mean, I love his Tarantino run that he had there. He can do villain, he can do like smarmy villain, sly villain. Yeah, I don't know if I'm sold on what Gibson I don't know about you know, Ben Kingsley. Do I still got Mandarin taste in my mouth? Yeah, give me Christoph Waltz with those guys. I was thinking about this earlier and I keep coming to Layer Cake and it's not Layer Cake, but what the hell was the name of that movie that was very Australian that had Ben Kingsley in it almost as the devil. What the hell was the name of that film? Sexy Beast. There you go, sexy beast. Would you like that film? Yeah, we're talking a movie 20 years old. I mean, you can't believe that's that old already. Yeah. Number two, this is the Oscar award-winning pairing. Okay. Ready for this one? Yeah. Okay. Buckle up Buttercup. Joel Gray. No. Johnny Depp and Jennifer Lawrence. Okay. Paired up versus Tom Hanks. Glenn Close or Viola Davis? Just tough huh? Lot of Oscar metal there buddy. I would love to see Tom Hanks play a bad guy. Me too. I would love, I think he could miss my chose to. I think I'm going to go and close because she plays bad really well too. So is Viola Davis? Yeah. I'm going and going close. I love Alex Forrest in Fatal Attraction. She was the greatest gorilla to fill in that 101 Dalmatians and that could be different, right? Older female villain. I mean, we never get something like that. Oh, she would have fun with it too. And Johnny Depp needs a vehicle to come back that's not in makeup. That's not by showcase. It's just his ability to act and not put on makeup. What do you think of this? Because I heard this on another podcast and I thought it was worth talking about. But Johnny Depp, veteran of this franchise, what do you think about him stepping into the shoes of Mr. Freddy Gruder? Oh, hell yeah. I mean, that's a lot of makeup we're putting on that guy. But hell yeah. I mean, you're talking about a career reviver. Like you were in the first one. In a series that no one knows what the hell's going on with it. I'd be game for that. I think that could work. Okay. Yeah. Number three. This is the we're too old to be anything but detectives pairing. You're going to know this one. We're going to put Harrison Ford and Miss Nicole Kidman together against Will Smith, Tom Cruise or Robert Redford. Give me Tom Cruise. I want to see Tom Cruise play a baddie. It's just Tom Cruise is always the good guy. Whenever Cruise has played kind of against type, a little more nefarious, eyes wide shot. Maybe just eyes shot. Maybe less grossment I could put into that from Tropic Thunder. Okay. A little bit more intense. I mean, he does a good. I mean, he's just used to playing the hero, right? Yeah. Yeah. Give me Tom Cruise with. Yeah. Oh, Nicole Kidman. Oh, no, my God. Don't you want to see that? I don't know if they'd be able to make that movie, but my brain wants to watch that movie. Heck yeah. Yeah. And Ford and Cruise have never shared the screen. That would be wild. Yeah. Last one. So maybe I might have another one, but we'll see. This is the, we've done this or time, we've done this a time or two before pairing, and that's going back to the well. Ben Affleck and Matt Damon taken on George Clooney, Mark Strong or Kate Blanchett. Give me Clooney. A lot of these people want to see his bad guys, don't we? Yeah. Yeah. Give me Clooney, because Clooney played, you know, Ida March, I mean, he plays Sinister pretty well. But to see Clooney and Damon, Ocean's Esque together, again, that would be a lot of fun. Damon and Affleck, I mean, Bud's right. I mean, that would be fun. Uh, Kate Blanchett, a number, a close number two though. I mean, and then who's the second one? Sorry. Um, George Clooney, Mark Strong or Kate Blanchett? Oh yeah, I've seen Mark Strong do the villain thing. And guess what? He's fantastic at it. Yeah. I want to see some, some fresh faces, dude. Yeah. Yeah. I want Clooney. I want Clooney. Okay. One more. And I'll let you pick the villain out of whoever you want, but I'm going to ask you to pick the director too. Okay. This is going to be the Gen X pairing. Okay. So it's got to be Ethan Hawke, and we're going to put him with Matt Dillon. Mm. This is our bad guy who's, well, our director's got to be Cameron Crowe, or is it diploma? Oh, I was going to say Richard Linklater. Oh, we fine. We'll take that. Okay. Where are we taking on? Our bad, Kevin Bacon, our Gen X. Oh, that's good. Our Gen X baddie. Keep her Sutherland. I was going to say, oh, let's just go through the Flatliners County. That's right. Yeah. Sutherland would be good. Oh God, bacon would be good too. Give me a second here. You know what? We're going to give me Matthew McConaughey with those guys. Oh fuck yeah. I want to take the Linklater route. You can have it. God, those are good. That'd be that. That might be the film of all of them that I really want to see. That'd be fantastic. Yep. Because you know, sorry, Ethan Hawke, and who's the other one? Matt Dillon. Yeah. I like Matt Dillon too. So do I. Not Kevin Dillon. You know, before I put, I sort of did think the brother route with the Afflex instead of Matt Damon, Affleck Ben and Casey, but I don't know. Yeah. I like it. So I just, one more came to me. We've talked about this guy a lot and he seems to be ominously absent from film lately and we could have sworn after he did the Elton John biopic that he was headed for stardom. Taren. Where is Taren Edgerton right now? I know. What happened? I don't know. I mean, the Kingsman are awesome. Yeah. Rocketman, even though it didn't like, I think perform. It's a good monetarily wise. It's an excellent performance. What happened to that guy? I don't know. Who did he piss off? I don't know. It's just made role selection or it's been Jesse. It has. I mean, maybe he has something that I haven't seen streaming wise. He was on the Apple TV show called Blackbird. I heard good things about, but I mean, it's another show added to my cue, right? To my Netflix cue. No, yeah. I'm waiting for whatever that dude. I think he'd be a great Wolverine. I mean, eventually one day. Yeah. Well, no, yeah, just maybe he's waiting for the right, the right emergence, right? I watch another Kingsman movie. I'm sure they've talked about that. Yeah, interesting. Well, hey, that's a wrap on Lethal Weapon. We am at a long time about Lethal Weapon. 213, big show this week. But I'm going to make a prediction. Professor Charles Xavier prediction to next week. Next week's episode is going to be longer than where we're at right now. Because we're going to get into a murky area. Yeah. Next week, giving you a week, ladies and gentlemen, to go see it. But we got to talk and it's somehow fits the buddy cop space. This tandem, this duo, this team up, we're going to do Deadpool and Wolverine. Hey, Matt, it's us talking about the Marvel Universe again, but it's mostly going to be talking about the X-Men again and all the rumors, the announcements, the story, how does this fit into the cog of the MCU machine, the Fox machine? There's going to be a ton to talk about. I mean, it's going to be an hour and we're going to be barely be 20 minutes into the movie. It's going to be one of those episodes where there's just going to be so much content on the surface and things to talk about. But we've both seen it thus far. Yeah. So we're not going to forecast our opinions yet. But I'll just say there's a ton to talk about. Oh boy. And there's a lot of, I think, gems and moments in the film and a lot of things that make me scratch my head. But yeah, we'll see where we're at one week later if we've soured more or more positive. How are you going to do a second viewing? I might have to go see it one more time. Let's go this week. Yeah, to do it to do it justice. Yeah. We'll talk about Mike about it tonight. We both have and we'll go do it this week. Yeah, I think that might be appropriate because it's a dense movie. I mean, there's a lot of stuff going on and timelines that I might need to know about or something. But Deadpool Wolverine, go check it out. Just raked in $200 million at the box office. What are you waiting for? Yeah, we'll see if this is the MCU savior or if we're still waiting for what's on the horizon. So you got that coming to you next week. And then we'll wrap up this cast with another film the week after that that I can't wait to talk about. I'm just I'm dying. I'm just itching to talk about that movie. A couple big things coming up, obviously next week and finishing this cast. But we're near in 250 and we're also near in the end of the summer and our prediction model. So maybe I bet we'll know by the time maybe we'll make 250 because you and I've already talked. Yeah. I think the winner in our summer predictive model has already been determined. I'll give you a hint at rhymes with schmessy and maybe what we'll do is because the loser's got to buy the bottle. Yeah, maybe I'll buy us a nice big one at 250. Okay, because that's going to happen. Like I'm losing the crow is not going to catch despicable me for or twisters. Yeah, neither one of those. I know it's that's fine. It's fine. It was a hard to predict summer. And we'll do the summer wrap up when we'll officially announce that. Maybe we'll do it around 250. Well, I was never going to go with Planet of the Apes. I was never going to pick up. Yeah. And I never, and I mean, we never could have forecasted bad boys, right? I mean, there was a lot of stuff in there. And Furioso is a huge swing and a miss for us. So, yeah, I mean, yeah, we'll do that episode. We got a few big films we're going to close out with and then some superhero stuff off the beaten path that we're going to do. And then guess what people? It's spooky time. But hey, ladies and gentlemen, spooky time. And also, I think what's going to be a huge blockbuster holiday season. Yeah. There is a lot coming out this November, December. Yes. Absolutely. Yeah. That may just be single week, single week, single week. Yeah. A lot coming, guys. Rise in good shape to the end of the year. I don't know, man. What do you think about a Ridley Scott Cask around November? We're talking a little bit about him yesterday. And that could be fun. I mean, light runners hanging out there like a little hanging fruit. I mean, we haven't had that episode in a long time. The one where you and I want to knock each other out. I know. Well, I'm willing to go there because, I mean, that's a huge missing notch in our podcasting belt. I mean, lead the weapon. I mean, we're making some do with that, but yeah. Yeah. To not do Blade Runner. Blade Runner's hanging out there. That's a big one. We'll talk about it. But hey, next week, Deadpool Wolverine, go check it out. But hey, I got to get going. I'm going to go get a new dog. I've been talking about this for a while. That dog's name's going to be Mr. Joshua. It just it has to be. Well, if I see you taking a blade or taking a flame and putting to his paw, you're going to meet the wrong end of the general over here. All right. Sounds good. I mean, that sounds appropriate indeed. We'll see you all next week, everybody. Hey, have a good week, everybody. We will see you in the dark. Thank you for listening to Ry Smile Films. Be sure to subscribe to us on Apple Podcasts, Spotify, Podbean, Stitcher, TuneIn, or if you listen to podcasts, be sure to leave us a rating and a review while you're there. It really helps out the show. And for Ry Smile Films merchandise, go to teapublic.com. Lead the weapon is property of Warner Brothers and Silver Pitchers. And no copyright infringement is intended. Until next time. Cheers. After all we've been through, if you think I'm going to eat the world's lousiest Christmas turkey by myself, you crazy. I'll tell you a little secret. What? I'm not crazy. I know. Oh, good. Let's eat. You know something? All right. I think your daughter kind of likes me. If you touch her, I'll kill you. Hey, you'll try. Hey, you mind if I bring a friend? I'll call you a bring a friend. Hey. I don't think Burbank the cat's gonna like this. I'll put five on the mic. [Music]
